Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 1

Robert Motherwell Paintings and Collages

Robert Motherwell Paintings and Collages

a catalogue raisonné, 1941–1991

volume one

essays and references

jack flam, katy rogers, and tim clifford

yale university press, new haven and london

This project was initially organized by Joachim Pissarro.

Publication of the catalogue raisonné has been supported by The Dedalus Foundation, Inc.

Copyright © 2012 by The Dedalus Foundation, Inc., and Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.

Essays by Jack Flam copyright © Jack Flam. Essays by Katy Rogers copyright © Katy Rogers.

Works by Robert Motherwell copyright © The Dedalus Foundation, Inc., licensed by VAGA, New York.

Designed by Katy Homans

Set in Plantin and Scala sans type by Tina Henderson Printed in Verona, Italy, by Trifolio

3 volumes isBn 978-0-300-14915-9

Library of Congress Cataloging-in-Publication Data Flam, Jack D.

Robert Motherwell paintings and collages : a catalogue raisonné, 1941–1991 / Jack Flam, Katy Rogers, and Tim Clifford. v. cm.

Includes bibliographical references and index. Contents: 1. Essays and references — isBn 978-0-300-14915-9 (3 hardcover volumes in slipcase : alk. paper) 1. Motherwell, Robert—Catalogues raisonnés. I. Rogers, Katy. II. Clifford, Tim, 1969– III. Motherwell, Robert. IV. Title. N6537.M67A4 2012 759.13—dc22

2010029185

A catalogue record for this book is available from the British Library.

The paper in this book meets the requirements of ansi/niso z39.48-1992 (Permanence of Paper).

10 9 8 7 6 5 4 3 2 1

Frontispiece: Robert Motherwell in his studio, ca. 1945 (fig. 32) Slipcase: Details of Elegy to the Spanish Republic No. 70 (p220)

volume one

preface | Jack Flam

acknowledgments

introduction Robert Motherwell at Work | Jack Flam

chapter 1 Paintings, 1941–1944: Finding a Voice | Jack Flam

chapter 2 Collages, 1943–1949: A New Medium | Katy Rogers

chapter 3 Paintings, 1944–1948: All That Is Serious and Ambitious | Jack Flam

chapter 4 Paintings, 1948–1958: Elegies to the Spanish Republic | Jack Flam

chapter 5 Collages, 1950–1957: The Tearingness of Collaging | Katy Rogers

chapter 6 Paintings, 1958–1967: Two Figures | Jack Flam

chapter 7 Collages, 1958–1970: Intersections | Katy Rogers

chapter 8 Paintings, 1967–1974: Opens and Signs | Jack Flam

chapter 9 Collages, 1971–1991: Variation and Seriality | Katy Rogers

chapter 10 Paintings, 1975–1991: Inventions and Reinventions | Jack Flam

chronology | Tim Clifford

the making of a motherwell catalogue raisonné | Jack Flam

usage guide to the catalogue entries

early works

list of exhi B itions

Bi B liography, writings B y the artist, and filmography

index of titles and alternative titles

index of owners

index of the chapters, chronology, and catalogue raisonné entry comments

concordance of catalogue raisonné and studio inventory num B ers

photo and text credits

a B out the authors

v ol ume t w o

key to the catalogue entries

Paintings on Canvas and Panel

v ol ume t hree

key to the catalogue entries

Collages

Paintings on Paper and Paperboard

Preface

jack flam

t his B ook is for me the culmination of a direct engagement with r o B ert m otherwell and his work that goes back over thirty years.

I had known and admired Motherwell’s paintings since my student days, when he already had a kind of legendary status as both an artist and a thinker. So when we first arranged to meet, in January 1979, after a mutual friend put us in touch, I expected him to be a rather austere and remote figure.

But the man who met me at the Greenwich train station that cold, sunny day was surprisingly down-to-earth. Tall, slightly stooped, physically awkward in an oddly graceful way, and with an engag ingly open face, he had a very particular way of speaking: calm, measured, with more pauses than most people, but also with a kind of lilting rhythm that was paradoxically both rather flat in tone and extremely animated. After we had greeted each other and started to walk toward his car, I realized that he had skipped the usual small talk and instead we immediately began to discuss a number of subjects of mutual interest: what could be understood about an artist from his writings, the relative virtues of mixed and unmixed colors, the importance of touch in modern painting. He was also disarmingly candid about very personal matters, his professional problems, and problems with his family and his marriage, which he talked about in a most matter-of-fact and unembarrassed way. By the end of the twenty-minute drive from the train station to his studio, I felt as if I’d known him for years.

We soon became close friends and worked together on a number of projects, beginning with the revival of the Documents of Twentieth Century Art, the series of historical anthologies that Motherwell had founded in 1943–44 as the Documents of Modern Art. In all our conversations, he was remarkably straightforward and candid about what was on his mind, and about what was going on in his life. As I got to know him better, I realized that his remarkable openness came from his deeply held belief that we all share the same problems of existence, and so are bound to be open with each other about our anxieties, doubts, and paths to joy.

Motherwell was an exceptional man as well as a great artist. He literally radiated intelligence, but he was also quietly plainspoken—and quite knowledgeable—about an enormous range of subjects. He was also a very special kind of friend—constantly interested in what was happening to you, what you were thinking about, what you were working on, and what you were going to do next. And because he was so judicious, it was only natural that from time to time you would seek his advice. His response to those requests was revealing. Most people love to tell others what they should do. But he did not. Instead, he would listen very carefully to your account of your situation. And then he would begin to tell you something that seemed to have absolutely nothing at all to do with what you had been talking about, but which you would gradually realize was being offered as—not exactly advice, in terms of a specific course of action, but something much more valuable—a sober analysis of your situation, seen clearly, free of illusion and self-delusion. The raw material with which to make your own decision. Sometimes he capped off what he had to tell you with a general principle, always modestly but firmly stated, such as, “One of the things that I’ve learned from psychoanalysis is not to invent false moral conflicts.”

He was one of the most direct and clearheaded people I have ever known, a man who consistently told you what was on his mind, gracefully but in the most forthright way possible. He was also perpetually fascinated by the complexity of events and people. So when he told a story (as when he

gave advice), he loved to go off on long tangents about things that seemed completely unrelated to what he was telling you about. And then, just when you were sure that he had lost the thread—or maybe that there wasn’t any thread to begin with—he would come zooming back to the main point with an intensity and a richness of insight that were positively awe-inspiring. In fact, his digressions were an integral part of what he wanted to convey to you. They allowed you to see not only his conclusions but the complexities behind them; as in his paintings, he wanted you to understand how the process of saying something was an essential aspect of what was being said.

Nothing was simple to him, and nothing was simple for him. He struggled with inner demons all his life, and he made no bones about it. This was the struggle that gave his paintings much of their force, and that gave him the kind of ethical and spiritual weight he had, his unwavering sense of the necessity for right action. Nowhere was this more evident than in his pictures and in the demands that he placed on himself when he worked. Many people who worked with him had the experience of watching him finish something and then, at the last minute, decide that it wasn’t finished after all— sometimes, even, that it had to be started all over again—no matter the cost in time, energy, money. He himself was such an open-minded person, so tolerant of imperfection in the world around him, that it seems odd to say that he was a perfectionist. But he was, especially in his work.

In fact, I think he was a perfectionist in everything that concerned him directly. He wanted to get things exactly right, and he worked at them until he did. One of the most impressive things about him was the absolute consistency between himself as a man and as an artist. Looking at his paintings and talking to him, for example, were continuous experiences. His vision of the world—the level to which he pitched his thoughts and feelings—was consistently on a very high plane, though also always humane, supple, and decent. Although he could make charming small talk when he had to, most of his conversation was something like the opposite of small talk. In his conversation, as in his painting, he concentrated on what really mattered—putting together clear, often basic insights and making them into something rich and profound.

Everyone who knew him well knew that Motherwell had a deep and long-standing preoccupation with death. And this, too, was reflected in his work. In the months just before he died, especially, the imminence of his end seemed to weigh more heavily on him than it had previously. He was too clearsighted for it to be otherwise. Several times, he proposed that we go to his warehouse together so that he could “edit” his earlier works; by which he clearly meant, destroy those that he felt did not rise to the standard he had for himself. (This was an issue on which he was deeply conflicted: there were works that he thought would be best destroyed, but it was very hard for him to destroy any of his work.) The last time he proposed such a warehouse visit was in the late spring of 1991, just a few months before he died. When the visit had to be postponed to the fall because he was not feeling well, he said to me that if something happened to him before the fall, I should go out to the warehouse and edit the work myself. I told him, as he no doubt knew I would, that it would be humanly, professionally, and ethically impossible for me to do that without him. He nodded, but did not say anything. That was the last time I saw him. That day, after he and I had spent the afternoon together in his studio, I asked him how he was feeling. He hesitated for a while, one of those long silences that he often lost himself in when you asked

him about something important. Then, very quietly, he told me that he felt like someone engaged in reading a very long and very absorbing novel in several volumes. And now, he said, he was aware of having picked up the final volume. “As with any book you love, you don’t want it to end,” he said, “but of course it has to.” I was struck by the serenity of his voice, by the even calm that perhaps for the first time implied acceptance. It was a serenity, I think, that was fed by his sense of having been able to work with full concentration right to the very end, and of having created a body of work that counted for something important among human accomplishments.

Certain artists and writers have such active social lives that we marvel at how they got so much work done. Hemingway was like that, and so was Picasso. Motherwell was like that, too. Especially during the years he was in New York, he had a lively and varied social life, and he seemed to know every artist, writer, thinker, and theater person worth knowing. But the reality was that he spent most of his time working; the social events, and the lunches and dinners with friends or professional acquaintances, were respites from the long hours of work. Just how much he worked is made apparent in this catalogue raisonné, which includes almost three thousand individual paintings and collages. If the drawings had been added, the size of the total body of work would have been increased by around 50 percent. If he worked so much, it was because he worked in order to keep alive—in order to keep from going mad or destroying himself. He suffered, but he had an aristocratic reserve about his suffering, as well as about his enthusiasms. At social gatherings, he was surprisingly shy, and people often mistook his shyness for aloofness. And because he had taken on the role of spokesman for his generation as far back as the 1940s, a number of people resented his prestige and what they saw as his power within the politics of the art world. For many years, he was a juror for the John Simon Guggenheim Foundation’s fellowships for artists. After it was known that Motherwell and I were friends, a number of people came up to complain, “Your friend Motherwell didn’t give me a Guggenheim.” More rarely, something like the opposite happened, as when a colleague whose kind of painting Motherwell did not particularly care for told me that he knew Motherwell liked his work because he had received a Guggenheim fellowship. All of these people ignored the fact that the Guggenheim fellowship jury had four other member s on it, who, like Motherwell, were each allowed to cast one vote. (And I can say from my own later experience on that jury that the results of the voting were rigorously followed.) The myth, though, was that from behind the scenes Motherwell controlled everything with which he was in any way involved.

Motherwell was a dedicated teacher. When he was hired by Hunter College in 1951, he founded one of the first graduate programs in modern art in the United States. Even after he retired from Hunter in 1959 in order to paint full time, he continued to lecture, and to support younger artists. He respected, above all, courage in artists. As early as 1951, he wrote a crucial essay about the paintings of Cy Twombly, which helped launch Twombly’s career. And I remember Motherwell expressing admiration for Julian Schnabel during the early 1980s because of the freedom and daring behind the smashed plates in Schnabel’s paintings of the time.

Finally, I would like to recall an anecdote that casts an oblique but interesting light on Motherwell’s artistic procedure. During August 1982, my wife and daughter and I went to Provincetown

for a few days to join Bob and Renate Motherwell for their tenth wedding anniversary. On the last day we were there, we accompanied Renate in one of her favorite pastimes: antiquing. At one of the many shops we visited that afternoon, my four-year-old daughter Laura found a large straw hamper made in Thailand, for which the cover was a highly stylized straw horse’s head with brightly colored marbles for eyes. It was a striking object, at once charming and rather spooky: the marble eyes produced the effect of a strong but vacant stare. Laura loved it for its odd mixture of spookiness and charm—like the image of a semi-tame fairy-tale monster.

As we prepared to leave Provincetown, we went to say good-bye to Bob, who was sitting on the deck behind his house. He walked toward us with a smile on his face, then stopped dead in his tracks, and backed up half a step, as though he had been slapped. He had been caught by the stare of the marble-eyed straw horse. He quickly recovered himself, and we took our leave.

At the end of the summer, when I made my annual visit to the Greenwich studio to see what he had done in Provincetown, I was surprised to find a handful of small paintings of the same straw horse that I had now been living with for a couple of months (see p1055–p1057, c681). His dealer, Bob told me, had recently come by and found these paintings weird, and did not want to show them. Bob rather liked them, though, even though he conceded that they were quite unusual for him. He wondered why that particular image had come to him, and said it was like something that would come to a child, or in dream. “Why, it’s Laura’s straw horse,” I said. “Remember, the one with the marbles for eyes?” He paused for a moment, then replied, “Of course, that’s what it was.”

I recount this story because it indicates how alert Motherwell the artist was to what was going on around him, how open he was to catching experience on the fly, especially if it dealt with a subject that connected to the part of him that was primitive or childlike.

It was a great privilege to have known and worked so closely with Robert Motherwell, and I believe that he would be pleased to know that our collaboration has in a sense been continued beyond his lifetime by my engagement with this catalogue raisonné of his paintings and collages. I also know that he would be greatly pleased to see that the force and complexity of his work have been so well understood by a younger generation of scholars, so well exemplified in the enthusiasm and dedication that my coauthors Katy Rogers and Tim Clifford have brought to every phase of this project.

Acknowledgments

t he authors would like to acknowledge all the help, support, and cooperation that we have received from so many people and institutions. Foremost is the Dedalus Foundation, which has sponsored the research that went into this publication from the inception of the project. The Dedalus Foundation was created by Robert Motherwell and inherited all of his studio records and per sonal archives, along with almost all the works of art in his possession at the time of his death, and the copyr ight to all of his art and writings. All studio records and personal archives that are referred to in this publication—including studio photographs, datebooks, and studio inventory cards—can be found in the Dedalus Foundation Archives.

The members of the board of directors of the Dedalus Foundation—Dore Ashton, John Elderfield, Jack Flam, Steven R. Howard, David Rosand, Richard Rubin, and Morgan Spangle—have been unflinching in their support of this project. An important role was also played by the members of the Scientific Committee of the Robert Motherwell catalogue raisonné project: Dore Ashton, Tim Clifford, John Elderfield, Jack Flam, Katy Rogers, and David Rosand. During the years since this project was initiated in 2001, a number of people at the Dedalus Foundation made important contributions to the organization and research that the project entailed. Joachim Pissarro was the first director of the catalogue raisonné project and was responsible for the initial organization of the research files and database. Although he was not in any way involved with the final form of this book, and therefore bears no responsibility for any faults it may have, we want to acknowledge the important role he played in the early phases of the project as a whole.

We would like to thank Allison Harding, who played such a capital role during her tenure as project manager, and who visited and documented so many works in European collections. Our thanks also go to Warren Ng, who laid the groundwork for the List of Exhibitions and also played an important part in the creation and editing of many of the catalogue entries. Special thanks go to Kerrigan Kessler, who scanned and corrected the illustrations for this book, and whose outstanding eye has helped to ensure the high quality of the reproductions; to Dalia Azim, who worked so well in many different domains, and who arranged photography sessions all over the world; to Emily Schlemowitz, who gave the final shape to both the Bibliography and the List of Exhibitions, synthesizing a vast amount of information in such an admirable way; and to Mary Fass, who did such excellent work on provenance, among other things. We would also like to express our heartfelt appreciation to a number of other researchers who during their time at the Dedalus Foundation made deeply appreciated contributions to this project: Cynthia Daignault, Vanessa Daou, Stamatina Gregory, Maggie Hansen, Ezra Howard, Mary Keefe, Mark Loiacono, Jon Lutz, Jeremy Melius, Don Meyer, Mariana Mogilevich, David Michael Perez, Jane Simon, and Jaqueline Vojta.

We also want to give warm thanks to Gretchen Opie, the archivist at the Dedalus Foundation, who supplied enormous amounts of information and whose resourcefulness and mastery of digital technology ser ved us so well throughout the course of the project. Michael Mahnke, the foundation’s collections manager, was constantly helpful in making works available to us for study, in providing photog raphy, and in giving us the benefit of his keen eye for the physical attributes of works.

Other members of the foundation staff who have buoyed the project with their support and assistance are Rosanne Casamassima, Jasmine Justice, Olivia Kalin, Tom Long, Sean Meehan, Jason Paradis, and Alice Stock.

Among the many museums and collections that have been so helpful, we want to cite especially the following, with special thanks to the people mentioned in parentheses: Albright-Knox Art Gallery (Laura Fleischmann); Anderson Collection; Archives of American Art (Judy Throm); Art Gallery of Ontario (Greg Humeniuk and Felicia Cukier); Art Institute of Chicago (Barbara Hinde and Nora Riccio); Baltimore Museum of Art (Jay Fischer and Darsie Alexander); Birmingham Museum of Art (Melissa Falkner Mercurio); Brooklyn Museum (Ruth Janson); Carnegie Museum of Art (Laurel Mitchell); Centre Georges Pompidou, Musée National d’Art Moderne (Jean-Paul Ameline and Evelyne Pomey); Cleveland Museum of Art (Marcia Steele and Joan Neubecker); Columbia Museum of Art (Noelle Rice); Corcoran Gallery of Art; Delaware Art Museum (Jennifer Holl); Denver Art Museum (Lewis I. Sharp and Jill Desmond); the Detroit Institute of Fine Arts (Rebecca Hart); Fine Arts Work Center, Provincetown; Fogg Art Museum, Harvard (Jessica Ficken); Frederick R. Weisman Foundation; Fundació Joan Miró; Fundación Juan March (Aida Capa); Getty Archives (the late James M. Wood, David Farneth, Kate Ralston, and Wim de Wit); Guggenheim Museum Bilbao (Ainhoa Sanz); Henry Art Gallery, University of Washington (Judy Sourakli); Hess Collection (Myrtha Steiner); High Museum of Art (Sara Hindmarch); Hood Museum of Art (Kathleen O’Malley); Iris & B. Gerald Cantor Center for Visual Arts; the Jewish Museum (Karen Levitov and Sari Cohen); John F. Kennedy Federal Building in Boston (Frederick Amey and Janine Kurth); Kunstmuseum Basel; Los Angeles County Museum of Art (Elma O’Donoghue); the Lucid Art Foundation (Dr. Fariba Bogzaran); the Metropolitan Museum of Art (Lucy Belloli and Shawn Digney-Peer); the Meyer Schapiro Archive at Columbia University; Milwaukee Art Museum (Melissa Hartley Omholt); Modern Art Museum of Fort Worth (Marla Price, Michael Auping, and Wendy Griffiths); the Montclair Art Museum (Gail Stavitsky); Mount Holyoke College Art Museum; Munson-Williams-Proctor Arts Institute, Museum of Art; Museo Nacional Centro de Arte Reina Sofía (Soledad de Pablo); Museum of Fine Arts, Houston; the Museum of Modern Art (Milan Hughston, Michelle Elligott, Jim Coddington, and Carrie McGee); Museum Moderner Kunst Stiftung Ludwig, Wien; National Gallery of Art, Washington, D.C. (Jay Krueger and Carlotta Owens); National Gallery of Australia (Christine Dixon); Nelson A. Rockefeller Collection (Cynthia Altman); the Newark Museum (Tricia Laughlin Bloom); Norton Museum of Art (Karol Lurie); Peggy Guggenheim Collection (Philip Rylands and Jasper Sharp); Pennsylvania Academy of the Fine Arts; Philadelphia Museum of Art (Michael Taylor); Phillips Collection (Joe Holbach); Pinakothek der Moderne; Princeton University Art Museum (Calvin Brown); San Francisco Museum of Modern Art; Seattle Art Museum (Michael Darling); Smith College Museum of Art (Louise Laplante); Smithsonian American Art Museum (James Concha); Solomon R. Guggenheim Museum (Francine Snyder); Sprengel Museum Hannover; Staatsgalerie Stuttgart; Tate Modern (Nicholas Serota and Patricia Smithen); Wadsworth Atheneum Museum of Art; Walker Art Center (Joe King); Whitney Museum of American Art (Adam Weinberg, Carol Mancusi-Ungaro, and Anita Duquette); Wichita Art Museum (Kirk Eck); and Yale University Art Gallery (Susan Greenwalt and Elisabeth Hodermarsky).

Among the many art dealers and galleries that have helped us, we want to single out the significant assistance we received from Knoedler & Company (Melissa de Medeiros); Ameringer McEnery Yohe (Miles McEnery); Carroll Janis and Jeanie Deans at the Sidney Janis Gallery archives; Galerie Lelong (Patrice Cotensin and Nathalie Berghege-Compoint); Bernard Jacobson Gallery (Bernard Jacobson and Janey McAllester); and the Locks Gallery (Sueyen Locks and Philip Mott). We also want to thank the following galleries and dealers for their help and consideration: Acquavella Galleries; John Berggruen Gallery; Mark Borghi Fine Art (Shannon K. McEneaney); the late André Emmerich; Leslie Feeley; Gagosian Gallery (Rose Dergan); James Goodman Gallery (Patsy Tomkins); Richard Gray Gallery (Susanna Hedblom); Greenberg Van Doren Gallery (Courtney Flynn); Bobbie Greenfield; Hackett-Freedman Gallery; Leonard Hutton Gallery (Ingrid Hutton); Bernd Klüser; Margo Leavin Gallery (Wendy Brandow); Meredith Long & Company; Marlborough Fine Art (Tara Reddi); Marlborough Galleria d’Arte (Carla Panicali); Thomas McCormick; David McKee; Jerald Melberg Gallery; David Mirvish; Edward Tyler Nahem (Edward Tyler Nahem and Jamie Katz); Jonathan Novak Contemporary Art (Janelle White); Gerald Peters Gallery; Lawrence Rubin; Leslie Sacks Fine Art (Annie Won); Pascal de Sarthe Fine Art; William Shearburn Gallery (Katherine Rodway and William Shearburn); Manny Silverman Gallery (Manny Silverman and Linda Hooper); and the Waddington Galleries (Clare Preston).

The staff at several auction houses have been very generous with their time and in sharing resources. In particular we wish to thank Christie’s New York (Marley Lewis and Sara Friedlander); Doyle New York (Harold Porcher); and Sotheby’s New York (Mary Ballantyne, Sheila Debrunner, and Johanna Flaum).

We have also benefited from the advice and information given us by a number of enthusiasts, scholars, and collectors of the work of Robert Motherwell, most especially Jon Yard Arnason and Eleanor A. Arnason, Dr. Carmel Friedman, Gregory Gilbert, John McKenzie, Ed Meneeley, Dr. Francis V. O’Connor, Maria Reinshagen, Martica Sawin, Martha Gearhart Schermerhorn, Seán Sweeney, Eugene Victor Thaw, Ulli Willi, Amy Winter, and Jonathan Ziady.

Our thanks also to all our researchers and technical advisers, especially Barbara Rockenbach, for her bibliographical work; Luisa Restrepo, for help with foreign languages; Suzannah Massen, for her research on auctions; Daniel Callahan, for his impressively thorough research regarding the sheet music that Motherwell used in his collages; George Kondogianis, for his color expertise; and Dan Peck, for the exceptional job he did of designing the initial database for the project and of updating it as necessary. Special thanks go to Fronia Simpson, for her alert reading of early drafts of the essays and Chronology, and for her many constructive suggestions.

We have also benefited from the work of photographers all over the world, and in particular from the very fine sustained photographic work of the late Oren Slor, and of Jordan Tinker, who did the bulk of the local photography for us; also Eduardo Calderon, David Carmack, Brian Forrest, Lee Stalworth, Michael Tropea, and John Wilson White.

A number of Robert Motherwell’s personal friends, studio assistants, collaborators, and family members have been extremely generous in sharing their knowledge with us. We want to give special

thanks to Richard Aakre, Ethel Baziotes, the late William Bosschart, E. A. Carmean Jr., Heidi and Claus Colsman-Freyberger, Jane Crawford, John Murray Cuddihy, Betty Fiske, Helen Frankenthaler and her assistant Maureen St. Onge, the late B. H. Friedman and his assistant Jean Reynolds, Milton Gendel, the late Walter K. Helmuth, Barbara Kafka, Dr. Christian Kloyber, Catherine Mosley, Lise and Jeannie Motherwell, the late Arnold Newman, Mel Paskell, the late Philip Pavia and his wife Natalie Edgar, Barbara Poe Levee, Michel Ragon, the late Maria Runyan and her associate Lisa Van Der Sluis, John Scofield, Chloe Scott, the late Charles Seliger, Nina Sundell, the late Yvonne Thomas, Kenneth E. Tyler, the late Dr. Montague A. Ullman, Paul Waring, and Virginia Waring.

We would also like to thank our colleagues at other foundations who have so generously assisted us with advice and information: Charles C. Bergman and Kerri Buitrago at the Pollock-Krasner Foundation; Sanford Hirsch at the Adolph and Esther Gottlieb Foundation; Richard Grant and Andrea Liguori at the Richard Diebenkorn Foundation; Amy Schichtel at the Willem de Kooning Foundation; Alessandra Carnielli at the Pierre and Tana Matisse Foundation; and Christopher Rothko at the Mark Rothko Foundation.

A project such as this also draws upon the knowledge and skills of a number of specialists. We would like to express our thanks to three scientist-conservators who have made especially important contributions to the study of Robert Motherwell’s work: James Martin of Orion Analytical; Matthew Skopek, senior conservator at the Whitney Museum of American Art; and Dana Cranmer of Dana Cranmer Associates.

Anyone who writes on Robert Motherwell owes a great debt to four scholars who have done important original research on the artist: the late H. H. Arnason; E. A. Carmean Jr.; Robert C. Hobbs; and Robert Mattison.

Finally, we want to give heartfelt thanks to the team of dedicated people at Yale University Press who have contributed so much to the final quality of this book; to Patricia Fidler, publisher, art and architecture, who has been an enthusiastic supporter of this project right from the beginning; to Kate Zanzucchi, senior production editor, art books, and managing editor, special projects, for her patience and attention to detail, and for coordinating the project so seamlessly and with such grace; to Katy Homans, for the intelligence and fine aesthetic sensibility that she brought to the design of this book; to Miranda Ottewell, for her excellent copyediting of the manuscript; and to Ken Wong, production manager, for overseeing the production of the book with such loving care.

Introduction:

Robert Motherwell

at Work

jack flam

a catalogue raisonné entails the examination of everything that an artist leaves B ehind as his body of work. Unlike other comprehensive views of an artist’s production, such as a retrospective exhibition or a monographic book, a catalogue raisonné is not a selection.1 In principle, it leaves nothing out: the artist appears before his public warts and all, in his glorious moments and in his flat spots, with his breakthroughs and his self-deceptions. Because of its inclusiveness, and its relative objectivity, a catalogue raisonné can tell us things about an artist that nothing else can. Thematic currents and leitmotifs beg in to emerge that even the artist himself may not have been conscious of. The works that are gathered together both reinforce and belie some of the artist’s myths about himself. The net effect of the works illustrated in such a book is very different from that produced by the kind of careful editing that informs other kinds of compilations and publications. In a catalogue raisonné the body of facts is too vast to be completely manageable, too unruly or contradictory to be given a single focus. The artist emerges in all his complexity.

As a result, all catalogues raisonnés are full of surprises. Works that were never meant to be seen together—even works that were never meant to be seen at all—are illustrated side by side, page after page, reduced to flattened images of reproducible size. The sheer volume of the imagery and information such a book contains has a kind of built-in distortion, in that it invites us—indeed forces us—to see an artist’s work as it has never been seen before. Such completeness, however, also has the great advantage of allowing us to see how the mind of a great artist works across the whole spectrum of his experiences and possibilities, in the same way as the collected works of a major poet.

During a career that lasted half a century, Robert Motherwell created a large and powerful body of work. He also realized one of any artist’s most cherished dreams, that of producing significant works right to the very end of his life. As this catalogue raisonné makes clear, Motherwell’s oeuvre is also immensely varied. Unlike most of his colleagues, who came to be known for a single type of image that to some degree became a kind of trademark—Jackson Pollock’s intricate webs of dripped paint; Mark Rothko’s pulsing, stacked fields of color; Barnett Newman’s broad planes punctuated by vertical stripes; Clyfford Still’s jagged curtains of pigment—Motherwell worked with a broad range of imagery, inventing, refining, and reinventing his signature motifs with great force and originality. He created a language of painting—a vocabulary of formal patterns, colors, and gestures—rather than a single, recognizable “image.” As a result, a number of different images are associated with his name, most prominently the Elegies to the Spanish Republic and the Opens. But as this catalogue makes clear, he created a number of other types of images that are among the most profound and inventive works of their time—including the Iberia, Je t’aime, Summertime in Italy, Beside the Sea, Drunk with Turpentine, and Hollow Men paintings—and one of the most important and original collage oeuvres of the twentieth century. His pictures are united not by consistency of image but by a predilection for certain combinations of forms and movements of the hand, a distinctive range of touch and color, and a marked gamut of feeling. He tended to work with small brushes in order to create intensely worked surfaces, and to apply his paint in a way that was at once quite lyrical and slightly awkward. He used carefully chosen combinations of colors, built upon the bedrock of a unifying polarity of blacks and whites—supposed “non-colors” that he invested with an impressive range of chromatic nuance—and a somewhat limited number of hues:

Motherwell in his studio, ca. 1962

primarily ochres, blues, and reds, but also dusky earth colors and luminous oranges, sometimes punctuated by unexpected passages of brassy yellows, thrilling violets, or oddly unnatural-looking greens.

Motherwell’s imagery has a distinctive visual clarity. His pictures “read” clearly. Their legibility and their emphatic directness give them a remarkable coherence—made all the more impressive by the way their richly worked surfaces and subtle, painterly effects are set in counterpoint to their overall lucidity. Consequently, they are rewarding to look at both when seen from a distance and from close up, and even in reproduction.2 They are also lucid in another sense: even the very darkest ones contain a strong sense of light.

Motherwell’s varied imagery was a product of his complex, anguished inner being, and also an expression of his deeply held convictions about the nature of reality, which he believed to contain not a single truth but many relative truths, which could be only partially revealed and not explained. This is reflected in his fascination with the idea that the ancient Greeks had no word for truth. As he told an interviewer, “Socrates says something and it’s translated, What you say is true Socrates.” But as Motherwell pointed out, the Greek word was aletheia, which meant revealed, or unhidden. “And so a literal translation,” he noted, “would be you’ve unhidden that point, Socrates.”3

“And I love that concept,” Motherwell continued. “In that sense, I wish the word truth didn’t exist. Because one of the reasons I’ve been able to move all over the place is I take that for granted. Everybody has his own revelations, but the mass of the totality has never been revealed to anybody.” It was this hidden element of reality—buried within the unconscious, concealed beneath the flow of time and events, embedded in certain forms and symbols, inherent in certain colors and combinations of colors—that Motherwell pursued throughout his life as an artist. And because he chose to seek and encompass the variety of existence rather than embrace a single ideological stance, his artistic practice was remarkably complex.

This is perhaps the most striking thing that we learn from seeing all of Motherwell’s paintings and collages together: how powerful and how complex his pictures are, how strongly they resist easy categorization, and how deeply involved he was with the physical process of making his art—the laying down of paint stroke by stroke, the tearing of paper, the repeated reworking of individual paintings and collages. The evidence of this process was a major part of his “subject matter.” And his subject matter, as he himself said, was often quite literally painting itself. When one of his large pictures was mistakenly called Painter instead of Painting (p210), he contacted the director of the museum that owned it to ask that the title be corrected, saying, “What is depicted is not a painter but the process of painting.”4 When he went to Haiti in 1960 and saw a voodoo doctor perform a ceremony, he later recalled, his “heart stood still” when the Haitian got down on his hands and knees and began to paint symbols on the ground in ochre and white: “I paint on my hands and knees, using the same colors, using a symbolic language of my own. And I could have gone and kissed this voodoo doctor and cried, ‘I understand what you’re doing much better than I understand somebody painting a portrait!’ ”5

p rocess and c ontent

One aspect of Motherwell’s working procedure that has emerged from this catalogue raisonné has to do with the importance to him not only of painting but also of repainting or revising. Even people very familiar with his work will be surprised by the extraordinary amount of reworking that went into his paintings, and sometimes his collages. “The artistic struggle involves revision,” he wrote in 1977, “new points of attack, pondering, changes of mind, duration, endurance and so on. Traces of this conflict often remain in paintings & collages, like the corpses on a battle-field (and sometimes enrichens them with a terrible beauty).”6

Revision was a long-standing practice for Motherwell. The radical reworking of some of his earliest pictures, such as Wall Painting with Stripes of 1944–45 (see fig. 30), is well documented. In 1947, in one of his early exhibition catalogues, he wrote, “I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling . . . an X-ray would disclose crimes—layers of consciousness, of willing.”7 More than thirty years later, in one of his most revealing discussions of the way in which the painting process was linked to self-identity, he significantly put his initial emphasis on the process of repainting. He recalled that while he was in a museum standing in front of his large 1975 painting In Black and White No. 2 (see fig. 154), a museumgoer had asked him what it “meant.” Motherwell said that the first thing he thought of was that the picture had “been painted over several times and radically changed, in shape, balances, and weights. At one time it was too black, at one time the rhythm of it was too regular, at one time there was not enough variation in the geometry of the shapes.”8

He then went on to say that seeing the painting again a few years after he had created it led him to realize that “there were about ten thousand brush strokes in it, and that each brush stroke is a decision. It is not only a decision of aesthetics—will this look more beautiful?—but a decision that concerns one’s inner I: is it getting too heavy, or too light? It has to do with one’s sense of sensuality: the surface is getting too coarse, or is not fluid enough. It has to do with one’s sense of life: is it airy enough, or is it leaden? It has to do with one’s own inner sense of weights: I happen to be a heavy, clumsy, awkward man, and if something gets too airy, even though I might admire it very much, it doesn’t feel like my self, my I.” In the end, Motherwell said, “I realize that whatever ‘meaning’ that picture has is just the accumulated ‘meaning’ of ten thousand brush strokes, each one being decided as it was painted. In that sense, to ask ‘what does this painting mean?’ is essentially unanswerable, except as the accumulation of hundreds of decisions with the brush. On a single day, or during a few hours, I might be in a very particular state, and make something much lighter, much heavier, much smaller, much bigger than I normally would. But when you steadily work at something over a period of time, your whole being must emerge.”

On the evidence of this declaration, and of many other statements Motherwell made over the years, we understand that he usually framed his undertaking as an artist in terms of “abstract art,” which for him meant creating visual equivalents for states of being and feeling. Yet as this catalogue raisonné makes evident, throughout his life he was deeply engaged with representation, both in the imagery of his works and in their titles. This was especially true in his early years, when a good deal of his

painted imagery was overtly figurative, as in The Emperor of China (fig. 37), The Homely Protestant (figs. 40, 42), and Man in Grey (p79). But it also runs through a good deal of his later imagery, as in the Pregnant Nude paintings of the early 1950s (p141–p144), the Two Figures paintings of the late 1950s and early 1960s (p174–p175, p207–p208, w34–w42), in works of the mid-1970s such as The Spartan (p796) and The Persian No. 1 (p789), and it continues into his late paintings, such as The Hollow Men (see fig. 163) and related pictures, which he worked on from 1983 until the end of his life.

Moreover, the imagery of his pictures, no matter how abstract they may appear, is almost always tied to something in the world, often to a specific place—albeit an idealized or reimagined one. Mexico, Spain, Italy, France, the bay at Provincetown, Massachusetts, all figure prominently in his work. Sometimes such pictures were done in the place they evoke, as with the Beside the Sea series, painted in Provincetown, and the first Summertime in Italy pictures, done in Alassio on the Ligurian coast. More frequently, as with most of the pictures that have Mexican and Spanish themes, they were done later, the emotion either “recollected in tranquility,” to use William Wordsworth’s phrase, or guided by yearning for a distant but still vital inspiration. Sometimes these places are evoked largely by titles (as with Mexican Window and Little Spanish Prison), or they are referred to in the materials the artist used, such as the magenta paper he associated with Mexico and incorporated into his 1940s collages, or the wrappers from French and German cigarettes that appear in his later collages. Frequently, a sense of place is referred to in the imagery of his work (as in the Iberia paintings with their evocation of Spanish fighting bulls, or in the Beside the Sea pictures, with their sprays of flung paint). A number of Motherwell’s early paintings also refer either directly or indirectly to political situations, as in Recuerdo de Coyoacán (see fig. 12), with its allusion to the assassination of Trotsky, or in Viva (see fig. 26), with its evocation of political graffiti and the Spanish Civil War song “Viva la quinta brigada.” Most famously, he overtly engaged political content in the titles of his Elegy to the Spanish Republic paintings, which sometimes opened him to controversy. After the political significance of the historical events that gave those paintings their titles had changed, Motherwell sometimes found himself open to criticism from both the left and the right.9

Motherwell was aware that for the modern artist direct illustration of political themes almost invariably produced mediocre art. So although his engagement with varied and specific political themes—which for him generally meant resistance to tyrannical authority—persisted in his later works, it did so indirectly, often through references in titles to historic and political events such as the looming troubles in Ireland, as in Dublin 1916, with Black and Tan, 1963–64 (p271) and Irish Elegy, 1965 (p340); tyranny in Africa, as in Uganda, 1975 (p833), and the African Plateau paintings (p834–p837); or the possibility of democracy in Spain, as in Elegy to the Spanish Republic No. 108 (The Barcelona Elegy), 1966 (p364), and The Spanish Death, 1975 (fig. 132). Throughout Motherwell’s life, his art remained engaged with the important political and cultural currents of the time, rooted in deeply felt ethical beliefs. For him, aesthetic judgments were inextricably linked to ethical values.

A surprising number of works have also turned out to have strong autobiographical overtones. This is especially true of the collages, which Motherwell described as “a kind of careless, indirect diary.” When he saw them later, he said, they brought back “specific memories, that I had long thought that I

had forgot, like Marcel’s madeleine.”10 The Sea Lion sardine can labels that commemorated his trip to Canada with Helen Frankenthaler in 1959 (c92–c94), the pages of sheet music from German love songs that appeared in his collages around the time of his marriage to Renate Ponsold, and the references to Ponsold in the Baltic Sea Bride collages (c431–c436) are only a few of hundreds of such instances. Sometimes the autobiographical elements are expressed fairly overtly, as in Personage (Autoportrait) of 1943 (see fig. 25), where the artist’s head is represented by a palette shape, but sometimes they appear in unexpected places, privately coded—the sorts of things that are perhaps revealed only by the intense focus of a catalogue raisonné. For example, two tickets from a bullfight that he had seen during his 1958 honeymoon with Helen Frankenthaler, which had such a profound effect on his art—that is, both the bullfight and his first summer with Frankenthaler—are incorporated into two 1974 collages (c448, c453) done three years after their divorce, at once cast off and enshrined by the artist at the very time that he was purging Frankenthaler’s presence from his mind and under taking a new life with Ponsold.

At the same time, however, Motherwell, like most of his colleagues, was careful about not letting the sometimes implicit narrative aspects of his “subjects” become the main focus of his works. (One thinks of the way in which Jackson Pollock would sometimes turn a painting on its side before working further on it, in order to “bury” the figurative elements.)11 One of the basic tenets of much modernist art was resistance to narrative and the embrace of ambiguity—as an aesthetic, ethical, and philosophical value. In Motherwell’s work there is a continuous tension between abstraction and figuration; between his wanting his pictures to have a “subject” other than painting itself and yet wanting that subject not to be too overt, to remain just below the surface, waiting to be “unhidden” by the viewer.

Nonetheless, paradoxically, Motherwell would sometimes be surprisingly specific about the imagery of his work, as with Pancho Villa, Dead and Alive (see fig. 23), which he described in some detail in a Museum of Modern Art questionnaire a couple of years after he made it: “The picture represents Pancho Villa dead, on the left, with bloodstains, bullet holes etc.; & Pancho Villa alive, on the right, with a Mexican ‘wall paper’ behind him, + pink genitals. The personal + topical + symbolic significance are evident to anyone who sees it as I do; I have tried to ‘objectify’ (in Santayana’s sense) these values: i.e., make a picture.”12 Motherwell acknowledged that the picture had been inspired in part by a widely reproduced photograph of Villa riddled with bullet holes, and twenty years later, in a 1965 interview, he was moved to remark that most people had not noticed that one half of this collage “is a figure inside a coffin shape, covered with blood spots, and the other half is a figure with a pink penis hanging down— the penis being alive. Two portraits of Pancho Villa, one dead in the coffin, the other standing there alive!”13 Yet even in such descriptions of his pictures, Motherwell would go only so far. Because the imagery of Pancho Villa, Dead and Alive is quite abstract and he wanted the viewer to grasp its underlying nominal subject, he could not resist commenting on the subject and its sources. But while doing so, he left out what was perhaps the most salient aspect of its conception: that he had created it right after the death of his father.

i nstinct and i ntellect

Throughout his life, Motherwell was swept by conflicting crosscurrents of emotion, which are clearly reflected in his work. He was enamored of and exhilarated by the world and by the human comedy but also made despondent by it. Throughout his life, he expected much from the people he loved, and throughout his life he was disappointed by them—violent parents, unfaithful wives, disloyal friends. But he believed deeply that the existence of art—and especially the creation of it by himself and others— was a way of embracing and yet transcending what William Butler Yeats called “the fury and the mire of human veins.”14 The question was: As an artist, how to be enmeshed in the human experience and yet transcend it? How is it possible to cope with the disastrous aspects of one’s own personal experience and at the same time rise above the suffering that it produces? For Motherwell, the answer lay in his art. He was quite literally kept alive by the act of painting.

Motherwell’s formidable intelligence was both enhanced and resisted by his capacity for deep feeling, and the conflict between intellect and instinct formed one of the deepest undercurrents of his art. He approached the situations of his life and of his art with a remarkable flexibility and fluidity, constantly alert, his thought constantly in motion, his attitudes toward the world around him in a constant state of reappraisal. Although he had a strong inner compass, he also understood life to be contingent on circumstances. He repudiated ideologies and rigidly categorical thinking in every domain. Because he understood life to be complex and inconsistent, the nature of his work would by necessity be based on inconsistency, which he saw as the true dynamic that informed and underlay reality.

And so he worked, probing what it was possible for him to do in painting, as much as a way of exploring himself as to create an oeuvre per se. Painting was a way of finding out who he was. This is why his pictures are so diverse, so full of explorations. It is also why he kept working and reworking them, sometimes over a period of years. For him, the created work was to some degree an artifact, a field of activity that contained a record of feelings that could be revisited, reconsidered, revised.

Motherwell’s paintings and collages are marked by a number of oppositions, the most obvious of which could be characterized as the tension between spontaneity and deliberation, between pictures that appear to have been done with a minimum of planning, simply by letting the hand move, and pictures where the forms appear to have been laid down with great calculation. This tension underlay Motherwell’s compulsive need to rework his pictures, which was a way of readjusting the balances not only between forms but between different kinds of feeling. “The function of the artist is to express reality as felt,” he wrote in his first extended essay. “In saying this,” he added, “we must remember that ideas modify feelings.”15 The spontaneous, liberated, unthinking gesture had to be made, but it also had to be reshaped, modified, molded into an articulate whole. The contrast between signs of intellect and of instinct, between the extremes of severe geometry and irregular, biomorphic forms, is a leitmotif that runs throughout his work.

Motherwell’s artistic maturity coincided with his discovery in 1941 of the visual equivalent of the Surrealist concept of psychic automatism, which had been defined by André Breton as a way of expressing “verbally, or in writing, or in any other manner, the actual functioning of thought. Dictation of thought, in the absence of all control by reason and outside of all aesthetic or moral preoccupations.”16

Motherwell’s espousal of automatism and his insistence on spontaneity were part of a strategy to free himself not only from the constraints of conscious thought but from the sense of psychic suffocation that had characterized his childhood, where he was involved in a constant struggle with his parents to assert his own personality and values in the face of their desire to make him conform to their rigid social values. Brought up by a socially pretentious mother and a detached, indifferent father, he had a difficult and unhappy childhood. Both his parents, he later remembered, were inhibited, unhappy, and violent people who beat him mercilessly. His mother he described as “a certifiable psychopath,” who he said “used to beat me as a child till the blood would run out of my head.”17 He also suffered from asthma, and later recalled the terror induced by his nighttime asthma attacks. Until the end of his life, he preferred to paint at night, often working in his studio until the small hours of the morning in order to ward off the remnants of that terror.

This sense of struggle extended to the social world outside his family. In his youth, he was in constant rebellion against the puritanism of his surroundings, and sought its antidote in trying to open himself up as much as possible to sensual experience. One of the reasons that Europe played such a large role in his imagination was that, like many Americans at the time, he associated European life with greater sensuality and emotional freedom. Having grown up with the puritanical values imposed by his family, he associated creativity with freedom from parochial social norms and with being able to follow one’s own deepest impulses.

Psychic automatism was an ideal that Motherwell retained until the end of his life. The activity of “doodling,” as he sometimes referred to it, in order to tap into his deepest thoughts and impulses, underlay the creation of many of his paintings and drawings. Throughout his life he continued to rely on automatism to provoke and stimulate his pictorial imagination, and to act as what he called “a plastic weapon with which to invent new forms.”18 Automatism offered him a means both to probe his subconscious and to explore the possibilities of the mediums in which he worked, in ways that would have been otherwise closed to him. By allowing his hand free play, he was able to call forth images and feelings that were buried beneath the practical and logical parts of his consciousness. Pure psychic automatism was a kind of goal, an ideal to be striven toward to create new kinds of form. “What is essential is not that there need not be consciousness,” Motherwell noted, echoing Breton, “but that there be ‘no moral or aesthetic a priori’ prejudices . . . for obvious reasons for anyone who wants to dive into the depths of being.”19 The creation of spontaneous “automatic” imagery was part of the ongoing enterprise that Motherwell referred to as “my deepest painting problem, the bitterest struggle I have ever undertaken: to reject everything I do not feel and believe.”20

In the spring of 1941, just before he left on a life-changing trip to Mexico with the Chilean painter Roberto Matta, Motherwell used automatism to generate forms in some small works in mixed media (see ew.xvi and ew.xvii). His first mature oil painting, La Belle Mexicaine (Maria) (fig. 1), a por trait of Maria Emilia Ferreira y Moyers, who would become his first wife, began as an automatic composition in which the portrait image was painted over the field of abstract forms with which he had started the canvas. “What actually happened in my work,” Motherwell later recounted, “was that I began pictures automatically—the automatism consisting of dabs of paint scraped across the surface

of the canvas with razors or sticks or spatulas . . . but then in my efforts to resolve the picture a great deal of the canvas would slowly be covered over with a more formal, architectonic surface. Actually, in the portrait of Maria, done in Mexico, the primary automation is largely covered over with a portrait with its own structure. But the portrait would have had a different figuration if it were not being worked out also in relation to the primary automatism.”21

Right from the beginning of his mature work, then, Motherwell understood that the instinctive first casting of the image would need to be modified by a more thought-out intervention; that the process of creating a picture would involve moving back and forth between spontaneous forms that came from deep within the psyche and a process of modulation or what he called “correction,” in which the composition of the picture would be reshaped by a more conscious reworking of what had emerged. He often spoke of the process of creation as being like a voyage into the unknown, where the intended results and chance encounters would commingle with and inform each other, depending on the circumstances of creation: his state of mind, his feelings about the subject, the density or liquidity of the paint, the equilibrium he wanted to attain between spontaneity and calculation, or the degree to which he wanted figurative imagery to emerge or be kept at bay. Above all, he sought a balance between these many disparate elements. “The sense of a ‘voyage’ is crucial to the process of such works,” he later said, remarking that his 1952–54 painting Fishes with Red Stripe (w19) was a particularly successful example of this dynamic in that it “involves the void as well as figuration; it also involves both spontaneity and correction in equal measure. In a way, it is closest to what I have been after all my painting life.”22

Although Motherwell’s work and the circumstances in which he worked would change greatly over the next five decades, the basic elements of his general approach to painting remained more or less constant throughout his life. Nor were these two kinds of activities, automatist free association and willful self-awareness, entirely separated from each other. They were reciprocal and often involved alternating between the two kinds of impulses while a picture was being developed. An important notion that emerged from this fluid process of drawing upon unconscious impulses and then “correcting” them was that a picture in principle was not necessarily a fixed and stable object, but something like a by-product: an arena in which the artist acted, and could repeatedly act and react.

Motherwell became aware of this contingent quality of the painting process right at the outset, with his portrait of Maria. He signed and dated the initial state of this painting “14 June 1941” at the upper right, apparently thinking it was then finished. But he reworked the picture over the next couple of months, eventually painting over the June 14 signature and date and signing the picture again—without a date—at the lower left. Right at the beginning of his venture as an artist, he seems to have understood that, for him, a picture was potentially never finished, and if it remained in his possession it could be worked on over and over again, in response to his changing states of being. This Heraclitean attitude, that one can’t step into the same river twice, informed his working process throughout the rest of his life.23

Fig. 1. La Belle Mexicaine (Maria), 1941 (p1)

The automatist impulse extended to the way Motherwell gave titles to his pictures, usually after they were completed, in response to a process of free association with their imagery, and also to discourage overtly narrative readings of them. His early paintings contained a Surrealist-inspired blend of abstract forms mixed with suggestions of actual things and figures. As a result, even his most abstract pictures often have some sort of representational overtone, which was frequently enhanced or modified by the titles he gave them. Many of his pictures remained untitled until they left his studio; until then, they were given provisional or “studio titles”—descriptive titles meant to facilitate identification by noting their salient characteristics of form and color. Even after formal titles were assigned, they were sometimes changed, especially if a picture underwent significant revision. “The function of my titles is partly negative,”

Motherwell wrote, “to mark off what can’t be named in the picture.”24 His titles function in various ways. Some direct our attention to a specific aspect of the image, others evoke feelings associated with literary references or allusions to other works of art—both his own and those done by other artists. His titles, like his imagery, are meant to create what he described as an “after-image” in the mind of the viewer, as with Western Air (p47) or The Homely Protestant (fig. 42).25 Such after-images compounded meaning by creating complex networks of references that mix together, in unpredictable and fluid ways, sensations from lived experience, literature, and the subconscious memories of other works of art. Such a strategy has much in common with the dense allusiveness of T. S. Eliot’s poetry, which is openly haunted by imagery from the past, which it uses to both reinforce and resist the main thrust of the poetic line.

Motherwell’s “after-images” function in a similar way, as a means of both resisting and reinforcing the artistic past; of both insisting upon his uniqueness and setting it within a more general historical context. Like Eliot’s use of allusion, this notion of the “after-image” is a symptom of artistic belatedness. Early in the twentieth century, artists such as Henri Matisse and Pablo Picasso had felt that Paul Cézanne and the Post-Impressionists had blocked their way by staking out a new territory and then occupying it completely. In a similar way, for Motherwell and his generation, Matisse and Picasso and other early-twentieth-century modernists seemed to have thoroughly explored all the new paths they had opened, leaving scarce space for future invention. Among the Abstract Expressionist painters, it was Motherwell, Willem de Kooning, and Arshile Gorky who struggled most with this sense of belatedness, because it was they who engaged the European modernists in the most direct and sustained way. The artistic maturity of painters such as Newman, Rothko, and Still, by contrast, was marked by creating a fixed pictorial format or signature image that neutralized the issue of artistic belatedness. Motherwell, de Kooning, and Gorky, on the other hand, became locked in an ongoing struggle with the early moder nists. Each of them, in different but sustained ways, became engaged in a continuous process of both allusion and resistance to the past, and each moved back and forth between figuration and “pure” abstraction in order to confront artistic influences head-on, allowing the “corpses” to show on the battlefield. “The after-image is a key for reading paintings,” Motherwell said in 1957. “There is no key to how good a painting is, but there are keys to what a painting is involved with.” A strong artist, Motherwell asserted, usually has “several after-images together. If one has a strong personality, the after-images ipso facto get transformed. The only way to be original is through intensity. . . . This is what art is for—to enact things as intensely as we feel them.”26

Since Motherwell tried as much as possible to work without preconceived subject matter, to generate imagery and then afterward make verbal associations that would illuminate aspects of that imagery, the act of titling was an extension of the painting process itself, based on a similar mixture of instinctive free association and willfulness. In one striking instance of how this process could operate, he described how after the death of his close friend the sculptor David Smith, he had painted The Forge (p350) as a deliberate memorial to Smith, but had not been satisfied with it. A few years later, when he finished a large, dark Open painting that initially had no association with a specific subject, he realized that that was the painting he had really meant to paint in memory of Smith—but only after the painting was done. Accordingly, he gave it the title Open No. 121: Bolton Landing Elegy (p504), referring to Smith’s studio at Bolton Landing near Lake George. “Commissions, even self-commissions,” he concluded, “work less well than working directly and then discovering what one associates the work with.”27 Motherwell’s desire to balance willfulness and spontaneity is often built right into his painting process. One of the great surprises that emerged in the course of putting together this catalogue raisonné was the degree to which Motherwell went back and “corrected” the spontaneous elements in his works. This is most readily apparent in large, monumental paintings, such as Elegy to the Spanish Republic No. 70 (p220), in which he not only painted out a number of the black splash marks on the white ground, but also added splash marks as he modified the balances between the blacks and whites. The balance he sought was more than formal; it also involved a calibration of the visual signs for spontaneity and deliberation. He did something similar in small paintings, even those on paper, such as The Black Sun (fig. 2), which he worked on over a period of several months, painting out some of the black splatter marks while leaving others, and extending the massive black form to the right edge of the picture to give it a monumental effect despite its relatively small physical size. When he made such changes, moreover, Motherwell usually made the modification process itself part of the imagery of the picture; the painted-over blacks remain visible under the white overpainting, and the areas of white overpainting are given enough body to make their brushy presence felt as forms that have been laid in independently of their covering function.

In controlling the signs of spontaneity and deliberation in his paintings, Motherwell was well aware that he was working within a tradition of expressive brushwork that went back to the nineteenth-century modernists. The emphasis that the Impressionists, for example, had placed on the appearance of spontaneity and on working from direct experience was an important part of their claim to authenticity. Certain kinds of mark-making—such as vigorously rendered brushstrokes, drips, and scumbles—were understood to act as signs for improvisation and strong feeling, even if they were in fact executed deliberately to look as if they were spontaneous, as they often were by the Impressionists. Such marks came to stand for an intuitive response to nature, associated during the nineteenth century with the artist’s new role as someone who bears witness to contemporary realities, and with an ethical position in which spontaneity was equated with the virtues of simplicity, sincerity,

Fig. 2. The Black Sun, 1959–60 (w101)

and authenticity. These expressive means were transformed into pictorial conventions by early-twentiethcentury artists such as Wassily Kandinsky, Matisse, and Joan Miró, each of whom developed a rich pictor ial syntax from the language of apparent facture and expressively visible brushwork that had been created dur ing the previous century.28

variety of i magery

The constant tension in Motherwell’s work between spontaneity and calculation—and the different kinds of feeling that they created—interested him throughout his life. (It was like an extension of his longtime involvement in psychoanalysis, which began at a time of crisis after the breakup of his first marriage and continued until his death.) Discussing the variety of his imagery with an interviewer in 1971, Motherwell explained what he thought was one of the impulses behind exploring different kinds of imagery: “I think what happens is that when you hit something that seems a true expression of one’s self, it’s mysterious to one’s self why that particular configuration rather than another one is, and one begins to investigate, mucking around, trying it in different ways, trying to find what one’s own essence is and worry it and worry it and worry it.”29

Throughout his career, Motherwell was aware of treating different kinds of themes in different stylistic modes, and equally aware that his doing so was different from how his colleagues worked.30 As early as 1946, in a letter to Dorothy Miller, curator of painting and sculpture at the Museum of Modern Art, he noted that his engagement with “several themes, instead of one, as with most painters, in both subject and formal conception” was confusing to most people. But, he told Miller, who was selecting works for the Fourteen Americans exhibition being organized by the museum, those themes had interested him for a long time, and at different times during a given year he was apt to work on all of them. Since each theme, he wrote, would be clear only if all the pictures that dealt with it were grouped together, he gave her examples of the kinds of pictures that constituted each of the four main groups. The first group, he wrote, was “based on relatively automatic means” and included nearly all of his drawings and watercolors, as well as Joy of Living (see fig. 20) and other collages. The second group consisted of what he called “pure abstractions,” such as Wall Painting with Stripes (see fig. 30). The third group was composed of what he described as “political” works, and characterized (referring to Francisco de Goya) as “a kind of ‘disasters’ series,” which included the watercolors in the Three Personages Shot series (see fig. 9) and works such as Pancho Villa, Dead and Alive (see fig. 23) and The Spanish Prison (Window) (see fig. 8), as well as a Walls of Europe series that was still in progress. The fourth group he described as composed of “intimate pictures,” in the tradition of French interior, figure, and still life paintings, such as Head (p21) and Small Personage (p32). He conceded that these divisions were arbitrary, that there was a certain amount of overlapping between them, and that he could not explain why at a given time he worked “on one rather than another.”31

A few years later, in the catalogue for his 1950 solo exhibition at the Samuel M. Kootz Gallery—the first exhibition in which he showed the Elegy paintings as a named group—Motherwell divided his work into four different categories, “in order to point out certain subtle differences among them, a difference in ‘meaning’ that accounts for certain differences in form.” These four categories

were listed as follows: Elegies (to the Spanish Republic), which he characterized as “funeral pictures, laments, dirges, elegies—barbaric and austere”; Capriccios, which he related to the musical capriccio, “a composition in a more or less free form”; Wall Paintings, conceived as different from easel paintings, as “enhancements of a wall”; and “Recent Drawings, 1950,” which included nudes as well as themes from the previous three categories.32

Around the same time, perhaps as a draft for the Kootz Gallery catalogue statement, Motherwell made an important distinction between feeling and emotion, which provides insight into what he seems to have perceived as a unifying principle behind his different kinds of pictures—that they transcend emotion and participate in the world of feeling. Feelings, he wrote, “constitute one’s oneness with the world” and are always objective, “the felt quality of things in perception.” Emotion, by contrast, “is something already in one,” such as anguish. “Pure feeling is invariably harmonious,” he continued, “because it is, in being their felt quality, a oneness with the things of the world. Emotion is usually around the concept of anguish or dread, and separates one from the world, because the emotion gets in the way of feeling the world.”33 The creation of the work of art, he suggests, involves transcending mere emotion and expressing a state of feeling or harmony. (“I think that one’s art is just one’s effort to wed oneself to the universe, to unify oneself through union,” he wrote the following year.)34

In 1966, the year after Motherwell had a major retrospective exhibition at the Museum of Modern Art, the planning and display of which had given him unprecedented contact with the trajectory of his career, he discussed what he called a number of “turning points” in his work in a letter to the English art historian Joseph Hodin. Now he divided his production into eleven categories, “some of which are capable of being illustrated by many pictures,” which he listed as follows, sometimes giving specific works as examples: 1. collage, as in Collage in Yellow and White, with Torn Elements (c52); 2. “working in close tonality over an essentially single color field,” as in The Homely Protestant (p85); 3. the “Spanish Elegy” series; 4. “the use of ‘automatic’ drawing,” as in Africa (p338); 5. the “use of ‘accidental’ massing of shapes,” as in Chi Ama, Crede (p224); 6. “a white canvas that tends [to] be almost wholly covered over by black,” as in the Iberia paintings; 7. “arbitrary figure constructs (in Lord Russell’s sense of the latter word),” as in The Poet (c42) or Two Figures with Cerulean Blue Stripe (p208); 8. “the emphasis on violent rhythm,” as in Black on White (p219) or the Beside the Sea series; 9. “ ‘line’ or ‘contour’ drawing with a pen,” of which there were “innumerable examples”; 10. “tremendous emphasis on stripes—many examples, from 1941 on”; and 11. “conceiving a picture as a wall,” which he dates from 1947 on, citing the recent New England Elegy (p366). If he had to choose favorites, Motherwell wrote, he “would choose aspect #3, #4, and either #5 or #6 or #11. Because they perhaps represent best my personal contribution as a painter to l’art moderne.”35

Around the time of Motherwell’s 1972 collage exhibition at the Museum of Fine Arts, Houston, his production of collages increased, and he became more absorbed by the differences between the ways his work in different mediums brought out various kinds of expression. When he moved to Greenwich, Connecticut, in 1971, after thirty years in New York, he was able to construct different kinds of studio space and to set up his own printing presses. By the mid-1970s, printmaking had become an important part of his production, in terms of both the time and effort he spent on it and the income it produced.

“Print-making is my hobby, my mistress,” he wrote, affirming his love for paper and for the collaborative process it involved, so different from the solitude of painting. Another important difference between printmaking and painting, he asserted, was that in printmaking, although a great amount of effort goes into making the image, once the edition is printed, no more revisions are possible. “When the edition is finally o.k., and goes to press and you see the first fresh print, it is with ecstasy. All struggle has vanished. There is a virgin birth, fresh and perfect, like Venus arising from the sea. Good prints, properly taken care of, never lose this virgin beauty, no more than medieval stained glass.”36 At the time, the definitive quality of the editioned print represented a kind of liberation. Here, at last, was a medium that would seem to defy the whole idea of revision. (But, as this catalogue raisonné makes clear, even prints did not escape Motherwell’s compulsive restlessness. During the last years of his life, he “revised” them, so to speak, by tearing up edition proofs and using them as the raw material for collages.)

By 1974, Motherwell was painting and making collages in separate studios. In 1977 he described the advantages of this setup in a letter to the French critic Guy Scarpetta. The diverse spaces, he wrote, “help by separating my art problems—if one problem puzzles me, I can leave the work in progress in situ undisturbed in its own ambience, and try my hand in another studio; and in constantly passing through the various studios, I sometimes unexpectedly see out of the corner of my eye the solution to an older problem, a solution that may have come from so completely focusing on another problem in another studio, that I can see the older problem more detachedly, or conversely, am perhaps so psychologically free that the solution is able to rapidly rise to the surface from my unconscious.”37

In this same letter, Motherwell gave perhaps his most concise description of how the various mediums he used served his goals of expression in general. Of all his activities, he said, painting was the one that gave him the most trouble. Since the underlying subject of his painting was “the centre of my being,” he wrote, “there is evidently more tension, more self-consciousness, more desperation, more absolute standards, more self-induced pressure, more anxiety.” When he reached a state of psychological or physical exhaustion with his painting, he said, he often turned to collage. With painting, the artist was always faced initially by the blank canvas, the kind of metaphysical void that the blank sheet of paper presented to the poet Stéphane Mallarmé. But in Motherwell’s collage studio, he told Scarpetta, there were hundreds of pieces of different kinds of paper, and these allowed him to begin “playing with the papers upon the panels.”

By the early 1980s, Motherwell had contemplated the diversity of his production for over forty years and had written extensively about it over nearly that whole time. Yet this did not prevent him from being surprised by certain aspects of his work when, in 1982, he helped choose the pictures for the last comprehensive retrospective exhibition of his work that he would live to see. In the process of selection, he noted, he had been struck by what he called the different spatial concepts in his paintings.38 “I have been conscious,” he said, “of the Oriental concept of a painting representing a void, and that anything that happens on a painting plane is happening against an ultimate, metaphysical void.” Some of his pictures, he said, such as In Beige with Charcoal No. 4 (see fig. 121) and A View No. 1 (p182), were conceived in that way; but others were conceived of as walls, such as Jour La Maison, Nuit La Rue (fig. 61), some of the Elegy paintings, and the ones that were literally called Wall Paintings. Others, he remarked, were

“conceived of traditionally in terms of figures and background,” as in The Persian No. 1 (p789), or The Homely Protestant (fig. 42), or Fishes with Red Stripe (w19). But, he remarked, echoing the words he had written to Dorothy Miller in 1946, these categories were not mutually exclusive; there were overlappings, both formal and conceptual.39

working in s eries

Motherwell’s rejection of working toward creating and refining a single, dominant image in his paintings distinguishes him from most of his colleagues. The variety of imagery that was characteristic of his art, wherein no single image was associated with his name, in the way that speaking of “a Rothko” or “a Newman” conjures a specific kind of imagery, led to his being accused during his lifetime of lacking focus, or of creating paintings that did not look like “a Motherwell.” After his death, the Elegy to the Spanish Republic paintings were usually characterized as being his most typical works, often to the exclusion of his other important types of pictures.40 But in fact, the variety of his imagery was a basic element of his artistic accomplishment. And if he did not work in terms of a single kind of image, he nonetheless developed a repertory of imagery that allowed him to create suites or series of related paintings and collages in which, beginning in 1958, the individual works were frequently given numbers.

The clearest precedent for this in his pictures prior to 1958 was the Elegy to the Spanish Republic series, which began with a drawing and paintings done in 1948–49 and was first exhibited as a named group in 1950, and which he continued to work on until the end of his life. The longevity of the Elegies, however, was an exception among Motherwell’s series, most of which were done during a fairly compressed period of time. Other series, such as the Beside the Sea paintings begun in 1962, the Opens begun in 1967, the numbered Gauloises collages done in 1972, or the Drunk with Turpentine paintings done in 1979–80, tended to be relatively short-lived or to be taken up, dropped, and then worked on again in clusters at different times.

Working in series provided Motherwell with the kind of pleasure that comes from exultantly consolidating discoveries rather than arduously searching for them. “I find that I ask of the painting process one of two separate experiences,” he said in 1950. “I call one the ‘mode of discovery and invention’ the other the ‘mode of joy and variation.’ The former represents my deepest painting problem. . . . 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 unknown, 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 modern 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 concept in order to paint for the sheer joy of painting . . . [working with] variations gives me moments of joy. . . . The other mode is a voyaging into the night, one knows not where, on an unknown vessel, an absolute struggle with the elements of the real.”41

The repetitive nature of serial imagery, an essentially modern phenomenon, has been related to the mass production of industrial materials (which Motherwell exploited in his collages), to the

commercial pressures of galleries (which want to sell more than one example of a kind of image), and to the proliferation of museums (which want to acquire a recognizably “typical” example of an artist’s work), as well as to the relativism that pervades much of modern thought.42

The fact that by the late 1940s most of Motherwell’s colleagues had claimed specific imagery as their own must also have made him conscious of the way in which the reiteration of imagery tended to reinforce its validity. An invented form that is repeated enough becomes like a natural thing—in the way that an Ionic column, for example, takes on a generic name as a thing in the world. (One might also argue that the repeated imagery of most abstract painters had a strongly compulsive element: the format of Rothko’s paintings, for example, could be read as different iterations of the trauma of being buried alive.43 One can understand why artists such as Clyfford Still did not want their paintings to be seen alongside those of other artists: such paintings create their own world and sustain the illusion that their world is eminently valid; hence, mixing in imagery of other invented worlds could in some way undermine their claim to validity.)

Motherwell’s increasing tendency to work in series during the 1960s was no doubt also related to contemporary developments among younger artists, in Pop art and Minimalism. His use of labels from various commercial products is at least indirectly related to the way imagery from popular culture was being incorporated into various forms of Pop art, and he was also very much aware of the importance of serial imagery to the Minimalists, and of the growing critical attention devoted to it.44

Motherwell’s printmaking experience also played a role in his increasing tendency to work in series during the 1960s. The printmaking process naturally generated different states of an image, and offered the possibility of doing variations of exactly the same composition with variations only in color or in slightly modified details.

During his later years, Motherwell found working in series especially stimulating. It reinforced his sense of artistic identity and provided him with a way of demonstrating—to himself as well as to others—his powers of invention. It also allowed him to explore the imagery he had discovered to see how far he could push it, another way of using the underlying ideas of automatism. In a sense, the degree to which a motif could successfully support reiteration was ipso facto a validation of the motif itself, not only to the public but to the artist. Repeating an image so that it caught the imagination was, among other things, a way of transforming an image into an icon.

pict orial s ources

In contrast with some of his contemporaries, such as Barnett Newman, who posited an American kind of painting that would totally liberate itself from Europe,45 Motherwell continued to feel strongly rooted in the past of recent European modernism. Like his colleagues he was interested in the deep past that went back to the roots of culture, and whose art he understood to have affinities with the simplicity and directness of modern art: prehistoric cave paintings, the art of the ancient Near East, medieval art, African and Oceanic sculpture. Unlike some of his colleagues, though, Motherwell wanted to keep an active connection to the past and have it be visible in his work. In 1952, shortly after he had completed a mural for a synagogue in New Jersey (p114), he stated, “There is nothing I should like better than to be

able to incorporate a certain archaism in my work—in the sense that Brancusi greatly has, especially in his carved wooden bases; and my constant effort is not only to make the most modern decorations a synagogue has ever had, but also the most ancient, since Dura Europos. The past is no good unless it is living; but the living are as orphans, without knowing their ancestors.”46 This sense of necessary rupture within desired continuity was crucial to his whole idea of how the modern artist should function in relation to the past. “Every intelligent painter carries the whole culture of modern painting in his head,” Motherwell wrote in 1951. “It is his real subject, of which everything he paints is both an homage and a critique, and everything he says a gloss.”47

In 1941, when Motherwell began to paint seriously, the war had made New York a kind of crossroads that brought together major representatives of the various strands of modernism, ranging from the Surrealists to Piet Mondrian to Fernand Léger. Those European artists who were not physically present in New York were very well represented by the collections of the Museum of Modern Art, the Solomon R. Guggenheim Foundation’s Museum of Non-Objective Painting, and A. E. Gallatin’s Museum of Living Art, where major works by Kandinsky, Matisse, Miró, Mondrian, and Picasso were on view, punctuated by retrospective exhibitions such as the Museum of Modern Art’s great 1941–42 Miró exhibition. Moreover, the collections at these museums emphasized very specific aspects of those artists—often their most difficult, austere, and powerful works. The Museum of Modern Art, for example, had what Motherwell referred to as especially “brutal” paintings by Picasso, such as Guernica; and New York collections contained what he referred to as Picasso’s “Matisse-formal” pictures, such as the three great Picasso studio interiors from the late 1920s, which then belonged to the Museum of Modern Art, Sidney Janis, and Peggy Guggenheim. Therefore, as Motherwell remarked, what could be called “the New York Picasso” was “much stronger than the actual Picasso,” just as the New York Matisse was an especially severe, inventive, powerful Matisse—much more so than any other Matisse collection in the world except those in Russia, which were then inaccessible.48

As a result, during the early 1940s Motherwell was open to, and able to synthesize, the syntactic and aesthetic possibilities of a number of strong but disparate styles, including those of Kandinsky, Matisse, Miró, Mondrian, Picasso, and Surrealism. Because of Motherwell’s background in philosophy, with its emphasis on structural relationships, the different manners of inventing and handling abstract form—such as the opposition between the strict, coolly poised geometry of Mondrian and the expressively rendered biomorphic forms of early Kandinsky—did not present a conundrum to him. Rather, they inspired him to synthesize from a number of different sources. From Surrealism Motherwell adapted his technique of automatism, from Kandinsky his early vocabulary of organic forms and his susceptibility to an aesthetic of strong personal feeling, dynamism, and flux. From Mondrian he constructed a vocabulary of rectilinear geometry and limited color, and an aesthetic based on the ethics of objective or “plastic” feeling. From Picasso, especially the tough Picasso of the late 1920s and 1930s, he developed his own pictographic imagery and his violent subject matter of the early 1940s. From Miró he learned to open up his pictorial space to ethereal, floating grounds, and to allow his hand to move freely across them with an almost studied negligence, as in the paintings of children, to combine “both a thingness and an airiness.”49 From Matisse he came to understand how effective simple, unadulterated

color harmonies and clearly stated forms could be, and how important it was to keep the painted surface fluid and open.

As Motherwell forged what he took from each of these artists into a personal and distinctive style, he also made significant refusals. He refused the Surrealists’ deep descriptive space and anecdotal subject matter. He refused Mondrian’s extreme limitations of touch, format, and color. He refused Miró’s daringly idiosyncratic “boneless” manner. And he refused—except in his later collages, and then realized in a very different way—both the Cubist space and the narrative subject matter of Picasso.

Of all these artists, Matisse was the one who had the strongest lasting influence, and the most specific one. At certain times in Motherwell’s career, he alluded to other modern masters in indirect, generalized ways. But the paradoxically straightforward complexity of Matisse’s spatial construction and the nearly infallible rightness of Matisse’s color haunted Motherwell throughout his life. And unlike the general way in which he referred to the work of other artists, Motherwell repeatedly felt compelled to confront specific images and motifs of Matisse, from Mallarmé’s Swan (fig. 22) in 1943–44 to some of his last paintings and collages.50

These disparate early sources of inspiration not only offered Motherwell a broad range of formal possibilities, they also allowed him to develop and use to his advantage the powerful contradictory impulses he felt within himself, most especially between thought and feeling. This polarity between thought and feeling, culture and individuality, historical awareness and faith in the vivid necessity of the moment, underlies much of his imagery, and greatly affected both his use of color and his vocabulary of forms.

