1

I am sorry to have to say to you that your letter astonishes me.

I knew mm almost nothing about Fisk when I first spoke with you -- now I know
only enough to know that I still know almost nothing.

I am a painter, and so I know about paintings in a way you cannot, -- just as you
may know about Fisk in a way I cannot.

and dust
I asked you last fall about air-conditioning and heat and humidity/control
of the gallery. You have never answered me as to whether it can be done or not, and
what the cost would be. I am interested in this as I know that the uneven temperatures,
dampness, and soot will ruin the Collection in a very short time and something should
be done about it -- soon.
5

In ten years' time, if the Collection is left unprotected from your climate,
it will cost you between $25 and $150 for each painting to have it cleaned and repaired
deterioration
from the damage that will have occurred -- and some of them will not be/never be/never be/never be
beyond repair at any price. I doubt that Fisk can afford this.

That is one reason I have left my two paintings at Fisk on loan, rather than make
a gift of them. I am not interested in having two very good paintings ruined if
I would prefer to have them in Abiquiu than
have them seen by the public in a damaged state which will inevitably occur, and
which will not represent my work by my own standard.

If you are not in a position to take care of the Stieglitz Collection and prefer to
hang other things for which no one will insist that you do care, you had better return
it to me immediately before it is entirely ruined and let me pass it on to some other
institution.

I have a feeling of responsibility toward Stieglitz -- and also toward the work of
my contemporaries, fellow workers. To me it is the equivalent of the burning of the
books -- only it is just a little slower.
may think you

I care for the life of the things -- you need only care for the publicity and
prestige it gives your institution. You haven't time for anything else. It takes much
time and thought. But you would do better for your publicity &
prestige in the long run if you accept my way.

I am sorry to have to say that your letter astonished me.

I knew almost nothing about Fisk when I first spoke with you -- now I know
only enough to know that I still know almost nothing.

In ten years' time, if the Collection is left unprotected from your climate,
it will cost you between $25 and $150 for each painting to have it cleaned and repaired
deterioration
from the damage that will have occurred -- and some of them will not be/never be/never be/never be/never be
beyond repair at any price. I doubt that Fisk can afford this.

2

You are very careful not to tell me in what way you intend "to make a few
physical corrections in the building for more satisfactory preservation of the
Stieglitz paintings."

The letters you wrote me during the time before the Collection was placed at
Fisk were among the clearest and best I received from anyone. That is one reason I
wonder at ~~when~~ your letter of March -- , which seems rather deliberately unclear.
I wonder what it is you do not wish to say, do not wish me to know.

From what I saw upon my arrival at Fisk of the physical changes made in the
building to change it from a gymnasium to an art gallery

From what I saw of physical changes I am suggested by the architects to which
you consented, I have no confidence in the physical changes you seem to have in mind
now, which you do not specify. I am not willing to consent to any changes which would
affect my ~~HXXG~~ presentation of the AS Collection, unless I know about them first.

What I saw through myfxs and Hxstiagx

When I thought of sending part of the Stieglitz Collection to Fisk and offered
it to you I thought I would send it to you and be finished with it. If I had thought
you were going to take it down in a year and a half I assure you I would not have given
it to you, and I would certainly not have worked as I did to get it on the wall.

no H
I didn't realize how unprepared you were to manage and care for anything
like that. It seems I can't be finished with it unless I just give up and let you
slip off into hopeless mediocrity simply because you don't know any better.

3

While I still had the Collection to dispose of, ~~in particular~~, I offered to Fisk a part of it, subject to certain conditions of gift. After considerable correspondence and discussion, certain changes were made under the conditions that the Collection you now have was accepted by you and the Trustees of Fisk University subject to those conditions.

I would like to make it clear that I do not like making conditions for gifts, usually ~~of any kind~~ said so but I find it is the only way in which the paintings and photographs can be at all protected, so I have had to make them available, and may be so, if necessary.

