Tony Vevers

Tony Vevers

Yale University, BA, 1950
Accademia di Belle Arti, Florence, Italy, 1950-51
Instituto Statale d’Arte, Florence, Italy, 1950-51
Hans Hofmann School, New York, 1952-53

Selected Collections:
Issac Delgardo Museum of Art, New Orleans, LA
Union Carbide Corporation, New York, NY
Argus Chemical Corporation, New York, NY
AT&T Corporation, Boston, MA
University of Massachusetts, Amherst, MA
Farleigh-Dickinson University, NJ
Purdue University, W. Lafayette, IN
Walter Chrysler Museum, Norfolk, VA
Provincetown Art Association and Museum, Provincetown, MA

Citation for service to the arts, Public Action on the Arts, Boston, MA
Sponsor’s Prize, 23rd Annual, Hunterdon Art Center, Clinton, NJ
Best of Show Award, Sugar Creek Biannual, Crawfordsville, IN
$1,000 Prize, N.E. Painting & Sculpture, Provincetown and Boston, MA
XL Grant, Purdue University
National Council on Art and Humanities Grant
Walter Gutman Foundation Grant

Professor of Art and Art History at Purdue University in Indiana and a highly respected and well-loved artist with deep roots in Provincetown, Tony Vevers’ contributions to the art world and to the arts in his adopted home are legendary. His figurative and landscape paintings from the 1950s and ’60s have a simplicity and purity that marry narrative and formal eloquence. In the 1970s he began working with rope and sand, creating poetic canvases of mysterious beauty.

Born in London in 1926, Tony and his sister were evacuated to the U.S. in 1940 to escape the Blitz during World War II. By 1944 Vevers was serving in the U.S. Army, in Germany, and had achieved the rank of Staff Sergeant when he was honorably discharged. After leaving the army in 1946, Tony entered Yale University on the G.I. Bill where he studied art, graduating in 1950.

In the early 1950s Tony traveled to Italy to study art, and later lived in New York where he met many of the first generation Abstract Expressionist painters. In 1953 he met and married the artist, Elspeth Halvorsen. By 1954 Tony and Elspeth had established themselves in Provincetown and their two daughters were born over the next three years.

Although Vevers taught at Purdue University from 1964 to 1988, it was the summers in Provincetown that fed his creative spirit.

His astute insights into Modernism as it spread from New York and into Provincetown were fueled by his connection with virtually every artist who had been part of that era including Edwin Dickinson, Mark Rothko, Franz Kline, Jack Tworkov and Robert Motherwell. As Museum Director Chris McCarthy stated, “It is hard to imagine anyone who has had a more consistent hand in the life of the Provincetown Art Association and Museum over the past four decades. Tony’s insights and contributions to writing the history of art in Provincetown are unparalleled.”

Tony Vevers exhibited his work in over one hundred solo and group shows in New York, Boston, Provincetown and throughout the U.S. In 1977 he became one of the founding members and president of Provincetown’s legendary Long Point Gallery. His work is in the permanent collections of the Hirshhorn Museum in Washington, the Walter Chrysler Museum, the DeCordova Museum, the University of Massachusetts and many others.

He received awards from the National Council on the Arts and the Walter Gutman Foundation. He served as an advisor to the Fine Arts Work Center and as a trustee and curator of the Provincetown Art Association and Museum.

Abraham Walkowitz

Abraham Walkowitz


Cooper Union
National Academy of Design, with War, Maynard, F.C. Jones
American Artists Congress
People’s Art Gallery, 1915 (founding Member)

Stieglitz Little Gallery, 1912
Armory Show, 1913
Society of Independent Artists, 1917-39
Salons of America
Whitney Museum of American Art
Pennsylvania Academy of Fine Art, 1929, 1933-35
Art Institute of Chicago
Corcoran Gallery of Art, 1930, 1935
Brooklyn Museum, 1939 (retrospective)

Whitney Museum of American Art
Metropolitan Museum of Art
Addison Gallery of American Art
Philadelphia Museum of Art
Hirshhorn Museum
Library of Congress
Museum of Modern Art
Phillips Collection Gallery
Brooklyn Museum
New York Public Library
Museum of Fine Art, Boston
Newark Museum
Columbus Gallery of Fine Art
University of Minnesota
Kalamazoo Institute of Art
Provincetown Art Association and Museum

Walkowitz self portrait

An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father was a lay rabbi and cantor, who died while ministering in China to Jewish soldiers who had been conscripted into the Russian army.
Fearful of persecution and the possibility of her son being drafted into the Czar’s army when he came of age, Walkowitz’s mother decided to emigrate with her children to the United States. En route across Europe, one of her three daughters died. The remaining family traveled steerage for twenty days across the Atlantic, finally settling in the Jewish ghetto of New York City where mother and son worked long hours at a newspaper stand to support the family.
As a youth, Walkowitz studied the violin and drew continuously in chalk on any surface he could find. His formal art training began at age fourteen at the Artist’s Institute and continued at the National Academy of Design. His studies in life drawing, etching and painting, with concurrent study of anatomy at a Fifth Avenue hospital, resulted in precise, detailed renderings.
He made drawings of ghetto life which were published in local newspapers. To earn money for a trip to Europe, Walkowitz taught art classes and painted signs. When his figurative work was criticized as being too subjective and realistic at a juried Academy exhibition, he perceived the criticism as narrow-minded and became all the more open to the avant-garde ideas he encountered in Europe.
Walkowitz began to use watercolor early in his career, gradually moving from dark, subdued colors and realistic depictions, to fresher, lighter colors following the techniques of the Impressionists. According to biographer William Innes Homer, “Although [Walkowitz] eventually shifted from a figurative style to abstraction, his fine, inventive sense of color prevailed in both modes of painting, and indeed found its freest, most intuitive expression in the medium of watercolor.”
Another biographer, Martica Sawin, observed that while Walkowitz regarded his work prior to 1920 as the most significant period of his art, he continued to paint prolifically into the 1940s when his eyesight began to fail.
He was honored in 1963, three years before his death, by the American Academy of Arts and Letters with an award annually given to a distinguished elderly artist. An account by Kent Smith of the event describes Walkowitz as a small, silky-haired blind man honored by a crowd that “rose to its feet and applauded in thunderous ovation for twenty minutes as the frail figure beamed in obvious delight . . .”



