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Writings by the Artist and Filmography
Jack Flam (Editor), Katy Rogers (Editor), Tim Clifford (Editor)
Description: Robert Motherwell: Paintings and Collages (A Catalogue Raisonné,...
Robert Motherwell: Paintings and Collages (A Catalogue Raisonné, 1941–1991)
Bibliography, Writings by the Artist, and Filmography (Part 3)
Author
Jack Flam (Editor), Katy Rogers (Editor), Tim Clifford (Editor)
PublisherYale University Press
Copyright© 2012 by The Dedalus Foundation, Inc., and Yale University
https://doi.org/10.37862/aaeportal.00105.047
Stable URL: https://aaeportal.com/?id=-18307
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Writings by the Artist and Filmography
WRITINGS BY THE ARTIST
The Writings by the Artist section is arranged chronologically. It contains all of Motherwell’s published writings and a comprehensive selection of his unpublished writings, including essays, lectures, interviews, statements, and letters. (With letters, dates are given when known and the place from which they were sent is noted when relevant.)
In this section, each entry indicates the original publication of the text and any significant reprintings, whether in whole or in part. Reprintings are identified in the abbreviated form of author and year, cross-referenced to the general Bibliography. When Motherwell discusses a specific work, the catalogue raisonné number for that work is given in parentheses. In the catalogue raisonné entries, a short form is used to refer to the artist’s discussions of his own works in published sources; these short forms are given in parentheses following their corresponding entries below. Volumes edited by Motherwell are listed separately at end of this section
Extensive collections of Motherwell’s writings were published posthumously in two anthologies. These two volumes are referred to hereafter in abbreviated form, as Motherwell 1992 and Motherwell 2007.
 
Motherwell, Robert. The Collected Writings of Robert Motherwell. Edited by Stephanie Terenzio. New York: Oxford University Press, 1992; cited here as Motherwell 1992. (A paperback edition, with a foreword by Jack Flam, and an index, was published by the University of California Press in 1999, as part of the Documents of Twentieth-Century Art series.)
 
Motherwell, Robert. The Writings of Robert Motherwell. Edited by Dore Ashton with Joan Banach; introduction by Dore Ashton. Documents of Twentieth Century Art. Berkeley and Los Angeles: University of California Press, 2007; cited here as Motherwell 2007.
 
1939
 
Letter to Livingston Gearhart, from Paris, ca. March 6, 1939, inviting Gearhart to listen to music. Original handwritten letter, Martha Gearhart Schermerhorn, Rochester, N.Y.
 
Statement on the teaching methods of the art department at the University of Oregon. In “Motherwell Says ‘UO Art School Is One of Best in United States,’ ” Oregon Daily Emerald (University of Oregon, Eugene), October 21, 1939, p. 3. (See Oregon Daily Emerald 1939b.)
 
1940
 
Letter to Meyer Schapiro, from the University of Oregon, Eugene, April 11, 1940, introducing himself and expressing his interest in studying art history. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
Letter to Meyer Schapiro, from the University of Oregon, Eugene, June 1, 1940, regarding Motherwell’s intention to study with Schapiro at Columbia University the following fall. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
Seven double-sided pages of sketches and notes on Greek art made by Motherwell when he was a student in Margarete Bieber and William Bell Dinsmoor’s Greek art course at Columbia University, ca. November 1940, Dedalus Foundation Archives. Printed as “Notebook from a Visit to the Metropolitan Museum of Art, New York, November 13, 1940” in Banach 1996, pp. 6–9 (reproduced on pp. 6, 8).
 
1941
 
“The Form of Cézanne’s ‘The Balcony,’ ” spring 1941. Essay written for Meyer Schapiro’s course European Painting Since 1860 at Columbia University. Three-page typescript with handwritten annotations by Motherwell, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
Letter to Jonathan Ziady, from New York, May 1, 1941, regarding the possibility of traveling to Mexico. Original handwritten letter, Jon Ziady, Portland, Ore.
 
Letter to Kurt and Arlette Seligmann, written on June 18, 1941, from Mexico City and July 9, 1941, from Taxco; giving his impressions of Mexico. Handwritten letter, Kurt Seligmann Papers, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn. Partially printed in Sawin 1995, p. 186.
 
English translation of Wolfgang Paalen, “The New Image,” autumn 1941. Dyn (Mexico City), no. 1 (April–May 1942): pp. 7–15. Reprinted in Wolfgang Paalen, Form and Sense, Problems of Contemporary Art 1 (New York: Wittenborn, Schultz, 1945), pp. 31–36.
 
Letter to William Carlos Williams, from New York, December 3, 1941. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 16–18. Partially reprinted in Hobbs 1975b, pp. 54, 55; Mattison 1985b, p. 8; Caws 1996b, p. 35.
 
Letter to William Carlos Williams, December 8, 1941, regarding Motherwell’s relationship with Roberto Matta and the members of the VVV’s editorial board, André Breton and Nicholas Calas. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 930100. Partially printed in Mattison 1985b, p. 93.
 
1942
 
Letter to Livingston and Virginia Gearhart, from New York, May 21, 1942, discussing his current projects. Unpublished typescript, Martha Gearhart Schermerhorn Papers, Rochester, N.Y.
 
“Notes on Mondrian & Chirico.” VVV 1 (June 1942): pp. 58–61. Reprinted in Motherwell 2007, pp. 15–19. Partially reprinted in Motherwell 1992, pp. 20–22; Buettner 1973, p. 269; Fineberg 1978, p. 55; Buettner 1981, p. 87; Collins 1984, p. 97; Mattison 1985a, p. 93; Mattison 1985b, p. 68; Jachec 1991, p. 22; Caws 1996b, p. 20; Gibson 1998, pp. 247, 248, 249, 253, 339, 340; Caws 2003, p. 43.
 
Motherwell’s response to a Surrealist questionnaire. In “Concerning the Present Day Relative Attractions of Various Creatures in Mythology & Legend.” VVV 1 (June 1942): pp. 62–63.
 
Letter to Livingston Gearhart, from Provincetown, Mass., June 9, 1942; includes a discussion of writers whom he esteems. Typescript, Martha Gearhart Schermerhorn, Rochester, N.Y.
 
Bound volume including handwritten drafts of essays on David W. Prall and Piet Mondrian, and drafts of statements on Recuerdo de Coyoacán (P8), summer 1942. 14 x 10–inch sketchbook, Dedalus Foundation Archives.
 
Letter to Meyer Schapiro, from Provincetown, September 25, 1942, regarding Recuerdo de Coyoacán (P8). Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
Draft of a book review of Art of This Century: Objects, Drawings, Photographs, Paintings, Sculpture, Collage, 1910–1942, edited by Peggy Guggenheim (New York: Art of This Century, 1942), ca. 1942. Handwritten draft, in two parts: on three sheets of drawing paper, and on one and a half pages of graph paper, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 20–22.
 
1943
 
Note on modern art, ca. 1943. Handwritten statement, Dedalus Foundation Archives. Printed in Banach 1996, p. 11 (reproduced on p. 10). Reprinted in Motherwell 2007, p. 23.
 
Letter to Livingston and Virginia Gearhart, May 24, 1943, proposing that he introduce Livingston Gearhart to John Cage. Handwritten letter, Martha Gearhart Schermerhorn, Rochester, N.Y.
 
Letter to Meyer Schapiro, from Novato, Calif., August 18, 1943, discussing his conflicts in regard to teaching. Handwritten letter, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
1944
 
Plate caption for The Spanish Prison (Window) (P12). In Abstract & Surrealist Art in America, by Sidney Janis, p. 65. New York: Reynal and Hitchcock, 1944. (See Janis 1944.) Reprinted in Motherwell 2007, p. 36; Weitz 1950, p. 88; Mattison 1985b, p. 31. Partially reprinted in Baur 1951b, p. 73; Sandler 1970, pp. 203, 206; Hobbs 1975b, p. 124; Meewis 1983, p. 197; Seitz 1983, p. 103; Hunter and Jacobus 1985, p. 277; Levin 1991, p. 8; Polcari 1991, pp. 53, 307; Belgrad 1998, p. 37; MacLeod 1993, p. 145. (Short form used in catalogue raisonné entries: Motherwell in Janis 1944.)
 
Preface, editor’s notes, and paragraph headings. In The Cubist Painters: Aesthetic Meditations, 1913, by Guillaume Apollinaire, translated by Lionel Abel, pp. 5–6, 34–35. Documents of Modern Art 1. New York: Wittenborn, 1944. Reprinted in Motherwell 2007, pp. 24–26. Partially reprinted in Plottel 1983, p. 44.
 
Letter to William Baziotes, from Amagansett, N.Y., September 6, 1944, recounting the events of the summer, including the fellow artists Motherwell met in East Hampton and at the Pontigny-en-Amérique conference at Mount Holyoke College. Handwritten letter, William and Ethel Baziotes Papers, 1916–1992, N 70/21, no. 139, Archives of American Art, Smithsonian Institution. Partially printed in Hobbs 1975b, p. 51; Guilbaut 1983, pp. 80, 223; Mattison 1985b, p. 135.
 
Press release for Robert Motherwell: Paintings, Papiers Collés, Drawings at Art of This Century, New York, October 21–November 11, 1944. Typescript, Kurt Seligmann Papers, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn.
 
“The Modern Painter’s World.” Dyn (Mexico City), no. 6 (November 1944): pp. 9–14. Presented as a lecture, “The Place of the Spiritual in a World of Property,” at the Pontigny-en-Amérique conference, Mount Holyoke College, South Hadley, Mass., August 10, 1944. Reprinted in Motherwell 2007, pp. 27–35. Partially reprinted in Motherwell 1992, pp. 27–35; Seitz 1963, p. 230; Lippard 1965, p. 34; Rose 1967, p. 155; Rose 1968, pp. 130–35; Museum of Fine Arts, Houston, exh. cat. November 1972, pp. 21, 91; Buettner 1973, p. 297; Kozloff 1973, p. 45; Dunham 1975, p. 2; Hobbs 1975b, pp. 21, 69, 79, 80; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Carmean 1978, pp. 33, 96, 102; Foster 1980, pp. 41, 42; Harrison 1982, sec. E, p. 1; Guilbaut 1983, pp. 80, 81, 82; Seitz 1983, pp. 92, 95, 108, 112, 132, 134, 139, 141, 142, 146; Van Hook 1983, p. 103; Collins 1984, pp. 95–96; Bell Gallery, Brown University, exh. cat. 1985, p. 76; Mattison 1985a, p. 91; Mattison 1985b, pp. 25–26, 32, 33, 136–37; Barr 1986, p. 231; Landau 1986, p. 52; Gilbert 1998, pp. 242, 244, 343; Brooker 1989, p. 64; Pleynet 1989a, p. 74; Craven 1991, pp. 47, 56; Flam 1991, p. 15; Levin 1991, pp. 8, 11; Kramer 1993, sec. 7, p. 3; Leja 1993, pp. 37, 252, 253; Caws 1996b, p. 210; Cernuschi 1997, pp. 37, 38; Del Conde 1997, p. 74 (Spanish translation); Gibson 1997, p. 27; Madoff 1997, p. 358; Belgrad 1998, pp. 21, 79; Scott and Rutkoff 1999, pp. 303, 305; Jachec 2000, pp. 37–38, 198; Cateforis 2000–2001, p. 5; Caws 2003, pp. 44, 54, 59; Landau 2005, pp. 129–31.
 
“Calder’s ‘Three Young Rats’ ” (book review). New Republic 3, no. 26 (December 25, 1944): pp. 874, 876. Reprinted in Motherwell 2007, pp. 38–39.
 
“Painters’ Objects.” Partisan Review 11, no. 1 (winter 1944): pp. 93–97. Reprinted in Motherwell 1992, pp. 23–27; and in Motherwell 2007, pp. 40–43. Partially reprinted in Hobbs 1975b, pp. 7–8; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 35–36; Los Angeles County Museum of Art exh. cat. 1965, p. 21; Francis V. O’Connor, Jackson Pollock, exh. cat. (New York: Museum of Modern Art, 1967), p. 31; Friedman 1972, p. 62; National Gallery of Art, Washington, D.C., exh. cat. 1978, pp. 34, 127; Guilbaut 1983, p. 83; Seitz 1983, pp. 127, 129; Rudenstine 1985, p. 776; Shapiro and Shapiro 1990, p. 382; Huntington 1993, p. 8; MacLeod 1993, p. 95; Caws 1996b, pp. ix–xi, 13; Caws 2003, pp. 44, 45, 46–47.
 
1945
 
“Statements” (artist’s statement). In Personal Statement: Painting Prophecy—1950 (exhibition catalogue; includes statements by Jackson Pollock, Adolph Gottlieb, Mark Rothko, Louise Bourgeois, et al.), foreword by David Porter, n.p. Washington, D.C.: David Porter Gallery, 1945. Reprinted in Motherwell 2007, p. 46. Partially reprinted in Mattison 1985b, p. 196; Polcari 1991, p. 302; Scott and Rutkoff 1999, pp. 301–2.
 
“Why Not Abstract,” 1945. Draft, Dedalus Foundation Archives. Partially printed in Hobbs 1975b, pp. 7, 70.
 
Preface. In Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943, by Piet Mondrian, pp. 5–6. Documents of Modern Art 2. New York: Wittenborn, Schultz, 1945. Reprinted in Motherwell 2007, pp. 44–45.
 
Drafts of preface to Wolfgang Paalen (ca. February–March 1945), Form and Sense, Problems of Contemporary Art 1 (New York: Wittenborn, Schultz, 1945). (Original early handwritten draft and several subsequent typescripts, Dedalus Foundation Archives; final draft, George Wittenborn, Inc., Papers, I.B.1. Museum of Modern Art Archives, New York.) Printed final draft in Motherwell 2007, p. 50 (reproduced on p. 51); handwritten draft as “Handwritten Statement, ca. 1944,” Banach 1996, p. 13 (reproduced on p. 12).
 
Drafts of text for Twentieth Century Art, ca. 1945. Motherwell signed a contract on April 18, 1945, with the publisher Reynal & Hitchcock to write a book on the subject. Five pages of handwritten notes.
 
Telegram to Josef Albers, April 28, 1945 (regarding his plan to lecture at Black Mountain College on Piet Mondrian and Henry Moore). Black Mountain College records, 1933–56, Archives of American Art, Smithsonian Institution.
 
Answers to Museum of Modern Art questionnaire on Pancho Villa, Dead and Alive (C7), May 1945. Department of Painting and Sculpture, Museum of Modern Art Archives.
 
Letter to Meyer Schapiro, from Black Mountain College, N.C., August 28, 1945, regarding Motherwell’s decision to teach at Black Mountain College. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
Letter to Meyer Schapiro, from East Hampton, September 13, 1945. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
“Henry Moore” (book review). New Republic 113, no. 17 (October 22, 1945): p. 538. Reprinted in Motherwell 2007, pp. 48–49.
 
Letter to Marianne Moore, from East Hampton, November 29, 1945, regarding his illustrations for Moore’s translation of La Fontaine’s Fables. Original handwritten letter, Marianne Moore Papers, Rosenbach Museum and Library, Philadelphia.
 
1946
 
“Robert Motherwell” (artist’s statement). In Fourteen Americans (exhibition catalogue), edited by Dorothy Miller, pp. 34–36. New York: Museum of Modern Art, 1946. Reprinted in Motherwell 1992, pp. 39–40; and in Motherwell 2007, p. 53. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 36; Hobbs 1975b, p. 50; Herskovic 2003, p. 238.
 
Letter to Marianne Moore, January 23, 1946, regarding illustrating Moore’s translations of La Fontaine’s Fables. Original handwritten letter, Marianne Moore Papers, Rosenbach Museum and Library, Philadelphia.
 
Letter to William Lee McKim, from East Hampton, February 22, 1946; includes a discussion of the titling of Personage (P11). Typescript with handwritten annotations by Motherwell, Norton Museum of Art Archives.
 
“Beyond the Aesthetic.” Design 47, no. 8 (April 1946): pp. 14–15. This text was reprinted in a special edition of thirty numbered copies in 1967 by Kresge Art Center (Michigan State University, East Lansing), designed and printed by James B. Nutter. Reprinted in Motherwell 1992, pp. 36–38; Motherwell 2007, pp. 54–56; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 37, 39; Ross 1990, pp. 103–6. Partially reprinted in Lippard 1965, p. 33; Baro 1966b, pp. 37, 38; Sandler 1970, p. 203; Galerie im Erker exh. cat. 1971, pp. 52, 57; Museum of Fine Arts, Houston, exh. cat. 1972, pp. 25, 91; Art Museum, Princeton University, exh. cat. 1973, n.p.; Wohl 1973, p. 42; Hobbs 1975b, pp. 40, 224; Whitney Museum of American Art exh. cat. 1975, n.p.; Carmean 1976, p. 97; Städtische Kunsthalle exh. cat. 1976, pp. 5, 6–7, 14, 18; Lipman and Franc 1976, p. 184; Flash Art 1977, p. 48; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, p. 47; Firestone 1981, p. 140; Mattison 1981, pp. 9, 10; Seitz 1983, pp. 54, 71, 101, 125, 127; Van Hook 1983, pp. 103, 104, 105; Gelles 1984, p. 38; Mattison 1985b, p. 186; Hemenway 1986, p. 40; Brooker 1989, p. 64; Hoffman 1989, p. 18; Mackie 1989, pp. 56, 101, 120, 172, 173–74, 185–86, 190–91; Kaiser 1995, p. 114; Craven 1996, p. 29; Caws 1996b, pp. 20, 123–24, 145; Cernuschi 1997, p. 73; Belgrad 1998, pp. 122, 135, 143; Gilbert 1998, p. 362; Gordon 2001, p. 53; Caws 2003, pp. 93, 123; Taylor 2004, pp. 103, 105; Sandler 2009, p. 18. (Short form used in catalogue raisonné entries: Motherwell 1946.)
 
Letter to Dorothy Miller, from East Hampton, May 22, 1946, outlining the four distinct themes present in his work over the past six years. Dorothy Miller Papers, Museum of Modern Art Archives.
 
1947
 
Preface (revised). In Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943, by Piet Mondrian, introduction by Harry Holtzman, pp. 5–6. Documents of Modern Art 2. 2nd rev. ed. New York: Wittenborn, Schultz, 1947. (Draft of preface, written winter 1944–45, with a significant discussion of Piet Mondrian that was omitted from the published version, George Wittenborn, Inc., Papers, I.A.5. Museum of Modern Art Archives, New York.)
 
Letter to Samuel M. Kootz, January 21, 1947. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 41–42. Partially printed in Danto 1993, p. 37; Morizot 2004, p. 257 (French translation).
 
Artist’s statement, April 1947. In Motherwell (exhibition catalogue). New York: Samuel M. Kootz Gallery, 1947. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 1992, pp. 42–43; Motherwell 2007, p. 57. Partially reprinted in Kees 1948, p. 88; Finberg 1956, p. 5; Ostermann 1964, p. 18; Hobbs 1975b, pp. 25–26, 69, 76; Mattison 1982, pp. 9, 11; Seitz 1983, pp. 94, 108, 137; Kimball 1985, p. 38; Mattison 1985b, pp. 186–87, 192, 210; MacLeod 1993, p. 130; Gibson 1997, p. 37; Caws 2003, p. 138.
 
Letter to Christian Zervos, from East Hampton, June 13, 1947, discussing his conception of Possibilities. Typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Partially printed in Motherwell 1992, p. 44; Craven 1996, p. 28; Barnier 2000, pp. 107, 109 (French translation).
 
“Statement” (editorial preface with Harold Rosenberg, September 1947). In Possibilities 1: An Occasional Review, edited by Robert Motherwell, Harold Rosenberg, Pierre Chareau, and John Cage, p. 1. Problems of Contemporary Art 4. New York: Wittenborn, Schultz, winter 1947–48. Reprinted in Motherwell 1992, pp. 45–46 (as “Editorial Preface”); Motherwell 2007, p. 58; Rose 1968, pp. 129–30; Ashton 1972, p. 163; Landau 2005, pp. 153–54. Partially reprinted in Seitz 1963, pp. 111, 230; Chipp 1968, p. 489 (as “The Question of What Will Emerge Is Left Open”); Carmean 1978, p. 102; Seitz 1983, p. 134; Bell Gallery, Brown University, exh. cat. 1985, p. 14; Mattison 1985b, p. 187; Jachec 1991, p. 20; Campbell 1993, p. 20; MacLeod 1993, p. 172; Caws 1996b, p. 87; Gibson 1997, p. xxiv; Gilbert 1998, p. 345; Barnier 2000, pp. 107, 114 (French translation); Jachec 2000, p. 83; Marter 2007, p. 216; Sandler 2009, p. 147.
 
1948
 
“Prefatory Note.” In On My Way: Poetry and Essays, 1912–1947, by Jean Arp, p. 6. Documents of Modern Art 6. New York: Wittenborn, Schultz, 1948. Original handwritten draft, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 50–51; Motherwell 2007, pp. 61–62. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 42.
 
“Prefatory Note.” In Max Ernst: Beyond Painting and Other Writings by the Artist and His Friends, by Max Ernst et al., pp. v–vi. Documents of Modern Art 7. New York: Wittenborn, Schultz, 1948. Reprinted in Motherwell 1992, pp. 47–49; Motherwell 2007, pp. 59–60. Partially reprinted in Baur 1951b, p. 32; Allen Memorial Art Museum Bulletin 1952, pp. 110–11; Campbell 1993, p. 20.
 
