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Cover Design: C. V. DONOVAN Catalogue Design: R. PERLMAN, O. S.
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CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1963
mi OF THE
W|AR i 1963
IHMtfcSITY 8f ILUhdiS
tile vent It exhibit 'ion of
Contemporary American
Painting and Sculpture
Introduction by Allen S. Weller
College of Fine and Applied Arts, University of Illinois, Urbana
March 3 through April 7, 1963 Krannert Art Museum
University of Illinois Press, Urbana, 1963
CONTEMPORARY
(r) Copyright 1963 by the Board of Trustees of the University of Illinois
Library of Congress Catalog Card No. A48-340
■ ■ '
AMERICAN PAINTING AND SCULPTURE
DAVID D. HENRY
President of the University
ALLEN S. WELLER
Dean, College of Fine and Applied Arts
Chairman, Festival of Contemporary Arts
JURY OF SELECTION
Muriel B. Christison
J. D. Hogan
C. V. Donovan, Chairman
EXHIBITION COMMITTEE
C. W. Briggs
F. Gallo
O. S. Guy
J. D. Hogan
R. Perlman
J. R. Shipley
M. A. Sprague
C. V. Donovan, Chairman
MUSEUM STAFF
C. V. Donovan, Director
Muriel B. Christison, Associate Director
Berdine Soenksen, Secretary
J. O. Sowers, Preparator
J. Vogt, Assistant
R. Green, C. Barnes, Custodians
ACKNOWLEDGMENTS
The College of Fine and Applied Arts and
the Krannert Art Museum are grateful to those
who have made loans of paintings and sculp-
ture to this exhibition and acknowledge the
cooperation of the following artists, collectors,
museums, and galleries:
THE ALAN GALLERY, NEW YORK CITY
AMEL GALLERY, NEW YORK CITY
BABCOCK GALLERIES, NEW YORK CITY
MIRKO (BASALDELLA), CAMBRIDGE, MASSACHUSETTS
MR. LAWRENCE BLOEDEL, WILLIAMSTOWN,
MASSACHUSETTS
BOLLES GALLERY, SAN FRANCISCO, CALIFORNIA
GRACE BORGENICHT GALLERY, NEW YORK CITY
CALIFORNIA PALACE OF THE LEGION OF HONOR, SAN
FRANCISCO, CALIFORNIA
DAVID COLE GALLERY, SAN FRANCISCO, CALIFORNIA
COMARA GALLERY, LOS ANGELES, CALIFORNIA
CONTEMPORARIES GALLERY, NEW YORK CITY
TERRY DINTENFASS, INC., NEW YORK CITY
THE DOWNTOWN GALLERY, NEW YORK CITY
MR. RALPH DUCASSE, SAN FRANCISCO, CALIFORNIA
DURLACHER BROS., NEW YORK CITY
MR. AND MRS. ALLAN D. EMIL, NEW YORK CITY
ANDRE EMMERICH GALLERY, NEW YORK CITY
FAIRWEATHER-HARDIN GALLERY, CHICAGO, ILLINOIS
MR. ALEXANDER D. FALCK, JR., ELMIRA, NEW YORK
RICHARD FEIGEN GALLERY, CHICAGO, ILLINOIS
FEINGARTEN GALLERIES, BEVERLY HILLS, CALIFORNIA;
CHICAGO, ILLINOIS; AND NEW YORK CITY
FORUM GALLERY, NEW YORK CITY
ROSE FRIED GALLERY, NEW YORK CITY
ALLAN FRUMKIN GALLERY, CHICAGO, ILLINOIS
OTTO GERSON GALLERY, NEW YORK CITY
GILMAN GALLERIES, CHICAGO, ILLINOIS
MR. AND MRS. DONALD S. GILMORE, KALAMAZOO,
MICHIGAN
GRAHAM GALLERY, NEW YORK CITY
GRAND CENTRAL MODERNS, NEW YORK CITY
GREEN GALLERY, NEW YORK CITY
GUMP'S GALLERY, SAN FRANCISCO, CALIFORNIA
DALZELL HATFIELD GALLERIES, LOS ANGELES,
CALIFORNIA
MRS. F. W. HILLES, NEW HAVEN, CONNECTICUT
JOSEPH H. HIRSHHORN COLLECTION, NEW YORK CITY
FREDRIC HOBBS FINE ART, SAN FRANCISCO,
CALIFORNIA
MR. STERLING HOLLOWAY, LAGUNA, CALIFORNIA
MARTHA JACKSON GALLERY, NEW YORK CITY
SIDNEY JANIS GALLERY, NEW YORK CITY
ART CENTER: KALAMAZOO INSTITUTE OF ARTS,
KALAMAZOO. MICHIGAN
PAUL KANTOR GALLERY, BEVERLY HILLS, CALIFORNIA
M. KNOEDLER & CO., NEW YORK CITY
SAMUEL M. KOOTZ GALLERY, INC., NEW YORK CITY
FELIX LANDAU GALLERY, LOS ANGELES, CALIFORNIA
ALBERT LANDRY GALLERIES, NEW YORK CITY
DR. AND MRS. FRANK LASSMAN, MINNEAPOLIS,
MINNESOTA
MR. LAWRENCE LIVINGSTON, JR., SAUSALITO,
CALIFORNIA
PIERRE MATISSE GALLERY, NEW YORK CITY
MISS JUDITH MCBEAN, SAN FRANCISCO, CALIFORNIA
DR. ABRAHAM MELAMED, MILWAUKEE, WISCONSIN
MR. AND MRS. PHILLIP MELTZER, BEVERLY HILLS,
CALIFORNIA
MIDTOWN GALLERIES, NEW YORK CITY
MILWAUKEE ART CENTER, MILWAUKEE, WISCONSIN
BORIS MIRSKI GALLERY, NEW YORK CITY
NORDNESS GALLERY, NEW YORK CITY
THE PACE GALLERY, BOSTON, MASSACHUSETTS
BETTY PARSONS GALLERY, NEW YORK CITY
PERIDOT GALLERY, NEW YORK CITY
POINDEXTER GALLERY, NEW YORK CITY
MR. AND MRS. LEO PRAEGER, SYOSSET, NEW YORK
ROSE RABOW GALLERIES, SAN FRANCISCO,
CALIFORNIA
FRANK K. M. REHN, INC., NEW YORK CITY
ESTHER-ROBLES GALLERY, LOS ANGELES, CALIFORNIA
PAUL ROSENBERG & COMPANY, NEW YORK CITY
SAN FRANCISCO ART INSTITUTE, SAN FRANCISCO,
CALIFORNIA
BERTHA SCHAEFER GALLERY, NEW YORK CITY
SCULPTURE CENTER, NEW YORK CITY
SELECTED ARTISTS GALLERIES, INC., NEW YORK CITY
JACQUES SELIGMANN GALLERY, NEW YORK CITY
MR. HOWARD ROSS SMITH, SAN FRANCISCO,
CALIFORNIA
MR. AND MRS. SIDNEY SOLOMON, NEW YORK CITY
MR. EVERETT SPRUCE, AUSTIN, TEXAS
STABLE GALLERY, NEW YORK CITY
STAEMPFLI GALLERY, NEW YORK CITY
IRENE AND JAN PETER STERN, HASTINGS-ON-HUDSON,
NEW YORK
MR. AND MRS. STEPHEN A. STONE, NEWTON CENTER,
MASSACHUSETTS
MR. AND MRS. GENE SUMMERS, CHICAGO, ILLINOIS
SWETZOFF GALLERY, BOSTON, MASSACHUSETTS
TIBOR DE NAGY GALLERY, NEW YORK CITY
MR. CHARLES UMLAUF, AUSTIN, TEXAS
VALLEY HOUSE, DALLAS, TEXAS
CATHERINE VIVIANO GALLERY, NEW YORK CITY
WILLARD GALLERY, NEW YORK CITY
MR. DAVID WORKMAN, NEW YORK CITY
WORLD HOUSE GALLERIES, NEW YORK CITY
PURCHASE AWARDS
1948
LEONARD BECK
EUGENE BERMAN
RAYMOND BREININ
JOSEPH DE MARTINI
WILLIAM J. GORDON
PHILIP GUSTON
HAZEL JANICKI
KARL KNATHS
JULIAN E. LEVI
LESTER O. SCHWARTZ
1949
CLAUDE BENTLEY
LOUIS BOSA
FRED CONWAY
JOHN HELIKER
CARL HOLTY
RICO LEBRUN
ARTHUR OSVER
FELIX RUVOLO
YVES TANGUY
BRADLEY WALKER TOMLIN
1950
MAX BECKMANN
DEAN ELLIS
FREDERICK S. FRANCK
ROBERT GWATHMEY
HANS HOFMANN
CHARLES RAIN
ABRAHAM RATTNER
HEDDA STERNE
ANTHONY TONEY
1951
WILLIAM BAZIOTES
BYRON BROWNE
ADOLPH GOTTLIEB
CLEVE GRAY
MORRIS KANTOR
LEO MANSO
MATTA
GREGORIO PRESTOPINO
KURT SELIGMANN
JEAN XCF.RON
1952
SAMUEL ADLER
TOM BENRIMO
CAROL BLANCHARD
CARLYLE BROWN
WILLIAM CONGDON
WALTER MURCH
RUFINO TAMAYO
1953
ROBERT L. GRILLEY
YNEZ JOHNSTON
GYORGY KEPES
LAWRENCE KUPFERMAN
THEODORE J. ROSZAK
BEN SHAHN
MARGARITA WORTH
1955
RALPH S. DU CASSE
FRANK DUNCAN
LEONARD EDMONDSON
MORRIS GRAVES
MARGO HOFF
ROGER KUNTZ
GEORGE RATKAI
KARL ZERBE
1957
DAVID ARONSON
JACOB EPSTEIN
ELIAS FRIEDENSOHN
JOHN HULTBERG
WOLF KAHN
CARL MORRIS
CHARLES UMLAUF
NICHOLAS VASILIEFF
1959
LAWRENCE CALCAGNO
FRED FARR
JONAH KINIGSTEIN
RICO LEBRUN
ARTHUR OKAMURA
REUBEN TAM
1961
LEONARD BASKIN
CHARLES BURCHFIELD
DAVID PARK
JULIUS SCHMIDT
FOREWORD
The phenomenal increase of public interest in ail has in recent years established an
audience that wishes to be informed as well as entertained, and it is to this end that
the present exhibition of CONTEMPORARY AMERICAN PAINTING AND
SCULPTURE, the eleventh in a series, has been formed. The jury has developed the
exhibition from many parts of the country during the past year. As in previous exhibi-
tions there has been no conscious attempt to choose works in any particular category.
Examples representing a high degree of success in the solution of each posed problem
have been brought together where they may be compared.
Members of the jury frequently are asked about new trends or directions that may
have become evident since the last exhibition. It is their observation that an
obsolescence, similar to that of the rapidly changing technological world, is not equally
apparent in painting and sculpture. For the most part, except for a few capricious
and novel productions, artists continue to be largely concerned with matters of organi-
zation and two dimensional surface relationships arrived at through intuitive action.
In reviewing several thousand works across the United States, the jury found, exclusive
of some instances, a relatively small percentage in either painting or sculpture which
dealt with the specific time or geographical place of the artist.
Today's speed of communication places the latest influence at the service of
artists in the most remote areas, and in the assimilative process a vital sense of
immediate experience and circumambience is often displaced by an attraction to a
current mode.
In earlier times certain restrictions and responsibilities were placed on the artist,
a condition which does not prevail today. A complete freedom of statement permits
him to create for himself and his fellow artists works not likely to be immediately
understood by the general public. The artist should not be expected to be satisfied to
continue the traditions of the past. Therefore the freedom to compose without
restraint is not apt to be easily relinquished. In a time of human anxiety and social
regimentation this very freedom is a unique and treasured property of the twentieth
century artist. To it may be credited the high degree of excitement, energy, tension,
and enthusiasm discernible in the works brought together in this exhibition. It is pos-
sible that not all of them will receive unanimous endorsement a few decades from
now, but this is true of much endeavor in other fields, and vigorous forays into new-
means of expression must constantly be made.
We hope that for all who are interested in the present and future of art this
unbiased survey of contemporary directions in painting and sculpture will provide a
stimulating visual and emotional experience.
C. V. Donovan
SALES Many of the paintings and sculptures in this
exhibition are for sale. Visitors are invited to
obtain price information at the Museum office.
The Krannert Art Museum reserves the right of
priority in purchases made from the exhibition.
Subject, Object, and Content
Cultural forms and expressions are shaped by these things: relationships
between man and everything which is not man, relationships between man
and man, and man's search for self-understanding. The first of these has
traditionally been man's relationship with the world of nature, but in our
times this has taken on a totally new character. At various historic times,
these activities have weighed differently in the total scales, now one, now
another, being of determining importance. It is probable that these basic
factors have been stated here in the chronological order in which they
generally appear in cultural developments. It is possible that they appear in
cyclical form and that new conditions call for re-evaluation of each of them.
There has perhaps never been a period in which so much attention was
devoted to the attempt man makes to understand himself as is now the
case, and certainly relationships among men have reached a new point of
complexity. But in some ways the most revolutionary changes in the pat-
terns and forms which our kind of culture is producing are caused by certain
fundamental changes in contrasts and conflicts between man and non-man.
Once this simply meant relations between man and what we think of as
the world of nature : the continuing life of sun and soil, of earth and water,
of wind and rain. The development of a sense of environment in art (as in
the discovery of perspective or in landscape painting) is an important
evidence of one kind of reaction to this relationship.
Today, however, the nonhumanistic facts and forces which surround
man are not simply natural elements and the actions of the physical system
of which our world is a part, but more and more they are the products of
man himself, the results of his own will. The engulfing totality of the
modem city, the ubiquitous and aggressive activities of the machines man
has himself constructed, have created a totally new man-made environment
from which we contemplate the basic problems underlying self-realization
and creative expression. Modern man, in large part, no longer lives pri-
marily in the world of nature, but in a nonhumanistic world which he has
himself designed. The tragedy of modem life may he in the fact that this
world no longer seems to be under control and that it no longer seems
possible to chart its future course with confidence.
When man is harmoniously a part of the world which surrounds him,
when he is at peace with nature, his art tends to be naturalistic. Descriptive
art ( that which we usually call realistic art ) signifies a faith in, a confidence
in, the forms and forces of both man and all that is not man. The appear-
ance of antinaturalistic art is profoundly significant of basic changes in all
three of the impulses which have been mentioned here. As man's confidence
in himself diminishes, one of two things seems to happen in the world of
artistic form : if he still retains a fundamentally descriptive art, the physical
scale and stature of the human image diminishes and its surroundings are
given constantly greater and greater emphasis; or, as naturalistic elements
vanish, man's sensations and feelings take the place of representation, and
all that is not man tends to disappear completely. An emphasis on space
for its own sake and a constantly increasing abstraction of descriptive
representation inevitably result.
We are now engulfed in a wave of antinaturalism. What has caused
this? What does it mean? It may be because man's relationship with nature
has been upset, and particularly because the new character of the environ-
ment which man has made for himself has led to doubts and anxieties, to a
kind of general soulsickncss on the one hand and to undefined fanaticism
on the other. We no longer find it possible to be preoccupied with the
conviction of an ideal material or spiritual life in the future, one which
can be achieved either by the planned progress of man's own actions or by
the immutable events of predetermined order. Our historic sense has made
the past vivid; it has also illuminated the future, but it has not solved our
immediate problems.
The focal point around which time revolves is crucial in determining
the character of a civilization, its actions, and its products. This point may
be eternity, and all experience may be measured against this. It may be the
past, in which case the present is seen in terms of its relationship with what
has gone before. It may be that all actions and thoughts are concerned first
of all with the reshaping of the future. While all three directions may be
present at any one stage, every great culture seems to have its primary
impulse in one or another of them. It is the contemplation of the effects of
such basic concepts which form the characteristic qualities of thought
(revealed in speculation, in actions, and in created forms) of each great
cultural period.
Many of the great ancient cultures ( Greek and Oriental ) contemplated
eternity. They thought in terms of absolutes, of endlessness. This does not
mean that they believed the conditions of the moment would be per-
manently preserved, but they felt themselves to be part of a planned and
ordered and clearly defined system. It was Plato who said, "Time is the
moving image of eternity." The world of sensory experience was conse-
quently not a primary element in the methodology of such a society but a
pathway to ultimate perfection. Such a civilization is aristocratic, other-
worldly, critical as well as creative.
Other more changeless societies (the Egyptian) contemplated the past
and placed major emphasis on the preservation of things as they were. Such
a society is indifferent to a clearly defined scheme of values, is profoundly
impressed by the facts of actual conditions as they physically exist, avoids
criticism because of its basic objectivity, and fundamentally attacks other-
worldliness. It does not have a concept of progress or a goal for human
endeavor. Neither of these types sees the future as something to be deter-
mined by present actions.
The nineteenth century produced a new kind of culture which focused
itself upon the future and conceived the idea that this was not something
which was inevitable, but rather that it would be the result of present
action. The historical conception of culture, in which existing conditions
are interpreted and understood only in the light of the development which
has produced them, the whole evolutionary tendency of nineteenth century
thinking, led to a culture of action. Man would remake the future in his
own terms; it would be different from what it would have been had man
not acted as he did. The cult of factual objectivity led people to feel that all
that was necessary was to understand immediate reality in order to project
the future and to act wisely for this purpose. Karl Marx expressed this idea
when he said, "The philosophers have only interpreted the world differently;
the main thing is to change it."
The development of science is obviously a very prominent part of a
culture of action, but it also contemplates the eternal and seeks a method
of approaching it. It attempts to do so, however, without preconceived
definitions of absolutes. But science is also, and at the same time, pro-
foundly historical, very much concerned with the past in a physical sense,
in that it is constantly trying to find out what has already happened in the
world of matter and energy, with the realization that it is impossible to
understand and control these forces without a knowledge of their structure.
Science is thus crucial in the culture of our times in that it deals with the
understanding of the past, the actions of the present, and plans for the
future.
But there are elements in our culture which will not readily fall into
place as a continuation of the evolutionary, historically conditioned kind
of thinking and acting which seeks to mold the form and character of things
to come. We are more and more committed to a culture of action but less
and less sure of a sense of control of the future. The great cultures of the
past were the result of contemplation of existing conditions in relationship
to a total sense of time. The great problem today results from the possibility
that we may be in the midst of a period in which we are involved with
action without contemplation, action consciously unrelated to the past and
without the intention of forming the future. In certain ways contemporary
works of art are among the clear examples of this tendency, although it
can undoubtedly be observed in other areas as well.
Naturalistic art — that is, realistic description of recognizable material
— in times past always had inherent within it a sense of contemplation
which gave it some significance beyond simple record or documentation.
(This is not to say that it was always or necessarily good art but only that
it was formed by a tradition in which the work of art reflected a conception
of existence, a world view, which had meaning and which reached beyond
the immediate stimulus.) There have been periods in which nature was
humanized (as in Greek art) and others in which man was naturalized
(as in Egypt), but always naturalistic description was the vehicle for
thought and, consequently, for meaning. Often naturalism has unexpected
and sometimes undetected symbolic values, as was the case in much seven-
teenth century realistic descriptive painting. Even a purely physical, visual
art of almost pure sensation, like Impressionism, reflected a sense of the
enveloping totality of nature in which man and his works were thoroughly
and happily at home with their surroundings.
Today, however, with a culture of action which to many people no
longer seems to have a sense of the promise of fulfillment in the future,
it is more and more difficult to see naturalism in symbolic terms or even
as a vocabulary for the expression of humanistic emotion, as it almost
invariably was in the past. As a result, we now see contemporary art
following along two divergent paths : a new kind of naturalism, apparently
devoid of symbolism, and an antinaturalistic humanism. Paradoxically but
inevitably, naturalism becomes nonhuman, while humanistic emotions are
expressed in antinaturalistic terms.
These tendencies in contemporary art are much in need of definition
and seem at first thought to represent diametrically opposed points of view.
On the one hand, we see a great deal of work which is completely anti-
naturalistic, so far as recognizable symbols are concerned: forms which
seem to emerge entirely from within the artist's individual consciousness
without reference to the tangible world outside of the creator. On the other
hand, we also encounter a return to naturalism of a quite special kind.
This began to be seen some years ago as the human image appeared more
and more frequently, often in the work of artists who were previously
largely abstract or nonobjective in their expression. This tendency has now
gone into a new phase in which works of art either rely completely upon
actual objects of everyday life (frequently objects which would ordinarily
be considered of decidedly minor importance) or in which the artist seeks
to create without comment, without expression, in the manner of a non-
human energetic force. This naturalism is the result of action without
contemplation. The artist deliberately avoids every element of self-
expression; he equates himself with the nonhumanistic (though man-made)
elements of our culture. Paintings of soup cans, gigantic plaster hamburgers,
articles of actual clothing suspended on coat hangers, stoves with miscel-
laneous objects scattered upon them, are now exhibited in galleries as works
of art. We have long been accustomed to the introduction of "actual"
objects into artistic compositions, starting with the early cubist experiments
in collage and reaching a climax in the "junk" sculpture of yesterday, but
now to have the objet trouve presented almost without modification is some-
thing which, so far as I know, is an absolutely new cultural phenomenon.
The bald fact has been isolated and now seems to have been turned into
an artistic statement. What was once raw material has become end product.
The search for self-identification (which often enough has been a desperate
one) reaches full circle, or perhaps it would be better to say, dead end.
Such objects may be witty, or they may be disturbing, but it is certain that
they cannot be judged by any of the standards we have applied to all other
artistic developments, except that of novelty.
These two tendencies are not necessarily irreconcilable. They may be
opposites of the same coin. Rejection is often as powerful a response to a
given situation as is acceptance. We will not truly understand the peculiar
ethos of our times unless we attempt to place both of them in context.
It is a fact that in times like ours, abstractions often seem more impor-
tant and consequently more real than the concrete facts of everyday experi-
ence. We have gone through and left behind a period in which the
representation, the classification, and the comprehension in a gross sense
of the material objects of our world seem of much significance. We are
concerned now with precisely those qualities which cannot be handled or
measured in any obvious way. The hidden interior structure of matter;
the positive and aggressive activities of forces which seem outside of human
control, either physical or psychological ; tensions and relationships — these
are the problems with which we grapple. It is symptomatic that space,
which once appeared to man simply as something which was not there,
something left over after mass had defined itself, now becomes the essential
element in which and with which we must operate. Traditional forms of
language and traditional forms of aesthetic expression (and also, of course,
traditional forms of social behavior) can no longer cope with this situation.
Just as new symbols emerge in scientific and philosophical discourse, so new
aesthetic symbols are called into being in such a climate.
Sometimes we look back with nostalgic longing to a period when it was
more possible to make the definitions which we search for today. No ques-
tion is directed more frequently or more pointedly to the critic than one
which aims at uncovering the standards he uses, the measurements he
applies to his judgments. Even when he attempts to define these ( as I did
in the introduction to the 1961 Festival exhibition at the University of
Illinois ) , he generally ends up by knocking the foundation out from under
himself and gives his own critics ample grounds for attack by admitting the
profoundly subjective quality of the judgments he makes and the standards
he assumes. It is hardly possible today for him to establish a secure or
impersonal basis for aesthetic evaluation.
Some artists will avoid all of the problems of definition which are so
often asked about contemporary art by telling you that it is impossible to
put its significance into words and that the attempt is futile. Some writers
on art (and this includes many artists themselves, in the statements which
it is now customary for them to produce in quantity) seem deliberately to
obscure meaning by overelaborate and unclear phraseology. But I do not
believe that the art of the present is necessarily more difficult to understand
if it is seen in context than is the art of the past when it is judged in terms
appropriate to it. It should be possible to produce a few fixed points
against which many of the artistic products of our times may be measured.
As we look at contemporary art, let us question three things about it:
subject, object, and content. The subject of a work of art is what it is about.
The object is the material thing it is. Its content is the meaning which is
expressed by the artist's thought and action. These three elements are
related in the most intimate way, but in the past it was usually possible to
isolate each of them, although some people have always been confused about
the difference between subject and content. Today the situation has
changed. Subject, as such, has disappeared from much contemporary art,
or perhaps it is more correct to say that it has merged with the other ele-
ments. The work of art becomes total and self-contained. It means what
it if. It is not about anything except itself.
Subject, object, and content are crucial elements because they make
us concentrate on the three things which have always gone into the make-up
of all creative activities: mind, matter, and spirit. If we can understand
the way in which the artist's mind works, if we have a comprehension of the
material with which he is dealing, if we can begin to sense the spirit which
impels him in the direction he has taken and which underlies the work he
has accomplished, we shall know a good deal about contemporary art and
also perhaps have a clearer comprehension of ourselves and the world we
have made for ourselves.
It is certainly not difficult to understand why a sense of uncertainty
about the future haunts the minds of men today. This has undoubtedly
had a profound effect on many kinds of artistic expression, as well as on
almost all other aspects of fife. It has caused uncertainty of aim, a loss of
sense of permanence. Often it causes the artist to turn more and more
within himself, to express only those qualities which emerge from the very
depths of his being, resulting in an increasingly private kind of artistic
language; or, again, it may result in the opposite — an almost completely
nonhumanistic absorption in material objects, deliberately avoiding associa-
tive values. In many ways this has not been a nourishing atmosphere in
which art can flourish.
All forms of creative expression share this atmosphere. Over twenty
years ago, Katherine Anne Porter, describing her own development as an
artist in another medium, characterized this experience and at the same
time expressed the amazing toughness of art even when produced under
painful circumstances:
... I was not one of those who could flourish in the conditions of the past
two decades. . . . We none of us flourished in those times, artists or not, for
art, like the human life of which it is the truest voice, thrives best by daylight
in a green and growing world. For myself, and I was not alone, all the con-
scious and recollected years of my life have been lived to this day under the
heavy threat of world catastrophe, and most of the energies of my mind and
spirit have been spent in the effort to grasp the meaning of those threats, to
trace them to their sources and to understand the logic of this majestic and
terrible failure of the life of man in the Western world. In the face of such
shape and weight of present misfortune, the voice of the individual artist may
seem perhaps of no more consequence than the whirring of a cricket in the
grass; but the arts do live continuously, and they live literally by faith; their
names and their shapes and their uses and their basic meanings survive un-
changed in all that matters through times of interruption, diminishment,
neglect; they outlive governments and creeds and the societies, even the very
civilizations that produced them.
Diana Trilling, in a recent essay on a literary subject, expresses very
clearly some of the reasons for which the artist is driven inward. One can
substitute "painter" for "writer" in her analysis without really changing the
significance of her statement.
For the advanced writer of our times, the self is the supreme, even sole,
referrant. Society has no texture or business worth bothering about; it exists
because it weighs upon us and because it conditions us so absolutely. The
diverse social scene is homogenised into a force we feel only grossly, as a source
of our horror or terror or emptiness. The job of literature in our period is thus
more poetical than novelistic - — our advanced fiction neither anatomises the
society that is nor conceives the society that might be; it deals merely with
the massive brute social fact in its impress upon the individual consciousness.
Where the novelist of an earlier day helped us to understand and master a
mysterious or recalcitrant environment, the present-day novelist undertakes
only to help us define the self in relation to the world that surrounds and
threatens to overwhelm it. And this search for self-definition proceeds by
sensibility, by the choice of a personal style or stance which will differentiate
the self from, or within, its undifferentiated social context.
A great deal of contemporary artistic expression is a response to the
dehumanizing factors of our age. Sometimes it is an attempt to control
the new mechanistic forms and materials by an aesthetic which can be a
mode of self-realization. Sometimes it is a cry of defiance. It is in the world
of art that the importance of the self remains supreme. In a world which
more and more works with a sense of social collectivism, the artist (whatever
his medium ) treasures his right to be unpredictable, spontaneous, to preserve
something of the innocence of childhood — in other words, to be free. He
does not create in order to change conditions, or even to expose them. His
work is not necessarily good or bad; it simply is. This is creation without
illusion, presentation rather than re-presentation of something outside of the
inner depths of the creative being. The artist is less and less concerned with
the image of the natural world and more and more with feeling for its own
sake. Increasingly the artist has no outer life, only an inner one. Image
becomes feeling, and feeling becomes image. Subject, object, and content
draw constantly closer and closer together. The purpose of contemporary
art is largely self-contained: it is act, not fact, which engrosses the artist.
It is a statement, not a statement about something.
As a result, contemporary art combines opposites constantly in the same
expressions. The real and the unreal mingle : highly arbitrary and imagina-
tive forms may be expressed with an almost brutally concrete sense of the
material from which they are constructed. It is logical and illogical at
the same time, or may shift from one of these to the other according to the
stance of the spectator. It is useful as self-realization, useless as social
product. The exhilaration and joy of creation is at the same time filled
with sadness. Art inevitably is a life-creating, a life-enhancing thing, but
at the same time much art today is instinct with the sense of destruction
and death. It is a personal reaction against the great impersonal forces
which seem to control our destinies: against what "they" are doing to us,
against the things which "it" has forced on us, against the great no-one who
manipulates us.
There are still other boundaries which become indistinct. It seems to
be more and more difficult to isolate the work of art and to see it for itself,
rather than as a symptom or an example or an influence or a stage in a
development. There are times when art and criticism become so involved
with each other that the two seem almost inseparable, when the work of
art seems to derive its importance and to find its reason for being from the
critical response it arouses, rather than the other way around. Often
pictures seem to be planned primarily as material to be reproduced in books
about art, or, at best, as items in comprehensive exhibitions. Often the
museum seems to have lost its original function as a place in which to keep
and expose individual works of art and turns into an institution of learning
about art, in which individual works take their place in functions which are
more closely related to method than to content.
A final important point must be made about nonobjective art. It is
one which is often not considered but which is of profound significance in
defining the completely new aspects of such an art and its constantly increas-
ing emphasis upon the creative individual. It is this: nonobjective art is
now in an important sense the most completely humanistic art there is.
Everything in it comes from within the creator. It reproduces nothing;
it produces much or little according to the innate meaning and capacities
of its creator. We must get away from the idea that humanistic art deals
primarily with the human image ; in an important sense, exactly the opposite
is the case. Representational art is compounded of the three elements which
have been here discussed: the world of matter outside of man which pro-
vides forms and motifs with which the artist works; the physical materials
or media which are the artist's tools; the personality or point of view of the
artist himself. Nonobjective art omits the first element and provides us with
the interactions between media and the unique personality of the creator.
While the forms and the relationships which it establishes are certainly part
of basic physical being (mass, gravity, and so on), it has ceased to imitate
or reproduce in any descriptive way the facts of nature as we ordinarily
apprehend them. It has created a new kind of life, a man-made dynamic
organic complex. There is nothing in it which is not human except the
physical materials out of which it is made. It is consequently a mistake to
see in nonobjective art a submission to the mechanization of the human
condition which increasingly diminishes the stature of the individual
human being and his individual will. The opposite is actually the case.
In its freedom from the restrictions which reliance upon everything which
is nonhuman imposed on much of the art of the past, in its annihilation of
descriptive or illustrational or symbolic aspects of the world of vision, it is
the final proclamation of humanistic expression. It has no other purpose.
It does not try to evoke something other than itself; it does not attempt to
influence the spectator in any way; it is spontaneous and completely indi-
vidualistic. If it establishes contacts and associations with things other than
itself, these are much more likely to be contacts and associations with other
works of art rather than with forms or ideas which are not art.
This does not mean, of course, that art of this kind is bound to be
significant. More than in any earlier style, significance depends on the
actual character and stature of its creator. If he is important, the works
of art which he creates will be important. He cannot borrow important ideas
from some other sources or establish a train of thought which will provide
satisfaction outside of his work. If the theoretical freedom and spontaneity
of contemporary art has all too often led to distressing uniformity of results,
this must be an expression of our present human condition, not a reason
for the kind of regimentation which our society seems to create. Contem-
porary art is not a major force in the creation of the culture of our times, as
was the case in certain earlier periods. But there has perhaps never been a
time in which it provided a surer insight into some of the most basic qualities
of the society which has produced it.
The humanism of nonrepresentational art, the absolute identification
of the creator and his work, is indicated in a number of characteristic con-
temporary artistic habits. This catalogue is an example of one of them. At
no earlier period has the public been bombarded with "artist's statements"
to the extent which is now the case. Whereas the artist remained anon-
ymous in the Middle Ages, seldom even leaving a signature upon his work,
innocent of the ideas of self-expression or self-realization, and the artist of
the Renaissance relied almost exclusively upon the finished work as his
means of communication with the public, today we constantly inquire of
the artist what he is doing, how it came about that his work has developed
in the way it has, what he thinks about when he is involved in the act of
creation, what his ideas on education are, what he believes the relationship
between artist and society to be, and so forth. The documentation which
exists about contemporary artists is fantastically voluminous. Photographic
portraits of artists at work are popular as they never were before and
frequently accompany catalogues of one-man shows. This tendency is
equally evidenced in our attitude towards the art of the past, in our increas-
ing interest in the studies and unfinished works by great artists, and in our
attempts to explain them in psychological terms. Often the public seems to
be more concerned with the identification of the artist than with the con-
templation of the work of art.
This is evidenced, too, in our habit of usually referring exclusively to
the artist by name, rather than by identifying the individual work. We
say, "This is a Jackson Pollock," while once we said, "This is Titian's
'Assumption of the Virgin'." The one-man show, which brings together
multiple examples of a single artist's work, is the way in which we judge an
artist's caliber, rather than by emphasis upon an individual masterpiece.
Indeed, the day of masterpieces seems to be past. Art becomes a continuing
series of actions, really a way of life, rather than the creation of specific
monuments. The comprehensive exhibition, which attempts to represent
the totality of a limited period of time, more and more becomes a total
artistic design, rather than a collection of individual works. There is a
tendency to balance one direction against another, to make sure that all
aspects of contemporary work are represented in proper proportion and in
proper geographical distribution. The search for unknown young artists is
continuous.
It is far easier today to express joy in nonobjective terms than in any
other way. Contemporary representational art has increasingly tragic
overtones.
Allen S. Weller
Catalogue
n 75 ¥■ 73
1. SAMUEL ADLER
I Saw Him in Florence
Page 130
3k>»
-73Vu3
2. RICHARD ANUSZKIEWICZ
3. DAVID ARONSON
Minos in the Labyrinth
Page 71
Blind Sampson
Page 44
/ri'
4. DAVID ARONSON
Delilah
Page 44
/O
5. DAVID ARONSON
, 6. MILTON AVERY
7. GEORGE BALL
The Philosopher
Page 44
Robed Nude
Page 156
Foam Spray
Page 74
8. RICHARD BARINGER Blue T with Yellow Square
Page 119
9. WALTER BARKER
Persian Series #19
Page 62
10. MIRKO (BASALDELLA) Danzatore Guerriero
K(e>r?i Page84
* 11. LEONARD BASKIN
Seated Woman
Page 112
12. JOHN BAXTER
B33s
Summer Geese
Page 50
0 5V'73
13. ROBERT BEAUCHAMP
Two Sunken Heads Against Ochre and Green
14. RAINEY BENNETT
■+.73
Page 184
Sunset Child
Page 85
15. EUGENE BERMAN The Trajan Column at Night
Page 116
16. HARRY BERTOIA
Untitled
Page 94
o> 17. ISABEL BISHOP
Woman Undressing
Page 110
18. PAMELA BODEN
Steeplechase
Page 195
'
19. GEOFFREY BOWMAN
White Image
Page 129
4f>
20. MORRIS BRODERSON
Pieta
Page 137
21. ROBERT BRODERSON
73
22. ALEXANDER BROOK
Coming Age
Page 127
A. Rogoway
Page 101
23. JAMES BROOKS
Fargo
Page 106
24. JOAN BROWN Nun with Staffordshire Terrier
// Page 134
2^ 25. CHARLES BURCHFIELD
March Wind in the Woods
Page 92
. 26. GIORGIO CAVALLON
Untitled painting dated 3.21.61
Page 82
The Mandala Image
Page 167
27. SUNGWOO CHUN
■)b'\
28. CARROLL CLOAR
The Brotherhood
Page 81
29. ROBERT COOK
Revolution
Page 100
30. ROBERT CREMEAN Standing Figure— Disrobing
£ - Page 151
31. JERROLD DAVIS
32. STUART DAVIS
5-t 33. ENRICO DONATI
A3
34. RALPH DU CASSE
The Bay
Page 49
General Studies
Page 142
222 CPS 1962
Page 59
The Temple of Noo
Page 64
/•
35. LUDVIK DURCHANEK
36. JIMMY ERNST
37. EDGAR EWING
The Wish
Pase 75
Sooner or Later
Page 46
Enigma of the Chess Set
Page 89
38. FRED FARR
U.A.
Armored Horse No. 8
Page 193
7 $+ . ; 39. KELLY FEARING
Sleeping Philosopher in a Landscape Developing
Page 97
40. JOHN FERREN
A Rose for Everyone
Page 121
41. SAM FRANCIS
Untitled
Page 145
'-3
42. HELEN FRANKENTHALER Seascape with Dunes
Page 99
Flic
43. JANE FREILICHER
Canal
Page 223
!. 7 STf ■
44. ELIAS FRIEDENSOHN
The Secret
Page 77
45. LEE GATCH
Jurassic Frieze
Page 188
46. KAHLIL GIBRAN
Seated Nude
Page 65
47. JOSEPH GLASCO
Standing Figure
Page 177
' ^ 48. LEON GOLUB
Male Figure
Page 144
49. JOSEPH GOTO
J
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#14
Page 76
50. ADOLPH GOTTLIEB
Ochre and Black
Page 150
?^*o 51. ROBERT ALAN GOUGH
52. CLEVE GRAY
The Window East
Page 133
Swiss Landscape
Page 103
2.^3'ua 53' BALCOMB GREENE
;bl 54. STEPHEN GREENE
Walking in the Street
Page 109
Black Light
Page 170
54.73
55. ROBERT GWATHMEY Woman Arranging Vase
Page 51
7SV-73
56. GRACE HARTIGAN
Clark's Cove
Page 216
<l 134.73 57. MILTON HEBALD
y35«2S*-
58. JOSEPH HIRSCH
•&75V J
Noah's Ark
Page 124
Daybreak
Page 208
1-4.73
59. HANS HOFMANN
Scattered Sunset
Page 86
60. ART HOLMAN
H 7 '
Allegorical Landscape
Page 219
61. CARL HOLTY
Not What You Think
Pasre 160
134-73
62. RICHARD HUNT
63. LESTER JOHNSON
Standing Form I
Page 90
Blue Man
Page 159
S 4 • 73
64. YNEZ JOHNSTON
Bulwark of the Shore
Page 111
65. JOHN PAUL JONES
Low Man
Page 161
66. LUISE KAISH
K / 2 3d
Descending Angel
Page 212
67. MURIEL KALISH
A /
Nude and Cow
Page 222
68. HOWARD KANOVITZ
Quequechan
Page 178
Kt&p
69. MORRIS KANTOR
Pink Facade
Page 206
75-4.73
JC/S9¥e. /
70. HERBERT KATZMAN
En Negligee
Page 118
.7 §""/.*?
71. ELLSWORTH KELLY
Yellow White
Page 163
J72. GYORGY KEPES
73. EARL KERKAM
Nomad Lines
Page 107
Head
Page 185
? 74. WILLIAM KING
Fortitude
Page 146
575. LYMAN KIPP
• S^-73
So
76. MASATOYO KISHI
77. GEORGE KOKINES
Route II
Page 132
Opus No. 62-607
Page 57
Patrimony
Page 192
78. ROGER KUNTZ
"3
>^ 79. JENNETT LAM
Double Underpass
Page 176
Mother of Pearl Chair
Page 125
80. WILLIAM LASANSKY
Head of Sage
Page 217
.1ST?. 13
81. RICO LEBRUN Two Figures Emerging from Flood
Page 63
82. JULIAN LEVI
Studio
Page 220
83. JACK LEVINE
3
84. LANDES LEWITIN
In Soho
Page 104
Noblesse Oblige
Page 147
85. JACQUES LIPCHITZ
Lesson of a Disaster
Page 207
^73 </
86. SEYMOUR LIPTON
Codex #2
Page 60
87. ERLE LORAN
Myth
Page 171
c ;^ ^ 88. LOREN MAC IVER
Paris Roofs
Page 122
89. PEPPING MANGRAVITE
Summer Night in Cornwall
Page 96
90. CONRAD MARCA-RELLI
Room B-3
Page 166
91. MARCIA MARCUS
Double Portrait
Page 152
92. RICHARD MAYHEW
Hilltop
Page 102
5 93. JEAN MC EWEN
Violet Rainbow
Page 72
94. JAMES MC GARRELL
95. GERALD MCLAUGHLIN
96. HARRY MINTZ
Dolphin
Page 174
High Priest
Page 224
Animal
Page 201
97. RAYMOND MINTZ
Sun Bathing
Page 93
98. ENRIQUE MONTENEGRO
C3 »v
rv
99. CARL MORRIS
,ch
100. HILDA MORRIS
5a5Z t-s
Man in Traffic
Page 194
Blue Recess
Page 180
Sea Sentry
Page 143
101. KYLE MORRIS
102. CLIVIA MORRISON
62 Summer Series No. 5
Page 172
■ •
Obstinate Bird
Page 135
103. WALTER MURGH
104. ROBERT NATKIN
SSBCO
Page 47
Faust
Page 21 1
?«/ 73
105. LOUISE NEVELSON
106. KENZO OKADA
Great Night Column
Page 175
Aslant
Page 80
+ ol£
IS
plUZ
107. ARTHUR OKAMURA Leaning Lady and Parasol
Page 179
108. NATHAN OLIVEIRA Man with Hand to Chin
Page 54
109. GORDON ONSLOW-FORD
110. MARIA LUISA PACHECO
Who Lives
Page 91
Inner Light
Page 67
111. RAYMOND PARKER
Untitled
Page 48
112. ABBOTT PATTISON
View of Pittsburgh
Page 214
75V
W*y? 113.
75^ -13
t>7&>3^ 114-
115.
IS*- 73
fftfrl H6.
ROLAND PETERSEN
REGINALD POLLACK
Picnic ..
Page 183 /^
Angels and People
Page 114
GREGORIO PRESTOPINO The Open Door
Page 162
ABRAHAM RATTNER
Rocce Del Capo, Sea Storm III
Page 126
13<£. 73117. BERNARD REDER Dwarf with Cat's Cradle
Ra t &%d Page 164
?-zo
118. ROBERT RICHENBURG
Fall Garden
Page 153
7S'¥ ■ 13
119.
