Artists

ACME Biographies

George Lloyd

George Lloyd
(1945- )

Education
1963-1967 Rhode Island School of Design, BFA
1967-1969 Yale University School of Art and Architecture, MFA

Awards
1994 Pollock-Krasner Foundation. Also 2006-07.
1995 Elizabeth Foundation Grant

Residency
2002 Visiting Artist, American Academy in Rome.

Teaching Appointments
1969-1970 University of California, Berkeley, CA. Also 1947-1975.
1972-1973 San Francisco Academy of Art, San Francisco, CA.
1975-1976 University of Oregon, Eugene, OR.
1982 Cornell University, Ithaca, NY.
1987 University of Southern Maine, Portland/Gorham, ME. Also 2008-2009.

Solo Exhibitions
1974-1975 John Bolles Gallery, San Francisco, CA.
1975 George Lloyd: Drawings, The Center Gallery, University of California Extension, San Francisco, CA.
1978 Lawson de Celle Gallery, San Francisco, CA. Also 1980.
1980 Center for the Arts, Wesleyan University, Middletown, CA.
1983 Hotchkiss School, Lakeville, CT.
Davison Art Center, Wesleyan University, Middletown, CT.
Dana Reich Gallery, San Francisco, CA.
1985 Portland Performing Arts Center, Portland, ME.
1986 Victor Fischer Galleries, Oakland, CA.
1990 Shasta College Art Gallery, Redding, CA.
1994 George Lloyd – The Bay Area Years: 1971-1982, Kennedy Art Gallery, Holy Names College, Oakland, CA.
1996 George Lloyd: Paintings, Caldbeck Gallery, Rockland, ME.
2000 George Lloyd – Paintings from the early 1970s, Hackett-Freedman Gallery, San Francisco, CA.
2001 George Lloyd – The Maine Years: Paintings 1982-2000, Ogunquit Museum of American Art, Ogunquit, ME.
2003 George Lloyd – The Transition Years, 1982-1984, University of Maine Museum of Art, Bangor, ME.
George Lloyd – Figurative Paintings and Drawings from the early ‘90s, Aucocisco Gallery, Portland, ME.
2006 George Lloyd – Between Plan and Elevation, Portland Museum of Art, Portland, ME.
2007 George Lloyd: Paintings from the 70s & 80s, ACME Fine Art, Boston.
2009 Greenhut Gallery, Portland, ME

Selected Group Exhibitions
1969 New Talent, Alpha Gallery, Boston, MA.
1973 Brown, Bischoff, Cook, Lloyd, Charles Campbell Gallery, San Francisco.
Brown, Bischoff, Cook, Lloyd, Crocker Art Museum, Sacramento, CA.
1974 Visiting Faculty Show, Worth Ryder Gallery, University of California, Berkeley, CA
1977 Bay Area Artists Exhibition, Oakland Museum, Oakland, CA.
Six East Bay Painters, Oakland Museum, Oakland, CA.
1978 Five Berkeley Artists, Ohlone College, Fremont, CA.
Metaphor in Painting, Federal Hall National Memorial, New York, NY.
1979 Art and Technology, Center for the Visual Arts, Oakland, CA.
1980 A Drawing Show, Santa Rosa Junior College, Santa Rosa, CA.
1981 Architectural Subjects, School of the Museum of Fine Arts, Boston, MA.
1982 Cornell Faculty Show, Johnson Museum, Cornell University, Ithaca, NY.
1988 Art and Architecture, Hobe Sound Gallery, Portland, ME.
Fine Arts Work Center, Provincetown, MA.
1989 Faculty Exhibition, University Art Museum, Santa Barbara, CA.
1992 167th Annual Exhibition, National Academy of Design, New York, NY.
1994 The Breakfast Group: 20th Anniversary Show, Landes Gallery,
Berkeley, CA.
1996 The Invented Figure, Chuck Levitan Gallery, New York, NY.
1998 Maine Biennial, Portland Museum of Art, Portland, ME.
1999 Drawing without Models: Works by George Lloyd, Abby Shahn, Joe Slusky & Chip Sullivan, Wiegand Gallery, Notre Dame College,
Belmont, CA.
2001 Abstraction: 22 Visions, Maine Art Gallery, Wiscasset, ME.
A Landscape Show, BACCA 1010, Berkeley, CA.
2003 The Abstracted Landscape, Center for Maine Contemporary Art, Rockport, ME.
2006 Geometry and Abstraction, ACME Fine Art, Boston, MA.
2007 Maine Modern II, ACME Fine Art, Boston, MA
2008 Figuratively Speaking, George Marshall Store Gallery, York, ME.
The Portland Show, Greenhut Gallery, Portland, ME.

Selected Collections
Achenbach Foundation, California Palace of the Legion of Honor, San Francisco, CA.
California Palace of the Legion of Honor, San Francisco, CA.
De Saisset Museum, Santa Clara University, Santa Clara, CA.
Oakland Museum, Oakland, CA.
Ogunquit Museum of American Art, Ogunquit, ME.
Portland Museum of Art, Portland, ME.
University Art Museum, University of California, Santa Barbara, CA.
University of Maine Museum of Art, Bangor, ME.

Biography
George Lloyd is a Boston native who studied painting with Richard Merkin and Robert Hamilton at the Rhode Island School of Design and with Lester Johnson and Jack Tworkov while earning his M.F.A. at Yale University. In the late 1960s Lloyd accepted a teaching position at the University of California at Berkeley, and joined a figure drawing group that included among its members, Joan Brown, Gordon Cook, and Elmer Bischoff. The group met weekly, and collectively became an important influence on Lloyd’s work from that period.

Subsequent to teaching at U.C. Berkeley, Lloyd has held teaching positions at the University of Oregon, Wesleyan University, and Cornell University. He has been the recipient of Pollock Krasner and Elizabeth Foundation Grants. Lloyd’s work has been included in exhibitions at the Oakland (CA) Museum of Art and solo exhibitions of his work have been mounted at Wesleyan University, the Ogunquit Museum of American Art, the University of Maine Museum of Art, and most recently (2006) at the Portland Museum of Art (ME).

Lloyd resides in Portland, Maine since 1983.

Lester Johnson

Lester Johnson
(1919-2010)

 

Education

Minneapolis School of Art, Minneapolis, Minnesota.
St. Paul Art School, St. Paul, Minnesota
The School of the Art Institute of Chicago, Illinois.
FELLOWSHIPS AND AWARDS:
1939 Alfred Pillsbury Scholarship.
1940-’41 The President’s Scholarship, Minneapolis School of Fine Arts, Minneapolis, Minnesota.
1941 St. Paul Gallery Scholarship.
1942 First Prize, Midwestern Artists Competition.
1961 Longview Fellowship, Massachusetts Institute of Technology, Cambridge, Massachusetts.
1973 Guggenheim Fellowship.
1978 Brandeis University, Creative Arts Award for Painting.
1987 Elected Associate, National Academy of Design.
2003 American Academy of Arts and Letters, Jimmy Ernst Award.
2004 Elected Member, American Academy of Arts and Letters.

Selected Solo Exhibitions

1951 Artists Gallery, New York.
1954 Korman Gallery, New York.
Sun Gallery, Provincetown, Massachusetts.
1955 Zabriskie Gallery, New York.
1956 Sun Gallery, Provincetown, Massachusetts.
1957 Zabriskie Gallery, New York.
Sun Gallery, Provincetown, Massachusetts.
1958 Zabriskie Gallery, New York.
Sun Gallery, Provincetown, Massachusetts.
1959 Zabriskie Gallery, New York.
Sun Gallery, Provincetown, Massachusetts.
City Gallery, New York.
1960 Sun Gallery, Provincetown, Massachusetts.
HCE Gallery, Provincetown, Massachusetts.
1961 Minneapolis Art Institute, Minneapolis, Minnesota.
Zabriskie Gallery, New York.
Ohio State University Gallery, Columbus, Ohio.
1962 Martha Jackson Gallery, New York.
BC Holland Gallery, New York.
Art Institute of Chicago, Chicago, Illinois.
Dayton Art Institute, Dayton, Ohio.
Ohio State University Museum, Columbus, Ohio.
HCE Gallery, Provincetown, Massachusetts.
1963 Martha Jackson Gallery, New York.
1964 The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
Martha Jackson Gallery, New York.
1965 Donald Morris Gallery, Detroit, Michigan.
Yale University Art Museum, New Haven, Connecticut.
Anderson-Mayer Gallery, Paris, France.
1966 Martha Jackson Gallery, New York.
1967 The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
Donald Morris Gallery, Detroit, Michigan.
Martha Jackson Gallery, New York.
Temple Shalom, New York.
1968 Smithsonian Institution, Washington, DC.
CCAC Gallery, California College of Arts and Crafts, Oakland, California.
1969 Martha Jackson Gallery, New York.
BC Holland Gallery, Chicago, Illinois.
1971 The Human Situation: Street Scenes 1969-71, Martha Jackson Gallery, New York.
Merridin Gallery, London, England.
1972 Alpha Gallery, Boston, Massachusetts.
Tirca Karlis Gallery, Provincetown, Massachusetts.
1973 Martha Jackson Gallery, New York.
Gallery Moos, Ltd., Toronto, Ontario, Canada.
Richard Gray Gallery, Chicago, Illinois.
Ruth Schaffner Gallery, Santa Barbara, California.
Smith Andersen Gallery, San Francisco, California.
1974 William Cooper Proctor Art Center, Bard College, Annandale-On-Hudson, New York.
Ruth Schaffner Gallery, Los Angeles, California.
Galerie Smith-Anderson, Palo Alto, California.
Donald Morris Gallery, Detroit, Michigan.
1975 Early Works, Livingston-Learmonth Gallery, New York.
Martha Jackson Gallery, New Uork.
Jorgensen Gallery, University of Connecticut, Storrs, Connecticut.
1976 Alpha Gallery, Boston, Massachusetts.
1977 The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
The City, Gimpel & Weitzenhoffer Gallery, New York.
Hurlbutt Gallery, Greenwich Library, Greenwich, Connecticut.
Gallery Moos Ltd., Toronto, Ontario, Canada.
1978 Donald Morris Gallery, Detroit, Michigan.
Ruth Schaffner Gallery, Los Angeles, California.
Peter M. David Gallery, Minneapolis, Minnesota.
1979 Gimpel Fils, London, England.
Foster Gallery, Louisiana State University, Baton Rouge, Louisiana.
1980 Street Scenes, Gimpel & Weitzenhoffer Gallery, New York.
Swain School of Art, New Bedford, Massachusetts.
Gimpel-Hanover & Andre Emmerich Galerien, Zurich, Switzerland.
1981 Donald Morris Gallery, Detroit, Michigan.
University of Virginia Art Museum, Charlottesville, Virginia.
1982 Alpha Gallery, Boston, Massachusetts.
Gimpel & Weitzenhoffer Gallery, New York.
Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
1983 The Early Paintings 1957-67, Zabriskie Gallery, New York.
The PaperWork Gallery, Larchmont, New York.
Chicago International Art Fair (Donald Morris Gallery), Chicago, Illinois.
1984 Munson Gallery, New Haven, Connecticut.
Kansas City Art Institute, Kansas City, Missouri.
1985 David Barnett Gallery, Milwaukee, Wisconsin.
Zabriskie Gallery, New York.
Donald Morris Gallery, Detroit, Michigan.
1986 Gallery Moos Ltd., Toronto, Ontario, Canada.
Munson Gallery, New Haven, Connecticut.
1987 The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
Westmoreland Museum of Art, Greensburg, PA.
Works on Paper 1960-87, Jack Schainman Gallery, Washington, DC.
Gallery Moos Ltd., Toronto, Ontario, Canada.
Gallery Moos Ltd., New York.
1988 Augustana College, Rock Island, Illinois.
Munson Gallery, New Haven, Connecticut.
35 Years of Prints, Cone Editions, New York.
Goldman-Kraft Gallery, Chicago, Illinois.
Recent Works, Walter Moos Gallery, Toronto, Ontario, Canada.
Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
1989 Retrospective, David Barnett Gallery, Milwaukee, Wisconsin.
1990 Gimpel & Weitzenhoffer Gallery, New York.
Paris-New York, Kent Fine Arts, Kent, Connecticut.
1991 A Print Retrospective 1960-1990, Erector Square Gallery, New Haven, Connecticut.
Donald Morris Gallery, Birmingham, Michigan.
1992 Margaret Lipworth Gallery, Boca Raton, Florida.
Eva Cohon Gallery, Chicago, Illinois.
1993 Jack Rutberg Fine Arts, Los Angeles, California.
1994 Edward Thorp Gallery, New York.
David Barnett Gallery, Milwaukee, Wisconsin.
1995 Margaret Lipworth Gallery, Boca Raton, Florida.
1996 Norwalk Community Technical College, Norwalk, Connecticut.
UFO Gallery, Provincetown, Massachusetts.
Denise Cade Gallery in association with Joseph Rickards Fine Art, New York.
Peter Findlay Gallery, New York.
1998 Peter Findlay Gallery, New York.
France & America, Denise Cade & with Joseph Rickards Fine Art, New York.
An Overview of the Graphic Work, Joseph Rickards Fine Art, New York.
1999 David Klein Gallery, Birmingham, Michigan.
2000 Albert Merola Gallery, Provincetown, Massachusetts.
2001 Lester Johnson Figurative Expressionism: Paintings 1963-2000, Provincetown Art Association and Museum, Provincetown, Massachusetts.
Provincetown Watercolors from the 1950s, Albert Merola Gallery, Provincetown, Massachusetts.
2002 Peter Findlay Gallery, New York.
Lillian Heidenberg Gallery, West Palm Beach, Florida.
Albert Merola Gallery, Provincetown, Massachusetts.
2003 Early and Late Works, David Klein Gallery, Birmingham, Michigan.
2004 Lester Johnson: Four Decades of Painting, James Goodman Gallery, New York.
2005 People Passing By: Paintings, Drawings and Prints by Lester Johnson, William Benton Museum of Art, University of Connecticut at Storrs, Connecticut (retrospective).
2006 Paintings, Drawings and Prints by Lester Johnson 1955-2005, David Klein Gallery, Birmingham, Michigan.
Beach Series, East Hampton, David Klein Gallery, Birmingham, Michigan.
2007 Lester Johnson Figurative Oil Paintings from the 1960s, ACME Fine Art and Design, Boston, Massachusetts.
2009 Lester Johnson: 1950s Works on Paper, ACME Fine Art and Design, Boston, Massachusetts.
2010 Lester Johnson: The ‘60s, David Klein Gallery, Birmingham, Michigan.
2011 Lester Johnson Memorial Exhibition, ACME Fine Art and Design, Boston, Massachusetts