Letter to John Cage, Pierre Chareau, and Harold Rosenberg, from East Hampton, January 29, 1948, regarding his ideas for the second issue of Possibilities. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 980048.
 
Letter to Joseph Cornell, from East Hampton, March 4, 1948, asking him to contribute to Possibilities magazine. Typescript, Joseph Cornell Papers, 1804–1986, bulk 1939–1972, Archives of American Art, Smithsonian Institution.
 
Postcard to Margaret Miller, July 1, 1948 (regarding the title of The Best Toys Are Made of Paper, C48). Original handwritten note, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
Postcard to Dorothy Miller, July 25, 1948 (regarding the choice of works for the exhibition Collage at the Museum of Modern Art, 1948). Typescript, Department of Painting and Sculpture, Museum of Modern Art Archives. “A Tour of the Sublime.” In “The Ides of Art: 6 Opinions on What Is Sublime in Art” (includes contributions by Kurt Seligmann, A.D.B. Sylvester, Barnett B. Newman, Nicolas Calas, and John Stephan), pp. 46–48. Tiger’s Eye 1, no. 6 (December 15, 1948): pp. 46–60. Reprinted in Motherwell 1992, pp. 52–53; Motherwell 2007, pp. 63, 66. Partially reprinted in Ashton 1964b, p. 100; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 40, 42; Newsweek 1965, p. 98; Galerie im Erker exh. cat. 1970, p. 58 (German translation); Levine 1971, p. 23; Hobbs 1975b, pp. 45, 243; Whitney Museum of American Art exh. cat. April 1975, n.p.; National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 261; Cook et al. 1983, p. 31; Seitz 1983, p. 162; Craven 1990, p. 72; Jachec 1991, p. 21; Campbell 1993, p. 19; McEvilley 1993, pp. 49–50; Caws 1996b, p. 16; Craven 1996, p. 31; Jachec 2000, p. 97.
 
1949
 
“Preliminary Notice.” In The Rise of Cubism, by Daniel-Henry Kahnweiler, translated by Henry Aronson, pp. vi–viii. Documents of Modern Art 9. New York: Wittenborn, Schultz, 1949. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 54–56; Motherwell 2007, pp. 69–71. Partially reprinted in Allen Memorial Art Museum Bulletin 1952, p. 110; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 42; Museum of Fine Arts, Houston, exh. cat. November 1972, p. 92; Caws 1996b, p. 34; Cateforis 2000–2001, p. 6.
 
“Robert Motherwell: Person with Orange.” In The Challenge of Modern Art, by Allen Leepa, foreword by Herbert Read, p. 194. New York: Beechhurst Press, 1949. (See Leepa 1949.) Reprinted in Mattison 1985b, p. 199. Partially reprinted in Brown 1951–52, p. 103. (Short form used in catalogue raisonné entries: Motherwell in Leepa 1949.)
 
“A Personal Expression.” Lecture presented at the session “The Artist’s Point of View,” at the Seventh Annual Conference of the Committee on Art Education, sponsored by the Museum of Modern Art, New York, March 19, 1949. Typescript, Dedalus Foundation Archives; typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; typescript with handwritten annotations by Motherwell, George Wittenborn, Inc., Papers, I.B.23. Museum of Modern Art Archives, New York. Printed in Motherwell 1992, pp. 57–62; Motherwell 2007, pp. 75–80. Partially reprinted in Kingsley 1992, p. 310; Danto 1993, p. 37; Kramer 1993, sec. 7, p. 3; Craven 1996, pp. 26, 29; Lawrence Rubin/Greenberg Van Doren Fine Art, exh. cat. 2001, n.p.; Morizot 2004, pp. 253, 254 (French translation).
 
“Preliminary Notice” (March 29, 1949). In The Cubist Painters: Aesthetic Meditations, 1913, by Guillaume Apollinaire, pp. iv–v. Documents of Modern Art 1. 2nd rev. ed. New York: Wittenborn, Schultz, 1949. Reprinted in Motherwell 1992, pp. 63–64; Motherwell 2007, pp. 67–68.
 
“Reflections on Painting Now.” Lecture presented at the symposium “French Art vs. U.S. Art Today,” at Forum 49, Provincetown, August 11, 1949. Typescript, Dedalus Foundation Archives; typescript with minor handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 65–68; Motherwell 2007, pp. 81–84. Partially printed in Samuel M. Kootz Gallery, Robert Motherwell Collages, 1943–49, October 1949 exh. cat., n.p. Partially reprinted in Hobbs 1975b, p. 7; Campbell 1993, p. 20; Kaiser 1995, pp. 136–37; Craven 1996, p. 28; Cateforis 2000–2001, p. 6; Caws 2003, p. 76.
 
“Preliminary Notice” (October 16–21, 1949). In From Baudelaire to Surrealism, by Marcel Raymond, introduction by Harold Rosenberg, bibliography by Bernard Karpel, pp. vii–viii. Documents of Modern Art 10. New York: Wittenborn, Schultz, 1949. Original handwritten manuscript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 69–70; Motherwell 2007, pp. 72, 74 (reproduced on p. 73). Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 42; Sandler 1970, p. 209; Hobbs 1975b, p. 178; Foster 1980, p. 22; Hughes 1981b, p. 161; Van Hook 1983, pp. 104, 105; Mattison 1985b, pp. 29–30; Mackie 1989, pp. 53, 171; Caws 2003, pp. 111–12.
 
Answers to Museum of Modern Art questionnaire on The Homely Protestant (P82), November 1949. Handwritten responses to questionnaire, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
“Abstract Art and the Real” (essay, ca. 1949). Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, p. 126; Motherwell 2007, p. 85.
 
1950
 
“Expressionism” (essay, ca. 1950). Typescript, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 99–100; Städtische Kunsthalle exh. cat. 1976, pp. 8–10. Partially reprinted in Caws 2003, pp. 69–70.
 
Statements describing the four categories of works included in his exhibition Motherwell: First Exhibition of Paintings in Three Years (exhibition catalogue). New York: Samuel M. Kootz Gallery, 1950. Partially reprinted in Hobbs 1975b, pp. 4, 212; Carmean 1978, pp. 100, 110; Fineberg 1978, p. 55; Firestone 1981, p. 140; Kingsley 1992, pp. 307, 314.
 
“Black or White” (essay). In Black or White: Paintings by European and American Artists (exhibition catalogue). New York: Samuel M. Kootz Gallery, 1950. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 71–72; Motherwell 2007, p. 86; Jewish Museum exh. cat. 1963, n.p.; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, p. 94; Poesia y Poética 1990, pp. 32–34 (Spanish translation). Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 43; as “Thoughts on Black and White,” in “An Appointment Calendar for the Year 1971 with Selected Black and White Works from the Museum of Modern Art” (New York: Junior Council of the Museum of Modern Art, 1970), n.p.; Hobbs 1975b, p. 225; Carmean 1978, p. 95; Seitz 1983, p. 72; Mattison 1985b, p. 231; Harrison 1991, p. 98; Spencer Museum of Art, University of Kansas, Lawrence, exh. cat. 1995, p. 136; Cateforis 2000–2001, p. 10; Richardson 2001, p. 249; Caws 2003, p. 180; Sandler 2009, p. 121.
 
“For David Smith 1950.” In David Smith (exhibition catalogue). New York: Willard Gallery, 1950. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 2007, p. 88. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 43.
 
Letter to Barnett Newman, January 30, 1950, congratulating Newman on his exhibition at the Betty Parsons Gallery. Handwritten letter, Barnett Newman Foundation archives.
 
Statements and questions in “Artists’ Sessions at Studio 35 (1950),” edited by Robert Goodnough. In Modern Artists in America, edited by Robert Motherwell, Ad Reinhardt, and Bernard Karpel, pp. 8–22. 1st series. New York: Wittenborn, Schultz, 1951. Partial transcript of the symposium at Studio 35, New York, April 21–23, 1950; moderated by Alfred H. Barr, Richard Lippold, and Robert Motherwell. Partially reprinted in Los Angeles County Museum of Art exh. cat. 1965, pp. 33–41; Rose 1968, pp. 162–64; Hobbs 1975b, pp. 48, 49; Städtische Kunsthalle exh. cat. 1976, p. 6; Carmean 1978, pp. 33, 36, 38, 104; Seitz 1983, pp. 39, 40, 94; Mackie 1989, pp. 76, 93–94, 100, 101; Abstract Expressionists: Studio 35/Downtown (exhibition catalogue; New York: Stux Modern, 1990), n.p.; Ross 1990, p. 212; Flam 1991, p. 9; Jachec 1991, pp. 19, 23, 25; Kingsley 1992, pp. 135–36; Jones 1993, p. 642; Caws 1996b, p. 123; Cernuschi 1997, p. 161; Gibson 1997, p. xxiii; Jachec 2000, p. 145; Caws 2003, pp. 11–12; Sandler 2009, p. 25.
 
Statement on Matisse, April 1950. Printed in Alfred H. Barr Jr. in Matisse: His Art and His Public (New York: The Museum of Modern Art, 1951), p. 266. Partially reprinted in Seitz 1955, p. 437; Seitz 1983, p. 163.
 
Preface (July 14, 1950). In The Fauvist Painters, by Georges Duthuit, translated by Ralph Manheim, bibliography by Bernard Karpel, pp. ix–x. Documents of Modern Art 11. New York: Wittenborn, Schultz, 1950. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 73–75; Motherwell 2007, pp. 89–92. Partially reprinted in Caws 2003, pp. 47, 104.
 
“The New York School.” Lecture presented at the panel “Appraisals of Contemporary Art,” at the Midwestern Conference of the College Art Association, Allen R. Hite Art Institute, University of Louisville, Ky., October 27, 1950. Typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 76–81; Motherwell 2007, pp. 93–98. Partially reprinted in Campbell 1993, pp. 19–20; Caws 1996b, p. 15; Craven 1996, pp. 26, 27, 29; Jones 1996, p. 11; Cateforis 2000–2001, p. 5; Caws 2003, pp. 37, 41, 63, 94; Marter 2007, pp. 73–74; Sandler 2009, p. 150.
 
Letter to Meyer Schapiro, East Islip, N.Y., December 30, 1950, discussing the possible use of abstract motifs in Wall of the Temple (P114). Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.
 
Letter to Creighton Gilbert, East Islip, N.Y., December 10, 1950, discussing his lecture on the New York School. Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
1951
 
“A Statement by the Editors” (preface, with Bernard Karpel and Ad Reinhardt), and “Introduction to the Illustrations” (with Ad Reinhardt). In Modern Artists in America, edited by Robert Motherwell, Ad Reinhardt, and Bernard Karpel. 1st ser. New York: Wittenborn, Schultz, 1951. Reprinted in Motherwell 1992, pp. 94–95; Motherwell 2007, pp. 101–2. Partially reprinted in Barr 1986, p. 36; Jachec 1991, p. 20; MacLeod 1993, pp. 140, 166; Caws 1996b, p. 15; Morizot 2004, p. 257 (French translation).
 
Preface and introduction. In The Dada Painters and Poets: An Anthology, edited by Robert Motherwell, pp. xi–xxxvii. 1st ed. Documents of Modern Art 8. New York: Wittenborn, Schultz, 1951. Second edition by Cambridge, Mass.: Belknap Press of Harvard University Press, 1989. Reprinted in Motherwell 2007, pp. 104–53. Partially reprinted in Motherwell 1992, pp. 90–93; Alford 1952, pp. 269, 271; Plottel 1983, p. 193; Seitz 1983, p. 111; Scott and Rutkoff 1999, p. 317.
 
“Notes.” In Cy Twombly (exhibition catalogue). Chicago: Seven Stairs Gallery, 1951. Reprinted in Motherwell 2007, p. 103; and in Cy Twombly: Paintings and Sculptures, 1951 and 1953 (exhibition catalogue; New York: Sperone Westwater, 1989), n.p. Partially reprinted in Banach 1996, p. 19.
 
“The School of New York” (preface). In “Seventeen Modern American Painters” (exhibition catalogue). Beverly Hills, Calif.: Frank Perls Gallery, 1951. Reprinted in Motherwell 1992, pp. 83–84; Motherwell 2007, pp. 154–55. Partially reprinted in Dorival et al. 1964, p. 220; Sandler 1970, p. 202; Art Museum, Princeton University, exh. cat. 1973, n.p.; Städtische Kunsthalle exh. cat. 1976, p. 6; Kramer 1977a, p. 24; Guilbaut 1983, p. 204; Seitz 1983, pp. 95, 142; Meewis 1983, p. 198; Mackie 1989, p. 189; Flam 1991, pp. 18, 20; Caws 1996b, p. 34; Marter 2007, p. 3.
 
“Postscript to the Preface [‘The School of New York’],” ca. 1951 (in response to criticism of “The New York School”; see entry). Typescript, with handwritten annotations. Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed in Motherwell 1992, pp. 82–83; Motherwell 2007, pp. 156–57.
 
Statement on Western Air (P47). In Aline B. Louchheim, “Six Abstractionists Defend Their Act.” New York Times Magazine, January 21, 1951, p. 17. (See Louchheim 1951a.) (Short form used in catalogue raisonné entries: Motherwell in Louchheim 1951a.)
 
“What Abstract Art Means to Me: Statements by Six American Artists.” Museum of Modern Art Bulletin 18, no. 3 (spring 1951): pp. 12–13. (See Museum of Modern Art Bulletin 1951.) Presented at the symposium “What Abstract Art Means to Me” in conjunction with the exhibition Abstract Painting and Sculpture in America, at the Museum of Modern Art, February 5, 1951; speakers also included George L. K. Morris, Willem de Kooning, Alexander Calder, Fritz Glarner, and Stuart Davis. Reprinted in Motherwell 1992, pp. 85–87; Motherwell 2007, pp. 158–59; Städtische Kunsthalle exh. cat. 1976, pp. 16–18. Partially reprinted in S[euphor] 1951a, p. 21; Warshaw 1961, p. 347; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 45; Andreae 1969, p. 8; Kramer 1969b, sec. D, p. 41; Chandler 1971, pp. 23, 26; Wohl 1973, p. 42; Hobbs 1975b, p. 47; Lipman and Franc 1976, p. 144; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Firestone 1982, p. 120; Seitz 1983, pp. 103, 116, 141; Van Hook 1983, p. 104; Barr 1986, p. 230; Mathew 1986, p. 3; Berlinische Galerie, Museum für Moderne Kunst, Photographie, und Architektur, exh. cat. 1988, pp. 81–82 (German translation); Mattison 1988, p. 174; Mackie 1989, pp. 32, 35, 107; Flam 1991, pp. 14, 27; Polcari 1991, p. 302; Kramer 1993, sec. 7, p. 24; McEvilley 1993, p. 49; Spencer Museum of Art, University of Kansas, Lawrence, exh. cat. 1995, p. 129; Caws 1996a, sec. 2, p. 48; Caws 1996b, pp. 86–87, 96–99; Jones 1996, p. 40; Del Conde 1997, p. 81 (Spanish translation); Gibson 1997, p. 7; Gilbert 1998; p. 370; Ward 1998, p. 53; Jachec 2000, p. 198; Caws 2003, p. 73; Quast 2003, p. 315; Sandler 2009, pp. 21, 31.
 
Answers to Whitney Museum questionnaire on The Red Skirt (P65), March 23, 1951. Frances Mulhall Achilles Library, Artist Files, Whitney Museum of American Art, New York. Partially printed in Gibson 1997, p. 55.
 
“The Public and the Modern Painter.” Catholic Art Quarterly 14, no. 2 (Easter 1951): pp. 80–81. Partially reprinted in Hobbs 1975b, p. 40; Carmean 1978, p. 104; Raynor 1979, p. 22; Mackie 1989, p. 190.
 
“The Rise and Continuity of Abstract Art.” Lecture presented at The Symposium on Modern Painting at the Fogg Art Museum, Harvard University, Cambridge, Mass., April 12, 1951; speakers also included Oliver W. Larkin and Ben Shahn. Typescript of final draft, Dedalus Foundation Archives; handwritten outline and typescript of an early draft with extensive handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed final draft in Mattison 1982, p. 9; Mattison 1985b, p. 18; Flam 1991, p. 12; Sandler 2009, p. 201.
 
Lecture given at the Artists Equity Association, April 19, 1951 (lecture now lost, summarized in a letter sent to Motherwell by Theodore Brenson, May 23, 1951). Typescript of letter, Dedalus Foundation Archives.
 
“The Rise and Continuity of Abstract Art.” Arts & Architecture 68, no. 9 (September 1951): pp. 20–21, 41. (A slightly revised version of the concluding portion of a lecture presented at a symposium on modern art at the Fogg Art Museum, Harvard University, Cambridge, Mass., April 12, 1951.) Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 87–89; Motherwell 2007, pp. 160–61. Partially reprinted in Museum of Fine Arts, Houston, exh. cat. 1972, pp. 92–93; Hobbs 1975, p. 30; Polcari 1991, p. 303. (Short form used in catalogue raisonné entries: Motherwell 1951.)
 
Interview with Motherwell. In P[aul] B[ird], “Motherwell: A Profile.” Art Digest 26, no. 1 (October 1, 1951): pp. 6, 23. (See B[ird] 1951.) Partially reprinted in Kingsley 1992, p. 300.
 
Statement on modern art’s historical antecedents. In Gertrude Benson, “Striking Camera Studies at Art Museum.” Philadelphia Inquirer, October 7, 1951, sec. Society, pp. 19, 28. (See Benson 1951a.)
 
Statement on Wall of the Temple (P114). In Gertrude Benson, “Synagogue Goes Modern.” Today (Philadelphia Inquirer magazine), November 18, 1951, p. 30. (See Benson 1951b.) (Short form used in catalogue raisonné entries: Motherwell in Benson 1951b.)
 
1952
 
Diagram that maps the development of Abstract Expressionism drawn by Motherwell during a conversation with William C. Seitz, ca. 1952. Printed in Seitz 1983, pp. 168–69.
 
Final page of letter to unknown party, ca. 1952. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 96–97. Partially printed in Campbell 1993, p. 20.
 
Interview with Motherwell, January 14, 1952. Partially reprinted in Seitz 1955; Seitz 1983; Kimball 1985, p. 39. Typescript notes from the interview, William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution.
 
“Apropos ‘Traditional’ and ‘Modern’ Methods of Teaching Art.” Lecture presented at the panel “Traditional and Modern Methods of Teaching Painting,” at the annual meeting of the College Art Association, Barbizon-Plaza Hotel, New York, January 24, 1952; moderated by H. H. Arnason, participants included Leon Kroll, Reginald Marsh, and Robert J. Wolff. Typescript, Dedalus Foundation Archives; typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 2007, pp. 162–65.
 
Letter to William C. Seitz, April 12, 1952, regarding the development of Abstract Expressionism from the perspective of Motherwell and his contemporaries, and discussing critical responses to his work. Original handwritten letter, William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution. Partially printed in Seitz 1983, p. 163.
 
“The Ideas and Rejections of Modern Art.” Ten-day seminar for students, the Baldwin Fund Special Advanced Seminar, at Oberlin College, Ohio, April 15–24, 1952; in conjunction with two public lectures by Motherwell: “Abstract Art and the Synagogue” (April 17, 1952) and “Modern Art as a Mode of Modern Thought” (April 24, 1952). Typescript outline of seminar topics, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; typescript of “Modern Art as a Mode of Modern Thought” (transcribed by Seitz from Motherwell’s handwritten draft), and notes on Motherwell’s seminar written by students, William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution. Partially reprinted in Waters 1952, sec. V, p. 4.
 
“The Mural (Interpretations by Motherwell).” In Symbols and Inscriptions in the Synagogue of the Congregation B’nai Israel (brochure accompanying the “Art Dedication Exercises” at Congregation B’nai Israel, Millburn, N.J., June 15, 1952). Millburn, N.J.: Congregation B’nai Israel, 1952. (Short form used in catalogue raisonné entries: Motherwell 1952.)
 
“Apropos ‘Aesthetics and the Artist.’ ” Lecture presented at the panel “Aesthetics and the Artist,” at the annual Woodstock Art Conference hosted by the Woodstock Artists Association, N.Y., August 22–23, 1952. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; reel-to-reel audiotapes of the seminar including Motherwell’s lecture, Woodstock Artists Association & Museum, N.Y.
 
“Science and the Modern Artist.” Lecture presented at the Oreon E. Scott Symposium, Washington University in Saint Louis, November 23, 1952. Typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed in Hobbs 1975b, p. 70.
 
1953
 
“Preface to a Joseph Cornell Exhibition” (June 26, 1953). In Joseph Cornell Portfolio—Catalogue (exhibition catalogue). New York: Leo Castelli Gallery and Richard L. Feigen; Los Angeles: James Corcoran Gallery, 1976. Originally prepared for an exhibition at the Walker Art Center (July–August 1953), but the scheduled catalogue was not published. Typescript, Dedalus Foundation Archives; Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 2007, pp. 168–69; “Seven Boxes by Joseph Cornell” (Tokyo: Gatodo Gallery, 1978), pp. 10–11 (Japanese translation); Joseph Cornell, 1903–1972 (Cologne: Galerie Karsten Greve, 1992), n.p. (German translation). Partially printed in Städtische Kunsthalle exh. cat. 1976, pp. 15–16 (as “On Cornell”); Caws 1996b, p. 57.
 
