ACME Biographies




École de Arts & Metiers, Geneva.
École de Beaux Arts, Geneva.

5th Annual International Hallmark Prize, 1960.

Selected Solo Exhibitions

1952 Peintures de Alain Brustlein, Galerie Jeanne Bucher, Paris, France, June 10–July 5.
1955 Daniel Brustlein, Stable Gallery, New York, NY, October 17-November 5.
1959 Daniel Brustlein, Stable Gallery, New York, NY, March 16-April 4.
1960 Galerie Hautefeuille, Paris, France.
1962 Daniel Brustlein, Entre Culturel Americain, Paris, France, May 9-May 29.
1964 Daniel Brustlein: Exhibition of Paintings, Saidenberg Gallery, New York, NY, November 10-December 5.
1969 Brustlein: Peintures Recentes, Galerie Jacob, Paris, France, May 28-June 28.
1971 Salon des Réalités Nouvelles, Parc Floral de Vincennes, Paris, France, May 13-June 13.
1975 Brustlein: L’Autobus, peintures récentes, Galerie Jacob, Paris, France, October 7-November 8.
1977 Livingstone-Learmont Gallery, New York, NY, April 9-April 30.
1978 Daniel Brustlein: New Paintings, A.M. Sachs, New York, NY, May 6-June 1.
1980 A.M. Sachs Gallery, New York, NY, May 6-June 1.
Learmont Gallery, New York, NY.
1981 Daniel Brustlein: Quadriga Series and Other New Paintings, A.M. Sachs, New York, NY, April 25-May 21.
1984 Daniel Brustlein: Paintings of Paris, Venice, Provincetown, Grüenebaum Gallery, New York, NY, March 6-March 31.
Daniel Brustlein: Vernissage, Musée Savoisien, Chambéry, France, September 8-October 29 (catalogue).
1988 Galerie Jeanne Bucher, Paris, France.
1990 Daniel Brustlein: Recent Paintings, Kouros Gallery, New York, NY, October 17-November 10.
1997 Kouros Gallery, New York, NY.
1999 Daniel Brustlein: Paintings, Kouros Gallery, New York, NY, May 20-June 26.
2002 Daniel Brustlein: Interiors and Landscapes, Kouros Gallery, New York, NY, October 17-November 16.

Selected Group Exhibitions

1925 L’Exposition Internationale des arts décoratif, France, Italy.
1942 Exhibition to Aid the Work of United China, Grand Central Art Galleries, New York, NY, January.
Cartoons Against the Axis, American Society of Magazine Cartoonists, Art Students League, New York, NY, January 17 – February 28.
Cartoons of the Day, The Metropolitan Museum of Art, New York, NY, May.
1948 Salon des Surindépendants, Paris, France. Also 1949, 1950, 1951.
1951 American Fortnight, Festival at Knokke le Zoute, Beligum, August.
1953 “Second Annual Exhibition of Painting and Sculpture,” Stable Gallery, New York, NY, January-February.
1952 Stable Annual, Stable Gallery, New York, NY. Also 1953.
Recentes Peintures, Galerie Jeanne Bucher, Paris, February 1–March 8.
Rythmes et Couleurs, Musée Cantonal des Beaux-Arts: Lausanne,” Lausanne, Switzerland, June 20–September 14.
Prix de la Critique Selection, Galerie Saint-Placide, Paris, France, July 5–30.
1955 Fourth New York Artist’s Annual, Stable Gallery, New York, NY, May.
1957 Exhibition of work by Candidates for Grants through the National Institute of Arts and Letters, American Academy of Arts and Letters, New York, NY, March.
Portraits, Tibor de Nagy Gallery, New York, NY, May-June 1.
Holiday Group exhibition, Stable Gallery, New York, NY, December.
1958 Retour a la Peinture, Galerie Hautefeuille, Paris, January 15–February 5.
Les Partenaires Artistiques, La Main Gauche, Paris France, June.
Corcoran Gallery of Art Annual, Corcoran Gallery, Washington, D.C.
École de Paris, Galerie Charpentier, Paris, France (catalogue).
1959 Contemporary Americans, The Spook Farm Gallery, Far Hills, NJ, February 22–March 31.
1960 Retour a la Peinture, Galerie Hautefeuille, Paris, January 15–February 5.
Constances de la Peinture, Galerie Hautefeuille, Paris, March 25–April 23.
Fifth International Hallmark Art Award Show, Wildenstein Gallery, New York, NY, October 4–October 22.
Corcoran Gallery of Art Annual, Corcoran Gallery, Washington, D.C.
1961 The Figure: Then & Now, The Visual Arts Gallery, New York, NY, November 20–December 15.
École de Paris, Galerie Charpentier, Paris, France, October–December.
1962 Trois Artistes Américans de Paris: Daniel Brustlein, Shirley Goldfarb, Terry Hass, Le Centre Culturel
Américain, Paris, France, May 9-19; exhibition traveled to Musée de Rennes, Rennes,
June 20-July 22 (brochure).
Karl Kasten, Biala et Daniel Brusltein, Musee des Beaux-Arts, Rennes, June 20.
École de Paris, Galerie Charpentier, Paris, France, October (catalogue).
1963 CORE, Martha Jackson Gallery, New York, NY, May.
1965 Portraits from the American Art World, New School Art Center, New York, NY, February 2–27.
50 Artistes: Exposition Inagurale. Galerie Lutece, Paris, France, November.
1966 10 Américains de Paris, American Cultural Center, Berlin, Germany, March–April.
Cinq Siecles de Dessin, Galerie Lutece, Paris, France, April 19–May 28.
Art Contemporain: Hommage a Marquet, Salon de Montrouge, France, May 2–22.
USA: Arte Vivant, Musée des Augustins, Toulouse, France.
1966–67 Maison de la Culture, Le Havre.
1967 Les Attractions Attentives, Galerie Jacob, Paris, France, January 15.
Peinture Ininterrompue I, Galerie Pierre Domec, Paris, France, January 27–February 25.
An Exhibition of Contemporary Painting, Sculpture and Graphic Art, Academy Art Gallery, National Institute of Arts and Letters, New York, March 3–April 2.
Salon des Réalités Nouvelles, Salles Wilson, Paris, France, April 1–23.
Art Contemporain et Hommage a Manguin, Salon de Montrouge, May 18–June 4.
Les Artites Solidaires d’Israel, Fonds de Solidarite avec Israel, June.
La Galerie Jacob, Galerie Jacob, Paris, France, December 3, 1967– January 5, 1968.
Comparaisons, Paris, France.
1968 Grands & Jeunes d’Aujourd’hui, Paris, France.
Salon IX: Grands et Jeunes D’Aujourd’hui, Salles Wilson, Paris, France, January 1968.
De La peinture avant toute chose, Galerie Yonne, Burgundy, France, August.
1969 Traveling exhibition organized by the Museum of Modern Art, New York, to seven American museums and universities.
1970 108 Portraits de L’Oiseau–Qui-N’Existe-Pas, Musée des Beaux-Arts, January 17–February 22.
1971 Prix de Portrait, Musée Marmottan, Paris, France.
Les Cinq ans de la Galerie Jacob, Galerie Jacob, Paris, France, October 22–November 13.
1972 Salon des Réalités Nouvelles, Theatre Municipal d’Esh–sur-Aizette, Paris, France, July.
1973 Musee Cantini, Marseilles, France.
Inaugural Exhibition, Galerie Jacob, Paris, France, May.
1976 Les Dix ans de la Galerie Jacob, Galerie Jacob, Paris, France, April 29–May 29.
4 Pintores de Paris en Galeria Ponce, Galeria Ponce, Madrid, Spain, November–December.
1977 Quelques Peintres Américains a Paris, (Oeuvres des collections Nationales), Centre Georges Pompidou, Paris, France.
Collectors Gallery XI, McNay Art Institute, San Antonio, TX.
Expo, L’eaurmonph Gallery, Paris, April.
1978 Summer Group Show, Shippee Gallery, New York, NY.
1979 Homage a Chardin, Galerie Jacob, Paris.
1979-’80 La Famille des Portraits, Musee des Arts Decemberoratifs, Paris, France.
1980 Salon de Realites Nouvelles, Paris.
1983 Tenth Anniversary Exhibition of Major Paintings, Drawings and Sculpture, Grüenebaum Gallery, New York, NY, September 10–October 15.
1984 Gallery Group Show, Grüenebaum Gallery, New York, NY. Also, 1985-87.
Daniel Brustlein, Musee Savoisien, Chambery, France, September 8–October 29.
1987 Janice Biala & Daniel Brustelin, Grüenebaum Gallery, New York, NY, May 7–May 30.
1988 The Art of Music, Bronx Museum, Bronx, NY, November-December 16.
1989 After Vivaldi, A.M. Sachs, New York, NY, April-May.
1992 Janice Biala and Daniel Brustlein, Sala Pares, Barcelona, Spain, September 29–October 18.
1994 A Family: Biala, D. Brustlein, H. Ford, E. Moskowitz, R. Moskowitz, J. Tworkov, Kouros Gallery, New York, NY, March 10-April 9.
1996 Les Trente Ans de la Galerie Jacob, Galerie Jacob, Paris, France, April.
2001 Pour Janice Biala et Daniel Brustlein, Galerie Arnaud Lefebvre, Paris, France.
Biala and Daniel Brustlein: A Selection of Paintings, Kouros Gallery, New York, NY. January 10–February 10
2004 Biala and Daniel Brustlein: A Marriage in Art and Life, The Hebrew Home for the Aged at Riverdale, NY, January 13–February 29.
2007 A Life in Art and Letters: Priscilla Morgan, Vassar College, Poughkeepsie, NY, September-December.
2009 Draw: Vasari Revisited or A Sparring of Contemporary Thought, Norte Maar, Brooklyn, NY, June 1-13.

