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1989 George Tooker: Painting and Working Drawings 1947-1988 University of Richmond Museums

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Recommended Citation University of Richmond Museums. George Tooker: Painting and Working Drawings 1947-1988, September 6 to September 27, 1989, Marsh Art Gallery, University of Richmond Museums. Richmond, Virginia: University of Richmond Museums, 1989. Exhibition Brochure.

This Book is brought to you for free and open access by the University Museums at UR Scholarship Repository. It has been accepted for inclusion in Exhibition Brochures by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GEORGE TOOKER ACKNOWLEDGMENTS LENDERS TO THE First, I would like to thank George Tooker for his EXHIBITION cooperation, time and hospitality, which have enabled this exhibition and made its organization George Tooker a pleasure. Second, without the consistent su pport Marisa del Re Gallery, New York and interest of Joel and Lila Harnett, this exhibi­ Museum of Modern Art, New York tion would not have come to fruition . I owe them a debt of gratitude. Whitney Muse um of American Art, ew York Many people have been generous in their a sist­ Sid Deutsch Gallery, New York ance: Julia May of the Marisa del Re Gallery; Joel and Lila Harnett lldiko Heffernan and Mary Ann Ricketso n of the Robert Hull Fleming Museum of the University of Kitty and Herbert Glantz Vermont; and Arnold Skolnick of Chameleon Books, New York. I owe special thanks to Victoria The Marsh Gallery exhibition i made possible by Robinson, WC'89, for conducting the interview the generosity of Joel Harnett, RC'45; the Cultural with George Tooker, and for her suggestions, hard Affairs Committee. University of Richmond; and work and good spirits. the Art Department, University of Richmond. Brownie Hamilton of the Office of Foundation and Government Support spurred our grant appli­ cation: and Dorothy Wagener of the Office of Communications has provided her excellent edi to­ rial assistance. Of the Art Department, Charles Johnson and Mark Rhodes have given their unfail­ ing good will and support; Lynda Brown ha pro­ vided invaluable administrative assistance: and Ephraim Rubenstein has been unstinting in his advice and expertise, and has generously agreed to give the opening lecture.

Elizabeth Langhorne-Reeve Director of the Marsh Gallery

Cover: George Tooker. Sleepers 11, 1959 Egg tempera on gesso panel. 16 \ii x 28 inches Collection, The Museum of Modern Art, New York Larry Aldrich Foundation Fund. 1960 GEORGE TOOKER Paintings and Working Drawings 1947-1988

Study for SleC'per.1 II. 1959 (Checklist no. 6d)

September 6-27, 1989 Organized by Elizabeth Langhorne-Reeve Director, Marsh Gallery Marsh Gallery Modlin Fine Arts Center University of Richmond GEORGE TOOKER: PERSPECTIVES By Elizabeth Langhorne-Reeve

