William Baziotes Hans Hofmann Richard Pousette-Dart

Willem De Kooning Franz Kline Ad Reinhardt

Arshile Gorky Robert Motherwell Mark Rothko
Adolph Gottlieb Barnett Newman Clyfford Still

Philip Guston Jackson Pollock Bradley Walker Tomlin

 Digitized by the Internet Archive
in 2010 with funding from
Los Angeles County Museum of Art

http://www.archive.org/details/newyorkschoolfirOOIosa
Los Angeles County Museum of Art New York School
The First Generation

Paintings of the 1940s and 1950s

^«ly-i6 to August 1965, Lytton Gallery

1,
A catalogue of the exhibition with statements
by the artists and and a bibliography;
critics,

edited by Maurice Tuchman.

This exhibition was organized with the cooperation of the
Contemporary Art Council of the Los Angeles County Museum
of Art. The Council also contributed to the preparation of
the catalogue. The publication of the catalogue was underwritten
by the Members' Board of the Museum.

Library of Congress Catalogue Card No. 65-22603

Los Angeles County Los Angeles County Museum of Art

Board of Supervisors Board of Trustees Edward W Carter, President

Burton W. Chace, Chairman

Sidney E Brody, Vice president

Mrs. Freeman Gates, Vice President

Frank G. Bonelli
Franklin D. Murphy, Vice President
Kenneth Hahn
Mrs. Rudolph Liebig, Secretary
Ernest E. Debs
David E. Bright, Treasurer
Warren M. Dom
Howard Ahmanson John Rex

Richard E Brown Taft B. Schreiber

Justin Dart William T. Sesnon, Jr.

Charles E. Ducommun Norton Simon

Joseph B. Koepfli Mrs. Kellogg Spear

Charles O. Matcham MajTiard J. ToU

Vincent Price Mrs. Stuart E. Weaver, Jr.

Staff Richard E Brown, Director

Kenneth Donahue, Deputy Director

James Elliott, Chief Curator

Henry T. Hopkins, Chief of Educational Services

Talmadge L. Reed, Chief of Museum Operations
William Osmun, Senior Curator

William M. Hill, Senior Curator of Education

Ebria Feinblatt, Curator of Prints and Drawings

Stefania P. Holt, Curator of Textiles and Costumes

George Kuwayama, Curator of Oriental Art

Gregor Norman -Wilco.x, Curator of Decorative Arts

Maurice Tuchman, Curator of Modern Art

Eugene I. Holt, Assistant Curator

Ann A. Lafferty, Assistant Curator

Larry Curry, Research Assistant

L. Clarice Davis, Librarian

Frieda K. Fall, Registrar

Lenders to the Exhibition

Dr. and Mrs. Nathan Alpers, Los Angeles Mr. and Mrs. Joseph Slifka, New York
Richard Brown Baker, New York Mrs. Vicci Sperry, Los Angeles

Mr. and Mrs. Michael Blankfort, Los Angeles Dr. Ruth Stephen, Greenwich, Connecticut

Robert BoUt, New York Clyfford Still, Westminster, Maryland

Mr. and Mrs. David E. Bright, Beverly Hills Mr. and Mrs. Burton Tremaine, New York
Mr. and Mrs. Lee V. Eastman, Scarsdale Mr. and Mrs. Frederick R. Weisman, Beverly Hills
Mrs. Henry Epstein, New York J. Daniel Weitzman, New York
Equitable Life Assurance Company, New York
Mr. and Mrs. Philip Gersh, Beverly Hills Albright-Knox Art Gallery, Buffalo
Mr. and Mrs. L Donald Grossman, New York Baltimore Museum of Art, Baltimore
Philip Guston, Woodstock, New York Samuel S. Fleisher Art Memorial, Philadelphia
Robert H. Halff, Beverly Hills Krannert Art Museum, University of Illinois, Champaign
Joseph H. Hirshhom, New York Munson- Williams-Proctor Institute, Utica
Edwin Janss Jr., Thousand Oaks, California Museum of Modem Art, New York
Mr. and Mrs. William C. Janss, Palm Desert, California The Phillips Collection, Washington, D.C.

Carl W Johnson, Beverly Hills Sheldon Memorial Art Gallery, University of Nebraska, Lincoln
Mr. and Mrs. Eugene Y Kleiner, Beverly Hills University of Arizona Art Gallery, Tucson
Mr. and Mrs. Burt Kleiner, Beverly Hills University of California, Berkeley
Mr. and Mrs. Samuel M. Kootz, New York Whitney Museimi of American Art, New York
Julien Levy, Bridgewater, Connecticut

Mr. and Mrs. Wright Morris, Mill Valley, California Kasmin Gallery, London
Mrs. Annalee G. Newman, New York Kootz Gallery, New York
Mrs. Betty Parsons, New York Marlborough-Gerson Gallery, New York
Mr. and Mrs. Gifford Phillips, Santa Monica, California Betty Parsons Gallery, New York
Mrs. Barbara Reis Poe, Los Angeles
Richard Pousette-Dart, Suffern, New York
Ad Reinhardt, New York
Dr. and Mrs. Israel Rosen, Baltimore

Mrs. Arthur C. Rosenberg, Chicago

Mr. and Mrs. Pvobei-t Rowan, Pasadena
Peter Riibel, New York
Mr. and Mrs. Taft Schreiber, Beverly Hills
Mr. and Mrs. Robert C. Scull, New York
Mrs. Stanley Sheinbaum, Santa Barbara
Mr. and Mrs. Harry W Sherwood, Beverly Hills
Mr. and Mrs. Norton Simon, Los Angeles
Forword and Acknowledgements
7 \

This exhibition presents a sample of the work of Mrs. Ray Kaufman, Mr. Philip Meltzer, Mrs. Gerald
fifteen artists. They are commonly regarded as Rosen, Mrs. Harold Tanner.
the creators in New York, of a new American Mrs. Block and other volunteer workers were
painting, often called "abstract expressionism!' Each deeply involved in the preparation of this publication,
of the artists is represented by an average of especially Mrs. Monte Factor, Mrs. Valerie
eight paintings, which span the 1940s and 1950s. Newman and Arlene Quint.
The selection attempts to indicate the breadth in each For their dedicated contributions to the preparation

artist's evolution, as well as the birth and growth of the exhibition and catalogue, gratitude is due
of the New York School. Wherever possible works the following members of the Museum Staff:
selected had been exhibited in the forties or fifties. Mrs. Eugenie Klix, Curatorial Assistant, who worked
closely with me on every phase of the catalogue pro-
and Sandra Berman, Mrs. Florence Hairston,
duction,
I am most grateful to Lucy Lippard for her Ehzabeth Richter and Mrs. Sheila Shrum for then-
extraordinary contribution to the documentation in
assistance in preparing material for publication;
this catalogue. Lawrence Alloway was unfailingly
the Museum's Preparators, imder James Allen, Head
generous in providing information. For special
Preparator, installed the exhibition.
assistance thanks are also due Frederick R. Weisman
James Elliott, Chief Curator, constantly offered me
and Taft Schreiber. Bernard Karpel made the
invaluable advice at every stage in the process of
resources of the Library of the Museimi of Modem organizing the exhibition and preparing tlie book-
Art available to us in the midst of change and
catalogue. Henry Hopkins, Chief of Educational
expansion at that museimi; Cornelia Corson and
Services, was similarly generous and helpful
Inga Forslund of his staff were kind and most helpful
in realizing the entire project.
as always. For their advice and assistance I want
also to thank Irving Blum, Herschel Chipp, George Maurice Tuchman
Culler, Harold Diamond, Clement Greenberg, Director of the Exhibition

Thomas B. Hess, Sidney Janis, Paul Kantor,

Sam Kootz, Gerald Nordland, Frank O'Hara, Alfonso
Ossorio, Betty Parsons, Daniel and Eugenia Bobbins,
Dr. Israel Rosen and William Seitz.
A special committee of the Contemporary Art
Council of the Los Angeles County Museum of Art
researched collections in California and provided
the Curator with important information: my thanks
are due Mrs. Nathan Alpers, Mrs. Horace Block,
 Contents: New York School: The First Generation

Section I lo Statements by Artists

10 a) Statements by Artists

33 b) Group Statement

Section II 43 Writings by Critics

Section III 54 Catalogue and Reproductions

Section IV 209 Bibliography

210 a) Artists

1. Individual Bibliographies

2. Grouped Statements
(symposia, collections, etc.)

236 b) Critics

1. Writing on the New York School

2. Related Contemporary Writings

247 c) Catalogues & Reviews of Group Exhibitions

 Contents: Section I Statements bv Artists

A 10 Statements by Artists

10 William Baziotes
1 Willem De Kooning
13 Arshile Gorky

14 Adolph Gottlieb
16 Philip Guston

17 Hans Hofmann
18 Franz Kline

2 Robert Motherwell

22 Barnett Newman
24 Jackson Pollock

26 Richard Pousette-Dart

27 Ad Reinhardt

29 Mark Rothko
31 Clyfford Still

33 Bradley Walker Tomlin

B 33 Group Statements
William Baziotes

There is always a subject that is uppermost in my And if the artist's guardian angel should ask him "why
mind. Sometimes I am aware of it. Sometimes not. I work such desperation, my friend? why such a heaving of
on my canvas until I think it is finished. Often I the breast?" the artist could very truthfully answer,
recognize my subject at completion of the picture and "I am a strange creature, and strange most of all
again I may wait a long time before I know to myself. Evil temptsme as much as good. I would like to
what it is about. be the purest of men— and yet the lewd fascinates me.
From Personal Statement, 1945, A great love can bring tears to my eyes, yet at times you
David Porter Gallery have seen me gaze with delight at corrupted men.
I worship physical beauty like a Rubens— but then like
Griinewald, I must smell the sores of the leper. My fellow
work on many canvases at once. In the morning
I man may prefer heaven after death. But let me, when
I them up against the waU of my studio. Some speak;
line I die, have the freedom to ramble between

some do not. They are my mirrors. They tell me paradise and helll'
what I am like at the moment. And if all this seems strange to the practical man-
From Possibilities, no. 1, 1947-48 have they ever turned their eyes inward? Is murder their
waking thought? Or dream of ancient Greece
a their
joy in a joyless world? Have they lit the match
To be inspired. That is the thing. in the dark?
To be possessed; to be bewitched. No, practical men. Let the poet dream his dreams.
To be obsessed. That is the thing. Yet, the poet must look at the world, must enter into
To be inspired. other men's lives, must look at the earth and the
From Tiger's Eye, no. 5, October sky, must examine the dust in the street,
1948, p. 55 must walk through the world and his mirror.
.the poet must look at the world, must enter into
. .

other men's lives, must look at the earth and the sky, must
Everyone of us finds water either a symbol of peace or examine the dust in the street, must walk through
fear. I know I never feel better than when I gaze the world and his mirror.
for a long time at the bottom of a still pond. Look back— look now, poet, to your friends. There they
From a 1948 letter, quoted in stand in the past. The lonely village eccentric-
Location, no. 2, 1964 Cezanne. The pathetic mad van Gogh. The arthritic,
suffering Renoir, who could say, "the pain passes, but the
beauty remains!' And in our day, is there not something
Baudelaire said, / have a horror of being easily grand in the aged Matisse dreaming his dream of
understood. the joy of life? Or the famous and wealthy Picasso,
For the modem artist, an early understanding— an easy painting the furies of the heart that only those
acceptance— would be a sensation similar to those condemned can ever feel? Or Miro, singing his fantastic
great waving moments of the hand on the seismograph songs about the moon, when all men walk with their
as it heralds the coming of death. All is lost! he'd eyes cast upon the ground? There they stand,
cry, and like Hamlet he would wish "to die, to sleep. . . V artist— your friends.
 Willem De Kooning

make The word "abstract" comes from the lighttower 11

And when the demagogues of art call on you to

the social art, the intelligible art, the good art- of philosophers, and it seems to be one of their spotlights
spit down on them, and go back to your dreams: that they have particularly f ocussed on "Art!' So the
the world— and your mirror. artist is always lighted up by it. As soon as it—
From "The Artist and his Mirror" I mean the "abstract"— comes into painting, it ceases to be
in Right Angle, vol. 3, no. 2, June what it is as it is written. It changes into a feeling
1949 P- 2, 3 which could be explained by some other words, probably
But one day, some painter used "Abstraction" as a
title for one of his paintings. It was a still life.
It is the mysterious that I love in painting. It is the
stillness and the silence. I want my pictures to take effect
And it was a very tricky title. And it wasn't really a very
very slowly, to obsess and to haunt.
good one. From then on the idea of abstraction became

From It Is, Autumn something extra. Immediately it gave some people

1959
the idea that they could free art from itself. Until then.
Art meant everything that was in it— not what you could
take out of There was only one thing you coiild
it.

take out of sometime when you were in the right mood

it

—that abstract and indefinable sensation, the esthetic

part— and still leave it where it was. For the painter to
come to the "abstract" or the "nothing" he needed many
things. Those things were always things in life— a horse,
a flower, a milkmaid, the light in a room through a
window made of diamond shapes maybe, tables, chairs,
and so forth. The painter, it is true, was not always
completely free. The things were not always of his own
choice, but because of that he often got some new ideas.
The esthetics of painting were always in a state of
development parallel to the development of
painting itself. They influenced each other and vice versa.
But all of a sudden, in that famous turn of the century,
a few people thought they could take the bull by
the horns and invent an esthetic beforehand. After
immediately disagreeing with each other, they began to
form all kinds of groups, each with the idea of freeing art,
and each demanding that you should obey them. Most
of these theories have finally dwindled away into
politics or strange forms of spiritualism. The question,
as they saw it, was not so much what you could paint
but rather what you could not paint. You could not paint
a house or a tree or a mountain. It was then that
12 subject matter came into existence as something you Instead it added something to it. The parts that I

ought not to have. can appreciate in other movements came out of Cubism.
This pure form of comfort became the comfort of Cubism became a movement, it didn't set out to be one.
"pure form!' It has force in it, butit was no "force-movement!"

Kandinsky understood "Form" as a form, like an And then there is that one-man movement. Marcel
object in the real world; an object, he said, was Duchamp— for me a truly modem movement because it
a narrative— and so of course, he disapproved of it. implies that each artist can do what he thinks he
He wanted his "music without words!' He wanted to be ought to— a movement for each person and
"simple as a child!' He intended, wdth his "inner-self" to open for everybody.
rid himself of "philosophical barricades" (he sat down From What Abstract Art Means to

and wrote something about all this) But in turn his . Me, Museum of Modern Art
own writing has become a philosophical barricade, even Bulletin, vol. 18, no. 3, Spring
if it is a barricade full of holes. It offers a kind 1951
ofMiddle-European idea of Buddhism or, anyhow,
something too theosophic for me. Each new glimpse is determined by many.
The sentiment of the Futurists was simpler. No space. Many glimpses before.
Everything ought to keep on going! That's probably It's this glimpse which inspires you— like an occurence
the reason they went themselves. Either a man was a And I notice those are always my moments of having an
machine or else a sacrifice to make machines vsdth. idea
The moral attitude of Neo-Plasticism is very much like That maybe I could start a painting.
that of Constructivism, except that the Constructivists
Everything is already in art— like a big bowl of soup
wanted to bring things out in the open and
Everything is in there already:
the Neo-Plasticists didn'twant anything left over.
And you just stick your hand in, and find something for
I have heard a lot from all of them and they have
you.
confused me plenty too. One thing is certain, they didn't
But it was already there— like a stew.
give me my natural aptitude for drawing. I am
completely weary of their ideas now. way of looking work by
There's no at a of art itself
The only way I still think of these ideas is in terms of
It's not self-evident
the individual artists who came from them or
It needs a history; it needs a lot of talking about:
invented them. . . .
part of a whole man's life.
It's
The point they all had in common was to be both inside
and outside at the sametime. A new kind of likeness! Y' know the real world, this so-called real world.
The likeness of the group instinct. Is just something you put up with, like everybody else.

Personally, I do not need a movement. What was given I'm in my element when I am a little bit out of this
to me, I take for granted. Of all movements, I like world:
Cubism the most. had that wonderful unsure
It then I'm in the real world— I'm on the beam.
atmosphere frame where something
of reflection— a poetic Because when I'm falling, I'm doing all right;
could be possible, where an artist could practise his when I'm slipping, I say, hey, this is interesting!
intuition. It didn't want to get rid of what went before. It's when I'm standing upright that bothers me:
 Arshile Gorky

I'm not doing so good; I'm stiff. I call these murals non-objective art . . . but if labels are
As a matter of fact, I'm reaUy slipping, most of the time, needed this art may be termed surrealistic, although
into that glimpse. I'm like a slipping glimpser. it functions as design and decoration. The murals have
continuity of theme. The tlieme—visions of the sky
I get excited just to see
and river. The coloring likewise is derived from this and
That sky is blue; that earth is earth.
the whole design is contrived to relate to
And that's the hardest thing: to see a rock somewhere,
the very architecture of the building.
And there it is: earth-colored rock,
might add that though the various forms all had
I
I'm getting closer to that.
specific meanings to me, it is the spectator's privilege to

Then there is a time in life when you just take a walk: find his own meaning here. I feel that they will

And you walk in your own landscape. relate to or parallel mine.

Of course the outward aspect of my murals
From Sketchbook i: Three Ameri-
seemingly does not relate to the average man's
cans, film script, New York, Time,
experience. But this an allusion! What man has not
is
Inc., i960, pp. 6, 7, 8, 9, 10
stopped at twilight and on observing the distorted shape
of his elongated shadow conjured up strange and
moving and often fantastic fancies from it? Certainly we
all dream and in this common denominator of every

one's experience 1 have been able to find a language for

all to understand.
From article and interview with
Malcolm Johnson in the
New York Sun, August 22, 1941

I like the heat the tenderness the edible the lusciousness

the song
of a single person the bathtub full of water to bathe
myself beneath
the water. I like Uccello Griinewald Ingres the drawings
and sketches
for paintings of Seurat and that man Pablo Picasso.
I measure by weight.
all things

I love my Mougouch. What about Papa Cezanne.

I hate things that are not like me and all the things I

haven't got
are god to me.
Permit me—
I like the wheatfields the plough the apricots the shape of
apricots
 Adolph Gottlieb

those flirts of the sun. And bread above all. You must admit . . .that knowledge of dimensions is a
My liver is sick with the purple. result of experience. Knowledge of science, of history,
About 194 feet away from our house on the road to of history of art— the significance we attach to them—
the spring my father had a little garden with a is a complex of all knowledge about things. Vision gives us
few apple trees which had retired from gi\dng fruit. little understanding of them. When I say I am reaching
There was a ground constantly in shade where grew mean that I take the things I
for a totality of vision, I
incalculable amounts of wild carrots and porcupines know—hand, nose, arm— and use them in my paintings
had made their nests. There was a blue rock half after separating them from their associations as anatomy.
buried in the black earth with a few patches of moss I use them what they mean to me.
as a totality of
placed here and there like fallen clouds. But from It's a primitive method, and a primitive necessity of

where came all the shadows in constant battle like expressing, \\'ithout learning how to do so by conventional
the lancers of Paolo Uccello's painting? This garden ways. ... It puts us at the beginning of seeing.
was Garden of Wish Fulfillment
identified as the From Limited Edition, December
and often I had seen my mother and other
1945
village women opening their bosoms and taking their
soft and dependable breasts in their hands to rub

them on the rock. Above all this stood an enormous Certain people always say we should go back to
tree all bleached under the sun the rain the cold
nature. I notice they never say we should go forward to

and deprived of leaves. This was the Holy Tree. nature. It seems to me they are more concerned that

I myself do not know why this tree was holy

we should go back, than about nature.

but I had witnessed many people whoever did pass If the models we use are the apparitions seen in a

by that would tear voluntarily a strip of their clothes dream, or the recollection of our pre-historic past, is this
less part of nature or realism, than a cow in a
and attach this to the tree. Thus through many
field? I think not.
years of the same act like a veritable parade
of banners under the pressure of wind all these
The role of the artist, of course, has always been that of

personal inscriptions of signatures very softly to my image-maker. Different times require different images.

innocent ear used to give echo to the sh-h-h of Today when our aspirations have been reduced to a
silver leaves of the poplars.
desperate attempt to escape from evil, and times are out of
joint, our obsessive, subterranean and pictographic
Written in June 1942, at request of
images are the expression of the neurosis which is our
Dorothy Miller about the painting
reality. To my mind certain so-called abstraction is
"Garden in Sochi" which tlie
not abstraction at all. On the contrary, it is the
Museum of Modern Ai't
reafism of our time.
had just acquired.
From Tiger's Eye, no. 2, December
From the Collections Archives,
1947, P- 43
Museum of Modern Art,
New York, June 1942
I adopted the term Pictograph for my paintings . . .

out of a feeling of disdain for the accepted notions of

what a painting should be. This was in 1941. 1 decided
 15
that to acquiesce in the prevailing conception of boring. Subjective images do not have to have rational
what constituted 'good painting' meant the acceptance of association, but the act of painting must be rational,
an academic strait-jacket. It was therefore necessary for objective and consciously disciplined. I consider myseK a
me to utterly repudiate so-called 'good painting' in traditionaUst, but I believe in the spirit of tradition,
order to be free to express what was visually true for me. not in the restatement of restatements. I love all paintings
My Pictographs have been linked with totem-poles, that look the way I feel.
Indian wi'iting, psychoanalysis, neo-primitivism, private From The New Decade, Whitney
symbolism, etc., the implication being that my work Museum of American Art, New
is not quite what painting should be. This has never York, 1955, pp. 35-36
disturbed me because my aim has always been to project

images that seem vital to me, never to make paintings

that conform to the pattern of an external standard.
Now in 1955, as in the early '40s and before, I am still
concerned with the problem of projecting intangible
and elusive images that seem to me to have meaning
in terms of feeling. The important thing is to transfer the

image to the canvas as it appears to me, without

distortion. To modify the image would be to falsify it,

therefore 1 must accept it as it is. My criterion is

the integrity of the projection.
I frequently hear the question, 'What do these images
mean?' This is simply the wrong question. Visual images
do not have to conform to either verbal thinking or
optical facts. A better question would be 'Do these images
convey any emotional truth?'
This, of course, indicates my belief that art should
communicate. However, have no desire to communicate
I

with everyone, only with those whose thoughts and

feelings are related to my own. That is why, even
to some pundits, my paintings seem cryptic. Thus when
we are solemnly advised to consolidate our gains,
to be humanists or to go back to nature, who listens
seriously to this whistling in the dark?

Painting values are not just black and white— I prefer

innocent impurity to doctrinaire purism, but I prefer
the no-content of purism to the shoddy content of social
realism. Paint quality is meaningless if it does not
express quality of feeling. The idea that a painting is

merely an arrangement of lines, colors and forms is

Philip Guston

Painting permits, ultimately, the joys of the possible. painting. And unless you keep going through up to that
But the narrow passage to this domain of the possible, time, no matter what in particular the picture looks like-
suppresses any illusion of mastery. you don't know what it's looking like
as a matter of fact,
Only our surprise that the unforeseen was fated, allows —but unless you work up until that point— when you don't
the arbitrary to disappear. The delights and anguish even know what you're "seeing" but suddenly make a
of the paradoxes on this imagined plane resist the vault and "see"— you are not finished, no matter how great
threat of painting's reducibility. and reasonable your ideas or intentions are. This sounds
The poise, the isolation, of the image containing the nagging and tedious, but that's the way it is.
memory of its past and promise of change is neither a The reasons for this condition are plaguing and not
possession nor is it frustrating. The forms, having known easily understood. When you do not paint from things or
each other differently before, advance yet again, their ideas— when there is no model, in others words-
gravity marked by their escape from inertia. certainly something else is happening and that is the
Painting is a clock that sees each end of the street as constant question, "What is happening?"
the edge of the world. I believe it was John Cage who once told me, "When

From It Is, no. i. Spring 1958, you start working, everybody is in your studio— the past,
p. 44 your friends, enemies, the art world, and above all,
your own ideas— all are there. But as you continue
I find it difficult to take a large view of things. The painting, they start leaving, one by one, and you are left
pressing thing for me in painting is "When are completely alone. Then, if you're lucky, even you leave!'
you through?" I would like to think a picture is finished Well, there is always a strange assumption behind
when it feels not new, but old. As if its forms had lived panels or discussions on art: that it should be understood.
a long time in you, even though until it appears you did . .mean the assumption that art should be made
.1

not know what it would look like. It is the looker, not clear. For whom? Someone once said, speaking about the

the maker, who isso hungry for the new. The new public, thatif a violinist came on the concert stage

can take care of itself. and played his violin as if to imitate the sound of a train
Every idea that I have now or get about painting seems coming into the station, everyone would applaud. But if
to follow from the daily work: from an in-fighting in he played a sonata, only the initiated would applaud.
painting itself— in the confusion of painting. What can be What a miserable alternative. The implication is that in
talked about? It seems that the possible subject is in the first case the medium is used to imitate something else
fact impossible to discuss. As you paint, changing and and in the latter, as they say, is pure or abstract. But
destroying, nothing can be assumed. You remove isn't it so that the sonata is above all an image? An image
continually what you can not vouch for or are not yet of what? We don't know, which is why we continue
ready to accept. Until a certain moment. listening to it.

I feel like insisting on this one point. The only morality There is something ridiculous and miserly in the myth
in painting revolves around the moment when you are we inherit from abstract art: That painting is
permitted to "see" and the painting takes over. You can't autonomous, pure and for itself, and therefore we
jimip the gun. You can't put yourself into that state by habitually analyze its ingredients and define its limits.

merely wanting to see; but the painter knows when that But painting is "impure!' It is the adjustment of
time comes. Which is why there is only realism in "impurities" which forces painting's continuity. We are
 Hans Hofniann

image-makers and image-ridden. There are no "vviggly or America is at present in a state of cultural blossoming.
straight lines" or any other elements. You work until I am supposed to have contributed my share as teacher and
they vanish. The picture isn't finished if they are seen. artist by the offering of a multiple awareness. This

From It Is, no. 5, Spring i960, awareness I consider to constitute a visual experience

PP- 36, 37, 38

and a pictorial creation.
"Seeing" without awareness, as a visual act, is just short

of blindness. "Seeing" with awareness is a visual

experience; it is an art.
We must learn to see. The interpretation in pictorial
terms of what we see is "another" art.

Every act of pictorial creation has, therefore, a dual

conceptual approach.
The origin of creation is, therefore, a reflection of nature
on a creative mind:
We are natiu-e
What surrounds us is nature
Our creative means are nature
Nothing, however, will happen without the creative
faculties of our conscious-and-unconscious mind.
One of these faculties is an awareness of space in every
form of manifestation: either
a) in the form of movement and counter-movement,
with the consequence of rhythm and counter-
rhythm; or
b) in the form of force and counter-force in a two-
dimensional and three-dimensional play in every
direction; or
c) in the form of tension as a result of these forces.
The pictorial life as a pictorial reality results from the
aggregate of two- and three-dimensional tensions: a
combination of the effect of simultaneous expansion and
contraction with that of push and pull.
The nature of the light-and-color problem in the plastic
arts cannot be fully understood without an awareness
of the foregoing considerations. Color and light are to a
very great extent subjected to the formal problems
of the picture surface.
The color problem follows a development that makes it
a life- and light-emanating plastic means of first order.
 Franz Kline

Like the picture surface, color has an inherent life of Kline: It wasn't a question of deciding to do a black-and-
its own. A picture comes into existence on the basis of the white painting. I think there was a time when the
interplay of this dual life. In the act of predominance original forms that finallycame out in black and white
and assimilation, colors love or hate each other, thereby were in colour, say, and then as time went on I
helping to make the creative intention of the artist painted them out and made them black and white.
possible. And then, when they got that way, I just liked them, you
Talent is, in general, common— original talent is rare. know. I mean there was that marvellous twenty-minute
A teacher can only accompany a talent over a certain experience of thinking, well, all my life has been
period of time— he can never make one. As a teacher, wasted but that marvellous— sort of thing.
I approach my students purely with tlie human desire to
free them from all scholarly inhibitions. Kline: ... I didn't have a particularly strong desire to use
And I teU them, colour, say, in the lights or darks of a black-and-white
"Painters must speak through paint- painting, although what happened is that accidentally
not through words!' they look that way. Sometimes a black, because of
From It Is, no. 3, Winter-Spring, the quantity of it or the mass or the volume, looks as

1959, p. 10 though it may be a blue-black, as if there were blue mixed

in with the black, or as though it were a brown-black
or a red-black. No, I didn't have any idea of mixing up
different kinds of blacks; as a matter of fact,
I just used any black that I could get hold of.

Kline: The whites the same way; the whites, of course,

turned yellow, and many people call your attention
to that,you know; they want white to stay white forever.
It doesn't bother me whether it does or not. It's still

white compared to the black.

Sylvester: Is it the case that you have been veiy much

consciously concerned with equalizing the black
and white on the canvas to make them part of the surface?

Kline: No, no. When that finally came across me, it was
through reading somebody talking about it that way.
People have written on that, when they've brought in that
everything is the same, brought in a httle of Zen, and
space, and the infiinite illusion of form in space.
No, I don't think about it that way. I mean, I don't think

about it either as calligraphy or infinite space. Coming

from the tradition of painting the areas which, I think,
 .

19
came to its reality here through the work of Mondrian— in Sylvester:But there is no sort of preconception as to
other words, everything was equally painted— I don't what the thing ought to be?
mean that it's equalized, but I mean the white
or the space is painted, it's not. . .
Kline: No. Except— except paint never seems to behave the
same. Even the same paint doesn't, you know. In other
words, if you use the same white or black or red, through
Sylvester: Black on white?
the use of it, it never seems to be the same. It doesn't

dry the same. and look at you the same

It doesn't stay there
Kline: That's right. In other words, calHgraphy is simply way. Other things seem to affect it. There seems to be
the art of writing. something that you can do so much with paint and
after that you start miu-dering it. There are moments or

Kline: You don't make the letter 'C and then fill the periods when it would be wonderful to plan something
. . .

white in the circle. When people describe forms of and do it and have the thing only do what you planned to
mean the do, and then, there are other times when the destruction
painting in the calligraphic sense they really
linear, inscribing or drawing or so on. No, I didn't have of those planned things becomes interesting to you.
So then, it becomes a question of destroying— of destroying
this feeling that painting was the equalization of the
proportions of black or the design of black against a form the planned form; it's like an escape, it's something
apparently it does look to do; something to begin the situation. You yovirself, you
of white; but, in a lot of cases,
if you want to paint you have to
don't decide, but
that way. I rather imagine as people have come from the
tradition of looking at drawing, they look at the lines,
End out some way to start this thing off, whether it's
and then some drawing painting it out or putting it in, and so on.
until you go to art school
teacher tells you to look at the white spaces in it;
Kline: It can at times become like the immediate
but I didn't think about the black-and-white paintings as
experience of beginning it; in other words, I can begin
coming that way. I thought about it in a certain sense if I decide it would be nice to have a large
a painting
of the awkwardness of 'not-balance^ the tentative reality
triangle come up and meet something that goes across like
of lack of balance in it. The unknown reason why this. Now, on other occasions, I can think the whole
a form would be there and look just like that and not thing through. The triangle needs an area that goes this
meaning anything particularly, would, in some way and then at the top something falls down and hits
haphazard way, be related to something else
about here and then goes over there. So I try and rid
that you didn't plan either.
my mind of anything else and attack it immediately from
that complete situation. Other times, I can begin it with
Kline: ... I don't like to manipulate the paint in any way meeting a large form that goes over
just the triangle

in v/hich it doesn't normally happen. In other words, that way, and when I do it, it doesn't seem like anything.
I wouldn't paint an area to make texture, you see? And I When this series of relationships that go on in the
wouldn't decide to scumble an area to make it more painting relate— I don't particularly know what they
interesting tomeet another area which isn't interesting relateto— but the relationship of those forms, I, in some
enough. I love the idea of the thing happening that way, try to form them in the original conception of what I
way and through the painting of it, the form of the black rather imagined they would look like. Well then,
or the white come about in exactly that way, plastically. at times, it's a question of maybe making them more than
 .

that. You see what I mean. It'd be a question of, say, so that the overall thing has that particular emotion;
eliminating the top or the bottom. Well, can go through I not particularly just the forms in it.

and destroy the whole painting completely without From an interview with David
even going back to this original situation of a triangle and Sylvester published in Living Arts
a long line, which seems to appear somewhere else in (London), vol i, no. i, Spring 1963
the painting. When it appears the way I originally
thought it should, boy, then it's wonderful!

Kline: ... if someone says, 'that looks like a bridge^ it

doesn't bother me really. A lot of them do. ... I like

bridges. . . . Naturally, if you title them something

associated with that, then when someone looks at it in the
he says, 'he's a bridge painterj you know.
literary sense, . .

There are forms that are figurative to me, and if they

develop into a figiu-ative image that's— it's all right

if they do. I don't have the feeling that something has to be

completely non-associative as far as figure form is
concerned. ... I think that if you use long lines, they
become— what could they be? The only thing they could
be is either highways or architecture or bridges.

Kline: ... it is nice to paint a happy picture after a sad

one. I think that there is a kind of loneliness in a lot
of them which I don't think about as the fact that I'm
lonely and therefore I paint lonely pictures, but I Hke kind
of lonely things anyhow; so if the forms express that to
me, there is a certain excitement that I have about that.
Any composition— you know, the overall reality of
that does have something to do with it; the impending
forms of something, do maybe have a brooding quality,
whereas in other forms, they would be called
or considered happier.

Sylvester: Are you aware of these qualities when you are

actually painting or only after you have finished
the painting?

Kline: No, I'm aware of them as I paint. I don't mean that

I retain those. What I try to do is to create the painting
Robert Motherwell

As a result of the poverty of modern life, we consciously or not, or may be betrayed— the hazards are so
are confronted with the circumstance that art is more great that not more than five out of a whole young
interesting than "Experience is bound to utility',' as
life. generation are able to develop to the end. And for the most
Andre Breton "and guarded by common sense'.'
says, part it is the painting of mature men which is best.
The pleasurable "things" of other times for the most part The importance of the one-man show of yoimg Jackson
no longer exist, and those which do no longer suffice. Pollock (Art of This Century) lies just in this, that he
With what our epoch meant to replace the wonderful represents one of the younger generation's chances.
things of the past— the late afternoon encounters, There are not three other young Americans of whom this
the leisurely repasts, the discriminations of taste, the could be said. In his exhibit Pollock reveals extraordinary
graces of maimers, and the gratuitous cultivation gifts: his color sense is remarkably fine, never
ofminds— what we might have invented, perhaps we shall exploited beyond its proper role; and his sense of surface
never know. We have been too busy with tasks. At what is equally good. His principal problem is to discover what
other time could the juxtaposition of a bright square his true subject is. And since painting is his thought's
on a white ground have seemed so portentous! medium, the resolution must grow out of the
The Surrealists alone among modern artists refused to process of his painting itself.

shift the problem to the plane of art. Ideally speaking, From Partisan Review, vol. 1 1, no.
superrealism became a system for enhancing everyday 1, Winter 1944, pp. 96,97
life. True, the Surrealists were always saying that "poetry
should be made by all"; but they did not mean
preciselywhat we have always meant by poetry. If they
had been successful, we might not have needed "poetry" at
all. Still, their various devices for finding pleasure-
spiritual games, private explorations, public provocations,
sensory objects, and all the rest— were artificial enough
abroad before the war. In the hard and conventional
English-speaking world the devices simply could
not work. Here it was the Surrealists who were

transformed. And it may be that their pioneer, and

therefore often naive effort to enhance the life of the
modem mind will be forgotten.

Certain individuals represent a young generation's

artistic chances. There are never many such individuals
in a single field, such as painting— perhaps a hiuidred
to begin with. The hazards inherent in man's many
relations with reality are so great— there is disease and
premature death; hunger and alcoholism and frustration;
the historical moment may turn wrong for painters: it

most often does; the young artist may betray himself.

 . .

Barnett Newman

The Kwakiutl artist painting on a hide did not concern is a group of artists who are not abstract painters,
himself with the inconsequentials that made up the although working in what is known as the abstract style.

opulent social rivalries of the Northwest Coast Indian From The Ideographic Picture,
scene, nor did he, in the name of a higher purity, renounce Betty Parsons Gallery, January 20-
the living world for the meaningless materialism February 8, 1947
of design. The abstract shape he used, his entire plastic
language, was directed by a ritualistic will towards The invention of beauty by the Greeks, that is, their
metaphysical understanding. The everyday realities postulate of beauty as an ideal, has been the bugbear
he left to the toymakers; the pleasant play of nonobjective of European art and European aesthetic philosophies.
pattern to the women basket weavers. To him a shape Man's natural desire in the arts to express his relation to

was a living thing, a vehicle for an abstract thought- the Absolute became identified and confused with
complex, a carrier of the awesome feelings he felt before the absolutisms of perfect creations— with the fetish of

the terror of the unknowable. The abstract shape was, quality— so that the European artist has been continually
therefore, real rather than a formal "abstraction" of a involved in the moral struggle between notions

visual fact, with its overtone of an already-known nature.

of beauty and the desire for sublimity. . .

Nor was it a purist illusion with Michaelangelo knew that the meaning of the Greek
its overload of
humanities for his time involved making Christ— the man,
pseudo-scientific truths.
into Christ— who is God; that his plastic problem
The basis of an aesthetic act is the pure idea. But the
was neither the medieval one, to make a cathedral, nor the
pure idea is, of necessity, an aesthetic act. Here then is the
Greek one, to make a man like a god, but to make a
epistemological paradox that is the artist's problem.
cathedral out of man. In doing so he set a standard for
Not space cutting nor space building, not construction
sublimity that the painting of his time could not
nor fauvist destruction; not the pure line, straight and reach. Instead, painting continued on its merry quest for
narrow, nor the tortured line, distorted and humiliating; a voluptuous art vmtil in modern times, the
not the accurate eye, all fingers, nor the wild eye of Impressionists, disgusted with its inadequacy, began the
dream, winking; but the idea-complex that makes contact movement to destroy the established rhetoric of
with mystery— of life, of men, of nature, of the hard, beauty by the Impressionist insistence on a surface of

black chaos that is death, or the grayer, softer chaos ugly strokes.
that is tragedy. Everything else has everything else. The impulse of modem art was this desire to destroy

Spontaneous, and emerging from several points, there beauty. However, in discarding Renaissance notions of
beauty, and without an adequate substitute for a
has arisen during the war years a new force in
sublime message, the Impressionists were compelled to
American painting that is the modem counterpart of the
preoccupy themselves, in their struggle, with the culture
primitive art impulse. As early as 1942, Mr. Edward
values of their plastic history so that instead of
Alden Jewell was the first publicly to report it. Since then,
evoking a new way of experiencing life they were able
various critics and dealers have tried to label it, to only to make a transfer of values. . .

describe it. It is now time for the artist himself, by So strong is the grip of the rhetoric of exaltation as an
showing the dictionary, make clear the community of
to attitude in the large context of the European culture
intention that motivates him and his colleagues. For here pattern that the elements of sublimity in the revolution we
know as modem art, exist in its effort and energy outmoded and antiquated legend. We are creating images 23

to escape the pattern rather than in tlie realization of a whose reality is seff-evident and which are devoid of
new experience. Picasso's effort may be sublime but there the props and crutches that evoke associations with
is no doubt that his work is a preoccupation with outmoded images, both sublime and beautiful. We are
the question of what is the nature of beauty. Even freeing ourselves of the impediments of memory,
Mondrian, in his attempt to destroy the Renaissance association, nostalgia, legend, myth, or what have you,

picture by his insistence on pure subject matter, succeeded that have been the de\-ices of Western European painting.
only in raising the white plane and the right angle Instead of making cathedrals out of Christ, man, or
into a realm of sublimity, where the sublime "life" we are making it out of ourselves, out of our own

paradoxically becomes an absolute of perfect sensations. feelings. The image we produce is the self-evident one of

The geometry (perfection) swallowed up his revelation, real and concrete, that can be understood

metaphysics (his exaltation). by anyone who wdll look at it without the

The failure of European art to achieve the sublime is nostalgic glasses of history.

due to this blind desire to exist inside the reality From Tiger's Eye, vol. i, no. 6,
of sensation (the objective world,whether distorted or December 15, 1948, pp. 51, 52, 53
pure) and to build an art within a framework of
pure plasticity (the Greek ideal of beauty, whether that
Greece named both form and content; the ideal form-
plasticity be a romantic active surface, or a classic stable
beauty, the ideal content— tragedy.
one) In other words,
. modem art, caught without a
It is interesting that when the Greek dream prevails in
sublime content, was incapable of creating a new sublime
our time, the European artist is nostalgic for the
image, and unable to move away from the Renaissance
ancient forms, hoping to achieve tragedy by depicting his
imagery of figures and objects except by distortion or by
self-pity over the loss of the elegant column and
denying it completely for an empty world of geometric
the beautiful profile. This tortured emotion, however,
formalisms— a pure rhetoric of abstract mathematical
agonizing over the Greek objects, is always refined.
relationships, became enmeshed in a struggle over
Everything is so highly civilized.
the nature of beauty; whether beauty was in nature or
The artist in America is, by comparison, like a
could be found without nature.
barbarian. He does not have the super-fine sensibility
I some of us, free from the
believe that here in America,
toward the object that dominates European feeling. He
weight European culture, are finding the answer,
of
does not even have the objects.
by completely denying that art has any concern with the
This is, then, our opportunity, free of the ancient
problem of beauty and where to find it. The question
paraphernalia, to come closer to the sources of the tragic
that now arises is how, if we are living in a time
emotion. Shall we not, as artists, search out the
without a legend or mythos that can be called sublime, if
new objects for its image?
we refuse to admit any exaltation in pure relations,
From Tiger's Eye, no. 3, March
if we refuse to live in the abstract, how can we be creating
1948, p. Ill
a sublime art?
We are reasserting man's natural desire for the exalted,
for a concern with otir relationship to the absolute The central issue of painting is the subject-matter. Most
emotions. We do not need the obsolete props of an people think of subject-matter as what Meyer Schapiro
 Jackson Pollock

has called "object-matter!' It is the "object-matter" Where were you bom?

that most people want to see in a painting. That is what, Cody, Wyoming, in January, 1912. My ancestors were
for them, makes the painting seem full. For me both the Scotch and Irish.
use of objects and the manipulation of areas for
the sake of the areas themselves must end up being Have you traveled any?
anecdotal. My subject is anti-anecdotal. An anecdote can knocked around some in California, some in Arizona.
I've

be subjective and internal as well as of the external world Never been to Europe.
so that the expression of the biography of seK or
the intoxicated moment of glowing ecstasy must in the Would you like to go abroad?
end become anecdotal. All such painting is essentially
also No. I don't see why the problems of modem painting can't
episodic which means it calls for a sequel. This must be solved as well here as elsewhere.
happen if a painting does not give a sensation of wholeness
or fulfillment. That is why I have no interest in
Where did you study?

the episodic or ecstatic, however abstract.

At the Art Student's League, here in New York. I began
I am always referred to in relation to my color. Yet I when I was seventeen. Studied with Benton, at the
know that if I have made a contribution, it is primarily in League, for two years.

my drawing. The impressionists changed the way

of seeing theworld through their kind of drawing; the
How did your study with Thomas Benton
affect your work, which differs so radically from his?
cubists saw the world anew in their drawing, and I hope
that I have contributed a new way of seeing through My work with Benton was important as something
drawing. Instead of using outlines, instead of making
against which to react very strongly, later on; in this it

was have worked with him than with a

better to
shapes or setting off spaces, my drawings declare
less resistant personality who would have provided a much
the space. Instead of working with the remnants of space,
less strong opposition. At the same time, Benton
I work with the whole space.
meaning, but the meaning must come from
It is full of
introduced me to Renaissance art.

the seeing, not from the talking. I feel, however,

that one of its implications is its assertion of freedom,
Why do you prefer living here in New York to your
its
native West?
denial of dogmatic principles, its repudiation of
Living is keener, more demanding, more intense and
all dogmatic Almost 15 years ago Harold Rosenberg
life.

challenged me to explain what one of my paintings

expansive in New York than in the West; the stimulating
influences are more numerous and rewarding. At
could possibly mean to the world. My answer was that if
the same time, I have a definite feeling for the West: the
he and others could read it properly it would mean
vast horizontality of the land, for instance; here
the end of all state capitalism and totalitarianism. That
only the Atlantic ocean gives you that.
answer still goes.
From an interview with Dorothy
Has being a Westerner affected your work?
Seckler in Art in America, vol. 50,
Ihave always been very impressed with the plastic
no. 2, Summer 1962, pp. 83, 86-87
qualities ofAmerican Indian art. The Indians have the
true painter's approach in their capacity to get hold
of appropriate images, and in their understanding of what
constitutes painterly subject-matter. Their color Abstract painting is abstract. It confronts you. There 25

is essentially Western, their vision has the basic was who wrote that my
a reviewer a while back
universality of all real art. Some people find references to pictures didn't have any beginning or any end. He didn't
American Indian art and calligraphy in parts of my mean it as a compliment, but it was. It was a fine
pictures. That wasn't intentional; probably was the result compliment.
of early memories and enthusiasms. From the New Yorker, August 5,
1950, p. 16
Do you consider technique to be important in art?
Yes and no. Craftsmanship is essential to the artist. He
I've had a period of drawing on canvas in black— with
needs it just as he needs brushes, pigments, and
a surface to paint on. some of my early images coming thru— think the
non-objectionists will find them disturbing— and the kids
Do you find it important that many famous modem who think it simple to splash a Pollock out.
European artists are living in this country?
From an unpublished letter to
Yes. I accept the fact that the important painting of the
Alfonso Ossorio and Edward
last hundred years was done in France. American painters
Dragon, June 7, 1951
have generally missed the point of modem painting
from beginning to end. (The only American master who
interests me is Ryder.) Thus the fact that good European
modems are now here is very important, for they
bring with them an understanding of the problems of
modern painting. I am particularly impressed with their
concept of the source of art being the unconscious.
This idea interests me more than these specific painters do,
for the two artists I admire most, Picasso and Miro,
are still abroad.

