Hofmann, Hans, 1880-1966

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Hans Hofmann (1880-1966) was a painter and teacher in Provincetown, Mass.

From the description of Hans Hofmann papers, [ca. 1904]-1978 (bulk 1945-1965). (Unknown). WorldCat record id: 82551474

Painter, teacher.

From the description of Hans Hofmann letter to Mrs. Spingarn, 1938 Dec. 18. (Unknown). WorldCat record id: 122389762

Biography

Hans Hofmann created a distinctive primordial world of color and light. He realized that in painting, unlike in nature, cause and effect are reversed: on canvas, color creates light. Hofmann wrote, "Every color emanates a very characteristic light," and the special luminosity and radiance of his paintings are proof of his claim.

Along with other painters of his generation, Hofmann moved from representational and narrative paintings towards abstraction, where the basic elements of a picture-space, line, color, light, scale, shape, and texture-assert themselves as the primary aspects of a work. Abstraction does not mean, however, the disavowal of the human touch. In our culture, almost everything around us, visual imagery included, is produced by technologies that do not require human intervention. Painting (and sculpture) are the last handmade objects, and Hofmann makes certain that we are aware of this in his art. He is truly Homo Faber, Man the Maker, composing and controlling what we see and letting us know how he has made it. He creates agitated textures and vibrating surfaces by poking and prodding the pigment, making the paint ooze, and sometimes caressing the surface lightly with a loaded brush. Whether Hofmann splashes paint onto the canvas, or brushes it in heavy impasto, he turns the surface into a seemingly living witness to his manipulation of paint.

Hofmann lived to be 86 years old, and his biography reads like a capsule version of the history of twentieth-century art . Born in 1880 in a small town near Munich, he attended school in the Bavarian capital, which at the time was a sparkling center of culture, home to Thomas Mann, Richard Strauss, and Lovis Corinth. Wassily Kandinsky, who arrived there in 1886, called Munich a"spiritual island." Although Hofmann had scientific talent and had made a number of useful inventions while still in his teens, he decided upon art school, and moved to Paris in 1904. For ten years, he immersed himself in the artistic life of the city whose artists- Picasso, Braque, Gris, Matisse, and others-changed the history of art. In 1905, he witnessed the color explosions of Matisse and the Fauves at the Salon d'Automne. He sketched beside Matisse, and became a close friend of the Cubists' great colorist, Robert Delaunay. Though none of the paintings from his Paris period survive, it was there that Hofmann developed his influential theories.

Hofmann was also very much aware of Franz Marc and Kandinsky in Munich, where he returned at the outbreak of World War 1. There, in 1915, he opened his own art school. Before long, it achieved an interna-tional reputation as the place to learn new approaches to painting, and attracted, among others, young American students such as Louise Nevelson and Alfred Jensen.

Destined to play a critical for the University Art Museum was another of Hofmann's American students, Worth Ryder. Ryder, who later became chairman of the Art Department at UC Berkeley, invited Hofmann to teach at Berkeley in the summer of 1930. Another of his students, Glenn Wessels, accompanied Hofmann to Berkeley and served as his interpreter and the first translator of his theoretical writings. Hofmann came back to Berkeley the following summer. In 1931, the California Palace of the Legion of Honor in San Francisco gave him his first solo exhibition since the one held in Berlin in 1910.

In appreciation of his time in Berkeley and in response to his close contact with his former students,over three decades later-in 1963 -Hofmann made the substantial gift to the University of California of fortyseven paintings and funds towards housing them. This generous gift, accepted by the Regents of the University on the enthusiastic recommendation of President Clark Kerr, became a compelling reason to hasten the construction of the museum building itself. As the founding director of the new museum, I was privileged to assist Professor Erle Loran, another of Hofmann's former students, in selecting pictures from Hofmann's studio for the collection.

By the summer of 1931, Hofmann was well aware of the danger Nazism posed to artists and intellectuals, and decided to remain in this country. He took a teaching position at the Art Students League in New York, where a year later he again opened his own school. His combina-tion of modern art theory and the freedom he granted his students made Hofmann arguably the most important art teacher in the United States during the 1930s and 1940s-the years when this country assumed preeminence in art. For art students in America, he offered exposure to the latest advances in European art from someone who had firsthand knowledge of both Picasso and Matisse. Among his students were the painters Burgoyne Diller, Helen Frankenthaler, Lee Krasner, and Larry Rivers. There were also the artists who later invented the "Happening"- Allen Kaprow and Red Grooms. And there was the most important critic of his day, Clement Greenberg, who derived much of his formalist theory-that painting defines itself by its own purely visual properties of flatness, shape, and color-from Hofmann's teachings.

An early painting in the collection, Table with Fruit and Coffeepot (1936), gives an idea of Hofmann's work at this time. Bold, even brash, this picture pushes the color rhythms of Matisse and the Fauves to a new intensity (at first glance there seems to be too much red). Having absorbed the structural lessons of Cezanne and Cubism, Hofmann here loosens form to let color determine structure. Color creates space as well: the visually advancing and receding colors are basic to his often-cited "push-pull" principle, whereby a visual back and forth in space results from forms and colors reacting to one another.

