A Finding Aid to the Hans Hofmann Papers, circa 1904-2011, bulk 1945-2000, in the Archives of American Art, by Catherine S. Gaines and Megan McShea
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Table of Contents:
- Biographical Information
- Overview of the Collection
- How to Use the Collection
- Detailed Description and Container Inventory
German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.
Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.
Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.
When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.
Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.
While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.
Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.
In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.
Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.
In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.
- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.
- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.
- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.
- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.
- Meets Maria (Miz) Wolfegg, his future wife.
- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.
- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.
- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).
- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.
- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.
- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.
- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.
- Marries Miz Wolfegg on 5 June.
- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.
- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.
- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.
- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.
- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.
- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.
- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.
- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.
- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.
- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.
- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.
- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).
- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).
- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.
- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.
- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.
- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.
- One-person exhibition held at the Baltimore Museum of Art.
- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.
- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.
- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.
- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.
- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.
- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.
- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.
- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.
- Hans Hofmann dies on 17 February in New York.
Overview of the Collection
Scope and Contents
The papers of painter, teacher, and writer Hans Hofmann measure 29.6 linear feet and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.
Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.
School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.
The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).
Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hoffman wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.
Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).
Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.
Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.
Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.
Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.
Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.
Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.
Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources.
Arrangement and Series Description
The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.
- Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)
- Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)
- Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)
- Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)
- Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)
- Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)
- Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)
- Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)
- Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)
- Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)
- Series 11: Hans Hofmann Documentary Projects, 1944-2011 (11 linear feet; Box 19, 21-31)
Subjects and Names
This collection is indexed in the online catalog of the Archives of American Art under the following index terms:
- Amgott, Madeline
- Dickey, Tina, 1954-
- Hans Hofmann School of Fine Arts (Provincetown, Mass.).
- Hans Hofmann School of Fine Arts
- Hawthorne, Charles Webster, 1872-1930
- Hofmann, Maria, 1885-1963
- Hofmann, Renate Schmitz, 1930-1992
- Mauer, Alfred
- Abstract expressionism
- Art schools--Massachusetts--Provincetown
- Art schools--New York (State)--New York
- Art students--New York (State)--New York
- Art teachers
- Art--Study and teaching
- Authors--New York (State)--New York
- Motion pictures (visual works)
- Painting, Modern--20th century--Study and teaching
- Sound recordings
- Video recordings
Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.
Separated and Related Materials
Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.
The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/
How the Collection was Processed
The collection was processed by Catherine S. Gaines in 2001 and microfilmed onto reels 5801-5811 in 2003. Additional accessions were processed and merged into the collection in 2006 and 2015. The glass plate negative was re-housed in 2015 with a grant provided by the Smithsonian Collections Care and Preservation Fund. In 2015, the collection was prepared for digitization by Megan McShea and Judy Ng and scanned with funding provided by the Terra Foundation for American Art.
How to Use the Collection
Restrictions on Use
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. The glass plate negative is housed separately and closed to researchers. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Ownership & Literary Rights
The Hans Hofmann 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. Authotization to quote or reproduce, for purposes of publication, the 1998 May 27 interview of Max Spoerri by Tina Dickey requires written permission from Max Spoerri.
The bulk of the collection was digitized in 2016 and is available on the Archives of American Art's website. Materials which have not been scanned include slides and negatives of works of art; duplicates; medical, banking, tax, and estate records; blank pages in bound volumes; blank versos of photographs; exhibition catalogs of other artists; inscribed published books, and sound and moving image materials. In some cases, exhibition catalogs and other publications have had their covers, title pages, and relevant pages scanned.
How to Cite this Collection
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Detailed Description and Container Inventory
3 Linear feet; Box 1-3
The correspondence of Hans Hofmann consists mainly of incoming letters about personal and professional matters. Correspondents include museums, galleries, art dealers, collectors, former students, art historians, critics, fans, friends, and relatives. Although the date of Hofmann's reply is often noted on letters received, outgoing letters are limited to a small number of drafts and carbon copies. Because Hofmann's wife, Miz, often handled his business affairs and was friendly with his former students, many letters are addressed to her. Letters in foreign languages-mostly German, but some in Italian and French-are noted.
Correspondents include Art of This Century Gallery (Peggy Guggenheim), Baltimore Museum of Art, Hofmann's dealer Samuel M. Kootz, the Museum of Modern Art, Mortimer Brandt Gallery (Betty Parsons), Betty Parsons Gallery, Howard Putzel of 67 Gallery, and the Whitney Museum of American Art. Their letters document arrangements for Hofmann's major exhibitions and also concern the loan, sale, and donation of paintings.
With the exception of a file titled "War Compensation," correspondence is limited to the years of Hofmann's residence in the United States. "War Compensation" correspondence and related records, 1912-1923, concern Hofmann's claim against the German government for personal property-including works of art-removed from his Paris apartment in 1914 while he was in Corsica. Correspondence documents attempts to learn the fate of his paintings and the claims process. The correspondents are painter Rudolph Levy, who may have sold Hofmann's paintings and possessions during the time he sublet the apartment; sculptor Eugen Steinhof, Monsieur Haven and Hermann Hailer, who would assist with the claim; and the Bund des Auslandsdeutschen, Bavarian Section. Supporting documentation consists of leases for his Paris apartment and a floorplan, drawn by Hofmann, that indicates placement of furniture and includes an inventory of possessions, including works of art, with values for each item.
Small quantities of additional correspondence are filed with other series. School of Fine Arts Records (Series 2) include inquiries from prospective students; requests for transcripts and recommendations; Immigration and Naturalization Service approval of the school; correspondence about foreign students; and correspondence with the Veterans Administration. Financial Records (Series 4) contain correspondence with the American Express Company, the Social Security Administration, and several banks. Estate Records (Series 9) include correspondence regarding taxes, Hofmann's Provincetown house, and legal matters concerning settlement of his estate. Papers of Renate Schmitz Hofmann (Series 10) include personal and estate correspondence, as well as condolence letters.
This series has been scanned in its entirety.
Correspondence is arranged alphabetically by correspondent and also includes a few subject files (e.g. "Autograph Requests," "Car Accident," and "War Compensation"). Unknown, unsigned, or illegible letters are filed at the end of the series.
School of Fine Arts Records, 1915-1965
2 Linear feet; Box 4-5
The Hans Hofmann Schule für Bildende Kunst operated in Munich from 1915-1933. The very sparse extant records consist of a small amount of printed matter and a financial document. The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Massachusetts, opened in 1934. Both closed in 1958, because after 43 consecutive years of teaching, Hofmann wanted to be able to paint full-time. Records of the New York and Provincetown schools are more extensive, but far from complete.
A small cache of records concerning Hofmann's school in Munich is supplemented by photographs (Series 6) containing views of Hans Hofmann with students during the 1920s, including some taken during a summer session in Capri, circa 1925. Travel photographs from the same period may have been taken while teaching summer courses in Europe. An unidentified photograph of an exhibition installation in Germany may be school-related.
Records concerning Hofmann's schools in New York City and Provincetown, Mass., consist of administrative, financial, student, and miscellaneous records. Material postdating the schools' 1958 closings consist of letters of inquiry from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students are with Correspondence (Series 1).
For the large part, student records were created and maintained by registrar James Gahagan and his staff. Student ledgers note date of first entry into day, evening courses, and tuition paid. A variety of other information is also included in the student ledgers: number of class hours and fees for supplies are entered in vol. 1; vols. 2 and 3 record advance payments for summer school; lists of monitors and scholarships are included in vols. 3 and 4; and a partial roster of summer school students appears in vol. 4. Requests for transcripts and recommendations are addressed to Hofmann who appears to have handled these matters directly.
