Hiram Williams
    Art/Life Journals
 

This collection contains 200 volumes and continues to grow.  This finding aid was written by Diane Young through funding from the Graduate School and Dr. David Cofrin.

It is recommended that the user of this collection start with a review of Diane Young's Hiram Williams and Audience, University of Florida thesis, 1990, also available in the University Archives.  The Art/Life Journals have been transcribed, selectively edited and selective volumes have been abstracted in a bibliography.

Addenda.  On February 3, 1994 additional items were donated to the University Archives by Hiram  Williams.  These include 92 drawings and aketches, a sketch book, a copy of The Texas Quarterly, correspondence, and an unpublished article written by Hiram Williams.

All rights of copyright are retained by the donor for the present.  Request to reproduce these materials must be directed to the donor.
 

• Biographical sketch
• Abstracts of selected volumes
• Contents list

University of Florida Archives homepage
 
 
 
 

HIRAM WILLIAMS--A BRIEF BIOGRAPHICAL SKETCH

Art is an invention for bringing life within an emotional grasp.  This is the function of all the arts and is also the function of painting.(1)  A painting uses form to give expression to experiences that yield universal truth. (2)

To write a biographical sketch of Hiram Williams one must then isolate the experiences in his life that influenced his thinking and show some of his struggles as he searched for the form which gave expression to his experience.

Hiram Williams is a short man whose generous torso houses a booming voice with which, in expressive language, he communicates -- joy, anger, frustration, confidence. Although he has entertained friends for hours with his wit and showmanship, he has firm convictions in his judgement of individuals.  Quick of temper, he bounces in anger.

As a child, he had to conform to the kindly but rigorous discipline of a ministerial household where right and wrong were carefully defined.  His father, a moderately liberal Baptist minister, required that Hiram and his brother, Robert, be properly indoctrinated in the tenets and beliefs of the church.  The small town of Muncy, Pennsylvania, where he grew up (3) was a conservative, family-centered community in which the church members were an extended family.  As a minister's son he was in the local spotlight which he soon learned to both command and enjoy.

He must have been a busy little boy for despite supervision by his parents, there were two notable incidents in his early childhood. First, Hiram lost access to his father's hobby shop following an attempt to chop off his brother's hand with a hatchet!  He says he was much too young to remember what impulse provoked hum to do this but the consequences were swift and lasting!

My understanding and sympathy for building and mechanical things is practically nil.  I have repaired clogged toilets and drain fields.  I have built sheds and repaired things broken.  But I am all quivery emotion when I am required to do these things by unhappy fate.  I am just not confident of myself in these situations.  I am sure that this stems from the times my father would object when I touched his tools.  Both he and mother proclaimed over the years that I was not mechanical.  This is not true, but I was made to believe (and still do act on it) that I was a natural-born non-mechanic. (4)

Second, some time later Hiram suffered a severe concussion from an eight-foot fall.  During the recuperation his mother, in an effort to amuse and distract him from his discomfort, persuaded a friend to teach him to draw.  In Mrs. Williams' praise of Hiram's progress she convinced him that he had great talent.  Supporting that conviction, he was elected class artist, his Thanksgiving Turkey having won the first prize!  Mrs. Williams took great pleasure in her son's continuing interest, in watching him pursue his "gift."  She arranged drawing and painting lessons which continued through his school days.  Hiram remembers that, "when I was ten years old or so, Dad took me to the Carnegie International.  I recall that I wanted to be represented in that show someday.  And I was, in 1964." (5)

These were the years of the Great Depression; life was restricted by the lack of money with which ministers' families as well as others had to contend.  While the church did provide their home and neighbors supplied food and hand-me-down clothing, young teenagers were left to their own resources.   There were no televisions, toys, trinkets, ready-made diversions, no great shopping centers.  They had to devise their own games.  Books were available at the library, but they had to make their own trinkets and toys from scraps that were available.  This served to encourage the youngsters to explore their own capacities.

To supplement the food supply Reverend Williams took his two boys hunting for wild game.  Doing so instilled in them a love for the out-of-doors and respect for the life around them.  Along the way they experienced the sense of freedom inspired by the Muncy hills over which they roamed.  In those days there were forests and open fields.  People knew and trusted one another.  One stayed out of pastures where a bull might be dangerous and was careful not to destroy gardens and crops which were the food supply. But, generally speaking, life was as free as the imagination could make it.

Hiram had an insatiable curiosity which his parents carefully channeled.  He was introduced to the joys of reading and was fortunate in those difficult days to have access to a good public library as well as to his father's library which contained a good selection of the classics.  He read extensively.  His father never limited his reading as some parents did but wisely encouraged discussion of the material at hand.   Hiram still reads Ernest Thompson Seton's  Two Little Savages in delightful memory of the days when Hiram and his friends wrestled and practiced gymnastics, built tepees, canoes and swam in the river.

During high school, Hiram read Bernard Shaw, Thomas Mann, T.E. Lawrence, Ernest Hemingway, Joseph Conrad and others.  There is excitement, and a sense of discovery, even a sense of danger in the pursuit of ideas.  Hiram Williams had discovered that excitement. Oblivious to the stares of those around him, he would walk to and from the library with one foot on the sidewalk and as the other in the gutter as a guide to keep from bumping into others on the sidewalk while absorbing the outpourings of his latest and favorite author.  He learned Yoga, which Webster defines as  "a Hindu theistic philosophy teaching the suppression of all activity of body, mind, and will in order that the self may realize the distinction from them and attain liberation".  After he had sat on the roof for three days waiting for suppression to happen, his father commanded:  "Son, it is time you came down and had something to eat!"

After high school, he completed one year of college but was forced to quit for lack of tuition money.  In a community where boys grew up knowing something of many trades, Hiram's lack of training in the manual arts gave him little chance to compete for the few jobs available.  In retrospect, however, the lack of job opportunity became an opportunity in itself.  Although defiant door locks, switches, sticky bolts and the like have haunted him most of his life, at this time what he considered his ineptitude did afford him the time to paint and study.  He joined the Williamsport Sketch Club and rode his bicycle forty miles twice a week to study with George Eddinger, a graduate of the Pennsylvania Academy.  It was at the Sketch Club that he learned about Brueghel, Rubens, Rembrandt and many others.  As if centuries did not exist between them, he identified with them; he spent hours thinking about their work.  He read about them.  He copied their work in an effort to learn more about their techniques. His youthful perseverance seems impressive.

The Sketch Club did not have models but Bridgeman's anatomy books were available.  Hiram memorized them.  Again, a limiting factor served him well; he developed a superb visual memory.  To this day he speaks fondly of Bridgeman for no matter how carefully disguised, he can recognize the use of a photograph by another painter in the development of a painting.  A look of disdain still flickers on his face upon such recognition, even though the use of photography in painting has become a common practice.  Although he occasionally sketches from life, almost all of his paintings and drawings are from memory.  He never uses a photograph except on those rare occasions when he has been asked to do a portrait of someone who is deceased.

Dad supported me for about three years while I painted in the attic.  I painted on cardboard.  I painted on window blinds, green blinds, but that was no good because my brush sometimes would go right through them.  I drew.  Probably the best learning of my entire life was done there in that attic.  I worked awfully hard while I was painting and drawing. I really did.  My parents were decent to me; there was little use yammering at me to get a job, for there were no jobs.  That was good.  It meant I had time to pursue art while doing those chores that earned a little money . . . . I had time to wander in the sunshine along Muncy Creek and the Susquehanna, time to enjoy nature, to enjoy seasons.  I burst with energy.  I remember running through a field of high grass and leaping with the joy of it, thanking God.  All was too wonderful to be believed.  Those were golden years. (6)

In 1940, he attended the Art Student's League in New York.  For the first time, he found himself surrounded by people whose concerns were his concerns, whose parallel needs gave legitimacy to his.  After three months however, he was again forced to return home for lack of funds.

The year 1941 literally marked the turning point in his life.  A new girl appeared in the church choir--he fell in love!  With the exuberance of youth the young couple announced their engagement to their parents.  Reverend Williams, after a moment of shock, squeaked out , "Well, she has an honest face!"  Her father, in stunned silence. pulled his six-foot frame into a womb-like position as he struggled for composure.  Finally he forced out, "What do you plan to live on?"  But such mundane things as having a job and earning a living were secondary to the excitement of the moment.  Mrs. Williams recovered sufficiently to serve cream puffs and tea in celebration!

The problem of earning a living was resolved shortly thereafter for at this time the forces of war were shaping up in Europe and Hiram was drafted into the army!  After long soul searching talks with his father on the purpose of war and his place in it, they finally concluded that Hiram should answer the call and join the army rather than seek "conscientious objector" status.  There was something to be said about loyalty to one's country and assuming the responsibility that goes along with that loyalty.  On June 6, 1941, Hiram was inducted into the army.  He spent the first night peeling potatoes in the kitchen, and, typical of many draftees, he learned then never to volunteer his services for anything!

In 1942, the United States declared war on Germany.  Williams was sent to Officer Candidate School.  Despite his meager background in things mechanical (he had not yet learned to drive a car!), he survived OCS to become an officer.  He was assigned to a combat engineering company, soon rose to Captain, and was sent to Europe as a member of General George Patton's Third Army.

This was the real world in one of its most dreadful moments.  The reality of war caused him to rethink his beliefs and he found that, for him, his Christian background had not prepared him for the slaughter he saw:  for  the stench, the blood, the exploded bodies, the brutality of which man is capable.

I found that man is exceedingly corporeal.  The first thing that happens upon his death is unrestrained bowel movement.  I saw his innards scattered upon the landscape and I had a frightening sense of our mortality.  Nothing in it suggested or corresponded with the view that I had as an attentive Baptist in the Protestant denomination.   In my father's theology and what I lived with was the the death of Christ crucified and his resurrection and somehow through the tangle of what I finally concluded to be a miasmatic complement of thought, a heavenly world is created for all believers in this Christ.  What I saw  was the obverse. (7)

Williams came back from the war physically exhausted and completely shaken in his beliefs. Moreover, nothing in his prior training nor in his war experience had prepared him to earn a living.  He was married now and compelled to find some way to sustain life.  After a year of recuperation, he and his wife moved to Philadelphia where he earned a meager salary drawing cartoons of the life of Luther for a company that published religious literature.  He visited art museums and libraries.  A friend introduced him to "modern" art.  This was an emotionally turbulent period in his life for he had not yet fully recovered from the war.  He was working for a company whose mission espoused beliefs he no longer shared; additionally, he was forced to recognize that the old secure foundations in art had been largely abandoned for new definitions of what painting was about.

In the fall of 1948, at the age of 31, he entered The Pennsylvania State University.  Though largely self-taught, he was well-grounded in Western Art up to the time of the Impressionists.  He was eager to explore current ideas, current movements in art.  There was fascination with the literary world as well.  Meanwhile he would prepare himself to teach art in the public schools.

In combat I developed a sense of man's fate--that we were only too material, that there was nothing spiritual about us, that we were simply bodies like any other animal body on the face of the earth.  This wasn't catalyzed into a philosophic belief until I went to Penn State and encountered the existential writers--Camus, Sartre, and others.  I had a sense that these were people who were saying and thinking the things that I had come to believe. (8)

His exploration continued until he finally realized that "as an artist my interest has been in re-creating the images of the human figure.  Why the human figure?  Because it is us." (9)  But the human form had been used through the ages. What could be done with it?  How could he add to what had already been done?

It seemed to me that American art was much the loser when it by-passed the depicted human figure, and I planned to reintroduce it into art.  I understood that this meant I had to re-invent it, updating representation of the figure would not be enough. (10)

Despite the war, Williams clung to a belief in the basic potential for good in man.  Like his father before him, he had the messianic need to point out the problems that beset mankind, fully confident that man would correct his wrongs once they were made known to him.  A naive and perhaps arrogant view,  but an ideal that would sustain the young man as he accepted the challenge of developing the body of work through which he would make his contribution.  There was also the not-so-small challenge of supporting his wife and new son while doing so.

