515:
exhibitions designed for and by young people. After the first two-year pilot, this program expanded through the funding of the Museum and the Board of
Education. Schools were supplied with more than 100 visual aids, including exhibitions, slide talks, teaching models, teaching portfolios and films, which were seen by more than 350,000 school children each year. Exhibits, libraries of color reproductions, museum books which students could borrow and take home, teaching portfolios designed for classroom use and art films were among the materials that circulated. "The record of this program," Victor D'Amico said, "and the exhibitions are a tribute to the Board of Education teachers whose interest sustained the program and whose cooperation with the Museum over the years has been an adventure." Olive Reilly, Director of Art of the Board of Education, called the program "an outstanding example of the fine contribution that a museum, through its educational department, can make to public school education."
541:, the directive of the Children's Art Carnival was “...to free the child of his clichés or imitative mannerisms and to help him discover his own way of seeing and expressing.” Within each hour-long session, children ranging in age from three to twelve engaged in a series of motivational activities. Aside from the trained teachers, adults were not permitted. The first half of the workshop was for children to interact with a series of motivational toys that encouraged the exploration of line, color, and form that would be stimulate their art making. They were then brought to a studio where they had open access to a variety of mediums and materials. While The Children's Art Carnival encouraged individual expression and exploration, D’Amico stressed the import role of the teacher. As he noted, it is the teacher's responsibility to be sensitive to the needs of their students and create an open environment that both motivates and informs.
475:. A student's physical environment therefore held an important role in their educational development. D’Amico stressed that through art making, a student would be introduced to elements of design: color, shape and composition that would emerge in everyday objects. The use of motivational toys became integral to his practice. As he notes, “toys have an important place is creative growth of the child...They are his first possessions and the objects of profound interest and affection. Through them he is introduced to the elements of design, texture, pattern, form, color and rhythms as they become the tools of his activity and his imagination.”
345:, Riverdale, NYC from 1926 to 1948. While working at Fieldston, D’Amico joined MoMA part-time as director of the Educational Project in 1937. In 1948 D’Amico started working full-time at MoMA as Director of the Education Department and remained in the post until he retired in 1969. At MoMA, D’Amico created and directed the Young People's Gallery, the Children's Art Carnival (in New York, Italy, Spain, Belgium, India and Harlem), the Committee on Art Education, the Veterans Art Center, The People's Art Center and the Napeague Institute of Art best known as the Art Barge. D’Amico also produced Through the Enchanted Gate, a
697:
1944 on West Fifty-sixth Street, with additional studio spaces at 681 Fifth Avenue. From 1944 to 1948, the center was devoted exclusively to veterans “to discover the best and the most effective ways of bringing about, through the arts, the readjustment of the veteran to civilian life.” D’Amico insisted on distinguishing the work of the War
Veterans’ Art Center from art therapy, with the expectation that veterans would develop their own individual aptitude. The program eventually expanded into the People's Art Center, which accepted non-veterans.
287:, New York. D’Amico explored the essence of the art experience and the ability to communicate one's most profound ideas and emotions through aesthetic expression. He considered that the individual's personality had to be respected and developed by providing opportunities for creative experimentation. D'Amico's philosophy was based on the fundamental belief in the creative potential in every man, woman and child. He believed "that the arts are a humanizing force and their major function is to vitalize the living."
497:’s experience-based pedagogy and utilized environment to stimulate creativity. In turn, he often took a experimental style approach to learning. D’Amico promoted engagement and interactivity in many of his museum programs and exhibitions. From the Children’s Art Carnival, which promoted play as a form of motivation, to the Young People’s Gallery, which gave high school students the rare experience of curating an exhibition, D’Amico expanded the boundaries of the classroom.
