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              <text>Opera INSERT&#13;
New Metropolitan Opera House tin Lincoln Center for the Performing Arts opened 3 years after (our) moving to New York. &#13;
A glittering 45 million dollar gala opening ON Sept 16 1966 Parading The Diamond Brigade Rolling out a 160 foot long  plush red carpet 9 ft wide. A worlds largest (opera house providing) seating 3,800 (Derrier recepticlas) (suitable for the well heeled to trod into the) 5 horses 3 GOATS AND A CAMEL ONSTAGE WITH THE CAST OF AIDE &#13;
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4 paintings &#13;
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I did tow paintings of the occasion one of the SWEEPING crowd entering and the other ON POSE STRIKING EN GRANDE TENUE staircase and a drawing (OF A 6 Deep CHIC intermission crowd)&#13;
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              <text>prisons and madhouses&#13;
Goya&#13;
“Interior of a prison” 1793-94&#13;
prison “Yard with Lunatics” 1794&#13;
“The madhouse” 1812-13&#13;
tauromagnia &#13;
ritual-rite&#13;
[?] bullfighter &#13;
July 1824 shortly before death&#13;
in Paris he painted “suerte de vara” Bullfight &#13;
bloody&#13;
	Died 1828 /&#13;
&#13;
The rite 	ritual &#13;
corrida toros&#13;
heroic torero &#13;
fate – luck &#13;
Flamenco – tauromauchy&#13;
	on stage&#13;
[…]&#13;
&#13;
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                  <text>Regarding provenance, the documents originate from Neiman's personal estate, largely found in Neiman's in-home office at Hotel Des Artist on the Upper West Side in New York, New York; Neiman amassed the bulk of materials late career. For further information on source, please contact the archivist at the LeRoy Neiman Foundation.</text>
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                  <text>LeRoy Neiman’s notes on art encompasses the artist’s comments on art generally as well as his personal process, career and critical reception, style, and artistic reference. Although this collection provides insights into Neiman’s perception of art’s role in life and work, its extent is not final. The artist’s musings on the subject spill over to other records, such as his thoughts on childhood, travel, sports, food culture, and class politics. &lt;br /&gt;&lt;br /&gt;The majority of these documents were made in preparation for the artist’s memoir, &lt;em&gt;All Told&lt;/em&gt;.</text>
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              <text>extensive contact with sophisticated places and personalities &#13;
instinct for the [?] – belief in art and yourself &#13;
commitment to pure color as a vehicle of emotion intensified accelerated &#13;
	high-intensity color &#13;
	value contrasts &#13;
enthralled with (color density, to advance or recede – to animate – rhythms)&#13;
	figurative subject matter&#13;
	Free handling of color &#13;
	Forceful color &#13;
within the orbit&#13;
social order&#13;
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outlets for my art &#13;
figurative works &#13;
fusing spaces&#13;
	conceit /&#13;
&#13;
Neiman art addressed the relationship between man (at) Play and Play and the artist &#13;
ART&#13;
Hogarth &#13;
Hogarth 1759&#13;
	Engraving the cockpit (cockfight)&#13;
	Shrimp girl 1750s&#13;
	Tombstone for pugilist&#13;
	George Taylor – 1740 – &#13;
	Died 1557&#13;
	cock-pit&#13;
	Roast Beef of Old England &#13;
More the observer then participant art the refuge – experience life by translating it &#13;
Things become more real when translated into art &#13;
meaningful &#13;
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Aestheticism&#13;
Athleticism&#13;