LARRY RIVERS
Dying and Dead Veteran
Page 68
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120. WILLIAM RONALD
Veda
Page 98
\
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121. BERNARD ROSENTHAL
Sunaegis
Page 78
c- 73f • 122. THEODORE ROSZAK
123. LUDWIG SANDER
Golden Hawk
Page 198
Untitled
Page 224
124. ABE SATORU
Seed
Page 203
7 347o 125. JULIUS SCHMIDT
Untitled
Page 108
,</'3
5<fSl
i . \ I is a
126. GARFIELD SEIBERT
Old Bickel Quarry
Page 210
127. BEN SHAHN
5 :
It's No Use to Do Anymore
Page 215
O
128. SEYMOUR SHAPIRO
129. LOUIS SIEGRIEST
Years of the Tiger
Page 199
East of Tonapah
Page 169
130. LUNDY SIEGRIEST
Blue Reflection
Page 200
.(pllr 131. DAVID SIMPSON Red Stripes
Page 66
132. WALTER SNELGROVE Daguerre Desert
Page 202
75-y 73 133. HYDE SOLOMON Aries
St^ou Pa§e83
134. JOHN SONENBERG Zenith-White
Page 70
5-v'-73
135. EVERETT SPRUCE Windy Night — Padre Island
Page 88
73 136. JACK SQUIER Blind Animal #2
5T?3Z^ Page 155
137. THEODOROS STAMOS Red Field I
Page 209
138. EDWARD STASACK The Brass Ring
COG „
Page 154
139. HEDDA STERNE Vertical-Horizontal No. 2-1962
Page 187
140. JACK STUCK Self Portrait — Seeing Rose
. 3 Page 139
51 73t
141.
SAHL SWARZ
Tryst
Page 182
^75-4.73
5
142.
TANIA ScJ^MULjukJUS
SG7
Page 115
TS^-P
143.
JOHN THOMAS
Figure and Foliage
Page 58
t 7 5</. 7J
144.
MARK TOBEY
Remote Space
Page 52
1
145.
HUGH TOWNLEY
Star Chamber
Page 128
3
T'7/3/
146.
JOYCE TREIMAN
The Facade
Page 196
147.
TSENG YU-HO
Mana
Page 55
«t 7
148.
CHARLES UMLAUF
Icarus
Page 218
/<A?s
149.
NICHOLAS VASILIEFF
Still Life with White Vase
Page 148
150. ESTEBAN VICENTE Blue, Red, Black & White
\l'l%b Pa8e 191
5 151. ELBERT WEINBERG
Medusa
Page 120
152. HARVEY WEISS
Jericho
Page 56
153. H. C. WESTERMANN
o 5^- Where the Angels Fear to Tread
Page 138
>a/7S 154. JOHN WILDE
Nine Crazy Girls, a Dog and a Cat at My Place
Page 73
y.73
+ <?U 155. WILLIAM T. WILEY Lodestar
Page 190
75-4.73
AitsCpT
156.
HIRAM WILLIAMS
Running Man
Page 168
bOl
157.
RICHARD WILT
Antigua, No. 141
Page 117
2>4-. iJ
158.
JAMES WINES
Eclipse
Page 158
13
159.
PAUL WONNER
Sleeping Figure
Page 186
160.
ANDREW WYETH
Back Apartment
Page 140
161. JEAN XCERON Painting No. 7
X!9/>f Page 204
162. PAUL ZIMMERMAN Still Life, Citron
Page 136
All dimensions give height first, width second, except in the case of sculpture where
height alone is given.
The dates in parentheses, following the name of the artist's gallery, indicate years of
previous University of Illinois exhibitions of Contemporary American Painting and
Sculpture in which the artist's work has been included.
t7 34, 73
MUM-
ARONSON
David Aronson, The Philosopher, 39'//' x 27'//', en-
caustic on masonite. ( Nordness Gallery, Inc., New
York City) (1949, 1952, 1955, 1957, 1959, 1961)
Blind Sampson, 22", bronze, 1962. Lent by Mr.
and Mrs. Stephen A. Stone, Newton Center, Mas-
sachusetts. (Boris Mirski Gallery, Boston, Massa-
chusetts)
Delilah, 22", bronze, 1962. (Boris Mirski Gallery,
Boston, Massachusetts)
David Aronson was born in Shilova, Lithuania,
in 1923. He studied at The School of the Museum
of Fine Arts, Boston, 1940-45, and at the Hebrew
44
Teacher's College, Boston. He received a traveling
fellowship from The School of the Museum of Fine
Arts, Boston, in 1946; a grant from the National
S01 iet) of Arts and Letters in 1958; and a fellow ship
from the John Simon Guggenheim Memorial Foun-
dation in 1900. He taught at The School of the
Museum of Fine Arts, Boston, 1942-55; he now is
Associate Professor of Art and Chairman of the
Division of Art, Boston University School of Fine
and Applied Arts, where he has taught since 1955.
Mr. Aronson has had awards from the Institute
of Contemporary Art, Boston, 1944; The Art Insti-
tute of Chicago. 1946; Virginia Museum of Fine
Arts. Richmond, 1946; Boston Arts Festival, 1952,
1953, 1954; Tupperware Art Museum, Orlando,
1954. Special exhibitions of his work have been
held at the Niveau Gallery, New York, 1945, 1956;
Museum of Modern Art, New York, 1946; Boris
Mirski Gallery, Boston, 1951, 1959; The Downtown
Gallery, New York, 1953; Nordness Gallery, Inc.,
New York, 1960, 1963.
Mr. Aronson's work has been included in group
exhibitions at the Atlanta Art Association; Atlanta
University Museum; Institute of Contemporary Art,
Boston; Museum of line Arts, Boston; Brandeis Uni-
versity, Waltham, Massachusetts; Bryn Mawr
(Pennsylvania) College; The Art Institute of Chi-
cago; University of Illinois; Dc Cordova and Dana
Museum, Lincoln, Massachusetts; The Metropolitan
Museum of Art, Whitney Museum of American Art,
New York; Tupperware Art Museum, Orlando; Vir-
ginia Museum of Fine Arts, Richmond; Munson-
Williams-Proctor Institute, Utica.
Mr. Aronson's work is in the collection of At-
lanta University; Brandeis University, Waltham,
Massachusetts; Mr. and Mrs. Joseph Gersten, Brock-
ton, Massachusetts; Mr. and Mrs. George W. W.
Brewster, Brookline, Massachusetts; Bryn Mawr
(Pennsylvania) College; The Art Institute of Chi-
cago; Mr. Earle Ludgin, Chicago; University of Illi-
nois; De Cordova and Dana Museum, Lincoln, Mas-
sachusetts; University of Nebraska; Miss Edith G.
Halpert, Mr. Phillip Hettleman, Whitney Museum
of American Art, New York; Mr. and Mrs. Stephen
A. Stone, Newton Center, Massachusetts; Tupper-
ware Art Museum, Orlando; Virginia Museum of
Fine Arts, Richmond; Munson-Williams-Proctor
Institute, LTtica; and others.
^
45
46
ERNST
\*s
Jimmy Ernst, Sooner or Later, 50" x 60", oil on
canvas, 1962. Lent by Mr. and Mrs. Allan D. Emil,
New York City. (Grace Borgenicht Gallery, New
York City) (1952, 1953, 1957, 1961)
"Whatever artists say in public is certainly not
meant to be heard or read by other artists. Explain-
ing ourselves to one another seems always peculiarly
redundant. Mutual respect and understanding among
artists continues to grow in direct proportion to
the increase in public confusion and aesthetic diffu-
sion. The promotion of cultural hysteria is not
caused by artists. New labels for old tin-cans are
immaculately conceived by the 'Subnoxious' of the
socially underprivileged dilettante."
Jimmy Ernst was born in Bruhl, Germany, in
1920. He studied in European craft schools. In
1961 he was the recipient of a John Simon Guggen-
heim Memorial Foundation fellowship. He has
taught at Pratt Institute and Brooklyn College, New
York. Mr. Ernst lives in Rowayton, Connecticut.
Mr. Ernst has received awards from The Pasa-
dena Art Museum, 1946; The Art Institute of Chi-
cago, 1954; Whitney Museum of American Art, New
York, 1951; Brandeis University, Waltham, Massa-
chusetts, 1957. Special exhibitions of his work have
been held throughout the country.
Mr. Ernst's work is represented in the collec-
tions of the Albright-Knox Art Gallery, Buffalo; The
Art Institute of Chicago; Wadsworth Atheneum,
Hartford; Museum of Fine Arts of Houston; Ne-
braska Art Association, Lincoln; Walker Art Center,
Minneapolis; Brooklyn Museum, The Solomon R.
Guggenheim Museum, The Metropolitan Museum of
Art, Museum of Modern Art, Whitney Museum
of American Art, New York; San Francisco Museum
of Art; The Toledo (Ohio) Museum of Art; The
Art Gallery of Toronto; Munson-Williams-Proctor
Institute, Utica.
ft
^k
a
Site'.
Vr
MURCH
.1
^
*«
3^
Walter Murch, SSBCO, 24" x 18", oil on canvas, 1962. (Betty Parsons Gallery, New
York City) (1949, 1951, 1952, 1961)
Walter Tandy Murch was born in Toronto, Canada, in 1907. He studied at the
Ontario College of Art, and at the Art Students League and the Grand Central Art
School, New York. He has taught at Pratt Institute, New York, from 1953-61, and
at New York University during 1961. He lives in New York City.
Thirteen special exhibitions of Mr. Murch's work have been presented. His work
has been included in group exhibitions at the Addison Gallery of American Art,
Andover; The Art Institute of Chicago; Colorado Springs Fine Arts Center; Dallas
Museum of Fine Arts; Des Moines Art Center; The Detroit Institute of Arts; Univer-
sity of Illinois; The John Herron Art Institute, Indianapolis; Institute of Contempo-
rary Arts, London; Brooks Memorial Art Gallery, Memphis; Walker Art Center,
Minneapolis; The Metropolitan Museum of Art, Museum of Modern Art, Whitney
Museum of American Art, New York; The Pennsylvania Academy of the Fine Arts,
Philadelphia; Philadelphia Museum of Art; Carnegie Institute, Pittsburgh; Venice
Bicnnale d'arte; The Corcoran Gallery of Art, Institute of Contemporary Arts, Wash-
ington, D.C.; Worcester Art Museum. Mr. Murch's work is in many public and
private collections.
47
v>
Raymond Parker, Untitled, 69" x 70", oil on canvas,
n 960-61. Lent by Mrs. F. W. Hilles, New Haven,
Connecticut. (Samuel M. Kootz Gallerv, Inc., New-
York City) (1961)
Raymond Parker was born in Beresford, South
Dakota, in 1922. He attended the State University
of Iowa where he received his B.A. degree in 1946
and his M.F.A. degree in 1948. He has taught at the
State University of Iowa, at the University of Minne-
sota, and in summer session at the University of South-
ern California. Since 1955, he has been a member of
the teaching staff at Hunter College, New York. He
lives in New York City.
Mr. Parker has been the recipient of awards from
The Minneapolis Institute of Arts, 1948, 1949; St. Paul
Gallery, 1949; Walker Art Center, Minneapolis, 1949,
1951. Eighteen special exhibitions of his work have
been held since 1 950.
His work has been included in group exhibitions at
the Museum of Modern Art, New York, 1950; Whitney
Museum of American Art, New York, 1950, 1952, 1958;
The Metropolitan Museum of Art, New York, 1950;
Oberlin College, 1951; Walker Art Center, Minne-
apolis, 1956; Stable Gallery, New York, 1956; Bienal
Interamericana, Mexico City, 1960; University of Illi-
nois, 1961; The Solomon R. Guggenheim Museum,
New York, 1961; Seattle World's Fair, 1962; Des
Moines Art Center, 1962-63.
Mr. Parker's work is in the collections of the
Albright-Knox Art Gallery, Buffalo; Dayton Art Insti-
tute; Fort Worth Art Center; State University of Iowa;
Tate Gallery, London; The Minneapolis Institute of
Arts; Walker Art Center, Minneapolis; The Solomon
R. Guggenheim Museum, Museum of Modern Art,
Whitney Museum of American Art, New York; Minne-
sota State Historical Society, St. Paul.
PARKER
48
DAVIS
n
t>*
oil on canvas,
San Francisco,
73 Jerrold Davis, The Bay, 48" x 60'//',
, L 1960. Lent by Miss Judith McBean,
California. (1959, 1961)
"My objective is simply to paint."
Jerrold Davis was born in Chico, California, in
1926. He studied at the University of California,
Berkeley. Mr. Davis was the recipient of a Sigmund
M. Heller fellowship in 1953 and a John Simon
Guggenheim Memorial Foundation fellowship in 1959.
He lives in Berkeley, California.
Mr. Davis received an award from the California
Palace of the Legion of Honor, San Francisco, 1961.
His work has been included in group exhibitions at the
Carnegie Institute, Pittsburgh; California Palace of tin-
Legion of Honor, San Francisco; Museu de Arte
Moderna de Sao Paulo, Brazil.
49
John Baxter, Summer Geese, 6", stone and wood,
1961. (David Cole Gallery, San Francisco, Cali-
fornia)
"What I believe and hope I am doing is to
make tangible the world of my imagination: each
piece of sculpture is a new landmark in the region
I would like to materialize. To me the essence of
poetry lies in a relationship: that which exists be-
tween self-conscious, civilized man, and self-
sufficient, primeval nature. I try to distill this es-
sence in several ways.
"I like to juxtapose the spontaneous forms of
the unhumanized world (stones, shells, bones and so
forth) with wooden blocks and pillars, rods and
rings of metal: the products, sometimes the by-
products, of human activity. To me the effects of
weathering on such diverse elements are beautiful;
I make use of the natural grays and umbers and
rusty browns, the blank bone-whites, not only for
their own quality, but also because they so power-
fully evoke the concepts of time, the elements and
organic change. In assembling my structures, I call
on human experience — the experience of art-
history — in two distinct, but obviously related, as-
pects. I work for proportion according to my own
instincts, strengthened by all I have observed of
the sculpture of past traditions; and I try to evoke
a sense of scale by making figurative reference to
the objective world. I am drawn to the realm of
myth and legend in such references — this chiollv
when human or animal resemblances are involved;
otherwise simply to the phenomena of geography.
I'm aware that humor, sometimes even farce, may
involve itself in my visual puns; when this happens
of its own accord, I accept it gladly — but I have
never indulged in deliberate clowning. I think the
pervading mood of my sculpture is reflective and
rather quiet, but charged — if I fulfill my intention
— with the latent energy of universal life."
John Baxter was born in San Francisco in 1912.
He studied at the University of California, Los
Angeles. He served as a lecturer at the Philadelphia
Museum of Art, 1950-53; instructor, Philadelphia
Museum College of Art, 1953-56; and curator of
education, San Francisco Museum of Art, 1956-59.
He lives in Oakland, California.
Special exhibitions of Mr. Baxter's work have
been held at the San Francisco Museum of Art,
1946, 1959; The Print Club, Philadelphia, 1954;
Willard Gallery, New York, 1955; David Cole
Gallery, San Francisco, 1960, 1962; Esther-
Robles Gallery, Los Angeles, 1960; The Phoenix
Art Museum, 1960; M. H. De Young Memorial
Museum, San Francisco, 1961. Mr. Baxter's work
has been included in group exhibitions at The Art
Institute of Chicago; Los Angeles County Museum;
Museum of Modern Art, Whitney Museum of Amer-
ican Art, New York; Philadelphia Museum of Art;
Carnegie Institute, Pittsburgh; The Print Club,
Philadelphia; M. H. De Young Memorial Museum,
California Palace of the Legion of Honor, San
Francisco; San Francisco Museum of Art; Stanford
University, Palo Alto, California. His work is found
in many private collections.
BAXTER
50
Robert Gwathmey, Woman Arranging last-, 48" x
36", oil on canvas, 1962. (Terry Dintenfass, New
York City) (1950, 1951, 1953)
"Here is an excerpt from a critic's pen in 1955
'. . . since we are now able to look and enjoy Per-
sian carpets as pictures.' This is arbitrary.
"Broadly speaking there are two branches of
art; one is image (fine art), the other is ornament
(applied art). Ornament is usually a status symbol
— the extra braid on the General's visor; the elab-
oration of the high priest's vestments; the added
decoration on the chief's canoe. Folk art as ex-
pressed in costume not only separates one province
from another but implies a proud distinction, etc.
"Image is fraught with deeper meaning, a belief
in order, a system, if you will. It is the desire to
find and separate truth from the complex of lies and
evasions in which we live.
"Art is the conceptual solution of complicated
forms — the perceptual fusion of personality, not
humble ornamentation of surface pyrotechnics.
Beauty never comes from decorative effects but from
structural coherence. Art never grows out of the
persuasion of polished eclecticism or the inviting
momentum of the bandwagon.
"Respect and encourage the artist's bias in
order that he might work free of compromise.
Search for patronage be it private, public, or
industrial."
Robert Gwathmey was born in Richmond, Vir-
ginia, in 1903. He studied at the Maryland Institute
in Baltimore; The Pennsylvania Academy of the
Fine Arts, Philadelphia; and at North Carolina State
College, Raleigh. He received a Rosenwald fellow-
ship in 1945 and a grant from the American Acad-
emy of Arts and Letters in 1946. Mr. Gwathmey has
taught at Beaver College, Jenkintown, Pennsylvania,
and at Carnegie Institute of Technology, Pittsburgh.
He teaches now at The Cooper Union School, New-
York. He lives in New York City.
Mr. Gwathmey has received awards from The
Fine Arts Gallery of San Diego, 1941; Carnegie
Institute, Pittsburgh, 1941; Pepsi-Cola Company,
New York, 1946. His work has been represented in
exhibitions held by the Museum of Fine Arts,
Boston; The Art Institute of Chicago; University of
Illinois; Brooklyn Museum, The Metropolitan Mu-
seum of Art, Museum of Modern Art, Whitney
Museum of American Art, New York; The Pennsyl-
vania Academy of the Fine Arts, Philadelphia; Car-
negie Institute, Pittsburgh; Virginia Museum of Fine
Arts, Richmond; The Corcoran Gallery of Art,
Washington, D.C.
Mr. Gwathmey 's work is found in the collec-
tions of the Museum of Fine Arts, Boston; Whitney
Museum of American Art, New York; Carnegie
Institute, Pittsburgh; Virginia Museum of Fine Arts,
Richmond; The Fine Arts Gallery of San Diego;
The Museum of Fine Arts, Springfield, Massa-
chusetts; University of Illinois.
GWATHMEY
51
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52
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TOBEY
<\*
' Mark Tobev, Remote Space. 39' 2" x 20", tempera
on paper, 1962. (Willard Gallery, New York Cits
(1949, 1950, 1951, 1955, 1959)
Mark Tobey was born in Centerville, Wiscon-
sin, in 1890. He studied at The School of The Art
Institute of Chicago and under Frank Zimmerer
and Mr. Reynolds in Chicago, and briefly under
Kenneth Hayes Miller in New York. He served as
an illustrator in Chicago and on McCall's Magazim
in New York. While in New York he worked as a
portrait painter and an interior decorator. He went
to Paris in 1925, to Mexico in 1931, to Europe
in 1932, and to China in 1934, where he studied in
Shanghai under Teng Kuci. Mr. Tobey taught at
the Cornish School in Seattle from 1923-25, and at
Dartington Hall, Devonshire, England, from 1931-38.
He lives in Seattle.
Mr. Tobey has won awards from the Seattle
Art Museum, 1940; The Metropolitan Museum of
Art, 1942, Rockefeller Center, 1945, The Solomon
R. Guggenheim Museum, 1956, American Institute
of Architects, 1957, all of New York; Venice Bien-
nale d'arte. 1958; Art in America (magazine), 1958;
Carnegie Institute, Pittsburgh, 1961.
Special exhibitions of Mr. Tobey 's work have
been held at M. Knoedler & Co., New York, 1917;
Arts Club of Chicago, 1928, 1940, 1945; Romany
Marie's Cafe Gallery. New York, 1929; Cornish
School, Seattle, 1930; Contemporary Arts Gallery,
New York, 1931; Paul Elder Gallery, San Francisco,
1934; Beaux Arts Gallery, London, 1934; Seattle
Art Museum, 1935, 1942, 1949: Willard Gallery,
New York. 1944, 1947, 1949, 1950. 1951, 1953, 1954,
1957; Portland (Oregon Art Museum, 1945; San
Francisco Museum of Art, 1945; Margaret Brown
Gallery, Boston, 1949, 1951, 1954, 1956; California
Palace of the Legion of Honor, San Francisco, 1951;
University of Chicago, 1952; Zoe Dusanne Gallery,
San Francisco, 1952; Otto Seligman Gallery, Seattle.
1954, 1955, 1957, 1962; Gump's Gallery, San Fran-
i isco, 1955; Paul Kantor Gallery, Los Angeles, 1955;
Institute of Contemporary Arts. London, 1955;
Galerie Stadler, Paris, 1958; St. Albans School,
Washington, D.C., 1959; Fredric Hobbs Fine Art,
San Francisco, 1960; Galerie Beveler, Basel, 1961;
Royal S. Marks Gallery, New York, 1961; The
Whitechapel Art Gallery, London, 1962; The
Phillips Gallery, Washington, D.C., 1962. His work
has been included in major group exhibitions both
in the United States and abroad.
Mr. Tobey s work is represented in the collec-
tions of the Addison Gallery of American Art, And-
over; The Baltimore Museum of Art; Museum of
Fine Arts, Boston; Albright-Knox Art Gallery,
Buffalo; The Art Institute of Chicago; The Detroit
Institute of Arts; Wadsworth Atheneum, Hartford;
Milwaukee Art Center; Brooklyn Museum, The
Metropolitan Museum of Art, Museum of Modern
Art, Whitney Museum of American Art, New York;
Carnegie Institute, Pittsburgh; Portland (Oregon)
Art Museum; San Francisco Museum of Art; City
An Museum of St. Louis; Seattle Art Museum;
Munson-Williams-Proctor Institute, Utica; The Phil-
lips Gallery. Washington, D.C.; Norton Gallery,
West Palm Beach; and in numerous private collec-
tions in the United States and abroad.
'>•;
Jl
**
o^
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^
OLIVEIR A
Nathan Oliveira, Man n^n Hand to Chin, 2bVi" x 20!4", gouache on masonite, 1961.
(Paul Kantor Gallery, Beverly Hills, California) (1957, 1961)
Nathan Oliveira was born in Oakland, California, in 1928. He studied at Mills
College, Oakland, and received his M.F.A. degree from the California College of Arts
and Crafts, Oakland, in 1952. He was awarded a Louis Comfort Tiffany Foundation
scholarship in 1956, a John Simon Guggenheim Memorial Foundation fellowship in
1958, and a Norman Wait Harris Bronze Medal and Prize, The Art Institute of
Chicago, 1959. Mr. Oliveira has taught at the California School of Fine Arts, San
Francisco; California College of Arts and Crafts, Oakland; and the University of Illi-
nois. He lives in Piedmont, California.
Special exhibitions of his work have been held at The Alan Gallery, New York,
1958, 1959, 1960, 1961; Paul Kantor Gallery, Beverly Hills, 1960, 1961; University of
Illinois, 1961. His work has been included in group exhibitions at the University of
Illinois, 1957, 1961; Whitney Museum of American Art, New York, 1958, 1959, 1960,
1961; International Exhibition, Tokyo, 1958; Bienal Interamericana, Mexico City,
1958; Museum of Modern Art, New York, 1959; The Art Institute of Chicago, 1959,
1960, 1961; Carnegie Institute, Pittsburgh, 1961; The Solomon R. Guggenheim
Museum, New York, 1961; Seattle World's Fair, 1962; and at other institutions.
Mr. Oliveira's work is represented in the collections of the University of Cali-
fornia, Los Angeles; The Art Institute of Chicago; Museum of Contemporary Art,
Dallas; University of Michigan; Walker Art Center, Minneapolis; Museum of Modern
Art, Whitney Museum of American Art, New York; San Francisco Museum of Art;
Butler Institute of American Art, Youngstown.
54
mmwWmmv $
TSENG
1
YU-HO
Tseng Yu-Ho, Mana, 24" x 32", dsui mounted on
panel, 1962. (The Downtown Gallery, New York
City) (1959, 1961)
"A name is given to my painting usually after
the picture is born. I am still fascinated with the
power of mastering the matter, to animate inanimate
things."
Tseng Yu-Ho (Mrs. Gustav Ecke) was born in
Peking in 1923. She received a degree in art from
Fujen University, Peking, in 1942 and continued her
graduate studies in the history of Chinese art, litera-
ture, and philosophy in Peking until 1948. In 1949
she moved to Honolulu, and in 1953 she was
awarded a Rockefeller scholarship under which she
traveled in the United States studying museum and
private art collections. In 1956-57 she traveled and
studied art in Europe. She has painted murals in
Kauai and Honolulu and created stage designs and
costumes for productions at the Juilliard School of
Music in New York City and for St. John's College,
Annapolis. During the summer of 1958 Tseng
Yu-Ho conducted lecture courses on Chinese paint-
ing at the University of California in Berkeley.
Since 1959 she has taught painting at the Art School
of the Honolulu Academy of Art. She lives in
Honolulu.
Special exhibitions of Tseng Yu-Ho's work have
been held at the Hong Kong University; Honolulu
Academy of Arts; China Institute, London; Mil-
waukee Art Center; Walker Art Center, Minne-
apolis; The Downtown Gallery, New York: Musee
Cernuschi, Paris; University of Peking; the M. H.
De Young Memorial Museum, San Francisco;
Smithsonian Institution; Stanford University;
Galerie Fussli, Zurich.
Tseng Yu-Ho's work is represented in the col-
lections of The Art Institute of Chicago; Museum
for Ostasiatische Kunst, Cologne; Honolulu Acad
emy of Am: Milwaukee Art Center; Walker Art
Center, Minneapolis; Staten Island Institute of Arts
and Sciences; Museum of Eastern Art, Oxford; Stan-
ford University, Palo Alto; Williams College.
> I
Harvey Weiss, Jericho, 60", brass, 1962. (Paul Rosenberg & Co., New York City)
(1961)
'"I would hesitate to comment on the present direction of American Art, except
as followed by myself. But I have found from my own experience that completely
non-representative art is lacking a dimension. Regardless of how sophisticated or
powerful a design, without subject matter, its relationship to human thought and
feeling is tenuous. For me, the result is rarely anything more than decorative.
"It is an effort to move on from a monolithic concept of sculpture. I have been
evolving a 'scenic' or 'tableau' subject matter which contains many elements — many
figures, props, architectural parts. I find that this richness of subject matter enables
me to develop complex spatial compostions which have a literary interest in addition
to a purely three-dimensional design interest.
"Working in this way I can deal with the feeling and mood and design of situa-
tions and events rather than particular, individual subjects. I have found that this
approach has opened up entirely new possibilities for me."
Harvey Weiss was born in New York City in 1922. He studied at New York Uni-
versity, the National Academy of Design, Contemporary Arts, and the Art Students
League, New York, and privately with Ossip Zadkine in Paris. He teaches occasion-
ally, writes, and illustrates children's books. He lives in Westport, Connecticut. Mr.
Weiss received a citation in the playground sculpture competition from the Museum
of Modern Art, New York, 1955. His work has been shown in special exhibitions at
Paul Rosenberg & Co., New York, and in group exhibitions at the Museum of Modern
Art, Riverside Museum, New York. His sculpture is in the collection of the Museum
of Modern Art and in those of Joseph Hirshhorn and Roy Neuberger, New York.
*
56
WEISS
Ml
&asatoyo Kishi, Opus No. 62-607, 70" x 48", oil on canvas, 1962. (Bolles
Gallery, San Francisco, California)
"[The] title of the painting does not mean anything, and also paint-
ing itself is not a kind of thing to explain something.
"I always hope that my painting will be born from the abyss of
inevitability; and I am trying to forget and throw away everything: old
concept, knowledge, looking back and forward . . . , when I start to
paint."
Masatoyo Kishi was born in Sakai, Japan, in 1924. He was grad-
uated from the Sakai Middle School in 1941 and completed his studies
in the science course at the Tokyo Physical College in 1945. Mr. Kishi
was one of the organizers of the Tekkeikai Group in 1958. In 1959 he
became associated with the Vamada Gallery in Kyoto. He came to the
United States in 1960, and at the present time he lives in San Francisco,
California.
Special exhibitions of Mr. Kishi's work have been held in Osaka,
1956; Osaka, Kobe, Kyoto, and Tokyo in 1957, 1958, 1959, and 1960:
Thibaut Gallery, New York, 1961; Bolles Gallery, San Francisco, 1962.
His paintings have been included in group exhibitions at the City Art
Museum, Kyoto; Ginza Gallery, Tokyo, 1960; Carnegie Institute, Pitts-
burgh, 1961; Bolles Gallery, San Francisco, 1961.
KISHI
57
<$$
THOMAS
John Thomas, Figure and Foliage, 60" x 51", oil on canvas, 1961. (Esther-
Robles Gallery, Los Angeles, California) (1961)
"The shattering of the mass of the figure into color chunks, or frag-
ments, makes it possible for this woman to fuse momentarily with the
color chunks of the surrounding foliage. They swirl as one substance, but
then, there is a coalescence of these color fragments into isolated masses
where figure and foliage separate from each other to exist independently
in a real space where all is apparently stable and sunlit."
John Thomas was born in Bessemer, Alabama, in 1927. He attended
the University of Georgia, Athens, 1946-48; the New School for Social
Research, New York, where he received his Bachelor's degree in 1951;
and New York University, where he received his Master's degree in 1954.
He has taught at The Detroit Institute of Arts, 1957, and the State
University of Iowa, 1962. Mr. Thomas lives in Iowa City, Iowa.
He won an award in the Tucson Festival, 1962. His work has been
included in exhibitions at the Galleria Schneider, Rome, 1955; Birming-
ham Museum of Art, 1955; The Artist Market, Detroit, 1956; Wichita Art
Museum, 1957; Fine Arts Association, Tucson, 1957; The Alan Gallery,
New York, 1957, 1958, 1959, 1960, 1961; Santa Barbara Museum of Art,
1957; University of Nebraska, 1958; Whitney Museum of American Art,
New York, 1958; San Francisco Museum of Art, 1958, 1960; University of
Illinois, 1961; The International Gallery, Washington, D.C., 1961; Esther-
Robles Gallery, Los Angeles, 1961; Tucson Festival, 1962. Mr. Thomas'
work is in many private collections.
1 ?V \ «A
58
13
Enrico Donati, 222 CP.S 7962, 50"x60", oil and sand on canvas, 1962.
(Staempfli Gallery, New York City) (1948, 1950, 1951, 1959, 1961)
Enrico Donati was born in Milan, Italy, in 1909. Mr. Donati has
served on the advisory board of Brandeis University, Waltham, Massa-
chusetts, and on the board of the Parsons School of Design, New York;
he has been a visiting critic at Yale University. He lives in New York
City.
Seventeen special exhibitions of Mr. Donati's work have been held in
Chicago, New York, Milan, Paris, and Venice. His work has been in-
cluded in group exhibitions at Carnegie Institute, Pittsburgh, 1950-58;
Venice Biennale d'arte, 1950; Museu de Arte Moderna de Sao Paulo,
Brazil, 1953; The Art Institute of Chicago, 1954, 1957; Whitney Museum
of American Art, New York, 1954, 1956, 1958, 1959; The Solomon R.
Guggenheim Museum, New York, 1955.
Mr. Donati's work is in the collections of The Baltimore Museum of
Art; Albright-Knox Art Gallery, Buffalo; The Detroit Institute of Arts;
Indian Head Mills, Museum of Modern Art, Rockefeller Institute, Whit-
ney Museum of American Art, New York; City Art Museum of St. Louis;
and in many private collections.
DONATI
59
Seymour Lipton, Codex #2, 66", bronze on monel metal, 1962.
(Betty Parsons Gallery, New York City) (1953, 1955, 1959)
"The Codex #2 like any other work has an origin that can
only be guessed at. It grew out of my previous work Manuscript as
a further image of the book of Man and Nature, and the problems
of good and evil, of birth and growth, etc. Of course such notions
are part of a vortex of feeling involving a fresh formal solution;
both aspects always working together for me in double harness."
Seymour Lipton was born in New York City in 1903. He was
graduated from Columbia University in 1927. He received a grant
from the National Institute of Arts and Letters, New York, 1958;
a fellowship from The John Simon Guggenheim Memorial Founda-
tion, New York, 1960; and a Ford Foundation award, 1960. Mr.
Lipton has taught at The Cooper Union School of Art and Archi-
tecture, New York, 1943-44; New Jersey State Teacher's College,
Newark, 1944-45; Yale University School of Art and Architecture,
New Haven, 1957-59; New School for Social Research, New York,
1940 to the present. Mr. Lipton lives in New York City.
Mr. Lipton has received special awards from The Art Institute
of Chicago, 1957; Bienal do Museu de Arte Moderna de Sao Paulo,
Brazil, 1957; New School for Social Research, 1960; Architectural
League of New York, 1960, 1962.
Special exhibitions of his work have been presented at the
ACA Gallery, New York, 1938; Galerie St. Etienne, New York,
1943; Betty Parsons Gallery, New York, 1948, 1950, 1952, 1954,
1958; Watkins Gallery, Washington, D.C., 1951; State University
College of Education, New Paltz, New York, 1955; Museum of
Modern Art, New York, 1956; Museu de Arte Moderna de Sao
Paulo, Brazil, 1957; Venice Biennale d'arte, 1958; Rensselaer Poly-
technic Institute Museum, Troy, 1961.
His work has been included in group exhibitions at The Balti-
more Museum of Art; Museu de Arte Moderna de Sao Paulo,
Brazil; United States Pavilion, International Pavilion, Bruxelles
World's Fair; Albright-Knox Art Gallery, Buffalo; The Art Insti-
tute of Chicago; Cincinnati Art Museum; Cleveland Museum of
Art; Des Moines Art Center; The Detroit Institute of Arts; Tate
Gallery, London; Yale University Art Gallery, New Haven; Brook-
lyn Museum, Museum of Modern Art, The Metropolitan Museum
of Art, The Jewish Museum, Whitney Museum of American Art,
New York; Musee d'Art Moderne, Musee Rodin, Paris; San Fran-
cisco Museum of Art; Santa Barbara Museum of Art; The Art LIPTON
Gallery of Toronto; Munson-Williams-Proctor Institute, Utica;
Worcester Art Museum; and in USIA and other exhibitions in
Europe, the Near and Far East, and Russia.
Mr. Lipton's work is in the following collections: The Balti-
more Museum of Art; Albright-Knox Art Gallery, Buffalo; Inland
Steel Company, Chicago; Des Moines Art Center; The Detroit
Institute of Arts; Temple Beth-El, Gary; Wadsworth Atheneum,
Hartford; University of Kansas Museum of Art; Brooklyn Museum,
The Metropolitan Museum of Art, Museum of Modern Art, Whit-
ney Museum of American Art, New School for Social Research,
Manufacturers Trust Company, International Business Machines,
Inc., New York; The Franklin Institute, Philadelphia; Reynolds
Metals Company, Richmond; Santa Barbara Museum of Art; Tel
Aviv Museum; The Art Gallery of Toronto; Temple Israel, Tulsa;
Munson-Williams-Proctor Institute, Utica; Washington Gallery of
Modern Art; Yale University; and in the private collections of Mrs.
Nathaniel Owings, Big Sur, California; Mr. and Mrs. Leigh B.
Block; Mrs. Florsheim, Earle Ludgin, Arnold H. Maremont, Chi-
cago; Joseph H. Hirshhorn, New Canaan, Connecticut; Mr. and
Mrs. Fred W. Hilles, New Haven; William Burden, Mr. and Mrs.
Howard Lipman, Mr. and Mrs. Albert List, Nelson Rockefeller,
Mr. and Mrs. Walter Ross, New York; Mrs. Greenfield, Philadel-
phia; H. J. Heinz, Pittsburgh.
60
61
BARKER
Stfr
13
y\'Uf,Walter Barker, Persian Series #19, 84" x 53", oil on
canvas, 1962. (Albert Landry Galleries, New York
City)
'What a canvas triggers is the interesting in-
tangible to me. What my objectives are, I try to
conceal as well as possible in order for the trap to
work and for the reaction to be unrehearsed. Some-
times the concealment is elaborate and sometimes it
is simple, but in any case it should be deceptive
initially, like an ikon. The canvas has to operate as
a catalyst, come off the wall and stop hanging there.
In the end, everyone involved has the responsibility
to avoid boredom."
Walter Barker was born in Coblenz, Germany,
in 1921. He studied at Washington University where
he received his B.F.A. degree in 1948, and at the
University of Indiana where he received his M.F.A.
degree in 1950. He studied also at the University
of North Carolina and at Iowa State University.
His principal instruction in art was under Max
Beckmann and Philip Guston. He received a foreign
travel scholarship from Washington University in
1948, a fellowship at the Max Beckmann Gesell-
schaft, Munich, 1955, and an Italian government
62
grant in 1956. Mr. Barker has taught at Salem
College, Winston-Salem, North Carolina, and at
Washington University, St. Louis. He lives in New
York City.
Special exhibitions of his work have been held
at Washington University, St. Louis, 1955; Otto
Gerson Gallery, New York, 1959; William Rockhill
Nelson Gallery of Art, Kansas City, 1961. His work
has been included in group exhibitions at Carnegie
Institute, Pittsburgh, 1956; and the Virginia Mu-
seum of Fine Arts, Richmond, 1962.
Mr. Barker's work is represented in collections
of the Museum of Fine Arts, Perry T. Rathbone,
Boston; Colorado Springs Fine Arts Center; William
Rockhill Nelson Gallery of Art, Kansas City; The
Arkansas Arts Center, Little Rock; Los Angeles
County Museum; University of Minnesota; Brook-
lyn Museum, Joseph H. Hirshhorn, Museum of
Modern Art, New York; Philadelphia Museum of
Art; James Michener, Pipersville, Pennsylvania;
Virginia Museum of Fine Arts, Richmond; City
Art Museum of St. Louis; William Eisendrath,
Joseph Pulitzer, Jr., St. Louis.
Rico Lebrun, Two Figures Emerging from Flood,
76"x98", casein on canvas, 1961. (Nordncss Gallery,
Inc., New York City) (1949, 1951, 1957, 1959,
1961)
"To do a landscape of alluvial forms in man's
imprint and semblance — "
Rico Lebrun was born in Naples, Italy, in 1900.
He studied at the Academy of Beaux Arts and at
the Industrial Institute of Applied Arts, Naples,
1919-21. He received fellowships from the John
Simon Guggenheim Memorial Foundation in 1936,
1937, and 1962. He has taught at the Art Students
League, New York, 1936-37; Chouinard Art Insti-
tute, Los Angeles, 1938-39; Walt Disney Studios,
1940; Tulane University, 1942-43; Colorado Springs
Fine Arts Center, 1945; Jepson Art Institute, Los
Angeles, 1947-50; Instituto Allende, Mexico, 1953-
54; Yale University-Norfolk School, 1956; Univer-
sity of California, Los Angeles, summers, 1956, 1957;
Yale University, 1958-59; University of California,
Santa Barbara, 1962. He lives in Los Angeles,
California.
Mr. Lebrun has won awards from The Art
Institute of Chicago, 1947; Los Angeles County
Museum, 1948; University of Illinois, 1949, 1959;
The Metropolitan Museum of Art, New York, 1950;
American Academy of Arts and Letters, New York,
1952; The Pennsylvania Academy of the Fine Arts,
Philadelphia, 1953, 1962.
Since 1940, there have been thirty-seven special
exhibitions of Mr. Lcbrun's work. It has been in-
cluded in major group exhibitions here and abroad.
His paintings are found in the permanent collections
of the Addison Gallery of American Art, Andover;
Museum of Fine Arts, Boston; Columbus (Ohio)
Gallery of Fine Arts; Denver Art Museum; Fogg
Art Museum, Cambridge, Massachusetts; University
of Hawaii; University of Illinois; William Rockhill
Nelson Gallery of Art, Kansas City; Los Angeles
County Museum; University of Nebraska; The
Metropolitan Museum of Art, Museum of Modern
Art, Whitney Museum of American Art, New York;
The Pennsylvania Academy of the Fine Arts, Phila-
delphia; Rhode Island School of Design, Providence;
St. Paul Gallery and School of Art; California
Palace of the Legion of Honor, M. H. De Young
Memorial Museum, San Francisco; Santa Barbara
Museum of Art; Syracuse University; The Art Gal-
lery of Toronto; Munson-Williams-Proctor Institute,
Utica; Worcester Art Museum.
LEBRUN
63
.73
Ralph Du Casse, The Temple of Noo, 68" x 68", oil
on canvas, 1961. Lent by John Bolles. (Bolles
Gallerv, San Francisco, California) (1953, 1955,
1957, 1961)
"In the 1953 (University of Illinois) catalogue
I stated '. . . gradually ... a more literary quali-
ity . . .' seems to be reflected in my paintings. Now,
ten years later, I hope that this same quality is even
more intense and acute, and that I will have found
my way of even more clearly connecting the viewer
visually with my work."
Ralph Du Casse was born in Paducah, Ken-
tucky, in 1916. He studied at the Cincinnati Art
Museum. He received his B.A. degree in 1940 from
the University of Cincinnati; his M.A. degree in
1948 from the University of California, Berkeley;
and his M.F.A. degree in 1950 from the California
College of Arts and Crafts, Oakland. He has taught
at the University of California, Berkeley; California
College of Arts and Crafts, Oakland; and California
Art Institute, San Francisco. At the present time he
teaches at Mills College, Oakland, and he lives in
San Francisco.
Mr. Du Casse has won awards from the Museu
de Arte Moderna de Sao Paulo, Brazil; University
of Illinois; The Solomon R. Guggenheim Museum,
New York; San Francisco Museum of Art. His
work has been included in group exhibitions at the
Museu de Arte Moderna de Sao Paulo, Brazil;
University of Illinois; The Solomon R. Guggenheim
Museum, New York; California College of Arts and
Crafts, Oakland; Carnegie Institute, Pittsburgh; San
Francisco Museum of Art; Santa Barbara Museum
of Art.
Mr. Du Casse's paintings are found in the col-
lections of Museu de Arte Moderna de Sao Paulo,
Brazil; University of Illinois; The Solomon R.
Guggenheim Museum, New York; Virginia Museum
of Fine Arts, Richmond; and of the San Francisco
Museum of Art.
DU CASSE
64
= 52-
GIBRAN
Kahlil Gibran, Seated Nude, 42", hammered steel, 1960-61. (Nordness
Gallery, Inc., New York City) (1959)
"Look at my work; I do not write poetry about it."
Kahlil Gibran was born in Boston, Massachusetts, in 1922. He studied
at The School of the Museum of Fine Arts, Boston. He was the recipient
of a John Simon Guggenheim Memorial Foundation fellowship for 1959
and for 1960, and of an award from the National Institute of Arts and
Letters in 1961. He taught at VVellesley College in 1957, and he lives in
Boston, Massachusetts.
Mr. Gibran received an award from the Boston Arts Festival, 1956,
and from The Pennsylvania Academy of the Fine Arts, Philadelphia,
1958.
Special exhibitions of his work have been held in Boston and New
York. He has participated in group exhibitions at the Boston Arts Festival;
Institute of Contemporary Art, Boston; Dallas Museum of Fine Arts; Des
Moines An Center; The Detroit Institute of Arts; Museum of Fine Arts
of Houston; Los Angeles County Museum; National Academy of Design,
Whitney Museum of American Art, New York; The Pennsylvania Acad-
emy of the Fine Arts, Philadelphia; Carnegie Institute. Pittsburgh; The
Corcoran Gallery of Art, Washington, D.C.
