Updated October 2023 National Gallery of Art Archives i 

 

National Gallery of Art Archives

Guide to the Oral History Collection

The National Gallery of Art has conducted and preserved over 250 recorded oral history interviews to 

further document and contribute to a larger and more diverse understanding of the history of the 

institution. These personal recollections capture valuable information and insight about the National 

Gallery that may not be documented in written records, and in some cases, they may be the only source

of information about an aspect of the museum’s past. 

The National Gallery of Art Archives makes oral history interviews available to researchers in 

accordance with its established access policy. This guide provides descriptions of interviews currently 

open to researchers—Interview transcripts in PDF format and audio recordings in MP3 format are 

available unless noted otherwise. 

For access to these interviews or for more information about the oral history program, please contact 

archives@nga.gov. 

Oral History Program

The National Gallery established its oral history program in 1987 under the direction of the archives in 

preparation for its 50th anniversary celebration and at a time of workplace generational change. Since 

then, interviews have been conducted with trustees and donors, former executive officers, retired 

curatorial and administrative staff, architects and others associated with design and construction of 

the West and East Buildings, and close observers of the National Gallery over time. Also included are 

some interviews that predate the oral history program. Interviews range from in-depth life histories 

recorded in several sessions to shorter conversations relating to a significant aspect of an individual’s 

career or a single phase of the history of the institution. The archives continues to manage and carry out 

the activities of the oral history program.

Oral History Guide Arrangement 

Interviews described in the guide are arranged primarily in categories based on the interviewee’s 

relationship to the institution: architects, building consultants, and construction staff; artists and art 

material experts; executive officers; observers and associates of the National Gallery of Art; staff and 

volunteers; and trustees and donors. Following these categories is one topical series focusing on the 

phenomenal events surrounding the Johannes Vermeer and Van Gogh’s Van Goghs exhibitions in the 

late 1990s.

Interviews within each category are listed alphabetically by interviewee name. An alphabetical index of 

all interviewees follows at the end of the guide. 
Updated October 2023 National Gallery of Art Archives ii

Contents

Architects, Building Consultants, and Construction Staff page 1

Bates, Robert

Craig, John, John Jones, and Malcolm Rice

Eastman, Franklin

Eggers, David

Firmin, John

Mann, J. William 

Matisse, Paul

Offenbacher, Hurley

Oles, Paul Stevenson

Olsen, Edwin B.

Pedersen, William

Pei, I.M.

Scott, David W.

Young, Theodore

Artists and Art Material Experts page 6

Chabot, Lucille

Chapman, Suzanne

Ellinger, David

Gauthier, Lucille Lacoursiere

Jenson, Dorothy Hay

Kottcamp, Elmer R.

Legion Paper Company (Michael S. Ginsburg, Leonard C. Levine, and Joshua W. Levine) 

Loper, Edward L.

Lubrano, Joseph

Matulis, John 
Updated October 2023 National Gallery of Art Archives iii

Executive Officers page 10

Adams, E. James

Brown, J. Carter

Cavanagh, Carroll J.

English, Joseph G.

Hayes, Lloyd D.

Parkhurst, Charles

Walker, John

Wilmerding, John

 

Observers and Associates of National Gallery of Art page 13

Chramiec, Alexandra

Conger, Clement

DeAtley, Thelma and Virginia Brown

Feller, Robert L.

Kress, Virginia

MacEwen, Edward C.

Miller, Cleaveland D.

Modestini, Mario

Pearson, Nathan

Perry, Marilyn

Ridgway, Jane Pope Akers

Schmidt, Adolph

Smyth, Craig Hugh

Standen, Edith

Williams, Joan B.

 
Updated October 2023 National Gallery of Art Archives iv

Staff and Volunteers page 18

Allen, John L.

Baird, Thomas

Bales, Richard

Barry, Mabel 

Benson, Elizabeth

Beville, Henry

Bingham, Lois A.

Bjurström, Per

Bonner, Catharine

Bouton, Margaret

Bullard, E. John

Burnet, Mary Elizabeth C.

Carmean, E.A., Jr.

Ferber, Elise Van Hook

Fisher, Sarah L.

Fox, Carol

Foy, Elizabeth

Freitag, Sally

Grossman, Sheldon

Holden, Florence

Johnson, Yamashita

Karras, Chris

Leason, Max

Levenson, Jay

Looney, Kay and Joan Silverman

Mallus, Maria

McGill, Thomas

Mongan, Agnes

Mongan, Elizabeth
Updated October 2023 National Gallery of Art Archives v 

Moore, Lamont

Munsing, Juliana

Parker, Fred

Pell, Robert Livingston 

Ritterpusch, Susan A.

Siegel, Bethann Burns

Silberfeld, Kay

Smith, Noel

Smyth-Ravenel, Frances

Steele, Lina

Stoner, Joyce Hill

Taylor, Katrina Van Hook

Thomas, Thelma

Viebranz, Alfred C.

Walstrom, Charles

Watson, Ross

Wells, Carolyn

 

Trustees and Donors page 33

Burger, Warren E.

Gerdts, William

Irwin II, John N.

Mellon, Paul

Murphy, Franklin

Pinkus, Gerhard and Marianne

Stevenson, John R.

Stevenson, Ruth Carter

Vogel, Dorothy and Herbert
Updated October 2023 National Gallery of Art Archives vi

Vermeer and Van Gogh exhibitions series page 37

Baird, Betsy

Banks, James

Barbour, Minnie

Davis, James

Hamm, Dan

Lightner, Ysabel

Powell, Earl A. (Rusty), III

Rich, Chrisa

Schneider, Chuck

Wheelock, Arthur

Willson, Darrell

Ziska, Deborah

Development Staff - Patricia Donovan, Melissa McCracken, Rita Monner, and Randi Nordeen

Development Staff - Samantha Neukom, Margaret Porta, and Melanie Wolfe

Horticultural Services Staff - Dierdre Armstrong and Cindy Lawless

Publication Sales Staff - Boyd, Karen Boyd, Miriam Davis, Kristen Frank, Steve McKevitt, Steve 

Richardson, Calvin Roebuck, and Leon Wyatt

Special Projects Staff - Jason Herrick, Pam Jenkinson, and Heather Sack

Visitor Services Staff - Ellen Bryant, Sandra Creighton, Barbara Goldstein, Jennifer Karotkin, Jeffrey 

Leone, and Debbie McKnight

Visitor Services Staff - Rose Langworthy, Ron Niemann, and Theodore Shealy

Visitor Services Staff - Nancy Center, Doris Henderschott, and Nanci Surrett
Updated October 2023 National Gallery of Art Archives 1

Architects, Building Consultants, and Construction Staff

Bates, Robert

Architect Robert Bates was hired by I.M. Pei's New York office to consult on the construction of the East 

Building of the National Gallery of Art. As a representative of Pei's office, he worked on-site to monitor 

the concrete components of the construction.

Bates discusses his technical background with concrete materials and how that expertise led to an early 

commission from Pei's office to work on a State University of New York campus. As an East Building 

consultant, he describes the complexities of the concrete pour process used in the construction, 

particularly in the foundation and coffered ceilings, and recounts color, weight, and temperature issues 

with the concrete. Bates also recalls the interrelationships among Pei's office, National Gallery 

administration, the construction company, and the National Gallery of Art planning office.

Anne G. Ritchie conducted the interview on June 16, 1997, in Washington, DC. Transcript available only.

Craig, John, John Jones, and Malcolm Rice

John Craig and John Jones were associated with Candoro and Gray Knox Marble Companies, 

respectively, firms which were part of the joint venture that quarried marble for the construction of the 

West Building. Malcolm Rice worked first for the Office of John Russell Pope and later served as marble 

consultant to I.M. Pei & Partners during construction of the East Building of the National Gallery of Art.

Craig, Jones, and Rice discuss the history of the marble industry in Tennessee and note that the West 

Building construction project provided an important economic support for the Tennessee marble 

industry during the Great Depression. They describe selection and grading of marble for the building 

using a sample wall as a key, explain the marking of each piece, and discuss methods used to fabricate 

the building's exterior columns and fountains. They analyze differences in marble treatment ofthe East 

Building and the West Building, and discuss major challenges in preparing East Building marble, 

particularly exterior angles and interior stair treads.

A.C. Viebranz conducted the interview on September 6, 1988, in Knoxville, Tennessee.

Eastman, Franklin

Franklin Eastman was a craftsman employed on construction of the West Building of the National 

Gallery of Art from 1938 to 1940.

Eastman recalls beginning his career as a lather in Florida in 1925 and circumstances that led to his work 

as a shop steward during construction of the National Gallery. He explains metal lathing techniques 

used in the walls, ceilings, and Rotunda, and the work environment of the construction project. Eastman 

recalls other workers and describes their feelings about the project. 

Anne G. Ritchie conducted the interview on May 22, 1991, in Washington, DC. The interview is 

supplemented by Eastman's detailed explanation and diagram of lathing techniques, additional 

materials are in the Archives Research Files.
Updated October 2023 National Gallery of Art Archives 2

Eggers, David

Architect David Eggers, son of John Russell Pope's partner Otto Eggers, was a close observer of the 

National Gallery of Art's architectural development and the architect for several West Building projects 

in the 1950s and 1960s.

Eggers describes his father and his career and relationship to architect John Russell Pope. He explains 

Pope's working method, the organization of his architectural office, and others who worked in the 

office, especially partner and business manager Daniel Higgins. Eggers reviews architectural 

development of the West Building after its initial construction and personalities with whom he worked.

Anne G. Ritchie and A.C. Viebranz conducted the interview on July 25, 1991, in Mamaroneck, New York.

Firmin, John

John Firmin worked as an engineer on the original construction of the National Gallery of Art's West 

Building. 

Firmin discusses his upbringing in Washington, DC, education at University of Maryland, and service in 

the U.S. Army before joining the construction team at the National Gallery. He recalls his hiring and 

describes a typical day for workers on the construction project. Firmin explains the fluted steel piles and 

concrete used for the structure of the West Building, mentions his work on the lay lights and interior 

gallery spaces, and reflects on his luck starting his engineering career at the National Gallery.

Anne G. Ritchie conducted the interview on June 10, 2009, in Takoma Park, Maryland. Firmin donated an 

album of personal photographs documenting his involvement in the original construction of the West 

Building. The photographs are in the West Building Original Construction Images.

Mann, J. William

J. William (Bill) Mann was Chas. H. Tompkins Co. project manager for East Building construction of the 

National Gallery of Art.

Mann explains the design of the building and the impact of various features on problems faced during 

construction. He describes in detail construction processes, techniques, and innovations applied in the 

building from excavation through finishing, mentioning craftsmen involved in the process, assessing 

their work and relationships, problems they encountered, and technical innovations. Mann outlines the 

work of the Building Committee, and recalls anecdotes concerning building construction, especially the 

challenges, personalities, and problem-solving approaches.

Anne G. Ritchie conducted the interviews on March 26 and April 14, 1992, in Fredericksburg, Virginia.

Matisse, Paul

The artist and inventor Paul Matisse, grandson of French painter Henri Matisse, was chosen by J. Carter 

Brown and Alexander Calder to oversee fabrication of Calder's large-scale Untitled mobile for the East 

Building of the National Gallery of Art.
Updated October 2023 National Gallery of Art Archives 3

Matisse describes his family background and education, with comments on his friendship with J. Carter 

Brown at Harvard. He discusses the circumstances that compelled Calder to abandon his fabricator in 

France and to ask Matisse to build the mobile, as well as the numerous technical difficulties in the 

construction. Matisse reflects on his relationship with Calder and his efforts to understand the artist's 

intentions with the mobile, and notes his observations about other artists, including Henry Moore, who 

were commissioned to do works for the East Building.

A.C. Viebranz conducted the interviews on July 23 and November 13, 1998, in Groton, Massachusetts.

Offenbacher, Hurley

Hurley Offenbacher was construction manager for the National Gallery of Art from 1974 to 1985.

Offenbacher describes his background and experience as building project manager for the National Air 

and Space Museum and explains how he came to work for the National Gallery and the roles of the 

various people involved in the building projects. He recalls significant aspects of the Connecting Link 

and East Building projects, especially the effect of strikes, the use of marble and architectural concrete, 

and installation of the Calder mobile and Caro sculpture. He outlines key aspects of work on the West 

Building in Operation Breakthrough, especially replacing and loading columns without damage to 

marble floors above, and construction of the oculus. Offenbacher discusses the Critical Path Method 

which he used for the project and its impact on the construction. 

Anne G. Ritchie conducted the interview on May 25, 1993, in Ocean City, Maryland. Supplemental 

materials provided by the interviewee are in the Archives Research Files.

Oles, Paul Stevenson

Paul Stevenson (Steve) Oles is an architectural perspectivist who was employed by I.M. Pei for the East 

Building project of the National Gallery of Art.

Oles describes how he learned of the East Building project and the effect that his work on this project 

and association with Pei had on his career. He explains the role of the perspectivist in representing 

architectural concepts, the process of transferring information between the architect/designer and 

perspectivist/illustrator, and the impact on the design process of such trial images that can be 

corrected and modified. Oles discusses later verification of the accuracy of East Building perspectives 

with on-site photographs, and publications of his architectural perspectives.

Anne G. Ritchie conducted the interview on February 1, 1994, in Washington, DC.

Olsen, Edwin B.

Edwin B. Olsen was an architect in the office of John Russell Pope during design and construction of the 

West Building of the National Gallery of Art.

Olsen discusses his work on the National Archives building, followed by his assignments relating to the 

National Gallery building. He outlines the stages in design of the building, explains the importance of 

model-making as part of the process, recalls the meeting at which the National Gallery's skylights and 

laylights were approved, and describes the controversy relating to the design of the Rotunda dome. He 
Updated October 2023 National Gallery of Art Archives 4

explains the work of the Vermont Marble Company in forming the Rotunda columns from blocks of 

Italian marble and describes Alexander Reed's role in building construction. Olsen also recounts 

Jacqueline Kennedy's efforts to reinstall a fireplace in the White House State Dining Room, and his own 

visit to former President Truman in Independence, Missouri, as part of this effort.

A.C. Viebranz conducted the interview on September 24, 1993, in Suffern, New York.

Pedersen, William

Architect William Pedersen was a key member of I.M. Pei's design team for the East Building original 

construction at the National Gallery of Art. Pedersen left the Pei firm before the East Building 

groundbreaking in 1971.

Pedersen remembers his interview with Pei for a position in his architecture firm, describes his 

impressions of the Pei offices, and expresses his admiration for Pei as a visionary designer. He recalls the 

challenge of translating Pei's initial trapezoidal sketch into a design for the East Building and discusses 

the technical difficulties of the building's triangle-based geometry, explaining their methods of bridging 

form to function. Pedersen shares anecdotes of Yann Weymouth and Steve Oles, fellow architects at 

Pei's firm, and National Gallery director J. Carter Brown and Paul Mellon. He notes his attendance at the 

East Building's dedication and comments on Pei's graciousness in bringing the original team together 

for a celebratory luncheon.

