ACME Biographies

E. Ambrose Webster



[Edwin Ambrose Webster painting in his studio]


Boston Museum of Fine Arts School (studied under Edmund Tarbell and Frank Benson)

Academie Julian



Pennsylvania Academy of Fine Arts, 1907-1909, 1915, 1924

Boston Art Club

Armory Show, 1913

Art Institute of Chicago

Cocoran Gallery of Art, biennial exhibitions, 1914-1928

Society of Independent Artists, 1930

Provincetown Art Association and Museum



Provincetown Art Association and Museum

Museum of Fine Arts, Boston

Sheldon Memorial Art Gallery



Edwin Ambrose Webster was born in Chelsea, Massachusetts, and grew up in the suburbs of Boston. He attended art school at the Museum School, where he studied under Edmund Tarbell and Frank Benson. Webster then followed in the footsteps of his teachers and went on to study at the Academie Julian and with Albert Gleizes in Paris for two years (1896-1898). These teachers, and his experience overseas, set Webster on the path to becoming the vanguard Modernist that he is known as today.

Webster was one of the first artists to settle in the now famous art colony of Provincetown. Struck by the quality of the coastal light, he took up residence there after returning from France in 1898. Shortly after, he began to teach summer classes, which quickly grew in popularity. In the winters, he traveled to the tropics and Bermuda, where he painted some of his most impressive and daring landscapes.

Webster, in insisting on the primacy of color, was truly among the vanguard Modernists in America. Two of his paintings hung in the 1913 Armory Show alongside other renowned Modernists such as Matisse, Derain, Van Gogh, Hopper, Demuth and Hartley. The novel and inspired approach to color presented in Webster’s Fauvist paintings influenced the development of a number of his contemporaries. Artist Houghton Cranford Smith observed of Webster’s color: “This was all new stuff in Provincetown—we were not used to such bright colors…[Webster] opened my eyes to the marvelous things color can do for objects.”

Following his Fauvist works, Webster began an exploration of Cubist techniques. He continued exploring this mode of representation until his death in 1935. His school he continued to run until 1934, inspiring the careers of numerous young artists in these later years. One of these students, an artist named Kenneth Stubbs, was particularly close to Webster. Stubbs recognized Webster’s genius and appreciated the analytical process with which he approached these new cubist inspired compositions. He once said of Webster: “He was by far the most inspiring teacher I had.” After Webster’s death, Stubbs remained an ardent admirer and organized a series of exhibitions of Webster’s work. These shows led to numerous private and museum purchases, and a new recognition of Webster’s contributions to the development of Modern art. Now the Stubbs’ collection continues to provide a unique and insightful view into the work of Ambrose Webster.

Image: Edwin Ambrose Webster painting in his studio, 192-? / unidentified photographer. Edwin Ambrose Webster papers, 1804-1970. Archives of American Art, Smithsonian Institution.

Charles Heinz


Charles Heinz in his studio. Source: Building Provincetown

Charles Heinz in his studio. Source: Building Provincetown

St. Louis School of Fine Art
Chicago Academy of Fine Arts (under Wellington J. Reynolds and Walter Goldbeck)
Cape Cod School of Art (under Richard E. Miller)

1928, ’37-’38, ’42                Art Institute of Chicago, Chicago, IL
1929-32, ’37-’38                  National Academy of Design, New York, NY
1930, ’32, ’39                       Pennsylvania Academy of the Fine Arts, Philadelphia, PA
1930, ’35, ’37, ’39, ’42, ’47  Cocoran Gallery, Washington, D. C.
1939                                     Federal Art Gallery, Boston, MA

Charles Heinz was a soft-spoken artist born in the rural town of Shelbyville, Illinois in 1885. he left grade school early, and only returned to school to study art later in his life. After attending the St. Louis School of Fine Art and the Academy of Fine Arts in Chicago, Heinz moved to Provincetown to study under Richard Miller at the Cape Cod School of Art. Heinz took up residence there and became a prominent figure in the Provincetown art community in the 1930s and 1940s. In addition to showing in a number of galleries, Heinz also completed works under the WPA. He died in 1953.

Michiel Gloeckner


University of Dresden
Royal Academy of Dresden (under Otto Dix)

Pinakothek der Moderne, Munich
Allentown Art Museum, Allentown, PA
Moderna Museet, Stockholm

1955-56, ’58         Gallery Seventy Five, New York, NY
1960-62                Jacques Seligman Galleries, New York, NY
1960                     The Wadsworth Atheneum, Hartford, CT
1962-63, ’65-’66   World House Galleries, New York, NY
1966                     The Munich Kunstverein
1968                     The Pinakothek der Moderne, Munich
1972-76                Gallery 5, Paris
1973                     Gallery Oxy, Geneva
1978, ’80              Gallery of Contemporary Masters, New York, NY

Michiel Gloeckner was born in Germany in 1915, and was the son of a prominent art collector. At university he first pursued mathematics and art history before studying painting. His academic background would prove to be a continued influence on his work. Following WWII Gloeckner moved to New York City, and successfully showed his work in a number of galleries, including Gallery Seventy Five, Jacques Seligam Galleris and the Gallery of Contemporary Masters. Later in life, Gloeckner withdrew from the city, choosing to live at his country home in North Cornwall, Connecticut until his death in 1989.

