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Oral History Interview with Katherine Schmidt, 1969 December 8-15
Oral history interview with Katherine Schmidt, 1969 December 8-15 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 Katherine Schmidt on December 8 & 16, 1969. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview DECEMBER 8, 1969 [session l] PAUL CUMMINGS: Okay. It's December 8, 1969. Paul Cummings talking to Katherine Schubert. KATHERINE SCHMIDT: Schmidt. That is my professional name. I've been married twice and I've never used the name of my husband in my professional work. I've always been Katherine Schmidt. PAUL CUMMINGS: Well, could we start in 0hio and tell me something about your family and how they got there? KATHERINE SCHMIDT: Certainly. My people on both sides were German refugees of a sort. I would think you would call them from the troubles in Germany in 1848. My mother's family went to Lancaster, Ohio. My father's family went to Xenia, Ohio. When my father as a young man first started out in business and was traveling he was asked to go to see an old friend of his father's in Lancaster. And there he met my mother, and they were married. My mother then returned with him to Xenia where my sister and I were born. -
Isabel Bishop a Selection of Paintings, Darrendrawings, Andwaterston Prints REMOTE FUTURES
DC M OORE GALLERY 535 WEST 22ND STREET NEW YORK NEW YORK 10011 212 247.2111 DCMOOREGALLERY.COM FOR IMMEDIATE RELEASE FOR IMMEDIATE RELEASE Isabel Bishop A Selection of Paintings, DARRENDrawings, andWATERSTON Prints REMOTE FUTURES September 5 – October 5, 2013 OCTOBER 4 – NOVEMBER 3, 2012 Opening Reception Thursday, September 5, 6 – 8 pm OPENINGIn the project RECEPTIONspace, DC Moore Gallery features one of the foremost figurative artists of the twentieth century, Isabel OCTOBER 4, 6 – 8 PM Bishop (1902-1988). Best known for her images of shop girls, office workers, and down-and-out men around Union Square in New York, she also created nudes and still lifes, all of which AcataloguewithanessaybyJimVoorhies reinterpret a classical sensibility in a contemporary mode. will be available. Agony in the Garden, 2012. Oil on wood panel, 36 x 36 inches. In light of this, the question might arise as to why we do not know or hear more about Isabel Bishop today. The answer lies in Isabel Bishop, Noon Hour, 1935. Etching, 6 7/8 x 4 7/8 inches. large part in her painstaking studio practice and self-critical DC MOORE GALLERY is pleased to present its first exhibition by Darren Waterston, Remote Futures. Thisreview recent process. body Her of work very exploresdeliberate the m allureethod andbegan menace with sketches of utopian done fantasy, either where outdoors an imagined, or with models idealized posed paradise in her holdsstudio, within followed it a bydisconcerting drawings, etchings, future. and prints. From her studies, she then created final paintings with vibrant, complex surfaces built up through multiple layers of oil and varnish over a toned gesso ground. -
The Finding Aid to the Alf Evers Archive
FINDING AID TO THE ALF EVERS’ ARCHIVE A Account books & Ledgers Ledger, dark brown with leather-bound spine, 13 ¼ x 8 ½”: in front, 15 pp. of minutes in pen & ink of meetings of officers of Oriental Manufacturing Co., Ltd., dating from 8/9/1898 to 9/15/1899, from its incorporation to the company’s sale; in back, 42 pp. in pencil, lists of proverbs; also 2 pages of proverbs in pencil following the minutes Notebook, 7 ½ x 6”, sold by C.W. & R.A. Chipp, Kingston, N.Y.: 20 pp. of charges & payments for goods, 1841-52 (fragile) 20 unbound pages, 6 x 4”, c. 1837, Bastion Place(?), listing of charges, payments by patrons (Jacob Bonesteel, William Britt, Andrew Britt, Nicolas Britt, George Eighmey, William H. Hendricks, Shultis mentioned) Ledger, tan leather- bound, 6 ¾ x 4”, labeled “Kingston Route”, c. 1866: misc. scattered notations Notebook with ledger entries, brown cardboard, 8 x 6 ¼”, missing back cover, names & charges throughout; page 1 has pasted illustration over entries, pp. 6-7 pasted paragraphs & poems, p. 6 from back, pasted prayer; p. 23 from back, pasted poems, pp. 34-35 from back, pasted story, “The Departed,” 1831-c.1842 Notebook, cat. no. 2004.001.0937/2036, 5 1/8 x 3 ¼”, inscr. back of front cover “March 13, 1885, Charles Hoyt’s book”(?) (only a few pages have entries; appear to be personal financial entries) Accounts – Shops & Stores – see file under Glass-making c. 1853 Adams, Arthur G., letter, 1973 Adirondack Mountains Advertisements Alderfer, Doug and Judy Alexander, William, 1726-1783 Altenau, H., see Saugerties, Population History files American Revolution Typescript by AE: list of Woodstock residents who served in armed forces during the Revolution & lived in Woodstock before and after the Revolution Photocopy, “Three Cemeteries of the Wynkoop Family,” N.Y. -
