ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARCHITECTURE MUSk^ UBWRY /W»CMITK1t«t mvimu OF aiwos NOTICE: Return or renew all Library Matarialtl The Minimum F*« tor each Loat Book it $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli* nary action and may result in dismissal from the University. To renew call Telephone Center, 333-6400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN L161—O-1096 IKilir^ >UIBRICiil^ I^Aievri^^' cnsify n^ liliiMttiK, llrSMiiRj tiHil \' $4.50 Catalogue and cover design: RAYMOND PERLMAN / W^'^H UtSifv,t- >*r..v,~— •... 3 f ^-^ ':' :iiNTi:A\roiriiitY iiAii<:irii:AN I'iiiKTiNrp A\n kciilp i iikb I!k>7 UNIVERSITY OF ILLINOIS MAR G 1967 LIBRARY University of Illinois Press, Urbana, Chicago, and London, 1967 IIINTILUIMHtAirY ilAllilltlCAK I'AINTIKi; AKII KCIILI* I llltK l!H»7 Introduction by Allen S. Weller ex/ubition nth College of Fine and Applied Arts, University of Illinois, Urbana «:«Nli:A\l>«ltilKY AAIKIMCAN PAINTINIp A\» StAlLVTUKK DAVID DODDS HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Director, Krannert Art Museum Ctiairmon, Festivol of Contemporory Arts JURY OF SELECTION Allen S. Weller, Choirman James D. Hogan James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Ctiristison, Associate Director Deborah A. Jones, Assistant Curator James O. Sowers, Preporotor Jane Powell, Secretary Frieda V. Frillmon, Secretary H. Dixon Bennett, Assistant K. E. Finical, W. E. Boles, Custodians University of Illinois Library of Congress Catalog Cord No. A48-340 ) 1967 by the Board of Trustees of the ii:K\o\Yij:iM;A\i:KTS le College of Fine and Applied Arts and e Krannert Art Museum are grateful to ose who have made loans of paintings id sculpture to this exhibition and :knowledge the cooperation of the fol- wing artists, collectors, museums, and illeries: r. Samuel M. Adier, New York, N.Y. Mr. and Mrs. Henry Feiwell, Larchmont, N.Y. Tiber de Nagy Gallery, New York, N.Y. Gollery, Los Angeles, California nkrum Forum Gallery, Inc., New York, N.Y. Rolf Nelson Gallery, Los Angeles, California rieigh Gallery, San Francisco, California Exhibition Section, Allan Frumkin Gallery, Chicago, Illinois Lee Nordness Galleries infer Gallery, Inc., New York, N.Y. Inc., New York, N.Y. Allan Frumkin Gallery, New York, N.Y. ;rkeley Gollery, Son Francisco, California Oklahoma Art Center, Oklahoma City, Mr. Frank Gallo, Urbana, Illinois Oklahoma )lles Gallery, San Francisco, California The Pace Gallery, New York, N.Y. race Borgenicht Gallery, Inc., New York, Gilmon Galleries, Chicago, Illinois N.Y. Gallery, Angeles, Gump's Gallery, San Francisco, California Herbert Palmer Los fkeri Gallery, New York, N.Y. California The Hansen Galleries, Son Francisco, r. Frank A. Campini, Berkeley, California Park Place Gallery, New York, N.Y. California :o Castelli Gallery, New York, N.Y. The Betty Parsons Gallery, New York, N.Y, Martha Jackson Gallery, New York, N.Y. r. and Mrs. William Coblentz, San Mr. and Mrs. David Paul, New York, N.Y. Francisco, California Mr. Philip Johnson, New Canaan, Connecticut Roychem Corporation, Redwood Cily, r. Mrs. Cohen, Kansas City, and Jordan California Missouri Mr. and Mrs. Donald M. Jones, San Marino, California Esther-Robles Gallery, Los Angeles, Dmara Gallery, Los Angeles, California California Krasner Gallery, New York, N.Y. ordier & Ekstrom, Inc., New York, N.Y. Mr. and Mrs. Arthur Shapiro, Beverly Hills, Kraushoor Galleries, New York, N.Y. ayton's Gallery 12, Minneapolis, California Minnesota Felix Landau Gallery, Los Angeles, Stable Gallery, New York, N.Y. California lilexi Gallery, San Francisco, California Staempfli Gallery, New York, N.Y. Landau-Alan Gallery, New York, N.Y. iirry Dintenfass, Inc., New York, N.Y. Mr. and Mrs. Ralph L. Stephens, Jr., South Main Street Galleries, Chicago, Illinois prsky Gallery, New York, N.Y. Gate, California le Downtown Gallery, New York, N.Y. Royal Marks Gallery, New York, N.Y. Allan Stone Gallery, New York, N.Y. wan Gallery, New York, N.Y. Marlborough-Gerson Gallery, Inc., New David Stuart Gollery, Los Angeles, York, N.Y. ndre Emmerich Gallery, New York, N.Y. California Mr. and Mrs. Robert B. Mayer, Winnetka, ex Evans Gallery, Los Angeles, California Woddell Gallery, Inc., New York, N.Y. Illinois chard Feigen Gallery, Chicago, Illinois; Midtown Galleries, New York, N.Y. Howard Wise Gallery, New York, N.Y. 1 New York, N.Y. aingarten Galleries, Los Angeles, The Museum of Modern Art, New York, Gordon Woodside Gallery, San Francisco, California N.Y. California i»iiim:hasi^ aivaimik 1948 1950 1953 1959 LEONARD BECK MAX BECKMANN ROBERT L. GRIILEY LAWRENCE CALCAGNO EUGENE BERMAN DEAN ELLIS YNEZ JOHNSTON FRED FARR RAYMOND BREININ FREDERICK S. FRANCK GYORGY KEPES JONAH KINIGSTEIN JOSEPH DE MARTINI