Right from his earliest pictures, there was a strong opposition between organic and geometric forms, at first under the influence of Surrealism and Mondrian, later reconciled into particularly Motherwellian imagery. This opposition was already nascent in his earliest Surrealist-inspired works (ew.xv–ew.xvii), where the organic held sway. But most of the oil paintings Motherwell began in 1941—such as The Little Spanish Prison (fig. 6) and Spanish Picture with Window (fig. 10)—are based on an austere if irregular right-angle geometry. It was not until the mid-1940s that Motherwell began fully to master the balance between organic and geometric forms in the same picture, in the distinctive dialogue between ovoid and rectilinear shapes that eventually led to the format of the small 1948 drawing (fig. 44) that became the model for At Five in the Afternoon (fig. 45) and the Elegy to the Spanish Republic series. Throughout the rest of his life, this duality played a determining role in his creation of pictorial imagery.

l iterary s ources

Motherwell’s intellectual restlessness and seeking out of direct experience were reflected in the course of study he chose during his formal education. As an undergraduate at Stanford University, where he majored in philosophy and studied French literature, he began to read the American empiricist (or pragmatist) philosopher John Dewey, whose Art as Experience he referred to as one of his “early bibles.”51 Dewey’s emphasis on learning through doing, and on art as a response to lived experience, provided Motherwell with a firm point of departure for his own developing thoughts about art. And Dewey’s insistence that the expressive energy of works of art comes from formal interactions within them, rather than from their representational subject matter, provided a theoretical basis for being able

to communicate emotion through abstract forms and colors. “I owe Dewey part of my sense of process,” Motherwell said. “He demonstrated philosophically that abstract rhythms, immediately felt, could be an expression of the inner self.”52

When he did graduate work at Harvard, Motherwell studied aesthetics with Arthur O. Lovejoy and David W. Prall and attended lectures by Alfred North Whitehead. Prall’s book Aesthetic Analysis was especially influential, in its emphasis on abstract formal elements over recognizable subject matter, on the unity of form and content, and on the importance of feeling. “Feeling simply is concrete direct experience,” Prall wrote. “And if we were only free of the cultivated but factitious view that feeling is not defined in what is felt, but is in some mysterious way within us, and yet not ‘really’ or ‘objectively’ in our world, there would be no difficulty in seeing that the sensuous presentations of art directly embody feeling, that they are those bodies the presented nature of which is the presence of feeling determinately exhibited.”53

Whitehead, in turn, reinforced Motherwell’s sense of the inadequacy of deductive analysis as a tool by which reality could be understood, and provided a philosophical model for the process of abstraction as one of selection and concentration. Motherwell was especially impressed by what he later described as Whitehead’s notion that “mathematics is thinking about certain patterns in concrete reality and ignoring others, and is consequently a form of abstraction—thought in this sense, he insists, is a form of emphasis. And so with art. All art is abstract in that it presents certain things and omits others from the fullness of man’s experience. . . . Modern art is more abstract than any preceding art, because it rejects more around it than any other art.”54

Although Motherwell was deeply involved with American pragmatic philosophy, his main interest was not in developing a philosophy of aesthetics but in creating art. It is revealing, for example, that as the subject of his Harvard thesis he chose to work with the journals of Eugène Delacroix, thus dealing directly with the writings of a specific artist rather than becoming mired in aesthetic speculations about art in general. The example of Mallarmé and the French Symbolists had a powerful effect on Motherwell’s thought and art, especially Mallarmé’s famous dictum to “paint, not the thing, but the effect it produces.”55 During his early years, it acted as a kind of polestar. It gave him a firm sense of what the central intention of his art should be, which allowed him to absorb and synthesize the powerful outside influences that he was being exposed to. It also provided him with a model for how to create meaning. His passion for modern French poetry was also another avenue of escape from the bourgeois, specifically American, milieu in which he had been raised. In 1974, for example, looking back at his early involvement with Symbolist poetry, Motherwell told an interviewer, “Forty years ago I was trying to find out about a certain kind of modernist vision and it so happens that, among other people, some symbolist poets came closest to expressing it. I was looking for what would help me understand modernist art. In the 1930’s it was almost impossible to find out in English, in America, modern art’s deepest concerns, theoretically and culturally.”56 It was such feelings about American isolation from the central ideas of European modernism that led him in 1944 to begin publishing books in the Documents of Modern Art series, in which the writings of leading European artists and critics were made available to an American audience. Motherwell was a great reader, and his reading was reflected in his art in a variety of ways. His notion of correspondences, which was so crucial to everything he did, came to him originally from his

reading of French poetry. Through correspondences, relationships are established between everyday things and sensations and a higher, transcendent reality. And from such connections, symbols can be made to emerge, and meaning created. In the words of Charles Baudelaire’s poem “Correspondences”: “Vast as the night or as clarity itself, / Scents, colors, and sounds respond to one another.”57

Motherwell’s intellectual and spiritual engagement with various French poets was quite strong, and echoes of their imagery reverberate through the imagery and titles of his works. References to more recent poets, such as Paul Eluard and Paul Valéry, as well as to Baudelaire and Mallarmé, run through his works almost from the beginning. Motherwell was also very much engaged by the work of his American contemporaries, such as Robert Frost, William Carlos Williams, and Frank O’Hara, as well as by contemporaries writing in Spanish, such as Octavio Paz and Rafael Alberti. His reading frequently provided associative titles for his works, and it also affected their form. One of his most ambitious early collages, Mallarmé’s Swan (fig. 22), evokes a vision of Mallarmé that is later echoed in Motherwell’s written description of the French poet’s process of creation: “Sometimes I have an imaginary picture in mind of the poet Mallarmé in his study late at night—changing, blotting, transferring, transforming each word and its relations with such care—and I think that the sustained energy for that travail must have come from the secret knowledge that each word was a link in the chain that he was forging to bind himself to the universe.”58

Speaking of the way his philosophical training had led him to a direct engagement with the underlying dynamics of abstraction, and to see how modernist art and literature emphasized relational structures, he recounted, “I understood, too, that ‘meaning’ was the product of the relations among elements, so that I never had the then common anxiety as to whether an abstract painting had a given ‘meaning.’ People who from a purist standpoint have felt that I have allowed too much ‘literature’ at times into my paintings, underestimate, in my opinion, the philosophical freedom with which it was done. . . . There is a phrase from Whitehead that was of great help: ‘The higher the degree of abstraction the lower the degree of complexity.’ But in the end I certainly learnt more from Baudelaire and Mallarmé and Joyce than from philosophy. And even more from looking at Cubism and Matisse.”59

Even before he had discovered what he wanted his art to look like, Motherwell seems to have had a firm idea of what he wanted it to do. He wanted to create an art that would deal with the universal rather than the specific, yet be charged with feeling; that would be true to its medium, be quintessentially what it was physically, yet also evoke powerful reverberations beyond its mere physical appearance. The formal goal of Motherwell’s art, like that of Symbolist poetry, was intensification through compression, of making apparently simple relationships of form and color be charged with as much feeling, and as much meaning, as possible. As he wrote in 1951, just before evoking the image of Mallarmé working in his study, “I think that one’s art is just one’s effort to wed oneself to the universe, to unify oneself through union.”60 Reflecting on this problem decades later, he asserted that “painting is a means of thinking for me, but the thinking is a priori and has much more to do with French ideas of correspondences.”61 Spanish poets also loomed large in Motherwell’s imagination, especially Federico García Lorca, whose notion of the duende, “the obscure power and penetrating inspiration of art,” was inseparable from Motherwell’s feelings about artistic authenticity.62 Lorca himself said that the duende “springs out of energetic instinct,” and recorded the comment of a great flamenco singer that Motherwell understood

and identified with: “Whatever has black sounds has duende.” Of which Lorca wrote: “There is no greater truth.”63 Like many of his generation, Motherwell was haunted not only by the poetry of Lorca but by his persona, the courage and authenticity he stood for, and the tragedy of the sacrifice of his life to dark and troubling political forces. Motherwell’s work is full of references to Lorca, in his titles, and in the lines from Lorca’s poetry that are occasionally inscribed into his pictures. But even more important is the way in which Lorca’s presence hovers in the background of so much of Motherwell’s imagery, in the simplicity and starkness of the way he uses colors, especially the evocation of spiritual darkness in his blacks, and in the rhythmic relationships within individual paintings. Motherwell’s breakthrough painting At Five in the Afternoon took its very structure, as well as its title, from the threnodic cadences of the refrain in Lorca’s poem “Llanto por Ignacio Sánchez Mejías” (Lament for Ignacio Sánchez Mejías), an elegy for a bullfighter mortally wounded “at exactly five in the afternoon.”

One of Motherwell’s most beloved literary figures was James Joyce, whom he repeatedly referred to in his work. His identification with Joyce was partly chauvinistic—his notion of Joyce as a fellow Gael—and in that sense it was curiously almost tribal. But it was also tribal in another, very particular way, as part of a community that Motherwell described in a 1982 lecture as “a more international and universal tribe of intellectuals and artists whose most serious works of art . . . fall under the umbrella of the aesthetic called modernism.” As he makes clear toward the end of that lecture, in his discussion of that paradoxically self-selected tribe, “I am not talking about mere aesthetics. I am talking about shaped meaning, without which no life is worth living.”64

Joyce represented for Motherwell the version of the modern artist with whom he most closely identified. Against all odds, and without much material reward, Joyce had created an extraordinarily pure body of work, committed in an absolute way to the exigencies of language both in and of itself, and as a vessel for the most profound expression of human feelings and aspirations. Joyce was, in short, a wonderfully rich example of what Motherwell called the “desperate and gallant attempt at a more adequate and accurate view of things.”65 It is no exaggeration to say that for Motherwell, Joyce was as important a presence as was any visual artist. And it was Joyce, as well as Picasso, who informed Motherwell’s pervasive perception about the collage-like nature of reality.

a s pokesman for m odernism

Motherwell has been characterized as the leading spokesman of the Abstract Expressionists, and in fact his was the main voice that defined and explained the movement. Given his education and his interest in aesthetic theory and in politics, this was a logical role for him to have assumed. The relationships between art and philosophy were of particular interest to him, and he saw painting as a way of giving form to the deepest questions of existence. He also had the unusual historical advantage of being both one of the major practicing artists of the New York School (a phrase that he himself coined in 1950),66 and also the main intellectual force within it. As a result, he was able to articulate with remarkable breadth and clarity many of the ideas that were so crucial to the way that abstract painting came to be perceived in America. Equally important, he also went out and proselytized for the movement—not only for his own art but for the ethos and aesthetics of abstract painting in general.

Although Motherwell wrote a great deal, he had ambivalent feelings about his role as writer and theorist. “I’ve never written anything in my life that I wasn’t asked to write,” he told an interviewer in 1971. “It would never occur to me to just sit down and write something for the hell of it. But in those days everybody needed explanation and because I was the most highly-educated of the American artists I became the guy who inevitably wrote whatever had to be written. And also probably I believed more in words than the others. I mean I’m aware of how terrible they are and also often attack them, but they’re a real social weapon and anybody ignores them at his peril.”67

Because of the way they originated, Motherwell’s early writings were mostly occasional—that is, they were either commissioned for specific publications or prepared for symposia, meetings of artists’ groups, or lectures. (Later, he was also the subject of numerous interviews.) His writing was a by-product of the time and place in which he practiced his art. To a large degree, he was involved in the same process that Wordsworth had described over a century earlier, whereby the gap between the artist and his public was so wide that the artist had to educate his potential audience in order to make a place for the art.

Motherwell’s early writings were an organic part of his deep commitment to the ideas associated with modernist art in general and with abstract painting in particular—an engagement that was at the very core of his being. He lived and breathed modernist art, and he brought to it a kind of religious fervor that quite naturally led him to explain and promote it at a time when it was not widely accepted. From the beginning of his career, Motherwell was deeply concerned about the role of the artist in society. This was the subject of one of his earliest public lectures, “The Modern Painter’s World,” written in August 1944 (and originally titled “The Place of the Spiritual in a World of Property”), in which he states that “the function of the artist is to express reality as felt,” and asserts that “it is because reality has a historical character that we feel the need for new art.” In this essay he notes that modern artists reject the values of bourgeois society and “form a kind of spiritual underground,” in which individual freedom plays a crucial role and where “the modern artist tends to be reduced to a single subject, his ego.” Opposed to both the materialism of the bourgeoisie and the inertness of the working class, the modern artist is left “without any vital connection to society, save that of the opposition,” and thus has to replace social values with aesthetic ones. This leads the modern artist to find remarkable strength in technical procedures such as automatism, and in formal values, creating a level of artistic accomplishment “unreached since the earlier Renaissance.” But, he notes, how or when such art might help effect a revolution in social values, “no one at present can tell.”68

During the next twenty years or so, Motherwell often addressed the problem of the gap between the artist and his public. He explored the ways it could be bridged in his teaching at Hunter College, as well as in his writings and lectures. His remarks at a 1949 conference on art education sponsored by the Museum of Modern Art are fairly typical of his attitude at the time: “First, I want to apologize for speaking here today. I—no more than any artist—believe in these forums, either that they are very pleasurable to participate in or that they can accomplish very much. I ought to be painting in my studio, where the dramas that interest me take place. I expect to leave here frustrated and tired, too excited to feel at peace. I do not even know why I was chosen to speak, I knew no one concerned in this affair and if, as I have heard, the theme of these conferences is ‘Art and the Unity of Mankind,’ I have no ideas on the subject:

it does not move my imagination. . . . I accepted the invitation today for tactical reasons, from a sense of intellectual responsibility. When the artist refuses to speak at these forums on art, they are generally taken over by professional ‘horners in.’ I hope, though I may not succeed, that I will mislead you less.”69

Motherwell understood that the tradition of modern European painting was crucial to the development of modern art in America. The culture of modernism was important to him, and he was especially interested in the studio talk and writings of artists and of the people who were close to them. He also was interested in the idea of promoting a community, however small, of artists and ideas that would reach out into the society around him, and have an effect on how people lived and thought about their lives. He was aware that many of the European artists he most admired had been committed to writing about their art, and about art in general, and the main purpose of the Documents of Modern Art was basically a proselytizing one: to make the ideas and perceptions of leading modern artists and critics available to American artists and students, so they could learn about modern art and modernism, as he liked to say, “directly from the horse’s mouth.” During the first ten years of its existence, the Documents included books of writings by Piet Mondrian, Wassily Kandinsky, Hans Arp, Max Ernst, Louis Sullivan, and László Moholy-Nagy, as well as important volumes on Fauvism, Cubism, and Surrealism, along with Motherwell’s own groundbreaking work The Dada Painters and Poets (1951), in which he set various texts against each other in a striking, collage-like effect.

The books in the Documents series quickly came to be a vital resource for artists and scholars alike, precisely because of the focus and intensity that the artist-writers brought to the task of putting their ideas into words. In Motherwell’s 1949 lecture on art education, he discussed the particular dynamics that underlie the writings of artists. “Artists have their faults in writing of their art,” he acknowledged. “They are often ignorant of, or indifferent to, other contemporary expressions. They stack history as much as they can, often in a shocking manner. . . . Yet there is some sense—one that I cannot adequately formulate—in which the statements of artists themselves constitute the literature that is most inspiring to others, and especially younger artists, as though dreams related were a more direct route to another’s mind than an analysis of behavior; and it is young artists and poets, not scholars or historians, whose wants I have had in mind in editing the Documents of Modern Art series.”70

He went on with this project even though he was profoundly aware of how dangerous it could be for an artist—especially an American artist—to be perceived as an intellectual. Not without justification, as it turned out, he believed that this perception could adversely affect the way he was regarded as an artist. Only a generation later, with the emergence of such articulate artist-writers as Dan Flavin, Donald Judd, and Robert Smithson, the artist as intellectual and social critic gained respect. But during the 1940s and 1950s, an American artist was expected to be what Motherwell described as a “feeling imbecile,” wild, unpredictable, and passionately inarticulate.71 That Motherwell continued to pursue his engagement as a writer throughout his life is a measure of his courage, and of his commitment to the enterprise of abstract art.

Motherwell was not only an eloquent spokesman, he was also an especially open-minded and inclusive one. He was intensely aware of the diversity of valid artistic expression among his colleagues, and he scrupulously avoided placing the kinds of rigid theoretical constraints on abstract painting that were advocated by many of his contemporaries. At a time when ideas about the necessity for absolute

flatness or for the complete absence of implied subject matter were strongly espoused by many, Motherwell remained passionately committed to the notion that individual expression would always transcend any set of rules, and that subject matter counted: “It is all this side of art-making that can’t creep into stylistic analysis that is where the impulses originate that make a style not an arbitrary choice but a necessity for a given artist,” he wrote in 1971. “Where all of us would have agreed—and there both journalism & formal criticism missed our point—was that content is the issue, & the given forms, while given, were at least partially designed for something else.”72 For all his intellectual rigor, and for all the prestige he had in university circles, he was the opposite of an academic.

Motherwell’s interest in philosophy, Symbolist literature, and psychoanalysis would serve as the intellectual matrix from which a good deal of his later thinking would develop and be sustained. He remained committed to writing, editing, and lecturing until the end of his life, and he undertook these activities with a kind of missionary zeal for the propagation of modernism, as well as to clarify his thoughts about his own work and about how the new American painting related to the larger history of art. These activities also brought down on him a good deal of resentment, criticism, even hatred, from colleagues who felt that he had presumptuously taken on the role of speaking for them all. While most of his colleagues were all too glad to have him pave the way in building an audience for their art, some later came to resent him and to see his spokesman’s role as a form of self-promotion that intruded upon their own accomplishments.73

Motherwell later looked back on such experiences with a mixture of exasperation and bitterness. “I always thought the truth, whatever it is, would come out,” he wrote in 1971. “But, perhaps foolishly (politically speaking), I tried to force it out too soon sometimes. Hence there were the bitter personal attacks which, so far as I know, were never rooted in personal episodes, but in just the fact that I exist.”74

In fact, Motherwell’s zeal was truly that of the missionary, and he was speaking very candidly when he said, “I was always concerned with the culture of Modernism as much as with my personal fate—to the degree that that is possible.”75 While still in his twenties, he had realized that all the art of value that had been produced during the past century “could be grouped together under the umbrella of Modernism,” and that modernism itself had “begun in large part as a critical act, as an act of rebellion,” not only against academic art but against bourgeois values, against religious hypocrisy, against sentimentality, and against “a lack of vitality and an essential falseness.” Modernism, according to Motherwell, had set out “to find a language that would be closer to the structure of the human mind— a language that could adequately express the complex physical and metaphysical realities that modern science and philosophy had made us aware of; that could more adequately reflect the nature of our understanding of how things really are.” In the same way that poets had traditionally been involved in writing criticism, Motherwell went on to say, there was no reason “that a university-educated painter cannot write criticism as well, and become involved with theoretical issues. I never met an outstanding artist not interested in ideas, as well as in sensuality.”76

All of his activities were part of an underlying continuity, the diverse elements of which were brought together and reconciled by his own deep understanding of the unity that underlay the complex fabric of images, words, things, and sensations that constituted his world.

Paintings,

Finding a Voice

a rtists find their voices B y B eing a B le to reach B oth deep within and far outside themselves. The reaching within often involves a struggle with the psychic scars and inhibitions inflicted by the artist’s upbringing and by the conventions of society. The reaching for some kind of an outside symbol can provide a kind of “objective correlative” through which the artist expresses his deepest feelings while having his work maintain a necessary psychic and aesthetic distance from his everyday self. Like T. S. Eliot, another master of allusiveness and of the transformation of trauma into art, Robert Motherwell understood that “suffering, if it’s tragic suffering . . . takes you away from yourself. . . . The thing is to be able to look at one’s life as if it were . . . somebody else’s.”1 Writers can do this by creating a fictional character who serves as an alter ego. Eliot, for example, found such a voice in the dryly ironic timidity of J. Alfred Prufrock. For James Joyce, Stephen Dedalus and Leopold Bloom, polar opposites inhabiting the same city and sharing intersecting parts of the same psychic domain, served as a kind of compound alter ego, in effect allowing Joyce to be at once invisible and fully James Joyce.

Painters can do something similar, by using a technique, or a place, a model, a kind of object, or even the words of a poet, as a vehicle for self-realization. For Motherwell, a combination of factors played a crucial role in his finding his voice as an artist. The technique that opened the way to selfrealization for him was psychic automatism, which allowed him to probe and express his inner feelings, and to liberate himself from the constraints of the rigid social codes and puritanical psychological inhibitions that had been at the core of his upbringing. In addition, both a place and a poet played a crucial role in how he found his own voice. The place was Spain, and the poet was Federico García Lorca, who excited Motherwell’s imagination in a way that recalls what Eugène Delacroix wrote in his Journal about Lord Byron: “Remember eternally certain passages from Byron to inflame your imagination for all time.”2

Motherwell had never been to Spain when he first adopted the country as a kind of totem, and it remained a powerfully present but idealized, semifictional place throughout most of his life—somewhat as Africa had been for the early European modernists. His deep feeling for Spanish culture was to some degree extrapolated from his experience of Mexico, the place where during the summer of 1941 he decided to become a painter, painted his first mature pictures, and fell in love with Maria Emilia Ferreira y Moyers, a beautiful young actress of Mexican descent.

Nor was the connection Motherwell made between Spain and Mexico mere romanticism, or just the imaginative exoticism of a gringo. He was struck in Mexico by the emotional explosiveness of the people and by the omnipresence of death and of imagery related to death. These attitudes were very different from the American social reserve and pudency about death and dying with which he had been brought up.3 Motherwell understood the people in Mexico to have the same kind of preoccupation with death that Lorca had written of in Spain, which Lorca called “the only country where death is the national spectacle.” Spain’s festivals, Lorca asserted, contained “all the duende of the classical world . . . epitomizing the culture and the noble sensibility of a people who discover in man his greatest rages, his greatest melancholies, his greatest lamentations.” In that very same text, Lorca also pronounced that “in all the world, Mexico alone can go hand-in-hand with my country.”4

In 1941, anyone who thought of Spain thought of the martyrdom of the Spanish Republic during the recent civil war, of the fate of the tens of thousands of Republican sympathizers who were either

jack flam

refugees or still being kept in Spanish prisons, and of the tens of thousands who had been shot during the war and who were still being shot two years after it was over. During the early 1940s, newspapers and magazines were full of stories about the atrocities of the Spanish Civil War and its aftermath.5 And among the Spanish martyrs, the one held dearest in artistic circles was Lorca himself, who had been executed near Granada at the very beginning of the war.

During the late 1930s Motherwell had been emotionally involved with both the Spanish Civil War and Lorca’s poetry. Shortly after he graduated from Stanford, he had gone to San Francisco to hear André Malraux speak in support of the Spanish Republic, and in 1938, when he was doing graduate work in philosophy at Harvard, the Spanish Civil War was a subject that received constant attention.6 He later recalled that his philosophy professor, David W. Prall, broke down in tears at dinner one night over what was happening in Spain. He and Prall discussed what a young man committed to the Republican cause should do: whether it would be more effective to go and fight or to help raise funds. According to Motherwell, Prall, ever the philosopher, told him that the most important thing would be to do something significant with his life that could set an example for others.7

Motherwell was passionate about Lorca’s poetry, which began to appear in English during the late 1930s. By his own account, he read everything by or about Lorca that he could lay his hands on, starting with the earliest English translations of the plays and poetry, preferably in editions with the Spanish on the facing page so he could try to apprehend more fully the music, syntax, and meaning of Lorca’s words. The Chilean painter Roberto Matta, with whom Motherwell went to Mexico in 1941, had met Lorca in 1935 and no doubt recounted to Motherwell his impressions of the poet. Matta found Lorca to be not only a great artist but an exceptional man, “a character who changed the lives around him as a river nourishes the growth of a chosen tree.”8 He remembered the poet as a man of great energy and freedom of spirit, who carried with him “the revelation of life lived to the full.” It was only after Lorca was assassinated, Matta recalled, “that the full reality of being García Lorca came home to me. Federico was, is, a true political poet. Federico is a political poet because deep down in the Spanish character, the gypsy is not the bohemian in the negative and racist sense, but represents the grafting of Africa on to Spain and Europe. He showed us increasingly the life Africa brought to Europe.” By assassinating Lorca, Matta added, “Franco’s followers extinguished this breath of culture residing within the Spanish bard. A Spain that wanted to live green.”

For Motherwell, Lorca—a symbol of political idealism and the highest poetic ambition—was both a source of artistic inspiration and an imaginative bridge between Mexico and Spain that allowed him to inhabit a kind of space and way of being that were very different from those in which he had been raised. (Unlike the United States, it should be remembered, Mexico had been strongly pro-Republican during the Spanish Civil War.) In the same way that becoming an artist meant for Motherwell becoming himself a man of free spirit and deep commitment, so the correlative of Mexico and Spain provided him with a vehicle for expressing feelings that were too deep and tangled for him to deal with in the framework of contemporary American manners and mores.

The spiritual connections Motherwell felt with Mexico and Spain were reinforced after he returned from Mexico in the fall of 1941 and were reflected in the titles of the first oil paintings he did

back in New York: The Little Spanish Prison, The Spanish Prison (Window), El Miedo de la Obscuridad (later Recuerdo de Coyoacán), and Mexican Night (see figs. 6, 8, and 12, and p5). And they would be a recurrent theme throughout his life. Back in New York, Maria (whom he married in August 1942) shared his interests. She performed in a theatrical homage to Lorca at the Museum of Modern Art in March 1943, in a dance piece with music by Paul Bowles that was described on the program as “after García Lorca.” (The conductor was Leonard Bernstein and the choreographer Merce Cunningham, who also performed.) Motherwell’s ongoing involvement with Mexico was strong enough for him and Maria to return there in 1943; they planned to stay for six months, but their sojourn was cut short after a few weeks by the sudden illness and death of his father. In Motherwell’s first extended essay, “The Modern Painter’s World,” he hailed Goethe, Beethoven, and Goya as “the first to disassociate themselves from class” and “to identify themselves with humanity, with all men,” asserting that “it is in the unindustrialized Spanish-speaking countries of the occident that this humanism, in a far more popular form, it is true, still persists. In an era where the greatest painters all skirt the inhuman, the too abstract, the Spaniards Picasso and Miró are specially loved, just as in the political sphere it is the Spanish civil war and the Mexican efforts which strike our hearts.”9

Though it was in Mexico that Motherwell began to find his voice as a painter, it was back in New York that he learned to use it persuasively. While in Mexico in 1941 he had done a number of semiabstract compositions in ink and watercolor (figs. 3 and 19), influenced by Kurt Seligmann and by Matta, but only one oil painting, the rather Goyaesque portrait of Maria (see fig. 1). When he returned to New York, however, he began to engage seriously with the process of absorbing and synthesizing recent developments in modern painting and of establishing his own originality.

Fig. 3. Mexican Sketchbook, 1941. Watercolor on paper, 9 x 11½ in. (22.9 x 29.2 cm). The Museum of Modern Art, New York; Gift of the artist

If the themes that Motherwell initially worked with were related to Mexico and Spain, the form that his pictures took owed a good deal to Piet Mondrian and to Joan Miró, both of whom were given important solo exhibitions in New York during the winter of 1941–42.10 Sometimes his borrowings from them were quite specific, as in the way a brightly colored circle inspired by Miró appears in works such as The Red Sun (fig. 4) and in a number of oil paintings (see p6 and p7). Although the motif of the red circle comes from Miró, Motherwell uses it in a very different way, not as a free-floating abstract form, as in Miró’s Hermitage of 1924 (fig. 5), but as a more statically fixed one. Similarly, as he adapted Mondrian’s clean, straightedged geometrical formats in his own paintings, he also transformed them into motifs with irregular, purposely wavering lines and uneven paint surfaces. The way Motherwell worked with motifs and formats from these two artists is an excellent example of what he spoke of as the “after-image,” in which— as in allusive poetry—references to art, or literature, or certain places, could compound the layers of

Fig. 4. The Red Sun, 1941. Gouache, watercolor, and ink on cardboard, 8⅛ x 10 in. (20.6 x 25.4 cm). Private collection

Fig. 5. Joan Miró, The Hermitage, 1924. Oil, crayon, and graphite on canvas, 45 x 57⁹⁄₁₆ in. (114.3 x 146.2 cm).

Philadelphia Museum of Art; The Louise and Walter Arensberg Collection, 1950

meaning in a picture by creating complex networks of references that reverberate in the mind of the viewer.11

The combination of being inspired by, and at the same time resisting, the work of another artist, which was so typical of Motherwell’s relationship to the past throughout his career, began with The Little Spanish Prison (fig. 6). He started this picture shortly after he returned to New York, as an automatist work with freely painted organic forms. Over the course of the next few months, Motherwell painted over the initial automatist composition—much as he had the previous summer with his portrait of Maria. But now, inspired by the exhibition of Mondrian’s work at the Valentine Gallery in January 1942 (see fig. 7), he laid a geometric scaffolding over the original biomorphic forms, gradually arriving at a strikingly original response to his source of inspiration, an ensemble of yellow and white stripes that was set against the horizontal rectangle that still contained automatist forms. The net effect was to set up a contrast between the relatively impersonal geometry of the stripes, which suggested a barred window, and the more “humanistic” form of the horizontal rectangle—as if to suggest a sense of struggle between two different kinds of forces, one confining and the other pushing against confinement.

Sometime during the next year or two, Motherwell painted the horizontal rectangle red, which gave the painting a greater flatness and stylistic consistency, and enhanced the sense of struggle in the picture by increasing the chromatic intensity of that area. Motherwell’s Little Spanish Prison is an extraordinarily imaginative rendering of what it feels like to be confined. It is at once a political picture, a moving historical document, and also no doubt a deeply personal image of Motherwell’s own sense of suffocation and confinement during his childhood. (Subsequently, The Little Spanish Prison underwent a number of interesting transformations. Sometime between 1946 and 1959, he changed the horizontal rectangle from red to black. In doing so, he changed the metaphorical signification of the painting; it was as if the “prisoner,” instead of being alive and struggling, were dead. In 1969 he had the black paint removed, restoring not only the previous state but also the original metaphor.)12

The themes of this painting and of The Spanish Prison (Window) (fig. 8), as well as of a number of drawings and watercolors of three people being shot (see fig. 9) appear to be related to accounts of

Fig. 6. The Little Spanish Prison, 1941–44 (p3)

Fig. 7. Piet Mondrian, Composition No. 11, 1940–42—London, with Blue, Red and Yellow, 1940–42. Oil on canvas, 32½ x 28 in. (82.5 x 71.1 cm). AlbrightKnox Art Gallery, Buffalo; Room of Contemporary Art Fund, 1944. This painting was shown at Mondrian’s 1942 exhibition at the Valentine Gallery

Spanish prisons and firing squads, during and after the Spanish Civil War. Motherwell had read JeanPaul Sartre’s short story “The Wall,” published in 1937,13 in which Spanish prisoners wait to be shot, and also Arthur Koestler’s Dialogue with Death, published in the United States in 1942, a moving (and chilling) firsthand account of life and death in Spanish prisons during the first half of 1937.14 (At the same time, Motherwell typically understood such references to be personal as well as political, and he was aware that the drawings in his Three Personages Shot series were subliminal representations of his family: the trio being his father, his mother, and himself.)15

The Spanish Prison (Window) is a more literal rendering of a prison scene, with its suggestion of a barred window, and its glimpse of what Motherwell described as “the hidden Spanish prisoner,” who “must represent the anxieties of modern life, the intense Spanish-Indian color, splendor of any life.”16 The large eye-like form in the painting, representing the “hidden Spanish prisoner,” is reminiscent of a striking passage in Koestler’s book, where the author sees an eye at his cell door, which “goggles at him glassily, its pupil unbelievably big; it is an eye without a man attached to it, and for a few moments the prisoner’s heart stops beating.”17

Motherwell’s description of the tension between the two kinds of constructive elements used in this painting is also revealing. He called it “a dialectic between the conscious (straight lines, designed shapes, weighed color, abstract language) and the unconscious (soft lines, obscured shapes, automatism) resolved into a synthesis which differs as a whole from either.”18 The contrast between geometry and

Fig. 8. The Spanish Prison (Window), 1943–44 (p12)

Fig. 9. Three Personages Shot, 1944. Ink on paper, 11⅜ x 14½ in. (28.9 x 36.8 cm). Whitney Museum of American Art; Purchase, with funds from the Burrough Wellcome Purchase Fund and the National Endowment of the Arts

biomorphic forms, which sprang from the most profound parts of his psyche, and which had been reinforced by his recent exposure to the paintings of Mondrian and Miró, would run through his work for the rest of his life. It was true of The Spanish Prison (Window), and it was a distinguishing characteristic of his Elegy to the Spanish Republic paintings, which he said were directly related to The Spanish Prison (Window). 19

Mondrian pointed the way to an extreme use of geometry, which helped Motherwell formulate the radically striped format of Little Spanish Prison. But at the same time, Motherwell refused what he perceived to be the impersonal austerity of Mondrian’s geometry and opted instead for a more “sensual” kind of rendering, in which the straight vertical bars were irregularly shaped and painted. Similarly, he profited greatly from Miró’s formulation of a fluid, abstract kind of space; but he himself resisted the extreme fluidity and weightlessness of Miró’s imagery, preferring instead to ground his forms in a space where the physical weights of things were taken into account.

A similar kind of duality was originally present in Spanish Picture with Window (fig. 10), in which the influence of Mondrian is obvious, but which started out quite differently and ended up as something that opposed rather than imitated Mondrian. As Motherwell later explained, in the first version of this painting the area that now contains the bands of red, yellow, and blue on a white field was “a single tiny ‘window,’ almost fully filled with an orange oval sun. In the upper right-hand corner, there is a rectangle now—and that, at one time (or the rectangle in the lower right hand side—I forget which—one or the other) was filled with polkadots. That is to say, the picture was originally more ‘Surrealist’ than it is in its final version; when it was conceived, whatever unconscious references were, to Picasso’s white picture of the ‘Studio’ (in Peggy Guggenheim’s collection) and the sun and polkadots of Miró. . . . When

Fig. 10. Spanish Picture with Window, 1941 (p4)

Fig. 11. Pablo Picasso, The Studio, 1928. Oil and black crayon on canvas, 63⅝ x 51⅛ in. (161 x 129.9 cm). The Solomon R. Guggenheim Foundation; Peggy Guggenheim Collection, Venice 76.2553.3

you imagine it in its original state, then the linear aspect is at once seen not to be at all in the Constructivist style tradition but, on the contrary, airy and free-hand drawn.”20 The process that Motherwell describes, in which his picture evolves from a freely rendered, Miró-like composition to a more geometrical one inspired by Mondrian and by an especially austere Picasso painting (fig. 11), is a good summation of the kinds of tension that ran throughout his work at this time. His depiction of the red sun motif in this painting is also especially interesting; although he used a similar motif in at least four oil paintings at the time, he painted it out in two (p4, p10) and the other two may no longer exist (see p6, p7). He seems to have felt that the quotation of Miró was obvious enough to upset the balance between the various constituent elements in the kind of after-image he wanted to produce.

In works such as these, Motherwell’s inner turmoil and political concerns are conflated. That is to say, the political content of his paintings served as a means of externalizing his deep personal feelings. This is especially vivid in Recuerdo de Coyoacán (fig. 12), a troubling painting that was started in 1942 with automatist gestures but that eventually evolved into a predominantly rectilinear composition. The contrast between the variously rendered rectangular areas—one of which still contains the automatist beginnings of the composition—creates an edgy, off-balance quality that is set in telling opposition to its geometrical austerity. Motherwell first gave this painting the title El Miedo de la Obscuridad (Fear of Darkness), which refers to his childhood memories of near-suffocation from nighttime attacks of asthma. This was the first painting by him ever reproduced, in the catalogue for the First Papers of Surrealism exhibition in October 1942, and was probably one of the first paintings he showed publicly in New York City.21 But he subsequently reworked it and retitled it. In doing so, he transposed the private

fears suggested by the first title into a more objectified political context: the assassination of Leon Trotsky in the Mexico City suburb of Coyoacán, in August 1940, just a year before Motherwell himself spent time there during the early fall of 1941.22

Although the present title, Recuerdo de Coyoacán, did not become publicly known until much later, Motherwell associated the picture with the assassination of Trotsky at the time he painted it. He wrote about the connection between this work and the murder of the exiled Soviet leader in a September 25, 1942, letter to Meyer Schapiro. And during the summer of 1942 he made extensive notes in a sketchbook (see fig. 177) in which he gave a detailed verbal description of the picture, accompanied by a list of (somewhat misspelled) potential titles for it, including “La assassination a Coyoacan,” “La Morte a Coyoacan,” and “La Chambre de Morte a Coyoacan.”23

During the summer of 1942, in Provincetown, Motherwell met Peggy Guggenheim, his first serious art dealer. She would have a significant influence on his early development, especially his exploration of the collage medium, which will be discussed in the next chapter. Guggenheim spent that summer in Provincetown with Max Ernst, just a few months before she opened her Art of This Century gallery in New York, where she would be showing the most promising young American artists. That autumn Motherwell, spurred by Guggenheim’s interest and by his inclusion in the First Papers of Surrealism exhibition, made plans to create an environmental work specifically for the gallery space at Art of This Century. For the theme of his planned installation, he chose “The Hours of the Day,” which had been suggested to him by Matta.

Fig. 12. Recuerdo de Coyoacán, 1942 (p8)

Fig. 13. Untitled (The Hours of the Day), ca. 1942. Ink, graphite, colored pencil, and crayon on paper, 19 x 23 in. (48.3 x 58.4 cm). Dedalus Foundation

At this time, Matta had organized a small group of young New York artists, with whom he intended to form a counterpart to the older, European Surrealists and take advantage of Guggenheim’s offer to exhibit the results if something fruitful came of the group’s meetings. In addition to Matta and Motherwell, the group included William Baziotes, Peter Busa, Gerome Kamrowski, and Jackson Pollock. Matta’s idea was to have them explore together the possibilities inherent in automatism and free association. In order to focus their activities, he suggested that they make automatic drawings based on a particular theme, such as the four natural elements, Max Ernst’s idea of “the blind swimmer,” or the hours of the day. This third theme especially appealed to Matta, who suggested that each artist take an hour, “noon or three o’clock . . . or midnight.”24

It was from this project that Motherwell conceived the environmental work that he planned to install at Art of This Century. Although the project was never realized (and he never worked on an installation again), during the winter of 1942–43 he executed a large untitled drawing that sets forth the program of the environment that he planned to create (fig. 13). This drawing, as Motherwell explained to David Hayman many years later, was his “first essay in the hours of the day.”25 It contains an ensemble

related to Motherwell’s contemporaneous paintings, drawings, and collages in a very interesting way. The titles of the themes and their accompanying texts read as follows (with Motherwell’s relevant comments to Hayman):26

A. The Threshold (the Spanish door) / the personnage turns on its pivot, / so that you brush against it / as you enter.

This area was to feature a flat, cutout mannequin-like figure painted with yellow and white stripes, which Motherwell told Hayman was meant to evoke the light of the sun, and which was “to be on a pivot top and bottom and situated in the entrance to the room so that you couldn’t enter the room without brushing against it and turning it.”27 It is possible that Motherwell actually constructed this figure, which is seen from its edge in the image labeled B. 28

B. the door open / + person leaving.

C. 9:00 A.M. / The yellowness of the morning / and the clingingness of the bed.

This composition has striking parallels with the drawings that Motherwell did in Mexico, in which the weblike perspective lines (which were frequently used by Matta in his own contemporary works) connect biomorphic shapes (see figs. 18–19). Motherwell told Hayman that the weblike forms in this drawing and the gridlike ones in F were in keeping with the original way that Guggenheim showed works without frames: “Peggy was the first to get rid of frames and just put stainless steel bands around the pictures. The pictures were on universal joints.”29

D. / Climax of the night – / the shadow of / the morning star / Ceiling, floor + / end wall in / luminous paint.

Motherwell told Hayman that this was an image of the Art of This Century gallery space, which had been designed by Frederick Kiesler. The painted floor in this image, he explained, was meant to be stepped on. “Since it was Peggy Guggenheim’s, for example, this ‘D,’ climax of the night, that’s the famous Kiesler gallery. . . . Which normally had only surrealist works and was very dimly lit. . . . This thing hanging is the shadow of the morning star. Here the ceiling, floor and end wall are to be in luminous paint.” The morning star, it should be noted, was a frequent symbol in Matta’s paintings of the period, such as The Convict of Light, 1943 (collection D. Malingue, Paris), of which Matta wrote: “I propose the morning star (Lucifer) as a sign.”30

E. 5:30 P.M. / Whirling machine / for sense of / drunkenness.

Motherwell told Hayman that this image had been inspired by a Duchamp Rotorelief, which “made me slightly dizzy as it whirled.”

F. Morning space.

When Hayman observed that Motherwell had put the drawing in A into the doorway of F, the morning space, which “looks as though it’s grilled off . . . in some way,” Motherwell responded: “Probably I

wanted a yellow ceiling or a white and yellow striped ceiling which always to me represent sunlight or midday sun or whatever. . . . But I think it’s mainly influenced by Peggy’s installation of pictures on poles wired to the ceiling and on universal joints.”

G. 1:00 A.M. / The street corner / (Perhaps this should be a floor in / luminous paint in a room otherwise black).

This composition is quite close to three contemporaneous paintings by Motherwell (p5–p7), and contains the red sun motif that was present in two of them (p6–p7), as well as in the early version of Spanish Picture with Window (fig. 10) and in the drawing called The Red Sun (fig. 4).

Several of the motifs in this “hours of the day” drawing also appear together in a contemporaneous painting, The Sentinel (fig. 14), which reflects the ideas in the drawing, and in which the various parts of the picture are arranged in a similarly disjunctive way, separated by areas of white. The striped figure on the left side of The Sentinel is quite similar to the figure in image A of the drawing. If “the Spanish Door” reference in the drawing suggests that “the threshold” at the entrance to the space between day and night in the drawing is protected by this striped figure, then the very title of The Sentinel refers to this guardian watching over the threshold to the night. The style and rendering of The Sentinel also contain references to Matta, who had instigated the whole “hours of the day” venture to begin with. The many small “windows” laid over the automatist underpainting in The Sentinel are close in shape and substance to the layered windows that appear in Matta’s paintings around this time (see fig. 18), although the physical quality of the paint and the emphasis on surface are clearly Motherwell’s own. Similarly, the technique that Motherwell employs in this painting, of defining forms by painting around them with the ground color, is related to an important feature of Matta’s painting practice that Jackson Pollock also noticed and adapted.

Peggy Guggenheim acquired The Sentinel around January 1943; it was one of the first three works by American artists to enter her collection (along with Baziotes’s Mirror at Midnight of 1942 and a work by I. Rice Perreira). Guggenheim, however, traded this painting back to Motherwell when she acquired his collage Personage (Autoportrait) (fig. 25) the following year.

“Robert Motherwell is an authentic painter,” James Johnson Sweeney wrote at the beginning of his preface to the catalogue for Motherwell’s solo exhibition at Art of This Century, which opened on October 24, 1944.31 Sweeney, who had been the curator of the Museum of Modern Art’s 1941 Miró retrospective, praised Motherwell’s natural talent and his way of thinking “directly in the materials of his art,” and lauded his capacity “to exploit fully the ambiguities of his medium in adapting nature to it.” The exhibition included six collages along with seven oil paintings and thirty-five other works on

Fig. 14. The Sentinel, 1942 (p10)

paper. And Sweeney emphasized that all of Motherwell’s efforts, in his collages and in his various drawing mediums, were aimed at combining “sensual interest in materials” with structural awareness, in order to fuse both “in the more exacting medium, oil.”

But despite Sweeney’s emphasis on Motherwell as a painter in oil, a considerable amount of critical attention was given to Motherwell’s collages. In fact, the work that Sweeney himself acquired from the exhibition was a recent collage, Jeune Fille (c13), which was the only work reproduced in the reviews. Furthermore, although all six of the collages in the exhibition went to collectors, none of the paintings sold. Over the next two years, Motherwell would produce slightly more collages than oil paintings.

Although the reviews of Motherwell’s solo exhibition were quite positive, they were to some degree tempered by the press release for the exhibition, which was probably written by Motherwell himself (not an uncommon practice at the time, and still done). This was the first of many descriptive and theoretical texts that he wrote in conjunction with his exhibitions—which were usually published in the catalogues.32 In the long run, this text did his reputation more harm than good, setting in motion a number of clichés that would follow him relentlessly for the rest of his life, in somewhat the same way that Matisse, by saying that he wanted his painting to be like a “good armchair,” hurt his reputation for decades.

Motherwell’s press release insisted that he was a self-taught artist and emphasized his credentials as an intellectual. An account was given of his study of philosophy at Stanford and Harvard, and of art history at Columbia. The press release noted that “certain philosophical interests” were part of “a constant effort to incorporate extra-aesthetic values in the increasingly autonomous forms of modern art as, for instance, the political content of ‘The Spanish Prison (Window)’ 1944, ‘Pancho Villa Dead and Alive’ 1944, and the drawings of persons being shot. . . . The work throughout is pervaded by forms developed by the artist from the present preoccupations of modern art, and by color originating in the artist’s Pacific Southwest.”

A self-taught artist from the West Coast who is also an intellectual, educated at Stanford, Harvard, and Columbia; no combination of labels could be more lethal than these in the United States of 1944. In the Artnews review of the exhibition this was translated into: “The artist studied philosophy at Stanford, Harvard, and Columbia, and thus moves naturally as an initiate in esoteric and aesthetic doctrine.”33

His admirers, however, ignored the broad target that was offered in the press release. In The New Republic, Manny Farber wrote that some of the best works in Motherwell’s show were the “papier colles [sic] which combine pasted papers and painting,” and called Motherwell’s recent works “very exciting pictures and show him to be a robust, improving, serious painter.”34 Farber was especially enthusiastic about Personage (p11), then called Untitled (Mexico), which he said showed extraordinary invention and a spectacularly realized spatial complexity. It is perhaps no coincidence that this painting is the closest in imagery and structure to the strongest collages in the exhibition, especially to Pancho Villa, Dead and Alive (see fig. 23).35 Edward Alden Jewell wrote in the New York Times that “in their as yet limited way his abstractions (I dare not call them nonobjective) possess vivacity and argue . . . eagerness

to become involved in complex paint situations.”36 Jewell, who agreed that Motherwell was an “authentic” artist, felt that he nonetheless still had a lot of experimenting before him. But Jewell was especially enthusiastic about Motherwell’s colored drawings and watercolors.

The most significant review of this exhibition was by Clement Greenberg in The Nation, who affirmed that Motherwell’s watercolors had “an astonishing felicity,” but wrote that he thought they owed too much to Picasso. (This observation was possibly provoked by the fact that Peggy Guggenheim had decided to show color reproductions of sixteen recent paintings by Picasso in an adjacent gallery.)

“Only in his large oils and collages does Motherwell really lay his cards down,” Greenberg wrote, perceptively observing that in his paintings and collages, “it is through his very awkwardness that Motherwell makes his specific contribution.”37 Greenberg went on to praise two collages in particular, “the perfect and Picasso-ish” Jeune Fille (c13) and Joy of Living (see fig. 20), which he believed pointed to the direction Motherwell should take, “the direction he must go to realize his talent—of which he has plenty.” Greenberg’s review closed with a qualified but nonetheless ringing endorsement: “Only let him stop thinking instead of painting himself through. Let him find his personal ‘subject matter’ and forget about the order of the day. But he has already done enough to make it no exaggeration to say that the future of American painting depends on what he, Baziotes, Pollock, and only a comparatively few others do from now on.”

chapter 2

Collages, 1943–1949:

A New Medium

katy rogers

e arly in 1943, r o B ert m otherwell underwent an experience that radically changed the direction of his art. The gallerist Peggy Guggenheim approached him, Jackson Pollock, and William Baziotes about submitting work to her upcoming Exhibition of Collage, which was to include examples by the major European masters of the medium.1 At the time, collage was not a well-known medium in the United States. Guggenheim hoped that her newly opened Art of This Century gallery would be a “research laboratory for new ideas” that would open up a dialogue between American artists and her unparalleled collection of European modern art.2 The planned exhibition of collages mirrored a 1938 show that she had mounted at her London gallery, where she had paired younger British artists with the recognized pioneers of collage, such as Pablo Picasso, Georges Braque, Max Ernst, and Kurt Schwitters.3

When Guggenheim offered to include the young Americans in her collage show, none of them had done any work in that medium. According to Motherwell, Pollock “suggested in a reticent way that since neither of us had ever made a collage that we try to do them together,” which Motherwell readily agreed to.4 As Pollock had the larger studio, they decided to work there. “We had a pot of glue,”

Motherwell later recalled, “and I’d brought some varied materials and his studio had lots of things and both of us would work . . . we didn’t discuss it very much, but in a way we both acted as though we were in kindergarten.”5

opposite. Detail of View from a High Tower, 1944–45 (c17)

Fig. 15. Untitled, 1943 (c2)

Pollock was apparently not very much taken with the medium, although Motherwell was deeply impressed by the violent way that Pollock worked, “pasting, tearing, and pouring paint. He burned the edges of the paper and even spit on them.”6 The rawness of Pollock’s approach was revelatory for Motherwell, who at that point was struggling to synthesize psychic automatism with geometric forms. Pollock was already comfortable with using unmodified automatic techniques in his paintings, which stemmed in part from his interest in the unconscious and his own psychoanalysis. Motherwell, on the other hand, would begin his paintings with automatic gestures but leave only the slightest intimation of them in his final compositions, because, as he later recalled, that was “all the confusion I could stand.”7

Motherwell made two collages that afternoon in Pollock’s studio. Both of them, Pierrot’s Hat (c1) and an untitled collage (fig. 15), display an ease of movement and a surprising comfort with the medium. Both works were begun in the same fashion, with Motherwell attaching a full sheet of off-white paper to the center of a hard board, leaving an even border around the central element. This technique echoes early Cubist collages, where the composition is centered and framed on all sides by white space.8 (In his subsequent collages, he did not usually leave this kind of border but painted to the edges of the supports.9) Spurred by the spontaneity of Pollock’s approach, Motherwell then applied a fluid layer of gray wash, letting it run and pool, so that his handling of the medium was left very much apparent on the surface of the work. Onto these automatically created forms, he pasted brightly colored papers that are connected by precisely drawn and painted lines.10 The collage elements and the drawn lines are set in stark contrast to the amorphous

Fig. 16. Jackson Pollock, Abstract Painting, ca. 1943. Collage of purple paper with gouache and pen and ink, 15⅞ x 21¼ in. (40.3 x 51.4 cm). Private collection

Fig. 17. William Baziotes, The Drugged Balloonist, 1943. Collage of printed paper, ink, and graphite on paperboard, 18¼ x 24 in. (46.4 x 61 cm). The Baltimore Museum of Art; Bequest of Saidie A. May, Bma 1951.266

ground. Importantly, the watercolor areas, lines, and papers break out of the central rectangle on several sides, pushing the automatic impulse directly up against the geometric forms.

The composition of Pierrot’s Hat is dominated by a piece of yellow-painted paper cut into the shape of a human profile and a pink hat form that floats above it.11 Figures appear often in Motherwell’s earliest collages, as they do in his early paintings, and here he used the hat and the profile as a way to ground the somewhat chaotic, floating painted forms. This grounding of the composition in a more concrete form is an equivalent in collage of what Motherwell did when he “corrected” automatist forms in his paintings, as in La Belle Mexicaine (Maria) (fig. 1). The composition is further grounded by the addition of a star-shaped glass button directly to the right of the hat form, the only time that Motherwell attached such an object to a collage. He later noted that Pollock had “donated” the button; and to integrate it into the composition, Motherwell put a dab of paint at its center. They exchanged materials; Pollock seems to have used some of the colored papers that Motherwell brought to their collage-making session in Abstract Painting (fig. 16).12 The spirit of exchange between the two young artists may also be reflected in the similar way they both pasted entire sheets of paper into the center of their compositions.

The afternoon Motherwell spent with Pollock is the only recorded instance of either working in the studio with another artist.13 Like many artists Motherwell preferred to work in his own studio; but working with Pollock offered a space in which a new kind of dialogue and exploration could occur.14 Given Pollock’s professed lack of interest in group activities, the fact that it was collage that brought the two artists together in a single studio space is probably related to their both feeling at the time that the making of collages was not as serious an undertaking as painting.

Baziotes chose to work alone. The collage he submitted to the Exhibition of Collage at Art of This Century, The Drugged Balloonist (fig. 17), incorporates photographic images of a propeller, insect wings, and leaves, among other things, into the fabric of a varied and frenzied ground. The appropriation of mechanically reproduced images in the Baziotes collage—and used in many Dada and Surrealist photomontages—was too literal for Motherwell; it did not leave enough room for interpretation and feeling. Over the course of his career, Motherwell used photographic imagery only in commissioned

Fig. 18. Roberto Matta, Years of Fear, 1941. Oil on canvas, 44 x 56 in. (111.8 x 142.2 cm). The Solomon R. Guggenheim Museum, New York 72.1991

Fig. 19. Mexican Sketchbook, 1941. Ink on paper, 9 x 11½ in. (22.9 x 29.2 cm). The Museum of Modern Art, New York; Gift of the artist

works (see c684 and c755), preferring to keep his collage compositions more abstracted and universal than photographic imagery would have allowed.

Pollock and Baziotes, finding that the collage process offered them nothing new, abandoned it after these first experiments.15 But for Motherwell, making those first collages was a turning point. Collage would prove to be a generative idea that would affect his work in painting (and eventually printmaking) as well. Moreover, he was unique among artists of his generation in creating important collages throughout his career. Over the years his collages would set a standard for the possibilities of collage-making in America and he expressed unbounded enthusiasm for the medium. The year after he had done his first collages, he pronounced the collage medium one of “the greatest of our discoveries” in twentieth-century art.16

Collage and the aesthetic of collage-making played a crucial role in the development of Motherwell’s art. It pervaded every aspect of his activity—his painting, his writing, his editing, and his ideas about modernism itself. He understood collage to be one of the basic principles of modernism in both literature and the visual arts, a technique that addressed a number of compositional and theoretical problems, and that was as much a way of thinking about and acting upon the world as it was a medium for his art.

Motherwell’s collages often have a tactility that goes beyond the mere physical presence of torn, rumpled, and pasted papers. Their painted and glued surfaces have a kind of sensuousness and immediacy that he would achieve only later in his paintings. These qualities were recognized by Matta, who, upon seeing Motherwell’s first collages, immediately grasped that collage had provided Motherwell with the artistic voice that he had struggled to find in his paintings of 1941 and 1942. Motherwell recalled Matta saying, “Those are really you, I can tell. Why don’t you make some bigger ones and more of them.”17 Matta had been a strong presence for Motherwell since their time spent together in Mexico, and his drawings and paintings (fig. 18) had influenced Motherwell’s works from Mexican Sketchbook (fig. 19) onward. With Matta’s encouragement, Motherwell did scale up some of his next collages to approximately the same size as his major paintings from 1942. One of these larger-scale collages, Joy of

Fig. 21. U.S. Army training map, ca. 1942

Living (fig. 20), was the work he submitted to the Exhibition of Collage. 18 It was purchased out of the exhibition by Saidie A. May for the Baltimore Museum of Art, making it the first work by Motherwell in any medium to be acquired by a museum.19 ( Joy of Living was lent by the Baltimore Museum of Art to Motherwell’s first solo exhibition at Art of This Century in October 1944, which included six collages and seven paintings. Before the exhibition began, three of the collages had already been sold, and two more had been placed in collections by the time the show closed.20)

Joy of Living is a dissonant work, a battlefield of lines and papers and splotches of color, which shows a violent disregard for spatial constraints or visual coherency. It stands in contrast to Motherwell’s Mondrian-influenced paintings of the previous year, such as Recuerdo de Coyoacán (fig. 12), where the automatist beginnings were eventually covered over by a geometrical structure. The thirteen collage elements in Joy of Living are pasted haphazardly over the variegated, rubbed ground, linked only by the painted lines, which recall the spatial constructions of Matta’s works of the same time. The pale pink papers at the center and upper left of the composition were originally the same bright magenta that appears in the lower right corner of Motherwell’s untitled second collage (fig. 15), but have since faded, victim to the unstable commercial dyes in them. These papers appear in many collages made during the 1940s, which created an ensemble of “signature” materials, a feature Motherwell would employ in his collages throughout most of his life. This particular bright pink was part of a palette Motherwell associated with “Mexican-Indian folk art color: magenta, bright lemon yellow, lime green, indigo, vermillion, orange, shocking pink, deep ultramarine blue, black and white, and purple, lots of purple,” which he said were “based on German aniline dyes, which are not fast, but of an unparalleled range and intensity.”21 The original purples, blues, greens, and pinks in Joy of Living evoked Mexico, or Motherwell’s remembrance of how Mexico felt to him.22

Fig. 20. Joy of Living, 1943 (c3)

The pink and white papers at the upper left are covered with automatic drawing that is echoed in the paper pasted in the upper right corner—which is actually part of a World War II army training map (an example of which can be seen in fig. 21) in which topographical lines, highlighted and taken out of context, recall the biomorphic forms of the compositions in Motherwell’s 1941 Mexican Sketchbook Fragments of this map appear in two other collages—The Painter (c12) and View from a High Tower (c17). The topographical rendering is of the terrain around Fort Benning, identified by Georgia landmarks, which are overlaid with the names of French battlefields from World War I (in Joy of Living, “Bois de Consenvoye” is printed at the center of this fragment next to the landmark identified as Savage Hill).23 The map is therefore both abstract and concrete. Its initial visual impact is made by what appear to be abstract lines (which resemble those in Motherwell’s automatic drawings) drawn over an undulating green and white ground. The specific topography, with its historical, political, and emotional significance, is something that we remark only when we examine the picture in greater detail; once we do, it emphasizes the irony of the work’s title.

The physicality and gestural freedom of collages such as Joy of Living gave Motherwell a way of using things from the real world to express emotional states without having to represent the world naturalistically. Collage was a medium that could take external objects, like the military training map, and abstract them while maintaining some of their contextual meaning and emotional force. Motherwell quickly grasped that the tension between representational references and abstract forms was one of the most compelling qualities of the collage medium, and it gave him a sensitivity to abrupt shifts in form and subject that he incorporated into his paintings only later.

The materials used in his collages have roots in the real world in a much more concrete way than do the forms in his paintings. Paint creates illusions, but paper, and whatever is printed on it, is a real thing in the world. Paint is an inherently mutable medium, whereas a piece of paper—even a torn, cut, or painted one—always retains some of the status it had outside its role as part of a work of art. Motherwell discovered that using elements that related directly to the real world almost automatically gave structure and cohesion to the most turbulent painted grounds. Their solid, opaque, and immutable forms could anchor the most fluid sort of painted composition. Collage was also perfectly suited to his working method of constant revision and reassessment, because he could try out any number of compositions before settling on a final image and gluing it down.

While many of Motherwell’s early collages, such as Joy of Living, are dominated by organic forms, others, such as Mallarmé’s Swan (fig. 22) are full of angles and sharp corners, like the geometric paintings he was doing at the same time. The bright yellow and white lines echo The Little Spanish Prison (fig. 6), in color and composition, but here the bars are opened and reveal a window-like space within which are hints of a human figure, just as in the earlier collage Pierrot’s Hat. A field of chalky blue paint encompasses all of the centrally placed collage elements, while the pale pink vertical form to the right of center was originally the same shocking pink paper seen in the second, untitled collage (fig. 15). The lines are

Fig. 22. Mallarmé’s Swan, 1943–44 (c11)

echoed in the thin, irregularly cut piece of real wood veneer at the exact center of the work, which has the effect of forming a thin body that supports the hat-like form at the top, cut from sandpaper. The wood veneer and the sandpaper are materials that Picasso and Miró used in their collages, and are employed here as an homage to these older masters. The picture also pays homage to the poet Mallarmé, whom Motherwell described struggling over a blank sheet of paper with ink marks all over a bare ground: “changing, blotting, transferring, transforming each word and its relations with such care.”24

The inkblots in this collage were added shortly after Motherwell had laid down some of the first collage elements. Their flowing pink, black, and yellow shapes create an opposition to the geometric composition. Initially, however, Motherwell had covered up these gestural marks with a sheet of paper, just as he had done with the automatic ground in earlier paintings, such as La Belle Mexicaine (Maria) (fig. 1) and Recuerdo de Coyoacán (fig. 12). At some point, though, he decided to tear off the paper to expose the automatic gestures (something that he might well have done in his paintings had he been able to remove layers of paint).

In Pancho Villa, Dead and Alive (fig. 23), which takes its subject from the assassinated Mexican revolutionary, Motherwell also ripped off paper that had originally covered automatic inkblots, to even greater effect. In this collage, Motherwell used a German paper with a stippled pattern on it that served as a ground on which he could paint and draw, and so integrate the collage elements in such a way that

Fig. 23. Pancho Villa, Dead and Alive, 1943 (c7)

it is as though he were painting with paper rather than making collages. This use of collage as an integrative element rather than a disjunctive one distinguishes Motherwell’s approach at this time from Cubist practice, which dominated collage-making at this time.25 Painting with papers on an integrated surface altered Motherwell’s notion of what a picture could be and helped to shape his paintings in the late 1940s and early 1950s, by emphasizing placement, the interaction between visual elements, and abrupt transitions.

The stippled paper in Pancho Villa, Dead and Alive drives the narrative of the composition, which, as Motherwell explained, “represents Pancho Villa dead, on the left, with bloodstains, bullet holes etc.; & Pancho Villa alive, on the right, with a Mexican ‘wall paper’ behind him, + pink genitals.”26 The paper creates a distinct line between the two Pancho Villas depicted and contains within itself, in the intensity of its irregular patterning, an energy and liveliness that Motherwell equated with the living revolutionary. The right side of the composition has no other collage elements; it is whole, coherent, and alive. In the left side of the composition, which displays the corpse, Motherwell uses collage in a more fragmented and unsettling way. To the left of the figure, which is delineated by black lines, Motherwell attached a piece of thin, lightly colored wood veneer (similar to the one used in Mallarmé’s Swan), literally like a wooden coffin lid, thrown open to display the corpse. The physical violence of collage is used to even more evocative ends immediately to the right of the wood veneer. Here Motherwell attached a sheet of white paper with glue around its edges, and, after the glue had dried, he ripped off the paper— leaving the ragged, soft vestiges attached only to the glue lines. It is as though he covered up the figure of the dead man, only to violently reveal him again to the viewer. The remnants of this tearing are vivid reminders of the action involved in the process of making the collage, leaving texture as a trace of gesture. It is also a visceral reinforcement of the subject of the collage. This technique of pasting down and then tearing up the papers in his collages is something that Motherwell would develop extensively in his collages of the 1950s.

The subject matter of Pancho Villa, Dead and Alive is especially charged. The year 1943 marked the twentieth anniversary of the Mexican revolutionary’s assassination and the publication of Anita Brenner’s Wind That Swept Mexico, a history of the revolution that Motherwell owned and greatly admired. He recalled seeing photographs of Villa’s bullet-riddled corpse, “spread out—sprawled out, really—in a Model T., covered with blood.”27 Brenner’s book, although it did not include the wellpublicized images of Villa’s corpse, included stark photographs of the casualties of the bloody Mexican revolution and drew a direct link to the world war that was raging in 1943.28 Motherwell wrote a detailed letter to the curator Dorothy Miller in 1946, in which he described Pancho Villa, Dead and Alive as “political” and part of “a kind of disaster series.” This series included such related drawings as Zapata Dead (fig. 24), which memorializes in “blood”-soaked paper Emiliano Zapata, another Mexican revolutionary.29 The imagery in both works is visceral, loaded, and

Fig. 24. Zapata Dead, 1944. Gouache and ink on paper, 4⅞ x 6⅞ in. (12.4 x 17.5 cm). Collection of Chloe Scott

surely political, but in them Motherwell is referring to disasters far removed from his experience of the United States in the 1940s. As was discussed in the last chapter, it was the idea of Mexico, its emphasis on death and assassinated revolutionaries, that freed Motherwell to publicly express feelings about deeply personal experiences he could not directly address.

Pancho Villa, Dead and Alive was made during the fall of 1943, shortly after Motherwell’s father was stricken by a painful and aggressive cancer that killed him in a matter of weeks. Around the same time, images of dead American soldiers began to be published in the popular press after nearly two years of wartime censorship.30 Motherwell was deeply affected by these images, which carried an immediacy of sensation for him in form and in content, much like the expressive effects he strove for in Joy of Living. 31

The diptych format of Pancho Villa, Dead and Alive would seem to encourage a traditional, narrative reading from left to right, transitioning the figure from the barrenness of death into the fertility of life. The dead figure is attenuated and washed out, while the live figure is robust, active and, most important, whole. Motherwell draws a link between the two figures, across the divide that separates the living from the dead: a single brushed line connecting a blotted “bloodstain” directly to the phallus of the live figure. The composition of this collage presents a kind of apotheosis of Villa, from the very human corpse in the photograph that inspired Motherwell to the revolutionary of legend. Pancho Villa, Dead and Alive is a reflection of Motherwell’s intense awareness of, and struggle against, death: in Mexico, in Europe and the South Pacific during World War II, and in his own family, with the sudden death of his father.

Decades later, writing about Pancho Villa, Dead and Alive, Personage (Autoportrait) (fig. 25), and Ulysses (fig. 39), Motherwell stated: “Thirty years later, only half-remembering their original impulse, what strikes me now is that the true subject matter of these three early works is a ‘wounded person.’ ”32

Personage (Autoportrait) is ostensibly a self-portrait, but its real subject is more nuanced: it is a “wounded personage,” which was the title Motherwell originally gave to the work.33 Created in December 1943, that collage continues Motherwell’s exploration of responses to grief and death. Many of these early works, both collages and paintings, are portraits of pain, personal and universal. Because he felt constrained from speaking directly of his own pain, he used the cipher of another country and another person. The impulse to work through his obsession with death also permeated his paintings, with the contemporaneous Personage (p11), the title of which was changed from Untitled (Mexico) to Dead Personage before being given a more neutral title by Motherwell’s dealer. Motherwell said that in that picture there “is quite evidently the contour of a coffin, open at the top,”34 much like the coffin in Pancho Villa, Dead and Alive

Motherwell experimented a great deal with materials in his collages, incorporating an animal skin in one (In Grey with Parasol, c46), and fabric in others (see, for example, Joy of Living, where a

Fig. 25. Personage (Autoportrait), 1943

white patch spattered with paint evokes a bandage, and Jeune Fille, where the patch behind the girl’s eyes was described as a “magenta piece of cloth”35). But the bulk of his materials came from fine arts sources. (His signature use of commercial materials, such as Gauloises cigarette packages, and of personal items, such as letters addressed to him, would not occur until the 1950s.) Some of the most frequently used art papers found in his collages from 1943 until 1949 are tan wrapping papers with varying allover patterns of dots, such as the one used in Pancho Villa, Dead and Alive. As with the bright pink and yellow papers that Motherwell used then, it has often been assumed that Motherwell brought these patterned papers back from Mexico; but in fact they were German papers purchased in bulk at a New York art supply store.36 As we have seen, Motherwell used them in some of the most tragic and most powerful collages of the 1940s. The dotted papers also recall the stippled effect in the paintings both Braque and Picasso did around the time of World War I. The paper Motherwell used, which has a soft, rumpled feel to it, appears in The Flute (c6), where Motherwell combined it with the bright pink, yellow, and blue papers that he associated with Mexico—as in Pancho Villa, Dead and Alive, where it covered nearly half the composition.

Another important early collage that is composed as a kind of diptych is Viva of 1946 (fig. 26). In this work the right side consists of a single whole sheet of paper, which functions more like a ground than as a pasted element. The smooth paper is set in contrast to the rough surface of the green paint on the left, which was mixed, as in some Cubist paintings, with a large quantity of sand.37 (A similar kind of contrast is used in another work from the same year, Summer Collage, c34.) This uneven layer of green paint provides a gritty surface upon which a very particular symbol appears: an interlocking double-V sign. The key to the symbol is in the title of the collage: Viva, which in both Spanish and Italian is a way of exclaiming “Long live!” The double-V sign is a commonly used graffito, which was associated with the political left. It was seen in photographs taken in Italy during and right after World War II, and in films such as Roberto Rossellini’s groundbreaking Open City, which opened in New York in February 1946, shortly before Motherwell created Viva. In the Rossellini film, the viva symbol appears on a wall twice, once above Lenin’s name, in a scene in which one of the main characters is accosted by the militar y police (fig. 27). The wall-like quality of the image is emphasized by Motherwell’s sandy paint application, which suggests a stucco surface, with the collaged paper to the right looking like a pasted poster with “viva” and other words written on it. Some of the words are cut off and unintelligible—as in a poster that has partially been torn from a wall and then pasted over with something else, leaving bits of several layers visible.

Viva was probably one of the works Motherwell was referring to in his 1946 letter to Dorothy Miller as alluding to a political disasters series. Under this heading he included a “ ‘Walls of Europe’ series I am working on at present.”38 He was surely thinking of the ruined walls of cities like Rome that still, despite the destruction, carried symbols of hope and defiance.

This collage and another work called Viva (c10) mark the beginning of Motherwell’s use of words in his pictures—a device that became an important element in his collages and, at times, his paintings. Motherwell’s use of words supplies another level of subject matter to the compositions by presenting specific political and historical content, much the same way the military training maps did

in collages such as Joy of Living. The words create a different form of realism than does his use of Mexican revolutionaries or Symbolist figures as subjects. One reads the words and comprehends them just as one would on a page or a poster. The viewer is also the reader and understands the visual and the verbal simultaneously. Words and images work together to give each other meaning.

An important extension of Motherwell’s collage mentality can also be seen in his writing and editing, particularly his work on the winter 1947 issue of the magazine Possibilities, which he coedited with the critic Harold Rosenberg, the architect Pierre Chareau, and the composer John Cage. Possibilities used collage as a literary and organizational tactic in presenting modern ideas about art across different fields with a minimum of analysis. The editors’ hope was that the interaction between the different texts would in and of itself spark new dialogues and ideas. Motherwell felt strongly that modern art should not be dealt with in hermetically divided fields; all of the arts informed each other, and each should be presented on its own terms. Setting things side by side and letting the juxtapositions between them speak for themselves was a vivid way of effecting this.

Possibilities presented various forms of modern expression—visual art, literature, architecture, theater, and music—without interpretation or, as Motherwell recalled, with “very factual descriptions presenting the thing—without theory.”39 This conception of the magazine echoed his other activities. He believed that both he and Chareau worked on “the collage principle, inspired by materials” in their respective fields, and in their conception of the magazine.40 Motherwell found writings by Cage, who served as music editor, “essentially collage technique—quotes from all kinds of things—odd relations; you try to get much more dimension, more points of reference than straight narrative could.”41 The belief that juxtapositions could give the audience more, and more useful, information and depth propelled the magazine and Motherwell’s continued work in collage.

In 1948, five years after Art of This Century presented the Exhibition of Collages to make the medium more familiar to the American public, the Museum of Modern Art opened a show titled simply Collage. That a major museum would present a comprehensive overview of the medium would have seemed inconceivable when Motherwell accepted Peggy Guggenheim’s offer to make his first collages. Since then, the medium had risen in esteem enough for Clement Greenberg to assert that collage was “the most succinct and direct single clue to the aesthetic of genuinely modern art.”42

By the latter part of the decade, Motherwell was well known for his collages, which were frequently highlighted in reviews, even at times given more attention than his paintings.43 But just as collage was being backed by a major institution like the Museum of Modern Art, and even as Motherwell’s collages continued to receive considerable attention, he was creating far fewer works in the medium, and focusing more on oil painting. In the catalogue for his April 1947 exhibition at the Samuel M. Kootz Gallery, Motherwell attributed his move away from collage “to a greater involvement in the human world.”44

The “human world” seems to have meant for Motherwell both literal representations of the figure and access to a wider range of emotions than he perhaps thought could be achieved with collage. As

Fig. 26. Viva, 1946 (c33)

Fig. 27. Still from Roberto Rossellini’s film Open City, 1946

he shifted his focus back to oil paintings, the mood of his collages became more restrained (see figs. 28 and 29), and he began to compose them in a somewhat more painterly way. The 1947–48 collages are more monumental, solid, and sober, even while using similar materials, such as the German wrapping paper.

Motherwell used the German wrapping paper for the last time in a second collage called Joy of Living (c51), done in 1948. Although this later work shares a title with one of his earliest collages, it points to the different direction his collages were taking. The later collages focus more on surface textures and less on recognizable forms. As a review of Motherwell’s 1949 all-collage show at the Kootz Gallery noted, “Motherwell’s technique has steadily become more controlled and disciplined, with greater simplification of patterns and less incorporation of meaningless appendages.”45 If Motherwell’s early collages were defined by the great originality in which he used materials and themes, toward the end of the 1940s he seemed to be searching for a new image. In 1947 he explained that his collage The Poet (fig. 28) was made in a way that resembled “what Yeats called . . . ‘simplification through intensity.’ ”46 The Poet, a large and densely worked picture, is one of his most painterly collages. The uneven application of the papers and paint and the scumbled and scribbled linear passages project a strong sense of physicality.