Paintings such as Subway, 1950, and Ward, this human spiritual community. Thus the Cornice. 1949. The per pective pace of the 1970-71, are unforgettable images of the Renaissance pace is associated with man's city recceds to the left. but is inaccessible; the numbing i olation and anonymity that desire for a coherent and spiritually alive Tooker man, literally backed up against the George Tooker finds in our ecular bureau­ world. Even as we are invited into thi. world wall in the compressed pace of the fore­ cratic society. Whal lies behind these compel­ and clown the path under the arches, our ground plane, stands terrified on the ledge of ling images? The larger context of private and entry into thi deep pictorial space is not a high building. He contemplate a leap- not public themes offers us insight into Tooker's without obstacles. These arc dramatized in a suicidal one, but an existential leap. Cornice achievement. I would like to propose that at Subway, 1950 (see illustration, p. 4). is one of the few canvases by Tooker to be least a part of this achievement lies in his About Subway Tooker has aid: "I was directly inspired by literature, in this instance simultaneous use and dismi. al of the tradi­ thinking of the large modern city as a kind of a poem by W. H. Auden: tional, that i Renaissance-based, perspective limbo. The subway seemed a good place to Yet. at this very moment when we do a1 la t construction of pictorial space. present a denial of the enses and a negation see ourselves as we are. neither cozy nor While studying at the Art Studenb League of life itself. Its being underground with great playful. but swa ing out on 1he ultima1e in 1943-45, Tooker absorbed the American weight overhead was important."2 In thi wind- hipped cornice that overha ngs the revival of Renaissance techniques of work Tooker . ets up the potential for a deep unabiding void - 1~e have never 'itood an)­ draughtsmanship and composition empha­ and humanly habitable space. but makes the wherc else- when our rea . on~ arc si lenced sized at the League. The expectation that we occupants.' and the viewer's. oyage through in the hea y huge dcri ion. There i as spectators bring to an artist's use of one­ this space torturous. nothing to say.·' point perspective is that it generate the illu­ The per pective grid of this subway world There is no coherent unitary world view sion of a spatially unified and coherent world. contains at least four different and diverging accessible to modern man lo give meaning to To what effect does Tooker use perspective spatial istas. The central one, backed at the our lives: the Tooker man contemplates the in his early work? About Birdwatchers, 1948 vanishing point by a fierce-looking woman in void of modern existence. (see illustration, p. 3), he has stated, ··1 red. opens up in rever e into the unfocused Again and again in hi public themes. wanted to paint a positive picture, a religious divergent paths of the foreground figures; the Tooker uses our expectation of deep three­ picture without religious subject matter." 1 vi. ta to the left i. marked by a equence of dimen ional pace. onlv to frmtrate them. and Raised in an Episcopalian church-going fam­ human fear, isolation and ultimate despair at to make us aware of modern man's true exis­ ily. Tooker stopped attending church when he the blocked passage; the turnstile exit to the tential position . In Ward. 1970-71 ( ee illus­ went to art school. In Birdwatchers he pre - right i a bristling maze of contradictory lines. tration. p. 6). created at the height of the ents hi piritual ideal in pictorial term , with The only path open is to the lower left, one of Vietnam War, he deal with the treatment of a three-dimensional tactility that has the sim­ descent. Tooker's conviction is that ·'the the old a well a of the wounded. The erect ple strength of Giotto's early Renaissance de ign of a picture must come out of its figures. male and female. are caught not only world, and with a spatial construction gov­ meaning.'' Here "denial of the sense and a in the somnolent grid of the hospital beds. but erned by a single vanishing point. negation of life" motivates the symbolic in their own patial funnel - whose vani hing This point, indicated to us in the perspec­ expression of the labyrinthine spatial points diverge to left and right. In the center is tival recession of the firm masonry arches and truclure. the curtained cubicle of the terminally ill. par­ marked in the working drawing, is located The 'Tooker man," loosely modelled on tially blocking our view of the American flag. within the heart of the man on the left of the Tooker's own features, is a figure type which In Ward Tooker\ avowed intention "was to central trio of foreground figures. Their he u es throughout his work as an image of shock and jolt people ...." 4 upward and arden t gaze draws our attention univer al modern man. While the ideal of a In his private theme . for in Lance the win­ upwards to the birds and the arch that frames deep and coherent space exists, the Tooker dow series. Tooker acknowledges th e paradox man cannot make use of it. Thi paradox. at of the desire for Renaissance pace and the Notes appear on p. 4. the heart of Tooker's art. is made vivid in inability to inhabit it. and re. tricts him elf to 2 Study for Birdwatchers. 1948 rC h cck h ~t no. Ja)