766:
25:
537:
throughout New York City. In line with his seminal belief that art education should focus on individual experimentation as opposed to the practice of rote techniques, The
Children's Art Carnival fostered an environment in which children were encouraged to make creative decisions. As D’Amico writes in his book,
89:
735:
Fund, the
Caravan consisted of two trailers that were designed as mobile art stations for children whose schools lacked art programs or proper facilities. Continuing in his vision of The Children's Art Carnival as a workshop for teachers as well as children, The Children's Art Caravan included visual
600:
The
National Committee on Art Education was started in 1942 as an attempt to rebel against the business interests of larger national arts organizations. Chaired by D’Amico and funded by the Museum of Modern Art the committee grew during the first few years to over a thousand members, most of them art
527:
Victor D'Amico designed special equipment in the Young People's gallery so that it served both as gallery and art studio. This included community easels, a continuous chain of desks folded flat against two of the walls and a large screen that covered an entire wall of the gallery that could be opened
505:
For more than three decades (1937–1969), D’Amico served as the
Director of MoMA’s Education Department. D’Amico's programs included: the Young People’s Gallery, the National Committee on Art Education, The War Veterans’ Art Center, the People's Art Center, the Children's Art Carnival, and Classes for
696:
The Museum of Modern Art's Armed
Services Program, established during World War II, supplied art materials to men and women in uniform through the United Service Organization. With the end of the war, the program expanded its offerings at the MoMA. The War Veteran Art Center opened in the summer of
459:
D’Amico believed that developing an aesthetic vision and art practice was both personally and collectively enriching, as it allows for a greater appreciation of the natural and built world. Regardless of artistic talent, D’Amico considered that creativity is intrinsic to every individual and should
299:
Victor D’Amico was born on May 19, 1904, in New York City. D’Amico was one of the eleven children (seven boys and four girls) born to
Concetta Paula (Jennie) Vitale and Domenico Emilio D’Amico. Victor D’Amico's mother and father were born in Italy. Concetta arrived to the United States when she was
748:
In 1955, D’Amico sought to find a permanent location for the art classes that were initially offered by the MoMA at
Ashawagh Hall in Springs, New York. In March 1960, with the help of local baymen, D’Amico anchored a WWII Navy barge in Napeague Harbor. A second story was added, creating additional
762:. The Institute recognizes the artistic potential within every man, woman, and child. Through weekend workshops, open studio sessions, and evening events, The Art Barge is an accessible art center that prides itself on furthering arts education and reflecting the rich art history of Long Island.
536:
In 1942, D’Amico founded the widely acclaimed
Children's Art Carnival program at the Museum of Modern Art, where it would be presented periodically for over twenty years. D’Amico initially conceived of the Children's Art Carnival as an experiment in art education that would be offered to children
523:
The Young People's Gallery was opened under the direction of Victor D’Amico on December 1, 1937. The Young People's Gallery was an “educational experiment” with the intent of making the Museum's collection more accessible to New York public and private schools. All exhibitions shown in the Young
489:
D’Amico stressed that “all people have creative ability and that anyone at any age can enjoy and develop his aptitudes in art.” Developing the creative interests of his student's parents would help ensure the presence of art in the home and promote a student's individualized tactile development,
290:
Recognizing learning as a process that is unique in each individual, D'Amico embraced the different ways in which each person's experience, ability and perception require a different approach to teaching. Teaching by this process, according to D'Amico, meant that the teacher must be constantly
514:
The program for the New York City High Schools began at the Museum of Modern Art in 1937 as a privately financed experiment involving the participation of twelve schools and The Museum of Modern Art. It included exhibitions sent to schools and a Young People's Gallery at the Museum containing
463:
D’Amico stressed the importance of discouraging imitation and supporting individual expression. By challenging accepted norms and encouraging unconventional perspectives, D’Amico argued that the value of art making far surpassed that of the final product. It was the process and experience of
757:
In 1982, The Art Barge was renamed as The Victor D'Amico Institute of Art. It was Directed by Victor D'Amico until he died in 1987. Christopher Kohan is the current president of the Victor D'Amico Institute of Art. The Institution applies D'Amico's ideas to face current challenges in
601:
professionals. The committee, which met annually, sought to question and transform art education practices of the time (contests, copy books and paint-by-number kits, and teacher training). The Committee on Art Education gathered a range of thinkers, artists and educators including
782:
located in the house that Victor and Mabel D'Amico built comprises an extensive collection of research materials that relate to their teaching and art practice: photos, films, articles, books, motivational materials and artwork. From early modernist architecture and furnishings to
524:
People's Gallery were selected for, or by, pupils in the art classes of secondary schools. Student juries composed of delegates from all the schools selected and hung the exhibitions. The project sought to give students a hands-on experience curating and producing art exhibitions.
464:
interacting with art itself that inspired new thought. D’Amico therefore dedicated his life to the creation of programs that allowed children and adults to explore their creative potential and heighten their sensitivity to the artistic potential in everyday life.