Among the miscellaneous items are a gouache painting by student Trude Baumann, and class notes of Dorothy G. Hales/Dorothy H. Gary.
This series has been scanned in its entirety.
Records are arranged by country of the school and then by document type. The series is arranged as 2 subseries:
2.1: Munich, 1915-1933
|4||1||Prospectuses, 1915-1916, 1933|
|4||2||Financial Record, 1925|
|4||3||"Italian Schools of Painting: The Renaissance in Italy,," 1923|
2.2: New York City and Provincetown, Mass., circa 1936-1965
The subseries is arranged as 4 subseries:
2.2.1: Administrative Records, circa 1936-1965
2.2.2: Financial Records, circa 1936-1965
|4||16||Expense Statements, 1948-1952|
|4||17||Income, summer, 1956|
2.2.3: Student Records, circa 1936-1965
2.2.4: Miscellaneous, circa 1936-1965
|5||26||Student Artwork, circa 1950-1960|
|5||27||Student Notes, 1955-1956|
Writings, circa 1904-1965
2.5 Linear feet; Box 6-8
This series includes published and unpublished manuscripts, drafts, revisions, and notes by Hofmann and other authors, organized by type-books, articles and essays, etc. Hans Hofmann wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Writings by other authors are mainly about Hofmann and modern art.
Books, arranged alphabetically by title, include manuscripts, drafts, and revisions. Considered Hofmann's most important text, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-1952[?], is an instructional primer begun in Paris circa 1904 and added to over many years. It remains unpublished. An English translation, Creation in Form and Color, was made by Glenn Wessels in 1931. Peggy Huck's translation, The Supersensitory Origin of Painting, was completed in 1931. After microfilming was completed, several versions of Das Malerbuch and the two English translations were received from the Renate, Hans and Maria Hofmann Trust in 2006. Search for the Real and Other Essays, was issued in 1948 to accompany Hofmann's retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first one-man show of an Abstract Expressionist organized by a museum.
Articles and essays consist of published and unpublished manuscripts arranged alphabetically by title, with untitled items alphabetized by first line. Among them are the constituent essays of Search for the Real and Other Essays: "The Search for the Real in the Visual Arts," "Sculpture," "On the Aims of Art;" and "Plastic Creation."
Notes, outlines, and some complete texts of speeches are arranged chronologically. Miscellaneous writings are shorter, informative, mostly unpublished pieces written between 1944 and 1960. Untitled items are alphabetized by first line. Representative titles include: "I am Often Asked to Explain My Work," "A Reply to the Demand to Name some of My Students that have come Into Prominence," and "About the relation of students and teachers." Hofmann revised 5 manuscripts ("Untitled, in German") by literally cutting and pasting portions onto very long sheets which were then rolled tightly for storage. Over the years, the glue dried out and the scrolls came apart; fortunately, most sections were numbered sequentially, so their order could be reconstructed fairly well prior to scanning.
Among the notes and lists are notes on works of art concerning "Construction," "Magenta and Blue," the Chiamabote mural, and the New York School of Printing mosaic. Lists of paintings include works to be exhibited at Galerie Maeght (Paris), Mirski Gallery (Boston), and the Whitney Museum; works to be framed; and works to be shipped.
Writings by other authors are mostly unpublished articles, essays, and reviews arranged alphabetically by author. An untitled piece by C. Z., most likely Carl Zigrosser, was written in response to an article about the psychology of Picaasso's art by Carl Jung. Unsigned items include a review of Camille Pisarro: Letters to his Son Lucien, ed. John Rewald; and reviews of Hofmann exhibitions at the 67 Gallery (1945) and at Galerie Maeght (1949).
This series has been scanned in its entirety.
Writings are arranged by author and then by document type. The series is arranged as 2 subseries:
3.1: By Hofmann, 1928-1965
The subseries is arranged as 6 subseries:
- 3.1.1: Books, A-Z
- 3.1.2: Articles and Essays
- 3.1.3: Talks and Lectures
- 3.1.4: Miscellaneous Writings
- 3.1.5: Poems
- 3.1.6: Notes and Lists
3.1.1: Books, A-Z, circa 1928-1965
|7||1-2||Painter and His Problems-A Manual Dedicated to Painting, 1963|
Painter and His Problems-A Manual Dedicated to Painting, Illustrations, circa 1933-1950
Original drawings, photostats and negatives of diagrams, photographs; captions and notations in both English and German.
|7||4-6||Search for the Real and Other Essays, 1947-1948|
3.1.2: Articles and Essays, circa 1928-1965
3.1.3: Talks and Lectures, circa 1928-1965
3.1.4: Miscellaneous Writings, circa 1928-1965
|8||1||Untitled, A-Z (by first line), 1946-1961|
|8||2-4||Untitled (in German), circa 1930-1955|
|8||5-6||Untitled (in German), circa 1930-1955|
|8||7||Fragments, circa 1930-1955|
3.1.5: Poems, circa 1928-1965
|8||9||Poems to Maria Hofmann, 1960-1964|
3.1.6: Notes and Lists, circa 1928-1965
3.2: By Other Authors, circa 1910-1964
The subseries is arranged as 2 subseries:
3.2.1: About Hofmann and Modern Art, circa 1910-1964
3.2.2: Poems, circa 1910-1964
Financial Records, 1927-1966
0.5 Linear feet; Box 8
Financial records consist mainly of banking records, and tax returns and their supporting documentation. Additional tax records are among the records regarding Hans Hofmann's Estate (Series 9). In addition, there are statements of assets and liabilities and a few subject files concerning financial matters.
This series has not been scanned.
Records are arranged by alphabetically by folder title.
|8||41||American Express Company, 1961-1967|
|8||42||Assets and Liabilities, 1946-1966|
|8||43||Bayerische Vereinsbank, 1962-1965|
|8||44||Bowery Savings Bank, 1963|
|8||45||Chase Manhattan Bank (checking account), 1965|
|8||46||Chase Manhattan Bank (custody account), 1965-1966|
|8||47||Chase Manhattan Bank (stocks and savings), 1965-1966|
|8||48||Ehlinger & Cie, 1963-1965|
|8||49||First National Bank of Cape Cod, 1964-1966|
|8||50||Gothaer Lebensversicherungs-bank, 1927-1937|
|8||51||Manufacturers Hanover Trust, 1964-1966|
|8||52||New York Savings Bank, 1961-1963|
|8||53||Various Savings Accounts, 1961-1962|
|8||54||Hayes Storage Invoices and Contracts, 1942-1947|
|8||55||House Expenses, circa 1949|
|8||56||Receipts and Miscellaneous Records (in German), 1914-1948|
|8||57||Social Security, 1955-1963|
|8||59-64||Taxes, Supporting Documentation, 1964-1966|
|8||65||University of California, Financial Standing with, 1963-1965|
Miscellaneous Records, 1906-1966
0.8 Linear feet; Box 9
The early portion of the 1932 appointment book records Hofmann's business and personal expenses. Artwork by Hofmann consists of 4 sketches in ink and pencil and 3 oversize block prints of flat, red shapes (one is the numeral 5).
Among the miscellaneous items included with biographical information are Hofmann's permit to paint in the Luxembourg Gardens issued in 1911, power of attorney, a building permit, automobile registration, galley proof of entry for Who's Who in the East (10th edition), and Hofmann's calling card. Additional wills are with the miscellaneous Estate Records (Series 9).
The bulk of this series has been scanned. Medical records have not been scanned.
