new york 18.7.34
c/o mrs. gordon berry
276 riverside drive

sehr geehrte miss dreier,

haben sie vielen herzlichen dank fuer ihre einladung.

wir kommen sehr gern zu ihnen und freuen uns sehr darauf mit

ihnen zusammen sein zu koennen und ihre schoenen bilder sehen zu
koennen.

wir werden gern ihrem vorschlag gemaess am sonnabend den 28.d.m.
um 8 h 15 vom grand central bahnhof abfahren.

heute sahen wir eine veroeffentlichung eines ihrer bilder in der
zeitschrift abstæction-creation, die uns grade geschickt wurde.

haben sie das heft schon gesehen ? von kandinsky's hoeren
wir sehr vergnuegt aus paris.

mit den besten gruessen und vielem dank

ihre

d. Ilsten Maerz - 1936.

Mein guter Herr Albers:

Haben Sie besten Dank fuer Ihren Brief vom 3ten mit
Beilage von dem Brief von Hildebrandt.

Ich schrib Hildebrandt am selben Tage wo er Ihnen schrieb
und sah die Freundin von der Familie, Dr. Arola Blume die
bald darauf zu hause fuhr. Aber ich habe nie von Hildebrandt's seit dem gehoert.
Meine Schriebmachine ging fehl, aber diese die ich geborgt habe never scheint nicht
viel besser zu sein.

Am Mitwoch ging ich mit Frau Philips hin Ihre Ausstellung zu sehen und that es
mir sehr leid dass Neumann nicht dort war.

Die Ausstellung sah sehr gut aus und freute ich mich besonders die lieben Ahnen
wieder zu sehen. Leider hat Neumann nur eins der schwarzen Ahnen ausgestellt
vielleicht fürchtet er sich vor den anderen.

Ich habe schon mit vielen ueber Ihre Ausstellung gesprochen und erregt sie grosses
interesse.

Man gab mir - Art As Experience - und mochte ich gerne mehrere Copien davon haben, um sie zu verschicken. Graham Erskin wollte besonders gerne eine Copie davon haben und auch Alajalov dessen Zeichnungen Sie warscheinlich im New Yorker kennen.

Auch gab man mir - Bulletin 2. - und mochte ich auch davon mehrere Exemplare haben.

Nun auf den Plan von den Ausstellungen zu kommen.

Ich lege Ihnen eine Idee bei. Vielelicht koenten Sie den Dekel machen.

Ich schlug - 4 Painters - vor, denn niemand hier in diesem Lande hat ein Gedächtniss
und man kann mit leichtigkeit von - The Exhibition of 4 Painters - sprechen.

Die Namen wie Sie sehen kommen auch drauf. Aber wenige werden die Namen behalten.

Darum schlug ich einen Gesammt Namen vor - als kurzer Titel den man leicht behalten

kann. Weder Kelpe, Drewes noch ich kammen auf einen Namen ausser diesen - und
er gefiel mir sehr wegen der Algemeinheit und Einfachheit.

Wenn ein andere Ihnen vor kommt, dann koennen wir den ja gebrauchen?

Es wuerde die Sache in meinen Augen von grosser Nuetzlichkeit sein einen Namen
zu haben.

Wir dachten es waere auch gut wenn jeder von uns ein kurze Bestätigung machen wuerd
en warum wir nicht Realistisch Malen. Wie kamen wir und andere auf den Gedanken uns
so aus zu druecken. Wir koennen jeder nur fuer uns selber sprechen.

Fuer Amerika halte ich es noch fuer einen sehr gute Idee.

Screiben Sie mir ausfuerlich was Sie ueber diese Ideen halten.

Nun auf Hildebrandt zurueck zu kommen.

Ich kann es Hildebrandt nicht klar machen dass es sehr wichtig fuer ihm ist die
englische Sprache wirklich zu beherrschen. Maeteling dachte auch er brauchte
nur grade vor seiner Abreise sein englisch zu erfrischen. Er hielt seinen Vor-
trag auf Englisch - niemand verstand ihn - er wurde abgefiffen und nach den zweiten
Versuch wurden alle seine Vortraege zurueck gerufen. Er war so blamiert dass man
kaum seine Buecher mehr findet und er war eins unser beliebsten Schrifsteller.

In dieser Sache stehen Sie einzeln. Aber es kommt daher weil eine Gruppe von
jungen Menschen Sie so sehr hier schaetzen und kammen Sie daher zu diesem Lande.

Aber keins von den juengeren Leuten kennt Hildebrandt und er muesste seine
Gruppe hier erst gewinnen - und dass geht nicht mit schlechtem Englisch.

Aber alles dies kann ich ihm garnicht klar machen.

Ich hoere dass Feiniger zu eine kleinen College in California berufen ist.

Auch hatte ich neulich einen Katalog von Molzahn der ein Ausstellung in Berlin hat.

Kommen Sie nicht Ihre Ausstellung zu sehen so wohl wie die Abstrakte vom Museum
of Modern Art.

Wussten Sie dass Johnson der fruehe beim Museum of Modern Art war schon vor einem
Jahr ein Mitfolger von Huey Løng wurde? Und dass er noch der Bewegung zu gehoert?

Gruessen Sie Theodore und Barbara so wohl wie Ihre Frau herzlich von mir.

D.8ten April 1936.

Liber Albers: Duerfen wir dies mit Ihre Thaetigkeit drucken?

"Life is change - day and night - cold and warmth - sun and rain. It is more inbetween the facts than the facts themselves.

"I think we have to shift from data to spirit - from the person to the situation or from biography to biology in its real sense. As regards art results from the representation to the revelation.

"We want to see art as neither a beauty shop nor imitation of nature, as more than embellishment and entertainment; as a spiritual document of life; one who sees that real art is essential life and essential life is art."

Wenn Sie erlauben dass wir dies gebrauchen duerfen dann bitte schicken Sie mir ein Telegram zu diesem Hotel damit wir endlich zum probe-drucken en kommen.

So wie eine Probe vom Drucke kommt schicken wir es Ihnen zu.

Ich hoere dass ich ein Geschenk aus Mexico habe von Ihnen und Ihre Frau - Theodore und Barbara.

Herzliche Gruesse von

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<table><thead><tr><th></th><th></th></tr></thead><tbody><tr><td>DL</td><td>DAY LETTER</td></tr><tr><td>NL</td><td>NIGHT LETTER</td></tr><tr><td>NM</td><td>NIGHT MESSAGE</td></tr><tr><td>LCO</td><td>DEFERRED CABLE</td></tr><tr><td>NLT</td><td>NIGHT CABLE LETTER</td></tr><tr><td></td><td>RADIOGRAM</td></tr></tbody></table>

Form
16

NA2 50 NL CNT PCTNS=BLACKMOUNTAIN NCAR APR 10 1936

MISS KATHERINE DREIER=

:HOTEL GREAT NORTHERN 118 WEST 57 ST=

:TEXT FOR=CATALOGUE AS FOLLOWS WHY I FAVOR ABSTRACT ART:

ABSTRATING IS THE=ESSENTIAL FUNCTION OF THE HUMAN SPIRIT.