Statement in “Symposium: Is the French Avant Garde Overrated?” (editorial symposium, with Ralston Crawford, Clement Greenberg, and Jack Tworkov). Art Digest 27, no. 20 (September 1953), pp. 12–13, 27. Reprinted in Motherwell 2007, pp. 166–67. Partially reprinted in Hobbs 1975b, p. 51; Foster 1980, p. 61; Jachec 2000, p. 154.
 
1954
 
“Of Form and Content,” ca. 1954. Typescript, Dedalus Foundation Archives. Printed in Hobbs 1975b, p. 33. Reprinted in Motherwell 1992, p. 126; Motherwell 2007, p. 180. Partially reprinted in Mattison 1985b, p. 7.
 
Artist’s statement. In 4 Americans: From the Real to the Abstract (exhibition catalogue), introduction by R[alph] [A.] A[nderson] Jr. Houston: Contemporary Arts Museum, 1954.
 
Interview with Motherwell, “Modern Art: Four Artists of Hunter College Talk about Their Work” (with William Baziotes, Henry Kahn, and Richard Lippold). Interviewed by Edna Wells Luetz; narrated by Bill O’Toole. Panorama, Du Mont Television Network, no. 13, February 13, 1954. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
“Symbolism.” Lecture presented at Hunter College, New York, February 24, 1954. Typescript, Dedalus Foundation Archives; typescript, with handwritten annotations, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 98–103; Motherwell 2007, pp. 170–75. Partially reprinted in Städtische Kunsthalle exh. cat. 1976, p. 5; Helmut M. Federle Bilder, 1977–78 (Basel, Switzerland: Kunsthalle Basel, 1979), n.p. (German translation); Caws 1996b, p. 27; Belgrad 1998, p. 125; Cateforis 2000–2001, p. 7; Caws 2003, pp. 41–42, 73–74; Picker Art Gallery, Colgate University, exh. cat. 2007, p. 57.
 
Answers to a questionnaire submitted by the students of seminar taught by Frederick Wight at UCLA, May 3, 1954. Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
“The Painter and the Audience” (part of the editorial symposium “The Creative Artist and His Audience,” with Saul Bellow, Robinson Jeffers, and Roger Sessions). Perspectives USA, no. 9 (autumn 1954): pp. 107–12. Typescript, Dedalus Foundation Archives. Printed concurrently in French, Italian, and German as “Le Peintre et le public,” Profils, no. 9 (autumn 1954): pp. 188–92; “I Pittori,” Prospeti, no. 9 (autumn 1954): pp. 114–17; and “Der Maler und sein publikum,” Perspektiven, no. 9 (autumn 1954): pp. 163–67. Reprinted in Motherwell 1992, pp. 104–8; Motherwell 2007, pp. 176–79; Peintre et Public (Caen, France: L’Échoppe, 1989), pp. 9–21 (French translation); Ross 1990, pp. 106–10. Partially reprinted in Goodrich et al. 1957, p. 248; Haftmann 1965, p. 347; Baro 1966b, p. 41; Hobbs 1975b, pp. 13, 81; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Murray and Murray 1978, p. 311; Cavaliere 1979a, p. 29; Silver 1991, p. 57; Kramer 1993, sec. 7, p. 24; Caws 1996b, pp. 3, 5, 65, 73–75; Cernuschi 1997, p. 101; Ross 1998, sec. C, p. 3; Herskovic 2000, p. 258; Jachec 2000, pp. 154–55; Sandler 2009, pp. 21, 150. Printed with minor additions in Museum of Modern Art exh. cat. 1958, p. 52. Reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 47. Partially reprinted in Galerie im Erker exh. cat. 1971, p. 57 (German translation).
 
Interview with Motherwell. In Jean Paulhan, “L’Artiste moderne et son public” (text in French; part of the editorial symposium “The Creative Artist and His Audience,” with Saul Bellow, Robinson Jeffers, and Roger Sessions. Profils (French edition of Perspectives), no. 9 (autumn 1954): pp. 192–98.
 
1955
 
Artist’s statement. In The New Decade: 35 American Painters and Sculptors (exhibition catalogue), edited by John I. H. Baur. New York: Whitney Museum of American Art, 1955. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 108–9 (as “A Painting Must Make Human Contact”). Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 50; Sedgwick 1966, p. 149; Hobbs 1975b, p. 81; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Mackie 1989, p. 170; Sayre 1994, p. 33; Caws 1996b, p. 75; Jachec 2000, pp. 154–55; Caws 2003, p. 174.
 
Notes for a lecture on the arts and religion presented at “The Arts and Protestant Culture,” a four-week series sponsored by the Judson Memorial Church, New York, March 16, 1955. Original handwritten notes, Dedalus Foundation Archives.
 
“The Artist and Modern Society.” Syllabus for a course offered by Motherwell at Hunter College, New York, fall 1955. Original annotated typescript, with eight pages of handwritten subject notes, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 298–99; Motherwell 2007, pp. 181–84 (reproduced on pp. 182–83).
 
Interview with Motherwell, November 16, 1955, regarding the beginning of Abstract Expressionism in New York. In “The Origins and Development of Abstract Expressionism in the United States,” by Francis M. Celentano, pp. x–xi. M.A. thesis, New York University, 1957.
 
1956
 
Statement on the relationship between the artist’s medium and the audience, ca. 1956. Printed in Banach 1996, p. 29 (reproduced on p. 28).
 
“The Artist’s Life” (artist’s statement), 1956. Original handwritten manuscript, Dedalus Foundation Archives. Printed in Motherwell 2007, p. 185; Banach 1996, p. 19 (reproduced on p. 18).
 
“The Modern Artist and Society,” February 1956. Syllabus for a course offered by Motherwell at Hunter College, spring 1956. This course was a continuation of the course at Hunter College offered in fall 1955. BMS 555/27 (3), Society for the Arts, Religion, and Contemporary Culture, Records, 1961–2003, Andover-Harvard Theological Library, Harvard Divinity School, Cambridge, Mass.
 
“Letters” (letter to the editor). Arts 30, no. 7 (April 1956): p. 5. (Short form used in catalogue raisonné entries: Motherwell 1956.)
 
Statement on European modern artists (July 31, 1956). Original handwritten manuscript, Dedalus Foundation Archives. Printed in Banach 1996, p. 19 (reproduced on p. 18).
 
Letter to John Alford, November 10, 1956, declining an invitation to speak at the upcoming forty-fifth College Art Association meeting. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 110–12. Partially reprinted in Caws 1996b, pp. 17, 18.
 
1957
 
“Notes.” In Bradley Walker Tomlin (exhibition catalogue), by John I. H. Baur, pp. 11–12. New York: Macmillan, in association with Whitney Museum of American Art, 1957. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 113–14; Motherwell 2007, pp. 186–87. Partially reprinted in John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews (exhibition catalogue), commentary by Mollie McNickle (Berkeley and Los Angeles: University of California Press, 1992), p. 207; Kingsley 1992, p. 26.
 
Answers to a Museum of Modern Art questionnaire on The Voyage (P87), ca. 1957, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
Answers to a Museum of Modern Art questionnaire on Personnage, with Yellow Ochre and White (P64), ca. 1957, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
Letter to Carol Kinzel, from Provincetown, June 26, 1957, discussing how to proceed with the conservation of Granada (P86). Original handwritten letter, Rockefeller Family Archives at the Rockefeller Archive Center.
 
Interviews with Motherwell by Irving Sandler, Provincetown, July 16 and 22, and August 8 and 16, 1956. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 2000.M.43. Partially printed in Sandler 2003, pp. 27, 46, 90, 91; Sandler 2009, p. 30.
 
Statement on his recent series of drawings of a nude quoted in “Motherwell Show at HCE Gallery.” Provincetown Advocate, August 1, 1957, p. 8. (See Provincetown Advocate 1957.)
 
1958
 
“U.S. Art Abroad” (letter to the editor). In “Letters to the Editors.” Life, June 9, 1958, p. 15. (Short form in catalogue raisonné entries: Motherwell 1958.)
 
Interview with Motherwell. In Linda Lewis, “We Hitch Our Wagons.” Mademoiselle 47, no. 4 (August 1958): p. 242. (See Lewis 1958.)
 
“Art Is Where You Find It” (letter to the editor). Time 72, no. 11 (September 15, 1958): p. 4.
 
Letter to Tatyana Grosman, November 4, 1958, declining Grosman’s offer to create lithographs at ULAE. Original typescript, ULAE Archives, Bay Shore, N.Y. Printed in Tatyana Grosman, Bill Goldston, and Riva Castleman, Tatyana Grosman: A Scrapbook by Riva Castleman (Bay Shore, N.Y.: Universal Limited Art Editions, 2009), p. 92.
 
1959
 
“Statement” (artist’s statement). It Is., no. 3 (winter–spring 1959): p. 10. (See It Is. 1959.)
 
“The Motherwell Show” (letter to the editor). Arts Magazine 33, no. 8 (May 1959): p. 8. (Short form used in catalogue raisonné entries: Motherwell 1959.)
 
“The Significance of Miró” (exhibition review; abridged version). Artnews 58, no. 4 (May 1959): pp. 32–33, 65–67. Typescript, Dedalus Foundation Archives. Printed unabridged version in Motherwell 2007, pp. 188–93. Reprinted abridged version in Motherwell 1992, pp. 115–20; Bohigas et al. 1986, pp. 27–30 (Catalan translation, as “La Importância de Miró”); Flam 1991, p. 9; Polcari 1991, p. 24; Kingsley 1992, p. 312; Kaiser 1995, p. 113; Craven 1996, p. 28; Sandler 2009, p. 71. Partially reprinted abridged version in Lippard 1965, p. 35; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 50–51, 53; Hobbs 1975b, p. 67; Rose 1982, p. 5.
 
“Lecture with Charles R. Hulbeck.” Lecture presented in conjunction with a lecture by Dr. Charles R. Hulbeck [Richard Huelsenbeck], “Modern Art and Human Development, a Psychoanalytic Comment,” at the meeting of the Association for the Advancement of Psychoanalysis, New York Academy of Medicine, October 28, 1959. Typescript of lecture, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 121–25; Motherwell 2007, pp. 194–97. Partially reprinted in Hobbs 1975b, pp. 22, 73; Campbell 1993, p. 19.
 
1960
 
Blurb for May Natalie Tabak, But Not for Love: A Novel. New York: Horizon Press, 1960.
 
Statement in “The Philadelphia Panel,” edited by P[hilip] G. Pavia and Irving Sandler (transcript of “The Concept of the New” at the Philadelphia Museum School of Art, March 28, 1960; moderated by Harold Rosenberg, speakers included Philip Guston, Robert Motherwell, Ad Reinhardt, and Jack Tworkov). It Is., no. 5 (spring 1960): pp. 34–38. (See Pavia and Sandler 1960.) Original handwritten transcript and typescript, Philip Pavia Papers, 1913–2005, Manuscript, Archives, and Rare Book Library, Emory University. Reprinted in Motherwell 2007, p. 198. Partially reprinted in Canaday 1960, sec. 2, p. 13; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 53; Hobbs 1975b, p. 187.
 
Letter to Alfred H. Barr Jr., June 2, 1960, regarding the Museum of Modern Art’s collection of works by Motherwell, and the conservation of Granada (P86). Original typescript, Alfred H. Barr Jr. Papers, Museum of Modern Art Archives, New York.
 
1961
 
“What Should a Museum Be?” (editorial symposium, with Thomas M. Messer, Larry Aldrich, Georges Wildenstein, John Canaday, Herbert Ferber, Edward Durell Stone, C. C. Cunningham, Edward G. Robinson, and R. Sturgis Ingersoll). Art in America 49, no. 2 (March–April 1961): pp. 32–33. Reprinted in Motherwell 1992, pp. 130–32; Motherwell 2007, pp. 202–4. Partially reprinted in Pasadena Art Museum exh. cat. February 1962, n.p.; Caws 2003, p. 50. (Short form used in catalogue raisonné entries: Motherwell 1961.)
 
Answers to Whitney Museum of American Art questionnaire on N.R.F. Collage No. 1 (C104), April 13, 1961. Handwritten responses to the questionnaire, Dedalus Foundation Archives.
 
Interviews with Motherwell by Rudi Blesh, Provincetown, May 23 and 30, June 6, 1961. Handwritten transcript, Rudi Blesh Papers, 1909–1983, Archives of American Art, Smithsonian Institution.
 
Statement on night games at Yankee Stadium. In Gay Talese, “Mantle, Maris and a Few Others Stir a Potpourri of Fan Emotion.” New York Times, September 2, 1961, p. 10. (See Talese 1961.)
 
1962
 
Interview with Motherwell. In Doris Reno, “He Paints—What You Don’t See” (includes an account of the course Motherwell taught at the University of Miami, and a lecture he gave at the Lowe Art Museum, University of Miami). Miami Herald, January 24, 1962, sec. C, p. 2. (See Reno 1962.)
 
Excerpts of the lecture presented at the Burns School Auditorium, University of Hartford, March 21, 1962, sponsored by the Wadsworth Atheneum Museum of Art and the Student Alliance of the Hartford Art School. “Motherwell Opens Art Lecture Series.” Hartford Times, March 24, 1962, p. 26. (See Berkman 1962.)
 
Interview with Motherwell, spring 1960. In David Sylvester, “ ‘Painting as Existence’: An Interview with Robert Motherwell” (minor revisions of “Painting as Self-Discovery” interview for BBC, London, broadcast on October 22, 1960). Metro (Milan), no. 7 (1962): pp. 94–97. (See Sylvester 1962.) Transcript of “Painting as Self-Discovery,” with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 2007, pp. 205–11; Sylvester 2001, pp. 75–83. Partially reprinted in Claus 1965, p. 9; Hobbs 1975b, pp. 59–60, 72; Lippard 1965, p. 34; Carmean 1978, p. 103; Mackie 1989, pp. 119–20; Ross 1990, pp. 111–12; Caws 1996b, pp. 3, 24; Madoff 1997, p. 247; Caws 2003, p. 100.
 
“Homage to Franz Kline” (August 17, 1962). In Franz Kline: The Color Abstractions (exhibition catalogue), p. 43. Washington, D.C.: Phillips Collection, 1979. Originally prepared for the 1962 Franz Kline retrospective at the Washington Gallery of Modern Art, D.C., but not published at that time. Reprinted in Motherwell 1992, pp. 133–34; Motherwell 2007, pp. 212–13. Partially reprinted in Campbell 1993, p. 19.
 
Answers to Museum of Modern Art questionnaire on Elegy to the Spanish Republic No. 54 (P215), September 13, 1962. Handwritten responses to the questionnaire, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
Lecture and conversation with students, November 1962. In Charles Chetham, “Robert Motherwell: A Conversation at Lunch,” transcribed by Margaret Paul, in An Exhibition of the Work of Robert Motherwell (exhibition catalogue), pp. 10–19. Northampton, Mass.: Smith College Museum of Art, 1963. Reprinted in Motherwell 1992, pp. 135–38. Partially reprinted in Robert Motherwell’s letter to the editor, in “Editor’s Letters,” Artnews 62, no. 1 (March 1963): p. 6 (see entry); Canaday 1964b, sec. 2, p. 23; Claus 1965, pp. 4, 9; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 54; Andreae 1969, p. 8; Galerie im Erker exh. cat. 1970, p. 58 (German translation); Levine 1971, p. 23; Museum of Fine Arts, Houston, exh. cat. November 1972, pp. 28, 29, 93; Art Museum, Princeton University, exh. cat. 1973, n.p.; Hobbs 1975b, pp. 69, 84; Lipman and Franc 1976, pp. 144, 184; Städtische Kunsthalle exh. cat. 1976, pp. 7, 8, 13–14; Flash Art 1977, p. 48; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Pleynet 1977, pp. 194, 195; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 8, 77, 127; [Pleynet] 1981, p. 20 (Spanish translation); Mattison 1982, p. 12; Hasiotis 1983, n.p.; Gelles 1984, p. 38; Regan 1984, sec. Review, p. 12; Mattison 1985b, p. 213; Ross 1990, p. 112; Flam 1991, p. 9; Wilkin 1991, p. 725; Danto 1993, p. 38; Kaiser 1995, p. 119; Caws 1996b, pp. 161–64; Walker Art Center exh. cat. 1996, n.p.; Belgrad 1998, p. 136; Cateforis 2000–2001, pp. 4, 6, 10, 11; Richardson 2001, p. 252; Caws 2003, pp. 58, 76–77, 82–84, 85–86, 139.
 
Statements made at the opening of New Paintings in Oil and Collages by Robert Motherwell, at the Sidney Janis Gallery, New York, December 1962. In “The Deepest Identity.” Newsweek 60, no. 24 (December 10, 1962): p. 94. (See Newsweek 1962.) (Short form used in catalogue raisonné entries: Motherwell in Newsweek 1962.)
 
1963
 
Notes to the plates. In An Exhibition of the Work of Robert Motherwell (exhibition catalogue). Northampton, Mass.: Smith College Museum of Art, 1963. Partially reprinted in Motherwell 2007, p. 222; Daily Hampshire Gazette 1963, p. 8; Robert Motherwell (traveling exhibition catalogue; Amsterdam: Stedelijk Museum, 1966), n.p.; Sandler 1970, p. 207; Museum of Fine Arts, Houston, exh. cat. November 1972, pp. 28, 54, 66, 69; Museum of Modern Art 1973, p. 142; Hobbs 1975b, p. 84; Carmean 1978, pp. 99, 101; Fineberg 1978, p. 55; National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 36; Ashton 1980, p. 5; Firestone 1981, p. 140; Cook et. al. 1983, pp. 28, 63; Morgan 1983, sec. D, p. 3; Van Hook 1983, pp. 104, 106; Collins 1984, pp. 95, 96–97; Gelles 1984, p. 38; Gaugh 1985, p. 74; Kimball 1985, p. 36; Rosand 1985, p. 93; Oppler 1988, p. 117; Brooker 1989, p. 63; Mackie 1989, pp. 119, 185; Haenlein 1990a, sec. D, p. 2; Ross 1990, p. 112; Craven 1991, p. 56; Flam 1991, p. 12; Glueck 1991, sec. B, p. 9; Levin 1991, p. 8; Wilkin 1991, p. 724; Modern Art Museum of Fort Worth Calendar 1993, p. 2; Caws 1996b, pp. 9, 126; Tieken 2000, n.p.; Cateforis 2000–2001, p. 6; Georgia O’Keeffe Museum Member News 2001, p. 2; Caws 2003, p. 112; Quast 2003, p. 318; McNatt 2006, p. 4; Mattison et al. 2009, pp. 35, 36, 51; Sandler 2009, p. 121. (Short form used in catalogue raisonné entries: Motherwell in Smith College Museum of Art exh. cat. 1963.)
 
Interview with Motherwell by Norris E. Fliegel, February 1, 1963. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
Letter to the editor in response to Esteban Vicente’s letter to the editor published in February 1963. (See Vicente 1963.) In “Editor’s Letters.” Artnews 62, no. 1 (March 1963): p. 6.
 
Lecture presented at the Pasadena Art Museum, March 6, 1962. Two-part lecture, the second of which was a slide lecture discussing Motherwell’s work to date. Original audiotape and digital transfer, Norton Simon Museum of Art, Pasadena, Calif.
 
“A Process of Painting” (October 5, 1963). In “The Creative Use of the Unconscious by the Artist and by the Psychotherapist” (transcript of a symposium at the Eighth Annual Conference of the American Academy of Psychotherapists, October 5–6, 1963), edited by Jules Barron and Renee Nell. Annals of Psychotherapy (Journal of the American Academy of Psychotherapy) 5, no. 1 (1964): pp. 47–49. Handwritten manuscript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 138–41; Motherwell 2007, pp. 214–17. Partially reprinted in Hobbs 1975b, pp. 37, 74, 215; Städtische Kunsthalle exh. cat. 1976, pp. 10–13; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Terenzio and Belknap 1980, p. 9; Hasiotis 1983, n.p.; Wolff 1984a, p. 18; Glueck 1991, sec. A, p. 1; Wilkin 1991, p. 727; Kingsley 1992, p. 315; Gilbert 1998, p. 261; Cateforis 2000–2001, p. 5; Caws 2003, pp. 31–32, 59, 174; Quast 2003, p. 316; Mattison et al. 2009, pp. 83, 87.
 
1964
 
“The Motherwell Collection.” Vogue 143, no. 2 (January 15, 1964): pp. 88–91, 118. (Short form used in catalogue raisonné entries: Motherwell 1964.)
 
Statements on Motherwell’s artistic process. In “Men Who Lead an American Art Revolution: Fame and Fortune for Today’s Painters.” National Observer, February 17, 1964, p. 18. (See Ostermann 1964.)
 
Interview with Motherwell on Jackson Pollock by Francis V. O’Connor, February 19, 1964. O’Connor’s handwritten notes, Francis V. O’Connor Papers, New York.
 
Interview with Motherwell, ca. spring 1964; and letter from Motherwell to Michel Ragon, May 10, 1964. In Vingt-cinq ans d’art vivant: Chronique vécue de l’art contemporain de l’abstraction au pop art, 1944–1969 (text in French), by Michel Ragon, pp. 309–15. [Paris]: Casterman, 1969. (See Ragon 1969.) Handwritten letter, Dedalus Foundation Archives. Reprinted (interview and letter) in Motherwell 2007, pp. 236–42.
 