Records are organized into a number of categories, most of which include just a few items. The series is arranged as 7 subseries:
- 5.1: Addresses, circa 1930-1966
- 5.2: Appointment Books, 1932, 1960, 1966
- 5.3: Artifacts, circa 1935-1960
- 5.4: Artwork by Hofmann, circa 1930-1960
- 5.5: Biographical Information, 1906-1966
- 5.6: Interview Transcripts, 1952-1966
- 5.7: Sales Records, 1946-1965
5.1: Addresses, circa 1930-1966
|9||1||Address Books, vols. 1-4, circa 1930-1966|
|9||2||Address Books, vols. 5-7, circa 1958-1966|
|9||3||Names and Addresses, circa 1930-1966|
5.2: Appointment Books, 1932, 1960, 1966
|9||4||Appointment Books (3 vols.), 1932, 1960, 1966|
5.3: Artifacts, circa 1935-1960
|9||5||Leather Wallet, circa 1930-1960|
|9||6-8||Photogravure Blocks containing images of works of art and classes in session undated, circa 1935-1960|
5.4: Artwork by Hofmann, circa 1930-1960
|9||9||Sketches, circa 1930-1960|
|9||10||Block Prints, circa 1930-1960|
5.5: Biographical Information, 1906-1966
5.6: Interview Transcripts, 1952-1966
|9||22||Transcript of Interview with Hans Sahl, 1952|
|9||23||Transcript of Interview with Paul Segnitz, 1957|
|9||24||Transcript of Interview with Irma Jaffe for the Archives of American Art, 1966|
5.7: Sales Records, 1946-1965
|9||26||Private Sales, 1946-1957|
Photographic Materials, circa 1925-1966
1.5 Linear feet; Box 9-10, Box 19
Photographs are of people, events, places, works of art, and miscellaneous subjects.
Photographs of people include Hofmann alone, with Miz, and with students and others. They are mostly undated and are arranged in rough chronological order. Among the pictures of Hans and Miz Hofmann are several of them wearing oriental costumes, circa 1920s. Those of Hofmann with students and others are mostly unidentified (the one exception is a view labeled "Fred Hauck, Janet Chase, Herr Hofmann, Warren Cheney, Molly Bennett at Upper Angora Lake above Lake Tahoe, California, August, 1930" in the folder titled "Hans Hofmann with Others"). Several photographs in this category are over or under exposed, obscuring faces. A small leather album stamped with the title "Snap Shots Hancock, N.Y." contains 15 photographs of Hans, Miz, students, and friends. Photographs of identified individuals are Georg Hampton, Effie Bell Rogers, and Cornelia Ryder; only first names are provided for the few group shots that are identified.
Photographs of events record some of the "Forum 49" events held at Gallery 200 and include Fritz Bultman, Adolph Gottlieb, Hemley, Hans Hofmann, Weldon Kees, Karl Knaths, Blanche Lazell, and Judith Rothschild. Exhibition installation views and photographs of openings are of the Venice Biennale, 1960; Galerie im Künstlerhaus, Munich, 1962; Museum of Modern Art, "Recent Acquisitions: Painting and Sculpture," 1966; and an unidentified exhibition in Germany. Also documented are ceremonies at which Hofmann was awarded honorary degrees: University of California, Berkeley, 1964, includes many views with Glenn and Kay Wessels, and Monica and John Haley at the San Francisco airport; and Pratt Institute Founder's Day, 1965.
Many of Hofmann's paintings are visible in the photographs of places. Views of Hofmann's New York studio, 1966, include paintings and images of Renate Schmitz Hofmann. Travel pictures are of Italy, Mexico, California[?], and unidentified locations.
Photographs of works by Hans Hofmann include the New York School of Printing mural, and "Summer" and "Rhapsody" from his Renate series. Also part of this subseries are Renate Schmitz Hofmann's 1974 gift of 313 35-mm color slides of paintaings executed between 1935 and 1965. Other artists are Detre, Georg Hampton, M. Wolfegg Hofmann, Sterling Poindexter, Myron S. Stout, L. Vivin (represented in Hofmann's personal art collection), Glenn Wessels, and Fritz Winter. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion; many are stamped "staatlich genehigt, Schule für bildende Kunst, Hans Hofmann, München."
Oversize photographs include portraits of Hofmann by Sid Grossman, Arnold Newman, Irving Penn, and Leon Schnall; Miz was photographed by Ruth Jacobi-Roth and Marvin Lazarus. With the exception of a nude study by Lee Krasner, student works are unidentified.
The bulk of this series has been scanned. Slides/negatives of artwork and the glass plate negative have not been scanned.
Photographic materials are organized by subject. Glass plate negative housed separately and closed to researchers. The series is arranged as 5 subseries:
- 6.1: People, 1920s-1965
- 6.2: Events, 1949-1966
- 6.3: Places, 1920s-1967
- 6.4: Works of Art, 1930-1965
- 6.5: Miscellaneous Subjects, 1941-1948
6.1: People, circa 1920-1965
Hans Hofmann, circa 1920-1965
Oversized material housed in Box 19, Folder 1-2.
|9||29||Hans and Maria ("Miz") Hofmann, circa 1920-1963|
|9||30||Hans Hofmann with Students/Students, circa 1920-1950|
Hans Hofmann with Others, circa 1920-1964
Oversized photographs housed in Box 19, Folder 3.
Maria ("Miz") Wolfegg Hofmann, circa 1920-1963
Oversized photographs housed in Box 19, Folder 4.
|9||33||Maria ("Miz") Wolfegg Hofmann with Others, circa 1930-1960|
|9||34||Renate Schmitz Hofmann, 1965|
|9||35||Theo Hofmann (nephew) and Family, 1947-1965|
|10||1||Photograph Album, circa 1930-1960|
|10||2||Individuals, A-Z, 1929-1951|
Unidentified Individuals, Adults, 1941, 1957
Oversized photographs housed in Box 19, Folder 5.
|10||4||Unidentified Individuals, Children, 1935-1936|
|10||6||Adults, circa 1920-1960|
|10||7||Families[?]/Adults with Children, circa 1920-1960|
|10||8||Children, 1926-1927, 1950|
|10||9||Artist's Model, circa 1920-1960|
6.2: Events, 1949-1966
|10||10||"Forum 49" at Gallery 200, Provincetown, MA, 1949|
|10||12||Honorary Degrees, 1964-1965|
6.3: Places, circa 1920-1967
|10||13||Miz's Munich Apartment, circa 1935|
|10||14||Provincetown House, Interior and Exterior, 1958|
|10||15||Provincetown School, Exterior, 1941|
|10||17||Travel Pictures, 1920s, 1960s|
|10||18||Munich, circa 1935|
|10||20||Unidentified Houses, circa 1920-1967|
|10||21||University Art Museum, Berkeley, Calif., Architect's Model, 1967|
New York School of Printing
Oversized photograph housed in Box 19, Folder 6.
