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Guide to the New School mural commissions documentation, 1931-2010

Collection Overview


New School Collections

Collection Identifier



The New School Art Collection.


New School mural commission documentation, 1931-2010


1.5 linear ft: 3 boxes; 2 DVDs

Language of Materials note

Primarily in English.

Preferred Citation note

[Identification of item], [date (if known)], The New School Mural Collection, NS.03.05.01, box __, folder __, The New School Archives and Special Collections, The New School, New York, New York.

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Biographical Notes


Thomas Hart Benton
Born in 1889 in Neosho, Missouri, Thomas Hart Benton (1889-1975) chose to follow a career in art, rather than politics, where his father and great-uncle had achieved prominence. Benton studied at the Art Institute of Chicago for two years, left for Paris, and moved to New York in 1913, where his work began displaying the principles of modernism that he had absorbed in Paris. He continued to paint in this mode until entering the U.S. Navy during World War I. There he spent two years drawing realistic sketches and illustrations, forever abandoning modernism in favor of a more naturalistic depiction of his subjects. Between 1920 and 1924, Benton traveled throughout the American South and Midwest, drawing and painting. By the end of the decade, he had become known as a leading American Regionalist artist. Benton left New York City in 1935 and moved to Kansas City, Missouri, where he lived for the rest of his life. In addition to the New School commission, Benton received many commissions for murals for public buildings, including the Missouri State Capitol and the Truman Library in Independence, Missouri. He had just completed a mural for the Country Music Foundation in Nashville, Tennessee, at the time of his death, in 1975. (Based on biography provided by the Phillips Collection, Washington D.C.)
Camilo Egas
Camilo Egas (1889-1962) was born in Quito, Ecuador. He studied art there and later in Rome and Madrid. After returning from Europe in 1926, Egas played a pivotal role in founding the Indigenist Movement in Ecuador. Egas was deeply interested in anthropology and archeology, and Andean themes and the struggles of indigenous people remained the focus of his art throughout his life. He also launched Ecuador’s first art periodical, Helice. From 1932 until his death in 1962, Egas taught at the New School. In 1935, he was appointed director of the Art Workshops and, later, director of the Art Department. Egas worked in various styles throughout his career, beginning with Social Realism, later incorporating Surrealism and Neo-Cubism, and finally Abstract Expressionism. In 1939, he made a mural for the Ecuadorian Pavilion of the New York World's Fair, and in the following decades he exhibited his works in Caracas, Quito and New York.
Gonzalo Fonseca
Gonzalo Fonseca (1922-1997) was born in Montevideo, Uruguay. After studying architecture, he became involved with the influential workshop of artist and educator Joaquín Torres-García, who had established a school, El Taller Torres-García, in Montevideo, Uruguay in the 1930s. The school, founded upon similar principles as the Bauhaus, started a movement of abstract art that swept throughout South America. After years of traveling and working on archaeological sites in Peru, Bolivia, Greece, Syria and elsewhere, Fonseca received a Guggenheim Fellowship in 1957 and settled in New York City with his wife, Elizabeth Kaplan, daughter of New School board member and philanthropist, Jacob M. Kaplan. After his first public commission at the New School, Fonseca completed numerous commissions in New York City, including a mosaic mural at Queens Medical Center and a sculpture in an experimental park program in the Bronx--both since lost. Fonseca's first solo exhibition was organized in the Portland Art Museum in 1962, followed by another at the Jewish Museum of New York in 1970, and several exhibitions in his gallery, the Arnold Herstand Gallery, in New York, during the 1980s and 1990s. Fonseca was selected to represent Uruguay in the 1990 Venice Biennial. Fonseca died in 1997 in his studio in Seravezza, Italy.
José Clemente Orozco
