Writings by Jean Charlot: A Bibliography—Jean Charlot
JC PRINT 107 as used on cover of 'Writings by Jean Charlot: A Bibliography'

Self-Portrait II,
wood engraving,
2.25 in. × 2.5 in.,
Morse no. 107

Writings by Jean Charlot: A Bibliography

Janine M. Richardson

Honolulu, Hawaiʻi: The Jean Charlot Foundation, 2014

JC PRINT 625 as used for frontispiece in 'Writings by Jean Charlot: A Bibliography'

Hawaiian Drummer,
16 in. × 21.5 in.,
Morse no. 625

Writings by Jean Charlot: A Bibliography (PDF version of published book)



Writings by Jean Charlot: A Bibliography is intended to serve as a functional bibliography for researchers interested in artist and scholar Jean Charlot’s (1898–1979) writings, and in the chronological appearance in these writings of his literary, artistic, and cultural interests. This is a bibliography researched and written not by a librarian, book cataloger, book collector, antiquarian, or artist, but by a researcher and writer with a background in literature and American history and an abiding interest in the context of the literary labors of writers from across the cultural spectrum. My interest in Jean Charlot began with my first encounters with his vibrant public art works in 1970s Honolulu, and continued with the editing work I did in 2010 on “Jean Charlot Interviews with John Charlot 1970–1978,” and other pieces.

In terms of method, in general, each published piece of writing has been given a distinct item number. Unpublished writings by Charlot that stand alone—that is, have no direct link to a published work—have a distinct item number if they have been posted online on the Jean Charlot Foundation website and appear as a “head” entry in one of the website’s tables of contents (see “Textes Français,” “Escritos Sobre Arte Mexicano,” and “English Texts”). “Spoken Word” items not directly associated with a published work have also been given distinct item numbers.

Frequently, a piece of writing exists in multiple published versions, for example, as an article in a magazine or journal, as a foreword, preface, or introduction in books by other authors, or in essay collections of Charlot’s own writings. Each first appearance in a distinct publication genre, i.e. book, magazine, journal, exhibition flyer, lecture, film, etc. has its own item number. Drafts of writings that were later published, posted online, or cataloged by a library system (University of Hawaiʻi Voyager online catalog, or Worldcat) are listed with the first print publication of their associated piece. Published reprints or revisions of books, articles, and translations are listed with the original publication.

Because Jean Charlot wrote in different languages over many decades and for multiple genres and occasions, boundaries cannot always be neatly drawn around his individual writings. Therefore, while partial cross-referencing appears within some entries, for more complete cross-referencing readers should also consult the title index where more expansive linkages are given.

Introductions, prefaces, forewords, and other such written material contributed by Charlot to books by other authors are indexed under the title of the published book, as well as the title of Charlot’s contribution. In entries where there was no specific title for Charlot’s work, the piece is indexed under the item’s generic label (for example, “Introduction”). In some cases, a foreword by Charlot to one of his own shows is listed in the bibliography. Such forewords are numerous and any inclusion here merely indicates that it has been posted on the Jean Charlot Foundation website.

Annotations for bibliographic items are intentionally brief and appear in brackets, as do unconfirmed dates and other editorial surmisals of facts. In annotations, “Morse number” refers to an art print’s identifying number as assigned by Peter Morse in his Jean Charlot’s Prints: A Catalogue Raisonné (1976). For extensive information regarding bibliographic items that have been posted online, the reader should consult the Jean Charlot Foundation website: Jean Charlot Foundation <https://jeancharlot.org> “Writings” section. Digitized versions of selected books authored or co-authored by Charlot are also available in their entirety at the Jean Charlot Foundation website (see website section titled “Books and Booklets”).

Bronwen Solyom, the Jean Charlot Collection’s curator, generously provided essential assistance throughout the various stages of this bibliography. Copies of most of the publications, manuscripts, and archival material listed in this bibliography may be consulted in the Jean Charlot Collection at the University of Hawaiʻi at Mānoa, Hamilton Library. Duplicate copies of some items may be found either in Hamilton Library’s Hawaiian or its Pacific Collections.

Th‌om‌as‌ P‌et‌er‌s‌ I‌I, the unofficial webmaster since 2009 for the Jean Charlot Foundation website, brought his careful attention and technical expertise to all things related to the final formatting, posting and printing of the bibliography. T‌ho‌m brought those same qualities to the checking of sources for me in the final stages of the work.

The 1961 Charlot bibliography compiled by William J. Petesch, and the bibliographic work accomplished through 2011 by John Charlot provided me with my initial framework of items. John also kept this project on track from beginning to end.

Finally, I would like to acknowledge and thank the Jean Charlot Foundation for the material support they provided in 2012 and 2014 for work on this bibliography.

I have intended Writings by Jean Charlot: A Bibliography to follow conventions set forth by D. W. Krummel in Bibliographies: Their Aims and Methods (1984). In terms of organization and presentation, my model was Keith Sagar and Stephen Tabor’s Ted Hughes: A Bibliography 1946–1980 (1983). Errors, as well as deviations in presentation, are strictly my own. Items that come to light after September 2014 will be assigned subsequent item numbers in an addendum. Corrections and comments are welcome.

Janine M. Richardson, Ph.D.
Haleʻiwa, Hawaiʻi
December 2014


AA An Artist on Art: Collected Essays of Jean Charlot, 2 vols., 1972. B19
AMC Art-Making from Mexico to China, 1950. B5
AMD Art from the Mayans to Disney, 1939. B3
JCC Jean Charlot Collection
MMR The Mexican Mural Renaissance, 1920–1925, 1963. B10

Selected works consulted

  1. [Charlot, Jean.] Jean Charlot: A Catalog of Books, Portfolios, Writings, Murals. Honolulu: n.p., 1968. [Also see revised version with variant title printed in 1975, and 1986 revision by Zohmah Charlot and Peter Morse.]

  2. Charlot, John. “Jean Charlot’s Hawaiian-Language Plays.” Rongorongo Studies 8, no. 1 (1998): 3–24.

  3. Charlot, John. “Bibliography of Jean Charlot’s Writings.” Draft. JCC.

  4. Hawaii Voyager Catalog.

  5. Jean Charlot Collection. Archives, Manuscripts, and Publications. University of Hawaiʻi at Mānoa, Hamilton Library.

  6. Jean Charlot Foundation website: Jean Charlot Foundation.
    [See “Writings,” then posting by language: “Textes Français,” “Escritos Sobre Arte Mexicano,” “English Texts.”]

  7. Krummel, D. W. Bibliographies: Their Aims and Methods. London and New York: Mansell Publishing, 1984.

  8. Luey, Beth. Editing Documents and Texts: An Annotated Bibliography. Madison, WI: Madison House, 1990.

  9. Morse, Peter. Jean Charlot’s Prints: A Catalogue Raisonné. Honolulu: University Press of Hawaii and the Jean Charlot Foundation, 1976.

  10. Petesch, William J. “Bibliography of Jean Charlot, 1898–.” 1961. Photocopy of typescript. JCC. [Berkeley, University of California, course paper in reference, California School of Librarianship.]

