The papers of painter Agnes Pelton measure 2.1 linear feet and date from 1885-1989. Found within the papers are biographical materials; business and personal correspondence, many addressed to Jane Levington Comfort; writings; printed material; 3 mixed media scrapbooks; one studio guestbook, signed by visitors to Agnes Pelton's studio; artwork, including loose sketches and 9 sketchbooks; and photographs of Pelton, her family and friends, and her work.
Scope and Contents:
The papers of painter Agnes Pelton measure 2.1 linear feet and date from 1885-1989. Found within the papers are biographical materials; business and personal correspondence, many addressed to Jane Levington Comfort; writings; printed material; 3 mixed media scrapbooks; one studio guestbook signed by visitors to Agnes Pelton's studio; artwork, including loose sketches and 9 sketchbooks; and photographs of Pelton, her family and friends, and her work.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1898-1989 (2 folders; Box 1)
Series 2: Correspondence, 1930-1980 (0.4 linear feet; Box 1)
Series 3: Writings, 1913-1956 (8 folders; Box 1)
Series 4: Printed Material, 1913-1955 (6 folders; Box 1)
Series 5: Scrapbooks and Guestbook, 1911-1955 (0.7 linear feet; Boxes 1, 4)
Series 6: Artwork, 1885-1957 (0.5 linear feet; Boxes 2-3)
Series 7: Photographic Material, 1886-1955 (0.4 linear feet; Box 3)
Biographical / Historical:
Painter Agnes Pelton (1881-1961) lived and worked in Long Island, New York, and Cathedral City, California, and is known for her desert landscapes, portraits, and abstract paintings.
Born in Stuttgart, Germany to William and Florence Pelton, Pelton and her mother relocated to New York after her father's death in 1890. Her mother, who had studied music at the Stuttgart Conservatory, opened the Pelton School of Music in Brooklyn, which remained in operation for 30 years. Pelton began her art studies at the Pratt Institute in 1895 and continued working with one of her instructors, Arthur Dow, at his summer school in Ipswich, Massachusetts, after her graduation in 1900. She later worked with William Langson Lathrop and Hamilton Field, and traveled abroad to attend the British Academy in Rome in 1910 and 1911.
In 1912, after seeing her work in an exhibition in Hamilton Field's studio in Ogunquit, Maine, Walt Kuhn invited Pelton to participate in the 1913 Armory Show. During her early career, Pelton created works that were primarily influenced by Davies's philosophy on the effect of natural light, and which she termed "Imaginative Paintings." After a visit to New Mexico in 1919, Pelton began shifting to another style of painting, focusing on Southwestern landscapes and figurative portraits, which she continued from her studios in New York City and Long Island. In 1932, Pelton moved to Cathedral City, California and began painting abstract works in a new stylistic phase, which were visual explorations of her growing interest in spirituality and philosophy. In 1938, she became a founding member of the Transcendental Painting Group, which included Raymond Jonson and Emil Bisttram. Pelton died in Cathedral City in 1961.
Provenance:
The Agnes Pelton papers were assembled by Cornelia and Irving Sussman for a biography of Agnes Pelton. They were donated to the Archives by gallery director Jan Rindfleisch on behalf of the Sussmans, in 1984. In 1997, circa 162 letters from Agnes Pelton to Jane Levington Comfort, that are now part of this collection, were bequeathed to Cornelia and Irving Sussman by Jane Levington Comfort through Joan Crisci, the executor of Comfort's estate, and donated to the Archives. An additional studio guestbook was donated in 2021 by Kay Hillery, whose in-laws were neighbors and friends with Agnes Pelton. Both the letters from Agnes Pelton to Jane Levington Comfort and the studio guestbook donations were facilitated by Michael Kelley.
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.
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.
Quotes and excerpts must be cited as follows: Oral history interview with John Hultberg, 1968 Nov. 11. Archives of American Art, Smithsonian Institution.