Selected Group Exhibitions

1949 Annual Watercolor Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.
1951 Annual Watercolor Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.
1955 813 Broadway Gallery, New York.
1956 Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.
Artists of the New York School: Second Generation, The Jewish Museum, New York.
1957 Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.
Stable Gallery, New York.
American Painting 1945-1957, Minneapolis Institute of Art, Minneapolis, Minnesota.
1958 Annual, Whitney Museum of American Art, New York.
Critics Choice, The Baltimore Museum of Art, Baltimore, Maryland.
1959 100 Works on Paper, Institute of Contemporary Art, Boston, Massachusetts.
Ellison Gallery, Fort Worth, Texas.
Art U.S.A., Sarah Lawrence College, Bronxville, New York.
Painting Annual, University of Colorado, Boulder, Colorado.
Salzburg Festival, Germany.
Nebraska Art Association, Lincoln, Nebraska.
1960 Figure in Contemporary Painting, American Federation of Arts, New York.
Future Classics, Institute of Contemporary Art, Boston, Massachusetts.
Felix Landau Gallery, Los Angeles, California.
Critics Choice, City and Town School, New York.
Graphics 1960, American Federation of Arts, New York.
Pursuit and Measurement of Excellence, Weatherspoon Art Gallery, University of North Carolina, Greensboro, North Carolina.
Nebraska Annual, University of Nebraska, Lincoln, Nebraska.
1961 The Emerging Figure, The Museum of Contemporary Art, Houston, Texas.
Carnegie International, The Carnegie Institute, Pittsburgh, Pennsylvania.
Recent Painting and Sculpture, The Museum of Modern Art, New York.
1962 Recent Paintings U.S.A.: The Figure, The Museum of Modern Art, New York.
Recent Trends in Painting, USA, The Art Institute of Chicago, Chicago, Illinois.
1963 L’Avant-Garde, Musee Cantonal des Beaux-Arts, Lausanne, Switzerland.
Eleven Americans, Martha Jackson Gallery, New York.
Ohio State University Museum, Columbus, Ohio.
Selections from the Fort Worth Collections, Fort Worth Art Center, Fort Worth, Texas.
1964 Annual Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.
Contemporary American Drawings, The Solomon R. Guggenheim Museum, New York.
Carnegie International, The Carnegie Institute, Pittsburgh, Pennsylvania.
Figuration into Abstraction, Museum voor Schone Kunsten, Ghent, Belgium.
Portraits from the American Art World, New School Art Center, The New School for Social Research, New York.
The American Conscience, New School Art Center, The New School for Social Research, New York.
Old Hundred, Aldrich Museum, Ridgefield, Connecticut.
1965 American Federation of Arts, New York.
Figuration, Martha Jackson Gallery, New York.
Bucknell University, Lewisburg, Pennsylvania.
1966 Zabriskie Gallery, New York.
Thirteenth Annual, Lehigh University, Bethlehem, Pennsylvania.
Contemporary Urban Visions, New School Art Center, The New School for Social Research, New York.
New Figuration, Harpur College, Binghamton, New York.
A Point of View, Oakland University, Rochester, Michigan.
1967 1967 Annual, Whitney Museum of American Art, New York.
The 1960s, The Museum of Modern Art, New York.
Carnegie International, The Carnegie Institute, Pittsburgh, Pennsylvania.
The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
Fourteenth Annual, Lehigh University, Bethlehem, Pennsylvania.
Homage to Morandi, The School of Visual Arts, New York.
Junior Council Purchase Show, Fort Worth Art Center, Fort Worth, Texas.
A Christmas Show, Martha Jackson Gallery, New York.
1968 Whitney Museum of American Art, New York.
Social Comment in American Art, The Museum of Modern Art, New York.
American Paintings on the Market Today, Cincinnati Art Museum, Cincinnati, Ohio.
The Figure: A New Vein 1963-1968, Center of Visual Arts Institute Torcuato Di Tella, Buenos Aires, Argentina.
Buffalo Art Festival, The Albright-Knox Art Gallery, Buffalo, New York.
Six Painters from the Martha Jackson Gallery, University of Texas, Austin, Texas.
Figuration, The New School for Social Research, New York.
Ravina Festival, Northwestern University, Evanston, Illinois.
Akron Art Center, Akron, Ohio.
Timeless Paintings from the U.S.A., Paul Facchetti Gallery, Paris, France.
The Poetry of Vision, ROSC, Dublin, Ireland.
Paintings for Your Collection, Rhode Island School of Design, Providence, Rhode Island.
Project Outreach, Detroit Institute of the Arts, Detroit, Michigan.
1969 The New Vein: The Human Figure 1963-68, Smithsonian Institution, Washington, DC.
Philadelphia Art Alliance, Philadelphia, Pennsylvania.
Fondation Marguerite et Aime Maeght L’Art Vivant aux etats Unis, St. Paul-de-Vence, France.
Il Bienal Internacional del Deporte en las Bellas Artes, Madrid, Spain.
Dealers’ Choice, Northern Arizona University, Flagstaff, Arizona.
Paintings Courtesy of Martha Jackson, John Bolles Gallery, San Francisco, California.
1970 The Thomas Edward Benesch Memorial Exhibition of his Collection, The Baltimore Museum of Art, Baltimore, Maryland.
Carnegie International, The Carnegie Institute, Pittsburgh, Pennsylvania.
L’Art Vivant aux Etats Unis, Fondation Marguerite et Aime Maeght, St. Paul-de-Vence, France.
Regards Privileges 1951-70, Galerie Paul Facchetti, Paris, France.
Artists of Suffolk County – Part III Figurative Tradition, Heckscher Museum, Huntington, New York.
Works on Paper, Virginia Museum, Richmond, Virginia.
1971 18th Annual Exhibition: From Madison Avenue to the Sohos, Jewish Community Center, Bayone, New Jersey.
Homage to Tanager, Roko Gallery, New York.
Martha Jackson Gallery Collection, Seibu Department Store, Tokyo, Japan.
Painting and Sculpture Invitational Show, New England Art, Provincetown, Massachusetts.
Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro, North Carolina.
1972 70th American Exhibition, The Art Institute of Chicago, Chicago, Illinois.
Ten Independents – An Artist Initiated Exhibition, The Solomon R. Guggenheim Museum, New York.
Seventeenth National Print Exhibition, Brooklyn Museum of Art, Brooklyn, New York.
Cross-Section New York 1972, Hamilton College, Clinton, New York.
Martha Jackson Collection, Rockland Community College, Suffern, New York.
Contemporary Painting, Lehigh University, Bethlehem, Pennsylvania.
118 Artists, Landmark Gallery, New York.
Immagine per la Citta, Palazzo dell’Academia, Palazzo Reale, Genoa, Italy.
1973 Biennial, Whitney Museum of American Art, New York.
L’Estampes Contemporaine, La Bibliotheque Nationale, Paris, France.
Voices of Alarm, Lerner-Heller Gallery, New York.
Drawings U.S.A. ’73, Minnesota Museum of Art, St. Paul, Minnesota.
The Private Collection of Martha Jackson, The Albright-Knox Art Gallery, Buffalo, New York.
1974 Nineteenth National Print Exhibition, Brooklyn Museum of Art, Brooklyn, New York.
1975 Subject Matter, Landmark Gallery, New York.
1976 Painting and Sculpture Today, The Indianapolis Museum of Art, Indianapolis, Indiana.
Skidmore College, Saratoga Springs, New York.
Visions: The Paintings and Sculptures of Distinguished Alumni, The School of the Art Institute of Chicago, Chicago, Illinois.
1977 Tenth Street Days: The Co-ops of the 50s, Pleiadea Art Gallery, New York.
Manscape 77, Oklahoma Art Center, Oklahoma City, Oklahoma.
Provincetown Artists, Provincetown Art Association and Museum, Provincetown, Massachusetts.
Fall 77: Contemporary Collectors, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
1978 Connecticut Painting, Drawing and Sculpture 1978, New Britain Museum of American Art, New Britain, Connecticut.
A Benefit for the Yale School of Art: Works by Members of the Yale Faculty 1950-78, Harold Reed Gallery, New York.
Connecticut Painting, Drawing and Sculpture 1978, Cummings Art Center, Connecticut College, New London, Connecticut.
From the Imagination, Green Mountain Gallery, New York.
Connecticut Painting, Drawing and Sculpture 1978, Carlson Art Gallery, University of Bridgeport, Connecticut.
1979 Alumni of School of the Art Institute, The Art Institute of Chicago, Chicago, Illinois.
Collection: Art in American After World War II, The Solomon R. Guggenheim Museum, New York.
Art in Bloom, Washington County Museum of Art, Hagerstown, Maryland.
Masters of the Portrait, The Oklahoma Museum of Art, Oklahoma City, Oklahoma.
1980 James Joyce in Perspective, Provincetown Art Association and Museum, Provincetown, Massachusetts.
Portraits Real and Imagined, Guild Hall Museum, East Hampton, New York.
Selected 20th Century American Self Portraits, Harold Reed Gallery, New York.
Masters of American Watercolor, The Oklahoma Museum of Art, Oklahoma City, Oklahoma.
1981 The Sun Gallery, Provincetown Art Association and Museum, Provincetown, Massachusetts.
12th Annual Invitational Exhibitions of Paintings by Figurative Painters, Moravian College, Bethlehem, Pennsylvania.
1982 Homo Sapiens, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
In Our Time, Contemporary Arts Museum, Houston, Texas.
Neuberger Museum of Art, SUNY, Purchase, New York.
Contemporary Masters, Hamilton College Museum, Clinton, New York.
American Figurative Expressionism 1950-1960, Marilyn Pearl Gallery, New York.
The Changing Figure 1962-1982, Landmark Gallery, New York.
Street Painters, Lever House, New York.
1983 Connecticut Painters 7+7+7, Wadsworth Atheneum, Hartford, Connecticut.
Selections from the Permanent Collection, Guild Hall Museum, East Hampton, New York.
The Painterly Figure, Monique Knowlton Gallery, New York.
Contemporary Prints, Munson Gallery, New Haven, Connecticut.
American Realism 1930s-1980s, A Contemporary Perspective, Summit Art Center, Summit, New Jersey.
Paintings and Sculpture in the Permanent Collection, University of Arizona Museum of Art, Tucson, Arizona.
1984 Figurative Expressionism, Art Museum Association of America, San Francisco, California.
The First Eight Years, Artists’ Choice Museum, New York.
Aspects of the City, The Metropolitan Museum of Art, New York.
David Haynes – Lester Johnson, Joseloff Gallery, University of Hartford, Hartford, Connecticut.
Twentieth Century American Drawing from the Arkansas Art Center Foundation Collection, The Arkansas Art Center, Little Rock, Arkansas.
1985 The Artist Celebrates New York, The Metropolitan Museum of Art, New York.
Martha Jackson Memorial Collection, Museum of American Art, Smithsonian Institution, Washington, DC.
Federal Support for the Permanent Collection, Guild Hall Museum, East Hampton, New York.
Prints Ensuite, The Katonah Gallery, Katonah, New York.
Expressionism: An American Beginning, Provincetown Art Association and Museum, Provincetown, Massachusetts.
Two Americans, Zabriskie Gallery, Paris, France.
1986 Naked/Nude Print Exhibition, The Museum of Modern Art, New York.
1995 The Neuberger Museum of Art, Purchase, New York.
Editions 1974-1991, Pharos Gallery, New York.
Editions, Skoto Gallery, New York.
2001 Out of the Fifties – Into the Sixties: Six Figurative Expressionists, Michael Rosenfeld Gallery, New York.
2002 Ten Realists, Mitchell Algus Gallery, New York.
20th Anniversary Exhibition, Denise Cade Gallery, New York.
2003 Visions and Revisions: Art on Paper since 1960, Museum of Fine Arts, Boston, Massachusetts.
Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York.
Contemporary Art from Nashville Collections, First Center for the Visual Arts, Nashville, Tennessee.
2004 Gallery Moos, Toronto, Ontario, Canada.
2007 Black and White and a little red… David Klein Gallery, Birmingham, Michigan.
Figuratively Speaking, ACME Fine Art and Design, Boston, Massachusetts.
2008 Summer Salon, ACME Fine Art and Design, Boston, Massachusetts.
Works on Paper, ACME Fine Art and Design, Boston, Massachusetts.
2009 Days Lumberyard Studios 1915-1972, ACME Fine Art and Design, Boston, Massachusetts.
2010 Have you been good? David Klein Gallery, Birmingham, Michigan.
Summer Salon, ACME Fine Art and Design, Boston, Massachusetts.
Days Lumberyard Studios, Hudson D. Walker Gallery, Fine Arts Work Center, Provincetown, Massachusetts.