In the case of Fisk the Conditions of Gift had a function that went beyond protection of the Stieglitz Collection, the Conditions attempted to protect Fisk. You do not seem to have taken advantage of this attempt to make things easier for you.

The Conditions have already been violated several times to my knowledge. What other violations have occurred I do not know, since it is just accidens that I know what I do. In each case the violation has acted to Fisk's disadvantage, whether you know it or not, whether you wish to believe me or not.

For instance, it was a condition that no reproduction of the work of a living artist could be made without the artist's consent and approval. When Doris made the postcards of some of the paintings, she sent them to me before releasing them for the public, and also wrote to Marin for his consent to the quality of the postcard of his painting. The next thing I knew she sent me a postcard of my painting that Carl had sent her, I do not know who made it, but I know it was terrible and should never have been accepted by Fisk, or sent out to anyone.

~~What other postcards~~ I was never asked whether I approved it or not, although the painting was and still is mine. I would not have approved it. You should not have approved it either, it does Fisk no credit to send anything like that out into the world. What other postcards or prints you may have made of similar calibre, I have no idea.

brinks you may have made of similar材, I have no idea.

Risk no credit to send anything like that out into the world. What other postcards or
mine. I would not have approved it. You should not have approved it either, it does
I was never asked whether I approved it or not, although the painting was and still is
and should never have been accepted by Risk, or sent out to anyone. WXXXKXXXXXXXXXXXX
painting that Carl had sent her. I do not know who made it, but I know it was terrible
of the postcard of his painting. The next thing I knew she sent me a postcard of my
releasing them for the public, and also wrote to Martin for his consent to the quality
made the postcards of some of the paintings, she sent them to me before
living artist could be made without the artist's consent and approval. When Doria
for instance, if we is a condition that no reproduction of the work of a
know it or not, whether you wish to believe me or not.
what I do. In each case the violation has acted to Risk's disadvantage, whether you
other violations have occurred I do not know, since it is that accident that I know
The Conditions have already been violated several times to my knowledge. What
You do not seem to have taken advantage of this attempt to make things easier for you.
protection of the 21 Segifts Collection, the Conditions attempted to protect Risk.
In the case of Risk the Conditions of Gift had a function that went beyond
protected, so I have had to make them stand on their own, and so far, I
put I find it is the only way in which the painting and photograph can be at all
satisfy The Conrad-Pyle Co.

I would like to make it clear that I do not like making conditions for gifts.
Trustees of Risk University subject to those conditions.

April 12, 1951

Office of the Attorney General and the Collection you now have was accepted by you and the
correspondence WXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
a part of it, subject to certain conditions of gift. After considerable
While I still had the Collection to dispose of, XXXXXXXXXXXXX, I offered to Risk

["4", "In your Fisk calendar the painting you reproduce *tex* by MIXXIX Florine Stettheimer is a very poor choice, if you can only pick one painting to reproduce. In addition, acknowledgement of the painter is not made in any way, which is contrary to general practice. The photograph of the Collection *tex* is so poor and so the opposite of what is there for you to use, I am amazed you could allow it to be used. -- It will do Fisk no good to send out such things into the world.", "When the Conditions were made, an Art Committee was created, which was to be \"consulted on any questions pertaining to Fisk University's Art Collections.\" and which \"must approve any additions to Fisk University's Collections.\"", "Carl immediately accepted three things whichout *m* consulting me. You accepted another without consulting me. I don't know what you have done since. Whether anyone at all on the Art Committee was consulted I do not know.", "Doris tells me that because of the pressure of an impending Trustees meeting and the Art Festival last spring she had to hang the Tanner painting in the Gallery out of courtesy, *with*x although she knew this was not in accordance with the Conditions. She was also told that this was \"temporary\", but I suspect it is still hanging where *x* she placed it.", "Now I think it is all right that Fisk should accept this painting, but I know\nthat hanging it in that room with the big painting by Florine Stettheimer can only\nmake both paintings look their worst, which is not to your best interests.\nDoris knew this too, but felt she had no choice in the matter.", "Had I been *c*n*ux*x*t/*x* asked to vote on it, I would have recommended that Fisk accept the painting, but hang it in another building, *u*x/*t*x/*x*x/*x*x*/*x*x*/*x*/*x*x*/*x*x*/*x*x*/*x*x*/*x*x*/*