Study for Cort1/Cl'. 1949 (('hcck l"t no. 4a) the fo reg round plane of the per pective grid, The initial re lati onship of female and male i ~ wo rking in what he descri be a a bas-reli ef not fi nall y reversed until Window, 1987, ann oun ced in Birdwatchers- th e center of pace. Of th e window series exec uted where the black male is presented confidentl y th e compos iti on is now instantiated in human between 1955 and 1987, we have Window, to th e fo re. intimacy, and resolved in a ingle vanishing 1987, and oth ers closely related to its co n­ Continu ing to wo rk in a ba -reli ef space point th at encompac;ses the natu ra l world and ce rns: Gypsies. 1968 ( ee ill us trati on, p. 7), Tooker ex plores not onl y the dynamic ten­ th e pac;sage of tim e. and Woman with Oranges, 1977. The fo re­ sions of relatio nship, but also the harm ony But, des pite th e pro posal of a deep land­ ground plane is depicted as a window or cur­ of relati onship- in th e embrace of male and scape space, the fi gures are still essentiall y tain , behind and in front of whi ch Tooker female. Jn 1976 he conve rted to Roman modell ed in bas- relief. This sensation is even plays out the drama of intimate human Ca th o li c i ~ m , a conversion th at is celebrated more vivid in Embrace of Peace, 1988. where relati onship- in term of male and female. in th e image of Orant. 1977, a man's lips the open-eyed, ardent faces of the man and The drama is amplified in terms of conceal­ and hands opened in prayer. One answer to woman rush into an embrace of peace echoed ment and exposure, of dark and light. Gypsies Tooker's praye r is the embrace. He had fi rst in th e community of man, but a community closely ech oes Window I of 1955- th e exoti c broached th e th eme in 1959-60, short I y after that is implied, more than full y reali zed, in woman, whether black or gy psy, to the fo re, th e death of his mother. After hi conve rsion three-dimensional space. th e man of color in the background, a myste­ he turned to it once aga in in Embrace I. Once having discovered the ideal of har­ rious presence. These fo rces are brought into 1979, and Embrace II, 1981 (see illustration, moniou · embrace, Tooker brings it to bear on an equi vocating balance in th e somewhat p. 8). The 198 1 painting ca n be viewed as a renewed grappling with his public them es. androgynous fi gure in Woman with Oran!(eS. the fu lfi llm ent of the spiritual ~earch fi rst In Waiting Room II, 1982 (see illustration,

J ' I _·_tl ~~1lt. ' ~~~8 .. ~ ..\If •.., tudy for Subway, 1950 (Checklist no. Se) p. 11 ), he confronts the viewer once again with the dramatized three-dimensional spaces Elizabe1h Langhorne- Reeve is on 1he Ari and of the perspective grid. He reinvokes the spa­ A r1 His10ry facu//y of !he U11iversi1y of Rich­ tial structure of Subway, the three divergent mond, and is 1he Dir ec/Or of 1he Marsh spatial vistas, to left, right and center, this Gallery time to dramatize the absence of "embrace.'' Opposites are polarized the male and I. Quoted in Thomas H. Ga rver. George Tooker ( cw female homeless to left and right; their com­ York: Cla rkso n N. Potter. 1985). p. 22. mon helplessness in the foreground et in 2. George Tooker. in a ques ti onnaire concerning his opposition to the heedless powerful in the painting Sub way. in the art is t's fi le at the Wh itn ey background, dressed in the uniforms of army, Muse um of Ameri ca n Art. cw York. dated Jan. 30, business and female vanity. The path to left 195 1 (quoted in Ga rver. p. 30). and right are blocked by the echoing pre ence 3. W.H . Auden. "Th e Sea and the Mirror: A Commen­ of the powerful; the spatial axis of descent is tary on Shakespeare's The Tempest." The Co llec1ed Poe1ry of W. H. Auden ( C \~ York : Random House. occupied by those who are despairing and 1945). p. 402. isolated; the central axis of ascent, to the light, 4. Quoted in Gan er. p. 45. is blocked, again by the powerful. The three­ dimensional spatial structure is fully utilized on every axis to articulate a cry- the chal­ lenge to occupy the center, to bridge the oppositions and create relationship. Until this ideal can be realized in society, we are all, Tooker would seem to say, the powerful and the homeless, robbed of our humanity.