:ABSTRACT ART IS THE PUREST ART; IT STRIVES MOST INTENSELY
TOWARD THE SPIRITUAL. ABSTRACT ART IS ART IN ITS BEGINNING
AND IS THE ART OF THE FUTURE:

=ALBERS.

:851A

Telephone Your Telegrams to Postal Telegraph

Redding - Connecticut -

April 26th - 1936.

Mein guter Professor Albers:

Gestern Abend kam Ihr Brief mit korektur und lass ich ihn mit
grosser Vorsicht.

Einige Vorslaege koennen wir folgen - andere leider nicht.

Ich schicke Ihre Photographie an Drewes und bitte ihm ein neues
Klische machen zu lassen.

Es thut mir leid dass Sie nicht mit dem anderen zufrieden waren
den es schien mir es gab eine sehr gute Idee.

Diese wird auch schwierigkeit geben wegen den weisen rand.

Denn um den weissen Rand vom Papier zu trennen muss man einen
kleinen grauen Streifen oder eine sehr schmale schwarze Lienie
um das Bild machen lassen.

Und davon sprachen Sie nicht. Sie sagten nur das der Weisse Rand
theils des Bildes ist.

Wir folgen Ihren Rath wegen 3/3 - Rand beide Seiten - oben - Rechts
und Links.

Die Punkte nach dem Namen kommen weg.

Die erste Liene Ihres Schreiben wird dazu gesetzt.

Eine - S - am Ende - Workshop und Workshop kommt weg. Alleパネルが

College kommt weg. Das Wort - genesis - statt - beginning wird ein
gesetzt.

Kelpe's Titel Nummer kommt noch dazu.

Im Druck wird die Reihe der Namen gefolgt.

******

Die aenderungen fuer das Titel-Blatt geht leider nicht da es ein
neues Klische nehmen wuerde. Dies ist schon das Zweite.

Auch koennen wir nicht den Satz vorruecken damit die Linie grade ist
Man muesste dass ganze umstellen.

Drewes hatte leider nicht darauf geachtet.

Auch koennen wir Ihnen nicht eine andere Probe schicken.

Mein Drucker machte es so billig wie moeglich damit wir alle gleich
Theil daran nehmen koenten.

Jeder zahlte fuer sein eignes Kliesche und wir alle Zahlen fuer
den Umschlag so wohl wie fuer das drucken.

Wo gefaltet werden muss, macht er eine kurze kleine Linie damit wir
leichter falten koennen. Jeder bekommt 250 Bogen. Wir muessen selb-
er falten.

Er macht guter Arbeit und habe ich ueber 20 Jahren mit ihm und KKK
seinen Vater gearbeitet. Er hat alles fuer die Societe Anonyme ge-
druckt und nimmt sich grosse Muehe. Man kann nirgends dass bekommen
was man drueben bekommt ohne entsetzlich dafuer zu zahlen. Wir haben
ja garkein Sinn dafuer - und die die kommen verleiren es bald. Es ist
ja selten die arbeit - es ist immer der Lohn.

Es wird nicht schlecht - und koennen wir damit zufrieden sein.

Das einzige wass mich stoert ist wir man den Weissen-Rand vom Papier trennt in ihrem neuen Klische?

******

Villon ist ganz unerwartet angekommen. Es war reizend ihn zu seheh. Duchamp kommt Ende Mai um den Sommer bei mir zu verbringen. Ich freue mich sehr den es wird riesig interessant.

Haben Sie und Ihre Frau und Babara und Theodore vielen vielen Dank fuer das interessante Stueck dass Sie mir MM aus Mexico brachten. Ich freute mich sehr es zu erhalten und danke Sie alle herzlich dafuer Wass denk man das es beduetet? Es sieht beinah aus als ob die alten Religionen in Mexico auch Heiliges Wasse gebrauchten und dass dies fuer den einzelnen Mensch war.

Jetzt muss ich Drewes schreiben. Ich hoffe dass wir bald diese kleine Brochuere verschicken koennen damit wir nicht wieder ein Jahr verlieren. Wenn man nicht im Schritt bleibt wenn Plaene gemacht werden das faellt man aus dem Rahmen. Wir leben in einer sehr mechanisierten Welt!!

Herzlichhr Gruesse an Alle:

Saturday: September 19th -

1936.

My dear Professor Albers:

I was delighted to receive your telegram and since Bennington wants the Exhibition by October 15th - I thought it would be better to have you send it direct to:

Mrs. Thomas Brockway
Bennington College - Bennington, Vt.

If you are ready now you can send it, if you prefer to:

W.S. Budworth & Son
424 West 52nd St. New York City

who will have charge of the sending of our exhibition while East.

Bennington will pay for the transportation.

Are you insuring your paintings separately or shall we insure them all together as we did with the paintings which went down to Black Mt. College last winter.

If you want me to attend to the insurance as I did last year, please send me the names of your paintings and the size and insurance value.

I think it would simplify matters if we pooled the insurance or Mr. Morse will tell me what proportion each one carries and we pay accordingly. I think that would be best.

As our schedule stands now, it reads:

October 15th - Bennington
Nov. 23rd - Delphic Studios - New York - to Dec. 5th.
Dec. 40th - Wadsworth Aetheneum - Hartford&
Jan. 5th - Springfield Museum
Feb. & Jan. - Andover -
March - San Francisco Museum of Fine Arts.

These are all definite. Then Mr. Rich of the Art Institute of Chicago is considering it and Dr. Fuller hopes that Western Ass. of Museum Directors will schedule it.

You must have had a wonderful trip and enjoyed it especially since you also had an exhibition of your paintings.

I am most anxious to see your new work.

I hear Kandinsky may be coming over - do you know whether that is true?

I also hear that you are to have one of your students coming to help you and Professor Wunsch. But no one could tell me who it was.

Was it Schlemmer's son or was it the son of Klee? Which one was in

Breslau at the Stadts Theater ?

May I hear from you as soon as possible as the pictures must leave
New York about October 10th to reach Bennington in time.

If you send them first to New York or direct to Bennington - I must
know to write in time to either Budworth or Mrs. Brockway.

Remember me to Professor Rice and tell him I was disappointed that
he didn't turn up as he said he would. I have several new things
to show him which he would have enjoyed.

Give my love to Theodore and Barbara and with all good wishes for
you and your wife, believe me,

Faithfully

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

October 14, 1936

Dear Miss Dreier,

On Monday the 12th of October my picture case with six pic-
tures went to Bennington. I hope it will not arrive too late
but it was impossible to send it earlier.