Lester Johnson. Giuliano photo.

Selected Collections

Harry N. Abrams Inc. Publishers, New York.
The Albright-Knox Art Gallery, Buffalo, New York.
The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.
Art Institute of Chicago, Chicago, Illinois.
The Baltimore Museum of Art, Baltimore, Maryland.
Boca Raton Museum, Boca Raton, Florida.
The Bruce Museum, Greenwich, Connecticut.
The Carnegie Museum of Art, Pittsburgh, Pennsylvania.
The Chase Manhattan Bank, New York.
The Chrysler Museum, Norfolk, Virginia.
Dayton Art institute, Dayton, Ohio.
The Detroit Institute of Art, Detroit, Michigan.
Fogg Art Museum, Harvard University Museums, Cambridge, Massachusetts.
Fort Lauderdale Museum, Fort Lauderdale, Florida.
Fort Worth Art Museum, Fort Worth, Texas.
The Solomon R. Guggenheim Museum, New York, New York.
Guild Hall, East Hampton, New York.
Hirshhorn Museum and Sculpture Garden, Washington, DC.
Honolulu Academy of Arts, Honolulu, Hawaii.
Housatonic Museum of Art, Bridgeport, Connecticut.
Kalamazoo Institute of Arts, Kalamazoo, Michigan.
Madison Art Center, Madison, Wisconsin,
The Metropolitan Museum of Art, New York.
Milwaukee Union Art Gallery, University of Wisconsin, Milwaukee, Wisconsin.
Minneapolis Institute of Art, Minneapolis, Minnesota.
Museum of Art, Rhode Island School of Design, Providence, Rhode Island.
The Museum of Modern Art, New York
The Museum of Fine Arts, Boston, Massachusetts.
National Museum of American Art, Smithsonian Institution, Washington, DC.
Neuberger Museum SUNY, Purchase, New York.
The New Jersey State Museum, Trenton, New Jersey.
The New School for Social Research, New York.
The New York Public Library, New York.
Orton Museum, Ohio State University, Dayton, Ohio.
Phoenix Art Museum, Phoenix, Arizona.
Rose Art Museum, Brandeis University, Waltham, Massachusetts.
Sheldon Memorial Art Gallery, University of Nebraska Art Galleries, Lincoln, Nebraska.
U.S. Steel Corporation, Pittsburgh, Pennsylvania.
University of Arizona Museum of Art, Tucson, Arizona.
Westmoreland Museum of Art, Greensburg, Pennsylvania.
Wadsworth Athenaeum, Hartford, Connecticut.
The Walker Art Center, Minneapolis, Minnesota.
Whitney Museum of American Art, New York.
Wichita Art Museum, Wichita, Kansas.
Williams College Museum of Art, Williamstown, Massachusetts.
Yale University Art Gallery, New Haven, Connecticut.

Biography

Lester Johnson was born in 1919 in Minneapolis, Minnesota; the youngest of seven and grandchild of Swedish Homesteaders. After studying at the Minneapolis School of Art, and the St. Paul Art School, he came, in 1947, to New York City. His first studio (and home) was next door to Wolf Kahn on 6th Street and Avenue A, followed by a loft on St. Mark’s Place which he shared with Larry Rivers. He married Josephine Valenti, an art historian, in 1949, and moved into a house on 2nd Ave and 2nd Street – which was shared, again, with Wolf Kahn. After moving uptown, he continued to work downtown, in a studio on 222 Bowery. In 1961, he briefly left the city for an artist-in-residence position at Ohio State. After returning, and while sharing a studio on 10th St. with Philip Pearlstein, he was invited by Jack Tworkov to teach at Yale. He accepted and he and his wife, with their two children, Leslie and Anthony, moved to Milford, CT, where he taught and continued to paint in a studio behind their house. Summers were spent in Springs, Long Island (where Lester and Jo bought property in 1955), throughout his time at Yale as well as after moving to Greenwich, CT. Later, he had four grandchildren: Stephanie, Julia, Nicholas, and Abby. Johnson lived briefly in Southampton where he died in 2010.

Chronology

1919 Born January 27 in Minneapolis, Minnesota.
1939 Alfred Pillsbury Scholarship.
1940-’41 The President’s Scholarship, Minneapolis School of Fine Arts, Minneapolis, Minnesota.
1941 St. Paul Gallery Scholarship.
1942 First Prize, Midwestern Artists Competition.
1941-’47 Studies at the Minneapolis School of Art, St. Paul Art School, and The School of the Art Institute of Chicago.
1947 Moves to New York, where he became one of the first downtown loft-dwellers, sharing a studio with Larry Rivers. Attended classes at the Hans Hofmann School of Fine Arts.
1948 Views a show of Giacometti paintings at the Pierre Matisse Gallery, which influences his painterly style.
1949 Marries Josephine Valenti. Shared a studio with figurative realist Philip Pearlstein.
1950 First solo exhibition, Artists Gallery, New York.
1961 Longview Fellowship, Massachusetts Institute of Technology, Cambridge, Massachusetts.
1961-’62 Artist-In-Residence, Ohio State University, Columbus, Ohio.
1964 Begins teaching figure drawing at Yale, where he teaches until his retirement in 1989. Summer Artist-In-Residence, University of Wisconsin, Milwaukee, Wisconsin.
1969 Became Director of Studies for the Graduate Painting Program at Yale, an appointment that would last until 1974.
1973 Guggenheim Fellowship.
1978 Brandeis University Creative Arts Award for Painting.
1987 Elected Associate of the National Academy of Design. Brandeis University, Creative Arts Award for Painting.
2003 American Academy of Arts and Letters, Jimmy Ernst Award.
2004 Survey exhibition of his work at James Goodman Gallery, New York, Lester Johnson: Four Decades of Painting. Elected Member, American Academy of Arts and Letters.
2005 Fifty year retrospective, People Passing By: Paintings, Drawings and Prints by Lester Johnson, William Benton Museum of Art, University of Connecticut at Storrs.
2010 Dies May 30.

Kenneth Stubbs

Kenneth Stubbs (1907-1967)

kennethstubbs

Born July 13, 1907, Ochlocknee, Georgia
Died October 20, 1967, Washington, D.C.
Studies

Corcoran School of Art. Washington, D.C.1926 to 1930
Webster School of Art, Provincetown, Massachusetts, June-October 1931 and 1934
Wicker School of Art, Detroit Michigan, June-October 1933
Academia della Bella Arte, Florence, Italy, January- April 1950
Employment

Advertising art, Detroit, Michigan 1932-1935. Included painting billboards, e.g. one for Chicken-of-the-Sea
Instructor/Professor, Painting and Drawing, Corcoran School of Art, Washington, D.C. 1935-1953
Professor of Art, George Washington University, D.C. 1941-1953
Free lance artist, self-employed, 1937-1942
United States Navy, 1942-1945
Films: story board artist, script writer and director of films for industry and the Federal Government, specializing in design and planning of animation films, 1945-1967
Art Career And Works

Some 15 one-man shows, chiefly in the Washington, D.C. and Cape Cod areas, including Acme Fine Art, Marin-Price Galleries, Franz Bader Gallery, Whyte Gallery
Exhibited extensively and actively in DC and Cape Cod areas, including Corcoran, Baltimore Museum of Art, Detroit Institute of Arts, Provincetown Art Museum
Represented in numerous collections
Took pride in fact that his paintings and drawings were acquired by people in all walks of life
Murals on history of United States Army and its equipment and on children’s classics
Illustrated Edward Lasker’s 1951 book, Chess Secrets, with numerous portraits of the great chess masters
Awards and Honors

National and International Awards for film work
1946-1947 Venice Film Festival Award
Memorial Endowments at Provincetown Art Association Museum, Corcoran School of Art, Fine Arts Work Center and Colquitt County Community Art Center
Organizational Memberships

National Honor Society
Boy Scouts (Star Scout — 37 merit badges)
Capital City Chess Club
Washington Chess Divan
American Go Association
Washington Board of Trade
Washington Water Color Club
Washington Landscape Club
Artists Guild of Washington, Treasurer
Society of Washington Artists, Executive Committee, V.P.
Alumni Association of the Corcoran School (founder and first president)
The Beachcombers, Provincetown, MA
Provincetown Art Association, life member
Screenwriters Guild
Significant Miscellany

Married October 1948
Member, Provincetown Beachcombers, 1938-1967
Summer residence in Provincetown last decade of his life
Journeyman rank chess player, played in numerous tournaments
Early American player of Go, beginning in 1940’s when he taught himself enough Japanese to read Go magazines, the only literature on the game then available
Prolific writer of humor and historical works and lectures on art history, theory, analysis and practice
Wrote and illustrated unpublished book on the naval history of the Civil War
Filmed Piero della Francesca’s mural The Golden Legend in Arezzo, Italy

Some people ask what my objective is in painting. I prefer to think I have a position and a direction, rather than an objective. My position is based on a belief in the tradition of good painting as practiced by the Masters. My direction is based on the development and change that occur in my ideas about nature and life.
To be more specific, I feel that the structure of my painting is based on tradition – while the content is based on ideas. Where these two things – tradition and idea – meet in the form of my painting, they become real. First of all, the forms are real to me. Where they also say something, so much the better. If a modern statement is the result, it is modern simply because my interests are modern.
The fact that many of my paintings are concerned with flat or semi-flat patterns that depart more or less from the appearance of nature is simply a matter of style. This style comes from the need to have the entire painting, rather than the separate objects, express the idea. The fact that my watercolors and drawings are more nearly a reflection of nature is a matter of relaxed observation.
I hope this statement will add something to the understanding of my work and my attitude toward art.

As you know, artists always get into trouble when they write about their work. I hope that my paintings and drawings are better examples of my work than my written words are.

Kenneth Stubbs
Letter to Florence Berryman, Art Critic, The Washington Star, January 10, 1955

stubbs

Biography

Kenneth Stubbs was born in 1907 in Ochlocknee, Georgia. A lifelong artist, who began molding figures from Georgia clay in his early childhood, Kenneth Stubbs was strongly influenced by the Modernists in his late teens and twenties, then particularly by Cubists such as Juan Gris and Georges Braque. He had a deep interest in the Golden Section as the ideal proportion and devoted himself to analyzing its use by the masters through the centuries and to applying it to his own compositions. His paintings focused also on conveying a sense of motion in paintings characterized by cubist representation, largely with straight lines and color.

As one art critic put it,…

“the human intelligence is everywhere at work and it is heartening to see art in which this still a factor”

As Kenneth Stubbs put it,

“…the structure of my painting is based on tradition–while the content is based on ideas. Where these two things–tradition and idea–meet in the form of my painting, they become real…..the forms are real to me. Where they also say something, so much the better. if a modern statement is the result, it is modern simply because my interests are modern.

“The fact that many of my paintings are concerned with flat or semi-flat patterns that depart more or less from the appearance of nature is simply a matter of style. This style comes from the need to have the entire painting, rather than the separate objects, express the idea. The fact that my watercolors and drawings are more nearly a reflection of nature is a matter of relaxed observation.”

 

 

 

Edwin W. Dickinson

Edwin W. Dickinson 

(1891-1978)

[Edwin Dickinson]

Education
Pratt Institute Art School
National Academy of Design
Art Students League
Buffalo Fine Arts Academy and with William M. Chase and Charles Hawthorne

Selected Exhibitions
Corcoran Gallery of Art, 1916, 1928-‘57
Pennsylvania Academy of Fine Art, 1917-’22,‘29-’31,‘44-’49,’60,’64, ’66 (solo), 2003 (solo)
National Academy of Design, 1918,’49,’82,’89-92, 2003 (solo)
Luxembourg Museum, Paris, 1919
Art Institute of Chicago, 1920
Carnegie Institute, 1921
Jeu de Pomme, Paris, 1938
Albright [Knox] Art Gallery, 1927 (solo), 2002 (solo)
Museum of Modern Art, 1938,’43,’52,’54,’61-’63, ’76
Whitney Museum of American Art, 1965 (solo),’66
Brooklyn Museum of Art
World’s Fair of New York, 1964
Everson Museum of Art, 1977
Joseph Hirshhorn Museum, 1980(solo)

Selected Collections
National Museum of American Art
Museum of Modern Art
Whitney Museum of American Art
Art Institute of Chicago
Pennsylvania Academy of Fine Arts
Museum of Fine Arts, Boston
National Academy of Design
Philadelphia Museum of Art
Virginia Museum of Fine Arts
Baltimore Museum of Art
Corcoran Gallery of Art
Albright-Knox Art Gallery
Metropolitan Museum of Art
Los Angeles County Museum of Art
Chrysler Museum of Art
Joseph Hirshhorn Museum

Biography
Edwin Dickinson (October 11, 1891–December 1, 1978) was an American painter and draftsman known for his psychologically charged self-portraits and landscapes. His art, always grounded in realism, shows connections to symbolism and surrealism. Dickinson was born and raised in upstate New York, in the Finger Lakes area; his family moved to Buffalo in 1897. The death of his mother from tuberculosis in 1903, the suicide in 1913 of his older brother, Burgess, and his father’s remarriage in 1914 to a much younger woman have all been cited as influences on the themes of his later work. Dickinson had youthful ambitions for a career in the Navy, but he failed the Navy entrance exam twice (though he later served as a radio operator during World War I). In 1911 he enrolled at the Art Students League of New York, where he studied under William Merritt Chase. In the summers of 1912 and 1913 he stayed in Provincetown, Massachusetts, where he took a class taught by Charles W. Hawthorne. After concluding his formal studies in 1913, Dickinson lived and taught in Provincetown for several years. His mature paintings can be roughly divided into two categories: The first consists of portraits, still lifes and landscapes executed quickly, often at a single sitting (the artist referred to these as premiere coups); the second is comprised of compositions of symbolic and enigmatic character, often large in size and very complex, which sometimes took many years to complete. While his palette tended towards monochrome, his landscapes painted from observation are notable for their strong evocation of light, which is usually hazy but sometimes brilliant. His paintings are often allusively autobiographical in content. His drawings in graphite are notable for their sensitivity to tonal nuance.

