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William Chapin Seitz

Subject:
Seitz, William Chapin  Search this
Type:
Photographs
Date:
circa 1950
Record number:
(DSI-AAA)15531
See more items in:
William Chapin Seitz papers, circa 1930-1995
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15531

American Federation of Arts 48th Annual Convention

Creator:
American Federation of Arts  Search this
Subject:
Seitz, William Chapin  Search this
Sweeney, James Johnson  Search this
American Federation of Arts  Search this
Type:
Photographs
Place:
Houston, Tex.
Date:
1957 Apr 3-6
Record number:
(DSI-AAA)9548
See more items in:
American Federation of Arts records, 1895-1993, bulk 1909-1969
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9548
Additional Online Media:

Gene Davis papers, 1920-2000, bulk 1942-1990

Creator:
Davis, Gene, 1920-1985  Search this
Subject:
Naifeh, Steven  Search this
Davis, Douglas  Search this
Seitz, William Chapin  Search this
Davis, Florence  Search this
Thomas, Alma  Search this
North, Percy  Search this
Nordland, Gerald  Search this
Wall, Donald  Search this
Colby, Carl  Search this
Greenberg, Clement  Search this
McGowin, Ed  Search this
Baro, Gene  Search this
United States.Department of Agriculture  Search this
Topic:
Color-field painting  Search this
Video recordings  Search this
Conceptual artists  Search this
Painting, Modern  Search this
Interviews  Search this
Reporters and reporting  Search this
Collagists  Search this
Video artists  Search this
Sound recordings  Search this
Transcripts  Search this
Photographs  Search this
Painters  Search this
Artists' studios  Search this
Record number:
(DSI-AAA_CollID)7153
(DSI-AAA_SIRISBib)209287
AAA_collcode_davigene
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209287
Additional Online Media:

William Chapin Seitz papers, circa 1930-1995

Creator:
Seitz, William Chapin, 1914-1974  Search this
Subject:
Seitz, Irma  Search this
Rosati, James  Search this
Krebs, Rockne  Search this
Baziotes, William  Search this
Segal, George  Search this
Ashton, Dore  Search this
Duchamp, Marcel  Search this
Conner, Bruce  Search this
Barr, Alfred H.  Search this
D'Harnoncourt, Rene  Search this
Gottlieb, Adolph  Search this
Gorky, Arshile  Search this
Banks-Woodson, Ellen  Search this
Monet, Claude  Search this
Stella, Frank  Search this
Elliott, Philip Clarkson  Search this
University of Virginia  Search this
Topic:
Sound recordings  Search this
Sketches  Search this
Lectures  Search this
Interviews  Search this
Drafts (documents)  Search this
Resumes  Search this
Painters  Search this
Notebooks  Search this
Photographs  Search this
Poems  Search this
Educators  Search this
Art historians  Search this
Awards  Search this
Record number:
(DSI-AAA_CollID)8462
(DSI-AAA_SIRISBib)210638
AAA_collcode_seitwill
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210638
Additional Online Media:

Gene Davis papers

Creator:
Davis, Gene, 1920-1985  Search this
Names:
White House (Washington, D.C.)  Search this
Baro, Gene  Search this
Colby, Carl  Search this
Davis, Douglas  Search this
Davis, Florence  Search this
Greenberg, Clement, 1909-1994  Search this
McGowin, Ed, 1938-  Search this
Naifeh, Steven, 1952-  Search this
Nordland, Gerald  Search this
North, Percy, 1945-  Search this
Seitz, William Chapin  Search this
Thomas, Alma  Search this
Wall, Donald  Search this
Extent:
17.7 Linear feet
Type:
Archival materials
Collection descriptions
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Date:
1920-2000
bulk 1942-1990
Summary:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Scope and Contents:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)
Biographical / Historical:
Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.
Provenance:
Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Gene Davis 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.
Occupation:
Reporters and reporting -- Washington (D.C.)  Search this
Video artists -- Washington, D.C.  Search this
Conceptual artists -- Washington, D.C  Search this
Collagists -- Washington, D.C  Search this
Topic:
Color-field painting -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davigene
See more items in:
Gene Davis papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-davigene
Additional Online Media:

William Chapin Seitz papers

Creator:
Seitz, William Chapin  Search this
Names:
University of Virginia -- Faculty  Search this
Ashton, Dore  Search this
Banks-Woodson, Ellen  Search this
Barr, Alfred Hamilton, 1902-  Search this
Baziotes, William, 1912-1963  Search this
Conner, Bruce  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
Duchamp, Marcel, 1887-1968  Search this
Elliott, Philip Clarkson, 1903-1985  Search this
Gorky, Arshile, 1904-1948  Search this
Gottlieb, Adolph, 1903-1974  Search this
Krebs, Rockne, 1938-2011  Search this
Monet, Claude, 1840-1926  Search this
Rosati, James, 1912-1988  Search this
Segal, George, 1924-2000  Search this
Seitz, Irma  Search this
Stella, Frank  Search this
Extent:
32.5 Linear feet
Type:
Archival materials
Collection descriptions
Resumes
Poems
Photographs
Awards
Sound recordings
Interviews
Sketches
Notebooks
Drafts (documents)
Lectures
Date:
circa 1930-1995
Summary:
The papers of educator, painter, and art historian William Chapin Seitz measure 32.5 linear feet and date from circa 1930-1995. The collection includes biographical information, correspondence, notebooks, subject and people files, thesis research files, interviews and lecture recordings, teaching files, personal business records, scattered printed materials, photographs, and artwork. The bulk of the papers focus on Seitz's research and teaching career.
Scope and Contents note:
The papers of educator, painter, and art historian William Chapin Seitz measure 32.5 linear feet and date from circa 1930-1995. The collection includes biographical information, correspondence, notebooks, subject and people files, thesis research files, interviews and lecture recordings, teaching files, personal business records, scattered printed materials, photographs, and artwork. The bulk of the papers focus on Seitz's research and teaching career.

Biographical materials consist of resumes and CV's, identification cards including one from the WPA, documents from the memorial held at the University of Virginia for Seitz, poetry written by Irma for William on their wedding anniversaries, and x-rays.

The majority of Seitz's correspondence is professional and concerns job offers and opportunities, lectures requests, recommendation letters for Seitz and for others by Seitz, the Kress Fellowship, exhibitions, awards, and organizations. Also found are posthumus materials to Irma Seitz concerning book royalites. Personal correspondence is scattered and includes condolence letters sent to Irma.

Personal business records focus on Seitz's personal art collection, copyright information, publishing records including royalty statements, reports, scholarship and fellowship information, and professional organization membership records.

The bulk of the collection consists of research and writing files which include notebooks, subject and people files, thesis research files and drafts, general research which include writings by Seitz, card files, and recordings of lectures and interviews. Subject and people files may include correspondence, printed materials, research notes, photographs, works of art, and writings concerning and by artists, art historians, curators, subjects, and art movements. Research files are found for Dore Ashton, Alfred H. Barr Jr., William Baziotes, Bruce Conner, Rene D'Harnoncourt, Marcel Duchamp, Arshile Gorky, Adolph Gottlieb, Rockne Krebs, George Segal, James Rosati, and Frank Stella among many others. Also found are research materials on Claude Monet, some of which are written in French.

Teaching files contains extensive reference material likely used by Seitz during his career as well as correspondence, exams, and lecture materials used in specific classes.

Printed material is scattered and includes clippings, exhibition announcements, and articles. Exhibition announcements and catalogs are for Seitz's personal works and for exhibitions he curated.

The bulk of the photographs are of works of art by William Seitz, Irma Seitz, and others which were likely owned by Seitz. Also found are phtographs of exhibition installations at the Univeristy of Virginia and scattered photographs of Seitz with others.