When the Surrealists fled Europe during World War II and settled in New York, Hofmann had the chance to re-evaluate their work, along with Picasso's. He created paintings such as Idolatress 1 (1944), a grotesque and ferocious Dionysiac female figure. In paintings such as The Wind (about 1942) and Fantasia (about 1943), he experimented with the spontaneous invention and automatic response of the Surrealists with a free flow of random drips and spatters resulting in calligraphic webs of paint. Similarly, Effervescence (1944) consists of pools of pigment poured and dripped onto the canvas with little premeditation. By welcoming chance effects, Hofmann introduced the aesthetic of controlled accident into his work and his teaching.

This new approach to the picture plane-using free and intuitive methods depending largely on the gestural energy of the artist-replaced the Cubist grid to such an extent that Hofmann's work of the early 1940s foreshadows Jackson Pollock's technique of dripping paint on the canvas. It may even have exerted a direct impact on the younger artist. After experimenting with the drip technique, Hofmann proceeded to other explorations, such as imprinting his own hand onto a canvas of freely painted color blotches ( The Third Hand, 1947). With this symbolic as well as very immediate gesture, he brought the interaction between artist and medium into highly active discourse. The term "Abstract Expressionist" was, in fact, first applied to the work of an American painter when Hofmann's work was shown at Betty Parsons' Mortimer Brandt Gallery in 1946.

In his works of the 1950s, Hofmann reasserted his European modern sources: Fauvism, with its brilliant color, and Cubism, with its planar structure. In a picture such as Scintillating Space (1954), he joins his earlier use of oversized, pointillist flecks with large, clearly structured color rectangles, creating a pulsating texture of accented brushstrokes that seem to contradict the flat planes of pure color. The result is an almost voluptuous equilibrium of color and form. With paintings like Morning Mist (1958), Equinox (1958), Indian Summer (1959), Goliath (1960), Magnum Opus (1962), Sanctum Sanctorum (1962), and his largest work, the monumental Combinable Wall I and II (1961), Hofmann continued in this mode of combining hard-edge, oblong forms with reckless, loosely brushed areas. He created a visual tension between impulsive gestural areas and floating geometric forms. Rectangles seem to advance and recede against the ground, inducing a dynamic back and forth in space that epitomizes Hofmann's "push-pull." In a way, Hofmann produced a synthesis of Fauvism and Cubism. Or, in terms of the younger generation of American artists, a synthesis of the gestural painting of Willem de Kooning, Jackson Pollock, and Franz Kline, and the color-field painting of Clyfford Still, Mark Rothko, and Barnett Newman.

Unlike most of the New York painters, however, Hofmann did not work in series nor cultivate a single, signature style. Each painting was a new discovery. Some paintings, like The Prey (1956), lack all geometric form and consist instead of freely painted blasts and splashes. Yet in this work, spontaneous passages seem to form a target-like configuration on the lower left and a bird with a huge wing on the right. The images could not have been premeditated. Hofmann told the critic Harold Rosenberg when discussing this picture, "For this you need to be in the rarest of states." In the Wake of the Hurricane (1960), another unequivocally Abstract Expressionist work, recalls by its title the flotsam and jetsam deposited on a beach after a storm on Cape Cod, where Hofmann spent summers teaching from 1935 onward. It is revealing of Hofmann's experimental approach that this spontaneously painted picture appears in the same year as the thoughtfully structured Goliath, and just a year before the thinly painted, monochromatic Agrigento.

A strong binary aspect runs throughout Hofmann's work: a synthesis of the age-old contrast between Apollonian and Dionysiac, classical and romantic, disciplined and intuitive, rational and impulsive. Such forces are made visible, palpable, in Hofmann's coherent and ohen brilliant amalgam of force and counterforce, of "push and pull."

In the last years of his long career, Hofmann slowed down not at all. He alternated between making heavy, painterly works such as And Thunderclouds Pass (1961 ) or Gloriamundi (1963), and pictures where paint is applied sparingly and geometric forms are relinquished altogether. Paintings like The Bat (1964) and Maiden Dance (1964) suggest a lighthearted sense of airy openness and delight. On the occasion of the Hofmann retrospective in 1963 at the Museum of Modern Art in New York, my former colleague there, William C. Seitz, spoke of "the beauty, the profundity and monumentality" of Hofmann's paintings and, above all, of "the purpose for which they were painted-delectation." It is this affirmation of the joy of existence that we discover in Hans Hofmann's work, and that, along with his formal explorations, has inspired and challenged countless artists. With its collection of works by Hans Hofmann, the University Art Museum plans to keep his powerful vision before the eyes of generations of artists to come.