Upon graduation from the University, he was fortunate to secure a job teaching art in the public school in Harrington, Delaware.  Williams seemed to be a natural teacher, the imagination he developed in childhood served him well, his commitment to his art continued to be a driving force and eighteen-hour days ended many times with him asleep at his easel.

But, depression plagued him.  The doctor informed him that he had to choose between teaching and painting, he couldn't do both.  He sought solace in his painting.  His students, however, had absorbed Williams' enthusiasm. With great excitement they produced a show that won first prize in the state competition for public school art projects.

The many hours of study and work on his painting began to pay off; he was beginning to develop a new approach to the human figure, a shape through which he could give expression to his ideas.

The key lay in consideration of Cezanne whose multiple views in still life led to Cubist fracturing of the image.  What would result if I followed Cezanne's lead and painted multiple views without fracturing? (11)

He painted his Undulating Figure,  (Man Moving Through Doorway), an 8' x 8' painting that seemed to fill his studio.
 
In the meantime, his son, a sickly child, required continuing attention.  Then a daughter was born.  His salary never quite covered even basic expenses.  In addition, the community offered no stimulation or even conversation in the arts.  Consequently, he was happy to have the opportunity to accept a teaching position at the University of Southern California.  The family sold what little furniture they had and drove to California, taking the one painting with them.  It was only after they arrived there that they learned that the appointment was for nine months only!

In June, Williams flew his family home to Pennsylvania while he spent his last few dollars bringing the car home (he had learned to drive!) leaving the painting behind. (12)  Despite the beautiful vistas of spring, the roads seemed to lead nowhere.  Deep loneliness was a constant companion.  He lost his sense of self-worth.  Living in a time when among other things, the measure of a man meant the ability to support his family, and with his art at an impasse, Williams reached Pennsylvania completely defeated.  Once again his wife's parents took care of the family.  It wasn't until August that he learned of a job opening at the University of Texas.

Bad luck seemed to follow him to Texas.  His son still had seizures, his wife had to have surgery, and postal authorities accused him of using the mails to slander a woman who was then head of Art Education in the Commonwealth of Delaware. It was not until he was able to prove that he was not in Delaware at the time the offensive post cards were mailed that that incident was closed.  Hysteria and depression immobilized him; he found himself sitting on the steps in front of the University unable to move his arms.

Williams is a natural story teller with a wonderful ability to laugh at himself.  Despite his troubles, despair gave way to hope as tales of his escapades brought laughter to his colleagues, and young faculty and students alike became friends.  His wife recovered and with an increase in salary he could again concentrate on his painting.  He had always painted landscapes as an adjunct to his main theme of re-inventing the figure. During his search for his own identity in art, and with the memories of his long cross-country drives, he produced some sixty or seventy fine landscapes, roads that speak both of the beauty of the earth and of the aloneness of man.

Williams was once again assigned classes in art education, although he knew now that his place in the University was in the area of studio drawing and painting.  Because he believed that to teach art education one must teach something of art, he added drawing, art history and painting to the usual weaving, papier maché, and whatever else makes up art education.  He began to attract students from other studio classes.

Fortunately, Donald Weismann, then Chairman of the Art Department, recognized Williams' talent, not only as an artist, but as a teacher as well, and Weismann offered encouragement.  But Williams' troubles were not over.  To the older members of the faculty, the all-powerful Budget Council, he was the "young Turk" who should be ignored as they stomped by him in the halls symbolically crushing him under their heels. So, Weismann's support was  necessary, not only to his peace of mind, but to his ability to keep his job.

In June of 1958, through the efforts of Dr. Gordon Whaley, Dean of the Graduate School, the University Research Council awarded him a University of Texas Research Grant, the first to be given by that institution for "creative work in painting."  Williams was ready!  The problem of form had been solved, the pent-up frustrations of prior years gave him an energy that carried him to heights he himself had not thought possible.

Using a male figure in a black business suit, he completed a group of paintings that within the context of man running from his fates, was a scathing comment on institutional thinking and decision-making by committees.

Within four and a half months--he created a series of twenty-five paintings--twenty were 8' x 6' and five were 6' x 12'.  He was given a one-man show in Houston.  Mary Nye of Nye Galleries arranged shows in Dallas and contacts in New York.  The Highway, a painting that sings of the beauty of the earth, won the J.J. Feldman Award.

The infighting in the Art Department by this time had reached the boiling point.  Weismann resigned in protest and Williams was fired!  As a vote of confidence, the provost, Dr. Harry Ransom gave him a $600.00 raise, in those days a considerable amount, for his terminal year.  Weismann arranged for him to meet Clinton Adams, then Chairman of the Art Department at the University of Florida.  Dr. Ransom in communication with President J. Wayne Reitz of the University of Florida, recommended Williams.

And, oh, the experience of campus politics and human relationships.  I got more education there [Texas] than I probably ever got anywhere else when it comes to the nature of survival among my fellow man. (13)

The momentum of the success of his paintings in Texas prevailed; and after he began teaching at the University of Florida, he was awarded a Guggenheim Fellowship.  Hobson Pittman of Penn State days introduced him to Dorothy Miller of the Museum of Modern Art in New York.  The Museum bought Challenging Man; the Whitney Museum of American Art acquired Turning Gazer;  Lee Nordness of Nordness Galleries gave him a one-man show that was a sell-out; Incubus was included in the Art: USA collection that toured the United States, England and Japan and is now in the National Collection of the Smithsonian Institution.

In the twenty-two years he was on the staff of the University of Florida, he produced an impressive body of paintings:  His compassion for women forced into a secondary role in society emerged as a series of Chorus Lines; he gave vent to his outrage with corruption in government in the Watergate Series. Always mindful of the formal aspects of painting, he used man's sexuality to  produce high jinks  in the form of Bananas that were wounded, drunken, laughing, yellow, brown, spotted.  The Audience series was a statement of man's existential relationship to the universe while the many Heads expressed man victimized by the insanity of our times.

His writings include a book directed to young art students, Notes for a Young Painter;  a novel, Poons Smith, a satire on the university system and its inmates.  He wrote Poons Smith while walking across campus to meet other professors for lunch, he enjoyed regaling them with the latest Poon adventure.  Beginning in 1968, he began to keep a journal and has completed over 170 volumes.

Dr. T. Walter Herbert, a Shakespearean scholar and professor of English at the University of Florida, has written of these years:

A vital part of a good university's life is of course its function to bring minds from diverse fields and have them rub against one another...  For years Professor and Mrs. Williams have been active in an allied way.  Their genius for friendliness, their hospitality, and in particular their great Christmas celebrations have made them a happy center of good fellowship... in encouraging the mode of conversation which has been notable in universities since universities began to have character. (14)

In 1982 Hiram Williams retired as Distinguished Service Professor Emeritus from the University of Florida.  He believes that out of the chaos of life, each of us has a moral obligation to give the best in us, to establish a reason for our existence. In 1987, he gave to the new Samuel P. Harn Museum of Art of the University of Florida a substantial collection of his paintings and drawings.  It is the most representative collection of his works anywhere.  He continues to paint of the plight of man in an uncaring universe.  "There's no sense for the artist and only spots of mercy." (15)

Any book about his paintings should properly be called "The World of Hiram Williams", for there is no definitive line between the painting world he has created and the life he has experienced.  The paintings are an outgrowth and an expression of the life he has lived.  Significantly, the title of his journals is Art/Life.  Painting has always been his first love, his refuge, his reason for being.  He dared the bizarre in an approach that provided vehicles for his recognition of the tragi-comic aspects of life playing good taste to the edge of pornography to reveal his laughter bubbling through a life that recognizes the tragedy of the final abyss.

But the last word in this biographical sketch belongs to Hiram Williams:

Between cloudy nights and moonlighted nights, I have almost forgotten that Florida has stars.  The past two nights have disclosed all their startling diamond glitter against depths of blue-black velvet.  The atom in me, that once was part of a star, races in heady remembrance! (16)
 

NOTES

1  Edman, Erwin, Arts and the Man, W.W. Norton & Co., Inc., New York, N.Y., 1960.

2  Williams, Hiram, Notes For a Young Painter, p. 7, Prentice-Hall, Inc., Englewood Cliffs,  N. J., 1963.

3  Hiram Williams was born in Indianapolis, Indiana, February 11, 1917.  His family lived in Gifford, Illinois; Chester, Pennsylvania; Titusville, Pennsylvania; Plainfield, New Jersey; and Muncy, Pennsylvania as his father moved from church to church during Hiram's childhood.

4  Williams, Hiram, Art/Life, Vol. 4, p. 95, Archives, University of Florida Libraries, Gainesville, Fl., 1969.

5   From a taped interview with Hiram Williams by William B. Stephens in preparation for his book, Hiram Williams--Exploring the Sources of His Expression, 1975.

6   Ibid.

7   From a  conversation with Hiram Williams, October 18, 1986.

8   Ibid.

9   From a conversation with Hiram Williams July 5, 1988.

10  From a conversation with Hiram Williams June 5, 1989.

11  From a conversation with Hiram Williams, October 26, 1988.

12  The painting still hangs nailed to the ceiling of a bookstore in Los Angeles.

13  From a  conversation with Hiram Williams, October 28, 1986.

14  (Herbert T. Walter, Sr., a letter to the President of the University of Florida on the occasion of Hiram William's promotion to Distinguished Service Professor).

15  Williams, Hiram,  Art/Life, Vol. 177, p.26, (from a letter to Mernet Larsen, dated June 1, 1989), Archives, University of Florida Libraries, Gainesville, Fla.

16  Williams, Hiram, Art/Life, Vol. 79, p.20, Archives, University of Florida Libraries, Gainesville, Fla.
 
 
 
 

 ABSTRACTS OF SELECTED VOLUMES

The Art/Life diary by Hiram Williams contain, in each of the volumes, references to the daily news headlines, the local weather, personal musings on social events with friends and family, and many correspondences.  References to the studio classes Williams teaches at the University of Florida (until his retirement in 1982) and his dealings with fellow faculty are made throughout the journal.  General day to day business of life and maintenance, as well as observations of the natural world, are included.  A wealth of visual information both sketched in and glued into the diaries. One discovers the ups and downs in the artist's professional and personal life and that his achievements are due, to a degree, to the unwavering support of his wife, Avonell.  The complete diary reveals that all elements of life are relative to the making of art for Hiram Williams, and he has appropriately entitled his journal, Art/Life.  For a comprehensive view of the journal see the volumes on diskette and the original diaries.

This bibliography does not fully reflect the cultural context or diversity of Williams's activities.  Rather, the bibliography is intended to guide the user to information on Williams's creative process, developing themes and philosophy in his work, and his relationship to the art world at large, perhaps most notably New York.  Topics of interest and disdain as well as artists and works of art to which Williams refers are listed in this bibliography.  Books read, places traveled to and paintings worked on are listed.  Major health concerns are listed.  The bibliography follows a thread of the artistic concerns in Williams's life.  What is not apparent through the bibliography is the fullness of Williams's life, the sense of him as a family man, a sports fan, a man fully observant of the natural world around him and concerned with humanity.   This bibliography does not reveal the very dry wit of Williams or name the dozens of friends who visit the Williamses at home, and with whom they socialize.  For more on these aspects, the researcher must go to the complete diary.

The user of the bibliography can search the volumes on diskette by using the words listed here.  For a more comprehensive understanding of the circumstances and motivations of Williams's life, most of the volumes can be read on diskette verbatim.  The remaining volumes on diskette contain selected information, and several volumes remain unavailable on diskette at this time.  The original volumes are in the Smathers Libraries Department of Special Collections, Archives, University of Florida, Gainesville.

Volume 1 (Disks:  0; super edit 1; scanning 2)
This volume begins in Oct., 1968;  the Williamses are in Gainesville and the weather is cold.