Artist Biography: Myron Stout

MYRON STOUT (1908-1987)

PUBLIC COLLECTIONS

Albright-Knox Art Gallery, Buffalo, NY
Brooklyn Museum, New York
Carnegie Museum of Art, Pittsburgh
Dallas Museum of Art, Dallas, TX
De Menil Collection, Houston
Grey Art Gallery, New York University, New York
Metropolitan Museum of Art, New York
Museum of Modern Art, New York
The Phillips Collection, Washington, DC
Solomon R. Guggenheim Museum, New York
Seattle Art Museum, Washington
Whitney Museum of American Art, New York
Portland Art Museum, Portland, ME

PRIVATE COLLECTIONS

William H. Alexander
Whitney Armstrong
Richard Brown Baker
Richard Bellamy
Charles H. Carpenter, Jr.
Mr. and Mrs. Gordon Douglas III
Martha Edelheit
Linda Eisinger
Dr. and Mrs. Aaron H. Esman
Jackie Fowler
Kenneth Freed
Mr. and Mrs. B.H. Friedman
Mr. and Mrs. Gary Galkin
Agnes Gund
Susan Harris
William Hokin
Flora M. Irving
Philip Johnson
Dody Muller
Maia Muller
McCrory Corporation
Barbara Onorati
La Riviere Collection, Montreal
Louisa Sarofim
Sanford Schwartz and Carol Obedin
Roberta Smith
Tiffany Bell

SOLO EXHIBITIONS

1954- “Myron Stout Paintings” Stable Gallery, New York, April 5-24
1957- “Myron Stout: Drawings-Paintings” Hansa Gallery, New York, March 4-23
1977- “Myron Stout: Paintings and Drawings” Contemporary Arts Museum, Houston,
May 14-July 30
1980- “Myron Stout” Whitney Museum of American Art, New York, February 5 – April 6
“Myron Stout Drawings” Cherrystone Gallery, Wellfleet, MA, July 26 – August 8
1990- “Myron Stout: Pathways and Epiphanies” Dia Art Foundation, Bridgehampton, NY,
July 21-October 7
1992- “Myron Stout: Landscape Drawings” Washburn Gallery, NY, April 2 – May 29
“Myron Stout” Oil & Steel Gallery, Kent Fine Art, Flynn, October-December
1994- “Myron Stout: Paintings circa 1950″ Washburn Gallery, NY, January 29-March 12
1997- “Myron Stout: Paintings” Luhring Augustine Gallery, New York, May 2-June 6
“Myron Stout” Annamarie Verna Galerie, Zurich Switzerland, May 28-July 16
“Myron Stout: The Unfinished Paintings” Washburn Gallery, NY, October 29-
November 29
1998- “Myron Stout” Inverleith House, Edinburgh, Scotland June 14 – July 26
2002- “Myron Stout: Studies for Drawings” Washburn Gallery, NY, April 4 – May 18
2005- “Myron Stout: Paintings c. 1950,” Washburn Gallery, NY March 8 – April 16
2007- “Myron Stout: Paintings and Drawings,” Washburn Gallery, NY March 8 – April 21

SELECTED GROUP EXHIBITIONS

1955- “Benefit Exhibition” Hansa Gallery, New York, December 5-24
1958- “Lily Brody, Jean Follett, Myron Stout: Drawings” Hansa Gallery, New York,
May 12-31
“Annual Exhibition: Sculpture, Paintings, Watercolors Drawings”
Whitney Museum of American Art, New York, November 15, 1958-January 4, 1959
“The 1958 Pittsburgh International Exhibition of Contemporary Painting and Sculpture” Carnegie Institute, Pittsburgh, December 5, 1958 – February 8, 1959
1959- “Recent Acquisitions” Museum of Modern Art, New York, January 30 – April 19
“Painting Since 1945: A Collection in the Making” Museum of Art, Rhode Island School of Design, Providence, March 18 – April 19
“100 Works on Paper: I United States” Institute of Contemporary Art, Boston,
April 3 – May 3
1960- “Modern Classicism” David Herbert Gallery, New York, February 8-27
“New Talent in the USA, 1960″ Organized by the American Federation of the Arts,
New York. Traveled in the United States, April, 1960 – June, 1961.
“Gallery Group Show: Paintings, Sculptures and Drawings” The Green Gallery, New York, December 13, 1960 – January 7, 1961
1961- “Gallery Group Show: The Green Gallery, New York, May 30 – June 25
“Jean Follett, Mark Di Suvero, Claes Oldenburg, Lucas Samaras, Myron Stout”
The Green Gallery, New York, September 19-October 14
“Purism” David Herbert Gallery, New York, October 2 – 28
1962- Geometric Abstraction in America” Whitney Museum of American Art, New York,
March 20 – May 13
“Gallery Group Show” The Green Gallery, New York, April 10 -?
1963- “Black and White” Jewish Museum, December 12, 1963 – February 5, 1964
“The Classic Spirit in Twentieth Century Art” Sidney Janis Gallery, New York, February 4 – 29
1965- “Art of the 50’s and 60’s: Selections From the Richard Brown Baker Collection.” Aldrich Museum of Contemporary Art, Ridgefield, CT, April 25 – July 5
1967- “Gallery Group Show” Noah Goldowsky Gallery, New York
1968- “Plus by Minus: Today’s Half Century” Albright Knox Art Gallery, Buffalo,
March 3 – 14
1969- “Thirty-first Biennial Exhibition of Contemporary American Painting”
Corcoran Gallery of Art, Washington, D.C., February 1 – March 16
“Selected Sculpture and Works on Paper” Solomon R. Guggenheim Museum, New York
October – November 14
1970- “Gallery Group Show” Noah Goldowsky Gallery, New York, May
“Art on Paper 1970″ Weatherspoon Art Gallery, Greensboro,
November 15 – December 20
1973- “American Drawings 1963 – 73″ Whitney Museum of American Art, New York,
May 25 – July 22
1975- American Art Since 1945: From the Collection of the Museum of Modern Art, New York. Traveled to Worcester Art Museum, Worcester, MA, October 20 – November 30, and elsewhere in the United States through April 17, 1977
1976- “Tenth Street Days: The Co-ops of the 1950’s” Amos Eno, 14 Sculptors, Noho, Pliades and Ward-Nasse galleries, New York, December 20, 1976 – January 7, 1977
1977- “Permanent Collection: Thirty Years of American Art 1945 – 1975″
Whitney Museum of American Art, New York, January 29 – October 23
“Provincetown Painters: 1890’s – 1970’s” Everson Museum of American Art, Syracuse, New York, April 1 – June 26th. Traveled to Provincetown Art Association and Museum, Provincetown, August 15 – September 5
“Cape Cod as an Art Colony” Heritage Plantation of Sandwich, MA,
April 30 – October 16
“Works on Paper: American Art 1945 – 1975″ Organized by the Washington Art Consortium, Seattle. Traveled to museums in western Washington.
1978- “20th Century American Drawings: Five Years of Acquisitions (100 American Drawings and Works on Paper)” Whitney Museum of American Art, New York, July 28 – October 1
“New England Connections” Federal Reserve Bank of Boston, November, 1978 – January,
1979- “Hans Hofmann as Teacher: His Student’s Drawings” Metropolitan Museum of Art, New York, January 23 – March 4
1979- “Constructivism and the Geometric Tradition: Selections from the McCrory Corporation Collection. Organized by the McCrory Corporation, New York. Traveled to Albright-Knox Art Gallery, Buffalo, October 14 – November 25, and in the United States and Japan through December 21, 1984
1980- “Geometric Tradition in American Painting: 1920 – 1980″ Rosa Esman and Marilyn Pearl Galleries, New York, April 8 – May 17
“Fiftieth Anniversary Gifts” Whitney Museum of American Art, New York,
April 8 – May 17
“Hans Hofmann as Teacher: Drawings by His Students” Provincetown Art Association and Museum, Provincetown, August 1 – October 12
1981- “Contemporary Americans: Museum Collection and Recent Acquisitions”
Solomon R. Guggenheim Museum, New York, January 29 – April 12
“Recent Acquisitions: Drawings” Museum of Modern Art, New York, March 19 – June 2
“The New Spiritualism: Transcendent Images in Painting and Sculpture” Oscarsson Hood Gallery, New York, September 9 – 26
“Drawing Acquisitions, 1978 – 1981″ Whitney Museum of American Art, New York
September 17 – November 15
“American Paintings and Sculptures: 1955 – 1981″ Oil and Steel Gallery, New York
October 20 – December 5
1982- “The Season in Review” Marisa del Re Gallery, New York, March 2-27
“Contemporary Painting and Sculpture II: 1950 – 1981″ Oil and Steel Gallery, New York
May 15 – June 30
“Exhibition of Works by Newly Elected Members and Recipients of Honors and Awards” American Academy and Institute of Arts and Letters, New York,
May 18 – June 13
“Sculpture Painting Drawing III” Oil and Steel Gallery, New York, October –
December 18
“In Our Time: Houston’s Contemporary Arts Museum 1948 – 82″ Contemporary Arts Museum, Houston, October 23 – January 2, 1983
“Hans Hofmann As Teacher: Drawings by Hofmann and His Students.” Organized by the American Federation of Arts, New York. Traveled in the United States and Canada
1983- “Drawing Conclusions: A Survey of American Drawings, 1958 – 1983″ Daniel Weinberg Gallery, Los Angeles, January 29 – February 26
“New York to Bennington: Paintings” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington VT, March 15 – 31
“Affinities: Myron Stout, Bill Jensen, Brice Marden, Terry Winters” Hayden Gallery, Massachussets Institute of Technology, Cambridge, May 7 – June 26
“Contemporary Sculptures, Paintings, Drawings (IV) : 1956 – 1983″
Oil and Steel Gallery, New York, May 17 – June 11, September 20 – October 15
“Black and White” Margo Leavin Gallery, Los Angeles, June 25 – August 13
1983- “Subtleties” Sutton Gallery, New York, December 1983 – January 14, 1984
“I Knew it to be So!” Forrest Bess, Alfred Jensen, Myron Stout: Theory and Visionary” New York Studio School, New York, March 30 – May 2. Traveled to Center for the Arts, Muhlenberg College, Allentown, PA, May 18 – June 29
“Three Artist: Leslie, Stout, di Suvero” Oil and Steel Gallery, New York
September 18 – November 3
“Ec cen tric Im age(s)” Margo Leavin Gallery, Los Angeles, October 20 – November 24
1985- “Fortissimo! Thirty Years From the Richard Brown Baker Collection of Contemporary Art” Museum of Art, Rhode Island School of Design, Providence, March 1 – April 28.
Traveled to San Diego Museum of Art, San Diego June 29 – August 11, and
Portland Museum of Art, Portland, OR, October 1 – November 10
“Phillip Johnson: Selected Gifts” Museum of Modern Art, New York, April 10 –
October 27
“Cinquant ans de dessins Americains: 1930 – 1980″ Organized by the Menil Collection, Houston. Traveled to Ecole National Superieure des Beaux Arts, Paris, May 3 – July 13, and Stadelsches Kunstinstitut und Stadtische Galerie, Frankfurt am Main, November 28, 1985 – January 26, 1986
“An Invitational” Condeso/Lawler Gallery, New York, June 18 – January 26, 1986
1985- “American Abstract Painting: 1960 – 1980″ Margo Leavin Gallery, Los Angeles
June 18 – August 24
1986- “Carol Dunham, Paul Feely, Gary Stephan, Myron Stout, Phillip Taaffe”
Donald Young Gallery, Chicago, May 2 – 31
“Structure/Abstraction” Hill Gallery, Birmingham, MI, May 31-June 26
“Major Acquisitions Since 1980: Selected Paintings and Sculpture”
Whitney Museum of American Art, New York, September 18-November 30
“Hans Hofmann and His Legacy” Lever/Myerson Gallery, New York, October 15 – December 12
1987- “Metaphor: Myron Stout, Richard Tuttle, Richard Wentworth, Win Knowlton” Kent Fine Art, New York, February 12 – March 14
“Strong Statements in Black and White” James Goodman Gallery, New York,
October 6 – 31
1987- “Lead” Hirschl and Adler Modern, New York, December 3, 1987 – January 16, 1988
1988- “Vital Signs: Organic Abstraction from the Permanent Collection”
Whitney Museum of American Art, New York, April 27 – July 17
1989- “Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst Seit 1990″ Rheinhallen der Kolner Messe, Cologne, April 8 – June 28 Organized by Museum Ludwig, Cologne
“A Decade of American Drawings: 1980 – 1989″ Daniel Weinberg Gallery, Los Angeles
July 15 – August 26
“Art in Place: Fifteen Years of American Acquisitions”
Whitney Museum of American Art, New York, July 27-October 22
1992- “Plane Truths”, Washburn Gallery, New York, February 18-March 28
1993- “Plane Truths”, Washburn Gallery, New York, September 8-October 9
“In a Classical Vein: Works from the Permanent Collection,”
Whitney Museum of American Art, New York
1994- “Provincetown Prospects: The Works of Hans Hofmann and His Students”
Boston University Art Gallery, January 22-February 27, 1994
“Drawings from the 60s,” Pace Drawings, New York, December 2-January 7, 1995
1995- “Essence and Persuasion: The Power of Black and White,”
Anderson Gallery, Buffalo, New York, April 1-May 13
“Works on Paper,” Mathew Marks Gallery, New York
“From the Collection: Abstraction Pure & Simple,” Museum of Modern Art, New York
1996- “Texas Modern and Post-Modern,” The Museum of Fine Arts, Houston
“Forrest Bess & Myron Stout, Paintings from the 50s” Galerie Daniel Blau, Munich
November 23, 1996-January 25, 1997
2003- “A Bend in the Road” Maier Museum of Art, Lynchburg, August 30 – November 30