Anne G. Ritchie conducted the interview on April 9, 2014, in Washington, DC.

Pei, I.M.

I.M. Pei was the architect of the East Building of the National Gallery of Art.

Pei describes how he became involved in the East Building project and the early steps in planning for the 

building, including a trip with J. Carter Brown to visit European museums. He explains the evolution of 

the building design, the challenges faced in meeting site and regulatory requirements, and the role of 

government agencies in reviewing and approving the plan. He reflects on the relationship between the 

East Building and the West Building and describes important features of the materials and technology 

used in the building. Pei comments on his relationship to the building committee and describes the 

evolution of plans to commission works of art for the new building.

Anne G. Ritchie conducted the interview on February 22, 1993, in New York, New York.

Scott, David W.

David W. Scott served as an executive officer with the title Planning Consultant at the National Gallery 

of Art from 1969 to 1984.

Scott recounts his background and the growth of his interest in painting and art history, explains his 

work at the National Collection of Fine Arts (now the National Museum of American Art), and the 

circumstances that led to his work on the East Building project for the National Gallery. He describes his 

responsibilities during the development of the East Building and other National Gallery building projects 

and outlines the system for developing the building program and physical plans for the building, and 
Updated October 2023 National Gallery of Art Archives 5

related numerous incidents and decisions that were made, including factors relating to the 

underground connection between the buildings and the design of the plaza. Scott describes Operation 

Breakthrough and the design of the Oculus and remembers his work with the artists creating 

commissions for the new East Building.

Anne G. Ritchie conducted the interview on August 26, 1993, in Washington, DC.

Young, Theodore

Theodore (Ted) Young was principal-in-charge for the John Russell Pope architectural firm during the 

construction of the West Building of the National Gallery of Art, serving as liaison between the Pope 

office and the trustees of the A.W. Mellon Educational and Charitable Trust, who were responsible for 

the completion of the building.

Young describes John Russell Pope, the organization of his architectural firm, and the role of the A.W. 

Mellon Educational and Charitable Trust, including prominent personalities associated with the Trust. 

He explains the design of the building and its construction, including selection of the exterior marble 

and construction of a sample wall on-site in Washington, DC. He notes Andrew Mellon's interest in 

architecture and describes the circumstances of the selection of John Russell Pope as architect for the 

West Building. Young reflects on the building's architectural importance and influence.

A.C. Viebranz conducted the interviews on September 24 and 29 and October 6, 1987, in Greenwich, 

Connecticut.
Updated October 2023 National Gallery of Art Archives 6

Artists and Art Material Experts

This series consists mainly of interviews with artists associated with the Index of American Design. The 

artists share their experiences of working in the Federal Art Project to preserve and document the 

development of American folk and decorative arts while finding relief work during the Great 

Depression. The interviews were conducted by the National Gallery of Art department of modern art 

and predate the National Gallery of Art oral history program. The watercolor renderings from the Index 

of American Design are part of the permanent collection of the National Gallery of Art and the historical 

records of the project are in the holdings of the Archives.

Chabot, Lucille

Lucille Chabot worked as an artist for the Massachusetts unit of the Index of American Design.

Chabot describes her artistic training prior to working on the Index and the subsequent creative 

opportunities that culminated in her 30-year career as a technical illustrator and supervisor at 

Raytheon. She recalls the work process of the Index and defined the roles of the photographers, 

supervisors, and artists. She enumerates the techniques and skills used by the artists to render faithfully 

the objects in watercolor, and speaks of the public reception of the Index, and the impact on her own 

artistic sensibility as well as her appreciation for American design.

Laurie Weitzenkorn conducted the interview on June 6, 1986, in South Dennis, Massachusetts. This 

interview is part of the Index of American Design series.

Chapman, Suzanne

Suzanne Chapman participated in the Index of American Design as both an artist and instructor for the 

Massachusetts unit.

Chapman discusses her role as an Index instructor who oversaw a team of Boston-based artists in the 

textiles program. She describes the wet painting method that she developed for the project and recalls 

the challenges for some artists in rendering objects in watercolor. Chapman assesses her career as a 

teacher in both the Index project and later as a staff member at the Museum of Fine Arts, Boston, where 

she remained until her retirement.

Laurie Weitzenkorn conducted the interview on June 9, 1986, in Lexington, Massachusetts. This 

interview is part of the Index of American Design series.

Ellinger, David

David Ellinger worked as an artist in the Pennsylvania unit for the Index of American Design.

Ellinger recalls the fortuitous circumstances that resulted in his joining the Index project as a 21-yearold artist without formal arts training. He describes his close relationship with his supervisor, Frances 

Lichten, and his development as an artist under her tutelage. He remarks on how the Pennsylvania unit 

differed in work and research method from other regional units. As an arts dealer and painter, Ellinger 

shares his expertise and insights on the folk arts objects selected for the Index and how he and other 

Index artists fared in the art market later in their careers.
Updated October 2023 National Gallery of Art Archives 7

Laurie Weitzenkorn conducted the interview on July 1, 1985, in Pottstown, Pennsylvania. This interview 

is part of the Index of American Design series.

Gauthier, Lucille Lacoursiere

Lucille Lacoursiere Gauthier worked as an artist for the New Hampshire unit of the Index of American 

Design.

Gauthier discusses her fine arts training and freelance work before joining the Index project as a young 

artist, and recounts her impressions of key personnel, such as Omer Lassonde and Elizabeth Moutal, as 

well as fellow artists she met during the program. She describes the watercolor techniques that the 

New Hampshire artists employed and explains the process of painting from real-life objects and 

photographs of the subjects. She discusses the political reception of the Index and the viability of a 

federal funded arts program in contemporary times.

Laurie Weitzenkorn conducted the interview on October 23, 1985, in Washington, DC. Charlie Ritchie 

and Gauthier's sister, Claire Kelly Ruotolo, also participated in the interview. This interview is part of the 

Index of American Design series.

Jenson, Dorothy Hay

Dorothy Hay Jensen served as supervisor of the Works Progress Administration's art projects in Maine 

which included the Index of American Design.

Jensen discusses her art education and the circumstances leading to her supervision of the Index. In 

particular, she outlines the vetting process of artists and how they were assigned to specific objects. 

She also describes doing research for the data information sheets and recounts her many travels across 

the state to find artists, collectors, and shop owners to include in the project. Jensen speaks of the 

exhibitions that showcased Index renderings and her efforts to send works for display in public places. 

She recalls the ending of the Index project in her state and the reaction of participating artists in the 

federal arts program.

Laurie Weitzenkorn conducted the interview on June 10, 1986, in Cape Elizabeth, Maine. This interview is 

part of the Index of American Design series.

Kottcamp, Elmer R.

Elmer R. Kottcamp worked as an artist with the Pennsylvania unit of the Index of American Design.

Kottcamp discusses the difficulties of studying art during the Depression and the opportunity of 

working on the Index. While fellow Index artists were based in Philadelphia, Kottcamp worked in 

isolation in York, Pennsylvania. He explains why his professional relationship with project supervisor 

Frances Lichten was critical to his artistic confidence and success, and speaks of his technical approach 

to the renderings, describing the use of layers to achieve realistic color. Kottcamp reflects on his time 

with the Index and how it set him on a creative path.

Laurie Weitzenkorn conducted the interview on January 24, 1984, in Washington, DC. Charlie Ritchie 

also participated in the interview. This interview is part of the Index of American Design series.
Updated October 2023 National Gallery of Art Archives 8

Legion Paper Company (Michael S. Ginsburg, Leonard C. Levine, and Joshua W. Levine)

Michael S. Ginsburg and Leonard (Len) C. Levine founded Legion Paper Corporation in 1994. The 

company sources, distributes, and sells fine papers from over sixteen countries. Joshua W. Levine is CEO 

of Legion Paper Corporation.

Ginsburg and Len Levine describe their careers as competitors in the paper business before founding 

Legion Paper Corporation. Along with Joshua Levine, they discuss current paper mill operations in the 

United States and Europe and how a change of ownership for some legacy mills impact a company's 

brand. They share stories of collaboration with artists and designers to develop specialty paper and 

highlight consumer trends, including metallic, letterpress, and stationery papers, and exotic papers from 

Nepal and Japan. They comment on the digital shift from paper production to desktop printing and 

digital photography and printmaking and evaluate the effects of technological advances on paper 

conservation methods.

Marian P. Dirda and Jacinta A. Johnson from the Paper Conservation department conducted the 

interview on August 4, 2015, in New York, New York. The transcript includes supplemental documents 

provided by the interviewees.

Loper, Edward L.

Edward L. Loper participated as an artist for the Delaware unit of the Index of American Design and an 

easel painter for another Works Progress Administration art project.

Loper discusses his challenges finding work after high school and the discovery of an opportunity to 

participate in the Index. A self-taught artist, Loper developed his technical skills while working in the 

small Delaware Index office. He comments on the precision and accuracy expected of the Delaware 

artists and their shared ambition to compete with other regional units. He recalls the circumstances 

that led to his eventual departure from the Index to join the easel painting project where his freestyle 

painting was a better fit. Loper shares his views as one of the few participating artists of color and 

reflects positively on his tenure with the Index.

Laurie Weitzenkorn conducted the interview on January 25, 1985, in Washington, DC. Charlie Ritchie 

also participated in the interview. This interview is part of the Index of American Design series.

Lubrano, Joseph

Joseph Lubrano worked as an artist with the New York City unit of the Index of American Design.

Lubrano discusses his early career as a commercial artist before applying for the Index and explains that 

his affinity for watercolor and his eye for detail made him a good match for the Index's textile division. 

He identified the various techniques used to render textile objects realistically and contrasts the wet 

and dry methods employed by the painters. He describes the responsibilities of artists as being distinct 

from the research staff and recalls his fortunate ability to work independently. Lubrano speaks of the 

public reaction to the Index, specifically the stigma of the program's association with the Works 

Progress Administration and concludes with a discussion of his career in advertising and eventual fulltime return to the arts.
Updated October 2023 National Gallery of Art Archives 9

Laurie Weitzenkorn conducted the interview on August 23, 1984, in Washington, DC. This interview is 

part of the Index of American Design series.

Matulis, John

John Matulis worked as an artist with the Connecticut unit of the Index of American Design.

Matulis recounts his involvement with the Index after finishing art school and explains how his 

perfectionist style of art worked well with the photorealistic watercolor renderings of the project. He 

recalls working alongside two other artists in the Connecticut office, and their encounters with director 

William Warren. Matulis describes his ability to work independently in the office and on site at the 

Wadsworth Atheneum Museum of Art, and reflects on his experience with the Index, discussing the 

positive impact of the project to preserve folk and decorative arts.

Laurie Weitzenkorn conducted the interview on April 11, 1986, in Washington, DC. This interview is part 

of the Index of American Design series.
Updated October 2023 National Gallery of Art Archives 10

Executive Officers

 

Adams, E. James

E. James Adams served in executive positions at the National Gallery of Art from 1950 until his 

retirement in 1973, including assistant secretary and assistant general counsel (1950-1965), assistant 

treasurer (1962-1965), administrator (1965-1971), and secretary-general counsel (1971-1973).

Adams describes his background and the circumstances of his transfer to the National Gallery of Art. 

He recalls Huntington Cairns and his interests and working relationships. He explains circumstances 

surrounding the loan of the Gulbenkian Collection to the National Gallery and John Walker's 

appointment as director in 1956. Adams comments on day-to-day activities and shares anecdotes 

relating to National Gallery personalities and the Mona Lisa exhibition.

Anne G. Ritchie conducted the interview on May 5, 1992, in Washington, DC.

Brown, J. Carter

J. Carter Brown joined the National Gallery of Art staff in 1961 as an assistant to director John Walker. 

Brown became assistant director from 1964 to 1968 and deputy director from 1968 to 1969. He served as 

director of the National Gallery for over two decades from 1969, retiring in 1992.

In his first interview, Brown discusses the planning, design, and opening of the East Building in 1978, 

explaining the motivations behind the National Gallery's expansion, in particular the need to 

accommodate a center for scholars and to create more usable exhibition space. He recalls the pivotal 

roles of National Gallery founding benefactors Paul Mellon and Ailsa Mellon Bruce in securing support 

for the new building, as well as his predecessor John Walker's influence on the Board of Trustees to 

move plans forward. Brown also describes the screening process and the eventual selection of I.M. Pei 

as the architect for the new building and speaks about the formation of the Collectors Committee for 

the commissioned works of art for the East Building, offering anecdotes about a few of the artists and 

their works, including Alexander Calder and his Untitled mobile. Lastly, he reflects on the opening of the 

East Building and the rewarding experience of the plan and design realization. 

In a second interview, J. Carter Brown focuses on the history of the design and installation department 

at the National Gallery of Art, recalling the National Gallery exhibitions in the 1960s and the dramatic 

changes that occurred with the establishment of an in-house design and installation team. He speaks 

specifically of department head Gaillard Ravenel and the achievements under Ravenel's leadership and 

vision. Brown also describes exhibition planning and explains the specialness of temporary exhibitions 

by comparing them to theatre.

Anne G. Ritchie conducted the interviews on February 7, 1994 and July 17, 1998, in Washington, DC. 

Cavanagh, Carroll J.

Carroll Cavanagh served as the National Gallery of Art's secretary-general counsel from 1980 to January 

1985, when he left to work in the office of Paul Mellon.
Updated October 2023 National Gallery of Art Archives 11

Cavanagh recounts the circumstances of his arrival at the National Gallery. He describes the funding 

and impact of Operation Breakthrough and construction of the Oculus and the relationship of these 

projects to the East Building. He considers the National Gallery's public and private funding sources and

describes the establishment and evolution of the Patrons' Permanent Fund and the Trustees' Council. 

Cavanagh reflects on the National Gallery's exhibition program and on the personalities and 

accomplishments of various members of the senior staff.

A.C. Viebranz conducted the interview on November 18, 1992, in Washington, DC.

English, Joseph G.

Joseph English joined the staff of the National Gallery of Art as deputy administrator in 1970. He served 

as administrator from 1971 until his retirement in 1986.

English describes the administrator's duties ranging from security to parking and recalls complex 

arrangements required for special exhibitions and visiting dignitaries. He speaks about his associates 

and comments on the personalities and situations he encountered as administrator. English recounts 

numerous anecdotes concerning the museum, the work of the administrator and events during his 

tenure.

Anne G. Ritchie conducted the interviews on February 12, 14, and 27, 1991 in Washington, DC.

Hayes, Lloyd D.

Lloyd Hayes joined the National Gallery of Art's staff as a supply clerk in 1941, left the National Gallery 

for military service during World War II, and returned to the National Gallery after the war. He later 

served as assistant administrator and as treasurer from 1969 until his retirement in 1976.