ROBERT GWATHMEY LAWRENCE KUPFERMAN RICO LEBRUN WILLIAM J. GORDON HANS HOFMANN THEODORE J. ROSZAK ARTHUR OKAMURA PHILIP GUSTON CHARLES RAIN BEN SHAHN REUBEN TAM HAZEL JANICKI ABRAHAM RATTNER MARGARITA WORTH KARL KNATHS HEDDA STERNE 1961 JULIAN E. LEVI ANTHONY TONEY 1955 LEONARD BASKIN LESTER O. SCHWARTZ RALPH S. DU CASSE CHARLES BURCHFIELD 1951 FRANK DUNCAN DAVID PARK 1949 WILLIAM BAZIOTES LEONARD EDMONDSON JULIUS SCHMIDT CLAUDE BENTLEY BYRON BROWNE MORRIS GRAVES LOUIS BOSA ADOLPH GOTTLIEB MARGO HOFF 1963 FRED CONWAY CLEVE GRAY ROGER KUNTZ STUART DAVIS JOHN HEllKER MORRIS KANTOR GEORGE RATKAI LOREN MAC IVER CARL HOLTY LEO MANSO KARL ZERBE RICO LEBRUN MATTA 1965 ARTHUR OSVER GREGORIO PRESTOPINO 1957 FELIX RUVOLO KURT SEIIGMANN JAMES BROOKS DAVID ARONSON YVES TANGUY JEAN XCERON PAUL JENKINS JACOB EPSTEIN BRADLEY WALKER TOMLIN ERLE LORAN ELIAS FRIEDENSOHN SAIVATORE SCARPITTA 1952 JOHN HULTBERG SAMUEL ADLER WOLF KAHN TOM BENRIMO CARL MORRIS CAROL BLANCHARD CHARLES UMLAUF CARLYLE BROWN NICHOLAS VASILIEFF WILLIAM CONGDON WAITER MURCH RUFINO TAMAYO saij:s Many of the works in this exhibition are for sale. Visitors ore invited to obtain price information at the Museum office. The Krannert Art Museum reserves the right of priority in purchases mode from the exhibition. m m^^' km!*•'' "v/.y Fif.ii 'i;^^;,.K.. >;.''. :'',V.<;c<f;^^. m «<*;v^i>- •;-^^ To -\; V-iJ :v/';^,i">i 'r':/t 5;»?H-i *'5>Vl-.-tf /« r"<- I B-m 'ti' ."^.^'VA? 4;.'^;t;^ :?t;';:>v ^S^; m >,> x^:. y: 'n ri: J-1 "K .i •- 1. l.'< •' i', ^^^. CURRENT EVENTS An exhibition which includes over one hun- in which American artists are travehng today dred works produced by as many artists, rang- as possible, and we tried at all times to be ing in age from their early twenties to their guided by a sense of quality: that is, we early seventies, covers a lot of ground. We are hoped that each work we selected successfully looking at the results of a cultural develop- accomplished what it set out to do. Of course ment which has occupied two full generations, there were disappointments, and there may be and there are voices here which are speaking certain significant directions which are not in totally different languages. You cannot properly represented. The sense of quality is expect to find a common basis for all of these a very personal thing, and you as a spectator works, and you cannot judge them by a com- will undoubtedly criticize the critics as you mon standard. To the critic who is inter- make your own evaluations jmd judgments. ested in the evolution of style, some of the Many years ago the German art critic Wil- contrasts and confrontations which are the helm Finder wrote a perceptive though hardly result of chronology are bound to arouse se- definitive little book called Das Problem der rious problems of definition, analysis, and Generation in which he argued that the pre- evaluation. cise date of one's birth had a profound in- The present exhibition includes a far fluence on all subsequent developments within greater proportion of work by young artists the individual. This is obvious and of course than by old ones. This in itself is symp- true, but the implications of Finder's general- tomatic of our times and is as it should be. izations have not often been precisely studied Those of us who were responsible for the in relation to specific works of art. Perhaps if selection of the works were guided by two we look at the 110 works in this exhibition principal considerations. We hoped to include chronologically (not by date of execution, but examples of as many of the major directions by artist's birthdate), we shall be able to un- derstand some of the developments we have which were revolutionary were inevitably " lived through in a way that will give meaning linked to what had gone before in specific to forms which by themselves, isolated and evolutionary ways. In the field of the fine arts, unrelated to others, seem at first inexplicable. an appreciation of craftsmanship provided afl It will also bring us face to face with a cultural basis for development, even when everything problem which is not often realized by the else changed. But today, we are more and very young, but is very much an issue with more made aware of the fact that the cultural many others: the problem of the aging in- values of the past have not been transmitted novator. What happens to the artist who finds to young people in the same sense. These himself turning into a contemporary old values are probably better known than they ' master? Once an influence on others, a pace- ever were before (through books, reproduc- setter, an "original," he suddenly finds his tions, museums), but they remain detached younger contemporaries striking out in totally and unused.