65
David Simpson, Red Stripes, 1W x 45", oil on canvas,
1962. (David Cole Gallery, San Francisco, California)
"Horizontal space may be considered a 'form' of
painting, in the same sense and in a similar way, as
landscape. Although 'landscape' is too confining a
term, it approximates my interest. The horizontal
movement is part of the definition for landscape, cloud-
scape, waterscape, moonscape, etc.
"I prefer art — both the making and experiencing
of it — as an act of contemplation. To rely solely on
egotistical strength, to splash playfully about, is beside
the point. It is easy to 'express' yourself as an animal;
a greater achievement would be an attempt to produce
an art which is in itself expressive.
"My painting, whether termed landscape or 'pure
painting,' is meant to be contemplative in nature."
David Simpson was born in Pasadena, California,
in 1928. He received his Bachelor's degree from the
California School of Fine Arts and his Master's degree
from San Francisco State College. He lives in San
Francisco.
Special exhibitions of Mr. Simpson's work have
been held at the San Francisco Art Association Gal-
lery, 1958; San Francisco Museum of Art, 1959; David
Cole Gallery, San Francisco, 1959; Santa Barbara Mu-
seum of Art, 1960; Esther-Robles Gallery, Los Angeles,
1960; M. H. De Young Memorial Museum, San Fran-
cisco, 1961; Joachim Gallery, Chicago, 1962. His work
has been included in group exhibitions at the San Fran-
cisco Museum of Art, 1953, 1956, 1959, 1960; Denver
Art Museum, 1953, 1955, 1959; Oakland Art Museum,
1955, 1956, 1959, 1960; M. H. De Young Memorial
Museum, San Francisco, 1957, 1959, 1960; California
Palace of the Legion of Honor, San Francisco, 1958,
1960, 1961; Osaka, Japan, 1960; Carnegie Institute,
Pittsburgh, 1961; Virginia Museum of Fine Arts, Rich-
mond, 1962. His work is in the collection of the San
Francisco Museum of Art and in numerous private
collections here and abroad.
SIMPSON
66
«
.*■ — 1
rrjltll
ifctit
PACHECO
-5-
i
Maria Luisa Pacheco, Inner Light, 50" x 60", oil on canvas, 1961. (Rose
Fried Gallery, New York City)
"I begin to paint when a contact with the work has been established by
an image formed in my mind. The total structure is many times an arbi-
trary world in which the decorative beauty does not exist. The space is the
reality that has to be cut and filled with subjective and intimate expressions
of myself. In doing this I prefer simplicity."
Maria Luisa Pacheco was born in La Paz, Bolivia, in 1919. She studied
in Madrid, Spain. She has received prizes at the Bienal do Museu de Arte
Moderna de Sao Paulo, Brazil, 1953, 1957; Dallas Museum of Fine Arts,
1957; Pan American Union. Washington, D.C., 1959; Latin American Exhi-
bition, Baranquilla, 1960; and elsewhere. She was awarded a John Simon
Guggenheim Memorial Foundation fellowship in 1958-59. She has taught at
the National Academy of Fine Arts in La Paz. Miss Pacheco came to the
United States in 1956, and she lives in New York City.
Special exhibitions of Miss Pacheco's work have been held in La Paz,
Buenos Aires, Santiago, Lima. New York City, Washington, D.C., and Milan.
Her work has been included in group exhibitions in Madrid, Barcelona,
Havana, Bogota, Caracas, Sao Paulo, Rio de Janeiro, Dallas, Chicago, Pitts-
burgh, and New York City. Miss Pacheco's paintings are in museum collec-
tions in Sao Paulo, Buenos Aires, La Paz, Caracas, and Dallas; in the Pan
An i. i n .Hi I nioii; and in man) private collections in Europe and North and
South America.
67
68
RIVERS
73
■ Larry Rivers, Dying and Dead I eteran, 70"x94",
J oil on canvas, 1961. (Tibor de Nagy Gallery, New
York City) (1959)
Larry Rivers was born in New York City, 1923.
He was graduated from New York University, then
spent two years studying painting with Hans Hof-
mann and a year in Paris, copying in the Louvre
Museum. At the present time, Mr. Rivers lives in
Southampton, Long Island, New York.
Mr. Rivers received special awards in exhibi-
tions at The Corcoran Gallery of Art, Washington,
D.C., 1954, and in Arts Festivals at Spoleto, Italy,
and Newport, Rhode Island, 1958.
Seven special exhibitions of Mr. Rivers' work
have been held at New York galleries since 1949.
His work has been included in group exhibitions
presented by the Vangard Gallery, Paris, 1953;
American Federation of Arts (traveling exhibition),
1954-55; Museum of Modern Art, New York, 1956;
Museu de Arte Moderna de Sao Paulo, Brazil, 1957;
The Art Institute of Chicago; The Minneapolis
Institute of Arts; and in a special exhibition pre-
pared for circulation in Japan by the Museum of
Modern Art, New York.
Mr. Rivers' work is found in the collections of
the William Rockhill Nelson Gallery of Art, Kansas
City; The Minneapolis Institute of Arts; State Uni-
versity College of Education, New Paltz, New York;
Brooklyn Museum, The Metropolitan Museum of
Art, Miss Dorothy Miller, Museum of Modem Art,
Roy Neuberger, Mrs. John D. Rockefeller, Jr.,
Whitney Museum of American Art, New York;
Rhode Island School of Design, Providence; North
Carolina Museum of Art, Raleigh; The Corcoran
Gallery of Art, Washington, D.C.
69
SONENBERG
Jack Sonenberg, Zenith-White, 60"x60", oil on canvas, 1962. (Feingarten Galleries,
New York City )
"In my recent paintings I have worked with a finite image, that through its
positioning and concretion is made to dominate a large space. In Zenith-White I
have used this approach to present an image of soaring whiteness that carries with it a
surrounding void. In paintings that preceded Zenith-White I was concerned with
a space that was a fragment of a larger space, or an intersection in space through
which forms enter and depart. I started then to use concretions of paint in order to
seize the surface and arrest all motion. Whether with a fragment of space or with
a more finite form like Zenith-li'hite I have wanted to encompass more than appears
within the sides and top and bottom of a canvas, and at the same time I have wanted
to project the image beyond the surface of the canvas. The result has been a concrete
image bearing with it that condition of materiality, endurance, with which I am
concerned."
Jack Sonenberg was born in Toronto, Canada, in 1525. He attended the Ontario
College of Art, and the School of Fine Arts, Washington University, St. Louis. Mr.
Sonenberg received a Louis Comfort Tiffany Foundation scholarship, in 1962. He has
taught at the School of Visual Arts in New York. He lives in New York City.
Mr. Sonenberg has won awards from Bradley University, Peoria, 1955-60; The
Print Club, Philadelphia, 1956; Museum of Fine Arts, Springfield, Massachusetts,
1957; Silvermine Guild of Artists, New Canaan, 1962.
Mr. Sonenberg's work has been included in group exhibitions at the Brooklyn
Museum, New York, 1953, 1955, 1956, 1958, 1960,^1962; The Pennsylvania Academy
of the Fine Arts, Philadelphia, 1957, 1960; Butler Institute of American Art, Youngs-
town, 1958, 1961; Whitney Museum of American Art, New York, 1959. Mr. Sonen-
berg's work is represented in many public collections.
70
.-7^.
73
Richard Anuszkiewicz, Minos in the Labyrinth, 58" x 52", oil on canvas, 1962. (The
Contemporaries, New York City) (1961)
"My work is of an experimental nature and lias i entered on the investigation ol
the optical changes that occur by using complementary colors of full intensity when
juxtaposed, and their dynamic effect to the eye."
Richard Anuszkiewicz was horn in Erie, Pennsylvania, in 1930. He studied at
the Cleveland Institute of Art from 1948-53, where he received his B.F.A. degree,
and at Yale University from 1953-55, where he earned an M.F.A. degree. In 1953
he was awarded a Pulitzer Traveling Scholarship by the National Academy of Design.
He lives in New York City.
He has received awards in Erie, Pennsylvania, 1950-54; Cleveland, Ohio, 1951-55;
and Ohio State Fair, 1954. Special exhibitions of Mr. Anuszkiewicz's work have been
held at The Contemporaries, New York; Cleveland, Ohio; Youngstown, Ohio; and
Erie, Pennsylvania.
His work has been included in group exhibitions at the Museum of Modern Art,
New York, 1961; New York University, 1961; University of Illinois, 1961; Whitney
Museum of American Art, New York, 1962; Silverminc Ouild of Artists, New Canaan,
1962; Helsinki, Finland, 1962.
Mr. Anuszkiewicz's work is found in the following collections: Akron Art Insti-
tute; Cleveland Museum of Art; Museum of Modern Art, Nelson Rockefeller, New
York; Butler Institute of American Art, Youngstown; and other private collections.
ANUSZKIEWICZ
71
MC EWEN
Jean McEwen, Violet Rainbow, 60'A" x 6014", oil on canvas, 1962. (Martha Jackson
Gallery', New York City)
"From color for the sake of color, I wanted to explore unknown ranges as in this
painting which is violet over blue, so closely related that one could not think of this
work without all its components.
"As for the thought, the work, the difficulty, this is all forgotten when the painting
is done."
Jean McEwen was born in Montreal, Canada, in 1923. He was graduated from
the University of Montreal, but he is self-taught as an artist. He has received an award
in the Provincial Artistic Competitions, Quebec, 1962. He lives in Montreal.
Mr. McEwen's work has been shown in exhibitions at Agnes Lefort Gallery, Mon-
treal, 1951; Moos Gallery, Toronto, 1961; Martha Jackson Gallery, New York, 1963.
His work is in the collections of the Walker Art Center, Minneapolis, and the Museum
of Modern Art, New York.
72
WILDE
6 w^*1
John Wilde, Nine Crazy Girls, a Dog and a Cat at My Place, 12" x 18",
oil on canvas, 1961. (Robert Isaacson Gallery, New York City) (1948,
1952, 1953, 1955, 1957, 1959, 1961)
"I have little to add to what has been stated in previous catalogues
of the University of Illinois Biennial. On the whole I can hold with what-
ever I have said.
"I might just append this (maybe this sums it all up) : I like fruits
and naked ladies and old houses and dead fish and birds and meadow
mice and hair and many, many other things. I paint what I like and
maybe the painting says why."
John Wilde was born in Milwaukee, Wisconsin, in 1919. He studied
at the University of Wisconsin and received a Master's degree in 1948.
Mr. Wilde taught at the University of Wisconsin, where he was Chairman
of the Department of Art and Education, but after two years, he resigned
his position to devote full time to painting. Mr. Wilde lives in Evansville,
Wisconsin.
Mr. Wilde's work has been included in group exhibitions at the Arts
Festival, Aix-En-Provence; The Art Institute of Chicago; Denver Art
Museum; The Detroit Institute of Arts; Walker Art Center, Minneapolis;
The Metropolitan Museum of Art, Whitney Museum of American Art,
New York; Museum of Modern Art, Paris; Festival of The Two Worlds,
Spoleto, Italy. Mr. Wilde's work is in the collections of The Art Institute
of Chicago; Milwaukee Art Center; Whitney Museum of American Art,
New York; The Pennsylvania Academy of the Fine Arts, Philadelphia;
Carnegie Institute, Pittsburgh; Santa Barbara Museum of Art; Worcester
Art Museum.
73
■1 •
*>**
mm.
BALL
\ George Ball, Foam Spray, 63" x 63", oil on canvas,
1961. (Gump's Gallery, San Francisco, California)
"I have attempted in my work to find the
essential elements of the world that I see and feel.
To describe this, to make out of all the conflicting
aspects of the visual world a painting which pro-
duces an emotion, an idea about man's environ-
ment, a synthesis of nature is, for me, the real
meaning of abstraction. All the technique of paint-
ing, the physical and emotive qualities of the mate-
rial itself must, in the end, convey an idea, must
communicate a meaning understandable intuitively
to everyone."
George Ball was born in San Francisco, Cali-
fornia, in 1929. He studied at Stanford University,
where he earned his B.A. degree in 1951 and his
M.A. degree in 1952; at the California Art Institute,
Los Angeles, in 1956; at the University of Paris,
1956-59; and with Stanley Hayter at Atelier 17,
Paris, 1958-62. He won a Fulbright travel award in
1958-59. He lives in Oakland, California.
Mr. Ball has received awards from the French
government, 1960, and the San Francisco Museum
of Art, 1957; and James D. Phelan Awards from
the M. H. De Young Memorial Museum, San Fran-
cisco, in 1957 and 1958. Special exhibitions of Mr.
Ball's work were held at Gump's Gallery, San Fran-
cisco, 1957, 1962. His work has been included
in group exhibitions at the San Francisco Museum
of Art, 1957; M. H. De Young Memorial Museum,
San Francisco, 1957, 1959; The Pennsylvania Acad-
emy of the Fine Arts, Philadelphia, 1957, 1959;
Provincetown Art Festival, 1958; California Palace
of the Legion of Honor, San Francisco, 1960; and in
Paris, 1961.
Mr. Ball's work is in the collections of Mr.
Henry Luce, New York; the City of Paris; the
Achenbach Foundation of Graphic Art, San Fran-
cisco; San Francisco Museum of Art; Stanford
University.
74
DURCHANEK
Ludvik Durchanek, The Wish, 74", hammered
bronze, 1962. (Graham Gallery, New York City)
"Almost every adolescent wishes for Life, Lib-
erty and the pursuit of Happiness, a pot of gold or a
beloved.
"Basically the sculpture illustrates 'Illusion,' a
sy inbol for the evanescence of it all. It is made
from hammered 24 gauge sheet bronze, oxydized
with Liver of Sulphur."
Ludvik Durchanek was born in Vienna, Austria,
in 1902. He studied at The School of the Worcester
Art Museum and at the Art Students League, New
York. He lives in Wassaic, New York.
Special exhibitions of Mr. Durchanek's work
have been held at the Albany Institute of Art; and
Graham Gallery, New York. His work has been
included in group exhibitions presented by the Mu-
seum of Modern Art, Whitney Museum of American
Art, New York; Rhode Island School of Design,
Providence; Silvermine Guild of Artists, New
Canaan.
Mr. Durchanek's work is in the collections of
the Museum of Modern Art, New York; St. Paul
Minnesota) Gallery; and in the private collections
of Mr. and Mrs. Louis Baker; Mrs. Sidney
Berkowitz; Miss Bonnie Cashin; Mr. Michael
Erlanger; Mr. and Mrs. Albert Hackett; Mr. Sidney
Kingsley; Mr. and Mrs. Sylvan Lang; Mr. and Mrs.
F. A. Lichenstein; Mr. Howard Lipman; Mr. Law-
rence Marcus; Mrs. John D. Rockefeller, III; Mrs.
Daisy Shapiro; Mr. and Mrs. A. L. Spitzer; Mr.
Robert Strange; the Hon. Mr. and Mrs. Henry Ep-
stein; Mrs. Bert Fishel; Dr. and Mrs. Fred Olsen;
Mrs. Martin Shampaine; Mr. and Mrs. John
Schulte; Mr. Frank Weinstein; Mr. Roy Neuberger;
Mrs. Robert D. Simon, Jr.; Mr. Jacob Shulman;
Mr. and Mrs. Kenneth Dayton; Mrs. Florine Robin-
son; Mr. Walter Cerf; Mr. and Mrs. Robert D.
Straus; Mr. and Mrs. Victor Weingarten.
75
Joseph Goto, #14, 9", steel, 1961-62. (Allan
Frumkin Gallery, Chicago, Illinois) (1953,
1955, 1957)
Joseph Goto was born in Hilo, Hawaii, in
1920. He studied at The School of The Art
Institute of Chicago and at Roosevelt College,
Chicago. He was the recipient of a John Hay
Whitney Foundation fellowship and a grant
from the Graham Foundation for Advanced
Studies in the Fine Arts. He has taught at the
Richmond (Virginia) Professional Institute
and the University of Michigan. He lives in
Ann Arbor, Michigan.
Mr. Goto has received four awards from
The Art Institute of Chicago. His work has
been included in group exhibitions at The Art
Institute of Chicago; University of Illinois,
1955, 1957; Whitney Museum of American
Art, New York, 1956; Contemporary Arts
Association, Houston, 1957; Carnegie Institute.
Pittsburgh, 1958; Lake Forest (Illinois) Col-
lege, 1960; Michigan State University, 1962.
Mr. Goto's work is in the collections of
The Art Institute of Chicago; Mr. and Mrs.
Stanley Freehling, Mrs. Lillian Florsheim, Mr.
and Mrs. Bertrand Goldberg, Mr. and Mrs.
Arnold Maremont, Mr. John Peloza, Mr.
Joseph Shapiro, Mr. and Mrs. Solomon B.
Smith. Chicago; Indiana University: Michi-
gan State University; Mr. Edgar Kaufman,
Museum of Modern Art, New York.
GOTO
76
Elias Friedcnsohn, 77;, Secret, 37"x43'/fe", oil on canvas, 1962. (Fein-
garten Galleries, Beverly Hills, California) (1957, 1959, 1961)
Elias Friedensohn was bom in New York City in 1924. He studied
at Temple University, Philadelphia; at Queens College, New York; and
.a New York University. Mr. Friedensohn was the recipient of a Ful-
bright award in 1957 and a John Simon Guggenheim Memorial Founda-
tion fellowship in 1961. He teaches al Queens College, and he lives in
Flushing, New York.
Mr. Friedensohn's work has been included in exhibitions at the
University of Illinois, 1957, 1959, 1961; University of Wisconsin, 1957;
Whitnev Museum of American Art, New York, 1957, 1958, 1959, 1960,
1961, L963; Smithsonian Institution, 1958; The Corcoran Gallery of Art.
Washington, D.C., 1961.
His work is in the collections of the University of Illinois; Whitney
Museum of American Art, New York: and in many private collections.
FRIEDENSOHN
77
ROSENTHAL
78
Bernard Rosenthal, Sunaegis, 74", brass, I960. (Samuel M. Kootz Gal-
lery. Inc., New York Cit) (1955, 1959)
Bernard Rosenthal was born in Highland Park, Illinois, in 1914. He
was graduated with a Bachelor of Arts degree from the University of
Michigan in 1936. At the present time he lives in New York City.
Mr. Rosenthal received awards from the San Francisco Museum of
Art, 1950; Los Angeles County Museum, 1950, 1951, 1957, 1958; Audu-
bon Artists, Inc., New York, 1953; The Pennsylvania Academy of the
Fine Arts, Philadelphia, 1954; American Institute of Architects, South
California Chapter, 1959.
Special exhibitions of Mr. Rosenthal's work have been held at Asso-
ciated American Artists Galleries, Chicago, 1947; Scripps College, 1948;
San Francisco Museum of Art, 1950; Associated American Artists Gal-
leries. New York, 1950; Santa Barbara Museum of Art, 1952; Lon^ Beach
Museum of Art, 1952; Catherine Viviano Gallery, New York, 1954 1958
19;>9; Carnegie Institute. Pittsburgh, 1959; Samuel M. Kootz Gallery, Inc
New York, 1961.
His sculpture has been included in group exhibitions at Cranbrook
Academy of Art, Bloomfield Hills, Michigan; Institute of Contemporary
Art, Boston; Bruxelles World's Fair; University of Southern California;
The Art Institute of Chicago; Denver Art Museum; University of Illinois-
University of California, Los Angeles; Los Angeles County Museum;
Walker Art Center, Minneapolis; Architectural League of New York;
American Federation of Art (traveling exhibition), Audubon Artists, Inc.'
The Metropolitan Museum of Art. Museum of Modern Art, Sculptor's
Guild, Whitney Museum of American Art, New York; The Pennsylvania
Academy of the Fine Arts, Philadelphia; Philadelphia Museum of Art;
M. H. De Young Memorial Museum, San Francisco; San Francisco Mu-
seum of Art; Museu de Arte Moderna de Sao Paulo, Brazil; Yale
University.
Mr. Rosenthal's work is in the collections of Arizona State College;
The Baltimore Museum of Art; Albright-Knox Art Gallery, Buffalo!
Illinois State Museum, Springfield; Long Beach Museum of Art; Los
Angeles County Museum; Lytton Savings and Loan Association Collec-
tion; Lincoln (Massachusetts) Museum; Milwaukee Art Center; Museum
of Modern Art, New York; New York University; Santa Barbara Museum
of Art.
His architectural commissions include those for the New York
World's Fair, 1939; Max Strauss Memorial Center, Chicago, 1940;
Museum of Science and Industry, Chicago, 1941; Nokomis (Illinois) Post
Office, 1946; Motion Picture Country Home, San Fernando Valley, 1947-
William Goetz Garden, Beverly Hills, 1948; General Petroleum Building
Los Angeles, 1949; 260 Beverly Drive, Beverly Hills, 1950; Bullock's
Westwood, Los Angeles, 1951; RKO Studios, Los Angeles, 1952; UCLA
Elementary School, Los Angeles, 1952; J. W. Robinson Store, Beverly
Hills, 1952; Capri Theatre, San Diego, 1954; 1000 Lake Shore Drive,
Chicago, 1954; Beverly Hilton Hotel, Temple Emanuel, Beverly Hills'
1955; Police Facilities Building, Los Angeles, 1955; Southland Center^
Dallas; IBM Building, Los Angeles.
79
OKADA
^•KJM
Kenzo Okada, Aslant, 72"x54", oil on canvas, 1962. (Betty Parsons Gallery, New
York City)
Kenzo Okada was born in Yokohama, Japan, in 1902. He studied at the Mei-
jigaukuin Middle School, at Tokyo Fine Arts University, and in Paris from 1924-27.
He taught at Nippon University, 1940-42; at Musashino Art Institute, 1947-50; and
at Tama Fine Arts College, 1949-50. He has lived in New York City since 1950.
Mr. Okada received a Ford Foundation grant in 1959, and he has received exhi-
bition awards from Nikakai in Japan, 1936; Showa Shorei, 1938; Yomiuri Press, 1947;
The Art Institute of Chicago, 1954, 1957; Carnegie Institute, Pittsburgh, 1955; Colum-
bia, South Carolina, 1957; Venice Biennale d'arte, 1958.
Mr. Okada's work has been included in many major exhibitions and is in the
collections of The Baltimore Museum of Art; Museum of Fine Arts, Boston; Albright-
Knox Art Gallery. Buffalo; The Art Institute of Chicago; University of Colorado;
Brooklyn Museum, Chase Manhattan Bank, The Solomon R. Guggenheim Museum,
The Metropolitan Museum of Art, Museum of Modern Art, Rockefeller Institute,
Whitney Museum of American Art, New York; Carnegie Institute, Pittsburgh;
Reynolds Metals Company, Richmond; San Francisco Museum of Art; Santa Barbara
Museum of Art; Munson-Williams-Proctor Institute, Utica; The Phillips Gallery,
Washington, D.C.; Yale University; and in many other collections.
80
81
Carroll Cloar, The Brotherhood, 28"x44", tempera
on gesso panel, 19i>'_'. The Alan Gallery, New York
( ity) (1957, 1959)
I iiimy thing happened to me on (In- way to
the studio the othei day. 1 supped on a cal I'm \
B. Shelley, tnj youngest). Immediately the idea
occurred to me of creating a collage, or constru< tion,
by gluing, or attaching in some way, a live eat to a
< anvas. Paintings have been created that tick and
tell time, or smell, or gyre and gimble. Self-
destroying art machines have been executed success-
fully, as well as paintings that dissolve in dandruff
Hakes of paint on the galler) floor. But, as far as I
have been able to ascertain, no one has ever < reated
a painting that bad to be fed Puss 'n Boots twice a
day. Certainly thru' has never been, quite yet,
a painting that would chase mice and Bessie bugs.
"I nfortunately 1 am not a courageous man,
and I rejected the idea. I am a timid man because
I do not have access to the collective courage of
artists who flock together or run in schools. I have
never been associated much with other artists —
and don't speak the language — but, rather, am
more apt to be found in the company of Attomeys-
at Law, Dirt Farmers, Chiropodists, Midwives, Fish-
wives, Insurance Adjusters, Crop Dusters, Lefi
Fielders, Welders, Weavers, Oeputj Sheriffs, Cut-
purses, Wet Nurses, Faith Healers, Used Car Deal-
ers people like that.
"Joking aside, I really take a great interest in
the innovations, and I am not an angry young man.
I am neither young nor angry."
Carroll Cloar was born in l'.arle, Arkansas, in
191 I. He studied at Southwestern College, Mem-
phis; Memphis Academ) of Art; and the Art Stu-
dents League, New Yoik. Mr. Cloar received a
McDowell fellowship and a John Simon Guggen-
heim Memorial Foundation fellowship. Mr. Cloar
has taught at the Memphis Academ) of Art. He
lives in Memphis, Tennessee.
Mr. Cloar's work has been included in exhibi-
tions held at The Art Institute of Chicago; Univer-
sity of Illinois; The Arkansas Arts Center, Little
Rock; Brooks Memorial Art Gallery, Memphis;
Whitney Museum of American Art, New York;
Carnegie Institute, Pittsburgh. His work is in many
major public and private collections.
CLOAR
CAVALLON
p*t -' Giorgio Cavallon, Untitled painting dated 3.21.61, 60" x 52", oil on can-
Lf. a vas, 1961. (Samuel M. Kootz Gallery, Inc., New York City)
Giorgio Cavallon was born in Sorio, Italy, in 1904. He studied at the
National Academy of Design, New York, with Charles Hawthorne, and
with Hans Hofmann. He received a Louis Comfort Tiffany Foundation
scholarship. He lives in New York City.
Special exhibitions of Mr. Cavallon's work have been held at
Vicenza, Italy, 1932; ACA Gallery, New York, 1934; Egan Gallery, New
York, 1946, 1948, 1951, 1954; Stable Gallery, New York, 1957, 1959;
Samuel M. Kootz Gallery, Inc., New York, 1961.
His work has been included in group exhibitions at Ca' Pesaro,
Venice, 1932; Museum of Modern Art, New York, 1951; The Metro-
politan Museum of Art, New York, 1952; University of Nebraska, 1955;
University of North Carolina, 1956; Camino Gallery, New York, 1959;
Roko Gallery, New York, 1959; Carnegie Institute, Pittsburgh, 1959,
1961; The Art Institute of Chicago, 1959; Whitney Museum of American
Art, New York, 1959, 1961; The Solomon R. Guggenheim Museum, New
York, 1961.
His work is in the collections of the Albright-Knox Art Gallery,
Buffalo; The Solomon R. Guggenheim Museum, Union Carbide Corpora-
tion, Whitney Museum of American Art, New York.
82
^vtSPi-w^.to
SOLOMON
Hyde Solomon, Aries, 56" x 70", oil on canvas, 1960. (Poindexter Gal-
lery, New York City)
"In my painting I have drawn on the forces of nature, its movement,
light and structure, and have tried to express a deeper meaning in the
abstraction underlying this. However, I would like to keep these remarks
limited, for ideas change in the process of working."
Hyde Solomon was born in New York City in 1911. He studied at
Pratt Institute, New York, 1932-33, and with Chaim Gross for eight years.
He teaches at Princeton University and lives in New York City.
Special exhibitions of Mr. Solomon's work have been held at the
Jane Street Gallery, 1945, 1948; Vendome Gallery, 1951; Peridot Gallery,
1954, 1955; Poindexter Gallery, 1956, 1958, 1960; all of New York;
Princeton University Art Gallery, 1960. His work has been included in
group exhibitions at the Samuel M. Kootz Gallery, Inc., New York, 1954,
and the Whitney Museum of American Art, New York, 1960.
Mr. Solomon's work is in the collections of the Ford Foundation;
Wadsworth Atheneum, Hartford; Mr. and Mrs. Roy Neuberger, Helena
Rubenstein Pavilion, Whitney Museum of American Art, New York;
Princeton University; Tel Aviv.
83
MIRKO
Miikn (Basaldella), Danzatore Guerriero, 381.".
bronze, 1960. Lent by the .mist. (1961)
Mirko i Basaldella) was born at L'dine. Italy, in
1910. He studied in Venice, Florence, Monza, and
Rome. He was awarded second prize in the inter-
national competition for the Memorial to the Unknown
Political Prisoner; he received an award from the
Museu de Arte Moderna de Sao Paulo, Brazil, 1955;
the Carrara sculpture prize. 1957; and an award from
the Accademia di Lincei, 1958. He has designed and
executed: bronze memorial gates for the Ardeatine
Caves, It.tly; the Italian war memorial at Mauthausen,
Austria: ,i mosaic fountain at La Spezia; and a monu-
mental outdoor sculpture for the Krannert Art Mu-
seum, Urbana, Illinois. Since 1957 Mirko has been
director of the Design Workshop at Harvard University.
He lives in Cambridge, Massachusetts.
Special exhibitions of Mirko s work have been
held at Calleria La Cometa, Rome, 1935; Galieria La
Zecca, Turin. 1936; Comet Gallery, New York. 1937;
Galieria l'Obelisco, Rome, 1947. 1952; M. Knoedler
& Co., New York, 1947. 1949; Catherine Viviano Gal-
lery, New York, 1950, 1957; Galieria il Milione, Milan,
1951; Galieria Schneider, Galieria delle Carozze,
Rome, 1954; Fogg Art Museum. Cambridge, Massa-
chusetts, 1958; Rhode Island School of Design, Provi-
dence, 1959; Obelisk Gallery. Washington, D.C., 1961;
World House Galleries, Xew York, 1961; Krannert Art
Museum, University of Illinois, 1962.
His work has been included in group exhibitions in
Barcelona; Sao Paulo, Brazil; Bruxelles; Budapest; Lon-
don; Xew York; San Francisco; Venice; and Vienna.
84
**•
<!>
R
Rainej Bennett, Sunset Child. 22"x29'/4", water color
on paper, 1962. Lent by Mr. and Mrs. Frank Lassman,
Minneapolis, Minnesota. Feingarten Galleries, New
York Citj 1949. 1951, 1957, 1959, 1961)
"In reviewing previous statements, I am reminded
th;it my objectives have not changed in essence. Once
again, I hope to create a painting of rhythms sym-
pathetic with nature in color tones that seem to grow
from within. If the painting suggests a sense of mystery,
I am pleased.
"The method of search has changed in recent
years. Whereas, in the past the water color was con-
sidered as a quii k statement or a high pitched inter-
pretation of a given set of terms, now it is more likely
to develop from responses to isolated characteristics of
nature: color deep in a flower, a drop of water, the
curl of a single strand of hair — accidents and rhythms
in general. In line with this Sunset Child was moti-
vated by a small area of late afternoon sun cast on my
<>u. r white wall. The theme followed the slow process
of trying to recapture (in different terms) some of the
richness of the light."
Rainey Bennett was born in Marion, Indiana, in
190 He was graduated from the I niversit) ol Chi-
cago and studied at The S< In >i d ol I In \n Institute
of Chicago; American Academ) ol \n. Chicago; and
An Students League, New York; and with George < Irosz
and Maurice Sterne in New York. He has taught at
The School of The Art Institute ol Chicago, 193!
He lives in Chicago.
Mr. Bennett has received awards from The Art
Institute of Chicago: Union League Club, Chicago;
Hyde f'.nk Art Center; Illinois State Museum, Spring-
field. Special exhibitions of Mr. Bennett's work have
been held by Feingarten Galleries, Beverl) Hills; I he
Art Institute of Chicago: Feingarten Galleries, Chicago;
Feingarten Galleries, Museum of Modem Art, .Yew
York. His work has been included In man) group
exhibitions.
Mr. Bennett's work is found in the collections ol
Beloit College; Cranbrook Academ) "I Art, Bloomfield
Hills, Michigan; The Art Institute of Chicago; Dallas
Museum of Fine Arts; Universit) of Illinois; The
Newark Museum; Brooklyn Museum. The Metropolitan
Museum of Art. Museum of Modern Art, -Yew York;
I HiMTsitv of Oklahoma.
BENNETT
HOFMANN
\ Hans Hofmann, Scattered Sunset, 72" x 84", oil on canvas, 1961. (Samuel
' M. Kootz Gallery, Inc., New York City) (1948, 1949, 1950, 1951, 1952,
1953, 1955, 1957, 1959, 1961)
"When I paint a sunset, I paint actually thousands of sunsets of
which I was a part when I did enjoy them through all my Life. I am —
and whatever I do is — part of nature with the added and unconciliatory
difference that I allow myself never to renounce the aesthetical demands
of creation."
Hans Hofmann was born in Weissenberg, Bavaria, in 1880. He
studied painting in art schools in Munich and later in Paris. In 1915 Mr.
Hofmann opened an art school in Munich. During the summers of 1930
and 1931 he taught painting at the University of California, Berkeley,
and in the spring of 1931 at the Chouinard Art Institute, Los Angeles.
He taught at the Art Students League in New York, 1932-33, and in the
summers of 1932-33, at the Thurn School, Gloucester. Mr. Hofmann
opened his own school in New York City in 1933 and his summer school
in Provincetown in the summer of 1934. He gave up teaching to devote
full time to painting in 1958. He lives in Provincetown and New York
City.
Mr. Hofmann has received awards from the University of Illinois,
1950; Society for Contemporary American Art, Chicago, 1952; The
Pennsylvania Academy of the Fine Arts, Philadelphia, 1952; The Art
Institute of Chicago, 1959, 1961; Bienal Interamericana, Mexico City,
1960.
Special exhibitions of Mr. Hofmann's work have been held by Paul
Cassirer, Berlin, 1910; California Palace of the Legion of Honor, San
Francisco, 1931; Isaac Delgado Museum of Art, New Orleans, 1940; Art
of This Century Gallery, New York, 1944; Arts Club of Chicago, 1944;
67 Gallery, New York, 1944, 1945; Betty Parsons Gallery, New York,
1946, 1947; Samuel M. Kootz Gallery, Inc., New York, 1947, 1949, 1950,
1951, 1952, 1953, 1954, 1955, 1957, 1958, 1959, 1960, 1961, 1962; Addison
Gallery of American Art, Andover, 1948; Galerie Maeght, Paris, 1949;
Boris Mirski Gallery, Boston, 1954; The Baltimore Museum of Art, 1954;
Bennington College, 1955; The Philadelphia Art Alliance, 1956; Rutgers
University, 1956; Whitney Museum of American Art, New York, 1957;
Germanisches National Museum, Nuremberg. His paintings have been
included in numerous group exhibitions.
Mr. Hofmann's work is in the collections of the Addison Gallery of
American Art, Andover; The Baltimore Museum of Art; Albright-Knox
Art Gallery, Buffalo; The Art Institute of Chicago; Cleveland Museum of
Art; Dallas Museum for Contemporary Arts; Blanden Memorial, Fort
Dodge, Iowa; Grenoble Museum, France; University of Illinois; Univer-
sity of Nebraska; The Newark Museum; The Metropolitan Museum of
Art, Museum of Modern Art, Whitney Museum of American Art, New
York; Rochester (New York) Memorial Art Gallery; International Min-
erals & Chemicals Corp., Skokie, Illinois; Art Gallery of Toronto; Art of
This Century, Venice, Italy; Washington University, St. Louis; Yale
University, New Haven.
86
L_Uj~. ■>
87
--j\ \*> Everett Spruce, Windy Night — Padre Island, 24" x 30", oil on masonite,
~ 1960. Lent by Mr. Everett Spruce, Austin, Texas. (1949, 1950, 1951, 1952,
1953)
Everett Spruce was born in Faulkner County, Arkansas, in 1908. He
studied at the Dallas Art Institute and with Olin Travis and Thomas
Stell. He has taught at the Dallas Museum of Fine Arts; University of
California, Los Angeles; and University of Texas, Austin, since 1940. He
lives in Austin, Texas.
Mr. Spruce has been the recipient of awards from the Worcester Art
Museum, 1945; Carnegie Institute, Pittsburgh, 1946; The Pennsylvania
SPRUCE Academy of the Fine Arts, Philadelphia, 1947; The Corcoran Gallery of
Art, Washington, D.C., 1949; Dallas Museum of Fine Arts, 1955. Special
exhibitions of his work have been held at the Hudson Walker Gallery,
New York, 1938; Santa Barbara Museum of Art, 1945; Mortimer Levitt
Gallery, New York, 1946, 1948, 1950, 1951; Arts Club of Washington
(D.C.), 1948. His work has been included in many group exhibitions.
Mr. Spruce's work is in the collections of the University of Alabama;
Texas Fine Arts Association, Austin; The Baltimore Museum of Art;
Colorado Springs Fine Arts Center; Dallas Museum of Fine Arts; Des
Moines Art Center; Museum of Fine Arts of Houston; Illinois Wesleyan
University; Walker Art Center, Minneapolis; University of Nebraska;
The Newark Museum; The Metropolitan Museum of Art, Museum of
Modern Art. New York Public Library, Whitney Museum of American
Art, New York; Ohio Wesleyan University; The Pennsylvania Academy
of the Fine Arts, Philadelphia; Witle Memorial Museum, San Antonio;
California Palace of the Legion of Honor, M. H. De Young Memorial
Museum, San Francisco; Museu dc Arte Modcrna dc Sao Paulo, Brazil;
Southern Methodist University; Tulane University; The Phillips Gallery,
Washington, D.C.; Wichita Art Museum.
88
EWING
Edgar Ewing, Enigma of the Chess Set, 50"x38", oil on canvas, L961.
(Dalzell Hatfield Galleries, Los Angeles, California) (1957. 1959, 1961
"I have always tried to be alert to the world around me. This is not
only the world of sensor) experience but the world of human ideas.
Experience has taught me to work for some kind of equilibrium between
the perceptual world of the eyes, the technical world of the hand, and
the conceptual world of the mind."
Edgar Ewing "as born in Hartington, Nebraska, in 1913. He studied
at The School ol I lie Art Institute of Chicago from 1931 15, where he
won The Edward L. Ryerson Traveling Fellowship in 19.?,"). In 1948 he
received a scholarship from the Louis Comfort Tiffanj Foundation. He
has taught .ii The School >>l The Arl Institute of Chicago, 1937-43; I ni
versity of Michigan, summer session, 1946; I niversit) of Southern Cali-
fornia, Los Angeles, 1946 I'1. I niversit) "I Oregon, summer session, 1950.
lie lives in Los Angeles, California.
Mr. Ewing has received a number of awards, and his work has been
included in group exhibitions at Syracuse University, 1946; M II.
I)e Young Memorial Museum, San Francisco, 1948, 1955; Santa Barbara
Museum ni Art, 1952; Senile Art Museum. 1953; Carnegie Institute,
Pittsburgh, 1955; Dalzell Hatfield Galleries, Los Angeles, 1956
1961; Long Beach Museum of Art, I960. Mr. Ewing's work is in man)
public and private collections.
89
HUNT
ell
Richard Hunt, Standing Form I, 65W, steel, 1960.
(The Alan Gallery, New York City)
"In some works it is my intention to develop
the kind of forms Nature might create if only heat
and steel were available to her."
Richard Hunt was born in Chicago, Illinois, in
1935. He studied at The School of The Art Insti-
tute of Chicago, where he received his B.F.A. degree
in 1959. He was the recipient of a James Nelson
Raymond Foreign Traveling Fellowship from The
School of The Art Institute of Chicago, 1957, and
a fellowship from the John Simon Guggenheim
Memorial Foundation, 1962. Mr. Hunt has taught
at The School of The Art Institute of Chicago. He
lives in Chicago, Illinois.
Mr. Hunt has won awards from The Art Insti-
tute of Chicago in 1956, 1961. Special exhibitions
of his work have been held at The Alan Gallery,
New York. 1958, 1960, 1963; Holland Art Gallery,
Chicago, 1962. His work has been included in group
exhibitions at the Albright-Knox Art Gallery, Buf-
falo; The Art Institute of Chicago; Museum of Fine
Arts of Houston; University of Michigan; The
Newark Museum; The Solomon R. Guggenheim
Museum, Museum of Modern Art, Whitney Museum
of American Art, New York; Carnegie Institute.
Pittsburgh; Seattle World's Fair.
Mr. Hunt's work is in the collections of Richard
Brown Baker; Albright-Knox Art Caller)-, Buffalo;
The Art Institute of Chicago; Cleveland Museum of
Art; Victor Ganz; Joseph H. Hirshhorn; National
Museum of Israel; Jean and Ploward Lipman, Mu-
seum of Modern Art, Whitney Museum of American
Art, New York.
90
Gordon Onslow -Ford, Who Lives, 77'/J"x53", Paries' paint on canvas,
1962. (Rose Rabow Galleries, San Francisco, California)
"Modern art has been through a period of working from the known
towards the unknown. The time has now come to start with a clear mind.
"All is visible in a beginning — hence the importance of the calli-
graphic mark that hides nothing behind a surface. As lines and marks
become more fluent, they tend towards the straight line, the circle, or the
dot. With line, circle, dot, freedom joins order once again, and the world
can create itself anew."
Gordon Onslow-Ford was born in Wendover, England, in 1912. He is
self-taught but traveled and worked extensively in foreign countries and
was associated with the Surrealists in Paris, London, and New York from
1938-43. He settled in California in 1948. He has never entered an exhi-
bition nor submitted a painting t < « a jury. He has taught at the California
College of Arts and Crafts, Oakland, and he lives in Inverness, California.
Special exhibitions of Mr. Onslow-I'ord's work have been held at the
M H. De Young Memorial Museum, San Francisco, and at the San
Francisco Museum of Art.
u>
ONSLOW-FORD
91
92
-73
6 g,4^^
Charles Burchfield, March Wind in the Woods,
40"x54", water color on paper, 1952-61. Lent by
Mr. Alexander D. Falck, Jr., Strathmont Park,
Elmira, New York. (Rehn Gallery, New York City)
(1957, 1959, 1961)
Charles Burchfield was born in Ashtabula Har-
bor, Ohio, in 1893. He studied at the Cleveland
School of Art, 1912-16, and received a scholarship
to the National Academy of Design, New York. He
has taught at the University of Minnesota, Duluth
Branch, summer sessions, 1950, 1953; University of
Buffalo, summer sessions, 1950, 1951; Buffalo Fine
Arts Academy, 1951-52. He has received academic
honors from the University of Buffalo, 1944; Kenyon
College, Gambier, Ohio, 1946; Hamilton College,
Clinton, New York, 1948; Harvard University,
1948; Valparaiso University, 1951. He lives in
Gardenville, New York.
Mr. Burchfield has won prizes from the Cleve-
land Museum of Art, 1921; The Pennsylvania Acad-
emy of the Fine Arts, Philadelphia, 1929, 1940,
1946, 1947, 1950; Carnegie Institute, Pittsburgh,
1935, 1946; Art Association of Newport, 1936; The
Art Institute of Chicago, 1941; National Institute
of Arts and Letters, New York, 1942; The Metro-
politan Museum of Art, New York, 1952; Albright-
Knox Art Gallery, Buffalo, 1952, 1955.
Nearly forty special exhibitions of Mr. Burch-
field's work have been held at galleries and institu-
tions such as Carnegie Institute, Pittsburgh, 1938;
Albright-Knox Art Gallery, Buffalo, 1944; Cleveland
Museum of Art, 1953; Whitney Museum of Ameri-
can Art, New York, 1956; and many others. He
has been represented in many group exhibitions.
