Archives of American Art Blog

Alma’s Stripes: Finding Fashion in the Alma Thomas papers

Alma Thomas working in her studio, ca. 1968 / Ida Jervis, photographer. Alma Thomas papers, Archives of American Art, Smithsonian Institution.

Alma Thomas in her studio, ca. 1968 / Ida Jervis, photographer. Alma Thomas papers, Archives of American Art, Smithsonian Institution.

Thomas at opening in the Whitney Museum, 1972? / unidentified photographer. Alma Thomas papers, Archives of American Art, Smithsonian Institution.

Upon learning that the late Alma Thomas’s birthday was approaching, I began to poke around on our website and in our collections to learn a little more about her life. I have been drawn to the details of her biography largely because I am a social historian interested in African American life and thought. And, as an art historian interested in abstraction and Washington’s Color School, I have been drawn to her paintings. While I knew her life story and her artwork, it was when I turned to the Archives of American Art’s Image Gallery that I first saw her as a person. Looking at pictures of Alma Thomas got me thinking about the aesthetic choices artists make, and I discovered a new fascination with her sartorial choices.

The Alma Thomas papers capture my fancy because of my long–standing interest in this African American female teacher and painter who lived and worked for much of her life in Washington, D.C. until her death in 1978. When she was a teenager, Thomas’s family moved north from Georgia to Washington, DC during the Great Migration. The District of Columbia served as a cultural, political, social, and economic capital for African American men, women, and children at the turn of the 20^th century.

An alumna of the D.C. Public Schools (and other prestigious colleges and universities), Alma Thomas served as a teacher at Shaw Junior High School between 1924 and 1960. Thomas introduced generations of children to art and art appreciation through her distinctive pedagogy which included establishing the school system’s first art gallery, organizing annual exhibitions of African American artists during Negro History Week, and developing the School Arts League Project. During her tenure—both as a student and as a faculty member—the D.C. Public Schools was one of the premier primary and secondary educational institutions for African Americans in the county.

Ida Jervis’s photographic portraits of Alma Thomas from 1968 allow us to peek into Thomas’s studio and glimpse her practice. In a favorite of mine, Thomas stands at a table, paintbrush in hand, tracing curvilinear shapes, working with an abstract painting. Those lines echo the leaves in the potted plant that stands in the bright window to her left. This canvas of intersecting arcs and overlapping shapes is markedly different from the rigid rows of vivid color we often associate with Thomas’s work. Those (perhaps) more familiar paintings appear in other shots. Indeed, Thomas posed for Jervis in front of several sheets of “Alma’s Stripes” as she called them. These portraits nudged me to consider Alma Thomas’s physical presence as well.

On this day in 1968, Thomas favored gridded patterns on her canvases and in her costume. Her dress is composed of a series of checkerboards and colored squares. At the opening of her solo show at the Whitney Museum in 1972—when she was 77 years old—Thomas sported a different dress (or maybe a duster) with a bold geometric print featuring diamonds, squares, and zigzags. I began to wonder, “Why did she choose these particular items on these occasions?” Did she aim to associate her physical self so closely to her paintings? Was this a conscious effort to coordinate and link the artistic practices of painting and dressing? Thomas studied costume design while a student at Howard University, and her mother executed her designs for school productions. I chatted about Thomas’s fashion sense with my co–worker Elizabeth Botten who mused about whether and how Thomas sought out the fabric: did she pick it out and design the pieces or did she buy them? We are left with more questions than answers but one thing is certain: I am now inspired to don a checkerboard caftan on September 22 to mark Alma Woodsey Thomas’s birthday.

Happy Birthday, Ms. Thomas!

Kelly Quinn is the Terra Foundation Project Manager for Online Scholarly and Educational Initiatives at the Archives of American Art.

The Warm Fuzzies: An Ode to the Sweater

Print of a Christmas card design, 19--, Gertrude Abercrombie, artist. Gertrude Abercrombie papers, 1880-1986, Archives of American Art, Smithsonian Institution.

Having grown up in the Midwest where cold weather and snow are a given in winter, I’ve always had fondness for “sweater weather.” Being a lover of kitsch and pop culture, I feel a wave of delight whenever I see someone swathed in jingle bells or sporting a woolen menorah (and if it lights up all the better). ‘Tis the season for the ubiquitous sweater, and what better time than now to look to the Archives of American Art’s collections for sweater inspiration!

The Classics

When it comes to holiday sweaters, one cannot find a more classic example than the Fair Isle sweater, worn here by the poet Janet Lewis. When I think about skiing—and by skiing I mean lounging around a fancy ski lodge with a piping hot mug of cocoa—there are always two essentials to my day dream: a Malm fireplace, and a Fair Isle sweater.