Motherwell had started the picture as an ensemble of abstract forms on a warmly colored background, but then found that the ground “asked for an image,” which led to the addition of what he nicely described as an “ecstatic figure.”47 The Poet is full of tensions between the various areas and

Fig. 28. The Poet, 1947 (c42)

Fig. 29. Elegy, 1948 (c49)

textures, which push and pull against each other, creating a sense of luminous intensity. The colors range from oranges to blues, but the tonal values are kept quite close, which creates a powerful sense of inner light, something Motherwell described as being like a “reddened and angry sky at end of a day.”48

In the early months of 1948 Motherwell made the collage Elegy (fig. 29), which was his first work in any medium that used the word elegy in the title. He showed it immediately upon completion in his May 1948 solo exhibition at the Kootz Gallery, and Clement Greenberg singled it out in his review, noting that “the most surprising advance in the show is seen in the collages, one of them Elegy, being the first really successful one by Motherwell that I have seen.”49 It was perhaps Greenberg’s assessment that caused Motherwell to request that this be the work included in the 1948 collage retrospective at the Museum of Modern Art, saying in a letter to the curator, “I regard the ‘Elegy’ as more ‘serious’ and more characteristic of my work in collage. . . . My feeling is that the ‘Elegy’ is what, exactly what, I would like to stand on in so important a survey.”50 (In the end, the museum included Pancho Villa, Dead and Alive, which was already in its collection.) The need to emphasize the seriousness of his collages was particularly pressing to Motherwell at this time, when he was beginning to give greater emphasis to large-scale paintings. He wanted his collages to be viewed at the same level as his paintings, both taken to be equally ambitious endeavors.

The forms in Elegy are solid and clearly defined, but the space is left uncertain. Two cut tan papers pasted in an L-shape seem to be spatially placed in front of the rest of the composition, in an almost figurative way. Together, the tan papers suggest some sort of human presence, a figure in a chair, or perhaps a crouching figure. In any event Motherwell had used this sort of cradling, womb-like arrangement earlier in Montauk Montage (c41), and in the painting In Yellow and Black (p46). The composition of both those works turns back into the center of the canvas, creating an enveloping or sheltered feeling. Elegy is stoic, subdued, and harmoniously cohesive, in contrast to the more varied, violent, and bright earlier collages. It is like a monument to those wounded and dead figures represented in such collages as Pancho Villa, Dead and Alive and Personage (p11), and to all the wounded and dead people that those two works were meant to evoke.

The idea of images connected with mourning or elegies would have important repercussions in Motherwell’s paintings around the same time in a work like Dirge (fig. 46), which would lead directly to his Elegy to the Spanish Republic paintings.

chapter 3

Paintings, 1944–1948:

All That Is Serious and Ambitious

jack flam

opposite. Detail of The Homely Protestant, 1948 (p85)

Fig. 30. Wall Painting with Stripes, 1944–45 (p16)

Fig. 31. Motherwell at his Art of This Century exhibition standing next to an unknown painting (p14), 1944

a s we have seen, during the mid-1940s much of m otherwell’s most innovative work was done in collage, and in the months after his 1944 solo exhibition at Art of This Century, his paintings seemed to be going in many different directions at the same time. But early in 1945 he signed a contract with Samuel M. Kootz that promised his new dealer seventy-five works a year, in exchange for a monthly stipend, so he was under unprecedented pressure to produce.1 A philosopher by temperament as well as by training, he was now learning to become a professional artist. Throughout that year, he worked toward being able to put together enough high-quality works for a solo show at the Kootz Gallery, and to supply pictures for the group shows that Kootz was planning for the first year in his new space.

The inherently disjunctive, stop-and-go process of creating collages appears to have encouraged Motherwell to rethink the structure of his paintings; it led him to seek a greater spatial complexity in some and a rather exaggerated simplification of form in others. These two extremes were inherent in the collage medium as he practiced it. The clearly defined cut shapes in collages encouraged the use of flat, simple forms. But the way that Motherwell practiced collage, as an aleatory combination of cutting, drawing, and painting, pushed the medium closer to a kind of painting than to a kind of drawing as it had been earlier in the century.

A desire for greater abstraction seems to have motivated Motherwell to repaint one of the largest pictures he had exhibited in his solo show at Art of This Century, The Spanish Jailer’s Wife, which he eventually retitled Wall Painting with Stripes (fig. 30). When this painting was shown in 1944, it contained three schematically drawn linear figures rendered much as were the figures in Motherwell’s drawings at the time, which owed a certain debt to Picasso’s paintings of the late 1920s. As The Spanish Jailer’s Wife, it had looked very much like a related figurative painting of about the same size (fig. 31), which—like Three Personages Shot (fig. 9)—suggested prisoners before a firing squad as well as Motherwell’s own family.2

When Wall Painting with Stripes was photographed in Motherwell’s studio early in 1945, while being revised (fig. 32), it had already become more abstract than it had been as The Spanish Jailer’s Wife, but it still contained remnants of figures. A short while later, as it was further revised, it became a

completely different sort of image. Motherwell gradually painted out the stylized figures and created a much more abstract picture, which he accordingly gave a much less specific title. Because of the neutrality of its new title, this painting came to have less of a narrative after-image than the equally abstract Little Spanish Prison (fig. 6), and was transformed into one of Motherwell’s earliest truly non-objective paintings. In its completely revised form, Wall Painting with Stripes became a large horizontal painting that employed a system of vertical bars related to the bars in The Little Spanish Prison, but to very different effect. A rhythmic procession of broad, vertical ochre and whitish bands dominates the surface, against which more irregular—and more irregularly spaced—black and gray forms are deployed. The simplification of the overall composition, and of the boldly silhouetted cutout-like forms, seems to owe a lot to his work with cut paper—and also to some of the drawings he did at this time, which contain similar forms.

Motherwell was beginning to open up a terrain that was truly new to painting—much more than even he recognized at the time. His “problem,” as he himself would have framed the situation, was to figure out which of the many strong emotions that tore at him he should follow; which of the many ideas that vied for his attention he should credit; which of the many different kinds of images that his increasingly fecund hand and mind were generating he should favor. Even though he had not yet formulated a clear concept of after-images, he already well understood that the combination of image, surface, and title all contributed to how the viewer would understand and feel about a picture—and perhaps also what the artist himself would come to understand about it, once his initial impulses had been modified by more or less conscious awareness of what he had done.

This was the moment when Motherwell realized that he did not have to try to seek a single image, or give a real priority to any single image; that he wanted to create a body of work that would reflect the entire range of his sensibility and feelings, which he could explore in different images that would reflect different aspects of his being. As he wrote to Dorothy Miller, the curator who was organizing the Fourteen Americans exhibition at the Museum of Modern Art, he worked with “several themes, instead of one, as with most painters,” even though he understood that doing so was confusing to most people; but it was the way of working, he asserted, in which he would be truest to himself.3

Later that year, when Motherwell had his first solo exhibition at the Kootz Gallery, he was indeed faulted for this variety of imagery. Clement Greenberg criticized Motherwell’s paintings for a lack of “force and sensuousness” and called them radically uneven. “There have been too many sudden changes of direction,” Greenberg wrote, “motivated perhaps by an inability to decide what he wants and by conflicting influences. But the essential is to decide what one is, not what one wants.”4 For Greenberg, and for many others at the time, trying to create a body of work that reflected one’s diverse experiences of life was not acceptable. What was most important, it was generally thought, was to find a definitive “image.” Motherwell, along with de Kooning, strongly resisted this.

Fig. 32. Motherwell in his studio with Wall Painting with Stripes (p16) in progress, Collage in Beige and Black (c16), and title unknown (p17), ca. 1945

Fig. 33. Jupiter, 1945. Gouache, watercolor, ink, and graphite on paper, 10½ x 9½ in. (26.7 x 24.1 cm). The Solomon R. Guggenheim Museum, New York; Gift, Mrs. Leo Simon, 1974

Fig. 34. Poet with Orange, 1947 (p56)

During the next couple of years, Motherwell’s paintings took two different directions—neither of which was directly related to the spare color and austere formal ensemble of Wall Painting with Stripes, which he did not begin to develop fully until the end of 1948. Instead, he worked in two rather different ways—one fairly abstract, the second deeply involved with the human figure.

Some of Motherwell’s more abstract pictures of the mid-1940s emphasized flat, often brightly colored and strongly patterned forms. This is evident in such works as Composition (p33), In Blue with Crosses (p48), and Figuration (p49), in which he used the patterned areas somewhat as he did in his collages, and in which decorative, textile-like areas have some of the same effect as the patterned German papers in his contemporaneous collages. Other paintings done in 1946 and 1947, such as Western Air (p47) and The Red Stripe (p50), were built on the spatial structures that he had developed in the 1943 Personage (p11).

Another, very different kind of imagery developed out of drawings that Motherwell had begun to do in 1943, which represented highly stylized figures. These were rendered in a simplified sign language that followed in the general tradition of Picasso, breaking the bodies down into geometrical forms. But the figures in his paintings do not really look much like those in Picasso’s pictures (compare Jupiter, fig. 33, with Picasso’s Studio, fig. 11). Rather, Motherwell synthesized the schematic, pared-down figurative imagery of Picasso with the more fanciful and more willfully abstract imagery of the figures in Miró’s paintings, which provoked him to create a greater sense of disembodiment.

In 1946 Motherwell began a series of oil paintings in this mode, several of which are surrogate self-portraits. This series was initiated with The Poet (p36), which brought together a number of the

35. Personage, with Yellow Ochre and White, 1947 (p64)

36. Pablo Picasso, Dora Maar in a Wicker Chair, 1938. Pen and ink, gouache, oil pastel, and crayon on paper, 30½ x 22⅜ in. (77.5 x 56.8 cm). The Metropolitan Museum of Art; Jacques and Natasha Gelman Collection, 1998 (1999.363.70)

37. The Emperor of China, 1947 (p68)

motifs he had been working with earlier: the schematically drawn figure, the horizontal rectangle that contains a different kind of texture from the rest of the painting, and the spindly, Miró-inspired, fivepointed star form. Early the following year, Motherwell based one of his most painterly collages on this image—the large and densely worked Poet (fig. 28). This collage was followed in quick succession by three oil paintings with related compositions, Poet with Orange (fig. 34), which has some of the same pictorial complexity and emotional intensity, and the more muted Orange Personage (p57) and Yellow Figure (p58).

The Poet, along with Poet with Orange and Western Air (p47), was among the seventeen works Motherwell showed at his second solo exhibition at the Kootz Gallery, which ran from April 29 to May 17, 1947. This exhibition got especially favorable reviews, most importantly from Clement Greenberg, who wrote that he was pleased to see fewer collages in this show, and that the paintings showed “a quantity of feeling and experience such as one had hardly expected of this artist.” Greenberg believed that this shift came from Motherwell’s returning to oil paint as his main medium: “It appears as though, for Motherwell, the activity of placing and selecting, as required by collage, could elicit nothing of that indispensable order which art demands of the artist’s personality; this, in his case, could be provided only through the activity of drawing on canvas and applying paint.”5 In his review, Greenberg returned Motherwell to the place of importance that he had reserved for him three years earlier: “Motherwell’s ambition, which is to simplify and to manipulate the results of the simplification into expression, is one that places him at the very center of all that is serious and ambitious in contemporary painting,” he wrote. “The expression is that of a desire for order and rationality, and its success means that the artist has achieved such order and rationality at least for himself.”

Fig.

Fig.

Fig.

Most of Motherwell’s figurative pictures from this period are rendered with very close tonal values, relatively little differentiation between figure and ground, and intensely warm hues that are very different from the colors in his earlier paintings. Another interesting feature that these pictures have in common is that the sex of the figure is usually not clear. Personage, with Yellow Ochre and White (fig. 35), for example, was at various times titled Painter (suggesting a self-portrait) and Woman in Ochre and White. This painting is the first to represent what looks like a broad-brimmed hat on the figure’s head, a motif that was inspired by the very large hat in Picasso’s 1938 drawing Dora Maar in a Wicker Chair (fig. 36), of which Motherwell had done a free variation in an ink drawing in 1944.6 During the late summer and early fall of 1947, Motherwell painted a handful of pictures that employ this distinctive motif (see p64–p68), the most striking of which is The Emperor of China (fig. 37), which he finished in East Hampton at the beginning of September 1947.

The Emperor of China draws on five very different kinds of sources, four visual and one literary. The most obvious visual source is the 1938 Picasso drawing, to which Motherwell makes a clear reference not only in the figure’s broad-brimmed hat but also in the way he renders the back of the chair. A second source for the hat is quite different: the type of hat worn by the Spanish Guardia Civila.7 A third source, for both the hat and the pose, comes from Chinese imperial portraiture, which Motherwell would have been familiar with from examples in the Metropolitan Museum of Art, as well as from the M. H. de Young Memorial Museum in San Francisco, which he had frequented as a young man.8 The fourth source functions in a more general but in the end even more important way: the thick impasto and rough surface, the awkwardly drawn forms and monochromatic rendering of the figure, have strong affinities with the recent paintings of Jean Dubuffet, who had his first American solo exhibition at the Pierre Matisse Gallery at the beginning of 1947, and who was beginning to draw a good deal of attention in New York. Greenberg, who reviewed the Dubuffet show, along with one by Pollock, was especially admiring of the French artist’s recent monochromatic paintings. The year before, Greenberg had called Dubuffet “the most original painter to have come out of the School of Paris since Miró,” asserting that if Dubuffet’s art maintained its high level, “then easel painting with explicit subject matter will have won a new lease on life.”9 This is a formulation that must have greatly interested Motherwell, involved as he then was with monochromatic easel paintings with explicit subject matter.

The literary source for Motherwell’s Emperor of China is also important. The first (and only) issue of Possibilities, which Motherwell was coediting at the time he undertook this painting, had included Paul Goodman’s story “The Emperor of China.” In Goodman’s story the emperor of China, desirous of immortality, recounts the creation of the Great Wall, with which he and his people “have warded off the natural forces and projected them into things and encysted them in true formulations.”10 The emperor says that he is dreaming of not dying, “because he never lived.” Goodman’s own narrative voice intervenes in the story in the person of the Master, who declares that building the Great Wall (a metaphor for the creation of art) is a

38. The Red Skirt, 1947 (p65)

39. Ulysses, 1947 (p69)

Fig. 40. The Homely Protestant, 1948 (p82)

form of “protecting himself from anxiety!” The Master holds that invention emerges from violence: “when a man is imprisoned in himself—the wall is made of formulations and the moat around the wall is a bleeding wound.” Motherwell was deeply moved by Goodman’s story, in which he saw parallels with his own sense of power as an artist and vulnerability as a man.11

Motherwell’s sense of vulnerability was very much in the foreground at this time, as his wife Maria became increasingly unhappy with their relationship and her subordinate position in it. At some point in 1948 she became involved with another man. This painful experience was exacerbated by Motherwell’s sense that their marriage had already been disintegrating for some time, and that he was not blameless in this. His hurt and anger toward Maria may well be reflected in The Red Skirt (fig. 38), which is unusual among his 1947 figure paintings for the brightly colored brashness of the woman’s skirt (which by its very color has an association with the red skirts frequently worn by prostitutes). A few years after it was painted, Motherwell wrote that among the “personage” paintings, he liked this one least, “a feeling which I believe now was unconsciously incorporated in the title, which is not only descriptive, but the ‘skirt’ is also to be taken in the idiomatic sense of an unflattering reference to a woman, which is not my usual attitude. To me the work has a dramatic, solid, brutal felt quality. . . . I prefer the ones that are, within my own framework, more lyrical, pure, and radiant.”12

As Motherwell’s existential angst grew, his figure paintings became increasingly riddled with anxiety. The roughly painted Ulysses (fig. 39), which has coarse wooden planks nailed to the front of it and contains an especially aggressive, brutal image of a man, is unique in Motherwell’s work for its mixture of materials and the profound sense of unease that it projects. Greenberg was very much on

Fig.

Fig.

Fig. 41. Pablo Picasso, The Poet, Céret, August 1911. Oil on fine linen, 51⅝ x 35¾ in. (131.2 x 89.5 cm). The Solomon R. Guggenheim Foundation; Peggy Guggenheim Collection, Venice 1976, 76.2553.1

Fig. 42. The Homely Protestant, 1948 (p85)

the mark when he singled it out as “a turbid and vehemently brushed picture unlike anything of Motherwell’s I have seen before.”13 The association with a sailor (as well as with James Joyce’s Leopold Bloom) relates Ulysses to other works done at this time, such as Mariner (p80) and The Homely Protestant (Bust) (p84), originally titled Sailor, which was begun in December 1947 and finished early in 1948. Here the differentiation between figure and ground disappears almost completely, and the surface of the painting has a quivering sensitivity.

Motherwell considered the two pictures that were given the title Homely Protestant as selfpor traits (figs. 40, 42). In both, as in The Homely Protestant (Bust), the predominant color tonalities are variations of yellow ochre, in which the grounds are modified and articulated by line drawing that is at once reticent but quite firm. These paintings clearly relate to the most austere Cubist paintings that Picasso and Braque did between 1910 and 1912 (often of abstracted figures, difficult to read), in which passages of drawing define areas that would otherwise remain nameless. Motherwell’s Homely Protestant pictures are the only paintings one can think of that actually match, in a very different and original way, the mysterious combination of tactility and spirituality of those extraordinary Cubist paintings, such as Picasso’s Poet of 1911 (fig. 41). The Homely Protestant paintings have the same kind of disembodied, metaphysical quality, and the same kind of built-in suspension of time. Like the early Cubist paintings, Motherwell’s pictures carry us into a kind of no-man’s-land between abstraction and representation, quite different from the relative straightforwardness and clarity of his previous paintings.

Motherwell showed these most recent figurative paintings in his May 1948 solo exhibition at the Kootz Gallery, which was warmly received. Even critics who thought the paintings were too

formless or too savage recognized their force. Sam Hunter, although he had reservations about the “shapeless, deliberately infelicitous forms” of some of the works, acknowledged their power. “Destructive painting for a destructive age,” he wrote, conceding that “the work is uniformly strong in design and pictorial ideas, courageous in its disregard of adventitious matter and full of personal discoveries, the best of which are the ‘Red Skirt,’ ‘The Emperor of China,’ and the ‘Painter.’ The imaginative quality of this work is difficult to ignore.”14 Greenberg reaffirmed the enthusiasm he had expressed a year earlier, calling the exhibition “another big step forward,” which, “coming after his last year’s show, makes his inclusion among our more important contemporary painters obligatory.”15 While cautioning the artist about a certain “archness,” and about sometimes attempting “to carry out ideas for which the emotion was lacking to begin with or failed en route,” Greenberg asserted that the “canvases built on figure motifs and showing flat, uninterrupted expanses of ochreous color realize a monumentality such as is rare in the art of the moment.” Greenberg was especially impressed by the success of the large paintings and wrote that although Motherwell’s imagery was still “late cubist in its repertory of form,” it nonetheless exhibited “a personal ‘handwriting’ and can by no means be classified as ‘intellectual’ or altogether studied—though studiedness is a vice from which Motherwell is not entirely free.”

The larger version of The Homely Protestant (fig. 42) constitutes a kind of summation of Motherwell’s painting up to that time. “The ‘Homely Protestant,’ ” Motherwell wrote in 1949, “is made by the same process by which a child works.”16 Although this statement is usually glossed over as describing a kind of generic Primitivism, such as Dubuffet’s, it also clearly connects the painting to Motherwell’s childhood and to the way his own mind worked as a child. In doing so, it evokes his fears of death from asthma in the middle of the night, his traumatic memories of being beaten by both his parents, and his feeling of having been made impotent, in the sense of being symbolically castrated, by both his violent mother and his passively aggressive father.

Only a couple of years after The Homely Protestant had been finished, Motherwell described how the title had been “chosen by free association” from Joyce’s Finnegans Wake. The picture, he said, had “puzzled” him, and he wanted an “accurate title.” Since he could not find one, he remembered the Surrealist device of taking a favorite book and finding the title in a completely random way. Without looking at the page he had opened to, he said, “I put my finger on a page, and where my finger rested, it said, ‘The homely Protestant,’ and I thought, ‘Of course. The picture is The Homely Protestant,’ which is to say, it is myself. And I called it that.”17 Motherwell’s statement gives the impression (reinforced by everyone who has subsequently written about it) that Joyce’s phrase was purely nominative. But the phrase in Joyce’s book reads in an adjectival way: “A disgrace to the homely protestant religion!”18

“A disgrace,” Joyce writes. And: “A disgrace,” Motherwell implicitly writes into the title of his painting—as if to admit that even now, after years of having resisted his parents’ judgments on his life, he is nonetheless still burdened by them.

In the statement Motherwell published in the catalogue for his 1947 exhibition at the Samuel M. Kootz Gallery, he described how important the process of searching was to the way his pictures turned out. “I begin a painting with a series of mistakes,” he wrote. “The painting comes out of the correction of mistakes by feeling. . . . The final picture is the process arrested at the moment when what I was looking for flashes into view. . . . an X-ray would disclose crimes—layers of consciousness, of willing. They are a succession of humiliations resulting from the realization that only in a state of quickened subjectivity— of freedom from conscious notions, and with what I always suppose to be secondary or accidental colors and shapes—do I find the unknown, which nevertheless I recognize when I come upon it, for which I am always searching.”

Motherwell also affirmed the renewed priority he was giving to painting in oil rather than working in collage: “For me the medium of oil painting resists, more strongly than others, content cut off from external relations. It continually threatens, because of its motility and subtlety, to complicate a work beyond the simplicity inherent in a high order of abstraction. I attribute my increasing devotion to oil, lately as against the constructionalism of collage, to a greater involvement in the human world. A shift in one’s human situation entails a shift in one’s technique and subject matter.”19

This “greater involvement in the human world,” of course, refers to the artist’s new emphasis on painting human figures. What Motherwell called “one’s human situation” had to do with his personal life, where major shifts would have a great effect on his work during the following year.

Paintings, 1948–1958: Elegies to the Spanish Republic jack

flam

t he latter half of 1948 was a tumultuous time for m otherwell; he later remem B ered it as one of the most miserable and stressful periods he had ever lived through. Although his work was being well received, and he was involved in a number of publishing projects and other professional activities (among them co-founding an art school called The Subjects of the Artist), in his personal life everything seemed to be falling apart. Maria had become bored and restless in East Hampton and felt that she no longer had a life of her own. Her involvement with another man made Motherwell feel an increasing sense of anger and despair.

But in times of great emotional stress, it is sometimes possible to do things that could not be done under normal circumstances. Motherwell’s difficulties led to a number of breakthroughs that changed the course of his painting for the rest of his life.

That summer in East Hampton, he had produced very little work, except for two small but significant drawings. One of them, a pen and ink drawing called The Sailor’s Cemetery (fig. 43), refers to the Cimetière Marin in Sète, on the French Mediterranean coast, about which Paul Valéry had written a moving poem (and where he was buried in 1945). This small drawing reprises the compositional motif of In Yellow and Black (p46), a large, brightly colored, and intensely textured oil painting that Motherwell had begun in 1945 and shown at his 1947 solo exhibition at the Kootz Gallery. Early in 1947 he had worked with a similarly womb-like compositional motif in a collage called Montauk Montage (c41).

An even more important drawing that Motherwell did that summer was executed in brush and ink, and it would have enormous repercussions in his later painting. This drawing was done as an illustration, or “illumination” as Motherwell called it, of part of a poem by Harold Rosenberg, “A Bird for Every Bird” (fig. 44), that was to have been published in the (unrealized) second issue of Possibilities, which Motherwell was coediting with Rosenberg.1 The words contained in the drawing read as follows: chapter 4

opposite Elegy to the Spanish Republic XXXV (p168) in Motherwell’s studio at 173 East 94th Street, New York, in the winter of 1957–58

Fig. 43. The Sailor’s Cemetery, 1948. Ink on paper, dimensions unknown. Unknown owner

Fig. 44. Illustration for Harold Rosenberg’s poem “A Bird for Every Bird.” Later titled Elegy to the Spanish Republic No. 1, 1948. India ink on paper, 10¾ x 8½ in. (27.3 x 21.6 cm). The Museum of Modern Art, New York; Gift of the artist

“I knew who had sent them in those / green cases. / Who doesn’t lose his mind will receive / like me / That wire in my neck up to the ear.” This drawing contains, for the first time, the fully developed pictor ial schema that would form the basis of what later became Motherwell’s Elegy to the Spanish Republic series. (In later acknowledgment of this, Motherwell retroactively called it Elegy to the Spanish Republic No. 1).

The irrational violence of Rosenberg’s poem had particular appeal for Motherwell at this time, as did the idea of illustrating a poem without directly illustrating any of its specific images—an excellent example of the Symbolist principle of correspondence that meant so much to Motherwell. When asked about the relationship between his pictorial illumination and the words of the poem, Motherwell denied that there was any. “It has literally nothing to do with the poem—except perhaps for their both having brutal qualities—certainly not its images.” When people told him that the phrase “wire in my neck” might be depicted by the wirelike vertical lines between the ovals, Motherwell answered, perhaps too emphatically: “No wire or neck is there.”2 In fact, once one has seen Motherwell’s drawing, it is difficult to read the words of Rosenberg’s poem without thinking of the wirelike lines between the ovals—or of descriptions of the wires and cords used to bind the hands of people who were about to be executed in Spanish prisons.3

At the end of the summer, Motherwell and Maria decided to return to New York City, in the hope that moving might save their marriage. In New York, Motherwell rented a small apartment on West Fourteenth Street, where he thought that they would be able to live more harmoniously. But within a short time Maria decided to leave him—and, according to Motherwell, simply drove off in his car with a man who had lived near them in East Hampton.4

After she left, Motherwell fell into a deep depression, which he later described as “the only time in my life I seriously contemplated committing suicide.”5 And it was in this state of mind, when he finally unpacked the materials and earlier works he had brought back from East Hampton, that he came across the illumination of the Rosenberg poem and was struck by the new possibilities that the black-and-white image might offer. At the time, Motherwell still had Wall Painting with Stripes in his possession, which already contained an early version of the rectangle-and-oval format that would dominate the composition of the first painting in the Elegy to the Spanish Republic series, At Five in the Afternoon (fig. 45).

There was, however, another significant step along the way. Just before he painted At Five in the Afternoon, Motherwell executed another small painting on paper, almost the same size, but oriented vertically. This was Dirge (fig. 46), a somber composition with some of the same expressive force as At Five in the Afternoon, but whose composition is similar to Sailor’s Cemetery and related works. Dirge, with its black forms that drip like tears, its violently incised and scumbled lines, and its strong suggestion of an abject figure squatting beneath two large standing

Fig. 45. At Five in the Afternoon, 1948–49 (w10)

figures, is one of Motherwell’s most overtly Expressionist pictures, a deeply felt and directly expressed cri de coeur. Both the dark emotions and the pressing black forms in this lachrymose picture suggest some of the same concerns that Motherwell would explore in a more artful and controlled way in his Elegy to the Spanish Republic series.

According to Motherwell, when he began At Five in the Afternoon he had no particular title in mind. But he was immersed in Lorca’s poetry, and the association with Lorca’s great “Llanto por Ignacio Sánchez Mejías” came to him shortly after the picture was completed. That poem, already one of Lorca’s best-known works, was itself a powerful lament—in a sense, an elegy—for Ignacio Sánchez Mejías, not only a great bullfighter but also a poet and playwright, a member of the avant-garde Generacíon del 27, and a dear friend of Lorca’s.6 Sánchez Mejías had been fatally gored in the bullring “at exactly five in the afternoon,” on August 11, 1934. His death, Lorca said, was like “an apprenticeship for my own.”7

The death of Ignacio Sánchez Mejías had particular resonance for Motherwell because of the recent, widely commented-on death of another great bullfighter that had made a vivid impression on him. On August 28, 1947, Manuel Rodríguez Sánchez, known as Manolete (1917–1947), was killed in the ring at Linares. Manolete, who was considered one of the greatest bullfighters of all time, and arguably the most artistic, was almost the same age as Motherwell. He had established an unparalleled international reputation as a result of his extended tour of the bullrings of Mexico and South America from December 1945 to February 1947, and both his career and his death were covered extensively in the press.8 Life magazine ran a feature story with spectacular photographs of him being gored by the bull, and the fatal fight at Linares was also shown in newsreels (see fig. 76).9 Manolete, moreover, comported himself in a manner for which Motherwell had great personal empathy: he was a great artist who was known for his dignity, seriousness, and courage.

When Motherwell created At Five in the Afternoon, he was living through an emotionally hellish time, overwhelmed by feelings of “abandonment, desperation, and helplessness.” He wanted to give expression to this state of mind, and when he came across his illumination of Rosenberg’s poem among the materials he had brought back from East Hampton, he decided to make an enlarged variation in casein on cardboard, but without any text. He was looking for what he described as “a generating idea,” he said. “It was one of those times when I just wanted to paint for the act of painting.”10

The relationship between Lorca’s poem and Motherwell’s painting reveals a good deal about the way Motherwell made associations. Although Motherwell did not specifically have the Lorca poem in mind when he began At Five in the Afternoon, he had long been immersed in Lorca’s poetry, and the refrain from Lorca’s “Llanto” came to mind as an appropriate and evocative title. Speaking of the relationship between the pen and ink sketch and the casein painting, Motherwell has said that when he painted At Five in the Afternoon, it was as if he had discovered that the image “was a temple. And when I recognized this [that the image was now a temple], I looked around for whom represented what the temple should be consecrated to, and that that was represented in the work of Lorca. . . . To be more

Fig. 46. Dirge, 1948–49 (w9)

concise [I would say] the ‘temple’ was consecrated to a Spanish sense of death, which I got most of from Lorca, but from other sources as well—my Mexican wife, bullfights, travel in Mexico, documentary photographs of the Mexican revolution, Goya, Santos, dark Hispanic interiors.”11

By referring to the Lorca poem in the title of his painting, Motherwell evoked a network of allusions that enrich our viewing of it, connecting us specifically to the emotional tissue of the various elements that it refers to, and bringing to the fore specific qualities of the poem—which all come together to enhance the after-image of the picture. Motherwell’s inclusion of his “Mexican wife” on his list of factors that contributed to his understanding of “a Spanish sense of death” is especially telling at this time, since it seems to be conflated with what Motherwell considered a “Spanish” sense of sexual love. Motherwell’s thoughts on this subject were similar to those expressed by Langston Hughes in the introduction to his translation of Lorca’s poetry, where Hughes comments that for Lorca “the gypsy was the clearest personification of the principal preoccupations and symbols of Spanish life,” which could simply “be categorized as death and sex.” Hughes then remarked, “To the Anglo-Saxon mind, these are strange companions, especially so as the dominating forces of life, but to the Spaniard they are the two inevitable partners. All men share them.”12

The part of the Lorca poem from which Motherwell took the title for his painting comes from the opening section, “La cogida y la muerte” (Goring and Death), with its repeated statement of the time that the matador was killed, “a las cinco de la tarde” (at five in the afternoon), and “Eran las cinco en punto de la tarde” (It was exactly five in the afternoon). These phrases, or some variation of them, are repeated no fewer than twenty-eight times in the fifty-two lines of the first section of the poem, recurring like a repeated drumroll or a chord strummed repeatedly on a guitar:

A las cinco de la tarde.

At five in the afternoon.

Eran las cinco en punto de la tarde. It was exactly five in the afternoon.

Un niño trajo la blanca sábana

A boy brought the white sheet a las cinco de la tarde at five in the afternoon

Una espuerta de cal ya prevenida

A frail of lime ready prepared a las cinco de la tarde at five in the afternoon

Lo demás era muerte y sólo muerte

The rest was death, and death alone a las cinco de la tarde at five in the afternoon

Las her idas quemaban como soles

The wounds were burning like suns a las cinco de la tarde, at five in the afternoon, y el gentío rompía las ventanas and the crowd was breaking the windows a las cinco de la tarde. at five in the afternoon.

A las cinco de la tarde.

¡Ay, qué terribles cinco de la tarde!

At five in the afternoon.

Ah, that fatal five in the afternoon!

¡Eran las cinco en todos los relojes! It was five by all the clocks!

¡Eran las cinco en sombra de la tarde! It was five in the shade of the afternoon!13

The most striking parallel between the painting and the poem is the sense of intense, ineluctable repetition—although, on close examination, we realize that the painting gives a much greater impression of repetition than it physically contains: three similar black ovals are played against three similar black vertical bars. We are also struck by the starkness of the forms and of the black-and-white format—which, in this first true Elegy as in many of the later ones, was originally modified by the presence of another color (initially Motherwell had painted the composition in blue, then painted over it with black; only traces of the blue now remain). But even more striking is the psychological effect that the painting has on us, the sense of strong passion austerely but persuasively expressed, and of a pictorial voice (so to speak) that carries the same kind of passionate urgency as the voice of Lorca’s poem— what Motherwell later characterized as an existential “trial of nerves, a running the gauntlet,” that he felt was especially Spanish and that was quintessentially expressed in Lorca’s poem.14 Tremendous tension is added to the picture by the wedge-like form at the upper right, which cuts into the composition like a knife—lending additional resonance to the underlying idea of a fight to the death. Since our normal way of reading a picture is from left to right, this wedge shape becomes a countervailing force that thrusts from right to left, adding to the sense of conflict and violence, to the trial of nerves, to the “running the gauntlet.”

Motherwell considered the way he used the Lorca poem in At Five in the Afternoon as a paradigm for a certain kind of cadence and feeling. The allusion to the poem points the viewer in the direction of a “Spanish” tragedy, of the kind that he would use more formally as the individual Elegy paintings began to form a proper series. The next painting in the Elegy series was Granada (fig. 47), named after the city in which Lorca had been born and murdered. Granada was much larger than the first two Elegy pictures and, like them, was done on paper. At this time Motherwell seems to have preferred the reassuring warmth of paper to the challenging coldness of primed canvas or panel. Granada and another equally large painting, The Voyage (fig. 48), were both done at the same time with a similar technique, during a blizzard that kept Motherwell housebound in his Fourteenth Street studio that December. He was so unsure of himself at this time that he came close to destroying both Granada and The Voyage, but he was stopped from doing so by the painter Bradley Walker Tomlin, who came by to see his recent works and reassured him that they were not only worth keeping but worthy of being mounted on panel. (The following year, seeking some way of coming to terms with his feelings of alienation and abandonment, Motherwell began psychoanalysis with Dr. Montague Ullman, a specialist in dreams, whom he would see off and on until the end of his life.)15

Fig. 47. Granada, 1948–49 (p86)

Granada and The Voyage represented two somewhat different directions that were suggested by At Five in the Afternoon Granada is perhaps less immediately passionate than At Five in the Afternoon, but it projects a stark and dignified sense of tragedy, which is given a monumental power by the elongation of the vertical white areas, the greater compression of the ovals, the less dramatic thrust of the wedge shape, and the more restrained brushwork. The stark black-andwhite format of Granada and At Five in the Afternoon, in which three black ovals and three thick black vertical forms are set against a white ground, would become the paradigmatic schema of the Elegy paintings that grew directly out of it. In Granada, Motherwell reaffirms and consolidates the contrast— and dialogue—between the rounded and rectilinear forms, which are a graphic equivalent to the chromatic polarity of black and white. This dual vocabulary of extremes eventually provided the basis for the nonspecific but highly charged iconography of the Elegies. It provided a consistency of syntax and a level of intensity that could be carried from canvas to canvas, maintaining a recognizable compositional format while allowing for great diversity of expression in each individual canvas.

Although The Voyage also employed the basic vocabulary of ovals and tall rectangular forms, it contained colors other than black and white, and the stark contrasts between the ovals and rectangles were embellished with other forms, such as the splayed, starlike figurative shape that Motherwell developed in Doorway with Figure (p88), and that would reappear in other works around this time. (The figure in Doorway with Figure contains a complex set of referential tropes, alluding as it does both to the starry forms in Miró’s early paintings and to the bather figures that Picasso did at Dinard in 1928.)16

In The Voyage, as in the Elegies, the artist makes a simplified pictorial language move across the picture in such a way as to suggest both a physical voyage and a spiritual quest, similar to the one evoked in Baudelaire’s poetry, to which Motherwell was so deeply attached.17 Although The Voyage employs some of the same formal vocabulary as the Elegy paintings, that vocabulary is used in a rather different way, and with another kind of voice: stark but lyrical, somber but not tragic. The boundaries between these two kinds of works, however, were not firmly fixed; during the next several years, Motherwell would sometimes start a work as a Wall Painting and see it turn into an Elegy (see, for example, the early state of Elegy to the Spanish Republic No. 55, fig. 80). Although Motherwell had certain fixed ideas as he worked, he was also very alert to what the painting itself seemed to want as he developed it.

The next paintings in the Elegy series were named after Spanish cities, usually ones that had significance during the civil war, such as Málaga (fig. 49), Sevilla (p92), and Madrid (p94). These paintings contained simpler, less compressed ovals and more open white spaces than At Five in the Afternoon or Granada, and they did not include the wedge shape at all. Although Motherwell realized that he had

Fig. 48. The Voyage, 1948–49 (p87)

hit upon an archetypal kind of imagery, he was still not quite sure how to define it, and he kept experimenting with variations in its form. For a while he preferred simple vertical banding (which echoed the vertical bands in Wall Painting with Stripes) to the more elaborate play of compressed and expansive ovals and vertical bars that would eventually become one of the defining characteristics of the Elegy paintings. Although he had arrived at the classic Elegy format right at the beginning, with At Five in the Afternoon, he kept exploring different ways of varying its basic schema for a few more years before he made that format the dominant one, or even began to call the individual blackand-white paintings “Elegies to the Spanish Republic.”

At the beginning of their public life, the Elegies were perceived in varied ways, since people had not yet settled on how the pictures might be interpreted or even how their forms might be read. When they were first shown, they were sometimes considered to be stylized representations of scenes from the real world. A few years after the Elegy paintings had first been shown as a group, one prominent critic described them as “paintings of black ‘columns’ and ‘portholes’ alternating on a white field,” and another wrote that in At Five in the Afternoon

Motherwell “alternates heavy black ovals, like roughly cut jet beads, with wide vertical black panels, producing an open-air feeling. There is a suggestion of a corner of a framed picture in the upper right, so that the painting could also be an interior.”18

After the forms of the Elegy paintings had become more familiar, and they were understood not to represent things in the world but states of mind, a great diversity of interpretation grew up around them. They were connected to a variety of associations, which varied from architectural constructions, to megaliths, to phallic symbols, to bulls’ testicles, to metaphors for sexual intercourse, and to elements in musical scores—among others.19 In fact, as we shall see, a case can be made for many of these readings, as the forms in the Elegy paintings are evocative, and ambiguous, enough to suggest a wide range of interpretations, and the individual paintings in the series are quite different in feeling as well as form.

The kind of archetypal image Motherwell had invented in the Elegies was extremely rich in suggestions and overtones. It functioned precisely as a symbol should, by inviting, but in the last analysis successfully defying, rational interpretation. As Motherwell knew, true symbols come from and speak to the unconscious mind and are based on perceived relationships not only between forms and colors but also between memories, words, and the after-images of other works of art. This kind of open-ended creation of meaning, in which the viewer’s participation is active rather than passive, is at the very core of the kind of Symbolist practice that had been so dear to Motherwell right from the beginning of his venture as an artist. The ineffable quality of a powerful work of art is to some degree a function of the

Fig. 49. Málaga, 1949 (p91)

complexity of feelings and associations that it draws to itself. Such a way of creating meaning also opens the work up to an almost limitless number of ways of interpreting it. This kind of situation is especially germane to Motherwell’s Elegy paintings, which have been written about from so many different points of view.

A very personal psychological interpretation, first suggested by Jonathan Fineberg, should also be given its due.20 As we have seen, Motherwell began the Elegy paintings at a time when he felt that he had been abandoned by the woman he loved and was suicidal. Two of the persistent interpretations of the Elegies have to do with the violence that they commemorate (civil war) and with the way they evoke testicular and phallic forms—which are made all the more disturbing by the presence of the knifelike form that cuts in from the upper right corner of so many of them. Over the years, one of the events that Motherwell recalled from his childhood had to do with being severely beaten by his parents, especially his mother, who, he repeatedly said, “used to beat the hell out of me until my head was bleeding.”21

From the time he began a study of psychology as an undergraduate, he seems to have been aware that he suffered from a castration complex. In fact, after many years of psychoanalysis, he wrote to a scholar who was studying his work, “I have been told by experts that I have a marked castration complex.”22

Might one of the reasons that he was so obsessed by the Elegy series be that it combined the violence of his childhood beatings with imagery that suggested castration? (It was the only series that he worked on consistently throughout most of his life as an artist, and even the wildly erratic way the paintings were numbered—with great gaps and many repetitions—suggests a kind of neurotic repetition compulsion, in which the paintings allay his fears of violence and castration by acting them out.)

And wasn’t the “Spanish” theme a way of creating a psychological shield by finding some sort of foreign objective correlative for his deepest inner feelings, as he had done at the beginning of his career with The Little Spanish Prison and The Spanish Prison (Window)? Motherwell had a deep understanding of T. S. Eliot’s injunction about how “tragic suffering” could take one out of oneself, and about the importance of being “able to look at one’s life as if it were . . . somebody else’s.”23 He no doubt would have recognized himself when he read Eliot’s appraisal of Baudelaire: “He was one of those who have great strength, but strength merely to suffer. He could not escape suffering and could not transcend it, so he attracted pain to himself. But what he could do, with that immense passive strength and sensibilities which no pain could impair, was to study his suffering.”24

With the pictures in the nascent Elegy series and related works, Motherwell continued to reinforce the Spanish identity of the series with titles such as Spanish Drum Roll, Sevilla, Málaga, Madrid, Barcelona, and Catalonia. From around 1945 to late in 1948, Motherwell had edged away from Spanish themes, focusing instead on large abstract figure paintings. Now the Spanish themes, especially the Elegies, took center stage and began to be perceived as signature images—precisely the sort of pictures that for many people would define his art, even though the Elegies represent only a relatively small part of his entire output.25

It was not until the catalogue for Motherwell’s 1950 exhibition at the Samuel M. Kootz Gallery that the paintings in the series were given the collective title “Elegies (to the Spanish Republic),” the parenthetical subtitle reflecting perhaps a certain hesitancy about referring to such an explicitly political

subject. This reluctance is reflected in the fact that while most of the paintings were named after Spanish cities, none of the individual titles included the phrase “to the Spanish Republic,” and none was given a number. Nevertheless, Motherwell was quite explicit about how important the Spanish political situation was to him—a feeling that was now given a particular poignancy by the hysterical anti-Communism that was beginning to dominate American politics, and by the way the Franco government was now being openly legitimized, even courted, by that of the United States. In the 1950 Kootz Gallery catalogue, Motherwell described the Elegies as follows: “The Spanish ‘Elegies’ are an effort to symbolize a subjective image of modern Spain. They are in black and white: they are funeral pictures, laments, dirges, elegies—barbaric and austere.”

Motherwell’s written statement for that catalogue also began to formulate a version of his own history as an artist. In it, he defined two other groups of pictures, the Capriccios and Wall Paintings, and he discussed how the Elegy paintings were directly related to The Spanish Prison (Window); how Pancho Villa, Dead and Alive was related to the Capriccios; and how Wall Painting with Stripes had been the first of the Wall Paintings. Although there are clear formal and psychological differences between these three founding pictures for each of the categories, all three of them have in common the rectangleand-oval compositional format that so explicitly forms the bedrock of the Elegy imagery.

At the 1950 Kootz Gallery show, it was the Elegies that drew the greatest attention. Most critics, with typical intellectual laziness, adapted Motherwell’s own words in the catalogue to describe the paintings. Henry McBride wrote that Motherwell “appears to be pausing in full career in order to do some bitter cogitation. This is because he has been deeply affected by the literature (especially Lorca’s), and by the tragedies of modern Spain. He paints black-and-white symbols of funerals, dirges and the drum rolls that sometimes signify political deaths.”26 McBride, however, preferred the Capriccios, and proposed an absurdly reductive and clichéd version of modern Spain: “To the Spaniards themselves a preoccupation with death and destruction is linked with immemorial custom, but they shake it off easily enough to go to the bull fights and sit on the terraces of cafés in the late afternoons. Not so the Americans, however. Such things bother them, and Motherwell’s reaction is typical. At this distance, from the scene, the artist appears to be more acceptable when less aggrieved, as in his Capriccios No 8.”27

The reviewer for Art Digest, calling Motherwell “one of today’s most thinking painters,” also gave priority to the Elegies among the three categories of pictures shown: “The first batch, the ‘elegies,’ attempt—often successfully—to symbolize in stark black and white, a ‘subjective image of modern Spain.’ ”28 Stuart Preston, though, curiously took Motherwell to task for Preston’s own mistaken preconceptions about the artist’s work. “The strength of Robert Motherwell’s painting,” Preston wrote, “recent examples of which are at the Kootz Gallery, has always been in its positive affirmation of the aesthetic validity of non-figurative shapes and of their relationships to each other. Admire them or not, the spectator must admit that they are self-sufficient units, not merely decorative. Pure form has had no more determined advocate than this embattled artist. So it is surprising that, in his notes on the work here, he draws attention to its psychological elements, pity for the Spanish Republic, ‘brutal and ironic’ visual comments on hotel interiors [p109–p111]. It is no service to the doctrine of pure form, which is unsatisfactory anyhow, to drag in such ‘impurities,’ and it is not to impugn Motherwell’s

honesty to state that this reviewer’s response to these literary elements is negative. The harsh contrasts of black and white in the Spanish ‘elegies’ are certainly funereal, and there is hinted, I think, an anguished face in ‘Málaga.’ ”29

As can be seen, although the Elegies drew the most attention at Motherwell’s first exhibition of them, they were greeted with some reserve. It was not until Motherwell showed more Elegy compositions in his 1952 solo exhibition at the Kootz Gallery, this time without the word elegy mentioned anywhere in the catalogue, and with the paintings simply given the names of places in Spain (such as Cadiz, Andújar, and Castile), that they were more warmly received. The most interesting review of that show was by Thomas Hess, in Artnews, who, after beginning with a description of Motherwell as an “eloquent writer and lecturer on modern art” went on to say that he “has also made some of the most eloquent and graceful paintings in postwar America.” Hess singled out Granada (which was not in the show but which he had previously written about) as “one of his most successful and moving works— a black on white composition of rough-edged vertical elements punctuated by ovals.” Hess elaborated by saying that “some of his new works continue this theme, with heavier paint on board, and in several instances Motherwell has equalled and even extended the earlier statement—not better, different. These are also named after Spanish towns, and strive for the elegiac mood of Lorca, yet they are not ‘mood’ paintings, but stern, direct and all of a piece.” If Hess felt that “a few of them fail to come up to the very high standard established by the exhibition, perhaps due to a certain over-sensitivity toward details of surface—a tendency most evident in some of the colored oils,” he nonetheless thought that the paintings on the whole were very strong and that their “refinement of tone on tone and contrast of edges heightens the effects of firm yet gentle elegance.”

Hess also made a very perceptive comment about Motherwell’s relation to earlier painting. He noted that the artist “freely adopts elements from Picasso and Matisse, and in the process of enlarging and interpreting them has arrived at far more original statements than many abstractionists who insist on the most superficial traits of originality. Nor is he frightened of ‘beautiful’ passages of paint. So his show appears surprisingly mature, learned and confident, as well as elegant.”30

As the series progressed, the Elegy paintings underwent subtle but at the same time substantial transformations. They became physically larger, and also more monumental in their psychological scale. This can be seen in the difference between At Five in the Afternoon of 1948–49 and the larger reprise of that picture Motherwell did for his 1950 show, also called At Five in the Afternoon (fig. 50). Not only are the proportions of the black shapes in the later version squatter and their forms more tangible (and lacking the prominent drip marks in the earlier version), but the white spaces also have a very different feel to them.

Fig. 50. At Five in the Afternoon, 1950 (p96)

The narrow white area above the left-hand oval seems to exert more pressure on the black form it contains, and the whites on the right side, though more cleanly painted, project a kind of frightening airlessness. The wedge shape at the upper right is sharper but less jagged. If the 1950 version of At Five in the Afternoon is not as openly mournful as the earlier painting on paperboard, it projects its own sense of cool “Spanish” tragedy, which is every bit as effective and moving.

As the imagery of the Elegies became more fixed, the paintings as a whole took on the aura of public statements. In the first, small At Five in the Afternoon, the subject matter was to some degree infused into the painting by reference to a specific poem that was physically distinct from the painting itself; as a result, the small painting remains both physically and psychologically intimate, experienced somewhat like a poem being read silently. The later Elegies are often more like poems being recited aloud, bold and open in statement, strong in volume. This is clearly seen in the first of the large numbered paintings in the series, Elegy to the Spanish Republic XXXIV (fig. 51). At 80 by 100 inches, it was not only by far the largest Elegy to date but also the most public in its statement, almost stentorian in the firmness of its architecture and the breadth of its utterance. This is also one of the most richly colored of the early Elegy paintings. The primary colors on the vertical bands are set in resonant counterpoint to the slightly curved vertical black forms, and the colors in the left vertical band further recall those of the flag of the Second Spanish Republic (1931–39).

Just how varied the expressive means of the Elegy paintings often are can be seen by comparing Elegy to the Spanish Republic XXXIV with Elegy for the Spanish Republic XXXV (fig. 52), a painting of the same size that was started around the same time, though finished a few years later. Whereas the former has an imposing solidity and seems firmly planted on the ground—stately, architectonic, and monumental— the latter is more lyrical and also more high-strung; rather than suggesting monumental solidity, the forms are like flayed skins hanging in midair.

Fig. 51. Elegy to the Spanish Republic XXXIV, 1953–54 (p156)

Fig. 52. Elegy for the Spanish Republic XXXV, 1954–58 (p168)

53. Spanish Elegy XVI (Molina de Segura), 1953. Ink on paper, 11 x 15 in. (27.9 x 38.1 cm). Collection of Frances and Jack Levy

During the first few years that Motherwell painted Elegies, the way he titled them changed somewhat. In 1950 they were simply given the names of places in Spain, starting with Lorca’s hometown of Granada and extending to other places affected by the Civil War. In Motherwell’s 1952 solo exhibition at the Kootz Gallery, he tried another variation in the format of the titles by having “España” in parentheses follow the city name; for example, Andújar (España) (p128). Not until Motherwell’s April 1953 solo exhibition at the Kootz Gallery were the Elegies first shown with numbers; but even then the city names were retained, along with the numbers, as in Spanish Elegy (Alcaraz) XV (p148). At the same time, Motherwell was also giving similar names to small Elegy drawings done in brush and ink on paper, and to paintings on paper. In fact, the first three numbered Elegy compositions were done with different materials. The first was Spanish Elegy XIV (Palamos) (w17), a medium-sized work done in oil on paperboard; the second was Spanish Elegy (Alcaraz) XV, a very small oil painting on canvas board; and the third, Spanish Elegy XVI (Molina de Segura) (fig. 53), was a drawing in ink on paper. The first numbers started high because when he started to number the Elegies, Motherwell took into account the dozen or so unnumbered Elegy compositions that had preceded Spanish Elegy XIV (Palamos). The fact that the paintings were becoming part of an actual series became apparent to Motherwell only over time, as he continued to paint new variations. At first, he did not realize what the power and immutability of the series might be, or the fascination that it would hold for him over the coming decades. As the series grew, the need to account for its various iterations more or less forced a numbering system on him, though initially he was not willing to forfeit the addition of a city name, or other expression of their specific Spanish-ness, in the titles he gave them. Presumably, Motherwell made an overall count that included the unnumbered Elegy compositions with city names when he first assigned the number XIV.

It should also be remembered that up until now Motherwell had not done any extended series of pictures. In fact, he did not begin to number any paintings until 1951, with two pictures that were titled Bird (p124–p125).31 Until he began to number the Elegies, in the rare instances when he did number paintings, the highest number he had given any painting in a series was given to La Danse IV, a now lost work that was shown at his 1953 solo exhibition at the Kootz Gallery. Otherwise, there still exist only three series that are given a number as high as three: Wall Painting III (p136), La Danse III (p139), and Pregnant Nude III (p143).

The first work publicly exhibited with the phrase “Elegy to [or for] the Spanish Republic” in its title (the preposition was at first variable) was the very small Elegy for the Spanish Republic XXX (p150), first shown at the Contemporary Arts Museum, Houston, in 1954. The second work shown with such a title was Elegy to the Spanish Republic XXXIV (inscribed on the verso as “Elegy for” rather than “Elegy to”), which was included in a group exhibition at the Sidney Janis Gallery in April 1957 and then shown a month later at the Albright Art Gallery, which had recently acquired it.

Fig.

From this time on, the titles of the Elegies were standardized. But the numbering remained erratic. From 1948 until his death, Motherwell did more than two hundred and fifty variations on the Elegy theme in various mediums, of which only around seventy-four are known to have been given numbers in the series proper; about twenty more were given numbers as studies.32 That the highestnumbered Elegy is Elegy to the Spanish Republic No. 173 of 1990 (p1178) gives some sense of how many gaps there are in the numbering sequence.

What had started out as a little decoration for a poem yielded one of Motherwell’s richest veins of imagery. He invented a specific kind of image, as a poet may be said to invent a particular poetic form, and also a kind of pictorial language that would serve as a point of departure for a good deal of his subsequent imagery, whether Elegies or not. The Elegies represented not only a certain kind of image but also a certain kind of touch, a certain kind of color scheme, and a certain approach to painting, which incorporated such diverse features as the physical roughness of the imagery, the use of visible pentimenti, and an “unfinished” effect, as well as a codification of the general oval-and-rectangle format that runs through so much of Motherwell’s work. The experience of the Elegies also seems to have set Motherwell firmly on his course of working with a delimited vocabulary of forms and colors. It provided him with a language that, like the notes on the musical scale, was limited but which could produce enormously varied effects. “The modern artist,” as he remarked, “unlike his artistic ancestors, is in a sense forced to invent his own pictorial language before he can even think about elaborating that language. He has the problem of both invention and elaboration.”33

The imagery of Motherwell’s Elegies is full of pictorial allusions. As people who have written about them have noted, the first painting by another artist that comes to mind in relation to the Elegies is Picasso’s mural-sized black-and-white evocation of the Spanish Civil War, Guernica, of 1937 (fig. 54)— which, like some of the early Elegy paintings, is also named for a place in Spain. In fact, an important early impulse for the Elegy series may have been an act of homage to, and at the same time an act of monumental resistance against, Picasso’s masterpiece. For many years, Guernica was prominently displayed in the Museum of Modern Art in New York and was generally considered the single most important picture that Picasso had produced.

Another painting that served as an important precedent and direct source of specific pictorial inspiration was Matisse’s Bathers by a River (fig. 55), another mural-scale, predominantly black, gray, and white painting that was highly regarded by advanced American painters at the time, and that had for years been on view near the entrance of the Pierre Matisse Gallery in New York. This painting, which Motherwell characterized as “one of the century’s supreme masterpieces,”34 employs a basic vocabulary of oval and rectangular forms. It also has a similar kind of pictorial starkness, with the different sections divided into discrete vertical bands

Fig. 54. Pablo Picasso, Guernica, 1937. Oil on canvas, 11 ft. 5½ in. x 25 ft. 5¾ in. (3.5 x 7.8 m). Museo Nacional Centro de Arte Reina Sofía, Madrid

55. Henri Matisse, Bathers by a River, 1913–17. Oil on canvas, 8 ft. 6½ in. x 12 ft. 10³⁄₁₆ in. (2.6 x 3.9 m).

The Art Institute of Chicago; Charles H. and Mary F. S. Worcester Collection, 1953.158

(as opposed to Guernica, which employs a Baroque-type pyramidal composition and is filled with interlocking pictorial incidents). This painting by Matisse was surely one of Motherwell’s paradigms of large-scale painting: it provided a number of pictorial ideas that he later made use of in the Elegies—though in the Elegies he resisted the abstracted figurative imagery of the Matisse painting, as well as its passages of highly patterned visual texture and its clearly allegorical overtones.

Another artist whose works echo in the viewer’s mind when looking at the Elegies is Edouard Manet, for whom the idea of Spain was also an important source of inspiration. Manet was a pioneer in the use of black as a color, and in his early works he created flattened, hard-edged imagery with a limited palette dominated by black, white, and ochre punctuated by accents of bright hues—a combination of form and color that appears to have served as a source of inspiration for Motherwell’s Elegy paintings.35 A painting such as Manet’s Execution of the Emperor Maximilian (fig. 56) is a kind of model for the Elegies not only for its Mexican subject but also for its starkness, for its black and white and ochre color harmony, and for the way the vertical forms are suspended from the horizontal line of the wall near the top of the canvas, much in the way that Motherwell suspends the vertical forms from the tops of many of his Elegies.

Equally important is the moral tenor of the Manet painting, the way it combines the highly emotional and the utterly impersonal, the tragic and the cool, qualities that it shares with the Elegies and that the Elegies in turn share with the Lorca poem. Manet, like Motherwell, used a very limited palette but made every nuance and variation of color tell, as in the way that he played the black and white of the soldiers’ uniforms against the blood-red hat of the sergeant, a displaced symbol of the blood that is about to be shed by Maximilian and his companions. In one of his last Elegy paintings, Elegy to the Spanish Republic No. 172 (with Blood) (fig. 171), Motherwell would use red in a similar way.36

Something else that links At Five in the Afternoon to Manet’s Execution of the Emperor Maximilian is the way the latter composition thrusts from right to left—against the way one naturally tends to read words and images. This aspect of the Motherwell painting gives it a hint of quasi-nar rative, relating it to the thrust of a bullfighter’s sword (both Sánchez Mejías and Manolete were mortally wounded as they were driving the sword into the bull), or to the trajectory of a firing squad’s line of fire.

The eclectic Manet was a pioneer in the use of the kinds of pictorial allusions, or after-images, that Motherwell saw as one of the important ways in which his own pictures generated multiple levels of meaning, by the way they related to the past. The Execution of the Emperor Maximilian, for example, clearly alludes to another tragic Spanish picture, Goya’s Third of May 1808 (fig. 57), on which Manet based his composition, and which permitted a peculiar kind of originality to emerge from his own picture by alluding to the differences between his and Goya’s conceptions of similar scenes (in both of which the action reads from right to left). The Goya painting, as Manet was well aware, is dominated by a clear conflict between good and evil and between darkness and light, and has clear Christian overtones (most overtly

Fig.

Fig. 56. Edouard Manet, Execution of the Emperor Maximilian, 1868–69. Oil on canvas, 99¼ x 119¼ in. (252.1 x 302.9 cm). Kunsthalle Mannheim, Germany

Fig. 57. Francisco José de Goya y Lucientes, The Third of May 1808, 1814. Oil on canvas, 106 x 137 in. (269.2 x 348 cm). Museo Nacional del Prado, Madrid

expressed in the gesture of the man in the foreground, whose arms are spread like Christ on the cross). Manet, by contrast, uses the after-image of the Goya painting to convey to the viewer what is not happening in his own picture. In the execution scene that Manet depicts, he emphasizes instead the remarkable coolness and impersonality of the participants, their lack of emotional involvement, and their lack of clearcut moral values. The chilly, impersonal nature of the assassination of the Mexican emperor is intensified precisely because one inescapably has the Goya painting in the back of one’s mind when one looks at Manet’s picture. Manet increases the strength of his picture by this allusion, enlarging and intensifying our understanding of it by showing us what it is not—and the way in which what it is has to do directly with what it is not. In a similar way, the Elegies clearly allude to but distinguish themselves from their main pictorial sources—in terms of their refusal of narrative and their insistent abstraction. In effect, the Elegies project an image of tragedy that is removed from a specific time, action, or place, but which because of their allusiveness has a strongly felt materiality and contains a paradoxical feeling of specificness.

In a sense, the Elegies directly engage two of the basic dilemmas of the modern artist. First, that all art that is produced late in a historical sequence—what we might call “belated” art—must reckon with the fact that the art of the past will tend to hover around it like an aura, and cling to it, whether or not such is willed or desired. Second, that dealing with the past head-on in order to overturn received values implicitly necessitates referring backward as one moves forward. What modern art refused was not simply verisimilitude but a whole complex of (often hypocritical) religiously derived moral values and rigidly hierarchical social values. “One of the most striking aspects of abstract art’s appearance is her nakedness,” Motherwell wrote in 1951, “an art stripped bare. How many rejections on the part of her artists! Whole worlds—the world of objects, the world of power and propaganda, the world of anecdotes, the world of fetishes and ancestor worship.”37

The Elegies are also a kind of profession of allegiance to aspects of the Spanish tradition that contain strong moral and political implications. As early as 1944 Motherwell had counted Goya, the creator of Los desastres de la guerra, as one of the few artists—along with Picasso in Guernica—to have successfully expressed “indignation, as an individual, at public events.”38 This, of course, was one of the problems that Motherwell set for himself with the Elegies—to commemorate a human and political

tragedy that should not be forgotten—even though he knew that there was no easy way of succeeding, and he understood the perils inherent in politically engaged art. Even Picasso, he wrote in 1944, had not entirely succeeded with Guernica:

The mural form, by virtue of its size and public character, must speak for a whole society, or at the very least, a whole class. Guernica hangs in an uneasy equilibrium between now disappearing social values, i.e., moral indignation at the character of modern life—what Mondrian called the tragic, as opposed to the eternal and the formal, the aesthetics of the papier collé.

We admire Picasso for having created Guernica. We are moved by its intent. Yet how accurately, though intuitively, art measures the contradictions of life. Here a contradiction exists. So long as the artist does not belong, in the most concrete sense, to one of the great historical classes of humanity, so long he cannot realize a social expression in all its public fullness. Which is to say, an expression for, and not against. The artist is greatest in affirmation. This isolation spiritually cripples the artist, and sometimes gives him, at present, a certain resemblance to Dostoyevsky’s idiot. 39

The complex mixture of aesthetic and ethical issues raised by Picasso’s Guernica preoccupied Motherwell during the first decade he worked on the Elegy paintings. Early in 1954, just as he was beginning to work on his largest Elegies to date, numbers XXXIV and XXXV (figs. 51, 52), Motherwell gave a lecture on Symbolism at Hunter College in which he prepared many slides of Picasso’s preliminary drawings for Guernica, along with photographs of the mural in progress, and stressed its relationship to the Spanish Civil War.40 In his lecture, he recounted, “I pointed out that in the case of the modern painter there is no such thing as the audience, but instead a series of audiences.” Of these, he asserted, “the most accurate in judgment is other painters,” who were followed in order of importance by museum people, private collectors, and others involved in the arts. What he called “the public without vested interests” came last. He went on to say that it seemed necessary for him “to explain that painters are more accurate in their judgment, not only because of our working intimacy with the medium, but because of a different attitude—everyone else’s is strictly aesthetic, and usually a past aesthetic at that, which is not exactly what is involved.”41 In a text on the same subject published later that year, Motherwell refined and elaborated the ideas he had presented in his lecture. In the published text, he refers to Guernica, which was made for the Spanish Pavilion at the 1937 Paris Exposition Internationale, precisely in terms of the painter’s audience, noting that although Picasso may have “made even greater works in the studio’s solitary inspiration,” nonetheless what a triumph such commissions represented, “as efforts to reach beyond that solitude!”42 Around the same time, Motherwell, who had recently been involved with mural projects (see p102, p114–p117), designed a syllabus for a Hunter College course called The Artist and Modern Society, in which one unit, “Modern Art and the Problem of Public Commissions,” contained a full lecture, with 120 slides, devoted to Picasso’s Guernica 43

As we have seen, the Elegy to the Spanish Republic series brought together a number of Motherwell’s different interests, and introduced to his work extended dialogues between overt and implicit presences,

between affirmation of and resistance to the past. The way he dealt with these dialogues was sometimes unconscious and at others times quite deliberate, but always remained rich and complex. The network of after-images included the poetry of Lorca, but also that of Baudelaire and Mallarmé; the paintings of Picasso and Matisse, but also those of Goya and Manet. And the format of the Elegies provided Motherwell with an important arena in which he could engage in the elaboration of a pictorial language that was distinctly his own.

The formal title of the series is Elegies to the Spanish Republic. As we have seen, however, Motherwell’s intention in these works was not simply to create a narrative about a specific political situation but to use the tragedy of the Spanish Republic as emblematic of the idea of tragedy in our time.44 The Elegy paintings, though not concerned only with the tragedy of the Spanish Republic, convey what Motherwell often characterized as a particularly “Spanish” range of emotions: the tragic sense of pride and passion that is incarnate in cante jondo (flamenco “deep song”), in the spectacle of the corrida, and in the very notion of duende.

Over the years, the Elegies drew a certain amount of critical fire, serving as an excuse to attack Motherwell either for using a foreign theme so conspicuously or for appropriating the tragedy of Spain as if it were his. His visibility as a spokesman for abstract painting (and his success as an artist) sometimes made him a target of the disgruntled and the envious. At the height of Motherwell’s renown, for example, the Spanish-born painter Esteban Vicente, in a fit of pique that appears to have been inspired at least in part by envy, and in part by an oddly misguided chauvinism, wrote an accusatory letter to Artnews challenging Motherwell’s right to use Spanish themes. Vicente noted that the Elegies had been begun before Motherwell ever went to Spain, and that this in essence disqualified him from using the Spanish Civil War as one of his main subjects. Moreover, Vicente alleged, Motherwell had aestheticized Spain and its civil war by saying that when he went to Spain for the first time, he had “discovered the Madrid plateau is yellow ocher, black and white!”45 Motherwell replied to Vicente’s letter in detail, saying that he found it incoherent and full of underlying “jealousy and rage.” He pointed out that Vicente had misrepresented his symbolic use of color and asked, “Would this matching of my pictures and the landscape detract from their symbolic seriousness?” Moreover, Motherwell went on to say, “the pictures are also general metaphors of the contrast between life and death, and their interrelation . . . ‘Spanish’ because they are austere . . . But they are much more than ‘Spain.’ ”46 Motherwell’s replies were persuasive, but the incident cast a pall.

Significantly, although Motherwell’s use of Spanish themes, especially in the Elegies, was often criticized by American writers—starting with Henry McBride’s review of Motherwell’s 1950 exhibition at the Kootz Gallery, discussed above—Spaniards have expressed a very different attitude. The poet Rafael Alberti, one of the original members of the Generacíon del 27, with his friends Lorca and Sánchez Mejías, was a passionate admirer of Motherwell’s works, as was the Catalan painter Antoni Tàpies, who was “deeply moved” by the Elegy paintings.47 Spanish writers have found the Elegies politically as well as aesthetically convincing. As Elisabet Goula Sardà has noted, at the time Motherwell was involved in designating the Elegies as specifically “Spanish,” the U.S. government—increasingly under the sway of Senator Joseph R. McCarthy’s anti-Communist campaign—was showing favor to the

Fig. 58. Interior with Nude, 1951 (p121)

Fig. 59. Henri Matisse, The Painter and His Model, 1936. Oil on canvas, 23⅝ x 31¾ in. (60 x 81 cm). Private collection

Franco government and “forgetting” the Spanish Republic. Motherwell’s act of naming had the very specific political function of ensuring that the tragedy of Spain would not be forgotten when his own country had an interest in exactly that sort of historical amnesia.48 Spanish artists and writers have also recognized that the Elegies are at once highly personal and broadly universal symbols of tragedy and suffering, deeply “Spanish” in the sense that they locate their universality in Spain, but not at all limited simply to being Spanish.49

Motherwell’s invention of the Elegy format at the end of 1948, and his further elaboration of it over the next few years, marked the end of the large, single-figure paintings he had been so absorbed by in 1947 and the first part of 1948. But at the same time that he was deeply involved with developing the pictorial language of the Elegies, Motherwell continued to work with other kinds of imagery, including different kinds of abstracted figures. Some of these clearly representational images were related to the mural commission that he painted for Congregation B’nai Israel in Millburn, New Jersey, in which he applied the flattened, wall-like effect of the Elegies to symbols from Jewish history (see p114), with a nod to the distilled liturgical imagery that Matisse had recently created for a Dominican chapel at Vence.

During the early 1950s, Motherwell created some small paintings with highly abstracted female figures that were sometimes directly inspired by Matisse, whose retrospective exhibitions at the Philadelphia Museum of Art in 1948 and at the Museum of Modern Art in 1951 made a profound impression on him. Some of Motherwell’s compositions from this period, such as Interior with Nude (fig. 58), make imaginatively oblique but nonetheless firm reference to Matisse’s 1936 Painter and His Model (fig. 59).

In 1953, when Motherwell’s second wife, Betty Little, was pregnant with their first child, he did a suite of surprisingly literal depictions of her, with what seem to be studies for his La Danse paintings (p134, p138–p139), or for Elegies, in the background (see p141–p144). In fact, as Motherwell’s work developed through the mid-1950s, the pictures he called Wall Paintings had a great deal in common with the Elegies. Both Wall Painting No. III and Wall Painting IV (p154–p155) appear to have been begun as Elegy compositions (Wall Painting No. III was once called Spanish Afternoon, linking it to the Elegies by title as well as by form).

The numbered paintings titled Je t’aime (“I love you” in French) that Motherwell undertook between 1955 and 1957 (see p157–p163) occupy a curious place within his oeuvre, and are quite revealing of his emotional state at the time that his marriage to Betty Little was in the course of breaking up. The declarations of love that are written across these paintings vary from what he himself characterized as “tenderly” to a “shriek.” He has described them as expressions of longing, cries from the heart, the desperate outpourings of his desire to love at a time when he was trapped in a loveless marriage.50 Betty Little herself has written, with understandable bitterness, that at the time her husband painted these pictures, he was deeply in love with another woman.51 But the identity of that woman and the details of his affair with her remain unknown. In any case, Motherwell’s use of a foreign language in these paintings to express his love is very much in keeping with his need to find some sort of aesthetic screen to distance himself from the expression of powerful feelings—much as he had done with the

Fig. 60. Je t’aime No. IV, 1955–57 (p161)

Fig. 61. Jour La Maison, Nuit La Rue, 1957–58 (p164)

Mexican and Spanish titles of his earlier works. (Here one thinks of Hans Castorp in Thomas Mann’s Magic Mountain, who dares not declare his love to Claudia Chauchut except in French; otherwise, the very idea of expressing such powerful emotion would be too terrifying.)

Some of the Je t’aime paintings have strong representational elements, even though the composition of the first numbered one, Je t’aime No. II (p157), echoes the general compositional format of the Elegy series. The figurative imagery is especially evocative in the brightly colored Je t’aime No. IV (fig. 60), and in Red Je t’aime No.VIII (p162), both of which first strike the eye as abstract arrangements of ovals and triangles but eventually reveal clear suggestions of an interior scene with an abstracted figure standing to the left of a table.

At the time he created these paintings, Motherwell was very unhappily married and was spending a good deal of time writing, lecturing, and teaching. As a result, his artistic production during the mid1950s significantly decreased. The deeply felt sense of longing that is so evident in the Je t’aime paintings is also darkly present in Jour La Maison, Nuit La Rue (fig. 61), which contains the purposely blurred and partially obliterated remnants of the phrase “Je t’aime,” barely decipherable, above the words of the title, which are also inscribed on the surface of the picture.52 These words come from the opening line of Paul Eluard’s poem “Par un baiser” (By a Kiss): “Jour la maison et nuit la rue” (Day at home and night the street). This painting combines the restlessness expressed in Eluard’s poem with the cri de coeur of the Je t’aime paintings. The tenderness of the words, combined with the somber trenchancy of the forms, creates a haunting mixture of longing, solitude, and intensely agitated restlessness. Jour La Maison, Nuit La Rue seems to sum up Motherwell’s state of being at this time. The extremely fine equilibrium it maintains between emotional detachment and a deep sense of despair makes it all the more moving.

Collages, 1950–1957:

The Tearingness of Collaging

katy rogers

d uring the late 1940s, while m otherwell was formulating his e legy to the s panish Republic paintings, he was also gathering materials for The Dada Painters and Poets, an anthology for the Documents of Modern Art series. He created a substantial introduction for this book, which was constructed like an extended verbal collage, full of quotes from a number of sources, juxtaposed in a dissonant and disjunctive way.1 For his introduction, he took the fragments of texts as they were and made “no effort at correlation, nor to deal with the numerous contradictions.”2 His idea was to present Dada “in terms of its own expressive means.” He noted that Richard Huelsenbeck, one of Dada’s founders, had written that Dada owed its very existence not only to “bruitism [and] simultaneity” but also to the new medium of collage.3

The Dada book was the largest writing project Motherwell had undertaken (or ever would). The editing process resembled his collage-making in a physical as well as a conceptual way. While working on the introduction, he pinned the various texts to the wall of his studio, “almost as though I was conceiving of the piece spatially and placed, like in a collage,” he later said.4 Over the course of the six years he spent researching texts for this book (which he had begun to work on in 1945), he read widely and talked to and corresponded with the remaining Dada artists, gathering a number of different (and often opposing) accounts of the movement.5 This immersion in Dada ideas opened new perspectives about chance and about collage. His introduction ends with a quotation from Henri Focillon: “Thus does the artist gratefully receive what chance gives him and places it respectfully in evidence.”6

Chance worked differently for the Dadaists than for the Surrealists. In the Surrealists’ psychic automatism, which had been such a powerful tool for Motherwell, the chance gesture is generated internally by the subconscious, with the artist not knowing what forms will come out on the canvas. The Dada sense of chance was more externally based and involved interaction with things in the real world. It was based on seizing opportunities from outside oneself and investing them with meaning by arranging them in one’s own way. Motherwell’s collages in the 1940s had been generated from an automatic impulse that was then filtered through the conventions of Cubist collage. He felt that his generation of artists had “transformed” the act of collaging from a “cubist one into an automatic one.”7 As a result of his engagement with Dada methods and theories in the early 1950s, he began to approach his materials with a different sensibility. The inclusion of a newspaper fragment in a Cubist collage implies not that the newspaper itself is art but that the newspaper fragment can become significant because it is set within a collage. For the Dadaists, if a piece of newspaper could become part of a work of art, it was simply (or not so simply) by changing the context within which it was seen. This attitude of greater openness to chance and multiple meanings impelled Motherwell to further explore contradiction and randomness in his own collages. Motherwell wrote the introduction to The Dada Painters and Poets during the first months of 1951, while he wintered on Long Island. Around the time he was completing the introduction and reviewing the selection of texts, he made a few collages that are unlike anything he had done in the 1940s.8 Ninth Street Collage (fig. 62) is one of the most disjunctive collages that Motherwell had yet made. Here he does not resolve the composition by painting it out to the edges, or by adding drawn lines to impose continuity on the disparate forms, as he did in earlier collages such as Pancho Villa, Dead and Alive (fig. 23). Rather than feeling a need to define and fill the space, Motherwell leaves the layout

of the forms in Ninth Street Collage unbalanced, but unbalanced in a lucid way. Each pasted or drawn element remains discrete, creating a strong spatial tension between the forms.

