Oral history interview with Allan Rohan Crite, 1979 January 16-1980 October 22 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 Allan Rohan Crite on January 16, 1979 and culminating on October 22, 1980. The interview was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. Interview [TAPE 1, SIDE 1] Note: Susan Thompson, associate of Crite, participated in interview of Oct. 22. ALLAN ROHAN CRITE I was born March 20, 1910, at 190 Grove Street, North Plainfield, NJ. As far as my memory of the place is concerned, I'll be a little bit vague because I left there when I was less than a year old, and came to Boston. But I did go back just recently, during the month of December, so I had a chance to see my birthplace -- the house is still standing. It's a funny little two-storey frame house, on a tree-lined street. ROBERT BROWN: Why did your parents bring you up here [Boston]? ALLAN ROHAN CRITE Well, I brought my parents to Boston (both laugh). I really don't know, exactly. My father was studying at Cornell University, and then I think he came and went to the University of Vermont. I think my mother, when she came to Boston, worked out in Danvers for some wealthy family there. They felt as though the atmosphere in Massachusetts probably would be a little better, or something like that; I'm not too sure. Anyway, Dad went to the University of Vermont for about a year, and then we settled in Boston. ROBERT BROWN: He was an engineer, wasn't he? ALLAN ROHAN CRITE He started out as a doctor. Then he switched to engineering for some reason or other. He got a first-class engineer's license about 1923, I think. He may have been one of the first black people to get an engineer's license in Massachusetts -- I don't think he was the first, but one of the first. There aren't too many of them floating around. It's rather difficult to get an engineer's license in Massachusetts anyhow -- it has the reputation for being very thorough, very tough. So it's quite an accomplishment. ROBERT BROWN: He was a good deal older than your mother, right? ALLAN ROHAN CRITE Oh yes, he was 35 when he married my mother; she was 18 at the time. I think they got married on June 5, because his birthday came on June 7 and he wanted to reduce the span of years as much as possible. [RB laughs] So 35 and 18 sounded a little better than 36 and 18, I guess. [Both laugh] ROBERT BROWN: What do you remember of him? Your father died long before your mother did . ? ALLAN ROHAN CRITE Oh yes. He died in 1937. Well, the impression I have of him is of a very powerful and very strong person. He may have had some frustrations, in a way. He was an engineer. He had some interest in my work . [Interruption: ringing telephone] ROBERT BROWN: You said the black community in Boston was scattered, and it was fairly small, but you were just beginning to tell me how it was highly structured in social terms. ALLAN ROHAN CRITE Yes. Well, we had the equivalent of "the blue book," you might say, which was made up of professional people. My dad could qualify for that and some people got after him. But Dad was a bit of a loner. He didn't seem to take much to "this social business," in a way. And probably I've inherited a little bit of that from him, I don't know. ROBERT BROWN: On the other hand, was your mother a would-be "joiner?" Did she like clubs and other such activities? ALLAN ROHAN CRITE Yes and no. She was very much into the church, the Episcopal church; and she did work in the Shaw House, the settlement house. She did a lot of work there. But she wasn't one of these people to join a whole lot of clubs -- the only clubs she was [in] was the mother's club at the Shaw House. Then of course she worked in the Episcopal church. She was a person of extraordinary intellectual curiosity. She went over to Harvard University and became involved in the extension courses over there. She went there for about half a century, as a matter of fact, attending lectures and things like that. She never took exams, and some of the professors were a little bit exasperated with her [laughing] because they wanted her to take exams. But she had kind of a psychological block there. Anyhow, she got after me and I went over to the extension courses. I got my degree of Bachelor of Arts in extension studies in 1968. I'm still associated with the extension studies at Harvard through the Library. So, in a way, the name of Crite has been associated with the Extension School at Harvard University for practically its entire existence. Which is a record of some sorts, I guess. ROBERT BROWN: How was regular school itself, when you were a child -- was that a big part of your childhood? ALLAN ROHAN CRITE Well, the same part as any other child, I guess. ROBERT BROWN: Was it something you liked? ALLAN ROHAN CRITE [Laughing] It was something I tolerated, just like any other youngster, I should imagine. ROBERT BROWN: Well, being something of a loner, I guess you maybe didn't like very much being around so many other people. ALLAN ROHAN CRITE Well, when I used the term "loner," that didn't mean I was anti-social. I had a certain preoccupation because I was drawing. So I was a loner from the standpoint of an observer. But that didn't mean I was anti-social -- I had a whole lot of friends, I still do, as a matter of fact. I have a relatively active life, and anybody looking at my guestbook-diary -- usually people remark, when sometimes I say that I'm a lonesome old man, "You can't prove it by this." [Both laugh] They say, "You have more visitors than any two people." And of course, that's what happens. A lot of young people come and I'm working with them on projects. Like last night I was working on a slide-tape presentation this girl has to make relative to what you might call a study of the South End -- rather, a study of Columbus Avenue. So she was synchronizing slides with her tape. I have some equipment here. ROBERT BROWN: You're really able to contribute to that? ALLAN ROHAN CRITE Oh yes. ROBERT BROWN: You went to the Children's Art Center here in the South End. ALLAN ROHAN CRITE Oh yes. I went there when I was about 10 or 11 or 12. what happened then was, one of my teachers at the School -- her name was Miss Brady -- she got hold of my mother and said that "this boy has some talent, you ought to take him over to the Children's Art Center," which had just started up then. That's at 36 Rutland Street. It was started, I think, by a Mrs. Perkins, Elizabeth Ward [?] Perkins, and also a Mr. Charles Herbert Woodbury, who's a famous watercolorist . ROBERT BROWN: A very well-known painter. ALLAN ROHAN CRITE Yes, he was. ROBERT BROWN: Were they the teachers? ALLAN ROHAN CRITE No, they were more or less the founders, you might say, of the Art Center. Mr. Woodbury did have some few of us out to his studio, and we made some drawings from movies. It was of they were trying. ROBERT BROWN: You mean you'd sit in a movie and make drawings while it was on? ALLAN ROHAN CRITE Yes. They had what is called a daylight screen, I guess. They had movies of animals and things so we could make some drawings from that. ROBERT BROWN: What was the intention of that, do you suppose? ALLAN ROHAN CRITE To sharpen our vision. ROBERT BROWN: You had to work fast, didn't you? ALLAN ROHAN CRITE More or less, yes. I just vaguely remember that. But we used to make trips up to the Isabel Stewart/Jack Gardner palace. I remember going there. Of course, the collection they have there is just a blaze of color, the courtyard. I made several drawings. One of them was sent to Mrs. Gardner and she was rather pleased -- she was still alive at the time, this was before 1924 (I think she died that year). My mother tells me -- she came out with a group of children from the Art Center, and Mrs. Gardner saw her and asked her to come in and sit down and have a cup of tea with her, so she did. That's one of those little pleasant incidents -- sitting and having tea with this rather fabulous woman. My mother recalls that she seemed rather sad. I suppose Mrs. Gardner may have had her moments of sadness -- I think she lost her only child; she was incapable of children. And the palace was, I suppose, a kind of substitute, in a way.