20TH CENTURY DRAWINGS

PART II: 1940 TO THE PRESENT

Text by Una E. Johnson

j| ;

DRAWINGS OF THE
 Digitized by the Internet Archive
in 2018 with funding from
Kahle/Austin Foundation

https://archive.org/details/20thcenturydrawi0000john
20th century DRAWINGS - PART II
 DRAWINGS OF THE MASTERS

20th CENTURY
DRAWINGS
PART II: 1940 to the Present

Text by Una E. Johnson

Curator of Prints and Drawings

The Brooklyn Museum

LITTLE, BROWN AND COMPANY BOSTON • TORONTO

 COPYRIGHT © 1964 BY SHOREWOOD PUBLISHERS INC.

ALL RIGHTS RESERVED. NO PART OF THIS BOOK MAY BE REPRODUCED

IN ANY FORM OR BY ANY ELECTRONIC OR MECHANICAL MEANS IN¬
CLUDING INFORMATION STORAGE AND RETRIEVAL SYSTEMS WITHOUT
PERMISSION IN WRITING FROM THE PUBLISHER, EXCEPT BY A RE¬
VIEWER WHO MAY QUOTE BRIEF PASSAGES IN A REVIEW.

LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA

Johnson, Una E
20th century drawings.

Reprint of the ed. published by Shorewood Publishers, New York,

in series: Drawings of the masters.
Bibliography: pt. 1, p.
CONTENTS: pt. 1. 1900-1940.—pt. 2. 1940 to the present.
1. Drawings. I. Title. II. Series: Drawings of the masters.
[NC95.J6 1976 741.9'4 75-25734
ISBN 0-316-46759-6 (pt. 1)

Published simultaneously in Canada

by Little, Brown & Company (Canada) Limited

PRINTED IN THE UNITED STATES OF AMERICA

 Contents
PAGE

Text by Una E. Johnson 11

Plates 1 to 96 33-128
Biographies 129
Bibliography 140

ARTISTS AND FIGURES IN TEXT FIGURE

Piet MONDRIAN Study for “Victory Boogie-Woogie” 1

Rico LEBRUN Running Woman with Child 2
AsgerJORN Untitled Drawing 3
Victor PASMORE Blue Development No. 6 4

ARTISTS AND PLATES PLATE

WOLS (Alfred Otto

Wolfgang Schultze) The City 1
Max ERNST Study for “Surrealism and Painting" 2
Marino MARINI Horse and Rider 3
John PIPER Portland 4
WOLS (Alfred Otto
Wolfgang Schultze) Sailboats and Elephant 5
Karl SCHRAG Rocks in the Sea 6
Andre MASSON Bison au Bord d’un Gouffre 7
Max BECKMANN Lady with Fur 8
Alfred KUBIN Vacation-Time 9
Henry MOORE Madonna and Child 10
Jacques VILLON Racine 11
George GROSZ The Painter of the Hole 12
Graham SUTHERLAND Study for Objects 13
Pablo PICASSO The Picador 14
Philip GUSTON Ink Drawings 15
Mark TOBEY Remote Field 16
Richard LINDNER Sunday Afternoon 17
 PLATE

Yasuo KUNIYOSHI Juggler 18

Morris GRAVES Bird 19
Giacomo MANZU Artist and Model 20
Andrew WYETH Mrs. Kuerner 21
Yves TANGUY Drawing 22
Fernand LEGER Untitled Drawing 23
Hans HOFMANN Untitled Drawing 24
Alexander CALDER Reef Fringe 25
David SMITH Untitled, 11 26
K.R.H. SONDERBORG Untit'lcd Drawing 27
Willem de KOONING Two Nudes 28
Walasse TING Untitled Drawing 29
Roberto Sebastian
MATTA Echaurren Untitled Drawing 30
NOEL Manuscript Palimpsest 31
Larry RIVERS Self Portrait 32
BALTHUS Klossowski
de Rola Sleeping Woman 33
Nicolas de STAEL Untitled Drawing 34
Lee BONTECOU Untitled 35
Robert MOTHERWELL Kafka’s Big Room 36
Jnlius Heinrich BISSIER 28, January, 1961 37
Loren MACIVER Blizzard 38
Karel APPEL Paris series, No. 5 39
Jackson POLLOCK Untitled 40
CORNEILLE
Cornelis van Beverloo Speed 41
VIEIRA da Silva Untitled Drawing 42
VIEIRA da Silva Untitled Drawing 43
Ernst Wilhelm NAY Untitled 44
Georges MATHIEU A bstraction 45
Giorgio MORANDI Still Life 46
Rico LEBRUN The Furious Streetwalker chased him out of the room
(illustration for Brecht’s “Threepenny Novel”) 47
Mark TOBEY Announcement 48
Arshile GORKY Study for painting, “They Will Take My Island” 49
Gabor PETERDI Thorns 50
Yasuo KUNIYOSHI Girl Thinking 51
 PLATE

Sam FRANCIS Yellow into Black 52

Adja YUNKERS Tar ass a X 53
Jose Luis CUEVAS The Dwarf. Figure for a Crucifixion 54
Leonard BASKIN Head of a Poet 55
George GROSZ Trees, Wellfleet, Cape Cod, Massachusetts 56
William BAZIOTES Sea Forms 57
Jasper JOHNS Painting with 2 Balls 58
Julio GONZALES Self Portrait 59
Edouard PIGNON Untitled Drawing 60
Henry MOORE Woman Winding Wool 61
Franz KLINE Untitled 62
Ibram LASSAW Drawing for a Sculpture 63
Sam FRANCIS Untitled 64
Worden DAY Magnetic Tide 65
Willem de KOONING Composition, Attic Series 66
Bernhard LUGINBUHL Title A, Study for Sculpture 67
Jackson POLLOCK Untitled 68
Max WEBER Contemp lation 69
Luis QUINTANILLA Portrait Study of a Woman 70
Alberto GIACOMETTI Head of Boy 71
Robert
RAUSCHENBERG Portrait of Ethel Scull 72
Robert
RAUSCHENBERG Mona Lisa 73
Calvin ALBERT Ritual No. II 74
Jean DUBUFFET Site d la Rose 75
Reginald BUTLER Circe Head 76
Giacomo MANZU Praying Cardinal 77
John WILDE Myself Illustrating How a Square luith Points A
and H is Always in My Vision 78
Pierre ALECHINSKY Drawing 79
Marcel DUCHAMP Jacquette (Front and Back) 80
Claes OLDENBURG Plan for Vacuum Cleaner from Side 81
Jean DUBUFFET Black Countryside (Terres Noires) 82
Paul DELVAUX At Claude and Ruth’s 83
Joan M1RO The Beautiful Bird Revealing the Unknown to a
Pair of Lovers 84
Stuart DAVIS Underpass No. 1 85
 PLATE

Lyonel FEININGER Church on the Cliff 86

Hans HARTUNG Drawing in black, yellow and blue 87
Jacques LIPCHITZ Rape of Europa, IV 88
Walter MURCH Study for “The Birthday” 89
Ben SHAHN Studies of a Child 90
Henri MICHAUX Untitled 91
Eduardo PAOLOZZI Drawing for a Saint Sebastian 92
John Paul JONES Head 93
Henri MATISSE Dahlias and Pomegranates 94
Fernand LEGER Face and Hands 95
Renato GUTTUSO Head of a Girl 96
20th century drawings
PART II

The mid-twentieth century artist as well as the scientist are both engaged
in studying and formalizing ideas and concepts that often are invisible to the
naked eye. In his search for a graphic equivalent to the visible model, the
artist has turned to simplification of forms and speed of rendition in order to
capture a calligraphic symbol and a spontaneity of movement as he ventures
into the essences and wellsprings of an illusive inner reality. Where, earlier,
Paul Klee charted a minute world within the discipline of his own penetrating
vision, Mark Tobey and, later, Arshile Gorky and Jackson Pollock achieved
through the magic of the “ever-opening line” a new conception of space and
progression of forms. The artist is concerned not with a single focal point but
with the unfolding of many layers of movement within a fluid language of
images. Forms may explode or lie inert upon his paper. Thin lines may speed
the movement; heavy, swelling lines may retard or abruptly close it. His draw¬
ing may be a deliberate exaggeration or an understatement. This pursuit of
“psychic illuminations” has carried him into a total involvement with abstract
imagery which has been designated as Abstract Expressionism, Tachisme,
Drip, and Action Painting. The creative energy flowing from a rapidly-
moving brush or a forced stream of color onto the carrying surface may be
comparable to the complicated choreographic patterns of modern dance.
In this thoughtful discussion on “Drawing and the Hand,” Rene Huyghe
of the Academie Franchise observes:
Of all the creative acts performed by the artist, the most directly
legible is drawing. Drawing is also the first to which the artist resorts
when he sketches the future form of what is still a mere feeling
 Figure 1
Piet MONDRIAN • Study lor "Victory Boogie-Woogie," 1943
pencil, 191/* x 19 inches
New York, Courtesy Sidney Janis Gallery

within himself. Finally, it is the act that is most directly and spon¬
taneously governed by his nervous and muscular system.
In a further consideration of movement and speed, he continues:
Drawing is, thus, essentially movement, as much as it is the intensity
of something dark on something light. The way in which a black is
set off against a white, the modulation of the transitions from one to
the other or the fixedness of the contrasts between them, all con¬
tribute to suggest a specific rate of speed. A spot in a drawing is as
much regulated as is a sound. Save when these elements are deliber¬
ately neutralized, the drawing is nothing but an imprint—a secre¬
tion, as it were—of characteristics of life in movement. Like the
copper wire that carries an electric charge, the drawing carries and
communicates these characteristics. The pulsation of the drawing
discloses the vital rhythm that gave birth to it, brings us into contact
with it, and communicates itself to the viewer.1
In reviewing the great draughtsmanship of the past, one is confronted with
drawings that have been sifted through centuries of changing styles, judg¬
ments and sobering hindsights. No such comfortable advantages are available
in a consideration of contemporary works. Nevertheless, through changing
points of view, drawings continue to paraphrase, in simplified terms, the
expanding realities of the twentieth century. Their burgeoning vitality,
their audacity or their tentative suggestions are apparent to an inquiring and
receptive eye.
In the time of the Renaissance, a style was developed slowly over many
years. Today, a single style burns itself out often before it is either under¬
stood or completely mastered. The modern artist must needs command a
nearly inexhaustible vitality and tenaciously-held vision lest he find himself
dallying with a passing fashion.
It should be remembered that throughout his life, Paul Cezanne sought
to capture the basic elements or the underlying structure of his chosen motif.
1. Huyghe, Rene. Art and the Spirit of Man. New York, 1962, p. 29.