  11. Sagar, Keith and Stephen Tabor. Ted Hughes: A Bibliography, 1946–1980. London: Mansell Publishing, 1983.

  12. Worldcat.

Books and booklets with Jean Charlot as author or co-author (excluding portfolios)

Books and booklets by other authors with writings by Jean Charlot (including exhibition catalogs for other artists)

Articles and other writings by Jean Charlot for magazines and journals

Newspaper writings by Jean Charlot

Honolulu Star-Bulletin Artcolumn by Jean Charlot

Spoken word: interviews, films, lectures and program remarks with or by Jean Charlot

Poetry by Jean Charlot

Selected letters from Jean Charlot

Unpublished books by Jean Charlot

Other unpublished writings by Jean Charlot

Title index

“16 ans à 18 ans: à partir d’Août 1914 (retour d’Allemagne),” P3

“XX proses suivant la Psychoplastie de D. M. Rivera à l’usage des Aveugles et des Gens du Monde,” P10

25 Nudes (book review), A72

100 Original Woodcuts/Cien grabados en madera, B40, B83

100 Photographs: Edward Weston, B34

“An 1849 Hawaiian Broadside,” A114, A88

“1916–1917 Carnet La Grace,” P4

“1922” [Sans titre], B31

“1925” [Selected Poems], P13

“1926–1928” [Selected Poems], P14

“1946: Renaissance Revisited,” A56, B19

1978 Tide Calendar, B76


“À Arlette Bouvier,” L11

“À la Bibliothèque Nationale, demandant l’accès à la collection Aubin-Goupil,” L3

“À sa Mère, 10 juin 1918,” L6

“À sa Mère, 8 janvier 1919,” L7

“À son Père Henri Charlot: Lettre du 8 juillet 1909 envoyée sous forme de rebus,” L2

“About Our Authors,” A32, A33

Abstract and Surrealist Art in America (book review), A49, B5, B19

“Abstract vs. Concrete,” N9, B5, B19

“Academy’s Exhibit of School Art Reflects Story of Human Growth,” N54

“Academy’s Show Focuses on Master Painter Leger,” N82

Acuarelas (book review), A78, B19

Address to the Social Science Association of Honolulu, S14

“Adventures in Yucatan,” S28

“Aesthetics of Indian Dances,” A5, N6, B3, B19, B25

“Aguatintas de Lola Cueto,” B46, B5, B19

“Aide-Mémoire Technique,” B10

“Albers’ Selfless, Explicit Paintings Grip Viewers,” N30

“All-American,” A41, B5, B19

“American Art off to Sweden—Orozco Exhibits,” N7, L10

“American Art Today (1959): A Survey,” B56, B19, A101

American Printmaking, 1913–1947: A Retrospective Exhibition Presented by the American Institute of Graphic Arts, B48, B5, B19, A66

“American Printmaking, 1913–1947: A Retrospective Exhibition Presented by the American Institute of Graphic Arts,” A66, B48, B5, B19

“American Prints: 1913–1947,” B5, B19, B48, A66

American Prize Prints of the 20th Century, B49

Amero, B35

“Ancient Hawaiian Culture,” S27

The Ancient Maya (book review), A60, B5, B19

“The Ancient Maya,” A60, B5, B19

Angels over the Altar (book review), A107, B19

“Angels over the Altar,” A107, B19

“Antología de Textos de Jean Charlot,” B83

“Apéndice: Mowentike Chalman/Los Peregrinos de Chalma by Jean Charlot,” A122

Apéndice I, “Ideografía azteca y Gleizes,” B84

Apéndice II, “Respuesta a Molina,” B84

Apéndice III, “Memorándum Técnico,” B84, B10

Apéndice IV, “Composición de La masacre en el Templo Mayor,” B84, S4

“Apologia,” B53

Appendix: “‘Edward and Mexico’ by Jean Charlot,” B10, B88

“Appendix I: Fresco Painting in Mexico,” B10

“Appendix III: The United States and the Renaissance,” B10

“Apports of Hawaii to Western Culture,” S63

Approach to Christian Sculpture (book review), A103

Art (book review), A72

“Art,” B56, B19

“Art” [“A Report on American Culture”], A101, B56, S31

“Art” [A Report on American Culture: A Symposium Sponsored by the Thomas More Association and the Department of Library Science, Rosary College], B56, A101, S31, B19

“Art,” Charlot’s Honolulu Star-Bulletin column, 1966–1971, T1T112. [Indexed by order of publication date and with main subject(s) of column in brackets]

“Art,” Honolulu Star-Bulletin [Bolivian Artist, Benjamin Mendoza], T1

“Art,” Honolulu Star-Bulletin [Juliette May Fraser; David Asherman], T2

“Art,” Honolulu Star-Bulletin [Charles Higa; Joseph Van Ramp; petroglyph rubbings], T3

“Art,” Honolulu Star-Bulletin [Windward Artists Guild; Stephen Longstreet], T4

“Art,” Honolulu Star-Bulletin [Charlot’s retrospective; Charlot on Charlot], T5

“Art,” Honolulu Star-Bulletin [Hawaii Painters and Sculptors League: Sato, Pohl, Vitousek, Baldwin, Doi], T6

“Art,” Honolulu Star-Bulletin [Flora Pacifica exhibition], T7

“Art,” Honolulu Star-Bulletin [New churches in Hawaiʻi by Preis and Rothwell; Bro. James Roberts, Fr. John MacDonald], T8

“Art,” Honolulu Star-Bulletin [Judith Nelson, Pop Art; Japanese block printing], T9

“Art,” Honolulu Star-Bulletin [Helene Cailliet; UH exhibition; originals and reproductions], T10

“Art,” Honolulu Star-Bulletin [Keichi Kimura; Charlot on modern art], T11

“Art,” Honolulu Star-Bulletin [UH Press book exhibit], T12

“Art,” Honolulu Star-Bulletin [Charlton Heston as Michelangelo; Eli Marozzi], T13

“Art,” Honolulu Star-Bulletin [Hawaiʻi’s beauty and art; art dealers; disrespectful art; José Guadalupe Posada; Diego Rivera], T14

“Art,” Honolulu Star-Bulletin [James Rosen; Charlot on teaching art], T15

“Art,” Honolulu Star-Bulletin [Franz Griessler; children’s art, psychology], T16

“Art,” Honolulu Star-Bulletin [Charlot’s commission for the submarine, Kamehameha], T17

“Art,” Honolulu Star-Bulletin [50th State Fair; genius, madness and art], T18

“Art,” Honolulu Star-Bulletin [Tseng Yu-Ho], T19, A74

“Art,” Honolulu Star-Bulletin [Edward M. Brownlee; Ruthadell Anderson; kahuna stones], T20

“Art,” Honolulu Star-Bulletin [Adele Sommerfeld; U. S. art market; “pop” art], T21

“Art,” Honolulu Star-Bulletin [Drawings at the Academy; medieval cathedrals], T22

“Art,” Honolulu Star-Bulletin [Hanalei Art Festival], T23

“Art,” Honolulu Star-Bulletin [Louis Pohl; government art patronage], T24

“Art,” Honolulu Star-Bulletin [Originals and reproductions; Van Gogh’s ear], T25

“Art,” Honolulu Star-Bulletin [Fresco removal; Chichén Itzá], T26

“Art,” Honolulu Star-Bulletin [Hawaiian quilts], T27

“Art,” Honolulu Star-Bulletin [Children’s art; commercial art], T28

“Art,” Honolulu Star-Bulletin [Local artists’ pictures of Spain and Portugal], T29

“Art,” Honolulu Star-Bulletin [Governor’s Conference on Culture and the Arts; the hungry artist, Eilshemius], T30

“Art,” Honolulu Star-Bulletin [Governor’s Conference on Culture and the Arts; Artists of Hawaii exhibition; Robert Griffing, Jr., speech on art as aristocratic; masterpieces sold by Academy], T31

“Art,” Honolulu Star-Bulletin [The three essentials; Lloyd Sexton; Halley Cox], T32

“Art,” Honolulu Star-Bulletin [Maui County Fair; W. M. Robinson], T33

“Art,” Honolulu Star-Bulletin [Nudity in art], T34

“Art,” Honolulu Star-Bulletin [Hiroshi Tagami], T35

“Art,” Honolulu Star-Bulletin [Hawaiʻi’s historic architecture; new State Capitol], T36

“Art,” Honolulu Star-Bulletin [Art show at the Bishop Museum Planetarium], T37

“Art,” Honolulu Star-Bulletin [Nesta Obermer], T38

“Art,” Honolulu Star-Bulletin [Isami Doi], T39

“Art,” Honolulu Star-Bulletin [Chapel of Our Lady, Mystical Rose Chapel, Chaminade; Bro. James Roberts and Guy Rothwell; Isami Enomoto; Charlot tabernacle design], T40

“Art,” Honolulu Star-Bulletin [Supporting artists; women artists and nudes—Paula Modersohn and Mary Cassatt; sophistication and spontaneity; Rivera’s Rockefeller mural; recreation of First National Bank mural], T41

“Art,” Honolulu Star-Bulletin [Edward Stasack], T42

“Art,” Honolulu Star-Bulletin [Two Hawaiian Madonnas by Juliette May Fraser and Nancy Lane], T43

“Art,” Honolulu Star-Bulletin [Lam Oi], T44

“Art,” Honolulu Star-Bulletin [Marisol sculpture of Father Damien], T45

“Art,” Honolulu Star-Bulletin [Marisol; portraits of Kamehameha], T46

“Art,” Honolulu Star-Bulletin [Arthur Murray collection], T47

“Art,” Honolulu Star-Bulletin [Painters and Sculptors League; European visit], T48