Oral History Interview with Isabel Bishop, 1959 April 15
Oral history interview with Isabel Bishop, 1959 April 15 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 Isabel Bishop on April 15, 1959. The interview took place in New York City, and was conducted by Warren Chappell, Henrietta Moore & Mary Bartlett Cowdrey for the Archives of American Art, Smithsonian Institution. Interview MARY BARTLETT COWDREY: For the recording of Isabel Bishop, I have just put on the machine the new one and one-half mil. Mylar Audiotape, which is said to have great tensile strength. After lunch, Henrietta Moore will conduct an interview with Isabel Bishop and Warren Chappell. Today is April 15, 1959. [PAUSE] MARY BARTLETT COWDREY: The recording is going. Today is April 15, 1959. HENRIETTA MOORE: The place is the office of the Archives of American Art in New York City. We are happy to have the opportunity of talking with Miss Isabel Bishop, one of the most distinguished American artists, a member of the National Academy and of the National Institute of Arts and Letters, Society of American Graphic Artists, and the Philadelphia Water Color Society. You have also been a teacher at the Art Students League, Miss Bishop? ISABEL BISHOP: Yes. HENRIETTA MOORE: Another United Artist is here to talk with Miss Bishop, Mr. Warren Chappell, of Norwalk, Connecticut, whose ability and fame as an illustrator are greatly admired and enjoyed. To identify my voice, let me only say that I am Henrietta Moore, who has assembled the material Miss Bishop loaned the Archives for microfilming. -
Cows in Pasture
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Yasuo Kuniyoshi American, born Japan, 1889 - 1953 Cows in Pasture 1923 oil on canvas overall: 51.12 × 76.52 cm (20 1/8 × 30 1/8 in.) framed: 24 × 33.94 × 2.19 cm (9 7/16 × 13 3/8 × 7/8 in.) Inscription: lower center right: Y.Kuniyoshi 23 Corcoran Collection (Gift of George Biddle) 2014.136.94 ENTRY Yasuo Kuniyoshi’s early paintings, prints, and drawings feature odd, humorous, and even disconcerting subjects: frightened-looking babies with animals and anthropomorphic vegetation, for example.[1] When he tackled more conventional motifs, such as still lifes, landscapes, or nudes, he depicted them in a quasi- surrealistic style, from dizzying perspectives, or in odd arrangements with curious props. Cows in Pasture, ostensibly a straightforward view of a coastal New England dairy farm, is a prime example of Kuniyoshi’s subtle “strangeness,” as a critic characterized the artist’s early work.[2] Kuniyoshi’s favorite early subject was the cow; the artist estimated he painted some 60 cow pictures during the mid-1920s.[3] His preoccupation with the animal and the gravity with which he treated it earned him the label of satirist, a charge he would later counter: I wasn’t trying to be funny but everyone thought I was. I was painting cows and cows at that time because somehow I felt very Cows in Pasture 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 near to the cow. -
The Eye of the Painter and the Elements of Beauty
THE EYE OF THE PAINTER AND THE ELEMENTS OF BEAUTY Andrew Loomis THE VIKING PRESS • NEW YORK CONTENTS Prologue 13 I Seeing with the Painter's Eye 23 II "What Shall 1 Paint?" 35 III Unity 53 IV Simplicity and How to Achieve It 62 V Design 71 VI Proportion 84 VII Color 101 VIII Rhythm 108 IX Form 114 X Texture 121 XI Values of Light 126 XII Beauty of Subject 135 XIII Technique 138 ILLUSTRATIONS The Gulf Stream, Winslow Homer 15 Shed in the Swamp, Charles Burchfield 82 Movement, Sky and Sea, John Marin 16 Road with Cypresses. Vincent Van Gogh 92 Thinking Ahead, Yasuo Kuniyoshi 17 Marne at Nugent, Raoul Dufy 93 The Dull Fight, Francisco Goya 22 The Virgin with Saint Ines and Saint Tecla, Figure with Shawl, George Grosz 26 El Greco 95 Storm, Dean Fausett 33 The Lawyers, Honore Daumier 96 Fears and Pewter, Luigi Lucioni 37 The Wyndham Sisters, John Singer Sargent 97 Egg Dealer V, Stuart Davis 38 Upside Down Table and Mask, White Canadian Darn, No. 2, Yasuo Kuniyoshi 109 Georgia O'Keeffe 39 Expectation, Frederic Taubes 110 Figeon, Zoltan Sepeshy 42 Young Henry Ford, Norman Rockwell 1 17 Elephants, Russell Cowles 43 Venus of Cirene 118 Summer, John Koch 44 Music, Eugene Berman 119 Tile Hoof, Charles Burchfield 45 Paysage du Midi, Andre Derain 122 City Interior 1936, Charles Sheeler 46 Les Mouettes, Henri Matisse 123 The Outpost, William Thon 48 Fruit Dish Class and Newspaper, Juan Gris 124 Trouble Ahead, Margery Ryerson 49 The Pearl Necklace, Jan Vermeer 127 Quiet Evening, Hobson Pittman 50 Man with a Magnifying Glass. -
Oral History Interview with Raphael Soyer, 1981 May 13-June 1