The papers of Emil J. Bisttram measure 2.4 linear feet and date from 1902-1983. The papers document Bisttram's life and career through biographical material, business and personal correspondence, writings, professional files, printed material, photographic materials and original artwork.
Scope and Contents:
The papers of Emil J. Bisttram measure 2.4 linear feet and date from 1902-1983. The papers document Bisttram's life and career through biographical material, business and personal correspondence, writings, professional files, printed material, photographic materials and original artwork. Biographical material includes resumes, baptismal and naturalization records along with several awards and certificates. Also included are business and personal letters to and from Bisttram, including a letter from Lily and Eero Saarinen, and letters from Raymond Jonson; and correspondence with Public Works of Art Project administrators and others involved in the Treasury Relief Art Project, with galleries, museums, art organizations, and students. Writings consist of book drafts by Bisttram for a book on dynamic symmetry and a book on Bisttram's life and career. Also found is information for a course Bisttram taught as well as overview information on the Bisttram School of Fine Art. Other writings include essays and writings on art and Taos, New Mexico by Emil and Mayrion Bisttram, and writings related to government art programs. The professional files contain correspondence, contracts, reports and receipts related to Bisttram's Treasury Relief Art Program work, exhibitions and the establishment of the Taos school of art including legal and property records; invoices, artwork lists, shipping records and materials related to Bisttram's Guggenheim fellowship application. Also found are printed material related to a selection of Bisttram's exhibitions and the art scene in Taos, N.M. Photographs, slides and negatives depict Bisttram, his artwork and select exhibitions. Original artwork includes approximately 175 drawings and sketches of bodies, animals, many of which use dynamic symmetry shapes and figure proportions.
Arrangement:
The Collection is arranged as seven series. Nitrate negatives are housed separately and closed to researchers.
Series 1: Biographical Material, 1902-1975 (8 Folders: Box 1)
Series 2: Correspondence, circa 1925-1983 (0.5 Linear feet: Box 1)
Series 3: Writings, circa 1921-1975 (0.4 Linear feet: Box 1)
Series 4: Professional Files, circa 1926-1972 (0.4 Linear feet: Box 1-2)
Series 5: Printed Material, 1929-1983 (0.5 Linear feet: Box 2)
Series 6: Photographic Material, circa 1920-1975 (7 Folders: Box 2)
Series 7: Artwork, circa 1921-1934 (0.4 Linear feet: Box 2-3, OV 4)
Biographical / Historical:
Emil J. Bisttram (1895-1976) was a Hungarian American painter and educator living in Taos, New Mexico and New York. Born in Hungary in 1895, Bisttram immigrated to New York City with his family when he was eleven years old. He remained in the city into adulthood studying art at the National Academy of Art and Design, then Cooper Union, Parsons, and The Art Students League developing an early career in commercial art. In 1930 Bisttram visited Taos, N.M. for the first time and fell in love with the area leading him to relocate there after completing a Guggenheim fellowship whereby he studied mural painting with Diego Rivera. Numerous mural commissions would follow throughout his career, including murals for the Department of Justice in Washington D.C., The Taos County Courthouse, New Mexico, and the Federal Courthouse in Roswell, New Mexico. Once settled in Taos, Bisttram became a major figurehead in the Taos art colony and was involved with the local Treasury Relief Art Project, a Works Progress Administration initiative. Additionally, while living in Taos, he opened the Taos School of Art (renamed the Bisttram School of Art in 1943) and co-founded the Transcendental Painting Group in 1938. The school drew students from around the country until its closure in 1965.
Bisttram's work brought him recognition and honors throughout the country including exhibitions at the Whitney, Guggenheim and Corcoran Museums. He was known for his modernist work and use of dynamic symmetry, a painting technique.