SELECTED BIBLIOGRAPHY

Seckler, Dorothy., “Can Painting be Taught?” Artnews 50, No. 1, March, 1951, pp. 39 – 40, 63 -64.
Feinstein, Sam., “Fortnight in Review: the Unified Image.” Art Digest 28, no. 1, April 1, 1954, p. 16.
Porter, Fairfield., “Reviews and Previews: Myron Stout.” Artnews 53, no. 2, April, 1957, p. 58.
Pollet, Elizabeth., “In the Galleries: Myron Stout.” Arts Magazine 31, no. 6, March, pp. 58 – 59.
Tyler, Parker., “Reviews and Previews: Myron Stout.” Artnews 56, no. 1, March, 1957, p. 12.
Butler, Barbara., “In the Galleries: Brody, Follett, Stout.” Arts Magazine 32, no. 9, June, 1958, p. 53.
Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings. Exhibition catalog, Whitney Museum of American Art, New York, 1958
The Pittsburgh International Exhibition of Contemporary Painting and Sculpture. Exhibition catalog, Carnegie Institute, Pittsburgh, 1958 Introduction by Gordon Bailey Washburn.
Painting Since 1945: A Collection in the Making. Exhibition catalog, Museum of Art, Rhode Island School of Design, Providence, 1959 (Richard Brown Baker Collection.)
Tillim, Sidney., “What Happened to Geometry?” Arts Magazine 33, no. 9, June, 1959, pp. 38 – 44
Canaday, John., New Talent USA: Painting.” Art in America 48, no. 1, Spring, 1960, pp. 22 – 29. Includes statement by the artist, p. 58. (“New Talent Artists: Statements and Statistics, Painters,” chosen by Dorothy C. Miller).
Sabbath, Lawrence., “Paul Lariviere.” Canadian Art 18, no. 3, May – June (special issue on collecting), pp. 170 – 73
Purism. Exhibition catalog, David Herbert Gallery, New York, 1961. Essay by Georgine Oeri.
Seuphor, Michel. Abstract Painting: Fifty Years of Accomplishment, from Kandinsky to the Present. New York: Harry N. Abrams, 1962.
Geometric Abstraction in America. Exhibition catalog, Whitney Museum of American Art, New York, 1962. Essay by John Gordon.
Kaprow, Allan. “Impurity.” Artnews 61, no. 9, January, 1963, pp. 30 – 33, 52 – 55.
Black and White. Exhibition catalog, Jewish Museum, New York, 1963. Introduction by Ben Heller.
Sandler, Irving., “In the Art Galleries.” New York Post, December 29, 1963, magazine, p. 14l.
The Classic Spirit in Twentieth Century Art. Exhibition catalog, Sidney Janis Gallery, New York, 1964
American Drawings. Exhibition catalog, Solomon R. Guggenheim Museum, New York, 1964. Essay by Lawrence Alloway.
Judd, Donald., “In the Galleries: American Drawings.” Arts Magazine 39, no. 2, November, 1965, p. 59
Art of the 50’s and 60’s: Selections from the Richard Brown Baker Collection. Exhibition catalog, Aldrich Museum of Contemporary Art, Ridgefield, CT., 1965. Essay by Richard Brown Baker.
Plus by Minus: Today’s Half Century. Exhibition catalog, Albright Knox Art Gallery, Buffalo, 1968. Essay by Douglas MacAgy.
Thirty-first Biennial Exhibition of Contemporary American Painting. Exhibition catalog, Corcoran Gallery of Art, Washington, D.C., 1968.
Gold, Barbara., “Corcoran Biennial: New Sensibility in Washington.” Arts Magazine 43, no. 6, April, 1969, pp. 28 -31.
Selected Sculpture and Works on Paper. Exhibition catalog, Solomon R. Guggenheim Museum, New York, 1969. Introduction by Thomas M. Messer.
Acconci, Vito., “Reviews and Previews: John Chamberlain, Burgoyne Diller, Mark di Suvero, Myron Stout.” Artnews 68, no. 9, January, 1970, p. 12.
American Drawings 1963 – 1973. Exhibition catalog, Whitney Museum of American Art, New York, 1973. Essay by Elke M. Solomon.
Borden, Lizzie., “Art Economics and the Whitney Drawing Show.” Artforum 12, no. 2, October, 1973, pp. 85 – 88.
Schwartz, Sanford., “Myron Stout.” Artforum 13, no 7, March, 1975, pp. 38 – 43.
American Art Since 1945: From the Collection of the Museum of Modern Art. Exhibition catalog, Museum of Modern Art, New York, 1975. Essay by Alicia Legg
“The Talk of the Town: Ambassador.” New Yorker, November 10, 1975, p. 38.
Friedman, B.H., “Too Little Attention: Art Chronicle.” New Boston Review 2, no. 3, Winter/January, 1977, p. 17
Provincetown Painters: 1890’s – 1970’s. Exhibition catalog, Everson Museum of Art, Syracuse, NY., 1977. Essays by Ronald A. Kuchta and Dorothy Gees Seckler.
Cape Cod as an Art Colony. Exhibition catalog, Heritage Plantation of Sandwich, MA., 1977. Introduction by H. R. Bradley Smith; essay by April Kingsley in collaboration with Fritz Bultman.
Ennis, Michael., “Review: Art.” Texas Monthly 5. no. 8, August, 1977, pp. 110, 112.
Tenth Street Days: The Co-ops of the 50’s. Exhibition catalog, Education and Art Service, Inc., New York, 1977. Introduction by Dore Ashton; essay by Joellen Bard.
Works on Paper: American Art 1945 – 1975. Exhibition catalog, The Washington Arts Consortium, Seattle, 1977.
Sandler, Irving., The New York School: The Painters and Sculptors of the Fifties. New York: Harper and Row, 1978.
Twentieth Century American Drawings: Five Years of Acquisitions. Exhibition catalog, Whitney Museum of American Art, New York, 1978. Essay by Paul Cummings.
Days Lumberyard Studios: Provincetown 1914 – 1971. Exhibition catalog, Provincetown Art Association and Museum, Provincetown, 1978. Essay by Ben Brooks.
Masheck, Joseph. “Pictures of Art.” Artforum 17, no. 9, May, 1979, pp. 26 – 37.
Maartens, Katherine., Myron Stout. Unpublished M.A. Thesis, Hunter College, New York, 1979 (Based on a Series of Taped Interviews).
Constructivism and the Geometric Tradition: Selections from the McCrory Corporation Collection. New York, 1979. Essay by Willy Rotzler.
Bell, Tiffany., “Myron Stout’s Complexity in Simplicity.” Artforum 18, no. 5, January, pp. 47 – 51.
Myron Stout. Exhibition catalog, Whitney Museum of American Art, New York, 1980. Introduction by B.H. Friedman; essay by Sanford Schwartz; excerpts from the artist’s journals.
Rose, Barbara., “Talking About… Art: Big ‘Little Master.'” Vogue, February, 1980, p. 68.
Kramer, Hilton., “Art: Myron Stout Ushered into Limelight.” New York Times, February 8, 1980, p. C26.
Zimmer, William., “Myron Stout: The Whitney Museum.” Soho Weekly News, February 13, 1980, p. 25.
Rothschild, Judith., “Myron Stout at Whitney.” Art World 4, no. 6, February 15/March 15,1980, pp. 1, 4.
Marzorati, Gerald., “Artful Dodger.” Soho Weekly News, February 20, 1980, p. 22.
Rickey, Carrie., Uptown: Myron Stout.” Village Voice, February 25, p. 69.
Perl, Jed., “On Myron Stout.” Art in America 68, no. 3, March, 1980, pp. 107 – 111.
Ashbery, John., “Stylish Stouts.” New York Magazine, March 3, 1980, pp. 97 – 98.
Shuebrook, Ron., “Myron Stout.” Arts Magazine 54, no. 8, April, 1980, p. 9.
Hans Hofmann as Teacher: Drawings by His Students. Exhibition catalog, Provincetown Art Association and Museum, Provincetown, 1980. Essays by Fritz Bultman and Cynthia Goodman.
The New Spiritualism: Transcendent Images in Painting and Sculpture. Exhibition catalog, Oscarsson Hood Gallery, New York, 1981. Introduction by April Kingsley.
Drawing Acquisitions, 1978 – 1981. Exhibition catalog, Whitney Museum of Modern Art, New York, 1981. Essay by Paul Cummings.
Schwartz, Sanford. The Art Presence. New York, Horizon Press, 1982.
Raynor, Vivien., “Contemporary Paintings and Sculpture II: Oil and Steel.” New York Times, June 25, 1982, p. C21.
In Our Times: Houston’s Contemporary Art’s Museum 1948 – 1982, Exhibition catalog, Contemporary Arts Museum, Houston, 1982. Essay by Cheryl A. Brutvan.
Glueck, Grace. “The Artists’ Artists.” Artnews 81, no. 9, November, 1982, pp. 90 – 100.
New York to Bennington: Paintings. Exhibition catalog. Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, VT, 1983. Essay by Emily Sorkin.
Affinities: Myron Stout, Bill Jensen, Brice Marden, and Terry Winters. Exhibition catalog, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, 1983. Essay by Kathy Halbreich.
Baker, Kenneth. “Art/The Elective Affinities: Taking Stock of Anti-Expressionism.” Boston Phoenix, June 21, sec. 3, p. 5.
Subtleties, 1983. Exhibition catalog, Sutton Gallery, New York. Essay by Jeffrey Wechsler.
Raynor, Vivien., “Art: A Modest Survey Spotlighting ‘Subtleties’.” New York Times, December 30, 1983, p. C20.
I Knew it to be So!” Forrest Bess, Alfred Jensen, Myron Stout: Theory and the Visionary. Exhibition catalog, New York Studio School, New York, 1984. Traveled to Center for the Arts, Muhlenberg College, Allentown, PA. Essays by John Yau, David Reed, Lawrence Luhring, and Thomas Hudspeth.
Brenson, Michael., “Three Artists: Leslie, Stout, di Suvero: Oil and Steel.” New York Times, May 25, 1984, p. C21.
Fortissimo! Thirty Years from the Richard Brown Baker Collection of Contemporary Art. Exhibition catalog, Museum of Art, Rhode Island School of Design, Providence, 1985. Essay by Richard Brown Baker.
Cinquante ans de dessins Americains: 1930 – 1980. Exhibition catalog, Menil Foundation, Houston, 1985. Introduction by Walter Hopps; catalog by Walter Hopps and Neil Printz.
Raynor, Vivien., “An Invitational: Condeso/Lawler Gallery.” New York Times, July 26, 1985, p. C22.
Stout, Myron., “Selections from the Journal of Myron Stout.” New Observations, 1985, no. 37, pp. 13 – 21. Selected by Tiffany Bell.
Stout, Myron. “Journal Excerpts, 1950 – 54.” Shankpainter 26, Spring, 1986, pp. 49 -52.
Hans Hofmann and His Legacy. Exhibition catalog, Lever/Myerson Gallery, New York, 1986. Essay by Cynthia Goodmman.
Painting and Sculpture Acquisitions, 1973 – 1986. Catalog, Whitney Museum of American Art, New York, 1986. Essay by Patterson Sims.
Metaphor: Myron Stout, Richard Tuttle, Richard Wentworth, Win Knowlton. Exhibition catalog, Kent Fine Art, New York, 1987. Introduction by Susan Harris.
Stout, Myron. “Myron Stout: Selections from the Artist’s Journals.” Provincetown Arts 3, no. 1, Summer, 1987, pp. 80 – 82.
Brenson, Michael., “Myron Stout, Abstract Artist and Minimalist is Dead at 79.” New York Times, August 8, 1987 p. 50.
Lead, Exhibition catalog, Hirschl and Adler Modern, New York, 1987. Introduction by Klaus Kertess.
Smith, Roberta., “‘Lead': Hirschl and Adler Modern.” New York Times, January 15, 1988, p. C24.
Bomb, no. 22, Winter, 1988, pp. 38 – 39, ill.
Vital Signs: Organic Constructions from the Permanent Collection. Exhibition catalog, Whitney Museum of American Art., New York, 1988. Essay by Lisa Phillips.
Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst Seit 1960. Exhibition catalog, Whitney
Museum of American Art, New York, 1989. Essays by Tom Armstrong and Susan C. Larsen.
Russell, John., “One and a Half Decades of Whitney Acquisitions.” New York Times, July 28, 1989. p. C22.
Russell, John., “Adding Up Costs of Changes at the Top.” New York Times, March 18, 1990, sec. 2, pp. 37 – 39.
Myron Stout: Pathways and Epiphanies. Exhibition catalog, Dia Art Foundation, New York, 1990. Introduction and essay by Henry Geldzahler.
Braff, Phyllis., “Emotional Skies and Forms.” New York Times, August 5, 1990, sec. 12, p. L.I. 13.
Myron Stout. Exhibition catalog, Inverleith House, Edinburgh, Scotland, 1992

Rose Basile

Rose Basile is originally from Newark, NJ. College days were at Boston University for her undergraduate degree and she later returned to Boston University on a fellowship for her Masters in Education and Psychology. Upon graduation she taught in the public schools of Rhode Island, the Newton school system and also at Rhode Island College in Providence.

