Professional Documents
Culture Documents
Margaret Naumburg Papers
Margaret Naumburg Papers
University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts
2000
Margaret Naumburg papers
Table of Contents
Summary Information....................................................................................................................................4
Biography/History..........................................................................................................................................5
Arrangement note.........................................................................................................................................22
Administrative Information......................................................................................................................... 22
Collection Inventory.................................................................................................................................... 25
Correspondence...................................................................................................................................... 25
Writings.................................................................................................................................................. 85
Lectures.................................................................................................................................................. 99
Exhibits.................................................................................................................................................110
Consciousness investigations...............................................................................................................124
Proposals.............................................................................................................................................. 133
Biographical/Professional information................................................................................................ 134
Works by others...................................................................................................................................135
Miscellaneous.......................................................................................................................................139
Slides.................................................................................................................................................... 140
Photographs.......................................................................................................................................... 140
Photograph albums...............................................................................................................................141
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Oversize................................................................................................................................................142
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Summary Information
Language English
Cite as:
Margaret Naumburg papers, Kislak Center for Special Collections, Rare Books and Manuscripts,
University of Pennsylvania
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Biography/History
Margaret Naumburg was born in New York City on May 14, 1890, when the United States was poised
almost exactly between the Civil War and World War I. Sigmund Freud, whose work would affect her
life so profoundly, would not use the term "psychoanalysis" for another five years, and the American
medical establishment was not yet aware of his work. In her life Naumburg had two prominent careers
based on Freud's insights into the workings of the human psyche. In the first, she played an important role
in the progressive education movement in the United States through her founding of the Walden School,
where psychoanalytic principles were central. In the second, she was a pioneer in the emerging field of art
therapy.
This future teacher's memories of public school were very bleak:
My earliest recollections of school are of the hard wooden benches, the rigid posture, often hands
behind the back, and the enforced silence of school periods. The overactive, dominant, shrill
teacher, and the meek and intimidated children. I still recall the relief when gongs rang and there
was a break from the silent tension for lunch and the playground. The monotony of learning
arithmetic and learning to read was broken by learning to sing scales to the teacher's pitch-pipe.
Art meant drawing cubes and pyramids. [1]
She then went to the Horace Mann School, a private school which was founded as a site for experimental
efforts by the students of Teachers College. The change seems to have made little difference to her.
School was one source of bleakness in a generally grim childhood. She recalled wishing, at the age of
ten or twelve, "to penetrate and experience the life outside herself. For other people's lives seemed full
and varied, her own, empty and monotonous." As an adolescent, she captured her "attitude of injured
withdrawal" by putting up on her wall the motto, "In order to avoid criticism, do nothing, say nothing, be
nothing." She had two older sisters, Alice and Florence, and a younger brother, Robert. Her relationship
with her mother was very difficult, and although she was fond of her father, his presence in her papers is
minimal. Under these circumstances, she looked up to Florence, eight years older, as a substitute mother.
Florence was beautiful and artistic, two qualities Margaret would long for throughout her life. At a time of
reflection in the 1920s, Margaret would confess that she had wanted to be Florence.[2]
Barnard College awarded Margaret Naumburg a B.A. in 1912. She had studied with philosopher John
Dewey, whose educational principles would later be important to her as a contrast to her own priorities
as an educator. A future career in education was far from her mind then: "When I graduated from
college I thought that the one profession I must avoid was becoming an educator. This attitude had been
engendered by my own sense of boredom and futility in so many of the courses I endured both in school
and college." [3] Her ambitions were unclear, yet in the spring of her senior year she was finding her way
into new currents of thought. She read an early article in McClure's Magazine about Maria Montessori's
work in Italy.[4] She also "had through a friend been able to read one of the first papers, published in the
United States, by Dr. A. A. Brill on Freud and psychoalysis [sic]. I did not realize, as yet, how deeply this
psychoanalytic approach to the unconscious had won a response in my own unconscious." [5]
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Her plan for the fall of 1912 was to start graduate work at the London School of Economics. During
the intervening summer, she and her mother traveled in Europe. In Italy they met Montessori, who had
opened a school based on sense training and attention to the phases of early childhood development
in 1906 and begun training teachers in 1909. At first the London School of Economics seemed to be
the right place for Naumburg. Taking a seminar with Sidney Webb, she threw herself into a study of
the young cinematography industry. She sent her parents an enthusiastic letter: "these three months in
London, including the work and the people, meant more to me than my four years of college." [6] After
those three months, however, she decided to leave in order to take advantage of an opportunity to study
with Montessori in Italy.
In January 1913, she traveled there with fifteen Englishwomen. They were the first foreigners to undergo
Montessori training. Naumburg, who could admire deeply but was also fiercely independent, wanted very
much to be in the forefront in everything she did. She wrote her parents that she felt "quite sure it's the
chance of a lifetime to be able to get into this work when it is still just at the start." [7] Again it started off
well, but the sense of satisfaction did not last. Naumburg's enthusiasm for the Montessori method waned
and a personality conflict arose between these two intellectual, strong-willed women. Naumburg later
recalled, "I saw a good deal of her personally in the first part of the course. Later in the term when she
took me for a drive with her she asked me why I had withdrawn from her and I told her the truth. That I
found her authoritarian in imposing her ideas and was not concerned with accepting everything she said
without question." [8]
Later in the year she was back in New York. Waldo Frank, her future husband, wrote of her at this
time in his memoirs: "Margaret was a beautiful woman, dark, with great luminous eyes and a dynamic
compassion that was not ready to settle for less than a totally new world. She had just returned from
Rome where she studied primary education with Maria Montessori... she spoke of Freud as if there
stirred in her a prescience of the psychological revolution Freud would bring to the world in the next five
decades." [9] The first letters from Naumburg to Frank in the Waldo Frank Papers date from 1914, at
which time the two are clearly already involved in an intense relationship. They married in 1916.
According to Frank, he was introduced to Naumburg by their mutual friend Claire Raphael. Raphael
was Naumburg's partner in her earliest educational efforts. Together they ran a Montessori class at the
Henry Street Settlement during the 1913-1914 school year. From 1914 to 1916, they ran a Montessori
class at the Leete School, where they rented a room. During 1915 they were also conducting a Montessori
class at Public School No. 4 in the Bronx. The New York City Board of Education approved this class
as an experiment. However, after months of struggling to get supplies and even heat from the school
system, Naumburg resigned in January 1916. After the two years at the Leete School, Naumburg, now
without Raphael, moved The Children's School into its own home and added grades to continue to teach
the children who had started in the kindergarten. Sometime after the 1921-1922 school year, the students
objected to being described as children and the school became the Walden School.
During the years from 1914 to 1917, Margaret Naumburg was undergoing Jungian analysis with Beatrice
Hinkle. Florence, who by then was married to lawyer and poet Melville Cane and was an art teacher at the
school, also worked with Hinkle. Naumburg encouraged all Walden teachers toward analysis. In 1917 she
published an article titled "A Direct Method of Education." On a typescript of the article, she later wrote,
"This published in 1917 was as far as I know the first application of the principles of psychoanalysis to
Education." In it she argued the need for change and the opportunity which psychoanalysis provided:
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Up to the present, our methods of education have dealt only with the conscious or surface mental
life of the child. The new analytic psychology has, however, demonstrated that the unconscious
mental life which is the outgrowth of the child's instincts plays a greater rôle than the conscious...
This discovery of the fundamental sources of thought and action must bring about a readjustment
in education. School problems can no longer be dealt with as they appear on the surface, for our
deeper knowledge must direct our attention to the deeper realities beneath.[10]
A. A. Brill, the psychiatrist whose article on Freud she had read years earlier, became a parent at the
school, and Naumburg sought additional analysis with him.
By 1922 Naumburg was exhausted. The fund-raising efforts necessary to keep the Children's School
running had little to do with education. She wrote a letter to parents indicating that she would close the
school. The parents at the school did not want it to close. Naumburg, however, began to withdraw and
turned the direction of the school over to Margaret Pollitzer and C. Elizabeth Goldsmith, teachers at
Walden.
Naumburg was also dealing with the birth of her son Thomas in 1922. Her feelings about motherhood
were profoundly ambiguous, not least because her marriage to Frank was disintegrating. In Frank's words,
"We had wanted to live openly together because we loved each other. She was an educator of whom
'respectability' was expected; therefore we had to be married. But it was understood between us that we
were not really married. And I kept the matter clear by my infidelities, of which I always told her. The
birth of my first son changed my heart; I wanted now to be truly married to my wife. But it was too late;
she had suffered too much." [11] Adding to the strains on their marriage was Naumburg's relationship
with the author Jean Toomer. After a year of correspondence with Frank, Toomer moved to New York
City in May 1923. Soon after, he met Naumburg and they quickly formed an intense bond. In 1924,
Naumburg and her son shifted to Reno, where she had to establish residency for six months before she
could get a divorce. Shortly after Naumburg arrived in Reno, Toomer joined her. They had decided to
test the experience of living together as if married before marrying. In July, however, he left for New
York City and stayed there briefly before leaving for France to learn from a man in whom both he and
Naumburg were intensely interested.[12]
Before leaving for Reno, they had attended a dance performance by the followers of Georges Ivanovitch
Gurdjieff. Gurdjieff was a writer, dance teacher, philosopher, and guru, born in Russian Armenia and
relocated to France by way of Central Asia. ̶ "The Work," as the efforts and focus of Gurdjieff's followers
were called, was for a time highly fashionable among the intellectual and literary Greenwich Village set,
which included Naumburg, Toomer, and Frank. Naumburg's divorce was final in Sept ember 1924. Upon
her return she became increasingly involved in the New York Gurdjieffian community, which was under
the guidance of A. R. Orage.
Gurdjieff promoted personal development through bringing the intellectual, emotional, and instinctual
centers of the self together into harmony. The disciplines that would help followers attain this goal
included self-observation, Gurdjieff's sacred da nces, and study. Naumburg's Gurdjieffian period is well
represented in the collection and reveals her personal thoughts to an unusual degree because of the group's
emphasis on "formulation," the effort to observe and write about one's thoughts, emotions, actions,
and reactions in a detached way. Several formulations from the winter of 1924 and spring of 1925 are
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preserved. They focus intently on Toomer, who otherwise does not appear in the collection. She noted
a lessening of intensity in their relationship in January, and in May she described racial tensions in their
relationship, particularly those arising from Tommer's leadership of a Gurdjieffian group in Harlem. In
1926 their relationship ended.
In addition to leading the groups in which followers worked on their development, Orage gave lecture
series on literature in order to earn money to support Gurdjieff and his work. These developed into
workshops for writers. Naumburg attended lectures in 1927 and 1928. Both Melville Cane and Toomer
were attenders as well. No explicit link connects these workshops and Naumburg's writings, but after
a year of lectures and workshops, Orage suggested that each participant publish an article or book on a
sub ject well known to him or her.[13] This is at exactly the time when Naumburg wrote The Child and
the World, her first book, published in 1928. Each chapter is a dialogue meant to enlighten readers about
the workings of a modern school, certainly a subject Naumburg knew well. Also at this time Naumburg
began work on Sunflower and Cypress, a play about Vincent and Theo van Gogh, of which she would
draft numerous versions and which she continued to revisit throughout her life.
Two to three years later, Naumburg severed her ties to both Gurdjieff and Orage. In the place of that
community she became involved in another occult group, Pojodag House. Pojodag drew on alchemy,
astrology, mediums, and a combination of ancient Egyptian myth and Christian religious elements.
Naumburg's younger brother Robert and her sister and brother-in-law Florence and Melville Cane were
all involved at Pojodag House. All these individuals then shifted to the trance medium Eileen Garrett. As
1933 began, Margaret was "sitting" with Garrett, that is, meeting with Garrett and recording her words
spoken while in a trance.
Garrett was born in Ireland and had worked as a trance medium at the British College of Psychic Science
and other spiritualist societies. She came to New York City for six months in 1931 under the auspices
of the American Society for Psychical Research, then returned in 1933.[14] Naumburg made and saved
transcripts of many discussions with three "control" personalities, referred to as Uvani, Tehuti, and Abdul
Latif, through the person of Garrett, referred to in these discussions as "the instrument." Naumburg
and others in the circle around Garrett considered themselves serious researchers, because rather than
attempting through an otherworldly connection to obtain information about or contact dead relatives,
they were pursuing questions of occult knowledge and higher consciousness. One characteristic of this
investigative approach was the keeping of detailed records of their sittings.
Naumburg's collaboration with Garrett throughout the 1930s passed through several stages. Naumburg
accompanied Garrett to laboratory studies of her mediumistic abilities conducted by researchers in
England and by J. B. Rhine of Duke University's parapsychology laboratory. Naumburg also gathered
materials in hopes of writing a scientific and psychological book about Garrett. In this period she was
generally negative about psychology because the field did not accept or accommodate the aspects of
consciousness with which she was concerned. She consulted Tehuti about everything, including both
her creative writing and the writing she undertook in cooperation with Garrett; social relationships; the
possible development of her own psychic abilities; and her future direction.