Peter Selz Professor Emeritus University of California at Berkeley

From the guide to the Hans Hofmann Collection, (Berkeley Art Museum/Pacific Film Archive)

Archival Resources
Role Title Holding Repository
creatorOf Hofmann, Hans, 1880-1966. Artist file. Brooklyn Museum Libraries & Archives
creatorOf University of California, Berkeley. University Art Museum. University of California, Berkeley, University Art Museum collection of Hans Hofmann papers, 1929-1976. UC Berkeley Libraries
creatorOf Greenberg, Clement, 1909-1994. Clement Greenberg papers, 1937-1983. Smithsonian Archives of American Art
referencedIn Bultman, Fritz, 1919-1985. Fritz Bultman interview, 1968 Jan. 6. Smithsonian Archives of American Art
referencedIn Rodnick, Herman. Herman Rodnick papers on Hans Hofmann, 1947-1967. Smithsonian Archives of American Art
referencedIn Kulicke, Robert M. (Robert Moore), 1924-2007,. Oral history interview with Robert M. Kulicke, 1968 June 3 [sound recording]. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. [Hofmann lectures / Hans Hofmann]. University of Minnesota, Minneapolis
referencedIn André Emmerich Gallery records, circa 1929-2008 Archives of American Art, Smithsonian Institution
referencedIn Halper, Nathan. Nathan Halper correspondence and gallery records, 1952-1979, bulk, 1953-1970. Smithsonian Archives of American Art
referencedIn Sander, Ludwig, 1906-. Oral history interview with Ludwig Sander, 1969 Feb. 4 - Feb. 12 [sound recording]. Smithsonian Archives of American Art
referencedIn Chelimsky, Oscar. Oscar Chelimsky interviews, 1990 Aug. 28-Sept. 5. Smithsonian Archives of American Art
referencedIn Grillo, John, 1917-. John Grillo interview, 1964 Dec. 29 [sound recording]. Smithsonian Archives of American Art
referencedIn Stout, Myron, 1908-1987,. Oral history interview with Myron S. Stout, 1965 Sept. 2 [sound recording]. Smithsonian Archives of American Art
referencedIn Goldberg, Michael, 1924-2007. Michael Goldberg interview, 1969 Apr. 23. Smithsonian Archives of American Art
creatorOf Manry, Lenita. Lenita Manry papers, 1931-1968. Smithsonian Archives of American Art
referencedIn Kulicke, Robert M. (Robert Moore), 1924-2007. Robert M. Kulicke interview, 1968 June 3. Smithsonian Archives of American Art
referencedIn Halper, Helen Marjorie Windust, 1908-. Oral history interview with Helen Marjorie Windust Halper, 1994 Sept. 27. Smithsonian Archives of American Art
referencedIn Sander, Ludwig, 1906-. Oral history interview with Ludwig Sander, 1969 Feb. 4-12 [sound recording]. Smithsonian Archives of American Art
referencedIn Johnson, Buffie. Oral history interview with Buffie Johnson, 1977 Nov. 22-1978 Jan. 23. Smithsonian Archives of American Art
referencedIn Kootz Gallery (N.Y.). Kootz Gallery records, 1931-1966. Smithsonian Archives of American Art
referencedIn Grillo, John, 1917-. Oral history interview with John Grillo, 1964 Dec. 29 [sound recording]. Smithsonian Archives of American Art
referencedIn Erle Loran papers, 1912-1999 Archives of American Art, Smithsonian Institution
referencedIn Freilicher, Jane, 1924-. Oral history interview with Jane Freilicher, 1987 Aug. 4-5. Smithsonian Archives of American Art
creatorOf Kreindler, Doris Barsky, 1901-1974. Doris Kreindler papers, [ca. 1930-1975]. Smithsonian Archives of American Art
referencedIn Parsons, Betty. Betty Parsons Gallery records and Betty Parsons papers, 1927-1985. Smithsonian Archives of American Art
referencedIn Resnick, Milton, 1917-2004. Milton Resnick interviews, 1988 July 13-Oct. 11. Smithsonian Archives of American Art
creatorOf Howard Wise Gallery. Howard Wise Gallery records, 1950-1970. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. Hans Hofmann : artist file : study photographs and reproductions of works of art with accompanying documentation 1930?-1990 [graphic] [compiled by staff of The Museum of Modern Art, New York]. Frick Art Reference Library of The Frick Collection
referencedIn Kohlmeyer, Ida, 1912-1997,. Oral history interview with Ida Kohlmeyer, 1989 May 17-1989 May 20. Smithsonian Archives of American Art
creatorOf Howard Wise Gallery. Howard Wise Gallery records, 1943-1969. Smithsonian Archives of American Art
creatorOf Jaffe, Irma B. Irma Jaffe interviews, 1965-1977. Smithsonian Archives of American Art
creatorOf Roh, Franz, 1890-1965. Franz Roh papers, ca. 1911-1965. Getty Research Institute