Do you think there can be a purely American art?

The idea of an isolated American painting, so popular in
this country during the thirties, seems absurd to me,
just as the idea of creating a purely American
mathematics or physics would seem absurd. . . . And in
another sense, the problem doesn't exist at all; or, if it did,

would solve itself: An American is an American

and his painting would naturally be qualified by that
fact, whether he wills it or not. But the basic problems of
contemporary painting are independent of any one
country.
From Arts and Architecture,
February 1944, p. 14
 Richard Pousette-Dart

26 AH art is abstract, and all abstract work must needs be personally experienced. We must go to them and look at
of nature because we are of nature. Art is universal them, and within them find reflected our own
in its form. It matters not to true contemporary or experience, as well as inspiration for otu- own growth, if
universal truth whether it is a painting of a face, a figure, we care to adventure: for in truth, art is the adventure of

a tree, a cube, a line, a circle, or a biomorphic structure of our own growth, whether we are acting in the
paint, for a truework of art lives by the vitality of its own capacity of creating, or whether we are acting in the
living significant form and the integrity of its inner life. creative capacity of appreciation.

/ believe a renaissance exists today which is felt and Most people do not feel deeply enough to see through
shared by all. There is the birth of a new spirit and a new their own eyes, they merely recognize what their
significance of form. There is a vitality and beauty minds have catalogued and been told to remember, they
in art today as penetrating and as all embracing need to open up their imaginations to the vast untouched
as has ever existed. and unknown wonders of their own feeling. I speak
Art lies behind the cloth of surface things, it is always of feeling here as the whole intuitional sensibility.

deeper than appearance and must be delved
Within or about every living work of art, or thing of
beauty, or fragment of life, there is some strange irmer
kernel which cannot be reached v\dth explanations,
clarifications, examinations, or definitions.
remains beneath, behind, beyond. It is this
for. The artist must beware of all schools, isms, creeds, or
entanglements which would tend to make him other
than himself. He must stand alone, free and open
in all directions for exits and entrances, and yet with all
This kernel freedom, he must be solid and real in the substance
dimensionless of his form.

particle which lives, breathes and means. It is this

Talk at Boston Museum School,
Uving particle which makes art mystical, unknown, real Boston, 1951

and experienceable.
Art for me is the heavens forever opening up, like My definition of religion amounts to art and my
assymetrical, unpredictable, spontaneous Kaleidoscopes. amounts to religion. I don't believe you
definition of art
It is magic, it is Joy, it is gardens ofand sixrprise can have one significantly without the other. Art and
miracle. It is energy, impulse. It is question and answer. religion are the inseparable structure and living
It is transcendental reason. It is total in its spirit. adventure of the creative.
The best way to talk about art is to work. The best way By the creative I mean the most penetrating, bursting
to study art is to work. The best way to think about through the particular to the universal, from the one thing
art is to work. Art is to work hard and one day it may to all things, from time to the eternal spirit.
become art and you may discover the artist that you are. Religious is what dynamically realizes all within itself,
We have not learned to respect form as a thing in itself it what passionately
sees not in parts but in wholes. It is
as we have done with sound for we have been loves and emanates a feeling of aspiration and inspiration.
and we still are under the yoke of the Greek prejudice. It is what is directly in contact with the ultimate
The authenticity of painting lies in the pure form and or absolute and gives us bridge to the unknown within
inner life which springs from the artist's realization ourselves. Solid of form and free of spirit, it is
and experience. timeless within the eternal present.
Paintings can not be explained, they have a life and a Art is always mystical in its final meaning, it is
being and a voice of their own, they must be structure which stands up by the presence and significance
 Ad Reinhardt

of its own reality. It is a thing within itself, mirroring Abstract art is celebrated widely today by critics for its

different things to different minds, stemming from and in contribution of compositional arrangements and color
accord with every work of art ever created, a thing schemes to illustrative painting. Lauded and
of awe and wonder whose meaning is the measure of described for its vast practical influence and deep
man's estate on earth. spiritual insight, the critical tribute paid a pure art adds
Art is not a matter of perfect technique, it is life of the up to "an empty picture" "a cold meaningless decoration"
soul. It is my belief that ultimate reality can only or a hot "unintelligible" mystery.
be achieved by a passionate burning devotion to Perhaps pure painting is no degree of illustration,
one's work. distortion, illusion, allusion or delusion. The addition or
Participation is Only
the only explanation of art. retention of eyes, teeth, feet to abstract shapes may
another work of art clarifies or explains a work of art, and be unreasonable and dishonest, except as a form of wit.
the only critic who tells no lies is the one whose Perhaps semi-abstract is half-wit. A representational fine
criticism is the creation of his own work. art perhaps is as ridiculous and useless as an abstract
It does not matter how an artist works, whether he uses commercial art.

circles or squares or flowers or people,whether he Perhaps pure painting is no art-for-art's-sake and no

works thick or thin, large or small, with metal, plaster, part of the still-life, landscape, nude and portrait
stone or wood, tightly delicate filigree or bold and sparse business, with its trade-skills and individualistic styles
and spacious, or whether he suggests with subtle displayed for their own sake.
shade or knife-like edge, it is the inner life of the work Perhaps pure painting is no transcendental nonsense,
which breathes and truly means. and the picturing of a "reality behind reality" best left to
The artist is the only moral man because he alone inner-eye artists, magic realists, dream photographers,
overcomes fear and has the courage to create his own soul and the intellectually duped.
and to live by means of the light of it. Perhaps pure painting is a direct experience and an
Talk given at Union Theological honest communication. Perhaps it is a creative

Seminary on December 2, 1952 on completeness and total sensitivity related to personal

"What Is the Relationship Between wholeness and social order because it is clear and without
Religion and Art?" extra-aesthetic elements.
Perhaps an abstract art- work is other than something
less than half a representational painting
From Recent Abstract Paintings
by Ad Reinhardt, Betty Parsons
Gallery, New York, October 18-

November 6, 1948, p. 2

It'sbeen said many times in world-art writing that one

can find some of painting's meanings by looking not only
at what painters do but at what they refuse to do.
And today many artists like myself refuse to be involved
in some ideas. In painting, for me,— no fooling-the-eye.
no window-hole-in-the-wall, no illusions, no
representations, no associations, no distortions, no
paint-caricaturing, no dream pictures or drippings, no
delirium trimmings, no sadism or slashings, no therapy,
no kicking-the-e£Figy, no clow^ning, no acrobatics,
no heroics, no self-pity, no guilt, no anguish, no
supematuralism or subhumanism, no divine inspiration
or daily perspiration, no personality-picturesqueness,
no romantic bait, no gallery gimmicks, no neo-religious or
neo-architectural hocus-pocus, no poetry or drama or
theatre, no entertainment business, no vested interests,
no Sunday-hobby, no drug-store-museums, no free-for-all-
history, no art history in America of ashcan-regional-
WPA-pepsi-cola styles, no professionalism, no equity, no
cultural enterprises, no bargain-art-commodity, no
juries, no contests, no masterpieces, no prizes, no
mannerisms or techniques, no communication or
information, no magic tools, no bag of tricks-of-the- trade,
no structure, no paint qualities, no impasto, no plasticity,
no relationships, no experiments, no rules, no coercion
no anarchy, no anti-intellectualism, no irresponsibility,
no innocence, no irrationalism, no low level of
consciousness, no nature-mending, no reality-reducing,
no life-mirroring, no abstracting from anything, no
nonsense, no involvements, no confusing painting with
everything that is not painting.
From Contemporary American
Painting, University of Illinois,
Urbana, 1952
Let no one imagine, because he has made merry in the
warm tilth and quaint hooks of extract-expressionism,
that he can even guess at the austere and thrilling
raptures of those who have climbed the cold,
dark peaks of art.
From a statement made in 1957
published in It Is, no. 4, Autumn
1959, P- 25
A Contribution to a Journal of Some Future Art-Historian
Almost fifteen years ago, in the early forties, after
he had made some paintings that were described as
"abstract all-over patterns that didn't represent anything"
Ad Reinhardt became interested in the "all-over"
as a pure-painting idea.
Almost ten years ago, in the late forties, he lost interest
and distinct idea, which, I understand,
in this clear
everyone understands now.
What was this pure-painting idea?* Where did it
come from?
Impressionism, with imiiformity of brushstrokes, unity
of paint texture, suffused light, pervasive color, but
without luminosity, sensuousness, impasto,
without impressionist subjects?
Cubism, with brushwork like brickwork, dulled colors,
handbrush marking, but without
rectilinear
composition or decomposition, without cubist objects?
Post-plus-and-minus-Mondrianism, with consistency of
deliberate and random repetition of identical
elements but without scotch-taping-shifting-balancing-
spacing-cezanneism?
Prehistoric, historic, functional, organic, symbolic
decoration— design in building, carpet, textile,
pot? (No.)
Medieval, migration beast-interlaces, arabesque
alphabets, floral scroll-work? (No.)
Metaphysical=aesthetic speculation, negatives
positive space, depth =zsurface time, object:=subject,
presence=absence, micro-macrocosm, yin and yang,
zemin u zemain? (No.)
Iconoclasm, with "Thou shall not make unto thee a
graven image, nor any manner of likeness" and images
 Mark Rothko

are "primitive, immoral, offensive" "used solely for If our titles recall the known myths of antiquity, we 29
instructing the minds of the ignorant" and "images are have used them again because they are the eternal symbols
for the poor in spirit"? (Maybe.) upon which we must fall back to express basic
psychological ideas. They are the s)Tnbols of man's
*For expressionists, surrealist, obscurantists. This idea primitive fears and motivations, no matter in which land
includes no blood stains, sore spots, pimply skeins, or what time, changing only in detail but never in
mad hairs, sharp points, slash dashes, cold cuts, side substance, be they Greek, Aztec, Icelandic, or Egyptian.
swipes, hand sleights, leg pulls, back bites, false fronts, And modem psychology finds them persisting still in
hind sights, hay seeds, poUy wogs, nose drops, head our dreams, our vernacular, and our art, for all

aches, heart sleeves, intestinal flows, dry runs, whet the changes in the outward conditions of life.

washes, black eyes, purple patches, green horns, yellow Our presentation of these myths, however, must be in
bellies, grape vines, forest fears, jungle jiggles, fate our own terms, which are at once more primitive and more
leavings, death struggles, life businesses, soft modern than the myths themselves— more primitive
soaps, hard cash, hot cakes, etc. because we seek the primeval and atavistic roots of
From It Is, no. 2, Autumn 1958, the idea rather than their graceful classical version; more
p. 76, 77 modem than the myths themselves because we must
redescribe their implications through our own experience.
Those who think that the world of today is more gentle
and graceful than the primeval and predatory passions
from which these myths spring, are either not aware
of reality or do not wish to see it in art. The myth holds us,
therefore, not thru its romantic flavor, not thru the
remembrance of the beauty of some bygone age, not
thru the possibilities of fantasy, but because it expresses to
us something real and existing in ourselves, as it was
to those who first stumbled upon the symbols
to give them life.

From "The and the Modem

Portrait
New York Pro-
Artist" in Art in
gram, WNYC, New York, copy of
broadcast, October 13, 1943, p. 1, 2, 3.

It was with the utmost reluctance that I found the

figure could not serve my purposes
But a time came
when none of us could use the figure without
mutilating it.

From an article by Dore Ashton in the

New York Times, October 31, 1958
 Rather be prodigal than niggardly. I would sooner Greeks, on the other hand used as their models the inner
confer anthropomorphic attributes upon a stone, visions which they had of their gods. And in our day,
than dehumanize the slightest possibility of consciousness. our visions are the fulfillment of our own needs.
From a Personal Statement, 1945, must be noted that the great painters of the figure had
It

published by the David Porter this in common. Their portraits resemble each other

Gallery, Washington D.C., 1950 far more than they recall the peculiarities of a particular
model. In a sense they have painted one character in
all their work. What is indicated here is that the artist's
A picture lives by companionship, expanding and realmodel is an ideal which embraces all of human
quickening in the eyes of tlie by
sensitive observer. It dies drama rather than the appearance of a
the same token. It is and unfeeling
therefore a risky
particular individual.
act to send it out into the world. How often it must be
Today the artist is no longer constrained by the
permanently impaired by the eyes of the vulgar and the
limitation that all of man's experience is expressed by his
cruelty of the impotent who would extend their
outward appearance. Freed from the need of describing
afiliction universally!
a particular person, the possibilities are endless. The
From The Tiger's Eye, no. 2,
whole of man's experience becomes his model, and in that
December 1947, p. 44 sense it can be said that all of art is a portrait of an idea.
Neither Mr. Gottlieb's painting nor mine should be
considered abstract paintings. It is not tlieir intention
I paint very large pictvires. I realize that historically the
either to create or to emphasize a formal color-
function of painting large pictures is painting something
very grandiose and pompous. The reason I paint
space arrangement. They depart from natural
representation only to intensify the expression of the
them, however— I think it applies to other painters I know
subject implied in the title— not to dilute or efface it.
—is precisely because I want to be very intimate and
human. To paint a small picture is to place yourself
"There are some artists who want to tell all, but I feel it
outside your experience, to look upon an experience as a
is more shrewd to tell little. My paintings are sometimes
stereopticon view or with a reducing glass. However described as facades, and, indeed, they are facades!'

you paint the larger picture, you are in it. It isn't [Some of the "ingredients" listed by Rothko as his
something you command. "recipe" for art]

From Interiors, vol. May 1951, "A clear preoccupation with death. All art deals with
1 10,
intimations of mortality!'
p. 104
"Sensuality, the basis for being concrete about the
world!'
There is, however, a profound reason for the persistence "Tension: conflict or desire which in art is curbed at the
of the word 'portrait' because the real essence of the very moment it occurs!'
great portraiture of all time is the artist's eternal interest "Irony: a modern ingredient. (The Greeks didn't
in the human figure, character and emotions— in short need it.) A form of self-effacement and self-examination
in the human drama. That Rembrandt expressed it in which a man can for a moment escape his fate!'
by posing a sitter is irrelevant. We do not know the sitter "Wit, humor!'
but we are intensely aware of the drama. The Archaic "A few grams of the ephemeral, a chance!'
 Clyfford StiU

"About 10 per cent of hope If you need that sort of That pigment on canvas has a way of initiating 31

thing; the Greeks never mentioned it'.' conventional reactions for most people needs no reminder.
"I paint large pictures because I want to create a state of Behind these reactions is a body of history matured into
intimacy. A large picture is an immediate transaction; dogma, authority, tradition. The totalitarian hegemony
it takes you into it!'
of this tradition I despise, its presumptions I reject.
From Statements: Excerpts from
Its security is an illusion, banal, and without courage.
Pratt Lecture, 1958 (from Cimaise,
Its substance is but dust and filing cabinets. The homage
December 1958, noted by
paid to it is a celebration of death. We all bear the
D. Ashton)
burden of this tradition on ovir backs but I cannot hold it a
privilege to be a pallbearer of my spirit in its name.
From the most ancient times the artist has been
expected to perpetuate the values of his contemporaries.
The record is mainly one of frustration, sadism,
superstition, and the will to power. What greatness of life

came from sources not yet fully

crept into the story
understood, and the temples of art which burden the
landscape of nearly every city are a tribute to the attempt
to seize this elusive quality and stamp it out.
The anxious men find comfort in the confusion of those
artists who would walk beside them. The values

involved, however, permit no peace, and mutual

resentment is deep when it is discovered that salvation
cannot be bought.

We are now committed to an unqualified act, not

illustrating outworn myths or contemporary alibis. One
must accept total responsibility for what he executes.

And the measure of his greatness will be in the depth of

and his courage in realizing his own vision.
his insight
Demands for communication are both presvunptuous
and irrelevant. The observer usually will see what his
fears and hopes and learning teach him to see. But if he

can escape these demands that hold up a mirror to himseK,

then perhaps some of the implications of the work
may be felt. But whatever is seen or felt it should be
remembered that for me these paintings had to be
something else. It is the price one has to pay for clarity
 .

when one's means are honored only as an 'time' limits him, it does not truly liberate him. Our age-
instrument of seduction or assault. it is of science— of mechanism— of power and death.
From 1 5 Americans, edited by I see no point in adding to its mammoth arrogance
Dorothy C. Miller, New York, the compliment of graphic homage.

Museum of Modem Art, 1952,

I have no brief for signs or symbols or literary allusions

pp. 21-22
in painting. They are just crutches for illustrators
and politicians desperate for an audience.
The subHme? A paramount consideration in my studies
and work from my earliest student days. In essence
I fight in myself any tendency to accept a fixed,
it is most elusive of capture or definition— only surely
sensuously appealing, recognizable style I am always
found and works of those who babble of it
least in the lives
trying to paint my way out of and beyond a facile,
the most. The have made a cliche of
dictator types
I do not want other artists to imitate my
doctrinaire idiom.
'sublime' conceits throughout the centuries to impress and
work— they do even when I tell them not to— but only
subjugate the ignorant or desperate
my example for freedom and independence from
all external,decadent and corrupting influences.
Action painting? A tricky phrase. Misleading especially
The fact that I grew up on the prairies has nothing to do to those to whom it is usually applied. By their
definitions they really mean 'reaction' painting. But
with my paintings, with what people think they find
that would lose the glamour of the literary 'mot^
in them. I paint only myself, not nature.
plus some dialectical footwork.
am not an action painter. Each painting is an act, the
. .

and the fulfillment of action. I do not

result of action
From Clyfford Still, Institute of

have a comic or tragic period in any real sense. I have Contemporary Art, University of

always painted dark pictures; always some light pictures. Pennsylvania, October 18-

I will probably go on doing so.

November 29, 1963, pp. g-io

My work in its entirety is like

Orchestral. a symphony
in which each painting has its part.
From "An Interview With
Clyfford StiU" by Benjamin
Townsend in Gallery Notes,
Albright-Knox Art Gallery, vol.

24, no. 2, Summer, 1961, pp. 10-16

By and the figure in my canvases had been

1941, space
resolved into a total psychic entity, freeingme from
the limitations of each, yet fusing into an instrument
bounded only by the limits of my energy and intuition.
My feeling of freedom was now absolute and infinitely
exhilarating
I'm not interested in illustrating my time. A man's
Bradley Walker Tomlin Group Statement

Formulation of belief has a way of losing its brightness Hofmann: A very great Chinese painter once said the most
and of fencing one in. The artist having found, and difEcult thing in a work of art is to know the
publicly declared, what seem to be the answers, will then moment when to stop.
in all likelihood swear to protect them, as if upon oath,
since stated beliefs, like certificates in the anterooms Moderator Motherwell: The question then is, "How do
of practitioners, imply the authority to pursue a you know when a work is finished?"
predictable course of action. Doubts, however, creep in.
One peers at the old diplomas more closely, speculating Baziotes: I consider my painting finished when my eye
vaguely as to the guarantee in time the authoritative goes to a particular spot on the canvas. But if I put
body might have had the temerity to fix upon the picture away about thirty feet on the wall and the
Moved deeply by a painting, the spectator may say, movements keep returning to me and the eye seems to be
the artist has convinced me. This is really painting, it is responding to something living, then it is finished.
the way it should be done. One can believe in paintings, as
one can believe in miracles, for paintings, like miracles, Gottlieb: I usually ask my life I think a more
possess an inner logic which is inescapable. But this interesting question would be, "Why does anyone start a
again is to believe after the fact, which is merely painting instead of finishing it?"
to believe in the concrete.

What does the artist himself believe in, having Newman: I think the idea of a "finished" picture is a
produced his miracle? Does he feel that he is now in the fiction. I think a man spends his whole life- time painting
clear, that in the future the canvases will be solved one picture or working on one piece of sculpture.
without pain? His intentions presumably are clear and it The question of stopping is really a decision of moral
is possible to believe in the reality of intentions, good considerations. To what extent are you intoxicated by the
or bad. Can one be sure, however, that in different actual act, so that you are beguiled by it. To what
situations, intentionscan be identical? Does the artist find extent are you charmed by its inner life? And to what
that the seemingly effortless structure, which he has extent do you then really approach the intention or desire
evolved with total clarity, tends on repetition to escape that is really outside of it. The decision is always
him? That in spite of the production of masterpieces, art made when the piece has something in it that you wanted.
itself remains infinitely mysterious and that the work
in progress is merely a kind of hall rack on which he has
De Kooning: from "finishing" it. I paint myself
I refrain
hung various nicely woven articles of clothing: jackets
out of the picture, and when I have done that, I either
shabbily elegant, old hats battered to his image.
throw it away or keep it. I am always in the picture
Confronted by the cast of his own mind he says, it is at somewhere. The amount of space I use I am always in,
mine. Yet the jacket he has slipped into binds slightly
least
I seem to move around in it, and there seems to be a time
under the armpits. Umbrellas and old walking sticks
when I lose sight of what I wanted to do, and then I am
clatter to the floor. -y/
at a n
t-
The New ..•
•
b rom American Fainting out of it. If the picture has a countenance, I keep it. If

As Shown in Eight European it hasn't, I throw it away. I am not really very much
Countries, ip^S-i^^p, Museum of interested in the question.
Modem Art, New York, 1959, p. 80
("presumably written in 1950") Reinhardt: It has always been a problem for me— about
"finishing" paintings. I am very conscious of ways Ours has been a striving to come to the same point
of "finishing" a painting. Among modem artists there is that they had— not to be iconoclasts.
a value placed upon "unfinished" work. Disturbances
arise when you have to treat the work as a finished Gottlieb: There is a general assumption that European—
and complete object, so that the only time I think specifically French— painters have a heritage which
I "finish" a painting is when I have a dead-line. If you are enables them to have the benefits of tradition, and
going to present it as an "unfinished" object, how therefore they can produce a certain type of painting. It
do you "finish" it? seems to me that in the last fifty years the whole
meaning of painting has been made international. I think
Hofmann: To me a work is finished when all parts Americans share that heritage just as much, and that
involved communicate themselves, so that they if they deviate from tradition it is just as diiEcult for an

don't need me. American as for a Frenchman. It is a mistaken

assumption in some quarters that any departure from
Moderator Motherwell: I dislike a picture that is tradition stems from ignorance. I think that what
too suave or too skilfully done. But, contrariwdse, I also Motherwell describes is the problem of knowing what
dislike a picture that looks too inept or blundering. I tradition is, and being willing to reject it in part.
noticed in looking at the Carre exhibition of young French This requires familiarity with his past. I think we have
painters who are supposed to be close to this group, this familiarity, and if we depart from tradition, it
that in "finishing" a picture they assume traditional is out of knowledge, not iimocence.
criteria to a much greater degree than we do. They have a
real "finish" in that the picture is a real object, a De Kooning: I agree that tradition is part of the whole
beautifully made object. We are involved in "process" and world now. The point that was brought up was that the
what is a "finished" object is not so certain. French artists have some "touch" in making an object.
They have a particular something that makes
Hofmann: Yes, it seems to me all the time there is the them look like a "finished" painting. They have a touch
question of a heritage. It would seem that the difference which I am glad not to have.
between the yoiong French painters and the young
American painters is this: French pictures have a cultural Baziotes: We are getting mixed up with the French
heritage.The American painter of today approaches tradition. In talking about the necessity to "finish" a
things without basis. The French approach things thing, we then said American painters "finish" a thing
on the basis of a cultural heritage— that one feels in all that looks "unfinished" and the French, they "finish" it. I
their work. It is a working towards a refinement and have seen Matisses that were more "unfinished"
quality rather than working toward new experiences, and and yet more "finished" than any American painter.
painting out these experiences that may finally become Matisse was obviously in a terrific emotion at the time,
tradition. The French have it easier. They have and it was more "unfinished" than "finished"
it in the beginning.
Sterne: I think that the titling of paintings is a problem.
De Kooning: I am glad you brought up this point. It seems The titles a painter gives his paintings help to
to me that in Europe every time something new classify him, and this is wrong. A long poetic title or
needed to be done it was because of traditional culture. number Whatever you do seems a statement of
 The same thing if you give a descriptive
attitude. title Reinhardt: Titles are very important in surrealist work. 35

Even refraining from giving any at all creates a But the emphasis with us is upon a painting experience,
misunderstanding. and not on any other experience. The only objection
I have to a title is when it is false or tricky, or is
Reinhardt: If a title does not mean anything and creates a
something added that the painting itself does not have.
misunderstanding, why put a title on a painting?

Gottlieb: I think the point Miss Sterne raised is inevitable.

De Kooning: I think that if an artist can always title his

That is, whenever an artist puts a title on a painting, pictures, that means he is not always very clear.

some interpretation about his attitude will be made. It

seems obvious that titles are necessary when Newman: I think it would be very well if we could title

everybody uses them— whether verbal or numbers; for pictures by identifying the subject matter so that
purposes of exhibition, identification and the benefit of the the audience could be helped. I think the question of titles

critics there must be some way of referring to a picture. is purely a social phenomenon. The story is more or less
It seems to me that the artist, in making up the same when you can identify them. I think the
titles for his pictures, must decide what his attitude is. implication has one of two possibilities: (i) We are not
smart enough to identify our subject matter, or
Reinhardt: The question of abandoning titles arose, I am (2) language is so bankrupt that we can't use it. I think
sure, because of esthetic reasons. Even titles like "still both are wrong. I think the possibility of finding language
life" and "landscape" do not say anything about a still exists, and I think we are smart enough. Perhaps

painting. If a painting does have a reference or association we are arriving at a new state of painting where
of some kind, I think the artist is apt to add a title. the thing has to be seen for itself.

I think this is why titles are not used by a great many

modern painters— because they don't have anything to do De Kooning: If you are an artist, the problem is to make
with the painting itself. a picture work whether you are happy or not.

Moderator Motherwell: I think Sterne is dealing with a

Baziotes: Mr. Lippold's position, as I understand it, is that
real problem— what is the content of our work?
the beginning of a work now has something about it
What are we really doing? The question is how to name
that would not have seemed quite logical to artists of the
what as yet has been unnamed.
past. We apparently begin in a different way. Is
Baziotes: Whereas certain people start with a recollection that what you mean, Mr. Lippold?
or an experience and paint that experience, to some
of us the act of doing it becomes the experience; so that we Moderator Lippold: Yes.
are not quite clear why we are engaged on a
particular work. And because we are more interested in Baziotes: I think the reason we begin in a different
plastic matters than we are in a matter of words, one way is that this particular time has gotten to a point where
can begin a picture and carry it through and stop it and do the artist feels like a gambler. He does something on
nothing about the title at all. All pictures are the canvas and takes a chance in the hope that something
full of association. important will be revealed.
3° Reinhardt: I would like to ask a question about the exact world? It seems to Lippold you cannot be involved in the

involvement of a work of art. What kind of love world if you are a craftsman; but if you are
or grief is there in it? I don't understand, in a painting, involved in the world, you cannot be an artist. We are in
the love of anything except the love of painting itself. If the process of making the world, to a certain extent,
there is agony, other than the agony of painting, in our own image. This removes us from the craft level.
I don't know exactly what kind of agony that would be. I

am sure external agony does not enter very importantly De Kooning: This difficulty of titling or not titling a
into the agony of our painting. picture— we ought to have more faith in the world. If you
really express the world, those things eventually
Moderator Barn would like a show of hands on
I this will turn out more or less good. I know what Newman
question: Is there anyone here who works for means: it is some kind of feeling that you want
himself alone— that is, purely for his own satisfaction— to give yourself a place in the world.
for himself as the sole judge?

Newman: About specifying— if you specify your emotions

(scattered showing of hands) —whether they are agony or fear, etc.— I believe
bad manners to actually say one is feeling bad.
it is
De Kooning: I feel it isn't so much the act of being obliged
to someone or to society, but rather one of conviction.
De Kooning: I think there are different experiences or
I think, whatever happens, every man works for
emotions. I feel certain parts you ought to leave
himself, and he does it on the basis of convincing himself.
up to the world.
I force my attitude upon this world, and I have this

right- particularly in this country— and I think

Newman: I think we start from a subjective attitude,
it is wonderful, and if it does not come off, it is alright, too.
which, in the process of our endeavour, becomes
I don't see any reason why we should go and look
related to the world.
into past history and find a place or try to take
a similar position.
Baziotes: When we make a work of art we must get
oiu- praise after it is finished.
Moderator Motherwell: Is the artist his own audience?

Baziotes: If you were commissioned to do a picture of the

Reinhardt: How many artists here consider themselves
craftsmen or professionals? What is our relationship Madonna in the middle ages that was praise to begin with.
to the social world?
Gottlieb: I think the answer is that the work that really
De Kooning: There was that cave of paintings which were has something to say constitutes its own signature.
found in France just lately. Were they works of art
before we discovered them? This is the question. De Kooning: There is no such thing as being anonymous.

Newman: I would like to go back to Mr. Lippold's Hare: A man's work is his signature. In this sense art
question— are we involved in self-expression or in the has never been anonjrmous.
Reinhardt: Exactly what is our involvement, our relation Moderator Motherwell: It is not necessary for Sterne to 37
to the outside world? I think everybody should be define "beauty" for what she is saying. "Beauty"
asked to say something about this. is not for her the primary source of inspiration. She thinks

that "beauty" is discovered en route.

De Kooning: I think somebody who professes something
never is a professor. I think we are craftsmen, but Reinhardt: Is there anyone here who considers himself a
we really don't know exactly what we are ourselves, but producer of beautiful objects?
we have no position in the world— absolutely no
position except tliat we just insist upon being around. Gottlieb: I agree with Steme that we are always
concerned with the particular, not the general. Any
Tomlin: It seems to me before we examine our position in general discussion of esthetics is a discussion of
relation to the world we should examine our position philosophy; any conclusion can apply to any work of art.

in relation to each other. I understood that to be Why not have people tell us why they do what they
the point of this discussion and that is why we came do. Why does Brooks use swirling shapes? Why Newman
together. I am sure there are a number of people who are a straight line? What is it that makes each person
interested in the matter of self-expression alone and use those particular forms that they use?
there are others who are not.
De Kooning: I consider all painting free. As far as I am
Newman: 1 would like to emphasize Mr. Motherwell's concerned, geometric shapes are not necessarily clear.
remarks: we have two problems, (i) The problem of When things are circumspect or physically clear, it
existing as men. (2) The problem of growth in our work. is piu-ely an optical phenomenon. It is a form of
uncertainty; it is like accounting for something. It is like

Newman: A concern with "beauty" is a concern with drawing something that then is bookkeeping. Bookkeeping
what is "known!' is the most imclear thing.

Pousette-Dart: "Beauty" is unattainable, yet it is what Reinhardt: An emphasis on geometry is an emphasis on

gives art its significance, it is the unknown. the "known^' on order and knowledge.

Newman: The artist's intention is what gives a specific Ferber: Why is geometry more clear than the use of
thing form. swirling shapes?

Pousette-Dart: I have the feeling that in the art world Reinhardt: Let's straighten out our terminology, if we can.
"beauty" has become a discredited word. I have Vagueness is a "romantic" value, and clarity and
heard people say you can't use the word "God!' When a "geometricity" are "classic" values.
word becomes trite it is not the word that has
become trite but the people who use it. De Kooning: I meant geometry in art. Geometry was
against art— the beauty of the rectangle, I mean.
Sterne: I am not here to define anything; but to give life
to what I have the urge to give fife to. We live by Moderator Lippold: This means that a rectangle is
the particular, not by the general. unclear?
38 De Kooning: Yes. the expression of a relationship. Anything can be changed.
We speak here only about means, but the application of
Moderator Motherwell: Lippold resents the implication the means is the point. You can change one thing into
that a geometric form is not "clear'.' another with the help of the relations of the things. One
shape in relation to other shapes makes the "expression";
De Kooning: The end of a painting in this kind of not one shape or another, but the relationship between
geometric painting would be almost the graph for a the two makes the "meaning!" As long as a means is

possible painting— like a blueprint. only used for itself, it cannot lead to anything.
Construction consists of the use of one thing in relation to
another, which then relates to a third, and higher, value.
Tomlin: Would you say that automatic structure is in the
process of becoming, and that "geometry" has already
Moderator Motherwell (to Hofmann) Would you say
;

been shown and terminated?

that a fair statement of your position is that the
"meaning" of a work of art consists of the relations among
De Kooning: Yes.
the elements, and not the elements themselves?

Moderator Motherwell: It seems to me that what de Hofmann: Yes, that I would definitely say. You make a
Kooning is saying is plain. He feels resentful that
thin line and a thick line. It is the same as with
one mode of expression should be called more clear,
geometrical shapes. It is all relationship. Without all of
precise, rational, finished, than another. these relationships it is not possible to express higher art.

Baziotes: I think when a man first discovers that two and Ferber: The means are important, but what we were
two is four, there is "beauty" in that; and we can see concerned with is an expression of a relationship to the
why. But if people stand and look at the moon and one world. Truth and validity cannot be determined by the
says, "I think it's just beautiful tonight" and the shape of the elements of the picture.
other says, "The moon makes me feel awful" we are both
"clear!' A geometric shape— we know why we like it; De Kooning: About this idea of geometric shapes again:
and an um-easonable shape, it has a certain mystery that I think a straight line does not exist. There is no
we recognise as real ; but it is difficult to put these things in such thing as a straight line in painting.
an objective way.

Reinhardt: We are losing Ferber's point. I would like to

Newman: The question of clarity is one of intention. get back to the question of whether there is another
criterion of truth and validity, apart from the internal
Sterne: I think it has to do with Western thinking. A relationships in a work of art.
Chinese thinks very well, but does not use logic. The use of
geometrical forms comes from logical thinking. Moderator Motherwell: It would be very difficult to
formulate a position in which there were no external
Hofmann: I believe that in an art every expression is cannot imagine any structure being defined
relations. I as
relative, not absolutely defined as long as it is not though it only has internal meaning.
Reinhardt: I want to know the outside truth. I think
I know the internal one.
Moderator Motherwell: Reinhardt was emphasizing very
strongly that the quality of a work depends upon the
relations within it. Between Ferber and Reinhardt
the question is being raised as to whether these internal
relations also relate externally to the world, or better,
as to what this external relation is.
ever undertaken: to reject everything I do not feel 39
and believe. The other experience is when I want to paint
for the sheer joy of painting. These moments are few.
The strain of dealing with the imknown, the absolute, is
gone. When I need joy, I find it only in making free
variations on what I have already discovered, what I
know to be mine. We modem artists have no generally
accepted subject matter, no inherited iconography. But
to re-invent painting, its subject matter and its means,
is a task so difficult that one must reduce it to a very simple

Tomlin: May I take this back to structure? In what was concept in order to paint for the sheer joy of painting,
said about the parts in relation to Brooks' work, the entire as simple as the Madonna was to many generations
structure was embraced. We were talking about shape, of painters in the past. An existing subject matter for me—
without relation to one possibility of structure. even though had to invent it to begin with—variations
I

I would like to say that I feel that geometric shapes can be gives me moments of joy The other mode is a
used to achieve a fluid and organic structure. voyaging into the night, one knows not where, on an
unknown vessel, an absolute struggle with the
Hofmann: There is a fluidity in the elements which can be elements of the real.
used in a practical way, which is often used by Klee.
It is related to handwriting— it often characterizes Reinhardt: Let's talk about that struggle.
a complete personality. It can be used in a graphic sense
and in a plastic sense. It leads a point to a relation with Moderator Motherwell: When one looks at a Renaissance
another point. It is a relationship of all points considered painter, it is evident that he can modify existing
in a plastic relation. It offers a number of possibilities. subject matter in a manner that shows his uniqueness and
fineness without having to re-invent painting altogether.

Reinhardt Hofmann) Do you consider the inter-

(to :
But I think that painters like Mondrian tend to move
relationships of the elements in a work of art as rapidly as they can toward a simple iconography
to be self-contained? on which they can make variations. Because the strain is so
great to re-invent reality in painting.

Hofmann: It is related to all of this world— to what you

want to express. You want to express something very Reinhardt: What about the reality of the everyday world
definitely and you do it with your means. When and the reality of painting? They are not the same
you understand your means, you can. realities. What is this creative thing that you have

struggled to get and where did it come from?

Moderator Motherwell: I find that I ask of the painting What reference or value does it have, outside of the
process one of two separate experiences. I call one painting itself?

the"mode of discovery and invention^' the other the

"mode of joy and variation!' The former represents my De Kooning: If we talk in terms of what kinds of shapes or
deepest painting problem, the bitterest struggle I have lines we are using, we don't mean that and we talk
40 like outsiders. When Motherwell says he paints stripes, Moderator Motherwell: All of the people here move as
. . .

he doesn't mean that he is painting stripes. That is abstractly or back to the world of nature as freely as
still thinking in terms of what kinds of shapes we are they like to, and would fight at any time for that freedom.
painting. We ought to get rid of that. If a man is influenced
on the basis that Mondrian is clear, I would like to ask
Newman: We are raising the question of subject matter
Mondrian if he was so clear. Obviously, he wasn't clear, and what its nature is.
because he kept on painting. Mondrian is not geometric,
he does not paint straight lines. A picture to me is not
geometric— it has a face It is some form of
De Kooning: I wonder about the subject matter of the
Crucifixion scene— was the Crucifixion the subject matter
impressionism We ought to have some level as a
profession. Some part of painting has to become or not? What is the subject matter? Is an interior
subject matter?
professional.

Hofmann: I think the question goes all the time back to

Newman: De Kooning has moved from his original
subject matter. Every subject matter depends on
position that straight lines do not exist in nature.
how to use meaning. You can use it in a lyrical or dramatic
Geometry can be organic. Straight lines do exist in nature.
manner. It depends on the personality of the artist.
When I draw a straight line, it does exist. It exists
Everyone is clear about himself, as to where he belongs,
optically. When De Kooning says it doesn't exist
and in which way he can give esthetic enjoyment.
optically, he means it doesn't exist in nature. On that
Painting is esthetic enjoyment. I want to be a "poet!' As an
basis, neither do curved hnes exist in natm-e. But the edge
artist I must conform to my nature. My nature has a
of the U.N. building is a straight line. If it can be made,
lyrical as well as a dramatic disposition. Not one day is the
it does exist in nature. A straight line is an organic same. One day I feel wonderful work and I feel an
to
thing that can contain feeling.
expression which shows in the work. Only with a
very clear mind and on a clear day I can paint without
De Kooning: What is called Mondrian's optical illusion is interruptions and without food because my disposition
not an optical illusion. A Mondrian keeps changing is like that. My work should reflect my moods and the

in front of us. great enjoyment which I had when I did the work.

Gottlieb: It is my impression that the most general idea Reinhardt: We could discuss the question of the rational or
which has kept cropping up is a statement of the intuitional. That might bring in subject matter or
nature of a work of art as being an arrangement of shapes content. We have forms in common. We have cut out a
or forms of color which, because of the order or ordering great deal. We have eliminated the naturalistic,

of materials, expresses the artist's sense of reality or and among other things, the super-realistic and the
corresponds with some outer reality. I don't agree— that
immediately political.

some expression of reality can be expressed in a painting

purely in terms of line, color and form, that those Barr: What is the most acceptable name for our direction
are the essential elements in painting and anything else is or movement? (It has been called Abstract- Expressionist,
irrelevant and can contribute nothing to the painting. Abstract-Symbolist, Intro-subjectivist, etc.)
Smith: I don't think we do have unity on the name. as the initiator of the panels, the writer of the weekly 41
postcard-announcements to the club-members, had never
Rosenborg: We should have a name through the years. heard of this title except for a near sounding of it in
Kandinsky's well-known title of the Thirties,
Smith: Names are usually given to groups by people who "Abstract-impressionism'.' Kandinsky's writings contain
don't understand them or don't like them. many titles that, like this one, are rich in esthetic
thinking. Anyone who lived in Paris during the Thirties
Moderator Barr: We should have a name for which v\e can
couldn't avoid exposure to pure and impure titles and
blame the artists— for once in history!
some realisms. But the Germanic twist of "Abstract
Expressionism" I never heard till Thomas B. Hess
Moderator Motherwell: Even if there is any way of
mentioned the two esthetic strains and suspected that the
giving ourselves a name, we will all still be called abstract
artists were making underground changes
artists.
in their art.

Moderator Motherwell: In relation to the question of a From "The Unwanted Title;

name, here are three names: Abstract-Expressionist; Abstract Expressionism" by P. G.

Abstract-Symbolist; Abstract-Objectionist.
Pavia in It Is, no. 5, Spring i960,
p. 8

Brooks: A more accurate name would be "direct" art. It

doesn't sound very good, but in terms of meaning,
The recent "School of New York"— a term not
abstraction is involved in it.
geographical but denoting a direction— is an aspect of the
culture of modern painting. The works of its artists are
Tomlin: Brooks also remarked that the word "concrete" is
"abstract" but not necessarily "non-objectivel' They
meaningful; it must be pointed out that people have
are always lyrical, often anguished, brutal, austere, and
argued very strongly for that word. "No-objective"
"unfinished" in comparison with our young
is a vile translation.
contemporaries of Paris; spontaneity and a lack of self-

Newman: I would offer "Self-evident" because the image consciousness is emphasized; the pictures stare back as one
is concrete. stares at them; the process of painting them is conceived
of asan adventure, without preconceived ideas on the
De Kooning: It is disastrous to name ourselves. part of persons of intelligence, sensibility, and passion.
Fidelity to what occurs between oneself and the canvas, no
From "Artists' Sessions at Studio
matter how unexpected, becomies central. The specific
35 ( 1950) " in Modern Artists in
America, first series. New York, appearance of these canvases depends not only on
what the painters do, but on what they refuse to do.
Wittenbom Schutz, 1951
The major decisions in the process of painting are on the
grounds of truth, not taste.
The title "Abstract Expressionism" was not heard by me From The School of New York,
nor was I ever aware that it had been mentioned Frank Perls Gallery, Beverly Hills,
before by any of the later claimants to authorship of the California, 1951, p. 3
title. I insist on this point: before these panels, I,
 1

Contents: Section H Writings by Critics

Lawrence Alloway *3
44

47 Robert Goldwater

48 Clement Greenberg

49 Harold Rosenberg

50 William Rubin

5 Meyer Schapiro
 Lawrence Alloway

44 The 20th century is full of art-as-an-object theory and distribution of his colour-flashes and torn edges give the
which usually means severing connections with
practise spectator less freedom than Newman's or Rothko's
'the world outside' or introducing materials from easily learnable forms, because there is less redundancy
'outside' (sand papier colle) not sanctioned by earlier in his economical forms. The colour organisation
technique. The scale of intimate easel painting persisted, of "No. 2" 1949, though the forms are scattered, is

however, and it is a common reaction upon seeing organised by a firm system of containment: red surrounds
early concrete works to feel suffocated by tlie cabinet scale. brown, brown surrounds blue; orange within black,
Newman's and Pollock's early big pictures however, black within brown, brown within red, an order which
made it possible to create works of art which are objects holds good for each appearance of any of the colom-s. Like
because they are large enough to affect our perception of the colour code of a map, the colours occvu- only in
them in relation to their surroundings. They create certain relationships. The painting is like a map that is
space by occupying it literally. Heads and figures in fi-ont turning back into a substantial reality; not a key
of small paintings or detailed paintings are interruptions, to somewhere else, but itself a land. Another visual effect,

as upsetting as a tall man in front of you at the which depends basically on the creation of an expanding
cinema. The paintings of Newman, however, survive surface, occvu-sin "No. 3" 1951, where a blazing yellow
overlapping by people. What happens is that the figures plane is ripped by erupting blues and oranges,
become related to the ambiance of the picture. Introduced mineral hard within Still's amazing surface.
between the picture surface and ourselves, 'the others' In 1941 Gottlieb 'adopted the term Pictograph for my
are simply some of the permissible variables in the paintings, out of a feeling of disdain for the accepted
reading of the work of art. Newman's pictures with their notions of what a painting should be'. He was strongly
stretching fields of colour, some wide, some narrow, influenced by Torres-Garcia's paintings of the early '30s
always continue above or beside the spectator and and, in his turn, he influenced other painters, such
reappear. Their redundancy is such that it survives a as Tomlin. For artists in the early '40s who were

changing relation to its witnesses: his art is a massive dissatisfied with cubism's by-then mannerist iconography,
defeat of noise. This, combined with the spirit of gravity with geometric abstraction's denial of signification,
and momentousness which is Newman's reason for and with the spookiness and sexiness of late surreaHsm,
working, jvistifies such ambitious titles as "Concord" but who regarded art as a means of communication,
"Abraham" "Adam" (as well as the "Onement" series). primitive arts were useful. Sign language, as
His art is like a rock. Torres-Garcia and Klee showed, combined an eloquent
The paintings of Rothko (who was close to Newman power of making references with a profound respect for
and Still ten years ago in the heroic phase of surface the picture surface (that constituent fact) ; sign language
as space) do not admit us to mysterious precincts, was, in fact, a semantics of the surface, close to the
as Giacometti does: they face us. Rothko's clouds with the wall. Gottlieb's compartmented space carried symbols of
weight of oceans or suns, dyed into rather than laid varying referential power. Accusations of privacy, once
on the canvas, vibrate, advance, and expand. He prefers levelled at these works, are, hke so many 20th century
his pictures to be hung in groups, not spaced out in attacks on modern art, a symmetrical inversion of the
conventional good hanging: their united effect stresses truth. These rows and tiers of symbols can, perhaps,
their environmental function. The space of Still also starts be called 'information painting^ as Gottlieb's pictographs
at the surface and rises from it, but the unexpected dramatised art as a means of communication.
 .