Florence Grippe

Florence Grippe


Educational Alliance, N.Y.C -1932-34: drawing & painting
Works Project Adminstration, N.Y.C. -1934-38: drawing, painting & sculpture
Henry Street Settlement, N.Y.C. – 1939-41: pottery with Wm. Soini
92nd Street YMHA -1940: Sculpture & drawing with Peter Grippe

Teaching Experience
1947-54: United Art Workshops of Bklyn Neighborhood Houses: drawing, painting, sculpture & puppetry
1951-57: Brooklyn Museum Art School: Design, underglaze painting, pottery & glaze making
1947 (Summer Session): Black Mountain College, North Caroline: Sculptor’s assistant to Peter Grippe

1941: New York Council for the Arts – N.Y.C
1945: American Museum of Natural History
1945: Orrefors Galleries, N.Y.C
1946: America House, N.Y.C
1947: Sweden House, N.Y.C
1947: Rena Rosenthal Gallery, N.Y.C
1948: National Art Club – N.Y.C
1948: Laural Gallery, N.Y.C
1949: American Museum of Natural History
1949: Sidney Janis/Betty Parson Galleries (Collaborative Exhibition auction)
1949: Roko Gallery, N.Y.C
1950: Willard Gallery, N.Y.C
1951: 9th Street Exhibition of the New York avant garde artists
1951: Brooklyn Museum Art School
1951: Voloshin/Cox Gallery – Key West Florida
1952: Morris Gallery, N.Y.C.
1953: The Atelier, N.Y.C
1955: Brooklyn Museum Art School
1957: Zabriskie Gallery, N.Y.C
1957: New School for Social Research, N.Y.C
1957: Pyramid Gallery, N.Y.C
1958: Downtown Community School, N.Y.C
1962: Boston College
1974: Guild Hall, Southhampton, L.I.
1978: Provincetown Art Association & Museum, P’town, Ma.
1979: Guild Hall, Southhampton, L.I. (Art Auction)

Portrait Commissions
1969: Doris Brewer Cohen, Lexington, Ma.
1970: Signora Attilio Revere, Locarno, Switzerland
1970: Dr. Luis Martinez, Valencia, Spain
1971: Eduardo Franco Sola, Rome, Italy

Guild Hall, Southampton, L.I. – “McGovern Mural”, 1972 (46 Long Island artist’s paint-in)
Rose Art Museum, Brandeis University: 1979, Portrait of Doris Brewer Cohen on extended loan.
Private Collections: Jacques Lipchitz, James Johnson Sweeney, Grace Borgenicht, Michael Freilich (Roko Gallery), Marian Willard (Willard Gallery), Chris Ritter (Laurel Gallery), Louis Nevelson, Mitchel Siporin and others.

New York Times Magazine Section – July 25, 1942
New York Times Magazine Section – September 22, 1947
New York Times Magazine Section – December 7, 1947
The Daily Star Review of Nassau County – March 1949
The Brooklyn Daily Eagle – November 11, 1951
Glamour Magazine – April 1952
Brooklyn Museum Art School Bulletin – Spring 1956
New York Times – August 19, 1972
The Boston Sunday Globe – August 25, 1978
The Daily Transcript, Needham – 7/19/79
Who’s Who of American Women
Who’s Who in America

Oliver Chaffee

chaffee, oliver

Oliver Chaffee

Art Students League, with Hawthorne
New York School of Art, with Henri and Chase
Detroit Fine Arts Academy
Academie Julian

Select Exhibitions
Detroit Art Institute, 1908, 1933, 1946
Pennsylvania Academy of Fine Art, 1912
Armory Show, 1913
Salon d’Automne, Paris, 1913, 1924
Art Institute of Chicago, 1919, 1928, 1932, 1942
Provincetown Art Association and Museum
Brooklyn Museum, 1927
Museum of Modern Art, 1933
Worcester Museum of Art
Everson Museum of Art, 1977
Corcoran Gallery of Art, 1986
Taft Museum, 1991

Selected Collections
Smithsonian Institution
Corcoran Gallery of Art
Kalamazoo Institute of Arts
Provincetown Art Association and Museum
Provincetown Town Hall

Oliver Chaffee is considered to be one of the most important and influential early modern painters and art teachers in what is thought to be the oldest art colony in the United States, Provincetown, Massachusetts.

Chaffee’s early paintings were clearly influenced by his training in New York with Robert Henri, as well as his training in Paris at the Academie Julian, where he must have come in contact with the Fauvist work of Matisse and Derain. Chaffee’s work from the 1910s represents some of the earliest and most accomplished “Fauvist” work done in the United States.

Three of Chaffee’s paintings, all Fauvist landscapes, were part of the famous Armory Show of 1913 in New York. His work was well received and compared to the works of Matisse, Picasso, Hartley, Marin, and Maurer. A review of the show compared Chaffee’s work with that of Maurer, and complimented the “effect of intense sunlight” in his work.