Artwork include several pencil sketches by Seitz, two works by Ellen Banks-Woodson, and a sketch by Phil Elliott.
Arrangement note:
The collection is arranged as 8 series:

Series 1: Biographical Information, 1930s-1974 (Box 1; 7 folders)

Series 2: Correspondence, 1945-1995 (Boxes 1-2; 1.6 linear feet)

Series 3: Personal Business Records, circa 1947-1990 (Boxes 2-3; 0.4 linear feet)

Series 4: Research and Writing Files, 1940s-1970s (Boxes 4-26; 23.5 linear feet)

Series 5: Teaching Files, 1945-1970s (Boxes 27-31, OV 34-35; 5 linear feet)

Series 6: Printed Material, 1937-1984 (Boxes 31-2; 0.5 linear feet)

Series 7: Photographs, 1940s-1981 (Box 32, 33; 11 folders)

Series 8: Artwork, circa 1950s-1972 (Box 32, 33; 6 folders)
Biographical/Historical note:
William Chapin Seitz (1914-1974) was an art historian and scholar, painter, educator, and museum curator who worked primarily in New York and Virginia. He completed the first dissertation on Abstract Expressionism while a student at Princeton University in 1955.

Born in 1914 in Buffalo, New York, William Chapin Seitz studied at the Albright Art School at the University of Buffalo and the Art Institute of Buffalo. Seitz met artist Irma J. Siegelman, whom he married in 1938. Due to the Depression, he left school and worked with the Federal Arts Project in New York City in the 1930s and worked as an aircraft fuel cell deigner for the Hewitt Rubber Company during World War II. Returning to the University of Buffalo after the war, Seitz completed his undergraduate degree and remained by accepting a teaching job.

Although he saw success as a painter and exhibited in one-man shows, Seitz focused his career in academia and enrolled at Princeton University for a graduate degree in Art History. Princeton faculty held divided views on Seitz's desire to write a dissertation on the Abstract Expressionist movement and debated the subject for over a year. Seitz's dissertation topic was eventually approved and in addition to writing the first dissertation on Abstract Expressionism, Seitz received the first PhD in Modern Art from Princeton. Seitz remained at Princeton as an assistant professor and advised students such as Frank Stella.

In 1960, he accepted a job as a curator at the Museum of Modern Art in New York City. At MOMA, Seitz curated The Art of Assemblage (1961), The Responsive Eye (1965), and an exhibition on Monet (1960). Other MOMA exhibitions focused on artists Mark Tobey, Arshile Gorky, and Hans Hofmann. Additionally, he served as director of the Rose Art Museum of Brandeis University from 1965-1970. During that time, Seitz organized the United States exhibition at the Ninth Biennial in Sao Paulo (1967) and the Seventh Biennial of Canadian Painting (1968). In 1971, Seitz returned to teaching at the University of Virginia in Charlottesville, Virginia and was the Visiting Kress Professor at the National Gallery of Art from 1972-1973.

In addition to his successes in painting, education, and the curatorial field, Seitz was an accomplished writer. He published many articles, essays, and books on art and artists including Art in the Age of Aquarius, on which he worked until his death.

William Seitz died of cancer in 1974.
Related Archival Materials note:
The Museum of Modern Art Archives in New York City holds the William C. Seitz papers which contain exhibition files and records relating to an interview with Marcel Duchamp. Correspondence relating to the debate concerning the viability of Seitz's dissertation are found in the Alfred H. Barr, Jr. papers also at the Museum of Modern Art Archives.
Provenance:
The William Chapin Seitz papers were donated to the Archives of American Art by Seitz's widow, Irma Seitz, in 1975 and 2003. A transcript of an interview with Mark Tobey by Seitz was donated by Rebecca Massie Lane in 1988. Seitz gave these transcripts to Lane for her graduate work and they remined in her possession after his death.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The William Chapin Seitz 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:
Painters -- Virginia -- Charlottesville  Search this
Educators -- Virginia  Search this
Art historians -- Virginia -- Charlottesville  Search this
Genre/Form:
Resumes
Poems
Photographs
Awards
Sound recordings
Interviews
Sketches
Notebooks
Drafts (documents)
Lectures
Citation:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seitwill
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-seitwill

People and Subject Files

Collection Creator:
Seitz, William Chapin  Search this
Type:
Archival materials
Date:
1940s-1970s
Scope and Contents note:
This subseries comprises the bulk of the William Chapin Seitz papers. People and subject files are organized in rough alphabetical order and include a wide variety of types of materials, such as correspondence, printed materials, research files, notes, photographs, works of art, and writings concerning and by the artists, art historians, museum professionals, subjects, and movements.
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seitwill, Subseries 4.2
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref114