In 1934 Edward Hall began to share Naumburg's appointments with Garrett. He faced severe financial
difficulties including debts and tax suits, but he was also part of a business that supplied materials for arts
and crafts programs. He and Naumburg planned to start an arts and crafts school and Naumburg worked
on a plan for an exhibition of art of the Western Hemisphere called "The Three Americas" in order to
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raise money for the school. The exhibition, meant to travel, only took place in an abbreviated form in
Mexico City. It cannot have raised much, if any, money. The Universal School of Handicrafts did open,
and Naumburg served on its Board of Directors until she withdrew in 1942.
Toward the end of the decade, Naumburg devoted her efforts to gathering autobiographical information
from Garrett. In a later letter to Rhine, Naumburg claimed that she had not only organized but written
Garrett's autobiography, My Life as a Search for the Meaning of Mediumship. She was also to have
written an introduction under her own name, but had the whole project taken from her to preserve the
illusion of Garrett's authorship. For unclear reasons, a complete break between the two women followed
by 1940. This must have been a very difficult time for Naumburg. She was separated from the person
and the projects around which she had organized her life for the previous ten years. Yet in this time she
somehow conceived of and moved toward her second career in art psychotherapy.
Naumburg did not have recognized training in this field and she could not present herself as a professional
therapist, although her principles as an educator had been built on psychology. So she took her first steps
from the foundation of education, the field in which she was recognized, by seeking opportunities to
combine art education and psychotherapy through art. Although she tended to portray herself as working
in isolation, if not in opposition to the world, the topic of art as therapy was receiving increasing attention
at that time. In 1941 Anne Anastasi and John Foley published a four-part survey of literature on "artistic
behavior in the abnormal." The first three parts are in Naumburg's resource materials as reprints. In
1943 Naumburg joined the Committee on Art in American Education and Society, a group based at the
Museum of Modern Art. They had an art therapy study group, from whose lecture series Naumburg saved
some outlines.
An increasing interest in occupational therapy inspired by the entry of the United States into World War II
and the resulting injuries also fed interest in art therapy. Because occupational therapists wanted military
status for their role in working with the war wounded, the Public Education Committee of the American
Occupational Therapy Association was publicizing occupational therapy nationally.[15] Naumburg's
relationship with the field of occupational therapy was an imbalanced one. Throughout much of her
career, she would be dismissive about the methods of occupational therapy, yet occupational therapists
were in general an audience receptive to her ideas. Aspiring occupational therapists bolstered her art
therapy course enrollments in the 1950s and 1960s, and Naumburg received and accepted invitations to
address professional gatherings of occupational therapists.
One of Naumburg's earliest lectures on psychotherapy was given at the 1941 Annual Institute of Chief
Occupational Therapists in New York. She was invited by Eleanor Slagle, director of the Bureau
of Mental Hygiene Occupational Therapy for the State of New York Department of Mental Health
and fellow board member of the Universal School of Handicrafts. Attempting to bridge the fields of
education and psychotherapy, Naumburg titled her talk, "Can Modern Educational Principles Be of Use to
Psychotherapists?" She told the occupational therapists, "Those who work in the field of mental hygiene
and those active in modern education, should no longer be kept apart by the barriers of their professional
training... For those who enter the world of education, I have, for years, been a persistent advocate of
more training in psychiatry, and I hope that I shall not fail to persuade you, in the field of mental hygiene,
to recognize some important implications in the new education." [16] Her attempt to be interdisciplinary
was not entirely successful: the text of the lecture was rejected by Mental Hygiene magazine with the
comment that it was "better adapted to an educational journal." [17]
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Naumburg began the decade by briefly working at Bellevue Hospital. Her original contact there was
Harriet Ayer Seymour. In the late 1930s Seymour had been one of those who consulted Garrett's controls,
once sitting jointly with Naumburg, and had already at that time been interested in music therapy. In
1940 she was head of the Music Committee of the Hospitals. Naumburg worked with children under
psychiatrist Lauretta Bender and with adolescent boys in a drama therapy group under psychiatrist Frank
Curran. Then, however, in 1941 at a meeting of occupational therapists, she met Nolan D. C. Lewis,
the primary mentor and champion of her early art therapy career.[18] Lewis was already interested in
art expression and psychotherapy, having published two articles on art in psychiatric treatment, and he
was interested in what Naumburg had to say. He invited her to do research at the New York Psychiatric
Institute, where he was director.
By October 1941, Naumburg was working with three young boys who were patients there During
her time at the Psychiatric Institute, she worked with one boy diagnosed with Froehlich's syndrome
and another with tic-like movements, but mainly the boys were institutionalized because they were
uncontrollable. Their files reported their diagnoses as "Primary Behavior Disorder." Naumburg
paid to provide pastels, tempera paints, and plasticine for the children. Appalled by the repetitive,
unimaginative nature of the art produced in school art programs (including the school program at the
Institute), Naumburg worked to get the children to produce images of their own - images based on their
experiences, dreams, and fantasies. She kept minutely detailed records of what happened in each session,
including her conversations with the boys, descriptions of their art work, and the boys' comments about
their art.
The art was full of violent images inspired by their perceptions of World War II. In 1943 Naumburg
published her first art therapy article, "Children's Art Expression and War," in The Nervous Child.
In the next few years, Naumburg shifted from working with young boys to work with a succession of
schizophrenic adolescent girls, and she published a series of articles based on her case studies done at
the Psychiatric Institute. In "A Study of the Art Work of a Behavior-Problem Boy as It Relates to Ego
Development and Sexual Enlightenment," [19] Naumburg included a photograph of clay figures created
by the patient to depict pregnancy. The next photograph (Fig. 10) shows an "ancient Mexican-Aztec
figure of the Goddess of Childbirth... [which] suggests the kinship in feeling and expression between the
archaic and child-like forms of art." Connecting patients' spontaneous art and ancient or primitive art was
of interest to Naumburg throughout her art therapy career, an inclination present already in her work with
her first patients.
She collected her first six articles into a book, Studies of the "Free" Art Expression of Behavior Problem
Children and Adolescents as a Means of Diagnosis and Therapy in 1947. It was published in the Nervous
and Mental Disease Monographs series, of which Lewis was series editor. He wrote a foreword for
the book, describing Naumburg's work as "progressive steps in a type of research that promises much
for the future." [20] In a review, education writer Agnes Benedict praised the work but also raised the
specter of the creation of "amateur therapists" : "The book will be invaluable to parents and teachers in
helping them to understand the behavior of normal children without encouraging them to turn amateur
psychotherapist, or to read meanings into children's art work that are not there." [21] The perception that
Naumburg wanted to train therapists outside established channels would recurin her career and hamper
her progress.
Because of the highly visual nature of her records, Naumburg also used exhibits throughout her career
to try to bring her work to the attention of a wider professional audience. She showed her first exhibit at
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the annual meeting of the American Psychiatric Association in 1946 and worked on two exhibit projects
in 1947. She was an exhibitor at the Fifth International Congress of Pediatrics in New York. Her exhibit,
"Art Therapy in Diagnosis and Treatment of Behavior Problem Children," was captured with touches of
skepticism or parody in "The Talk of the Town" in the July 26, 1947, New Yorker:
Next, attracted by some vivid paintings and crayon drawings entitled "City Fire," "Burning
Leaves," "Automobile on Fire," "Burning of the Normandie," "Fireworks at the World's Fair,"
and "Bozo, the Fire-Eater," we paused before a booth marked "Art Therapy in the Diagnosis
and Treatment of Behavior Problem Children." "These pictures were all done by a nine-year-old
boy with a compulsive neurosis and a fire-setting proclivity," the lady in charge was saying to
a bug-eyed young man. "Note the fire-eater at the circus saying 'Yum, yum.' Isn't that amusing
symbolically?"
"Troubled Waters," an exhibition tracing the work and progress of one of the schizophrenic girls with
whom Naumburg had worked, was planned for the Philadelphia Museum of Art. After only one month on
display, however, the exhibition was taken down at Naumburg's insistence, because she did not agree with
the presentation of her work.
Meanwhile, Naumburg's practice was shifting away from work in an institutional setting with children
and adolescents to the private treatment of adults in her apartment, meeting with them weekly or even
more often. A short-lived collaboration studying hard-of-hearing and stuttering children through Vassar
College's Department of Child Study led to a meeting between Naumburg and a Vassar student who
would be the subject of one of Naumburg's most thoroughly developed case studies. This young woman,
who first approached Naumburg because of interest in art therapy and then sought help for obsessive
masturbation, worked with Naumburg for three years. Naumburg would produce two exhibits, "The
Psychotherapeutic Significance of the Art Productions of a College Girl" and "The Survival Value of
Fantasy Projection," and a book, Psychoneurotic Art, based on the case. Over the years, several would-
be students of art therapy who sought out Naumburg became her clients first, because she believed that
aspiring therapists must have therapy to deal with their own conflicts before they could deal effectively
with others. It was the same principle she had a pplied to herself and the teachers at the Walden School.
As the 1950s began, art therapy was beginning to be more widely recognized as a field and Margaret
Naumburg was beginning to be recognized as one of its most important figures. A Newsweek article
about the 1949 exhibit, "The Psychotherapeutic Significance of the Art Productions of a College Girl,"
proclaimed, "Art therapy - the use of drawings for studying the emotional problems of both children and
adults - is now an established psychiatric procedure." It continued, "One of the best-known pioneers in
the field of spontaneous art expression is Dr. Margaret Naumburg, 59-year-old, New York-born artist-
psychiatrist, who has devoted the last ten years of her life to her own form of art therapy." [22] Yet as she
was neither doctor, artist, nor psychiatrist, she continued to struggle to find her professional place in the
world.
Although she was without institutional affiliation, she continued to work and write independently. She
published Schizophrenic Art: Its Meaning in Psychotherapy in 1950 and Psychoneurotic Art: Its Use in
Psychotherapy in 1953. Thomas A. C. Rennie, on staff at the Payne Whitney Psychiatric Clinic in New
York, wrote the preface to Schizophrenic Art and in it acknowledged Naumburg's status: "The main
purpose of the book... is to define a new approach to psychotherapy. This approach in the hands of Miss
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Naumburg with her special training and insight is clearly a valid one. It is important because it represents
an essentially pioneer effort." [23] In fact, while Naumburg does use the phrase "art therapy," she shies
away from defining it directly, describing a process in which the therapist is almost invisible:
When inner experiences of a patient are projected into plastic form, art often becomes a more
immediate mode of expression than words... Some patients do not immediately recognize the
significance of their spontaneous art; but as therapy proceeds they usually arrive at awareness of
its symbolic meaning. This is the reason that it is unnecessary for the therapist to interpret directly
to the patient what his spontaneous creations mean.[24]
To which approach one reviewer responded, "The theoretical exposition of the technique is frequently
rather speculative and not always convincing." [25]
In her introduction to Psychoneurotic Art three years later, Naumburg faced the issue more squarely:
Both Miss Naumburg and Dr. Rabinovitch [another symposium speaker] discuss to a certain
extent the technique which they have applied. Nevertheless, I am not clear in my mind about
the essential aspects of the therapeutical situation on one hand, of the therapeutic procedure on
the other. I feel very strongly that at some point we will have to differentiate quite clearly the
basically different aspects of analytical therapy and of art therapy... I would like to enter a plea to
the art therapists to draw up a parallel between the procedures used by them and contrast this to
the classical analytical procedures - such a confrontation would help us greatly in understanding
many aspects of art therapy which at this point are not sufficiently clear - at least they are not so to
me.[27]
In the margin next to his "plea," Naumburg wrote, "Answer this." She contemplated this comparison for
the next ten years.
In addition to the publication of her books, Naumburg began to teach privately, offering a ten-week
seminar at her home. She also began to have opportunities to offer courses at institutions such as the
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Institute of Pennsylvania Hospital and New York's Postgraduate Center for Psychotherapy. She gave a
series of ten lectures in Washington, D.C., in 1956 sponsored by the District of Columbia Occupational
Therapy Association. The Washington lectures brought Elinor Ulman, a therapist and later an important
figure in art therapy in her own right, into contact with Naumburg. Five years later, Ulman would found
the Bulletin of Art Therapy to provide a forum for art therapists from all over the country. For more than
ten years, she and Naumburg would correspond, occasionally in fierce disagreement but mostly in mutual
appreciation.
While working on many projects, however, Naumburg did not have a consistent source of income.
She applied in 1952 for a Guggenheim Fellowship, proposing to write a book titled The Image Speaks:
The Dynamics of Art in the Unconscio us of Modern and Ancient Man, "to make available - not
only to scholars, artists, psychiatrists and psychologists but also to the general reader - data on the
psychodynamics and meaning of symbolic art." [28] She did not receive a fellowship. Throughout the
1950s she continued to accept speaking opportunities that would not have furthered her professional
progress, such as the lecture she gave on "Some Psychological Implications of Color Preferences" ̶ to the
National Society for Decorative Design in 1956.
