Photograph showing Japanese prints on display at the Portland Art Museum. A label below the print at far right reads: “Japanese prints, selected from the MARY ANDREWS LADD COLLECTION, containing about seven hundred and fifty prints, presented on the opening of the new museum.” Image note: Photograph shows discoloration due to deterioration of the negatives.

Transcript. This oral history interview with Gordon W. Gilkey was conducted by Jim Strassmaier from January 19 to April 1, 1998, as part of the Oregon Historical Society's oral history program. The interview was conducted in seven sessions. The transcript includes additional information provided by Gilkey.

In the first interview session, conducted on January 19, 1998, Gilkey discusses his family background and early life in Albany, Oregon, including his education, his early interest in art, and working on the family ranch. He talks about teaching art classes at Albany College, about spending a summer as a fire lookout in the Santiam National Forest, and about his marriage to Vivian E. Malone. He discusses studying art at the University of Oregon, and also talks about his work on the official book for the 1939 New York World's Fair.

In the second interview session, conducted on January 28, 1998, Gilkey shares his experiences in New York City from 1936 to 1939, and speaks further about his work on the official book for the 1939 New York World's Fair. He discusses the development of his taste in art while in New York, shares anecdotes about Salvador Dali, and talks about the type of art he worked on. He shares his experience as an art professor at Stephens College in Columbia, Missouri, and talks about some of his students. He then talks about his service in the U.S. Army Air Corps during World War II, including his training in Texas, and writing to President Franklin D. Roosevelt to suggest forming a unit to protect art in the European theater.

In the third interview session, conducted on February 4, 1998, Gilkey continues to discuss his service in the U.S. Army Air Corps during World War II. He speaks at length about commanding a unit of soldiers tasked with recovering artworks stolen by the Nazis, as well as collecting Nazi propaganda art and the politics involved in returning recovered art. He talks about the people he met while in Europe.

In the fourth interview session, conducted on February 11, 1998, Gilkey continues to speak at length about recovering artworks stolen by the Nazis. He talks about his living situation and social life while in Europe, about the many German artists he met, and about meeting displaced European people. He discusses his return to Oregon in 1947 and chairing the art department at Oregon State College, which is now Oregon State University. He speaks about his work as dean to develop the college of humanities into the college of liberal arts, and about developing an international exchange program.

In the fifth interview session, conducted on February 18, 1998, Gilkey revisits the topic of German artists that he met while recovering stolen art in Europe. He also describes witnessing the Nuremburg trials and learning details about the Holocaust. He talks about how his art style changed after his war experiences, about post-war hostilities with Russia, and about displaced people in Europe. He then talks about some of his artworks and his printmaking process. He speaks further about his work as dean at OSU to develop the college of liberal arts, and about developing an international exchange program. He also talks about his relationship with OSU President Robert W. MacVicar, and about student protests in 1969 and 1970.

In the sixth interview session, conducted on February 25, 1998, Gilkey discusses his retirement from OSU in 1977. He talks about his work as a curator for the Portland Art Museum and as a part time professor at the Museum Art School, which is now the Pacific Northwest College of Art. He talks about the construction of the Vivian and Gordon Gilkey Center at the art museum, about his art collection, and about other Portland art collectors. He speaks about some of his OSU students, about some of his colleagues at the Portland Art Museum, and about his personal philosophy.

In the seventh and final interview session, conducted on April 1, 1998, Gilkey revisits the topic of student protests at OSU in 1969 and 1970. He speaks further about his work at the Portland Art Museum and about his colleagues, and talks about the museum's administration. He discusses his work developing the Oregon Arts Commission, the reasons the Museum Art School left PAM and became the Pacific Northwest College of Art, and about the construction of the Gilkey Center. He describes curating the International Print Show at PAM in 1997 and talks about the future of PAM. He closes the interview by discussing the careers of his students at PNCA, OSU, Stephens College, and Albany College.