His work is in the collections of the Museum of
Fine Arts, Boston; The Detroit Institute of Arts;
Fogg Art Museum, Cambridge, Massachusetts; Uni-
versity of Illinois; University of Nebraska; Everson
Museum of Fine Arts, Syracuse; Rhode Island
School of Design, Providence; and in many other
collections in the United States and Europe.
BURCHFIELD
MINTZ
<+.73
Raymond Mintz, Sun Bathing, 40" x 39", oil on canvas, 1962. (Rehn
Gallery, New York City) (1952, 1959)
Raymond Mintz was born in Clifton, New Jersey, in 1925. He
attended the Newark School of Fine and Industrial Art, 1946-47, and the
California College of Arts and Crafts, Oakland, 1947-48. He studied at
Fontainebleau, France, and the Academie de la Grande Chaumiere, Paris,
1948-49.
Mr. Mintz's work has been shown in several special exhibitions here
and abroad and has been included in group exhibitions at The Metro-
politan Museum of Art, Museum of Modern Art, New York; Universit)
of Illinois; California Palace of the Legion of Honor, San Francisco. His
paintings are in numerous private collections.
<»■;
BERTOIA
Harry Bertoia, Untitled, 69'A", bronze, brass, top-
per, nickel, I960. (Fairwcathcr-Hardin Gallery,
Chicago, Illinois, and Stacmpfli Gallery, New York
City) (1961)
"The piece which was chosen by the University
of Illinois for their spring exhibition was done some-
time ago. Since then I have been completely ab-
sorbed by a large bronze panel for the Dulles Inter-
national Airport ... a work which has to do with
the primeval forces of nature and with our air age,
In using a technique of working molten metal at
2,000°. Earthy and organic. The piece the univer-
sity has selected was introductory to all this."
Harry Bertoia was born in San Lorenzo, Italy,
in 1915. He studied at the School of Arts and
Crafts, Detroit, and the Cranbrook Academy of Art,
Bloomfield Hills, Michigan. He received a Graham
Foundation Fellowship Grant for Advanced Studies
in the Fine Arts, 1957. He lives in Barto, Pennsyl-
vania.
Mr. Bertoia was awarded a Gold Medal b\
the American Institute of Architects, 1956, and by
the Architectural League of New York. Special
exhibitions of his work have been held at the
Fairweather-Hardin Gallery, Chicago, 1956, 1961;
Staempfli Gallery, New York, 1961. His work has
been included in group exhibitions at The Art Insti-
tute of Chicago; "United States Pavilion, Bruxelles
World's Fair, 1958; Graham Foundation Gallery,
Chicago; Denver Art Museum; Museum of Modern
Art, New York; Philadelphia Museum of Art; Vir-
ginia Museum of Fine Arts, Richmond.
His commissioned sculptures are in the Amer-
ican House, Bremen; Albright-Knox Art Gallery,
Buffalo; Massachusetts Institute of Technology,
Cambridge, Massachusetts; St. John's Unitarian
Church, Cincinnati; Dallas Public Library; Denver
Hilton Hotel; General Motors Technical Center,
Detroit; United States Consulate, Dusseldorf; First
National Bank, Miami: The Dayton Company, Min-
neapolis; Manufacturers Trust Company, New York;
Syracuse University; First National Bank, Tulsa.
His work is included in the collections of The Art
Institute of Chicago; Inland Steel Company, Chi-
cago; Virginia Museum of Fine Arts, Richmond;
and many other public and private collections.
94
95
MANGRAVITE
^
Peppino Mangravite, Summer Night in Cornwall, 29" x 48", liquitex on canvas, 1961.
(Rehn Gallery-, New York City) (1948, 1950, 1952)
"Midday in my green valley does not offer poetry to me. I have found these
lyrical images in the light of dawn and in the shadows of evening."
Peppino Mangravite was born in Lipari, Italy, in 1896. He studied at the Scuoli
Techniche and Belle Arti in Italy and at The Cooper Union School of Art and
Architecture, and Art Students League, New York. He was awarded a John Simon
Guggenheim Memorial Foundation fellowship in 1932 and 1935 and a grant by the
American Institute of Arts and Letters in 1950. Mr. Mangravite has taught at Sarah
Lawrence College, New York; Colorado Springs Fine Arts Center; The Cooper
Union School of Art and Architecture, and Art Students League, New York; and
The School of The Art Institute of Chicago. He is Professor of Painting at Columbia
University and lives in New York City.
Mr. Mangravite was awarded a gold medal at the Sesqui-Centennial Exposition,
Philadelphia, 1926; the American purchase prize at the Golden Gate International
Exposition, San Francisco, 1939; the Norman Wait Harris Silver Medal and Prize,
The Art Institute of Chicago, 1942; Woodmere Museum Exposition prize, Philadel-
phia, 1944; Eyre medal, The Pennsylvania Academy of the Fine Arts, Philadelphia,
1946; a citation at The Cooper Union, New York, 1956; and a silver medal by the
Architectural League of New York, 1956.
Thirty-one special exhibitions of Mr. Mangravite's work have been held in this
country, and his work has been included in many national exhibitions since 1929. He
is represented in the collections of The Art Institute of Chicago; Cincinnati Art
Museum; Colorado Springs Fine Arts Center; Denver Art Museum; Metropolitan
Museum of Art, Whitney Museum of American Art, New York; The Pennsylvania
Academy of the Fine Arts, Philadelphia; City Art Museum of St. Louis; California
Palace of the Legion of Honor, San Francisco; Santa Barbara Museum of Art; The
Toledo (Ohio) Museum of Art; The Corcoran Gallery of Art, Library of Congress,
The Phillips Gallery, Washington, D.C.; and many other collections.
96
Kelly Fearing;, SI, cpin» Philuso/ihri in a Landscape
Di veloping, 60"x40", oil on canvas, 1961. (Valley
House Gallery, Dallas, Texas) (1955, 1957)
"Painting for me must be an expression of both
my outer and inner vision. In order to expand my
vision, I find that I must seek new experiences in
seeing from nature, and broaden my inner life with
meditation upon all experiences.
"What and how I paint has to do with my per-
sonal philosophy of life, and each canvas is a further
realization of belief and faith toward existence and
the Tao. My philosophy has been greatly influenced
by readings and study in Zen and Yoga, as well as
a study of the lives of the saints of the past and the
present. My interest is in man and his involvement
with nature as a means of identificiation. This
search as expressed in literature, music, and the
other arts, has been a part of my study also, and has
exerted its influence. Naturally I use subject mate-
rial in my painting; the core of which is the human
figure and forms taken from the natural world.
When translated into painting I have found that
what I have to say must be expressed through recog-
nizable forms. Liberties are taken with nature in
the final forms used in my painting, as well as the
relationship and juxtaposition of these forms in a
canvas. I do not choose to belong to any school of
painting but rather to myself. I might add that
most of my canvases in their beginning stages are
abstract and could remain as final statements but
for my own satisfaction, I must slowly bring them
into full realization."
Kelly Fearing was born in Fordyce, Arkansas,
in 1918. He received his Bachelor of Arts degree
from Louisiana Polytechnic Institute, Ruston, and
his Master's degree from Columbia University, New
York. Mr. Fearing teaches at the University of
Texas where he is Professor of Art. He lives in
Austin, Texas.
Mr. Fearing has won the cash award in the
National Juried Arts Exhibition in 1952, the first
purchase prize in the Eighteenth Texas Annual Exhi-
bition at the Texas State Fair in 1956, and seventeen
major cash awards and prizes in Texas exhibitions
since 1945.
His work has been included in exhibitions at
the Colorado Springs Fine Arts Center; Denver Art
Museum; University of Illinois; William Rockhill
Nelson Gallery of Art, Kansas City; Terry Art
Institute, Miami; Isaac Delgado Museum of Art,
New Orleans; The Pennsylvania Academy of tin-
Fine Arts, Philadelphia; Carnegie Institute, Henry
Clay Frick Memorial Gallery, Pittsburgh; San Fran-
cisco Museum of Art; Santa Barbara Museum of
Art; Seattle Art Museum; Vancouver (British
Columbia) Art Gallery.
His paintings arc found in the collections of the
Dallas Museum of Fine Arts; Fort Worth Art Cen-
ter; Louisiana Polytechnic Institute, Ruston; Van-
couver (British Columbia) Art Gallery; and in
man) private collections.
FEARING
'
97
98
.-7
^
-73
William Ronald, Veda, 80" x 60", oil on can-
vas, 1962. (Samuel M. Kootz Gallery, Inc.,
New York City) (1961)
William Ronald was born in Stratford,
Canada, in 1926. He studied under Jock
Macdonald in Toronto. He was the recipient
of an IODE scholarship, 1951, and a CAHA
scholarship through the Canada Foundation,
1954. He lives in Kingston, New Jersey.
Mr. Ronald received a Hallmark award
in 1952 and an award from The Solomon R.
Guggenheim Museum, New York, 1956.
Eleven special exhibitions of his work have
been presented since 1954. His work has been
included in group exhibitions held at Trinity
College, Toronto, 1951; Eglinton Gallery.
Toronto, 1953; The Art Gallery of Toronto,
1956; Riverside Museum, New York, 1956;
Carnegie Institute, Pittsburgh, 1958. 1961;
Bruxelles World's Fair, 1958; Museu de Arte
Moderna de Sao Paulo, Brazil, 1959; Whitney
Museum of American Art, New York, 1959;
University of Illinois, 1961.
Mr. Ronald's work is in the collections
of The Baltimore Museum of Art; Albright-
Knox Art Gallery, Buffalo; Massachusetts
Institute of Technology, Cambridge; The Art
Institute of Chicago; Walker Art Center, Min-
neapolis; The Montreal Museum of Fine Arts;
Brooklyn Museum, The Solomon R. Guggen-
heim Museum, Museum of Modern Art, New
York; University of North Carolina; The
National Gallery of Canada, Ottawa; The
Phoenix Art Museum; Carnegie Institute,
Pittsburgh; Rhode Island School of Design,
Providence; The Art Gallery of Toronto;
Williams College, Williamstown, Massachu-
setts; and in private collections.
RONALD
FRANKENTHALER
Helen Frankenthaler, Seascapt with Dunes, 70"xl40", oil on canvas,
1962. (Andre Emmerich Gallery, New York) (1959)
Helen Frankenthaler was born in New York City in 1928. She
studied at Bennington College, Bennington, Vermont, where she received
her B.A. degree. She has taught at New York University. She lives in
New York City.
Special exhibitions of Miss Frankenthaler's work have been held at
the Tibor de Nagy Gallery, New York, 1951-58; Andre Emmerich Gal-
lery, New York, 1959-1)1; The Jewish Museum, New York, 19ti(l; Fveretl
Ellin Caller)-, Los Angeles, 1961; Galerie Lawrence, Paris, 1961. Her
work has been included In group exhibitions at the Carnegie Institute.
Pittsburgh. 1955. 1958. 1961; The Solomon R. Guggenheim Museum,
\Vhitne\ Museum of American Art, New York, 1961.
Miss Frankenthaler's work is in the collections of the Albright-Knox
Art Caller), Buffalo; Wadsworth Atheneum, Hartford; Milwaukee Art
Center; The Newark Museum; Brooklyn Museum, Museum of Modern
An. Whitne) Museum of American Art, New York; Carnegie Institute.
Pittsburgh.
99
100
Robert Cook, Revolution, 38", bronze, 1960. (Sculpture Center, New
York City.)
Robert Cook was born in Boston, Massachusetts, in 1921. He studied
at the Demetrios School, Boston; the Academie des Beaux Arts, Paris;
and at the Accademia di Belle Arti, Rome. He has received a Fulbright
award, a Louis Comfort Tiffany Foundation scholarship, and an award
from the American Academy of Arts and Letters. He lives in Rome, Italy.
Special exhibitions of Mr. Cook's work have been held at the Insti-
tute of Contemporary Art, Boston, 1951; Sculpture Center, New York,
1953, 1955, 1959, 1961. Mr. Cook's work is in the collections of the
Institute of Contemporary Art, Boston; Whitney Museum of American
Art, New York; The Pennsylvania Academy of the Fine Arts, Philadel-
phia; and in many private collections.
COOK
BROOK
-1^
-73
Alexander Brook, A. Rogoway, 44" x 38", oil on canvas, 1961. (Rehn Gallery, New
York City) (1948, 1949)
Alexander Brook was born in Brooklyn, New York, in 1898. He studied at Pratt
Institute and under Kenneth Hayes Miller at the Art Students League, New York. He
received a John Simon Guggenheim Memorial Foundation fellowship in 1931. He
lives at Sag Harbor, Long Island. New York.
Mr. Brook has won awards from The Art Institute of Chicago, 1929; Carnegie
Institute. Pittsburgh, 1930, 1939; and the Los Angeles County Museum, 1934.
Mr. Brook's work has been shown in many special and group exhibitions and i^
found in the collections of the Museum of Fine Arts, Boston: Albright-Knox Art
Gallery, Buffalo; The Art Institute of Chicago; Encyclopaedia Britannica, Chi-
cago; The Detroit Institute of Arts; Wadsworth Atheneum, Hartford; William
Rockhill Nelson Gallery of Art, Kansas City; International Business Ma. nines, Inc.,
The Metropolitan Museum of Art, Museum of Modern Art. New York University,
Whitney Museum of American An. New York; Carnegie Institute. Pittsburgh; Cit)
\n Museum of St. Louis; The Toledo (Ohio) Museum of Art.
102
■*
MAYHEW
,.-73
Richard Mayhew, Hilltop, 39" xW, oil on can-
vas. 1962. (Durlacher Bros., New York City)
"I paint the moods, forms and feelings of
nature, its timelessness, that which is always
the same yet ever changing."
Richard Mayhew was born in Amityville,
New York, in 1924. He studied at the Brooklyn
Museum Art School. He was the recipient of
fellowships from the John Hay Whitney Foun-
dation in 1958; from the MacDowell Colony,
Peterborough, New Hampshire, 1958; and
from The Ingram Merrill Foundation, 1961.
Mr. Mayhew lives in Brooklyn. New York.
Mr. Mayhew's work has been included in
group exhibitions at the National Academy of
Design, New York. 1955, 1959; Brooklyn Mu-
seum, New York, 1956, 1961; Riverside Mu-
seum, New York, 1957; National Arts Club.
New York, 1958; Robert Isaacson Gallerv,
New York, 1959, 1961, 1962; The Art Insti-
tute of Chicago, 1961; Whitney Museum of
American Art, New York, 1961; Carnegie
Institute, Pittsburgh, 1961. His work is in
the collections of The Olsen Foundation. New
Haven, and Whitney Museum of American
Art, New York.
- ■■- ■
"■.■"*
■■ mJM ■■■■:'■■
~
'n&i
\n3
Cleve Gray. Swiss Landscape, 50"x40", oil
on canvas, 1962. (Staempfli Gallery, New
York City) (1949, 1951, 1959)
"I look in my work for the same thing 1
seek in the work of others: a personal state-
ment about Reality.
"This painting was completed a few days
after I returned from Switzerland in August,
196.'."
Cleve Gray was born in New York City
in 1918. He studied with Tony Nell in New
York, with James ('.. Davis at Princeton, and
with Andre Lhote and Jacques Villon in
GRAY
Paris. He lives in Cornwall Bridge, Connecti-
cut. Fight special exhibitions of Mr. Gray's
work have been presented in New York since
1947, and his work has been included in man)
major group exhibitions.
Mr. Gray's work is in the collections of
the Addison Gallery of American Art, An-
dover; Columbus (Ohio) Gallery of Fine Arts;
Wadsworth Atheneum, Hartford: Universit)
of Illinois; University of Nebraska; Lee A.
Ault. Ralph F. Colin, The Metropolitan Mu-
seum of Art, The Solomon R. Guggenheim
Museum. Jacques Sarlie, New York.
103
LEVINE
cT^t
C'-^.W Jack Levine, /n .S'/>/n>. 35"x40", oil on canvas, 1962.
fTV,» il-,n r-nllm- XV...- VorL- P.ifrul i 1 Q4S 1Q4Q 1 Q^n
(The Alan Gallery, New York City) (1948, 1949, 1950,
1951, 1953, 1955, 1957, 1959, 1961)
Jack Levine was born in Boston, Massachusetts in
1915. He studied privately with Denman Ross of Har-
vard University and with Harold Zimmerman. He
received a John Simon Guggenheim Memorial Founda-
tion fellowship, 1946-47, a grant from the American
Academy of Arts and Letters, New York, 1946, and a
Doctor of Fine Arts degree, awarded by Colby College,
Waterville, Maine, 1956. He has taught privately at
The School of The Art Institute of Chicago and at the
Sknwhegan (Maine) School of Painting and Sculpture.
Since 1942 he has lived in New York City.
Mr. Levine has received awards from Carnegie
Institute, Pittsburgh, 1946; The Corcoran Gallery of
Art, Washington, D.C., 1947, 1959; The Pennsylvania
Academy of the Fine Arts, Philadelphia, 1948.
Special exhibitions of Mr. Levine's work have been
held at the Institute of Contemporary Art, Boston,
1953; Whitney Museum of American Art, New York,
1955; Palacio del Bellas Artes, Mexico City, 1960. His
work has been included in many group exhibitions and
is found in the collections of the Addison Gallery of
American Art, Andover; University of Arizona; Mu-
seum of Fine Arts, Boston; Fogg Art Museum, Cam-
bridge, Massachusetts; The Art Institute of Chicago;
University of Kansas; Walker Art Center, Minneapolis;
University of Nebraska; Brooklyn Museum, The Metro-
politan Museum of Art, Museum of Modern Art, Whit-
ney Museum of American Art, New York; University of
Oklahoma; Portland (Oregon) Art Museum; The Phil-
lips Gallery, Washington, D.C.; and in many other
collections.
11)1
1 05
106
BROOKS
- "James Brooks, Fargo, 72" x 72", acrylic emulsion
and oil on canvas, 1962. (Samuel M. Kootz
Gallery, Inc., New York) (1952, 1953, 1955)
James Brooks was born in St. Louis, Mis-
souri, in 1906. He studied at the Art Students
League, New York, and with Wallace Har-
rison. He has taught at Columbia University,
1946-48, and Pratt Institute, New York, 1947-58;
and Yale University, 1955-60.
Mr. Brooks has received special awards from
Carnegie Institute, Pittsburgh, 1952; The Art
Institute of Chicago, 1957, 1961; Ford Founda-
tion, 1962. Special exhibitions of Mr. Brooks's
work have been held at Peridot Gallery, 1950,
1951, 1952, 1953, Grace Borgenicht Gallery, 1954,
Stable Gallery, 1957, 1 959, Samuel M. Kootz
Gallery, Inc., New York, 1961.
Mr. Brooks's work has been included in group
exhibitions at the Whitnc\ Museum of American
Art, New York, 1950, 1955; Sidney Janis Gallery,
New York, 1952; Galerie dc France, Paris, 1952;
Carnegie Institute. Pittsburgh, 1952, 1953, 1958,
1961; The Solomon R. Guggenheim Museum,
New York, 1954, 1961; Museum of Modern Art,
New York, 1956, 1958, 1959; Muscu de Arte
Modcrna de Sao Paulo, Brazil, 1957; Osaka,
Japan, 1958; Kassel, Germany, 1959; Turin,
1959; Bicnal Interamericana, Mexico City, 1960;
Seattle World's Fair, 1962.
Mr. Brooks's work is in the collections of
Albright-Knox Art Gallery, Buffalo; Wadsworth
Atheneum, Hartford; Tate Gallery, London;
Walker Art Center, Minneapolis; University of
Nebraska; Brooklyn Museum, The Solomon R.
Guggenheim Museum, The Metropolitan Mu-
seum of Art, Museum of Modern Art, Whitney
Museum of American Art, New York; The
Pennsylvania Academy of the Fine Arts, Phila-
delphia; Carnegie Institute, Pittsburgh.
KEPES
c75
Gyorgy Kepes, Nomad Lines, 72"x36", oil and sand on canvas, 1961. (The Swetzoff
Gallery, Boston, Massachusetts) (1952, 1953, 1955, 1961)
Gyorgy Kepes was born in Selyp, Hungary, in 1906. He studied at the Royal
Academy of Fine Arts in Budapest, 1924-29. He was awarded a John Simon Guggen-
heim Memorial Foundation fellowship in 1960. He taught at the Institute of Design,
Chicago, 1937-43, and he has been Professor of Visual Design, School of Architecture
and Planning, Massachusetts Institute of Technology, Cambridge, since 1946. He
lives in Cambridge, Massachusetts.
Special exhibitions of Mr. Kepes' work have been held at the Stedelijk Museum,
Amsterdam, 1952; Galleria l'Obelisco, Rome, 1958; Galleria Montenapoleone, Milan,
1958; The Baltimore Museum of Art, 1959; Museum of Fine Arts of Houston,
1959; San Francisco Museum of Art, 1959. His work has been included in group
exhibitions at the Museum of Modern Art, Whitney Museum of American Art, New
York; Carnegie Institute, Pittsburgh.
Mr. Kepes' work is in the collections of the Addison Gallery of American Art,
Andover; Albright-Knox Art Gallery, Buffalo; University of Illinois; Brooklyn Mu-
seum, Museum of Modern Art, Whitney Museum of American Art, New York; San
Francisco Museum of Art.
107
SCHMIDT
g
k
c 7 3f • 73
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Julius Schmidt, Untitled, 49'//', cast iron, 1961.
(Otto Gerson Gallery, New York City) (1959, 1961)
"Maybe models of ritual architecture — or per-
haps recorded events — symbols of universals or
ancient codes or the focus on greater orders — com-
plex combinations, even only a glimpse of future
man.''
Julius Schmidt was born in Stamford, Connec-
ticut, in 1923. He studied at Oklahoma Agricultural
and Mechanical College, Stillwater, 1950-51; at
Cranbrook Academy of Art, Bloomfield Hills, Michi-
gan, where he received a B.F.A. degree in 1952 and
a MI. A. degree in 1955; with Ossip Zadkine, Paris,
1953: and at the Accademia di Belle Arti, Florence,
1954. He has taught at the Cranbrook Academy of
Art, Bloomfield Hills, Michigan, 1952-53, and 1962-
63; Silvermine Guild School of Art, New Canaan,
summers, 1953, 1954; Cleveland Institute of Art,
summer, 1957; Kansas City Art Institute, 1954-59;
Rhode Island School of Design, Providence, 1959-
60; University of California, Berkeley, 1961-62. He
lives in Bloomfield Hills, Michigan.
Mr. Schmidt has received awards from the
Cranbrook Academy of Art, Bloomfield Hills, Michi-
gan, in 1957 and 1958. Five special exhibitions of
Mr. Schmidt's work have been presented since 1953.
His work has been included in group exhibitions at
the Arts Club of Chicago, 1958; The Detroit Insti-
tute of Arts, 1958; Milwaukee Art Center, 1958;
Allen Memorial Art Museum, Oberlin, Ohio, 1958;
The Pennsylvania Academy of the Fine Arts, Phila-
delphia, 1958; University' of Illinois, 1959, 1961;
The Art Institute of Chicago, 1960; Museum of
Modern Art, New York, 1960; Whitney Museum of
American Art, 1960, 1961, 1962, 1963; Galerie
Claude Bernard, Paris, 1960; Rhode Island School
of Design, Providence, 1960; Boston Arts Festival,
1961; Dayton Art Institute, 1961; New School of
Social Research, New York, 1961; Otto Gerson Gal-
lery, New York, 1961-62; Carnegie Institute, Pitts-
burgh, 1961; Bolles Gallery, San Francisco, 1961;
Michigan State University, 1962; The Solomon R.
Guggenheim Museum, New York, 1962; San Fran-
cisco Museum of Art, 1962. Mr. Schmidt's work is
in a number of major public collections.
108
GREENE
Balcomb (ireene, Walking in the Street, 56" x 64",
oil on canvas, 1962. (Bertha Schaefer Gallery, New
York City) (1952, 1959)
"The excesses of modern art, most prominent
of which may be abstract expressionism, action
painting and nco-dada, were committed by special-
ists. Each of these 'movements' represents a position
which was frozen and intellectualized early in the
century, and is now deftly revived by the artist
specialist. Each seems once to have been dissolved
in its own prescription: i.e. expressionism in despair,
futurism in physical violence, and dada in dada. For
its resurrection, or a profitable replica of it, each
'movement' required that limited talent, the special-
ist.
"On the biological level, specialization can
mean the end of a species. In cultural matters it
means beginning painfully all over again.
"One may then feel, to avoid pain and since
these 'movements' existed less in the continuity of
art than in the succession of mankind's symptoms,
tli.it we need a clear and detailed description of a
new direction. But we must not intellectualize and
limit direction, nor insist on its newness, simply be-
cause the revivalistic 'movements' were intellectual-
ized. A definition of sickness does not enable us to
define health. ( lertainly we need not program the
future in terms of social good simply because those
'movements' offer more a social than an artistic
meaning.
"What we specifically need is a new kind of
artist to replace the specialist. We may ask, as Dr.
Johnson did, that he 'have a mind of large general
powers accidentally determined in a particular direc-
tion.' With him there should not be, in the cultural
sense, so many accidents."
Balcomb Greene was born in Niagara Falls,
New York, in 1904. He studied at Syracuse Univer-
sity, where he received a B.A. degree in 1926; at the
University of Vienna, 1926; at Columbia University,
New York, 1927; and at New York University,
where he received a M.A. degree in 1940. He has
taught at Dartmouth College, New York, 1928-31,
and at Carnegie Institute of Technology, Pittsburgh.
1942-59. He lives in Montauk, New York.
Three special exhibitions of Mr. Greene's work
have been held in New York. His work has been
included in major group exhibitions and is in the
collections of The Art Institute of Chicago; Walker
Art Center, Minneapolis; University of Nebraska;
Brooklyn Museum, The Solomon R. Guggenheim
Museum, The Metropolitan Museum of Art. Mu-
seum of Modern Art. Whitney Museum of American
Art, New York; Joslyn Art Museum, Omaha; Port-
land Oregon Art Museum; Carnegie Institute,
Pittsburgh; and in many private collections.
Kl'l
BISHOP
•Isabel Bishop, Woman Undressing, 21"x35", tempera
and oil on masonite, 1961. Lent by Mr. David Work-
man, New York City. (Midtown Galleries, New York
City) (1950)
"On the basis of Occam's 'Razor' (which is: 'the
terms in an argument may not be multiplied except
out of necessity'). The revolt against specific subject
matter in painting and sculpture, in our period, was
necessary — even over-due. And of all subjects (no
subject may be taken for granted!), the NUDE should
be questioned most severely.
"Though the undressed model is fun to draw, the
requirement of relevance for painting is more strict.
Presenting a specific human being in such an unusual
position for the general eye, as having no clothes on,
brings an extra term to the 'argument,' that is, unless
a larger statement is reached.
"Traditionally the NUDE was used to express
formulations about life as larger-than-life or more
perfect-than-Iife; as Heroic or Ideal. But what shall
provide the larger statement when these attitudes are
rejected — as we do, in fact, reject them! My at-
tempted solution is to try for mobility in the form.
When mobility is introduced into a picture, the possi-
bility is expressed that whatever is represented there
can change its position, though all may be described
as still. This communication, which must be made
through the total form in the picture (and is quite a
different thing from movement) releases the content!
Potential for change opens the door to so much. Were
mobility achieved the limitations of the specific subject
could be both kept and transcended, nudity becoming
a term in the larger theme — no longer an extra term
in the 'argument,' or subject to Occam's 'Razor.'
"Anyhow, one can try for this!"
Isabel Bishop (Mrs. Isabel Bishop Wolff) was born
in Cincinnati, Ohio, in 1902. She studied in Detroit
and at the Art Students League, New York. Miss
Bishop received a grant from the American Academy
of Arts and Letters, New York. She lives in New York
City.
Miss Bishop has won awards from the Art Associ-
ation of Newport; Society of American Etchers, Na-
tional Academy of Design, New York; The Pennsylvania
Academy of the Fine Arts, Philadelphia; The Corcoran
Gallery of Art, Washington, D.C.; Butler Institute of
American Art, Youngstown. Miss Bishop's work has
been shown in many special and group exhibitions and
is represented in numerous major American collections.
110
^\\
Ynez Johnston, Bulwark of the Shore, 32" x 47", oil
on canvas, 1961. (Paul Kantor Gallery, Beverly
Hills, California) (1952, 1953, 1955, 1957)
"Painting, for me, is an expedition into un-
mapped areas of time and space, invaluable exten-
sions of the essential but limited present. Points of
entry are often those objects, man-made or natural,
which bear in their resistant surfaces histories of
elemental struggles: oxidation, erosion, vandalism
and the like. This is analogous to human experience
and the gradual, residual definition of points of view
directed toward a mobile relation between the inner
and the outer world."
Ynez Johnston was born in Berkeley, California,
in 1920. She studied at the University of California,
Berkeley, where she received a B.F.A. degree in
1941 and a M.A. degree in 1946. She was awarded
a University of California scholarship in 1941, a
John Simon Guggenheim Memorial Foundation fel-
lowship, 1952-53, and a Louis Comfort Tiffany
Foundation scholarship, 1956. Miss Johnston has
taught at the University of California, Berkeley,
1950-51, and Colorado Springs Fine Arts Center,
summer sessions, 1954, 1955. She lives in Beverly
Hills, California.
Thirteen special exhibitions of Miss Johnston's
work have been held, and it has been included in
group exhibitions at Carnegie Institute, Pittsburgh,
1951, 1955; Whitney Museum of American Art,
New York, 1951, 1955; The Art Institute of Chi-
cago, 1952; The Metropolitan Museum of Art, New
York, 1952; University of Nebraska, 1952; Wads-
worth Atheneum, Hartford, 1952; University of Illi-
nois, 1952, 1953, 1955, 1957; Colorado Springs Fine
Arts Center, 1954; Museum of Modern Art, New
York, 1954; University of North Carolina, 1955;
Munson-Williams-Proctor Institute, Utica, 1955.
Miss Johnston's work is in the collections of
Albion College; Dallas Museum of Fine Arts; Wads-
worth Atheneum, Hartford; University of Illinois;
Art Center in La Jolla; Los Angeles County Mu-
seum; University of Michigan; The Metropolitan
Museum of Art, Museum of Modern Art, Whitney
Museum of American Art, New York; Philadel-
phia Museum of Art; City Art Museum of St. Louis;
California Palace of the Legion of Honor, San
Francisco; San Francisco Museum of Art; Santa
Barbara Museum of Art; Philbrook Art Center.
JOHNSTON
■HBB!
Ill
BASKIN
Leonard Baskin, Seated Woman, 54", oak, 1961. (Boris Mirski Gallery,
Boston, Massachusetts) (1961)
Leonard Baskin was born in New Brunswick, New Jersey, in 1922.
He worked with Maurice Glickman, 1937-39. He studied at the New
York University School of Architecture and Applied Arts, 1940-41; at
Yale University School of the Fine Arts, 1941-43; at the New School
for Social Research, New York, where he received his Bachelor's degree
in 1949; at the Academie de la Grande Chaumiere, Paris, 1950; and at
the Accademia di Belle Arti, Florence, 1951.
Mr. Baskin received a Louis Comfort Tiffany Foundation scholarship,
1947, and a John Simon Guggenheim Memorial Foundation fellowship,
1953. He has taught at the School of the Worcester Art Museum and is
presently teaching at Smith College. He lives in Northampton, Massa-
chusetts.
Mr. Baskin has been awarded an honorable mention for the Prix de
Rome, 1940, a commission in graphic arts from the International Graphic
Arts Society and The Book Find Club, 1953, and first prize in graphics,
Bienal do Museu de Arte Moderna de Sao Paulo, Brazil, 1961.
Special exhibitions of Mr. Baskin's work have been held at Numero
Gallery, Florence, 1951; The Little Gallerv, Princeton, 1952; Boris Mirski
Gallery, Boston, 1952, 1953, 1957, 1959, 1962; Grace Borgenicht Gallery,
New York, 1953, 1955, 1958, 1962; Fitchburg Art Museum, 1953; Mount
Holyoke College, 1954; Worcester Art Museum, 1957; The Print Club,
Philadelphia, 1959; University of California, 1959; The Pasadena Art
Museum, 1959; Long Beach Museum of Art, 1959.
His work has been included in many group exhibitions and is con-
tained in the following collections: Albion College; Museum of Fine
Arts, Boston; Fogg Art Museum, Cambridge, Massachusetts; Mount Hol-
yoke College; Brooklyn Museum, Museum of Modern Art, The Metropoli-
tan Museum of Art, New York; New York Public Library; Smith College;
Brandeis University, Waltham, Massachusetts; Library of Congress,
Washington, D.C.; Worcester Art Museum; and many private collections.
112
113
POLLACK
5>
Reginald Pollack, Angels and People, 79" x 50", oil on canvas, 1961.
(Peridot Gallery, New York City) (1957)
"I feel that I have said better with paint what I believe in, than I
could with a paragraph or two."
Reginald Pollack was born in New York City in 1924. He studied at
the High School of Music and Art, New York, and at the Academie de la
Grande Chaumiere, Paris. He was awarded the Prix Neumann, 1952; the
Prix Othon Friesz, 1954 and 1957; Prix des Peintres Etrangers, 1958. He
teaches at Yale University and lives in New Haven and New York.
Special exhibitions of Mr. Pollack's work have been held at Peridot
Gallery, New York, in 1949, 1952, 1955-57, 1959, 1960, 1962; Galerie St.
Placide, Paris, 1952; Dwan Gallery, Los Angeles, 1960. He has been rep-
resented in group exhibitions at The Art Institute of Chicago; University
of Illinois; Museum of Modern Art, Whitney Museum of American Art,
New York; Ecole de Paris, Galerie Charpentier, Salon de Mai, Paris; The
Pennsylvania Academy of the Fine Arts, Philadelphia; Carnegie Institute,
Pittsburgh; and elsewhere.
His paintings are in the collections of the Museum of Haifa; Jerusa-
lem Museum; University of Nebraska; The Newark Museum; Brooklyn
Museum, Museum of Modern Art, Rockefeller Institute, Whitney Museum
of American Art, New York; Worcester Art Museum.
114
115
TANIA
Tania, SG7, 38"x45V4", oil on canvas, 1962. (Bertha Schaefer Gallery,
New York City )
"The 'objective' is to isolate and stress a visual experience wherein
two opposite images exist simultaneously and yet merge. The composite
newly formed by this interaction establishes the space in which a part is
relative to nothing else but itself, by force of its opposite parts."
Tania Schreiber was born in Poland in 1924. She received her
Master of Arts degree from McGill University, Montreal, Canada; and
she studied with Morris Kantor, Yasuo Kuniyoshi, and Vaclav Vytlacil at
the Art Students League, New York, from 1948 to 1951. At the present
time she lives in Hartsdale, New York.
Special exhibitions of Tania's work have been held at Albert Landry
Galleries, New York, in 1959, 1961, and 1962. She has been represented
in group exhibitions at the East Hampton Gallery, Long Island, 1961;
Nelson-Taylor Gallery, Long Island, 1962; Bertha Schaefer Gallery, New
York, 1962. Her work is in the collections of Morgan State College,
Baltimore; New York University; Brandeis University, Waltham, Massa-
chusetts.
Eugene Berman, The Trajan Column at Night,
34"x26'/4", oil on canvas, 1960. (M. Knoedler &
Co., New York City) (1948, 1949, 1950, 1955)
"The best statement an artist can make is ex-
pressed by his work. Verbal statements are most of
[the] time without any real significance or value
Everybody talks much too much."
Eugene Berman was born in St. Petersburg,
Russia, in 1899. He studied in Russia, Germany,
Switzerland, France, and Italy. He received a John
Simon Guggenheim Memorial Foundation fellow-
ship in 1947 and 1949. As a scenery and costume
designer for ballet and opera, he has executed com-
missions for the Metropolitan Opera, the City
Center Opera, and Ballet Theatre, New York; tin-
Theatre de FEtoile, Paris; Ballets Russes de Monte
Carlo; La Seala Ballet. Milan; and Sadler's Wells
BERMAN
Ballet, London. Mr. Berman lives in Rome, Italy.
Many special exhibitions of Mr. Berman's work
have been held, the most recent at M. Knoedler &
Co. in New York in 1960. His work has been in-
cluded in major group exhibitions here and abroad.
Mr. Berman's work is found in the collections of the
Museum of Fine Arts, Boston; The Art Institute of
Chicago; Cleveland Museum of Art; Wadsworth
Athencum, Hartford; University of Illinois; Los
Angeles County Museum; Museum of Modern Art,
The Metropolitan Museum of Art, New York;
Smith College Museum of Art, Northampton; Musee
d'Art Moderne, Paris; Philadelphia Museum of Art;
Vassar College, Poughkeepsie; City Art Museum of
St. Louis; Washington University, St. Louis; Al-
bertina, Vienna; The Phillips Gallery, Washington,
D.C.; as well as in many other public and private
collections here and abroad.
116
*v >5V kC^t**tiif 9.
WILT
Richard Wilt, Antigua, No. Ill, 27"x40", water
color on paper, I960. (Gilman Calleries, Chicago,
Illinois)
"My statement should echo the circumstances
and purposes of your exhibition since I too am in-
volved in art instruction at the university level. In
this context, I must consider the picture on exhibit
to have resulted from certain processes that are
entirely reminiscent of the industrialization of our
present civilization. I can argue the value of such
a methodical innovation since the exhibited picture
is but one of three hundred works produced during
a three months' residence on Antigua, British West
Indies (sabbatical leave). However, I must question
the value of a multiplicity of intention when com-
pared to a singleness of purpose. Obviously one
must recognize the fact that three hundred expres-
sions can generally generate a stronger image of
energy, conviction and competence than any single,
solitary example of an artist's work, if for no other
reason than we have a great tendency to consider
quantity above quality. But still might not the one
solution be that of greater merit?
"Such a question, I believe, illustrates the
essential value of the university art education. Only
within the university atmosphere of honest doubt
can the artist truthfully question the relationship
between his act of creation and each human's desire
for a meaningful identity, truthfully search for an
intellectual premise which will make him responsible
for his action and truthfully utilize either his skills
or his awarenesses in order to open the Pandora's
Box of endless speculation."
Richard Wilt was born in Tyrone, Pennsylvania,
in 1915. He studied at Pennsylvania State College;
at Carnegie Institute of Technology where he u.iv
graduated in 1938; at the New School for Social
Research, New York, 1945; and at the University
of Pittsburgh where he received his M.A. degree in
1953. He is Associate Professor of Art at the Uni-
versity of Michigan and lives in Ann Arbor,
Michigan.
Mr. Wilt's work has been included in the fol-
lowing group exhibitions: Associated Artists of
Pittsburgh, 1947, 1948, 1919, 1951, 1953, 1954, 1956,
1959, 1960, 1962; Michigan Artists, 1949, 1951, 1952,
1953, 1954, 1956, 1959, 1960, 1961; Michiana (Indi-
ana) Exhibition, 1955; Michigan State Fair, 1955,
1957, 1959; Michigan Academy, 1956, 1957; and
group exhibitions held at the Illinois State Mu-
seum, Springfield. 1950, 1951; Butler Institute of
American Art, Youngstown, 1953, 1961, 1962; The
Art Institute of Chicago, 1957; The Detroit Institute
of Arts, 1958, 1959, I960; University of Michigan,
1961, 1962; Whitney Museum of American Art, New
York, 1961; The Pennsylvania Academy of the Fine
Arts, Philadelphia, 1961; Flint Institute of Art, 1962;
Drury College, Springfield, Missouri, 1962.
His work is in the collections of The Detroit
Institute of Art; Carnegie Institute, Pittsburgh;
South Bend (Indiana) Museum; Illinois State
Museum, Springfield; Indiana Stale Teachers Col-
lege, Terre Haute; Butler Institute of American Art,
Youngstown.
117
-7.31
Herbert H. Katzman, En NSgligee, 50" x 38", oil on
canvas, 1960. (Terry Dintenfass, New York City)
(1959, 1961)
Herbert H. Katzman was born in Chicago, Illi-
nois, in 1923. He studied at The School of The Art
Institute of Chicago, where he was graduated and
received a traveling fellowship in 1946. He received
a Fulbright grant, 1955, and a grant from the Ameri-
can Academy of Arts and Letters, 1958. Mr. Katz-
man has taught at the Rockland Foundation, Nyack,
New York, 1952-53, and at Pratt Institute, New
York. He lives in New York City.
Mr. Katzman has received awards from The
Art Institute of Chicago, 1951; The Pennsylvania
Academy of the Fine Arts, 1952. Special exhibitions
of his work have been held at The Alan Gallery,
New York, 1954, 1957, 1959.
Mr. Katzman's work has been included in major
group exhibitions here and abroad and is in the
collections of The Art Institute of Chicago; Museum
of Modern Art, Whitney Museum of American Art,
New York; S. C. Johnson & Son, Inc., Racine.
KATZMAN
Richard Baringer, Blue T with Yellow Square, 66"
x 66", liquitex over gesso on canvas, 1962. (Bertha
Schaefer, New York City)
"The growth of a painting evolves from areas of
pure personal consideration to areas of impersonal
analytical decision. My paintings attempt to elab-
orate their own language, to invent the spaces, to
create the shapes, which will call up a world of
plane and color with no indebtedness to literature;
one which does not resemble that which the layman
calls reality, but which constitutes, by itself, reality.
The essential mission of painting is to substitute for
the vision of realitv the . . . realitv of vision."
BARINGER
Richard Baringer was born in Elkhart, Indiana,
in 1921. He studied at the Institute of Design in
Chicago under Moholy-Nagy and Emerson Wolfer.
He lives in New York City. Special exhibitions of
Mr. Baringer's work have been presented by the
Nelson-Taylor Gallery, Long Island, 1962; Bertha
Schaefer Gallery, New York, 1962; Margaret Brown
Gallery, Boston. His work has been included in
group exhibitions at the Institute of Contemporary
Art, Boston; Massachusetts Institute of Technology
Museum, Cambridge; California Palace of the
Legion of Honor, San Francisco.
119
120
Elbert Weinberg, Medusa, 21", bronze, 1961. (Grace Borgenicht Gallery,
New York City)
"Art is more closely connected to life than people permit themselves
to realize. When the complexities of life are brought into focus and more
clearly understood, I believe I will have a greater insight into what I
produce. What intuition and intent make good will be more easily
identifiable. Then I will write a statement worth reading. You may have
to wait a century; I hope you are patient."
Elbert Weinberg was born in Hartford, Connecticut, in 1928. He
attended the Hartford Art School; The Rhode Island School of Design,
Providence; and Yale University . I le was the recipient of a Prix de Rome
in 1951 and 1953 and a John Simon Guggenheim Memorial Foundation
fellowship, 1960. He has taught at The Cooper Union School of Art,
New York. He lives in Rome, Italy.
Mr. Weinberg received two awards from Yale University in 1959.
His work has been included in group exhibitions at the Whitney Museum
of American Art. New York, 1957, 1958, 1960; Carnegie Institute, Pitts-
burgh, 1958; Museum of Modern Art, New York, 1959; The Art Institute
of Chicago, 1959; De Cordova and Dana Museum, Lincoln, Massachusetts,
1960, 1961.
Mr. Weinberg's work is in the collections of the Addison Gallery of
American Art, Andover; Wadsworth Atheneum, Hartford; The Jewish
Museum. Museum of Modern Art. Whitnej Museum of American Art.
