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Beverly Buchanan papers

Creator:
Buchanan, Beverly, 1940-  Search this
Names:
Bernice Steinbaum Gallery (New York, N.Y.)  Search this
Steinbaum Krauss Gallery (New York, N.Y.)  Search this
Lippard, Lucy R.  Search this
Scott, Arden  Search this
Sims, Lowery Stokes  Search this
Extent:
18.3 Linear feet
1.07 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sketchbooks
Photograph albums
Motion picture film
Date:
1912-2017
bulk 1970s-1990s
Summary:
The papers of African American sculptor, painter, and land artist Beverly Buchanan measure 18.3 linear feet and 1.07 gigabytes, and date from 1912 to 2017 with the bulk of the material dating from the 1970s to the 1990s. The collection contains biographical material; correspondence; writings; and exhibition and project files, including audiovisual documentation from Bernice Steinbaum Gallery/Steinbaum Krauss Gallery. Material related to professional activities; personal business records; printed material; scrapbooks; photographic material, including photograph albums; and artwork are also found in the collection.
Scope and Contents:
The papers of African American sculptor, painter, and land artist Beverly Buchanan measure 18.3 linear feet and 1.07 gigabytes, and date from 1912 to 2017 with the bulk of the material dating from the 1970s to the 1990s. The collection contains biographical material; correspondence; writings; and exhibition and project files, including audiovisual documentation from Bernice Steinbaum Gallery/Steinbaum Krauss Gallery. Material related to professional activities; personal business records; printed material; scrapbooks; photographic material, including photograph albums; and artwork are also found in the collection.

The Beverly Buchanan papers contain biographical material including address books, calendars, awards and education certificates, identification documents, family history research material, and a recorded interview with Marcia Yerman for Women in Art; correspondence with friends and colleagues including Lucy Lippard and Lowery Stokes Sims, and with galleries and museums such as Bernice Steinbaum Gallery/Steinbaum Krauss Gallery, the Georgia Museum of Art, and the High Museum of Art. Also included are writings such as artist's statements, journals and notebooks, notes, and writings by others about Beverly Buchanan; exhibition and project files including audiovisual documentation from Bernice Steinbaum Gallery and Steinbaum Krauss Gallery of various exhibitions; material related to professional activities including teaching files and grant and fellowship applications; personal business records such as sales and consignment records; printed material including clippings, exhibition and event announcements and catalogs, magazines, posters, a video recording of A World of Art profile, and other published material; and scrapbooks, including one documenting Buchanan's City Walls series, containing primarily photographs and artwork with some printed material. The collection also contains photographic material including photographs, snapshots, negatives, and photograph albums; and artwork including sketchbooks, drawings, folded cardboard artwork, and illustrated cards.
Arrangement:
This collection is arranged as ten series.

Series 1: Biographical Material, 1917-2015 (Box 1, Boxes 19-20; 0.6 linear feet)

Series 2: Correspondence, 1919-1954, 1967-2017 (Boxes 1-2; 0.9 linear feet; ER01, 0.017 GB)

Series 3: Writings, 1960-circa 2009 (Boxes 2-3; 0.7 linear feet)

Series 4: Exhibition and Project Files, 1974-2001, 2010-2017 (Boxes 3-4, OV 21, FCs 22-23; 1.9 linear feet; ER02, 0.020 GB)

Series 5: Professional Activities, 1962, 1979-2005 (Box 4, Box 19; 0.3 linear feet)

Series 6: Personal Business Records, 1966-2010 (Box 4; 0.3 linear feet)

Series 7: Printed Material, 1912, 1923-2014 (Boxes 4-7, Box 19, OV 21; 3.6 linear feet)

Series 8: Scrapbooks, 1970-circa 1977 (Box 7, Box 20; 0.3 linear feet)

Series 9: Photographic Material, circa 1920s-2013 (Boxes 7-13, Boxes 16-18, Box 20; 8.8 linear feet; ER03, 1.03 GB)

Series 10: Artwork, 1956-2013, undated (Boxes 13-15, Box 20; 0.7 linear feet)
Biographical / Historical:
Beverly Buchanan (1940-2015) was an African American sculptor, painter, and land artist in Macon, Georgia. Born in Fuquay, North Carolina and raised in Orangeburg, South Carolina, Buchanan studied medical technology at Bennett College before going on to earn two master's degrees in parasitology and public health from Columbia University in 1968 and 1969. Her artistic career began in 1971 when she enrolled in a class at the Art Students League in New York City taught by Norman Lewis. She moved to Georgia in 1977.