After 20 years of teaching she moved to Chatham in the late 1910’s where she owned and managed her own rental properties. Art has always been important and a strong influence in her life, since three generations of women were in the art world: in fabric design, art education and – her favorite Aunt Jennie – a New Jersey folk artist. Rose started watercolor painting in her high school days and from then on always attended one or two workshops a year. The most important step was taken when she attended evening classes at the Boston Museum School. At the same time, she was teaching in the Newton school system and later attended a summer art workshop at Haystack, in Maine.

In 1999 Rose moved to Provincetown and began studying art, immersing herself in the local art world and taking oil painting classes at the Provincetown Art Association & Museum (PAAM).

Artist Biography: Peter Busa

Peter Busa
(1914-1985)

Education
Carnegie Institute of Technology, with Simboli, Rosenberg, Kostello, Benton
Art Students League
Hans Hofmann School of Fine Art

Member
College Art Association of America
Artists Equity Association (president, Minnesota Chapter, 1962-65)
Art Students League

Teaching Appointments
1945-1953 New York University
1945-1954 Cooper Union
1954-1957 State University of New York at Buffalo
1960-1983 University of Minnesota, Minneapolis

Selected Exhibitions
1939 Worlds Fair, “American Art Today,” New York, NY
1940 Art Institute of Chicago
1943 Art of This Century, New York, NY
1944 Ashby Gallery, “Colors Plays a Part,” New York, NY
1945 Art of This Century, “Autumn Salon,” New York, NY
Ashby Gallery, “Ashby, Busa, Cavallon,” New York, NY
1946 Art of this Century, New York, NY (SOLO)
Gallery Neuf, “8 and the Totem Pole,” New York, NY
Pennsylvania Academy of Fine Art, Philadelphia, PA
Whitney Museum of American Art, Annual, New York, NY 1948, ’50, ’53, ’56, ’59, ‘72
1947 University of Iowa, “3rd Summer Exhibition of Contemporary Art,” Iowa City, IA
1948 Bertha Schaefer Gallery, New York, NY (SOLO), 1950-1953
1949 Brooklyn Museum, New York, NY
Santa Barbara Museum, Santa Barbara, CA
Forum 49, Provincetown, MA
Bertha Schaefer Gallery, New York, NY, 1950, ‘51
1950 American Federation of Art, New York, NY
1951 St. Louis Museum, St. Louis, MO
Ninth Street Exhibition, New York, NY
1952 Pennsylvania Academy of Fine Arts, Philadelphia, PA
1953 Brooklyn Museum, New York, NY
1955 Albright Art Gallery, Buffalo, NY, 1957
1956 Poindexter Gallery, “The 30s: Painting in New York” 1957 Albright Art Gallery, Buffalo, NY
William Hengerer Prize, Albright Art Gallery
1958 Martha Jackson Gallery, Provincetown, MA
Chrysler Art Museum, Provincetown, MA (SOLO), 1960, ’64, ‘70
Knoedler Gallery, “A to Z in American Art,” New York
1960 Cape Cod Art Association, Hyannis, MA (SOLO)
1962 Walker Art Center, Minneapolis, MN (SOLO), 1967
1963 Iowa State College, Ames, IA (SOLO)
1964 Walker Art Center, Minneapolis, MN
1965 Smithsonian Institution, Washington, DC
Tweed Gallery, Dutch, MN (SOLO)
1966 University of Tennessee, “4th Annual National Invitational,” Knoxville, TN
University of Minnesota Gallery, Minneapolis (SOLO)
Special Donor Award, Walker Art Center
1968 University of Minnesota, Minneapolis, MN
1970 Minneapolis Institute of Art, Minneapolis, MN, 1978, ’79, ‘99
1971 Parrish Art Museum, Southampton, NY, 1973, ’79, ’83, ’88, ’96, 2001
1972 Kansas State University Gallery, Manhattan, KS (SOLO)
1975 Wisconsin State University, Eau Claire, WI (SOLO)
1977 Everson Museum of Art, “Provincetown Painters,” Syracuse, NY
American Academy in Rome, Rome, Italy
Parsons School of Design, New York, NY
Minneapolis Institute of Art, Minneapolis, MN (SOLO)
Rutgers University Art Gallery, “Surrealism and American Art: 1931- 1947,” New Brunswick, NJ
Guggenheim Fellowship
1978 Provincetown Art Association and Museum, MA
1979 Metropolitan Museum of Art, New York, NY
Butler Institute of American Art, Youngstown, OH

Selected Museum Collections
Albright-Knox Art Gallery
Brandeis University, Rose Art Museum
Butler Institute of American Art
Cape Museum of Fine Arts
Chaim Gross Studio Museum
Chrysler Museum of Art
Colby College Museum of Art
Cooper Union Museum
Cornell University
Dayton Art Institute
Everson Museum of Art
Federal Reserve Bank, Minneapolis
Solomon Guggenheim Foundation
Peggy Guggenheim Collection
Guild Hall Museum
Iowa State University, Brunnier Art Museum
La Jolla Museum of Art
Metropolitan Museum of Art
Michigan State University, Kresge Art Museum
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Museum of Fine Arts, Houston
National Museum of American Art, Smithsonian Institute
Parrish Art Museum
Portland Art Museum
Provincetown Art Association & Museum
Reading Public Museum
Rutgers University, Zimmerli Art Museum
Slater Memorial Museum
Smith College, Museum of Art
Syracuse Museum of Art
University of Massachusetts, Boston
University of Minnesota at Duluth, Tweed Museum of Art
University of Minnesota, Minneapolis, Weisman Art Museum
University of North Carolina, Ackland Art Museum
University of Oregon, Museum of Art
University of Wisconsin, Elvehjem Museum of Art
Walker Art Center
Whitney Museum of American Art
Worchester Art Museum

Biography

Peter Busa was a central figure in the New York School, a truly original thinker, and a pioneer of modern art. Though difficult to categorize, his work was clearly influenced by his close associations with Matta, Pollock, Motherwell, Baziotes, Kamrowski, and Hofmann.

His early work is of two types. The first was based on the automatic technique of the Surrealists. The paintings of this type rely heavily on poured or dripped paint and date from the mid-forties typically. The second type of painting was more geometric -often angular- and these paintings were heavily influenced by Native American design motifs. These are commonly referred to as “Indian Space paintings.” Busa’s Indian Space paintings date from the late thirties to the late fifties. After abandoning Indian Space for styles more closely akin to straightforward abstract expressionism and geometric abstraction during the sixties and seventies, Busa returned to an evolved form of Indian Space painting in the eighties.

In his introduction to the catalogue for Peter Busa’s 50 year retrospective exhibition: Life Colors Art, Robert Metzger summarized Busa’s career by saying: “…Busa has presented problems for…art historians since his highly original and diverse body of work and his mastery of styles…have made him difficult to pigeonhole. His expansive repertory of forms defies translation into verbal language for they reveal truths which cannot be expressed in words. …despite his successful exhibitions with such leading galleries as Peggy Guggenheim, Carlebach, and Bertha Schaefer he [has not yet] made it into the celebrity bandwagon of dealers,…collectors, and the art press. The personal poetry and awesome range and depth of his body of work remains one of the great undiscovered treasures of Twentieth Century American art….”

Artist Biography: Robert De Niro Sr.

Robert De Niro Sr. 

(1922-1993)

Education

1938 Studies with Ralph Pearson
1940 Studies with Joseph Albers
1941-42 Hans Hofmann School of Fine Art, New York & Provincetown, MA

Selected Solo Exhibitions

1946 Art of this Century, Peggy Guggenheim Gallery, New York, NY
1954 Charles Egan Gallery, New York, NY, also 1950, 1953
1955 Poindexter Gallery, New York, NY. Also 1956, 1976
1958 Zabrinskie Gallery, New York, NY. Also 1960, 1962, 1965, 1967, 1968
1963 Five American Paintings, Knoedler Gallery, New York, NY
1967 State University of New York, Buffalo, NY
1969 Bard College, Annandale on the Hudson, NY
Reese Palley Gallery, San Francisco, CA
1971 Brenner Gallery, Provincetown, MA
1973 Zoller Gallery, Pennsylvania State University, PA
1974 Lithographs, Kansas City Art Institute, Kansas City, KS
1978 David Stuart Gallery, Los Angeles, CA
Works on Paper, Arts Gallery, Baltimore, MD
William Grappo Gallery, Swain School of Design, New Bedford, MA
Charles Campbell Gallery, San Francisco, CA. Also 1979
1979 Graham Modern Gallery, New York, NY. Also 1980, 1982, 1984, 1986
1980 Hobart Smith College, MA
1981 Mint Museum, Charlotte, NC
Ashville Art Museum, Asheville, NC
1983 David Hamilton Gallery, Charleston, NC
1984 Art Center in Hargate, St. Paul’s School, Concord, NH
1986 Contemporary Arts Center, Great Falls, MT
Cane Kalman Gallery, London, England
1994 Salander O’Reilly Galleries, New York, NY. Also 1996, 1997, 2000, 2005
1998 Yoshii Gallery, Tokyo, Japan
Hackett-Freedman Gallery, San Francisco, CA. Also 2000, 2006
1999 Galerie Piltzer, Paris, France
2002 La Galerie Metta, Madrid, Spain

Selected Group Exhibitions

1956 Second Generation, New York, Whitney Annual, Jewish Museum, New York, NY
1959 100 Americans on Paper, Institute of Contemporary Arts, Boston, MA

1960 Figure in Contemporary Painting, American Federation of Arts, New York, NY

Nebraska Art Association, Lincoln, NE
1961 7th Annual Drawing and Sculpture Show, Ball State Teachers College, Muncie, IN
Colorado Springs Fine Arts Center Annual, Colorado Springs, CO
1962 Recent Figure, Museum of Modern Art, New York, NY
The Figure, Kornblee Gallery, New York, NY
Illinois Wesleyan Annual, Bloomington, IL
1965 Portraits from the American Art World, New School Center, New York, NY
1969 Hommage to Matisse, Borgenicht Gallery, New York, NY
1971 A New Consciousness, The Ciba-Geigy Collection, Ardsley, NY
1975 Reese Palley Gallery, Atlantic City, NJ/San Francisco, CA
1976 Buecker Gallery, New York, NY
1977 The Art of Pastel, Graham Gallery, New York, NY
1978 Provincetown Art Association, Provincetown, MA
Bell Gallery, Brown University, Providence, RI
1982 The Butler Institute of American Art, Youngstown, OH
1984 20th Century American Drawings: The Figure in Context, Terra Museum of American Art, Washington, DC
Modern Masters of Classical Realism, University of Wisconsin, Oshkosh, WI
Woman: A Changing Picture, Graham Gallery, New York, NY
Art Museum Association of America, San Francisco, CA
1985 Summer Yellows, Albright-Knox Art Gallery, Buffalo, NY
Small Works, Fine Works, Graham Modern, New York, NY
The Members of the Gallery, Albright–Knox Art Gallery, Buffalo, NY
1986 Survival of the Fittest II: Figurative Work on Paper, Ingber Gallery, New York, NY
Form or Formula, Drawing & Drawings, The Hudson River Museum, Yonkers, NY
1992 Color as Subject, The Artists Museum, The Police Building, New York, NY
1993 Monumental Nudes, Salander-O’Reilly Galleries, New York, NY
1995 American Masters of Watercolor: A 100 Year Survey, Southern Alleghenies Museum of Art, Loretto, PA
1998 Seeing the Essential: Selected Works by Robert De Niro, Sr., Leland Bell, and Paul Resika, Hackett-Freedman Gallery, San Francisco, CA
2000 Reconfiguring the New York School, Center for Figurative Painting, New York, NY
Selected Works by Paul Resika, Robert De Niro, Sr., Terry St. John and Dennis Hare, Hackett-Freedman Gallery, San Francisco, CA
2002 Galeria Metta, Madrid, Spain

2003 Paul Resika and Robert De Niro, Sr.: Selected Works, Hackett-Freedman Gallery, San Francisco, CA

Watercolor, Schweinfurth Memorial Art Center, Auburn, NY
Gallery Selections, Salander-O’Reilly Galleries, New York, NY
2004–07 The Most Difficult Journey: The Poindexter Collection of American Modernist Paintings, The Yellowstone Art Museum, Billings, MT (traveling exhibition)
2004 ACA Galleries, New York, NY
Galleria d’Arte Benucci, Rome, Italy
2006 Aspects of Humanity, Center of Contemporary Art, Sacramento, CA
2009 Days Lumberyard Studios: 1915-1972, ACME Fine Art, Boston, MA

Selected Collections

Whitney Museum of American Art, New York, NY
Metropolitan Museum of Art, New York, NY
Hirshhorn Museum and Sculpture Garden, Washington, DC
Brooklyn Museum, Brooklyn, NY
Rhode Island School of Design Museum (RISD), Providence, RI
The Baltimore Museum of Art, Baltimore, MD
Corcoran Gallery of Art, Washington, DC
Arkansas Art Center, Little Rock, AK
Denver Art Museum, Denver, CO
Everson Museum of Art, Syracuse, NY
Mint Museum, Charlotte, NC
Oakland Museum of California, Oakland, CA
Chase Manhattan Bank, New York, NY
CIBA-GEIGY Corporation, Ardsley, NY
Yellowstone Art Center, Billings, MT
Parrish Art Museum, South Hampton, NY
Provincetown Art Association and Museum, Provincetown, MA
University Art Collections, Tempe, AZ

Biography

Poet, sculptor and artist Robert De Niro, Sr. became known during the postwar era for his dynamic, richly-colored paintings that gracefully synthesized modernist abstraction with more traditional compositions and formal themes.