She also pursued long-term teaching positions, but they proved difficult to get. In 1949 she hoped to offer
a course at the New School for Social Research. After reviewing a proposed outline, Clara W. Mayer,
Dean of the School of Philosophy and Liberal Arts sent Naumburg her conclusions: "the subject interests
me very much and I have tried... to see whether there is enough that the successful practitioners like
yourself could really teach. I find it utterly elusive, except insofar as every form of expression sheds light
on the total personality. In this sense it is an adjunct to therapy which can hardly be profitably taught by
itself." [29] Naumburg responded in self-defense, "The lecture plan... was not meant to be, in any sense, a
training course to make art therapists, as you interpreted it," [30] but the discussion was not renewed.
In 1953 another opportunity opened up. Starting in the fall of 1953, teachers participating in guidance
work in New York had to take additional courses in psychology, and as a result, Naumburg was hired
by the New School to teach "Dynamic Psychology in the Creative Arts." Mindful of how little leeway
she had between teaching about art therapy and teaching art therapists, she warily declared to her
students in her first lecture, "Some of you who teach may be wondering whether... I am advocating that
teachers become therapists. No, nothing of that kind. No teacher today, I believe, in any field, can do an
adequate job, without understanding how the unconscious motivates the responses of their students and
themselves." [31] Hanna Yaxa Kwiatkowska, who later developed the use of group art therapy for family
therapy at the National Institute for Mental Health, was a student in this course. Both Naumburg and her
students hoped that a workshop class would follow, but the New School declined to offer it.
In the summer of 1958 she taught "Art Education and Personality," the start of a seven-year relationship
with the Art Education Department of New York University. Her lecture notes and syllabi show that this
introductory course changed little over the fourteen years she taught it. In it she introduced ways drawing
was used for diagnostic purposes, Florence Cane's "scribble" technique of creating spontaneous pictures,
and case studies. She gave a survey of art therapy mostly through her own articles and case studies. Later
she began to teach a second course at New York University, "Case Studies of Pupils with Emotional
Blocks in Creativity." This was essentially the workshop course that she had not been able to develop at
the New School. A description of "Art Education and Personality" ( "How certain techniques, developed
in Art Therapy, can be applied to the teaching of the 'normal' art student will be discussed" [32]) makes
it clear that Naumburg still had to approach the subject of teaching art therapy cautiously. Nevertheless,
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through these courses Naumburg introduced students from a wide range of backgrounds to art therapy and
began or aided the training of many professional art therapists. Several had already been inspired by her
books, and they traveled long distances to study with her in her summer courses.
Early in 1958, Naumburg had applied for certification as a psychologist. To requests for records of her
graduate work in psychology, she replied, listing her professional affiliations and concluding, "I hope
that this letter makes clear to you why, after my own analysis from 1914-1917, I was unable to find the
graduate courses in clinical or dynamic psychology that I sought at that time. I therefore had to pioneer
in developing and applying dynamic psychology in retraining teachers myself in a modern school. I
believe that my membership in the recognized psychological associations is evidence of my contribution
to educational and clinical psychology." [33] Naumburg received notice of her rejection in September.
Although there is no evidence of a second application in the collection, she did re-apply successfully, for
she was issued a license in Psychology in March, 1961.[34]
At the beginning of the 1960s, Naumburg felt that art therapy had achieved a professional identity. In her
catalog for "The Power of the Image," an exhibit at the American Psychiatric Association annual meeting
for 1960, she proclaimed, "Analytically oriented art therapy has now, in its twentieth year, established
itself firmly as a primary and an adjunctive method of treatment for both neurotic and psychotic patients."
Another sign of this development was the founding of the Bulletin of Art Therapy by Elinor Ulman in
1961. Ulman's inaugural editorial recognized Naumburg's importance: "As we launch the first journal
devoted to art therapy, this specialized discipline has already an honorable history and the beginning of
worldwide recognition. For the past twenty years, starting in this country with the pioneering efforts of
Margaret Naumburg and in England with the work of Adrian Hill, the use of painting and clay modelling
in the treatment of illness has been developing." [35] Naumburg, however, was not as quick to recognize
the effort of her colleague. In the obituary for Naumburg in the American Journal of Art Therapy (as
the Bulletin was renamed in 1969), Ulman recalled, "[Naumburg] viewed the founding of this journal
with her customary skepticism and politely refused an invitation to write the lead article for its first issue.
We are proud that our initial effort passed muster, leading Ms. Naumburg to contribute an article to our
second (Winter 1961) issue." [36]
Art therapy was at this point a broad enough field to include subgroups with different perspectives.
As Ulman explained in an article in the second issue, "some artists put the emphasis on art and some
on therapy... In the United States the secon d group - emphasis on therapy - found its spokesman
earlier in the person of Margaret Naumburg." [37] The author of the lead article in the first issue, "Art
and Emptiness: New Problems in Art Education and Art Therapy," was Edith Kramer, preeminent
representative of the first group. Maintaining her identity as an artist as well as an art therapist, Kramer's
view of art therapy held that acts of creation were inherently therapeutic rather than a form of nonverbal
communication used in therapy. Ulman noted, "in 1958 she became the second member of our nascent
profession in the United States to publish at book length," and then attempted to depict Naumburg and
Kramer's views of each other from opposite ends of a spectrum: "By Naumburg's recent definitions,
Kramer is an art teacher rather than an art therapist. Into Kramer's ideological scheme, Naumburg fits as
a psychotherapist, not an art therapist." [38] Naumburg's typical approach to art therapists outside of her
circle, in other countries or even in the United States, was to ignore them. There is only one letter from
Kramer in Naumburg's correspondence, and no signs of awareness on Naumburg's part of Kramer's book
or later of her presence at the New School for Social Research, where she taught an art therapy course
in the Department of Art Interpretation during the same years when Naumburg taught art therapy in the
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Department of Psychology (demonstrating the truth of Ulman's distinction between the emphasis on art
and the emphasis on therapy).
Naumburg was by this time fighting against the inexorable progress of age. After several re-appointments
past the statutory age of retirement at New York University, university officials refused to re-appoint her
again after the spring of 1965. Coming at a moment when Naumburg hoped to develop a degree program
in art therapy, the termination was a cruel disappointment. She attempted to persuade university officials
of the unique nature of her courses and marshaled the support of her brother-in-law, but in vain. She and
her courses, however, found a new home at the New School for Social Research, where she continued to
teach through 1972.
Naumburg's last book, Dynamically Oriented Art Therapy: Its Principles and Practices, came out
in 1966. Presenting case studies of women suffering from an ulcer, alcoholism, and depression,
Dynamically Oriented Art Therapy was Naumburg's answer to Spitz's 1954 challenge. The title reflected
her desire to demonstrate that art therapy was distinct from Freudian psychoanalysis. Through 1965,
Naumburg described her approach to art therapy as analytically or psychoanalytically oriented, but from
1966 onward she consistently referred to her method as dynamically oriented art therapy, even changing
the word "analytically" in her earlier works when she had reason to revisit them.
Naumburg devoted part of her introduction to a description of Spitz's concerns. She attributed some to
such causes as "a misunderstanding" and "a superficial and mistaken interpretation." [39] A reviewer
writing from a Freudian viewpoint responded in kind: "[the book] is marred by her polemical tone
and her rather shallow understanding of freudian [sic] psychoanalysis." [40] Some art therapists
acclaimed Dynamically Oriented Art Therapy as the field's first textbook. A dissenting voice said, "Miss
Naumbuerg [sic] seems biased about the value of other people's art therapy and seems to credit some for
doing well because she trained them. I kept wishing that she would tolerate other theories of art therapy,
or even consider them as authentic efforts..." [41] and might have been describing Naumburg's embattled
approach throughout the 1960s and into the 1970s.
Despite her fighting spirit, her past began to rival her present in importance. She began to receive requests
for information on her role in progressive education. She was becoming recognized as part of the history
of education in the United States, an d her role in the field of art therapy began to shift in a similar
direction. No longer the keynote speaker at conferences, she began to be invited to provide a historical
perspective on art therapy. In 1966 the program for a conference on "Art Therapy and General Hospital
Psychiatry" lists Naumburg's talk as "The History and Development of Art Therapy," but her lecture
notes reveal how she preferred to consider the topic: "The Development of Dynamically Oriented Art
Therapy."
At the 1968 annual meeting of the American Psychiatric Association, three group exhibits on aspects of
art therapy were on display. Naumburg participated in "Aspects of Art Therapy," organized by Carolyn
Refsnes, a former student. This exhibit also included Edith Kramer, Hanna Yaxa Kwiatkowska, and
Elinor Ulman. One of the other two exhibits, "Art Therapy as a Diagnostic Tool," displayed sculpture and
painting by patients at Philadelphia's Hahnemann Medical College and Hospital. It was organized by Paul
Fink, M.D., and Myra Levick, Hahnemann's director of education and art therapy director. Hahnemann
was poised to become a new center of American art therapy. In the 1968-1969 academic year, they
offered for the first time a ten-month internship program. Students successfully completing the program
were to receive certificates, making Hahnemann the first art therapy certification program.
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Art therapists from all three exhibits met for lunch during the annual meeting. They discussed the
possibility of establishing a national art therapy organization and agreed to meet again in the fall.
Approximately eighty people attended a December mee ting at Hahnemann. The minutes record tensions
between the Hahnemann organizers and attenders who perceived the Hahnemann group as supporting
the control of art therapy by psychiatrists. The latter group included Naumburg and some of her students.
Felice Cohen of the Child Guidance Center of Houston moved to elect Myra Levick as temporary
president, but Ulman thought that position was rightfully Naumburg's. The meeting avoided this conflict
by electing a steering committee to prepare a constitution and by laws. Seven were nominated for the
committee, of whom five were elected. Ulman and Levick, who did later become the organization's first
president, were among the five. The two not elected were Naumburg and Kramer.
The next meeting took place in Louisville in June 1969. Naumburg was not present. Those attending
adopted the constitution and the by-laws of the steering committee, bringing into existence the American
Art Therapy Association. The by-laws defined classes of membership, including Honorary Life
Membership, "to be conferred in recognition of distinguished service in the field of art therapy." It was
announced that the outgoing Steering Committee recommended to the incoming Executive Committee
that Naumburg be invited to become the Association's first Honorary Life Member. The announcement
was greeted with applause and approved by all present.[42] Thus at the first annual meeting of the
American Art Therapy Association in September 1971, Naumburg received a plaque designating her
as the first Honorary Life Member. But tensions persisted between Naumburg and her supporters on
the one hand and "the Philadelphia group" on the other for at least a few more years, as evidenced by
correspondence in the American Journal of Art Therapy and an article by Fink, Levick, and Goldman
with responses from Kwiatkowska and Naumburg in the International Journal of Psychiatry in 1973.
By this time, Naumburg, who had for decades been cast as the pioneer who created the future, was ready
to start thinking about the past. In 1972, Teachers College Press republished Naumburg's first art therapy
book, with a new introduction by Naumburg, under the title An Introduction to Art Therapy: Studies
of the "Free" Art Expression of Behavior Problem Children and Adolescents as a Means of Diagnosis
and Therapy. This book received the Ernst Kris Prize from the American Society of Psychopathology of
Expression in 1973. Teachers College Library also expressed interest in housing Naumburg's papers, but
only was interested in the papers from Naumburg's years of work in progressive education, leading her to
look elsewhere for a home for the entire collection.
Naumburg taught her last courses at the New School in the fall of 1972. In December she was hoping to
find somewhere else to teach in New York, but early in 1973, when she met with a lawyer to draw up a
new will, she was taking stock of her situation and could consider leaving the city where she had lived all
her life: "I am quite alone in New York. My son and his family live in Cambridge. And I might at some
future time move to Cambridge in order to work on another book." [43] In September she moved. During
the intervening summer she visited Harvard, interested in the possibility of obtaining a fellowship at the
Radcliffe Institute. She wanted to organize all the materials she had kept from her long career - lectures,
course materials, exhibits, client artwork and records, and publications. When this work was done, she
envisioned making a gift of her papers to Harvard's Schlesinger Library. She did not receive a fellowship
and may not have even completed the application process.
Because of the re-publication of Studies of the "Free" Art Expression of Behavior Problem Children and
Adolescents as a Means of Diagnosis and Therapy with its new introduction and perhaps also because of
her th oughts of organizing her work, Naumburg wrote many rough drafts at this time about her place in
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the history of education and the history of art therapy. Repeatedly, in increasingly illegible handwriting,
she wrote versions of how she founded the Walden School, how she first entered the world of art therapy,
and how she influenced its development. She seemed still to be fighting old battles, most of all the battle
to be accepted by other professionals on her own terms.