Herman Maril

Maril Aaron Levin Photo_email size_cropped
Photo courtesy of Aaron M. Levin

Herman Maril

Baltimore Technical Institute
Maryland Institute, College of Art

Selected Exhibitions:
2003 University of Maryland, University College, Adelphi, MD
2001 James Graham and Sons, New York
2000 Cape Museum of Fine Arts, Dennis, MA
1998 Butler Institute of American Art, Youngstown, Ohio
1997 Adirondack Community College, Queensbury, NY
1994 Provincetown Art Association Museum, Provincetown, MA
1991 Academy of the Arts, Easton, MD
1991 Susan Conway Gallery, Washington D.C.
1984 Wichita Art Museum, Wichita, Kansas
1981 University of Virginia Art Museum, Charlottesville, VA
1980 The Forum Gallery, New York
1977 University of Maryland Art Department Gallery, College Park, MD
1972 Franz Bader Gallery, Washington, D.C.
1967 Baltimore Museum of Art, Baltimore, MD
1964 John Hopkins University, Baltimore, MD
1962 Castellane Gallery, New York
1961 Corcoran Gallery of Art, Washington D.C.
1957 University of Maryland Art Department Gallery, College Park, MD
1955 Philadelphia Art Alliance
1941 Everhart Museum of Art, Scranton, PA
1939 World’s Fair, New York
1932 Society of Independent Artists

Selected Public Collections:
Metropolitan Museum of Art
National Academy of Design
Whitney Museum of American Art
Baltimore Museum of Art
Corcoran Gallery of Art
National Collection of Fine Arts, Smithsonian Institution
The Phillips Collection
The Newark Museum
Santa Barbara Museum of Art
Virginia Museum of Fine Arts
Peale Museum
Wichita Art Museum
Provincetown Art Association and Museum
Mead Art Museum, Amherst College
Howard University Gallery of Art
Hampton University
American University
University of Maryland
Johns Hopkins University
University of Arizona

James Lechay



University of Illinois, 1928

Benjamin Altman Prize, National Academy of Design
Norman Wait Harris Bronze Medal, Chicago Art Institute

Selected Solo Exhibitions
2013 James Lechay: Flower Paintings, 1960s through 1990s, Spanierman Gallery,
New York, NY
1997 James Lechay, Paintings, Provincetown Art Association and Museum,
Provincetown, MA
1985 James Lechay, Kraushaar Galleries, New York, NY
1972 James Lechay: Selected Work, University of Iowa, Iowa City, IA
1971 Luther College Centennial Union
1955 James Lechay, January 24th through February 19th, Kraushaar Galleries,
New York, NY
1946 New York in Watercolor by James Lechay, Macbeth Gallery, New York, NY
1936 James Lechay: Exhibition of Paintings, Another Place, New York, NY

Selected Group Exhibitions
2014 Still Life Invitational 2014, ACME Fine Art, Boston, MA
2013 Eye on UI Faculty: Byron Burford, Stuart Edie, and James Lechay,
FIGGE Art Museum, Davenport, IA
2012 Summer Selections, Spanierman Gallery, New York, NY

Selected Collections
Art Institute of Chicago, Chicago, IL
Joslyn Art Museum, Omaha, NE
Metropolitan Museum of Art, New York, NY
Des Moines Art Center, Des Moines, IA
Ferargil Galleries, New York, NY MacBeth Gallery, New York, NY
Provincetown Art Association and Museum, Provincetown, MA
Addison Gallery of American Art, Andover, MA
National Academy of Design Museum, New York, NY
National Museum of American Art-Smithsonian, Washington, DC
New Britain Museum of American Art, New Britain, CT
Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Sheldon Museum of Art, Lincoln, NE
Brooklyn Museum of Art, Brooklyn, NY
University of Arizona Museum of Art, Tucson, AZ
University of Iowa Museum of Art, Iowa City, IA
University of Wyoming Art Museum, Laramie, WY
Wichita Art Museum, Wichita, KS
FIGGE Art Museum, Davenport, IA

James Lechay was born in New York, NY on July 5, 1907 to Russian immigrant parents.
He received a degree in psychology from the University of Illinois in 1928 and returned to
New York to study art privately with his elder brother, artist Myron Lechay, but otherwise was a self-taught artist. Lechay taught painting and drawing at the University of Iowa starting in 1945 until his retirement in 1971. He also taught workshops at various other institutions such as Stanford, New York University, and the Skowhegan School of Painting and Sculpture. During the course of his career he received countless medals, awards, and honors for his work. Lechay exhibited with the likes of Mark Rothko, Willem de Kooning, Jules Olitski, Nathan Oliveira, Helen Frankenthaler, and Alice Neel to name only a few. He lived out his retirement in Wellfleet, MA until his death on August 11, 2001 at the age of 94.

