A Finding Aid to the Staempfli Gallery Records, 1958-1992, in the Archives of American Art

Total Page:16

File Type:pdf, Size:1020Kb

A Finding Aid to the Staempfli Gallery Records, 1958-1992, in the Archives of American Art A Finding Aid to the Staempfli Gallery Records, 1958-1992, in the Archives of American Art Erin Kinhart 2015 March 3 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Administrative Records, 1958-1991.......................................................... 4 Series 2: Correspondence, 1959-1989.................................................................... 5 Series 3: Financial Records, 1959-1991.................................................................. 6 Series 4: Sales Records, 1986-1988....................................................................... 8 Series 5: Inventory Records, 1959-1992................................................................. 9 Series 6: Printed Material, 1959-1988................................................................... 18 Staempfli Gallery records AAA.staegall2 Collection Overview Repository: Archives of American Art Title: Staempfli Gallery records Identifier: AAA.staegall2 Date: 1958-1992 Extent: 5.2 Linear feet Creator: Staempfli Gallery (New York, N.Y.) Language: English . Summary: The Staempfli Gallery records measure 5.2 linear feet and date from 1958 to 1992. Scattered administrative and financial records, correspondence, sales invoices, inventory records, and exhibition catalogs document the business activities of this New York gallery. Administrative Information Provenance Exhibition Catalogs were donated in 1989 by Philip Bruno, co-director of Staempfli Gallery. Additional records of the Staempfli Gallery were donated in 2010 by Candida Steel, George Staempfli's daughter and in 2014 by Robert Aichele, a private dealer in Sacramento, California, who purchased the letters from Barbara Staempfli, George Staempfli's widow. Processing Information The Staempfli Gallery records were merged with the earlier donated collection of Staempfli Gallery exhibition catalogs, and fully processed and described by Erin Kinhart in 2011. Additional material was processed in 2015. Preferred Citation Staempfli Gallery records, 1958-1992. Archives of American Art, Smithsonian Institution. Restrictions on Access Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Terms of Use The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce Page 1 of 18 Staempfli Gallery records AAA.staegall2 and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information. Historical Note Staempfli Gallery was established by George Staempfli in 1959 in New York City and specialized in modern art by European and American artists. George William Staempfli (1910-1999) was born in Bern, Switzerland, and moved to the United States in 1935. He worked at M. Knoedler & Company and was curator of paintings the Museum of Fine Arts in Houston from 1954 to 1956. He founded Staempfli Gallery in 1959 and exhibited the work of a variety of artists. Phillip A. Bruno served as co-director for over twenty years, until the gallery officially closed in 1988. George Staempfli retired to Annapolis, Maryland, in 1992, and lived there until his death in 1999. Scope and Content Note The Staempfli Gallery records measure 5.2 linear feet and date from 1958 to 1992. Scattered administrative and financial records, correspondence, sales invoices, inventory records, and exhibition catalogs document the business activities of this New York gallery. Administrative records include certificates of incorporation, minutes and by-laws, lease forms, and an employment agreement between Staempfli Gallery and its director Phillip A. Bruno. Correspondence is with Joan Brown, David Park, Elmer Bischoff, and Roland Peterson. One file of general correspondence includes other letters to and from George Staempfli. Financial records of are not comprehensive and primarily document financial activities from the late 1970s and 1980s. Included are annual financial reports, income tax records, records of commissions, and shipping invoices. During the mid-1980s the gallery had a sales tax audit, and many of the records of the gallery, including correspondence and notes regarding sales, sales invoices, and shipping records from 1980 to 1985 were gathered and can be found within these files. Sales invoices are from 1986 to 1988 and include sales from the Chicago International Art Expo and Art Basel. Additional information regarding sale of artwork can also be found in the inventory records which consist of three inventory lists and an inventory card file. The inventory card file was maintained during the entire operation of the gallery from 1959 to 1992. Each work of art was given its own card and was filed alphabetically by artist. Researchers should note that cards for artists with a last name beginning with C through K were not included in the donation to the Archives of American