José Clemente Orozco (1883-1949), alongside Diego Rivera and David Alfaro Siqueiros, was a leading member of the Mexican muralist public art movement. Orozco came to exert great influence not only in Mexico and Latin America, but also in the United States. Orozco received his first mural commission in 1923, in Mexico, joining the mural program that was initiated at the end of the ten-year agrarian revolution in Mexico. The movement was based upon a belief in public art as a way to educate and motivate people to participate in forging a new Mexican national and cultural identity. Orozco moved to the United States in 1927. He completed three public commissions while in the U.S.: "Prometheus" at Pomona College, 1930; the New School commission, completed January 1931; and "Epic of American Civilization," commissioned by Dartmouth College, completed 1934. Orozco returned to Mexico in 1935, where he went on to complete many more public works, including the celebrated "Man of Fire" in the Hospicio Cabanas in Guadalajara. Orozco died in Mexico in 1949.
Michel Cadoret
Michel Cadoret de l'Epineguen (1912-1985) was born in Paris, France. He studied for three years at l'Ecole des Beaux Arts in Paris, and later traveled to Germany, Egypt, South America and the West Indies. His first exhibition took place in 1938 at the Musée de la France-Outre Mer in Paris. While serving in the French Army, Cadoret was captured by the Germans in 1940. He escaped, joined the Free French forces in North Africa, and took part in the Normandy Invasion as a liaison officer. In 1946, Cadoret recieved the French government's Prix de Voyage and created lithographs that were used to illustrate a number of books. In 1948, Cadoret's work traveled across the United States as part of the exhibition, "France Comes to You." Cadoret spent three years working in Mexico in the village of Erongaricuaro. In 1954 and 1955, his tapestries, woven in Aubusson, were exhibited along with his paintings, at a homecoming show in Paris at the Galerie Furstenberg. Cadoret's work is owned by museums in France, the United States and South America.
Timeline of New School mural commissions
1930 Thomas Hart Benton receives commission from New School--receives no payment except expenses (including eggs, with which he mixed his tempera paint).
José Clemente Orozco is offered mural commission; donates the work, paid only for expenses.
1932 Camilo Egas is invited to paint mural directly outside dance studio on the lower level of 66 West Twelfth Street; receives no payment.
1931 The school’s new building at 66 West Twelfth Street, designed by Joseph Urban, opens to broad acclaim.
Late 1940s The boardroom in which Benton's murals line the walls is used increasingly as classroom, making "America Today" vulnerable to damage.
1950s Responding to accusations of Communist sympathies, New School administrators hang curtain in front of the portion of the Orozco murals that depicts Lenin and Stalin.
Eventually student and faculty protests lead to the removal of the curtain.
1956 Benton returns to New York to clean and restore "America Today."
1957 Gonzalo Fonseca receives $6,000 to create work for lobby of addition at 66 West Twelfth Street.
1959 Unveiling of two murals by Michel Cadoret, "Welcome" and "Cooperation," in New School's List building, 65 West Eleventh Street.
Early 1960s Camilo Egas dies; "Ecuadorian Festival" remains in basement location, suffering a long period of neglect.
1968 Benton returns for another campaign of cleaning and restoration; he receives an honorary degree from the New School.
1982 Determining "America Today" too expensive to maintain, New School decides to sell it.
1984 Citywide effort keeps "America Today" in New York; Equitable Life acquires mural.
1985 Workers renovating third floor reception area at 65 West Eleventh Street find Cadoret's mural, "Welcome," behind a wall.
1986 Equitable displays newly-restored "America Today" in midtown headquarters lobby.
1987 Orozco murals are deteriorating due to age and use of the room; discussions are underway to move the frescoes to Mexico.
1988 Energetic campaign raises funds for restoration of Orozco murals by Williamstown Conservation Lab, ensuring that the murals remain at the New School.
1995 Restoration completed on Orozco mural cycle; Orozco Room is dedicated as principal meeting place for Board of Trustees.
1996 "America Today" relocates with AXA Equitable to 1290 Avenue of the Americas.
Circa 2000 A wall is erected in front of the Egas mural.
2006 Wall in front of Egas mural is removed; mural is properly stored for safe keeping.
Cadoret mural is discovered in boiler room of 66 West Twelfth Street; it is beyond repair; the other mural is missing.
2010 "Reimagining Orozco" exhibition opens at New School; the Orozco mural cycle is discovered anew by New School students and faculty.
2011 "Ecuadorian Festival" is restored and featured in the New School exhibition, "(re)Collection."
Following the exhibition, Egas's mural is returned to 66 West Twelfth Street, where it is installed prominently in the first floor lobby.
2012 AXA Equitable donates "America Today" murals to Metropolitan Museum of Art.