Hayes recalls the National Gallery's early days and provides details concerning the personalities 

responsible for its administration and budget and its various administrative activities, including 

publication sales, the horticulture program, and security. He describes the National Gallery's West 

Building, the gymnasium, important visitors, special events, and major personalities, including John 

Walker and David Finley.

Anne G. Ritchie conducted the interview on May 1 and 4, 1990 in Washington, DC. Transcript available 

only.

Parkhurst, Charles

Charles Parkhurst joined the staff of the National Gallery of Art in 1941 as an assistant curator but left 

shortly after for military service in World War II, serving in Europe as an officer with the Army's 

Monuments, Fine Arts, and Archives Section. He returned to the National Gallery in 1971 as assistant 

director, retiring from that position in 1983.

Parkhurst describes his education and his work at the National Gallery before the war and recalls many 

of the early curatorial staff and administrative officers. He recounts his experiences in Europe during 

World War II and the controversy surrounding the Berlin paintings and their shipment to the National 

Gallery. He notes the circumstances of his return to the National Gallery in 1971, the organization and 
Updated October 2023 National Gallery of Art Archives 12

functions of the office of the assistant director, and especially events surrounding the conservation 

controversy of the late 1970s. Parkhurst discusses construction of the East Building and its impact on 

the National Gallery, development of some of the art commissions for the new building, and 

establishment of the Center for Advanced Study in the Visual Arts.

A.C. Viebranz conducted the interviews on November 10, 1990, in Williamstown, Massachusetts and 

December 6, 1990, in Washington, DC.

Walker, John

John Walker served as the National Gallery of Art's first chief curator from 1939 to 1956 and as its 

director from 1956 until his retirement in 1969.

Walker discusses his arrival to the National Gallery from his position at the American Academy in Rome 

and his impressions of executive officers David Finley, Harry McBride, Macgill James, and Huntington 

Cairns. He describes major acquisitions at the National Gallery, art dealer Joseph Duveen, and art 

dealership in general. Walker explains his role in the interior design of the West Building and in early 

planning of the East Building. He also talks about the National Gallery's emergency plans during World 

War II and recalls his friendship with Paul Mellon and his impressions of Andrew Mellon.

Eric Lindquist conducted the interview on July 27, 1987, in Fishers Island, New York. 

In a second interview, John Walker recalls his education and training, his friendship with Bernard 

Berenson, his relationship to the National Gallery's first director, David Finley, and his association with 

National Gallery trustees and donors. He describes National Gallery activities during World War II, and 

in particular his work with the American Commission for the Protection and Salvage of Artistic and 

Historic Monuments in War Areas (Roberts Commission) and its impact on the work of the Army's 

Monuments, Fine Arts, and Archives Section in Europe. Walker expresses his ideas about conservation 

and speaks of his work on the restoration of the White House.

Anne G. Ritchie conducted the interview on October 23, 1990, in Amberley, West Sussex, England.

Wilmerding, John

John Wilmerding joined the National Gallery of Art as curator of American art in 1977 and became 

deputy director in 1983. In 1988, he left the National Gallery to teach full time at Princeton University.

Wilmerding recalls his childhood insulation from the arts despite coming from a family of collectors, 

reveals the circumstances that led to his embrace of art scholarship, and remarks on the constant lure 

of the museum world throughout his career. Wilmerding contrasts his responsibilities as senior curator 

and deputy director at the National Gallery, noting his need to balance creativity with administration. 

He reflects on his relationship with National Gallery director J. Carter Brown and evaluates Brown's role 

in that position. Wilmerding closes with a discussion of the National Gallery's ambitious exhibitions 

program during the 1980s, the search for Brown's successor, and his last National Gallery project 

working with the Armand Hammer drawings.

A.C. Viebranz conducted the interview on June 5, 1992, in Princeton, New Jersey.
Updated October 2023 National Gallery of Art Archives 13

Observers and Associates of National Gallery of Art

Chramiec, Alexandra

Alexandra (Wanda) Chramiec worked at the National Gallery of Art during World War II as assistant to 

René Batigné, curator of French government paintings placed in National Gallery custody for 

safekeeping.

Chramiec describes Batigné, activities relating to custodianship ofthe paintings, her administrative 

work, and the eventual return of the paintings to France after the war. She supplements her remarks 

with reference to various documents, copies of which are in the Archives Research Files.

Anne G. Ritchie conducted the interview on September 18, 1990, in Arlington, Virginia.

Conger, Clement

Clement Conger, curator of the diplomatic reception rooms at the Department of State, was a reporter 

at the 1941 opening of the National Gallery of Art and was a long-time associate and observer of its 

activities.

Conger describes the opening of the National Gallery and his reaction, as a member of the press, to 

seeing the installation of paintings in the new building. He describes President Franklin D. Roosevelt at 

the opening and on other occasions. He recalls the Mellon Fountain and visits to the National Gallery of 

Art by foreign dignitaries, reflects on collections of American art in the United States, and on the 

contributions of Andrew Mellon, David Finley, and John Walker to the development of the National 

Gallery. Conger describes the diplomatic reception rooms at the Department of State and his 

experiences at the White House and gives his views concerning the architecture of the East Building.

A.C. Viebranz conducted the interview on July 14, 1992, in Washington, DC.

DeAtley, Thelma and Virginia Brown

Thelma DeAtley was a copyist at the National Gallery of Art from a time shortly after the National 

Gallery opened. She was interviewed with her daughter, Virginia Brown.

DeAtley describes how she learned of the National Gallery of Art and became a copyist and explains the 

painting techniques used by copyists and their ways of helping one another. She recalls her experiences 

at the National Gallery, including reactions of visitors to the copyists' work, and describes the copyists' 

room and the special table in the cafeteria reserved for them. DeAtley remembers people she had 

known through her work as a copyist, especially Richard Bales and Gregory Stapko.

Anne G. Ritchie conducted the interview on April 11, 1994, in Washington, DC.

Feller, Robert L.

Physical chemist Robert Feller was chief investigator for the National Gallery of Art research project 

into artists' materials at Pittsburgh's Mellon Institute—later Carnegie Mellon University—publishing 
Updated October 2023 National Gallery of Art Archives 14

extensively in the fields of synthetic and natural picture varnishes, pigment analysis, and the effects of 

light.

Feller describes his education and the circumstances of his early work at the Carnegie Institute and

recalls the relationship between the National Gallery of Art and the Institute and many of the 

personalities involved. He outlines the various directions and concerns of his research, his methodology 

and his findings, and notes the interest and contributions of various National Gallery staff members, the 

reactions to his findings, and the long-term impact of his work. Feller reflects on colleagues and notes 

development of the field of art conservation over time.

John J. Harter conducted the interview on March 30, 1989, in Pittsburgh, Pennsylvania.

Kress, Virginia

Virginia Kress, widow of Rush Kress, describes her marriage to Kress and recalls the National Gallery of 

Art's dedication and Samuel Kress's illness following the ceremony. She comments on Samuel Kress's 

personality, his interest in his art collection, and persons closely associated with him. She recalls Rush 

Kress's commitment to his brother and stewardship of the Kress Collection, and various anecdotes 

relating to the National Gallery of Art. The interviewer summarized his notes of the interview, which 

was not recorded.

A.C. Viebranz conducted the interview on December 12, 1988, in New York, New York.

MacEwen, Edward C.

Edward MacEwen, an advertising executive with GTE Corporation, initiated GTE's first support for a 

National Gallery of Art exhibition in 1979 and continued to coordinate GTE's role in funding National 

Gallery exhibitions until he retired from GTE in 1996.

MacEwen describes his role as liaison between the National Gallery and GTE and remembers his 

colleagues in both institutions. He recalls the exhibitions supported by GTE, noting the reasons for 

selecting each one, the special events and programs that accompanied exhibitions and how these 

benefitted the company.

Anne G. Ritchie conducted the interview on July 18, 1996, in Washington, DC.

Miller, Cleaveland D.

Cleaveland D. Miller was the step-great-nephew of National Gallery of Art founding benefactor, Chester 

Dale.

Miller explains his family connections with Chester Dale, describing Dale's interest in his and his 

mother's welfare after losing his father in World War II. He comments on Dale's benevolent and 

gracious spirit, despite his reputation as a shrewd businessman, and recalls his many visits to Dale's 

apartment at the Plaza Hotel in New York City, describing the layout of Dale's art collection on the walls. 

Miller expressed great pleasure in seeing Dale's paintings at the National Gallery in 1952 for the 

exhibition, Twentieth-Century French Paintings from the Chester Dale Collection, and later in 2010 for 

the exhibition, From Impressionism to Modernism: The Chester Dale Collection.
Updated October 2023 National Gallery of Art Archives 15

Anne G. Ritchie conducted the interview on March 17, 2010, in Baltimore, Maryland.

Modestini, Mario

Mario Modestini became art conservator for the Samuel H. Kress Foundation in 1949 and later was 

conservation consultant to the National Gallery of Art.

Modestini describes his early life and the circumstances of his invitation to work for the Kress 

Foundation. He remembers Rush Kress, Francis Sullivan, Mary Davis, Franklin Murphy, and others 

associated with the Foundation. He describes the paintings acquired by the Kress Foundation, the 

involvement of John Walker in the acquisitions, conservation of the collection in New York, at 

Huckleberry Hill and elsewhere, and the distribution of the collection to regional art galleries. He 

outlines Robert Feller's contributions to conservation and recalls his experiences with the controversial 

varnish 27H. Modestini recounts the acquisition and framing of Ginevra de’ Benci, and controversies 

concerning conservation of various works, especially Rembrandt's The Mill, and shares anecdotes 

relating to various other works of art.

A.C. Viebranz conducted the interview on November 5, 1993, in New York, New York.

Pearson, Nathan

Nathan Pearson began work in Paul Mellon's Pittsburgh office in 1947 and continued to work there 

through the time of the interview.

Pearson recounts his early employment at the Carborundum Company and the circumstances of his 

work for Paul Mellon and Ailsa Mellon Bruce. He explains his association with the A.W. Mellon 

Educational and Charitable Trust and other foundations and describes his impressions of the National 

Gallery of Art and of people with whom he worked, especially John Walker and Ernest Feidler.

Anne G. Ritchie conducted the interview on October 15, 1993, in Pittsburgh, Pennsylvania.

Perry, Marilyn

Marilyn Perry joined the Samuel H. Kress Foundation as executive vice president in 1981. In 1984 she was 

elected president of the Foundation.

Perry describes her educational background, how she was urged by Kress board member Franklin 

Murphy to join the Kress Foundation, and her experience there. She mentions a fund which the Kress 

Foundation is establishing in memory of Mr. Murphy which will enable the National Gallery of Art to 

host international symposia on various aspects of the illustrated book. She describes the Foundation's 

ties with the National Gallery including the initial Kress gift, the photographic archives, and the Kress 

fellowships and professorships established in the Center for Advanced Study in the Visual Arts 

(CASVA). Perry discusses the possibility of a future conservation center for the National Gallery which 

would be funded by the Kress Foundation. She recalls how the Foundation commissioned and published 

the systematic catalogue of the Kress collection and sponsored other publication projects. Perry 

expresses her opinions on the purpose of the National Gallery of Art and her philosophy on the relative 

merits of small and large exhibitions.
Updated October 2023 National Gallery of Art Archives 16

A.C. Viebranz conducted the interview on March 6, 1995, in New York, New York.

Ridgway, Jane Pope Akers

John Russell Pope's daughter, Jane Pope Ridgway, was a young girl at home when her father worked on 

the National Gallery of Art's West Building and was a close observer of his work.

Ridgway recalls travels with her mother and father and incidents relating to her father's interest and 

appreciation for architecture. She describes his intense concern for details of the National Gallery's 

design and remembers his careful study of marble and its appearance when wet. She comments on the 

National Gallery's dedication, which she attended with her mother.

Anne G. Ritchie conducted the interview on June 18, 1990, in New York, New York. Thomas Ridgway also 

participated in the interview.

Schmidt, Adolph

Adolph Schmidt began work for the A.W. Mellon Educational and Charitable Trust in 1937 and later 

became its treasurer, executive vice president, and president.

Schmidt recalls his associates at the Trust including David Bruce, Paul Mellon, and Donald Shepard, and 

describes the West Building project for the National Gallery of Art, noting especially the importance of 

the marble and the problems presented in selecting it and obtaining sufficiently large quantities for the 

building. He recounts his concern that Andrew Mellon had not wanted the National Gallery named for 

him and the movement that he led for the Andrew W. Mellon Memorial Fountain on Pennsylvania 

Avenue.

Anne G. Ritchie conducted the interview on May 14, 1992, in Washington, DC.

Smyth, Craig Hugh

Craig Hugh Smyth joined the National Gallery of Art's curatorial department in 1941. He left to join the 

Navy in 1942 and was assigned to the Monuments, Fine Arts, and Archives Section in 1945. He returned 

in 1987 as Kress professor in residence at the Center for Advanced Study in the Visual Arts.

Smyth describes his education, first as a classics major and later in the history of art and the 

development of his interest in the Renaissance in Italy. He recalls his initial interview with John Walker 

at the offices of the A.W. Mellon Educational and Charitable Trust before the National Gallery was 

opened, and the work he performed as a young curator at the National Gallery. Smyth comments on the 

curators, administrators, and staff with which he worked, especially John Walker, Macgill James, 

Charles Parkhurst, and Fred Rieth, and remembers his experiences at Biltmore supervising paintings 

evacuated from the National Gallery. He also recalls the work of the Monuments, Fine Arts, and 

Archives Section, and his involvement in the controversy relating to transfer of paintings from Berlin 

museums to the National Gallery for safekeeping.

A.C. Viebranz conducted the interview on March 1, 1993, in Cresskill, New Jersey.
Updated October 2023 National Gallery of Art Archives 17

Standen, Edith

Edith Standen was secretary for the Widener Collection from 1929 to 1942; joined the Women's Army 

Corps in 1943 and became a Monuments, Fine Arts, and Archives Section officer in Europe; and served as 

a curator at the Metropolitan Museum of Art in New York until her retirement in 1970.

Standen describes Paul Sachs' museum course at the Fogg Museum and explains how she was hired by 

Joseph Widener. She recalls Widener's approach to his art collection, dealers he worked with, and the 

transfer of the collection to the National Gallery of Art. Standen explains her work in Europe for the 

Monuments, Fine Arts, and Archives Section and assesses the impact of the transfer of Berlin paintings 

to the National Gallery. 

A.C. Viebranz conducted the interview on December 1, 1989, in New York, New York. Transcript available 

only. Supplemental materials provided by the interviewee are in the Archives Research Files.

Williams, Joan B.

After her parents died, Joan Williams was raised by David Finley and his wife Margaret. As a family 

member, she was a close observer of the Finleys and of the National Gallery of Art's early years.