Selected Public Collections

Baltimore Museum of Art, Baltimore, MD
Hallmark First International, New York, NY
Hebrew Home for the Aged, Riverdale, NY
Musee Cantini, Marseilles, France
Musee d’Ingres, Montalban, France
National Bank of Chicago, Paris
Princeton University Art Museum, Princeton, NJ
Réunion des Musee Nationaux, Paris, France
Smithsonian American Art Museum, Washington, D.C.


1904 Daniel Brustlein is born in the Alsatian town of Mulhouse, France, September 11.
1919 Publication of a brochure titled “Petite Historire de la Guerre en Caricatures.” This is the artist’s first of many publications of cartoons.
c.1922 Studies in Geneva at the École des Arts & Metiers and École des Beaux Arts.
1924 At the suggestion of a professor, Brustlein leaves Geneva for Paris where he continues his studies and finds work as an illustrator.
1925 Participates in his first public exhibition, “L’Exposition Internationale des Arts Decorative,” which opens in France and travels to Italy.
1927 Moves to New York at the encouragement of a classmate who has found a job for him as an illustrator, humorous cartoonist, and book cover designer.
1930 Travels to Mexico and Guatemala.
1933 Becomes a U.S. citizen.
c.1935 Brustlein’s illustrations and cartoons begin appearing regularly in The New Yorker. His first cover for the magazine appears, November 9. Brustlein signs his work as ‘Alain’ by which name he would become known for his cartoons.
Brustlein’s illustrations begin also appearing regularly in Collier’s, a weekly magazine that had established a reputation as a proponent of social reform featuring writers such as Martha Gellhorn and Ernest Hemingway, who reported on the Spanish Civil War, and Winston Churchill, who wrote an account of the First World War before becoming a minister in the British government. Other writers included Willa Cather, Zane Grey, Ring Lardner and Sinclair Lewis.
1936 Illustrates Farewell to Model T, E.B. White’s serialized novel first published in The New Yorker and later in book form by GP Putnam.
1942 Brustlein participates in an “Exhibition to Aid the Work of United China,” at the Grand Central Art Galleries, New York, winning First Prize, January.
Exhibits in “Cartoons Against the Axis” organized by American Society of Magazine Cartoonists, January 17. Exhibits work in “Cartoons of the Day” at the Metropolitan Museum of Art, May.
Marries painter Janice Biala, July 11. The couple become active within the New York School, associating and befriending artist Willem de Kooning, critic Harold Rosenberg, photographer Rudy Burckhardt, and writer Edwin Denby.
1943 Brustlein and Biala host an informal wedding lunch at a downtown cafeteria for Elaine and Willem
de Kooning, December 9.
1947 Returns to live in Paris with Biala. The couple reunites with old friends and builds new friendships with artists including photographer Henri Cartier-Bresson.
1948 Begins exhibiting his paintings regularly at the “Salon des Surindépendants,” in Paris.
1949 Brustlein and Biala summer at Villefranche-sur-Mer. While there Biala spends a day with Matisse at his home and the couple meets Picasso.
c.1950 Brustlein focuses on painting, which has been his life’s ambition, rather than illustrating. His drawings continue to appear in popular magazines including Saturday Evening Post and Look Magazine.
1951 Brustlein and Biala rent the Paris studio of Cartier-Bresson.
1952 Reflecting Cold War politics, the Immigration and Nationality Act of 1952 is passed by the United States Government, requiring Brustlein and Biala to return regularly to the United States in order to retain their American citizenship.
Brustlein’s first one-person exhibition of paintings opens at Galerie Jeanne Bucher, Paris, February 1.
Participates in “Rythmes et Couleurs,” at Musée Cantonal des Beaux-Arts: Lausanne,” in Lausanne, Switzerland, June 20.
Becomes a candidate for the Prix de la Critique, held at Galerie Saint-Placide, Paris, July 5.
Continues to develop friendships with European artists including Victor Bauer and Alberto Giacometti.
1953 Participates in the “Second Annual Exhibition of Painting and Sculpture,” Stable Gallery, New York, January.
Brustlein and Biala purchase a small farmhouse in Peapack, NJ.
1955 First one-person exhibition opens in New York at the Stable Gallery, October 17.
1956 Illustrates the children’s book It’s Spring, It’s Spring by Janice Biala (New York: Whittlesey House).
Writes and illustrates The Elephant and the Flea (New York: Whittlesey House).
1957 Participates in “Portraits” at Tibor de Nagy Gallery, New York, along with Willem de Kooning, Franz Kline, Philip Guston, Milton Resnick, and Larry Rivers, May.
1958 Begins exhibiting regularly at “L’Ecole de Paris,” an annual exhibition with rotating venues.
1959 Exhibits portraits and landscapes in his second one-person exhibition at Stable Gallery, New York, March 16.
Illustrates the children’s book Minette by Janice Biala (New York: Whittlesey House).
1960 Receives the 5th Annual International Hallmark Prize. Wildenstein Gallery holds an exhibition of the competition, which tours various national venues. Brustlein’s price winning painting illustrates the cover of Art News, along with a feature article written by Jack Tworkov, October.
1962 Participates in “Trois Artistes Américans de Paris: Daniel Brustlein, Shirley Goldfarb, Terry Hass,” Le Centre Culturel Américain, Paris, France (May 9); exhibition traveles to Musée de Rennes, Rennes, June 20-July 22.
1964 One-person exhibition opens at Saidenberg Gallery, New York, November 10.
1965 Participates in “Portraits from the American Art World,” at New School Art Center, New York, February. Exhibition includes Avery, Baskin, Calder, de Kooning, Diebenkorn, Gorky, Rivers, Segal, and Tomlin.
1966 Participates in ““Cinq Siecles de Dessin,” at Galerie Lutece, Paris, along with Bellmer, Feininger, Giacometti, Gris, Kandinsky, Ladoux, Man Ray, Marquet, Pagava, and Tobey, April 19-May 28.
1967 Begins exhibiting regularly at Galerie Jacob, Paris.
1968 Writes and illustrates the children’s book One, Two, Three, Going to Sea (New York: Scholastic Paperbacks).
1975 Brustlein and Biala visit Egypt and tour North Africa.
1978 Begins exhibiting regularly with Gruenebaum Gallery, New York. Critic Hilton Kramer reviews the show and comments, “In everything that Daniel Brustlein paints there is a sensibility of great refinement” (The New York Times, Friday, May 19, 1978).
1988 One-person exhibition opens at Galerie Jeanne Bucher, Paris.
1990 One-person exhibition opens at the Kouros Gallery, New York.
1996 Brustlein dies in Paris, July 14. His obituary appears in the New York Times calling him “a painter’s painter.”

