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

5th Annual International Hallmark Prize, 1960.

Selected Solo Exhibitions

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

Selected Group Exhibitions

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

Selected Public Collections

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


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


Baker Tulip in BottleAn invitational exhibition of works on paper by contemporary artists Charles DuBack, Josefina Auslender, Richard Baker, and Ellen LeBow will open on Friday 24 September 2010 at ACME Fine Art in Boston. A reception from 6:00 to 8:00 p.m. that evening will be held at the gallery with several of the artists in attendance. The exhibition will feature works on paper created using a variety of media and techniques, and ranging in style from pure abstraction to realism. The artists invited to participate in the exhibition by Gallery Director David Cowan exemplify the continuity between the modern tradition that ACME Fine Art has always exhibited and contemporary artworks from the local region.

Charles DuBack was born in 1926 in Fairfield, Connecticut and has been living and working in Maine for the past 40 years. DuBack attended the Brooklyn Museum School and the Skowhegan School of Painting and Sculpture. He worked in New York during the 1950s and early 1960s, sharing a studio building with Bernard Langlis and Alex Katz on 28th Street. DuBack’s works featured in the exhibition come from this time period, the late 1950s. Although these appear non-objective, DuBack takes his inspiration from nature. “I am a realist, all of my work comes directly from nature.” His small, hand colored collages are evocative of the landscape. DuBack’s work has been featured in Recent Paintings at the Museum of Modern Art, the Biennial International Exhibition at The Brooklyn Museum, the Whitney Annual Exhibition of Contemporary American Painting, and, most recently in a solo exhibition at the Portland Museum of Art, Charles DuBack: Coming to Maine.

Josefina Auslender is originally from Buenos Aires, Argentina, where she lived, worked and studied during the early part of her career. She has lived and worked in the United States since 1986 and has been exhibiting frequently throughout Maine, which she now calls home. ACME Fine Art will feature drawings from Auslender’s recent Stendahl Series that consist of dense pattered lines surrounding areas of negative space and outlining volumetric geometric shapes. The abstract spaces she creates exude a meditative, almost spiritual quality and appear influenced by celestial and landscape forms.

Richard Baker’s contemporary still life paintings are illusionistic, yet stylized. Gouache paintings from his tulip series depict the unfolding of the flower and portray the emotional complexities of this occurrence. Hilton Kramer, when considering Baker’s recent realist works concludes that “At his best, he’s as good as Magritte, and his wit is a lot subtler when he confers an atmosphere of anxiety upon objects ordinarily resistant to it-which is to say that Mr. Baker seems to have derived from Surrealism elements of wit and anxiety, but without the vulgarity and showmanship.” Baker lives and works in Brooklyn and Wellfleet, MA, was a Fine Arts Work Center Fellow (Provincetown, MA) and is a graduate of the School of the Museum of Fine Arts, Boston and Maryland Institute College of Art. He has exhibited at the Whitney Museum of American Art, the Provincetown Art Association and Museum, and the Cape Museum of Fine Arts (Dennis, MA).

Ellen LeBow’s monumental ink drawings incised on clayboard are amalgamations of conflicting iconographies ranging from religious to popular culture. Her irreverent images include the angel Gabriel bestowing his blessing upon Disney’s Seven Dwarfs and skeletons dancing with saints. These recent works are a new direction for LeBow, who formerly concentrated on Haitian subjects. LeBow describes these works as “[featuring] the press of a tumbling, cosmic ‘cloud’ packed with characters ‘cannibalized’ from these personal and artistic influences to become a compressed assault of ‘divine messengers’ threatening at once to overpower and exalt the earth-bound life below.” LeBow studied at Pratt Institute and the New York Studio School and currently lives and works on Cape Cod.

WORKS ON PAPER INVITATIONAL will be on view at ACME Fine Art in Boston from 24 September to 6 November 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. The exhibition can be viewed on-line at acmefineart.com. Please contact the gallery for further information.