Ray Parker

RAY PARKER (1922-1990) 

Ray Parker

Born: August 22, 1922, Beresford, South Dakota
Died: April 14, 1990, New York, New York

Education: BA, 1946 University of Iowa; MFA, 1948, University of Iowa


1946-48- Graduate Assistant, State University of Iowa
1948-51- Instructor of Painting and Design, University of Minnesota
1953- Visiting Artist, Academy of Art, Memphis, TN
1955-90- Professor of Art, Hunter College, New York
1959- Guest Artist, University of Southern California, Los Angeles, CA
1970-71- Guest Critic, Columbia University School of Arts, New York
1974- Guest Critic, Bennington College, Bennington, VT


1949- Rochester Art Center, Rochester
1950- Walker Art Center, Minneapolis
1953- Paul Kantor Gallery, Los Angeles
Memphis Academy of Art, Memphis
1954- Louisville Art Center, Louisville, KY
1955- Union College Gallery, Scenectedy, NY
1956- Paul Kantor Gallery, Los Angeles
1957- Martin Widdifield Gallery, New York
1959- University of Southern California, Los Angeles
1960- Galerie Lawrence, Paris
Galerie Neufville, Paris
Kootz Gallery, New York, also: 1961, 1962, 1963, 1966
1961- Galleriea dell’ariete, Milan
Bennington College, Bennington, VT
Dwan Gallery, Los Angeles, also 1962
The Solomon R. Guggenheim Museum, New York
1965- Dayton Art Institute, Dayton, OH
1966- Gertrude Kasle Gallery, Detroit, also 1970
Washington Gallery of Modern Art, Washington, DC
1967- San Francisco Museum of Art, San Francisco
University Art Museum, University of New Mexico, Albuquerque
1970- Molly Barnes Gallery, Los Angeles
Fischbach Gallery, New York, also: 1973, 1974
Quay Gallery, San Francisco, also 1972, 1974
1971- School of Visual Arts, New York
1974- Berenson Gallery, Miami
Elaine Benson Gallery, Bridgehampton, also 1980
David Berger Gallery, Pittsburgh
Portland Center for the Visual Arts, Portland, OR
1975- American University, Washington, DC
1976- Susan Caldwell Gallery, New York, also: 1977, 1980
1977- University of Maryland, College Park, MD
University of Texas, Austin
1978- The Billiard Room Gallery, Cambridge
1979- Betty Cunningham, New York, also 1980
Phillips Collection, Washington, DC
1980- Gloria Luria Gallery, Bay Harbor Islands, FL, also 1986
Joe Grippi Gallery, New York
1981- College of Cortland, State University of New York, Fine Arts Center, Cortland
1983- Carl Solway Gallery, Cincinnati
1986- The Butler Institute of American Art, Youngstown
1990- The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York
1993- Galleria Peccolo, Livorno

1994- Galleria Milano, Milan
1997- Washburn Gallery, New York, also: 1999, 2000, 2004, 2007