Artist Biography: Charles Duback


Whitney School of Fine Arts, New Haven, CT
Newark School of Fine & Industrial Arts, Newark, NJ
Skowhegan School of Painting & Sculpture, Skowhegan, ME
Brooklyn Museum Art School, Brooklyn, NYSelected Group Exhibitions:
Collage and Construction, Union College, 1959
Twentieth Biennial International Watercolor Exhibition, Brooklyn Museum, 1959
Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art, NY, 1959-60
Modern Classicism, David Herbert Gallery, NY, 1960
Recent Painting: The Figure, Museum of Modern Art, 1962
Group Show, Skowhegan School of Painting and Sculpture, NY, 1966
Four Directions, Carleson Gallery, NY, 1967
Horizon Gallery, NY, 1968
Print Show, Brooklyn Museum, Brooklyn, NY, 1970
Hassam Purchase Fund Exhibition, American Academy of Arts and Letters, NY, 1973
Landmark Gallery, NY, 1973
Maine Coast Artists, Rockport, Maine, 1974
Soho and So, 20th Annual Contemporary American Painting Exhibition, Lehigh University, Bethlehem, PA, 1974
A Soho Sampler, 63rd Annual Contemporary American Painting Exhibition, Randolph Macon Woman’s College, Lynchburg, VA, 1974
Works on Paper, Weatherspoon Gallery, Greensboro, NC, 1975
Drawing Show, Landmark Gallery, NY, 1975
118 Show, Landmark Gallery, New York, 1975
Subject Matter, Landmark Gallery, New York, 1975
Fort Wayne Museum of Art, Fort Wayne, IN, 1976
Verle #2, Hartford, CT, 1976
118 Show, Landmark Gallery, New York, 1976
Hadassah, Westwood, NJ, 1977
10 Downtown, P.S.1., Institute for Art & Urban Resources, Queens, New York, 1977
Maine Coast Artists, Rockport, Maine, 1977
10 Painters of Maine, Landmark Gallery, NY, 1977
Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN, 1978
Sculpture, Landmark Gallery, New York, NY, 1979
Art Fellows Summer Invitational, Belfast, ME, 1981
New Dimensions in Drawing, Aldrich Museum, CT, 1981
The Chair Show, Thorpe Intermedia Gallery, Sparkill, NY, 1981, 1982
Tenth Anniversary Exhibition, Landmark Gallery, New York, NY, 1982
National Academy of Design, New York, NY, 1982
Kornbluth Gallery, New York, NY, 1984
Invitational, Art Fellows Gallery, ME, 1985
Gallery Camino Real, Boca Raton, FL, 1985
The Artist Native, Contemporary Images, New York, NY, 1984-86
Marden Fine Arts, New York, NY, 1984-86
Betsy Marden Gallery, New York, NY, 1986
Ingber Gallery, New York, NY, 1986
Group Show, Art Fellows Gallery, ME, 1987
Farnsworth Museum Auction, Rockland, ME, 1987
Maine Nuclear Referendum CT, Portland, ME, 1987
3rd Annual Wildlife & Sporting Art Show, Augusta, ME, 1987
Hobe Sound Gallery, Portland, ME, 1987, 1989
National Drawing Show, Austin Peay State University, Clarksville, TN (Took Purchase Prize both years), 1987-89
National Academy of Design, New York, NY, 1990
National Academy, 167th Annual Exhibition, New York, NY, 1992
The Maine Legacy, Portland Museum of Art, ME, 1996
Bowdoin College, Brunswick, ME, 1997
Maine Art Gallery, Wiscassett, ME, 1997
Maine Mountain Group Show, O’Farrell Gallery, Brunswick, ME, 2000
Maine & The Modern Spirit, Katonah, Katonah, NY, 2000
Maine Coast Artist, Rockport, ME, 1993, 1994, 2001
Ernden Gallery, Provincetown, MA, 2002
Finn Gallery, Greenwich, CT, 2002-03
River Tree Gallery, Kennebunk, ME, 2004
Center for Maine Contemporary Arts, Rockport, ME, 2002, 2004
Greenhut Gallery, Portland, ME, 2004
Round Top Gallery, Damariscotta, ME, 2005
Maine Discovery Museum, Bangor, ME, 2005
Audubon Society, Falmouth, ME, 2006
National Academy, New York, NY, 2006
Greenhut Gallery, Portland, ME, 2006
Downtown Gallery, Washington, ME, 2007
Gallery 6170, Damariscotta, ME, 2007
Landing Gallery, Rockland, ME, 2008

Selected Solo Exhibitions:
Roko Gallery, NY, 1955
Tanager Gallery, NY, 1958
’59 Area Gallery, NY, 1959, 1961
Louis Alexander Gallery, NY, 1962
Green Mountain Gallery, NY, 1971
Watercolor Show, Horizon Gallery, NY, 1971
Carlson Gallery, Arnold Bernhard Arts & Humanities Center, Bridgeport, CT, 1976
Landmark Gallery, NY, 1973, 1975, 1976, 1977, 1979
Jorgenson Gallery, University of Connecticut, Storrs, 1979
Charcoal Drawings, Landmark Gallery, 1979
Drawings, Landmark Gallery, New York, NY, 1981
Suzanne Gross Gallery, Philadelphia, PA, 1983
Camino Real, Boca Raton, FL, 1985
Anne Weber Gallery, ME, 1986
Bell Gallery, Rhinebeck, NY, 1987
Seraphim Gallery, Englewood, NJ, 1988
Patrucci Gallery, Saugerties, NY, 1998
Frick Gallery, Belfast, ME, 1998
Maine Art Gallery, Wiscassett, ME, 1999
O’Farrell Gallery, Brunswick, ME, 2001
Ernden Gallery, Provincetown, MA, 2002, 2003
Round Top Center for the Arts, Damariscotta, ME, 1998, 2003
Center for Maine Contemporary Art, Rockport, ME, 2003
Greenhut Gallery, Portland, ME, 2003, 2006
Jameson Modern, Portland, ME, 2008

Selected Collections:
Corcoran Gallery of Art, Washington, DC
New Britain Museum, Hartford, CT
Portland Museum of Art, Portland, ME
Columbia Museum of Art, Columbia, SC
The Butler Museum of American Art, CT
New York City Center Gallery, New York, NY
Art in Embassies Program, Washington, DC and abroad
Boston Mutual Life Insurance Company, Canton, MA
Junior College of Albany, Albany, NY
Emory Collection, Emory University, Atlanta, GA
Prudential Insurance, Newark, NJ
Port Authority, New York, NY
Citibank, New York, NY
AT&T, New York, NY
University of West Virginia, Morgantown, WV
Austin Peay State University, Clarkesville, TN
Westchester University, Westchester, PA
International Nickel Co., New York, NY

Artist Biography: Fritz Bultman

Fritz Bultman

Private study with Morris Graves, 1931
New Orleans Arts and Crafts School, 1937-38
New Bauhaus, Chicago
Hans Hoffman School, NYC & Provincetown, MA, 1938-41

Teaching Positions
Pratt Institute, 1958-63
Hunter College, NY, 1968-72
Fine Arts Work Center, Provincetown, MA, 1968-72

Exchange Fellowship, Italian Government Grant, Florence, 1950-51
Art Institute of Chicago, American Show Sculpture Award, 1964
Fulbright Fellowship, 1964-65
Solomon R. Guggenheim Grant, 1975

Selected Solo Exhibitions
Hugo Gallery, 1947, 1950
The Kootz Gallery, 1952
The Stable Gallery, 1958
Martha Jackson Gallery, 1959, 1973, 1976, 1977
Issac Delgado Museum of Art, New Orleans, 1960
Gallery Stadler, Paris, 1960
Michael Warren Gallery, 1960
Gallery Mayer, New York, 1960
Weatherspoon Gallery, University of North Carolina at Greensboro, 1963
Tibor de Nagy Gallery, 1963, 1964
The Arts Club of Chicago, 1965
Oklahoma Art Center, 1974
Newport Art Association, 1974
New Orleans Museum of Art, 1974,1993 (retrospective)
Cherry Stone Gallery, Wellfleet, MA, 1977, 1986
Long Point Gallery, Provincetown, MA, 1977, 1978, 1979, 1984
University of North Carolina at Chapel Hill, 1978
Andre Zarre, New York, 1978
Landmark Gallery Inc., NYC, 1979, 1982
Galerie Schlesinger-Boisanté, NYC, 1982, 1986, 1987
Fine Arts Work Center, Provincetown, MA, 1986
Portland Museum of Art, 1987
Hunter College, NY, 1987
William Benton Museum of Art, University of Connecticut at Storrs, 1989
University of Connecticut, 1989 (retrospective)
Tilden-Foley Gallery, New Orleans, 1989, 1991, 1993
Galerie Schlesinger, NY, 1989-2004
Kouros Gallery, NY, 1991
Gallery Schlesinger, 1997, 1998, 2003, 2004, 2005
Kendall Campus Art Gallery, Miami-Dade Community College, FL, 1998, 1999
Gallery of the College of Staten Island, CUNY, NY, 1999
Albert Merola Gallery, Provincetown, MA, 1999-2004
Galerie Simonne Stern, New Orleans, LA, 1999
Shannon Foley Fine Art, New Orleans, LA, 2003

Fritz Bultman
Selected Group Exhibitions
Whitney Museum of American Art, 1950, 1952, 1955
Stable Gallery, 1953, 1954, 1955, 1956
Art Institute of Chicago, 1964
Museum of Modern Art, 1964
International Institute of Education, 1975
New York University, 1981
City University of New York, 1985
Provincetown Art Association and Museum, 1994

Selected Public Collections
Whitney Museum of American Art, New York
Metropolitan Museum of Art, New York
Solomon R. Guggenheim Museum of Art, New York
Museum of American Art, Washington, DC
Museum of Fine Arts, Boston
Corcoran Museum of Art, Washington, DC
Ogden Museum of Southern Art, New Orleans
University of California, Berkeley
McCrory Corporation, New York
Ciba-Geigy Collection, Ardsley, New York
Williams College, Williamstown, MA
Montclair Museum of Art, Montclair, NJ
Reynolds Aluminum Collection, Richmond, VA
Prudential Life Insurance Collection, NJ
Provincetown Art Association and Museum, Provincetown, MA
Kalamazoo College Collection, Kalamazoo, MI

Artist Biography: Wolf Kahn

Wolf Kahn

Born in Stuttgart in 1927, Wolf Kahn fled Germany at age 12 and moved to the United States in 1940. After attending the High School of Music and Art in New York City, he continued his studies at the Hans Hofmann School, becoming Hofmann’s studio assistant. His native tongue was often an advantage in Hofmann’s classroom, as he frequently translated the teachers’ signature mix of German and English for his fellow students. After over two years of training under Hofmann, Kahn later relocated to Chicago where he received a Bachelor’s Degree from the University of Chicago.