Pat Lipsky


Photo courtesy: Stephanie Cassidy 

(1941 – )

M.F.A. Hunter College, New York, NY

B.F.A. Cornell University, Ithaca, NY

2015      Pat Lipsky: Twenty Years, ACME Fine Art, Boston, MA

2006      Color Paintings, Elizabeth Harris Gallery, New York, NY

2006      Les Vitraux, The Church Cathedral of St John the Divine, New York, NY

2005      New Monotypes, Aurobora Press, San Francisco, CA, 2005

2004      Elizabeth Harris Gallery, New York, NY

2003      Elizabeth Harris Gallery, New York, NY

2003      L.I.C.K. Ltd. Fine Art, Long Island City, NY

2002      Les Vitraux, Galerie Piltzer, Compagne, Barbizon, France

2001      Elizabeth Harris Gallery, New York, NY

1999      Elizabeth Harris Gallery, New York, NY

1999      The Kitchen, New York, NY

1997      Lori Bookstein Fine Art, New York, NY

1994      Virginia Miller Gallery, Coral Gables, FL

1991      Andre Zarre Gallery, New York, NY

1989      Slater-Price Fine Arts, New York, NY

1988      Gloria Luria Gallery, Bay Harbor Island, FL

1987      Promenade Gallery, Hartford, CT

1978      Medici-Berenson Gallery, Bay Harbor Island, FL

1978      Andre Zarre Gallery, New York, NY

1976      Berenson Gallery, Bay Harbor Island, FL

1976      Deitcher OReilly Gallery, New York, NY

1975      Andre Emmerich Gallery, New York, NY

1974      Andre Emmerich Gallery, New York, NY

1974      Berenson Gallery, Bay Harbor Island, FL

1972      Andre Emmerich Gallery, New York, NY

1971      Everson Museum of Art, Syracuse, NY

1971      London Arts Gallery, Detroit, MI

1970      Andre Emmerich Gallery, New York, NY

1968      Farleigh Dickinson University, Rutherford, NJ

2014      Cadence, Margaret Thatcher Projects, New York, NY

2012      Hanji Metamorphoses, High Line Gallery, New York, NY

2011      Art in Embassies, The Hague, OPCW, The Hague, Netherlands

2011      Never the Same Twice, DC Moore Gallery, New York, NY

2010      Instructors Group Show, The Art Students League of New York, New York, NY

2010      Aurobora Press, Ideal Forms Summer Select, San Francisco, CA

2009      The Print Gallery, Annual Exhibition, Philadelphia Eagles at Lincoln Field,
Philadelphia, PA

2009      Expanding Boundaries: Lyrical Abstraction: Selections from the Permanent Collection, Boca Raton Museum of Art, Boca Raton, FL