Transcript. This oral history interview with Selma J. Denecke was conducted by Elizabeth Meyer at the Oregon Historical Society in Portland, Oregon, from March 17 to June 23, 1999. In this interview, Denecke discusses her family background and early life in Portland, Oregon, including her early education and her memories of the Depression. She also talks about her interest in art and music and attending Scripps College in Claremont, California. She talks about working at the Portland Art Museum during World War II. She discusses meeting Arno H. Denecke and their subsequent marriage. Denecke describes Arno Denecke’s service in the U.S. Army in Europe during World War II, as well as their long-distance courtship. She talks about Arno Denecke’s career from professor at the University of Oregon Law School to chief justice of the Oregon Supreme Court. She discusses raising a family, as well as the prenatal and maternity care she received.

A man shows two children a hand puppet during an exhibit at the Portland Art Museum in Portland. The man is seated and holding the horned doll towards two girls, one is which is holding two dolls (negative 1 of 12).

Tape 6, Side 1. In the third interview session, conducted on February 4, 1998, Gilkey continues to discuss his service in the U.S. Army Air Corps during World War II. He speaks at length about commanding a unit of soldiers tasked with recovering artworks stolen by the Nazis, as well as collecting Nazi propaganda art and the politics involved in returning recovered art. He talks about the people he met while in Europe.

Tape 7, Side 2. In the fourth interview session, conducted on February 11, 1998, Gilkey continues to speak at length about recovering artworks stolen by the Nazis. He talks about his living situation and social life while in Europe, about the many German artists he met, and about meeting displaced European people. He discusses his return to Oregon in 1947 and chairing the art department at Oregon State College, which is now Oregon State University. He speaks about his work as dean to develop the college of humanities into the college of liberal arts, and about developing an international exchange program.

Tape 10, Side 1. In the fifth interview session, conducted on February 18, 1998, Gilkey revisits the topic of German artists that he met while recovering stolen art in Europe. He also describes witnessing the Nuremburg trials and learning details about the Holocaust. He talks about how his art style changed after his war experiences, about post-war hostilities with Russia, and about displaced people in Europe. He then talks about some of his artworks and his printmaking process. He speaks further about his work as dean at OSU to develop the college of liberal arts, and about developing an international exchange program. He also talks about his relationship with OSU President Robert W. MacVicar, and about student protests in 1969 and 1970.

Tape 11, Side 1. In the fifth interview session, conducted on February 18, 1998, Gilkey revisits the topic of German artists that he met while recovering stolen art in Europe. He also describes witnessing the Nuremburg trials and learning details about the Holocaust. He talks about how his art style changed after his war experiences, about post-war hostilities with Russia, and about displaced people in Europe. He then talks about some of his artworks and his printmaking process. He speaks further about his work as dean at OSU to develop the college of liberal arts, and about developing an international exchange program. He also talks about his relationship with OSU President Robert W. MacVicar, and about student protests in 1969 and 1970.

Tape 11, Side 2. In the fifth interview session, conducted on February 18, 1998, Gilkey revisits the topic of German artists that he met while recovering stolen art in Europe. He also describes witnessing the Nuremburg trials and learning details about the Holocaust. He talks about how his art style changed after his war experiences, about post-war hostilities with Russia, and about displaced people in Europe. He then talks about some of his artworks and his printmaking process. He speaks further about his work as dean at OSU to develop the college of liberal arts, and about developing an international exchange program. He also talks about his relationship with OSU President Robert W. MacVicar, and about student protests in 1969 and 1970.

Tape 14, Side 1. In the sixth interview session, conducted on February 25, 1998, Gilkey discusses his retirement from OSU in 1977. He talks about his work as a curator for the Portland Art Museum and as a part time professor at the Museum Art School, which is now the Pacific Northwest College of Art. He talks about the construction of the Vivian and Gordon Gilkey Center at the art museum, about his art collection, and about other Portland art collectors. He speaks about some of his OSU students, about some of his colleagues at the Portland Art Museum, and about his personal philosophy.