Oral history interview with Raphael Soyer, 1981 May 13-June 1 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. Funding for this interview was provided by the Wyeth Endowment for American Art. 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 Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old. -
Minna Citron: a Socio-Historical Study Of
The Pennsylvania State University The Graduate School Department of Art History MINNA CITRON: A SOCIO-HISTORICAL STUDY OF AN ARTIST’S FEMINIST SOCIAL REALISM IN THE 1930S A Thesis in Art History by Jennifer L. Streb © 2004 Jennifer L. Streb Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2004 The thesis of Jennifer L Streb was reviewed and approved* by the following: Sarah K. Rich Assistant Professor of Art History Thesis Advisor Chair of Committee Craig Zabel Associate Professor of Art History Head of the Department of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor, Department of Art History Nan E. Woodruff Professor of History * Signatures are on file in the Graduate School ABSTRACT Minna Citron (1896-1991) was a lifelong self-proclaimed feminist, a divorced mother and an artist who believed in individual expression. One of her main artistic interests, particularly early in her career, was the way feminist concerns related to her dual roles as wife/mother and professional artist. She struggled to make a name for herself in the male-dominated art world between the 1930s and 1950s, beginning during a decade in which social roles for women increasingly tended towards domesticity. By the late 1960s, however, Citron’s interest in feminism was renewed by a new generation of women. The course upon which she set herself, in many ways, was uncharted and her concern with women’s issues and the challenges faced by women perhaps resonate more clearly with us today than while she was alive. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
Oral History Interview with Isabel Bishop, 1987 November 12-December 11
Oral history interview with Isabel Bishop, 1987 November 12-December 11 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 Isabel Bishop on November 12, 1987. The interview took place in Riverdale, NY, and was conducted by Cynthia Nadelman for the Archives of American Art, Smithsonian Institution. Interview CYNTHIA NADELMAN: Isabel, can you say when you were born and where? Your actual birthdate. ISABEL BISHOP: I was born in Cincinnati, Ohio in March, 1902. CYNTHIA NADELMAN: What day? ISABEL BISHOP: March third. CYNTHIA NADELMAN: Also say your middle name also. Do you have a middle name? ISABEL BISHOP: No. Just Isabel Bishop. CYNTHIA NADELMAN: Okay. You lived in Cincinnati not very long I guess. ISABEL BISHOP: About a year. CYNTHIA NADELMAN: And then you moved . ? ISABEL BISHOP: To Detroit, Michigan. CYNTHIA NADELMAN: Do you have brothers and sisters? ISABEL BISHOP: No, I didn't have brothers and sisters . I didn't mean to say that. I meant to say it was like a separate world because they were two pairs of twins. One was fifteen years older than I and the other I guess twelve. CYNTHIA NADELMAN: Twelve years also older? ISABEL BISHOP: Yes. CYNTHIA NADELMAN: And they were both twins? ISABEL BISHOP: A boy and a girl in each. -
From Theleague
LINES from the League The Student and Alumni Magazine of the Art Students League of New York Spring 2014 Letter from the Executive Director here has always been a welcoming spirit at the League. Those with an affinity for art know that they are with like-minded people who share T their goals and desires to master their mediums. In such a supportive environment, many of our students choose to remain and study years after first enrolling. In this regard, we are as much a community as we are a school. This is the nature of the League: there are as many reasons to attend the League as there are attending students. The Board and administration recognize the League’s primary mission of providing a program and setting that supports the individual pursuit of art. The outgrowth of our 140-year history is nothing short of staggering; more promi- nent artists studied at the League than in any other institution. The same holds true for our illustrious faculty. League members who credit the League with providing them the most rewarding time of their lives continue to support us through gifts and bequests. We continue to be a sanctuary for artistic discourse and discovery where students learn that there are no limits to what they can achieve through dedication and the practice of making art. We honor those who have shown such dedication. In this issue of Lines, we profile individuals such as instructor Bruce Dorfman, celebrating fifty years of teaching at the League, and artist Eleanor Adam, who came to the League after the death of her son Alex to learn art and rediscover her place in the world. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York.