Browse Items (15 total)

LN_Notes_COR373_01.jpg
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 & Victor and mailed from Stockholm, Sweden, where the gallery was located.

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This note from LeRoy Neiman addresses the tension between his public and critical reception. The writing opens with a statement of confusion (i.e. “My popularity with the public didn’t help these taste makers?), followed by a nod to his widening of…

LN_Notes_988.jpg
This note from LeRoy Neiman touches on the artist’s artistic process. Knitting together his work for Playboy, likeness for travel and leisure culture, as well as the causal compulsiveness with which he makes his work, Neiman provides a generalizing…

LN_Notes_1903_01.jpg
This note from LeRoy Neiman provides a brief overview of the artist’s biography and career. The document divides his life into themes—ranging from receiving the GI Bill to moving to New York—grounded in chronology. Given the stylistic bend and…

LN_Notes_1925.jpg
This note from LeRoy Neiman features a study of giraffes. Although the date is unknown, the record was most likely made on, or in reference to, one of the artist’s many safaris.

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This note from LeRoy Neiman looks at his work in relation to sociology, specifically positioning the subject matter depicted as an exploration of class. Although this note is not singular in expressing this opinion, it is one of the only which…

LN_Notes_2025.jpg
This note was of a few from LeRoy Neiman made in preparation for his prospective mural at the St. James Theatre. The venue, which was set to host Busker Alley, invited the artist to paint the facade of the building in lieu of a billboard. That said,…

LN_Notes_2026.jpg
This note was of a few from LeRoy Neiman made in preparation for his prospective mural at the St. James Theatre. The venue, which was set to host Busker Alley, invited the artist to paint the facade of the building in lieu of a billboard. That said,…

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This note from LeRoy Neiman looks at “Moresque Ornamentation,” specifically that of the Alhambra. Overall, the record seems to engage ideas of cultural synchronism, discussions of symbolism, and more concrete notions of color and infrastructure. But…

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This note from LeRoy Neiman provides an anecdotal account of the artist's reference to Pope John Paul II. Neiman spotted the Pope after returning to New York from a film shoot in the Riviera in 1981. Internalizing this encounter, the artist included…
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