Scope and Contents
An interview of Harold Lehman conducted 1997 Mar. 28, by Stephen Polcari, for the Archives of American Art. Lehman speaks of his early educational and artistic experiences in New York; taking sculpture classes; moving to California; going to school at Manual Arts; going to Ojai and learning the religious philosophy of Krishnamurti; participating in literary discussion groups and the books he read; his years at Otis Art Institute; working with Sisqueiros, and how the frescoes they created were destroyed by the Red Squad; when he became interested in painting; working with Lorser Feitelson; working with the Public Works of Art Project; moving back to New York and working with the Federal Arts Project; his experiences with Sisqueiros and the artist workshop they set up; his thoughts on the Molotov-Ribbentrop Pact, Stalin and Trotsky; his thoughts on social realism; the project he did on Rikers Island; doing mural art; breaking both his arms two months before the attack on Pearl Harbor and how he managed to stay out of the army; working on his mural in Woodstock; working on war bond painting for the government; his art work during the war years; recollections of Jackson Pollack and his interest in Indian Art; going to see the Picasso show; his artistic influences; his thoughts on America's involvement in World War II; his life after the war and what inspired him; his memories of Phil Guston; thoughts on Harold Rosenberg and Clement Greenberg; his life after the war, and other recollections about his life and friends. He recalls Max Maikowski, Jean de Laffiere, Rutolo, Frederick J. Schwankovsky, Phil Guston, Jackson Pollack, Manuel Tolegian, Rueben Kadish, George Stanley, Roger Noble Vernon, D.A. Siqueiros, Luis Arenal, Lorser Feitelson, Helen Lundberg, Leo Katz, Merle Armiduke, Stanley McCoy, Axel Horr (Horn), Carla Mahl (Clara Moore), Louie Serstadt, Diego Rivera, Jose Orozco, Arnold Blanch, Harold Rosenberg, Clement Greenberg, Arnold Blanch, and many others.