ACME Tworkov Untitled CollageAn important exhibition of works on paper by noted twentieth century modernist Jack Tworkov will open on Friday 24 September 2010 at ACME Fine Art in Boston. A reception from 6:00 to 8:00 p.m. that evening will be held at the gallery. The retrospective exhibition will be comprised of paintings, drawings, and collages culled by Gallery Director David Cowan from private collections and from the estate of the artist. Noteworthy examples from the artist’s early years, as well as from his abstract expressionist heyday and his late geometric periods will be on view through 6 November 2010.

Tworkov was born on the cusp of the twentieth century in Biala, Poland, emigrated to the United States in 1913, and went on to become one of America’s most important and influential modern artists. Tworkov is perhaps best known as one of the original action painters in New York in the 1940s and 1950s. His arrival at avant-garde abstract expressionism as his means of expression came following a perhaps surprisingly traditional education that included study at the National Academy of Design with Charles Hawthorne, at the Art Students League with Boardman Robinson and Guy Pene du Bois, and in Provincetown Massachusetts with Ross Moffett.

Although he had exhibited with the Societe Anonyme in New York as early as 1929 and was employed in the easel division of the WPA from 1935 to 1941, significant notoriety for Tworkov did not come until the mid-1940s in conjunction with his exploration of abstraction. Following a hiatus from painting from 1941 to 1945 to support the war effort, Tworkov began exhibiting his abstract work at the Egan Gallery in Manhattan in 1945. Now famous as one of the premiere galleries to exhibit the work of abstract expressionist artists, Egan also represented Franz Kline, George McNeil, Willem de Kooning and Giorgio Cavallon during this period. Egan mounted annual solo exhibitions of Tworkov’s work between 1945 and 1954, and it was during this timeframe that Tworkov developed his mature abstract expressionist voice, thereby establishing himself as one of the few true first-generation abstract-expressionists.

Today, Jack Tworkov’s work is in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum of Art, Pennsylvania Academy of Fine Arts, San Francisco Museum of Modern Art, Baltimore Museum of Art, and the Phillips Collection, to name just a few. The Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Baltimore Museum of Art, and the Walker Art Center Minneapolis, MN have all mounted solo exhibitions of Tworkov’s work. Most recently retrospective exhibitions of Tworkov’s work have been mounted at the U.B.S Gallery in Manhattan and at the Provincetown Art Association and Museum in Massachusetts. (Jack Tworkov’s complete curriculum vitae is available on the ACME Fine Art web-site.)

JACK TWORKOV Works on Paper will be on view at ACME Fine Art in Boston from 24 September to 6 November 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. The exhibition can be viewed on-line at acmefineart.com. Please contact the gallery for further information.

Artist Biography: Charles Duback


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

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

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


ACME Stubbs Shorescape KS51 Pink TrapezoidTwentieth century American painting from New England’s summer art colonies is the focus of ACME Fine Art’s SUMMER SALON exhibition. The –something for everyone- exhibition is on view through 21 August 2010.

Fourteen artists and over twenty works are included in an exhibition that presents a stylistic cross section of modern art in America. Coastal New England art colonies such as Monhegan Island and Cranberry Island in Maine, and Provincetown in Massachusetts, notably the summer session of the Hans Hofmann School of Fine Art, are the sources for much of the artwork that comprises the exhibition. Figurative and abstract depictions of the New England coastline and the human form prevail. Fine examples by mid-century artists such as: Jack Tworkov, George McNeil, Lester Johnson, Stephen Pace, Giorgio Cavallon, Maurice Freedman, Nanno de Groot, Kenneth Stubbs, Haynes Ownby, Charles Littler, and William Freed are on view. The exhibition also features a fine selection of paintings by late twentieth century and contemporary artists Dorothy Eisner and George Lloyd.

ACME Fine Art and Design is located at 38 Newbury Street, Boston, Massachusetts, 02116. Summer Hours are 11:00 to 5:30 Wednesday through Saturday, and other times by appointment. Telephone, fax, e-mail addresses etc. are available at the gallery website: acmefineart.com (ACME Fine Art will be closed for the Independence Day holiday on 4 & 5 July 2008.)


ACME Hawthorne Provincetown Landscape #3On 10 July 2010 an exhibition titled DAYS LUMBERYARD STUDIOS 1914-1972 will open at the newly refurbished galleries of the Fine Arts Work Center in Provincetown. This survey exhibition will feature artwork spanning almost one hundred years that was created by artists who once occupied studios at Days Lumberyard in Provincetown. A broad and eclectic mix of artwork in a variety of media by over twenty artists will be on view.

