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Found 327 Resources

Aaron Douglas

National Portrait Gallery
The Harmon Foundation, a philanthropic organization based in New York City and active from (1922-1967) included this portrait in their exhibition “Portraits of Outstanding Americans of Negro Origins” which documented noteworthy African Americans’ contributions to the country. Modeling their goal of social equality, the Harmon sought portraits from an African-American artist, Laura Wheeler Waring and Euro-American artist, Betsy Graves Reyneau. The two painters followed the conventional codes of academic portraiture, seeking to convey their sitters extraordinary accomplishments. This painting, along with a variety of educational materials, toured nation-wide for ten years serving as a visual rebuttal to racism.

Francis Davis Millet

National Portrait Gallery

Harold Rosenberg and Willem de Kooning

National Portrait Gallery
This small drawing gives us clues to Elaine’s process in thinking through a portrait. On the left is a drawing of Willem de Kooning (1904–1997) with his body turned slightly to the side. Later she used this sheet to create a compositional study and precise drawing for her large painted portrait of the writer and critic Harold Rosenberg (1906–1978), also included in this exhibition. This drawing clearly delineates the studio window behind Rosenberg’s stretched-out figure, as well as the door in the right background, and captures the precise way in which he holds a cigarette in his left hand and a can in his right. These details remain in the larger painting, but they are surrounded by gestural strokes and dripping areas of pure color.

Este pequeño dibujo nos ofrece indicios sobre la manera en que Elaine razonaba sus retratos. A la izquierda aparece Willem de Kooning (1904–1997) con el cuerpo ligeramente girado hacia un lado. Ella usó luego esta página para crear un estudio compositivo y un dibujo más preciso que sirvieron de base a su pintura en gran formato del escritor y crítico Harold Rosenberg (1906–1978), incluida también en esta exposición. Este dibujo delinea con claridad la ventana del estudio detrás de la figura recostada de Rosenberg, así como la puerta del fondo a la derecha; también capta la manera específica en que Rosenberg sostiene su cigarrillo en la mano izquierda y una lata en la derecha. Estos detalles se conservan en la pintura, pero rodeados de pinceladas gestuales y áreas de salpicaduras de color puro.

James Amos Porter Self-Portrait

National Portrait Gallery
Born Baltimore, Maryland

An influential artist and art historian, James A. Porter founded the field of African American art history. He chaired Howard University’s Art Department and directed the university’s art gallery from 1953 until his death in 1970. Porter championed unrecognized African American artists through organized exhibitions and published work. His influential Modern Negro Art (1943) placed African American art in the context of the history of modernism for the first time. Porter studied in France, Cuba, and Haiti and traveled in West Africa, Egypt, and Brazil. These trips abroad influenced his work, which was included during his lifetime in exhibitions at major institutions, including the Corcoran Gallery of Art, the Detroit Institute of Arts, and the Museum of Modern Art.

Nacido en Baltimore, Maryland

El influyente pintor e historiador del arte James A. Porter fundó el campo de la historia del arte afroamericano. Dirigió el Departamento de Arte de la Universidad Howard, y la galería de exposiciones de dicha institución, desde 1953 hasta su muerte en 1970. A través de sus publicaciones y las exposiciones que organizaba, Porter también promovió a numerosos artistas afroamericanos ignorados. Su prestigioso libro Modern Negro Art (1943) ubicó por primera vez al arte afroamericano en el contexto de la historia del modernismo. Porter estudió en Francia, Cuba y Haití, y viajó por el oeste de África, Egipto y Brasil. Estos periplos por el extranjero influenciaron su obra pictórica, la cual en vida del artista fue expuesta en importantes instituciones como Corcoran Gallery of Art, Detroit Institute of Arts y Museum of Modern Art.

Oral history interview with Patricia Stanley Cunningham, 1964 July 28

Archives of American Art
Transcript: 24 pages

An interview of Patricia Stanley Cunningham conducted 1964 July 28, by Mary Fuller McChesney, for the Archives of American Art.

Cunningham speaks of her training at the University of California, Berkeley; her work for the Federal Art Project as a muralist in public school buildings and on the easel painting project; how her work was supervised; artists she knew; and the effect of the Federal Art Project on her career. She recalls Bruce Ariss, Burton Boundey, Beniamino Bufano, and Amalie Waldo.

Oral history interview with John Emmett Gerrity, 1965 Jan. 20

Archives of American Art
Sound recordings: 1 sound tape reel ; 5 in.

Transcript: 24 p.

An interview of John Emmett Gerrity conducted 1965 Jan. 20, by Mary McChesney, for the Archives of American Art. Gerrity speaks of his background and education; working as a watercolorist and a mural painter for the WPA Federal Art Project; his work methods; the effect of the FAP on him and on other artists of the San Francisco Bay area; and the influence of the Mexican muralists.

