175 15 4130 https://omeka.wilkes.edu/omeka/files/original/774f2f5dc352372588892db81e1d8ce3.pdf e093e43e86ac2f0a5d35833bff2816e3 PDF Text Text Carl Sprinchorn: Realist Impulse and RomanticVision SORD GA ND237 S644A3 1984 �Carl Sprmchorn: Realist Impulse and RomanticVision Sordoni Art Gallery, Wilkes College Wilkes-Barre, Pennsylvania November 13 through December 30, 1983 Westmoreland County Museum of Art Greensburg, Pennsylvania January 14 through February 26, 1984 The Jane Voorhees Zimmerli Art Museum Rutgers — The State University of New Jersey New Brunswick, New Jersey April 8 through June 3, 1984 Exhibition organized by the Sordoni Art Gallery, Wilkes College and supported by grants from The John Sloan Memorial Foundation and the Sordoni Foundation, Inc. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA 1 �Table Of Contents Acknowledgements ... Reminiscences of Carl Sprinchom Carl Sprinchom: Realist Impulse and Romantic Vision Checklist of the Exhibition . 2. Robert Henri (1865-1929) Portrait of Carl Sprinchom, 1910 Oil on canvas Gift of Anna Sprinchom Johnson, 76.43 Herbert F. Johnson Museum of Art Cornell University "Sprinchom has proven by his concentrated persistent devotion to his work, that nothing diverts him from the high purpose and standard he has set for himself. Robert Henri said of him that he considered him a genius and on such occasions as I have exhibited his work, it has met with high praise from critics, artists and connoisseurs. In fact, it is only due to the artist's modesty and concentration on the effort he makes in his work, that he has failed to achieve from a material point of view what is called 'success'.'' Marie Sterner Quoted from a letter to the John Simon Guggenheim Memorial Foundation. 1941 (UMO> 2 4 5 8 . . .17 �Table Of Contents Acknowledgements 4 Reminiscences of Carl Sprinchorn . . 5 Carl Sprinchorn: Realist Impulse and Romantic Vision Checklist of the Exhibition 8 17 : devotion to his work, that rd he has set for himself, uus and on such occasions as from critics, artists and esty and concentration on the eve from a material point of Marie Sterner Quoted from a letter to the John Simon Guggenheim Memorial Foundation 1941 (UMOi 3 �Reminiscences of Carl Spriiuhorn Acknowledgements by Bennard B Perlmw. This exhibition of the works of Carl Sprinchorn (1887-1971) is the first major presentation dedicated to that artist since the memorial exhibition held at the University of Maine (Orono) one year after his death. It is our hope that this will be the first step in bringing recognition to an artist whom Robert Henri called a genius — an artist who withdrew from what he thought to be the hyprocrisy of the art market and devoted himself entirely to his painting. There are many people to whom I am indebted for their assistance with this project. I would like to thank Sandy and Arnold Rifkin for bringing Sprinchom’s work to my attention and for suggesting an exhibition. Special thanks are reserved for Kathryn Freeman annd Frederica Beinert, life-long friends of the artist, who, despite an illness, gave lovely, long afternoons to me in conversations about their i i cherished friend. Robert F. and Patricia Ross We^ v also graciously open with their reminiscences j?J »vi«h their collection. A week was spent at the University of Maine lOrono: jn preparation for the accompanying essay. 1 would like to thank Edward Kellog. Head of the Special Collections De­ partment at the Raymond H. Fogler Library and his staff for giving me access to the Spnnchorn papers: and Mr Ron Ghiz, then Acting Director of the Art Collections, tor arranging for me to see their holdings bv Sprinchorn I am grateful too for the enthusiastic support ot Mrs John Sloan; Andrew J. Sordoni, III: Robert S. ( apin President of Wilkes College: the members of my Advisory Commis sion; and the competence of my assi ' mt. Douglas Evans Judith H. O Toole, Director It was shortly before I vilock or . - ■ July 16th when 1 arrived at C.iri Sprincnom apartment tor the interview My rapid gait gradually slewed as 1 climbed the last flight ot stairs to his ritth floor walkup at 535 Hudson Street located on the western fringe ot Greenwich Village in Lower Manhattan The year was 195o and when (hi door wa-. opened, my initial reaction was that the artist who cordially greeted me appeared mm h younger than his s.xty-nme years. His head was sculpturesque: a prominent nose deep-set eves, high cheek bones and a strong jaw My mission was to gather information tor a book about The Eight which included interviewing artist', such as Sprinchorn who had been a student of Robert Henri According to my notes of that visit the Swedishborn painter initially remarked I was probably the first European to come to America to study' art. adding that he was only sixteen years old at the time. Three day-, after his arrival in the fall of 1903 he was enrolled at the New York School of Art Now, a halt century later, i twenty eight-year-old artist and college teacher sat in awe ot the older man. who was able to instantly and accurately recall dates and incidents from his youth Sprinchorn spoke ot the good-natured hazing and pranks perpetrated on each new enrollee in the Henri class and how another teacher, William Merritt Chase, would always turn to h>s pupil Walter Path when he wav stumped for ar. artist's name or a date important in art history When Henri withdrew from the school after six years because he was owed 5800 in back salary, and established his own classes in the Lincoln Anade in January. 1W, Sprinchorn related how his students demonstrated their loyalty by parading with their canvases down Broadway from the former school to the new location at 66th Street Carl Sprinchorn served fur a time as manager of the Henri School When the interviewer made a chance remark about Mr, Sprinchorn's apartment being just three blocks from the Hudson River, it prompted the artist to recall one of his teacher s critiques in which he took special pride: in Henri's Composition Class, forty or fifty student works would be placed against a wall, he explained One week there were several paintings of the Hudson River from which he took his cue. talking for nearly an hour about the varied sweep of the shoreline, the appropriate placement of boats along the river and the different proportions of water to land and sky. After dwelling at length on a Bellows interpretation. Henn finally fumed and pointed a three-foot maul stick toward a large canvas by me," Sprinchorn remarked Then Her n observed. AU of you have shown boats going up and doe, the) K Spr tkb an , afte t xh Dir Bal tho cou arc eve Nel of . dis, 1 Cai yel wj Ah for �Reminiscences of Carl Sprinchorn by Bonnard B. Perlman cherished friend. Robert F. and Patricia Ross Weis were It was shortly before 1 o’clock on a hot and humid also graciously open with their reminiscences and with July 16th when I arrived at Carl Sprinchorn’s apartment their collection. for the interview. My rapid gait gradually slowed as I A week was spent at the University of Maine (Orono) in climbed the last flight of stairs to his fifth-floor walkup preparation for the accompanying essay. I would like to at 535 Hudson Street, located on the western fringe of thank Edward Kellog, Head of the Special Collections De­ Greenwich Village in Lower Manhattan. partment at the Raymond H. Fogler Library, and his staff The year was 1956 and when the door was opened, for giving me access to the Sprinchorn papers; and Mr. my initial reaction was that the artist who cordially Ron Ghiz, then Acting Director of the Art Collections, for greeted me appeared much younger than his sixty-nine arranging for me to see their holdings by Sprinchorn. years. His head was sculpturesque: a prominent nose, I am grateful too for the enthusiastic support of Mrs. John deep-set eyes, high cheek bones and a strong jaw. Sloan; Andrew J. Sordoni, 111; Robert S. Capin, President My mission was to gather information for a book of Wilkes College; the members of my Advisory Commis­ about "The Eight,"1 which included interviewing artists sion; and the competence of my assistant, Douglas Evans. such as Sprinchorn who had been a student of Robert Judith H. O Toole, Director Henri. According to my notes of that visit, the Sw'edishborn painter initially remarked: "1 was probably the first European to come to America to study art," adding that he was only sixteen years old at the time. Three days after his arrival in the fall ol 1903 he was enrolled at the New York School of Art. Now, a half-century later, a twenty-eight-year-old artist and college teacher sat in awe of the older man, who was able to instantly and accurately recall dates and incidents from his youth. Sprinchorn spoke of the good-natured hazing and pranks perpetrated on each new enrollee in the Henri class and how another teacher, William Merritt Chase, would always turn to his pupil Walter Pach when he was stumped for an artist's name or a date important in art history. When Henri withdrew from the school after six years because he was owed $800 in back salary, and established his own classes in the Lincoln Arcade in January, 1909, Sprinchorn related how his students demonstrated their loyalty by parading with their canvases down Broadway from the former school to the new location at 66th Street. Carl Sprinchorn served for a time as manager of the Henri School. When the interviewer made a chance remark about Mr. Sprinchorn’s apartment being just three blocks from the Hudson River, it prompted the artist to recall one of his teacher's critiques in which he took special pride: "In Henri's Composition Class, forty or fifty student works would be placed against a wall," he explained. "One week there were several paintings of the Hudson River from which he took his cue, talking for nearly an hour about the varied sweep of the shoreline, the appropriate placement of boats along the river and the different proportions of water to land and sky. After dwelling at length on a Bellows interpretation, Henri finally turned and pointed a three-foot maul stick toward a large canvas by me," Sprinchorn remarked. "Then Henri observed: 'All of you have shown boats going up and This exhibition of the works of Carl Sprinchorn (1887-1971) is the first major presentation dedicated to that artist since the memorial exhibition held at the University of Maine (Orono) one year after his death. It is our hope that this will be the first step in bringing recognition to an artist whom Robert Henri called a genius — an artist who withdrew from what he thought to be the hyprocrisy of the art market and devoted himself entirely to his painting. There are many people to whom I am indebted for their assistance with this project. I would like to thank Sandy and Arnold Rifkin for bringing Sprinchorn’s work to my attention and for suggesting an exhibition. Special thanks are reserved for Kathryn Freeman annd Frederica Beinert, life-long friends of the artist, who, despite an illness, gave lovely, long afternoons to me in conversations about their 4 dowi they Ki Sprii (Bah an a alter exhil Dire recoi Balti thou cour are r ever New of ai disci T1 Carl yelk was Afte forrr tl a1 ai N o h L a cl a ti A it S tt it c / 5 ti k t b �Reminiscences of Carl Sprinchorn | bv Bennard B. Perlman Robert F. and Patricia Ross Weis were en with their reminiscences and with t at the University of Maine (Orono) in accompanying essay. I would like to >g. Head of the Special Collections De­ smond H. Fogler Library, and his staff ;s to the Sprinchorn papers; and Mr. ng Director of the Art Collections, for see their holdings by Sprinchorn. or the enthusiastic support of Mrs. John jrdoni. III; Robert S. Capin, President he members of my Advisory' Commistence of my assistant, Douglas Evans. Judith H. O'Toole, Director It was shortly before 1 o'clock on a hot and humid July 16th when I arrived at Carl Sprinchorn's apartment for the interview. My rapid gait gradually slowed as I climbed the last flight of stairs to his fifth-floor walkup at 535 Hudson Street, located on the western fringe of Greenwich Village in Lower Manhattan. The year was 1956 and when the door was opened, my initial reaction was that the artist who cordially greeted me appeared much younger than his sixty-nine years. His head was sculpturesque: a prominent nose, deep-set eyes, high cheek bones and a strong jaw. My mission was to gather information for a book about "The Eight,"’ which included interviewing artists such as Sprinchorn who had been a student of Robert Henri. According to my notes of that visit, the Swedishbom painter initially remarked: "I was probably the first European to come to America to study art," adding that he was only sixteen years old at the time. Three days after his arrival in the fall of 1903 he was enrolled at the New York School of Art. Now, a half-century later, a twenty-eight-year-old artist and college teacher sat in awe of the older man, who was able to instantly and accurately recall dates and incidents from his youth. Sprinchorn spoke of the good-natured hazing and pranks perpetrated on each new enrollee in the Henri class and how another teacher, William Merritt Chase, would always turn to his pupil Walter Pach when he was stumped for an artist's name or a date important in art history. When Henri withdrew from the school after six years because he was owed S800 in back salary, and established his own classes in the Lincoln Arcade in January, 1909, Sprinchorn related how his students demonstrated their loyalty by parading with their canvases down Broadway from the former school to the new location at 66th Street. Carl Sprinchorn served for a time as manager of the Henri School. When the interviewer made a chance remark about Mr. Sprinchorn's apartment being just three blocks from the Hudson River, it prompted the artist to recall one of his teacher's critiques in which he took special pride: In Henri's Composition Class, forty or fifty student works would be placed against a wall," he explained. "One week there were several paintings of the Hudson River from w'hich he took his cue, talking for nearly an hour about the varied sweep of the shoreline, the appropriate placement of boats along the river and the different proportions of water to land and sky. After dwelling at length on a Bellows interpretation, Henri finally turned and pointed a three-foot maul stick toward a large canvas by me," Sprinchorn remarked. "Then Henri observed: 'All of you have shown boats going up and down the river. Only this painting demonstrates that they go across the river as well'." Knowing that I hailed from Baltimore, Carl Sprinchorn produced a three-decade-old copy of The (Baltimore) Sun in which his picture appeared along-side an article. It referred to his having been in Baltimore to attend the opening of a Modern French Painting exhibition at the Museum of Art. In his capacity as Director of New York's New Gallery, Sprinchorn had recommended that a similar facility be established in Baltimore. "At the New Galleries hundreds, if not thousands, of young artists show their work during the course of the year," he had been quoted as saying. "We are not a commercial institution. Rather, we exist to give every opportunity to talent when it reveals itself. The New Gallery has proved the means of 'finding' a number of artists whose work otherwise never might have been discovered."2 The article, though interesting, was a digression. Then Carl Sprinchorn produced another publication, a yellowing copy of Putnam's Monthly Magazine which was more to the point. It explained how his oil entitled After a Snowstorm was in part responsible for the formation of "the Eight": ... It was this painting, among others, the rejection of which by his fellow jurymen caused Robert Henri, the distinguished figure-painter, to withdraw his own accepted paintings from the exhibition of 1906-07, and to criticize the conventional standards of the National Academy so unsparingly. On that occasion, in the course of a published interview, he [Henri] said: Life's philosophy can be expressed as strongly in art as through any other medium, and the painter who does this faltering at first, perhaps, and yet with the assurance of definite aim and purpose and future triumph, is the man to uphold, to encourage, and a National Academy in fact as in name would inevitably so uphold and so encourage. Carl Sprinchorn — to select an incident that comes to mind — goes down into a grimy, squalid side street in the slums of New York, and with a blizzard raging, catches a big new note and places it upon canvas with haunting effect. But placed before the Academy jury, does it receive the slightest recognition? Quite the contrary; it is rejected. Sprinchorn is young and has never been honored by the admission of a painting in the Academy, yet I know of few more promising painters. His story is the story of every man of whatever calling who has brought with him something new. . . I 5 �i played in the history of American Art, bu: as an artist my fascination was with the masterful handling of paint the spontaneous, slashing brushstrokes, the verve and 1 i Sprinchorn canvas to have sung its praises the year before, in 1906, when he showed it to a newspaper reporter during an interview in his classroom: Here is the work of a boy named Sprinchorn . . • New York whitewings cleaning east side streets after a snowstorm - not an idealized study but just as we have seen them . . . Truthful, isn't it? Well, a couple of years ago that boy came to me with a study in still-life to show as a specimen of his work — rruit, I think it was, or a glove and a water pitcher you know the kind. It was one of the worst I ever saw, and I told him so. He stopped studying bananas and water pitchers and went out to look at life plain New York life, as he could find it anywhere. Now he paints that kind, and his work has more virility and character to it than years of academic puttering over mush could give it.4 The flap referred to in Putnam's Magazine over the Carl Sprinchorn painting, and one by George Luks called Woman with Macaws, actually came after the jurying for the 1907 National Academy of Design Annual but before the exhibition opened. Both works had been placed in a number three category, signifying that they would be hung if space permitted. As was the custom, the Academy jury, of which Henri was a member, was called upon to inspect and approve the selection and placement of the paintings by a threemember Hanging Committee. But when Henri noticed that both the Sprinchorn and Luks canvases had been eliminated from the show, he pointed out an area in one of the galleries where they could be hung. A member of the Hanging Committee questioned his intent. Did he mean to "improve the wall" or simply see to it that the work of certain men was hung? Henri's reply was direct and to the point: "I don't care for the wall, I only care for the men."5 Despite the forthright response, or perhaps because of it, the two compositions were hunted up and hung in the show. Henri's triumph was short-lived, however, for the following day they were eliminated once more, the excuse being that "the two paintings in question spoiled the mural effect of the other pictures hung nearby."5 This was due, of course, to the unconventional nature of the subject matter and painting styles, neither of which conformed to the academic norm of the day. And then Carl Sprinchorn told me that he still owned the canvas I I was ushered into the adjoining room where he pulled the 30-by-40-inch composition from a large collection of his work. As a historian I was naturally impressed by the pivotal role this cityscape had dash. Sprinchorn explained how he had produced it from a third-floor window of a building on the northeast corner of 56th Street, looking south on Eleventh Avenue. The painting was predominantly gray, possessing just the slightest evidence of yellow ochre and Venetian red in two tenements in the right middleground. Factories and four tall smokestacks served as a backdrop for huge snow drifts which dominated the entire lower half of the composition. "I started it early one morning on that kind of a day and finished it before dark and have never touched it since," the artist would reveal in a letter some years later.7 But now he shared another secret: The subject of his cityscape was a block from the Hudson River, on the west side of New York; however, Henri's repeated reference to it in 1906 and '07 as the East Side caused him to retitle it A Winter Scene on the East Side, New York, 1907s (cat. no. 1). Although we talked for another hour, the high point of that July day in 1956 had been the privilege of meeting Carl Sprinchorn and viewing A Winter Scene. Later that afternoon I visited a well-known New York collector and shared my enthusiasm for the painting, but he was not sufficiently interested to contact the artist. The following month I told a museum director of the find but her acquisitions of American Art were more contemporary in nature. Determined to locate a buyer for the masterwork, I mentioned its availability to Bob Graham, of James Graham & Sons on Madison Avenue, and that conversation bore fruit. In January, Carl Sprinchorn wrote that Mr. Graham had paid him a visit and "is the agent for the painting — it now being in his gallery (with several later works of mine)."’ And in February, 1957 the Sprinchorn canvas was included in an exhibition at Graham's called Aspects of American Painting, 1910-1954, which also featured paintings by Stuart Davis, John Marin, Alfred Maurer, Walter racn. Morgan Russell and Stanton MacDonald-Wright.' Still determined that Carl Sprinchorn's major composition should find a home, I finally succeede in whetting the appetite of a Baltimore couple, c0 ec ° j and friends, who have cherished it all of these years who graciously agreed to lend it to this show. During the late 1950s. Carl Sprinchorn and I corresponded regularly. The routine was that send him questions relative to my research c°n<ie_ The Eight" and he. in return, wrote wonderfu y detailed and lengthy missives. On one occasion 6 list of all of the Henri students whose names a volume of the American Art Annual, and S noted beside the names of those he knew thei and whether they had studied at the New Yo: of Art or the Henri School. When one of my proved too much even for him. he forwarded fellow art school classmates, Edward and Josi Hopper, so that they could fill in the blanks. Sprinchorn's enthusiams and assistance appea unending. Yet on August 2, 1964 I received my last It Carl Sprinchorn. "I've had a stroke," he info: "which accounts for this very poor writing." concluded that four-page missive with these i "Thank you for including me in such a flatte your book. Much has happened since those c more is bound to happen, but of that, some But for me, Sprinchorn's "some other time" r �T i ed in the history of American Art, but as an artist artist fascination was with the masterful handlmg of paint spontaneous, —slashing dashine brushstrokes, rus s ro es the«■ verve and list of all of the Henri students whose names appeared in I a vo]ume of the American Art Annual, and Sprinchorn noted beside the names of those he knew their addresses 1. The Immortal Eight: American Painting from Eakins to the Armory Show (1962; revised edition, 1979). 2. "Gallery for 'Modern' Artists in Baltimore Urged by Painter," The (Baltimore) Sun, January, 10, 1925. _ 3. "The Lounger" Column, Putnam's Monthly & The Reader, V (December, 1908), p. 376. 4. Izola Forrester, "New York's Art Anarchists: Here Is the Revolutionary Creed of Robert Henri and His Followers," New York World, June 10, 1906, 5. "That Tragic Wall," New York Sun, March 16, 1907. 6. 'The Henri Hurrah," American Art News, V (March 23,1907), p. 4. 7. Letter from Carl Sprinchorn to Mr. and Mrs. Sigmund M. Hyman, September 29, 1964. 8. Carl Sprinchorn apparently erred when he included the date "1907" in the title. Since the painting was referred to by Henri in the June, 1906 interview, it would have been created in that year. 9. Letter from Carl Sprinchorn to the author, January 20, 1957. 10. In the catalogue for this exhibition, the Sprinchorn painting was incorrectly titled New York City — Snow Scene, 1910. and whether they had studied at the New York School rinchom explained how he had produced it from a i of Art or the Henri School. When one of my queries -floor window of a building on the northeast corner proved too much even for him, he forwarded it to his >th Street, looking south on Eleventh Avenue. The fellow art school classmates, Edward and Josephine :ing was predominantly gray, possessing just the Hopper, so that they could fill in the blanks. test evidence of yellow ochre and Venetian red in Sprinchorn's enthusiams and assistance appeared tenements in the right middleground. Factories and I unending. tall smokestacks served as a backdrop for huge Yet on August 2, 1964 I received my last letter from ' drifts which dominated the entire lower half of th< le Carl Sprinchorn. '‘I've had a stroke," he informed me, >osition. "I started it early one morning on that ’ kind ■ "which accounts for this very poor writing." He day and finished it before dark and have never concluded that four-page missive with these words: ted it since," the artist tvould reveal in a letter some < "Thank you for including me in such a flattering way in later.7 your book. Much has happened since those days — and t now he shared another secret: The subject of his more is bound to happen, but of that, some other time." ape was a block from the Hudson River, on the But for me, Sprinchorn's "some other time" never came. side of New York; however, Henri's repeated nee to it in 1906 and '07 as the East Side caused o retitle it A Winter Scene on the East Side, New 1907s (cat. no. 1). hough we talked for another hour, the high point it July day in 1956 had been the privilege of ng Carl Sprinchorn and viewing A Winter Scene. er that afternoon I visited a well-known New’ York tor and shared my enthusiasm for the painting, but s not sufficiently interested to contact the artist, allowing month I told a museum director of the ut her acquisitions of American Art were more nporary in nature. Determined to locate a buyer e masterwork, I mentioned its availability to Bob im, of James Graham & Sons on Madison Avenue, lat conversation bore fruit. In January, Carl :horn wrote that Mr. Graham had paid him a visit s the agent for the painting — it now’ being in his r (with several later works of mine)."’ And in try, 1957 the Sprinchorn canvas was included in libition at Graham's called Aspects of American ig, 1910-1954, which also featured paintings by Davis, John Marin, Alfred Maurer, Walter Pach, in Russell and Stanton MacDonald-Wright.10 determined that Carl Sprinchorn's major isition should find a home, I finally succeede m ng the appetite of a Baltimore couple, collectors iends, who have cherished it all of these years a raciously agreed to lend it to this show'. ing the late 1950s, Carl Sprinchorn and I bonded regularly. The routine was that I w’ou im questions relative to my research concern light and he, in return, wrote wonderfu y j a d and lengthy missives. On one occasion Bennard B. Perlman is a Baltimore artist, writer and lecturer who is Professor and Chairman of the Department of Fine and Applied Arts at the Communitty College of Baltimore. His biography, Robert Henri: His Life and Art, will appear in the spring. 