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Scope and Contents note

The collection consists of documentation about five artists and the works they created for the New School at its flagship building at 66 West 12th Street, and for later additions to the building. The materials here were gathered and produced by the curators of the New School Art Collection. Materials include correspondence, photographs, documentation of restoration efforts, exhibition catalogs, and promotional materials.

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Organization and Arrangement

Arranged alphabetically by artist in five series:

  1. Thomas Hart Benton
  2. Michel Cadoret
  3. Camilo Egas
  4. Gonzalo Fonseca
  5. José Clemente Orozco


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Administrative Information

Publication Information

New School Collections - 2016 Jun 27

66 Fifth Avenue
New York, NY, 10011

Preferred Citation note

[Identification of item], [date (if known)], The New School Mural Collection, NS.03.05.01, box __, folder __, The New School Archives and Special Collections, The New School, New York, New York.

Access Restrictions

Collection is open for research use. Please contact archivist@newschool.edu for appointment.

Use Restrictions

To publish images of material from this collection, permission must be obtained in writing from the New School Archives and Special Collections. Please contact: archivist@newschool.edu.

Immediate Source of Acquisition

Transferred from the New School Art Collection.

Processing Information note

Most of the biographical and mural commission information in this collection guide was researched and compiled by student fellows for the Parsons School of Design's Curatorial Design Research Lab in October 2015: Fernando do Campo, Sinead Petrasek and Agnes Szanyi.

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Related Materials

A set of photographs documenting the unveiling of the Cadoret mural will be found in the New School Photograph Collection (NS.04.01.01). Correspondence concerning the Fonseca mural will be found in the university President's Office records.

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Keywords for Searching Related Subjects

Corporate Name(s)

  • New School (New York, N.Y.).
  • The New School Art Collection.

Personal Name(s)

  • Benton, Thomas Hart, 1889-1975
  • Cadoret, Michel, 1912-1985
  • Egas, Camilo, 1889-1962
  • Fonseca, Gonzalo, 1922-1997
  • Orozco, José Clemente, 1883-1949


  • Art collections.
  • Mural painting and decoration.
  • Restoration (process).
  • Universities and colleges -- New York (State) -- New York.

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Other Finding Aids note

For selected item-level description and images from the The New School Mural Collection, see The New School Archives Digital Collections at http://digitalarchives.library.newschool.edu/index.php/Detail/collections/NS030501.

Extensive contemporary publicity for the Orozco and Benton murals will be found in the New School Publicity Scrapbooks. See http://digitalarchives.library.newschool.edu/index.php/Detail/collections/NS030101


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Collection Inventory

Series I. Thomas Hart Benton 1931-2012 

Link to selected images from this series.  

While living in New York City in the 1920s, Thomas Hart Benton had been seeking an opportunity to paint a large-scale mural and found his opportunity in 1930 for the New School's flagship building designed by Austrian architect Joseph Urban. At the time, wall space being more valuable than monetary compensation to Benton, he told New School president Alvin Johnson, “I’ll paint you a picture in tempera if you finance the eggs.” A sweeping, cinematic narrative of American life, the epic ten-panelled mural cycle installed in the boardroom, depicts scenes of industry, labor and leisure from city street to farmland. The "America Today" murals cemented Benton's career and began an art movement known as Regionalism. The Depression years polarized public opinion and Benton’s murals, initally lauded for their authentic, gritty portrayal of American life, were later criticized for their naïveté and anti-intellectualism.