Buchanan is most well known for her "shack" sculptures and paintings, depictions of houses tied to Southern identity and memory.

Buchanan has been included in exhibitions at institutions such as Cinque Gallery, Truman Gallery, the Museum of Arts and Sciences in Macon, GA, the Chrysler Museum, and a traveling retrospective exhibition organized by the Montclair Art Museum. Her work is included in the permanent collections of institutions such as the Whitney Museum of American Art, High Museum of Art, Metropolitan Museum of Art, and the Pennsylvania Academy of the Fine Arts. Beverly Buchanan has received a Guggenheim Fellowship, a National Endowment for the Arts Fellowship, the Anonymous Was a Woman Award, and the Women's Caucus for Art lifetime achievement award, among others. She died in 2015 in Ann Arbor, Michigan.
Provenance:
The Beverly Buchanan papers were donated to the Archives of American Art in 2018 by Jane Bridges, Buchanan's friend and executor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Georgia  Search this
Painters -- Georgia  Search this
Topic:
Environmental art  Search this
African American artists  Search this
Women artists  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photograph albums
Motion picture film
Citation:
Beverly Buchanan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buchbeve
See more items in:
Beverly Buchanan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buchbeve
Online Media:

Jane Freeman papers, 1904-1963

Creator:
Freeman, Jane, 1871-1963  Search this
Subject:
Church, Frederick S. (Frederick Stuart)  Search this
Clifton, Walter  Search this
Type:
Scrapbooks
Topic:
Women painters  Search this
Record number:
(DSI-AAA_CollID)8140
(DSI-AAA_SIRISBib)210311
AAA_collcode_freejane
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210311

Jane Freeman papers

Creator:
Freeman, Jane, 1871-1963  Search this
Names:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Clifton, Walter  Search this
Extent:
0.4 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1904-1963
Scope and Contents:
Biographical material; letters received from sitters, admirers, and others, including illustrated letters from Frederick Stuart Church and Walter Clifton; a scrapbook of photographs and reproductions of Freeman's portraits; clippings; printed material; typescripts of lectures by Freeman on women in art and portrait painting; and photographs of Freeman.
Biographical / Historical:
Portrait painter and teacher. Born in England, Freeman studied at the Art Students League, at the Grand Chaumière, and at the Cooper Union Art School. Lived in New York, N.Y. and Pigeon Cove, Mass. Died in Park Ridge, N.J.
Provenance:
The donor, Mrs. Walter T. Wittman, was Freeman's niece and the executrix of Freeman's estate. She assembled the material in the scrapbooks, provided some biographical material, and annotated some items.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters  Search this
Portrait painters  Search this
Topic:
Women painters  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.freejane
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freejane

The National Museum of Women in Arts

Collection Creator::
Smithsonian Institution. Office of Quincentenary Programs  Search this
Container:
Box 16 of 37
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 94-149, Smithsonian Institution, Office of Quincentenary Programs, Records
See more items in:
Records
Records / Box 16
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa94-149-refidd1e6764

Audio recordings, circa 1960-1974

Creator:
Navaretta, Cynthia  Search this
Subject:
Smith, David  Search this
New York Artists Equity Association  Search this
Record number:
(DSI-AAA_CollID)13685
(DSI-AAA_SIRISBib)274992
AAA_collcode_navacynt
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_274992

Sklavin oder Bürgerin? : französische Revolution und neue Weiblichkeit 1760-1830 / herausgegeben von Viktoria Schmidt-Linsenhoff

Author:
Schmidt-Linsenhoff, Viktoria  Search this
Historisches Museum Frankfurt am Main  Search this
Physical description:
864 p. : ill. (some col.) ; 23 cm
Type:
Exhibitions
Place:
France
Date:
1989
Modern period, 1600-
Revolution, 1789-1799
18th century
Topic:
Women in art--Exhibitions  Search this
Costume--History  Search this
Women--History--Exhibitions  Search this
Feminine beauty (Aesthetics)--Exhibitions  Search this
History  Search this
Art and the revolution  Search this
Call number:
N7629.2.G3 F82 1989
N7629.2.G3F82 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_389428