Yvor Winter and his wife, ca. 1960, Harry Bowden, photographer. Harry Bowden papers, 1922-1972, Archives of American Art, Smithsonian Institution.

In this hand colored card, Allen Tupper True offers “Seasons Greetings” and a fine example of how to sport a classic sweater if one actually skis.

Holiday card design of cross-country skiers, between 1930 and 1955, Allen Tupper True, artist. Allen Tupper True and True family papers, 1841-1987, Archives of American Art, Smithsonian Institution.

The Fanciful

Here muralist Alexandra Darrow takes a classic wool or cashmere crewneck and makes it festive by adding some greenery for her 1957 Christmas card found in the Prentiss Taylor papers. If you want to add some holiday charm and whimsy to your sweater while keeping your look tasteful, you will find no better example than Ms. Darrow.

Alexandra Darrow Christmas card to unidentified recipient, 1957, Prentiss Taylor papers, 1885-1991, Archives of American Art, Smithsonian Institution.

Every year Maryland artist Ed Bisese creates a silk–screened card featuring himself and his family. In this card from 1992, Bisese is floating through space in a fun striped sweater and matching hat. Though it is his wife Liza, pregnant at time with their daughter Isabella, who wears what may the ultimate in Christmas accessories: angel wings and a halo!

Ed Bisese Christmas card to Herbert Waide Hemphill, Jr., 1992, Ed Bisese, artist, Herbert Waide Hemphill papers, 1776-1998, Archives of American Art, Smithsonian Institution.

Rockwell Kent: Arctic Enthusiast

Artist and explorer Rockwell Kent documented his travels and adventures in cold weather climes such as Newfoundland, Greenland, and Alaska in numerous books, writings and artwork. Pictured here with his wife Francis in traditional Inuit dress, it is easy to admire not only the functionality of this clothing, but how beautifully the varying patterns and textures work together.

Rockwell and Frances Kent in native dress, ca. 1930, unidentified photographer, Rockwell Kent papers, [circa 1840]-1993, Archives of American Art, Smithsonian Institution.

I remain convinced, however, that Kent is wearing a festive reindeer sweater under his ski suit!

Rockwell Kent playing in the snow with his dog, ca. 1935, unidentified photographer, Rockwell Kent papers, [circa 1840]-1993, Archives of American Art, Smithsonian Institution.

But That’s Not a Sweater...

For achievement in the sweater sub-category “Festive Flannel,” I nominate artist and Connecticut native Wood Gaylor. Here he shows the kind of classic New England style that is essential to braving the cold winter months in our northernmost states.

Wood Gaylor, ca. 1950, unidentified photographer, Wood and Adelaide Lawson Gaylor papers, 1866- [ca. 1986], Archives of American Art, Smithsonian Institution.

That’s Really Not a Sweater!

Perhaps Polish born artist Philip Reisman was able to handle cold weather without a sweater, or maybe he just had a special fondness for ketchup. Either way, I love his cheeky take on the traditional holiday family portrait.

Philip Reisman holiday card, 1956, Philip Reisman, artist, Philip Reisman papers, 1904-1994, Archives of American Art, Smithsonian Institution.

Whether your seasonal sweater style is understated or over the top, the Archives of American Art wishes you a warm and happy holiday season!

Elizabeth Botten works in the Reference Services Department at the Archives of American Art.

Halloween Costume Guide: Archives Style

S. Fullerton (Spencer Fullerton) Weaver invitation to Mary Fanton Roberts, 19--?. Mary Fanton Roberts papers, 1880-1956. Archives of American Art, Smithsonian Institution.

Judging by its invitation, this costume party was an event not to be missed. Hosted by architect Spencer Fullerton Weaver, it was likely attended by a glamorous and bohemian crowd.

I certainly would not turn down a party promising a “crazy costume dance.” I would, however, hesitate on what to wear. With Halloween approaching, I looked to the Archives’ collections for costume inspiration.

L’Artiste

William Merritt Chase in his studio, ca. 1910. Harriet Blackstone, photographer. Harriet Blackstone papers, 1864-1984. Archives of American Art, Smithsonian Institution.

For starters, why not go as an artist?

In this photograph, William Merrit Chase dons the accoutrement of an academic painter. Chase was well regarded for his impressionist paintings, but his career as an art instructor also impacted generations of young, aspiring artists.

In 1898, he founded the Chase School of Art, now known as Parsons The New School of Design (yes, the Parsons of fashion fame).

