Conditions on Access:
Copyright: The President and Fellows of Harvard College hold any copyright in Pope's papers. Copyright in some papers in the collection may be held by their authors, or the authors' heirs or assigns. Researchers must obtain the written permission of the holder(s) of copyright and the Harvard Art Museum Archives before publishing quotations from any material in the collection.
Conditions on Use:
9 linear feet (18 file boxes, oversize materials)
All materials in the collection have been re-housed into archival folders and boxes. Folders and their contents have been kept in their original order, and overstuffed folders have been divided among several folders for the sake of preservation and numbered to indicate that they represent a part of a larger whole (for example: "folder 1 of 2"). The original folder titles have been retained; any added information has been enclosed in square brackets by the processing archivist. The folders in the first series are filed alphabetically by title; those in the second series are in their original order, which is neither alphabetical nor chronological. In most instances, the papers within each folder are filed in reverse chronological order. Occasionally the papers in a folder are filed alphabetically instead of chronologically.
A few folders contained notes clearly added after Pope's death, including archivists' memoranda. These added materials have been removed from the papers and maintained in separate files in the archives; they may be consulted upon request. The dates of these materials has been preserved in the folder titles, as a cue to researchers that added materials from a given folder can be found in a separate location. Researchers should also note that folder titles are not always entirely accurate or reflective of content. In cases where the folder title and content differ significantly, a note has been added at the folder level of the finding aid. Many folders contain correspondence with individuals not mentioned in the folder title. For this reason, the processing archivist has made notes about various individuals' correspondence in the collection; these notes are held in the archives and may be consulted upon request. While they are not exhaustive, they may be helpful in locating materials.
Acidic documents have been isolated with archival paper and in some cases enclosed in mylar. Fragile materials have been enclosed in mylar. Oversize materials have been filed separately, and separation sheets indicate their removal. These oversize materials may be consulted upon request, and their location is indicated in the detailed container list that follows. Some of the collection suffered water damage in a flood of the archives in 1998; as a result, many of the papers are wrinkled, some ink has run, and some are stuck together and in need of treatment by conservators.
Pope was actively involved with several Harvard museums, particularly the Fogg Museum. He supported a Fine Arts curriculum that merged theory with practice, emphasizing the importance of first-hand experience and practice with different techniques and materials to complement study of theory. In addition to teaching, his career at Harvard included service as acting director of the Fogg from 1918 to 1919 and again in 1945-1946, at which time he also became acting director of the Germanic and Semitic Museums. He served as director of the Fogg, Germanic, and Semitic Museums from 1946 to 1948. When Pope retired from teaching in 1949, he had been involved with the growth of the Harvard Fine Arts department and its museums for almost fifty years.
Pope's earliest publication was for a 1909 exhibition of watercolors and drawings by John Ruskin, held at the Fogg Museum in honor of Charles Eliot Norton. He also played a role in the selection and display of works for the 1911 Degas exhibition at the Fogg and wrote the introduction to that exhibition's catalog. In 1929, the first volume of Pope's two-volume work, An Introduction to the Language of Drawing and Painting, was published. The second volume was published in 1931, and the text was printed as a single volume in 1949 and reprinted in 1967. This work became a standard text for many art and normal schools and includes a comprehensive presentation of Pope's theories of color and the organization and use of color in art. He published another book, Art, Artist and Layman, in 1937, and a book about a painting in the Isabella Stewart Gardner Museum's collection, Titian's 'Rape of Europa', in 1960. In addition, Pope published several seminal journal articles on color and aesthetics.
Charles Herbert Moore and Denman Ross were among Pope's mentors as teachers and colleagues, and during his career Pope became a mentor to many of his own students. He taught young men who would become influential collectors, museum directors, and art historians, including Alfred Barr, John Walker III, Charles Cunningham, and Henry P. McIlhenny. Although he taught courses on a range of subjects, Pope's research and personal interests centered on color and color relations in art, and he became known for the wooden model, often referred to as the "Pope Color Solid," that he used to illustrate essential relationships of hue, darkness and intensity. Two of Pope's former students organized an exhibition in his honor in 1974 called Color in Art: A Tribute to Arthur Pope.
Outside his work at Harvard, Pope was an active trustee of the Isabella Stewart Gardner Museum for forty-two years, from 1924 to 1966; he was a trustee emeritus from 1966 until his death. Pope was elected an honorary member of Phi Beta Kappa in 1926, and in the 1930s he served as an advisor to the Carnegie Corporation. He was a fellow of the International Institute for the Conservation of Museum Objects and a member of the American Optical Society. He was also an accomplished artist, with drawings and paintings now in the Harvard Art Museums' collection, and known for his prowess in the sport of curling.