Audio recordings

Creator:
Navaretta, Cynthia  Search this
Names:
New York Artists Equity Association  Search this
Smith, David, 1906-1965  Search this
Extent:
8 Items (sound tape reels)
Type:
Collection descriptions
Archival materials
Date:
circa 1960-1974
Scope and Contents:
Audio recordings kept by Navaretta, including 4 reels of a circa 1974 New York Artists Equity Association panel discussion relating to women in art; a lecture series of Emanuel Navaretta; and an interview of sculptor David Smith conducted by Emanuel Navaretta as a part of an uncompleted project on Smith.
Biographical / Historical:
Cynthia Navaretta is a prominent figure associated with women and the arts. Emanuel Navaratta is a painter and professor. Cynthia and Emanuel Navaretta were married. Both were good friends with David Smith.
Provenance:
Donated 2007 by Cynthia Navaretta.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Identifier:
AAA.navacynt
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-navacynt

In Splendor and Seclusion: Women in Art and Life (426) (publications files), c. 1988

Collection Creator::
Smithsonian Institution. Traveling Exhibition Service  Search this
Container:
Box 1 of 18
Type:
Archival materials
Collection Rights:
Restricted for 15 years, until Jan-01-2021; Transferring office; 9/27/1984 memorandum, Glenn to Loar; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 06-059, Smithsonian Institution, Traveling Exhibition Service, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 1
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa06-059-refidd1e602

Tsukioka Yoshitoshi Fūzoku sanjūnisō [kanshū Machida Shiritsu Kokusai Hanga Bijutsukan ; kaisetsu Hinohara Kenji]

Title:
月岡芳年風俗三十二相 / [監修町田市立国際版画美術館 ; 解說日野原健司]
Fūzoku sanjūnisō
風俗三十二相
Tsukioka Yoshitoshi Fūzoku 32-sō
Contributor:
Hinohara, Kenji 1974-  Search this
Author:
Taiso, Yoshitoshi 1839-1892 Fūzoku sanjūnisō  Search this
Machida Shiritsu Kokusai Hanga Bijutsukan  Search this
Subject:
Taiso, Yoshitoshi 1839-1892 Criticism and interpretation  Search this
Taiso, Yoshitoshi 1839-1892 Criticism and interpretation  Search this
Physical description:
87 pages color illustrations 26 cm
Type:
Books
Criticism, interpretation, etc
Date:
2011
Meiji period, 1868-1912
Topic:
Painting, Japanese  Search this
Ukiyoe  Search this
Women in art  Search this
Painting, Japanese--Meiji period  Search this
Call number:
NE1325.T35 T78 2011
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1004772

Women in Art, Beverly Buchanan Interviewed by Marcia Yerman

Collection Creator:
Buchanan, Beverly, 1940-  Search this
Extent:
1 Videocassettes (VHS)
Container:
Box 1, Folder 19
Type:
Archival materials
Videocassettes (vhs)
Date:
1993
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchanan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Beverly Buchanan papers
Beverly Buchanan papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-buchbeve-ref42

Cecilia Beaux papers

Creator:
Beaux, Cecilia, 1855-1942  Search this
Names:
Andrew, A. Piatt (Abram Piatt), 1873-1936  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Poems
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.

Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.

Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.

A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:

Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)

Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)

Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)

Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)

Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.

Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.

In Paris, she joined the Academie Julien, where she received criticisms from Tony Robert Fleury and William Adolph Bougereau. She spent the summer in Concarneau, Brittany, where Alexander Harrison and Charles Lazar critiqued her work, and returned to Paris, where she attended the Academie Colarossi under and sought out private criticisms in the atelier of Benjamin Constant. She copied paintings and classical sculpture at the Louvre, and traveled throughout Europe to view the works of old masters. In England, she painted several portraits of her friends, the Darwins, before returning to Philadelphia in August of 1889. She traveled to Europe several more times in her life, including a trip in 1896 to see six of her paintings exhibited at the Salon de Champs de Mars. At the time this was an unprecedented number of paintings shown there by an American, and their strength earned her a membership in the Societé Nationale des Beaux-Arts.

In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.

In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.

By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.

In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.