At the end of 1969, Naumburg had what she called "a sudden and unexpected illumination" as the result
of a conversation with psychologist Lawrence LeShan. Naumburg recorded both sides of the conversation
in writing, almost as if she were composing a formulation for Orage:
As I spoke of the conflicts and resistances I met to any questioning of the traditionally accepted
methods first of education and then later of psychotherapy the psychologist commented,
"You don't seem to realize that you have all your life tried first in the field of Education and
more recently in the area of psychotherapy to battle the establishment believing you could
change it. Actually what you have stood for and worked to change in the “Establishment” of
Education and Psychotherapy belongs not in these institutions of the past, but in the promise of
this new young generation of today, which is really preparing to establish new spiritual values in
living."
The psychologist's comment startled me. In a flash I recognized the truth of his comments about
my misplaced hopes of being able to modify the rigidity of the traditional values of education or
the assumptions of classical forms of psychotherapy.
The collection comes to an end soon after her move to Brookline, Massachusetts, although she lived for
nearly another decade. She died on February 26, 1983.
Endnotes
[1] "Emergence of the Individual in Modern Education," Folder 2268.
[2] Orage formulations, late 1926?, Folder 4358.
[3] "MNs Early History," Folder 2050.
[4] Letter to Sol Cohen, January 25, 1967, Folder 147.
[5] "MNs early history," Folder 2050.
[6] Letter to Max and Therese Naumburg, December 1912, Folder 445.
[7] Letter to Max and Therese Naumburg, December 1912, Folder 445.
[8] Letter to Sol Cohen, January 25, 1967, Folder 147.
[9] Waldo Frank, Memoirs of Waldo Frank, ed. Alan Trachtenberg (Amherst: University of
Massachusetts Press, 1973), 199.
[10] Margaret Naumburg, "A Direct Method of Education," Bureau of Education Experiments Bulletin 4
( "Experimental Schools," 1917), 7.
[11] Frank, Memoirs, 206.
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[12] Cynthia Earl Kerman and Richard Eldridge, The Lives of Jean Toomer: A Hunger for Wholeness
(Baton Rouge: Louisiana State University Press, 1987), 131-133.
[13] Louise Welch, Orage with Gurdjieff in America (Boston: Routledge & Kegan Paul), 57-60.
[14] Eileen J. Garrett, My Life as a Search for the Meaning of Mediumship (New York: Oquaga Press,
1939).
[15] Glenn Gritzer, and Arnold Arluke. The Making of Rehabilitation: A Political Economy of Medical
Specialization, 1890-1980 (Berkeley: University of California Press, 1985), 105.
[16] "Can Modern Educational Principles...," p.2, Folder 2463.
[17] Letter from Elizabeth R. Boyan to Naumburg, March 18, 1941, Folder 455.
[18] "Phases of Hospital Research and Experience," Folder 2051.
[19] Psychiatric Quarterly 20 (January 1946), 74-112.
[20] N. D. C. Lewis in Margaret Naumburg. Studies of the "Free" Art Expression... (New York: Nervous
and Mental Disease Monographs, 1947), vi.
[21] Agnes E. Benedict, review of Studies of the "Free" Art Expression... In Parents' Magazine
(December 1947).
[22] "Paintings and Passions," Newsweek, 13 June 1949, 47.
[23] Schizophrenic Art, Preface Draft, Folder 914.
[24] Schizophrenic Art , Foreword Draft, Folder 914.
[25] E. A. Bennet, review of Schizophrenic Art In British Journal of Medical Psychology, n.d.
[26] Psychoneurotic Art, Galleys, p. 3, Folder 981.
[27] Spitz, René A., Discussion, Folder 2675.
[28] Guggenheim Fellowship application, Folder 5250.
[29] Letter from Clara W. Mayer to Naumburg, March 17, 1949, Folder 450.
[30] Letter to Mayer, March 24, 1949, Folder 450
[31] Introductory lecture, p. 2-3, Folder 3779.
[32] Course announcement draft, Folder 3918.
[33] Letter to Joseph R. Sanders, February 4, 1958, Folder 674.
[34] E-mail communication, University of the State of New York, Office of Higher Education and the
Professions, Record & Archives Unit.
[35] Bulletin of Art Therapy 1.1 (Fall 1961), 3.
[36] American Journal of Art Therapy 22.1 (October 1982), 10.
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[37] Elinor Ulman, "Art therapy: problems of definition." Bulletin of Art Therapy 1.2 (Winter 1961), 11.
[38] Ulman, "Art therapy: problems of definition," 12, 17.
[39] Margaret Naumburg, Dynamically Oriented Art Therapy: Its Principles and Practices(New York:
Grune & Stratton, 1966), 17.
[40] Esman, Aaron H. Review of DOAT. The Psychoanalytic Quarterly, 1967.
[41] Ramsay, J. Bert. Review of DOAT. American Journal of Psychiatry 123.11 (May 1967).
[42] "News," American Journal of Art Therapy 9.1 (October 1969), 37.
[43] Notes for Wishod & Fisch, 1973, Folder 726.
The Margaret Naumburg Papers at the University of Pennsylvania contains materials documenting all the
phases of her long and productive work life. The collection includes 182 boxes of documents, artwork,
and images, along with 10 drawers of oversize ma terials. The documents include correspondence; copies
of and materials for Naumburg's writings, lectures, and exhibit catalogs; materials for case studies; lecture
notes for the courses she taught and papers her students wrote in those courses; and work by others that
she collected and saved. Other media in the collection include slides, photographs, and audio recordings.
The Correspondence series consists of approximately 750 folders representing about 560 correspondents.
Family members in the collection include Naumburg's parents, Max and Therese Naumburg, to whom
she wrote while she was studying in Europe; her sister Florence Cane, an art teacher, and her brother-
in-law Melville Cane, a lawyer and poet; her brother-in-law Joseph Proskauer, who was a judge on the
New York State Supreme Court and who supported Naumburg's career financially; and her brother
Robert Naumburg. There is very little correspondence with her ex-husband Waldo Frank in the collection;
extensive correspondence between Naumburg and Frank may be found in the Waldo Frank Papers, also
housed at the University of Pennsylvania. Correspondence with her son Thomas Frank is also minimal.
In connection with Naumburg's early career in progressive education, the collection preserves
correspondence with John Dewey and Alvin S. Johnson, but there is relatively little correspondence
from before 1930. Correspondents from the period between the late 1920s and 1940, when Naumburg
was involved in occult and psychic inquiries include Gurdjieff associates Alfred R. Orage and Jeanne de
Salzmann; trance medium Eileen Garrett; and psychic investigator J. B. Rhine. The majority of the series
is devote d to correspondence related to her art therapy career. Correspondents in this area include art
therapists Elinor Ulman and Hanna Kwiatkowska, psychiatrist Nolan D. C. Lewis, psychologist Gardner
Murphy, and many other psychiatrists, psychologists, and stu dents of art therapy from the United States,
Europe, and South America. There are relatively few letters from other art therapists. Edith Kramer,
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Diana Raphael Halliday, and Marguerite Sechehaye are each represented by a single letter to Naumburg
with no response in the collection.
Small collections of correspondence are other series. Correspondence concerning Naumburg's
experimental Montessori class in a public school has been filed in the Elementary Education series.
Correspondence with clients or members of their families are filed in the Client Record series by client.
Correspondence among the members of Eileen Garrett's circle and among the members of an ESP group
have been filed in the Consciousness Investigations series.
Margaret Naumburg had two careers which were quite separate chronologically, although both drew on
similar interests which engaged her throughout her lifetime. Both her writings and lectures are divided
into subseries representing those two careers. Fr om 1913 through about 1924, Naumburg played a
prominent role in progressive education through the founding and directing of the Children's School,
later renamed the Walden School. A small but important series grouping materials from this period in
Naumburg's life includes promotional materials for her early Montessori classes, records of her struggles
with the Board of Education over an experimental Montessori class in a public school, and catalogs for
and articles about The Walden School. She continued to save material about the Wa lden School even
after severing her official ties to the school. The latest materials are connected with the school's 50th
anniversary in 1964 and a memorial service for a teacher in 1971. A limited amount of correspondence
with her sister Florence Cane provides a less public perspective on the early period.
In the Writings series, the first subseries collects Naumburg's writings concerning education. In 1928
she published a book, The Child and the World, based on her experience with the Children's School,
represented in the collection by a book cover and reviews, which she saved. She also wrote articles on
the Walden School, other progressive schools, progressive education, and American education in general.
In addition, she reviewed books on education by other authors. Her writings on education demonstrate
her early assimilation of Freudian psychology into her educational philosophy and therefore are part
of the early history of Freudian analysis in the United States. The first subseries of the Lectures series
consists of lec tures on educational topics. The total number of lectures is relatively small, but there are
seven boxes of material from Naumburg's preparation for her 1932 series of twelve lectures, "Crisis in
American Education."
Between the time when she distanced herself from the Walden School and the start of her second career
as an art therapist, Naumburg was involved in intense self-searching, the records of which are gathered
into the Consciousness Investigations series. Along with Waldo Frank, Jean Toomer, Carl Zigrosser, and
many others of their acquaintance, in the late 1920s she immersed herself in the teachings and disciplines
of G. I. Gurdjieff. As a result of this group's emphasis on "formulation," or self-observation, Naumburg's
writings from this period are among the most revealing in the collection in terms of expressing her
emotions, fears, aspirations, memories of childhood, and opinions of herself. They are also the only
documents that reflect her intimate relationship with Toomer.
By 1933 Naumburg had broken with the Gurdjieffian community and associated herself with a trance
medium well-known at the time, Eileen Garrett. Naumburg, turning briefly against Freudian psychology,
was interested in learning about the "superconscious" ” through the personalities who spoke through
Garrett while she was in a trance state. Because of what Naumburg perceived as the scientific nature
of her efforts, detailed record-keeping was essential. Thus the collection includes nearly ten boxes of
transcripts of "sittings" with Garrett and also extensive notes for writing projects which Naumburg
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undertook with the guidance of Garrett's personalities. This is an extremely strong collection of materials
on spiritualism and psychic research in the 1930s.
By 1940, however, Naumburg had once again broken from a past phase of life to begin a new one. Art
therapy was to be the primary focus of the rest of her life, and as such, occupies about two-thirds of the
collection. In the Psychotherapy subseries of the Writings series are Naumburg's notes and drafts for her
three books about art therapy, one of which was republished late in her life. She also wrote and saved
versions of numerous articles. The Psychotherapy subseries of the Lectures series collects her lectures on
art therapy, which she gave to almost any group that would listen. The Exhibit s series includes materials
from the exhibits which she assembled to show at professional conferences.
All of these endeavors were built on the foundation of her therapy work with individuals, first
institutionalized children and adolescents, and later adult clients who sought her out or were referred
to her by a few receptive psychologists or psychiatr ists. In the Client Records series are records of 23
juvenile patients and 24 adult clients. Many of the records are fragmentary, but those for the cases which
she used in books or exhibits are extensive. The records include client artwork and photographs of client
artwork, which are duplicated in the Slides and Photographs series; client writing about their artwork,
dreams, and life issues; and Naumburg's detailed accounts of therapy sessions. All materials containing
patient/client records are restricted from use until 2044.
Later in life Naumburg went on to teach art therapy courses at New York University and the New School
for Social Research. From these courses she saved syllabi, lecture notes, and student questionnaires,
which make up the Art Therapy Courses Series. The Student Work series, eight boxes of examples of
book reviews and case studies by her students, adds more information about her work as a teacher of art
therapy principles on the undergraduate and graduate levels.
The Proposals series combines more than one phase of Naumburg's life. She devoted some years during
her time with Eileen Garrett to attempting to coordinate an exhibition of art of the Western hemisphere.
She also proposed art therapy projects for financial support from foundations. She was involved, not
willingly, in the development of the American Art Therapy Association. Finally, toward the end of her
life, she hoped to find financial support for the organization of the materials she had saved from her long
career.
One final large series is devoted to the materials by others which Naumburg collected and saved. The
topics of these are wide-ranging, including art therapy, the medical or psychiatric problems of particular
clients, art, and occupational therapy. The formats are similarly wide-ranging, including single articles
(several signed by their authors), complete issues of periodicals, pamphlets, conference programs,
directories, exhibit catalogs, bibliographies, and many pages of passages, which Naumburg copied by
hand, from monograph sources.
Margaret Naumburg was not a collaborator or a networker with colleagues, although she was extremely
supportive to many students. Except for art therapists who had been her students and a very few others
with whom she formed a relationship, other art th erapists do not figure prominently in this collection.
It records Naumburg's career in minute detail; it does not reveal her place in the field of art therapy,
new and growing in her lifetime. Only with the discussions surrounding the formation of the American
Art Therapy Association does it become clear that Naumburg and her contacts were one subgroup or
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school of art therapy. The collecti on, however, is an excellent record of the development of Naumburg's
principles and, by extension, the principles of those who followed her.
The Margaret Naumburg Papers may be examined by researchers in the reading room of the Rare Book &
Manuscript Library, University of Pennsylvania. Patient/client material is restricted from use until 2044.
Permission to quote from and to publish unpublished materials must be requested in writing from the
Curator of Manuscripts and Margaret Naumburg's literary executor.
