Erle Loran papers, 1912-1999

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A Finding Aid to the Erle Loran Papers, 1912-1999 , in the Archives of American Art, by Michael Yates

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Funding for the processing of this collection was provided by Getty Foundation.

Table of Contents:

• Biographical Information
• Overview of the Collection
• How to Use the Collection
• Detailed Description and Container Inventory

Biographical Information

California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hoffman. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.

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Overview of the Collection

Scope and Contents

The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.

Arrangement and Series Description

The collection is arranged into 8 series:

• Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)
• Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)
• Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)
• Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)
• Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)
• Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)
• Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)
• Series 8: Audio Recording, 1982 (Box 12; 1 folder)

Subjects and Names

Provenance

Erle Loran donated much of the material in 1975. His widow Ruth Schora-Loran donated additional papers, including the artwork in 1999.

Separated and Related Materials

Photographs of artwork by Erle Loran and two clippings of reproductions of Erle Loran's artwork were loaned for microfilming in 1975 and are available on 35 mm microfilm reel 906 at Archives of American Art offices, and through interlibrary loan. These materials are not described in the container listing of this finding aid.

Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.

How the Collection was Processed

The earliest accessions were microfilmed on reels 1716-1717, 1818, and 2814; no longer in circulation. All previously filmed accessions were merged with later additions and processed by Michael Yates in 2007-2008 with funding provided by the Getty Foundation.

How to Use the Collection

Restrictions on Use

Use of original papers requires an appointment.

Ownership & Literary Rights

The Erle Loran 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.

How to Cite this Collection

Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Biographical material includes biographical sketches, a biographical questionnaire, curriculum vita, a notebook, medical records, a handwritten copy of Loran's will, and Loran's 1948 Pepsi-Cola Achievement Award. His personal and professional activities for 1987 are recorded in great detail in an appointment book. Also found is a floor plan for the Lorans' home. Material related to the Loran family includes a certificate commemorating Clyta Loran's work for the University of California, and an invitation to a family event.

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Voluminous correspondence is related to Loran's activities as an artist and educator, as well as personal and family affairs. Correspondence is with family, friends, artists, educators, writers, gallery owners, and others. Correspondents include Donald Bear, Romare Bearden, Andrew Dasburg, Stuart Davis, Jay DeFeo, Walter De Maria, Richard Diebenkorn, Alfred Frankenstein, Clement Greenberg, Louis Guglielmi, John Haley, Dalzell Hatfield, Thomas Hess, Hans Hofmann, Carl Holty, Jules Langsner, Harry Levinson (president of Permanent Pigments), George McNeil, John Rewald, Daniel Canton Rich, Samuel Sabean, Bertha Schaefer, Hassel Smith, Clyfford Still, Francis Henry Taylor, and Ulfert Wilke, among many others. Also found are eight folders of sympathy cards received upon Clyta Loran's death in 1982.

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Found here are scattered records related to the financial and administrative aspects of Loran's work as an artist and writer. Materials related to Loran's artwork includes consignment forms, exhibition checklists, exhibition schedules, records of gifts, price lists, and exhibition labels. Business records concerning Loran's writings include receipts of royalties, forms and correspondence from the University of California Press, and permission forms. Also found are records documenting Loran's involvement with membership in art organizations, such as the Fine Arts Museum of San Francisco, Friends of Ethnic Art, and the San Francisco Art Institute. Teaching activities are represented by classroom handouts, recommendation forms, and materials related to Hans Hofmann's gift to the University Art Center. Other materials document Loran's personal finances and grant applications.

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Found here are writings by Erle Loran and others, many about the life and work of Paul Cézanne, including Loran's notes, drafts, and manuscript version of Cézanne's Composition. Additional writings include Loran's essays on Roy Lichtenstein's appropriation of a diagram from Cézanne's Composition; nine folders of writings on the art and pedagogical ideas of Hans Hofmann; and essays about artists Marsden Hartley, Kyle Morris, Harold Paris, Clyfford Still, and Mark Tobey. Also found are Loran's writings on contemporary art, abstract art, and symbology, as well as artist statements and writings from school.

Writing by others includes pieces on Cézanne, statements by Hans Hofmann and Clyfford Still, and remembrances of Loran upon his death.

Loran's writings are arranged alphabetically by title or supplied title in brackets, followed by writings by others.

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Over four linear feet of artwork by Loran consists primarily of preliminary drawings and sketches in watercolor, pastels, charcoal, pencil, gouache, and oil. The artwork is mostly landscape and urbanscape, abstract, and fantasy imagery. Of special interest are self portraits, and portraits of Loran's second wife, Clyta.

Series also includes a small amount of artwork by others, including Stanley William Hayter and Alcopley.

Found in a disorganized state, these materials have been arranged under broad categories that do not represent Loran's own organization. Due to the fragility of these materials, items have been extensively interleaved. Photographs that were found filed with a piece of art and are clearly the basis for that artwork have been kept together.

Series 6: Printed Materials, 1925-1999 (Box 8-10, 14; 2.3 linear feet)

Found here are clippings, exhibition announcements, and exhibition catalogs on a wide variety of topics relating to Loran's interests, artwork, and writings. Also found are scattered invitations, lecture announcements, postcards, programs, and an advertisement and book jacket for Cézanne's Composition. Exhibition catalogs, exhibition announcements and posters related to other artists can be found, including Cézanne, Hans Hofmann, and Roy Lichtenstein.

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Photographs of Loran include formal portraits, informal pictures with friends and colleagues, photographs of him at events, and in his studio. Loran's family and spouses are found in family photographs, formal portraits, and informal pictures. Also found are childhood and adolescent photographs of Loran's second wife, Clyta, as well as photographs of her family. There are photographs of Loran's travels in the south of France and the American southwest and Mexico.

The bulk of the photographs are of Loran's artwork, including exhibitions. Included are photographs of source material and the artwork of others, including Paul Cézanne and Hans Hofmann, and of Loran's own collection of artwork. There are also photographs of Hans Hofmann's visit to Berkeley in 1964.

This series also includes transparencies, negatives, and slides. Of interest are slides used for a lecture on Cézanne, and one on contemporary art.

Series 8: Audio Recording, 1982 (Box 12; 1 folder)

Found is an audio cassette recording of a lecture by Loran on Cézanne from June 15, 1982.