Art. Exhibition catalogs document one-person shows of modern American and European painters and sculptors, and several group exhibitions are also included. A few of the catalogs include annotations regarding price and sale of the exhibited works. Also found is one theater program inscribed to Geroge Steampfli by the artist Paul Delvaux. Arrangement The collection is arranged as 5 series: • Series 1: Administrative Records, 1958-1991 (Box 1; 8 folders) Page 2 of 18 Staempfli Gallery records AAA.staegall2 • Series 2: Correspondence, 1959-1989 (Box 1; 6 folders) • Series 3: Financial Records, 1959-1991 (Box 1; 0.9 linear feet) • Series 4: Sales Records, 1986-1988 (Box 2; 8 folders) • Series 5: Inventory Records, 1959-1992 (Boxes 2-5; 3.2 linear feet) • Series 6: Printed Material, 1959-1988 (Boxes 5-6; 0.7 linear feet) Names and Subject Terms This collection is indexed in the online catalog of the Smithsonian Institution under the following terms: Subjects: Art, Modern Sculptors Types of Materials: Financial records Tax records Names: Bischoff, Elmer, 1916-1991 Brown, Joan, 1938-1990 Bruno, Phillip A. Park, David, 1911-1960 Peterson, Roland Staempfli, George W. Functions: Art galleries, Commercial -- New York (State) Page 3 of 18 Series 1: Administrative Records Staempfli Gallery records AAA.staegall2 Container Listing Series 1: Administrative Records, 1958-1991 (Box 1; 8 folders) This series contains scattered administrative records of the Staempfli Gallery including certificates of incorporation, minutes and by-laws, lease forms, letters of resignations from various gallery staff, and an employment agreement between Staempfli Gallery and its director Phillip A. Bruno. Also of note is a list of suggestions for future gallery operations from 1967, and a biographical chronology for George Staempfli. Files are arranged alphabetically. Box 1, Folder 1 Agreement between Staempfli Gallery, Inc. and Phillip A. Bruno, 1966 Box 1, Folder 2 Certificates of Incorporation, 1958-1990 Box 1, Folder 3 Chronology for George W. Staempfli, circa 1976 Box 1, Folder 4 Letters of Resignation, circa 1959-1966 Box 1, Folder 5 Mailing List for Forum Sale, 1978 Box 1, Folder 6 Minutes and By-Laws, 1959-1990 Box 1, Folder 7 Renewal Lease Form, 1991 Box 1, Folder 8 Suggestions for Future Operations, circa 1967 Return to Table of Contents Page 4 of 18 Series 2: Correspondence Staempfli Gallery records AAA.staegall2 Series 2: Correspondence, 1959-1989 6 Folders (Box 1) Correspondence is with artists Elmer Bischoff, Joan Brown, David Park, and Roland Petersen. One additional file contains general office correspondence to and from George Staempfli. Additional correspondence can be found in Series 3: Financial Records. Box 1, Folder 9 Elmer Bischoff, 1960 Box 1, Folder 10 Joan Brown, 1961, undated Box 1, Folder 11-12 David Park, 1959-1960 Box 1, Folder 13 Roland Petersen, 1980-1988 Box 1, Folder 14 General Correspondence, 1960-1989 Return to Table of Contents Page 5 of 18 Series 3: Financial Records Staempfli Gallery records AAA.staegall2 Series 3: Financial Records, 1959-1991 (Box 1; 0.9 linear feet) This series contains the financial records of the Staempfli Gallery. These records are not comprehensive and primarily document financial activities from
Recommended publications
  • Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery Is Pleased to Pr
    Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement. The exhibition will occupy two floors of gallery space and will include work by artists Elmer Bischoff, Theophilus Brown, Richard Diebenkorn, Manuel Neri, Nathan Oliveira, David Park, Wayne Thiebaud, James Weeks, and Paul Wonner. Abstract and Figurative is accompanied by an illustrated catalogue with an introduction by art historian and Director of the Palm Springs Art Museum and former Associate Director and Chief Curator of the Fine Arts Museums of San Francisco, Steven A. Nash. Many of the works included in Abstract and Figurative are on loan from museums and private collections and have rarely been exhibited to the public. John Berggruen Gallery is proud to have this opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, January 8, 2009 between 5:30 and 7:30 pm. Nash writes, “There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.” This regionalized movement away from the canon of the New York School (as championed by artists Jackson Pollock and Willem de Kooning, and critic Clement Greenberg, among others) finds its roots in 1949, when a young painter by the name of David Park “gathered up all his abstract- expressionist canvases and, in an act that has gone down in local legend, drove to the Berkeley city dump and destroyed them.”1 Disillusioned with the strict non-representational tenets of a movement that promoted the Greenbergian notion of “purity” in art towards a perpetually evolving abstraction, Park submitted Kids on Bikes (1950), a small figurative painting, to a 1951 competitive exhibition and won.