To transform yourself into an acclaimed artiste, you’ll need a white smock, palette and brushes, and pince-nez.

Make it work!

The Victorians

Charles Sheeler and Marsden Hartley studied under Chase during the early 20^th century. Both artists were significant American modernists, although you wouldn’t be able to tell by these costumes!

Musya and Charles Sheeler arriving at a Victorian theme party, 1947 Oct. 16. Oliver Baker, photographer.  Charles Sheeler papers, circa 1840s-1966. Archives of American Art, Smithsonian Institution.

Sheeler’s paintings and photographs conveyed modernity with stark and precise renderings of industry. In 1927, the Ford Motor Company hired him to photograph their cutting edge River Rouge factory in Dearborn, Michigan. But in this photograph, Sheeler ditches a Ford Model A and opts to take a horse and buggy to a Victorian-themed costume party.

Requirements for Victorian revelers: petticoats and corsets for the women; top hats and frock coats for men. Bonus points for arriving in a horse and buggy.

The Arabian Prince

Marsden Hartley in costume at the Society Arts Ball in Paris, June 1913. Unidentified photographer.  Rockwell Kent papers, circa 1840-1993. Archives of American Art, Smithsonian Institution.

Marsden Hartley was a peregrinating painter who spent time in Maine, New Mexico and Western Europe. Although he never made it to the Middle East, he wore this Arabian Nights costume to a Society Arts Ball in Paris.

To resemble Sinbad the Sailor, you’ll need: beads, Hammer Pants, and a flair for the dramatic.

The Gunslinger

Jackson Pollock dressed as a cowboy, ca. 1927. Unidentified photographer. Jackson Pollock and Lee Krasner papers, circa 1905-1984. Archives of American Art, Smithsonian Institution.

In this snapshot of painter Jackson Pollock harkens yet another time and place: the Wild West.

When this photo was taken, Wyoming-born Pollock was just a teenager, but his independent personality was evident.  By the late 1940s, he was notorious for both his poured paintings and his volatile personal life.

To become a lonesome cowboy, you’ll need a cowboy hat and boots, toy rifle, and rugged swagger.

The Glitterati

If you would like more glam than grit in your costume, look no further than two of the glitziest artists in our collections, The Rhinestone Cowboy and Gertrude Vanderbilt Whitney.

Loy Bowlin, 1991.  Chuck Rosenak, photographer. Chuck and Jan Rosenak research material, ca. 1987-1998. Archives of American Art, Smithsonian Institution.

Folk artist Loy Bowlin is best known as the Original Rhinestone Cowboy. This look was not a costume, but the outfit he would wear any day of the week. Boylin, standing on his porch in Mississippi, bejeweled his clothes, house, and even his Cadillac.

To pull this off, you’ll need to invest in a serious Bedazzler, but the efforts will pay off when you sparkle on the dance floor.

The Glamazon

Gertrude Vanderbilt Whitney, ca. 1890. Unidentified photographer.  Gertrude Vanderbilt Whitney papers, 1855-1975. Archives of American Art.

Artist and founder of the Whitney Museum of American Art, Gertrude Vanderbilt Whitney embodies free-spirited glamour. A sculptor in her own right, she also patronized many of the leading and emerging American artists of the early 20^th century. She also had a talent for accessorizing beautiful dresses.

In order to achieve that artsy Vanderbilt look, you’ll need lots of flair: feathers, tiaras, broaches, and gems. A Bedazzler wouldn’t hurt for this one either.

Happy Halloween from the Archives of American Art!

Mary Savig is a curatorial assistant at the Archives of American Art.

Mustaches of Note - John White Alexander

John White Alexander, 1882 or 1883. Napoleon Sarony, photographer. John White Alexander papers, 1870-1942, Archives of American Art, Smithsonian Institution.

This portrait of John White Alexander haunts my dreams. I think it must be his eyes. Or perhaps it is his mustache.

Alexander was best known for his portraiture work; these paintings can be found in museums all over the United States. I particularly like Portrait of Mrs. John White Alexander, 1902.

From 1905 until his death in 1915, he painted an amazing 69-piece mural, The Apotheosis of Pittsburgh, around the grand staircase at the Carnegie Museums. Read more about the mural here.

Jennifer Snyder works with oral history interviews at the Archives American Art. When not sending interviews out for digitization, she is writing about extraordinary examples of facial hair for this blog.

Beards of Note - William Morris Hunt

William Morris Hunt, ca 1860. Macbeth Gallery records, 1838-1968. Archives of American Art, Smithsonian Institution.