Arthur Pope died in Westport, Massachusetts on April 26, 1974.
- Series I. Correspondence as Director
- Series II. Research, Publication,Teaching and Personal Materials
Immediate Source of Acquisition
Box and Folder locations
- Box 1: Folders 1-21
- Box 2: Folders 22-52
- Box 3: Folders 53-72
- Box 4: Folders 73-93
- Box 5: Folders 94-114
- Box 6: Folders 115-147
- Box 7: Folders 148-180
- Box 8: Folders 181-212
- Box 9: Folders 213-228
- Box 10: Folders 229-253
- Box 11: Folders 254-294
- Box 12: Folders 295-325
- Box 13: Folders 326-343
- Box 14: Folders 344-354
- Box 15: Folders 355-384
- Box 16: Folders 385-404
- Box 17: Folders 405-427
- Box 18: Folders 428-449
- Box 19: Oversize materials
- American ArtistsProfessional League
- Bailey, David Washburn,1899-
- Buck, Paul Herman, 1899-1978
- Buck, Richard D.
- Byzantine Institute of America
- Campbell, IvyGertrude
- Coleman, Laurence Vail, 1893-
- Coremans, Paul B.
- Crowley, Helen D.
- Cunningham,Charles Crehore, 1910-1979
- Deknatel, Frederick B.
- Dow, Sterling, 1903-1995
- Dumbarton Oaks
- Forbes,Edward Waldo, 1873-1969
- Garrison, Edward B.
- Gettens, Rutherford J. (Rutherford John)
- Godlove, I. H., 1892-1954
- Hanfmann, George M. A. (George Maxim Anossov), 1911-1986
- Hatch, John Davis
- International Council of Museums
- Inter-Society Color Council
- Judkins, Winthrop Otis
- Lucas, E. Louise (Edna Louise), b. 1899
- Merritt, A. Tillman (Arthur Tillman)
- Mongan, Agnes
- Newhall, Beaumont, 1908-1993
- Pell, HerbertClaiborne, 1884-1961
- Peters, Heinz, 1920-
- Pope, Arthur, 1880-1974
- Rübel, C. Adrian, d. 1978
- Sachs, Arthur
- Sachs, Paul J. (Paul Joseph),1878-1965
- Schmid, F.
- Scott, Donald, 1879-1967
- Stout, George L. (George Leslie)
- Sunderland,Elizabeth Read
- Thacher, John S.
- Warner, Langdon, 1881-1955
- Whittemore, Thomas, 1871-1950
- Willard, Helen D.
- Art--Collectors and Collecting
- Art--Conservation and Restoration
- Art dealers
- Art historians
- Art--History--Study and Teaching (Higher)--United States
- Art--History--20th Century
- Art inuniversities and colleges
- Art museum directors
- Art museums--Administration
- Art museums--Educational aspects
- Art museums--Massachusetts--Cambridge--History
- Art publishing
- Art--Study and Teaching--20th Century
- CarnegieCorporation of New York
- College artmuseums--Massachusetts--Cambridge
- Color in Art
- Color--Study and Teaching
- Fogg Art Museum--Administration
- Fogg Art Museum--History
- Fund raising
- Harvard University--Faculty
- Harvard University--Fine Arts
- Harvard University--History--20th Century
- Museum directors--Massachusetts
- Museum loans
- Rubel Asiatic Art Research Bureau
- annual reports
- blueprints (reprographic copies)
- condition reports
- letters ofrecommendation
- page proofs
- visiting cards
- Papers of Arthur Pope (HC 4), 1907-1979: A Guide
- Harvard Art Museums Archives
- These papers were processed with the generous support of the Institute of Museum and Library Services and the Getty Foundation.
- EAD ID
Part of the Harvard Art Museums Archives Repository
The Harvard Art Museums Archives is the official repository for institutional records and historical documents in all formats relating to the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum, 1895 to the present. Its collections include signiﬁcant papers of individuals and groups associated with the museums' history, as well as correspondence with collectors, gallery owners, museum professionals, and notables throughout the twentieth century. Its holdings also document the formation of the museums' collections and its mission as a teaching institution.
32 Quincy Street
Cambridge MA 02138 USA