Ray Parker2


1949- “Second Biennial Exhibition,” Walker Art Center, Minneapolis, MN
1950- “New Talent Exhibition,” The Museum of Modern Art, New York
“Annual Exhibition of Contemporary Painting,” The Whitney Museum of
American Art, New York
“American Painting Today,” The Metropolitan Museum of Art, New York
1951- Allen Memorial Art Museum, Oberlin College, Oberlin, OH
1952- “Annual Exhibition of Contemporary Painting,” The Whitney Museum of
American Art, New York
1954-56- “Stable Annual,” Stable Gallery, New York
1956- “Vanguard 1956,” Walker Art Center, Minneapolis, MN
Poindexter Gallery, New York
1957- “American Painting Exhibition,” Minneapolis Institute of Art, Minneapolis, MN
1957-58- “International Exhibition of Painting,” traveled throughout Japan (U.S. representatives
selected by The Museum of Modern Art)
1958- “Annual Exhibition of Contemporary Painting,” The Whitney Museum of American
Art, New York
1960- “60 American Painters,” Walker Art Center, Minneapolis, MN
1961- “Abstract Expressionists and Imagists,” The Solomon R. Guggenheim Museum, New York
“Recent Painting and Sculpture,” The Museum of Modern Art, New York
(traveled in the United States October 1961 to June 1963)
1962- “Art Since 1950,” Seattle World’s Fair, Seattle, WA
The Gifford and Joann Phillips Collection, UCLA Art Galleries, Los Angeles, CA
1962-63- Biennial, Corcoran Gallery of Art, Washington, D.C.
“Three Former Iowans,” Des Moines Arts Center, Des Moines, IA
“Biennial,” University of Illinois, Urbana, IL
1963- “Toward a New Abstraction,” The Jewish Museum, New York
Corcoran Gallery of Art Biennial, Washington, D.C.
“Black and White,” The Jewish Museum, New York
“Annual Exhibition of Contemporary Painting,” The Whitney Museum of American Art,
New York
1963- “New Directions in American Painting,” Rose Art Museum, Brandeis University,
Waltham, MA
1964- “Carnegie International,” Carnegie Institute, Pittsburgh, PA
“Post Painterly Abstraction,” Los Angeles County Museum of Art, Los Angeles, CA
Other venues: Walker Art Center, Minneapolis, MN
Art Gallery of Toronto, Toronto, Canada
“67th Annual Exhibition of American Painting,” Art Institute of Chicago, Chicago, IL
“American Art Since 1950,” Brandeis University, Waltham, MA
“Painting of a Decade 1956-64,” The Tate Gallery, London, England
“Black, White and Gray,” Wadsworth Athenaeum, Hartford, CT
“Selections from the Guggenheim Museum,” Italian Pavilion, Venice Biennial
1965- “Carnegie International,” Carnegie Institute, Pittsburgh, PA
“Annual Exhibition of Contemporary Painting,” The Whitney Museum of American Art,
New York
1968- “The Art of the Real: USA 1948-1968,” The Museum of Modern Art, New York
Other venues: Grand Palais, Paris, France; Kunsthaller, Zurich, Switzerland;
The Tate Gallery, London, England
1969-70- “Annual Exhibition of Contemporary Painting,” The Whitney Museum of American Art,
New York
1971- “Young Artists of the ’50’s,” The Museum of Modern Art, New York
1972- “Color Forum,” University of Texas, Austin, TX
“Annual Exhibition of Contemporary Painting,” The Whitney Museum of American Art,
New York
1973- “The Biennial Exhibition of American Art,” The Whitney Museum of American Art,
New York
1975-77- “American Art Since 1945,” from the collection of The Museum of Modern Art
Other venues: Worcester Art Museum, Worcester, MA; Toledo Museum of Art,
Toledo, OH; Denver Art Museum, Denver, CO; Fine Arts Gallery of San Diego,
San Diego, CA; Dallas Museum of Fine Arts, Dallas, TX; Joslyn Art Museum,
Omaha, NE; Greenville County Museum, Greenville, SC; Virginia Museum of
Fine Arts, Richmond, VA
“Three Former Iowans,” Museum of Art, University of Iowa, Iowa City, IA
“Color as Language,” sponsored by the International Council of The Museum of Modern
Art; Other venues: Museo de Arte Moderna, Bogota, Colombia; Museo de
Arte de Sao Paulo, Brazil; Museo de Arte Moderna, Rio de Janeiro, Brazil;
Museo de Bellas Artes, Caracas, Venezuela; Museo de Arte Moderno, Mexico
City, Mexico
1976- “Abstract Expressionists and Imagists: A Retrospective View,” The University of
Texas, Austin, TX
“Drawing Today in New York,” sponsored by Rice University, Houston, TX
“Artists and East Hampton, A 100-Year Perspective,” Guild Hall, East Hampton
1977- “New in the ’70’s,” University Art Museum, Austin, TX
“A Miscellany of the 1960s,” Susan Caldwell Gallery, New York
1978- “New York, The State of Art, The New York School,” State Museum, Albany
1979- “Art in America After World War II,” The Solomon R. Guggenheim Museum, New York
1984- “Artists at Hunter 1950-1965,” Hunter College Art Galleries, New York
“Then and Now,” Elaine Benson Gallery, Bridgehampton
1986- “After Matisse,” The Queens Museum, Flushing
Other venues: Chrysler Museum, Norfolk, VA; Portland Museum of Art,
Portland, OR; Bass Museum of Art, Miami Beach, FL; The Phillips
Collection, Washington, D.C.; Dayton Art Institute, Dayton, OH;
Worcester Art Museum, Worcester, MA
1987- “39th Annual Purchase Exhibition,” American Academy and Institute of Arts and Letters,
New York
1989- “Abstract Expressions: Painting and Sculpture of the 1950’s and 1960’s,” Vanderwoude
Tananbaum Gallery, New York
“Three-Man Exhibition with Dan Christensen and Robert Goodnough,” Gloria Luria
Gallery, Bay Harbor Islands, FL
“Before the Field – Paintings from the Sixties,” Daniel Newburg Gallery, New York


Statements by the Artist

“Student, Teacher, Artist,” College Art Journal, Vol. 8, Fall, 1953, p. 27
“Direct Painting,” It Is, Spring, 1958, p. 20
“Intent Painting,” It Is, Autumn, 1958, pp. 8-9
“Is there a New Academy?” Art News, Vol. 58/6, September 1959, p. 38
Catalogue of American Collection, The Tate Gallery, London, England, 1978


Robert Motherwell and Ad Reinhardt, Modern Artists in America, No. 1. Wittenborn &
Schultz, New York, 1950.
“American Abstract Artists,” editors. The World of Abstract Art, George Wittenborn,
New York, 1957.
Bernard Friedman, editor. School of New York. Grove Press, New York, 1959.
Barbara Rose. American Art Since 1900, A Critical History. Praeger, New York, 1967.
Irving Sandler. The Triumph of American Painting: A History of Abstract Expressionism.
Praeger, New York, 1970.
Irving Sandler. The New York School. Harper & Row, New York, 1978.
Mary Fuller McChesney. A Period of Exploration: San Francisco 1945-1950.
Oakland Museum, Oakland, California, 1973.