William Morris Hunt, ca. 1866. James Wallace Black, photographer. Miscellaneous photograph collection. Archives of American Art, Smithsonian Institution.

William Morris Hunt should be considered one of Boston’s most important painters, becoming one of the most prolific creators of landscapes and portraits in the 19th century. He also traveled in Boston’s most prominent intellectual circles.

Unfortunately, Hunt suffered from depression and committed suicide in 1879 at the age of 55. Hunt looks much older than 55 in both of these images and (I think) his state of mind is clearly reflected, as well.

The image on the above left is a photograph of Hunt’s 1866 self portrait, found at the Museum of Fine Arts in Boston, MA.

The photograph below shows Hunt in a painter’s smock with his palette and brushes at his studio in Boston, his beard a bit shorter and whiter in 1879, shortly before his death.

Jennifer Snyder works with oral history interviews at the Archives American Art. When not sending interviews out for digitization, she is writing about extraordinary examples of facial hair for this blog.

Mustaches of Note - Elihu Vedder

Elihu Vedder, ca. 1910. Unidentified photographer. Elihu Vedder papers, 1804-1969. Archives of American Art, Smithsonian Institution.

Doesn’t he look ready to jump on his bicycle and join a modern day Tweed Ride?*

Elihu Vedder is best known for his illustrations of the 1884 edition of The Rubaiyat of Omar Khayyam. You can browse his digitized papers in our collections online. If you happen to be in Washington, DC you can visit some murals by Vedder in the Library of Congress, in the Thomas Jefferson building outside the Main Reading Room.

*More on the Tweed Ride in DC last fall from the Washington Post and DCist -- and there is a Seersucker Social on June 12!

Jennifer Snyder works with oral history interviews at the Archives American Art. When not sending interviews out for digitization, she is writing about extraordinary examples of facial hair for this blog.

Beards of Note - Peter Cooper

Peter Cooper, 187-?. Brown Brothers, photographer. From the Miscellaneous photograph collection. Archives of American Art, Smithsonian Institution.

Peter Cooper was the inventor of the first steam locomotive, the Tom Thumb. The National Museum of American History has a model of the Tom Thumb in their transportation collection.

Interestingly, Cooper is also credited with inventing the first gelatin dessert—something we now call JELL-O.

More on Peter Cooper.

Jennifer Snyder works with oral history interviews at the Archives American Art. When not sending interviews out for digitization, she is writing about extraordinary examples of facial hair for this blog.

The Archives' Brides

With 13% of the Archives’ staff planning a wedding this year, I wondered whether we could find inspiration among the collections.

Marriage certificate of John Frederick Peto and Tena [Christine] Pearl Smith, 1889 Jun. 16. John Frederick Peto and Peto family papers, circa 1850-1983. Archives of American Art, Smithsonian Institution.

Maud Ramsdell Beal on her wedding day, 1908 May 26. Unidentified photographer. Gifford Beal sketches, sketchbooks and papers, 1902-1953. Archives of American Art, Smithsonian Institution.

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Nancy Douglas Brush and Robert Pearmain on their wedding day with Gerome and George de Forest Brush, 1909 Sept. 11. Unidentified photographer. Nancy Douglas Bowditch papers, ca. 1900s-1970s. Archives of American Art, Smithsonian Institution.

It would take a bold bride to wear Christo’s 1967 “Wedding Dress.”:

Christo’s wedding dress design notes, 1967. Joan Kron papers, 1959-1971. Archives of American Art, Smithsonian Institution.

The chains of wedlock may be heavy, but the silk ropes of wedlock are even heavier.  Are there strings attached to this bride’s marriage?  Does her dress represent the behemoth wedding industry?  Or is she merely the ultimate fashion victim?

Julie Schweitzer is a processing archivist at the Archives of American Art.

Mustaches of Note - Carolus-Duran

Carolus-Duran, 1878. From the Charles Scribner’s Sons Art Reference Dept. records, 1839-1962. Archives of American Art, Smithsonian Institution.

John Singer Sargent studied under French art instructor and painter Carolus-Duran (Charles Auguste Émile Duran, 1837-1917). Sargent’s signature brushwork was developed during his time in Paris with Carolus-Duran.

The lovely portrait of Carolus-Duran Sargent painted of his mentor in 1879 (featuring that signature brushwork and the above pictured facial hair) can be found at the Clark Art Institute in Williamstown, MA.

More on Mustaches of the 19th-Century.

Jennifer Snyder works with oral history interviews at the Archives American Art. When not sending interviews out for digitization, she is writing about extraordinary examples of facial hair for this blog.