7 �, I I - ’ Carl Sprinchorn: Realist Impulse and Romantic i ision by Judith H. O'Toole Sprincom's first meeting with Robert Henri came several days after he entered the latter's life class. The student described his teacher as "a dark and sinister looking man, raven, straight hair falling . . . over the eyes and . . . looking up under the fringe 'tho too tall t have needed to look under at anybody. . . ,"s Despite ° this initial impression of a stern, aloof critic in Henri the student responded almost immediately to the charismatic guidance of his eloquent instructor. Perh; laps Sprinchorn's initial exclusion from the distracting classroom antics of his fellow students further convinced the already committed youth to concentrate fully on his work. His dedication and hard work seems to have paid off as he learned his lessons quickly and well, soon developing a strong, personal style. Henri was a teacher who had the rare and tremendous power to instill in others his love of art. He had attracted a large student following who created a demand for his time in critiques and filled every seat in his lecture room.6 Henri's special interest in Sprinchorn must be taken as an indication that the young Swede was an artist of promising ability. In 1907, Henri's confidence in Sprinchorn had an opportunity to become known. For several years, Sprinchorn had been producing large canvases of city­ scenes executed with a strength and bravura that caused them to be much talked about at the school. He had submitted these paintings to past exhibitions at the National Academy but none had ever been accepted. This process was repeated in 1906 with far-reaching consequences. Sprinchorn still vividly recalled the incident thirty-three years later when he wrote: "This was the time when my 11th Avenue in a snow storm (cat. no. 1) was sent to the Academy, refused, and as per certain records in clippings, a Putnam magazine article and reproduction, caused the big rumpus and brought column-long newspaper stories, interviewers to my door, and Henri and others to withdraw their own accepted works in protest. . . ,"7 Throughout this affair, Henri stood by, guiding the inexperienced youth throug interviews with the press and other pressures brought on by such a sudden wave of notoriety. An instance particularly revealing of Henri's character came when e asked each reporter in person not to mention in their articles the fact that Sprinchorn was working as a servant/waiter in a boarding house, but to focus entire on his status as a young, professional painter.8 Henri presented his own view of the incident in a published interview reprinted in 1908 (the year of Eight's first group exhibition at the MacBeth Gallery Putnam magazine. In it he compared Sprinchorn to of great masters who had been scorned at the beginnin their careers but later were lauded. Carl Sprinchorn once wrote that he believed himself tto be the first European who came to study art in the United States.’ He arrived in New York City m 1903, a time when American artists were still flocking to the art centers of the continent for instruction and. indeed, it was considered that an artist’s career was not properly launched without a stint abroad. The innovations and achievements of the European, and particularly the French, artists of the late nineteenth century were still fresh and waiting to be absorbed. The early twentieth century, however, would prove to be a prodigious moment for a young artist to arrive in New York. This was a time when a thoroughly American, modem art movement was being conceived. Sprinchorn was bom in the rural town of Broby, Sweden, in 1887. At the age of sixteen, he left his mother's family, to wrhom he would remain close, and joined his sister in the United States. He arrived in New York on October 31, 1903. Three days later, with no grasp of the English language and still unfamiliar with the city, Sprinchorn enrolled in Robert Henn's morning life drawing class at William Merritt Chase s New York School of Art on West 57th Street. He was accompanied that morning by his sister who, much to Sprinchorn's chagrin, had insisted on wearing her Salvation Army uniform in the hope of being granted a lower tuition. This ploy being unsuccessful, the young Swede paid the monthly fee of five dollars and "purchased such things as were essential to the work, a large black portfolio ■with some sheets of French charcoal paper, charcoal sticks, a kneaded eraser, two clothespins to hold the paper to the portfolio, and ... a plumb line."2 That same morning the class monitor was rung for and Sprinchorn was led "into the mysterious realms of an art life class, a vast, skylighted place filled with pupils at easels and at up-turned chairs with portfolios, drawing and painting in a pandemonium of activity' and everywhere daubs of paint, caricatures covering the walls and canvases propped all around."3 Sprinchorn’s first year at the school was to be a difficult one. He spoke no English, and his fellow students, after a few exasperating attempts to communicate through a young man from Minneapolis whose only phrases in Swedish were "this is good, this is not so good,'4 left the newcomer to himself. Several years later. Guy Pene du Bois introduced Sprinchorn at a student reunion as the only man who never "set 'em up, referring to the beer and sandwich party thrown by every student to curtail the pranks and hazing by the oftfm dentS' Spnnchorn never knew ^is was expected "Wagner, expressing great life-thoughts through music, was pronounced a mere maker of noise; Walt Whitman, whose book of poems Whittier cast into the fire, sent a similar chill down the spine of conventional culture; Degas, Manet and Whistler and their academy of the rejected; Puvis de Chavannes — oh, ever so many, despised and laughed at first but later recognized as dreamers of fresh dreams, makers of new songs, creators of new art."’ These events certainly boosted not only Sprinchorn's career but also his confidence. In 1907, he became the manager of the Robert Henri School of Art, an arrangement which permitted him to continue to work closely with his mentor while also affording him freedom from his former student status. He also continued his chores at the boarding house but was now given free meals, thus immensely improving his physical condition. He grew husky and more handsome with this new-found physical and mental well-being. A photograph of a group from the Henri School at around this time shows him blond and muscular in shirt sleeves while the others are dressed in formal coat and tie. Henri's striking portrait of his student (cat. no. 2), done in 1910, shows a broad-shouldered young man with a look of fierce determination on his handsome features. Henri taught Sprinchorn to look at the life of the city around him and to draw his art from it. Sprinchorn had a steady temperament and believed in hard work, so he applied himself vigorously to his art. His paintings from this early period express a painterly determination with heavily-laden brush strokes applied to the canvas quickly and with confidence. His palette is muted and harmonious while his compositions, belying the spontaneous look of the finished work, are formally structured. Unfortunately, due to his reclusive nature and, later, his almost complete withdrawal from the business end of the art world, few of these early canvases have been located and many may only exist in yellowed, black and white reproductions. Happily, A Winter Scene on the East Side, New York (cat. no. 1), the painting which caused the uproar in 1907 and is therefore best suited to represent this period, is still extant and was available for this exhibition. Sprinchorn left the Henri School and New York in 1910 to travel for about five years. During this time, he made the obligatory trip to Paris, once in 1910-11 and once in 1914. During the latter visit, he attended drawing classes at the Ecole Colarossi, but did not study with any one master. Lilac Time, Versailles (cat. no. 3) shows the still painterly technique and subdued palette. The small format and brushy execution indicates a sketch made in-situ. From 1912-1914, Sprinchorn was an instructor at the Art League of Los Angeles. Although not much is known about his stay in California, he must have maintained strong ties with New York because in 1913 he was represented by four pieces in the well-known International Armory Show of that year. Other exhibitions in which he participated during these years include the Exhibit of Independent Artists, arranged by' Arthur B. Davis (who also coordinated the American entries in the Armory Show of 1913); the Pennsylvania Academy' annuals; and the Panama Exposition in San Francisco and San Diego. Sprinchorn returned to California in 1944 when he painted there with Marsden Hartley and Rex Slinkard. It was during this later visit that he produced Tangerines on Bough — California (cat. no. 30) and White Dahlias (cat. no. 31). Sprinchorn's first one-man show was not until 1916 when George Hellman mounted an exhibition of drawings at 366 Fifth Avenue. These included mainly figure studies, distinctly' Parisian in character — young, elegantly dressed women in cafe settings and at the opera. These light, witty, ink drawings differ vastly from the "ash can" realism of his earlier, Henri-inspired city-scapes, yet they have the same ability to get to the heart of the side of life they depict. They also reflect the sureness of execution of the earlier work. Hellman wrote that "the quality of line shown by Mr. Sprinchorn in his drawings is an achievement rarely met with . . . there is manifest that swift interpretive genius (so difficult of definition) in which resides the wonder of original drawings.''10 For a later exhibition which included both watercolors and drawings, Sprinchorn's close friend and fellow artist, Marsden Hartley, wrote: "In these drawings of Sprinchorn, you find always genuine elegance of feeling — true perception of appearances, perfect knowledge of gesture. He invests his male figures with thoroughly masculine life — and his female figures are radiant with feminine vanity. Sprinchorn's insatiable thirst for the kaleidoscopic vividness of life provides his vivid and voluminous results. He is among the masters, I believe, as to his understanding of appearances of life, which for the real artist is life itself."” A delightful example relating to this era is Sprinchorn’s Three Figures (cat. no. 5) in which the haute couture of the ladies' demeanor is captured by a fluid background wash accented by scant details to the interior of the figures. The crisp profile of the equally elegantly dressed gentleman bears more than a chance resemblance to Q 8 �1IUWCVC1, Uldc opi 1X1C1LU111 navi uu/wu New York art world. In one such letter, she reported that Duchamp had returned to New York "no longer so good looking but as sweet and agreeable as ever," and that "Stieglitz was very ill but recovered enough to be talking eight hours a day at his gallery."’2 Sprinchorn reproduced a miniature of his painting Nijinsky and Pavlova (the large original is now in the collection of the ----- many of the European modernists, as his alignment wit the Henri School might indicate. In later years he composed humorous jingles about some of the leading painters of that time. He had tremendous respect for Van Gogh, but found the artist's popularity among new cultural elite to be hypocritical. He wrote: '9. Woodsman Greets the Rising Sun, 1920 Oil on canvas Collection of Miss Kathryn Freeman �I suffer agonies when viewing Van Gogh... van gogk in his role of Hollywood Cultural Prop - . .■ Cultural Prop; "Potato Eaters on Miracle Mile., Woman of Arles at Sunset and Vine?! What a crop - - ■ what a crop! He disliked 'Miro (a cheap, modernist interior decorator14'1. Paul Klee, and Piet Modrian. He felt Picasso to be the greatest of ail modem painters, although he considered Braque a painter of bric-a-brac. Chaim Soutine was a favorite artist whose work he had encountered in Paris, and Henri Matisse was a painter who revives me and sets me at peace, but he could not tolerate Paul Gauguin. Between the years 1910 and 1931, Sprinchorn made . several lencthy trips away from New fork, seemingly m search of an environment which would provide for him the inspiration that the city provided for Henri and ethers. In 1925 he began a two-year stay in Santo Dommgo ■.■••here he painted such exotic canvases as Still 2;-.- mt.*': --’c.:.* c’t.t Parrot 'cat. no. 15 . Sprinchorn was sensitive about the brilliant use of color in this and other -..-;rks from his tropical period. When the canvas was civer :? me High Museum in 1955, through the estate of M.ss Ettie Stettheimer 'who had purchased it at the Rehn Gaber. 2-27 Sprinchorn made a point of estzrusring austerity as the undedying quality of the wcr.-. While other works from this period, including Ou-CLandscape (cat. no. 14), retain the farmed palette cf his earlier work, the subject matter arc rr epical brilliance of Still Life with Fruit and Parrot ::. -c Srrir.tr.tm s instinctive feeling for color to oeccme a ma:cr compositional element. In later work, be released from both the confines of form Mari den Hartley once referred to Sprinchorn as one of ■/. tw. r rrrar.tldsts in Henri s coterie of realists.16 ; search. for a visual stimulus which would ‘-'r’rr re.ease of his romantic impulses in Hem's realist directive finally found sc.ut;cr. ■.-.rec r.e discovered Maine. Here, as one critic is to confront subjects more in m inner nature, his Scandinavian arc mere; r/.rthern heritage, and his wholesome beuet in the uncomplicated goodness of a simple life J . ” ■' ■■ ■■■'of Maine briefly in ' -7 : • - ■ : ■■■<--) by a friend of his s 10 m inland village of Monson where a 7 ■■■ ' - of Maine ,hanand the 1922 c°as‘that -sti!|he- h was not until the years between 1917 returned for several months at a tune, working in the lumber camps and sawmills to get a feel for the lumberman’s rugged way of life — and painting. Sprinchorn's love of Maine was shared by his friend f almost thirty years, Marsden Hartley. The two met ln * 1016 on the occasion of Sprinchorn's first one-man show at the George Hellman Gallery. They were introduced by Hartley's friend and sponsor, Alfred Stieglitz, and as Sprinchorn later recalled, "with our respective art circles of the time being, at least supposedly, rather 'distant in spirit — his the '291' group and mine the Henri crowd and each eyeing the other askance — we might never have met again . . ."1S However, they did meet again during the summer of the same year in Provincetown where informal gatherings at the residences of various artists stimulated a freer exchange of ideas. Hartley's and Sprinchorn's friendship evolved not on the typical basis of frequent personal visits and long conversations, but rather through a monumental exchange of letters. Both men were publicly reserved about their own work, and as Sprinchorn noted, their friendship was based upon circumspection and a tacitly enjoined observance of each other's individual independence and privacy.19 They had very few mutual friends, and aside from three or four separate occasions, they were never together in the field. Neither did they discuss one another's work to any great extent. Instead, both ardently fond of writing, they maintained a faithful correspondence, describing with the candor of an individual addressing his diary their feelings on everything from the most banal day-to-day issues to their deepest feeling about art. Both men had profound ideas about their avocation, but both had grown weary of the art world and people who "talk art." Both enjoyed expressing their views in writing and were eloquently able to do so. Each had chosen to go off by himself to work uninterruptedly in near isolation, yet both were intellectually in need of a creative exchange or ideas. When Sprinchorn went through the file of letters from Hartley which he had saved after the latter s deat , he counted over two hundred, a number which he estimated to represent only five percent of those he ha received.20 Their shared love of Maine served as a great bon between the two men. Hartley's interest in the coast an Sprinchorn's interest in the interior caused them to jokingly claim "hands off" to each other's territories a to dub each other "King of the Coast" and "King o Woods," respectively. Hartley was born in Maine an had a deep-felt love of the ruggedness of the landsca^ and the corresponding rugged way of life. He admit Sprinchorn's physical endurance in the lumber and praised his desire to become a part of the li 1 wanted to paint. Hartley called his friend the Remington of Maine, and wrote that "when I look at these pictures, I see my native land pictured with such speaking accuracy that ... I glory in their vividness and veracity."21 Sprinchorn's first exhibition of the Maine paintings was held at the Marie Sterner Gallery in 1922. In the essay which accompanied the exhibition, Dr. Christian Brinton called Sprinchorn a "modern mystic."22 Sprinchorn later responded to this by saying: I have been called a "mystic." I think I have a pantheistic spirit towards nature that prevents mere copying of nature. I have never been successful in copying nature, however sincerely. I soon get tired. Rather, I like to select and interpret nature, after living close to the sources of nature. At the same time, I have my feet on the ground.23 Two paintings from the "Borealis" series, Snow Winged Horses (cat. no. 11) and Landscape with Horses, (The Fear Forest) (cat. no. 13), were exhibited in 1922 and are included here. Certainly these canvases were meant to express the spirit of the north woods. Cool blue, white, and grey shapes indicate snow-laden trees, while the main figures are statuesque, fantasy-like horses infinitely at home in the frozen splendor of the forest. These creatures were no doubt inspired by the powerful animals used for pulling the huge sleds of logs out of the woods to the lumber camps. The interjection of a human figure in Snow Winged Horses suggests man's struggle to overcome the superiority of nature or to at least live in harmony with it. Spiritual and sensual at once, these compositions are fully expressive of the real world which inspired them, yet they are removed from mere physical description. The hush of the forest primeval is here disturbed by the presence of man's attempt to harness its primitive power. The New York critics greeted Sprinchorn's show at Marie Sterner's gallery with ardent enthusiasm, praising this new exponent of the "modern school."24 Henry McBride summed up Sprinchorn's appeal by saying, "(he) is plastic and abstract; not so abstract to prevent you from knowing all that is going on . . . (but) it is not necessary to know all, only the essential.''25 However, when a similar exhibition was mounted at the Worchester (Massachusetts) Museum that same year, it was met with mixed reviews. An anonymous critic, who signed his review simply "Interested," wrote that "we are convinced that Mr. Sprinchorn is playing a practical joke on us common mortals. . . ." He went on to exclaim, "How any artist can, in these times of high cost of paint, waste several tubes of good bright color on such a picture as 'Woodsman Greets the Rising Sun,' seems inconceivable."26 Yet he later admits that the painting does stir the imagination. Woodsman Greets the Rising Sun, 1920 (cat. no. 9), with its abstract background a prism of brilliant, warm color, does indeed evoke the emotion felt when striding toward a clear, crisp Northern sunrise. The anatomy of the woodsman has been broken down into simplified geometric shapes, similar to those of the background, again illustrating Sprinchorn's ability to describe the essence of a situation without being bound to the specifics. The same critic found Sprinchorn's The Blue Ice Forest, 1920-21 (cat. no. 10) to be "charming and graceful," rather odd adjectives to describe a painting of such cold, uncanny power. Here the menacing forms of the forest seem to overwhelm, thwarting the figure of a hunter who plods his way through the trees on snowshoes. Perhaps this was the painting the artist was working on when he wrote the following to Ettie Stettheimer: "I wish you could have seen ... it rained icy stuff all night, everything was like glass in the morning — the trees loaded to the breaking point, and they did break — all day it sounded as if tigers and elephants were crashing through the woods, snapping crackling as if guns . . . and the weirdly beautiful removed look of it all —! A little glass world shut in by a gray smoke coloured mist ... the bewitched effect . . . truly marvelous —"27 He found friends in a small community called Shin Pond (two houses and some summer camps with a post office a mile and a half down the road) who let him have a room and a studio for the price of one room, although the studio had to be given up when a "paying" customer arrived. Comer of the Studio — Shin Pond, Maine, 1946 (cat. no. 34) shows the cramped quarters littered with everything from apples to snowshoes. His precarious finances required frequent trips to New York to "attend to business." These trips became increasingly frustrating as Sprinchorn became more jealous of time spent away from his beloved forests. More and more he began to learn to make-do, depending on the support of a small but dedicated group of supporters. Sprinchorn was deeply affected by the death, in 1929, of his teacher, Robert Henri. At the same time, his mother became ill and Sprinchorn went to attend to her in Sweden. During this visit, he produced sensitive watercolors which portrayed, in an almost conventional manner, the soft pastel landscapes of his native country (cat. nos. *17 and *16). When he returned to New York in 1931. he faced the Depression. After several money­ making proposals fell through (including a brief stint as 13 ■ i i ■ �I I suffer agonies when viewing 1 an Gogh... van gogk in his role of Hollywood Cultural Prop . . .• Cultural Prop: Potato Eaters on Miracle Mile? "Woman of .Arles' at Sunset and Vine?! What a crop . - ■ what a crop!He disliked Miro ta cheap, modernist interior decorator14' Paul Klee, and Piet Modrian. He felt Picasso to be the greatest of all modem painters, althoueh he considered Braque a painter of ' bric-a-brac. Chaim Soutine was a favorite artist whose work he had encountered in Fans, and Henri Matisse was a rai-ter who revives me and sets me at peace but he could not tolerate Paul Gauguin. Between the years 1910 and 1931. Sprinchorn made several lengthy trips away from New Y ork. seemingly in search of an environment which would provide for him the inspiration that the city provided for Henri and others.'In 1925. he began a two-year stay in Santo Domingo where he nainted such exotic canvases as Still Li*e Fruit mtd Parrot (cat. no. 15). Sprinchorn was sensitive about the brilliant use or color in this and other works from his tropical period. When the canvas was given to the High Museum in 1955, through the estate of Miss Ettie Eteitheimer who had purchased it at the Rehn Gallery in 19Z7 Sprinchorn made a point of establishing austerity as the underlying quality of the work.- While ether works from this period, including Santo Domingo Landscape (cat. no. 141, retain the subdued palette of his earlier work, the subject matter and tropical brilliance of Still Life with Fruit and Parrot allowed Sprinchorn s instinctive feeling for color to become a major compositional element. In later work, color would be released from both the confines of form and the dictations of nature. Marsden Hartley once referred to Sprinchorn as one of only two romanticists in Henri's coterie of realists.Sprmchom s search for a visual stimulus which would allow for the release of his romantic impulses in harmony with Henr: s realist directive finally found resolution when he discovered Maine. Here, as one critic has noted, the artist was to confront subjects more in consonance with his own inner nature, his Scandinavian and therefore northern heritage, and his wholesome belief in the uncomplicated goodness of a simple life close to nature.17 Sprinchorn first visited the coast of Maine briefly in 1907 Four years later, he was invited by a friend of his mothers to stay in the inland village of Monson where a contingent of Swedes had settled The forests of Maine seemed to impress him more than the coast. Still it was not until the years between 1917 and 1922 that he returned for several months at a time, working in the lumber camps and sawmills to get a feel for the lumberman's rugged way of life — and painting. Sprinchorn's love of Maine was shared by his friend of almost thirty years, Marsden Hartley. The two met m 1916 on the occasion of Sprinchorn's first one-man show at the George Hellman Gallery. They were introduced by Hartley's friend and sponsor, Alfred Stieglitz, and as Sprinchorn later recalled, "with our respective art circles of the time being, at least supposedly, rather 'distant' in spirit — his the '291' group and mine the Henri crowd and each eyeing the other askance — we might never have met again . . ,"18 However, they did meet again during the summer of the same year in Provincetown where informal gatherings at the residences of various artists stimulated a freer exchange of ideas. Hartley's and Sprinchorn's friendship evolved not on the typical basis of frequent personal visits and long conversations, but rather through a monumental exchange of letters. Both men were publicly reserved about their own work, and as Sprinchorn noted, their friendship was based upon circumspection and a tacitly enjoined observance of each other's individual independence and privacy.19 They had very few mutual friends, and aside from three or four separate occasions, they were never together in the field. Neither did they discuss one another's work to any great extent. Instead, both ardently fond of writing, they maintained a faithful correspondence, describing with the candor of an individual addressing his diary their feelings on everything from the most banal day-to-day issues to their deepest feeling about art. Both men had profound ideas about their avocation, but both had grown weary of the art world and people who "talk art." Both enjoyed expressing their views in writing and were eloquently able to do so. Each had chosen to go off by himself to work uninterruptedly in near isolation, yet both were intellectually in need of a creative exchange of ideas. When Sprinchorn went through the file of letters from Hartley which he had saved after the latter s death, he counted over two hundred, a number which he estimated to represent only five percent of those he ha received.20 Their shared love of Maine served as a great bond between the two men. Hartley's interest in the coast an Sprinchorn's interest in the interior caused them to jokingly claim "hands off" to each other's territories an to dub each other "King of the Coast" and "King of the Woods," respectively. Hartley was born in Maine an had a deep-felt love of the ruggedness of the landscape and the corresponding rugged way of life. He admire Sprinchorn's physical endurance in the lumber campand praised his desire to become a part of the life e wanted to paint. Hartley called his friend the Remington of Maine, and wrote that "when I look at these pictures, I see my native land pictured with such speaking accuracy that ... I glory in their vividness and veracity."21 Sprinchorn's first exhibition of the Maine paintings was held at the Marie Sterner Gallery in 1922. In the essay which accompanied the exhibition, Dr. Christian Brinton called Sprinchorn a "modern mystic."22 Sprinchorn later responded to this by saying: I have been called a "mystic." I think I have a pantheistic spirit towards nature that prevents mere copying of nature. I have never been successful in copying nature, however sincerely. I soon get tired. Rather, I like to select and interpret nature, after living close to the sources of nature. At the same time, I have my feet on the ground.23 Two paintings from the "Borealis" series. Snow Winged Horses (cat. no. 11) and Landscape with Horses, (The Fear Forest) (cat. no. 13), were exhibited in 1922 and are included here. Certainly these canvases were meant to express the spirit of the north woods. Cool blue, white, and grey shapes indicate snow-laden trees, while the main figures are statuesque, fantasy-like horses infinitely at home in the frozen splendor of the forest. These creatures were no doubt inspired by the powerful animals used for pulling the huge sleds of logs out of the woods to the lumber camps. The interjection of a human figure in Snow Winged Horses suggests man's struggle to overcome the superiority of nature or to at least live in harmony with it. Spiritual and sensual at once, these compositions are fully expressive of the real world which inspired them, yet they are removed from mere physical description. The hush of the forest primeval is here disturbed by the presence of man's attempt to harness its primitive power. The New York critics greeted Sprinchorn's show at Marie Sterner's gallery with ardent enthusiasm, praising this new exponent of the "modern school."24 Henry McBride summed up Sprinchorn's appeal by saying, "(he) is plastic and abstract; not so abstract to prevent you from knowing all that is going on . . . (but) it is not necessary to know all, only the essential."25 However, when a similar exhibition was mounted at the Worchester (Massachusetts) Museum that same year, it was met with mixed