Arrangement note
Contains 17 series, including correspondence (12 boxes); elementary education materials (1 box);
writings (32 boxes); lectures (18 boxes); exhibits (6 boxes); client records (22 boxes); art therapy
courses (7 boxes); student work (8 boxes); consciousness investigations (19 boxes); proposals (2 boxes);
biographical/professional information (1 box); works by others (17 boxes); miscellaneous (1 box);
slides (8 boxes); photographs (8 boxes); photograph albums (3 boxes); and oversize (17 boxes + 10 map
drawers, 4 framed paintings, 2 oversize paintings, and 1 stone sculpture).
Administrative Information
University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts
2000
Finding aid prepared by Amey A. Hutchins.
Access Restrictions
The bulk of this collection is open for research use, however, folders containing patient/client records
are restricted from use until 2044. These folders are located in: Series VI. Client records (boxes 70-91);
Series XV. Photographs (boxes 155-159); and Series XVII. Oversize, Subseries E and G.
Use Restrictions
Copyright restrictions may exist. For most library holdings, the Trustees of the University of
Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the
holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books
and Manuscripts.
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Source of Acquisition
Gift of Thomas Frank, 1993.
Form/Genre(s)
• Correspondence
• Photograph albums
• Photographs
• Writings (documents)
Geographic Name(s)
Subject(s)
• Art
• Art therapy--United States--20th century
• Medicine
• Progressive education -- United States -- 20th century
• Psychology
• Spiritualism
• Women in medicine
• Women physicians
• Women psychologists
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For a complete listing of correspondents, do the following title search in Franklin: Margaret Naumburg
Papers.
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I. Correspondence
Collection Inventory
I. Correspondence.
Box Folder
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I. Correspondence
American Journal of Art Therapy, letters to and from Naumburg and 1 18-20
Elinor Ulman, founder of the Bulletin of Art Therapy (renamed the
American Journal of Art Therapy in 1969) and editor of the journal
under both titles; and with Claire Levy, editorial assistant (23 items),
1962-1975.
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I. Correspondence
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I. Correspondence
American Red Cross, letters to and from Naumburg and Eunice Willner, 1 43
assistant director of the Military & Naval Welfare Service of the Red
Cross and Carolyn Nice, recreation assistant to the director, setting up
appointments with Elizabeth Maloney and Mary Lingenfelter, Red Cross
workers stationed at a hospital in New York; Margaret Hagan, Red Cross
field director at a Washington D.C. hospital (5 items), 1943.
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I. Correspondence
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I. Correspondence
Ballière, Tindall & Cassell Ltd., letters to and from Naumburg (3 items), 2 63
1966.
Beeber, Ellen, letter to Naumburg from Beeber and Maxine Epstein, art 2 72
education students at Boston University (1 item), 1965.
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I. Correspondence
Billig, Otto, letters to and from Naumburg (14 items), 1947-1973. 2 84-86
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I. Correspondence
Brandfield, Kitty, arts and crafts teacher at the Girls Service League, 2 97
letters to Naumburg (2 items), 1959.
Brandt & Brandt, letters to Naumburg and Carl Brandt concerning a play 2 98
submitted by Naumburg (3 items), 1937.
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I. Correspondence
Brown, Helen A., student of Naumburg at New York University, letter to 2 104
Naumburg (1 item), undated.
Brown, Walter L., letters to and from Naumburg (2 items), 1956. 2 106
Brunse, Anthony J., letters to and from Naumburg (8 items), 1964-1965. 2 110
Brydges, Earl William, 1905-1975, New York state senator, letter to 2 113
Naumburg (1 item), 1972.
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I. Correspondence
Burger, Virginia T., student of Naumburg and an art therapy practitioner 2 120-121
at the Houston State Psychiatric Institute under the supervision of Kraft,
letters to and from Naumburg regarding a visit by Naumburg to the
Institute (14 items), 1962.
Callisen, S. A., president, Parsons School of Design, New York City, 2 126
letters to Naumburg (3 items), 1961-1963.
Capers, Roberta Murray, former chair of the art department, Tulane 2 130-133
University, letters to and from Naumburg includes a description of a
meeting between Capers and British art therapist Diana Raphael (18
items), 1968-1969.
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I. Correspondence
Card, Olive J., consultant, Home and Family Life Education, Division 2 134
of Adult Education, Michigan Department of Public Instruction, letter to
Naumburg (1 item), 1946.
Citizens Committee for the Arts, letter to Naumburg from Frances Miller, 3 142
designer and publicity chair for the Citizen's Committee for the Arts (1
item), 1942.
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I. Correspondence
Cleveland Museum of Art, letters to and from Naumburg and James 3 143
R. Johnson, associate curator of education, concerning a lecture by
Naumburg at the Museum (3 items), 1960.
Cohen, Felice Weill, art therapist first at the Houston State Psychiatric 3 144
Institute and later the Child Guidance Center of Houston, letters to and
from Naumburg regarding advice on setting up a program (4 items),
1968.
Cohen, Sol, lecturer at the University of California, Los Angeles, letters 3 147
to and from Naumburg concerning Naumburg's experience with early
Montessori education in the United States (2 items), 1967.
Conant, Howard, chair, Art Education Department, New York University, 3 152-171
letters to and from Naumburg (78 items), 1958-1969.
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I. Correspondence
Cooper Union for the Advancement of Science and Art, letters to and 3 177
from Naumburg and Johnson E. Fairchild, head of the Division of
Social Philosophy at Cooper Union, concerning a lecture to be given by
Naumburg (2 items), 1952-1953.
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Margaret Naumburg papers
I. Correspondence
Council for Exceptional Children. Newark Chapter, letters to and from 3 181
Naumburg and Alice M. Moore, past president of the Newark Chapter,
concerning a lecture to be given by Naumburg (5 items), 1967.
Countee, Samuel, a New York public school art teacher, letter from 3 182
Naumburg (1 item), 1959.
Curran, Frank J., psychiatrist, Bellevue Hospital, New York, who briefly 3 184
supervised Naumburg in drama therapy work with adolescent boys, letter
from Naumburg (1 item), 1945.
Davis, Irma L., student of Naumburg and an associate at the New School 3 189
for Social Research, letters to and from Naumburg (2 items), 1953.
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Margaret Naumburg papers
I. Correspondence
Davis, Roberta M., art therapy practitioner at Craig House for Children, 3 191
Pittsburgh, letters to and from Naumburg (7 items), 1959.
Dawson, Charles B., student of Naumburg and art therapy practitioner, 3 192
letters to and from Naumburg (7 items), 1959.
Delachaux & Niestlé (Firm), letter from Naumburg (1 item), 1966. 3 193
Devereux, Helena T., founder of the Devereux Schools, letters to and 4 197
from Naumburg (4 items), undated.
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Margaret Naumburg papers
I. Correspondence
Eastern Arts Association, letters to and from Naumburg and Italo 4 205
DeFrancesco, president of the Association, concerning a lecture to be
given by Naumburg (3 items), 1947.
Eisner, Elliott W., letters to and from Naumburg concerning Naumburg's 4 208
article in Macmillan's Encyclopedia of Education, for which Eisner
recommended her (7 items), 1968.
Evening mail (New York, N.Y. : 1904), letters to Naumburg from 4 212
Edward A. Rumeley, managing vice-president, and Rheta Louise Childe
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Margaret Naumburg papers
I. Correspondence
Fairchild, Mildred L., professor of Fine Arts, Teachers College, letters 4 213
to and from Naumburg concerning possible publication of papers by
the members of a panel organized by Naumburg, including Naumburg,
Berkowitz, Miles, and Morgan (2 items), 1959.
Federal Art Project, letter to Naumburg from Karl M. Bowman, director 4 214
of the psychiatric division of Bellevue Hospital, and Audrey McMahon,
assistant to the national director of the Federal Art Project, inviting her to
a conference on art and psychopathology (1 item), 1938.
Federal Theatre Project (New York, N.Y.), letters to Naumburg from 4 215
Hallie Flanagan, director of the Federal Theatre Project, and Helen
Tamiris, head of the Dance Project, concerning a dance script by
Naumburg (3 items), 1938.
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Margaret Naumburg papers
I. Correspondence
Forest Hospital (Des Plaines, Ill.), letters to and from Naumburg and 4 222
Rudolph G. Novick, medical director of Forest Hospital, concerning a
lecture to be given by Naumburg (7 items), 1971.
Forum (New York, N.Y. : 1886), letter to Naumburg from Henry 4 223
Goddard Leach, an editor at Forum, concerning Naumburg's book on
education and article possibilities (1 item), 1927.
Foundation for Integrated Education, letters to and from Naumburg and 4 225
F.L. Kunz, Executive Vice President of the Foundation, concerning a
lecture given by Naumburg and a later event coordinated by Arnheim (7
items), 1955-1965.
Frank, Thomas, son of Naumburg and Waldo Frank, letter to Naumburg 4 228
(1 item), undated.
Frank, Waldo David, 1889-1967, letters from Naumburg regarding the 4 229
financial support by Frank, Naumburg's former husband, of Thomas
Frank, their son (2 items), 1932.
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I. Correspondence
Frew Hall Travel, Inc. (New York, N.Y.), letters to Naumburg from 4 231
Margaret S. Furst regarding travel arrangements for Naumburg and her
friend and colleague Augeros (10 items), 1965-1966.
Fromm, Erich, letter from Naumburg who wrote at the suggestion of 4 233
Fromm-Reichmann and also mentions Anshen, another mutual friend (1
item), 1949.
Gallagher, James John, letters to and from Naumburg referring her 4 236
to the Council for Exceptional Children, the ERIC Clearinghouse on
Exceptional Children, the Bureau for Physically Handicapped Children,
and Goldstein (5 items), 1968.
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Margaret Naumburg papers
I. Correspondence
Girl Scouts of the United States of America, letters to Naumburg from 4 244
Charles H. Young, who was in charge of a national study of the Girl
Scouts program, concerning an associate position for which Counts, a
professor at Teachers College, had recommended Naumburg (3 items),
1935.
Glassboro State College, letters to and from Naumburg and Conrad, 4 245
chairman, Department of Art, concerning a lecture to be given by
Naumburg (15 items), 1962-1963.
Gogel, Kenneth, assistant Professor of Art, Iowa State Teachers College, 4 246
letter to Naumburg (1 item), 1959.
Goldsmith, Cornelia, director, Day Care Unit, Bureau of Child Hygiene, 4 249
City of New York Department of Health, letter to Naumburg (1 item),
1945.
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Margaret Naumburg papers
I. Correspondence
Gondor, Emery I., New York City psychologist, letter to Naumburg (1 4 251
item), 1963.
Group Theatre (U.S.), rejection letter to Naumburg from Henry Shale, 4 260
playreader for the Group Theatre, in response to a script submitted by
Naumburg (1 item), 1939.
Grune & Stratton, letters to and from Naumburg and various Grune & 4 261-262
Stratton employees, including Henry M. Stratton, Louise E. Hoffheimer,
and Duncan Mackintosh, about various publications by Naumburg (20
items), 1943-1970.
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I. Correspondence
Harcourt Brace & Company, letters to and from Naumburg and Alfred 4 270
Harcourt, John D. Chase, and Samuel Sloan, employees of Harcourt
Brace, concerning their publication of Naumburg's first book and
Naumburg's submissions of a play and an autobiography of Garrett, with
frequent mention of Cane, who was company counsel for Harcourt Brace
in addition to being Naumburg's brother-in-law (6 items), 1928-1954.
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I. Correspondence
Hoch, Paul H. (Paul Henry), 1902-1964, letter from Naumburg (1 item), 4 278
1959.
Horowitz, Mardi Jon, psychiatrist and organizer of a panel on art therapy 5 283
at the 1969 American Psychiatric Association annual meeting, letters to
and from Naumburg (7 items), 1963-1969.
Houston State Psychiatric Institute, letters to and from Naumburg and 5 284
Irvin A. Kraft, chief of the Child Psychiatry Section at the Psychiatric
Institute, concerning a visit and lectures by Naumburg (9 items),
1962-1963.
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I. Correspondence
Idaho State School and Hospital (Nampa, Idaho), letters to and from 5 292-294
Naumburg and Clarence A. McIntyre, director of professional services at
the Idaho State School and Hospital, concerning a visit and lectures by
Naumburg (28 items), 1967.
Institute for Psychotherapy (New York, N.Y.), letter from Naumburg (1 5 296
item), 1956.
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I. Correspondence
International Society for Education Through Art, letters to and from 5 305-306
Naumburg and Pauli Tolman, INSEA's international publicity director,
and Charles Gaitskell, INSEA's president, about the 1963 assembly;
and with M. Eleanor Hipwell and Lucy Burroughs concerning the 1970
congress (13 items), 1962-1970.
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I. Correspondence
Jaime, Sergio, Mexican psychiatrist with an interest in art therapy, letters 5 309
to Naumburg (3 items), 1963.