4 INTERVIEW WITH GEORGE TOOKER By Victoria Robinson, W C'89

Q When you decided to become a painter, Island , French mi xture. l feel I am quite a Q A lot of critics talk about "modernist flat­ what were the things you wanted to mi xture and identify with these. The mi x­ ness" ... Do you try to incorporate that accomplish? ture is not all white- maybe some into your work? A I reall y didn't have any idea when I first black, too. A No. I I ok at paintings as ba -reli efs, as started, but I liked to paint. I tudied with Q In the late 1940s and '50s you were often hav ing a front and back. Painting the fi g­ Malcolm Fraser at the age of 7. featured in group shows, yet you have ures is like carving out a bas-relief- bu t Q Did you pursue painting while you were always maintained a strong individuality CL\' still almost fl at. at Harvard? a painter. Wh ar did you think of bein f( Q Could you describe your creati ve prot('ss? grouped with Jared French, Paul Cadmus From idea to canvas. how do your paint­ A I wa nted to go to th e Art Students League and Peter Bloom (among othen )? right away after high school, but my fa mil y ings evolve? wa nted me to go to coll ege. Harva rd and A I admire all of the above artists. I onl y feel A I work in egg tempera. I wo rk slowly and I Andover were tim es of bondage to fa mil y. that I have other directions. I wasn't ve ry think slowly. Tempera allows slow devel­ I didn 't want to stud y art at Harva rd at happy about being called a Magic Rea list. opment; oil at best hould be a/la prima. that time- I didn't wa nt the academic part l didn't feel "magic," and "realist" i a Egg tempera seems like a ralher unreason­ of co ll ege an. Instead, I majored in Englis h straitjacket. able, old-fashi oned way of painting, but li terature. l have read from childhood Q In the 1950s, when Abstract Expressionism it's techn icall y very well suited to the kind Chaucer: my mother read to me: when I was at its height, did you perceive, deJpite of painting I ~a nt to do. was older- Dostoevski, Toi toy, Turge nev. the obvious differences, any common Q How do the workinr; drawings function? Q While studying at the A rt Students League, thread between your work and what the A Work ing draw ing. arc done mainl y just to one of your instructors, Kenneth Hayes Abstract Expressionists were doin15? find out exactl y what i. best fo r the Miller, suggested to you that you choose A No, although I did go around and look at pain tin g- to try to pl ace th e major shapes one figure type and stick with it throughout a lot of Abstract Ex pressionist wo rk in th e picture, and when working on a your work. Is this what caused you to beca use I felt like th at was what was being mall sca le it is easy to shift them around . develop the "Tooker person":) done and I wanted to see wheth er or not I When I fin all y fi nd out what I think is th e could lea rn something from it. I thin k I did A That wasn't exactly what he meant .. . as I probable fo rm of th e picLUre, then I work lea rn a littl e bit about bringi ng picture remember, he encouraged us to thin k of all on th at sca le. the people in a picture as va ria ti ons of one together. The Abstract Ex pressionists put Q Ma ny artists choose to develop a theme fi gure. A for th e "Tooker per on." it pictures together bea utifull y- ra ther like ft1/ly by painting a series of pictures all wasn't conscio u - it evolved grad uall y bea ut iful fl ower arrangements. dealing with the same subject. What moti­ without my bein g awa re of it. Q Yo ur work seems lo have been greatly vates you to return to a particular topic? Q I see the "Tooker person ·· as a universal influenced by the painters of the Italian A If it's someth ing I feel stimulates me- the figure- a combination of races and sexes Renaissance, and the earlier Sienese mas­ Window ·eri e , for instance, was done and ages. How did you arrive at this al/­ ters. What elements in the Renaissance without the intention of becoming a serie . encompassing figure? works have been e:c.pecially imporrant to works like Birdwatchers? but it began lo develop that wa y. I was A I uppose it mu t be my own racial back­ interes ted in th e abstract design of th e A The directness and si mplicity of early ground . My gra ndfather was Cuban. My male fig ure and fe male fi gure, one in front Italian painting appealed to me. grandmoth er was of Dutch descent. My of the other, one in back, sort of working fath er' family was mai nly old Long at variations on that th eme. (Co111i1111ed on p. 8) s