544:
The Children's Art Carnival went on to receive international recognition. In 1957, the Museum of Modern Art presented the program at the International Trade Fairs in Milan and Barcelona. The program was then featured in the United States Pavilion at the
705:
The People's Art Center grew out of the structure and success of the War Veteran's Art Center. It opened in 1948 and offered classes in painting, ceramics, collage, and assemblage. Approximately 800 children and 500 adults attended the classes weekly.
739:
In 1972, the New York Board of Education's Learning Cooperative proposed the prototype of the two-car caravan, created by Victor D’Amico and his wife Mabel, to various school districts, but it was ultimately unable to receive adequate funding.
723:, Director of the Museum during the 1950s, felt that "Through the Enchanted Gate points the way to far-reaching possibilities in the Museum's constant aim to extend all its educational opportunities to wider and wider audiences."
787:
sculptures and collected items, The House contains many treasures from the private world of D'Amico and his wife Mabel and is open to the public for tours and private functions throughout the year by appointment only.
718:
and D’Amico himself, the series broadcast art projects and activities that took place at the People's Art Center to a national audience. Instructional pamphlets were available to families to try the exercises at home.
291:
sensitive to the needs of each individual so as to stimulate and satisfy emerging interests. Victor D'Amico was not only a remarkable artist and teacher, but also a visionary and pioneer of modern art education.
749:
studio space with panoramic views of both Napeague Harbor and the Atlantic Ocean. Originally named Kearsarge, a Native American word meaning “place of heaven,” it was affectionately known as The Art Barge.
444:
in the 1930s, D’Amico met Mabel Birckhead, a student and an artist/teacher. In 1945 they got married. Victor and Mabel D’Amico lived in the house they built in Lazy Point, Amagansett.
1336:
395:
in NYC and remained as Director of the Napeague Institute of Art, later renamed the Victor D’Amico Institute of Art, a non-profit art education organization on eastern Long Island.
1321:
714:
In 1952 and 1953, MoMA and WNBC-WNBT co-produced a television series called Through the Enchanted Gate created by Victor D’Amico and NBC vice president Ted Cott. Hosted by
565:, India. In 1963 the program toured major cities throughout India. In 1969, the Museum of Modern Art sponsored the incorporation of the Children's Art Carnival at
528:
to form narrow drop shelves on which paintings may be stood and easily removed to make way for more paintings during demonstrations and lectures to classes.
1316:
576:
The Children's Art Carnival was initially financed by the Museum of Modern Art, with subsequent contributions from individuals and foundations, including
388:, Collage Kit, and The Art of Assemblage. D’Amico authored many research papers published in different journals and lectured widely in the US and abroad.
213:
1291:
731:
Victor D’Amico was intent on expanding the Children's Art Carnival, and in 1969, created The Children's Art Caravan. Financed by a grant from The
407:
221:
1086:
441:
418:
338:
327:
173:
1296:
35:
46:
840:
1311:
402:
for Outstanding Service in the Field of Art Education on March 17, 1966. He received the Honorary Degree of Doctor of Fine Arts by the
403:
391:
Following D'Amico's retirement from MoMA, he taught classes for New York City Grade Teachers and created Parent/Child programs at the
64:
885:
688:
Labelling itself as “an avant-garde group,” the committee became prestigious for its noted affiliates and associations with MoMA.
237:
1331:
566:
546:
229:
154:
1326:
554:
392:
471:
was central to D’Amico's educational philosophy. He believed that lived experience was intrinsically linked to
260:
124:
584:
Foundation, The New York Fund for Children, the Van Amerigen Fund, and the Heckscher Foundation for Children.
205:
732:
399:
862:"Work From the Veterans Art Center and inauguration of the people's Art Center at the Museum of Modern Art"
422:
88:
682:
588:
served as the Carnival's Executive Director, with the aid of Consulting and Advisory Boards composed of
256:
142:
39:
that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
720:
1306:
1301:
585:
570:
448:
284:
189:
658:
430:
426:
413:
Victor D’Amico combined his museum and school work with university and college teaching. He taught
1210:
1243:
642:
626:
581:
1189:
1168:
1144:
861:
634:
478:
D’Amico also explored the role of parents as teachers. In his thirteen-week television series
331:
674:
662:
641:
amongst others as keynote speakers. The committee also organized meetings with artists like
614:
549:
in Belgium. In 1962, on behalf of the International Council of The Museum of Modern Art and
342:
120:
577:
323:
280:
169:
678:
670:
630:
602:
1285:
759:
654:
650:
622:
618:
610:
558:
437:
414:
177:
116:
573:
programs, day care centers, public schools and numerous neighborhood organizations.