H.W. refers to:  Mauricio Lasansky's "Nazi Drawings;" his own evolution of imagery to use one or two features of a personality; the breast as a gland; landscape imagery and painting for money; his idea for a series of skins and a double image; homecoming at U. of F.; election day; the New York art scene; success; money and intelligence; Picasso; form and formlessness; the faculty art exhibition; changes in Nordness Gallery; his family tree; and "quality."

H.W. reads:  Our Crowd, Making It, Miro, William Blake, Paul Klee.

H.W. works on:  illustrations for a friend's poems;  drawings and paintings of punch bowls, coffee cups, roads, still lifes, chorus lines, heads.

H.W. travels:  with the children, who are home for the holidays, and his wife to  the beaches at St. Augustine, Fla. where he observes nature; he also flies to give a talk at Palm Beach Jr. College.

H.W. contracts the flu and chest pains.

Volume 2 (Disks:  0; super edit 1, scanning)
This volume begins in Jan., 1969.  The Williamses are in Gainesville.

 
H.W. refers to:  critics and irony; humanism in art; and idea for a novel; Andrew Wyeth and his contribution to figuration compared to H.W.'s contribution; Norman Geske; Walt Disney.

H.W. reads:  Nicholas and Alexander, The Bedbug and Selected Poetry; he sees the play The Subject was Roses.

H.W. works on:  a Watteau paper with daughter, Kim; a talk about the painter's struggle.

Volume 3 (Disks:  0; super edit 1; scaning 2)

This volume begins Jan. 28, 1969

H.W. refers to:  New Yorkers, the New York Art Scene; N.Y. gallery conflicts with the student show; anonyminity and approval; artist's intelligence; waning prestige; critics; originality; misunderstanding; Oldenburg; Theibaud; John Graham; De Kooning; William Blake; Magritte; Thoreau; Emerson; Hawthorne; Alcott; national and regional recognition; Yasuo Kuniyoshi (who had a show at University Gallery at the time); Benton; Curry; Wood, and other artists of the thirties; history of the UF Faculty Seminar on American Civilization; personal history from childhood; appearance of students; Balthus; and he includes an excerpt from Poon's Smith.

H.W. reads:  Man in the Glass Octopus; Assemblage, Environments, and Happenings; A Voyage to Lilliput.

H.W. works on a lithograph and several sketches.

Volume 4 (Disks:  0; super edit 1; scanning vol. 4; scan vol. 4)
This volume begins on Feb. 14, 1969

H.W. refers to:  rain on the roof; Gazing Man in the Whitney; sidewalk art shows; owning land; Negro church services and black/white relations; Nordness, N.Y. Gallery; writer, Jean Stafford; Mary Nye, first Texas gallery dealer; mechanical ability; Nativisim; Dutchmen; Chagall; Warhol; Duchamp; Miro; Malcom Morley; Dorothy Miller; Anthony Bower.

H.W. reads:  To Be a Pilgrim; Herself Surprised; The Horses Mouth

H.W. works on paintings of heads and many sketches.

H.W. travels to Charlston.

Volume 5 (Disks:  0; Super edit 1; scanning vol. 5)
This volume begins Feb. 17, 1969

H.W. refers to:  Jose Luis Cuevas, Mexican draftsman; Larry Rivers; Robert Frost; pushing work in New York; personal history; attitude of students "today"; Milton Avery; Poon's Smith; Hemingway; Norman Mailer; luck; political animals in N.Y.; De Chirico; Tanguey; Dali; MoMA; Dorothy Miller; Morandi; Burchfield; crows; an encounter with a trapped colt; mouth images; Van Deren Coke; George Eddinger, WPA art instructor;  Harrison Covington; Jack Flam; Cezanne; Jerry Uelsmann; Peter Bunnell; snakes; painters he has met or known; "purple-patch"; Ben Shahn; Lindner; DeKooning; Oldenburg; Balthus; trouble with Nordness.

H.W. works on:  five "Heads".

H.W. experiences chest pains.

Volume 6 (Disks:  0; super edit 1)
This volume begins in March, 1969.

H.W. refers to:  race relations; Van Gogh; Running Man image being lifted from him; William Blake; Samuel Palmer; Jim Dine; Alfred Leslie; Picasso; Baskin; family history; Charles Hovington Bull; political survival in art.

H.W. reads:  The Couples, Samuel Palmer Sketchbook

H.W. works on:  head and torso; Irradiated Man

H.W. travels to Winston-Salem, and Pennsylvania.

Volume 7 (Disks:  0; super edit 1)
This volume begins in May, 1969.

H.W. refers to:  minimal art; his skins series; hippies and "the establishment", Willem de Kooning; Milton Avery; Joseph Cornell; career, energy and the expense of artist's materials; Jerry Lewis; Billy Graham.

H.W. does a t.v. program with Roy Craven, Director of University Gallery.

H.W. reads:  Disobedience and Democracy; Concerning Dissent and Civil Disobedience; Soul on Ice.

H.W. works on:  two skins of tables; head; skin of a crowd; skinned saw; punch bowl with collaged eyes and mouth.

H.W. travels to:  Crescent Beach, Palm Beach, and Ball State University in Muncie, Indiana.
 

Volume 8 (Disks:  1)
This volume begins in August, 1969.

H.W. refers to:  gossips; Robert Motherwell; Thomas Hart Benton; the passion of gospel singing; New York; an episode in Germany with General George Patton; old age; contour; William Blake; Jane Daugherty; Wesselman; Newman; Kline; the 'black hole' as "us", we are the 'audience' in the universe (this becomes an idea for a series); Williams Weege; Robert Beckhurt; Truman Capote; projects for 1970; accomplishment; recollection of Pearl Harbor bombing.

H.W. reads:  Samuel Palmer, Shoreham and After; A Man of the People; Vanguard Artist; An American in Art; Pump House Gang.

H.W. works on:  punch bowls, collages.

H.W. sees:  Lion in Winter; Easy Rider.

H.W. travels to:  Pennsylvania; Roanoke, Va., Crescent Beach, Fla.
 

Volume 9 (Disks:  1)
This volume begins in Dec., 1969.

H. W. refers to:  Ernest Hemingway; philosophy of education; Andrew Wyeth.

H.W. reads:  The Myth of the Negro Past; Electric Koolaid Acid Test.

H.W. works on:  collages, heads, roads, punch bowls.

H.W. sees: Butch Cassidy and the Sundance Kid.

H.W. travels to:  the Florida Keys at Christmas time; New York.
 

Volume 10 (Disks:  1)
This volume begins in March, 1970.

H.W. refers to:  Challenging Man; Poon's Smith; Kent State shooting; Nixon; Charles Burchfield; Francis Bacon; LeBrun.

H.W.  reads:  The Arms of Krupp; Contemporary British Painting; Matisse.

H.W. works on:  Collages, heads, landscapes, Chorus lines, punch bowls, roads, stroboscopic figures; running man.

H.W. sees:  Tell Them Willie Boy is Here.

H.W. travels to:  Crescent Beach, Fla.; Bowling Green University, Columbia, Ohio.
 

Volume 11 (Disks:  1)
This volume begins in July, 1970.

Hiram Williams refers to:  truth; encaustic; Sidney Noland; Lucien Freud; Graham Sutherland; Charles Burchfield; De Kooning; Dubuffet; Nordness; Francis Bacon; range and vision; Hockney; Dufy; Edwin Dickinson; Kitaj; Leon Golub; psychology through imagery; New York; maple trees; nature; Hobson Pittman; family history.

H.W. reads:  Moment in the Sun; The Seventh American Review; Little Big Man.

H.W. works on:  skinned trousers; chorus lines; injured landscape; punch bowls; skins; man in a bowler hat; crowd on a beach inviting flagellation.

H.W. travels to:  Crescent Beach, Fla.; Pennsylvania.
 

Volume 12 (Disks:  1)
This volume begins in Sept., 1970.

Hiram Williams refers to:  rat race; success; churches; Hemingway; Mailer; Thomas Wolfe; Harry Crews; history of Art Department--growth and curriculum; his 5th one-man show in N.Y.; recommendations for changes in public school art department; Charles Burchfield.

H.W. reads:  Patton; Wretched of the Earth.

H.W. works on:  Macadam landscapes; heads.

H.W. sees:  Patton; The Russians are Coming.

H.W. travels to:  Crescent Beach, Fla.; Richmond, Va.
 

Volume 13 (Disks:  1)
This volume begins in Oct., 1970.

Hiram Williams refers to:  his fifth one-man show at Nordness, (a press release describing the "Skins" and "Punchbowls" is included); the trip to New York; MoMA; Dorothy Miller; Alfred Barr; Eakins; O'Keefe; John Canaday; his own personality; Hobson Pittman; Williams Merritt Chase; "queering" the composition of a picture; "junction" in composition; lack of critical attention to N.Y. show; his mother's failing health; Francis Bacon; ideas for new landscapes; Claude Ponsot; men and power.

H.W. reads:  Happy Days; Ernest Hemingway; The Making of a Counter Culture.

H.W. works on:  reworks Professors (Intellectuals) at an Impasse; Man in a Bowler Hat; landscapes; crowd.

H.W. travels to:  New York; Pennsylvania; Flagler Beach, Fla.; St. Pete, Fla.
 

Volume 14 (Disks: 1)
This volume begins in Dec., 1970.

Hiram Williams refers to:  Japanese novelist Yukio Mishima; Albert Camus; Ernest Hemingway; John Kennedy; Ken Kesey; Pierre Trudeau--all men larger than life; the December issue of Art News and a review of his show.

H.W. works on:  Chorus line; there are over 80 sketches in the volume.

H.W. travels to:  Tallahassee, Fla.
 

Volume 15 (Disks:  1)
This volume begins in January, 1971.

Hiram Williams refers to:  hauling art to gallery; Eakins; Sheeler; Mishima; Karl Hess; Chorus Lines; Stanley Spencer; Hobson Pittman; Louise Nevelson; Kurt Vonnegut, Jr.; Andy Warhol; plagerism of his own work with photographs as evidence.

H.W. reads:  The New Painting, Udo Kultermann, Praeger Press, which includes reference to H.W.; Down All the Days; The Kingdom and the Power.

H.W. sees:  Five Easy Pieces.

H.W. works on :  Earth Mother; heads; crowd; seated figures; a lithographic portrait;  sketch series showing ideas prior to beginning of diaries, from the early sixties, such as Heads; also, Seated Figures, current work, are sketched, along with several pages of cartoons and a series of photographs of Williams demonstrating the creation of a large painting to a class.
 

Volume 16 (Disks:  1)
This volume begins in February 1971.

Hiram Williams refers to:  Jasper Johns; Eric Segal (Love Story), Mohammed Ali and Frazier fight; Henry Kissinger; Kurt Schwitters; genius; middle age; his mother's failing health; Dubuffet; Duchamp; Robert Morris; family history; artist/critic/dealer relationships; humanists; universities and museums where his work is placed.

H.W. reads:  Up the Organization; The Duality of Vision; Albert Camus' Notebooks; Clotel; The Gang that Couldn't Shoot Straight.

He works on:  seated figures; heads; portrait of Sadi Koru; punch bowl; standing figures.

He travels to:  St. Pete, Fla.; Sarasota, Fla.
 

Volume 17 (Disks:  2)

This volume begins March 29, 1971 and ends May 9, 1971

H.W. refers to: Standing figures; Nordness; small scale (vs. large scale); Hilton Kramer, New York; Dorothy Miller; Barry Schwartz (author of The New Humanism which includes H.W); Edward Hopper; Easter; "purple patches;" student riots; Beatrice Nettles; Claude Ponsot.