12
13
Pablo Picasso and Georges Braque and the later Cubists sought, through the
breaking up and realignment of traditional forms, a new pictorial language,
a way of looking at the world around them. Their continued efforts opened
the way toward the further development of abstraction. Edvard Munch, the
Norwegian artist whose work so greatly influenced German Expressionism,
probed the shifting regions between dream and reality seeking to express the
psychic realities lying beneath the visible forms of nature. Rouault mirrored
an age through grotesque forms and slashing lines and forced it to consider
his moral judgments. Wassily Kandinsky and Paul Klee, through the enlarge¬
ment of their own artistic experience, sought a language of symbols entirely
divorced from perspective and photographic reality. This was carried into
Surrealist expression by Max Ernst, Andre Masson, Joan Miro, Yves Tanguy
and others. Max Beckmann, through long years of exile, continued to reveal
in traditional realistic forms his deep disillusionments and his own appraisal
of man’s disquieting destiny.
Authorities generally agree that out of this welter of earlier accomplish¬
ments the works of four artists became the major artistic influences that were
dominant after World War II. These proved to be the expressionist paintings
of Picasso and the works of three artists no longer living—Kandinsky, Klee
and Mondrian. Perhaps a brief reference to their influence is in order. The
section of Picasso’s vast work that was of the most immediate interest to the
younger generation of artists who resumed their own efforts after 1945 were
his expressionist drawings and paintings which culminated in and followed
his powerful painting, Guernica. The charting of its development through
literally hundreds of studies, both in drawings and paintings, is a formidable
but telling record of the creative forces which Picasso brought to bear on a
ruthless destruction carried out in the small Spanish village. They also
chronicle a receptive artist’s dark visions of man’s headlong pursuit of a
demonic drama that seemingly leads only to his destruction. In discussing
the visionary attitude of the artist, Rudolph Arnheim has observed:
 Picasso did not deposit in Guernica what he thought about the
world; rather did he endeavor to understand the world through the
making of Guernica.2
As early as 1910, Kandinsky had renounced the traditional pictorial vision
and had embarked on completely nonobjective forms in painting and graphic
expression to convey his essential ideas. He declared:
To each spiritual epoch corresponds a new spiritual content, which
that epoch expresses by forms that are new, unexpected, surprising
and in this way aggressive.3
Although detached from the main stream of modern art, the work of
Paul Klee exerted a subtle influence on artists working in Paris and other
European cities as well as in widely-separated areas of the United States. Klee
had discarded conventional perspective and photographic illusion to pene¬
trate to the very fountainhead of creative visions. Through his finely-wrought
and disciplined lines and encircling forms he communicated his own experi¬
ences in an enchanted realm of dream and fantasy. In his pedagogic writings,
Klee made the following observation:
Our antipodes of yesterday, the impressionists, were perfectly right
to live with the trailing vines and underbrush of everyday appear¬
ances. But our pounding heart drives us down, deep down to the
primordial underground. What springs from this journey down¬
ward, whether it is called dream, idea, fancy, shall be taken seriously
only if it ties in with the appropriate means to form a work of art.
Then curiosities become realities, the realities of art, which makt
life a little wider than it ordinarily seems to be. For they not only
put a certain amount of spirit into reproducing things seen, but
make secret vision visible.4
In Paris after the war, Klee’s teachings were reflected in the work of Hans
Hartung, Roger Bissiere, Wolfgang Schultze called Wols, Jean Dubuffet and
through the continuing efforts of Joan Miro. Hartung and Wols fled to Paris
2. Arnheim, Rudolph. Picasso’s Guernica: The Genesis of a Painting. Berkeley, 1962, p. 10.
3. Kandinsky, Wassily. Concerning the Spiritual in Art. Documents of Art. Director, Robert Motherwell. New

York, 1947, p. 11.

4. Klee, Paul. The Thinking Eye, The Notebooks of Paul Klee. Jiirg Spiller, (Ed.). New York, 1961, p. 93.

15
after years of precarious existence to continue their explorations of psychic
and intuitive pictorial forms. Roger Bissiere, in his later work, sought to
express the essence of the intermediate world between nature and poetry.
Dubuffet, in a jungle of lines and merging forms, combines naivete and irony,
compassion and cruelty. Perhaps, of the French artists, Dubuffet best under¬
stood the world of Paul Klee. In the United States the influence of Klee’s
probing and inquiring art was evident in the infinite nuances of Mark
Tobey’s drawings and paintings. In Germany it was seen in the works of
Fritz Winter, E. W. Nay and Julius Bissier.
The “concrete” pictorial thinking of Piet Mondrian and Josef Albers, as-
reflected in their nonobjective paintings and sketches, exerted a belated in¬
fluence on some of the young painters, architects and designers in Europe
and America after World War II. Mondrian noted long ago that “the emotion
of beauty is always obstructed by the appearance of ‘the object;’ therefore the
object must be eliminated from the picture.” He never regarded painting as
an end in itself but rather as the latest development in the unfolding phe¬
nomenon of pure form. Mondrian was intent on probing “the realm of the
pictorial means down to its primordial level—to erect the ultimate and most
elementary paradigm of formal harmony at the very frontiers of the domain
that lies ‘beyond painting.’”5 Today’s geometric and “hard edge” composi¬
tion in which there is left no semblance of the natural or individual elements,
perhaps carry on with varied emphasis, Mondrian’s and Albers’ explorations
into a subtle, visual language of pure lines, forms and strict color nuances.
In his creation of images completely devoid of literary allusion, Josef
Albers has influenced younger artists in the United States where he has re¬
sided and taught since the closing of the Bauhaus in 1933. Francois Bucher
has summed up Albers’ life work of shaping new visual systems based on the
supremacy of line and color. In his analysis of the results, Bucher observes:
Albers’ prismatic world full of visual spectra contains slight but
infinite variations, each of which is significant and provides the emo-
5. Haftmann, Werner. Paintings in the Twentieth Century. New York, 1960, p. 203.
 tion of discovering a hitherto unknown element. Thus in a sequence
of visual events delight is created. Albers’ ceaseless investigation
contributes a new diagram of reality to the art of the present.6
Among the later exponents of “concrete art” are Victor de Vasarely, Jean
Dewasne, Fritz Glarner and Ellsworth Kelly.
Not to be overlooked in post-war France were the older modern masters,
Bonnard, Matisse, Braque, Leger and Segonzac whose drawings of this later
period maintain a sense of order and balance that is essentially French. Ma¬
tisse, plagued by failing health, nonetheless was busily occupied with the proj¬
ect of his small white chapel on a hillside at Vence where he designed murals
that were really large-scale drawings. A smaller drawing entitled Dahlia and
Pomegranate, also completed in Vence in 1947, demonstrates the force and
authority of a distinguished and venerable modern master. Possibly the ex¬
pressionist qualities of his line and color appealed more than his intellectual
sense of balance and order to the younger artists.
Braque, working within the confines of his quiet garden, filled sketch¬
books and papers with graphic notations of plant and bird forms and flowing
figures. With a practiced hand and a knowing eye he continued to record his
abiding delight in intimate scenes and patterns of the world of nature. While
Braque sought always to preserve the underlying beauty of the object in a
humanized, lyrical expression, Fernand Leger chose symbols from the ma¬
terial life of his time. Details of mechanical forms and everyday objects have
been the sources of his inspirations for his drawings and paintings. He once
remarked:
I have used the machine as others have used the nude or the still
life ... I was never interested in copying the machine. I invented
images of the machine . . .7
He has also observed:
Even a part of an object has its value. A whole new realism resides
in the way one envisages an object or one of its parts.8
6 Bucher, Francois. Josef Albers; Despite Straight Lines; An analysis of his graphic constructions. New Haven and
London, 1961, p. 75.
7. Kuh, Katherine. Leger. Urbana, 1953, p. 33.