L...__ ------Ward, 1970 71

6 G'.vpsies, 1968

7 are about things 1 see in life that are rewarding- caring and tendern ess. Q About Birdwatcher . you once said thm you wished through that work to paint a positive picture, a religious picture without religious subject matter. I kno w that since that painting you have converted to Cathol­ icism. How do you think your views of what you consider to be a "religious paint­ ing" differ now? A Religion was always implicit in my wo rk , but I guess with age it has become more explicit. My conver ion to Ca th oli cism has had a great effect on my life. o I guess it has had a great effect on my art. Q The image, Orant, seems to be one of audible prayer; do you link it with the ear­ lier image of allempred communication in Voice I done in 1972 before your con version? A I hadn't before, but I think maybe yo u are right. Maybe there is a connecti on, sort of a contrast, or pendulum. Orant is about communica ti on with God. Voice is abo ut attempted communication with fellow man. Study for Embrace II. 1981 (C hecklist no. 11 a) Q ls there anything in particular that you would like people to get out of your work (Co n1in11ed from p. 5) Waiting Room fl and Ward. are all about today? social commentary. As a matter of fa ct, my Q How do you think the theme of the gypsies most recent work deals with the iss ue of A The protest pictures are rather didacti c, I fits in to the Window series? our nati on's homeless. suppo e. The pleasa nt pictures- I would A The first gypsy was inspired by an actual like peo ple to ju t appreciate things th ey gypsy at a store front I saw in New York. Q What were your inte111ions in painting hadn't appreciated before in th e wo rld She was a fortune teller, but f never went Ward ? around th em. in to have my fortune told. I just used to A I tried to amalgamate two different aspects walk by the window and look at her, of life at the tim e; one was the Vi etnam enjoying the marvelous visual image she War and the other wa nursing home presented. It seemed like a fertile field, so I care of the aged. It was sort of mi xed up developed it further in later pictures. It together. Victo ria Robinson graduated f rom the inspired my imagination . Universizv of Richmond's Wes1hampton Col­ Q What comme111s would you make on the lege las! spring wi1h a B.A. degree in ar1 his­ Q Your work has been commended for its distinction often made between the public tory. Her trip to New York Ci1y to conduct 1he strong social commentary. Do you f eel tha1 and private aspects of your work ? i111erview and to 11isi1 other galleries was part is one of the major strengths of your work? A The public pictures are usually unpl easant of this program and was generously supported A Yes, I care. I think the unpleasant pictures, things, protest pictures about things I think by Joel Hornell. RC 45, and the Uni 11ersizv of the public pictures such as Subway, are wrong with society. The pleasant ones Richmond. 8 CHECKLIST Note: All dimension~ are in inches: height precedes Se. Study for The Sub wrw. 1950 7d. Study for 1.Vard, 1970-71 width. All stud y drawings arc in co ll ection or the Graphite on paper Graphite on tra ci ng paper artist. 