New York: Yale University.
WEINBERG
' John Ferren, A Rose for Everyone, 65" x 72", oil on c
__ ^ - Fried Gallery, New York City) (1957
anvas, 1962. (Rose
FERREN
John Millard Ferren was born in Pendleton, Oregon, in 1905. He
studied at Academie de la Grande Chaumiere, Academie Colarosi,
Academie Ronson, and the Sorbonne, Paris; University of Florence, Italy;
University of Salamanca, Spain. Mr. Ferren has taught at the Brooklyn
Museum Art Sehool, New York, 1946-50; The Cooper Union School of
Art, New York, 1947-54; Art Center School, Los Angeles, summer, 1948;
Universitj of California, l.os Angeles, summer, 1953. He presently iv
Associate Professor of Art at Queens College, New York. Mr. Ferren lives
in New York City.
Over thirty special exhibitions of Mr. Ferren's work have been pre-
sented, and his paintings have been included in major group exhibitions
since 1925. Mr. Ferren's work is in the collections of Scripps College,
Claremont, California; The Detroit Institute of Arts; Wadsworth Athe-
neum, Hartford; University of Nebraska; Museum of Modern Art,
Whitney Museum of American Art. New York; Philadelphia Museum of
Art; Virginia Museum of Fine Arts, Richmond; San Francisco Museum
of Art; Washington University, St. Louis; Yale University.
121
MAC I V E R Loren Maclver, Paris Roofs, 54W" x 122", oil on canvas, 1962.
(Pierre Matisse Gallery, New York City) (1950, 1951, 1957,
1961)
Loren Maclver was born in New York City in 1909. She
studied at the Art Students League, New York. In 1960,
Miss Maclver was the recipient of a grant from the Ford
Foundation. She lives now in New York City.
Miss Maclver has received an award from The Corcoran
Gallery of Art, 1957, and special exhibitions of her work have
been held at the Museum of Modern Art, New York; The
Baltimore Museum of Art; Portland (Oregon) Art Museum;
Vassar College; Wellesley College; The Phillips Gallery,
Washington, D.C
Miss Maclver's work has been included in exhibitions at
East River Gallery, New York, 1938; Pierre Matisse Gallery,
New York, 1940, 1944, 1949, 1956, 1961; Arts Club of Chi-
cago, 1941, 1953; Museum of Modern Art, New York, cir-
culating exhibition, 1941-42; The Baltimore Museum of Art,
1945; Museum of Modern Art, New York, 1946; University
of Illinois, 1950, 1951, 1957, 1961; Vassar College Art Gal-
lery, 1950; Santa Barbara Museum of Art, 1950; Portland
(Oregon) Art Museum, 1950; M. H. De Young Memorial
Museum, San Francisco, 1950; Margaret Brown Gallery,
Boston, 1951; Farnsworth Museum, Wellesley College, 1951;
The Phillips Gallery, Washington, D.C, 1951; Whitney Mu-
seum of American Art, New York, 1953; Dallas Museum of
Fine Arts, 1953; Des Moines Art Center, 1953; San Francisco
Museum of Art, 1953; The Corcoran Gallery of Art, Wash-
ington, D.C, 1958; Fairweather-Hardin Gallerv, Chicago,
1959.
Miss Maclver's work is represented in the collections of
the Addison Gallery of American Art, Andover; The Balti-
more Museum of Art; The Art Institute of Chicago; Wads-
worth Atheneum, Hartford; Los Angeles County Museum;
Walker Art Center, Minneapolis; The Newark Museum;
Brooklyn Museum, The Metropolitan Museum of Art, Mu-
seum of Modern Art, Whitney Museum of American Art,
New York; University of Oklahoma; Philadelphia Museum
of Art; Bibliotheque Nationale, Paris; Munson-Williams-
Proctor Institute, Utica; Vassar College Art Gallery; The
Corcoran Gallery of Art, The Phillips Gallery, Washington,
D.C; Williams College Art Gallery; Yale University.
122
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123
HEBALD
Milton Hebald, Noah's Ark, 36", bronze, 1961.
(Nordness Gallery, Inc., New York City)
(1961)
"Towards a re-evaluation of the classic
or humanistic tradition, an affirmation of
man's positive goals, to function wherever pos-
sible in public places, and designed and exe-
cuted with my personal invention and style."
Milton Hebald was born in New York
City in 1917. He studied at the Beaux Arts
Institute and Art Students League, New York.
In 1955, he received the Prix dc Rome. He
has taught at The Cooper Union School of
Art and at the Brooklyn Museum Art School,
New York. Mr. Hebald lives in Rome, Italy.
Mr. Hebald was the recipient of a prize
from the New York Department of Public
Works, 1953. Special exhibitions of his work
have been held at the ACA Gallery, New
York, 1937, 1940; Grand Central Moderns,
New York, 1950, 1954; Galleria Schneider,
Rome, 1957; Nordness Gallery, New York,
1959, 1960, 1961.
His work is in the collections of the Whit-
ney Museum of American Art, New York;
University of North Carolina; University of
Notre Dame; Philadelphia Museum of Art;
Yale University; and in private collections.
124
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Jennett Lam, Mother of Pearl Chair, 54" x 48",
oil on masonite, 1961. (Grand Central Moderns,
New York City) (1961)
"For the past three years I have been attracted
by the chair and the many variations it offers for
conveying associations between man and the object.
The chair itself can also become a symbol of man.
The mystery of the relationship object-space remains
an unknown, fascinating to seek."
Jennett Lam was born in Ansonia, Connecticut,
in 1911. She studied at Yale University, where she
received her B.F.A. degree in 1954 and her Ml. A.
degree in 1960. She studied with Joseph Albers in
1960, and she was the recipient of a fellowship to
the MacDowell Colony, Peterborough, New Hamp-
shire, in 1960, 1961. Miss Lam teaches at the Uni-
versity of Bridgeport; she lives in New Haven,
Connecticut.
LAM
Special exhibitions of Miss Lam's work have
been held at Bradford (Massachusetts) Junior Col-
lege; Silvcrmine Guild of Artists, New Canaan;
Munson Gallery, New Haven; Lyman Allyn Mu-
seum, New London; Grand Central Moderns, New
York.
Miss Lam's work is in the collections of the
Akron Art Institute; Lehigh University, Bethlehem,
Pennsylvania; Bradford (Massachusetts) Junior Col-
lege; Columbus (Ohio) Gallery of Fine Arts; Mary
Washington College, Fredericksburg, Virginia; Uni-
versity of Illinois; Nebraska Art Assoi iation; First
New Haven National Bank; American Council of
Learned Societies, Museum of Modern Art, Louise
Nevelson, New York University, Overseas Press
Club, United Nations Plaza, New York; Madame
Dierre de Harting, Paris, France; Skidmore College,
Saratoga Springs, New York.
125
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RATTNER
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73
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Abraham Rattner, Rocce Del Capo, Sea Storm III,
28" x 36", oil on canvas, 1961. (The Downtown Gal-
lery, New York City) (1948, 1949, 1950, 1951, 1952,
1953, 1955, 1957, 1959, 1961)
"Worked hard but with quick enthusiasm over
what I'd call the violence of mommy nature the sea in
a fit of sum-total tempestuousness — no piece of music
has yet done its worthy manifestation of expressiveness
of the vitality, energy, livingness or powerful joy and
anger of the sea — I felt I was in it dancing with it
fighting it roaring with it part of it participating with
that old — ever young sea letting out the excitement
the expression of being alive — roaring it — not being
boxed in fenced in by restraint of any kind — NOT
SILENT as the poet-painters might moan for — that
is if moaning and silence could juxtapose each other.
So after the hot hot sun the smooth flat vaporous
glassy glossy dead pan whiteness — no stir — no — to
the look and feel of it not even wet — suddenly kicked
up her heels and went into a magnificent furioso and
all the old gods and sea dogs and I went along in that
fabulous fury which nothing could resist. I had a room
to work in right over that roaring tumult. Made many
studies — drawings — symphony of power, fertility, liv-
ingness being alive vitality of never say die — of relent-
less destructive capacity of that untamable savageness
of sheer nature. It's a sympathetic motif for me at this
sad moment of a dying world of humanity — of man
pooping and petering-out. Our GUTLESS TIME of
little man who in painting is afraid to be alive and the
ultra ultras the puny dying race of them cries out for
'silent art,' is dead."
Abraham Rattner was born in Poughkeepsie, New
York, in 1895. He studied at George Washington Uni-
versity, and The Corcoran School of Art, Washington,
D.C.; The Pennsylvania Academy of the Fine Arts,
Philadelphia; and in Paris. He received a Cresson
Traveling Fellowship from The Pennsylvania Academy
of the Fine Arts in 1945. He has taught at the Uni-
versity of Illinois, 1952-54, and at Michigan State
University in 1956. He lives in Paris.
Mr. Rattner received awards from the Pepsi-Cola
Company, 1944; The Pennsylvania Academy of the
Fine Arts, 1945; La Tausca Company, 1946; Uni-
versity of Illinois, 1948; The Corcoran Gallery of Art,
Washington, D.C., 1953; University of Michigan, 1956.
Special exhibitions of Mr. Rattner's paintings have
been held at the Bonjean Galleries, Paris, 1935; Julien
Levi Gallery, New York, 1936-41; San Francisco Mu-
seum of Art, 1940; Paul Rosenberg & Co., New York,
1942-56; Vassar College, Poughkeepsie, 1948; Univer-
sity of Illinois, 1952; The Downtown Gallery, New
York, 1957; The Corcoran Gallery of Art, Washington,
D.C., 1958. His work has been included in many
major exhibitions here and abroad and is in numerous
public and private collections.
126
127
Robert Broderson, Coming Age, 66"x51", oil on can-
vas, 1961. Catherine Viviano Gallery, New York
City
"In an essay entitled Tradition and the Individual
Talent. T. S. Eliot has said a number of things about
art which reinforce my own views. I quote:
'No poet, no artist of any art, has his complete
meaning alone. His significance, his appreciation is the
appreciation of his relation to the dead poets and artists.
You cannot value him alone ; you must set him, for con-
trast and comparison, among the dead.
'He must be quite aware of the obvious fact that art
never improves, but that the material of art is never
quite the same.
'Some one said, "The dead writers are remote from
us because we know so much more than they did." Pre-
cisely, and they are that which we know.
'One error, in fact, of eccentricity in poetry is to
seek for new human emotions to express; and in this
search for novelty in the wrong place it discovers the
perverse.
'In fact, the bad poet is usually unconscious where
he ought to be conscious, and conscious where he ought
to be unconscious. Both errors tend to make him "per-
sonal." Poetry is not a turning loose of emotion, but an
escape from emotion : it is not the expression of per-
sonality, but an escape from personality. But, of course,
onlv those who have personality and emotions know what
it means to want to escape from these things.' "
Robert Broderson was born in West Haven, Con-
necticut, in 1920. He received his B.A. degree from
Duke University in 1950 and his MA degree from the
State University of Iowa in 1952. lie was the recipient
of a grant from the National Institute of Arts and
Letters in 1962. He has taught at Duke University
from 1957 to the present. He lives in Durham, North
Carolina.
Mr. Broderson has won a number of awards. His
work has been shown in five special exhibitions, and it
has been represented in many group exhibitions includ-
ing those at The Pennsylvania Academy of the Fine
Arts, 1951, 1953, 1961; The Metropolitan Museum of
Art, New York, 1952; The Corcoran Gallery of Art,
Washington, D.C., 1953, 1957; Whitney Museum of
American Art, Museum of Modern Art, New York,
1961. Mr. Broderson's work is in many public and
private collections in the United States.
BRODERSON
TOWNLEY
Hugh Townley, Star Chamber, 60", wood, 1961.
(The Pace Gallery, Boston, Massachusetts)
(1961)
Hugh Townley was born in West Lafayette,
Indiana, in 1923. He studied at the University
of Wisconsin, Madison, under Ossip Zadkine.
Paris, from 1948-50, and at the London County
Council Central School of Arts and Crafts. He
has taught at Boston University and presently
teaches at Brown University, Providence. He
lives in Providence, Rhode Island.
Mr. Townley has received awards from the
Institute of Contemporary Arts, Boston, and
from the San Francisco Museum of Art. His
work has been included in exhibitions at the
Allan Frumkin Gallery, Chicago; University of
Illinois: Museum of Modern Art, Whitney Mu-
seum of American Art, New York; Gallery St.
Germain, Paris; Carnegie Institute, Pittsburgh.
Mr. Townley s work is in the collections of
the Museum of Fine Arts, Boston; Fogg Art Mu-
seum, Cambridge, Massachusetts; Arnold Mare-
mont, Chicago; Nelson A. Rockefeller. Whitney
Museum of American Art, New York: Williams
College, Williamstown, Massachusetts.
128
BOWMAN
Geoffrey Bowman, White Image, 50" x 40", oil and collage on canvas,
1962. (David Cole Gallery, San Francisco, California)
"The shapes, colors, and patterns which form the content of my work
are the result of the transformation of visual phenomena by my own life-
process — conscious and unconscious as well. These personal configura-
tions are not completely planned beforehand but grow organically as I
paint. However, I believe they have no relationship with so-called 'action
painting.'
"Because I am keenly aware of the phenomenon of change persist-
ently present in all that surrounds us, I work reflectively with the things
I have seen and am continuing to see in their metamorphoses. It is these
acts of seeing and reflecting that I hope to stimulate in the viewer of my
work."
Geoffrey Bowman was born in San Francisco, California, in 1928.
He received his B.A. and M.A. degrees from San Francisco State College
and studied at the San Francisco Art Institute. He lives in San Francisco.
Special exhibitions of Mr. Bowman's work have been held at the East-
West Gallery, San Francisco, 1957; Yakima (Washington) Junior College,
1959; David Cole Gallery, San Francisco, 1962.
Mr. Bowman's work has been included in group exhibitions at the
San Francisco Museum of Art, 1957, 1961, 1962; Richmond (California)
Art Center, 1958, 1961; California Palace of the Legion of Honor, San
Francisco, 1959, 1961; David Cole Gallery, Los Angeles, 1962; Stanford
University, 1962. Mr. Bowman's work is in the collections of The Lannan
Foundation, New York; John Baxter, Oakland; San Francisco Museum
of Art; and other west coast collections.
129
ADLER
Samuel Adler, / Saw Him in Florence
oil on canvas, 1962. (Babcock Gall
(1950, 1951
1952,
60" x 50",
Galleries, New
1953, 1955, 1957,
York City)
1959, 1961)
"While in Florence in 1954, I made a num-
ber of studies of a man who sat at the entrance
of my pension.
"He was strange and strangely dressed, and
he sat there every day for a week or more.
"I stood across the street from him daily
and made my studies — captivated by his strange-
ness.
"In 1959, in my studio, quite unexpectedly
one day, I saw him again — this time in my
mind's eye, and I painted him out of that
memory.
"Of course I no longer could remember how
he really looked — I could only recall the 'feel'
of the experience.
"As a painter, I am not intrigued ever, by
any particular man, but rather by man and life,
as experience.
"Again, this past year [1962] my Florentine
returned to haunt me, and my painting, / Saw
Him in Florence, is another attempt to breathe
life into a haunting memory."
Samuel Adler was born in New York City in
1898. He was admitted to the National Academy
of Design by special dispensation at the age of
fourteen. He devoted his early years to both
music and painting, supporting himself as a
violinist until 1927 when he turned to painting as
a full-time profession. Mr. Adler taught drawing
and painting privately from 1936 to 1950. He
was Visiting Professor of Art at the University
of Illinois, 1959-60, and since 1948 he has taught
at New York University where he is Professor of
Art. He has been guest lecturer at the Museum
of Modern Art, New York; University of Michi-
gan; and Syracuse University. He has traveled
widely in Europe, Africa, Latin America, and the
United States. He lives in New York City.
Mr. Adler has received special awards from
The Pennsylvania Academy of the Fine Arts,
Philadelphia, 1951; Whitney Museum of Ameri-
can Art, New York, 1952; University of Illinois,
1952; Audubon Artists, Inc., New York, 1956,
1960; Staten Island Institute of Arts and Sci-
ences, 1962.
Special exhibitions of Mr. Adler's work have
been presented by the Luyber Gallery, New York,
1948; University of Indiana, 1950; Louisville Art
Center, 1950; Mint Museum of Art, Charlotte,
1951; Grace Borgenicht Gallery, New York, 1952,
1954; The Philadelphia Art Alliance, 1954; Uni-
versity of Illinois, 1960; Grand Central Moderns,
New York, 1961.
His paintings have been included in group
exhibitions at the Chicago Society for Contem-
porary American Arts, 1940, 1952; Los Angeles
County Museum, 1945; The Art Institute of Chi-
cago, 1948, 1952, 1957; The Pennsylvania Acad-
emy of the Fine Arts, Philadelphia, 1948, 1951-
53; Nebraska Art Association, 1949, 1952, 1953;
National Academy of Design, New York, 1949,
1951; Dallas Museum of Fine Arts, 1949; Day-
ton Art Institute, 1949, 1950; Des Moines Art
Center, 1949, 1954; Cranbrook Academy of Art,
Bloomfield Hills, Michigan, 1949, 1953; Univer-
sity of Georgia, 1949, 1953, 1954, 1956; The
Jewish Museum, New York, 1949; The Metro-
politan Museum of Art, New York, 1950, 1952;
Whitney Museum of American Art, New York,
1951-55, 1956; City Art Museum of St. Louis,
1951, 1953; Norton Gallery, West Palm Beach,
1952, 1955; Sarasota Art Association, 1952,
1956; Key West Art and Historical Society,
1952, 1955; University of Washington, 1952; San
Francisco Museum of Art, 1952; Stanford Uni-
versity, 1952; Woodstock Art Association, 1952,
1953, 1955; University of Mississippi, 1953;
Florida Gulf Coast Art Center, Inc., Clearwater,
1953, 1956; Audubon Artists, Inc., New York,
1953, 1954, 1956, 1957; Columbus (Ohio) Gal-
lery of Fine Arts, 1953; Telfair Academy of Arts
and Sciences, Savannah, 1953, 1956; Virginia
Museum of Fine Arts, Richmond, 1954; Denver
Art Museum, 1955, 1956; New York University,
1955-58; De Cordova and Dana Museum, Lin-
coln, Massachusetts, 1955; Illinois Wesleyan Col-
lege, 1955; Staten Island Institute of Arts and
Sciences, 1956, 1957; Grand Rapids Art Gallery,
1957; and in Europe, 1956, 1957.
Mr. Adler's work is represented in the per-
manent collections of the Florida Gulf Coast Art
Center, Clearwater; University of Illinois; New
York University; Whitney Museum of American
Art, New York; Staten Island Institute of Arts
and Sciences; Munson- Williams-Proctor Institute,
Utica; and in many private collections.
130
131
132
KIPP
Lyman Kipp, Route II, 24", bronze, 1962. (Betty Parsons Gallery, New-
York City)
Lyman Kipp was born in Dobbs Ferry, New York, in 1929. He
studied at Pratt Institute, New York, 1950-54, and at the Cranbrook
Academy of Art, Bloomfield Hills, Michigan, 1952. He has taught at the
Harvey School, Hawthorne, New York; Cranbrook Academy of Art,
Bloomfield Hills, Michigan; and Bennington College, Bennington, Ver-
mont. He lives in Bennington, Vermont.
Special exhibitions of Mr. Kipp's work have been held at the Cran-
brook Academy of Art, Bloomfield Hills, Michigan, 1954; Betty Parsons
Gallery, New York, 1954, 1955, 1958, 1960, 1962; Bennington College,
1961.
His work has been included in group exhibitions at The Detroit
Institute of Arts, 1955; The Baltimore Museum of Art, 1955, 1959; Des
Moines Art Center, 1956; University of Minnesota, Walker Art Center,
Minneapolis, 1956; Rhode Island School of Design, Providence, 1956;
Whitney Museum of American Art, New York, 1956, 1960; Cincinnati
Art Museum, 1957; Brooklyn Museum, New York, 1960; Claude Bernard
Gallery, Paris, 1960; The Art Institute of Chicago, 1961, 1962; Carnegie
Institute, Pittsburgh, 1961. Mr. Kipp's work is in the collections of Mrs.
Therone Catlin, Mrs. Albert Greenfield, University of Kentucky, Lfniver-
sitv of Michigan, Mrs. Garrish Milliken, Miss Kay Orday, Mr. Robert
Ossorio, Miss Priscilla Peck, and Mr. and Mrs. Robert D. Stecker.
■
#
GOUGH
^••' .Va^Mi
'^■"73 Robert Alan Gough, The Window East, 28" x 22", oil on masonite, 1962. (Gilman
-■j li> u) Galleries, Chicago, Illinois)
"To search out the uniqueness and dignity of individual character in the life
around us and state these certain responses in as much a natural expression as is
consciously or subconsciously possible, one might say my objectives in painting are
denned. I can only hope the paintings give some abstract feeling of the experience
which it has been the artist's reward to have had.
Although there is a great fondness of the Flemish masters, I strive through the
quiet excitement of discipline and craft to develop a purely American vision.
"Working from the references gained amid the familiar surroundings of 'home' in
southern Ohio, I try to penetrate the surface of these singular subjects and go for their
strength and essence rather than mere reproduction."
Robert Alan Gough was born in Quebec City, Canada, in 1931. He studied at
the American Academy of Art, Chicago. He lives in Chicago, Illinois.
Mr. Gough has received awards from the Municipal Art League of Chicago;
Illinois State Fair; National Academy of Design, New York; Butler Institute of
American Art, Voungstown. His work has been included in exhibitions .it the Illinois
State Fair, 1961, 1962; The Union League Club of Chicago, 1961; Butler Institute of
American Art, Voungstown, 1962; National Academy of Design, New York, 1962.
Mr. Cough's work is in the permanent collections of The Union League Club of
Chicago; National Academy of Design, New York; Butler Institute of American Art,
Youngstown.
it;
BROWN
(Joan Brown, Nun with Staffordshire Terrier, 60" x
60", oil on canvas, 1961. Lent by The Joseph H.
Hirshhorn Collection, New York City. (StaempHi
Gallery, New York City) (1961)
"I intend to further develop the direction I'm
now involved with, introducing new ideas as they
evolve."
Joan Brown was born in San Francisco in 1938.
She received her Bachelors degree and her Master's
degree from the California School of Fine Arts, San
Francisco, in 1960. She teaches at the California
School of Fine Arts, and she lives in San Francisco.
Miss Brown won prizes from the Richmond
(California) Art Center in 1957 and 1960. Her
work has been included in group exhibitions at the
Richmond Art Center, and at the Whitney Museum
of American Art, New York. Miss Brown's work is
in the collections of the Albright-Knox Art Gallery,
Buffalo; Joseph H. Hirshhorn, Museum of Modern
Art, New York; Williams College, Williamstown,
Massachusetts.
134
MORRISON
Olivia Morrison, Obstinate Bird, 30'/.;", bronze, 1961.
(Selected Artists Galleries, Inc., New York City)
"I try to speak — through sculpture — of man's
dependency on the earth, water, air and sun — the
struggle for life. To protest the unbalancing of
nature, constant fights between nations and the fears
of destruction. I often find birds a simple and direct
form for what I have to say."
Clivia Morrison was born in Perth Amboy, New
Jersey, in 1909. She studied at the Art Students
League, New York, and at the Detroit Society of
Arts and Crafts, where she received a scholarship
in 1927. She has taught at the Detroit Society of
Arts and Crafts, and in her own studio. She lives
in New York City.
Miss Morrison won a prize in the Michigan
Artists' exhibition in 1937 and an award from the
Everson Museum of Art, Syracuse, 1941. Her work
has been included in group exhibitions at Audubon
Artists, Inc., Selected Artists Galleries, New York;
Ontario Sculptors Society; The Ontario Society of
Artists; Royal Canadian Academy of Arts; Everson
Museum of Art, Syracuse; Gallery of Contemporary
Arts, Toronto.
Her work is in the collections of The Detroit
Institute of Arts; Mrs. Edsel Ford, Detroit; Lansing
Water Board Building; University of Michigan;
International Business Machines, Inc., New York.
^73^.73
5 o
135
7^
73
Paul Zimmerman, Jft'W Zi/<% Citron, 48" x 48", oil
on masonite, 1961. (Jacques Seligmann Gallery,
New York City) (1948, 1961)
Paul Zimmerman was born in Toledo, Ohio,
in 1921. He received a B.F.A. degree from the Art
School of The John Herron Art Institute, Indianapo-
lis, in 1946. He was awarded a Milliken Memorial
Scholarship in 1946. He has taught at the Univer-
sity of Indiana, Bloomington, and Westminster
School, New Wilmington, Pennsylvania, and he
teaches now at the University of Hartford. Mr.
Zimmerman lives in Hartford, Connecticut.
Mr. Zimmerman has won awards from the
Boston Arts Festival; Connecticut Academy of Fine
Arts, the Connecticut Water Color Society, Hart-
ford," The John Herron Art Institute, Indianapo-
lis; Silvermine Guild of Artists, New Canaan:
National Academy of Design, New York; Berkshire
Art Festival, Pittsfield; Springfield (Massachusetts)
Art League.
Over eight special exhibitions of his work have
been held, and it has been included in group exhibi-
tions at the Boston Arts Festival; Columbus (Ohio)
Gallery of Fine Arts; Dayton Art Institute; Illinois
Wesleyan University; University of Illinois; The
John Herron Art Institute, Indianapolis; University
of Nebraska; National Academy of Design, The
National Institute of Arts and Letters, New York;
The Pennsylvania Academy of the Fine Arts, Phila-
delphia; Provincetown Art Association; Rhode
Island Art Festival; Virginia Museum of Fine Arts,
Richmond; Marion Koogler McNay Art Institute,
San Antonio; The Corcoran Gallery of Art, Wash-
ington, D.C.; Butler Institute of American Art,
Youngstown.
His work is in the collections of the Wadsworth
Atheneum, Hartford; Museum of Fine Arts of
Houston; De Cordova and Dana Museum, Lincoln,
Massachusetts; New Britain (Connecticut) Museum
of American Art; First New Haven National Bank;
Chase Manhattan Bank, New York; The Pennsyl-
vania Academy of the Fine Arts, Philadelphia; The
Berkshire Museum, Pittsfield; The Museum of Fine
Arts, Springfield, Massachusetts.
ZIMMERMAN
136
BRODERSON
Morris Broderson, Pieta. 55" x 42", oil on canvas, 1961.
Lent by Mr. Sterling; Holloway, Laguna, California.
(Ankrum Gallery, Los Angeles, California)
"I try to paint people as I see them and show the
way they feel about life, other people, and the world
around them. Sometimes when I am painting I can
hear music in my mind — or when I sec a beautiful
landscape with forms of hills, trees and horses. We
need these things; they help.
"I like to paint angry things too, like a bull-fishier
who has just been gored by the bull, a growling dog,
or a chicken trying to be free. We all want to be free."
Morris Broderson was born in Los Angeles, Cali-
fornia, in 1928. He studied at The Pasadena Art Mu-
seum, and Jepson Art Institute and the University of
Southern California, Los Angeles. He lives in Los
Angeles.
Mr. Broderson has received awards from the Los
Angeles Count>' Museum, 1958, 1960; Whitney Mu
seum of American Art, New York, 1960. Special exhi-
bitions of his work have been held at Stanford Uni-
versity, 1958; Santa Barbara Museum of Art, 1959;
M. H. De Young Memorial Museum, San Francisco,
1961; Ankrum Gallery, Los Angeles, 1961, 1962. His
work has been included in group exhibitions at the
Anion Cartel Museum of Western Art, Fort Worth;
Los Angeles County Museum; Universit) of California,
Los Angeles; Whitney Museum of American Art, New-
York; Carnegie Institute, Pittsburgh; California Palace
of the Legion of Honor, San Francisco; Butler Insti-
tute of American Art, Youngstown.
Mr. Broderson's work is in the collections of Dr.
MacKinley Helm; Joseph II. llirshhorn; The Kalama-
zoo Institute of Art; Los Angeles County Museum;
Wright Ludington; Whitney Museum of American Ait.
New York; The Phoenix \il Museum: M. II. De
Young Memorial Museum, San Francisco; San Fran-
cisco Museum of Art; Santa Barbara Museum of Art;
Stanford University
137
WESTERMANN
\jO
H. C. Westermann, Where the Angels Fear to Tread, 17", laminated
wood, 1962. (Allan Frumkin Gallery, Chicago, Illinois) (1961)
H. C. Westermann was born in Los Angeles, California, in 1922. He
studied at The School of The Art Institute of Chicago. He lives in
Brookfield Center, Connecticut.
Mr. Westermann has received awards from The Art Institute of
Chicago, and special exhibitions of his work have been held at the Allan
Frumkin Gallery, Chicago, 1958, 1961; Allan Frumkin Gallery, New York,
1961; Dilexi Gallery, Los Angeles, 1962. Mr. Westermann's work has been
included in group exhibitions at the Museum of Modern Art, New York,
1959, 1962; Contemporary Arts Association, Houston, 1959; University of
Illinois, 1961; Lake Forest (Illinois) College, 1961; The Art Institute of
Chicago, 1962; American Federation of Art, New York, 1962; Galerie
du Dragon, Paris, 1962.
Mr. Westermann's work is in the collections of The Art Institute of
Chicago; Mr. and Mrs. Edwin Bergman, Mr. and Mrs. Lewis Manilow,
Mr. Joseph Shapiro, Mrs. Harold Weinstein, Chicago; Mr. and Mrs.
Richard Hollander; Mr. Dennis Adrian, Mr. Charles Jules, Mr. Howard
W. Lipman, Dr. and Mrs. Arthur J. Neumann, New York; Mr. and Mrs.
William Coply, Paris.
^>t„:y./^£*'Z*,-$LjZ£ I
138
STUCK
Jack Stuck, Self Portrait — Seeing Rose, 72" x 49", oil on canvas, 1962. (Comara
^ q-z 2. "2- S Gallery, Los Angeles)
Jack Stuck was born in Fairmont, West Virginia, in 1925. He received his B.A.
from Fairmont State College, 1950, and his M.F.A. degree from the State University
of Iowa, 1952. He has taught at Otis Art Institute, Los Angeles. He lives in Los
Angeles.
Mr. Stuck has received nine awards in exhibitions since 1959. Special exhibitions
of his work have been presented at the Comara Gallery, Los Angeles, 1960, 1961, 1962,
and Art Center in La Jolla, 1962. His work has been included in group exhibitions at
Los Angeles County Museum, 1958, 1959, 1960, 1961; Art Center at La Jolla, I960;
The Pasadena Art Museum, 1960, 1961; Philadelphia Museum of Art, 1960; San
Francisco Museum of Art, 1960, 1961; Denver Art Museum, 1961; Munson-Williams-
Proctor Institute, Utica, 1961; Virginia Museum of Fine Arts, Richmond, 1962. Mr.
Sturk's work is in the collections of Long Beach State College; William Roerick, Los
Angeles; Joseph H. Hirshhorn, Lee Nordness, New York; The Phoenix Art Museum:
and in many other collections.
r;<i
WYETH
' Andrew Wyeth, Back Apartment, 22'A" X.3OV2", water color on paper,
1961. Lent by Mr. and Mrs. Donald Gilmore, Kalamazoo, Michigan.
(1948, 1949)
Andrew Wyeth was born at Chadds Ford, Pennsylvania. He studied
with his father, N. C. Wyeth. Mr. Wyeth still lives in Chadds Ford,
Pennsylvania.
He received the Dana Water Color Medal from The Pennsylvania
Academy of the Fine Arts, Philadelphia, 1947; the Award of Merit Medal
and a prize from the American Academy of Arts and Letters, New York,
1947; and a prize from the Carnegie Institute, Pittsburgh, 1948 and 1958.
Special exhibitions of Mr. Wyeth's work have been held at the
Macbeth Gallery, New York, 1937, 1938, 1939, 1941, 1943, 1945, 1948,
1950, 1952; Doll & Richards, Boston, 1938, 1940, 1942, 1944, 1946; The
Currier Gallery of Art, Manchester, New Hampshire, 1951; William A.
Farnsworth Library and Art Museum, Rockland, Maine, 1951; M. Knoed-
ler & Co., New York, 1953, 1958; M. H. De Young Memorial Museum,
San Francisco, 1956; Santa Barbara Museum of Art, 1956; Delaware
Art Center, Wilmington, 1957; Charles Hayden Memorial Library, Massa-
chusetts Institute of Technology, Cambridge, 1960; Albright-Knox Art
( iallery, Buffalo, 1962.
Mr. Wyeth's work has been included in group exhibitions at The
Pennsylvania Academy of the Fine Arts, Philadelphia, 1939, 1941, 1942,
1943, 1944, 1945, 1949, 1950, 1951, 1952, 1958, 1959; Whitney Museum
of American Art, New York, 1946, 1948, 1951, 1956, 1959; Carnegie Insti-
tute, Pittsburgh, 1946, 1947, 1948, 1949, 1950, 1952, 1955, 1958, 1961;
Museum of Art of Ogunquit, Maine, 1955; and in Moscow, 1959.
Mr. Wyeth's work is in the following collections: Addison Gallery
of American Art, Andover; Museum of Fine Arts, Boston; The Art
Institute of Chicago; Dallas Museum of Fine Arts; Wadsworth Atheneum,
Hartford; Museum of Fine Arts of Houston; The Montclair (New Jersey)
Art Museum; Lyman Allyn Museum, New London; The Metropolitan
Museum of Art, Museum of Modern Art, New York; Joslyn Art Museum,
Omaha; National Gallery, Oslo; Philadelphia Museum of Art; California
Palace of the Legion of Honor, San Francisco; Munson-Williams-Proctor
Institute, Utica; Delaware Art Center, Wilmington.
140
I II
142
DAVIS
754,
I v- I 1/W.Stuart Davis, General Studies, 2/"x36", oil on canvas,
C 1962. (The Downtown Gallery, New York City)
(1950, 1952, 1953, 1955, 1957, 1959, 1961)
Stuart Davis was born in Philadelphia in 1894.
He studied with Robert Henri in New York, 1910-13.
He served with Army Intelligence during World War
I and worked in New Mexico during the summer of
1923 and in Paris during 1928-29. Hetaught at the Art
Students League, 1931-32, and at the New School for
Social Research, 1940-50. In 1952 Mr. Davis received
a John Simon Guggenheim Memorial Foundation fel-
lowship. He has lectured at many museums and uni-
versities. He lives in New York City.
Mr. Davis has received awards from the Pepsi-
Cola Company, 1944; Carnegie Institute, Pittsburgh,
1944; The Pennsvlvania Academy of the Fine Arts,
Philadelphia, 1945, 1956; St. Boltolph Club, Bos-
ton, 1947; Look, 1948; The Art Institute of Chicago,
1948, 1951; La Tausca Company, 1948; Virginia Mu-
seum of Fine Arts, Richmond, 1950; Brandeis Univer-
sity, Waltham, Massachusetts, 1957; The Solomon R.
Guggenheim Museum, New York, 1958, 1960.
Special exhibitions of Mr. Davis' work have been
held at Sheridan Square Gallery, New York, 1917;
Ardsley Gallery, New York, 1918; The Newark Mu-
seum, 1925; Whitney Museum of American Art,
New York, 1926, 1929; The Downtown Gallery, New-
York, 1928, 1931, 1939, 1945, 1946, 1952, 1957; Valen-
tine Gallery, New York, 1928; Crillon Gallery, Paris,
1931; Kath'erine Kuh Gallery, Chicago, 1939; Cincin-
nati Art Museum, 1941; University of Indiana, 1941;
The Art Institute of Chicago, 1945; Museum of Modern
Art, New York, 1945; Institute of Contemporary Art,
Boston, 1945; William Rockhill Nelson Gallery of
Art, Kansas City, 1945; The Baltimore Museum of Art,
1946; Venice Biennale d'arte, 1952; Brandeis Univer-
sity, Waltham, Massachusetts, 1957; Walker Art Center,
Minneapolis, 1957; Des Moines Art Center, 1957; San
Francisco Museum of Art, 1957.
Mr. Davis' work has been in many group exhibi-
tions including that at the 69th Regiment Armory, New
York, 1913; the Independents Exhibition, New York,
1916; Golden Gate International Exposition, San Fran-
cisco, 1940; Tate Gallery, London, 1946; Museum of
Modern Art International Exhibitions, 1953-54, 1955-
56; Museu de Arte Moderna de Sao Paulo, Brazil,
1957; Bienal Interamericana, Mexico, 1958.
Mr. Davis' work is in the collections of the Addison
Gallery of American Art, Andover; The Baltimore Mu-
seum of Art; Cranbrook Academy of Art, Bloomfield
Hills, Michigan; Albright-Knox Art Gallery, Buffalo;
Fogg Art Museum, Cambridge, Massachusetts; The Art
Institute of Chicago; Cincinnati Art Museum; Dart-
mouth College; University of Georgia; Wadsworth
Atheneum, Hartford; Honolulu Academy of Arts; Uni-
versity of Illinois; University of Iowa; University of
Kentucky; Los Angeles County Museum; Randolph-
Macon Woman's College, Lynchburg, Virginia; Mil-
waukee Art Center; The Minneapolis Institute of Arts;
Walker Art Center, Minneapolis; University of Ne-
braska; The Newark Museum; The Brooklyn Museum,
The Solomon R. Guggenheim Museum, The Metro-
politan Museum of Art, Museum of Modern Art,
Whitney Museum of American Art, New York; Uni-
versity of Oklahoma; The Pennsylvania Academy of the
Fine Arts, Philadelphia; Philadelphia Museum of Art;
Carnegie Institute, Pittsburgh; Yassar College, Pough-
keepsie; Virginia Museum of Fine Arts, Richmond;
Rochester (New York) Memorial Art Gallery; City
Art Museum of St. Louis; Washington University, St.
Louis; San Francisco Museum of Art; Munson-
Williams-Proctor Institute, Utica; Brandeis LTnivcrsitv.
Waltham, Massachusetts; Library of Congress, The
Phillips Gallery, Washington, D.C.; University of Wash-
ington; W'ellesley College; Yale University.
.
MORRIS
Hilda Monis, Sttt Sentry, 61", cements and metal,
1959. (California Palace of the Legion of Honor.
San Francisco, California)
"Sea Sentry, began as a ballad — of a coastal
storm, the wrestling, the primordial condition, and
the fusion of past and present."
Hilda Morris (Mrs. Carl) was born in New
York Citv in 1911. She studied at the Art Students
League and at The Cooper Union School of Art and
Architecture. In 1960 she received a grant from the
Ford Foundation. At the present time she lives in
Portland, Oregon.
Mrs. Morris' work has been included in group
exhibitions at The Metropolitan Museum of Art,
New York, 1951; Brooklyn Museum, New York,
1953; Museu de Arte Moderna de Sao Paulo, Brazil,
1955; American Federation of Arts (traveling exhi-
bition), 1957, 1958, 1959, 1960, 1961; Boston Arts
Festival, 1959; Portland (Oregon) Art Museum,
1959; Santa Barbara Museum of Art, 1959; Davton
Art Institute, 1961; Seattle World's Fair, 1962;
Amon Carter Museum of Western Art, Fort Worth;
University of California, Los Angeles; Denver Art
Museum; Oakland Art Museum; San Francisco Mu-
seum of Art; Seattle Art Museum.
Mrs. Morris' work is represented in the collec-
tions of Walter P. Chrysler, Jr., Chase Manhattan
Bank, New York; University of Oregon; Portland
(Oregon) Art Museum; California Palace of the
Legion of Honor, San Francisco; San Francisco
Museum of Art; Seattle Art Museum; Tacoma Art
League; Munson-Williams-Proctor Institute, Utica.
<■ \
1«
GOLUB
Leon Golub, Male Figure, 81"x45", oil and lacquer
on canvas, 1962. Lent by Mr. and Mrs. Gene Sum-
mers, Chicago, Illinois. (Allan Frumkin Gallery,
Chicago, Illinois) (1957, 1961)
Leon Golub was born in Chicago in 1922. He
received his Bachelor's degree in the history of art
at the University of Chicago in 1942 and his Master
i if Fine Arts degree from The School of The Art
Institute of Chicago in 1950. In 1960 he was
awarded a Ford Foundation grant. He has taught
at the University of Chicago, University of Indiana,
and Northwestern University. At present he is living
in Paris, France.
Mr. Golub won the Bertha Aberle Florsheim
Memorial Prize in the Annual Exhibition of Ameri-
can Painting and Sculpture, The Art Institute of
Chicago, 1954, and the Watson F. Blair Purchase
Prize in the 65th Annual American Exhibition, The
Art Institute of Chicago, in 1962; he received an
award in the Bienal Interamericana in Mexico City
in 1962.
Special exhibitions of Mr. Golub's work have
been held at Wittenborn and Company, New York,
1952; The Pasadena Art Museum, 1956; Institute of
Contemporary Arts, London, 1957; Allan Frumkin
Gallery, Chicago and New York, 1961; Centre Cul-
tural Americain, Paris, 1961; Galerie Iris Clert.
Paris, 1962; Hanover Gallery, London, 1962. His
work has been included in the following group ex-
hibitions: "Younger American Painters," The Solo-
mon R. Guggenheim Museum, New York, 1954;
"Pittsburgh International Exhibition of Painting and
Sculpture,"' Carnegie Institute, 1955; "New Images
of Man," Museum of Modern Art, New York, 1960;
"Recent Painting U.S.A.: The Figure," Museum of
Modern Art, New York, 1962; Bienal do Museu de
Arte Moderna de Sao Paulo, Brazil, 1962; Galerie
du Dragon, Paris, 1962.
Mr. Golub's paintings are in the collections of
The Art Institute of Chicago; Chase Manhattan
Bank, Museum of Modern Art, New York; S. C.
Johnson & Son, Inc., Racine.
144
FRANCIS
c 7^,73
Sam Francis, Untitled, 30" x 22", water color on paper, 1960. (Martha
Jackson Gallery, New York City)
Sam Francis was born in San Mateo, California, in 1923. He received
his B.A. and M.A. degrees from the University of California. He won an
award at the International Exhibition, Tokyo, 1956, and in 1957 a mural
commission for the Kunsthalle, Bern. Mr. Francis painted in San Fran-
cisco, 1946-50, and in Paris, 1950-58. He lives in New York City.
Special exhibitions of Mr. Francis' work have been held at the Gal-
lerie Nina Dausset, Paris, 1952; Gallery Rive Droite, Paris, 1954; Martha
Jackson Gallery, New York, 1956, 1957, 1958, 1963; Gimpel Fils, London,
1957; Zoe Dusanne Gallery, Seattle, 1957; Tokyo and Osaka, Japan,
1957; The Phillips Gallery, Washington, D.C., 1958; San Francisco
Museum of Art, 1959; Seattle Art Museum, 1959; Dayton Art Institute,
1959.
His work has been represented in group exhibitions at the San Fran-
cisco Museum of Art, 1947-49; The Art Institute of Chicago, 1954;
Spazio Gallery, Rome, 1954, 1955; Gallery Samlaren, Stockholm, 195 ;
Carnegie Institute, Pittsburgh, 1955; Museum of Modern Art, New York,
1956; The Corcoran Gallery of Art, Washington, D.C., 1956; Institute "l
Contemporary Art, Houston, 1956; Albright-Knox Art Gallery, Buffalo,
1957; Museum of Modern Art, Bern, 1958; Bruxelles World's Fair, 1958;
David Anderson Gallery, New York, 1960.