8. Ibid. p. 40.

17
 In the lucidity and charm of their late graphic works, Segonzac and Bon¬
nard consistently present a casual, personal style that carries forward an
elegant French tradition into the mid-twentieth century.
The illustrations comprising this second volume of twentieth-century
drawings begin with representative work completed during World War II
and end with some of the avant-garde graphic delineations of the early 1960’s.
The art world of Paris looked with interest and with some apprehension on
the first Salon d’Automne held in October, 1944, which was specifically desig¬
nated as the Salon of the Liberation. Had the creative energies of the artist
been lost or sacrificed in the long years of the war? Was a new reflective de¬
velopment possible? If so, what form would that development take? There
were those who hoped for a return to a more classic tradition. There were
others who understood that the artist would, as in periods of the past, con¬
tinue the modern progression, whatever course it might take.
Many of the old modern masters were still active. Picasso had been given
a special piace in the Salon of the Liberation in recognition of his past achieve¬
ments and the continuing importance of his work during the years of the
Occupation. Matisse, Braque and Rouault worked on in semi-retirement.
L£ger, Chagall, Ernst and Masson returned from voluntary exile in the
United States. Important too in the French scene were German artists, exiled
before World War II, who came to Paris to continue their work after hostili¬
ties had ceased. Thus Hans Hartung and Wols pursued, as did Pierre Soul-
ages, Jean Fautrier and others, the experimental direction of “psychic im¬
provisation.” The German artists came from a background that held the
strong influence of Klee, Kandinsky and other members of the Bauhaus. Still
other artists who had been active earlier in modern art developments in
Europe remained in the United States and in England. Hans Hofmann, Max
Beckmann and Tanguy lived in the United States; Oskar Kokoschka in
England; Julius Bissier in Switzerland.
Figure 2
Woman with Child, 1948 • ink on paper, 183/4 x253/b inches • Unversity of Nebraska, F.M. Hall Collection
Rico LEBRUN • Running
 In Germany at the war’s end, who of her once-large roster of twentieth-
century artists remained to tell the story of Die Briicke, Der Blaue Reiter
and the Bauhaus? Her vast cultural achievements and the rich holdings of
twentieth-century paintings, sculpture, drawings and prints which had been
so carefully gathered in her museums and private collections had been either
systematically destroyed or sold by the Nazis long before the close of the war.
Many of the masters of German Expressionism were either dead or had been
forced into retirement. Still others had chosen to live in exile. Among the
more familar names of the older artists who survived were Erich Heckel,
Karl Hofer, Emil Nolde, Willi Baumeister and a few others. Oskar Schlem-
mer, who, with Baumeister, had hidden in a paint factory during the war,
did not live to see the end of the conflict. Kandinsky had died in Paris; Ernst
Ludwig Kirchner and Klee in Switzerland.
In 1949 Ludwig Grote, formerly of the Bauhaus, assembled, in Munich,
a large exhibition of Der Blaue Reiter and of Bauhaus artists which brought
a needed sense of continuity to the younger artists of Germany and belatedly
made them aware of their own modern tradition. A few of the younger artists
still survi/ed who had scarcely begun their careers before the war. Fritz
Winter, a former student of Klee returned from prison in Russia, E. W. Nay
who had been a protege of Edvard Munch returned from the war to continue
his exploration of color values and symbols. Again, as had been noted in
France, the exhibitions of painting held by Winter, Nay, Baumeister, Hans
Hartung and other artists reflected the dominating force of Abstract Expres¬
sionism. K. R. H. Sonderborg’s drawings and paintings in their thrust of
color and swirling movement served as a bridge between the European
abstract work and the American “Action Painting.” To be mentioned also
are the drawings of Pierre Soulages, Jean Bazaine, Maurice Esteve and Jean
Altan.
In England and in Italy before the war, non-representational works were
generally unrecognized, and the influences of Klee and Kandinsky had been
little felt. As they returned to their studios in 1945 and 1946, the artists began
to explore the somber and chaotic aspects of the disturbing realities of post¬
war life. To be mentioned are the works of Henry Moore, Graham Suther¬
land, Ben Nicolson, Francis Bacon and Reg Butler. During the years of the
war, the English sculptor, Henry Moore, filled many sketchbooks with un¬
premeditated drawings which had no connection with a specific piece of
sculpture. These are known as his Shelter drawings and were followed later
by a series of Mine drawings. Moore remarked:
I find drawing a useful outlet for ideas which there is not time
enough to realize as sculpture. And I use drawing as a method of
study and observation of natural forms (drawings from life, draw¬
ings of bones, shells, etc.). And I sometimes draw just for its own
enjoyment.9
The painter, Graham Sutherland, has often made elaborate studies for his
paintings. In the mid 1940’s he began a series of drawings for a Crucifixion
for the Church of St. Matthew in Northampton. Sutherland comments:
About my thorn pictures: I had been thinking about the Crucifixion
(I was about to attempt this subject), and my mind was preoccupied
by the idea of thorns, and wounds made by thorns. In the country I
began to notice thorn bushes and the structure of thorns, which
pierced the air in all directions, their points establishing limits of
aerial space. I made some drawings and in doing so a strange change
took place. While preserving their normal life in space, the thorns
rearranged themselves and became something else—a sort of para¬
phrase of the Crucifixion and the Crucified Head... .10
The romantic elements of English art are reflected further in the drawings
of Ben Nicolson, Francis Bacon and Reg Butler. While Bacon reveals a sud¬
den horrendous vision of a secret despair, Nicolson interweaves intimate
views of nature and abstract forms of immaculate clarity into a graphic state¬
ment that Herbert Read characterizes as being “obstinately English.” Reg
Butler, a sculptor, concerns himself with freeing the figure from its cocoon-
9. Henry Moore, Sculpture and Drawings. Introduction by Herbert Read. New York, 1944, Vol. I, p. xlii.
10 Arts Council of Great Britain. An Exhibition of Paintings and Drawings by Graham Sutherland, arranged by
the Arts Council of Great Britain and The Tate Gallery from May to 9 August, 1953. London, 1953, unpaged [7J.
like surroundings, or, in a more abstract idiom, placing spinning forms into
undefined space. He has portrayed through his work the anonymity and
loneliness of the individual.
The development in Italy centered around the presentation of human
content in art. Perhaps Picasso’s vision of reality guided such artists as
Renato Birolli, Leonardo Cremonini, Giacomo Manzu, Marino Marini, and
Ennio Morlotti. Other Italian artists came to understand that the expression
of human meanings did not necessarily call for figurative representations.
This abstract concept may be noted in the work of Afro, the later work of
Birolli, Luca Crippa and Emilio Vedova, among others.
After the war, the work of the American Mark Tobey, who in the 1930’s
had spent some years in England, and the new work of Abstract Expressionism
developed by the artists of the New York School were important factors in
British painting.
The artists of the United States had benefited by the prolonged contact
with the European artists who spent the war years in America. Masson, Ernst,
Tanguy, Leger, Chagall and from time to time, Joan Miro. Perhaps the most
significant influences were felt through the paintings and the teachings of
of Hans Hofmann. He brought to many American artists first-hand knowl¬
edge of the problems and advancements of twentieth-century European art.
His unflagging enthusiasm for painting itself and the steady development of
his own style of large, free forms and brilliant colors caught the imagination
of many artists.
The liveliness of the exhibitions in the New York art world also contrib¬
uted to the excitement. Tobey first showed examples of his “white writing”
at Peggy Guggenheim’s Gallery in 1944 although he had been working in
this vein since the mid 1930’s.
In the same gallery in the previous year, Jackson Pollock held his first one-
man show. With sensational speed he thereafter began delineation of a pic¬
torial world of soaring and irrational chaos. Among Pollock’s most monu-
mental works are his large-scale drawings in black and white on paper or on
canvas that imaginatively carry a new and sometimes terrifying drama of
limitless, uncharted space.
Gorky explored many styles and his own ideas were often influenced for
years by the work of Picasso. During the later years of his all-too-brief life, he
evolved an eloquent and rich personal statement. Harold Rosenberg de¬
scribes Gorky’s approach:
He observes the image that rises before him; he does not ‘get into it’
as into an arena. Psychologically Gorky’s paintings (and drawings)
constitute an investigation of the unknown rather than an immer¬
sion into its currents; their aim is in the conversion of the data
through esthetic comprehension rather than an organization of the
artist’s energy as in de Kooning, Kline, Hofmann and Guston.11
It has been noted that the work of Gorky, Matta, Baziotes, Rothko, Gott¬
lieb and Tomlin was meditative and sometimes tinged with Surrealist under¬
tones. On the other hand, the drawings of Pollock, Robert Motherwell, Kline,
de Kooning, Guston, Sam Francis and James Brooks charted the spontaneous
expression of inner impulses. Although their diversity was great, they had in¬
dependent vitality and conviction in common. First designated as the New
York School, the forceful and strong abstract expression of their work made
itself felt in the European art world and had considerable influence upon
European artists. In New York the Peggy Guggenheim Gallery and the Betty
Parsons Gallery pioneered in the presentation of the early avant-garde work
of the New York group. The critics, Harold Rosenberg and Clement Green¬
berg, were among the first to perceive the developing elements in a new ap¬
proach to modern paintings. A tentative summation of the New York School
was made much later by the art historian Robert Goldwater in his Reflections
on the New York School:
He (the artist) is not merely a craftsman, neither is he merely a meta¬
physician; he is not simply a nature-lover (or interpreter) neither is
11 Rosenberg, Harold. Arshile Gorky: The Man. The Time. The Idea. New York, 1962, p. 188.
 he only an abstract composer. He is all these at once, and to cate¬
gorize his work is to impoverish our vision of it. Except as technical
device there is neither nature-into-abstraction, nor abstraction-into-
nature; and where the device is not transcended there is hardly any
art. Nor is there art, however abstract, which does not refer to visual
as well as to emotional experience, though it need not recall specific
objects. The artist has come to speak of the work’s ‘tension,’ by
which he means its vitality as an organism. That arises as much from
its (however generalized) relation to an outside world of shared ex¬
perience (a part of which is art itself), as it does from any purely in¬
ternal construction. Herein lies the richness of the work. Out of it
grows the coherence and the multiple individuality of the New York
School.12
Today the artist has no limitations of subject matter and need not observe
special taboos. Often he has cast aside the representational discoveries and
conventions of the past although it had taken centuries to perfect the abilities
to repre sent various facts of natural objects. Space also is freely organized to
accommodate the individual needs of the artist or a particular visual problem.
He interchanges background planes with the immediate foreground in his
compositions to achieve an encompassing fluidity of movement. He has de¬
veloped a visual vocabulary far beyond conventional or traditional appear¬
ances. He may not resort to direct observation nor even recognize the demands
of logic. Perhaps in Abstract Expressionism the artist searches for a more di¬
rect and immediate contact with his era.
The preoccupation with Abstract Expressionism became, with many varia¬
tions and repetitive echoes, an international style. However, artists of the New
York School in the early 1950’s took the lead in the exploration of new con¬
cepts and ideas through often unconventional means. In the total involvement
necessary for the “action painter,” a preliminary sketch or study merely
slowed down or perhaps even destroyed the entire structural composition.
12. Goldwater, Robert. “Reflections on the New York School,” Quadrum, Brussels, No. 8, 1960, p. 36.
Figure 4
Asger JORN • Untitled Drawing, 1962 • ink, 5% x 5% inches • New York, Mr. and Mrs. John Lefebre