Jersey City State College, letters to and from Naumburg and George 5 312
Voller, associate professor of special education at the College, concerning
a lecture to be given by Naumburg (3 items), 1968.
Johnson, Alvin Saunders, 1874-1971, head of the New School for Social 5 314-315
Research, letters to and from Naumburg (14 items), 1928-1954.
Johnson, Ivan E., head of the Department of Art Education at Florida 5 316
State University, letters to and from Naumburg (2 items), 1962.
Joint Army and Navy Committee on Welfare and Recreation, letters to 5 317
and from Naumburg and Francis Keppel, secretary of the Committee,
concerning the use of arts for therapeutic and recreational purposes in the
armed services (4 items), 1943.
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I. Correspondence
Jonson, Raymond, 1891-1982, letters to and from Naumburg (15 items), 5 319-320
1932.
Journal of Aesthetics and Art Criticism, letters to and from Naumburg 5 323-324
and Thomas Munro and Herbert M. Schueller during their tenures as
editor of the Journal concerning articles submitted by Naumburg (18
items), 1954-1965.
Journal of Nervous and Mental Disease, letter to Naumburg from Jacob 5 326
E. Finesinger, editor-in-chief of the Journal, concerning a submission by
Naumburg (1 item), 1957.
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I. Correspondence
Katz, Elias, assistant director of the Center for Training in Community 5 332
Psychiatry and Mental Health Administration, Berkeley, California,
copy of a letter sent to Joseph Kerner, chair of the Department of Special
Education, San Francisco State College (1 item), 1968.
Kennedy, Robert F., 1925-1968, letters to and from Naumburg and 5 336
Kennedy's senatorial office (2 items), 1966.
King, Patricia Miller, director of the Arthur and Elizabeth Schlesinger 5 337
Library on the History of Women in America, Radcliffe College, letters
to and from Naumburg concerning Naumburg's desire to receive financial
assistance for putting her papers in order and to leave them to the Library
(4 items), 1973.
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I. Correspondence
Kraft, Irvin A., chief of the Child Psychiatry Section at the Houston State 5 340
Psychiatric Institute, letters to and from Naumburg includes mentions of
Burger, art therapist at the Institute, and Howard, an art therapist working
in Tulsa (2 items), 1963-1968.
Kramer, Edith, art therapist and instructor at the New School for Social 5 341
Research, letters to Naumburg (3 items), 1962.
Lee, Porter Raymond, director of the New York School of Social Work, 6 351
letter to Naumburg concerning Naumburg's first book, addressed to the
publisher and forwarded to her by them (1 item), 1928.
Leopold, Edith and Harold, letters to and from Naumburg (1 item), 1969. 6 355
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I. Correspondence
Little, Brown and Company, letters to and from Naumburg and Allen 6 370
of Little, Brown and Company's Medical Book Department concerning
permissions to quote in a work by Naumburg (3 items), 1966.
Long Island University, letter to Naumburg from Long, assistant to the 6 373
Dean, Division of Teacher Education, Long Island University, concerning
a lecture to be given there by Naumburg (1 item), 1968.
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I. Correspondence
Mahler, Margaret S., letter from Naumburg with two copies of letters 6 382
from Naumburg to Lewis and Harms all concerning a controversy
between Naumburg and Harms (3 items), 1946.
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I. Correspondence
Massachusetts College of Art, letters to and from Naumburg and Algalee 6 390
P. Adams, professor of art education at the College, concerning the
possibility of a lecture there by Naumburg (4 items), 1974.
Massachusetts Mental Health Center, letters to and from Naumburg and 6 392
Marilyn M. Clark and Kenneth S. Robson, respectively head occupational
therapist and resident in psychiatry at the Center, concerning Naumburg's
summer course and a lecture to be given at the Center by Naumburg and
mentioning Carolyn C. Refsnes, a worker at the Center and a student of
Naumburg (9 items), 1962-1963.
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I. Correspondence
Mayer, May Benzenberg, letters to and from Naumburg and LaDue, 6 397
Mayer's secretary (3 items), 1932.
Metropolitan Museum of Art (New York, N.Y.), form letter from Edward 6 407
M.M. Warburg, Vice-Director of Public Affairs at the Museum, to the
membership (1 item), undated.
Miami University (Oxford, Ohio), letters to and from Naumburg and 6 409
John David Millett, president of the University, and Derwin Edwards,
chair of the art education department, concerning a summer course
offered there by Naumburg (6 items), 1962.
Migneault, Pierre, letters to and from Naumburg (23 items), 1967. 6 411-414
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I. Correspondence
Montclair State College, letters to and from Naumburg and Foster 6 419
Wygant and Lilian A. Calcia, respectively chair of and professor in the
department of fine arts at the College, concerning a talk given there by
Naumburg (8 items), 1962-1963.
Morgan, Andrew W., art teacher, chair of art department in the College 7 422-423
of Liberal Arts of the University of Mississippi, and president of
the Kansas City Art Institute, letters to and from Naumburg some
regarding his participation in a panel organized by Naumburg and
mentioning Fairchild, a professor in the art education department at
Teachers College, who put Naumburg in contact with most of her panel
participants (7 items), 1958-1963.
Morgan, Olive John, letters to and from Naumburg (4 items), 1963-1964. 7 424
Morton Prince Clinic for Hypnotherapy, letter from Naumburg addressed 7 425
to Morton V. Kline (1 item), 1965.
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Muller, Elsie F., art therapist in Kansas, letters to Naumburg includes 7 427
mentions of Howard, an art therapist in Oklahoma and student of
Naumburg, and Ulman, editor of the Bulletin of art therapy (7 items),
1961-1963.
Museum of Modern Art (New York, N.Y.), letters from Naumburg 7 434
addressed to James Soby, director of the Armed Forces Program at the
Museum, and Victor D'Amico, concerning an exhibit at the Museum (3
items), 1942-1943.
Nation (New York, N.Y. : 1865), letters from Naumburg addressed to 7 436
Freda Kirchwey and Robert Bendiner at the magazine (2 items), 1943.
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Margaret Naumburg papers
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National Art Education Association, letters to and from Naumburg and 7 437
Ralph G. Beelke, executive secretary, and M. Ruth Broom, convention
news editor, concerning the 1959 biennial conference of the Association,
for which Naumburg organized a panel, acting on the suggestions of
Fairchild, a professor of art education at Teachers College (7 items),
1959.
National Institute of Mental Health (U.S.), letters to and from Naumburg 7 441
and Robert Hanna Felix, director; Eli Michael Bower, consultant for
mental health in education; and Albert Pawlowski, executive secretary
of the Mental Health Small Grant Committee, includes mentions of
Kwiatkowska, art therapist at the Institute and a student of Naumburg,
and Reca, director of the Center of Psychology and Psychopathology at
the University of Buenos Aires, which Naumburg was seeking funds to
visit (6 items), 1961-1966.
National Science Foundation (U.S.), letters to and from Naumburg and 7 443
Arthur Roe, head of the Office of International Science Activities, and
William J. Riemer, of the Biological and Medical Sciences Division, both
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Nervous child, letters to Naumburg from Ernest Harms, the journal's 7 448
editor, and B.G. Walsh and Albert Beehler of the journal's publisher (6
items), 1942-1946.
New republic (New York, N.Y.), letters to Naumburg signed by Herbert 7 449
David Croly and Bruce Bliven, president of the magazine, concerning
submissions by Naumburg (2 items), 1927-1943.
New School for Social Research (New York, N.Y.), letters to and 7 450-453
from Naumburg and Clara W. Mayer and Allen Austill, deans of the
School; Hans Simons, president of the School; Edwin Lobel, registrar;
and Nathan Brody, chair of the psychology department (37 items),
1932-1973.
New York (N.Y.). Board of Education, letters to and from Naumburg 7 454
and Commissioners Abraham Flexner and Isadore Montefiore
Levy, elementary school committee chair George J. Gillespie,
buildings committee clerk Morris Warschaum, kindergartens director
Fanniebelle Curtis, supplies superintendent Patrick Jones, NYC schools
superintendent Maxwell, and Olivia Leventritt; also later letters signed by
Olive L. Riley, director of art for the Board, and by M. Aden, secretary
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Margaret Naumburg papers
I. Correspondence
New York (State). Dept. of Mental Hygiene, letters to and from 7 455
Naumburg and Eleanor C. Slagle, director of mental hygiene
occupational therapy for the Department, and from Elizabeth R. Boyan,
secretary to Slagle, including copies of letters to and from R.E. Blaisdell,
medical superintendent (6 items), 1940-1941.
New York Center for Psychoanalytic Training, letters to and from 7 457
Naumburg and Ruben Fine, director of the Center (2 items), 1972-1973.
New York daily news (New York, N.Y. : 1855), letter from Naumburg to 7 458
Polly Kline at the Brooklyn desk (1 item), 1968.
New York Public Library. 135th Street Branch, letter to Naumburg (1 7 459
item), undated.
New York School for Nursery Years, letters to Naumburg from Beatrice 7 460
Bull, one of the directors of the School, and from Elizabeth Doak on
school letterhead (3 items), 1957-1958.
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Margaret Naumburg papers
I. Correspondence
New York Times Book Review, letters to and from Naumburg and 7 464-465
Francis Brown, editor of the book review section, and Harvey Breit, an
assistant editor, concerning reviews by Naumburg (20 items), 1951-1955.
New York Times, letters to and from Naumburg and Daniel Schwarz, 7 463
assistant Sunday editor at the newspaper, and Sullivan, chief science
editor (2 items), 1952.
New York University. Faculty Club, letters from Naumburg to Tom 8 479
Brophy, director of T.V. and radio, includes discussion of Burt, one of
Naumburg's students (2 items), 1961.
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I. Correspondence
New York University. Medical Center, letter to Naumburg from Leonard 8 481
Diller, chief psychologist, inviting Naumburg to conduct a seminar for
the Center's staff psychologists (1 item), 1955.
One act play magazine, acceptance letter to Naumburg from William 8 488
Kozlenko, editor of the magazine, for a play by Naumburg (1 item),
1937.
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Margaret Naumburg papers
I. Correspondence
Pacella, Bernard L., psychiatrist on staff at the New York State 8 496
Psychiatric Institute and Hospital, letters to and from Naumburg (15
items), 1941-1944.
Peer, Maureen S., letter to Naumburg mentioning that Peer met 8 502
Naumburg through Refsnes, a student of Naumburg (1 item), 1973.
Perkins School, Lancaster, Mass., letters to and from Naumburg and 8 503-504
Mary Perkins, wife of the director of the school and coordinator of a
summer seminar on the arts in special education; Perkins first contacted
Naumburg at Ulman's suggestion (13 items), 1969.
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I. Correspondence
Phelps, Patsie Jane, letters to and from Naumburg (3 items), 1959. 8 506
Philadelphia Museum of Art, letters to and from Naumburg and E.M. 8 507-508
Benson, chief of the Museum's division of education; Mary H. Nahm, his
secretary; and Fiske Kimball, director of the Museum, about a short-lived
exhibit of art by one of Naumburg's patients (15 items), 1946-1947.
Pittsburgh Child Guidance Center, letters to and from Naumburg and 8 510
Marvin I. Shapiro (3 items), 1968.
Pojodag House, letters to and from Naumburg includes letter in which 8 512
Naumburg describes her final discussion with Mayer, head of the
organization. (2 items), 1932-1933.
Postgraduate Center for Psychotherapy (New York, N.Y.), letters to and 8 514-515
from Naumburg and Lewis R. Wolberg, dean of the Center, and a letter
from Harvey Dain, the assistant medical director (15 items), 1948-1962.
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Margaret Naumburg papers
I. Correspondence
Psychiatric opinion, letters to and from Naumburg and Noah Gordon, 8 526
editor of the journal, concerning an article by Naumburg (4 items),
1965-1966.
Queen's Hospital. Mental Health Clinic, letters to and from Naumburg 8 529
and Frances Cottington, director of the Hawaii Integrated Psychiatric
Training Program, about a visit and lectures at the Hospital by Naumburg
(11 items), 1965.
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Radcliffe College. Institute for Independent Study, draft letters from 9 533
Naumburg to Alice Lyman and Alice K. Smith, deans of the Radcliffe
Institute, concerning Naumburg's application for a Radcliffe Institute
Fellowship (7 items), 1973.
Reca, Telma, staff member of the Center for Psychology and 9 537-538
Psychopathology, University of Buenos Aires, letters to and from
Naumburg (11 items), 1966.
Refsnes, Carolyn C., student of Naumburg, letters to and from Naumburg 9 542
(6 items), 1963-1968.
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Margaret Naumburg papers
I. Correspondence
Reis, Claire R. (Claire Raphael), co-founder of the Walden School and 9 544
later president of the League of Composers, letter to Naumburg (1 item),
undated.
Rhode Island School of Design, letters to Naumburg from John S. Keel, 9 548
chair of teacher education and graduate studies at RISD (2 items), 1961.