referencedIn Newman, Arnold, 1918-2006. Arnold Newman photographs of artists, ca. 1940-1960. Smithsonian Archives of American Art
referencedIn Makler Gallery. Makler Gallery records, 1957-1989. Smithsonian Archives of American Art
referencedIn Kiesler, Lillian, 1910?-2001. Lillian and Frederick Kiesler papers, [circa 1910]-2003. Bulk 1958-2000. Smithsonian Institution. Libraries
referencedIn University of California, Berkeley, University Art Museum collection of Hans Hofmann papers, 1929-1976 Bancroft Library
creatorOf Ryder, Worth, 1884-1960. Worth Ryder papers, 1909-1966. Smithsonian Archives of American Art
referencedIn Resnick, Milton, 1917-. Oral history interview with Milton Resnick, 1988 July 13-Oct. 11. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. Artist file. Brooklyn Museum Libraries & Archives
referencedIn Kootz Gallery (N.Y.). Kootz Gallery records, 1923-1966. Smithsonian Archives of American Art
creatorOf Wight, Frederick Stallknecht, 1902-. Frederick Stallknecht Wight letters, 1954-1963. Smithsonian Archives of American Art
referencedIn Kootz Gallery records, 1923-1966 Archives of American Art, Smithsonian Institution
referencedIn Whitney Museum of American Art. Whitney Museum of American Art artists' files and records, 1914-1966. Smithsonian Archives of American Art
referencedIn Herbert Matter papers, ca. 1937-1984 Stanford University. Libraries. Dept. of Special Collections and University Archives.
referencedIn Kuh, Katharine. Oral history interview with Katharine Kuh, 1982 Mar. 18-1983 Mar. 24. Smithsonian Archives of American Art
referencedIn Allan Kaprow papers, 1940-1997 Getty Research Institute
referencedIn Douglas, Laura Glenn, 1888-1962. Papers, 1899-1979. South Carolina Newspaper Project
referencedIn Barton, Donald, 1903-1990. Oral history interview with Donald Barton, 1989 Mar. 31. Smithsonian Archives of American Art
referencedIn Nicholas Wilder Gallery. Nicholas Wilder Gallery records, 1944-1984 (bulk 1968-1979). Smithsonian Archives of American Art
referencedIn Frankenthaler, Helen, 1928-2011. Oral history interview with Helen Frankenthaler, 1969. Smithsonian Archives of American Art
referencedIn Elise Asher papers, 1923-1994 Archives of American Art, Smithsonian Institution
referencedIn Nicholas Wilder Gallery. Nicholas Wilder Gallery records, 1965-1979. Smithsonian Archives of American Art
referencedIn Krasner, Lee, 1908-1984. Lee Krasner interview, 1972 [sound recording]. Smithsonian Archives of American Art
creatorOf Littlefield, William Horace, 1902-1969. William Horace Littlefield papers, 1920-1969. Smithsonian Archives of American Art
referencedIn Botkin, Henry, 1896-1983. Henry Botkin papers, 1917-1979. Smithsonian Archives of American Art
referencedIn Ito, Miyoko, 1918-1983,. Oral History interview with Miyoko Ito, 1978 July 20 [sound recording]. Smithsonian Archives of American Art
referencedIn Schwartz, Sanford, 1946-. Sanford Schwartz papers relating to Myron Stout, 1948-1980. Smithsonian Archives of American Art
referencedIn McNeil, George, 1908-1995. Oral history interview with George McNeil, 1965 June 3. Smithsonian Archives of American Art
referencedIn Halper, Helen Marjorie Windust, 1908-. Helen Marjorie Windust Halper interview, 1994 Sept. 27. Smithsonian Archives of American Art
referencedIn Ashton, Dore. Dore Ashton papers, 1849-2010 bulk 1931-1983. Smithsonian Archives of American Art
referencedIn Rivers, Larry, 1925-2002,. Oral history interview with Larry Rivers, 1968 Nov. 2 [sound recording]. Smithsonian Archives of American Art
referencedIn Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000 Archives of American Art, Smithsonian Institution
referencedIn Eames, Ray. Ray Eames interviews, 1980 July 28 - Aug. 20 [sound recording]. Smithsonian Archives of American Art
referencedIn Katharine Kuh papers, 1875-1994, bulk 1930-1994 Archives of American Art, Smithsonian Institution
referencedIn Abraham Harriton Papers, 1915-1965 Special Collections Research Center, Syracuse University Libraries
creatorOf Hofmann, Hans, 1880-1966. The painter and his problems : a manual dedicated to painting : typescript, 1963 Mar. 21 / by Hans Hofmann. Metropolitan Museum of Art, Thomas J. Watson Library
referencedIn Loran, Erle, 1905-1999. Erle Loran papers, 1912-1999. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. Form und Farbe in der Gestaltung, 1915-1931. Getty Research Institute