Motherwell’s approach in this collage was different not only in compositional terms but also in the way he titled it. Ninth Street Collage relates to a specific place that played a significant part in his life. His studio was near Ninth Street,9 and he probably showed this work in the 1951 exhibition later referred to as the Ninth Street Show, which took place in the basement of a deserted building at 60 East Ninth Street. Motherwell included in the collage part of the poster for the show, which contains the date and time of the opening—“nine p.m.” In other words, coincidental relations between the markers that designate the place and time, and the title of the exhibition are presented in such a way that the viewer is invited to make sense of them; but with the understanding that not everything in the collage will necessarily make sense. For example, the forms are laid down over a printed sheet from a contract, but there is no way of knowing what the contract is for; we only know that it is an external object that Motherwell has taken possession of by the random act of pasting it into this collage and setting it down next to other forms and fragments that project a feeling of jazzlike musicality. The contradictions and bits of information that are inherent in the materials themselves are allowed to stand. The meaning of the work shifts with our awareness of the juxtapositions within it, and our awareness that a collage is inherently a relational structure that is both of and apart from the world. Motherwell summed the process up when he described the activity of the artist as being “to find or invent ‘objects’ (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions.”10

At this time, there was a growing set of contradictions or, one could say, new relational structures in Motherwell’s own life. The time he had to devote to his art was curtailed by his recent appointment to the graduate faculty at Hunter College as well as by a growing number of speaking engagements; by his work on The Dada Painters and Poets; and by his commission for a mural for the Congregation B’nai Israel synagogue, which would be his largest work to date (see p144 and related studies including p113, p115–p117, p133, and w14).11 There seems to have been a particularly intense dialogue between the forms and iconography of his collages and his paintings at this time. Ninth Street Collage and the other collages that he completed during this period (see c54, c56, and c57) incorporate the kinds of flat, simplified forms that he had made for his representation of traditional Jewish symbols in the mural, such as the Burning Bush and the Tablets of the Law. Here each form carries the weight of numerous meanings.

The composition of Ninth Street Collage was more disjunctive and less resolved than Motherwell’s earlier works, but in it he also continued to be mindful of the legacy of Cubism. The following year, he made one of his most Cubist collages, The Easel I (fig. 63), which has a muted brown and gray palette,

Fig. 62. Ninth Street Collage, 1951 (c55)

and in which the collage elements are placed next to one another with a graphic simplicity that is very different from the more raucous, Dada-inspired collages.

The Easel I is one of the first collages in which Motherwell used a newspaper or magazine page. If he had avoided using such collage elements previously, it was probably because he wanted to both absorb and resist certain aspects of Cubist collage, which frequently employed such printed pages. The magazine page is not the only Cubist element in this collage. The arrangement of the rectilinear shapes recalls early collages by Picasso and Braque, as does the spatial construction of the work as a whole: very flat, yet with receding and advancing forms. The subject of the collage, an artist’s easel, engages the Cubist tradition of using studio life as a subject, and is a much more concrete reference to a specific object than in most of Motherwell’s collages. Its composition creates a kind of visual pun, in that the picture seems to be a collage that represents within itself a collage sitting on an easel in the artist’s studio. This kind of double entendre allowed for the creation of multiple levels of meaning, which Motherwell would continue to develop in his collages. In The Easel I there is little line drawing, and the forms are sharp-edged and mostly cut, not torn—in distinction to the more chaotic-looking collages that Motherwell would start making in 1953.

The first collage he did in which the composition was dominated by violently torn elements is Souvenir de Californie (fig. 64), the first version of which was completed in the early months of 1953, and titled The French Coast. When it was shown in Motherwell’s April 1953 solo exhibition at the Samuel M. Kootz Gallery, it was a densely layered work, with numerous small torn fragments of variously colored

Fig. 63. The Easel I, 1952 (c58)

Fig. 64. Souvenir de Californie, 1953–55 (c61)

Fig. 66. Yellow Envelope, 1956–ca. 1965 (c67)

papers pasted on top of one another. The composition was solid, yet disjointed in the allover scattering of the collage elements, which were attached with seemingly little concern for coherency. Both the imagery of this collage and the way it was made are in stark contrast to the refined, centered composition of The Easel I, where the forms are clearly defined and carefully laid down.

After The French Coast was returned to Motherwell in 1955, he reworked it by violently tearing off many of the elements, then pasting some back into the composition and discarding others. At this time he gave the work its final title, Souvenir de Californie. 12 In its final form, Souvenir de Californie is visceral, tactile, and random-looking—even more different from The Easel I than it had been in 1953.

Souvenir de Californie and The Easel I represent the two distinctly different stylistic means that Motherwell employed in his collages during the rest of the 1950s: one clear and rational, the other more impulsive and emotional. His movement back and forth between these different modes can be characterized in terms of his allusions to Cubist and Dada methods, which served as paradigms for his collages from this period. His notion of the after-image also played an important role here, in terms of the literary elements that are sometimes incorporated into these works, and in terms of his allusions to the two very different approaches to collage that he was determined to keep in play. The highly charged tensions between these different formal and expressive means underlay Motherwell’s remarkable accomplishment as the creator of one of the most important collage oeuvres of the twentieth century.

Motherwell sometimes used these two impulses, the rational and the emotional, to address the same problem, with similar materials, in markedly different ways. In 1956 he made two collages in which he wrote the same phrase, “Jour la maison nuit la rue,” from Paul Eluard’s poem “Par un

Fig. 65. Histoire d’un Peintre, 1956 (c66)

baiser.”13 The first of these collages, Histoire d’un Peintre (fig. 65), is a neatly placed composition in which neutral-toned papers are laid smoothly down on the ground of the collage. Motherwell then added a torn blue Gauloises cigarette package, a white paper with the line of poetry written in his hand, and a piece of a printed page that has the phrases “Histoire d’un p[eintre]” (Story of a painter) and “Realité et abstraction” (Reality and abstraction) on it, over the base layer of browns. The composition as a whole is poised and finely balanced, somewhat like The Easel I. The second collage with lines of Eluard’s poems inscribed in it is Yellow Envelope (fig. 66), a work that is much more violent and haphazard in its execution, with layers upon layers of papers from various sources glued down and torn off again, as in Souvenir de Californie. Although Yellow Envelope uses many of the same kinds of collage elements as Histoire d’un Peintre (a Gauloises package, a piece of a printed page bearing the phrase “Aventure de l’art abstrait” [The adventure of abstract art], and the handwritten line of poetry), the effect is very different.

Taken together, these two collages are like summations of the divergent aspects of Motherwell’s artistic personality, the Apollonian and the Dionysian aspects of himself which both pulled him in different directions and energized all of his work. Histoire d’un Peintre exists in a kind of timeless space, with the composition resolved in a balanced, classical way. It functions as a kind of detached “history” of Robert Motherwell’s relation to Cubism and to “reality and abstraction.” Yellow Envelope is a more active collage, an “adventure in abstract art” that shows the passage of time through the layering of papers and the evidence of the dynamic gestures of accretion and removal. It, too, functions as a “history” of Robert Motherwell, but now with the emphasis on his irrational, intuitive side. And given what was happening in his life at the time, when his second marriage was coming to an end, it was perhaps a more direct reflection of his everyday state of mind.

Motherwell referred directly to his new method of pasting down and tearing off collage elements the following year in the title of The Tearingness of Collaging (fig. 67). In this work, he again used a Gauloises package and the same largely ochre and blue palette that appears in most of his collages from these years. This collage was initially conceived of as a flatter and more resolved composition, but after Motherwell realized that it did not express the kind of emotion that he was striving for he forcibly ripped off the hard, straight edges of the papers. The effect of this action was so strong that he felt compelled to refer to it in the title. He later recalled, “The Tearingness of Collaging is, like many of my titles, a play on words. It refers not only to an angry tearing of a collage that seemed to me in its prior state too hard-edged and formal, but also it emphasizes that part of my contribution to the art of collage, the torn rather than the sharp or cut-out edge.”14 The emotional gesture of tearing off, an automatic impulse that allows the collage to take an unexpected but evocative form, was indeed an innovation within the history of collage. It was also an innovative way of getting at the emotions that were then tearing at him. He once mused that he ripped off the bulk of the papers in these collages “so the edges would get more ragged, more personal.”15

Fig. 67. The Tearingness of Collaging, 1957 (c69)

Motherwell described The Tearingness of Collaging as “made during some of the most tormented and exhausted years of my life, the tearing was also equivalent to murdering symbolically.”16 The creation of this collage and Motherwell’s reworking in 1957 of another collage originally called Dover Beach were probably done in response to his marital troubles. He was drinking a great deal at this time and was overwhelmed by feelings of frustration and anger. (He and Betty Little separated during the fall of 1957.)

He completed the first version of Dover Beach (fig. 68) in 1952, when he sent it to the Kootz Gallery; but it remained unsold. It was returned to him in 1955, and he reworked it in 1957 much as he did Souvenir de Californie, which had a similarly heavy, allover layering of pieces of paper. In the 1952 version of Dover Beach, some of the edges of the papers are torn, but there is not much tearing off of the papers. In The End of Dover Beach (fig. 69), which is the final version of the work, Motherwell has gone back and violently torn the earlier composition apart, leaving only the barest traces of many of the or iginal elements. The composition is now defined by a network of glue lines that allude to the previous version of the collage; but that version is now a kind of ghost. Even the earlier date has now been obliterated by the new, torn white element with his signature and a date of 1957. He showed this collage at the Sidney Janis Gallery with its new title in May 1957, just a few months before he and his wife were formally separated.

The title of The End of Dover Beach involves a play on words that refers both to the making of the collage and to its literary source. The original title referred to Matthew Arnold’s poem of the same

Fig. 68. Dover Beach, 1952 (later revised as The End of Dover Beach, c68)

Fig. 69. The End of Dover Beach, 1952–57 (c68)

name, which was written while Arnold was on his honeymoon (a fact that Motherwell, an avid reader of poetry, was certainly aware of). The poem is famous for its mixture of hope and despair, where Arnold entreats his wife, “Ah, love, let us be true / To one another!” but then concedes that the world “Hath really neither joy, nor love, nor light, / Nor certitude, nor peace, nor help for pain.”17 In 1952, when Motherwell titled this collage Dover Beach, Betty Little was pregnant with their first child and he likely saw the poem as an affirmation of the possibility that love would make it possible for two people to survive the vicissitudes of life together. When he later tore up the work and renamed it The End of Dover Beach, he understood the poem and, more importantly, this collage differently, as conveying a deeply pessimistic view of love and of human existence. The transformation of this collage was a deeply personal gesture, a private kind of mourning. But quite aside from the circumstances behind this transformation, the collage carries with great emotional force the anger and the pain involved in its creation, which are quite tangibly present all over its wrecked surface.

by the Museum of Modern Art, and he and Frankenthaler planned to attend the opening of the Spanish version of the show at the Museo Nacional de Arte Contemporaneo in Madrid. Among those six paintings was the recently finished Elegy for the Spanish Republic XXXV, a title that the Spanish museum declared to be objectionable shortly before the show was to open. Speaking for the Franco government, the museum demanded that Motherwell change the title. He refused and, in a gesture of defiance, asked to have all of his paintings withdrawn from the show. As a result, he was informed by the U.S. embassy that he was “essentially persona non grata” in Spain.4

Motherwell and Frankenthaler immediately left for France. They settled in Saint-Jean-de-Luz on the Basque coast, then still primarily a fishing port, where they rented a house big enough for both of them to work in and stayed for the rest of the summer. There, after having done very little painting for the past two years, Motherwell began to work flat out, producing paintings and drawings with greater spontaneity and freedom than ever before. Frankenthaler’s presence was a large factor in this change, and his enthusiasm, in turn, rubbed off on her. They both were enormously productive that summer.5

Not only did Frankenthaler spur him on to paint, breaking what had in effect been an extended painting block, but her more spontaneous and fluid way of working—what John Elderfield has nicely characterized as “the reckless, innocent side” of her personality— seems to have rubbed off on him. Her work, in turn, while retaining its spontaneity, took from him a greater density, “a somewhat weightier and more sonorous tone.”6 This combination of freely painted gestures and greater gravity is typical of her work during their first years together, as is evident in paintings such as Autumn Farm (fig. 71). As Elderfield has pointed out, “It was not because of the differences in their work that they were able fruitfully to learn from each other but because of what they already had in common. And whatever changes occurred were but swings in already established polarities.”7 At the same time that Frankenthaler’s involvement with “the more deliberative and theoretical Motherwell” lent her work greater density and opacity, it also heightened her awareness of how important it was for her to maintain her own impulsiveness. Similarly, while Motherwell gained from her an appreciation of how liberating and expressive transparent flows of paint could be, the looseness of her drawing and her freedom from distinguishing clearly between figure and ground made him aware of how important both linear precision and maintaining distinctions between figure and ground were to him.

The first pictures Motherwell did at Saint-Jean-de-Luz were small works painted with alkyd enamel on paperboard, which he called the Frontier series (see w49), a reference both to crossing the Spanish frontier and to what he characterized as “release after a long time of sterility; crossing the frontier, so to speak.”8 He subsequently painted a number of large pictures on canvas, some of which were

Fig. 71. Helen Frankenthaler, Autumn Farm, 1959. Oil on canvas, 42¾ x 67 in. (108.6 x 170.2 cm). Private collection

directly influenced by Frankenthaler’s technique of staining. (Because artist’s canvas was hard to find, they both painted their large pictures on linen bed sheeting.)

Frankenthaler’s influence on her husband is evident in Two Figures No. 2 (fig. 72), in which the unusual color harmony was clearly affected by her generally brighter and chromatically more varied palette. (Revealingly, Motherwell inscribed the title “Beauty and the Beast” on the back of a photograph of this work.) The large dark form on the left side of this painting appears to refer to the animals in Paleolithic paintings that Motherwell saw at Altamira and at Lascaux that summer, most especially the famous horse at Lascaux (fig. 73).9 The way that form defies gravity in Motherwell’s painting is very much in keeping with the imagery on the cave walls, which often follows the contours of the stone, and in which the animals often overlap each other or seem to float in midair.

The Paleolithic cave paintings made a lasting impression on Motherwell. In 1962 he noted that Monster (for Charles Ives) of 1959 (p194) “has a lot to do with after-images of Lascaux,” and in later years he painted a number of pictures referring to the Dordogne and to the caves (see p273, p862, p864–p872).10

In the first two pictures Motherwell painted in what became the Iberia series (figs. 74, 75), the ochre grounds are more transparent than was usual in his previous work.11 This makes the black spatters on the thin, stain-like ochre ground of Iberia No. 2 (fig. 74) especially expressive. The Iberia paintings and those in the contemporaneous Bull series were inspired by a bullfight Motherwell and Frankenthaler saw at the Plaza de Toros BayonneBiarritz on August 3 that featured particularly distinguished matadors, including Antonio Ordóñez and Luis Miguel Dominguín, Manolete’s great rival, who had been slated to fight the day Manolete was killed. (As Motherwell would have known, in 1934 Ignacio Sánchez Mejías had been a substitute for Dominguín’s father, Domingo Dominguín, on the day that he was fatally gored.)

This particular bullfight made a deep impression on Motherwell, and he kept the tickets from it for many years (see fig. 145).

The first two paintings in the Iberia series are surprisingly representational, even though the bulls are depicted in a rather abstract way. The bull is seen from a distance in what may have been the first painting done after the bullfight, now called Iberia No. 4 (fig. 75); then it is seen close up in Iberia No. 2, where we feel that we are extremely close to the animal’s body, very much as the bullfighter might see its massive black torso. In fact, there is a striking resemblance between the image of a bull in this painting and the photograph published in Life magazine in September 1947 of Manolete being fatally gored (fig. 76). And of course, Motherwell would have been moved by the depictions he had seen of

Fig. 72. Two Figures No. 2, 1958 (p174)

Fig. 73. Painting of a horse, ca. 15,000 B.c. Lascaux (Dordogne), France

Fig. 74. Iberia No. 2, 1958 (p177)

Fig. 75. Iberia No. 4, 1958–59 (p178)

Fig. 76. Photograph of Manolete being fatally gored as published in Life, September 15, 1947

both horses and aurochs (long-horned prehistoric bulls) only a few days earlier on the walls of the Lascaux caves.

The rather literal depiction of the bull in the first Iberia pictures was unusual enough for Motherwell to later remark on it. In 1962, only a few years after he painted these pictures, he described the process in a lecture, first explaining how the Spanish bulls were smaller and faster than North American bulls, then describing the events of the bullfight: “Now when I made these pictures I assumed that I was going about my normal automatic procedures, for all I knew some may turn out to be Spanish Elegies and so on. But actually in some way they ran away from me and became these things.”12 He then recounted how horrified Frankenthaler had been by the violence and by the amount of blood that had soaked the ring, and how surprised he was when he finished his painting and saw that it contained “a generalization of the underside” of the bull and of the ochre sand of the ring. “And this,” he said, was “very unusual in my experience that such a direct connection can be made.”13

Decades later, Motherwell remembered the experience in strikingly similar words, right down to his description of the bulls as “very small, coal black, but shiny and very quick,” but giving a bit more detail about the painting of Iberia No. 2, which he said he painted the day after the bullfight, spurred by the greatness of the bulls and of the matadors, and by Frankenthaler’s horrified reaction to the spectacle:

And the next day, I began to paint just by making automatic marks and so on, but there was a kind of fury in them, I think both in relation to my wife’s anguish and to . . . one of the greatest bullfights ever held. And the noise and the sound of the bullfighting music and everything was in my gut. I began with this canvas, gessoed it, and then thinly [painted it], with a sort of sand color, modulated so that it wouldn’t be a monotonous surface over some of the drawing, but the drawing would show through, and then began to work in black against the sand color. . . . the color is one of the most powerful ingredients in the thing, and I also used the brush . . .

so it would spatter with something of the fury of the bulls. The bulls sweat, they foam at the mouth, they piss on the ground, they’re wild with torment and fury and wanting to kill the matador, and I tried to get some of that ferocity into the picture. But ultimately, the amount of sand and black seemed right to me, and I stopped, exhausted, and only the next day looking at it did I realize that without any intent on my part whatsoever, that where the black meets the sand, it really looked like the underside of one of these black bulls.14

Over the course of the summer, the Iberia paintings became less overtly representational; as the series progressed, the bull was no longer discernible, only the duende that it called forth remaining— those “black sounds,” as Lorca wrote, that “are the mystery, the roots that probe through the mire that we all know of, and do not understand, but which furnishes us with whatever is sustaining in art.”15 This idea of blackness gave Motherwell what eventually would become the classic form of the Iberia image, in which the bull disappears and blackness itself seems to be caught in the process of filling the image.

As with a number of Motherwell’s motifs at this time, the definitive imagery in the Iberia series, and in a related series called Bulls, seems to have been worked out first on paper and paperboard (see w60–w70) before being used on much larger canvases, such as the unnumbered Iberia now in the Guggenheim Museum, Bilbao (fig. 77). In this painting, the massive black is all-encompassing and very richly varied in brushwork and nuances of color (a quality impossible to see in reproductions); the blackness seems to be in the process of subsuming the whole world around it. Yet, as with most of the other Iberia paintings that contain imagery this extreme, the small area of white in the lower left corner projects an extraordinarily radiant sense of light. In pictures such as this one, Motherwell fully realizes the ideal embodiment of the duende that was a persistent goal throughout his career.

Eventually, as Motherwell decided to eliminate the references to the bulls that had inspired the Bull paintings and to continue the series with the more ambiguous title of Iberia, some of the paintings that had been titled Bull were retitled as Iberia paintings (though, typically for Motherwell, others were left with their original titles, so the numbering of both series is irregular). Some of the Iberia paintings were reworked when Motherwell returned to New York, before being exhibited in his solo show at the Sidney Janis Gallery in March 1959. He continued to work on the series sporadically in subsequent years, notably in 1963 and 1967, when he did another dozen Iberia paintings, and in 1969, when he painted over a handful of early works to make them Iberias. Even though there are fewer than thirty works in the Iberia series, their distinctively extreme compositions, the subtlety with which the different kinds of blackness are handled within the dark areas, and the extraordinary way their blackness radiates light have made them one of Motherwell’s hallmark images.

Fig. 77. Iberia, 1958 (p181)

Fig. 78. Wall full of recent small works in Motherwell’s 1959 solo exhibition at the Sidney Janis Gallery, New York. From top to bottom, left to right: w34, w44, w35, w67, early state of w60, w53, early state of w69, early state of w62, w57, w49, w61, w39, w58, w40, w47, w51, w68, w36 (below w68), w37, w64, w43, w50, w52, w63, w59 (shown sideways), w38, early state of w70, and w66 (shown upside down)

The changes in Motherwell’s style and attitude were remarked by the critics when he showed his recent work at the Sidney Janis Gallery in March 1959, an exhibition that included some of the large paintings he had done in Europe along with a whole wall of smaller Iberia, Bull, Two Figures, and Frontier compositions (fig. 78). As Irving Sandler noted, the gallery became a kind of “environment; the viewer is engulfed in the experiences of the artist—his emotional explorations and his image of the places in which such events occurred.”16 Sandler was impressed by the variety and the intensity of the works shown: “Motherwell’s environment is complex and open. It reveals as many possibilities as decisions. He is not afraid to move in many directions at once or to leave loose ends. Emotional intensity and confidence in the importance of his experience endows even the unresolved pictures with presence.” Eugene Goossen asserted that “with these works from an especially prolific year, Motherwell proves that he has an enormous capacity for continuous invention, both in form and subject. The general aura around the new pictures, large and small, is that of a masterly inner contentment combined with the excitement of the creative dance.”17

Back in New York, Motherwell continued to be as productive as he had been in Europe. He used some of the new motifs he had developed in France as the basis for significant groups of works, such as the View paintings (see p182), as well as revising others that had been started there. He also continued to work on the Elegies, in pictures ranging in size from quite small (see for example p198–p200) to magnificently monumental. In 1961 he finished a number of large Elegies that he had begun around 1957 (see p215–p218, p220–p221). The voice and mood of these paintings vary greatly, a testament to Motherwell’s powers of invention. The individual pictures were also worked on in rather different ways and over different lengths of time, and imagery from one picture often migrated to another. Elegy to the Spanish Republic No. 55 (fig. 79), for example, was started as a

Wall Painting (fig. 80). The magisterial Elegy to the Spanish Republic No. 70 (fig. 81), by contrast, was done during a single painting campaign in Provincetown, its spontaneity inspired by a small painting on paper, The Figure 4 on an Elegy (fig. 82), which served as a model for the expressively spattered paint on the left side of the large canvas. The following year, Motherwell used the forms depicted on the lefthand side of Elegy to the Spanish Republic No. 70 as a point of departure for the imagery of Elegy to the Spanish Republic No. 78 (fig. 83), which initially was also filled with spatter marks, most of which he subsequently painted out. Elegy to the Spanish Republic No. 70 served as a rich storehouse of imagery for later works. More than a decade after he painted it, Motherwell returned to it as a source of inspiration, transforming the distinctive forms of the right-hand part of the picture into a stand-alone image called The Spanish Death, 1975 (see fig. 132).

left to right, top to Bottom

Fig. 79. Elegy to the Spanish Republic No. 55, 1955–62 (p216)

Fig. 80. Elegy to the Spanish Republic No. 55 (p216), early state in 1958 as Wall Painting V

Fig. 81. Elegy to the Spanish Republic No. 70, 1961 (p220)

Fig. 82. The Figure 4 on an Elegy, 1960 (w104)

Fig. 83. Elegy to the Spanish Republic No. 78, 1962 (p230)

Between 1960 and 1962 Motherwell’s painting briefly took a turn that very much showed the influence of Frankenthaler, in three exceptionally large horizontal canvases where he used his own version of staining and flowing paint thinned with turpentine. In the first of these, The Voyage: Ten Years After (fig. 84), he retained some of his more habitual linear drawing, mixed with spatters. But in The Golden Fleece (p223) and especially in Chi Ama, Crede (fig. 85), he allowed the flow of the paint to determine a good deal of the picture’s structure, keeping linear drawing and any sense of deliberation to a minimum. In these paintings, he gave the spontaneous, “automatic” gestures free play, with minimal “correction” (although even with Chi Ama, Crede he did go back and modulate the composition somewhat, as is clear in an early photograph of the picture). For a while, working with Frankenthaler in close proximity, he was almost swept away by the possibility of just letting himself tear loose and allowing his previous ideas about imposing some kind of drawing and structure to disappear: just letting the color flow, and not thinking about the drawing. But in the end he realized that it was exactly the balance between impulse and thought, between painting and drawing, that was the bedrock of his artistic strength and originality. In his large paintings, he kept that balance. Paper, by contrast, invited greater spontaneity. It was in the works on paper, such as the Beside the Sea series in 1962, the Lyric Suite drawings in 1965, or the Drunk with Turpentine pictures in 1979, that he simply let himself go.

When the stain-like paintings such as The Golden Fleece and Chi Ama, Crede were first exhibited at the Sidney Janis Gallery in March 1962, the critic Michael Fried noted with disapproval the opposition between drawing and color in them. Fried wrote, “The Golden Fleece manifests Motherwell’s desire to combine the long format and gelled composition of ‘cubist’ paintings such as The Voyage (1948) with the kind of paint handling that one finds in the work of Helen Frankenthaler, for example, and it is fascinating to see how these different aspirations come to oppose each other and, I feel, to wreck the painting.”18

Fig. 84. The Voyage: Ten Years After, 1960–62 (p222)

Fig. 85. Chi Ama, Crede, 1961–62 (p224)

A few years later, Max Kozloff would make a very different judgment, using Chi Ama, Crede as an example of the way Motherwell embodied sublimated personal conflicts in his art, and how he held at bay “a disproportion of the generalized over the particular.”19 Chi Ama, Crede, Kozloff proposed, “posits a contrast between restful opaque fields which hold the surface, and uneven stains, which, with their shifting shadows, open up a translucent space, and suggest a watery, organic agitation. . . . Here the artist reveals an overloaded liquidity that has dried up and been absorbed, and a mat, diffident façade that discloses an unsuspected strength. But suddenly, at one point, he withholds the paint tissue, and in an irregular glimpse of white canvas, flicks a whip of splatters that are almost electric, under the murky circumstances. The whole thing glows as a vicarious pageant of his psyche.”20

During the first years of his marriage to Frankenthaler, Motherwell’s painting practice changed in a number of ways. Around 1958, he began to use Leonard Bocour’s Magna paint, a full-bodied solventbased acrylic that had the advantage of drying quickly. (We are not certain whether Frankenthaler used Magna paint at this time, but a number of the artists in her circle did, and she may well have introduced Motherwell to Magna.) Because Magna was soluble in turpentine, however, it was hard to rework areas that were painted with it; if Motherwell tried to paint over a film of dry Magna with a brush full of the kind of turpentine-thinned paint that he favored, the solvent in the fresh paint would lift part of the Magna film, creating a mess. As a result, Motherwell stopped using it after a year or two. Around 1962, both he and Frankenthaler started to use water-soluble acrylic polymer emulsion paints, which could be thinned with water and dried quickly and definitively—though both continued to paint in oil through much of the 1960s. Before Motherwell was with Frankenthaler, he had tended to work on an easel-sized scale and to use linen canvas. The size of his pictures increased greatly after 1958, and he began to use the kind of cotton canvas Frankenthaler favored instead of linen. Another feature that emerges in Motherwell’s paintings at this time is the expressive use of the “halo” of oil bleeding into the ground that blooms around oil paint when it is applied to unprimed canvas or to paper. This kind of oil halo had been one of the distinguishing features of Frankenthaler’s paintings since Mountains and Sea. Although Motherwell did not use unprimed canvas very often, he cultivated this effect in his paintings on paper, such as the Beside the Sea series. Typically, he seized on something that had appeared in Frankenthaler’s work by chance, then used it intentionally, although the way he applied the paint still left the form of the final image open to a fair amount of chance.

The connection between the Beside the Sea series and Motherwell’s experiments with Frankenthaler’s technique was remarked only a few years after the paintings were first shown, when Lucy Lippard noted that Motherwell had adapted Frankenthaler’s staining technique with a flatter handling of the paint. “There is no doubt,” Lippard observed, “that Motherwell has sharpened his color sense, or at least released it, since his marriage, and the openness of his new work may be due either to constant exposure to Frankenthaler’s painting or to an increased sense of personal well-being. He did go through a period of amorphous floating compositions, but this ran counter to his rational inclinations and he soon reverted to the classical foundation and romantic superstructure, manipulating them with particular expertise in the exuberant Beside the Sea series, presumably instrumental in the breakthrough.”21

Motherwell began his Beside the Sea series in Provincetown during the summer of 1962, inspired in part by the recent exhibition of Monet’s paintings at the Museum of Modern Art, Seasons and Moments, in which emphasis was given to Monet’s paintings of a single motif under the changing conditions of light produced by different times of day and different seasons. Motherwell began the series with oil paint on paper (see fig. 86), working spontaneously and with great force, fully anticipating that the halo produced by the bleeding of some of the oil binder into the paper would enhance the resonant effect he sought. (Starting with Beside the Sea No. 13 [w137], he also used acrylic polymer emulsion paint; roughly a third of the works in the series were painted in acrylic, his first extended use of that medium.)

The Beside the Sea paintings were Motherwell’s first continuously numbered series of works and are remarkable for their relative verisimilitude—though verisimilitude of a very particular kind. They were created, as he said, not so much by imitating the look of nature as by using its processes: “For years my summer studio has been on the bay in Provincetown. . . . There is a 900-foot tidal flat, and . . . at high tide the sea in a high wind breaks against the bulkhead in violent spray. In the Beside the Sea series, I made the painted spray with such physical force that the strong rag paper split, and it was only when I found rag paper laminated with glue in five layers that the surface could take the full force of my shoulder, arm, hand, and brush without splitting. One might say that the true way to ‘imitate’ nature is to employ its own processes.”22

Both the colors and the forms of the paintings in this series occupy a terrain that is somewhere between description and metaphor. The skeins of splashed paint that rise above the horizontal strokes suggest water whipped by wind, just as the ochres and blues of the horizontal lines frequently suggest— but do not quite describe—the colors of sand and water. The metaphor is further enhanced by the way in which the oil halos around some of the forms suggest the fluid state of the paint itself, as well as of the water that the paint describes, thus insisting on the artifice of what we are looking at, as well as the subject. The prominent way that Motherwell sometimes writes his signature across the horizontal forms further enhances the sense of artifice, the “written” quality of everything in the picture.

Motherwell’s interest in spontaneously painted works on paper, which would continue for the rest of his life, found a particularly rich vein in a series of brush and ink drawings called the Lyric Suite that he did during the spring of 1965 (see figs. 87, 88), in preparation for a mural project that had been proposed to him by Walter Gropius. Motherwell had the idea of doing the large mural as a spontaneous, automatist image that would be set in contrast to the cool geometry of Gropius’s rather impersonal architecture. (Once again, this polarity between the Dionysian and the Apollonian becomes the dominant theme of an undertaking.) In preparation for it, he decided to do a thousand automatist compositions in ink on rice paper. The idea behind the Lyric Suite was that he would just let the forms pour out of him, with no correction or revision, as a prod to his powers of invention. While the Beside the Sea paintings had been metaphorical representations of nature, the Lyric Suite drawings were explorations of pure abstraction that, taken together, were like an extended musical metaphor—related

Fig. 86. Beside the Sea No. 5, 1962 (w131)

Fig. 87. Lyric Suite, 1965. Ink on paper, 11 x 9 in. (27.9 x 22.9 cm). Birmingham Museum of Art; Collection of the Art Fund, Inc., with funds provided by the Merton Brown Estate and the Thelma Brown Trust

Fig. 88. Lyric Suite, 1965. Ink on paper, 9 x 11 in. (22.9 x 27.9 cm). Dedalus Foundation

to Alban Berg’s Lyric Suite, which Motherwell listened to while he was doing them and from which he took their title.23

Motherwell began the process by buying a thousand sheets of Japanese rice paper called “Dragons and Clouds,” but he purposely used Western inks so that the project would not take on an “Orientalist” look. He worked on the floor, and as he began to splash ink onto the small rectangles of blank white paper, he thought of Stéphane Mallarmé’s poem “Un coup de dés,” a parallel to his own “aesthetic dice game, incorporating the elements of chance, in which there was always more than one throw of the dice.”24

Unlike his previous use of psychic automatism, which always implied a willful “correction” of what emerged from the subconscious, here he would work in direct response to the movement of his hand and what he sensed to be the will of his medium, without corrections or second thoughts. His only intention would be “to avoid intentions.”25

Aside from the will of the brush, he also had to take into account the will of the inks and of the particular paper he had chosen. As these interacted, the inks tended to bleed into the paper in a consistent but not entirely predictable way, giving a distinctive, slightly soft edge to all the forms—not unrelated to the halo effects that he had experienced with oil paint on paper. As a result, the range of mood, feeling, color, and texture is surprisingly broad, despite the relatively simple technical means.26 As he described it, “Because of the technical process of spreading & drying after I had ended my participation, the pictures literally continued to paint themselves as the ink spread in collaboration with the paper. (I did this in a major oil of 1962, ‘Chi Ama, Crede.’)”27

The Lyric Suite was not only a way of generating imagery for the mural Motherwell was commissioned to paint; it was also a way of reengaging a spontaneous and sensual way of allowing paint to flow, as he had in the large stain and flow paintings of the early 1960s, such as The Voyage: Ten

89. Installation view of the wall of the Elegy to the Spanish Republic paintings at Motherwell’s 1965 Museum of Modern Art retrospective exhibition. From left to right: p217, an early state of p850, p218, p216, and p220

Years After and Chi Ama, Crede, which had opened a potentially new path for him that he had not fully explored.

In the years leading up to his large 1965 retrospective exhibition at the Museum of Modern Art, Motherwell’s reputation grew steadily. He had his first retrospective exhibition (which included around twenty-nine works) at Bennington College in April 1959, and in 1961 he was chosen as the United States representative for the VI Bienal de São Paulo at the Museu de Arte Moderna, São Paulo, Brazil, where he was given a thirty-four-work retrospective exhibition. In March 1962 he had a retrospective exhibition at the Pasadena Art Museum (an enlarged version of the São Paulo show, with forty-seven works) that drew record crowds, followed by another retrospective at Smith College in January 1963 (around thirty works). If the reviews of his annual shows at the Sidney Janis Gallery sometimes faulted him for being too eclectic, or too intellectual, or too European, he was nonetheless considered one of the most important artists of his generation, a “painter of major achievement and acute intelligence,” as Michael Fried put it.28 Being given a retrospective exhibition at the Museum of Modern Art in the year of his fiftieth birthday was considered a crowning achievement, an act of endorsement. It had been only a few years since Mark Rothko’s 1961 exhibition at the museum, which had been the first retrospective given there to a living Abstract Expressionist painter.29

In the event, the exhibition turned out to be a mixed blessing. Motherwell had been pleased to have Frank O’Hara as the curator for the show, since O’Hara was a poet, not an art historian, and Motherwell thought that O’Hara would give greater emphasis to the poetry of his work than to dry scholarship. As a result, the works in the exhibition were not installed chronologically, which led to a

Fig.

certain amount of confusion—what Andrew Hudson called a “poorly planned, jumbled installation that mixes works of all periods together.”30 As Motherwell later realized, he and O’Hara, seeking to be as comprehensive as possible, chose too many works—some eighty-seven pictures were crammed into a barnlike space that made even the large paintings look somewhat diminutive. The Elegies were hung separately from the other works, several of them set side by side on a single wall, which made them seem overwhelming but drained their sense of individuality and scale (see fig. 89). “The Museum’s selection of Elegies,” as Lucy Lippard wrote, “was not a highly felicitous one, though made with the artist’s co-operation.”31 The catalogue, moreover, included a number of statements by the artist, which reinforced the prejudice many held about his being too intellectual; even his admirers thought it was too much of a good thing, and it provided an easy target for his adversaries.

Motherwell himself was disappointed by the show, as he later explained in some detail to Paul Cummings, who interviewed him for the Archives of American Art.32 In part, this sort of dissatisfaction is a by-product of almost any retrospective exhibition by a living artist. Rothko had been thrown into a tailspin by his own Museum of the Modern Art retrospective just a few years earlier. Such a mid-career retrospective casts the artist’s whole productive life before him, with all its triumphs but also with all its shortcomings. Such an exhibition seems always to shine a bright light on whatever misgivings an artist might have about the very nature of his enterprise. It exposes the artist to himself, as well as to his public. If the reviews are bad, they confirm failure. But if the reviews are good, they are never good enough for the artist’s hypersensitive ego at such a charged and vulnerable time.

In fact, the reviews of the Motherwell retrospective in the art magazines were on the whole thoughtful and quite positive, though the newspaper reviews were more mixed. Lucy Lippard, writing in Art International, noted that Motherwell and Miró (who was being shown at the Pierre Matisse Gallery) represented between them “perhaps better than any other European or American, a significant strain in modern art—a sensual, lyrical, visually simple and emotionally complex strain.”33 The approach of both artists, she noted, “no matter how rooted in abstraction, is fundamentally associative.” Like other writers, Lippard noted the polarity in Motherwell’s work between structure and spontaneity, which she felt had “something to do with his constant and puritanical denial of his own accomplishments.” Lippard also noted that Motherwell’s work defied several of the clichés that had grown up around it. He was very much an American rather than a “French” painter, she asserted, and “contrary to popular opinion, Motherwell is not a ‘tasteful’ artist, and perhaps it is this moral sense that has kept him from exploiting elegance in a painfully honest awkwardness occasionally touched by grandeur. There is a disturbing f actor in much of his art that one can only suppose is an intentional lack of taste. He replaces taste, in his best work, with an innate sense of surface organization, placement, and sensitivity to materials.” Lippard was especially enthusiastic about Motherwell’s recent works. “By embracing with assurance the dualism that has been impossible to expunge,” she wrote, “he seems to have arrived at a decisive point, a point of self-awareness. At fifty, he is entering his prime. The next years may well be his best.”

Max Kozloff, in an equally thoughtful review, also noted the duality in Motherwell’s work, which he characterized as crystallizing “a tension between celebration of the senses and a pessimistic

awareness of the limitation of sense. Time and again, one witnesses a frustrated hedonism—frustrated not by physical deficiencies, but by the perception that enjoyment is only one aspect of creation. . . . Motherwell’s outer consciousness works against artistic realization, but cannot be subdued; his inner unrest can generate great feeling, yet is not easily summoned.”34 Kozloff went on to say that it “fell to Motherwell to synthesize all the mythology, eroticism and automatism of the forties by the condensation of forms, and the discovery of ciphers. But simultaneously, he had to effect this goal through the heightened articulateness of pigment, demanded by the avant-garde ethic to which he subscribed. More than any of his peers, Motherwell sublimates his conflicts, of which the paintings themselves are visual embodiments.” Kozloff was especially insightful about the psychology as well as the pictorial significance of the Elegies: “On a wall in which five of these canvases (from the fifties) display their giant black silhouettes against white grounds, in one of the most magisterial ensembles I have seen in a long time, the ‘Spanishness’ and obsessiveness of Motherwell come forth in about equal measure. . . . If these forms were meant to convince as individual structures, then there might be cause to view their more than seventy versions as redundant. As opposed to this, I judge them to be affecting proxies, occasionally brittle, at times relaxed, of the artist’s deepest apprehension, unfolding in the slow, full beats of the pictorial pavane.”

Historically, Kozloff saw Motherwell as synthesizing Cubism and the calligraphic aspect of Surrealism: “At any rate, what is distinct about Motherwell among the Abstract-Expressionists is the muted, distraught echo he alone gives of the Mediterranean tradition. For him, a shape does not exist to be exploded or to be employed decoratively, but as an instigation of ancient memories. It is not so much the look of his paintings as it is their romantic premise that brands him vividly of his time. Between the turbulent Expressionists and the monolithic color-field painters, he reiterates a third alternative, provocatively hard to describe. At the moment, his paintings have to make their way in a world in which art is not sacred. If I at one time feared for their staying power, I now see that, contrary to Motherwell’s own doubt, their resources are adequate after all.”

The newspaper reviews, by contrast, were sometimes openly hostile. Emily Genauer, writing in the New York Herald Tribune, took Motherwell and the museum to task for having published so many “aphorisms” in the catalogue. “One of the reasons why there has been considerable resistance to his art over the past 20 years,” Genauer wrote, “has been resentment of his advocates’ totally inaccurate insistence that Motherwell was a Moses who, in the early 40s, led American painting out of a desert of provincialism, traditionalism and social realism.”35 In fact, Genauer asserted, “the new exhibition indicates that the painter is better than one had thought.” She went on to say, however, that he was a limited painter—in part, she felt, because he kept repeating the Elegy theme—an astonishing accusation, given that there were only a few Elegies in the exhibition, and that compared with his colleagues, such as Rothko, Newman, or Still, his work was immensely varied.

The most direct and vicious attack was by John Canaday, writing in the New York Times, who called Motherwell’s retrospective “a most lamentably unnecessary exhibition.”36 Canaday was mercilessly aggressive and went straight for Motherwell’s reputation as a spokesman for the New York School: “In getting Mr. Motherwell off our chest, let’s not try to be too polite about things. For a sympathetic evaluation of his contribution to American art you may read the museum’s catalogue or you may go

90. New England Elegy, 1966 (p366), shortly after being installed in the John F. Kennedy Federal Building, Boston

directly to the documents where Mr. Motherwell himself, in great heaving masses of words, has expounded his significance.” Canaday, who was notoriously antagonistic to abstract painting, wrote that it was “a curious thing that the mention of Mr. Motherwell’s name always triggers, through a conditioned reflex, the comment, ‘He’s so articulate,’ ” when, according to Canaday, he was merely “garrulous.” Canaday went on to give at least faint praise to Willem de Kooning, Joan Mitchell, and Larry Rivers, as if to demonstrate that he was attacking not abstract painting but the way Motherwell practiced it.

In fact, Canaday seems to have been trying to even an old score. Motherwell had been one of the cosigners of a long letter published in the Times on February 26, 1961, that protested against the “offensive” way that Canaday wrote about contemporary art, and that included substantial excerpts from the critic’s reviews as example of his egregious antagonism. Since Canaday considered Motherwell the most intellectual and verbal of the artists, he very likely thought Motherwell was the prime moving force behind that letter.

A few months before Motherwell’s Museum of Modern Art retrospective opened, the architect Walter Gropius approached him about painting a mural for the John F. Kennedy Federal Building in Boston, which Gropius had designed for the General Services Administration (GSA). Motherwell had known

Fig.

Gropius since the mid-1940s, and in 1950 had designed an unrealized mural for one of the architect’s buildings (see p102). He was excited by the prospect of taking on this commission to paint what would be (at thirteen by fifteen feet) his largest picture to date, in a building dedicated to the slain president. An agreement was worked out with the GSA in August, virtually on the eve of Motherwell’s Museum of Modern Art retrospective. In October, a few weeks after his show opened, he set to work on the mural composition, using images from the Lyric Suite as a point of departure (see figs. 87 and 90).

On April 20, 1966, Motherwell wrote Gropius about how he conceived of the project and how it was progressing. The aesthetic of the mural, he wrote, was related to his 1954 essay “The Painter and the Audience,” of which an excerpt was reprinted in his Museum of Modern Art catalogue. That excerpt began as follows: “Sometimes when I walk down Park Avenue and regard the handsome and clean-cut Lever Brothers building, which I suppose belongs to the same family as the tall U.N. skyscraper, I think to myself how the interior walls need the sensuality and moral integrity of modern painting.”37

In his letter to Gropius, Motherwell described the work in progress: “What I have made are 2 fierce black forms entangled . . . the background will be white with some of the Belgian linen showing at the edges, and the whole painting will have a narrow straight border of yellow ochre, about 7 inches wide on the top and sides, and about 16 inches wide at the bottom.”

Motherwell went on to say:

I call the mural “Tragic Elegy.” If you try to visualize this in your mind, you will realize that in conception, as well as in the purely spontaneous execution of the shapes, the mural is so far out in terms of public taste, not to mention journalistic tastes that I am afraid (because I dislike controversy) that there will be a great deal of it about the picture. I dare say there are very few people—and I say this sadly—who will understand that it is a picture, let alone a moving one. I have not made it in order to be controversial: on the contrary, I have simply tried to make as powerful and uncompromising [an] image as I could, in line with my notion that the engineered quality of modern architecture needs the spontaneously personal human, in conjunction with it, and that the building is moreover a memorial to a tragic man. But certainly the Senator [Edward M. Kennedy], and other politicians will be bewildered and probably angered by it.

I would send you some photographs of the mural if I could, but the truth is it is too tall for my studio, so I am painting it on the floor, and even I can only see it standing on top of a ladder, and I think there is no way to know whether it really “works” until it has been installed and perhaps looked at for some months . . . I may make a second version of identical size for myself.

It is also possible that in what remains to be done, I will become dissatisfied. But I have calculated the concept as clearly as I could beforehand, even to making the shapes more massive at the top, to compensate for looking at the mural installed from a distance and above eye level.

In the event, Motherwell executed two versions, each using a different kind of Lyric Suite composition as a point of departure (see figs. 87, 88), and he decided to have Gropius choose the one that he felt would best harmonize with the building. Both paintings were more or less finished by the end of

May, when Gropius visited Motherwell’s New York studio and chose the version that he thought would work better (fig. 90). Motherwell kept the other version (actually the first one executed) for himself (fig. 91). Motherwell’s premonitions about possible controversy turned out to be entirely justified. Even though he had changed the title from Tragic Elegy to the considerably more neutral New England Elegy, when the mural was installed on August 6, 1966, it was described not as an elegy for President John F. Kennedy but as a kind of illustration of his assassination three years earlier. Only a few days after the mural was installed, a press-inspired contretemps developed around it. Incredibly to Motherwell, the Boston Globe described the painting as a slightly abstracted eyewitness representation of Kennedy’s assassination, “a very direct and specific depiction of the most brutal moment of the tragedy when Kennedy was struck by the bullet” and his brains were being blown out.38 Motherwell was no stranger to attacks on his art. In 1956 students at the University of Minnesota, Duluth, had protested against the exhibition there of Mural Fragment (p102), simply because it was abstract.39 The journalistic interpretation of Motherwell’s Kennedy Building mural, however, was not merely a local event, but one with strong political overtones.

Motherwell denied the interpretation of his painting given by the newspapers and stated that the picture was “a representation of an emotion of grief,” not of an event, which was related to Kennedy’s death in the manner of “a requiem Mass.”40 The controversy continued for another week, however, until Senator Edward M. Kennedy sent a telegram to Motherwell’s gallery for public release, in which he stated that he was “personally satisfied that the painting is not meant to represent any specific event” and that he approved the choice of Robert Motherwell for the GSA mural commission.41

In the wake of the mural commission, Motherwell painted a number of other large works with similar compositional motifs (see p365–p372), some with broad, open colored grounds (see p375–p380), that eventually would point toward a radically new kind of painting.

Fig. 91. New England Elegy Mural (Second Variation), 1966 (p367)

chapter 7

Collages, 1958–1970: Intersections

katy rogers

opposite. Detail of N.R.F. Collage No. 2, 1960 (c105)

Fig. 92. Photograph of Motherwell’s studio, winter 1957–58, showing early states of Fockink No. 2 (c76) and Collage with Ochre and Black (c77) flanking Helen’s Collage (c72)

Fig. 93. Collage with Ochre and Black, 1957–58 (c77)

a photograph taken in m otherwell’s studio during the winter of 1957–58 (fig. 92) shows a collage he made for Helen Frankenthaler, Helen’s Collage (c72), hung between early versions of two other collages, Fockink No. 2 (c76) and Collage with Ochre and Black (fig. 93).1 Both of the unfinished works have a similar structure to the one used in Helen’s Collage, a centralized configuration of torn plain paper from mailing wrappers, and a bag from a hardware store. The use of such humble papers is a distinct departure from the art papers that Motherwell had used in his earliest collages. Helen’s Collage served as a touchstone for the two works that flank it in this studio photograph. It features a torn and pasted paper shopping bag from a hardware store, an everyday object unlike the more artistic papers Motherwell had used previously.

Collage with Ochre and Black also contains ordinary kinds of paper: two envelopes, one from Great Britain and the other from Germany. Both were mailed to him in June 1957, while he summered in Provincetown. He liked these kinds of brown mailing wrappers enough to bring some of them back to New York that fall, instead of throwing them away as he normally would have done. The common papers he was now beginning to favor in his collages, such as personal mementos and packages that had been sent to him, made these works increasingly intimate and grounded in the real world.

This shift away from fine arts papers to more commercial papers and personal detritus marked a change in Motherwell’s ideas about collage. To make collages directly inspired by the everyday materials of life entailed a more unmediated engagement with the world. A few years earlier he had given a lecture in which he quoted at length from Jaime Sabartés’s descriptions of Picasso’s studio, which was strewn with piles of “envelopes, writing paper, stamps, theatre tickets, invitations . . . a thousand different things at every turn.”2 Motherwell felt that this description reflected a basic aspect of the collage

medium: by surrounding himself with the things that define everyday life, such as packaging, envelopes, wrappers from art supplies, and cigarette packages, the artist opened himself up to a wide range of possibilities and new relational structures.3 The process of selecting things from the real world and placing them in another context created fresh energies and new layers of associations.

While he was in Saint-Jean-de-Luz with Frankenthaler during the summer of 1958, Motherwell continued to work with these kinds of personal objects. A package from publishers Bowes & Bowes was sent to Motherwell there, and he soon used it in Blue Collage (fig. 94), which is composed of different fragments of papers taken from that single package. This created a kind of layering in which the texture came not from tearing off and gluing the collage elements but from the arrangement of already torn papers. In Blue Collage Motherwell accepted this unplanned original tearing of the package as a kind of given for the basic structure of the collage. His French address appears at the center, making the package a direct referent to the artist, but he does not evoke the personal aspect in his generalized title, emphasizing instead the forms and colors as the main subject of the work.

During his time in Saint-Jean-de-Luz, Motherwell worked with materials that were distinctly European, but made personal by the way he employed them. While he was traveling his access to papers, paints, and supports was restricted in a way that would not have been the case in his New York studio. He had to be inventive about materials, as seen in the paintings he made on bed linen during the same period (see p174, p176, and p177).

The exigencies of using available materials, paired with the pace at which he worked that summer, created a liberating openness to found objects. The collage papers he used were rooted not only in his everyday life in Saint-Jeande-Luz but specifically in his life as an artist. He purchased supplies, and the wrappers and packaging from those supplies were in turn salvaged as collage elements along with mailing wrappers and various printed materials. The artist’s materials he used reinforced his concern with the physical making of art, the material practice that goes into painting and collage-making. In The French Drawing Block (c82), for example, he cut up the paper wrapping from a Lefranc drawing block, a brand he favored while overseas, and he also used another piece of this wrapper in Collage (c83). These two collages mark the first times that Motherwell used wrapping papers or labels from art supplies in his work, most likely because working overseas forced him to consider and appreciate the materials at hand in a different way.

This new attitude toward randomly available materials helped define his collage practice from this point forward. He later stated that he would “simply use what is at hand in the studio . . . which is littered with papers of all kinds, not ones I’ve chosen but have just come there through the activities of my life.”4 Many of the collages from this period, and into the next decade, use empty envelopes or packaging from candies, biscuits, etc. These often have an indirectly biographical overtone (as when his address appears on an envelope, or in his reuse of the packaging from the artists’ materials he has used).

Fig. 94. Blue Collage, 1958 (c79)

The foreignness of the papers he used in 1958 served a double purpose: as concrete reminders of his own experience, and also as a means of creating a certain aesthetic distance between the component parts of his collages and his main audience, which was American. A French cigarette package has a different significance than does an American one, to which American viewers would bring a different set of associations and which might be conflated with advertising. This use of foreignness is similar to that of the Je t’aime paintings he did in the mid-1950s, works that would have been perceived differently if Motherwell had written “I love you” in English rather than in French.

The configuration of elements, however, was not entirely random. Pyrénéen Collage (fig. 95), which was begun during his time in Saint-Jean-de-Luz, displays how carefully Motherwell arranged these chance elements in order to present a very specific meaning. It is not known what the initial version of this collage looked like, but a great deal of delaminated paper is visible beneath the black painted layer that traces the outlines of the initial pasted composition. At the center is a wrapping paper from a bottle of wine, which once read “Produce / of / France,” a phrase that has entirely faded. Motherwell later recalled that “the wine paper wrapper ‘Produce of France’ refers not only to the collage having been made in France, but also to my indebtedness to modernist tradition, and with irony to my growing irritation at being labeled at home as a ‘French’ painter.”5 A ticket stub from a parking lot near Yankee Stadium, painted over but still legible, is an ironic and witty counterweight to the accusations of Francophilia. This collage is seen in progress in a studio photograph that shows the black and ochre paint extending to and covering all of the surface up to the top edge. At some point in 1961 Motherwell cut away the top portion of the collage, creating the “mountainous” outlines, and glued the entire collage down onto another full sheet of paper, in essence putting a collage inside the collage. Motherwell later remembered that this cutting out was inspired in part by the terrain of the Pyrénées, which surprised him: “As a sea lover, I was affected by those mysterious mountains more than I expected.”6

Other bits of his personal life found their way into contemporaneous collages; Motherwell worked to alert the viewer to the presence of these elements and to their embedded meaning. While the titles of his paintings often allude to works of high art and literature, the titles of the collages often refer to the materials they contain. At times these papers highlight a visual pun, as in the collage The Sunlit Sea (c80). Motherwell encourages the viewer to “read” as well as look at his works, giving clues to different levels of meaning and to visual puns in the titles and in the collage papers. A bright yellow painted ground surrounds the centrally placed papers, covering some of them, but traces of the original printed material remain visible in this collage, whose papers refer to different sources of light: packages from three types of French candles and wrapping paper from incandescent bulbs. A similar punning occurs in Handle with Care (c85), which includes a U.S. Customs baggage inspection ticket, a label for

Fig. 95. Pyrénéen Collage, 1958–61 (c125)

treacle brittle, and the source of the title, a packing label that reads “handle / with care / glass.”

Motherwell painted over much of the treacle brittle label, except for the word brittle, transforming the noun into an adjective.

The punning in these works is allusive in much the same way as Motherwell’s use of poetry had been in earlier collages, such as The End of Dover Beach. The layers of meaning, by turns somber or lighthearted, give these collages a richness of experience that goes deeper than the physical facts of the surface. Sometimes Motherwell provides a kind of tongue-in-cheek “lesson” about how to read his works. In the 1960 collage The French Line (fig. 96), which was made after another trip to France, he affixed a label from a package of Labouchede gressins (bread sticks) to the center of an orange ground. On the back of this collage he listed the layers of meaning that he wanted the title to suggest to the viewer:

“1. Painting (French) / 2. Diets (amis fidèles de votre ligne) / 3. Boats (trans Atlantic) / 4. Côte d’Azure [sic] (coast-line).” Motherwell used the visual cues as a means of creating a new kind of subject matter, which he related to the emerging Pop art movement. In a lecture, he spoke of Pop art as being “filled with associations, with Esso signs, with Shell signs . . . and in that sense like every literary painting, like pre-Raphaelitism, like Surrealism, there is an enormous amount to talk about, there is an enormous amount to laugh about.”7 In the same lecture, he expanded on his point about literature in painting as related to free association between images and thoughts, which flows naturally from these “ready-made” scraps of paper.8 The everyday materials that Motherwell selected for his collages were associated, for him, with very concrete experiences and meanings, as in The French Line.

Travel and memories of travel frequently served as inspirations for Motherwell’s collages during these years. (If he traveled a great deal during this period, it was in large part because of his marriage to Frankenthaler, who was passionate about travel.) Just as during their 1958 honeymoon trip, he continued to incorporate papers from the places they stayed in the works that he made while traveling and after his return. These papers served as mementos of experience that evoked where he had been and what he had experienced there.9 Motherwell continued to mine the souvenirs and memories of his travels over the next several years, as in the series of collages built from sardine wrappers and packaging saved from his 1959 travels in Canada (see c91–c94).

Motherwell refers to foreign places not only in his use of specific papers, but also in the shapes and colors he used. During the summer of 1960 he and Frankenthaler spent time in the Italian seaside town of Alassio, on the Ligurian coast. They rented a house near the shore, with views of the Mediterranean, the beach, and the hills that sloped down directly to the water. Much like their time in Saint-Jean-de-Luz two summers before, they both set up makeshift studios there and were quite productive. That summer, Motherwell developed a theme in a collage called Summertime in Italy No. 1 (c121) that he would also extend to his painting. This large-scale collage is dominated by an incomplete

Fig. 96. The French Line, 1960 (c124)

triangular form at the center, brushily applied in sweeping strokes with black oil paint over an ochre and white ground with touches of blue. This triangular form echoes the nearby scrub-covered hills that dropped steeply down to the sea, which made an impression on him similar to that of the mountains that inspired the earlier Pyrénéen Collage.

A second collage, Summertime in Italy No. 3 (fig. 97), repeats the triangular form, but this time in sky blue, vividly set against a yellow ochre ground and pink and white horizontal stripes that are painted along the bottom of the composition. The pasted papers in this collage were entirely painted over, leaving only their texture in evidence. The colors Motherwell used here echo the orange and blue umbrellas that lined the beach, visible in color slides that Frankenthaler took that summer (see fig. 98). In this second Summertime in Italy collage, Motherwell conflated the mountainous forms (visible in fig. 99) with the colors of the umbrellas, whose colored stripes also refer to the sand, water, and light of the Mediterranean.

Fig. 97. Summertime in Italy No. 3, 1960 (c122)

Fig. 98. Color slide taken by Helen Frankenthaler of beach umbrellas at Alassio, Italy, summer 1960

Fig. 99. Color slide taken by Helen Frankenthaler of hills near Alassio, Italy, summer 1960

A similar compositional format appears in paintings on paper and in a number of large canvases Motherwell painted throughout the next decade. Some of these paintings use the same color scheme, as in Summertime in Italy No. 28 (p238), whereas others employ a more abstract sense of light, as in Summertime in Italy No. 7 (In Golden Ochre) (fig. 100). This kind of exploration of similar images in paintings and collages reflects a crossfertilization between Motherwell’s works in different mediums that would become increasingly common from this point forward. Often ideas would be generated with smaller-scale works in collage or on paper, which provided a freedom to experiment, and then be incorporated into larger, painted canvases.

In 1959, Motherwell began to tear up some of his collages and paintings on paper that he felt were unsuccessful and to use them in new collages (see for example White Collage with Red Stripe, c112, and White Collage with Black Stripe, c113). He had often reused imagery, working serially and thematically, but the act of physically destroying works in order to reclaim the materials in them was something new. It marked an attitude toward image recycling that extended into the 1980s, when he melded his printmaking and collage practices in a series of collages called The Red and the Black (see fig. 147), which were composed of torn-up proofs of prints.

A studio photograph taken in 1960 includes at the lower left a collage done in 1959 that was subsequently destroyed (fig. 101). Fragments of this collage appear in a slightly later work, Midday Sun (c116). The destroyed collage is shown hanging next to a number of contemporaneous works in progress, several of which he would later rework:

N.R.F. Collage No. 1 (c104), N.R.F. Collage No. 3 (c106), Yellow Stripe (w179), and Elegy Study (w106). Motherwell hung these pictures together in an effort to see which of them were successful and which were not, and then altered or destroyed those that did not stand up to his scrutiny.

The glimpse into Motherwell’s studio practice offered by this photograph makes it apparent how much his creative process fed off the dialogue between his own works, as well as with works by other artists. A floor-to-ceiling row of reproductions and photographs of his own past pictures is visible on the right side of the photograph. The works in these reproductions served as touchstones, or what Motherwell called “seed works,” which helped to guide his current practice by grounding it in his oeuvre. Near the upper right corner of this photograph, just to the left of the column of Motherwell’s pictures, there is a group of reproductions of works by other artists. These include a painting by Miró, a photograph of Brancusi’s studio, a painting by Matisse, and a photograph of a nude by Fritz Henle. For Motherwell, these reproductions served as aesthetic touchstones, part of the repertory of works that served as sources of inspiration and with which he was in constant dialogue. This photograph of his studio constituted a kind of credo for Motherwell, and he selected it for the cover of the catalogue for his 1965 retrospective at the Museum of Modern Art.

Fig. 100. Summertime in Italy No. 7 (In Golden Ochre), 1961–64 (p277)

Fig. 101. Photograph of Motherwell’s studio, 1960. Works hung left to right, top to bottom: early state of c110, early state of c105, early state of c106, destroyed collage subsequently used in c116, early state of c104, early state of w179, early state of w106, and w70

During the early 1960s Motherwell’s output grew exponentially, with a new emphasis on collages and paintings on paper. He loved paper and often spoke of his feelings for it. “I suppose there has been more paper in my life than anything else!” he said in 1965. “Books, periodicals, letters, newspapers, bill packages, collages, drawings, wrappings, wine labels, cigarette packets! Till this day the majority of my oil paintings are done on paper, not on canvas.”10 During the 1960s he made a number of collages that were like paintings on paper, with small but crucial pasted-on elements. In Sky and Pelikan of 1961 (fig. 102), he paired the energetic paint application that he had used in The Figure 4 on an Elegy (fig. 82) with a collage element. The lower third of this picture is painted a solid black, with freely dripped paint bursting up from the pure blackness. The composition is purposely uncentered, so that the label from the bottle of Pelikan ink seems simultaneously to fly up into the sky and to anchor the piece. In some cases, Motherwell transformed paintings on paper into collages by adding small pieces of printed paper to them. Number 70 (fig. 103), for example, was originally meant to be Beside the Sea No. 9, but Motherwell transformed it into a collage by pasting a label torn from a roll of canvas onto it. The addition of the pasted paper in effect changed the subject of the work, suggesting as it does the immediacy of a bird flying over water.

Fig. 102. Sky and Pelikan, 1961 (c126)

Fig. 103. Number 70, 1962 (c133)

The importance of Motherwell’s innovations in collage were recognized at the time of his 1965 Museum of Modern Art retrospective, which included twenty-five collages (fourteen of them done after 1957). This gave museumgoers an overview of his evolving collage process and firmly established him as what Lucy Lippard called “the major heir to the collage tradition.” Lippard asserted that Motherwell “and later Rauschenberg (they have much in common) are the two artists to have most extended the abstract papier collé, which had, aside from Arp, never been given a chance.”11 Lippard drew attention to an aspect of Motherwell’s work in collage that was often overlooked—his use of an array of materials from everyday life, which truly expanded the parameters of the medium.

The collages in the Museum of Modern Art retrospective presented the broad scope of Motherwell’s achievement. They included early figural collages such as In Grey with Parasol (c46), complexly torn and layered works such as Collage in Yellow and White, with Torn Elements (c52), and his most recent, spare collages, such as In White with Four Corners (fig. 104). The latter was indicative of the new direction his work as a whole would take after the mid-1960s, when the expressionistic use of paint and papers of the collages he had done earlier in the decade was replaced by more sober and self-contained compositions that had more consistent and evenly painted surfaces. The collage elements in these works were fewer in number, and tended to flatten rather than break up the surface of the images.

These recent collages were in some measure a response to the 1961 exhibition of Matisse’s late cutouts at the Museum of Modern Art, The Last Works of Henri Matisse: Large Cut Gouaches. 12 In

Motherwell’s copy of the catalogue for that show, he underlined a number of quotes from Matisse that are illuminating in relation to his own collages of the 1960s. He was especially struck by Matisse’s remark that “I have arrived at a distillation of form . . . of this or that object which I used to present in all its complexity in space, I now keep only the sign which suffices, necessary for its existence in its own form, for the composition as I conceive it.”13 It was this “distillation” of form and color, expressed in spare “signs,” that Motherwell strove for in his collages, and in his paintings of the late 1960s.

Included in the Matisse exhibition was the 1952 paper cutout La Voile (The Sail; fig. 105). In this work each form is distinct, and quintessential, stripped of anything superfluous. The ground is an uninflected white, and the blue forms that mirror each other across the thin red line concisely depict a sailboat and its reflection. Motherwell answered this cutout by Matisse in his 1964 collage The America Cup (fig. 106), in which he switches the colors—now a white sail on a blue background. The bold simplicity remains, with the sail form and its reflection even more abstracted, combined into a single element. The label from a roll of canvas pasted at the lower right provides a visual pun that reinforces the theme of the canvas sail.

After 1965 Motherwell never really went back to the unrestrained, layered, and torn expressionistic aesthetic that had characterized his collages during the 1950s and early 1960s. The future of his collage making lay in the pared-down, more “classical” aesthetic of the collages he created in 1967, the year that he did the first painting in what would become the Open series.

In a letter he wrote to the sculptor Herbert Ferber at the end of the summer of 1967, Motherwell said that he had “made about 40 joyful & colorful collages this summer, no paintings but did lots of those in the spring.”14 In these “joyful” collages, done in luminous blues, bright greens, and rich ochres, Motherwell strove for the same simplicity that would inform the new direction his paintings would take that fall. In the collages he did that summer, Motherwell reduced his forms to the most basic elements, with an emphasis on hard edges and flat, painted grounds. Where torn papers appear, they are generally more geometric than biomorphic, and the collages as a whole tend to contain fewer paper elements than previously. Simplicity and an almost graphic quality are paramount in these collages, such as Régie Française (c203), in which the earthy ochre is similar in tonality to the first Open painting, paired here with the kind of brilliant blue that Motherwell associated with the sea. Straddling

Fig. 104. In White with Four Corners, 1964 (c147)

Fig. 105. Henri Matisse, La Voile, 1952. Gouache on cut-and-pasted paper, 56¼ x 44 in. (142.9 x 111.8 cm).

Private collection

Fig. 106. The America Cup, 1964 (c150)

Fig. 107. Untitled (In Brown, Red and Light Blue), 1967 (c218)

Fig. 108. Beige Figuration No. 3, 1967 (c230)

the two starkly delineated fields of color is a torn package of Gauloises cigarettes. The jagged edge of the torn paper gives texture and movement to the otherwise spare composition.

Some collages anticipate the spare aesthetic of the first Open paintings quite directly, as in Untitled (In Brown, Red and Light Blue) (fig. 107), which employs a window-like rectangular U shape very similar to the one that would appear in the Opens. Motherwell reworked the surface of this collage a fair amount in order to infuse as much energy as possible into the simple forms, much as he would do with the surfaces of the Open paintings. An angular piece of slate gray paper is placed near the center of this composition, within the boxlike lines drawn in charcoal, which take on some of the look of a door with a figure in it, or a window through which a landscape or a house is visible.

As Motherwell reduced the number of elements in his collages, their compositions became simpler. Some collages contained only a single piece of pasted paper set near the center of the plain ground sheet, as in Beige Figuration No. 3 (fig. 108). The economy of means in this rather Matissean collage is remarkable, especially in contrast to the complex and highly textured collages Motherwell had been doing a decade earlier. This austerity clearly reflects his general state of mind in 1967 and gives some indication as to why, when the initial insight behind the Open paintings came to him, he was able to grasp it so quickly and to develop it so fully.

Paintings, 1967–1974:

Opens and Signs

jack flam

opposite. Detail of Open No. 1: In Yellow Ochre, 1967 (p397)

Fig. 109. Color slide of Motherwell’s studio showing Summertime in Italy (p378) leaning against Open No. 1 (p397), June 1967

Fig. 110. Open No. 1: In Yellow Ochre, 1967 (p397)

Fig. 111. Open No. 1 as a “door.”

Photograph by Rudy Burckhardt, November 13, 1967

i n m arch 1967, while m otherwell was painting the last variations of his New England Eleg y (see p369–p372), he fortuitously leaned a recently finished tall, narrow painting, Summertime in Italy (p378), against an even taller and somewhat wider canvas on which he had painted only a yellow ochre ground (fig. 109). It then occurred to him “that the proportion of the smaller vertical canvas, leaning on the larger vertical canvas, was rather beautiful, and so I outlined the smaller canvas in charcoal (onto the yellow ochre ground of the larger canvas), so that the lines looked like a door—a very abstract one.”1 He had intended to work further on the large ochre canvas, tentatively titled “Ochre Door,” but he put off doing so, intrigued by the possibility that the painting could stand as it was. Later in the year, this would become the first Open painting (fig. 110).

The works that became the Opens grew out of what he called “a continual problem in painting,” which had to do with uniting the separate elements in his work. For more than a decade, he said, it had crossed his mind that rather than building his pictures up from disparate parts (as in many of his paintings and almost all of his collages), it might be better “to begin with unity and then, within unity, create (through dividing) disparate elements.”2 By 1967 he had also seen enough Minimalist art that his sensibility had in effect been given “permission” to think in terms of more stripped-down and reductive images than in the past. So when he saw his Summertime in Italy leaning against the large ochre canvas, the opportunity may have been presented by chance, but he was fully prepared to grasp it. He left the ochre canvas as it was, and instead revised a number of earlier pictures, often by painting over the earlier compositions with large, dark, oval forms (see p382–p386), already an indication of his desire to simplify his imagery. When he prepared to leave for Provincetown that summer, he had the “Ochre Door” painting sent to the Santini Brothers warehouse.

Fig. 112. In Blue (p398) tacked to the wall of Motherwell’s studio, along with (left to right, top to bottom) p8 (Recuerdo de Coyoacán, cropped, far left), w251, w252, c218, c217, w253, two unidentified drawings, c219, and c216. Photograph by Ugo Mulas, November 14 or 22, 1967

During the summer, Motherwell worked mostly on collages. As we have seen, some of these collages were composed in an austerely geometrical way, using sheets of unfolded rectangular mailing wrappers to create a rectangle-within-rectangle effect that was related to the unfinished “Ochre Door” (see, for example, c178–c179, c198–c206).

Not until late in October did Motherwell decide to have another look at the large ochre painting, which he asked to have delivered, not to his studio but to his home at 173 East Ninety-fourth Street, which had been extensively renovated over the summer, and where it would be easier to judge whether or not it might already be a finished painting. At this time, the ochre picture remained oriented as a “door” image, as can be seen in a photograph of it taken on November 13, 1967 (fig. 111).3 Shortly afterward, Motherwell turned the picture upside down, so that the rectangular U shape was now at the top, making it into a “window” rather than a door (see fig. 110).4 He now realized that nothing had to be added to the canvas, “that it was a picture in itself, a lovely painted surface plane, beautifully, if minimally, divided, which is what drawing is.”5 Other than reorienting the canvas and rewriting the signature, which had been at the upper left, so that it would now be legible at the lower right, he made no other changes. He had the picture photographed again, as a finished work, and gave it a provisional, purely descriptive title: “In Yellow Ochre, with Three Lines.” The painting was then hung, along with The Homely Protestant and Frankenthaler’s Mountains and Sea (see figs. 42 and 70), near the entrance of their home.

Soon after, Motherwell painted another, similarly composed picture on a canvas of the same size, but with a pale blue ground (p398); this painting was also given a neutral, descriptive title: “In Cerulean, with 3 Lines.” It is visible, tacked to the wall horizontally but finished and already signed, in a Ugo Mulas photograph of Motherwell’s studio taken in November 1967 (fig. 112). This was the first painting in the Open series to have a public life; it was sent to the U.S. embassy in Mexico City in February 1968, titled In Blue. Clearly, at this juncture Motherwell had not yet thought of these large paintings as being “Opens,” or even “Windows,” which at one time was being considered as a potential title for them. But he had decided to continue developing the new theme in various ways. At the same time that he was working on the large canvases, he painted small pictures on paper with similar compositional motifs, such as Open No. 31A: In Burnt Sienna (w251) and Open No. 31B: In Raw Sienna (w252).

These paintings on paper were among the earliest works done in the Open series; they appear, already finished and pinned to the wall, in the photographs Mulas took that November. (Their relatively high numbers within the series are a consequence of their not being given numbers until a year later.)

The third large painting in the nascent series, a very wide horizontal canvas that was later called Open No. 9: In Green on Gray with Black Stripe (fig. 113), introduced an important variation: the rectangular U shape was filled in with a color different from that of the area around it. This created a distinction between the materiality of the inner rectangle and of the surrounding area that had not existed in the first two Open paintings, where a single ground color had created a uniformly pulsing matrix throughout the image. A different kind of spatial ambiguity is created in this painting, in part because the green “window,” instead of acting like an opening into deep space, seems to project forward from the picture plane, while the black vertical bar at the right edge appears paradoxically to fluctuate between being in front of and behind the green rectangle. Both the spatial complexity and the surface tension of this picture are quite distinctive. In this third large canvas in the series, it is already clear that

Fig. 113. Open No. 9: In Green on Gray with Black Stripe, 1967 (p406)

Fig. 114. Untitled, 1966–67 (p399)

Motherwell had no intention of repeating the simple image of the first two Open paintings in a systematic or serial way.