Oral history interview with Charles Mattox, 1964 Apr. 9

Archives of American Art
Transcript: 23 p.

An interview of Charles Mattox conducted 1964 Apr. 9, by Lewis Ferbraché, for the Archives of American Art.

Oral history interview with Jerre Murry, 1965 Apr. 8

Archives of American Art
1 sound file (47 min.)

An interview of Jerre Murry conducted 1965 April 8, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with Hebe Daum Stackpole and Jack Moxom, 1965 January 9

Archives of American Art
Transcript: 34 pages.

An interview of Hebe Daum Stackpole and Jack Moxom conducted 1965 January 9, by Mary McChesney, in Oakland, California, for the Archives of American Art New Deal and the Arts project.

Oral history interview with Joseph Vogel, 1965 Jan. 5

Archives of American Art
Sound recordings: 2 sound tape reels ; 5 in.

Transcript: 46 p.

An interview of Joseph Vogel conducted 1965 Jan. 5, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.

Edward Austin Abbey

Archives of American Art
1 photographic print on cabinet card : b&w ; 15 x 10 cm., on card 17 x 11 cm.

Head and shoulders portrait of muralist Edward Austin Abbey in profile.

George Harding

Archives of American Art
1 photographic print : b&w ; 21 x 26 cm. Harding sketches at a desk, amidst an array of papers.
On verso: MURALIST-----Marine Captain George M. Harding of Wynnewood, Pa., noted muralist andmember of the faculty of the Pennsylvania Academy of Fine Arts and former staff artist for Harpers Magazine, has arrived in the South Pacific, to put the Marines on canvas.

Back to the Drawing Board

National Portrait Gallery

Elaine and Willem de Kooning

National Portrait Gallery
The development of Abstract Expressionism owed much to the freewheeling atmosphere of the Eighth Street Club, established in New York City in 1949 as a place for artists to socialize and discuss art. The painters Elaine and Willem de Kooning were both members and contributed to the Club’s ground breaking 1951 exhibition, which brought attention to this new generation of avant-garde artists, known as the New York School. Elaine de Kooning was among the few women included in this male-dominated milieu. Although she was overshadowed by her more famous husband throughout her career, her admiration for his work—and his harsh criticism of hers—fueled her determination to succeed. This photograph depicts the couple in Willem’s studio, posing before one of his controversial Woman paintings. Hans Namuth made the photograph at Elaine de Kooning’s request “to establish once and for all that I did not pose for those ferocious women.”

El desarrollo del expresionismo abstracto le debe mucho al ambiente libre del Eighth Street Club, espacio establecido en la ciudad de Nueva York en 1949, donde los artistas podían reunirse y hablar de arte. Los pintores Elaine y Willem de Kooning eran miembros, y contribuyeron a una revolucionaria exposición del Club en 1951 que puso de relieve a esta nueva generación de vanguardia conocida como la Escuela de Nueva York. Elaine de Kooning era una de las pocas mujeres incluidas en esta esfera dominada por hombres. Aunque durante su carrera estuvo a la sombra de su famoso marido, su admiración por la obra de él—y la dura crítica de su propio arte que recibió a cambio—alimentaron su empeño de triunfar. Esta foto muestra a la pareja en el estudio de Willem, delante de una de sus controvertidas pinturas de mujeres. Hans Namuth tomó la foto a petición de Elaine para “establecer de una vez y por todas que no fui la modelo para esas mujeres feroces”.

Self-Portrait with Rita

National Portrait Gallery
At the turn of the twentieth century, Thomas Hart Benton was among many young painters who embraced abstraction. He soon rejected that brand of modernism, however, and emerged in the 1920s as a leader of the regionalist school of realism, whose primary concern was the portrayal of local life and history in America. Benton made this portrait of himself and his wife (wearing the latest in bathing-suit fashion) at Martha’s Vineyard in Massachusetts, sometime around 1924. Best known for his panoramic murals, he brought to his works a boldness of composition that led one critic to describe him as “the most . . . vigorous and virile of our painters.” Benton was also interested in Hollywood’s star culture, and his bare- chested likeness in this work may reference Douglas Fairbanks Sr.’s appearance in The Thief of Bagdad (1924).

Comenzando el siglo XX, Thomas Hart Benton se contaba entre los numerosos pintores jóvenes que se entregaron a la abstracción. Sin embargo, pronto rechazó ese tipo de modernismo y en los años veinte fue uno de los líderes de la escuela de realismo regionalista, cuyo interés principal era la vida y la historia de las pequeñas comunidades de Estados Unidos. Benton hizo este retrato de él y su esposa (con un traje de baño de última moda) en Martha’s Vineyard, Massachusetts, alrededor de 1924. Conocido sobre todo por sus murales panorámicos, el artista dotaba sus composiciones de tal fuerza que un crítico llegó a describirlo como “el más […] vigoroso y viril de nuestros pintores”. A Benton también le interesaba

la cultura del cine de Hollywood, y su torso desnudo en esta obra podría ser una alusión al papel de Douglas Fairbanks Sr. en El ladrón de Bagdad (1924).