Provenance:
The records were donated by Mayrion Bisttram, Emil Bisttram's wife, in three accessions in 1963, 1978 and 1983. Papers microfilmed on reel 581 were lent for microfilming in 1973, and some were subsequently donated with the 1983 gift (and refilmed on reels 2892-2894).
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.
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.
Emil J. Bisttram Papers, 1902-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview with Joan Semmel conducted 2023 January 6 and 18, by Gail Levin for the Archives of American Art, at Semmel's studio in New York, NY.
Biographical / Historical:
Joan Semmel (1932- ) is an abstract painter working in New York City and Easthampton, N. Y. Semmel's work explores erotic themes and the female body. She taught painting at the Mason Gross School of the Arts at Rutgers University from 1978-2000. Gail Levin (1948-) is an art historian, biographer, and educator based in New York City.
Related Materials:
The Archives of American Art also holds the Joan Semmel papers.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
University of California, Berkeley. Department of Art Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1971 - 1994
Summary:
The Sylvia Lark papers measure 1.4 linear feet and date from 1971- 1994, documenting Lark's career as an abstract artist and college professor, particularly her tenure at the University of California, Berkeley. Included are biographical materials; correspondence with museums, galleries, universities, colleagues and other artists; writings by and about Lark's work; professional files such as gallery represented sale records, grant applications and inventory lists; exhibition files; teaching files; printed and photographic material.
Scope and Contents:
The Sylvia Lark papers measure 1.4 linear feet and date from 1971-1994, documenting Lark's career as an abstract artist and college professor, particularly her tenure at the University of California, Berkeley. Included are biographic material, such as resumes, an interview transcript and an award certificate from the College Art Association of America; correspondence between Lark and galleries, city art departments, Native American organizations and other artists, and colleagues regarding various exhibitions and teaching employment opportunities. Also found are writings by and about Lark's work, exhibition files which document select solo and group exhibitions that Lark participated in, as well as tribute exhibition. Professional files include materials documenting Lark's involvement serving as a juror for various exhibitions, her membership and participation in professional organizations and financial records related to the selling and loaning of her artwork. Teaching files include student evaluations, course schedules, U.C. Berkley employment documents, correspondence and reports regarding Lark's tenure case, U.C. Berkley personel informational paperwork, Faculty grant and fellowship documents and sabbatical leave applications and awards. Printed material primarily consists of newspaper and magazine clippings reviewing Lark's exhibitions along with exhibition announcements, flyers and catalogs. Photographs are of Lark's artwork as well as her Fulbright travels in Korea and Japan.
Arrangement:
The collection is arranged as eight series.
Series 1: Biographical Material, 1977-1991 (3 Folders: Box 1)
Series 2: Correspondence, 1976-1991 (0.3 Linear feet: Box 1)
Series 3: Writings, 1975-1987 (0.1 Linear feet: Box 1)
Series 4: Exhibition Files, 1978-1994 (0.2 Linear feet: Box 1)
Series 5: Professional Files, 1976-1994 (0.1 Linear feet: Box 1)
Series 6: Teaching Files, 1977-1990 (0.4 Linear feet: Box 1)
Series 7: Printed Material, 1973-1992 (0.3 Linear feet: Box 2)
Series 8: Photographic Material, 1971-1987 (0.1 Linear feet: Box 2)
Biographical / Historical:
Sylvia Lark (1947-1990) was a Seneca abstract expressionist painter, printmaker and educator from Buffalo, New York. Lark received her M.F.A from University of Wisconsin, Madision in 1972 before moving to California where she began teaching printmaking at California State University, Sacramento. In 1977 she received a Fulbright grant to travel and study in Korea and Japan. She also began teaching at the University of California, Berkeley that same year where she remained a professor for the rest of her life. She was awarded the Distinguished Teaching Award for teaching art by the College Art Association posthumously in 1991.