Letter to James T. Valliere, August 31, 1964, responding to a research question about Jackson Pollock. James Valliere research material on Jackson Pollock, correspondence, 1963–1967 (box 2, folder 54), in Jackson Pollock and Lee Krasner Papers, ca. 1905–1984, Archives of American Art, Smithsonian Institution.
 
“The Motherwell Proposal.” In Seminar on Elementary and Secondary School Education in the Visual Arts (seminar at New York University, October 8–11, 1964), edited by Howard Conant, pp. 203–9. New York: New York University, 1965. Partially reprinted in Hobbs 1975b, p. 234.
 
Interview with Motherwell, December 11, 1964. In Bryan Robertson, Art New York, Channel 13/WNDT, December 15, 1964. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; typescript and audio file, Museum of Modern Art archives; 16mm film, Museum of Modern Art Film Studies Center, New York. Partially printed in O’Hara 1965b, pp. 208, 264; Art Museum, Princeton University, exh. cat. 1973, pp. 33, 37; Hobbs 1975b, pp. 50, 176; Cavaliere and Hobbs 1977, p. 111; Carmean 1978, p. 101; O’Hara 1983, p. 178; Mattison 1985b, pp. 15, 35, 59, 62; Mackie 1989, pp. 75, 101, 186; Levin 1991, p. 8; Caws 1996b, pp. 34–35.
 
1965
 
“On the Forties,” Interview with Motherwell by Bryan Robertson, 1965. Often referred to as “Addenda.” Transcript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, pp. 142–47 (as “Addenda”); Hobbs 1975b, pp. 24, 68, 127, 128–29, 218, 231; Städtische Kunsthalle exh. cat. 1976, pp. 14–15 (as “Addenda”); Carmean 1978, p. 103; Raynor 1979, sec. 23, p. 14; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 36, 53, 127, 141; Mattison 1985a, p. 92; Mattison 1988, pp. 178, 182; Manthorne 1990, p. 68; Flam 1991, p. 15; Kingsley 1992, p. 306; Leja 1993, p. 94; Kaiser 1995, p. 123; Gibson 1997, p. 6; Cateforis 2000–2001, pp. 5, 6; Caws 2003, p. 109; Quast 2003, pp. 324, 325.
 
“The Madrid Suite,” December 17, 1965. Statement for the title page of the portfolio of ten lithographs Madrid Suite, published by Hollander Studio, 1965.
 
“Letter from Robert Motherwell to Frank O’Hara dated August 18, 1965.” In Robert Motherwell: With Selections from the Artist’s Writings (exhibition catalogue), by Frank O’Hara, pp. 58–59, 67–68, 70. New York: Museum of Modern Art, 1965. Excerpts from the letter were also printed in the exhibition catalogue published by the Stedelijk Museum, Amsterdam, January 1966. Original handwritten letter and typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 1992, pp. 148–55. Partially reprinted in Galerie im Erker exh. cat. 1970, p. 57 (German translation); Wilmerding 1973, p. 282; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); [Pleynet] 1981, p. 21 (Spanish translation); Advocate Summer Guide 1983b, p. 3; Van Hook 1983, p. 103; Gelles 1984, p. 38; Mattison 1988, p. 176; Mackie 1989, pp. 167, 211; Huntington 1993, p. 8; Kaiser 1995, pp. 121–22; Caws 1996b, p. 62; Galerie Bernd Klüser exh. cat. 2001, p. 20 (as “Edgar Allen Poe”); Richardson 2001, p. 242; Quast 2003, p. 315; Mattison et al. 2009, p. 83. (Short form used in catalogue raisonné entries: Motherwell in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965.)
 
“David Smith: A Major American Sculptor.” Vogue 145, no. 3 (February 1965): pp. 134–39, 190. Reprinted as “David Smith: A Major American Sculptor; A Personal Appreciation,” Studio International 172, no. 880 (August 1966): pp. 65–68; Motherwell 2007, pp. 218–21. Partially reprinted in Lynton 1966a, p. 7; Hobbs 1975b, p. 173; Tighe and Lang 1977, p. 283; National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 239; Firestone 1982, p. 118. Revised and reprinted as “A Major American Sculptor: David Smith,” in Robert Motherwell: With Selections from the Artist’s Writings (exhibition catalogue), by Frank O’Hara, edited by William Berkson, p. 65 (New York: Museum of Modern Art, 1965).
 
“Cubism in American Painting.” Panel discussion at the Guggenheim Museum, February 7, 1965; moderated by Everett Ellin, participants included William Seitz, Sam Hunter, Robert Motherwell, and Robert Rosenblum. Reel-to-reel collection, A0004, Solomon R. Guggenheim Museum Archives, New York.
 
Lecture and conversation with students, moderated by Jack Tworkov, at Hastings Hall, Yale University, April 22, 1965. Transcript and audio file, Museum of Modern Art Archives, New York.
 
Interview with Motherwell, May 1, 1965. In “Abstract-Expressionism: An Analysis of the Movement Based Primarily upon Interviews with Seven Participating Artists,” by Gladys Kashdin. M.A. thesis, Florida State University, 1965. (See Kashdin 1965.)
 
Letter to Walter Gropius, May 12, 1965, regarding New England Elegy (P366). Typescript, Dedalus Foundation Archives.
 
Interview with Motherwell. In Max Kozloff, “An Interview with Robert Motherwell: ‘How I Admire My Colleagues!’ ” Artforum 4, no. 1 (September 1965): pp. 33–37. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 54; Hobbs 1975b, pp. 66, 67; Foster 1980, p. 28; Van Hook 1983, p. 103; Brooker 1989, p. 65; Mackie 1989, pp. 66–67, 71, 83, 91–92, 170; Polcari 1991, p. 32; Breslin 1993, p. 264; Madoff 1997, pp. 137, 358.
 
Interview with Motherwell by John Jones, October 25, 1965. Transcript, John Jones interviews with artists, Archives of American Art, Smithsonian Institution. Partially printed in Hobbs 1975b, pp. 23, 45, 46, 105, 182. Partially reprinted in National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 110; Mackie 1989, pp. 183–84; Scott and Rutkoff 1999, p. 307.
 
“An Evening with Robert Motherwell.” Panel discussion sponsored by the Foundation for the Arts, Religion and Culture (ARC) and the Museum of Modern Art, New York, November 22, 1965; moderated by Robert Motherwell, participants included Dr. David Read, Dominique de Menil, and Ad Reinhardt. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
Letter to H. H. Arnason, November 29, 1965, discussing a passage from Leonardo da Vinci’s Trattato della Pittura. Typescript, Dedalus Foundation Archives.
 
Letter to the editor (regarding errors in Edgar 1965). “Editor’s Letters.” Artnews 64, no. 8 (December 1965): p. 6.
 
1966
 
Interview with Motherwell and Helen Frankenthaler. In Ninette Lyon, “Helen and Robert Motherwell: A Second Fame; Good Food.” Vogue 147, no. 7 (April 1, 1966): pp. 194–96. (See Lyon 1966.)
 
Letter to Bryan Robertson, April 20, 1966, responding to Robertson’s essay “From a Notebook on Robert Motherwell,” in particular Robertson’s opinion about his new Elegies. (See Robertson 1966a.) Typescript, Dedalus Foundation Archives.
 
Letter to Walter Gropius, April 20, 1966; includes a discussion of the visual forms in New England Elegy (P366), and his prediction that the imagery could be controversial. Typescript, Dedalus Foundation Archives; and Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
Letter to Dr. Joseph Paul Hodin, August 10, 1966, regarding the major themes in his work. Typescript, Dedalus Foundation Archives.
 
Statement defending New England Elegy (P366). In “JFK Painting Furor Fulfills a Purpose?” Boston Globe, August 12, 1966, pp. 1, 19. (See Boston Globe 1966b.) (Short form used in catalogue raisonné entries: Motherwell in Boston Globe 1966b.)
 
Statement defending New England Elegy (P366). In “Artist Says Painting Is Not JFK Death Scene.” Hartford Courant, August 13, 1966, p. 13. (See Hartford Courant 1966.) (Short form used in catalogue raisonné entries: Motherwell in Hartford Courant 1966.)
 
Statement defending New England Elegy (P366). In John H. Fenton, “Abstract Mural Stirs Bostonians: Viewers Link Motherwell Work to Kennedy Death.” New York Times, August 13, 1966, p. 22. (See Fenton 1966.) (Short form used in catalogue raisonné entries: Motherwell in Fenton 1966.)
 
Statement defending New England Elegy (P366). In “Painter Defends Mural Depicting JFK Shooting.” Record American (Boston), August 13, 1966, p. 8. (See Record American 1966.) (Short form used in catalogue raisonné entries: Motherwell in Record American 1966.)
 
Letter to the editor praising the newspaper’s coverage of the controversy over New England Elegy (P366; see Hoffmann 1966). In “Letters to the Editor of Arts & Entertainment,” Kansas City Star (Missouri), September 18, 1966.
 
1967
 
“Robert Motherwell: The Art World Is Much Younger, Like the Population as a Whole” (answers to questionnaire). In Barbara Rose and Irving Sandler, “Sensibility of the Sixties.” Art in America 55, no. 1 (January–February 1967): p. 47. (See Rose and Sandler 1967.) Reprinted in Motherwell 2007, p. 224. Handwritten manuscript, Barbara Rose Papers, 1966–1967, Archives of American Art, Smithsonian Institution.
 
“The Present and Future State of Modern American Art in Four or Five Minutes!” Lecture presented at the National Council on the Arts, Rainbow Room, New York, February 27, 1967. Typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
“On Rothko” (an account of a visit to Mark Rothko’s studio), March 10, 1967. Typescript, Dedalus Foundation Archives; typescript, titled “RM on Rothko and Irwin Hollander,” Research Library, Getty Research Institute, Los Angeles, accession no. 930100. Printed in Motherwell 1992, pp. 195–96; Motherwell 2007, pp. 230–31; Sur Mark Rothko, preface by Dore Ashton; translated into French by Patrice Cotensin (Paris: L’Échoppe, 2005), pp. 41–46. Partially reprinted in Breslin 1993, p. 267.
 
Statement in “Jackson Pollock: An Artists’ Symposium, Part I” (editorial symposium, with Barnett Newman, Elaine de Kooning, Philip Pavia, Adolph Gottlieb, James Brooks, Larry Rivers, Alex Katz, Al Held, and Allan Kaprow). Artnews 66, no. 2 (April 1967): pp. 29–30, 64–67. Reprinted in Motherwell 2007, pp. 225–29 (as “On Jackson Pollock”). Partially reprinted in Friedman 1972, p. 222; Museum of Fine Arts, Houston, exh. cat. 1972, p. 25; Hobbs 1975b, p. 44; Carmean 1978, pp. 143, 151; Art Press International (Paris), no. 32 (October 1979): pp. 9–10 (text in French as “Un Héros”); Craven 1990, p. 72; Ross 1990, p. 147; Craven 1991, p. 48; Sandler 2009, pp. 106, 116.
 
“On Rothko” (an account of a conversation between Motherwell and Mark Rothko at Rothko’s studio), April 18, 1967. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 930100.
 
Interview with Motherwell, January 1967. In Sidney Simon, “Concerning the Beginnings of the New York School, 1939–1943: An Interview with Robert Motherwell, Conducted by Sidney Simon in New York in January 1967.” Art International 11, no. 6 (summer 1967): pp. 20–23. (See Simon 1967b.) Reprinted in Shapiro and Shapiro 1990, pp. 33–45; Landau 2005, pp. 276–89. Partially reprinted in Motherwell 1992, pp. 156–67; Hobbs 1975b, p. 53; Mattison 1985a, p. 91; Sawin 1988, pp. 184, 186; John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews, commentary by Mollie McNickle (New York: Alfred A. Knopf, 1990), pp. 225–26; Breslin 1993, pp. 185, 317; Danto 1993, p. 37; Danto 1999, p. 22; Scott and Rutkoff 1999, p. 296; Morizot 2004, p. 255 (French translation); Sandler 2009, p. 110.
 
Letter to Emerson and Dina Woelffer, September 27, 1967, regarding Ad Reinhardt’s death and Motherwell’s plans for a new studio on Seventy-fifth Street in New York. Typescript with handwritten annotations by Motherwell, Emerson Woelffer Papers, 1937–1999, Archives of American Art, Smithsonian Institution.
 
Letter to the editor, regarding Barnett Newman’s letter to the editor about Motherwell’s interview with Sidney Simon in “Concerning the Beginnings of the New York School,” printed in the previous issue (see Simon 1967). Art International 11, no. 8 (October 20, 1967): p. 38. Reprinted in John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews, with commentary by Mollie McNickle (New York: Alfred A. Knopf, 1990), pp. 227–28.
 
Drafts of a response to David Hare’s criticism of Motherwell published in Artnews, ca. October–November 1967. (See Hare 1967.) Handwritten drafts, Dedalus Foundation Archives; typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.
 
Interview with Motherwell and Helen Frankenthaler. In Joanna Eagle, “Artists as Collectors.” Art in America 55, no. 6 (November–December 1967): pp. 55–63. (See Eagle 1967.)
 
“Random Notes,” ca. 1967. A seventeen-page undated letter to Barbara Rose with comments on her manuscript for American Art since 1900: A Documentary Survey, see Rose 1967. Research Library, Getty Research Institute, Los Angeles, accession no. 930100.
 
1968
 
Interview with Motherwell. In Margarita García Flores, “Con Robert Motherwell: Expone en el Museo Universitario de Ciencias y Arte” (text in Spanish). Siempre (1968). (See Flores 1968.) Dedalus Foundation Archives.
 
Letter to the editor regarding his exchange with Barnett Newman in the October 1967 issue. In “Letter to the Editor: Busa, Motherwell, Newman.” Art International 12, no. 1 (January 20, 1968): p. 41. Partially reprinted in John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews, with commentary by Mollie McNickle (New York: Alfred A. Knopf, 1990), p. 232.
 
Interview with Motherwell and Arthur A. Cohen regarding the Documents of Modern Art series. In Henry Raymont, “Viking to Publish a Vast Modern-Art Series: Texts by and About Artists to Appear Over 12 Years.” New York Times, June 6, 1968, sec. C, p. 55. (See Raymont 1968.)
 
Letter to Emerson Woelffer, August 26, 1968, regarding Motherwell’s revival of the Documents of Modern Art series with Viking and Thames and Hudson. Typescript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, p. 169.
 
Eulogy for René d’Harnoncourt. In “René d’Harnoncourt, 1901–1968: A Tribute” (program for proceedings at the Sculpture Garden, Museum of Modern Art, New York, October 8, 1968; participants included Arthur Drexler, William S. Paley, and David Rockefeller). New York: Museum of Modern Art, 1968. Several handwritten drafts and typescripts of his remarks, Dedalus Foundation Archives.
 
Statement on the connection between art and politics. In “Artists vs. Mayor Daley.” Newsweek 72, no. 19 (November 4, 1968): p. 117. (See Newsweek 1968.)
 
List of favorite films in “Notables Pick Their Favorites of ’68.” New York Times, December 22, 1968, sec. D, p. 15.
 
Letter to the editor, unpublished, December 26, 1968, regarding Eric F. Goldman, “The White House and the Intellectuals.” Harper’s Magazine 238, no. 1424 (January 1969): pp. 31–45.
 
1969
 
Letter to Dina and Emerson Woelffer, February 12, 1969, regarding upcoming publications in the Documents of Modern Art series. Typescript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, pp. 169–70.
 
“Motherwell: On His Works in the MoMA Collection,” March 18, 1969. Answers to the Museum of Modern Art questionnaire in preparation for The New American Painting and Sculpture: The First Generation, at the Museum of Modern Art, New York, 1969. Includes a discussion of Spanish Picture with Window (P4) and other works. Typescript, with handwritten annotations by Motherwell, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
“Motherwell Muses, Monday, April 21, 1969.” Typescript, Dedalus Foundation Archives; typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 196–97 (as “On Rothko”); Motherwell 2007, pp. 245–46 (as “Motherwell Muses”).
 
Statement on the Open series. In Art Now: New York 1, no. 5 (May 1969): n.p. Reprinted in Motherwell 2007, pp. 243–44. Typescript, with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. (Short form used in catalogue raisonné entries: Motherwell 1969.)
 
Draft of a press release for Motherwell’s exhibition at Marlborough-Gerson Gallery, Robert Motherwell: “Open” Series, 1967–1969, May 1969 (regarding Motherwell’s Open series, titled the “Window” series by Motherwell at the time of this writing). Typescript, unsigned and undated (ca. January 1969), Dedalus Foundation Archives.
 
Answers to a Museum of Modern Art questionnaire on the Lyric Suite, August 8, 1969, Department of Painting and Sculpture, Museum of Modern Art Archives.
 
“Addenda to MoMA Lyric Suite Questionnaire—from Memory … with Possible Chronological Slips,” August 8, 1969. Members Newsletter (Museum of Modern Art), fall 1969, pp. 9–10. This is an addenda to the handwritten questionnaire also dated August 8, 1969, Museum of Modern Art Archives, New York. Printed complete addenda in Motherwell 1992, pp. 171–73; Motherwell 2007, pp. 232, 235. Reprinted in Galerie Bernd Klüser exh. cat. 2001, p. 27 (as “Lyric Suite”); Caws 2003, pp. 90, 91. Partially reprinted in Otis Art Institute exh. cat. 1974, n.p.; Walker Art Center exh. cat. 1996, n.p.; Ward 1998, p. 130; Mattison et al. 2009, p. 62.
 
Interviews with Motherwell by Arthur A. Cohen, August 11–12, 14, and 18, 1969. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed in Hobbs 1975b, pp. 123, 144, 168, 178, 184, 221, 249–50.
 
“The Painter’s Mind.” Lecture presented at the Toledo Museum of Art, Ohio, in conjunction with the exhibition Paintings and Collages by Robert Motherwell, November 9, 1969. Typescript draft of introduction and outline of quotes, Dedalus Foundation Archives.
 
1970
 
“Notes for an Informal Talk, ca. 1970.” Original handwritten manuscript, Dedalus Foundation Archives. Printed in Banach 1996, p. 27 (reproduced on p. 26).
 
Interview with Motherwell, 1970. In Painters Painting: A Candid History of the Modern Art Scene, 1940–1970, by Emile de Antonio and Mitch Tuchman (compiled from filmed interviews with artists). New York: Abbeville Press, 1984. (See De Antonio and Tuchman 1984.) Interview excerpts first used in a film by Emile de Antonio, Painters Painting: The New York Art Scene, 1940–1970; A Film by Emile de Antonio (New York: Mystic Fire, 1972). (See Filmography.)
 
“Robert Motherwell at the St. Paul’s School: On the Humanism of Abstraction; The Artist Speaks.” In Paintings and Collages by Robert Motherwell (exhibition catalogue), pp. 4–14. Concord, N.H.: St. Paul’s School, 1970. Lecture presented to students at St. Paul’s School, Concord, N.H., February 6, 1970, in conjunction with his appointment as 1970 Conroy Fellow and the opening of his 1970 solo exhibition at the St. Paul’s School. Reprinted in Motherwell 1992, pp. 175–81; Motherwell 2007, pp. 250–55. Partially reprinted in Hobbs 1975b, pp. 41–42; Hasiotis 1983, n.p.; Berman 1985, p. 62; L’Humanisme de l’Abstraction, translated into French by Joël Dupont (Caen, France: L’Échoppe, 1991), n.p.; Wilkin 1991, pp. 726–27; Kaiser 1995, pp. 117–18; Caws 1996b, pp. 3, 5, 129; Gilbert 1998, p. 294; Cateforis 2000–2001, p. 6.
 
“A Painter’s Mind.” Lecture presented at Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, New York, January 13, 1970, in conjuction with the exhibition New York Painting and Sculpture, 1940–1970. Handwritten manuscript, Dedalus Foundation Archives.
 
Letter to Irving Sandler, February 23, 1970, regarding Wolfgang Paalen. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 182–83.
 
“Statements of Robert Motherwell and Helen Frankenthaler, Artists,” March 24, 1970. In U.S. Congress, House Committee on Education and Labor, Testimony to Select Subcommittee on Education, Environmental Quality Education Act of 1970. H.R. 14753, pp. 24–32. Washington, D.C.: U.S. Government Printing Office, 1970. Transcript, Dedalus Foundation Archives. Reprinted in Motherwell 2007, pp. 256–65. Partially reprinted in Motherwell 1992, pp. 184–87; Terenzio 1979, p. 145; Caws 2003, p. 59; Mattison et al. 2009, p. 83.
 
“Motherwell.” In Ethel Moore, ed., “Letters from 31 Artists to the Albright-Knox Art Gallery.” Gallery Notes (Buffalo Fine Arts Academy) 31–32, no. 2 (spring 1970): p. 26. Published letter to Robert M. Murdock (in response to a request from the Albright-Knox Art Gallery for an artist’s statement on Elegy to the Spanish Republic XXXIV (P156), October 18, 1968. Typescript, Dedalus Foundation Archives. Partially reprinted in Sandler et al. 1972, p. 39; Carmean 1978, p. 106; Spaulding 1999, p. 182. (Short form used in catalogue raisonné entries: Motherwell 1970)
 
Selection of books in “Neglected Books.” American Scholar 39, no. 2 (spring 1970): pp. 334, 336.
 
“Thoughts on Drawing” (July 14, 1970). In The Drawing Society National Exhibition, 1970 (exhibition catalogue), n.p. New York: Drawing Society, 1970. Reprinted in Motherwell 1992, pp. 193–94; Motherwell 2007, pp. 247–49.
 