Williams describes their family life and especially David Finley's deep involvement in the National 

Gallery of Art and activities relating to design of the West Building interior. She remembers other 

personalities with which they were closely associated and recalls childhood experiences at the National 

Gallery including wheelchair races in its corridors. Williams describes watching Roosevelt's third 

inaugural parade from the Constitution Avenue balcony and notes other significant incidents in the 

National Gallery's development.

Anne G. Ritchie conducted the interview on March 1, 1991, in Leesburg, Virginia.

 
Updated October 2023 National Gallery of Art Archives 18

Staff and Volunteers

 

Allen, John L.

John L. Allen joined the National Gallery of Art staff in January 1940 to help establish and organize an 

office filing system. He served in the Army during World War II and returned to the National Gallery as 

an accountant, continuing to work in the treasurer's office until his retirement in February 1969.

Allen describes the acquisition of the Widener Collection and his work assisting with its inventory. He 

recalls the atmosphere in the National Gallery of Art and mentions many of the early staff members, 

including severalthe guards. Allen discusses the employee recreation association, as well as the 

National Gallery's LecTour audio system.

Anne G. Ritchie conducted the interview on May 9, 1991, in Washington, DC.

Baird, Thomas

Thomas Baird was a curator at the National Gallery of Art from 1956 to 1960.

Baird describes his education and training and the nature of his work at the National Gallery. He recalls 

the National Gallery's relationship with the Kress Foundation and with Chester Dale and other donors. 

Baird recalls significant personalities including Perry Cott, David Finley, Lester Cooke, Fern Shapley, and 

John Walker and their working styles and relationships.

John J. Harter conducted the interview on August 15, 1989, in Hartford, Connecticut.

Bales, Richard

Richard Bales served as the National Gallery of Art's music director from 1943 until his retirement in 

1985.

Bales recalls joining the National Gallery's staff, noting that it was one of those things that fell out of the 

sky. He describes the development of the music program, including his work planning concerts and 

performances at the White House and Kennedy Center, and discusses his work as a composer, 

especially his orchestral suites The Union and The Confederacy and his patriotic cantata, The Republic. 

Bales describes the National Gallery's first three directors and their personalities, working styles, and 

influence on the museum and its music program. Bales recalls other aspects of the National Gallery 

activities, including important visitors.

A.C. Viebranz conducted the interview on January 11, 1989, in Alexandria, Virginia.

Barry, Mabel 

Mabel Barry worked as an attorney in the office of the secretary, treasurer, general counsel—later the 

office of the secretary-general counsel—from 1943 until her retirement in 1973 at the National Gallery of 

Art.
Updated October 2023 National Gallery of Art Archives 19

Barry recalls her background, her arrival in Washington and the circumstances in which she attended 

law school. She describes her legal work for the National Gallery and the development of the law library. 

Barry reflects on working for Huntington Cairns and remembers Richard Bales, Macgill James, Thelma 

Thomas, and other National Gallery staff members.

Anne G. Ritchie conducted the interview on October 6, 1992, in Arlington, Virginia.

Benson, Elizabeth

Elizabeth Benson joined the staff of the National Gallery of Art's information room in 1945. She later 

served as a research assistant, worked with Erwin Christensen, and in 1954 became assistant registrar, a 

position she held until she left the National Gallery in early 1961.

Benson describes her experiences in the information room, her work with Erwin Christensen on the 

Index of American Design project, the activities of the registrar, and her observations of significant 

National Gallery personalities. She notes her meeting with Robert Woods Bliss and her growing interest 

in the Bliss Collection, which eventually led to her departure from the National Gallery for Dumbarton 

Oaks. 

Anne G. Ritchie conducted the interview on February 19, 1991, in Washington, DC. Supplemental 

materials provided by the interviewee are in the Archives Research Files.

Beville, Henry

Henry Beville joined the staff of the National Gallery of Art as a photographer before its opening in 1941 

and remained in this position until his retirement in 1975.

Beville recalls his photographic training in the Navy and his experiences photographing the National 

Gallery's art works and loans for special exhibitions. He describes travel to Biltmore Estate in Asheville, 

North Carolina, where important National Gallery paintings were stored during World War II, and 

conditions there. Beville recalls experiences photographing the Samuel H. Kress Collection in New York 

and the challenges of documenting art conservation activities.

Anne G. Ritchie conducted the interview on July 24, 1990, in Oceanside, California.

Bingham, Lois A.

Lois A. Bingham joined the National Gallery of Art education department in 1943 and remained until 

1954, when she left for a position with the United States Information Agency. 

Bingham describes job opportunities at the National Gallery during World War II when male staff 

members left to join the war effort. She recalls developing early public programs with the small 

education staff and notes that National Gallery director David Finley wanted a lecture every hour on the 

hour, like a railroad. Bingham discusses the education department’s pioneering role in developing and 

producing a television program in the late 1940s and her experience writing the pamphlet How to Look 

at Works of Art: The Search for Line. 

Anne G. Ritchie conducted the interview on March 1, 1991, in Washington, DC.
Updated October 2023 National Gallery of Art Archives 20

Bjurström, Per

Per Bjurström was Kress Professor in residence at the Center for Advanced Study in the Visual Arts in 

1990-1991 and a long-time observer and colleague of the National Gallery of Art.

Bjurström recounts experiences during his years as curator and director of the Swedish 

Nationalmuseum and notes the common concerns and problems that face national or governmentsponsored museums. He reflects on the role of museums in the life of a country and its people. 

Bjurström describes his experience at the Center for Advanced Study in the Visual Arts and shares 

observations about his year in Washington.

Anne G. Ritchie conducted the interview on May 7, 1991, in Washington, DC.

Bonner, Catharine

Catharine Bonner was on the staff of the National Gallery of Art as secretary to Donald Shepard from 

1940 to 1942. After an absence from 1942 to 1944, she returned to work for David Finley and later for 

Huntington Cairns. She retired in 1969.

Bonner recalls activities in the National Gallery offices on Jackson Place, N.W., and events associated 

with finishing the National Gallery of Art's original building and establishing the new staff, the National 

Gallery dedication, and early personalities, including David Finley, Donald Shepard, Alexander Reed, and 

others. She describes the National Gallery environment after the war, influential executive officers and 

other significant staff members, special events, visitors, donors, and trustees.

John J. Harter conducted the interview on June 2, 1989, in Essex, Connecticut.

Bouton, Margaret

Margaret Bouton joined the National Gallery of Art education department in 1948 and served as curator 

in charge of education from 1956 until her retirement in 1984. 

Bouton describes the small team of education staff working under Raymond Stites in 1948, explaining 

early public educational offerings, including Painting of the Week and Tour of the Week programming, 

the extension service, and later the inclusion of audio tour programs. She outlines the establishment of 

the volunteer docent system and notes the different responsibilities among docents, lecturers, and 

other education staff. Bouton concludes her interview with a reflection on the idea of a national gallery 

and its importance to the wider public.

In Bouton's second interview, she discusses her education and the circumstances that brought her to 

the Gallery. She describes the staff and operations of the Gallery when she first arrived in 1948, recounts 

various experiences, her perceptions of changes at the museum over time, and her views and 

philosophy on art education for children and the public in general. Bouton recalls the growth of the 

education department and assesses its impact on art education and the importance of such programs 

as Picture of the Week tours and Sunday lectures.
Updated October 2023 National Gallery of Art Archives 21

Diane A. Santiago conducted the first interview on October 31 and November 1 and 2, 1983, in 

Washington, DC (prior to the establishment of the Oral History Program); the second interview was 

conducted by Lynn Russell on December 1, 1988, in Bedford, Massachusetts. 

Bullard, E. John

E. John Bullard began his career at the National Gallery of Art as a Samuel H. Kress Fellow in 1967, and 

later secured positions as an assistant curator of American art, assistant to director J. Carter Brown, and 

curator of special projects. Bullard was appointed the director of the New Orleans Museum of Art in 

1973.

An American art specialist, Bullard notes his contributions to the 1970 Mary Cassatt survey exhibition 

and the 1971 John Sloan retrospective. He contrasts the leadership of National Gallery directors John 

Walker and J. Carter Brown in their approach to exhibitions, acquisitions, and conservation. Bullard

recalls the conservation of Rembrandt's The Mill and Brown's deft handling of the controversy in the 

late 1970s. He evaluates the National Gallery's transformation after the East Building opening and 

assesses the challenges faced by directors of regional museums in competing with larger and better 

funded institutions.

Anne G. Ritchie conducted the interview on September 24, 1997, in New Orleans, Louisiana.

Burnet, Mary Elizabeth C.

Mary Elizabeth Burnet joined the National Gallery of Art's staff in 1941, working first in the information 

room and soon thereafter as secretary to chief curator John Walker. During World War II she left the 

National Gallery to work for the Office of Strategic Services, returning to become a research assistant 

for Walker. Several years later she left to raise a family, later returning to work as a research assistant 

for William Campbell, curator of American art.

Burnet recalls her experiences taking the Civil Service Examination and joining the National Gallery's 

staff. She describes her career at the National Gallery, and the offices she worked with, especially the 

Chief Curator's Office and the office of the Curator of American Art.

Anne G. Ritchie conducted the interview on July 12, 1990, in Vienna, Virginia.

Carmean, E.A., Jr.

E.A. Carmean, Jr. served as the first curator of modern art at the National Gallery of Art from 1974 to 

1984. He assisted in commissioning large scale works of art by prominent artists installed for the 

opening of the East Building in 1978.

Carmean outlines his educational and career history before coming to the National Gallery, noting that 

Philippe de Montebello, his boss at the Museum of Fine Arts, Houston, recommended him to National 

Gallery director J. Carter Brown for the newly created position of curator of twentieth century art. In 

discussing the nascent modern art collection of the National Gallery, he notes the complications that 

arose from acquisitions and gifts of works of art by living artists. He recalls the acquisition of Jackson 

Pollock's Lavender Mist and describes the East Building installations of works by Alexander Calder, Joan 

Miró, Isamu Noguchi, Anthony Caro, and Henry Moore. Carmean also discusses his work on focus 
Updated October 2023 National Gallery of Art Archives 22

exhibitions on Piet Mondrian, Wassily Kandinsky, Pablo Picasso, and Mark Rothko. He concludes the 

interview with anecdotes of J. Carter Brown, Charles Parkhurst, Sydney Freedberg, and his fellow 

curators, to whom he referred as the Class of '74.

A.C. Viebranz conducted the interview on May 27, 1993, in Memphis, Tennessee.

Ferber, Elise Van Hook

Elise Ferber joined the staff of the National Gallery of Art in 1956 and worked in several capacities, 

especially as assistant to chief curator Perry Cott. She left the National Gallery in 1970 to serve as 

assistant to the director at Dumbarton Oaks, returning in 1972 as curator in charge of the art 

information service, a position in which she remained until 1987. From 1987 to 1989 she compiled a 

historical list of National Gallery exhibitions in the Archives.

Ferber notes many facets of the development of the National Gallery and changes that occurred 

through the years, as well as personalities she worked with, especially Perry Cott. She discusses some of

the National Gallery's exhibitions and other noteworthy events, especially observing that the small size 

of the staff when she began her work offered her the opportunity to work across the board as one does 

in a small museum.

Anne G. Ritchie conducted the interview on November 18, 1991, in Boston, Massachusetts.

Fisher, Sarah L.

Sarah L. Fisher joined the conservation department at the National Gallery of Art in 1981. She retired in 

2012 as head of painting conservation.

Fisher describes her studies abroad as a teenager, her European apprenticeships in conservation after 

graduating from Wellesley College, and her first conservation job at Oberlin, remarking on her overlap 

with future colleagues from the National Gallery. She recalls her arrival at the National Gallery in 1981, 

sharing her early impressions of the conservation staff and labs, and remarks on the cleaning 

controversy of Rembrandt's The Mill in the late 1970s and its impact on conservation protocol both at 

the National Gallery and other institutions. Fisher highlights some of her favorite conservation projects 

and memorable courier trips and closes with a discussion of her experiences working under different 

National Gallery directors and deputy directors.

Anne G. Ritchie conducted the interviews on May 2 and 4, 2012, in Washington, DC.

Fox, Carol

Carol Fox came to the National Gallery of Art first in 1974 to serve as translator for Chinese curators in 

the United States for the exhibition Archaeological Finds of the People's Republic of China and returned 

in February 1978 to work in special events.

Fox describes her education and introduction to the National Gallery of Art, her interest in the Chinese 

language, the circumstances that led her to join the staff of the National Gallery, and her experiences 

with the Chinese curators. She recounts her activities at the time of the opening of the East Building, 

and shares anecdotes about the events, including Benny Goodman's surprise performance. Fox reflects 
Updated October 2023 National Gallery of Art Archives 23

on the development of the Patrons' Permanent Fund and the Collectors Committee, and on the 

beginning of the National Gallery's corporate fund-raising program. She recalls early experiments with a 

pass system for exhibitions and reflects on the personalities and interests of key National Gallery staff 

members.

A.C. Viebranz conducted the interview on May 12, 1993, in New York, New York.

Foy, Elizabeth

Elizabeth (Betty) Foy joined the personnel department at the National Gallery of Art in 1948. Later she 

worked for assistant director Macgill James and directors John Walker and J. Carter Brown. She retired 

from the museum in 1981.

Foy describes key personalities she worked with, including Macgill James, John Walker, Huntington 

Cairns, and J. Carter Brown, and their interests, approaches to their work and accomplishments. She 

describes the National Gallery's organization and functions and recounts anecdotes relating to 

significant events. Foy assesses the National Gallery's environment and changes through the years.

John J. Harter conducted the interviews on May 15 and 16, 1989 in Washington, DC.

Freitag, Sally

Sally Freitag started her career in the Office of Exhibitions and Loans at the National Gallery of Art in 

1973 and soon became the assistant registrar for exhibitions. She left in 1983 to work as the registrar at 

the Worcester Art Museum and returned to the National Gallery in 1992 to serve as chief registrar.

Freitag recalls her early days in the exhibitions department and shares her memories of the 1976-1977 

Treasures of Tutankhamun exhibition. She discusses her duties in the registrar's office and notes the 

exponential growth of her department's responsibilities with the East Building opening. In particular, 

she describes the logistics and budgets of the exhibition process and the challenges of transporting and 

insuring international works of art. Freitag also speaks of the acquisition process and its impact on the 

National Gallery's art storage space. She reflects on memorable courier trips and highlights the 

Sculpture Garden installation as a favorite project.

Anne G. Ritchie conducted the interview on September 17, 2012, in Washington, DC.

Grossman, Sheldon

In the early 1970s, Sheldon Grossman was a two-time recipient of the Chester Dale Fellowship at the 

National Gallery of Art. He stayed on to work in the photo archives and later served as a curator of 

Italian art. He left the National Gallery in 1985 to become an art dealer.