reviews. An anonymous critic, who signed his review simply "Interested," wrote that "we are convinced that Mr. Sprinchorn is playing a practical joke on us common mortals. . . He went on to exclaim, "How any artist can, in these times of high cost of paint, waste several tubes of good bright color on such a picture as 'Woodsman Greets the Rising Sun,' seems inconceivable."26 Yet he later admits that the painting does stir the imagination. Woodsman Greets the Rising Sun, 1920 (cat. no. 9), with its abstract background a prism of brilliant, warm color, does indeed evoke the emotion felt when striding toward a clear, crisp Northern sunrise. The anatomy of the woodsman has been broken down into simplified geometric shapes, similar to those of the background, again illustrating Sprinchorn's ability to describe the essence of a situation without being bound to the specifics. The same critic found Sprinchorn's The Blue Ice Forest, 1920-21 (cat. no. 10) to be "charming and graceful," rather odd adjectives to describe a painting of such cold, uncanny power. Here the menacing forms of the forest seem to overwhelm, thwarting the figure of a hunter who plods his way through the trees on snowshoes. Perhaps this was the painting the artist was working on when he wrote the following to Ettie Stettheimer: "I wish you could have seen ... it rained icy stuff all night, everything was like glass in the morning — the trees loaded to the breaking point, and they did break — all day it sounded as if tigers and elephants were crashing through the woods, snapping crackling as if guns . . . and the weirdly beautiful removed look of it all — I A little glass world shut in by a gray smoke coloured mist . . . the bewitched effect . . . truly marvelous —"27 He found friends in a small community called Shin Pond (two houses and some summer camps with a post office a mile and a half down the road) who let him have a room and a studio for the price of one room, although the studio had to be given up when a "paying" customer arrived. Comer of the Studio — Shin Pond. Maine, 1946 (cat. no. 34) shows the cramped quarters littered with everything from apples to snowshoes. His precarious finances required frequent trips to New York to "attend to business." These trips became increasingly frustrating as Sprinchorn became more jealous of time spent away from his beloved forests. More and more he began to learn to make-do, depending on the support of a small but dedicated group of supporters. Sprinchorn was deeply affected by the death, in 1929, of his teacher, Robert Henri. At the same time, his mother became ill and Sprinchorn went to attend to her in Sweden. During this visit, he produced sensitive watercolors which portrayed, in an almost conventional manner, the soft pastel landscapes of his native country (cat. nos. *17 and *16). When he returned to New York in 1931, he faced the Depression. After several money­ making proposals fell through (including a brief stint as 13 i; ■ r i �10 22. Above Shin Brook Falls — Maine, 1940 Oil on board Collection of Robert F. and Patricia Ross Weis e S-'-t lie Forest, 1=23-21 02 on linen Collection ot Mr. ar.d Mrs. Arnold Rifkin on the infant who reaches toward the others Jrom the blanketed comfort of her sleigh/cradle/bed. The faces of the are caricatures, though not in the negative context c—itext • -* or - trie 1 jftened by the word, and the roughness of this world is sol of the guitar presence of music and literature in the form----- _ and the book of the two young men. Sprinchorn used a an artist for the WPA), Sprinchorn returned, in the late 1930s. to the healing sclidude of the Maine woods. Sprinchorn's later paintings of Maine are much less symbolic in nature than those produced in the early twenties. Perhaps as a result of his recent hardships, the realist imperative is re-introduced to these later paintings. Woodcutter's Evening — Maine, 1943 (cat. no. 28) is a masterpiece of genre painting from this later era. One of Sprinchorn's most ambitious figural compositions, this canvas shows a family of seven gathered in their small one-room cabin after the day's labor. Logs are neatly stacked by the stove over which the laundry has been hung to dr>’. A long, crude table is pushed to one side of the room and bunk beds line one wall. Economy and utility are everywhere present. Through the family unit, the ages of man are represented with attention focused surprisingly vivid palette, highlighting the dusk of evening with spots of blue, green, red, and yellow. e viewer feels welcomed to share the warm comfort o contented domesticity which is clearly the painting s subject. I wo crayon studies (cat. nos.. 26a 26a and and 27), 27), with wi the latter especially relating to Woodcutter's Evening - Maine, show the agility and strengl■th of Sprinchorn's talent as a draftsman. Similarly, Lumberjack (cat. no. 21), a gauche study from captures the men at work, their silhouetted bodies which he would later translate to canvas in his studio. In letters to a friend, he wrote of the frustratingly short duration of autumn during which time he worked in an outdoor lean-to which served as a studio. Working quickly to capture as much as he could of the all-tooephemeral colors of the season, he recalled the advancing chill of winter which would cause his watercolors to freeze before he could apply them to the paper. As noted, Sprinchorn could also "rearrange" nature in order to emphasize a symbolic point. Such is the case in The Spectator — Shin Pond, 1947 (cat. no. 37). When the painting was included in the Corcoran Gallery of Art Biennial in 1951, Sprinchorn wrote about the work. He explained that it represented two states of mind — the first, as demonstrated by the unbroken row of trees blocking the Spectator's line of vision, is closed-in and quickly mapped out with the strong, dark outlines of the crayon sketch later filled in with fauvist washes of color, At the same time that he was creating these realistinspired documents of Maine, Sprinchorn was also ---------1:----------------- : _1—.------ . :---------------- Cull ..I*.—.!.. creating semi-abstract images. Still clearly readas landscape, the tightly controlled abstracted rhythms of Above Shin Brook Falls — Maine, 1940 (cat. no. 22), mimic the turbulence of rushing water, while The Blizzard (Shin Pond, Maine), 1941 (cat. no. 25), is an expressionistic reverie to the force of an ice-blue winter storm. Although these works, and Sprinchorn's studies of lumberjacks, may at first seem to be uncomfortably diverse in style, they are united by the single goal of remaining faithful to the subject without being dominated by it. Sprinchorn's fidelity to the evocations of nature was due to the many elaborate sketches made on the spot 15 14 �. Checklist of the Exhibition NOTES confining — the second, represented by the panorami view is broad and focused outward.-’ The painting can be interpreted as a philosophical self-portrait ot the 1. Application Applkatic for Guggenheim fellowship (1941), Special Colle ‘ons Department, Folger Library, University of Maine at Orono (hereafter referred to as UMO). 2. Untitled Manuscript (1949). UMO. 3. Ibid. 4. Ibid. Arthur Cederquist was the young man from Minnesota. 5. Ibid. o. Henri's charismatic lecture style is reflected in his book The Art Spirit, compiled by Margery Ryerson (J. B. Lippincott Company, In the mid-fifties. Sprinchom suffered the first <of a series of strokes which were to eventually limit his artistic productivity. Showing his strength of will and determination in the face of physical disability. Sprinchom overcame the semi-paralysis which affected his painting and writing. Forced to move to a less strenuous climate and closer to family, he took up residence in a small house on the farm belonging to his sister and his niece in Selkirk, New York (near Albany). There he painted such light-filled, impressionistic canvases as Daisy Fields and Clouds, 1950 (cat. no. 44); and floral still iifes, a subject he loved all his life, such as Autumn Bouquet, c. 1957 (cat. no. 531, reminiscent of Van Gogh's similar passion for flowers. Each year Sprinchom would also record the small house on his sister's farm. House in Selkirk, NY, 1961 (cat. no. *57), a sketch made by cross-hatching brightly colored marks of the crayon, was the last of this series although Sprinchom did not die until 1971. Sprinchom followed with interest the events of the New York art -world even when he had expressed distaste for their shallowness and even when his health prevented him from making an occasional trip there. In 1961, he wrote to the American Federation of Arts to protest the ‘ mass dissemination of theoretic art forms appearing continuously in your 'Art in America Magazine' ' which he felt discouraged the artist of "individual persuasions."3’ An artist of sensitivity and intellect, his ideals concerning art never dimmed. In 1970 his friend and fellow artist, Rockwell Kent, wrote to him to say hew wonderful it was that Sprinchom had completely vindicated Robert Henri's staunch belief in him." Sprinchorn found his muse in the wooded landscapes of Maine. Ironically, it was this discovery that also led to his eclipse in the art market as he became increasingly unwilling to spend time on galleries and exhibitions. When the MacBeth Gallery closed its doors in 1953, Sprinchom considered other galleries but never followed through in finding one to represent him. Today, with current interest mounting in the work of Robert Henri, "The Eight," and their followers, this seems an auspicious moment to present an exhibition of the work of Carl Sprinchorn, who had the privilege to be singled out among those followers as an artist of creative genius whose contributions would someday leave a mark upon the development of American art. 7. op. cit. UMO. (Note 1.) 8. Ibid. 9. "The Lounger'' Column, Putnam's Monthly & The Reader, V (December 1908). 10. George S. Hellman, "The Drawings of Carl Sprinchorn," exhibition catalog 1916. 11. Excerpt for unknown exhibition catalog (1937) reprinted for a catalog by the Passedoit Gallery in 1954. 12. Letter from Ettie Stettheimer to Sprinchom in Santo Domingo, December 15, 1926. UMO. 13. Carl Sprinchorn, A Painter's Plaint, undated manuscript. UMO. 14. Undated letter from Carl Sprinchom to Florence Dreyfous. UMO. 15. Letter from Carl Sprinchom to Mr. Reginald Poland (then Director of the High Museum), July 19, 1955. UMO. 16. Introduction to an exhibition of paintings at the MacBeth Gallery in 1943. The other romanticist Hartley was referring to was Rex Slinkard, also a close friend of Sprinchom's. 17. Essay by Christian Brinton for an exhibition of Sprinchom's work at the Marie Sterner Gallery in 1922. 18. Letter to Hilton Kramer, 1958. UMO. 19. Ibid. 20. Hartley's letters to Sprinchom have since been deposited at Yale University. 21. Marsden Hartley, "The New Paintings of Carl Sprinchom of the Maine Woods," 1943. Hartley wrote this and two other manuscripts about Sprinchom's work. The others are: "Sprinchorn Today," 1942, America Swedish Historical Museum; and, "The Drawings of Carl Sprinchorn," from The Spangle of Existence, an unpublished manuscript. Museum of Modem Art (library). 22. op. cit. Brinton. 23. op. cit. manuscript of 1949. UMO. 24. Kenneth Burke, "The Art of Carl Sprinchorn," The Arts, December 1921. (Burke saw the paintings prior to their exhibition in the spring of 1922.) 25. Henry McBride writing for the New York Herald, February'12, 1922. Reprinted in an exhibition catalog for a one-man exhibi io the works by Sprinchorn at The Arts Club of Chicago, March . 26. Clipping file UMO. "Sprinchom Stirs the Heart: Trouble is He Stirs It In Too Many Directions," Worchester (Mass.) Daily Telegram, dated 1922 in the artist's handwriting. 27. Letter from Carl Sprinchorn to Ettie Stettheimer in December from Monson, Maine. UMO, 28. Undated letters to Josephine Hopper, UMO. 29. Letter from Carl Sprinchorn to Henry B. Caldwell, then assistant director of the Corcoran (March 27, 1931). 30. April 8, 1961, UMO, He also cancelled his subscription to News which he felt to be a handsome facade with no,c?^nnJ continued to take Arts because it took the controversial su 31. Postcard dated 9-25-70 from Rockwell Kent to Carl Sprinchor . UMO. i I 1. A Winter Scene on the East Side, New York, 1906 Oil on canvas, 30 x 40 Signed 1.1. Carl Sprinchorn Collection of Mr. and Mrs. Sigmund M. Hyman x9. Woodsman Greets the Rising Sun, 1920 Oil on canvas, 28% x 22y„ Signed 1.1. Carl Sprinch orn Collection of Miss Kathryn Freeman ’17. House in Sweden (Summer), 1931 Watercolor, 14 x 21 (sight) Signed l.r. Carl Sprinchorn Collection of Miss Kathryn Freeman 2. Robert Henri (1865-1929) Portrait of Carl Sprinchorn, 1910 Oil on canvas, 24 x 20 Gift of Anna Sprinchorn Johnson, 76.43 Herbert F. Johnson Museum of Art, Cornell University 10. The Blue Ice Forest, 1920-21 Oil on linen, 36 x 40 Signed 1.1. C. Sp. Collection of Mr. and Mrs. Arnold Rifkin 118. The Diver, c. 1934 Watercolor, 18 x 12 Signed l.r. Carl Sprinchorn Collection of Dr. and Mrs. Julian Long 11. Snow Winged Horses, 1921 Oil on canvas, 36 x 38 Signed 1.1. Carl Sprinchon■n The Phillips Collection Washington, D.C. 19. Central Park, 1935 Oil on board, 9 x 13 Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 12. Boreal Pageant (Monson, Maine), 1921 Oil on canvas, 36 x 48 Signed l.r. Carl Sprinchorn Estate of Carl Sprinchorn 20. Sunflowers and Tritoma, 1935 Oil on composition board, 24 x 20 Signed 1.1. Carl Sprinchorn Gift of Miss Edith Wetmore Museum of Art, Rhode Island School of Design 3. Lilac Time — Versailles, 1914 Oil on board, 10 x 14 Signed 1.1 C. Sp. Collection of Dr. and Mrs. Julian Long 4. Woman in Evening Gown, c. 1916 Watercolor on paper, 16 x lO’/z Signed u.r. Carl Sprinchorn The Brooklyn Museum Gift of Miss Ettie Stettheimer 5. Three Figures, c. 1916 Watercolor on paper, 12»/16 x 14% Signed l.r. Carl Sprinchorn The Brooklyn Museum Gift of Miss Ettie Stettheimer 6. The Singer, c. 1916 Ink on paper, 10‘A x 16 Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 7, Flowers, c. 1916 Watercolor on paper, 18% x 12% Signed 1.1. Carl Sprinchorn The Brooklyn Museum Gift of Alfred W. Jenkins *8. Flowers at Evening, 1919 Pastel, 2614 x Ih'/i (sight) Signed l.r. Carl Sprinchorn Collection of Miss Kathryn Freeman 13. Landscape With Horses, (The Fear Forest), 1921 Oil on canvas, 25 x 36 Signed 1.1. Carl Sprinchorn University Art Collection University of Maine at Orono ’14. Santo Domingo Landscape, 1926 Oil on canvas, 25 x 30 Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 15. Still Life with Fruit and Parrot, 1926 Oil on canvas, 29% x 25 Signed u.l. Carl Sprinchom Gift of the artist High Museum of Art, Atlanta, Georgia ’16. Red Barn — Snowy Vistas (Sweden), 1931 Watercolor, 14% x 20% (sight) Unsigned Collection of Miss Kathryn Freeman 17 16 21. Lumberjacks, 1937 Mixed media on brown paper, 9 x 12 (sight) Signed 1.1. Carl Sprinchorn Collection Ripley Art Works, Ripley, Ohio 22. Above Shin Brook Falls — Maine, 1940 Oil on board, 12 x 16 Signed 1.1. Sprinchorn Collection of Robert F. and Patricia Ross Weis 23. Before Edison — Shin Pond, Maine, 1940 Oil on board, 28 x 16 Signed on back University Art Collection University of Maine at Orono 24. Seascape, c. 1940 Watercolor, 14’4 x 21 Vi (sight) Signed l.r. Carl Sprinchorn Collection of Mr. Ben Pedigo h ! �I 25. The Blizzard tShit: Pond. Maine). 1941 Oil on canvas. 21 x 29 Signed 1.1. Carl Sprinchorn Private collection 26a. Lumberack Study for Woodcutters Evening >, 1941 Crayon drawing. 9% x 11% (sight' Signed 1J. Carl Sprinchorn Collection of -•-r. and Mrs. Arnold Rifkin t(b>. Verso Lumberjack. Study for Woodcutters Evening ’) Crayon drawing, S’. x 11% 'sight? Signed 1.1. Carl Sprinchorn 27. Young Lumberjack. (Study for Woodcutters Evening’), 1941 Crayon drawing, 6 x 12 Signed l.r. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 28. Woodcutters Evening — Maine, 1943 Oil on canvas, 21 x 32 Signed 1.1. Carl Sprinchorn Cc..ection. of Robert F. and Patricia Ross W’eis *29. Tiger Pitch, c. 1943 Oil on canvas, 271 x 33'A Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 30. Tangerines on Baugh — California, 1944 Oil on board, 8’/« x 12‘A Signed 1.1. C. Sp. Collection of Robert F. and Patricia Ross Weis 31. White Dahlias, 1944 Oil on canvas, 18 x 24 Signed l.r. Carl Sprinchorn Collection of Robert F, and Patricia Ross Weis *32.L«g«naBe«UI.SoHth 1945^ . 15'4. (sight) Oil on board, 11 ■'« XU . „ Signed l.r. C- Sp. Collection of Miss Kathryn Freeman *33. Autumn Glory. 1946 Oil on canvas, 20'4 x 2414 Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 34. Comer of Studio — Shin Pond, Maine. 1946 Oil on board, 16 x 193A Signed l.r. Sprinchorn Collection of Robert F. and Patricia Ross Weis 35. Red Hat. Blue Hat, 1946 Oil on board, 18% x 24% Signed l.r. Carl Sprinchorn University’ Art Collection University of Maine at Orono 36. Stormy October Sunset, c. 1946 Oil on board, 19 x 23'A (sight) Signed l.r. Carl Sprinchorn University’ Art Collection University of Maine at Orono 37. The Spectator — Shin Pond, Maine, 1947 Oil on canvas, 28'A x 34'A Signed 1.1. C. Sprinchorn University Art Collection University of Maine at Orono 38. Shin Pond Outlet — Maine 1948 Oil on board, 12 x 6 Signed 1.1. C. Sp. Collection of Robert F. and Patricia Ross Weis 39. Logs in Lumber Camp, 1948 Crayon on paper, 13% x 17% Signed l.r. C. Sp. Collection of Robert F. and 1 atricia Ross Weis 40. Snowy Branches, 1948 Crayon on paper, 16 v, : Signed l.r. Carl Sprinchix 13>/2 torn University Art Collilection University of Maine at Orono *41. Whetstone Falls — The Penobscot, 1949 Oil on canvas, 21%, x 32% Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 42. Apple Blossoms, 1949 Oil on canvas, 28 x 34 Signed l.r. Carl Sprinchorn Estate of Carl Sprinchorn 43. Open Water — Maine, 1949 Watercolor, 19 x 25'/z Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 44. Daisy Fields and Clouds, 1950 Oil on canvas, 21% x 29% Signed l.r. Carl Sprinchorn Collection of Mr. and Mrs. Arnold Rifkin *49. Daisy Fields, Crommett Farm, c. 1950 Oil on canvas, 21% x 29 Signed l.r. Carl Sprinchorn Collection of Miss Kathryn Freeman 50. Apples on a Bam Floor, c 1950 Oil on canvas, 25 x 30 Unsigned Estate of Carl Sprinchorn 51. The River—Winter Stilled, 1951 Charcoal and Chinese White on French Grey Charcoal Paper Signed l.r. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 52. Crooked Tree — Shin Pond, Maine, 1951 Oil on board, 12 x 18 Signed 1.1. C. Sp. Collection of Robert F. and Patricia Ross Weis 53. Autumn Bouquet, c. 1957 Oil on board, 233A x 193A Signed 1.1. Carl Sprinchorn University Art Collection University of Maine at Orono t54. My Early Backyard — The Old House, Selkirk, 1958 Oil on canvas, 24 x 30 Unsigned Estate of Carl Sprinchorn (55. Landscape — Shin Pond, 1958 Pastel, 9'/z x 14'A Signed 1.1. Carl Sprinchorn Collection of Dr. and Mrs. Julian Long T56. Landscape — Shin Pond, 1958 Pastel 14'A x 9'/z Signed l.r. Carl Sprinchorn Collection of Dr. and Mrs. Julian Long 45. Landscape with Hawkweed, 1950 Oil on board, 20 x 24 Signed 1.1. Carl Sprinchorn University Art Collection University of Maine at Orono 46. Open Season on Birds — Shin Pond, Maine, 1950 Oil on canvas, 22 x 28 Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 1950 47. Evening Mists — Maine, Oil on board, 16 x 19% Signed l.r. Carl Sprinchorn Collection of Robert F. an Patricia Ross Weis 48. Landscape, c. 1950 Watercolor, ll’/z x Signed 1.1. Carl Sprinchorn Collection of Robert F. an Patricia Ross Weis 19 *57. House in Selkirk, NY, 1961 Crayon on paper, 13'A x 16'A (sight) Signed l.r. Carl Sprinchorn for Frederica Beinert, July '61 Collection of Miss Frederica Beinert *58. A Bouquet for Kate, 1957, (finished 1971) Oil on canvas, 30%b x 25% Signed l.r. C. Sp. Collection of Miss Kathryn Freeman All dimensions in inches, height precedes width. ‘Included in the exhibition at the Sordoni Art Gallery only. TNot illustrated. 1 ��4. Woman in Evening (7/:. n. C. 1916 Watercolor on paper The Brooklyn Mutjdi Gift of Miss Ettie StettK-irr.tr I ��L£. 6. T/ie Singer, c. 1916 Ink on paper Collection of Robert F. and Patricia Ross Weis 23 �■i i Flowers, c. 1916 Watercolor on paper The Brooklyn Museum Gift of Alfred W. Jenkins 24 �»4 1 *8. Flowers at r ;:r.< 191^ Paste! Collection of Mis- Kati-r,n Freeman ■ �I • I ■ I 2o ��Boreal Pageant (Monson. Maine t, ]Q21 Chi on canvas Estate of Carl Sprinchorn 11. Snow Winged Horses, 1921 Oil on canvas The Phillips Collection Washington, D.C. 28 ���... - 37. ['hr S;’t\ tiikn >7wi 7‘iwjJ Maine 1947 Oil on einvas University Art < o|U\ tion University oi Maine .it l'iono �14. rj,»r<inv--- iio.JN2t> Oil on canvas Collection of Mi.s Kathryn Freeman �14. Santo Domingo Landscape, 1926 Oil on canvas Collection of Miss Kathryn Freeman 33 �38. Shin Pond Outlet — Maine, 1948 Oil on board Collection of Robert F. and Patricia Ross Weis 42. Apple Blossoms 1949 Oil on canvas Estate ot Carl Sprincborn 34 �Blossoms, 1949 Oil on canvas Estate of Carl Sprinch ��MB *16. Red Bam — Snowy Vistas (Sweden), 1931 Watercolor Collection of Miss Kathryn Freeman 1 f F *17. House in Sweden (Summer), 1931 Watercolor Collection of Miss Kathryn Freeman �43. Open ’.'.a.'fT' — ALj 1949 Watercckr CoHectien •/:■ Reber? F and Paine:J ?’■. • > »Ye- 44 I I ktr J / h M • an‘i ( :'■ 4</. 19S(J Oil on canv.i. ( oilection c,f Mr and Mr- Arnuid Kiri.r. �• | 44. Daisy Fields and Clouds, 1950 Oil on canvas Collection of Mr. and Mrs. Arnold Rifkin �i N K fr(. .«JS ? ‘ <>n - ■ r ..-I .• : - '■' •>. hz-’r. ^^.,rr Muwwr of Art. IJoM of rjw*r ��42 ���Lumberjack, (Study for Woodcutters Evening"), 1941 Crayon drawing Collection of Mr. and Mrs. Arnold Rifkin 1 27. Young Lumbeqack. (Study for "Woodcutters Evening"), 1941 Crayon drawing Collection of Robert F. and Patricia Ross Weis �SO 29. . Pi:.-’c Oil er. canvas Collection cf NLss Kathryn Freeman Tangerines ,<n ~ California. 1944 Oil on hoard Collection of Robert F. and Patricia Ross Weis ��. 32 . - ■ . : - . - , Oi! or- heard C'. l.tc.. • ■’ M.’ Ka'hrv.^. F.-t«*rar A.,- lrr,,- jlJt€ Ct4i« tMlfK ,x k^..hry„ Frwtwr. I > �Autumn Glory, 1946 Oil on canvas Collection of Mi:s Kathryn Freeman �£ EL Shin Pond Maine. 1950 Oil on canvas Collection of Robert E and Paint ia Ross Weis ��i Ked Hut. Blur Hat, C 194b Od on board University Art Collechor. University of Maine al Orono �I |2- .y fix Blue Hat. c. 1946 03 a, beard feendy Art Collection taenity of Maine at Orono �52. board 54 �1 .. Ti>e Shin Pi,nd /-■ ,1951 / aboard . "'‘^olRr.bwtF, and •r'-« Pr..-, Wen. 55 J .____ �Logs in Lumber Camp. ]Q48 Crayon on paper Collection ot Robert F and Patricia Ross Weis 36. Stormy October Sunset, c. 1946 Oil on board University Art Collection University of Maine at Orono L5o �A* �I a> V 4 > / */y I 4 < A -I*-** 40 Snowy Blanche-;. 1948 Crayon on paper Umvmity Ari CollKtion Univmity ..f Mamr at Orono 58 ’41. Whetstone Fulls The Penobscot, 1949 Oil on canvas Collection ot Miss Kathryn Freeman ��- - *4<? Da;;> c. 1»5C O>l on «r » Coi M: (CM* �45. Landscape with Hawkweed Oil on board University Art Collection University of Maine at Orono *49. Daisy Fields. Cromniett Fa'1 c. 1950 OH on canvas Collection ot Miss Kathryn Freeman 50. Apple*. on a Bam Floor, c. 1950 Oil un canvas Estate of Carl Spnnchorn �Autumn Bouquet, c. 1957 Oil fin board University Art Collection University of Maine at Orono ���i i I ■■1 Ii ‘' I : c �; ' '.. . -- ~~g J- e /. ; ;■< ■-■. ■ ' • i > 3 "■ ■ / I—c-';. ’ : 17; ; ----- Ifc-WSlS I 35 '5-J -; -3^^; ?: 7 *_"■ 77 -■' - --' . „■-. /. :I •.: 7 "■ � https://omeka.wilkes.edu/omeka/files/original/e41ac08670090d0cd61b90f601be5659.pdf fa90328cb4ab0ff2e4f949bdc3371c67 PDF Text Text ����������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1983 November 13 Carl Sprinchorn: Realist Impulse and Romantic Vision Creator An entity primarily responsible for making the resource Carl Sprinchorn Bernard B. Perlman Judith O'Toole Date A point or period of time associated with an event in the lifecycle of the resource 1983 November 13 - December 30 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/73b187d042f346b589837d8e3b716cf1.pdf a28743abcfc5b215f69fa6530f806f35 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1983 October 1 Stephen Porter: Sculpture Creator An entity primarily responsible for making the resource Stephen Porter Dr. Wilma Stern Date A point or period of time associated with an event in the lifecycle of the resource 10/1/83 - 10/30/83 1983 October 1- 30 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/89fa48679c4c129cac2bc55a38a5fd41.pdf 377684b7332ab1ca579bb57803a6305e PDF Text Text * i I ; -j t X' ■ ! ;£; ■ -X;: KlEIMrEE ; : s; LS i ; fo I; : b - -! : K : ‘ S?" /1/tlERIIC/IIM .4WSTERS OF THE E/IRLfTHIRTIES ij r: 1 i i i= i I I I I i i . 1 j SORD GA N6512 S653A12 1983 1 �'■TO REI/IIMTEID- /l/HERIIC/IM /MASTERS OF THE IIRIY THIRTIES SORIDGNII /BRT G/ILDlE W Wilkes College Wilkes-Barre, Pennsylvania /MRCIHIW -/OPMUlM., E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Exhibition organized by William Sterling and Judith O'Toole in conjunction with the Fiftieth Anniversary of the Founding of Wilkes College Funded by grants from the Pennsylvania Council on the Arts, the John Sloan Memorial Foundation, and the Andrew J. Sordoni Foundation. 1 �ARfHlVlS TABLE OF CONTENTS Introduction .................................... 3 Acknowledgments.......................... 4 Lenders to the Exhibition............... 5 American Art in the Early Thirties 6 Comments on the Exhibition......... 12 List of Works.................................... 17 This exhibition, in celebration of the the founding of Wilkes College, is dire: of the American artistic environment < such a project lies in its potential of allc the moment, some of the stereotypes tions which have accrued to the perioc back into the past and see what mighi valued, in 1933. There was, of course, a great deal go: of the early Thirties, and any attempt tc would require an exhibition of enor neither the resources nor the space for ness, we must necessarily exercise selectivity in choosing w’orks by some several hundred who were truly emir guiding principle in forming the exhibi ticity to the period itself, as documer sources, such as art periodicals and Thus, some well-known artists, whon more relevant to the present day, have 2 �INTRODUCTION . 3 . 4 . 5 6 12 17 This exhibition, in celebration of the fiftieth anniversary of the founding of Wilkes College, is directed to the re-creation of the American artistic environment of 1933. The value of such a project lies in its potential of allowing us to ignore, for the moment, some of the stereotypes and, perhaps, distor­ tions which have accrued to the period. It allows us to step back into the past and see what might have been seen, and valued, in 1933. to make room for less well-known, but more characteristic, representatives of the period in question. The reputations of all the artists included in the exhibition were, however, wellestablished (or on the verge thereof) in the early Thirties. Artists like Sloan and Marin were already virtual "old masters." Others, like Gorky and Tomlin, were young "upand-comers." Here, we see them all as contemporaries, re­ sponding to the varied but distinct influences of a particular moment in history. There was, of course, a great deal going on in the art world of the early Thirties, and any attempt to represent it faithfully would require an exhibition of enormous scope. Having neither the resources nor the space for such comprehensive­ ness, we must necessarily exercise our own historical selectivity in choosing works by some forty artists out of the several hundred wTho were truly eminent in that era. Our guiding principle in forming the exhibition has been authen­ ticity to the period itself, as documented by contemporary sources, such as art periodicals and exhibition catalogues. Thus, some well-known artists, whom one might regard as more relevant to the present day, have been omitted in order For the purposes of continuity, we have concentrated on painting as a medium reflecting the gamut of artistic per­ suasions in the early Thirties. Prints or drawings have been used where appropriate paintings could not be obtained. The few sculptures have been included to suggest the dominant tastes in three-dimensional art in this period. The works range in date from 1927 to 1933. The only large group of artists not represented here is the traditional "academy," whose work changed little from generation to generation and remained largely immune to the intellectual and social issues of the period. si-i7^7:e 3 �acknowledgements recreate a single school or style but to recreate the character of a very specific moment in time. We have included artists of different and sometimes opposing styles. We have caught some artists at the outset of their careers and others at their penultimate moment. We have tried to evoke the temper of the art scene centered in New York during the depths of the Great Depression and on the brink of the WPA projects. 