Interview with Motherwell by Karl E. Fortess, Provincetown, July 21, 1970. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Original audiotape, Karl E. Fortess taped interviews with artists (1963–1985), Archives of American Art, Smithsonian Institution. Partially printed in Hobbs 1975b, p. 23; Art Museum, Princeton University, exh. cat. 1973, p. 32.
 
Letter to Ronald Alley, October 2, 1970, regarding his friendship with David Smith and the titling of Open No. 121: Bolton Landing Elegy (P504). Typescript, Dedalus Foundation Archives.
 
“On Rothko” (December 1970). Eulogy delivered at the National Institute of Arts and Letters, New York, January 28, 1971. Original handwritten draft and typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 197–201; Motherwell 2007, pp. 271–74; Sur Mark Rothko, preface by Dore Ashton; translated into French by Patrice Cotensin (Paris: L’Échoppe, 2005), pp. 27–39. Reprinted in Breslin 1993, pp. 285, 339, 357, 373–74.
 
Lecture presented at the Ontario College of Art, Toronto, December 3, 1971. Original audiotape, Art Gallery of Ontario.
 
“The Universal Language of Children’s Art, and Modernism.” American Scholar 40, no. 1 (winter 1970): pp. 24–27. Lecture presented at “The Arts: An International Force,” at the Conference on International Exchange in the Arts, April 29, 1970. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 2007, pp. 266–70; Ross 1990, pp. 112–18. Partially reprinted in Motherwell 1992, pp. 188–92; Cohen 1971, p. 236; Ellen C. Cooper, ed., Picasso’s Guernica (New York: W. W. Norton, 1988), pp. 344–45; Oppler 1988, pp. 344–45; Campbell 1993, p. 20; Caws 1996b, p. 5; Del Conde 1997, p. 76 (Spanish translation); Zimmer 1997, p. 115.
 
1971
 
Introduction. In Dialogues with Marcel Duchamp, by Pierre Cabanne, translated by Ron Padgett, pp. 7–12. Documents of 20th-Century Art. New York: Viking Press, 1971. Early handwritten drafts and typescripts of the introduction and an additional unpublished note from 1973, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 205–10; Motherwell 2007, pp. 275–78.
 
“Statement on Radicalism in the Visual Arts,” 1971 (in response to a solicitation by the editors of Partisan Review, December 7, 1971, where contributors were asked to comment on the growing tendency toward conservatism in the arts). Printed in Motherwell 2007, pp. 280–81.
 
Interview with Motherwell. In Florence Berkman, “Motherwell—Painting Entering ‘Temporary’ Decline.” Hartford Times, March 28, 1971, sec. D, p. 13. (See Berkman 1971.)
 
Interview with Motherwell, April 9, 1971. In The Party’s Over Now: Reminiscences of the Fifties—New York’s Artists, Writers, Musicians, and their Friends, by John Gruen, pp. 191–96. New York: Viking Press, 1972. (See Gruen 1972.) Original handwritten draft and typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 202–4; Motherwell 2007, pp. 282–85; Galerie im Erker exh. cat. 1971, pp. 43–46, 51 (German translation, as “David Smith—Erinnerungen”); “David Smith—Erinnerungen” (text in German). In David Smith: Sculpture and Drawings (exhibition catalogue), edited by Jörn Merkert (Munich, Germany: Prestel-Verlag, 1987), pp. 169–70.
 
Interview with Motherwell, June 8, 1971, St. Gall. In Irmeline Lebeer, “Robert Motherwell” (text in French). Chroniques de l’art vivant, no. 22 (July–August 1971): pp. 10–12. Partially reprinted in Walker Art Center exh. cat. 1972, n.p.; Art Museum, Princeton University, exh. cat. 1973, n.p.; Musée Galliera exh. cat. 1974, pp. 69–71 (French translation); Hobbs 1975b, p. 12; Museum of Modern Art exh. cat. 1975, n.p. (Spanish translation); Lipman and Franc 1976, p. 184; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Pleynet 1977, p. 192; Fineberg 1978, p. 55; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, p. 141; Chapman 1980, p. 52; Ross 1990, p. 119; Caws 1996b, p. 92; Cernuschi 1997, p. 114; Del Conde 1997, p. 77 (Spanish translation).
 
Letter to E. A. Carmean Jr., from Provincetown, August 3, 1971, regarding Carmean’s unpublished master’s thesis on Robert Motherwell. Several handwritten and typescript drafts with handwritten annotations by Motherwell, Dedalus Foundation Archives.
 
Interview with Motherwell by Virginia Dortch, October 1971, regarding Art of This Century and Peggy Guggenheim. Partial transcript, Dedalus Foundation Archives.
 
Interview with Motherwell. In Israel Shenker, “Picasso, 90 Today, Assayed by Critic, Curator, 3 Artists” (participants included William S. Rubin, Thomas B. Hess, Louise Nevelson, and David Levine). New York Times, October 25, 1971, p. 42. (See Shenker 1971.)
 
Interviews with Motherwell by Paul Cummings, Greenwich, Conn., November 24, 1971, and May 1, 1974. Part of the Oral History Collections at the Archives of American Art. Transcript and tape reels, Archives of American Art, Smithsonian Institution. Partially printed in Mattison 1985b, p. 159; Breslin 1993, pp. 184, 253; Belgrad 1998, pp. 36, 93; Scott and Rutkoff 1999, p. 303.
 
1972
 
“Introduction to the Compass Edition.” In The Journal of Eugène Delacroix, by Eugène Delacroix, translated by Walter Pach, pp. 7–8. New York: Viking Press, 1972. Reprinted in Motherwell 2007, pp. 286–87. Partially reprinted in Hobbs 1975b, p. 106.
 
“Notes.” In The Collages of Robert Motherwell: A Retrospective Exhibition (exhibition catalogue), by E. A. Carmean Jr., introduction by Philippe de Montebello, pp. 48, 50, 51, 54, 63, 64, 70, 72, 73, 75, 76. Houston: Museum of Fine Arts, Houston, 1972. (Original handwritten notes on the collages and annotations on a draft of the exhibition catalogue, Museum of Fine Arts, Houston, Archives.) Partially reprinted in Art Museum, Princeton University, exh. cat. 1973, n.p.; Caws 1996b, p. 134. (Short form in catalogue raisonné entries: Motherwell in Museum of Fine Arts, Houston, exh. cat. 1972.)
 
Interview with Motherwell by Mary E. Harris, Greenwich, Conn., March 30, 1972, on Black Mountain College. Transcript, Dedalus Foundation Archives.
 
Letter to E. A. Carmean Jr., July 15, 1972, regarding materials Motherwell used in his collages. Partially printed in Museum of Fine Arts, Houston, exh. cat. 1972, p. 29.
 
Interviews with Motherwell by E. A. Carmean Jr., March 7, July 15 and 17, 1972. Partially printed in Museum of Fine Arts, Houston, exh. cat. 1972, pp. 17, 26, 36. Partially reprinted in Carmean 1978, p. 117.
 
Interview by Martin Friedman and Dean Swanson at the Walker Art Center, Minneapolis, August 1, 1972. Transcript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Audiotape and digital transfer at Walker Art Center Archives.
 
“The Book’s Beginnings” (September 22, 1972). In Robert Motherwell’s A la Pintura: The Genesis of a Book (exhibition catalogue), by Robert Motherwell and Diane Kelder, introduction by John J. McKendry. New York: Metropolitan Museum of Art, 1972. Reprinted in Motherwell 1992, pp. 211–14. Partially reprinted in Art Museum, Princeton University, 1973, n.p.; Mattison 1981, p. 199.
 
Interview with Motherwell. In Henry Allen, “Motherwell: Palate-Pleasing.” Washington Post, November 8, 1972, sec. D, p. 3. (See Allen 1972.) (Short form used in catalogue raisonné entries: Motherwell in Allen 1972.)
 
Interview with Motherwell. In Eleanor Freed, “Robert Motherwell Expresses Views on World of Art.” Houston Post, November 17, 1972, sec. A, p. 22. (See Freed 1972b.)
 
1973
 
Statement on Pablo Picasso. In “Picasso Is Dead in France at 91.” New York Times, April 9, 1973, pp. 1, 47. Partially reprinted in Fitzgerald 2006, p. 259.
 
Interview with Motherwell, Greenwich, Conn., October 8, 1973. In Heidi Colsman-Freyberger, “Robert Motherwell: Words & Images.” Print Collector’s Newsletter 4, no. 6 (January–February 1974): pp. 125–29. (See Colsman-Freyberger 1974a.) Reprinted in Colsman-Freyberger 1974b, pp. 19–24. Partially reprinted in Hobbs 1975b, p. 153; Mattison 1981, p. 200.
 
1974
 
Interview with Motherwell. In Vivien Raynor, “A Talk with Robert Motherwell.” Artnews 73, no. 4 (April 1974): pp. 50–52. (See Raynor 1974b.)
 
Statement on Picasso. In Barbaralee Diamonstein, “Caro, de Kooning, Indiana, Lichtenstein, Motherwell and Nevelson on Picasso’s Influence.” Artnews 73, no. 4 (April 1974): p. 46. (See Diamonstein 1974.) Reprinted in Motherwell 2007, p. 288.
 
Answers to Montclair Art Museum questionnaire on Ulysses (W15), April 3, 1974. Typescript, Montclair Art Museum Registration Files.
 
Statement on Ochre with Black Window (P750). In “Art Museum Acquires Motherwell Painting.” Cincinnati Enquirer, May 26, 1974, sec. F, p. 6. (See Cincinnati Enquirer 1974.) (Short form used in catalogue raisonné entries: Motherwell in Cincinnati Enquirer 1974.)
 
“Interview of Robert Motherwell, June 14, 1974.” In Robert Motherwell in California Collections (exhibition catalogue), by Richard Wagener. Los Angeles: Otis Art Institute Gallery, 1974. Transcript of complete interview, Dedalus Foundation Archives. Partially reprinted in Motherwell 1992, pp. 214–20; Seldis 1974b, sec. C, p. 82; Hobbs 1975b, p. 226; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 42, 54; Firestone 1981, p. 140; Hasiotis 1983, n.p.; Flam 1991, p. 12; Kaiser 1995, p. 130; Cateforis 2000–2001, p. 10; Richardson 2001, p. 249; Caws 2003, pp. 37, 42, 63, 71; Quast 2003, pp. 314, 326.
 
Letter to H. H. Arnason, July 24, 1974, discussing his artistic influences. Handwritten letter, Dedalus Foundation Archives.
 
Statement at “Symposium on American Prints: 1913–1963.” Presented at the celebration of the twenty-fifth anniversary of the founding of the Museum of Modern Art’s Abby Aldrich Rockefeller Print Room and the opening of the exhibition American Prints: 1913–1963; one-day symposium at the Museum of Modern Art, December 3, 1974, moderated by Riva Castleman, with Sylvan Cole, Tatyana Grosman, and William S. Lieberman. Transcript, Dedalus Foundation Archives.
 
1975
 
Interview with Motherwell, May 12, 1975. In Mona Hadler, “William Baziotes: A Contemporary Poet-Painter.” Arts Magazine 51, no. 10 (June 1977): pp. 102–10. (See Hadler 1977.) Partially reprinted in Van Hook 1983, p. 104; Cernuschi 1997, p. 159; Quast 2003, p. 324.
 
Unpublished preface to Dina Rubinstein’s manuscript “Provincetown Observed.” Typescript, Dedalus Foundation Archives.
 
Interview with Motherwell by Louise Averill Svendsen, Providence, Mass., August 15, 1975. Reel-to-reel collection, A0004, Solomon R. Guggenheim Museum Archives, New York.
 
Interview with Motherwell by Christopher B. Crosman, September 3, 1975. Excerpts in Christopher B. Crosman and Nancy E. Miller, “Speaking of Tomlin.” Art Journal 39, no. 2 (winter 1979–80): pp. 110–11. (See Crosman and Miller 1979–80.) Videotape and digital transfer, Albright-Knox Art Gallery archives, Buffalo.
 
Interview with Motherwell, October 1975. In Janet Baker-Carr, “A Conversation with Robert Motherwell, Painter.” Harvard Magazine 78, no. 2 (October 1975), pp. 34–41 (See Baker-Carr 1975.)
 
Lecture and discussion with Motherwell, moderated by Jane Cone, Baltimore Museum of Art, October 16, 1975. Transcript, Dedalus Foundation Archives.
 
Interview with Motherwell. In Roberto Polo, “Robert Motherwell Talks about Fashion as Fantasy with Roberto Polo.” Andy Warhol’s Interview 6, no. 1 (December 1975), p. 19. (See Polo 1975.)
 
1976
 
“Art and Reality,” ca. 1976. Printed in Motherwell 2007, p. 290; Städtische Kunsthalle exh. cat. 1976, p. 5.
 
“The New York School (and Symbolism),” ca. 1976. Printed in Motherwell 2007, p. 289; Städtische Kunsthalle exh. cat. 1976, p. 15.
 
Letter to Marcelin Pleynet, “Correspondance.” In M[arcelin] P[leynet], “Une Retrospective de l’oeuvre de Motherwell à Paris?” (text in French). Art Press (Paris), no. 22 (January–February 1976): p. 2. (See P[leynet] 1976.)
 
Excerpts from an interview with Motherwell by Grace Glueck. Published as “Robert Motherwell on Art and Artists,” in Grace Glueck, “Motherwell, at 61, Puts ‘Eternal’ Quality into Art.” New York Times, February 3, 1976, pp. 33, 52. (See Glueck 1976b.) Partially reprinted in Glueck 1980, sec. C, p. 18.
 
Interview on the trajectory of contemporary art. In Maggie Carlin, “Abstract Artistry Grows, Robert Motherwell Says.” Pittsburgh Press, February 19, 1976, sec. Living, p. 18. (See Carlin 1976.)
 
Interview with Motherwell by Denise Green, March 20, 1976. Transcript, Dedalus Foundation Archives.
 
Interview with Motherwell, September 5, 1976, Düsseldorf. In Barbara Catoir, “Überwindung der weisen Fläche: Ein Gespräch mit Robert Motherwell” (German translation). Das Kunstwerk 6, no. 29 (November 1976): pp. 7–8, 14–15, 43. (See Catoir 1976b.) Several transcripts with handwritten annotations by Motherwell, Dedalus Foundation Archives.
 
“A Special Genius: Works on Paper.” Bulletin of the Rhode Island School of Design 63, no. 4 (winter 1977): pp. 20–35. Panel discussion held in conjunction with the exhibition A Special Genius: Contemporary American Graphics, at Rhode Island School of Design’s Museum of Modern Art, Providence, September 29, 1976; moderated by Diana Johnson, participants included Brooke Alexander, Richard Brown Baker, John Loring, and Robert Motherwell. Transcript, Dedalus Foundation Archives.
 
1977
 
“Artistes parisiens en exile: New York, 1939–45.” In Paris—New York (exhibition catalogue, translated into French), pp. 106–14. Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1977. Typescript in English, Centre Pompidou Archives, Paris. Reprinted in Motherwell 2007, pp. 291–307. Partially reprinted in Barnier 2000, p. 111.
 
Notes to the plates. In Robert Motherwell, by H. H. Arnason, preface by Bryan Robertson, pp. 103–215. 1st ed. New York: Harry N. Abrams, 1977. (See Arnason 1977b.) Partially reprinted in Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Carmean 1978, p. 112; Firestone 1982, p. 116; Van Hook 1983, p. 106; Gelles 1984, p. 37; Mattison 1985b, p. 216; Mackie 1989, p. 28; Flam 1991, pp. 9, 25; Jones 1996, p. 284; Pleynet 1998, pp. 90, 96; Tieken 2000, n.p.; Cateforis 2000–2001, p. 8. (Short form used in catalogue raisonné entries: Motherwell in Arnason 1977b.)
 
Introduction (March 1977). In Emerson Woelffer: Paintings and Collages (exhibition catalogue). New York: Gruenebaum Gallery, 1978. Reprinted as “Emerson Woelffer: A Born Painter,” Artnews 77, no. 2 (February 1978): p. 80.
 
Interview with Motherwell. In Margaret Staats and Lucas Matthiessen, “The Genetics of Art: Interviews with de Kooning, Motherwell, and Nevelson.” Quest 1, no. 1 (March–April 1977): p. 72. (See Staats and Matthiessen 1977.)
 
Interview with Motherwell. In Eugenia Wolfowicz, “ ‘L’Art est la mauvaise conscience d’une société bourgeoise’: Un Entretien avec Robert Motherwell” (text in French). Les Nouvelles Littéraires, June 23–30, 1977, p. 15. (See Wolfowicz 1977.)
 
Interview with Motherwell. In Yvonne Baby, “Un Entretien avec le peintre Robert Motherwell: Un Ordre visuel arraché au chaos” (French translation). Le Monde, June 30, 1977, p. 11. (See Baby 1977b.) Reprinted in Baby 1977a.
 
Interview with Motherwell. In Amei Wallach, “ ‘The Soap Opera’ Is Not for Robert Motherwell.” New York Newsday, June 26, 1977, pt. 2, pp. 17–18. (See Wallach 1977b.)
 
Letter to Guy Scarpetta (in response to twelve questions by Scarpetta about Motherwell’s artistic practice). Multiple handwritten and typescript drafts, Dedalus Foundation Archives. Printed in Guy Scarpetta, “Les 9 ateliers de Robert Motherwell” (French translation). Art Press International (Paris) 9 (July 1977): pp. 20–22. (See Scarpetta 1977.) William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 80–81.
 
Interview with Motherwell regarding the Surrealists in New York. In Michael Gibson, “Robert Motherwell—A Survivor.” International Herald Tribune, July 9–10, 1977, p. 7. (See Gibson 1977.)
 
Interview with Motherwell by E. A. Carmean Jr., August 17, September 23, and October 9 and 28, 1977. In the introduction and “Robert Motherwell: The Elegies to the Spanish Republic.” In E. A. Carmean Jr. and Eliza A. Rathbone, American Art at Mid-Century: The Subjects of the Artist (exhibition catalogue), with contributions by Thomas B. Hess. Washington, D.C.: National Gallery of Art, 1978, pp. 15, 35, 36–37, 38, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 108, 109, 111, 112, 113, 114, 116, 120, 121. (See Carmean 1978.) Partially reprinted in Vastokas 1979, p. 22; Oppler 1988, pp. 115, 117; Mackie 1989, pp. 172, 180, 186, 187; Flam 1991, pp. 21, 22; Levin 1991, p. 9; Polcari 1991, p. 315; Breslin 1993, p. 263; Cateforis 2000–2001, p. 7.
 
Letter to Norman Rosenthal, November 8, 1977, regarding the different venues of his European retrospective. Typescript, Dedalus Foundation Archives.
 
Letter to Norman Rosenthal, November 11, 1977, regarding the choice and hanging of his works at the Royal Academy of Arts, London, 1978. Typescript, Dedalus Foundation Archives.
 
Letter to Lynda Hartigan, November 15, 1977, with description of Joseph Cornell. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 221–23. Partially printed in Danto 1993, p. 38.
 
Letter to Irving Sandler, December 6, 1977, regarding Sandler’s book Triumph of American Painting (see Sandler 1970). Typescript, Dedalus Foundation Archives.
 
1978
 
Interview with Motherwell. In Ilene Rothschild, “At Home: With the Motherwells.” Fairfield County 8, no. 1 (January 1978): pp. 2, 48–50. (See Rothschild 1978a.)
 
Interview with Motherwell. In Mary-Lou Weisman, “Robert Motherwell: ‘My Concern Is to Humanize Everything.’ ” Publication unknown, January 1978, pp. 118–19. (See Weisman 1978.)
 
Interview with Motherwell. In Duncan Macmillan, “Robert Motherwell.” Art Monthly, no. 14 (February 1978): pp. 4–6. (See MacMillan 1978.) (Short form used in catalogue raisonné entries: Motherwell in MacMillan 1978.)
 
“A Structure of Creativity.” Lecture presented as part of the “Learning from Performers” series at Harvard University, February 23, 1978; part of a two-day visit by Motherwell to the university, February 23–24, 1978. Handwritten manuscript with discussion topics, Dedalus Foundation Archives. Original audiotape, Learning from Performers: Sound Recordings, 1977 Mar. 31–1979 June 4, Archives of American Art, Smithsonian Institution. Partially printed in Feigenbaum 1978, p. 1.
 
Interview with Motherwell. In Robert Taylor, “Motherwell’s Life a Collage of Modern Art.” Boston Globe, March 5, 1978, sec. A, pp. 8, 13. (See Taylor 1978a.)
 
Interview with Motherwell. In Terence Maloon, “Robert Motherwell.” Artscribe, no. 11 (April 1978): pp. 16–22. (See Maloon 1978.) (Short form used in catalogue raisonné entries: Motherwell in Maloon 1978.)
 
Letter to John Russell, April 28, 1978, regarding Phoenician Red Studio (P924), and Russell’s review of Robert Motherwell, at Knoedler & Company, 1978. (See Russell 1978.) Typescript, Dedalus Foundation Archives.
 
Interview with Motherwell; includes a discussion on Reconciliation Elegy (P956). In “Painter Laureate.” Horizon 21, no. 5 (May 1978): p. 59. (See Horizon 1978.) (Short form used in catalogue raisonné entries: Motherwell in Horizon 1978.)
 