“Exhibition at Widdifield Gallery,” Art News, Vol. 56, November, 1957, p. 56.
J. Schuyler, “New Untitled Oils at Widdifield,” Art News, Vol. 58, March, 1959, p. 10.
H. H. Arnason and Herbert Read, “Dialogue on Modern U.S. Painting,” Art News, Vol. 59/3,
May, 190, pp. 32-36.
William Rubin, “Younger American Painters,” Art International, Vol. 4, January, 1960, p. 30.
Irving Sandler, “New York Letter,” Art International, Vol. 4, January, 1960, p. 30.
“Ray Parker,” Art News, Vol. 60, April, 191, p. 46.
G. Schoenenberger, “Expositions A Milan: Raymond Parker,” Art International, Vol. 5,
August, 1961, pp. 77-78.
“Solomon R. Guggenheim Museum: American Abstract Expressionists and Imagists,” Kunstwerk,
Vol. 15, November, 1961, p. 59.
Lawrence Campbell, “Parker Paints a Picture,” Art News, Vol. 61, November, 1962, p. 40.
Gerald Nordland, “Show at the Dwan Gallery,” Kunstwerk, Vol. 6, November, 1962, p. 67.
Thomas B. Hess, “Phony Crisis in American Art,” Art News, Vol. 62, Summer, 1963, p. 59.
Max Kozloff, “Exhibition at Kootz,” Arts Magazine, Vol. 39, January, 1965, p. 48.
“Neue Abstraktions” Kunstwerk, Vol. 18, April, 1965, p. 121.
L. Picard, “Interview mit Raymond Parker,” Kunstwerk, Vol. 18/7, January, 1965.
Barbara Rose, “The Second Generation: Academy and Breakthrough,” Artforum, Vol. 4,
September 1965, pp. 58-63.
Bruce Glaser, “The New Abstraction” Art International, Vol. 10, February, 196, p. 41.
Hilton Kramer, “Art: 2 Men’s Dazzling Abstractions,” The New York Times, January 31, 1970.
“Ray Parker, Fischbach Gallery,” Artforum, April, 1970, p. 72.
L’Arte Moderna No. 111, Vol. XIII, pp. 28, 99, 118.
Hilton Kramer, Review, The New York Times, January 16, 1971.
Mary Fuller, “Was There a San Francisco School?”Artforum, January, 1971, pp. 46-53.
Alfred Frankenstein, “Praise Where it Is Due,” San Francisco Chronicle, February 17, 1972.
Barbara Rose, Review, New York Magazine, Vol. 6, No. 11, March 12, 1973.
Benjamin Forgey, “Parker’s Power,” The Washington Star, November 4, 1979.
John Russell, Review, The New York Times, November 9, 1979.
“The Virtue of Solitary Action, de Kooning, Parker, Francis, McNeil” ART\WORLD,
October 20, 1979
Michael Findley, “Ray Parker,” Arts Magazine, Vol. 55, No. 2, October, 1980, p. 3.
“Dialogue: Conversations with Ray Parker and Doug Ohlson,” Arts Magazine, Vol. 56,
No. 8, April, 1982.


Akron Art Institute, Akron, OH
Albany Institute of History and Art, Albany
Albright-Knox Art Gallery, Buffalo
The Aldrich Museum of Contemporary Art, Ridgefield, CT
American Academy of Arts and letters, New York
American University, Watkins Gallery, Washington, D.C.
Art Institute of Chicago, Chicago, IL
Bell Art Gallery, Brown University, Providence, RI
Childe Hassam Foundation, New York
Cleveland Museum of Art, Cleveland, OH
Dayton Art Institute, Dayton, OH
Des Moines Art Center, Des Moines, IA
The Fort Worth Art Museum, Fort Worth, TX
The Solomon R. Guggenheim Museum, New York
Los Angeles County Museum of Art, Los Angeles, CA
Massachusetts Institute of Technology, Hayden Gallery, Cambridge, MA
The Metropolitan Museum of Art, New York
Miami-Dade Junior College Art Gallery, Miami, FL
Milwaukee Art Center, Milwaukee, WI
Minneapolis Institute of Arts, Minneapolis, MN
Minnesota Historical Society, St. Paul, MN
Museum of Fine Arts, Houston
The Museum of Modern Art, New York
New Orleans Museum of Art, New Orleans, LA
Philadelphia Museum of Art, Philadelphia, PA
Princeton University, The Art Museum , Princeton, NJ
Portland Museum of Art, Portland, ME
Rice University, Rice Museum, Houston, TX
Rose Art Museum, Brandeis University, Waltham, MA
San Francisco Museum of Modern Art, San Francisco, CA
The Tate Gallery, London, England
University of Iowa Museum of Art, Iowa City, IA
University of New Mexico, University Art Museum, Albuquerque, NM
The University of Texas Art Museum, Austin, TX
Vassar College Art Gallery, Poughkeepsie
Wadsworth Athenaeum, Hartford, CT
Walker Art Center, Minneapolis, MN
The Whitney Museum of American Art, New York

ray parker 3


Originally from South Dakota, Ray Parker entered the University of Iowa in Iowa City in 1940; he earned his MFA in 1948. From 1948 to 1951 he taught painting at the University of Minnesota in Minneapolis. During the 1940s his paintings were heavily influenced by cubism. In the early 1950s, however, Parker became associated with the leading abstract expressionists of the day, including Mark Rothko and Willem de Kooning. Parker soon began to simplify and refine his works realizing that through abstraction, and color his paintings could convey and express emotion.

Like Piet Mondrian, Stuart Davis and Jackson Pollock, Parker was a fan of jazz music; and his interest in Jazz, combined with his interest in abstract expressionism, led to his improvised painting style. Parker was also a great admirer of the painter Henri Matisse and he looked to this artist’s work for inspiration in terms of color and form, especially in his paintings of the 1970s and 1980s. By the late 1950s, he taught at Hunter College in New York City and he developed a singular style of painting that focused on intense color and simple geometric shapes. He was represented by the Samuel M. Kootz Gallery, one of the leading contemporary galleries in New York City during the late 1950s through the mid-1960s. At that time the Kootz Gallery represented important living artists such as Pablo Picasso, Pierre Soulages, Hans Hofmann, Zao Wou Ki as well as Ray Parker.

He is best known by his work of the late 1950s early 1960s called his Simple Paintings. These paintings are characterized by discreet cloudlike forms of clear, and intense color set against a white or an off-white background. Parker’s paintings utilizing this method of stacked, clearly colored lozenges and floating forms are straightforward and basically geometric in shape.



