Browse Items (14 total)

This note from LeRoy Neiman gives a brief assessment of his artistic development, linking his involvement in art to an early childhood interest. The chronology provided is divided into four sections: childhood, being a student, a professional artist,…

This note from LeRoy Neiman—made in preparation for the artist’s memoir, All Told—relays a hokey account of the lifecycle of an imagined "drug dealer." In the artist’s book, he describes his gallerist at Hammer Galleries, Armand Hammer, via a…

This note from LeRoy Neiman provides a drafted anecdote concerning Armand Hammer (Neiman’s former gallerist at Hammer Galleries) and the Prince Charles. A sketelton of a story, the document touches on a joke Hammer made about the prince's interest in…

This note from LeRoy Neiman provides a fragmented commentary from the artist on his prints (and by extension work with Knoedler Publishing in the 1970s and 1980s), biography, and relationship with St. John's University. Neiman received St. John's…

This note from LeRoy Neiman constitutes a personal reflection on his career and critical reception. In the writing, the artist touches on his financial successes and their correlation with an emerging popular interest in prints. He points to this…

This note from LeRoy Neiman provides a reflection on the complexities of “talent”. Touching on the contradictions in his public face—the cultural currencies of his famed position, popular support, financial well-being, and criticism, the artist…

This note from LeRoy Neiman looks at the germination of the artist’s relationship with Hammer Galleries, in anecdotal form. Through the remark, one is given a window into the texture of Neiman’s budding relationships with the various “Hammer…

This note from LeRoy Neiman provides a list of artworks, ranging from French post-Impressionism to Italian Rococo. The majority of references stem from works seen while the artist saw in Chicago in addition total couple encountered at the Met Museum,…

This note from LeRoy Neiman interrogates the artist’s interest in class. He writes: “My [works] were not critical images. Just causal observations made into structured scenes a la Neiman.” He continues, “self-expression penetrating insights.” This…

This note from LeRoy Neiman provides a brief survey of the artist’s professional ventures. Although the writing fails to provide many specifics, it does give a general sense of the bureaucratic texture of the artist’s professional developments. The…