referencedIn Halper, Helen Marjorie Windust, 1908-. Oral history interview with Helen Marjorie Windust Halper, 1994 Sept. 27 [sound recording]. Smithsonian Archives of American Art
referencedIn Lazzell, Blanche, 1878-1956. Blanche Lazzell papers, 1890-1982. Smithsonian Archives of American Art
referencedIn Johnson, Buffie. Buffie Johnson interviews, 1977 Nov. 22-1978 Jan. 23. Smithsonian Archives of American Art
referencedIn Foster, Guthrie. Guthrie Foster papers, 1959-1966. Smithsonian Archives of American Art
creatorOf Little, John, 1907-. John Little papers, 1935-1978. Smithsonian Archives of American Art
referencedIn McNeil, George, 1908-1995,. Oral history interview with George McNeil, 1968 Jan. 9-1968 May 21 [sound recording]. Smithsonian Archives of American Art
referencedIn Moy, Seong. Oral history interview with Seong Moy, 1971 Jan. 18-1971 Jan. 28. Smithsonian Archives of American Art
creatorOf Kuper, Rose. Rose Kuper collection of Hans Hofmann miscellany, 1932-1964. UC Berkeley Libraries
referencedIn Barton, Donald, 1903-1990. Donald Barton interview, 1989 Mar. 31. Smithsonian Archives of American Art
referencedIn Renate, Hans, and Maria Hofmann Trust. Research material compiled by Tina Dickey concerning Hans Hofmann, 1991-2000. Smithsonian Institution. Libraries
referencedIn Clement Greenberg papers, 1937-1983 Archives of American Art, Smithsonian Institution
creatorOf Asher, Elise, 1914-. Elise Asher papers, 1923-1994. Smithsonian Archives of American Art
creatorOf Huck, Peggy, d. 1996. Peggy (Georgina Margaret) Huck papers, 1931-1996. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. Hans Hofmann papers, [ca. 1904]-1978 (bulk 1945-1965). Smithsonian Archives of American Art
referencedIn Grossman, Sid, 1915-1955. Sidney Grossman papers, 1933-1981. Smithsonian Archives of American Art
creatorOf Burlin, Paul, 1886-1969. Paul Burlin papers, 1915-1974. Smithsonian Archives of American Art
referencedIn Thayer, Polly, 1904-2006. Oral history interview with Polly Thayer, 1995 May 12 - 1996 Feb. 1. Smithsonian Archives of American Art
referencedIn Johnson, Buffie. Oral history interview with Buffie Johnson, 1977 Nov. 22-1978 Jan. 23. Smithsonian Archives of American Art
creatorOf Angell, Nicholas B. Nicholas B. Angell collection of Evan Shipman papers and other materials, 1890-2009. Pennsylvania State University Libraries
referencedIn Thayer, Polly, 1904-. Polly Thayer interview, 1995 May 12-1996 Feb. 1. Smithsonian Archives of American Art
referencedIn Piper, Jane, 1916-. Oral history interview with Jane Piper, 1988 Jan. 16-17. Smithsonian Archives of American Art
referencedIn Vytlacil, Vaclav, 1892-1984. Vaclav Vytlacil papers, 1920-1984. Smithsonian Archives of American Art
referencedIn Blaine, Nell, 1922-1996,. Oral history interview with Nell Blaine, 1967 June 15 [sound recording]. Smithsonian Archives of American Art
referencedIn Lazzell, Blanche, 1878-1956. Blanche Lazzell papers, 1890-1982. Smithsonian Archives of American Art
referencedIn Loran, Erle, 1905-1999. Erle Loran papers, 1913-1991. Smithsonian Archives of American Art
referencedIn Grace Hartigan Papers, 1942-2006 Special Collections Research Center, Syracuse University Libraries
referencedIn Halper, Nathan. Nathan Halper interviews, 1980 July 8-Aug. 14 [sound recording]. Smithsonian Archives of American Art
referencedIn Tanager Gallery records, 1952-1979 Archives of American Art, Smithsonian Institution
referencedIn Day, Worden, 1916-1986. Worden Day papers, 1940-1982. Smithsonian Archives of American Art
referencedIn Haley, John, 1905-1991. John and Monica Haley papers, 1927-1987. Smithsonian Archives of American Art
referencedIn Opper, John,. Oral history interview with John Opper, 1968 Sept. 9-1969 Jan 3 [sound recording]. Smithsonian Archives of American Art
referencedIn Hofmann, Hans : Biographical file. Colorado Springs Fine Arts Center
referencedIn Haley, John, 1905-1991. John Haley papers, 1929-1992. UC Berkeley Libraries
referencedIn Ito, Miyoko, 1918-1983,. Oral History interview with Miyoko Ito, 1978 July 20 [sound recording]. Smithsonian Archives of American Art
referencedIn Ortman, George, 1926-. George Earl Ortman interviews, 1963 Sept. 19-Nov. 5. Smithsonian Archives of American Art
referencedIn Kiesler, Lillian, 1910?-2001. Lillian Kiesler papers, [ca. 1920]-2003. Smithsonian Institution. Libraries