2009      Gallery Selections, Spanierman Modern, New York, NY

2008      The 183rd Annual Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY

2008      No Chromophobia, OK Harris, New York, NY

2007      The Other Half, Women in the Collection, Boca Raton Museum of Art,
Boca Raton, FL

2007      Paintings of Color, Tribes Gallery, New York, NY

2006      Neoplastic Redux, Elizabeth Harris Gallery, New York, NY

2005      Master Prints by 44 Artists, Art Gallery, Univ. of Colorado at Denver, CO

2005      American Embassy, Sarajevo, Bosnia

2004      The Art of the Definite, DC Moore Gallery, New York, NY

2003      Holiday Group Show, Ruth Bachofner Gallery, Santa Monica, CA

2003     The Print Fair, Seventh Regiment Armory, New York, NY

2001       American Academy of Arts & Letters Ceremonial Exhibition of Prize Winners, New York, NY

2001       American Academy of Arts & Letters Invitational Exhibition of Painting & Sculpture, New York, NY

1998       A Year in the Life of Modernism, Tribe Gallery, New York, NY

1997       Arbus to Zynsky, Norton Museum of Art, Palm Beach, FL

1997       Selections from Twentieth Century Modernism, Lori Bookstein Fine Art, New York, NY

1996       Small Gems, Tribe Gallery, New York, NY

1996       Affinities, Snyder Fine Arts, New York, NY

1996       Sixteen by One, Gallery One, Toronto, Canada

1995       In Small Dimension, Andre Zarre Gallery, New York, NY

1994       Summer Show, CS Schulte Gallery, Millburn, NJ

1994       Ambassadors Choice, State Department, Mexico City, Mexico

1993       Directors Choice, Virginia Miller Gallery

1993       Group Show, Galerie Denise Rene, Paris, France

1993       Some Important Works, CS Schulte Gallery, Millburn, NJ

1992       Celebrating Formalism, CS Schulte Galleries, Millburn, NJ

1992       Three from New York, Gloria Luria Gallery, Miami, FL

1991       Ernesto Mayans Gallery, Santa Fe, New Mexico

1990       Andre Zarre Gallery, New York, NY

1988       Summer Show, Ruth Siegel Gallery, New York, NY

1988       Interior Visions, Herbert F. Johnson Museum, Ithaca, NY

1988       Lillian Heidenberg Gallery, New York, NY

1987       Still Life Painting, University of Massachusetts, Amherst, MA

1987       Vistas, G.W. Einstein Gallery, New York, NY

1986       New Solutions, Gloria Luria Gallery, Bay Harbor Island, FL

1986       Five Galleries at the Aetna Institute, Hartford, CT

1985       Andre Zarre Gallery, New York, NY

1983       Women in the Collection, Herbert F. Johnson Museum, Ithaca, NY

1983       Pat Sutton, Peter Reginato, Jane Love Gallery, Salisbury, CT

1979       Sarah Rentschler Gallery, New York, NY

1978       Sketch-Books and Preparatory Drawings, Miami Dade Jr. College, Miami, FL

1977       Invitational Painting Exhibition, Moravian College Art Gallery, Bethlehem, PA

1976       25 American Artists, Andre Zarre Gallery, New York, NY

1976       Invitational Painting Exhibit, Skidmore College Gallery, Saratoga, NY

1974       Opening exhibition, Hirshhorn Museum and Sculpture Garden, Washington, D.C.

1974       Art in Public Places, The Toledo Museum of Art, Toledo, OH

1974       Faculty Show, San Francisco Art Institute, San Francisco, CA

1974       Ten Years, Larry Aldrich Museum, Ridgefield, CT

1974       Waves, Grand Rapids Art Museum, Grand Rapids, MI

1973       Images of Movement, Stamford Museum and Nature Center, Stamford, CT

1973       Waves, Cranbrook Academy of Art Museum, Bloomfield Hills, MI

1972       Selections, Larry Aldrich Museum, Ridgefield, CT

1971       Lyrical Abstraction, Whitney Museum of American Art, New York, NY

1971       Paintings of the Sixties, Tyler Museum of Art, Tyler, TX

1971       Projected Art: Artists at Work, Finch Art Museum, New York, NY

1970       Recent Acquisitions of the Michener Collection, University of Texas, Austin, TX

1970       Lyrical Abstraction, Phoenix Art Museum, Phoenix, AZ

1970       Contemporary Art 1970, Kansas State University, Manhattan, KS

1970       Highlights,1969-70, Lyrical Abstraction, Larry Aldrich Museum, Ridgefield, CT

1969       Allan Stone Gallery, New York, NY

1967       Chase Manhattan Bank, New York, NY

2013      Webster, Camilla, New York Natives, Because it Matters: Is it Convincing?, November 6

2012      Lalitamba, cover reproduction “Dowager,” Homolka, Florence, Interview with Pat Lipsky,
pg. 123—133

2011      Modern Painter, “Ins and Outs,” Gallery Hops, September, pg. 11

2011      Armstrong, Tom, “A Singular Vision,” The Quantuck Lane Press, pg. 198, 205, 213

2011      Bradbury, Dominic (photographs), Frances, Scott (text), “Light and Sound,” House and Garden, April, p. 151

2010      Giovanni, Joseph, “In the Garden,” Architectural Digest, October, p. 101

2009      Riley, II, Charles A., “Art at Lincoln Center: The Public Art and List Print and Poster Collections,” April, p. 198

2009      Goodrich, John, “Gallery Beat,” City Arts, NY Press, July 29, pg. 9

2009      “Highlights” Pat Lipsky, AAP, Cornell, Architecture Art Planning, News 06, Spring, pg. 23

2009       Swartz-Turfle, Harry, “When Beauty is Enough,” Daily Gusto, Feb 4

2008      “Goings on About Town,” The New Yorker, July 7, p. 8

2008      Halasz, Piri, “From the Mayor’s Doorstep, No. 79” (June/July, 2008) p. 45-46

2008      Kunitz, Daniel, “The Grab-Bag Anthology,” The New York Sun, June 5, pg. 17

2008      Rosenberg, Karen, “Where Have All the Paintings Gone? To the National Academy,” The New York Times, May 30, pg. E4

2007      Fraser Jenkins, David, Seeing Color, Lipsky and PiperThe British Journal of Stained Glass, December, p 95-102

2007      Wilkin, Karen, Pat Lipsky at Elizabeth HarrisArt in America, March, p. 170

2006      Cohen, David, “Afterlife of an Ideal,” The New York Sun, June 29, pg. 16

2006      Halasz, Piri, “Deserted Playing Field, No. 69” (15 July) Supplement to the deluxe print edition

2005      Perry, Vicky, “Abstract Painting, Concepts and Techniques,” Watson Guptill, pgs 15, 58, 82

2005      Raven, Ann, “A Landscape in the Abstract Shapes Its Dwelling,” The New York Times, June 16, F6

2005      Qualls, Larry, “Between the Sheets,” Art on Paper, May/June, pg. 16

2005      Westfall, Stephen, “Review of Exhibitions,” Art in America, February

2004      Halasz, Piri, “From the Mayor’s Doorstep, No. 56” (15 October, 2004) Supplement to the deluxe print edition

2004      Cohen, David, The New York Sun, September 23

2003      Johnson, Ken, “Art in Review,” The New York Times, April 4, D4

2003      Johnson, Ken, “Last Chance,” The New York Times, April 11, D8

2003      “Goings on About Town,” The New Yorker, April 14, p. 16

2003      Wilkin, Karen, “Anywhere In Between,” The New Criterion, June 2003

2003      Wilkin, Karen, “Formalist Investigations of Medieval Forms: Pat Lipsky and the Spirit of Color,” PAJ Journal, 73, January, pp. 61-69