Mr. Francis' work is represented in the collections of the Albright-
Knox Art Gallery, Buffalo; Dayton Art Institute; Tate Gallery, 1 don;
The Solomon R. Guggenheim Museum, Museum ol Modern Art, New
York; and in numerous other collections here and abroad.
145
iMi«rtT
KING
^73^.73
Ars*W
• William King, Fortitude, 39'/4", bronze, 1962. Lent
by Dr. Abraham Melamed, Milwaukee, Wisconsin.
(Terry Dintenfass, New York City) (1953, 1955,
1957)
"This piece (Fortitude) was made originally of
wax, cloth, and wood, and was sent to Italy to be
cast in bronze. The materials and style were in
large part dictated by problems of transport. I
intended it to be an unequivocal, biographical state-
ment."
William King was born in Jacksonville, Florida,
in 1925. He attended The Cooper Union School of
Art and the Brooklyn Museum, New York; and the
Accademia di Belle Arte, Rome. He received a
Fulbright award in 1949. He has taught at the
Brooklyn Museum Art School, and he lives in New
York City.
Mr. King has won an award from The Cooper
Union School of Art, 1948, and an award in the
Margaret Tiffany Blake Resco competition, Skow-
hegan, Maine, 1951. Special exhibitions of his work
have been held in New York City, and his work has
been included in group exhibitions at the Roko
Gallery, New York, 1945-49; The Cooper Union
Museum, New York, 1948-49; Philadelphia Museum
of Art, 1948-49; Museum of Modern Art, New York,
1949-50, 1955; The Downtown Gallery, New
York, 1950-52, 1952-55; Addison Gallery of Ameri-
can Art, Andover, 1952; Whitney Museum of
American Art, New York, 1952, 1955; The
Alan Gallery, New York, 1955-59; Carnegie Insti-
tute, Pittsburgh, 1955; New Sculpture Group,
New York, 1957-60; The Newark Museum, 1962;
The Guild Hall, East Hampton, New York, 1962;
The Solomon R. Guggenheim Museum, New York,
1962; Peabody College, Peabody, Tennessee, 1962.
Mr. King's work is in a number of private collections.
146
Landcs Lewitin, Noblesse Oblige, 40" x 42", oil on
canvas, 1960. (Rose Fried Gallery, New York C :it\
"Born under the strongest sign of the Zodiac -
symbolized by the scorpion and the eagle — on the
Red Sea, on November 14, 1892, at nine o'clock a.m.
and registered in Cairo, Egypt.
"Schooling: Left kindergarten with a set of
lettered blocks and a set of colored pencils. There-
after, lived on a cloud, criss-crossed many lands and
seas. 1908: Studied art in Cairo; same vear went
to Paris. 1916: Came to the U.S.A. 19J9: After
main vicissitudes, enrolled in an art school in New
York.
"After many years, returned to France, then
bai k to New York. Watched the sun rise and set
into starr)' nights on hillsides — olive, cypress, pine,
and orange groves — sparkling with fireflies.
LEWITIN
"Sat in enchanted gardens overlooking shingled
beaches; heard the warble of nightingales beyond
wisteria and roses hung over fences and walls. Now
has a studio with a view of the Hudson River and
New Jersey's industrial smoke stacks, and hears the
blasts of transatlantic liners and tooting tugboats."
Landes Lewitin was born near Cairo, Egypt, in
1892. He studied art in Paris before coming to the
United States in 1916; then he enrolled in art si hool
in New York City. He lives in New York.
Special exhibitions of Mr. Lewitin's work have
been held at Egan Gallery, Stable Gallery, Royal S.
Marks Gallery, Museum of Modern Art, New York.
His work is in a number of private and public col-
lections in Europe and the United States, including
those of the Museum nl Modern Art. and New York
University in New York.
147
148
VASILIEFF
* Nicholas Vasilieff, Still Life with White Vase, 36"x48", oil
on canvas, 1960. (Amel Gallery, Now York City) (1952,
1953, 1955, 1957, 1961)
"Today there is much talk of the search for a new school
of art. To me, there is nothing new or dynamic except total
individuality of the artist himself. Only when the artist has
his own focus and a personal color harmony, no matter which
school of art he belongs to, can he create. For the real
significance of creativity is in the individual expression of the
artist. Only this is new.
"Simplicity has great value in painting, as in all art
forms. The artist who expresses himself honestly and with
understanding, who knows himself and his limit, will be
saved from extending himself to absurdity.
"An artist can develop real understanding and the
capacity for self-expression only after basic classical study.
Picasso, Degas, Rouault, Matisse — all the great artists of the
19th and 20th centuries — could create new forms only after
they were able to draw as well as Ingres. In the personal
expression of every great artist there is the evidence of an
academic training."
Nicholas YasiliefT was born in Moscow in 1892. He
studied at the Moscow Academy and was a student of Leonid
Pasternak. He was Professor of Art at Moscow University.
He came to the United States in 1923.
Mr. Vasilieff received an award in the La Tausca ex-
hibition at the Riverside Museum, New York. Special
exhibitions of his work have been held at the John Heller
Gallery and Amel Gallery in New York City. His work has
been included in group exhibitions at: The Buffalo Fine Arts
Academy; University of Illinois; Whitney Museum of Ameri-
can Art, New York; Carnegie Institute, Pittsburgh; The
American University, The Corcoran Gallery of Art, Washing-
ton, D.C.; and in Bordighera, Italy.
Mr. Vasilieff's work is in the collections of the Tweed
Gallery, Duluth; University of Florida; Wadsworth Athe-
neum, Hartford; University of Illinois; William Rockhill
Nelson Gallery of Art, Kansas City; Mount Holyoke College;
University of Nebraska; Rutgers University, New Brunswick,
New Jersey; Isaac Delgado Museum of Art. New Orleans;
Brooklyn Museum, New York University, Whitney Museum
of American Art, New York; The Pennsylvania Academy of
the Fine Arts, Philadelphia; Philadelphia Museum of Art:
The Phoenix Art Museum; The Berkshire Museum, Pittsfield;
Santa Barbara Museum of Art; Tel Aviv Museum; The Cor-
coran Gallery of Art, Washington, D.G; Colby College,
Waterville, Maine; Yale University; Butler Institute of Amer-
ican Art, Youngstown.
149
GOTTLIEB
76Tf ■ -73
Adolph Gottlieb, Ochre and Black, 78" x 132", oil
on canvas, 1962. (Sidney Janis Gallery, New York
Cit) i (1948, 1950, 1951, 1952, 1953, 1955)
Adolph Gottlieb was born in New York City
in 1903. He studied at the Art Students League,
New York, and traveled and studied for a year and
a half in Europe. He has taught at Pratt Institute,
New York, and at the University of California, Los
Angeles. He has lectured at various colleges and
museums. Mr. Gottlieb lives in East Hampton,
Long Island, New York.
Mr. Gottlieb has been the recipient of awards
from the Dudensing Gallery, New York, 1929;
United States Government, Treasury Department,
1939; Brooklyn Museum, New York, 1944; Univer-
sity of Illinois, 1951; Carnegie Institute, Pittsburgh,
1961.
Special exhibitions of Mr. Gottlieb's work have
been held at Galerie Handschen, Basel; Bennington
College; Paul Kantor Gallery, Beverly Hills; Arts
Club of Chicago; Institute of Contemporary Art,
London; Galleria dell' Ariete, Milan; Walker Art
Center, Minneapolis; Dudensing Gallery, Andre
Emmerich Gallery, French and Co., Inc., Martha
Jackson Gallery, Sidney Janis Gallery, The Jewish
Museum, Samuel M. Kootz Gallery, Inc., Jacques
Seligmann and Co., Inc., New York; Galerie Law-
rence, Galerie Maeght, Galerie Rive Droite, Paris;
Williams College, Williamstown, Massachusetts.
His work has been included in group exhibitions at
the Tate Gallery, London; The Solomon R. Gug-
genheim Museum, Museum of Modern Art, New
York; and at many other institutions, here and
abroad.
Mr. Gottlieb's work is in the collections of the
Addison Gallery of American Art, Andover;
Albright-Knox Art Gallery, Buffalo; The Detroit
Institute of Arts; University of Illinois; Ball State
Teacher's College, Muncie, Indiana; Cornell Uni-
versity, Ithaca; University of Miami; University of
Nebraska; Isaac Delgado Museum of Art, New
Orleans; Brooklyn Museum, The Solomon R. Gug-
genheim Museum, The Metropolitan Museum of
Art, Museum of Modern Art, Whitney Museum of
American Art, New York; Smith College, North-
ampton; Society of the Four Arts, Palm Beach;
Carnegie Institute, Pittsburgh; Virginia Museum of
Fine Arts, Richmond; San Jose Library; Tel Aviv
Museum; The Phillips Gallery, Washington, D.C.;
Yale University; Butler Institute of American Art,
Youngstown; and in many other collections.
150
151
CREMEAN
Robert Cremean, Standing Figure — Disrobing. .U",
unique bronze, 1961-62. (Esther-Robles Gallery,
Los Angeles, California) (1961)
Robert Cremean was born in Toledo, Ohio, in
1932. He attended Alfred University, New York,
and Cranbrook Academy of Art, Bloomfield Hills,
Michigan, where he received his Bachelor's degree
in 1954 and his Master's degree in 1956. He was
the recipient of a Fulbright award in 1954. He has
taught at The Detroit Institute of Arts, at the Uni-
versity of California, Los Angeles, and at the Art
Center in La Jolla. He lives in Los Angeles.
Mr. Cremean s work has been included in exhi-
bitions at The Toledo Museum of Art, 1955; Galleria
Schneider, Rome, 1955; La Fontanella Gallery,
Rome, 1955; Cranbrook Academy of Art, Bloomfield
Hills, Michigan, 1955; University of Michigan,
1956; The Detroit Institute of Art, 1956; Contem-
porary Arts Association, Houston, 1957; Santa Bar-
bara Museum of Art, 1957; Art Center in La Jolla,
1957; University of Nebraska, 1958; Esther-Robles
Gallery, Los Angeles, 1960, 1961, 1962; The Art
Institute of Chicago, 1960, 1961; San Francisco
Museum of Art, 1961; Chapman College, Orange,
California, 1961; Ball State Teacher's College,
Muncie, Indiana, 1961; San Fernando Valley Col-
lege, 1961; Long Beach City College, 1961; Cali-
fornia Palace of the Legion of Honor, 1961, San
Francisco; Whitney Museum of American Art, New
York, 1961, 1962; Providence Art Club, 1962.
Mr. Cremean's work is in the collections of The
Cleveland Museum of Art; The Detroit Institute of
Arts; University of California, Los Angeles; Univer-
sity of Miami; University of Nebraska; Santa Bar-
bara Museum of Art; City Art Museum of St. Louis.
152
fi7S4.73
^Marcia Marcus, Double Portrait, 68' j" x 78"/', oil on canvas, 1962. Lent
by Mr. Lawrence H. Bloedel, Williamstown, Massachusetts. (The Alan
Gallery, New York City)
Marcia Marcus was born in New York City in 1928. She studied at
New York L'niversity, The Cooper Union School of Art, and the Art
Students League, New York. She received a Fulbright award in 1962,
and she now is living in Paris, France.
Miss Marcus' work has been included in a number of group exhibi-
tions and is in the collections of Joseph H. Hirshhorn, Marie and Roy R.
Neuberger, Whitney Museum of American Art, New York; Sumner Foun-
dation for the Arts; and others.
MARCUS
RICHENBURG
Robert Richenburg, Fall Garden, 76" x 56", oil on canvas, 1961. (Tibor
de Nagy Gallery, New York Cits
Robert B. Richenburg was born in Boston, Massachusetts, in 1917.
lie studied at Boston University; George Washington University, and The
Corcoran School of Art, Washington, D.C.; and the Art Students League,
the Ozenfant School of Art, and the Hans Hofmann School, New York.
He has taught at the City College of New York, 1946-50; The Cooper
Union School of Art, 1954-55; New York University, 1960-61; and Pratt
Institute, 1959 to the present. He lives in Brooklyn, New York.
Seven special exhibitions of Mr. Richenburg's work have been held
since 1954. His work has been included in group exhibitions at The
Solomon R. Guggenheim Museum, New York, 1949, 1950, 1961: Chryslei
Museum, Provincetown, 1958, 1959, 1960, 1961, 1962; Rhode Island
School of Design, Providence, 1960; The Baltimore Museum of Art,
1961; Museum of Modern Art, Whitney Museum of American Art, New
York. 1961; Yale University, 1961; Dayton Art Institute, 1962; The
Arkansas Aits Center, Little Rock; William Rockhill Nelson Gallets ol
\u. K. in-. iv City, 1962; Chrysler Museum. Provincetown. Mr. Richen-
burg's work is in a number of public and private collections.
153
°Edward Stasack, The Brass Ring, 48" x 40",
oil on canvas, 1962. Lent by Mr. and Mrs.
Leo Praeger, Syosset, New York. (The Down-
town Gallery, New York City) (1961)
"Paintings are, and I hope always will be,
esthetic objects.
"Some paintings and sculpture I've seen
have very little esthetic value but lots of con-
tent, philosophy, satire, protest, purgation;
good things all. But the only constant factor
I am able to see in fine art, since the begin-
ning, is the glory in looking at it."
Edward Stasack was born in Chicago in
1929. He studied at the University of Illinois
where he obtained an M.F.A. degree in 1956.
He was the recipient of a graduate fellowship
from the University of Illinois in 1955, a
scholarship from the Louis Comfort Tiffany
Foundation in 1957, and a Rockefeller Foun-
dation grant in 1958. He has taught at the
University of Hawaii from 1956 to the present.
He lives in Hawaii.
Special exhibitions of Mr. Stasack's work
have been held at Fort Sheridan, Illinois,
1954; Cromer and Quint Gallery, Chicago.
1956; University of Hawaii, 1956, 1957; The
Gallerv, Honolulu, 1957; Scoville Gallery,
Honolulu, 1958, 1959; Honolulu Academy of
Arts, 1962.
Mr. Stasack's work is in the collections
of the University of Hawaii; Honolulu Acad-
emy of Arts; University of Illinois; Library of
Congress; Brick Store Museum, Kennebunk,
Maine; Addison Gallery of American Art,
Andover; Bradley University, Peoria; San
Francisco Museum of Art; Seattle Art
Museum.
STASACK
154
Jack Squier, Blind Animal #2, 37", wood, 1962. (The Alan Gallery, New York City)
(1959, 1961)
Jack Squier was born in Dixon, Illinois, in 1927. He studied at Oberlin College,
at Indiana University, where he earned his B.S. degree in 1950, and at Cornell Uni-
versity where he received an M.F.A. degree in 1952. He has taught at the University
of California, Berkeley, summer session, 1960, and he teaches now at Cornell Univer-
sity. Mr. Squier lives in Ithaca, New York.
Special exhibitions of Mr. Squier's work have been held at The Alan Gallery,
New York, 1956, 1959, 1962; Cornell University, 1957, 1959. His work has been
included in group exhibitions at the Albany Institute of History and Art; Addison
Gallery of American Art, Andover; Frank Perls Gallery, Beverly Hills; Boston Art
Festival, Brown Gallery, Boston; Bruxelles World's Fair; Albright-Knox Art Gallery,
Buffalo; The Art Institute of Chicago; Denver Art Museum; Wadsworth Atheneum,
Hartford; Museum of Fine Arts of Houston; University of Illinois; The John Herron
Art Institute, Indianapolis; Hanover Gallery, London; Los Angeles County Museum;
University of Minnesota; The Alan Gallery, The Downtown Gallery, Museum of
Modern Art, Stable Gallery, Whitney Museum of American Art, New York; Clavo
Bernard Gallery, Paris; Carnegie Institute, Pittsburgh; Rochester (New York) Memo-
rial Art Gallery; Everson Museum of Art, Syracuse; Munson-Williams-Proctor
Institute, Utica. Mr. Squier's work is in the collections of Joseph H. Hirshhorn, Cor-
nell University, Howard Lipman, Lois Orswell, Nelson Rockefeller, Eero Saarinen,
Whitney Museum of American Art, Edward Wormley.
SQUIER
155
156
n tz'C'x tylilton Avery, Robed Nude, 68" x 58' , oil on canvas,
I960. (Grace Borgenicht Gallery, New York City)
(1950, 1951, 1952, 1955, 1957, 1959, 1961)
"I had been painting the sea and dunes for some
time — when suddenly I had an urge to do a figure.
A yellow robe of my wife's set the tone of the
canvas, a plant in the studio served as accessory and
Robed Nude came into being."
Milton Avery was born in Altmar, New York,
in 1893. He studied at the Connecticut League of
Art Students, Hartford. He received special awrards
from The Art Institute of Chicago, 1929; Connecti-
cut Academy of Fine Arts, Hartford, 1930; The
Baltimore Museum of Art, 1949; Boston Arts Festi-
val, 1958; Art: USA: 59, (Coliseum) New York,
1959; Ford Foundation (retrospective exhibition
award), 1959. He lives in New York City.
Special exhibitions of Mr. Avery's work have
been held at the Opportunity Gallery, New York,
1928; Gallerv, 144 West 13th Street, New York,
1932; Valentine Gallery, New York, 1935-42;
Paul Rosenberg & Co., New York, 1943, 1944, 1945,
1946; Durand-Ruel Gallery-, New York and Paris,
1945, 1946, 1947, 1949; The Phillips Gallerv, Wash-
ington, D.C., 1943, 1944, 1952; Arts Club of Chi-
a «« m n v cago, 1944; Bertha Schaefer Gallery, New York,
AVERY 1944; Colorado Springs Fine Arts Center, 1946;
Portland (Oregon) Art Museum, 1947; Laurel Gal-
lery, New York, 1950; M. Knoedler & Co., New
York, 1950; Grace Borgenicht Gallerv, 1951, 1952,
1954, 1956, 1957, 1958, 1959; The Baltimore Mu-
seum of Art, 1952; Institute of Contemporary Art,
Boston, 1952; Lowe Gallery, Coral Gables, 1952;
Wadsworth Atheneum, Hartford, 1952; Mills Col-
lege, 1956; Museum of Fine Arts of Houston, 1956;
Santa Barbara Museum of Art, 1956; Felix Landau
Gallery, Los Angeles, 1956, 1959; University of
Nebraska, 1956; HCE Gallerv, Provincetown, 1956,
1958, 1959; Otto Seligman Gallery, Seattle, 1958;
The Philadelphia Art Alliance, 1959; Whitney Mu-
seum of American Art, New York, 1960.
Mr. Avery's work has been included in many
group exhibitions and is represented in the following
collections: Addison Gallery of American Art,
Andover; The Baltimore Museum of Art; Brandeis
University, Bryn Mawr (Pennsylvania) College;
Albright-Knox Art Gallery, Buffalo; Dayton Art
Institute; Honolulu Academy of Arts; Museum of
Fine Arts of Houston; University of Illinois; Barnes
Foundation, Merion, Pennsylvania; Walker Art Cen-
ter, Minneapolis; University of Minnesota; The
Newark Museum; Brooklyn Museum, The Metro-
politan Museum of Art, Museum of Modern Art,
Whitney Museum of American Art, New York; Nor-
ton Gallery, West Palm Beach; The Pennsylvania
Academy of the Fine Arts, Philadelphia; Philadel-
phia Museum of Art; Phillips Exeter Academy;
Smith College Museum of Art; Tel Aviv Museum,
Israel; Munson-Williams-Proctor Institute, Utica;
The Phillips Gallerv. Washington, D.C.; Yale Uni-
versity Art Gallery; Butler Institute of American
Art, Youngstown; and in many other collections.
157
• James Wines, Eclipse, 18%", bronze, 1961. Lent by
Irene and Jan Peter Stern, Hastings-on-Hudson, New
York. (Otto Gerson Gallery, New York City) (1959)
"I am involved with sculpture as an architectural
experience. This does not necessarily mean that my
intention is to create sculpture for buildings, (although
I am enthusiastic about the potentials of environmental
design); but, rather that I want to capture the spirit,
the space, the sensations, inherent in architecture.
"The baroque dynamics which have dominated
American painting and sculpture for the past 15 years
have grown too widely acceptable, the vocabulary too
pat, the masters too masterful, and the imitators too
plentiful. I find myself, when viewing exhibitions
today, searching for clarity and the 'sink or swim'
attitude toward statement. Out of the mass of works
which are deftly realized through arbitrary selection
one cannot help but seek a different kind of order.
"Possibly I envy today's architect — collaborative
or master builder. Their ability to seize undissipated
geometry, a block of concrete, a shaft of steel, makes
them, for me, the heroes of assemblage. My particular
intent is to realize intrinsic sculpture, with all its
psychological or mystical intentions, through some of
the means peculiar to architecture. Possibly I could
better define this as a 'warm geometry.' "
James Wines was born in Chicago in 1932. He
studied at Syracuse University, New York. He was the
recipient of a fellowship from the John Simon Guggen-
heim Memorial Foundation, 1962. He lives in Rome,
Italy.
Special exhibitions of Mr. Wines's work have been
held at Everson Museum of Art, Syracuse, 1954; Na-
tional Academy of Istanbul, 1956; The Baltimore Mu-
seum of Art, 1958; Silvan Simone Gallery, Los Angeles,
1958, 1959, 1961; Otto Gerson Gallery, New York,
1960, 1962; Galleria Trastevere, Rome, 1960, 1961;
Galerie Alphonse Chave, Venice, 1960; Syracuse Uni-
versity, 1962, 1963. His work has been included in
group exhibitions at the Everson Museum of Art, Syra-
cuse, 1951, 1952, 1953, 1954; The Baltimore Museum
of Art, 1952, 1953, 1954; Uffizzi Gallery, Florence,
1957; Los Angeles County Museum, 1958; Whitney
Museum of American Art, New York, 1958, 1960, 1962,
1963; American Academy in Rome, 1958; The Art
Institute of Chicago, 1959; University of Illinois, 1959;
Museum of Modern Art, New York, 1959, 1961,
1962; Boston Arts Festival, 1961; Dayton Art Insti-
tute, 1961; Allen Memorial Art Museum, Oberlin,
Ohio, 1961; Carnegie Institute, Pittsburgh, 1961.
Mr. Wines's work is in the collections of The Art
Institute of Chicago; Los Angeles County Museum;
Whitney Museum of American Art, New York.
WINES
>)^*
158
."-•'•'•"'
Lester Johnson, Blue Man, 48'//' x 60", oil on canvas,
/ L. Tarksnn Gnllprv New York1!
JOHNSON
1962. (Martha
Jackson Gallery, New York)
Lester Johnson was born in Minneapolis, Minnesota, in 1919. He
studied at the Minneapolis School of Art, the St. Paul School of Art, and
The School of The Art Institute of Chicago. He was the recipient of the
Alfred F. Pillsbury (Minneapolis) scholarship, and a St. Paul School of
Art scholarship. He teaches at Ohio State University, Columbus. His
permanent residence is in New York City.
Special exhibitions of Mr. Johnson's work have been held at The
Minneapolis Institute of Arts, 1961; Holland Art Gallery, Chicago, 1962;
Dayton Art Institute, 1962; Fort Worth Museum, 1962; Ohio State Uni-
versity, 1962; and in Provincetown, 1962.
Mr. Johnson's work has been included in group exhibitions at
Zabriski Gallery, New York, 1955, 1957, 1958, 1959, 1961; The Minne-
apolis Institute of Arts, 1956, 1957; The Jewish Museum, New York,
1956; The Baltimore Museum of Art, 1958; Whitney Museum of Ameri-
can Art, New York, 1958; Institute of Contemporary Art, Boston, 1959,
1960; University of Colorado, 1959; Nebraska Art Association, 1959, 1960;
Sarah Lawrence College, New York, 1959; Salzburg (Austria) Festival,
1959; American Federation of Arts, New York, 1960; University of North
Carolina, 1960; The Art Institute of Chicago, 1962; Museum of Modern
Art, New York, 1962; Carnegie Institute, Pittsburgh, 1962.
159
Carl Holty, Not What You Think, 72" x 56", oil on
canvas, 1962. (Graham Gallery, New York City)
(1949, 1950)
"I believe that a painting may be fully realized
without representational or referential elements and
that forms in tension and color germane to the artist's
conception of form are sufficient as the basic elements
for working. I need hardly say that vision on the part
of the artist and his sense of scale and of rhythm are
essential, for without them there can be no kind of art
at all.
"My method of working is abstract but the results
I aim at are concrete. The images I would attain must
result from dealing with the realities of forms (shapes)
and colors. Not they themselves but the relationships
between them are the determining factors in my work.
"Since all pictorial work that is not permitted to
remain in a purely suggestive or tentative state will bear
resemblance to other things seen, my paintings, like all
others, will resemble something other than themselves,
or if not actually resembling, will evoke images of other
things. To this I have no objection. What I would
hope is that they, the paintings, would reveal some
heretofore unnoticed element in nature rather than
recall to mind an aspect previously noted and common
to visual experience."
Carl Holty was born in Freiburg, Germany, in
1900. He studied at Marquette University, Milwaukee;
The School of The Art Institute of Chicago; the
National Academy of Design, New York; the Royal
Academy of Painting, and the Hans Hofmann School,
Munich. He has taught at the Art Students League,
New York, 1939-51; University of Georgia, Athens,
1942-50; University of California, Los Angeles, 1951;
The Corcoran School of Art, Washington, D.C., 1952;
University of Florida, Gainesville, 1952-53; Brooklyn
College, New York, 1954-59. He lives in Louisville,
Kentucky.
Many special exhibitions of Mr. Holty's work have
been presented here and abroad. His work has been
included in group exhibitions at The Art Institute of
Chicago; Cleveland Museum of Art; L'niversity of
Colorado; University of Florida; University of Georgia;
University of Illinois; Los Angeles County Museum;
Milwaukee Art Center; Walker Art Center, Minne-
apolis; L'niversity of Nebraska; The Metropolitan Mu-
suem of Art, Whitney Museum of American Art. New
York; The Pennsylvania Academy of the Fine Arts,
Philadelphia; Carnegie Institute, Pittsburgh; City Art
Museum of St. Louis; University of Tennessee; The
Corcoran Gallery of Art, Washington, D.C.; Yale Uni-
versity; Butler Institute of American Art, Youngstown.
Mr. Holty's work is in the collections of the Addison
Gallery of Art, Andover; Georgia Museum of Art.
Athens; University of Illinois; Milwaukee Art Center;
University of Nebraska; Nebraska Art Galleries; City
Art Museum of St. Louis; Butler Institute of American
Art. Youngstown.
HOLTY
160
JONES
John Paul Jones, Low Man, 39'//' x 223/4", oil on
paper mounted on masonite, 1962 (Felix Landau
Gallery, Los Angeles)
John Paul Jones was born in Indianola,
Iowa, in 1924. He received his B.F.A. degree in
1949, and his M.F.A. degree in 1951, from the
State University of Iowa. He was the recipient
of a scholarship from the Louis Comfort Tiffany
Foundation, 1951, and a fellowship from the
John Simon Guggenheim Memorial Foundation,
1960. He has taught at the University of Okla-
homa, 1951-52; University of Iowa, 1952-53; and
the University of California, Los Angeles, from
1954 to the present. He lives in Los Angeles,
California.
Mr. Jones has won over forty-five major
awards for his work, and his work has been shown
in seventeen special exhibitions. Examples of
his work have been included in over fifty-five
group exhibitions here and abroad since 1948.
Mr. Jones's work is in the collections of Dallas
Museum of Fine Arts; Des Moines Art Center;
University of Iow:a; The Kalamazoo Institute of
Arts; William Rockhill Nelson Gallery of Art,
Kansas City; Art Center in La Jolla; Victoria and
Albert Museum, London; University of Califor-
nia, Los Angeles; Los Angeles County Museum;
Michigan State University; Walker Art Center,
Minneapolis; Ball State Teachers College, Mun-
cie, Indiana; University of Nebraska; Tulane
University, New Orleans; Brooklyn Museum,
Joseph H. Hirshhorn, Museum of Modern Art,
New York; Oakland Art Museum; Joslyn Art
Museum, Omaha; The Pasadena Art Museum;
Bradley University, Peoria; The Fine Arts Gallery
of San Diego; San Francisco Museum of Art;
Santa Barbara Museum of Art; Seattle Art Mu-
seum; Munson-Williams-Proctor Institute, Utica;
Library of Congress, National Gallery of Art,
Washington, D.C.
161
Gregorio Prestopino, The Open Door, 39" x 44", oil
on canvas, 1961. (Nordness Gallery, Inc., New York
City) (1949, 1951, 1952, 1953, 1955, 1957)
Gregorio Prestopino was born in New York
City in 1907. He studied at the National Academy
of Design, New York, and traveled and studied
abroad. He has taught at the Museum of Modern
Art, New York, 1946-48; Brooklyn Museum, New
York, 1946-49; and New School for Social Research,
from 1949 to the present. He received a grant from
the National Institute of Arts and Letters in 1961.
Mr. Prestopino lives in Roosevelt, New Jersey.
Mr. Prestopino has won awards from the Pepsi-
Cola Company in 1946 and 1947 and from The
Pennsylvania Academy of the Fine Arts, 1946.
Eleven special exhibitions of his work have been
held in New York City since 1943. His paintings
have been included in group exhibitions at the Ad-
dison Gallery of American Art, Andover; The Art
Institute of Chicago; University of Iowa; University
of Minnesota; Museum of Modern Art, Whitney Mu-
seum of American Art, New York; Smith College,
Northampton; The Pennsylvania Academy of the
Fine Arts, Philadelphia; Rochester (New York)
Memorial Art Gallery; City Art Museum of St.
Louis; Witte Memorial Museum, San Antonio;
Golden Gate Exposition, San Francisco; Santa Bar-
bara Museum of Art; Venice Biennale d'arte; The
Corcoran Gallery of Art, Washington, D.C.
Mr. Prestopino's work is in the collections of the
University of Alabama; Addison Gallery of Ameri-
can Art, Andover; The Art Institute of Chicago;
Hawaii University; Joseph H. Hirshhorn; University
of Illinois; International Business Machines Cor-
poration; Walker Art Center, Minneapolis; Univer-
sity of Nebraska; Museum of Modern Art, Whitney
Museum of American Art, New York; University of
Oklahoma; S. C. Johnson & Son, Inc., Racine; Mrs.
Stanley Resor; Rochester (New York) Memorial
Art Gallery; The Phillips Gallery, Washington,
D.C; Butler Institute of American Art, Youngstown.
PRESTOPINO
162
KELLY
Ellsworth Kelly, Yellow White, 84"x55'//', oil on
canvas, 1962. (Bettv Parsons Gallery, New York
City)
Ellsworth Kelly was born in Newburgh, New-
York, in 1923. He studied at The School of the
Museum of Fine Arts, Boston, and in Paris. He
lives in New York City.
Mr. Kelly has received awards from Carnegie
Institute, Pittsburgh, 1961, and from The Art Insti-
tute of Chicago, 1962. Special exhibitions of his
work have been presented at Galerie Arnaud, Paris,
1951; Betty Parsons Gallery, New York, 1956, 1957,
1959, 1961; Galerie Maeght, Paris, 1958; Museum
of Modern Art, New York, 1959; Arthur Tooth and
Sons, London, 1962. His work has been included
in group exhibitions at the Museum of Modern Art,
New York, 1956; Whitney Museum of American
Art, New York, 1956, 1957, 1959, 1962; Bruxelles
World's Fair, 1957; The Art Institute of Chicago,
1957, 1961, 1962; Virginia Museum of Fine Arts,
Richmond, 1958; Carnegie Institute, Pittsburgh,
1958; David Herbert Gallery, New York, 1960, 1961;
Museu de Arte Moderna de Sao Paulo, Brazil, 1962;
and numerous European galleries.
Mr. Kelly's work is in the collections of
Albright-Knox Art Gallery, Buffalo; Mr. and Mrs.
Albert L. Arenberg; Mr. Kenneth Arenberg; Mr.
Armand Bartos; Mr. and Mrs. Gordon Bunshaft;
The Art Institute of Chicago; Mrs. Lillian H. Flor-
sheim; Mr. Robert Fraser; Mr. Cleve Gray; Mr.
David Hicks; Mr. and Mrs. Arnold H. Maremont;
Mr. Robert Mayer; Mr. and Mrs. Patrick B. Mc-
Ginnis; Museum of Modern Art, Whitney Museum
of American Art, New York; Carnegie Institute,
Pittsburgh; Mr. E. J. Power; Mr. Ralph P. Youngren.
163
164
REDER
Bernard Reder, Dwarf with Cat's Cradle, 44",
bronze, 1960. (World House Galleries, New York
City) (1953, 1959, 1961)
"Sometimes the form brings out the reason,
sometimes the reason brings out the form. And to
find out which came first, I do not care."
Bernard Reder was born in Czernowitz, Austria,
in 1897. He studied at the Academy of Fine Arts
in Prague, and he won a prize in an international
architectural competition in 1927. He received a
grant from the Ford Foundation in 1960 and an
award from the American Academy of Arts and
Letters in 1962. Mr. Reder now lives in New York
City.
Mr. Reder's work has been included in exhibi-
tions at The Rudolphinum, Prague, 1928; Manes and
Prague, 1935; Galerie de Berri, Paris, 1940; Lyceum
Gallery, Havana, and University of Havana, 1942;
Weyhe Gallery, New York, 1943; The Philadelphia
Art Alliance, 1950; Grace Borgenicht Gallery, New
York, 1951, 1952, 1953; Florence, 1959; World
House Galleries, New York, 1959; Whitney Museum
of American Art, New York, 1961.
His work is found in the collections of Joseph
H. Hirshhorn, Museum of Modern Art, Nelson
Rockefeller, Whitney Museum of American Art,
New York; and in many other collections.
165
i
^*
A
■7*4. 72>
MARCA-RELLI
jKi
Conrad Marca-Relli, Room B-3, 78" x 48", plastic
on wood, 1962. (Samuel M. Kootz Gallery, Inc.,
New York City) (1955, 1961)
Conrad Marca-Relli was born in Boston, Mas-
sachusetts, in 1913. He studied in New York City.
He received a Ford Foundation award in 1959.
Mr. Marca-Relli has taught at Yale University,
1954-55 and 1959-60, and at the University of Cali-
fornia, Berkeley, 1958. He lives in New York City.
Mr. Marca-Relli won awards from The Art
Institute of Chicago, 1954; The Detroit Institute of
Arts, 1960; and in the Bienal Interamericana, Mexico
City. Eighteen special exhibitions of his work have
been held here and abroad. His work has been in-
cluded in group exhibitions at the Boston Arts
Festival; Museu de Arte Moderna de Sao Paulo,
Brazil; Bruxelles World's Fair; Arts Club of Chi-
cago; The Art Institute of Chicago; Denver Art
Museum; University of Illinois; Museum of Mod-
ern Art, Kassel, Germany; The Minneapolis Insti-
tute of Arts; The Montreal Museum of Fine Arts;
in Moscow; University of Nebraska; Whitney Mu-
seum of American Art, New York; The Pennsyl-
vania Academy of the Fine Arts, Philadelphia;
Carnegie Institute, Pittsburgh; Seattle World's
Fair; Venice Biennale d'arte; The Corcoran Gal-
lery of Art, Washington, D.C.; Yale University.
Mr. Marca-Relli's work is found in the col-
lections of the Albright-Knox Art Gallery, Buffalo;
Fogg Art Museum, Cambridge; The Art Institute
of Chicago; Cleveland Museum of Art; The De-
troit Institute of Arts; Wadsworth Atheneum, Hart-
ford; The Minneapolis Institute of Arts; Walker
Art Center, Minneapolis; University of Nebraska;
The Solomon R. Guggenheim Museum, The
Metropolitan Museum of Art, Museum of Modern
Art, Whitney Museum of American Art, New
York; The Pennsylvania Academy of the Fine
Arts, Philadelphia; Carnegie Institute, Pittsburgh;
Rochester (New York) Memorial Art Gallery;
Washington University, St. Louis; Bundy Art Gal-
lery, Waitsfield, Vermont.
166
167
Sungwoo Chun, The Mandala Image, 63" x 73", oil on canvas, 1962. (Bolles Gallery,
San Francisco, California) (1961)
"The Mandala became the most frequent subject for my paintings during the last
few years.
"Of course, the Mandala has various meanings, it represents the Pictorial Bible of
Buddhism for one. However, to me the Mandala symbolizes the state of mind of an
individual, in which one could achieve the ABSOLUTE peace; and under this atmos-
phere a painter can create the simplest and the most honest works.
"When a painting is successful, it represents the personalized atmosphere of an
artist and also his state of mind.
"To synthesize, the Mandala of a painter is the root of creativity, and as a result
an artist could achieve the simplicity of forms and also a complex meaning.
"Symbolically then, in order to create the honest work, one has to strive toward
achieving the Mandala.
"And it is my belief that all the mystery of creativity and the mystery of painting
in particular lies in a searching of the Mandala."
Sungwoo Chun was born in Seoul, Korea, in 1935. He attended Seoul National
University; San Francisco State College; San Francisco Art Institute, where he ob-
tained a Bachelor's degree; Mills College, Oakland, where he received his Master's
degree; and Ohio State University. He lives in Oakland, California.
Sungwoo Chun has won awards from the Seoul National Museum and the San
Francisco Museum of Art. Special exhibitions of his work have been held at the
Lucien Labaudt Gallery, San Francisco, 1957; Mi Chou Gallery, New York, 1959
Bolles Gallery, San Francisco, 1960, 1962; Bolles Gallery, New York, 1962.
His work has been included in group exhibitions at the University of Illinois
Whitney Museum of American Art, New York; Provincetown Art Festival; San
Francisco Museum of Art. Sungwoo Chun's work is in the collections of John Bolles
Dr. Richard Gorton; Chase Manhattan Bank, Marsteller Collection, Sarah Lawrence
College, Whitney Museum of American Art, New York; San Francisco Museum of
Art; Seoul National Museum.
CHUN
£.47X5"^
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WILLIAMS
Hiram Williams, Running Man, 88" x 72", oil cm
canvas, 1962. (Nordness Gallery, Inc.. New York
Cit)
"I value the associative possibilities of a
painted image, therefore my image is figurative.
However, I am satisfied that a painting is first of
all a formal arrangement, and that that formal-
ity must grow out of the figuration rather than
be imposed upon a descriptive appearance."'
Hiram D. Williams was born in Indianapolis,
Indiana, in 1917. He studied at the Williamsport
(Indiana) Sketch Club. 1932-36; at the Art Stu-
dents League, New York, summer, 1939; and at
the Pennsylvania State College, where he received
his B.S. degree in 1950 and his M.Ed, degree in
1951. He was the recipient of a Texas research
grant, 1958, and a fellowship from the John
Simon Guggenheim Memorial Foundation, 1963.
Mr. Williams has taught at the University of
Southern California, Los Angeles, the University
of Texas, Austin, and the University of Florida,
Gainesville. He lives in Gainesville, Florida.
Mr. Williams has received many awards;
his work has been represented in twenty-two
juried exhibitions, including exhibitions held at
the Museum of Modern Art, Whitney Museum of
American Art, New York; The Pennsylvania
Academy of Fine Arts, Philadelphia. Mr. Wil-
liams' work is in a number of public and private
collections.
168
SIEGRIEST
Louis Siegriest, East of Tonajmh, 48" x 84", mixed media on masonitc,
2- 1962. (Fredric Hobbs Fine Art, San Francisco, California)
"I have always been interested in the spectacular terrain of the
deserts of the west — the magnitude of the desert cliffs. In the last four
years I have departed from the traditional landscape without feeling it
necessary to disown my native desert subjects, without entirely becoming
pure abstract or non-objective, but have taken its advantages."
Louis Siegriest was born in Oakland, California, in 1899. lie studied
at the California School of Arts and Crafts, Berkeley, 1914-16; at tin-
Mark Hopkins Art Institute, San Francisco, 1917-18; at the Frank van
Sloun Art School, San Francisco, 1919-20; and with Glenn Wessels, San
Francisco, 1938-39. He has taught at the Layton Art School, Milwaukee,
1928-30, and at the Art League of California, San Francisco, 1948-51.
Mr. Siegriest lives in Oakland, California.
Mr. Siegriest has won a large number of awards, and his work has
been included in over forty-five special and group exhibitions. His work
is in the collections of the Chico State College, California; Oakland Art
Museum; San Francisco Museum of Art; and in many private collections.
169
7^-73
Stephen Greene, B/acfc Ltgfo, 58" x 68", oil on
canvas, 1961. (Staempfii Gallery, New York City)
(1950, 1955, 1957, 1961)
Stephen Greene was born in New York City
in 1918. He attended the National Academy
School of Fine Arts, New York; the Art Students
League, New York; the College of William and
Mary. Williamsburg; and the State University of
Iowa. In 1949 Mr. Greene won the Prix de Rome.
He has taught at the Art Students League and at
Pratt Institute in New York. He lives in New York
City.
Mr. Greene has received awards from the Joslyn
Art Museum, Omaha, 1941; The John Herron Art
Institute, Indianapolis, 1946; Milwaukee Art Center,
1946; Ohio State University, 1946; Virginia Museum
of Fine Arts, Richmond, 1946; California Palace of
the Legion of Honor, San Francisco, 1947.
His work has been included in exhibitions held
at The Art Institute of Chicago; De Cordova and
Dana Museum, Lincoln, Massachusetts; Tennessee
Fine Arts Center, Nashville; The Metropolitan Mu-
seum of Art, Museum of Modern Art, National
Academy of Design, Whitney Museum of American
Art, New York; Carnegie Institute, Pittsburgh;
Princeton LTniversity; The Corcoran Gallery of Art,
Washington, D.C.
Mr. Greene's work is in the collections of the
Fogg Art Museum, Cambridge; The Art Institute of
Chicago; The Detroit Institute of Arts; William
Rockhill Nelson Gallery of Art, Kansas City; Tate
Gallery, London; Isaac Delgado Museum of Art,
New Orleans; The Solomon R. Guggenheim Mu-
seum, Whitney Museum of American Art, New
York; City Art Museum of St. Louis.
GREENE
170
LORAN
Erie Loran, Myth, 76"x53", oil on canvas, 1962.
Lent by Mr. Lawrence Livingston, Jr., Sausalito,
California. (Graham Gallery, New York City)
(1949, 1952, 1953)
"Every new painting is a game of chance. The
first statement you make determines the next one.
If you are lucky you become involved as if in the
discovery of some strange new world, that makes
demands, presents choices and requires decisions.
Knowing something about plastic principles can be
a help along the way, but finding that little image
or private world is all that counts.
"Tribal mvths are concrete and can be believed
by large followings. Maybe it is a myth to believe
that civilized man can also produce myths. What-
ever mystery is involved here, the unknown force that
drives man on toward finding something for himself,
a whole world no matter how tiny, contains its own
rewards."
