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                  <text>Lydia Hoelscher, Correspondence </text>
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                  <text>This collection features correspondence between artist LeRoy Neiman and his mother, Lydia Hoelscher, from the artist's early adulthood to Hoelscher's passing in 1985. &#13;
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                  <text>Lydia Hoelscher was an integral figure in LeRoy Neiman's early life, being the near sole consistent presence. Hoelscher, née Serline, married Neiman’s father Charles Runquist in 1918, with the couple and their two sons LeRoy (b. 1921) and Earl (b. 1920) residing in Duluth. When Runquist absconded the family in 1926, the mother moved to Saint Paul, wedding a leather factory foreman of Polish-German descent, "Jack L. Neiman" (John L. Niman). Avoiding what the artist describes in his memoir &lt;em&gt;All Told&lt;/em&gt; as, “bothersome adoption legalities,” the children assumed their stepfather’s surname. The elder Neiman's alcoholic tendencies and Depression Era unemployment however led to early divorce. Lydia married Ernst G. Hoelscher roughly five years later, in 1940. &lt;br /&gt;&lt;br /&gt;Neiman maintained minimal correspondence with these male figures, including Earl, who had expatriated to Italy. These letters then provide a unique window into the artist’s family life, with the bulk written from Hoelscher to Neiman in the years leading up to her passing.</text>
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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. For further information on source, please contact the archivist at the LeRoy Neiman Foundation.</text>
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                  <text>c. 1945-1985</text>
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              <text>Dear Mother – We are leaving Stockholm this A.M. for Finland. We had a very fine show here and a lot of fun. I am glad we decided to come because now I have a better idea of what the Swedes are like – I like them.&#13;
We’ll be back in N.Y. Sat. before you get this letter. &#13;
love&#13;
LeRoy&#13;
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              <text>Exhibition brochure with pink marker. </text>
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                <text>A note from LeRoy Neiman to his mother, Lydia Hoelscher; the letter was written on a promotional flier for the artist's exhibition at Galerie Renée &amp; Victor and mailed from Stockholm, Sweden, where the gallery was located. </text>
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                <text>c. 1976-1977</text>
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                <text>Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.</text>
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                <text>Correspondence, Swedish Exhibitions  </text>
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                  <text>LeRoy Neiman, Notes on Art </text>
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                  <text>This collection features LeRoy Neiman’s notes on art. </text>
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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>c. 1980-2011</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>I held an excessive regard for public taste, which brought about a flagging interest in what was stressed in the art officialdom, resulting in my being the recipient of adverse criticism or total disregard. My popularity with the public didn’t help with these taste makers?  &#13;
My guest broadened as I painted in many (a variety) of time zones during the years travels from Gander to Thailand &#13;
In Paris in the ’60s You’d have your bottle of scotch or vodka shelved at your club “Regine’s” and marked the liquor level to be served brought to your table next visit, with your name attached as Parisian diners stored their serviette (napkin) at your their favored neighborhood restaurant.&#13;
Tom catting Tom Cattin’&#13;
game cocks Rooster patched up hack fights &#13;
sooty black (negro) to high yeller</text>
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                <text>A note from LeRoy Neiman on his critical reception. &#13;
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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>[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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                  <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>Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.</text>
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              <text>VENICE – AMSTERDAM&#13;
(A)&#13;
My paintings are in some small way a study of elites (and the poor). Being in (a) way a sociological authority NOT by education but simply that of an observer of human behavior. A product of the lower classes I feel confident of understanding my lower class background and a beneficiary of many adventures and misadventures mingling curiously among the (privileged) selection and (the) have nots.&#13;
