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Alexandra Krensky
Scope and Contents
The papers of art critic Emily Genauer measure 11.4 linear feet and date from circa 1920 to 1990. Found within the papers are correspondence with artists, gallery owners, and friends; extensive writings; research and reference files; personal business records; and photographs.
Notable correspondents include David Aronson, Mrs. Max Beckman, Isabel Bishop, Dorothy Carnegie, Marc Chagall, Salvatore Dali, Stuart Davis, Martha Graham, Harry F. Guggenheim, Irene Rice Pereira, Clyfford Still, Rufino Tamayo, and Frank Lloyd Wright, among numerous others. Extensive writings consist largely of drafts of columns written by Genauer and supporting research notes, as well as essays, speeches, lectures, book manuscripts, and memoirs. Research and reference files include source material for columns and essays. Personal business records document Genauer's work on committees and arts organizations, juries, awards, honors and also include interview transcripts and other personal scattered files. There is material regarding her leaving the New York World-Telegram. Printed material includes two of Genauer's books, magazines, newspaper clippings, and exhibition catalogs. Photographs are portraits of Genauer and of artwork.
Immediate Source of Acquisition
Emily Genauer lent letters on reel NG1 for microfilming 1959. Constance Roche, daughter of Emily Genauer, donated additional papers in 2000 and 2003.
Separated Materials
The Archives of American Art also holds microfilm of material lent for microfilming (reel NG1) including 300 letters, photographs, and printed material. Loaned materials were returned to the lender and are not described in the collection container inventory.
Funding
Sponsor
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Pool Fund.
Processing Information
This collection was processed to a minimal level and a finding aid was prepared by Alexandra Krensky in 2013 with funding provided by the Smithsonian Institution Collections Care Pool Fund. The Archives of American Art has implemented minimal processing tactics when possible in order to increase information about and access to more of our collections. Minimal processing included arrangement to the series, subseries and folder levels according to the original order. Generally, items within folders were simply verified with folder titles, but not arranged further. The collection was rehoused in archival containers and folders, but not all staples and clips were removed.