    [Show full text]
  • 'David Park: a Retrospective' Review: Subtle Humanism in Thick Paint
    ART REVIEW ‘David Park: A Retrospective’ Review: Subtle Humanism in Thick Paint The underrated Bay Area School artist—who, early on, turned from abstract painting to thoroughly modern figuration—receives his first major museum exhibition in over three decades. David Park’s ‘Rowboat’ (1958) PHOTO: © ESTATE OF DAVID PARKMODERN ART MUSEUM OF FORT WORTH By Peter Plagens July 15, 2019 429 pm ET Fort Worth, Texas David Park (1911-1960) is one of the artists who made San Francisco almost as famous for a figurative style of painting (the “Bay Area School”) as New York is for Abstract Expressionism. Park was a stupefyingly adroit applier of paint to canvas whose generous but subtle humanism makes him one of the most art-historically underrated artists of the mid-20th century. There’s a good chance, however, that “David Park: A Retrospective,” now at the Modern Art Museum of Fort Worth, will help rectify that. (After this venue, it will travel to the Kalamazoo Institute of Arts, and then back to the San Francisco Museum of Modern Art, which originated the show.) With over 120 works, including more than 70 oil paintings, it’s the first Park exhibition in a major museum in over three decades. A Bostonian who was diagnosed in childhood as being David Park: A Retrospective more than halfway blind, Park stopped wearing glasses in 1926 and never put them on again. Two years later he Modern Art Museum of Fort Worth moved to Los Angeles, where he attended the Otis Art Through Sept. 22 Institute—for less than a year, his only formal art education.
    [Show full text]
  • As I Am Painting the Figure in Post-War San Francisco Curated by Francis Mill and Michael Hackett
    As I Am Painting the Figure in Post-War San Francisco Curated by Francis Mill and Michael Hackett David Park, Figure with Fence, 1953, oil on canvas, 35 x 49 inches O P E N I N G R E C E P T I O N April 7, 2016, 5-7pm E X H I B I T I O N D A T E S April 7 - May 27, 2016 Hackett | Mill presents As I Am: Painting the Figure in Post-War San Francisco as it travels to our gallery from the New York Studio School. This special exhibition is a major survey of artwork by the founding members of the Bay Area Figurative Movement. Artists included are David Park, Elmer Bischoff and Richard Diebenkorn, as well as Joan Brown, William Theophilus Brown, Frank Lobdell, Manuel Neri, Nathan Oliveira, James Weeks and Paul Wonner. This exhibition examines the time period of 1950-1965, when a group of artists in the San Francisco Bay Area decided to pursue figurative painting during the height of Abstract Expressionism. San Francisco was the regional center for a group of artists who were working in a style sufficiently independent from the New York School, and can be credited with having forged a distinct variant on what was the first American style to have international importance. The Bay Area Figurative movement, which grew out of and was in reaction to both West Coast and East Coast varieties of Abstract Expressionism, was a local phenomenon and yet was responsive to the most topical national tendencies.
    [Show full text]
  • The Pennsylvania Academy of the Fine Arts
    THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY STREETS • PHILADELPHIA 160th ANNUAL REPORT 196 5 Cover: Interior With Doorway by Richard Diebenkorn Gilpin Fund Purchase, 1964 The One Hundred and Sixtieth Annual Report of PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1965 Presented to the Meeting of the Stockholders of the Academy on February 7, 1966. OFFICERS Frank T. Howard · . President Alfred Zantzinger · Vice President C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. · . Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale John W. Merriam Francis Bosworth C. Earle Miller Mrs. Bertram D. Coleman Mrs. Herbert C. Morris (resigned, September) David Gwinn Evan Randolph, Jr. J. Welles Henderson Henry W. Sawyer, 3rd Frank T. Howard (ex officio) John Stewart R. Sturgis Ingersoll James K. Stone Arthur C. Kaufmann C. Newbold Taylor Henry B. Keep Franklin C. Watkins James M. Large William H. S. Wells James P. Magill (Director Emeritus) William Coxe Wright Henry S. McNeil Alfred Zantzinger Ex officio Representing Women's Committee: Mrs. H. Lea Hudson, Chairman (to May) Mrs. Erasmus Kloman, Vice Chairman (to May) Mrs. George Reath, Chairman (from May) Mrs. Erasmus Kloman, Vice Chairman (from May) Mrs. Albert M. Greenfield, Jr., Vice Chairman (from May) Representing City Council: Representing Faculty: Paul D'Ortona John W. McCoy 2nd (to May) Robert W. Crawford Hobson Pittman (from May) Solicitor: William H. S. Wells, Jr. 2 STANDING COMMITTEES COLLECTIONS AND EXHIBITIONS Franklin C. Watkins, Chairman Mrs. Herbert C. Morris Mrs. Leonard T. Beale William H. S. Wells, Jr. James M. Large William Coxe Wright Alfred Zantzinger Representing Women's Committee: Mrs.