The Days Lumberyard Studios in Provincetown Massachusetts ranks among the most important incubators for artists of the twentieth century. Two of that century’s most influential teachers –Charles Webster Hawthorne and Hans Hofmann- and many of their students, worked in studios there. In fact, more than one hundred artists had studios at the lumberyard and/or the adjacent Brewster Street annex between 1914 and 1972. Some of the most highly regarded American artists of the time maintained studios at Days for at least one season. Among them were: Edwin Dickinson, Ross Moffett, Charles Hawthorne, Vaclav Vytlacil, Myron Stout, Fritz Bultman, George McNeil, John Grillo, Peter Busa, Robert Motherwell, Lester Johnson, Jan Muller, and numerous others.

Accounts differ with respect to the date that artists began using the studios at Days Lumberyard. Records indicate that Frank Days Sr. acquired the 24 Pearl Street property in 1911. The first evidence of artist’s studios on the property as indicated in town tax records was 1916; however, Ross Moffett’s account claims that he and Henry Sutter were the first to occupy studios there in 1914. Vaclav Vytlacil has been quoted as saying that he paid five dollars per month for his studio rental at Days in 1914 as well. Other early occupants included Charles Hawthorne, Edwin Dickinson, and John Frazier. While artists had discovered the natural beauty of Cape Cod and appreciated the special qualities of the sunlight long before Days Lumberyard came into being, it now seems clear that the development of Days Lumberyard Studios as affordable artists’ studios -in conjunction with the influx of students attending classes at Charles Hawthorne’s and later Hans Hofmann’s schools -was crucial in sponsoring the collegial atmosphere that allowed this community of artists to flourish on the outer Cape. This combination of factors and the active presence of the artists themselves made Provincetown one of the premier and art historically significant Art Colonies in the United States.

In 1972, the Fine Arts Work Center acquired the Days Lumberyard property, and to this day many of the original studios continue to be used as living and work spaces by artists who have been awarded fellowships by the Work Center. The Fine Arts Work Center itself was founded in 1968 by a group of distinguished Provincetown writers and visual artists a number of whom had studios in the original Days Lumberyard. The visual artists who founded the Fine Arts Work Center include Jack Tworkov, Myron Stout, Salvatore Del Deo, Gil Franklin, Philip Malicoat, Fritz Bultman, and Robert Motherwell. The Fine Arts Work Center is a non-profit organization dedicated to continuing the same tradition and spirit of artistic creativity that was engendered by the artists of Days Lumberyard so many years ago. The Work Center has awarded over 800 fellowships to emerging writers and visual artists over the past forty years.

The Fine Arts Work Center exhibition Days Lumberyard Studios will be curated by David Cowan and James Bennette, of ACME Fine Art in Boston, a gallery that specializes in twentieth century art by Provincetown artists. The artwork comprising the exhibition will be drawn from private sources and from ACME Fine Art and other galleries in the region. All of the artwork will be for sale to benefit the Fine Arts Work Center, Provincetown.

The Hudson D. Walker Gallery at the Fine Arts Work Center is located at 24 Pearl Street in Provincetown, MA. Gallery hours are Monday – Friday, 1-5pm; Satruday & Sunday, 11am-3pm.


ACME Stout Untitled21 May – 3 July, 2010

On Friday 21 May 2010 a group exhibition honoring the founding artists and writers of the Fine Arts Work Center, Provincetown will open at ACME Fine Art in Boston. An opening reception will be held from 6:00 to 8:00 p.m. that evening, and is open to the general public. The exhibition will be on view through Saturday, 3 July 2010.

The Fine Arts Work Center is a not-for-profit organization based in Provincetown Massachusetts that is today the single largest provider of fellowships to emerging visual artists and creative writers anywhere. It was founded in 1968 by a group of artists, one writer, and a group of patrons who all had longstanding connections to the famous art colony located on Cape Cod’s outer reaches. The founding writer was prizewinning laureate Stanley Kunitz. The group of founding visual artists includes Robert Motherwell, Jack Tworkov, Myron Stout, Jim Forsberg, Philip Malicoat, Fritz Bultman, Richard Florsheim, Romanos Rizk, and Salvatore Del Deo. Fine examples of work by each of the founding artists will make up this important commemorative exhibition.