Grossman recounts his modest upbringing in the Bronx, New York, his discovery of art history in college, 

and interest in art connoisseurship while studying abroad in Italy. He explains his interactions with 

National Gallery director John Walker and the circumstances that brought him to work at the National 

Gallery, and shares details of his time in the photo archives and his transition to the Italian art 

department. Grossman discusses his friendship with exhibition designer Gil Ravenel and their

collaboration on the 1983 exhibition Painting in Naples: From Caravaggio to Giordano. He contrasts the 
Updated October 2023 National Gallery of Art Archives 24

directorships of Walker and his successor J. Carter Brown and compares the office environments of the 

West Building and the East Building.

Anne G. Ritchie conducted the interview on May 1, 2013, in Washington, DC.

Holden, Florence

Florence Holden worked as a secretary at the National Gallery of Art from 1943 to 1958. She was 

assigned to the education department, the office of the chief curator, and the personnel department.

Holden discusses her childhood in Cuba and Baltimore and her art history education at Radcliffe College 

in Massachusetts. She explains her secretarial duties at the National Gallery, expressing her delight 

working with docents and educators, and notes her disappointment with her transfer to the office of 

chief curator John Walker, describing their impersonal working relationship. Holden shares her 

impressions of Macgill James, Charles Parkhurst, and other executive officers, and speaks of the 

atmosphere of the National Gallery during World War II, recalling the many ways the museum offered 

relaxation and entertainment to visiting servicemen and women.

Anne G. Ritchie conducted the interview on June 10, 1997, in Baltimore, Maryland.

Johnson, Yamashita

Yamashita Johnson began work as a protection services officer in 1969 at the National Gallery of Art 

where he served for nearly 46 years.

Johnson recounts his upbringing as a native Washingtonian and describes his military service in 

Vietnam before joining the National Gallery. He recalls his first impressions of director J. Carter Brown 

and notes the family-like environment in the National Gallery before the opening of the East Building. 

Johnson outlines the duties of the guard force, emphasizing the importance of courtesy and respect 

when working with staff and visitors, describes typical interactions with the public, and contrasts 

security assignments between the galleries and the entrances. He shares memories of exhibitions, 

including Treasures of Tutankhamun in 1976-1977, and comments on VIP guests and notable celebrities 

visiting the National Gallery during his tenure.

Anne G. Ritchie conducted the interview on March 9, 2012, in Washington, DC.

Karras, Chris

Chris Karras served on the staff of the Planning Office as a designer and planner for the National Gallery 

of Art from 1970 until his retirement in 1983.

Karras describes the office's involvement with the planning and development of the East Building as 

well as with other National Gallery construction projects. He recalls collaborating with I.M. Pei's office 

to refine East Building design details and explains the process of completing designs for interior spaces 

to reflect the building's geometry. Karras explains his activities relating to works of art commissioned 

for the East Building and describes the role of the planning office in East Building opening exhibitions.

Anne G. Ritchie conducted the interview on January 27, 1997, in Chevy Chase, Maryland.
Updated October 2023 National Gallery of Art Archives 25

Leason, Max

Max Leason came to the National Gallery of Art as head of publication sales in 1968 and remained in 

that position until his retirement in 1986.

Leason describes the operations and philosophy of the publication sales department, including sales 

management, production of color reproductions and other sales merchandise, and changes in the 

National Gallery's sales shop, particularly the introduction of self service. He notes sales concerns 

relating to special exhibitions and recalls the National Gallery's rapid growth and changes in staff 

operations.

Anne G. Ritchie conducted the interview on May 23, 1991, in Washington, DC.

Levenson, Jay

New York University graduate student Jay Levenson was a contributor to Dürer in America: His Graphic 

Work in 1971 and Prints of the Italian Renaissance in 1973 at the National Gallery of Art. Upon finishing 

his Ph.D. in art history, he became a lawyer, practicing law for six years. Levenson returned to the art 

world to curate the 1991-1992 exhibition Circa 1492: Art in the Age of Exploration and The Age of the 

Baroque in Portugal in 1993-1994. He left the National Gallery to pursue other curatorial opportunities, 

ultimately becoming the director of the International Program at the Museum of Modern Art.

Levenson discusses the development of his interest in art and his early experiences working as a 

collaborator with Gaillard Ravenel on the Dürer and Prints shows. He explains Ravenel's role in his return 

to museum work from law practice and how his law background was an asset to the complex 

coordination of international loans of art objects for Circa 1492. As a close friend, Levenson recounts his 

experiences with Ravenel, addressing Ravenel's work methodology, character, and reputation as an 

exhibition designer and head of design and installation at the National Gallery.

Anne G. Ritchie conducted the interview on May 17, 1997, in New York, New York. 

Looney, Kay and Joan Silverman

Volunteers Kay Looney and Joan Silverman came to the National Gallery of Art in the early 1960s to join 

the nascent docent program. They worked primarily with the school program, remaining active through 

the 1990s.

Looney and Silverman draw many parallels when recounting their education and the circumstances that 

led to their participation in the docent program. They discuss the founding of the program by the Junior 

League of Washington and its evolution from Margaret Bouton's time to the date of the interview. 

Looney and Silverman also describe their tour experiences and the challenge to make art seem real and 

personal for schoolchildren. They share their observations about David Finley, John Walker, and J. 

Carter Brown and their attitudes towards the docent program and offer anecdotes about some of the 

blockbuster exhibitions.

Anne G. Ritchie conducted the interview on September 9, 1998, in Washington, DC.
Updated October 2023 National Gallery of Art Archives 26

Mallus, Maria

Maria Mallus was secretary to Alexander Reed of the A.W. Mellon Educational and Charitable Trust 

from 1938 to 1941. She joined the National Gallery of Art staff in 1941 as secretary to Sterling Eagleton 

and later to Donald Shepard, returning with him to the Trust in 1943 and remaining there until 1948, 

when she retired to raise a family. She rejoined the National Gallery's staff in 1967, retiring in 1992.

Mallus describes her background and experiences at the A.W. Mellon Educational and Charitable Trust, 

noting many of its prominent personalities and its working environment. She recalls many of the 

National Gallery's early employees, especially Donald Shepard who was intimately involved in the 

National Gallery's establishment. Mallus contrasts her early experiences with those she encountered 

when she rejoined the staff in 1967.

John J. Harter conducted the interview on January 31 and February 1, 1989, in Washington, DC.

McGill, Thomas

Thomas (Tom) McGill joined the National Gallery of Art's guard force in 1955 and transferred to the 

library staff in 1966 to work as the interlibrary loan assistant.

McGill recalls staff members from his early years, noting the National Gallery's growth and change over 

time. He describes prominent visitors he observed while on the guard force and anecdotes about their 

visits and recalls his experiences on a special detail guarding the Mona Lisa. McGill describes the library 

and its leadership, especially the transition from Anna Link to Mel Edelstein, and the library's 

subsequent expansion.

John J. Harter conducted the interview on February 6, 1989, in Washington, DC.

Mongan, Agnes

Agnes Mongan, sister of National Gallery of Art staff member Elizabeth Mongan, and a Kress professor 

at the Center for Advanced Study in the Visual Arts, was a long-time observer and associate of the 

National Gallery.

Mongan describes her education in Paul Sachs' museum course and recalls seeing Andrew Mellon's 

collection in his Washington apartment and the Widener collection at Lynnewood Hall. She speaks of 

her friendships with John Walker and Kenneth Clark and recalls their intellectual and cultural interests 

and friendships. She especially notes her association with American Defense/Harvard Group, and the 

impact of the Army's Monuments, Fine Arts, and Archives Section during World War II. Mongan 

comments on various National Gallery personalities and her experiences as a Kress professor.

John J. Harter conducted the interview on June 21, 1989, in Cambridge, Massachusetts.

Mongan, Elizabeth

Elizabeth Mongan became in 1937 the first curator of the print collection of collector Lessing 

Rosenwald. When Rosenwald gave his collection to the National Gallery of Art and the Library of 

Congress in 1943, she was appointed the National Gallery's curator of prints, working both in 

Washington and with Rosenwald in Jenkintown, Pennsylvania, for the next twenty years.
Updated October 2023 National Gallery of Art Archives 27

Mongan describes her early training with Paul Sachs and travels in Europe, including a meeting with 

Bernard Berenson. She recalls Rosenwald and the dealers he worked with and bought from and notes 

her activities preparing the collection for Rosenwald's Alverthorpe Gallery and for transfer to the 

National Gallery and Library of Congress. Mongan remembers prominent National Gallery staff 

members and shares recollections of work there.

John J. Harter conducted the interview on June 22 and 23, 1989, in Rockport, Massachusetts.

Moore, Lamont

Lamont Moore joined the National Gallery of Art's staff as curator of education before the National 

Gallery's opening in 1941. Soon thereafter he joined the United States Army and served with the 

Monuments, Fine Arts, and Archives Section during World War II, returning to the National Gallery 

briefly before leaving for a position at the American Academy in Rome.

Moore describes his early experiences at the Newark Museum and the initial organization of the 

National Gallery of Art. He recalls setting up educational programs at the National Gallery, including 

tours of the permanent collection and educational lectures. Moore notes experiences during World 

War II and discusses circumstances associated with shipment of paintings of Berlin museums to the 

National Gallery immediately after the war.

Anne G. Ritchie conducted the interview on November 7, 1990, in Needham, Massachusetts.

Munsing, Juliana

Juliana Munsing held a brief appointment in the director's office at the National Gallery of Art in the 

mid-1970s. She returned to the National Gallery in 1983 to serve as assistant to the music director, 

retiring from that role in 2006.

Munsing describes her background and education that resulted in her recruitment by the FBI and the 

State Department and explains her husband Stefan Munsing's work with the Monuments, Fine Arts, and 

Archives program and other foreign service appointments. She reflects on their time in Europe, meeting 

new artists and musicians and socializing with ambassadors and prominent art collectors. Munsing 

recalls her different assignments at the National Gallery and highlights her position in the music 

department as being most compatible with her skills and interests. She shares her impressions of 

directors John Walker and J. Carter Brown, Paul Mellon, and music director George Manos, and closes 

with a discussion of her favorite experiences abroad and at the National Gallery.

Anne G. Ritchie conducted the interview on February 27, 2002, in Washington, DC. Stephen Ackert also 

participated in the interview.

Parker, Fred

Prior to coming to the National Gallery of Art, Fred Parker worked for Design and Production (D&P), a 

company which provided contract work for National Gallery exhibitions. In 1978, Gaillard Ravenel, head 

of the nascent design and installation department (DID), enlisted Parker to help establish the silkscreen 

and graphics unit of DID. Parker eventually left his position in 1983 to open the Hard Times Cafe, a 

restaurant in Alexandria, Virginia.
Updated October 2023 National Gallery of Art Archives 28

Parker describes his first encounter with the National Gallery as an employee of D&P, explaining the 

importance of contract work for National Gallery exhibitions prior to the founding of DID. He recalls 

starting at the National Gallery around the opening of the East Building and the tight deadlines 

surrounding the multiple exhibitions opening on June 1, 1978. Parker also discusses his working 

relationship with Ravenel and the creative process among DID staff to put together exhibition-related 

materials, including banners, wall text, labels, and directional signage.

Anne G. Ritchie conducted the interview on April 2, 1997, in Alexandria, Virginia. 

Pell, Robert Livingston

Robert Livingston (Robin) Pell came to the National Gallery of Art at the invitation of J. Carter Brown in 

1971 to serve as the director of the special events program. During his tenure, Pell orchestrated 

numerous exhibition previews and dinners, VIP visits, and most notably, the premieres of Kenneth 

Clark's Civilisation films. He left the National Gallery in 1978 to work for the Central Park Conservancy in 

New York City.

Pell recalls the early days of entertaining when Brown broke with tradition and hosted social events onsite at the National Gallery for the first time, and discusses his working relationship with Bunny Mellon, 

who was very involved in the planning of special dinners. He remembers significant events, including 

the unveiling of the Mona Lisa and the controversy concerning the conservation of Rembrandt's The 

Mill, and shares his view on J. Carter Brown's contributions to the National Gallery. Pell also describes 

the establishment of the Collectors Committee and his later travels seeking out new members for the 

committee in Chicago and Houston.

Anne G. Ritchie conducted the interview on October 7, 1998, in New York, New York.

Ritterpusch, Susan A.

Susan A. Ritterpusch joined the National Gallery of Art in 1974 as a sales shop assistant. She transferred 

to the Planning Office, which later became the Architect's Office, and was promoted to interior 

designer. She retired in 2013.

Ritterpusch describes her early days in the West Building sales shop. She shares her first encounters 

with Paul Mellon and director J. Carter Brown, speaks of memorable visits by celebrities and high-profile 

visitors, and remarks on the family-like atmosphere of the National Gallery before the East Building 

opening in 1978. Ritterpusch recalls her transition into interior design and discusses the enormous 

responsibility of decorating the East Building offices. She notes the importance of preserving the design 

history of the West and East Buildings and adhering to the John Russell Pope and I.M. Pei vernacular 

when renovating spaces. She remembers her work on the East Building commissions and highlights the 

renovations of the Trustees Council Room, food service spaces, conservation labs, and the Sculpture 

Garden Pavilion. Ritterpusch expresses deep appreciation for the many alliances and friendships 

established during her nearly forty years at the National Gallery.

Anne G. Ritchie conducted the interviews on November 16 and 30, 2012, in Washington, DC.
Updated October 2023 National Gallery of Art Archives 29

Siegel, Bethann Burns

Bethann Burns Siegel served as an event planner and coordinator in the department of protocol and 

special events at the National Gallery of Art.

Siegel describes her education in music and event management before joining the special events 

department. She recalls the shift in her entry-level responsibilities, first working with event 

photographers and then overseeing the calendar of events for the Trustees and Trustees Council. As a 

coordinator, Siegel discusses managing budgets, designing floor plans and table settings, and 

contracting vendors and musicians. She remarks on the department's reliance on other National Gallery 

departments including horticulture, music, facilities, and protection services divisions for each event. 

She explains the required protocols for visits by U.S. presidents, heads of state, diplomats, and other 

important guests.

Anne G. Ritchie conducted the interview on September 19, 2012, in Washington, DC.

Silberfeld, Kay

Kay Silberfeld was a painting conservator at the National Gallery of Art from 1972 to 1980.

Silberfeld describes the development of the painting conservation department, the organization of the 

conservation laboratory, equipment used there, and her work with Victor Covey, William Leisher, and 

others. She recalls Mario Modestini, Robert Feller, and conservation of various paintings, and describes 

conservation techniques and philosophies. Silberfield explains the development of the controversy 

surrounding conservation of Rembrandt's The Mill and recalls the various personalities and actions 

involved and the impact of the controversy on the National Gallery of Art and on the conservation 

community.

A.C. Viebranz conducted the interview on May 27, 1992, in Washington, DC.

Smith, Noel

Noel Smith served as the National Gallery of Art horticulturist from shortly before the Gallery's 

dedication in March 1941 until his retirement in 1973.