You were so kind to offer me participation in the insurance.
I should like to do it because I don't know anything about
insurance.

I will give you the list of my pictures:

Prismatic I 18 3/4 : 19 3/4
Rich Soil 17 7/8 : 19 7/8
Janus 21 1/2 : 18 3/4
Archeologic II 18 : 20
In Open Air 19 7/8 : 17 7/8
Gate 19 1/2 : 20 1/4

The first measurement is the height, the second the width.

The prices are $150. for each except the last one, "Gate",
which is $200.

It is difficult for me to find out about reasonable prices,
so I want you to tell me what you think about them. Judg-
ing from the insurance, these seem all right to me.

What about the catalogues? Should we send them to the pla-
ces where the pictures are being exhibited?

I hope very much that you had a good summer, and send my
best wishes for a good fall, too.

Mit besten Grüssen von uns beiden,

Ihr, Albert

October 20th - 1936.

My dear Professor Albers:

I must thank you for two letters.
I had already attended to my insurance but
I telephoned to kind Mr. Morse and asked him
to insure your paintings for one thousand
dollars - which he has done.

The value you gave for the six paintings was 950.00 so I added fifty
dollars to - Janus - which completed the thousand.

The insurance for one year including frames is $15.00.

They are completely insured against theft, damage etc. in transit or
while housed.

In case they are returned to you before the year is up you will
have the insurance refunded pro rata per month.

I like to insure through Mr. Morse for the various companies hold him
in such estem that there never is any argument regarding the insurance.
It cost me twenty-five dollars to have the Mondrian repaired which was
emmediately paid. I had Constantine Astori do it - for I know no one
who does it with such love and intelligence. He is the only Western
person - if Russia is the West and not the East - who can catch butter-
flies and all insects with his hand without injuring them and after
examining them letting them fly away.

I don't know what to advise about prices. I think a man like Neumann
much better equipped to advise than I. But for insurance I think
it will cover any damage which might happen to either the picture or
the frames.

I told Mr. Morse to send you the paper and the bill direct. Then you
can always write him whenever you want any pictures insured.

To refer again to prices. Mrs. Reed takes 33⅓% which means that you
will receive one hundred dollars and she fifty.

I think it would be best if you sent your share of the catalogues
of which you have left and/which you want to retain perhaps a few to Drewes
as he is attending to sending them to the various places we are exhibit-
ing.

Since I last wrote we have added two more - Wells College in East
Aurora, New York which is near Buffalo - and the Arts Club of Chicago.

This last is very important. Especially this year when they are moving
into their new quaters of which they are very proud. The want them for
three weeks in March.

I am awfully sorry that I must let this year slide as to loans to
Black Mountain College. But I have had to put so much work into
the routing of our little exhibition that I haven't the time or the

energy to collect an exhibition for you - especially as I am going to close the house, beginning November 1st.

I would love to have sent you a collection of water-colors and etchings - but so few of them are framed and it would take a great deal of energy to sort them and have a mat fitted with some little frame to hold them.

I had really expected Mrs. Reed to attend to the routing of this exhibition of ours but she is still lost in the wilds of Mexico as far as I know. I have had so much to do with the framing and the loans to the College Art Ass. as well as the framing of my own pictures that I haven't even had time to telephone Mrs. Reed to find whether she is back.

I am most anxious to see your paintings. Will you be able to come up to New York while the exhibition is going on? New York you know is from Nove. 23rd to December 5th. The Thanksgiving holidays come during that period.

How are Theodore and Barbara? I haven't heard from them for ever so long. And has your young assistant arrived?

Alles Gute - und besten Gruss an Sie beide.

December 4th - 1936

My dear Mr. Albers:

Mrs. Reed tells me that you are arriving in New York and will come to see the Exhibition.

Since I do not know whether I will be there when you are, I am leaving this letter for you.

The Societe Anonyme has bought your - Gate - for $150.00 which was the price which Mrs. Reed said it was.

Her commission is one third which leaves one hundred and I asked whether she objected since we could more easily settle our little account.

I wrote it on the check for clarification.

The folder amounted to 54.00.

We had to spend 10 dollars for two line cuts. Then you decided to have another cut made which was $4.75 and during the exhibition we decided to print this little catalogue of which Mrs. Reed paid half and we the other half. Your share amounts to 1.85.

1/4 of folder - 13.50

1/4 of 1/2 - 1.85

One cut - 4.75 - making a total of 29.

We are very happy to have this for our collection and we hope that you too are pleased.

We hope that you have brought your folders - for even if you do not care for them they have met a decided need and we must have them here to send to to the various places where the exhibition goes to.

In June it will be at the University of Washington and we hope in May it will be in Seattle at the Henry Gallery where Mrs. Savery is in charge who has been deeply interested in this form of art for a long time.

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katherine S. Dreier
Hotel Great Northern
New York City

March 18 1937

Dear Miss Dreier:

I have not heard from you for some time. I hope that the traveling exhibition is all right. I would like to know what the results were in the Chicago Art Club.

Now something quite different. A little magazine in New York, called P M (325 West 37 Street, Medallion 3-2380), which is concerned mainly with typography but is also interested in the development of modern art and, it seems to me, quite a good magazine though not very well known. The editor of this magazine, Dr Robert L. Leslie, is interested in the College, and gave us a printing press, type, and so on. He wants me to make up a special issue of his magazine on the theme, the influence of the Bauhaus in America, which he wants to bring out soon in connection with the arrival of Professor Cropius to teach at Harvard.

You know I am a very bad and slow writer, and so I have asked several former American students of the Bauhaus to contribute articles on this subject. I believe you belong in some way to the Bauhaeusler too. And so I would like to ask you if you could participate in this project. I could imagine that we could have several contributions on the influence of the arts of the Bauhaus here; for instance, an advertising man is going to write on the influence of the Bauhaus typography on the American advertisement, and I hope to get something on the influence in architecture and in pedagogy. I think we could have different articles on the same subject, so that we get a rich picture.

I hope very much that you will take part. Even if it is not a long article, I would be glad to get any contribution.

Hoping you are well and that I may hear from you soon, I am

v

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

May 18 1937

Dear Miss Dreier:

I hope that you are back from Europe and that you had a good time.
I want very much to hear about your experiences there.

It now develops that we have until June 15 to collect the material
for the special issue of P M, the magazine which wants me to get
out a special number on the theme, the influence of the Bauhaus
in America. I hope this date makes it possible for you to parti-
cipate, as I would like very much to have you among the collabor-
ators already secured: Cropius, Lescase, Neutra, Dean Hudnut of
Harvard, Barr, and others.

In one of your last letters you suggested that I should see the
criticisms on our "4 Painters" exhibition. Since we are going to
Mexico in June and therefore have no possible change of coming
North, I would be very grateful if they could be sent here. I
promise to send them back to you right away.