His ribbon forms influenced Tomlin who took them Baziotes, the Court Painter of the Biomorphic Kingdom
further in the direction of calligraphy; however, his compared to Gorky's compulsive Cupid. Baziotes'
pictures typically keep a chunkiness which, for all phosphorescent paintings, in which dwarfs, birds, sea
its elegance, echoes Gottlieb's compartments and never forms, spiders, mirages, coalesce into perfect forms, derive
dissolves into a fluid continuum like Tobey's calligraphy. from microscope-aided vision and Redon. His
Tomlin's calligraphy is haunted by symbolism, metamorphoses have incorporated 'the life in a drop of
whether we can decipher it or not. The display of marks, water' into a canon as calm and gentle as Tanguy in which
though esthetically governed, projects a lyrical pretence moods are communicated with the reticence and
of antique messages, the challenge of symbols not pervasiveness of symbolist poetry.
yet decoded. His play with mystery triggers curiosity and De Kooning is clearly, in comparison with Still or
makes decoders of us all (call it 'the Gold Bug complex') Newman, a late cubist, though not in the debilitated sense
(No space to pursue information painting in America that this is time of countless minor Parisians. "Painting"
any further beyond noting that Jasper Johns is (1948), a powerful spectacle of murky and shiny
its newest practitioner.) Gottlieb's latest work, the fine blacks with white as a sharp negative contouring, spreads
"Burst" series has carried him into the surface as the mandolin form of cubism over a shallow cubist
space territory. However, it is interesting to note that he picture-niche. However, the forms increase and multiply
retains, though not on a huge scale, something so that the instrument becomes a crowd of mannequin
of his earlier symbolism: in this case, the chopped-in black figures, which both connote and deny anatomy. Instead of
mass is terrestrial, the swimming red blob above it solar. peaceable forms sliding together and interpenetrating
Breton wrote about Gorky's form as 'hybrid', adding as they do in cubism, they grind and collide because
that 'the key lies in a free unlimited play with analogies'. and vehemence: they heave and
of their solidity
This is not exactly what Gorky presents us with crumble like a jigsaw puzzle being pushed from the sides.
but it is close; his forms reveal a limited play with The women are also fundamentally cubist, though
analogies. As Gottlieb said there is 'a curious emotional embodied in De Kooning's succulent paint and tough
undertone of gentleness and brutality that emanates brushwork in uniquely painterly terms. The later work,
from the canvas'. The dual feeling is sexual, as is every such as "February" (1957), is in that territory
inch of Gorky's iconography. He soaked his pictures in the between figuration and non-figuration which De Kooning,
sexual- visceral imagery which characterised the end of like Kline, and their followers, occupy, where the
surrealism in the '40s. It was the hypertrophy of artist avoids both ready-made purity and obligations to a
the belief current in and around surrealism that an art of particular referential system. In "February" the huge
erotic symbols must be vital and authentic. The artist forms imply a descriptive function but stay locked in the
became a messenger from the libido (for example, Miro in towering gestures which gave the picture its being.
his off -moments, Gorky all the time) His supple and . The technology of painters has been enlarged
attractive linemakes chains of ambiguous sacs, by Pollock-pouring and by Kline's and De Kooning's
membranes, openings, and asparagus. In this saturation house-painter's brushes, but American painting is not
of painted forms, with amorous biology Gorky contributed restricted to technical innovation. Philip Guston is
decisively to that shake-up of significative functions an expert with the traditional tool of the artist, a small
which occurs in the art of the '40s (Wols is very close, in brush which, contracting down to a point, is his sole

this respect, to Gorky) Parallel to Gorky is

. contact with the developing surface of the picture.
 .

His work in the early he got onto his mature

'50s (once the contrary, it is hard for the artist, and the spectator, to
style, and and Kline, he developed late)
like Rothko, Still, be sure now when a work of art is finished. Despite
is a kind of impressionism on a grid, somewhere between Cezanne's anguished doubts on this subject, European
Monet and plus-and-minus period Mondrian. painters have not, on the whole, inherited this problem
Gradually the grid structure has been relaxed— though the (except, perhaps, Giacometti and Bram van Velde)
main forms continue to be centred like islands, and the American painters, on the contrary, have recorded their
separate strokes have bunched together in a restless doubts on the matter, not in terms of hesitation or
repertory of fat, petal-like forms. The lyricism of his timidity but as an awareness of continuing possibilities.
Cytherean colour and tone, however, is the product of an A string of etcs. has exploded the traditional ideal of a
anxiety which shows in a paint skin as twisted and terminus American painters in black and white jump
ruffled as the gulf stream. Where French lyricism is the from the autographic to the monumental, without the
result of a relaxed enjoyment of set-forms and colours usual intervening stages of preparation and rehearsal.
(related to Ronsard and Bonnard) Guston's lyricism is the "Sign and Surface: Notes on
crown of agonised process. 'To paint is a possessing Black and White Painting in New
rather than a picturing' he has said, and each brush mark York" Quadrum, no. 9, i960, pp. 50,
is a claim on a mine which he has patiently and 53-
obstinately worked.
"The New American Painting"
Art International, vol. 3, no. 3-4,

i959,pp. 22, 23,25, 26.

The use of black, this simplicity not so simple, is one of

a cluster of renunciations made by painters in the
period ca. 1947-53. By cutting down the number of
colours, painters were able to increase their speed without
losing their control. Black, in large areas tends to read
as a flat area, more so than other colours, and it has, when
used in linear forms, an ineradicable connection with
message-making, either writing or drawing. Thus, black
was at the centre of the wide-spread post-war desire to
invest abstract art with a momentous subject or, to put it

the otherway round, to have an expressive art not

slowed down by the need to represent objects
Once drawings ceased to function as steps in an ascent
towards a finished painting, the equal status of sketch and
painting had to follow. The extension of an esthetics
of the autographic mark has destroyed the traditional idea
Formality can no longer be achieved by
of finish.
working towards an agreed-on point of complexity. On
 ;

Robert Goldwater

The history of the movement is relevant both to its De Kooning is the most obvious) this is a lyric, not an 47

present status of wide acceptance and its view of itself. epic, art. Judged by their finished works . . . here
In the background of its formative years were combined are artists who like the materials of their art: the texture
two separate and, in most ways, antithetical experiences; of paintand the sweep of the brush, the contrast of
first, the Federal Art Project of the W.RA. (the color and its nuance, the plain fact of the harmonious
government's economic assistance program), which concatenation of so much of art's underlying physical
during the thirties was literally essential to the continued be enjoyed as such. They have become fine
basis to

existence of most of the artists who, sometime after craftsmen with all the satisfaction that a craftsman feels

1945, were become "abstract expressionists" (as well as

to in the controlled manipulation of his art, and all his
to many others whose styles were to evolve differently) ability to handle his medium so that his pleasure

and second, the arrival in New York, during the early
forties, of an important group of School of Paris
artists (and writers), most of them in or on the fringes of
the Surrealist movement.
The brief need for the use of these [mythological]
symbols indicates, among other things, that independence
is transmitted to the beholder.
This concentration upon sensuous substance is
something new to American art: to the extent that the
Abstract Expressionist is a materiahst (as he has
been called) and views his art as more than pure vehicle,
to that extent he is not simply an Expressionist. It may

came hard. So too in a different way does that phase of be that the members of the New York School have
thick, reworked paint surface, heavy impasto and been able to enjoy themselves and so please others because

incrustation which for many of the older generation unlike the School of Paris they had no tradition of

seems also have been a necessary preliminary to a clear

to
"well-made pictures" and la belle peinture to react

style. The pictures of this phase, most of them executed

against. Their "academy" was one of subject-matter, of

in the early forties and often containing the kind

realism and social realism, rather than the European
one of clever, meaningless, manipulative skills, so that
of symbolism just mentioned, reveal the artists' working
they have been able to rediscover the pleasures of paint.
process, the stages of development in the work, with
less differentiation, less sureness and immediacy than is
"Reflections on the New York
developed later; but the incorporation of this revelation School" Quadrum, no. 8, i960, p.

into the final effect led toward subsequent freedoms. 20,26,27,30,31.

To make the work the bearer of emotion— this goal
itself

was not attained without dedication and struggle.

Criticism has commonly stressed that this battle (which
is a battle for control) is evident in the finished work,
and that the sum-total of these works, mirroring the
artist's internal combat, adds up to an atmosphere of crisis.
But if for a moment one ignores intentions, looks at this
art historically, as it were, from the outside rather
than the inside, and allows the art to speak for itself, as it

so eloquently does, it is evident that one of the principal

characteristics of the New York School has been its
great sensuous appeal. With certain exceptions (of whom
Clement Greenberg

One has the impression— but only the impression— that but sad. Their isolation is inconceivable, crushing,
the immediate future of Western art, if it is to have any unbroken, damning. That anyone can produce art on
immediate future, depends on what is done in this a respectable level in this situation is highly improbable.
country. As dark as the situation still is for us, American What can fifty do against a hundred and forty million?
painting in its most advanced aspects— that is,
"The Present Prospects of Ameri-
American abstract painting—has in the last several years can Painting and Sculpture"
shown here and there a capacity for fresh content that Horizon (London), nos. 93-94,
does not seem to be matched either in France October 1947, p. 25, 26, 27, 29, 30.
or Great Britain.
There is a persistent urge, as persistent as it is largely
The first problem these young Americans seemed
unconscious, to go beyond the cabinet picture, which is
to share was that of loosening up the relatively delimited
destined to occupy only a spot on the wall, to a kind of
illusion of shallow depth that the three master Cubists-
picture that, without actually becoming identified with
Picasso, Braque, Leger— had adhered to since the
the wall like a mural, would spread over it and
closing out of Synthetic Cubism. If they were to be able to
acknowledge its physical reality.
say what they had to say, they had also to loosen up
"The Situation at the Moment^'
that canon of rectilinear and curvilinear regularity in
Partisan Review, vol 15, no. 1,
drawing and design which Cubism had imposed on almost
January 1948, p. 82, 83.
all previous abstract art. These problems were not

tackled by program; very little in "abstract

The morale of that section of New York's Bohemia
which is inhabited by striving young artists has declined
in the last twenty years, but the level of its
has risen, and downtown, below 34th Street, that
it is still
the fate of American art is being decided— by young
people, few of them over forty, who live in cold-water flats
and exist from hand to mouth. Now they all paint in
expressionism" is, or ever was, programmatic; individual
artists may have made "statements" but there were no
intelligence manifestoes; nor have there been "spokesmen!'
What happened, rather, was that a certain cluster of
challenges was encountered, separately yet almost
simultaneously, by six or seven painters who had their
first one-man shows at Peggy Guggenheim's Art of

the abstract vein, show rarely on 57th Street, and have This Century gallery in New York between 1943 and 1946.
no reputations that extend beyond a small circle of The Picassos of the thirties and, in lesser but perhaps
fanatics, art-fixated misfits who are as isolated in the more crucial measure, the Kandinskys of 1910-1918 were
United States as if they were living in Paleolithic Europe. then suggesting new possibilities of expression for
Most of the young artists in question have either been abstract and near-abstract art that went beyond the
students of Hans Hofmann or come in close contact enormously inventive, but unfulfilled ideas of Klee's last
with his students and ideas. decade. It was the unrealized Picasso rather than the
What we have ... is the ferocious struggle to be a unrealized Klee who became the important incentive for
genius, which involves the
artists downtown even more Americans like Gorky, de Kooning, and Pollock, all
than the others. The foreseeable result will be a collection three of whom set out to catch, and to some extent did
of peintres maudiis— who are already replacing the catch (or at least Pollock did) some of the uncaught hares
poetes maudits in Greenwich Village. Alas, the future of that Picasso had started.
American art depends on them. That it should is fitting The years 1947 and 1948 constituted a turning point for
 Harold Rosenberg

was Attached neither to a community nor to one another, 49

"abstract expressionism!' In 1947 there a great
stride forward in general quality. Hofmann entered a these painters experience a unique loneliness of a
new phase, and a different kind of phase, depth that reached perhaps nowhere else in the world.
is

when he stopped painting on wood or fibreboard From the four corners of their vast land they have
and began using canvas. In 1948 painters like come to plunge themselves into the anonymity
Philip Guston and Bradley Walker Tomlin "joined up" of New York, armihilation of their past being not the least

to be followed two years later by Franz Kline. Rothko compelling project of these aesthetic Legionnaires.
abandoned his "Surrealist" manner; de Kooning had his Is not the definition of true loneliness, that one is lonely

first show; and Gorky died. But it was only in 1950 not only in relation to people but in relation to things
that "abstract expressionism" jelled as a general as well? Estrangement from American objects here

manifestation. And only then did two of its henceforth reaches the level of pathos. It accounts for certain harsh
conspicuous features, the huge canvas and the tonalities, spareness of composition, aggressiveness of

black and white oil, become ratified. statement.

"'American -Type' Painting" in "Introduction to Six American

Artists" Possibilities, no. 1, winter
Art and Culture, Boston, Beacon
Press, 1961, p. 211, 212, 219. 1947-48, p. 75.

At a certain moment the canvas began to appear to one

American painter after another as an arena in which to
act— rather than as a space in which to reproduce,
re-design, analyze or "express" an object, actual or
imagined. What was to go on the canvas was not a picture
but an event.
The painter no longer approached his easel with an
image in his mind; he went up to it with material in his
hand to do something to that other piece of material
in front of him. The image would be the result of
this encounter.
Call this painting "abstract" or "Expressionist" or
"Abstract-Expressionist^' what counts is its special motive
for extinguishing the object, which is not the same as
in other abstract or Expressionist phases of modern art.
The new American painting is not "pure" art, since the
extrusion of the object was not for the sake of the
esthetic. The apples weren't brushed off the table in order
to make room for perfect relations of space and color.
They had to go so that nothing would get in the way of
the act of painting. In this gesturing with materials
the esthetic, too, has been subordinated. Form, color.
 William Rubin

composition, drawing, are auxiliaries, any one of which— In attempting to bring into focus the historical picture
or practically all, as has been attempted logically, of the remarkable transition that characterized the
with unpainted canvases—can be dispensed with. What decade of the 1940's, we might start v\dth the year 1947.
matters always is the revelation contained in the act. It is If we accept William de Kooning's generous statement
to be taken for granted that in the final effect, the that it was "Jackson Pollock (who) broke the ice"
image, whatever be or be not in it, wiU be a tension. the breakthrough surely dates from the winter of 1946-47,
A painting that is an act is inseparable from the when Pollock first articulated his canvases with
biography of the artist. The painting itself is a "moment" "all-over"webs of poured paint. Pollock had painted some
in the adulterated mixture of his life— whether beautiful pictures in the early forties, but, unlike his
"moment" means the actual minutes taken up with later work, they are not "world-historical" in the
spotting the canvas or the entire duration of a lucid drama hegelian sense; despite their originality, they do not
conducted in sign language. The act-painting is of the possess his full identity, containing perhaps too much of
same metaphysical substance as the artist's existence. The Picasso, Miro, and Masson, to allow this. De Kooning,
new painting has broken down every distinction Still, Motherwell, and Rothko, among others, also
between art and life. painted fine pictures in the early forties, but again, it was
"The American Action Painters" only during the period 1947-50 that they realized their
inThe Tradition of the New, New more personal styles and painted what in some
York, Horizon Press, 1959, pp. 25, cases remain their best pictures.
26-28. The major influence on these American painters in the
early forties was Picasso, but the most omnipresent
and pervasive, though in generalized form, was
Surrealism, mostly Miro, secondarily Masson and Matta,
and marginally Ernst and Arp (the illusionistic side
of Surrealist painting, as exemplified by Dali and
Magritte, had no influence at all on these artists) . But
transcending the works of the Surrealist painters were
certain Surrealist ideas relating picture-making to
unconscious impulses and fantasies through the methods
of automatism; these ideas—never fully realized in
Surrealist painting itself- were very much in the air in
the early and middle forties. Gorky was by no means the
first to come in contact with them; as early as 1940
Motherwell was exploring ideas like these in discussions
with Matta, with whom he was then quite friendly,
and the former soon brought them to the attention of
Pollock. Within
few years such diverse painters as StiU,
a
Rothko, Gottlieb, Baziotes, andNewman were working
in a manner that might well be termed quasi-Surrealist
(what the French caU surrealisant) None were .
 Meyer Schapiro

members of the Surrealist group (although Motherwell In its most radical aspect— in the works of Willem de 5»

and Baziotes were shown in a major Surrealist
exhibition), but the morphology of their work, its
Freudianized mythological symbolism, and the flirtation
with automatism, all seemed related to Surrealism.
These were just the qualities (with the exception of
Kooning and Jackson Pollock— the new painting appears
as an art of impulse and chance. This does not mean
that it is formless and unconsidered; like any art, it aims
at a coherent style. What I am describing rather are
qualities which make up the expressiveness of this art; its

automatism) which tended to be purged by the physiognomic, so to speak. We see excited movements,
end of the decade. scattered spots and dashes, fervent streaking, an explosive
"Arshile Gorky, Surrealism, and release.The strokes of paint exist for themselves on the
the New American Painting" Art strongly marked plane of the canvas as tangible elements
International, vol. 7, no. 2, of decided texture and relief; sometimes they appear as
February 25, 1963, p. 27. distinct touches, sometimes they form dense complex
crusts of interwoven, built-up layers, sometimes they are
drawn out as filaments, entangled over the entire surface.
But all this describes only a single kind of painting,
the one that catches the eye soonest and provokes the
greatest astonishment or exasperation. (To it corresponds,
by the way, a method of sculpture in which wires, rods,
and small bits of metal are welded or soldered together in
intricate, open forms.) One can point also to an opposite
approach of the painter Mark Rothko, who builds
large canvases of a few big areas of colour in solemn
contrast; his bands or rectangles are finely softened at the

edges and have the air of filmy spectres, or after-effects

of colour; generally three or four tones make up the
scheme of the whole, so that beside the restless complexity
of Pollock or de Kooning, Rothko's painting seems inert
and bare. Each seeks an absolute in which the
receptive viewer can lose himself, the one in compulsive
movement, the other in an all-pervading, as if
internalised, sensation of a dominant colour. The result in
both is a painted world with a powerful, immediate
impact; in awareness of this goal, the artists have tended
to work on a larger and larger scale— canvases as big as
mural paintings are common in the shows in New York
and indeed are the ones which permit the artists to
realise their aims most effiectively.
Between these two poles lies a rich spectrum of styles of

different emotional tone. Ranging in the formal means

from intricacy to amorphous cloud-like massing, worth observing that in many ways it is a break
it is

from a style of energy to a style of passivity, they include with the kind of painting that was most important in the
also the taste for the balanced or constructive in the World War, in works like those
1920's. After the first
rough black grids of Franz Kline which isolate in a clear of Leger, abstraction in art was affected by the taste for
counterpoint the reserved spaces of the white ground. industry, technology and science, and assumed the
All these styles are united in the common weighting of the qualities of the machine-made, the impersonal and
stroke, in the concreteness of the canvas surface as a reproducible, with an air of coolness and mechanical
material plane, and in the freedom of composition control, intellectualized to some degree. The artist's power
realised through ambiguous or random forms. of creation seems analogous here to the designer's and

"The Younger American Painters engineer's. That art, in turn, avowed its sympathy

ofToday" The Listener (London),
January 26, 1956, p. 146, 147.
The object of art is . . . more passionately than ever
before, the occasion of spontaneity or intense feeling.
painting symbolizes an individual who realizes freedom
with mechanism and industry in an optimistic mood as
progressive elements in everyday life, and as examples of
strength and precision in production which painters
admired as a model for art itself. But the experiences of
the last twenty-five years have made such confidence
in the values of technology less interesting
The
and even distasteful.

and deep engagement of the self within his work. In abstraction we may distinguish those forms, like the

It is addressed to others who will cherish it, if it gives them square and circle, which have and
object character

joy, and who will recognize in it an irreplaceable those which do not. The first are closed shapes, distinct
quality and will be attentive to every mark of within their field and set off against a definite ground.
the maker's imagination and feeling. They build up a space which has often elements of gravity,
The consciousness of the personal and spontaneous in with a clear difference between above and below, the
the painting and sculpture stimulates the artist to invent ground and the background, the near and far. But the art
devices of handling, processing, surfacing, which of the last fifteen years tends more often to work with

confer to the utmost degree the aspect of the freely made. forms which are open, fluid or mobile; they are directed
Hence the great importance of tlie mark, the stroke, strokes or they are endless tangles and irregular curves,

the brush, the drip, the quality of the substance of the self-involved lines which impress us as possessing the

paint itself, and the surface of the canvas as a texture and qualities not so much of things as of impulses, of excited
field of operation— all signs of the artist's active movements emerging and changing before our eyes.
presence. The work of art is an ordered world of its own The impulse, which is most often not readily visible in
kind in which we are aware, at every point, its pattern, becomes tangible and definite on the surface of

of its becoming. a canvas through the painted mark. We see, as it were,

All these qualities of painting may be regarded as a the track of emotion, its obstruction, persistence or
means of affirming the individual in opposition to extinction. But all these elements of impulse which seem
the contrary qualities of the ordinary experience of on the canvas are built up into a
at first so aimless
working and doing. whole characterized by firmness, often by elegance and
I need not speak in detail about this new manner, which beauty of shapes and colors. A whole emerges with a
appears in figurative as well as abstract art; but I think compelling, sometimes insistent quality of form, with a
resonance of the main idea throughout the work. 53
And possessing an extraordinary tangibility and force,
often being so large that it covers the space of a wall and
therefore competing boldly with the environment,
the canvas can command our attention fully like
monumental painting in the past.
worth remarking that as the details of form
It is also

become complicated and free and therefore hard to follow

in their relation to one another, the painting tends to
be more centered and compact— different in this respect
from the type of abstraction in which the painting seems
to be a balanced segment of a larger whole. The artist
places himself in the focus of your space.

"The liberating quality of avant-

garde art^' Art News, vol. 56, no. 4,

Summer 1956, pp. 38-39.

 Contents: Section HI Catalogue & Reproductions

54 55 William Baziotes

65 Willem De Kooning

77 Arshile Gorky

89 Adolph Gottlieb

99 Philip Guston

109 Hans Hofmann

119 Franz Kline

129 Robert Motherwell

139 Bamett Newman

149 Jackson Pollock

159 Richard Pousette-Dart

169 Ad Reinhardt
179 MarkRothko
189 Clyfford Still

199 Bradley Walker Tomlin

Catiilogue William Baziotes

Height precedes width. 1. Untitled. 1946. 6. Primeval Landscape. 1953. 55

fDenotes color reproduction. Oil on canvas. 34'/^ x 50!/^". Oilon canvas. 62% x 74!/^".
Collection Mrs. Barbara Reis Samuel S. Fleisher Art
Poe, Los Angeles. Memorial, Philadelphia.

2. The Juggler. 1947. t?. Congo. 1954.

Oil on canvas. 38 x 30". Oil on canvas. 71I4 x 59%"-
Collection Mr. and Mrs. Los Angeles County Museum
Philip Gersh, Beverly Hills. of Art. Gift of Mrs. Leonard
Sperry, through the
3. Figure in Orange. 1947. Contemporary Art Council.
Oil on canvas. 23% x ^oYs".
Collection Mr. and Mrs. 8. Autumn Leaf. 1959.
Frederick R. Weisman, Oil on canvas. 60 x 50".
Beverly Hills. Collection J. Daniel
Weitzman, New York.
4. Toy. 1949.
Oil on canvas. 18 x 14%".
Munson -Williams-Proctor
Institute, Utica, New York.
5. Toys in the Sun. 1951.
Oil on canvas. 50 x 26".
Los Angeles County Museum
of Art, Gift of Museum
Associates.
Baziotes. Untitled. 1946. Oil on canvas. 34.V2 x 60V2" Collection Mrs. Barbara Reis Poe
2. Baziotes. The Juggler. 1947. Oil on canvas. 38 x 30" Collection Mr. and Mrs. Philip Ge:
Baziotes. Figure in Orange. 1947. Oil on canvas. 23% x soVs". Collection Mr. and Mrs. Frederick R. Weisman
4- Baziotes. Toy. 1949. Oil on canvas. 18 x 141/8" Munson-Williams-Proctor Institu
Baziotes. Toys in the Sun. 1951. Oil on canvas. 50 x 26" Los Angeles County Museum of Art, Gift of Museum Associates
6. Baziotes. Primeval Landscape. 1953. Oil on canvas. 62%. x 72 }4" Samuel S. Fleisher Art Memorij
Baziotes. Congo. 1954. Oil on canvas. ziVi x 59%". Los Angeles Co. Museum of Art. Gift of Mrs. Leonard Sperry, through Contemporary Art Council

63

V
 8. Baziotes. Autumn Leaf. 1959. Oil on canvas. 60 x 50" Collection J. Daniel Weitzman

64
Catalogue Willem De Kooning

Height precedes width. 9. Clown, c. 1941. 14. Little Attic. 1949. 65

iDenotes color reproduction. Oil on masonite. 41 x 24Y2".
Collection Mr. and Mrs. Burt
Kleiner, Beverly Hills.
tlO. Untitled, c. 1945.
Oil on masonite. 31!/^ x 52!/^".
Collection Mr. and Mrs.
Frederick R. Weisman,
Beverly Hills.
Oil on composition board.
30I/2 x 40"-
Collection Dr. and Mrs. Israel
Rosen, Baltimore
fl5. Two Standing^^ omen. 1949.
Oil on board. 29!/^ x 26I4.".
Collection Mr. and Mrs.
Norton Simon, Los Angeles.

11. Pink Angel, c. 1947. 16. Woman V. 1952-55.

Oil on canvas. 52 x 40". Oil on canvas. 60I/2 x 44!/^".
Collection Mr. and Mrs. Collection Mrs. Arthur C.
Frederick R. Weisman, Rosenberg, Chicago.
Beverly Hills.
17. Backyard on Tenth Street.
12. Dark Pond. 1948. 1956.
Oil on masonite. 46Y2 x 55!/^". Oil on canvas. 48 x 58!/^".
Collection Mr. and Mrs. Baltimore Museum of Art.
Frederick R. Weisman,
Beverly Hills.
18. Montauk Highway. 1958.
Oil on canvas. 59 x 48".
13. .\shviUe. 1949. Collection Mr. and Mrs.
Oil on canvas. 25% x 31%". Michael Blankf ort, Los
The Phillips Collection, Angeles.
Washington, D.C.
De Kooning. Clown, c. 1941. Oil on masonite. 41 x 24 V2' Collection Mr. and Mrs. Burt Kleiner

67
 10. De Kooning. Untitled, c. 1943. Oil on masonite. 31Y2 ^ 52%" Collection Mr. and Mrs. Frederick R. Weism

68
De Kooning. Pink Angel, c. 1947. Oil on canvas. 52 x 40" Collection Mr. and Mrs. Frederick R. Weisman

69
12. De Kooning. Dark Pond. 1948. Oil on masonite. 46^^ x 55^4"- Collection Mr. and Mrs. Frederick R. Weism
. De Kooning. Ashville. 1949. Oil on canvas. 25% x 31%". The Phillips Collection
14. De Kooning. Little Attic. 1949. Oil on composition board. 30!/^ x 40
De Kooning. Two Standing Women. 1949. Oil on board. 29V2 x 2614" Collection Mr. and Mrs. Norton Simon

7S
i6. De Kooning. Woman V. 1952-53. Oil on canvas. GoYo x 44I/2" Collection Mrs. Arthur C. Rosenbe
e Kooning. Backyard on Tenth Street. 1956. Oil on canvas. 48 x 5854" Baltimore Museum of Art
 i8. De Kooning. Montauk Highway. 1958. Oil on canvas. 59 x 48" Collection Mr. and Mrs. Michael Blank

76
Catalogue Arshile Gorky

Height precedes width. 19. Mojave. c. 1941-42. 24. Year After Year. 1947. 77
f Denotes color reproduction. Oil on canvas. 28% x 40'/^". Oil on canvas. 34 x 39".
Los Angeles County Museum Collection Mr. & Mrs. Gifford
of Art. Gift of Mr. and Mrs. Phillips, Washington, D.C.
Burt Kleiner.
25. Betrothal No. 1. 1947.
20. Pirate II. 1943. Oil on canvas, on composition
Oil on canvas. 30 x 36". board. 50% x 39%"-
Collection Julien Levy, Collection Mr. & Mrs. Taft
Bridgewater, Connecticut. Schreiber, Beverly Hills.

21. Child's Companions. 1945. y26. Plumage Landscape. 1947.

Oil on canvas. 39 x 45%". Oil on canvas. 38x5 1".
Collection Julien Levy, Collection Mr. & Mrs. Norton
Bridgewater, Connecticut. Simon, Los Angeles.

22. Delicate Game. 1946. t27. Terra Cotta. 1947.

Oil on canvas. 34 x 44". Oil on canvas. 44 Vi x 56".
Collection Edwin Janss Jr. Collection Mr. & Mrs.
Thousand Oaks, California. Frederick R. Weisman,
Beverly Hills.
-i-23. Orators. 1947.
Oil on canvas. 60 x 72".
Collection Mr. & Mrs. William
C. Janss, Palm Desert,
California.
rorky. Mojave. c. 1941-42. Oil on canvas. 28% x 4o'/2' Los Angeles County Museum of Art. Gift of Mr. and Mrs. Burt Kleiner
20. Gorky. Pirate II. 1943. Oil on canvas. 30 x 36" Collection Julien L

X- ;

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4
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A
k
i
y

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'yL
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yy
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1
Gorky. Child's Companions. 1945. Oil on canvas. 39 x 45%" Collection Julien Levy
22. Gorky. Delicate Game. 1946. Oil on canvas. 34 x 44" Collection Edwin Janss J
Gorky. Orators. 1947. Oil on canvas. 60 x 72" Collection Mr. & Mrs. William C. Janss
24- Gorky. Year After Year. 1947. Oil on canvas. 34 x 39". Collection Mr. & Mrs. Gifford Phill:
Gorky. Betrothal No. i. 1947. Oil on canvas, on composition board. 50% x 39%" Collection Mr. & Mrs. Taft Schreiber
26. Gorky. Plumage Landscape. 1947. Oil on canvas. 38 x 51'' Collection Mr. & Mrs. Norton Sin
27- Gorky. Terra Cotla. 1947. Oil on canvas. 44^/4 x 56" Collection Mr. & Mrs. Frederick R. Weisi
Catalogue Adolph Gottlieb

Height precedes width. 28. Pictograph. c. 1946. 32. Black, Unblack. 1954.
fDenotcs color reproduction. Oil on canvas. 34 x 26". Oil on canvas. 36 x 48".
Los Angeles County Museum University of Nebraska,
of Art. Gift of Burt Kleiner, Lincoln.

29. Romancscjue Facade. 1949. 33. Imaginary Landscape. 1956.

Oil on canvas. 48 x 36". Oil on canvas. 42 x 72".
Krannert Art Museum, Collection Mr. and Mrs.
University of Illinois, Eugene V. Klein, Beverly Hills.
Champaign.
34. Blast No. 3. 1958.
30. The Seer. 1950. Oil on canvas. 69 x 40".
Oil on canvas. 60 x 72".
The Phillips Collection,
Washington, D.C.

31. Flotsam at Noon (Imaghiary

Collection Mr. and Mrs.
Gifford Phillips, Washington,
D.C.

y35. Crimson Spinning No. 2.

T
Landscape). 1952.
Oil on canvas. 36 x 48".
Museum of Modern Art, New
York. Gift of Colonel
A. Berger.
Samuel
1959.
Oil on canvas. 90 x 84".
Collection Mr.and Mrs.
Harry Sherwood, Beverly
Hills.
^
Gottlieb. Pictograph. c. 1946. Oil on canvas. 34 x 26" Los Angeles County Museum of Art. Gift of Burt Kleiner

91
 29- Gottlieb. Romanesque Facade. 1949. Oil on canvas. 48 x 36" Krannert Art Museum, University of lUini

S ^ t

92
jottlieb. The Seer. 1950. Oil on canvas. 60 x 72" The Phillips Collection

„(in.i Goiuir^
31. Gottlieb. Flotsam at Noon (Imaginary Landscape). 1952. Oil on canvas. 36 x ^ Museum of Modem Art. Gift of Col. Samuel A. Ber

^ \ ,
-^.^ft-*
^

'<*
Gottlieb. Black, Unblock. 1954. Oil on canvas. 36 x 48" University of Nebraska
 33- Gottlieb. Imaginary Landscape. 1956. Oil on canvas. 42 x 72" Collection Mr. and Mrs. Eugene V. Kl

96
Gottlieb. Blast No. 3. 1958. Oil on canvas. 69 x 40". Collection Mr. and Mrs. Gifford Phillips

97
35- Gottlieb. Crimson Spinning No. 2. 1959. Oil on canvas. 90 x 84" Collection Mr. and Mrs. Harry Sherwoi
Catalogue Philip Guston

Height precedes width. 3G. Tormentors. 1947-48. 41. The Room. 1954-55. 99
"t-Denotes color reproduction. Oil on canvas. 40% x 60%". Oil on canvas. 7 1 % x 60".
Collection of the artist. Los Angeles County Museum
of Art, Museum Associates
37. Review. 1948-49. purchase with Contemporary
Oil on canvas. 39% ^ 59".
Art Council Fund.
Collection of the artist.

Y-^2. Passage. 1957-58.

38. Red Painting. 1950. Oil on canvas. 65 x 74".
Oil on canvas. 34 x 62!/^". Collection Mr. and Mrs. David E.
Collection of the artist.
Bright, Beverly Hills.

39. ^^hite Painting I. 1931.

Grove L 1959.
43.
Oil on canvas. 57% x 61%" Oil on canvas. 69 x 72I/8".
Private collection, Los Angeles. Collection Mr. and Mrs. Lee V.
Eastman, Scarsdale.
40. Painting. 1954.
Oil on canvas. 63I4 x 60I/8".
Museum of Modern Art. Gift
of Philip C. Johnson.
i. Guston. Tormentors. 1947-48. Oil on canvas. 40%. x 60'/^" Collection of the artist
37- Guston, Review. 1948-49. Oil on canvas. 39% x 59" Collection of the arti:
Guston. Red Painting. 1950. Oil on canas. 34 x 62V8'' Collection of the artist

103
39- Guston. White Painting I. 1951. Oil on canvas. 57% x 61%" Private coUecti
Guston. Painting. 1954. Oil on canvas. 63^/4 x 60^8"- Museum of Modern Art. Gift of Philip C. Johnson
 41. Guston. The Room. 1954-55. Oil on canvas. 71% x 60". L.A. Co. Museum of Art, Museum Assoc, purchase with Contemporary Art Council Fi

106
Guston. Passage. 1957-58. Oil on canvas. 65 x 74" Collection Mr. and Mrs. David E. Bright

«*^"5^

r
¥.-

.%
h
 Grove 1959. Oil on canvas. 69 x 721/8'' Collection Mr. and Mrs. Lee V. Eastm
43- Guston. I.

18^.
Catalogue Hans Hofmann

Height precedes width.
f Denotes color reproduction.
44. Effervescence. 1944.
Oil on canvas. 53 x 35".
University of California,
Berkeley.
45. Palimpsest. 1946.
Oil on board. 39!/^ x 59!/^".
Collection of the artist.
46. Third Hand. 1947.
Oil on canvas. 58I/2 x 39%".
Collection of the artist.
t49. Flight. 1952. 109
Oil on canvas. 60 x 48".
Los Angeles County Museum
of Art. Gift of Mrs. Vicci
Sperry through the
Contemporary Art Council.
50. X-1955. 1955.
Oil on canvas. 60 x 48".
Collection Peter Riibel, New
York.

51. Equinox. 1958.

47. Libration. 1947.
Oil on canvas. 72 x 60".
Oil on canvas. 60 x 50".
University of California,
Collection Mr. and Mrs. Berkeley.
Samuel M. Kootz, New York.
48. Magenta and Blue. 1950.
Oil on canvas. 48 x 58".
Whitney Museum of
American Art, New York.
lofmarm. Effervescence. 1944. Oil on canvas. 53 x 35"
University of California, Berkeley
45- Hofmann. Palimpsest. 1946. Oil on board. 39'/2 x sgVi"- Collection of the art
lofmann. Third Hand. 1947. Oil on canvas. 58}4 x 39/4"- Collection of the artist

113

• i * ^^^jtr mi-Ku f-
 47- Hofmann. Libradon. 1947. Oil on canvas. 60 x 50". Collection Mr. and Mrs. Samuel M. Ko

114

l.'tt\.S v^-i
Hofmann. Magenta and Blue. 1950. Oil on canvas. 48 x 58". Whitney Museum of American Art
49. Hofmann. Flight. 1952. Oil on canvas. 60 x 48". L. A. County Museum of Art. Gift of Mrs. Vicci Sperry through the Contemporary Art Couni
Hofmann. X-1955. 1955. Oil on canvas. 60 x 48" Collection Peter Riibel

117
31. Hofmann. Equinox. 1958. Oil on canvas. 72 x 60" University of California, Berkele
Catalogue Franz Kline

Height precedes width. 52. Untitled. 1947. 57. Wanamaker Block. 1955. 119
fDenotes color reproduction. Oil on canvas. 2 7 ','2 x 2il/^". Oil on canvas. 78!/^ x 71".
Collection Robert BoUt, New Collection Richard Brown
York. Baker, New York.

53. Untitled, c. 1948. 58. August Day. 1937.

Oil on paper. 22I/2 ^ ^giA". Oil on canvas. 92 x 78".
and Mrs.
Collection Dr. Collection Mr. and Mrs.
Nathan Alpers, Los Angeles Gifford Phillips, Washington,
D.C.
54. Clockface. 1950.
Oil on canvas. 36 x 30". t59. King Oliver. 1958.
Collection Mr. and Mrs. Oil on canvas. 99 x 77V2"-
Robert Rowan, Pasadena. Collection Mr. and Mrs.
I. Donald Grossman, New
55. Untitled. 1952.
York.
Oil on canvas. 42 x 34".
Collection Mrs. Vicci Sperry,
Los Angeles.

^
56. Untitled. 1953-34.
Oil on canvas. 57% x 82".
Collection Robert H. Halff
and Carl W. Johnson, Beverly
Hills.
Kline. Untitled. 1947. Oil on canvas. 27V2 x 2i'/2'' Collection Robert Bollt
 1948. Oil on paper. 22V4 x 291/2"- Collection Dr. and Mrs. Nathan Alpc
53- Kline. Untitled, c.
Kline. Clockface. 1950. Oil on canvas. 36 x 30" Collection Mr. and Mrs. Robert Rowan

1^3
 55- Kline. Untitled. 1952. Oil on canvas. 42 x 34" Collection Mrs. Vicci Spei

124
Kline. Untitled. 1953-54- Oil on canvas. 57l^ x 82" Collection Robert H. Halff and Carl W Johnson

''
iv-
 57- Kline. Wanamaker Block. 1955, Oil on canvas. 78I4 x 71''
Collection Richard Brown Ba

126
Kline. August Day. 1957. Oil on canvas. 92 x 78". Collection Mr. and Mrs. Gifford Phillips
59- Kline. King Oliver. 1958. Oil on canvas. 99 x 77 Vi". Collection Mr. and Mrs. I. Donald Grossm.
Catalogue Robert Motherwell

Height precedes width. (jO. Pancho Villa, Dead and 64. At Five in the Vfternoon. 129

f Denotes color reproduction. Alive. 1945. 1950.

28 X 35%". Gouache and oil Oil on masonite. 36 x 48".
with collage on cardboard. Collection Mr. and Mrs.
Museum of Modern Art, Wright Morris, Mill Valley,
New York. California.

61. Blue \>ith China Ink 65. Klegy to the Spanish

Homage to John Cage. 1946. Republic \XXVB. 1955.
Gouache and oil with collage Oil on board. 20 x 30".
on cardboard. 40 .\ 31". Collection Mrs. Henry
Collection Richard Brown Epstein, New York.
Baker, New York.
i-66. .lour la Maison, Xuit la Rue.
62. Still Life, Ochre and 1957.
Red. 1947. Oil on canvas. 6934 x 89!/^".
Oil on canvas. 29I4, x 38". Collection Mr. and Mrs.
Collection Mr. and Mrs. William C. Janss, Palm Desert,
Philip Gersh, Beverly Hills. California.

63. The Best Toys Are Made 67. A Sculptor's Picture with
of Paper. 1948. Blue. 1958.
Collage and mixed media on Oil on canvas. 70 x 76".
cardboard. 48 x 30". Collection Mrs. Stanley
Collection Mr. and Mrs. Burt Sheinbaum, Santa Barbara.
Kleiner, Beverly Hills.
Motherwell. Pancho Villa, Dead and Alive. 1943. 28 x 35%"- Gouache and oil with collage on cardboard. Museum of Modern Art
6i. Motherwell. Blue with China Ink —Homage to John Cage. 1946. Gouache and oil with collage on cardboard. 40 x 31" Collection Richard Brown Bak
2. Motherwell. Still Life. Ochre and Red. 1947. Oil on canvas. 29V4 x 38". Collection Mr. and Mrs. Philip Gersh

^
-.-#:
 63. Motherwell. The Best Toys are Made of Paper. 1948. Collage and mixed media on cardboard. 48 x 30" Collection Mr. and Mrs. Burt Kleins

134
Motherwell. At Five in the Afternoon. 1950. Oil on masonite. 36 x 48" Collection Mr. and Mrs. Wright Morris
 65. Motherwell. Elegy to the Spanish Republic XXXVB. 1953. Oil on board. 20 x 30" Collection Mrs. Henry Epste:

136
Motherwell. Jour la Maison, Nuit la Rue. 1957. Oil on canvas. 6g% x 89I/2'' Collection Mr. and Mrs. William C. Janss

1
6/. Motherwell. A Sculptor's Picture with Blue. 1958. Oil on canvas. 70 x 76". Collection Mrs. Stanley Sheinbaui
Catalogue Barnett Newman

Height precedes width. 68. Genesis —the Break. 1946. 172. Onement No. 6. 1955. 139
f Denotes color reproduction. Oil on canvas. 25 x 28". Oil on canvas. 102 x 120".
Collection Dr. Ruth Stephan, Collection Mr. and Mrs.
Greenwich, Connecticut. Frederick R. Weisman,
Beverly Hills.
69. Euclidean Abyss. 1947.
Mixed media on canvas. 73. Primordial Light. 1954.
28 X 22". Oil on canvas. 96 x 48".
Collection Mr. and Mrs. Kasmin Gallery, London.
Burton Tremaine. New York.
74. The Word. 1954.
70. Onemcnt No. 3. 1949. Oil on canvas. 90 x 70".
Oil on canvas. 72 x 34". Collection Mrs. Annalee G.
Collection Mr. & Mrs. Joseph Newman.
SHfka, New York.
75. Outcry. 1958.

V71. Tundra. 1950. Oil on canvas. 82 x 6".

Oil on canvas. 72 x 89". Collection Mrs. Annalee G.
Collection Mr. and Mrs. Newman.
Robert C. Scull. New York.
Newman. Genesis — the Break. 1946. Oil on canvas. 25 x 28" Collection Dr. Ruth Stephan

j^Sl^-ThC
 69. Newman. Euclidean Abyss. 1947. Mixed media on canvas. 28 x 22". Collection Mr. and Mrs. Burton Tremai

142
Newman. Onement No. 3. 1949. Oil on canvas. 72 x 34" Collection Mr. and Mrs. Joseph Slifka

143
71. Newman. Tundra. 1950. Oil on canvas. 72 x i Collection Mr. and Mrs. Robert C. Sci
Newman. Onement No. 6. 1953. Oil on canvas. 102 x 120". Collection Mr. and Mrs. Frederick R. VVeisman
 73- Newman. Primordial Light. 1954. Oil on canvas. 96 x 48" Kasmin Gallei

146
Newman. The Word. 1954. Oil on canvas. 90 x 70" Collection Mrs. Annalee G. Newman

147
 75- Newman. Outcry. 1958. Oil on canvas. 82 x 6" Collection Mrs. Annalee G. Newn

148
Catalogue Jackson Pollock

Height precedes width. 76. Pasiphae. 1945. 81. Black and White- 149
fDenotes color reproduction. Oil on canvas. 56 Vs x 96". Number 20. 1951.
Marlborough-Gerson Gallery, Duco on canvas. 64 x 57'/^".
New York. Collection Mr. and Mrs.
David E. Bright, Beverly Hills.
77. Night Dancer (Green).
1944. f82. Four Opposites. 1955.
Oil on canvas. 43 x 34". Oil, duco and aluminum paint
Marlborough-Gerson Gallery, on canvas. 72!/^ x 5114.".
New York. Collection Edwin Janss Jr.,

Thousand Oaks, California.

78. The Key. 1946.
Oil on canvas. 59 x 83%". 85. Search. 1955.
Marlborough-Gerson Gallery, Oil on canvas. 57^4 x 90".
New York. Collection Mrs. Vicci Sperry,
Los Angeles.
79. White Cockatoo. 1948.
Oil and duco on canvas.

35 X 1 14"-

Marlborough-Gerson Gallery,
New York.

fSO. No. 1. 1949.

Duco and aluminum paint on
canvas. 63 x 102".
Collection Mr. and Mrs. Taft
Schreiber, Beverly Hills.
Pollock. Pasiphae. 1943. Oil on canvas. 561/8 x 96" Marlborough-Gerson Gallery

151
 77- Pollock. Night Dancer (Green). 1944. Oil on canvas. 43 x 34". Marlborough-Gerson Gall

152
Pollock. The Key. 1946. Oil on canvas. 59 x 83%" Marlborough-Gerson Gallery
 79- Pollock. White Cockatoo. 1948. Oil and duco on canvas. 35 x 114" Marlboroueh-Gerson Galle

154
Pollock. No. 1. 1949. Duco and aluminum paint on canvas. 63 x 102" Collection Mr. and Mrs. Taft Schreiber
8i. Pollock. Black and White —Number 20. 1951. Duco on canvas. 64 x siVs" Collection Mr. and Mrs. David E. Brig
Pollock. Four Opposites. 1953. Oil, duco and aluminum paint on canvas. 72^4 x 51Y4." Collection Edwin Janss Jr.

