A Finding Aid to the Francis V. O'connor Papers, 1920-2009, in the Archives of American Art
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Oral History Interview with Pietro Lazzari, 1964
Oral history interview with Pietro Lazzari, 1964 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview HP: DR. HARLAN PHILLIPS PL: PIETRO LAZZARI HP: I think while we have the opportunity it's, I think, important to assess in a way what one begins with. You have at least, you know, a dual cultural view, more, probably, so what did you fall heir to in the way of luggage and baggage that you've carried? PL: Well, I do believe I was quite lucky, if we can put it this way, I was born in the last century, 1898, in Rome and not from a family were cultural marked point was strong. My father was very inventive himself, he could draw horses. He loved to walk long distances. I remember as a young boy we used to walk outside the gates of Rome in Via Solaria or toward Ostia, and he was not a very tall man but while he walked, and while he talked he grew, I thought he was very tall, and he was inspired, his chest forward because he was the bandolier, which is a sort of an elite corps in the Italian army and he volunteered very young. So going back to our walks, he was familiar with the Roman ruins and frescoes in churches particularly those churches on the outskirts of Rome. -
44 Records of the Index of American Design
Finding Aid for the Records of the Index of American Design, 1929-2018 (bulk 1936-1942) Summary Information Repository National Gallery of Art, Gallery Archives Sixth Street and Constitution Avenue, NW Washington, DC 20565 [email protected] Title Records of the Index of American Design Identifier 44 Creator United States. Works Progress Administration. Index of American Design. Date 1929-2018 (bulk 1936-1942) Extent 290 cubic feet (734 boxes); approximately 29,000 digital files Abstract This collection documents the activities of the Index of American Design, a Federal Art Project to preserve and document the development of American folk and decorative arts from the colonial period through 1900 while providing relief work to unemployed artists, researchers, and photographers during the Great Depression. Materials consist of correspondence, memoranda, reports, lists, data sheets, publications, photograph prints and negatives, color notes. Historical Note Created in 1935, the Index of American Design (Index) was a program in the Fine Arts Divisions of the Federal Art Project (FAP) under the Works Progress Administration (WPA). The Index project had three objectives: to employ and maintain the skills of artists who found themselves unemployed during the depression years; to preserve America’s artistic and cultural heritage by documenting the development of arts and crafts in different parts of the country; and to create a series of portfolios from the Index watercolor renderings that would serve as a permanent guide for artists, scholars, and the public. The initial idea for the Index project began with discussions between Romana Javitz, head of the New York Public Library’s Picture Collection, and artists who were conducting research in the collection for WPA projects. -
Down from the Ivory Tower: American Artists During the Depression
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1982 Down from the ivory tower: American artists during the Depression Susan M. Eltscher College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Eltscher, Susan M., "Down from the ivory tower: American artists during the Depression" (1982). Dissertations, Theses, and Masters Projects. Paper 1539625189. https://dx.doi.org/doi:10.21220/s2-a5rw-c429 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. DOWN FROM THE IVORY TOWER: , 4 ‘ AMERICAN ARTISTS DURING THE DEPRESSION A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Susan M. Eltscher APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts ^jiuu>0ur> H i- fc- bbcJ^U i Author Approved, December 1982 Richard B. Sherman t/QOJUK^r Cam Walker ~~V> Q ' " 9"' Philip J/ Fuiyigiello J DEDICATION / ( \ This work is dedicated, with love and appreciation, to Louis R. Eltscher III, Carolyn S. Eltscher, and Judith R. Eltscher. ( TABLE OF CONTENTS Page ACRONYMS................... .......................... v ACKNOWLEDGEMENTS.......................................... -
American Culture and the Photographic Image, 1918-1941
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 Changing Eyes: American Culture and the Photographic Image, 1918-1941. Melissa A. Mceuen Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Mceuen, Melissa A., "Changing Eyes: American Culture and the Photographic Image, 1918-1941." (1991). LSU Historical Dissertations and Theses. 5132. https://digitalcommons.lsu.edu/gradschool_disstheses/5132 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afiect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
A Thesis Submitted to the Temple University Graduate Board in Partial