H.W. paints:  Standing figures; couples, crowd, "Trio,", Seated figures, Jittering Couple

H.W. reads:  Hotel; A Life of Goya

H.W. sees:  Little Big Man

H. W. travels to:  Cedar Key, FL; Boston, MA
 

Volume 18 (Disks:  2)

This volume begins May 10, 1971 and ends June 5, 1971

H.W.  refers to:  Andy Warhol; publicity; visibility in the art world; fame; Charles Burchfield; Rousseau; Corot; Courbet; Hopper; Bacon; Miro; Claes Oldenburg; Ricci; Hobson Pittman; the New York element

H.W. works on:  Couples, Road; Howling Man; lithograph:  a portrait of Ken Kerslake; Wounded Bitch; Heads

H.W. Reads:  Magritte; The French Lieutenants Woman; Mary Queen of Scots; Claes Oldenburg; David Hockney

H.W. travels to:  Tampa; Matanzas Beach, FL
 

Volume 19 (Disks:  2)

This volume begins June 6, 1971 and ends July 16, 1971

H.W. refers to:  Reginald Marsh; pornography in art; David Hockney; himself as a humanist; Bacon; Paolozzi; lists of paintings done in past 7 months; publicity; drawing

H.W. works on:  Jittery Man; Chorus Line; Chorus Line w/ Nails; Sexual Tension; Snake themes; Seated Figures; Wounded Bitch; portrait of Lenny Kesl; Heads; Still Lifes; Roads; Bathing Girl; Burned Mountain

H.W. reads:  The Artist in Society;  From the Wonderful Folks Who Gave You Peal Harbor;  Hard Times

H.W.  travels to:  Crescent Beach,  FL
 

Volume 20 (Disks:  2)

This volume begins July 16, 1971 and ends Sept. 1, 1971

H.W. refers to:  Poons Smith (his unpublished novel); William Wiley; his week-long trip as a visiting artist to Boulder, CO; plans for future projects; getting hypnotized and painting; Charles Burchfield (in comparison to himself)

H.W. works on:  Heads; portrait of Lenny Kesl; Sitting Figures; Juries; Still Life; Big Head and Shoulders; portrait of John Hawver; Walking Man

H.W. reads:  The Greening of America; Future Shock; Charles Burchfield; The Gang that Couldn't Shoot Straight

H.W. travels to:  Boulder, CO; Ft. Mantazas Beach, FL
 

Volume 21 (Disks:  2)

This volume begins Sept. 1, 1971 and ends Oct. 8, 1971

H.W. refers to:  memories of the "South;" integration; thumbnail sketching; Alec Ginsberg; Norman Mailer

H.W. works on:  Reconstruction of Running Man; The Crowd:  Heads; Landscapes

H.W. reads:  Fame and Obscurity; Don't Fall Off the Mountain; Stranger in a Strange Land; The First Circle; Radical Chic and Mau-Mauing the Flak Catcher

H.W. travels to:  Mt. Pisgah, NC; PA; Matanzas Beach, FL
 

Volume 22 (Disks:  2)

H.W. refers to:  William Blake; Charles Burchfield; Life magazine reproduction very like his own work; Harry Crews; self-improvement; Hopper; William Wiley; David Hockney; career; Wyeth; environment/world (in art); individuality; faith; studio materials; demonstration (of art processes); Lee Nordness

H.W. works on:  Two Doomed Men, or Victims; Big Male Crowd; Standing Men; Seated Earth Mothers; portrait of Marshall New (demo)

H.W. reads:  A Search for Justice; Charles Burchfield; The Battle of the Books;

H.W. travels to:  Ft. Matanzas Beach, FL

Volume 23 (Disks:  2)

This volume begins Nov. 8, 1971 and ends Dec. 9, 1971

H.W. refers to:  professionalism; Rubens; Burchfield; the New York scene; originality; aging; Bacon; John Marin; Cezanne; Frank O'Hara (poet); ambition; death

H.W. works on:  Angry Man; Turning Figure; Seated Couple; Head

H.W. reads:  Inside the Third Reich; Our Gang

H.W. travels to:  St. Augustine, FL
 

Volume 24 (Disks:  2)

This volume begins Dec. 9, 1971 and ends Jan. 10, 1972

H.W. refers to:  fear, impressions of European culture; passion; Bacon; 20th century; contemporary art; history of figure/ground in painting

H.W. reads:  Slaughterhouse Five

H.W. travels to:  Europe:  Amsterdam; Utrecht; Cologne; Manheim; Lugani; Milan; Florence; Sienna; Heidelberg; Berlin

H.W. sees:  Carnal Knowledge
 

Volumes 25 and 26 (Disks:  2)

Volume 25 begins Jan 10, 1972 and ends Feb. 10, 1972; volume 26 begins Feb. 11, 1972 and ends March 15, 1972

H.W. refers to:  Francis Bacon; Lucian Freud; Edward Hopper; innovation in painting; Williams T. Wiley; life and art; Elaine de Kooning; Thomas Hess; Manhattan bedroom politics; Picasso; Miro; Michelangelo; Lautrec; Willem de Kooning; Rembrandt; Van Gogh; Wyeth; John Kennedy; Spiro Agnew; Mickey Rooney; practice vs theory of art; future of art; audiences; Rauschenberg; seriousness; put-on; pessimism/truth; Burchfield; Klee; Paolozzi; Thomas Eakins; Alec Ginsberg; Dr. Spock; Audon; Warhol; Janis Joplin

H.W. works on:  Seated Couples/Pregnant Couple; Big Couple; series of Abandoned Abstractions; Audience; Still Life

H.W. reads:  Music: the Arts and Ideas; Savonarola, Life, Poetry, Criticism; Unyoung, Uncolored, Unpoor

H.W. travels to:  Tampa, FL
 

Volume 27 (Disks:  2)

This volume begins March 16, 1972 and ends April 18, 1972

H.W. refers to:  death; religion; atheism; Nature; singing; personal history in Muncy, PA; Jim Dine; Thomas Eakins

H.W. works on:  Robert Mautz portrait; Big Landscape

H.W. reads:  So Excellent a Fishe; The Other

H.W. travels to:  Tallahassee; Crescent Beach, FL
 

Volume 28 (Disks:  3)

This volume begins April 18, 1972 and ends May 3, 1972

H.W. refers to:  Larry Rivers; Duane Hanson; Van Deren Coke; Edward Hopper; N.C. Wyeth; J. Edgar Hoover; Andrew Wyeth

H.W. works on:  Mautz portrait; Audience

H.W. travels to:  Crescent Beach, FL
 

Volume 29 (Disks:  3)

This volume begins May 5, 1972 and ends June 13, 1972

H.W. refers to:  the birth of and naming of his daughter, Kim Avonell Williams; protest of war in Vietnam; Nixon; morality; "purple patch;" hypnosis

H.W. works on:  Audience; Mountain Scenes

H.W. reads:  Stillwell and the American Experience in China

H.W. travels to:  Tampa; Mantazas Beach, FL
 

Volume 30 (Disks:  3)

This volume begins June 13, 1972 and ends July 17, 1972

H.W. refers to:  his hypnosis and painting; Norman Mailer; depression; Lee Nordness; observation and common sense; Audience; remembrance of life in Muncy, PA; idea; Burchfield; Impressionism; integrity; Baskin; success; rigid imagery; Marc Chagall; "The Contest" of painting in the light of art history; compassion; Thomas Eakins; Bacon

H.W. works on:  Landscapes, heads, still lifes, coffee pots, Mautz portrait

H.W. reads:  Burchfield; Stanley Spencer; The Drifters

H.W. travels to:  Atlantic beaches, FL
 

Volume 31 (Disks:  3)

This volume begins July 17, 1972 and ends Aug. 15, 1972

H.W. refers to:  perspective and the universe; man/nature; Francis Bacon; Anton Ehrenzqeig; "unconscious scanning;" titles of artworks; Paul Klee; Miro; Kitaj; Paolozzi; Jasper Johns; light and shadow; Willem de Kooning; Beckmann; Marin; the "big" look in art; Demuth; Poons Smith; Wm. F. Buckley; Ellsberg; Van Gogh; painter's materials; Franz Kline; Abstract Expressionism; Diebenkorn; craftsmanship; process; DuBuffet; Michelangelo; training and technique; Thomas Eakins; Constable; Giotto; Turner; Porter; Giotto; Boucher; Rivera; Orozco; Sequiterios; Thomas Hart Benton; Ben Shahn; Picasso; Braques; Leger; Mondrian; de Chirico; Tanguey; Ernst; Soutine; Nolde; Munch; Grosz; Sutherland; Dickensen; Robert Morris; Rauschenberg; Wiley; Bernadette Devlon; posterity

H.W. works on:  Still lifes; tablescapes

H.W. reads:  The Hidden Order of Art; Francis Bacon; Miro; The Prince
 

Volume 32 (Disks:  3)

This volume begins Aug. 16, 1972 and ends Sept. 30, 1972

H.W. refers to:  Imaginary gardens and toads; Camus. Sartre; putting his dog to sleep; diaries; journals; real writing; Wyeth; Edwin Dickenson; Eakins; "The long littleness of life;" Turner; Willem de Kooning; Oldenburg; Hockney; the mountains; Nordness; Audience

H.W. works on:  Heads; still lifes; portrait

H.W. reads:  Spoon River Anthology; Birds of America

H.W. travels to:  Matanzas Beach, FL; Philadelphia, PA
 

Volume 33 (Disks:  3)

H.W. refers to:  Who's Who entry; picture plane; Willem deKooning; space; Modern Art; Miro; distance/interval; perspective; Rembrandt; Jack Levine; Morris Graves; Pollock; Renaissance; Rauschenberg; Cubists; Cezanne; Jasper Johns; Thomas Hess; Braque; illusionism; Monet; Seurat; field paintings; microcosmic/macroscosmic; Fairfield Porter; Mondrian; Malevish; Max Beckmann; Surrealists; Dali; Hans Arp; Duchamp; Dubuffet; tension/form/formlessness; Gene Davis; Noland; Barnet Newman; Albers; Frank Stella; Warhol; figure; points; Harry Crews; Nordness; Ryder; form and emotion; portraits; Man; masks; reprint of On Creating and Teaching Talks with Hiram Williams by William Stephens; truth; Oldenburg; Dewey; Einstein; breeder ideas; Audience

H.W. works on:  Still Life; Head; Tablescapes; Blue Ridge Valley; drawings

H.W. reads:  Man and Crisis

H.W. travels to:  Tarpon Springs; St. Augustine; Cedar Key, FL
 

Volume 34 (Disks:  3)

H.W. refers to:  Important people he's known and entertained; Bacon; deKooning; Robert Morris; acrylics; Maholy-Nagy; Gabo; Pevsner; Claes Oldenburg; Rubin; Frank Stella; Burchfield; upcoming New York trip; Nordness; New York galleries and museums; Gottleib; Dubuffet; Edwin Dickinson; his own opening exhbition at Nordnes; Perfect Contemporary Pictorial Expressions; style/vision; Blake; Originals:  Matisse; Miro; Chagall; Bacon; deKooning; Burchfield; Wiley; Ernst; Klee; Dickinson; Robert Morris; Warhol; Johns; Rauschenberg; Picasso; Hopper

H.W. reads:  Rabbit Redux; Self Realment; Philip Wilson Steer; The Hidden Order of Art
 

Volume 35 (Disks:  3)

H.W. refers to:  Karl Zerbe; his own New York show; Nordness; Hobson Pittman; NY Times review of his show; Andrew Wyeth; John Canaday (writes a letter to; receives a letter from); Lester Johnson; Audience; death; Burchfield; Hopper; Homer; Eakins

H.W. reads:  The World of Washington Irving; Wise Blood; Icons and Images of the Sixties; Day of the Jackal; The Fabulous Life of Diego Rivera;  The World of MC Escher; Picasso and His Friends; Edward Hopper
 

Volume 36 (Disks:  3)

H.W. refers to:  Lee Nordness (letter from); Audience; Klee; Picasso; Miro; Turning Gazer; review of his own work (included); lists of university and museum collections of his work

H.W. works on:  Still Lifes

H.W. reads:  Year of the Whale

H. W. travels to:  Shreveport
 

Volume 37 (Disks:  3)

