One of the Archives’ earliest projects was to assemble as complete a record as possible of the WPA Art Project, which had saved so many artists from starvation during the Depression of the igSo’s and had covered so many post offices, libraries, and other official walls with murals ranging from very nearly firstrate to absolutely dreadful. For example, a third party may claim rights in the Content such as trademark, privacy, or publicity rights. Any case, controversy, suit, action, or proceeding arising out of, in connection with, or related to these Terms of Use shall be brought in the appropriate federal court. About Which Artist Shares Your Birthday?

I prefer to call it the atmosphere of the arts, because it deals in intangibles, in moods and speculations, as well as in facts and places and cupboards, sometimes empty, sometimes full to bursting. While Cummings interviewed Kent with a tape recorder in his studio Coleman sat in the kitchen with Mrs. Kent, successfully, as it turned out, persuading her to encourage her husband to turn over his papers to the Archives. E.P.

Trusted Writing on History, Travel, Food and Culture Since 1949, Painting in America: The Story of 450 Years.


When Richardson began collecting material for the Archives (he had assumed the job of its director along with his museum duties), he devised an ambitious pilot project to test his theories. 1955. As Garnett McCoy, the chief archivist, said, “The collection as a whole is a major historical quarry which will be worked for years to come by art historians, biographers, and American Studies scholars.” In all it consists of about fifty thousand items. These important resources influenced the two women, who in turn influenced the vision and development of their respective institutions and the exhibitions produced. It might be a letter from a proud parent about his newborn son, such as: “The boy is a promising one, and has already turned the household upside down. These Websites include www.si.edu; websites maintained by the Smithsonian’s museums, research institutes, offices, and programs; third-party sites on which the Smithsonian maintains a presence; downloadable mobile applications and application program interfaces (“APIs”). Far more important than that, however, the obscurity of its maker was one of the chief provocations for the creation of the Archives of American Art, surely one of the most extraordinary scholarly resources in the country, albeit one of the youngest. San Franciscans provided quarters for the Archives in the tower of the de Young Museum, and the Detroit Institute of Arts continues to be the Archives’ home in the Middle West. The problem was a painting that Fleischman had bought for $15,000, the work of an obscure Philadelphian named Thomas Anshutz. His work, moreover, had generally gone out of fashion, and the generation of rising artists and critics of the 5o’s thought him old hat.

This does not mean that the Smithsonian owns each component of the compilation, some of which may be owned by others and used with their permission or used in accordance with applicable law (e.g., fair use). Hateful includes derogatory statements targeting individuals or specific groups; these may be based on race, national or ethnic origin, color, religion, sex, sexual orientation or expression, age, and mental or physical ability. Collecting atmosphere, on the face of it, would seem to be like capturing a bright or stormy spring day and trying to keep it in storage.

The Smithsonian may update or take down any Website or any Content on a Website at any time. Express yourself in ways that are befitting of an educational environment. He was to have delivered a poem before the societies of New York University, a few weeks hence but drunkenness prevented him.” He also made comments on Longfellow, Bryant, and the journalist Nathaniel P. Willis.

From Albert Eugene Gallatin, Walter Gray: Paintings of French Interiors.

No spamming, selling, or advertising. (On the whole the search was not very rewarding.) Content on the Websites falls into one of two categories for purposes of your use: Content marked with the Creative Commons Zero icon  is made available under the Creative Commons Zero (CC0) license. Comply with all terms or restrictions (such as copyright, trademark, publicity and privacy rights, or contractual restrictions) as may be specified in the metadata or as may otherwise apply to the Content. You might find out in the. This collaboration was generously funded in part by a grant from the Metropolitan New York Library Council (METRO). Who was Anshutz? No organization in this country was bringing together such documents on a national scale. Sometimes it is their husbands’ sexual excursions that widows wish to sweep under the rug; sometimes it is their political involvements that they would like to have forgotten. Further, the Smithsonian owns some, but not all, of the intellectual property rights in the Content, including copyright. His papers, from which two books have already been written, came to the Archives because of the interest of his executors. All Nominee Information (printable lists), Editorial Calendar and Production Schedule, Television Academy Throwback: Jackee Harry, PTE_72_WhatHaveYouBeenDoingDuringQuarantine_BF.jpg, 72nd Emmy Awards: What Have You Been Doing During Quarantine, The Interviews: An Oral History of Television, Foundation Alum Kristen Bartlett Continues to Find Major Success, Emmanuel Acho Breaks Out of the Box to Create Change, HBO, Pop TV Lead the Way at the Socially Distanced, Socially Aware 72nd Emmy Awards, Complete Listing Of 72nd Emmy Awards Winners. He is somewhat passionate—perhaps having been born in Italy—and is now scolding away most tempestuously because the nurse has thought it proper to give him his bath prior to allowing him to take his midday lunch.” The passionate boy was John Singer Sargent, whose father, when John was fifteen, wrote to a friend that ”… the boy who is very fond of drawing … seems more desirous of an artist’s life as a profession than of any other vocation and we intend to let him follow his bent.” A collection of more than a hundred letters from Sargent’s father, uncommonly tolerant of the profession of artist for a man of his social standing at that time, was given to the Archives by Winthrop Sargent of Haverford, Pennsylvania, whose grandfather was the painter’s uncle. It was a great gimmick while it was exclusively the Archives’ doing; it no longer contributes the fat sum it did—some fifty or sixty thousand dollars a year to the kitty.
retrieval goes on, and it is the persuasiveness of the retrievers and (if the metaphor may be excused) their doggedness that keeps a constant flow of papers coming into the Archives.

The Smithsonian has no control over, makes no representation or warranty, and bears no responsibility for the accuracy, legality, or content of third-party sites that link to or from the Websites. No tiny sampling can give a sense-of the full flavor of the Archives or more than suggest the variety of its riches, the infinite potential of its holdings for the inquisitive, or the reservoir of astonishment and illumination for future historians. With the launch of NGA Images, the National Gallery of Art implements an open access policy for digital images of works of art that the Gallery believes to be in the public domain. The Smithsonian Archives of American Art has a beautiful exhibit up online titled "More Than Words" featuring illustrated letters from their archives. In order to schedule an appointment to access Library and Archives material, researchers must first: Walter Gray, Musee Correr, Venice, oil on canvas, ca. The Donald W. Reynolds Center for American Art and Portraiture reopens to the public on September 18, 2020, with time entry passes required. The Smithsonian Institution (the “Smithsonian”) has created and maintains websites and other digital properties to support its mission for the “increase and diffusion of knowledge” (the “Websites”). Looking for a little eye candy? He was a close friend of the poet-diplomat James Russell Lowell, knew well the artist-profligate William Page and the poet-dipsomaniac Edgar Allan Poe. Join Director Kim Sajet as she chats with artists, historians, and thought leaders about the big and small ways that portraits shape our world. It is the air they breathed, the atmosphere that sustained them, caught on millions of pieces of paper there waiting to be recycled, one might say, into the lives of men. It was at a time when plans, now matured, were germinating for a vast expansion of the American Wing and galleries and storage for the American collections of the museum, and there was some notion that the Archives might become part of that complex. They dribbled in a bit at a time over a period of nine years starting in K)53 —cartons filled with correspondence between the gallery and museums, collectors, critics, and literally hundreds of artists. If anybody knew, surely it would be Richardson, who was then engaged in writing his splendid book Painting in America: The Story of 450 Years (1956). Why I Became an Oral Historian and How You Can Be One, Too.