Artist Biography: Wolf Kahn

Wolf Kahn

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

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

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


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

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

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

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

DIRECTOR’S CHOICE: David Cowan’s Favorites

ACME Dickinson Chateau15 January – 23 April, 2010

An exhibition titled DIRECTOR’S CHOICE will open with a reception from 6:00 to 8:00 p.m. on Friday 15 January 2010 at ACME Fine Art’s 38 Newbury Street gallery. The exhibition will feature a selection of recently acquired paintings, drawings, and sculpture by noted 20th century modern American artists.

The stylistically diverse group of works that comprise the exhibition was assembled by Gallery Director David Cowan from a variety of private collections and estates, with the intent to display the breadth and quality of artwork in the current gallery collection. The exhibition will embrace Surrealism, Early Modernism, Abstract Expressionism, and Figural Abstraction.

In addition, a fine group of Indian Space Paintings by Will Barnet, Steve Wheeler and Peter Busa will be included. Other artists whose work is represented include expressionist painters Jack Tworkov, Stephen Pace, Dorothy Eisner, William Kienbusch, George McNeil and Robert Beauchamp. Rare Surrealist canvases by Federico Castellon and Harold Sterner will also help form the exhibition.

A landscape gem previously exhibited at the Whitney Museum of American Art and the Hirschhorn Museum that was created by early modern painter Edwin Dickinson in 1938 will round out the diverse group of artworks.

DIRECTOR’S CHOICE will be on view at ACME Fine Art through 23 April 2010.

For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at

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.


GEORGE McNEIL: The Women Works on Paper 1938-1972

ACME McNeil Untitled Figure15 January – 6 March, 2010

ACME Fine Art’s upcoming exhibition George McNeil: The Women will feature newly acquired works on paper that have not previously been shown. The exhibition will open with a reception from 6:00 to 8:00 p.m. on Friday 12 March and will be on view through Saturday 8 May 2010.

George McNeil began his artistic exploration during his teenage years in 1922 when he began art classes at the Brooklyn Museum. McNeil studied at the Art Students League, Hans Hofmann School of Fine Art and Columbia University, worked on a WPA Federal Art Project and was a founding member of American Abstract Artists. McNeil is best known as an American modernist and first-generation Abstract Expressionist painter.

George McNeil: The Women includes representations of the female figure from 1938-1972, spanning McNeil’s figurative, abstract expressionist and late figurative periods. An early ink drawing from 1938, during his time as a teacher at the Hans Hofmann School, exemplifies McNeil’s deconstruction of form that preceded his abstract expressionist works. Two unique works from Paris in 1952 show the influence of Andre Lhote, a renowned Cubist artist and teacher whose figure drawing classes McNeil briefly attended. These rare Parisian figure drawings depict stylized forms in elegant poses, yet were executed during a period in which McNeil’s works were almost exclusively abstract. Forming the centerpiece of the exhibition is a charcoal drawing from 1972 in which McNeil used strong lines and exaggerated foreshortening to render a reclining nude.

McNeil exhibited widely during his career through numerous solo and group shows at galleries and museums nationwide. McNeil’s work is in the permanent collections of the Museum of Modern Art, Metropolitan Museum of Art, National Gallery of Art, Whitney Museum of American Art, Corcoran Museum of Art, Museum of Contemporary Art of Los Angeles, Museum of Fine Arts, Boston, Brooklyn Museum of Art, Farnsworth Art Museum, Walker Art Center, and the Provincetown Art Association and Museum among others.

ACME Fine Art’s exhibition of works on paper by George McNeil will be on view from 12 March to 8 May 2010.

For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at

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.


Artist Biography: Giorgio Cavallon

Giorgio Cavallon (1904-1989)

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CHARLES LITTLER: Selections from the Artist’s Estate

ACME Littler Cape Cod Landscape High Res30 October – 23 December, 2009

On 30 October 2009 CHARLES LITTLER: Selections from the Artist’s Estate will open at ACME Fine Art, Boston. A reception from six to eight on Friday evening 30 October will mark the opening. The exhibition will be on view through 23 December.