330:(1926–1930) where he earned his B. S. and M.S. D’Amico also studied and worked with
784:
666:
550:
319:
165:
736:
aids and texts that would guide the teachers in D’Amico's educational philosophy.
646:
300:
one year old while Domenico emigrated to the United States when he was nineteen.
606:
715:
494:
472:
468:
252:
638:
562:
312:
304:
765:
1234:
Harvey, Michelle (2001). "Through the Enchanted Gate: The Modern on TV".
341:, D’Amico was hired as art teacher and Head of the Art Department of the
1247:
822:
50 Years of Humanizing the Arts: Exhibition Tribute to Victor D'Amico
589:
308:
322:, studying fine arts, illustration, and costume design (1920–1922);
214:
How to Make Pottery and Ceramic Sculpture (with Julia Hamlin Duncan)
764:
1261:
981:
D'Amico, Victor; Basset, Kendall T.; Thurman, Arthur B. (1951).
779:
283:
and the founding Director of the Department of Education of the
346:
18:
1087:"VICTOR D'AMICO, 83, A PIONEER IN ART EDUCATION FOR CHILDREN"
805:
D'Amico, Victor (February 1961). "Art, a Human Necessity".
222:
Art for the Family (with Moreen Maser & Frances Wilson)
36:
personal reflection, personal essay, or argumentative essay
1110:
D'Amico, Victor (May 1966). "About Integrating the Arts".
406:
on June 8, 1964, and received a Citation of Merit by the
1001:
D'Amico, Victor; Maser, Moreen; Wilson, Frances (1954).
188:
Founding Director of the Department of Education at the
1169:"The Museum of Modern Art opens Young People's Gallery"
42:
1211:"LI veterans find that art helps heal hidden wounds"
780:
The Mabel & Victor D’Amico Studio & Archive
490:artistic collaboration, and aesthetic sensitivity.
315:(New York City); and Cuyahoga in Cleveland (Ohio).
266:
248:
195:
184:
161:
150:
131:
98:
79:
1112:Journal of the National Art Education Association
1145:"Exhibition of Toys at the Museum of Modern Art"
1044:. Buffalo: The University of New york (Buffalo).
561:as a gift for the National Children's Museum in
841:"Short History of the Children's Art Carnivals"
774:Mabel & Victor D'Amico Studio & Archive
349:television program presented in 1952 and 1953.
279:(May 19, 1904 – April 1, 1987) was an American
400:The National Gallery of Art, Washington, D. C.
1337:Teachers College, Columbia University faculty
1129:D'Amico, Victor (1977). "Director's Report".
238:The Art of Assemblage (with Arlette Buchman)
8:
1322:Teachers College, Columbia University alumni
966:D'Amico, Victor; Martin, Charles J. (1949).
352:D’Amico's most significant writings include
93:Victor D'Amico (drawing by Sara Torres Vega)
1055:D'Amico, Victor; Johnson, Margaret (1967).
569:, where it was free to Harlem residents in
1070:D'Amico, Victor; Buchman, Arlette (1970).
769:The Victor D'Amico Institute of Modern Art
744:The Kearsarge Art Center, "The Art Barge"
398:D'Amico was granted the Medal of Honor by
270:Mabel Ellet Macxy, Mabel Birckhead D'Amico
87:
76:
953:How to Make Pottery and Ceramic Sculpture
557:presented The Children's Art Carnival to
447:Victor D’Amico died on April 1, 1987, in
366:How to Make Pottery and Ceramic Sculpture
326:, studying art education (1924–1926) and
65:Learn how and when to remove this message
773:
951:D'Amico, Victor; Hamlin, Julia (1947).
940:. Scranton: International Text Book Co.
797:
596:The National Committee on Art Education
408:State University of New York at Buffalo
157:, Long Island, United States of America
145:, Long Island, United States of America
869:The Museum of Modern Art Press Release
778:Adding to the integrity of The Barge,
303:Victor D’Amico spent his childhood in
1163:
1161:
1074:. New York: The Museum of Modern Art.
1059:. New York: The Museum of Modern Art.
1029:. New York: The Museum of Modern Art.