H.W. refers to:  Harry Crews; New York and its chauvinism; the Art Scene; critics; Audience; drawing demo; vocabulary/style; Dubuffet; deKooning; Sutherland; Miro; Avery; Oldenburg; thoughts on his own art:  silhouette, "purple patches;" contrasting material against illusion, plasticity versus depth; style

H.W. works on:  Still Life; Tablescapes; the "Hypnosis" painting; drawings; Woman

H.W. reads:  The De-Definition of Art

H.W. travels to:  Atlanta, GA
 

Volume 38 (Disks:  3)

H.W. refers to:  Sources of Exploration (reprinted interview); his own history of development; the landscape; inconsistency; idea for tables

H.W. works on:  drawings; Still Lifes; Chorus Lines; Blue Ridge/Great Smokies Landscape; Brown Mountain (where the ghost lights dwell); Couple

H.W. travels to:  Memphis, TN
 

Volume 39 (Disks:  3)

H.W. refers to:  Pablo Picasso (he dies); field painting; Olitski; Harry Crews

H.W. works on:  Mountainscape; Stretched Figure; Landscape; drawings

H.W. reads:  Godfather Papers

H.W. sees:  The Ruling Class
 

Volume 40 (Disks:   3, vol. 40)

H.W. refers to:  Watergate; drawing lesson presentation (outlined); Bacon's blur; multiple views; ambiguity in description; space congestion; superimposition of shapes; the "plane;" Patrick Caulfield; David Hockney; jasper Johns; Chagall; Dickens; Hemingway

H.W. works on:  drawings; Head; ink drawings; Still Life

H.W. reads:  Car; Look Back in Anger

H.W. travels to:  North Carolina (daughter's college graduation); Crescent Beach,  FL
 

Volume 41 (Disks:  4)

H.W. refers to:  'oil over oil'; ground; Nixon; Watergate; Allen Stone; Bacon; stroboscopic; self-conscious(ness); Prendergast; Samuel Palmer; William Blake; imitation of one's heroes; teen years; proper tools; guano; Henry Miller; regional art; Burchfield; Muncy, PA (childhood home); place taught at; Hemingway

H.W. works on:  Table; Big Seated Man; Watergate I; drawings; Tablescape; Watergate II; Portrait of J. Petruchyck; Head Vomiting Blood (Victim)

H.W. reads:  Ben Shahn; William Blake; The Birth of Berlin; The New World; Hemingway

H.W. travels to:  North Carolina; Pennsylvania; Crescent Beach, FL
 

Volume 42 (Disks:  4)

H.W. refers to:  Audience; Watergate; emotion in art; figure/ground; Ingres; Stella; Surrealism; Dali; Miro; DiChirico; space; Picasso; Francois Gilot; deKooning; Cezanne; Rembrandt; Sutherland; artist; the figurative idea; banks; painters; schizophrenic (artists); intuition; critics; Pollock; Larry Rivers; Franz Kline; Frank O'Hara; Motherwell; Chagall; sources

H.W. works on:  Still Life; Mountainscape; drawings; O'Connell portrait; Watergate

H.W. reads:  Hemingway
 

Volume 43 (Disks:  4)

H.W. refers to:  seminar program (outlines); Stephen O'Connell portrait; Poons Smith; Gerald Ford

H.W. works on:  O'Connell portrait; Head; Watergate portrait; Holbrook portrait; Tablescape; Watergate; Steve Lotz portrait; Mountain
 

Volume 44 (Disks:  4)

H.W. refers to:  Ellsworth Kelley; Jackson Pollock; Wyeth; loss of vitality; Watergate; the Stephen O'Connell portrait; Nordness

H.W. works on:  Portrait of Beckie New; Portrait of Avonell; Chorus Lines; Big Seated Figure; Little Chorus Line; Watergate 4; Green Still Life; Flesh-Colored Coffeepot

H.W. reads:  The Best and the Brightest
 

Volume 45 (Disks:  4)

H.W. refers to:  plasticity; Graham Sutherland; Duchamp; Kitaj; Jasper Johns; his next show; Watergate; The Triumph of American Painting; Abstract Expressionism; the 1930s; WPA; Social Realism; Alfred Barr; Cubism; Hans Hofmann; New York; Surrealism

H.W. works on:  Seated Couple; Portrait of Sol Kramer

H.W. reads:  Johnny We Hardly Knew Ye
 

Volume 46 (Disks:  4)

H.W. refers to:  Watergate; R.B. Kitaj; Bacon; [artists who] reinforce Hiram's painting; Duchamp; Williams Wiley; possible gas shortage; Nixon; Triumph of American Painting; underpainting; mountains

H.W. works on:  Portrait of Sol Kramer; Watergate 5

H.W. travels to:  Asheville, NC
 

Volume 47 (Disks:  4)

H.W. refers to:  Nordness; Watergate 1; Oscar Wilde; modern art; Margaret Sullivan; Nixon; Lownard Baskin; Watergate 5; Audience; Watergate 6; Stretched Man; show at Western North Carolina University; show at University of Tampa; recent figure idea

H.W. works on :  Stretched Figure; Crowd; drawings; Stretched Figure with Naked Skin; Chorus Line; Stretched Man

H.W. travels to:  Crescent Beach; Tampa,  FL
 

Volume 48 (Disks:  4)

H.W. refers to:  Burchfield; metaphor in painting; Ben Shahn; John Morse [who gave a few drawing lessons to H.W. as a kid]; Wyeth; Bacon; Watergate; Paul Klee; Poons Smith

H.W. works on:  Stretched Man; Still Lifes; Portrait of Rizzi

H.W. reads:  Malabar Farm; Art of the Times; Diaries of Paul Klee; Pop Art

H.W. travels to:  Matanzas Beach; Crescent Beach; Tallahassee; Orlando, FL
 

Volume 49 (Disks:  4)

H.W. refers to:  Walter Inglis; Watergate; [art] problems; Van Gogh (texture as expression); El Greco (distortion as expression); plane/field; modulation; the nature of points; weights; families of shapes in figuration; horizon(s); Exercise:  paint in flat hue; open brush stroke; Miro; Wyeth; Nordness; his wedding

H.W. works on:  Stretched Man; Crowd; Skin; Hollis Holbrook at Crescent Beach; Skinned Pot

H.W. reads:  The Gulag Archipelago; Fair Man
 

Volume 50 (Disks:  4)

H.W. refers to:  Jim Dine; William Wiley; humans; men; James Thrall Soby; Edwin Dickinson; Seldon Rodman; John Morse; Watergate; Paul Klee; Watergate #1, 2, 3, 4, 5, 6, 7; Nixon; impeachment; [recipe for] medium for tempera underpainting a la Rubens

H.W. works on:  Skinned Wrench; Stretched Man; Mountains; Macadam Landscapes; Watergate 7; Stretched Man with Kukla Belly
 

Volume 51 (Disks:  4)

H.W. refers to:  The landscape [in art]; Hopper; plasticity; curved planes; space; horizon(s); Watergate; Stanley Spencer

H.W. works on:  Outlines of Objects; Hollis Holbrook at Crescent Beach; Stretched Figure; Meat Tables; Watergate

H.W. reads:  Edward Hopper; Dylan Thomas

H.W. travels to:  Crescent Beach, FL

H.W. sees:  The Three Muskateers
 

Volume 52 (Disks:  4)

H.W. refers to:  Joseph Duveen; Abstract Expressionism; dealer/artist/museum/collector/critic relationship; deKooning-Hess; Rivers-Sam Hunter; Stella-B. Rose; Guston-Dore Ashton; Oldenburg-Baro; Noland-Greenburg; Warhol; Rivers; Rauschenberg; Johns; Harold Rosenberg; The "star system;" Miro; Stanley Spencer; H.W. as a teacher; Bewisck; Sam Johnson; Richard Jeffries; Joplin; Morenson; Hopper; Watergate; Nixon

H.W. works on:  Meat Table(s); Banana(s); French Bread; Apple; Banquet (Meat Tables)

H.W. reads:  Everglades:  River of Grass

H.W. travels to :  New Jersey; Pennsylvania; North Carolina
 

Volume 53 (Disks:  5)

H.W. refers to:  Nixon; Watergate; Ford; the Hiram Williams Collection at University of Texas, Austin; Lee Nordness; John Morse (letter to); Ernest Thomspson Seton; Henry James; Hemingway; Bacon; Burchfield; Klee; Miro; Duchamp; Johns; true nature of expression; Stanley Spencer

H.W. works on:  Portrait of Marshall New; Meat Tables; Wine Bottles

H.W. reads:  A Short History of the Civil War; Ordeal by Fire; Goodbye Picasso; Hogarth; Shahn; Nevelson

H.W. travels to:  Tallahassee, FL
 

Volume 54 (Disks:  5)

H.W. refers to:  Frankenthaler; Rothko; Watergate; Nordness; the Whitney; Kenneth Hayes Miller; the "Big Look;" Chagall's observation; Charles Burchfield; New York chauvinism; landscape painting; Glackens; Thomas Hart Benton

H.W. reads:  To Keep Art Alive; Plain Speaking; To Appomattox (Nine Days 1865); Benton's Lithographs; Glackens and The Ash Can School
 

Volume 55 (Disks:  5)

H.W. refers to:  Portraits and photography; on demonstrating portraiture; list of portraits H.W.'s done (rated from so-so to excellent); Glackens; Henri; Lawson; Shinn; Davies; Luks; Prendergast; Sloan (The Eight); Nordness;l chest pains; Watergate; T.S. Elliot; John Russell

H.W. reads:  Glackens Biography; John Sloan; John Sloan's Prints; Dogs of War; Art and Reality

H.W. travels to:  Tampa, FL
 

Volume 56 (Disks:  5)

H.W. refers to:  Painting (should not be...); Watergate; Lee Nordness; painting (is about...); assimilate; What is Art? (an outline); Cezanne; Stella; Watergate; Watergate I; the Whitney; painting technique; tempera underpainting recipe; health; little death/big death; faculty show

H.W. works on:  Watergate II; Banana(s); Collages; drawings; Chorus Line(s); Stretched Man; Jess Atkins Portrait

H.W. reads:  Sailing Alone Around the World; In Search of Goethe from Within; The New Humanism:  Art for Changing Times
 

Volume 57 (Disks:  5)

H.W. refers to: Wyeth; the ozone; Rembrandt; Y.B. Yeats; Padriac; Mary Colum; George Luks; Glackens; Henri; the Prendergasts; Bellows; Everett Shinn; Alan Seegar (the poet); Joaquin Miller; Rockewell Kent; John Quinn (the collector); Ezra Pound; the Cedar Bar Group in New York; Sam Johnson; Barbizon group; Impressionism; Concord and Boston circles; the "Last Generation: in Paris The Bloombury Group; The Pre-Raphaelites; the Fauves; the German Expressionists; observations (of his own personality); Lee Nordness Whistler; Picasso; Miro; Michelangelo; Thomas hart Benton; Glackens; Stanley Spencer; Lasansky; deKooning; Klee; Watergate 6; underpainting (outlines process); history of watercolor:  Blake, Cotman, Crome, Turner, Homer, Cezanne, Sargeant, Demuth, Marin, Burchfield, Wyeth; demonstration (outline)

H.W. works on:  Road; Portrait of Mike Kemp; Highway; Mountain

H.W. reads:  John Sloan; The Bog People; Zen and Art of Archery; Whistler; Jaws
 

Volume 58 (Disks:  5)

H.W. refers to:  Harry Crews; Chorus Line; Blue Ridge Mountain; Poons Smith; Oliveira

H.W. works on:  Mountain triptych; Brown Mountain, North Carolina; Patriotic Road
 

Volume 59 (Disks:  5)

H.W. refers to:  Nordness; List of short painters:  Whistler, Benton, Miro, Picasso, deKooning, Michelangelo, Rembrandt, Williams, Lautrec; Tom Wolfe; trip to Mexico; Matta; Vietnam; breeder ideas