In assembling artwork for the exhibition ACME Fine Art’s Gallery Director, David Cowan, has focussed on obtaining excellent examples that are contemporary with the founding of the Work Center, with the intention of capturing a snapshot of the creative spirit in Provincetown at that particular moment in time. Likewise, Salvatore Scibona, the Writing Coordinator for the Fine Arts Work Center, has selected passages from the work of Stanley Kunitz that speak to the period but also relate in a meaningful and specific way to the artwork on display. The selected passages will share the walls with the artwork.

A special exhibition preview party to benefit the Fine Arts Work Center in Provincetown will be hosted by the Galleries at 38 Newbury Street on Thursday 20 May. On this occasion, the group of patrons that were instrumental in founding the organization will also be honored. They include Hudson, Ernest Vanderberg, Josiah Child, and Munro Moore. Founders Salvatore Del Deo and Josephine Del Deo are the Honorary Hosts for the event and they will be honored on this occasion as well. Drinks and hors d’oeuvres will be served between 5:30 and 7:30. Tickets are $50.00 p.p. and can be purchased through the Fine Arts Work Center (glongo@fawc.org) or ACME Fine Art (www.acmefineart.com).
For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at info@acmefineart.com

ACME Fine Art and Design is located in Boston’s Back Bay at 38 Newbury Street, Boston, Massachusetts, 02116. Gallery hours are 11:00am to 5:30pm Tuesday through Saturday.

PRINT PORTFOLIO: A Virtual Exhibition

Moy Abstract Visit High ResACME Fine Art’s upcoming virtual exhibition Print Portfolio will feature a selection of etchings, lithographs, woodblock prints and silkscreens by artists Seong Moy, Charles Littler, Grace Martin Taylor, Edwin Dickinson, George McNeil, Lillian Burk Meeser and Agnes Weinrich. Although these artists are from different generations and work in different styles, they all have a Provincetown, Massachusetts connection in common. This will be ACME Fine Art’s first exclusively online exhibition. The exhibition will open on 1 April 2010 and will be accessible at www.acmefineart.com.

Edwin Dickinson was one of the first artists to rent at studio at Days Lumberyard, which would later become Provincetown’s most vital studio complex. Dickinson made etchings for a short period of time, primarily during the year 1916, which “may have been motivated by the idea that prints were easier to sell than paintings.*” Although Dickinson did find etching to be profitable, by 1924 his preference for painting had prevailed. As a result of his short time as a printmaker and his small editions, Dickinson’s etchings are thus very rare. His etchings from this period and on view in Print Portfolio are primarily Provincetown scenes, including Cape Cod Birds and Montello Street, both from 1916. Dickinson used fine, delicate lines to produce detailed, yet powerful compositions. A number of Dickinson’s etchings were included in Edwin Dickinson in Provincetown, 1912-1937, an exhibition at the Provincetown Art Association and Museum in 2007.

Grace Martin Taylor is best known for her white-line woodblock prints, otherwise known as Provincetown prints, which are made using the first printmaking technique unique to the United States. The white-line woodblock technique is derivative of Japanese woodblock printmaking, a link that Taylor must have considered when composing her colorful Japanese influenced images. To produce white-line woodblock prints, colored inks were individually painted onto a section of a single carved woodblock and printed, a painstaking process that required much planning and drying time. White-line woodblock prints by Lillian Burk Meeser and Agnes Weinrich will also be featured in the exhibition.

Seong Moy, Charles Littler and George McNeil were all associated with Hans Hofmann early in their careers. Seong Moy, who emigrated from China at the age of ten, learned printmaking as part of a WPA project at the Walker Art Center in Minneapolis. His dynamic abstract woodcut prints are an amalgamation of his Chinese artistic heritage and the teachings of Hofmann. Moy taught painting and printmaking at many institutions, most notably the Art Students League and Pratt Graphic Center, in addition to forming his own school in Provincetown. Charles Littler incorporated the wood grain texture into his graphic woodblock prints. Using a limited palette of black and white, greens and browns, Littler composed abstracts of thick, sinuous lines evocative of the human form.

