The assassination of President John F. Kennedy Jr. on November 22, 1963, ultimately ushered in a decade of turmoil and distress in the United States. The Vietnam War and the Civil Rights movement for African Americans were two of many struggles facing the American people in the 1960s.
Native Americans have had a tremendous impact in numerous arenas of American life. This is particularly true in the visual arts. In celebration of Native American Heritage Month we’re highlighting artists of American Indian descent who have had a significant presence in the American Art and Portrait Gallery (AA/PG) Library’s collections.
This post was written by Tim Cannon, intern in the Hirshhorn Museum and Sculpture Gallery Library.
Olga Hirshhorn, the widow of Hirshhorn founder Joseph H. Hirshhorn, died October 3 in Naples, Florida. She was a generous friend and donor to the Hirshhorn Museum and Sculpture Garden Library.
If you think of Jean Dubuffet, Yves Tanguy, Balthus, Alberto Giacometti, Marc Chagall, and Joan Miró, you may instantly think of some of the most famous canvases and sculptures of modern art. These artists have been immortalized in art history as key figures within Modernism, a position made even more apparent by their countless works housed in some of the most important museums around the world. A name less recognizable is that of Pierre Matisse, the art dealer and gallerist who represented each of the artists mentioned above at various moments throughout his 50-plus year career.
This post was written by Stephen Van Dyk, Librarian, Cooper Hewitt, Smithsonian Design Library.
The Cooper Hewitt, Smithsonian Design Library recently obtained this renowned example of early 20th century book and graphic design entitled Dlja golosa (For the Voice), published in Berlin in 1923. The sixty-one page softcover work, a collaboration of Russian poet Vladimir Mayakovsky (1893-1930) and designer El Lissitzky (1890-1941), rhythmically interlaces innovative constructivist style layouts and patterns with thirteen futurist poems.
This is a two-part series on the Hewitt sisters. Read part one.
By 1897, Sarah and Eleanor had collected enough to formally open their museum on the fourth floor of the Cooper Union. In the tradition of their grandfather, the Hewitt sisters wanted to actualize a museum and library that were not just a showcase, but also tools—places that students and designers could come to for reference and inspiration, then go out and create their own innovative objects. In the birth of the Cooper Union Museum for the Arts of Decoration, the sisters embodied the increasingly democratic attitudes that grew to dominate the 20th century. Their museum was to be open to everyone, with “no tedious restrictions and formalities,” which were often imposed by the exclusive art galleries of the era. Indeed, their museum provided a means for many women to gain economic independence through art and design.
This is a two-part series on the Hewitt sisters.
Deep in the Cooper Hewitt, Smithsonian Design Library’s collection of rare books, one might be surprised to come across children’s illustrated books by Walter Crane and Beatrix Potter. Even more fascinating might be the origin of these tomes, for in this collection are the very books read by the founding sisters of the Cooper Hewitt, Smithsonian Design Museum: Sarah (Sallie) and Eleanor (Nellie) Hewitt. These sisters—born of the Gilded Age, granddaughters of industrialist Peter Cooper—would create the first and only museum dedicated to decorative arts in the United States, originally named the Museum for the Arts of Decoration. They were the first women to establish a museum in America.