Lyonel Feininger (American, active in Germany, 1871–1956), In a Village Near Paris (Street in Paris, Pink Sky), 1909. Oil on canvas, 39 ¾ x 32 in. (101 × 81.3 cm). University of Iowa Museum of Art, Iowa City; gift of Owen and Leone Elliott. © Lyonel Feininger Family, LLC./Artists Rights Society (ARS), New York.
(Image: Jackson Pollock, Mural, 1943. Oil and casein on canvas, 242.9 x 603.9 cm. Gift of Peggy Guggenheim, 1959.6. University of Iowa Museum of Art. Reproduced with permission from The University of Iowa. On view at the Peggy Guggenheim Collection, Venice: Jackson Pollock’s Mural: Energy Made Visible (April 23 through November 16, 2015).
It’s “a stampede… [of] every animal in the American West, cows and horses and antelopes and buffaloes. Everything is charging across that goddamn surface.”
Exhibition Catalogue: Jackson Pollock’s Mural: Energy Made Visible by David Anfam (Thames & Hudson)
Insight into Jackson Pollock’s Mural from conservation scientists and curators at the Getty Conservation Institute (GCI).
Sources & Further Reading:
- *Peggy Guggenheim Collection, Venice: Jackson Pollock’s Mural: Energy Made Visible (April 23 through November 16, 2015)
- Christies: Deborah Wilk, ‘Where Jackson Pollock broke the ice (4/30/2015)
- Khan Academy: Jackson Pollock, Mural
- University of Iowa Museum of Art (UIMA), Collections, Jackson Pollock
André Lhote (French, 1885–1962), Simone Rêvant, 1948. Oil on canvas, 13 x 16 in. (33 x 40.6 cm). Waterhouse & Dodd, New York & London.
In his muscular brand of Salon-style Cubism, André Lhote captured the trappings of Parisian modern life—nudes, athletes, café society, and bustling street scenes—in stately geometric compositions.
Originally working in a Gauguin-influenced Fauvist style, Lhote embraced Cubism in 1911. He worked and exhibited alongside Robert Delaunay, Albert Gleizes, Fernand Léger, Jean Metzinger, and Francis Picabia as a member of the Section d’Or, an artistic movement that advanced a more decorative and accessible alternative to the cerebral Cubism pioneered by Picasso and Braque.
Jack Butler Yeats (Irish, 1871-1957), Above the Fair, 1946. Oil on canvas, 91 x 122 cm. National Gallery of Ireland, Presented, Reverend Senan, on behalf of a group of private citizens (1947),
NGI.1147. © Estate of Jack B Yeats. All Rights Reserved, DACS 2013
© Estate of Jack B Yeats. All Rights Reserved, DACS 2013.
Adolph Gottlieb (American, 1903–1974), Masquerade, 1945. Oil and tempera on cnvas, 36 x 24 inches. The High Museum of Art Atlanta; Purchase with High Museum of Art Enhancement Fund and 20th Century Art Acquisition Fund; Accession no. 2000.201. © Adolph and Esther Gottlieb Foundation/Licensed by VAGA, New York, NY.
Masquerade is a classic example of Adolph Gottlieb’s pictographic style, imbued with a feeling of foreboding that is accentuated by its dark tonality. Mysterious faces emerge from the depth of the painting as if recalled from a dream. Ostensibly a display of tribal masks, Gottlieb reinforced this reading with earthy hues and textures. At the same time, the title he chose for the work directs attention to the use of masks throughout history and across cultures to act out ancient myths and rituals. The artist kept this painting with him throughout his life, and upon his death it became part of the foundation that bears his name, The Gottlieb Foundation, which awards grants to support the work of living artists.