6.4: Works of Art, 1930-1965
|10||23||By Hans Hofmann, 1935-1965|
|10||24-25||By Hans Hofmann (slides), 1935-1965|
|10||26-28||By Other Artists, D-W and unidentified, 1934-1937|
|10||29-31||By Other Artists, D-W and unidentified, 1934-1937|
By Unidentified Hofmann Students, 1930-1965
Oversized photographs housed in Box 19, Folder 7.
|10||34||By Unidentified Hofmann Students (slides), 1930-1965|
|10||35-36||Teaching Materials, circa 1930-1965|
|10||37||Teaching Materials (negatives), circa 1930-1965|
6.5: Miscellaneous Subjects, 1941-1948
|10||38||Dog, Cat, Dolls, 1941|
Cover Design for
Search for the Real in the Visual Arts (Glass Plate Negative), circa 1948
Oversized photographs housed in Box 19, Folder 1-2; 1 glass plate negative housed in MGP 1)
|19||1-2||Oversized Photographs of Hans Hofmann scanned with Box 9, Folder 28, circa 1950-1965|
|19||3||Oversized Photographs of Hans Hofmann with Others scanned with Box 9, Folder 31, circa 1960|
|19||4||Oversized Photographs of Maria ("Miz") Wolfegg Hofmann scanned with Box 9, Folder 32, circa 1957-1962|
|19||5||Oversized Photographs of Unidentified Individuals scanned with Box 10, Folder 3, 1940|
|19||6||Oversized Photographs of New York School of Printing scanned with Box 10, Folder 22, 1956|
|19||7||Oversized Photographs of Works of Art by Hofmann Students scanned with Box 10, Folder 32, circa 1930-1965|
Glass Plate Negative, circa 1948
Printed Material, 1930-1978
5.2 Linear feet; Box 11-15, Box 20
Printed Matter By Hans Hofmann contains "Plastic Creation," 1932; Search for the Real and Other Essays, 1948; "The Color Problem in Pure Painting-Its Creative Origin," 1956; "Hawthorne-The Painter: An Appreciation," 1960 (in Hawthorne on Painting; From Students' Notes Collected by Mrs. Charles Hawthorne) and 1962 (in Charles W. Hawthorne, 1872-1930, Shore Galleries, Boston); "A Tribute to Adelyn D. Breeskin," 1962 (in the Baltimore Museum of Art News, summer 1962); statement on the work of Edith Sachs, undated (printed in an announcement for her show, Feb. 23-March 8, Zodiac Gallery, New York); and an undated letter to the editor of Look.
Miscellaneous printed matter includes a wide variety of items. An auction catalog for a fundraising event includes a Hofmann painting donated by the artist. University Art Museum: A Center for Cultural Study [UC, Berkeley], undated is a prospectus that shows models and drawings of the building and the location of its Maria and Hans Hofmann Wing. The scrapbook contains clippings, mainly exhibition reviews, and a small number of catalogs, checklists and invitations. Also included are two undated statements: "A Statement to the Public: Who Broke the Birds Nest?" by The Independent Advancing Artists, and "Aesthetic Realism: A General Statement."
The bulk of this series has been scanned. In some cases exhibition catalogs and other publications have had their covers, title pages, and relevant pages scanned. Catalogs of other artists; clippings and articles on general art-related topics and miscellaneous subjects; some miscellaneous printed material; and published books have not been scanned.
Printed matter by Hans Hofmann is segregated; items by other authors are categorized by document type. The series is arranged as 6 subseries:
- 7.1: By Hans Hofmann, 1932-1962
- 7.2: Exhibition Catalogs and Related Items, 1931-1978
- 7.3: Newspaper Clippings, 1930-1974
- 7.4: Articles from Periodicals, 1928-1971
- 7.5: Miscellaneous Printed Matter, 1936-1965
- 7.6: Books Mentioning/About Hofmann, 1934-1963
7.1: By Hans Hofmann, 1932-1962
|11||1||Articles, Essays, Letter to the Editor, 1932-1962|
7.2: Exhibition Catalogs and Related Items, 1931-1978
The subseries is arranged as 3 subseries:
7.2.1: Hoffman, circa 1935-1965
|11||2-3||Solo and Group Exhibitions, 1931-1949|
|11||4-6||Solo and Group Exhibitions, 1950-1951|
|11||7-8||Solo and Group Exhibitions, 1952|
|11||9-11||Solo and Group Exhibitions, 1953-1955|
|11||12-14||Solo and Group Exhibitions, 1956-1959|
|11||15-16||Solo and Group Exhibitions, 1960|
|11||17-18||Solo and Group Exhibitions, 1961|
|12||1-2||Solo and Group Exhibitions, 1962|
|12||3-5||Solo and Group Exhibitions, 1963|
|12||6||Solo and Group Exhibitions, 1964|
|12||7-9||Solo and Group Exhibitions, 1965|
|12||10||Solo and Group Exhibitions, 1966|
|12||11-12||Solo and Group Exhibitions, 1967|
|12||13-14||Solo and Group Exhibitions, 1968-1978|
|12||15||Solo and Group Exhibitions, circa 1935-1975|
7.2.2: Other Artists, Solo Exhibitions, circa 1935-1965
|13||1-8||A-L by Artist, circa 1935-1965|
|13||9-16||M-Z by Artist, circa 1935-1965|
7.2.3: Other Artists, Group Exhibitions, circa 1935-1965
|13||17-21||A-Z by exhibition title, circa 1935-1965|
7.3: Newspaper Clippings, 1930-1974
|14||1-2||About or Mentioning Hofmann, 1930-1959|
|14||3-5||About or Mentioning Hofmann, 1960-1974|
|14||6||Art-related Topics, 1930-1969|
|14||7-9||Art-related Topics, circa 1930-1970|
|14||10||Miscellaneous Subjects, circa 1935-1965|
7.4: Articles from Periodicals, 1928-1971
|14||11-12||About or Mentioning Hofmann, 1928-1954|
|14||13-14||About or Mentioning Hofmann, 1955-1959|
|14||15-16||About or Mentioning Hofmann, 1960-1961|
|14||17-19||About or Mentioning Hofmann, 1962-1971|
|14||20||Art-related Topics, 1928-1949|
|14||21-26||Art-related Topics, 1950-1966|
|14||27||Miscellaneous Subjects, 1960, 1963|
7.5: Miscellaneous Printed Matter, 1936-1965
|14||28||Art Courses (not Hans Hofmann School), 1936, 1963|
|14||29||Auction Catalog, 12th Annual Art Auction of the United Jewish Appeal of Greater New York, Parke-Bernet Galleries, Inc., 1965|
|14||30||Book Catalog and Prospectuses, 1951, 1961|
|14||31||Catalogs of Lamps, Paints, Art Supplies, circa 1960-1965|
|14||32||Picture Post Cards, circa 1940-1960|
|14||33||Provincetown Zoning By-Laws; Provincetown-Boston Airline Schedule, 1957, 1964|
Reproductions of Works of Art by Hofmann, circa 1940-1960
Oversized artwork housed in Box 20, Folder 1.
|14||35||Reproductions of Works of Art by Others, circa 1950-1955|
Oversized scrapbook housed in Box 20.