creatorOf LaSelle, Toni, 1901-2002. Toni LaSelle letters from Hans and Mrs. Hofmann, 1949-1967. Smithsonian Archives of American Art
referencedIn Halper, Nathan. Records of Nathan Halper's Galleries, 1952-1979. Smithsonian Archives of American Art
referencedIn Robert Richenburg papers, circa 1910s-2008 Archives of American Art, Smithsonian Institution
referencedIn McNeil, George, 1908-. George McNeil interviews, 1968 Jan. 9-1968 May 21 [sound recording]. Smithsonian Archives of American Art
referencedIn Thayer, Polly, 1904-. Polly Thayer interview, 1995 May 12-1996 Feb. 1 [sound recording]. Smithsonian Archives of American Art
creatorOf Harriton, Abraham, 1893-1987. Abraham Harriton papers, 1910-1986. Smithsonian Archives of American Art
referencedIn American Federation of Arts records, 1895-1993 (bulk 1909-1969) Archives of American Art, Smithsonian Institution
creatorOf Howard Wise Gallery. Howard Wise Gallery records, 1943-1989. Smithsonian Archives of American Art
referencedIn Orlowsky, Lillian, 1914-. Oral history interview with Lillian Orlowsky, 1996 Aug. 5-26. Smithsonian Archives of American Art
referencedIn Krushenick, Nicholas, 1929-. Oral history interview with Nicholas Krushenick, 1968 Mar. 7-14 [sound recording]. Smithsonian Archives of American Art
referencedIn Ortman, George, 1926-. Oral history interview with George Earl Ortman, 1963 Sept. 19-Nov. 5. Smithsonian Archives of American Art
referencedIn Chelimsky, Oscar. Oral history interview with Oscar Chelimsky 1990 Aug. 28-Sept. 5. Smithsonian Archives of American Art
referencedIn Eames, Ray. Oral history interview with Ray Eames, 1980 July 28-Aug. 20. Smithsonian Archives of American Art
referencedIn Vytlacil, Vaclav, 1892-1984. Vaclav Vytlacil papers, 1928-1975. The California Digital Library
referencedIn Matter, Herbert, 1907-1984. Herbert Matter papers, circa 1937-1984. Stanford University. Department of Special Collections and University Archives
referencedIn Stankiewicz, Richard, 1922-1983. Oral history interview with Richard Stankiewicz, 1979 June 26. Smithsonian Archives of American Art
referencedIn Charles Eames and Ray Eames Papers, 1885-1988, (bulk 1965-1988) Library of Congress. Manuscript Division
referencedIn American Federation of Arts. American Federation of Arts records, 1895-1993 (bulk 1909-1969). Smithsonian Archives of American Art
creatorOf Knaths, Karl, 1891-1971. Karl Knaths papers, 1890-1971. Smithsonian Archives of American Art
referencedIn Newman, Arnold, 1918-2006. Arnold Newman photographs of artists, ca. 1940-1960. Smithsonian Archives of American Art
referencedIn Frankenthaler, Helen, 1928-2011. Helen Frankenthaler interview, 1969. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. Hans Hofmann letter to Mrs. Spingarn, 1938 Dec. 18. Smithsonian Archives of American Art
creatorOf Kohlmeyer, Ida, 1912-1997. Ida Kohlmeyer papers, [ca. 1950]-1997. Smithsonian Archives of American Art
referencedIn Reynal, Eugene, Mrs., 1905-1977. Hans Hofmann [graphic]. Smithsonian Archives of American Art
creatorOf American Art Expositions (Firm). American Art Expositions, Inc. records. Smithsonian Archives of American Art
referencedIn Bultman, Fritz, 1919-1985. Fritz Bultman papers, 1921-1987. Smithsonian Archives of American Art
referencedIn Opper, John. John Opper interview, 1968 Sept. 9-1969 Jan 3 [sound recording]. Smithsonian Archives of American Art
referencedIn Stout, Myron, 1908-1987. Myron S. Stout interview, 1965 Sept. 2. Smithsonian Archives of American Art
referencedIn Wessels, Glenn, 1895-1982. Glenn Wessels papers, [ca. 1932-1982]. Smithsonian Archives of American Art
referencedIn McNeil, George, 1908-. George McNeil interview, 1965 June 3 [sound recording]. Smithsonian Archives of American Art
referencedIn Carles, Arthur B., 1882-1952. Arthur B. Carles papers, 1900-1983. Smithsonian Archives of American Art
referencedIn Lansner, Fay. Fay Lansner papers, 1948-1972. Smithsonian Archives of American Art
referencedIn Hofmann, Hans, 1880-1966 : [miscellaneous ephemeral material]. Metropolitan Museum of Art, Thomas J. Watson Library
referencedIn Blaine, Nell, 1922-. Nell Blaine interview, 1967 June 15. Smithsonian Archives of American Art
referencedIn Schwabacher, Ethel, 1903-1984. Ethel Schwabacher papers, 1940-1975. Smithsonian Archives of American Art