2002      Rothschild, Jo Ann, “Pat Lipsky’s Recent Abstractions,” Art New England, Feb/March, pp. 20-21

2001      Zimmerman, Mark, “The Stillness of Painting,” PAJ, no. 69, September, pp. 71-73

2001      Wilkin, Karen, “At the Galleries,” The Partisan Review, Spring, 2, pp. 285-288

2001      Halasz, Piri, From the Mayor’s Doorstep,, p. 10

2001      Snow, Erica, NY ARTS, March, p.71

2001      Walentini, Joseph, Abstract Art Online, vol. 111, #6, February, pp.  1-3

2001      Goodrich, John, “Pat Lipsky,”, February 15

2000      Wilkin, Karen, At the Galleries, Partisan Review, Winter, 1, pp. 146-148

1999      D’Souza, Aruna, Review of Exhibitions, Art in America, December, p. 111

1999      Walentini, Joseph, Artist Profile, Abstract Art online, November, pp. 1-3

1999      Halasz, Piri, From the Mayors Doorstep, NY ARTS, October, p. 19

1999      Goings on About Town, The New Yorker, October 4, p. 22

1999      Walentini, Joseph, Gallery Views/Chelsea, Abstract Art Online, October

1999      Johnson, Ken, Art Guide, The New York Times, September 17, E37

1999      Hanks, Victoria, Studio Visit with Pat Lipsky, NY ARTS, September, vol. 4, no. 8, p. 55

1999      Coleman, Janet, An Interview with Pat Lipsky and Ted Wiprud, WBAI Radio, February

1997      Wilkin, Karen, Pat Lipsky: The Black Paintings, 1993-1997, catalogue essay, Lori Bookstein Fine Art, August

1997      Halasz, Piri, Ph.D., “A Gathering of the Tribes,” From the Mayors Doorstep No. 6B

1997      Coleman, Janet, An Interview with Pat Lipsky, WBAI Radio, May

1996      Wilkin, Karen, At the Galleries, Partisan Review, Fall

1996      Smith, Roberta, Across Cultural Bounds, The New York Times, August 2

1994      Bernstein, Charles, “Pat Lipsky Sutton,” Art Papers, Volume 18, July/August

1994      Damian, Carol, Coral Gables, Artnews, May

1994      Turner, Elisa, “Diamonds and Other Gems,” The Miami Herald, January 14

1993      Crum, Katherine, “Pat Lipsky Sutton and the Challenge of Formalism,”Womans Art Journal, vol 14

1993      Karlins, N.L, “Pat Lipsky Sutton’s Resounding Rectangles,” The Westsider, October 24

1991      Rosoff, Patricia, “Pat Sutton,” Arts Magazine, Summer

1990      A Local Accent, Hartford Courant, D17, September 24

1990      North Shore Sensibility, Architectural Digest, July

1989      Art Scene, Switch (Japan), November

1989      Berkman, Meredith. Family Plot, New York Magazine, October 16

1988      Ahlander, Leslie Judd, “Bold New Still Lifes Stun and Fascinate,” Miami News, April 15

1987      Damsker, Matt, “Dynamic Duo,” Hartford Courant, May 24

1987      Damsker, Matt, “Works Cap,” Hartford Courant, May 21

1986      Hanson, Bernard, Works of Art School Faculty, Hartford Courant, November 16

1986      Langford, Sandra, Report From VCCA, Authors Guild Bulletin, Fall

1986      Hanson, Bernard, Five Galleries at Aetna, Hartford Courant, June 1

1983      Art Fundamentals – Theory and Practice, Octivick

1982      Trends and Testimonies of Contemporary Art, Accademia, Italia

1982      Monteverdi, Mario, The History of International Art

1980      Frackman, Noel, and Thornton Willis, Arts Magazine, November

1977      Bell, Linda, Reviews, Arts Magazine, January

1976      Frank, Peter, Reviews, ARTnews, December

1976      Kramer, Hilton, Reviews, The New York Times, October 29

1976      Glueck, Grace, Art People, The New York Times, September 17

1976      Siegel, Judy, “Wither Painting? Artists Talk on Art,” Women Artists Newsletter, April

1976      Frackman, Noel, “Pat Lipsky Sutton,” Arts Magazine, January

1975      Wooster, Anne S, Reviews, ARTnews, September

1975      Siegel, Jeanne, Reviews, Art in America, September

1975      Hodgson, Moira, Interview with Pat Lipsky, The Soho Weekly News, July 10

1974      Whee, Kim, “A Personal Definition of Pictorial Space,” Arts Magazine, November

1974      Bell, Jane, Reviews, Arts Magazine, May

1974      Siegel, Jeanne, Reviews and Previews, ARTnews, April

1974      Mellow, James R, “Two Shows Brighten Soho Scene,” The New York Times, March 2

1974      Bowling, Frank, “A Modest Proposal,” Arts Magazine, February

1973      Smith, Alvin, “New York Letter,” Art International, The Lugano Review, October

1972      Hess, Thomas, “Thick Paint and Hofmann,” New York Magazine, December 18

1972      Reviews, Art in America, October

1972      Siegel, Jeanne, Reviews and Previews, ARTnews, October

1971      Willis, Domingo, “Color Abstraction,” Arts Magazine, January

1970      Exhibitions Contemporary Art 1970, Kansas State University Press, Manhattan, KS

1970      Reviews and Previews, ARTnews, September

1970      Pat Lipsky at Emmerich, Arts Magazine, Summer

1970      Kramer, Hilton, “Two Interesting Talents Make Debut,” The New York Times, June 13

1969      Aldrich, Larry, “Young Lyrical Painters,” Art in America