Influenced by Hofmann’s practice of using nature as the starting point for a painting, Kahn’s work encompasses both pictorial landscape and painterly abstraction. Converging color and light to create atmospheric and sensual pictorial fields, his paintings evoke the ethereal world of nature even when they are non-representational. Although they are a departure in temperament from Hofmann’s “explosive” compositions, Kahn’s paintings incorporate many of Hofmann’s principles of chromatic tension and movement. Often juxtaposing saturated magentas, pinks and oranges with cool, muted pastels, Kahn achieves a balance that transports the viewer into his tranquil world.

Kahn has received honors such as the Fulbright Scholarship, a John Simon Guggenheim Fellowship, and an Award in Art from the American Academy of Arts and Letters. His works are in the permanent collections of major museums, including the National Museum of American Art, the Metropolitan Museum of Art, and the Boston Museum of Fine Arts. He recently returned to Germany for the first time since his childhood for an exhibition of his pastels at the Museum für Kunst und Gewerbe in Hamburg.


1947-49 Hans Hofmann School of Fine Art
1949-51 University of Chicago

1963 Purchase Award, Ford Foundation
1963-65 Fulbright Scholar Award to Italy
1966 Guggenheim Fellowship
1998 Lifetime Achievement Award, Vermont Council on the Arts

National Board of the College Art Association
National Academy of Design Board Member
American Academy and Institute of Arts & Letters

Selected Exhibitions:
1957 Whitney Museum of American Art, New York, NY. Also 1958, 1960, 1961
Jewish Museum, New York, NY
De Moines Art Center, IA
1958 Albright-Knox Art Gallery, New York, NY
1958-60 University of Illinois Biennial, IL
1959 Corcoran Gallery Biennial, New York, NY
1961 Pennsylvania Academy of Fine Arts, PA. Also 1962, 1965.
1962 Dallas Museum of Contemporary Art, TX
1963 Museum of Modern Art, New York, NY
Kansas City Art Institute, OH
1964 Cincinnati Museum of Art
1971-72 Americans in Europe, American Federation of the Arts
1972 New England Art, Institute of Contemporary Art, Boston
Chrysler Museum
1979 Museum of Modern Art, New York, NY
Corcoran Gallery, New York, NY
1970s Grace Borgenicht Gallery, New York, NY
Meredith Long Gallery, Houston, TX
1979 Museum of Art, Rhode Island School of Design
1985 San Francisco Museum of Art, CA
1987 San Diego Museum of Art, CA
1990 Ft. Lauderdale Museum of Art, FL
1993 Foire Internationale d’Art Contemporain, Paris, France
Thomas Segal Gallery, Boston, MA
1994 Nerberger Museum of Art, SUNY Purchase, NY
Art 25, Basel, Switzerland
The Columbus Museum, Columbus, GA
Selected Exhibitions Continuted:
1994 Cove Gallery, Wellfleet, MA
1995 Thomas Segal Gallery, Boston, MA
Stremmel Gallery, Reno, NV
Grace Borgenicht Gallery, NY
Carone Gallery, Ft. Lauderdale, FL
Marianne Friedland Gallery, Naples, FL
Gallery 30, Burlingame, CA
Walker Kornbluth Gallery, Fairlawn, NJ
Morgan Gallery, Kansas City, MO
1996 Boca Raton Museum of Art, Boca Raton, FL
Rediscovering the Landscapes of the Americas, Gerald Peters Gallery, Santa Fe, NM
1998 Centennial Exhibition, American Academy of Arts & Letters, New York, NY
1999 Morris Museum of Art, Augusta, GA
Works on Paper, New York, NY
Art Palm Beach ’99, Palm Beach, FL
Jerald Melberg Gallery, Charleston, SC
2000 Addison/Ripley Gallery, Washington, DC
Beadleston Gallery, New York, NY
Kunsthaus Buhler, Stuttgart, Germany
Fifty Years of Pastels, Jerald Melberg Gallery, Charlotte, NC
Museum Fur Kunst und Gewerbe, Hamburg, Germany
2001 Galerie Brokstedt, Hamburg, Germany
Connecticut Graphic Arts Center, Norwalk, CT
Drabinsky & Friedland Gallery, Toronto, ONT
Marianne Friedland Gallery, Naples, FL
Museum fur Kunst und Gerwerbe, Hamburg, Germany
Reynolds Gallery, Richmond, VA
Thomas Segal Gallery, Baltimore, MD
Stremmel Gallery, Reno, NV
2002 Ameringer Howard Yohe Fine Art, Boca Raton, FL
Beadleston Gallery, New York, NY
2003 Wolf Kahn: Continuity and Change, Paintings and Works on Paper 1958-66, Ameringer & Yohe Fine Art, New York, NY
2004 Wolf Kahn: Recent Paintings, Ameringer & Yohe Fine Art, New York, NY
2005 Wolf Kahn, Ameringer & Yohe Fine Art, New York, NY
2006 Vision in Granite, The Banks Gallery, Portsmouth, NH
2007 Yosemite – Art of an American Icon, Oakland Museum of California, Oakland, CA
Wolf Kahn: Sizing Up: Part II, Pastels, Ameringer & Yohe Fine Art, New York, NY
Smithsonian American Art Museum, Washington, DC
National Academy of Design, Washington, DC
Metropolitan Museum of Art, New York, NY
Museum of Modern Art, New York, NY
Whitney Museum, New York, NY
Museum of Fine Arts, Boston, MA
The Brooklyn Museum of Art, NY
The Jewish Museum, New York, NY
Museum of Fine Arts, Houston, TX
Boca Raton Museum of Art, FL
Memorial Gallery and Permanent Collection, University of Rochester, NY
Los Angeles County Museum of Art, Los Angeles, CA
Minnesota Museum of American Art, MN
Houston Museum of Fine Arts, TX
St. Louis Museum of Art, MO
Dallas Museum of Art, TX
Cleveland Museum of Art, OH
Hickory Museum of Art, Hickory, NC
Dartmouth College, Dartmouth, NH
Mint Museum, Charlotte, NC
New Orleans Museum of Art, LA
Springfield Museum of Art, OH
The State University of New York, Purchase, NY
University of California at Berkeley, CA
University of Illinois, Chicago, IL
University of Nebraska, NE
Williams College, Boston, MA
Worcester Art Museum, MA

Artist Biography: Giorgio Cavallon

Giorgio Cavallon (1904-1989)

National Academy of Design New York, NY, 1926.
Charles W. Hawthorne Provincetown, MA, 1927.
Hans Hofmann School of Fine Art, New York, NY, 1934.

Louis Comfort Tiffany Fellowship, 1929.
John Simon Guggenheim Fellowship, 1966.

Selected Solo Exhibitions
Bottega d’Arte, Vicenza, Italy, 1932.
A.C.A. Gallery New York, NY, 1934.
Eighth Street Playhouse Gallery New York, NY, 1940.
Egan Gallery New York, NY, 1946, 1948, 1951, 1954.
Kootz Gallery, New York, NY, 1961, 1963, 1965.
Weatherspoon Gallery, University of North Carolina, Greensboro, NC, 1964.
A.M. Sachs Gallery, New York, NY, 1969, 1971, 1972, 1974, 1976.
Gruenebaum Gallery, New York, NY, 1977, 1978, 1981, 1983, 1985, 1986.
Patricia Learmonth Gallery, New York, NY, 1977.
Neuberger Museum, Purchase, NY, 1977.
Paintings: 1952-1989, Manny Silverman Gallery Los Angeles, CA, 1989.
Paintings from the 1960’s, Jason McCoy Inc. New York, NY, 1989.
Giorgio Cavallon (1904-1989): A Retrospective View, The William Benton Museum of Art, University of Connecticut, Storrs, CT.