The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 3425 and 3658) including a sketchbook and other related papers. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Portions of the papers were first lent for microfilming by Harrison Cultra in 1968. The bulk of the collection was donated in1970-1971 by Catherine Drinker Bowen, Beaux's niece, and by Cultra. In 1985, the sketchbook on reel 3425 was lent for microfilming by art dealer Jeffrey Brown with additional material by The Pennsylvania Academy of Fine Arts. A palette was donated by Helen Seely Wheelwright, whose former husband, Paul Seeley, was an artist and friend of Beaux. Awards and diplomas were gifted in 1995 by Cecilia Saltonstall, a descendant of Beaux. Material and a poster reproduction of Beaux's portrait of Rear-Admiral Sampson advertising an article in Century Magazine, 1899, was donated in 1991 by Alfred J. Walker, a dealer who organized a Beaux exhibition. He received the material along with artwork he exhibited from the estate of Richard Barker, who had received them from Harrison Cultra. Cultra had inherited them from Beaux's niece, Ernesta Drinker Barlow.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Women painters -- Pennsylvania -- Philadelphia  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Painting  Search this
Genre/Form:
Diaries
Photographs
Poems
Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beauceci
Online Media:

Project Files

Collection Creator:
Semmel, Joan, 1923-  Search this
Extent:
3 Folders (Box 3)
Type:
Archival materials
Date:
1972-2000
Scope and Contents:
Project files document two exhibitions curated by Semmel. Also included are statistics documenting the status of women in art departments – as studio instructors, their representation in exhibitions, art history courses, slide libraries, etc. – with a letter from Semmel (representing the Ad Hoc Women's Committee of WEB, a national coalition of women in the arts) outlining goals and concerns.
Collection Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Joan Semmel papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws
Collection Citation:
Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.semmjoan, Series 5
See more items in:
Joan Semmel papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-semmjoan-ref15

Status of Women in Art Departments

Collection Creator:
Semmel, Joan, 1923-  Search this
Container:
Box 3, Folder 27
Type:
Archival materials
Date:
1972-1973
Collection Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Joan Semmel papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws
Collection Citation:
Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Joan Semmel papers
Joan Semmel papers / Series 5: Project Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-semmjoan-ref69

Writings

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
1.3 Linear feet (Boxes 4-5)
Type:
Archival materials
Date:
1904-1960
Scope and Contents:
Writings include thirteen diaries spanning her childhood and later travels in the 1920s-1950s, essays and talks, poetry and translations of Spanish poetry by Meière, two novel length unpublished prose manuscripts, and travelogues. Early diaries include many enclosures, including photographs, drawings, calling cards, letters, and other keepsakes. A file of typescript memos and reports document Meière's involvement with the National Society of Mural Painters' Coordinating Committee during a turbulent period preceding the 1939 World's Fair. Essays and talks concern Meière's work on the 1939 New York World's Fair, with the NYC WPA Art Project, and reflections on women in art careers, mural painting, and ecclesiastical art. Meière's own poetry, as well as her translations of Spanish poets Gustavo Adolfo Becquer and others, are found in manuscript and typescript form. Enclosures found in an early handwritten volume of poetry called "Poems (so-called)" include a letter recounting the dissolution of her marriage in 1930. Two prose manuscripts include Battery Brown, written after the first World War, and a work Meière called her "Spanish Civil War Novella," which is largely non-fiction documenting her experience with the Spanish war relief effort and her political stance on the conflict.

Travelogues, handwritten and typewritten, are found for her trips to Constantinople and the Balkans, her trip to Russia in 1936, and her "Grand Tour" of 1952-1953, which began in Europe and Great Britain during Queen Elizabeth II's coronation, and moved through India, Indonesia, Australia, Sub-Saharan Africa, and ended in Taormina, Sicily. The Grand Tour is documented in a lengthy typescript travelogue. Also found is a short essay on the politics of the Arab Israeli conflict written after her trip to the Middle East in 1954.
Arrangement:
Arrangement is alphabetical by type of material. Additional material on Spanish Civil War is found in Series 4, Civilian War Service Records, and additional material related to Meiere's travels is found in Series 2, Correspondence and Series 5, Travel Records.
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hildreth Meière papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari, Series 3
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref3

Women in Art

Collection Creator:
Johnson, Ellen H.  Search this
Container:
Box 25, Folder 7-8
Type:
Archival materials
Date:
1971-1993
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington D.C. Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Ellen Hulda Johnson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Ellen Hulda Johnson papers, 1872-1994, bulk 1921-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Ellen Hulda Johnson papers
Ellen Hulda Johnson papers / Series 4: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-johnelle-ref576

Biographical Material

Collection Creator:
Buchanan, Beverly, 1940-  Search this
Extent:
0.5 Linear feet (Box 1; Boxes 19-20)
Type:
Archival materials
Date:
1917-2015
Scope and Contents:
Included in the biographical material series are address books; awards and certificates; Beverly Buchanan's baby book; a guest book and card for her 60th birthday; calendars, including some created by the artist; education certificates; family history research material; a program and invitation from Beverly Buchanan's funeral; identification documents; interviews, including a recorded interview by Marcia Yerman for Women in Art; report cards and transcripts; and resumes and biographies.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchanan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buchbeve, Series 1
See more items in:
Beverly Buchanan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-buchbeve-ref1