25
Thus drawing and painting tended to merge into one expression which often
became highly linear in feeling. A vitality of line was achieved through in¬
tricate curvings, knots, concentrated interweavings or heavy slashes. This
merging of drawing and painting also is to be noted in the work of Hartung,
Hofmann, Pollock, Soulages, Sonderborg and in the works of the Cobra group
in Paris.
The name Cobra is derived from the initials of three of its members’ na¬
tive cities: Copenhagen, Brussels and Amsterdam.The artists who first worked
together are Asgar Jorn of Copenhagen, Corneille of Brussels and Karel Appel
of Amsterdam. Their basic idea was to achieve a direct, spontaneous expres¬
sion through unpremeditated efforts. By this means they have set down on
paper or canvas mysterious visions of strange animals, fetishes and amorphous
figures and fantasies. Such apparitions had also appeared much earlier in the
sixteenth-century paintings of Hieronymous Bosch and much later in the
work of James Ensor (1860-1949). Although the twentieth-century works
seem undisciplined and often confused, they nonetheless hold a continuing
fascination.
It is not to be lightly forgotten that a large number of artists in Europe
and America during the middle years of the twentieth century have worked
within the general disciplines of traditional subjects and materials. They, too,
explore and project through their chosen media “the inner world of man”
viewed through the symbols and patterns of landscapes, figures and the myriad
mundane objects that are part of today’s visual experience. Among those art¬
ists who have penetrated into new, spatial imagery and various aspects of
landscape are Nicolas de Stael, Alberto Giacometti and Vieira da Silva and
Renzo Vespignani in Europe. In the United States, to be noted are the draw¬
ings of Kenneth Callahan, Gabor Peterdi, John Hultberg, Karl Schrag and
Gregory Masurovsky (now living in Paris). In figurative examples, the strong
drawings of Max Beckmann, Henry Moore, and also Giacometti give effective
continuity to this group. Other drawings to be mentioned are those of
Graham Sutherland, Francis Bacon, Leonard Baskin, Ezio Martinelli, Jack
Levine, and those of a very young artist, Michael Mazur. Lyricism and a shim¬
mering mystic quality characterize the work of the older modern master
Giorgio Morandi and the drawings of Morris Graves and Walter Murch.
Since ancient times, artist and artisan have been preoccupied with the
combination of writing and pictorial images. The Cubists and the artists of
the Bauhaus often built compositions around letters, words, fragmentations
of words or specific names. Paul Klee perhaps explored every zone of en¬
counter between writing and drawing. Charles Demuth in a related Cubist
expression employed letters, numbers and broken words in many of his com¬
positions of the early 1920’s. Another American artist, Stuart Davis, made
writing an enlivening leitmotiv throughout his mature work. The use of iso¬
lated letters appears in paintings and drawings of Rene Magritte, Jean (Hans)
Arp, Miro, Bissier, Guerna Giuseppe Capogrossi, Simon Hantai, Henry Mi-
chaux, Dubuffet, Motherwell and Victor Vasarely. The elegant “white writ¬
ing” of Mark Tobey and calligraphic forms of Bradley Tomlin give to their
variously different compositions unusual spatial stability. This basic sense of
the letter and its calligraphic value may be traced in the work of Georges
Mathieu, Walasse Ting, and still later in drawings and paintings of Larry
Rivers, Jasper Johns and Robert Rauschenberg. Much has been written about
Oriental influences on the structural forms of Western twentieth-century art,
especially those of a so-called calligraphic nature. Perhaps Andre Masson has
pointed out most clearly the differences:
... the essential for the Zen painter means a manner of being in the
deepest sense and not, as for us a manner of doing. For them it means
fusion in the life of the cosmos, and for us a way of summing up.13
Drawings are the results of the artist’s efforts to organize a vision, whether
it is visible or invisible to the naked eye, into a structural whole. This requires
the ability to select and to emphasize certain elements of this vision and to
eliminate inconsequential details. On occasion, modern drawings have as-
13. Masson, Andre. “Painting of the Essential,” Quadrum, Brussels, No. 1, 1956, p. 36.
sumed the size of paintings. However, they are less involved with the heady
slip stream of color and the heightened bravura of painting. They retain, gen¬
erally, a certain intimacy of revelation and remain in Henri Focillon’s fine
phrase “a diary of human hand.” The avant-garde drawings of today’s artists
are often harshly provocative, sometimes audacious and mockingly aggressive
in what, on occasion, becomes a visually recorded fury of force. In their di¬
verse range of styles and points of view, and, whether they are conceived as
occasional sketches, studies for other more formal works, or complete within
themselves, modern drawings often carry a mood of pervasive romanticism.
This sense of romanticism and the creative excitement engendered by the in¬
tangible mysteries of discovery are acknowledged by the distinguished physi¬
cist and philosopher, J. Robert Oppenheimer. In a series of collected lectures
he observes:
Both the man of science and the man of art live at the edge of mys¬
tery, surrounded by it, both always, as the measure of their creation,
have to do with the harmonization of what is new with what is fa¬
miliar, with the balance between novelty and synthesis, with the
struggle to make partial order in total chaos.14

UNA E. JOHNSON

14. Oppenheimer, J. Robert. The Open Mind. New York, 1955, p. 145.
 Figure 5

Victor PASMORE
Blue Development No. 6, 1964
ink on plastic, 48 x 24 inches
London, Marlborough Fine Art Limited

m
tV.
'M
Plates
Plate 1
WOLS (Alfred Otto Wolfgang Schultze) • The City, early 1940's • pen and water color on white paper, 10'/2 x 13 inches

New York, Mr. and Mrs. Warren Brandt

 Plate 2

Max ERNST
Study for "Surrealism and Painting,"
1942
pencil heightened with white chalk
on orange paper
18% x 12% inches
New York, Mr. William S. Lieberman

Plate 3

Marino MARINI
Horse and Rider
pen and ink
15x11 inches
Pomfret Center, Connecticut
Private Collection

34
35
 Plate 4

John PIPER • Portland, 1954 • gouache and ink, 14x

19 inches • New York, Joseph H. Hirshhorn Collection

Plate 5

WOLS (Alfred Otto Wolfgang Schultze)

Sailboats and Elephant, 1940
gouache
14% x 11 inches
Great Neck, Mrs. Heinz Schultz

36
 ?i

37
 Plate 6

Karl SCHRAG • Rocks in the Sea, 1963 • brush and India ink, 25% x 39% inches • New York, Kraushaar Galleries

Plate 7

Andre MASSON
Bison au Bord d'un Gouffre, 1944
ink
31 % x 23 inches
New York, Joseph H. Hirshhorn Collection

38
39
40
 Plate 9

Alfred KUBIN • Vacation-Time, 1952 • pen and water color, 20 x 13% inches • Brussels, Mr. and Mrs. Stephen Adler

Plate 8

Max BECKMANN
Lady with Fur, 1945
water color
9'/2 x 121/* inches
Great Neck, Mrs. Heinz Schultz

41
 \VV '
mm H »% VT®
Plate 10

Henry MOORE
Madonna and Child
crayon resist with pencil,
pen and India ink, and
India ink wash on white paper
8% x 6% inches
Cleveland
The Cleveland Museum of Art

Plate 11

Jacques VILLON
Racine, 1945

(for a portrait in Cantique Spirituel)

pen and ink
111/2 x 8 V4 inches
New York, Lucien Goldschmidt

43
Plate 12

George GROSZ
The Painter of the Hole, 1947
water color
23 x 1 7Va inches
New York, Collection of the
Whitney Museum of
American Art
 Plate 13

Graham SUTHERLAND
Study for Objects, 1950
crayon and pencil
10y2 x 14 inches
Great Neck
Dr. Gisele Fleischman
 Plate 14

Pablo PICASSO • The Picador • brush and ink, 19'/2 x 25'/2 inches • Munich, Germany, Mr. and Mrs. Walter Bareiss

46
Plate 15
Philip GUSTON • Ink Drawings, 1952 • ink, 185/e x 235/8 inches - New York, Collection of the Whitney Museum of American Art,
Gift of the Friends of the Whitney Museum of American Art

47
 Plate 16

Mark TOBEY • Remote Field, 1944 • tempera, pencil and crayon, 28Vb x 30 Vs inches • New York, Collection, Museum of
Modern Art, Gift of Mr. and Mrs. Jan de Graaff

Plate 17

Richard LINDNER • Sunday Afternoon, 1954 • pencil and water color, 25 x 19 inches • New York
Collection of the Whitney Museum of American Art, Gift of the Friends of the Whitney Museum of American Art

48
49
 Plate 18

Yasuo KUNIYOSHI • Juggler, 1952 • ink, 22 x 28 inches • New York, Collection of the Whitney Museum of American Art

50
 Plate 19

Morris GRAVES
Bird, 1957
sumi ink on off-white paper
34 x 22% inches
New York
Mr. and Mrs. John D. Rockefeller, 3rd.

51
 Plate 20

Giacomo MANZU * Artist and Model ■ gouache, 19'/2 x 24V2 inches • New York, Joseph H. Hirshhorn Collection

52
Plate 21

Andrew WYETH * Mrs. Kuerner, 1957 • water color, 21 V2 x 14% inches • New York, Joseph H. Hirshhorn Collection

53
 Plate 22

Yves TANGUY • Drawing, 1952 • pen and ink with gouache, 21 V2 x 28 inches • Avon, Conn., Mr. and Mrs. H. Sage Goodwin

54
Plate 23

Ferdinand LEGER • Untitled Drawing, c. 1940 • pencil, 73A x 10'A inches • Great Neck, Dr. Gisele Fleischman

55
 Plate 25

Alexander CALDER • Reel Fringe, 1953 • gouache, 29 x 42 Vi inches • New York, Joseph H. Hirshhorn Collection

Plate 24

Hans HOFMANN
Untitled Drawing, 1948
gouache on buff paper
25'/2 x 21 Vt inches
Mr. Clement Greenberg

57
 Plate 26

David SMITH • Untitled, II, 1961 • India ink, egg yolk, water color, 25'/2 x 39% inches
New York, Collection of the Whitney Museum of American Art, Gift of Candida Smith

58
 Plate 27

K.R.H. SONDERBORG
Untitled Drawing, 1964
ink
30% x 22V2 inches
New York
Mr. and Mrs. John Lefebre

59
 Plate 28

Willem de KOONING "Two Nudes • pastel on paper, 22 x 23 Vi inches • Munich, Germany, Mr. and Mrs. Walter Bareiss