H.W. travels to:  Mexico
 

Volume 60 (Disks:  5)

H.W. refers to:  Nordness; egg tempera; encaustic; deKooning, Francis Bacon; Rivera; Velasco; Mexican landscapes; the Whitney; Golub; Motherwell

H.W. works on:  Bananas; Stretched Man; Stretched Figure; Mountain

H.W. reads:  Applehead

H.W. travels to:  Matanzas beach, FL
 

Volume 61 (Disks:  5)

H.W. refers to:  notes on technique for painting and drawing; border; wash; draw; concepts and landscape; Morandi; Dickinson; Lee Nordenss; Bacon; World War I aces; New York trip; Whitney; Reginal Marsh; Robert Miller; Emmerich; Gorky; Poon's Smith

H.W. works on:  Grandfather Mountain; Bananas; Stretched Man; Undulating; Skinned Stretched Man

H.W. reads:  The Artist's World; Erotic Art

H.W. travels to:  New York (for the Francis Bacon Exhibition)
 

Volume 62 (Disks:  5)

H.W. refers to:  Tom Wolfe; Wayne Thiebaud; aspects of the human figure; Williams's symbolic language; Williams Pachner; Joseph Jeffries Dodge; problems for art students:  still life and abstraction, interior, landscape, mountain landscape, problems of overall field

H.W. works on:  Big Banana; Victim; Bananas; Some Parallel; Landscape; drawings; Skinned Torsos

H.W. reads:  The American University; Islands in the Stream
 

Volume 63 (Disks:  5)

H.W. refers to:  New York City; art of necessity being metaphorical; opinions; Beach Road with Blue Sky; drifting; phallic image; states of mind; Hemingway; Dubuffet; Morris Graves; William Wiley; Poons Smith

H.W. works on:  Little Skinned Torsos; Chorus Lines; Chorus Line Skin; drawings; Still Life/Bananas; Skinned Chorus Line; Skinned Seated Chorus Line

H.W. reads:  Frasconi; The Americans:  The Democratic Experience; Zen and Art of Archery; Assorted Prose; To Appomattox, Nine Days 1865; The War Between the Tates; A Pilgrim at Tinker Creek

H.W. travels to:  Tampa, FL
 

Volume 64 (Disks:  6)

H.W. refers to:  John Morse;  himself at ages 5 and 6; artist's studio--Mrs. Luce; La Source by Ingres; the Harvard Classics; his dad; WPA; being drafted; God; combat; the war changed everything; Camus; Sartre; loss of God; the humanities; history; Truth; Beauty; Goodness; George Orwell; H.W.'s art/painting; fate; philosophers; Robert Penn Warren; titles for student projects; Bacon; the figure

H.W. works on:  Victim; Head; drawings
 

Volume 65 (Disks:  7)

H.W. refers to:  The Humanities lecture included in Volume 64; Impressionism; Eakins; Eddinger; Picasso; Modern Art; Pissarro; Manet; Renoir; Degas; Monet; Seurat; Sisley; Twachtman; Prendergast; Guatemala trip

H.W. reads:  Bear

H.W. travels to:  Crescent Beach, FL;  Guatemala
 

Volume 66 (Disks:  7)

H.W. refers to:  Laguna Gloria Art Gallery brochure essay contents and artist's statement; Renoir; abandoned abstractions (list of); mouth movement; art/form/uses; Lee Nordness; Patty Hearst; Three Women; Chorus Line; Some Parallel; object and subject; the plane; formality; Dubuffet

H.W. works on:  drawings; still lifes; bowls of fruit with handles of flesh; Tablescape

H.W. reads:  Pilgrim at Tinker Creek
 

Volume 67 (Disks:  6)

H.W. refers to:  Washing dishes (analysis); encaustic; egg tempera; Lee Nordness; the "Big Look;"--function of form economically; the intense image versus the nothing image; Phineas Bloom; Leonard Baskin; anti-diagrammatic techniques; growing old; Thomas Cornell; review of the Chandler collection of American art

H.W. works on:  drawings; painting; Tablescape; Tablescape with Legs; Big Chorus Line Colored Drawing on Canvas
 

Volume 68 (Disks:  6)

H.W. refers to:  Burchfield; still life; the interior space problem; formality in art; Hemingway; concept and landscape; photographs; transfers; gimmicks; Foster Harmon; Homer; Sargeant; painting a wash; Poons Smith; Matta; the role of the incomplete/unfinished in painting; National Art Collection (Incubus); disappointment in life; the existential posture; Rothko; "look" and "idea;" deKooning; highway iconography

H.W. works on:  Still Life; Portrait demo; Watermelon and Banana on Table; Marbelized Beef on Table; Chorus Line; Seated chorus Line; drawings; Beach Crowd

H.W. reads:  Sargeant; Sense of Place; A Cry of Angels; Topics in American Art Since 1945; The Maya; Something Happened
 

Volume 69 (Disks:  6)

H.W. refers to:  God; UF Faculty Show; Banana and Mountain (triptych) paintings; Sargeant; Hobson Pittman; Van Gogh; the view from the firetower

H.W. reads:  Vincent; Thomas Hart Benton
 

Volume 70 (Disks:  6)

H.W. refers to:  Matta; Burchfield; Knoedlers; Albright-Knox; plasticity/surface; Wyeth; "He" (God); deKooning; Marlborough Galleries; Rothko estate; chest sensations; New York scene; Carl Van Vechten; Shakespeare; his approach; Stretched Man; Foster Harmon; The Wyeth phenomena

H.W. works on: Table; Seated Chorus Line; Still Life demo

H.W. reads:  Carl Van Vechten and the Irreverent Decades

H.W. travels to:  Tarpon Springs
 

Volume 71 (Disks:  6)

H.W. refers to:  Foster Harmon; Harry Crews; supplies list; the journals; Delacroix; egg tempera recipe; glaze recipe; "tough"ness; demo:  ear, eye, mouth; Burchfield; overpainting and underpainting

H.W. works on:  Portrait

H.W. reads:  Ernest Hemingway

H.W. travels to:  Sarasota, Florida, to jury an exhibition
 

Volume 72 (Disks:  6)

H.W. refers to:  The Blue Ridge (Brown) Mountain; his birthday and his parents

H.W. works on:  Seated Chorus Lines
 

Volume 73 (Disks:  6)

H.W. refers to:  the AAUP; the NEA; the FFT; chest pains; need to paint more; Paul Klee; Politics in art; depravity; New York; Art/Life

H.W. works on:  Running Crowd--demo; Chorus Lines

H.W. reads:  Cows, Pigs, Wars, and Witches
 

Volume 74 (Disks:  6)

H.W. refers to:  Lee Nordness; Joseph Cornell; Poons Smith

H.W. works on:  drawings; Crow; 3 Heads; 2 French Breads

H.W. reads:  Pygmalion; Here at the New Yorker
 

Volume 75 (Disks:  6)

H.W. refers to:  Supra Realism; Abstract Expressionism; pornography in art; Hans Bleckner; the wonder of the universe; list of statements about:  a painter's idea, the essential ingredient in the arts; developing artists; questions referring to his own contribution

H.W. works on:  Heads
 

Volume 76 (Disks:  6)

H.W. refers to:  Golub; Bacon; Harold Rosenburg; Abstract Expressionists; Edmund Wilson; Fairfield Porter (dies)

H.W. works on;  drawings for files of New York Times; Op Ed drawings

H.W. reads:  Aesthetics of Mutilation:  Leon Golub and Francis Bacon; The Voice and the Myth; Answered Prayers
 

Volume 77 (Disks:  6)

H.W. refers to:  wisdom; Lee Nordness; the painter's business:  creating form to move the viewer toward emotional grasp of man's experiences

H.W. works on:  Portrait demo
 

Volume 78 (Disks:  6)

H.W. refers to:  violence in art; David Hockney; The Great Sketching Trip; life style; integrity; internal consistency successfully externalized:  Hemingway, deKooning, Hopper, Marin; trip to Tampa; William Wiley; MoMA; San Francisco; New York

H.W. works on:  Fruit; Whirling Figure

H.W. reads: The Drawing Handbook by Stuart Purser

H.W. travels to:  Crescent Beach, Tallahassee, Tampa, FL
 

Volume 79 (Disks:  6)

H.W. refers to:  Lasansky's The Nazi Drawings; Rico LeBrun; Charles E. Ives, composer; The Great Sketching Trip to Tallahassee; David Hockney; Matta

H.W. works on:  Florida landscapes; Landscape; Landscapes from the Great Sketching Trip; Portrait Robert Sabatella; Watermelons; Cantaloups

H.W. reads:  The Myth of the Eternal Return, or Cosmos and History; Thurber

H.W. travels to:  Crescent Beach, FL
 

Volume 80 (Disks:  7)

H.W. refers to:  his health; Gregory Gillespie; Stanley Spencer; tempera recipe; glaze recipe

H.W. works on:  Portraits; Head

H.W. travels to:  Cedar Key,  FL
 

Volume 81 (Disks:  7)

H.W.  refers to:  sketching trip; art and politics; career; Lee Nordness; New York; the model; Emil Nolde; egg tempera demo; Constable; sculptors; his mother; communication; Penn State

H.W. works on:  Print-Out Man; Portrait of Margaret Tolbert; Bananas

H.W. reads:  Small is Beautiful

H.W. travel to:  Tampa,  FL
 

Volume 82 (Disks:  7)

H.W. refers to:  trip to Pennsylvania; time; timelessness; the Sphinx; Mayan ruins; The Night Watch by Rembrandt; the Sistine Chapel; Buddha; his plane trip;  mountains; family vacation in Great Falls; Charles M. Russell

H.W. works on:  Big Picture; Two Female Figures

H.W. travels to:  Pennsylvania; Great Falls, Montana
 

Volume 83  (Disks:  7)

H.W. refers to:  formality; Point and plane; toughness in art; Nordness; Charles Burchfield; seven art exam questions (with true/false answer listed); artists as outsiders; list of books enjoyed as a youngster; other books read; the interior and landscape; what happened in 20th century art; exhibitions

H.W. works on:  Glacier Park Series; drawing; Still Life; Head

H.W. travels to:  St. Pete,  FL

Volume 84 (Disks:   7)

Oct. 27, 1976--Nov. 29, 1976

Volume 85 (Disks:  7)

 Nov. 29, 1976--Dec. 24, 1976

Volume 86 (Disks:  7)

Dec. 25, 1976--Feb. 27, 1977

Volume 87 (Disks: 7)

Feb. 17, 1977--Mar. 21, 1977

Volume 88 (Disks:  7)

Mar. 23, 1977--Apr. 27, 1977

Volume 89 (Disks:  7)

Apr. 27, 1977--May 16, 1977

Volume 90 (Disks:  8)

May 16, 1977--June 9, 1977

Volume 91 (Disks:  8)

June 10, 1977--July 5, 1977

Volume 92 (Disks:  8)

July 6, 1977--July 27, 1977

Volume 93 (Disks:  8)

July 28, 1977--Aug. 8, 1977

Volume 94 (Disks:  8)

Aug. 8, 1977--Aug. 25, 1977

Volume 95 (Disks:  8)

Aug. 27, 1977--Sept. 25, 1977

Volume 96 (Disks:  8)

Sept. 26, 1977--Oct. 24, 1977

Volume 97 (Disks:  8)

Oct. 24, 1977--Nov. 17, 1977

Volume 98 (Disks:  8)

Nov. 17, 1977--Dec. 1, 1977

Volume 99 ( Disks:  8)

Dec. 18, 1977--Jan. 4, 1978

Volume 100 (Disks:  11)

Jan. 4, 1978--Feb. 6, 1978

Volume 101 (Disks:  11)

Feb. 6, 1978--Mar. 1, 1978

Volume 101 (Disks:  11)

Feb. 6, 1978--Mar. 1, 1978

Volume 102 (Disks:  11)

Mar. 8, 1978--April 7, 1978

Volume 103 (Disks:  11)

April 8, 1978--May 2, 1978

Volume 104 (Disks:  11)

May 3, 1978--May 24, 1978

Volume 105 (Disks:  11)

H.W. refers to:  dissatisfaction with his work

H.W. works on:  Palms, Heads, Chorus Lines
 

Volume 106 (Disks:  11)

H.W. refers to:  Challenging Man; Phillip Evergood; Stanley Spencer; Paul Nash; Joseph Duveen; Miro; Dubuffet; Oldenburg; Burchfield; Pollock; Robert Morris; Walter Inglis Anderson; New York Times; Truman Capote; Giacometti; Willem deKooning; Jim Dine

H.W. reads:  Lancelot

H.W. sees:  Naked in the Sun

H.W. travels to:  Ft. Matanzas, St. Petersburg, Tampa, FL
 

Volume 107 (Disks:  11)

H.W. refers to:  ideas for book on painting; John Marin; Willem de Kooning; Graham Nash; Stanley Spencer; Jim Dine; Edward Hopper; Charles Burchfield; Bacon; Walter Inglis Anderson; Magritte; Miro; Dubuffet; Oldenberg; Van Gogh; Seurat; Paul Klee;  Avie and Hiram are keeping a pig on their property for a friend

H.W. works on:  Bottles/still life; "dust pans;" Jittering Woman

H.W. reads:  Poldark II; Edward Calvart
 

Volume 108 (Not Edited)

H.W. has a heart attack and lands in the hospital.