Please join ACME Fine Art for the first exhibition of the 2014 season, a group exhibition of artwork selected by Gallery Director David Cowan. The exhibition will feature the artists Gilbert Franklin, Nanno de Groot, Resia Schor, and Ilya Schor. All four artists are well known to New England art aficionados and collectors because of their connections to the Provincetown artists’ colony. The exhibition will open onFriday 24 January. Friday hours are 11:00 am to 5:30 pm. The exhibition will be on view through Saturday 22 February 2014. A reception will be held on the evening of Friday, 7 February from 5:00 to 9:00 p.m., and will coincide with SoWa’s First Friday festivities.

resia-schor-untitled-lg ilya-shor-weathervane-lg

The exhibition will feature eight late canvases by New York School artist Nanno de Groot, three Post-Modern reliefs by noted sculptor and maker of Judaica, Resia Schor, three 1950s uniquely crafted sculptures by Ilya Schor, and five figurative bronzes from the second half of the 20th century by National Academy of Design member and former Chairman and Dean of the Division of Fine Arts at the Rhode Island School of Design, Gilbert Franklin. The threads linking these artists were their significant ties to Provincetown and the outer Cape, as well as their distinctly modern point of view.

The entire exhibition will be viewable on-line at For more information about the exhibition or the artists please contact the gallery.


For the first exhibition of the 2014 season ACME Fine Art will present a group exhibition of artwork selected by Gallery Director David Cowan. The exhibition will feature the artists Gilbert Franklin, Nanno de Groot, Resia Schor, and Ilya Schor. All four artists are well known to New England art aficionados and collectors because of their connections to the Provincetown artists’ colony. The exhibition will open on Friday 24 January and will be on view through Saturday 22 February 2014. A reception will be held on the evening of Friday, 7 February from 5:00 to 9:00 p.m., and will coincide with SoWa’s First Friday festivities.

The exhibition will feature a number of important late canvases by Nanno de Groot, many of which have not been exhibited in more than four decades. A native of the Netherlands, Nanno de Groot emigrated to the U.S. following his service in the Dutch Merchant Marine at the conclusion of World War II. Always an avid draftsman,

de Groot took up painting in a decidedly avant-garde manner almost as soon as he gained access to studio space in San Francisco in 1948. De Groot’s brief career as an artist ended with his untimely death in 1963 at age 50.

De Groot’s early work was highly abstract and vaguely figurative. His artist’s emphatic gesture and his fondness for slathering on gobs of oil paint were among the most prominent features of his early period. De Groot came to prominence shortly after his move to New York in the early 1950s when his paintings were shown at Tanager Gallery, the Bertha Schaefer Gallery, and at the groundbreaking Hansa Gallery in Manhattan. These strikingly expressive abstractions were remarkably sophisticated, yet evocatively primal. Thankfully, both of these characteristics stayed with de Groot as his work progressed into the late 1950s and 1960s.

In 1956 de Groot rented Fritz Bultman’s Provincetown studio for the summer, and almost immediately Provincetown and the Cape Cod landscape began to exert a perceptible influence on his painting. These landscape-based late paintings that were inspired by the fields, forests, flowers, and even the atmosphere of the outer Cape will be the focus of this ACME exhibition. De Groot’s late paintings are vigorously and spontaneously conceived, confidently rendered, visual elegies that beautifully capture the spirit of one of the most creative periods in American art.

An impressive array of modern 20th century sculpture will be an important aspect of this year’s Director’s Choice exhibition. ACME Fine Art is delighted to announce that the gallery now represents the estate of Gilbert Franklin. We are delighted to introduce Franklin by presenting a fine group of his late 20th century bronzes as a part of this exhibition. Franklin’s illustrious career included membership in the National Academy of Design. He was a Fellow and Trustee of the American Academy in Rome, and he won the Prix de Rome in sculpture in 1948. Franklin served as Professor of Sculpture, and Chairman and Dean of the Division of Fine Arts at the Rhode Island School of Design –his alma mater- and also taught at Harvard, Yale, and the University of Pennsylvania during his almost four decade long career in academia.

Franklin’s sculpture was always inspired by nature, particularly the human figure, and while the level of abstraction in his work varied, his interest in the classical sculpture of Greece and Rome is often evident. Franklin said, “I do basically two types of sculpture: one figurative… the other, abstracted forms derived from natural forms found on the Cape, like shells and rocks.” His friend and colleague Michael Mazur described Franklin’s work as “characterized by a love of form, especially those sensual forms of the human body abstracted to very particular, telling, curves and volumes.”

Last summer the Provincetown Art Association and Museum mounted a beautiful, high season exhibition titled Abstract Marriage: Sculpture by Ilya Schor and Resia Schor. Following on the heels of this important museum exhibition we are delighted that we can make selections from the PAAM exhibition a fundamental component of our 2014 Director’s Choice season opener. In addition to PAAM, Ilya Schor’s work has been included in Museum shows in New York, Boston, Chicago and Milwaukee. The Jewish Museum (NYC) honored Schor with a retrospective exhibition in 1965. 

Ilya Schor was a multitalented artist who is perhaps best known as a renowned artist of Judaica. He was also an accomplished jeweler, engraver, painter, and sculptor. Three important sculptures by Schor from the 1950s will be included in this exhibition. Each piece is unique, and is crafted in brass and/or copper in a manner that brings Schor’s skills as a jeweler to the fore. These are meticulously hand wrought pieces. They are exquisitely crafted expressions that demonstrate the artist’s understanding of both Cubism and Abstract Expressionism. While there is frontality to the basic forms, each of the pieces manages to be entirely three-dimensional as well. There is a captivating complexity about Schor’s work that commands and holds the viewer’s attention.

While Resia Schor studied studio art as a young woman in Poland, (Academy of Fine Arts, Warsaw) her sculptural reliefs for which she is now known, were made relatively late in life, when, after Ilya Schor’s death in 1961, she decided to make use of his workshop in the family’s Manhattan apartment. The three pieces that will be a part of the upcoming ACME Fine Art exhibition have an almost Pop sensibility. They are at once both playful and serious, thought provoking and witty, and they –while connected to no specific movement- can be seen as harbingers of Post-Modernism. As with Ilya’s work they are exquisitely crafted expressions that are rooted in the fundamentals of 20th century modernism.