“Art,” Honolulu Star-Bulletin [B. and Prabha Vithal], T49

“Art,” Honolulu Star-Bulletin [Kamehameha statue], T50

“Art,” Honolulu Star-Bulletin [Ozenfant; German Expressionists], T51

“Art,” Honolulu Star-Bulletin [Photography], T52

“Art,” Honolulu Star-Bulletin [Winnifred Hudson; George Bennett], T53

“Art,” Honolulu Star-Bulletin [Money and the artist; Charlot’s Guggenheim; ugly in art], T54

“Art,” Honolulu Star-Bulletin [“Arts of the Pacific” exhibition at Bishop Museum], T55

“Art,” Honolulu Star-Bulletin [Schofield Barracks (Army) exhibition; Orozco], T56

“Art,” Honolulu Star-Bulletin [Academy’s Whistler purchase; Hazen Collection], T57

“Art,” Honolulu Star-Bulletin [50th State Fair], T58

“Art,” Honolulu Star-Bulletin [Madge Tennent], T59, B64

“Art,” Honolulu Star-Bulletin [UH, “Festival of the Arts of this Century”], T60

“Art,” Honolulu Star-Bulletin [Duncan Stuart; Chiang Yee], T61

“Art,” Honolulu Star-Bulletin [Erica Karawina], T62

“Art,” Honolulu Star-Bulletin [Affandi exhibition at East-West Center], T63

“Art,” Honolulu Star-Bulletin [Japan Art Festival; Diego Rivera and peyote], T64

“Art,” Honolulu Star-Bulletin [Edward Brownlee’s sculptures], T65

“Art,” Honolulu Star-Bulletin [Blown glass and textiles by Claude Horan; Suzie Pleyte; Jerome Wallace], T66

“Art,” Honolulu Star-Bulletin [John Wisnosky], T67

“Art,” Honolulu Star-Bulletin [Advertising Art and Design exhibition; Affandi and Charlot murals at East-West Center], T68

“Art,” Honolulu Star-Bulletin [Aloha Week; Hawaiian art], T69

“Art,” Honolulu Star-Bulletin [Artists of Hawaii annual exhibition], T70

“Art,” Honolulu Star-Bulletin [Shirley Russell], T71

“Art,” Honolulu Star-Bulletin [Hawaii Craftsmen exhibition; architecture: State Capitol, Castle and Cooke Tower], T72

“Art,” Honolulu Star-Bulletin [Armed Forces Art Show], T73

“Art,” Honolulu Star-Bulletin [James Whistler prints], T74

“Art,” Honolulu Star-Bulletin [Juanita Vitousek], T75, N85

“Art,” Honolulu Star-Bulletin [Pottery show by Sam Uyehara], T76

“Art,” Honolulu Star-Bulletin [The Ring of Fire: Polynesian Art, by Edward Dodd], T77

“Art,” Honolulu Star-Bulletin [Hawaii Painters and Sculptors League, part 1], T78

“Art,” Honolulu Star-Bulletin [Hawaii Painters and Sculptors League, part 2], T79

“Art,” Honolulu Star-Bulletin [TILT exhibition; light sculpture], T80

“Art,” Honolulu Star-Bulletin [Juliette May Fraser mural], T81

“Art,” Honolulu Star-Bulletin [Honolulu Printmakers exhibition], T82

“Art,” Honolulu Star-Bulletin [Hawaii Painters and Sculptors League exhibition], T83

“Art,” Honolulu Star-Bulletin [Kauai Art Group], T84

“Art,” Honolulu Star-Bulletin [Ron Kowalke], T85

“Art,” Honolulu Star-Bulletin [Loraine Kuck on Japanese gardens], T86

“Art,” Honolulu Star-Bulletin [Lahainaluna prints], T87

“Art,” Honolulu Star-Bulletin [Mike Cantrell and Hunt Johnsen], T88

“Art,” Honolulu Star-Bulletin [Academy of Arts’ new print acquisitions], T89

“Art,” Honolulu Star-Bulletin [Local private collections; Tony Smith], T90

“Art,” Honolulu Star-Bulletin [Jacques Lipschitz; Harold Tovish], T91

“Art,” Honolulu Star-Bulletin [Balinese art; Cuna natives of Panama], T92

“Art,” Honolulu Star-Bulletin [Corita, Sven Lukin, Ben Shahn, Jean Dubuffet at Gallery II], T93

“Art,” Honolulu Star-Bulletin [Philip Bonham], T94

“Art,” Honolulu Star-Bulletin [Cox and Stasack on petroglyphs; Kaeppler on tapa], T95

“Art,” Honolulu Star-Bulletin [Camera Club Council; Ray Jerome Baker], T96

“Art,” Honolulu Star-Bulletin [Maori Wood Sculpture of New Zealand, by Terry Barrow], T97

“Art,” Honolulu Star-Bulletin [Review of 1970, part 1], T98

“Art,” Honolulu Star-Bulletin [Review of 1970, part 2], T99

“Art,” Honolulu Star-Bulletin [Carlos Mérida], T100, A115, N87

“Art,” Honolulu Star-Bulletin [Mira Cantor], T101

“Art,” Honolulu Star-Bulletin [Marcia-Maris], T102

“Art,” Honolulu Star-Bulletin [Osaka Exchange Exhibition of Chinese art], T103

“Art,” Honolulu Star-Bulletin [Theodore Wores], T104

“Art,” Honolulu Star-Bulletin [Robert Wenkam], T105

“Art,” Honolulu Star-Bulletin [Leighton Liu and Hobby Norton], T106

“Art,” Honolulu Star-Bulletin [Fifth Moon Group; John Wisnosky], T107

“Art,” Honolulu Star-Bulletin [Contemporary Arts Center: Mirella Belshe, Francis Haar], T108

“Art,” Honolulu Star-Bulletin [Alfredo Zalce], T109

“Art,” Honolulu Star-Bulletin [Captain Cook; Native Hawaiians], T110

“Art,” Honolulu Star-Bulletin [Louis Pohl], T111

“Art,” Honolulu Star-Bulletin [Timothy Cole], T112

“Art Analysis of the Macanxoc Stelae,” B2

“Art and Archaeology,” S6, B50

“Art and Communication: The Example of José Guadalupe Posada,” S46

“Art at FVS,” A63

“Art Book,” U35

Art in the Collection of Saint Francis Hospital, B80

The Art Contribution to Civilization of All Nations and Countries,” U34

“Art Exhibit Continues,” N24

Art from the Mayans to Disney, B3

“Art in Hawaii,” N40, B19

“Art Interpretations,” A7, B3, B19

“Art Middle Road Gets Good Result,” N63

The Art of Edward Weston, B32, B3, B19

“The Art of the Maya,” A20

“The Art of the Maya as Revealed by Excavations at the Temple of the Warriors, Chichen Itzá, Yucatan,” A13

“The Art of the Mayas,” A64, S11

“Art, Quick or Slow,” A29, B3, B19

“Art, Sacred and Otherwise,” B19, A96

“Art, Sacred and Otherwise: Comments on a New Book” (book review), A96, B19

“Art Sale Deplored,” N91 [letter to the editor]

“Art Show Will Open Tomorrow,” N23

“Art Trend toward Nature,” N68

“Art with Your Supper,” N26

“The Artist and His Angels,” N41, A106

“The Artist as Copyist,” N8, B5, B19

“Artist Biller Hugs Objective World,” N46

The Artist in New York: Letters to Jean Charlot and Unpublished Writings, 1925–1929, B18, A102

“An Artist Looks Back,” S53

An Artist on Art: Collected Essays of Jean Charlot, B19

“Artist Paints the Majestic, the Minute,” N71

“Artist Reveals Visionary World,” N44

“An Artist Writes. . . On Today’s Art Critic,” N28

Artists of Hawaii, B71

“Artists of Hawaii Exhibit at Art Academy Impressive,” N19

Art-Making from Mexico to China, B5

“Asimilando,” A10, B3, B19

“Aspectos Comparativos de la Orientación al Clasicismo de la Moderna Pintura Europea y Mexicana: Primer Cuadro Gráfico por el Ingeniero Juan Hernández Araujo,” N3c