Interview with Motherwell, Greenwich, Conn., April 10, 1978. In Guy Scarpetta, “North-Stars: Carnet de Bord New-Yorkais” (text in French). Libération (Paris), May 16, 1978, p. 14. (See Scarpetta 1978.)
 
Interview with Motherwell. In Alain Pomarède and Thierry Delaroière, “Entretien avec Robert Motherwell” (text in French). Art Présent, nos. 6–7 (1978): n.p. (See Pomarède and Delaroière 1978.)
 
“Excerpts from a Public Lecture and a Conversation with Students.” Interview with Motherwell by Stephanie Terenzio, Provincetown, July 11, 1978. In Robert Motherwell & Black (exhibition catalogue), compiled by Stephanie Terenzio, edited by Hildegard Cummings, pp. 99, 114, 136–37. Storrs, Conn.: William Benton Museum of Art, 1979.
 
“Provincetown and Days Lumberyard: A Memoir” (July 21, 1978). In Days Lumberyard Studios: Provincetown 1914–1971 (exhibition catalogue), pp. 14–18. Provincetown, Mass.: Provincetown Art Association and Museum, 1978. Reprinted in Motherwell 1992, pp. 224–27; Motherwell 2007, pp. 308–11; Separata (Seville, Spain), nos. 5–6 (spring 1981): pp. 5–7. Partially reprinted in Caws 2003, p. 89 (Short form used in catalogue raisonné entries: Motherwell 1978.)
 
Statement by Motherwell on Elegy to the Spanish Republic No. 126 (P851). In Nick Baldwin, “Rescue!” Des Moines Register, July 30, 1978, sec. B, p. 5. (See Baldwin 1978.) (Short form used in catalogue raisonné entries: Motherwell in Baldwin 1978.)
 
“Words of the Painter” (book review of Matisse in Art, by Jack D. Flam, and Henri Matisse Paper Cut-outs, by Jack Cowart, Jack D. Flam, Dominique Fourcade, and John Hallmark Neff). New York Times Book Review, June 4, 1978, pp. 12, 42–43. Reprinted in Motherwell 2007, pp. 312–14.
 
Letter to Edward Henning, October 18, 1978, regarding the Surrealists in New York. Printed in Motherwell 1992, pp. 228–31. Partially reprinted in Kaiser 1995, pp. 112–13; Danto 1999, pp. 22–23, 24, 27, 28–30.
 
Statement presented when works were given to the University of Salamanca, Spain, and the University of Coimbra, Portugal (see W534 and W535). Handwritten manuscript, with a letter from Barbara Probst Solomon about the conference, Dedalus Foundation Archives.
 
1979
 
“Foreword” and “Footnotes.” In Robert Motherwell: Prints, 1977–1979 (exhibition catalogue). New York: Brooke Alexander, 1979. Partially reprinted in Mattison 1981, p. 201.
 
“Presentation to I. M. Pei of the Gold Medal for Architecture.” Proceedings, no. 30 (1979): pp. 34–35. Several handwritten drafts and typescripts with handwritten annotations by Motherwell, Dedalus Foundation Archives.
 
Interview with Motherwell, New School for Social Research, November 17, 1977. In Barbaralee Diamonstein, “Inside New York’s Art World: An Interview with Robert Motherwell” (revised and abridged). Partisan Review 46, no. 3 (1979): pp. 376–90. (See Diamonstein 1979b.) Complete and abridged transcripts, Dedalus Foundation Archives. Reprinted in Diamonstein 1979a, pp. 239–53; Fundación Juan March exh. cat. 1980, n.p. (Spanish translation); Arnason 1982, pp. 227–31. Partially reprinted in Cook et al. 1983, pp. 29, 30; Hasiotis 1983, n.p.; Bannon 1984a, p. 37; Duffy 1984, pp. 92, 93; Tarzan 1984, sec. E, pp. 1, 12; Bell Gallery, Brown University, exh. cat. 1985, p. 74; Mattison 1988, p. 174; Mackie 1989, pp. 170, 177, 187, 190; Flam 1991, p. 26; Robertson 1991, p. 25; Wilkin 1991, pp. 725, 727; Breslin 1993, p. 153; Craven 1996, p. 28; Danto 1999, pp. 15, 23, 24, 31; Tieken 2000, n.p.; Cateforis 2000–2001, p. 7; Marter 2007, p. 76. (Short form used in catalogue raisonné entries: Motherwell in Diamonstein 1979b.)
 
“The International World of Modernist Art, 1945–1960” (May 1979). Art Journal 39, no. 4 (summer 1980): pp. 270–71. Reprinted in Motherwell 1992, pp. 234–35; Motherwell 2007, pp. 317–18.
 
Presentation of award to Erick Hawkins. In “Dancemagazine Awards 1979: Erick Hawkins, Aaron Copland, Jorge Donn; Regency Hotel, March 19, 1979.” Dancemagazine 53, no. 6 (June 1979): pp. 56–57. Reprinted in Motherwell 2007, pp. 315–16.
 
“Excerpts from a Public Lecture and a Conversation with Students” (transcript of a lecture and discussion with students at Von der Mehden Recital Hall, William Benton Museum of Art, University of Connecticut, Storrs, April 5–6, 1979). In Robert Motherwell & Black (exhibition catalogue), compiled by Stephanie Terenzio, edited by Hildegard Cummings, pp. 125–31, 134, 140, 142–47. Storrs, Conn.: William Benton Museum of Art, 1980. Partially reprinted in Motherwell 1992, pp. 227–28; Hemenway 1986, p. 38; Kaiser 1995, pp. 126–27; Belgrad 1998, pp. 110, 122; Scott and Rutkoff 1999, p. 305; Tieken 2000, n.p.; Caws 2003, p. 178. Transcript and recording on compact disc, Dedalus Foundation Archives.
 
Letter to Edward Henning, May 15, 1979, regarding Surrealism. Printed in Motherwell 1992, pp. 231–33.
 
Interviews with Motherwell by Robert S. Mattison, Greenwich, Conn., June 6 and December 11, 1979. Partially printed in Mattison 1987, p. 7; Flam 1991, p. 12; Caws 1996b, p. 86.
 
Letter to Robert S. Mattison, August 20, 1979, regarding an early draft of Mattison’s article “The Emperor of China: Symbols of Power and Vulnerability in the Art of Robert Motherwell during the 1940s” (see Mattison 1982). Partially printed in Mattison 1982, pp. 9, 10.
 
Interview with Motherwell, August 28, 1979. In Deborah Forman, “The Boston Magazine Interview: Robert Motherwell.” Boston Magazine 72, no. 7 (July 1980): pp. 55–69. (See Forman 1980.) Partially reprinted in Leonard 1991, p. 10. Transcript, Dedalus Foundation Archives.
 
Letter to Robert S. Mattison, September 5, 1979, answering Mattison’s questionnaire about his artistic influences. Partially printed in Mattison 1982, p. 11.
 
Interview with Motherwell; includes statement on Blue Music (C477). In Debbie Forman, “The Light in Robert Motherwell’s Art: Artist Uses P’town Colors in His Work.” Cape Cod Times, September 10, 1979, pp. 13, 20. (See Forman 1979.) Partially reprinted in Forman 1983, p. 13; Forman 1991a, sec. E, p. 8. (Short form used in catalogue raisonné entries: Motherwell in Forman 1979.)
 
1980
 
“Fabrication”; “Execution”; “Presentation”; “Conception”; “Preparation” (with Robert Bigelow, John Scofield, and E. A. Carmean Jr.); “Revision” (with E. A. Carmean Jr.); “Conclusion”; and “Reconciliation.” Chapters in Reconciliation Elegy, edited by E. A. Carmean Jr. Geneva: Editions d’Art Albert Skira; New York: Rizzoli International, 1980. (See Carmean 1980.) Undated typescript, Gallery Archives, National Gallery of Art, Records of the Curatorial Departments, Modern and Contemporary Art, unprocessed box 7442. Partially reprinted in Paire 1981, p. 223; Seperata (Seville, Spain), nos. 5–6 (spring 1981): pp. 13–17 (Spanish translation); Polcari 1991, pp. 318–19; Careri 1992, pp. 17–18, 19–20; Caws 1996b, pp. 57, 59, 63; Richardson 2001, pp. 253, 254. (Short form used in catalogue raisonné entries: Motherwell in Carmean 1980.)
 
Interviews with Motherwell by Robert S. Mattison, Greenwich, Conn., January 23, March 9–10 and 21, April 2–4, May 21, and June 5–6, 1980. Partially printed in Mattison 1981, pp. 198, 200, 201; Mattison 1985a, pp. 90, 92, 93; Mattison 1988, pp. 171, 172, 176. Partially reprinted in Breslin 1993, p. 180.
 
Statement on the exhibition Motherwell, at Centro Cultural de la Caixa de Pension, Barcelona, 1980. In Grace Glueck, “Art People: Merge, No. Collaborate, Yes.” New York Times, January 25, 1980, sec. C, p. 18. (See Glueck 1980.)
 
Letter to Brandon Taylor, February 20, 1980, regarding his relationship with Harold Rosenberg. Typescript, Dedalus Foundation Archives. Partially printed in Mattison 1985b, p. 188.
 
Interview with Motherwell. In Jaime Soler, “Elegia española de un pintor Americano” (text in Spanish). Diario 16 (Madrid), April 17, 1980, p. 21. (See Soler 1980.)
 
Introduction (May 1980). In Face of the Artist: Photographs by Norma Holt (exhibition catalogue), n.p. Provincetown, Mass.: Provincetown Art Association and Museum, 1980. Handwritten draft and typescript, Dedalus Foundation Archives.
 
Interview with Motherwell by Dominique de Menil and Susan Barnes, May 10, 1980. Summary transcript, Susan Barnes’s Rothko Chapel Research Documentation for Act of Faith, 1964–1989, 01/28a, Menil Archive, Menil Collection, Houston.
 
Commencement address delivered at Rhode Island School of Design, May 24, 1980, and interview with Motherwell conducted in conjunction with the commencement. Partially printed in Moore 1980, p. 3.
 
Notes for a Joyce symposium. Prepared for a talk at the James Joyce Symposium, Provincetown, June 15, 1980. Original handwritten manuscript, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 319, 322 (reproduced on p. 320); Banach 1996, pp. 31, 33 (as “Manuscript for Joyce Symposium, 1980”; reproduced on p. 32).
 
Interview with Motherwell by Heywood Hale Broun. In “Robert Motherwell” (includes scenes of Rafael Alberti reading his poem “El Negro Motherwell” at the opening of Motherwell’s retrospective at Fundación Juan March in Madrid, 1980). CBS Sunday Morning, June 29, 1980. Film, Dedalus Foundation Archives. (See Filmography.)
 
Interview with Motherwell. In Barbara Catoir, “The Artist as a ‘Walking Eye’: Fragen an Robert Motherwell” (text in English and German). Pantheon 38, no. 3 (July–August–September 1980): pp. 281–89, 304. (See Catoir 1980.) Partially reprinted in Brooker 1989, pp. 63, 65.
 
“A Note by the Artist: On Collaboration,” August 1980. In The Painter and the Printer: Robert Motherwell’s Graphics, 1943–1980, by Stephanie Terenzio and Dorothy Belknap, p. 9. 1st ed. New York: American Federation of Arts, 1980. (See Terenzio and Belknap 1980.)
 
Letter to Yve-Alain Bois, October 13, 1980, regarding Piet Mondrian. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 238–40. Partially reprinted in Danto 1993, p. 38; Morizot 2004, p. 254 (French translation).
 
Interview with Motherwell by Betty Fiske and Rita Albertson, Greenwich, Conn., December 11, 1980, on his use of materials and thoughts on conservation. Transcript, Dedalus Foundation Archives.
 
1981
 
Unpublished foreword (ca. 1981) for Rafael Alberti, Robert Motherwell: El Negro, preface by Jack Flam (Bedford Village, N.Y.: Tyler Graphics, 1983. (See Alberti 1983.) Handwritten draft and typescript, Dedalus Foundation Archives.
 
Journal entry on abstraction, ca. 1981. (Motherwell intended to expand this manuscript and present it at a conference of psychoanalysts, the specific details of which are unknown.) Handwritten manuscript on three pages of drawing paper, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 325–26.
 
Letter to Robert C. Hobbs, March 16, 1981; includes discussion of a possible book of Motherwell’s collected writings. Typescript, Dedalus Foundation Archives.
 
Statement on his reasons for turning down a governmental post. In Grace Glueck, “Motherwell Turns Down Post on U.S. Arts Panel.” New York Times, May 20, 1981, sec. C, p. 25. (See Glueck 1981.)
 
Letter to Guy Scarpetta, June 1, 1981. In Guy Scarpetta, “Picasso par Robert Motherwell” (text in French). Art Press International (Paris) 50 (July–August 1981): pp. 10–11. (See Scarpetta 1981.) Several handwritten drafts and typescripts with handwritten annotations by Motherwell, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 241–45.
 
Eulogy for Tony Smith, Metropolitan Museum of Art, New York, October 19, 1981. Original typescript with handwritten annotations, Dedalus Foundation Archives. Printed in French as “In Memoriam: Anthony Smith,” translated by Guy Scarpetta, Art Press International (Paris) 57 (March 1982): p. 50. Reprinted in Motherwell 1992, pp. 245–46; Motherwell 2007, pp. 323–24.
 
Interview with Motherwell by Phyllis Tuchman, Greenwich, Conn., December 15, 1981. Transcript, Archives of American Art, Smithsonian Institution.
 
1982
 
“A Note by the Artist on the Second Edition,” and notes to the plates. In Robert Motherwell, by H. H. Arnason, introduction by Dore Ashton, interview by Barbaralee Diamonstein, pp. 7, 104–225. 2nd ed. New York: Abrams, 1982. (See Arnason 1982.) Partially reprinted in Manthorne 1990, p. 66; Mattison 1990, p. 182; Flam 1991, p. 19; Caws 1996b, pp. 101, 111; Danto 1999, p. 24; Tieken 2000, n.p.; Caws 2003, p. 121. (Short form used in catalogue raisonné entries: Motherwell in Arnason 1982.)
 
Letter to Virginia Dortch, January 26, 1982, regarding Motherwell’s comments in an interview in October 1971 on Art of This Century. Typescript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, pp. 247–48 (as “Letter to Virginia Dorazio”); Dortch 1994, pp. 102–3.
 
Letter to Bruce Grenville, February 4, 1982, regarding the influence of Henri Matisse on his work. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 249–51.
 
Interview with Motherwell, February 12, 1982. In Bruce Hooton, “How It All Happened: Motherwell Remembers” (1st part), Art/World 6, no. 6 (February 22–March 22, 1982): pp. 1, 9; “What We Wanted to Do: Motherwell Remembers” (2nd part), Art/World 6, no. 7 (March 22–April 22, 1982): pp. 1, 9. (See Hooton 1982.)
 
Interview with Motherwell. In Phil Patton, “Robert Motherwell: The Mellowing of an Angry Young Man.” Artnews 81, no. 3 (March 1982): pp. 70–76. (See Patton 1982.) Partially reprinted in Brooker 1989, pp. 63, 65.
 
Interview with Motherwell by Barbara Flug Colin, June 9, 1982. Transcript with handwritten annotations, Dedalus Foundation Archives. Partially printed in Barbara Flug Colin, “An Interview with Robert Motherwell,” Evergreen Review, no. 122 (March 2010): p. 1.
 
Interview with Motherwell by Stephen McClymont, June 16, 1982. Transcript with handwritten annotations, Dedalus Foundation Archives.
 
Interview with Motherwell by Jeffrey Potter, Provincetown, August 19, 1982, regarding Jackson Pollock. In To a Violent Grave: An Oral Biography of Jackson Pollock, by Jeffrey Potter, pp. 69–70, 71, 74, 77–78, 86, 99, 113, 118, 127, 149, 152, 161, 173, 185, 199, 211, 219, 220, 227, 277, 278. New York: G. P. Putnam’s Sons, 1985. Partially reprinted in Ward 1998, p. 37. Transcript, original audiotape and digital transfer, Pollock-Krasner House and Study Center.
 
“Reflections on Abstract Art,” August 20, 1982. Address presented at the University of Munich, Germany, November 18, 1982, on the occasion of the inaugural exhibition of a room dedicated to Motherwell’s work at the Bavarian State Museum of Modern Art. Outline and draft with handwritten annotations by Motherwell, Dedalus Foundation Archives. Outline and section titled “On Modernism” printed in Motherwell 2007, pp. 327–30; outline in Banach 1996, p. 33 (reproduced on p. 32). Partially reprinted in Maier and Steingräber 1983, pp. 388–92 (German translation, as “Gedanken über abstrakte Kunst”).
 
Interview with Motherwell, Provincetown, August 27, 1982, regarding Peggy Guggenheim. In Peggy Guggenheim Collection, Venice, the Solomon R. Guggenheim Foundation, by Angelica Zander Rudenstine, pp. 583, 799. Foreword by Peter Lawson-Johnston; preface by Thomas M. Messer. New York: Harry N. Abrams, in association with Solomon R. Guggenheim Foundation, 1985. (See Rudenstine 1985.)
 
Letter to Ann Louise Coffin McLaughlin, September 29, 1982, regarding his foreword to William C. Seitz’s Abstract Expressionist Painting in America (see Seitz 1983). Printed in Motherwell 1992, pp. 252–53.
 
Interview with Motherwell. In Michael Brenson, “Motherwell in Munich.” New York Times, September 10, 1982, sec. C, p. 16. (See Brenson 1982.)
 
Interview with Motherwell. In Helen A. Harrison, “Five Leading Artists Exert a Powerful Force on Art Today.” Sunday Advocate (Stamford, Conn.), October 17, 1982, sec. E, p. 1. (See Harrison 1982.)
 
“Remarks.” In “On the Occasion of the 150th Anniversary of the Yale University Art Gallery” (brochure for proceedings at Yale University, October 30, 1982; speakers included Robert Motherwell, Alan Shestack, Henry J. Heinz II, A. Bartlett Giamatti), pp. 17–24. New Haven, Conn.: Yale University, 1982. Reprinted in Motherwell 1992, pp. 259–62.
 
Interview with Motherwell. In Paul Gardner, “Will Success Spoil Bob and Jim, Louise and Harry?” Artnews 81, no. 9 (November 1982): pp. 102–9. (See Gardner 1982.)
 
Statement on two emerging contemporary artists (Richard Fishman and Laura Newman). In Grace Glueck, “The Artists’ Artists.” Artnews 81, no. 9 (November 1982): pp. 96–97.
 
Interview with Motherwell for the film David Smith: Steel into Sculpture. Directed by Jay Freund for Cort Productions; narrated by Dustin Hoffman; produced by Karen Lindsay. Santa Monica, Calif.: Direct Cinema Limited, 1983. VHS. Transcript with annotations by Motherwell, December 8, 1982, Dedalus Foundation Archives.
 
“With Robert Motherwell.” Interview with Jack D. Flam, November 5, 1982. In Robert Motherwell (exhibition catalogue), by Dore Ashton and Jack D. Flam, pp. 9–27. New York: Abbeville Press, in association with Albright-Knox Art Gallery, 1983. Recording on tape transferred to compact disc, Dedalus Foundation Archives. Partially reprinted in Duffy 1984, p. 92; Fowler 1984, sec. A, p. 15; Regan 1984, sec. Review, p. 12; Richard 1984, sec. D, pp. 1, 12–13; Silverman 1984, p. 31; Gaugh 1985, p. 75; Rosand 1985, p. 93; Hemenway 1986, p. 42; Brooker 1989, p. 64; American Art 1991, p. 70; Flam 1991, pp. 8, 10–11, 13, 16, 18, 24–25; Glueck 1991, sec. B, p. 9; Wilkin 1991, p. 725; Caws 1996b, pp. xi, 89, 92, 123; Tieken 2000, n.p.; Cateforis 2000–2001, p. 9; Museu d’Art Contemporani de Barcelona exh. cat. 2001, p. 58; Richardson 2001, pp. 243, 253, 259. (Short form used in catalogue raisonné entries: Motherwell in Albright-Knox Art Gallery exh. cat. 1983.)
 
1983
 
“Foreword.” In Abstract Expressionist Painting in America, by William C. Seitz, pp. xi–xiv. Cambridge, Mass.: Harvard University Press, in association with National Gallery of Art, Washington, 1983. Reprinted in Motherwell 1992, pp. 254–58; Motherwell 2007, pp. 331–35. Partially reprinted in Knight 1984, sec. E, p. 3; Kimball 1985, p. 38; Gibson 1997, p. 221; Sandler 2009, p. 23.
 
Blurb for Dore Ashton, About Rothko. New York: Oxford University Press, 1983.
 
Interview with Motherwell, February 18, 1983. In Edward J. Sozanski, “An Artist Who Is a Giant of His Time.” Philadelphia Inquirer, February 27, 1983, sec. I, pp. 1, 13. (See Sozanski 1983.)
 
Letter to Nathan Halper, May 19, 1983, regarding James Joyce and Franz Kafka. Partially printed in Forman 1983, p. 13; Ryan 1983, p. 12; Advocate Summer Guide 1983b, p. 3. Typescript, Dedalus Foundation Archives.
 
Interviews with Motherwell by Stephanie Terenzio, June 30, July 13, 22–23, August 24, September 7, November 1, 1983; January 11 and 25, 1984, November 17, 1984; August 24, 1985; and May 4, 1986, for an unrealized memoir. Transcript, Dedalus Foundation Archives. Partially reprinted in Terenzio 1992; Dumas 2001, p. 111.
 