Director’s Choice: GILBERT FRANKLIN, NANNO DE GROOT, ILYA SCHOR & RESIA SCHOR will open at ACME Fine Art on Friday, 24 January 2014 and will be on view through Saturday, 22 February 2014. A reception will be held on Friday February 7, between 5:00 and 9:00 p.m. The entire exhibition will be viewable on-line at .





Haynes Ownby

Haynes Ownby

Southern Methodist University, B.A.
Hans Hoffman School
University of Texas at Austin, M.F.A.

Pollock-Krasner Foundation
Adolph and Esther Gottlieb Foundation
Hans Hoffman Trust
Richard A. Florsheim Art Fund

Selected Exhibitions:
Dallas Museum of Fine Art, 1950, 1963
Pennsylvania Academy of Fine Art, 1954
James Gallery, 1955 (solo)
Contemporary Art Museum, Houston, 1965
Laguna Gloria Art Museum, 1978 (solo)
Huntington Gallery at University of Texas, Austin, 1979
500 Exposition Gallery, Austin, 1981 (solo)
Art Center, Waco, Texas, 1984 (solo)
Copenhagen City Gallery, Denmark, 1993
Schoolhouse Center, Provincetown, 1999 (solo), 2001 (solo)
Cape Museum of Fine Arts, 2001 (retrospective)

Selected Collections:
Provincetown Art Association and Museum
Cape Cod Museum of Art

Haynes Ownby was a student of Hans Hoffman and spent much of his professional life in Provincetown. Born in Texas, he was attracted to Provincetown’s vibrancy and casualness. Ownby, after completing a BA in Art and English at Southern Methodist University, went to New York to study with Hans Hoffman. He was one of the original twelve members of the James Gallery and was elected treasurer in 1952. After completing his MFA at the University of Texas at Austin in 1973, Ownby moved to Provincetown year round. Unlike most Provincetown painters, his abstract style is characterized by primary colors and the use of grids of squares. He is well known for creating and exhibiting an interactive art game, Kruztrax ©. Ownby received many grants and awards during his life and was a devout Buddhist. He died at age 71 in Provincetown.


Haynes Ownby acknowledged that his most important visual artistic influences were other artists and their work. Those he credited were: Henri Matisse – with whom he shared his date of birth and an affinity for color, Piet Mondrian –whose canvases taught him to appreciate the ability to create depth in two dimensions, Hans Hofmann –with whom he studied from 1952 to 1956, and Myron Stout –his close friend and mentor. Ownby also drew inspiration from music, and he considered rhythm to be one of the most significant and unique aspects of his work.

Ownby’s work has been exhibited at the Pennsylvania Academy of Fine Arts, the Dallas Museum of Fine Art, the Cape Cod Museum of Art, and at the Provincetown Art Association and Museum. He has been the recipient of grants from the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation, and the Hans Hoffman Trust. The most recent solo museum exhibition of Ownby’s work was in 2001 when the Cape Cod Museum of Art mounted a retrospective exhibition with Gregory Harper as curator.

Haynes Ownby was born in Dallas, Texas on Henri Matisse’s 60th birthday, December 31, 1929 and has worked as an artist ever since. In 1950, he “got serious about painting” and painted a number of abstract paintings one of which was accepted in the Texas Annual Competition at the Dallas Museum of Fine Art. That encouragement convinced him he was on the right track, and he showed in other shows at the Dallas Museum in 1951 to critical acclaim.
He received a B.A. from Southern Methodist University in Dallas, an M.F.A. from the University of Texas at Austin and studied with Hans Hofmann in New York and Provincetown for four years. Although it isn’t apparent in Ownby’s painting style, he regards Hofmann as the single most important influence on his life and work.
After Dallas, he lived in Manhattan and Provincetown for 5 ½ years, then Europe, Taos, back to Dallas, Manhattan again, Houston, Austin, and Provincetown.
His primary interest is abstract painting because, he says, “abstract painting does not represent another reality but is, in itself, a reality.”
Ownby is a teacher of art and has constructed art classes for the past five years at the Provincetown Art Association and Museum Art School. He says, “I go beyond color theory to concentrate on color practice, which is painting.” In the fall of 1999, he began teaching at the Provincetown International Art Institute.
Ownby’s painting is represented in the permanent collections of the Dallas Museum of Art, the El Paso Museum of Art, the Cape Mueum of Fine Arts, the Provincetown Art Association and Museum, AT&T, and in private collections in New York, Provincetown, Truro, Boston, Florida, Ohio, Arkansas, Texas, Arizona, California, and Italy. He received grants from the Florsheim Art Fund in 1996 and 1999.
In the summer of 1999, he had a one-man show at the Schoolhouse Center in Provincetown. He will show there again in the summer of 2001, and the Cape Museum of Fine Arts will have a retrospective of his work in the fall of 2001. He will show with the Bakker Gallery in Boston this fall (2000).

Jan Muller

Jan Muller
1922 – 1958

Art Students League of New York
Hans Hoffman School

Selected Exhibitions:
Hansa Gallery, New York, 1952
Whitney Museum of American Art, 1957
Solomon R. Guggenheim Museum, 1962 (solo)
Art Institute of Chicago

Selected Collections:
Solomon R. Guggenheim Museum, New York
The Museum of Modern Art, New York
The Newark Museum, New Jersey
Whitney Museum of American Art, New York

Jan Muller emigrated from Germany in 1933 after his father was arrested by the Nazis for campaigning against Hitler. The family fled Germany, seeking homes throughout Europe, going to Czechoslovakia and a refugee camp in southern France before finally settling in New York in 1941. He studied at the Art Students League of New York and for five years at the Hans Hoffman School. Muller, a second generation Abstract Expressionist, worked with symbolic figurative expressionism and included the figure in his work, which was a very bold move. He was considered a second generation abstract expressionist prior to becoming one of the pioneers of Figurral Expressionism. He along with artists such as Lester Johnson, Bob Thompson, and Robert Beauchamp were among the first to reintroduce the symbolic figure in their highly expressive avant-garde canvases. He is known for his depictions of brightly colored nudes and his raw use of color.