60
Plate 29
Walasse TING • Untitled Drawing, 1963 ■ pastel, 11 % x 14 inches • New York, Lefebre Gallery

61
 Plate 30

Roberto Sebastian MATTA Echaurren • Untitled Drawing • ink, 14 x 20 inches • New York, Mr. and Mrs. John Lefebre

62
Plate 31

NOEL • Manuscript Palimpsest, 1963 • ink, 30% x 21 % inches • New York, Lefebre Gallery

63
64
 Plate 33
. 1955 • pencil, conte crayon and water color, 17Vb x 21 Vi inches
BALTHUS Klossowski de Rola • Sleeping Woman, ca
Chicago, The Art Institute of Chicago

Plate 32

Larry RIVERS
Self Portrait, 1953
pastel
272U x 2OV2 inches
Pasadena, Mr. and Mrs. Robert A. Rowan
65
 Plate 34

Nicolas de STAEL
Untitled Drawing, 1944
ink wash
17y2 x 10% inches (sight)
New York, Mr. and Mrs. John Lefebre

66
Plate 35

Lee BONTECOU • Untitled, 1963 • pencil and soot on muslin, 47'/4 diam.
New York, Collection of the Whitney Museum of American Art, Gift of the
Friends of the Whitney Museum of American Art

67
 Plate 36

Robert MOTHERWELL • Kafka's Big Room, 1944 • drawing and water color, 22 Vi x 28 inches • Great Neck, Mrs. Heinz Schultz

68
Plate 37
Julius Heinrich BISSIER • 28, January, 1961, 1961 - oil tempera, 7%x9% inches (sight) • New York, Lefebre Gallery

69
 Plate 38

Loren MACIVER • Blizzard, 1961 • charcoal, 18% x 24% inches • New York, Mr. John Gordon

Plate 39

Karl APPEL
Paris series, No. 5
ink and wash on paper
255/8 x 19% inches
Worcester, Mass., Worcester Art Museum

70
71
 Plate 40

Jackson POLLOCK • Untitled, 1947 • ink and crayon on white paper, 25 x 30 inches • New York, Dr. Jules W. Leaf

72
Plate 41
Cornells van Beverloo CORNEILLE • Speed, 1955 • gouache, 6%x WA inches (sight) • New York, Lefebre Gallery

73
74
Plate 42

VIEIRA da Silva
Untitled Drawing, 1961
ink
11 3A x9% inches (sight)
New York, Mr. and Mrs. John Lefebre

Plate 43

VIEIRA da Silva
Untitled Drawing, 1958
pastel
13%x 103/8 inches (sight)
I
New York, Lefebre Gallery

75
 Plate 44

Ernst Wilhelm NAY • Untitled, 1955 ■ water color, 16 x 23inches • New York, Joseph H. Hirshhorn Collection

76
Plate 45

George MATHIEU • Abstraction, 1956 • gouache, 24% x 19V4 inches • New York, Joseph H. Hirshhorn Collection

77
 Plate 46

Giorgio MORANDI • Still Life, ca. 1958 • water color, 6 x 7% inches (sight) • New York, Mr. John Gordon

Plate 47

Rico LEBRUN
The Furious Streetwalker
chased him out of the room
(illustration for Brecht's
“Threepenny Novel"), 1962
ink
26V2 x 18'/2 inches (sight)
New York, Mrs. Ella Jaffe

78
79
 Plate 48

Mark TOBEY • Announcement, 1950 • water color and gouache on cream paper, 18% x 24% inches
New York, Mr. Edgar Kaufmann, jr.

80
Plate 49
Arshile GORKY • Study for painting, "They Will Take My Island," 1944 • pencil and wax crayon, 22 x 30 inches
New York, The Brooklyn Museum, The Dick S. Ramsay Fund

81
 I

Plate 50

GaborPETERDI
Thorns, 1954
brush and ink
3014 x 22% inches
Rowayfon, Connecticut
Gabor Peterdi

Plate 51

Yasuo KUNIYOSHI
Girl Thinking, c. 1941
ink
91/2 x 7 inches

New York,
Joseph H. Hirshhorn
Collection
83
Plate 52

Sam FRANCIS
Yellow into Black, 1958
water color on white paper
29% x 22 inches
Pittsburgh, Museum of Art,
Carnegie Institute
 Plate 53

Adja YUNKERS
Tarassa X, 1958
pastel
44 x 31 inches
New York
Joseph H. Hirshhorn Collection
 Plate 55
Leonard BASKIN • Head of a Poet, 1954 • brush and ink, 23 V2 x 29Vs inches • New York, The Brooklyn Museum

Plate 54

Jose Luis CUEVAS

The Dwarf. Figure for a Crucifixion, 1956
pen and ink with wash
231/2 x 19 inches
New York, The Brooklyn Museum
87
88
\P \
Plate 56

George GROSZ
Trees, Wellfleet, Cape Cod
Massachusetts, 1946
charcoal, India ink
water color on paper
colored by wash
19%6 x 145/s inches
The Cleveland Museum of Art
John L. Severance Fund

Plate 57

William BAZIOTES
Sea Forms, 1951
pastel
38y8 x 25Vs inches
New York, Collection of the
Whitney Museum of
American Art
 Plate 58

Jasper JOHNS
Painting with 2 Balls, I960
pastel, charcoal and
pencil on paper
1 19'/2 x 15'/4 inches
New York
Joseph H. Hirshhorn Collection

Plate 59

Julio GONZALES
Self Portrait, 1940
ink, pencil and brush
91/2 x 63/s inches
Otterlo
Rijksmuseum Kroller-Muller

91
■
 Plate 61

Henry MOORE • Woman Winding Wool, 1949 • crayon and water color, 13% x 25 inches • New York, Collection, The Museum
of Modern Art, Gift of Mr. and Mrs. John A. Pope in honor of Paul J. Sachs

Plate 60

Edouard PIGNON
Untitled Drawing, 1960
mixed media
14% x 20 inches
New York, Mr. and Mrs. John Lefebre

93
 Plate 63

Ibram LASSAW • Drawing for a Sculpture, 1958 • brush and ink, 16>/2 x 22 inches • New York, The Brooklyn Museum
Gift of the Aaron E. Norman Fund, Inc.

Plate 62

Franz KLINE
Untitled, 1950 and reverse 1948
mixed media on paper
29Vi x 22V2 inches
New York, Mr. and Mrs. Robert C. Scull

95
96
I Plate 64

Sam FRANCIS
Untitled, c. 1957
water color
24 x 19Vi inches
New York
Joseph H. Hirshhorn Collection

Plate 65

Worden DAY
Magnetic Tide, 1961
ink and collage
36 x 161/,b inches
New York, The Brooklyn Museum

97
 Plate 66

Willem de KOONING • Composition, Attic Series, 1950-51 • ink drawing, 29 x 35 inches • New York, Courtesy Sidney Janis Gallery

Plate 67

Bernhard LUGINBUHL
Title A, Study for Sculpture, 1961
pen, brush and ink
15% x 151/2 inches
New York, The Brooklyn Museum

98
99
Plate 68

Jackson POLLOCK
Untitled, n. d.
water color and gouache
221/2 x 15V2 inches
New York
Joseph H. Hirshhorn Collection

Plate 69

Max WEBER
Contemplation, 1946-47
pastel
17% x 13 inches
New York
Joseph H. Hirshhorn Collection
 Plate 70

Luis QUINTANILLA
Portrait Study of a Woman
1949
pencil
24'/s x 16% inches
New York
The Brooklyn Museum

102
 Plate 71

Alberto GIACOMETTI
Head ol Boy, 1955
pencil
19'/2 x 12% inches
New York, Courtesy
Sidney Janis Gallery

!•- {/+**"■ • ^ ■ ‘v $$
 I

104
 Plate 73

Robert RAUSCHENBERG • Mona Lisa, 1960 • drawing and rubbing on paper, 22% x 28% inches
New York, Mr. and Mrs. Robert C. Scull

Plate 72

Robert RAUSCHENBERG
Portrait of Ethel Scull, 1962
combine drawing on white paper, four panels
58 x 46 inches
New York, Mr. and Mrs. Robert C. Scull

105
106
Plate 74

Calvin ALBERT
Ritual No. II, 1954
charcoal
29 x 23Vs inches
New York, The Brooklyn Museum

Plate 75

Jean DUBUFFET
Site a la Rose, 1960
ink drawing
18 x 10% inches
New York
Courtesy Sidney Janis Gallery

107
 Plate 76

Reginald BUTLER ■ Circe Head, 1951 • pencil, chalk, and wash on white paper, 10% x 14% inches
Ottawa, The National Gallery of Canada

Plate 77

Giacomo MANZU
Praying Cardinal, 1955
gouache
40V4 x 26V2 inches
New York, Joseph H. Hirshhorn Collection

108
109
 Plate 78

John WILDE
Myself Illustrating How a
Square with Points A and H is
Always in My Vision, 1947
pencil
13% x 95/8 inches
New York, Collection of the
Whitney Museum of
American Art

110
Plate 79

Pierre ALECHINSKY • Drawing, 1956 • ink, 13Vs x 16% inches • New York, The Solomon R. Guggenheim Museum Collection

111
 Plate 80

Marcel DUCHAMP • Jacquette (Front and Back), 1956 • collage drawing, 16 x 23 inches • New York, Courtesy Sidney Janis Gallery

Plate 81

Claes OLDENBURG
Plan for Vacuum Cleaner from Side, 1964
chalk and wash
40 x 26 inches
New York, Courtesy Sidney Janis Gallery

112
 Plate 83

Paul DELVAUX ■ At Claude and Ruth's, 1947 • wash, and pen and ink, 23]/2 x 307/8 inches • New York, Collection, The Museum of
Modern Art, The Kay Sage Tanguy Bequest

Plate 82

Jean DUBUFFET
Black Countryside ITerres Noires), 1955
collage of painted paper
25Vi x 23 Vs inches
New York, Collection, The Museum of Modern
Art, Gift of Mr. and Mrs. Donald H. Peters

115
116
 Plate 85

Stuart DAVIS ■ Underpass No. 1, 1955 • gouache on paper, 9% x 12% inches • New York, Mr. and Mrs. Albert Dome