Smith recalls the loan of Joseph Widener's acacias for the dedication and their temporary storage in the 

United States Botanic Garden. He describes his work cultivating greenhouse plants and maintaining the 

Garden Courts and notes that his duties later expanded to include caring for the National Gallery's 

grounds. Smith particularly remembers his on-going struggle with the discourtesies of Park Police 

horses and describes his interest in the readings he performed with the National Gallery orchestra.

Anne G. Ritchie conducted the interview on August 23, 1990, in Washington, DC.

Smyth-Ravenel, Frances

Frances (Franny) Smyth-Ravenel began her career under Annemarie Pope as the registrar of 

Smithsonian's Traveling Exhibition Service. After hearing from her then acquaintance Gaillard (Gil) 

Ravenel that the National Gallery of Art was seeking publications staff, Smyth transferred to the newly 

established department in 1970. She served as Editor-in-Chief from 1981 until her death in 1999.
Updated October 2023 National Gallery of Art Archives 30

Smyth discusses her career at the National Gallery and the work of her husband Gil Ravenel, head of 

design and installation (DID). She recalls the early origins of DID and the impact of having an in-house 

team to assemble exhibitions, reflecting on Ravenel's perfectionism, his creative process for exhibition 

design, and his reputation within the museum world. Smyth speaks candidly about Ravenel's personality 

and his relationships with staff, including J. Carter Brown and Howard Adams.

Regarding her own career, Smyth discusses how her department operated, collaborations on catalogues 

with museums and outside publishers, and the marketing strategies used to increase visibility for 

National Gallery publications, with mention of the National Gallery cookbook and how Julia Child 

became the first recipe contributor. She also recounts her perspective on the East Building opening and 

blockbuster exhibitions and remarks on J. Carter Brown's legacy and the changes that occurred after his 

departure in 1992.

Anne G. Ritchie conducted the interview on December 7, 1998, in Washington, DC.

Steele, Lina

Lina Steele joined the National Gallery of Art staff in 1961 as a museum aide. She worked briefly in the 

sales shop and the education department before moving to the department responsible for the Index of 

American Design where she served until her retirement in 1984.

Steele explains the work of the Index office, in particular the circulating exhibitions that were available 

for loan and her interest in developing additional exhibitions for this purpose. She recalls organizing and 

mounting exhibitions of Index renderings and working with researchers who used the Index. She 

describes two special projects that relied heavily on Index resource--a two-volume publication on 

American design and a microfiche catalog to the Index collection.

Anne G. Ritchie conducted the interview on November 20, 1996, in Washington, DC.

Stoner, Joyce Hill

Joyce Hill Stoner is a conservator who teaches in the painting conservation department of the 

University of Delaware-Winterthur.

Stoner describes her educational background in art and conservation. She outlines the development of 

the field and explains the differences in theory and approach of the major figures in painting 

conservation. She discusses many conservators and their varying philosophies, including Rutherford 

John Gettens, George Stout, Sheldon and Caroline Keck, Hubert von Sonnenberg, Diane Dwyer 

Modestini, Mario Modestini, William Suhr, Richard Buck, Helmut Ruhemann, Umberto Baldini, Johannes 

Hell, Norman Brommelle, Thomas Brachert, Kay Silberfeld, and Victor Covey. Stoner remembers John 

Brealey and reflects on his personality, professional philosophy, and the perspective he had on his role in 

the National Gallery of Art's conservation controversy.

A.C. Viebranz conducted the interview on July 7, 1995, in Wilmington, Delaware.
Updated October 2023 National Gallery of Art Archives 31

Taylor, Katrina Van Hook

Katrina Van Hook Taylor joined the National Gallery of Art staff in 1940, working first in the chief 

curator's office and later assisting Lamont Moore in the education department. She was acting curator 

of education during Moore's wartime absence and retired from the National Gallery in 1945.

Taylor describes her education, including Paul Sachs' museum administration course at the Fogg 

Museum, and other experiences before coming to the National Gallery. She explains her early curatorial 

work with the National Gallery's collections and recalls various personalities including Macgill James, 

Perry Cott, and John Walker. Taylor recalls her experiences giving gallery tours, presenting lectures, and 

writing public information materials.

John J. Harter conducted the interview on June 16, 1989, in Chevy Chase, Maryland.

Thomas, Thelma

Thelma Thomas became a telephone operator at the National Gallery of Art in 1940 and retired in 1973 

as chief telephone operator.

Thomas describes the operation of the central switchboard, through which all incoming and outgoing 

calls were channeled and other aspects of National Gallery activities. She discusses personalities that 

she observed, the ebb and flow of National Gallery activities, her role in the National Gallery, and staff 

recreational activities. Thomas describes memorabilia that she collected, especially at the National 

Gallery's dedication.

Anne G. Ritchie conducted the interview on June 13, 1990, in Washington, DC.

Viebranz, Alfred C.

Alfred C. (A.C.) Viebranz acted as the liaison to the National Gallery of Art when his company GTE 

Corporation signed on as the underwriter of Post-Impressionism: Cross-Currents in European and 

American Painting, 1880-1905. In 1982, he left the business world to become J. Carter Brown's assistant 

for corporate relations. After retiring in 1987, Viebranz was lured back to the National Gallery to help 

initiate the 50th Anniversary oral history program.

Viebranz discusses his role as a museum corporate relations officer, describing the business end of 

exhibition planning, and offering highlights of his work on 32 exhibitions, noting the successes and 

failures. He remembers the complexity of putting together Treasure Houses of Britain and recounts the 

visit of Prince Charles and Princess Diana. Viebranz also comments on his working relationships with 

key figures, including Paul Mellon and J. Carter Brown, and closes out with a discussion of the oral 

history program and reflection on his long and varied career at the National Gallery.

Anne G. Ritchie conducted the interview on September 13, 1994, in Greenwich, Connecticut.

Walstrom, Charles

Charles Walstrom joined the National Gallery of Art's staff in 1939 as chief clerk. He was appointed 

personnel officer in 1941, left for military service during World War II, and returned afterward, remaining 

as Personnel Officer until 1970. He served as assistant administrator from 1970 until his retirement.
Updated October 2023 National Gallery of Art Archives 32

Walstrom describes his work when the National Gallery's offices were located at 712 Jackson Place, 

next door to those of the A.W. Mellon Educational and Charitable Trust, and his experiences as chief 

clerk preparing for the National Gallery's opening. He discusses National Gallery operations, hiring 

practices, the Civil Service Commission, and the various administrators that he worked with. Walstrom 

recalls an unexpected early morning visit by President Harry Truman.

Anne G. Ritchie conducted the interview on May 17, 1990, in Washington, DC.

Watson, Ross

In January 1966, Paul Mellon enlisted Ross Watson to work with his British art collection at the Mellon 

estate in Virginia. Later that year, through Mellon's recommendation, National Gallery of Art director 

John Walker hired Watson to become the curator of eighteenth-century British art, a position he held 

until 1977.

Watson reflects on his relationship with Paul Mellon and comments on Mellon's collection and his 

acquisition style. He also recounts his experiences at the National Gallery and his work producing shows 

on Turner, Constable, Wright, and Hogarth. Watson describes the magnitude and ambition of The Eye 

of Thomas Jefferson exhibition, Howard Adams' vision in putting it together, and related special events, 

including the fireworks display and Queen Elizabeth's visit. He comments on key people, including 

Francis Watson, Gil Ravenel, Lester Cooke, and Elise Ferber, and speaks about the transition in 

leadership from John Walker to J. Carter Brown.

Anne G. Ritchie conducted the interview on November 18, 1998, in Washington, DC.

Wells, Carolyn

Carolyn Wells came to the National Gallery of Art in 1945 to work for restorer Stephen Pichetto, later 

becoming research assistant to Fern Shapley and John Walker, before retiring in 1951 to raise a family. 

She resumed her career in 1969 to assist Walker in his research and publications after he retired from 

the National Gallery.

Wells recounts her experiences working with Pichetto to inventory the Berlin paintings and later her 

activities developing addressograph cards for the National Gallery's collections as well as other 

research work. She describes Harry McBride, John Walker, Anna Voris and other personalities and their 

contributions to the National Gallery and describes her activities with Walker after his retirement.

Anne G. Ritchie conducted the interview on May 31, 1991, in Chevy Chase, Maryland.
Updated October 2023 National Gallery of Art Archives 33

Trustees and Donors

 

Burger, Warren E.

As Chief Justice of the Supreme Court of the United States, Warren Burger was a member of the Board 

of Trustees of the National Gallery of Art from 1969 to 1986. He was Chairman of the Board from 1969-

1979.

Burger recalls visiting the newly opened National Gallery in 1941 when he was in Washington on 

business. He notes his love for art and avocation as a sculptor which contributed to his long-term 

interest in the museum. Burger recalls his interestin I.M. Pei's plans for the National Gallery's new 

building and his attention to its progress and assesses the National Gallery and its standards relative to 

other cultural institutions.

A.C. Viebranz conducted the interview on January 14, 1992, in Washington, DC.

Gerdts, William

Art historian and curator William Gerdts and his wife Abigail B. Gerdts were prominent collectors of 

American art. They donated over 300 works of art, primarily by 19th and early 20th century American 

artists, and their book collection to the National Gallery of Art.

Gerdts describes his early interest in American art when there was little scholarship in the subject area. 

He recalls meeting a group of art enthusiasts through American art collector Lee B. Anderson and 

speaks of their Saturday visits with art dealers. Gerdts notes his love of purchasing still life paintings 

and comments on the serious collection he had accumulated by the 1970s. He remarks on his tenure at 

Brooklyn College and the City University of New York Graduate Center and his eventual retirement 

from teaching art history.

Anne G. Ritchie conducted the interview on April 20, 2011, in New York, New York. Abigail B. Gerdts also 

participated in the interview.

Irwin II, John N.

John N. Irwin II was a trustee of the National Gallery of Art from 1962 to 1965, when he resigned from 

the board to enter government service representing the United States in negotiations concerning the 

Panama Canal. He later served as United States ambassador to France.

Irwin describes his early years, the growth of his interest in art, his diplomatic service, and his 

acquaintance with John Walker, which led to his appointment to the Board of Trustees of the National 

Gallery of Art. He describes the activities and role of the Board of Trustees and shares his observations 

concerning the development of museums and exhibitions and the period of his service on the board. 

Irwin reflects on the role and contributions of trustees and art collectors he knew, including Paul Mellon, 

John Hay Whitney, and Walter Annenberg.

A.C. Viebranz conducted the interview on May 12, 1993, in New York, New York.
Updated October 2023 National Gallery of Art Archives 34

Mellon, Paul

Paul Mellon, son of the National Gallery of Art founder Andrew W. Mellon, was also a founding 

benefactor of and major donor to the Gallery. He was a member of its Board of Trustees from 1938 to 

1939 and from 1945 to 1985, serving as president from 1938 to 1939 and again from 1963 to 1978 and as 

chairman from 1979 to 1985.

Mellon describes his father and recalls the museum's founding benefactors, dedication of the National 

Gallery of Art in 1941, and other significant events including selection of John Walker as second director 

and the conservation controversy of twenty years later. He reflects on the contributions of his sister, 

Ailsa Mellon Bruce, her tastes in collecting, and her interest in the National Gallery. Mellon describes 

significant personalities including the National Gallery's directors and discusses plans for the East 

Building, the selection of I.M. Pei as architect, and the work of the building committee.

Robert Bowen conducted the interviews on July 26 and 27 and November 10, 1988, in Washington, DC. 

Additional research was provided by A.C. Viebranz.

Murphy, Franklin

Franklin Murphy served as a trustee of the National Gallery of Art from 1964 to 1993 and as chairman 

from 1985 to 1993.

Murphy recalls his early experiences with the Kress Foundation, on whose board he served, and his 

association with the National Gallery, including his role in the selection of John Walker as David Finley's 

successor. He discusses the character and influence of various members of the Board of Trustees, 

directors John Walker and J. Carter Brown, and notable staff members. He recalls significant events in 

the National Gallery's history including the conservation controversy of the late 1970s and activities 

and decisions associated with planning and construction of the East Building. Murphy reflects on Paul 

Mellon and his influence on the National Gallery and describes other major donors and fund-raising 

efforts, including the Patrons' Permanent Fund, the Collectors Committee, and the Trustees' Council.

A.C. Viebranz conducted the interviews on January 24 and May 2, 1990, in Washington, DC.

Pinkus, Gerhard and Marianne

Gerhard and Marianne Pinkus collected many of Marc Chagall's early graphic works over more than four 

decades beginning in the 1940s. The Pinkuses donated portions of their collection to the National 

Gallery of Art in 1993. Curator Judith Brodie interviewed the couple in the exhibition Marc Chagall's 

Early Prints and Drawings: From Gerhard and Marianne Pinkus and Other National Gallery Collections, 

July 2-December 31, 1995.

Gerhard Pinkus explains his interest in Chagall and why he began collecting the artist's early prints and

mentions other Chagall collectors he encountered. He remembers beginning a long-term acquaintance 

with the artist in 1955 and gives insights into Chagall's family relationships. He discusses Chagall's 

commissions for book illustrations and his experimentation with different methods of printmaking. 

Pinkus also speaks in detail about the background and inspiration for works from his collection in the 
Updated October 2023 National Gallery of Art Archives 35

exhibition, including four series: Mein Leben, La Fontaine's Fables, Dead Souls, and The Seven Deadly 

Sins. Marianne Pinkus adds further observations concerning Chagall.

Judith Brodie conducted the interview on September 10, 1995, in Washington, DC.

Stevenson, John R.

John R. Stevenson served as a trustee of the National Gallery of Art from 1975 to 1993 and as president 

from 1979 to 1993.

Stevenson describes his background and how he became a trustee, the organization and work of the 

board and officers of the National Gallery, and especially the role of president. He analyzes the National 

Gallery's relationship to the Smithsonian Institution and Congress. He assesses the development and 

cost of the East Building, comments on the work of architect I.M. Pei, and describes Operation 

Breakthrough. Stevenson recalls the conservation controversy of the late 1970s and comments on 

various personalities associated with the National Gallery, including Carlisle Humelsine. He reflects on 

the National Gallery's program of special exhibitions and assesses possibilities for the National Gallery's 

future.

A.C. Viebranz conducted the interview on June 24, 1992, in New York, New York. Transcript available 

only.

Stevenson, Ruth Carter

Ruth Carter Stevenson was a trustee of the National Gallery of Art from 1979 to 1997 and served as 

president from 1993 to 1997.

Stevenson describes her education and the sources of her interest in art. She recalls her father, Amon 

Carter, his interest in art collecting, and development of the Amon Carter Museum in Fort Worth, Texas. 

She explains the circumstances of being asked to serve as a trustee of the National Gallery and recalls 

the conservation controversy. She describes the origins, development and work of the Collectors 

Committee, and the program for the Patrons' Permanent Fund. She assesses various National Gallery 

acquisitions and exhibitions and reflects on the importance of art education and the role of museums in 

reaching children.