In addition to her professorial career, Lark was a widely exhibited artist who collaborated on a number of Native American exhibitions, and served as a member of a different women in the arts organizations. Her work can be found in numerous collections including that of the Fine Arts Museum of San Francisco, the Metropolitan Museum of Art, the Oakland Museum, and the Museum of Contemporary Art, Chicago.
Provenance:
Donated 1998 by Christine Carter.
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.
Sylvia Lark Papers, 1971-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Biographical material; correspondence; a diary; writings; art work; subject files; photographs; printed material; and two scrapbooks.
Biographical accounts; a passport; a list of paintings in collections; a grant application; personal correspondence, including letters from Abraham Rattner from Paris describing the Parisian art scene; professional correspondence regarding the controversy ove Ney's mural for the New London, Ohio post office and letters from Hilla Rebay of the Solomon R. Guggenheim Museum, N.Y.C.; a diary, 1918, chronicling Ney's army experience in France; a subject file containing preliminary drawings, clippings, and photographs of the New London mural; a sketchbook of mural studies; photographs of Ney's art works, portraits of Ney, and exhibition installations; clippings; exhibition catalogs and announcements; unpublished manuscripts; two typescripts by Hilla Rebay and James W. Riley; two scrapbooks containing photographs, printed material, and letters relating to Ney's studies at the Pennsylvania Academy of Fine Arts; a drawing, "The Declaration of France," by Joseph Mielziner; miscellaneous printed material.
Biographical / Historical:
Lloyd Raymond Ney (1893-1964 or 5) was a Non-objective painter from New Hope, Pennsylvania and New York, N.Y. Known also as Bill Ney. Born in Friedenburg, Pennsylvania and studied at the Pennsylvania Museum School of Industrial Art and at the Pennsylvania Academy of the Fine Arts. Won a Cresson travelling scholarship in 1917 and upon completing his WWI tour in Europe, travelled to France with Abraham Rattner. Ney was commissioned to paint the post office in New London, Ohio by the Section of Fine Arts of the Department of Treasury which became a controversial issue. He was one of Hilla Rebay's favored non-objective painters.
Provenance:
Donated by Gretchen Ney Laugier, Ney's daughter. Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project.
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.
Quotes and excerpts must be cited as follows: Oral history interview with Buffie Johnson, 1977 Nov. 22-1978 Jan. 23. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Abstract -- New York (State) -- New York Search this
Mural painting and decoration -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Ilya Bolotowsky, 1968 March 24-April 7. Archives of American Art, Smithsonian Institution.
An interview of Thomas Chimes conducted 1990 June 14, by Cynthia Veloric, for the Archives of American Art Philadelphia Project. Chimes speaks about his Greek background, his childhood in Philadelphia and in several southern states, studies at the Pennsylvania Academy of the Fine Arts and the Art Students League, New York in the 1940's including a comparison of the two institutions and a discussion of the New York City art scene; teaching at Drexel Institute, Philadelphia College of Art (now the University of the Arts), and Moore College of Art in Philadelphia; the development of his painting and sculpture including the religious paintings of the 1960's, the metal boxes, and the transition to the portraits of the 1970's and 1980's based on his readings and interest in Alfred Jarry and Marcel Duchamp; and "Sleeping Woman" commissioned by the Fairmount Park Art Association.
Biographical / Historical:
Thomas Chimes (1921-2009) was a painter, sculptor, and educator from Philadelphia, Pennsylvania.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 27 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Painting, Abstract -- Pennsylvania -- Philadelphia Search this
Painting, Modern -- 20th century -- Pennsylvania -- Philadelphia Search this
Art -- Study and teaching -- Pennsylvania -- Philadelphia Search this
Art -- Study and teaching -- New York (State) -- New York Search this
Sculpture, Modern -- 20th century -- Pennsylvania -- Philadelphia Search this
Portrait painting -- Pennsylvania -- Philadelphia Search this
Painters -- Pennsylvania -- Philadelphia -- Interviews Search this
Sculptors -- Pennsylvania -- Philadelphia -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
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.