157
83- Pollock. Search. 1955. Oil on canvas. 57V2 x 90". Collection Mrs. Vicci Sperr
Catalogue Richard Pousette-Dart

Height precedes width. V84. Fujruc \o. 2. 1945. 89. Path of the Hero. c. 1955-56. 159
fDenotes coloi- reproduction. Oil on canvas. 42 x loG^A". Oil on canvas. 62 x 120".
Collection of the artist. Collection of the artist.

85. Fugue No. 4. 1947. 90. Path of the W hite Bird.

Oil on canvas. 92 x 62". c. 1956.

86.
Collection of the

Night World. 1948.

artist.

Oil on canvas. 55'/^ x 62%".

Collection of the artist.
Oil on canvas.
Collection of the
1

91. Blood N\edding. 1958.

16 x 70".
artist.

Oil on canvas. 72 x 112".

Collection Equitable Life
n
87. No. 1, 1951. 1950-51. Assurance Company,
Oil on canvas. 45 14 x 85".
New York.
Collection of the artist.

88. Savage Rose. 1951.

Oil on canvas. 7QV2 x 54V&"
Collection of the artist.
Pousette-Dart. Fugue No. 2. 1943. Oil on canvas. 42 x io6'/2'' Collection of the artist
 85. Pousette-Dart. Fugue No. 4. 1947. Oil on canvas. 92 x 62" Collection of the ar

162
Pousette-Dart. Night World. 1948. Oil on canvas. 55!/^ x 62%" Collection of the artist
 87. Pousette-Dart. No. 1. tg^i. 1950-51. Oil on canvas. 45 V2 x 8g". Collection of the arti

164
Pousette-Dart. Savage Rose. 1951. Oil on canvas. 79V2 x 54.Vs". Collection of the artist

i6t
 . Pousette-Dart. Path of the Hero. c. 1955-56. Oil on canvas. 62 x 120" Collection of the art

166
ousette-Dart. Path of the White Bird. c. 1956. Oil on canvas. 1 16 x 70". Collection of the artist
gi. Pousette-Dart. Blood Wedding. 1958. Oil on canvas. 72 x 112". Collection Equitable Life Assurance Comf
Catalogue Ad Reinhardt

Height precedes width.
{-Denotes color reproduction.
92. Abstract Painting. 1943.
Oil on canvas. 40 x 32".
Collection of the artist.
93. Abstract Painting, Yellon.
97. Abstract Painting, Black.
1954.
Oil on canvas. 84 x 84".
Collection of the artist.

•h94.
1947.
Oil on canvas. 40 x 32".
Collection of the artist.

Abstract Painting. 1948.

Oil on canvas. 76 x 144".
98. Abstract Painting. 1954-39.

99.
Oil on canvas. 108 x 40".
Collection of the

\bstract Painting.
1956-59.
artist. n
Collection of the artist. Oil on canvas. 108 x 40".
Collection of the artist.
95. Abstract Painting, Blue-
Green. 1949.
Oil on canvas. 76 x 144".
Collection of the artist.

96. Abstract Painting, Red.

1952.
Oil on canvas. 132 x 240"
Collection of the artist.
Reinhardt. Abstract Painting. 1943. Oil on canvas. 40 x 32" Collection of the artist

171
93. Reinhardt. Abstract Painting. Yellow. 1947. Oil on canvas. 40 x 32". Collection of the art
Reinhardt. Abstract Painting. 1948. Oil on canvas. 76 x 144" Collection of the artist

173

k\ i

^' ^
 95- Reinhardt. Abstract Painting, Blue-Green. 1949. Oil on canvas. 76 x 144" Collection of the an

174
Reinhardt. Abstract Painting, Red. 1952. Oil on canvas. 132 x 240".
Collection of the artist

175
97- Reinhardt. Abstract Painting. Black. 1954. Oil on canvas. 84 x 84" Collection of the ai
Reinhardt. Abstract Painting. 1954-59. Oil on canvas. 108 x 40". Collection of the artist

^77
 99. Reinhardt. Abstract Painting. 1956-59. Oil on canvas. 108 x 40". Collection of the ar

178
Catalogue Mark Rothko

Height precedes width. 100. No. 26, 1947. 1947. 105. Green on Blue. 1956. 179

+Denotes color reproduction. Oil on canvas. 33 V^ x 45". Oil on canvas. 89% x 63!/^".
Collection Mrs. Betty Parsons, University of Arizona Art
New York. Gallery. Edward Joseph
Gallagher, III, Memorial
101. Untitled. 1948. Collection.
Oil on canvas. 67 x 34".
Collection Mr. and Mrs. tl06. Light Cloud, Dark Cloud.
Wright Morris, Mill Valley, 1957.
California. Oil on canvas. 66 x 62".
Edwin Janss Jr.,
Collection
102. Mauve Intersection. (No. 12). Thousand Oaks, California.
1948.
Oil on canvas. 58 x 64". 107. White Center. 1957.
The Phillips Collection, Oil on canvas. 84 x 72".
Washington, D.C. Collection Mr. and Mrs.
David E. Bright, Beverly Hills.
103. No.24, 1949. 1949.
Oil on canvas. 88Y2 x s/l/i"-
Collection Joseph H.
Hirshhorn, New York.
104. Untitled. 1951.
Oil on canvas. 93 14 x 56%".
Collection Mr. and Mrs.
Gifford Phillips, Washington,
D.C.
.othko. No. 26, 1947. 1947. Oil on canvas. 33'/2 x 45" Collection Mrs. Betty Parsons

^ W

JSU,. -^
101. Rothko. Untitled. 1948. Oil on canvas. 67 x 34". Collection Mr. and Mrs. Wright M
Rothko. Mauve Inlersection (No. 12). 1948. Oil on canvas. 58 x 64" The Phillips Collection
 103. Rothko. No. 24, 1949. 1949. Oil on canvas. 88'/^ x 57^/2' Collection Joseph H. Hirsh

184
lothko. Untitled. 1951. Oil on canvas. 93 V4 x 56%" Collection Mr. and Mrs. Gilford Phillips

185
 105- Rothko. Green on Blue. 1956. Oil on canvas. 89% x 63 V2"- Univ. of Arizona Art Gallery. Edward Joseph Gallagher, III, Memorial Colle(

186
). Rothko. Light Cloud, Dark Cloud. 1957. Oil on canvas. 66 x 62" Collection Edwin Janss Jr.

187
10/. Rothko. White Center. 1957. Oil on canvas. 84 x 72" Collection Mr. and Mrs. David E. Br
Catalogue Clyfford Stm

Height precedes width. 108. 1944-N \o. 1. 1944. 112. 1950-1. 1950. 189
f Denotes color reproduction. Oil on canvas. 105 x 92'/^'' Oil on canvas. 1 18 x 92!/^''
Collection of the artist. Collection of the artist.

109. 1946-H. 1946. 113. 1955-K. 1955.

Oil on canvas. 78 x 68". Oil on canvas. 1 13 x 104".
CollectionMr. and Mrs. Collection of the artist.

Frederick R. Weisman,
114. 1955-6. 1955.
Beverly Hills.
Oil on canvas. 1 14 x 104".
fllO. I947-RN0.2. 1947. Collection of the artist.
Oil on canvas. 105 x 92".
115. 1957-K. 1957.
Collection Mr. and Mrs.
Oil on canvas. 113 x 155"
Frederick R. Weisman,
Collection of the artist.
Beverly Hills.

111. 1930-.\ No. 2. 1950.

Oil on canvas. 108 x 92".
Collection of the artist.
!. Still. 1944-N No. 1. 1944. Oil on canvas. 105 x 92 V^" Collection of the artist

191
log. Still. 1946-H. 1946. Oil on canvas. 78 x 68". Collection Mr. and Mrs. Frederick R. Weism
Still. J947-R No. 2. 1947. Oil on canvas. 105 x 92" Collection Mr. and Mrs. Frederick R. Weisman
 111. Still. ip^o-A No. 2. 1950. Oil on canvas. 108 x 92" Collection of the ar

194
Still. 1 950-1. 1950. Oil on canvas. 118 x 92'/^" Collection of the artist

I
195

It^

p-r
113. Still. 1955-K. 1955. Oil on canvas. 113 x 104" Collection of the art

.#

I "r

>.> ¥
'"^ '511 '
*'

is>^<i
 Collection of the artist
still. 1955-6. 1955. Oil on canvas. 114 x 104".

197
115- Still. i9$y-K. 1957. Oil on canvas. 113 x 155" Collection of the a
Catalogue Bradley Walker Tomlin

Height precedes width. 116. .\11 Souls Mght. 1948. 120. N0.I2. 1952. 199
•{Denotes color reproduction. Oil on canvas. 42 14 x 64". Oil on canvas. 66 x 48".
Betty Parsons Gallery, Albright-Knox Art Gallery,
New York. Buffalo.

117. Tension by Moonlight. 121. No. 1. 1952-53.

1948. Oil on canvas. 79 x 46".
Oil on canvas. 32 x 44". Betty Parsons Gallery,
Betty Parsons Gallery, New York.
New York.
122. No. 10. 1952-55.
•;-118. No. 5, 1949. 1949. Oil on canvas, 72 x i02iA".
Oil on canvas. 70 x 38". Munson-Williams-Proctor
Private collection, New York. Institute, Utica, New York.

119. No. 9: In Praise of

Gertrude Stein. 1950.
Oil on canvas. 49 x 102 14".
Museum of Modern Art,
New York. Gift of Mrs.
John D. Rockefeller III.
Tomlin. All Souls Night. 1948. Oil on canvas. 42 14 x 64" Betty Parsons Gallery
117. Tomlin. Tension by Moonlight. 1948. Oil on canvas. 32 x 44" Betty Parsons Gal:
8. Tomlin. No. 5, 1949. 1949. Oil on canvas. 70 x 38" Private collection

203
 iig. Tomlin. No. p.- In Praise of Gertrude Stein. 1950. Oil on canvas. 49 x 102 14.' Museum of Modern Art. Gift of Mrs. John D. Rockefeller, ]

204
Tomlin. No. 12. 1952. Oil on canvas. 66 x 48" Albright-Knox Art Gallery

205

I i
1 !
 121. Tomlin. No. t. 1952-53. Oil on canvas. 79 x 46" Betty Parsons Gall

206
Tomlin. No. lo. 1952-53. Oil on canvas. 72 x i02'/2' Munson- Williams-Proctor Institute

^K.< "^^
 Contents: Section IV Bibliography

A 210 Artists 209

210 1. Individual Bibliographies (by artists,

articles on artists, catalogues & reviews)

210 William Baziotes
212 Willem De Kooning
214 Arshile Gorky

216 Adolph Gottlieb

217 Philip Guston

218 Hans Hofmann

219 Franz Kline
221 Robert Motherwell

223 Bamett Newman

225 Jackson Pollock

229 Richard Pousette-Dart

230 Ad Reinhardt

232 Mark Rothko

234 Clyfford Still

235 Bradley Walker Tomlin

235 2. Grouped Statements

(symposia, collections, etc.)

B 236 Critics

236 1 . Writings on the New York School

242 2. Related Contemporary Writings

C 247 Catalogues <& Reviews of Group Exhibitions

 )

New York School A: Artists William Baziotes (1912-1963)

A Selective Bibliography 1: Individual Bibliographies

With Brief Excerpts from
the Criticsd Writings.

A. Artists
By Baziotes (chronologically)
1. Individual Bibliographies
1. "I Cannot Evolve Any Concrete
2. Grouped Statements
Theory" Possibilities, vol. i, no. i.
(symposia, collections, etc.)
Winter 1947-1948, p. 2 Ulus.; also
B. Critics
Paul Valery text chosen by the art-
ist. (Baziotes statement reprinted in
1. Writing on theNew York School
bibls. 741, 745.)
2. Related Contemporary Writings
2. [Statement], Tiger's Eye, \o\. 1, no.
C. Catalogues and Reviews 5, October 1948, p. 55.
of Group Exhibitions 3. "The Artist and His Mirror" Right
Angle, vol. 3, no. 2, June 1949, p. 3-4.
When a substantial bibliography on an 4. [Illustration for broadside]. The
artist already exists, only supplementary Kootz Review, November 25-Decem-
references have been added, except in the ber 23, 1952. (See also illustrations
case of the artist's own statements which for bibl. 978.)
are re-listed in full. "Symposium: The Creative Process"
5.

Art Digest, vol. 28, no. 8, January

Cross references refer to bibliography
15, 1954, P- 14-16,32-34-
numbers.
5a. "An interview with William Bazi-
otesj' Perspective (Hunter College,
Illustrations are denoted by ill. for one re-
production; illus. for more than one.
New York), no. 2, [1956?], p. 26-30
illus.

6. "Notes on Painting" // 7^, no. 4, Au-

tumn 1959, p. 11.
6a. "Call It an EyeJ' Time, November
"7, 1947-

See also bibls. 7, 735, 737, 738, 740,

742, 744, 984, 1028.

.•Vrticles on Baziotes (alphabetically)

7. HAKE, DAVID. "William Baziotes,
1912-1963" Location, vol. 1, no. 2,
Summer 1964, p. 83-90 illus. ; also re-
print of bibl. 8 and text by Thomas
B. Hess; brief statements by the art-
ist.

7a. KOOTZ, SAMUEL M. "In Defense of

Baziotes;' Art Digest, vol. 22, no. 5,
December 1, 1947. (Letter to the ed-
itor; see also Art Digest, December
15, 1947, for another letter, "Criti-
cizing Cyclops" by
Laurentza
Schantz-Hansen.
7b. ROBINSON, MURRAY. "Paintings Talk
Back to Him" Neiv York World Tele-
gram, November 24, 1947.
 8. ROSENBERG, HAROLD. "Reminder to News, vol. 48, no. 10, February 1950, um, Houston, January 24-February 211
the Growing, To Patia, For a Paint- p. 47. i/i '957- 19 P- cat. Ulus.
ing by William Baziotes" Tiger's 22. KRASNE, BELLE. "Lighter Baziotes" 36. FITZSIMMONS, JAMES, fiozfoiei, Kootz
Eye, vol. i, no. 7, March 1949, p. 82- Art Digest, vol. 24, no. 9, February Gallery, New York, February 19-
83. I, 1950, p. 14- March 8, 1958. (Excerpts from bibl.

g. ROSENBERG, HAROLD. "The Shapes in 22a. KEEs, WELDON. "AxtJ' Nation, Febru- 28.)
a Baziotes CanvasJ' Possibilities, no. ary 4, 1950. 37. MELLOW, JAMES R. "BaziotesJ' Arts,
1, Winter 1947-1948, p. 2. 23. JARRELL, RANDALL. The Lfrical New vol. 32, no. 6, March 1958, p. 60.
10. ROSENBERG, HAROLD. "Smoke of Paintings of Baziotes, Kootz Gallery, 38. PORTER, FAIRFIELD. "Baziotes" Art
Circe" [inspired by paintings by New York, February 12-March 5, News, vol. 57, no. 1, March 1958, p.
Baziotes], bibl. 758, p. 17-19. 1951, P- 3illus. 13 ill.

10a. "William Baziotes" Athene (Chi- 24. KRASNE, BELLE. "Baziotes" Art Di- 39. CAMPBELL, LAWRENCE. "Baziotes"
cago), vol. 8, no. 3, Autumn 1947, p. 25, no. 10, February 15,
gest, vol. Art News, vol. 60, no. 2, April 1961,
18-21. 1951, p. 20. p. 46, 60 Ul.

25. HOLLiDAY, BETTY. "Baziotes^' Art 40. SANDLER, IRVING HERSCHEL. "New
News, vol. 50, no. 1, March 1951, York Letter" Art International, vol.
Exhibition Catalogues and Reviews
P- 45- 5, no. 4, May 1961, p. 53 ill-
(chronologically) SMITH, LAWRENCE. "Baziotes^' Arts,
26. HOLLIDAY, BETTY. "Baziotes" Art 41.
11. RILEY, MAUDE. "Baziotes' Color" Art News, vol. 51, no. 1, March 1952, p. vol. 35, no. 8-9, May-June 1961, p.
Digest, vol. 19, no. 1, October 1, 1944, 45- 88.

p. 12. 27. ASHTON, DORE. "Baziotes|' Art Di- 41a. Solomon R. Guggenheim Museimi,
12. "The Passing Shows" Art News, vol. gest, vol. 26, no. 11, March 1, 1952, New York, Baziotes, February 1965.
43, no. 13, October 15-31, 1944, p. p. 18. Introduction by Lawrence Alloway.
26-27. 28. FiTzsiMMONs, JAMES. Baziotes, Kootz Comprehensive bibliography.
13. "The Passing ShowsJ' Art News, vol. Gallery, New York, February 16-
See also bibls. 963, 967.
February 1946, p. 102 ill.
44, no. 20, March 7, 1953, p. 4 illus.
14. BREUNING, MARGARET. "BazioteS 29. GOODNOUGH, ROBERT. "Baziotes" Art
Shows Craftsmanship and Inven- News, vol. 52, no. 1, March 1953, p.
tion" Art Digest, vol. 20, no. 10, 35.
February 15, 1946, p. 10 ill. 30. FEiNSTEiN, SAM. "In Baziotes'
15. ROSENBERG, HAROLD. Baziotes, Kootz Aquarium" Art Digest, vol. 27, no.
Gallery, New York, April 7-26, 1947, II, March 1, 1953, p. 15 ill.

p. 3- 31. FITZSIMMONS, JAMES. "Art" Arts

16. "Baziotes" Art News, vol. 46, no. 1, and Architecture, vol. 70, no. 4,
March 1947, p. 42. April 1953, p. 34.
17. LANSFORD, ALONZo. "Color of Bazi- 32. o'hara, frank. "Baziotes" Art
otes" Art Digest, vol. 21, no. 14, News, vol. 53, no. 1, March 1954, p.
April 15, 1947, p. 22. 41.
18. KOOTZ, SAMUEL M. BoZlOteS, KoOtZ 33. TiLLiM, SIDNEY. "BaziotesJ' Art Di-
Gallery, New York, February 16- gest, vol. 29, no. 11, March 1, 1954,
March 6, 1948, p. 2 ill. p. 16-17 ill.

19. "Baziotes" Art News, vol. 46, no. 12, 34. GEORGE, LAVERNE. "BaziotesJ' Arts,
February 1948, p. 45. vol. 30, no. 7, April 1956, p. 53.
20. LANSFORD, ALONZO. "Bsziotes in Solo 35. MUNRO, E. c. "Baziotes^' Art News,
Show" Art Digest, vol. 22, no. 10, vol. 55, no. 2, April 1956, p. 82-83.
February 15, 1948, p. 20-21 ill. 35a. The Magical Worlds of Redon, Klee,
21. TODD, RUTHVEN. "BaziotesJ' Art Baziotes, Contemporary Arts Muse-
 .

Willem De Kooning (1904- )

212 Supplement to bibliography in bibl. 59. International, vol. 5, no. 3, April 62. NAMUTH, HANS. "WUlem de Koon-
1961, p. 32-34, 47 ill, ing, Easthampton, Spring 19644' Lo-
By De Kooning (chronologically)
51. "Art Feature: Willem de Kooning" cation, vol. 1, no. 2, Summer 1964, p.
42. [Letter to the Editor], Art News, New Mexico Quarterly, vol. 23, no. 27-34 illus. (Photographic essay.)
vol. 48, no. 9, January 1949, p. 6. 2, Summer 1953, p. 176 plus 8 plates. 62a. o'doherty, BRI.AN. "De Kooning:
(On Gorky; reprinted bibl. 745.) 52. ASHTON, DORE. "De Kooning's Verve" Grand Style" Newsweek, January 4,
43. "The Renaissance and Order" trans/ Studio, vol. 163, no. 830, June 1962, 1965, p. 56-57, illus., cover. (Includes
formation, vol. 1, no. 2, 1951, p. 85- p. 216-217, 224 illus. statement by the artist.)
87 HI. (Talk given at Studio 35, 53. ASHTON, DORE. "WUlem de Koon- 63. o'hara, FRANK. "Ode to Willem de
1950-) ing" Arts and Architecture, vol. 76, Kooning" Metro, no. 3, 1961, p. 18-
44. "What Abstract Art Means to Me" no. 7, July 1959, p. 5, 30-31. 21.
Museum of Modern Art Bulletin, 54. "Big Splash" Time, vol. 73, no. 20, 64. ROSENBERG, HAROLD. "Painting Is a
vol. 18, no. 3, Spring 1951, p. 4-8 ill.
May 18, 1959, p. 72 ill. (Includes Way of Living" New Yorker, Febru-
(Contribution to a symposiiun held statements by the artist.) ary 16, 1963, p. 126, 128, 130-137.
February 5, 1951; often reprinted 55. BLESH, RUDI AND JANIS, HARRIET. De 65. sawyer, KENNETH B. "A Backyard on
and excerpted; see bibls. 742, 745; Kooning, New York, Grove Press Tenth Street" Baltimore Museum of
translated into Danish in Aarsli- (Evergreen Gallery Book no. 8), Art News, vol. 20, no. 2, December
derne (Copenhagen), vol. 9, no. 1, i960, 71 p. illus. 1956, p. 3-7 illus.
November 1951, p. 21-25.) 56. "De Kooning's Backdrop for 'Laby- 66. s.AWYER, KENNETH B. "Three Phases
45. De Hirsch, Storm. "A Talk with rinth;" Arts, vol. 34, no. June ofWillem de Kooning" Art News and
9,
Willem de Kooning" Intro Bulletin,
i960, p. 28-29 Ul. Review, vol. 10, no. 22, November 22,
vol. 1, no. 1, October 1955, p. 1, 3 Ul.
57. DENBY, EDWIN. [De Koouing], bibl. 1958, p. 4, 16.
46. "Is Today's Artist With or Against
67. SELZ, PETER. "Willem de Kooning" in
794, p. 9-12 ill. (Includes statement
the Past?" Art News, vol. 57, no. 4, New Images of Man, Museum of
by the artist.)
Summer 1958, p. 27, 56. (Contribu- Modem Art, New York, 1959, p. 88-
57a. DENBY, EDWIN. "My Friend, De
tion to an inquiry.)
Kooning" Art News Annual, no. 29, 95 illus.
47. [Statement quoted in] Friedman, B. 68. "Talk of the Town" New Yorker, vol.
1964, p. 82-99, 156 illus.
H., ed. School of New Yorh Some April (Ac-
HAMMACHER, A, M. "Mondrian and 35, no. 9, 18, 1959, p. 34.
58.
Younger Artists, Grove Press, Nev? count of art sale at Downtown Com-
York, 1959, p. 42, 46.
De Kooning: A Contrast in Trans-
munity School with statements by
formation;' Delta, September 1959,
48. [Etching with poem by Harold Ro- the artist.)
senburg, "Revenge"] in 21 Etchings p. 67-71 plus plates.
69. TONO, YOSHiAKi. "De Kooning's Met-
and Poems, Morris Gallery, New 59. HESS, THOMAS E. Willem de Kooning,
amorphosis of 'WomanJ" Mizue, no.
York, i960. (In portfolio; limited George Braziller (Great American
679, November 1961, p. 56-62 illus.
edition of 50.) Artist Series), New York, 1959, 128
(Tex-t in Japanese with brief English
49. "Content is a Glimpse" Location, p. illus; bibliography p. 119-124.
sununary.)
vol. 1, no. 1, Spring 1963, p. 45-53 (Includes statements by the artist.)
TUCHMAN, MAURICE. "De Kooning"
70.
illus. (From a BBC interview by 60. KOZLOFF, MAX. "The Impact of de in Van Gogh and Expressionism, Sol-
David Sylvester.) Kooning" Arts Yearbook, no. 7, 1964, omon R. Guggenheim Museum, New
See also bibls. 54, 57, 59, 62a, 68, 71, p. 76-88 illus. York, 1964, p. 36-39 iUus.
738, 740, 746, 750, 751, 752, 754, 6 1 LOEW, MICHAEL. "Notes in Explana- 70a. TUCHMAN, MAURICE. "Willem de
1028. tion [ofmural on the Hall of Phar- Kooning" in Les Peintres Celebres,
macy, executed by Loew, de Kooning Paris, Mazenod, 1964.
Articles and Books on De Kooning and S. van Veen]" in Painting and 71. "Willem the Walloper" Time, April
(alphabetically) Sculpture in the World of Tomorrow; 30, 1951, p. 63 illus. (Includes brief

50. ALLOWAY, LAWRENCE. "Iconography Fair-Commissioned Mural Painting, statements from an interview with
Wreckers and Maenad HuntersJ' Art New York, 1939, section 22. the artist.)
 7ia. FAisoN, s. LANE JR. "Art" Nation, 77. ASHTON, DORE. "Art" Arts and Archi- Eve" Art News, vol. 63, no. 1, March 213
April 18, 1953, p. 333-334- tecture, vol. 79, no. 5, May 1962, p. 6 1964, p. 30, 65 ill.

71b. COATES, ROBEHT. "Variety" New York- ill. 91. FRIED,MICHAEL, "New York Letter"
er, May 16, 1959. 78. KozLOFF, MAX. "New York Letter" Art International, vol. 8, no. 3, April
Art International, vol. 6, no. 4, May 1964, p. 59 iU.
1962, p. 75-76 ill.
See also bibls. 773, 783, 877, 897, 932,
79- SAWYER, KENNETH. "Painting and 949, 963, 970, >037, 1038.
Exhibition Catalogues and Reviews Sculpture: The New York Season"
(chronologically) Craft Horizons, vol. 22, no. 3, May-
June 1962, p. 52-55, 70.
72. SCHWARTZ, MARVIN D. "Willem de gjj TiLLiM, SIDNEY. "Month in Review"
Kooning at tlie Sidney Janis Gallery" Arts, vol. 36, no. 4, May-June 1962,
Apollo, vol. 69, no. 412, June 1959, p.
p. 82-83 ill.

•97- 81. GOLDWATER, ROBERT. "Art Chronicle:

72a. COATES, ROBERT. "Art Galleries^'
^
New Masters of tlie New" Partisan Re-
Yorker, May 16, 1959. view, vol. 29, no. 3, Summer 1962, p.
72b. KiPLiNGER, SUZANNE. "Willem de 416-420.
Kooning" Village Voice, October 21, g^ BERKSON, BILL. "Art Chronicle" Kul-
1959, p. 5, 11. (Review of bibl. 59.) chur, vol. 2, no. 7, Autumn 1962, p.
73. PORTER, PAiRFiEUD. "Art" The Na- 31-36,41 ill.

tion, vol. 188, no. 23, June 6, 1959, p. g^ STONE, ALLAN. De Kooning-N ewman,
520-521. Allan Stone Gallery, New York, Oc-
74. ODETS, CLIFFORD. "Willem de Koon- tober 23-Noveinber 17, 1962, p. 16
ing, the Painter" in Willem de Koon- illus.

ing, Paul Kantor Gallery, Beverly g^ ASHTON, DORE. "New York Report"
Hills, April 3-29, 1961, p. 3-4, 21-23 Kunstwerk, vol. 16, no. 5-6, Novem-
illus. ber-December 1962, p. 68-69, 71 ill.

74a. ASHTON, DORE. "A Love-Hate Rela- gg FRIED, MICHAEL. "New York Letter"
tionship to Western Tradition" bibl. Art International, vol. 6, no. 10, De-

834, p. 90-102 illus. (Chapter 8, en- cember 1962, p. 54-55, 57 illus.

tirely on De Kooning.) gg HESS, THOMAS "Willem de Koon-

B.

75. HESS, THOMAS B. "Six Star Shows for ing and Harnett Newman" Art News,
Spring" Art News, vol. 61, no. 1, vol. 61, no. 8, December 1962, p. 12,
March 1962, p. 40-41, 60-61 iU. 43 ill.

76. HESS, THOMAS B. De Kooning, Sidney 87. TILLIM, SIDNEY. "Month in Review"
Janis Gallery, New York, March 5- Arts, vol. 37, no. 3, December 1962,
31, 1962. p. 38-40 illus.

76a. "Out of the Picture" Newsweek, 88. GOODMAN, MERLE. "Some Notes on De
March 12, 1962, p. 100 illus. Kooning, Drawings and Women" in
76b. SANDLER, IRVING H. "In the Art Gal- "Woman" Drawings by Willem de
leries" New York Post, March 18, Kooning, James Goodman Gallery,
1962, p. 12. Buffalo, January 10-25, 1964, p. 2.

76c. COATES, ROBERT. "Hartley and De 89. JUDD, DON. "De Kooning" Arts, vol.

Kooning" New Yorker, March 24, 38, no. 6, March 1964, p. 62-63 ill-

1962. 90. PETERSEN, VALERIE. "Three Faces of

 Arshile Gorky (1905 1948)

214 Supplement to bibliographies in bibls. 119, 101. APOLLONio, UMBRO. "Una Retrospet- 1 14. o'hara, FRANK. "Drawings by Ar-
123, 124, 125. tiva alia Biennale: Gorky" Le Arti, shile Gorky!' 2 p. typescript; intro-
May 1962, p. 32 ill. duction to a panel discussion, c. 1962.
By Gorky (chronologically) 102. ASHTON, DORE. "Arshile Gorky pein- 115. OSBORN, MARGARET. "The Mystery of
92. "Fetish of Antique Stifles Art HereJ' tre romantiquej' XXe siecle, no. 19, Arshile Gorky: a Personal Account"
New York Evening Post, September June 1962, p. 76-81 illus. (English Art News, vol. 61, no. 10, February
15, 1926. (Anonymous interview on text in supplement.) 1963, p. 42-44 illus.
Gorky's becoming a member of the 103. BARiLLi, RENATO. "La Pittura di Ar- 116. REiFF, ROBERT. "The Late Works of
faculty at the Grand Central School shile Gorky" La Biennale, no. 43, Arshile Gorky" Art Journal, vol. 22,
of Art; reprinted in bibl. 1 19, p. 123- April-Jime, 1961, p. 11-17 illus. no. 3, Spring 1963, p. 148-152 Olus.
126.)
"The One" Newsioeek, vol. 60,
Bitter 117. REIFF, ROBERT. "Harold Rosenberg:
104.
93. "Thirst" Grand Central School of Art no. 27, December 31, 1962, p. 39 illus.
Arshile Gorky" Art Journal, vol. 22,
Quarterly, November 1926. (Poem; no. 4, Summer 1963, p. 274. (Review
105. BRETON, ANDRE. "The Eye-Spring:
reprinted bibl. 123, p. 21.) oibibl. 119.)
Arshile Gorky" It Is, no. 4, Autimin
94. "The WPA Murals at the Nevyark 118. RESNicK, MILTON. "... A Distant
1959, P- 56-57. (Reprinted from Ju-
Airport" c. 1936, 5p. (Copy of a man- Eye -Time" Scrap, no. 8, June 14,
lien Levy Gallery catalogue, March
uscript; published in bibl. 123, p. 70; 1962, p. 3.
1945 and Le Surrealisme et la Pein-
bibl. 119, p. 130-132; excerpts in bibl. 119. ROSENBERG, H.4R0LD. ArshUe Gorky:
lure, 1945; also in bibl. 745.)
754, P- 242-243.) The Man, The Time, the Idea, New
106. BRETON, ANDRE. "Farewell to Arshile
95. "Stuart Davis" Creative Art, vol. 9, York, Horizon Press, 1962, 144 p.
Gorky" (Poem; bibl. 119, p. 136-
no. 3, September 1931, p. 212-217. illus.; "selected bibliography" p. 138-
137-)
(Excerpts reprinted in bibls. 119, 143; chronology and reprinted state-
1 07. CAKLES-GALY, HENRY. "La Biennale
136.) ments by tlie artist and others, p. 120-
de Venise: Les Retrospectives d'Odi-
96. Johnson, Malcolm. "Cafe Life in 137 (see bibls. 92, 94, 95, 97, 106).
lon Redon et d' Arshile Gorky" Au-
New York" Neiu York Sun, August (Reviewed bibls. 109, 110, 117, 121;
jourd'hui, no. 38, September 1962, p.
22, 1941. (On Gorky's murals for Ben excerpts from book published in Port-
Marden's Riviera Cafe; includes 39 ill-
folio and Art News Annual, no. 5,
statements by the 108. DENNisoN, GEORGE. "The Crisis-Ait
artist.) 1962, p. 102-114 illus.)
Camouflage, Grand Central School of of Arshile Gorky" Arts, vol. 37, no. 120. ROSENBERG, HAROLD. "Art and Iden-
97.
Art, 1942. (Announcement of Gor- 5, February 1963, p. 14-18, illus.
tity: The Unfinished Masterpiece"
109. GEisT, SIDNEY. "Gorky/Rosenberg:
ky's course on camouflage; reprinted New Yorker, vol. 38, no. 46, January
133-135)
bibl. 119, p. two reviews" Scrap, no. 8, Jime 14,
5, 1963, p- 70-77-
98. "Garden in Sochi" 2 p. typescript, 1962, p. 1-3 illus. (Includes review of 1 2 1 . ROSENBERG, HAROLD AND GOODMAN,
June 26, 1942. (Published omitting bibl. 119.)
PAUL. "Gorky and History: an Ex-
one line, in bibl. 123; excerpt in bibl. 110. GOLDWATER, ROBERT. "The Genius of change" Partisan Review, vol. 29, no.
the MoujikJ' Saturday Review, vol.
122.) 4, Fall 1962, p. 587-593. (Review of
99. [Drawn illustrations for] Breton, 45, no. 20, May 19, 1962, p. 38 iU. bibl. 119, with reply by the author.)
Andre. Young Cherry Trees Secured (Review of bibl. 1 19.) 122. RUBIN, WILLIAM s. "Arshile Gorky,
Against Hares, View, New York, and 111. HABASQUE, GUY. "La XXXIe Bien- Surrealism and the New American
A. Zwemmer, London, 1946. See also nale de Venise" L'Oeil, no. 93, Sep- Painting" Art International, vol. 7,
bibl. 735. tember 1962, p. 32-41, 72-73 illus. February 25, 1963, p. 27-38 illus.
112. LOPTUs, JOHN. Arshile Gorky, un- (Portions delivered as lecture at the
Ai'ticles and Books on Gorky published Master's Thesis, Columbia Museiun of Modem Art, New York,
(alphabetically) University, 1952; bibliography. Fall 1963.)
100. ALLOW AY, LAWRENCE. "Gorky" Art- 113. o'doherty, brl\n. "Gorky: Private 122a. SARKisiAN, MARDiRos. "Arshile Gor-

forum, vol. 1, no. 9, March 1963, p. Language, Universal Theme" New ky —A Struggle for Recognition"
28-31 illus. York Times, May 10, 1964, sec. 2. Hooskarar (New York), vol. 45, no.
 3,February i, 1958, p. 6-9 illus., cov- York, December 2-28, 1957, 20 p. cat. 142. SANDLER, IRVING H. "New York Let- 215
er. (Review bibl. 123.) illus. ter" Quadrum, no. 14, 1963, p. 115-
123. SCHWABACHEK, ETHEL. ArsMle Gor- 132a. COATES, ROBERT. "Art Galleries" New 124 illus.

ky. New York, Macmillan and Whit- Yorker, December 14, 1957. 143. KRAMER, HILTON. "ArtJ' The Nation,
ney Museum of American Art, 1957, January 12, 1963, p. 38-39.
159 p. illus.; preface by Lloyd Good- 133. ASHTON, DORE. "LettTB de New York" 144. PRESTON, STUART. "New York;' Bur-
rich; introduction by Meyer Scha- Cimaise, series 5, no. 3, January-Feb- lington Magazine, vol. 105, no. 719,
piro. (Includes bibliography, p. 153- ruary 1958, p. 36-37 ill. February 1963, p. 84.
155 and numerous quotations from 133a. ASHTON, DORE. "Art" Arts and Archi- 145. BURKHARDT, HANS. ArsMle Gorky:
the artist and his contemporaries, let- tecture, vol. 75, no. 1, January 1958, Paintings and Drawings i92';-i9iy:
ters and reprinted statements by 34 illus.
p. 6, The Collection of Mr. and Mrs. Hans
Gorky.) 134. Late Drawings by Arshile Gorky, Burkhardt, Art Center in La JoUa,
124. SCHWABACHEH, ETHEL. ArskUe Gor- Sidney Janis Gallery, New York, February 21-March 21, 1963, p. 1.
ky. Memorial Exhibition, New York, September 28-October 24, 1959, 16 p. 146. ASHTON, DORE. "New York" Kunsi-
Whitney Museum of American Art, cat. illus; anonymous text. werk, vol. 16, no. 10, April 1963, p.
January 5-February 18, 1951, p. 7-41. 135. SAWIN, MARTICA. "New York Letter" 31, 43 ill-

(Biographical notes by Lloyd Good- Art International, vol. 3, no. 9, 1959, 147. REUSCHEL, JON. "Arshile Gorky"
rich; bihl. p. 49-50.) p. 10 ill. Artforum, vol. 1, no. 11, May 1963,
125. SEiTZ, WILLIAM c. Arskile Gorky: 135a. CREHAN, HUBERT. "Gorky" Art News, p. 47.
Painting, Drawings, Studies, Muse- vol. 58, no. 6, October 1959, p. 12 ill. 148. Drawings by Gorky, Seibu Gallery,
tun of Modern Art, New York, 1952, 135b. MELLOW, JAMES R. "Late Drawings Tokyo, July 26-August 11, 1963, 16

56 p. illus.; foreword by Julien of Arshile Gorkj" Arts, vol. 34, no. 1, p. illus. (Musetun of Modem Art
Levy; bibl. p. 52. October 1959, p. 55-56 ill. Circulating Exhibition; in Japanese.)
1 26. SEITZ, WILLIAM c. "A Gorky Exhibit" 135c. ASHTON, DORE. "Art" Arls and Archi- 149. o'hara, frank. "Einfiihrung" Ar-
The Daily Princetonian, October 14, tecture, vol. 76, no. 12, December shileGorky: Zeichnungen, 20 p. cat.
1952, p. 2. 1959. p. 7 ill. of Museum of Modern Art Circulat-
127. SILVER, CATHY s. "Gorky, When the 136. Arshile Gorky Drawings 1929 to ing Exhibition; shown in Karlsruhe,
Going Was Rough" Art News, vol. i9i4, David Anderson Gallery, New Hamburg, Berlin, Essen, July-No-
62, no. 2, April 1963, p. 27, 61 ill. York, February 3-March 1, 1962, 13 vember 1964.
128. "Tardy Tribute to a Tragic Figure" p. cat. illus. (Brief excerpt from bibl.
See also bibls. 42, 495, 745, 755, 783,
Life, December 29, 1962, (Extra 9S-) 1038.
New York Edition) p. 52-53 illus. fij. Paintings by Arshile Gorky from
129. VACCARO, NICK DANTE. "Gorky's Debt 1929 to 194S, Sidney Janis Gallery,
to Gaudier-Brzeska" Art Journal, New York, February 5-March 3,
vol. 23, no. 1, Fall 1963, p. 33-34- 1962, 16 p. cat. illus.
138. KOZLOFF, MAX. "New York Letter"
Art International, vol. 6, no. 3, April
Exhibition Catalogues and Reviews
1962, p. 42 ill.
(chronologically) "Gorky" Arts,
139. TILLIM, SIDNEY. vol.
130. PARBER, MANNY. "Art" The Nation, 36, no. 7, April 1962, p. 49-50 ill.

vol. 172, no. 4, January 27, 1951, p. 140. Arskile Gorky: 40 Drawings, Everett
92. Ellin Gallery, Los Angeles, April 9-
131. AFRO (basaldella), ArsMle Gorky, May 5, 1962, 16 p. cat. illus. (Ex-
Galleria dell Obelisco, Rome, Febru- cerptsfrom bibls. 119, 123.)
ary 1957, P- 2- 141. o'hara, FRANK. "Art Chronicle!' Kul-
132. Thirty Three Paintings by Arshile chur, vol. 2, no. 6, Summer 1962, p.
Gorky. Sidney Janis Gallery, New 55-56.
 Adolph Gottlieb (1903-

216 Supplement to bibliography in bibl. 163. History" College Art Journal, vol. lieb, Wakefield Gallery, New York,
14, no. 2, Winter 1953, p. 96-101.) February 7-19, 1944, p. 2-3.
By Gottlieb (chronologically) 159. [Statement], in Gay Talese, "Steven- 168. "Adolph Gottlieb" Limited Edition,
150. [Letter to the editor], New York son Studying Abstract Art" New December 1945, p. 5-6. (Includes
Times, June 13,
York Times, December 23, 1959. statements by the artist.)
1943, sec. 2, p. 9.
(With Mark Rothko and Barnett 160. [Statement], in "Representational or 169. WOLFSON, VICTOR. Adolph Gottlieb,
Newman; partially reprinted in Abstract?" Junior League Magazine, Kootz Gallery, New York, January
bibls. 765, 834.)
vol. 50, no. 6, November-December 6-25, 1947, P- 2.

151. "The Portrait and the Modem Art- 1962. p. 2. 169a. "Adolph Gottlieb;' MKR's Art Out-
161. "Adolph Gottlieb: An Interview look, January 20, 1947.
istj' mimeographed script of broad-
with David Sylvester" Living Arts, GREENBERG, CLEMENT. "Art" Nation,
cast by Gottlieb and Rothko on "Art i6gb.
vol. 1, no. 2, June 1963, p. 2-10 illus.
iaNew YorkJ' H. Stix, director, December 6, 1947.
WNYC, New York, October 162. "Postcards From Adolph Gottlieb"
KOOTZ, SAMUEL M. Adolph Gottlieb,
13, 1943, 170.
Location, vol. 1, no. 2, Summer 1964,
Kootz Gallery, New York, January 8-
4 p.
p. ig-26. (Illus. only.)
151a. [Letter to the editor], New York 26, 1952, p. 4.
Times, July 22, 1945. See also bibls. 168, 735, 737, 738, 740, 171. MACLEisH, ARCHIBALD. Adolph Gott-
152. [Statement], in "The Ides of Art^' 742, 744, 750, 752, 984, 1028. lieb, Kootz Gallery, New York, Janu-

Tiger's Eye, vol. 1, no. 2, December ary 5-24, 1953, illus. (Anonymous
Books and Articles on Gottlieb tejrt and quotation from MacLeish.)
»947, P- 43-
153. "Unintelligibility" 1948. Mimeo- (alphabetically) 171a. FAisoN, s. LANE, JR. "AtH,' Nation,
graphed script of talk given in Fo- 163. FRIEDMAN, MARTIN. Adolph GottUeb, January 10, 1953.
rum: The Artist Speaks, at the Muse- Walker Art Center, Minneapolis, 172. GREENBERG, CLEMENT. Adolph Gott-
um of Modem Art, New York, May April 28-June 9, 1963, p. 7-20 illus.; lieb, Bennington College and Wil-

5, 1948, 4 p. bibliography p. 43-45; exhibition list liams College, April 23-May g and
154. [Statement], in "The Ides of Art: and reviews p. 39-43. (Also shown at May 7-23, 1954, p. 2.

Eleven Graphic Artists Write" Ti- the VII Bienal de Sao Paulo, bibl. 172a. GOOSSEN, E. c. "Adolph Gottlieb"
ger's Eye, vol. 1, no. 8, June 15, 1949, 183, and at the Marlborough-Gerson Monterey Peninsula Herald, May
p. 52. Gallery, New York, 1964.) 12, 1954-
15$. Selected Paintings by the late Ar- 164. FRIEDMAN, MARTIN. "Adolph Gott- 172b. FAISON, s. LANE, JR. "Axt^' Nation,
shile Gorky, Kootz Gallery, New lieb: Private Symbols in Public May 15, 1954.
York, March 28-ApriI 24, 1950, Statements',' Art News, vol. 62, no. 3,
p. 1. 173. GREENBERG, CLEMENT. Adolph Gott-
156. [Statement], Arts and Architecture, May 1963, p. 5, 32-35, 52-53 illus. lieb, Jewish Museum, New York, No-
vol. 68, no. 9, September 1951, p. 21. and cover.
vember-December 1957, p. 5-8 illus.
HEMLEY, i6g. MORiTZ, CHARLES, ED. "Adolph Gott- (Te.xt reprinted in catalogue of Gott-
156a. CECIL. Seos and Seasons,
lieb" Current Biography Yearbook,
New York, Four Seasons Press, 1951. lieb exhibition at Andre Emmerich
(Gottlieb illustrations: two draw- H. W Wilson Co., New York, 1959,
Gallery, New York, January 3-31,
p. 155-156 illus.
ings.) 1958, p. 2.)
Contemporary Ameri-
166. "Oil Paintings by Adolph Gottlieb"
157. [Statement], 174. LONNGREN, LILLIAN. "Abstract Ex-
Irregular (Immaculate Heart Col-
can Painting, University of Illinois, pression in the American Scene" Art
lege, Los Angeles), 1959, p. 40-41
Urbana, 1952, p. 194. International, vol. 2, no. 1, 1958, p.
illus.
158. "The Artist and the Public" Art in 54-56.
America, vol. 42, no. 4, December 175. SAWiN, MARTicA. "New York Letter;'
Exhibition Catalogues and Reviews
1954, p. 267-271 illus. (Talk given at Art International, vol. 3, no. 1-2,
(chronologically)
College Art Association conference, 1959, P- 46.
(See also bibl. 163)
1954; revised and republished as 176. GREENBERG, CLEMENT. Adolph Gott-
"Artist and Society: A Brief Case 167. NEWMAN, BARNETT B. Adolph Gott- lieb and the New York School, Gal-
 Philip Guston (1913- )

erie Rive Droite, Paris, April 3-30, Supplement to the bibliography in bibl. 198. KozLOFF, MAX. "ArtJ' The Nation, 217
1959- 194. vol. 194, no. 20, May 19, 1962, p.
177. Adolph Gottlieb, Paul Kantor Gal- 453-55-
lery, Beverly Hills, April 27-May
By Guston (chronologically) 199. MULLiNS, EDWIN. "Guston and the
23, 1959- 8 p. cat. illus.
186a. [Statement], in Miller, Dorothy C, Imaginative Experiment^' Apollo,
178. GREENEERG, CLEMENT. Adolph Gott- ed. Twelve Americans, Museum of vol. 77, no. 13, March 1963, p. 229-
lieb, ICA Gallery, London, June Modem Art, New York, 1956, p. 36 230 ill.

plus illus. 200. o'hara, frank. "Growth and Gus-

1959, p. 2-3-
178a. BUTLER, BARBARA. "Movie Stars and 187. "Notes on the Artist" Bradley Walk- ton" Art News, vol. 61, no. 3, May
Other Members of the CastJ' Art In- er Tomlin, Whittey Museum of 1962, p. 31-33, 51-52 illus.

ternational, vol. 4, no. 2-3, i960, p. American Art, New York, 1957, p. 9. 201. KARP, IVAN c. "Philip Guston" Vil-
50-52- (Reprinted bibl. 745.) lage Voice, Feb. 15, 1956.
179. Adolph Gottlieb, French and Com- 188. [Recorded interview with June 20ia. YATES, PETER. "PhUip Guston at the
pany, New York, January i960, 8 p. Pring], Columbia University, New County Museum" Arts and Archi-
cat. illus.
York, June 25, 1957. 9, September
tecture, vol. 80, no.