Selected Group Exhibitions
Biennale, Ca’Pesaro Venice, Italy, 1932.
Bottega d’Arte Vicenza, Italy, 1932.
American Art Today, New York World’s Fair New York, NY, 1939.
Post-Abstract Painters, France, America, Hawthorne Memorial Gallery
Provincetown, MA, 1950.
Young Painters in the U.S. and France, Sidney Janis Gallery New York, 1950.
Abstract Art in America, Museum of Modern Art New York, NY, 1951.
Drawings and Watercolors, Museum of Modern Art New York, NY, 1952.
Italy Rediscovered, Munson-Williams Proctor Institute, Utica, NY, 1955.
University of North Carolina, Greensboro Greensboro, NC, 1956.
Stable Gallery New York, NY, 1957, 1959.
Whitney Museum Annual, Whitney Museum of American Art New York, NY, 1959, 1961, 1965.
Art Institute of Chicago Chicago, IL, 1959, 1961, 1965.
Documenta II, Kassel, Germany, 1959.
Five Contemporary Painters in a Twenty-Five Year Retrospective, Camino
Gallery New York, NY, 1959.
60 American Painters, Walker Art Center Minneapolis, MN, 1960.
American Abstract Expressionists and Imagists, The Solomon R. Guggenheim
Museum, New York, NY, 1961.
Carnegie International, Pittsburgh, PA, 1959, 1961, 1962.
Art in Embassies, Museum of Modern Art Bogota, Colombia, 1963, 1964.
Fourteen Americans, Abstract Watercolors, Museum of Modern Art, New York,
NY, 1963.
Contemporary American Painting and Sculpture, Krannert Art Museum
University of Illinois, Urbana, IL, 1963.
Recent American Paintings, Art Museum, University of Texas Austin, TX, 1964.
Large Scale American Paintings, The Jewish Museum New York, NY, 1966.
Annual Exhibition, Pennsylvania Academy of Fine Arts Philadelphia, PA, 1966.
From Synchronism Forward- A View of Abstract Art in America, The American
Federation of Arts Circulating Exhibition, 1968.
The 1930’s, Painting and Sculpture in America, The Whitney Museum of
American Art New York, NY, 1968.
Betty Parsons Private Collection, Finch College Museum New York, NY, 1968.
Painting as Painting, The Art Museum University of Texas, Austin, TX, 1968.
American Geometric Abstraction/ 1930’s, Zabriskie Gallery, American Federation of Arts, New York, NY, 1972.
Bicentennial Exhibition, Hirshhorn Museum and Sculpture Garden Smithsonian
Institution, Washington, D.C., 1976.
Three Italo-American Artists, Peggy Guggenheim Collection Venice, Italy;
Castello Svevo, Bari, Italy, 1988.
The Provocative Years 1935-1945: Hans Hofmann School and Its Students in
Provincetown, Provincetown Art Association and Museum, Provincetown, MA, 1990.
Giorgio Cavallon (1904-1989): A Retrospective View, The William Benton
Museum of Art University of Connecticut, Storrs, CT, 1990.
Paintings from the 1950’s, Jason McCoy Inc. New York, NY, 1990.
Watercolors, Jason McCoy Inc. New York, NY, 1991.
Giorgio Cavallon and Giuseppe Santomaso, Manny Silverman Gallery Los
Angeles, CA, 1991.
Summer Group Show, Jason McCoy Inc. New York, NY, 1991.
Baruch College Art Gallery, New York, NY, 1992.
Seven Paintings from the 1950’s, Jason McCoy Inc. New York, NY, 1996.

Permanent Collections
Museum of Modern Art, New York.
Solomon R. Guggenheim Museum, New York.
Whitney Museum of American Art, New York.
Albright-Knox Art Gallery, Buffalo, New York.
Museum of The Rhode Island School of Design, Providence, RI.
Grey Gallery, New York University, New York.
University Art Museum, Berkeley, CA.
The Michener Collection, The University of Texas at Austin, TX.
Fogg Art Museum, Harvard University, Cambridge, MA.
Hilles Library, Harvard University, Cambridge, MA.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC.
Union Carbide Corporation, New York.
Continental Grain Corporation, New York.
Chase Manhattan Bank, New York.
Singer Manufacturing Company, New York.
Ciba-Geigy Corporation, Ardsley, New York.
Marine Midland Trust Company, Ardsley, New York.
Marine Midland Trust Company, Buffalo, New York.
Acvo Delta Corporation.
Tishman Corporation, New York.
American Republic Insurance Company, Des Moines, IA.
Avon Products, Incorporated, New York.
The Bank of New York, New York.
Prudential Insurance Company of America, Newark, NJ.


Giorgio Cavallon, a pioneer Abstract Expressionist who brought to American painting a Mediterranean feeling for color and light, died last night at New York Hospital. He was 85 years old and lived in Manhattan.

While not widely known to the general art public, Mr. Cavallon’s airy, luminous, cautiously daring work has long had a llllowing among poets and painters. ”There are those who escape fame, but not respect,” wrote the Abstract Expressionist scholar Francis V. O’Connor in a poem to Mr. Cavallon that was published in the Art Bulletin last year.

William Agee, a historian of American art, said: ”He never made the official list of the big-name artists of that generation of Abstract Expressionists. I had conditioned myself to think of him as a lesser artist. But he kept showing us to be wrong in that.”

In Mr. Cavallon’s paintings, rectangles of color, their edges soft and irregular, are woven into screens or veils that seem diaphanous yet impenetrable, light, yet capable of absorbing all the space behind and in front of the surface. Allowing Colors to Relate
The paintings are carefully but intuitively balanced. Learning from Cezanne and Mondrian and then studying with Hans Hofmann, Mr. Cavallon put down one color here and another there, then tested and expanded their relationship and opened it up into others, finally tying everything together with a precision few of his peers could match.

Writing about the experience of a Cavallon exhibition, Frank O’Hara, the poet and critic, wrote in 1958: ”It resembles a town in southern Italy the walls of which have absorbed the sunlight for centuries and even on a cloudy or raining day give off the intense light of what they have absorbed.” The ”final luminosity,” Mr. O’Hara wrote, is ”achieved by white.”

Mr. Cavallon was born on March 3, 1904, in the village of Sorio in the province of Venice. His parents were Augusto Cavallon, a cabinetmaker who worked in both Italy and the United States, and Agnese Scarsi.

When Augusto served in the Italian Army during World War I, he sent his two daughters to a convent and his son to the farm of his brother-in-law, Dominico Cavallon. A Farm Child’s Life

”When Giorgio was a small child,” said the painter Vita Petersen, a longtime friend, ”he had to get up at 4 and bring the cows to the field and he was so tired that he took the oxen by the horns and went to sleep, swinging between the horns.”

During the war Mr. Cavallon drew in the earth. Sometimes he scratched drawings on bombshells.

He came to the United States in 1920 with his father and two sisters and settled in Springfield, Mass. In 1926, he moved to New York, where he remained – except for 1930 to 1933, when he returned to Italy.

He began as a figurative painter and studied at the National Academy of Design. He began exploring abstraction in the 1930’s but like other Abstract Expressionists, did not take the full plunge until the late 1940’s.

In 1936 he was a founding member of the American Abstract Artists group, a contentious and polemical organization that championed the cause of abstract art. The group’s link between political radicalism and abstraction helps explain Mr. Cavallon’s unshakable faith in abstraction and the consistently upbeat, almost utopian feeling of his paintings. He Did It His Way

Mr. Cavallon was remarkably self-reliant. He preferred to do everything by himself, by hand. He built his own freezer, stove and sofa, made his duck press, motorized his pasta machine and was known to spend days disassembling and assembling cars.

He made his own paints. ”He ground his own pigments, mixed it with oil and put it in the tubes,” Mrs. Petersen said.

He had a reputation as an excellent cook. Mushrooms were a passion, and he used to hunt for them with the composer John Cage. His recipes for spaghetti with clam-and-anchovy sauce, for spit-roasted leg of lamb and for risotto with mussels found their way into Craig Claiborne’s cooking column in The New York Times in 1969.

Mr. Cavallon exhibited with several New York galleries, including Egan, A. M. Sachs, Gruenebaum and Jason McCoy. He was given a retrospective by the Neuberger Museum in Purchase, N.Y., in 1977. Works in Many Collections

Last year, his work was shown at the Peggy Guggenheim Foundation in Venice. His work is in the collection of numerous major museums, including the Metropolitan Museum of Art and the Museum of Modern Art. In March there is to be a Cavallon retrospective at the William Benton Museum of the University of Connecticut at Storrs.

In 1983 he was given the Marjorie Peabody Waite Award, granted to an ”older artist for continuing achievement” by the American Institute of Arts and Letters.

His marriage to Fabiola Caron, a singer, ended in divorce. He later married Linda Lindeberg, a painter, who died in 1973.

He is survived by his sisters, Domenica Italia Shulman of Storrs, Conn., and Marie Ida Kitzmeyer of West Brookfield, Mass., and St. Petersburg, Fla.