Biographical Information

Collection Creator:
Seitz, William Chapin  Search this
Extent:
7 Folders (Box 1)
Type:
Archival materials
Date:
1930s-1974
Scope and Contents note:
This series contains William Seitz's resumes and CV's; identification cards including a Works Progress Administration for New York City card; materials concerning a memorial held after Seitz's death at the University of Virginia including correspondence, artwork, writings, speeches, clipings, and condolence cards; poetry written by Irma Seitz for William on the anniversary of their marriage; and x-rays.
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seitwill, Series 1
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref13

Correspondence

Collection Creator:
Seitz, William Chapin  Search this
Extent:
1.6 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1945-1995
Scope and Contents note:
This series consists of incoming and copies of outgoing correspondence, the bulk of which is professionally focused. Correspondence relates to job opportunities, recommendations for Seitz and for others by Seitz, correspondence from organizations to which Seitz belonged, and materials sent and received while serving as the Kress Fellow at the National Gallery of Art, at the Rose Art Musuem, and as associate curator at the Museum of Modern Art. Researchers should note that more correspondence can be found within the Research and Writing Files series. Also found are condolence letters sent to Irma Seitz.
Arrangement note:
Correspondence is arranged into rough chronological order. Materials organized by Seitz are labeled by subject at the beginning of this series with general correspondence at the end.
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seitwill, Series 2
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref20

Canada

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 7, Folder 12
Type:
Archival materials
Date:
1970s
Scope and Contents note:
(Artists Lists and Data)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref202

Conner, Bruce

Collection Creator:
Seitz, William Chapin  Search this
Extent:
3 Folders
Container:
Box 8, Folder 3-5
Type:
Archival materials
Date:
1960-1961
Scope and Contents note:
(Includes assemblage mail art)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref222

Decades

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 8, Folder 29
Type:
Archival materials
Date:
1970s
Scope and Contents note:
(20s and 30s)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref243

Duchamp, Marcel

Collection Creator:
Seitz, William Chapin  Search this
Extent:
2 Folders
Container:
Box 8, Folder 37-38
Type:
Archival materials
Date:
1960s
Scope and Contents note:
(Includes transcript of interview)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref252

Nalota, Louise

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 13, Folder 15
Type:
Archival materials
Date:
1960s
Scope and Contents note:
(Tap City Circus)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref364

Reich, Charles

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 15, Folder 21
Type:
Archival materials
Date:
1970s
Scope and Contents note:
(The Greening of America)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref422

Stuyvesant Collection

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 16, Folder 33
Type:
Archival materials
Date:
1960s
Scope and Contents note:
(Kinetic Art)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref465

Tobey, Mark

Collection Creator:
Seitz, William Chapin  Search this
Extent:
11 Folders
Container:
Box 17, Folder 15-25
Type:
Archival materials
Date:
1960s
Scope and Contents note:
(Includes transcripts of interviews)
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref482

Thesis Writings and Research

Collection Creator:
Seitz, William Chapin  Search this
Type:
Archival materials
Date:
1950s
Scope and Contents note:
This subseries contains drafts, research materials, correspondence, exams, proposals, and outlines concerning William Seitz's thesis.
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seitwill, Subseries 4.3
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref502

General Research

Collection Creator:
Seitz, William Chapin  Search this
Type:
Archival materials
Date:
1950s-1970s
Scope and Contents note:
This subseries contains lecture materials, writings and drafts of writings, book reviews, notes, bibliographies, and materials from binders kept by Seitz on various subjects.
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seitwill, Subseries 4.4
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref505

Lecture Files

Collection Creator:
Seitz, William Chapin  Search this
Extent:
20 Folders
Container:
Box 20, Folder 1-20
Type:
Archival materials
Date:
1960s
Scope and Contents note:
Postwar Style

Mark Tobey

Virginia Biennial

The Artist: Prophet or Victim?

The Artist and the Innovative Crisis

Rene D'Harnoncourt Eulogy

Princeton University Alumni

Seasons and Moments
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 William Chapin Seitz 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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref506

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