ACME Fine Art’s first solo exhibition of the work of this talented 20th century modernist will feature a selection of fine examples of paintings and collages from early in Littler’s lengthy career, with work ranging in dates from the early 1950s to the mid-1960s. Cape Cod Landscape, circa 1952, an oil painting depicting Provincetown Harbor that Littler painted while in Provincetown to study with Hans Hofmann, will form the centerpiece of the exhibition. Other notable works include Red Dot Collage, circa 1958 which is a playful abstract pastel drawing accented by strips of paper collage, and punctuated by an adhesive red dot. Still Life, circa 1955, a mixed media painting in shades of gray and glossy black and white, demonstrates just how successfully Littler was able to integrate the concepts espoused by Hofmann into his own distinctive artistic expression.

Charles Littler studied at Alfred University in south central New York state, and at Hans Hofmann’s School of Art in both New York City, and in Provincetown Massachusetts. In the 1950s he was – along with James Gahagan and William Freed – one of the founding members of one of the early cooperative galleries in Manhattan called the James Gallery. In the late 1950s Littler migrated west to Arizona, where he accepted a teaching position at the University of Arizona. Shortly thereafter, Litttler and a small group of his colleagues collectively purchased an aging dude ranch to form a cooperative artists’ community which they named Rancho Linda Vista. Over time, the ranch established a group consciousness that Littler felt compelled to nurture, saying “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).” 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 be inspired by Littler’s original vision.

ACME Fine Art’s CHARLES LITTLER: Selections from the Estate of the Artist will be on view at the gallery until 23 December 2009.

For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at

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.


ACME Beauchamp Two Apples HighRes30 October – 23 December, 2009

On 30 October 2009 ROBERT BEAUCHAMP: ANIMALIA will open at ACME Fine Art, Boston. For ACME Fine Art’s second solo exhibition of the work of this art-historically significant painter, we have selected a group of twelve important canvasses and works on paper that were created between 1965 and 1990. The theme for the exhibition is Beauchamp’s interest in the animal kingdom in his work; hence, the title: ANIMALIA. A reception from six to eight on Friday evening (the 30th) will mark the opening. The exhibition will run through 23 December.

Robert Beauchamp (1923-1995) was a central figure in the Figurative Expressionist movement that emerged out of Abstract Expressionism in New York in the late 1950s and 1960s. As ANIMALIA will demonstrate, Beauchamp’s work – especially that from the “early” period- is filled with exquisitely drawn cavorting creatures – animal and human, real and otherworldly – that fully occupy the canvas in vivid technicolor, and stimulate the viewers’ intellect and imagination to the extreme.

The Figurative Fifties – an exhibition mounted by the Newport Harbor Art Museum in 1988 – was the seminal exhibition recognizing Figurative Expressionism and the important group of artists who were its practitioners. Along with Robert Beauchamp, curators Paul Schimmel and Judith Stein included Larry Rivers, Lester Johnson, George McNeil, Jan Müller, Grace Hartigan, Bob Thompson, and Fairfield Porter, among others, as the featured artists in the exhibition, and identified them as principal participants in the movement. In his essay that accompanied the exhibition catalogue, Carter Ratcliff quoted Irving Sandler saying that Robert Beauchamp “wanted to unveil the ‘aborigine’ hiding in the civilized self.” Ratcliff then goes on to add, “A brilliant ironist, Beauchamp twisted his recollections of Gauguin’s Tahiti and the German Expressionists’ Eden into images of remarkable delicacy. He played at primitivism the way other figure painters… played at abstraction…. Yet his art mixes authentically primitive feelings with an urban and at times almost arch refinement. He implies that selves are double, brutal and sophisticated, and there is a familiar doubleness in his conception of painting.”

Later in the exhibition catalogue, in her essay titled, Aspects of Figuration in New York, Judith Stein quoted Philip Pearlstein, Lois Dodd, and Sally Hazlet saying in a published conversation that “When you first come in it’s all Beauchamp, then you begin to discover the subject matter, then you see the influences… Picasso, Degas, Gauguin, Japanese, Klimt, Schiele, de Kooning, Mantegna, Egyptian Art. But it’s all Beauchamp.”