there are very few in the whole country who can do as well for you. There are very few who believe in or dare my way. Permit me to say that you are fortunate that I am willing to offer it to you. I will not fight for it except as I do my own work, live my own life in my own way.

Whether we like it or not we have to face the fact that the world will talk down to you often without intending to if you let it. That is what the architects did to you. That is what the Metropolitan will do too unless someone works on it.

The collection they will send you undoubtedly represents their mistakes.

If you had told me about your wish to get a loan from the Metropolitan I would have spoken to Francies Taylor about it when I was in New York in October and seen to it that you got a small first class group of things, because I think that within reason he would do what I ask about it.

You can always get loan exhibitions if you want them and can afford it. I enclose one circular. I am sure there are others.

Your Art Department might prefer to have only loan exhibitions. You can get very good ones.

If you take apart what I did for you think twice -- even three or four times. You will probably never look as well again as they day I walked out the door. I know that what I did for you was startling. I know that you can only keep that standard and alive quality with a conscious effort of a direction.

I would like Fisk to get a standard and with the start I have given you have the opportunity.

Why don't you come and talk talk with me for a day or two or three. As I write on I feel that you will think I am just unpleasant -- and I do not intend to be. I would like Fisk to be a leader rather than a follower. It will be hard but it is not impossible.

I am being very critical and I realize that I have no right to be if I can offer no better way. But I know that I can.

3

I would like Fisk to set a standard and with the start I have given you have the opportunity. I would even like to suggest a different committee and if the committee I suggest shows no interest -- then we should change to another. I have in mind what I think would be a better one. If you will consider changing I will first ask them myself if they will serve then you can invite them if they will.

I know nothing about the additions to your Art Department. I can only say that I think the small folders you send out are very undistinguished so I can only think they are very undiscriminating. I say this to you because I think you could do better.

As I write I think of some one who would probably be an excellent head for your department and do much better for you. I am going to find out if it would be possible for her to go to you and if it is ask you to consider her.

I think you should aim at training some student for the work there -- with the idea that Art is for living -- something of use to everyone.

Why don't you come and talk with me for a day or two or three. As I write on I feel that you will think I am just unpleasant -- and I do not intend to be. I would like to be a leader rather than a follower. -- It will be hard but it is not impossible. I will write you if the person I have in mind would consider undertaking the work at Fisk.

Sincerely,

1

I asked you last fall about air conditioning and heat and humidity control of the gallery. You have never answered me as to whether it can be done or not and what the cost would be.

You seem very careful not to tell me in what way you intend "to make a few physical corrections in the building for more satisfactory preservation of the Stieglitz paintings."

I am interested in this as I know that the uneven temperatures, dampness, and soot will ruin the collection in a very short time and something should be done about it -- soon.

I care for the life of the things -- you need only care for the publicity and prestige it gives your institution. You haven't time for anything else and it is all right that way.

If you are not in a position to take care of the Stieglitz Collection and prefer to hang other things you had better return it to me immediately before it is entirely ruined and let me pass it on to some other institution.

I have a feeling of responsibility toward Stieglitz -- and also toward the work of my contemporaries -- fellow workers. To me it is the equivalent of the burning of the books -- only it is just a little slower.

When I thought of sending part of the Stieglitz Collection to Fisk and offered it to you I thought I would send it to you and be finished with it. If I had thought you were going to take it down in a year and a half I assure you I would probably not have given it to you and I would certainly not have worked as I did to get it on the wall. I didn't realize how unprepared you were to manage and care for anything like that. It seems I can't be finished with it unless I just give up and let you slip off into hopeless mediocrity simply because you don't know any better.