George McNeil’s use of brilliant colors and varying textures in his silkscreens and lithographs parallels his painting style. McNeil produced only a few color silkscreens in small editions during his abstract expressionist period. In 1971 McNeil began a residency at the Tamarind Institute at the University of New Mexico, where he learned the technical skills of lithography. McNeil’s lithographs from the 1970s and 80s utilize these complex skills, while maintaining the spontaneity of his paintings. McNeil’s prints are included in the permanent collection of the Smithsonian Institute Print Collection.

Please contact the gallery at 617.585.9551 or info@acmefineart.com for more information about these artists or the exhibition. These works are available for viewing at the gallery by appointment.
*Ward, John L. Edwin Dickinson: A Critical History of His Paintings. Rosemount Publishing and Printing Corp., 2003.

Artist Biography: Fritz Bultman

Fritz Bultman

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

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

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

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

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

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


ACME Lloyd Still Life with Pink Coffee PotFor ACME Fine Art’s second solo exhibition of artwork by George Lloyd, gallery director David Cowan has assembled a fine group of rare works from what the artist refers to as his Figurative Period. The exhibition will open with a reception from 6:00 to 8:00 p.m. on Friday 15 January 2010, and it will be on view through Saturday 6 March 2010.

George Lloyd received his BFA from the Rhode Island School of Design in 1967, and went on to earn his MFA in 1969 from the Yale University School of Art, where he studied with Lester Johnson and Jack Tworkov. Following the completion of his graduate studies, Lloyd accepted a teaching position at the University of California, Berkeley. The artwork that was created during this fertile period while living and working in the San Francisco Bay Area –the early 1970s- is what constitutes the Figurative Period of Lloyd’s work. It was also during that time that he participated in a weekly drawing group with renowned Bay Area artists, Elmer Bischoff, Joan Brown, and Gordon Cook. Together the four artists participated in a group exhibition of the work created in the drawing group sessions that was titled New Drawings. The exhibition was first mounted at the Charles Campbell Gallery (San Francisco), and later at the Crocker Art Museum (Sacramento) in 1973.

The importance of the drawing group and of “drawing” itself in Lloyd’s early work cannot be overstated. In an interview in 2000, he was quoted saying that “In retrospect, it is clear that drawing was the dominant concern in my paintings during this early Berkeley period.” When viewing the paintings; however, one is more struck by the effusive spirit that the work conveys. While we may see peripheral flashes of Henri Matisse, Stuart Davis, Robert de Niro Sr. and/ or Hans Hofmann, what we are left with in the end is an original, individual, eloquent voice. These paintings are brilliantly chromatic. They are also concisely edited, elegantly composed, and freshly and sensually expressed in a modern idiom that speaks an abstract visual language that is nonetheless readily understood.

Lloyd moved back to the east coast in 1982, settling more or less permanently in Portland Maine in 1985. He continues to teach and to paint, and his contemporary work is exhibited regularly in museum and gallery exhibitions throughout the U.S. Lloyd’s contemporary work appears to be a natural outgrowth of the interests demonstrated in the work created during his formative years in California. In addition to teaching at U.C. Berkeley, Lloyd has held teaching positions at Cornell University, the University of Southern Maine and at Wesleyan University. He was awarded Pollock Krasner Foundation grants in both 1994 and 2006. Lloyd’s work is in the permanent collections of the Oakland Museum of Art, the Portland Museum of Art, the University of Maine Museum of Art, the Ogunquit Museum of American Art, and the University Art Museum of the University of California, Santa Barbara. In addition to those institutions already listed George Lloyd’s work has been exhibited at the National Academy of Design, the Johnson Museum, Cornell University, the Center for Maine Contemporary Art, and the Center for the Visual Arts (Oakland CA).

ACME Fine Art’s exhibition of paintings and drawings from George Lloyd’s figurative period will be on view from 15 January to 6 March 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. Please contact the gallery at 617.585.9551 or info@acmefineart.com for more information about the artist or the exhibition. The entire exhibition will be viewable on-line at www.acmefineart.com.