180. Adolph Gottlieb, Galerie Hand- 189. HUNTER, SAM. "Art in New York" 1963, p. 4-5, 31-32 iUus.
schuh, Basel, September-October 10, Playbill, vol. 1, no. 8, November
1957, P- 52-53- (Interview.)
Exhibition Catalogues and Reviews
1961, 8 p. cat. illus.
181. Adolph Gottlieb, Sidney Janis Gal- 190. "Statement" It Is, no. 1, Spring (chronologiccdly)
lery, New York, October 1-27, 1962, 1958, p. 44. 201b. ASHTON, DORE. "New YorkJ' Cimaise,
20 p. cat. illus.
191. [Recorded interview with H. H. ser. 5, no. 4, March-April 1957, p.

182. SAWYER, KENNETH. "Painting and Amason], Solomon R. Guggenheim 30-31 illus.

Sculpture: The New York Season" Museum, New York, January 22-30,
202. ALLowAY, LAWRENCE. "Some Notes
Craft Horizons, vol. 22, no. May- 1962.
3,
192. [Interview with David Sylvester] c.
on Abstract Impressionism" in Ab-
June 1962, p. 52-55, 70.
stract Impressionism, Arts Council
183. Estados Unidos da America VII Bi- 1963, typescript.
Gallery, London, June 11-28, 1958,
enal do Museu de arte moderna, Sao See also bibls. 744, 745, 746, 749,
p. 4-8 illus.
Paulo, September-December 1963, 751, 984, 1028.
"I. Adolph Gottlieb" p. 6-29. (Text 203. BUTLER, BARBARA. "Movie Stars and
by Martin Friedman, see bibl. 163.) Articles and Books on Guston Other Members of the Cast" Art In-
184. ASHTON, DORE. "New York Letter" (alphabetically) ternational, vol. 4, no. 2-3, i960, p.
Kunstwerk, vol. 15, no. 7, January 193. ALLOW AY, LAWRENCE. "NotOS On 50-52.
1963, p. 32. Guston" Art Journal, vol. 22, no. i. 204. "Guston" Art International, vol. 4,
185. ASHTON, DORE. "New York Commen- Fall 1962, p. 8-n illus. and cover. September i960, p. 38-39. (Il-
no. 7,
tary" Studio, vol. 165, no. 837, p. 26 194. ARNASON, H. H. Philip Gustou, Solo- lus. only.)
ill. mon R. Guggenheim Museum, New 205. SANDLER, IRVING H. "New York Let-
186. TiLLiM, SIDNEY. "Gottlieb" Arts, vol. York, May 2-July i, 1962, p. 11-39 ter" Art International, vol. 5, no. 3,
38, no. 7, April 1964, p. 32. illus.; bibliography p. 120-123. April 1961, p. 38 ill.

195. ASHTON, DORE. Philip Guston, New 206. "One Man Show by Philip Guston
See also bibls. 365, 758, 777, 963,
York, Grove Press (Evergreen Gal- at Guggenheim" Art Students
970, 978, 1037, 1038.
lery Book no. 10), i960, 63 p. Ulus. League News, vol. 15, no. 5, May
196. ASHTON, DORE. "Philip Guston" Au- 1962, p. 1-2.
jourd'hui, no. 37, June 1962, p. 28- 207. SANDLER, IRVING. "In the Art Gal-
29, illus. leries" New York Post, May 27,

197. HUNTER, SAM. "Philip Guston" Art 1962.

International, vol. 6, no. 4, May 208. R.'^YNOR, VIVIEN. "Guston" Arts, vol.
1962, p. 62-67 illus. 36, no. 10, September 1962, p. 50.
 Hans Hofmann (1880-

218 209. Philip Guston. Stedelijk Museum, Supplement to bibliography in bibl. 231. Books and Articles on Hofmann
Amsterdam, September 20-October (alphabetically)
15, 1962, 16 p. cat. illus.; biography, By Hofmann (chronologically)
Due to the large number of writings by 225. BULTMAN, FRITZ. "The Achievement
reprinted and translated statements
the only a few recent and important
artist, of Hans Hofmann" Art News, vol.
by the artist.
references are cited below; over thirty 62, no. 5, September 1963, p. 43-45,
210. BERKSON, BILL. "Art Chronicle" Kul-
items are listed in bibl. 231, p. 60-61. 54-53 illus.
chur, vol. 2, no. 7, Autumn 1962, p.
226. BURCKHARDT, RUDOLPH, "Repertory
36-38, ill. p. 42. 216. [Statement] in Hans Hofmann, Art
New York, of Means: 'Bald Eagle' by Hans
211. BURN, GUY. "Guston" Arts Review, of This Century Gallery,
Hofmann" Location, vol. 1, no. 1,
vol. 15, no. I, January 26-February March 1944.
Spring 1963, p. 67-72. (A photo-
9, 1963, p. 10 ill. 216a. [Statement] typescript at Betty
graphic essay.)
212. LYNTON, NORBERT. "LondoH Letter" Parsons Gallery, New York, 1 p.,
Art International, vol. 7, no. 2, Feb- dated February 5, 1946.
227. HUNTER, SAM. Hans Hofmann, New
ruary 1963, p. 69-70 illus. York, Harry N. Abrams, 1963, 227
217. Search for the Real and Other Es-
213. ROBERTS, KEITH. "London" Burling- says, Addison Gallery of American p. illus. (Includes reprints of five
ton Magazine, vol. 105, no. 720, Art, Andover, Mass., c. 1948, p. 46- texts by tlie artist, p. 33-51.)

March 1963, p. 136. 78. (The major collection of Hof- 228. liAPBOW, ALLAN. "The Effect of Re-
214. HARRISON, JANE. "Londou" Arts, mann's writings.) cent Art upon the Teaching of Art"
vol. 37, no. 7, April, 1963, p. 27. 218. "The Mystery of Creative Rela- Art Journal, vol. 33, no. 2, winter
215. MELVILLE, ROBERT. "Exhibitions" tions" New Ventures, July 1953, p. 1963-64, p. 136-138.
Architectural Review, vol. 133, no. 22-23. 229. LORAN, ERLE. "Hans Hofmann and
794, April 1963, p. 289 ill. 219. "The Resurrection of the Plastic His Work" Artforum, vol. 2, no. 11,
215a. [Lecture] mimeographed script at Arts" New Ventures, July 1953, p. May 1964, p. 32-35 illus. and cover.
Betty Parsons Gallery, York, 4 New 20-22 (Excerpt from bibl. 255.)
p. (Delivered at symposium on ab- 220. "The Color Problem in pure paint- 229a. PLASKETT, JOE. "Some New Canadi-
stract art held during annual Amer- ing — its creative origin" in Hans an Painters and Their Debt to Hans
ican Abstract Artists Exhibition, Hofmann, Kootz Gallery, New York, Hofmann" Canadian Art, vol. 10,
February 16, 1941, Riverside Mu- November 7-December 3, 1955, p. no. 2, Wmter 1953, p. 59-63, 79 il-

seum, New York. 2-4. (Reprinted in Arts and Archi- lus. (Includes statements by the art-

See also bibls.

tecture, vol. 73, no. 2, February ist.)
933, 955, 957, 963,
1956, p. 14-15, 33-34 and in bibl. 230. ROSENBERG, HAROLD. "Haus Hof-
970, 1037, 1038.
232.) mann and the Stability of the New"
221. [Statement], It Is, no. 3, Winter- New Yorker, vol. 39, no. 37, Novem-
Spring, 1959, p, 10. ber 2, 1963, p. 100, 103-105, 108-no.
222. "Space and Pictorial Life" It is, no. 231. SEiTZ, WILLIAM c. Hans Hofmann,
4,Autumn 1959, p. 10. Museum of Modem Art, New York,
223. "Hans Hofmann on Art" Art Jour- 1963, p. 6-54 illus.; bibliography p.
Spring 1963, p.
nal, vol. 22, no. 3, 60-62. (Te.xt includes lengthy quota-
180, 182. (Speech delivered at the tions from the artist's writings.)
inauguration of Hopkins Center, 232. vnG¥iT,FREDBRictis. Hans Hofmann,
Dartmouth College, November 17, University of California Press,
1962.) Berkeley and Los Angeles, 1957, 66
224. "Photo-Critic" Location, vol. 1, no. p. illus. (Published on occasion of
2, Summer, 1964, p. 98. the Hofmann retrospective exhibi-
See also bibls. 227, 229a, 231, 246, tion at the Whitney Museum of

735, 738, 740, 744, 752, 753, 754, American Art and the Art Galleries

838, 984- of the University of California. Fore-

 Franz Kline (1910-1962)

MICHEL. Hans Hofmann, Supplement to bibliographies in bibls. 264, 219

word by John I. H. Baur; Bibliogra- 245. TAPiE,
phy p. 64-66; reprinted text by the Galerie Anderson-Mayer, Paris, 273-
artist from bibl. 220.) 1963.
246. WATT, ALEXANDER. "Parls Commen-
By Kline (chronologically)
Exhibition Catalogues and Reviews Au- 257. [Letter to the editor] Bokubi (To-
tary;' Studio, vol. 166, no. 844,
(chronologically) gust 1963, p. 77. (Includes state- kyo), no. 12, May 1952, p. 4. (In

and ment by the artist.) Japanese.)

233. ASHTON, DORE. "ArtJ' Avts
258. [Statement] in "Younger American
Architecture, vol. 74, no. 6, June 247. RAYNOR, VIVIEN. "Hofmann" Arts,
Guggenheim" Vogue,
Painters at the
1957- P- 8-'o illus. vol. 38, no. 1, October 1963, p. 57 ill.
vol. 124, no. 2, August 1, 1954, p.
234. LONNGREN, LILLIAN. "Abstract Ex- 248. ASHTON, DORE. "New York Report^'
120-123 ill.
pression in the American Scene" Kunstwerk, vol. 17, no. 6, December
259. KARP, rvAN c. "The Unweary Mr.
Art International, vol. 2, no. 1, 1963, p. 23-24, plates p. 29-30.
Franz Kline: Artist Without Meta-
1958, p. 54-56. 249. ASHTON, DORE. "Sadness and Delecta- March
physics:' Village Voice, 7,
235. sAwiN, MARTiCA. "New York Letter" tion" Studio, vol. 166, no. 848, De-
1956. (Interview.)
Art International, vol. 3, no. 1-2, cember 1963, 234 ill.
p. 232,
260. "Is Today's Artist With or Against
1959, P- 40. 250. FRIED, MICHAEL. "New
York Letter"
the Past?" Art News, vol. 57, no. 5,
236. SCHWARTZ, MARVIN D. "HanS Hof- Art International, vol. 7, no. 9, De- September 1958, p. 40, 58. (Contri-
mann at Kootz" Apollo, vol. 69, no.
cember 1963, p. 66.
bution to an inquiry.)
409, March
1959, p. 93-94 ill. Hans Hofmann, Kootz Gallery, New
251. 261. o'hara, frank. "Franz Kline Talk-
237. BUTLER, BARBiVRA, "Movie Stars and
York, February 18-March 1964, 6
7, ing" Evergreen Review, vol. 2, no. 6,
Other Members of the Cast" Art
and 2 p. excerpts from
p. cat. illus. Autumn 1958, p. 56-68 illus. (Often
International, vol. 4, no. 2-3, i960, Modem
reviews of Museum of Art reprinted: see bibls. 273, 294, 745.)
p. 50-52. exhibition 231) in Netvs-
(bibl.
262. [Etching with "Poem" by Frank
238. "Hofmann: American" Art Inter-
week. New Yorker, New York Times, O'Hara], in 21 Etchings and Poems,
national, vol. 4, no. 6, June i960, p.
New York Post and Art News. Morris Gallery, New York, i960.
78-79. (Illus. only.)
252. NEUMANN, THOMAS. "Hofmann" (In portfolio: limited edition of 50.)
239. SANDLER, IRVING H. "New York Let-
Art News, vol. 63, no. 1, March 262a. GROTTY, FRANK. "Around These
ter" Art International, vol. 5, no. 4,
1964, p. 8 ill. Parts: Franz Kline" Evening Ga-
May 1961, p. 52-53 ill.
253. HARRISON, JANE. "Hofmann" Arts, zette (Worcester, Mass.), February
240. LANGSNER, JULES. "Los Angeles Let-
vol. 38, no. 7, April 1964, p. 29 ill. 9, 196001. (Includes brief statement
ter" Art International, vol. 5, no. 8,
October 1961, 85 ill.
254. ROSE, BARBARA. "New York Letter" by the artist.)
p.
Art International, vol. 8, no. 3, 262b. pictRD, LiL. "Jedesmal eine Feuer-
240a. SAWYER, KENNETH. "Painting and
April 1964, p. 55 illus. probe: Interview mit Franz Kline
Sculpture: The New York Season"
Craft Horizons, vol. 22, no. 3, May- 255. LORAN, EHLE. "Hans Hofmann and —Anlasslich einer Ausstellung" Die
His Work" in Recent Gifts and Welt (Hamburg), January 2, 1962.
June 1962, p. 52-55, 70.
Loans of Paintings by Hans Hof- 263. "Franz Kline 1910-1962: An Inter-
241. FRIED, MICHAEL. "Nsw York Letter"
mann, Worth Ryder Art Gallery, view with David Sylvester" Living
Art International, vol. 7, no. 4,
University of California, Berkeley, Arts, vol. 1, no. 1, Spring 1963, p. 2-
April 1963, p. 54-55 illus.
242. JUDD, DON. "Hofmann" Arts, vol.
April 2-May 3, 1964, p. 7-23. (Ex- 13 illus.

cerpt published in bibl. 229.) See also bibls. 266a, 742, 746, 750,
37, no. 7, April 1963, p. 55 ill.
243. MUNRO, ELEANOR c. "Hofmanu" Art 256. TAPiE, MICHEL. Hans Hofmann, 751, 753, 754, 1028.
News, vol. 62, no. 2, April 1963, p. American Art Gallery, Copenhagen,
April 18-May 1964, p. 1.
Books and Articles on Kline
loilL 9,
(alphabetically)
244. GEBHAHD, DAVID. "Hofmann" Art-
forum, vol. 1, no. 11, May 1963, p. See also bibls. 758, 783, 901, 933, 264. DE KOONING, ELAINE. Fronz Kline
43- 963, 970, 978, 1038. Memorial Exhibition, Washington
 Gallery of Modem Art, Washington, catalogues also issued in German for leries" New York Post, December
D.C., October 30-December 27, 1962, Basel,Vienna showings.) 17, 1961.

p. 8-18 plus foreword by

illus.; also 274. RICHARDS, LOUISE s. "Three Contem- 285, KozLOFF, MAX. "Art" Nation, vol.

Adelyn Breeskin; bibliography p. porary Drawings^' Bulletin of the 192, no. 22, December 23, 1961, p.

57-59. (De Kooning text revised as Cleveland Museum of Art, vol. 49, 520.
"Franz Kline: Painter of His Own no. 3, March 1962; p. 55-59 ill. 286. Franz Kline, Arts Club of Chicago,

Life" Art News, vol. 61, no 7, No- 275. ROBBINS, DANIEL AND EUGENIA. December 8, 1961-January 9, 1962,

vember 1962, p. 28-31, 64-69 illus.) "Franz Kline: Rough Impulsive 8 p. cat. illus.

265. DYPREAU, JEAN. "Franz Kline" XXe Gesture" Studio, vol. 167, no. 853, 287. KOZLOFF, MAX. "Kline" Art Interna-
siecle, no. 23, May 1964, p. 113-114 May 1964, p. 186-89 illus. tional, vol. 6, no. 1, February 1962,
illus. 275a. RODMAN, SELDEN. "An Important p. 71-72 ill.

266. "Farewell to a Gentle Man with a Abstractionist" Cosmopolitan, Feb. 288. Franz Kline, Galerie Lawrence,
Vital Talent" Life, vol. 52, May 25, 1959, p. 66-69 illus. (From bibl. Paris, March 15-April 15, 1962, 5 p.

1962, p. 40 illus. 750.) cat. illus.

266a. "A Fitting Tribute" Newsweek, No- 276. SURG, DARio. "Kline and the Image" 289. LEVEQUE, JEAN- JACQUES. "Kline"
vember 5, 1962, p. 104 ill. (Includes n.d.(Copy of typescript, in Museum Aujourd'hui, no. 36, April 1962, p.

statements by the artist.) of Modem Art Library, New York.) 48-49 ill.

267. "Franz Kline; American" Art In- 277. TiLLiM, SIDNEY. "Editorial: Franz 289a. SAWYER, KENNETH. "Painting and
ternational, vol. 4, no. 6, June i960, Kline (i9io-i962);Mr<i, vol. 36, no. Sculpture: The New York Season"
p. 56-57. (Illus. only.)
September 1962, p. 6.
10, Craft Horizons, vol. 22, no. 3, May-

"Franz Kline: A Firm Point of 278. VILLENEUVE, PAQUERETTE. "FranZ June 1962, p. 52-55, 70.
268.
American Painting" Metro, no. 4-5, Kline" Aujourd'hui, no. 37, June 290. LANGSNER, JULES. "Kline" Artfo-
May 1962, p. i34->35- (lUus. only.) 1962, p. 34. rum, vol. 1, no. 2, July 1962, p. 4-5
269. HASEGAWA, SABRO. "The Beauty of 278a. FISH, JOHN. "Kline" Village Voice, illus.

Black and White" 1951. (Transla- March 14, 1956. 291. GOLDWATER, ROBERT. "Art Chronicle/
tion from the Japanese of an article Masters of the New" Partisan Re-
Exhibition Catalogues and Reviews Summer
in Bokubi, no. 12, May 1952; copy view, vol. 29, no. 3, 1962,
Museum of Modem (chronologically) p. 416-420.
of typescript in
Art Library, New York.) See also bibl. 264. 292. GETLEiN, FRANK. "Washington" Bur-
270. "Kline" Art International, vol. 4, 279. PASsoNi, FRANCO. Franz Kline, Gal- lington Magazine, vol. 104, no. 717,

no. 7, September i960, p. 40-41. leria del Naviglio, Milan, March 18- December 1962, p. 565.
(Illus. only.) 28, 1958, p. 1-3. 293- LANGSNER, JULES. "Art News from
Last Painting" Art in 280. BUTLER, BARBARA. "Kline and Smith" Los Angeles Kline in Local Col-
.

271. "Kline's
. .

America, vol. 50, no. 3, Fall 1962, p. Art International, vol. 4, no. 4, May lections!' Art News, vol. 62, no. 3,

104. i960, p. 67 ill. May 1963, p. 48.

272. MORiTA, SHiRYU. "ImpressioHS of 281. SAWYER, KENNETH B. Fronz Kline, 293a. FACTOR, DON. "Franz Kline, Dwan
Kline's Recent Works" Bokubi, no. New Arts Gallery, Atlanta, 1961. Gallery" Artforum, vol. 1, no. 12,

12, May 1952, p. 5-10. (Text in Jap- 282. Franz Kline: Barroom Paintings 1963, p. 10.

anese with English translation.) 1940, Collectors' Gallery, New York, 294. Franz Kline, La Tartaruga Galleria
February 2-25, 1961, 5 p. cat. illus. d'arte. Rome, November 1963, 10 p.
273. o'haha, frank. Franz Kline, Gal-
LANGSNER, JULES. "Los Angeles Let- cat. Ulus.; excerpts from bibl. 261.
leria civica d'arte modema, Turin, 283.
November 5-December 1, 1963) P- ter" Art International, vol. 5, no 5- 295. CAMPBELL, LAWRENCE. "Kline" Art
11-19; also translation of bibl. 261; 6, June-August 1961, p. 64-65 illus.
News, vol. 62, no. 9, January 1964,
bibliography p. 30-35; 69 plates. 284. New Paintings by Franz Kline, Sid- p. 11.

(Exhibition organized and circulat- ney Janis Gallery, New York, De- 296. TILLIM, SIDNEY. "The New Avant-
cember 4-30, 1961, 28 p. cat. illus. Garde" Arts, vol. 38, no. 5, Febm-
ed in Europe by the Musetmi of
SANDLER, IRVING H. "In the Art Gal- ary 1964, 18-20 illus.
Modem Art International Council; 284a. p.
 Robert Motherwell (1915- )

297. DiENST, ROLF-GUNTEH. "Geste, Geom- Supplement to bibliography in bibl. 356. A Eye, vol. 1, no. 6, December 15,

etrie, Phantastik: Ausstellungen in forthcoming monograph to be published 1948, p. 46-48.

Basel vmd ZiirickJ' Kunstwerk, vol. by the Museum of Modern Art will in- 312. [Statement] in Robert Motherwell
17, no. 9, March 1964, p. 40-41, ill. clude a selective bibliography by Bernard Collages i94i-i949, Sidney Janis

P-35-
Karpel and a forthcoming monograph by Gallery, New York, 1949, p. 1.

298. MARCHis, GIORGIO Di. "Kline^' Art In- Bryan Robertson will include an extensive (From bibl. 313.)

ternational, vol. 8, no. 1, 1964, p. 54 bibliography, also by Karpel. 313. [Lecture], Forum 49, Provincetown,

ill.
Massachusetts, August 11, 1949.
KOZLOFP, MAX. "KlineJ' Art Interna- From 1947 to 1955, Motherwell edited The (Excerpt in bibl. 312.)
299.
Documents of Modern Art for Wittenbom, 314. "Preliminary Notice" in Guillaume
tional, vol. 8, no. 1, 1964, p. 45-46 ill.

Franz Kline Schultz, New York. Only those items for Apollonaire, The Cubist Painters,
300. STABER, MABGiT. "Basel:
—Alfred Jensenj' Art International, which he also wrote prefatory notes or in-
troductions are listed below.
New York, Wittenbom, Schultz,

vol. 8, no. 2, March 1964, p. 76-77 1949, p. 4-5.

ill. 315. "Preliminary Notice" in Daniel-

301. MOHOLY, LUCIA. "Switzerland" Bur- By Motherwell (chronologically) Henry Kahnweiler, The Rise of

lington Magazine, vol. 106, no. 732, 303. "Notes on Mondrian and Chirico" Cubism, New York, Wittenbom,
March 1964, p. 142. WV, no. 1, June 1942, p. 58-61 ill. Schultz, 1949, p. 6-8.
302. c. H. "Ausstellungen: Basely' Werk, 304. "The Modem Painters World;' Dyn, 316. "Preface" in Georges Duthuit, The
vol. 51, no. 4, April 1964, p. 80, 82 vol. 1, no. 6, November 1944, p. 8- Fauvist Painters, New York, Witten-
iU. 14. (Lecture given to "Pontigny en bom, Schultz, 1950, p. 9-10.

Amerique" at Mount Holyoke Col- 317. "Preliminary Notice" in Marcel

See also bibls. 773, 932, 933, 963,
lege, August 10, 1944.) Raymond, From Baudelaire to Sur-
1038.
305. "Painter's Objects;' Partisan Review, realism, New York, Wittenbom,
vol. 11, no. 1,Winter 1944, p. 93-97- Schultz, 1950, p. 1-2.

305a. MILLER, DOROTHY c, ed. Fourteen 318. Black or White: Paintings by Euro-
Americans, Museum of Modem Art, pean and American Artists, Kootz
New York, 1946, p. 34-38 illus. Gallery, New York, February 28-

306. "Beyond the Aesthetic;' Design, vol. March 20, 1950, p. 2-3. (Reprinted
bibl. 1034.)
47, no. 8, April 1946, p. 14-15. (Ex-
cerpts reprinted in 1951 University 318a. "A, B, C, D;' Motherwell, Kootz
Contemporary American
of Illinois Gallery, New York, November 14-

Painting catalogue, p. 201, and bibl. December 4, 1950, p. 2-3 illus. (Ex-
cerpt reprinted bibl. 1037 p. 96.)
949-)
307. [Statement] in Robert Motherwell, 319. "Preface" and "Introduction" in
Kootz Gallery, New York, 1947, p. Dada Painters and Poets, New York,
2-3- Wittenbom, Schultz, 1951, p. 11-37.
308. [Editorial Statement] in Possibili- 320. "Preface" in Piet Mondrian, Plastic
ties, vol. 1, no.Winter 1947-48, p.
1, Art and Pure Plastic Art, New York,
1. (With co-editor, Harold Rosen- Wittenbom, Schultz, 1951, p. 5-6.
berg.) 321. "A Statement" and "Introduction to
309. "Prefatory Note" in Jean Arp, On the Illustrations" in Modern Artists

My Way, New York, Wittenbom, in America, New York, Wittenbom,

Schultz, 1948, p. 6. Schultz, 1951, p. 6-7 (with Bernard

310. "Prefatory Note" in Max Emst, Be- Karpel and Ad Reinhardt), p. 40

yond Painting, New York, Witten- (with Reinhardt).
bom, Schultz, 1948, p. 5-6. 322. "What Abstract Art Means to Me;'

311. "A Tour of the Sublime;' Tiger's Museum of Modern Art Bulletin,
 vol. 18, no. 3, Spring 1951, p. 12-13 Tomlin, Whitney Museimi of Amer- See also bibls. 339b, 735, 737, 738,
ill. (Contribution to a symposium, ican Art, New York, 1957, p. 11-12. 740, 742, 749, 751, 752, 754, 765 (p.
February 5, 1931; revised version 332. "The Significance of Miro" Art 132), 858, 984, 1028.
published in Art Digest, vol. 25, no. News, vol. 58, no. 3, May 1959, p.
February
Articles on Motherwell
10, 15, 1951, p. 12, 27-28.) 32-

323. "The Public and the Modern Paint- 332a. [Letter to the editor]. Arts, vol. 33, (alphabetically)
er" Catholic Art Quarterly, vol. 14, no. 8, May 1959, p. 8. 338. ASHTON, DORE. "Robert Motherwell:
no. 2, Easter 1951, p. 80-81. 333. "Statement^' It Is, no. 3, Winter- Passion and Transfiguration^' Stu-

324. "The Poetry of Abstract Painting" Spring, 1959, p. 10. dio, vol. 167, no. 851, March 1964,
lecture given at the Philadelphia 334. "What Should a Museum Be?" Art p. 100-105 Ulus.
Museum of Art, Division of Educa- in America, vol. 49, no. 2, 1961, p. 339. BIRD, PAUL. "Motherwell: A Pro-
tion, October 9, 1951, in "Fun With 32-35 illus. (Reprinted in bibl. 351.) file" Art Digest, vol. 26, no. 1, Oc-
Art" series. 334a. [Statement] in "Something for All" tober 1, 1951, p. 6, 23.

325. The School of New York, Frank Newsweek, July 31, 1961, p. 80-81 339a. COOK, JIM. "An Incident In Man-
Perls Gallery, Beverly Hills, 1951, m. (On Provincetown.) hattan" New York Post, April 9,

p. 2-5-
334b. [Statement] in Gay Talese, "Yankee 1956. (2 p. on false arrest for mur-
Stadium: Night of Idolatry" New der.)
326. "The Rise and Continuity of Ab-
York Times, September 2, 1961, p. 339b. "The Deepest Identity" Newsweek,
stract ArtJ' Arts and Architecture,
September 1951, 10. December 10, 1962, p. 94 ill. (In-
vol. 68, no. 9, p.
(Lecture given at the 335. "Painting as Existence" Metro, no. cludes statement by the artist.)
20-21, 41.
7, 1962, p. 94-97 ill. (Interview by 339c. FiTzsiMMONs, JAMES. [Mothsrwell]
Fogg Museum, Cambridge, Mass.;
David Sylvester, recorded and in catalogue of Robert Motherwell
excerpt reprinted in University of
Illinois Contemporary American broadcast over BBC, October 22, School of Fine Arts, n.d., p. 19-22
i960.) illus.
Painting catalogue, 1952, p. 217.)
335a. [Statements] in Florence Berkman, 340. FITZSIMMONS, JAMES. "AxtistS Put
327. [Motherwell Seminar], mimeo-
graphed outline, Oberlin College,
"Motherwell Opens Art Lecture Se- Faith in New Ecclesiastic Art^' Art
ries" Hartford Times, March 24, Digest, vol. 26, no. 2, October 15,
Spring, 1952.
1962. (Account of and includes long 1951, P- 15,23.
328. "Preface to a Joseph Cornell Exhi-
quotations from lecture given at the 341. KEES, WF,T,noN. "A Pastiche for Eve"
unpublished typescript at
bitionj'
Bums School Auditorium, Hartford bibl. 758, p. 45-47. (Poem on Moth-
Walker Art Center, Minneapolis,
Conn.) erwell painting.)
written for a proposed catalogue to
336. [Letter to the editor], Art News, 342. MOORE, MARIANNE. [Statement] in
the Cornell exhibition held July 12-
vol. 62, no. 1, March 1963, p. 6. (Re- Robert Motfierwelh Collages 1943-
August 30, 1953; dated June 26,
ply to bibl. 344.) 1949, Sidney Janis Gallery, New
1953, 2 p. "A Conversation at Lunch" and York, 1949.
337.
329. "Symposium: Is the French Avant- [Notes on Paintings], 1963, in bibl. 343. MORiTZ, CHARLES, ed. Current Biog-
Garde Overrated?", Art Digest, vol. 356, p. 10-19. (Excerpt reprinted raphy Yearbook, New York, H. W
27, no. 20, September 1953, p. 13, 27. bibl. 1037.) Wilson, 1962, p. 308-310 ill.
330. "The Painter and the Audience" 337a. "The Motherwell Collectionj' Vogue, 344. VICENTE, ESTEBAN. [Letter to the ed-
Perspectives U.S.A., no. 9, Autumn January 15, 1964, p. 88-90, 118 illus. itor],Art News, vol. 61, no. 10,
i954j P- 107-112. (Contribution to 337b. [Statements] in Robert Ostermann, February 1963, p. 6. (Concerning
the symposium: "The Creative Art- "Men Who Lead an American Rev- Motherwell and the Spanish Revo-
ist and His Audience"; excerpt, bibl. olution" The National Observer lution.)

745-) (London), February 17, 1964, p. 18. 345. WEiTZ, MORRIS. PhUosophy of the
330a. [Letter to the editor], Arts. vol. 30, 337c. [Statement] on jacket cover of May Arts, New York, Russell and Russell,
no. 7, April 1936, p. 8. Natalie Tabak, But Not For Love, 1964, p. 88-92. (Discussion of Moth-
331. [On Tomlin], in Bradley Walker New York, Horizon Press, n.d. erwell's The Spanish Prison. )
 Barnett Newman (1905- )

Exhibition Catalogues £ind Reviews {bibl. 348), Barbara Guest (a poem) By Newman (clironologically) 223

(chronologicedly) and the artist (reprint of bibl. 334),

363. [Letter to the editor], New York
28 p. cat. illus. Times, June 13, 1943, sec. 2, p. 9.
345a. STROUP, JAN. ". . . For Motherwell"
352. LANGSNER, JULES. "Los Angeles Let- (Signed by Gottlieb and Rothko, but
Town and Country, January 1946.
ter" Art International, vol. 6, no. 3, Newman also collaborated.)
345b. COAXES, "Art Galleriesj'
ROBERT.
April 1962, p. 64 ill.
364. ADOLPH GOTTLIEB. Wakefield Gallery,
New January 12, 1946.
Yorker,
ARTHUR. "Motherwell"
353. SECUNDA, New York, February 7-19, 1944, p.
345c. GREENBERG, CLEMENT. "Art" Nation,
Artforum, vol. 1, no. 1, Jime 1962, 2-3-
January 26, 1946.
p. 6-7 nius. 365. "La Pintura de Tamayo y Gottlieb"
345d. SWEENEY, JAMES JOHNSON. Robert
354. LANGSNER, JULES. "Painting and La Revista Belga, vol. 2, no. 4, April,
Motherwell, Arts Club of Chicago,
Sculpture, The Los Angeles Season" 1945, p. 16-25 illus. (In Spanish.)
February 7-27, 1946, p. 2.
Craft Horizons, vol. 22, no. 4, July 365a. Northwest Coast Indian Painting,
3456. GREENBERG, CLEMENT. "Art" Nation,
1962, p. 41. Betty Parsons Gallery, New York,
May 29, 1948.
New Paintings by Robert Mother-
355. September 30-October 19, 1946, p. 2.
345f. FAisoN, s. LANE, JB. "Art" Nation, New
well, Sidney Janis Gallery, 366. The Ideographic Picture, Betty Par-
April 19, 1952; April 18, 1953.
York, December 4-29, 1962, 20 p. sons Gallery, New York, January 20-
345g. GoossEN, EUGENE c. Robert Mother- February
cat. illus. 8, 1947, p. 2-3. (Excerpts
well: First Retrospective Exhibition,
356. Robert Motherwell, Smith College repiinted in bibls. 526; 801, 845.)
Bennington College, April 24-May
Museum of Art, Northampton, 366a. Stamos, Betty Parsons Gallery, New
23, 1959, P- 1-3- York, February 10-March
Mass., Januarj' 10-28, 1963, 30 p. 1, 1947, p.
346. Recent Paintings and Collages by-
cat. illus.; texts by Motherwell, p. 2.
Robert Motherwell, Sidney Janis
10-19; bibliography p. 22-27. 367. "The First Man Was an Artist"
Gallery, New York, April 10-May
Tiger's Eye, vol. no. October
357. EDGAR, N.ATALiE. "Motherwell" Art 1, 1,
6, 1961, 20 p. cat. illus.
News, vol. 61, no. 9, January 1963, 1947, p. 57-60. (Reprinted bibl. 1037,
346a. PORTER, FAIRFIELD, "Art" Nation,
p. 10 ill. P- 94-95-)
April 29, 1961. 368. [Statement], in "The Ides of Art"
siMONE. "Motherwell" 358. FRIED, MICHAEL. "New York Letter"
347. PRiGERio, Tiger's Eye, vol. 1, no. 2, December
Art International, vol. 7, no. i, Jan-
Aujourd'hui, no. 33, October, 1961,
uary 1963, 68-69 illus.
1947, P- 43-
p.
p. 30. 369. "Introduction" Herbert Ferber, Bet-
HUNTER, SAM. Motkerwell: Collages 359. TILLIM, SIDNEY. "Month in Review"
348. ty Parsons Gallery, New York, De-
Arts, vol. 37, no. 4, January 1963,
19^8-60, Berggruen, Paris, 1961, 2 p. cember 1947.
plus 24 plates. p. 40-42 illus.
370. "The Object and the Image" Tiger's
360. ASHTON, DORE. "Art: Robert Mother-
349. o'hara, frank. "Robert Motlier- Eye, vol. 1, no. 3, March 1948, p.
well" in Esiados Unidos, VI Bienal well" Arts and Architecture, vol.
111.
do museu de arte moderna, Sao February 1963, p. 8 ill.
80, no. 2,
"The Sublime is Now" Tiger's Eye,
371.
Paulo, 1961, p. 4-11 illus. (Text in 361. ASHTON, DORE. "Motherwell Loves vol. 1, no. 6, December 15, 1948, p.
Portuguese and English.) and BelievesJ' Studio, vol. 165, no. 51-53-
350. HUNTER, SAM. Collages di Mother- 839, March 1963, p. 116-117 ill-
372. [Opinion], in "To Be or Not/ 6
well, Galleria Odyssia, Rome, Janu- 362. SANDLER, IRVING H. "New York Let- Opinions on Trigant Burrow's The
ary 1962 p. 2, 7. {Bibl. 348.) ter" Quadrum, no. 14, 1963, p. 115- Neurosis of Man'' Tiger's Eye, vol.
350a. BOATTO, ALBERTO. "Motherwell" Le 124 illus. 1, no. 9, October 1949, p. 122-126.

Arti, February 1962. 362a. "A Portfolio of Recent Paintings" 372a. [Statement], typescript at Betty
351. Robert Motherwell: A Retrospective Arts Yearbook, no. 7, 1964, p. 62 ill. Parsons Gallery, New York, dated
Exhibition, Pasadena Art Museum, January 1950, 1 p.
February 18-March 11, 1962; te.xts See also bibls. 777, 783, 817, 877, 373. "Too Many Words— Rebuttal" Art
by Thomas W
Leavitt, Frank O'- 897, 949, 957, 963, 970, 1031, 1037, Digest, vol. 24, no. 12, March 15,
Hara (bibl. 349), Sam Hunter 1038. 1950, p. 5. (In reply to Peyton Bos-
224 well's "Too Many Words" Art Di- 383. ROSENBEKG, HAROLD. "Bamett New- 395. STONE, ALLAN. De Koonlng-New-
gest, vol. 24, no. 10,February 15, man: Man Controversy and Spir-
of man, Allan Stone Gallery, New
1950, p. 5, concerning a New York itual Grandeur" Vogue, February 1, York, October 23-November 17, 1962,
Times review of Newman's work.) 1963, p. 134-135, 163, 166 ill. p. 16 Ulus. (For reviews of this ex-
374. "Disclaimer"/lri Digest, vol. 29, no. hibition see bibls. 84-87.)
10, February 15, 1954, p. 3. (A let-
Exhibition Catalogues and Reviews See also bibls. 817, 833, 842, 845,
ter to the editor.) 970, 1037, 1038.
(chronologically)
375. [Letter to tlie Art News,
editor],
384. REED, JUDITH KAYE. "Newman's
vol. 58, no. 4, June-August 1959, p.
Flat Areas" Art Digest, vol. 24, no.
6. (In reply to bibl. 390.)
9, February 1, 1950, p. 16.
376. [Letter to the Editor], Art News,
385. HESS, THOMAS B. "NewTuan" Art
vol. 60, no. 3, May 1961, p. 6. (In
News, vol. 49, no. 1, March 1950, p.
reply to letters to the editor by Er-
48.
wiu Panofsky and Don David in "The Bar Vertical on
386. KRASNE, BELLE.
April, 1961 Art News, p. 6.)
Fields Horizontal" Art Digest, vol.
377. "Frontiers of SpaceJ' Art in Amer- May
25, no. 15, 1, 1951, p. 16.
ica, vol. 50, no. 2, Summer 1962, p. 387. HESS, TH0M.4S B. "Newman" Art
82-87 Ulus. (Interview with New- News, vol. 50, no. 4, Summer 1951,
man by Dorothy Gees Seckler.)
P-47-
378. "Embattled LambJ' Art News, vol. 388. GREENBERG, CLEMENT. Bamett New-
61, no. 5, September 1962, p. 35, 57- man: First Retrospective Exhibition,
58. (Book review of bibl. 955.) Bennington College, May 4-24,
378a. Amlash Sculpture from Iran, Betty 1958, p. 1-2; also "Catalogue Note"
Parsons Gallery, New York, Septem- by E. C. Goossen, p. 3.
23-October 19, 1963, p. 2. 389. GREENBERG, CLEMENT. Barnett New-
379. [Statement], in Arthur McKay, man: A Selection 1946-19^2, French
"Ejnma Lake Artists' Workshop: An and Company, New York, March
Appreciation" Canadian Art, vol. 11 -April 4, 1959, p. 3-4. (Reprinted

21, no. 93, September-October 1964, from bibl. 388; also poem by How-
p. 281. ard Nemerov, p. 2.)
390. CREHAN, HUBERT. "Barnett New-
See also bibls. 738, 740, 745, 752.
man" Art News, vol. 58, no. 2, April
1959, P- 12 ill. (See bibl. 375 for
Articles on Newman Newman's reaction to this review.)
(alphabetically) 391. KRAMER, HILTON. "Month in Re-
380. ALLOWAY, LAWRENCE. "The Paint- view;' Arts, vol. 33, no. 7, April
ings of Bamett NewmanJ' 1964. 1959, P- 4S-
(Forthcoming in Art International; 392. SCHWARTZ, MARVIN D. "Newmau at
to include statements by the artist.) French and ColJ Apollo, vol. 69, no.
381. ASHTON, DORE. "Art" Arts and Archi- 410, April 1959, p. 124.
tecture, vol. 76, no. 5, May 1959, p. 393. PRESTON, STUART, "New York" Bur-
6-7. lington Magazine, vol. 101, no. 674,
382. GoossEN, EUGENE c. "The Philosoph- May 1959, p. 200.
ic Line of Barnett Newman" Art 394. SAWiN, MARTICA. "New York Letter"
News, vol. 57, no. 4, Summer 1958, Art International, vol. 3, nos. 5-6,
p. 30-31, 62-63 illus. 1959, p. 48 ill-
Jackson Pollock (1912-1956)

By PoUock (chronologically) lock" / 4 Soli, vol. 3, no. 2, March- umn]. Nation, November 27, 1943; 225

396. "Jackson Pollock" [Answers to a April 1938, p. 19-21 ill. April 7, 1945; April 13, 1946; De-
questionnaire], Arts and Architec- 403. CANDEE, MARJORiE DENT, ed. Current cember 28, 1946; February 1, 1947;
ture, vol. 6i, no. 2, February 1944, p. Biography Yearbook, New York, H. January 24, 1948.
14. (Excerpts reprinted often; see W Wilson, 1956, p. 496-498 ill. 417. GUEGUEN, PIERRE. "PoUock et la
bibls. 408, 423, 449, 512, 526, 534, 406. "The Champ" Time, vol. 61, no. 25, nouvelle peinture americaine" Au-

737, etc.)
December 19, 1955, p. 64, 66 ill. jourd'hui, no. 21, March-April 1959,

397. "My Painting!' Possibilities, vol. 1, 407. CHOAY, FRANgoisE. "Jackson Pol- p. 30-33 illus.

no. 1, Winter 1947-48, p. 78-83 illus. lock" L'Oeil, no. 43/44, July-August 418. HALL, DOUGLAS. "Recent Acquisitions

(Excerpts reprinted often; see bibls. 1938, p. 42-45, 83 illus. of the Scottish National Gallery of

408, 423, 449, 534, 745, 754. Ger- 408. CRISPOLTI, E. "Appunti su Jackson Modern Art: 11" Scottish Art Re-

man translation in Du, no. 236, Oc- Pollock" / 4 Soli, vol. 4, no. 1, Janu- view, vol. 9, no. 3, 1964, p. 10 ill.

tober i960, p. 12-13, ill-) ary-February 1937, p. 8-10. (Ex- 419. HESS, THOMAS B. "Jackson Pollock
398. "Unframed Space]' New Yorker, vol. cerpts from bibls. 396, 397, p. 11.) 1912-1956" Art News, vol. 53, no. 5,
26, no. 24, August 5, 1950, p. 16. 409. DREXLER, ARTHUR. "Unframed Space: September 1956, p. 44-43, 57.
(Brief interview with Pollock in A Museum for Jackson Pollack's 420. HESS, THOMAS B, "Pollock: the Art of

Springs, L.I.) [sic] Paintings" Interiors, vol. 110, a Myth" Art News, vol. 62, no. 9,

399. [Statements from narration by the no. 6, January 1930, p. 90 illus. January 1964, p. 39-41, 62-65 iHus.
the film Jackson Pollock by
artist for 410. FRAMPTON, KENNETH. "JacksOU Pol- (February 1964 issue, p. 6; letter on
Hans Namuth and Paul Falkenberg, lock" Arts Review, vol. 13, no. 10, article from Rosalind BrowTie.)

1951]; excerpt reprinted in bibl. June 3-17, 1961, p. 2. (Also review 421. HULTEN, K. G, "Den Modema Kon-

449- oibibl. 449.) sten: Pollock och Mondrian" Dag-

399a. HiRSCH, OLIVIA. "College Notes: Pol- 411. FRIEDMAN, B. H. "Profile: Jackson ens Nyheter (Stockholm), Septem-
lock,Greenberg and Tannenbaum" Pollock" Art in America, vol. 43, no. ber 9, 1958.
Evening Banner (Bennington, Vt.), 4,December 1935, p. 49, 58-59 ill. 422. HULTEN, K. G. "En Ny Expression-
November 20, 1952. (Includes brief 412. GOODNOUGH, "PoUock
ROBERT. ism: Pollock, Francis, Riopelle"
statements by the artist.)
Paints a Picture" Art News, vol. 50, Dagens Nyheter (Stockholm), De-
See also bibls. 412, 733, 737, 738, no. 3, May 1931, p. 38-41, 60-61 cember 1, 1933.
750, 754, 765 (p- 153), 984, 1028. illus. (Includes brief statements by 423. HUNTER, SAM. Jockson Pollock,
the artist.) Museum of Modern Art Bulletin,

413. GREENBERG, CLEMENT. "JacksOn Pol- vol. 24, no. 2, 1936-37, p. 3-12. (36
Books and Articles on Pollock
lock" Evergreen Review, vol. 1, no. p. exhibition catalogue, contains
(alphabetically)
3, 1957, P' 95-100 Ulus. (Portrait on
chronology, selected bibliography,
400. ALLOWAY, LAWRENCE. "The Art of
cover.) plates, reprinted statements, from
Jackson Pollock: 1912-1956" The
Listener, vol. 60, no. 1548, Novem- 414. GREENBERG, CLEMENT. "The Jackson 396,397; see also bibl. 312.)
bibls.