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                <text>This note from Leroy Neiman builds on a &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/222"&gt;previous remark&lt;/a&gt; the artist made about William Hogarth. The front side of the envelope, on which Neiman's comment was written, provides a list of Hogarth’s works the artist took particular interest in, including &lt;i&gt;Shrimp Girl &lt;/i&gt;(1740-45). Beyond this list, Neiman provides a brief definition of &lt;i&gt;aestheticism &lt;/i&gt;in addition to the remark, “Neiman[’s] art addresses the relationship between man at/and Play and Play and the artist.” The note itself is entitled “Art / Hogarth.” The envelope’s reverse then expands on the subjects of aesthetics and play, with the activity of painting largely framed a creative and stylistic enterprise (i.e. [Neiman is] “enthralled with color density to advance or recede - to animate - rhythms"). This entry is one of the most comprehensive personal assessments of form found on Neiman’s behalf.&lt;span class="Apple-converted-space"&gt; &lt;/span&gt;
&lt;p class="p1"&gt;Overall, the note itself is a bit of an oddity. Hogarth, a satirist, clearly had an interest in humor and play, but not necessarily color. And Neiman, however, seems to be saying his works’ process and animation somewhat singularly stems from color. Whatever the artist’s intention with the pairing, the comments offer insight not only into Neiman’s admiration for his predecessor but also his understanding of his own artwork.&lt;span class="Apple-converted-space"&gt; &lt;/span&gt;&lt;/p&gt;</text>
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                <text>Notes, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/223"&gt;LN_Notes_2313&lt;/a&gt;, &lt;span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/220"&gt;LN_Notes_2306_01; LN_Notes_2306_02&lt;/a&gt;, &lt;span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/222"&gt;LN_Notes_2309&lt;/a&gt;, &lt;span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/219"&gt;LN_Notes_2305&lt;/a&gt;, &lt;span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/216"&gt;LN_Notes_2302&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/80"&gt;&lt;span&gt;LN_Notes_986_01; LN_Notes_986_02&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/216"&gt;&lt;/a&gt;&lt;/span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/219"&gt;&lt;/a&gt;&lt;/span&gt;&lt;a href="http://leroyneimanfoundation.omeka.net/items/show/222"&gt;&lt;/a&gt;&lt;/span&gt;</text>
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              <text>Hogarth&#13;
Hogarth&#13;
set stage like &#13;
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	Painted sides beef&#13;
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Ridiculously pretentious Grub Street Hack elaborate coiffures enormous bosoms and bottoms, (fluttering) handkerchiefs&#13;
Dame of Death (1815-16) Dace of Life (16-17)&#13;
	celebrated (for) Oliver Goldsmith&#13;
Outline Drawing in Red pen and watched watercolor &#13;
Etched copper after then augmentation by proengraving then colored by hand &#13;
In later years produced a mass of [?] (inferior) drawings, compromising his reputation.&#13;
and vitality and gusto in his prime&#13;
Divest myself of worldly goods&#13;
Japanese leading artist compromised their reputations </text>
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              <text>U of S Florida [?]&#13;
Professional workshops&#13;
collaborative printmaking &#13;
Universal Limited Art Editions (Talyana Grossman)&#13;
			    Tamarind  Litho&#13;
			    Gemini &#13;
			    Tyler Graphics &#13;
Pratt graphics Center &#13;
SS or to &#13;
Screenprinting a &#13;
PRINTMAKING &#13;
Meticulous &#13;
collaboration between artist and crafts &#13;
people &#13;
	define a project, develop ideas&#13;
	completing an edition&#13;
experiments/compromise&#13;
minimize pre-conceptions&#13;
(rooted in Expressionism)&#13;
never thought of or related to my contemporaries  &#13;