Benton returned to the New School several times to repair the murals. His last visit was in 1968. In 1982, the murals’ need for protection and conservation and their value as a source of much-needed revenue prompted the New School to sell the cycle to the Maurice Segoura Gallery, requiring that the panels be kept together. After searching for a local buyer for two years, the gallery indicated that they might need to separate the panels. The New School intervened and the situation attracted the support of Mayor Ed Koch, who campaigned to keep the murals in New York.

In 1984, the Equitable Life Assurance Society of the United States (now AXA) bought "America Today" and displayed the murals in their new corporate headquarters in midtown Manhattan. In 2012, AXA donated "America Today" to the Metropolitan Museum of Art in New York City, which celebrated the acquisition with a major 2014-2015 exhibition, "Thomas Hart Benton's 'America Today' Murals Rediscovered." As presented in the Met's exhibition, critical consensus now ranks "America Today" among Benton's most renowned works and as one of the most significant accomplishments in American art of the period.


Benton, Thomas Hart. “An American in Art: A Professional and Technical Autobiography.” Kansas Quarterly, Vol. I, No. 2 (Spring 1969).

Griffey, Randall R., Elizabeth Mankin Kornhauser and Stephanie L. Herdrich, Thomas Hart Benton’s America Today. New York: The Metropolitan Museum of Art, 2015, 9.

Braun, Emily, and Thomas Branchick. Thomas Hart Benton: The America Today Murals. New York: The Equitable Life Assurance Society of the U.S., 1985, 25.


Box Folder
General correspondence and promotion 
Clippings, 1931, 1960-1988 
1 1
Postcards, publicity materials and general correspondence, 1958-1984 

Includes correspondence about loan to the Neue Gesellschaft für die Bildende Kunst.

1 2
Prints, black and white (Photographer: Peter Juley & Son), 1930 
1 3
Transparencies, black and white 
1 4
Restoration and honorary degree 
Correspondence and honorary degree materials, 1951-1973 
1 5
Correspondence from Benton to the New School, 1953-1973 
1 5a
Clippings, 1968 
1 6
Photographs of Benton restoring "America Today" (Photographer: Peter Moore), 1968 
1 7
Transparencies of "America Today" in situ, probably 1960s 
1 8
Sale: Clippings, 1980-1984 
1 10
Sale: Correspondence, 1972-1984 
1 9
Student paper by R. G. Koskovich, 1981 
1 11

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Series II. Michel Cadoret 1959, 1985 

Two murals painted by Michel Cadoret were presented to the New School in 1959 by the Committee for the Commemoration of French-American Scholarship, in gratitude for establishing l'École Libre des Hautes Études at the New School. The École Libre offered academic positions to scholars fleeing Nazi-occupied France and Belgium. The mural, "Welcome," hung on the third floor in the student lounge of the List Building at 65 West Eleventh Street, and "Cooperation" hung on the second floor of the same building. The paintings were chosen by Jacques Lassagne, Galerie Charpentier d'École de Paris. In 1985, a construction crew on the third floor found "Welcome" beneath a wall. In 2006, the mural was found stored in a boiler room of the 66 West Twelfth Street building, and determined to be beyond repair. The location of the other mural is not known.

Box Folder
Two exhibition catalogs (circa 1957), announcement and New School Observer photocopy regarding discovery, 1957-1959, 1985 
1 12

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Series III. Camilo Egas 1932-2011 

Link to selected images from this series.  

In 1931, Alvin Johnson, president of the New School, commissioned Camilo Egas to paint a mural to hang in the wall outside the dance studio on the lower level of 66 West Twelfth Street, the school’s new modern building designed by Joseph Urban. Egas created "Ecuadorian Festival," a composition depicting a generic celebration that integrates dancers in native costumes from various regions of the country, privileging national unity over regional specificity. To a North American audience the scene would have appeared breathtakingly exotic. "Ecuadorian Festival" was favorably reviewed in the American Magazine of Art,  Art News, and the  New York Times, among others. After Egas died in 1962, "Ecuadorian Festival" languished for half a century in its original basement location. Around 2000, a wall was erected in front of the mural, evidently to protect it from damage.