The impulse to seek variation is also evident in the fourth large work in the series (fig. 114), left untitled, which was painted on a canvas that Motherwell had started to work on in 1966. The relationships between the ochre rectangle and the vertical black bars produce a complex rhythmic effect that is set in counterpoint to the surprisingly expressive charcoal lines. The vertical charcoal line that slices down the left edge of the ochre rectangle is as straight and sharp as the edge of a knife blade, while the somewhat waywardly drawn horizontal charcoal line provides a gesture of unexpectedly provocative irregularity within the otherwise tightly geometric space of the picture.

The fifth large painting in the series, which later was given the title Open No. 12: In Raw Sienna with Gray (fig. 115), uses even more disparate colors than the first large horizontal Open (fig. 113). Here the colors of the ground and of the rectangular U shape are somewhere near opposite ends of the spectrum: the cool bluish gray of the rectangular U shape and the warm, orangish overtones of the raw sienna ground are nearly complementary colors. Here again, the “window” form tends to jump forward rather than recede. As in many of the Open paintings that contain more than one color, the “window” here seems to be in front of the “wall,” creating a subtle but firmly asserted spatial ambiguity that gives the picture a deep resonance and an aura of mystery. Similarly, the vertical charcoal lines in this painting lend it a sustained tension and a grandeur comparable to the best Elegies. In fact, although the window-wall analogy is a useful metaphor, the space in the Open paintings is so air-filled and so ambiguous that such distinctions should not be taken too literally.6 In the Opens, Motherwell’s conception of the picture space definitely changed. He was placing more emphasis on color and on the shape of the canvas, and allowing the space in his paintings to throb, vibrate, and become dematerialized to an unprecedented degree. The colored grounds of these paintings—which frequently employ colors that Motherwell had rarely used before, such as expansive fields of bright orange and large areas of vivid green—are often laid down over a layer of a near-complementary color, which lends them an ethereal luminosity.7 (The very rich painterly effects in the Opens, unfortunately, do not come across at all in reproductions.)

The first Open paintings were amazingly varied, not only in color but also in terms of how the areas inside and outside the rectangular U shapes were treated. While the Open paintings are sometimes discussed as if the early ones were all more or less monochromatic and contained a completely open spatial flow between the areas inside and outside the lines, with little or no distinction made between figure and ground (or window and wall), this was not the case. Right from the beginning of his work on the series, Motherwell was intently exploring the limits of the new territory he had entered, and the earliest paintings in the series are quite different from each other. Sometime in December 1967 or January

Fig. 115. Open No. 12: In Raw Sienna with Gray, 1968 (p409)

116. Motherwell’s diagrams of the first five Open paintings, winter 1967–68

1968 he drew diagrams of the first five large paintings that we now call Opens (fig. 116) on an oversize sheet of paper, carefully noting the dimensions of each section of each painting. Motherwell later said that “the linear so-called ‘window’ shapes of the Open series are as much a one-shot throw of the dice, in execution, as my more gestural works,” and “the lines in the Opens are not measured or mathematically proportioned but purely intuitional and immediate.”8 But it is clear from these diagrams that in the earliest Open paintings, at least, he was very much interested in the potential advantages of carefully calculated proportions.9

Nor did Motherwell quickly formulate the idea that the paintings in this new series would be called Opens, or that they would be numbered. The idea of calling them “Open” was not formulated until early in 1969, only a few months before they were first exhibited at the Marlborough-Gerson Gallery, when Motherwell realized that since the image was associated with “an opening,” that would be the most appropriately evocative title for the series.10 Until then, he referred to the paintings as “Windows.” This is evident in the draft of a press release written for the Marlborough-Gerson Gallery exhibition, in which Open No. 1 is referred to as “Window, number 1.”11 Motherwell did not number any of the Open paintings until November 1968, when thirty-seven of them were numbered all at once (but not yet given titles), just before being photographed for the Marlborough-Gerson exhibition catalogue.12 With the exception of Open No. 1, Motherwell did not number the pictures in the order in which they had been done; nor did he give numbers to all the Open pictures that he had already painted. As a

Fig.

result, some of the Opens done in 1968 were given lower numbers than those done in 1967, and some were never given any number at all. (Once he began to number the Opens, however, he was more than usually careful about trying to keep track of the numbers and about trying to keep the numbering sequence free of repetitions and gaps. He eventually made typed lists of the Open paintings, and he sometimes changed the numbers of paintings that he revised.)13

During the first year or so that he worked on the Opens, Motherwell was remarkably productive. By mid-March 1969 he estimated that he had already done “about 42 larger than easel-size versions, and about 70 easel-size or smaller ones.”14 The art historian H. H. Arnason, who had begun to write about Motherwell in 1966 and was in frequent touch with him while the Open series was under way, remarked on “how rapidly and with what enthusiastic intensity these pictures were painted.”15 In fact, the period during which Motherwell did most of the Opens, from late 1967 to around 1974, was one of the most prolific times in his career, a phenomenon made all the more remarkable by the large size of so many of the works. Among Motherwell’s many numbered series, the Opens are unique for the concentrated time within which so many large paintings were done and for the sheer quantity of pictures that he painted.

As he proceeded, Motherwell continued to alter the basic elements of the pictures. Whereas in the first Opens the vertical lines of the rectangular U shape rose all the way to the top of the canvas, he soon began to have the charcoal lines rise only partway up, and he often made them uneven in length. Sometimes he enlivened the charcoal lines by placing small, energetic brush marks right next to them; all of these variants may be seen in Open No. 22: In Charcoal with White of 1968 (fig. 117). In some Open paintings, the canvas was divided into both horizontal and vertical sections, and the different areas were variously colored, as in Open No. 26: In Grey with White and Umber of 1968 (fig. 118).

Some of the Opens even have clearly naturalistic points of reference. Open No. 97: The Spanish House (fig. 119), one of the most powerful pictures in the series, is also one of the most atypical. The image is based on a photograph that Motherwell had in his studio of a house in Cadaqués, the city where Picasso and André Derain had painted during the crucial Cubist summer of 1910, and where Federico García Lorca had vacationed with Salvador Dalí in 1925.16 The overtly representational aspects of this painting make it quite unusual among the early Opens, although many of them are composed implicitly like landscapes. This painting is also an excellent example of how the brushwork of many of the Opens operates. The oranges are painted over a ground of pale gray, which gives them a wonderful expansiveness and an extraordinary luminosity, a kind of metaphysical incandescence that at once reinforces and engulfs the relatively representational charcoal lines.

In the Opens, Motherwell was dealing with a stripped-down version of the basic elements of picture making, involved as he was in the reiteration of the rectangular shape of the canvas in a number of varied ways. Even more than in the past, he was acutely aware of the importance of the shape of the canvas itself. “In the Opens series,” he said in 1969, after he had completed a number of the paintings, “which are field monochromatic pictures I would say probably most of the major ones tend to be either rectangles or squarish. I mean there are a lot of verticals but there’s only one of the verticals, or perhaps two, that I would regard of the same intensity as many of the square and rectangular ones. But I also

think that has to do with the particular image, which is to say the window image in a squarish or rectangular picture can have lots of space around it and part of the effect of those pictures is a certain enveloping color space where in a tall, vertical, relatively narrow picture you can’t do that by the very nature of the format.”17

At the time he did these paintings, Motherwell would have been especially aware of how some of his colleagues were employing imagery that referred directly to the framing space of the canvas, especially Newman and Ad Reinhardt, who were frequently associated with Minimalism. Motherwell very likely remembered Clement Greenberg’s 1955 essay, “ ‘Amer ican-Type’ Painting,” where Greenberg discussed how Rothko and Newman had “chosen to escape geometry through geometry itself. Their straight lines, Newman’s especially, do not echo those of the frame, but parody it. Newman’s picture becomes all frame in itself. . . . What is destroyed is the cubist, and immemorial, notion and feeling of the picture edge as a confine; with Newman, the picture edge is repeated inside, and makes the picture, instead of merely being echoed.”18

Fig. 117. Open No. 22: In Charcoal with White, 1968 (p418)

Fig. 118. Open No. 26: In Grey with White and Umber, 1968 (p422)

Fig. 119. Open No. 97: The Spanish House, 1969 (p486)

A version of the so-called Open form was sometimes used as a sign for the general aesthetic of the Opens rather than as a primary constructive element, as in Alberti Suite No. 12 (fig. 120) or The Great Wall of China No. 5 of 1971 (p618). In many of the later Opens, notably in pictures such as Study for Shem the Penman No. 11 of 1972 (p690) and In Beige with Charcoal No. 4 (fig. 121), the rectangular U shape takes on different structural and expressive characteristics. Rather than determining a geometric division of the picture space, the spontaneous-looking freehand shapes appear almost to have coalesced into linear suggestions from within the background field, and instead of anchoring the forms around them, the charcoal lines seem instead to float in space. Eventually, by the time Motherwell was working on paintings such as In Plato’s Cave No. 1 (fig. 122) and The Blue Painting Lesson No. 1 (fig. 123), the Open idea had been transformed into one of the several general modes in which he worked, absorbed back into the matrix of his general practice as a painter. In Plato’s Cave No. 1, one of Motherwell’s most passionate and tragic paintings, was done with dark liquid washes, similar in technique to the flowing forms of pictures like Chi Ama, Crede (fig. 85). Its shadowy world alludes to Plato’s Allegory of the Cave, in Book 7 of The Republic, which deals with the nature of truth and illusion, and also to Delmore Schwartz’s poem “In the Naked Bed, in Plato’s Cave,” which also challenges the nature of perceived reality: “shaded window, / Wind troubled the window curtains all night long . . . the travail / Of early morning, the mystery of the beginning / Again and again, / while History is unforgiven.”19 The Blue Painting Lesson No. 1, one of Motherwell’s airiest, freshest, and most Matissean paintings, is a kind of extended meditation on the borderline between allusion and influence.

Even though the Opens looked rather different from Motherwell’s previous paintings when he first started to work on them, they had in fact also continued and synthesized a number of his earlier concerns. The geometry and simplicity of the Opens went back to the very beginning of his career, as he himself insisted in a short essay published at the time they were first shown. “My choice may have been less free than I then believed,” he wrote, explaining that “more than a year later, and after several dozen of the ‘Open’ series had been made, I came across, in a warehouse where I have hundreds of pictures in storage, a smallish oil dated 1941 (the first year that I painted full-time) which I call ‘Spanish Picture with Window’ . . . whose existence I hadn’t thought of in years, and which, to an uncanny degree, foreshadows the ‘Open’ series. The picture is what nowadays is called a ‘field’ painting, in variations of white, with some thin horizontal and vertical lines, made with a striping brush. There is no escape from one’s individuality!”20

Although Motherwell exaggerates somewhat the affinities between those early works and the Opens in order to allay the unaccustomed look of his new works, nonetheless he had used simple rectilinear motifs in a number of his early paintings (see p3–p10), and had even brought Recuerdo de Coyoacán to his studio when he was working on the first Open paintings (see fig. 112). From his early days he had always conceived of a painting as a kind of wall, and the pictures he called Wall Paintings were a testament to how important he believed this aspect of his work to be. Window-like motifs had also appeared in his pictures almost from the beginning, sometimes quite overtly, as in The Spanish Prison (Window) (fig. 8) and Spanish Picture with Window (fig. 10), which actually does contain a variation on the Open motif of the rectangular U shape at the upper left. In fact, Spanish Picture with Window contains in nascent form some

left to right, top to Bottom

Fig. 120. Alberti Suite No. 12, ca. 1970 (p528)

Fig. 121. In Beige with Charcoal No. 4, 1973 (p717)

Fig. 122. In Plato’s Cave No. 1, 1972 (p673)

Fig. 123. The Blue Painting Lesson No. 1, 1973–75 (p842)

124. Dublin 1916, with Black and Tan, 1963–64

125. Primary Structures exhibition, Jewish Museum, New York, April 27–June 12, 1966; installation photo, gallery 5, including (left to right) Donald Judd, Untitled, 1966, and Untitled, 1966; Robert Morris, Untitled (2 L beams), 1965; and Robert Grosvenor, Transoxiana (cropped, far right), 1965

of the key pictorial ideas that appear in the Open paintings: their rectilinearity; their use of large, planar areas of color; their spatial ambiguity; and their use of a window form that refers back to the picture plane rather than offering us a view into an illusion of deep space. The contrast in the Opens between the spaces inside and outside the framed rectangular shapes had run through a good deal of Motherwell’s early work, and had preoccupied him in the earlier part of the 1960s. The pennant-shaped area of blue in Dublin 1916, with Black and Tan (fig. 124) has rightly been described as “opening up the space like a window on the sky,”21 and the 1966 version of Guillotine (see fig. 269) had been titled Mediterranean Window. The Opens were another way of exploring the kind of fluid color-field space that Motherwell had worked with during the early 1960s, in paintings such as The Voyage: Ten Years After (fig. 84), The Golden Fleece (p223), and Chi Ama, Crede (fig. 85). The Open paintings were, in effect, a more stripped-down way of creating large fields of color, full of rich but restrained painterly incident, and with a minimum of freehand drawing. It is not merely coincidental that at the time Motherwell began to work on the Opens, he had contemplated pursuing the strand of automatist painting he had worked with briefly at the beginning of the decade. In 1971, after most of the larger Open paintings had already been done, Motherwell wrote that he wanted “to pick up the automatism of Chi ama crede,” and explained that in 1967 he had in fact “debated a long time whether to do that or the ‘open’ series,” which he described as the “first long sustained uninterrupted conscious effort of mine to explore an idea.”22

Clearly, the Open paintings were also in some measure Motherwell’s response to the seeming omnipresence of Minimalist art, which by the mid-1960s was generally acknowledged to be the new cutting edge of the American avant-garde (see fig. 125). Motherwell was acutely aware of the rise of Minimalist art, and during the summer of 1968 he read Gregory Battcock’s newly published Minimal Art: A Critical Anthology, which he told Herbert Ferber “not only gives a survey of that scene from diverse points of view, but indirectly gives various assessments of Abstract Expressionism, which I find profoundly interesting. I must say, our generation was never treated to critical discourse anything approaching the level that the minimal artists have received, which is an advance for culture in general, if not us in particular.”23

Fig.

(p271)

Fig.

Certain innovative aspects of Minimalism were of great interest to Motherwell, and he marked passages about them in the margins of his copy of Battcock’s anthology. Among these were Robert Morris’s notion that color should be made free of drawn shape, and the question posed by the critic John Perreault as to how much the artist could “eliminate of the traditional ingredients of his medium and still produce art,” as well as Perreault’s description of “the Minimal Sensibility” as “a Quixotic search for an essence.”24 But Motherwell was alienated by passages that were antagonistic to the notion of associating color with emotion, or that promoted the idea that a work of art was primarily an object rather than a locus of feeling.25 He was especially interested in the counterarguments that came closer to expressing his own sensibilities, such as Clement Greenberg’s remark that “Minimal Art remains too much a feat of ideation, and not enough anything else. Its idea remains an idea, something deduced instead of felt and discovered.”26

In fact, when Motherwell prepared to exhibit his Open paintings, he would insist upon the way in which they embodied a degree of feeling and of individualism that was quite at odds with the Minimalists, despite superficial similarities between his work and theirs.27 As usual, Motherwell’s resistance to a source of inspiration was at least as strong as its direct effect. Minimalism had given him permission to accept the consequences of the chance juxtaposition between two of his paintings in the first place, but he was in the end looking to take something very different from it.

A similar combination of inspiration and resistance also characterized Motherwell’s attitudes to the more traditional modes of painting that lay behind the Opens. These included the large color-field paintings of Miró, such as Painting (Blue) (fig. 126), and two recently discovered paintings done by Matisse in 1914. Motherwell had written a very perceptive essay about Miró at the time of the Catalan master’s 1959 exhibition at the Museum of Modern Art, in which he discussed the process by which Miró’s paintings were made. He put special emphasis on Miró’s sensitivity to the nuances of paint itself, the way “the painting medium is essentially a rhythmically animated, colored surface-plane that is invariably expressive, mainly of feelings—or their absence.”28 In the Opens, Motherwell was responding more powerfully than ever before to this aspect of Miró’s paintings.

Even more determining for Motherwell were the two Matisse paintings, both of which were seen in public for the first time ever in 1966 at the Museum of Modern Art: French Window at Collioure (fig. 127) and the blue View of Notre Dame (fig. 128).29 These are two of Matisse’s most abstract paintings, and they created quite a stir when they were first shown. Because of their extreme reductiveness and the radical ways in which they treat the dichotomy between window and wall, between inside and outside, they seemed much more daring than any of Matisse’s other work.30 For Motherwell, these two paintings marked a new kind of engagement with Matisse, especially with regard to his own thinking about the formal tensions between window and wall, which he saw as truly unified. “I refuse to

Fig. 126. Joan Miró, Painting (Blue), 1925 (Dupin 149). Oil on canvas, 24⅜ x 35⅞ in. (61.9 x 91.1 cm). Galerie Maeght, Paris

left to right, top to Bottom

Fig. 127. Henri Matisse, French Window at Collioure, 1914. Oil on canvas, 46 x 35 in. (116.5 x 89 cm). Musée National d’Art Moderne, Centre Georges Pompidou, Paris

Fig. 128. Henri Matisse, View of Notre Dame, Paris, quai Saint-Michel, spring 1914. Oil on canvas, 58 x 37⅛ in. (147.3 x 79.1 cm). The Museum of Modern Art, New York; Acquired through the Lillie P. Bliss Bequest and the Henry Ittleson, A. Conger Goodyear, Mr. and Mrs. Robert Sinclair Funds, and the Anna Erickson Levene Bequest given in memory of her husband, Dr. Phoebus Aaron Levene

Fig. 129. Open No. 23: In Blue with Variations of Ultramarine, 1968 (p419)

distinguish the interior from the exterior, plastically, since the two entities are made of the same substance, pictorially speaking,” he told an interviewer a couple of years later.31

The relationship between some of the Opens and Matisse’s View of Notre Dame is quite striking, in terms of the dialogue between drawn line and loosely brushed field of color, and even in the way the exquisite brushwork in the ground is able to call forth so much luminosity and so much chromatic richness from the blues. Echoes of this Matisse painting are present in some of the earliest Opens, such as Open No. 23: In Blue with Variations of Ultramarine (fig. 129), in which Motherwell obviously drew inspiration from Matisse’s treatment of color and spatial ambiguity. Once again, though, Motherwell has used his source of inspiration as a point of departure for taking a rather different direction—as evidenced in the otherworldly quality of Open No. 23. This particular painting by Matisse would resonate in

130. Installation view of Motherwell’s 1969 exhibition of the Open paintings, Marlborough-Gerson Gallery, New York. Left to right: p411, p415, p429, p430, and p419

a number of Motherwell’s later Open paintings, such as the five pictures in The Blue Painting Lesson (see fig. 123; also p843–p846), with their carefully modulated balance between flatness and plasticity. Similarly, echoes of Matisse’s French Window at Collioure are felt in one of the very first Opens, Untitled (fig. 114), where the strong, dark verticals and blank, viewless window, as well as the sense of constriction, seem to refer to Matisse’s 1914 painting. The freely drawn horizontal line in this untitled Open also seems to have been inspired by the delicate and somewhat waywardly drawn horizontal lines on the left side of Matisse’s painting. Echoes of Matisse’s French Window at Collioure would also be present in the later Opens, either explicitly, as in a work such as The Garden Window (p496), or in a more general way, where the Matisse painting serves as a paragon for a certain kind of abstraction.

When it came time to show the Open paintings, Motherwell was at once eager and hesitant. He had signed a contract with the Marlborough-Gerson Gallery in 1963, but he had not yet had a solo exhibition at the gallery. The idea that his first exhibition there (and his first solo exhibition of paintings in New York since the Museum of Modern Art retrospective) would be composed of pictures perceived to be so unlike his previous work made him uneasy. The reason for the anxiety that Motherwell felt before exhibiting the new paintings was nicely summed up in a letter from his friend Arthur Cohen, who had recently bought Open No. 10: In Green on Blue (p407). “You made a series of pictures this past Fall and Spring which has changed the direction of your vision,” Cohen wrote, “not breaking with your own sense of the past, but departing from the insistent expectations of a public that always wants more of what it knows and cannot bear the difficulty of having to rethink what it believes is no longer a challenge or a threat. Now you are trapped between the work over and the work unshown and unknown— except you’ve already passed judgment, the work is within your psychic canon and you are becalmed in a between-time.”32

Moreover, this was going to be the first time that Motherwell dedicated a solo exhibition to pictures that were all variations on a single motif (see fig. 130). In his previous exhibitions, he had usually gone out of his way to emphasize the variety of his work. Now he was putting the emphasis on unity. Before this exhibition, only four of the Open paintings had any kind of public life: Open No. 1: In Yellow Ochre had been hanging in Motherwell’s home

Fig.

since the fall of 1967; In Blue was at the U.S. embassy in Mexico City; Singing Yellow (p403) had been sold in May 1968 to a Saint Louis collector; Open No. 10: In Green on Blue (p407) had been sold to Arthur Cohen in June 1968. Cohen and his wife, Elaine Lustig Cohen, entertained a lot, so Open No. 10 was seen by a fair number of influential people. Early in 1969 Motherwell also invited several carefully chosen writers, curators, and artists to see the new works in his studio.33 As a result, the paintings had created a certain amount of buzz.

Motherwell, however, remained hesitant. The exhibition of the Opens at the MarlboroughGerson Gallery was initially scheduled for October 1968, but he said he was not yet ready for the show. Then he had it postponed again, not once but three more times. First the exhibition was pushed back to January 1969, then to March of that year. Then, a few months before the planned March opening, Motherwell requested that the exhibition be postponed yet again, this time until May. Since the Marlborough-Gerson Gallery ran on a tight exhibition schedule, all these changes involved a certain amount of negotiation with other artists. A couple of days after Motherwell asked to have the show postponed until May, Frank Lloyd, who owned the gallery, wrote him a letter that combined his exasperation with a veiled threat. Lloyd reminded him how important it was to show his new work, “which has been so much talked about in well informed circles,” as soon as possible. “Another postponement,” Lloyd warned, “would only be misinterpreted by the public, who would think that you do not want to show your latest work.”34

Still stung by what he perceived as the negative reception of his 1965 Museum of Modern Art retrospective, and anticipating that his new paintings might be poorly received because they were so different from what was expected of him, Motherwell decided to draft his own press release for the exhibition.35 This press release was meant to place the new paintings in what he felt was their proper context by situating them both in relation to his own personal development and within the context of the recent rise of Minimalism. It began by noting that “the present show represents one resolution of the artist’s dilemma in showing new paintings made since his last showing of new paintings about seven years ago.”

It then gave a brief review of the artist’s accomplishments in recent years, citing in particular the many different kinds of images he had worked with, and his commission for the John F. Kennedy Federal Building in Boston, along with mention of the many museum shows that had prevented him from showing “new paintings by themselves during these years.”

Despite the variety of Motherwell’s work in recent years, however, the press release states that he has decided to focus on a single kind of painting:

Rather than have a show of selections from his varied work of the past seven years, the artist has chosen to show a single coherent group under the general title Windows. . . . The series began by chance, in the winter of 1967, when the artist rested a narrow, vertical stretcher against a much larger narrow, vertical canvas, whose ground had been painted yellow-ochre (“Window, number 1” in the exhibition). After contemplating the stretcher resting against the canvas for a long time in the studio as he went about working on other paintings, it occurred to him that three charcoal lines outlining the resting stretcher were sufficient, that he did not need further

figuration. Some months later he turned the ochre painting upside down, so that what had been a door became a window, a theme that has appeared sporadically in his work since his beginnings, notably the window in the painting called The Spanish Prison. . . . For the artist, the window image has a certain plastic purity, as well as associations, and emphasises rather than overwhelms the picture’s format.

The last paragraph of the press release notes that “these pictures, like all his others, are made empirically, with many brush strokes and often corrections, not in relation to some pre-determined geometry or mathematical concept, but in terms of feelings. Despite their simplicity of iconography, for the artist, these paintings are filled with humanistic feeling and a certain tension between austerity and sensuality. In short, they have nothing to do with minimal art.”

Motherwell felt it was important to distance himself from Minimalist art at this time, not only to ward off accusations of having been unduly influenced by it but also because he felt that the aesthetic position of Minimalism was something like the opposite of his own, as he had noted the previous summer when he was reading Battcock’s Minimal Art anthology. He rejected the notion of the work of art as an impersonal object in the world, along with the idea of mechanical finish and “coolness.” Like Clement Greenberg, he felt that Minimalist art remained too cool and theoretical, “something deduced instead of felt and discovered.”36 If Motherwell’s paintings had “nothing to do with minimal art,” as stated in the press release, it was because his art was based on feeling and particularity rather than coolness and generalization. So even though his new paintings were influenced directly by the stripped-down quality of Minimalist art, and shared some of its general look, he believed that their basic premises were very different in terms of how they felt or acted in the world. As he wrote to the Tate curator Ronald Alley a couple of years later, he wanted the Open paintings to be shown under reduced light, so that “they become objectless and mysterious . . . they are not hard-edge paintings, but romantic ones—essences.”37

As we have seen, Motherwell did not hit on the idea of using the word open in the titles for his new paintings until a few months before his exhibition opened. (In the catalogue, which was printed in England, the word was set within British-style single quotation marks, followed by the number of the work and a descriptive phrase, as in: ‘Open’ No. 9 in green on gray with black stripe.) When he did hit on the idea of using this word, so charged with conceptual ambiguity, he was so enthusiastic about it that he initially wanted to use as the introduction to the catalogue all the eighty-two definitions of the word open in the Random House Unabridged Dictionary, which he said constituted “many of the ideas and images that I associated with the series.”38 But, apparently on the advice of the gallery, he decided not to do so “for fear that the entry rather than the pictures would become the principal subject matter of critical discourse.”39

The exhibition at the Marlborough-Gerson Gallery drew enthusiastic reviews. Several writers pointed to how full of feeling the pictures were, despite their restrained formal means, and how beautifully they were painted. “The application of paint is always charged with an understated emotional force,” John

Gruen wrote, “and the works—in beautiful blues, yellows, oranges, etc.—make manifest a quiet and absorbing interplay of unending poetic space.”40

Writing in the New York Times, Hilton Kramer was impressed by the way in which Motherwell had synthesized the different traditions that he drew from, ranging from the Minimalists to Miró and Matisse. “This sense of continuity,” Kramer wrote, “is, perhaps, the easiest thing to overlook in these new works, but I think it is fundamental to their conception. I can think of few exhibitions, in any case, that reaffirm the strengths of abstract painting to quite the same degree.”41

Even Peter Schjeldahl, who was somewhat cool toward Motherwell’s work, was impressed. “This mixture of allusiveness and asceticism,” Schjeldahl wrote, “is a specimen of what it is that makes Motherwell so fascinating. There is a sort of splendid perversity about a series called Open which is in fact practically hermetic.”42

Perhaps the most intellectually elaborate review was the one by Rosalind Krauss, already recognized as one of the leading advocates of Minimalism. Krauss saw the shift in Motherwell’s art as a move further into the domain of the pictorial sign. “Like Miró’s art,” Krauss wrote, “Motherwell’s own has been a continuous investigation into the nature of signs—both examining and displaying their openness, their directness of address, and the way they can embody the conventions which are at the heart of painting.” Krauss believed that Motherwell had undertaken a radical new direction in the art of painting. He was compelled, she asserted, “to challenge Miró’s assumption of the picture’s frontality. By reorienting the painting, the sign intends within Motherwell’s art to reorient painting.” The best pictures in the Open series, she concluded, “are among the strongest and most difficult paintings Motherwell has ever made.”43

H. H. Arnason also stressed the continuity of the new paintings, the way they were firmly rooted in “ideas and images” that had persisted since the beginning of Motherwell’s career. Arnason ended his review by distinguishing Motherwell’s new paintings from Minimalism. Despite their simplification, Arnason asserted, “these works are different in their impact from those of the Minimal or Systemic painters. Although Motherwell does confine himself to a limited number of motifs or images . . . the most significant change rests in the artist’s concept of the painting primarily as a total field into which some linear images have been introduced. Motherwell’s intense feeling for the brushstroke is evident and persists even in those versions which seem at first glance most uniform in color and texture. No matter how much he has selected and eliminated in order to achieve his effect of unity, he is never concerned with the creation of a ‘system’ or an ‘object.’ All the Open paintings maintain the sense of air, of openness, of variation within the color field. The painting always remains a painting.”44

The Opens and the Elegies are Motherwell’s two most archetypal—and most varied and monumental— series, which in many ways express opposite aspects not only of his sensibility but of his being: anguish and passion, on the one hand; serenity and contemplation, even acceptance, on the other. Yet at the same time that they seem like polar opposites, the two series both reflect something essential about the dialectical way in which Motherwell proceeded. The Opens, like the Elegies, are based on a number of oppositions, though oppositions of a very different sort: not between black and white, straight lines and

ovals, which Motherwell considered to be—among other things—a contrast between life and death, and between male and female,45 but between amorphous fields of color and the straight lines that divide and modulate them: a new way of resolving the age-old conflict between painting and drawing. In the Opens Motherwell used the polarity between amorphousness and geometry to evoke both opposition and ultimate harmony, as between chaos and order, emptiness and creation, nature and culture. So while the Open paintings are a response to a particular moment in the history of painting, synthesizing the recent innovations of Minimalism with Motherwell’s renewed engagement with the art of Miró and Matisse (at a time when the contributions of Matisse in particular were undergoing a critical reevaluation by artists and writers alike), they also embody something essential, primitive, and timeless. In some of the Opens, such as In Plato’s Cave No. 1 (see fig. 122) or In Beige with Charcoal No. 4 (see fig. 121), the mark of man is set against a vast emptiness in a way that recalls the oldest paintings known, those on the walls of prehistoric caves, especially the mysterious and moving pictographs on the walls of Altamira and Lascaux, which Motherwell so admired and loved.

Like the Elegies, the Opens also show how wide a range of expressive possibilities a delimited pictorial vocabulary can evoke. Also like the Elegies, the Opens provided a referential framework for a good deal of the work that followed them. Many of the late collages, and even certain Elegies, such as Elegy to the Spanish Republic No. 128 (fig. 131) or The Spanish Death (fig. 132), reflect the structural rigor of the Opens, as well as Motherwell’s increased sensitivity toward the relationships between the painted imagery and the rectangle of the canvas. Some of the Opens are overtly like landscapes, especially the very wide horizontal blue compositions such as Summer Open with Mediterranean Blue (fig. 133). This picture, which has an extraordinary freshness and airiness, is at once very abstract and vividly evocative of a certain kind of seascape and coastal light. Alfred North Whitehead remarked that “the purpose of philosophy is to rationalize mysticism.”46 A painting like this one recalls the justness of the connection Fig. 131. Elegy to the Spanish Republic No. 128, 1974–75 (p815)

Fig. 132. The Spanish Death, 1975 (p838)

that James Fitzsimmons had made between Whitehead and Motherwell some twenty years before it was painted. Part of Motherwell’s purpose as a painter, Fitzsimmons remarked, was “to make a quasimystical response to landscape rational, orderly and intelligible.”47

The Opens reflect an inner serenity that had not often been evident in Motherwell’s previous paintings, which frequently conveyed a strong sense of violence, of anxiety, even of desperation. As he himself said of the Opens, “There is more emphasis on ‘feeling’ & less on ‘emotion.’ The ‘Open’ series is less aggressive than my older paintings.”48 In the Opens, anxiety gives way to serenity; impulse and intellect merge. Yet there is no loss of feeling. In the serenity of their silence, and in the sparseness of their utterance, the Open pictures marked a major turning point in Motherwell’s art, equivalent in importance to the beginning of his work on the Elegy paintings some twenty years earlier.

As Robert Hobbs has pointed out, the Opens also bring together a number of Motherwell’s philosophical and literary concerns, most prominently perhaps his long-standing sense of the role that silence and emptiness play in the poetry of Stéphane Mallarmé. According to Hobbs, the reciprocal interactions of the different parts of the Open paintings can be related to Martin Heidegger’s concept of “Being/being” in Being and Time (Sein und Zeit, 1927) and the German philosopher’s “view of art as a unique and momentous occurrence, a thrust into history occasioned by the appearance of a new concept.” This can be understood to occur in Motherwell’s Open series “in terms of an ongoing potentiality whereby his hieratic icon—three sides of a rectangle comprising an abstracted, ‘U’-shaped aperture—provides possibilities for viewers to reflect on the concept of the Open as they individually work out their own understanding of the myriad differences and connections linking their being with ultimate Being.”49

The Opens also reflect Motherwell’s intensified interest in the culture, philosophy, and aesthetics of Zen Buddhism, and in the concept of the metaphysical void. “This is perhaps strongest in the Opens,” Motherwell later said, “built on a conception analogous to the Oriental conception of the absolute void: that you start with empty space, and that the subject is that which animates the great space, the void. The amazing discovery is that it takes relatively little to animate the absolute void.”50

In the early 1970s, Motherwell had a renewed interest in Chinese and Japanese calligraphy, which was reflected in his calligraphic paintings on paper, such as Untitled (Samurai) (fig. 134) and related works (see w373–w388). Some of these pictures, inspired by a seventeenth-century Japanese ink

Fig. 133. Summer Open with Mediterranean Blue, 1974 (p786)

Fig. 134. Untitled (Samurai), 1973 (w458)

painting Motherwell owned that consisted of a single horizontal brushstroke, were executed with only one or very few brushstrokes (w399–w406). “I made pictures with one brushstroke that took me twenty seconds and they are some of my best pictures,” he said at the time, “but I would say, somehow, that it took me thirty years to make that brushstroke.”51 After Motherwell saw an exhibition of Chinese calligraphy at the Metropolitan Museum of Art in 1972, he found himself reading texts by Japanese and Chinese painters, such as Shio Sakanishi’s translation of The Spirit of the Brush and Mai Mai Sze’s Tao of Painting. “They mean more to me,” Motherwell said in 1972, “than French culture does now.”52

The new decade brought a number of significant changes in Motherwell’s personal life that precipitated concomitant changes in his life as an artist. Mark Rothko, one of Motherwell’s closest friends and one of the few artists he felt he could really confide in, committed suicide on February 25, 1970; a month later, Motherwell painted one of his most unusual—and most moving—Open paintings, Open No. 150: In Black and Cream, which he subtitled Rothko Elegy (p554). During the previous year, his marriage to Helen Frankenthaler had deteriorated. They separated early in 1971 and were divorced that June. After their divorce, Frankenthaler kept the house on East Ninety-fourth Street, where Motherwell had lived since 1953. He, in turn, moved to a house that he had recently acquired in Greenwich, Connecticut, which would be his home and principal workplace for the rest of his life.

In addition to the usual traumas brought on by a divorce, the terms of the settlement stipulated that Motherwell would give Frankenthaler two paintings that were crucial parts of his history as an artist, At Five in the Afternoon (fig. 45) and Open No. 1: In Yellow Ochre (fig. 110). This would have been difficult for any artist, and it was especially so for Motherwell, who attached great importance to keeping the first work from each of his series. During the summer of 1971, shortly before Motherwell handed over these works, he decided to make a much larger replica of At Five in the Afternoon (fig. 135), an experience that brought back to him all the trauma of the anguish-filled time when he had painted the first version. He began the copy on a sunny afternoon in Provincetown, and, as he painted, he was pleased by how well the composition of the small painting was being accommodated on the large canvas. And then, inexplicably, his mood changed, and he plunged into a fit of deep depression. “Suddenly I began to feel suicidal,” he recounted the following summer, “and I mean really suicidal. I got terribly upset and thought—What am I hiding from myself? etc., . . . went downstairs, had a drink, looked at the sea, thought! . . . thought! . . . thought, went back upstairs; my studio is on the top floor. Then suddenly I realized that the original was made during a week that was the only time in my life I seriously contemplated committing suicide. I had reached the moment in that picture where the idea had come to me.”53

As in the variation on the 1948 picture that he had done in 1950 (fig. 50), the black forms in the 1971 version are slightly thicker than in the original. Significantly, the white area on the left side of the

Fig. 135. At Five in the Afternoon, 1971 (p647)

large 1971 version of the painting extends all the way to the top of the canvas, giving it an airier, more open feeling. The drip marks in the 1971 version are also more restrained, thus giving it a slightly less mournful, more heraldic quality: the gestures of the forms seem slightly fuller, animated by a tinge not only of tragedy but of courageous pride.

Away from the city, Motherwell’s life was quieter, and his work habits gradually changed. For the first time in his life he had regular studio assistants, and he began to consolidate his work spaces in a way that he had not been able to in earlier years. In August 1972 he was married for the fourth time, to Renate Ponsold, a German photographer who had come to Greenwich the previous year to do a photo essay on him.54 Eventually, she also set up a studio on the Greenwich property.

During the early 1970s Motherwell’s printmaking increased dramatically. From this time forward, there was a good deal of interchange between the imagery of his paintings, collages, and prints.55 In 1972 he also entered into three professional relationships that would last until the end of his life: he hired Catherine Mosley as a master printer to work with him in the print studio he set up in Greenwich; he began to work on lithographs with Kenneth Tyler, first at Gemini G.E.L. in Los Angeles, later at Tyler Graphics Ltd. in nearby Bedford, New York; and in 1972 he left the Marlborough-Gerson Gallery and made Lawrence Rubin his primary dealer, first at the Lawrence Rubin Gallery, where he showed in 1972, then at Knoedler & Company, where he had the first of many solo exhibitions in April 1974.

During the spring of 1974, Motherwell undertook a major renovation of his studio spaces in Greenwich. He had a large new painting studio built—what he called his “New York” studio, over a hundred feet long—which allowed him to use the former painting studio as a dedicated space for collages.56 But as the renovation was getting under way, he suffered an acute attack of pancreatitis and was hospitalized for several weeks. A downward spiral of poor health ensued. It was discovered that he had a number of gallstones, a hernia, and an irregular heartbeat. He was given the summer to rebuild his strength before undergoing major surgery.

In the months before his surgery, he felt a “strange unreal calm, rather than terror,” a state of mind that is well reflected in Summer Open with Mediterranean Blue (fig. 133), one of his most serene paintings. (One thinks of Claude Monet, his life full of trauma, anxiety, and impending menace, painting landscapes of an almost otherworldly calm.) Motherwell painted a number of unusual works that summer, such as Premonition Open with Flesh over Grey (p807), with its unusually fleshy surface, and some figurative works done mostly in what he described as “a flesh-colored pink, a slate gray, and summer-sky blue.”57 He later realized that in some of these, such as The Persian No. 1 (p789), he had subconsciously reverted to the abstract figurative imagery of his paintings done in the late 1940s, around the time of The Homely Protestant, and that some of his recent paintings were in effect also surrogate self-portraits.58 One of the paintings he executed shortly before his surgery, The Wild Duck (fig. 136), had a surprisingly narrative subject matter. He painted it directly after he saw a wild duck that he had observed for years from his studio window suddenly plunge into the sea and then reemerge and fly up into the sky—evoking a poignant and perhaps reassuring image of fatality and resilience.59

Fig. 136. The Wild Duck, 1974 (p794)

Motherwell’s Greenwich collage studio, April 1975 (detail of fig. 243)

B y the mid-1960s m otherwell had B egun “to dream of a country studio,” 1 in order to distance himself from the social, personal, and professional commitments of New York, which had begun to wear on him after almost three decades in the city. He spent a number of years looking, and at one point considered moving overseas, going so far as to subscribe to the British magazine Country Life, labels from which appear in collages from 1967 (see c205). Finally, in 1970 he purchased what he called “the ruined outbuildings of an estate in the back country of Greenwich, Connecticut”2 and began several years of renovation in order to create the ideal studio and living environments. After his move to Greenwich, he established a print studio in the house, and his interest in printmaking intensified.3 The serial and multiple nature of his prints, as well as the collaborative nature of the process, affected his approach to painting, but it was on his collages that printmaking had the greatest impact.

Motherwell’s new studios allowed him to work in an unprecedentedly collaborative fashion. An ever-increasing number of studio assistants, printmakers, dealers, and scholars worked and sometimes even lived on his property. He installed an etching press, and later a lithographic press, so that he could work on graphics surrounded by his own assistants and his own works of art. For Motherwell, printmaking was as deeply linked to the idea of collaboration as it was to the notion of seriality. He discussed how “it was the camaraderie of the artist-printer relationship” that appealed to him, a phenomenon he thought often occurred “when artists grow older and more isolated.”4

The nature of editioned prints is inherently serial, in both process and outcome. An artist works with a printer to shape and refine a print, repeatedly revising, until he is satisfied with the result.

The various proofs of a print often employ different compositions, which allow the artist to see how the work has evolved, at the same time giving him the option always of going back to an earlier state. The variations in the proofs of a print tell the story of how it developed. This process greatly appealed to Motherwell, who was continually reworking his paintings and collages, and who found that printmaking permitted him to capture in permanent form the possibilities inherent in creating a composition without having to decide on only a single possibility. His impulse to work in terms of themes and variations in the 1972 Gauloises with Scarlet series (see c289–c314) and in later collages reflected what he considered two very different approaches to making pictures: the initial concept, which was a great struggle, and then the expansion of that concept through variation, which was pure pleasure. “When I need joy,” he noted, “I find it only in making free variations on what I have already discovered, what I know to be mine.”5 Each new work in the series enriched the felt content and reinforced the legitimacy of the original impulse.

Motherwell’s exploration of the different ways in which a compositional format could develop was intensified at the time he undertook the Open paintings, and it continued into many series of collages he did during the early 1970s. This was not an entirely new procedure, but he followed it with a new focus and intensity. Even in his earliest collages, he had used many of the same elements, such as the speckled German wrapping papers in Pancho Villa, Dead and Alive (fig. 23) and The Flute (c6).

In those earlier works, however, the same materials were used in different ways and to different ends, whereas in his collages of the 1970s Motherwell used the same papers in similar kinds of compositions, creating large groups of collages that were essentially variations upon a single theme. In order to

highlight the serial, theme-and-variation qualities of his collages, Motherwell often showed them together in groups.

In January 1972 Motherwell traveled to St. Gall, Switzerland, to make lithographs at the print workshop of the Galerie im Erker.6 During this trip he made two untitled collages (see fig. 137 and c288) in which he pasted down torn and flattened Gauloises cigarette packages. It was not the first time that he had incorporated packages from this particular brand of cigarettes in his collages (he had used them sporadically since 1956), but this time the combination of a centrally placed bright blue collage element, set against a deep red ground surrounded by a thin halo of unpainted board, struck a chord. Both of these works were sold to a Swiss collector before Motherwell returned home in mid-January.

Less than a month later, he re-created the same motif in Gauloises with Scarlet (c289), a picture he held on to for the rest of his life as a “seed work.” This collage marked the first step in what would become an extended series, which he called Gauloises with Scarlet or Scarlet with Gauloises, using the two titles interchangeably.

When Motherwell moved to his summer studio in Provincetown that June, he immediately began working on variations of this composition. Scarlet with Gauloises No. 2 (fig. 138) and other works from this series were done on Upson board, a type of industrial wallboard that came finished with a pale, matte ochre ground.7 Motherwell retained traces of that manufactured ground around the Gauloises packages in each of the collages, sometimes evenly around the collage element and sometimes with the red paint encroaching closer to the papers.8 But he was not satisfied to leave just this amount of ground visible, so he used a pointed instrument, probably the wooden end of a paintbrush, to incise lines into the still-wet paint film. He had previously used this technique of drawing by scratching into paint in the Open series (see Alberti Suite No. 12, fig. 120) and also in the process of etching.

At the time Motherwell was working on the Gauloises with Scarlet series, he wrote, “In the last week of June 1972, made 25 variations on this theme, in the summer studio at Provincetown, Mass. (Probably will make more as the summer progresses).”9 Later that summer, he made five more works in the Gauloises with Scarlet series, bringing the total count up to thirty, and he also did nearly thirty related works with different colors and proportions, which were also clearly based on the original Gauloises composition. This focused exploration of a single motif was not new to Motherwell (by this time he had done over 200 Open paintings), but never before had he worked on collages in such a way. The sheer number of works, each with variations created by small adjustments made to the red paint or created by tearing the cigarette packages in different ways, reflected a new approach to working in series. This approach was certainly related to his increased involvement in printmaking, but it was also probably related to the use of seriality and mass production in works by the Pop and Minimal artists. Motherwell’s use of serial images is also evidence of the great influence of music on his work, and his sympathy to its structure and form. His approach to serial elements across a body of work is

Fig. 137. Untitled, 1972 (c287)

akin to the Baroque practice of figured bass, which challenges its interpreters to spontaneously provide variation and embellishment in response to a central tonality.

This is especially apparent when viewing a good number of the Scarlet with Gauloises collages together (see c289–c314). Over the central reoccurring “ground” Motherwell introduces variations in what can be easily equated to pitch and rhythm, as well as the ornamentation found in the deft improvisations that define musical works that employ figured bass. As a result, a frequency emanates from each of the individual collages in this series, and, when viewed together, a melodic line rings out. This variation in response to a central theme was to become one of the most striking characteristics of Motherwell’s collage series during the following years.

The materials in the Scarlet with Gauloises collages were personal and yet in a way still kept at arm’s length. Motherwell was a chain smoker for much of his life, but he did not smoke Gauloises; the packages were supplied by his neighbor and friend, the writer B. H. Friedman, who did.10 The blue of the Gauloises Caporal packages, so reminiscent of the painted blues that Motherwell was already known for by 1972 (sometimes called “Motherwell blue”), held another personal meaning for him. In 1939 he had seen Picasso at the Deux Magots Café in Paris, making “collages” with the materials on the tabletop, which included Gauloises Bleues packages set against a white tablecloth. “I had never seen a collage, but at that moment there was something about the way Picasso left it that really moved my heart.”11

Throughout the summer of 1972, while he was expanding on the Gauloises with Scarlet series, Motherwell was also preparing for the first retrospective exhibition dedicated to his collages.12 This traveling exhibition, which began at the Museum of Fine Arts, Houston, was organized by E. A. Carmean Jr., who had previously chosen Motherwell’s collages as the topic of his master’s thesis.13 Motherwell lent support and many collages to the exhibition, and spent a good deal of the summer commenting on Carmean’s text and thinking about the role of collages within his oeuvre. He included five very recent works in the exhibition (c277, c281, c296, c319, and c367), two of which were from the Gauloises series.

Motherwell’s collaboration with Carmean, which continued through the decade, coincided with an intense period of interaction with writers and historians, including H. H. Arnason, who would publish the first monograph on Motherwell in 1977.14 After Motherwell moved to Greenwich, his social circle centered increasingly on people he worked with. There was, as he said, an “unexpected dividend in this move in that it cut my social life back drastically, leaving me more time to paint, and as a direct consequence the ’70s decade became by far the most prolific of my career.”15

His social sphere circumscribed by the studio, Motherwell relied more and more on collage papers that he described to Guy Scarpetta as “passively receive[d] in the post: I almost never search for collage materials in the outside world myself.”16 He incorporated such materials, he said, because they called to him from among “hundreds of pieces of paper: envelopes, package wrappers, cigarette labels,

Fig. 138. Scarlet with Gauloises No. 2, 1972 (c291)

Fig. 139. German Line No. 2, 1972 (c354)

Fig. 140. Bastos, 1974 (c501)

Fig. 141. Heidi and Claus, 1974 (c423)

Fig. 142. In Gray with White Shape, 1974 (c439)

wine labels, printed matter, handmade drawing papers of different tones & sizes, odds and ends.” This passive acceptance of the “ready made”17 was different from the specific personal attachments suggested in such works as The French Line, which Motherwell characterized as “autobiographical . . . a sort of journal.” His use of more random materials during the 1970s caused his work to become what he described as “more serene, less personal than before.”18 (Although, of course, it was still his own sensibility that determined what he selected from the materials others sent him.)

As he was working on the Gauloises with Scarlet series during the summer of 1972, he was introduced to the Ernte brand of German cigarettes, which had a very different kind of package. The Ernte packages triggered an association with his earlier collage The French Line (fig. 96), which had been included in his collage retrospective that year. He was reflecting on that collage and lamenting that he “had always wanted to make many more of those but never could find the exact things” when he discovered the Ernte cigarette packages, which “happened to be white, orange and blue and exactly suited to this.”19 He promptly set about making a new series called the German Line (fig. 139).

During the early months of 1973 Motherwell extended this new series into the Summer Light print suite.20 These collaged prints introduced an important new feature into Motherwell’s prints and collages. The Ernte cigarette packages in them were facsimiles made by the master printer Kenneth Tyler at the Gemini G.E.L. workshop in Los Angeles. Tyler, known for his technical virtuosity, worked with Motherwell to create collaged print elements that precisely reproduced the kind of commercial papers the artist had been using for most of his career. Part of the motivation behind doing this was for

conservation purposes, since the commercial papers inevitably faded. But the facsimiles also allowed Motherwell to experiment with variations in scale and to do extended series without having to buy or collect dozens of packages of the product involved. Each collage element could be re-created if Motherwell wished to extend the series or to reposition or replace any of the printed papers. When Tyler moved to Bedford, New York, the following year, their collaboration deepened, and they worked on many technically complex, large-scale prints.

The use of printed facsimiles opened Motherwell up to a new engagement with commercial materials. Now he could have Tyler re-create a small label at any size. A prime example of this is the package of Bastos brand Corsican cigarettes that Tyler enlarged to approximately thirty inches in height. The collage that resulted from this collaboration, Bastos (fig. 140), marks the first time that Motherwell used such an enlarged facsimile of a commercial label or package. In Bastos, Motherwell painted a brushy, dripping area of black around the large printed collage element, reminiscent of the forms in his Samurai series from the same year (see p775–p780). This expressionistic paint application functions as a handmade counterpart to the manufactured facsimile of the commercial paper. This new way of making collages directly affected Motherwell’s printmaking. Tyler made a lithographic edition of the Bastos composition shortly afterward.21

The scale of Bastos, at sixty-two inches tall, was characteristic of another new development in Motherwell’s working process during the mid-1970s: a move toward larger-scale collages. The majority of his collages before 1974 were intimate in scale, generally under fifty inches tall (almost all oriented vertically). Around the same time that he was working with the oversized reproductions of commercial papers, Motherwell began to use seventy-two-inch-high sheets of Upson board as the supports for the largest collages he had ever done. The first of these, dated January 27, 1974, was Heidi and Claus (fig. 141), named after Motherwell’s studio assistants at the time (to whom the incorporated mailing wrapper was addressed). In this austere composition Motherwell took the kinds of papers he had been using for a number of years, such as package wrappings and large, single sheets of colored paper torn along the edges, and incorporated them into a wide expanse of brushy ochre paint. As a result, the collage feels in many ways very much like a painting, in which each of the elements is perfectly integrated into the ground. The increased scale of such works and their centralized collage elements clearly related them to the Open paintings.22

Because of the larger supports he was using, Motherwell could now incorporate into his collages corrugated cardboard boxes that protrude from the surface, as in the collage called In Gray with White Shape (fig. 142). The tactility of this work, achieved through simple means, stands in sharp contrast to the multilayered collages of the 1950s. Here only three collage elements have been laid down on the support, leaving an expanse of simply painted ground. This ostensibly empty space, like that in the Open paintings, functioned for Motherwell as an active compositional element, what he referred to as “the oriental concept of the format as a void.”23

The simplicity of the forms and the emphasis on large areas of single-colored grounds in collages such as In Gray with White Shape were inspired by a Matisse cutout, La Danseuse (fig. 143), which Motherwell had purchased in the 1960s from Matisse’s son Pierre. The Matisse cutout is dominated by

Fig. 143. Henri Matisse, La Danseuse, ca. 1949. Gouache on cut-and-pasted paper, 14¹⁄₁₆ x 10 in. (35.7 x 25.4 cm).

Private collection

Fig. 144. In Celebration, 1975 (c513)

three rectangles, of blue, black, and red, which provide an architectonic foundation for the curving, biomorphic white shape pasted on top of them. It had a marked effect on Motherwell’s collages, such as Scarlet and Black with Ultramarine Stripe (c512), in which he employed the same colors as a ground, and laid out the pasted papers in a similar manner, but used only the geometric aspects without the activating white area.

The collage titled In Celebration (fig. 144) is an especially good example of Motherwell’s response to the Matisse cutout. In this collage, the red ground dominates, with the blue and black sections pushed out to the sides and set off balance by the ochre passages at the right edge. A white S shape, cut not torn, appears slightly off-center, pushing the eye up and over to the right. The composition is entirely abstract, yet the S shape functions somewhat like a figural presence. As in the Matisse cutout that inspired it, this collage relies on the slightly off-balance colors and forms to create its impact.

In 1974 Motherwell began a small-scale series called Cabaret (see c442–c453). The compositions in this series are restrained and minimal, with almost no painted surface. In Cabaret No. 7 (fig. 145), like many of the works in the series, the ground is an off-white handmade paper with a deckled edge. At the center a dark brown, sharp-edged rectangle of paper was glued down, and on top of that Motherwell placed a torn, amorphous sheet of bright white paper. These two elements are consistent throughout the series, providing a common basic motif even though the white paper is torn differently in each work. In each of the collages a third element (and on occasion a fourth) bridges the brown and white papers, with this topmost element varying from work to work.

In Cabaret No. 7 Motherwell used a ticket from a bullfight at the Plaza de Toros Bayonne-Biarritz, dated August 3, 1958, as the final pasted paper. This ticket, a companion to the ticket used in Cabaret No. 12 (c453), was a souvenir from Motherwell’s 1958 honeymoon trip with Helen Frankenthaler and commemorates the bullfight that inspired his Iberia and Bull series of paintings. He took the equally significant memento of an early review of his 1965 Museum of Modern Art retrospective and pasted it onto Cabaret No. 5 (c446). In earlier collages, Motherwell would have singled out these types of personal papers in the title, as in The French Line or The Sunlit Sea (c80). But the personal significance of the individual collage elements is played down in the Cabaret series, and emphasis is placed instead on the generic title.

The theme of these collages seems to have been inspired by the 1972 film version of the 1966 Broadway musical Cabaret, which was itself based on an adaptation of Christopher Isherwood’s novel Goodbye to Berlin. 24 In the film, Liza Minnelli starred as Sally Bowles, an aspiring American actress performing in an early 1930s German cabaret, who is in love with a young British writer. The story of the star-crossed lovers, and the emphasis placed on artistic ambition, may well have reminded Motherwell of his own failed marriages. In the film, the cabaret is presented as a space in which one can leave behind the problems of the outside world, yet engage with them in a poignant if critical way. Motherwell seems to have conceived the Cabaret collages in a similar spirit. The papers he pasted into them draw upon a number of bittersweet memories, referring as they do to the dissolution of his marriage to Helen Frankenthaler, his uncertainties about his most important retrospective exhibition, and his subsequent distancing from the New York art world. The Cabaret collages were cathartic in much the same way as such earlier works as The End of Dover Beach (fig. 69), though less overtly so. They reflect a shift that occurred in Motherwell’s collages during the mid-1970s, from openly emotional images to those that express strong feeling in a more restrained and indirect way.

Some collages in the Cabaret series include a fragment of sheet music, a tangible allusion to the musical ambience of the cabaret. The music, however, is classical rather than contemporary. Though the composer is not identified in Cabaret Collage (c442) and other works in the series (such as c443, c444, and c452), in some of the collages Motherwell offers hints about the source of the music. In Cabaret No. 4 (c445) he leaves a portion of the composition’s title, “Das Bandel: Liebes Mandel, wo ist’s Bandel?” visible along the topmost edge, showing the music to be by Mozart.

Motherwell began to use sheet music extensively in his collages around 1974, sometimes with a reference to the source, but often without one. The calligraphic musical notes in the compositions served a largely visual purpose. Because Motherwell could not read music, for him the notes were a kind of abstract language that conveyed the idea or feel of music.25 Music in general was important to Motherwell, and in a 1969 interview he noted that had he not been tone deaf, he would have “much preferred to have been a composer . . . [because] music is the faultless medium” for abstract expression.26

Motherwell had first used sheet music in a collage commissioned in 1969 by the Juilliard School (c265), which was to serve as the model for a poster. He had originally wanted to use music by the American composer Charles Ives, but the Juilliard School supplied him instead with a section from Beethoven’s String Quartet no. 16 in F major, op. 135.27 The next time he included sheet music in

Fig. 145. Cabaret No. 7, 1974 (c448)

a collage (in c279) was in 1972, when he once again used the same Beethoven score. Although he included fragments of musical scores in some 1973 collages, his use of sheet music greatly increased in 1974, in the Cabaret series and other works. At times the sheet music was given to him by friends and studio assistants, and sometimes he sought out specific scores for use in particular collages.

The sheet music that most frequently appeared in Motherwell’s collages and prints from 1974 onward was by Mozart (whose German lyrics would have appealed to Motherwell during these early years of his marriage to Renate Ponsold).28 In his studio library, Motherwell had books of Mozart’s compositions and he also worked from facsimiles of the autograph Mozart scores; both were occasionally copied and enlarged by Kenneth Tyler for use in the collages. But he also used music by other composers from a variety of styles, including contemporary songwriters such as Paul McCartney.

In 1975 Motherwell pasted an enlarged, lithographic reproduction of half a page from Igor Stravinsky’s ballet Le Sacre du printemps into the collage Pas de deux No. 1 (fig. 146). The sheet music is laid down on the left side of the composition, mirroring a vertical rectangle of red, three-quarters of which has been framed by black. Both vertical elements lie on a rectangular red and white ground. The two vertical shapes are reminiscent of two figures standing rigidly next to one another, which very likely explains the title, since in a pas de deux the dancers perform their steps together. In this collage the music is both the dance and, as it were, the dancer— active and energizing. The two dancers, traditionally male and female, remind one of Motherwell’s Two Figures series from the late 1950s and the charged emotional space that the human body inhabits in his oeuvre.

In 1987, Motherwell drew on the basic composition of Pas de deux No. 1, when he asked Catherine Mosley to create a run of aquatints using a similar compositional ground. The resulting prints contained a pared-down composition, with the horizontal rectangle filling the top third of the paper and a brilliant red rectangle hanging down slightly to the right of the center, surrounded on three sides by black. On top of this ground, Motherwell collaged torn prints, sheet music, and other papers. He used the same ground in fifty-six works over the course of the summer.29 Each work is unique in its composition, although built on an identical ground, not dissimilar to the variations on a theme seen in the Gauloises collages. He named the series The Red and Black and numbered the works straight through, initially considering them “unique collage print[s],” as seen in his inscription on The Red and Black No. 55 (fig. 147). This particular work gives some insight into why Motherwell titled the series as he did. This collage was dedicated to the composer Arthur Berger “in memory of Paris, 1939,” a time when Motherwell and Berger, whom he had met at Harvard, were both living there. In June 1939 Motherwell had attended the premiere of the Ballets Russes de Monte Carlo’s production of Rouge et Noir (Red and Black), with costumes designed by Matisse. It is likely that Berger also attended

Fig. 146. Pas de deux No. 1, 1975 (c536)

Fig. 147. The Red and Black No. 55, 1987 (c814)

Fig. 148. Print from the Alphabet series, 1986. Aquatint, lift-ground etching and aquatint, and collage, 37 x 28 in. (94 x 71.1 cm). Engberg and Banach 2003, cat. no. 375

this performance; and in 1987 Motherwell wanted to commemorate their experience together with the gift of this collage.

Motherwell’s use of the phrase “unique collage print” in his dedication to Berger reflects his work the previous year on a set of collage prints, each a variation done on the same ground. The twentysix prints in the Alphabet series (see fig. 148), one for each letter in the alphabet, were made under circumstances similar to those of the Red and Black series, with an aquatint ground that was consistent throughout the entire series.30 In the Alphabet series, Motherwell worked on an ochre and black ground, pasting down layers of torn print proofs in a different configuration for each individual collage print. The series was meant to be seen together, all twenty-six pieces as part of one work, not as twentysix separate prints.31

Motherwell had planned to do something similar with the collages in the Red and Black series. But the following year, he decided that the collages in that series should be considered unique works, and he modified many of them with painted strokes of thinned oil-based etching ink. His printmaking and collage-making folded into one another in these two similar, yet different series in a way that illustrates the active dialogue between his two practices.

The idea of creating series of works with a particular element running throughout the whole had evolved between the 1972 series of Gauloises, where the cigarette packages and grounds were the constant elements, and the Red and Black series, where the entire ground remained consistent but the pasted elements changed. Motherwell used a variation of this approach in his last sustained collage series, titled Night Music Opus (see fig. 149), in which he synthesized aspects of the two earlier series. There are twenty-seven works in the Night Music Opus series, which he worked on in 1988 and 1989. Each collage contains Japanese rice papers of varying densities pasted onto a painted flat black ground.

Fig. 149. Night Music Opus No. 16, 1989 (c840)

Fig. 150. The Blue Guitar (c889), 1990–91

Fig. 151. Pablo Picasso, The Old Guitarist, 1903–4. Oil on panel, 48¼ x 32½ in. (122.6 x 82.6 cm). The Art Institute of Chicago; Helen Birch Bartlett Memorial Collection, 1926.253

Near the center of each work, a small piece of torn black paper is pasted on top of all of the other collage elements. This black paper is thicker than the other papers, which has the effect of flattening the composition out and moving the eye away from the center, while at the same time providing a point of focus. Motherwell said that his inspiration for this consistent black element came from what he called Miró’s dot, which had impressed him since 1941, and which he felt anchored the musicality of these collages and gave them a “necessary emphasis.”32 For all their classical calm, the Night Music Opus collages retain an element of chance and a certain automatist impulse because of the way the thinness of the rice paper reveals the strokes of glue. This appealed to Motherwell because “until the papers were glued down, I didn’t know what any of them would look like.”33 These simple compositions, reliant on the kinds of art papers that he had used in his earliest collages, embodied many of the qualities that Motherwell was striving for in his works across all media. “They have a certain ambivalence,” he said of them. “They can’t be connected with objects from the everyday world, yet they are not just vague. . . . It’s abstract like certain kinds of music in the sense that you’re not tied to any story or image.”34 The timbre of these abstracted forms, which have some of the resonance of Goya’s late black paintings, is grounded in the somber, rich black paint, a tacit acknowledgment perhaps of Motherwell’s growing sense of mortality. The images in the collages, although not linked to nature or to narrative, remain evocative and, as Motherwell said, “meditative.”35

The emotional pull of music is especially strong in one of Motherwell’s last collages, The Blue Guitar (fig. 150), which he began in mid-1990 as a work related to Eclipse (c865). In 1991 he cut down the canvas support of The Blue Guitar and covered much of the ground with blue and red paint. On top of this, he pasted down a long vertical sheet music manuscript by Chambliss Giobbi, the son of Motherwell’s friend the artist Edward Giobbi. The sheet music forms the neck of an abstracted guitar shape, becoming in a sense both the music maker and the music, much as the sheet music in Pas de deux No. 1 stood for both dancer and dance. The title and conception of this collage refer to Picasso’s Blue Period painting The Old Guitarist (fig. 151), a somber painting of an elderly man holding a guitar in his lap, with the elongated neck of the instrument extending beyond the top of the picture. In Motherwell’s collage, the guitar made from music and other pieces of paper is cradled within the composition in a similarly tender and contemplative way.

Picasso’s Old Guitarist is referred to in a well-known poem by Wallace Stevens, “The Man with the Blue Guitar,” which Motherwell directly alludes to in this collage, and which famously addresses the tensions between art and reality, describing how “things as they are / Are changed upon the blue guitar.”36

And the color, the overcast blue Of the air, in which the blue guitar Is a form, described but difficult, And I am merely a shadow hunched Above the arrowy, still strings, The maker of a thing yet to be made; The color like a thought that grows Out of a mood, the tragic robe Of the actor, half his gesture, half His speech, the dress of this meaning, silk

Sodden with his melancholy words, The weather of his stage, himself.37

Stevens’s description of the creation of music, and of art in general, was especially resonant for Motherwell at this time in his life. In The Blue Guitar, which was probably Motherwell’s last collage, he brought together a broad and deep array of allusions to music and poetry, as well as to the history of his own half century of making collages.

Paintings, 1975–1991: Inventions and Reinventions

jack flam

i n the fall of 1975 m otherwell finished one of his largest e legy paintings, and the one he had worked on over the longest period of time. He had begun Elegy to the Spanish Republic No. 100 (fig. 152) in 1962 and had shown it at his 1965 Museum of Modern Art retrospective; at that time it was a lyrical, rambling, spontaneous-looking work (fig. 153). He had been unhappy with how it looked at the retrospective and had tried unsuccessfully to have it pulled from the European tour of the show.1

He began to revise the painting in 1973, but without resolving it. When he took it up again in 1975, he drew imagery from a number of recent paintings, most notably the iconic image of The Spanish Death (fig. 132), which firmly anchored the left portion of the large Elegy No. 100. Motherwell struggled with the picture for several months before he finally finished it, on November 4, 1975, when he triumphantly noted in his datebook: “Finish Elegy #100!! after ten years.” After more than a decade of struggle, he had transformed it into one of the most powerful Elegy paintings, an architectonic composition in which the carefully calibrated relationships between the black and white forms, and between those forms and the framing edges, clearly reflect his experience with the Open paintings.

Around the same time, Motherwell worked on a number of other large Elegies. He finished Elegy to the Spanish Republic No. 126 (p851), another especially large picture, which he had begun three years earlier, and he undertook a set of eight large Elegies (p815–p822) that were more intricately interrelated, and more programmatic, than any of the previous groups of Elegies. They were consciously conceived of as two groups of four Elegies with similar kinds of compositions but different spatial structures. Some were painted in black and white, some had other colors; some contained curvilinear forms (p815, p818, p819, p820), while others were more strictly rectilinear (p816, p817, p821, p822). chapter 10

opposite. Motherwell’s Greenwich studio in 1981 with (left to right, top to bottom) p872, p871, p870, p866, p867, and early versions of p1160 and p1024

Fig. 152. Elegy to the Spanish Republic No. 100, 1962–75 (p850)

Fig. 153. Elegy to the Spanish Republic No. 100 (p850), as shown in 1965

When Motherwell started these two groups of Elegies, he told Robert Hobbs that he had conceived of the first four “in terms of space that varies from shallow to great depth,” and the second four with backgrounds that would be “a void or wall, depending on how one chooses to look at them.”2

As Hobbs noted at the time, Motherwell saw this as a different way of working with the Elegy motif “in terms of space,” which involved the risk of “starting the series anew.”3 These preoccupations grew directly out of Motherwell’s work on the Opens, and although he soon reverted to more varied and spontaneous-looking imagery in the Elegies, his undertaking such a project was indicative of both the degree to which the Elegy series continued to engage him and the degree to which his ruminative character constantly drove him to probe the limits of virtually everything he undertook.

These preoccupations with space also led Motherwell to do a number of large pictures that took their point of departure from the gestural imagery of a series of small Primordial Sketch paintings (see p864–p869). These large paintings purposely had a less stable kind of spatial construction, as is evident in the monumental In Black and White No. 2 of 1975 (fig. 154), which was based directly on two works titled Study for In Black and White No. 2 (p830 and p859). The arcing black forms that dominate In Black and White No. 2 clearly evoke an abstracted mountain landscape; yet at the same time there is a curiously awkward figural overtone, as if the painting were meant to evoke a state of being that is somewhere between these supposedly distinct categories. A painting like this makes one think of a letter Motherwell wrote in 1990 to Montague Ullman, his long-

time psychoanalyst and a specialist in dreams, in which he says, “I suppose I dream as every one does, but never wake up aware of having dreamt, and have no memory of any dream in which a person whom I know (including my wife, my child, my friends) has ever appeared. It must be that they appear in some kind of ill-defined presence in my dreams and maybe, in an effort to relate it to your interests, my work is about certain qualities of reality generalized, but very concretely, into a world of nameless presences.”4 Such nameless presences appear a good deal in his late paintings, sometimes as “monsters,” from Threatening Presence (fig. 155) to Mexican Past (see fig. 168), one of the last paintings he completed.

During the early 1970s, H. H. Arnason had begun to work on a book about Motherwell and his work, which appeared as part of a series of monographs on important contemporary artists

Fig. 154. In Black and White No. 2, 1975 (p860)

Fig. 155. Threatening Presence, 1976 (p875)

published by Harry N. Abrams. Around the same time, E. A. Carmean Jr. and Robert Hobbs began research for doctoral dissertations that took Motherwell as their subject, as would Robert Mattison a few years later.5 Motherwell became deeply involved in the process of supplying images and information to Arnason and the younger scholars. This activity, along with the selection process for a 1977 European retrospective exhibition, no doubt gave him an increased awareness about the development of his own work, which led him to rediscover earlier pictures that he had more or less forgotten. This, in turn, led him to explore the creation of new themes and motifs. This process of invention and reinvention was to characterize his work for the rest of his life, as he revisited old themes and at the same time restlessly explored new kinds of painted imagery, working with various motifs in different mediums and different sizes.

His large new painting studio allowed Motherwell to undertake a number of monumental works at the same time, which synthesized and transformed his earlier preoccupations into something quite fresh. In Phoenician Red Studio (fig. 156), for example, he sets charcoal lines (said by Motherwell to be based on letters from the Phoenician alphabet) against the “normal” structured geometry of the rectangular U shape. The title alludes to Matisse’s famous Red Studio, with which it enters into a dialogue based on different ideas of redness.

In Broken Open (fig. 157), he set the lines into an area in which he had deliberately painted out the Open form in such a way that he “fractured the rectangle that constitutes the opening with several lines.” After looking at the painting for a while, he

noticed that one of the new lines, which was not geometrical, produced a “very beautiful” effect. “So I painted the new line in,” he explained, “and painted out the regularity of the open.” He liked the way the underpainting showed through slightly, thereby making it an Open and yet not fully an Open— hence the title, Broken Open 6 We are thus invited at the same time to see what is actually before our eyes and also to sense the absent “presence” of something else, a process of allusion that is at the very core of Motherwell’s approach to picture-making.

Although Motherwell had reconfigured his studios in the mid-1970s so that he could engage the different parts of his oeuvre separately—one studio for painting, another for collages, another for prints—during this period there was an increase in the interaction and exchange between the imagery of his paintings, collages, and prints. The serial techniques he developed in his prints affected his

Fig. 156. Phoenician Red Studio, 1977 (p924)

Fig. 157. Broken Open, 1981–88 (p1142)

paintings as well as his collages, and he sometimes used similar imagery in the works he did in the different mediums, especially in his prints and paintings on paper. But as he wrote in 1977: “I cannot emphasize enough that, above all, I am a painter, mainly a painter; and, on the profoundest level, only a painter: an old man (62) obsessed with the brush. Everything else is subordinate to painting. Everything else flows from painting. Painting is the emotional centre of my being, and, at its best, my deepest expression.”7

Toward the end of 1974, Carmean, now a curator at the National Gallery of Art in Washington, D.C., conveyed a proposal from the museum that Motherwell do a large painting for its new East Building, designed by the architect I. M. Pei.8 Since works by two older artists whom Motherwell greatly admired, Joan Miró and Alexander Calder, were also being planned for the building, it was an especially prestigious commission for him. The formal agreement with the museum began to take shape during the course of 1975, when it was decided that Motherwell’s contribution would be a large Elegy painting, and the National Gallery’s trustees approved it in 1976. Motherwell then did a number of drawings and small painted sketches (see p950–p955), and finally a collage maquette for a composition in several colors, which was chosen by the museum and approved by the trustees in September 1977 (see c616). But Motherwell soon realized that a black-and-white composition would better suit the austere, pale stone interior of the building, and at the end of the year the trustees met again and approved instead a blackand-white maquette. A full-scale cartoon based on the maquette was prepared and transferred to canvas by Motherwell’s assistants in January 1978, and he executed the large painting between January 30 and February 14, 1978.

In this mural, which is called Reconciliation Elegy (fig. 158), Motherwell hoped to create a large picture that would convey a sense of political reconciliation, in the United States as well as in Spain, and also a coming to terms with life and death. The composition is based on a small, spontaneously rendered sketch. This procedure of scaling up a small study echoed his approach to the New England Elegy (fig. 90). And as with that earlier mural painting, in the end he felt that he had lost something in both spontaneity and scale. And after he saw Reconciliation Elegy installed in March 1978, he made

Fig. 158. Reconciliation Elegy, 1978 (p956)

Fig. 159. Drunk with Turpentine, 1979 (w583)

Fig. 160. Stephen’s Iron Crown, 1981 (p1030)

plans to rework the white area along the left edge to make it seem a bit less empty; but those revisions were never done.9

In 1979, as Motherwell was preparing works for his Robert Motherwell and Black exhibition at the University of Connecticut, Storrs, he executed a number of paintings in oil on paper that came to be called the Drunk with Turpentine series (see the Comments for w542), two of which were exhibited at Storrs. These vigorously painted pictures were done with the kind of spontaneous outpouring of energy and inventiveness that had marked the Lyric Suite drawings more than a decade earlier. Motherwell, who loved to work on paper, which he called “the most sympathetic of all painting surfaces,” later compared the process of painting these two series, saying, “Perhaps I feel happiest when, during the creative process, I simply let work ‘pour out,’ so to speak, without critical intervention or editing.”10

Many of these vigorously brushed oil paintings on paper, such as Drunk with Turpentine (fig. 159), became the models for large-scale black-and-white paintings done a couple of years later in acrylic on canvas, such as Stephen’s Iron Crown (fig. 160). These large paintings are an extension of Motherwell’s ongoing desire to find a way of rendering large imagery that could convey the same kind of energy and randomness as his small, spontaneously painted works—as he had tried to do recently in Reconciliation Elegy, and in New England Elegy a decade earlier. In Stephen’s Iron Crown, which is roughly four times wider than the Drunk with Turpentine painting on which it was based, he succeeded remarkably well. He even created an equivalent for the yellowish bleeding of the oil into the paper of the smaller work by painting in a kind of halo around the black forms in the large acrylic painting. This process of working up small images into large pictures was characteristic of his later years.11

The imagery related to the Elegies was reinvigorated and transformed in a number of surprising ways during the 1980s. Face of the Night (for Octavio Paz) (fig. 161) is a painting that brings together many strains in Motherwell’s work. It is both a culmination of his paintings of the 1970s and a precursor of the way he would attempt to fuse and reinvent many of his themes during the 1980s. This painting was begun in 1977 with forms similar to those in his “monster” paintings (see fig. 162); its initial composition was based on the small Primordial Sketch No. 8 (p866), which contained a looming black

form on an ochre ground, similar in feeling to large-scale works such as Threatening Presence (fig. 155), Atavistic Presence (p922), and Primal Image (p1160), which were in his studio while he was working on this picture. Motherwell subsequently added vertical bands of bright color to the ground, inspired by a reproduction of a Matisse paper cutout that he had hanging in his studio (see the Comments for p1024).