I have studied (thru observing and) thru the medium of drawing and painting relationships between the haves and the have-nots thru personal (socializing) and fraternizing while both wile seriously at paly. A dominant element (ever necessary to both). &#13;
PLAY (in the dominants) subject matter of my work. The Dutch society bears comparison to the Venetian society as do the Asian and Western societies do today. &#13;
You cannot mature and be a part of the US today without comparing it (to) other cultures which either copy Western ways or despise them. But while the elite are at all times the elite when they play their games intermural or internationally. &#13;
([?] Jews) great wealth. Supplied the means which (necessary) food, play, munitions, with international connections &#13;
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              <text>Egypt Lincoln Center &#13;
Murals &#13;
Façade &#13;
Require broad vision &#13;
Pictorial schemes &#13;
must see in large &#13;
stylized imagry &#13;
(Tuscany – Giotto Michelangelo Leonardo [?], Mexico Rivera [?] Palational National MEXICO FINE ARTS mural)&#13;
Tuscany painters covered Vatican walls &#13;
Painted a mural in Eupen Belgium in a do-nut dugout – a title mural at Sportsman Park in Chicago race track Couple in Playboy Clubs.&#13;
SS. PATRICIA NORWAY&#13;
To exalt, decorate, please the eye, bring joy into the heart, satisfy services. &#13;
Small cartoons are grappled up.&#13;
blown up. Not pounced or pricked cartoons&#13;
BUSKERS </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>Buskers Wall &#13;
Integral &#13;
organizationally connected to architecture &#13;
special proportions &#13;
idea expressed &#13;
Pompeii &#13;
Tiepolo – Tintoretto&#13;
We don’t see the great murals of Florence, Rome, Venice, etc because they are installations &#13;
Matisse Chapel &#13;
Thomas Hart Benton &#13;
Mural &#13;
Chagall, [Matisse]  &#13;
IF OFTEN THOUGHT ABOUT&#13;
STUFF LIKE STAGE SETS&#13;
AND MURALS BUT YOU &#13;
HAVE TO BE ASKED. SO I’VE &#13;
Been more than anything else &#13;
an easel painter &#13;
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                <text>&lt;p class="p1"&gt;A note from LeRoy Neiman made in preparation for his &lt;i&gt;Busker Alley&lt;/i&gt; mural at the St. James theatre in 1995.&lt;/p&gt;</text>
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              <text>Moresque Ornaments&#13;
the Alhambra&#13;
Natural grace and refinement of the Greeks. &#13;
geometrical combinations of Romans, Byzantines, and Arabs, &#13;
symbolism &#13;
Moors – Ever regarded the first principal of architecture – to decorate construction&#13;
never to construct decoration &#13;
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purple green orange&#13;
ROOF, SHAFT, STALK&#13;
The Alhambra, Granada Spain </text>
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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>INSERT&#13;
[In] 1979 After a relaxed lunch at 21 film maker Ken Zaren and I were short cutting across central park on foot headed for The West Side [///]&#13;
We (having) recently returned from a shoot on the Riviera &#13;
were not on the lookout for anything special let along something that would provide inspiration. But there is no assurance in New York that something unexpected will not turn up. &#13;
It was a balmy day as we strode. &#13;
(along a path running from one of the curving streets that snake through the park) Pausing for a light around a bend came &#13;
2 Bike cops followed by an open [convertible] then a sedan. The short convoy glided to a halt at the same traffic signal. There seated in the first car in all white creating almost radiating light – Pope Paul II looking straight at us. Frozen in our tracks I swear that as the light turned green and they purred away the Pope actually looked back over his shoulders. &#13;
Ken a devout Catholic was enthralled as was I. We had just communicated at close range what amounted to what was like a private audience with Pope Paul III. &#13;
Along back in my studio the surprise encounter struck. I could not shake the brief memory NOR DID I TRY. I was in the process of painting a panoramic view of Manhattan result of sketches made from the 86th floor of the Empire State Building, a horizontal composition starting at 42nd ST at the lower and from the Library and Bryant Park up 5th Ave beyond Central Park to Harlem, &#13;
Flanked by the rivers on either side of the island. /&#13;
&#13;
Since the Pope had flown from Rome to Kenney on a TWA commercial flight (A FIRST) that brought about a travel with THE Angles promotion he belongs &#13;
IN THE PICTURE HIS ITINERARY STARTED WITH A sensational New York visit &#13;
So I decided I’d put him in the painting. &#13;
He’d be flying over midtown Manhattan &#13;
So I had him floating in the air above the skyscrapers like a Thanksgiving day parade float. It worked. &#13;
THE POPE AS A FLOTE [sic]. I placed him airborn [sic] buoyantly SUSPENDED OVER Midtown the spires of St Patricks back to his left. Vulnerable, sensational object of public attention that he was it all seemed &#13;
so logical &#13;
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