Could you tell me how to get in touch with Campendonk? I know
only that he is in Amsterdam, but lack his address.

Hoping to hear from you soon,

V

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katherine Dreier
West Redding
Connecticut

September 21, 1937

Dear Miss Dreier:

Last week I received the box with my paintings from the
exhibition of the "Four Painters". Included in it was
the painting "Gate" which you bought for your collection.
As I have to send it to you, would you let me know where
you would like it sent?

The box arrived without a key and so I had to unscrew the
hinges. Do you happen to know who last had the key, for
I would like to have it back very much.

In one of your last letters you wrote me that you are not
going to exhibit this year in our group. I was very sorry
to hear that, and since Drewes wrote me that he thinks we
should not go on with this exhibition, it seems that this
affair is over. I am very sorry about this for I thought
it was a fine start, and we have been so grateful to you
for all the trouble you took in arranging the exhibition.
I would like to see the criticisms we got on our exhibition
I saw only an awful one from Chicago. Will you be kind
enough to let me see these criticisms? You can be sure
that I will send them back immediately.

I am glad that Hildebrandt is coming to this country to
work with you. I hope to get in contact with him. Do
you know that Professor Dorner is now in this country look-
ing for a job? He was the director of the art museum in
Hanover and one of the founders of the Kestener Gesellschaft,
one of the most modern collections in Germany. You probably
know about this and about him. I think he is quite a modern
man, and he is looking for possibilities of lecturing. If
you know of any place which would be interested in him, I
would be very grateful to you if you would let me know.

That Gropius is at Harvard I am sure you know - also that
Breuer came to this country to be a collaborator of Gropius.
Moholy - Nagy is organizing a new Bauhaus, American School
of Design in Chicago. In the spring I was asked to teach
there, but that is over now since Moholy - Nagy is the new
director.

Miss Dreier (2)

September 21, 1937

Further, I heard that Mies Vander Rohe is in this
country now building a house for some New York people
but I could not find out where he is living.

I hope you had a good summer. We were again in Mexico
and enjoyed it very much.

With best greetings from both of us,

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katharine S. Dreier
Redding
Connecticut

October 15, 1937

Dear Miss Dreier:

Last month I wrote you a letter asking you where I had to send my picture "Gate". I have not as yet heard from you, and I am wondering if you got my letter. As far as I am concerned, there is no hurry.

I remember some time ago you were thinking of giving a
contribution to the special issue of the magazine P. M.
on "Bauhaus in America". Because of lack of time I quit
the guest editorship and gave the collected material to
the editor of the magazine, Dr. Leslie, whose address is
325 West 37th Street, New York City, who wants to publish
it with the addition of other articles. If you still
would like to participate, I am sure he would be very glad
to get your contribution.

Breslau - If you are asked to recommend some one perhaps you will recommend him. I will give you his address at the close of the letter

Thank you for sending me Dr. Leslie's address - if I have time I will gladly write but it is all so vague and I am so buggy at present - that I will have to see.

A very important man connected with the Dance - is over here - Rolf de Maré who has created the Archives de la Dance International in Paris and who will open the International Congress in November in which Miss Morgan is so interested, here in New York.
I brought him and Miss Morgan together in Paris - and so I am rather busy though my name does not appear.

Do tell Barbara about this as she will be interested and I owe them a letter for ever so long.

Greetings to your wife and all success.

Faithfully yours

June 5th - 1935.

My dear Professor Albers:

Ever since I received your letter of June 10th - I have wanted to answer it - but it has been a restless time since my arrival three months ago and when I tell you that I have not yet had time to unpack - you will understand now pressed for time I have been.

Or course the Societe Anonyme will be delighted to lend you the painting - The Gate - which it owns.

I will be glad to write a few words about Abstract Art as well including something about your own work, but I could not do the catalogue for you.

Why don't you do it yourself - or why don't you ask John Graham to do it for you. He also would be a good one to write something about your work and about Abstract Art.

Would you mind if I spoke about the nonsense of calling Abstract Art - Non-Objective Art?

I would love to say something about that!

I know very little about the Artist's Gallery - I have only been down once or twice as it takes such an endless time to get there.

What success they have - I don't know - but there were always people there when I was - and they show a great interest and speak intelligently about the work.

Ich schreibe gerne nach Hartford - und werde es Ihnen wissen lassen.

Leider wird Professor Hidebrandt dies Jahr nicht kommen - denn er sagte dass er es nicht veroeffentlich unsere Arbeit machen koennte und dann hat es keinen Sinn. So werden wir warten.

Ich kenne Niemand der besser ueber Kunst spraechen kann - aber wie es mit seinem Englisch ist habe ich keine Ahnung.

Molzahn kommt am 22sten mit der S.S. Manhattan an und geht nach Springfield.

Ich kennen Miss Laura Bragg nicht - aber man kann sich erkundigen.

Ich hoere dass Sie grossen Erfolg in Havard haben - und wurde mir sogar mitgetheilt dass Sie Black Mountain verlassen würden und haetten sich ganz mit Gropius zusammen gethan.

Wie wahr ist dieser Bericht?

Da die Post schliest will ich doch lieber schliesen damit dieser

Sie doch bald erreicht.

Gruessen Sie Ihre Frau von mir und Babara und die Kinder
herzlich.

Wuerden Sie so gut sein und mir die Liste geben von den 15
Menschen an denen Sie schrieben wegen Hildebrandt? Es -
wuerde mir eine grosse Hilfe sein - denn ich und Frau Professor
Shepherd haben auch unser Theil gethan.

Nochmals alles Gute und schoene Gruesse von

Ich hoffe diesen Winter wenn ich in New York bin zu sehen
ob es moeglich ist eine kleinere Gruppe von Abstrakten Maler
in Amerika zusammen zu bringen die ein hoeres Niveau haben
wie die groessere Gruppe die jetzt in New York statt findet
Sie wuerden uns beiwohnen - nichtwahr - sollte ich es durch
setzen.

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

September 23, 1938

Dear Miss Dreier:

I am very sorry that I have been so late in answering your letter, but the problem of moving from Lake Eden to Black Mountain College, which you know is a difficult one, has taken most of my time - that, with getting ready for the new semester, which is quite a job in itself.

Thank you very much for your article. I cannot decide as yet whether I can print the whole article because I expect several other contributions. I will let you know as soon as possible.

With many thanks again, and best wishes, herzlichst

September 26th 1938

My dear Professor Albers,

Thank you very much for your letter of the
33rd which I have just received.

I can readily understand that you might
consider the article too long - but those
who read it felt that its value would add
to the importance of your catalogue, which was
my reason for sending it, inspite of its length

Mrs. Dearstine wants to use it as a basis for
both her radio talks and her talks on Modern
Art in Albany - and was waiting to know when
your catalogue would appear since she wanted
to have a copy to refer to my statement and
also draw attention to your exhibition, which
we thought would bring you quite a little
extra publicity.