|14||37||Statements, circa 1940-1960|
|14||38||University Art Museum: A Center for Cultural Study, circa 1960-1965|
7.6: Books Mentioning or About Hofmann, 1934-1963
|15||1||Crotty, Frank. Provincetown Profiles and Others on Cape Cod. Barre, MA: Barre Gazette, 1958.|
|15||2||Claus, Jürgen. T heorien zeitgenössischer Malerei. Hamburg: Rowohlt Taschenbuch Verlag GmbH, 1963.|
|15||3||Cheney, Sheldon. Expressionism in Art. New York: Liveright Publishing Corp., 1934.|
|15||4||Eliot, Alexander. Three Hundred Years of American Painting. New York: Time Inc., 1957.|
|15||5||Geldzahler, Henry. American Painting in the 20th Century. New York: Metropolitan Museum of Art, 1965.|
|15||6||Greenberg, Clement. Hofmann. Paris: The Pocket Museum, Editions Georges Fall, 1961.|
|15||7||Guest, Barbara and B. H. Friedman. Goodnough. Paris: The Pocket Museum, Editions Georges Fall, 1962.|
|15||8||Hess, Thomas B. Abstract Painting. Background and American Phase. New York: Viking Press, 1951.|
|15||9||Janis, Sidney. Abstract and Surrealist Art in America. New York: Reynal and Hitchcock, 1944.|
|15||10||McDarrah, Fred W. The Artist's World in Pictures. New York: E. P. Dutton & Co., Inc., 1961.|
|15||11||MoMA. Abstract Painting and Sculpture.|
|15||12||Motherwell, Robert and Ad Reinhardt, eds. Modern Artists in America. First Series. New York: Wittenborn Schultz, Inc., .|
|15||13||Pousette-Dart, Nathaniel, ed. American Painting Today. A Cross-Section of Our Contemporary Art. New York: Hastings House, 1956.|
|15||14||Rathbun, Mary C. and Bartlett H. Hayes, Jr. Layman's Guide to Modern Art, Painting for a Scientific Age. New York: Oxford University Press, 1949.|
|15||15||Rosenberg, Harold. The Anxious Object. Art Today and its Audience. New York: Horizon Press, 1954.|
|15||16||Seitz, William C. Hans Hofmann; With Selected Writings by the Artist. New York: Museum of Modern Art, 1963.|
|15||17||Szittya, Emile. L'Art Allemand en France. Paris: Edition "La Zone," undated|
|15||18||Weller, Allen S. Art USA Now. Lucerne: C. J. Bucher, 1962.|
|15||19||Women. A Collaboration of Artists and Writers. New York: Samuel M. Kootz Editions, 1948.|
|20||1||Oversized Artwork by Hofmann from Box 14, Folder 34, circa 1950-1955|
|20||Oversized Scrapbook from Box 14, Folder 36, 1944-1962|
Hans Hofmann Library, circa 1904-1960
2.5 Linear feet; Box 16-18, Box 20
Books from Hans Hofmann's personal library were included among the papers donated to the Archives of American Art. Inscribed and annotated volumes have been retained with the collection. A small selection of books by, about, or mentioning Hofmann are among the printed matter described in Series 8.
This series has not been scanned.
Art books have been separated from general literature and both groups are arranged alphabetically by author. The series is arranged as 2 subseries:
- 8.1: Inscribed/Annoted Volumes - Art, circa 1904-1960
- 8.2: Inscribed/Annoted Volumes - General Literature, circa 1904-1960
8.1: Inscribed/Annotated Volumes-Art, circa 1904-1960
|16||1||Art News Annual XXV, 1956. [annotated]|
|16||2||L'Art Abstrait; ses origines; ses premiers maîgres. Paris: Maeght, 1949. [annotated]|
|16||3||Barr, Alfred H., Jr. Picasso; Fifty Years of his Art. New York: The Museum of Modern Art, 1946. [inscribed]|
|16||4||Bayl, Friedrich. Bilder unserer Tage. Koln: Verlag M. DuMont Schauberg, 1960. [inscribed]|
|16||5||Bazaine. Notes sur la peinture d'aujourd'hui. Paris: Floury, 1948. [inscribed]|
|16||6||Buttafava, G. and E. Garbagnati. Architetture nel segno dei Maestri. Bergamo, Italy: Instituto Italiano d'Arti Grafische, 1962. [inscribed]|
Carnet de desseins de Picasso reproduits au format de l'original. Paris: "Cahiers d' Art," 1948. [inscribed]
Oversized volume housed in Box 20.
|16||8||Clark, Kenneth. Landscape Painting. New York: Charles Scribner's Sons, 1950. [inscribed]|
|16||9||Construction and Geometry in Painting; From Malevitch to "Tomorrow." New York: Galerie Chalette, 1960. [inscribed]|
|16||10||The Edward Joseph Gallagher III Memorial Collection at the University of Arizona, Tucson. . [inscribed]|
|16||11||Gallatin, A. E., ed. Of Art; Plato to Picasso. New York: Wittenborn and Company, 1944. [inscribed]|
|16||12||Gary, Dorothy Hales and Robert Payne. The Splendors of Asia. New York: Viking Press, 1965. [inscribed]|
|16||13||Grabar, André. Byzantine Painting. New York: Skira Inc., 1953. [inscribed]|
|16||14||Graham, John D. System and Dialectics of Art. New York: Delphic Studios, . [annotated]|
|16||15||Hildenbrand, Adolf. Das Problem der Form in der Bildenden Kunst. Strassburg: J. H. Ed Heitz, 1901. [annotated]|
|16||16||Hunter, Sam. "Jackson Pollock: the Maze and the Minotaur." New World Writing. New York: New American Library, 1956. [annotated]|
|16||17||Jenkins. New York: Martha Jackson Gallery, 1965. [inscribed]|
|16||18||Kepes, Gyorgy. Language of Vision. Chicago: Paul Theobald, 1944. [annotated]|
|16||19||Malraux, André. The Voices of Silence. Garden City, NY: Doubleday & Company, Inc., 1953. [inscribed]|
|16||20||Modern Artists in America; First Series. Robert Motherwell and Ad Reinhardt, eds. New York: Wittenborn Schultz, Inc., [1951?]. [annotated]|
|16||21||Mondrian, Piet. Plastic Art and Pure Plastic Art, and Other Essays. New York: Wittenborn, Schultz, Inc., 1951. [inscribed]|
|16||22||Müller, Carl Theodor. Meister gotischer Plastit. München: J. S. Lehmanns Verlag, 1932. [inscribed]|
|17||1||Nierendorf, Karl, ed. Paul Klee; Paintings, Watercolors, 1913-1939. New York: Oxford University Press, 1941. [inscribed]|
|17||2||Pallottino, Massimo. Etruscan Painting. New York: Skira, 1952. [inscribed]|
|17||3||The Phillips Collection; a Museum of Modern art and its Sources; A Catalogue. New York and London: Thames and Hudson, 1952. [inscribed]|
|17||4||Picasso; 32 peintures récentes. Paris: Cahiers d'Art, 1949. [inscribed]|
|17||5||Regler, Gustav. Wolfgang Paalen. New York: Nierendorf Editions, 1946. [inscribed]|
|17||6||Rembrandt Handzeighnungen. Leipzig: Im Insel Verlag, undated [inscribed]|
|17||7||Rosenberg, Harold. Arshile Gorky; The Man, the Time, the Idea. New York: Horizon Press, Inc., 1962. [inscribed]|
|17||8||Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, Inc., 1959. [inscribed and annotated]|
|17||9||Schön, Erhard. Unterweisung der Proportion und Stellung der Possen. [no place: undated] [inscribed]|
|17||10||Seuphor, Michel. Écritures; Dessins/Drawings/Zeichnungen Alcopley. Paris: Les Nourritures Terrestres, 1954. [inscribed]|
|17||11||Steinberg, Saul. The Catalogue. Cleveland and New York: World Publishing Co., 1962. [inscribed]|
|17||12||Steinberg, Saul. The New World. New York: Harper & Row, 1965. [inscribed]|
|17||13||Sweeney, James J. Joan Miró. New York: The Museum of Modern Art, 1941. [annotated]|
|17||14||Uhde, W. Picasso et la Tradition Française; Notes dur la Peinture Actuelle. Paris: ?ditions des Quatre-Chemins, undated [inscribed]|
|17||15||Valentiner, W. R. Origins of Modern Sculpture. New York: Wittenborn and Company, 1946. [inscribed]|
|17||16||Walkowitz, Abraham. A Demonstration of Objective, Abstract, and Non-Objective Art. Girard, KS: Haldeman-Julius Publications, 1945. [inscribed]|
|17||17||Walkowitz, Abraham. Isadora Duncan in Her Dances. Girard, KS: Haldeman-Julius Publications, 1945. [inscribed]|
|17||18||Walkowitz, Abraham. 100 Paintings and Drawings from the Objective to Abstract. New York: B. W. Huebsch, Inc., 1925. [inscribed]|