“A Collage for Nathan Halper in Nine Parts,” eulogy for Nathan Halper, August 12, 1983. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 267–69.
 
Letter to Glen MacLeod, September 21, 1983, regarding the connections between poems by Wallace Stevens and Abstract Expressionist painting. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 269–70.
 
Letter to Jack Beatty, senior editor of Atlantic Monthly, October 6, 1983, responding to a request for Motherwell to contribute an essay to the magazine. Printed in Motherwell 1992, pp. 271–72. Partially reprinted in Danto 1993, p. 37; Huntington 1993, p. 8.
 
Interview with Motherwell. In Anthony Bannon, “The Motherwell Secret to Creating of Appreciating Art: A Good Eye.” Buffalo News, November 13, 1983, sec. E, pp. 1, 5. (See Bannon 1983c.)
 
“Introduction for Gabriella Drudi Lecture at Cooper Union,” December 7, 1983. For Gabriella Drudi’s lecture, “The Act in Search of the Actor.” Typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives.
 
1984
 
Interview with Motherwell. In Constance W. Glenn, “Architectural Digest Visits: Mr. and Mrs. Robert Motherwell.” Architectural Digest 41, no. 1 (January 1984): cover, pp. 84–91. (See Glenn 1984.)
 
Statement by Motherwell on the importance of Paul Goodman’s short story “The Emperor of China,” Possibilities 1, winter 1947–48, for The Emperor of China, P68 (made in a telephone conversation with Ann Eden Gibson, January 11, 1984). In Abstract Expressionism: Other Politics, by Ann Eden Gibson, p. 15. New Haven, Conn.: Yale University Press, 1997. (See Gibson 1997.) (Short form used in catalogue raisonné entries: Motherwell in Gibson 1997.)
 
Interview with Motherwell by Barbara Flug Colin, February 14, 1984. Transcript, Dedalus Foundation Archives.
 
“Introduction: A Note on Robert Osborn” (March 1984). In Osborn on Conflict: 40 Brush Drawings by Robert Osborn, by Robert Osborn, pp. 2–3. Cambridge, Mass.: Carpenter Center for the Visual Arts, Harvard University, 1984. Typescript, with handwritten annotations, Dedalus Foundation Archives.
 
Interview with Motherwell and Kenneth E. Tyler by Heywood Hale Broun. “Tyler Graphics Printing” (segment on Ken Tyler’s print studio, Tyler Graphics). CBS Sunday Morning, March 4, 1984. Film, Dedalus Foundation Archives. (See Filmography.)
 
Interview with Motherwell about his garden. In “An Artist’s Garden.” Photographs by Duane Michals. Vanity Fair 47, no. 8 (August 1984): pp. 78–83. (See Vanity Fair 1984.)
 
Statement on the Long Point Gallery. In Grace Glueck, “ ‘Family’ Revived Art on Cape Cod: 13 Founded Top Gallery 7 Years Ago.” New York Times, August 1, 1984, sec. C, p. 17. (See Glueck 1984a.) Partially reprinted in Myers 1993, sec. 2, p. 8.
 
Letter to Christian Leprette, August 5, 1984, regarding Pierre Chareau. Printed in Motherwell 1992, pp. 273–76.
 
Interview with Motherwell by Martin Friedman, Walker Art Center, September 21, 1984, in conjunction with the exhibition Painting and Sculpture since 1945, at Walker Art Center, Minneapolis, 1984. Partially printed in The Prints of Robert Motherwell (exhibition catalogue; text in English and Japanese translation; Fukushima, Japan: Center for Contemporary Graphic Art and Tyler Graphics Archive Collection, 1995), n.p.
 
Letter to “Partisan Review,” September 24, 1984, regarding the fiftieth anniversary of the publication. Unpublished typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives.
 
“Animating Rhythm.” In “Was Jackson Pollock Any Good?” (editorial symposium). Art & Antiques, October 1984, p. 87. Reprinted in Motherwell 2007, p. 339.
Interview with Motherwell. In Grace Glueck, “The Mastery of Robert Motherwell.” New York Times, December 2, 1984, sec. Magazine, pp. 68–72, 74, 76, 78, 80, 82, 86. (See Glueck 1984b.) Partially reprinted in Bell Gallery, Brown University, exh. cat. 1985, p. 12;
 
Glueck 1991, sec. A, p. 1, sec. B, p. 9; Hartford Courant 1991, sec. A, p. 13; Herald Wire Services 1991, p. 65; Koch 1991, sec. A, p. 9; Cateforis 2000–2001, p. 7.
 
Interview with Motherwell on the retrospective at the Solomon R. Guggenheim Museum, New York, 1984; includes a discussion of Chi Ama, Crede (P224). In Amei Wallach, “Motherwell’s Savage Muse.” New York Newsday, December 5, 1984, pt. 2, pp. 4–5. (See Wallach 1984b.) Partially reprinted in Wallach 1984a, sec. F, pp. 1, 5. (Short form used in catalogue raisonné entries: Motherwell in Wallach 1984b.)
 
“Kafka’s Visual Recoil: A Note (for Dore Ashton).” Partisan Review 51, no. 4, and 52, no. 1 (1984–85): pp. 751–54. Lecture presented at the seminar “Kafka Unorthodox,” at Cooper Union, New York, March 19, 1983. Original draft titled “Kafka’s Visual Alert: A Note,” Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 263–66; Motherwell 2007, pp. 336–38.
 
1985
 
Blurb for Matti Megged, Dialogue in the Void: Beckett & Giacometti. New York: Lumen Books, 1985.
 
Interview with Motherwell, includes statement on How to Dance Sitting Down (C690). In Gerald Perry, “Pulling Together the Pieces of Motherwell’s Classic Modernism.” Chicago Tribune, January 27, 1985, sec. 13, pp. 20–21. (See Perry 1985.) (Short form used in catalogue raisonné entries: Motherwell in Perry 1985.)
 
“On Modernism in Art.” Lecture presented in conjunction with the exhibition Flying Tigers: Painting and Sculpture in New York, 1939–1946, at Sayles Hall, Brown University, Providence, R.I., May 2, 1985. Partially reprinted in Gray 1985, sec. C, p. 4.
 
Interview with Motherwell. In James A. Revson, “Razing the Roof Where Motherwell Once Lived.” New York Newsday, June 6, 1985, pt. 3, pp. 4–5. (See Revson 1985.) Partially reprinted in Gordon 2001, pp. 49, 53.
 
Interview with Motherwell by Alastair Gordon, June 22, 1985. In Weekend Utopia: Modern Living in the Hamptons, by Alastair Gordon, p. 50. New York: Princeton Architectural Press, 2001. (See Gordon 2001.) Partially reprinted in Gordon 2007, pp. 134, 136, 138, 140.
 
Interview on the relationship between psychoanalysis and art, summer 1985. In Samuel G. Freedman, “How Inner Torment Feeds the Creative Spirit.” New York Times, November 17, 1985, sec. 2, p. 22. (See Freedman 1985.)
 
Statement on Stanley Kunitz at the opening of the exhibition Tribute to Stanley Kunitz, at Long Point Gallery, Provincetown, Mass. In Gerald C. Fraser, “Exhibition Pays Tribute to Kunitz.” New York Times, July 15, 1985, sec. C, p. 18. (See Fraser 1985.)
 
Statement on Motherwell’s Quonset hut house designed by Pierre Chareau. In James Brooke, “Trend-Setting Quonset Hut Is Demolished on L.I.” New York Times, August 3, 1985, p. 26. (See Brooke 1985.)
 
“Mr. Motherwell’s Acceptance.” Colony News (MacDowell Colony, Peterborough, N.H.) 15, no. 1 (fall 1985): pp. 3–4. (See Colony News 1985.) Partially reprinted in McGill 1985a, sec. C, p. 16; McGill 1985b, p. 7; Kutner 1991, sec. A, p. 18.
 
Statement. In Paul Gardner, “When Is a Painting Finished?” (editorial symposium). Artnews 84, no. 9 (November 1985): p. 94. Reprinted in Motherwell 2007, pp. 340, 342. (Short form used in catalogue raisonné entries: Motherwell in Gardner 1985.)
 
“Music Is the Human Soul without Excess Baggage.” In The Painter’s Music: The Musician’s Art. New York: Solomon R. Guggenheim Museum, 1985. Program for a musical performance by An Die Musik, The Painter’s Music: The Musician’s Art, with collaborators Helen Frankethaler, David Hockney, Robert Motherwell, and Kenneth Noland, Solomon R. Guggenheim Museum, New York, November 17, 1985.
 
Letter to Arthur Berger, December 10, 1985, regarding his year in Paris (1938–39) and the use of sheet music in his collages. Typescript, Dedalus Foundation Archives.
 
Letter to Bryan Robertson, December 10, 1985, regarding Face of the Night (for Octavio Paz) (P1024) and The Hollow Men (P1063). Typescript, Dedalus Foundation Archives.
 
1986
 
Interview with Motherwell on aging and the creative process. In Nan Robertson, “Artists in Old Age: The Fires of Creativity Burn Undiminished,” New York Times, January 22, 1986, pp. C1, C10.
 
Collection of quotes by Motherwell recorded over the course of thirty years in B. H. Friedman’s journals, from January 17, 1957–February 26, 1986. In B. H. Friedman, “Robert Motherwell: Excerpts from the Journals of B. H. Friedman.” Provincetown Arts 8 (1992): pp. 35–39.
 
Interview with Motherwell by Sigmund Koch and Jack Flam in Greenwich, Conn., May 12 and 13, 1986; conducted for the Aesthetics Research Archive at Boston University; Jack Flam participated on May 13. Unpublished videotape and partial transcript, Dedalus Foundation Archives. (See Filmography.)
 
Interview with Motherwell. In Gayle Hemenway, “Robert Motherwell: A Celebration.” Stamford Magazine (Stamford University Alumni Magazine) 14, no. 2 (summer 1986): pp. 36–43. (See Hemenway 1986.)
 
“Philosophy and Abstract Expressionism: A Painter’s Palette,” Harvard Graduate Society Newsletter, winter 1987, pp. 6–7. First presented as a lecture, “On Not Becoming an Academic,” at the panel “Tradition and Innovation: The Realms of Scholarship,” at Harvard University, Cambridge, Mass., September 4, 1986. Original typescript and draft, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 278–80; Motherwell 2007, pp. 343–44. Partially reprinted in Tieken 2000, n.p.; Morizot 2004, p. 252 (French translation). (Short form used in catalogue raisonné entries: Motherwell 1987.)
 
“A Personal Recollection.” Lecture presented at the symposium “The Effects of the Spanish Civil War on Arts and Letters in Spain and the United States of America” at the Spanish Institute, New York, October 25, 1986; moderated by John Brademas; participants included Christopher Maurer, Gert Schiff, and Robert Motherwell. Handwritten outline of topics, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 346–50. Partially printed in Banach 1996, p. 35.
 
Interview with Motherwell. In Meredith L. Welch, “Robert Motherwell: Reflects On the Journey That Brought Him Here.” Greenwich News, December 11, 1986, sec. 3, pp. 1, 3–4. (See Welch 1986.)
 
1987
 
Interview with and letters to Constance Glenn during the year 1987. In Robert Motherwell: The Dedalus Sketchbooks, by Constance Glenn and Jack Glenn, n.p. New York: Harry N. Abrams, 1988. (See Glenn and Glenn 1988.)
 
Blurb for Arthur C. Danto, The State of the Art. New York: Prentice Hall, 1987. (See Danto 1987.)
 
“Aspects of Modernism.” Panel discussion with Motherwell held in conjunction with the traveling exhibition Robert Motherwell: The Collaged Image at the Boston Athenaeum, January 15, 1987; moderated by Jack Flam; participants included Varujan Boghosian, Arthur Berger, and Robert Motherwell. Partially broadcast on Ten o’Clock News with Christopher Lydon and Gail Harris, WGBH Boston, Channel 2, January 30, 1987. Videotape and digital transfer, Dedalus Foundation Archives. (See Filmography.)
 
Interview with Motherwell by Jade Dellinger, June 2, 1987. Transcript with handwritten annotations by Motherwell, Dedalus Foundation Archives.
 
Letter to David Hopkins, June 23, 1987, regarding Max Ernst and Piet Mondrian. Draft with handwritten annotations by Motherwell and typescript, Dedalus Foundation Archives.
 
Interview with James E. B. Breslin, Greenwich, Conn., June 30 and July 4, 1987. Transcripts of interviews and handwritten notes by Breslin, James E. B. Breslin research archive on Mark Rothko, 1900–1994, Research Library, Getty Research Institute, accession no. 2003.M.23.
 
Interview with Motherwell. In Monique Brunet-Weinmann, “Robert Motherwell a Provincetown: Une Interview avec Monique Brunet-Weinmann” (text in French). Vie Des Arts 32, no. 128 (September–autumn 1987): pp. 40–41. (See Brunet-Weinmann 1987.)
 
“Introduction for Octavio Paz.” Address delivered at Poetry Center, 92nd Street Y, New York, October 4, 1987. Printed in Motherwell 1992, pp. 281–82.
 
“Surrealism and the Modernist Condition.” Lecture and discussion with Arthur Danto hosted by Aldrich Museum of Contemporary Art, Ridgefield, Conn., November 1, 1987. Transcript with minor handwritten annotations by Motherwell, Dedalus Foundation Archives. Partially published as “Excerpts from a Dialogue between Robert Motherwell and Arthur C. Danto at the Aldrich Museum of Contemporary Arts, parts 1 and 2.” Videotape. Greenwich, Conn.: ArtsAmerica, 1987. (See Filmography.)
 
1988
 
Letter to Glen MacLeod, January 19, 1988, regarding Wallace Stevens. Typescript, Dedalus Foundation Archives. Partially printed in MacLeod 1993, p. xxv.
 
Interview with Motherwell, Greenwich, Conn., January 28, 1988. In L’Atelier de Robert Motherwell (film in English and French). VHS. Directed by Benoît Jacquot. France: I.N.A., with the assistance of Centre National de la Cinématographie; FR3; and La Sept, 1988. Film, Dedalus Foundation Archives. (See Filmography.)
 
Interview with Motherwell by Catherine Mosley. In Christopher Busa, ed., “The Painter and the Printer: Robert Motherwell & Catherine Mosley.” Provincetown Arts 4 (1988): pp. 10–15. (See Busa 1988.)
 
Afterword (May 1988). In Eye to Eye: The Camera Remembers; Portrait Photographs by Renate Ponsold, by Renate Ponsold, introduction by Dore Ashton, p. 113. New York: Hudson Hills Press, 1988.
 
Interview with Motherwell. In Ann Lloyd, “One Man and His Art: Robert Motherwell.” Cape Cod Antiques & Arts, July 1988, pp. 16–19. (See Lloyd 1988c.) Partially reprinted in Busa 1991, p. 14.
 
Interview with Motherwell, July 12–13, 1988. In The Ulysses Etchings of Robert Motherwell, by David Hayman, pp. 11–26. San Francisco: Arion Press, 1988. Partially reprinted in Motherwell 1992, pp. 283–89; Hayman 1989, pp. 585, 586, 587, 588, 590, 591, 593–94, 597, 600, as “An Artist’s Odyssey: A Master of Abstraction Illuminates James Joyce’s Literary Monument.” Art & Antiques 6, no. 11 (February 1989): pp. 72–77; Kaiser 1995, p. 133; Galerie Bernd Klüser exh. cat. 2001, pp. 40–47.
 
Interview with Motherwell by Richard Kaplan, Provincetown, August 22, 1988. Transcript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Parts of this interview were included in The Exiles, directed by Richard Kaplan (New York: Richard Kaplan Productions; The Exiles Project, 1989). Broadcast on Thirteen/WNET on September 24, 1989. Videotape and digital transfer, Dedalus Foundation Archives. (See Filmography.)
 
Nomination of Jasper Johns to the American Academy of Arts and Letters, September 1988. Handwritten draft and typescript, Dedalus Foundation Archives. Printed in Motherwell 2007, p. 351; Banach 1996, p. 37 (illustration of draft on p. 36).
 
Letter to Jeanne Bultman, October 19, 1988, regarding the work of her husband, Fritz Bultman. Typescript, Dedalus Foundation Archives. Partially printed as “A Tribute to Fritz,” in Fritz Bultman: A Retrospective, by April Kingsley and Irving Sandler (New Orleans: New Orleans Museum of Art, 1993), p. 6. Reprinted in Firestone 1994, p. 12.
 
Letter to Ted Lindberg, October 19, 1988, regarding Gordon Onslow-Ford and Roberto Matta. Printed in Motherwell 1992, pp. 290–91.
 
“Dialogue with Robert Motherwell and Dore Ashton.” Discussion held in conjunction with the exhibition Robert Motherwell: The Dedalus Sketchbook and Other Works in the Joycean Mode, at the Great Hall, Cooper Union, New York, November 21, 1988; moderated by Dore Ashton. Transcript, Dedalus Foundation Archives; taped recording of interview audio-tape, Dedalus Foundation Archives.
 
1989
 
Notes to the plates. In Robert Motherwell, by Marcelin Pleynet, translated by Mary Ann Caws, pp. 62–212. 1st ed. Paris: Daniel Papierski, 1989. (See Pleynet 1989b.) Partially reprinted in Poesia y Poética 1990, pp. 32–35 (Spanish translation); Mattison 1985b, pp. 110–11; Pleynet 1998, pp. 94, 97.
 
Interviews with Motherwell, August 29, September 11, 1989, in Provincetown; and October 8, 1990, and May 10, 1991, in Greenwich, Conn. “Chapter 6: Five Interviews with Robert Motherwell.” In Robert Motherwell: What Art Holds, by Mary Ann Caws, pp. 170–99. New York: Columbia University Press, 1996. Transcript, Dedalus Foundation Archives.
 
Interviews with Motherwell, January 27, September 30, and November 27, 1989. Partially printed in Jack Flam, Motherwell, pp. 10, 14, 19. Barcelona: Galeria Joan Prats, 1991.
 
Interview with Motherwell by David Hayman, artist’s studio, Greenwich, Conn., May 23–29, 1989. Transcript, Dedalus Foundation Archives.
 
Interview with Motherwell, July 12–13, 1988, “An Artist’s Odyssey: A Master of Abstraction Illuminates James Joyce’s Literary Monument.” Art & Antiques 6, no. 11 (February 1989): pp. 72–77. (Short form used in catalogue raisonné entries: Motherwell 1989.)
 
Interview with Motherwell. In Marcelin Pleynet, “Robert Motherwell” (text in French). Beaux Arts, no. 72 (October 1989): pp. 70–75, 177. (See Pleynet 1989a.)
 
Interview with Motherwell. In Robert Enright, “The Monumental Diarist: An Interview with Robert Motherwell.” Border Crossings 8, no. 4 (November 1989): pp. 7–17. (See Enright 1989.) (Short form used in catalogue raisonné entries: Motherwell in Enright 1989.)
 
Interview with Motherwell by Jack Flam. Presented as part of the 92nd Street Y’s “Artists’ Visions” fall lecture series, held at the Solomon R. Guggenheim Museum, New York, November 8, 1989. Audio file on compact disc, Dedalus Foundation Archives.
 
Interview with Motherwell on the importance of music in his art. In Tova Navarra, “ ‘Hearing’ Motherwell at Montclair: Artist Creates a Musical Canvas.” Asbury Park Press, December 17, 1989, sec. F, pp. 1, 12. (See Navarra 1989.)
 
Excerpts of an interview with Motherwell, Greenwich, Conn. In Guy Scarpetta, “Une Journée dans la vie de Robert Motherwell” (text in French). Globe (Paris), no. 43 (December 1989–January 1990): pp. 114–18.
 
1990
 
Interview with Motherwell. In Joy L. Haenlein, “Subconscious Art: Robert Motherwell.” Advocate and Greenwich Time, January 14, 1990, sec. D, pp. 1–2. (See Haenlein 1990a.) Reprinted in Haenlein 1990b, sec. 1, p. 8. Partially reprinted in Haenlein 1991, sec. A, pp. 1, 6.
 
Letter to Mary Ann Caws, May 1, 1990, regarding Caws’s analysis of his work in Robert Motherwell: What Art Holds (see Caws 1996b). Typescript, Dedalus Foundation Archives. Printed in Caws 1996b, pp. 201–2.
 
Letter to Montague Ullman, May 1, 1990, regarding his dreams and his recent collages. Typescript with handwritten annotations by Motherwell. Montague Ullman Papers, copy in the Dedalus Foundation Archives.
 
Interview with Motherwell. In Douglas Martin, “At Home with Robert Motherwell.” New York Times Magazine, June 3, 1990, sec. 6, pt. 2, p. 70. (See Martin 1990.)
 
1991
 
Letter to Philipe Sollers, director of L’Infini, February 26, 1991. In L’Infini, no. 35 (autumn 1991): pp. 127–28.
 
Interview with Motherwell by Dodie Kazanjian. In “The Decisive Decade,” introduction by Rosamond Bernier. Vogue, no. 181 (March 1991): p. 382. (See Vogue 1991.)
 
“Leo Manso” (March 1991). In Leo Manso: Collage & Assemblage; Selected Works, 1981–1991 (exhibition catalogue), n.p. New York: Stuart Levy Gallery, 1991. Reprinted in Leo Manso: A Retrospective of Four Decades, 1952–1992 (exhibition brochure; New York: Art Students League of New York, 1992), n.p.
 