Plate 84

Joan MIRO
The Beautiful Bird Revealing the Unknown
to a Pair of Lovers, 1941
gouache
18x15 inches • New York, Collection, The
Museum of Modern Art
Acquired through the Lillie P. Bliss Bequest

117
 0-

Plate 86
Lyonel FEININGER • Church on the Cliff, 1953 • charcoal, wash, pen and ink, 12% x 19’4 inches • New York, Collection, The

Museum of Modern Art, Gift of Mr. and Mrs. Walter Bareiss

118
Plate 87
Hans HARTUNG • Drawing in black, yellow and blue, 1960 • pastel, 19 x 28Vi inches • New York, Lefebre Gallery

119
Plate 88

Jacques LIPSCHITZ
Rape of Europa, IV, 1941
gouache
26 x 20 inches
New York, Collection
The Museum of Modern Art
Gift of Philip L. Goodwin
 Plate 89

Walter MURCH
Study for "The Birthday,"
1963
pencil, wash, crayon
23 x 17'/2 inches
New York, Collection of the
Whitney Museum of
American Art
Neysa McMein
Purchase Award
 Plate 91

Henri MICHAUX • Untitled, 1960, dated on reverse • brush and ink, 29% x 42’/2 inches • New York, Collection, The Museum of
Modern Art, Gift of Michel Warren and Daniel Cordier

Plate 90

Ben SHAHN
Studies of a Child, n.d.
brown pen and ink on yellowish paper
15% x 11 % inches
The Artist's Collection

123
124
 Plate 93

John Paul JONES * Head, 1960 • charcoal and pastel, 22Vi x 28 inches ■ New York, Collection, The Museum of Modern Art
Mr. and Mrs. Donald B. Straus Fund

Plate 92

Eduardo PAOLOZZI
Drawing for a Saint Sebastian, 1957
ink, gouache and collage
13'/2 x 9% inches
New York, The Solomon R. Guggenheim
Museum Collection

125
Plate 94

Henri MATISSE
Dahlias and Pomegranates
1947
brush and ink
30'/8 x 22V4 inches
New York, Collection
The Museum of Modern Art
Abby Aldrich Rockefeller
Fund

Plate 95

Fernand LEGER
Face and Hands, 1952
brush and ink
26 x 19% inches
New York, Collection
The Museum of Modern Art
Mrs. Wendell T. Bush Fund
127
Plate 96

Renato GUTTUSO
Head of a Girl, 1961
India ink and water color
18’/2 x 13% inches
Milan, Collection Bolchini
 Biographies

ALBERT Calvin Albert (b. 1918), an American sculptor and draughtsman, was born
in Grand Rapids, Michigan. He works mainly in the abstract medium with
welded metals, and explores the fragmentation of sculptural forms.

ALECHINSKY Pierre Alechinsky (b. 1927), born in Brussels, was a co-founder of COBRA
and an active member from 1949 to 1951. He lives in Paris but maintains a
studio in New York as well.

APPEL Karel Appel (b. 1921) , a painter and sculptor, was born in Amsterdam. A
co-founder of COBRA in 1949, he now lives in Paris. He is an exponent of
Dutch Neo-Expressionism and Art Brut, and has probably been influenced
by Dubuffet.

BALTHUS Balthus Klossowski de Rola (b. 1908) was born in Paris and now lives in
Rome. His early paintings were influenced by Bonnard and Seurat. His cur¬
rent work is noted for a hypnotic intensity.

BASKIN Leonard Baskin (b. 1922) was born in New Brunswick, New Jersey, and
studied art at Yale, the New School, and in Paris. He now teaches at Smith
College in Northampton, Massachusetts. He is a well-known sculptor and
graphic artist.

BAZIOTES William Baziotes (1912-1964) was born in Pittsburgh and is numbered

among the more important abstract painters. His paintings chart a nebulous,
unseen world where strange images appear from a mysterious space.

BECKMANN Max Beckmann (1884-1950) was one of the most important German
painters of the twentieth century. For Beckmann there was nothing of more
importance in painting than representation and content. Thus he devoted
his immense creative powers and his almost boundless energy to capturing
in paint his own experience of reality.

BISSIER Julius Heinrich Bissier (b. 1893) is a German painter whose works show
the influence of the teachings of Klee and Kandinsky.

129
BONTECOU Lee Bontecou (b. 1931) is one of the young New York sculptors working in
the abstract vein. She has invented new forms in canvas, wire, and mono¬
chromatic color.

BUTLER Reginald Butler (b. 1918) was born in Buntingford and now lives in Hert¬
fordshire, England. His fine drawings and elegant, elongated steel sculptures
present the human figure in dramatic statements that link the inner expe¬
rience of life with the outer world of facts. Although in the great tradition
of sculpture, his figures carry the tempo of their time.

CALDER Alexander Calder (b. 1898) , through his youthful, gay, and often humorous
imagination, has cast the world of nature into an international language
fashioned from steel forms, fine wires, and changing rhythms. He was one of
the first American artists of this century to achieve a great international
reputation.

CORNEILLE Cornelis Van Beverloo (b. 1922) , called Corneille, was born in Belgium of
Dutch parentage. He studied drawing in Amsterdam, but is self-taught as a
painter. With Appel and Constant he founded the experimental group
Reflex, and he was one of the co-founders of COBRA. His own work, more
poetic than that of his associates, shows the influence of Klee and Miro.

CUEVAS Jose Luis Cuevas (b. 1933) , a native of Mexico City, is one of the more pro¬
gressive painters of Mexico. Although he works with the traditional subject
matter of modern Mexican painting, his themes are universal rather than
specific; he is concerned with the disquieting elements of man’s destiny.

DAVIS Stuart Davis (1894-1964) was born in Philadelphia and moved to New
York at an early age. He originally studied painting with Robert Henri.
Keeping to his own personal style throughout a revolutionary period in art,
he always retained his interest in pure painting. His experiments in collage
and the use of lettering were actually only imitations of other textures, free¬
ing him of the limitations placed upon scale by collage’s use of man-made
objects. His landscapes developed from “multiple views” to “single focus”
held within a plane of fragmented words.

DAY Worden Day (b. 1916) was born in Columbus, Ohio. Formerly known as a
painter and graphic artist, she is now working in sculpture. All of her
 work has been in the abstract vein, although the basic elements are drawn
from nature.

DELVAUX Paul Delvaux (b. 1897) was born in Belgium and teaches at the academy in
Brussels. Originally he was a landscape painter, but in 1935, during a trip
to Italy, he discovered de Chirico’s metaphysical painting and Surrealism.
He is now well known for his figurative work.

DUBUFFET Jean Dubuffet (b. 1901) was born in France and now lives in Vence. His
belated career as an artist, and almost immediate wide acclaim, began in
1942 when he became a painter and lithographer. Specializing in assem¬
blages and experimentation with materials not previously used in painting,
he is an exponent of Art Brut.

DUCHAMP Marcel Duchamp (b. 1887), a French painter and writer, was one of the
original Dadaists. His painting, Nude Descending a Staircase, was one of the
most sensational pictures in the Armory Show of 1913. The artist has done
few drawings during the past several decades; the drawing reproduced in the
present volume, Jacquette (Front and Back), was made especially for Mrs.
Sidney Janis.

ERNST Max Ernst (b. 1881), born in Cologne, now lives in Paris. He introduced
the Dada movement into Cologne in 1919, and since 1924 has been asso¬
ciated with Surrealism.

FEININGER Lyonel Feininger (1871-1956), a native New Yorker, was originally a car¬
toonist and well on his way to becoming a musician. After a sojourn in Europe
he turned to painting; early influences include the Cubists, Delaunay, the
Blaue Reiter group, and Kandinsky. In 1919 he joined the Bauhaus, where
he remained until its dissolution in 1933. As painter and draughtsman, he
was interested in the luminosity of space rather than in objects themselves.
He returned to the United States in 1937 and became a major force in
American painting.

FRANCIS Sam Francis (b. 1923) was born in California, where he now lives. During
his recovery from wounds incurred in World War II, he became interested
in painting. Since 1947 he has been an internationally known painter.

131
 GIACOMETTI Alberto Giacometti (b. 1901), the son of a Swiss painter, was born in
Stampa. After studying art in Geneva and Rome, he moved to Paris where
he has had his studio ever since. Until 1928, his figures resembled Cubist
versions of primitive sculpture. But his later work, delicately enlongated fig¬
ures and haunting portraits, captures the loneliness and isolation of the
individual in the twentieth century.

GONZALES Julio Gonzales (1876-1942) was born in Barcelona but lived in Paris after
1900. A painter until 1927, he was an early associate of Picasso. Not widely
known or appreciated as a sculptor during his lifetime, his metal repousse
figures have more recently exerted a great influence on younger sculptors in
Europe and America.

GORKY Arshile Gorky (1904-1948) , an Armenian, spent most of his life in the
United States. His early paintings, showing strong European influences,
have in turn had a great deal of influence on younger artists working today.
His later work, in which he achieved an eloquent and very personal expres¬
sion, is not as yet fully appreciated.

GRAVES Morris Graves (b. 1910), an American painter, has traveled and studied art
collections in Japan, France, and Mexico. His works, in the tradition of
American romantic painting, are tinged with Oriental mysticism.

GROSZ George Grosz (1893-1959), a German caricaturist, was born and died in
Berlin. After World War I he produced drawings and lithographs exposing
postwar conditions with biting sarcasm; he attacked militarism, philistinism,
bureaucracy, and capitalism with equal venom. After coming to New York
in 1933, he turned to water colors of the city and rather baroque still lifes.
During World War II, still in New York, he painted symbolic, terror-filled
anti-war pictures.

GUSTON Philip Guston (b. 1913) was born in Montreal and lives in New York. He
is one of the influential painters of the Abstract Expressionist movement.

GUTTUSO Renato Guttuso (b. 1912), a painter and influential teacher, was born in
Sicily and now lives in Rome.

HARTUNG Hans Hartung (b. 1904), born in Leipzig, was influenced by Kandinsky,
Kokoschka, Nolde, and Marc. In 1935 he left Germany ahead of the gestapo

132
 and fled to Paris, which he had visited in 1925 and 1930; he became a nat¬
uralized French citizen in 1946. He now works as an abstract painter.