A.C. Viebranz conducted the interview on November 10, 1992, in Washington, DC.

Vogel, Dorothy and Herbert

Beginning in 1962, Dorothy and Herbert Vogel used their modest salaries as a librarian and postal clerk 

to build an impressive collection of nearly 4,000 works of art, mostly in the conceptual and minimalist 

style. In 1992, they transferred a portion of their collection to the National Gallery of Art through gift 

and purchase.

The Vogels discuss their background and education, the development of their interest in art, and the 

way they began their collection. They describe the art scene in New York City during the 1950s and 

1960s, and recount their first meetings with Sol LeWitt, Richard Tuttle, Robert Mangold, and Robert 

Barry. The Vogels also speak of the evolution of their collection to include works by women artists, such 
Updated October 2023 National Gallery of Art Archives 36

as Edda Renouf, Ruth Vollmer, and Sylvia Plimack, and pieces by post-minimalists like Bruce Nauman and 

Pat Steir. They share highlights of the many exhibitions in which their works were displayed and the 

circumstances that led to choosing the National Gallery of Art for the major gift of their collection.

The six interviews with the Vogels took place over four sessions. Dorothy and Herbert Vogel were 

interviewed separately for the 2001 sessions and together in 2003 and 2005. Ruth E. Fine conducted the 

interviews on January 29 and June 20, 2001, in New York, New York and June 2, 2003, and April 27, 2005,

in Washington, DC.

 
Updated October 2023 National Gallery of Art Archives 37

Vermeer and Van Gogh exhibitions series

This series of interviews provides personal accounts of the events, including the extraordinary crowds 

and unexpected closures, surrounding the Johannes Vermeer (November 12, 1995-February 11, 1996) and 

Winslow Homer (October 15, 1995-January 28, 1996) exhibitions. Also included in this series 

are interviews about staff's personal experiences during the popular Van Gogh's Van Goghs: 

Masterpieces from the Van Gogh Museum, Amsterdam (October 4, 1998-January 3, 1999) exhibition.

Baird, Betsy

Betsy Baird was hired as lead exhibition aide, a weekend supervisory role for visitor services, during the 

1995-1996 exhibition Johannes Vermeer at the National Gallery of Art. 

Baird explains her situation working at the Smithsonian Associates and at the National Gallery as a 

weekend supervisor. She describes the training required in preparation for Van Gogh and the typical 

routine of visitor services staff after the exhibition's opening. She offers details about ticketing options, 

the logistics of the admission and waiting lines, and the difficulties in dealing with scalpers. In 

conclusion, Baird makes suggestions on how to handle ticketing and logistics for future blockbuster 

exhibitions.

Maygene F. Daniels conducted the interview on February 1, 1999, in Washington, DC. This interview is 

part of the Van Gogh’s Van Goghs exhibition series.

Banks, James

James Banks was deputy chief of protection services for operations, responsible for security officers 

assigned to protection duties at the National Gallery of Art. 

Banks recounts security preparations for the Homer and Vermeer exhibitions and the impact of the 

government furloughs and museum closings. He describes organizing and managing the lines waiting 

outside the building and the rush like the old homestead where everybody is standing in line waiting for 

the governor to fire the round in the air... when the building opened in the morning. Banks recalls the 

idea of creating a sign announcing the end of the line and the impact of that technique on crowd 

management. He explains law enforcement problems and outlines the system of assigning guards to 

the exhibits.

Maygene F. Daniels conducted the interview on March 20, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Barbour, Minnie

Minnie Barbour was telecommunications supervisor in the office of communications at the National 

Gallery of Art.

Barbour describes arranging for special telephone lines for the Ticketmaster desk in the East Building 

and the operation of the National Gallery's public information recordings. She explains the decision to 

keep telephone operators on duty during the long furlough and the challenge of interpreting complex 
Updated October 2023 National Gallery of Art Archives 38

ticket rules to the public, and notes that the office continued to receive calls about the Vermeer 

exhibition long after it had closed.

Maygene F. Daniels conducted the interview on March 20, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Davis, James

James (Jim) Davis was chief of protection services at the National Gallery of Art, responsible for 

security, fire safety, health, and law enforcement. 

Davis describes the National Gallery's security force and its responsibilities for protecting the National 

Gallery and its works of art and its police-type activities. He describes how protecting the art during the 

Vermeer exhibition differed from protecting art in other circumstances, recalls Salman Rushdie's visit to 

the exhibition, and reflects on the behavior of visitors in line and lessons the security force learned 

during the events.

Maygene F. Daniels conducted the interview on March 22, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Hamm, Dan

Dan Hamm was building services manager for the facilities management division, which oversees 

housekeeping, exterior crews, and snow removal, among other activities. 

Hamm explains the special demands that the enormous crowds created for the crews cleaning and 

maintaining the National Gallery buildings, including the dust and lint that were deposited each day and 

the problems in maintaining National Gallery floors. He describes the impact of the massive January 

snowstorms and assesses the morale of the housekeeping staff and their interest in the Vermeer 

exhibition.

Maygene F. Daniels conducted the interview on March 4, 1996, in Washington, DC. This interview is part 

of the Johannes Vermeer exhibition series.

Lightner, Ysabel

Ysabel Lightner was merchandise manager for the National Gallery of Art shops, with responsibility for 

product development, licensing, and purchasing. 

Lightner describes the process of developing merchandise and selecting off-the-rack items for special 

exhibitions. She explains preparations for the Vermeer and Homer exhibitions and the impact of the 

government shutdowns and enormous crowds on merchandise sales, as well as the challenges and 

heroic efforts involved in restocking the Vermeer catalog.

Maygene F. Daniels conducted the interview on March 21, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.
Updated October 2023 National Gallery of Art Archives 39

Powell, Earl A. (Rusty), III

Earl A. (Rusty) Powell, III was director of the National Gallery of Art from 1992 until his retirement in 

2019.

Powell describes his expectations for the Vermeer and Homer exhibitions and the impact of the 

museum closings. He explains the situation during the second government shutdown and the steps the 

museum took to open the Vermeer exhibition with private funds. Powell mentions the visits of 

President Bill Clinton and Queen Beatrix of The Netherlands and reflects on the impact of the 

experience on the museum.

Anne G. Ritchie conducted the interview on July 3, 1996, in Washington, DC. This interview is part of the 

Johannes Vermeer exhibition series.

Rich, Chrisa

Chrisa Rich worked in the office of special events, with duties that included scheduling V.I.P. and special 

guests for exhibition tours. 

Rich describes scheduling actor Richard Gere to visit the Vermeer exhibition, and her experiences 

making the arrangements, meeting Gere and his guest, escorting them through the exhibition, and 

taking them to meet with Sarah Greenough, curator of photography. She also describes the aftermath 

of the visit, including reactions of National Gallery staff and Gere's own expressions of appreciation.

Maygene F. Daniels conducted the interview on April 19, 1996, in Washington, DC. This interview is part 

of the Johannes Vermeer exhibition series.

Schneider, Charles

Charles (Chuck) Schneider was deputy administrator of the National Gallery of Art serving as principal 

assistant to the administrator involved in security, telecommunications, supply, and audiovisual 

concerns. 

Schneider describes his background in engineering, facilities management, and procurement, and the 

impact of the furloughs and tremendous crowds on these aspects of the National Gallery's programs. 

He explains the National Gallery's decisions concerning essential workers during the government 

shutdown and the impact of the decision to re-open Vermeer with private funds. Schneider describes 

the lines of visitors and the security and maintenance problems these created and reflects on lessons 

administrative staff learned during these events.

Maygene F. Daniels conducted the interview on March 29, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Wheelock, Arthur

Arthur Wheelock, National Gallery of Art curator of northern baroque paintings until his retirement in 

2018, was curator of the Johannes Vermeer exhibition. 
Updated October 2023 National Gallery of Art Archives 40

Wheelock describes his background and education, his study of Dutch art, and his Finley fellowship and 

introduction to the National Gallery of Art. He recalls his research on Vermeer and explains the origin of 

the idea for a Vermeer exhibition. Wheelock recounts the prolonged loan negotiations for the 

exhibition, the role of Mauritshuis staff, stages of exhibition preparation, coordination of the catalog, 

exhibition design and installation, and conservation of the National Gallery's Vermeer paintings. He 

describes the opening dinner for the exhibition and the visit of Queen Beatrix, reflects on the incredible 

public response, and shares anecdotes of visitors and tours and comments on lenders' reactions to the 

government shutdowns.

Anne G. Ritchie conducted the interviews on April 5, July 23, and July 30, 1996, in Washington, DC. Edited 

transcript is available only. This interview is part of the Johannes Vermeer exhibition series.

Willson, Darrell

Darrell Willson was administrator of the National Gallery of Art from 1989 until his retirement in 2020.

Willson describes the administrator's responsibilities and assesses the effect of the government 

shutdowns on essential staff and others. He explains the reopening of the Vermeer exhibition and 

decisions relating to issuing tickets and managing visitors and compromises and adjustments that were 

needed. Willson recalls experiences with various members of the public, including problems with ticket 

scalping, and reflects on the impact of the Vermeer exhibition on the future of the museum and the arts. 

He describes the special staff viewing of the exhibition on the Monday morning after it had closed to 

the public.

Anne G. Ritchie conducted the interview on April 3, 1996, in Washington, DC. This interview is part of 

the Johannes Vermeer exhibition series.

Ziska, Deborah

Deborah Ziska became press and public information officer for the National Gallery of Artin November 

1995, the week before the public opening of the Johannes Vermeer exhibition. Previously she had been 

deputy press officer. 

Ziska describes her experiences associated with the exhibitions, beginning with the press trip to 

Holland, the press breakfast and initial reaction to the Vermeer and Homer exhibitions. She recalls 

events associated with the furlough and the press response, and escalation of interest during the 

extended shutdown. She explains the working situation in the closed museum, steps taken to inform 

the press and handle film crews during the re-opening, and incidents relating to the press and other 

visitors. Ziska reflects on the causes of the events and on their long-term impact on the National Gallery 

and the public.

Maygene F. Daniels conducted the interview on July 30, 1996, in Washington, DC. This interview is part 

of the Johannes Vermeer exhibition series.
Updated October 2023 National Gallery of Art Archives 41

Development Staff - Patricia Donovan, Melissa McCracken, Rita Monner, and Randi 

Nordeen

Patricia Donovan, Melissa McCracken, Rita Monner, and Randi Nordeen worked for the development 

office with responsibilities for matters relating to the Trustees' Council, donor stewardship, and the 

New Century Fund at the National Gallery of Art.

Interview participants describe their work in the development office and explain early plans to use the 

Homer and Vermeer exhibitions to further development office goals. They reflect on their experiences 

with small dinners associated with the exhibitions and further recall the impact of the furlough and 

cancellations, recalling the frenzied ticket requests they handled when the Vermeer exhibition 

reopened. They describe the visit of the Queen of The Netherlands and recount reactions of various 

patrons to the closure.

Maygene F. Daniels conducted the interview on April 18, 1996, in Washington, DC. This interview is part 

of the Johannes Vermeer exhibition series.

Development Staff - Samantha Neukom, Margaret Porta, and Melanie Wolfe

Samantha Neukom, Meg Porta, and Melanie Wolfe worked in the development office, associated with 

the Circle of the National Gallery of Art and other activities. 

Neukom, Porta, and Wolfe explain development office plans to capitalize on the popularity of the 

Homer and Vermeer exhibitions for membership programs, the interest of Circle members and donors, 

and the management of courtesy passes. They describe the impact of the closings and cancellations, 

and especially the hysteria in the days following Christmas as pressure to view the exhibition built. They 

also reflect on the opportunity to be heroes in helping friends, family, donors, and members view the 

Vermeer exhibition. They describe instances in which individuals joined the Circle hoping to see the 

exhibition.

Maygene F. Daniels conducted the interview on April 19, 1996, in Washington, DC. This interview is part 

of the Johannes Vermeer exhibition series.

Horticultural Services Staff - Dierdre Armstrong and Cindy Lawless

Cindy Lawless and Deirdre Armstrong were horticulturists working in the greenhouses and outside the 

West Building during winter events at National Gallery of Art. 

Lawless and Armstrong recount their experiences and observations of the lines of visitors waiting to 

enter the West Building and the public's behavior, recalling the very early hours of winter mornings and 

the image of crowds converging on the museum. They also reflect on the impact of the events on the 

National Gallery and staff.

Maygene F. Daniels conducted the interview on March 1, 1996, in Washington, DC. This interview is part 

of the Johannes Vermeer exhibition series.
Updated October 2023 National Gallery of Art Archives 42

Publication Sales Staff - Boyd, Karen Boyd, Miriam Davis, Kristen Frank, Steve 

McKevitt, Steve Richardson, Calvin Roebuck, and Leon Wyatt

Karen Boyd, Miriam Davis, Kristen Frank, Steve McKevitt, Steve Richardson, Calvin Roebuck, and Leon 

Wyatt were members of the publications sales staff, working in the gallery shops, the off-site 

warehouse, and mail order operations at the National Gallery of Art. 

Interview participants describe how the shops were set up for the Vermeer and Homer exhibitions and 

the quick adjustments made to accommodate early crowds. They explain the impact of the furlough 

and steps taken to check-in and manage merchandise, and the extraordinary level of sales, recalling 

instances in which the Vermeer catalog and poster were out-of-stock and experiences with various 

customers. They describe VIPs and reflect on the extraordinary reaction to Vermeer and lessons they 

learned.

Maygene F. Daniels conducted the interview on March 27, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Special Projects Staff - Jason Herrick, Pam Jenkinson, and Heather Sack

Jason Herrick, Pamela Jenkinson, and Heather Sack were members of the special projects staff at the 

National Gallery of Art. 

As department head, Jenkinson describes their vital work as congressional relations liaisons. She 

outlines the development initiatives planned for the Vermeer and Homer shows before the government 

was shut down over a budget dispute. Herrick and Sack recall the deluge of requests from congressional 

members for special access to the exhibitions and express their discomfort in having to decline those 

requests; and discuss working with the visitor services department to accommodate congressional 

members when the National Gallery finally reopened with private funding. They reflect on the National 

Gallery closure as a public symbol of the government shutdown and how it generated local and national 

interest in the two exhibitions. They share anecdotes of memorable VIP visits and note the positive 

effect the event had on future congressional relations.

Maygene F. Daniels conducted the interview on March 13, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Visitor Services Staff - Ellen Bryant, Sandra Creighton, Barbara Goldstein, Jennifer 

Karotkin, Jeffrey Leone, and Debbie McKnight

Sandra Creighton directed the visitor services staff at the National Gallery of Art. Ellen Bryant, Barbara 

Goldstein, Jennifer Karotkin, Debbie McKnight, and Jeff Leone were members of the staff. 