161. Face of the Night (for Octavio Paz), ca. 1977–79 (p1024)

162. Face of the Night (for Octavio Paz), 1979 version (on right)

The painting in that form (see fig. 162) was shown in 1979 under the title Cuba y La Noche, a title taken from a poem by José Martí. But in 1981 Motherwell dramatically altered it by adding large areas of black over most of the brightly colored areas.

The painting was transformed into a composition built on massive dark forms that embodied different degrees of blackness, so that black is not only used as a color but contains within it something like a range of colors, modulated by degrees of darkness and variations in surface texture. The literary references in the title, first to the Cuban poet Martí and then to the Mexican writer Octavio Paz, have strong political and existential resonances. (Martí led the struggle to free Cuba from Spain, and Paz made principled stands against oppression throughout his life, from his support for Republican Spain in 1937 to his protest against the Mexican government’s massacre of student demonstrators in 1968.) The drastic revisions Motherwell made by adding brightly colored areas to this painting, and the radical extension of large areas of black—as he had done with the earlier Iberia paintings—are typical of the sorts of extensive reworkings that he would increasingly undertake in his paintings during the 1980s. In a 1982 interview, Motherwell discussed in detail what he called the “three radical transformations” that Face of the Night (for Octavio Paz) had gone through, and

Fig.

Fig.

its relation to his “monster” paintings and to collage. “The separate stages of painting this picture,” he said, were “an indirect process of collaging. Time is collaged.”12

In a 1985 letter to the English curator Bryan Robertson, Motherwell singled out Face of the Night (for Octavio Paz) and The Hollow Men (fig. 163) as being among what he called “the most realized works of my career.” He also noted that they were both in a sense “literary”—not only because of references to poetry in their titles, but because they also included “various submerged and indirect references” to other elements outside the pictures themselves—what he had earlier called after-images. In discussing Face of the Night (for Octavio Paz) Motherwell singled out the “Mexican color” and also that particular sense of “ominousness that is one major chord in the Mexican experience.”13 Writing at the age of seventy, Motherwell still recalled the thrill of encountering those bright Mexican colors as a young man back in 1941, and he still remembered the aura of tragedy that he had felt in Mexico when he was starting in earnest his career as a painter.

Unlike Face of the Night (for Octavio Paz), which had started out as a kind of “monster” painting and ended up using a vocabulary of forms not unlike that of the Elegies, The Hollow Men started out with shapes that were clearly related to the Elegies (see, for example, p1061 and p1062),14 but which were then transformed into an ensemble of loosely drawn forms that are linked in a surprisingly representational way, almost like figures holding hands. Motherwell described the subject of The Hollow Men in his 1985 letter to Bryan Robertson as not only the “straw men” of T. S. Eliot’s poem but also “a funny kind of group resignation”15—a connection made all the more telling by the fact that Motherwell had originally considered calling this picture

Ulysses’ Crew. Imagery related to The Hollow Men was subsequently adapted in a number of later works, such as The Golden Bough (fig. 164) and The Grand Inquisitor (fig. 165), and in numerous sketches and variations of the Hollow Men motif, with its meandering, curvilinear drawing of abstracted figures on an ochre ground. Though not as archetypal as the Elegies and Opens, the emotionally charged forms in The Hollow Men became the last major type of image to become part of Motherwell’s painting repertory.

Face of the Night (for Octavio Paz) and The Hollow Men were the two most recent large works in Motherwell’s retrospective exhibition that opened at the Albright-Knox Art Gallery in the fall of 1983 and traveled to a number of other cities in the United States for the next year and a half before closing at the Solomon R. Guggenheim Museum in New York City. It was a large exhibition, with over seventy works when it was seen in Buffalo, and it became even larger at the Guggenheim Museum, where over

Fig. 163. The Hollow Men, 1983 (p1063)

ninety works were shown. Most of the reviews were very positive; though, taken as a whole, they covered the whole spectrum of the opinions that had been expressed about Motherwell’s work over the past forty years. The “purity” of Motherwell’s art was praised, and his importance as a spokesman for Abstract Expressionism was recalled.16 Unfortunately, readers were also repeatedly reminded that he was considered “too French,” “too literate,” or “too intellectual.”

But as Fidel Danieli pointed out in a particularly spirited review of the Los Angeles version of the show, those tags were in fact critical fictions that had nothing to do with the importance or power of Motherwell’s art. “It is ridiculously limiting,” Danieli wrote, “to reject the evenhanded balance of thought and emotion, of verbal and visual skills exemplified by Motherwell. . . . For him art is not only a statement. It is a dialog, a conversation, a creative response calling forth another response. He selectively appropriates and expands on what deeply moves him and thus moves us. He is with the past, not of it, not against it.”17

The two reviews that perhaps best sum up the poles of opinion were those by Michael Brenson, reviewing the Buffalo version of the show in the New York Times, and Arthur Danto, who reviewed the show for the Nation when it was at the Guggenheim Museum. Brenson made the range of critical opinion about Motherwell the main theme of his review. “As much as any living artist,” Brenson began, “Robert Motherwell divides the art community into two camps. For some he is a modernist master, a major figure of Abstract Expressionism . . . he is also a voice, perhaps the most eloquent spokesman for a heroic approach to art.”18 For others, Brenson noted, “Motherwell is almost antipathetic. They do not believe in the importance of his work, feeling his artistic reputation is due more to his polemical than his pictorial gifts. . . . Far from considering him a positive voice, this camp is distrustful of his propensity for big terms like tragedy, metaphysical void or the self, and the license for waxing poetic such terms have given generations of curators and critics.” Brenson declared himself firmly in the second camp and spent the rest of his review listing point by point what he thought were the pictorial weaknesses in Motherwell’s paintings.

Fig. 164. The Golden Bough, 1986 (p1115)

Fig. 165. The Grand Inquisitor, 1989–90 (p1182)

The exact opposite position was taken by Danto. In by far the most thoughtful review of the exhibition by anyone in either camp, Danto considered the tragic and metaphysical aspects of Motherwell’s painting: “You cannot subtract his world or his affective substance from the paintings and concentrate merely on what is left, for they are severely reduced if they are not perceived as a double opening into a painted world and a soul.”19 Of the Elegies, Danto wrote that he knew “of no paintings by a contemporary artist more moving than the Spanish elegies. Their power must somehow be explained by the feeling in Motherwell that he has managed to objectify, and which has driven him in an obsessive way to deposit repeatedly much the same array of forms.” Danto ended his review by setting in context the notion expressed by Brenson that a heroic approach to art “was mocked and repudiated by post–Abstract Expressionist generations.”20 “It is a sobering thought,” Danto wrote, “that the words of appraisal one wants to apply to these works—elegant, thoughtful, austere, intellectual, critical, aristocratic, subtle, tasteful, refined—are almost terms of studied abuse in the art world of our time. In this sense Motherwell’s paintings stand as a mirror of our age: in their grace we see our tawdriness.”21

In the year or so that preceded the retrospective exhibition, Motherwell had reviewed a number of his works for possible inclusion in it, which precipitated a self-critical appraisal of his work that was similar to the one he had undergone at the time of his 1965 Museum of Modern Art retrospective. As pictures that had been in storage, and that he had not seen for a long time, were returned to his studio for study and selection, he became involved in revising several of them. As the catalogue raisonné entries show, a number of paintings were revised between 1981, when plans for the show began to solidify, and 1985, when the show closed. During this same period, Motherwell also revised a number of pictures that were shown at his annual exhibitions at Knoedler & Company. As is discussed in the catalogue raisonné entries, a good many paintings were revised not only once or twice but sometimes even three or four times after they were initially shown.

Sometimes paintings underwent surprising transformations. The Big 4 (fig. 166), for example, started out as a kind of large, free-form Open, somewhat in the general mode of the later Shem the Penman paintings (see p1066–p1069). In fact, the first version of The Big 4, which had an ochre ground, was modeled on the slightly earlier Primal Mark (p1086) and was first shown at Knoedler in 1985 as Primal Sign on Sand (see fig. 265).

After the large painting was returned to Motherwell in February 1987, he repainted most of the ground red. It was then sent out on consignment to Knoedler for a second time that April, and was exhibited there in May under its new title, The Big 4. It was returned to Motherwell again in January 1988, after which he made one more minor revision, adding the white paint on the left side of the black figure 4.

Fig. 166. The Big 4, 1985–88 (p1138)

Another surprising large work from these last years of the artist’s life is The Feminine II (fig. 167), the only large picture Motherwell painted during the summer of 1988, because of problems with his shoulder that made it difficult for him to work on a large scale. This painting was enlarged from a much smaller study for it (p1152), which was one of the most overtly sensuous and literally figurative paintings Motherwell had ever done. The image in the study is quite clearly a highly stylized but very easily recognizable rendering of a woman’s lower torso and legs, rendered in flesh-tone pinks.

When Motherwell treated the motif on the large canvas, he intensified the color—and also the precision of the drawing—transforming it paradoxically into a clearly Matisse-like figure that bears no precise resemblance to a specific work by Matisse yet echoes the curvilinear forms that the French artist used in his 1932–33 mural for the Barnes Foundation and in some of his late cutouts.

168. Mexican Past, 1990–91 (p1204)

169. Massive Image, 1990–91 (p1206)

Motherwell was immensely productive during this period—inventing, reinventing, working, reworking. Some of his pictures were recastings of earlier themes, such as Elegies or monsters, while others were extensions of the kinds of imagery he had begun working with in The Hollow Men. He also continued, virtually right until the end of his life, his longtime engagement with Mexican and Spanish themes. The Grand Inquisitor (fig. 165) had started out with the title Catalonia; but, as was frequently the case, when he reworked a picture, its associations changed, and so, often, did its title. Among his last large paintings was Mexican Past (fig. 168), a large, emotionally raw and anguished painting that provides a striking contrast with the equally ominous but more stoically selfcontained Massive Image (fig. 169).

During the last decade of his life, Motherwell returned to the Elegy theme several times, both in small studies and in large-scale works. One of the motifs that he reintroduced in the late Elegies was the horizontal wedge-like form at the upper right corner, which had been an essential element in the composition of At Five in the Afternoon, and which had appeared intermittently in the intervening years, in works such as Elegy with Sprung Rhythm (p234). During the 1970s this motif appeared more often, and Motherwell returned to it in his last four numbered Elegies (p1175–p1178), where it plays a prominent but very different role in each one. The most extreme expressive differences are between its use in Elegy to the Spanish Republic No. 171 (fig. 170) and Elegy to the Spanish Republic No. 172 (with Blood) (fig. 171). In Elegy to the Spanish Republic No. 171, this form has a kind of ghostly paleness that recalls the open space and transparency of the Opens. In Elegy to the Spanish Republic No. 172 (with Blood), it is a massive, blocky form that functions somewhat like a hammer striking against an anvil.

This painting, the last of the very large Elegies, stands in a kind of symmetrical position within Motherwell’s career in relation to At Five in the Afternoon. The spots of red in this painting are

Fig. 167. The Feminine II, 1988 (p1153)

Fig.

Fig.

Fig. 170. Elegy to the Spanish Republic No. 171, 1988–89 (p1176)

Fig. 171. Elegy to the Spanish Republic No. 172 (with Blood), 1989–90 (p1177)

reminiscent of the telling way that Manet used small amounts of red in The Dead Toreador (1864; National Gallery of Art, Washington), or The Execution of the Emperor Maximilian (see fig. 56). In Elegy to the Spanish Republic No. 172 (with Blood), Motherwell goes one step further. He not only suggests the presence of blood within the painting but also describes it in the title, thus indirectly evoking the violence of the bullring.22 In this majestically austere painting, as in At Five in the Afternoon, there is a suggestion of a quasi-narrative element. And more explicitly than in any other Elegy since At Five in the Afternoon, this late painting returns to the theme of the bullfight, and to the confrontation with death that had been such an important part of Motherwell’s early paintings, and remained so until the last days of his life.

n otes to the c hapters

All letters and copies of letters from and to Motherwell, as well as all studio records, photog raphs, datebooks, and so forth, that are referred to in the endnotes, can be found in the Dedalus Foundation Archives. Any such materials that come from another source are noted as such. Publications listed in the Bibliography are given in a short form with the author’s name and the date. Further infor mation on unpublished writings by Motherwell can be found in “Writings by the Artist,” in the Bibliography. Throughout this book, when published writings by Motherwell are cited, only the title and date of the original publication are given, along with a reference to either the 1992 or 2007 edition of Motherwell’s writings (see Bibliography). If a text has been included in both Motherwell 1992 and Motherwell 2007, we cite only Motherwell 2007.

i ntroduction

1. Some believe that even a retrospective exhibition presents an artist’s work in a distorted manner, in that works are seen together in a way that the artist never could have seen them; see Francis Haskell, The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition (New Haven, Conn.: Yale University Press, 2000).

2. This was made clear in the spring of 2010 when the U.S. Postal Service issued a sheet of “Abstract Expressionists” postal stamps, which reproduced works by Motherwell, Willem de Kooning, Arshile Gorky, Adolph Gottlieb, Hans Hofmann, Joan Mitchell, Barnett Newman, Jackson Pollock, Mark Rothko, and Clyfford Still. Motherwell’s Elegy to the Spanish Republic XXXIV (p156) was by far the most clearly legible image.

3. Motherwell, interview with James Breslin, June 30 and July 4, 1987; see “Writings by the Artist,” in the Bibliography. In classical Greek the word lethe, which designated one of the five rivers of Hades as well as the personification of forgetfulness, literally means “oblivion,” “forgetfulness,” or “concealment,” and is related to the word for “truth,” aletheia, meaning “unforgetfulness” or “unconcealment.”

4. Motherwell to I. Michael Danoff, curator of the Michener Collection at the University of Texas at Austin, January 29, 1974.

5. Motherwell, interview notes incorporated into a September 8, 1987, draft of the script for Robert Motherwell and the New York School: Storming the Citadel, directed by Catherine Tatge (1990); see Filmography.

6. Motherwell, draft of a letter to Guy Scarpetta, 1977. To mark the occasion of Motherwell’s 1977 retrospective exhibition at the Musée d’Art Moderne de la Ville de Paris, Scarpetta had sent Motherwell a dozen questions about his working procedure; some of Motherwell’s detailed responses were published in Scarpetta 1977.

7. Motherwell in Samuel M. Kootz Gallery exh. cat. April 1947, n.p.

8. Motherwell in Flam 1983, pp. 12–13. Motherwell slightly modified this statement in 1982 from a version published in “Excerpts from a Public Lecture and a Conversation with Students” (transcript of a lecture and discussion with students at Von der Mehden Recital Hall, William Benton Museum of Art, University of Connecticut, Storrs, April 6, 1979). In Robert Motherwell & Black, exh. cat., compiled by Stephanie Terenzio, edited by Hildegard Cummings (Storrs, Conn.: William Benton Museum of Art, 1980), p. 128.

9. This is discussed in Chapter 4 in this volume.

10. Motherwell to Scarpetta, 1977.

11. See Pepe Karmel, “Pollock at Work: The Films and Photographs of Hans Namuth,” in Jackson Pollock, by Kirk Varnedoe with Pepe Karmel (New York: Museum of Modern Art, 1998), pp. 87–137.

12. Museum of Modern Art questionnaire, filled out by Motherwell in May 1945; see “Writings by the Artist,” in the Bibliography. The specificity of his reply was to a request for information about the subject of the work and its possible “personal, topical or symbolic significance.”

13. Motherwell, interview with Bryan Robertson, 1965; see “Writings by the Artist,” in the Bibliography.

14. William Butler Yeats, “Byzantium”: “A starlit or a moonlit dome disdains / All that man is, / All mere complexities, / The fury and the mire of human veins.” The Collected Poems of W. B.Yeats (New York: Macmillan, 1956), pp. 243–44.

15. Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, p. 27.

16. André Breton, “Manifeste du Surréalisme,” 1924; translated in The Autobiography of Surrealism, ed. Marcel Jean (New York: Viking, 1980), p. 123.

17. Motherwell, interview with Breslin, 1987.

18. Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, p. 35.

19. Motherwell, “The Significance of Miró,” 1959; reprinted in Motherwell 2007, p. 192.

20. Motherwell in “Artists’ Sessions at Studio 35 (1950),” in Modern Artists in America, ed. Robert Motherwell and Ad Reinhardt (New York: Wittenborn, Schultz, 1951), p. 20.

21. Motherwell, interview with Robertson, 1965.

22. Motherwell, interview with Jack Flam, November 5, 1982, in Flam 1991, pp. 10–11.

23. Motherwell’s intense involvement with the process of painting was noted by his psychiatrist, Montague Ullman, in a case history that is clearly based on the artist. “Whenever he discussed his work,” Ullman wrote, “it was in terms of the act of painting; and only an occasional reference was made to a finished picture.” Montague Ullman, “Factors Involved in the Genesis and Resolution of Neurotic Detachment,” Psychiatric Quarterly 27, no. 2 (April 1953): p. 235.

24. Motherwell in Carmean 1980, p. 77.

25. Motherwell first discussed the “afterimage” in an unpublished July 22, 1957, interview with Irving Sandler, where he credited the idea to the sculptor Tony Smith, who believed that “all modern artists work in after images of what they like” (see “Writings by the Artist,” in the Bibliography). Sandler’s transcript does not hyphenate the term, but Motherwell hyphenates it elsewhere, so I have followed suit and have hyphenated it in my citations of Sandler’s interview). In this interview Motherwell noted that “the afterimage of de Kooning, Newman, myself has to do with cubism and collage, with Miro.” Motherwell went on to tell Sandler, “The after-image is a form of stealing and real morality exists whenever what has been stolen is made stronger than it is in the original. If not, it is bad. When you see derivative painting which is weak, you think of the original; not so in strong painting. If the above be true, then there is a terrific internal logic, a secret history that has never been written and is much more interesting than external history. It is what men have loved and hated, not automatons walking through history. It becomes an adventure instead of a compulsion.” Motherwell also discussed the concept with H. H. Arnason (Arnason 1966a), and mentioned it a number of times in subsequent interviews and letters. See in particular the interesting discussion of the after-image in Mattison 1982, p. 9.

26. Motherwell, interview with Sandler, July 22, 1957.

27. Motherwell to Ronald Alley, October 2, 1970.

28. While Motherwell had a deep belief in the liberating force of psychic automatism, he realized quite early “that what they called automatism or automatic painting, was really essentially what Freud would call freeassociation” (interview with Martin Friedman and Dean Swanson, Walker Art Center, 1972, p. 6 of transcript; see “Writings by the Artist,” in the Bibliography). As early as 1944, Motherwell was able to write with a kind of skeptical passion about the contradictions that the concept of automatism contained: “The fundamental criticism of automatism is that the unconscious cannot be directed, that it presents none of the possible choices which, when taken, constitute any expression’s form. To give oneself over completely to the unconscious is to become a slave. But here it must be asserted at once that plastic automatism . . . is actually very little a question of the unconscious. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century’s greatest formal inventions.” Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, pp. 34–35.

29. Motherwell, interview with Paul Cummings, 1971; see “Writings by the Artist,” in the Bibliography.

30. Motherwell wrote about this in a December 6, 1977, letter to Irving Sandler, saying that Sandler had not well characterized his work in The Triumph of American Painting because “it is

much more varied in subject matter, mediums, and size than any of my colleagues . . . because of the diversity of my work, it is more difficult to have a generalized image than, say, of Kline or Rothko or Pollock. Nevertheless, there is an underlying unity” (see “Writings by the Artist,” in the Bibliography).

31. Motherwell to Dorothy Miller, May 22, 1946. Around the same time, he gave some idea of his underlying motivation when he wrote, “Structures are found in the interaction of the body-mind and the external world; and the body-mind is active and aggressive in finding them. . . . Feelings must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses to the objects of the external world.” Motherwell, “Beyond the Aesthetic,” 1946; reprinted in Motherwell 2007, pp. 54–55.

32. Samuel M. Kootz Gallery exh. cat. November 1950, n.p.

33. Motherwell, “Expressionism,” ca. 1950; reprinted in Motherwell 2007, pp. 99–100.

34. Motherwell, “What Abstract Art Means to Me,” 1951; reprinted in Motherwell 2007, p. 159.

35. Motherwell to Joseph Paul Hodin, August 10, 1966; see “Writings by the Artist,” in the Bibliography. The letter was written in response to questions that Hodin had posed in a previous letter.

36. Motherwell to Scarpetta, 1977.

37. Ibid.

38. Motherwell made these remarks in a tape-recorded interview with Jack Flam on November 5, 1982, while he was choosing works for his 1983 retrospective exhibition, which was seen at six major American museums. The exhibition opened at the AlbrightKnox Art Gallery, Buffalo, in October 1983 and closed at the Guggenheim Museum, New York, in February 1985. See Flam 1991, p. 10. 39. Flam 1991, p. 10.

40. This mindset continues to the present day. See, for example, Rosenberg 2010, where Motherwell’s Wall of the Temple mural (p114) was described as follows: “The finished project has some of the hallmarks of gestural abstraction—loose brushwork, rough outlines— but it looks far from spontaneous, and not all that much like a Motherwell.”

41. See Motherwell in “Artists’ Sessions at Studio 35 (1950),” in Modern Artists in America, p. 20.

42. For a concise overview of the development of serial imagery, see Eik Kahng, “Repetition as Symbolic Form,” in The Repeating Image: Multiples in French Painting from David to Matisse, ed. Eik Kahng (Baltimore: Walters Art Museum, 2007), pp. 11–25.

43. Anna Chave, in Mark Rothko: Subjects in Abstraction (New Haven, Conn.: Yale University Press, 1989), was the first to observe that the forms in Rothko’s paintings might suggest

entombment or pietà imagery (pp. 149–55, 161–71).

44. In 1967, Mel Bochner’s article “Serial Art, Systems, Solopsism” was published in the summer issue of Arts Magazine (and reprinted in Gregory Battcock’s influential Minimal Art: A Critical Anthology the following year); that fall, he and Elayne Varian organized an Art in Series exhibition at Finch College, on Manhattan’s Upper East Side, which included works by several contemporary artists, including Dan Flavin, Jasper Johns, Donald Judd, Robert Rauschenberg, and Robert Smithson. Bochner’s accompanying essay, “The Serial Attitude,” was published in the December 1967 issue of Artforum. The following year, John Coplans mounted Serial Imagery at the Pasadena Art Museum, which was accompanied by an influential catalogue. This traveling exhibition offered a historical survey of the subject that began with Claude Monet and ended with Andy Warhol. See Kahng, “Repetition as Symbolic Form,” pp. 14–19; also, James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, Conn.: Yale University Press, 2001), pp. 179–83.

45. Barnett Newman, “The Sublime Is Now,” 1948; reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill (Berkeley and Los Angeles: University of California Press, 1992), pp. 170–73.

46. Motherwell, lecture at Washington University, Saint Louis, November 23, 1952.

47. Motherwell, “The School of New York,” 1951; reprinted in Motherwell 2007, p. 154.

48. Motherwell to Scarpetta, 1977.

49. Motherwell, interview with Robert Mattison, June 5, 1980; cited in Mattison 1987, p. 80.

50. Mallarmé’s Swan takes inspiration from Matisse’s Piano Lesson. Among later works, both Black Plant and Window (p103) and Still Life with Yellow and White (w12), done in 1950, make clear references to the leaf forms in Matisse’s late paintings and cutouts; Interior with Nude of 1951 (p121) is a daringly inventive variation on Matisse’s 1936 Painter and His Model (see fig. 59); the 1955 Je t’aime No. III with Loaf of Bread (p159) incorporates a phrase inscribed in a well-known Matisse lithograph; both the 1964 America Cup and the 1977 America Cup II (c150 and c599) make clear allusions to a Matisse cutout of a sailboat; Beige Figuration No. 1, 1967 (c228), and In Celebration, 1975 (c513), refer to the compositions of specific Matisse cutouts; The Blue Painting Lesson of 1973–75 (p842–p846) and related works in the Open series were clearly inspired by Matisse’s blue 1914 View of Notre Dame; the large Phoenician Red Studio of 1977 (p924) pays homage to Matisse’s 1911 Red Studio; and the vertical bands of yellow, pink, green, and red in Face of the Night (for Octavio Paz), worked on between 1977 and 1981 (p1024), were directly inspired by a 1951 Matisse cutout. The Feminine II of 1988 (p1153) was also inspired in a general way by Matisse. For details, see the catalogue entries for these works and also the discussions of Matisse in Chapters 1–10 in this volume.

51. See Mattison 1987, p. 6.

52. Ibid., p. 7.

53. D. W. Prall, Aesthetic Analysis (1936; reprint, New York: Apollo, 1967), pp. 147–48.

54. Motherwell, unpublished lecture given at the Fogg Art Museum, Harvard University, April 12, 1951; see “Writings by the Artist,” in the Bibliography. Part of this lecture was incorporated into “The Rise and Continuity of Abstract Art,” 1951; reprinted in Motherwell 2007, pp. 140–41.

55. “Peindre, non la chose, mais l’effect qu’elle produit” (emphasis given in the original).

Stéphane Mallarmé to Henri Cazalis [October 30, 1864], in Mallarmé, Oeuvres Complètes, vol. 1, ed. Bertrand Marchal (Paris: Gallimard, 1998), p. 663.

56. Motherwell, interview with Richard Wagener, Los Angeles, June 14, 1974; Otis Art Institute Gallery, Los Angeles, 1974.

57. “Vaste comme la nuit et comme la clarté, / Les parfums, les couleurs et les sons se répondent.” “Correspondances,” in Charles Baudelaire, Oeuvres Complètes, ed. Y.-G. Dantec and Claude Pichois (Paris: Gallimard, 1961), p. 11.

58. Motherwell, “What Abstract Art Means to Me,” 1951; reprinted in Motherwell 2007, p. 159. The connection is made in Van Hook 1983.

59. Motherwell, interview with Robertson, 1965.

60. Motherwell, “What Abstract Art Means to Me,” 1951; reprinted in Motherwell 2007, p. 159.

61. Motherwell, interview with Jack Flam, January 27, 1989, in Flam 1991, p. 14.

62. Edward Hirsch, The Demon and the Angel (Orlando, Fla.: Harcourt, 2002), p. 10.

63. Federico García Lorca, “The Duende: Theory and Divertissement,” in Poet in New York, trans. Ben Belitt (New York: Grove Press, 1955), p. 154. The flamenco singer referred to was Manuel Torre.

64. Motherwell, lecture at Yale University, 1982; reprinted in Motherwell 1992, p. 262.

65. Motherwell, “Reflections on Abstract Art,” lecture at the University of Munich, 1982; see “Writings by the Artist” in the Bibliography.

66. Motherwell coined the phrase in a lecture called “The New York School,” given in October 1950 (reprinted in Motherwell 2007, pp. 93–98), which formed the basis for the essay by the same name that he published in the catalogue for Seventeen Modern American Painters at the Frank Perls Gallery in Beverly Hills the following January.

67. Motherwell, interview with Cummings, 1971.

68. Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, pp. 27–35.

69. Motherwell at the Seventh Annual Conference of the Committee on Art Education, 1949; reprinted in Motherwell 2007, p. 75.

70. Ibid., p. 78.

71. “I suppose it is these various activities that have given me the name of being an ‘intellectual.’ Perhaps they make me so indeed. But I resent the invidious implications of the word in American society, the belief that an artist must be a feeling imbecile or probably is not an artist.” Motherwell, “A Personal Expression,” 1949; reprinted in Motherwell 2007, p. 80.

72. Motherwell to E. A. Carmean Jr., July 13, 1971.

73. During the mid-1950s, Barnett Newman overreacted in a paranoid way to statements Motherwell had made in writings and interviews. In December 1967 David Hare published a violent letter in Artnews, in which he accused Motherwell of intruding his own autobiographic events into other artists’ accomplishments. Among other things, Hare accused Motherwell of having falsely claimed to be an active editor of VVV, while Hare was the de facto editor; but in fact, the magazine’s files in the Research Library of the Getty Research Institute, Los Angeles, clearly document that Motherwell was indeed listed as editor in the page proofs for the first issue of the magazine, and it is certain that Motherwell played an active role in the actual editing of the first issue of the journal. For details on these incidents, see the Chronology in this volume.

74. Motherwell to Carmean, August 3, 1971.

75. Motherwell, interview with Flam, November 5, 1982, in Flam 1991, p. 13.

76. Ibid.

c hapter 1

1. T. S. Eliot to Conrad Aiken, September 1914; cited in Eric Griffiths, “Experimental Highs,” TLS, May 14, 2010, p. 3.

2. Eugène Delacroix, The Journal of Eugène Delacroix, trans. Walter Pach, introduction by Motherwell (New York: Viking, 1972), p. 87. This connection is made by Robert Hobbs, along with other parallels between Motherwell and Delacroix; see Hobbs 1975b, especially pp. 110–11.

3. In 1965, Motherwell told Bryan Robertson, “All my life I’ve been obsessed with death and was profoundly moved by the continual presence of sudden death in Mexico. (I’ve never seen a race of people so heedless of life!) The presence everywhere of death iconography: coffins, black glass-enclosed horse-drawn hearses, sigao skulls, figures of death, corpses of priests in glass cases, lurid popular woodcuts, Posada (he is staggering the way Verdi is—the people really find their voice in a man like that), and many other things—women in black, cyprus trees in their cemeteries, burning candles, black-edged death notices and death announcements, calling cards and all of this contrasted with bright sunlight, white-garbed peasants, blue skies, orange trees, and everything you associate with life. All this seized my imagination. For years afterwards, spattered blood appeared in my pictures—red paint” (Motherwell 1992, p. 145). Motherwell brought back a number of things from

Mexico, including papier-mâché masks, and perhaps brightly colored papers.

4. Lorca, “The Duende,” in Poet in New York, p. 162. Edward Hirsch has nicely characterized the duende as an embodiment of “a demonic anguish” that “suddenly charges and electrifies a work of art in the looming presence of death.”

See Hirsch, Demon and the Angel, p. xiv.

5. See, for example, the feature story copiously illustrated with photographs of prisoners in “Spain Shows the Fascist Post-War World,” Life, April 14, 1943, pp. 25–29.

6. For details, see the Chronology in this volume.

7. Motherwell, interview with Robert C. Hobbs, May 6, 1975, recounted in Hobbs 1975b, pp. 154–55.

8. Roberto Matta; cited in G. Ferrari, Entretiens Morphologiques, Notebook no. 1, 1936–1944, p. 210.

9. Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, p. 33.

10. A large exhibition of Miró’s work was shown at the Museum of Modern Art between November 18, 1941, and January 11, 1942, and Mondrian’s work was shown at the Valentine Gallery in January and February 1942.

11. For more on Motherwell’s concept of the “after-image,” see the Introduction to this volume.

12. At the time, Motherwell painted the apartment he and Maria lived in with bold stripes: “Motherwell painted it all white & then added vertical, ceiling to floor 2' or so wide strips of bright colors like fuchsia or yellow on places that jutted out here and there.” Virginia Waring to Tim Clifford, June 9, 2005.

13. Sartre’s story was first published in La Nouvelle Revue Française in 1937; it was translated by Lucy Cores in Alfred Brant and Frederick H. Law, War and Peace (New York: Harper, 1938).

14. Arthur Koestler, Dialogue with Death, trans. Trevor and Phyllis Blewitt (New York: Macmillan, 1942). Although we have not been able to document that Motherwell owned a copy of this book, it seems highly likely that he read it. Koestler’s book was widely reviewed when it came out, and Motherwell had a longtime interest in Koestler’s work; in 1965, when he donated many of his books to New York University, three books by Koestler were included in the donation, including The Yogi and the Commissar (1945), Arrival and Departure (1960), and The Act of Creation (1964); but he apparently kept Dialogue with Death and Darkness at Noon (1940).

15. Motherwell made this connection in a 1961 interview with Rudi Blesh; see “Writings by the Artist,” in the Bibliography.

16. Motherwell, plate caption in Janis 1944, p. 65.

17. Koestler, Dialogue with Death, p. 60.

18. Motherwell, plate caption in Janis 1944, p. 65.

19. In the catalogue of his 1950 solo exhibition at the Samuel M. Kootz Gallery, Motherwell wrote that this painting was the “first of the ‘Spanish Elegies.’ ”

20. Motherwell, Museum of Modern Art questionnaire, March 18, 1969. In this questionnaire, Motherwell wrote “Saturated in ‘Spanishness’ ” at the bottom of the page, and played down the influence of Mondrian.

21. Although this painting is reproduced in the exhibition catalogue, another painting was certainly shown, and we are not entirely certain that this one was; see the Comments for p8 and p9.

22. Although Motherwell later referred to the house he stayed in as being in Coyoacán, it was actually in nearby San Angel, directly to the west of Coyoacán; his use of Coyoacán in the title of this painting was doubtless meant to reinforce the association with Trotsky.

23. The letter to Schapiro is in the Meyer Schapiro Papers at Columbia University. The sketchbook is in the Dedalus Foundation Archives (see “Writings by the Artist,” in the Bibliography, and also fig. 177 in the Chronology, in this volume). Motherwell also confirmed the general subject in a February 22, 1946, letter to arts patron William Lee McKim, where he relates this painting to “a theme I constantly recur to, of dead (and assassinated) political leaders (e.g., ‘Remembrance of Coyoacan,’ exhibited with French surrealists in N.Y. in ’43 [sic]).” See “Writings by the Artist,” in the Bibliography.

24. Motherwell, interview with David Hayman, May 1989, p. 52 of transcript. For Peter Busa’s similar recollections, see David S. Rubin, “A Case for Content: Jackson Pollock’s Subject was the Automatic Gesture,” Arts Magazine 53, no. 7 (March 1979): pp. 103–9.

25. Motherwell, interview with Hayman, p. 52. Motherwell had forgotten about the existence of this drawing (which has been misdated to 1946) until 1989, when Hayman found it in the artist’s picture storage archive and asked him about it.

26. Motherwell’s descriptions of the various parts of this drawing (identified by the letters A to G) are given in the transcript of his interview with Hayman in 1989, pp. 53–63.

27. Ibid., p. 53.

28. In a 1957 interview with Irving Sandler, Motherwell said that he had made a now lost painted mannequin for Pollock: “[Pollock] once asked me for an abstract figure, a mannikin-like figure-painting (3 ½' high by 2') in the winter of 1941–42 which I gave him (Pollock had first show in 1943).” Irving Sandler papers, Research Library, Getty Research Institute, Los Angeles (box 22, folder 23). Decades later Motherwell explained to Robert Mattison how he had done what Mattison describes as “a painting with yellow and white vertical stripes very much like The Little Spanish Prison. The artist has said that he intended the bright tones to be a non-narrative metaphor for the feelings evoked by mid-day sunlight. The painting was unusual in that he painted on both sides of the

canvas and mounted it on a rotating pivot, so it would act as a turnstyle for those entering a planned, but never staged, exhibition” (Mattison 1985b, p. 89).

29. Motherwell, interview with Hayman, pp. 62–63.

30. “The convict of light, that moment in light when day comes but a star is still visible.”

Matta; cited in G. Ferrari, Entretiens Morphologiques, Notebook no. 1, 1936–44, p. 137. Baziotes and Kamrowski were working with similar imagery at the time.

31. Art of This Century exh. cat. 1944, n.p.

32. A copy of the press release is in the Dedalus Foundation Archives.

33. Artnews 1944, p. 26.

34. Farber 1944, p. 626.

35. The coffin-like shape in the painting and Motherwell’s original title for it, Dead Personage, relate this painting to the final illness and death of Motherwell’s father, which Motherwell learned of while in Mexico— which may account for the odd title it was shown under at Art of This Century: Untitled (Mexico)

36. Jewell 1944a, p. 8.

37. Greenberg 1944b, p. 599.

c hapter 2

1. Guggenheim had agreed to exhibit works by the younger artists, if anything came out of their meetings with Matta during the previous fall. The group disbanded in early 1943, and Guggenheim likely offered its members inclusion in the collage show in place of exhibiting works that stemmed from their meetings to create a new art movement.

2. An undated press release from the opening of Art of This Century notes, “Miss Guggenheim hopes that ‘Art of This Century’ will become a center where artists will be welcome and where they can feel that they are cooperating in establishing a research laboratory for new ideas.” Published in facsimile in Susan Davidson and Philip Rylands, eds., Peggy Guggenheim and Frederick Kiesler: The Story of Art of This Century (New York: Guggenheim Museum, 2004), pp. 178–79.

3. Guggenheim Jeune, London, Exhibition of Collages, Papiers-Collés, and Photo-montages, November 4–26, 1938.

4. Simon 1967, p. 22.

5. Motherwell in Robert Motherwell and the New York School: Storming the Citadel, directed by Catherine Tatge (1990); see Filmography.

6. Interview with Motherwell in 1980; cited in Mattison 1987, p. 78. Motherwell recalled the “violence of his attack on the material”; see Jeffrey Potter, To a Violent Grave: An Oral Biography of Jackson Pollock (New York: G. P. Putnam’s Sons, 1985), p. 71.

7. Mattison 1987, p. 57.

8. A similar centering of the composition can be seen in Braque’s 1913 Composition (a collage) and his 1914 Music (a painting), both reproduced in Alfred Barr’s 1936

Museum of Modern Art exhibition catalogue Cubism and Abstract Art (fig. 24), which Peggy Guggenheim gave Motherwell in 1942. Mattison 1987, p. 79, also discusses the influence of Picasso’s 1912 Man with a Hat on Motherwell’s first collage.

9. Later in the 1960s Motherwell started to center his collage elements, once again leaving a white border. See, for example, c225.

10. Jeanne Bucher, the first owner of the untitled collage (c2), put it into a portfolio that was not opened until 2005. As a result, it is in remarkably fresh condition. It holds additional significance for being perhaps the only accurate record we have of the intensely colored magenta and yellow papers Motherwell used during the 1940s, which are now faded in other works, such as Joy of Living (c3), Personage (Autoportrait) (c8), and Mallarmé’s Swan (c11).

11. This hat shape, which appears in later works (see c16 and p159), is derived from the stately hats that appear in the murals of Piero della Francesca. In a draft of a letter to E. A. Carmean Jr. dated July 13, 1971, Motherwell wrote, “But I also loved Piero della Francesca—a church hat of his appears in one of my two first collages.”

12. Regarding the button, see Arnason 1966a, p. 23. For Pollock’s early collages, see Francis Valentine O’Connor and Eugene Victor Thaw, eds., Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works (New Haven, Conn.: Yale University Press, 1978), cat. nos. 1023–25.

13. For several months beginning in late 1949, Motherwell shared a studio with Bradley Walker Tomlin. The space was used as the “Robert Motherwell School of Fine Art” several days per week and then as a studio for the remainder of the time. The two artists did not work together, though, in the way that Motherwell and Pollock did when they made these first collages.

14. Motherwell explained his reservations about working with others in a 1976 discussion about printmaking, “A Special Genius: Works on Paper,” 1976, p. 25; see “Writings by the Artist,” in the Bibliography.

15. Pollock did make some pasted works and some cutouts, but his use of collage was limited and not an integral part of his working process. See O’Connor and Thaw, Jackson Pollock

16. Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, p. 31.

17. Motherwell in Robert Motherwell and the New York School: Storming the Citadel, directed by Catherine Tatge (1990); see Filmography.

18. Motherwell’s name was erroneously left off of the invitation, on which is printed the only recorded list of the participating artists. No checklist survives from this exhibition, so it is impossible to tell if more than one Motherwell collage was included. Motherwell’s participation and the inclusion of Joy of Living have been confirmed through Art of This Century gallery sales records.

19. Saidie A. May also purchased Baziotes’s Drugged Balloonist for the Baltimore Museum of Art, marking his first sale as well.

20. The collages placed in collections were: Joy of Living (c3) to the Baltimore Museum of Art; Pancho Villa, Dead and Alive (c7) to the Museum of Modern Art, New York; Jeune Fille (c13) to James Johnson Sweeney, likely in exchange for his having written the introductor y essay to the catalogue; Personage (Autoportrait) (c8) to Peggy Guggenheim’s collection, probably exchanged for the painting she had purchased earlier, The Sentinel (p10); The Displaced Table (c4) to the Art of This Century gallery and then sold to Dwight Ripley at the time of the show; and The Painter (c12) to a private collection.

21. Motherwell, interview with Robertson, 1965.

22. It has often been assumed that Motherwell brought the brightly colored papers back from Mexico (see, for example, Wescher 1968, pp. 300–301), but we cannot be sure about this. Although it is likely that he brought home brightly colored papers from this trip as inspiration, just as he brought home papier-mâché masks in these popular colors, it is also possible that he purchased the papers in New York because they reminded him of Mexico.

23. The map fragments were identified through the county lines visible on the fragment in View from a High Tower (c17); both county lines end in “ee,” Muscogee and Chattahoochee counties near Fort Benning. My thanks to Jeremy Rogers for helping with the identification.

24. Motherwell, “What Abstract Art Means to Me,” 1951; reprinted in Motherwell 2007, p. 159.

25. The distinction between disjunctive and harmonious uses of pasted papers (collage versus papier collé) is outlined by William Rubin in his exhibition catalogue Picasso and Braque: Pioneering Cubism (New York: Abrams, 1989). Motherwell himself used the two terms interchangeably, which was common practice among artists of his generation. My essay follows Motherwell’s lead and does not differentiate between the two terms.

26. Motherwell in a Museum of Modern Art questionnaire filled out May 1945; see “Writings by the Artist,” in the Bibliography.

27. Arnason 1982, p. 105.

28. Anita Brenner, The Wind That Swept Mexico: The History of the Mexican Revolution, 1910–1942 (New York: Harper & Brothers, 1943).

29. Motherwell to Dorothy Miller, May 22, 1946.

30. See George H. Roeder Jr., The Censored War: American Visual Experience during World War Two (New Haven, Conn.: Yale University Press, 1993), pp. 7–14. The Office of War Information released the first images of dead American soldiers to the press in September 1943.

31. Motherwell collected images of war-torn countries and peoples in the 1940s. An anonymous essay written around 1948 gives

a detailed description of this: “War seemed like a logical progression for the discussion, and I contributed some of my reactions. It was then that Motherwell showed me some of the posters from war shattered countries, which he had clipped out of a magazine. An examination of these posters, purely from the viewpoint of their plastic sensations, will show interesting and vivid patterns with rich coloristic qualities. The effects of rain, sun, snow, etc., mutilations and physical reactions from observers, all served to increase and excite the surface. . . . But what I feel to be especially significant about these posters of Motherwell, is the effect of the subject matter involved in the surface effects. The content is War and Politics and the subject is dealt with in specific terms of personages and political parties. I believe that the content therein has a definite relation to the plastic shapes in such a way as to create a plasticity unique to that content. Somehow this content projects its tension and anxiety into the very forms used.” Anonymous typescript in the Dedalus Foundation Archives, pp. 6–7.

32. Arnason 1982, p. 104.

33. Motherwell to Robert Mattison, August 20, 1979; see “Writings by the Artist,” in the Bibliography.

34. Ibid.

35. Motherwell on an annotated checklist from the 1946 Arts Club of Chicago exhibition.

36. Motherwell in an interview with Jack Flam, November 8, 1989.

37. Other American painters, including Arshile Gorky, were also mixing sand into their paint at around the same time.

38. Motherwell to Dorothy Miller, May 22, 1946.

39. Motherwell, interview with Ann Eden Gibson, 1982; cited in Gibson 1984, p. 68.

40. Motherwell to John Cage, Pierre Chareau, and Harold Rosenberg, January 29, 1948; see “Writings by the Artist,” in the Bibliography.

41. As quoted in Gibson 1984, p. 71.

42. Clement Greenberg, “Collage,” Nation, November 27, 1948, p. 612.

43. Many of the reviews discuss collages. See for example Greenberg 1944b, Stroup 1944, and Jewell 1946d.

44. Motherwell in Samuel M. Kootz Gallery exh. cat. April 1947, n.p.

45. S[harp] 1949, p. 22.

46. Motherwell in Leepa 1949, p. 194. The work is called “Person with Orange” in Leepa’s book.

47. Ibid.

48. Ibid.

49. Greenberg 1948, p. 613.

50. Motherwell to Margaret Miller, July 25, 1948; see “Writings by the Artist,” in the Bibliography.

c hapter 3

1. In 1945 Motherwell and Baziotes left Peggy Guggenheim’s Art of This Century because she was not willing to give them contracts, and they knew that she planned to return to Europe once the war was over. After Motherwell’s 1946 solo exhibition at the Kootz Gallery, he renegotiated his contract so as to cut in half the number of pictures he was obligated to supply each year.

2. Motherwell made the connection to his own family in a June 6, 1961, interview with Rudi Blesh. Unpaginated handwritten transcript (sheet 24); see “Writings by the Artist,” in the Bibliography.

3. Motherwell to Dorothy Miller, May 22, 1946.

4. Greenberg 1946, p. 110.

5. Greenberg 1947, p. 665.

6. This was first pointed out by E. A. Carmean Jr. in Museum of Fine Arts, Houston, exh. cat. 1972, p. 15.

7. Motherwell pointed this out in his handwritten answers to a Museum of Modern Art questionnaire about The Homely Protestant (p85), filled out November 7, 1949, now in the Research Library, Getty Research Institute, Los Angeles; see “Writings by the Artist,” in the Bibliography.

8. This was first pointed out in Mattison 1982, which is an admirably probing text about The Emperor of China. Mattison also makes connections to Jean Dubuffet and to Paul Goodman, as discussed below.

9. Clement Greenberg in the Nation, February 1, 1947; reprinted in Greenberg 1986b, pp. 122–25. The earlier review had appeared in the Nation, June 29, 1946; reprinted in Greenberg 1986b, pp. 87–90. Motherwell later expressed mixed feelings about Dubuffet; in his 1951 essay “Notes on Cy Twombly,” he referred to “the massive, decadent surface (in being only surface) of Dubuffet” (reprinted in Motherwell 2007, p. 103); and in a 1964 interview with Michel Ragon, in which he spoke about various modern artists, he said “I have great respect for Dubuffet, even though there are many things in his work that I don’t like” (reprinted in Motherwell 2007, p. 239).

10. Paul Goodman, “The Emperor of China,” Possibilities, no. 1 (1947): pp. 10, 14.

11. Motherwell would have been aware of the after-image effect of Franz Kafka’s story “The Great Wall of China,” as well as of Georges Ribemont-Dessaignes’s Dadaist play L’Empereur de Chine, which was published by Editions au Sans Pareil, Paris, in 1921.

12. Motherwell, Whitney Museum of American Art questionnaire, 1951; see “Writings by the Artist,” in the Bibliography.

13. Greenberg 1948, p. 613.

14. Hunter 1948b, sec. 2, p. 8.

15. Greenberg 1948, p. 613.

16. Motherwell, Museum of Modern Art questionnaire, November 7, 1949.

17. De Antonio and Tuchman 1984, p. 63.

18. James Joyce, Finnegans Wake (New York: Viking Press, 1943), p. 530. This is the edition Motherwell used; his copy is inscribed “Robert Motherwell 1944.”

19. Motherwell, artist’s statement published in Samuel M. Kootz Gallery exh. cat. April 1947; reprinted in Motherwell 2007, p. 57.

c hapter 4

1. The date of Motherwell’s illumination of the poem by Harold Rosenberg has been given as early as 1947, based on some confusion about the date in the artist’s later account of how he found this work a year after he had done it (see Hobbs 1975b, pp. 1–2). But all the evidence points to this work having been done during the summer of 1948, and then “rediscovered” only a few months later when Motherwell was picking up the pieces of his life after he left East Hampton for New York City. For details, and for the full text of Rosenberg’s poem, see the Chronology in this volume.

2. See Carmean 1978, p. 96.

3. Moving passages about this can be found in Koestler, Dialogue with Death, pp. 48–49, 81.

4. See Fineberg 1978, p. 55. Maria Ferreira has said that she left with a couple of friends and that she had bought the car with money she earned working on comic books; see the Chronology in this volume.

5. Motherwell, interview with Friedman and Swanson at the Walker Art Center, 1972, p. 20 of the transcript.

6. The importance of the “Llanto” is emphasized in the title of one of the first published English translations of Lorca’s poetry, A. L. Lloyd’s Lament for the Death of a Bullfighter, and Other Poems (London: Heinemann, 1937), a bilingual edition that Motherwell knew.

7. Federico García Lorca, In Search of Duende, ed. Christopher Maurer (New York: New Directions, 1998), p. xii. Sánchez Mejías was gored in the ring of Manzanares on August 11, and died of his wounds two agony-filled days later in Madrid.

8. Manolete’s tour was covered by the major press outlets. His triumphal tour of Mexico was the subject of a five-page article by William W. Johnson, “Manolete: A Matador called ‘The Monster’ Becomes the New Idol of Mexico and Disrupts the Whole Country,” Life, April 29, 1946, pp. 105–8, 110. Motherwell was a regular reader of Life; in January 1947, he was fascinated by a photo essay about the Lascaux cave in Life; see Mattison 1985b, p. 204.

9. See “The Death of Manolete: The Greatest of All Matadors Is Killed by a Dying Bull,” Life, September 15, 1947, pp. 46–47.

10. Motherwell, interview with E. A. Carmean Jr., August 17, 1977; as cited in Carmean 1978, p. 97.

11. Ibid., p. 98.

12. Langston Hughes, “Gypsy Ballads by Federico García Lorca,” Beloit Poetry Journal 2, no. 1 (fall 1951): p. 2. Hughes began his translations in Madrid during the Civil War,

with the help of Rafael Alberti, Manuel Altolaguirre, “and other friends of Lorca’s.” He revised his translations in 1945 and finished them with the aid of Lorca’s brother Francisco García Lorca, who was teaching at Columbia University in New York, in 1951.

13. Translated by Stephen Spender and J. L. Gili, in Francisco García Lorca and Donald M. Allen, eds., The Selected Poems of Federico García Lorca (New York: New Directions, 1955), pp. 135–49. This translation was first published in 1943 by the Hogarth Press.

14. Carmean 1978, p. 99.

15. Motherwell began to see Ullman in September 1949, and saw him until shortly before his death. During certain periods, he saw other psychiatrists, but he repeatedly returned to Ullman. For details, see the Chronology in this volume.

16. See, for example, Picasso’s Bather Opening a Beach Cabin, 1928, Musée Picasso, Paris. This strain in Motherwell’s work would lead to the pictures called Wall Paintings (see p136, p154, p155) and the various versions of La Danse (p134, p138, p139).

17. As Motherwell later remarked, the title of this painting refers to Baudelaire’s famous poem “The Voyage,” the last line of which is, “Au fond de l’Inconnu pour trouver du nouveau!” (To the depths of the Unknown to find the new!). Motherwell in Arnason 1982, p. 115.

18. F[itzsimmons] 1953b, p. 17; B[rach] 1953, p. 20.

19. Regarding the wide range of interpretations, see Carmean 1978, passim, and Mattison 1985b, pp. 197–207.

20. See Fineberg 1978, passim.

21. Motherwell, interview with Jonathan Fineberg, November 18, 1976; cited in ibid., p. 55.

22. Motherwell to Robert Mattison, August 20, 1979. In this letter Motherwell tells Mattison, “Your general point about my sense of my images and myself as being at once strong, even monumental, and yet extremely vulnerable . . . is one of the deepest insights about the ultimate character of my work that I’m aware of.”

23. T. S. Eliot to Conrad Aiken, September 1914; cited in Griffiths, “Experimental Highs,” p. 3.

24. T. S. Eliot, “Baudelaire,” in Selected Essays, rev. ed. (New York: Harcourt, Brace, 1950), p. 374. Eliot’s essay was published in 1930 and reprinted in the 1932 edition of Selected Essays

25. Motherwell acknowledged that the Elegies struck a deep chord in people because of their archetypal character, and that even people who were not interested in abstract painting seemed to sense their significance. See Carmean 1978, pp. 94–123.

26. McBride 1950, p. 51.

27. Ibid. McBride has conflated the titles of Capriccio (p108) and Room 8, Hotel Flora, Cannes (p109).

28. K[rasne] 1950b, p. 17.

29. Preston 1950b, section 2, p. 17.

30. H[ess] 1952, pp. 44–45.

31. A 1949 painting on paper was called Spanish Prison III (w11) in correspondence but not given that as a formal title until later, presumably in relation to two earlier, unnumbered paintings with similar titles: The Little Spanish Prison (p3) and The Spanish Prison (Window) (p12). Two 1945 collages were called Collage No. 1 (c21) and Collage No. 2 (c22), but those numbers merely reflected how those works were entered into the Kootz Gallery’s inventory system.

32. The precise number of numbered Elegy works in all mediums is difficult to determine, since Motherwell sometimes gave the same number to more than one painting (for example, the number 108 was given to both p364 and p373, and the number 135 was given to both p840 and p874). Moreover, Motherwell considered paintings such as Granada (p86) to be Elegies even though they do not have the word Elegy in their titles. Additionally, about twenty small studies were given the same numbers as the larger paintings that they were related to.

33. Motherwell, interview with Jack Flam, October 2, 1982; cited in Flam 1991, p. 16.

34. Motherwell, “Words of the Painter,” 1978; reprinted in Motherwell 2007, pp. 312–13.

35. In his 1962 essay on Franz Kline, another painter who loved black and white, Motherwell cited a remark by Manet: “Art is a circle, one is either inside it or outside.” Motherwell, “Homage to Franz Kline,” 1979, in Motherwell 2007, p. 212. This essay was written shortly after Kline’s death, but not published until many years later.

36. Motherwell was intensely aware of the way colors were inevitably linked to associations with lived experience. In 1946 he wrote that “the ‘pure’ red of which certain abstractionists speak does not exist, no matter how one shifts its physical contexts. Any red is rooted in blood, glass, wine, hunters’ caps, and a thousand other concrete phenomena. Otherwise we should have no feeling toward red or its relations, and it would be useless as an artistic element.” Motherwell, “Beyond the Aesthetic,” 1946; reprinted in Motherwell 2007, p. 55. It should be recalled that since the early 1940s Motherwell had been depicting figures shot by firing squads and assassinated political leaders.

37. Motherwell, “What Abstract Art Means to Me,” 1951; reprinted in Motherwell 2007, p. 159.

38. Motherwell, “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, pp. 33, 30.

39. Ibid., p. 30. When Mondrian saw one of Motherwell’s paintings at the First Papers of Surrealism exhibition in 1942, he called it “too tragic.” But Motherwell considered Mondrian’s criticism to be a form of praise, since that was exactly the sort of feeling that he wanted his paintings to convey.

40. Motherwell, “Symbolism,” lecture presented at Hunter College, February 24, 1954; printed in Motherwell 2007, pp. 170–75.

41. Ibid., p. 174.

42. Motherwell, “The Painter and the Audience,” 1954; reprinted in Motherwell 2007, p. 177.

43. These slides are now in the Dedalus Foundation Archives.

44. In a 1964 interview, Motherwell told Bryan Robertson, “As I understand it an elegy is a poem for something that has died, a kind of mourning and a eulogy as well. The first one I made, I didn’t connect with Spain at all. It had a title that was extremely misleading to people in general and when, as I also had not expected, I came to make some more, I thought to myself they must have some kind of general feeling, and in analyzing then I thought these are definitely pictures that have a great deal to do with death, somber, austere, the blackness representing all of that, if one has to be literal, the whiteness in another way representing a certain opposite, a clear light, a life that the death couldn’t overcome, but in fact represented a kind of dualism that we all exist in, and when I was very young—twenty-one— the Spanish Civil War was raging. I suppose it was the first public event which I felt deeply emotionally involved in as did many artists and intellectuals of my generation. I suppose my first getting out of my own private narcissism into a sense of the drama of other people. It seemed to me something beautiful and marvelous died, at least temporarily, in that conflict and if I were going to elegize something, since it is against my principles to elegize autobiographically, I preferred then to connect it with something that seemed to me of great consequence, and though it is a metaphor for Spain and not a description, though the names throw some people because of the associations, nevertheless I do not regret on the whole that I chose to honor that defeat.” Page 13 of the transcript of the interview (see “Writings by the Artist,” in the Bibliography), which is partially printed in Motherwell 1992, pp. 141–47.

45. Vicente 1963, p. 6. Motherwell’s statement about the colors of the Madrid plateau had been published in a laudatory article about his work that included statements by the artist (“The Deepest Identity,” Newsweek 60, no. 4, December 10, 1962, p. 94).

46. Motherwell, letter to the editor, Artnews, March 1963, p. 6.

47. Sardà 2009, p. 84. This quote comes from Sardà’s June 9, 2006, interview with Tàpies.

48. Ibid., pp. 77–91.

49. See ibid., pp. 85–89.

50. Motherwell to John Alford, November 10, 1956, published in Motherwell 1992 as “Letter to John,” pp. 109–12.

51. Betty Little Kimball’s memoir identifies two women Motherwell was involved with at this time: an unnamed woman in New York, whom he admitted to having had an affair with for several months already in the autumn of 1955, and who may be the woman to whom the declaration of love is addressed; and a nineteen-year-old woman named Dorothy whom he met in Provincetown. See Kimball 1995, pp. 211–16.

52. Regarding this picture having started as a Wall Painting, see Motherwell, interview with Flam, November 5, 1982; cited in Flam 1991, p. 10. The first line of Eluard’s poem “Par un baiser,” from his book of poems Le dur désir de durer (1946), actually reads, “Jour la maison et nuit la rue.” Motherwell translated this phrase as “In daytime at home, at night in the streets” (interview with Cummings, 1971).

c hapter 5

1. See Motherwell, ed., The Dada Painters and Poets: An Anthology (New York: George Wittenborn, 1951), pp. xv–xxxvii.

2. Ibid., p. xiii.

3. Ibid., p. xviii.

4. Motherwell, interview with Arthur A. Cohen, August 18, 1969, p. 2; see “Writings by the Artist,” in the Bibliography.

5. For a discussion of the collage aesthetic related to Motherwell’s editing work, see Gibson 1984.

6. Motherwell, Dada Painters and Poets, p. xxxvii. Focillon wrote this in a text about Hosukai.

7. Motherwell, lecture at the Pasadena Art Museum in conjunction with his retrospective exhibition February 18 to March 11, 1962; see “Writings by the Artist,” in the Bibliography.

8. There are no known collages from 1950, and in general his collage production fell off substantially during the early 1950s.

9. In 1951 Motherwell’s studio was on Fourth Avenue between Ninth and Tenth streets.

10. Motherwell, “Beyond the Aesthetic,” 1946; reprinted in Motherwell 2007, p. 54.

11. Meyer Schapiro to Motherwell, January 3, 1951; see “Writings by the Artist,” in the Bibliography.

12. The title change here functions in much the same way that the title and composition change were dealt with in The End of Dover Beach, which is discussed later in this chapter. See the Comments for Souvenir de Californie (c61) for more information.

13. Motherwell, interview with Paul Cummings, 1972; see “Writings by the Artist,” in the Bibliography. The poem appeared in Eluard’s book of poems Le dur désir de durer (1946), which Motherwell was reading obsessively at the time.

14. Motherwell in Arnason 1977b, caption to pl. 96.

15. Motherwell, interview with Betty Fiske and Rita Albertson, December 11, 1980, p. 14 of the transcript; see “Writings by the Artist,” in the Bibliography.

16. Motherwell in Museum of Fine Arts, Houston, exh. cat. 1972, p. 63, caption for pl. 15.

17. Matthew Arnold, Dover Beach and Other Poems (New York: Dover, 1994), p. 87.

c hapter 6

1. Helen Frankenthaler, conversation with Jack Flam, Darien, Connecticut, June 5, 2007.

2. Some of the pictures Motherwell painted before leaving for Europe anticipate the breakthrough pictures he painted that summer. The Wedding anticipates the Two Figures series, and Diary of a Painter (p169) anticipates the Iberia and Bull paintings.

3. See Newsweek 1962, p. 94.

4. For a detailed discussion of these events, see the Chronology in this volume.

5. Helen Frankenthaler to Grace Hartigan, July 8, 1955. Grace Hartigan Papers, Syracuse University Archives.

6. John Elderfield, Frankenthaler (New York: Harry N. Abrams, 1989), p. 121.

7. Ibid., p. 122.

8. Motherwell, caption for Frontier No. 2, in Smith College Museum of Art exh. cat. 1963, n.p.

9. Although Motherwell and Frankenthaler had been unable to go to Altamira during their Spanish sojourn, they later slipped back into Spain briefly to see the cave paintings there, and in late July they also visited Lascaux. Motherwell described their visit to Altamira in an interview with Barbaralee Diamonstein at the New School for Social Research, New York, November 17, 1977.

10. Motherwell, lecture at the Pasadena Art Museum, 1962. In that lecture, Motherwell referred to p194 as “the big chocolate colored monster.”

11. One difference from Frankenthaler’s very fluid paint handling, though, is that in Iberia No. 2 the stained-in paint does not so much flow across the surface as it is resisted by it, creating the uncanny feeling of sensing the sweat of the bull in the large black areas that are set against the ochres.

12. Motherwell, Pasadena Art Museum lecture, 1962.

13. Ibid.

14. Motherwell, interview with Sigmund Koch and Jack Flam, 1986.

15. Lorca, “The Duende,” in Poet in New York, p. 154.

16. S[andler] 1959, p. 10.

17. Goossen 1959, p. 51.

18. Fried 1963, p. 68.

19. Kozloff 1965b, p. 257.

20. Ibid.

21. Lippard 1965, p. 35.

22. Arnason 1982, p. 147.

23. Some of the Lyric Suite drawings would be included in his retrospective exhibition at the Museum of Modern Art that fall as an example of his most recent work. Eight of the drawings from the Lyric Suite were reproduced together near the end of the catalogue, acting as a kind of counterweight to the half dozen Beside the Sea paintings that were reproduced together closer to the beginning.

24. Hobbs 1976b, p. 48.

25. Ibid.

26. As it turned out, the accidental death on May 23 of Motherwell’s close friend the sculptor David Smith cut short this undertaking a little more than halfway through.

27. Motherwell, 1969 Museum of Modern Art questionnaire about the Lyric Suite; see “Writings by the Artist,” in the Bibliography.

28. Fried 1963, p. 68.

29. Jackson Pollock had been given a memorial exhibition shortly after his death in 1956, and the sculptor David Smith had been given a retrospective in 1957.

30. Hudson 1965, sec. G, p. 7.

31. Lippard 1965, p. 34.

32. Motherwell, interview with Cummings, 1971. Motherwell told Cummings that there were too many works in the exhibition, that some of the wrong Elegies had been shown, and that, in any case, hanging five very big ones together on a single wall undermined their individual strengths. As he explained to Cummings, when the show traveled to London, he asked to have some of the paintings removed.

33. Lippard 1965, p. 33.

34. Kozloff 1965b, pp. 256–57.

35. Genauer 1965a, p. 23.

36. C[anaday] 1965, sec. 2, p. 33.

37. Motherwell to Walter Gropius, April 20, 1966.

38. Boston Globe 1966a, p. 26.

39. See Finberg 1956, pp. 1, 5; and UMD Statesman 1956, p. 1.

40. Kenny 1966, p. 1.

41. Senator Edward M. Kennedy, telegram to Stephen E. Weil at the Marlborough-Gerson Gallery, August 17, 1966; the telegram is now in the Dedalus Foundation Archives.

c hapter 7

1. The work was a wedding gift. Frankenthaler refers to it as “Wedding Collage.” See the Comments for c72.

2. Motherwell, lecture at the Fogg Art Museum, April 12, 1951; see “Writings by the Artist,” in the Bibliography.

3. Motherwell noted that after reading Sabartés’s description, “one cannot help but reflect that it was inevitable that Picasso would understand the collage” (ibid.).

4. Motherwell, interview with Bryan Robertson, 1964, p. 9 of the transcript; see “Writings by the Artist,” in the Bibliography.

5. Arnason 1977b, p. 129.

6. Ibid.

7. Motherwell, lecture at Yale University, April 22, 1965, p. 13 of the transcript; see “Writings by the Artist,” in the Bibliography.

8. Ibid, pp. 15–16.

9. Although a large number of these types of collages were created during his travels,

Motherwell was against calling these souvenir collages; see p. 9 of the transcript of his 1964 interview with Robertson.

10. Motherwell, interview with Robertson, 1965, p. 12.

11. Lippard 1965, p. 34.

12. Monroe Wheeler, The Last Works of Henri Matisse: Large Cut Gouaches (New York: Museum of Modern Art, 1961).

13. Ibid., p. 10.

14. Motherwell to Herbert Ferber, September 18, 1967.

c hapter 8

1. Motherwell, typed responses to a questionnaire from the Museum of Modern Art for the exhibition New American Painting and Sculpture: The First Generation, March 18, 1969, p. 5; see “Writings by the Artist,” in the Bibliography.

2. Barbaralee Diamonstein, “Robert Motherwell: An Interview,” in Arnason 1982, p. 229.

3. It is clear that when it was shipped from the warehouse Motherwell still thought of it as a “door” image; in his datebook entry for October 23, 1967, he noted, “at Santini, get ‘Ochre Door.’ ” He later misremembered having reoriented the canvas before the summer; see the March 18, 1969, Museum of Modern Art questionnaire, p. 5.

4. Rudy Burckhardt photographed the painting, with the U shape at the bottom, on November 13, 1967. Ugo Mulas photographed it (and also some works by Frankenthaler), with the U shape at the top, on either November 14 or November 22, 1967. The dates of the photographs can be ascertained by the appointments with Burckhardt and Mulas that Motherwell noted in his datebook for that month.

5. Diamonstein in Arnason 1982, p. 229.

6. A sustained window-wall analogy was developed by Arnason 1969, passim.

7. In 1971, when asked about his conception of space in the Open series, Motherwell replied: “When I was young, I was more obsessed with the materiality of things, and I would have undoubtedly thought of paintings of this kind as walls. Today I’m more interested in air and atmosphere. This is why I deliberately treat space ambivalently. For example, an orange painting with white lines might be viewed as an orange wall with white lines, but the orange color is no less atmospheric for all of that. It abounds with light, and the white lines vibrate in a deep space too, as well as an orange ‘wall.’ ” Motherwell, hand-corrected typescript of an interview with Irmeline Lebeer, St. Gall, Switzerland, June 1971, p. 5. A version of this interview appeared in French as Lebeer 1971, pp. 10–12.

8. Motherwell in Arnason 1982, p. 171, caption to plate 236.

9. In Motherwell’s studio library, now at the Dedalus Foundation, there is a well-worn copy of Charles Bouleau’s book The Painter’s

Secret Geometry: A Study of Composition in Art (New York: Harcourt Brace & World, 1963), with annotations by Motherwell. This book naturally falls open to a section on the mathematical relationships established by Leon Battista Alberti, and a significant amount of charcoal dust is stuck in the binding between these pages, suggesting that it was open to this section continuously while Motherwell was drawing. Another book from his library (examined by paintings conservator Matthew Skopek in New York University’s Bobst Library) is a well-worn and partially annotated version of Georges Vantongerloo’s Paintings, Sculptures, Reflections (no. 5 in the Problems of Contemporary Art series, edited by Motherwell and published by Wittenborn Schulz, in 1948), which deals with the mathematical equations Vantongerloo used for arriving at his compositions.

10. Diamonstein, “Motherwell: An Interview,” p. 229.

11. The undated press release is in the Dedalus Foundation Archives. But by March 18, 1969, when Motherwell filled out a Museum of Modern Art questionnaire, the Open title had already been given.

12. The photography list, in the Dedalus Foundation Archives, assigns only numbers, not titles.

13. To keep track of the numbering of the series, in 1970 Motherwell had a typed studio list composed: “ ‘Open’ Series, 1967–1970,” which is dated May 26, 1970. This list provided the model for how we have presented the titles of the Opens in this catalogue raisonné. A copy of that list was made on June 25, 1970; the second list contains some additions and revisions, and assigns different numbers to some of the works. A few months later, Motherwell also made a list of the pictures he had painted that summer, which he called the “23 Summer 1970 Pictures” list, and which continued the same number sequence.

14. Motherwell, responses to a 1969 Museum of Modern Art questionnaire for New American Painting and Sculpture, p. 5. Motherwell noted that some of the new paintings would be shown at the MarlboroughGerson Gallery that May and June.

15. Arnason 1969, p. 55 (the title of Arnason’s article was “Motherwell: The Window and the Wall”).

16. The photograph is reproduced in Arnason 1982, p. 168, plate 233.

17. Motherwell, interview with Arthur A. Cohen, August 18, 1969, p. 21 of the transcript. Of the fourteen large paintings illustrated in the catalogue for the Marlborough-Gerson exhibition, only three were in a vertical format.

18. Clement Greenberg, “ ‘Amer ican-Type’ Painting,” reprinted in Greenberg 1961, p. 226. (This connection was made by Robert Hobbs, “Robert Motherwell’s Opens: Heidegger, Mallarmé, and Zen,” in Mattison et al. 2009, p. 55.) Motherwell is given significant space in Greenberg’s essay, and he certainly read it when it first appeared as well as in the 1961 anthology, which was published as a paperback in 1965.

19. Delmore Schwartz, “In the Naked Bed, in Plato’s Cave,” in Selected Poems, 1938–1958 (New York: New Directions, 1959), p. 25. Motherwell had known Schwartz since 1938, when they were students at Harvard.

20. Motherwell, Art Now: New York 1, no. 5 (May 1969): n.p. This statement was accompanied by a reproduction of Open No. 25: In Blue with Variations (p421).

21. Arnason 1969, p. 54.

22. Motherwell, draft of a letter to E. A. Carmean Jr., July 13, 1971, p. 6.

23. Gregory Battcock, ed., Minimal Art: A Critical Anthology (New York: E. P. Dutton, 1968). Motherwell to Herbert and Edith Ferber, July 24, 1968, p. 2. Motherwell acquired the Battcock book earlier that month; it is inscribed “Robert Motherwell / Provincetown / July, 1968.”

24. See Robert Morris, “Notes on Sculpture,” and John Perreault, “Minimal Abstracts,” in Battcock, Minimal Art, pp. 225, 261–62.

25. See Lawrence Alloway’s discussion of color and expression in “Systemic Painting,” and the remarks about the destruction of painting and the work of art as merely another object in the world in Bruce Glaser’s interviews, “Questions to Stella and Judd,” in Battcock, Minimal Art, pp. 45–52, 156–61. Motherwell marked a number of passages in Glaser’s text.

26. Clement Greenberg, “Recentness of Sculpture,” in Battcock, Minimal Art, p. 183.

27. In a talk Motherwell gave at the Metropolitan Museum of Art on January 13, 1970, he defined four possibilities in contemporary art: high art, popular art, neutral art, and anti-art. Neutral art (the term he used for Minimalism, he explained) was art that was neutral in feeling, the opposite of art that was engaged with “the surface of the world as sense, the domain of the sensuous.” What he called neutral art was devoid of emotion, “cool—as they say nowadays, non-projective, forcing one to look at something aesthetically that one normally would look at practically— or not at all.” He made similar remarks in his June 1971 interview with Irmeline Lebeer. “I don’t believe that my art is ‘minimalist,’ ” Motherwell said, saying instead that he thought the Open paintings were closer to Zen painting, which resulted in the “serenity as the most spare of the ‘Opens’ have.” For himself, Motherwell said, he wanted “above all to create an art capable of touching, or moving the observer—while maintaining the plastic qualities which are, of course, the sine qua non conditions of all painting, qua painting.” Feeling, he went on to say, “always implies consciousness—rather, it does not exclude it.” Drawing a distinction between feeling and emotion, Motherwell noted that “feeling corresponds to the way the surface of the things of the world imposes itself on you, whereas emotion is already within you (and perhaps makes you react much too violently to a given situation, the situation only acting as a catalyst for your deep effective states). In these senses, in America the term ‘expressionism’ would be the equivalent of ‘emotional painting,’ which

by & large it is, but sometimes miraculously imbued with feeling too.” Motherwell, interview with Lebeer, June 1971, pp. 2–3 of the transcript.

28. Motherwell, “The Significance of Miró,” 1959; reprinted in Motherwell 2007, p. 191.

29. These two paintings were shown in Henri Matisse: 64 Paintings, which ran from July 18 to September 25, 1966, and were reproduced together on page 35 of the catalogue.

30. Ad Reinhardt listed French Window at Collioure among the important artistic events during his lifetime; “Chronology by Ad Reinhardt,” in Lucy R. Lippard, Ad Reinhardt Paintings, exh. cat. (New York: Jewish Museum, 1966), p. 30.

