...This chapter describes how the founding of a film department at the Museum of Modern Art became Iris Barry's consuming interest after 1935. In the winter of 1934–35, Iris and Abbott conducted a survey of educators to gauge their interest in having films to show on their campuses. Over 80 percent...

...This chapter describes how World War II transformed the culture of the Museum of Modern Art and its Film Library. Programs and services of the Museum were placed on a wartime footing, from the film series, Britain at War, to the Edward Steichen photo exhibit, “The Road to Victory...

... from 1935 to 1947 stood at $368,554. Clearly there was pressure for the Film Library to become more self-sufficient. Barr Margaret Barry Iris Johnson Philip post WWII World War II Flaherty Robert Disney Walt Fairbanks Douglas Film Library Griffith D W Hart William S Museum of Modern Art MoMA...

...This chapter describes the deterioration of Dick Abbott's health and his position at the Museum of Modern Art. As 1947 drew to a close Abbott missed work during the last half of the year and could not keep up the pretense that he was in charge, and he was “eased out.” On December 22, 1947, he wrote...

...This chapter describes the Askew Salon that Iris attended in the 1930s. The Askew salon was a petrie dish of modernism, in which movers and doers in all the arts met to exchange ideas. It was through the Askews that Iris Barry connected with Museum of Modern Art director Alfred Barr. Iris found...

...This chapter focuses on the professional difficulties of Museum of Modern Art director Alfred Barr, which began as early as 1937. Barr's position was never totally secure and authorities such as the Museum's president Conger Goodyear and its founder Abby Aldrich Rockefeller were less than totally...

... the Museum of Modern Art Film Library related to its public. Since 1936 the library had shown films from its collection only to members of the Museum, scholars visiting its offices, or by renting prints to colleges and other nontheatrical venues throughout the country. But on May 11, 1939, in the 500-seat...

... Ernst Film Library Museum of Modern Art Ezra Pound Wyndham Lewis John Abbott at work (1940s) (IBP, MoMA Dept. of Film Archives, NY) Perhaps no one captured the vitality of the young Film Library better than Jimmy Ernst, the son of surrealist painter Max Ernst. Young Ernst had been sent...

...This chapter details Iris Barry's resignation from the Museum of Modern Art and her move to France. Following cancer diagnosis and her operation, Iris decided that she just could not be bothered at the Museum any more. By the spring of 1949, she had recovered enough to resume traveling. She planned...

... Pierre Kerroux Museum of Modern Art Rene d'Harnoncourt The farmhouse in Fayence (1951). (IBP, MoMA Dept. of Film Archives, NY) Drawn again to her rural beginnings, Iris settled on a farm, but not one as well-appointed as Temora had been in Pennsylvania. “Try to imagine” she wrote Edmund...

... to be the honored guest of the New York Film Festival, to be inaugurated in September 1963. Since the festival was cosponsored by the Museum of Modern Art (MoMA), it seemed fitting to dedicate the festival to the founder of the MoMA Film Library. Barry Iris Barry Robin London return to marriages Curtis Brown...

... children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator...

...This chapter describes Iris Barry's role in creating the film library at the Museum of Modern Art. Barry was the film library's new curator while her husband John E. Abbott was the library's director. Barry convinced Hollywood heavyweights such as Walt Disney and Charlie Chaplain to lend...

...This chapter describes the two men who were most influential in Iris Barry's life after 1932. These were A. Everett “Chick” Austin, director of the Wadsworth Atheneum in Hartford, and Museum of Modern Art director Alfred Barr. Barr was scholarly, austere, exacting, and utterly dedicated...

... at the Museum of Modern Art. Abbott's parents also provided Iris with her first sustained impressions of domestic life in America. She discovered a newfound sense of belonging which proved an antidote to the instability of her early years in the country. Having achieved a degree of domestic tranquility...

.... Barry Iris Bernhardt Sarah Film Library Museum of Modern Art MoMA New York Times newspaper Queen Elizabeth film Duse Eleanora The Execution of Mary Queen of Scots film Faust film The Great Train Robbery film A Trip to the Moon film Wash Day Troubles film Abbott John E “Dick” Card James...

... Griffith Jacob Wilson Woodrow Battleship Potemkin film Bordwell Richard D W Griffith American Film Master Barry Jacobs Lewis Ku Klux Klan A Million and One Nights Ramsaye Ramsaye Terry The Rise of American Film Jacobs Thompson Kristen Bandy Mary Lea Gish Lillian Museum of Modern Art MoMA...

... film The City film Disney Walt Fifth Floor film Museum of Modern Art MoMA Power and the Land film Welles Orson Americans All film Bryan Julien FitzPatrick Jack It All Came True film Macgowan Kenneth Motion Picture Society of the Americas Walt Disney Looks at South America film Wanger...