1933 Revisited: American Masters of the Early Thirties is an exhibition conceived and initiated one year ago by my predecessor, Dr. William Sterling. The theme was chosen in part as a celebration of the founding, fifty years ago, of Bucknell Junior College which was to become in 1947 Wilkes College. The exhibition serves also as a continuation of a series of exhibitions organized by the Sordoni Art Gallery to recognize, investigate, and celebrate the beginnings of mod­ ern art in the United States during the early decades of the twentieth century. Many people have contributed their efforts to make this ex­ hibition a success. I would like to acknowledge Dr. Sterling for initiating the exhibition and providing the catalogue essay. Mrs. Helen Farr Sloan lent invaluable assistance by supplying primary research sources and suggesting possible loans. Miss Antoinette Kraushaar of Kraushaar Galleries and her assistant Carol Pesner generously availed their files for our research. I am indebted to all the institutions and private collectors who have made works available for loan. Finally, I would like to acknowledge the Pennsylvania Council on the Arts, the John Sloan Memorial Foundation, and the Andrew J. Sordoni Foundation through whose generosity this exhibi­ tion was made possible. Dr. Sterling and I discovered as plans progressed for this exhibition, that it is unusual to have a single year as a central theme to an exhibition. The record-keeping systems in museums and galleries are organized in a manner to accom­ modate searches by artist, school, or movement. Artists, too, are notoriously casual about dating works and rarely keep chronological records. However, the validity and importance of an exhibition organized in this manner is clear. Our point has not been to Judith H. O'Toole Director Sordoni Art Gallery 4 Addison Gallery of Americt The Art Museum, Princetor Brooks Memorial Art Galle Butler Institute of American March Avery Cavanaugh Delaware Art Museum Kennedy Galleries, Inc. Kraushaar Galleries The Metropolitan Museum Munson-Williams-Proctor I Museum of Art, Pennsylvai �[ENTS lenders to the exhibition ite a single school or style but to recreate the character ery specific moment in time. We have included artists of mt and sometimes opposing styles. We have caught artists at the outset of their careers and others at their timate moment. We have tried to evoke the temper of ■t scene centered in New’ York during the depths of the Depression and on the brink of the WPA projects. ny people have contributed their efforts to make this ex>n a success. I would like to acknowledge Dr. Sterling litiating the exhibition and providing the catalogue Mrs. Helen Farr Sloan lent invaluable assistance by Hng primary research sources and suggesting possible Miss Antoinette Kraushaar of Kraushaar Galleries and sistant Carol Pesner generously availed their files for search. I am indebted to all the institutions and private ors who have made works available for Ioan. Finally, I like to acknowledge the Pennsylvania Council on the :he John Sloan Memorial Foundation, and the Andrew ioni Foundation through whose generosity this exhibias made possible. Addison Gallen’ of American Art, Phillips Academy National Museum of American Art, Smithsonian Institution The Art Museum, Princeton University The Newark Museum Brooks Memorial Art Gallery New Britain Museum of American Art Butler Institute of American Art Pennsylvania Academy of the Fine Arts March Aven’ Cavanaugh The Phillips Collection Delaware Art Museum Robert Schoelkopf Gallery Kennedy Galleries, Inc. Sheldon Memorial Art Gallery, University of Nebraska-Lincoln Kraushaar Galleries The Metropolitan Museum of Art Vassar College Art Gallery Munson-Williams-Proctor Institute The Whitney Museum of American Art Museum of Art, Pennsylvania State University Zabriskie Gallery Judith H. O'Toole Director Sordoni Art Gallery 5 J �seemed to turn back to earlier, more familiar modes of expres­ sion after the war. As an example of this shift, one can cite the widespread revival of Neoclassicism (albeit in a streamlined version). In America, such artists as Max Weber (no. 39) and Marsden Hartley, who had been among our first true abstract painters, reverted to more representational styles.1 AMERICAN ART IN THE EARLY THIRTIES 1933 would seem to offer students of American art little to become aroused over. It saw no epic event like the great Armory Show of 1913, which first placed European modern­ ism squarely before the American public. Nor did it proffer any exhibition so radically controversial as that of The Eight" in 1908. Even when events of this magnitude cannot be singled out every year, the eras of the early Twenties or the late Forties, to cite two examples, were rich with far-reaching incidents in the world of art. It is difficult, however, to frame the early Thirties in the context of revolutionary innovation or climactic achievement. These apparent reversions were not necessarily repudia­ tions of these artists' former radicalism. They resulted from many factors influencing the arts and society during the inter­ war period. Among these may be listed a certain intellectual fatigue which probably overcame some modernists after the hectic opening decades of the century. For many, the constant push to expand the frontiers of artistic expression had either exceeded their resources or caused them momentarily to lose their sense of direction. It is also not unusual that, as the im­ petus of one trend begins to slow, the dialectic of culture replaces it with its opposite. At the same time, important changes of concern exerted great influence on the styles and aspirations of this era. That which was so compellingly ur­ gent in 1913 or in 1923 no longer held the stage in 1933. After the fervid pace of the first three decades of the twen­ tieth century, the Thirties opened less frenetically. It was a time for reflection, the refixing of one's bearings, and, in some cases, retrenchment. This situation was compounded by the Great Depression which had cast shadows across the most op­ timistic paths. While many artists, in their perpetual state of pecuniary doubt, were hardly affected by that event which drove some more affluent citizens to drastic acts, the art world was, nonetheless, subject to a marked decline in pat­ ronage. At the same time, any suggestions of self-absorption in one's art may have seemed frivolous when millions were out of work. During times of hardship, people tend to fall back on those traditions in their culture which express per­ manence and security. The drive for adventure and experi­ ment must wait for less-troubled times. !■ L 1'1 "Modernism is played out." (Royal Cortissoz, conservative critic) "The Academy is dead." (Warren Cheney, progressive critic)2 A perusal of the art journals of the early Thirties reveals several prominent issues of the day. Although the battle be­ tween the modernists and the traditionalists had gone on publicly since the emergence of "The Eight" early in the cen­ tury, it seemed to reach a stalemate in the Thirties. Debate on this issue remained popular but repetitious. The basic arguments had been made and the lines clearly drawn well before 1933. The mobile assaults of the Teens and Twenties, when modernism made strong advances in American culture, were replaced by trench warfare. It would require new strategies to enable one side or the other to mount a successful offensive once more. This, in fact, happened with the found- The marking of time, which characterized the art of the ear­ ly Thirties, occurred in Europe as well as in America. The heyday of Cubism, Fauvism, Futurism, and many other rev­ olutionary movements was over, though certainly not forgot­ ten. After the early Twenties, only one significant new art movement emerged prior to World War II, and that was Sur­ realism. Artists who had radically altered the course of art through their innovations in style before World War I_ artists such as Picasso, Matisse, and Kirchner — frequently 6 17. EDWARD HOPPER Farmhouse at Essex, Mass. Courtesy of Kennedy Galleries, Inc. N �jm back to earlier, more familiar modes of expresie war. As an example of this shift, one can cite the revival of Neoclassicism (albeit in a streamlined America, such artists as Max Weber (no. 39) and irtley, who had been among our first true abstract verted to more representational styles.1 parent reversions were not necessarily repudiase artists' former radicalism. They resulted from ■s influencing the arts and society during the interAmong these may be listed a certain intellectual h probably overcame some modernists after the ng decades of the century. For many, the constant and the frontiers of artistic expression had either eir resources or caused them momentarily to lose >f direction. It is also not unusual that, as the ime trend begins to slow, the dialectic of culture with its opposite. At the same time, important :oncem exerted great influence on the styles and rf this era. That which was so compellingly or in 1923 no longer held the stage in 1933. lemism is played out." (Royal Cortissoz, conservative critic) Academy is dead." (Warren Cheney, progressive critic)2 of the art journals of the early Thirties reveals linent issues of the day. Although the battle bewdernists and the traditionalists had gone on e the emergence of "The Eight" early in the cened to reach a stalemate in the Thirties. Debate on emained popular but repetitious. The basic ad been made and the lines clearly drawn well The mobile assaults of the Teens and Twenties, lism made strong advances in American culture, ■d by trench warfare. It would require new mable one side or the other to mount a successful :e more. This, in fact, happened with the found- 17. EDWARD HOPPER Farmhouse at Essex, Mass., 1929 Courtesy of Kennedy Galleries, Inc. NY, NY 7 �i went on to warn against the dangers of abstraction to the bloodshot eye. This facetious anti-modernist tract actually tells us more about the effects of the Depression than those of Prohibition, for it was the former which had seriously jeopardized the livelihood of many artists. We must delve beyond the economics of the situation, however, and ask how the styles and themes of American art were influenced by that most repercussive event of the interwar era. ing of the American Abstract Artists group in 1936, and the early signals of the Abstract Expressionist movement in the works of Jackson Pollock, Arshile Gorky, and Franz Kline. In 1933, however, every sign suggested that modernism had gone about as far as it would go. Major and seminal abstract artists such as Stuart Davis and Arthur Dove were still working in that vein with considerable success, but their legions were hardly growing. Many other modernists, like the aforementioned Max Weber, had apparently made peace with the conservatives, even if they had not joined them outright. It was not just a matter of numbers either. The critic Ralph Flint, reviewing the large American show at the Museum of Modem Art in 1932, saw no one who could stand beside the greatest European modernists, except perhaps John Marin.3 Young American artists still headed for Paris by the boatload, but once there they were likely to favor Derain's quasi-cubism over Picasso's more radical variety, or Dufy's mild Fauvism over Matisse's. Critics viewing the 1933 Carnegie Interna­ tional noted the compromise between radical and conser­ vative schools, with a more noticeable tilt toward the latter than had occurred for a number of years.4 Indeed, this very compromisiveness suggests a lack of real force on either side. As Margaret Breuning noted in her review of the Carnegie show, there was a "languor, a sad perfunctory note through­ out the galleries . . . (an) aesthetic fatigue."’ As if to confirm this standoff in quite literal terms, two autonomous juries were chosen to select the 1933 Chicago Annual. One jury represented the conservatives, the other the progressives.0 Unquestionably, the Depression had created a climate of anxiety throughout society, and artists may have responded by staying with, or returning to, the tried and true. Reviewers of the 1931 American Annual at the St. Louis Museum ob­ served a retreat from the more radical forms of modernism and suggested that the Depression was the cause. They noted a return to an emphasis on craftsmanship which seemed very much tied to the "law of survival."8 It would be a mistake, however, to assume that this condition was universal. At the Minneapolis Annual of the same year, a strong modernist trend was noted, and the American Art Dealers Association found that the art market (as of 1931) had remained fairly stable despite the Depression.’ While the precise impact of the Depression upon America." art requires further investigation, it is clear that an increasim number of artists turned to themes extolling the virtues ot honest labor and the abundancies of the American landscape as well as themes which captured the loneliness or poverty of the less fortunate. Although most of these themes had pre­ dated the Depression, they became far more common in the Thirties. "Picasso's full-face profiles often give one the sensation of seeing double. Their place is not in the barroom."7 Overt political statements in the art of this period were less numerous than we might expect. Few American artists had anything to say about such events as the rise of Stalin in Russia or Hitler in Germany. The most politically controver­ sial works of art in 1933 were probably the two murals ex­ ecuted by the Mexican painter Diego Rivera for the Ford Motor Company in Detroit and Rockefeller Center in Ne* York City. His sympathetic references to Russian Corr.- Issues outside the realm of art clearly had an effect on the lives and attitudes of artists, but just how and to what extent these issues were translated into art often lack such clear definition. When Prohibition was repealed in 1933, the writer of the lines quoted above foresaw more work for artists, in the form of new paintings for all the resurrected bars. He then 8 munism caused an uproar among ernirs be sure, there always flourished a '.<<dr< one stripe or another, in the Ttvr’ies Gropper, Ben Shahn. and Thomas Hart with sharp political content, but no political expression took place except nalistic art. The relatively high social Roosevelt era (which began in 1933' < found its main outlet in the more sub American Scene painters A new nation begun to offset the economic negativ Depression. "No American art can come to not live an American life, who c American psychology and who America justification for their lb < Thom as After the tempering ot modernist fen a growing sense of nationalism, many < spiration in the sweeping expanses am their native land. Like their contemp literature, they engaged in a vast se American expression. Although preced tations of a similar spirit, such as the and the Ash-Can style, the American S< Thirties (sometimes called Regionalism as a programmatic effort to fashion an art of substance and uniqueness From t tains, from small towns to cities, artist; Hart Benton, Grant Wood, Isabel Bisl and countless others joined in this effor impact during the 1931-32 exhibition s was in full swing by 1933. Highminded nationalism notwithsta Scene movement also reflected econon into our century, the Amer.can art cc most of his shopping in Europe It did �zarn against the dangers of abstraction to the ». This facetious anti-modernist tract actually ibout the effects of the Depression than those of □r it was the former which had seriously jeoparihood of many artists. We must delve beyond ; of the situation, however, and ask how the mes of American art were influenced by that sive event of the interwar era. munism caused an uproar among critics and public alike.10 To be sure, there always flourished a cadre of artist-activists of one stripe or another. In the Thirties, men such as William Gropper, Ben Shahn, and Thomas Hart Benton created works with sharp political content, but no real groundswell of political expression took place, except in the realm of jour­ nalistic art. The relatively high social consciousness of the Roosevelt era (which began in 1933) seems rather to have found its main outlet in the more sublimated work of the American Scene painters. A new nationalistic positivism had begun to offset the economic negativism spawned by the Depression. ibly, the Depression had created a climate of ;hout society, and artists may have responded fi, or returning to, the tried and true. Reviewers merican Annual at the St. Louis Museum ob­ it from the more radical forms of modernism, that the Depression was the cause. They noted emphasis on craftsmanship which seemed very he "law of survival."8 It would be a mistake, sume that this condition was universal. At the mnual of the same year, a strong modernist d, and the American Art Dealers Association art market (as of 1931) had remained fairly he Depression.’ ;cise impact of the Depression upon American ther investigation, it is clear that an increasing sts turned to themes extolling the virtues of d the abundancies of the American landscape, es which captured the loneliness or poverty of ite. Although most of these themes had preession, they became far more common in the were traditional or modern; Europe still represented for most Americans haute culture as well as haute couture. Only the less affluent had to resort to the collecting of "provincial" home-grown work. And even these collectors often sought the opportunity to buy third-rate European pictures rather than first-rate American ones. The cachet of a "Made in Paris" label remained irresistible to uninformed American en­ trepreneurs. This state of affairs gave rise to an energetic cam­ paign by American artists and their dealers to promote their own interests. The National Commission to Advance Amer­ ican Art was established in 1933 in order to combat the in­ flated reputation and highpowered merchandising of Euro­ pean "masters." Similarly, the American Artists Professional League sought to terminate "a vicious system of which our artists . . . have been victims." Albert Reid, speaking for the League, referred to the "methods of dumping upon this coun­ try, in unbelievable quantities, worthless and questionable foreign art. Hoards of foreign artists, who were hard put to make any kind of living at home, discovered that our country was rich pickings."12 The League's slogan, "Buy American Pictures First," was, therefore, more protectionist than chau­ vinistic. How ironic that fifty years later, American art is eagerly sought the world over, while those pillars of America's pre-war economy, steel and automobiles, now make the same plea for protectionism. "No American art can come to those who do not live an American life, who do not have an American psychology, and who cannot find in America justification for their lives. (Thomas Hart Benton)11 ! I il statements in the art of this period were less we might expect. Few American artists had r about such events as the rise of Stalin in in Germany. The most politically controver‘t in 1933 were probably the two murals ex­ Mexican painter Diego Rivera for the Ford y in Detroit and Rockefeller Center in New > sympathetic references to Russian Com- After the tempering of modernist fervor and spurred on by a growing sense of nationalism, many artists sought fresh in­ spiration in the sweeping expanses and intimate corners of their native land. Like their contemporaries in music and literature, they engaged in a vast search for a distinctly American expression. Although preceded by earlier manifes­ tations of a similar spirit, such as the Hudson River School and the Ash-Can style, the American Scene movement of the Thirties (sometimes called Regionalism) was more self-aware as a programmatic effort to fashion an indigenous American art of substance and uniqueness. From the plains to the moun­ tains, from small towns to cities, artists as varied as Thomas Hart Benton, Grant Wood, Isabel Bishop, Charles Sheeler, and countless others joined in this effort. After its first major impact during the 1931-32 exhibition season, the movement was in full swing by 1933. An important impetus for the cultivation of American art and for an American art public emerged in 1931 with the founding of the Whitney Museum in New York City, which devoted itself exclusively to the collection and exhibition of American art. An equally significant, though temporary, in­ stitution was the Federal Art Project, a governmentsponsored program of the WPA which was authorized late in 1933 and commenced operation in 1934. Before it came to a close nine years later, the program provided commissions and stipends for more than five thousand artists. Most of the art­ ists in this exhibition benefited to one degree or another from its support. The exhibition itself represents a cross-section of styles and themes which prevailed at the commencement of this largest single exercise in artistic patronage in history. Highminded nationalism notwithstanding, the American Scene movement also reflected economic isolationism. Well into our century, the American art consumer tended to do most of his shopping in Europe. It didn't matter if his tastes I 9 �The Federal Art Project sustained and nurtured future leaders of modern American art, but the works produced for the program related to th Scene movement and reflected that movement's c subject matter rather than style as a means of id indigenous American expression. One of the in American Scene movement was its basic stylist! tism while constituting the dominant artistic persi politically liberal Federal Art Project. Although artists involved fostered deep concerns for the lems of the day, many others danced to the tune o nationalism. A splinter group of Social Realist; strong leftist sympathies, emerged from the Ami movement between 1933 and 1935. In their eye painters had become isolationists and even fasci; "The wave of deplorable nationalism (whic are witnessing) uses pseudoaesthetic argun to arouse the lay mind against abstractor other individualism in art because the stands in the way of political and racial economic mass-passions. " (Morris Davidson, at the Wh Symposium of 1 IL r Ultimately, it was the revival of aggressive me cerns, integrated and inflected in a peculiarly Arr which led to the future preeminence of American this revival had not yet occurred. Nevertheless, < tant groundwork was being laid. The Museum of was founded in 1929 and opened its new building Carnegie International exhibitions in Pittsburgh c give exposure to important modernists. Pica; honorary first prize in 1931 (though not with one radical pieces). Segonzac took top honors in 19 more conservative John Steuart Curry and Her Poor in second and third places. Chicago's Cent ress Exposition in 1933 concentrated on the Art L Modeme styles in the design arts, which certain focus public attention on the modernist aesthetic r. * 26. GEORGE BENJAMIN LUKS Red Bam, Berkshire Hills, c. 1930 Collection Museum of Art, The Pennsylvania State University 10 �The Federal Art Project sustained and nurtured many of the future leaders of modern American art, but the majority of works produced for the program related to the American Scene movement and reflected that movement's emphasis on subject matter rather than style as a means of identifying an indigenous American expression. One of the ironies of the American Scene movement was its basic stylistic conserva­ tism while constituting the dominant artistic persuasion of the politically liberal Federal Art Project. Although many of the artists involved fostered deep concerns for the social prob­ lems of the day, many others danced to the tune of right-wing nationalism. A splinter group of Social Realists, harboring strong leftist sympathies, emerged from the American Scene movement between 1933 and 1935. In their eyes, the Scene painters had become isolationists and even fascists.13 in the following year, one of the fountainheads of that aesthetic, the German Bauhaus, was shut down by the Nazi regime as a degenerate institution. If the present exhibition is approximately reflective of the relative significance of the various styles and fashions in American art in the early Thirties, then it will be apparent that modernism in its radical forms held a minority position. It is clear that many of the traditionalists had faintheartedly adopted certain modernist elements (such as Miller's tendency to streamline his neo-Renaissance figures, no. 28, or Jones' simplification of tones and masses, no. 18); but at the same time, many of the modernists had turned back uneasily toward traditionalism (as in Weber's and Burchfield's land­ scapes, nos. 39 and 7). Even fully modernist statements, such as Davis' and Marin's, had been formulated ten to twenty years earlier. Modernism was by no means dying; it was momentarily stalled. In a sense, the early Thirties lacked an identifiable avant-garde. As mentioned earlier, the only ma­ jor new style of this era was Surrealism, and that was poorly received in its first American appearance in 1931. "The wave of deplorable nationalism (which we are witnessing) uses pseudoaesthetic arguments to arouse the lay mind against abstraction and other individualism in art because the latter stands in the way of political and racial and economic mass-passions." (Morris Davidson, at the Whitney Symposium of 1933)14 It is tempting to see a parallel between 1933 and 1983 in this regard. Much has been written recently about the "return to the figure" and the "return to realism" in contemporary art. A closer scrutiny of the situation suggests that these pronounce­ ments are simplistic, at best. It is undeniable, though, that a greater quantity of representational art of various sorts is cur­ rently being shown in galleries normally reserved for the modernist avant-garde. Some critics see in these new representationalisms a self-conscious quoting of earlier styles, which depends more on fashion than on conviction.15 Ultimately, it was the revival of aggressive modernist con­ cerns, integrated and inflected in a peculiarly American way, which led to the future preeminence of American art. In 1933, this revival had not yet occurred. Nevertheless, some impor­ tant groundwork was being laid. The Museum of Modern Art was founded in 1929 and opened its new building in 1932. The Carnegie International exhibitions in Pittsburgh continued to give exposure to important modernists. Picasso received honorary first prize in 1931 (though not with one of his more radical pieces). Segonzac took top honors in 1933, with the more conservative John Steuart Curry and Henry Varnum Poor in second and third places. Chicago's Century of Prog­ ress Exposition in 1933 concentrated on the Art Deco and Art Modeme styles in the design arts, which certainly helped to focus public attention on the modernist aesthetic. Ironically, Similarly, no single movement, like Minimalism in the Sev­ enties or Abstract Expressionism in the Fifties, appears to dominate the contemporary scene. 1983 and 1933 share, to some extent, a cultural pluralism, where diverse styles and critical positions jostle with each other in a state, more or less, of equivalence (although this is more evident in the Eighties than in the Thirties). Those conditions of fatigue, reaction. 