2014      Art Students League, Winter Lecture Series, What Happened to the Art World?, January 7

2013      Art in America, Letters, Greenberg Vs Krauss, Letter to the Editor, October, pg. 20

2013      New York Natives, Native Icon, Pat Lipsky: Unrepentant Abstract Painter, video interview, September

2013      LineaInterview with Pat Lipsky, Ira Goldberg, June

2013      LineaThe Studio Project, Stephanie Cassidy, April

2012      Hanji Seminar, lecture on materials, Korean American Association, New York, June

2012       Lalitamba #5, An Interview with Pat Lipsky, Homolka, Florence, pg. 123-133

2011      ARTBEAT, What Tony, Lee and Clem Told Me, March, Issue 6, pg. 30

2010      The East Hampton Star, “The Last Act,” fiction by Pat Lipsky, June 10th

2009      New York Studio School, Spring Lecture Series, Feb. 3, The Right Color

2007      Sherwin, Brian, Art Space Talk: Pat LipskyMyArtsSpace Blog, September 6

2002      Morris Louis, video by Robert Pierce, Robert Pierce Productions

1999      Coleman, Janet, “An Interview with Pat Lipsky and Ted Wiprud,” WBAI Radio, February

1997      Coleman, Janet, “An Interview with Pat Lipsky,” WBAI Radio, May

1984      The Importance of Taste in Art, panel discussion, with Clement Greenberg, New York University

2008      Pollock Krasner Foundation Grant

2008      Edwin Palmer Memorial Prize, National Academy Museum

2004      Lincoln Center Prints Program, Silk Screen Poster and Print Edition, Keyboard Variations

2001      Purchase Prize, Hassam Speicher Betts Funds, American Academy and Institute of Arts and Letters

2000      Krasner-Pollock Foundation Grant

1999      Adolph and Esther Gottlieb Individual Support Grant

1999       Jerome Foundation, Dark Love

1998      New York Foundation for the Arts, Dark Love

1998      New York State Council on the Arts, Dark Love

1997      Dictionary of International Biography

1996      New York Foundation, Painting in Ireland, Tyrone Guthrie Centre, Co Monaghan, Ireland

1993      Virginia Center for the Creative Arts

1992      New York Foundation for the Arts, Painting in France

1992      Winsor & Newton Paint Company, Painting in France

1991      Coffin Grant, University of Hartford

1989      Two Thousand Notable American Women

2010-       Instructor, Art Students League

1997         Visiting Artist, Chautauqua Institution, Chautauqua, New York

1990         Instructor, Parsons School of Design, New York

1983-02     Associate Professor, Hartford Art School, University of Hartford

1982-83    Instructor, Parsons School of Design, New York

1980-81    Instructor, State University of New York, Purchase

1974          Visiting Artist, San Francisco Art Institute, San Francisco

1972-73    Instructor, Hunter College, New York

1968-69    Instructor, Farleigh Dickinson University, Teaneck, New Jersey

Dorothy Eisner





Art Students League
Academie Grand Chaumiere, Paris


Society of Independent Artists
National Association of Women Painters and Sculptors
Federation of Modern Painters and Sculptors (founding)


Edith Penman Memorial Prize, 50th Annual Exhibition of the National
Association of Women Painters and Sculptors


Salons of America, 1931, 1932, 1933
Society of Independent Artists, 1932, 1933, 1935, 1936, 1937
Pennsylvania Academy of Fine Arts, 1934, 1935
National Association of Women Painters and Sculptors, 1935, 1938, 1939
New York Society of Women Artists, 1936, 1938, 1940, 1941
World’s Fair, New York, 1939
Federation of Modern Painters and Sculptors, 1941, 1943, 1944, 1947, 1949, 1955, 1963, 1976
The Brooklyn Museum, 1975
New York University, 1980
Farnsworth Museum, 1992 (solo)


Metropolitan Museum of Art
Ogunquit Museum of American Art
Farnsworth Museum
Museum of the College of the Atlantic
Art Gallery of Hamilton, Ontario
Harvard University
Wichita State University
Colby College Museum
Bryn Mawr College
Monhegan Island Museum
Central Wyoming Museum of Art
University of Lethbridge, Alberta
University of Southern Illinois

Nanno de Groot

de groot, nanno

Nanno de Groot

Born: March 23, 1913 in Balkbrug, Holland
To USA 1941
USA Citizen 1954
Died: December 26, 1963 in Provincetown, MA

Military Service in World War II
1941: Dutch Navy; 1942-1946: Lieutenant Commander in charge of the Dutch Port Authority in San Francisco

Selected solo exhibitions
1952: Saidenberg Gallery, New York;
1954, 55: Bertha Schaefer Gallery, NYC;
1956, 59, 60, 61, 64 (memorial): HCE Gallery, Provincetown, MA;
1957, 58, 59, 61: Parma Gallery, NY;
1960: October, Stamford Museum & Nature Center, Stamford, Connecticut;
1971: Jack Gregory Gallery, Provincetown, Massachusetts;
1982: Retrospective Exhibition, Provincetown Art Association and Museum, Provincetown, Massachusetts;
1987–2003: Julie Heller Gallery, Provincetown, MA.
2004: Nanno de Groot: The New York Years, ACME Fine Art, Boston MA
2007: Nanno de Groot: Earth Sea and Sky at ACME Fine Art, Boston, MA