HOFMANN Hans Hofmann (b. 1880) was born in Germany, but has lived in the United
States since the beginning of the Nazi persecution of artists. His new style of
abstract, dynamic, and colorful painting has been evolving since 1940, and
has exerted an enormous influence on the younger artists of the last two
decades, especially as the inspiration of much of the work of the Abstract
Expressionists in the United States.

JOHNS Jasper Johns (b. 1930), an American painter, is important for his creation
of radically new forms of representation.

JONES John Paul Jones (b. 1924) was born in Iowa and studied at Iowa State
University, where he worked with Mauricio Lasansky and others, primarily
in the graphic arts.

JORN Asger John (b. 1914) , born in Denmark, moved in 1936 to Paris, where he
studied in Leger’s atelier and collaborated with Le Corbusier. A painter,
sculptor, engraver, and ceramist, he now divides his time between Paris and
Amsterdam. He was a co-founder of COBRA.

KLINE Franz Kline (1911-1962) was an important member of the New York
School of Abstract Expressionist painters.

de KOONING Willem de Kooning (b. 1904) , born in Rotterdam, now lives in New York.
His dynamic figurative abstractions, first exhibited in 1948, established him
as one of the most important leaders (along with Pollock) of the new
American painting. He often makes hundreds of preparatory drawing for a
single painting.

KUBIN Alfred Kubin (1877-1959) , born in Bohemia, was a draughtsman, water¬

colorist, and writer. He was associated with the Blaue Reiter group.

KUNIYOSHI Yasuo Kuniyoshi (1890-1953), a Japanese artist, made his career in the
United States as an influential painter and teacher.

LASSAW Ibram Lassaw (b. 1913) was born in Alexandria, Egypt, to parents of Rus¬
sian descent. A sculptor in metals, he now works in New York.

133
 LEBRUN Rico Lebrun (1900-1964) came to the United States from Naples and lived
and taught in California. His painting style, forceful and individual, was
always figurative in treatment. He was greatly influenced by the painters of
the Italian Renaissance.

LEGER Fernand Leger (1881-1955) was a French painter whose early block-like
figures evolved, about 1917, into a type of Cubism based on the geometrical
forms of machinery. These forms also influenced his massive, robot-like
figures and increased the effect of his clear grays and strong, unbroken
colors. During World War II he lived in New York, subsequently returning
to Paris.

LINDNER Richard Lindner (b. 1901) is a German painter who now lives in New York.

LIPCHITZ Jacques Lipchitz (b. 1891) left his native Lithuania in 1909 for Paris, where
he was at first inspired by Cubism and later associated with Juan Gris. He
fled to the United States during the Occupation, and now lives and works at
Hastings-on-Hudson. His sculpture exerts great influence on a number of
young American sculptors.

LUGINBUHL Richard Luginbiihl (b. 1929) was born in Switzerland. His sculpture was
featured in the Venice Biennale of 1964.

MACIVER Loren Maclver (b. 1909), a native New Yorker, is that rarity—a painter
who has absorbed some aspects of abstractionism without losing the roman¬
ticism of mood essential to her paintings.

MANZU Giacomo Manzu (b. 1908), an Italian sculptor born at Bergamo, was initially
influenced by Rodin and Degas. Primarily interested in character, he has
portrayed the human figure with sensitivity and his work often has a
religious connotation.

MARINI Marino Marini (b. 1901) was born in Pistonia and studied sculpture in
Florence and Paris. Like a number of modern sculptors, he is an outstanding
draughtsman. Since 1940 he has been teaching at the Brera Academy in
Milan and concentrating on the horse-and-rider motif.

MASSON Andrfi Masson (b. 1896) is a French Surrealist painter. His calligraphic
style is the result of his experiments in automatic writing. His linear forms
often illustrate Surrealist themes.
 MATHIEU Georges Mathieu (b. 1922) is a French avant-garde painter whose paintings
and drawings are composed of twisting lines that explode or taper into
abrupt spirals and graceful tendrils. The result is a sudden, dramatic vision
of an expanded reality, filled with inner tensions and rhythms. Mathieu
lives and works in Paris.

MATISSE Henri Matisse (1869-1954) was a French sculptor and painter, the leading
representative of Fauvism. His interest was in pictorial compositions with
broad, flat areas of color; his subjects were always traditionally French. His
consummate skill in the orchestration of color and his superb draughtsman¬
ship have earned for him a very important place in twentieth-century art.

MATTA Roberto Sebastian Matta Echaurren (b. 1912) is a Chilean painter, now
living in Paris. Matta turned from Abstract Surrealism to compositions
employing planes and orbits in such intricate relationships that each passage
appears to be a special complication with its own contours and galaxies of
infinitely expanding “things.”

MICHAUX Henri Michaux (b. 1899), a Belgian painter in the School of Paris, has been
greatly influenced by Oriental calligraphy since traveling in the Far East
in 1933.

MIRO Joan Miro (b. 1893) is a Spanish Surrealist painter who has worked in Paris
and Barcelona. In 1925 he took part in the First Surrealist Exhibition and,
with Dali, was recognized as one of the leading Surrealists. His compositions
of floating lines and colorful forms strike a gay and amusing note in twen¬
tieth-century painting and may be compared to the sculptures of Alexander
Calder.

MONDRIAN Piet Mondrian (1872-1944) was a Dutch painter who lived in Paris, Lon¬
don, and New York. Together with Picasso, Klee, and Kandinsky, he was
one of the most influential artists in the development of present-day art. His
style of abstractionism consisted principally of restricting forms to purely
geometric shapes.

MOORE Henry Moore (b. 1898), born in Yorkshire, England, sought to bring back
to sculpture the effect of square mass and “block rhythms.” In a style whose
forms were related to Egyptian and pre-Columbian sculpture, he has worked

135
 in stone, wood, and bronze with equal effect. His drawings based on life in
the Underground shelters of wartime London are justly famous.

MORANDI Giorgio Morandi (1890-1964) was born in Bologna. He became a member

of the famous Secessione group in 1914. Shortly thereafter he began the
famous series of still-life studies which he never abandoned. After a short
period as a Futurist, he joined for a time the pittura metafisica group under
de Chirico and Carlo Carra. He has been considered an artist’s artist. In a
long series of still lifes, influenced by Cezanne, Morandi was able to capture,
through astute understatement and muted colors, an elusive visual poetry.

MOTHERWELL Robert Motherwell (b. 1919), a painter from the state of Washington, has
been a major force in the New York School. Both as an artist and as a writer,
he has understood and presented the avant-garde movements in modern art.

MURCH Walter Murch (b. 1907) , born in Canada but now an American, is a painter
who manages to invest his realistic paintings of mechanical objects—valves
and the like—with an aura of romanticism.

NAY Ernst Wilhelm Nay (b. 1902) , a Berlin painter, studied with Munch and
Hofer. He lived in Italy for a while, but returned to Germany to serve in
World War II. His paintings record the development of his ideas of forms in
space through intricate color relationships.

NOEL Georges Noel (b. 1924) is an abstract painter who lives in Paris.

OLDENBURG Claes Thure Oldenburg (b. 1929) was born in Stockholm and studied at
Yale and the Art Institute of Chicago. He now lives and works in Nerv York
and is primarily associated with such Pop Art manifestations as "Environ¬
ments.” He has created a number of “Happenings.”

PAOLOZZI Eduardo Paolozzi (b. 1924) was born in Edinburgh. He is an important

British sculptor who, critic Herbert Read declares, has created a wholly new
style in modern sculpture.

PASMORE Victor Pasmore (b. 1908) is one of the advanced abstract artists in England
who began his career under the influence of Impressionism, Fauvism, and
finally Cubism and abstract art. He has done mural reliefs, which are three-
dimensional constructions, and some ceramic murals. He has been associated
with Ben Nicholson and Barbara Hepworth.
 PETERDI Gabor Peterdi (b. 1915) came to the United States from his native Hungary
by way of Rome and Paris in 1939. He is known as a painter of landscapes
and as a superb graphic artist. Author of a definitive book on printmaking
techniques, he is an associate professor at Yale.

PICASSO Pablo Picasso (b. 1881) is a Spanish painter who studied and lives in Paris.
His early works (1901-06) were conventional and named for their dominant
colors, “blue” and “rose.” Influenced by Iberian sculpture, African Negro
masks, and the art of Cezanne, he turned to compositions of angular planes
which developed into Cubism. A subsequent neoclassical period was fol¬
lowed by a powerful new phase climaxed with the mural Guernica in 1937.
He continues to produce paintings, sculpture, pottery, and graphic art.

PIGNON Edouard Pignon (b. 1905) is a French painter influenced by Matisse and
Picasso. Since 1936 he has followed no school but has held to an independent
course. He lives in Paris.

PIPER John Piper (b. 1903) is an English painter of linear and semi-abstract
subjects.

POLLOCK Jackson Pollock (1912-1956) studied art in Los Angeles and New York.
From 1938 to 1942 he was in the Federal Art Project. In 1940 he arrived at
abstractionism; a complete nonconformist in painting, he invented “drip.”
He is perhaps the single most important artist (along with de Kooning) in
the development of Abstract Expressionism in the United States.

QUINTANILLA Luis Quintanilla (b. 1895), a Spanish artist born in Santander, studied
architecture for a time in Spain and later joined Juan Gris in Paris. An
important draughtsman and illustrator, he now lives in New York. He
served the Republican cause in Spain; his graphic work is often a devastat¬
ing comment on the ravages of war.

RAUSCHENBERG Robert Rauschenberg (b. 1925) is an American painter who uses images of
the popular culture freely in realistic and abstract works.

RIVERS Larry Rivers (b. 1923) , an American painter, presents commonplace objects
in a new realist idiom.

137
 SCHRAG Karl Schrag (b. 1912), born in Germany (his mother was an American),
now lives in New York and teaches at Cooper Union. Influenced by Van
Gogh and the German Expressionists, he is primarily a landscape painter.