31. Motherwell, interview with Lebeer, June 1971, p. 4 of the transcript.

32. Arthur A. Cohen to Motherwell, July 29, 1968.

33. Among the curators and critics given previews were H. H. Arnason, Henry Geldzahler, Clement Greenberg, Rosalind Krauss, and William Rubin; as recorded in Motherwell’s datebooks between January and March 1969.

34. Francis K. Lloyd to Motherwell, December 10, 1968.

35. A typed version of the press release (which was never released) is in the Dedalus Foundation Archives. My thanks to David McKee, who looked after Motherwell’s account at the Marlborough-Gerson Gallery, for pointing out to me the many stylistic idiosyncracies in this text that establish with virtual certainty that it was written by Motherwell.

36. Battcock, Minimal Art, p. 183.

37. Motherwell to Ronald Alley, October 15, 1970.

38. Motherwell, responses to a March 1969 Museum of Modern Art questionnaire for New American Painting and Sculpture, p. 6. The definitions of the word open were printed for the catalogue but not used. The galley sheets for the definitions were dated February 19, 1969, designated on the galleys as the “Introduction.” But that word is crossed out and replaced in Motherwell’s hand by “Supplementary Reading,” which is in turn crossed out and replaced by “appendix,” also in Motherwell’s hand. The use of such a definition may have been partly inspired by an important Minimalist event. On the cover of Lawrence Alloway’s 1966 Guggenheim Museum exhibition catalogue, Systemic Painting, the definition of the word systemic was printed, taken from the Oxford English Dictionary; this was noted, and the definition given, in Battcock, Minimal Art, p. 37.

39. Motherwell, responses to a March 1969 Museum of Modern Art questionnaire for New American Painting and Sculpture, p. 6. The printed sheet with these definitions, which had been dropped from the catalogue, may have been on display at the gallery. Motherwell later called the definitions of open “one of the most beautiful poems in modern English, filled with all kinds of associations, all

kinds of examples” (Arnason 1977b, caption for plate 189, which reproduces the page from the dictionary with the definitions of the word open).

40. Gruen 1969, p. 57. Gruen mistakenly wrote that the paintings were all titled Open End

41. Kramer 1969b, p. 41.

42. Schjeldahl 1969b, p. 73.

43. Krauss 1969, pp. 26–28.

44. Arnason 1969, p. 57.

45. Motherwell, interview with Arthur Cohen, August 1969.

46. Alfred North Whitehead, Modes of Thought (New York: Capricorn, 1958), p. 237. This book was first published in 1938. While at Harvard, Motherwell attended the lectures on which it was based.

47. James Fitzsimmons, “Robert Motherwell,” Design Quarterly, no. 29 (1954): p. 21.

48. Motherwell, interview with Lebeer, June 1971, p. 3 of the transcript. Motherwell discussed the differences between emotion and feeling in a short text he wrote around 1950; reprinted in Motherwell 2007, pp. 99–100.

49. Hobbs in Mattison et al. 2009, pp. 53–54.

50. Motherwell in Flam 1983, p. 23. See also Hobbs’s interesting discussion of Zen Buddhism in Mattison et al. 2009, pp. 56–58.

51. Motherwell, interview with Friedman and Swanson, 1972, p. 15 of the transcript. Motherwell had bought the Japanese ink painting in 1968.

52. Ibid., p. 7. See Shio Sakanishi, trans., The Spirit of the Brush, Being the Outlook of Chinese Painters on Nature, from Eastern Chin to Five Dynasties, A.D. 317–960, 2nd ed. (London: John Murray, 1948), and Mai Mai Sze, The Tao of Painting (New York: Pantheon, 1960).

53. Motherwell, interview with Friedman and Swanson, 1972, p. 20 of the corrected transcript.

54. They were married in Provincetown on August 16, exactly thirty years after Motherwell had married Maria Ferreira in Provincetown on that same date in 1942. Among other notable mid-August dates in Motherwell’s life: Ignacio Sánchez Mejías died of his wounds on August 13, 1934; and Federico García Lorca was killed on August 18, 1936.

55. Many of these are noted in the catalogue raisonné entries.

56. Motherwell to Scarpetta, 1977, in response to Scarpetta’s question 2A, about the variety of his imagery.

57. Arnason 1977b, captions for plates 261–64. 58. Ibid.

59. Ibid., caption for plate 263.

c hapter 9

1. Motherwell in Museum of Fine Arts, Houston, exh. cat. 1972, p. 76.

2. Arnason 1982, p. 174.

3. Motherwell had created four prints during the 1940s, but it was not until the mid-1960s that his print production became an important part of his total oeuvre and he began to integrate printmaking into his studio practice on a large scale.

4. Motherwell, quoted in “A Special Genius: Contemporary American Graphics,” 1976, p. 24; see “Writings by the Artist,” in the Bibliography.

5. Motherwell in “Artists’ Sessions at Studio 35 (1950),” p. 20; see “Writings by the Artist,” in the Bibliography.

6. Motherwell had made graphics the previous June in conjunction with his solo exhibition at the same gallery.

7. The prepared ochre-colored ground of the Upson board can be seen in numerous works from the 1970s. See, for example, works in the Shem the Penman series (p680–p691).

8. In 1982 Motherwell went back in and extended the red paint closer to the Gauloises packages in a number of these summer 1972 works.

9. Motherwell in Museum of Fine Arts, Houston, exh. cat. 1972. Original handwritten notes in the Museum of Fine Arts, Houston, Archives.

10. Motherwell, interview with Friedman and Swanson, 1972, pp. 18–19. Confirmed in an interview with B. H. Friedman by Tim Clifford, December 7, 2004. Throughout most of his life, Motherwell smoked American cigarettes.

11. In Robert Motherwell and the New York School: Storming the Citadel, directed by Catherine Tatge (1990); see Filmography.

12. In October 1968 Motherwell had also had a collage exhibition at the Whitney Museum of American Art that included mostly collages from 1968, with the earliest work being from 1964. There was no catalogue, and it was not meant as a retrospective.

13. Carmean had sent Motherwell several versions of his thesis, eliciting a strong positive response from the artist, perhaps because this was one of the first extended academic investigations of his art.

14. See Arnason 1977b.

15. Arnason 1982, p. 152.

16. Motherwell to Scarpetta, 1977.

17. Ibid. Motherwell refers to the collage elements as “ready-made.”

18. Motherwell, interview with Lebeer, June 1971, p. 7.

19. Motherwell had been made aware of the Ernte cigarettes by his studio assistant Heidi Colsman-Freyberger, who smoked them, and also by a friend of his daughter Jeannie (e-mail communication with Heidi ColsmanFreyberger, November 7, 2010; and Motherwell, interview with Friedman, 1972).

20. See Engberg and Banach 2003, nos. 142–52. 21. Engberg and Banach 2003, no. 169.

22. Though the size of the support grew, it nonetheless remained within a human scale:

Motherwell was about six feet tall, and none of his collages is taller than seventy-two inches.

23. Motherwell, interview with Hayman, 1989, p. 26 of the transcript.

24. Motherwell had seen Cabaret soon after its release and insisted that his studio assistant Richard Aakre see the movie. Tim Clifford in conversation with Richard Aakre, October 29, 2004.

25. Motherwell was also likely referring to the abstraction inherent in classical music, something he was keenly aware of. In a 1965 telegram he notes that his New England Elegy was meant to be abstract in the “same manner as classical music is abstract,” quoted in Hobbs 1975, p. 270.

26. Motherwell discussed his feelings about music in a 1969 interview with Arthur A. Cohen, pp. 11–12 of the transcript.

27. Ibid.

28. As noted by Heidi Colsman-Freyberger in conversations and correspondence with Katy Rogers.

29. Motherwell had used his own torn-up, never-editioned prints as collage materials throughout the 1980s.

30. The full series can be seen in Engberg and Banach 2003, cat. no. 375.

31. The works in the Alphabet Series were sold individually after Motherwell’s death.

32. Motherwell, interview with Hayman, 1989, p. 32 of the transcript.

33. Ibid.

34. Ibid.

35. Ibid.

36. Wallace Stevens, The Collected Poems (New York: Vintage Books, 1982), p. 165. Motherwell purchased a fresh copy of Stevens’s collected poems in early 1990 and was rereading Stevens’s homage to Picasso at that time.

37. Ibid., pp. 169–70.

c hapter 10

1. Carmean 1976, p. 96.

2. Hobbs 1975b, p. 281.

3. Ibid.

4. Motherwell to Montague Ullman, January 25, 1990.

5. Carmean’s thesis was never finished (though Carmean continued to do scholarly work on Motherwell); Hobbs’s dissertation was accepted at the University of North Carolina, Chapel Hill, in 1975; Mattison’s dissertation was accepted at Princeton University in 1985.

6. Motherwell, interview with Hayman, 1989, p. 29 of the transcript.

7. Motherwell to Scarpetta, 1977; this passage is in response to Scarpetta’s having asked Motherwell about the diversity of his imagery.

8. Since this large Elegy is the subject of an entire book (see Carmean 1980), we know a good deal about how it developed. This monograph contains numerous photographs of

Motherwell working on the mural, which was squared up from small studies. See Carmean 1980.

9. Ibid., p. 86.

10. Motherwell in Arnason 1982, p. 221.

11.Because of intermittent problems with his shoulder and back, which sometimes made it difficult for him to paint on a large scale, Motherwell occasionally had images blown up for him by an assistant, using an opaque projector; as recounted by Mel Paskell, Motherwell’s studio assistant, in an interview with Jack Flam, Sharon, Connecticut, August 16, 2008.

12. See Motherwell in Flam 1983, pp. 16–17.

13. Motherwell to Bryan Robertson, December 10, 1985.

14. In fact, the imagery of The Hollow Men originated in Motherwell’s linear studies for Reconciliation Elegy (see p956 and related works, such as w528), and there is a crossedout inscription (not in Motherwell’s hand) on the center horizontal stretcher of The Hollow Men, which gives its title as “Elegy to the Spanish Republic No. 166.”

15. Motherwell to Robertson, December 10, 1985.

16. “His painting is a testament to all that is great about this century: its turmoil, upheavals, frantic concerns, insatiable curiosity, neglect, inconsolable grief, and morality. . . . But the purity of spirit that defines the art of Robert Motherwell can be seen and will be seen as art that is cherished and endures the judgmental passage of time.” Baitz 1984, p. 15.

17. Danieli 1984, p. 1. Danieli’s review also addressed the variety of Motherwell’s imagery: “The most naive and uninformed of these critics opine that there is a poverty of images in Motherwell’s work. . . . One hundred and fifty Elegies and two hundred Open paintings are supposedly vacuously redundant. On the other hand, two hundred soup cans by Warhol, Wesselmann’s two hundred nudes and Stella’s two hundred Protractors are evidently divinely inspired. Nonsense.”

18. Brenson 1983b, p. 29.

19. Danto 1985, pp. 58–59.

20. Brenson 1983b, p. 29.

21. Danto 1985, p. 60.

22. One thinks also of Motherwell’s saying, “Curiously, my use of color is quite ‘naturalistic,’ because I only use colors that can be seen by anyone in reality.” Motherwell, interview with Lebeer, June 1971, p. 6 of the transcript.

Chronology

In add I t I on to creat I ng a large and I mportant corpus of pa I nt I ngs and collages and a significant body of writings, Robert Motherwell had a very active social and intellectual life. The following account of the main events in his life is meant to provide a chronological framework for the catalogue raisonné entries and to set in fuller context the biographical references that are made in the essays in this volume.

The creation of a chronological outline of an artist’s life entails a number of difficult decisions with regard to what will be included (and in how much detail) and how overlapping or continuous events will be presented. The following chronology sets forth important events in Motherwell’s private life along with an account of his professional activities—with particular emphasis on the creation of significant works of art, important exhibitions, and his involvements as a writer, editor, and lecturer. Since his life was so rich in events, more had to be left out than could be included, but it is hoped that the following chronology will nonetheless give some idea of the richness and complexity of his life and of the depth of his social and political engagements, as well as some sense of the historical context in which his activities took place.

Different kinds of activities are emphasized at different times in Motherwell’s life. His early education, for example, receives a good deal of attention, but less attention is given to the details of his work as a teacher—a good idea of which can be gleaned from the study of his writings. Similarly, during his marriage to Helen Frankenthaler, he traveled more than at other times in his life; though not all of the trips he took with Frankenthaler are mentioned here, a certain number of them are noted in order to give the reader some idea of the rhythm of his life during those years.

During the last twenty years of Motherwell’s life, printmaking played an increasingly important role in his artistic production, as well as in his social life. So even though this publication is about his paintings and collages, a fair amount of attention is given to his printmaking activities.

Events often have repercussions that could not be anticipated when they were initiated, and the ends of events as lived are often much less clear than their beginnings—and cannot easily be assigned terminal dates. As a result, even though this chronology is framed in the present tense, the later consequences of certain encounters and occurrences are frequently noted; and since the flow of events in Motherwell’s life necessarily involved a good deal of overlapping, the chronological progression is occasionally diverted by small jumps forward or backward.

This chronology has benefited from unfettered access to archives that Robert Motherwell bequeathed to the Dedalus Foundation, which include all his extant correspondence, business records, and writings. Especially important for the reconstruction of his day-to-day activities and studio practice were his datebooks, a series of appointment calendars that he faithfully maintained from the mid-1950s onward. Many of the specific dates given without citation for his travels, meetings, and even the completion of certain works of art rely on these datebooks and are given without citation.

In the following Chronology, dates given in square brackets indicate the approximate or most likely date of an event where it cannot be confirmed with absolute certainty. Significant historical events with relevance to Motherwell’s life and work, and events that do not directly involve Motherwell, are given in italics, in order to provide proper historical context for the reader.

tI m c l I fford

Motherwell in his East Hampton house in 1950, with a painting from the Elegy to the Spanish Republic series (p95)

1915

January 24

Robert Burns Motherwell III is born in Aberdeen, Washington. His father, Robert Burns Motherwell II (1884–1943), son of Protestant Scotch and German immigrants, studied law at the University of Oregon before relocating to Aberdeen to assume a position as director of Aberdeen State Bank in 1910. In 1914 he married Margaret Lillian Hogan (1892–1972), the daughter of prominent local attorney John Carol Hogan (1861–1947), the son of Irish Catholic immigrants.

1916–25

Motherwell’s sister, Mary Stuart, is born on August 24, 1916.

The family moves frequently throughout his childhood, as his father’s career demands. In 1918 they move to Seattle; in 1919, to San Francisco; and from 1920 to 1925 they live in Salt Lake City, Utah.

Many summers are spent at the family’s seaside cottage at Cohasset Beach in Westport, Washington. These trips are dominated by the presence of his grandfather Hogan, who imparts a passion for books to his grandson; it is in his grandfather’s library that he later reads the works of Ivan Turgenev, Fyodor Dostoyevsky, Charles Darwin, and William Shakespeare.1

1925

The family moves to the Wilshire Center neighborhood of Los Angeles, where Motherwell is enrolled in Cahuenga Elementary School.2

1926

During the summer of 1926 Motherwell is introduced to Lance Hart (1892–1941), a West Coast painter and a professor of art at the University of Oregon, Eugene. Hart, who also owns a cottage at Cohasset Beach, was a childhood friend of Margaret Motherwell’s and encourages her son’s interest in art over the next dozen years.

In the autumn of 1926 Motherwell is one of two children in the Los Angeles school district awarded a fellowship to the Otis Art Institute. He is eager to take life drawing classes but is not

admitted to the class because of his age. Instead, he spends much of his time drawing and painting still lifes and also working from his imagination, creating images of knights, armor, battle flags, and medieval heraldry. Because of his parents’ lack of support, Motherwell quits the program after three months.3

1927–32

The family moves to the St. Francis Woods neighborhood of San Francisco. Motherwell attends Commodore Sloat Grammar School and, in the spring of 1929, Lowell High School. During these years he makes frequent visits to the M. H. de Young Memorial Museum and occasionally visits a local Catholic church to draw from the marble sculptures.

At the age of twelve, he develops severe asthma and in October 1929 is sent to Moran Preparatory School in Atascadero, California, where his health improves thanks to the arid climate. At Moran, Motherwell spends his free time drawing and copying old master works from books, including Michelangelo’s Sistine Chapel ceiling, Rubens’s Marie de Medici series, and portraits by Rembrandt.4 He discovers a reproduction of a late landscape by Paul Cézanne in the school’s library and makes half a dozen copies in watercolor, chalk, and crayon.5

1930

June 23–July 30

Motherwell enrolls in three classes dur ing the summer session of the California School of Fine Arts, San Francisco (now the San Francisco Art Institute): Elementary Drawing with Nelson Poole, Still Life Painting with Otis Oldfield, and Anatomy with Lee Randolph; the teachers are wellregarded regional painters.6

1931

a pr I l 8– m ay 8

Motherwell sees the exhibition The Blue Four: Feininger, Jawlensky, Kandinsky and Klee at the California Palace of the Legion of Honor, San Francisco, which he later recalls as “the only show that ever shocked me.”7

Fig. 172. Motherwell and his father, Robert Burns Motherwell II, Aberdeen, Wash., 1915

Fig. 173. Motherwell with his mother and sister, ca. 1919

Fig. 174. Motherwell, age fifteen, 1930

may 1932–march 1937

In May 1932 Motherwell graduates as valedictorian from Moran Preparatory School and in October enrolls at Stanford University, where his initial focus is on literature. Influential courses during his sophomore year include a seminar on Dante with Frederick Anderson; The International Study of Literature and Art for Art’s Sake with Albert Guerard; and Modern European Theater with Henry Gray, which focuses on Henrik Ibsen.

Motherwell takes only two art courses while at Stanford: a drawing class, which he drops in favor of The History of Painting with Edward McNeil Farmer; and Landscape with Daniel Markus Mendelowitz (who will later be a mentor to Richard Diebenkorn).

In the middle of his junior year, Motherwell declares philosophy as his major, finding that the subject can accommodate his broad range of interests. The small department of a dozen students and three full-time professors also allows for a more direct engagement with ideas. Motherwell takes a broad range of courses, including Aesthetics, Aristotle, Advanced Logic, Early Modern Philosophy, and Contemporary Philosophy. In the latter class he first encounters the writings of John Dewey, whose Art as Experience (1934), with its emphasis on direct experience as an essential element of artistic creation, exerts a profound influence on his thought.8

1933

Motherwell misses the spring quarter because of severe asthma.

1935

f ebruary 14

Motherwell hears Igor Stravinsky perform his own compositions at Stanford University.9

a pr I l 18 and 24

Motherwell hears Gertrude Stein speak at Stanford, first on English literature and then on painting.10 A month later he joins the university’s English Club, which sponsored the lectures. Through the English Club, he meets Jacqueline Johnson, a graduate student whom he dates.

[ l ate June]– a ugus t 31

Motherwell’s father, now president of Wells Fargo Bank and Union Trust Company, takes his son and daughter to Europe for the summer. Motherwell’s mother remains behind to oversee the restoration of Middlefield Farm, the family’s new country house in Marin County.

Wandering in Paris he buys a copy of James Joyce’s Ulysses, which he reads throughout the remainder of the trip.

After Paris, they travel by train throughout Italy, Switzerland, Germany, and the Netherlands and visit London and Motherwell, Scotland.11

[ a u tumn]

Motherwell is invited to the home of Michael and Sarah Stein in Palo Alto, where he sees works by Henri Matisse, including Femme au chapeau (Woman with a Hat) of 1905 (San Francisco Museum of Modern Art). Of his encounter with Matisse’s work he will later recall, “It went through my heart like a golden arrow and I had one real intuition immediately. I thought, this is what I want to belong to.”12

That fall he begins a twosemester independent study on French Symbolism with the poet and critic Yvor Winters, where he first reads the work of Charles Baudelaire, André Gide, Stéphane Mallarmé, Arthur Rimbaud, Paul Valéry, and Paul Verlaine and begins to understand the broader intellectual milieu in which modern art developed. He also reads American modernists such as Ezra Pound, Hart Crane, e. e. cummings, Wallace Stevens, and Marianne Moore, all of whom will later have an impact on the titles and subjects of his pictures.

He meets Henry David Aiken (1912–1982), a philosophy major, with whom he makes a methodical study of James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Bertrand Russell’s Theory of Knowledge, and Hegel’s theory of tragedy.

1936

July 18– a ugus t 19

General Francisco Franco attempts to overthrow the leftist Republican government of Spain, setting in motion the Spanish Civil War. A month into the conflict, fascist forces kill the poet and playwright Federico García Lorca in Granada.

a u tumn

Motherwell shares an apartment with Aiken but does not attend classes during the fall quarter, the result of surgery to treat his asthma.13

1937

January

Meyer Schapiro’s “Nature of Abstract Art” is published in the first issue of Marxist Quarterly. It will have a deep influence on Motherwell’s future thinking.14

January 5– m arch 19

Dur ing Motherwell’s last quarter at Stanford, he takes three courses: Aristotle, Advanced Logic, and the Philosophy of History. His senior thesis (now lost) is a study of Eugene O’Neill’s use of psychoanalytic theory.

m arch 27

In San Francisco Motherwell hears André Malraux speak passionately in defense of the Republican cause in Spain as part of a U.S. fund-raising tour on behalf of the Spanish Medical Bureau.15

m arch 29– m ay 11

Motherwell attends Lee Randolph’s painting class at the California School of Fine Arts, which meets four times a week.

a pr I l–July

On April 2 Motherwell receives his A.B. degree from Stanford, and his father demands to know his plans for the future. Absorbed in his painting classes, Motherwell is unprepared for the question; after several weeks of heated discussion, they agree that if he continues his studies and earns a doctorate in order to teach, his father will continue to support him.

Between May and June Motherwell prepares his application to Harvard University’s Department of Philosophy. Aiken has already been accepted to the

school, and in Motherwell’s application he notes that he and Aiken “have been collaborating in a book on aesthetic theory.”16

Motherwell’s initial application to Harvard is denied because of his lack of French or German. He is granted provisional entry with the condition that he pass a language examination before matriculating in the fall.17

s eptember– d ecember

Motherwell arrives at Harvard in mid-September, and on September 27 he passes the required language comprehension test and is allowed to matriculate. During his first semester he takes two courses with Ralph Barton Perry: The Theory of Knowledge, which addresses contemporary theories of perception, and Introduction to Ethical Theory. He also takes a seminar on Spinoza’s Ethics with David W. Prall (1886–1940), one of the younger and most charismatic instructors in the department, whose major books are Aesthetic Judgment (1929) and Aesthetic Analysis (1936).18 Prall will soon become his mentor. Motherwell’s fourth course is a seminar, The History of Ideas: The Concept of Romanticism, with Arthur O. Lovejoy, which requires each student to focus on a single topic. Upon hearing of Motherwell’s interest in painting, Lovejoy suggests that he focus on The Journal of Eugène Delacroix, recently translated into English.19

During the autumn Motherwell attends a series of six lectures by Alfred North Whitehead at Wellesley College. Whitehead’s talks, which are published a year later as Modes of Thought, make a profound impression on Motherwell, who will return to Whitehead’s ideas throughout his career.20 Motherwell will later credit Whitehead for preparing the way for his seemingly intuitive grasp of abstraction.21

1938

January

During the spring semester, Motherwell continues his study of Delacroix and Romanticism with Lovejoy. He enrolls in Formal Logic with C. I. Lewis and studies British philosophy with an unknown instructor. His fourth course is an independent study in aesthetics with Prall.

175. Motherwell, passport photograph, May 1938

Prall attracts a group of colleagues and students that includes the composers Arthur Berger (1912–2003) and Leonard Bernstein (1918–1990), the poet Delmore Schwartz (1913–1966), the literary critic Harry Levin (1912–1994), and Motherwell. This group meets regularly at Prall’s apartment, and their discussions range over aesthetics, music, art, and politics. Prall, who is head of the Harvard Teacher’s Union, is deeply engaged in political causes including civil rights, labor relations, and the Spanish Civil War.22

[ s pr I ng]

Debate over the conflict in Spain per meates the Harvard campus, and students from both the left and the right engage in heated arguments about the war. Debates are held over America’s neutrality in the conflict, and speakers visit the campus regularly to raise money for the Republican cause. (It is during his year at Harvard that Motherwell first sees The Spanish Earth, Joris Ivens’s 1937 film about the Spanish Civil War, narrated by Ernest Hemingway.)23

a u tumn

On September 7 Motherwell rents a room in a pension at 5, rue de la Chaise in the seventh arrondissement, Paris. His roommate is Philip A. Wadsworth (1913–1992), a French major from Yale and a future authority on the writings of Jean de La Fontaine. Though Motherwell is in Paris to complete his thesis, he spends little time on it, except to assemble a substantial library on Romanticism in general and Delacroix in particular.26 On several occasions he sees Picasso in cafés.

Motherwell enrolls in the Académie Julian, where he studies with Jean Souverbie (1891–1981), but the formal academic training does not suit him, and he drops out after a few weeks. He is impressed by an exhibition of collages by Henri Laurens and another of watercolors by Raoul Dufy.27 He also purchases a small watercolor by Georges Rouault depicting a prostitute in black stockings.28

Meyer Schapiro (1904–1996), who teaches at Columbia University, is an especially exciting art history professor and very knowledgeable about modern art. Aware that Motherwell’s father wants him to get an advanced degree, no matter the subject, Berger encourages him to leave Harvard and study art history with Schapiro at Columbia instead.32

m arch 6

Motherwell and Berger attend the Paris premiere of Béla Bartók’s Sonata for Two Pianos and Percussion (1938), performed by the composer.33

m arch 29– a pr I l 1

Motherwell sees the exhibition Eugène Delacroix, 1798–1863 at the Kunsthaus Zürich. Except for a side trip to London, this is his only trip outside France during his year in Paris.

a pr I l– m ay

Years later, Motherwell will recall Prall breaking down in tears one evening, asking how they could be enjoying themselves while Spain was being destroyed. Motherwell seeks Prall’s counsel on what a committed person should do with regard to Spain, and later remembers Prall’s response that “the thing for such a person to do was to become someone important who would exemplify an alternative approach to life, and the very fact of being somebody would be an influence on others.”24

m ay

By the end of the spring term, Motherwell has written a draft of his thesis on Delacroix’s Journal. Both Lovejoy and Prall encourage him to travel to France to complete the project.

June 20– a ugus t 31

Motherwell arrives in Paris on June 20 and a week later enrolls in the Centre Universitaire d’Études Françaises at the Université de Grenoble,25 where he plans to spend the next academic year. But after the summer session he leaves Grenoble for Paris.

In November and December he is hired to oversee the set design for two plays at the American Little Theatre on the boulevard Raspail. This experience inspires him to begin painting on his own, and he rents a studio on the rue Visconti.29

That December, Motherwell wanders into the Galerie Raymond Duncan, where the eccentric, toga-clad owner offers to exhibit his work without having seen any examples of it, simply on learning that he is an artist from California.30

1939

January– f ebruary

With the promise of exhibiting at the Galerie Raymond Duncan, Motherwell begins painting seriously for the first time. A year later he will write, “In January 1939 I began to paint; I suppose a kind of amateur Ozenfant or Signac in my intellectualized approach. Still, literacy doesn’t hurt. The simplest kind of technical problems defeated me.”31

That January he becomes friends with Livingston Gearhart (1916–1996), an American composer who is studying with Nadia Boulanger in Paris. The composer Arthur Berger, whom Motherwell knew at Harvard, is also in Paris studying with Boulanger. One evening, Berger tells Motherwell that

Motherwell travels briefly in the south of France with Philip Wadsworth.34 His father insists that he leave Paris and return to the States because of the threat of war.35 Motherwell spends his final weeks in Paris painting works for his upcoming exhibition and translating Paul Signac’s D’Eugène Delacroix au Néo-Impressionnisme 36

June

Motherwell’s first solo exhibition opens at the Galerie Raymond Duncan; it includes paintings influenced by the work of Dufy and Rouault, including a small self-portrait (now lost).37

June 5

Motherwell attends the premiere of Léonide Massine’s ballet Rouge et noir at the Théâtre National du Palais de Chaillot, with costumes and set designs by Matisse and music by Paul Hindemith.38

June 22–29

Motherwell leaves Paris and spends a week at Oxford University with four fellow students: “We all knew that the war was going to start and that they would be in it. In fact all four of them were killed in the first year. . . . It was a very strange, tense, melancholy, beautiful time.”39

Fig.

June 29–July 5

He sails on the S.S. Ile de France from Southampton, England, to New York.40

[July– a ugus t]

Motherwell returns to Harvard where Prall offers him a position as a teaching assistant, which he is tempted to accept, but he turns it down to pursue his newfound dedication to painting. He returns west to spend the summer with his family in Cohasset Beach. Lance Hart helps secure him a one-year appointment to the art department f aculty at the University of Oregon, Eugene.

s eptember– m ay 1940

Motherwell teaches courses in three subjects at the University of Oregon: aesthetics, contemporary architecture, and the history of modern art. While he does not teach studio classes, he praises the department for its emphasis on both practice and theory.41 He shares an apartment with Jonathan Ziady (1912–1975), a student at the school.

Motherwell continues to paint regularly, sometimes from postcards and photographs and sometimes from his imagination.42 Among the works he does in Oregon are Hommage à Poussin (ew.I), La Tronche (Isère) (ew.II), Uzès (ew.III), Untitled (Two Nudes) (ew.Iv), and Lady S. (ew.v).

1940

January

Motherwell and Ziady build sets for a production of Pride and Prejudice at the Very Little Theatre in Eugene, which runs January 23–25.43

f ebruary 7– m arch 3

Gaining confidence in his ar tistic abilities, Motherwell submits two watercolor s to the Fourth Annual Watercolor Exhibition of the San Francisco Art Association at the San Francisco Museum of Art. Hommage à Poussin (ew.I) and Lady S. (ew.v) are accepted.

m arch 12–15

Motherwell returns to San Francisco to visit his family and enrolls in a four-day life painting class with Lee Randolph at the California School of Fine Arts. Two untitled ink drawings probably date from this period (ew.vIII and ew.IX).

m ay 2

Motherwell completes the gouache and ink painting Rue de la Chaise (ew vI). During the spring he also paints Oregon Landscape (ew.vII) and gives it to Valborg Anderson, a professor of literature at the University of Oregon.

[ l ate spr I ng]

Knowing that his son’s contract at the University of Oregon will not be renewed, Motherwell’s father begins pressuring him once again to formulate a practical plan for his future.

Motherwell recalls Arthur Berger’s advice about studying with Meyer Schapiro at Columbia University, and on April 11 he writes Schapiro seeking his advice on pursuing a degree in art history and offering praise for Schapiro’s 1937 article “The Nature of Abstract Art.” Motherwell tells him it “represents so exactly . . . the sort of thing that I want to say.”44 Soon after, Motherwell is accepted to the program at Columbia University.45

m ay 22–June 30

Three works by Motherwell, now lost, are shown in the All-Oregon Exhibition: Paintings and Sculpture by Oregon Artists at the Portland Art Museum: Figure by the Sea, Landscape with Figures, and Souvenir de Proust

[June– a ugus t]

Motherwell spends what will be his last summer at the family cottage in Cohasset Beach.

a ugus t 6–25

Nude in Landscape, a now lost oil painting, is included in an exhibition of student work from the California School of Fine Arts at the San Francisco Museum of Art.

a ugus t 27– s eptember

Motherwell sails on the S.S. Manhattan from San Francisco to New York, via the Panama Canal. He arrives September 10 and finds an apartment in the Rhinelander Gardens building at 114 West Eleventh Street.46 On September 22 he enrolls in Columbia University’s graduate program in the Department of Art History and Archaeology. During his first semester he studies Greek Art with Margarete Bieber and William Bell Dinsmoor, Romanesque Sculpture with Meyer

Schapiro, Florentine Painting of the Early Renaissance with Millard Meiss, and Dutch and Flemish Painting of the Seventeenth Century with Julius Held.47

At Columbia he meets Milton Gendel (b. 1918), a second-year student and Schapiro’s teaching assistant. They both want to be painters, and Gendel becomes one of Motherwell’s first friends in the city.

s eptember 23

Motherwell paints a small untitled gouache and ink work of a seated nude (ew.X).

s eptember 30

A Time in the Sun, a newly edited version of Sergei Eisenstein’s film Thunder over Mexico (1934), has its premiere in New York.48 In the months to come, Motherwell sees the film, which makes a deep impression on him and shapes his early ideas about Mexico.49

o ct ober

Motherwell renews his acquaintance with Livingston Gearhart and his wife, Virginia (b. 1917), whom he had known in Paris. The Gearharts also live on West Eleventh Street, and Motherwell becomes a regular visitor, dining with them three or four nights a week. They allow him to use a room on the top floor of their building as a studio and soon become the first collectors of his work. Years later Virginia Gearhart wrote, “One day Robert brought a picture of a little girl sitting in a chair. (Quite the antithesis of the abstracts he would create in a few years.) I loved it, so we bought it for (I think) about $20.”50

o ct ober 27

Motherwell paints Souvenir d’Exposition du Monde [sic] (ew.XI), a depiction of the parachute jump at the 1939 New York World’s Fair.

[ n ovember]

During these first months in New York, Motherwell takes advantage of Meyer Schapiro’s proximity (they live just three blocks apart). He sometimes knocks on Schapiro’s door late at night to seek advice on his most recent paintings.51 Schapiro, recognizing that his new student is more interested in painting than in his academic studies, urges him to meet other artists. When Motherwell expresses his desire to

study with a modern artist, possibly Stuart Davis, Schapiro tells him that he should instead meet the Surrealists, several of whom are in New York.52 Though Motherwell protests that he is not interested in Surrealist painting, Schapiro convinces him that the Surrealists are not just painters but literary and philosophical thinkers in the tradition of the French Symbolists.53 Within weeks, Schapiro makes arrangements for Motherwell to study with the Swiss Surrealist Kurt Seligmann (1900–1962) in his painting and print studio at 80 West Fortieth Street.

n ovember 18– m ay 1941

Motherwell begins lessons with Seligmann, approximately twice a week through May 1941, paying $8.50 per lesson. During these first weeks, in Seligmann’s studio, Motherwell creates the etching Figure with Mandoline [sic].54 Late in the year, Motherwell paints Untitled (ew.Xv), a picture strongly influenced by Seligmann’s work. Working in Seligmann’s studio alongside Motherwell are Barbara Reis (b. 1922) and Monica Flaherty. Reis is the daughter of Bernard (1895–1978) and Rebecca Reis (1896–1988), hosts of a prominent salon for the many European artists staying in New York. Bernard Reis will later serve as the accountant to Peggy Guggenheim and many artists, including Motherwell.55

d ecember 25

At Chr istmas, Motherwell and Seligmann exchange gifts. Seligmann presents Motherwell with New Directions 1940, an anthology edited by James Laughlin that includes a large section devoted to Surrealism. Motherwell gives Seligmann a copy of Prall’s Aesthetic Analysis in which he writes, “The masterpiece of aesthetic theory for a master of its practise.”56

1941

January– m ay

During the spring semester at Columbia University, Motherwell studies European Painting Since 1860 and Romanesque Painting with Meyer Schapiro, and Italian Painting of the Early Renaissance outside Florence and Late Gothic Painting in France with Millard Meiss.57

January 22

The young British Surrealist Gordon Onslow Ford (1912–2003) begins a series of four lectures on Surrealism at the New School for Social Research.58 Motherwell attends at the invitation of Jacqueline Johnson, a former girlfriend from Stanford University who will soon marry Onslow Ford. She introduces Motherwell to the young Chilean painter Roberto Antonio Sebastián Matta Echaurren (1911–2002), who will have a significant influence on Motherwell’s art and thought during the next several years.

Matta, the youngest of the Surrealists in New York, has remarkable charisma and enthusiasm. Through him Motherwell gains his first exposure to the Surrealist technique of automatism, meets Joseph Cornell (1903–1972), and hears firsthand accounts of the Spanish poet Federico García Lorca.59

spr I ng

Motherwell works with Seligmann at the etching press. Early in the spring, he pulls several proofs of The Jewish Girl, 60 and toward the end of the month he creates the imaginary landscape Untitled (ew.XvI), a monotype with hand-painted additions, one of the earliest works to show his awareness of automatist techniques.61

m ay 1

Motherwell writes to Jonathan Ziady: “My own future is so uncertain—with the war & all—it is difficult to say. . . . I have many interesting friends—mostly Europeans, who are painters, writers, composers, scholars, etc. . . . though there is the further hitch that they will no doubt go to Mexico if we declare war. And I might go too. . . . Things go very well with me, & if I am left in peace (which does not seem very likely in times like these) I expect to have a one man show in the autumn.”62

m ay 9

Working in Seligmann’s studio, Motherwell creates a small untitled work in watercolor and gouache (ew.XvII), which he gives to Barbara Reis as a gift.

m ay 15

Called before his draft board, Motherwell is classified 4F, “physically unfit for service,” because of his history of chronic asthma.

[ l ate m ay]

With Matta’s encouragement, Motherwell decides to drop out of school and travel to Mexico for the summer. He informs his father of his decision to devote himself full-time to painting. His father strongly disapproves, but agrees to continue Motherwell’s $50-a-week stipend.

[June 7]

Motherwell sails on the Cuba Mail Line for Mexico, by way of Havana, with Matta and his American wife, the artist Anne Matta, née Clark (1914–1997), and Barbara Reis.63 On the third day of the trip, Motherwell meets Maria Emilia Ferreira y Moyers (1917–2010), an aspiring actress and writer living in New York, who is on her way to obtain a divorce and to visit her grandmother in Mexico City.64 Born in Ocoroni, Sinaloa, Ferreira is of Portuguese, French, German, and Mexican heritage. Her family immigrated to Los Angeles when she was an infant, and she graduated from the St. Agnes School in Los Angeles before moving to New York to pursue a career. In New York she has been studying acting at the School for the Stage with Tamara Daykarhanova and Robert Lewis, one of the founders of the Group Theatre. To support herself, Ferreira gave Spanish lessons and typed scripts for the playwrights Mary and Albert Bein, whose Heavenly Express opened on Broadway in April 1940.65

June 14–19

On reaching Vera Cruz, Motherwell, the Mattas, and Reis travel to Mexico City, where they spend a week at the Hotel Regis and visit the Surrealist painter Wolfgang Paalen (1905–1959) at his home in the San Angel neighborhood. Motherwell begins courting Ferreira, who is staying with her family in the city, and on June 14 he begins La Belle Mexicaine (Maria) (p1), an oil portrait of his new love interest.

June 18

Motherwell writes Seligmann and his wife, Arlette, about the group’s first weeks in Mexico and their plan to travel to Taxco: “Mexico City is noisy and peculiar, very American in many respects and rather like Moscow (or so Barbara and Matta say) in others. The things that interest me the most, the conflict of the Indian with the black earth, and the passions which are sometimes expressed in the Catholic Church, are not to be found in Mexico City—I suppose naturally enough—but the difficulty is that where they might be found, if indeed they exist, the living conditions are so primitive, particularly in regard to sanitation and drinking water, that they are impossible for civilized people. We have therefore been looking about for more suitable conditions for work: Cuernavaca is a bit Ritzy and society; Taxco is beautiful (like Greco’s View of Toledo) but very Montparnasse; San Miguel de something or other (where Tamayo’s school is) is lovely, but sweet and sugary—no guts. We are choosing Taxco as the lesser of the evils.”

In this same letter, Motherwell also recounts a child’s funeral procession he witnessed, “One evening at dusk we were on the highway, and we came over a hill suddenly to a little Indian procession. They were wearing a flimsy white cloth with flowers in their hair; and carrying white candles which burnt brightly in the grey light like fire-flies; and in the centre was a tiny white pine coffin covered with flowers. A couple of Indians were playing little tunes (like you hear at a carnival sometimes) on strange instruments; the whole funeral was like a child’s conception.”66

June 19

Motherwell and his friends travel to Taxco. On June 26, Barbara Reis writes Seligmann that she and the Mattas have rented a small house together: “We’ve been in Taxco for nearly a week and during that time the Mattas and I have rented a house. Bob is also here but doesn’t live with us. He has rented an adorable three-room studio where he paints and sleeps. He eats two meals a day at the pension and the third with us. . . . Poor Bob hates Mexico because he says he is bored to tears. I for one am faithful to my first opinion and still love it.”67

July 9

Motherwell writes the Seligmanns about his work: “I have rather radically changed the way I paint—much more flatly than I was—and I think perhaps I am on a track which will lead to some good things. And all the time I am very conscious of how much I have learned from Kurt; I am sure I would never have gotten out of my original muddle by myself. . . . I must say I wouldn’t wish my worst enemy a summer in Mexico. On the other hand, Barbara and Matta seem to like it, so the fault may lie with me, not Mexico. In fact if I had sufficient money, I would seriously contemplate returning to America, but I suppose since I am here I may as well remain.”68

July 17–24

Motherwell creates the Mexican Sketchbook (see figs. 3 and 19), a series of eleven ink and watercolor works that represents his first sustained engagement with automatist methods.

s eptember 7–late n ovember

Motherwell and Maria Ferreira move to Mexico City at the invitation of Wolfgang Paalen and rent a house in San Angel owned and built by architect Juan O’Gorman, which is next to Paalen’s. O’Gorman’s house was the first modern-style house built in Mexico (1930) and is adjacent to the paired houses of Diego Rivera and Frida Kahlo, which he also designed. Motherwell later comments, “In the three months of that summer of 1941, Matta gave me a ten-year education in surrealism . . . and it was with [Paalen] that I got my postgraduate education in surrealism.”69 The exchange of ideas is mutual, as Motherwell introduces Paalen to the ideas of Prall and Dewey.70

Motherwell does not make any known paintings or drawings during these months, but he translates Paalen’s essay “The New Image” for Dyn, 71 a new magazine Paalen is starting. The essay strongly advocates automatism as the source of raw material for abstract art, but one that must be further shaped to be fully expressive.

[ l ate n ovember]

Motherwell and Ferreira return to New York and move to 8 Perry Street. There, in the room he uses for a studio,

he hangs a group of five brightly colored papier-mâché Mexican masks. Their colors provide the inspiration for the paintings he begins during the last weeks of the year (see p2, p3, and p4): “One day I looked at the masks again and thought now come on, go ahead, do something; so I painted a canvas chalk white and then I put some yellow ochre on it and then I put some vermillion on it and I put some purple on it. . . . The [Little] Spanish Prison [p3] is the complete experiment in it with the exception that you could vary the amount of white.”72

During this period Ferreira meets the photographer Erwin Blumenfeld and poses for a series of photographs in a costume inspired by the dancers’ outfits in Georges Seurat’s Le Chahut 73

n ovember 18–January 11, 1942

Joan Miró, a retrospective curated by James Johnson Sweeney (1900–1986), is shown at the Museum of Modern Art, New York. Motherwell sees the show shortly after his return from Mexico. Around this same time he sees his first paintings by Piet Mondrian at A. E. Gallatin’s Museum of Living Art.74

[ n ovember 27– a pr I l 1942]

André Breton, Max Ernst, Peggy Guggenheim, and Motherwell are among the guests at Bernard Reis’s house over Thanksgiving weekend when plans are hatched for VVV, a magazine of the Surrealist movement in exile. Reis advises that the magazine feature an American editor, and Motherwell is chosen on his recommendation; Breton and Nicolas Calas are named as the European editors.75

In his first act as editor, Motherwell writes to William Carlos Williams, inviting him to be the second American editor of VVV: “I have taken a partisan stand, in the creative sense that the surrealist automatism is the base of my painting, and in the theoretical sense that I find myself intellectually in accord with them. (The philosophical objections I once held against them no longer seem very relevant, nor a better epistemological statement of their position very important.)”76 Williams agrees to lend his name to the publication, and early the next year announcements are printed up advertising the new journal.77

[ d ecember]

Matta introduces Motherwell to William Baziotes (1912–1963), who becomes his closest friend and ally among the American painters during the 1940s.78

d ecember 7

The Japanese attack Pearl Harbor; the United States enters World War II.

[ b efore c hr I stmas]

Milton Gendel and Motherwell make small prints at Atelier 17, the workshop of Stanley William Hayter (1901–1988), and decide to use them as Christmas cards. When they innocently present them to André Breton, he is infuriated. Gendel later recalls, “To our chagrin he flew into a terrible declamatory rage, flung the prints to the floor and shouted that he had been battling the bourgeoisie all his life. And there was nothing more bourgeois than Christmas celebrations.”79

1942

[January– m ay]

To fund VVV, twelve artists (including Breton, Alexander Calder, Leonora Carrington, Max Ernst, David Hare, André Masson, Matta, Motherwell, and Yves Tanguy) are invited to submit prints to a limited-edition portfolio. Motherwell contributes instead a series of unique ink and watercolor drawings for the portfolio, creating approximately fifteen during the first half of the year—his first extended series of works based on a set compositional format.80

January 19– f ebruary 7

Piet Mondr ian (1872–1944) has his first one-man exhibition at the Valentine Gallery, New York. Motherwell sees the show “nearly a dozen times, almost against my will.”81 Mondrian’s paintings have a dramatic impact on Motherwell’s work of the next year, as he tries to reconcile the plastic integrity of Mondrian with the practice of psychic automatism.

f ebruary 5–7

Maria Ferreira appears in a small role on Broadway in The Flowers of Virtue, directed by Cheryl Crawford, one of the founders of the Group Theatre. The topical drama addresses the rise

of fascism through a series of political encounters in a small Mexican village; it closes after four performances.82

[ a pr I l 14]

Breton asks Motherwell and Baziotes for drawings to be included in a show at the Weyhe Gallery on Madison Avenue. The exhibition, which would have been Motherwell’s first in New York, never materializes.83

a pr I l– m ay

The fir st issue of Wolfgang Paalen’s magazine Dyn is published. It includes Motherwell’s translation of Paalen’s essay “The New Image” and Paalen’s “Farewell au Surréalisme,” an official declaration of his break from Surrealism and a statement of his view of the role of the artist in society. Yves Tanguy denounces Motherwell to Breton for his association with the renegade Paalen and Dyn

Motherwell increasingly comes into conflict with Breton in his role as editor of VVV. Among other issues, Breton objects to his poor French and his failure to bring in donors ready to support the magazine. On one occasion, Breton blows up at Motherwell for his “obtuse” response to the term “social consciousness.”84 Motherwell seeks Meyer Schapiro’s advice, and Schapiro introduces him to the poet and translator Lionel Abel (1910–2001). Abel is named coeditor. Shortly afterward, Motherwell quits and Abel replaces him as editor.85

On May 21 Motherwell writes Livingston Gearhart about his resignation and temporary banishment from the Surrealist circle: “A great deal has happened, too dull to merely relate, and too long to make interesting. I resigned from the magazine several times, the last for good, and I suppose I am a persona non grata with Breton: I haven’t seen him since. Matta is away, so my source of information re surrealism is cut off. But Janis, the critic, is devoting a section to me in his forthcoming book on abstract and surrealist painting, and that has encouraged me a bit (how generous you were always about that; I shudder when I think of the monstrous things I used to show you).”86

June

The first issue of VVV appears, with David Hare—not Motherwell or Abel— listed as editor. The magazine includes Motherwell’s first published essay, “Notes on Mondrian and Chirico,” which he characterizes as an essay that “applies the scientific method à la Prall to two very different cases.”87

[June 1– s eptember 30]

Motherwell and Ferreira rent a large house at 516 Commercial Street, in Provincetown, Massachusetts. The Mattas rent a house in nearby Wellfleet.88 Blackout curtains have been mandated, lights banned in windows at night, and air raid and blackout drills are the norm in Provincetown, as they were in New York. Motherwell later remembers: “The claustrophobic silent dark of those World War II nights here remains with me like a black stone. So does the Depression poverty of the town then— peeling paint, askew shutters, holes in roofs, primitive stoves and occasional kerosene lamps—as well as my own poor means.”89

The dark hues of his canvases from this time (p5–p9) reflect the sense of anxiety and fear that pervades the summer. These paintings are his first fully sustained group of oils, as he has destroyed much of his work from the spring in frustration. “I have destroyed everything, save three paintings and a dozen drawings,” he wrote Gearhart in May.90

Much of his summer is spent g rappling with Mondrian, both in the studio and in a series of texts he works on throughout the summer, which he conceives of as a book about the Dutch painter.91

[ e arly June]

Matta writes Gordon Onslow Ford in Mexico about wanting to interest a group of young Americans in automatism. When Onslow Ford replies, he notes that Matta and Motherwell were given little credit in VVV, a perceived slight.92

June 9

Motherwell is immersed in Leon Trotsky’s History of the Russian Revolution, which he describes in a letter to Gearhart as possessing “the same irreplaceable value politically that

Freud’s works do psychologically.” He also writes Gearhart of his interest in Joyce, Kafka, and Ignazio Silone, whom he describes as “the three most important writers I have read of our time.”93

June 25– a ugus t

Peggy Guggenheim and Max Ernst join Matta in Wellfleet, affording Motherwell the opportunity to solidify his friendship with them. Guggenheim gives Motherwell a copy of Art of This Century, the newly printed catalogue of her collection with essays by Breton, Arp, and Mondrian. Ernst invites Motherwell and Matta into his studio on several occasions to demonstrate his own experiments in automatism, including hanging brushes or punctured paint cans from the ceiling and allowing them to swing over a canvas laid on the floor.94

July– a ugus t

Motherwell paints the work now known as Recuerdo de Coyoacán (p8).

In a notebook he keeps that summer, he writes two drafts of a statement about the symbolism of the painting, which emphasizes its connection to the death of Trotsky, assassinated two years earlier in Coyoacán, close to Paalen’s home in San Angel. His remarks include the following: “La Chambre de Morte a Coyaocan [sic] / The Mexican colours, warm burnt umber, splotches / of sharp red, somber greys, & cold black; / The blood on the wall; the reddened coffin, alive; / eternity; the end of the philosopher of history as the ruler / of the state.”95

[ e arly a ugus t]

Max Ernst, designated an “enemy alien” because of his German citizenship, is required to register with the police wherever he travels. His presence in Wellfleet raises the suspicion of the FBI, and when he and Guggenheim move into Provincetown without notifying the authorities, he is briefly arrested, after which he and Guggenheim return to New York.

“After the Ernsts left,” Motherwell recalled, “Maria and I were rather isolated, carless, knowing no American painters here. . . . Wartime blackouts at dusk gave Provincetown a somber silence, especially to strangers. Then the FBI visited us two, also. Maria had

innocently written her mother in Mexico City about the sinking of the German submarine (off Long Point was it?). The FBI showed us her censored letter, cut up radically like square paper-dolls, warned us about discretion, and left.”96

a ugus t 16

Robert Motherwell and Maria Ferreira are married in Provincetown.97

s eptember 25

Shor tly before returning to New York, Motherwell writes Meyer Schapiro, describing his recent work (p5–p9): “I seem to begin to find myself, to find formal means on which to build, and to have some intimation of the level of reality with which I wish to deal. I am using a very simple structure based on flat squares, derived (I suppose) from Mondrian and from certain works of Picasso—but the structural relations are among automatic images, not merely aesthetic areas, & I think there is a certain austere, highly formalized mystery in them as the result of the tension between the automatic images (which are not images at all, but highly associative patches of colour) and the abstract structure. . . . Trotsky’s ‘History’ made a deep impression on me this summer, and I made an image of his murder.”98

o ct ober

The Motherwells return to New York and rent an apartment at 33 West Eighth Street, which they will keep until the spring of 1945. Motherwell meets Marcel Duchamp (1887–1968) and John Cage (1912–1992), who have arrived in New York over the summer. He and Cage become friends, and he gives Cage a small ink and watercolor drawing.

a u tumn

The third issue of Dyn includes an illustration of Étude d’espace (1942), a gouache by Motherwell, now lost.99

o ct ober 14– n ovember 7

Motherwell’s work is included in the First Papers of Surrealism, organized by Breton and Duchamp at the Whitlaw Reid Mansion on Madison Avenue, where he shows a Mondrianesque canvas (p9) and possibly an early version of Recuerdo de Coyoacán (p8).100 He

Fig. 176. Clockwise from upper left: Motherwell, Max Ernst, Peggy Guggenheim, Roberto Matta, and Anne Matta in Provincetown, 1942

Fig. 177. Notebook entry by Motherwell regarding Recuerdo de Coyoacán (p8). Provincetown, summer 1942

Fig. 178. Robert and Maria Motherwell at LaGuardia Airport, May 1943

later recalled, “Max Ernst’s son Jimmy was present at that show and asked Mondrian what he thought of my painting. Mondrian replied to the effect that he thought it was a very good picture but ‘too tragic,’ which I was later to learn meant, in Mondrian’s eccentric vocabulary, ‘too personal’ or ‘too particular.’ ”101

o ct ober 20

Peggy Guggenheim’s Art of This Century gallery, designed by Frederick Kiesler, opens with An Exhibition of the Collection. The gallery features three separate spaces, two devoted to Guggenheim’s personal collection—a Surrealist Gallery and a gallery of abstract art—and the third, the Daylight Gallery, for temporary exhibitions that will begin the following month.

[ l ate o ct ober–w I nter]

The First Papers of Surrealism and the opening of Art of This Century galvanize Motherwell, Baziotes, and Matta, who have been discussing the idea of a “palace revolution” to show the Surrealists that a new generation is prepared to challenge them.102

Baziotes introduces Motherwell to Peter Busa (1914–1985), Gerome Kamrowski (1914–2004), and Jackson Pollock (1912–1956), and the group begins meeting weekly at Matta’s apartment to share their experiments in automatism. The group searches for a common idea to give their activities coherence, and among the suggestions are the natural elements (earth, air, fire, water); male and female; and “the blind swimmer” (from the title of a painting by Ernst). The group eventually settles on Matta’s concept of “the hours of the day.”103

Motherwell creates a drawing for a total environment in the galleries of Art of This Century that would combine sculpture, projected light, paintings, and painted walls (see fig. 13). A related work, The Sentinel (p10), is painted in October.

d ecember

The fourth issue of Dyn includes a list of upcoming articles for its subsequent issue, which includes a proposed essay by Motherwell: “Leonardo, Duchamp and Picasso.”104 The article never materializes.

[ wI nter 1942–43]

On a visit to Art of This Century, Motherwell meets Mondrian, who is in the gallery restoring one of his older paintings.105 On learning of Mondrian’s love of dancing, the Motherwells, along with William and Ethel Baziotes, take him to nightclubs in Harlem on several occasions. Mondrian happily dances with the two young women.106

1943

[January– m arch]

Matta loses interest in the collaborative “hours of the day” project. Peggy Guggenheim, who had promised to exhibit the results of their group sessions, remains enthusiastic about the young Americans and asks Motherwell if he, Pollock, and Baziotes have ever made collages. They haven’t, but she promises to include them in her upcoming Exhibition of Collage if they can make successful works in the medium.

Pollock invites Motherwell to work on collages in his studio. Motherwell is struck by the passion, concentration, and violence of Pollock’s working methods (see fig. 16), and the experience frees him to work in a more unrestrained manner. Motherwell makes his first two collages, Pierrot’s Hat (c1) and Untitled (c2).

Several days later, Matta sees these efforts and encourages Motherwell to try making some even larger collages. Soon after, Motherwell creates the groundbreaking Joy of Living (c3).

f ebruary 8– m arch 6

Retrospective Exhibition of the Works of Hélion is held at Art of This Century. Jean Hélion (1904–1987) and Motherwell become good friends at this time, and Motherwell purchases one of the two works sold from the exhibition, a small 1937 drawing, for $50. Hélion’s account of his capture and escape from German forces only months earlier is published in August 1943 as They Shall Not Have Me, which very likely informs the political subtext of Motherwell’s works in this period.107

m arch 8–31

Adventures in Perspective, the inaugural exhibition of the Norlyst Gallery, features works by fifty American artists, including Baziotes, Busa, Kamrowski, and Motherwell, who exhibits The

Sentinel (p10) and an unidentified Composition. Also in the exhibition are several painters as yet unknown to Motherwell: Adolph Gottlieb (1903–1974), Mark Rothko (1903–1970), and Ad Reinhardt (1913–1967).

m arch 24– a pr I l 10

An exhibition of recent paintings by Piet Mondrian is held at the Valentine Gallery, 55 East Fifty-seventh Street. Among the six new works is the recently completed Broadway Boogie-Woogie (Museum of Modern Art, New York).

m arch 30

Maria Motherwell performs the role of the Stenographer in The Wind Remains: A Zarzuela in One Act, composed by Paul Bowles, part of the program 5 Serenades at the Museum of Modern Art.108 It is based on García Lorca’s 1931 Surrealist play Así que pasen cinco años (When Five Years Pass), a work not performed in Lorca’s lifetime. The production also features Merce Cunningham and is conducted by Leonard Bernstein. Virgil Thomson notes in the New York Herald Tribune, “Claude Alphand, Maria Motherwell and Merce Cunningham were spectacular as stage presences.”109

a pr I l 16– m ay 15

Exhibition of Collage at Art of This Century features collages by Baziotes (see fig. 17), Pollock (see fig. 16), and Motherwell, who is represented by Joy of Living (c3), which is purchased on May 11 by Saidie A. May, a patron of the Baltimore Museum of Art, for $85. May also acquires Baziotes’s collage The Drugged Balloonist. Shortly afterward, she donates both works to the Baltimore Museum of Art. This is Motherwell’s first work to enter a museum collection.

m ay 18–June 26

A painting by Motherwell, probably The Sentinel (p10), is shown at Art of This Century’s first Spring Salon for Young Artists. Peggy Guggenheim proposes a solo exhibition for the following May and purchases The Sentinel for her collection.110

June 7 and o ct ober 13

A letter by Adolph Gottlieb and Mark Rothko, assisted by Barnett Newman (1905–1970), to the New York Times art

critic Edward Alden Jewell is published on June 7. They defend their art from the befuddlement of critics as “the poetic expression of the essence of myth” and argue for the validity of the archaic in modern painting.111

On October 13 Rothko and Gottlieb appear on the WNYC radio program Art in New York to deliver a dialogue entitled “The Portrait and the Modern Artist.” Their statement is an assertion of the centrality of the subject in abstract painting.112

June 12–early July

The Motherwells leave New York, first to visit his parents in San Francisco and then for a planned six-month stay in Mexico.

[ mI d- a ugus t]– a ugus t 29

In Taxco, Motherwell receives word that his father is gravely ill with an aggressive cancer.113 He and Maria immediately return to San Francisco, where his father dies on August 29. Motherwell inherits $75,000, which is put in trust until his fiftieth birthday, and his mother agrees to maintain the agreement of financial support he had with his father for one final year.114

[ l ate s eptember]– d ecember

Back in New York, Motherwell works on a series of bold new collages, including Pancho Villa, Dead and Alive (c7) and Personage (Autoportrait) (c8). During the same period, he paints Personage (p11) and begins The Spanish Prison (Window) (p12).

n ovember

Motherwell and booksellers George Wittenborn (1905–1974) and Heinz Schultz (1904–1954) discuss the difficulty of finding writings by modern artists in English. With Motherwell as editor, they begin the Documents of Modern Art, a series devoted to making the writings of artists available in inexpensive paperback editions. They hire Paul Rand (1914–1996) to design the series. Wittenborn secures the rights to the first volume, The Cubist Painters: Aesthetic Meditations, by Guillaume Apollinaire, and Motherwell asks Lionel Abel to translate it.

n ovember 9–27

Jackson Pollock’s first solo exhibition is held at Art of This Century.115

Fig. 179. Max Ernst and Motherwell in Amagansett, N.Y., 1944

d ecember

An unidentified work by Motherwell is included in Natural, Insane, Surrealist Art at Art of This Century.116

wI nter–spr I ng 1944

Motherwell works on burin engraving with Stanley William Hayter at Atelier 17, where he makes two etchings, one of which is included in Motherwell’s first solo exhibition at Art of This Century, in October 1944.117 Motherwell later recalls being very self-conscious working in a studio with more experienced artists such as Ernst and Matta, and does not return to printmaking for a decade and a half.118

1944

January

Motherwell’s essay “Painters’ Objects,” a review of recent New York exhibitions by Mondrian, Calder, and Pollock, appears in the January issue of Partisan Review. Motherwell celebrates the expressiveness of Mondrian’s Broadway Boogie Woogie, and lavishes praise on Pollock, calling him “one of the younger generation’s chances.” In his conclusion

m ay

On May 2, Pancho Villa, Dead and Alive (c7) is accepted for the second Spring Salon for Young Artists at Art of This Century.122 On the same day, it is acquired by the Museum of Modern Art, becoming the first work by Motherwell to enter the museum’s collection.

Motherwell postpones the solo exhibition that Peggy Guggenheim had scheduled for this month, feeling that he needs more time to develop. With the encouragement of James Johnson Sweeney, he reschedules the exhibition for October.123

June– s eptember

The Motherwells move to Amagansett for the summer, where they rent a small house for $35 a month. John Cage lives across the street, and nearby are Jean Hélion, Stanley William Hayter, Lionel Abel, Jane Bowles, Dorothea Tanning, and Max Ernst. Anaïs Nin introduces Motherwell to the French architect Pierre Chareau and his wife, Dollie, who will be among his closest friends during the next decade.

whose topic is “The Crisis and Our Crisis,” is attended by many of the leading European intellectuals in exile, including Hannah Arendt, André Masson, and Claude Lévi-Strauss as well as such Americans as Marianne Moore and Wallace Stevens.

Motherwell’s lecture, “The Place of the Spiritual in a World of Property,” which he describes as “a socialist analysis of the response of the abstract artists & the Surrealist ones to a property loving society,”128 grew out of his conversations with Lionel Abel and with Paalen in Mexico in 1941.129 It will be published in November in the final issue of Dyn as “The Modern Painter’s World.”130

a u tumn

The Motherwells move from Amagansett to East Hampton, where they rent a house on Main Street, but they maintain their New York apartment at 33 West Eighth Street for when they have business in the city. During this time they meet Dr. William T. Helmuth, his wife Mardi, and their extended family, who will be among their closest friends in East Hampton.131

about Pollock he could just as easily be writing of himself: “His principal problem is to discover what his true subject is. And since painting is his thought’s medium, the resolution must grow out of the process of his painting itself.”119

f ebruary 1

Piet Mondr ian (1872–1944) dies in New York. Motherwell attends the funeral. Shortly after Mondrian’s death, the executor of his estate, the artist Harry Holtzman (1912–1987), approaches Motherwell with a proposal to publish Mondrian’s essays from 1938 to 1944 in the Documents of Modern Art series. The volume will occupy Motherwell for much of the next year and be published in early 1945 as the second volume of the series.

[ m arch 22]

Motherwell visits Mondrian’s studio at 15 East Fifty-ninth Street when Harry Holtzman opens the space for public viewing.120

a pr I l 11–30

Motherwell’s Personage (Autoportrait) (c8) is included in First Exhibition in America of . . . at Art of This Century. Peggy Guggenheim acquires the work.121

Motherwell spends the summer preparing for his upcoming solo exhibition at Art of This Century. He creates several drawings of abstract figures shown being shot, which he will later describe as part of “a kind of disasters series” (see for example figs. 9 and 24).124 He also becomes interested in the prints of José Guadalupe Posada (1852–1913), part of his deep fascination with the Mexican Revolution.125 Motherwell is especially interested in The Wind That Swept Mexico, Anita Brenner’s book of photographs documenting the Mexican Revolution.126

Maria Motherwell, whose grandfather and uncles had fought in the conflict, also recounts family stories about the revolution.

Motherwell visits frequently with Max Ernst, who is working on a series of large sculptures in plaster. Ernst is moved by Motherwell’s praise for his Le roi jouant avec la reine (The King Playing with the Queen) and insists on giving it to him.127

a ugus t 1–14

Motherwell is invited to speak at the Pontigny-en-Amérique conference at Mount Holyoke College in South Hadley, Massachusetts. The conference,

Guillaume Apollinaire’s Cubist Painters: Aesthetic Meditations, with a preface by Motherwell, is published as the fir st volume in the Documents of Modern Art series.132

o ct ober 3–21

William Baziotes’s first one-man exhibition opens at Art of This Century. Motherwell will later recall, “I hung Baziotes’ show with him at Peggy’s in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white. . . . Suddenly, he looked at me and said, ‘You’re the one I trust; if you tell me the show is no good, I’ll take it right down and cancel it.’ At that moment I had no idea whether it was good or not—it seemed so far out; but I reassured him that it was—there was nothing else I could do. . . . You see, at the opposite side of the coin of the abstract expressionists’ ambition and of our not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good.”133 (Baziotes returns the favor, helping Motherwell hang his exhibition later in the month.)

Just before the show’s opening, Maria Motherwell purchases a small gouache by Baziotes for $50.134

o ct ober 24– n ovember 11

Motherwell’s first New York solo exhibition, Robert Motherwell: Paintings, Papiers Collés, Drawings, opens at Art of This Century, with a catalogue essay by James Johnson Sweeney. The exhibition highlights works in all media, beginning with the early figurative etching Figure with Mandoline 135 The show is anchored by six paintings and seven collages, including The Little Spanish Prison (p3), Personage (p11), The Spanish Prison (Window) (p12), Pancho Villa, Dead and Alive (c7), and Personage (Autoportrait) (c8). Several drawings are hung, but most of the forty works on paper are exhibited in bins that viewers can flip through.

A press release, probably written by Motherwell, highlights the varied directions at play in his work: “The present exhibition reveals several interests of the artist. A delight in his medium, especially evident in the papiers collés and drawings (e.g. ‘Jeune Fille’) [c13]; certain philosophical interests (e.g. ‘Equilibrium Abstracted’ 1943) and ‘The Ambiguity of Experience, (1944);136 a constant effort to incorporate extraaesthetic values in the increasingly autonomous forms of modern art as, for instance, the political content of ‘The Spanish Prison (Window)’ 1944 [p12], ‘Pancho Villa Dead and Alive’ (1944) [c7], and the drawings of persons being shot; finally, preoccupation with aesthetic refinement and subtlety of conception (e.g. ‘Mallarme’s Dream’ 1942–44) [c11]. The work throughout is pervaded by forms developed by the artist from the present preoccupations of modern art, and by color originating in the artist’s Pacific Southwest.”137

A number of drawings and almost all available collages are sold during the exhibition.

n ovember

Motherwell’s 1943 drawing The Room (see fig. 186), is reproduced in the final issue of Dyn, which also contains his essay “The Modern Painter’s World.”138

n ovember 29– d ecember 30

To mark the publication of Sidney Janis’s book Abstract & Surrealist Art in America, an exhibition of the same

Fig. 180. Catalogue for Motherwell’s 1944 solo exhibition at Art of This Century

Fig. 181. Motherwell’s handwritten postcard announcing his 194 4 solo exhibition at Art of This Century

Fig. 182. Motherwell’s 1944 solo exhibition at Art of This Century. From left to right: p14; p11; c4; and, hanging on the viewing bin, two 1944 drawings

Fig. 183. Motherwell’s 1944 solo exhibition at Art of This Century. Left to right: Personage (p11) and The Spanish Prison (Window) (p12)

name is held at the Mortimer Brandt Gallery; Motherwell is represented by The Spanish Prison (Window) (p12), about which he has written a short statement for Janis’s book.139

d ecember 4–30

Motherwell’s Painter (c12) is shown as “Collage” in 40 American Moderns at Howard Putzel’s new 67 Gallery.

d ecember 25

Motherwell’s review of Three Young Rats and Other Rhymes, a book of drawings by Alexander Calder, appears in the New Republic

1945

January

Having returned to East Hampton for the winter, Motherwell creates pictures with a greater solidity and organic quality (see p18 and p19). He is also active in launching a new series for Wittenborn, The Problems of Contemporary Art, “planned as an open forum for 20th century artists, scholars and writers, the word ‘art’ being taken in the broadest sense. A medium for exchanging work and ideas, it is to be controversial in nature.”140 The first volume, Form and Sense, will be a collection of Wolfgang Paalen’s writings.

January 9– f ebruary 4

Mark Rothko: Paintings opens at Art of This Century. During the hanging of the exhibition, Motherwell visits the gallery and meets Rothko for the first time.141

January 31–february 28

Motherwell’s Personage (Autoportrait) (c8) is included in A Painting Prophecy—1950 at the David Porter Gallery in Washington, D.C. The exhibition, organized by Caresse Crosby and David Porter, is the first traveling exhibition to present the new generation of artists working in America, among them Louise Bourgeois, Gottlieb, Rothko, Pollock, and Janet Sobel. The exhibition, accompanied by a catalogue with statements by each artist, travels to five cities.

f ebruary 2

Aware that Art of This Century will soon be closing, Motherwell and Baziotes sign five-year contracts with

the nascent Samuel M. Kootz Gallery, guaranteeing them $200 per month in exchange for their entire yearly output: a minimum of twenty-five oil paintings and collages, and fifty watercolors.142 Kootz is a former advertising executive, occasional curator, promoter, and the author of two surveys of American art, Modern American Painters (1930) and New Frontiers in American Painting (1943).143

m arch 12

At the recommendation of Paul Rand, Motherwell writes Josef Albers about the possibility of teaching in the summer session at Black Mountain College. After several weeks of correspondence, Motherwell accepts a position for the second half of the summer session.

m arch 21– m ay 31

The second volume of the Documents of Modern Art appears, Piet Mondrian: Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943, compiled and edited by Harry Holtzman, with a preface by Motherwell. The publication of this volume coincides with the opening of Mondrian’s retrospective exhibition at the Museum of Modern Art, curated by James Johnson Sweeney.

a pr I l 1– m ay 8

The Motherwells give up their apartment at 33 West Eighth Street.144 He and Baziotes and their wives travel by train to Coronado Beach, Florida, for a planned six-month stay. The trip is Motherwell’s idea, as he believes “Mediterranean” light to be an essential element in shaping the nature and clarity of modern art. In Florida he hopes to be able to show this to Baziotes: “Baziotes who grew up in Reading, Pa. and then lived in New York . . . loved Miró as much as I do . . . he had never seen that kind of light where the shadows are black, everything is so [sharp] with a razoredged shape, had never seen whiteness or anything.”145

The Motherwells rent a small house in Coronado Beach, and the Baziotes a room nearby. Uncomfortable conditions lead to the Baziotes’ early departure, and several weeks later the Motherwells follow. Untitled (w3) is the only work Motherwell is known to have created during this stay in Florida. On

returning north, the Motherwells rent a small house from the Helmuth family near Georgica Pond in East Hampton.

a pr I l 9–28

The Samuel M. Kootz Gallery opens in New York. The first exhibition, Léger: Oils, Gouaches and Drawings, is held in temporary quarters at the Feigl Gallery. A section of works by gallery artists is also mounted (the work Motherwell showed is not known). Henry McBride of the New York Sun writes, “Of these the big decoration by Motherwell is the most striking, and on the whole, the most successful.”146 According to Newsweek, “Baziotes and Motherwell consider themselves surrealists who paint abstractly. Motherwell likes flat, simple designs.”147

a pr I l 17– m ay 12

Wolfgang Paalen’s Works from 1939–1945 opens at Art of This Century. Paalen’s Form and Sense, the first volume of the Problems of Contemporary Art series, is published to coincide with the exhibition.

a pr I l 18

Motherwell signs a contract with Reynal & Hitchcock for a book “now in preparation” on “Twentieth Century Art.”148 The book is never published, and no manuscript survives.

a pr I l 22

Motherwell and Wittenborn acquire the rights to publish Georges Hugnet’s essay “L’Esprit dada dans la peinture” in the Documents of Modern Art series, inspired to do so by Motherwell’s conversations with some of the Dadaists in New York, particularly Ernst and Duchamp.149 He is fascinated by the origins of the movement amid the political turmoil of World War I. His work on Hugnet’s essay marks the beginning of a seven-year odyssey that culminates with the publication of The Dada Painters and Poets in 1951.

Around this time Motherwell purchases Etude pour la Novia (1916), a small watercolor and gouache drawing by Francis Picabia, which was a study for the mecanomorph used as the cover image on the first issue of the Dada journal 391, published in February 1917.150 It was later used by Motherwell as an illustration in The Dada Painters and Poets 151

[June]

Reynal & Hitchcock commission

Motherwell to illustrate Marianne Moore’s translation of La Fontaine’s Fables, a project he works on throughout the summer, producing five collages (c27–c31) and numerous drawings.

June 21

Motherwell writes to James Johnson Sweeney, newly appointed chief curator at the Museum of Modern Art, who has expressed interest in visiting his studio with a committee from the museum: “I think my work is developing, but it is not greatly different. The oils are the most different, but I doubt if any will be ready before the middle of August. But I could show some new collages & drawings & perhaps one or more small oils (which I think I do less well than larger ones) by the 15th July. Is this all right? I could send snapshots of big pictures in progress, but it is hard to tell from these, especially since I am trying to make the surface & the color tell more & more. I have faith in what I am doing; every year progress at least a little; but the main fruits of this year’s work will not be evident, I expect, until early autumn. I don’t know just what all to do to help your committee form a first opinion.”152

July 17– a ugus t 31

The Samuel M. Kootz Gallery opens in its permanent location at 15 East Fiftyseventh Street with a group show featuring Fernand Léger, Baziotes, Byron Browne, Fritz Glarner, Carl Holty, and Motherwell. Of the large, unidentified canvas by Motherwell, Judith Kaye Reed notes in Art Digest that “by quality of size Motherwell’s Painting dominates the room. He also shows watercolor collages.”153

a ugus t 13– s eptember 8

Motherwell teaches the second half of the summer session at Black Mountain College, near Asheville, North Carolina. Also on the summer faculty are painters Lyonel Feininger and Fannie Hillsmith, sculptors Mary Callery and Ossip Zadkine, architects Walter Gropius and Paul Beidler, designers Alvin Lustig and Berta Rudowsky, and art historians Alexander Dorner and Karl With. Among Motherwell’s students is Ray Johnson (1927–1995).154

While Motherwell and Maria are in North Carolina, Jackson Pollock and Lee Krasner stay at their cottage in East Hampton, while looking for a home in the area.

a u tumn

Returning to East Hampton, Motherwell faces pressure to produce works for his first solo exhibition at the Kootz Gallery, scheduled for January, and to meet the quota of seventy-five works per year that he must fulfill under the terms of his contract.