Selected group exhibitions
1953 Saidenberg Gallery, NYC;
1953 Hansa Gallery, NYC;
1954, 55: Tanager Gallery, NYC;
1954, 55, 56, 57: New York Painting and Sculpture Annuals at the Stable Gallery, NYC;
1962, 63: HCE Provincetown, Massachusetts;
1953–1964: Provincetown Art Association and Museum, Provincetown, MA
1982: Everson Museum Provincetown Painters, principal collections;
1994: Re¬claim¬ing Artists of the New York School. Toward a More Inclusive View of the 1950s, Baruch College, City University, NY; New York-Provincetown: A 50’s Connection, Provincetown Art Association and Museum, Provincetown, Massachusetts; Anita Shapolsky Gallery, NYC;
1987–2003: Julie Heller Gallery, Provincetown, Massachusetts
2003: The New York School, ACME Fine Art, Boston, MA, Provincetown Painters, ACME Fine Art, Boston, MA; Summer Salon, ACME Fine Art, Boston MA;
2004: Beyond Likeness, ACME Fine Art, Boston, MA; Summer Salon, ACME Fine Art, Boston, MA; Reuniting an Era: Abstract Expressionists of the 1950s, Rockford Art Museum, Rockford, IL.

Works in Museums and Public Collections
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Museum of Fine Arts, Boston, Massachusetts
Chrysler Museum of Art, Provincetown, Massachusetts
Hebrew University, Jerusalem, Israel
Provincetown Art Association and Museum, Provincetown, Massachusetts
Olson Institute, Guilford, Connecticut
Kresge Art Museum, Michigan State University, East Lansing, Michigan

Artist Statement
As a child I didn’t want to be anything. I later learned that small boys want to become engine drivers, soldiers, firemen, cowboys; but such aspirations were alien to me. I did not, however, actively want to be nothing when I grew up. The whole thing merely never occurred to me at all. People were, a house was, the canal was, the bridge was, the sky was and I was. Not becoming, not having been—anything, or something else.

In moments of clarity of thought I can sustain the idea that everything on earth is nature, including that which springs forth from a man’s mind, and hand. A Franz Kline is nature as much as a zinnia. Once that idea is thought it becomes clouded by the idea that this would include a paper-flower or a plaster Jesus.

I have now painted nearly 30 vases full of flowers and am still discovering many things. It is strange how completely abstract a completely true to nature painting becomes. It is probably that one is so little used to looking closely enough at the color of things that is has escaped one that a red flower, for instance, has about a dozen colors haphazardly put together—one next to the other. Every red flower (of the same red) has different reds in it and they are distributed differently and very crudely. Painted that way, reality is approached much more closely that trying to imitate the subtleties a flower contains. Those subtleties are there in the end, wonder of wonders, in the painting, and even the delicacies of texture.

Nanno De Groot was one of the formative but rarely seen artists of the great era of Abstract Expressionism in Provincetown. De Groot was one of many avant-garde artists who congregated seasonally in the lower cape art colony. They were largely drawn by cheap rent, great scenery and the school of Hans Hofmann. There was also subsidy through the GI Bill in the post war era of the late 1940’s and early 1950’s. A focal point of this activity was Forum 49, a series of lectures and exhibitions during the summer of 1949 organized by Weldon Kees and others that debated the new art. Fellow artists were Peter Busa, Fritz Bultman, Jack Tworkov and artists of the older generation like Karl Knaths, Blanche Lazzell and Edwin Dickinson.

While some aspects of De Groot’s work are generic to the ideas of the time, he was a uniquely strong and gifted painter. There is wonderful facility and angst in his mark-making. In his early work the nervous black lines suggest forms or figures that make one think of European Post War artists like Dubuffet and Giacometti. The works are gestural and confined in palette and all are compelling enough to command respect and further study.

Some catalogue notes establish that he was born in 1913 in Holland, served in its Navy during the war and applied for US citizenship while stationed in San Francisco in 1946. He started to make art in 1948 and hit his stride in 1950-52 when he lived in New York City. He showed in 1953 with the seminal Hansa Gallery and in 1954 with Tanager and Bertha Schaefer. In 1956 he rented Fritz Bultman’s studio in Provincetown where he moved in 1962. While in the process of building a house on Commercial Street overlooking the water he died at the age of 50 in 1963.



Tony Vevers

Tony Vevers

Yale University, BA, 1950
Accademia di Belle Arti, Florence, Italy, 1950-51
Instituto Statale d’Arte, Florence, Italy, 1950-51
Hans Hofmann School, New York, 1952-53

Selected Collections:
Issac Delgardo Museum of Art, New Orleans, LA
Union Carbide Corporation, New York, NY
Argus Chemical Corporation, New York, NY
AT&T Corporation, Boston, MA
University of Massachusetts, Amherst, MA
Farleigh-Dickinson University, NJ
Purdue University, W. Lafayette, IN
Walter Chrysler Museum, Norfolk, VA
Provincetown Art Association and Museum, Provincetown, MA

Citation for service to the arts, Public Action on the Arts, Boston, MA
Sponsor’s Prize, 23rd Annual, Hunterdon Art Center, Clinton, NJ
Best of Show Award, Sugar Creek Biannual, Crawfordsville, IN
$1,000 Prize, N.E. Painting & Sculpture, Provincetown and Boston, MA
XL Grant, Purdue University
National Council on Art and Humanities Grant
Walter Gutman Foundation Grant

Professor of Art and Art History at Purdue University in Indiana and a highly respected and well-loved artist with deep roots in Provincetown, Tony Vevers’ contributions to the art world and to the arts in his adopted home are legendary. His figurative and landscape paintings from the 1950s and ’60s have a simplicity and purity that marry narrative and formal eloquence. In the 1970s he began working with rope and sand, creating poetic canvases of mysterious beauty.