An Art Committee was created. None of these young men care anything about what you do -- they haven't time -- their minds are on other things. I did not wish to be on the committee as Carl can tell you because I wished to be finished with this.

THE MUSEUM OF MODERN ART

11 WEST 53 STREET, NEW YORK 19, N. Y.

EXHIBITION:

We should greatly appreciate your filling in this blank for our catalog and loan records.

LENDER

Address

Will you permit use of your name as lender in catalog?

If not, what acknowledgment is desired?

ARTIST'S NAME

Exact TITLE of Work

MEDIUM of work (please underline): oil on canvas oil on wood gouache pastel
tempera on canvas tempera on wood watercolor ink pencil charcoal
crayon collage print (medium) stone wood bronze plaster
plastic terra cotta ceramic artificial stone construction in
or

DATE of work Does date appear on work?

Location of SIGNATURE

SIZE of picture (without frame or mat):

height width

SIZE of sculpture:

height without pedestal (or length) Approx. weight

Do you prefer to maintain your own insurance?

If not, for what VALUE shall we insure the work?

SELLING PRICE if work is for sale

(Please include 10% commission for The Museum of Modern Art)

Are these shipping instructions satisfactory?

How can we obtain PHOTOGRAPHS of this work for catalog reproduction and publicity?

Unless the Museum of Modern Art is notified in writing to the contrary, it is understood that this loan may be photographed, sketched and reproduced.

Signed (lender's name)

2

If I am on the committee I'll think about it and that makes it difficult for you. Carl insisted that for a time I must be on the committee so there I am.

No work of art was to be accepted for Fisk without the consent of the committee. Carl immediately accepted three things without asking me. You accepted one without consulting me. I don't know what you have done since.

I see little use in the committee. I certainly do not wish to be on it if it works this way. I have neither the time nor the interest in being on any committee unless the committee is going to work my way. If it isn't going my way I don't need to be there. As a matter of fact I do not really wish to give time or thought to this problem at all unless it goes my way, and there is no reason why it shouldn't go my way if you are smart as I think you are because no one else knows as much about it as I do and no one else cares as much as I do.

It isn't going to add anything to your prestige not to care for the collection, so you might as well give it up if it is too much to carry. You would get very good publicity out of that.

Nothing from the Collection was to be reproduced without my approval of the reproductions. You have sent out miserable reproductions without consulting me.

I mention these things because I believe in and aimed at a standard that you are not keeping to.

To me it should be the first aim and use for a collection.

As I go over this list you send me from the Metropolitan you cannot hang it without taking down the whole Stieglitz Collection. I know that there are very few people who can make your place look as well as I did with what I hung there, I know that if you take down what I put up you cannot put it up again in the same way even if you think you can. You cannot hang another show on those walls and have it look well without pulling out the nails that I put in and Berg well be very dirty spots under the pictures when you take them down.

Pictures can be made to seem better or worse by the way they are hung -- You had better keep what I gave you as I put it there or return it to me.

Whether we like it or not we have to face the fact that the world will talk down to you if you let it. That is what the architects did to you. That is what the Metropolitan will do unless someone works on it.

3

17

I know that the packing and shipping of 40 paintings that you suggest is very
expensive if it is well done.

Fromako is your well and you undauntedly
represent our mistakes

If you had told me about your wish to get a loan from the Metropolitan I would
have spoken to Francis Taylor about it when I was in New York in October and seen
to it that you got a small first class group of things because I think that within
reason he would do what I ask about it.