The restoration of "Ecuadorian Festival" was completed in 2011 and the work was included in the exhibition, "(re)collection," at Sheila C. Johnson Design Center at the New School, June 16-September 7, 2011. This exhibition was curated by Silvia Rocciolo and Eric Stark, co-curators of the New School Art Collection, along with John Wanzel, and explored the relationship between art collections and their institutions. At the close of the exhibition, "Ecuadorian Festival" was installed prominently in the lobby of the 66 West Twelfth Street building.


Based in part on wall text by Michele Greet, "re(collection)" exhibition. curated by Silvia Rocciolo, Eric Stark, and John Wanzel, Sheila C. Johnson Design Center, the New School (June 16–September 7, 2011).

Greet, Michele. Beyond National Identity: Pictorial Indigenism as a modernist strategy in Andean art, 1920-1960. University Park, PA: The Pennsylvania State University Press, 2009.

Pérez, Trinidad. “Exoticism, Alterity and the Ecuadorean Elite: The Work of Camilo Egas.” In Images of Power: Iconography, Culture and the State in Latin America, edited by Jens Andermann, William Rowe. New York, Oxford: Berghahn Books: 2005.


Box Folder
Clippings and ephemera, 1933-1939, 1946 
1 13
Commemorative exhibition catalog and press release, 1963 
1 14
Correspondence with Banco Central (Museo Camilo Egas) and printed materials, 1983-1988 

Includes correspondence to and from Dean Allen Austill, President Jonathan Fanton, and curator Kathleen Goncharov.

1 15
Correspondence regarding conservation, 1983-1984, 1991-1998 

Includes correspondence with Dean Allen Austill, President Jonathan Fanton, Al Landa, and Paul Mocsanyi.

1 16-17
Photographic materials 
Caroline Tilden Bacon Room, black and white print (Photographer: Norman W. Chry), after 1931 
1 18
Ecuadorian Festival, black and white print (Photographer: Peter A. Juley & Son), 1932 

Image available online through Smithsonian American Art Museum.

1 19
Ecuadorian Festival: mural and sketch for mural, 35 mm color slides, after 1931 

Egas's sketch for Ecuadorian Festival may be in the New School Art Collection.

1 20
Egas in the Caroline Tilden Bacon Room, black and white print (Photographer: Joe Covello/Black Star), 1951 
1 21
Egas working on Ecuadorian Festival, black and white print (Photographer: Peter A. Juley & Son), 1932 
1 22
Self-Portrait and  Self-Portrait at Easel, black and white print and negative, 1955 

Image available online through Smithsonian American Art Museum.

1 23
Works other than New School murals, black and white prints, undated 

Includes "Harvesting Food in North America" (1934); "Fascismo" (1935), and later abstract works. Images available online through Smithsonian American Art Museum.

1 24
Postcards produced by the New School, after 1931 

Set of three images.

1 25

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Series IV. Gonzalo Fonseca 1959-1966 

In 1957, Gonzalo Fonseca was invited to submit a proposal and was later commissioned by New School president Hans Simons to create a site-specific work in the lobby of the new building expansion at 66 West Twelfth Street. The mural mosaic was one of Fonseca’s first public commissions in New York. Working in his studio between 1959 and 1961, Fonseca used Italian mosaic tiles. This is one of Fonseca's few mosaic works (he typically worked in media such as painting and woodcarving, and later became known for his stone carvings and large-scale sculpture). He received a fee of $6,000 from the New School for the commission.