Interview participants recount in detail events associated with the closing and reopening of the 

museum and the Vermeer exhibition, describing the work of the visitor services staff, management of 

VIP visitors, and the operation of the pass system. They praise the guard force and recall many stories 

relating to their encounters with the public and significant visitors.

Maygene F. Daniels conducted the interview on February 28, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.
Updated October 2023 National Gallery of Art Archives 43

Visitor Services Staff - Rose Langworthy, Ron Niemann, and Theodore Shealy

Rose Langworthy, Ron Niemann, and Ted Shealy were members of the visitor services staff at the 

National Gallery of Art. 

Interview participants describe their training, experiences issuing tickets, and observations during the 

early days of the exhibitions; and explain courtesy pass operations, shifting policies for access to the 

exhibitions, and techniques for managing the crowds and dealing with problems. They offer anecdotes 

about the public and various behaviors that they observed, recall incidents they encountered, and speak 

with appreciation of the guards and their support for the visitor services staff.

Maygene F. Daniels conducted the interview on March 10, 1996, in Washington, DC. This interview is 

part of the Johannes Vermeer exhibition series.

Visitor Services Staff - Nancy Center, Doris Henderschott, and Nanci Surrett

Nancy Center, Doris Hendershott, and Nanci Surrett were members of the visitor services staff at the 

National Gallery of Art. 

Each participant describes their individual responsibilities in the office and on the floor during the Van 

Gogh exhibition. They discuss the hiring and training required to handle the potential crowds and detail 

the positioning of staff from the waiting line to admission to exit. They enumerate the different ticket 

types, and how the operation was complicated by the presence of scalped and counterfeit tickets. They 

offer anecdotes of people waiting in line and the necessity of cooperation between visitor services and 

the guard force to resolve difficult situations. The participants reflect on comparisons with the 1995-

1996 Johannes Vermeer show and make suggestions for staff working the front line on blockbuster 

exhibitions.

Maygene F. Daniels conducted the interview on February 1, 1999, in Washington, DC. This interview is 

part of the Van Gogh’s Van Goghs exhibition series.
Updated October 2023 National Gallery of Art Archives 44

Alphabetical Index

Adams, E. James - Executive Officers

Allen, John L. - Staff and Volunteers

Armstrong, Dierdre (with Horticultural Services Staff: Cindy Lawless) - Vermeer and Van Gogh Series

Baird, Betsy - Vermeer and Van Gogh Series

Baird, Thomas - Staff and Volunteers

Bales, Richard - Staff and Volunteers

Banks, James - Vermeer and Van Gogh Series

Barbour, Minnie - Vermeer and Van Gogh Series

Barry, Mabel - Staff and Volunteers

Bates, Robert - Architects, Building Consultants, and Construction Staff

Benson, Elizabeth - Staff and Volunteers

Beville, Henry - Staff and Volunteers

Bingham, Lois A. - Staff and Volunteers

Bjurström, Per - Staff and Volunteers

Bonner, Catharine - Staff and Volunteers

Bouton, Margaret - Staff and Volunteers

Boyd, Karen (with Publication Sales Staff: Miriam Davis, Kristen Frank, Steve McKevitt, Steve Richardson, 

Calvin Roebuck, and Leon Wyatt) - Vermeer and Van Gogh Series

Brown, J. Carter - Executive Officers 

Brown, Virginia (with Thelma DeAtley) - Observers and Associates of the National Gallery of Art

Bryant, Ellen (with Visitor Services Staff: Sandra Creighton, Barbara Goldstein, Jennifer Karotkin, Jeffrey 

Leone, and Debbie McKnight) - Vermeer and Van Gogh Series

Bullard, E. John - Staff and Volunteers

Burger, Warren E. - Trustees and Donors

Burnet, Mary Elizabeth C. - Staff and Volunteers

Carmean, E.A., Jr. - Staff and Volunteers

Cavanagh, Carroll J. - Executive Officers
Updated October 2023 National Gallery of Art Archives 45

Center, Nancy (with Visitor Services Staff: Doris Henderschott and Nanci Surrett) - Vermeer and Van 

Gogh Series

Chabot, Lucille - Artists and Art Material Experts

Chapman, Suzanne - Artists and Art Material Experts

Chramiec, Alexandra - Observers and Associates of the National Gallery of Art

Conger, Clement - Observers and Associates of the National Gallery of Art

Craig, John (with John Jones and Malcolm Rice) - Architects, Building Consultants, and Construction 

Staff

Creighton, Sandra (with Visitor Services Staff: Ellen Bryant, Barbara Goldstein, Jennifer Karotkin, Jeffrey 

Leone, and Debbie McKnight) - Vermeer and Van Gogh Series

Davis, James - Vermeer and Van Gogh Series

Davis, Miriam (with Publication Sales Staff: Karen Boyd, Kristen Frank, Steve McKevitt, Steve Richardson, 

Calvin Roebuck, and Leon Wyatt) - Vermeer and Van Gogh Series

DeAtley, Thelma (with Virginia Brown) - Observers and Associates of the National Gallery of Art

Donovan, Patricia (with Development staff: Melissa McCracken, Rita Monner, and Randi Nordeen) -

Vermeer and Van Gogh Series

Eastman, Franklin - Architects, Building Consultants, and Construction Staff

Eggers, David - Architects, Building Consultants, and Construction Staff

Ellinger, David - Artists and Art Material Experts

English, Joseph G. - Executive Officers

Feller, Robert L. - Observers and Associates of the National Gallery of Art

Ferber, Elise Van Hook - Staff and Volunteers

Firmin, John - Architects, Building Consultants, and Construction Staff

Fisher, Sarah L. - Staff and Volunteers

Fox, Carol - Staff and Volunteers

Foy, Elizabeth - Staff and Volunteers

Frank, Kristen (with Publication Sales Staff: Karen Boyd, Miriam Davis, Steve McKevitt, Steve Richardson, 

Calvin Roebuck, and Leon Wyatt) - Vermeer and Van Gogh Series

Freitag, Sally - Staff and Volunteers

Gauthier, Lucille Lacoursiere - Artists and Art Material Experts
Updated October 2023 National Gallery of Art Archives 46

Gerdts, William - Trustees and Donors

Goldstein, Barbara (with Visitor Services Staff: Ellen Bryant, Sandra Creighton, Jennifer Karotkin, Jeffrey 

Leone, and Debbie McKnight) - Vermeer and Van Gogh exhibitions Series

Grossman, Sheldon - Staff and Volunteers

Hamm, Dan - Vermeer and Van Gogh exhibitions Series

Hayes, Lloyd D. - Executive Officers

Henderschott, Doris (with Visitor Services Staff: Nancy Center and Nanci Surrett) - Vermeer and Van 

Gogh exhibitions Series

Herrick, Jason (with Special Projects Staff: Pam Jenkinson and Heather Sack) - Vermeer and Van Gogh 

exhibitions Series

Holden, Florence - Staff and Volunteers

Irwin, John N., II - Trustees and Donors

Jenkinson, Pam (with Special Projects Staff: Jason Herrick and Heather Sack) - Vermeer and Van Gogh 

exhibitions Series

Jenson, Dorothy Hay - Artists and Art Material Experts

Johnson, Yamashita - Staff and Volunteers

Jones, John (with John Craig and Malcolm Rice) - Architects, Building Consultants, and Construction 

Staff

Karotkin, Jennifer (with Visitor Services Staff: Ellen Bryant, Sandra Creighton, Barbara Goldstein, Jeffrey 

Leone, and Debbie McKnight) - Vermeer and Van Gogh exhibitions Series

Karras, Chris - Staff and Volunteers

Kottcamp, Elmer R. - Artists and Art Material Experts

Kress, Virginia - Observers and Associates of the National Gallery of Art

Langworthy, Rose (with Visitor Services Staff: Ron Niemann and Theodore Shealy) - Vermeer and Van 

Gogh exhibitions Series

Lawless, Cindy (with Horticultural Services Staff: Dierdre Armstrong) - Vermeer and Van Gogh 

exhibitions Series

Leason, Max - Staff and Volunteers

Legion Paper Company - Artists and Art Material Experts

Leone, Jeffrey (with Visitor Services Staff: Ellen Bryant, Sandra Creighton, Barbara Goldstein, Jennifer 

Karotkin, and Debbie McKnight) - Vermeer and Van Gogh exhibitions Series
Updated October 2023 National Gallery of Art Archives 47

Levenson, Jay – Staff and Volunteers

Lightner, Ysabel - Vermeer and Van Gogh exhibitions Series

Looney, Kay (with Joan Silverman) - Staff and Volunteers

Loper, Edward L. - Artists and Art Material Experts

Lubrano, Joseph - Artists and Art Material Experts

MacEwen, Edward C. - Observers and Associates of the National Gallery of Art

Mallus, Maria - Staff and Volunteers

Mann, J. William - Architects, Building Consultants, and Construction Staff

Matisse, Paul - Architects, Building Consultants, and Construction Staff

Matulis, John - Artists and Art Material Experts

McCracken, Melissa (with Development Staff: Patricia Donovan, Rita Monner, and Randi Nordeen) -

Vermeer and Van Gogh exhibitions Series

McGill, Thomas - Staff and Volunteers

McKevitt, Steve (with Publication Sales Staff: Karen Boyd, Miriam Davis, Kristen Frank, Steve Richardson, 

Calvin Roebuck, and Leon Wyatt) - Vermeer and Van Gogh exhibitions Series

McKnight, Debbie (with Visitor Services Staff: Ellen Bryant, Sandra Creighton, Barbara Goldstein, 

Jennifer Karotkin, and Jeffrey Leone) - Vermeer and Van Gogh exhibitions Series

Mellon, Paul - Trustees and Donors

Miller, Cleaveland D. - Observers and Associates of the National Gallery of Art

Modestini, Mario - Observers and Associates of the National Gallery of Art

Mongan, Agnes - Staff and Volunteers

Mongan, Elizabeth - Staff and Volunteers

Monner, Rita (with Development Staff: Patricia Donovan, Melissa McCracken, and Randi Nordeen) -

Vermeer and Van Gogh exhibitions Series

Moore, Lamont - Staff and Volunteers

Munsing, Juliana - Staff and Volunteers

Murphy, Franklin D. - Trustees and Donors

Neukom, Samantha (with Development Staff: Margaret Porta and Melanie Wolfe) - Vermeer and Van 

Gogh exhibitions Series
Updated October 2023 National Gallery of Art Archives 48

Niemann, Ron (with Visitor Services Staff: Rose Langworthy and Theodore Shealy) - Vermeer and Van 

Gogh exhibitions Series

Nordeen, Randi (with Development Staff: Patricia Donovan, Melissa McCracken, and Rita Monner) -

Vermeer and Van Gogh exhibitions Series

Offenbacher, Hurley - Architects, Building Consultants, and Construction Staff

Oles, Paul Stevenson - Architects, Building Consultants, and Construction Staff

Olsen, Edwin B. - Architects, Building Consultants, and Construction Staff

Parker, Fred – Staff and Volunteers

Parkhurst, Charles - Executive Officers

Pearson, Nathan - Observers and Associates of the National Gallery of Art

Pedersen, William - Architects, Building Consultants, and Construction Staff

Pei, I.M. - Architects, Building Consultants, and Construction Staff

Pell, Robert Livingtston - Staff and Volunteers

Perry, Marilyn - Observers and Associates of the National Gallery of Art

Pinkus, Gerhard and Marianne - Trustees and Donors

Porta, Margaret (with Development Staff: Samantha Neukom and Melanie Wolfe) - Vermeer and Van 

Gogh exhibitions Series

Powell, Earl A. (Rusty), III - Vermeer and Van Gogh exhibitions Series

Rice, Malcolm (with John Craig and John Jones) - Architects, Building Consultants, and Construction 

Staff

Rich, Chrisa - Vermeer and Van Gogh exhibitions Series

Richardson, Steve (with Publication Sales Staff: Karen Boyd, Miriam Davis, Kristen Frank, Steve McKevitt, 

Calvin Roebuck, and Leon Wyatt) - Vermeer and Van Gogh exhibitions Series

Ridgway, Jane Pope Akers - Observers and Associates of the National Gallery of Art

Ritterpusch, Susan A. - Staff and Volunteers

Roebuck, Calvin (with Publication Sales Staff: Karen Boyd, Miriam Davis, Kristen Frank, Steve McKevitt, 

Steve Richardson, and Leon Wyatt) - Vermeer and Van Gogh exhibitions Series

Sack, Heather (with Special Projects Staff: Jason Herrick and Pam Jenkinson) - Vermeer and Van Gogh 

exhibitions Series

Schmidt, Adolph William- Observers and Associates of the National Gallery of Art

Schneider, Charles - Vermeer and Van Gogh exhibitions Series
Updated October 2023 National Gallery of Art Archives 49

Scott, David W. - Architects, Building Consultants, and Construction Staff

Shealy, Theodore (with Visitor Services Staff: Rose Langworthy and Ron Niemann) - Vermeer and Van 

Gogh exhibitions Series

Siegel, Bethann Burns - Staff and Volunteers

Silberfeld, Kay - Staff and Volunteers

Silverman, Joan (with Kay Looney) - Staff and Volunteers

Smith, Noel D. - Staff and Volunteers

Smyth, Craig Hugh - Observers and Associates of the National Gallery of Art

Smyth-Ravenel, Frances - Staff and Volunteers

Standen, Edith - Observers and Associates of the National Gallery of Art

Steele, Lina - Staff and Volunteers

Stevenson, John R. - Trustees and Donors

Stevenson, Ruth Carter - Trustees and Donors

Stoner, Joyce Hill - Staff and Volunteers

Surrett, Nanci (with Visitor Services Staff: Nancy Center and Doris Henderschott) - Vermeer and Van 

Gogh exhibitions Series

Taylor, Katrina Van Hook - Staff and Volunteers

Thomas, Thelma P. - Staff and Volunteers

Viebranz, Alfred C. - Staff and Volunteers

Vogel, Dorothy and Herbert - Trustees and Donors

Walker, John - Executive Officers

Walstrom, Charles - Staff and Volunteers

Watson, Ross - Staff and Volunteers

Wells, Carolyn - Staff and Volunteers

Wheelock, Arthur - Vermeer and Van Gogh exhibitions Series

Williams, Joan B. - Observers and Associates of the National Gallery of Art

Willson, Darrell - Vermeer and Van Gogh exhibitions Series

Wilmerding, John - Executive Officers
Updated October 2023 National Gallery of Art Archives 50

Wolfe, Melanie (with Development Staff: Samantha Neukom and Margaret Porta) - Vermeer and Van 

Gogh exhibitions Series

Wyatt, Leon (with Publication Sales Staff: Karen Boyd, Miriam Davis, Kristen Frank, Steve McKevitt, 

Steve Richardson, and Calvin Roebuck) - Vermeer and Van Gogh exhibitions Series

Young, Theodore - Architects, Building Consultants, and Construction Staff

Ziska, Deborah - Vermeer and Van Gogh exhibitions Series