18 x 36. ~ heel 24 x 39 Sheet 9 x 12 I. Self-Portrait, 1984 6. Sleepers II. 1959 7c. St ud y for Ward, 1970-71 Lithograph Egg tempera on gesso panel Graphite on tracing paper 8 Y2 x 8. sheet 18 x 14 16\.\. x 28 6 \4 x J 0, sheet 9 x 12 Co llection of The Mu~cum of Modern Art, Collection or Marisa de! Re Gallery 7f. Study for Ward, 1970-71 cw York 2. Self-Portrait. 1947 Graphite on tracing paper Larry Aldrich Foundation Fund. 1960 Gouache and graphite on watercolor paper Folded ~ heet 9 x 91/i I I If• x 6a. St11dy for Slecrers II. 1959 Sheet 15 3/ 5 7g. Study fo r Ward, 1970-71 Graphite on paper 3. Birdwatchers, 1948 Gra rhitc on buff paper Sheet 16 x 28 Egg tempera on gesso panel 20 x :rn. ' hect 27 x 36 6b. Study for Sleepers II, 1959 26 1/2 x 33 Y2 8. Gypsies, 1968 Pri va te co ll ection Graphite and red conte crayon on buff paper Egg tempera on gc,,o panel I 2 x 21, ~heet I 6 x JO 3a. Study for Birdwatchm, 1948 23 x 23 Graphite on paper 6c. Study for Sleepers II. 1959 ollcction of Joel and Li la Harnett Graphite on tracing paper 13 x 16. sheet 16 x 22¥.. 8a. Studic' for (,'yp.1ies. 1968 12 x 203/i, . heet I 7 x 30 3b. Study for Birdwatchers. 1948 Graphite and color crayon on tracing paper Graphite. crayon, gra) and umber wash 6d. Study for Sleeper.1 II, 1959 Recto and ver\O with whi te highlight on photographic paper Graphite on white paper Sheet 81/i x 11 26 x 3 11/i. sheet 27 x 33 I 61,1.i x 28. ~heel l 8 x 30 8b. Study for Gypsies, 1968 4a. Study for Cornice. 1949 6c. Study for SleepN.1 11. 1959 Graph ite on tracing paper Graphite on paper Graphite on tracing paper Sheet 81/i x Wi (irregu lar) 3 1 Sheet 9 x 12 6 \12 x 9 /i. sheet I 11.l x 8 8c. Study for Gypsies, 1968 4b. Study for Cornice. 1949 6f. Study for Steepen II, 1959 Graphite and color wa~h on tracing paper Graphite on tan paper ~ ith white highlights Graphite on tracing paper 4 x 4. sheet 6 x 9 Sheet 9 12 24 x 16. heet 27 x 18 x 8d. Study for Gypsies, 1968 5. The Subway. 1950 6g. Sleepers II. 1959 Graphi te and color crayon on tracing paper Egg tempera on gcs. o panel Graphite on paper 3% x 33/i. sheet 5 x 51h (irreg ul ar) 12 x 22 18 x 36 8e. Study for Gypsies, 1968 Collec ti on of .Joel and Lila Harnett Co ll ecti on of the Whitney Museum of Graphite on buff paper American Art 7. Ward. 1970- 7 I 231/2 x 23 1/i. \hcet 26 x 261/i Egg tempera on ges~o panel Sa. tudy for The Subway. 1950 9. Window. 1987 I 931• x 29 1h Graphite on hea\ y '' hite paper Egg tempera on ge. o panel 1 1 Collection of Joel and Lila Harnell 6 x 9, ~heet 7 1). x 11 " 23 1h x 17 1/i Sb. Studies fo r The Subway. 1950 7a. Study fo r Ward. 1970-71 Collection of Marisa del Re Gallery Graphite on tracing paper Graphite on tracing paper 9a. Study for Window, 1987 1 x I 0. sheet 9 Yi x 15 31• 8 x 8. sheet 8 ti x 11 M'• Graphite on traci ng paper Sc. Studies for The Sub1l'lly, 1950 7b. Study for Ward. 1970-71 9 1/i x 9112, sheet 7 x 11 Graphite on tracing paper Graphite on tracing paper 9b. Study for Window. I 987 1 6 x I 0. sheet 9 x 12 Sheet 11 x 8 12 Graphite on tracing parer Sd. Study for The Subway. 1950 7c. Stud~ for Jl (irJ. 1970-71 9 x 81/.s • . heel 9 x 12 Graphite on tracing paper Graphne on trac111g parer Sheet 11 x 81"2 6'• \ 10. 'h<.:d 9 \ 12 9 Study for Wairing Room II, 1982 (Checkl ist no. 13b)