Robert Thomas Hardy, Inc., letters to and from Naumburg and Jane 9 552
Hardy, a literary agent, concerning a script and article by Naumburg;
includes rejections from Henry Goddard Leach and Irving Deakin,
forwarded by Hardy (13 items), 1939-1940.
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Margaret Naumburg papers
I. Correspondence
Robinson, Arthur and Mary Cane, letters to Naumburg (Mary Robinson 9 554
was the daughter of Florence and Melville Cane and niece of Naumburg,
Arthur Robinson was her husband) (2 items), 1967.
Robinson, Ruth A., Chief, Army Medical Specialist Corps, Office of the 9 557
Surgeon General, letters to and from Naumburg (3 items), 1959.
Roosevelt Hospital (New York, N.Y.)., letters to and from Naumburg and 9 559
Harley Cecil Shands, chair of the psychiatry department at the Hospital,
concerning a lecture given there by Naumburg (2 items), 1969.
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Margaret Naumburg papers
I. Correspondence
Rubin, Judith Aron, letters to and from Naumburg includes mention of 9 566
a project to film Naumburg undertaken by Rubin and Jungels (5 items),
1969-1975.
Salzmann, Jeanne Matignon de, letters to and from Naumburg regarding 9 571
a visit by Gurdjieff to the United States; Naumburg also mentions Orage
in her response (4 items), 1931.
Saunders, Robert J., an art consultant for the State of Connecticut 9 572-573
Department of Education, letters to and from Naumburg and his wife,
Jean Saunders (15 items), 1969-1974.
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Margaret Naumburg papers
I. Correspondence
School for Nursery Years (Los Angeles, Calif.), letters to and from 9 577
Naumburg and Shirley Kaiser, director of the School (2 items), 1958.
Schultz, Harold A., letters to and from Naumburg and Kenneth Melvin 9 580-582
Lansing, co-chair of the discussion groups for the 5th biennial conference
of the National Art Education Association, for which Naumburg chaired a
discussion group (25 items), 1958-1959.
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I. Correspondence
Siegel, Ruby S., student of Naumburg, letter to Naumburg (1 item), 1962. 9 592
Sigmund Freud Copyrights (Firm), letters to and from Naumburg and 9 593
Ernst L. Freud, managing director of the firm (2 items), 1966.
Simmins, Anne, letters to and from Naumburg (24 items), 1966-1968. 9 594-599
Simon, R. M. (Rita M.), British art therapist, letter to Naumburg (1 item), 9 600
1963.
Site, Myer, public school art teacher and worker with emotionally 9 601
disturbed children in Baltimore, letters to Naumburg (4 items), 1953.
Smith, Ruth Proskauer, niece of Naumburg (daughter of Joseph and Alice 10 604
Proskauer, Naumburg's sister), letters to Naumburg (4 items), undated.
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Margaret Naumburg papers
I. Correspondence
Society for the Scientific Study of Religion, letter to Naumburg from 10 607
Walter Houston Clark, secretary of the Society (1 item), 1957.
Spitz, René A. (René Arpad), 1887-1974, letters to and from Naumburg 10 614
(2 items), 1954-1956.
State of Rhode Island Medical Center (Howard, R.I.), letters to and from 10 617
Naumburg and Dorothea Benson, chief of volunteer services, and Ismet
Karacan, acting chief of research and education (8 items), 1963.
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I. Correspondence
Staub, Susan D., letters to and from Naumburg (4 items), 1972. 10 618-619
Stern, Kate, letters to Naumburg on behalf of her husband, Max Stern (2 10 621
items), 1950.
Structurist, letters to and from Naumburg and Elia Bornstein, editor of 10 625
the journal (2 items), 1963.
Stunkard, Albert J., psychiatrist associated with the Functional Disease 10 627
Service, Department of Psychiatry, Hospital of the University of
Pennsylvania, letter to Naumburg (1 item), 1960.
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Teachers College Press, letters to and from Naumburg and Karin Agosta, 10 631-639
managing editor; Mel Berk, promotions manager; Robert Bletter,
director; and Hanns L. Sperr, production manager, concerning the
1973 re-publication of Naumburg's first art therapy book (41 items),
1967-1974.
Theatre Guild, letters to Naumburg from John Gassner, of the Play 10 640
Department, one of which is a copy of a letter addressed to Audrey Wood
(2 items), 1937-1941.
Tipta yenilikler, letters to and from Naumburg and Şakir Eczacibasi, 10 642
editor of this Turkish medical journal, about the possibility of Naumburg
contributing an article (3 items), 1965.
Topeka State Hospital, letters to and from Naumburg and Günter 10 644
Ammon (2 items), 1958.
Trenton State College, letters to and from Naumburg and Norval Kern, 10 646-647
chair of the art department and student of Naumburg, with mention of
Wilensky, art therapist and professor in the art department, concerning
starting art therapy training at the College (19 items), 1971-1972.
Tri-City Family Counseling Service, letters to and from Naumburg and 10 649
Owen P. O'Connell, administrator of the counseling service, inviting
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I. Correspondence
Naumburg to visit the facility and observe his work with Warren, art
therapist there (5 items), 1967.
Ulman, Elinor, editor of Bulletin of art therapy and American journal of 10 657-659
art therapy, letters to and from Naumburg (19 items), 1961-1974.
Undercliff Hospital (Meriden, Conn.), letters to and from Naumburg and 10 660
Dorothy R. Mellen, director of Volunteer Services at the Hospital. (2
items), 1966.
United States. Army Service Forces. Special Service Division, letters to 10 661-662
and from Naumburg and Theodore P. Bank, an army colonel and chief of
the athletic and recreation branch of the Division (4 items), 1943.
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Margaret Naumburg papers
I. Correspondence
University of the State of New York. Bureau for Physically Handicapped 11 673
Children, letters to and from Naumburg and Raphael F. Simches,
chief of the Bureau, written at the suggestion of Gallagher, Associate
Commissioner for Education for the Handicapped, and Charles
- Page 78 -
Margaret Naumburg papers
I. Correspondence
Vassar College, letters to and from Naumburg and Mary S. Fisher, 11 679-680
Miriam Forster Fiedler, and Marion E. Jeudevine of the Department of
Child Study, and Elizabeth M. Drouilhet (21 items), 1943-1948.
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Margaret Naumburg papers
I. Correspondence
W. W. Norton & Company, letters to and from Naumburg and Mary 11 687
E. Ryan, permissions editor, concerning a permissions request from
Naumburg (3 items), 1966.
Walden School (New York, N.Y.), letter from Naumburg to Nathan 11 688
Levine, director of the School, concerning a statement for a meeting held
in memory of Hill, a teacher at the School (1 item), 1971.
Warren, Helen M., an art therapist at a family counseling agency, letters 11 689-700
to and from Naumburg regarding working with Ripley, of the psychiatry
department and hospital of the University of Washington, and Chivers,
of the Northwest Clinic of Psychiatry and Neurology, in the process of
arranging lectures during a visit to the Seattle area by Naumburg; as well
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Margaret Naumburg papers
I. Correspondence
Warren, Helen M., an art therapist at a family counseling agency, letters 12 701-708
to and from Naumburg regarding working with Ripley, of the psychiatry
department and hospital of the University of Washington, and Chivers,
of the Northwest Clinic of Psychiatry and Neurology, in the process of
arranging lectures during a visit to the Seattle area by Naumburg; as well
as discussions of Warren's work with O'Connell, her supervisor at the
counseling service (108 items), 1967-1972.
Wasserman, Burton D., a high school teacher, letters to and from 12 709
Naumburg regarding his participation in her 1959 National Art Education
Association panel at the suggestion of Fairchild, Professor of Fine Arts at
Teachers College (2 items), 1959.
Watkins, Ann, 1885-1967, letters to and from Naumburg regarding the 12 710
script for a play by Naumburg (2 items), 1937.
Webber, Helen Ross, art therapist and art teacher, letters to Naumburg (2 12 712
items), 1963.
Weissman, Sybil, student at the Rhode Island School of Design and 12 713
president of a student group focusing on bringing art to the Rhode Island
State Mental Hospital, letters to and from Naumburg (3 items), 1963.
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Margaret Naumburg papers
I. Correspondence
Wharton School, letters to and from Naumburg and Ray H. Abrams, 12 716
of the Department of Sociology, regarding Naumburg addressing the
"Rorschach group" (2 items), 1948.
Who's who in America, form letter and form from Paul Rohe, director of 12 719
research, inviting Naumburg's participation (3 items), 1973.
Williams & Wilkins, letters to and from Naumburg (2 items), 1966. 12 722
Wisconsin State Employment Service, letters to and from Naumburg and 12 725
Terry T. Schoenick, a research analyst conducting a federal government
study of art therapists (2 items), 1970.
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Margaret Naumburg papers
I. Correspondence
Wishod & Fisch (Firm), letters to and from Naumburg and Richard C. 12 726-727
Agins, partner in the firm, concerning copyright of a script for a play;
includes notes in preparation for making a will and leaving New York (17
items), 1973-1974.
Woltmann, Adolf G., New York psychologist who gave and analyzed 12 730
Rorschach tests for Naumburg's clients, letters to and from Naumburg (3
items), 1949-1952.
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Margaret Naumburg papers
Series Description
Montessori and Walden materials arranged chronologically. Materials include promotional brochures,
correspondence, articles not by Naumburg, catalogs, transcripts from a Children's School history class,
and items associated with commemorative events at the Walden School.
Box Folder
New York (N.Y.). Board of Education, letters to and from Naumburg 13 749-751
and Commissioners Abraham Flexner and Isadore Montefiore
Levy, elementary school committee chair George J. Gillespie,
buildings committee clerk Morris Warschaum, kindergartens director
Fanniebelle Curtis, supplies superintendent Patrick Jones, NYC schools
superintendent Maxwell, and Olivia Leventritt; also later letters signed by
Olive L. Riley, director of art for the Board, and by M. Aden, secretary
for Morris Krugman, regarding Naumburg's short-lived Montessori
classroom in a public school (25 items), 1953-1959.
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Margaret Naumburg papers
III. Writings
III. Writings.
A. Education.
Arranged alphabetically by title. Book cover and reviews for The Child and the World, published 1928.
Preliminary notes or outlines for several other unpublished books concerning education.
Box Folder
Promotional materials and reviews of The Child and the World. 14 792 - 796
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Margaret Naumburg papers
2. Articles
2. Articles.
Arranged alphabetically by title. Articles on the Children's School/Walden School, along with articles on
other schools and more general educational issues, dating from 1916 through 1944.
Box Folder
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Margaret Naumburg papers
3. Reviews
3. Reviews.
Box Folder
B. Psychotherapy.
Arrangement
Arranged chronologically.
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Margaret Naumburg papers
A. Studies of the Free Art Expression of Behavior Problem Children and Adoles...
A. Studies of the 'Free' Art Expression of Behavior Problem Children and Adolescents as a Means
of Diagnosis and Therapy, 1947.
Description & Arrangement
Includes copies of the first pages of the book and reviews, arranged alphabetically by reviewing author.
Also includes materials for the 1973 re-publication of this work under the title An Introduction to Art
Therapy, primarily drafts for Naumburg's new introduction.
Box Folder
Drafts, photographs for illustrations, research notes from sources by other authors arranged
alphabetically by author name, reviews arranged alphabetically by reviewer name.
Box Folder
Box Folder
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Margaret Naumburg papers
Drafts, photographs and captions for illustrations, reviews arranged alphabetically by reviewer name,
promotional materials.
Box Folder
E. Book ideas.
Preliminary notes and outlines for unpublished books concerning art therapy, arranged alphabetically by
title when possible.
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Margaret Naumburg papers
2. Articles
Box Folder
2. Articles.
Arranged alphabetically by title. Published and draft versions of articles concerning art therapy.
Box Folder
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Margaret Naumburg papers
2. Articles
"Discussion" . 27 1291
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Margaret Naumburg papers
2. Articles
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Margaret Naumburg papers
3. Reviews
"Visual Unity in Man's Expression from Primeval Man to the Art of 30 1429
Mental Patients Today" (submitted but not published).
Untitled. 30 1430
3. Reviews.
Arranged alphabetically by name of reviewed author. Naumburg's reviews of books by other authors on
psychotherapy.
Box Folder
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Margaret Naumburg papers
3. Reviews
Dracoulidès, N. N. 31 1439
- 1440
Gruner, S. 31 1444
- 1470
Gruner, S. 32 1471
- 1484
Kraus, G. 32 1487
- 1488
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Margaret Naumburg papers
C. Other
Pickford, R. W. 32 1495
C. Other.
Description
1. 1912-1920.
Box Folder
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Margaret Naumburg papers
2.
Dream. 33 1511
2. 1920-1930.
Box Folder
3. 1930-1940.
Box Folder
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Margaret Naumburg papers
3.
- Page 97 -
Margaret Naumburg papers
4.
Miscellaneous. 44 2030
- 2032
4. 1940-1950.
Box Folder
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Margaret Naumburg papers
5.
5. 1970-1974.