Charles Hawthorne

Charles Webster Hawthorne

Charles Webster Hawthorne.jpg

National Academy of Design
Art Students League
Shinnecock Summer School of art with W.M. Chase

National Academy of Design, Associate Member, National Academician
Salmagundi Club
Lotos Club
Artists Fund Society

Selected Exhibitions
Pennsylvania Academy of Fine Arts, 1900-31 (prize in 1915, 1923)
National Academy of Design, 1900-26 (prize in 1904, 1906, 1911, 1924, 1926)
SC, 1904
Carnegie Institute, 1908, 1925
Buenos Aires Expo, 1910
Brooklyn Art Association, 1912
Newport Art Association, 1912, 1928
Art Institute of Chicago, 1917, 1923
Concord Art Association, 1922, 1925
Philidelphia exposiion, 1923
Corcoran Gallery, 1908-30 (prize in 1923, 1926)

Selected Collections
Museum of Modern Art
Syracuse Museum of Fine Art
Rhode Island School of Design
Worcester Art Museum
Buffalo Fine Arts Academy
Detroit Institute of Art
Chicago Art Institute
Peabody Institute, Baltimore
Herron Art Institute
Brooklyn Museum of Fine Art
Houston Museum of Fine Art
Cincinnati Museum
High Museum of Art, Atlanta
Hackley Art Museum, Muskegon, Michigan
Dayton Art Institute, Ohio
New Britain Institute, Connecticut
Museum of Art, Fort Worth, Texas
Union League, Chicago
National Academy of Design
National Arts Club
Lotos Club
Town of Provincetown, MA
Denver Art Museum
University of Illinois, Champaign
Carnegie Institute
Mulvane Museum, Washburn College, Topeka, Kansas

Charles Webster Hawthorne was an American portrait and genre painter and a noted teacher who founded the Cape Cod School of Art in 1899. He was born in Lodi, Illinois, and his parents returned to Maine, raising him in the state where Charles’ father was born. At age 18, he went to New York, working as an office-boy by day in a stained-glass factory and studying at night school and with Henry Siddons Mowbray and William Merritt Chase, and abroad in both the Netherlands and Italy. He studied painting under several notable artists at the National Academy of Design and the Art Students League. Among his teachers were Frank Vincent DuMond and George de Forest Brush. But Hawthorne declared that the most dominant influence in his career was William Merritt Chase, with whom he worked as both a pupil and assistant. Both men were naturally talented teachers and figurative painters who were drawn to rich color and the lusciousness of oil paint as a medium. Chase passed on a Munich tradition of tone values and tone painting, and Hawthorne learned all he could. While studying abroad in the Netherlands as Chase’s assistant, Hawthorne was influenced to start his own school of art. His winters were spent in Paris and New York City, his summers at Provincetown, Massachusetts, the site of his school. In addition to founding the Cape Cod School of Art, Hawthorne was also a founding member of the Provincetown Art Association established in 1914. While in Paris Hawthorne became a full member of the French Société Nationale des Beaux-Arts in 1917.
The Cape Cod School of Art was the first outdoor summer school for figure painting and grew into one of the nation’s leading art schools. Under thirty years of Hawthorne’s guidance, the school attracted some of the most talented art instructors and students in the country including John Noble, Richard Miller, and Max Bohm. At his school, Hawthorne gave weekly criticisms and instructive talks, guiding his pupils and setting up ideals but never imposing his own technique or method.

Artist Biography: Steve Wheeler

Steve Wheeler (1912-1992)

In his résumés and various writings, Wheeler typically reinvented himself as a first-generation American born in New Salem, Pennsylvania. In fact, he was born as Stephen Brosnatch on April 3, 1912, in a village in Slovakia and adopted the Americanized name of Steve Wheeler as a translation of his mother’s family name in 1939.

In this respect, of course, he was very much a man of his time. Like a number of his contemporaries on the New York art scene-Arshile Gorky, John Graham and, for that matter, Mark Rothko-taking a new name was for Steve Wheeler but a first crucial step toward acquiring a new artistic identity. In this connection, moreover, it is hardly surprising to learn that as a prelude to that decisive moment in his career, Wheeler-or rather, Stephen Brosnatch-destroyed most of the work he had produced during what he afterwards dismissed as his years of apprenticeship to art history, thereby clearing the way for his reincarnation as Steve Wheeler.

It was to the mining town of New Salem, where his father labored in the coal mines, that Stephen Brosnatch had been brought as an infant, and it was in those same mines that Brosnatch himself went to work at age 16. Years later, Wheeler claimed it was from the voice of an “oracle” heard in a mine that he first learned of his artistic vocation-hence the title of the painting called The Oracle Visiting the 20th Century (1943)-but his decision at an early age to devote himself to art was undoubtedly assisted by an uncle who earned his living as a commercial artist in Chicago. That uncle was his first art teacher; his last and most important was Hans Hofmann, with whom Wheeler studied for two years in New York.

Notwithstanding the metaphysical and historical fables Wheeler invented about himself-and he was neither the first nor the last artist to engage in such personal myth-making-his youth reads like a story Willa Cather might have written, the story of an immigrant teenage kid working in the mines by day and devoting his nights to voracious reading, learning to play the violin and painting in the family attic. In time, Wheeler accumulated a large and extraordinary private library devoted to art history, ethnology, philosophy and psychology-some relevant and representative volumes are included in the Montclair exhibition-which fed his developing interest in a mode of pictorial art that is at once abstract in its forms and symbolic in content.

It was in the development of a pictorial style of this persuasion that the two principal influences on Wheeler’s painting-the art of the Northwest coast Indian tribes and the narrative abstraction of Paul Klee-were absorbed into a flattened, highly colored, Cubist format that probably owed something to Hofmann’s teaching methods. The result was never painterly in the Hofmannesque manner, however. It was basically a tightly controlled graphic style that gave priority to the symbolic narrative that is told and retold in virtually every picture of the artist’s mature period-a narrative in which Wheeler was intent upon mythologizing his own quest for the miraculous.

Art Students League, New York, NY
Hans Hofmann School of Fine Arts, New York and Provincetown, MA

Selected Solo Exhibitions:
1939 Bessamer Gallery, Pittsburgh, PA
1942 Pinacotheca Gallery, New York, NY
1944 Ferargil Galleries, New York, NY
1951 New Gallery, New York, NY
1954 Town Gallery, New York, NY
1993 Snyder Fine Art, New York, NY. Also 1994, 1996, 1997
1997-98 The Montclair Art Museum, Montclair, NJ
1998 Richard York Gallery, New York, NY. Also 1999, 2001

Selected Group Exhibitions:
1940 Artists Gallery
1941 American Fine Arts Galleries, New York, NY
1941-42 Pinacotheca Gallery, New York, NY
1942 Metropolitan Museum of Art
New Art Circle Gallery
1943 Weyhe Gallery, New York, NY
Buchholz Gallery, New York, NY
Milwaukee Art Institute, WI
1943-46 Carnegie Institute, Pittsburgh, PA
Chicago Art Institute
1943-47 Whitney Museum of American Art
1944 University of Illinois, Urbana, IL
St. Louis Museum
1944-45 Pennsylvania Academy of Art, PA
1944-1950 Ferargil Galleries, New York, NY
1945 Newhouse Gallery, New York, NY
Minnesota Art Institute, Minneapolis, MN
1946 Cincinnati Museum
1946-47 New Art Circle Gallery
1947 The American Federation of the Arts, Washington, DC. Also 1948, 1949
1947-48 Chicago Art Institute
1947-51 Richmond Museum, VA
Brooklyn Museum
1948 Santa Barbara Museum
1949 Whitney Museum of American Art
Brooklyn Museum Print Exhibition, Purchase Prize
1955-57 Stable Gallery, New York, NY
1956 Tanager Gallery, New York, NY. Also 1962
1980-89 Schlesinger Gallery, New York, NY
1991 Baruch College Gallery, New York, NY
1992 Snyder Fine Art, New York, NY
1999 Native American Abstractions, David Findlay Jr., New York, NY
2003 Six Indian Space Artists, David Findlay Jr., New York, NY
2004 David Findlay Jr., New York, NY
Public Collections:
Addison Gallery of American Art
Whitney Museum of American Art
Cranbrook Museum of Art
Brooklyn Museum of Art
Metropolitan Museum of Art
Virginia Museum of Fine Arts
The Museum of Fine Arts, Boston
The Montclair Museum

Seong Moy

Seong Moy (1921-2013)


Saint Paul School of Minneapolis
Art Students League, studies with Vaclav Vytlacil
Hans Hofmann School, 1941-42

Fellowships, William Hayter’s Atelier 17, 1948-1950
Whitney Fellowship, 1950-51
Guggenheim Grant, 1955-56
Minneapolis Institute Annual Prize
Philadelphia Print Club Annual Prize
American Federation of the Arts Commission, 1965
Emily Lowe Award, Audubon Artists Annual, 1967
Society of American Graphic Artists Award, 1967

Teaching Appointments:
University of Minnesota, 1950
Indiana University, 1952-54
Smith College, 1954-55
Vassar College, 1955
Cooper Union
Pratt Graphic Center
Columbia University
Art Students League
City College of New York
Seong Moy School of Painting and Graphic Arts, Provincetown

Selected Exhibitions:
American Painting, Metropolitan Museum of Art, 1951
University of Illinois Biennials
Carnegie International, 1955
Whitney Museum Annual of Sculpture and Graphics, 1966-67
Hacker Gallery, 1951 (solo)
Esther Robles Gallery (solo)
Everston Museum, Syracuse, NY (solo)
Kyoto Yamada Gallery, Japan (solo)

Public Collections:
The Metropolitan Museum of Art
Brooklyn Museum
New York Public Library
Pennsylvania Academy
Library of Congress
Smithsonian Institution
Worcester Art Museum
Brooks Museum of Memphis
Indiana University
Baltimore Museum
University of Minnesota
Smith College
Whitney Museum of American Art
The Woodward Foundation


Seong Moy was born in the Canton region of China in 1921. At the age of ten, he immigrated to the United States to attend American schools live with relatives in St. Paul, Minnesota. Moy began his formal arts education at the age of thirteen, when he began taking classes at the Federal Art Project while attending high school in St. Paul.