Pollock Market Soars" New York 424. HUNTER, SAM. "Contributi alia cono-
p. 888 ill.
ber 27, 1938,
Times Magazine, April 16, 1961, p. scenza dell'opera di Jackson Pol-
401. ALLOWAY, LA WHENCE. "NoteS On
42-43, 132, 135 illus. (April 30, 1961 lock" / 4 Soli, vol. 4, no. 1, January-
Pollock" Art International, vol. 5,
issue, p. 6, contains letters to the edi- February 1937, p. 3-7 illus. (From
no. 4, May 1961, p. 38-41, 90 illus.
tor concerning this article.) bibl. 423.)
402. ASHTON, DORE. "Pollock: le nouvel
espace" XXe siecle, no. 17, Decem- 415. GREENBERG, CLEMENT. "JacksOU Pol- 423. HUNTER, SAM. "Jackson Pollock:

ber 1961, p. 73-80 illus. lock's New Style" Harper's Bazaar, The Maze and New
the Minotaur"

403. BERGER, JOHN. "The White Cell" vol. 85, no. 2883, February 1952, p. World Writing, New York. Nkith
New Statesman, vol. 56, no. 1445, 174-175 illus. Mentor Selection, New American
November 22, 1938, p. 722-723. 416. GREENBERG, CLEMENT. [revieWS of Library of World Literature, 1936,
404. CALVESi, MAURizio. "Genio di Pol- Pollock exhibitions in his "Art" col- p. 174-192 illus.
226 426. IMBOUKG, PIERRE. "AveZ-VOUS VU Pol- XXe siecle, no. 8, January 1957, p. vol. 41, no. 9, August 27, 1956, p. 58
lock?" Journal de Vamaleur de I'art, 86. illus.

January 25, 1959. 437. MENNA, FiLiBERTO. "L'Atrattismo 448. restany, PIERRE. "L'Art aux Etats-
427. "Jackson Pollock's Abstractions!' romantico di Jackson Pollock" Coni- Unis: Jackson Pollock I'eclabous-
Vogue, March 1, 1951, p. 159-162. mentari, vol. 9, no. 3, July-Septem- seur" Prisme des arts, no. 15, 1957,
(Fashions photographed by Cecil ber 1958, p. 206-215, plates 76-78. p. 19 illus.

Beaton against Pollock paintings.) 438. MIDDLETON, MICHAEL. "Pollock" 449. ROBERTSON, BRYAN. Jockson Pollock,
427a. JONES, THOMAS H. "The Art of Jack- Motif, no. 2, February 1959, p. 80- New York, Harry N. Abrams, i960,
son Pollock^' unpublished typescript 81 illus. 215 p. illus. ("Statements by Jack-
at Betty Parsons Gallery, New York, 439. NAMUTH, HANS. "Jackson Pollock',' son Pollock" p. 193-194, reprints
1949, 1 P- The Annual of the Graph-
Portfolio: from bibls. 396, 397, 399; "select bib-
428. KAPROW, ALLAN. "The Legacy of ic Arts, 1951, 6 p. illus. (Photo- liography" p. 195-196; reviewed
Jackson Pollock" Art News, vol. 57, graphs by Namuth, text anony- bibls. 410, 450.)
October 1958, p. 24-26, 55-57,
vol. 6, mous.) 450. ROSENBERG, HAROLD. "The Search
illus. from Irving H. Sandler
(Letter 440. NUGENT, JOSEPH P. "Some Thoughts for Jackson Pollock" Art News, vol.
concerning tliis article in December on Pollock" The New Bulletin, 59, no. 10, February 1961, p. 35, 58-
1958 issue, p. 6; reply by Kaprow, (Staten Island Institute of Arts and 60. (Based on a review of bibl. 449.)
February 1959, p. 6.) Sciences), vol. 11, no. 8, April 1962, 451. RUBIN, WILLIAM. "Notes On Masson
429. KARP, IVAN c. "In Memoriam: The p. 94-95 ill. and Pollock" Arts, vol. 34, no. 2,

Ecstasy and Tragedy of Jackson Pol- 441. o'coNNOR, FRANCIS v. "The Life and November 1959, p. 36-43 Ulus.
lock, Artist" The Village Voice, Sep- Stylistic Development of Jackson 452. SAWYER, KENNETH B. "Jackson Pol-
tember 26, 1956, p. 8, 12 illus. Pollock" [Dissertation in progress lock: 1912-1956" Cimaise, ser. 4, no.
430. KozLOFF, MAX. "Art: Pollock" Na- for Johns Hopkins University.] 2, November-December 1956, p. 22-
tion, vol. 198, no. 7, February 10, 442. o'hara, FR.4NK. Jackson Pollock, 23 (English translation p. 10.)
illus.
1964, p. 151-152. New York, George Braziller, The 453. SAWYER, KENNETH B. "Jackson Pol-
431. KRAMER, HILTON. "Jackson Pollock Great American Artists Series, 1959, lock was unique"' Baltimore Sun,
and Nicolas de Stael: Two Painters p. 11-32 plus plates. (Selected bibli-
August 19, 1956.
and Their Myths" Arts Yearbook, ography, p. 119-120; chronology, p.
SCHOENENBERGER, GUALTIERO. "Jack-
454.
no. 3, 1959, p. 52-60 illus. 113-117-)
son Pollock" Art International, vol.
432. LAMBERT, JEAN-CLARENCE. "Obser- 443. o'h.4Ra, frank. "Jackson Pollock" in
5, no. 10, December 1961, p. 49-50
vations sur Jackson Pollock et la Peter Selz, ed.. New Images of Man,
illus.
nouvelle peinture americaine" Ca- Museum of Modern Art, New York,
455. SEIXAS, frank a. "Jackson Pollock:
hiers du musee de poche, no. 2, June 1959, p. 123-128 illus.
an Appreciation" Art Gallery, vol.
1959, p. 108-112 illus. 444. PIERRE, josE. "Surrealism, Jackson
7, no. 1, October 1963, p. 11-13, 23
433. LAViN, IRVING. "Abstraction in Mod- Pollock and Lyric Abstraction" in
Ulus.
em Painting: a Comparison" [be- TIze Surrealist Intrusion into the
tween paintings by Pollock and Enchanters' Domain, D'Arcy Gal-
455a. siEGEL, ELI. "Beauty —And Jackson
Pollock, Too" unpublished type-
Joseph Stella], Metropolitan Muse- leries, New York, May i960, p. 30-
script at Betty Parsons Gallery,
um of Art Bulletin, vol. 19, no. 6, 35 ill.

Februai-y 1961, p. 166-171 illus. 445. platschek, HANS. "Der Fall Pol-
New York, 1955, 2 p.

MCCLURE, MIKE. "Ode to Jackson und Werkform, vol.

lock" Baukunst 456. SMITH, RICHARD. "Jackson Pollock
434.
Pollock" Evergreen Review, vol. 2, January i960, p. 43-44 ill.
13, no. 1,
1912-1956" Art News and Review,
no. 6, Autumn 1958, p. 124-126. (From the book Neue Figurationen, vol. 10, no. 22, November 22, 1958,

433 M.'iRCHiORi, GIUSEPPE. "Jackson Pol- Munich, Piper.) p. 5 ill-

lock" Notizario, no. 5, April 1958, 446. "Posh Pollock" Time, vol. 72, no. 457. THARRATS, JOAN JOSEP. "Artistas de
December hoy: Jackson Pollock^' Revista
p. 6-8 ill. 24, 15, 1958, p. 58.

436. MARCHIORI, GIUSEPPE. "PoUock" 447. "Rebel Artist's Tragic Ending" Life, (Barcelona), February 2, 1957.
 458. TiLUM, SIDNEY. "JacksoH Pollock: A New Republic, vol. 112, no. 26, News, vol. 49, no. 8, December 1950, 227
Critical Evaluation^' College Art June 25, 1945, p. 871-872. 47 ill.
p.

Journal, vol. 16, no. 3, Spring 1957, 469. WOLF, BEN. "By the Shores of Vir- 484. KRASNE, BELLE. "PoUock" Art Di-
p. 242-243. tuosity" Art Digest, vol. 20, no. 14, gest, vol. 25, no. 5, December 1,

459. TYLER, PARKER. "Hopper and Pol- April 13, 1946, p. 16. 1950, p. 16.
lock: The Loneliness of the Crowd 470. "Pollock" Art News, vol. 45, no. 3, 485- COATES, ROBERT M. "Extremists"
and the Loneliness of the Universe: May 1946, p.63 ill. New Yorker, vol. 26, no. 42, Decem-
an Antiphonal" Art News Annual, 471. D.AVis, N. M. Jackson Pollock, Art of ber 9, 1950, P- 109-111.

no. 26, 1957, p. 86-107 illus.
460. TYLER, PARKER. "Jackson Pollock:
The Infinite Labyrinth"
of Art, vol. 43, no. 3,
This Century Gallery, New York,
January 14- February 1, 1947, p. 4.
Magazine 472. WOLF, BEN. "Non-Objectives by Pol-
March 1950, lock" Art Digest, vol. 21, no. 8, Jan-
486. ossoRio, ALFONSO. Jackson Pollock,
Betty Parsons Gallery, New York,
1951, p. 3-4 pl"S plates (Reprinted
745; translated bibl. 490.)
bibls. 741,

p. 92-93 iUus. uary 15, 1947, p. 21. 487- PORTER, FAIRFIELD. "PoUock" Art
460a. V7ASHBURN, GORDON BAILEY. "Three 473. "Pollock" Art News, vol. 45, no. 12, News, vol. 50, no. 8, December 1951,
Gifts to the Gallery" Carnegie Mag- Februarj' 1947, p. 45. p. 48 m.

azine, vol. 27, no. 10, December 474. LANSFORD, ALONZO. "Automatic Pol- 488. FiTZSiMMONs, JAMES. "PoUock" Art
1953, P- 337-338 ill. lock" Art Digest, vol. 22, no. 8, Jan- Digest, vol. 26, no. 6, December 15,

461. vriLLiNG, VICTOR. "Thoughts After a uary 15, 1948, p. 19- 1951, p. 19 ill.

Car Crash" Encounter, vol. 7, no. 4, 475. coATES, ROBERT M. "Edward Hopper 489. "Words" Time, vol. 53, no. 6, Feb-
October 1936, p. 66-68 ill. and Jackson Pollock" New Yorker, ruary 7, 1952, p. 51 ill.

voL 23, no. 48, January 17, 1948, p. 490- TAPiE, MICHEL. "Jackson Pollock
57- avec nous" in Jackson Pollock, Paris,
Exhibition Catalogues and Reviews News, vol. 46, no. 12, Paul Facchetti, March 1952, p. 2,
476. "Pollock" Art
(chronologically; see also February 1948, p. 58-59. 4-5 illus. (Also translation of bibl.

bibls. 416,423) 477. LOWENGRUND, MARGARET. "Pollock 486, p. 7, 9.)

Hieroglyphics" Art Digest, vol. 23, 49i- FITZSIMMONS, JAMES. "PollocK' Art
462. "Young Man From Wyoming" Art
November
no. 9, February 1, 1949, p. 19-20. Digest, vol. 27, no. 4,
Digest, vol. 18, no. 3, November 1.

478. DE KOONING, ELAINE. "Jackson Pol- 15, 1952, p. 17-

1943, p. 10.
lack" (sic). Art News, vol. 48, no. 1, 492- GREENBERG, CLEMENT. Jackson Pol-
463. SWEENEY, JAMES JOHNSON. Jackson
March lock, Bennington College, Novem-
Pollock, Art of This Century Gal- 1949, p. 44-
He Great- ber 17-30, 1952, P- 2.
lery, New York, November 9-27, 479. "Jackson Pollock: Is tlie

est Living Painter in the United 492a. COATES, ROBERT. "From Ingres to
1943, p. 3. (Reprinted in Pollock,
Arts Club of Chicago, March 5-31, States?" Life, vol. 27, no. 6, August Pollock, Direct" No- New Yorker,
vember 22, 1952.
1945, p. 2; /Z Is, no. 4, Autumn 1959, 1949, p. 42-43, 45 illus.
8,

480. ROBINSON, AMY. "PollockJ' Art 493- GOODNOUGH, ROBERT. "PoUock" Art
P- 56.)
News, vol. 48, no. 8, December 1949, News, vol. 51, no. 8, December 1952,
464. RILEY, MAUDE. "Explosive FlTSt
p. 42-43 ill.
Show;' Art Digest, vol. 18, no. 4, P- 43-
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MAUDE. "JacksOH Pollock^' brief text by Peggy Guggenheim, p. 4, 1953, P- in-115 illus.
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44, no. 4, April 1-14, 1945, p. 6.
468. PARBER, MANNY. "Jackson Pollock" 483. GOODNOUGH, ROBERT. "PoUock" Art on Gorky.)
228 496. CREHAN, HUBERT. "Pollock: A Janus- Review: Pollock^' Arts, vol. 31, no. zine, vol. 100, no. 669, December
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no. 10, February 15, 1954, p. 15, 32 508. ASHTON, DORE. "AitJ' Arts and Arch- 518. MOCK, JEAN YVES. "PoUock at the
ill. itecture, vol. 74, no. 3, March 1957, Whitechapel" Apollo, vol. 68, no.
496a. COAXES, ROBERT. "American and In- p. 8, 10, 38 illus. 406, December 1958, p. 221 ill.
ternational" New Yorker, February 509- "Estados Unidos: Sala Jackson Pol- 519. SCHUYLER, JAMES. "PollockJ' Art
20, 1954. lock" Habitat (Sao Paulo), no. 44, News, vol. 57, no. 8, December 1958,
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vol. 178, no. 8, February 20, 1954, 509a C0.4TES, ROBERT. "Worldwide" New 520. TiLLiM, SIDNEY. "PollockJ' Arts, vol.
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498. FITZSIMMONS, J.\MES. "Art^' Arts 510. s. G. "Jackson Pollock Dravpings" 521. ALLOW AY, LAWRENCE. "Loudon
and Architecture, vol. 71, no. 3, Arts, vol. 32, no. 3, December 1957, Chronicle" Art International, vol. 2,
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1959, p. 33-34 ill- p. 73; also
News, vol. 53, no. 1, March 1954, p. News, vol. 56, no. 8, December 1957, William. "Letter from New York"
40-41 Ul. p. 10.
p. 27-28.
500. Fifteen Years of Jackson Pollock, 512. HUNTER, SAM. Jackson Pollock 1912- 522. ASHTON, DORE. "Art" Arts and Arch-
Sidney Janis Gallery, New York, 155^, Kunstalle, Basel, April 19-May itecture, vol. 76, no. 1, January
November 28-December 31, 1955, 16 26, 1958, 36 p. cat. illus. (Text from
1959, p. 6.
p. illus. (Biography.) bibl. 423; also preface by Porter
523. MELVILLE, ROBERT. "London . . . Pol-
501. STEINBERG, LEO. "Month in Review McCray; excerpts from bibl. 396.)
lock at the Whitechapel" Arts, vol.
. . Fifteen Years of Jackson Pol- This catalogue veith variations also
.

33, no. 4, January 1959, p. 16 ill.

lock" Arts, vol. 30, no. 3, December published for exhibitions at Stedelijk
524. MELVILLE, ROBERT. "Exhibitions"
1955, P- 43-44, 46 ill. Museum, Amsterdam, June 6- July
Architectural Review, vol. 125, no.
502. TYLER, PARKER. "Pollock" Art News, 7, 1958; Whitechapel Art Gallery,
745, February 1959, p. 139 illus.
vol. 54, no. 8, December 1955, p. 53 London, November-December 1958;
525- WHITTET, G. s. "London Commen-
ill. and combined vrith New American
taryj' Studio, vol. 157, no. 791, Feb-
503. co.\TES, ROBERT M. "Opposites" New Painting catalogue at the Musee Na-
ruary 1959, p. 58.
Yorker, vol. 32, no. 45, December 29, tional d'art modeme, Paris, January
526. ALLOWAY, LAWHENCE. "Introduction"
1956, p. 48-49- 16-February 15, 1959, as "Jackson
Pollock nouvelle peinture and "Catalogue Notes" in Jackson
504. HUNTER, SAM. Pollock, IV Bienal do et la
PoUock, Marlborough Fine Art
museu de arte modema de Sao americaine!')
Sidney Janis Gal- Ltd., London, June 1961, p. 3-8; 64
Paulo, 1957, 36 p. cat. illus. (Text 513. Jackson Pollock,
New York, November p. cat. illus., bibliography. (Includes
from bibl. 423) in English and lery, 3-29,
brief text p.
excerpts from bibl. 396.)
Portuguese; same exhibition, or- 1958, 20 p. cat. illus., 1.

527- REiCHARDT, JASiA. "Loudres" Au-

ganized by the Museum of Modem 514. WALLis, NEViLE. "Heroes of the
The November jourd'hui, no. 32, July 1961, p. 56 Ul.
Art, New York, circulated in Europe Day!' Observer, 9,

with translations of Hunter text; 1958, aius. 528. STRAUSS, MICHEL. "London" Bur-
515- "The Hero-Figure of Action-Paint- lington Magazine, vol. 103, no. 700,
see bibl. 512.)
THOMAS "Pollock^' Art ing" The Times (London), Novem- July 1961, p. 327, ill. p. 329.
505. HESS, B.

February ber 11, 1958. 529- MELVILLE, ROBERT. "Exhibitions"

News, vol. 55, no. 10,
516. SUTTON, DENYS. "Arts and Enter- Architectural Review, vol. 130, no.
1957, p. 8-9-
506. HOFFMAN, EDITH. "New York" Bur- tainment: Jackson PollockJ' The Fi- 774, August 1961, p. 130-131 ill.

lington Magazine, vol. 99, no. 647, nancial Times (London), no. 21,634 530- CURJEL, HANS. "Zurich: Jackson
November 25, 1958, p. 13. Pollock" Werk, vol. 48, no. 12, De-
p. 68.
507. KRAMER, HILTON. "The Month in 517. M. c. "London" Burlington Maga- cember 1961, p. 274, 276 Ulus.
 Richard Pousette-Dart (1916- )

531. FRIGERIO, SIMONE. "ZuTlch: PoUock" Supplement to bibliography in bibl. 549 Dart,New York, Whitney Museum 229
Aujourd'hui, no. 34, December 1961, ofAmerican Art, 1963, 55 p. illus.
p. 60-61 ill. By Pousette-Dart (chronologically) (Foreword by Lloyd Goodrich; se-
532. ALLOWAY, LAWRENCE. "IntroduZ- 539. [Statement] in Richard Pousette- lected bibliography p. 54-55; in-
ione" in Jackson Pollock, Tonelli Dart, Willard Gallery, New York, cludes statements by the artist.)
arte moderna, Milan, November- 1945- 550. "A Portfolio of Recent Paintings"
December 1962, p. 3-7, bibl. p. 8, 28 540. [Statement] in Pousette-Dart, Art Arts Yearbook, no. 7, 1964, p. 64-65
p. cat. illus. (Translation of bibl. of This Century Gallery, New York, ill.

526.) March 4-22, 1947, p. 1. (Reprinted 551. SAWiN, MARTiCA. "Richard Pousette-
533. "Pollock;' Domus, no. 400, March bibl. 549, p. 9.) DartJ' unpublished manuscript at
1963, p. 41 ill. 541. [Lecture], typescript at Betty Par- Betty Parsons Gallery, New York, c.

534. HULTEN, K. G. Jockson Pollock, Mod- sons Gallery, New York; address i960, 14 p.
ema Museet, Stockholm, February- given at the Boston Museum School, 552. "Spontaneous Kaleidoscopes" Look,
April, 1963, p. 4-5; 34 p. cat. illus.; 1951, 8 p. (Excerpt reprinted bibl. October 9, 1951, p. 96-98 illus.
translation bibls. 396, 397, 399, p. 742.)
6-8. 542. [Statement], Contemporary Ameri-
Exhibition Catalogues and Reviews
535. GENAUER, EMILY. "Jackson Pollock's can Painting, University of Illinois,
Endless Search" New York Herald Urbana, 1952, p. 221-222, ill. plate (chronologicedly; see also
Tribune, Magazine Section, Janu- 46. bibl. 549)
ary 19, 1964, p. 29 illus. 543. "What Is the Relationship Between 553. "Pousette-Dart" Art News, vol. 42,
536. TILUM, SIDNEY. "Month in Review: Religion and Art?" typescript of lec- November 1-14, 1943, p. 23.
no. 12,
Pollock" Arts, vol. 38, no. 6, March turegiven at Union Theological 554. LOWENGRUND, MARGARET. "SurfaCe
1964; p. 55-59 illus. Seminary, December 2, 1952; Betty Manipulations" Art Digest, vol. 23,
537. FRIED, MICHAEL. "New York Letter" Parsons Gallery, New York, 3 p. no. 12, March 15, 1949, p. 15.
Art International, vol. 8, no. 3, 544. [Statement], Contemporary Ameri- 556. BREUNING, MARGARET. "PouSette-
April 1964, p. 57-58; also Rose, Bar- can Painting and Sculpture, Uni- Dart's Neutral Flamboyance" Art
bara. "New York Letter" p. 52. versity of Illinois, Urbana, 1953, p. Digest, vol. 24, no. 13, April 1, 1950,
538. American Masters from Eakins to 209, ill. plate 18. p. 21.
Pollock, Art Students League, New 545. [Statement], typescript at Whitney 557. FITZSIMMONS, JAMES. "PoUSCtte-
York, July 7-August 26, 1964 p. 42- Museum, New York, 1955, 2 p. Dart" Art Digest, vol. 25, no. 9, Feb-
43 ill- 546. WILLARD, CHARLOTTE. "In the Art ruary 1, 1951, p. 18.
See also reviews of New American
Galleries" Neiu York Post, Novem- 558. ASHTON, DORE. "Effluvia" Art Digest,
ber 29, 1964, p. 44. (Includes state- vol. 26, no. 1, October 1, 1951, p. 18.
Painting exhibition in Paris, bibl.
ments by the artist.)
559. PARSER, MANNY. "AtH,' Nation, Octo-
1009; and bibb. 755, 773, 777, 833,
547. [Statements: "How Does the Artist ber 13, 1951, P- 314.
849, 890, 897, 916, 932, 1038.
Create" poems, etc.] unpublished 560. GOODNOUGH, ROBERT. "PoUSette-
typescripts in the artist's possession. Dart;' Art News, vol. 50, no. 7, No-

See also bibls. 549, 738, 740, 742.

vember 1951, p. 47.
561. ASHTON, DORE. "Pousette-Dart" Art
Digest, vol. 27, no. 13, April 1, 1953,
Articles and Books on Pousette-Dart
p. 18-19.
(alphabetically) 562. GUEST, BARBARA. "Pousette-DartJ' Art
548. CAMPBELL, LAWRENCE. "Pousette- News, vol. 52, no. 2, April, 1953, p.
Dart: Circles and Cycles" Art News, 38.
vol. 62, no. 3, May 1963, p. 42-45, 56- 563. GAGE, OTIS. "Four Artists as Jewel-
57, illus. ers" Craft Horizons, vol. 15, no. 3,
549. GORDON, JOHN. Richard Pousette- May-June 1955, p. 14-17 illus.
 Ad Reinhardt (»9i3-

230 564. ADLOw, DOROTHY. "Pousette-DartJ' By Reinhardt (chronologically) cember 1954, p. 24-27 illus. (On ex-
Christian Science Monitor, March 573. "How to Look" [a series of cartoons hibition of Chinese painting at
28, 1958, ill.
on art and the art world] PM, 1946- ,
Cleveland Museum; excerpt re-
565. PORTER, F.-iiRFiELD. "Pousette-DartJ' 48. (Several reprinted in bibl. 608.) printed in bibls. 633, 638.)
Art News, vol. 57, no. 2, April 1958, 574. [Statement] in Ad Reinhardt, Betty 584. "A Portend of the Artist as a Yhimg
P- 13- Parsons Gallery, New York, October Mandala" [cartoon]. Art News, vol.
566. ADLOW, DOROTHY. "Pousette-Dart^' i8-November 6, 1948, p. 1. 55, no. 3, May 1956, p. 36-37-
Christian Science Monitor, January
575. "Incidental Note" in Ad Reinhardt, 585. "The Art-Politics Syndrome: A
i3i 1959, P- 8 illus. Betty Parsons Gallery, New York, Project In Integration" Art News,
567. SCHUYLER, JAMES. "Pousette- DartJ' October 31-November 19, 1949, p. 4. vol. 55, no. 7, November 1956, p. 34-
Art News, vol. 58, no. 4, May 1959, 576. "Museum Landscape"; "Museum 35. (Selection of newspaper political
p. 15 ill.
Racing Form"; "Art of Life of Art" cartoons with art subject matter,
568. TiLLiM, SIDNEY. "Pousette-DartJ' trans/formation, vol. no. 30- "collated" by Reinhardt.)
1, 1, p.
Arts, vol. 33, no. 8, May 1959, p. 55 31; no. 2, p. 88-89; no. 3, 148-149, 586. [Statement on the exhibition; se-
ill.
1950, 1951, 1952. (Cartoons.) lected by Reinhardt], Eleven Young
569. R.4YN0R, VIVIEN. "Pousette-DartJ' "A Statement" and "Introduction to Painters, Mills College of Education
577.
Arts, vol. 35, no. 7, April 1961, p. 53 Modern Artists
the Illustrations^' in Gallery, New York, April 2-30, 1957.
ill.
in America, Wittenbom Schultz, 587. "Tlvelve Rules for a New Academy"
570. KRAMER, HILTON. "ArtJ' Nation, vol. New York, 1951, p. 6-7 (with Moth- Art News, vol. 56, no. 3, May 1957,
196, no. 20, May 18, 1963, p. 429. erwell and Bernard Karpel), p. 40 P- 37-38, 56. (Reprinted in bibl. 633;
571. ADLOW, DOROTHY. "Pousette-Dart" (with Motherwell). excerpts in bibl. 641.)
Christian Science Monitor, July ig, 578. "Our Favorites" [cartoon]. Art g88. "2g Lines of Words on Art" // Is,
1963, ill. News, vol. gi, no. 1, March 1952, p. no. 1, Spring 1958, p. 42; also "44
572. EDGAR, NATALIE. "Pousette-DartJ' Art 28-29. Titles for Articles for Artists Under
News, vol. 63, no. 8, December 1964, g79. [Statement], Contemporary Ameri- 45;' p. 22-23.
p. 15 ill-
can Painting, University of Illinois, 589. "Is Today's Artist With or Against
Urbana, I9g2, p. 226. the Past?" Art News, vol. 57, no. 4,
580. "Artist in Search of an Academy" Summer 1958, p. 26-28, 56-58. (Con-
College Art Journal, vol. 12, no. 3,
tribution to an inquiry.)
Spring i9g3, p. 249-2gi (excerpt 590. [Letter to the editor]. Art News,
from a panel discussion on "The Ed- January 1959, p. 6.
vol. 57, no. 9,
ucation of the Artist in Colleges!' at 591. [Letter to the editor]. Art News,
the annual C.A.A. meeting, Cleve- vol. 58, no. 2, April 1959, p. 6.
land, January 31, I9g3) "Part II: ; 592. "Discussion: Is There a New Acad-
Who Are the Artists?" vol. 13, no. 4, emy?" Art News, vol. 58, no. 4, June
Summer 1954, p. 314-315 (from Au- 1959, P- 34- (Contribution to a sym-
gust 1953 symposium, Woodstock, posium.)
New York); "Reply to Ad Rein- 593. "Seven Quotes" It Is, no. 4, Autiunn
hardt" by Sibyl Moholy-Nagy, vol. 1959, p. 25.
14, no. 1, 1954, p. 60-61. 594. "Timeless in Asia" Art News, vol.
581. [Letter to the editor], Art News, 58, no. 9, January i960, p. 32-35
vol. 53, no. 1, March I9g4, p. 6. illus., reprinted in bibls. 633, 638.
g82. "Foundingfathersfollyday" [car- 595. [Letter to the editor]. Art News,
toon], /IrZ News, vol. g3, no. 2, April vol. 60, no. 2, April 1961, p. 6.

1954, p. 24-25. 596. "How to Look at Modem Art in

583. "Cycles Through the Chinese Land- America" Art News, vol. 60, no. 4,
scape" Art News, vol. 53, no. 8, De- Summer 1961, p. 36-37. (Tvvo car-
 toons; 1946 version reprinted from tor" Art in America, vol. 51, no. 5, 618. PEC. "Painted Patterns;' Art Di- 231
PM.) October 1963, p. 143. gest, vol. 23, no. 3, November 1,

597. "Angkor and ArtJ' in Khmer Sculp- 604a. COLT, PRisciLLA. "Notes On Ad Rein- 1948, p. 19.
ture,Asia House Gallery, New York, hardtl'Art International, vol. 8, no. 619. HESS. THOMAS B. "Reinhardt;' Art
1961, p. 5-10. (Reprinted in Art 8, October 1964, p. 32-34. News, vol. 48, no. 7, November i949>
News, vol. 60, no. 8, December 1961, 605. HESS, THOMAS B. "The 'Phony Crisis p. 50.

p. 43-45. 66-67 illus.) in American ArtJ" Art News, vol. 620. REED, JUDITH KAYE. "Without Sub-
598. [Three Statements, 1955-61], Pax, 62, no. 4, Summer 1963, p. 24-28, 59- Art Digest, vol. 24, no. 3, No-
jects;'

no. 18, 1962 (broadside; reprinted in 60 ill. (Includes statement by the vember 1, 1949, p. 26.
bibls. 601, 641.) artist.) 621. KRASNE, BELLE. "Reinhardt;' Art Di-
599. "Who is Responsible for Ugliness?!' 606. HESS, THOMAS B. "Reinhardt: The gest, vol. 25, no. 17, June 1, 1951, p.
American Institute of Architects Position and Perils of Purity" Art 19-
Journal, vol. 47, no. 6, June 1962, p. News, vol. 52, no. 8, December 1953, 622. GOODNOUGH, ROBERT. "Reinhardt!'
60-61. (contribution to the "First p. 26-27, 59 ill. Art News, vol. 50, no. 4, Summer
Conference on Aesthetic Responsi- 607. JAMES, MARTIN. "Today's Artists; 1951, P- 47-
bility" Plaza Hotel, New York, Reinhardt^' Portfolio and Art News 623. FiTZSiMMONs, JAMES. "Reinhardt;'
April 3, 1962; reprinted as "^Vhat is Annual, no. 3, i960, p. 48-63, 140- Art Digest, vol. 26, no. 8, January
'Ugly'?" in The Village Voice, April 146 illus. 15, 1952, p. 20.
19, 1962, and in ICA Bulletin (Lon- 608. "Reinhardt;' Arts and Architecture, 624. PORTER, FAIRFIELD. "Reinhardt;' Art
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1964, p. 14-15) 27 illus. (Statement, p. 20; brief 1952, p. 41.
600. "Art-as-Art" Art International, vol. anonymous text, p. 21; p. 22-27, car- 625. ARNASON, H. H. The Classic Tradition
6, no. 10, December 1962, p. 36-37. toons reprinted from PM.) in Contemporary Art, Walker Art
(See bibl. 602 for Part H; excerpts, 609. TiLLiM, SIDNEY. "What Happened to Center, Minneapolis, April 24- June
bibl. 641.) Geometry?" Arts, vol. 33, no. 9, 28, 1953, p. 5-9, 55 P- cat. illus.
601. "Autocritique de Reinhardt" Iris- June 1959, p. 38-44 illus. 626. s.AWiN, MARTiCA. "Reinhardt;' Art
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7, June 10, 1963, p. 1, 3. (On occa- 1953, p. 21.

Exhibition Catalogues and Reviews
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10-July 10; statement in facsimile; (chronologically) vol. 29, no. 10, February 15, 1955, p.
also reprint of bibl. 598.) 610. RILEY, MAUDE. "Reinhardt" Art Di- 25-26.
602. "The Next Revolution in Art: art- gest, vol. 18, no. 10, February 15, 628. CAMPBELL, LAWRENCE. "Reinhardt;'
as-art dogma Part II" Art Interna- 1944, p. 20. Art News, vol, 54, no, 1, March
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57-58; also published in Art News, February 15, 1944, p. 23. 629. POLLET, ELIZABETH, "Reinhardt;'
vol. 62, no. 10, February 1964, p. 612. "Reinhardt;' Art News, vol. 45, no. Arts, vol, 31, no, 3, December 1956,
48-49. (Part I, bibl. 600.) 9, November 1946, p. 45. P-54-
613. LANSFORD, ALONZo. "Variations on 630. CAMPBELL, LAWRENCE. "Reinhardt;'
See also bibls. 605, 608, 735,738, 740,
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742, 747, 748, 749, 750, 769, 984-)
November 1, 1946, p. 21. 1959, p. 10 ill.
614. REED, JUDITH KAYE. "Abstracts by 631. TILLIM, SIDNEY. "Reinhardt;' Arts,
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(alphabetically) 5, December 1, 1947, p. 22-23, 632. CHEVALIER, DENYS, "Reinhardt;' Au-
603. "Ad Absurdam" Time, January 11, 615. "Ad Reinhardt;' Art News, vol. 46, jourd'hui, no. 28, September i960, p.
1963, p. 68. no. 10, December 1947, p. 60. 45-
604. BARH, ALFRED H., JR., AND SOBY, 617. "Reinhardt;* Art News, vol. 47, no. 633. Ad Reinhardt: Twenty Five Years of
JAMES THRALL. "Letter to the edi- 6, October 1948, p. 47. Abstract Painting, Betty Parsons
 Mark Rothko (1903- )

232 Gallery, New York, October 17-No- Supplement to bibliography in bibl. 665. 654. BUTOR, MICHEL. "Les Mosquees de
vember 5, i960, 17 p. illus. plus pos- New-York ou I'art de Mark Rothko"
ter. (Reprints bibls. 583, 587, 594.) B5' Rothko (chronologically) Revue-Critique Editions de Minuit,
634. CAMPBELL, LA'WKENCE. "Remhardt;' 645. [Letter to the editor]. New York no. 173, [1961], p. 843-860. (In-
Art News, vol. 59, no.6, October Times, June 13, 1943, sec. 2, p. 9. cludes review of bibl. 665.)
i960, p. 12. (With Adolph Gottlieb and Bamett 635. "A Certain Spell" Time, March 3,

635. ASHTON, DORE. "Art" Aris and Ar- Newman; excerpts bibls. 765, 834.) 1961, p. 72-73, 75 illus.
chitecture, vol. 77, no. 12, December 646. "The Portrait and the Modem Art- DENNisoN, GEORGE. "The Painting
636.
i960, p. 4-5 ill. istj'mimeographed script of broad- ofMark Rothko" unpublished type-
636. SANDLER, IRVING H. "New York Let- cast by Rothko and Gottlieb on "Art
script at Betty Parsons Gallery,
ter" Art International, vol. 4, no. 9, inNew York^' H. Sti.x, director,
New York, n.d., 5 p.
December i960, p. 24-25, ill. WNYC, New York, October 13,
SIDNEY.
"
'Moodily Dare':
637. GEiST,
637. TiLLiM, SIDNEY. "MoDth in Review" 1943, 4 P-
IFP a critique of Criticism: Mark
Arts, vol. 35, no. 3, December i960, 647. [Statement in] "Ides of Art" Tiger's
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47 ill.
p. Eye, vol. 1, no. 2, December 1947,
1961, p. 1-3. (Criticism of bibl. 66g.)
638. REINHARDT. LO SAVIO, VERHEYEN, p. 44. (Reprinted bibl. 741.)

"The Romantics Were Prompted^ 658. GOLDWATER, ROBERT. "Reflections on

Stadtisches Museum, Leverkusen, 648.
Possibilities, vol. 1, no. 1, Winter
the Rothko Exhibit" Arts, vol. 35,
January 27-March ig, 1961, p. 3-12.
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bibl. 754.) (Reprinted bibl. 643.)
594-)
639. FRiGERio, siMONE. "Leverkusen" Ad- 649. [Statement], Tiger's Eye, yo\. 1, no. 639. GoossEN, EUGENE c. "Rothko: The
jourd'hui, no. 30, February 1961, p. 9, October 1949, p. 114. (Reprinted Omnibus Image" Art News, vol. 39,
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bibls. 741, 743.) no. 9, January 1961, p. 38-40, 60-61

640. LANGSNER, JULES. "Los Angeles Let- 630. [Statement delivered from the floor illus.

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at symposium on "How to Combine 660. KOZLOFF, MAX. "Mark Rothko's New
April 1962, p. 63 ill. Architecture, Painting and Sculp- Retrospective" Art Journal, vol. 20,
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196}, Museum of Modem Art, New teriors, vol. 110, no. 10, May 1951, 661. MORiTZ, CH.^HLES, ed. "Rothko" Cur-
York, 1963, p. 80-86, 110 illus. (Re- p. 104 illus.
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print bibl. 598 and excerpts from 651. ASHTON, DOBE. "Art: Lecture by
H. W' Wilson, 1961, p. 397-99 ill.
bibls. 587, 600.) Rothko" New York Times, October
(Includes statements by the artist.)
642. [reinhardt]. Art International, 31, 1958. (Includes quotations from
662. OERi, GEORGiNE. "Mark Rothko"
vol. 7, no. 6, June 25, 1963, p. 71, 73- the lecture, at Pratt Institute.)
Quadrum, no. 10, 1961, p. 63-74 il-
74 and cover. 652. ASHTON, DORE. "Letter from New
lus.
643. rose, BARBARA. "Americans 63" Art York" Cimaise. ser. 6, no. 2, Decem-
ber 1958, p. 38-39. (Further quota- 663. "A Portfolio of Recent Paintings"
International, vol. 7, no. 7, Septem-
Arts Yearbook, no. 7, 1964, p. 75 ill.
ber 25, 1963, p. 77-79 ill. tions from Pratt lecture; see also
bibl. 6ig.) 664. "Rotliko Murals for Harvard" Art
644. LANGSNER, JULES. "Art News from
Journal, vol. 22, no. 4, Summer
Los Angeles" Art News, vol. 62, no. See also bibls.
661, 735, 737, 738,
1963, p. 234,
9, January 1964, p. go. 750, 751, 754, 984, 1027.
663. SELZ, PETER. Mark Rothko, Museum
See also bibl. 963.
of Modem New
York, 1961, p.
Art,
Articles on Rothko
9-14 plus plates; bibliography p. 40-
(alphabetically) 42. (Reviewed bibls. 654, 637.)

633. ALLOWAY, LAWRENCE. "NoteS On 666. SELZ, PETER. "Mark Rothko" L'Oeil,

Rothio" Art International, vol. 6, no. 76, April 1961, p. 36-43, 82 illus.

no. g-6, Summer 1962, p. 90-94 illus. (Excerpt from bibl. 663.)
Exhibition Catalogues and Reviews ter: Rothko" Art International, vol. 689. FRIED, MICHAEL. "Visitors From 233

(chronologically) 5, no. 2, March 161, p. 40-41 illus. America" Arts, vol. 36, no. 3, De-
681. PICARD, LiL. "Rothko" Kunstwerk, cember 1961, p. 38-39 ill.
667. LOWE, JEANNETTE. "Three Mod- vol. 14, no. 10-11, April-May 690. REiCHARDT, JASIA. "Londres" Au-
1961,
ems: Rotliko, Gromaire and Sol- 39-40 plus 5 plates. jourd'hui, no. 34, December 1961,
p.
man" Art News, vol. 38, no. 16, 682. Arte e Contemplazione, Palazzo p. 64-65 ill.

January 20, 1940, p. 12. Grassi, Centro delle arti e del cos- 691. ASHBERY, JOHN. "Paris Notes" Art
668. Mark Rothko, Art of This Century tume, Venice, July-October 1961, International, vol. 7, no. 2, Febru-
Gallery, New York, January g-Feb- plates 31-33 plus biography. ary 1963, p. 72-73 illus.
ruary 4, 1945, anonymous text, p. 3 683. CAMPBELL, LAWRENCE. "Paintings 692. DIENST, ROLF-GUNTER. "Pariser
ill. from WPA" Art News, vol. 60, no. Kunstwinter" Kunstwerk, vol. 16,
669. PRESTON, STUART. "Mark Rothko" 5, September 1961, p. 14, ill. no. 8, February 1963, p. 23.
New York Times, April 8, 1951. 684. PRiGERio, siMONE. "Art et contem- 693. WATT, ALEXANDER. "Paris Commen-
670. REYNOLDS, NANCY. "Rothko Paint- plation au Palais Grassi, Venise" tary" Studio, vol. 165, no. 839,
ings at RISD" Pembroke Record, Aujourd'hui, no. 33, October 1961, March 1963, p. 120-122 ill.

vol. 35, no. 26, February 8, 1955, p. p. 35-37 ill. 694. FRIED, MICHAEL. "New York Letter"
1. 68g. Mark Rothko, Whitechapel Art Gal- Art International, vol. 7, no. 5, May
671. MELVILLE, ROBERT. "Exhibitions" lery, London, October 11 -November 25, 1963, p. 70-72 ill.

Architectural Review, vol. 122, no. 8, 1961; exhibition circulated in Eu- 693. JUDD, DON. "Mark Rothko" Arts,

729, October 1957, p. 270 ill. rope by Museum of Modern Art, vol. 37, no. 10, September 1963, p.

672. LONNGREN, LILLIAN. "Abstract Ex- New London showing re-

York; 57-58 m.
pression in the American Scene" viewed by: John Russell, The Sun- 696. Mark Rothko, Marlborough Fine
Art International, vol. 2, no. 1, 1958, day Times, October ig; Keith Sut- Art Ltd., London, February-March
ton, The Listener, October 19; 1964, 34 p. Ulus.; bibliography,
P- 54-56.
673. GoossEN, EUGENE c. "The End of the David Sylvester, New Statesman, chronology.
October 20; Alan Bowness, The Ob- 697. ROBERT, KEITH. "London" Burling-
Winter in New YorkJ' Art Interna-
server, October 15; Pierre Jeanneret, ton Magazine, vol. 106, no. 733,
tional, vol. 2, no. 2-3, 1958, p. 37.
Tlie Daily Mail, October 11; Har- April 1964, p. 194.
674. ASHTON, DORE, "New York" Cimaise, J.

rison, The Times, October 13; Eric 698. RYKWERT, JOSEPH. "Mostre a Lon-
ser. 5, no. 4, March-April 1958, p.
Newton, Manchester Guardian, Oc- dra" Domus, no. 413, April 1964, p.
30-31 illus.
tober 14; Peter Stone, Jewish Chron- 47-
675. GENAUER, EMILY. "They're All Busy
October 20; Jasper Rose, Time
icle, 699. WHiTTET, G. s. "London Commen-
Drawing Blanks" New York Herald tary" Studio, vol. 167, no. 853, May
and Tide October 26; Evening
Tribune, January 22, 1961, p. 21 ill.
Standard, October 1 1 The Scotsman
; 1964, p. 216.
676. GETLEiN, FRANK. "The Ordeal of
(Edinburgh), October 16; York- See also
Mark Rothko" New Republic, Feb- bibls. 777, 783, 827, 845,
shire Post (Leeds), October 17.
ruary 6, 1961, p. 28, 30. 932, 955, 970.
686. HARRISON, JANE. "Rothko" Arts Re-
677. PORTER, FAIRFIELD. "ArtJ' Nation,
view, vol. 13, no. 20, October 21-
vol. 192, no. 8, February 25, 1961, p. November 4, 1961, p. 2, 18.
176. 687. BROOKNER, ANITA. "London" Bur-
678. HESs, THOMAS B. "Rothko" Art lington Magazine, vol. 103, no. 704,
News, vol. 60, no. 1, March 1961, November 1961, p. 477.
p. 16. 688. Mark Rothko, Stedelijk Museum,
679. PRESTON, STUART. "New YorkJ' Bur- Amsterdam, November 24-Decem-
lington Magazine, vol. 103, no. 696, ber 27, 1961; 20 p. cat. with re-
March 1961, p. 116. printed texts by Goldwater {bibl.
680. SANDLER, IRVING H. "New York Let- 658), Selz {bibl. 665) and VUla.
 ClyfiFord StiU (1904- )

234 By Still (chronologically) vol. 74, no. 19, November 9, 1959, News, vol. 49, no. 4, Summer 1950,

700. [Statement] Betty Parsons Gallery, p. 80-82 ill.

P- 49-

New York, 1950. (Typescript.) 711. KOSLOFP, MAX. "Art: Clyfford Still" 723. LORAN, ERLE. "Art News from San
Nation, vol. 198, no. 2, January 6, Francisco Clyfford Still" Art
701. [Letter to Gordon Smith], in Paint- . . .

ings by Clyfford Still, The Buffalo 1964, p. 39-40. News, vol. 49, no. 6, October 1950,
Fine Arts Academy and Albright 712. SAWYER, KENNETH B. "U. S. Paint- P- 58-59.

Art Gallery, Buffalo, November 5- ers Today: No. 1: Clyfford Still" 724. piTZSiMMONS, JAMES. "Clyfford

December 13, 1959, p. 6-8; biogra- Portfolio and Art News Annual, no. Still" Art Digest, vol. 25, no. 9, Feb-

phy p. 9-10 plus 40 plates. 2, i960, p. 74-87 illus. ruary 1, 1951, p. 17-18.
702. "Comments" Gallery Notes, Al- 713. SHARPLESs, Ti-GRACE. Clyfjord Still, 725. "The Aloof Abstractionist" Time,

bright Art Gallery, vol. 23, no. 2,

Institute of Contemporary Art, vol. 82, no. 22, November 29, 1963,

Summer i960, p. 12-13 ill. (Re- University of Pennsylvania, Phila- p. 76-77 Ulus.

printed from Gallery Notes, No- delphia, October i8-November 29,

See also bibls. 777, 833, 843, 932,
vember 1959.) 1963, p. 5-10 plus 26 plates. (State-
970-
"An Interview with Clyfford Still"
ments by the artist, p. 9-10.)
703.
by Benjamin 714. SHARPLESS, TI-GRACE. "Freedom . . .