Statement on the Long Point Gallery. In Cindy Nickerson, “Culture Club: Lower Cape Gallery Stars Eclectic Group of Artists.” Cape Cod Times, June 15, 1991, p. 5. (See Nickerson 1991.)
 
Interview with Motherwell. In Betty Tyler, “Artist in His Studio.” Fairpress, June 20, 1991, sec. D, pp. 1, 3–4. (See Tyler 1991b.)
 
Statement. In Christopher Busa, “Long Point Gallery: Thirteen Ways of Looking at an Artist.” Provincetown Art 7 (1991): pp. 4–15, 143–47. (See Busa 1991.)
 
Interview with Motherwell by Teresa del Conde, Greenwich, Conn., “Last Interview: Fragmentos de una entrevista con Robert Motherwell,” July 12, 1991. Conducted for inclusion in the exhibition catalogue for Robert Motherwell: The Open Door, Museo Rufino Tamayo, Mexico City, 1991. Typescript in Spanish, Dedalus Foundation Archives.
 
Interview with Motherwell for the film Robert Motherwell and the New York School: Storming the Citadel American Masters. Directed by Catherine Tatge; narrated by Robert Motherwell and Jonathan Epstein. New York: Tatge/Lasseur Productions; International Cultural Programming, in association with Thirteen/WNET, 1991. Broadcast on Thirteen/WNET, August 19, 1991. Film and first draft of the script with annotations by Motherwell, September 8, 1987, Dedalus Foundation Archives. (See Filmography.) Partially printed in Koch 1991, sec. A, pp. 1, 9; Kramer 1991b, sec. 2, p. 20; Leonard 1991, pp. 10, 11; Seidel 1991, p. 15; Van Siclen 1991, sec. D, pp. 1, 5; Walker Art Center exh. cat. 1996, n.p.; Tieken 2000, n.p.
BOOKS EDITED BY ROBERT MOTHERWELL
 
DOCUMENTS OF MODERN ART
 
Motherwell was director and founding editor of the series. In addition to selecting the subjects that were included, editing the texts, and overseeing the translations of foreign texts, Motherwell often wrote prefatory notes or introductions to the volumes. The series is numbered chronologically, except for numbers 8–11, which were disrupted by the delayed publication of The Dada Painters and Poets.
 
Apollinaire, Guillaume. The Cubist Painters: Aesthetic Meditations, 1913. Documents of Modern Art 1. Translated by Lionel Abel; preface by Robert Motherwell. New York: Wittenborn, 1944. “Preliminary Notice,” by Robert Motherwell. 2nd rev. ed., New York: Wittenborn, Schultz, 1949.
 
Mondrian, Piet. Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943. Documents of Modern Art 2. Preface by Motherwell; introduction by Harry Holtzman. New York: Wittenborn, Schultz, 1945. 2nd printing (text augmented), New York: Wittenborn, Schultz, 1947 (updated preface by Motherwell).
 
Moholy-Nagy, László. The New Vision. Documents of Modern Art 3. Revised version of a 1928 translation by Daphne M. Hoffman. Introduction and obituary by Walter Gropius. New York: Wittenborn, 1946. 4th rev. ed., New York: Wittenborn, Schultz, 1949.
 
Sullivan, Louis H. Kindergarten Chats and Other Writings. Documents of Modern Art 4. Edited by Isabella Athey. New York: Wittenborn, Schultz, 1947.
 
Kandinsky, Wassily. Concerning the Spiritual in Art and Painting in Particular. Documents of Modern Art 5. Translated by Michael Sadleir and Ralph Manheim; essays by Nina Kandinsky, Julia Feininger, Lyonel Feininger, and Stanley William Hayter. New York: Wittenborn, Schultz, 1947. New footnotes and additions by Kandinsky.
 
Arp, Jean (Hans). On My Way: Poetry and Essays, 1912–1947. Documents of Modern Art 6. “Prefatory Note” by Robert Motherwell; translated by Ralph Manheim; bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1948.
 
Ernst, Max, et al. Max Ernst: Beyond Painting and Other Writings by the Artist and His Friends. Documents of Modern Art 7. “Prefatory Note” by Robert Motherwell; translated by Dorothea Tanning and Ralph Manheim; bibliography and biography by Bernard Karpel. New York: Wittenborn, Schultz, 1948.
 
Kahnweiler, Daniel-Henry. The Rise of Cubism. Documents of Modern Art 9. “Preliminary Notice,” by Robert Motherwell; compiled by Bernard Karpel; translated by Henry Aronson. New York: Wittenborn, Schultz, 1949.
 
Raymond, Marcel. From Baudelaire to Surrealism. Documents of Modern Art 10. “Preliminary Notice” by Motherwell; “Mallarmé and Painting” (appendix), by Daniel-Henry Kahnweiler; introduction by Harold Rosenberg; bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1949. Translated by G. M. from 1947 rev. ed. of the 1933 French text.
 
Duthuit, Georges. The Fauvist Painters. Preface by Robert Motherwell; translated by Ralph Manheim; bibliography by Bernard Karpel. Documents of Modern Art 11. New York: Wittenborn, Schultz, 1950.
 
Motherwell, Robert, ed. The Dada Painters and Poets: An Anthology. Documents of Modern Art 8. Preface and introduction by Robert Motherwell; translated by Ralph Manheim et al.; bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1951. 2nd ed., 1981.
 
PROBLEMS OF CONTEMPORARY ART
 
Motherwell was director of this series, also published by Wittenborn, Schultz, which was intended as “an open forum for 20th century artists, scholars, and writers, the word ‘art’ being taken in the broadest sense.” This series was meant to complement the Documents of Modern Art series, which consisted largely of previously published texts.
 
Paalen, Wolfgang. Form and Sense. Problems of Contemporary Art 1. New York: Wittenborn, 1945.
 
Read, Herbert. The Grass Roots of Art. Problems of Contemporary Art 2. New York: Wittenborn, 1947.
 
Dorner, Alexander. The Way beyond Art: The Work of Herbert Bayer. Problems of Contemporary Art 3. Introduction by John Dewey. New York: Wittenborn, Schultz, 1947. Possibilities 1: An Occasional Review. Problems of Contemporary Art 4. Edited by John Cage, Pierre Chareau, Robert Motherwell, and Harold Rosenberg. New York: Wittenborn, Schultz, 1947–48.
 
Vantongerloo, Georges. Paintings, Sculptures, Reflections. Problems of Contemporary Art 5. Preface by Max Bill. New York: Wittenborn, Schultz, 1948.
 
MODERN ARTISTS IN AMERICA
 
Motherwell, Robert, Ad Reinhardt, and Bernard Karpel, eds. Modern Artists in America: First Series. Bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1951. Cover design by Motherwell.
 
THE DOCUMENTS OF TWENTIETH CENTURY ART
 
A continuation of the Documents of Modern Art published under a new name. This series was first published by Viking Press (New York) from 1971 to 1978, as The Documents of 20th-Century Art, with Motherwell as general editor, Arthur A. Cohen as managing editor, and Bernard Karpel as documentary editor. From 1980 to 1993, the series was published by G. K. Hall (Boston) as The Documents of Twentieth Century Art, with Motherwell and Jack Flam as general editors. After Motherwell’s death in 1991, Jack Flam continued as general editor, and the series moved to the University of California Press in 1995.
 
Cabanne, Pierre. Dialogues with Marcel Duchamp. Translated by Ron Padgett; introduction by Robert Motherwell; preface by Salvador Dalí; appreciation by Jasper Johns; selected bibliography by Bernard Karpel. New York: Viking Press, 1971.
 
Kahnweiler, Daniel-Henry, with Francis Cremieux. My Galleries and Painters. Translated by Helen Weaver; introduction by John Russell; chronology and selected bibliography by Bernard Karpel. New York: Viking Press, 1971.
 
Apollinaire, Guillaume. Apollinaire on Art: Essays and Reviews, 1902–1918. Edited by LeRoy C. Breunig. New York: Viking Press, 1971.
 
Moore, Henry. Henry Moore on Sculpture. Edited by Philip James. New York: Viking Press, 1971.
 
Arp, Jean (Hans). Arp on Arp: Poems, Essays, Memories. Edited by Marcel Jean. New York: Viking Press, 1972.
 
Picasso, Pablo. Picasso on Art: A Selection of Views. Edited by Dore Ashton. New York: Viking Press, 1972.
 
Lipchitz, Jacques, with H. Harvard Arnason. My Life in Sculpture. New York: Viking Press, 1972.
 
Léger, Fernand. Functions of Painting. Edited by Edward F. Fry. New York: Viking Press, 1973.
 
Apollonio, Umbro, ed. Futurist Manifestos. New York: Viking Press, 1973.
 
Kandinsky, Wassily, and Franz Marc, eds. The Blaue Reiter Almanac. New York: Viking Press, 1974. Documentary editor Klaus Lankheit.
 
Bann, Stephen, ed. The Tradition of Constructivism. New York: Viking Press, 1974.
 
Ball, Hugo. Flight out of Time: A Dada Diary. Edited by John Elderfield. New York: Viking Press, 1974.
 
Huelsenbeck, Richard. Memoirs of a Dada Drummer. Edited by Hans J. Kleinschmidt. New York: Viking Press, 1974. Paperback, with foreword by Rudolf Kuenzli. Berkeley and Los Angeles: University of California Press, 1991.
 
Reinhardt, Ad. Art as Art: The Selected Writings of Ad Reinhardt. Edited by Barbara Rose. New York: Viking Press, 1975.
 
Bowlt, John C., ed. Russian Art of the Avant-Garde: Theory and Criticism, 1902–1934. New York: Viking Press, 1976.
 
Delaunay, Robert, and Sonia Delaunay. The New Art of Color: The Writings of Robert and Sonia Delaunay. Edited and with an introduction by Arthur A. Cohen. New York: Viking Press, 1978.
 
Jean, Marcel, ed. The Autobiography of Surrealism. New York: Viking Press, 1980.
 
Motherwell, Robert, ed. The Dada Painters and Poets: An Anthology. Preface and introduction by Robert Motherwell; foreword by Jack D. Flam. 2nd ed. Boston: G. K. Hall, 1981. (Paperback edition, Cambridge, Mass.: Belknap Press of Harvard University Press, 1989.)
 
Kandinsky, Wassily. Kandinsky: Complete Writings on Art. 2 vols. Edited by Kenneth C. Lindsay and Peter Vergo. Boston: G. K. Hall, 1982.
 
Duchamp, Marcel. Notes. Edited by Paul Matisse; preface by Anne d’Harnoncourt. Boston: G. K. Hall, 1983.
 
Mondrian, Piet. The New Art—The New Life: The Collected Writings of Piet Mondrian. Edited and translated by Harry Holtzman and Martin S. James. Boston: G. K. Hall, 1986.
 
Miró, Joan. Joan Miró: Selected Writings and Interviews. Edited by Margit Rowell. Boston: G. K. Hall, 1986. Reprint, New York: Viking Press, 2003.
 
UNPUBLISHED BOOK
 
Brenson, Theodore, Herbert Matter, and Robert Motherwell, eds. Maquette for an unpublished book, which was to have been distributed by the Third National Conference on UNESCO, 1951. Museum of Modern Art Archives, New York. (This is the only known copy of the maquette.)
 
FILMOGRAPHY
This list includes films, television appearances, and interviews.
 
“Modern Art: Four Artists of Hunter College Talk about Their Work.” Panorama, Du Mont Television Network. February 13, 1954. With Motherwell, William Baziotes, Henry Kahn, and Richard Lippold. Interviewed by Edna Wells Luetz; narrated by Bill O’Toole.
 
“The World of Contemporary Art,” May 17, 1959. David Susskind’s Open End, WNTA-TV, New York. With Motherwell, René d’Harnoncourt, Emily Genauer, Lloyd Goodrich, Roy Neuberger, Lee Nordness, and Ben Shahn. Exhibition: 14 American Painters. CBS-TV, national broadcast, March 10, 1963. With Motherwell, James Brooks, Barnett Newman, Hans Hofmann, Stuart Davis, Larry Rivers, Elaine de Kooning, Robert Rauschenberg, Andy Warhol, and Claes Oldenburg.
 
“Art: New York—Motherwell” (interview with the artist). With Bryan Robertson. WNDT-13, December 15, 1964. Museum of Modern Art Film Study Center, New York.
 
“Wednesday Review.” WNDT-Channel 13, New York. First broadcast March 23, 1966. The exhibition J.M.W. Turner: Imagination and Reality at the Museum of Modern Art is discussed by Motherwell, Hilton Kramer, Monroe Wheeler, and others.
 
“Artists Display Work with an Anti-Daley Theme,” 1968. WCIU-TV, Channel 26, Chicago. Never broadcast. With reporter David Burrington. Includes statement with Motherwell about the exhibition Richard Daley at the Richard Feigen Gallery, Chicago, October 23–November 23, 1968.
 
Robert Motherwell: Summer of 1971. Directed by Michael Blackwood and Christian Blackwood; with Robert Motherwell. New York: Blackwood Productions, 1973. First broadcast in 1972 on a “German television network” (per Art Museum, Princeton University, exh. cat. 1973). Includes scenes of the artist’s studios in Greenwich, Conn., and in Provincetown, Mass.; and scenes of the artist at Tatyana Grosman’s print studio, Universal Limited Art Editions.
 
Painters Painting: The New York Art Scene, 1940–1970; A Film by Emile de Antonio (includes interview with the artist). Directed by Emile de Antonio and Mary Lampson; prologue by Philip Leider; with Willem de Kooning, Barnett Newman, Frank Stella, Jasper Johns, Robert Rauschenberg, Jackson Pollock, Philip Pavia, Andy Warhol, Kenneth Noland, Hans Hofmann, Jules Olitski, Motherwell, Larry Poons, Tom Hess, Hilton Kramer, Robert Scull, Leo Castelli, William Rubin, Philip Leider, Henry Geldzahler, and Helen Frankenthaler. New York: Mystic Fire, 1972. The interviews are published in De Antonio and Tuchman 1984.
 
The New York School. Directed by Michael Blackwood; narrated by Barbara Rose; with Maxim Gorky, Adolph Gottlieb, Hans Hofmann, Franz Kline, Willem de Kooning, Lee Krasner, Motherwell, Barnett Newman, Jackson Pollock, Ad Reinhardt, Mark Rothko, Clyfford Still, Jack Tworkov, Clement Greenberg, and Harold Rosenberg. New York: Michael Blackwood Productions, 1972. Includes interview with the artist and important scenes of the artist’s studios in Greenwich, Conn., and in Provincetown, Mass.
 
The Challenge … A Tribute to Modern Art, 1974. Written, produced, and directed by Herbert Kline. Commentary written by Pierre Schneider. Narrated by Orson Welles. Featuring Picasso, Braque, Matisse, Chagall, Di Chirico, Miró, Calder, Richter, Ernst, Dalí, Kandinsky, Soulages, Wou-Ki, Pollock, de Kooning, Motherwell, Léger, Giacometti, Bacon, Masson, Lipchitz, Moore, Caro, Nevelson, Mazu, Noguchi, Agam, Riley, Da Silva, Bearden, Duchamp, Lichtenstein, Segal, Ono Lennon, Beuys, Oldenburg. Includes interview with Motherwell and footage of the artist painting Elegy to the Spanish Republic No. 124 (P650).
 
An Interview with Robert Motherwell. By Christopher Crosman, filmed at the artist’s studio in Provincetown, Mass., September 3, 1975. [Produced by the Albright-Knox Art Gallery, Buffalo.]
 
Omnibus: Art USA: New York Real, New York Abstract. First broadcast October 3, 1977. BBC-TV. With Robert Hughes, Ralph Fasanella, and Motherwell. Includes interview with Motherwell in his Greenwich studio, May 14, 1977.
 
“Motherwell: Rêve et Réalité” (Dream and Reality). ZIG-ZAG. First broadcast September 19, 1977. Directed by Yves Kovacs and Teri Wehn-Damisch. France 2.
 
Inside New York’s Art World: Robert Motherwell. Interview with Motherwell by Barbaralee Diamonstein, New School for Social Research, New York, November 17, 1977. VHS and digital transfer, Diamonstein-Spielvogel Video Archive, Rare Book, Manuscript, and Special Collections Library, Duke University.
 
Skyline: After Matisse. WNET-Channel 13, New York. First broadcast January 2, 1979. Motherwell et al. discuss the influence of Henri Matisse on their work.
 
L’Aventure de L’art Moderne. “Part 8: The American Abstraction.” Directed by Carlos Vilardebo. France 3. First broadcast August 4, 1979. Features interview with Motherwell recorded in Provincetown, summer 1978.
 
The Shock of the New: Part 6, The View from the Edge. Written and narrated by Robert Hughes. Produced by David Cheshire. Series Produced by Laura Pegram. BBC-TV Productions in association with Time-Life Films and RM Productions, Munich. First broadcast October 26, 1980. Features footage of Motherwell working on collages discussing the Elegy to the Spanish Republic series.
 
“Robert Motherwell,” interview with Robert Motherwell by Heywood Hale Broun. CBS Sunday Morning, June 29, 1980. Includes scenes of Rafael Alberti reading his poem El Negro Motherwell at the opening of Motherwell’s retrospective at Fundación Juan March in Madrid, 1980.
 
David Smith: Steel Into Sculpture. 1983. Directed by Jay Freund for Cort Productions. Produced by Karen Lindsay. Narrated by Dustin Hoffman. Direct Cinema Limited. Includes excerpts of interview with Motherwell, December 8, 1982.
 
“Tyler Graphics Printing” (segment on Ken Tyler’s print studio, Tyler Graphics), interview with Motherwell by Heywood Hale Broun. CBS Sunday Morning, March 4, 1984.
 
Interview with Motherwell by Sigmund Koch and Jack Flam at the artist’s studio in Greenwich, Conn., May 12 and 13, 1986 (conducted for the Aesthetics Research Archive at Boston University; Jack Flam participated on May 13). Dedalus Foundation Archives.
 
“Excerpts from a Dialogue between Robert Motherwell and Arthur C. Danto at the Aldrich Museum of Contemporary Arts, parts 1 and 2,” interview with Motherwell by Arthur C. Danto. Greenwich, Conn.: ArtsAmerica, 1987. The film is of a conversation between the artist and Arthur C. Danto entitled “Surrealism and the Modernist Condition,” held at the Aldrich Museum of Contemporary Arts November 1 and 2, 1987, as part of the series “Issues on Modernism and the Postmodern Condition.”
 
Segment on The Ten O’Clock News about Motherwell and the exhibition Robert Motherwell: The Collaged Image shown at the Boston Athenaeum (includes an excerpt from an interview with the artist, January 15, 1987; and shots of the works installed). By Christopher Lydon. WGBH Boston, January 30, 1987.
 
L’Atelier de Robert Motherwell (in English and French). Interview with Motherwell at the artist’s studio in Greenwich, Conn. Directed by Benoît Jacquot. Paris: I.N.A., with the assistance of Centre National de la Cinématographie; FR3; and La Sept, 1988.
 
The Exiles (includes interview with artist in Provincetown, Mass.). Thirteen/WNET. First broadcast on September 24, 1989. Directed by Richard Kaplan; narrated by Arthur Cunningham and Sabine Thomson; with Josef Albers, Hannah Arendt, Hans Bether, Bruno Bettleheim, Bertolt Brecht, Ernest Dichter, Alfred Eisenstaedt, Max Ernst, Hanna Gray, Walter Gropius, Hans Jonas, Fritz Lang, Erich Leinsdorf, Jacques Lipchitz, Thomas Mann, Herbert Marcuse, Franco Modigliani, Motherwell, Erwin Piscator, Hans Sahl, Arnold Schoenberg, Rod Steiger, Leo Strauss, Edward Teller, Kurt Weill, Billy Wilder, and Helen Wolff. New York: Richard Kaplan Productions; The Exiles Project, 1989.
 
Robert Motherwell/Rafael Alberti: A La Pintura. Directed by Michael Blackwood; with Motherwell, Don Steward, Tatyana Grosman, and Rafael Alberti. New York: Blackwood Productions, 1989.
 
“Robert Motherwell” (obituary; includes an excerpt from an interview with the artist that aired in 1985 on MacNeil/Lehrer). MacNeil/Lehrer Newshour, PBS, July 17, 1991.
 
Robert Motherwell and the New York School: Storming the Citadel. Directed by Catherine Tatge; narrated by Motherwell and Jonathan Epstein; with Motherwell, William Rubin, Henry Geldzahler, Matta Echaurren, Jack Flam, Dore Ashton, Barnett Newman, Philip Pavia, David Smith, Jackson Pollock, Sidney Janis, Hugh O’Donnell. New York: Tatge/Lasseur Productions; International Cultural Programming, in association with Thirteen/WNET, 1991. Thirteen/WNET. First broadcast on August 19, 1991.
 
“Ken Tyler,” with Liu Thai Ker, Ken Tyler, Sanjot Kaur Sekhon, and Roy Lichtenstein. “Printmaking,” episode 15 of Artitude, 1996. Includes shots of the print exhibition Beyond Print: Masterworks from the Ken Tyler Collection, at the Lasalle-Sia College of the Arts, Singapore, 1996, which included prints by Motherwell. Dedalus Foundation Archives.
Writings by the Artist and Filmography
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