Autobiography [Eric Gill], A42, B5, B19

“Autoportrait dans le café,” P38, P42

“Aztec Motifs,” A22


The Bachman Hall Frescoes, University of Hawaii, B54

Back to Bouguereau, B33

Bajo la línea del Ecuador: 30 grabados de Galo Galecio (book review), U39

“Bas Reliefs from Temple of the Warrior Cluster,” B1

“The Bas-Reliefs from the Temple of Warriors,” A24

“Beauty of Athens Enhanced by Series of Mural Decorations,” N11

“Ben Norris Exhibit Spans 30-Year Period,” N84

Ben Shahn, A27

“Ben Shahn,” A27, B3, B19

“Ben Shahn, An Appreciation,” B85, A27, B3, B19

Ben Shahn’s New York: The Photography of Modern Times, B85, A27

“Black Mountain College: A Diary,” A111 [also see S9]

“Bois taillé et peint. Eglise de Grand Fresnoy,” P23, U6

Born Catholics, B53

Britannica Junior Encyclopedia, B61

“Brouillon inachevé d’une lettre à M. Cheneau,” L5

“Burden Bearer” [“Cargador”], P36, P33

“But is it Art? A Disney Disquisition,” A36, B3, B19


“Cargador” [“Burden Bearer”], P36, P33

Carlos Mérida, B36, B3, B19

“Carlos Mérida,” A115, B36

“Carlos Mérida, Coloso del Arte Mexicano,” A115, N87, T100

“Carlos Mérida, maestro consciente de su arte,” A19, B36

“Carlos Merida 1928, I,” A19, B3

“Carlos Merida 1936, II,” B36, B3

“Carlos Mérida y la pintura,” A19, B3, B19

Carnegie Institution of Washington Year Book, No. 25, July 1, 1925 to June 30, 1926, B26

Carnegie Institution of Washington Year Book, No. 26, July 1, 1926 to June 30, 1927, B28

Carnegie Institution of Washington Year Book, No. 27, July 1, 1927 to June 30, 1928, B29

“Carnet La Grace,” P4

“Carta a Alberto Beltrán,” L15

“Carta a Carmen Barreda,” L21

“Carta a Helga Prignitz,” L20

Cartoons Catholic: Mirth and Meditation from the Brush and Brain of Jean Charlot, B23

“Catholic Art in America: Debits and Credits,” A100, B19

“Catholic Art, Its Quandaries,” A39, B5, B19

“Chanson folklorique de Bretagne,” P2

“Chant des anges gardiens,” P13

“Chapter 25: Conclusion,” B10

“Charlot at St. Mary’s,” A108, B55

The Charlot Collection of Edward Weston Photographs, B81, B32

“The Charlot Family,” S60

The Charlot Frescoes, Moreau Hall, Saint Mary’s College, Notre Dame, Indiana, B55, A108

Charlot Murals in Georgia, B4, B74, A43, A47, N10

Charlot on the Sacred Congregation of Rites document on religious art, A79

“Charlot Talks about Himself and his Mural,” S47, A110, B52

“Charlot Writes of New Interest in Bouguereau’s Art,” B33

“Checklist of Paintings, 1911–1978,” U3

“Children’s Liturgical Art Wins Praise,” N64

“The Chinese Ink-Paintings of Tseng Yu-Ho,” A74, B5, B19

“Choris and the Chiefess,” A94, B7, S15

Choris and Kamehameha, B7, S15, A80

“Choris and Kamehameha,” A80, B7, S15

Christianity in Art (book review), A105

Church Building and Furnishing (book review), A96

“Cien grabados en madera de José Guadalupe Posada,” B40

Cien grabados en madera/100 Original Woodcuts, B40, B83

“Cien grabados en madera por José Guadalupe Posada,” B40, B83

“Civil. Paris–Mexico,” P11

“Clare Loring’s Ar [sic, Art] Gallery Opens,” N47

Class Notes from Black Mountain College, 1942–1945, S9

“Coiffure,” P36, P33

“College Art Teaching,” A46

“Comment on Cezanne Sale,” N91 [letter to the editor]

“Comment l’ange delivera St. Pierre de prison,” P24, P6, U6

“Composición de La masacre en el Templo Mayor,” B84, U1, S4

“Compte-rendu du journal de Désiré Louis Maigret, Picpucien, Evêque d’Arathie et Vicaire Apostolique aux Iles Sandwich,” A113

“Conseils de Peintre à un Client Possible,” B31

“Conversation with Zohmah Charlot,” S44

Conversational Hawaiian, B59

Correspondence between Paul Claudel and Jean Charlot, 1929–1954, L19

“The Critic, the Artist, and Problems of Representation,” A32, B3, B19

“Critic Corrected,” N90 [letter to the editor]

“Cubism: R. I. P.,” B3, B19, A35

“Cubism: Requiescat in Pace,” A35, B3, B19

“Cultural Roots of the Mexican Renaissance,” S39


“D. Alfaro Siqueiros,” A12

“D’Autres Poèmes,” P9

“Dais of the Temple of the Warrior,” B26

“Dance at Dawn,” P39, P33

Dance of Death: 50 Drawings and Captions, B6

“Dances of Mexico,” A21

Danzas indígenas mexicanas, B25, A5

“Daumier’s Graphic Compositions,” B79

“David Alfaro Siqueiros: Un verdadero rebelde en arte,” A12

“De 14 à 16 ans,” P1

“De la critique et des peintres,” U19

“De 16 ans à 18 ans: à partir d’Août 1914 (retour d’Allemagne),” P3

“A Death God in Stone,” A31

“December Prayer,” N86, P27

“Deep Material Noted in Sueko Kimura Show,” N42

“Delousing,” P39, P33

“Derniers Poèmes, 1949–1979,” P42

“Des diverses sortes de mauvais peintres,” U20

“Des Leçons de la Guerre,” S3

“Description of The Art Contribution to Civilization of All Nations and Countries,” U34

“Description of Athens Fine Arts Building Fresco, 1942,” B4, B74, N10, A47

“Deux lettres à sa Mère du 1 et du 24 septembre 1919,” L8

Diaries, 1922–1979, U48

“Diaries of Désiré Louis Maigret, Picpus Father, Bishop of Arathia in partibus infidelium, Apostolic Vicar for the Sandwich Islands,” A113, S49, A119

“Diego Rivera at the Academy of San Carlos,” A73, B19

“Diego Rivera in Italy,” A81, B19, B89

Diego Rivera: The Italian Sketchbook 1920–1921, B89, A81

“Diego Rivera: Watercolors,” A78, B19

“Diego Rivera’s Italian Notebook,” S55, A81

“A Disney Disquisition,” A36, B3, B19

“Doi, Isami,” B71

The Donald Angus Collection of Oil Paintings by Madge Tennent, B64, T59

Doors to Many Mansions, B70

“Dos cartas,” L12

“D’un Art Pauvre,” P5, P12

“Dynamic, Ancient Beauty of India Overwhelms Touring Artist Jean Charlot,” N79


“Ebauche d’un essai sur la religion populaire indo-américaine,” U27

“Ebauche d’une lettre d’affaire,” L4

“Editor’s Diary: VII,” A79

“Education in the Arts: Theory and Practice,” S10

“Edward and Mexico,” B10, B88

Edward Weston, B32, B34, B3, A37, B19, B81

“Edward Weston,” A37, B32, B34, B3, B19, B81

“An Eighteenth-Century Hawaiian Petroglyph,” A98, B19

El Artista en Nueva York, B18

“El grabado en madera y los artistas tapatíos,” A3

“El grabador Posadas,” A4

“El Greco as Mystic” (book review), A70, B5, B19

“El Movimiento Actual de la Pintura en México,” N3, B83

“El Movimiento Actual de la Pintura en México. El Egoísmo Individualista,” N3a

“El Movimiento Actual de la Pintura en México. La Influencia Benéfica de la Revolución sobre las Artes Plásticas. El ‘Nacionalismo’ como Orientación Pictórica Intelectual,” N3d

“El Movimiento Actual de la Pintura en México. Los Retardatarios.—El Clasicismo.—El Academismo y sus Falsas Glorias.—La Anarquía.—El Nacimiento del ‘Mexicanismo’,” N3b