1020:
1018:
1016:
1014:
1012:
1005:. New York: The Museum of Modern Art.
996:
994:
992:
985:. New York: The Museum of Modern Art.
970:. New York: The Museum of Modern Art.
955:. New York: The Museum of Modern Art.
510:The New York City High School Program
482:(1952–53) and subsequent publication
419:Teachers College, Columbia University
174:Teachers College, Columbia University
7:
1042:Found Objects (exhibition catalogue)
886:"Art Classe at the Napeague Harbour"
880:
878:
835:
833:
831:
752:
539:Experiments in Creative Art Teaching
442:Teachers College Columbia University
382:Experiments in Creative Art Teaching
328:Teachers College Columbia University
230:Experiments in Creative Art Teaching
1085:McGill, Douglas C. (3 April 1987).
753:The Victor D'Amico Institute of Art
1317:American people of Italian descent
938:Creative Teaching in Art Education
460:be fostered through art education
404:Philadelphia Museum College of Art
14:
1027:Experiments in Creative Teaching
923:Visual Arts in General Education
824:. East Hampton, N. Y: Gild Hall.
358:Visual Arts in General Education
23:
1292:Black Mountain College faculty
1:
1190:"Pioneering in Art Education"
925:. New York: Appleton Century.
567:The Harlem School of the Arts
692:The War Veteran's Art Center
531:
1297:New York University faculty
983:How to Make Objects of Wood
726:
532:The Children's Art Carnival
374:How to Make Objects of Wood
1353:
1312:Artists from New York City
968:How to Make Modern Jewelry
727:The Children's Art Caravan
710:Through the Enchanted Gate
700:
691:
547:1958 Brussels World's Fair
519:The Young People's Gallery
493:D’Amico was influenced by
480:Through the Enchanted Gate
393:Metropolitan Museum of Art
370:How to Make Modern Jewelry
910:. Pretoria: Manual Press.
86:
1197:The Museum of Modern Art
1176:The Museum of Modern Art
1152:The Museum of Modern Art
1040:D'Amico, Victor (1956).
1025:D'Amico, Victor (1960).
936:D'Amico, Victor (1940).
921:D'Amico, Victor (1940).
906:D'Amico, Victor (1931).
893:The Museum of Modern Art
848:The Museum of Modern Art
820:D'Amico, Victor (1979).
362:Creative Teaching in Art
261:Social Reconstructionism
206:Creative Teaching in Art
125:United States of America
1262:"House | The Art Barge"
733:John D. Rockefeller 3rd
701:The People's Art Center
518:
1332:Pratt Institute alumni
770:
506:Parents and Children.
455:Art, a Human Necessity
423:Black Mountain College
45:by rewriting it in an
1072:The Art of Assemblage
768:
683:Henri Cartier-Bresson
257:Progressive Education
103:Victor Edmond D'Amico
586:Betty Blayton Taylor
451:, at the age of 83.
449:Amagansett, New York
318:Victor attended the
285:Museum of Modern Art
190:Museum of Modern Art
1327:Cooper Union alumni
578:The Ford Foundation
431:Southampton College
427:New York University
421:(1932, 1934–1942),
1091:The New York Times
1003:Art for the Family
771:
721:Rene d'Harnoncourt
643:Buckminster Fuller
627:Archibald Macleish
582:The New York Times
555:Jacqueline Kennedy
484:Art for the Family
410:, April 13, 1964.
378:Art for the Family
337:While studying at
47:encyclopedic style
34:is written like a
635:Robert Motherwell
343:Fieldston Schools
339:Teachers’ College
332:Norman Bel Geddes
274:
273:
75:
74:
67:
1344:
1276:
1275:
1273:
1272:
1258:
1252:
1251:
1231:
1225:
1224:
1222:
1221:
1207:
1201:
1200:
1194:
1186:
1180:
1179:
1173:
1165:
1156:
1155:
1149:
1141:
1135:
1134:
1126:
1120:
1119:
1107:
1101:
1100:
1098:
1097:
1082:
1076:
1075:
1067:
1061:
1060:
1052:
1046:
1045:
1037:
1031:
1030:
1022:
1007:
1006:
998:
987:
986:
978:
972:
971:
963:
957:
956:
948:
942:
941:
933:
927:
926:
918:
912:
911:
903:
897:
896:
890:
882:
873:
872:
866:
858:
852:
851:
845:
837:
826:
825:
817:
811:
810:
802:
685:amongst others.
