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Arshile Gorky : Paintings, Drawings, Studies with a Foreword by Julien Levy

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Arshile Gorky : Paintings, Drawings, Studies with a Foreword by Julien Levy Arshile Gorky : paintings, drawings, studies With a foreword by Julien Levy Author Seitz, William Chapin Date 1962 Publisher The Museum of Modern Art: Distributed by Doubleday, Garden City, N.Y. Exhibition URL www.moma.org/calendar/exhibitions/1991 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art v , " -T ' Arshile Gorky frontispiece : The Diary of a Seducer. 1945. Oil, 50 x 62". Mr. and Mrs. William A. M. Burden, New York cover: from Bull in the Sun. (1942). Wool rug, 116V1 x 85". The Museum of Modern Art, New York. Gift of Monroe Wheeler BY WILLIAM C. SEITZ WITH A FOREWORD BY JULIEN LEVY THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE WASHINGTON GALLERY OF MODERN ART Distributed by Doubleday & Company, Inc., Garden City, New York TRUSTEES OF THE MUSEUM OF LENDERS TO THE EXHIBITION MODERN ART Dr. and Mrs. David Abrahamsen; Mr. and Mrs. William A. M. Burden, Chairman of the Board; Walter Bareiss; Mr. and Mrs. William A. M. Bur Henry Allen Moe, William S. Paley, Vice-Chair den; Mr. and Mrs. Hans Burkhardt; Joshua Binion men; Mrs. John D. Rockefeller 3rd, President; Cahn; Mr. and Mrs. Merlin Carlock; Mr. and Mrs. James Thrall Soby, Ralph F. Colin, Vice-Presi Abraham L. Chanin; Miss Ann Dunnigan; Mrs. dents; Alfred H. Barr, Jr., "Mrs. Robert Woods Herbert Ferber; Mr. and Mrs. B. H. Friedman; Mr. Bliss, Gardner Cowles, *Mrs. W. Murray Crane, and Mrs. Philip Gersh; Mr. and Mrs. Milton A. John de Menil, Rene d'Harnoncourt, Mrs. C.Doug Gordon; Mr. and Mrs. I. Donald Grossman; Mr. las Dillon, Mrs. Edsel B. Ford, "A. Conger Good and Mrs. Stephen Hahn; Mr. and Mrs. Gaston de year, "Mrs. Simon Guggenheim, Wallace K. Har Havenon; Mr. and Mrs. Joseph H. Hazen; Mr. and rison, Mrs. Walter Hochschild, "James W. Husted, Mrs. Ben Heller; The Joseph H. Hirshhorn Collec Philip C. Johnson, Mrs. Albert D. Lasker, John L. tion; Mrs. Martha K. Jackson; Mr. and Mrs. Wil Loeb, Mrs. Henry R. Luce, Porter A. McCray, Ran liam B. Jaffe; Mr. and Mrs. Julien Levy; Mrs. H. ald H. Macdonald, Mrs. Samuel A. Marx, Mrs. Gates Lloyd; Mrs. David Metzger; Mrs. Moorad G. Macculloch Miller, Mrs. Bliss Parkinson, Mrs. Mooradian; Mrs. Edward M. Murphy; Mrs. Albert Charles S. Payson, "Duncan Phillips, David Rocke H. Newman; Mr. and Mrs. Stephen D. Paine; Mrs. feller, Nelson A. Rockefeller, "'Paul J. Sachs, Mrs. Agnes Gorky Phillips; Mr. and Mrs. Paul Scott Donald B. Straus, G. David Thompson, "Edward Rankine; Miss Jeanne Reynal; Dr. and Mrs. Israel M. M. Warburg, Monroe Wheeler, John Hay Rosen; Barney Rosset; Mrs. Ethel K.Schwabacher; Whitney. * Honorary Trustee for Life Mr. and Mrs. Raphael Soyer; Mr. and Mrs. Harris B. Steinberg; Mrs. Ruth Stephan; Michel Tapies de Celeyran; Mr. and Mrs. Fredric Varady; Mr. THE WASHINGTON GALLERY OF and Mrs. Frederick R. Weisman; Mr. and Mrs. C. MODERN ART Bagley Wright, Jr. Albright-Knox Art Gallery, Buffalo, New York; Officers: Julian Eisenstein, President; Mrs. H.Gates The Metropolitan Museum of Art, New York; The Lloyd, Vice-President; Mrs. Philip Stern, Second Museum of Modern Art, New York; Whitney Mu Vice-President; Walter C. Louchheim, Treasurer; seum of American Art, New York; Allen Memo James C. Truitt, Secretary rial Art Museum, Oberlin College, Oberlin, Ohio; Trustees: Mrs. Dean Acheson, Abe Fortas, Mrs. Washington University, St. Louis, Missouri; San Philip L. Graham, Mrs. W. Averell Harriman, Francisco Museum of Art; University of Arizona David L. Kreeger, Mrs. William S. Moorhead, John Art Gallery, Tucson ;Munson- Williams-Proctor In Safer, Nicholas Satterlee, James Hopkins Smith, stitute, Utica. Mrs. C. Law Watkins Margit Chanin, Ltd., New York; Rose Fried Gal Honorary Trustees: Mrs. John F. Kennedy, Mrs. lery, New York; Galleria Galatea, Turin; Martha George C. Garrett, Mrs. Albert D. Lasker, Thomas Jackson Gallery, New York; Sidney Janis Gallery, B. Hess, Mr. and Mrs. Duncan Phillips New York. ©1962, The Museum of Modern Art 11 West 53 Street, New York 19, N. Y. Library of Congress Catalogue Card No. 62-22083 Printed in the U.S.A. by Pictorial Offset Corporation Designed by Susan Draper The Muse:"- a Art Library Contents 6 acknowledgments 7 FOREWORD by Julien Levy 11 I THE TWENTIES 14 II PORTRAITURE (c. 1926-36) 20 III THE THIRTIES 28 IV NATURE (1942-48) 51 BRIEF CHRONOLOGY 52 SELECTED REFERENCES 53 CATALOGUE Acknowledgments Several of Gorky's friends, and members of his family, gave assistance in preparing this exhibition. Mrs. Agnes Gorky Phillips was helpful not only by putting the paintings