    [Show full text]
  • Paintings by Streeter Blair (January 12–February 7)
    1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.
    [Show full text]
  • Winter 2021 the Beginnings of the Berkeley Historical Society in 1978
    EXACTLY OPPOSITE The Newsletter of the Berkeley Historical Society Volume 39 Number 1 Winter 2021 The Beginnings of the Berkeley Historical Society in 1978 From Stephanie Manning, October 13, 2020: We talked about starting a Berkeley historical society a lot, for years, before it finally happened. Charles Marinovich kept saying, if all the small towns around here can have historical societies, it is no less than criminal that Berkeley shouldn’t have one also. With the centennial celebration, it became the obvious thing to do. And we in West Berkeley were celebrating Ocean View all along while fighting to save the neighborhood from urban renewal. So many forces came together to bring formation of the Berkeley Historical Society at the time. Malcolm Margolin was our first Annual Meeting speaker, having just written The Ohlone Way. From Ken Stein, October 21, 2020: In fond remembrance of the Centennial Exhibit Committee folk and those who attended the first meeting of the Berkeley Historical Society, no longer with us: Carroll Brentano, Louise Colombatto, Ellen Drori, Eugene P. Lasartemay, Charles S. Marinovich, Harry B. Morrison, Henry Pancoast, Johnnie Dell Robinson, Richard Sargent, Edward Staniford, Louis Stein, Mildred R. Stein, and T. Robert Yamada. The “History of Berkeley” exhibit at the Berkeley Art Center in Live Oak Park, April 4–May 14, 1978, was done in conjunction with the celebration of the City of Berkeley’s official Centennial Celebration in April of 1978. (Berkeley incorporated in 1878.) In a very real sense, this exhibit was the direct forerunner, impetus for, and amniotic fluid that resulted in the birth of the Berkeley Historical Society later that same year.
    [Show full text]
  • Artist Resources – Richard Diebenkorn (American, 1922-1993) the Richard Diebenkorn Foundation Diebenkorn at John Berggruen Gallery, San Francisco
    Artist Resources – Richard Diebenkorn (American, 1922-1993) The Richard Diebenkorn Foundation Diebenkorn at John Berggruen Gallery, San Francisco Diebenkorn received his first solo museum show in 1948 at age twenty-six at the Legion of Honor Museum in San Francisco. Watch Diebenkorn at work in the studios of Crown Point Press in Oakland during two weeks in 1986 as he completed a series of large etchings including Green and Red-Yellow-Blue with printer Marcia Bartholme. Diebenkorn’s printmaking is a widely undervalued part of his practice, which he returned to throughout his career. Greenberg Van Doren Gallery organized an exhibition of thirty years of the artist’s prints in 2012, exploring his etchings at Crown Point, his training in woodcuts in Kyoto, and his lithography with Gemini G.E.L. Diebenkorn reminisced about his youth in California, education, military service, and artistic influences in an oral history conducted by the Smithsonian Archives of American Art between 1985 and 1987. The John Berggruen Gallery in San Francisco brought together previously unseen works on paper in 2003 to showcase the relationship between Diebenkorn’s drawings and paintings, and his thoughtful, enduring explorations of emotion, the figure, landscape, and gesture. Over 130 paintings and drawings shown at the de Young Museum in San Francisco in 2013 concentrated for the first time on the artist’s prolific years in Berkley between 1953 and 1966, during which he shifted between abstraction and quiet figurative studies and still lifes. Diebenkorn, 1959. Photograph: Fred Lyon At the Fine Arts Museums of San Francisco’s Richard Diebenkorn Symposium in 2013, his daughter Gretchen discussed her father’s life and legacy, and art historian Nancy Boas reflected on his creative affinity with fellow artist David Park and Bay Area Figurative Painters.