675:Jacques Lipchitz
663:Alexander Calder
659:Georgia O’Keeffe
621:, Herbert Read,
615:Viktor Lowenfeld
551:The Asia Society
429:(1965–1972) and
198:
138:
112:
110:
91:
77:
70:
63:
59:
56:
50:
27:
26:
19:
1352:
1351:
1347:
1346:
1345:
1343:
1342:
1341:
1282:
1281:
1280:
1279:
1270:
1268:
1266:theartbarge.org
1260:
1259:
1255:
1233:
1232:
1228:
1219:
1217:
1209:
1208:
1204:
1192:
1188:
1187:
1183:
1171:
1167:
1166:
1159:
1147:
1143:
1142:
1138:
1128:
1127:
1123:
1109:
1108:
1104:
1095:
1093:
1084:
1083:
1079:
1069:
1068:
1064:
1054:
1053:
1049:
1039:
1038:
1034:
1024:
1023:
1010:
1000:
999:
990:
980:
979:
975:
965:
964:
960:
950:
949:
945:
935:
934:
930:
920:
919:
915:
905:
904:
900:
888:
884:
883:
876:
864:
860:
859:
855:
843:
839:
838:
829:
819:
818:
814:
804:
803:
799:
794:
776:
755:
746:
729:
712:
703:
694:
598:
534:
521:
512:
503:
457:
436:While teaching
324:Pratt Institute
297:
281:teaching artist
244:
196:
180:, United States
170:Pratt Institute
146:
140:
136:
127:
114:
108:
106:
105:
104:
94:
82:
71:
60:
54:
51:
43:help improve it
40:
28:
24:
17:
16:American artist
12:
11:
5:
1350:
1348:
1340:
1339:
1334:
1329:
1324:
1319:
1314:
1309:
1304:
1299:
1294:
1284:
1283:
1278:
1277:
1253:
1226:
1202:
1181:
1157:
1136:
1121:
1102:
1077:
1062:
1047:
1032:
1008:
988:
973:
958:
943:
928:
913:
898:
874:
853:
827:
812:
796:
795:
793:
790:
775:
772:
754:
751:
745:
742:
728:
725:
711:
708:
702:
699:
693:
690:
679:José De Creeft
671:William Zorach
631:Meyer Schapiro
617:, Belle Boas,
603:Walter Gropius
597:
594:
533:
530:
520:
517:
511:
508:
502:
501:MoMA Education
499:
456:
453:
296:
295:Life and works
293:
277:Victor D'Amico
272:
271:
268:
264:
263:
250:
246:
245:
243:
242:
234:
226:
218:
210:
201:
199:
193:
192:
186:
185:Known for
182:
181:
163:
159:
158:
152:
148:
147:
141:
139:(aged 82)
133:
129:
128:
115:
102:
100:
96:
95:
92:
84:
83:
81:Victor D'Amico
80:
73:
72:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
1349:
1338:
1335:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1313:
1310:
1308:
1305:
1303:
1300:
1298:
1295:
1293:
1290:
1289:
1287:
1267:
1263:
1257:
1254:
1249:
1245:
1241:
1237:
1230:
1227:
1216:
1212:
1206:
1203:
1198:
1191:
1185:
1182:
1177:
1170:
1164:
1162:
1158:
1153:
1146:
1140:
1137:
1132:
1125:
1122:
1117:
1113:
1106:
1103:
1092:
1088:
1081:
1078:
1073:
1066:
1063:
1058:
1051:
1048:
1043:
1036:
1033:
1028:
1021:
1019:
1017:
1015:
1013:
1009:
1004:
997:
995:
993:
989:
984:
977:
974:
969:
962:
959:
954:
947:
944:
939:
932:
929:
924:
917:
914:
909:
902:
899:
894:
887:
881:
879:
875:
870:
863:
857:
854:
849:
842:
836:
834:
832:
828:
823:
816:
813:
808:
801:
798:
791:
789:
786:
781:
767:
763:
761:
760:art education
750:
743:
741:
737:
734:
724:
722:
717:
709:
707:
698:
689:
686:
684:
680:
676:
672:
668:
664:
660:
656:
655:Edward Hopper
652:
651:Martha Graham
648:
644:
640:
636:
632:
628:
624:
623:Margaret Mead
620:
619:Marcel Breuer
616:
612:
611:Hale Woodruff
608:
604:
595:
593:
591:
587:
583:
579:
574:
572:
568:
564:
560:
559:Indira Gandhi
556:
553:, First Lady
552:
548:
542:
540:
529:
525:
516:
509:
507:
500:
498:
496:
491:
488:
485:
481:
476:
474:
470:
467:The study of
465:
461:
454:
452:
450:
445:
443:
439:
438:art education
434:
432:
428:
424:
420:
416:
415:art education
411:
409:
405:
401:
396:
394:
389:
387:
386:Found Objects
383:
379:
375:
371:
367:
363:
359:
355:
350:
348:
344:
340:
335:
334:(1928–1929).