Erie Loran was born in Minneapolis, Minnesota,
in 1905. He studied at the University of Minnesota,
Minneapolis; at The Minneapolis School of Art;
and with Hans Hofmann. He won the Chaloner
Paris Prize in 1926. Mr. Loran has taught at the
University of California, and he lives in Berkeley,
California.
Mr. Loran has received awards from the San
Francisco Museum of Art, 1944; Pepsi-Cola Com-
pany, New York, 1949; San Francisco Art Associa-
tion, 1954, 1956. Special exhibitions of his work
have been held at the Artists' Gallery, New York,
1938; Santa Barbara Museum of Art, 1950; Cath-
erine Viviano Gallery, New York, 1952, 1954. His
work has been included in group exhibitions at the
Museum of Modern Art, New York, 1935; Whitney
Museum of American Art, New- York; The Art
Institute of Chicago, 1938, 1939, 1943, 1946, 1948;
Carnegie Institute, Pittsburgh, 1941; University of
Illinois, 1949, 1952, 1953; The Metropolitan Mu-
seum of Art, New York, 1951, 1953. Mr. Loran's
work is in numerous public and private collections.
171
172
MORRIS K>le Morris, '62 Summer Series No. 5, 72" x 72", oil
on canvas, 1962. (Samuel M. Kootz Gallery, Inc., New
York City) (1955, 1957, 1961)
Kyle Morris was born in Des Moines, Iowa, in
} "3. c 1918. He studied at Northwestern University, Evanston,
where he received his Bachelor of Arts degree in 1939
and his Master of Arts degree in 1940. Between 1935
and 1939 he studied painting at The School of The
Ait Institute of Chicago. He received a Master of Fine
Arts degree from the Cranbrook Academy of Art,
Bloomfield Hills, Michigan, in 1947. He has taught at
Stephens College, 1939; University of Texas, 1940-42;
University of Minnesota, 1947-52; Cranbrook Academy
of Art, summers of 1947 and 1951; University of Cali-
fornia, 1952-54. He lives in New York City.
Mr. Morris has received awards from the Walker
Art Center. Minneapolis, 1948; San Francisco Museum
of Art, 1953; Bienal Interamericana, Mexico City,
1960. Special exhibitions of Mr. Morris' work have
been held at the Walker Art Center, Minneapolis, 1952;
Des Moines Art Center. 1955; Stable Gallery, New
York, 1955; Samuel M. Kootz Gallery, Inc., New York,
1959, 1960, 1962; Galleria d'arte del Naviglio, Milan,
1960.
Mr. Morris' work has been included in group
exhibitions at the Tanager Gallery, New York, 1952;
The Solomon R. Guggenheim Museum, New York,
1954; The Art Institute of Chicago, 1954, 1961; Walker
Art Center, Minneapolis, 1955; Stable Gallery, New
York, 1955; University of Illinois, 1955, 1957, 1961;
The Corcoran Gallery of Art, Washington, D.C., 1956,
1958, 1960; The Minneapolis Institute of Arts, 1957;
Worcester Art Museum, 1958; Whitney Museum of
American Art, New York, 1958; United States Pavilion,
Bruxelles World's Fair, 1958; New York-Rome Founda-
tion, Rome, 1958; The Pennsylvania Academy of the
Fine Arts, Philadelphia, 1959-60; The Detroit Institute
of Arts, 1959-60; Des Moines Art Center, 1962-63.
His work is represented in the collections of the
Albright-Knox Art Gallery, Buffalo; The Detroit Insti-
tute of Arts; Walker Art Center, Minneapolis; The
Newark Museum; The Solomon R. Guggenheim Mu-
seum, Whitney Museum of American Art, New York;
Washington University, St. Louis; The Toledo Museum.
173
James McGarrell, Dolphin, 68"x57", oil on canvas, 1961. (Allan Frumkin Gallery,
Chicago, Illinois) (1959, 1961)
"There are no symbols in my paintings, only visual metaphors; sometimes things
are just things and not even metaphors. Just as important as these aspects of the
work are such problems as the way the parts fit together on the surface and in space,
or how to get the kind of palpable space I want without violating the skin of paint on
the picture plane."
James McGarrell was born in Indianapolis, Indiana, in 1930. He studied at
Indiana University, and at the University of California, Los Angeles. He was the
recipient of a Fulbright award and of a scholarship from Indiana University for study
at Skowhegan, Maine. He has taught at Reed College, Portland, 1956, and at Indiana
University from 1960 to the present. Mr. McGarrell lives in Bloomington, Indiana.
Nine special exhibitions of Mr. McGarrell's work have been held since 1955, and
his work has been included in group exhibitions at the Museum of Modern Art, New
York, 1959, 1962; Whitney Museum of American Art, New York, 1960; University of
Illinois, 1959, 1961; Carnegie Institute, Pittsburgh, 1961; and in the International
Exhibition of Prints, Tokyo, 1962.
Mr. McGarrell's work is in the permanent collections of The Art Institute of
Chicago; University of Nebraska; Brooklyn Museum, Museum of Modern Art, New
York; Portland (Oregon) Art Museum; San Francisco Museum of Art; Santa Barbara
Museum of Art.
MC GARRELL
174
NEVELSON
c 7 3</^73
i Louise Nevelson, Great Night Column, 96", wood,
1960. Lent by Mr. and Mrs. Sidney Solomon, New
York City. (The Pace Gallery, Boston, Massachusetts)
"My search in life has been for a new image, a
new insight. This search not only includes the object,
but the inbetween places; the dawns and the dusks, the
objective world, the heavenly spheres, the places be-
tween the land and the sea."
Louise Nevelson was born in Kiev, Russia, in 1900.
She studied in the United States, Europe, and Central
America. She lives in New York City. Miss Nevelson
won awards in national exhibitions in New York and
Chicago. Her work has been included in many group
exhibitions including the Venice Biennale d'arte.
Miss Nevelson's work is in the collections of the
Birmingham (Alabama) Museum of Art; Museum of
Fine Arts, Boston; University of Nebraska; The Newark
Museum; Brooklyn Museum, Joseph H. Hirshhorn,
Philip Johnson, Museum of Modern Art, New York
University, Stephen Paine, Queen's College, Irving
Rabb, Riverside Museum, Nelson Rockefeller, Mrs.
Burton Tremaine, Whitney Museum of American Art,
New York; Carnegie Institute, Pittsburgh; Brandeis
University, Waltham, Massachusetts.
175
176
KUNTZ
3 Roger Kuntz, Double Underpass, 40" x
canvas, 1961. (Felix Landau Gallerv, I
California) (1955, 1957)
50", oil on
Los Angeles,
"I am attempting in my recent paintings to
resolve the paradox of strong abstraction co-existent
with objective reality. I try to synthesize a direct
and simultaneous reciprocity between the two fac-
tors by wading right into everyday reality and turn-
ing it inside out so to speak, to expose its inherently
abstract property. I am currently exploring in the
recent Freeway Series the exciting shapes and vol-
umes of the deeply spacial complex of roads, sur-
faces, ramps, arches, columns and cement canyons
that make up this most topical and valid 'abstract-
reality' so much a part of our contemporary life."
Roger Kuntz was born in San Antonio, Texas,
in 1926. He attended Pomona College, Claremont,
California, where he obtained his B.A. degree in
1948, and Claremont Graduate School, where he
earned his M.F.A. degree in 1950. He studied in
France and Italy during 1950. He lives in La Verne,
California.
Mr. Kuntz has received ten exhibition awards,
and sixteen exhibitions of his work have been pre-
sented since 1949. His work has been represented in
major group exhibitions including those at the Los
Angeles County Museum, 1949-57; National Acad-
emy of Design, New York, 1952-53; Denver Art
Museum, 1952-55; The Pennsylvania Academy of
the Fine Arts, Philadelphia, 1952, 1955; The Cor-
coran Gallery of Art, Washington, D.C., 1953; Car-
negie Institute, Pittsburgh, 1955; San Francisco
Museum of Art, 1955; Museu de Arte Moderna de
Sao Paulo, Brazil, 1955; University of Illinois, 1955,
1957; California Palace of the Legion of Honor, San
Francisco, 1957; Santa Barbara Museum of Art,
1958.
GLASCO
Joseph Glasco, Standing Figure, 72"x48", oil on canvas, 1961. (Catherine Yiviano
Gallery, New York) (1951, 1952, 1957, 1959)
Joseph Glasco was born in Paul's Valley, Oklahoma, in 1925. He studied at the
University of Texas, Austin, 1941-42; with Rico Lebrun and at the Art Students
League, New York, 1949; and at the School of Painting and Sculpture of San Miguel
Allende, Mexico, 1948. He lives in New York City.
Special exhibitions of Mr. Glasco's work have been held at Perls Galleries, New
York, 1950; Catherine Yiviano Gallery, New York, 1951, 1952, 1953, 1954, 1956, 1958,
1961. His work has been included in group exhibitions at The Art Institute of Chi-
cago; Dallas Museum of Fine Arts; The Detroit Institute of Arts; University of Illinois;
Indiana University; I.os Angeles County Museum; University of Nebraska; Brooklyn
Museum, The Metropolitan Museum of Art. Museum of Modern Art. The Solomon
R. Guggenheim Museum, Whitney Museum of American Art, New York; Carnegie
Institute, Pittsburgh; The Corcoran Gallery of Art, Washington, D.C.; Vale Univer-
sity. Mi < llasco's work is in the collections of the Albright-Knox Art Gallery, Buffalo;
Brooklyn Museum, The Metropolitan Museum of Art, Museum of Modern Art,
Whitney Museum of American Art, New York.
177
c7 ST4.-73
KANOVITZ
Howard Kanovitz, Quequechan, 50"x60", oil on canvas, 1962. (Stable
Gallery, New York City)
"In Fall River, where I grew up, the Quequechan flows through the
center of town. Unlike most rivers, it is out of sight, covered by the
cotton mills that used its rushing waters for power during the city's indus-
trial heyday. Everyone talks about the river and knows the work it did,
but few have ever seen it. My work is to make such rivers visible."
Howard Kanovitz was born in Fall River, Massachusets, in 1929. He
has studied at Providence (Rhode Island) College, where he received a
Bachelor of Science degree in 1949; at the Rhode Island School of De-
sign, Providence, 1949-51; at the Art Students League, New York, 1951;
with Franz Kline, 1952; and at New York University, from 1960 to the
present, where he is a candidate for a Master of Arts degree. Mr. Kanovitz
has been the recipient of an alumni scholarship from New York Univer-
sity. He has taught at Brooklyn College, New York, and he lives in New
York City.
Mr. Kanovitz's work has been exhibited at the Tanager Gallery, New
York, 1953, 1954; Hansa Gallery, New York, 1954; Stable Gallery, New-
York, 1954, 1955, 1962; Tibor de Nagy Gallery, New York, 1956; Great
Jones Gallery, New York, 1960, 1961; The Art Institute of Chicago, 1961.
His work is in the collections of Mr. Jasha Bernstein, Mr. Stanley Moss,
Mr. David Oppenheim, Dr. Richard Stern, and Mr. Donald Weisberger.
178
5>. i
1 79
Arthur Okamura, Leaning Lady and Parasol, 60" x
77", oil on canvas, 1962. (Feingarten Galleries,
Beverly Hills, California) (1955, 1959, 1961)
"My concern with my painting, through exten-
sions of time and choice, seems to be one of duality
with nature . . . not to join, but to adjoin its mys-
tery, somehow, through the weathering clarifications
and revelations that seek a kind of existence with
the salt ocean, the cypress and heath, their sound-
less voices."
Arthur Okamura was born in Long Beach,
California, in 1932. He studied at The School of
The Art Institute of Chicago and at Yale University.
He has taught at the California School of Fine Arts,
and the Academy of Art, San Francisco; and at the
California College of Arts and Crafts, Oakland. He
lives in Bolinas, California.
Mr. Okamura was the recipient of a four year
scholarship and an Edward L. Ryerson Traveling
Fellowship from The School of The Art Institute
of Chicago, and a fellowship from Yale University.
His work has been included in group exhibitions al
The Art Institute of Chicago; Dallas Museum of
Fine Arts; Denver Art Museum; University of Illi-
nois; Los Angeles County Museum; M. Knoedler &
Co., Museum of Modern Art, Whitney Museum of
American Art, New York; Oakland Art Museum;
The Pennsylvania Academy of the Fine Arts. Phila-
delphia; California Palace of the Legion of Honor,
M. II. De Young Memorial Museum, San Francisco;
San Francisco Museum of Art; Santa Barbara Mu-
seum of Art.
Mr. Okamura's work is in the collections of The
Art Institute of Chicago, Container Corporation of
America, U.S. Steel Service Institute, University of
Chicago, Chicago; Denver Art Museum; University
of Illinois; Joseph H. Hirshhorn, National Society
of Arts and Letters, Whitney Museum of American
Art, New York; The Phoenix Art Museum; S. C.
Johnson & Son, Inc., Racine; San Francisco Museum
of Art; Santa Barbara Museum of Art.
OKAMURA
sp*
* w
Carl Morris, Blue Recess, 46" x 72", oil on canvas, 1961. (Feingarten MORRIS
Galleries, Beverly Hills, California) (1957, 1959, 1961)
"Shooting the rapids, between high canyon walls, somewhere among
L*- those boulders was the beginning of Blue Recess."
Carl Morris was born in Yorba Linda, California, in 1911. He
studied at The School of The Art Institute of Chicago, 1931-33; at the
Kunstgewerbeschule in Vienna, 1933-34; and at the Akademie der
Bildenen Kunste in Vienna, 1934-35. Mr. Morris received a scholarship
from the Institute of International Education for study in Paris, 1935-36;
he was awarded a fellowship from the Tamarind Lithography Workshop
in 1962. He taught from 1936-38 at The School of The Art Institute of
Chicago and during 1938-39 he served as Director of the Spokane Art
Center. He lives now in Portland, Oregon.
Mr. Morris won the U.S. Treasury Department competition for the
mural painting commission in the L:nited States Post Office at Eugene.
Oregon, 1941. He received the Margaret E. Fuller Award at the Seattle
Art Museum, the Anne Bremmer Memorial Prize at the San Francisco
Museum of Art, and a Purchase Award at the Denver Art Museum, all
in 1946; the Pepsi-Cola Bronze Award, 1948; Phelan Award, 1950; Pur-
chase Award, Stanford University Art Gallery, 1956; Purchase Award,
University of Illinois, 1957; Prize, Vancouver (British Columbia Art
Gallery, 1958.
Special exhibitions of Mr. Morris' work have been held at the Seattle
Art Museum, 1940; California Palace of the Legion of Honor, San
Francisco, 1946; Portland (Oregon) Art Museum, 1946, 1952, 1955;
Pepsi-Cola Gallery, New York/ 1948; Reed College, Portland, 1950;
Rotunda Gallery,' Paris, 1954; Mills College, Oakland, 1956; Santa
Barbara Museum of Art, 1956; Kraushaar Gallery, New York, 1956-58;
Otto Seligman Gallery, Seattle, 1957; The Pasadena Museum of Art,
1961; Feingarten Galleries, Beverly Hills, 1962. His paintings have been in
group exhibitions at The Art Institute of Chicago, 1942-47; San Francisco
Museum of Art, 1944-58; Whitney Museum of American Art, New York,
1947, 1948, 1950, 1955, 1956, 1957; The Metropolitan Museum of Ait.
New York, 1952; Columbus (Ohio) Gallery of Fine Arts, 1953; City Art
Museum of St. Louis, 1953; The Solomon R. Guggenheim Museum, New
York, 1954; Museu de Arte Moderna de Sao Paulo, Brazil, 1955; Carnegie
Institute, Pittsburgh, 1955; University of Illinois, 1957, 1959, 1961; The
Art Institute of Chicago, 1957; Seattle World's Fair, 1962; Amon Carter
Museum of Western Art, Fort Worth; University of California, Los
Angeles, 1962; Oakland Art Museum, 1962.
Mr. Morris' paintings are in the collections of Museu de Arte
Moderna de Sao Paulo, Brazil; University of Colorado; Denver Art
Museum; Fred Grunwald; Joseph H. Hirshhorn, New York; S. C. John-
son & Son, Inc.; Walker Art Center, Minneapolis; The Solomon R. Gug-
genheim Museum, The Metropolitan Museum of Art, Whitney Museum
of American Art, New York; California Palace of the Legion of Honor.
San Francisco; San Francisco Museum of Art; Santa Barbara Museum of
Art; Seattle Art Museum; Munson-Williams-Proctor Institute, Utica.
180
>J.<ll • : ,i U:*'
181
SWARZ
Sahl Swarz, Tryst, 45", bronze, 1961. (Sculpture
Center, New York City) (1961)
"Until two years ago, I was obsessed with the
idea of producing a great work of sculpture, to
the exclusion of everything else. I feel now that
this is futile and presumptuous. My ambition is
to grow as a person and let sculpture flow as it
will, a true expression of life's experiences."
Sahl Swarz was born in New York City in
1912. He studied at the Clay Club and at the
Art Students League, New York. He received a
grant from the American Academy of Arts and
Letters, 1955, and fellowships from the John
Simon Guggenheim Memorial Foundation, 1955,
1958. He has taught at the Sculpture Center,
New York. He lives in Verona, Italy.
Mr. Swarz has been the recipient of awards
from New York World's Fair, 1939; Federal
Courthouse, Statesville, North Carolina, 1941;
City of Buffalo, New York, 1950. Special exhibi-
tions of his work have been presented by the
Sculpture Center, 1954, 1957, 1960, 1962. His
work has been included in group exhibitions at
the Whitney Museum of American Art, New
York, 1948, 1958, 1960, 1962; Philadelphia Mu-
seum of Art, 1948; Padua, Italy, 1959, 1961; Uni-
versity of Illinois, 1961. Mr. Swarz's work is in
the collections of Brookgreen (South Carolina)
Gardens Museum; Ball State Teachers College,
Muncie, Indiana; Whitney Museum of American
Art, New York; Norfolk (Virginia) Museum of
Arts and Sciences.
182
I
PETERSEN
Roland Petersen, Picnic, 67"x71", oil on canvas,
1961. Lent by Mr. Howard Ross Smith, San
Francisco, California. (1961)
"This painting is typical of the approach that
has interested me for the past few years. The
picnic set in deep space offers ample opportunity
for me to explore the human figure singly and in
groups. I am especially interested in integrating
figures, still life material and landscape by means
of light — especially the brilliant sunlight of the
Sacramento Valley. I am attempting to create
a somewhat surrealistic aura through the use of
quiet impersonal figures placed in a deep land-
scape."
Roland Petersen was born in Endelavc, Den-
mark, in 1926. He received his B.A. degree in
1949 and his M.A. degree in 1950 from the Uni-
versity of California, Berkeley. He studied at
the Hans Hofmann School, Provincetown, sum-
mer, 1950, 1951; with Stanley William Hayter,
Paris, 1950; at the California School of Fine
Arts, 1951-52; and at the California College of
Arts and Crafts, Oakland, summer, 1954. He
was the recipient of a Sigmund Martin Heller
Traveling Fellowship, 1950, and a research grant
from the University of California, 1959-60. Mr.
Petersen has taught at the California Palace of
the Legion of Honor, San Francisco; the Spokane
Art Center; the State College of Washington,
Pullman; and the University of California, Berke-
ley and Davis. He lives in Davis, California.
Mr. Petersen has won over twenty awards,
and five special exhibitions of his work have been
presented. His work has been represented in
group exhibitions including those at the Addison
Gallery of American Art, Andover, 1950; Cali-
fornia Palace of the Legion of Honor, San Fran-
cisco, 1951, 1952; San Francisco Museum of Art,
1952, 1953, 1954, 1955, 1957, 1960, 1961; Seattle
Art Museum, 1952, 1953, 1954, 1955; M. II De
Young Memorial Museum, San Francisco, 1953,
1957, 1959; Oakland Art Museum, 1953, 1958;
Library of Congress, Washington, D.C., 1959;
Los Angeles County Museum, 1960; Oakland Art
Museum, 1960; University of Illinois, 1961; The
Pasadena Art Museum, 1961; Denver An Mu-
seum, 1962. Mr. Petersen's work is in a number
of private collections.
183
it Robert Beauchamp, Two Sunken Heads Against Ochre and Green,
61" x 791/2", oil on canvas, 1962. (Green Gallery, New York)
Robert Beauchamp was born in Denver, Colorado, in 1923. He
studied at the Colorado Springs Fine Arts Center; Cranbrook Academy
of Art, Bloomfield Hills, Michigan; University of Denver; and the Hans
Hofmann School of Art, Provincetown. In 1960 Mr. Beauchamp received
a Fulbright grant. He lives in New York City.
Mr. Beauchamp's work has been included in exhibitions at the
Tanager Gallerv, 1953; Hansa Gallery, 1955; March Gallery, 1958; Green
Gallery, 1961; all of New York; Sun Gallery, Provincetown, 1961-62.
His work is in the collections of Joseph H. Hirshhorn, Museum of
Modern Art, New York; James A. Michener, Pipersville, Pennsylvania;
Carnegie Institute, Pittsburgh; Walter P. Chrysler, Jr., Provincetown;
and in other private collections.
BEAUCHAMP
184
KERKAM Earl Kerkam, Head, 23Wxl8W, oil on canvas-board, 1961. (World
-. ji -75 House Galleries, New York City'
"I try to paint a constructio
try to paint a construction instead of a sensation."
Earl Kerkam was born in Virginia in 1890. He studied and taught
at the Grande Chaumiere in Paris. He lives in New York City. Special
exhibitions of Mr. Kerkam's work have been held in Paris in 1931 and at
Babcock Galleries, Inc., Contemporary Arts, Inc., Egan Gallery, J. B.
Neumann Art Gallery, Poindcxter Gallery, World House Galleries, New
York. His work is found in the collections of Joseph II. Hirshhorn and
Helena Rubenstein, New York.
185
WONNER
Paul Wonner, Sleeping Figure, 46"x51'/j", oil on
canvas, 1961. (Felix Landau Gallerv, Los Angeles)
(1961)
Paul Wonner was born in Tucson, Arizona, in
1920. He studied at the California College of Arts
and Crafts, Oakland, where he received a B.A.
degree in 1942 and at the L'niversity of California,
Berkeley, where he earned a B.A. degree in 1952,
a M.A. degree in 1953, and a M.L.S. degree in 1955.
He lives in Davis, California.
Special exhibitions of Mr. Wonner's work have
been presented by M. H. De Young Memorial Mu-
seum, San Francisco, 1955; San Francisco Art Asso-
ciation, 1956; Felix Landau Gallery, Los Angeles,
1959, 1960, 1962; Poindexter Gallery, New York,
1962. His work has been included in group exhibi-
tions at The Solomon R. Guggenheim Museum, New
York, 1954; Museu de Arte Moderna de Sao Paulo,
Brazil, 1955; Walker Art Center, Minneapolis, 1955;
Stable Gallery, New York, 1955; San Francisco Mu-
seum of Art, 1955; Oakland Art Museum, 1957; Los
Angeles County Museum, 1957; Carnegie Institute,
Pittsburgh, 1958; The Festival of Two Worlds,
Spoleto, Italy, 1958; Coliseum, New York, 1959;
Whitney Museum of American Art, New York, 1959;
California Palace of the Legion of Honor, San
Francisco, 1959, 1962; Barnsdall Park, 1960; The
Art Institute of Chicago, 1961.
Mr. Wonner's work is in the collections of Mr.
and Mrs. Milton Sperling, Mr. and Mrs. Norman
Hanak, Beverly Hills; Mrs. Thomas Blake, Jr.,
Dallas; Gimpel Fils, London; Dr. and Mrs. Digby
Gallas, Mr. and Mrs. Martin Manulis, Los Angeles;
Mr. and Mrs. Franklin Schaffner, The Solomon R.
Guggenheim Museum, New York; Mr. Mason B.
Wells, San Francisco; San Francisco Museum of Art.
STERNE
^£4/7 3
Hedda Sterne, I. rtical-Horizontal No. 2-1962, 86" x
50", oil <ni i.unas, 1962. (Betty Parsons Gallery,
New York City) (195(1, 1961)
Hedda Sterne was born in Bucharest, Roumania,
in 1916. She studied in Paris, Bucharest, and
Vienna. She came ti> the United States in 1941.
She lives in New York City. She has received an
exhibition award from The Art Institute of Chi< ago.
Fifteen special exhibitions of her work have been
presented since 1943. Her work has been included
in group exhibitions at The Art Institute ol Chicago,
1954, 1955, 1957, 1960; University of Illinois, 1955,
1960; Museum of Modern Art, New York, 1955;
Whitney Museum of American Art, New York,
1955, 1958; Carnegie Institute, Pittsburgh, 1955,
1958, 1961; Rhode Island School of Design, Provi
dence, 1955; Stanford University, 1955, 1956; ["he
Corcoran Gallery of Art, Washington, D.C., 1955,
1956, 1958; Venice Biennale d'arte, 1956; Smith-
sonian Institution, Washington, D.C., 1956; Univer-
sity of Iowa, 1958, 1959; The Pennsylvania Academy
of the Fine Arts, Philadelphia, 1958; Virginia Mu-
seum of Fine Arts, Richmond, 1958; Rome-New
York Art Foundation, Rome, 1959, 1961; University
of Colorado, 1960; Bienal Interamericana, Mexico
City, I960.
Miss Sterne's work is in the collections of
Albright-Knox Art Gallery, Buffalo; The Art Insti-
1 1 ■ l > - ..I Chicago; Inland Steel Company, Chicago;
Flu- Detroit Institute of Arts; University of Illinois:
University of Nebraska; Chase Manhattan bank.
The Metropolitan Museum of Art, Museum ol
Modern Art, Rockefeller Institute, Whitnej Museum
of American Art, New York; The Pennsylvania
Academy of the Fine Arts, Philadelphia: Carnegie
Institute, Pittsburgh; Virginia Museum of Fine Arts,
Rii hmond.
187
GATCH
188
Lee Gatch, Jurassic Frieze, 19%"x48", oil, collage, stone, canvas, on ply-
wood, 1962. (Staempfli Gallery, New York City) (1951, 1953, 1959,
1961)
"Jurassic Frieze must be regarded as creation in collage. I prefer
the title, stone collage — this, a relationship of four textures: stone, sand,
linen and paint. Due to the expressionistic character of this particular
stone I conceived it as a frieze of three images; however they do not
dominate to any extent beyond subtle association.
"In pursuing this medium of stone collage in other works my inten-
tion is to show the relationship between organized and disorganized forms.
Thus the stone represents the automatic, the ornamental, the accidental
and finally the disorganized. So my task is to relate this condition with
conscious geometric abstract forms, thereby establishing a definite rapport
and logic between the organized and the disorganized; to integrate both;
one reconciling the other and in the end achieve a single entity with the
pictorial space."
Lee Gatch was born near Baltimore, Maryland, in 1902. He studied
at the Maryland Institute, College of Art, Baltimore; at The American
School, Fontainebleau; and with Andre L'Hote and Moise Kisling in
Paris. He lives in Lambertville, New Jersey.
Mr. Gatch won the Watson F. Blair Purchase Prize at The Art
Institute of Chicago in 1957 and the Temple Award, The Detroit Insti-
tute of Arts, 1959; he also won the commission to create a mural painting
for the United States Post Office in Mielen, South Carolina.
A retrospective exhibition of Mr. Gatch's work was circulated in
1960 by the American Federation of Arts under a program of the Ford
Foundation. His paintings have been included in exhibitions at the
Carnegie Institute, Pittsburgh, 1950, 1952, 1955; Venice Biennale d'artc.
1950, 1956; Munich-Berlin-Yienna American painting exhibition, 1952;
Whitney Museum of American Art, New York, 1960; Los Angeles
County Museum; The Metropolitan Museum of Art, New York; The
Pennsylvania Academy of the Fine Arts, Philadelphia; The Phillips Gal-
lery, Washington, D.C.
Mr. Gatch's work is found in the following collections: Addison
Gallery of American Art, Andover; The Baltimore Museum of Art;
Museum of Fine Arts, Boston; The Detroit Institute of Arts; Wadsworth
Atheneum, Hartford; Los Angeles County Museum; The Metropolitan
Museum of Art, Museum of Modern Art, Whitney Museum of American
Art, New York; The Pennsylvania Academy of the Fine Arts, Philadel-
phia; Philadelphia Museum of Art; City Art Museum of St. Louis; The
Phillips Gallery, Washington, D.C.
189
WILEY William Thomas Wiley, Lodestar, 68" x 72", oil on canvas, I960.
<0^ (Staempfli Gallery, New York City) (1961)
6 I liT7-^ William Thomas Wiley was born in Bedford, Indiana, in 1937. He
attended the California School of Fine Arts, San Francisco, where he
received his B.F.A. degree in 1960. He lives in Mill Valley, California.
Mr. Wiley has received exhibition awards from the San Francisco Art
Festival, San Francisco Art Association, Richmond (California) Museum,
and the California State Fair. A special exhibition of his work was
presented at the Staempfli Gallery, New York, in 1962. His work has
been included in group exhibitions held at the San Francisco Art Associa-
tion, 1958, 1959, 1960; San Francisco Museum of Art; Whitney Museum
of American Art, New York, 1960, 1962; The Art Institute of Chicago,
1961.
Mr. Wiley's work is in the collections of Mr. and Mrs. Irving Levick,
Mr. Charles P. Penney, Jr., Buffalo; The Lannan Foundation, Chicago;
Mr. and Mrs. Clint Murchison, Jr., Dallas; Mr. Joseph H. Hirshhorn,
Whitney Museum of American Art, Mr. and Mrs. William Zeckendorf, Jr.,
New York; San Francisco Museum of Art.
190
I'll
VICENTE
Esteban Vicente, lilu, . Red, Black & White, 30"x 10", collage on card
board, 1961. Andre" Emmerich Gallery, New York Cit) 1952, 1953)
Esteban Vicente was born in Segovia, Spain, in 1906. He studied al
the School of Fine Arts of San Fernando, Madrid. He painted in Paris,
1927-32, and again in Spain until 1936, when he came to the 1 nited
States. He received a Tamarind Workshop Fellowship, summer, 1962.
He has taught in Puerto Rico, at the University of California, Berkeley,
at Black Mountain College, North Carolina, and at New York University,
lie lives in New York City.
Special exhibitions of Mr. Vicente's work have been held al Holland
Goldowsky Gallery, Chicago; Leo Castelli Gallery, Kgan Gallery, Andre
Emmerich Gallery, Rose Fried Gallery, Kleemann Galleries, Peridol
Gallery, New York; Galerie de France, Paris. His work has been included
in group exhibitions at The Baltimore Museum of Art; Institute of Con-
temporary Art, Boston; The Art Institute of Chicago; Museum of Fine
Arts of Houston; The Solomon R. Guggenheim Museum, Whitnej Mu-
seum of American Art, New York; Carnegie Institute, Pittsburgh; Marion
Koogler McNay Art Institute, San Antonio; Seattle World's Fair.
Mr. Vicente's work is in the collections of The Baltimore Museum of
Art; University of Iowa; Look Magazine; Walker Art Center, Minneapolis:
Chase Manhattan Bank, Union Carbide Corporation, Whitney Museum
of American Art, New York.
"73
KOKINES
George Kokines, Patrimony, 6T/2" x 54", oil
on canvas, 1962. (Richard Feigen Gallery,
Chicago)
George Kokines was born in Chicago in
1930. He studied at the University of Chi-
cago and at The School of The Art Institute
of Chicago where he received his Bachelor's
degree. He has taught at the Hyde Park
(Chicago) Art Center, and he lives in Chi-
cago.
Mr. Kokines was the recipient in 1962 of
the Mr. and Mrs. Frank G. Logan Art Insti-
tute Medal and prize in the "65th Annual
Exhibition by Artists of Chicago and Vicinity"
at The Art Institute of Chicago. His work has
been shown in group exhibitions at The Art
Institute of Chicago, 1958, 1959, 1960, 1962;
Allan Frumkin Gallery, Chicago, 1960, 1961;
Holland-Goldowsky Gallery, Chicago, 1960,
1961; John Gibson Gallery, Chicago, 1961-62;
Richard Feigen Gallery, Chicago, 1962; Adele
Rosenberg Gallery, Chicago, 1962.
Mr. Kokines' work is in the collections of
Mr. and Mrs. Peter Bensinger, Chicago; Mr.
and Mrs. Stanley Freehling, Highland Park,
Illinois; Mr. and Mrs. Robert Mayer, Win-
netka, Illinois.
192
FARR
Fred Farr, Armored Horse No. 8, 26", bronze, 1960
(Paul Rosenberg & Co., New York City) (1959
1961)
"I do sense a more recognizable image emerg
ing from the complete abstraction. In painting
c\pr< i.ilh 1 Muse foliage, ] Is, land and seascapes.'
Fred Farr was born in St. Petersburg, Florida
in 1914. He studied at the Portland (Oregon) Art
Museum; Art Students League, and American Art
ists School, New York; and University of Oregon
Eugene. He has taught at the Museum of Modern
Art, 1917; University of Oregon, Eugene, 1948
Portland (Oregon) Art Museum, 1948; Dalton
Schools, New York, 1950; Hunter College, New
York, 1954; Brooklyn Museum, New York, 1950-
1956. He lives in New York City.
Mr. Farr's work has been included in exhibi-
tions at the Museum of Modern Art, New York,
1946; Taft Museum, Cincinnati, 1947; George
Walter Vincent Smith Art Museum, Springfield,
Massachusetts, 1947; Lyman Allyn Museum, New
London, 1948; The Currier Gallery of Art, Man-
chester, New Hampshire, 1948; Rochester (New
York) Memorial Art Gallery, 1948; Munson-
Williams-Proctor Institute, Utica, 1948; Walker Art
Center, Minneapolis, 1948; City Art Museum of St.
Louis, 1948; Addison Gallery of American Art,
Andover, 1948; Rhode Island School of Design,
Providence, 1949; San Francisco Museum of Art,
1949; The Baltimore Museum of Art, 1949; The
Toledo Museum of Art, 1949; Isaac Dclgado Mu-
seum of Art, New Orleans, 1949; Portland (Oregon)
Art Museum, 1949; Whitney Museum of American
Art, New York, 1950; Walters Art Gallery, Balti-
more, 1953; and many universities. Mr. Fan's work
is in the collections of the Dayton Art Institute; The
Detroit Institute of Arts; University of Illinois;
Ball State Teacher's College, Muncie, Indiana;
Sarah Lawrence College, New York; Portland (Ore-
gon) Art Museum; The Phillips Gallery, Washing-
ton, D.C.
193
MONTENEGRO
Enrique Montenegro, Man in Traffic, 52" x 54", oil
on canvas, 1961. (Felix Landau Gallery, Los
Angeles, California)
"In the '40's I painted exclusively in an abstract
nonobjective style. Around about 1952 I felt
strongly inclined to paint the real world. There
followed a slow development in a series of paintings
concerned with people, landscapes, and still life
objects.
"At present I am much involved in painting
people in various activities of modern day life and
am also concerned in opening up large areas of
space on my canvas, and with the interpretation of
movement and action."
Enrique Montenegro was born in Valparaiso,
Chile, in 1917. He studied at the University of
Florida, Gainesville, and at the Art Students League,
New York. He has taught at the University of New
Mexico, Albuquerque; North Carolina State College,
Raleigh; Colorado Springs Fine Arts Center; Mount
Holyoke College; and Brown University, Providence.
He received a Catherwood Foundation fellowship
in 1956. He lives in Austin, Texas.
Mr. Montenegro was awarded a prize by the
Denver Art Museum in 1953, and special exhibitions
of his work have been held by the Denver Art
Museum, 1955; North Carolina Museum of Art,
Raleigh, 1957; Witte Memorial Museum, San An-
tonio, 1958; Parma Gallery, New York, 1959, 1960;
Mount Holyoke College, 1961; Felix Landau Gal-
lery, Los Angeles, 1962; University of Texas, 1962.
Mr. Montenegro's work is in the collections of
James B. Byrnes; Denver Art Museum; S. J. Levin;
Mount Holyoke College; North Carolina Museum
of Art, Raleigh; Olscn Foundation; the late W. R.
Valentiner.
194
195
BODEN
Pamela Boden, Steeplechase, II", wood construction, 1962. (David Cole
( . . 1 1 1 c • i % . San Francisco)
Pamela Boden was burn in England in 1911. She worked and ex-
hibited in Europe before 1945, when she came to the United States. Miss
Boden lives in Bolinas, California.
Miss Boden's work has been included in group exhibitions at Paul
Rivas Gallery, Los Angeles; Art of This Century, New York; David Cole
Gallery, San Francisco; San Francisco Museum of Art; Stanford Univer-
sit) . Palo Alto, California.
196
TREIMAN
Joyce Treiman, The Facade, 48" x 70", oil on can-
vas, 1962. (Felix Landau Gallery, Los Angeles,
California; Fairweather-Hardin Gallery, Chicago,
Illinois; The Forum Gallery, Xeu York Cit\ i 1950,
1951, 1952, 1957, 1961)
"I believe my statement in the 1961 catalogue
of the University of Illinois exhibition stated my
point of view about my work: "... I personally
have been finding the strength of the image more
and more vital and increasingly important to my
own work. I want to escape the anonymity that has
enveloped most painting today and to particularize
in such a way as to make the human image again
alive. I want to individualize the object and create
a singular momentary event. Not as a literal repre-
sentation, but with an attitude toward objects and
figures that makes them important ... I want to
make a series of unmistakable individualized figures
beyond repetition, with the mysteriousness of the
particular revealed.' I have been working toward
these stated objectives."
Joyce Treiman was born in Evanston, Illinois
in 1922. She earned her A. A. degree from Stephens
College in 1941 and her B.F.A. degree from the
State University of Iowa in 1943. Miss Treiman
received a fellowship for graduate study at the State
University of Iowa in 1944, a Louis Comfort Tiffany
Foundation scholarship in 1947, and a Tupperware
Art Fund fellowship in 1955. She lives in Pacific
Palisades, California.
Miss Treiman has won awards from Stephens
College, 1940; Denver Art Museum, 1948; Illinois
State Museum, Springfield, 1948; The Art Institute
of Chicago, 1949, 1950, 1953, 1959, 1960; Festival
of Art, Highland Park, Illinois, 1953; Ford Founda-
tion, 1960; Ball State Teachers College, Muncie,
Indiana, 1961. Special exhibitions of her work have
been held at the Paul Theobald Gallery, Chicago,
1942; John Snowden Gallery, Chicago, 1945; The
Art Institute of Chicago, 1947; North Shore Country
Day School, Winnetka, Illinois, 1947; Fairweathcr-
Garnett Gallery, Evanston, Illinois, 1950; Edwin
Hewitt Gallery, New York, 1950; Palmer House
Galleries, Chicago, 1952; Glencoe (Illinois) Library,
1953; Elizabeth Nelson Gallery, Chicago, 1953;
Charles Feingarten Gallery, Chicago, 1955; Cliff
Dwellers Club, Chicago, 1955; Fairweather-Hardin
Gallery, Chicago, 1955, 1958; Willard Gallery, New
York, 1960; Felix Landau Gallery, Los Angeles,
1961.
Her work has been included in the following
group exhibitions: Denver Art Museum, 1943, 1948,
1955, 1958, 1960; Virginia Museum of Fine Arts,
Richmond, 1946, 1948; The Art Institute of Chi-
cago, 1946, 1951, 1954, 1956, 1959, 1960; Springfield
(Missouri) Art Museum, 1946; University of Illinois,
1950, 1951, 1952, 1956, 1961; The Metropolitan
Museum of Art, New York, 1950; Dallas Museum
of Fine Arts, 1951, 1954; Milwaukee Art Center,
1951, 1955; American Federation of Arts (traveling
exhibition), 1951, 1953, 1955, 1956, 1957, 1958;
San Francisco Museum of Art, 1951; Watkins Gal-
lery, Washington, D.C., 1951; Whitney Museum of
American Art, New York, 1951, 1952, 1953, 1957,
1958; Colorado Springs Fine Arts Center, 1952; The
Detroit Institute of Arts, 1952; University of Texas,
1952; The John Herron Art Institute, Indianapolis,
1953; University of Wisconsin, 1953; University of
Chicago, 1954; The Downtown Gallery, New York,
1954; Library of Congress, Washington, D.C., 1954;
University of Nebraska, 1957; Carnegie Institute,
Pittsburgh, 1957; The Corcoran Gallery of Art,
Washington, D.C., 1957; Institute of Contemporary
Art, Boston, 1958; The Detroit Institute of Arts,
1958; The Pennsylvania Academy of the Fine Arts,
Philadelphia, 1958; Utah State University, 1958;
Lake Forest College, 1959-60; Sarasota Art Associa-
tion, 1959; Boston Arts Festival, 1960; Ball State
Teachers College, Muncie, Indiana, 1961.
Miss Treiman's work is in the collections of
The Art Institute of Chicago; International Min-
erals and Metals, Chicago; Denver Art Museum;
Illinois State Museum, Springfield; the State Uni-
versity of Iowa; Utah State University; Abbott
Laboratory Collection, North Chicago; Allen Memo-
rial Art Museum, Oberlin, Ohio; Tupperware Art
Museum, Orlando.
197
198
ROSZAK
-W-73
/?-7 3«3
Theodore Roszak, Golden Hawk, 24", steel and bronze, 1961. (Pierre Matisse
Gallery, New York City) (1953, 1955, 1961)
"The new content, as it appears in modern art, is shaped organically out
of an evolution of forms that have a corresponding bearing upon historic
necessity for us today. It arises painfully, yet naturally, out of heaps of frag-
ments and experiments that result from decades of accumulated 'visual ideas.'
It emerges out of a plethora of plastic elements that belong entirely to our
contemporary vocabulary, visually revealing bones, nerves and senses as well as
man's varied state of being.
"Considered in this light, sculpture emerges as a language of visual content
in space . . . not as an 'act' sufficient unto itself, nor as a repository for the
'object' either lost or found — but as an unequivocal statement charged to ful-
fill man's awakened sense of his inner reality, upon whose threshold of affirma-
tion stands delineated — a new image."
Theodore Roszak was born in Poznan, Poland, in 1907. He studied at The
School of The Art Institute of Chicago and at the National Academy of Design,
and Columbia University, New York. He received the American Traveling
Fellowship, 1928, and the Anna Louise Raymond Foreign Traveling Fellowship.
1929, from The School of The Art Institute of Chicago. In 1929 he was the
hi ipient of a Louis Comfort Tiffany Foundation scholarship. He has taught at
The School of The Art Institute of Chicago, and at Design Laboratory, and
Sarah Lawrence College, New York. Mr. Roszak lives in New York City.
Mr. Roszak has won a number of prizes, and his work has been included
in many major group exhibitions here and abroad. Mr. Roszak's sculpture is in
the collections of The Art Institute of Chicago; Mr. and Mrs. Arnold Maremont.
Chicago; University of Illinois; Tate Gallery, London; Michigan State Univer-
sity; Walker Art Center, Minneapolis; The Solomon R. Guggenheim Museum.
Mr. Joseph H. Hirshhorn, Museum of Modern Art, Sara Roby Foundation.
Whitney Museum of American Art, New York; Museu dc Arte Moderna de
Sao Paulo, Brazil.