However I do not want it cut without seeing
what is left out - for I do not see how any-
thing can really be omitted.

I was asked by a magazine to write something
and I can enlarge on that and send it to them
for which they offered to pay me, for I think
that it is very important to have that thought
go forth as I constructed it.

A letter from Mr. Austin's secretary tells me
that he left unexpectedly for Europe but that
they expect him back sometime in October. It
was too bad that I missed him in Maine.

My love to Barbara and Theodore and my warmest greetings to you and
your wife.

P.S. Molzahn has a position at The University of Washington, Seattle,
where Onzenfant was last year.

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katherine S. Dreier
West Redding
Connecticut

October 18, 1938

Dear Miss Dreier:

Please accept, in appreciation of your contribution for my catalogue, one of my woodcuts "Segments" which I have sent to you this morning. The date of the exhibition is not as yet definite, but as soon as it is I shall let you know.

If you know the addresses of people in or near New York really interested in modern painting, I would be very grateful if you could send them to me.

Did you hear from the Athenaeum in Hartford, or do you think that I should write?

Thank you again.

Josef Albers
c

November 14th 1938.

My dear Professor Albers:

Your beautiful woodcut 'Segments' reached
me safely some days ago - but the reason
I did not answer was that I hoped that with
each mail I would receive positive word
from you with regards to my short article

You see the last time you wrote you mention-
ed that you might not be able to print the whole
of it and when I wrote and asked you regard-
ing it and said that if you found it too long
I would use it for another purpose - you did
not reply to that part of the letter.

I appreciate enormously your woodcut and
consider it very beautiful - but at the same
time I feel that I cannot accept it in recog-
nition of what I wrote without knowing what
you plan to do with what I wrote.

I can readily understand that it may be too long - but it must not
go into print cut without my having checked the cutting and being
free to withdraw in case the cutting does not meet with my approval.

Under these circumstances I did not feel justified in accepting your
beautiful woodcut until I knew how the matter stood and for that
reason I waited to hear further from you - but even in this last
letter telling me of the postponement of your exhibition you do not
mention to what conclusion you had come as to what I wrote.

If you still feel that you would rather have a shorter article I
have time to write it and you can send me this first one back and
tell me the number of words you wish.

I shall be sorry for I do think the first was rich in ideas but as I
told you I can place it elsewhere and there still is time to write a
few words.

With kind greetings to you both and hoping to hear from you soon
and your decision, believe me,

Faithfully

P.S. I can also see that it might not be diplomatic to have such an
article in your catalogue, especially if you wish to be included
in the G

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

November 16, 1938

Miss Katherine S Dreier
West Redding, Connecticut

My dear Miss Dreier:

Thank you very much for your kind letter. I am sorry that you didn't feel free to use the article. I believed definitely that I wrote you a note stating that you should feel free in using that article.

I don't see any necessary connection between the publication of your article and the acceptance of my woodcut, as I gave the woodcut in appreciation of the work you did for me.

A few days ago it was decided that my exhibition will be from the 6th through the 31st of December, and so I have to hurry with printing the invitations and the catalogs. I have already received contributions which will fill the space in the catalog. I am very pleased that you want to write something else, but since the type is set for the catalog, I don't think I can include any more contributions. I had to make the same decision on a contribution by Kandinsky which hasn't arrived yet.

Not taking your article has nothing to do with my hopes of being included in the Guggenheim collection as I don't believe that the Guggenheim collection has any interest in my paintings. What I really believe is that the article belongs to a discussion on the general principals of abstract art, but anyway, I feel very grateful, and please accept my woodcut in best friendship.

Enclosed I am returning your article, and also, as you will see, copies of the other contributions.

Thanks again, and with best regards from both of us,

Yours

Josef Albers
p

West Redding - Connecticut

August 10th 1939.

My dear Professor Albers:

Where is your picture which the
Société Anonyme lent you for exhibi-
tion purposes last year?

We had expected it back at the close
of the season.

The Société Anonyme is holding an
important Exhibition early this autumn
at the George Walter Vincent Smith Art
Gallery ENTH of Springfield and we want
our picture back to include it.

We need it immediately because of the
measurements etc for our catalogue.

Do you happen to have a photograph of it
or a cut for us to use ?

We would appreciate this cooperation very
much.

How is Mexico this year and have you seen the Grahams?

They are staying at Avenida Malintzin 19 - Coyoacan D.F. Mexico.
I know that they would love to see you- and your wife if you have
not gotten together already.

Do write me immediately and do let me have the painting - latest by
September 8th.

I shall be glad to hear from you.

from

Greetings to you and your wife

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katherine S Dreier
Hotel Great Northern
118 West 67th Street
New York City

January 29, 1940

Dear Miss Dreier:

Enclosed I am sending you a copy of my speech at the Museum of
Modern Art which you may like to read.

I was planning to give one of my woodcuts to the Société Anonyme
for its twentieth anniversary. Let me know if that is acceptable.

As I told you at the Museum of Modern Art, in order to complete
your catalog I want to tell you that the painter Bortnick is a
Hungarian--I know him personally.

If you can spare another copy of the Springfield catalog, we
should appreciate very much having one for our College Library.

I wonder if the cut of my picture, "Steps", which was produced
in the folder of the "Four Painters" exhibition is still avail-
able. If so, I should like to make some reprints of it.

Hoping to see you again soon, and with best regards, I am

I went to see Bayer the other day - and was very much interested
in his work - though it does not seem to me to go much beyond very
fine placement - in other words he seems to say so little with his
figure of speak. Am I right or is it a language which I do not
understand.

Do you know the Swiss painter - Kurt Seligman - who lives in Paris
and has a French wife? He exhibited at the Nieredorf Gallery.
Paints behind glass - has a marvelous richness of color - does strange
fantastic forms - as if the halt and the blind had suddenly come in-
to their own. Very strange and fantastic. Full of rythm.

I would like to send Gropius a catalogue - do I just address it
to The School of Architecture - Harvard ?

Have you seen the Princeton Lectures which Frank Lloyd Wright
gave in 1930 - called - The Kahn Lectures.

I should think that it was a book very worth while for your Library

Please give my love to Barbara and the Children and with affectionate
regards for you and your wife - believe me

Faithfully

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katherine S Dreier
Hotel Great Northern
118 West 57th Street
New York City

February 19, 1940

Dear Miss Dreier:

I am sorry that you haven't yet received the speech I gave at the
Museum of Modern Art, but I am now sending you, under separate
cover four copies so that you can give some to your friends.

Thank you very much for the copy of your catalog which I have placed
in the Library as a gift from you.

I hope very much that you are successful in finding a home in which
your very fine collection can be seen permanently. As soon as
I get new mats I will send you a woodcut.