People in a gallery at the Portland Art Museum during an Oregon artists exhibit. Several sculptures can be seen on stands in the middle of the floor, as well as benches. At the top of the room is a glass window (negative 2 of 11).

American sculptor David Smith and two unidentified men at the Portland Art Museum, during a jury selection of works for the museum. Smith kneels downward while holding pieces of framed art, which have been arranged in rows against a wall (negative 3 of 3).

Tape 2, Side 1. This oral history interview with Selma J. Denecke was conducted by Elizabeth Meyer at the Oregon Historical Society in Portland, Oregon, from March 17 to June 23, 1999. In this interview, Denecke discusses her family background and early life in Portland, Oregon, including her early education and her memories of the Depression. She also talks about her interest in art and music and attending Scripps College in Claremont, California. She talks about working at the Portland Art Museum during World War II. She discusses meeting Arno H. Denecke and their subsequent marriage. Denecke describes Arno Denecke’s service in the U.S. Army in Europe during World War II, as well as their long-distance courtship. She talks about Arno Denecke’s career from professor at the University of Oregon Law School to chief justice of the Oregon Supreme Court. She discusses raising a family, as well as the prenatal and maternity care she received.

Tape 3, Side 2. This oral history interview with Selma J. Denecke was conducted by Elizabeth Meyer at the Oregon Historical Society in Portland, Oregon, from March 17 to June 23, 1999. In this interview, Denecke discusses her family background and early life in Portland, Oregon, including her early education and her memories of the Depression. She also talks about her interest in art and music and attending Scripps College in Claremont, California. She talks about working at the Portland Art Museum during World War II. She discusses meeting Arno H. Denecke and their subsequent marriage. Denecke describes Arno Denecke’s service in the U.S. Army in Europe during World War II, as well as their long-distance courtship. She talks about Arno Denecke’s career from professor at the University of Oregon Law School to chief justice of the Oregon Supreme Court. She discusses raising a family, as well as the prenatal and maternity care she received.

Artists Ansel Adams, Minor White, and Rene Weaver, judging photographs for the Portland Art Museum’s “Oregon Photography - 1950” exhibit. Adams and White both hold photographs while facing towards one another, with Weaver in between. A photograph from this series was published in the Oregon Journal on Thursday, January 25, 1951 (negative 3 of 4).

Students from the Portland Art Museum School, dressed in costume for a party. The two women are seated side by side, one with a face wrapped with lace and wearing a tall pointed hat. This photograph was published in the Oregon Journal on Sunday, February 18, 1951 (negative 1 of 12).

Students from the Portland Art Museum School, dressed in costume for a party. Three men, wearing dresses, dance together while others watch from the edge of the room. Photographs from this series were published in the Oregon Journal on Sunday, February 18, 1951 (negative 6 of 12).

Northwest artist Carl Morris, standing with a piece of art during a class taught with his wife Hilda Morris, most likely at Portland Art Museum School. He points at the piece of paper with one hand, most likely demonstrating for the class (negative 12 of 12).

Students painting in a class taught by Northwest artists Carl and Hilda Morris, most likely for the Portland Art Museum School. A woman and two men are seated at a low table, laden with paints and paper. The woman is holding a board and paintbrush (negative 2 of 12).

Photograph looking downward, showing art students seated in front of Northwest sculptor Hilda Morris, during a class taught with her husband, Carl Morris. She stands on a makeshift table (stage), hung with sheets. Students sit at low tables in front of Morris (negative 3 of 12).

An unidentified man points at the arm of a Rodin sculpture at the Portland Art Museum, in preparation for a new exhibit. The sculpture appears to be resting on a wooden cart, as a woman, wearing a smock, intently gazes at its arm (negative 7 of 9).