Born in Syracuse, New York in 1922, De Niro was passionate about art from an early age. While still in high school, he attended art classes at the Syracuse Museum, where he was provided with a private room where he could paint independently. In addition to his early studies with etcher Ralph Pearson, he had the good fortune of studying under two of the 20th century’s leading colorists: first with Joseph Albers at Black Mountain College (1940), and later with Hans Hofmann (1941-42).

His work reflects his extensive training with these masters, as well as a strong reverence for the French avant-garde painters who influenced them. The long broken brushstrokes of Derain, the bold, lyrical contours of Matisse, and the modernist non-perspectival compositions of Bonnard are each clear inspirations in De Niro’s best works.

While studying with Hofmann at his Provincetown summer school, De Niro met painter Virginia Admiral, whom he married in 1942. The couple moved into a large, airy loft in New York’s Greenwich Village, where they were able to paint. Their illustrious circle of friends included writers Anais Nin and Henry Miller, playwright Tennessee Williams, and actress and famous Berlin dancer Valeska Gert who modeled for Hofmann’s classes. Admiral and De Niro separated shortly after their son, Robert De Niro, Jr. was born in December of 1943.

A perfectionist, De Niro Sr. often painted and repainted his canvases, completing hundreds of studies of the same composition until he was pleased with his work. He was meticulous with his choice of pigment, always searching for the perfect colors and rarely satisfied.

De Niro Sr.’s first solo exhibition was held at Peggy Guggenheim’s Art of this Century, New York, in 1946, when he was twenty-four years old. He exhibited frequently throughout the 1950s at the Charles Egan Gallery, where his work hung alongside de Kooning, Kline, and Guston.

In the early 1960s, De Niro Sr, looking for fresh inspiration, abandoned New York for Paris. As his work continued to evolve and mature, he sold fifty oil paintings and works on paper to the collector Joseph Hirshhorn, and received much critical praise, as well as a Guggenheim Fellowship in 1968.

The political and cultural climate began to change in the mid-60s, however, and Pop Art eclipsed many artists working in a more traditional vein. Though the mainstream success of his contemporaries eluded De Niro Sr., he continued his brilliant exploration of color and form until he passed away in 1993, leaving behind a vibrant oeuvre that is included in museum collections such as: the Hirshhorn Museum and Sculpture Garden, and the Corcoran Gallery of Art, Washington, D.C.; the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Modern Art, New York, among others. In 1995, his son, award-winning actor Robert De Niro, Jr., along with his mother, Virginia Admiral, honored the late painter by supporting an exhibition of his works at the Salander-O’Reilly Gallery in New York.

HansHofmann_teacher

Hans Hofmann

Hans Hofmann
(1880-1966)

Exhibitions

University of California, 1931
California Palace of the Legion of Honor, 1931
Isaac Delgado Museum of Art, New Orleans, 1941
The Arts Club of Chicago, 1944
Cincinnati Art Museum, Ohio, 1944
Denver Art Museum, 1944
Seattle Art Museum, 1944
Santa Barbara Museum of Art, 1944
San Francisco Museum of Art, 1944
67 Gallery, New York, 1944
Art of This Century Gallery, New York, 1944
Mortimer Brandt Gallery, New York, 1944
University of Illinois, 1944
Milwaukee Art Institute, Wisconsin, 1945
67 Gallery, New York, 1945
Whitney Museum of American Art, New York, 1945
American Contemporary Gallery, Hollywood, CA, 1946
Addison Gallery of American Art, MA, 1947
The Art Institute of Chicago, 1947
Dallas Museum of Fine Arts, 1947
University of Oklahoma, 1947
Memphis Academy of Arts, 1947
Betty Parsons Gallery, New York, 1947
Kootz Gallery, New York, 1947
Whitney Museum of American Art, 1947
University of Minnesota, Minneapolis, 1951
Sidney Janis Gallery, New York, 1951
The Museum of Modern Art, New York, 1951
Albright Art Gallery, Buffalo, NY, 1952
Baltimore Museum of Art, 1954
Bennington College, Vermont, 1955
Museo Nacional de Arte Moderna, Palacio de las Bellas Artes, Mexico City,
1960
XXX Venice Biennale, Venice, 1960
American Federation of Arts traveling exhibition, 1961
Solomon R. Guggenheim Museum, New York, 1961
Hopkins Center, Dartmouth College, New Hampshire, 1962
International House, Denver, 1963
The Museum of Modern Art, New York, 1963
Santa Barbara Museum of Art, Santa Barbara, 1963
Worth Ryder Art Gallery, University of California, Berkeley, 1964
American Art Gallery, Copenhagen Denmark, 1964
Tate Gallery, London, 1964
San Francisco Museum of Art, 1965
Stanford Art Museum, CA, 1966
National Museum of Modern Art, Tokyo, 1966
Andre Emmerich Gallery, New York, 1967
Richard Gray Gallery, Chicago, 1968
Martha Jackson Gallery, New York, 1968
New York: Everson Museum, Syracuse, 1969
David Mirvish Gallery, Toronto, 1969
The Metropolitan Museum of Art, New York, 1970
Waddington Galleries III, London, 1973
The Corcoran Gallery of Art, Washington, D.C., 1973
Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1975
Museum of Modern Art, Oxford, England, 1977
Kunstmuseum, Bern, 1979
The Metropolitan Museum of Art, New York, 1979
Haus der Kunst, Munich, 1981
Vatican Museums and International Exhibitions Foundation, Rome, 1984
Yares Gallery, Scottsdale, AZ, 1984
The Fort Worth Art Museum, Fort Worth, Texas, 1985
C. Grimaldis Gallery, Baltimore, 1986
Lever/Meyerson Galleries, Ltd., New York, 1986
The Tate Gallery, London, 1988
Marianne Friedland Gallery, Toronto, 1988
Boston University Art Gallery, Boston, 1994
Sezon Museum of Art, Tokyo, 1996
Jason mcCoy, Inc., New York, 1998
Ameringer/Howard Fine Art, Boca Raton, FL, 1999
Manny Silverman Gallery, Los Angeles, CA, 1999
Seattle Art Museum, 1999
Berta Walker Gallery, Provincetown, MA, 2000
Provincetown Art Association and Museum, MA, 2000
The Newark Museum, NJ, 2001
Portland Art Museum, Portland, Oregon, 2001
John Berggruen Gallery, San Francisco, CA, 2001

Biography

Hans Hofmann (1880-1966) is one of the most important figures of postwar American art. Celebrated for his exuberant, color-filled canvases, and renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of Abstract Expressionism.

As a teacher he brought to America direct knowledge of the work of a celebrated group of European modernists (prior to World War I he had lived and studied in Paris) and developed his own philosophy of art, which he expressed in essays which are among the most engaging discussions of painting in the twentieth century, including “The Color Problem in Pure Painting—Its Creative Origin.” Hofmann taught art for over four decades; his impressive list of students includes Helen Frankenthaler, Red Grooms, Alfred Jensen, Wolf Kahn, Lee Krasner, Louise Nevelson and Frank Stella. As an artist Hofmann tirelessly explored pictorial structure, spatial tensions and color relationships. In his earliest portraits done just years into the twentieth century, his interior scenes of the 1940s and his signature canvases of the late 1950s and the early 1960s, Hofmann brought to his paintings what art historian Karen Wilkin has described as a “range from loose accumulations of brushy strokes…to crisply tailored arrangements of rectangles…but that somehow seems less significant than their uniform intensity, their common pounding energy and their consistent physicality.”

HansHofmann_teacher

Chronology
1880 Hans Hofmann is born in Weissenburg in Bavaria, Germany, on March 21. His father
Theodor Hofmann, a government official, and his mother Franciska, the daughter of
a prominent brewer and wine producer, have three sons and two daughters. Hans
was the second son.
1886 The family moves to Munich. Hofmann attends public schools and develops special
interests in mathematics, science, and music. He plays the violin, piano and organ
and begins to draw.
1896 With his father’s help, finds a position as assistant to the director of public works of
the state of Bavaria. Patents several scientific inventions.
1898 Studies painting with Willi Schwarz, who introduces him to Impressionism, at Moritz
Heymann’s art school in Munich.
1900 Meets Maria “Miz” Wolfegg, his future wife.
1903 Through Willi Schwarz, he meets Phillip Freudenberg, the nephew of a Berlin
collector, who becomes his patron from 1904 to 1914 and enables him to live in
Paris (though he often summers in Germany).
1904 Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a
friend from Mortiz Heymann’s school. Miz joins him in Paris. Attends evening sketch
classes at the école de la Grand Chaumière and the Académie Colarossi. Meets
Picasso, Braque and Matisse.
1908 Exhibits with the Neue Sezession in Berlin, and again in 1909.
1910 First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets and befriends
Robert Delaunay.
1914 Hofmann and Miz leave Paris for Corsica to recuperate from what proves to be
tuberculosis. Called to Germany by the illness of his sister, they are forced by the
outbreak of World War I to remain in the country. Financial assistance from Phillip Freudenberg ends.
1915 Ineligible for the army because of the aftereffects of his lung condition, and with
Freudenberg’s assistance terminated by the war, Hofmann decides to earn a living
by teaching. Opens the Schule für Bildenes Kunst in Munich.
1918 After the war his school becomes known abroad and attracts foreign students.
Between 1922 and 1929 holds summer sessions in Bavaria, Yugoslavia, Italy and
France. Makes frequent trips to Paris. Has little time to paint but draws continually.
1924 Marries Miz Wolfegg.
1930 At the invitation of former student Worth Ryder, teaches a summer session at the
University of California, Berkeley, where Ryder is an associate professor in the
Department of Art. Returns to Munich for the winter.
1931 In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at
Berkeley in the summer. Exhibits drawings at the California Palace of the Legion of
Honor, San Francisco—his first one-person exhibition in the United States.
1932 Returns to Chouinard School of Art in the summer. Advised by Miz not to return to
Munich because of growing political hostility towards intellectuals, Hofmann settles
in New York. Former student Vaclav Vytlacil helps arrange a teaching position at
The Art Students League of New York.
1933 Spends the summer as a guest instructor at the Thurn School of Art in Gloucester,
Massachusetts. In the fall opens a school in New York at 444 Madison Avenue.
Begins to paint again.
1934 Upon the expiration of his visa, travels to Bermuda where he stays for several
months before returning to the United States with a permanent visa. Teaches again
at the Thurn School of Art. Opens the Hans Hofmann School of Fine Arts at 137
East 57th Street in New York.
1935 Opens a summer school in Provincetown, Massachusetts.
1936 Hofmann moves his school to 52 West Ninth Street in New York.
1938 The Hofmann School moves again to 52 West Eighth Street, its permanent home in
New York until 1958. Hofmann’s lecture series at the school in the winter of 1938-
39 is attended by such figures as Arshile Gorky and Clement Greenberg.
1939 Miz Hofmann arrives in America and joins her husband in Provincetown. From that
year on they spend five months each summer in Provincetown and the rest of the
year in New York.
1941 Becomes an American citizen. Delivers an address at the annual meeting of
American Abstract Artists at the Riverside Museum. Solo exhibition at the Isaac
Delgado Museum of Art, New Orleans.
1942 Lee Krasner, formerly a Hofmann student, introduces him to Jackson Pollock.
1944 First exhibition in New York at Peggy Guggenheim’s The Art of This Century Gallery.
Hans Hofmann, Paintings 1941-1944 opens at The Arts Club of Chicago and travels
to the Milwaukee Art Institute. Hofmann’s paintings are included in Forty American
Moderns at 67 Gallery and Abstract and Surrealist Art in America at the Mortimer
Brandt Gallery (arranged by Sidney Janis in conjunction with publication of Janis’
book of the same title) in New York. Meets critic Clement Greenberg. Close
friendship with author and critic Harold Rosenberg begins.
1945 Included in Contemporary American Painting at the Whitney Museum of American
Art, New York. Included in all subsequent Whitney painting annuals.
1947 Exhibits at Betty Parsons Gallery in New York, the Dallas Museum of Fine Arts and in
Pittsburgh. Begins to exhibit with the Kootz Gallery, New York, which would hold a
one-person show of Hofmann’s work each year (except 1948 and 1956) until the
artist’s death.
1948 Retrospective exhibition of his work at the Addison Gallery of American Art in
Andover, Massachusetts, in conjunction with publication of his book, The Search
for the Real and Other Essays.
1949 Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and
visits the studios of Picasso, Braque, Brancusi and Miró. Helps Fritz Bultman and
Weldon Kees organize Forum 49, a summer series of lectures, panels and exhibitions
at Gallery 200 in Provincetown.
1950 Participates in a three-day symposium at Studio 35 with William Baziotes, James
Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith and
Bradley Walker Tomlin. Joins the “Irascibles,” a group of Abstract Expressionist
artists in an open letter protesting the exclusion of the avant-garde from an
upcoming exhibition of American art at The Metropolitan Museum of Art, New York.
1951 Juries the 60th Annual American Exhibition at the Art Institute of Chicago with Aline
Louchheim and Peter Blume.
1954 Solo exhibition at the Baltimore Museum of Art.
1955 Clement Greenberg organizes a small retrospective of Hofmann’s paintings at
Bennington College in Vermont.
1956 Designs mosaic murals for the lobby of the new William Kaufmann Building, 711 Third
Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.
1957 Retrospective exhibition held at the Whitney Museum of American Art, New York,
traveling to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica
and Baltimore.
1958 Ceases teaching to devote himself full-time to painting. Moves his studios into his
former New York and Provincetown schools. Completes a mosaic mural for the
exterior of the New York School of Printing at 439 West 49th Street.
1960 Represents the United States with Philip Guston, Franz Kline and Theodore Roszac
at the XXX Venice Biennale.
1962 Retrospective exhibition opens at the Frankische Galerie am Marientor, Nuremburg
and travels to Cologne, Berlin and Munich. Exhibition Oils on Paper 1961-1962 opens
in Munich. Awarded Honorary Membership in the Akademie der Bildenden Kunste in
Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College.
1963 Miz Hofmann dies. Retrospective exhibition Hans Hofmann and His Students
organized by William Seitz opens at The Museum of Modern Art and travels
throughout the United States, South America and Europe. Signs an agreement to
donate forty-five paintings to the University of California, Berkeley, and to fund the
construction of a gallery in his honor at the University’s new museum, then in the
planning stage.
1964 Receives an honorary Doctor of Fine Arts degree from the University of California,
Berkeley and the Solomon Guggenheim International Award. Becomes a member of
the National Institute of Arts and Letters, New York.
1965 Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York.
Completes The Renate Series inspired by Renate Schmitz, whom he marries.
1966 Hans Hofmann dies on February 17 in New York