|17||19||Westheim, Paul. Indische Baukunst. Berlin: Verlag Ernst Wasmuth A. G., undated [inscribed]|
|17||20||Woodward, William. French Quarter Etchings. New Orleans: Magnolia Press, undated [inscribed]|
|17||21||Wright, Frank Lloyd. The Future of Architecture. New York: Horizon Press, 1953. [inscribed]|
8.2: Inscribed/Annotated Volumes-General Literature, circa 1904-1960
|18||1||Copley, Alfred Lewin and Helen Boswell. Aconite the Love Poison. Reprinted from Bulletin of the History of Medicine, Vol. XV, No. 4, April 1944. [inscribed]|
|18||1||Einsichten. Freiburg, GER: Eberhard Albert Verlag, 1959. [inscribed]|
|18||1||Graf, Oskar Maria. Unruhe um Einen Friedfertigen. New York: Aurora Verlag, 1947. [inscribed]|
|18||1||Humphreys, Christmas. Buddhism. Hammondsworth, Middlesex, ENG: Penguin Books, 1952. [inscribed and annotated]|
|18||2||Kant, Immanuel. Kritik der reinen Vernunft. Halle an der Saale, GER: Verlag von Otto Hendel, undated [annotated]|
|18||2||Kuttner, Erich. Hans Von Marées; Die Tragödie des deutschen Idealismus. Zurich: Verlag Oprecht, 1937. [inscribed]|
|18||3||Mann, Thomas. Doctor Faustus; The Life of the German Composer Adrian Leverkühn as Told by a Friend. New York: Alfred A. Knopf, 1948. [annotated]|
|18||3||Neagoe, Peter. No Time for Tears. New York: Kamin Publishers, 1958. [inscribed]|
|18||3||Ver Duft, Lee. Ho! Watchman of the Night, Ho! New York: Gemor Press, 1944. [inscribed]|
|18||4||A World Treasury of Proverbs from Twenty-five Languages. Collected by Henry Davidoff. New York: Random House, 1946. [inscribed]|
|20||Oversized Volume Carnet de desseins de Picasso from Box 16, Folder 7|
Estate of Hans Hofmann, 1945-1974
0.5 Linear feet; Box 18
Estate records are those of Robert Warshaw of Trubin, Sillcocks, Edelman and Knapp, Hofmann's attorney and co-executor. Material predating Hofmann's death are items collected to document the purchase of his Provincetown house, copies of records relating to the Estate of Maria Hofmann appended to legal documents filed on behalf of the Hans Hofmann Estate, and earlier tax records requested by the Internal Revenue Service for an audit of the 1965 tax return filed by the estate.
Other tax records are filed with Financial Records (Series 4). Massachusetts estate tax records include some documents regarding the Estate of Maria Hofmann. Additional wills are among the biographical information with Miscellaneous Records (Series 5). Further information concerning the 1966 art theft is with the Papers of Renate Schmitz Hofmann (Series 10).
Portions of this series have been scanned. Personal financial information, routine financial materials, and personal legal and estate documents have not been scanned.
Documents are arranged by subject type. The series is arranged as 3 subseries:
9.1: Taxes, 1962-1973
|18||6||Tax Returns, 1962-1969|
|18||7-12||Supporting Documentation, 1962-1969|
|18||13||Massachusetts Estate Tax, 1966, 1973|
|18||14||New York Estate Tax, 1970-1971|
|18||15||Miscellaneous, 1965, 1972|
9.2: Provincetown House, 1945-1973
|18||18||Purchase and Ownership Records, 1945-1948|
9.3: Miscellaneous, 1965-1974
|18||20||Agreement between the University of California and Executors of the Estate of Hans Hofmann, 1971|
|18||22||Bank Statements, Accounting Records, 1965-1970|
|18||23||Estate of Hans Hofmann v. Alarms & Communications Corporation, 1972-1974|
|18||24||Gift of Household Items and Art Supplies to Fine Arts Work Center in Provincetown, Inc., 1973|
|18||25||Probate Decree and Related Correspondence, 1966, 1973|
|18||26||Purchase of Jacques Camins Film of Hofmann with Class in Provincetown, 1973|
|18||27||Purchase of Warren, Conn., Property, 1972-1973|
|18||28||Theft of Paintings, 1966|
|18||29||Wills and Related Correspondence, 1966|
Papers of Renate Schmitz Hofmann, 1962-1967
0.1 Linear feet; Box 18
German-born Renate Schmitz Hofmann (1930-1992) inspired Hofmann's Renate series painted in 1965, the year they were married. Her papers include condolence letters and records regarding Hans Hofmann's funeral. Among her other correspondence are a letter addressed to Dave about her relationship with Hofmann, a copy of a letter from John Querido to Samuel Kootz concerning the accusation that Renate had allowed other dealers to sell paintings from the Hofmann Estate, and correspondence with Henry Ford II and the Ford Motor company regarding complaints about their vehicle. A file titled Art Theft contains clippings about the theft of paintings from Hofmann's Provincetown home and their subsequent recovery. Notes consist of a spiral notebook, mostly in shorthand, containing what are probably notes from Nina Morgan's courses "Art of Conversation" and "Creative Living" held at Central YWCA; also, loose notes, "History of Western Philosophy."
Postcards from Renate Schmitz to Hofmann are filed with Correspondence (Series 1), and Photographs (Series 6) include pictures of her. Additional records regarding the art theft from the Provincetown house are included with the Hans Hofmann Estate Records (Series 9).
This series has been scanned in its entirety.
Documents are arranged by subject type.
|18||32||Condolence Letters, A-Z, 1966|
|18||33||Funeral of Hans Hofmann, 1966|
|18||34||Art Theft, 1966-1967|
|18||35||Business Cards, Address Notes, circa 1950-1965|
Hans Hofmann Documentary Projects, 1944-2011
11 Linear feet; Boxes 19, 21-31
The series consists of interviews, correspondence, video production and research material related to projects sponsored by the Renate, Hans, and Maria Hofmann Trust to document Hofmann's career and influence.
Research material compiled by Tina Dickey includes 30 interviews conducted by Dickey with former students of Hofmann, a recording of a panel discussion on Hofmann held in Provincetown, Mass. in 2000, information on students registered at Hofmann's schools between 1918 and 1958, and a sketch of the New York school's classroom by Paul Resika. Sound recordings of ten of the interviews and the one panel discussion are also present.
Correspondence, Production Material, and Research Material document the production of two video documentaries created by Madeline Amgott, Hans Hofmann: Reflections by Former Students (1999) and Hans Hofmann: Artist-Teacher, Teacher-Artist (2002). Correspondence relates to the funding, research, and distribution of the film. Production materials include video recordings, sound recordings, transcripts, notes, documentary scripts, various video and sound edits, and other production elements from Madeline Amgott’s production of the two documentaries. Research material consists of primary source and supplementary research materials gathered by Amgott, including supplementary interview transcripts, photocopies of archival correspondence, printed material from Hans Hofmann's papers, and original exhibition catalogs and newspaper clippings of Hofmann and his former students. Also found are historical sound recordings and moving images of Hans, Maria, and Renate Hofmann gathered from a variety of sources. Note that Tina Dickey worked with Amgott on research for both productions, and there is significant crossover in subject matter between Dickey's research and Amgott's production records.
See individual series descriptions for more detail.
The bulk of this series has been scanned. In some cases exhibition catalogs and other publications have had their covers, title pages, and relevant pages scanned.