“El muralismo, producto de la revolución en América: Siqueiros,” A76

“El papel de Rafael Yela Gunther en el actual movimiento de arte,” A6

El renacimiento del muralismo mexicano 1920–1925, B10

“El San Cristóbal de Santiago Tlatelolco,” A54, B5, B19

“Elogio de Xavier Guerrero,” N88, B68, A116

“Emilio Amero,” B35

“Enduring Value in Art Programs,” N89 [letter to the editor]

“Engraving,” B61

“Entretien Amédée Ozenfant et Jean Charlot,” S12

“Entrevista en la estación de radio XED, Mexico,” S8

“Eric Gill,” A42, B5, B19

“Ernst-Tanning Show Hailed As a ‘Must’,” N25

Estampas de Yucatán, B44, B5, B19

“Esthetics of Indian dances/Estética de las danzas indígenas,” A5, N6, B3, B19, B25

“An Estimate and a Tribute from a Painter,” B32, B3, B19, B81

Eugene Payor, B42

“Eugene Payor Exhibit Praised: Continues Until December 6,” N12

“Exhibit Likened to Tour of a Curious Planet,” N56

“Exhibition of Stained Glass,” A83

“Exhibition on Art Techniques,” U38

“Explanations Saint Mary’s College,” B55

Exposicíón de Grabados y Papeles de Lola Cueto, B47

Exposición de Pinturas de Fermín Revueltas, B27

Exposición de Pinturas—Stefa Brillouin, B39

“Exposición de Tapicería Religiosa de Lola Velásquez Cueto,” A53, B5, B19


“Félibien: Entretiens sur la vie des peintres 1690,” U15

“Fermín Revueltas,” B27

“Few Abstractions in Academy Show,” N38

“Fiesta Headdress,” P29, P33

“A ‘Find’ in the Art World, a New Portrait of Kamehameha,” A87, S15, B7

“Fine Arts,” B61

“Fine Arts Façade, Athens, Georgia,” N10, B4, B74, A47

Flight into Egypt, U47

“For People of Good Will,” A8, B3, B19

“Foreign Ways Near Fatal to Old Art,” N40, B19

Foreword [Carlos Mérida], B36

Foreword [Cien grabados en madera/100 Original Woodcuts], B40

Foreword [Ke Anuenue], B51

Foreword [Painted Walls of Mexico: From Prehistoric Times until Today], B60

Foreword [Paintings by Jean Charlot], B41

Foreword [Plastic Speculations around Mexican Motifs: Julio De Diego], B38

Foreword [Toward a People’s Art: The Contemporary Mural Movement], B77

“Foreword to Exhibition of Carlos Merida,” B36

“Foreword to an Exhibition on Art Techniques,” U38

45th Annual Exhibit of Children’s Books [Talk at], S19

“Franklin C. Watkins,” B3, B19, A28

“Franklin D. [sic, C.] Watkins,” A28, B3, B19

“A French Artist Matures,” N70

“Fresco,” B62

“Fresco: Calvary for St. Leonard Friary,” U42

“Fresco in the Church of Our Lady of Sorrows, Farmington,” A106, L14, B75, N41

“Fresco Murals at University of Georgia,” A47, N10

“Fresco Painting,” S21

Fresco Painting with Jean Charlot, S16

“The Frescoes for the Church of the Good Shepherd,” A92

Friends of Habilitat Cookbook, B72

“From Objective Sight to Subjective Vision; ‘…Many Means and Many Styles…,’” N81

“Frustrated Non-Readers,” N33


“Galo Galecio, Grabador Ecuatoriano,” U39

“The Geometry of Art and Life,” A61, B5, B19

The Geometry of Art and Life (book review), A61, B5, B19

“Gima to Show 10 Paintings by Schuman,” N61

“Gini Cutler’s Paintings Show Potential Unfilled,” N49

“Glass Ball,” P37, P33

“Góngora: A la Fable de Phaeton, que composa le comte de Villamediana,” P28

“Government & Art,” N89 [letter to the editor]

“Group Show at Gima’s,” N74

“Guadalupe Posada, précurseur de l’art indo-américain,” A4, B87

“Guadalupe Posadas,” A4

“Guerre 1918,” U5


Hawaii Now Special, “The Charlot Family,” S60

Hawaiian Celebrities Cookbook, B72

“Hawaiian Grammar” [draft], U49

“Hawaiian Loanwords in English,” A112

“Hawaiian Petroglyphs,” S24

“He Kaha Manaʻo,” P30, P42

“He moʻolelo nō ʻekolu pea” [“The Three Bears”], B59, B66

“Historique de la 15e Btt du V/101,” U8

“The History of Isle Art Hangs Briefly at Center,” N75

“Hommage à Michel,” P31, P42

Honoré Daumier: A Centenary Tribute, B79

“How Dodd Paints Georgia,” A45

“Hulaʻulala” [“Waikiki”], N77, P19, A112


“Ideografía azteca y Gleizes,” B84, U24

“Idol,” P29, P33

Idols Behind Altars, B30

“Ilustraciones jeroglíficas,” A14

“In Church” [“Mestiza”], P34, P33

Indian Art of Mexico and Central America (book review), A99, B19

“The Indian Beneath the Skin” (book review), A99, B19

“The Indian Way,” B19, A10, B3

“The Indian Way I and II,” B3, A10, B19

“India’s Contemporary Artists Speak with Refreshing Accent,” N72

“Inscriptions pour Picture Book,” P33, B20

“Interesting Display of Mexican Art Now at Michael’s,” N13

“Interview,” S69

“Interview of Jean Charlot and Walter Heil by Eric Boden,” S5

[Interview with Dody Thompson], S61

“Interview with Jean Charlot,” S50

“Interview with Jean Charlot Concerning Charlot’s Father Damien Statue,” S67

“Interview with Jean Charlot, his wife Zohmah Charlot, and their son John Charlot at the Charlot home in Honolulu,” S61

“Interviews with Jean Charlot, 1970–1971,” S51

“Interviews with Jean Charlot on his Work in Hawaii,” S64

“Interviews with Mira Baciu on the Illustrations of Claudel’s Apocalypse,” S54

Introduction [American Printmaking, 1913–1947: A Retrospective Exhibition Presented by the American Institute of Graphic Arts], B48, B5, B19

Introduction [Artists of Hawaii], B71

Introduction [Mexican Folk-Art Expressed in the Cut-Out Designs of Lola V. Cueto, Exhibited at the Southwest Museum during May 1946], B43

Introduction [Retrato de la América Latina hecho por sus artistas gráficos/Portrait of Latin America as Seen by Her Print Makers], B45, B5, B19

Introduction [Titeres Populares Mexicanos], B46, B5, B19

“Introduction au ‘Journal’ de Mgr. Maigret, cinq ans missionnaire aux îles Gambier, 1835–1840,” A119, A113, S49

“Isami Doi ” [Artists of Hawaii], B71, T39

“Islamic Crafts Shown at Academy of Arts,” N55


Jean Charlot, B31

“Jean Charlot” [Art in the Collection of Saint Francis Hospital], B80

“Jean Charlot” [Artists of Hawaii], B71

“Jean Charlot” [Born Catholics], B53

“Jean Charlot” [Idols Behind Altars], B30

Jean Charlot: Books, Portfolios, Writings, Murals, B16

Jean Charlot: A Catalog of Books, Portfolios, Writings, Murals, B16

Jean Charlot: A Catalog of Murals and Monumental Sculpture, Books, Books Illustrated, Portfolios, B16

“Jean Charlot Interview,” S44

“Jean Charlot Interview on Radio,” S68

“Jean Charlot Interviews with John Charlot 1970–1978,” S51, S64

“Jean Charlot Lecture on Western and Oriental Art,” S57

Jean Charlot: Paintings, Drawings, and Prints: An Exhibition, B74, N10, A47

“Jean Charlot Reading French Poetry,” P35, S56

Jean Charlot and the Relation of Man and Nature in Old Hawaii, S58

“Jean Charlot Reviews Art Academy Shows,” N21

“Jean Charlot Visits Damien Sculptress,” N78

“Jean Charlot y sus recuerdos acerca de Xavier Guerrero,” A116, N88, B68

“Jean Charlot’s Corrigenda to his ‘José-Clemente Orozco,’” A17

Jean Charlot’s Fresco Mural: Early Cultural Exchanges Between Hawaii and the Outer World, B52