11 �broad Cubist and Fauve traditions which had remained vital since their preeminence prior to World War I, as did their founders, Picasso and Matisse. These traditions had fostered, among other things, the simplification of form by means of geometry and bold color. This tendency to simplify was, in­ deed, pervasive in the Thirties, affecting progressives and conservatives alike. and cultural vertigo cited as factors in the Thirties' situation may also be operative in the Eighties. But where the contem­ porary art world seems to be driven by a mechanism of anxie­ ty and one-upmanship in the constant pressure for change (a mechanism well-oiled by dealers, critics, and art schools), the varied postures of the Thirties were based on a somewhat relativistic respect for the orthodoxies they represented. Taken as a whole, a certain placidity, indeed a "languor," as Ms. Breuning suggested at the time, seems to emanate from the art of that period. There are charm and interest and flashes of brilliance to be found there, but little hint of what was to come in the following decade. Stuart Davis, one of the early proponents of modernism in America, had developed an energetic, planar style derived from Cubism. (The Braque-like Still-Life, No. 11, in this ex­ hibition varies somewhat from his more familiar work, and probably reveals the renewed contact he made with Cubist sources during his visit to Paris in 1928.) John Marin, a vir­ tual "old master" among the avant-garde, also continued to mine the rich vein he had struck two decades earlier, with its mingling of Cubism, Fauvism, and Futurism (No. 27). COMMENTS ON THE EXHIBITION The works comprising this exhibition have been chosen to reflect as faithfully as possible those styles and themes in American art which prevailed fifty years ago. Broadly con­ sidered, that era, like many others, supported progressive, moderate, and conservative tendencies. European modern­ ism, which had begun to alter the direction of art in America by the early Twenties, continued to cast its rays, although its force had diminished. Indeed, many of the artists who were conspicuously avant-garde in the Thirties belonged to the first generation of modernism — people such as Stuart Davis, Ar­ thur Dove, and John Marin. Younger artists, including Isabel Bishop, Aaron Bohrod, Joe Jones, and Bradley Walker Tom­ lin, showed little inclination to adopt the radical styles of their predecessors (although Tomlin, for one, joined the avant-garde later in his career). Davis and Marin were hardly trendsetters in the Thirties, however. Their styles remained bold, but personal and self­ generating. Perhaps their greatest influence at that time lay in providing an anchor for modernism in the midst of a wide current of indifference. The youthful Gorky, for example, cherished his contacts with Davis. Among the few artists who actually developed more radical styles in the early Thirties Arthur Carles and Karl Knaths had moved from the orbit of Post-impressionism into that of Cubism. Carles (No. 8; blended into his Cubist space some of the explosive color and movement of Fauvism and Futurism, while Knaths (No. 20 developed a more linear Picassoesque manner. European Cubism, itself, helped to produce two important new movements just after World War I — French Purism Heby the architect Le Corbusier and the painter Leger). ana Dutch De Stijl (under the aegis of Mondrian). An American equivalent to these relatively austere styles emerged almost simultaneously, under the name of Precisionism. All three movements shared a predilection for streamlined surfaces a love of modern machinery, and the belief that technologj Only Arshile Gorky, among the younger artists in this ex­ hibition, was aggressively experimenting with the various possibilities of modernism. His Landscape (No. 15), with its combination of free drawing and sketchy brushwork ap­ proaching full abstraction, already suggests the mature abstract style which he evolved more than a decade later. Of the established modernists, most were committed to the 12 would lead to a better world. The Precision! resented here by Louis Lozowick (No. 25?, a R\ grant; Charles Sheeler (No. 31), and John Stor These men had created pristine, semi-abstract : Twenties, which evolved into somewhat more ref al modes by the next decade. The geometric sit and streamlined surfaces of their earlier works re stant, however. The application of this style to the arts of desig an admixture of Neoclassicism, gave rise to the fashion which soon influenced the design of evei refrigerators to movie houses. Many less avantwere also affected by this aesthetic, particular Kent and, among those in this show, Guy Pe Kent's heroic figures and spare landscapes asse streamlined Neoclassicism, while Du Bois' softe plified forms resembled somewhat phlegmatic Oskar Schlemmer's Bauhaus figures (No. 13;. Neoclassicism had become a widespread infl Twenties, touching even Picasso. A related alt the Neo-Renaissance style, with its less seven idealizing and streamlining the figure. Kenneth F leader of the 14th Street group of artists, and hit bel Bishop were particularly partial to the art of Italy, as can be seen in Miller's Raphaelesque s 28) and Bishop's Perugino-like Union Square ‘ somewhat more descriptive classicism neverthei to look up-to-date in their works. Miller's surface in pastel harmonies and undisturbed by the g scuros, mitigates the illusion of depth. Bishop dense frieze of figures and its corresponding frit geometry across the broad picture plane witf spatial interruptions. This subtle form of abstrac their work, however peripherally, into agreeme radical styles. Indeed, it can be said of most of this exhibition that they tended to flatten space a tion to surface. �1 Fauve traditions which had remained vital linence prior to World War I,, as did their ....................... , and Matisse. These traditions had fostered, igs, the simplification of form by means of Id color. This tendency to simplify was, in­ in the Thirties, affecting progressives and ne of the early proponents of modernism in /eloped an energetic, planar style derived le Braque-like Still-Life, No. 11, in this exnewhat from his more familiar work, and the renewed contact he made with Cubist visit to Paris in 1928.) John Marin, a viramong the avant-garde, also continued to he had struck two decades earlier, with its n, Fauvism, and Futurism (No. 27). i were hardly trendsetters in the Thirties, des remained bold, but personal and selfs their greatest influence at that time lay in □r for modernism in the midst of a wide mce. The youthful Gorky, for example, ;ts with Davis. Among the few artists who more radical styles in the early Thirties, Karl Knaths had moved from the orbit of into that of Cubism. Carles (No. 8) bist space some of the explosive color and sm and Futurism, while Knaths (No. 20) near Picassoesque manner. , itself, helped to produce two important after World War I — French Purism (led Corbusier and the painter Leger), and er the aegis of Mondrian). An American relatively austere styles emerged almost ler the name of Precisionism. All three predilection for streamlined surfaces, a chinery, and the belief that technology ;' would Precisionists are repwuu'u lead to a better world. vvullu'1 The lne ^ecisionists resented here by Louis Lozowick (No. 25), a Russian immi­ grant; Charles Sheeler (No. 31), and John Storrs (No. 35). These men had created pristine, semi-abstract styles in the Twenties, which evolved into somewhat more representation­ al modes by the next decade. The geometric simplifications and streamlined surfaces of their earlier works remained con­ stant, however. Geometric simplification of form became a favored device among other moderates and conservatives as well. Tomlin (No. 37), Jones (No. 18), Leon Kroll (No. 21), Maurice Sterne (No. 34), Robert Brackman (No. 6), Henry Poor (No. 30), and William Zorach (No. 41) all used it to achieve a greater sense of volume and monumentality in their forms. Clarence Carter's and Edward Hopper's spare naturalism (Nos. 9 and 17), on the other hand, was more planar than volumetric, and ran closer to the austerities of Precisionism. Milton Avery's equally spare, but more abstract manner paralleled the art of Matisse (No. 1). Marguerite Zorach's almost naif style, rooted in Cubism, continued to explore the possibilities of full-surface patterning while reintegrating limited impressions of depth and mass (No. 40). John Sloan, operating from a more traditional position, also sought an interplay of volume and surface, through the parallel red modeling lines which he imposed upon his figures at this time (No. 32). The application of this style to the arts of design, often with an admixture of Neoclassicism, gave rise to the art modems fashion which soon influenced the design of everything from refrigerators to movie houses. Many less avant-garde artists were also affected by this aesthetic, particularly Rockwell Kent and, among those in this show. Guy Pene Du Bois. Kent's heroic figures and spare landscapes asserted a hard, streamlined Neoclassicism, while Du Bois' softer,, more simplified forms resembled somewhat phlegmatic versions of Oskar Schlemmer's Bauhaus figures (No. 13). Although expressionistic elements appear in some of the works seen here, few American artists of this period were outright expressionists. The predominant emotional tone of art in the early Thirties is restrained. More often than not, artists strove for either classical reserve or romantic reverie in the moods and gestures of their figures. Color schemes tended to be muted or harmonious rather than saturated or shocking. Compositions similarly lacked uneasy tensions or conflicts, as a rule. Paint was usually applied with a gentleness of touch rather than with bravura sweeps of the brush. The pictures by Brackman (No. 6), Kroll (No. 21), and Sterne (No. 34) may be said to exemplify the "look" of the era. Neoclassicism had become a widespread influence in the Twenties, touching even Picasso. A related alternative was the Neo-Renaissance style, with its less severe manner of idealizing and streamlining the figure. Kenneth Hayes Miller, leader of the 14th Street group of artists, and his student Isa­ bel Bishop were particularly partial to the art of Renaissance Italy, as can be seen in Miller's Raphaelesque shopper (No. 28) and Bishop's Perugino-like Union Square (No. 3). This somewhat more descriptive classicism nevertheless managed to look up-to-date in their works. Miller's surface design, held in pastel harmonies and undisturbed by the gentle chiaro­ scuros, mitigates the illusion of depth. Bishop unfurls her dense frieze of figures and its corresponding frieze of skyline geometry across the broad picture plane with only slight spatial interruptions. This subtle form of abstraction brought their work, however peripherally, into agreement with more radical styles. Indeed, it can be said of most of the artists in this exhibition that they tended to flatten space and call atten­ tion to surface. Exceptions to this position of moderation were few and far between. Oscar Bluemner (No. 4) and Arthur Dove (No. 12), for example, created powerfully dramatic landscapes (both had ties with European expressionist movements prior to World War I), but John Marin (No. 27) and Charles Burch­ field (No. 7) were usually more subdued in their use of emotive form in the Thirties than they had been a decade earlier. George Luks continued to wield a pugilistic brush, in 13 �.egwy-yfa-.-.-. . category, since this movement thrived on sentiments of nos­ talgia, affirmation, and optimism. No single style dominated the movement, although most of its members, concerned as they were with reportorial and allegorical aims, chose to work in unradical manners. Subject matter, rather than style, defined the movement. The ubiquitous themes were land­ scape, particularly involving farmlife (e.g. Burchfield, No. 7), cityscape, with special attention to ghetto life (e.g. Jones, No. 18), and the human figure, usually in genre contexts (e.g. Soyer, No. 36). Those artists inclined toward a romantic con­ ception of the American scene included John Steuart Curry (No. 10), Morris Kantor (No. 19), Isaac Soyer (No. 36), and Francis Speight (No. 33). Lozowick and Sheeler (Nos. 25 and 31) also shared this approach with their immaculate and heroic urban studies. keeping with his lifestyle (No. 26), while Eugene Higgins called upon 19th century Romantic-Realism to animate his proletarians (No. 16). One of the repeated criticisms of Franklin Watkins' Suicide in Costume, which took first prize in the 1931 Carnegie Inter­ national, had been that it was overly dramatic. Looking back at it today, we might find it difficult to share that particular criticism. Tolerance for heavy emotional statements was ap­ parently not widespread in the Thirties. Watkins' Girl Think­ ing (No. 38) seems to be one of the most overtly emotional figures in this exhibition, but hers is not an aggressive emo­ tion; she appears more as a lost soul. Melancholy and resigna­ tion typified this period of American art more than hand­ wringing angst. On the other side of the emotional median, heroic grace, as in the works of Rockwell Kent, was usually favored over exuberant animation. Post-depression America sought verity and stability in an art of moderation. Not all Scenists embraced the romantic, however. While the movement had firm roots in the evocative nineteenth cen­ tury landscape tradition, it had even more immediate ties to the early twentieth century realist tradition, exemplifed by members of "The Eight" and the "Ash-Can School." Clarence Carter (No. 9), Jerome Myers (No. 29), Kenneth Hayes Miller (No. 28), and Isabel Bishop (No. 3) seemed to pursue a course of objectivity, although sometimes in stylized terms. Actual­ ly, hard and fast categorizations along the lines of "romantic' or "realist" are difficult to make with the artists of the American Scene. The movement's complex aims of objective analysis and heroic or lyrical affirmation, coupled with an American tradition of pragmatic idealism, made for a con­ tinual crossover of attitudes. The realism in Bishop's Dante and Virgil in Union Square (No. 3), for example, is clearly mitigated by its Neo-Renaissance idealism, as well as its allegorical overtones. (The picture was inspired by the artists reading in Dante's Inferno of passing multitudes which re­ minded her of the daily throngs in Union Square.) Only a few artists, such as Walt Kuhn (No. 22), injected an edge of psychic intensity into their figures, or in the case of the sculptor Gaston Lachaise, grandiose sexuality (No. 24). Even artists who were devoted to liberal causes — and many were — rarely exercised their activism aggressively in their "fine" art. Quite a few, like Benton, contributed cartoons and illustrations to progressive magazines and newspapers (No. 2), but only a handful imitated their admired Mexican col­ leagues Rivera and Orozco by creating politically potent "serious" art at this time (Higgins and Jones are examples). It is tempting to see the rise and spread of the passionate Ab­ stract Expressionist style in the Forties as a reaction to the re­ strained Thirties. Of course, the creation of that weighty movement involved many factors, but there was clearly room in American art for the absorption of generous amounts of overt emotionalism, whether pyschologically or politically motivated. One of the popular interpretations of the American Scene movement rests upon its "regionalist" character, in terms of styles and themes. The Museum of Modem Art helped to in­ A kind of subdued romanticism rather then expressionism characterized the art of the early Thirties. Not surprisingly, a great deal of the American Scene painting falls into that 14 27. JOHN MARIN Marin Island, Maine, 1932 Courtesy of Kennedy Gailer.es. Inc., NY, NY �movement thrived on sentiments of nos­ and optimism. No single style dominated ough most of its members, concerned as lortorial and allegorical aims, chose to anners. Subject matter, rather than style, ent. The ubiquitous themes were landivolving farmlife (e.g. Burchfield, No. 7), al attention to ghetto life (e.g. Jones, No. i figure, usually in genre contexts (e.g. ;e artists inclined toward a romantic conican scene included John Steuart Curry itor (No. 19), Isaac Soyer (No. 36), and 33). Lozowick and Sheeler (Nos. 25 and approach with their immaculate and nbraced the romantic, however. While m roots in the evocative nineteenth cenion, it had even more immediate ties to :entury realist tradition, exemplifed by it" and the "Ash-Can School." Clarence e Myers (No. 29), Kenneth Hayes Miller ishop (No. 3) seemed to pursue a course gh sometimes in stylized terms. Actualjorizations along the lines of "romantic" cult to make with the artists of the movement's complex aims of objective ir lyrical affirmation, coupled with an f pragmatic idealism, made for a contitudes. The realism in Bishop's Dante square (No. 3), for example, is clearly '-Renaissance idealism, as well as its (The picture was inspired by the artist s femo of passing multitudes which re­ ly throngs in Union Square.) 27. JOHN MARIN Morin Island, Maine. 1932 Courtesy of Kennedy Galleries. Inc., NY, NY interpretations of the American Scene its "regionalist" character, in terms of : Museum of Modern Art helped to in15 �NOTES itiate this line of thinking with its Sixteen Cities Exhibition in 1933. Some of the artists in the present show who were in­ cluded in that event are Bohrod (Chicago), Carter (Cleveland), Speight (Philadelphia), Jones (St. Louis), and Burchfield (Buffalo). Taken as a whole, however, it would be difficult to discern regionally distinctive styles. Differences existed more amongst individual artists than amongst re­ gions. (Jones could have passed for a New Yorker, Burchfield for a midwesterner, in their works shown here.) It is more im­ portant to remember that the American Scene movement, as a whole, addressed itself to both the realities and poten­ tialities of American life. Broadly speaking, it showed less concern for the preoccupations with matters of form, which had characterized the previous decade. ’Not all artists followed this pattern. A few, like Arthur Dove and Stuart Davis, continued along their radial course. For a discussion of individual artists, see Milton Brown, American Painting from the Armory Show to the Depression. 1955. 1. MILTON AVERY ( 1893-1965> Baby Avery 1932 Oil on canvas, 30 x 25 March Avery Cavanaugh 2Art Digest, November 1, 1933, p. 25. 2Art News, October 8, 1932, p. 3. <Art Digest, November 1, 1933, p. 17. “ibid. '•Art Digest, January 15, 1933, p. 10. 7Art Digest, November 1, 1933, p. 19. Although our perception cannot but be colored by the ex­ traordinary diversity and energy of American art in recent decades, a feeling of chasteness in style and expression seems to pervade the art of this exhibition. Few of the artists rep­ resented here sought to strain the emotions or tax the intel­ lect. The art world of 1933 clearly tolerated a broad range of approaches, but with many conservatives assimilating onceheretical pronouncements of modernism, and many modern­ ists tipping their hats to tradition, extremes were moderated. Older revolutions still glowed in the art of artists like Davis and Marin, and a forthcoming revolution lurked in the work of Gorky, but the impact of the newer European radicalisms. Surrealism and geometric non-objectivity, was as yet hardly felt. Established values and cautious change were the order of the day. *2. THOMAS HART BENTON (1889-1975) Coming Round the Mountain 1931 Lithograph, 8', x II , New Britain Museum of American Art William F. Brooks Fund. 69.39 “Art Digest, October, 1931, p. 9. ’op,cit., p. 17. ’“Art Digest, June 1, 1933, p. 1 ff. ’’Art Digest, July 1, 1933, p. 6. 12Art Digest, October 1, 1933, p. 9. ’’For a discussion of this issue, see Matthew Baigell, The American Scene Painting of the 1930's, 1974. “Art Digest, May 1, 1933, p. 3. lsArt in America, January, 1982, pp. 9-15. William H. Sterling Chairman Art Department Wilkes College 3. ISABEL BISHOP (b. 1902) Dante and Virgil in Union Square, 1932 Oil on canvas. 27 x 52’, Delaware Art Museum, Gift of the Friends of Art 4. OSCAR BLUEMNER (1867-1938) Radiant Night, 1933 Oil on canvas (mounted on aluminum), 34 x 47 Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts *5 16 AARON BOHROD (b. 19071 Self-Portrait. 1932 Lithograph, 13 x 9 Butler Institute of American Art. Youngstown, Ohio �NOTES this pattern. A few, like Arthur Dove nued along their radial course. For a artists, see Milton Brown, American try Show to the Depression, 1955. LIST OF WORKS I 1. MILTON AVERY (1893-1965) Baby Avery, 1932 Oil on canvas, 30 x 25 March Avery Cavanaugh 1, 1933, p. 25. 1932, p. 3. 1, 1933, p. 17. 1933, p. 10. 1933, p. 19. 31, p. 9. 3, p. 1 ff. 1933, p. 9. is issue, see Matthew Baigell, The of the 1930's, 1974. j, 1982, pp. 9-15. *2. THOMAS HART BENTON (1889-1975) Coming 'Round the Mountain, 1931 Lithograph, 8% x 11% New Britain Museum of American Art William F. Brooks Fund, 69.39 3. ISABEL BISHOP (b. 1902) Dante and Virgil in Union Square, 1932 Oil on canvas, 27 x 52% Delaware Art Museum, Gift of the Friends of Art 4. OSCAR BLUEMNER (1867-1938) Radiant Night, 1933 Oil on canvas (mounted on aluminum), 34 x 47 Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts *5 AARON BOHROD (b. 1907) Self-Portrait. 1932 Lithograph, 13 x 9 Butler Institute of American Art, Youngstown, Ohio 6. ROBERT BRACKMAN (1898-1980) Somewhere in America, c. 1933 Oil on canvas, 30% x 25% National Museum of American Art, Smithsonian Institution, Transfer from U.S. Department of Labor 7. CHARLES BURCHFIELD (1883-1967) Lilacs, 1927-29 Oil on canvas, 2436 x 353/< Delaware Art Museum John L. Sexton Bequest 8. ARTHUR B. CARLES (1882-1952) Bouquet Abstraction, c. 1930 Oil on canvas, 313A x 36 Lent by the Whitney Museum of American Art, New York; Purchase, 1953. 53.41 9. CLARENCE CARTER (b. 1904) The Red Bam, 1931 Watercolor, 1336 x 2036 New Britain Museum of American Art Gift of Norman Kent 10. JOHN STEUART CURRY (1897-1946) Clyde Beatty, 1932 Oil on canvas, 20J/2 x 3016 Courtesy of Kennedy Galleries, Inc., NY, NY 17 11. STUART DAVIS, (1894-1964) Table With Pipe, c. 1929 Oil on canvas, 3134 x 2134 Pennsylvania Academy of the Fine Arts Lambert Fund Purchase 12. ARTHUR G. DOVE, (1880-1946) Silver Ball, 1929-30 Oil on canvas, 18 x 22 Vassar College Art Gallery Poughkeepsie, New York Gift of Paul Rosenfeld 13. GUY PENE DuBOIS (1884-1958) People, 1927 Oil on canvas, 45 x 57Vz Pennsylvania Academy of the Fine Arts Temple Fund Purchase *14. JOHN BERNARD FLANNAGAN (1895-1942) Mother and Child, c. 1933 Black crayon on paper, 17% x 934 Vassar College Art Gallery, Poughkeepsie, New York Gift of the Weyhe Gallery 15. ARSHILE GORKY, (1904-1948) Landscape, 1933 Oil on canvas, 25 x 21 The Metropolitan Museum of Art Gift of Dr. Meyer A. Pearlman, 1964 �16. EUGENE HIGGINS (1874-1958) The Black Cloud. c. 1930-31 Oil on canvas. 30 x 40% National Museum of American Art, Smithsonian Institution Bequest of Henry Ward Ranger through the National Academy of Design 21. 22. 17. EDWARD HOPPER (1882-1967) Farmhouse at Essex ..Mass 1929 Watercolor, 14 x 20 Courtesy of Kennedy Galleries, Inc. NY, NY 23 18. JOE JONES, (1909-1963) Street Scene, 1933 Oil on canvas, 25% x 36% National Museum of American Art, Smithsonian Institution, Transfer from U.S. Department of Labor 19. MORRIS KANTOR (1896-1974, Farewell to Union Square. 1931 Oil on canvas, 36V, x 27% Collection of The Newark Museum 20. KARL KNATHS (1891-1971) Maritime, 1931 Oil on canvas, 40 x 32 The Phillips Collection, Washington, D.C. 28. KENNETH HAYES MILLER The Little Coat and Fur Shop- 1931 Collection Museum of Art, The Pennsylvania State University *2 �16. EUGENE HIGGINS (1874-1958) The Black Cloud, c. 1930-31 Oil on canvas, 30 x 40% National Museum of American Art, Smithsonian Institution Bequest of Henry Ward Ranger through the National Academy of Design 17. EDWARD HOPPER (1882-1967) Farmhouse at Essex, Mass.. 1929 Watercolor, 14 x 20 Courtesy of Kennedy Galleries, Inc. NY, NY 18. TOE JONES, (1909-1963) Street Scene. 1933 Oil on canvas, 25% x 36% National Museum of American Art, Smithsonian Institution, Transfer from U.S. Department of Labor 19. MORRIS KANTOR (1896-1974) Farewell to Union Square, 1931 Oil on canvas, 36% x 27% Collection of The Newark Museum ER hop. 1931 t, niversity 20. KARL KNATHS (1891-1971) Maritime. 1931 Oil on canvas, 40 x 32 The Phillips Collection, Washington, D.C. 21. LEON KROLL (1884-1974) A Road Through The Willows, 1933 Oil on canvas, 26 x 42 Lent by the Whitney Museum of American Art, New York; Purchase, 1934. 34.17 26. GEORGE BENJAMIN LUKS (1867-1933) Red Bam, Berkshire Hills, c. 1930 Watercolor, 13% x 1916 Collection Museum of Art, The Pennsylvania State University 22. WALT KUHN (1880-1949) Grenadier, 1930 Oil on canvas, 30 x 25 Courtesy of Kennedy Galleries, Inc., NY, NY 27. JOHN MARIN (1870-1953) Marin Island, Maine, 1932 Watercolor, 15 x 2136 Courtesy of Kennedy Galleries, Inc., NY, NY 23. YASUO KUNIYOSHI (1893-1953) Fruit on Table, 1932 Oil on canvas, 42 x 30 Nebraska Art Association Gift of Mr. and Mrs. Samuel Waugh; Courtesy Sheldon Memorial Art Gallery University of Nebraska-Lincoln 28. KENNETH HAYES MILLER (1876-1952) The Little Coat and Fur Shop, 1931 Oil on board, 4216 x 3016 Collection Museum of Art, The Pennsylvania State University *24. GASTON LACHAISE (1882-1935) Woman, c. 1930 Pencil on paper, 19 x 12% Vassar College Art Gallery, Poughkeepsie, New York Gift of Agnes Rindge Claflin 29. JEROME MYERS (1867-1940) Street Shrine, 1931 Oil on canvas, 40% x 30 National Museum of American Art, Smithsonian Institution Bequest of Henry Ward Ranger through the National Academy of Design *25. LOUIS LOZOWICK (1892-1973) Midair, 1932 Lithograph 35/50, 16 x 11 ¥2 The Art Museum, Princeton University (Bequest of Henry K. Dick, Class of 1909) I 19 30. HENRY VARNUM POOR (1888-1970) Paris Self-Portrait, 1930 Oil on canvas, 27V1 x 3036 Collection Museum of Art, The Pennsylvania State Museum Gift of the Class of 1932 �31. CHARLES SHEELER (1883-1965) Delmonico Building, 1926 Lithograph, 10 x 7% Collection Museum of Art, The Pennsylvania State University 32. JOHN SLOAN (1871-1951) Girl Back to the Piano, 1932 Oil on canvas, 20 x 24 Kraushaar Galleries 33. FRANCIS SPEIGHT (b. 1896) Coal Slag Heap, 1932 Oil on canvas, 27 x 31% Collection Museum of Art, The Pennsylvania State University 34. MAURICE STERNE (1878-1957) Portrait of Assunta, c. 1932 Oil on masonite, 25% x 19%6 Vassar College Art Gallery, Poughkeepsie, New York 35. JOHN STORRS (1885-1956) Opposing Forms, 1932 Bronz relief, 9% x 10Vi Courtesy Robert Schoelkopf Gallery 36. ISAAC SOYER (1907-1981) Cafeteria, 1930 Oil on canvas, 21% x 25% Brooks Memorial Art Gallery, Memphis, TN; Gift of Mr. E. R. Brumley 45-12 37. BRADLEY WALKER TOMLIN (1899-1953) Studio Window, c. 1928 Oil on canvas, 39 x 32 Pennsylvania Academy of the Fine Arts Lambert Fund Purchase 38. FRANKLIN WATKINS (1894-1972) Girl Thinking, 1933 Oil on canvas, 12’/16 x 9% Munson-Williams-Proctor Institute, Utica, New York Bequest of Edward W. Root 39. MAX WEBER (1881-1961) Straggley Pine, 1933 Oil on canvas, 24 x 32 The Metropolitan Museum of Art George A. Hearn Fund, 1937 40. MARGUERITE ZORACH (1887-1968) The Picnic, 1928 Oil, 34 x 44 Kraushaar Galleries 41. WILLIAM ZORACH (1887-1966) Artist's Daughter, 1932 Bronze, 25% x 15 x 11 Zabriskie Gallery 'No photograph available. �1. MILTON AVERY Baby Avery, 1932 March Avery Cavanaugh ZJ ���b ROBERT BRACKMAN Sun? 'I-hcri- Hl A’rfir■'/> 4 C 19J3 National M-.< '•: AnMTtcar Art. SmithMrnun Institution Tranter from ’ ■ $ Drpartm-eiV «t Labor 7. CHARLES BLkCHFlEi-T5 b/a 1927-2* Mr! a ware Ar* John I Si 'f �BERT BRACKMAN tewhere in America, c. 1933 ional Museum of American Art, thsonian Institution, nsfer from . Department of Labor ■ <_nAr<LtS BUR CHFIELD Lakes 1927-29 Delaware Art Museum John L. Sextos Bequest 25 �9. CLARENCE CARTER The Red Bam. 1<?31 New Britain Museum of American Art. Gift of Norman Kent 8. ARTHUR B. CARLES Bouquet Abstraction, c. 1930 Lent by the Whitney Museum of American Art, New York; Purchase, 1953. 53.41 26 ���11. STUART DAVIS Table With Pipe, 1930 Pennsylvania Academy of the Fine Arts Lambert Fund Purchase �12. ARTHUR G. DOVE Silver Ball. 1929-30 Vassar College Art Gallery, Poughkeepsie, New York Gift of Paul Rosenfeld 13. GUY PENT DuBOIS People c. 1927 Pennsylvania Academy nf the Fine . Temple Fund Purchase 30 ��16. EUGENE HIGGINS The Black Cloud c. 1930-31 National Museum of American Ar: Snuthsci Bequest of Henry Ward Ranger through the National Academy of Design �l 15. ARSHILE GORKY Landscape, 1933 The Metropolitan Museum of Art Gift of Dr. Meyer A. Pearlman, 1964 16. EUGENE HIGGINS The Black Cloud, c. 1930-31 National Museum of American Art, Smithsonian Institution Bequest of Henry Ward Ranger through the National Academy of Design 33 �aid 33B �19. MORRIS KANTOR Farewell to Union Square, 1931 Collection of The Newark Museum �21. LEON KROLL A Road Through The Willows 19 Lent by the Whitney Museum of American Art. Nev, York; Purchase, 1934, 34 17 �FHS 131 Collection, Washington ����1YERS ze, 1931 [useum of American Art, n Institution Henry Ward Ranger through the cademy of Design 30. henry varnum poor Paris Self-Portrait, 1930 Collection Museum of Art The Pennsylvania State University Gift of the Class of 1932 ��31. CHARLES SHEELER Delmonico Building, 1926 Collection Museum of Art, The Pennsylvania State University ��- I 34. MAURICE STERNE Portrait of Assunta, c. 1932 Vassar College Art Gallery, Poughkeepsie, New York �35. JOHN STORRS Opposing Forms, 1932 Courte»y Robert Schoelkopf Gallery 46 ���WLEY WALKER TOMLIN dio Window, c. 1928 msylvania Academy he Fine Aris nbert Fund Purchase 38. FRANKLIN WATKINS Girl Thinking, 1933 Munson-Williams-Proctor Institute, Utica, New York Bequest of Edward W. Root �39. MAX WEBER Straggley Pine, 1933 The Metropolitan Museum of Art George A. Hearn Fund, 1937 ^arguertte zorach Picnic. 