10 Wui1i11;: Room II. 1982

II 9c. Study for Window, 1987 I 2g. Study for Embrace of Peace, 1988 Graphite with wash on tracing paper Graphite on tracing paper I I x 81/4, heel I 7 x I I 18 x 36. fold ed sheet 36 x 40 9d. Study for Window, 1987 13. Wailing Room II. 1982 Graphite on tracing paper Egg tempera on gesso panel 24 x 18, heet 28 x 24 19 x 37 Pri va te co llection I 0. Woman with Oranges, 1977 Egg tempera on gesso panel 13a. Study fo r Waiting Room II, 1982 24 x 18 Graphite on heavy white paper Collection of Sid Deutsch Gallery Sheet 83/1 x 1534 I Oa. Study for Woman with Oranges. 1977 I 3h. Study for Waiting Room II. 1982 Graphite on tracing paper Graphite on tracing paper 53,4 x 41/i, sheet 12 x 53.4 18 x 36, sheet 24 Y:i x 53 (irregular) I Ob. Study for Woman with Oranges. 1977 I 3c. Study for Waiting Room II. 1982 Graphite on tracing paper Graphite on traci ng paper 241h x 18. sheet 29 1/i x 21 1/i 22 x 15 'Ii (irreg ular) I I . Embrace 11, 198 I I 3d. Stud y for Waiting Room II, 1982 Egg tempera on gesso panel Graphite on tracing paper 1 18 x 24 Sheet 12 h x 14 1/i (irregular) Self-portrait. 1984 Co llection of Killy and Herbert Glantz I 3c. Stud y for Waiting Room II. 1982 I I a. Sllldy for Embrace JI. 1981 Graphite on tracing paper BIOGRAPHY Graphite on tracing paper Recto and erso 1 George Claire Tooker was born in Brooklyn. .Y.. 18 x 24. shee t 25 x 30 Folded heet 10 6 x 15 (i rregular) in 1920. He received his B.A. from Harvard Uni­ 12. Embrace of Peace, 1988 I Jf. tudy for Waiting Room II, 1982 versity in 1942. and studied at th e Art Students Egg tem pera on gesso panel Graphite on tracing paper League in ew York Ci ty from 1943-45. He li ved 18 x 30 21 x 15 (irregular) and worked in . ew York Cit y from 1945-1960. Collection of Marisa del Re Gallery 13g. tudy for Waiting Room II. 1982 when he moved to Vermont where he till resides. From 1968-74 he also li ved in Malaga. pain. six I 2a. Study fo r Embrace of Peace Graphite and co nte crayo n on tracing paper 1 month ~ of the year. He taught at the Art Students Graphite on tracing paper 18 • x 36 1/•. sheet 24 x 54 League from 1965-68. He i repre ented by the 7 x 14. folded sheet 171.4 x 18 (irregular) 14. Oram, 1977 Marisa del Re Ga ll ery of New York City. I 2b. Study for Embrace of Peace, 1988 Graphite on paper His awards include a gran t from the ational Graphite on tracing paper 23 \i:! x 1 5 1 ~ Institute of Art and Lener~ in 1960. He became a 7 x 14, heet I I x 14 Co ll ecti on of Joel and Lila Harnett member of the National Academy of De ign in 1970. and of the Ameri ca n Academy and Institute I 2c. Studies for Embrace of Peace. 1988 of Art. and Lener. in 1983. In 1983 he received Graphite on tracing paper the Governor' Award for Excellence in the Art · Sheet 11 x 14 from the Vermont Council on the Art . I 2d. Study for Embrace of Peace, 1988 Graphite on traci ng paper ONE-ARTIST EXHIBITIONS 7 x 14, sheet I I x 14 I 95 1 Edwi n Hewi u Gallery. New York I 2e. Study for Embrace of Peace, 1988 1955 Edwin Hewi u Gallery. rn York Graphite on tracing paper 1960 Robert I aa son Gallen. ew York 7 x 14, sheet 11 x 14 1962 Robert lsaa on Gallery. New York I 2f. Study for Embrace of Peace, 1988 1964 Durlacher Broth er . ew York Graphite on traci ng paper 7 x 14, sheet I I x 14