Concerning Bayer: I consider him a real artist and an extremely
fine person. I only regret a little that he is coming lately into
the surrealistic trend.

Seligman, I don't know. Several times I have seen reproductions
of his work, but I don't agree with him for the same reason that
I don't agree with Bayer.

I think it is all right if you send Gropius a catalog to his office,
that is, the Graduate School of Design, Harvard University; or I
think it is still better if you send it to his private home in
Lincoln, Massachusetts.

I haven't heard about the Princeton lecture by Frank Lloyd Wright.
Unfortunately, we can not buy it now for our library, but I will
keep it in mind for next year.

Our Psychology teacher, Dr Straus, has some original Dutch paintings
which have been damaged. They have been scratched and the panels
are bent. He asked me about a competent restorer, and I remember
that you told me some time ago about a man in New York of whom
you spoke very highly. I should be grateful if you could give me
his name and address.

Yesterday we had a very nice birthday with Barbara Dreier.

The College is going on very well, particularly the internal spirit.
Now we have only to look for more financial support. The last news
you may like to know is that Mr Rice resigned.

Address by Josef Albers

Given at the Black Mountain College Meeting

Held at the Museum of Modern Art, New York City, January 9, 1940

When about six years ago some half a dozen teachers and fifteen
students, without money, started on a southern mountain slope
a new college, called Black Mountain College, then some of the
first help and encouragement came from members of this now famous,
but at that time more young than famous, museum of modern art.

Five years later - that was a year ago - this museum invited Black
Mountain College to participate in its courageous Bauhaus
exhibition.

That we are now gathering here in the new building of this
museum, seems to me an encouraging omen.

Because Black Mountain College also must think of new buildings,
and already has plans for a modern college designed by our friends,
Gropius and Breuer, whom you have been invited to meet today.

But it seems that to be modern is easier, and maybe more becoming
for a museum than for a college. Anyway, the modern college must
be erected soon, too.

Since the word "modern" is losing its transient flavor and is
becoming a solid term for significant contemporariness -
particularly since its un genuine competitor "modernistic" is
fading and since the word "progressive" is misleading -, I may
be permitted to say here in a modern museum something about
modern education, instead of progressive education.

This is in order to show that both modern art and modern education
have similer problems, that they have the same front: that modern
art and modern education are avant-guardists in their common
belief that culture is more lasting and therefore more important
than civilization - that is, technical progress. And that
creativity is a remedy against mental degeneration.

The more one studies living art - that is, real art, old or new-,
the more one learns that art has and always had the same goal:
visual or audible documentation of the human spirit.

The more one thinks about differences between traditional and so-
called progressive methods in education, the more it becomes clear
that the fundamental goal of education always and everywhere is
the same: humanity.

Humanity - a word worthwhile repeating, while Europe, our
cultural background, is poisoned and struggling with the belief

-2-

that one man can decide the fate of millions of people; in a
situation where followers or masses - an uncreative crew - make
such power possible.

Humanity, I understand here as balance between dependence and
independence, the two divergent directions in which education is
engaged.

Balance is a problem of proportion. Proportion, usually under-
stood as an art term, means keeping different activities in a
certain order in which every element is related to all the
other elements.

This explanation may show that a fundamental art problem is a
fundamental problem of life and therefore also of education.

As I said before, in both art and education, the fundamental aims
are unchanging.

But since mentality - that is, the prevailing interests - changes
from generation to generation - because children are naturally
different from and therefore in opposition to their parents -, the
performance of education as well as of art will also change,
in its means and formulations, from generation to generation.

Now we may formulate: to be modern is to be responsive to the
mentality of the present; or, to answer present spiritual needs;
or, in creative work, to express our thought and feeling in a
form of our own, as in a language of our own.

But new formulations or revelations often appear, at first,
strange and uncomfortable, just as after their later familiarity
they may become commonplace, and then boring.

Again a proof that life is change, a change not in spite of but
because of permanent truth which always has several faces.

When any movement has reached its end, it becomes academic. It
is certainly no praise to call any work of art (a picture or music)
or a person, academic. Is it not then amazing - or is it amusing -
that only in education, which should be evolution, development,
that only in education is academic a desirable aim?

It may be worthwhile to find out where and why this anti-educational
approach of academic standards is possible. Standard is concerned
with the content, distinguished by rule and measure. Consequently
such education will be concerned with standards where teaching
means giving information instead of causing growth, where
possession counts higher than ability, that is, where knowledge is
a proof of a person's being learned instead of having judgment and
being creative. And where organizing of others stands before
organizing of ourselves.

-3-

In this connection it is instructive to look again at Europe. It is no accident that the two most contradictory ideologies abroad have banned both modern art and modern education.

The reason is very simple: because personal development is different from and against the belief of "masses", or the "the people"; because personal growth stands against economical and racial reasoning; and because spiritual freedom is against the interest of commanders.

But individual development is the only way of developing mankind. Because masses are unproductive and uncreative. Any great work or deed is always done by an individual.

Masses want dependence, as leaders need dependent masses. Leaders must hate independence.

But here, in this part of the world, independence has always been understood as a criterion of progress. Let us be grateful that we can still write "independence" with capitals; and let us hope, too, that American independence will last as one of the best parts of American tradition.

If we are aware that this country is the strongest promotor of mass production, then we must be also aware that manufacturing can not be transferred into education.

If we can not believe in dictatorship, then in education let us now emphasize that its aim is not "leaders" but personalities. This means independent judgment and creative ability.

Then we will be able to demonstrate that the leading beliefs of Europe of today are misleading, and we will be able to experience what China and America have revealed of greater wisdom. Laoise said: "He is the leader who does not want to lead." The Mayan Indians demanded that he should be king who is most cultivated.

If we now see that the interest in culture and the effort for cultural development is growing nowhere as intensely as in the United States, then we have a right to believe that this country can be, instead of a "leader", an example for the world.

(Impromptu: telling about Brauer's first American letter to me expressing his enthusiasm about the culture in America.)

Seeing the tremendous interest and the broad support which this institute for modern art has received, we may hope that a similar interest may develop for modern education.

Here we arrive at the question of the significance of modern

-4-

education, and in particular what Black Mountain College tries to do.

In order to start with a permanent, an unchanging, educational truth: we believe that a person's being an example is the strongest means of influencing others; that doing something is educationally far more than talking about something.

No educator has the right to demand from others what he is not able or willing to do himself. (I know there is disagreement on the subject.) It explains that teaching is first of all not a question of method or technique, but of personality; that lasting influence is personal radiation; that therefore, education is, first, self education.

If we concentrate on self education - that is, changing ourselves before changing others -, then the separation between those only serving and those only being served will disappear. This means social improvement.

Then we will break through the boundary between those teaching and those being taught. Then everybody will be teacher and student at the same time. If we apply this, as we do at Black Mountain College, in a community where we live and work together, then we will also arrive at a recognition of competence based on more experience and more insight.