Although his career was cut short by his untimely death at age 36, Muller achieved a truly impressive level of critical success. His work has been exhibited at the Whitney Museum of American Art, at the Art Institute of Chicago, and in 1962 the Solomon R. Guggenheim Museum honored Muller with a major retrospective exhibition. Today his work is in the permanent collections of the Museum of Modern Art, the Newark Museum, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum.

Peter Grippe

Peter Grippe

Art Training
Albright Art School- Burralo, NY – Sculpture & drawing
Art Institute of Buffalo – Scupture, drawing & painting
Atelier 17, New York – Printmaking

Teaching Experience
1934-35: Art Institute of Burralo—Sculpture (student teacher)
1939-42: Federal Arts Project, New York City – Scupture, drawing & painting
1948: Black Mountain College, N.C. – (Summer seesion) Sculpture
1949-50: Pratt Institute, Bklyn, N.Y. (Architecture Dept.) – Drawing & design analysis
1951-52: Smith College, Northampton, Mass. – Sculpture
1951-54: Atelier 17, New York City – Director: also instructor in printmaking
1953-77: Brandeis University, Waltham, Mass. * Sculpture, drawing & printmaking

Presented in Following Collections
Addison Gallery of American Art, Andover, Mass.
Musuem of Modern Art, New York
Whitney Museum of American Art, New York
Albright Art Gallery, Buffalo, N.Y.
Toledo Museum of Art, Toledo, Ohio
Tel Aviv Museum, Israel
Georgia Museum, Athens, Ga.
Washington University, St. Louis, Mo.
University of Michigan, Ann Arbor, Michigan
Blanden Memorial Art Gallery, Ft. Dodge, Iowa
Library of Congress, Washington, D.C.
Brooklyn Museum, Bklyn, N.Y.
New York Public Library (Main Branch-5th Avenue), New York
Print Club, Philadelphia, Pa.
Musuem of Art, Rhode Island School of Design, Providence, R.I.
Chapman Memorial Gallery, Milwaukee-Downer College, Milwaukee, Wisconsin
Philadelphia Museum, Philadelphia, Pa.
National Gallery of Art (Rosenwald Collection) Washington, D.C.
Walker Art Center, Minneapolis, Minn.
Brandeis University, Waltham, Mass.
United States Information Agency, Bonn, Germany
Joseph Hirshhorn Collection of American Art, Washington, D.C.
Print Council, New York
North Carolina Musuem of Art, Raleigh, N.C.
Guild Hall, Easthampton, Long Island
Newark Museum, New Jersey
Metropolitan Museum of Art
Simmons College, Boston, Mass.
Marion Willard Johnson
Grace Borgenicht
R. Philip Hanes, Jr. (Pres. Art Council of America)
Cleveland Museum
British Museum
Edgar Kaufman, Jr.
Bernard Reis
Harrison & Abromovitz
College of the Moly Cross Worcester, Ma. (cantor gallery)
Rutgers University – New Brunswick, N.J.
Fogg Museum – Harvard Mass.
Bawag Fondation – Wien (Amerikanische Graphic) 1913-1953

One-Man Exhibitions
1942 – Orrefors Galleries, New York City: Sculpture
1944 – Willard Gallery, New York City: Sculpture & Drawings
1945 – Willard Gallery, New York City: Sculpture & Drawings
1946 – Willard Gallery, New York City: Sculpture & Watercolors
1948– Willard Gallery, New York City: Sculpture & Paintings & Prints
1957 – Peridot Gallery, New York City: Sculpture
1958 – Brandies University, Waltham, Ma.: Sculpture & Paintings & Prints
1959 – Peridot Gallery, New York City: Sculpture
1960 – Nordness Gallery, New York City: Sculpture & Collages
1963 – Nordness Gallery, New York City: Sculpture & Collages & Collage Poems
1986 – Cantor Art Gallery, Worcester, Ma.: Sculpture
1991 – Sid Deutsch Gallery, New York: Sculpture, Paintings & Drawings

Peter Grippe, a member of the American Abstract Artists group, was born on August 11, 1912, in Buffalo, New York, and died on October 18, 2002, in Suffolk, New York. While primarily known as a sculptor working in bronze and clay, he created a portfolio of etchings by 21 artists (examples include Willem de Kooning, Jacques Lipchitz, and Peter Grippe himself) and 21 poets (including Frank O’Hara, Dylan Thomas, and Thomas Merton) in a work entitled 21 Etchings and Poems. The collective work took three years to print and was published by New York’s Morris Gallery in 1960.

Grippe was educated at the Albright-Knox Art School and the Art Institute of Buffalo. He moved to New York in the 1930s, and his work reflects a move into the Cubist and Surrealist schools. Grippe and his colleagues embraced Cubism with its openwork multidimensional view of the world and Surrealist imagery drawn from the subconscious thus bringing American sculpture into the modern era. As Grippe’s artistic and academic career progressed, he taught at several higher education institutions, including Brandeis University, where he was named the first professor of sculpture. He was awarded a Guggenheim Fellowship in the category of fine arts in 1964.
Seven years after Grippe’s death, his widow, Florence, made a gift of his work, his personal collection of art, and his personal papers to the Allentown Art Museum of the Lehigh Valley, Pennsylvania. He had a gallery exhibition in the Susan Teller Gallery of New York in November 2010.