Born in London in 1926, Tony and his sister were evacuated to the U.S. in 1940 to escape the Blitz during World War II. By 1944 Vevers was serving in the U.S. Army, in Germany, and had achieved the rank of Staff Sergeant when he was honorably discharged. After leaving the army in 1946, Tony entered Yale University on the G.I. Bill where he studied art, graduating in 1950.

In the early 1950s Tony traveled to Italy to study art, and later lived in New York where he met many of the first generation Abstract Expressionist painters. In 1953 he met and married the artist, Elspeth Halvorsen. By 1954 Tony and Elspeth had established themselves in Provincetown and their two daughters were born over the next three years.

Although Vevers taught at Purdue University from 1964 to 1988, it was the summers in Provincetown that fed his creative spirit.

His astute insights into Modernism as it spread from New York and into Provincetown were fueled by his connection with virtually every artist who had been part of that era including Edwin Dickinson, Mark Rothko, Franz Kline, Jack Tworkov and Robert Motherwell. As Museum Director Chris McCarthy stated, “It is hard to imagine anyone who has had a more consistent hand in the life of the Provincetown Art Association and Museum over the past four decades. Tony’s insights and contributions to writing the history of art in Provincetown are unparalleled.”

Tony Vevers exhibited his work in over one hundred solo and group shows in New York, Boston, Provincetown and throughout the U.S. In 1977 he became one of the founding members and president of Provincetown’s legendary Long Point Gallery. His work is in the permanent collections of the Hirshhorn Museum in Washington, the Walter Chrysler Museum, the DeCordova Museum, the University of Massachusetts and many others.

He received awards from the National Council on the Arts and the Walter Gutman Foundation. He served as an advisor to the Fine Arts Work Center and as a trustee and curator of the Provincetown Art Association and Museum.

Abraham Walkowitz

Abraham Walkowitz


Cooper Union
National Academy of Design, with War, Maynard, F.C. Jones
American Artists Congress
People’s Art Gallery, 1915 (founding Member)

Stieglitz Little Gallery, 1912
Armory Show, 1913
Society of Independent Artists, 1917-39
Salons of America
Whitney Museum of American Art
Pennsylvania Academy of Fine Art, 1929, 1933-35
Art Institute of Chicago
Corcoran Gallery of Art, 1930, 1935
Brooklyn Museum, 1939 (retrospective)

Whitney Museum of American Art
Metropolitan Museum of Art
Addison Gallery of American Art
Philadelphia Museum of Art
Hirshhorn Museum
Library of Congress
Museum of Modern Art
Phillips Collection Gallery
Brooklyn Museum
New York Public Library
Museum of Fine Art, Boston
Newark Museum
Columbus Gallery of Fine Art
University of Minnesota
Kalamazoo Institute of Art
Provincetown Art Association and Museum

Walkowitz self portrait

An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father was a lay rabbi and cantor, who died while ministering in China to Jewish soldiers who had been conscripted into the Russian army.
Fearful of persecution and the possibility of her son being drafted into the Czar’s army when he came of age, Walkowitz’s mother decided to emigrate with her children to the United States. En route across Europe, one of her three daughters died. The remaining family traveled steerage for twenty days across the Atlantic, finally settling in the Jewish ghetto of New York City where mother and son worked long hours at a newspaper stand to support the family.
As a youth, Walkowitz studied the violin and drew continuously in chalk on any surface he could find. His formal art training began at age fourteen at the Artist’s Institute and continued at the National Academy of Design. His studies in life drawing, etching and painting, with concurrent study of anatomy at a Fifth Avenue hospital, resulted in precise, detailed renderings.
He made drawings of ghetto life which were published in local newspapers. To earn money for a trip to Europe, Walkowitz taught art classes and painted signs. When his figurative work was criticized as being too subjective and realistic at a juried Academy exhibition, he perceived the criticism as narrow-minded and became all the more open to the avant-garde ideas he encountered in Europe.
Walkowitz began to use watercolor early in his career, gradually moving from dark, subdued colors and realistic depictions, to fresher, lighter colors following the techniques of the Impressionists. According to biographer William Innes Homer, “Although [Walkowitz] eventually shifted from a figurative style to abstraction, his fine, inventive sense of color prevailed in both modes of painting, and indeed found its freest, most intuitive expression in the medium of watercolor.”
Another biographer, Martica Sawin, observed that while Walkowitz regarded his work prior to 1920 as the most significant period of his art, he continued to paint prolifically into the 1940s when his eyesight began to fail.
He was honored in 1963, three years before his death, by the American Academy of Arts and Letters with an award annually given to a distinguished elderly artist. An account by Kent Smith of the event describes Walkowitz as a small, silky-haired blind man honored by a crowd that “rose to its feet and applauded in thunderous ovation for twenty minutes as the frail figure beamed in obvious delight . . .”