ACME Fine Art’s ROBERT BEAUCHAMP: ANIMALIA will be on view at the gallery until 23 December 2009.

For more information on Robert Beauchamp, including extensive lists of exhibitions of his work and of museums whose permanent collections contain artwork by him, please peruse this website.

For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at

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.

Charles Hawthorne

Charles Webster Hawthorne

Charles Webster Hawthorne.jpg

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

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

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

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

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


Picture 01317 September – 24 October 2009

On 17 September 2009 RICHARD FILIPOWSKI: PAINTINGS & SCULPTURE will open at ACME Fine Art, Boston. ACME Fine Art is delighted to present in this first solo exhibition of artwork by Richard Filipowski in our gallery, a choice selection of sculpture and painting created between 1948 and 1988. We are thrilled to represent the estate of this multi-dimensional, multi-talented artist. A reception from six to eight on Thursday evening (the 17th) will mark the opening. The exhibition will run through 24 October.

Richard Filipowski (1923-2008) was a Polish émigré who began art studies in Toronto at age sixteen. That was 1939, and it is notable that in the same year he won his first important national competition – namely the Vimy Memorial Poster Competition – in Canada. Filipowski continued his artistic endeavors as a student at the Illinois Institute of Technology (Chicago Bauhaus) from 1942 to 1946. While there and under the tutelage of Lazlo Moholy-Nagy, Filipowski pursued interests in painting, drawing, architecture, and sculpture, and he began exhibiting his work at local galleries. In 1944, Filipowski’s first big break came when his work was selected for a landmark group exhibition at the Julian Levy Gallery in New York that was titled Imagery of Chess. The artists comprising the “group” were expatriate European Surrealists for the most part, and they included Man Ray and Marcel Duchamp among others.

Upon receiving his degree at I.I.T. in 1946, Filipowski was invited by Moholy-Nagy to join the faculty there, and thus began a brilliant teaching career that spanned more than forty years. While in Chicago, Filipowski’s work was included in numerous group exhibitions at the Art Institute of Chicago, the Illinois State Museum, the Benjamin Gallery, and at I.I.T. where he was honored with a solo exhibition in 1947. Filipowski left the Chicago area when Walter Gropius offered him the opportunity to develop and direct the Fundamentals of Design program at the Harvard University Graduate School of Design in 1950. Filipowski’s thirty seven year professorship at the Massachusetts Institute of Technology began with his appointment as Associate Professor of Visual Design in the Department of Architecture in 1952. He was named Professor Emeritus by M.I.T. in 1988.

Filipowski worked back and forth between two and three-dimensional artwork throughout his career. Both aspects of his work – painting and sculpture – have been widely exhibited and collected. In addition to those institutions already mentioned, Filipowski’s work has been exhibited at the Fogg Art Museum at Harvard University, the DeCordova Museum, the Institute of Contemporary Art, Boston, the De Menil Museum, Houston, and the Noguchi Museum, in New York City. Large scale commissioned sculptures were an important aspect of Filipowski’s body of work. Some of those included commissions for Temple Israel, Swampscott MA, Temple Emmanuel, Dallas TX, Temple B’rith Kodesh, Rochester NY, Trinity Lutheran Church, Philadelphia PA, and the North End Branch of the Boston Public Library. Today, examples of Richard Filipowski’s painting or sculpture are in the permanent collections of the Philadelphia Museum of Art, the Museum of Fine Arts, Boston, the Addison Gallery of American Art, and the Walter Gropius House Museum among others.

ACME Fine Art’s RICHARD FILIPOWSKI: PAINTINGS & SCULPTURE will be on view at the gallery until 24 October 2009.

For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at

Artist Biography: Steve Wheeler

Steve Wheeler (1912-1992)

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

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

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

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

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

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

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

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

Seong Moy

Seong Moy (1921-2013)


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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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