The series is arranged as 4 subseries:
- 11.1: Research Material Compiled by Tina Dickey, 1991-2000
- 11.2: Correspondence, 1997-2003
- 11.3: Production Materials, 1997-2011
- 11.4: Research Materials, 1944-2003
11.1: Research Material Compiled by Tina Dickey, 1991-2000
Series contains interviews with former students of Hans Hofmann conducted by Tina Dickey between 1991 and 2000. All interviews are documented in transcripts, and sound recordings are also present for ten of the interviews and the panel discussion on 17 sound cassettes. Subjects include Virginia Admiral, Nieves Billmyer, Jeanne Bultman, Nicholas Carone, Robert De Niro, Sr., James Gahagan, Peggy Huck, Ken Jacobs, Wolf Kahn, Lillian Kiesler, Allen Leepa, Mercedes Matter, Barbara L. Michaels, Maud Morgan, Lillian Orlowsky, Haynes Ownby, Philip Pavia, Vita Peterson, Earl Pierce, Joseph F. Plaskett, Marion Ranyak, Paul Resika, Robert Richenburg, Peter Ruthenberg, Leatrice Rose, Douglas Sheer, Max Spoerri, Yvonne Thomas, Selina Trieff, and Robert Henry. The interviewees discuss the composition of the student body over the years, the evolution of Hofmann's ideas, the artists he studied, why he was an outstanding pedagogue, Hofmann's studio in Provincetown and the atmosphere of his classes on West 8th St. The interviewees recall, among many others, Lee Krasner, Josef Albers, Jan Matulka, George McNeil, Alice Hodges, Fritz Bultman, Tony Smith, Barnett Newman, Weldon Kees, Stuart Davis, Larry Rivers, Clyfford Still, and Thomas B. Hess.
The panel discussion, "Forum 2000: Hans Hofmann, the Painter," held at the Provincetown Art Association and Museum 2000 August 15, was moderated by Dickey and included artists and former students of Hofmann. Dickey's research on students registered at the Hofmann schools is in the form of computerized printouts of data Dickey compiled on 1,930 Hofmann students, 1918-1958, sorted alphabetically by name, and chronologically by course term. Dickey stresses in a note on the student registries that this data came from a variety of sources and may not be reliable or comprehensive.
|22||1-2||Student Records Research, Students Per Term (1918-1958), circa 1991|
11.2: Correspondence, 1997-2004
Correspondence relates to Madeline Amgott's video productions and includes permissions agreements, contracts for production, and research correspondence.
More research correspondence related to the video productions is found with materials obtained from various sources in 11.4, Research Materials.
11.3: Production Materials, 1997-2011
Production materials include video recordings, sound recordings, transcripts, notes, documentary scripts, various video and sound edits, and other production elements created in the course of the production of Madeline Amgott’s two documentaries, Hans Hofmann: Reflections of former Students (1999), and Hans Hofmann: Artist-Teacher, Teacher-Artist (2002). Video interviews and location footage form the bulk of the series and include unedited video recordings shot for the two productions. Some of the interviews were initially shot for the first video documentary and re-used in the later, longer documentary. Content includes interviews, mainly with artists who were students of Hofmann, but also his nephew, Theo Hofmann, and curators and art historians, including Lowery Sims, Richard Wollheim, and Xavier Javier Costa. Location footage includes Barcelona, Spain; Berkeley, California; Cape Cod and Provincetown, Massachusetts; New York City; and Munich, Germany. New York locations include the New York Studio School, the Metropolitan Museum, and the locations of Hofmann’s two mosaic murals. Subjects interviewed on location are not always listed on the videocassette label, but names of subjects are listed in a note in the folder list when known.
Most camera original material appears to be in BetacamSP (31 videocassettes) or Digital Betacam (2 videocassettes) format, with VHS (71 videocassettes) and in some cases sound cassette copies (34 sound cassettes) created for transcription and editing. Some of the video footage is only found in VHS format, presumed to be duplicates of camera original not found in the collection. Also found are production tapes and edits on 14 videocassettes (8 VHS, 5 BetacamSP, 1 DVCPro), 6 DVDs and 3 sound cassettes (2 standard cassettes and one DAT), including various photographs, artwork stills, stock footage, voiceover recordings, sound edits, rough video edits, master edits, and the Spanish version of Hans Hofmann; Artist-Teacher, Teacher-Artist.
Most interviews have full or partial transcripts, which are arranged with the recorded video. Additional paper records in the series include transcripts compiled into log books, documentary scripts in English and Spanish, and sound recordings and transcripts of a lecture and panel discussion at the Metropolitan Museum of Art in 1999.
Material is arranged by type, and interviews and location footage are arranged by subject. Several groups of tapes consisting of location footage in addition to interviews are arranged by location. Such groups generally contain multiple interviews as well as location footage shot within a short time span and are grouped by location, with individual names listed in a note.
Additional sound and video recordings collected from other sources are found in series 11.4, Research Materials. Additional interviews regarding Hans Hofmann, with some of the same subjects listed here, are found in series 11.1, Research Material Compiled by Tina Dickey.
|22||22||Interview Notes and Photographs, 1997-1998|
|22||23||Interview Scheduling (first interviews), 1997|
|22||Interviews and Location Footage|
Bercelona, Spain, 2001
Includes interview with Xavier Javier Costa, at Museu d'Art Contemporani de Barcelona
Berkeley, California, 2000
Includes interviews with Betty Bishop, Richard Wollheim, Karl Kasten, and Mary O’Neal
Cape Cod, Massachusetts, 1997 September 20
Nicolas Carone, 2001 May 1
For Ciro Cozzi interview, see Lillian Orlowsky, tape 5 of 5
|23||Interviews and Location Footage|
James Gahagan, 1997 September 18
Red Grooms, 2000 October 24
Myrna Harrison, 2001 May 25
Hans Theo Hofmann, 1999 March 27
Hans Theo Hofmann and Munich, Germany, 1999 June
Wolf Kahn, 2000 November 29
|24||Interviews and Location Footage|
Irvin Kershner, 2000 April-May
Lillian Kiesler, 1997 May 24
No VHS duplicate of tape 1 of 2 in collection
Erik Koch, 2000 December 4
Stanley Kunitz, 2000 December 19
For interview with Marisol, see New York City Mosaics, Outdoor and Indoor, 8/29/00, tape 1 of 3
Mercedes Matter and Robert Richenberg, 1998 June 7
Subjects interviewed separately on the same day; Richenberg interview on video tapes 1-2, Matter interview on video tapes 3-5. Original BetacamSP tapes 3 and 5 not in collection, only duplicate VHS.
New York City Mosaics by Hofmann, Outdoor Mosaic, 1997 May 23
Mosaic located at High School of Printing at 438 West 49th Street.
|25||Interviews and Location Footgae|
New York City Mosaics by Hofmann, Outdoor and Indoor Mosaics, 2000 August 29
Tape 1 of 3 begins with Marisol interview at Marlborough Gallery; indoor mosaic footage includes Max Spoerri and Bob Fisher on location; tape 1 found on Betacam SP only, no duplicate.
New York Studio School, 2001 November 20
Lillian Orlowsky and Ciro Cozzi, 1997 September 21
Subjects interviewed separately on the same day; Cozzi interview on tape 5 of 5.
Lillian Orlowsky, 2000 March 21
Haynes Ownby, 1997 September 20
|26||Interviews and Location Footage|
Haynes Ownby, 1997 September 20
Transcript in box 26, folder 2
Joseph Plaskett, 1999 June 11
Provincetown, Mass., 2000 August 15
Includes interviews with Tony Vevers, Jeanne Bultman, Shari De Miskey, and Bob Fisher, and a panel discussion at the Provincetown Art Association and Museum with moderator Tina Dickey and speakers Selina Trieff, Lillian Orlowsky, Ken Jacobs, Max Spoerri, and Robert Henry. See also Series 11.1, Research materials compiled by Tiny Dickey, for transcript and sound recording of panel discussion.