J. Townsend, Gallery
Absolute and Infinitely Exhilarat-
Notes, Albright-Knox Art Gallery,
ing" Art News, vol. 62, no. 7, No-
vol. 24, no. 2, Summer 1961, p. 8-16
illus. (Revised and enlarged version
vember 1963, p. 36-39, 60 illus., cov-
er. (Excerpts from bibl. 713.)
of article originally printed in Au-
dit,Winter-Spring 1961.)
704. "An Open Letter to an Art Critic" Exhibition Catalogues and Reviews
Artforum, vol. 2, no. 6, December (chronologically)
1963, p. 32 plus 3 plates.
(See also bibls. 701-713)
705. [Letter to the editor], Artforum,
vol. 2, no. 8, February 1964, p. 2. 715. Contemporary Art of the United
States, International Business Ma-
See also bibls. 714, 741.
chines Corporation, San Francisco,
1940, unpaged. (Portrait, biography,
Articles on Still brief anonymous text, ill.)
(alphabetically) 716. "Still" Art News, vol. 44, no. 20,
February 1946, p. 92.
706. ASHTON, DORE. "Clyfford Still" New
717. REED, JUDITH KAYE. "Extending a
York Times, November 16, 1959, sec.
Myth" Art Digest, vol. 20, no. 11,
2, p. 19-
CREHAN, HUBERT. "Clyfford Still:
March 1, 1946, p. 17.
707.
718. LANSFORD, ALONzo. "StiU's Legerde-
Black Angel in Buffalo" Art News,
vol. 58, no. 9, December main" Art Digest, vol. 21, no. 14,
1959, p. 32,
58-60 illus.
April 15, 1947, p. 22.

708. "Entering Public Domain —Chi- 719. "Still" Art News, vol. 46, no. 3, May
cago: Epic in BlackJ' Art News, vol. 1947, p. 50.

62, no. 10, February 1964, p. 35 ill. 720. "Still" Magazine of Art, vol. 41, no.

709. GOOSSEN, EUGENE c. "Painting as 3, March 1948, p. 96 illus.

Confrontation: Clyfford Stilly Art 721. KJiASNE, BELLE. "Still's Non-Objec-
International, vol. 4, no. 1, i960, p. tive Cartography" Art Digest, vol.

39-43 illus. 24, no. 15, May 1, 1950, p. 22, 33.

710. "The Image and the Void" Time, 722. GOODNOUGH, ROBERT. "Stilly Art
Bradley Walker Tomlin (1899-1953) A. Artists

2. Grouped Statements
(symposia, collections, etc.)
(chronologically)

Supplement to bibliography in bibl. 732. See also individual bibliographies and Schtdtz, 1951, 200 p. illus. (Most 235
bibls. 794, 80 1, 804, 984. important document of the period,
By Tomlin (chronologically) 735. JANis, SIDNEY. Abstract and Surreal- originally planned as an annual edi-
726. [Foreword], Frank London, Wood- istArt in America, New York, Rey- tion. Includes Museum Acquisitions,
stock Art Association Gallery, Wood- nal and Hitchcock, 1944. (Plate cap- "Art in the World of Events: A Cal-
stock, New York, 1948, p. 2-3. tions consist of artists' statements, endar of Excerpts"; reprint of bibl.
727. [Foreword], Judson Smith Retro- including Baziotes, Gorky, Gottlieb, 865; bibliography, essay and index
spective Exhibition, Woodstock Art Hofmann, Motherwell, Pollock, by Bernard Karpel, statements by
Association Gallery, Woodstock, Reinhardt, Rothko.) the editors; and "Artists' Sessions at
736. Possibilities, vol. 1, Winter
no. Studio 35" edited by R. Goodnough,
New York, 1952, p. 2-3.
1,

1947-1948, 112 p. (Only issue

illus. symposia held April 21-23, 1950 by,
728. [Letter to the editor]. Art News,
published; edited by Motherwell, among others, Raziotes, De Koon-
vol. 52, no. 3, May 1963, p. 6.
Harold Rosenberg, Pierre Chareau ing, Gottlieb, Hofmarm, Mother-

See also bibl. 740, 742, 745, 984. and John Cage; includes writings by well, Newman, Pousette-Dart, Rein-
Motherwell, Baziotes, Pollock, Roth- hardt, Tomlin.)
ko and David Smith.) 741. MILLER, DOROTHY c, ed. Fifteen
Articles, Exhibition Catalogues Personal State- Americans, Museum of Modem Art,
737. PORTER, DAVID, ed.
cind Reviews on Tomlin ment: Painting Prophecy 1930, New York, 1952. (Includes state-
(alphabetically) Washington, D.C., David Porter Gal- ments by Baziotes from bibl. 1,
lery, 1950. (Statements in pamphlet Rothko from bibls. 647, 649; Still on
729. ARNASON, H. H. The Clossic Tradi-
written by the artists in 1945; Bazi- Pollock from bibl. 486, and Tomlin.)
tion in Contemporary Art, Walker
otes, Gottlieb, Motherwell, Pollock 742. The New Decade: 35 American
Art Center, Minneapolis, April 24-
from bibl. 396, Rothko.) Painters and Sculptors, Whitney
June 28, 1953, p. 5-9, 55 P- cat. illus.
738. [Open letter to Roland L. Redmond, Museum of American Art, New
730. ASHBERY, JOHN. "Tomlin: The
President of the Metropolitan Mu- York, 1955. (Includes statements by
Pleasures of Color^' Art News, vol.
seum Ameri-
of Art, concerning the Baziotes, De Kooning from bibl. 44,
56, no. 6, October 1957, p. 28-29, 54
can painting exhibition there]. Art Gottlieb, Kline, Motherwell, Pou-
illus.
News, vol. 49, no.4, Summer 1950, sette-Dart, Reinhardt, Tomlin.)
731. AS-aroN,DOKE.."Ari,' Arts and Arch- CELENTANo, FRANCIS. The Origins
p. 15. (Mimeographed original dated 743.
itecture, vol. 74, no. 12, December May 20, 1950; signed by the so- and Development of Abstract Ex-
1957, P- 32-33 ill.
called "IrasciblesJ' including Bazi- pressionism in the United States, im-
732. BAUR, JOHN I. H. Bradley Walker otes, De Kooning, Gottlieb, Hof- published Master's Thesis, New
Tomlin, Whitney Museum of Amer- mann, Motherwell, NevsTnan, Pol- Y'brk University, 1957. (Includes
ican Art, New York, 1957, p. 15-39 lock, Pousette-Dart, Reinhardt, statements drawn from question-
plus plates p. 40-55. (Selected bibli- Rothko, Still, Tomlin; covered in naires sent to the artists.)
ography p. 60-61; texts by Philip Time, June 5, 1950; Life, January 744. BAUR, JOHN I. H. Nature in Abstrac-

Guston, p. 9; Robert Motherwell, p. 15, 1951) tion, Whitney Museum of American

11-12; Duncan Phillips, p. 12; E S. 739. What Abstract Art Means to Me, Art, New York, 1958. (Text primar-

Wight, p. 13.) Museum of Modern Art Bulletin, ily on Abstract Expressionism and
LANE, JR. "ArtJ' Nation, vol. 18, no. 3,Spring 1951, 15 p. based on statements by the artists
733. FAisoN, s.

May illus. (Statements by six American taken from answers to question-

vol. 174, 10, 1952, p. 458; and
artists, including De Kooning, Moth- naires; includes Baziotes, Gottlieb,
vol. 176, April 18, 1953, p. 334.
erwell; symposium held February 5, Guston, Hofmann.)
734. SAWiN, MARTiCA. "Bradley Walker
1951 at theMuseum.) 745. BARR, ALFRED H., JR., ed. The New
Tomlin" Arts, vol. 32, no. 2, Novem-
740. MOTHERWELL, ROBERT AND REIN- American Painting, Museum of
ber 1957, p. 22-25 illus.
HARDT, AD, eds. Modern Artists in Modem Art, New York, 1959. (In-

See also bibls. 741, 877, 897. America, New York, Wittenbom, cludes biographies and reprinted
 B, Critics
1.Writing on the New York
School (chronologically;
see also bibls. 735-754.)

236 statements on or by: Baziotes from others, De Kooning, Guston, Kline, 755. TYLER, PARKER. "Nature and Mad-
bibl. 1, Gorky, bibl. 42, 105, Gott- Motherwell, Rothko, Rosenberg, ness Among the Younger Painters,"
lieb, bibl. 744, Guston, bibl. 186a, Schapiro.) View, ser. 5, no. 2, May 1945, p.
Kline, bibl. 261, De Kooning, bibl. 752. [Letter to the editor protesting the 30-31. (On Gorky and Pollock.)
44, Motherwell, bibl. 330, Newman, criticism of New York Times art 756. GREENBERG, CLEMENT. "The Present
Pollock, bibl. 397, 486, Rothko, bibl. critic,John Canaday], New York Prospects of American Painting and
649, Still, bibl. 741, Tomlin, bibl. Times, February 26, 1961, sec. 2. Sculpture," Horizon (London), no.
187; "Introduction" by A. H. Barr; (Signed by, among others, De Koon- 93-94, October 1947, p. 20-30.
selected critiques of the exhibition ing, Gottlieb, Hofmann, Mother- 757. ROSENBERG, HAROLD. "Introduction
asshown in Europe. For catalogues well, Newman, T B. Hess, S. Hun- to Six American Artists," Possibili-
and reviews of the European show- ter, H. Rosenberg, I. Sandler, K. ties, 1, Winter 1947-48, p. 75.
no.
ing, see bibl. 1009.) Sawyer, M. Schapiro; reprinted as (From the catalogue of an exhibi-
746. The Museum and Its Friends, Whit- an appendix in bibl. 897 with a se- tion at the Galerie Maeght, Paris,
ney Museum of American Art, New lection from the 52 letters of reply Spring 1947, which included Bazi-
York, March 5-April 12, 1959. printed in the Times, March 5, otes, Gottlieb and Motherwell.)
(Statements by De Kooning, Guston, March 12, 1961.) "Attached neither to a communi-
Kline.) 753. KUH, KATHERINE. The Artist's Voice: ty nor to one another, these painters
There a
747. "Discussion: Is New Acad- Talks With Seventeen Artists, New experience a unique loneliness . . .

emy?" Art News, vol. 58, no. 4,

York, Evanston, Harper and Row, From the four corners of their vast
Summer 1959, p. 34-35, 58-59; no- 6, 1962. (Includes extensive interviews land they have come to plunge
September 1959, p. 36-37, 58-60. with Hofmann and Kline.) themselves into the anonymity of
(Contributions by Reinhardt and 754. PROTTER, ERIC, ed. Painters on Paint- New York Estrangement from
. . .

other Abstract Expressionist artists.) ing, New York, Grosset and Dunlap, American objects here reaches the
748. "Panel: All-over Painting" It Is, no. Universal Library, 1963. (Includes level of pathos. It accounts for cer-
2, Autumn 1958, p. 72-77 ill. (Par- bibliography and reprints of state- tain harsh tonalities, spareness
ticipants: Martin James, Elaine de ments by Gorky from bibl. 94, Hof- of composition, aggressiveness of
Kooning, Ad Reinhardt.) mann, Kline from bibls. 742, 750, De statement.'
"The Philadelphia Panel" Kooning from bibls. 44, 750, Mother- SAMUEL Women: A
749. It Is, no. 758. KOOTZ, M., ed.
Spring i960, (Panel on well from bibl. 742, Pollock from Collaboration of Artists and Writ-
5, p. 34-38.
bibl. 397, Rothko from bibl. 648.)
"The Concept of the New" held at erj, New York, Kootz Editions, 1948.
the Philadelphia School of Art; ed- (Painter-poet combinations include:
ited by E G. Pavia and Irving Sand- Baziotes and Rosenberg, Gottlieb
ler; participants: Guston, Mother- and V. Wolfson, Hofmann and Ten-
well, Reinhardt, Rosenberg, with nessee Williams, Motherwell and
Jack Tworkov as moderator; reported Weldon Kees.)
in New York Times, April 3, 1964 by 759. GREENBERG, CLEMENT. "The Situ-
John Canaday.) ation at the Moment," Partisan Re-
750. KODMAN, SELTiKti . Conversations with view, vol. 15, no. 1, January 1948,
Artists, New York, Capricorn Books, p. 81-84.
1961. (Includes interviews with De 760. GREENBERG, CLEMENT. "A Sympo-
Kooning, Gottlieb, Kline, Pollock, sium:The State of American Art,"
Rothko, and an excerpt from Rein- Magazine of Art, vol. 42, no. 3,
hardt's bibl. 580.) March 1949, p. 92.
751. "In Support of the French Intellec- "There is, in my opinion, a defi-
tualsj' Partisan Review, vol. 28, no. 1, nitely American trend in contem-
January-February 1961, p. 144-145. porary art, one that promises to
(Group statement signed by, among become an original contribution to
 the mamstream . . . An expression- . . . Rather, in their work a new 102. (Reprinted as "Art Chronicle" 237
ist ingredient is usually present . . . interpretation of nature and of man in bibl. S^o.)
and cubist discipline is used as an is made. Paintings epitomize the 774. sEiTz, WILLIAM c. "Spirit, Time and
armatm"e upon which to body forth sensation of theartist, aware and Abstract Expressionism," Magazine
emotions whose extremes threaten at work; absorb and reflect it as of Art, vol. 46, no. 2, February 1953,
... to dissolve plastic structiu'e . .
." human inspiration; its mysteries p. 80-87 iUus.
761. GREENBERG, CLEMENT. "Art," The and grandeurs become the heroes." "Far from aiming at a program-
Nation, vol. 168, no. 24, June 11, 766. RITCHIE, ANDREW CARNDUFF. Ab- matic abstraction of dehumaniza-
1949, p. 669-670. (On the general stract Painting and Sculpture in tion, human content — interpreted
situation of advanced American America, New York, Museum of in terms of a reality that is felt,

painting.) Modern Art, 1951, 159 p. Ulus. (Re- rather than experienced visually or
762. SUTTON, DENYs. "The Challenge of viewed bibl. 981.) tactUely — is a central concern of
American Art," Horizon (London), 767. SORZANO, MARGO. " 1 7 Modern Amer- American art today . . . We have
vol. 20, no. 118, October 1949, p. ican Painters: A Recent Exhibition often failed to realize that the
268-284. at the Frank Perls Gallery," Arts painters' and sculptors' empathetic
763. BAKK, ALFRED H., JR. "7 Americans and Architecture, vol. 68, no. 1, identification with materials, tech-
Open Gorky, De Koon-
in Venice: January 1951, p. 26-28, 42 illus. nical processes and structure is a
ing, Pollock," Art News, vol. 49, 768. LANGSNER, JULES. "More About the symbolic function of the entire per-
no. 4, Summer 1950, p. 22-23, 60 School of New York," Arts and sonality."
illus. Architecture, vol. 68, no. 5, May 775. KRAMER, HILTON. "The New Amer-
764. TwoRKov, JACK. "The Wandering 1931, p. 20, 46. (See also Mother- ican Painting," Partisan Review,
Soutine," Art News, vol. 49, no. 7, well preface for this exhibition, vol. 20, no. 4, July-August 1953, p.
part 1, November 1950, p. 30-33, 62. bibl. 325.) 421-427.
"Viewed from the standpoint of 769. "La Peinture aux Etats-Unis," Art 776. GREENBERG, CLEMENT in "Symposi-
De Kooning
certain painters, like 2, no. 6, June
d'aujourd'hui, ser. inu: Is the French avant-garde
and perhaps Pollock certain . . .
1951, p. i-2g Ulus. (Special issue overrated?". Art Digest, vol. 27, no.
qualities of composition, certain at- on American art, includes article by 20, September 1953, p. 12-13, 27.
titudes toward paint . . . are ex- M. Seuphor, excerpts from bibl. Ti9, (Greenberg's contribution compares
pressed in Soutine in unpremedi- statement by Gottlieb, and a Rein- French and American abstract ex-
tated form .: the way his picttire
. . hardt cartoon.) pressionism.)
moves towards the edge of the can- 770. coATES, ROBERT M. "The Abstract 777. HAMILTON, GEORGE HEARD. "Object
vas in centrifugal waves his . . . Expressionists and Others," New and Image: Aspects of the Poetic
impulsive use of pigment as a ma- Yorker, vol. 27, no. 46, December Principle in Modem Art" in Ob-
terial .; the absence of any effac-
. .
29, 1951, P- 58-59. ject and Image in Modern Art and
ing of the tracks bearing the imprint 771. MATHiEU, GEORGES. Declaration to Poetry, Yale University Art Gal-
of energy passing over the surface." the American Avant-Garde Paint- lery, New Haven, 1954, p. 4-8. (35
765. HESS, THOMAS B. Abstract Painting: ers, April 1952, 3 p. mimeographed. p. cat., illus., includes poems by Cum-
Background and American Phase, (Concerning Parisian Tachisme mings, Maritain, Stevens, Pound,
New York, Viking Press, 1951, 162 and American Abstract Expression- Williams, Warren, Auden, Eliot,
p. illus. ("This was the first sub- ism.) Thomas and paintings by Gottlieb,
stantial book on abstract painting in 772. SCHAPIRO, METER. "Rebellion in Motherwell, Pollock, Rothko, Still.)
New York and in the eyes of the Art," in Daniel Aron, ed. America 778. WAGNER, GEOFFREY. "The New
artists easUy a prime mover of the in Crisis, New York, Alfred A. American Painting," Antioch Re-
fifties" P. G. Pavia, bibl. 826, p. 8.) Knopf, 1952, p. 203-242. view, vol. 14, no. 1, March 1954, p.
"... something new in art his- 773. GREENBERG, CLEMENT. "Feeling IS 3-13; vol. 14, no. 2, June, 1934,
tory . . . appears with these painters All," Partisan Review, vol. 19, no. "Art, Art Writing and Mr, Wag-
. . . not a program or a movement 1, January-February 1952, p. 97- ner," p. 249-255. (Letters on the
 ) )

238 Wagner article by C. Greenberg, H. sciousness, . . . irrespective of any maise, ser. 4, no. 2, November-De-
Rosenberg and reply by the author. representational significance . . . cember 1956, p. 7-31 illus. (In-
779. SAWYER, KENNETH B. "L'ExpreS- Such forms need not be figvu-ative cludes "La Peinture actuelle a New
sionisme Abstrait: La Phase du Pa- . . . the deeper we penetrate the York," by Dore Ashton; "Les Gal-
cifique," Cimaise, ser. 1, no. 7, June cloud of unknowing . . . the less eries de New York" by Kenneth

1954, p. 3-5 illus. likely are we to find the shapes Sawyer, and "Potentiel americain,"
780. FRIEDMAN, B. H. "Tile New Ba- and images of our waking world by Julien Alvard: texts in English
roque," Art Digest, vol. 28, no. 20, ... In the deeper layers of the un- and French.)
September 15, 1954, p. 12-13 illus. conscious thereis a formative prin- 794. PASLOFF, PATRICIA, ed. The 30's:
781. HUNTER, SAM. "Painting by An- ciple atwork, moulding some pri- Painting in New York, Poindexter
other Name," Art in America, vol. mordial material of the psyche into Gallery, New York, 1937, 11 p.
42, no. 4, December 1954, p. 291- icons rather than symbols.
. . .
." . plus plates. (Includes statements by
293 illus. (Reprinted in Art in 788. ALLOW AY, LAWRENCE. "Introduction participating artists, texts by Pa-
America, vol. 51, no. 4, August to 'Action'," Architectural Design, tricia Pasloff, Agnes Gorky Phil-
1963.) vol. 26, no. 1, January 1956, p. 30 lips, and Edvrin Denby on De
782. SEiTZ, WILLIAM c. Abstract-Expres- illus. (On the American exhibition, Kooning.
sionist Painting in America: An bibl. 995.) 793. KRAD, HERBERT. "A Seismographic
Interpretation Based on the Work "The problem is to establish an Art" in his The Tenth Muse, Lon-
and Thought of Six Key Figures, iconography that will stand up to don, Routledge and Kegan Paul,
unpublished Doctoral Dissertation, the %dolence of their technique, a 1957, p. 297-303 plus illus.
Princeton University, 1953, 495 p. tough image that can survive the 796. SCHAPIRO, MEYER. "The Liberating
typescript in Museum of Modern battering it gets in the act of paint- Quality of avant-garde art," Art
Art Library, New York; bibliog- ing By their equation of tech-
. . . News, vol. 56, no. 4, Summer 1957,
raphy p. 482-495. (Includes De nique and action, secondly by then- p. 36-42 illus.

Kooning, Gorky, Hofmann, Mother- foundation of an iconography capa- "Paintings and sculptures are the
well, Rothko). ble of repetition without, however, last handmade, personal objects
783. o'H.'iRA, FRANK. "Nature and the destroying the early freedom, within our culture . . The object
.

New Painting," Folder, no. 3, American painters have led the of art is, therefore, more passion-
i954"55- (Reprint by Tiber Press.) world." ately than ever before, the occasion
784. DE KOONING, ELAINE. "SubjeCt: 789. scH.vpiRO, MEYER. "The Younger of spontaneity . . . The conscious-
What, How or Who?", Art News, American Painters of Today," The ness of the spontaneous . . . stimu-
vol. 54, no. 2, April 1953, p. 26-29, Listener, January 26, 1936, p. 146- lates the artist to invent devices of
61-62 Ulus. 147. (Originally delivered as a talk handling, surfacing,
processing,
785. SWEENEY, j.\MES JOHNSON. "Recent on BBC on the occasion of the which confer utmost degree
to the
Trends in American Painting," American exhibition, bibl. 927.) the aspect of the freely made. Hence
Bennington College Alumnae Quar- 790. ASHTON, DORE. "L'Apport artistique the great importance of the mark,
terly, vol. 7, no. I, Fall 1955, p. des Etats-Unis," XXe siecle, no. 7, the stroke, the brush, the drip . . .

8-11. June 1936, p. 69-72 illus. and the surface of the canvas as a
786. GOLUB, LEON. "A Critique of Ab- 791. SAWYER, KENNETH. "The CentUTy texture and field of operation."
stract Expressionism," College Art Plant: A Dialogue on Current 797. GREENBERG, CLEMENT. "NeW York
Journal,vol. 14, no. 2, Winter, 1955, Painting," Hudson Review, vol. 9, Painting Only Yesterday," Art
p. 142-147. no. 3, Autumn 1936, p. 431-437. News, vol. 56, no. 4, Summer 1957,
787. READ, HERBERT. "An Art of Internal 792. MELVILLE, ROBERT. "Action Paint- p. 38-39, 84-86 illus. (Reprinted in
Necessity," Quadrum, no. i, 1936, ing: New York, Paris, London," bibl. 830.)

p. 7-22 Ulus. Ark, no. 18, November 1936, p. 798. JARRELL, RAND.\LL. "The Age of the
[This] type of artist is searching 30-33 illus. Chimpanzee: A Poet argues as
for forms behind the veil of con- 793- [Special issue on New York], Ci- Devil's Advocate Against the Can-
 onization of Abstract Expression- from the identification of an ab- "Jazz ou la peinture iavestie," p. 239
ism," Art News, vol. 56, no. 4, Sum- stract means, of the painting proc- 19-21.

mer 1957, p. 34-35 ill- ess itself, with passion, with dis- 807. ALLOWAY, LAW-RENCE. "Art in New
"One sees in Abstract-Expression- quiet, with problems of existence York Today," The Listener, vol. 60,
ism the terrible esthetic disadvan- and being the radical new paint-
. . .
no. 1543, October 23, 1958. p. 647-

tages of directness and consistency. ing has taught a whole generation 648 illus.

Perhaps painting can do without in America how to 'think' directly 808. FERREN, JOHN. "On lunocence in
the necessity of imitation; can it do in paint, and administered a valu- Abstract Painting," It Is, no. 2,

without the possibility of distor- able lesson of sensuality." Autumn 1958, p. 12.

tion?" 802. ASHTON, DORE. "La Signature Amer- 809. FERREN, JOHN. "Epitaph for an
799. ALLOWAY, LAWRENCE. "Background icaine," XXe siecle, no. 10, March Avant-Garde: The Motivating Ideas
to Action: A series of Six Articles 1958, p. 62-64, illus. (English orig- of the Abstract Experssionist Move-
on Post- War Painting, I: Ancestors inal p. 90.) ment as seen by an artist active on
and Revaluations," Art News and "The climate today is different the New York scene," Arts, vol. 33,
Review, vol. 9, no. 19, October 12, from the rebellious, fretful climate no. 2, November 1958, p. 24-26, 68.

An (Originally given as a lecture at

1957) P- ii 2; "II: The Marks," vol. of the early fifties. interioriza-

9, no. October 26, 1957, p. 1-2

20, tion process is taking place. The the University of Florida, Gaines-
ill.; "IV: The Shifted Centre," vol. identity of the artist is not ex- ville, 1958.)

9, no. December
23, 7, 1957, p. 1, pressed so much in his 'sign' but in "Around the club in the late for-
"VI; The Words," ties the word 'evaluation' was taboo.
2; vol. 9, no. 26, his manner of articulating paint
January 18, 1958, p 3-4. (Articles . .Symbolism has taken an ad-
.
We looked, and we liked it or did
III and V on Paris and Cobra.) vanced form in current painting not; we did not give it a value. We
"Whatever terms go into the his- . .the autographic lines which
.
took it as part of the search . . . We
tory books, here is a warning. Ac- faced the canvas wdth the Self, what-
weave into a painting are taken as
tion painting may be part of a gen- ever that was, and we painted . . .

parts adding up to a whole, and the

eral increase in painterliness, but The only control was that of truth,
whole becomes a symbol."
in pure form very much intuitively felt . . . painters boasted
its it is
803. RUBIN, wiLLL\M. "The New York
of their paintings as a tangible rec-
more than
is not just a
that.Remember: action
new word for painterly.
—
School Then and Now," Part I,
ord of a series of errors Ab- . . .

Art International, vol. 2, nos. 2-3,

It involves a new idea about art." stract Expressionism solves the di-
1958, p. 23-26 plus illus.; Part II, chotomy of reality and abstraction
800. GOODALL, DONALD B. Partial Bibli-
vol. 2, nos. 4-5, 1958, p. 19-22.
ography of American Abstract-Ex- by ignoring it. There is no longer
804. It Is, nos. 1-5, Spring 1958-Spring
pressive Painting, 194^-19^8, Uni- a belief in an objective reality out
(A magazine of abstract art
i960.
there and a pm-e arrangement of
De-
versity of Southern California
edited by sculptor P. G. Pavia and lines and colors right here; there
partment of Fine Arts, Spring 1958,
oriented to Abstract Expressionism; is instead the fact of a painted sur-
23 p., mimeographed.
includes numerous writings by the face where both these elements
801. HUNTER, SAM. "USA" in Art Since
"Tenth Street Artists.") meet with a third; the artist's
1945, New York, Harry N. Abrams,
805. RUDiKOFF, soNiA. "Space in Abstract emotion."
1958, 283-348 illus. (Includes
p.
Painting," Partisan Review, vol. 23, 810. JACOBS, RACHEL and HAGEN, YVONNE.
numerous quotations from the art-
no. 2, Spring 1958, p. 297-304. "L'Academie delinquante," Au-
ists.)

"The American
plastic vigor of 806. ROSENBLUM, ROBERT. "Unite et di- jourd'hui, no. 20, December 1958,

Abstract Expressionism stems from vergences de la peinture americaine: p. 36-38 illus.

a heightened consciousness of the la peinture americaine depuis la sec- 8ii. HODiN, J. p. "The Fallacy of Ac-
act of creation. It is an art of ori- onde guerre mondiale," Aujourd- tion Painting," Art News and Re-
and 'hui, no. i8, July 1958, p. 12-18 view, vol. 10, no. 24, December 20,
gins, young, intense, harsh,
new; its emotional force derives illus.; followed by Rachel Jacobs, 1958, p. 2-3, 10.
240 8 1 2. ALLOW AY, LAWRENCE. "The New of an whether violent or
art which, 824. GOLDWATER, ROBERT. "Reflections on
American Painting," Art Interna- serene, resigns from all the com- the New York School," Quadrum,
tional, vol. 3, nos. 3-4, 1959, p. 21-26 plexities of mind which Europe still no. 8, i960, p. 17-36, Ulus.
illus. regards as the sine qua non of ar- 825. ARNASON, H. H. "Abstract Expres-
813. ROSENBERG, H.'iROLD. "Tenth Street: tistic seriousness. It has thus brought sionism in i960" in 60 American
A geography of Modern Art," Art modern painting to an end." Painters i960: Abstract Expression-
News Annual, no. 28, 1959, p. 120- 820. GOLDWATER, ROBERT. "Everyone ist Painting of the Fifties, Walker
143, 184, 186, 188, 190, 192 illus. knew what everyone else meant," Art Center, Minneapolis, April 3-

814. ROSENBERG, HAROLD. The Tradition It Is, no. 14, Autumn 1959, p. 35. May 8, i960, p.
11-23; 79 P- cat.
of the New. New York, Horizon (On "The Club.") illus.; extensive bibl. p. 54-78.

Press, 1959. ("American Painting "The proceedings always had a "I was impressed by the sense of
Today," p. 13-83, includes: "Para- curious air of unreality. One had a control and structure that underlies
ble of American Painting," "The terrible time following what was so much of the most violent action
American Action Painters," "Ex- going on. The assumption was that painting. So much has been written
tremist Art," "Virtual Revolution," everyone knew what everyone else by critics and the artists themselves
"Everyman a Professional" and meant, but it was never put to the of action painting as an art of 'be-
"Revolution and the Concept of test . Communication was always
. . coming' . , . that the spectator tends
Beauty.") verbal. For artists, whose first (if to lose perspective . . . We forget
815. ROSEN, ISRAEL. "Toward a Defini- not final) concern with the visi- is the fact that all of these artists are
tion of Abstract Expressionism," ble and the tangible, this custom highly skilled in their craft ... so
Baltimore Museum of Art News, assumed the proportions of an enor- that their attempts at pure auto-
vol. 22, no. 3, February 1959, p. 3-13 mous hole at the center." matism, their pursuit of the irra-
illus. (Includes an anthology of 821. PORTER, PAiRPiELD. "Art," The Na- tional are controlled by the experi-
writings on Abstract Expressionism tion, vol. 189, no. 10, October 3, ence and the tradition of form which
by Hess, Barr, Hartigan, Ashton, 1959, P- 197-198. pervade their subconscious."
Rosenberg, Ferren). "As painting reveals, like hand- 826. PAViA, PHILIP G. "The Unwanted
816. ALLOW AT, LAWRENCE. "Paintings writing, the state of the artist's Title: Abstract Expressionism," It

From the Big Country," Art News soul, so a national school shows the Is, Spring i960, p. 8-11. (Con-
no. 5,
and Review, vol. 11, no. 4, March strength and weakness of the class cerning seven panel discussions at
14, 1959, p. 3, 6-11, 17 illus. that produces it The Impres-
. . . "The Club" in 1952 on the title
817. LANES, JERROLD. "Reflections on sionists taught us to look at nature "Abstract Expressionism.")
Post-Cubist Painting," Arts, vol. 33, very carefully; the Americans teach 827. MATHIEU, GEORGES. "Towards 3 New
no. 8, Mary 1959, p. 24-29 Ulus. us to look very carefully at the Convergence of Art, Thought and
(Primarily on NeviTnan and Moth- painting. Paint is as real as nature Science," Art International, vol. 4,
erwell.) and the means of a painting can no. 4, May i960, p. 26-47 iHus.
818. REXROTH, KENNETH. "Americans contain its ends . . . The non-intel- 828. READ, HERBERT and ARNASON, H. H.
Seen Abroad," Art News, vol. 58, lectuality of a self-sufficient art is "Dialogue on Modem U.S. Paint-
no. 4, June 1959, p. 30-33, 52, 54 quite different from the anti-intel- ing," Art News, vol. 59, no. 3, May
illus. lectuality of the Nazis or the Com- i960, p. 32-36 illus. (On the exhi-
."
819. KRAMER, HILTON."The End of munists . . bition at Walker Art Center, bihl.
Modem Painting," The Reporter, 822. ALLOWAY, LAWRENCE. "Sign and 525.)
vol. 21, no. 2, July 23, 1959, p. 41- Sm-face: Notes on Black and White 829. HESS, THOMAS B. "Editorial: The
42. Painting in New York," Quadrimi, Many Deaths of American Art,"
"This is the real meaning of the no. 9, i960, p. 49-62 illus. Art News, vol. 59, no. 6, October,
abstract expressionist movement in 823. ASHTON, DORE. "Perspective de la i960, p. 25.
New York: that it has promised a peinture Americaine," Cahiers d'art, 830. GREENBERG, CLEMENT. Art and Cul-
liberation from culture in the name vol. 33-35, i960, p. 203-221 illus. ture, Boston, Beacon Press, 1961.
 (Includes "American Type Paint- as a devolution from a Synthetic es besser?", Kunstwerk, vol. 16, no. 241
ing," p. 208-229, and other early- kind of abstract Cubism to an Ana- 9, March 1963, p. 2-9, 13 Ulus.
articles on abstract expressionism, lytical kind Whereas Analytical
. . . 844. KAVOLis, VYTANTAS. "Abstract Ex-
reviewed bibl. S31.) Cubism had arrived at the brink of pressionism and Puritanism," Jour-
831. GOLDWATER, ROBERT. "Art and Criti- outright abstraction by pursuing nal of Aesthetics and Art Criticism,
cism," Partisan Review, vol. 28, no. both art and nature. Abstract Ex- vol. 21, no. 3,Spring 1963, p. 315-
5-6, 1961, p. 688-690, 692-694. (Re- pressionism returned to the verge 19-
view of bibl. S}0.) of nature by pursuing apparently, 845. ALLOWAY, LAWRENCE. "The Ameri-
832. HF.T.i.ER, BEN. "The Roots of Ab- art alone . . . Like so much of the can SubUme," Living Arts, vol. 1,
stract Expressionism," Art in Amer- painterly art before it. Abstract Ex- no. 2, June 1963, p. 11-22 illus. (On
ica, vol. 49, no. 4, 1961, p.40-50 pressionism has worked ... to reduce Newman, Rothko and Still.)
illus. the role of colour; . . . New-
Still, "[In the American sublime]
833. ROSENBLUM, ROBERT. "The Abstract man and Rothko ttrrn away from there is no sense of occasion but . . .

Sublime," Art News, vol. 59, no. the painterliness of Abstract Ex- neither is there a sense of imper-
10, February, 1961, p. 38-41, 56-57 pressionism as though to save the sonality . . . The work of art ... is

illus. (On StUl, Rothko, Pollock and objects of painterliness —color and itself the product of an intense
Newman. openness — from painterliness it- moral act . . . the subject is non-
834. ASHTON, DORE. The Unknown Shore: self." verbal but deeply human. The art-

A View Contemporary Art, Bos-

of 837. HESs, THOMAS B. Of "Editorial: ist is not concerned with diversifi-
ton, Toronto Little, Brown and Co., Chimps and Chumps," Art News, cation or elaboration; his concern
1962, 265 p. Ulus. (primarily on vol. 61, no. 6, October 1962, p 23, is the monumentalizing of his own
New York painting). 54-
emotion Uniqueness is born
. . .

"It is significant that the aspect

838. ROSENBERG, HAROLD. "A Risk for the from monotony, drama from pri-
of surrealist imagery that most in- Intelligence," New Yorker, October vacy."
terested American painters was 846. KOZLOFF, MAX. "A Letter to the
27, 1962. p. 152-154, 157-163.
metamorphosing form. The initial Editor," Art International, vol.
839. ROSENBERG, HAROLD. "Action Paint- 7,
experiment with metamorphic sym-
ing: A Decade of Distortion," Art no. 6, June 1963, p. 88-92. (Response
bols in the United States was to
News, vol. 61, no. 8, December to bibl. 836.)
lead directly to abstraction. A form CLEMENT. "The
1962, p. 42-45, 62-63 illus. (Re- 847. GREENBERG, 'Crisls'
if it appears to be in an intermedi-
printed as "The Premises of Action of Abstract Art," Arts Yearbook, no.
ate stage implies time. The idea
Painting" in Encounter, vol. 20, no. 7, 1964, p. 89-92.
that forms could shift and grow on a has
5, May 1963, p. 47-50.) "Painterly abstraction col-
canvas, that time itself could be
840. FEiBLEMAN, JAMES K. "Coucreteness lapsed not because it has become
suggested by forms, eventually de-
in Painting: Abstract Expressionism dissipated in formlessness, but be-
veloped in American painting into
and After," The Personalis!, vol. cause in its second generation it
the abstract expresionist notion of
43, no. 1, Winter 1962, p. 70-83. has produced some of the most man-
'all-over' space."
841. READ, HERBERT. "The Principle of nered, imitative, miinspired and
835. JACOBS, RACHEL. "LTdeologie de la
The Form
Speculative Volition" in repetitious art in our tradition . . .

peinture amercaine," Aujourd'hui,

of Things Unknown, Cleveland, far from being formless, second-
no. 37, June 1962, p. 6-19 Ulus.
New York, Meridian Books, World generation Painterly Abstraction is
836. GREENBERG, CLEMENT. "After Ab-
Publishing Co., 1963, p. 157-169 overformed, choked with form, the
stract Expressionism," Art Interna-
tional, vol. no. October 25, plus illus. way all academic art is."
6, 8,

(See bibl. 846 842. KAPROW, ALLAN. "Impurity," Art 848. KRAMER, HILTON. "Notes On Paint-
1962, p. 24-32 illus.
for response.) News, vol. 61, no. 9, January 1963, ing in New York," Arts Yearbook,

"The whole evolution of Abstract P- 30-33, 52-55

illus. no. 7, 1964, p. 10-20 iUus.

Expressionism could be described 843. GATIL, wiNFRED. "Amerika, hast du 849. READ, HERBERT. "The Limits of
 B. Critics

2. Related Contemporary
Writings

2^2 Painting," Studio, vol. 167, no. 849, "We had no group identity in the 859. TYLER, PARKER. "The Limit of the
January 1964, p. 2-11. 1930's. In the 1940's it developed Probable in Modern Painting,"
850. ROSENBERG, H.4R0LD. "After Next, when Pollock and Motherwell and View, ser. 5, no. 1, March 1945, p.
What?", Art in America, vol. 52, Rothko were sho^ving and seemed 39, 41. (Based on review of bibl.
no. 2, April 1964, p. 65-73 iUus. to become a kind of group We . . .
735)
"The nevy American painting were all individuals, sort of expatri- 860. "Kootz' Kaleidoscopes," Newsweek,
could not be apprehended without ates in the United States and New July 30, 1945.
an intuition of its pathos. In the York . The chance then wasn't
. . 861. GUGGENHEIM, PEGGY. Out of This
lofts of downtown Manhattan that a sale, the chance was only the Century, New York, Dial Press,

patlios consisted notonly of the so- privilege to exhibit. Nobody I knew 1946. ("Informal memoirs.")
cial isolation of painting, but the made a living from sales. Artists 862. "Modern Art" and the American
painful awareness of the artist that showed their work to other artists." Public: statement by the Institute
art could not reach beyond the ges- 857. SANDLER, IRVING HERSCHEL. [Forth- of Contemporary Art, Boston, Feb-
ture of the canvas without being coming book on Abstract Expres- ruary 17, 1948, 2 p. (Concerning
transformed into something unin- sionism, on a grant provided by the change of the Institute's name
tended." Guggenheim Foundation, 1964.] from "modern" to "contemporary"
831. ASHTON, DORE. "La Voix du tour- 858. "Sharks, Go Home," Newsweek, art; see also comment in Newsweek,
billon dans I'Amerique de Kafka," col. 64, no. 8, August 24, 1944, p. March 1, 1948, and An Institute is

XXe siecle, no. 23, May 1964, p. 78 Ulus. (On Provincetown: in- an symposium at Bard
Institute,

92-96 illus. (In French and Eng- cludes statements by Hofmann and College, August 1, 1948, a 7 p.
lish.) Motherwell.) mimeographed pamphlet; and A
852. HESS, THOMAS B. "A Tale of Two Statement on Modern Art, issued
Cities," Location, vol. 1, no. 2, Smn- jointly by the Institute of Contem-
mer 1964, p. 37-42. (On the Schools porary Art, Boston, the Museum of

and New York.)

of Paris Modem Ai-tand the Whitney Mu-
853. GREENBEHG, CLEMENT. "Post Paint- seum of American Art, New York,
erly Abstraction," Art Internation- March 1950, 3 p.
al, vol. 8, nos. 5-6, Summer 1964, p. 863. SOBY, j.^MES THRALL. "Some Young-
63-65 (The preface to an ex-
illus. er American Painters" in Contem-
hibition selected by Greenberg and porary Painters, Museum of Mod-
held at the Los Angeles County ern Art, New York, 1948, p. 69-84.
Museum of Art, April 23-June 7,
(Includes Baziotes, Gottlieb, Moth-

1964.) erwell, Pollock, Rothko.)

854. ARMSTRONG, RICHARD. "Abstract Ex- 864. D.-WENPORT, RUSSELL, ed. "A Lite

pressionism was an American Revo- Round Table on Modem Art,"

lution," Canadian Art, vol. 21, no. Life, vol. 25, no. 15, October 11,

93, September-October 1964, p. 262- 1948, p. 56-79 Ulus. (Symposium

265- illus. held at Museum of Modern Art,

HUNTER, SAM. "Abstract Expres- participants including Greenberg,

855.
sionism Then —and Now," Canadi- Schapiro, Sweeney, Soby; section
an Art, vol. 21, no. 93, September- on "Young American Extremists,"
October 1964, p. 266-269 illus. p. 62-63.)

856. SMITH, DAVID. "The Secret Letter" 865. MAC ACT, DOUGLAS, ed. Western
in David Smith, Marlborough-Ger- Round Table on Modern Art, San
son Gallery, New York, October Francisco Art Association, 1949, 71

3-9. (An interview by p. mimeographed synopsis of the

1964, p.
proceedings. (Participants include
Thomas B. Hess.)
 Duchamp, Goldwater, Ritchie, To- 876. RITCHIE, ANDREW CARNDUFF. "Ma- 1956, p. 6. (Concerning the New 243
bey, F. L. Wright; reprinted bibl. turite de I'art americaine," Arts York School and the School of Par-

740.) (Paris), no. 407, April 17-23, 1953, is; criticism of bibl. 886.)
866. PARSONS, BETTY. [Statement] c. P- 9- 888. HESS, THOMAS B. "U.S. Painting:
1949, unpublished typescript at 877. FAisoN, LANE, JR. "Art," The Na-
s. Some Recent Directions," Art News
Betty Parsons Gallery, New York, tion, vol. 176, no. 16, April 18, 1953, Annual, no. 25, 1956, p. 74-98, 174,
1 p. P- 333-334- (On Motherwell, de 176, 178, 180, 192, 194, 196, 198
"The problem of being an Amer- Kooning, Tomlin.) illus.
ican is unimportant. They could 878. BARR, ALFRED H., JR. "Recent Amer- 889. SWEENEY, JAMES JOHNSON. "The
paint their pictures anywhere. But ican Abstract Art" in Masters of
Cat That Walks by Itself," Quad-
it is important that they have Modern Art, New York Museum of rum, no. 2, 1956, p. 17-28 illus.
the background of the American Modern Art, 1954, p. 174-181 Ulus. (Address given at the Art Institute
Dream." 879. HESS, THOMAS B. "The New York
of Chicago, June 11, 1954.)
867. GREENBEBG, CLEMENT. "The Euro- Salon," Art News, vol. 52, no. 10,
890. ASHTON, DORE. "Art," Arts and Ar-
pean View of American Art," Na- February 1954, p. 24-25, 56-57 illus.
chitecture, vol. 73, no. 1, January
tion, November 25, 1950, p. 490- 880. HESS, THOMAS B. "American Ab-
1956, p. 10, 32-33 illus.
493. (Includes a "Reply" by David stract Art," U.S. Lines Paris Re-
Sylvester.) view, June 1954.
891. MAC ANDREW, JOHN. "Die Modeme
868. TANNENBAUM, LIBBT. "Notes at 88 1. "L'Ecole du Pacifique," Cimaise, Amerikanische Kunst und Europa,"
Mid-Centmy," Magazine Werk, vol. 43, no. 2, February 1956,
of Art, ser. 1, 7, June 1954, p. 6-9.
no.
vol. 43, no. 8, December 1950, p. (Symposium comparing Schools of p. 52-59 illus.

289-292 Ulus. Pacific and New York; participants: 892. "The Wild Ones," Time, vol. 67, no.

86g. HESS, THOMAS B. "Introduction to J. Alvard, C. Falkenstein, S. Fran- 8, February 20, 1956, p. 70-75 Ulus.

Abstract," Art News Annual, vol. cis, J. Fitzstmmons, M. Tapie; let- 893. FiNKELSTEiN, LOUIS. "New Look:
49, no. 7, part II, November 1950, ter in reply by Paul Wescher, ser. Abstract- Impressionism," Art News,
p. 158, 186-187 illus. 2, no. 5, April 1955, p. 3-5.) vol. 55, no. 1, March 1956, p. 36-39,
870. BAUR, JOHN I. H. Revolution and 882. TURNBULL, MURRAY. "NoteS On a 66-68 illus.