Oral history interview with Judith Baca, 1986 August 5-6

Archives of American Art
Transcript: 59 pages

An interview of Judith Baca conducted 1986 August 5-6, by Amalia Mesa-Bains, for the Archives of American Art.

Baca speaks of her family history, childhood, and education in Los Angeles, her involvement with the Los Angeles muralism movement in the early 1970s, her teaching experience at East Los Angeles recreation center, her directorship of the Eastside murals and of the City-Wide Mural Project, the work of other muralists, feminist views on art which have influenced her work, the origin of the Social and Public Arts Resource Center in Venice, California, her directorship and the mission of the S.P.A.R.C. in 1986, and her own current mural projects.

Oral history interview with Mordi Gassner, 1982 Apr. 16

Archives of American Art
Sound recording: 3 sound files digital, wav file

Transcript: 24 pages

An interview with Mordi Gassner conducted 1982 Apr. 16, by Buck Pennington, for the Archives of American Art.

Gassner speaks of growing up in Brooklyn, NY; attending Parsons Design School (then called New York School of Fine and Applied Art); opening a studio and designing signs for the Strand Theater; walking from El Paso, Texas to Phoenix to improve his eye condition; beginning work in Hollywood and working on set designs for Douglas Fairbanks and Cecille DeMille; moving back to New York to teach art in a Big Brother program; creating his mural, Mural Monument to Modern Culture; receiving a Guggenheim Fellowship and spending two years in Florence before returning to New York during the Depression; being invited to work back in Hollywood for Disney Studios and with Ernest Schoedsack only to have the films cancel production; his one-man show at the Virginia Museum of Fine Arts; his involvement with the Artists' Union and the American Artists' Congress; creating Op art during World War I, and later designing visual aids for the armed services during World War II; becoming the art director of ABC [American Broadcasting Corporation]; working later at the Metropolitan Opera as a scenic painter; moving to Drakes Branch, Virginia after his retirement.

Oral history interview with Monty Lewis, 1964 June 25

Archives of American Art
Sound recordings: 1 sound tape reel ; 5 in.

Transcript: 15 p.

An interview of Monty Lewis conducted 1964 June 25, by Betty Hoag, for the Archives of American Art.

Interview conducted at Coronado School of Fine Arts in San Diego, Calif. Lewis discusses his art training at the Art Students' League in N.Y., his study of mural and easel painting in Europe, and his freelance mural work before his involvement with the Public Works of Art Project. He describes the developing presence of mural art in New York with Diego Rivera's mural at Rockefeller Center and the 1939 New York World's Fair. Lewis tells of the Artists, Painters, and Sculptors Collaborators, a collaborative group interested in developing community art projects, and discusses the use of murals in the 1939 New York World's Fair and the different techniques used for those and other public projects.

Oral history interview with Dorothy Cravath, 1964 May 13-27

Archives of American Art
Transcript: 11 pages

An interview of Dorothy Cravath conducted 1964 May 13 - 27, by Minette Martin for the Archives of American Art.

Interview conducted at the home of Leota Molten in Berkeley, California. Cravath speaks of her youth and art education at the California School of Fine Arts; painting murals for the Federal Art Project; and restoring the murals at Coit Tower. She recalls Diego Rivera and discusses his influence on muralists.

Preserving Public Art: The Murals of Meg Saligman

Smithsonian American Art Museum
Meg Saligman is a muralist, public artist, and conservation specialist who has worked across the country and around the world. She discusses her experiences making public art and the ways that she, the community, and conservators preserve these works for the future

Reginald Marsh at work

Archives of American Art
1 photographic print : b&w ; 26 x 21 cm. Painter Reginald Marsh with his painting Battery Belles.

Edna Reindel

Archives of American Art
1 photographic print : b&w ; 26 x 21 cm.

Street Painting the Book of Omens

Smithsonian Magazine
Artist Michael Kirby spent four days painting an image from "Falnama: The Book of Omens" in front of the Arthur M. Sackler Gallery. Read more at http://blogs.smithsonianmag.com/aroundthemall/2009/10/muralist-uses-the-sidewalk-outside-the-sackler-gallery-as-canvas/

Oral history interview with Edwin Emery, 1965 May 24

Archives of American Art
Transcript: 38 pages

An interview of Edwin Emery conducted 1965 May 24, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.
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