We are convinced that teaching is definitely more than giving information. Teaching is education. This means the developing of the will end of ability more than the more accumulation of knowledge.

To know more is less than the ability to do more. One can suffice from knowledge, never from experience. We forgot easily what we have heard or read, but we can not forget what we have experienced. Wisdom is a result of experience, not of knowledge.

Only dynamic possession is fertile, materially as well as spiritually. Let us therefore consider knowledge, not as a static possession or as a goal in itself, but as a means.

If we can divide all teachers and students into two groups, in the possessive type and the productive type, then we prefer and try to cultivate the letter, that is, the teacher who gives first class mail instead of printed matter, and the productive student who is discriminating among quantity and quality and who estimates creativeness highest.

The natural way to shift our schoolwork from overemphasized collecting of facts, from industriousness towards productiveness, is given in those fields of teaching where verbal and auditory contact can not dominate, but where immediate action is the inherent procedure. I mean here the studies in acting, dancing, in writing and music and art.

-8-

We at Black Mountain College are in a fortunate situation, because here those fields are considered just as improtant as any other fields and are placed in the center of the curriculum.

(Impromptu: explanation of the purposes and aims of the art courses at Black Mountain College.)

That the cultural fields are in the center of the curriculum of Black Mountain College demonstrates a definite change from being concerned mainly with the learning of facts to being concerned with the learning to see: that is, to come to conclusions and discoveries. We change from an overemphasized intellectual or analytical approach to the world towards a more sensuous or direct contact with the world, toward synthesis and an artistic approach. It means an education changing from learning for the sake of school or teacher to experiencing life, and life is everything but academic; an education in which capacity is preferred to possession, and strength is preferred to power. It is a moving from denotation to connotation, from independence of quantity to dependence on quality.

If we abstract all the details from our aims in teaching, then the fundamental task will appear simply, to open eyes.

This is a simple task, but, it seems to me, a great one. And like everything simple, difficult, but exciting.

It is inadequate to call real teaching a job. We like to see it as a kind of religion based on the belief that making ourselves and others grow - that is making stronger, wiser, better -, is one of the highest human tasks. And it will be an art if we develop men instead of masses, men who have experienced that seeing something is more than knowing something.

Emerson says: I am impressed with the fact that the greatest thing a human soul ever does in the world is to see something and to tell what it saw in a plain way.
Hundreds of people can talk for one who can think, But thousands can think for one who can see.

Min Kuswina S. Dreier
Hare Great Northern
118 W 67
New York City

11811111

February 26th - 1940

My dear Professor Albers:

First let me assure you that I had not
mentioned to anyone that Professor Rice
had resigned - I never pass on such infor-
mation - I let someone else mention it
first to me - it is asound policy which
I adopted long ago.

But what a relief it must be to all of you!!

Next - you must send your article to - The Atlantic Monthly - if
you haven't done so already.

It is very important to have it go forth for we have great need of
that message here in America among our educational group.

Besides it would help Black Mountain College tremendously - and I
feel that the present editor of the Atlantic is one who would wel-
come the article and be sufficiently interested to print it.

I met him the other day - though there were so many people that he
did not get my name - but I felt him to be very alive to the right
needs of America.

Have you thought of sending it to any magazine?

There are two restorer I know and I will give you the name of both.

One is a Russian - Constantine Astori - 6 East 17th St. Te-·Algonguin 4
4482

The other is an Italian. M&Michelotti - 152 East 56th St. Bel.Wickersham
2.0636

Both do excellent work - I imagine that Mr.Astori is a little less
expensive - but I dont know. You can mention my name in either case

My love to Barbara and the children and warm greetings to you and your
wife. If you can spare some more of the reprints I can pass them around
It is a superb piece of work you have done. In which of Emerson's Essays
is the quotation. I said in his essay on Art - was I right? We had quite
a discussion.

Again all best luck and do send the article to The Atlantic

March 14th - 1940

My dear Albers:

It seemed best to me for you to send your manuscript
direct to Mr. Weeks - for he will want to write to
you direct - but if you want to you can enclose this
letter which I have written especially for you to use.

But editors always prefer to get in direct touch with
the writer - and so it seemed far wiser to send this
letter to you him direct.

I of course would use the Black Mountain College sta-
tionary.

Thank you for telling me where your quotation comes
from. In spite of Ruskin not being able to under-
stand a temperament like Whistler - he is very funda-
mental and Oscar Wilde whom I consider still the best
writer on Art in the English language always gave
credit to Ruskin whose pupil he was.

However I have since reread Emerson's Essay on Art -
and I think that you will find many valuable passages
in it. Personally I consider Emerson to be for us
what Confucius is to the Chinese - only we have never
honored him as they have their great spiritual leader.

Thank you again for the wood-cut which you have given
the Societe Anonyme - when it arrives we will value
and appreciate your gift greatly.

I am writing to your wife - I was deeply interested in her article.

With all the best wishes and sincerely hoping that Mr. Weeks will print
your valuable article in the Atlantic - which may want some editing -
which I thought would be easier if I mentioned in my letter to him,
believe me

Always with warm regards

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

March 25, 1940

Dear Miss Dreier:

Thank you very much for all your troubles with Mr Weeks in favor
of my speech but it seems to me there is little hope of getting
that speech published in the Atlantic Monthly. Following your
suggestion, I sent my speech and got a negative answer from
Mr John Walcott, Associate Editor, saying that my speech is
"really far too sketchy to be of any possible use to us".

Today I am sending you by express two of my wood-cuts "White
Circle" and a proof of "Segments". This latter one is a
print before the edition. That means it is a print from the
first "zustand" of the wood block.

I hope you will send the extra copies of my speech to some
people interested in BMC. I mention this because we have to
do everything we can to enlarge the circle of friends of our
College. If you know about people able and willing to support
us spiritually as well as materially, let us know, so that either
you or we ourselves may get in touch with them. I hope you have
heard about the activity to build an association of the friends
of BMC, of which each member contributes to the College either
for student aid, or for physical equipment.

I have to go north in the second half of April when I have to
give my course at Harvard and some speeches at other places. I
hope very much to see you then in New York and we may talk over
the BMC situation more thoroughly.

With best regards also from my wife, I am

A-d

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

Miss Katherine S Dreier
West Redding
Connecticut

November 29, 1941

Dear Miss Dreier:

My letter about our Black Mountain College Art Gallery plans may
have made a wrong impression since it was written after the
gift of the collection of the Societe Anonyme to Yale University.
I want you to know that actually my letter was written before I
heard about the gift to Yale.

Anyway, I hope that you are in sympathy with our plans, and I
hope, too, that you will give us valuable advice as to procedure,
and as to artists, foundations, and individuals we should approach
for support of our gallery.

Despite the short time of my gallery "campaign", we have already
received some contributions, and several promises of paintings
and photographs.