SHAPIRO
Seymour Shapiro, Yean of the Tiger, 12" x 17'/', oil
on masonite, 1962. Stable (Jailers. .\V» York City)
"on the process of making a painting —
"Make yourself ready t<> direct your heart. Cleanse
your body and choose a lonely housing where none
can see or hear your voice. Sit there in your housing
and do not reveal your ecrel to any man. Do it by
day — but it is better by night. In that hour when you
arc prepared, then clear all your thoughts from the
vanities of this world. Covet yourself with a cool aii
and if possible let your clothing be of bl.uk — for all
this is helpful in leading the heart. Light that only
whie h is to be until it is bright, but keep the rest of the
room in dark. Then take brush in hand remember-
ing that you are about to serve in. in in jo) ol the glad-
ness of heart. Now begin to combine a tew or main
brush strokes and continue until your hearl is warm.
Then watch these movements and what more you can
bring forth by moving them. And when you feel that
your In-art is already warm and when you look upon
these various combinations, having imagined this very
vividly, then turn your mind to understand youi
thoughts with the main thing- that will come int" youi
In. in through these combinations — ponder them as a
whole and in all their detail and interpret what \.hi
see as far as possible with your reason, but do not limn
it to reason. And all this will happen: th.it your whole
body will be seized b\ an extreme!) strong trembling —
so that you will surely think you are about to die be-
. ause your soul, overjoyed with this new know ledge
will leave your body, and be ready at that verj moment
to consciously choose death — and then you will know
that you have gone far enough to receive- the influx.
And then you will grasp new things which by human
tradition or by yourself alone. \ou would not be able
to know.
Seymour Shapiro was bom iii Irving ton, New Jer-
sey, in 1927. He studied at New Jersey State Teachers
College and. as a graduate student, at Hunter College.
New York. He lives in Rutherford, New Jersey.
He received an award from The Ncw.uk Mu-
seum, and his work has been included in group exhibi-
tions ai I he Newark Museum; Stable Gallery, Stuit-
man Gallery, Union t arbidi Corporation, New York;
The Pennsylvania Academy ol the line Arts, Philadel-
phia. Mr. Shapiro's work is in the collections ■ . f
Albright-knox An Gallery, Buffalo; Cornell Univei
-it\. Ithaca; The Newark Museum.
199
« v ;
SIEGRIST
^1 ^ Lundy Siegriest, B/ut Reflection, 48" x 48
mixed media on masonite, 1962. (Bolles
Gallery, San Francisco, California) (1953, 1955, 1961)
"I believe that painting, like music, is to be enjoyed rather than commented on."
Lundy Siegriest was born in Oakland, California, in 1925. He studied at the
California College of Arts and Crafts where he completed the four-year course in
fine arts. In 1952 he received the Albert M. Bender grant-in-aid for travel in Mexico.
He teaches at the Junior Center of Art and Science, Oakland, and at the Valley Art
Center, Lafayette. He lives in Oakland, California.
Mr. Siegriest's work has been included in group exhibitions at The Pennsylvania
Academy of the Fine Arts, Philadelphia, 1949, 1950, 1954; San Francisco Museum of
Art, 1950-60; California Palace of the Legion of Honor, San Francisco, 1951, 1952,
1960, 1961, 1962; University of Illinois, 1953, 1955, 1961; Museu de Arte Moderna
de Sao Paulo, Brazil, 1955; Carnegie Institute, Pittsburgh, 1955; Whitney Museum of
American Art, New York, 1957, 1960; Bruxelles World's Fair, 1958; World House
Galleries, New York, 1958; Smithsonian Institution, Washington, D.C., 1958. Mr.
Siegriest's work is in the collections of Chico State College; Denver Art Museum;
Terry Art Institute, Miami; Whitney Museum of American Art, New York; Oakland
Art Museum; Oakland Public Library; James D. Phelan; California State Fair,
Sacramento; Santa Barbara Museum of Art; California Palace of the Legion of Honor,
Crown Zellerbach, San Francisco; San Francisco Art Commission; San Francisco
Museum of Art; Vallejo Art Association; The Phillips Gallery, Washington, D.C.
200
Ham- Mintz, Animal, 48"x51", oil on masonite, 1960. (Charles Feingarten, Chicago,
Illinois) (1948, 1949, 1950, 1953, 1961)
"When I first approach a canvas, I have no previously conceived idea of what I
might want the finished canvas to be. I do not make preliminary sketches, nor do
I draw an outline on the canvas. Immediately, I begin to seek form through color.
Only as I work, only as new forms suggest themselves, do new discoveries and hitherto
unseen possibilities appear. Thus, what happens on the canvas during the process
of creation is a continual surprise and, hence, a continual challenge to me. There is
a never ending search for new color relationships and repeated experimentation with
new techniques for better handling the medium."
Harry Mintz was born in Ostrowiec, Poland, in 1909. He received a M.F.A.
degree from the Warsaw Academy of Fine Arts, and he studied in the United States
at The School of The Art Institute of Chicago. He has taught at Washington Univer-
sity in St. Louis, 1954-55, and since 1955 at The School of The Art Institute of
Chicago. Mr. Mintz lives in Chicago, Illinois.
Mr. Mintz has received over forty awards, and twenty-seven special exhibitions
of his work have been presented. His work has been included in group exhibitions at
The Art Institute of Chicago; University of Illinois; Los Angeles County Museum;
Museum of Modern Art, Whitney Museum of American Art, New York; New York
World's Fair; The Pennsylvania Academy of the Fine Arts, Philadelphia; Carnegie
Institute, Pittsburgh; California Palace of the Legion of Honor, San Francisco; Venice
Biennale d'arte; The Corcoran Galley of Art, Washington, D.C.
Mr. Mintz's paintings are in the collections of Museu de Arte Moderna de Sao
Paulo, Brazil; The Art Institute of Chicago; Evansville (Indiana) Museum of Arts
and Sciences; Whitney Museum of American Art, New York; University of Notre
Dame, South Bend; Warsaw (Poland) Academy of Fine Arts; and in many private
collections.
MINTZ
201
SNELGROVE
: ^ 4
Walter Snelgrove, Daguerre Desert, 78"x57",
oil on canvas, 1962. (Gump's Gallery, San
Francisco, ( lalifornia)
"From my studio I try to paint places
where I've never been but would like to be."
Walter Snelgrove was born in Seattle,
Washington, in 1924. He studied at the Uni-
versity of Washington, Seattle, 1941-43; the
California Srhool of Fine Arts, San Francisco,
1946; and the University of California, Berke-
ley, where he received his B.A. degree in 1947
and his M.A. degree in 1951. He was awarded
a Phelan Traveling Si holarship in 1951. Mr.
Snelgrove taught at the University of Cali-
fornia, 1952-55. He lives in Berkeley, Cali-
fornia.
Mr. Snelgrove*s work has been included
in group exhibitions held at the San Francisco
Museum of Art, 1950-60, 1962; M. H. De
Young Memorial Museum, San Francisco,
1958;' The Art Institute of Chicago, 1961
Scripps College, Claremont, California, 1961
Los Angeles County Museum, 1961; Poindcx-
ter Gallery, New York, 1961; California
Palace of the Legion of Honor, San Francisco,
1961, 1962; Whitney Museum of American
Art, New York, 1962; Santa Barbara Museum
of Art, 1962. His work is in public and private
collections in California and Texas.
202
: /
SATORU
Abe Satoru, Seed, 34", copper, brass, steel, 1962. (Sculpture Center. New
York City) (1961)
"'Seed' — Imagine what it can grow into — with such a beginning.
"'Myself — I will keep growing."
Abe Satoru was born in Honolulu, Hawaii, in 1926. He studied at
the Art Students League, New York, 1948-50. He lives in New York City.
A special exhibition of Mr. Satoru's work has been presented at the
Sculpture Center, New York, and his work has been included in group
exhibitions at the Columbia Museum of Art; The Detroit Institute o)
Arts; University of Illinois; Silvermine Guild of Artists, New Canaan;
Museum of Modern Art, Sculpture Center, Whitney Museum of Ameri-
can Art, New York; Smith College, Northampton, Massachusetts; The
Pennsylvania Academy of the Fine Arts, Philadelphia; Virginia Museum
of Fine Arts, Richmond; Everson Museum of Art, Syracuse. Mr. Satoru's
work is represented in public and private collections.
203
"■(Jit**
204
XCERON
Jean Xceron, Painting No. 7, 51"x42", oil on
canvas, 1949. (Rose Fried Gallery, New York
City) (1949, 1950, 1951, 1953, 1957)
Jean Xceron was born in Isari, Greece, in
1890. He studied at The Corcoran School of Art,
Washington, D.C. He worked in Paris from
1927-37" Mr. Xceron lives in New York City.
Special exhibitions of Mr. Xceron's work
have been held at Galerie de France, Paris, 1931;
Galerie Percier, Paris, 1933; Galerie Pierre,
Paris, 1934; Garland Gallery, New York, 1935;
Nierendorf Gallery, New York, 1938; Bennington
College, 1944; Sidney Janis Gallery, New York,
1950; Rose Fried Gallery, New York, 1955, 1957,
1960, 1961, 1962.
Mr. Xceron's work has been included in
group exhibitions at Independent Artists, New
York, 1921, 1924; Galerie Dalmau, Barcelona,
1929; Zappeion Gallery, Athens, 1930; Arts and
Crafts Club, New Orleans, 1931; Salon des Surin-
dependants, Paris, 1931, 1935; Galerie de la
Renaissance, Paris, 1932, 1935; Exposition a
l'Hotel Drouot, Paris, 1933; Galerie Charpentier,
Paris, 1939; New York World's Fair, 1939, 1940;
Golden Gate International Exposition, San Fran-
cisco, 1939; Museu de Arte Moderna de Sao
Paulo, Brazil, 1939; The Solomon R. Guggen-
heim Museum, New York, 1939, 1952, 1954,
1955, 1956, 1957, 1962; Galerie St. Etienne, New
York, 1940; American Abstract Artists, New-
York, 1941, 1944, 1951, 1957; Helena Rubinstein,
New York, 1942; National Arts Club, New York,
1942; Nierendorf Gallery, New York, 1942; Mar-
quie Gallery, New York, 1943; Carnegie Institute,
Pittsburgh, 1942, 1943, 1944, 1946, "l947, 1948,
1949, 1950; Riverside Museum, New York, 1943;
Los Angeles County Museum, 1945; Pinacotheca,
New York, 1945; Rockefeller Center, New York,
1945; Wildenstein Gallery, New York, 1945, 1946,
1948, 1949, 1950, 1951, 1952, 1954, 1955, 1956;
Outlines Gallery, Pittsburgh, 1945; California
Palace of the Legion of Honor. San Francisco,
1945; Ferargil Gallery, New York, 1946, 1948,
1949, 1950, 1951, 1952; The John Herron Art
Institute, Indianapolis, 1946, 1951; M. Knoedler
& Co., New York, 1946; University of Iowa,
1947; National Academy of Design, New York,
1947; Salon des Realites Nouvelles, Paris, 1947,
1948, 1949, 1950, 1951, 1952; The Toledo (Ohio)
Museum of Art, 1947, 1948; Galerie Georges
Giroux, Bruxelles, 1948; Columbus (Ohio) Gal-
lery of Fine Arts, 1948; University of Illinois,
1949, 1950, 1951, 1953, 1957; Dayton Art Insti-
tute, 1951; Rose Fried Gallery, New York, 1952,
1955; Walker Art Center, Minneapolis, 1953;
Joslyn Art Museum, Omaha, 1955; Contempo-
rary Art Association, Houston; 1957; Brooklyn
Museum, New York, 1957; Yale University, 1957.
Mr. Xceron's work is in the collections of
Addison Gallery of American Art, Andover; Uni-
versity of Georgia; University of Illinois; Staat-
liche Kunsthalle, Karlsruhe; University of New-
Mexico; Museum of Modern Art, Museum of
Living Art, The Solomon R. Guggenheim Mu-
seum, New York; New York University; Smith
College, Northampton; Cahiers d'Art, Paris;
Carnegie Institute, Pittsburgh; The Berkshire
Museum, Pittsfield; Washington University, St.
Louis; Brandeis University, Waltham, Massachu-
setts; The Phillips Gallery, Washington, D.C;
Wellesley College.
205
on canvas, 1961. (Bertha Schaefer Gallery,
lit la the element of time by injecting
1896. He studied in the Independ-
He has taught at the Art Students
New York. He lives in New City,
Morris Kantor, Pink Facade, 53" x 58", oi
New York City) (1949, 1950, 1951, 1953
"In Pink Facade my concern was mainly
two figures in a given space and their transition."
Morris Kantor was born in Minsk, Russia, in
ent School of Art, New York, under Homer Boss.
League and at The Cooper Union School of Art,
New York.
Mr. Kantor has received awards from The Art Institute of Chicago, 1931; The
Corcoran Gallery of Art, Washington, D.C., 1939; The Pennsylvania Academy of the
Fine Arts, Philadelphia, 1940; University of Illinois, 1951. Five special exhibitions of
Mr. Kantor's work have been held, and his work has been included in major group
exhibitions here and abroad. Mr. Kantor's work is in the collections of the University
of Arizona; The Art Institute of Chicago; Denver Art Museum; Des Moines Art
Center; The Detroit Institute of Arts; University of Illinois; Illinois Wesleyan Univer-
sity; University of Michigan; University of Nebraska; The Newark Museum; Art
Students League, Museum of Modern Art, Whitney Museum of American Art, New
York; The Pennsylvania Academy of the Fine Arts, Philadelphia; Carnegie Institute,
Pittsburgh; Santa Barbara Museum of Art; The Phillips Gallery, Washington, D.C.;
Delaware Art Center, Wilmington; Worcester Art Museum.
KANTOR
206
'.us
LIPCHITZ
Jacques Lipchitz, Lesson of a Disaster, 27", bronze,
1961. (Otto Gerson Gallery, New York City)
(1957, 1959, 1961)
"This sculpture is born from a disaster which
shook the foundations of my life. Ten years ago my
studio in New York burned with all that was in it.
In this hre also perished my Virgin for the church
of Assy in France, which was almost finished after a
year's work on it.
''Examining the place of the disaster I was ask-
ing myself the reason and the meaning of this
catastrophe. And this idea literally took possession
of me to the point that I was obliged to clarify this
matter. And of course, I did it in my way, which
is by means of sculpture.
"As a result, since 1952, the date of the fire, I
produced many studies which crystallized themselves
finally in a sculpture which I am finishing right now
•iiul which is twelve feet high.
"The sculpture you have at your exhibit [in the
1963 University of Illinois exhibition is one of the
stages of this process of crystallization."
Jacques Lipchitz was born in Druskieniki,
Lithuania, in 1891. He studied at the LYole des
Beaux Arts, Academie Julian, and Academie Col-
larossi, Paris. Mr. Lipchitz was awarded the Cheva-
lier de la Legion d'Honneur, 1946, and an honorary
doctorate by Brandeis University, Waltham, Massa-
chusetts, 1958. He lives at Hastings-on-Hudson,
New York.
Special exhibitions of Mr. Lipchitz's work have
been held in Paris, Bruxelles, Venice, and in the
United States at the Cleveland Museum of Art;
Walker Art Center, Minneapolis; Buchholz Gallery,
Museum of Modern Art, New York; Virginia Mu-
seum of Fine Arts, Richmond. His work has been
included in many major exhibitions here and
abroad. It is in the collections of The Baltimore
Museum of Art; Albright-Knox Art Gallery, Buf-
falo; The Art Institute of Chicago; University of
Iowa; Barnes Foundation, Merion, Pennsylvania;
University of Michigan; Walker Art Center, Min-
neapolis; The Jewish Museum, The Metropolitan
Museum of Art, Museum of Modern Art, Whitney
Museum of American Art, New York; Fairmont
Park, Philadelphia; Philadelphia Museum of Art;
Portland (Oregon) Art Museum; Virginia Museum
of Fine Arts, Richmond; Ministry of Education and
Health, Rio de Janeiro; Smith College; St. Paul
(Minnesota) Gallery; Wellesley College; Norton
Gallery, West Palm Beach; Worcester Art Museum;
Yale University.
207
on canvas,
lty) (1950,
Ajoseph Hirsch, Daybreak, 57"x72", oil
1962. (Forum Gallery, New York C
1952)
"For a minority of us the human condition is
important. So is paint when it is the right color,
beautifully in the right place.
"Both of these concerns can invoke complete
devotion. Little wonder that so many of us have
been seduced by the excitement of charting the
labyrinths of our social edifice, or that others have
gone hunting, in full cry, after the elusive new forms
in the forest of plastic arts. Taken separately, either
of these tempting pursuits is a full time hobby. But
if you hold out for facing realities, and happen to
be a painter, you cannot separate them and settle for
one because you are deeply involved with both —
the social conscience and the seeing eye.
"Together, that is strong stuff. It is even poison
to the muscle flexers whose paint-flinging seances
put them safely below any responsibility and above
all criticism. Vet it is this strong stuff which gave us
the fantasy and fury of a Goya.
"What about the future? I believe that some-
day the fabric of art will be threaded with morality,
enabling us to distinguish wrong from good. Today
this is unthinkable, literally, in the delightful
anarchy of the art world, where, excepting censor-
ship, anything goes. But 'anything goes' does not
accord with the more discriminating ethics of our
civilized code which recognizes what is socially
destructive.
"When art again assumes its proportionate role
in our future life, it will have the responsibilities of
freedom as well as the privileges."
Joseph Hirsch was born in Philadelphia in
1910. He studied at the Philadelphia Museum of
Art, with Henry Hensche at Provincetown, and with
George Luks in New York. He was the recipient
of grants and fellowships from the Institute of In-
ternational Education, National Academy of De-
sign, National Institute of Arts and Letters, John
Simon Guggenheim Memorial Foundation, New
York; City of Philadelphia; and the American Acad-
emy in Rome. He has taught at The School of the
Art Institute of Chicago, the American Art School,
New York, and the University of Utah; he teaches
now at the Art Students League in New York. He
lives in New York City.
Mr. Hirsch's work has been included in many
major group exhibitions and is represented in the
collections of the Addison Gallery of American Art,
Andover; Museum of Fine Arts, Boston; Dallas Mu-
seum of Fine Arts; Dartmouth College, Hanover;
LTniversity of Georgia; Walker Art Center, Min-
neapolis; William Rockhill Nelson Gallery of Art,
Kansas City; The Metropolitan Museum of Art,
Museum of Modern Art, Whitney Museum of
American Art, New York; Philadelphia Museum of
Art; Brown University, Providence; Museum of Fine
Arts, Springfield, Massachusetts; The Corcoran Gal-
lery of Art, Library of Congress, Washington, D.C.;
and in many other collections.
HIRSCH
208
T^.73
STAMOS
Theodoros Stamos, Red Field I, 49"x61", oil on
canvas, 1962. (Andre Emmerich Gallery, New York
City) (1950, 1951, 1955, 1961)
Theodoros Stamos was born in New York City
in 1922. He studied at the American Artists School,
New York, and abroad. He has been the recipient
of a scholarship from the Louis Comfort Tiffany
Foundation, 1951; an award from the National Insti-
tute of Arts and Letters, 1959; and a fellowship
from Brandeis University, 1959. He has taught at
the Art Students League, New York; Black Moun-
tain (North Carolina) College; and the Cumming-
ton (Massachusetts) School of the Arts.
Mr. Stamos received a prize in an international
exhibition sponsored by the Mainichi Newspaper,
Tokyo, 1961, and special exhibitions of his work
have been presented by Mortimer Brandt Gallery,
New York, 1945; Betty Parsons Gallery, New York,
1947, 1956; The Phillips Gallery, Washington, D.C.,
1950, 1954; The Philadelphia Art Alliance, 1957;
Andre Emmerich Gallery, New York, 1958, 1959,
1960, 1961; The Corcoran Gallery of Art, Wash-
ington, D.C., 1959; Gimpel Fils, London, 1960;
Marion Koogler McNay Art Institute, San Antonio,
1960; Galleria d'arte del Naviglio, Milan, 1961.
His work has been included in group exhibitions
at Stedelijk Museum, Amsterdam, 1958, 1959;
Kunsthalle, Basel, 1958, 1959; Hochschule fur Bil-
dende Kunste, Berlin, 1958, 1959; Palais des Beaux
Arts, Bruxelles, 1958, 1959; Tate Gallery, London,
1958, 1959; Museo Nacional de Arte Contempo-
raneo, Madrid, 1958, 1959; Galleria Civica d'Arte
Moderna, Milan, 1958, 1959; Museum of Modern
Art, New York, 1958, 1959; Musee National d'Art
Moderne, Paris, 1958, 1959.
Mr. Stamos' work is in the collections of
Albright-Knox Art Gallery, Buffalo; Des Moines Art
Center; The Detroit Institute of Arts; VVadsworth
Atheneum, Hartford; University of Illinois; Univer-
sity of Iowa; Walker Art Center, Minneapolis; Uni-
versity of Nebraska; Chase Manhattan Bank, The
Metropolitan Museum of Art, Museum of Modern
Art, Whitney Museum of American Art, New York;
California Palace of the Legion of Honor, San Fran-
cisco; Tel Aviv Museum; Munson-Williains-Proctor
Institute, Utica; Vassar College; The Phillips Gal-
lery, Washington, D.C.; Wellesley College.
'211' i
210
SEIBERT
St**'
^457
Garfield Seibert, Old Bickel Quarry, 18" x 24",
[)S oil on board. (Gilman Galleries, Chicago, Illi-
nois) (1959)
"After 48 years in Federal Service in the
Louisville Post Office, I retired in 1951. Three
months later I applied for entrance into an adult
art class at the University of Louisville. My ob-
jectives in the ait world are as follows: since
this gift has opened up a whole new world to or
for me so late in my life, I sincerely feel a sense
of responsibility and duty to try and make the
most of it. I believe that to be gifted to produce
works of art for the enjoyment and enlightenment
of my fellowman is a privilege. Therefore, so
lung as I shall be blessed with good health and
physically able, I shall endeavor to put forth my
best efforts in appreciation of this gift. With
reference to my work: I have always had an in-
terest in art since my boyhood; however, I have
had no opportunity to pursue it until after my
retirement. I love to paint landscapes and to
paint them as they appear to me."
Garfield Seibert was born in Louisville, Ken-
tucky, in 1881. Though self-taught as an artist,
he recently has studied at the University of Louis-
ville. He has taught in the Jefferson County
(Kentucky) Schools. He lives in Louisville,
Kentucky.
Mr. Seibert has received awards from the
Kentucky State Fair, and the J. B. Speed Art
Museum, Louisville. His work has been included
in group exhibitions at the Kentucky State Fair;
J. B. Speed Art Museum, Louisville; University
of Illinois, 1959; Butler Institute of American
Art. Youngstown, 1962. Mr. Seibcrt's work is in
the collections of the Louisville Children's Free
Hospital; Dean and Mrs. Allen S. Weller, Ur-
bana; LTniversity of Illinois.
cH
NATKIN
)
Robert Natkin, Faust, 78' k" x 74", oil on canvas, 1962. Lent anonymously.
(Fairweather-Hardin Gallery, Chicago, Illinois; Poindexter Gallery, New York
City]
"I hope for my paintings to have a strong beauty; one that lasts beyond the
1'ir-t look or the twentieth look. No matter how much a painting seems to dis-
play, it is a continuous and perhaps surprising visual \ield that I want ultimately
from it. But I am not referring to any eastern mysticism, contemplative, or Zen
idea. I adore much of Western tradition, and although I am a midwesterner,
I'.S.A. man. I hope to be holding hands with Velasquez, or Vermeer, or Bon-
nard, my greatest teacher and master."
Robert Natkin wis born in Chicago, Illinois, in 1930. He studied at The
School of The Art Institue of Chicago, where he was graduated in 1952. He
lives in New York City.
Special exhibitions of Mr. Natkin- work have been held at Wells Streel
Gallery, Chicago, 1957, 1958; Poindexter Gallery, New York, 1959, 1961;
Fairweather-Hardin Gallery, Chicago, 1962. His work has been included in
group exhibitions at The Art Institute of Chicago, 1955, 19 i7, 1959; Momentum,
Chicago, 1955, 1956, 1957; Whitney Museum of American Art, New York, I960;
Contemporary Arts Museum, Houston, 1961; Carnegie Institute, Pittsburgh,
1961-62; The Pennsylvania Academy ol the Fine Arts, Philadelphia, 1962. Hi-
work is in the collections of the Institute of Contemporary Art, Boston; Whitney
Museum of American Art. New York; Carnegie Institute, Pittsburgh.
211
Ur^* '■■ 4'W-
212
KAISH
Luise Kaish, Descending Angel, 48", bronze, 1961. (Sculpture
Center, New York City) (1959, 1961)
Luise Kaish was born in Atlanta, Georgia, in 1925. She
received her Bachelor of Fine Arts degree at Syracuse University
in 1946. Then she studied in Mexico during 1946-47 and with
Ivan Mestrovic at Syracuse University in 1947-50, where she
received her Master of Fine Arts degree in 1951. She did
further work in Florence, Italy, in 1951-52. She was the recip-
ient of a Louis Comfort Tiffany Foundation scholarship, 1951-52,
and of a John Simon Guggenheim Memorial Foundation fellow-
ship, 1959. She lives in New York City.
Miss Kaish has received awards from the Rochester (New
York Memorial Art Gallery; Everson Museum of Art, Syracuse;
Audubon Artists, Inc., National Association of Women Artists.
Inc., New York; Emily Lowe Competition Project. New York;
"Daily Bread" Exhibition, San Francisco.
Special exhibitions of Miss Kaish's work have been held at
Manhattanville College, Sculpture Center, New York; Rochester
(New York) Memorial Art Gallery. Miss Kaish's work has been
included in exhibitions at the following institutions: Birming-
ham Museum of Art; University of Illinois; Mount Holyoke
College; Notre Dame University; The Metropolitan Museum
of Art, Museum of Modern Art, Whitney Museum of American
Art, American Federation of Arts (traveling exhibition!, Ameri-
can Academy of Arts and Letters, National Association of
Women Artists, Inc., National Academy of Design, New York;
The Pennsylvania Academy of the Fine Arts, Philadelphia;
Rochester New York) Memorial Art Gallery; Everson Museum
of Art, Syracuse.
Miss Kaish's work is represented in the collections of
Container Corporation of America; Rochester (New York) Me-
morial Art Gallery; Temple B'rith Kodesh, Rochester; Syracuse
University; and in numerous private collections.
u
213
Abbott Pattison, View of Pittsburgh, 72", bronze re-
lief, 1960-61. (Feingarten Gallery, New York City,
Chicago, Illinois, Beverly Hills, California) (1959,
1961)"
"To the west of the city of Pittsburgh, on a
high place, one looks down at the city and the
drama of the point of convergence of the two rivers
— the city — the surrounding mountains — the
blending of nature and man's contributions to the
landscape — is one of the most powerful and mag-
nificent vistas one could discover anywhere in the
world. This bronze relief was cut and gouged out
and built up with the memory of this vista directly
in mind.
"Cannot the sculptor too comment upon a
landscape and is not the landscape itself a mag-
nificent sculpture? There lies the land — convex
and concave — enormously varied in texture and
stroke, slashing flatnesses ami indicate concentration
of detail — all pulsing with life of the present and
life of the land is gouged out of mountain ranges
by the erosion of the waters."
Abbott Pattison was born in Chicago, Illinois,
in 1916. He received a B.A. degree in 1937 and a
B.F.A. degree in 1939 from Yale University. In 1940
he was the recipient of a traveling fellowship from
Yale University. He has taught at The School of
The Art Institute of Chicago, 1946-51; the University
of Georgia, Athens, 1953-54; the Summer Art
School, Skowhegan, Maine, 1954, 1955; and the
North Shore Art League, Winnetka, 1947-62. He
lives in Chicago.
Mr. Pattison has received exhibition awards
from The Art Institute of Chicago, 1942, 1946,
1950, 1953, 1954; The Metropolitan Museum of
Art, New York, 1951; 1020 Arts Center, Chicago,
1954; Old Orchard Art Fair, Winnetka, 1958, 1959,
1961, 1962; McCormick Place, Chicago, 1962. Over
twenty-five special exhibitions of Mr. Pattison's
work have been presented, and his work has been
included in major group exhibitions here and
abroad. Mr. Pattison's work is in the collections of
The Art Institute of Chicago; Art Center in La
Jolla; Chrysler Museum, Provincetown; The Phoenix
Art Museum; California Palace of the Legion of
Honor, San Francisco; The Corcoran Gallery of
Art, Washington, D.C.
PATTISON
214
~75'i4'"73 Ben Shahn, It's No I a to Do Anymore, 25 r"x39",
— # tempera on gesso panel, 1961-62. (The Downtown
1 • Gallery, New York) (1949, 1950, 1953, 1955, 1957,
1959)
Ben Shahn was born in Kovno, Lithuania, in
1898. He studied at New York University, I'm
College i if New York, National Academy of Design,
Art Students League, New York; and in Paris. He
SHAHN was the Charles Eliot Norton Professor of Poetrj al
Harvard University, 1956-57. He lives in Roosevelt.
New Jersey.
Mr. Shahn has been the recipient of man)
awards. Special exhibitions of his work have been
held at the Museum of Modern Art, New York.
1947; in Venice, 1954; and at the Fogg Art Museum,
Cambridge, 1956; Virginia Museum of Fine Arts,
Richmond, 1957. His work has been included in
many group exhibitions here and abroad. Mr.
Shahn's work is in the collections of the Addison
Gallery of American Art, Andover; The Art Institute
of Chicago; Wadsworth Atheneum, Hartford; I in
versity of Illinois: The Metropolitan Museum ol
Art. Museum of Modern Art. Whitnej Museum ol
American Art. New York; Joslyn Art Museum,
Omaha: Virginia Museum of Fine Arts. Richmond;
C'.ii\ Vt Museum of St. Louis; San Francisco Mu-
seum of Art: Smith ( lollege.
215
3 Grace Hartigan, Clark's Cove, 64" x 72"
, ^Gallery, New York)
oil on canvas, 1962. (Martha Jackson
,a*3
HARTIGAN
Grace Hartigan was born in Newark, New Jersey, in 1922. She studied
with Isaac Lane Muse and painted in Mexico in 1949. She lives in Baltimore,
Maryland.
Twelve special exhibitions of her work have been held since 1951, and
her paintings have been included in group exhibitions at the University of
Minnesota, 1955; Museum of Modern Art, New York, 1955-56; The Jewish
Museum, New York, 1957; Museu de Arte Moderna de Sao Paulo, Brazil, 1957;
Bruxelles World's Fair, 1958; Coliseum, New York, 1959; Kassel, Germany,
1959; Columbus (Ohio) Gallery of Fine Arts, 1960; Walker Art Center, Minne-
apolis, 1960; University of Michigan, 1960; The Solomon R. Guggenheim
Museum, New York, 1961-62.
Miss Hartigan's work is in the collections of The Baltimore Museum of
Art; Brandeis University, Waltham, Massachusetts; Albright-Knox Art Gallery,
Buffalo; The Art Institute of Chicago; William Rockhill Nelson Gallery of Art,
Kansas City; The Minneapolis Institute of Arts; Walker Art Center, Minne-
apolis; New Paltz (New York) Museum; Brooklyn Museum, The Metropolitan
Museum of Art, Museum of Modern Art, Whitney Museum of American Art,
New York; North Carolina Museum of Art, Raleigh; Carnegie Institute, Pitts-
burgh; Rhode Island School of Design, Providence; Washington University, St.
Louis; Vassar College, Poughkeepsie; The Washington Gallery of Modern Art,
Washington, D.C.
216
William Lasansky, Head of Sage,
man Galleries, Chicago, Illinois)
83/4", bronze, 1962. (Gil-
"One of my continual objectives is to pick my best ideas
and learn to materialize them.
"I see no need for great verbal complexity. I would
feel no need to cast something in bronze if I could formulate
an equivalent with words. Language and sculpture are two
different mediums and I would not feel right in trying to
explain my work any more than I have in this short state-
ment."
William Lasansky was born in Buenos Aires, Argentina,
in 1938. He received his Bachelor of Fine Arts degree from
the State University of Iowa, and he presently is enrolled
there as a graduate student. He lives in Iowa City, Iowa.
Mr. Lasansky has been the recipient of an award from
the Des Moines Art Center, and his work has been included
in exhibitions at the Des Moines Art Center; University of
Kansas; Joslyn Art Museum, Omaha; Wichita Art Museum.
Mr. Lasansky 's work is in the collection of the Des Moines
Art Center.
LASANSKY
217
•Charles Umlauf, Icarus, 34", bronze, 1961 (made
and cast at Fonderie Battaglia, Milan). Lent bv the
artist. (1953, 1957)
"In this sculpture, modeled direct in plaster for
bronze, I have tried to carry through my personal
feeling of expression toward the present plight of
man. This is one of several studies I have made
of Icarus, whose legendary experience speaks to us
forcefully and with more poignancy than could have
been possible before.
"My intention is to make a large sculpture,
heroic in size, employing the same direct modeling
approach. This I find to be more plastic and fresh
though at the same time more difficult than other
methods. One must know the medium and have the
idea very well in mind."
Charles Umlauf was born in South Haven,
Michigan, in 1911. He studied at the Chicago School
of Sculpture, 1932-34, and The School of' The Art
Institute of Chicago, 1929-32, 1934-37. He was
the recipient of a John Simon Guggenheim Memo-
rial Foundation fellowship, 1949. He teaches at the
University of Texas and lives in Austin, Texas.
Seventeen special exhibitions of Mr. Umlauf 's
work have been presented, and his work has been
included in group exhibitions held at Dallas Mu-
seum for Contemporary Arts, 1958; Dallas Museum
of Fine Arts, 1958; Rhode Island School of Design,
Providence, 1958; Everson Museum of Art, Syracuse,
1958; The Detroit Institute of Arts, I960; Oklahoma
Art Center, 1960; The Pennsylvania Academy of
the Fine Arts, Philadelphia, 1960, 1962; Princeton
University, 1960; National Gallery of South Aus-
tralia, 1962.
Mr. Umlauf's work is in the collections of
Dallas Museum of Fine Arts; Des Moines Art Cen-
ter; Fort Worth Art Center; Museum of Fine Arts
of Houston; University of Illinois; The Metropolitan
Museum of Art, New York; Marion Koogler McNaj
Art Institute, Witte Memorial Museum, San
Antonio; Santa Barbara Museum of Art; Wi< hita
Ail Museum; and in many private collections.
218
UMLAUF
it
Art Holman. Alii iiorical Landscape, 62" x 78", oil on canvas, 1962. (David
Cole Gallery, San Francisco, California)
'"Basing my work on nature, I am trying to utilize the underlying structural
and plastic elements of art that are essential in creating a meaningful work. I
wish to make something solid and lasting of abstract painting, like the art of
the museums."
Art Holman was born in Bartlesville, Oklahoma, in 1926. He studied at
the University of New Mexico, Albuquerque; the Hans Hofmann School. New
York; and the California School of Fine Arts, San Francisco. He lives in San
Francisco.
Special exhibitions of Mr. Holmans work have been presented at The
Alan Gallery, New York, 1958; San Francisco Museum of Art, 1959; Esther-
Robles Gallery, Los Angeles, 1960; Los Angeles City College, 1961; David Cole
Gallery, San Francisco, 1962. His work has been included in group exhibitions
at the University of California, Los Angeles; Whitney Museum of American
Art. New York; Bolles Gallery, California Palace of the Legion of Honor.
David Cole (iallery, M. II. De Young Memorial Museum. San Francisco: San
Francisco Museum of Art; Stanford University.
Mr. Holman's work is represented in many private collections.
7 S*. 73
' H 731
HOLMAN
219
220
LEVI Jlllia" Lovi- Studio, 42" x 50", oil on canvas, 1962. (Nordness
Gallery, Inc., New York City) (1948, 1949, 1951, 1955, 1957,
1959, 1961)
"Studio is one of a series painted during the past four
«/ years in which I have been examining my immediate environ-
ment: studio, garden, home, animals, etc."
Julian Levi was born in New York in 1900. He studied
at The Pennsylvania Academy of the Fine Arts, Philadelphia,
1917-20, and for five years in France and Italy. He received
a Cresson Traveling Fellowship from The Pennsylvania
Academy of the Fine Arts, 1920; a second fellowship from
The Pennsylvania Academy of the Fine Arts, 1954; and a
grant from the National Institute of Arts and Letters, 1955.
During the summers of 1951 and 1952 he taught at Columbia
University, New York, and during the summer of 1953 at
Montana State University. He teaches now at the Art Stu-
dents League and at the New School for Social Research,
New York. Mr. Levi lives in East Hampton, New York, and
in New York City.
Mr. Levi has received awards from The Art Institute
of Chicago, 1942, 1943; Carnegie Institute, Pittsburgh, 1945;
Pepsi-Cola Company, New York, 1945; National Academy
of Design, New York, 1945; University of Illinois, 1948;
East Hampton (New York) Regional Exhibition, 1952; The
Pennsylvania Academy of the Fine Arts, 1962.
Special exhibitions of Mr. Levi's work have been held
at the Salon d'Automne, Paris, 1920; Crillon Galleries, Phila-
delphia, 1933; The Downtown Gallery, New York, 1940,
1942, 1945, 1950; Venice Biennale d'arte, 1948; The Phila-
delphia Art Alliance, 1953; The Alan Gallery, New York,
1955; Nordness Gallery, New York, 1961; Anna Werbe Gal-
lery, Detroit, 1961; Boston University Gallery, 1962; New
Britain (Connecticut) Museum of American Art, 1962.
His work has been included in the following group ex-
hibitions: The Art Institute of Chicago, 1942, 1944; National
Academy of Design, New York, 1945; Carnegie Institute,
Pittsburgh, 1945; Virginia Museum of Fine Arts, Richmond,
1946; The Pennsylvania Academy of the Fine Arts, Philadel-
phia, 1952; University of Illinois, 1948, 1949, 1951, 1955,
1957, 1959, 1961; New York State Fair, Albany, 1958.
Mr. Levi's work is in the following collections: Univer-
sity of Arizona; Cranbrook Academy of Art, Bloomfield
Hills, Michigan; Albright-Knox Art Gallery, Buffalo; Ency-
clopaedia Britannica, Chicago; The Art Institute of Chi-
cago; Scripps College, Claremont, California; Des Moines
Art Center; The Detroit Institute of Arts; University of
Georgia; University of Illinois; Michigan State University;
Walker Art Center, Minneapolis; University of Nebraska;
New Britain (Connecticut) Museum of American Art; The
Newark Museum; The Metropolitan Museum of Art, Museum
of Modern Art, Whitney Museum of American Art, New
York; The Pennsylvania Academy of the Fine Arts, Philadel-
phia; S. C. Johnson & Son, Inc., Racine; Museum of Fine
Arts, Springfield, Massachusetts; The Toledo Museum of Art;
Norton Gallery, West Palm Beach; Delaware Art Center,
Wilmington; Butler Institute of American Art, Youngstown.
221
, ■ «• Muriel Kalish, AWc and Coic, 60" x 60", oil on canvas, 1960. (StaempHi
^ I %H i r Gallery, New York City)
"I hope in my work to give pleasure — to myself and others. I try
to paint what I feel naturally and simply. Never having studied art in
any form, I'm perhaps less hampered by theories, influences or trends than
I might have been. To sum up, painting truly — following my own bent
honestly — is to me a great fulfillment and a great joy."
Muriel Kalish was born in New York City in 1932. She attended
Pottsville High School, Pottsville, Pennsylvania. She has had no formal
instruction in art. Miss Kalish lives in New York City. She has exhibited
at the Staempfli Gallery in New York.
KALISH
TmJSm
... — - — •■-• ^
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222
• ^
J!!"' jm «
FREILICHER
Jane Freilicher, Canal, 50" x 63", oil on canvas, 1961. (Tibor de Nagy Gallery,
New York City)
"I am trying for a means in painting which will evoke an informal, almost
fugitive, Uric quality which I find moving in nature and in much great art —
1 1 lv sense of the beautiful," I suppose."
Jane Freilicher was born in Brooklyn, New York. She received her Bach-
elor's degree from Brookhn College and her Master's degree from Columbia
University, New York. She has taught in the adult education program in Great
No k. New York, and in the Elizabeth, New Jersey, public schools. She lives
in New York City.
Miss Freilicher won a prize in the Hallmark International Art Award An-
nual, 1960. Nine special exhibitions of her work have been presented by the
Tibor de Nagy Gallery in New York, and her work has been included in group
exhibitions at The Art Institute of Chicago; Mount Holyoke College: University
of Nebraska; Museum of Modern Art, Stable Gallery, Whitney Museum of
American Art, New York; The Pennsylvania Academy of the Fine Arts, Phila-
delphia; Carnegie Institute, Pittsburgh; Rhode Island School of Design, Provi-
dence; The Corcoran Gallery of Art, Washington, D.C. Miss Freilicher's work
is in the collections of Mr. Larry Aldrich; Mr. Walter Bareiss, Jr.; Mr. Joseph H.
Hirshhorn; Brooklyn Museum, New York; Rhode Island School of Design,
Providence; Mr. Guy Weil.
223
c
MC LAUGHLIN
Gerald W. McLaughlin, High Priest, 48" x 36", oil on mason-
ite panel, 1962. (Albert Landry Galleries, New York) (1959)
Gerald W. McLaughlin was born in Sacramento, Cali-
fornia, in 1925. He studied at the Chouinard Art Institute,
Los Angeles. He has taught at The School of The Art Insti-
tute of Chicago, and he lives in Stamford, Connecticut.
Mr. McLaughlin has received an award from The Art
Institute of Chicago. His work has been included in group
exhibitions at The Baltimore Museum of Art; The Art Insti-
tute of Chicago; University of Illinois; National Institute of
Arts and Letters, Whitney Museum of American Art, New
York; Philadelphia Museum of Art; Chrysler Museum, Prov-
incetown. Mr. McLaughlins work is in the collections of The
Art Institute of Chicago, and the Whitney Museum of Ameri-
can Art, New York.
.IS"-"73
SANDER
Ludwig Sander, Untitled, 60" x 54", oil on canvas, 1962.
(Samuel M. Kootz Gallery, Inc., New York City)
Ludwig Sander was born in New York City in 19(16. He
studied at New York University, where he received a Bache-
lor's degree. He painted in Paris and studied for two semes-
ters with Hans Hofmann in Munich, and he worked with a
group of American artists in Positano, Italy. He lives in New
York City.
Mr. Sander has received a Hallmark award and an
award from the Massachusetts Institute of Technology. Spe-
cial exhibitions of his work have been held at the Hacker
Gallery, New York, 1952; Leo Castelli Gallery, New York,
1959, 1961; Samuel M. Kootz Gallery, Inc., New York, 1962.
His work has been included in group exhibitions at The
Solomon R. Guggenheim Museum, New York, 1961; The Art
Institute of Chicago, 1961, 1962; Whitney Museum of Ameri-
can Art, New York, 1962; Seattle World's Fair, 1962; Bran-
deis University, Waltham, Massachusetts, 1962.
Mr. Sander's work is in the collections of Geigy Chem-
ical Company, Ardsley, New York; Albright-Knox Art Gal-
lery, Buffalo; Chase Manhattan Bank, New York.
224
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