and drawings in the Gorky Estate at our disposal, but also in locating other works. Sidney Janis also helped in this regard. Ethel Schwabacher, whose sensitive and serious monograph I repeatedly consulted, answered doz ens of additional questions and was kind enough to read and criticize this manuscript. Willam Agee acted as research assistant. Gorky's sister Mrs. Moorad Mooradian and his nephew Karlin Mooradian filled important gaps in my knowl edge of Gorky's life. The staff of the Whitney Museum of American Art not only assisted us in preparing the exhibition, but opened their archives to us. For his moving tribute to Gorky which serves as a foreword to the book, I wish to thank his friend and dealer Julien Levy, who also assisted me in documentation as did Jeanne Reynal, Will Bar- net, Ara Ignatius, Frederick Kiesler, Abram Ler- ner, and several lenders to the exhibition; also Andrew C. Ritchie for his cooperation. In addition to the paragraphs quoted from Harold Rosenberg's book I was also assisted by his insights into certain aspects of Gorky's personality and art. My short account of Gorky's development was edited by Helen Franc; Susan Draper designed the EXHIBITIONS: book and cover; Alicia Legg assembled the cata logue. For special assistance I wish to thank Mr. The Museum of Modern Art, New York and Mrs. Frederick R. Weisman. On behalf of the December ly, 1962 Trustees of The Museum and The Washington The Washington Gallery of Modern Art Gallery of Modern Art I wish to thank all those March 12, 1962 who lent drawings and paintings. 6 Foreword From poverty, or of a piece with his camouflage, generously suggested that I also look at a port for he was a very camouflaged man, Arshile Gorky folio of Gorky's own drawings. "My portfolio is as long as I knew him wore a patched coat, either already in your back office," Gorky reluctantly an old tweed jacket with leather elbow pads in sum confessed, and my secretary told me that "that mer or in winter a ragged overcoat much too long man is always leaving his portfolio in the back for even his tall and lean frame. Inside his overcoat office. He comes back days later and pretends he he would draw himself up, or lower himself with had forgotten it." out bending, so when he crouched, perhaps to ex "Yes," said Gorky shamelessly, "and I always amine a canvas, his coat crumpled down like an expect you will have opened it and discovered accordion as he folded his legs beneath it with the masterpieces " So I sorted through them now, same muscles used by Caucasian dancers-although and I answered Gorky gently. Because if I had not Gorky was not Caucasian, was in fact Armenian, found masterpieces, I nevertheless thought I de and Gorky was not his real name. This is how tected future greatness. I went down to Union camouflaged he was. His dark fierce face and fero Square with Gorky and looked at everything in his cious black moustache concealed something soft studio. I listened to his passionate discourses con and vulnerable and not easily approached even by cerning the faded illustrations tacked on his walls, his intimates. Strangers he either frightened or monochrome reproductions of Mantegna and Piero awed. Policemen, he told me proudly, often della Francesca and photographs of Ingres draw stopped him for questioning, "just because I look ings. I listened to the woes of his financial dis so dangerous," he said, but more probably because order, and I lent him five hundred dollars. Later, he was walking through traffic too absent-mind when he couldn't repay, I bought some of his edly. Once in a dramatically illuminated exhibition drawings. But I could not promise him an exhibi in a museum he appeared suddenly conspicuous tion. beneath one of the spotlights. A woman crossed "Your work is so very much like Picasso's," I herself, then apologized. "For a moment," she said, told him. "Not imitating," I said, "but all the same "I thought you were Jesus Christ." "Modom," he too Picassoid." said, drawing h'mself up to his towering tallness, "I was with Cezanne for a long time," said "I am Arshile Gorky." And this was not arrogance. Gorky, "and now naturally I am with Picasso — " This was his devotion to a self-appointed mission. "Someday, when you are with Gorky..." I prom Art was Religion for Gorky, and in a museum God ised. was in His Temple and Gorky was His Prophet. I had never before met a painter with the em His life may have been unhappy; or he may have pathy to enter so completely into the style of an chosen the climate of unhappiness as deliberately other. I thought of the translations Moncrieff had as he chose his own name, Gorky, the "bitter one." made from the French of Proust.
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