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Inside The ShootIn 1950, LIFE Magazine assigned Arnold Newman a photo story which surveyed major U.S. museums and their recent acquisitions. The article was titled “What Do U.S. Museums Buy?”
In this gallery you will find images, documents, correspondence, sketches and personal notes that illustrate Arnold’s process when on assignment. “What Do U.S. Museums Buy?”
Photographed for LIFE by Arnold Newman “…To learn what is going into U.S. public collections these days, LIFE set out to find what leading museums purchased in the past year….On the following pages LIFE shows a cross section of what six U.S. museums purchased during the year.” |
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Upon receiving the assignment, Arnold prepares a brief estimate of budgets and scheduling. “…min 21 days – max 28 days…”
“On the basis of checking on the first 3 museums, Brooklyn, Philly and Modern, I estimate the probable figure will actually be about $4,250…in case we do not pay for all labor. The figures do not include travel.”
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Equipment is chosen and arranged for shipping. Film is purchased and sent to the shoots that require traveling in advance. Flood lights and spot lights are orchestrated to guarantee efficiency. “…6 floods on stands…”
“…3 units, 27 bulbs – 4500 watts…” |
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Arnold begins to conceptualize the project and sketches the possible spreads. Different layout choices begin to shape Arnold’s decisions on which images will be a horizontal or vertical orientation. |
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Museum Schedule for Arnold Newman:
LIFE Magazine schedules shoots at the six museums and Arnold is given an itinerary along with basic guidelines to follow for each location. “Portland Art Museum – April 14 Thomas Colt Jr. – Director Photograph a selection of Indian Art (old and modern), along with other purchase acquisitions.” “Nelson Gallery of Art – April 26 Paul Gardner – Director Items to be photographed in attached list. Please double check if any of these were bought prior to 1949, and, if so, eliminate. Available gallery measures 37 x 25, requires 65 feet of cable. This gallery houses important statue of St. Barbara in a niche which cannot be moved. We want very much to have this statue in photograph, but if worse comes to worse, you can omit it.” |
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Floorplan for the Minneapolis Institute of Arts Arnold begins to collect information from museums to coordinate locations, pieces available and their dimensions. Excepts from a letter to Dorothy Seiberling of LIFE Magazine from H.D.M. Grier, Assistant Director of The Minneapolis Institute of Arts April 6, 1950 “In reply to your telephone call regarding the projected visit of Mr. Newman…I am submitting the following information: Enclosed is a set of plans of the main floor and top floor of the Institute building. I have marked the two spaces which would seem most nearly to meet your requirements for photographing the assembled groups of objects. …The paintings hung in this [Gallery C-5] could easily be moved and the screens could be placed across the gallery…to close off the north portion of the gallery… I would appreciate your advising us in advance which of these two galleries is best suited for your purposes, so we may make the necessary installation changes. Our electrician advises me that our electric facilities will meet your requirements of 200 amps and 20,000 watts…. We will arrange to make the services of our staff carpenter available …We will do everything possible to make necessary arrangements as soon as we are informed of the time of Mr. Newman’s arrival…” |
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Sketch of power grid plan Upon selecting specific locations, Arnold begins to coordinate his lighting plans with the available power sources and verifying with local electrical companies. A letter from the Portland General Electrical Company to Arnold Newman, April 17, 1950
“We suggest that the following information be given both the museum electrical and electric utility serving museum, so that they can make provisions for your electrical equipment. ‘Total electrical requirement is 24 KW, 120/240 V. or 120/208 V., 3-wire, single phase for lighting load. Constant voltage must be maintained within plus or minus 2.5%. Lamps rated at 120 volts. 3-wire cables with alligator clips…10 KW on one 3 x #6, 50 foot cable; 7 KW load on one 3 x #8, 100 foot cable; and 7 KW load on one 3 x #10, 100 foot cable…” |
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Arnold begins to collect dimension specifications on pieces to be included in the shoot. A letter from Edgar Richardson, director of the Detroit Institute of Arts, to Dorothy Seiberling of LIFE Magazine April 4, 1950 “Here are the dimension of the works you inquired about: Ribera: St. Jerome 77 ¼ x 60 (incl. frame – 99 x 74) Pater: The Bath 17 x 13 ½ (incl. fram – 25 x 19 ½) … The Angel by Franklin Watkins (76 x 40 ¼) is presently on loan at the Museum of Modern Art for the Watkins show. It is by far the most impressive contemporary painting we acquired last year. Would it be possible for you to photograph it in New York? Of course you have our blessing to do this...” |
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Arnold sketches possible poses and setups for the shoot. |
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Preparations being at the Minneapolis Institute of Arts. |
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Arnold reviews his notes. ‘Cutouts’ are used as scale models of possible pieces to be used in the shoot. Arnold determines their orientation before they are installed. |
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Arnold’s assistant oversees the execution of a possible layout. |
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Photograph of the shoot. |
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Arnold adjusts his camera. |
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After a change in the layout of pieces, Arnold photographs the arrangement for future reference. |
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The shot – Full Frame |
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The shot as it appeared in LIFE Magazine Minneapolis Institute of Arts Photographed: Russell A. Plimpton – Director |
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Between locations,Arnold writes a letter to his family “Dear Family (all 3 of you) Just a note to say I’m on my way again… Checks written as follows: #775 American Airlines $134.77 for air cargo and delivery. #776 J K Gill Co. $22.20 photo bulbs for Life #777 $100 Hotel Benson Cash...” “Well got to get up early so I’ll sign off. Mom, hope you don’t mind if I enclose a personal love letter to my wife? Are you feeling better? I hope you look after each other. Love, Arnold” |
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Arnold, assistants, museum crew and directors pose in the final shot |
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As the shot appeared in LIFE Magazine Portland Art Museum Photographed: Thomas C. Colt Jr. – Director |
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Photograph of the shoot at the William Rockhill Nelson Gallery of Art |
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The shot – Full Frame |
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The shot as it appeared in LIFE Magazine
William Rockhill Nelson Gallery of Art Photographed: Paul Gardner – Director |
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The shot – Full Frame: The Detroit Institute of Arts |
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The shot as it appeared in LIFE Magazine The Detroit Institute of Arts Photographed: Edgar P. Richardson – Director |
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The shot – Full Frame: The Brooklyn Museum |
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The shot as it appeared in LIFE Magazine The Brooklyn Museum Photographed: Charles Nagel – Director |
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Photograph of the shoot at the Museum of Modern Art,
New York
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The shot as it appeared in LIFE Magazine
Museum of Modern Art Photographed: Alfred Barr – Director of Collections |
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