ABSTRACT My thesis seeks to broaden the framework of conversation surrounding Berenice Abbott’s Changing New York. Much scholarship regarding Changing New York has focused on the individual photographs, examined and analyzed as independent of the meticulously arranged whole. My thesis considers the complete photo book, and how the curated pages work together to create a sort of guide of the city. Also, it has been continually noted that Abbott was a member of many artistic circles in New York City in the early 1930s, but little has been written analyzing how these relationships affected her artistic eye. Building on the scholarship of art historian Terri Weissman, my thesis contextualizes Abbott’s working environment to demonstrate how Abbott’s particular adherence to documentary photography allowed her to transcribe the urban metamorphosis. Turning to the scholarship of Peter Barr, I expand on his ideas regarding Abbott’s artistic relationship to the architectural and urban planning theories of Lewis Mumford and Henry-Russell Hitchcock. Abbott appropriated both Mumford and Hitchcock’s theories on the linear trajectory of architecture, selecting and composing her imagery to fashion for the viewer a decipherable sense of the built city. Within my thesis I sought to link contemporary ideas of the after-image proposed by Juan Ramon Resina to Abbott’s chronicling project. By using this framework I hope to show how Abbott’s photographs are still relevant to understanding the ever-changing New York City. ! ii! ACKNOWLEDGEMENTS I would first like to thank Dr. Silk for his support during the last two years. From my first proposal for this project to what was actually produced, he was always there to listen to my ideas and guide me in a positive direction. -
Oral History Interview with Burgoyne Diller, 1964 October 2
Oral history interview with Burgoyne Diller, 1964 October 2 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Burgoyne Diller on October 2, 1964. The interview took place in Atlantic Highlands, New Jersey, and was conducted by Harlan Phillips for the Archives of American Art, Smithsonian Institution. Interview HARLAN PHILLIPS: You know, this whole period of the WPA and more particularly the New York WPA is a kind of atmosphere that has to be recreated. In a way, it's the circumstances under which what took place, took place. Now I don't know - - as a point of departure before we get to you personally - - what do you remember about the atmosphere in New York as '29 went into the '30s, so far as the artists were concerned, and more particularly the modern artists? What the heck was life like - you know, opportunity like? Chance? Galleries? Interests? Market? Any of this strike a receptive chord? BURGOYNE DILLER: Probably too many chords at the same time. HARLAN PHILLIPS: Well .... BURGOYNE DILLER: You name it. I mean, for instance, one thing that certainly characterized the period was lack of work, lack of money just to get the necessities of life. I mean, you learned to eat practically nothing so you could buy a tube of paint, and so on and so forth. -
Oral History Interview with Mildred Baker, 1963 September 21
Oral history interview with Mildred Baker, 1963 September 21 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview Interview with Mildred Baker Conducted by Harlan Phillips At the Chelsea Hotel in New York September 21, 1963 Preface The following oral history transcript is the result of a tape-recorded interview with Mildred Baker on September 21, 1963. The interview was conducted at the Chelsea Hotel in New York by Harlan Phillips for the Archives of American Art, Smithsonian Institution. HP: HARLAN B. PHILLIPS MB: MILDRED BAKER HP: This should really be a form of amusement and, if you find it becoming other than amusement, please say so. MB: Well, when Jake just mentioned some of these problems, I remembered that I was in charge of the gallery up in Woodstock, New York . you know, the art colony in the Catskills. And word reached Woodstock that Cahill had been made the administrator of the Federal art project, and there was such excitement! I mean, all the artists started talking, talking, talking, "What's going to happen? How can we get on the project?" When Cahill called Woodstock where I was and asked if I would come down to be an assistant to him, that created more of a stir. So all through August I sat waiting, waiting to find out just when I was to come, and then Dorothy Miller and I drove down, I think it was over Labor Day weekend. Cahill wanted both of us to be assistants to him. -
The Early Career of Burgoyne Diller: 1925-45
The early career of Burgoyne Diller: 1925-45 Item Type text; Thesis-Reproduction (electronic) Authors Johnson, David Hoyt Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 04:24:02 Link to Item http://hdl.handle.net/10150/566699 THE EARLY CAREER OF BURGOYNE DILLER: 1925-45 by David Htiyt Johnson A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA. 1 9 7 8 Copyright 1978 David Hoyt Johnson STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. ' . Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below; SHELDON REICH Date Professor of Art acknowledgments : A nlimber of people have assisted in numerous ways in the preparation of this thesis. -
REVOLT, THEY SAID. 1 a Project by Andrea Geyer
REVOLT, THEY SAID. 1 a project by Andrea Geyer INSTALLATION MUSEUM OF MODERN ART NEW YORK Ida York Abelman (1908–2002) was a highly regarded Social OCTOBER 16th - NOVEMBER 27th 2015 Realist, known for the graphic work that she produced for the various Federal Art Projects in New York during the Depression. BIOGRAPHIES FOR DRAWING Her etchings and lithographs of the 1930s depict the difficult living conditions endured by many. Abelman also completed two murals for the Federal Art Projects: Lewiston Milestones in Lewiston, Illinois, and Booneville Beginnings in Booneville, Indiana, both extant. Her art training included the National Academy of Design, Grand Central Art School, College of the City of New York, and Hunter College, all in New York City. She was a member of the American Artists Congress and exhibited at the Museum of Modern Art, the Whitney Museum Louise Abbéma (1853–1927) was an artist known for her of American Art, and the Berkshire Museum, Massachusetts, portraits of notable figures of the Belle Époque, including among other venues. Her work is the collections of numerous Emperor Dom Pedro II of Brazil, architect Charles Garnier, and museums as well as the Library of Congress. actress Sarah Bernhardt. Bernhardt and Abbéma were lovers and exhibited artworks together at the 1893 World’s Columbian Gertrude Abercrombie (1909–1977) was an American Exposition in Chicago. Abbéma was a regular exhibitor at the painter. She spent much of her childhood traveling Europe with Paris Salon and regular contributor to the journals Gazette des her parents who toured with an opera company. The outbreak of Beaux-Arts and L’Art. -