“Jean Charlot’s Fresco-Mural in the Church of Our Lady & St. Philip, Rock Hill, South Carolina,” U43

“Jean Charlot’s Prints: A Catalogue of the Artist’s Collection,” B73

Jean Charlot’s Prints: A Catalogue Raisonné, B73

Jean Charlot’s Prints: Supplement, B73

“J’étais l’indolent témoin de mon enfance,” P21, P12

“José-Clemente Orozco,” A17, B3, B19

“José-Clemente Orozco” [errata sheet], A17

“José Clemente Orozco,” A62, B5, B19

“José Clemente Orozco: su obra monumental,” A18, B18

“José Guadalupe Posada and His Successors,” B78

“José Guadalupe Posada, grabador mexicano,” U32

“José Guadalupe Posada: Printmaker to the Mexican People,” A48, B5, B19

“Journal autour de la bataille du Matz,” U6

“Journal de Désiré Louis Maigret. Première partie: Les Gambiers, 1834 à 1840,” A119

Juan Cordero 1824/1884: Exposición-Homenaje, B69, A52, S7

“Juan Cordero, muralista mexicano,” A52, B19, S7, N17

“Juan Cordero: A Nineteenth-Century Mexican Muralist,” A57, A52

“Juliette May Fraser, Artist, Ambassador,” N69, B67

Juliette May Fraser: A Retrospective, B67, N69

“Juror Frankenstein Reveals Catholicity of Taste in Ala Moana Art Show Awards,” N50


“Kawelo, an Epic of Old Hawaii,” B9

Ke Anuenue, B51

“King Kamehameha’s Red Vest,” A90, B7


“La Época Xavier Guerrero,” A116

“La Estética de las Danzas Indígenas,” A5, N6, B25, B3, B19

“La estética de las danzas indígenas,” N6, A5

“La Grâce,” P18, P4, P12

“La jeune ècole catholique,” N1, S1

“La jeune peinture mexicaine,” A1

“La mort acceptée” [“L’enfant va partir”], P40, P12

“La Place de la Nature dans la Peinture Chinoise: A Propos des Peintures à l’Encre de Tseng Yu-Ho,” A74

“La Probité Artistique,” S2

“Languid Grace Captured in Kelly Art Works,” N60

“Lanterman Watercolors Subtle and Evanescent,” N62

“Las pinturas de la Escuela Nacional Preparatoria,” N5, B18, B3, B10, B19, B83

Laukiamanuikahiki, Snare that Lures a Farflung Bird: A Bilingual Playlet, Hawaiian-English, B12, B21, S45

“Laukiamanuikahiki, Snare that Lures a Farflung Bird,” S45, B12, B21

“Le Journal du Picpucien Louis Maigret, 1804–1882, Evêque d’Arathie et Vicaire Apostolique des Iles Sandwich. Notes et analyses,” A113, S49, A119

“Le Manuscrit Brun,” P7

“Le St. Sébastien de Sézanne,” P25, P6, U6

Lecture, Amherst College, Amherst, Massachusetts, S32

Lecture, Emmanuel College, Boston, Massachusetts, S33

Lecture, Mount Holyoke, South Hadley, Massachusetts, S34

Lecture, Seton Hall College, Greensburg, Pennsylvania, S35

Lecture, St. Vincent College, Latrobe, Pennsylvania, S36

Lecture, Syracuse University, Syracuse, New York, S37

“L’enfant va partir” [“La mort acceptée”], P40, P12

“Les Arrivées au Mexique,” U14

“Les Arts,” S12

Letters between Paul Claudel and Jean Charlot, L19

Letters from Jean Charlot to:

Jacob Adler, L16

Carmen Barreda, L21

Alberto Beltran, L15

W. Alanson Bryan, L10

Editor, Honolulu magazine, A120

Editor, Liturgical Arts, A44, B5, B19

Charles D. Hannan, L14, B75, A106, N41

Dr. Ernest Jackson, L18

Mexican government officials, L12

Walter Pach, L9

Fr. Anthony Pascale, L17

Helga Prignitz, L20

Laurence H. Snyder, L13

“Lettre à Arlette Bouvier,” L11

“Lettre à la Bibliothèque Nationale, demandant l’accès à la collection Aubin-Goupil,” L3

“Lettre à sa Mère et devoirs d’école,” L1

“Lettre à sa Mère, 10 juin 1918,” L6

“Lettre à sa Mère, 8 janvier 1919,” L7

“Lettre à son Père Henri Charlot, du 8 juillet 1909,” L2

“Lettres de Jean Charlot à Walter Pach,” L9

[Lettre] “Brouillon inachevé d’une lettre à M. Cheneau, ca. 1918,” L5

[Lettre] “Deux lettres à sa Mère du 1 et du 24 septembre 1919,” L8

[Lettre] “Ebauche d’une lettre d’affaire,” L4

“Liste des dieux de Mangareva,” A119

“The Lithographs of Alfredo Zalce,” B44, B5, B19

“Lithography,” B61

“Lives of the Old Masters,” S30

“Loa de Nuestra Señora, la hace, en una obra admirable de tapicería, la gran artista mexicana Lola Velázquez,” A53, B5, B19

“Lola Cueto: The Cut-Out Papers,” B43, B5, B19

“Lola Cueto: The Etchings,” B46, B5, B19

“Lola Cueto, the Tapestries,” A53, B5, B19

“Los Bajorrelieves del Templo de los Guerreros,” A24

“Los grabados estridentistas de Jean Charlot,” N2

“Los Papeles ‘Picados’ de Lola Cueto,” B47, N18

“Los pequeños grabadores en madera,” A2, B24

Los pequeños grabadores en madera: alumnos de la Escuela Preparatoria de Jalisco, B24, A2

“Los Peregrinos de Chalma,” A122, B17

Los Peregrinos de Chalma. Mowentihke Chalman. The Pilgrims of Chalma, B17, A122

“Lots of Art Displayed in Show at City Hall,” N45

“Louis Eilshemius,” A25, B3, B19

“L’ouvrier,” P20, P12

“Ludwigshafen Notebook,” U26

“Luz,” P29, P33


“Madge Tennent’s Hawaii on Display at Academy,” N52

“A Man for Four Seasons,” A123

“Man’s Wisdom Subdues the Aggressive Forces of Nature,” U40

“Manuel Manilla, grabador mexicano,” A11, B18, B3, B19, B86

“Maritain and the Artist,” A104, B19

Martínez Pintao, N4, B3, B19

“Mary and Art,” S26, U2

“Matsuoka Opens One-Man Show,” N51

“The Maya of Middle America. Part IV—Bas-Reliefs from the Temple of the Warriors,” A24

“Mayan Art,” A30, B3, B19

“Méditations Pendant l’Occupation,” U9

“Memorándum Técnico,” B10, B84

Memoria Congreso Internacional de Muralismo: San Ildefonso, cuna del Muralismo Mexicano: reflexiones historiográficas y artísticas, B84, U24, B10

Memorias de la Academia de la Historia, A54

“Message from Jean Charlot,” A121

“Mestiza” [“In Church”], P34, P33

“Mexican Art,” S23

“Mexican Art,” S29

Mexican Art and the Academy of San Carlos, 1785–1915, B8

“Mexican Ex-Votos,” A67, B19

Mexican Folk-Art Expressed in the Cut-Out Designs of Lola V. Cueto, Exhibited at the Southwest Museum during May 1946, B43, B5, B19

Mexican Heritage (book review), A58, B5, B19

The Mexican Mural Renaissance, 1920–1925, B10, A55, A67, A69, A89

“The Mexican Mural Renaissance, 1920–1925,” B10

“Mexican Painting,” B61

“Mexican Printmakers: Manilla,” B19, A11

“Mexican Print-makers I: Manila” [sic, Manilla], B3, A11

“Mexican Print-Makers II: Posada,” A4, B3

“Mexican Prints,” A68, B5, B19

“The Mexican Renaissance,” S38

“Mexico,” A7, B3, B19

“México de los humildes o los ricos sin saberlo,” A7 , B3, B19

México en la obra de Jean Charlot, B83, B40, A4, N3, N5

Mexico in Sculpture (book review), A75

“Mexico of the Poor,” A7, B3, B19

“Miriam L. Lesley and Alice W. Hollis (Archives of American Art), Interview with Jean Charlot at the Detroit Institute of Arts, August 18, 1961,” S43