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My motifs of the social action of the times observed by my eyes and delineated by my hand will live on evidencing my high regard for the public. &#13;
At age 75, after 25 plus years of producing silk screen prints for the popular market, am prepared to practice graphic art as a means of reproduction just to make a print. &#13;
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a brilliant page from the past &#13;
Astonishing page wealth of bright colors &#13;
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              <text>[NOTES REGARDING FILM ON LEROY NEIMAN / ... WALKING IN PAINTING (EXAMPLE OF FILM) / ... STILLS OF SPORTS EVENTS, SOCIAL EVENTS / ... WITH CELEBRITIES, ATHLETES, ENTERTAINERS, POLITICIANS / NOT TOO INTERESTED IN TALKING HEADS; MINIMUM REFLECTIONS ON CHILDHOOD AND EARLY YEARS / EMPHASIS -- BORN WITH NATURAL TALENT TO DRAW... HAD LITTLE CHOICE AS WAS NOT MULTI-TALENTED (I DON'T BUY THIS)] U.S. ARMY 1942-45 NORMANDY / BATTLE OF the Bulge [/ ARMY COOK - PRELUDE TO RESTAURANT INTERESTS / G.I. BILL SAVIOR (ARMY LENT DIRECTION TO ME) / TEACHER 10 YEARS] SCHOOL OF THE ART INSTITUTE IN CHICAGO [/ PLAYBOY INVOLVEMENT - TRAVEL WORLDWIDE, FIRST CLASS WITH - 'MAN AT HIS LEISURE"] - FEATURING WORLD WIDE HIGH LIFE [/ TWO YEARS LIVING AND EXHIBITING IN LONDON AND PARIS / MOVED TO NEW YORK 1961 / ABC WIDE WORLD OF SPORTS - ROONE ARLEDGE,] OLYMPICS - NBC ABC. [SPORTS ART, ENTERTAINMENT, TRAVEL] - MAJOR SPORTS ADN SOCIAL EVENTS [/ FAVORITE SUBJECTS -- PEOPLE AT PLAY, RECREATIONAL, PROFESSIONAL SPORTS EVENTS] - BOXING BASEBALL FOOTBALL - TENNIS etc MUSIC - JAZZ - CLASSICAL, DANCE ROCK [/ WIDE RANGE OF SUBJECTS AND FOCUS ON HUMANITY [VOLUNTARILY] AT PLAY AND A SPECTATORS - NIGHT LIFE, BARS, RESTAURANTS, CASINOS, / MAJOR SPORTS EVENTS] - images of live action and studies of players and associated individuals &#13;
political figure / &#13;
&#13;
[VIDEO FILMS EDITED AND COMPLETE[:] 1986 RED SQUARE PANORAMA / 1987 ROYAL AND ANCIENT: CLUBHOUSE AT OLD ST. ANDREWS / 1988 CHANGING MOSCOW / 1988 NAPOLEON AT WATERLOO / 1989 JFK BIRTHDAY PARTY / 1989 SALUTE TO CENTRAL PARK / 1990 A DIALOGUE WITH LEROY NEIMAN / 1994 LEROY NEIMAN ON SAFARI IN KENYA / UNEDITED FOOTAGE OVER THE PAST 15 YEARS / VENICE, MILAN, ROME, THE RIVIERA, CUBA, NYC, NEW ORLEANS / COMMERCIALS - UNITED AIRLINES, FOLES BERGERE, CELL PHONE / IMMENSE INVENTORY OF NATIONAL AND REGIONAL INTERVIEWS] TV [/ EVENTS - CBS, OLYMPICS, ABC, SPOTS FROM THESE EVENTS INCLUDING ASCOT, JAPANESE NIGHTLIFE, MT. FUJI, BUDDHA / MOVIES - GLEN LARSON'S 'ROOSTER', ROCKY II, III, IV, V] Large inventory of drawings - paintings &#13;
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                <text>Notes, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/147"&gt;LN_Notes_1673_01,LN_Notes_1673_02&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/149"&gt;LN_Notes_1677&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/145"&gt;LN_Notes_1658&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/148"&gt;LN_Notes_1674&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/146"&gt;LN_Notes_1667&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/144"&gt;LN_Notes_1655&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/206"&gt;LN_Notes_2250&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/180"&gt;LN_Notes_1995&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/73"&gt;LN_Notes_923_01, LN_Notes_923_02&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/71"&gt;LN_Notes_919_01,LN_Notes_919_02&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/171"&gt;LN_Notes_1871_01,LN_Notes_1871_02&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/150"&gt;LN_Notes_1702,LN_Notes_1703&lt;/a&gt;, &lt;a href="http://leroyneimanfoundation.omeka.net/items/show/230"&gt;LN_Notes_2436_01, LN_Notes_2436_02&lt;/a&gt;</text>
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