If you take apart what I did for you think twice -- even three or four times --
You will probably never look as well again as you did the day I walked out the door.
I know what I did for you was startling. I know that you can only keep that
standard and quality with effort. I know that

["THE MUSEUM OF MODERN ART", "11 WEST 53 STREET, NEW YORK 19, N. Y.", "EXHIBITION:", "We should greatly appreciate your filling in this blank for our catalog and loan records.", "LENDER", "Address", "Will you permit use of your name as lender in catalog?", "If not, what acknowledgment is desired?", "ARTIST'S NAME", "Exact TITLE of Work", "MEDIUM of work (please underline):", "tempera on canvas", "crayon", "plastic", "collage", "terra cotta", "tempera on wood", "print (medium)", "ceramic", "oil on canvas", "artificial", "watercolor", "stone", "oil on wood", "wood", "ink", "stone", "construction in", "", "wood", "", "gouache", "pencil", "bronze", "", "", "", "", "", "", "", "", {"

k i

As a member of the Art Commission I was not consulted about three or four paintings that Carl added to the Collection and one that you added. I would rather not be on the Commission than not to be consulted about all its doings.

THE MUSEUM OF MODERN ART

EXHIBITION:

LENDER

Address

ARTIST'S NAME

Exact TITLE of Work

tempera on canvas
crayon
plastic

tempera on wood
print (medium)
ceramic

oil on canvas
tempera on wood
watercolor
stone
artificial stone

oil on wood
ink
stone
construction in

gouache
pencil

pastel
charcoal
bronze

plaster

or

DATE of work

Does date appear on work?

Location of SIGNATURE

height

width

SIZE of sculpture:

Approx. weight

ARTIST'S NAME

My suggestion would be that you take a small loan -- seven to ten pictures--
empty that ~~naming~~ room and hang them there✓ and hang the rest of the Metropolitan
and on my 3 empty walls of this room next to the library,
loan in some other building if you must have it. -- or that you take only a small loan
that you
and use the money you seem to have for shipping and packing the rest of a large loan
like this and buy an addition to your collection or use it to make the building a more
reasonable place to hang paintings.

I am cannot be interested in anything that has to do with your gallery unless
it represents a peak to me -- unless I think you are bettering the collection.

Pictures can be made to seem better or worse, by the way they are
hung — you had better keep what I gave you as I put it there,
or return it to me —

I know that what I did for you was startling. I know you can only keep that
standard and quality with effort.
I know how hard you work in the studio, country

I know that you are a great artist. I know that your studio is one of the best in the country. I know that your work is a true expression of your inner self. I know that your art will stand the test of time and remain a part of our art history.

Carl insisted that for a time I must be on the committee so there I am. No work of art was to be accepted for Fisk without the consent of the committee. Carl immediately accepted three things without asking me. I accepted one without consulting me.

If you had told me about your wish to <u>retire</u> from the Metropolitan I would have spoken to Francis Taylor about it when I was in New York in October and seen to it that you got a small first class group of things because I think that within reason he would do what I ask about it.

I

What if I were to stop working for you and take up some other line of work?

My suggestion would be that you take a small loan -- 7 to 10 pictures -- empty that room to the left of the front door and hang them there and on the three empty walls of the room next to the library, and that you use the money you seem to have for shipping and packing the rest of a large loan like this and buy an addition to your collection or use it to make the building a more reasonable place to hang your paintings.

I cannot be interested in anything that has to do with your gallery unless it represents a break to me -- unless I think you are bettering the Collection.

Address

ARTIST'S NAME

Exact TITLE of Work

oil on canvas

oil on wood

gouache

pastel

tempera on canvas

tempera on wood

watercolor

ink

pencil

charcoal

crayon

collage

print (medium)

stone

wood

bronze

plaster

plastic

terra cotta

ceramic

artificial stone

construction in

or

DATE of work

Does date appear on work?

Location of SIGNATURE

height

width

SIZE of sculpture:

Approx. weight

Signed (lender's name)

THE MUSEUM OF MODERN ART

EXHIBITION:

LENDER

Address

ARTIST'S NAME

Exact TITLE of Work

DATE of work

Does date appear on work?

Location of SIGNATURE

height

width

SIZE of sculpture:

Approx. weight

Signed (lender's name)