“Modelado,” U30

Monograph of 598 Prints by Manuel Manilla, Mexican Engraver, B86, A11

Monografía de 598 estampas de Manuel Manilla, B86, A11

“Mowentihke Chalman/Los Peregrinos de Chalma/Pieza para Muñecos,” A122, B17

“Mural in Jefferson Hall: Occidental Apport to World Culture,” B63

“Mural in the Waikiki Branch of the Bishop Bank: Subject Matter: Early Contacts of Hawaii with Occidental Culture,” B52

“Murals for Tomorrow,” A51, B5, B19

“Musings of the Muralist,” N14


Na Lono Elua; Two Lonos, B15, B14, B21, P17, A109

Naʻauao (The Light Within), B9, B11

“Nature and the Art of Josef Albers,” A95, B19

“New Artist’s Group Holds Initial Show,” N57

New Catholic Encyclopedia, B62

“New Frescos at the University of Hawaii,” A93

“New Gallery’s First Exhibit Wins Praise,” N59

“New Willis Mural at Palama,” N32

[No title, “1922” at head of essay], B31

“Nota sobre la pintura mural de los mayas,” A15, B18

“Nota sobre Manuel Manilla,” A11

“Notas sobre la conversación con Doña Carmen Rubio de Vanegas Arroyo,” U23

“Note Bibliographique: ‘La Jeune Peinture Mexicaine’,” A1

“Note bibliographique sur une édition de Les Orientales de Victor Hugo,” U10

“A Note on Maya Esthetic,” A30, B3, B19

“A Note on Work at Fountain Valley School,” A63

“Note sur l’art hollandais,” U16

“Note sur l’atelier de Desportes,” U17

“Note sur Les Joueurs de Cartes de Cézanne,” U37

“Notebook C: Notes Religieuses et Personnelles,” U11

“Notebook C: Notes sur l’art,” U24, B84

[Notes by Jean Charlot Supplementing His Transcription of the Journal de Désiré [Louis] Maigret], A113, A119

“Notes on Conversations with Jean Charlot, 1960–1979,” S51, S64

“Notes détachées au Mexique,” U31

“Notes détachées faites pendant la guerre et l’occupation,” U12

“Notes détachées sur l’art,” U25

“Notes détachées sur ses propres œuvres,” U18

“Notes on Posada,” A118

“Notes Religieuses,” U7

“Notes sur des artistes grecs,” U21

“Notes sur la Collection Aubin-Goupil à la Bibliothèque Nationale, Paris,” U4

“Notes sur l’art dans Sketchbook 1933,” U33

“Notes sur l’Autel de Isenheimer de Matthias Grünewald,” U13

“Notes on the Theory of Art,” U36

“‘Nous les Jeunes !’, Conférence de M. Charlot, artiste décorateur,” S1, N1


“O aruncatura de ochi peste opera lui Brancusi printr-o varietate de culture” [“A Man for Four Seasons”], A123

“Oils by Ryk Burgess Exhibited at Library,” N58

“Old Masters for Tomorrow” (book review), A49, B5, B19

“The Old Warrior Briefs Two Young Chiefs,” P17, B15

“On the Completion of Rivera’s First Mural,” B3, B19

“On Dodd,” N15

“On Edward Weston,” S66

“One of the Most Important Art Shows Ever to Come to Athens is Now Underway at the Fine Arts Building,” N16

“One-Man Shows at Art Academy,” N22

“Opihi Stew or Soup,” B72

“Opportunity Gallery,” A23

“Oral History Interview with Jean Charlot, 1961 August 18” [Detroit Institute of Arts], S43

Orozco (book review), A97, B19

“Orozco at the Academy of San Carlos,” B19, A76

“Orozco and Siqueiros at the Academy of San Carlos,” A76, B19

“Orozco at Close Range: From Cartoonist to Master,” N34

“Orozco in New York,” A102, B18, B19

“Orozco, José Clemente,” B62

“Orozco’s Stylistic Evolution,” A69, B19

Our Lady of Sorrows: 1927–1977, B75, A106, N41, L14


Painted Walls of Mexico: From Prehistoric Times until Today, B60

“The Painter Sees the World,” A40, B5, B19

“Painter’s Insight, Public’s Sight: The Critic, the Artist, and Problems of Representation,” A32, B3, B19

“Painting and Revolution,” A77, B19

“Painting by 4 at Library,” N67

Paintings by Jean Charlot, B41

“Paintings by Joan Gima Shown in Storm’s Shop,” N48

“Para las gentes de buena voluntad,” A8, B3, B18, B19

“Passages Cut from the Original Typescript of The Mexican Mural Renaissance, 1920–1925,” B10

Patent Application [see Specifications and Drawings of Patents], B37

“Paul Claudel Correspondence—Jean Charlot,” L19

Petroglyphs of Hawaii, S42, B19

“Photography as an Art Shown in U. H. Exhibit,” N66

Picture Book: Images and Verses by Jean Charlot, B20, P33

Picture Book II: 32 Original Lithographs and Captions, B20, P33

“Pictures and Picture Making: A Series of Lectures,” S4, U1, B84

“Pinning Butterflies,” A26, B3, B19

“Pinturas murales mexicanas,” A9, B18, B3, B19

Plastic Speculations around Mexican Motifs: Julio De Diego, B38

“Plaza,” P39, P33

“Poèmes Choisis par Jean Charlot,” P12

“Poemas de Jean Charlot,” P15

“Poèmes Ecphrastiques,” P6

“Portrait of Latin America,” B45, B5, B19

Portrait of Latin America as Seen by Her Print Makers, B45, B5, B19,

Posada’s Dance of Death, B13, B19

“Posada’s Dance of Death,” B13, B19

Posada’s Mexico, B78

“Post-Cook Discovery in Petroglyphs,” A98, B19

“The Posters,” B82, B78

“Postscript to a Destruction of Frescoes,” B19, N5, B3, B18, B10

“Pour Mira Baciu,” P41, P42

Pre-Columbian Art (book review), A99

“Pre-Hispanic Quota in Mexican Murals,” A55

A Preliminary Study of the Ruins of Cobá, Quintana Roo, Mexico, B2

“The Preparatoria Riot,” N5, B10

“Print Makers Hold Exhibition,” N39

“Print Show Offers Study of Abstraction, Reality,” N36

“Printmaker to the Mexican People,” A48

“Prints by Margaret Durr at Library Called Charming,” N53

“Procession, Chalma,” P37, P33

“Proclamation adressée au peuple hawaiien, le 26 août 1849, par l’Amiral Legoarant de Tromelin,” A88, A114

Prólogo [Danzas indígenas mexicanas], B25, A5

Prólogo [Estampas de Yucatán], B44

Prólogo [Exposición de Pinturas de Fermín Revueltas], B27

Prólogo [Exposición de Pinturas—Stefa Brillouin], B39

“Prólogo a Retrato de la América Latina hecho por sus artistas gráficos,” B45

“Prólogo: Alfredo Zalce, Estampas de Yucatán,” B44

“Prólogo como presentación de un grupo de grabadores en madera,” B24, A2

“Prólogo: José Guadalupe Posada,” U28

“Prologue ou présentation d’un groupe de graveurs sur bois,” B24

Public Speaking in Paint, B65, A43, B4

“Public Speaking in Paint,” A43, B4, B65

“Pule o ke ano hoʻoilo,” N86, P27

Pulqueria Painting,” B19, A9

“Pulqueria Paintings,” A9, B3, B19


“Quotation on Dais, Northwest Colonnade, Chichen Itzá,” B26


Radio Interview with Peter Gravino, WNYC, S20

“Rapport 1926,” B26

“Recitational Art,” A32

“Recuerdo de Leopoldo Méndez,” N80, L15

“Reflections of an Occidental Painter on Chinese Ink-Painting, After Looking at the Works of Tseng Yu-Ho,” A74, B5, B19

“Reformation of the Teaching of Art,” S13

“The Relation of Western and Eastern Art: A Slide Lecture,” S57

Renaissance in Haiti (book review), A71, B5, B19

“Renaissance in Haiti,” A71, B5, B19

“Renaissance Revisited,” A56, B5, B19

“Réponse à Molina,” B84

A Report on American Culture: A Symposium Sponsored by the Thomas More Association and the Department of Library Science, Rosary College, B56, S31, A101, B19