SHAHN Ben Shahn (b. 1898) left Lithuania for the United States as a young child.
He worked for a time as an apprentice to a lithographer, and then traveled
and studied in Europe. He chooses scenes of life in contemporary America
for his paintings and prints.

SMITH David Smith (b. 1906) is one of the most important modern American
sculptors. His monumental steel structures have a commanding and rugged
presence.

SONDERBORG K. R. H. Sonderborg (b. 1923), born in Denmark, now lives and works in
Paris and New York. His work forms a bridge between European and
American Action Painting.

de STAEL Nicolas de Stael (1914-1955) was born in St. Petersburg and died in France.
He was influenced by the currents of contemporary French painting, but his
own work retained a highly personal note. Although he worked in an
abstract idiom, the landscape motif was always present in his paintings.

SUTHERLAND Graham Sutherland (b. 1903) was born in Kent, England. He became a
painter at the age of thirty and served as an artist in the War Office from
1940 to 1943. His “thorn” series of drawings was part of the preparation for
his painting of the Crucifixion done for Northampton Church in 1946. In
1952 he designed the tapestry for the restored Coventry Cathedral.

TANGUY Yves Tanguy (1900-1955), a French painter, came to the United States in
1939 and helped interest young American painters in European art develop¬
ments, especially Surrealism. His immaculate paintings and drawings rank
high in Surrealist expression.

TING Walasse Ting (b. 1929) left Hong Kong for Paris and New York. An
abstract painter, printmaker, and ceramist, he is now living again in Paris.

TOBEY Mark Tobey (b. 1890), born in Wisconsin, has traveled in Europe and the
Far East and now lives in Seattle. His invention in painting, “white writ¬
ing,” is based on the technique of Chinese calligraphy.
 VIEIRA Maria Elena Vieira da Silva (b. 1908) was born in Portugal. In 1927 she
moved to Paris, where she has since became an important exponent of the
style of the School of Paris. After studying sculpture with Bourdelle and
Despiau and engraving with Hayter, she worked in the studios of Othon
Friesz and Leger. She has also illustrated books and made cartoons for tapes¬
tries. During World War II she went to South America, returning to
Paris in 1947.

VILLON Jacques Villon (1875-1963) , whose real name was Gaston Duchamp, was
the brother of the painter Marcel Duchamp and the sculptor Duchamp-
Villon. He began as a Cubist and was a co-founder of Section d’Or, the
avant-garde group concerned above all with ideal proportions (the “golden
mean’’ or “golden section’’) . His painting, although it contained abstract
constructional elements, was never completely non-figurative.

WEBER Max Weber (1881-1961), America’s earliest pioneer in modernism, asserted

that he depended on “the great ancients of all races and climes” for inspira¬
tion and incentive. His early work evidenced his religious nature with
themes of prayer and contemplation and pictures of women suggestive of
biblical themes.

WILDE John Wilde (b. 1919) is an American painter whose style has been described
as “immaculate realism.”

WOLS Alfred Otto Wolfgang Schultze (1913-1951), called Wols, was born in
Berlin. He lived in exile in Paris during World War II and remained there
afterwards. Influenced by Klee, Kandinsky, and other members of the Bau-
haus, he experimented in psychic improvisations through deft linear forms.

WYETH Andrew Wyeth (b. 1917) is an American painter in the romantic tradition.
His individual style is characterized by a meticulous technique.

YUNKERS Adja Yunkers (b. 1900) was born at Riga in Latvia and has lived in Lenin¬
grad, Berlin, Paris, London, and Stockholm. His American career began in
1947. An artist of great maturity and fine sensibility, he is associated with
the New York School of painters.
Bibliography
GENERAL

Barr, A. H., Jr., Masters of Modern Art, Reynolds, G., Twentieth Century Draw¬ BASKIN
New York, 1954. ings, London, 1946. Worcester Art Museum, Leonard Baskin:
Brion, M., L’Art Abstrait, Paris, 1956. sculpture, drawings, woodcuts, Worces¬
Rosenberg, J., Great Draughtsmen from ter, Mass., 1956.
Bru, C. P., Esthetique de VAbstraction,
1955. Pisanello to Picasso, Cambridge, Mass.,
1959. BECKMANN
Canaday, John, Mainstreams of Modern
Art: David to Picasso, New York, 1962. Goepel, E., Max Beckmann Der Zeichner,
Rosenblum, R., Cubism ir Twentieth-Cen¬ Munich, 1962.
Carrieri, R., II Disegno Italiano Contem- tury Art, New York, 1962.
poraneo, Milan, 1945.
DAVIS
Cassou, J., and Jaccottet, P., Le Dessin
Sachs, P. J., Modern Prints ir Drawings, Goossen, E. C., Stuart Davis, New York,
frangais au XXe siecle, Lausanne, 1951.
New York, 1954. 1959.
Fuchs, H., Gaben des Augenblicks, Vier-
undvierzig unveroffentlichte Zeichnun-
Selz, P., German Expressionist Painting, DUBUFFET
gen und Aquarelle aus der Sammlung E.
Berkeley, Calif., 1957. Limbour, G., L’art brut de Jean Dubuffet,
Frey, Munich, 1964.
Paris, 1953.
Grohmann, W., The Expressionists, New
Seuphor, M., L’Art Abstrait, Paris, 1949.
York, 1962.
ERNST
Kuhn, C., German Expressionism and Ab¬
Seuphor, M., Abstract Painting:Fifty Years Waldberg, P., Max Ernst, Paris, 1958.
stract Art, the Harvard Collections,
of Accomplishment, from Kandinsky to
Cambridge, Mass., 1957.
the Present, New York, 1963. FEININGER
Rauh, E. and Simon, S., A Catalogue of
20th century Master Drawings, New Hess, H., Lyonel Feininger, New York,
Trier, E., Zeichner des XX Jahrhunderts, 1962.
York, 1963, The Solomon R. Guggen¬
Berlin, 1956.
heim Museum, New York, University
Gallery, University of Minnesota, Min¬ GIACOMETTI
neapolis, The Fogg Art Museum, Har¬ Valsecchi, M., The Italian Moderns, New Sylvester, D., Alberto Giacometti: sculp¬
vard University, Cambridge. York, 1962. ture, paintings, drawings, London, 1955.

140
GORKY MOORE Jardot, M., Pablo Picasso Drawings, New

Schwabacher, E. K., Arshile Gorky, New York, 1959.

Read, H., Henry Moore, Sculpture and
York, 1947. Drawings, London, 1955. Sabartes, J., Picasso Toreros, New York,

Seitz, W., Arshile Gorky, New York, 1962. 1961.

Valentin, C., Henry Moore Sculpture and
Drawings, New York, 1944.
GROSZ POLLOCK
Grosz, G„ George Grosz Drawings, New Robertson, B., Jackson Pollock, New York,
PASMORE
York, 1944. 1960.
Marlborough New London Gallery, Victor
Pasmore, London, 1964.
SHAHN
MANZU
Soby, J. T., Ben Shahn, His Graphic Art,
Argan, G. A., Manzu: disegni, Bergamo,
PICASSO New York, 1957.
1948.
Arnheim, R., Picasso’s Guernica: The
MATISSE Genesis of a Painting, Berkeley and Los SUTHERLAND
Angeles, 1962. Melville, R., Graham Sutherland, London,
Barr, A. H„ Jr., Matisse: His Art and His
Public, New York, 1951. Boeck, N., Picasso, New York, 1962. 1950.

Greenberg, C., Matisse, New York, 1962.

Boudaille, G., Picasso’s Sketchbook, New
TANGUY
Humbert, A., Henri Matisse, dessins, Paris, York, 1962.
1956. Soby, J. T., Yves Tanguy, New York, 1955.
Elgar, F., and Maillard, R., Picasso, New
Seckel, C., Henri Matisse, Tubingen, 1956. York, 1956.
TOBEY
Eluard, P., Picasso Dessins, Paris, 1952.
MIRO Seitz, W., Mark Tobey, New York, 1962.

Dupin, J., Mird, New York, 1963. Geiser, B., Picasso: Fifty-five Years of His

Hunter, S., Joan Mird: His Graphic Work, Graphic Work, New York, 1962. VIEIRA DA SILVA
New York, 1962. Hunter, S., Picasso (Cubism to the Present), Knoedler Galleries, Vieira da Silva, Paris,
Soby, J. T., Joan Mird, New York, 1959. New York, 1962. 1963.

141
Art History

The drawings in this volume begin with work completed during World War II and close with
the avant-garde graphic delineations ot the 1960s. Una E. Johnson’s introduction suggests that
in his continuing effort to paraphrase the expanding realities of the twentieth century,
the artist is concerned not with a single focal point but with the unfolding of many layers of
movement within a fluid language of images.” In the attempt to communicate highly personal
visions, many of the artists represented here rely on simplification of form and speed of rendition in
their drawings. “Like the copper wire that carries an electric charge,” these drawings transmit
characteristics of life in movement. The pervasive appeal of Abstract Expressionism, with
its translation of conventional objects into exotic visual experiences, is evident, as are the giant
shadows cast on postwar art by Picasso, Klee, Kandinsky, and Mondrian. Among the draftsmen
represented are de Kooning, Wyeth, Hofmann, Calder, Pollock, Giacometti, Henry Moore,
Klee, Dubuffet, Johns, Mondrian, Motherwell, Rauschenberg, and Tanguy.

DRAWINGS OF THE MASTERS: A series from the world’s great drawings of all schools and
periods, from the cave drawings of 30,000 b.c. to the present. Magnificently reproduced in full
color. Each with an informative text by an eminent scholar.

Other Titles in this Collection:

Cave to Renaissance
Spanish Drawings: From the 10th to the 19th Century
Persian Draivings: From the 14th through the 19th Century
Italian Drawings: From the 15th to the 19th Century
French Drawings: From the 15th Century through Gericault
Flemish and Dutch Drawings: From the 15th to the 18th Century
German Drawings: From the 16th Century to the Expressionists
Japanese Drawings: From the 17th through the 19th Century
American Drawings
French Impressionists: A Selection of Drawings of the French 19th Century
20th Century Drawings: Part I: 1900-1940
20th Century Drawings: Part II: 1940 to the Present

109/07/201/ 11:53-2

469408