Fonseca’s commission was an example of the New School’s commitment to representing Latin-American art. In 1960, the New School granted a two-year fellowship to another member of the Torres-García workshop, Augusto Torres. The same year, while working on the mosaic, Fonseca brought an exhibition of the members of El Taller Torres-García to the New School. To members of the New School community like Nicholas Birns, Fonseca’s mosaic served as an aesthetic indicator of a new era, “juxtaposing the fantastic and the real, the universal and the accidental.” The work greatly reflected the influence on Fonseca of Joaquín Torres-García and his concept of Universal Constructivism--“symbols within squares,” as Fonseca described it. The mosaic also reflects Fonseca’s interest in the memory embedded in Peruvian, Greek and Middle Eastern archeological sites, ancient cultures and written languages.


Birns, Nicholas. “Growing Up at The New School in the 1960s and 70s,” Council on Hemispheric Affairs, accessed Ocober 9, 2015 http://www.coha.org/growing-up-at-the-new-school-in-the-1960s-and-70s-2/.

Buzio del Torres, Cecilia. “The School of the South: El Taller Torres-García, 1943-1962.” In El Taller Torres-García: the School of the South and its Legacy, edited by Mari Carmen Ramírez. Austin: University of Texas Press, 1992, 110.

Perazzo, Nelly. “Constructivism and Geometric Abstraction.” In The Latin American Spirit : Art and Artists in the United States, 1920-1970, edited by Luis R. Cancel, 106-151. New York: Bronx Museum of the Arts in association with H.N. Abrams, 1988, 126.


Box Folder
Greeting card from Mr. and Mrs. Jack Everett featuring mural, after 1958 
1 26
Fonseca works in situ at the New School, black and white prints (Photographer: Peter Moore), 1965-1966, undated 
1 27

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Series V. José Clemente Orozco 1930-2010 

Link to selected images from this series.  

Completed in mid-January 1931, Orozco’s mural cycle, "Call to Revolution and Table of Universal Brotherhood," is a five part, socially-themed work created for the New School's building at 66 West Twelfth Street, designed in the International Style by Austrian architect Joseph Urban. The murals adorned the public dining room and an adjoining student lounge. In 2016 the murals remain, but the space, celebrated as the Orozco Room, is mainly used for special events. The mural cycle is the only surviving example of this Mexican fresco form in New York City.

Orozco's mural cycle expressed the values of the recent Socialist revolution in Mexico, from which Mexican Modernism was born, and fit into the vision of the New School's president, Alvin Johnson, who hoped that Urban's building would become a center for modernism, “broadly defined as artistic creativity, social research and democratic reform.” Seeking visibility, the painter proposed to donate the project for only the cost of expenses. Alvin Johnson wrote, “What could have been my feeling when Orozco, the greatest mural painter of our time, proposed to contribute a mural. All I could say was, ‘God bless you. Paint me the picture. Paint as you must. I assure you freedom.’”

Working in fresco, a technique of applying pigment onto freshly-prepared plaster, Orozco, working with his assistant, Lois Wilcox, had just forty-seven days to complete the murals. Five major works resulted: "Science, Labor, and Art" introduces the cycle (hallway); "Homecoming of the Worker of the New Day"; "Struggle in the Orient"; "Struggle in the Occident"; and "Table of Universal Brotherhood" (Orozco Room). The murals in the Orozco Room, two measuring some six feet by thirty feet, are interrupted only by the architectural details of doors and windows. His ultimate goal was to make the murals as much part of the life and function of the room as possible, suggesting a seamless relationship between contemporary mural art, architecture and daily life. As a member of the New York group, the Delphic Circle, Orozco embraced an ideal of universal brotherhood that reached "beyond politics and national interest, [and was] not limited by race, class, nation, or religion.”

The murals initially met with negative reviews. The public debate that followed (in part due to the depiction of an African-American seated at the head of the "Table of Universal Brotherhood") drew some 20,000 visitors in the first few months after the building opened. In the 1950s, at the height of the McCarthy era, the New School administration elected to cover the portion of the panel that depicted Lenin and Stalin with a yellow curtain. Ultimately, student and faculty protests persuaded the administration to restore the murals to their original state.