12 1967 "Geo rge Tooker: Painting and 1982 "Rea li m and Realiti es: The Other Side of Drawing ,"Jaffe-Friede Gallery. Hopkins America n Pa inting, 1940- 1960." Rutge rs Center. Dartmouth Coll ege, Hanover, Univer. ity Art Gallery, New Brunswick. N.H. . Ca talog. N.J . Also ex hibited at Montgomery Durlacher Brothers. ew York Museum of Fi ne Arts. Montgo mery. Ala .. 1974- '·Geo rge Tooker: Paintings 1947- 1973," and The Art Ga ll ery, Universit y of Mary­ 1975 Fine Arts Muse ums of an Francisco. Ca li­ land, a ll ege Park . Ca talog by Gre ta forni a Palace of the Legion of Honor. San Berm an and Jeffrey Wcch ler. Francisco. Al o ex hibited at Muse um of 1983 " Drea ms and Nightmares, Utopian Vi;1om, Contempora ry Art, Chicago: Whitney in Modern Art," Hirshhorn Museum and Museum of Art, New York; India napolis Sculpture Garden , Wa~ h i n g t o n. D.C. Museum of Art , Indianapolis. Ca talog by 1985 "S urrea l Ci ty, 1930- 1950," Wh itney Thoma H. Garve r. Museum of America n Art at Ph ili p M orri~ . 1985 "George Tooker: Paint ings 1948-1 985." New York . Marisa del Re Ga ll ery, New York 1987 "Modern America n Realism." The Sara 1987 "George Tooker: Work ing Drawi ngs," Roby Foundat ion Coll ectio n. Na ti onal Robert Hull Fleming Mu eum , Mu eum of America n Art. Washington, Uni versity of Vermont, Bu rlington D.C. Catalog by Vi rgi nia M. Mcchlenburg, 1987 ''Geo rge Tooker: Pa int ing ," Gibbes essay by Will ia m Klo s~ . Gallery. Charlotte. SC. Tookcr's works are incl uded in such maJ Or public co llectio ns as The Brooklyn Mu. eum of Art. S ELECTED GROUP Brook lyn; The Met ropolitan Mu ~c um of /\rt, cw EXHIBITIONS York; The Museum of Mode rn Art, cw York: ational M LL~cu m of American Art , mithsonian 1946 "i- ifteen Americans," The Museum of In titution, Washington, D.C.: and the Whit ney Modern Art. New York . Museum of America n /\rt, cw York. 1947 "A nnual Ex hibition of Contempora ry America n Pai nting," Wh itney Mu eum of For selected reviews and bibliography. refer to th<' Am erican Art. ew York . Tooker also monograph, Thomas H. Garver. George To(1kcr ex hi bi ted in the Annuals of 1948, 1949. (New York: Clarkson . Pouer. 1985). pp.140-1. 1952. 1953, 1955, 1956. 1957. 1958. 196 1. 1963, 1965. 1967 and 1969. 195 1 "22 nd Bie nn ia l Ex hibition of Conte mpo­ rary America n Oil Pain tings," Corco ran CATALOGUE CREDITS Gallery of Art. Was hington, D.C. Too ker Ed itor : Eli za beth Langhorn c- Rcc1c. Doroth y Wage ner also ex hibi ted in the Bienn ial of 1963. De 1gn : Manuel T1mbrcza. T1m brcLa Dc;1gn 1955 ·'The ew Decade: 35 American Painter T_pog raph y: Chnsda cu, Logo; Type II and Sc ulptors:· Whitney Museum of Printer: Whmct & Shc ppcr>O n Am erican Art. ·ew York. Catalog by John l.H . Baur. P HOTOGRAPHY CREDITS 1962 "Art: SA: · m~ ." The Johnso n Coll ection of Co ntemporary Ameri can Painting. The Mu;eum of Modern Art. cover Doug Bucrl em. page J Catalog by Lee 1 ordness. Michael Kemsle) , ni1ersit) of Vermont Photo cr1 ice,. 1963 "Pa inting and Drawi ng the udc, Part II : page I. 8 and 12 The Female," The Ban fcr Ga ll ery. ew John Rom.. all (l ther; York. 1969 "Hum an Conce rn. Per onal Torment: The Grotesq ue in Am erican Art." Whitney Muse um of American Art. New York . Al\o ex hibited at th e niversity Art Mu ~e um . Berk eley. CA . Marsh Gallery Modlin Fine Art Center University of Richmond, Virginia 23173 804/289-8276