In this connection, I should like to ask you two more things.
First, could you consider contributing one of your own paintings?
In case you could decide positively, then we would have here again
the "Four Painters" altogether, since the others already have
promised contributions. Secondly, could you think of some work
in your collection which would be more influential here than in
a dark storage room?

Hoping to hear from you again, and with best regards from both
of us, I am

December 2nd - 1941

My dear Mr. Albers:

I have your two interesting letters and I want to thank you for both of them.

The reason I did not write sooner was because I was waiting to know whether I would be in town this winter or not - and of course on that would depend the amount of help which I could give you.

I am very much interested and do want to help - but it depends on two factors - one that I must stay out in the country indefinitely - and the other which I would rather have talked over with you instead of writing.

The impression which was left on my mind as well as on those of others was that if you had not selected the picture yourself there was no guaranty that you would speak well of it, which is a very serious situation in which an artist may find himself.

Your whole attitude may have broadened during the last years and you may speak with respect of an achievement, even if the picture as such may not be sympathetic to you.

It was this attitude of yours which made me withdraw from sending down pictures to Black Mountain College for there was still too much lack of actual understanding of the general public for me to subject the artis of our Collection to such an attitude of mind which would have been eched by all your pupils to whom your word is that of an oracle speaking. This is more or less as it should be but it casts a very deep responsibility upon you.

I have always belonged to those to whom the sincere contribution of an artist is of great value to the Community as a whole. One reason I have always admired the English critics attitude towards their poets is the place they gave what they termed their minor poets - meaning thereby that though minor - they contained within their limited contribution all the qualities which goes to make poetry.

As soon as I know what your present attitude is - I can help you more, if you are more conscious of the American mind you have to deal with in relation to Art and their falling for all the fan-fare which is being done in connection with certain men. We must teach them to love art, for itself and not because Jones likes it or Smith owns one - and they in turn are impressed with Jones and Smith.

Of course I think it is important for everyone to have an understanding of Art of all ages - and the Metropolitan as well as the Museum of Modern Art lend one or two pictures for a month to Colleges. This gives the students time to study the art of the pictures. The Metropolitan Museum and I arranged a most interesting exhibition back in 1931 when they loaned me some interesting early primitives which I showed in relation to the Modern expression.

When are you going to be in New York ? I might run down for a day to talk it all over with you, if you care.

This Collection which the Société Anonyme gave Yale is a tremendous undertaking. In the first place there are 482 items - including oils, sculpture, water-colors, etchings, lithographs, Randraphs, Pen-and-ink drawing etc. To list, number and measure them all was a tremendous undertaking.

These will also be on-loan after they have been shown at Yale. Some will always be on exhibition.

You saw by the papers that Dr. Brinton has given his Collection to the Philadelphia Museum. He was especially interested in Russian Art.

I was told that you gave such a beautiful address at the final rites of little Mark. Would you be so kind as to send me a copy, since I have not seen any, though I have asked various members of the family for it. I would so much like to have it. You have a great gift of expression and I treasure very much the address you gave some years ago, when you and Dr. Gropius spoke at the Museum of Modern Art for Blake Mountain College.

With warm regards to you and your wife, believe me

Faithfully

BLACK MOUNTAIN COLLEGE

BLACK MOUNTAIN, N. C.

December 5, 1941

Dear Miss Dreier:

Remembering a very pleasant correspondence with you during the past years, I feel really worried about your last letter.

I have an invitation for a Black Mountain College meeting in New York and will be there a few days around the 7th of January. I should appreciate it very much if I could talk to you then, and I hope that we can clear up the situation.

Enclosed I am sending you a copy of my talk to my friend Mark.

JOHN SIMON GUGGENHEIM MEMORIAL FOUNDATION

*Fellowships for Research, and for Creative Work in the Fine Arts, including Music*

UNITED STATES of AMERICA, 1941

IN order to improve the quality of education and the practice of the arts and professions in the United States, to foster research, and to provide for the cause of better international understanding, the John Simon Guggenheim Memorial Foundation, established by former United States Senator and Mrs. Simon Guggenheim as a memorial to a son who died April 26, 1922, offers a limited number of Fellowships, tenable under the freest possible conditions, for research in any field of knowledge and for creative work in any of the fine arts, including music. The Fellowships will be awarded by the Trustees upon nominations made by a Committee of Selection.

THE FOUNDATION also offers a limited number of Fellowships, for work in the United States of America, to Canadians and, on its Latin American Fellowship plan, to Puerto Ricans and to citizens of Argentina, Brazil, Chile, Cuba, Mexico, Peru, and Uruguay.

1. THE FOUNDATION plans to maintain annually from forty to sixty Fellows. The Fellowships are intended for men and women of high intellectual and personal qualifications who have already demonstrated unusual capacity for productive scholarship or unusual creative ability in the fine arts. Fellowships in music will be awarded only to candidates who have plans for creative work in musical composition, or for research in the history or theory of music.

2. FELLOWSHIPS are open to men or women, and to married or unmarried candidates. Fellows are normally of ages between twenty-five and forty years; but the Committee of Selection has been empowered, in exceptional cases only, to nominate a limited number of persons older than forty. The Fellowships are open to citizens (or, in exceptional cases, to permanent residents who are not citizens) of the United States, irrespective of race, color or creed.

3. THE STIPEND will in the normal case not exceed $2,500 for a year of twelve months. The tenure of Fellowships will be adjusted to the purpose and scope of the studies of each individual. Appointments will be made ordinarily for one year; but plans which involve two years' work will be considered by the Trustees. In special cases the Trustees will grant Fellowships for terms shorter than one year, with appropriate stipends. Members of the teaching profession who have received sabbatical leave on full or part salary are eligible for appointment.

4. THE COMMITTEE OF SELECTION will require evidence that candidates are persons of unusual capacity for research, demonstrated ordinarily by the previous publication of contributions to knowledge of high merit, or that they are persons of unusual and proved creative ability in some one of the fine arts. Definite plans for their proposed study must be presented by all candidates. The Foundation will consult with responsible scholars and artists regarding the value and practicability of the projects presented, and the personality and promise of the applicants.

5. THE TRUSTEES may subsidize the publication of important contributions to knowledge produced by holders of Fellowships on the Foundation; but they do not undertake to aid in publishing all works so produced.

6. APPLICATIONS for reappointment must be accompanied by preliminary reports of work accomplished. Such applications should be received at the office of the Foundation before February 1, 1941.

7. APPLICATIONS for Fellowships must be made in writing on or before October 15, 1940, by the candidates themselves, in the form prescribed, addressed to Henry Allen Moe, Secretary General, John Simon Guggenheim Memorial Foundation, 551 Fifth Avenue, New York, N. Y. Final selection of Fellows for 1941-42 will be made in March, 1941. Application forms will be mailed upon request.