    [Show full text]
  • FRANK STELLA American, Born 1936 / Estadounidense, Nacido En 1936 Flin Flon VIII Acrylic on Canvas, 1970
    HENRI MATISSE French / Francés, 1869–1954 Bouquet Oil on canvas, 1916–17 Matisse came to painting later in life than his precocious rival Pablo Picasso and was introduced to Impressionism by the languorous later works of Pierre-Auguste Renoir. The jarring juxtaposition of colors that distinguished Matisse’s paintings beginning in 1900 led to his being branded a Fauve (wild beast), a label that came to describe an artistic movement. Matisse retreated to a more restricted palette around 1910, but this large still life, executed after the outbreak of World War I, demonstrates a return to the bold decorative sensibility and high-keyed color that would come to characterize Matisse’s modern vision. Ramillete Óleo sobre lienzo, 1916–17 Matisse llegó a la pintura a una edad más avanzada que Pablo Picasso, su rival precoz, y se inició en el impresionismo gracias a las lánguidas obras tardías de Pierre-Auguste Renoir. Debido a la discordante yuxtaposición de colores que distinguió sus pinturas a partir de 1900, fue llamado un fauve (fiera), expresión que llegó a describir al movimiento fauvista. Hacia 1910 Matisse se confinó a una paleta más restringida, pero en esta gran naturaleza muerta, realizada después de irrumpir la Primera Guerra Mundial, vemos su retorno a la audaz sensibilidad decorativa y colores intensos que de ahí en adelante caracterizarían su visión moderna. Gift of M. A. Wertheimer from the collection of his late wife, Annetta Salz Wertheimer, 1934.77 ROBERT DEL AUNAY French / Francés, 1885–1941 Female Nude Reading Oil on canvas, 1915 Single-minded in his pursuit of a “pure” pictorial language based on bold chromatic contrasts, Delaunay turned away from the muted Cubist palette of Pablo Picasso and Georges Braque and looked instead to Henri Matisse and his followers, who had pioneered an expressive and deliberately dissonant use of color.
    [Show full text]
  • Excerpted From
    Excerpted from ©2003 by the San Jose Museum of Art. All rights reserved. May not be copied or reused without express written permission of the publisher. click here to BUY THIS BOOK 1 79 RICHARD SHAW 1980, porcelain with glaze transfer, 14 9 8 ⁄2 in. Collection of the San Jose Museum of Art, Martha’s House of Cards Museum purchase with funds from the Collections Committee. Douglas Sandberg Photography. susan landauer the not-so-still life WHEN ART CRITIC HILTON KRAMER visited a survey of the the Poindexter Gallery in 1963, he was deeply impressed by the nerve of Richard Diebenkorn’s Knife in a Glass of that same year (fig. 80), a tiny still genre in california, life hanging amid a welter of larger figurative can- vases in the artist’s New York solo show. “One hardly knows,” he pondered in his review, “whether to 1950–2000 embrace its audacity—it is certainly a very beauti- ful painting—or shudder at such naked esthetic atavism.”1 Kramer’s appraisal can only be under- stood within the context of the extreme degrada- tion still life had suffered since midcentury. It is not that the genre had run dry, dissipating itself into dull familiarity. On the contrary, as Patricia Tren- ton’s essay in this volume attests, from the 1920s into the 1940s modernists in California as else- where had freed the genre from its staid reputation and transformed it almost beyond recognition. Dada and Surrealism had opened the Pandora’s box of still life iconography—its precincts were now host to every subject imaginable, from fur-lined cups to armadillos (see fig.