H.W. refers to:  Demuth; Calvin Black; Charles Burchfield; Jasper Johns

H.W. reads:  The Man Who Loved Cat Dancing; The Butler Did It; The Code of the Woosters; One Hundred Years of Solitude; Demuth; And He Sat Among Ashes; The Fight; Full Disclosure; Love in the Ruins; Sam Johnson's Boy; A Letter from Father
 

Volume 109 (Not Edited)

H.W. refers to:  Williams Blake; Ben Shahn; Burchfield; Elizabeth Cotton; Nordness; Modigliani; Picasso; Braque; Rothko

H.W. works on:  Chorus Lines; Shorebirds; Mountains; his manuscript for "How I Teach Painting;" Jittering Nude (A Nude for our Time)

H.W. reads:  Sho-Gun; The Lady and the Law; Paul Klee; The Island in the Stream; The Legacy of Rothko

H.W. travels to:  Crescent Beach, Cedar Key, FL
 

Volume 110 (Not Edited)

H.W. refers to:  random notes (for How I Teach Painting); Van Gogh fields; Motherwell; visual excitement; William Blake; Franz Kline; Samuel Palmer; Albert Pinkham Ryder; heart attack (14 weeks prior)

H.W. works on: Chorus Line; Skins

H.W. reads:   The Log of the Sea of Cortez; The Man Dred; Nights Black Angels; To be a Pilgrim;  The Woman in the Dunes

H.W. travels to:  Daytona Beach, Cedar Key, FL
 

Volume 111 (Disks:  10)

Hiram is in the hospital

H.W. refers to:  "How I Teach Painting;" Soutine; Lasansky; Blake; Virginia Woolfe; Dubuffet; Burchfield; Dine; Marin; Hobson Pittman; Oldenburg; Hopper; Bacon; Jasper Johns; Frank Stella; R. Soyer; Ensor; Stanley Spencer; Harry Crews

H.W. reads:  The Devil's Emissaries; The Life of Sir Arthur Conan Doyle; Lasansky:  Printmaker; The Common Reader; Dear Theo; A Childhood; Busman's Honeymoon

H.W. travels to:  St. Augustine, FL

Volume 112 (Disks:  10)

Jan. 15, 1979--Feb. 12, 1979

Volume 113 (Disks:  10)

Feb. 12, 1979--Mar. 9, 1979

Volume 114 (Disks:  10)

This volume begins March 9, 1979 and ends April 10, 1979

H.W. refers to:  the American scene in art; Tom Wolfe; Emily Bronte; Charles Burchfield; Einstein; Cezanne

H.W. works on:  Shorebirds

H.W. reads:  Clara Bow

H. W. travels to:  Baton Rouge, LA; Lakeland, FL
 

Volume 115 (Disks:  10)

This volume begins April 12, 1979 and ends May 7, 1979

H.W. refers to:  R.B. Kitaj; Nordness and release of work detained in storage in New York; "What I Teach About Painting;" he lists his series of work

H.W. reads:  Modern Scottish Painters

H.W. travels to:  East Texas University, Tyler.
 

Volume 116 (Disks:  10)

This volume begins May 7, 1979 and ends June 12, 1979

H.W. refers to:  "What I Teach in Painting;" New York City; Nordness; Jim Dine; Sylvia Plath

H.W. reads:  Claes Oldenburg; Nature Through the Seasons; An Artist's Notebook; The World According to Garp; Hokusai; Miro; Klee

H.W. works on:  Stretched Man

H.W. travels to:  Matanzas Beach, Cedar Key, FL
 

Volume 117 (Disks:  10)

H.W. refers to:  Paul Klee's diaries; Edwin Dickenson; humanistic tradition

H.W.  works on:  Still Lifes; Stretched Man Disintegrating

H.W. reads:  Flatland; Stanley Spencer; The Horn Island Logs

H.W. travels to:  Tampa, St. Pete, FL
 

Volume 118 (Disks:  10)

This volume begins July 31, 1979 and ends Oct. 2, 1979

H.W. refers to:  his bad health; he ends up in hospital; he talks about bouts with Lupis

H.W. works on:  Mountain

H.W.  travels to:  Ft. Matanzas; Crescent Beach, FL
 

Volume 119 (Disks:  10)

This volume begins Oct. 4, 1979 and ends Nov. 20, 1979

The Ayotolla Khomeni holds Americans hostage in Tehran

H.W. refers to:  consciousness of the universe; Bacon; Hockney; Frederick Church; Kitaj; Dine

H.W. works on:  Chorus Line; Shorebirds; Head; Seated Chorus Line

H.W. reads:  Max Perkins; To Jerusalem and Back

H.W. travels to:  Maitland via Orlando to jury an exhibition, FL; Louisville, KY
 

Volume 120 (Disks:  10)

This volume begins Nov. 20, 1979 and ends Jan 17, 1980

H.W. refers to:  Jim Dine; Matta; Michael Graves; Wyeth; Whistler; Noguchi

H.W. works on:  Portrait of Kim (daughter)

H.W. reads:  A Portrait of the Artist as a Young Man

H.W. travels to:  Philadelphia, PA
 

Volume 121 (Disks:  10)

H.W. refers to:  perception; his nomination for Professor Emeritus; his visiting artist venture to Hattiesburg, Mississippi; Stanley Spencer

H.W. works on:  Kim's portrait; drawings; Hide; Skinned Chorus Line; Running ManII

H.W. reads:  Barbara Tuchman, A Distant Mirror

H.W. travels to:  Winter Haven, FL to jury a student art show; Hattiesburg, Miss.
 

Volume 122 (Disks:  10)

This volume begins March 6, 1980 and ends April 30, 1980

H.W. refers to:  Stanley Spencer

H.W. reads:  In Search of History

H.W. travels to:  Cookham, England (home of Stanley Spencer); Spain; Augusta, GA
 

Volume 123 (Disks:  10)

This volume begins May 1, 1980 and ends June 29, 1980

H.W. refers to:  World War II; Stanley Spencer; Willem deKooning; Goya; Morandi; Hopper; Burchfield; his promotion to Distinguished Service Professor Emeritus

H.W. works on:  Shorebirds; Chorus Lines; Studio; Patriotic Highway

H.W. reads:  On Press; The Death of the Heart

H.W. travels to:  Orlando, FL

Volume 124 (Not Edited on disks)

July 2, 1980--Aug. 29, 1980

Volume 125 (Disks:  10)

H.W. refers to:  Goya; his appointment as Distinguished Service Professor Emeritus; Ernest Thompson Seton; Pennsylvania memories; George Eddinger, his former art teacher; his own feelings for mountains and hill meadows; Giacometti; John Burger's views in About Thinking

H.W. reads:  The Shadow of a Rainbow; About Thinking

H.W. travels to:  North and South Carolina; Pennsylvania
 

Volume 126  (Not Edited)

H.W. refers to:  Fairweather; L.S. Lowry; Stanley Spencer; a show in Alabama; list of five questions about his own work; Eakins; Dickinson; Gorky; Jasper Johns; Diebenkorn; Estes; the role of painted interval; obfuscation; dimness; density of objects; figure/ground; formal intensity; Oliveira; Psychological intensity:  Alex Katz; William Wiley; Thomas Hart Benton; Nothing Painting (essay); Point and Plane (essay); Sources and Ideas (essay)

H.W. works on:  Drawing of Lenny Kesl; Portrait of Bob Westin; Nude for Our Time

H.W. travels to:  Tampa,  FL
 

Volume 127  (Not Edited)

H.W. refers to:  Reagan; old age; style/expression/intensity/form; Stanley Spencer; Burchfield; environment; Rudolph Arnheim; Nature's procession; his Lupis; list of retrospective works and their owners; development of an ides; Thomas Hoving; John Morse (important figure of H.W.'s artistic development); the army; life; young people; Dorothy Miller

H.W. works on:  Studio Table; Portrait of Bob Larson; Portrait of Hollis Holbrook; drawings

H.W. travels to:  St. Pete, FL; North Carolina (to see the children)

Volume 128  (Not Edited)

Dec. 12, 1980--Jan. 18, 1981

Volume 129 (Not Edited)

 Jan. 11, 1981--Feb. 18, 1981

Volume 130 (Not Edited)

 Mar. 7, 1981--April 15, 1981

Volume 131 (Not Edited)

April 15, 1981--May 30, 1981

Volume 132 (Disks:  11)

H.W. refers to:  Motherwell; Burchfield; Joseph Raphael; the Mint Museum; pollution; Rockwell Kent; Stretched Man

H.W. reads:  Reconciliation Elegy; All Things Wise and Wonderful; Montaillou, the Promised Land of Error; Rockwell Kent

H.W. travels:  to North Carolina to visit the kids
 

Volume 133 (Not Edited)

H.W. refers to:  The New Expressionism; trends; hot dogs; Hilton Kramer; Sadat; Begin; His point of view in painting:  re-invention of human figure to comment upon man's mortality and inhumanity to his kind; life/art comments; Existential man; Graham Sutherland; his health

H.W. works on:  drawings; Chorus Line demo; Chorus Line

H.W. reads:  Montallou

H.W. travels to:  Tampa,  FL
 

Volume 134 (Disks:  11)

H.W. refers to:  Existential Man; Chorus Lines

H.W. works on:  Chorus Lines; Tablescapes

H.W. reads:  Extraordinary Popular Delusions

Volume 135 (Not Edited)

Not edited; Oct. 20, 1981--Dec. 4, 1981

Volume 136 (Disks:  11)

H.W. refers to:  Stanley Spencer; Roger Coleman; Hans Hofmann; Charles Burchfield; Skinned Chorus Lines; Stretched Men

H.W. works on:  Heads; Self-Portrait

H.W. reads:  Follow the Bus with the Greek License Plates; Downland
 

Volume 137 (Disks:  11)

H.W. refers to:  a retrospective; Lee Nordness; John Sloan; aging

H.W. works on:  Portrait of Richard Heipp; self-portrait; Road; Seated Couples; Highway

H.W. reads:  Brideshead Revisited; Marquesan Encounters; Wealth and Poverty

H.W. travels to:  St. Pete, FL
 

Volume 138 (Disks:  11)

H.W. refers to:  Stanley Spencer; Lyonell Feininger; Hiram retires

H.W. works on:  Tablescape; Florida Roadscape; Oranges in Bowl; Head

H.W. reads:  Stanley Spencer; Aztec

H.W. travels to:  Crescent Beach, FL
 

Volume 139 (Disks:  11)