A woman and a young girl Identified in the Oregon Journal as Priscilla and Penelope Colt (wife and daughter of Portland Art Museum director Thomas C. Colt) stand against a wall looking at a bronze sculpture The Great Warrior of Montauban (1898) by Emile-Antoine Bourdelle (1861-1929) from the Walter Chrysler Jr. Collection exhibition at Portland Art Museum. This photograph was printed in the Feb 10, 1956 issue of the Oregon Journal. (negative 3 of 16).

A flower display for the Oregon Fuchsia Society show at the Portland Art Museum. From left to right: Mrs. William Menke (entry chairman), Mrs. S.P. Caniparoli, and Mrs. Robert Proctor (president of the fuchsia society). This photograph was published in the Oregon Journal on Sunday, September 26, 1948 (negative 1 of 3).

Tape 1, Side 2. This oral history interview with Selma J. Denecke was conducted by Elizabeth Meyer at the Oregon Historical Society in Portland, Oregon, from March 17 to June 23, 1999. In this interview, Denecke discusses her family background and early life in Portland, Oregon, including her early education and her memories of the Depression. She also talks about her interest in art and music and attending Scripps College in Claremont, California. She talks about working at the Portland Art Museum during World War II. She discusses meeting Arno H. Denecke and their subsequent marriage. Denecke describes Arno Denecke’s service in the U.S. Army in Europe during World War II, as well as their long-distance courtship. She talks about Arno Denecke’s career from professor at the University of Oregon Law School to chief justice of the Oregon Supreme Court. She discusses raising a family, as well as the prenatal and maternity care she received.

Tape 2, Side 2. This oral history interview with Selma J. Denecke was conducted by Elizabeth Meyer at the Oregon Historical Society in Portland, Oregon, from March 17 to June 23, 1999. In this interview, Denecke discusses her family background and early life in Portland, Oregon, including her early education and her memories of the Depression. She also talks about her interest in art and music and attending Scripps College in Claremont, California. She talks about working at the Portland Art Museum during World War II. She discusses meeting Arno H. Denecke and their subsequent marriage. Denecke describes Arno Denecke’s service in the U.S. Army in Europe during World War II, as well as their long-distance courtship. She talks about Arno Denecke’s career from professor at the University of Oregon Law School to chief justice of the Oregon Supreme Court. She discusses raising a family, as well as the prenatal and maternity care she received.

Tape 4, Side 1. This oral history interview with Selma J. Denecke was conducted by Elizabeth Meyer at the Oregon Historical Society in Portland, Oregon, from March 17 to June 23, 1999. In this interview, Denecke discusses her family background and early life in Portland, Oregon, including her early education and her memories of the Depression. She also talks about her interest in art and music and attending Scripps College in Claremont, California. She talks about working at the Portland Art Museum during World War II. She discusses meeting Arno H. Denecke and their subsequent marriage. Denecke describes Arno Denecke’s service in the U.S. Army in Europe during World War II, as well as their long-distance courtship. She talks about Arno Denecke’s career from professor at the University of Oregon Law School to chief justice of the Oregon Supreme Court. She discusses raising a family, as well as the prenatal and maternity care she received.

Tape 5, Side 2. In the third interview session, conducted on February 4, 1998, Gilkey continues to discuss his service in the U.S. Army Air Corps during World War II. He speaks at length about commanding a unit of soldiers tasked with recovering artworks stolen by the Nazis, as well as collecting Nazi propaganda art and the politics involved in returning recovered art. He talks about the people he met while in Europe.

Tape 15, Side 1. In the seventh and final interview session, conducted on April 1, 1998, Gilkey revisits the topic of student protests at OSU in 1969 and 1970. He speaks further about his work at the Portland Art Museum and about his colleagues, and talks about the museum's administration. He discusses his work developing the Oregon Arts Commission, the reasons the Museum Art School left PAM and became the Pacific Northwest College of Art, and about the construction of the Gilkey Center. He describes curating the International Print Show at PAM in 1997 and talks about the future of PAM. He closes the interview by discussing the careers of his students at PNCA, OSU, Stephens College, and Albany College.