“Report of Jean Charlot on the Sculptures and Paintings in the North and Northwest Colonnades (Stations 8 and 10),” B28

“Report of Jean Charlot on the Sculptures Copied in the Field Season of 1928,” B29

“Report of Jean Charlot on the Sculptures of the Temple of the Warriors and the Temple of the Chac Mool,” B29

“Report on the Columns in the Temple of the Warriors,” B26

“Report on Stay at East-West Center as Senior Specialist,” U44

The Responsibility of the Artist (book review), A104, B19

“Respuesta a Molina,” B84

“Restraint, Humility Keynote Karawina’s Stained Glass,” N31

Retrato de la América Latina hecho por sus artistas gráficos/Portrait of Latin America as Seen by Her Print Makers, B45, B5, B19

Reviews of:

Abstract and Surrealist Art in America, A49, B5, B19

Acuarelas: 1935–1945, A78, B19

The Ancient Maya, A60, B5, B19

Angels over the Altar, A107, B19

Approach to Christian Sculpture, A103

Art, A72

The Art of Henri Matisse, A26, B3, B19

Autobiography, A42, B5, B19

Bajo la línea del Ecuador: 30 grabados de Galo Galecio, U39

Christianity in Art, A105

Church Building and Furnishing, A96, B19

The Geometry of Art and Life, A61, B5, B19

Indian Art of Mexico and Central America, A99, B19

Mexican Heritage, A58, B5, B19

Mexico in Sculpture, A75

Orozco, A97, B19 [also see N34]

Pre-Columbian Art, A99, B19

Renaissance in Haiti, A71, B5, B19

The Responsibility of the Artist, A104, B19

Rufino Tamayo, A65, B19

Three Mystics, A70, B5, B19

25 Nudes, A72

The Unknown God, U45

“A Review of Alma Reed’s J. C. Orozco,” A97, B19

“Rivera, Diego,” B61

“Rocking Chair,” P34, P33

“Ron Tyler: Conversation with Jean Charlot and Peter Morse,” S65

“Rufino Tamayo,” A50, B5, B19

Rufino Tamayo (book review), A65, B19

“Rufino Tamayo, a Review,” B19, A65

Rupert Garcia: Artist-in-Residence, B82, B78


“The Saint Christopher of Santiago Tlatelolco,” A54, B5, B19

“Sainte Barbe,” P26, P6, U6

“Saints and Santos,” A89

Sans titre, B31

“Sculpture by Tony Smith,” N83

Selections from Fornander’s Hawaiian Antiquities and Folk-Lore, B57, P16

“Shinichi Takahashi’s Visions of Hell,” N92

“Shirley Russel’s [sic, Russell’s] Paintings Praised,” N65

“A Short Analysis of Stela 20 at Nohoch Mul,” B2

“Short Writings Related to The Mexican Mural Renaissance, 1920–1925,” B10

Sketchbook for Village Fiesta, B58

“Sonnet du 2ème canonnièr,” P22, P12, U6

Specifications and Drawings of Patents, B37

“Spirit Island,” B12

Spoken Hawaiian, B66

“Stained Glass on Exhibition at Art Gallery,” N27

Statement [The Donald Angus Collection of Oil Paintings by Madge Tennent], B64, T59

Statement [Juliette May Fraser: A Retrospective], B67, N69

Statement [100 Photographs: Edward Weston], B34

“A Statement on the Practice of Art Courses by a Committee of the College Art Association,” A46

“Stefa Brillouin,” B39

“The Story of a Book: Ke Anuenue,” A84, S17, B51

Studies in Latin American Art; Proceedings of a Conference, B50, S6

“A Suggested Parallel between Venezuelan and Hawaiian Petroglyphs,” U46

“‘Suggests’ Critic as Judge,” N76

“Sur Diego qu’on empêchait de peindre,” B3, B19

“Sur la danse,” A5

“Sur la destruction des peintures,” N5

“Surrealism—or, the Reason for Unreason,” A33, B3, B19

“A Survey of Art in Present Day United States,” S31, A101, B56, B19


Talk at 45th Annual Exhibit of Children’s Books, S19

“Talk of Jean Charlot July 11, 1971 at Kawaiahaʻo Church on the formal acceptance of Charlot’s symbol by the Ad Hoc Committee for a Hawaiian Trustee of the Bishop Estate,” S52

Talk to Childhood Education Association, S18

Talk to Liturgical Arts Society, S22

“Talk to Mrs. Violet Young’s Club, Alpha Delta Kappa, Beta Chapter, February 15, 1975,” S59

Television Appearance, Des Moines, Iowa, S25

The Temple of the Warriors at Chichen Itzá, Yucatán, B1

“Texts by Jean Charlot Supplementing His Transcription of the Journal of Désiré [Louis] Maigret,” A113, A119

“Thirty Years at It,” A82, B19

“The Thomas Jefferson Hall Frescoes, East-West Center,” B63

“The Three Bears,” B59, B66

“Three Interviews of Josef Albers,” U41

Three Mystics, A70, B5, B19

Three Plays of Ancient Hawaii, B11, B9

Títeres Populares Mexicanos, B46, B5, B19

“To the Editor of Liturgical Arts,” A44, B5, B19

“Tondo I: Playing Bunny,” P36, P33

“Tortillera,” P37, P39, P33

Toward a People’s Art: The Contemporary Mural Movement, B77

“Tradition, Individual Style in Tseng Yu-Ho’s Works,” N20, A74

“Traductions de l’espagnol de Jorge Carrera Andrade,” P32, P42

“Traduit du Góngora,” P28, P12

“Traité de peinture,” U22

Translation of a Hawaiian chant from the Legend of Halemano, B57, P16, P42

“A Twelfth-Century Mayan Mural,” A34, B3, B19

“Twenty Centuries of Mexican Art,” A38, B5, B19

Two Hawaiian Plays, B21, P17

Two Lonos [Na Lono Elua], B14, B15, B21, A109, P17

“Two Lonos,” A109


“U of H Administration Building Frescoes,” A86

“Ukiyo-e, Art Loaded with Human Values,” N43

“Un Escultor: Manuel Martínez Pintao,” N4, B3, B19

“Un Precursor del Movimiento de Arte Mexicano: El Grabador Posada,” B83, A4

“Un precursor del movimiento de arte mexicano: el grabador Posadas,” A4, B3, B18, B83, B87

“Une renaissance mexicaine,” A16

The Unknown God, U45

“The Unknown God,” U45

Untitled [on Charlot’s clothes], N29

Untitled [poem], P14

“The Unveiling of Mataumu Toelupe Alisa’s Ceramic Tile Mural Makahiki-Paʻani Hoʻoikaika o Molokaʻi,” S62


“Variety Keynotes Art Academy Show,” N35

“Vers Période Militaire, 1917–1920,” P8

Village Fiesta, B58, S40

“A Visit with Jean Charlot,” S41

Viva Posada: l’oeuvre grave de José Guadalupe Posada, B87, A4

“Voyage à Cobá,” U29


“Waikiki” [“Hulaʻulala”], N77, P19, A112

“Washerwomen” [“Woman Washing”], P29, P33

“Water Carrier,” P37, P33

“Watercolors by Juanita Vitousek,” N85, T75

Way of the Cross: 14 Original Woodcuts, B22

“The Way of the Cross in the Church of St. John Apostle and Evangelist, Mililani, Hawaiʻi, February 4, 1971,” L17

“A Westerner on Japanese Art,” A91, B19

“A Westerner’s Approach to Chinese Painting: Comparisons, East and West,” S48

Weston & Charlot: Art & Friendship, B88, B10

“Who Discovered America?” A85, B19

“Why Start a Claudel Society…?” A117

“William A. Bouguereau: Fifty Years of Painting,” B33

“Wit and Tactile Beauty,” N73

“Woman Washing” [“Washerwomen”], P29, P33


“Xavier Guerrero, Aztec Artist,” A59, B5, B19

“Xavier Guerrero, Indian Artist,” B19, A59, B5

Xavier Guerrero y su obra,” B68, N88, A116


“Young Isle Artists’ Exodus Hurts Hawaii, Charlot Says,” N37