In 2010, after overseeing a major restoration of the mural cycle, the New School Art Collection curators created an exhibition and series of programs, "Re-Imagining Orozco," that included a new commission from artist Enrique Chagoya and responses to the original murals by New School students from across the university.


Rutkoff, Peter M. and William B. Scott. New School: A History of The New School for Social Research. London: Collier Macmillan; 1986.

Johnson, Alvin. Notes on The New School Murals. New York: The New School, 1941.

Dempsey, Ann. Mexican Muralists In Art since 1900: Modernism, Antimodernism, Postmodernism, edited by Hal Foster. New York: Thames & Hudson; 2004.

Coffey, Mary K., Sharon Lorenzo, Lisa Mintz Messinger, Stephen Polcari. Men of Fire: José Clemente Orozco and Jackson Pollock. Hanover, NH: Hood Museum of Art, Dartmouth College, 2012.


Box Folder
Correspondence, 1954-1995 
2 1-5
Clippings, 1949-1953, 1978-1980 
2 6
Clippings about exhibitions, 2002-2003 
2 7
Ephemera, 2008-2010 
2 8
Essays and background material, 1932-after 2002 

Includes photocopy of "The Murals at The New School for Social Research (1930-31)," essay by Diane Miliotes, probably from José Clemente Orozco in the United States, 1927-1934, Norton 2002.

2 9
Insurance appraisal, 2002 
3 1
Photographic materials 
Mural panel: "Table of Universal Brotherhood" 
PC disks 1 NS disk 004
Mural panels, black and white prints (Photographer: Peter A. Juley & Son), 1930-1931 [Images available online through Smithsonian American Art Museum] 
3 2
Mural panels and Orozco working on mural, probably 1930 
PC disks 1 NS disk 002
Mural panels and sketch for panel, color transparencies with editorial markings 
3 3
Mural panels, condition details, Orozco working and in situ, including a meeting taking place beneath the "Table of Universal Brotherhood," 35 mm color and black and white slides and CD, 1930 and after 1930 
3 4
Murals in situ, color transparencies, black and white and color prints, before 1929, 1990s, undated 

Includes black and white print of Orozco and Egas standing before Orozco's New School mural that may originate from the collection of the Smithsonian American Art Museum or Dartmouth College.

3 5-6
Murals in situ, post-conservation 
PC disks 1 NS disk 003
Pre- and Post-conservation treatment, mural details, 35 mm color slides, with notes and correspondence with the Williamstown Art Conservation Center, 1995-1996 
3 7
Pre-treatment murals, color transparencies, circa 1989 
3 8
Pre-treatment murals, black and white prints (Photographer: Williamstown Regional Art Conservation Laboratory), 1988 Nov 14 
3 9-10
Post-treatment murals, color transparencies and negatives, circa 1989 
3 11
Post-treatment murals, black and white prints (Photographer: Williamstown Regional Art Conservation Laboratory), 1989 Jan 24 
3 12
Restoration unveiling. black and white prints (Photographer: Stanley Seligson), 1988 Oct 5 
3 13
Sketch for "Homecoming of the Worker of the New Day," probably 1930 
PC disks 1 NS disk 001
Re-dedication, 1994-1995 
3 15
Re-dedication and restoration, 1988 
3 14
Restoration plans/proposals, 1984, circa 1995 
3 16
Restoration, 2005 
3 17
Technical analysis by Anton Rajer (Harvard University Art Museum), 1987 
3 18
Technical analysis by Tomas Zugurian Ugarte (Instituto Nacional de Bellas Artes y Literature), 1974 
"Results of the Technical Analysis" (in English) 
3 19
Binder from Instituto Nacional de Bellas Artes (includes color and black and white photographs) 
3 20-24

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Collection Guide Last Updated: 02/28/2017

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