H.W. refers to:  Saul Bellows; John Updike; Wm. F. Buckley; the Kennedys; Edwin Dickinson; Willem deKooning; Charles Burchfield

H.W. works on:  Shorebirds; Mountain; Burned-over Mountain

H.W. reads:  Have His Carcase; The Autobiography of Mark Twain; Lucy (The Beginnings of Mankind); Hangman's Holiday; The Music Room; The Phantom of the Temple

H.W. travels to:  Cedar Key, FL; Columbia, SC to see Kim
 

Volume 140 (Disks:  11)

H. W. refers to:  his angina and feeling quite ill, often; Morandi; working on nudes; approach to new ideas; his view of and use of female breasts

H.W. works on:  Heads; Chorus Lines; Stretched Man; Turning Man; Shivering Man

H.W. reads:  Tom Robbins' Still Life with Woodpecker; Picasso on Art

H.W. travels to:  Tyler Texas to give a lecture; Hattiesburg Mississippi to give a lecture
 

Volume 141 (Disks:  11)

H.W. refers to:  retirement; Audience; Samuel Palmer; grandparenthood

H.W. works on:  Chorus Lines

H.W. reads:  Hemingway

H.W. travels to:  North Carolina to Curt's wedding; Charlotte, NC to see newborn grandson; St. Louis, PA
 

Volume 142 (Disks:  11)

H.W. refers to:  aging; Eakins; Goodman; Dickinson; Jim Dine; Philip Guston; New York galleries; Pace gallery; dignity; ego; heart surgery (December, 1982)

H.W. travels to:  Philadelphia, PA; Crescent Beach, FL
 

Volume 143 (Disks:  11)

H.W. refers to:  his post-operation health; preparation for his upcoming retrospective; Jim Dine; gratitude to UF faculty and friends for support; painters outside of New York (in a long letter to a NY critic); Stanley Spencer; Philip Guston; Balthus

H.W. works on:  Mother-in-law portrait; sketches; drawings

H.W. reads:  Travis McGee; Goya; William Blake; Sez Who? Sez Me; The Housebreakers of Shady Hill and Other Stories; A Painter's Psalms
 

Volume 144 (Disks:  11)

H.W. refers to:  proofing Notes for a Young Painter, revised and expanded version for Prentice-Hall; a Virginia snowstorm; Anthony Blunt; Jim Dine; Lautrec; Gauguin; Florida artists; Oral Roberts; Williams Wiley; Fairfield Porter; Neil Welliver; museums; Edwin Dickinson; Thomas Eakins; Julius Block; N.C. Wyeth; Andrew Wyeth

H.W. works on:  Florida series; Snowscapes

H.W. reads: Ways of Escape

H.W. travels to:  Philadelphia; Brandywine River Museum (home of the Wyeth family)
 

Volume 145 (Disks:  11)

H.W. refers to:  New Yorkers; lack of good biographies out on artist; show at Cummer Gallery, Jacksonville, FL; Burchfield

H.W. works on:  Palm Trees; Chorus Lines; Seated Couples; Seated Chorus Lines; Landscape

H.W. reads:  Jim Dine; Rembrandt; The Rebel Angels; Wiley Territory; Burchfield

H.W. travels to:  Crescent Beach, FL
 

Volume 146 (Disks:  11)

H.W. refers to:  proofing Notes for a Young Painter; Christians; relationship to his daughter (in a long letter); trip to Tyler Texas as a visiting artist; Larry Rivers; Alex Katz; Willem de Kooning; death of Avonell's mother

H.W. reads:  Harold Nicholson's Diary; Larry Rivers

H.W. travels to:  Tyler, Texas; Tampa, Jacksonville, St. Augustine, FL
 

Volume 147 (Not Edited )

This volume begins Aug. 17, 1983.  The Williamses are in Philadelphia, PA

H.W. refers to:  the Philadelphia Museum of Art; he reminisces with an old colleague about teaching at Harrington High School; worries about aging; remembers reading Anthony Adverse by Hervey Allen; art teaching on television; first days at Ft. Meade; Camus; Malraux; acceptance of revised and expanded manuscript for Notes for a Young Painter; cloud painters:  Bellini; Giorgione; Titian; El Greco; Rubens; Jacob van Ruisdale; Hobbema; Turner; Constable; Correggio; Homer; Ryder; N.C. Wyeth; Andrew Wyeth's "real illusion" technique

H.W. works on:  Chorus Lines; big Head/Self-Portrait; Tidal Marsh; Orton's Stump; Landscapes; Horizons West of Tallahassee; Snake Skin in a Landscape; Big Seated Couple; illustrations for Notes for a Young Painter, expanded and revised

H.W. reads:  Wiley Territory; Albert Camus, A Biography

H.W. travels to:  Panama City, FL; Hattiesburg, LA as a visiting artist
 

Volume 148 (Disks:  11)

H.W. refers to:  Harn Museum of Art; long autobiography; Nietzche; Lenny Bocour; Rauschenberg; the death of good friend, Walter Herbert

H.W. works on:  big Seated Couple; two Landscapes; Heads; Seated Chorus Line

H.W. reads:  Memoirs of Anthony Powell, vol.ii; Messengers of Day; Faces in My Tune, vol. iii; The Illustrated Pepys; Monsignor Quixote; Life, Law and Letters; By-Line America; The Book of Naturalists
 

Volume 149 (Disks:  11)

H.W. refers to:  Hemingway; Picasso; originality; his own writing and painting; religion/pornography; de Kooning; preparation of Notes to a Young Painter for Prentice-Hall; thoughts of death; reason for poetry and the arts in this world

H.W. works on:  Seated Chorus Lines

H.W. reads:  Hemingway; Art of the Real; Matters of Fact and Fiction; Bumper Crop

H.W. travels to:  St. Petersburg, FL
 

Volume 150 (Disks:  12)

H.W. refers to:  Harry Crews; his own publishing venture with Prentice-Hall; culling drawings; Ken Kerslake, printmaker; Tom Wolfe; invention of process for making "skins"; new landscape images; plan for series of paintings called, "This Time of Men;" Hans Hofmann; the women's movement; Samuel Palmer; palms; "suggestivism;" failure; Jim Dine; William T. Wiley; Goya

H.W. works on:  Seated Chorus Lines; landscapes; "Skin;" Head; Crevasses; small earth forms

H.W. reads:  Blue Highways; Samuel Palmer; Visionary and Dreamer; Goya, The Origins of the Modern Temper in Art; Gorky; Morris Graves; Lytton Strachey; Secrets

H.W. travels:  on a camping trip in Florida; Naples and St. Petersburg, FL

Volume 151 (Disks:  12)

Jan. 20, 1984--Mar. 16, 1984

Volume 152 (Disks:  12)

June 26, 1984--Aug. 3, 1984

Volume 153 (Disks:  12)

Aug. 3, 1984--Sept. 10, 1984

Volume 154 (Disks:  12)

Sept. 11, 1984--Sept. 19, 1984

Volume 155  (Not Edited)

Nov. 23, 1984--Feb. 4, 1985

Volume 156  (Not Edited)

 Feb. 5, 1985--Mar. 23, 1985

Volume 157  (Disks:  12)

Mar. 22, 1985--May 12, 1985

Volume 158  (Disks:  12)

May 14, 1985--July 14, 1985

Volume 159  (Disks:  12)

July 15, 1985--Oct. 7, 1985

Volume 160  (Disks:  13)

Oct. 8, 1985--Nov. 15, 1985

Volume 161  (Disks:  13)

H.W. refers to:  the Audience series, tiny sketch of Audience. II, a Progress of Parasites

Volume 162  (Disks:  13)

H.W. refers to:  The Audience; Bacon; Lee Nordness; Jackson Pollock; Willem deKooning; Jim McGarrell

H.W. works on:  Audience series; Heads

H.W. reads:  The Tree; Run with the Horsemen; To a Violent Grave; Pollock; Samuel Palmer, the Darting Light

H.W. travels to:  Crescent Beach, FL
 

Volume 163  (Disks:  13)

H.W. refers to:  Jim Dine; Rauschenberg; "points" in composition; the "muse;" Audiences; Skins; Wayne Thiebaud; E. Hopper; Picasso; Kitaj; religion

H.W. works on:  Heads; Audience series; Skinned Chorus lines; Palms

H.W. reads:  Picasso; Wayne Thiebaud; The Good Soldier

H.W. travels to:  Tampa, Jacksonville, FL

Volume 164  (Not Edited)

July 1, 1986--Sept. 15, 1986

Volume 165  (Not Edited)

Sept. 17, 1986--Nov. 14, 1986

Volume 166  (Disks:  13)

H.W. refers to:  Atheism; Kitaj; Hodgkins; appropriation; Anselm Kiefer; Malcolm Morley; Running Man; the diaries; giving demonstrations; Matisse; Monet

H.W. works on:  Heads; Head of Lenny Kesl

H.W. reads:  Class

H.W. travels to:  Jacksonville, FL; South Carolina (to visit kids)

Volume 167  (Disks:  13)

Feb. 2, 1987--April 9, 1987

Volume 168  (Not Edited)

April 9, 1987--June 30, 1987

Volume 169  (Not Edited)

June 30, 1987--Sept. 10, 1987

Volume 170 (Not Edited)

H.W. refers to:  Paynes Prairie I; transforming a painting; grants to support these journals; Bork; Paynes Prairie series:  snakes exalting; snakes in ecstasy; joyful snakes; The Harn Museum of Art; Lucian Freud; snakes [general]; Fred Guiles; atheists; glazing techniques; e.s.p.; Duchamp; Klee; Miro; Notes for a Young Painter; Anselm Kiefer; Matta; Rauschenberg; H.W.'s father; sin

H.W. works on:  Four Landscapes; Mountain [painted over a highway with palms]; Figures on a Beach (Beached Figures); drawings; North Mountain; Bald Eagle Mountain; Mountain; Stretched Man; Four Palms; Two Palms; A Bouquet for Mrs. Luce; Audience Comes and Goes; Bouquets [series]; Grasses [series]; Perpetual care [series]; Overhead Men; Studio Table; Crevass; Priest

H.W. reads:  The Berlin Diaries 1940-1945; West With The Night; Hanging on in Paradise; With a Daughter's Eye; Annals of Finance; The House of Mitford

H.W. travels to:  Cedar Key,  FL

Volume 171  (Not Edited)

Nov. 29, 1987--Feb. 14, 1988

Volume 172  (Not Edited)

Feb. 16, 1988--April 27, 1988

Volume 173  (Not Edited)

April 29, 1988--July 26, 1988

Volume 174  (Not Edited)

July 26, 1988--Oct. 28, 1988

Volume 175  (Not Edited)

Oct. 30, 1988--Feb. 12, 1988

Volume 176  (Not Edited)

Feb. 13, 1988--May 19, 1989
 

ADDENDA

On Thursday, February 3, 1994 Hiram M. Williams donated 92 drawings, one sketchbook, and several photographs to the University Archives.  He thought that the drawings should reside with the journals
which were donated in 1990.  The drawings are sorted and arranged alphabetically according to subject matter.  Following is a list of every drawing in each alphabetical category as well as any descriptions which Mr. Williams included pertaining to particular categories.  Each drawing is numbered sequentially according to the alphabetical arrangement.

AUDIENCE
"The "Skins" became "audiences".
Once read an article in The Saturday Evening Post (I think) that proposed the notion that we humans w/ our consciousness in an apparently unconscious unierse are here largely as observers, hence I call us The Audience.
I painted the audiences (mostly seated) without heads or arms, completely at the mercy of the unconscious universe.
Currently I'm doing images of dismembering (audience dismembering)".
 

1.  "Tan Audience". 1990. 17 15/16" x 12 1/2" (45.6 cm. x 25.3 cm.)

2.  Drawing. 3148Au457. 1986. 12" x 18" (30.5 cm. x 45.6 cm.)</