1928 Krau5haar Gallery ��s o R D ° N 1 ART GALLERY WILKES COLLEGE Director Judith H. O'Toole Advisory Commission Albert Margolies, Chairma Robert S. Capin Aleta Connell Patricia Davies Juliette Epstein Richard Fuller Thomas Kelly Shirley Klein Sue Kluger Paul Mailloux Marilyn Maslow Robert Ott Sandy Rifkin Jill Saporito Helen Farr Sloan Andrew Sordoni. Ill William Sterling ^,S°uth Rsver Street Wilkes-Barre, Pennsylvania (717) 824-4651, Ext. 388 �RACH ter, 1932 sy SORDO N I art gallery WILKES COLLEGE Director Judith H. O'Toole Advisory Commission Albert Margolies, Chairman Robert S. Capin Aleta Connell Patricia Davies Juliette Epstein Richard Fuller Thomas Kelly Shirley Klein Sue Kluger Paul Mailloux Marilyn Maslow Robert Ott Sandy Rifkin Jill Saporito Helen Farr Sloan Andrew Sordoni, III William Sterling 150 South River Street Wilkes-Barre, Pennsylvania 18766 (717) 824-4651, Ext. 388 ��� https://omeka.wilkes.edu/omeka/files/original/3182f7a28a928eeccb900190731e02a9.pdf f0243d147e100eb76ea22a82ccab5d79 PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1983 March 20 1933 Revisited: American Masters of the Early Thirties Creator An entity primarily responsible for making the resource Milton Avery Thomas Hart Benton Isabel Bishop Oscar Bluemner Aaron Bohrod Robert Brackman Charles Burchfield Author B. Carles Clarence Carter John Stuart Curry Stuart Davis Aurthur G. Dove Guy Pene DuBois John Berard Flannagan Arshile Gorky Eugene Higgins Edward Hopper Joe Jones Morris Kantor Karl Knaths Leon Kroll Walt Kuhn Yasuo Kuniyoshi Gaston Lachaise Louis Lozowick George Benjamin Luks John Marin Kenneth Hayes Miller Jerome Myers Henry Varnum Poor Charles Sheeler John Sloan Francis Speight Maurice Sterne John Strorrs Isaac Soyer Bradley Walker Tomlin Franklin Watkins Max Weber Marguerite Zorach William Zorach William Sterling Date A point or period of time associated with an event in the lifecycle of the resource 1983 March 20 - April 24 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/26b9f81fc1dfd92400749880344e6ad0.pdf 2687f28ba2e585f83eee80ae6f9c0404 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1983 January 9 Pennsylvania Prints: A Tercentenary Celebration from the Collection of John C. O'Conner and Ralph M. Yeager Creator An entity primarily responsible for making the resource G. Grunewald Jasper F. Cropsey John Moray W.W. Denslow N. Garrison Fanny F.Palmer Thoma sBirch James Queen T.M. Fowler John H. Sherwin George Lehman William Reeder E. Schellhorn C.L. Fussell J.B. Bachelor E. Whitefield G.A.Rudd James Benade H.H. Baily Date A point or period of time associated with an event in the lifecycle of the resource 1983 January 9 - February 6 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/79f1b0a433135e4d4736ad51310689c2.pdf 6c3ed4b8f07ab498089eec18fd3af534 PDF Text Text JON'CAR$MAX I*ARK COI|EX STTYE POTESKIE JOE STALLONE �JON CARSMAN After groduoting from Vilkes in 1966, Jon Corsmon went on to tol<e o mosters of ort educotion from New Yorl< University. Currently o pointer ond o printmol<er, he lives ond worl<s in New Yorl.r City. Reolistic in subject motter, Corsmon's worl< is expressionistic in color ond brushstrol<e. He worl<s in ocrylics on convos ond in wotercolor to produce highlycolored, forceful imoges. Corsmon is represented in numerous public ond privote collections. Among the former ore: the Metropoliton Museum of Art, New Yorl<; the Clevelond Museum of Art; ond the Hirshhorn Museum ond Sculpture Gorden, Voshington, D.C. A selection of his one-mon exhibitions include those held ot: the Everson Museum, Syrocuse, New Yorl<; lmoges Gollery, Toledo, Ohio; the Everhort Museum, Scronton; ond the DeGroof- Forsythe Gollery (Ann Arbor ond Chicogo). ln odditlon, his worl< hos been represented in numerous grouP shows including: Pointing ond Sculpture Todoy, The lndionopolis Museum of Art (1976); Americon Reolism, College of Villiom ond Mory, Villiomsburg, Virginio (1 977) ; Collector's Choice, Mississippi Museum of Art, Jocl<son (979); ond Hossom ond (illustroted: #10) Speicher Purchose Fund Exhibition, 5. Tulip Beds, 1982; Sill<screen Americon Acodemy of Arts ond Letters, New Yorl<. 6. Conno Fires, 1982; Sill<screen 1. t. Kentios Shodows, 1978; Votercolor, 29 x 22. Privote 3. convos,60x72 Nocturnol Trumpets, 1978; Votercolor, 29 x22. Privote collection Trexler Conets, 1974: Votercolor, 29 x 22. Privote collection 4. Autumn's Turn, 1980; Votercolor, 29 x22 8. Hunlock's Creek, 1978; Acrylic on collection 2. Polm Gordens, 1978; Votercolor, 29 x22 9. Tohition Fontosy, '1 980; Acrylic on convos, 50 x 40 ,10. Wilkes-Borre, '1 969; Acrylic on convos, 24 x 30. Collection Sordoni Art Gollery. Gift of Mr. Armo Andon, New Yod< �MARK COHEN A 1965 groduote of Vill<es College, Morl< Cohen hos since mode on impoct on contemporory ort photogrophy. An innovotor ond o clossicist ot once, Cohen hos influenced mony other photogrophers. The recipient of this yeors Pennsylvonio Governors Aword for Excellence in Photogrophy, Cohen olso hos been twice oworded o Guggenheim Fellowship, ond in 1975 he received o Notionol Endowment for the Arts Fellowship. Cohen hos hod one-mon exhibitions ot The Museum of Modern Art (1973); Costelli Grophics, New Yorl< (977); Ihe Corcoron Gollery of Art, Voshington, D.C. (1981); ond recently, Morlborough Gollery, New Yorl<. Selected group exhibitions include: Photogrophy in Americo, Vhitney Museum of Art (97 4); 1 0 Photogrophes Contemporoins, Golerie Zobrisl<ie, Poris (977); Mirrors ond Vindows: Americon Photogrophy Since 1969, The Museum of Modern Art (1978); Twenty Americon Artists, Son Froncisco Museum of Modern Art (1980); Counterports: Form ond Emotion in Photogrophs, The Metropoliton Museum of Art (9BD; ond FLASH, University of Hortford (98D. Most of Cohen's photogrophs ore tol<en in the Vill<es-Borre oreo; he hos o studio ot 32 West South Street. 1. Mitten on Hedge, 1975; Color photogroph, 11% x 1l% Restouront/Alligotor, 1981 ; Gelotin silver print, 17% x 11% 2. 3. Three Vhite Choirs/Phormocy, 1981 ; Gelotin silver print, 4. Red Roses/OrongeTruck, 1977; Color photogroph, 1 1% x 17% 1l%x11% 5. Fish Plotter, 1980; Gelotin silver print, 6. 7 . '1 1% x 17% Four Pigeons, 1971;Gelotin silver print, 11%x17% Boy Running / Brick tVoll, 1 976; Gelotin silver print, 11% x 17% 8. Young Gid Holding Dog, 1974; Gelotin silver print, 11% x 11% 9. Snow Folling in Alley, 1977; Gelotin silver print, 11% x 17% 10. EyelEorlSky, 1980; '1 1 . Gelotin silver print, 11% x 17% Apple Blossoms ond Roin Folling in Puddle, 1978; Gelotin silver print, 11%x17% 1 2. Womon/Y.A. / Bldg., 1982; Gelotin silver print, 17% x 11% Mod< Cohen's worl< oppeors with the courtesy of Morlborough Gollery, New Yorl< (illustroted: #3) �STEVE POLESKIE "The oircroft troils smoke to oid in the trocl<ing. The pieces ore never seen os o whole but only os o process of creotion for os soon os o line is put down in Steve Poleskie, o 1959 groduote of Vill<es, teoches ort :t Cornell University in lthoco, \ew Yorl<. He hos troveled extensively, lecturing, exhibiting crd performing. He is 'epresented in collections rcluding: the Museum of Modern ,Art; the Metropoliton Museum of ,Art; the Vhitney Museum of .Americon Art; the Volker Art Center, Minneopolis; ond the -'lerbert F. Johnson Museum, smol{e it is erosed by the wind ond remoins only in one's memory." Steve Polesl<ie Ithoco, New Yorl< August, 1982 All worl<s ore drowings ond photogrophs on poper, 22% x 15. rhoco. The works in this show ore oreporotory sketches for oerobotic slly ort pieces executed ot the Stote University of New Yorl<, Brocl<port ond 1 I Durchose cornpuses. Prior to doing o sl<y ort piece I fly over the site ond photogroph it. om lool<ing ot its oesthetic potentiol os well os for possible hozords to the oircroft operotion. ''I then return to the studio ond mol<e dozens of sketches for possible pieces. I must tol<e into considerotion such things os the wind, the position of the sun in relotion to where the moin body of spectotors will be ond o sofe londing oreo should something go wrong with the oirplone. Of these sl<etches only four or six moy be octuolly executed ond even these moy be modified on the spot to suit the prevoiling conditions. I . Brockport - 2. Drockport 3. Purchose 4. Brockport 5. Brockport 6. Purchose 7. Purchose 8. Purchose 9. Purchose - 10. 11. 12. Purchose Purchose Purchose - 4, 1980 36, 1980 11, 1979 8, 1980 9, 1980 16, 1919 25, 1979 34, 1979 14, 19'79 5, 1979 12, 1979 3, 1979 �FOUR FROM VILKES: CARSMAN, COHEN, POLESKIE AND STALLONE September 19 October 24, 1982 Sordoni Art Gollery Wilkes College '150 South River Street Vilkes-Borre, PA 'l 8766 All dimensions ore in inches; height precedes width. Vorks included ore for sole unless otherwise indicoted. lnquire ot the Gollery office. lgg2 _ 19go EXHIDITION SCHEDULE Oct. 30 - Nov. 28 Alumni Trienniol Dec. 5 - Jon.2 Vilkes Art Foculty Jon.9- Feb.6 Pennsylvonio Prints Feb. 12 - Mor. 6 Scholostic Art Awords Regionol Mor. 20 - Apr.24 1933 Revisited, Americon Mosters of the Eorly Thirties Moy 1 - Moy 29 Bucknell University Art Foculty June 17 - July 3, Domestic Yiolence Service Center \Vomen's lnvitotionol �CABSMAX colltN POLESKIE STALLONE �SORDONI ART GATLERY VILKES COILEGE 150 5. RIVER 5T., VILKES-BARRE, PA 18766 "FOUR FROtut YILKES: CARSiAAN, COHEil, POLESKIE. STALLONE" September 19 to October 24, 1982 Reception: September 20 5-7 p.m. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1982 September 19 Four from Wilkes Creator An entity primarily responsible for making the resource Jon Carsman Mark Cohen Steve Poleskie Joe Stallone Date A point or period of time associated with an event in the lifecycle of the resource 1982 September 19 - October 24 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/bbba03302c0ca4ec64bd0894dbdf6963.pdf c4a1078905ee49ac7a074bf9c568b036 PDF Text Text SORD GA ND 1731 P4S6 1982 M ■< '<7■■ ■:. ... ■; ��IT ________ �DAVID ARMSTRONG PAINTINGS APRIL 21 - MAY 23, 1982 SORDONI ART GALLERY WILKES COLLEGE E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA �ARCHIVES Introduction Lester (The Handyman), watercolor and pencil, 12 x 19V2 inches David Armstrong paints almost daily, out-of-doors, in all seasons, usually on his farm in the rolling hills of Lycoming County, Pennsylvania. Through the clean naturalism of his style, he registers a self-effacing commitment to the landscape, and those who live in harmony with it. In an age of highly mechanized living and urbanized culture, he does not regard himself as a throwback to some long-departed era of rural self-sustenance. Instead, he seeks to reaffirm the values and beauties inherent in that life which are still vital, but which are too often neglected. His continuing series of portraits called "The Vanishing American Craftsmen," for example, pays homage to a breed of men and women which might soon pass into history, along with the clean air and water he portrays in his landscapes. These paintings attempt to preserve not so much the crafts themselves, but the craftsmanly attitudes they represent. No mean craftsman himself, Armstrong isolates the dignity and beauty of his craftsmen's labors in firmly structured watercolors. As a medium technically suited to the kind of on-the-spot painting he does, watercolor also yields the gentle surface and clear light which reinforce the freshness of his scenes, although Armstrong often works with a denser texture and larger scale than are usual in watercolor. Beyond their penetrating description of form, these paintings echo the tempo of life lived close to the land. Quiet of mood, precise in composition, they beckon us to enter a world which still holds much of value for modem man. The "Craf Davie will a his or last y Willia Throi at the begin wider many State: Bot preset been ; whicl his en Mr. 1 coope also v corner Marli Andrt assem �•I Introduction David Armstrong paints almost daily, out-of-doors, in all seasons, usually on his farm in the rolling hills of Lycoming County, Pennsylvania. Through the clean naturalism of his style, he registers a self-effacing commitment to the landscape, and those who live in harmony with it. In an age of highly mechanized living and urbanized culture, he does not regard himself as a throwback to some long-departed era of rural self-sustenance. Instead, he seeks to reaffirm the values and beauties inherent in that life which are still vital, but which are too often neglected. His continuing series of portraits called 'The Vanishing American Craftsmen," for example, pays homage to a breed of men and women which might soon pass into history, along with the clean air and water he portrays in his landscapes. These paintings attempt to preserve not so much the crafts themselves, but the craftsmanly attitudes they represent. No mean craftsman himself, Armstrong isolates the dignity and beauty of his craftsmen's labors in firmly structured watercolors. As a medium technically suited to the kind of on-the-spot painting he does, watercolor also yields the gentle surface and clear light which reinforce the freshness of his scenes, although Armstrong often works with a denser texture and larger scale than are usual in watercolor. Beyond their penetrating description of form, these paintings echo the tempo of life lived close to the land. Quiet of mood, precise in composition, they beckon us to enter a world which still holds much of value for modern man. „ The present exhibition, in which the Craftsmen series is featured, introduces David Armstrong to the Wyoming Valley. He will already be well-known to those who saw his one-man show at the Everhart Museum last year, or his large retrospective at the William Penn Museum in Harrisburg in 1978. Through a number of successful exhibitions at the Hammer Galleries in New York, beginning in 1976, he has already gained a wider reputation, and his works belong to many collections throughout the United States. Both new and older works are shown in the present exhibition, but special emphasis has been given to the "Craftsmen," a project to which the artist continues to devote much of his energy. We are particularly grateful to Mr. Harold H. Stream, III, for his generous cooperation in loaning the "Craftsmen." We also wish to thank the artist for his commentaries on the "Craftsmen" subjects, Marlin Wagner for his photographs, and Andrea Young for her assistance in assembling the show. W. H. Sterling Director Vanishing American Craftsmen by David Armstrong In many cases a "craftsman" is an "artist", for the artist, or the caftsman begins his work with a sense of what beauty is, and then strives to achieve that quality through excellence and sensitivity in his or her own work. The true artisan has the knowledge, appreciation and ability to stand back from the work and to judge or criticize or even admire the work according to his or her own high standards of excellence. Fine craftsmen have a characteristic that distinguishes them above the aspiring apprentice or "journeyman". There exists between the mind, which holds the idea or design, and the finished piece a harmonious line of loving communication. Through the hands, tools and materials are passed the spirit, the will, the intellect and personality, sensitivity, and the soul of the artisan into the work itself. And as long as there are men and women who strive to create beauty with their own hands, and a subsequent feeling of intelligent satisfaction and pride in a good job well done, then the spirit of fine craftsmanship will survive. 92-18*1: �DAVID ARMSTRt Country Doctor Today, as in the past, the practice of medicine is still "more of an art than a science", depending to a large degree on the knowledge, manual dexterity, and very often, the creative resourcefulness of the doctor himself. Some doctors still design their own instruments, which make them finer and more effective artisans in their specialized fields. In the very recent past doctors often made their own medicines for the patients as well. (There was no F.DA.) The doctor was often called upon to perform a multitude of diverse and difficult surgical operations which today are specialized fields of medical practice in themselves. When America's population was more decentralized and rural, a country doctor's practice covered a wide territory and he treated his patients in their homes as often as in his own office. This very special and vanishing breed of doctor had the pioneer qualities, skillful, creative ingenuity and dedicated human concern that literally shaped the medical world as we know it today. There were no x-ray machines or other mechanical devices available to him which help to prolong life today. In some places autopsies were illegal, so, in order to further his own knowledge and studies he had to surreptitiously purchase and autopsy his own cadavers. There is no question that today's field of medical treatment owes a great deal to the early medical pioneer practitioners, who remain a credit not only to their burdgeoning field but to the human race as well. It may be of interest to painting of the Country Doctor * a David. The doctor's office (now historically preserved) was once the actual office of David's great, great grandfather who practiced medicine in the then surrounding countryside of Washington, D.C. The Farmer Farming has long been considered the backbone of America. Certainly there is much heritage and even romance surrounding the self-employed pioneering man who produces a superior product by working with his hands harmoniously with the earth. However, the natural cycle of rebuilding and replenishing the soil with the organic manure of the energy-efficient horse has been replaced with the mechanical tractor which now grows our food with chemicals. The small family farms still comprise the "meat and potatoes" of American agriculture industry, and the farmer still feels a special pride and satisfaction from producing his products with the coordination of his hands, materials, and tools. But I'm sure the sentiment can be excused when I say that with the end of the horse, something very beautiful was lost from farming. Today the quality and excellence of the farmer's efforts are displayed and judged every summer at county fairs across America. It is certainly true that not every farmer is or was as artisan. But the farmer who cares lovingly and respectfully for the earth and who takes pride in the quality of his products is much more. Although quilting died out in Europe toward the end of the 16th century, it t00k on new inspiration as well as a new look in the American colonies. The practical idea of patching a quilt (repairing was more expedient than beginning from scratch) soon grew into the Patchwork and "crazy quilt" phenomenons. Although the art of quilting has been passed down from great grandmother, grandmother, mother to daughter, individual quilts have always reflected the character, vision, and various artistic abilities of their creator or creators. Through various harmonies of color and design as well as the quality and kind of each individual stitch, the artist literally sews into the quilt his or her expertise, artistic talents, and ideal of beauty. The quilting bee (several women collaborating on a quilt) is more common today than the individual artist going it alone. Yet, quilting remains, from initial design to final stitch, a recognized, highly creative and individual art form. In fact, the patchwork quilt has become a symbol of American folk art at its finest. Birth Date: January 29, Country Furniture Maker The art of furniture making tends to follow the well worn and traditional grooves of other creative forms of expression. The style, design, and character of the product is as diverse and numerous as the hands, minds, and materials which create it. The field of furniture making also varies from those who wish to initiate or modify styles and patterns of the past, to craftsmen who innovate new forms of furniture, thus giving a new dimension to our existing ideals of beauty and art. The fine furniture craftsman strives to create a piece that will not only provide its owner with comfort and durability, but also exist on a higher level as a visually pleasing, finely wrought, handcrafted object. The artist must consider the character and properties of the individual kinds of woods he uses in the inherent design of the piece. Wood grains and color can be aesthetically pleasing in themselves but it takes the loving and skillful hands of the craftsman to put it all together and to bring the piece of furniture to life. Automation has all but put the handcrafted furniture maker out of business. Most furniture makers today specialize in making one or two kinds of pieces of furniture, but most of them do it only as a hobby. It is becoming harder and harder to find a furniture maker whose vocation has been to devote his life and talents to providing for his neighbor's furniture needs while satisfying his own artistic ones. The diversified country furniture maker who still handcrafts a multitude of beautiful items, everything from an axe handle to a love seat, from a baby s cradle to a porch swing, is indeed a very vanishing American craftsman. EDUCATION: High School: College: Graduate: Taft S B.A. I M.F.A Indiar ONE-MAN EXHIBITED Sordoni Gallery, Wilke: Everhart Museum, Sera: Hammer Galleries, New Westmoreland County 1 Rockville Historical Sot Kenan Art Center, Loci William Penn Memoria Kern Museum, College Bucknell University, Le Lycoming College. Wil GROUP SHOWS: Poster Piece, American "The Way We See It," Galleries, N.Y., "Pennsylvania Artists 1 'The New American S "Americana" Exhibit, < "Artists Salute Skowht Audubon Artists, N.Y. 26th Annual New Eng Bald Eagle Art League Allied Artists, N.Y., I1 106th Annual Travelir Banfer Galleries, N.Y. TEACHING: ESEA Summer Progra Upward Bound Lewi: Indiana University. B. Muncy Correctional I Lewisburg Federal Pei Penn State Continuin, Career Day, Hughesv �DAVID ARMSTRONG The Quilter ed uch e :es a ds le B dth our •ms inner ;rom ition n i say g ,e 1 lerica. is ares nd sducts Although quilting died out in Europe toward the end of the 16th century, it took on new inspiration as well as a new look in the American colonies. The practical idea of patching a quilt (repairing was more expedient than beginning from scratch) soon grew into the Patchwork and "crazy quilt" phenomenons. Although the art of quilting has been passed down from great grandmother, grandmother, mother to daughter, individual quilts have always reflected the character, vision, and various artistic abilities of their creator or creators. Through various harmonies of color and design as well as the quality and kind of each individual stitch, the artist literally sews into the quilt his or her expertise, artistic talents, and ideal of beauty. The quilting bee (several women collaborating on a quilt) is more common today than the individual artist going it alone. Yet, quilting remains, from initial design to final stitch, a recognized, highly creative and individual art form. In fact, the patchwork quilt has become a symbol of American folk art at its finest. Birth Date: January 29, 1947 Country Furniture Maker The art of furniture making tends to follow the well worn and traditional grooves of other creative forms of expression. The style, design, and character of the product is as diverse and numerous as the hands, minds, and materials which create it. The field of furniture making also varies from those who wish to initiate or modify styles and patterns of the past, to craftsmen who innovate new forms of furniture, thus giving a new dimension to our existing ideals of beauty and art. The fine furniture craftsman strives to create a piece that will not only provide its owner with comfort and durability, but also exist on a higher level as a visually pleasing, finely wrought, handcrafted object. The artist must consider the character and properties of the individual kinds of woods he uses in the inherent design of the piece. Wood grains and color can be aesthetically pleasing in themselves but it takes the loving and skillful I hands of the craftsman to put it all together and to bring the piece of furniture to life. Automation has all but put the handcrafted furniture maker out of business. Most furniture makers today specialize in making one or two kinds of pieces of furniture, but most of them do it only as a hobby. It is becoming harder and harder to find a furniture maker whose vocation has been to devote his life and talents to providing for his neighbor's furniture needs while satisfying his own artistic ones. The diversified country furniture maker who still handcrafts a multitude of beautiful items, everything from an axe handle to a love seat, from a baby's cradle to a porch swing, is indeed a very vanishing American craftsman. EDUCATION: High School: College: Graduate: Taft School, Watertown, Conn., 1961-1965 B.A. Degree from Bucknell University, 1969 — President's Fine Art Prize M.F.A. degree in Painting, (Fellowship, teaching assistant) Indiana University, Bloomington, In., 1971 ONE-MAN EXHIBITIONS: Sordoni Pa,, April, 1982 ooraom Gallery, Wilkes-Barre, Pa., Everhart Museum, Scranton, Pa., June-July, 1981 Hammer Galleries, New York City, 1974, 1976, 1978 Westmoreland County Museum, Greensburg, Pa., Oct., 1980, Catalogue — 96 pieces Rockville Historical Society, Rockville, Md., Sept., 1980 Kenan Art Center, Lockport, N.Y., 1979 William Penn Memorial Museum, Harrisburg, Pa., April, 1978, Catalogue — 150 pieces Kern Museum, College Park, Pa., 1979 Bucknell University, Lewisburg, Pa., 1977 Lycoming College, Williamsport, Pa., 1973 GROUP SHOWS: Poster Piece, American Wind Symphony 25th Anniversary Traveling Exhibit and Concert, Pittsburgh, 1981 "The Way We See It," Two-Man show of watercolors and photographs with John Denver, at Hammer Galleries, N.Y., Dec.-Jan. 1980, color catalogue — poster "Pennsylvania Artists Paint Pennsylvania," Central Pa. Arts Assn., July, 1980 "The New American Still Life," Westmoreland County Museum, June, 1979 "Americana" Exhibit, Greenwich Workshop Galleries, Conn., 1978 "Artists Salute Skowhegan," Kennedy Galleries, N.Y., 1977 Audubon Artists, N.Y., 1976 26th Annual New England Exhibition, Silvermine Guild. Conn., 1975, Prize Bald Eagle Art League, Second Annual, 1979, Prize Allied Artists, N.Y., 1975 106th Annual Traveling Exhibition, American Watercolor Society, N.Y., 1973 Banfer Galleries, N.Y., 1972 TEACHING: ESEA Summer Programs, Lewisburg, Pa., 1966-1968 Upward Bound, Lewisburg, Pa., 1965 Indiana University, Bloomington, Indiana, Teaching fellowship in drawing and design 1969-1970 Muncy Correctional Institution, Muncy, Pa., 1972 Lewisburg Federal Penitentiary, Lewisburg, Pa„ 1974 Penn State Continuing Education, Williamsport, Pa., 1974-1975 Career Day, Hughesville High School, 1979, 80, 81 �The Quilter, watercolor. 22 x 29 inches �1 1 1 �Farrier, watercolor, 2V/2 x 29 inches ��Stained Glass Maker, watercolor, 25 x 39 inches Blacksmith, watercolor �3? Stained Glass Maker, watercolor, 25 x 39 inches �il I g I Stonewallers, watercolor, 13 29 inches �r - -- - �______ _ 7 - .v ■ - _____ _ ........ . __________ — �■ <• ??