Moy then studied at the St. Paul School of Art with Cameron Booth, a student of Hans Hofmann, where he received a classical arts education, strengthening his skills as a draftsman. Booth took a liking to Moy and invited him to join his private seminar, in which he went against the trustees of the school and taught his students modern painting. At this time, Moy also worked at the Walker Art Center, which was the center of the WPA Art Project for the region. It was there that he learned lithography, etching, and silkscreen, and taught himself woodcuts. He says of his experiences of this time, “I wanted to do all the mediums.”

In 1941 Moy was accepted as a student at both the Art Students League and the Hans Hofmann School in New York, winning a scholarship at the Art Students League that made it possible for him to relocate. As Moy was still underage at the time, he was concerned that his guardians would forbid him to leave, since they wanted him to work in the family restaurant. In order to avoid this possibility, Moy simply packed his bags and left for New York.

Moy studied with Vaclav Vytlacil at the Art Students League, a classmate of his former teacher Cameron Booth at the Hans Hofmann School. Although Moy had particularly wanted to work with Vytlacil, he found Vytlacil’s teaching style to be radically different from Booth’s and described his time as Vytlacil’s student as “a disaster.”

I never received any direct criticism. There were occasions when I believe that a less determined student would have been sunk or destroyed by this kind of indifference. I felt it was an abuse. And I do recall very vividly toward the end of my enrollment I got some very, very unexpected contrary marks to my ability and capability of continuing to be an artist.

At this time, Moy was also working at the Hans Hofmann School, which he found to be a similar experience in terms of direct criticism, but distinctive in terms of teaching style.

Hofmann, due to the fact that he’s limited in his language, especially English, says very few words. Except of course, on occasion there would be a student in the class who happened to speak German, in which case Hofmann would be on his own ground. But when he tried to teach speaking English it was very difficult for him to convey his ideas verbally. So most of his teaching was done in what we call the direct method in that he works on the student’s work.

Drawings by Seong Moy done during his time at the Hans Hofmann School were featured in the exhibition In Search of the Real: Hans Hofmann and His Students at the Provincetown Art Association and Museum from August 7-October 11, 2009.

Moy’s education was supplemented by his visits to museums, his favorites where the Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, and galleries, where he said you could go to five galleries and see five completely different styles of work. The artists who were his strongest influences at this time included Matisse, Picasso, Bonnard, and Miro. With each of these artists he admired a different aspect of their work, Matisse’s use of color, Miro’s imagery, and Picasso for his controversy, his surprising innovations and his every shifting styles.

In the fall of 1942 Moy enlisted as a serviceman, where he was trained in technical photography and worked mainly as a reconnaissance and aerial photographer. Despite this photography experience, Moy does not feel photography directly influenced his later work, with the exception of the use of photographs in his search for imagery.

Upon his return from the service Moy returned to New York. In 1948 Bill Hayter, who had served on the jury of an exhibition to which Moy had applied and was impressed by his work, invited him to the artist workshop Atelier 17. It was the ideal environment for Moy, who had a strong educational background, but needed a studio for printmaking. He described Atelier 17 as “an exchange of points of view, exchange of ideas, what one is trying to do and searching for some newness in technical innovations to fit in with a situation.” At Atelier 17 Moy met artists Adolph Gottlieb, Pearl Fine, and Peter Grippe, along with visiting artists Miro and Chagall. Moy found that despite the successfulness of some of these artists, they all worked together in a harmonious, cooperative environment.

In 1950 Moy received a Whitney Fellowship, the first big award of his career. As a result of this prestigious award, he was offered a visiting artist position at the University of Minnesota, which began his teaching career. Moy went on to teach at the University of Indiana, Smith, Vassar, and Columbia, and then received a Guggenheim grant in 1955.


Charles Littler

Charles Littler

University of Denver, 1948-49
University of Mexico, BA, 1949-50
Hans Hofmann School, NYC, 1951-52
Alfred University, MFA, 1954-56

Solo Exhibitions
James Gallery NYC, 1952-54
Glidden Gallery, NYC, 1956
The University of Arizona, Art Gallery, Tucson, 1980-91
Rosequist Gallery, Tucson, 1960
Temple of Music and Art, Tucson, 1960
Gallery of Realities, Taos, New Mexico, 1961
Tucson Art Center, 1961
Ohio University Gallery, Athens, Ohio, 1963
Woodward Gallery, Scottsdale, Arizona, 1974
Portraits, Rancho Linda Vista Gallery, Oracle, Arizona, 1977
Self Portraits, Pima Community College, Tucson, 1978
Rancho Linda Vista Barn Gallery, 1997
Looks Like Charles, M. Revak & Co., Tucson, AZ, 1999-2000

Selected Group Exhibitions
New York Center Gallery, 1953
149th Annual Exhibition, Pennsylvania Academy of Fine Arts, 1954
Invitational Show, The University of Arizona, Tucson, 1956
Prints and Drawings, Dallas Museum of Fine Arts, Dallas, Texas, 1957
Annual Arizona Invitational, The University of Arizona, 1958-59
Arizona Artists Guild, Phoenix, 1959
9th Annual Tucson Festival Art Show, Southwestern States Award, 1959
Southwestern Art Invitational, Dallas Museum of Art, Texas, 1960
Second Arizona Annual, Phoenix Art Museum (grand purchase), 1960
Third Arizona Annual, Phoenix Art Museum, 1961
11th Annual Tucson Festival Show, Tucson Art Center (award), 1961
First Annual Southwestern States Exhibition, Roswell Museum, New Mexico
(purchase award), 1962
Albuquerque Exhibition of Small Paintings, University of New Mexico (prize), 1962
Southwest Painting and Sculpture, The Museum of Fine Arts, Houston, 1962
Sherman-Sierk Gallery, 5 Artists, Tucson, Arizona, 1962
Sixty-Ninth Western Annual, Denver Museum of Art, 1963
19th Artists West of the Mississippi: The Realistic Image, Colorado Springs Fine Art
Center, 1963
Distinguished Alumni Exhibition, University of New Mexico Fine Arts Gallery, 1964
24th Annual Tucson Festival Exhibition, Tucson Art Center, 1974
RLV Art Show, Graphics Gallery, Tucson, 1974
Southwestern Invitational, Yuma Art Center, Arizona, 1975-8
Four Corners States Biennial, Phoenix Art Museum, 1981
Los Angeles Modernism Show and Sale, Off the Wall Productions, 2007
RLV 40th Anniversary Exhibition, 2008
RUBY LEE, collaboration with Pat Dolan, 1980-91:
Pictures, a site performance in the Catalina Mountains, Arizona, 1980
TRAIL MIX, permanent ongoing site sculpture, Rancho Linda Vista, Oracle, AZ, 1981
Park Art, temporary site specific sculptures in National Parks, 1981
Wedding Pictures, multi-media performance, Rancho Linda Vista, Oracle, AZ, 1982
Site Performances, performances at TRAIL MIX, 1982
Sound Pieces, installations at The University of Arizona Museum of Art, Tucson, 1983
Tokonama, installations at Rancho Linda Vista Gallery, Oracle, Arizona, 1982
String Trio, outdoor installation, Tucson Art Institute, 1985
Tucson Art Institute, mixed media installations, 1986
Family Portrait, outdoor installation, Tucson Botanical Garden, 1986
Plaza Plastique, outdoor installation, Tucson Pima Art Council, 1986
Memories, installation, Scottsdale Center for the Arts, 1986
Stump & Jump, outdoor installation, Tempe Center for the Arts, Tempe Arizona, 1987
20th Anniversary Show of RLV, Dinnerware Gallery, Tucson, 1989
Southwest ’90, Santa Fe Museum of Art, 1990
Pima County River Project Public Art Commission, 1990
Ten Year Anniversary Celebration, TRAIL MIX, RLV, Oracle, AZ, 1991

Public Collections
Phoenix Art Museum
University of New Mexico
Dallas Museum of Art
The University of Arizona Museum of Art
Roswell Museum of Art
Yuma Museum of Art
Tucson Art Center
Worcester Art Museum

Prize Winning Oil Paintings and Why They Won the Prize, 1961
The Painter and the Photograph by Van Deren Coke, 1961
Who’s Who in American Art, Allied Publications
Drawing and Form by W. Enstice & M. Peters
Arizona Daily Wildcat, 9/23/1976
Arizona Illustrated, KUAT-TV, 6/1986, 5/1989, 12/1992
Arizona Daily Star, July 14 & August 20, 1990, 11/19-11/26, 1999
Tucson Citizen, 12/1981
Artspace, Fall 1981

Work Experience
Secretary to Hans Hofmann, 1952-54
Silk screener, sign designer, 1958-59
Stage Designer, 1958, 1984
Professor of Art, University of Arizona, 1958-1984
Designer & Builder of Foam Shell Structures, 1971
Visiting Artist: New York State University, Brown University, University of Arkansas,
Cochise College

James Gallery, NYC (10th Street co-op gallery), 1952
Rancho Linda Vista (community dedicated to the arts), 1968
RUBYLEE (art collaborative with Pat Dolan, 1980

Charles Littler studied at the University of Denver (1948-49), University of New
Mexico (1949-50), Hans Hofmann School (1951-52), and Alfred University (1954-56).
He also served as secretary and assistant to Hans Hoffman from 1952-54. Littler
taught at the University of Arizona for over 25 years, while amassing an impressive
and varied body of work.