Women in Art

Collection Creator:
Los Angeles Institute of Contemporary Art  Search this
Container:
Box 12, Folder 53
Type:
Archival materials
Date:
1976
Scope and Contents note:
Eleanor Antin

Max Cole

Clare Falkenstein

Ruth Iskin

Connie Jenkins

Suzanne Lacy

Beverly O'Neill

Vaughan Rachel

Arlene Raven

Martha Rosler

Barbara Smith

June Wayne

Wanda Westcoast

Melinda Wortz
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Los Angeles Institute of Contemporary Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Institute of Contemporary Art records, 1973-1988. Archives of American Art, Smithsonian Institution.
See more items in:
Los Angeles Institute of Contemporary Art records
Los Angeles Institute of Contemporary Art records / Series 5: Exhibitions and Programs / 5.3: Program Files / Proposed Programs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-losangin-ref728

Alfred J. Walker Fine Art, "Women in Art: An American Tradition, 1880-1986" (1987)

Collection Creator:
Thayer, Polly, 1904-2006  Search this
Container:
Box 12, Folder 9
Type:
Archival materials
Date:
1987
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Polly Thayer (Starr) papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Polly Thayer (Starr) papers, 1846-2008, bulk 1921-2008. Archives of American Art, Smithsonian Institution.
See more items in:
Polly Thayer (Starr) papers
Polly Thayer (Starr) papers / Series 8: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-thaypoll-ref581

Writings

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Extent:
0.8 Linear feet (Boxes 2-3, OV 6)
Type:
Archival materials
Date:
circa 1868-1954
Scope and Contents note:
This series includes twelve diaries, notebooks, lectures, essays, poetry, and notes written primarily by Cecilia Beaux, as well as a collection of poems and essays about Cecilia Beaux by various authors including Royal Cortissoz, Richard Watson Gilder, and others. A single sketch on notepaper, which appears to be a study for a portrait, is filed at the end of this series.

Twelve diaries contain entries recording daily activities, including regular notes on her work in the studio and with various sitters for portraits. Some entries are quite brief, and others go on at length about her social life in Europe and America; occasional meetings with prominent figures such as Ida Tarbell, Clarence Day, J. Alden Weir, George Bellows, the Roosevelts, and others; jurying; sitters; women's suffrage; and women in art.

Lectures and essays on a variety of art subjects are found, usually in the form of annotated typescripts and often in multiple drafts, filed chronologically with their titles or subjects listed in folder headings. The latest draft of each work is filed first in each folder. Beaux writes of her own experiences as an artist, art techniques, education, critical or theoretical ideas, and autobiographical subjects which are unrelated to art. Included are several essays in the form of letters to unidentified recipients, including a detailed account of her time time spent in Malines, Belgium, to paint Cardinal Mercier in 1919. Lengthy prose fragments, many of them autobiographical, are possibly drafts from her 1930 memoir, Background with Figures.

Poems by Beaux are arranged chronologically, with published poems filed first, along with clippings of their published versions, followed by unpublished poems, titled and untitled. Additional poems are found in her 1868-1884 school notebook. Writings about Cecilia Beaux include poems by Richard Watson Gilder, Adrian Smith, and Adeline Adams; and prose by Royal Cortissoz, Paul Bion, and Eugene Neuhaus. Also found here are corrected galley proofs for an unattributed, published article on American Art that quotes Beaux extensively.

Notebooks include school notes and poetry, expenses, contacts, and what appear to be teaching records. A notebook labeled "Important Data" contains summaries by year of autobiographical data. Other notes include corrections and annotated proofs for Background with Figures, and collection notes by Beaux and others that relate to items in this collection.

Printed editions of some poems and essays are also found in Printed Materials. Additional autobiographical notes and essays are found in Biographical materials and Correspondence. See series descriptions for further details.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci, Series 3
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref69

Images of Women in Art

Collection Creator:
Munro, Eleanor, 1928-  Search this
Container:
Box 37, Folder 7
Type:
Archival materials
Date:
circa 1990s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Eleanor Munro papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
Eleanor Munro papers
Eleanor Munro papers / Series 7: Photographic Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-munrelea-ref1040

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