Winter 1987-88 CAA Newsletter
newsletter Volume 12, Number 4 Winter 1987/88 John Onians, Univ. of East Anglia, Norwich, annual members annual Norfolk NR8 7TJ, England (Powers); Alex andra Parigoris, 54 Redcliffe Square, Flat 8, business meeting meeting update London SWIO 9HQ, England (Silk); lain Pears, 46 Bancroft Road, North Hampton, MA 01060 (Wilson); Christopher Phillips, International Center for Photography, 1130 The 76th Annual Members Business Meeting GETTY/KRESS GRANT RECIPIENTS: Fifth Ave., New York, NY 10028 (Fawcett»; will be held on Thursday, February 11, 1988 The following scholars- foreign and interdis Christopher Prendergast, The Graduate at 12:15 p.m. in the Magnolia Room (third ciplinary-have been added to the list of those Center, C.U.N.Y., 33 West 42 Street, New floor) of the Hyatt Regency Hotel, Houston. speakers receiving travel grants for the 1988 annual meeting. We urge you to contact the York, NY 10036-8099 (Bryson); Terry foreign scholars directly to arrange additional Smith, Head, Dept. of Fine Arts, Univ. of Sydney, Sydney 20006, New South Wales, Elections speaking engagements while they are in the U.S.; those in the southwest should try to take Australia (Hills/Wallach); Lisa Tickner, 43 The major item on the agenda of the Annual advantage of the presence of all of these schol Lady Somerset Road, Kentish Town, London Members Business Meeting is elections. ars in Houston. Speaker's name and address NW5 ITY, England (Werckmeister); Carrie are given, followed by session chair's name in Mae Weems, Dept. of Film & Photography, parentheses. Refer to preliminary program Hampshire College, Amherst, MA 01022 OFFICERS: The Board of Directors proposes for session and paper title. -
Vol 35-4 Winter 2018-2019
chronicles Journal of the Jewish Genealogical Society of Greater Philadelphia דברי הימים Chronicles - Volume 35-4 Winter 2018-2019 chronicles Journal of the Jewish Genealogical Society of Greater Philadelphia JGSGP Membership Editorial Board Please make checks payable to JGSGP and mail to the Editor - Evan Fishman - [email protected] address below. Please include your email address and Graphic Design Editor - Ed Flax - [email protected] zip+4 / postal code address. Associate Editors: Annual Dues (January 1 - Dec. 31) Felicia Mode Alexander - [email protected] Individual............................................................. $25 Joe Eichberg - [email protected] Family of two, per household...............................$35 Elaine Ellison - [email protected] Stewart Feinberg [email protected] Membership Applications / Renewals and Payments to: JGSGP • 1657 The Fairway, #145 Cindy Meyer - [email protected] Jenkintown, PA 19046 Officers Questions about membership status should be President: Fred Blum - [email protected] directed to [email protected] Vice President (Programming): Editorial Contributions Mark Halpern - [email protected] Submission of articles on genealogy for publication Vice President: in chronicles is enthusiastically encouraged. Felicia Mode Alexander - [email protected] The editorial board reserves the right to decide Secretary & Membership whether to publish an article and to edit all submis- Marilyn Mazer Golden - [email protected] sions. Please keep a copy of your material. Anything Treasurer: you want returned should be accompanied by a self- addressed stamped envelope. Barry Wagner - [email protected] Directors While email and other electronic files are highly pre- Linda Ewall Krocker - [email protected] ferred, the editors will be happy to work with you and Evan Fishman - [email protected] your material in any form. -
The Production of Culture on the Oregon Federal Arts Project of the Works Progress Administration
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-1980 The production of culture on the Oregon Federal Arts Project of the Works Progress Administration Carolyn Howe Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Howe, Carolyn, "The production of culture on the Oregon Federal Arts Project of the Works Progress Administration" (1980). Dissertations and Theses. Paper 824. https://doi.org/10.15760/etd.824 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE PRODUCTION OF CULTURE ON THE OREGON FEDERAL ARTS PROJECT OF THE WORKS PROGRESS ADMINISTRATION by CAROLYN HOWE A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in SOCIOLOGY Portland State University 1980 TO THE OFFICE OF GRADUATE STUDIES AND RESEARCH: The members of the Committee approve the thesis of Carolyn Howe presented July 18, 1980. Robert W. Shotola APPROVED: AN ABSTRACT OF THE THESIS OF Carolyn Howe for the Master of Arts in Sociology presented July 18, 1980. Title: The Production of Culture on the Oregon Federal Art Projects of the Works Progress Administration APPROVED BY MEMBERS OF THE THESIS COMMITTEE: Robert w. Shotola, Chairman This thesis a resses the relationship between art and society by examining the production of culture on the Oregon Federal Art Project (FAP) of the Works Progress Ad- ministration (WPA).