More concerned with the artwork itself than commercialism or celebrity, Littler
was not a traditional painter or sculptor, but worked in a wide range of media and

In 1957, Littler abandoned the New York art world where he had founded the James Gallery (1952), a 10th Street co-op gallery, and had been invited by Ileana Sonnabend
to show his work and moved to Tucson, AZ. Littler had long been interested in the
arts community lifestyle and after a weekend spent in a residential artists environment
he purchased a dude ranch in Oracle, Arizona to form Rancho Linda Vista in 1968,
which he considered to be his greatest artwork. Over time, the ranch established
a group consciousness which Littler felt compelled to nurture.

My view of Rancho Linda Vista is that it’s a work-of-art, initiated by me and executed
collaboratively by many members-past, present and future (including all of those
who don’t even think of themselves as artists).

Littler also collaborated with wife Pat Dolan, working on a series entitled RUBYLEE
(1980-91), which included performance, site-specific sculptures, installation, and video. Littler was concerned with blurring the line between art and life and living
his art. Art collaboration became the context for our life together, said Littler
of his marriage with Dolan.

Since Littler’s death in 1991, his legacy of Rancho Linda Vista lives on, and is
now populated by a younger generation of artists who continue to evolve Littler’s
original vision.

Artist Biography: John Grillo

(1917- )

Hartford School of Fine Arts
San Francisco School of Fine Arts
Hans Hofmann School

Awards and Fellowships:
The Samuel S. Bender Award for Painting, San Francisco, CA, 1947
Ford Foundation Grant for Work in Lithography, 1964
Tamarind Workshop, Los Angeles, 1964
Ford Foundation Artist in Residence Appointment, 1964
Research Grant, University of Massachusetts at Amherst, 1969 & 1976
Wistariahurst Museum, Prize for Best Sculpture, Holyoke, MA, 1981
First Prize in Oil Painting, Longmeadow Shops, Longmeadow, MA, 1983

Teaching Positions:
Visiting Artists, Southern Illinois University at Carbondale, 1960
Instructor in Painting and Drawing, School of Visual Arts, NY, 1961
Visiting Artist, University of California at Berkeley, 1961-63, 1973
Instructor in Painting, New School for Social Research, NY, 1964-66
Visiting Artist, Iowa University at Iowa City, 1967
Visiting Artist, Studio School of New York, 1971
Professor of Fine Arts, University of Massachusetts at Amherst, 1967-1991
Instructor in Painting and Drawing, Provincetown Art Association and Museum 1995

Corporate Collections:
The Lannan Foundation
The Geigy Collection
The Jones Library, Amherst, MA
The Yasuna Collection
The Herskovic Collection
Hale and Dorr, Attorneys at Law
Union Carbide Corporation, NY
Westinghouse Corporation, Pittsburgh
Pet Milk Company, St. Louis, NY
Olsen Foundation, Guilford, CT
The James A. Michner Foundation
The University of Texas at Austin
Bocour Artist Colors Inc., Garnerville, NY
Merrill-Lynch, NY

Public Collections:
The British Museum
The Metropolitan Museum of Art
The Solomon R. Guggenheim Museum of Art
The Whitney Museum of American Art
The Brooklyn Museum of Art
The University of Texas Museum at Austin
Dartmouth College
The Wadsworth Athenaeum
Newark Museum
Walker Art Center
Los Angeles County Museum of Art
Butler Institute, Youngstown, OH
Bundy Art Gallery Museum, Waitsfield, VT
Smith College Museum
Bennington College
Portland Museum
Norfolk Museum
University of California Museum of Art
The University of California Museum of Art, Berkeley
The University of Massachusetts, Amherst
The International Museum of Erotic Art, San Francisco
The Springfield Museum of Fine Art, MA
The Worcester Museum of Art
Provincetown Art Association and Museum
The University of New Hampshire
Museo de Antioquia, Medellin, Colombia
Foro de Arte Contimporaneo, Mexico City
Museo Rayo, Roldanillo Valle, Colombia
Museo de Arte Moderno La Tertulia, Cali, Colombia
Stamford Museum of Art, CT
Zimmerli Art Museum, Rutgers University, NJ
Springfield Art Museum, MO

Selected Solo Exhibitions:
Daliel Gallery, Berkeley, CA, 1947
Artist’s Gallery, NY, 1948
Tanager Gallery, NY, 1952
Tibor de Nagy Gallery, NY, 1953, 1970
Bertha Schaefer Gallery, NY, 1955, 1957, 1959
Tanager Gallery, 1960
Ankrum Gallery, Los Angeles, CA, 1962
Worth Ryder Hall, University of California, Berkeley, 1962
Howard Wise Gallery, NY, 1961, 1962, 1963
Butler Institute, Youngstown, OH, 1964
New School for Social Research, NY, 1967
Grace Borgenicht Gallery, NY, 1975, 1977, 1978
Foro de Arte Contemporaneo, Mexico City, 1980
Arte Actual Gallery, Mexico City, 1981
Museo Zea, Madellin, Colombia, 1981
Jean Lumbard Fine Arts, 1982, 1983
Galeria Pluma, Bogota, Colombia, 1982
Sloan Rocotta Gallery, Mexico City, 1982
Gal A.R.T., Bogota, Colombia, 1984
University of Madellin, Madellin, Colombia, 1985
Provincetown Art Association and Museum, 1988
Museo de Antioquia, Medellin, Colombia, 1985, 1987, 1989, 1991
Carlson Gallery, San Francisco, 1989
Amherst Gallery of Fine Art, Amherst, MA, 1991
The University of Massachusetts, Amherst, 1983, 1987, 1988, 1989, 1990, 1991
The University of New Hampshire, 1997
Galerie Zhouf, Prague, 1998
Katherina Rich Perlow Gallery, NY, 1996, 1999
Aaron Galleries, Chicago, 2000
The Cove Gallery, Wellfleet, MA, 1989, 1998, 2000, 2001
Robert Green Fine Arts, Mill Valley, CA, 1998, 2000, 2002
Museo Italo Americano, San Francisco, 2002

Selected Group Exhibitions:
The Geigy Collection, Lincoln Center for the Performing Arts, NY, 1969
Recent Acquisitions, The Solomon R. Guggenheim Museum, NY, 1970, 1972, 1976
17th National Print Show, The Brooklyn Museum
New York University Collection, Hudson River Museum, Yonkers, NY
Tanager Artists of the ‘50s, Roko Gallery, NY
California Artists, 1944-52, Oakland Museum, CA
Selections from Hans Hofmann and His Students, University Art Museum, University of
California, Berkeley, 1974
Collages of the Fifties, Harpsichord and Buecker Gallery, NY, 1975
The Magic Circle, The Bronx Museum of Art, NY, 1976
Painters as Poets, University Gallery, The University of Massachusetts, Amherst, MA
40 Post War Painters, The Solomon R. Guggenheim Museum, NY, 1977
The Hansan Purchase Fund Exhibition, The American Academy, Institute of Arts and
Letters, NY, 1978
Hans Hofmann and His Students’ Drawings, Metropolitan Museum of Art, 1979
Twentieth Century Art from Area Collections, Museum of Fine Arts, Springfield, MA,
IV Biennial de Arte Medellin, Medellin, Colombia, 1981
Illusions of Light, Museum of Fine Arts, Worcester, MA, 1981
Studies for Major Works by Major Artists, Jean Lumbard Gallery, NY, 1982
The Gathering of the Avant-Garde: The Lower East Side, 1948-1970, Kenkelba
Gallery, 1985
Contemporary American Collage 1960-1986, Herter Gallery, The University of
Massachusetts, Amherst, traveling exhibition, 1987-1989
Paper Trails: San Francisco Abstract Expressionist Prints, Drawings and Watercolors,
The Art Museum of Santa Cruz County, Santa Cruz, CA, 1993
New York-Provincetown: A 50s Connection, The Provincetown Art Association and
Museum, MA, 1994
Provincetown Abstract Paintings 1915-1950 from the Penny and Hilton Yasuna
Collection, Provincetown Art Association and Museum, MA 1994
The San Francisco School of Abstract Expressionism, Laguna Art Museum, Laguna
Beach, CA, 1996
Pioneers of 20th Century Art, Robert Green Fine Arts, Mill Valley, CA, 2001
Karl Kasten companiles and UC Berkeley Art Friends, Galerie Sho, Tokyo, Japan,