<• � https://omeka.wilkes.edu/omeka/files/original/1841e6cfaa70ef7c7fe4981193dda173.pdf a647c953c56d3409dfb34196d184e25d PDF Text Text ���������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1982 April 21 David Armstrong Paintings Creator An entity primarily responsible for making the resource David Armstrong David Armstrong Date A point or period of time associated with an event in the lifecycle of the resource 1982 April 21 - May 23 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/73146b2b2cbf7980b925743d1e1d3522.pdf b39eeb9e868e1378786b3bf8a4598e85 PDF Text Text 1982 6cholastic Artulwards Eastern Pennsylvania Regional Exhibition SordoniArt Gallery Wilkes College February 12 to March 14,1982 �EASTERN PENNSYLVANIA SCHOLASTIC ART AWARDS REGIONAL ADVISORY COMMITTEE RICHARD A. FULLER, Chairman Associate Professor of Att I Art Education Wilkes College ROBERT BURNSIDE, lR., Ex-Officio W. CURTIS MONTZ CARA BERRYMAN Coordinator, Public Relations khibitions Coordinator, Sordoni Gallery Boscov's, The Boston Store Wilkes College THOMAS ]ACOBS NANCY HONTZ Manager Boscov's, The Boston Store Art Instructor Dallas Iunior High School ALBERT SARKAS IILL EVANS SAPORITO Coughlin High School Supen:isor of Art Education Hazleton Area School Dist. SANDRA LEIBMAN JOHANNA ROBBINS Art Instructor Art lnstructor Pittston Area Junior High School Art lnstructor Wyoming Valley West Middle School BETSY MORRIS Art Instructor RICHARD DERBY Art Instructor Wyoming Seminary Lake-Lehman Junior High School MAXINE WATTER-SILVA BEVERLY GLENNON Art Instructor Art Program Director College Misericordia Seton Catholic High School GERARD ZEZZA Superobor of Art Education Wyoming Area Schools IN APPRECIATION: The Eastern Pennsylvania Scholastic Art Regional Advisory Committee and Boscov's, The Boston Store, wish to thank Wilkes College for hosting the 1982 Art Awards Program. Among the many individuals who helped make this year's exhibition a reality, a special vote of appreciation to Dr. William H. Sterling, Director of the Sordoni Gallery and Chairman of the Art Department. THIS YEAR is the 55th year that Scholastic Magazines, lnc., with the cooperation of civic-minded sponsors, is conducting an art awards program for the high school students of America. With its aim of encouraging student achievement in creative art at an age when encouragement is important, the project has started many worthy students on their way toward advanced study and careers in the art field. �BOSCOV'S, THE BOSTON STORE, celebrates its second anniversary year of Art Awards regional sponsorship in 1982. Central Pennsylvania's largest department store, Boscov's, The Boston Store, joins in a long history of Boscov's communiry involvement and concern for the youth of our region. Scholastic REGIONAL HONORS in the Eastern Pennsylvania Scholastic Art Awards include the Certificate of Merit, for honorable mention, and the gold achievement key, for work deserving extra commendation. All the pieces shown in the Regional Exhibition have been arvarded the Certificate of Merit. Gold Key and finalist selections were made by the regional jury. NATIONAL HONORS include special prizes and gold medals, mounted on plaques and engraved and given in all art classifications. In addition, seniors who have submitted portfolios of their best work are eligible to win scholarships to art schools. colleges, and universities throughout the country. Regional juries choose individual pieces and senior portfolios to go on to the national competition. SPECIAL AWARDS, given for outstanding achievement in the Eastern Pennsylvania Regional Exhibition, are listed below. a $700 prize for the outstanding uork in crafts, sculpture or three-dimensional design. -Selected by regional judges. ARMSTRONG AWARD HALLMARK HONOR PRIZE a $700 purchase prize for the best draroing or painting, sponsored by Hallmark Cards,- Incorporated. Selected by the national judges from fioe pieces nominated by the regional jury. KODAK MEDALLION OF EXCELLENCE - a gold medallion for the best photograph, sponsored by Eastman Kodak Company. Selected by the national judges from fioe photo- graphs nominated by the regional jury. WYOMING VALLEY ART LEAGUE AWARDS three cash azoards, sponsored by the Wyoming Valley Art League, and presented for- achieoement in any medium. Atoards selected by the regional judges. WILKES COLLEGE ART DEPARTMENT AWARDS - seoeral cash awards, sponsored by the art department, gioen for meritorious achieoement in any of the thirteen classifications. Ataards selected by the Wilkes Art Faculty. LLEWELLYN & McKANE AWARD of $25 for achieuement in the graphic - an aurard design and commercial art classification, sponsored by Lleuellyn I McKane lnc., manufacturers of fine printing. Auard selected by the regional judges. KEN POLLOCK AWARD an engraoed sterling siloer medallion atoard f or outstanding - jeuelry ability demonstrated in the classification. Sponsored by Frank Clark, lncorporated, in memory of the late Duight K. Fisher. Award selected by regional judges. DOROTHY BRACE BARBER WATERCOLOR AWARD - four cash ausards of $tO each, sponsored by Sue Hand's lmagery and presented for achieoement in uatercolors. Atoards selected by the regional judges. FRANKLIN KAYE AWARD gift the best oil or acrylic painting for - tuso Highcertificates a Senior High School and lunior School student. Atoards selected for by regional judges. COLLEGE MISERICORDIA MERIT AWARD eash awards for artistic merit - two $25 in a tuo-dimensional and three-dimensional medium. Atoards selected by the regional judges. REGIONAL SPONSORS AWARD - $25 uorth of art or photography supplies from Boscots's, The Boston Store. Presented to the student uho submits the most outstanding portfolio. Atoard selected by regional judges. �3OTDOI{I I? G LLETY 150 SOUTH RIVER STREET . WILKES COLLEGE. wILKES'SARRE, PENNSYLVANIA 18766 Daily: Noon-8 p.m. including Sundays COVER Photograph by Harry Sarkre Hazleton High School Hazleton, Pa. 1982 Scholretic Art Auard Finalist � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1982 February 12 1982 Scholastic Art Awards Date A point or period of time associated with an event in the lifecycle of the resource 1982 February 12 - March 14 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/bd990f58c72a16e6b58f70c52e13b50f.pdf 049acf39d7237de520835c6da8c9a226 PDF Text Text 1 HD237 ��phia after his disc U.c u r van Gallery.’r e c-.-. ■ . real beginnings c’a - . - ■ street Expression . l-lna >»d o„d worked in Europe from >966 to Rondon "here he » Ld a special lure for American film directors of his generation such as Stanley Kubrick, Richard Lester arg oseph Losey, but several other American painters lived there as well, including Jim Dine, Jo Baer and Rchard Cott naham. The "Europeaness" of their work was more liberating and diverse than that of their fellow Amer­ icans such as Al Held, Sam Francis and Norman Bluhm, who had gone to Paris a decade earlier. Meneeley received immediate public and critical attention in London. He moved easily in the cosmopoltan art world and developed close friendships in the studios of fellow artists. In particular, Patrick Heron, John Plumb and Brian Wall provided a rich dialogue of aesthetic theory which had not been as frequent or intense for Meneeley in New York, This transatlantic experience was pivotal to his development as an artist, providing his work with a striking new maturity and objectivity. However, after a decade in Britain, Meneeley realized that New York was the vital center and returned there. Meneeley's paradoxical turn of mind is the key to his life as well as his art. Basically serious and bolstered with a Germanic meticulousness and sense of order, this proclivity is always peppered with unexpected bursts of playfulness and unbridled jubilance. His work hinges on a strong sense of inner structure and out­ ward decorum, yet there is often something contextually outrageous and slightly out of kilter. Above all, color is the one constant component, the primary visual element, and the source of meaning in his work. Life began for Ed Meneeley in Wilkes-Barre, the same energetic Pennsylvania city that sired Franz Kline Although there was a seventeen-year age difference, they both spent their formative years in Wilkes-Barre, a d began a path there that was eventually to lead to New York. Kline was a member of the first generation of the New York School of Abstract Expressionists of the 1940's and 195O's and died there in 1962. Both artists v/ere of German descent on one side of their families and both suffered the tragic loss of the parent of Ger­ man origin when they were seven. (Kline's father died in 1917 and Meneeley's mother in 1934.) Before even,' ", / m°vin9 to New York'both artists lived for several years in Philadelphia and also in London. Kline moved • 1 ,7 JL 9 SPent the thrSe Previ°US years in Lond°”- ^n years later the two artists met in . .ew York and became close friends. whPnd^k|/lH?e^ley Americanized Dickensian childhood. His first artistic sens e ' B? avaable to the vouna bov^/ er™a"’born 9randfather made his photographic darkroom and workroom r-/ both, rontrif- Uted to his erita9e included both Protestantism and Catholicism and although ■ . wt to contribute to his began par.M oii- of rHJdo.. ', erged, JretCmed ■ Meneeley com r _-. ... ...... .. . . traits such as ,rrangements His Se^-ort-cjust three years io‘er ano-etrait, painted the year he -'-o,ea -■ 'ie# York aecxcts c anatomical compcner.'s of a—- g-or. a-o COI edge of the frame cut off this feature Tne paint appfcat straction, which he would adoot a fe a .ears 'are- Vann ipates tne work of oath Robert naiana ana e-" shadowsMeneelev'scw- A-aeconcerr •- jy r* ana--ef "Yes, Irene' (1959) is a bhltant exan-p-e of s cos Ait style The dynamic slashing txusn work m o-cac tree swt of the idiom and places him -n me forefrom of tne Similar canvases were done with a Keav.r paet+e knfe t Koonmg and Helen Frankenthater At the same time .r the ate 5O‘s. Meneeiey *as .en technical aspects of art Photographic e>perme--a* cmore of his energies ana for an extended ce- od ~e ce painting discipline under the tutelage of Jcc k ’worxc j than made up for the diminution n painting *:r so 3 ac graphic work for Jasper Johns and Robert Rausc^erc avant-garde ad periodica It Is. -or ": .ea-'$ Meneete Cunningham and James Waring Together a tn a cert Indiana, Eleanor Ward and Wgi Thomson which resu' Stein's Capitals Capitals, as we' as the t.rst exce-pted Eleanor Ward's Stable Galen. Numerous speoa oroec Memona1 Church animation and coke dm ■ao’- end tn of contemporary artists brought him nto tne 60 s ec sculpture ,hey aiso conttibuted ,o" s n War provided Meneeley with experiences and tra-n >g T.™ an artlst Servin9 in California as a male nurse during World War i; he Aezonaer Murray, arid guest tear tnhs frr, ' ^urray Ad School where he studied with artist . /;• a at first eriragod iiim, f,uf soon b'' ,°W Y°,k'On weeklY study trips to New York he discovered two War duly facilitated Merw.fciy';, tramir < d/1"' • ITia ‘dr influences Mondrian and Malevitch The Korean major tea vast rai g<; at r., wpla-.lir material- ^i> ' *' k'J,"u,'d in phofo9raPhy and also provided an introducten -ulttti j in tils first semi mobile constructions Living in Philade-- POR'RAi' «?56 Ct ON CANVAS 3x5 �vt a ca h s mark i$ tv v ©strongs to Ed M?nee-?4 no ven i v'. cv •. ■■ 'V > msc’vr'l'vuj s ntarge upon the80s n a way a-. *.. ■.- ■ m .v . ewous decodes s$x -,. in the 70s. For ‘ ■ only at m.: ■" c ■ :• .n ”e annas ot wana c?t ■hemoreremarkab? vrtrebwi ■ ' "•? > ’-■"’■J4be most —prn the second gent',a’>o~. -■ hov.'»g ■ v:i ;■ • ■...\-_~ .,*_■- - v ■?-'* v-’Oon a here ’v st--"- >,?: - -. ‘. c Cv b-cha-c ;.esv —. -■.can \ m a-ecA ■; O : ae>. -- - other Amer r;ri ;.„•■'•■ ■. ;-p *v e ;-.• ,v v .-?-' :.-?>>• . c Soe-one- .-ess ' ?f th-y- « * » . r .N ’edate puG< anc. ■ ‘ v ■ C'.:i Ccs-‘vn .' ' red o ric h do aeChetc mean ■ maturity ana ce--‘e: one w . . .. G* k— \ _ ~ Zf -'»•«••• _. • *ck H^ror. tC'^’osar^. v v* crre' c oecaae ---•□m ‘/eneeie ■ ‘ec.ce-c: : Mr <•’ m:-.;: •" "v- c.; .................... ©wino ut? ;-<>■ " »•. ■. . <■-<w rhv p'lm.m . ; ' m ; d’’ SasicolT se'ipus and ‘ .svea p-<':v-?d c. ■- ->-vt t' z sense a* inner smuc-j-e ana outopea-dskg'- .. ?u*ort.-v Above a cccr ; ze ot ex?,' A:iv-. : -ennrevan a c'ti *na' srea Pranr >ter> vea age :>■ *> • p.—*• soe- ’ -ner •q—.a- <e yean r> W • e$-3cxre. t was ever-'”uo»', t; »»oc ■ c *#« »>ne w® o mtembe bs’roct bcwsKran or me -.'z-. vc rdSO’s and ded rti on» of me* tarm* or© do*6 ajfiwed the trogc tos (urw s tamer jec r XT zrc s mother oth artists f'vea •> xeys ■’ ^tcargy^— ,r t- ' ■:•>. y«x» hant;^fan^**n°a>**PhC*Ographk •: $O*ttuat ano itMasartij^ "fl- .irgrj . ^0****'* ***; 1 ortittc senstn 'Wi ■ and woritftxx’n Cathofcasm and dthaugb After tv discharge h© had the first <->f rnanv t>rw» mnn. v •. .. c.a ;erY Um? consttuctbnisl works In this oxhil.n ., ■. hb IOr,s at ,he a .Vt tAprossionist Movement to the cool intellectualism of minimal^ release from the navy In 1947. Working In a reafctta vein, hte first i ». >ut “ T ^Dh,Ta?er <1948) reveal an earlv awareness of ih a-,.Vth. L,/ . ' At the same time, in the late 5O's, Meneeley was very involved with historical documentation and various technical aspects of art. Photographic experimentation, an outgrowth of his military duty, began to absorb more of his energies and for an extended period he ceased producing paintings altogether. However, rigid painting discipline under the tutelage of Jack Tworkov sharpened his technique for two years and he more than made up for the diminution in painting with solid achievements in other media He did important photo­ graphic work for Jasper Johns and Robert Rauschenberg, and similar assignments for Philp Pavia on the avant-garde art periodical It Is. For 1'/? years, Meneeley functioned as company photographer for Merce Cunningham and James Waring. Together with Albert Vanderberg. he orchestrated the marriage of Robert Indiana. Eleanor Ward and Virgil Thomson which resulted in a concert performance in 1960 of Gertrude Stein's Capitals Capitals, as well as the first excerpted concert reading of Thomson's The Mother of Us All at Eleanor Ward's Stable Gallery. Numerous special projects such as sets for performance pieces at me Juason Memorial Church, animation and color film work, and the setting up of an ambitiousarchive program ot stedes of contemporary artists, brought him into the 6O's eager to take on renewed challenges >n paintmg ana sculpture ~ ' ’' ' '*'- poh.-nts After tx-ng ■ • . ■■ V^a-wigqrwpackQtOyZWondraor<jMotoyrtcn Tne Korean. . >i '.' «.'■ Ju - ' .. .. . . .. . . '.•/(J if' Pr ...... ar­ "Yes, Irene" (1959) is a brilliant example of his absolute control and mastery of the Abstract Expressionist style The dynamic, slashing brush work in broad, free sweeps of blues and whites captures the very essence of the idiom and places him in the forefront of the younger generation of painters of the New York Schoo. Similar canvases were done with a heavy palette knife technique, paralleling concurrent work by Willem de Kooning and Helen Frankenthaler. «••• ‘ip-cerce . nd rtu ‘ • ng 'jfJ’; "l0 ■ rangements. His Self-Portrait (1952) examines his own facial features in a rather straightforward manner, yet just three years later another Self-Portrait” shows how fast his art was progressing at this time The 1955 por­ trait. painted the year he moved to New York, depicts a dark, expressionistic figure with emphasis on the anatomical components of arms, groin and legs and completely eliminates the head by having the outer edge Of the frame cut off this feature. The paint application is thick and moving in the direction of total ab­ straction, which he would adopt a few years later. "Manning Street, Philadelphia", a watercolor of 1953, antic­ ipates the work of both Robert Indiana and Roy Lichtenstein in its use of stencils and letters and also fore­ shadows Meneeley s own wide concern with print and reproduction techniques In the following decade ^'a i! ora the XStanasa^ of h«int /-flve at the Dona KJrtftAII I9ti6 . i JjCANVAS �<r*? K 7^0 as3 *u ne^^' ' ing9^ ■>e - ■y n -aw ,n J _r.5^’ ■ . , -............... .. .- ' . . . ■ . ' • ■'• :! ■ ■'( N1l’l,l'l’> I'ih ' | >'iinlitu r. wliH li Ih> . •■ .. s .-•- ..■><• ■.■ .eved^l.Mo.nphasisColoi has always . , .......... . . . -............ .^-bs-at.^ae^rnehre configurations and even the ....................... aho tr^earoful arrangements of complemen- ....... ,..s ....- •,...:,....i a-tov discarding layers of Mondnanesque . ,.:.. .......... -v ...^ .wnr or color. The linear elementthus provides parte . - - ■ ......... ., .^-..^ment of a color in relation to its neighboring color. . . ....; -.--. 0 -.’ '.• "r,e structure of geometry, rather than the other way around. . . - ■ ■ - ;■ . ..'.' ’ .■ as of color, although often somewhat surprising and off-key, .7'. .7 - .... -.-■ .■ canvas from the next and consequently any two given spatial in- .■.■■■. ••-• act on of the hues is always carefully thought out and plotted in .••■•• "o •■ me 6O’s through the 8O's celebrate multi-chromatic harmonies ■ ; — ■■. a- .-■ eocean or frees populate a forest. ." early 6O's and were achieved with the aid of a mechanical de- - ■ ■■.■ ./ .;• r..--r ar.ppeddown.on the paper or canvas in fairly even rows. ■ . ; . . c- -extured surfaces were indicative of the linear verticality which char- similar to works simultaneously being done by Morris Louis and ■ . ■ ■• .'..soaiure from Jackson Pollock's “action of the wrist" was used only as a . ■.' ' ” on as an end in itself. He further challenged the root of Pollock's " ’ • z a at the bottom of the vertical stripes and then achieving a similar v. same time, he was constructing wood sculpture with predomin- v :-; .. - . ‘ cjrrwBionE ■■ ■ • •••■ '- ■■ -e revolutionary folios of electrostatic prints. This pioneering achieve. - - . . • r ’•several years, was based on Gertrude Stein's Tender Buttons. .. 1e; .c’e: projecting into space. These constructions were direct exten' ■ future career he would simultaneously parallel work in two and :.e >n (fself. Tender Buttons" and the two subsequent works, "IBM pier Ottects" (1968) had a marked effect on the direction of his painting. ' ; ' L' verm.y was to serve him well in these experiments with modern row materic* of Tender Buttons" consisted of needles, pins, buttons, paper clips, , •?: -? xerox machine in a repetitive vertical arrangement' ' .../ 1 -ana - ■ y, ' ■ • V vi; cut here the bands or ribbon forms were 'I''-' avei band5 developed from machine anniirn+inn tr, ! I Se^' ^QC >5 f .,.:--' t +re M1"1 x as (htf!O! W6 rP ___ ■ 5 > <-n0^ netO 'e " '-<?5 ‘ J ,-‘V ‘\.,^'et--&cc 3.-0? ,-^e <* •5r w h©c< -- sP° c^'^, "-:3-^‘-:--„--sees ■> _ <re -e' ie«t’r'dea^.P-aec'ed surfaC meT fronts fr°nt5 P'3J ~ p~-c'’--!?'' -p s*e’~ e v'e" °Sof the canvas r?== '5 ;, , CG' -nnvas ^'7_5; =. r -3e50 sr+hP tneS5’3^ ^eC- c e r 'e ;fr-c nC^S Tbef f f&e >en to°f o« Hthevef*c -rddie^ .. - *•>? C® ■^’S jC’"' G “' ^qQ O' -"3 - ieCscoce ex,ended * ^7^ -c r e^essKI ^Tlne merely a Tame fc ... oressed. •ompre 5Sed o. — andcomp ^33-. ce _ ^>erDeCO ♦ n T -e □n’*'s * a ' wn " i ™' ^insaV'^ --3S. ~r^ • motions of tonal variations 0 the. tr^ c - = -- ’ Qr an but rather sene 0 ■ e * e ., - -= - 3 e -' - 5 C centra; field. Tne eve" s ------------edgBoftheb®ds.o«en.n:_— z - >Menee«V ~=~ Byiearingthepaintedsurface’^. -— artists such as Barnett Newrrian, who begon tOCTTKIcrnng the younger artist. Meneeie. oe'’.e**es”C~ eg "e'CS-gSi w ”" ‘«8A"'-Cr C* ticoi zip in space. However, he exocrce^’”e r^rge of ^ewr^en’s vOCOtxJarv C more emotional, passionate, ana -g COkx Menee<, a- C15 rangements of the forma; piaoement o‘ oes rnan'szip. " ■ e us-’‘s,xx:k-ed the h's Paintings to slit-hkr ~ ^kground rectf,5 *coe--g5 wereptanne — **taest,0„ haifrm.rv^ ho* row — ‘-^’S ATV * s reouo "'eta ^^cate SC'uipti ji * r> ir> Jrv 5 *^ch c*©ces covered yet to c X^sh°« recUn �3r ne essai stimulus oJ « rfrk ,o« on ■ a§ro> rene-?,-(?2 r-~. of his later 2 <> SubordinQt( • Qeomen to thV c°lor-b; >e caret? "■ >ased art Q.’TT’QrX b V asc. nnov, e -ement c* - .- ; s from th© r,s CC c o . the Urx next and ^^hgement sequent . .1 of a color n on. • of geo; static >f co,or. author- Tnetry. ra*~e' '■~c" •ugh often someWnaiSGi —Iways ca’-e'a' s through the >e 80’s ae etxate trees populate: 3 a feres* >O's and were achieved th the ad ofo~d3X.2 ?.? dr'PPed alown.on *ne cooer or corvas e*3!. irfaces were .nd co* e cf *ne near cenicei• :- 3 t to works s'— — .-□neocs . oe ng done rev ’/-o"-.- .ou r Jcickson Po::oc<-s z . jlc* on. of the writ* was usea ?■-. c c end in itself, H -e chc engec *ne c -' ottom of the . i e** oa smpes and *nen ochie. -.g ? -- -c me, he was co>nstruct ng wood sculpture p-ed: " '-ting into space ~nese- -onsn-uc* ons we-e drect t ireer he would c taneously parallel wo'k r-. <rc orx folios of electrostatic cants The pionamg years, was basea a .-unions. -If, Tender But'orz era *ne twosubseau-?-'' .tn <.'■ 68) had a marked effect ar. direct z . as to serve him we r- t* =$-- •" Juttons" consisted c’ne-ece: ' the xerox machine r a -ec-e' ’ drip paintings, but here the bonds or parallel bands deveiope ' ■06 jpe. They also gradually rr.o^ed to the sides c 'j a p open color field botweon them Tho paint quality of the bands became more shimmer' w ’h e a\-n ke "eiociiu qualify which was a subconscious result of having repeatedly experienced ‘ second of light flash when the image was being recorded by the xerox machine. After thousands of ■ ■ ' c>’- -> and much experimentation. the reverberating light energization was translated into the painted o .'a- of h acrylics This bleeding color or haloed effect is similar in quality as well as in shape to the single neon tube \ ~>e other result of electrostatic experimentation was that the jumping relief effect given off by the ma­ c's during the printing process contributed to Meneeley's three-dimensional relief paintings from the midoO s These highly innovative paintings made use of stretchers several inches in depth, so that the painting surface was extended from the face of the canvas right over the stretchers. The paintings, with their sides as weT as their fronts painted, projected themselves into space, often four or five inches from the wall. The edges of the canvas were emphasized as opposed to the center and the vertical stripes on the front were extended over the side edges. By stressing the lateral edges, the middle becomes simultaneously gripped and compressed, but, in contrast to other color-field painters, the central area of Meneeley's work always re­ mains a vibrant field of magnificent color expressing the illusion of deep space. As compelling as the delicate tonal variations of the flickering bands are, they never become merely a frame for something that isn't there, but rather serve to heighten the dynamic tension already present in the animated, immaculately smooth central field. The evenly painted middle with its matte finish carries on an emotional dialogue with the jagged edges of the bands, often in formations of twos and threes near the sides of the canvas. By leaning the painted surface heavily toward sculpture, Meneeley had an important impact on fellow­ artists such as Barnett Newman, who began formulating ideas for his own sculpture during discussions with the younger artist. Meneeley benefited from long interchanges with Newman over the possibilities of the ver­ tical zip in space. However, he expanded the range of Newman's vocabulary and brought to his painting a more emotional, passionate, and Rothko-like feeling for color. Meneeley was freer and bolder in his rear­ rangements of the formal placement of the stripes and he thus unshackled the inherent possibilities of New­ man’s zip Meneeley's formal sculpture in bronze and aluminum during the 6O's reduced the wide vertical bands of h s paintings to slit-like openings in the wall of the metal. The delicate web-like arrangement of line in the background recalls Pollock, but here this overall surface decoration is accomplished in low relief. These works v^ere planned as 4O-foot-high monumental sculptures, which have yet to be realized. Another series of .-.ulptures from the 6O's were wood stick pieces covered with wax. The shafts were cut so that they were ' af round. each stick simultaneously curvilinear and rectilinear and thrusting in an ascending direction in toace II PAINTED WALL ?1 1963 ACRYLIC ON PLY WOOD 7X30' COLLECTION ARTIST �te?'0 Of« 10^ re-5' tn® <io! AS* ...... .... ..................................... 0-—.1 w r'leo.ts - - ■..... e ec ,--.,•> - '■ ...................... he woman and portrays the Immediacy of her energy with one in h^rn NO-r .SronO®' ^tary C°IOr5VL oo’h of 1970. were the result of the "tape-bleed" method. I w^^T^nersonaltVOl ir this series astro’ iga , ^cosodteoenteroftaia^ cs assau" Meneeley took a studio on the Greek island of Lefkada. close to the studio of Stamos. Al■ - • worked completely independently, they both painted canvases reflecting the sensuous c -■ nd surrounding sea and mountains. The exchange of ideas which occurred there must : . . v f/on-’-o'ey the many "artist conversations" with Kline,Frankenthaler and Newman two decs ’' .., shared an intuitive, deep-grained commitment to the exotic colors found in the natural sur■ - '■r.>an Sea While Stamos continued his exquisite Lefkada series, "Infinity Field", Meneeley • m Reflections" series, which were breakthroughs of luminous color and light. . :. ■ ■ ;. j r ’.ngs, bolstered by Meneeley's experiences with color in Greece, were supremely confiC -•'♦.st at the height of his powers. The four paintings in the "Liverpool" (1977) series are ex. .- :c.t ■ >:8" x 6') with painted stretcher frames four inches deep. The off-angle bands painted - • - and edges of the canvases complement and contrast with the central, dynamic fields .... .3 •'., environmental work, created for a special room in the Walker Art Gallery in Liverpool, r 'e.-.ent of tne four paintings in relation to one another was a necessary ingredient ' . - j - : sumptuous colors of the series fully, with "Blue" facing "Orange" and “Red" opposite : ’ urn® 'Os confront the viewer with pulsating, warm, dense color fields punctuated with, fh the sides of one color blot affecting another. Works such as Black Took - ntt-est in prints continued throughout the 7O's, and in 1972 he produced Green Tea , his first ■ • : ■ -.j' techniques. On a delicate green ground, linear divisions at the edges of the paper sug- . anj the center is suggestive of a clearing in a forest. The 1973 serigraph Louina s Dream octive stenciled dots built up in a grid-like format which bursts upon the eye in a brilliant opti­ . r.-.,ed his new gallery with a retrospective of Meneeley's career, spanning . . ■ g ;■ ..■ the aforementioned “Liverpool" series was again presented in an environmen *3. /of subtlest of all Meneeley's color harmonies are found in the shaped car > •*-> nterse, ting triangles converging from opposite directions lht» cos' . h.-i /’ -tf • To>rding'$cl<’< in lines of force in gxT ■ fevealed in gdge of the "GXSXX spoilt is os (MeneeteY^o e.meStre>cheredge :n previous works and placi r-5 supreme work ho q*so returns to tho brush WOFK of At I esTentsofminmai geometry. By placing the rectilinear s gec^ehc form to the distinct advantage of his mastery ( comofcbed "-v-s-;;"rc:in,orces,tei^to partings as "h inanarbitr( ;^odVoftl ^Wkfe bi ;l;s Th*bai!Pd$ QrA r. ^nbbQi ,nsinPrevJ?Wfr ^us ’ ,rithan r*: Creser>t (■<_ Ca<3e ^ana | I ►•A*. Mi ...... ivw.v *> HIGH .t " ^ast- thess "♦we, -'-eQfn �5 he cWer . VX r\- - nITtb ■< w, • stated at the beginning of this piece, the 8O's are Meneele/j decade and 1980-1981 has been ” ■ busy artist s most proiific periods. While his color harmonies are more arresting and subtler than ' ’-as at the same time accelerated his free-form experimentation with geometric prob'ems in three ■ v V. -...... - '-'C space. The intricacy and complexity of folded forms, precarious planes creating actual aper\ ; s i the painting surface, and continuing development of the relief aspect-all these contribute to a new. ;• -t rig optical viewpoint in his recent work. in rhe series of acrylics, "Dream No. 1", "2" and "3" (1981), he has brought together years of experimenta ­ tion and refined technical ability. The brighty orange, central diamond field of "Dream No. 1" is surrounded by seven thin geometric bands of complementary colors which are in turn flanked by three looser non-geomet r;c halos of color, several of which change in chromatic value on their course around the centra! image These subtle contrasts continue over the deep stretcher frame in a breathtaking display of virtuosity. The complex color arrangements, with their sensual elements of surprise and sheer risk, give each of the paintings in this series a strong and precise personality of its own. ;;: - ... ... tOC'" \ .. ’-'C ____ -C“-T . 