referencedIn Krushenick, Nicholas, 1929-. Nicholas Krushenick interviews, 1968 Mar. 7-Mar. 14 [sound recording]. Smithsonian Archives of American Art
referencedIn Douglas, Laura Glenn, 1888-1962. Laura Glenn Douglas papers, 1899-1979. University of South Carolina, University Libraries
creatorOf Bowden, Harry, 1907-1965. Harry Bowden papers, 1922-1972. Smithsonian Archives of American Art
referencedIn Berman, Avis. Avis Berman research material on Katharine Kuh, circa 1946-2006. Smithsonian Archives of American Art
creatorOf Hofmann, Hans, 1880-1966. Form und Farbe in der Gestaltung : ein Lehrbuch fur den Kunstunterricht, [19--] UC Berkeley Libraries
referencedIn Nicholas Wilder Gallery records, 1944-1984, bulk 1968-1979 Archives of American Art, Smithsonian Institution
creatorOf Hans Hofmann Collection Berkeley Art Museum/Pacific Film Archive
referencedIn Berman, Avis. Avis Berman research material on Katharine Kuh, 1944-2006. Smithsonian Archives of American Art
creatorOf Little, John, 1907-. John Little papers, 1935-1978. Smithsonian Archives of American Art
referencedIn Kootz Gallery (N.Y.). Kootz Gallery records, 1923-1966. Smithsonian Archives of American Art
referencedIn Eames, Charles. Papers of Charles and Ray Eames, 1885-1988 (bulk 1965-1988). Library of Congress
referencedIn Kuh, Katharine. Katharine Kuh interviews, 1982 Mar. 18 - 1983 Mar. 24. Smithsonian Archives of American Art
referencedIn Adams, Mark, 1925-2006. Mark Adams and Beth Van Hoesen interviews, 1983 Aug. 31 - 1984 Feb. 24. Smithsonian Archives of American Art
referencedIn Petersen, Roland, 1926-. Oral history interview with Roland C. Petersen, 2002 Sept. 17 [sound recording]. Smithsonian Archives of American Art
creatorOf Clark, Eleanor Arnold, 1911-. Eleanor Arnold Clark papers, 1937-1978. Smithsonian Archives of American Art
referencedIn Ashton, Dore. Dore Ashton papers, 1849-1983 (bulk 1931-1983). Smithsonian Archives of American Art
creatorOf Manry, Lenita, 1902-1969. Lenita Manry papers, 1931-1968. Smithsonian Archives of American Art
referencedIn Kohlmeyer, Ida, 1912-1997,. Oral history interview with Ida Kohlmeyer, 1989 May 17-20. Smithsonian Archives of American Art
referencedIn Piper, Jane, 1916-1991. Jane Piper interviews, 1988 Jan. 16 and 17. Smithsonian Archives of American Art
referencedIn Freilicher, Jane, 1924-. Jane Freilicher interviews, 1987 Aug. 4 and 5. Smithsonian Archives of American Art
creatorOf Gold, Leah. Leah Gold papers, 1949-1975. Smithsonian Archives of American Art
referencedIn Moy, Seong. Oral history interview with Seong Moy, 1971 Jan. 18-28. Smithsonian Archives of American Art
referencedIn Halper, Nathan. Oral history interview with Nathan Halper, 1980 July 8-Aug. 14. Smithsonian Archives of American Art
referencedIn Kuh, Katharine. Katharine Kuh papers, 1875-1994, bulk, 1930-1994. Smithsonian Archives of American Art
referencedIn Kiesler, Lillian 1910?-2001. Lillian and Frederick Kiesler papers, [circa 1910]-2003, bulk 1958-2000. Smithsonian Institution. Libraries
referencedIn Nell Blaine diaries and correspondence, ca. 1947-2002. Houghton Library.
Role Title Holding Repository
Relation Name
associatedWith Adams, Mark, 1925-2006. person
associatedWith American Art Expositions (Firm) corporateBody
associatedWith American Federation of Arts. corporateBody
associatedWith André Emmerich Gallery corporateBody
associatedWith Angell, Nicholas B. person
associatedWith Art Students League (New York, N.Y.) corporateBody
associatedWith Asher, Elise, 1914- person
associatedWith Ashton, Dore. person
associatedWith Ashton, Dore. person
associatedWith Barton, Donald, 1903-1990 person
associatedWith Berman, Avis. person
associatedWith Blaine, Nell, 1922- person
associatedWith Blaine, Nell, 1922-1996, person
associatedWith Botkin, Henry, 1896-1983. person
associatedWith Bowden, Harry, 1907-1965. person
associatedWith Bultman, Fritz, 1919-1985. person
associatedWith Burlin, Paul, 1886-1969. person
associatedWith Carles, Arthur B., 1882-1952. person
associatedWith Chelimsky, Oscar person
associatedWith Clark, Eleanor Arnold, 1911- person
associatedWith Day, Worden, 1916-1986. person
associatedWith Douglas, Laura Glenn, 1888-1962. person
associatedWith Eames, Charles. person
associatedWith Eames, Charles. person
associatedWith Eames, Ray person
associatedWith Eames, Ray. Charles Eames and Ray Eames papers. 1885-1988 person