    [Show full text]
  • Figurative Pioneers David Park and Milton Avery Are the Subject of a New Exhibition at Hackett Mill
    GALLERY PREVIEW: SAN FRANCISCO, CA Figurative Pioneers David Park and Milton Avery are the subject of a new exhibition at Hackett Mill avid Park and Milton Avery, Mill of Hackett Mill in San Francisco Through May 31 the first exhibition to pair explains, “Breaking conventions of th Hackett Mill Dtwo of the 20 century’s historical categories, we juxtapose 145 Natoma Street, Suite 400 most influential figurative painters, is David Park and Milton Avery for the San Francisco, CA 94105 a thought-provoking and revealing first time. Park pioneered figurative t: (415) 362-3377 exposition of two midcentury artists painting in 1950 when it was very www.hackettmill.com who resisted the objective abstraction unpopular, ultimately giving birth to of their time yet refined it for their the Bay Area Figurative movement. own ends. It contains their paintings Avery introduced color as the true from the 1930s to the 1960s. Francis subject when gesture was paramount, Milton Avery (1885-1965), Reader with Plant, 1963. Oil on canvas board, 22 x 28 in. (AVE-021-OC). 78 Hackett Mill.indd 78 4/3/18 3:31 PM David Park (1910-1960), Portrait of Lydia Sewing, 1955. Oil on canvas, 24 x 20 in. (PAR-066-OC). which gave birth to the American color universal relevance.” and were concerned with the surface field movement. Conventional thinking The exhibition continues through of the picture plane; Park (1910-1960) has kept each of these artist’s dialogues May 31. building up thick impastos of paint with separate. Together, we see why an Both artists had the tenets of scenes of domesticity and Avery (1885- artist’s personal search for identity is of abstract expressionism in their view 1965) reducing detail to a minimum in 79 Hackett Mill.indd 79 4/3/18 3:31 PM Milton Avery (1885-1965), March Sketching (The Artist’s Daughter), ca.1940-45.
    [Show full text]
  • David Park: a Retrospective June 2–September 8, 2019
    CONTACT: Kendal Smith Lake Manager of Communications 817.738.9215 x167 [email protected] www.themodern.org Fort Worth, TX FOR IMMEDIATE RELEASE January 29, 2019 Modern Art Museum of Fort Worth Presents David Park: A Retrospective June 2–September 8, 2019 The Modern Art Museum of Fort Worth presents David Park: A Retrospective, on view beginning June 2, 2019. Organized by the San Francisco Museum of Modern Art (SFMOMA) and curated by Janet Bishop, Thomas Weisel Family Curator of Painting and Sculpture at SFMOMA, this is the first major museum exhibition in more than 30 years to present the powerfully expressive work of David Park (1911-1960), best known as the originator of Bay Area Figurative art. In the immediate postwar years, Park, like most avant-garde American artists of his day, engaged with Abstract Expressionism and painted non-objectively. In a moment of passion in late 1949 or early 1950, he made the radical decision to abandon nearly all of his abstract canvases at an East Bay dump and return to the human figure, marking the beginning of the Bay Area Figurative movement. David Park: A Retrospective traces the full arc of the artist’s career, from his early social realist efforts of the 1930s to his mature figurative paintings of the 1950s and his astounding final works on paper. Park lived for most of his adult life in San Francisco and Berkeley. He was a beloved teacher at both the California School of the Fine Arts and the University of California, Berkeley, and he was at the center of a vibrant community of Bay Area artists.
    [Show full text]
  • George Adams Gallery, New York, NY, 2019
    38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com ELMER BISCHOFF BORN: Berkeley, California, 1916. DIED: Berkeley, California, 1991. EDUCATION: University of California, Berkeley, M. A. 1939. University of California, Berkeley, B. A. 1938. AWARDS/GRANTS: Honorary Doctor of Fine Art degree from California College of Arts and Crafts, Oakland, 1989. Honorary Doctor of Fine Art degree from San Francisco Art Institute, 1985. Berkeley Citation for distinguished teaching career, 1985. Honorary Doctor of Fine Arts degree from the Otis Art Institute of Parsons School of Design, 1983. Distinguished Teaching Award from the College Art Association, 1983. Norman Wait Harris Bronze Metal and Prize, 1964. National Institute of Arts and Letters Grant, 1963. Ford Foundation Grant, 1959. First Prize at Richmond Art Center Annual Exhibition, 1955. SOLO EXHIBITIONS: “Elmer Bischoff: A Survey of Paintings and Drawings, 1937-1972,” Marin Museum of Contemporary Art, Marin, CA, 2020. “Elmer Bischoff: Studies from Life,” George Adams Gallery, New York, NY, 2019. “A New Gesture: Elmer Bischoff, 1946-50," George Adams Gallery, New York, NY, 2018. “Elmer Bischoff: Working From Life,” George Adams Gallery, New York, NY, 2015. “Elmer Bischoff: Figurative Paintings,” George Adams Gallery, New York, NY, 2015. “Figurative Paintings, 1953-1966,” George Adams Gallery, New York, NY, 2010. “Figurative Drawings from the 1960s,” George Adams Gallery, New York, NY, 2009. “Elmer Bischoff: Abstract Paintings, 1948 – 1952,” George Adams Gallery,
    [Show full text]