- The Adolph & Esther Gottlieb Foundation (includes selected works)
- Adolph Gottlieb: Bibliography, The Adolph & Esther Gottlieb Foundation (PDF)
- Archives of American Art, Oral history interview with Adolph Gottlieb, 1967 Oct. 25
- The Art Story (Guide to Modern Art), Adolph Gottlieb
- Jeffrey James Katzin, ‘Experimentation, Diversity, and Feeling: Adolph Gottlieb’s Career in Painting Reconsidered’ (master’s thesis, University of Texas Austin, 2013
- Michael J. Landauer & Bruce Barnes, ‘Part I: The Prisoners 1947 by Adolph Gottlieb: A Systematic Symbolic Interpretation’ from Labyrinth of the Shadow: History and Alchemy in Adolph Gottlieb’s ‘The Prisoners’(published in ARAS Connections, a publication of The Archives for Research & Archetypal Symbolism)
- Pepe Karmel, ‘Adolph Gottlieb: Self & Cosmos,’ The Adolph & Esther Gottlieb Foundation (PDF))
- Sanford Hirsch, ‘Adolph Gottlieb and Art in New York in the 1930s,’ The Adolph & Esther Gottlieb Foundation (PDF)
József Egry, Lovers, 1911. Oil on canvas, 73 x 44.5 cm. Hungarian National Gallery.
- The Downtown Gallery, New York, New York
- Kennedy Galleries Inc., New York, New York
- Private collection, acquired from above, 1984
- Private collection, New York, New York
- American Academy of Arts and Letters, New York, New York, John Marin, January 15–February 14, 1952, no. 62
- John Marin in Retrospect, Corcoran Gallery of Art, Washington, D.C., March 2–April 15, 1962; Currier Gallery of Art, Manchester, New Hampshire, May 9–June 24, 1962, no.3
- Sheldon Reich, John Marin: Part II, Catalogue Raisonné (Tucson: The University of Arizona Press, 1970), 439.
Note: This work belongs to a group of paintings known as the Weehawken Sequence, named after the New Jersey town Marin painted beginning around 1904 until the end of his career. The group was signed and dated by the artist in the late 1940s, many years after their creation. According to Sheldon Reich, author of the John Marin catalogue raisonné, it is likely that Marin made an error in recalling when he made these works. In 1904, Marin had not yet visited Europe where he was exposed to the fauvist influence evident in this painting. Reich maintains that this piece stylistically dates to circa 1916.
Gabriele Münter (German, 1877-1962), Future (Woman in Stockholm), 1917. Oil on canvas, 97.50 x 63.80 cm (38 3/8 w:25 1/16 inches). The Cleveland Museum of Art, gift of Mr. and Mrs. Frank E. Taplin, Jr., 1992.96. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
Münter was a founding member of Der Blaue Reiter (The Blue Rider), a German Expressionist group formed in Munich in 1911. She moved to Stockholm in 1915 when the group dispersed during World War I. This painting belongs to a series of studies of women in various psychological states. The bright, luminous colors convey the joyful anticipation of a woman contemplating her future after receiving a letter from her fiancé.
Robert Henri, Portrait of Mrs. Robert Henri, August 1914. Oil on Canvas, 24 in. x 20 in. (60.9 cm x 50.8 cm). The San Diego Museum of Art, gift of Mrs. George Heyneman, 1959:7.
Robert Henri studied at both the Académie Julian and the École des Beaux-Arts in Paris and at the Pennsylvania Academy of Fine Arts. Though Thomas Eakins was no longer teaching at the Academy when Henri arrived, Eakins was immensely influential for Henri, who regarded him as the superior portrait painter in the United States and followed Eakins’s bluntly realist style.
This painting of Robert Henri’s second wife, Marjorie Organ Henri, was given by the artist to Alice Klauber, who studied with Henri in Spain in 1907. Klauber invited Henri to San Diego in 1914, and he assisted her with the organization of an exhibition of American painting for the 1915 Panama-California Exposition, which was held in what became Balboa Park. The exhibition brought the work of George Bellows, William Glackens, Childe Hassam, John Sloan, and Henri to San Diego.
Arthur Bowen Davies (American, 1862–1928), Air, Light, and Wave, ca. 1914-1917. Oil on canvas, 26 1/16 x 39 7/8 inches. High Museum of Art Atlanta, purchase with Henry B. Scott Fund, accession no. 59.27.
As one of the chief coordinators of the celebrated Armory Show of 1913 that first introduced the work of European avant-garde artists to the United States, Arthur Bowen Davies played a key role in the introduction of radical art forms in this country. In his own work Davies embraced a paradoxical approach to art-making that was both intuitive and intellectual, particularly in the variety of ways he treated the human figure. This painting stands at the stylistic midpoint in his work, between tradition oriented art and the rise of the abstract, synesthetic Synchromism movement, the most advanced mode of American painting at the time (source: High Museum of Art Atlanta).