Box Folder
IV. Lectures.
A. Education.
Texts and research for a 12-lecture series given at the New School for Social Research in 1932
considering the educational philosophies of Fascism, Communism, and Democratic-Capitalism.
- Page 99 -
Margaret Naumburg papers
Box Folder
Crisis Lecture 7, “What to Teach and What Not to Teach under a 49 2220
Communist, Fascist, or Democratic-Capitalist Society”. - 2229
- Page 100 -
Margaret Naumburg papers
Crisis Lecture 11, “The Progressive Education Movement and the 51 2330
American Public School”. - 2337
- Page 101 -
Margaret Naumburg papers
Box Folder
Box Folder
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Margaret Naumburg papers
B. Psychotherapy
B. Psychotherapy.
1. Lectures.
Arranged alphabetically by title. Topics include case studies, art therapy programs, and comparative
study of images in primitive art.
Box Folder
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Margaret Naumburg papers
1. Lectures
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Margaret Naumburg papers
1. Lectures
“An Exploration of Man's Symbolic Use of Art through the Ages”. 55 2494
- 2496
“How Could Course Requirements for the Ph.D. or Ed.D. Be Better 55 2518
Adjusted to Art Education?”. - 2521
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Margaret Naumburg papers
1. Lectures
“The Power of the Image: Two Case Studies Illustrating Art as a 58 2605
Symbolic Language”.
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Margaret Naumburg papers
1. Lectures
- Page 107 -
Margaret Naumburg papers
1. Lectures
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Margaret Naumburg papers
1. Lectures
“Visual Unity in Man's Expression: from Primeval Man to the Art 61 2731
of Mental Patients Today”. - 2746
“Visual Unity in Man's Expression: from Primeval Man to the Art 62 2747
of Mental Patients Today”. - 2777
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Margaret Naumburg papers
2. Discussions/Responses
2. Discussions/Responses.
Box Folder
V. Exhibits.
Series Description
Arranged alphabetically by exhibit title. Catalog texts and notes from exhibits of patient artwork.
Box Folder
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Margaret Naumburg papers
V. Exhibits
- Page 111 -
Margaret Naumburg papers
Box Folder
F.B. 70 3004
- 3015
"Beth" . 70 3016
- 3017
E.B. 70 3018
D.C. 70 3019
M.C. 70 3020
- 3032
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Margaret Naumburg papers
M.C. 71 3033
- 3039
A.C. 71 3040
- 3044
G.C. 71 3045
- 3061
G.C. 72 3062
- 3070
L.D. 72 3071
- 3077
A.E. 72 3078
- 3087
A.E. 73 3088
- 3094
D.F. 73 3095
- 3101
H.F. 73 3102
- 3115
H.F. 74 3116
- 3130
I.G. 74 3131
- 3132
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Margaret Naumburg papers
R.H. 74 3133
- 3139
A.J. 74 3140
- 3144
F.K. 75 3145
- 3155
J.L. 75 3156
- 3162
J.P. 75 3163
- 3175
M.R. 76 3176
- 3208
R.S. 77 3209
O.V. 77 3210
D.W. 77 3211
E.W. 77 3212
- 3226
A.W. 77 3227
- 3233
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Margaret Naumburg papers
Arranged alphabetically by client name. Files for 23 adult clients, including artwork, photographs of
artwork, client writing, and Naumburg's notes on therapy sessions. Records date from 1946 through
1973.
Box Folder
S.A. 77 3234
L.A. 77 3235
- 3237
J.B. 77 3242
- 3245
P.B. 78 3246
- 3271
P.B. 79 3272
- 3291
D.D. 80 3303
- 3326
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Margaret Naumburg papers
D.F. 80 3328
J.G. 80 3329
- 3331
F.H. 80 3332
- 3335
A.J. 80 3336
- 3348
A.J. 81 3349
- 3358
G.K. 81 3359
- 3369
S.M. 81 3371
- 3380
S.M. 82 3381
- 3387
G.N. 82 3388
- 3398
V.P. 82 3399
M.P. 82 3400
- 3419
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Margaret Naumburg papers
C. Groups (RESTRICTED)
S.S. 83 3420
- 3430
A.S. 83 3431
- 3457
C.S. 84 3458
- 3460
S.T. 84 3461
A.W. 84 3462
- 3467
M.W. 84 3468
- 3491
M.W. 85 3492
- 3524
M.W. 86 3525
- 3571
M.W. 87 3572
- 3609
M.W. 88 3610
- 3630
C. Groups (RESTRICTED).
Arranged alphabetically by institution or treatment focus. Files for patients or clients receiving art
therapy treatment in a group therapy context.
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Margaret Naumburg papers
C. Groups (RESTRICTED)
Box Folder
Miscellaneous. 91 3758
- 3759
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Margaret Naumburg papers
A. Early, 1950-1955.
Arranged in chronological order. Includes syllabi and course lecture texts or notes.
Box Folder
Arranged by department, course, and date. Includes course announcements, syllabi, course lecture texts
or notes, bibliographies, and student questionnaires.
Box Folder
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Margaret Naumburg papers
Arranged by course and date. Includes course announcements, syllabi, course lecture texts or notes,
bibliographies, and student questionnaires.
Box Folder
- Page 120 -
Margaret Naumburg papers
Arranged chronologically. Includes course announcements, syllabi, course lecture texts or notes,
bibliographies, and student questionnaires.
Box Folder
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Margaret Naumburg papers
E. Private instruction
E. Private instruction.
Arranged chronologically. Announcements and outlines for the seminars Naumburg held in her
apartment.
Box Folder
Description
Box Folder
Miscellaneous. 98 4087
- 4098
Series Description
Arranged alphabetically by name of student and date. Book reviews and case studies written by students
in Naumburg's courses.
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Margaret Naumburg papers
Box Folder
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Margaret Naumburg papers
A. The Work/Gurdjieff.
Arranged chronologically. Primarily notes from work in A. R. Orage's groups, including formulations
(self-observations) and notes from lectures on literature, dating from 1924 to 1928.
Box Folder
B. Pojodag House.
Description
Notes from occult and philosophical studies, dating from 1930 to 1932.
Box Folder
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Margaret Naumburg papers
C. Eileen Garrett
C. Eileen Garrett.
1. Correspondence.
Description
Correspondence among members of Eileen Garrett's circle, including Naumburg, between June 1933 and
August 1934.
Box Folder
Crandall, Ella Phillips , member of the circle around medium 108 4381-4386,
Eileen Garrett, letters to and from Naumburg regarding Garrett and 4388-4393
other members of the circle including the Lindsays and Bolton (31
items), 1933.
Lindsay, Elmer A. , member of the circle around medium Eileen 108 4386,
Garrett, letters to and from Naumburg regarding Garrett and other 4388,
members of the circle including his wife Florence Lindsay and 4389, 4392
Crandall (10 items), 1933.
Lindsay, Florence L. , member of the circle around medium Eileen 108 4380-4382
Garrett, letters to Naumburg regarding Garrett and other members
of the circle including her husband Elmer Lindsay, Elsa Crandall,
and Bolton (5 items), 1933.
2. Sittings.
Description
Transcripts of conversations between spirit personalities (through the person of Garrett in a trance) and
Margaret Naumburg, both with Naumburg alone and with other 'sitters,' between January 1933 and
December 1939.
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Margaret Naumburg papers
2. Sittings
Box Folder
- Page 126 -
Margaret Naumburg papers
Description
Writing projects undertaken with instructions received in sittings and based on research done with and
on Garrett.
Box Folder
The Attitude of Analysis to Multiple Personality and Its Application 118 4837
to Mediumship. - 4875
- Page 127 -
Margaret Naumburg papers
- Page 128 -
Margaret Naumburg papers
4. Garrett Writings
4. Garrett Writings.
Box Folder
5. Research Notes.
Arranged alphabetically by name of source author. Passages copied out in researching for writing
projects under Garrett.
Box Folder
Arrangement
Box Folder
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Margaret Naumburg papers
D. Other psychics
D. Other psychics.
Box Folder
- Page 130 -
Margaret Naumburg papers
D. Other psychics
- Page 131 -
Margaret Naumburg papers
E. Other phenomena
E. Other phenomena.
Materials on dreams, arranged alphabetically by name of dreamer, and the correspondence and
experiments of an ESP group of which Naumburg was a member, each arranged chronologically.
Box Folder
F. Works by others.
Box Folder
G. Miscellaneous.
Description
Box Folder
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Margaret Naumburg papers
X. Proposals
X. Proposals.
Series Description
Arranged chronologically. Includes proposals for an exhibit of art of the Western Hemisphere,
schizophrenia research, a Guggenheim fellowship for support of a book project, Fulbright funds for
travel to South America, the establishment of the American Art Therapy Association, and a Radcliffe
Institute fellowship for support in organizing her papers.
Box Folder
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Margaret Naumburg papers
Series Description
Includes interviews of and articles about Naumburg, curricula vitae, and biographical summaries, each
category arranged chronologically. Also includes biographical dictionary entries, a New York Academy
of Sciences membership certificate, and letterhead samples.
Box Folder
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Margaret Naumburg papers
A. Articles/Reprints.
Arrangement
Box Folder
- Page 135 -
Margaret Naumburg papers
B. Periodicals
B. Periodicals.
Arrangement
Box Folder
- Page 136 -
Margaret Naumburg papers
C. Other materials
C. Other materials.
Box Folder
Conference materials for conferences at which Naumburg was not 142 5900
a presenter. - 5906
Course announcements for organizations and courses for which 142 5907
Naumburg was not an instructor. - 5912
- Page 137 -
Margaret Naumburg papers
C. Other materials
Exhibit catalogs for exhibits in which Naumburg was not involved. 143 5918
- 5933
Description & Arrangement
Description
- Page 138 -
Margaret Naumburg papers
XIII. Miscellaneous
XIII. Miscellaneous.
Series Description
Includes medical notes, art supply notes, instructions for machinery such as tape recorders, financial
notes, and notes by unidentified writers.
Box Folder
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Margaret Naumburg papers
XIV. Slides
2" × 2" glass slides edged with disintegrating tape, used in lectures and
courses. The slides are primarily of patient artwork and were frequently used
in more than one lecture. They arrived gathered into small groups with rubber
bands, of ten with notes written by Naumburg. These groups were transferred
into pockets in binders, preserving the groups where possible. If there was a
note describing the group, it was placed in a pocket immediately preceding the
group; if there was a note indic ating a missing slide, it was filed in the order
found, as if it were a slide.
XV. Photographs.
Series Description
Small photographs sleeved in mylar and filed in binders. This series includes Naumburg family
photographs and photographs of Naumburg; photographs of the artwork of patients M.R. and G.C.,
whose cases were featured in Schizophrenic Art; photographs of the artwork of client M.W., whose case
was the basis of Psychoneurotic Art; and the prints and negatives from Introduction to Art Therapy,
the 1973 edition of Studies of the 'Free' Art of Behavior Problem Children and Adolescents as a Means
of Diagnosis and Therapy, originally published in 1947.
All photographs of patient artwork are restricted until 2044 (boxes 155-159).
Box
- Page 140 -
Margaret Naumburg papers
Miscellaneous. 162
Series Description
Pages removed from three old binders, sleeved in mylar and placed in new binders in their original page
order. The three albums were of photographs from the book Schizophrenic Art and the exhibits "The
Psychotherapeutic Significance of the Art Productions of a College Girl" and "The Survival Value of
Fantasy Projection in Art Therapy."
Box
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Margaret Naumburg papers
XVII. Oversize
XVII. Oversize.
Description
Includes a photograph album containing photographs of the artwork of patient G.C., miscellaneous
photographs including some pictures of Naumburg and her family, newspaper clippings, and exhibit
signs.
Box
B. Audio Recordings.
Description
Includes reel to reel tapes of client sessions and class sessions, and a cassette tape of a late interview of
Naumburg.
Box
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Margaret Naumburg papers
C. Memorabilia
C. Memorabilia.
Description
Includes one black glove, one white glove, and three envelopes used in a psychic experiment; a
conference badge for the 4th International Congress of Psychiatry, held in Madrid in 1966; and a
photomechanical printing block for a 1930s newspaper photograph of Naumburg.
Box
* 2 gloves 175
* 3 envelopes
* conference badge
* photomechanical printing block (image of Naumburg).
Description
6 boxes of sculptures by patient G.C. and 1 box of sculptures by client M.W. These items are restricted
from use until 2044.
Box
- Page 143 -
Margaret Naumburg papers
Description
4.5 drawers of juvenile patient artworks, arranged alphabetically by name, 3.5 drawers of adult client
artworks, arranged alphabetically by name, and 1 drawer of artwork from student case studies, arranged
alphabetically by student name. These items are restricted from use until 2044.
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Margaret Naumburg papers
F. Exhibit Signs
Description
4 framed paintings from a student case study, 2 oversize paintings by juvenile patient H.F. in oversize
poster shelving, and 1 sculpture in stone of a torso. The artwork by juvenile patients is restricted
from use until 2044.
- Page 145 -