Tradition in Modern American Art, New Naturalism," College Art 894. SELZ, PETER. "A New Imagery in
Cambridge, Harvard University Journal, vol. 13, no. 2, Winter 1954, American Painting," College Art
Press, 1951, p. 170 illus. p. 113-117 Ulus. Journal, vol. 15, no. Summer
4,
871. BL.\Nc, PETER."The Axtist and the 883. FERREN, JOHN. "Stable State of
1956, p. 290-301 illus.
Atom," Magazine of Art, vol. 44, Mind," Art News, vol. 54, no. 3, MAURICE.
895. GROSSER, "Art" Nation,
no. 4, April 1951, p. 145-152 illus. May 1955, p. 22-23, 63-64 illus.
vol. 183, no. 9, September 1, 1956, p.
872. LouCHHEiM, ALINE B. "L'Arte in 884. TAPIE, MICHEL. "Messages sans Eti-
186-187. (On Abstract Expression-
America, Oggi," Biennale, no. 4, quette," XXe siecle, no. 5, June
and decorators.)
ists as muralists
April 1951, p. 20-24 illus. 1955, P- 17-24 illus.
896. SYLVESTER, DAVID. "Expressionism,
873. LOUCHHEIM, ALINE B. "Betty Par- 885. SEIBERLING, DOROTHY. "The MoSt
German and American," Arts, vol.
sons: Her Gallery, Her Influence," TaUced-About Painters in the
31, no. 3, December 1956, p. 25-27
Vogue, vol. 118, no. 6, October 1, World," Life (International Edi-
Ulus.
1951, p. 150-151, 194-197 illus. tion), December 12, 1955, p. 37 ff.

874. FiTzsiMMONS, JAMES. "Art foT Ex- illus.

897. BAUR, JOHN I. H., ed. "The Widen-
port: Will It Survive the Voyage?", 886. BLESH, RUDi. Modem Art USA: ing Search, 1940-1955" in New Art
Art Digest, vol. 26, no. 7, January Men, Rebellion, Sonquest, ipoo- in America, Greenwich, Conn., New
1, 1952, p. 9 Ulus. 19^6, New York, Alfred A. Knopf, York Graphic Society and New
875. "Abstraction for Export." Time, vol. 1956, p. 222-281 illus. York, Frederick Praeger, 1957, p.
59, no. 6, February 11, 1952, p. 71 887. KOOTZ, SAMUEL. [Letter to the edi- 220-281 illus. (Includes essays by
illus. tor], Art News, v. 55, no. 7, Nov. Soby, D. C. MiUer and F. Wight
 ) —

244 on Baziotes, De Kooning, Mother- giO. BRUSTEIN, ROBERT. "The Cult of 'Advanced' or 'Retardataire' ", New
well, Pollock, Tomlin.) Unthink," Horizon (New York), Republic, vol. 140, no. 4, January
898. ELIOT, ALEXANDER. "Adventures in vol. 1, no. 1, September 1958, p. 26, 1959, p. 8-9. (Protesting article
Space" in 300 Years of American 38-45, 134-133 illus. in editorial section of December 15,
Painting, New York, Time Inc., 911. GLASER, LUDWIG. "Malerei der Neu- 1958 issue, vol. 139, no. 24, p. 6,
1957, p. 271-283 illus. en Welt," Herrenjournal, no. 10, "Art Buccaneering," on the high
899. GREENE, BALCOMB. "The Aitist's Re- October 1958, p. 146-147, 172-173 prices brought by Pollock's work;
luctance Communicate," Art
to Ulus. other letters on the subject from
News, January 1957,
vol. 55, no. 9, 912. ALLOW AT, LAvsTiENCE. "Here It Is," A. U. Pope, Len Lye, G. Tyler and
p. 44-45, 60. (Based on a lecture Art News and Review, vol. 10, no. P. Grofi, vol. 140, no. 5, February
given at a meeting of the Institute 22, November 22, 1958, p. 8. (Re- 2, 1959, p. 3, 31, and no. 7, February

for Psychotherapy, New York.) view of bibl. 804.) 16, p. 23 by Norman James.)
900. RUDIKOPF, "Tangible Ab-
SONTA. 913. ASHTON, DORE. "Some Lyricists in 917. GETLEIN, FRANK. "The Same Old
stract Art," Partisan Review, vol. the New York School," Art News Sclimeerkunst," New Republic, vol.
24, no. 2, Spring 1957, p. 275-281. and Review, vol. 10, no. 22, No- 140, no. January 26, 1959, p.
4,
901. GROSSER, MAURICE. "Art," The Na- vember 22, 1958, p. 3, 8 illus. 21-22; "Schmeerkunst and Politics,"
tion, vol. 184, no. 21, May 25, 1957, 914. WILSON, FRANK AVRAT. "Approaches no. 6, February 9, 1959, p. 29. (Also
p. 464-465. (On Hofmann and Ab- to Contemporary Art: IV, An In- letters protesting January 26 article
stract Expressionism.) terpretation of Non-Figurative Ten- from Fred Mitten and Donald S.
go2. HAWKINS, ROBERT B. "Contemporary dencies," Apollo, vol. 68, no. 406, Baird, p. 23 of February 2 issue.)
Art and the Orient," College Art December 1958, p. 217-219 illus. "In the exaltation of an unde-
Journal, vol. 16, no. 2, Winter 1957, 915. GETLEiN, FRANK. "Art News Sees fined Americanism as a supreme
p. 118-131 illus. a Conspiracy," New Republic, vol. value, in the preference for simple
903. FAHLSTROM, OTVIND. " 'Spontanism': 138, no. 8, February 24, 1958, p. existence to any meaning, and in
slump, vision, tecken," Paletten, 21. (On German Expressionism, the cherishing of sincerity without
vol. 19, no. 2, 1958, p. 28-52 illus. favorably compared with abstract regard to results, I find abstract ex-
904. GOOSEN, EUGENE c. "The Big Can- e.xpressionism. pressionism and its prophets to be
vas," Art International, vol. 2, no. "One thing is never found in a splendid artistic equivalent of Eis-
8, 1958, p. 45-47 illus. [German Expressionism] and that enhower Republicanism in politics."
905. RODiTi, EDU.MiD. "Peinture ou non- is complete self-sufficiency. Its ab- "The Schmeerkunst Controversy,"
peinture Americaine ou non-Amer- sence, I think, is what caused the New Republic, vol. 140, no. 8, Feb-
icaine," Presence, nos, 7-8, 1958, p. shock and dismay at Art News. For ruary 23, 1959, p. 3, 23-24. (Letters
108-110. all the 'expressionism' of German from D. S. Baird, Fairfield Porter,
906. TRIER, EDUARD. "Neue Tendenzeu art, there never a hint of the
is reply by Getlein, who continues the
der Amerikanischer Kunst," Kunst- current American theory employ- attack in "Man's Image at Urbana,"
werk, vol. 1, no. 8, February 1958, ing the same name and seriously vol. 140, no. 11, March 16, 1959,
p. 3-22 illus. convinced that the sole relationship and condemns Hess, Rosenberg,
907. "A Boom in U.S. Art Abroad," in art is one between the artist and Hunter, etc. in "Schmeerkunstkrieg
Life, vol. 44, no. 20, May 19, 1958, his materials . .
." Continued," no. 17, April 27, 1959,
p. 76, 78, 80 illus. (Editorial note on this article no. p. 21-22.)
908. c.MUDAZzo, CARLO. "Viaggio a New 10, March 10, 1958, p. 7-8, and let- Hunter, Sam, "Jingoism in Re-
York: Alia Ricera dell'arte moder- ter from Norman James p. 3, 23-24; verse?", New Republic, vol. 140,
na," Le Arti, nos. 6-7, July-August reply to Getlein by Dorothy Gold- no. 15, April 13, 1959, p. 23. (Let-

1958, p. 3-4 Ulus. berg, "Liberals and Modern Art" ter protesting "Schmeerkunst and
909. "American Abstraction Abroad," in no. 12, March 24, 1958, p. 3, Politics.")
Time, vol. 72, no. 5, August 4, 1958, 23-24-) "I should like to report my find-

p. 40-45 Ulus. 916. HESS, TH0M.« B. "Art Criticism ings. Pollock and his related Ameri-

i
 can contemporaries are profoizndly 926. GRAY, CLEVE. "Narcissus in Chaos: 47, no. 19, November 9, 1959, p. 245
admired, have become an important Contemporary American Art," The 68-80 (On Pollock) "Part 11:
illus. ;

source of new artistic energies and American Scholar, vol. 28, no. 4, The Varied Art of Four Pioneers,"
hope and have, indeed, replaced Pi- Autumn 1959, p. 433-443. no. 20, November 16, p. 74-83. 85-86

casso as the symbol of liberation for 927. LICHTENSTEIN, GENE, "loth Street: illus. (On Still, Kline, De Kooning,

a new European generation of art- Main Street of the Art World," Rothko).
ists." Esquire, September 1959, p. 102- 933. ASHTON, DORE, "La Section Ameri-
918. ALDAN, DAISY, ed., A New Folder, 107 Ulus. caine," XXe siecle, no. 14, i960, p.

New York Folder Editions, 1959. 928. HABASQUE, GLpy. "Au-dela de I'in- 118-119 illus. (Hofmann, Guston
(Anthology of New York poetry formel," L'Oeil, no. 59, November Kline at Venice Biennale; English
illustrated by drawings by New 1939, p. 62-71, 75 illus. text p. 31-32-34.)
York painters including de Koon- 929. RUBIN, WILLIAM. "Notes on Masson 934. GREENBERG, CLEMENT. "Modemist
ing, Guston, Kline, Motherwell, and Pollock," Arts, vol. 34, no. 2, Painting," Arts Yearbook, no. 4,
Pollock and others.) November 1959, p. 36-43 illus. i960, p. 102-108 Ulus.
919. ALLOWAY, LAWRENCE. "Before and "If Surrealist art was too often 935. GUGGENHEIM, PEGGY. ConfeSsionS of
After 1945: Reflections on Docu- content to rest on the level of happy an Art Addict, New York, MacMil-
menta II," Art International, vol. 3, accident, chance served for Pollock lan, i960. (Revised and updated
no. 1959, p. 28-36, 79 illus.
7, only as an operative element in the version of bibl. 861 ; see "Art of This
920. HUNTER, SAM. "Into the Forties: work. What counted was what he Century," p. 99-114-)
The Crisis in Painting" and "Search did in the face of the unexpected. 936. "Psychic Improvisation in Ameri-
for the Absolute" in Modern Amer- The finished picture, when success- can Painting" in Werner, Haft-
ican Painting and Sculpture, New ful, demonstrated not the accident mann. Painting in the Twentieth
York, Dell Publishing Co., 1959, p. but its resolution." Century, New York, Frederick A.
131-161 illus. (Bibliography by 930. RUSSELL, JOHN. "The 'New Amer- Proeger, i960, vol. 1, p. 347-353>
Bernard Karpel p. 221-249.) ican Painting' Captures Europe," vol. 2, plates 461, 466-467, 496-515.
921. LEGRAND, F. c. "La Nouvelle Pein- Horizon (New York), vol. 2, no. 2,
Art and Life in
937. LARKIN, OLIVER.
ture Americaine," Quadrum, no. 6, November 1959, p. 32-41, 120-121 America, New York, Holt, Rinehart
1959, p. 174-175 illus. illus.
and Winston, i960, p. 481-484 iUus.
922. RESTANY, PIERRE. "U.S. Go Home "In an age when the image, as
938. LiNDE, ULP. "Rosenberg och action
and Come Back Later," Cimaise, such, is everywhere debased, we
painting," Konstrevy, vol. 36, no.
ser. 6, no. 3, January-March 1959, can be grateful to the new Amer-
g-6, i960, p. 204-207 illus.
P- 36-37. (Text in French and Eng-
ican painters for proving that paint
939. NORDLAND, GERALD. [Editorial on ab-
lish.) on canvas can still be one of the
stract expressionism and the new
923. CHARMENT, RAYMOND. "La Nouvelle most exciting and controversial
figurative art], ORB (Chouinard
peinture Americaine: une reaction forms of human expression."
Art Institute), vol. 1, no. 2, [i960?]
plastique contre le puritanisme An- 931. Special Number: The American
940. PONENTE, NELLO. Modem Painting:
glo-Saxon," Arts (Paris), no. 707, Imagination, London Times Liter-
ary Supplement,
Contemporary Trends, Geneva, Ski-
January 28-February 3, 1959, p. vol. 58, no. 3,010,
ra, i960, chapters 4-9.
16 ill. November 6, 1959, "Taking Stock:
A Abundance of Creative 941. RESTANY, PIERRE. "L'Amerque aux
924. RAGON, MICHEL. "L'Ajt actuel aux Scattered
Etats-Unis," Cimaise, ser. 6, no. 3, Riches," p. 11-12; "The Abstract Americains," Ring des Arts, no. 1,

January-March 1959, p. 6-35 illus. Image: Diversity of Aim and Tech- i960, p. 22-31 illus.

(Text in French and English.) nique in the Non-Figurative Mode," 942. TALPHiR, GABRIEL. "Modem Art in
925. SAvrvER, KENNETH. "The Import- p. 26.
U.S.A.: Abstract Expressionism,"
ance of a Wall: Galleries," Ever- 932. SEiBERLiNG, DOROTHY. "Abstract Ex- Gazith, vol. 17, no. 199-204, i960,
green Review, vol. 2, no. 8, Spring pressionists," "Part I: Baffling U.S. p. 1-2 plus 40 plates. (Summarized
1959, p. 122-35, illus. Art: What It Is About," Life, vol. from article in Hebrew.)
246 943- HESS, THOMAS B. "U.S. Art, Notes Naturalism as the 'Avant-Garde' ", 958. REiCHARDT, jAsiA. "Peiuture Amer-
from i960," Art News, vol. 58, no. Nation, May 22, 1961, p. 347. icaine," Aujourd'hui, no. 36, April
9, January i960, p. 24-29, 56-58 951. BAKER, RICHARD BROWN. "NoteS On 1962, p. 54-55.
illus. the Formation of My Collection," 959. "The Dilemma Amer-
of Success in
944. MYERS, JOHN BERNARD. "The Im- Art International, vol. 5, no. 7, ican Painting," The Times (Lon-
pact of Surrealism on the New York September, 1961, p. 40-47 illus. don), June 5, 1962. ("From a Cor-
School," Evergreen Review, vol. 4, 952. GELDZAHLER, HENRY. "Heller: New respondent.")
no. 12, March- April i960, p. 75-85 American-Type Collector," Art ". . . 'style' has an almost wholly
illus. News, vol. 60, no. 5, September pejorative meaning in many New
945. GREENBERG, CLEMENT. "Distorted 1961, p. 28-31, 58 illus. York studios. To detect 'style' or
Evidence," New York Times, May 953. ALPORD, JOHN. "Problems of a Hu- comment on it in a painter's work
29, i960. (Reply to article on Harry manistic Art in a Mechanistic Cul- is tantamount him of to accusing
Jackson and the New York School.) ture," Journal of Aesthetics and Art being more concerned with maimer
946. "International Look at the USA," Criticism, vo\. 20, no. 1, Fall 1961, than matter. ... It is a quality he is
special issue of Art in America, vol. P- 37-47 illus. ("Abstract Expres- often impatient with in European
48, no. 2, Simimer i960, "Crisis and sionist Painting and Humanism," Un-American
painting, a sort of
Creation" by Otto Bihalji-Merin, p. p. 41-47-) would imply
activity . . . 'Style'
48-53; "The Challenge of Contem- 954. KROLL, JACK. "American Painting
some slowing down, some 'qualifi-
porary Art" by Hans Theodor and the Convertible Spiral," Art
cation' of the creative process, a
Fleming, 60-65; "A New Disci-
News, vol. 60, no. 7, November
p. fussingaround the centre of the
pline by Stanley Burke, p. 44-47; 1961, p. 34-37, 66, 68-69 illus.
business instead of pushing intui-
"Plus and Minus at the 955. CANADAY, JOHN. Embattled Critic,
Moscow tively outwards to its edges."
Show" by Vladimir Kemenov, p. New York, Noonday Press, 1962.
960. ASHTON, DORE. "Abstract Expres-
34-39; "From a Gulliver's Point of
(Reprints of columns from the New
sionism Isn't Dead," Studio, vol.
York Times, including "New York
View" by Yoshiaki Tono, p. 54-59; 164, no. 883, September 1962, p.
U.S.A.: The City and 'The New
illus. 104-107 illus.
York School' ", p. 24-29; "In the
947. WAGNER, GEOFFREY. "The Organ- 961. "Art Since 1950: American," Art-
Gloaming: Twilight Seems to be
—
ized Heresy Abstract Art in the
Settling Rapidly for Abstract Ex- forum, vol. 1, no. 4, September
United States," Modern Age: A pressionsim," p. 37-41; "Jack \je- 1962, p. 30-36 (illus. only).
Conservative Review, vol. 4, no. 3,
vine and Philip Guston," p. 137- 962. MC COUBREY, JOHN w. "The New
Summer i960, p. 260-268; vrvAs, Image" in American Tradition in
141; "Renunciation as Esthetics:
ELisEo, "A Rejoinder: In Defense of Painting, New York, BrazUler,
Mark Rothko," p. 141-146; see also
Non-Objective Art," vol. 4, no. 4, 1963, p. 113-124 plus plates.
bibl. 752; reviewed bibl. 378.)
Fall i960, p. 412-415. 963. NORDNEss, LEE, ed. Art U.S.A. Now,
956. "The New American Painting
948. MC DARRAH, FRED w. The Artist's Abroad," Arts Yearbook, no. 6, New York, Viking Press, 1963, 2
World in Pictures, New York, E. P. 1962, p. 83-94. (Selected reviews of vols., illus. (Biographies, Ulus., brief
Dutton, 1961, 192 p. (On the New the New American Painting Exhi- and occasional reprinted state-
texts
York Scene; introduction by Thom- bition in London and Paris (bibl. ments by the artists, including: Ba-
as B. Hess, commentary by Gloria 1009) by Patrick Heron, Robert ziotes by M. Benedikt, De Kooning
McDarrah.) Melville ad Annette Michaelson.) by D. Abramson, Gottlieb by J.
949. SEiTZ, WILLIAM c. The Art of As- 957. HENNiNG, EDWARD B. "Somo Con- Gollin, Guston by K. Levin, Hof-
semblage, Museum of Modern Art, temporary Paintings," Bulletin of mann by K. Levin, Kline by G.
New York, 1961, 176 p. Ulus. (In- the Cleveland Museum of Art, vol. Swenson, Motherwell by J. Gollin,
cludes Motherwell and De Koon- 49, no. 3, March 1962, p. 46-54, Pousette-Dart by R. Pease, Rein-
ing)- Ulus. covers. (Includes Motherwell hardt by A. Grey.)
950. WARSHAW, HOWARD. "The Return of and Guston.) 964. ASHTON. DORE. "Seven American
 C. Catalogues and Reviews
of Group Exhibitions

(chronologically)

Decades," Studio, vol. 165, no. 840, 972. "Auction Trends: The Nevy York More extensive articles dealing wholly 247
April 1963, p. 148-153 illus. School on the Block," Art in Amer- or partially with specific exhibitions are
965. SEiTZ, WILLIAM c. "The Rise and ica vol. 52, no. 2, April 1964, p. 105 listed in sections A and B. For a less
Dissolution of the Avant-Garde," plus illus. specialized coverage of general exhibi-
Vogue, vol. 142, no. i, September 973. FRIED, MICHAEL. "The Confoundlng tions, see bibliographies in bibls. yyS, 94$;
1, 1963, p. 182, 230 illus. of Confusion," Arts Yearbook, no. 7, for additional group exhibition catalogues,
966. ASHTON, DORE. "A tO B," Studw, Vol. 1964, p. 35-37 lUus.; also Judd, Don- see bibls. 325, 366, 741, 742, 744, 746, 757,
166, no. 847, November 1963, p. ald, "Local History," p. 23-35 illus. 766, 777, 794, 825, 949.
194-197. (Reply to Leonard Baskin 974. HOPKINS, HENRY T. "Abstract Ex- 977. ROSENBERG, HAROLD. Introduction a
on originality in art, in Show, pressionism," Artforum, vol. 2, no. la peinture moderne Americairw,
August 1963.) 12, Summer 1964, p. 59, Ul. (In sous le patronage de United States
967. HOSE, BARBARA. "New York Letter," relation to the California School.) Information Sertaces /and Kootz
Art International, vol. 7, no. 9, 975. KOZLOFF, MAX. "The Dilemma of Gallery/, Galerie Maeght, Paris,
December 1963, p. 61 Ulus. (On Expressionism," Artforum, vol. 3, March- April 1947, 12 p. cat. illus.
bibl. 10^6.) no. 2, November 1964, p. 32-35 illus. (Includes Baziotes, Gottlieb, Moth-
968. SECKLER, DOROTHY GEES. "The Art- 976. o'doherty, BRIAN. "Vanity Fair: erwell; Rosenberg introduction
ist in America: Victim of the Cul- The New York Art Scene," News- translated bibl. 6pia. p. 75; re-
ture Boom," Art in America, vol. week, January 4, 1965, p. 54-59 viewed by Jean Cassou, Art News,
51, no. 6, December 1963, p. 27-39 illus.
July 1947; by Jean- Jose Marchand
illus. in Combat, April 9, 1947; also in
969. KozLOFF, MAX. "The Impact of De Carrefour, April 9, Liberation,
Kooning," Arts Yearbook no. 7, April 9, London Daily Mail, April
1964, p. 76-88 illus. 12, Cette Semaine, April 16, La
"Part of the strength of recent France au Combat, April 17, Let-
American art has been its capacity tres Francoises, April 18, Time,
to over-simplify experience, but to April 21, Arts (Paris), Art Digest,
do so past the point of naivete into May 1.)
fantasy and obsession. Yet the real 978. The Kootz Gal-
Intrasubjectives.
depth of our art has more often lery, New September 14-
York,
been contained in its sometimes in- October 3, 1949, 4 p. with colored
voluntary, or last-minute betrayal illus. by Gottlieb, Baziotes, Hof-
of its own restrictedness. De Koon- mann; tex-ts by Harold Rosenberg
ing was not merely saved by his
. . . and Samuel M. Kootz, p. 2-3; exhi-
anxiety, but had come very early bition also included De Kooning,
to realize that his art was premised Gorky, Motherwell, Pollock, Bern-
on it." hardt, Rothko, Tomlin.
970. Metro International Directory of "The modern painter is not in-
Contemporary Art: 1964, Milan, spiredby anything visible, but only
Editoriale Metro, 1964. (Biogra- by something he hasn't seen yet. . . .

phies, plates, portraits, exhibition Things have abandoned him ... he

lists and brief bibliographies; in- begins with nothingness. . . . The
cludes de Kooning, Gottlieb, Gus- nothing the painters begins with is

ton, Hofmann, Motherwell, New- known as Space." (Rosenberg)

man, Rothko, Still.) "Intrasubjectivism is a point of
971. GREENBERG, CLEMENT. "The Green- view in painting, rather than an
berg Collection," Vogue, January identical painting style. . . . The
15, 1964, p. 92-94 illus. artists in this exhibition have been
 )

among the first to paint within this frontees, Galerie Nina Dausset, Par- Questions Posed at the Modern Mu-
new realm of ideas. As their work is, March 8-31, 1951, 8 p. broadside seum," Art Digest, vol. 26, no. 15,

is seen and understood, we should illus. (Exhibition included Bryen, May 1, 1952, p. 11, 24 nius. (On
have more additions to their ranks, Capogrossi, De Kooning, Hartung, bibl. 741.)

until the movement of Intrasubjec- Mathieu, Pollock, Riopelle, A. Rus- 988. MYERS, BERNARD. "Introduction,"
tivism becomes one of the most sell, Wols; writings by Tapie, Expressionism in American Paint-
important to emerge in America." Bryen, Picabia, Jaguer, Russell, Ri- ing, Albright Art Gallery, Buffalo,
(Kootz) opelle, Ballocce, Burri, Capogrossi, May 10- June 29, 1952, p. 9-31; 63

979. The Muralist and the Modern Ar- Colla, Mathieu.) p. cat. illus: (Includes Gorby, Hof-
chitect, Kootz Gallery, New York, "For the time tlie confronta-
first mann, Tomlin, de Kooning, Guston.)
October 3-23, 1950, 12 p. cat. illus. tion of the most advanced Ameri- 989. Four Abstract Expressionists, Wal-
(The muralists are Baziotes, Gott- can, Italian and French painters of ker Art Center, Minneapolis, Feb-
Hofmann, Mothei-well.
lieb, today . .
." ruary 1953. (Baziotes, Gottlieb, Hof-
980. Young Painters in U.S. and France, 983. Ninth Street Exhibition, May 1951. mann, Motherwell.)
Sidney Janis Gallery, New York, (Broadside designed by Franz 990. FITZSIMMONS, JAMES. "Art," Arts
October 23-November 11, 1950 Kline, with list of artists, exhibi- and Architecture, vol. 71, no. 2,
(Compared American and French tion organized by Leo Castelli.) February 1954, p. 4, 6.
artists as follows: Brooks-Wols, 984. ARNASON, H. H. "Preface," 40 Amer- 991. KRASNE, BELLE. "Nine American
Cavallon-Coulon, de Kooning-Du- ican Painters, University of Min- Painters, Nine American Worlds,"
buffet, Ferren-Goebel, J. Ernst- nesota Gallery, Minneapolis, June Art Digest, vol. 28, no. 8, January
Singier, Gatch-Pallut, Gorky-Mat- 4-August 30, 1951, p. 1-3; 96 p. cat. 15, 1954, p. 10-12 illus.
ta, Graves-Manessier, Kline-Soul- illus. (Includes statements by the 992. SWEENEY, JAMES JOHNSON. "Pref-
ages, Pollock-Lonskoy, Reinhardt- artists: Guston,
Baziotes, Gottlief, ace," Younger American Painters:
Nejad, Rothko-de Stael, Sterne-Da Hofmann, Motherwell, Pollock, A Selection, Solomon R. Guggen-
Silva, Tobey-Bazaine, Tomlin- Reinhardt, Rothko, Tomlin.) heim Musuem, New York, May 12-

Ubac. Reviewed by Devree, New 985. Regards sur la peinture Amercaine, July 12, 1954, p. 7-11; 57 p. cat.
York Times, October 29, 1950, Galerie de France, Paris, February illus. (Includes Baziotes, deKooning,
Krasne, Art Digest, November 1, 26-March 15, 1952, 6 p. cat. with Gottlieb, Guston, Kline, Mother-
Coates, New November 4,
Yorker, statements by the artists and text well, Pollock.)
Farber, Nation, November 11; an by Leon Degan. (Organized by 993. HUNTER, SAM. "Guggenheim Sam-
informal discussion meeting took Sidney Janis "with the advice of pler," Art Digest, vol. 28, no. 16,
place at the gallery November 10, New York art critics" and shown May ig, 1954, p. 8-9, 31 illus. (On
1950,on the topic "Parallel Trends first at Amer-
the Janis Gallery as bibl. 992.)

in Vanguard Art in the U.S. and ican Vanguard Art for Paris, De- 994. ROSENBLUM, ROBERT. "The New De-
France"; participants included C. cember 26, 1951-January 5, 1952; cade," Art Digest, vol. 29, no. 16,
Greenberg, F. Kiesler, A. Ritchie, participants: Albers, Baziotes, May 15, 1955, p. 20-23 illus. (On
H. Rosenberg, Theodore Brensou, Brooks, De Kooning, Goodnough, bibl. 742.)
moderator.) Gorky, Gottlieb, Guston, Hofmann, 995. CAHiLL, HOLGER. Modern Art in the
981. HESS, THOMAS B. "Is Abstraction un- Kline, Matta, Maclver, Mother- United States: A Selection from the
American?", Art News, vol. 49, no. well, Pollock, Russell, Reinhardt, Collections of the Museum of Mod-
10, February, 1951, p. 38-41 illus. Tobey, Tomlin, Tworkov, Vicente.) ern Art, Tate Gallery, London
(On bibl. 766.) 986. HESs, THOMAS B. "The Modern Mu- January g-February 12, 1956, gi p.
981a. SOBY, JAMES THRALL. "BelHcose Fish semn's Fifteen: Where U.S. Ex- plus 44 plates; "Abstract Expres-
and a Steady Pulse," Saturday Re- tremes Meet." Art News, vol. gi, sionism," p. 21-24. (Exhibition also
view, vol. 34, no. 5, February 3, no. 2, April 1952, p. 17-19, 6g-66 circulated elsewhere in Eiu'ope by
1951, p. 28-29 ill. (On bibl. 766.) illus. the Museum of Modern Art; in-

982. TAriE. MICHEL. Vehemances Con- 987. FiTzsiMMONS, JAMES. "Fifteen More cludes Baziotes, de Kooning, Gorky,
 Guston, Motherwell, Pol-
Kline, American Paintings: '945-1957, Spain, Germany, Holland, Belgium, 249
lock, RotKko,Tomlin.)Still, Minneapolis Institute of Arts, 1957, France and England, May 1958-
996. LusiNCHi, J. "Les Ecoles etran- p. 32. cat. iLlus.( Includes Baziotes, September 1959; catalogues issued
geres: Cinquante ans de peinture de Kooning, Gorky, Gottlieb, Gus- in French, German, Italian, Span-
aux Etats-Unis," Cimaise, ser. 2, ton, Hofmann, Kline, Motherwell, ish and Dutch: titled "New Amer-
no. 6, May 1955, p. 8-10 illus. (On NeviTnan, Pollock, Reinhardt.) ican Painting" in translation, ex-
bibl. 995.) Eight Americans, Sidney Jams Gal- cept for Dutch: Jong Amerika
997. Ten Years, Betty Parsons Gallery, lery, New York, April 1-20, 1957, Schildert. Contents approximately
New York, December 19, 1935-Jan- 12 p. cat. illus. (de Kooning, Gorky, the same as New York catalogue
uary 14, 1956, 4 p. (Preface by Guston, Kline, Motherwell, Pol- with introductions by the various
Clement Greenberg.) lock, Rothko and Albers.) Museum directors. Exhibition com-
"Whether or not the public ac- 1003. SAWYER, KENNETH B. "Art Chroni- bined in Paris with Museum of
knowledgesit, the status of Amer- cle," Hudson Review, vol. 10, no. Modern Art Jackson Pollock exhi-
ican art vis-a-vis that of the rest 1, Spring 1957, p. 111-116. bition {bibl. 512). Reviewed as fol-
of the world has radically changed 1004. Albers, de Kooning, Gorky, Gus- lows, (see also bibls. 806, 818, 821,
in the last ten years. No longer in ton, Kline, Motherwell, Pollock, 911, 921, 922, 923, 930, 956 for more
tutelage to Evirope, it now radiates Rothko; An Exhibition in Tribute extensive reviews.):
influence and no longer merely re- to Sidney Janis, Hetzel Union Gal- SWITZERLAND: Margot Seiden-
ceives it. This is a triiunph, and I lery, Pennsylvania State Univer- Neue Zurcher Nachrichtung,
berg,
do not see why we should not cele- sity', Philadelphia, February 3-24, March 30, 1958; A. R., Die
brate it without too many qualms 1958, 8 p. cat.; text by Clement Schweiz, April. G. B. in National
about chauvinism." Greenberg, 2 p. insert, illus. Zeitung (Basel), April 20, Rosier

998. ALLowAY, LATTRENCE. "U.S. Mod- 1005 HESS, THOMAS B. and ROSENBERG, Nachrichten, April 21, 26; N. A.,
em: Paintings," Art News and Re- HAROLD. "Some Points About Ac- Easier Folksblatt, April 22; Yvonne
view, vol. 12, no. 26, January 21, tion Painting," Action Painting . . . Hagen, New York Herald Tribune
1956, p. 1, 9. (On bibl. 995.) 1958, Dallas Musemn for Contem- (Paris), April 23; Easier Arbeiter-
999. HERON, p.'iTRiCK. "The Americans porary Arts, March 5- April 13, zeitung, April 25; Der Eund
at the Tate Gallery," Arts, vol. 30, 1958, p. 2-5; 12 p. cat. illus. (Bern), April 25; Peter Pesel,
no. 6, March 1956, p. 15-17 Ulus. 1006. ALLOW AY, LAWRENCE. "Notes on the Tages-Anzeiger (Zurich), April 28;
(On bibl. 993.) Paintings," Some Paintings from Easilisk (Basel), May 2; Andre
"I was instantly elated by the the E. J. Power Collection, ICA Kuenzi, Gazette de Lausanne, May
size, energy, originality, economy Gallery, London, March 13- April 3; E. M. Landau, Deutsches Tages-
and inventive daring of many of 19, 1958, p. 1-2, 15-16. (Collection post (Wm-zburg), May 5; Emile
the paintings. Their creative emp- consisted primarily of American Biollay, Nouvelliste Valaisan, (St.

tiness represented a radical discov- Abstract Expressionist work.) Maurice), May 7, 1958; H. R., Der
ery .... These American painters 1007. ROXJVE, PIERRE. "Witness for the De- Landbote (Winterthur), May 8;
were so direct in the execution of fence," Art News and Review, vol. Eberhard Meckel, Eadische Zeitung
the idea that their paint-gestures, 10, no. 5, March 29, 1958, p. 1, 12. (Freibm-g), May 8; Gerhard Schon,
their statement on the canvas had (On bibl. 1006.) Suddeutsche Zeitung, May 1 1 Ul- ;

an almost over-dry immaculateness 1008. HERON, PATRICK. "Londou," Arts, rich Seelman-Eggebert, Mann-
.... We shall now watch New York vol. 32, no. 8, May 1958, p. 22-23 heimer Morgen. May 13; Maria
as eagerly as Paris for new devel- illus. (On bibl. 1006.) Netter, St. Gallen Tageblatt, May
opments." 1009. The New American Painting, Mu- 16; A. S. Vellinghausen, Frankfur-
1000. Large Scale Paintings II, Contem- setuu of Modern Art Circulating ter Allgemeine, May 16; M. E.,
porary Arts Association, Houston, Exhibition in Europe (see bibl. 745 Die Tat (Zurich), May 16; C.
October 30-November 5, 1956. 4 p. for New York catalogue) exhibi- ; Scheiss, Luzerner Tagblatt, May
cat, with anon. text. tion shown in Switzerland, Italy, 17; Hehni Gasser, Neue Zurcher
250 Zeitung, May 23; H. Zehder, Die November 13; Nieuw Roiterdamse February 24; Terence Mullaly,
Well, June 9; Maria Netter, Werk, Courant, November 15. Telegraph, February 25; G. S. S.,
June 1958. BELGIUM: R. M. T., La Derniere The Scotsman, February 25; Fred-
ITALY: L'halia, June 2, 1958; Heure, December 7-8, 1958; Paul erick Laws, Manchester Guardian,
Mario de Micheli, L'Unita, June 4; Caso, Le Soir, December 11; L. D. February 27; Nevile Wallis, Sun-
A. M. La Provincia Pavese, June 6; H., La Libre Belgique, December day Observer, March 1 The Tatler, ;

Gazetta i Parma, Jime 6; Jason 12; La Metropole, December 13-14; March 4; C. S., Jewish Chronicle,
Vella, L'Ordine; Leonardo Borgesa, LePhare, December 14; Andre March 6; John RusseU, The Sunday
Carrier e della Sera, June 8; Marco Marc, La Lanterne, December 27. Times, March 8; Alan Clutton-
Valsecchi, // Giorno, June 10; Fran- FRANCE: Alain Jouffroy, Arts, Brock, The Listener, March 19;
co Zoccoli, Vnione Sarda-Cagliari, January 13-19, i960; Yvone Hagen, Horace Shipp and Jean Yves Mock,
June 1 1 Giorgio Kaisserlain, // Po-
; Herald Tribune, January 16; Apollo, April; David Sylvester,
polo, June 13; Giorgio Mascherpa, Claude Roger-Marx, Le Figaro Lit- New York Times, April 12; Robert
L' Italia, June 13; Mario Lepore, teraire, January 17; Andre Chastel, Melville, Architectural Review,
Visto, June 14 and La Tribuna, Le Monde, January 17; J. A. C, May, p. 355.

June 15; Mario Portalupi, La Notte, Combat, January 19 and January 1010. Eight American Painters. Sidney
June 18; Le Arti, May-June; Itali- 26; Frank Elgar, Carrefour, Janu- Janis Gallery, New York, January

an Moderna Produce, May-June; ary 21; Rene Massat, La Nation 5-3 1> I939i 12 p. cat. illus. (Same
Franco Zoccoli, Iniziative, July- Francaise, January 21; Jean-Fran- painters included as bibl. 1002.)
cois Chabrun, L'Express, January 1011. ASHTON, DORE and DOKIVAL, BEKNARD.
August; radio talk by Raffaele de
Grada, June 6, on radio televisione
22; Raymond Cogniat, Le Figaro, New York and Paris: Painting in
January Georges Boudaille,
22; the Fifties, Museum of Fine Arts,
Italiana.
Lettres January 22;
Francoises, Houston, January 16-February 8,
SPAIN: SP, March 8, 1938; Munoz
Robert Rey, Nouvelles Litteraires, 1959; 46 p- cat. Ulus.
Garcia-Vaso, Informaciones, July
January 22; Jean-Clarence Lam- 1012. HENNiNG, EDWARD B. Paths of Ab-
19; Jose Camon Aznar, ABC, July
bert, France Observateur, January stract Art,Cleveland Museiun of
26; Joaquin de la Puente, La Esta-
22; Pierre d'Espezel, Aspects de la Art and harry n. abrams. New
feta Literaria, August 2 ; L. Figuer-
France, January 23; Pierre Im- York, i960, 89 p. illus. (Includes
ola-Ferretti, Arriba, August lO;
bourg. Journal de Vamateur de I'art, de Kooning, Guston, Hofmann,
Jose M. Galvan, Gaceta Illustrada,
January 25; J. P. Crespelle, Jour- Kline, Motherwell, Pollock, Roth-
August 23; Mercedes MoUeda, Re-
nalduDimanche, January 26; Jean- ko.)
vista, August 30-Setpember 5; An-
Jacques Leveque, L' I nformation, 1013. ATKINSON, TRACT. "Introduction,"
tonio Saura, El Paso, no. 3, Novem- January 27; Yvonne Hagen, Herald Contemporary American Painting,
ber.
Tribune, January 28; Bernard Dor- Columbus Gallery of Fine Arts,
GERMANY: Arnold Bauer, Der ival, Arts, January 28-February 3; January 14-February 18, i960, 14 p.
Kurier, September 4, 1958; H. Kot- Joseph Pichard, La Croix, January cat. Ulus. (Made up entirely of
schenxeuther, Berlin Morgenpost, first and second generation Abstract
29; Francoise Choay, France Ob-
September 4; Klaus Gerner, Der servateur, January 29; Pierre Expressionists.)
Tag, September 5; W. G., Span- Schneider, /47-^i (New York), March 1014. Nine American Painters, Sidney
dauer Volksblatt, September 5; 1959> P- Annette Michelson,
47; Janis Gallery, New York, April 4-
Will Grohmann, Der Tagesspiegel, Arts (Nev? York), Jime 1959, p. 23, i960, 12 p. cat. Ulus. (Same
September 7; F. A. Dargel, Tele- 17-18; San Lazzaro, XXe siecle, no. painters included as bibl. 1002, plus
grat, September 10. 12, May-June, p. 81-83. Bazoites.)
HOLLAND: Ber Hulsing, Waar- ENGLAND: The Times, February 1015. BAYL, FRiEDRiCH. Neue Malerei:
heid, October 10, 1958; Georg 24, 1959; Yorkshire Post, February Form, Struktur, Bedeutung, Stad-
Lampe, Vrij N ederland, November 24; Evening Standard, February tische Galerie, Munich, June 10-
8; H. R., Algemeen Handelblad, 24: Pierre Jeannerat, Daily Mail, August 28, i960, p. 6-10; 92 p. cat.
 illus;also texts by H. K. Rbthel Quadrum, no. 12, 1962, p. 137-140 April 12-May 27, 1962, p. 3-6; 55 251
and M. Tapie, p. 2-5; (Includes de illus. p. cat. illus.

Kooning, Gorky, Hofmann, Kline, 1024. GOLDWATER, ROBERT. "A Surfeit of 1031a. "How They Got That Way,"
Pollock.) the New," Partisan Revieiv, vol. 29, Time, April 13, 1962, 4 p. Ulus.
1016. ARNASON, H. H. American Abstract no. 1, Winter 1962, p. 116-121. (Concerning bibl. lo^i.)

Expressionists and Imagists, Solo- 1025. o'h.ar.a, FRANK. "Art Chronicle" 1032. Ten American Painters, Sidney
mon R. Guggenheim Museum, New Kulchur, vol. 2, no. 5, Spring 1962, Janis Gollery, New York, May 7-

York, 1961, p. 23-31; 131 p. cat. p. 80-86. Jtme 2, 1962. 12 p. cat. illus. (Same
illus; bibliography p. 97-131; "Fore- 1926. HELLER, BEN. "Collector's View- painters as bibl. 1029.)
word on Art and Terminology," by point" in The Collection of Mr. and 1033. ROBBiNs, DANIEL. "Continuity and
Arnason, p. 12-13. Mrs. Ben Heller, Museum of Mod- Change," Art International, vol. 6
"The question today is not wheth- em Art, New York, 1961, p. 3-6 no. 8, October 1962, p. 59-65 illus.
er Abstract Expressionism is dead or illus.; also "Preface" by Alfred H. (On bibl. 1031.)

alive. It is: 'What and how well is Barr Jr., p. 1-2 and "Introduction" 1034. HELLER, BEN. "Introduction," Black
de Kooning — or Motherwell — or by W. C. Seitz, p. 7-11. (Catalogue and White, Jewish Museum, New
Guston . . . painting now?' In a of a circulating exhibition.) York, 1963, p. 4-8; also preface by
sense there are no art movements. 1027. coE, T. The Logic of Modern
RALPH Alan R. Solomon. (Includes de
There are only artists." Art, Nelson Gallery and Atkins Kooning, Gorky, Hofmann, Kline,
(Bibls. ioiy-102'j are reviews of Museum, Kansas City, Mo.; Janu- Motherwell, Newman, Pollock,
this exhibition; see also bibl. 954.)
ary 19-February 26, 1961, p. 5-11 Tomlin; reprint of bibl. 318, p. 9.)
1017. "Expressionistas e imagistas ab- illus.; "Painting Since World War 1035. KOZLOFF, MAX. 'The Many Colora-
II," p. 31-38. (Includes de Kooning, tions of Black and White," Artfor-
Americanos no Museu Gug-
stratos
genheim, Nova York," Habitat, vol. Kline, Pollock, Rothko, StUl.) um, vol. 2, no. 8, February 1964, p.
1028. ASHTON, DORE. "Introduction," The 23-25 illus. (On bibl. 1034.)
12, no. 66, 1961, p. 53 illus.
Sidney Janis Painters, John and 1036. Eleven Abstract Expressionist
1018. piCARD, LiL. "New Yorker Kunst-
Mable Ringling Museum of Art, Painters, Sidney Janis Gallery,
brief," Kunstwerk, vol. 15, no. 5-6,
Sarasota, Bulletin, vol. 1, no. 3, New York, October 7- November 2,
November-December 1961, p. 55-
April 1961, p. 4-5; also "Foreword: 1963, 24 p. cat. illus.; anonymous
56 plus 3 plates.
Tribute to Sidney Janis," by Ken- text p. 2; (includes de Kooning,
1019. ALLOWAY, LAWHENCE. "Easel Paint-
neth Donahue, p. 1-3. (Reprinted Gorky, Gottlieb, Guston, Kline,
ing at the Guggenheim," Art In-
statements by the artists: Baziotes, Motherwell, Newman, Pollock,
ternational, vol. 5, no. 10, Decem-
Gorky, Gottlieb, Guston, Kline, de Rothko, Still.)
ber 1961, p. 26-34 illus.
Kooning, Motherwell, Pollock, 1037. ALLOWAY, LAWRENCE. "Introduc-
1020. ASHTON, DORE. "Art," Arts and Ar- Rothko.) tion," Guggenheim International
chitecture, vol. 78, no. 12, Decem- 1029. Ten American Painters, Sidney Award 1964, Solomon R. Guggen-
ber 1961, p. 4-5 illus. New York, May 8- heim Museum, New York, 1964, p.
Janis Gallery,
1021. FBiGERio, siMONE. "Abstraits Am^r- June 3, 1961, 12 p. cat. Ulus. (Same 12-15; 122 p. cat. Ulus. (U.S. re-
icains expressionistes et imagistes," presented by Gottlieb, Guston, Hof-
painters as bibl. 1014, plus Gott-
Aujourd'hui, no. 34, December lieb.) mann, de Kooning, Motherwell,
1961, p. 56-59 illus. ("d'apres H. H. 1030. BOLTRAS, HARRY. Drawings: Five Con- Newman; brief individual bibliog-
Arnason"). temporary Masters, Holland-Gold- graphies; "Documentation" in-
1022. TiLLiM, SIDNEY. "Month in Review," owsky Gallery, Chicago, September cludes reprints of bibls. 3180, 337,
Arts, vol. 36, no. 3, December 1961, 22-October 26, 1961. (Includes Gus- 367-)
p. 42-43 illus. ton, de Kooning, Kline.) 1038. ALLOWAY, LAWRENCE, "Introduc-
1023. BUTLER, BARBARA. "New York Fall 1031. WAGSTAFP, SAMUEL., JR. "Introduc- tion,"American Drawings, Solo-
1961 . . . American Abstract Ex- tion," Continuity and Change, mon R. Guggenheim Museum, New
pressionists and Imagists ," . . . Wadsworth Atheneum, Hartford, York, September-October 1964, p.
 4-9; "Quotations," p. 54; bibliog-
252
raphy p. 55-59- (Includes Gorky,
Gottlieb, Guston, Kline, de Koon-
ing, Motherwell, Newman, Pol-
lock.)
Credits

Photographers: 253

Oliver Baker
George Brauer
Geoffrey Clements
Ed Comachio
Shenvin Greenburg Studio, Inc.

Michael Katz
0. E. Nelson
Eric PoUitzer
1. Serisawa
Marvin Silver

Soichi Sunami
John Thompson

Typography and Printing:

Anderson, Ritchie & Simon

Design:

Louis Danziger