About Jennifer Moreland

http://acmefineart.com

Posts by Jennifer Moreland:

Artist Biography: Wolf Kahn

Wolf Kahn
(1927-)

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

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

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

 

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

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

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

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

Artist Biography: Giorgio Cavallon

Giorgio Cavallon (1904-1989)

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

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

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

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

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

Biography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Charles Hawthorne

Charles Webster Hawthorne
(1872-1930)

Charles Webster Hawthorne.jpg

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

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

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

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

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

Artist Biography: Steve Wheeler

Steve Wheeler (1912-1992)

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

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

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

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

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

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

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

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

Seong Moy

Seong Moy (1921-2013)

moy

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

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

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

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

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

moy2

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

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

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

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

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

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

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

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

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

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

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

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

 

Charles Littler

Charles Littler
(1928-1991)

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

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

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

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

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

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

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

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

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

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

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

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

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

Artist Biography: John Grillo

JOHN GRILLO
(1917- )

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

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

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

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

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

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

Selected Group Exhibitions:
The Geigy Collection, Lincoln Center for the Performing Arts, NY, 1969
Recent Acquisitions, The Solomon R. Guggenheim Museum, NY, 1970, 1972, 1976
17th National Print Show, The Brooklyn Museum
New York University Collection, Hudson River Museum, Yonkers, NY
Tanager Artists of the ‘50s, Roko Gallery, NY
California Artists, 1944-52, Oakland Museum, CA
Selections from Hans Hofmann and His Students, University Art Museum, University of
California, Berkeley, 1974
Collages of the Fifties, Harpsichord and Buecker Gallery, NY, 1975
The Magic Circle, The Bronx Museum of Art, NY, 1976
Painters as Poets, University Gallery, The University of Massachusetts, Amherst, MA
1977
40 Post War Painters, The Solomon R. Guggenheim Museum, NY, 1977
The Hansan Purchase Fund Exhibition, The American Academy, Institute of Arts and
Letters, NY, 1978
Hans Hofmann and His Students’ Drawings, Metropolitan Museum of Art, 1979
Twentieth Century Art from Area Collections, Museum of Fine Arts, Springfield, MA,
1980
IV Biennial de Arte Medellin, Medellin, Colombia, 1981
Illusions of Light, Museum of Fine Arts, Worcester, MA, 1981
Studies for Major Works by Major Artists, Jean Lumbard Gallery, NY, 1982
The Gathering of the Avant-Garde: The Lower East Side, 1948-1970, Kenkelba
Gallery, 1985
Contemporary American Collage 1960-1986, Herter Gallery, The University of
Massachusetts, Amherst, traveling exhibition, 1987-1989
Paper Trails: San Francisco Abstract Expressionist Prints, Drawings and Watercolors,
The Art Museum of Santa Cruz County, Santa Cruz, CA, 1993
New York-Provincetown: A 50s Connection, The Provincetown Art Association and
Museum, MA, 1994
Provincetown Abstract Paintings 1915-1950 from the Penny and Hilton Yasuna
Collection, Provincetown Art Association and Museum, MA 1994
The San Francisco School of Abstract Expressionism, Laguna Art Museum, Laguna
Beach, CA, 1996
Pioneers of 20th Century Art, Robert Green Fine Arts, Mill Valley, CA, 2001
Karl Kasten companiles and UC Berkeley Art Friends, Galerie Sho, Tokyo, Japan,
2002

 

 

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.”