'versa'scns Mr v, ’ The absolute center of tonal values is revealed in "Dream No. 2” in which rhe compression of space be­ tween the central round aperture and the edge of the circular canvas is confounded by the geometric structure within the narrow space. It is as if Meneeley had taken only that part of the painting which con­ tinues over the stretcher edge in previous works and placed it on the face of the canvas in a circular motif. In this supreme work he also returns to the brush work of Abstract Expressionism, juxtaposing these areas with elements of minimal geometry. By placing the rectilinear structure within a curvilinear format, he has satirized geometric form to the distinct advantage of his mastery of color. His search for the center has been fully ac­ ' ed ComrnttrnAnt tr> inued his exqw&te Lefltada senes Try- :’ . * $ exoe: “ ces A'S 'ft? tCu' par?■’kJ-: Chef f-romes '.o’ - ■ '--st . peep *-e complished. - r S complement and contrast the cer gted tor a sp-c-a- ’ >'3* \ ’.J,' . - ■ itings in relahon to one wf ;eries fuiiv with ifh Slue ‘-c'? ‘ In "Dream No 3". with its incredible depth of six inches, Meneeley has again succeeded in using a wide spectrum of colors, each of which reinforces the impact of the neighboring color. The long, vertical bands, which have been a Meneeley hallmark since the early 6O’s, have finally been shattered with such paintings as "Ionian Reflections" (1981). The narrow shifts are no longer exclusively verti­ cal but are placed in an arbitrary arrangement across the entire picture plane. These bands, many with jag d edges in a parody of the wide brush stroke, float about the surface without an anchor or awareness of . .. rational pulis. The bands are now framed with parallel narrow stripes echoing the iridescent reverbera of his vertical ribbons in previous works. • •/;,-r^e!ey remains, in the present decade, a melding of opposites - geometric precision robed m calami Brv wtm o ,. i-uverpoo!" tu'. .. r rigid discipline living with child-like whimsy, audacious intricacy and lyrical simplicity, love and rage, , ar a'Tighter. the poet and the beast-these are attributes which make Meneeley s art so rich an ex ' er tr.e open and perceptive viewer. per ■ ■ r iX ‘-..T r* .1 jintmg s v »p£ i^or— ' ■ dart fordMuseum __ _ ut SC1* i-f • f/otzgor d'Art �R | ■ - ~ ' :• . ' * »£ CO-ECTio* BLUE FLYER 1971 ACRYLIC ON CAL 7'6" x4'6' COLLECTION FRANK MARiNO HRX LOA 1971 STHl ClXLtClN*. *^,s! �'.'/CG ���... : .«■« '.<i V ...' ■.. J. . SURROGATE MASTERWORK 1980 CUT PAPER AND WAX 40" x6O" COLLECTION ARTIST �SUCR0GA E _.=e- - - ' E ■j K ■'r I' kltu CflOtJ i«/8O ACKVIJC Gti CANVAS f.ss ���Louis K. Meisel Gallery, New York EDWARD HALTER MtNEELEY Bom 1927, Wikes-Barre. PennsyNarva. USA. I Education. Studed at the Murray Art School. Wilkes-Barre. Pa, the School of Visual Arts New York City, and under Jack Tworkov. Sc-a Shews 1982 Ionian Rejection and Dreams. Frank Marino Gallery 1960 Survey ExNbrton 1959-1980. Vivian Brant, New York cncn Refiectcn'. Frank Marino Gallery. New York "■arson Ref-ectcn . Ericson Gallery. New York New Cokxjr Xerox Pints. Vivian Brant, New York On *ncse Glorious Nudes ', (Loft Show). New York 1979 J. erpool Partings". Frank Marino Gallery, New York 1978 A Retrospective 1956-78". Frank Marino Gallery. New York Real Lte'. Peter Moores' Project No. 4, Edward LucieSm*n, Curator. Liverpool. England '■976 O . er Dewing Gdery, Dublin ■973 Mi 'ecr-aoel Art Gallery. London 1972 Grabowski Gatery, London Jrrvers.t, cf Sussex. England 19~ rshtute of Cartemporary Arts. London i960 prvote .'«* (Left Show), New York *766 Frederick ’euscher Gatery, New York 1962 Parma Gc lery, New York W52 / 53 / 54 Dorp, an Gatery. Pbadepha Group Snows: 1981 intimacies/Portrrxts", Barbara Glaberson Fine Art, New Jersey Paper Caper", Frank Manno Gallery, New York 1960 Printed Art". Museum of Modern Art. New York Group Exhfctlon. Art Students League. New York Paper Art". Erevan Gotery. New York 1979 Paper Plus". Frank Manno GaHery. New York nghSght*. 79-80 . Frank Mar.no GaHery. New York 1978 ‘Zee ronzed !mage". British Arts Counts. <European Tour) 23rd Festival of the Arts. Lefkoda. Greece >977 1976 Opening Group Exhibition, Oliver Dowling Gallery, Dublin 21st Festival of the Arts, Lefkada. Greece 1975 Contemporary Art Society Art Fair, London 1972 "Photography Into Art". Camden Arts Centre, London "Spring in the Air". Scottish Arts Council Gallery, Edinburgh 1971 "Three Americans: Ed Meneeley. Don Judd, and Bob Graham". The Victoria and Albert Museum. London 1970 West Side Artists, Goddard Riverside Community Center, New York "Machine Art". Museum of Modern Art, New York 1969 Recent Acquisitions, Whitney Museum of American Art. New York 1968 "Language II", Dwan Gallery, New York Invitational Group, Tibor de Nagy Gallery, New York 1967 "Light, Motion. Space”, Howard Wise Gallery, New York, and Walker Art Gallery. Milwaukee 1966 "The Red, White, and Blue Show", Frederick Teuscher Gallery. New York "The Mods Have Won the Peace From Each", Frederick Teuscher Gallery. New York 1965 "The 2Oth Century: A Prototype and Antecedents", Chrysler Museum. Provincetown 1964 International Watercolour Exhibition. Carneg.e institute, Pittsburgh 1960 Group Exhibition. Stone Gallery, New York 1958/59 Poindexter Gallery, New York 1957 Tenth Street Group, New York Reviews: Christian Science Monitor, 1981. Theodore F. Wolff Arts Magazine, December 1980. Barbara CavaLere Arts Magazine, 1980, Barbara Cavaliere Art and Artists, April 1971. Robert Thomas Art and Artists, August 1972. William Packer Art International, October 1971. R C. Kennedy Catalogue, "Ionian Reflections’. January 1980. Ralph Pomeroy Christian Science Monitor, August 1980. Theodore F. Wolff Financial Times, July 1972, Maria Vaizey Studio International, March/ April 1975. Irving Sander The New York Times. 1962, Stuart Preston The New York Post, 1962 Irving Sar>a>er The New York Times, 1965, Grace Gkjeck Vogue Magazine (England) August 19*5 Anthony Howel �Louis K. Meisel Gallery. 1976 Vork »F«>1va.o,,heAB5,^x ""V- o, . -- West Side Artists. New York "Machne Art1969 Recent Acquishons. ANew York 1968 "Language Dwan Sa -Invitational Grotrc 1967 ~ "Light, Motion, Space -and Walker Art Ga fen • ’ 1966 "The Red. White. and B Gallery', New York "The Moes Have Ac- —e Teuscher Ga.fen 'Jew - —. 1965 "The 2Oth Century. A Pro*cChrysier Museum. Pm. noe: 1964 Internationa Watercotour £Pittsburgh 1960 Group Exhibition. Stone Gofer' 1958 / 59 Poindexter Gallery, tJew /ork 1957 Tenth Street Group. New York ' V tSM Documentations Archives, funded by .\ ■ on the National Endowment of the Arts. '' ..DC Research archives of contemporary art , : uoo. ana Bat, useurh London Js-rr of American ■oerip ’euscher m Bach* EBderidk Antecedents' Carnegie institute ■ ?.. -ork Reviews , ... Christian Science Monter. 9c i,e-e Aris Magazine, December 1980. tJar&o Aris Magazine, 1980. Barbara Ca^a^'y Art and Artists. Ac < ~ . Ari and Artists, Art International, October .// . „r ■ ;6CCatalogue, "lori.an af-i' Ralph Pomeroy Christian Science Monitor. August Theodore F. Wolff Vaize/ Financial Times, July 1972. 1975. Studio International, March/ Ap ' Vogue Magizlnee(Uland; August 197T Anthony Howell Public Collections * v, • X’ new Of September 27.1978”. catalogue v ' - .xx've a’1 ,allk Gallery, October, 1978. Art Fair Photography into Art Spring in the A|r Edinburgh 1971 ■ w oXI Prctx'fs Sar*^ ts' People and Objects", published by ’euscher Editions. 3M Drawings", published by Teuscher Editions. 1965 ustrations for Gertrude Stein's "Tender Buttons", cub shed by Teuscher Editions. 1963 Pubshed "The World's First Pop-Art Newspaper". 1958-60 Published "Portable Gallery Bulletin". 1957-60 Photographer for "IT IS" for publisher Philip Povio. and collaborated with Jasper Johns and Robert Rauschenberg on special projects. 1957-67 Established the Portable Gallery Press. Guest Lecturer: 1980-81 Arts Students League. New York 1979 Belleville College. St. Louis. Missouri 1977 New York Studio School, New York 1975-77 .'.'imbledon College of Art, London 1974-77 Cardiff College of Art. Wales, Great Britain 1973-79 Ati Students League. New York 9*9-77 'nchester School of Art. London 969-75 ' - School of Art and Design. London " -,J '‘'V1 vordoni Gallery, Wilkes-Barre, Pa. i are Gallery, London Newark Museum. New Jersey Art Students League. New York Cornell University. Ithaca Museum of Art, Rhode Island Rhode Island School of Design Chrysler Art Museum, Provincetown Norfolk Museum of Arts. Norfolk Virginia Hilton Collection Gotham Book Mart, New York Frederick Teuscher, Inc., Nev/ York Otis Art Institute, California Scripps College. California University College. Dublin University of Coleraine, Belfast Staten Island Museum. New York Belleville College, St. Louis Wilkes College, Wilkes-Barre. Pa. Corporate Collections: IBM, London Continental Insurance Corp.. New Jersey Best Products Co., Richmond. Va. Acknowledgements: Mr. Wayne Adams Mr. Douglas Albert Mr. Richard Brown Baker. N.YC. Ms. Vivian Brant Mr. and Mrs. Fritz Bultman Mr. Jan Conway Mr. Gordon Davis Ms. Madeline Ginsberg Mr. Frank Marino Mrs. William Meneeley Dr. Robert P. Metzger Mr. Paul Nakian Mr. Ruben Nakian Mr. and Mrs. Irving Sandler. N.YC. Ms. Barbara Scribner Dr. William Sterling Mr. Brian Sword Mr. John Tudda Dr. James Westbay Catalogue Design: Frlssi Cole Design. N.YC. Photography: Sandy Cies. D. James Dee �SORDONI ART GALLERY WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA 1981 ��� https://omeka.wilkes.edu/omeka/files/original/b1158843d4236aaacb42659b12498ead.pdf 11046f00a4788e01bd387d2cf23b3a35 PDF Text Text ���������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1981 December 6 Edward Halter Meneeley Painting and Sculpture Creator An entity primarily responsible for making the resource Edward Meneeley Date A point or period of time associated with an event in the lifecycle of the resource 1981 December 6 - 1982 January 3 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/173f73885241d25c29f1154350a84af8.pdf f1c4eadc32e1bfb4baf50e3007774955 PDF Text Text ������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1981 October 31 Edwin Zoller: The Later Paintings Creator An entity primarily responsible for making the resource Edwin Zoller Date A point or period of time associated with an event in the lifecycle of the resource 1981 October 31 - November 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/828f750d6ffadc5e4f1602756e0ff9c7.pdf baf65c6ed9f99c6c0a375886d5f049f8 PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1981 August 31 Range of Contemporary Drawing Creator An entity primarily responsible for making the resource Vito Acconci Leonard Baskin Charles Bell Hyman Bloom Peter Blume Gary Bower Alan Dworkowitz Evelyn Ellwood Jackie Ferrara Richard Fleischner Sidney Goodman Denise Green Robert Gwathmey Joseph Hirsch Frances Hynes Herbert Katzman Jack Levine Richard Merkin Walter Murch Abraham Rattner Ben Shahn Peat Steir Frank Wright C.J. Yao Date A point or period of time associated with an event in the lifecycle of the resource 1981 August 31 - September 20 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/22a145b4ec18e3f405ce87f7948b4eb4.pdf 443f538262a877a2ca9b0cb27b9eafd4 PDF Text Text ����������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1981 April 12 Students of the Eight Creator An entity primarily responsible for making the resource Peggy Bacon Gifford Beal George Bellows Patrick Henry Bruce Alexande rCalder Glenn Coleman Andrew Dasburg Stuart Davis Guy Pene DuBois Philip Evergood Arnold Friedman Lee Gatch Adolph Gottlieb William Gropper Joseph Hirsch Edward Hopper Rockwell Kent Reginald Marsh George L.K. Morris Barnett Newman Man Ray Morgan Russel David Smith Moses Soyer Niles Spencer Carl Sprinchorn Date A point or period of time associated with an event in the lifecycle of the resource 1981 April 12 - May 17 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/8fef5d7903fe504887be4d6f9a8db510.pdf 55883603269b031fa765b9be85a3484f PDF Text Text 30RD HB1220 HS i 9BO ��HER B E 1 T A IL § il THE SCULPTURE OF HERBERT SIMON ■tM A— Any artist's work should be seen in its collective variety. but it is especially edifying to see Herbert Simon's work in this way. Having worked geometrically in meta! for the past ten years, his course has been consistent and evolu­ tionary, a chain of variations upon an initial idea leading ultimately to another idea and another set of variations. -- (fig-1) FACETS, 1977 Aluminum Schaeffer Lecture Hall Wilkes College His primary starting points in the history of modern sculpture have been Constructivism, particularly David Smith's American version, and the more recent Minimalism, both of which have based themselves upon geometric forms and assemblage techniques. Simon has been exploring an area generally lying somewhere between the more complex, sometimes expressionistic style of the Constructivists and the spare, often inert manner of the Minimalists. Although his works are highly reductivist in character, their simplicity does not obscure their complexity. �ARCHIVES OR BERT S I M O N j W 1 T A L § <g 1 tU) ® 1 IL I? & □ UJ fl THE SCULPTURE OF HERBERT SIMON Any artist's work should be seen in its collective variety, but it is especially edifying to see Herbert Simon's work in this way. Having worked geometrically in metal for the past ten years, his course has been consistent and evolu­ tionary, a chain of variations upon an initial idea leading ultimately to another idea and another set of variations. fig-1) :ACETS, 1977 Aluminum His primary starting points in the history of modern sculpture have been Constructivism, particularly David Smith's American version, and the more recent Minimalism, both of which have based themselves upon geometric forms and assemblage techniques. Simon has been exploring an area generally lying somewhere between the more complex, sometimes expressionistic style of the Constructivists and the spare, often inert manner of the Minimalists. Although his works are highly reductivist in character, their simplicity does not obscure their complexity. Simon creates visual fugues; in this day and age, we might call them "cybernetic" variations. They result from the method of playing and replaying upon a basic module, in a kind of rationalist improvisation. This technique may apply to a single piece; simply, as in Reorient II, where the two modules are placed on different axes; or more com­ plexly, as in Facets (see fig. 1), where sixteen modules are grouped in different planar relationships to create a hidden symmetry. The method may also apply serially, where the module is carried through a set of individual sculptures, so that comparison of two or more pieces within the set provides another level of interrelational interest. The present exhibition is made up mostly of two such series, the Mazes and the Thrus, plus a number of pieces from earlier series. In the Mazes, executed in 1978, Simon recalls the words of Paul Klee by "taking a line for a walk." khaeffer Lecture Hall ■Vilkes College 31 - C ' • �plane to a vertical one, from vice versa. By working withi system, the artist is able to e number of possible variablethe system result in subtle b in psychological effect. Nexus, for example, seem it links the plane of the flooi appears to hold those planes perfectly positioned buttress drop from the wall to the flc cataracts just beginning thei plane which extends before ally uniform perpendicularit module to suggest somethin, "baroque." In another sense, all of thi not closed systems, but coulitely. The spiralling movemt reaches the point of internal the metal line suddenly brea begins a soaring ascent. Perl Nexus, or perhaps somethin, alludes to potentiality, while level of resolution (but not f It is possible to think aboi aesthetic events in individua collectivity. Points of convex direction, interplays of void shadow — all these become which is geometrically uncoi complexity. As the Maze series explon and is essentially open in ch, into a realm of cubical space: �4n aluminum line travels through space, from a horizontal plane to a vertical one, from inside to outside and back, or vice versa. By working within a strictly limited modular system, the artist is able to explore and analyze a greater number of possible variables. Minor physical shifts within the system result in subtle but often significant differences in psychological effect. Nexus, for example, seems to rise from the floor while it links the plane of the floor to that of the wall; but it also appears to hold those planes apart, like some fragile but perfectly positioned buttress. The Wall Fall pieces seem to drop from the wall to the floor, suggesting two delicate cataracts just beginning their journey across the horizontal plane which extends before them. Juncture II has a classic­ ally uniform perpendicularity, but Reorient II uses the same module to suggest something playfully dynamic and "baroque." In another sense, all of the Mazes are dynamic. They are not closed systems, but could easily continue on indefin­ itely. The spiralling movement is open-ended. Even when it reaches the point of internal constriction, as in Ravel Up, the metal line suddenly breaks into a vertical direction and begins a soaring ascent. Perhaps it could become another Nexus, or perhaps something altogether different. Ravel Up alludes to potentiality, while Nexus takes us to a further level of resolution (but not finality; the ends are still open). It is possible to think about and react to many separate aesthetic events in individual works as well as in their collectivity. Points of convergence or tangency, shifts of direction, interplays of void and mass, patterns of light and shadow — all these become more conspicuous in sculpture which is geometrically uncomplicated. Therein lies its complexity. As the Maze series explores linear movements in space and is essentially open in character, the Thru series takes us into a realm of cubical spaces enclosed by flat planes. Suggesting architecture or even stage sets, these structures invite us to enter vicariously. Here our eyes are not follow­ ing the route of a linear form through space. Rather, we imagine ourselves passing through the shaped spaces of the boxes. Sometimes the passage is open, but sometimes it is unclear where we will end up, or whether we will be able to pass through at all. An element of mystery or of potential frustration ensues. This effect is only heightened by the play of shadows within the box, sometimes suggesting ominous cul-de-sacs, but at other times giving way to a "light at the end of the tunnel." To some extent, the variables in the Thrus are more intriguing than those of the Mazes. The constant of the outer cube establishes strict boundaries which are absent with open space, and which force the sculptor to work within the given configuration. Still, the possibilities are virtually limitless. The interior partitions may be straight, bent, or curved, slanted or erect, contiguous or separated, so that each sculpture ends up with a distinct character. Never do these interiors become fussily complex, however. The planes remain large and limited in number. The essen­ tial aspect of each work is easily comprehended, even when the eye is prohibited total entry. The brushed aluminum surfaces of most of Simon's pieces create another kind of variation, by compounding the dynamics of a "line" or a plane. The shimmer fluctuates from soft to sharp, often in optically teasing ways, to quicken or retard the eye's movement along a surface. In some of the Thrus, it even creates momentary mirages by "floating" a plane in or out, depending upon the spectator's viewpoint. This kind of surface lighting also enhances the effect of lightness of weight by clothing every mass with diaphonous glitter, allowing it to merge with surrounding space. In Wall Fall, both plain and brushed surfaces are used, enabling us to consider directly their different impacts. �Like most seal; lement of form, Nexus, for exams them into cornph neutral. Even wh tonically conceiv like buildings. A Street Park sculp another level of « even the small or explored from al i-; - i ■ -T Although simi shapes prevail in to opposing resp as interiors in wl immediately com Mazes are experi endless space. T1 vulnerable, whilt atively invulnera movement throu the moving elemi HERBERT S] Born in 1927, Na EDUCATION: New York Ui Colorado Col Vanderbilt U Brooklyn Mu (fig- 3) REORIENT II Aluminum 1978 70" x 50" x 72" Hans Hofmai Skowhegan S �Like most sculpture which employs space as a positive element of form, Simon's work is invariably environmental. 8 Meins,for examPle' actively engages wall and floor, forcing [ them into complicity rather than allowing them to remain ! neutral. Even when the works are small, they are architec­ tonically conceived — the Mazes like bridges, the Thrus | like buildings. A Thru enlarged to the scale of Simon's Coal ! Street Park sculpture (see fig. 5) would provide us with another level of experience by allowing us to enter it, but [ even the small ones we see in the exhibition should be ’ explored from all possible angles. Although similar materials, surfaces, and geometric [shapes prevail in both Thrus and Mazes, the two series lead ' to opposing responses. The closed Thrus are experienced i as interiors in which space has definite, but not always ! immediately comprehensible, volume and shape. The open [■Mazes are experienced as totally visible exteriors inhabiting endless space. They appear extroverted but somewhat vulnerable, while the Thrus seem introverted but compar­ atively invulnerable. Both sets of works are about movement through space. In the Mazes, the tube itself is the moving element, linear and open-ended. But in the Thrus, the sculptured form becomes a channel for move­ ment; curved or glancing planes define our journey. The Mazes convey an order, clarity, and precision which verge upon the militaristic, while the Thrus, for all their cleanness of edge and surface, suggest the indefinite and the secretive. As the most recent of Simon's works, the Thrus seem to constitute a movement toward greater complexity and introspection, a kind of reductivist turning from the classical to the romantic. The cool adjoins the playful. The clear confronts the enigmatic. Clean, precisionist forms become animated and dramatic. Rationalist restraints are surmounted by the idiosyncratic and unpredictable. Addressing the contem­ porary sculptural concerns of minimalist form, serial development, and environmentalism, Simon demonstrates again that one can work within the seemingly limited and rigid system of geometric abstraction, while retaining a distinctive and highly personal style. WILLIAM STERLING Director, Sordoni Art Gallery HERBERT SIMON Bom in 1927, Nashville, Tennessee EDUCATION: New York University (B.A., M. A.) Colorado College Vanderbilt University Brooklyn Museum Art School (fig- 3) REORIENT II 1978 Aluminum 70" x 50" x 72" Hans Hofmann Art School Skowhegan School of Painting and Sculpture PROFESSIONAL EXPERIENCE: 1969 to present. Associate Professor of sculpture and three-dimensional design. Wilkes College 1960-1968 Art Instructor, various high schools in New York City; Art History Instructor, Fashion Institute of Technology 1956-1958 Instructor, School of Design, North Carolina State College, Raleigh, NC �EXHIBITIONS: s bl ! o’ *I il1 I J 4 ■' 1979 One-Person Show — Lehigh Unive Bethlehem, PA 1978 One-Person Show — State Univen New York, Binghamton, NY 1974 One-Person Show — Sordoni Art Wilkes College, Wilkes-Barre, PA 1970 One-Person Show — Hazleton Ari Hazleton, PA 1966 One-Person Show ■— Phoenix Gall New York, NY 1964 One-Person Show — Phoenix Gal New York, NY 1978 Arts-On-The-Go — Northeastern Arts Alliance Invitational 1977 Drawing and Sculpture Show— K College, Kutztown, PA 1976 13th Annual Exhibition — Allentc Allentown, PA Regional Art Exhibition — Everha Scranton, PA Regional Art Exhibition — Williai Museum, Harrisburg, PA 1972 Regional Exhibition — William P( Harrisburg, PA 1971 Susquehanna Regional — Robersc Binghamton, NY 1970 Regional Art Exhibition — Everh; Scranton, PA �EXHIBITIONS: 1967 Six Artists — Loeb Student Center, New York University, New York, NY 1979 One-Person Show — Lehigh University, Bethlehem, PA 1966 Hartford Arts Foundation — Hartford, CT 1978 One-Person Show — State University of New York, Binghamton, NY 1964 The American Family in Art — Farleigh Dickinson University, Madison, NJ 1974 One-Person Show ■— Sordoni Art Gallery, Wilkes College, Wilkes-Barre, PA 1955 Provincetown Art Association — Provincetown, MA 1970 One-Person Show — Hazleton Art League, Hazleton, PA 1966 One-Person Show — Phoenix Gallery, New York, NY 1964 One-Person Show — Phoenix Gallery, New York, NY 1978 Arts-On-The-Go — Northeastern Pennsylvania Arts Alliance Invitational 1977 Drawing and Sculpture Show — Kutztown State College, Kutztown, PA 1976 13th Annual Exhibition — Allentown Museum, Allentown, PA Regional Art Exhibition ■— Everhart Museum, Scranton, PA Regional Art Exhibition -— William Penn Museum, Harrisburg, PA 1972 Regional Exhibition — William Penn Museum, Harrisburg, PA 1971 Susquehanna Regional — Roberson Art Center, 1970 Regional Art Exhibition — Everhart Museum, Scranton, PA Drawings USA — Museum of Modern Art, New York, NY COMMISSIONS: Two Modules — steel sculpture, Coal Street Park, Wilkes-Barre, PA 1977 Facets ■—■ aluminum relief, Wilkes College, Wilkes-Barre, PA 1977 Aluminum Relief — Schaeffer Residence, Mountaintop, PA 1978 AWARDS AND FELLOWSHIPS: 1976 Purchase Prize Regional Art Exhibition, Everhart Museum, Scranton, PA 1971 Award, William Penn Museum, Harrisburg, PA 1970 Honorable Mention, Regional Arts Exhibition, Everhart Museum, Scranton, PA 1963 Fellowship MacDonwell Colony, Peterborough, NH Binghamton, NY �.. THRU \ THRU XI THRU XII 8. THRU THRU THRU THRU XIII XV XVII XVIII 25" x 25" x 25" 20" x 20" x 20" 11" x 11" x 11" Aluminum 1979 Aluminum 1979 10" x 10" x 10" 25" x 25" x 25" Aluminum 1979 Aluminum 1979 25" x 25" x 25" Aluminum 1980 25" x 25" x 25" Aluminum 1980 1978 MAZE Series REORIENT 1 REORIENT II 181/4"xl7%"xl3" Aluminum 70" x 50" x 72" Aluminum 1978 JUNCTURE I 50" x 50" x 98" Aluminum 1978 14. JUNCTURE II 1978 NEXUS WALL FALL RAVEL UP I 13" x 13" x 251/4" 67" X 20" X 45" Aluminum 15. 16. Aluminum 1978 93" X 18" X 21" Aluminum 1978 41" x 46" x 47" Aluminum 1978 16%" x 12" x 12" Aluminum 1978 12%" x 12%" x 12%" Aluminum 1978 1976 11. 12. 18. 19. RAVEL UP II INNER SMALL MODULAR SCULPTURES 20. 21. 22. ZIG ZAG ZIG ZAG 32" x 17V2" xl7%" Aluminum Aluminum 1979 ZIG ZAG 12%" x 51/2" x 51/2" 231/2" X 91/2" X 91/2" Steel 1977 23. MODULE 12% "x 32" x 32" Steel 24. CRAB 1976 8%" x 16%" x 10" JAWS Steel 25. 1977 9" x 9" x 14" Steel 1977 (fig- 5) TWO MODI'-1 1977 Steel Coal Street F/' Wilkes-Barre ��May 3-28,1980 SORDONI ART GALLERY WILKES COLLEGE Wilkes-Barre, Pennsylvania �■IIBIIillll 10D025H271 WILKES UNIVERSITY LIBRARY �� https://omeka.wilkes.edu/omeka/files/original/54700de9100b99e013650fc3888ff27c.pdf 8618c13d50e1288a1e3b6aa36e6419ed PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1980 May 3 Metal Sculpture 1976-1980: Herbert Simon Creator An entity primarily responsible for making the resource Herbert Simon Date A point or period of time associated with an event in the lifecycle of the resource 1980 May 5 - 28 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/263a2534522b2e972c178e7a8151ddd9.pdf a34e4c2317b8d6a4975db0d8242c8589 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1980 February 13 Scholastic Art Awards Date A point or period of time associated with an event in the lifecycle of the resource 1980 February 13 - March 9 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/8df541f3efe1fcc4942c5df8b7af43e9.pdf dd2441cd69d466224620c8e2f4abc86f PDF Text Text ������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1979 March 9 The Eight Creator An entity primarily responsible for making the resource Robert Henri Aurthur B. Davis William Glacken Ernest Lawson George Luks Maurice Prendergast Everett Shinn John Sloan Date A point or period of time associated with an event in the lifecycle of the resource 1979 March 9 - April 1 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/cbbcca011429ba4fe12792c8ab0b779c.pdf 089d80e06fe3e7571e33819113d70b9b PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1979 February 14 Scholastic Art Awards Date A point or period of time associated with an event in the lifecycle of the resource 1979 February 14 - February 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program