333:
329:
325:
321:
316:
314:
310:
306:
301:
294:
292:
288:
286:
282:
278:
269:
265:
262:
258:
254:
251:
247:
240:
239:
235:
232:
231:
227:
224:
223:
219:
216:
215:
211:
208:
207:
203:
202:
200:
194:
191:
187:
183:
179:
175:
171:
167:
164:
160:
156:
153:
151:Resting place
149:
144:
135:April 1, 1987
134:
130:
126:
122:
118:
117:New York City
101:
97:
90:
85:
78:
69:
66:
58:
48:
44:
38:
37:
32:This article
30:
21:
20:
1269:. Retrieved
1265:
1256:
1242:(7): 27–29.
1239:
1235:
1229:
1218:. Retrieved
1214:
1205:
1196:
1184:
1175:
1151:
1139:
1131:MoMA Reports
1130:
1124:
1115:
1111:
1105:
1094:. Retrieved
1090:
1080:
1071:
1065:
1056:
1050:
1041:
1035:
1026:
1002:
982:
976:
967:
961:
952:
946:
937:
931:
922:
916:
908:Theatre Arts
907:
901:
892:
868:
856:
847:
821:
815:
806:
800:
785:found object
777:
756:
747:
738:
730:
713:
704:
695:
687:
667:Marc Chagall
599:
575:
543:
538:
535:
526:
522:
513:
504:
492:
486:
483:
479:
477:
466:
462:
458:
446:
435:
425:(1944), the
412:
397:
390:
385:
381:
377:
373:
369:
365:
361:
357:
354:Theatre Arts
353:
351:
336:
320:Cooper Union
317:
302:
298:
289:
276:
275:
236:
228:
220:
212:
204:
197:Notable work
166:Cooper Union
155:East Hampton
137:(1987-04-01)
113:May 19, 1904
61:
52:
33:
1307:1987 deaths
1302:1904 births
1057:Collage Kit
807:School Arts
607:Waldo Frank
592:residents.
143:Southampton
1286:Categories
1271:2018-03-14
1220:2018-03-17
1096:2018-03-13
792:References
716:Ben Grauer
571:Head Start
495:John Dewey
473:modern art
469:modern art
253:Modern Art
109:1904-05-19
647:Joan MirĂł
639:Ben Shahn
563:New Delhi
305:Manhattan
267:Spouse(s)
162:Education
433:(1969).
311:and the
249:Movement
178:New York
121:New York
55:May 2018
1248:4420618
1215:Newsday
41:Please
1246:
590:Harlem
309:Queens
241:(1970)
233:(1960)
225:(1954)
217:(1947)
209:(1942)
1244:JSTOR
1193:(PDF)
1172:(PDF)
1148:(PDF)
1118:: 32.
889:(PDF)
865:(PDF)
844:(PDF)
313:Bronx
1236:MoMA
681:and
637:and
132:Died
99:Born
440:at
417:at
347:NBC
1288::
1264:.
1238:.
1213:.
1195:.
1174:.
1160:^
1150:.
1114:.
1089:.
1011:^
991:^
891:.
877:^
867:.
846:.
830:^
677:,
673:,
669:,
665:,
661:,
657:,
653:,
649:,
645:,
633:,
629:,
625:,
613:,
609:,
605:,
580:,
384:,
380:,
376:,
372:,
368:,
364:,
360:,
356:,
307:,
259:,
255:,
176:,
172:,
168:,
123:,
119:,
1274:.
1250:.
1240:4
1223:.
1199:.
1178:.
1154:.
1133:.
1116:5
1099:.
895:.
871:.
850:.
809:.
487:,
111:)
107:(
68:)
62:(
57:)
53:(
49:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