Hans Hofmann’s students: Lillian Orlowsky, William Freed, Haynes Ownby, Paul Resika, Myrna Harrison, Robert Henry, Selina Trieff, Lee Krasner, Israel Levitan, Helen Frankenthaler, I. Rice Pereira, Gerome Kamrowski, Michael Loew, Joseph Plaskett, Fritz Bultman, William Ronald, Joan Mitchell, Michael Goldberg, Ray Eames, Larry Rivers, Jane Frank, Mary Frank, Nell Blaine, Robert De Niro, Sr., Jane Freilicher, Allan Kaprow, Red Grooms, Wolf Kahn, Marisol Escobar, Sy Kattelson, Nicholas Krushenick, Burgoyne Diller, Mercedes Matter, James Gahagan, Erle Loran, Nancy Frankel, Paul Georges, Louisa Matthíasdóttir, Judith Godwin, Lynne Mapp Drexler, Roland Petersen, Ken Jacobs, Anton Weiss, Donald Jarvis and many others.

Myrna Harrison

Myrna Harrison
(1932-)

harrison

Education

2007 Arizona State University, Tempe, AZ ,”History of Chinese Painting,”
2000 Remnin University, Beijing, China, “Chinese Art and Culture”
1996-99 Arizona State University, Tempe, AZ (“Chinese Painting of the Ming & Qing Dynasties,” “Chinese Ceramics,” “History of Asian Art”)
1960-64 University of California, Berkeley, CA (scholarship & teaching assistantship)
1960 Master of Arts, New York University, New York, NY (graduate scholarship)
1959 Bachelor of Arts (Magna cum Laude with Honors in English: minor in Fine Arts) –studied with Philip Guston — New York University, New York, NY
1953-57 Hans Hofmann School of Fine Art, New York, NY and Provincetown, MA (scholarship & monitor)
1952-53 Jack Tworkov, New York, NY (scholarship)
1951-52 Morris Davidson School of Fine Art, New York, NY and Provincetown, MA (scholarship)
1946-50 High School of Music and Art, New York, New York

Solo Exhibitions

2013 “Recent Paintings,” Gallery Ehva, Provincetown, MA
“Western Paintings: 1960-2012,” Desert Caballeros Western Museum, Wickenburg, AZ
2012 “Northeast by Southwest: The Lively Landscapes” Curated by James Burns, Robert Henry, and Selina Trieff, May 18-July 15, 2012, Provincetown, MA
“Look/Study,” Gallery Ehva, Provincetown, MA
2010 “Desertscapes: 2008-2010,”James Ratliff Gallery, Sedona, AZ
“Ocean & Desert,” Ehva Gallery, Provincetown, MA
2007 “New Works,” James Ratliff Gallery, Sedona, AZ
2005 “Desertscapes: 2004-2005,” James Ratliff Gallery, Sedona, AZ
“Looking Back,” Beauregard Fine Art, Rumson, NJ
2004 “Desertscapes -10 Years,” Glendale College, Glendale, AZ
“Desert Water Paintings,” Gold Nugget Art Gallery, Wickenburg, AZ
2002 “Desertscapes -2,” James Ratliff Gallery, Sedona, AZ
2001 “Desertscapes” James Ratliff Gallery, Sedona, AZ
1995 “Arizona Paintings,” Coconino Center for the Arts, Flagstaff, AZ
“Landscapes,” Cortland Jessup Gallery, Provincetown, M
1989 “Desertscapes,” Phoenix College, Phoenix, AZ
1994 “Landscapes,” Cortland Jessup Gallery, Provincetown, MA
1965 “Recent Work,” Derby Gallery, Berkeley, CA

Selected Group Exhibitions

2012 “Provincetown Views,” ACME Fine Arts, Boston, MA
2010 “Days Lumberyard,” Fine Arts Work Center, Provincetown, MA
2009 “In Search of the New: Hans Hofmann and His Students,” Provincetown Art Association and Museum, Provincetown, MA; University Art Gallery,
University of Massachusetts, Dartmouth, MA (2010); Sidney Mishkin Gallery, Baruch College, NYC (2010)
“Days Lumberyard Studios 1915-1972,” ACME Fine Art, Boston, MA
Cape Cod Museum of Art, Dennis, MA
2008 “Summer Salon,” ACME Fine Art, Boston, MA
2007 “Drawings from Hans Hofmann’s Figure Drawing Class,” ACME Fine Art, Boston, MA
2006 “Summer Salon,” ACME Fine Art, Boston, MA
“Provincetown Painters: Works on Paper,” Beauregard Fine Art, Rumson, NJ
2005 “Summer Salon,” ACME Fine Art, Boston, MA
“Teachers & Students,” ACME Fine Art, Boston, MA
“From the Collection: Hans Hofmann Students,” Cape Cod Museum of Art, Dennis, MA
2004 “Three Artist Exhibition,” James Ratliff Gallery, Sedona, AZ
“Provincetown Painters,” ACME Fine Art, Boston, MA
2002 “Hans Hofmann: Four Decades in Provincetown,” Provincetown Art Association and Museum, Provincetown, MA
2000 “Hans Hofmann’s Students: Variety in Contemporary Art,” Cape Cod Museum of Art, Dennis, MA
“Gallery Artists’ Group Shows,” Cherrystone Gallery, Wellfleet, MA
“Gallery Artists’ Group Shows,” Waxlander-Khadouri Gallery, Santa Fe, NM
“Life – Form and Color: Provincetown-Koganei,” Gallery Brocken & Gallery Hasimoto , Koganie (Tokyo), Japan
“USA on Paper,” Odsgard Gallery, Copenhagen, Denmark
“Landscape Show,” Provincetown Art Association and Museum, Provincetown, MA
1983-84 “RAFT – A Grand Canyon Landscape Exhibit” Scottsdalae Center for the Arts, Scottsdale, AZ; Coconino Center for the Arts, Flagstaff, AZ; Yuma Art Center, Yuma, AZ
“The Painters of the Sun Gallery,” Provincetown Art Association and Museum , Provincetown, MA
“The Lumberyard Painters,” Provincetown Art Association and Museum, Provincetown, MA
“Tenth Street Days: the Co-ops of the 50’s” New York, NY
“Solo Exhibition,” Derby Gallery, Berkeley, CA
1960-65 “Group Shows,” Quay Gallery, Tiburon, CA; Richmond Art Center, Richmond, CA
1957 “Eight New Artists,” Artists Gallery, New York,
1955 “Billmyer, Harrison, Orlowsky,” James Gallery, New York, NY
“Fifteen Staten Island Artists,” Pietrantonio Gallery, New York, NY
1954-57 “Group Shows”: Staten Island Museum, Staten Island, NY; Cape Cod Art Association, Hyannis, Ma: Provincetown Art Association and Museum, Provincetown, MA; Sun Gallery, Provincetown, MA
“International Watercolor Show,” Brooklyn Art Museum, Brooklyn, NY

Lectures, Teaching, Studio Tours:

2010 Panelist: “Robert Fisher,” Provincetown Art Association and Museum, Provincetown, MA
2009 Panelist: “Hans Hofmann: Search for the Real,” Provincetown Art Association and Museum, Provincetown, MA
Teaching: Visiting Artist, Vermont Studio Center, Johnson, VT
Tour of my studio, Scottsdale Museum of Contemporary Art, Scottsdale, AZ
Tour of my studio, Arizona 5 Arts Circle, Scottsdale, AZ
2008 Teaching: Studio Workshop for High School Students, Scottsdale Museum of Contemporary Art, Scottsdale, AZ
2007 Teaching: Workshop for Adults, Scottsdale Museum of Contemporary Art, Scottsdale, AZ
2006 Lecturer: “Threshold: Brian Kim`1920-2004,” Scottsdale Museum of Contemporary Art, Scottsdale, AZ
Teaching: Workshop for High School Students, Scottsdale Museum of Contemporary Art, Scottsdale. AZ
2005 Teaching: Visiting Artist, Vermont Studio Center, Johnson, VT
2004 Teaching: Visiting Artist, Vermont Studio Center, Johnson, VT
Lecturer: “Joseph Albers – Seeing In Color,” Scottsdale Museum of Contemporary Art, Scottsdale, AZ.
2003 Lecturer: “Hans Hofmann,” Scottsdale Museum of Contemporary Art, Scottsdale, AZ

myrna_harrison

Collections

Cape Cod Museum of Art, Provincetown, MA
Provincetown Art Association and Museum, Provincetown, MA
Rose Museum, Brandeis University, Waltham, MA
Private Collections throughout U.S., Canada, Japan

She is represented by

James Ratliff Gallery, Sedona, AZ
Beauregard Fine Art, Rumsfield, NJ
ACME Fine Art, Boston, MA
Gallery Ehva, Provincetown, MA

Biography

1932 Born Hollywood, California. Father director and animator on animated cartoons for Columbia Pictures; mother hat designer.
1943 Family moved to New York City
1946 – 1950 Music and Art High School, New York, NY
1950 – 1951 University of New Mexico, Albuquerque, NM
1951 – 1952 Morris Davidson School of Fine Art, New York City and Provincetown, MA (scholarship)
1952 – 1953 Studied painting with Jack Tworkov, New York, NY (scholarship)
1953 – 1957 Hans Hofmann School of Fine Art, New York, NY and Provincetown, MA (scholarship and monitor)
1954 – 1960 New York University, New York, NY.
1959 Bachelor of Arts (magna cum laude with honors in English – minor in Fine Arts – studied with Philip Guston) – scholarship
1960 Master of Arts – graduate scholarship
1960 – 1964 University of California, Berkeley, CA (scholarship & teaching assistanceship in English)
1965 – 1974 Taught English and Fine Arts in California community colleges
1974 – 1980 Dean of Instruction in California community colleges
1980 – 1993 Moved to Phoenix, AZ: President: Rio Salado Community College (1980-85); Gateway Community College (1985-88); Phoenix College (1988-93)
1993- present: Lives in Wickenburg, AZ in a studio overlooking a saguaro-filled canyon of the Sonoran desert.

Artist Statement

Oceans and deserts fascinate me. They share spacial openness, an unending skyline, subtle changes in form and color as the sun moves across the sky, and a demand that we adapt to them. They will not adapt to us. Both have an intense,vibrant presence — which is not surprising: deserts began life as oceans millions of years ago. I want my work to express that vibrant intensity.

My paintings usually grow out of pencil, ink, or charcoal drawings done on site. Some drawings are realistic, some abstract – but in all of them I try to catch the particular quality of that slice of desert or ocean. In my studio the paintings evolve from the on-site drawings, my memory, and the multitude of small drawings I do at night as I think about painting. Often a particular scene, drawing, or memory will absorb me and I will do ten or fifteen paintings of that particular place – each painting investigating a different aspect of the site and my response to it.

My work was influenced early by Cubism and the abstract expressionist painters Hans Hofmann, Willem de Kooning, and Franz Kline, later by the California figurative painters David Park and Richard Diebenkorn, and later still by Japanese prints and Chinese landscape painting. Chinese “splashed ink” paintings of the thirteenth century – the artist splashed ink on wet paper and let the irregular ink forms suggest a landscape that the artist would bring to life through a few brush strokes – has particularly interested me. Most recently I have been influenced by the Chinese aesthetic of the singular importance of the ink brush stroke for creating the basic form, subject and emotion of the painting. — Myrna Harrison, Wickenburg, AZ, May 2010