associatedWith Elise Asher person
associatedWith Foster, Guthrie. person
associatedWith Frankenthaler, Helen, 1928-2011 person
associatedWith Freilicher, Jane, 1924- person
associatedWith Goldberg, Michael, 1924-2007. person
associatedWith Gold, Leah. person
associatedWith Greenberg, Clement, 1909-1994. person
associatedWith Grillo, John, 1917- person
associatedWith Grossman, Sid, 1915-1955. person
associatedWith Haley, John, 1905-1991. person
associatedWith Halper, Helen Marjorie Windust, 1908- person
associatedWith Halper, Nathan. person
associatedWith Hans Hofmann School of Fine Arts. corporateBody
associatedWith Harriton, Abraham, 1893-1986 person
associatedWith Harriton, Abraham, 1893-1987. person
associatedWith Hartigan, Grace. person
associatedWith Hofmann, Maria, 1885-1963. person
associatedWith Hofmann, Renate Schmitz, 1930-1992. person
associatedWith Howard Wise Gallery. corporateBody
associatedWith Huck, Peggy, d. 1996. person
associatedWith Ito, Miyoko, 1918-1983, person
associatedWith Jaffe, Irma B. person
associatedWith Johnson, Buffie person
associatedWith Kaprow, Allan person
associatedWith Kiesler, Lillian, 1910?-2001. person
associatedWith Knaths, Karl, 1891-1971. person
associatedWith Kohlmeyer, Ida, 1912-1997, person
associatedWith Kootz Gallery corporateBody
associatedWith Kootz Gallery (N.Y.) corporateBody
associatedWith Kootz Gallery (N.Y.) corporateBody
associatedWith Kootz Gallery (N.Y.) corporateBody
associatedWith Krasner, Lee, 1908-1984. person
associatedWith Kreindler, Doris Barsky, 1901-1974. person
associatedWith Krushenick, Nicholas, 1929- person
associatedWith Kuh, Katharine person
associatedWith Kulicke, Robert M. (Robert Moore), 1924-2007, person
associatedWith Kuper, Rose. person
associatedWith Lansner, Fay. person
associatedWith LaSelle, Toni, 1901-2002. person
associatedWith Lazzell, Blanche, 1878-1956. person
associatedWith Littlefield, William Horace, 1902-1969. person
associatedWith Little, John, 1907- person
associatedWith Loran, Erle, 1905-1999. person
associatedWith Makler Gallery. corporateBody
associatedWith Manry, Lenita. person
associatedWith Matter, Herbert, 1907-1984. person
associatedWith McNeil, George, 1908- person
associatedWith Moy, Seong person
associatedWith Museum of Modern Art (New York, N.Y.) corporateBody
associatedWith Newman, Arnold, 1918-2006. person
associatedWith Nicholas Wilder Gallery. corporateBody
associatedWith Opper, John, person
associatedWith Orlowsky, Lillian, 1914- person
associatedWith Ortman, George, 1926- person
associatedWith Parsons, Betty. person
associatedWith Petersen, Roland, 1926- person
associatedWith Piper, Jane, 1916- person
associatedWith Renate, Hans, and Maria Hofmann Trust. corporateBody
associatedWith Resnick, Milton, 1917- person
associatedWith Reynal, Eugene, Mrs., 1905-1977. person
associatedWith Richenburg, Robert person
associatedWith Rivers, Larry, 1925-2002, person
associatedWith Rodnick, Herman. person
associatedWith Roh, Franz, 1890-1965. person
associatedWith Ryder, Worth, 1884-1960. person
associatedWith Sander, Ludwig, 1906- person
associatedWith Schwabacher, Ethel, 1903-1984. person
associatedWith Schwartz, Sanford, 1946- person
associatedWith Spingarn, Amy, b. 1883. person
associatedWith Stankiewicz, Richard, 1922-1983 person
associatedWith Stout, Myron, 1908-1987. person
associatedWith Tanager Gallery corporateBody
associatedWith Thayer, Polly, 1904- person
associatedWith Thayer, Polly, 1904-2006 person
associatedWith University of California, Berkeley. University Art Museum. corporateBody
associatedWith University of California, Berkeley. University Art Museum. person
associatedWith Vytlacil, Vaclav, 1892-1984. person
associatedWith Wessels, Glenn, 1895-1982. person
associatedWith Whitney Museum of American Art. corporateBody
associatedWith Wight, Frederick Stallknecht, 1902- person
Place Name Admin Code Country
Massachusetts--Provincetown
New York (State)--New York
Subject
Art--American (?)--Reproductions
Painting--Technique
Art teachers
Art, American
Form (Aesthetics)
Art students
Art schools
Art, Abstract
Color in art
Abstract Expressionism
Painting, Modern--20th century--Study and teaching
Occupation
Painter
Function

Person

Birth 1880-03-21

Death 1966-02-17

Americans

German,

English

Information

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Ark ID: w6j38v6w

SNAC ID: 11553264