Paul Resika, 2000 November 21
Peter Rutherberg, 1999 June 16
|27||Interviews and Location Footage|
Peter Rutherberg, 1999 June 16
Transcript in Box 27, folder 2.
Lowery Sims, 1999 April 26
Also contains footage of the Metropolitan Museum during the 1999 Hans Hofmann retrospective.
Frank Stella, 1999-2000
|27||Production Tapes and Edits|
Hans Hofmann: Reflections by Former Students, 1999
Hans Hofmann: Artist-Teacher, Teacher-Artist, Master Edits, 2002
Hans Hofmann: Artist-Teacher, Teacher-Artist, Rough Edits, 2001-2002
Hans Hofmann: Artist-Teacher, Teacher-Artist, Paintings and Photographs, circa 2001
Hans Hofmann: Artist-Teacher, Teacher-Artist, Stock Footage, 2002
Hans Hofmann: Artist-Teacher, Teacher-Artist, Digital Soundtrack, 2004
Hans Hofmann: Artist-Teacher, Teacher-Artist, Voiceover Recordings, 2001
Hans Hofmann: Artist-Teacher, Teacher-Artist, Spanish Version, 2004
|27||15||Tape and Transcript Lists, 2000, 2011|
|27||16||Transcript Excerpts and Notes, circa 2000|
Transcript Log Book #1, 1997-2000
Transcripts for Lillian Orlowsky Freed, Haynes Ownby, Frank Stella, Ciro, and Metropolitan Museum speakers panel.
Transcript Log Book #2, 1997-2001
Transcripts for Mercedes Matter, Red Grooms, Tony Vevers, Nick Carone, Myrna Harrison, and Lillian Kiesler.
|28||5||Transcript for Narration, circa 2000|
Lecture by Helmut Friedel, "Hans Hofmann and Abstract Movements in Paris and Munich," 1999 June 20
Introduction by Lowery Sims.
Panel Discussion, "Hans Hofmann as Artist," 1999 September 26
Moderated by Lowery Sims. Panel speakers include Andre Emmerich, Walter Darby Bannard, Robert Henry, Judith Godwin and Judith Cotton.
Unidentified Video Recording, circa 1995
|28||9||Video Script, English, 2000|
|28||10||Video Script, Spanish, 2000|
11.4: Research Materials, 1944-2003
Series contains materials collected during the production of the two Hofmann documentaries from a variety of sources. Photocopies of archival materials from various archival collections are found, along with recorded interviews, writings, printed material, photographs, video and sound recordings (on 5 sound tape reels, 9 sound cassettes, 11 VHS videocassettes, and 5 BetacamSP videocassettes), and 13 motion picture film reels (three 16mm and ten 8mm). A large amount of material documenting Hans Hofmann is found, with smaller files related to family members and associates. Much of the material in the series is copied from their original sources, which are not in the collection and not always identified, but some original material is also found throughout the series.
Among the video, sound and film footage in the series are home movies of Hofmann shot in New York City, Provincetown, Berkeley, and on vacation with Renate Hofmann. Other film found in the collection includes footage of the Hofmann school from 1950 and around 1960, a short documentary about Hofmann in Provincetown which is uncredited, and a documentary by Walter Forma entitled "The Americans: Three East Coast Artists at Work" (1963), which contains a segment on Hofmann. Sound recordings include interviews copied from other collections of Hofmann and associates, an interview with Maria Hofmann by Dorothy Seckler, and a personal sound recording made by Renate Hofmann. Other interviews and lectures in the series, copied from the Archives of American Art and other sources, include Ray Eames, John Haley, Harold Rosenberg, Ludwig Sander, Myron Stout, and Glenn Wessels.
Series is arranged by subject, mostly names of persons documented in the reseasrch materials. A large group of files documenting Hans Hofmann is arranged under his name by type of material.
|28||11-13||Copies of Transcripts from Tina Dickey Interviews, 1998-2000|
|28||14||General, Film Research, 1997-2000|
|28||15-16||General, Printed Material, 1999-2000|
General, Video Documentaries, 1993-2001
|28||20||Bultman, Fritz, 1968-1980|
|28||21||Bultman, Jeanne, 1997-1998|
|28||22||De Niro, Robert, Sr., 1995-1999|
|30||1||Hofmann, Hans, Printed Material (periodicals), 1951-1961|
|30||2||Hofmann, Hans, Printed Material (press releases), circa 2000-2002|
|30||3||Hofmann, Hans, Printed Material (miscellaneous), circa 1950-1970|
|30||4||Hofmann, Hans, Photographic Material, circa 1950-2000|
|30||Hofmann, Hans, Video and Film, 1950 August 2-5|
Hofmann School Film Footage by Sam Feinstein, 1950 August 2-5
Videocassette also contains duplicates of reels from Box 30, folders 6 and 7
Hofmann School Film Footage, circa 1960
See videocassette in Box 30, folder 5 for access copy.
“Hans Hofmann,” Short Documentary Made in Provincetown, circa 1960
Uncredited. See videocassette in Box 30, folder 5 for access copy.
Home Movies of Hofmann in Provincetown by Jacques Joseph Camins (circa 1960), circa 1999
Home movies of Hans and Renate Hofmann, circa 1964-1966
Home Movies of New York City and Provincetown (1960 September), circa 1999
Includes photocopy of labels from 2 VHS duplicates of footage that were damaged and removed from collection
Home Movies of Hofmann Receiving Honorary Degree at University of California, Berkeley, taken by Karl Kasten (1964), circa 1999
“The Americans: Three East Coast Artists at Work” (1963) by Walter Forma, circa 1999
Hofmann, Hans, Writings By Others, circa 2000
Includes drafts of "Schule fur Bildende Kunst" and Talks on Art by Tina Dickey.
Hofmann, Hans, Writings By Others, 1966-2001
Includes drafts of "Hans Hofmann" by Sam Hunter and an untitled manuscript by Glenn Wessels.
Hofmann, Maria, 1962
Interview with Maria Hofmann conducted by Dorothy Seckler
Hofmann, Renate, circa 1964, 2001
Personal sound recording made by Renate Hofmann of herself speaking mostly in German. Dupcliates are incorrectly labeled "Interview with Maria Hofmann in German." 2001 News clippings also found.
Hofmann, Theodor and Franziska, circa 1997-1999
Transcript of a conversation among the Hofmanns, Andre Emmerich, Bob Warschaw, and Suzanne Boller; correspondence; and an interview with Franziska, all translated from German.
|31||9||Kahn, Wolf, 1998-2003|
|31||10||Kershner, Irvin, 1999-2001|
|31||11||Koch, Eric, 1978-2001|
|31||12||Kunitz, Stanley, 2000-2001|
|31||13||Matter, Mercedes, 1963-2001|
|31||14||Ownby, Haynes, 1993-1997|
|31||15||Pace, Stephen, 1994-2000|
|31||16||Orlowsky, Lillian, 1998-2000|
|31||17||Resika, Paul, 1994-2002|
Rosenberg, Harold, circa 1999
Hans Hofmann Lecture, 1970, from Pacifica Radio Archives
Sander, Ludwig, 2000
1969 interview with Ludwig Sander from the Archives of American Art oral history program
|31||20||Silverman, Elijah, 2000|
|31||21||Stella, Frank, 1999-2001|
Stout, Myron, 1998
Includes transcript of 1984 oral history interview.
Symposium, Artists Talk on Art, 1978
|31||24||Vevers, Tony, 1981-2000|
Wessels, Glenn, circa 1999
Wessels interviewed by Karl Kasten, 1970, from Bancroft library, University of California, Berkeley.
|19||Oversized Research Material from Box 29, folders 26 and 28, Hans Hofmann Periodicals|