During the autumn, Motherwell becomes friendly with the poet Harold Rosenberg, whom he sees often for the next several years. Of their friendship, Motherwell will later write, “In those days Harold regarded himself as a poet . . . [he] had a first-rate, eclectic mind, much more than a creative one; and we also often talked about Kierkegaard, in whom Harold was then immersed.”155

o ct ober 6–29

An unknown work by Motherwell is included in Autumn Salon, his last exhibition at Art of This Century.

o ct ober 22

Motherwell’s article “Henry Moore: Sculptures and Drawings,” a review of Herbert Read’s monograph on the British sculptor, appears in the New Republic

o ct ober 25

Jackson Pollock and Lee Krasner marry. Several weeks later they purchase a home in the village of Springs, several miles east of East Hampton.

In time, disputes between Lee Krasner and Maria Motherwell—perhaps fueled by Krasner’s jealousy of Pollock’s attention to Maria—lead to a coolingoff in the friendship between the two couples.156

n ovember 27–January 10, 1946

Motherwell’s painting Figure in Red (p19) is included in the 1945 Annual Exhibition of Contemporary American Painting at the Whitney Museum of American Art, New York. It is the first of twenty-seven annual or biennial exhibitions at the Whitney in which Motherwell will appear over the course of his career.

n ovember 29

Motherwell writes the poet Marianne Moore on learning of Moore’s objections to having her translation of La

required minimum yearly output from seventy-five works to twenty paintings, three collages, and five watercolors. The gallery will be entitled to all works he makes above that number, although he is allowed to keep one work a year for himself.

Despite the new contract, Motherwell continues to feel pressure to provide paintings for the gallery’s frequent group exhibitions.

January 18– f ebruary 10

Abstract and Expressionist Paintings, at the Society of the Four Arts, Palm Beach, Florida, includes Motherwell’s 1944 drawing Mad Clown (private collection) and Personage (p11), which is purchased and donated to the Norton Museum of Art in West Palm Beach.158

f ebruary 5– m arch 13

Motherwell’s Collage No. 1 (c21) is included in the 1946 Annual Exhibition of Contemporary American Sculpture, Watercolors, and Drawings at the Whitney Museum of American Art.

Fontaine’s Fables published with illustrations, rather than with the French text on facing pages. Motherwell, who had been working for several months on drawings and collages to illustrate the volume (see c27–c31), was unaware of Moore’s dispute with the publisher over this question.157

1946

wI nter

László Moholy-Nagy’s New Vision and Abstract of an Artist is published as the third volume in the Documents of Modern Art series.

January 2–19

Robert Motherwell: Paintings, Collages, Drawings at the Samuel M. Kootz Gallery consists of twenty-two works dominated by a group of large collages (see c16, c20, c23, and c25). The Museum of Modern Art acquires Abstraction with Scallops (see c19) from the exhibition, which Motherwell retitles In Beige with Sand before it is included in the Recent Acquisitions exhibition at the Museum of Modern Art (February 6–24).

January 3

Motherwell signs a revised contract with the Kootz Gallery that reduces his

f ebruary 7–27

Robert Motherwell: Paintings, Collages, Drawings, featuring thirty works from the past five years, is shown at the Arts Club of Chicago, Motherwell’s first major exhibition outside New York. James Johnson Sweeney writes the preface to the exhibition catalogue. Eleanor Jewett of the Chicago Daily Tribune dismisses his work as “abstractions which might be pleasant in the fabric trade but where fine art is concerned are negligible.”159

f ebruary 24

Jeanne Bucher, of the Galerie Jeanne Bucher, Paris, visits Motherwell’s studio, probably at the suggestion of Pierre and Dollie Chareau. She purchases four drawings and a collage (c2) and offers him an exhibition in Paris in 1947. (This show is canceled after her death later in the year.)160

m arch 25– a pr I l 13

At the Kootz Gallery, Romare Bearden presents Paintings and Watercolors inspired by García Lorca’s “Lament for a Bullfighter.” The exhibition catalogue includes the full text of Lorca’s poem, translated by Stephen Spender and J. L. Gili.161

Fig. 184. Motherwell teaching at Black Mountain College, August 1945, with collages by students on the blackboard

a pr I l

Motherwell’s essay “Beyond the Aesthetic” appears in a special issue of Design magazine devoted to Black Mountain College. The essay is Motherwell’s clearest statement to date of his aesthetic position and his thinking about the artist’s relationship to society.162

m ay 22

Motherwell writes Dorothy Miller of the Museum of Modern Art, who is organizing the Fourteen Americans exhibition, with a detailed analysis of the different themes running through his oeuvre (see Chapters 2 and 3 in this volume).163

June 14– a ugus t 5

Motherwell’s Joy of Living (c3) is the only work by an American artist of his generation included in American Painting from the Eighteenth Century to the Present Day, an exhibition at the Tate Gallery, London.

[ s ummer]

As the exiled European artists leave New York, Motherwell finds his place among a circle of American painters who are attracting increased attention. Most significantly, his friendship with Mark Rothko deepens. Through Rothko, he is introduced to Barnett Newman, Herbert Ferber (1906–1991), Adolph Gottlieb, and through them to Tony Smith (1912–1980) and Bradley Walker Tomlin (1899–1953). Motherwell will later say that it is through these friendships that he “becomes ‘assimilated’ as a New Yorker.”164 Around this same time he becomes friendly with William Barrett, a philosopher and associate editor of the Partisan Review, who is a leading authority on existentialism.

In June, Wolfgang Paalen and Luchita Hurtado stay with Motherwell for several weeks. He and Paalen discuss the idea of reviving Dyn with Wittenborn, Schultz, Inc.165

a ugus t 23

Reynal & Hitchcock write Motherwell to discuss an illustrated edition of Baudelaire’s complete poems, for which Motherwell is to provide drawings. The project never materializes.

s eptember 10– d ecember 8

The Museum of Moder n Art presents Dorothy Miller’s exhibition Fourteen Americans, which includes works by Arshile Gorky, David Hare, Isamu Noguchi, Saul Steinberg, Mark Tobey, and others. Motherwell is represented by thirteen works from 1943 to 1946 and writes a statement for the catalogue.

s eptember 30– o ct ober 19

The Betty Parsons Gallery opens at 15 East Fifty-seventh Street, directly across the hall from the Kootz Gallery. Parsons’s first exhibition, Northwest Coast Indian Art, is organized with the assistance of Barnett Newman, who also writes the catalogue essay.

[ a u tumn]

Motherwell’s discussions with Wittenborn about reviving Dyn evolve into the creation of a new publication under the stewardship of Motherwell and Harold Rosenberg, “to combat the indifference to, and reaction against, modern art in the United States.”166 Initially called Transformations, by the spring of 1947 it is given the name Possibilities. 167 The journal is conceived to present a broad point of view, and four editors are chosen: Motherwell, visual arts; Rosenberg, literature; Pierre Chareau, architecture; and John Cage, music.

Beginning in December, Motherwell solicits statements and essays from Baziotes, Hayter, Pollock, Rothko, and David Smith (1906–1965). Rothko submits an essay titled “The Drama of Painting”; with his permission Motherwell heavily edits the piece, changing the sequence of the paragraphs to strengthen Rothko’s argument. He also retitles the essay “The Romantics Were Prompted,” after a phrase in Rothko’s text.168

n ovember 20

Motherwell purchases two acres of land at the corner of Jericho Lane and Georgica Road in East Hampton for approximately $800 from Mardi Helmuth’s family trust.169 With Pierre Chareau as architect, he plans to build a house and studio complex using two 20 by 30–foot army salvage Quonset huts, which are chosen as a cheap material for building a large space; nonetheless, Chareau’s perfectionism

Fig. 185. Motherwell in his East Hampton studio, autumn 1946, with an early state of Western Air (p47)

Fig. 186. Motherwell’s work in the Fourteen Americans exhibition, Museum of Modern Art, New York, 1946. From left to right: p19; c25; c17; c8; The Room, a 1944 drawing; and c7

eventually pushes the cost many thousands of dollar s over budget.

For Chareau’s fee, Motherwell gives him a small portion of the property, on which the architect builds himself a cottage using surplus materials from Motherwell’s house.170

d ecember 10

Motherwell attends a concert of prepared piano works by John Cage at the Carnegie Recital Hall.

d ecember 10–January 16, 1947

Motherwell’s In the Night (w4) is shown in the 1946 Annual Exhibition of Contemporary American Painting at the Whitney Museum of American Art.

1947

Kindergarten Chats (1901) by Louis Sullivan is released as the fourth volume in the Documents of Modern Art series.171

January 17– f ebruary 8

On January 17 Barnett Newman sends Motherwell the catalogue for his new Betty Parsons exhibition, The Ideographic Picture, “Here is the show I wrote you about. I am eager to know your reactions and hope that you will see the show soon and that I shall hear from you.”172 The exhibition features Hans

January 27– f ebruary 15

The first postwar showing in America of new works by Pablo Picasso is held at the Kootz Gallery. The success of the show sends Kootz back to Paris to seek more works from Picasso and to try to interest French galleries in his American painters.

f ebruary 10

Hofmann, Pietro Lazzari, Boris Margo, Newman, Ad Reinhardt, Rothko, Theodoros Stamos, and Clyfford Still, all now represented by Parsons. Newman’s essay trumpets the group as representative of a new movement in American painting.173

Newman’s letter prods Motherwell to write to Samuel Kootz, who is consumed by plans for his upcoming show of Picasso, urging him to remain focused on promoting his young American painters. He encourages Kootz to sign Jackson Pollock, who is having his last show with Art of This Century (January 14–February 7):

“The important thing you’ve done is back a young movement in painting— and that movement will only be impor tant to the degree that we try to advance beyond the great Parisian painters (who are bound to be against such an effort when they confront it, even though they accept the principle of reaction), and at the same time try to approach the Parisian painters’ depth of feeling and painting quality; and I hope you will always try to help such young people, even if one day you should be persuaded that I am not one of them. For that reason, though I don’t get along especially well with him, I would like to see you take on Pollock, particularly if his new show, which I haven’t seen, marks a progress.”174

The translator Ralph Manheim (1907–1992), while doing research for his translation of Georges Hugnet’s essay “L’Esprit dada dans la peinture,” discovers a copy of Richard Huelsenbeck’s essay “En avant Dada, Geschichte des Dadaismus” (Dada in the Forefront: A History of Dadaism), written in 1920. He recommends it to Motherwell for publication along with the Hugnet essay. From this moment Motherwell’s intention shifts from a volume focused on a single essay to a larger anthology of writings by the Dadaists. Through Wittenborn, Motherwell learns that Huelsenbeck is now living in New York and practicing psychiatry under the name Dr. Charles R. Hulbeck. As the project develops, Huelsenbeck, along with Duchamp, Ernst, and Hans Richter, advise Motherwell on the history of the movement, where to find its members, and how to track down missing texts.

m arch

Motherwell meets Miró, who is in New York for several months working on a mural for the Terrace Plaza Hotel in Cincinnati. Miró is renting an East Harlem studio from Carl Holty, an old friend who shows at the Kootz Gallery. Miró becomes one of the few Europeans to closely follow new developments in American painting and is seen by Motherwell as being among the most sympathetic to the Americans in style and outlook.

m arch 28– a pr I l Introduction à la peinture moderne américaine opens at the Galerie Maeght, Paris. The exhibition features five works each by Baziotes, Bearden, Browne, Gottlieb, Holty, and Motherwell. The exhibition, sponsored in part by the U.S. Information Services, is accompanied by a catalogue with an essay by Harold Rosenberg, who links the spirit of the work of the new American painters to Existentialism.

a pr I l 28– m ay 17

Motherwell opens at the Kootz Gallery. Originally scheduled for January, the show was pushed back by Motherwell so he could rework his canvases. Of the twelve identifiable works in the exhibition, eleven were completed in the first four months of 1947, although some were begun as early as 1945. Motherwell writes in the catalogue, “I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling.”175

Clement Greenberg celebrates the artist’s new clarity: “Motherwell’s ambition, which is to simplify and to manipulate the results of the simplification into expression, is one that places him at the very center of all that is serious and ambitious in contemporary painting.”176

m ay

Herber t Read’s Grass Roots of Art and Alexander Dorner’s The Way beyond Art: The Work of Herbert Bayer are published as the second and third volumes in the Problems of Contemporary Art series. Read’s book is a collection of four recent lectures on the relationship between art and society. Dorner’s book is published in conjunction with a traveling retrospective of the Bauhaus artist and theorist Herbert Bayer.

m ay 5

George Wittenborn introduces Motherwell to Bernard Karpel (1911–1986), the chief librarian of the Museum of Modern Art, who will locate many rare documents for the Dada anthology. Karpel will contribute extensive bibliographies to all of the subsequent books in the Documents of Modern Art series and later the Documents of 20th-Century Art series.

l ate July– s eptember

The Motherwells move into their new house in East Hampton. In adapting the Quonset hut, Pierre Chareau has sunk the floor several feet below ground level and opened up one side with windows salvaged from an old greenhouse. As the first modern home built in East Hampton, it immediately attracts wide attention, and plans are made for the house to be photographed for Harper’s Bazaar; these photos show Chareau, the Motherwells, Anne Matta, and her twin sons in the different rooms.177

Fig. 187. Motherwell’s Quonset hut house and studio, designed by Pierre Chareau, East Hampton, 1947

1948

January 5–23

Jackson Pollock has his first exhibition at the Betty Parsons Gallery.

January 29

Motherwell writes his coeditors about the relative successes and failures of the first issue of Possibilities and about the magazine’s future: “Harold is the only editor who has contributed in the role in which you all interest me, and I interest myself, which is as a creator. Pierre I excuse, because he was not in a position last summer to create something for the magazine, and because he is now creating something for it. I think John and I were mistaken in not creating, in acting merely as editors. If these remarks are accepted, then the second thing we must decide is to what degree we are to turn ‘possibilities 2’ into a personal vehicle of expression.”179

m arch 4

The first works Motherwell paints in his new studio are Personage, with Yellow Ochre and White (p64) and Woman in Green (p61), both done in August. The Emperor of China (p68) is worked on over the summer and completed on September 8.

s eptember 8–27

The exhibition Women at the Kootz Gallery is built around Picasso’s Woman in Green Costume (1943; Fondation Beyeler), a painting recently acquired by Kootz. The show includes Georges Braque and Léger along with the six gallery artists. Kootz publishes an elaborate large-format catalogue: Women: A Collaboration of Artists and Writers, designed by Paul Rand, which pairs the paintings with poems by well-known writers, including e. e. cummings, Paul Goodman, Harold Rosenberg, JeanPaul Sartre, Tennessee Williams, and William Carlos Williams. Motherwell’s Personage, with Yellow Ochre and White (p64) is paired with Weldon Kees’s “Pastiche for Eve.”

mI d- o ct ober

Maria Motherwell drives to Los Angeles to visit her family and to Atherton, south of San Francisco, where she stays with Motherwell’s mother.

[ l ate o ct ober]

Possibilities 1: An Occasional Review (winter 1947–48) is published as the fourth volume in the Problems of Contemporary Art series. Meant to represent the best in advanced artistic creation, Possibilities includes interviews with and statements by Arp, Baziotes, Miró, Pollock, Rothko, and David Smith and a number of essays and literary works, including Paul Goodman’s story “The Emperor of China.” In their introduction to this number, Motherwell and Rosenberg write, “This is a magazine of artists and writers who ‘practice’ in their work their own experience without seeking to transcend it in academic, group or political formulas. . . . If one is to continue to paint or write as the political trap seems to close upon him he must perhaps have the extremest faith in sheer possibility.”178

Motherwell writes Joseph Cornell, complaining about conflicts among the Possibilities editors and to solicit a contribution from him for the second issue: “I have been through a long period of depression and anxiety, moreover the editors of ‘Possibilities’ can’t agree on anything—which I think is true to life; all of us nowadays are intense individualists—so as a consequence I believe the deadline will be pushed back to something like July 1st.”180

s pr I ng

Both Motherwell and Maria are involved in extramarital affairs at this time.181 He writes to Wittenborn and Schultz on March 18: “I’ve been going through a real crisis, but seem to be alright now, and think I’m doing better work than ever before—but you never know until a year afterwards. Anyhow, please excuse me my crises—one has to pay in one way or another for everything, but I’m sorry when my anguish spreads over to my friends.”182

m arch 20– a pr I l 17

Motherwell’s painting The Checkered Skirt (p67) is included in the Kootz Gallery’s Third Anniversary show.

a pr I l 12– m ay 12

Willem de Kooning’s first solo exhibition is held at the Charles Egan Gallery.

m ay 10–29

The Kootz Galler y exhibits Paintings and Collages by Motherwell, consisting of nineteen works created during the previous nine months. This is Motherwell’s most focused exhibition to date. Most of the paintings are large works depicting single figures, including Personage, with Yellow Ochre and White (p64), The Emperor of China (p68), and The Homely Protestant (p82). (For more on this exhibition and its reception see Chapters 2 and 3, in this volume.)

m ay 21–June 18

Motherwell’s 1944 drawing Figuration (Henry Art Gallery, University of Washington, Seattle) is included in the exhibition 117 Oil and Water Color Originals by Leading American Artists at the Whitney Museum of American Art. The show was to have traveled throughout Europe in 1948 and 1949 as part of an exhibition sponsored by the U.S. State Department of works purchased to promote American art. But with Cold War tensions rising, several redbaiting congressmen accuse the State Department of promoting “subversive” art and succeed in canceling the tour. After the Whitney exhibition closes, the entire State Department collection is auctioned off, including Motherwell’s drawing.

[June]

Motherwell turns his attention again to the second issue of Possibilities. He creates a design to illuminate a vivid and violent poem by Rosenberg, “A Bird for Every Bird,” which he will later consider to be the first work in the Elegy to the Spanish Republic series (see fig. 44). Motherwell later recalled, “I was to illustrate a very savage poem called ‘The Bird for Every Bird.’ I was making an automatic drawing and I wanted it to carry the same violence as Rosenberg’s poem, and I was also thinking in terms of black and white because the magazine couldn’t afford to print in colour.”183 For the final design, Motherwell inscribes the first ten lines on the left-hand page, and on the right, the final three. Below these, on the right-hand page, he draws a bold abstract design of vertical black bars and oval forms.

Fig. 188. Motherwell’s 1948 solo exhibition at the Samuel M. Kootz Gallery. From left to right: The Red Skirt (p65) and Personage, with Yellow Ochre and White (p64)

The text of Rosenberg’s poem reads as follows:

I said to him: Why do you delay?

He said: Because of what you desire.

And I: You command my desires . . .

So sweetly the argument went on from year to year.

Meanwhile it was raining blood and rage.

The two Marquis, the white and the black

Were crying like gulls out of my throat—

My throat uncaring as the summer sky—

All to avenge themselves upon the dust.

Leopards drowsed on the diving boards

I knew who had sent them in those green cases.

Who doesn’t lose his mind will receive like me

That wire in my neck up to the ear.184

Fig. 189. Poster announcing the Subjects of the Artist school, 1948

June 11

Motherwell creates the drawing The Sailor’s Cemetery (see fig. 43), which takes its title from Paul Valéry’s poem “Le Cimetière Marin.”

June 18

Only two months after celebrating his gallery’s third anniversary, Kootz suddenly announces that he is closing the gallery in order to act as Picasso’s exclusive worldwide dealer. The American artists who have contracts with Kootz are left high and dry, without representation or exhibitions for the upcoming season, and many are still owed money by Kootz.185

[ s ummer]

Leo and Ileana Castelli purchase the house across from Motherwell’s in East Hampton. Leo Castelli and Motherwell share many mutual friends in the community of European artists in New York—including Matta, Arp, Hulbeck (aka Huelsenbeck), and in particular Pierre Chareau (who encouraged the Castellis to go to East Hampton)— and become quite friendly. Through

Motherwell, Castelli is introduced to the circle of the American artists. As Castelli recalled: “He was really my contact, my first American contact, let’s say literate and articulate American contact with the art scene . . . he acted as a bridge. And I owe him really a great debt for making me, not purposely but just through being what he was and his activities.”186 Castelli eventually purchases Motherwell’s large canvas Wall Painting with Stripes (p16).

July 21

Arshile Gorky (1904–1948) hangs himself in his barn in Sherman, Connecticut.

[ a ugus t]

Clyfford Still, who has recently moved to New York from San Francisco, visits Motherwell and Rothko. They discuss Still’s idea to open a school run by artists, for artists: “A group of painters, each visiting the center one afternoon a week, each an entity different from the others, each free to teach in whatever way he chose or free to stay away . . . selected with emphasis on intelligence and ‘drive.’ ”187

At Motherwell’s recommendation, they bring in William Baziotes and David Hare, with the understanding that each instructor will teach one weekday evening each week. But in late August, frustrated by the difficulties of collaboration, Still gets cold feet and abruptly heads back to San Francisco to resume his teaching position at the California School of Fine Arts.188

a ugus t 24

Motherwell writes the preface for Jean (Hans) Arp’s On My Way

s eptember

The Sidney Janis Gallery opens in Kootz’s old gallery space at 15 East Fifty-seventh Street.

[ s eptember]

Despite Still’s departure, plans for the school continue to evolve. Mark Rothko secures a loft for it at 35 East Eighth Street, and they decide to call the school The Subjects of the Artist, at Barnett Newman’s suggestion. On September 12 Motherwell takes out two ads in the New York Times, one announcing the school and a second to rent out his house in East Hampton.189 Of the school’s fragile beginnings,

Motherwell recalled: “The loft had no heat, and if a New York collector, Bernard J. Reis, had not given us $500 for the installation of our stoves, our capital would have been exhausted before we began. We spent another week in white-washing it, getting the lights in working order, and opening accounts for electricity and for gas for the heat; at this time we hit on our rather awkward name for the school, ‘Subjects of the Artist,’ which was meant to emphasize that even the most ‘abstract’ modes of art have subjects, and that the curriculum was to consist of those subjects that interest advanced artists now.”190

He and Maria move back to New York City and find an apartment at 343 West Fourteenth Street. The decision to leave East Hampton is prompted both by the school and by his hope that he can save his marriage with Maria, who felt increasingly isolated in East Hampton and believed that she was losing her own identity in her marriage to an artist preoccupied by his work.191

s eptember 21– d ecember 5

Motherwell’s Pancho Villa, Dead and Alive (c7) is included in the exhibition Collage, the Museum of Modern Art’s historical survey of the medium. Installation photos of this exhibition are considered for inclusion in the second issue of Possibilities.

a u tumn

Concerning the Spiritual in Art (1912) by Wassily Kandinsky is published as the fifth volume in the Documents of Modern Art series. Motherwell writes a brief editorial note to the volume.192

Jean (Hans) Arp’s On My Way and Max Ernst’s Beyond Painting are published as the sixth and seventh volumes in the Documents of Modern Art series. Motherwell’s prefatory notes to these volumes are his most personal and impressionistic writings to date.193

o ct ober 11– d ecember 17

The first term of the Subjects of the Artist school begins with Rothko, Baziotes, Hare, and Motherwell each teaching one day a week. The initial enrollment consists of about fifteen students, though on any given day only five students are likely to be working in

the loft. Among those who study with Motherwell are Rosemarie Beck, Gandy Brodie, Mary Abbot Clyde, Arthur Ginsel, Mariska Kavacz, Kenneth Kilstrom, William Machado, Dorothy Taback, Yvonne Thomas, and Florence Weinstein.194

With Still’s departure the fifth day is left open and Motherwell organizes a series of Friday-evening talks by artists; among the first are Herbert Ferber and Ad Reinhardt. When these talks prove more popular than expected, Motherwell asks Barnett Newman to help him manage the Friday-night lectures.

o ct ober

Motherwell and Baziotes join the Betty Parsons Gallery, which already represents Pollock, Rothko, Newman, Reinhardt, and Still. But Motherwell never shows with Parsons and leaves the gallery within the year.195

[ l ate autumn–early d ecember]

The Motherwells’ move back to New York has not solved their marital problems, and Maria abruptly departs for

Fig. 190. Poster advertising a film program by Joseph Cornell and lectures by John Cage and Dr. Charles R. Hulbeck (aka Richard Huelsenbeck) at Subjects of the Artist, January–February 1949

helplessness,” and later describes this period as “the only time in my life I seriously contemplated committing suicide.”198 In this state of mind, he comes across the illumination he had made for Harold Rosenberg’s poem and decides to make an enlarged copy of the image in casein on cardboard. “At one moment I was looking around for a generating idea, and thought well, I’ll try another version, only larger and eliminating the written script. It was one of those times when I just wanted to paint for the act of painting.”199

This 20 by 15–inch work, At Five in the Afternoon (w10), is the first painting in the Elegy to the Spanish Republic series (see Chapter 4 in this volume). He first considers naming the work Reading Lorca but instead chooses the title At Five in the Afternoon from the refrain in Lorca’s famous poem “Llanto por Ignacio Sánchez Mejías.”200

d ecember 2–January 30, 1949

from 7 in the evening till 10 the next morning. The day after I painted a picture I liked better—called Granada which is all in black in white. I’ve never painted anything like this before and I called it the Voyage because it was new to me and one of the deepest impressions in my adolescence was first coming across the poems of Charles Baudelaire.”202

After two all-night sessions, Motherwell, whose state of mind is already fragile, considers destroying the paintings he produced, but Bradley Walker Tomlin talks him out of doing so.203

1949

January 3– m arch 11

California. (Later they give different accounts of what happened. Motherwell says that she ran off with a man she met in East Hampton, and that she took his Jeep and their dogs with her. Maria denies this, noting that she did not run off with anyone and that she had paid for the car with money she earned writing scripts for comic books.)196

Either before or in the aftermath of Maria’s departure, Motherwell falls in love with Natica Waterbury (1921–1977), an employee of the Betty Parsons Gallery. He would later write that his relationship with the Parsons Gallery was “complicated by my being in love with a beautiful employee of hers, for whom Betty, herself a strikingly beautiful woman, had deep feelings.”197 Waterbury departs shortly afterward for Paris with the painter Sonja Sekula, but Motherwell remains in contact with her and even sends money to assist her in the months to come.

Motherwell begins drinking heavily, overwhelmed by feelings of “abandonment, desperation, and

Samuel Kootz donates Motherwell’s In Yellow and Black (p46) to the newly formed Tel Aviv Museum. The work is displayed at the Jewish Museum, New York, as part of the exhibition American Artists for Israel, sponsored by the American Fund for Palestinian Institutions at the Jewish Museum.

d ecember 15

Motherwell’s essay “A Tour of the Sublime” appears in Tiger’s Eye as part of a special section, “The Ides of Art: 6 Opinions on What Is Sublime in Art.”

Other contributors included Nicolas Calas, Barnett Newman, Kurt Seligmann, John Stephan, and A.D.B. Sylvester. Motherwell initially considers calling his essay “Against the Sublime.” He argues for the tragic against the sublime and emphasizes the negative aspects of modernism and the ways in which modernism was an attack on the sublime: “A painter’s most difficult and far-reaching decisions revolve around his rejections.”201

d ecember 19–21

In his Fourteenth Street apartment, during a blizzard that drops twenty inches of snow on New York, Motherwell paints The Voyage (p87) and Granada (p86) on a large roll of paper tacked to the wall: “[The Voyage] was painted in a terrible time in my life, in a horrible room on 14th Street for about 15 hours

Bar nett Newman officially joins the faculty of The Subjects of the Artist to run the Friday-night lectures. Joseph Cornell, John Cage, and Dr. Charles R. Hulbeck (aka Richard Huelsenbeck) give the first talks of the new term. The lectures begin drawing audiences of up to 150 people and contribute to the beginning of the downtown art scene.204

January 17

Operating in his capacity as a private dealer, with a large inventory of works by his former gallery’s artists, Samuel M. Kootz writes Herman More, the director of the Whitney Museum of American Art, offering the museum the opportunity to purchase one painting and receive a second work of the same size and value as a gift. The Whitney acquires Motherwell’s Red Skirt of 1947 (p65) and Adolph Gottlieb’s Vigil (1948).205

f ebruary 11–22

Motherwell writes the “Preliminary Notice” to Daniel-Henry Kahnweiler’s Rise of Cubism (1915), the next volume to be published in the Documents of Modern Art series.206

m arch 19

Motherwell delivers the lecture “A Personal Expression” as part of the Seventh Annual Conference of the Committee on Art Education, sponsored by the Museum of Modern Art. Other speakers include Meyer Schapiro, Balcomb Greene, and Ben Shahn; the panel is moderated by Ruth Reeves.207

s pr I ng

Paintings, Sculptures, Reflections by Georges Vantongerloo—the last living member of the De Stijl movement—is published as the fifth volume in the Problems of Contemporary Art series.

m arch 21– m ay 27

Mark Rothko quits Subjects of the Artist at the end of the second semester, and Barnett Newman takes over his classes. David Hare loses interest in teaching after the death of his best student, and at the end of its third semester, the school closes.

m arch 29

Motherwell writes the “Preliminary Notice” to the revised edition of Guillaume Apollinaire’s book The Cubist Painters: Aesthetic Meditations, and later in the year he completes a new introduction for a revised edition of Mondrian’s Plastic Art and Pure Plastic Art, the first volumes to enter a second printing in the Documents of Modern Art series.

m ay 26– s eptember 8

On May 26 Motherwell obtains a French visa, intending to travel to Paris that summer to meet with Tristan Tzara and Daniel-Henry Kahnweiler, and to see Natica Waterbury, with whom he has corresponded during the spring. But he later cancels the trip. In letters to Tzara and Kahnweiler, he gives an undefined illness as the reason, though the psychological turmoil of his impending divorce and his unrequited feelings for Waterbury may well be involved.

Having rented out his house, Motherwell takes a room in the house of Dr. William T. and Mardi Helmuth in East Hampton.

Motherwell begins psychoanalysis with Dr. Montague A. Ullman (1916–2008) in early September. He will remain in analysis for most of his life, sometimes with other analysts, but he repeatedly returns to Ullman, whom he sees until shortly before his death.

July 3–16

Motherwell’s At Five in the Afternoon (w10) is included in an exhibition at the Gallery 200 in Provincetown, to coincide with the summer exhibition and lecture series Forum 49, organized by Weldon Kees, Fritz Bultman, and Cecil Hemley.

a ugus t 11

a pr I l 3–24

Amer ican Painting: 3 Centuries at the John and Mable Ringling Museum of Art in Sarasota, Florida, includes an unidentified painting by Motherwell, Black and White. (This painting is listed as measuring 18 x 24 inches, and is the only work by Motherwell to be lent during the 1948–49 season with the credit line “Courtesy of Betty Parsons Gallery.” It is possible that the work in question is At Five in the Afternoon [w10], with the dimensions reflecting the size of the frame. If so, it would mark the first exhibition of this painting, and, indeed, of any image from the Elegy to the Spanish Republic series.)

m ay 14

Kahnweiler’s Rise of Cubism is published as the ninth volume in the Documents of Modern Art series. Among the forthcoming titles listed on the back cover are Dada: An Anthology, which “will be published in the fall of 1949,” and Possibilities 2, which remains “in active preparation.”

s eptember

Samuel M. Kootz reopens his gallery after his arrangement with Picasso falls apart. Motherwell and Baziotes rejoin Kootz, which some of their friends in the Parsons Gallery view as a betrayal. On September 11, Motherwell writes Herbert Ferber, “You’ll be shocked to learn that I’ve gone back to Kootz. I like th[e] risk, & is in reality a sign of health on my part.”209 A few weeks later, Tomlin writes Ferber with more information about Motherwell’s decision: “In talking to Bob in reference to his going back to Kootz he said (perhaps partly to alleviate his sense of guilt) that he felt that the fight was over for all of us—I think he said battle—and that at present each of us has to go about his own work. I know he means and in fact said that the bond between all of us is so strong that nothing can ever change it but that it is perhaps no longer necessary to think of ourselves as a group in somewhat the terms of a battering ram.”210

Motherwell goes to Provincetown with Willem de Kooning and delivers the talk “Reflections on Painting Now” at Forum 49 as part of the symposium “French Art vs. U.S. Art Today.” Other speakers include Karl Knaths, Paul Mocsanyi, Stuart Preston, and Frederick Wight. Adolph Gottlieb acts as moderator.

a ugus t 16

George Dondero, the U.S. representative from Wisconsin, names Motherwell in the speech “Modern Art Shackled to Communism,” in the House of Representatives. Dondero warns of “the link between the Communist art of the ‘isms’ and the so-called modern art of America. . . . Add to this group of subversives the following satellites and the number swells to a rabble: Motherwell, Pollock, Baziotes, David Hare and Marc Chagall.”208

Under the terms of Motherwell’s new contract with Kootz all works are to be sent to the gallery on a consignment basis and he will no longer receive a monthly stipend. The arrangement allows Motherwell greater control of his work but will make it necessary for him to find a teaching position or other steady employment to supplement his income from painting.

s eptember– m ay 1950

The Robert Motherwell School of Fine Art opens in a loft at 61 Fourth Avenue, between Ninth and Tenth Streets. Motherwell’s students include several from Subjects of the Artist. The school holds classes two nights a week and doubles as his studio; shortly afterward, Bradley Walker Tomlin begins sharing it with him and introduces him to Philip Guston.

The loft used for the Subjects of the Artist school the previous year reopens as Studio 35. Three New York University professors, sculptor and architect Tony Smith and painters Hale Woodruff and Robert Iglehart, lease it and continue the Friday-evening lectures with input from Motherwell; dur ing the week New York University students use the loft as a studio space.

In September a group of artists that includes Philip Pavia, Franz Kline, and Willem de Kooning rents a

Fig. 191. Motherwell with Barnett Newman and Annalee Newman at Palisades Park, July 14, 1949

Fig. 192. Advertisement for the Robert Motherwell School of Fine Art, autumn 1949

loft next door to Studio 35, at 33 East Eighth Street, which they name the Club. The Club starts its own series of talks and panel discussions by artists and, over the next decade, becomes an anchor of the downtown art scene.

s eptember 14– o ct ober 3

The Samuel M. Kootz Gallery reopens in a new space at 600 Madison Avenue, with a group exhibition called The Intrasubjectives, organized by Kootz and Harold Rosenberg. It includes works by Gorky, Reinhardt, de Kooning, Pollock, Rothko, and Tomlin, along with Kootz’s gallery artists, who now include Hans Hofmann and David Hare in addition to Motherwell, Baziotes, and Gottlieb. Motherwell shows The Voyage (p87) for the first time. The title of the show is an attempt to name the new movement in American painting, borrowing a term from an essay by José Ortega y Gasset published earlier that summer in the Partisan Review 211 Both Kootz and Rosenberg write essays for the exhibition catalogue, which is designed by Adolph Gottlieb.

Stuart Preston, reviewing the exhibition in the New York Times, writes, “Pollock’s opposite number in the group is Robert Motherwell, whose solution to the problems of abstract art is found in a wonderfully organized design of large, loosely related, sharply defined flat forms. Not that color is despised. Each form is given just that tone that puts it in its place. Once the great design is fixed the job is done. There is nothing of color or handling left over for superfluous decoration.”212

s eptember 15–26

Tristan Tzara writes Motherwell a number of increasingly angry letters that conclude with his pulling his text from Motherwell’s Dada anthology, which puts the project’s future in doubt. Tzara writes that he refuses “to collaborate” (still a charged word in French in 1949) in the anthology.213 He is furious about rumors that Motherwell will use Richard Huelsenbeck’s Manifesto 1949 as an introduction to the book, since Tzara and Huelsenbeck have had a longstanding feud over who coined the word dada. But the larger issue is a political dispute: Tzara is a member of the French Communist Party, while

Huelsenbeck is ardently anti-Stalinist and wants to distance Dada from all political affiliations. This dispute will drag on for months, drawing in various Dada factions on both sides of the Atlantic. At Duchamp’s suggestion, Motherwell tries a diplomatic solution and encourages Tzara to write a response to Huelsenbeck’s manifesto, promising to publish both.

s eptember 27– n ovember 17

To obtain a divorce from Maria, Motherwell travels west to San Francisco to consult with his mother and her lawyer, and then to the Del Monte Ranch outside Reno, Nevada. While there he writes the “Preliminary Notice” for Marcel Raymond’s From Baudelaire to Surrealism, the tenth volume in the Documents of Modern Art series.

At the ranch he meets Betty Little (1924–2009), who will become his second wife. She also has come from New York to obtain a Reno divorce, and has an infant daughter, Cathy, from her first marriage.

o ct ober 4–22

Robert Motherwell Collages 1943–49 is mounted at the Samuel M. Kootz Gallery while Motherwell is in Nevada. The works are drawn from both Kootz’s own holdings and numerous loans.

William Baziotes writes to Motherwell, “T. S. Eliot has written that for the subjectively extreme and obscure artist of to-day the most important feeling is to have a feeling for the past. This I felt in your show of collages. Not that I felt Proustian or anything like that but I did feel it was a strange American painter. There were elements of frustration, disgust, despair—the existentialist attitude of every young 20th century painter. But there was love there too (the past of course)—beautiful costumes, gingerbread, women, erections, ease of living, take your time; holidays; jewelry; jokes; oval mirrors; stripes, flags; parades, circuses. And Sam and I agreed it was a beautiful show.”214

n ovember 18– m ay 25, 1950

Retur ning from Reno, Motherwell moves in with Pierre and Dollie Chareau at 215 East Fifty-seventh Street. He and Betty Little spend Thanksgiving at his house in East Hampton. There he inspects his studio, as Betty later

recalled, “to see how it had fared in the several months since he had left there, which was the summer before the divorce. That spurred a renewed interest in Bob to paint again when he returned to the city.”215

1950

January

Joseph Cornell gives Motherwell a small box, Untitled (A Suivre) (1949),216 from his recent exhibition at the Charles Egan Gallery.217

January 23– f ebruary 11

Bar nett Newman’s first solo exhibition is mounted at the Betty Parsons Gallery. Motherwell helps hang the exhibition and writes Newman, “I greatly admire the intelligence & jauntiness of your exhibition (the rationalization, less so), & tip my hat to you with real respect. I hope it is the first of an equally beautiful series.”218

January 31– m ay 7

Motherwell’s Western Air of 1947 (p47) is included in the Recent Acquisitions exhibition at the Museum of Modern Art. Just before the show, the museum deaccessioned two works by him: In Beige with Sand (c19) and The Homely Protestant (p82), which were returned to the Kootz Gallery as credit against the acquisition of the large 1947 oil.

f ebruary

The second issue of Possibilities is canceled.219 Despite Motherwell’s continual efforts to keep the peace, conflicts between Rosenberg and Wittenborn, and particularly between Rosenberg and Cage, have created an insoluble impasse.

The material that was assembled for the second issue included Motherwell’s ink drawing for Rosenberg’s “A Bird for Every Bird” (later known as Elegy to the Spanish Republic No. 1; see fig. 44); a long article on Willem de Kooning by George H. Dennison; Paul Goodman’s essay “Statue of Strength and Goodness”; fragments from Erik Satie’s “Memories of an Amnesiac”; Daniel-Henry Kahnweiler’s essay “Mallarmé and Painting”; Rachel Bespaloff’s philosophical essay “The Moment,” which contrasts Montaigne’s Essays and Saint Augustine’s Confessions; a statement

by William Baziotes; “Fable,” by Alfred Jarry; a feature on the paintings and mosaics of Max Spivak; a 1928 “Tableau-Poème” by Piet Mondrian and Michel Seuphor; Motherwell’s 1949 essay “A Personal Expression”; and Louis Zukofsky’s “David and Bathsheba,” an excerpt from his Thanks to the Dictionary 220

Motherwell almost immediately begins work on a new project, Modern Artists in America, with coeditors Ad Reinhardt and Bernard Karpel. Meant to serve as a documentary account of the 1949–50 art season, the publication appears in late 1951.

f ebruary 17

At a symposium on André Malraux’s Psychology of Art at the Club—which includes Clement Greenberg, Barnett Newman, and Meyer Schapiro— Motherwell is the only one to speak in support of Malraux’s ideas, which have had a strong effect on him.

f ebruary 28– m arch 20

Motherwell’s Granada (p86) is included in Black or White: Paintings by European and American Artists at the Kootz Gallery, for which he writes the catalogue essay “Black or White.” The exhibition features works in black and white by European artists including Picasso, Dubuffet, Braque, Mondrian, and Miró, and the Americans Fritz Bultman, Baziotes, de Kooning, Gottlieb, Hofmann, Kees, Tobey, and Tomlin.

The show marks the second exhibition by Motherwell of a work in what will become the Elegy to the Spanish Republic series and the first time he has exhibited a work from the series in New York. The positive reception of Granada from both the press and artists appears to be an important factor in Motherwell’s further exploration of the Elegy theme in the months that follow. Motherwell meets Franz Kline (1910–1962) for the first time at the Kootz Gallery, when Kline compliments him on Granada 221

m arch 27– a pr I l 21

Motherwell writes an essay for the catalogue of David Smith’s exhibition at the Marion Willard Gallery.222

a pr I l 21–23

To mark the closing of Studio 35, a three-day symposium with twenty-five artists and Museum of Modern Art curator Alfred H. Barr Jr. is held. Motherwell and Richard Lippold take turns moderating the sessions, which are recorded and later edited by Robert Goodnough for publication in Modern Artists in America. Toward the end of the third day, Adolph Gottlieb suggests drafting a letter in protest against the Metropolitan Museum of Art’s upcoming juried exhibition, American Painting Today

m ay 22

An “Open Letter to Roland Redmond, President of the Metropolitan Museum of Art” is published on the front page of the New York Times 223 Signed by eighteen painters and ten sculptors, the letter protests the museum’s conservative policies with regard to the juried exhibition American Painting Today, scheduled for December. Motherwell is among those who sign the letter, which is written by Gottlieb, Newman, and Reinhardt.

Motherwell notes that the protest “revolved around the question, not of having an exhibition of modern American art, but of who in fact is a modern American artist.” On May 23 the New York Herald Tribune publishes an editorial about the protest, dubbing the group “the irascible eighteen.”224

m ay 25

Motherwell marries Betty Little on Shelter Island, off the north shore of Long Island. Days before the wedding, he moves out of the Chareaus’ Fiftyseventh Street apartment and returns to live in East Hampton with Betty and her daughter, Cathy.

June 1

Motherwell introduces a talk given by Jean (Hans) Arp at the Club.

June 6–30

Something Old Something New at the Kootz Gallery features Motherwell’s 1947 painting The Emperor of China (p68) and the recently completed canvas Madrid (p94), a new work from what will become the Elegy to the Spanish Republic series.

July

Pierre Chareau’s design for Motherwell’s East Hampton house is featured in the July issue of L’Architecture d’aujourd’hui, with photographs taken by Ronny Jacques in the autumn of 1947.

July 14

In East Hampton, Motherwell writes the introduction to Georges Duthuit’s book The Fauvist Painters, the eleventh volume in the Documents of Modern Art series, which will be published in December.

a ugus t 21–24

On August 21 Pierre Chareau suffers a stroke at his home on Motherwell’s property in East Hampton. Motherwell and Betty rush him to the local hospital, where he dies on August 24.

Heinz Schultz writes George and Joyce Wittenborn shortly after he learns of Chareau’s stroke: “Oh partners I could commit suicide. After arriving Friday evening in E[ast] H[ampton] Gretchen tell [sic] me, that Robert, coming home from his vacation (of which I did not know a thing) found Pierre Chareau in his house with a stroke. Dollie had left for N.Y. the day before. Robert, completely ‘verstört’ [distraught] told me over the phone that it is worse than losing his father. The doctors say it is rather hopeless.”225

Fig. 193. Artists’ session at Studio 35, April 1950. From left to right: Seymour Lipton, Norman Lewis, Jimmy Ernst, Peter Grippe, Adolph Gottlieb, Hans Hofmann, Alfred H. Barr Jr., Motherwell, Richard Lippold, Willem de Kooning, Ibram Lassaw, James Brooks, Ad Reinhardt, and Richard Poussette-Dart

Fig. 194. Motherwell in his East Hampton house, 1950. On the wall is a painting from the Elegy to the Spanish Republic series (p95)

Fig. 195. Motherwell in East Hampton, 1950

The

[ a fter s eptember 15]

Following the death of Pierre Chareau, Motherwell and his family move from East Hampton to Suffolk Lane in East Islip on Long Island’s south shore. Motherwell returns to teaching private classes in his studio at 61 Fourth Avenue in New York. The first of his private classes for the autumn begins on September 19. He has no studio in East Islip, so he spends at least two nights a week in the city to teach and continues to use the New York loft as his studio.

ober 3–23

The Muralist and the Modern Architect at the Samuel M. Kootz Gallery presents collaborations between artists and architects: William Baziotes and Philip Johnson; Adolph Gottlieb and Marcel Breuer; David Hare and Frederick Kiesler; Hans Hofmann and José Luis Sert and Paul Wiener; and Motherwell and the Architects Collaborative, a firm led by Bauhaus founder Walter Gropius.

o ct ober 16– n ovember 4

Franz Kline’s first solo exhibition is held at the Charles Egan Gallery.

o ct ober 26–28

Motherwell speaks at the Midwestern College Art Conference at the University of Louisville, Kentucky. On Thursday, October 26, he moderates a panel discussion, “The Teaching of Drawing.” At the Friday-morning session, devoted to “Appraisals of Contemporary Art,” Motherwell delivers the lecture “The New York School,” coining the term that will later come into common use.227 Written partly as a defense of the work of his colleagues and to define their common sensibilities, the talk is a dramatic analysis that synthesizes Motherwell’s thinking over the past decade and is the most cogent discussion of the new American art to date: “What the lesson of the School of New York in particular, and of modern art in general really means . . . is subjectivism and its sensibility, its abstract structural

Motherwell’s work in the years to come.

Fig. 196. Motherwell’s mural maquette installed in an architectural model of the Attleboro School, designed by the Architects Collaborative and Walter Gropius; as seen in the exhibition

Muralist and the Modern Architect, Samuel M. Kootz Gallery, 1950

Fig. 197. The catalogue for Motherwell’s 1950 solo exhibition at the Samuel M. Kootz Gallery, which includes his first written statement on the Elegy to the Spanish Republic series. Illustrated from left to right: Granada (p86); Room 8, Hotel Flora, Cannes (p109); and The Voyage (p87)

n ovember 10– d ecember 31

The Voyage (p87) is included in the 1950 Annual Exhibition of Contemporary American Painting at the Whitney Museum of American Art.

n ovember 14– d ecember 4

Motherwell: First Exhibition of Paintings in Three Years at the Kootz Gallery presents recent paintings. Motherwell writes a statement for the exhibition catalogue defining three distinct aspects of his work: “Capriccios,” “Wall Paintings,” and “Elegies (To The Spanish Republic).” This is his first use of the phrase in reference to his recent black-and-white paintings.229

n ovember 25– J an uary 1, 1951

Doorway with Figure (p88) is included in the 4th Annual Exhibition of Contemporary Painting at the California Palace of the Legion of Honor in San Francisco.

The Beverly Hills gallerist Frank Perls sees the exhibition and chooses works from the show for his Seventeen Modern American Painters exhibition in January 1951.

n ovember 30

Joseph Cornell writes to Motherwell about his Kootz Gallery exhibition, which includes three paintings with hotel themes (p109–p111): “The gallery was as still as the corridors of hotel flora when I dropped by last evening at almost closing time (your announcement was a full 2 weeks in reaching me) and the mood perfect to sit still & enjoy the ‘panorama’ I warmed up mostly to

the ‘Number Eights.’ . . . Any similarity of your own hotel to others that might appear shortly in announcements is purely coincidental.”230 Cornell’s exhibition Night Songs and Other New Work opens at the Charles Egan Gallery on December 1 and contains several of Cornell’s own “hotel” boxes.

d ecember

Kootz’s five gallery artists each choose new talent for the exhibition Fifteen Unknowns at the gallery; Motherwell selects paintings by Rosemarie Beck.231

d ecember 5

Georges Duthuit’s Fauvist Painters is published as the eleventh volume in the Documents of Modern Art series.232

[ l ate d ecember]

Architect Percival Goodman (brother of the writer and social critic Paul Goodman, who wrote for Possibilities) commissions the Kootz Gallery and its artists to design artworks for a new synagogue he is designing for the Congregation B’nai Israel in Millburn, New Jersey. This project affords the artists a rare opportunity to engage directly with the public and to execute works on a large scale. Kootz and Goodman select Adolph Gottlieb to design the Torah curtain, Herbert Ferber to make a large sculpture for the exterior, and Motherwell to create a mural for the entranceway (p114).

Fig. 198. Mark Rothko, Motherwell, and Bradley Walker Tomlin at the Rockefeller Guest House, New York, 1951. Shown on the wall in the background is Motherwell’s Voyage (p87). In the foreground are, left to right: Rothko’s No. 1, 1948–49; and Tomlin’s Number 9: In Praise of Gertrude Stein, 1950

f ebruary 1

Motherwell is hired as a lecturer in the Graduate Department of Art and Art History at Hunter College. He will be made an assistant professor in 1952, granted tenure in 1953, and will teach at Hunter through the autumn of 1959. He teaches one advanced studio class and one seminar per semester, and is instrumental in bringing modern artists onto the faculty, including Baziotes, Bultman, Richard Lippold, Ray Parker, Gabor Peterdi, Reinhardt, and Still.

f ebruary 5

1951

January–[early summer]

In preparation for painting the synagogue mural, Motherwell researches the history of Jewish art and iconography, reading several books recommended to him by Meyer Schapiro.233 He finds inspiration for the project in conversations with Rabbi Max Grünewald of the Millburn congregation: “What I wanted to find out was what images in the Old Testament meant a lot to him. It turned out to be the Diaspora, the burning bush, and the tablets of Moses. The thing that got him talking in a way that made my heart stand still: Jacob’s ladder, he talked for fifteen minutes.”234

January 11– f ebruary 7

Seventeen Modern American Painters is mounted at the Frank Perls Gallery, Beverly Hills, with a catalogue featuring Motherwell’s essay “The School of New York.” The essay provokes the ire of Clyfford Still and others, who resent Motherwell acting as spokesman for their work and reject his formulation of a “school” of New York.235

January 15

A photographic group portrait of “The Irascible Eighteen” appears in Life magazine, bringing the New York artists national attention.236

Motherwell speaks at the symposium “What Abstract Art Means to Me” at the Museum of Modern Art, which coincides with the exhibition Abstract Painting and Sculpture in America.  Other speakers include Calder, Stuart Davis, de Kooning, Fritz Glarner, and George L. K. Morris. Motherwell’s talk is published in the spring issue of the Museum of Modern Art Bulletin

m arch

Motherwell is named to the Artist’s Steering Committee for the Third National UNESCO conference to be held at Hunter College. In this role, he collaborates with Herbert Matter on a book addressing the American contribution to art, but the book is never published because of a lack of funds.237

m arch 25

Motherwell’s essay “The Public and the Modern Painter,” published in the Easter issue of the Catholic Art Quarterly, addresses the general public’s lack of education concerning abstract art: “inner life is a mysterious and elusive thing. Still it is there, but not on the surface, which is why modernist artists do not paint the surface of the world.”238

a pr I l 12

Motherwell speaks at the “Symposium on Modern Painting” sponsored by the Fogg Art Museum, Harvard University. Other speakers include Ben Shahn, Oliver Larkin, and Meyer Schapiro.239

m ay

The Motherwells move from East Islip to an apartment at 122 East Eightysecond Street, so as to be closer to Hunter College.

m ay 14–June 2

The Betty Parsons Gallery presents Robert Rauschenberg’s first solo exhibition.

m ay 21–June 10

The Ninth Street Show presents work by over sixty artists, including Motherwell, in a vacant storefront space at 60 East Ninth Street. Leo Castelli helps organize and fund the exhibition, which is conceived by the members of the Club.240

June 14

Motherwell completes the introduction to The Dada Painters and Poets, which he has been writing since February.

a fter June 15–July

Motherwell and his family spend time in East Hampton.

a ugus t 6–[ s eptember 6]

Motherwell teaches the summer session at Black Mountain College. The summer faculty at the school includes poets Charles Olson and M. C. Richards, composer Lou Harrison, and photographers Harry Callahan and Aaron Siskind. Motherwell’s students include Robert Rauschenberg, Cy Twombly, Francine du Plessix, and Joel Oppenheimer.

Motherwell is immediately struck by Twombly’s paintings and writes Kootz about giving the younger artist an exhibition in the fall. Kootz replies, “Your rave about Twomley [sic] is heart-warming, so bring him in and let’s look him over. Be convinced he isn’t just another kid with talent, however; I like ’em for the long pull.”241

Motherwell’s time is largely devoted to working on the Millburn synagogue mural (p114). During the summer he creates nearly two dozen studies in oil, ink, and watercolor for the project and begins work on the mural itself, painting it on four full sheets of Masonite for an overall dimension of eight by sixteen feet.

On a trip to buy liquor from a bootlegger, Motherwell resolves the imagery of Jacob’s ladder: “I wandered into his place, an Appalachian cabin and something leapt out of the interior. I went over and saw a ship in a bottle— this guy had four bottles with the most beautiful ladders, unique, lovingly carved—and in the damn bootleggers I found the solution to Jacob’s ladder.”242

s eptember

Ar ts and Architecture magazine publishes Motherwell’s essay “The Rise and Continuity of Abstract Art.”243

s eptember 7– o ct ober 2

On his return to New York, Motherwell consults with Percival Goodman and decides to paint the background of his synagogue mural bright orange over the original blue, so that it will better harmonize with the brick wall on which it will hang. He titles the finished work Wall of the Temple (p114).

During this time he also becomes friends with the publisher Alexander Liberman and his wife, Tatiana, through their daughter Francine du Plessix.

s eptember 20– o ct ober 5

Motherwell’s Red Skirt (p65) and Collage in Yellow and White, with Torn Elements (c52) are included in Amerikanische Malerei: Werden und Gegenwart, organized by the American Federation of Arts for the 1951 Berliner Festwochen (Berlin Festival).

o ct ober 1

Art Digest publishes “Motherwell: A Profile,” by Paul Bird; this is the first in-depth biographical portrait of Motherwell to appear in print.

o ct ober 3–20

Art for a Synagogue is shown at the Kootz Gallery. The exhibition includes Motherwell’s Wall of the Temple (p114), Gottlieb’s Torah curtain, and a maquette of Ferber’s sculpture alongside Goodman’s plans for the Congregation B’nai Israel synagogue in Millburn.

o ct ober 15

“Art in Religion,” a panel discussion featuring Kootz, Goodman, Ferber, Gottlieb, and Motherwell, is broadcast on WNYC radio as part of its Second Annual Arts Festival.244

o ct ober 16– n ovember 4

Scotchlite is shown at the Whitney Museum of American Art. Installed in the museum’s lobby, the work is a “to scale” reproduction of Mural Fragment (p102), fabricated in Scotchlite, an experimental reflective material manufactured by the 3M Corporation.245 The reproduction was the idea of the collector Katherine Ordway, whose family owns 3M. Following the exhibition, the three panels are installed along the driveway of Ordway’s Connecticut estate. (Later, Motherwell makes it emphatically clear that he does not consider this fabricated work part of his oeuvre.)246

A fifteen-minute talk by Motherwell entitled “New Mural Technique,” discussing the exhibition, is broadcast on WNYC on October 16 as part of its second annual arts festival.247

n ovember

The Dada Painters and Poets is published in the Documents of Modern Art series. Richard Huelsenbeck’s Dada Manifesto 49 and Tristan Tzara’s response, An Introduction to Dada, are published as separate broadsides included with

the publication and sold separately for 25 cents each. The book is heralded as an art-historical landmark and exerts a strong influence on subsequent art.248 This volume is the last book in the Documents of Modern Art that Motherwell will edit.249

n ovember 2–30

Cy Twombly has his first solo exhibition, at the Seven Stairs Gallery and Bookstore in Chicago. Motherwell writes the catalogue essay for the show, stating, “I believe that Cy Twombly is the most accomplished young painter whose work I happen to have encountered.”250

n ovember 13–January 13, 1952

Henr i Matisse, a retrospective exhibition, is shown at the Museum of Modern Art. Concurrent with the exhibition, Alfred H. Barr Jr.’s landmark study Matisse: His Art and His Public is published.251 The impact of the exhibition and the book can be seen in Motherwell’s work during the next several years.

d ecember

With Motherwell’s encouragement the Kootz Gallery exhibits paintings by Cy Twombly, in a two-man show with Gandy Brodie. At the close of the exhibition—Twombly’s first in New York— he gives Motherwell a painting titled KLU (1951) in thanks.252

d ecember 13

Motherwell clips a photograph of a magpie from the New York Times, 253 which will become the model for several paintings (p124–p126), and for an ink drawing that is featured on the cover of the catalogue for his 1952 solo exhibition at the Kootz Gallery.

d ecember 26–January 5, 1952

The Sidney Janis Gallery includes Motherwell’s Wall Painting (p101) in the American Vanguard Art for Paris Exhibition, which travels in February to the Galerie de France, Paris.

wI nter

Modern Artists in America is published, providing a comprehensive documentation of the 1949 and 1950 art seasons. In addition to listing all the gallery and museum exhibitions in New York, it includes transcripts of the “Artists’

Fig. 199. The cover of Modern Artists in America, designed by Motherwell, 1951

Sessions at Studio 35 (1950)”; “The Western Round Table of Modern Art”; Michel Seuphor’s “Paris–New York 1951”; “Art in the World of Events,” a chronology of the public and political response to modern art in the United States from March 1947 to September 1950; and a section devoted to contemporary painters and poets in Barcelona.

1952

f ebruary 26– m arch 21

Motherwell receives a statement that reveals that Kootz has failed to pay him for several recent sales. On March 21, he writes Charles Parkhurst of Oberlin College that he is breaking ties with the Kootz Gallery: “I’ve been in a difficult situation and wanted it to clarify itself before I wrote. Briefly—and this is between us—Kootz and I are breaking off relations because of what seem to me to be shady financial practises.”254 Although the issue is temporarily resolved, the incident is the first tangible sign of Motherwell’s discontent with Kootz.

a pr I l 1–19

The Kootz Gallery shows Robert Motherwell: Paintings, Drawings and Collages. An eclectic mix of twenty-five works, the exhibition includes five new paintings in the Elegy to the Spanish Republic series (p128–p132) and the large version of The Homely Protestant (p85), shown here for the first time.

a pr I l 15– m ay 12

Paintings by Robert Motherwell, an exhibition at the Allen Memorial Art Museum at Oberlin College, presents seventeen works dating from 194 4 to the present. Motherwell teaches the Baldwin Fund Special Advanced Seminar on the Ideas and Rejections of Modern Art at Oberlin, April 15–24.255

[ s pr I ng]

Motherwell gives up his loft at 61 Fourth Avenue and begins using the dining room in his apartment as his studio, in an effort to save money toward the purchase of a house.

a pr I l 28

Motherwell writes a letter of recommendation on behalf of Cy Twombly, who is applying for a fellowship from the Virginia Museum of Fine Arts:

“I believe that his intense interest in, and dedication to painting without reserve makes him precisely the proper recipient for a painting fellowship— and that the excellent reception among the painters of his recent exhibition in New York is evidence that I am not alone in this opinion.”256 Twombly receives the fellowship and uses it to purchase tickets to Rome for himself and Robert Rauschenberg.

June 1– a ugus t 31

The Motherwells spend the summer in East Hampton. John Bernard Myers, director of the recently opened Tibor de Nagy Gallery, and his partner, Waldemar Hansen, live in the cottage on Motherwell’s property.257 Motherwell meets the poet Frank O’Hara (1926–1966) for the first time.258

Late in the summer he creates The Easel I (c58), incorporating newspaper fragments with movie listings for theaters in the East Hampton area.

June 9

Percival Goodman draws up plans for a new, modern-style house for the Motherwells. But the need to keep the costs low limits the design options, as Goodman writes: “Whatever aesthetic it can have is on the Mondrian order. This I think you should face for otherwise it will look like a shack.”259 The house is never built.

Fig. 200. The catalogue for Motherwell’s 1952 solo exhibition at the Samuel M. Kootz Gallery. Illustrated is Magpie, a 1952 ink drawing

Fig. 201. Motherwell’s 1952 solo exhibition at the Samuel M. Kootz Gallery. From left to right: p85, p129, p133, p134, three ink drawings (Candelabra, 1952; Magpie, 1952; Dancing Figure, 1951), p116, and p132

Fig. 202. Motherwell’s 1952 solo exhibition at the Samuel M. Kootz Gallery. From left to right: p131, p117, p128, p136, and p134

Fig. 203. Motherwell and Mark Rothko at the Fourth Annual Woodstock Art Conference, Woodstock, N.Y., August 1952

June 15

Motherwell attends a public dedication ceremony, held to mark the unveiling of the artworks at the Congregation B’nai Israel synagogue in Millburn, New Jersey. Speakers include René d’Harnoncourt, director of the Museum of Modern Art. A brochure titled Symbols and Inscriptions in the Synagogue is produced for the occasion and features a brief statement by Motherwell on the iconography of his mural.260

J une 30

In a letter to the New York Times, seven members of the “Irascible” group once again protest the Metropolitan Museum of Art’s dismissive attitude toward modern art in their system of juried exhibition. The letter is written by Barnett Newman and signed by Motherwell, Ferber, Gottlieb, Reinhardt, Rothko, and Still.

a ugus t 22–23

Motherwell travels to Woodstock, New York, with Mark Rothko to participate in the seminar Aesthetics and the Artist, sponsored by the Artists Equity Association. Other speakers include Barnett Newman, David Smith, Suzanne Langer, and Franz Boas. Motherwell delivers the talk “Apropos ‘Aesthetics and the Artist.’ ”

Fig. 204. Motherwell’s Ark Curtain, 1953 (18 x 7 ft. [5.49 x 2.13 m]), a tapestry created for the Temple Beth El synagogue, Springfield, Mass.

1953

January 12– f ebruary 7

Philip Guston Paintings and Drawings at the Charles Egan Gallery, New York, is greatly admired by Motherwell, who will single it out for praise in an article “Is the French Avant Garde Overrated?”262

January 28

Motherwell’s daughter Jeannie is born.

January 26– f ebruary 14

The Kootz Gallery shows David Smith: New Sculpture. Kootz sells several major works but fails to pay Smith for many months, using the funds to cover his own debts. Because of the gallery’s precarious finances, a check sent to Smith in September bounces, and more time passes before the debt can be settled.

m arch 16– a pr I l 11

The Sidney Janis Gallery shows Willem de Kooning’s Woman series.

a pr I l

n ovember 10–29

Jackson Pollock, who left the Parsons Gallery the previous spring, holds his first exhibition at the Sidney Janis Gallery.

n ovember 12– d ecember 1

Helen Frankenthaler (b. 1928) has her first solo exhibition at the Tibor de Nagy Gallery.

l ate autumn– m ay 1953

Motherwell receives a commission to design an 18 x 7–foot tapestry for the Temple Beth El, a new synagogue Percival Goodman is building in Springfield, Massachusetts. As Motherwell works on the design, he creates a number of related works, notably La Danse II and La Danse III (p138, p139) and Fishes with Red Stripe (w19). Edward Fields, Inc., the rug manufacturer who fabricates Motherwell’s synagogue tapestry, also makes a version of La Danse II as a tapestry.

d ecember

Harold Rosenberg’s essay “American Action Painters” is published in Artnews.261

Motherwell purchases a three-story brownstone at 173 East Ninety-fourth Street, where he will live until 1971.263 The house needs extensive renovations and the pressures of owning it exacerbate his internal conflicts regarding domestic life and become a major strain on his marriage.264

Dr. Montague Ullman publishes a case study of “an artist of a modern school” that is clearly based on Motherwell, “Factors Involved in the Genesis and Resolution of Neurotic Detachment,” in the Psychiatric Quarterly 265 The article analyzes the artist’s psychological development from childhood on and his efforts to resolve his inability to form meaningful personal relationships.

a pr I l 6–25

In Robert Motherwell, the Kootz Gallery exhibits twenty-three new paintings and collages, among them five small new works in the Elegy to the Spanish Republic series, a group of pregnant nudes inspired by Betty’s recent pregnancy (p142, p143), and Motherwell’s first major series of collages since the late 1940s (c58, c59, c61, c68).

m ay 11

Bradley Walker Tomlin (1899–1953) dies of a heart attack in New York.

m ay 22–June 6

Ar t for a Synagogue at the Kootz Gallery presents works by Gottlieb, Ibram Lassaw, and Motherwell created for the Temple Beth El in Springfield.

s ummer

The Motherwells remain in New York to work on renovations to their new house. Willem de Kooning uses Motherwell’s East Hampton studio for the summer.266

June 15

The Kootz Gallery opens a branch in Provincetown with Nathan Halper (1907–1983), an authority on James Joyce, as its director. The gallery shows a rotating selection of works by gallery artists.

June 26

Motherwell writes a catalogue essay for Joseph Cornell’s solo exhibition at the Walker Art Center (July 12–August 30), but the catalogue is not published for lack of funds.267

s eptember

Motherwell writes the essay “Is the French Avant Garde Overrated?” for an editorial symposium published by Art Digest; other contributors include Ralston Crawford, Clement Greenberg, and Jack Tworkov.268

a u tumn

Motherwell begins painting for the first time since March. He initially works in a room on the first floor of the house on East Ninety-fourth Street, though in time he converts the basement into a studio space that he uses for the rest of the decade. During this period he begins some of his most iconic works: Wall Painting No. III (p154), Wall Painting IV (p155), Elegy to the Spanish Republic XXXIV (p156), and Elegy for the Spanish Republic XXXV (p168).269

o ct ober 15– d ecember 6

Dover Beach, an early state of The End of Dover Beach (c68), is shown in the 1953 Annual Exhibition of Contemporary American Painting at the Whitney Museum of American Art.

d ecember 12– f ebruary 28, 1954

The Easel I (c58) and four drawings by Motherwell are included in II Bienal do Museu de Arte Moderna, São Paulo.

d ecember 29

Motherwell sells his house and property in East Hampton to Barney Rosset, the owner of Grove Press.270

[ wI nter]

Motherwell receives an accounting from the Kootz Gallery for 1953. Although he earns $600 for completing the Springfield tapestry, the gallery has sold only three works during the entire year: two drawings and La Danse II (p138), which was acquired by the Metropolitan Museum of Art. After deducting his debts to the gallery for framing, shipping, insurance, and photography, Motherwell makes a meager $233.89 from these sales.

1954

[ b efore January 13]

Motherwell discovers a large oil on paper fragment left over from his or iginal design for the Springfield synagogue tapestry. He has the work, Fishes with Red Stripe (w19), mounted and framed.271

January 10– f ebruary 11

4 Americans: From the Real to the Abstract, featuring Abraham Rattner, Ben Shahn, Andrew Wyeth, and Motherwell, is shown at the Contemporary Arts Museum, Houston.

s pr I ng

James Fitzsimmons publishes a long profile of Motherwell in Design Quarterly, the first serious analysis of the ideas and philosophy that shaped his work.272

m ay 12– s eptember 26

The Solomon R. Guggenheim Museum includes the recently completed Wall Painting IV (p155) in its exhibition Younger American Painters: A Selection

m ay 17–June 12

Île-de-France (France) (p137) is included in the Kootz Gallery exhibition American and French Painting and Sculpture. The show features Georges Mathieu (b. 1921) and Pierre Soulages (b. 1919), two young French painters recently signed by Kootz.

June

Motherwell travels to Chicago, where he delivers a public lecture and serves on the jury for the independent artists exhibition Momentum 1954. Eight hundred works are submitted and 224 chosen for the show, including works by Momentum organizers Leon Golub and Nancy Spero.273

s ummer

Ad Reinhardt publishes “The Artist in Search of an Academy: Part II,” a satirical account of the increasing professionalism of the art world, in the College Art Journal. Reinhardt describes both Motherwell and Barnett Newman as representative of the “avant-garde huckster-handicraftsman and educational shopkeeper, the holy-roller explainer-entertainer-in-residence.”274

Barnett Newman takes offense, and files a libel suit against Reinhardt which two years later is thrown out of court.

July 4– a ugus t 12

Motherwell teaches a painting workshop at the Colorado Springs Fine Arts Center School. Also on the faculty are Ynez Johnston and Emerson Woelffer, who becomes a close friend. Motherwell does not paint while there, and the summer is marked by constant tension with Betty. According to her, their arguments escalate into physical violence on several occasions.275

July 17

Kootz writes Motherwell about a possible commission for another new synagogue project with Goodman, which involves designing a 29 x 47–foot tapestry to be suspended from the ceiling. Discussion of the project continues into the fall, but the commission never materializes.

July 19

Motherwell writes Herbert Ferber from Colorado, asking him to arrange the shipment of several paintings to the Neue Secession in Berlin and discussing his current sense of unease: “What is most disturbing is not understanding what is so upsetting, it all seems to be trivial things, altitude, record heat, Levittown house, lousey [sic] restaurants, but these are all bearable & don’t seem to account for an incredible sense of dislocation—like ‘Der Zauberberg’ in reverse. I console myself by remembering that Manet left Madrid after a week, saying no one could endure such food and heat.”276

[ a ugus t 14–31]

Motherwell teaches a two-week session at the Yale University Summer School in Norfolk, Connecticut.

s eptember

Motherwell’s essay “The Painter and the Audience” is published in Perspectives USA, as part of a symposium on the Artist and the Audience. Saul Bellow, Robinson Jeffers, and Roger Sessions also contribute essays.

s eptember 5

Heinz (Henry) Schultz of Wittenborn, Schultz, Inc., dies in a plane crash in Ireland.277

[ mI d- s eptember]

After an especially violent argument, Betty leaves with the children for her sister’s house in Washington, D.C. Motherwell begs her to come home, and she agrees. Soon after they reconcile she learns that she is pregnant again. In an effort to ease the tension in the household, Motherwell hires a live-in cook and nanny.278

o ct ober 17– n ovember 16

Motherwell travels throughout Germany as part of an American delegation including sculptor Richard Lippold, architect Richard Neutra, designers Charles Eames and George Nelson, and John Coolidge, director of the Fogg Museum. The German government has sponsored the four-week tour so the Americans can witness the current state of German culture and the Germans in turn can solicit advice from the Americans about the postwar reconstruction of German cities.

Motherwell suffers from severe depression during the trip and near the end asks Betty to join him in Germany.

n ovember 3

Henri Matisse (1869–1954) dies in Nice.

n ovember 16–29

The Motherwells travel to Paris, where they see David Smith.

d ecember 7–January 1955

Motherwell, suspicious of Kootz’s business practices and angry about several recent sales that fell through because of Kootz’s stormy temperament, demands a current accounting from the gallery. It reveals $1,000 in outstanding debts to Motherwell. Just after the New Year, Motherwell informs Kootz that he is leaving the gallery and asks that all his works be returned to him at once.

1955

f ebruary–July

Motherwell paints Je t’aime No. II (p157), Je t’aime No. IIa (p158), and Je t’aime No. III with Loaf of Bread (p159) and probably begins Je t’aime No. IV (p161). He later describes the phrase “Je t’aime” that is inscribed in large cursive script across the center of each canvas as “a cry that I would like to love.”279

Fig. 205. Robert and Betty Motherwell, ca. 1955

f ebruary 28

The Kootz Galler y returns to Motherwell fifty unsold works that it has had on consignment.

m arch 16

Motherwell delivers a lecture, “The Arts and Protestant Culture,” at the Judson Memorial Church in Greenwich Village.280

m arch 30– a ugus t 6, 1956

Pancho Villa, Dead and Alive (c7) and Granada (p86) are included in Modern Art in the United States, an exhibition organized by the Museum of Modern Art that travels to several cities in Europe. The young Spanish painter Antoni Tàpies (b. 1923) sees the exhibition in Paris, his first direct exposure to the painting of the Abstract Expressionists, and it has a profound influence on his future work.

s pr I ng

Clement Greenberg’s essay “ ‘AmericanType’ Painting,” published in Partisan Review, analyzes the innovations in the work of the Abstract Expressionists, including Gorky, Hofmann, Kline, de Kooning, and Motherwell, who, he says, has “a promising kind of chaos in him.”281 Greenberg singles out the work of Newman, Rothko, and Still, in which he sees the first major pictorial advance in modern painting since Cubism.

a pr I l 1

Samuel Kootz pays Motherwell the $1,500 owed to him, and the two end their business relationship.

a pr I l 11–may 7

Personage, with Yellow Ochre and White (p64), owned by Kootz, is included in the Kootz Gallery’s Tenth Anniversary exhibition, the last time a work by Motherwell is shown at the gallery.

a pr I l 11– m ay 14

Mark Rothko has his first one-man exhibition at the Sidney Janis Gallery. Newman and Still refuse to attend his opening and write Janis, attacking Rothko’s personal honesty and artistic integrity.282

a pr I l 14

Motherwell’s second daughter, Lise, is born.

a pr I l 24

Samuel Kootz closes his Provincetown gallery after two years. Nathan Halper and John Cuddihy (1922–2011), a sociologist and budding collector, reopen the space as the HC Gallery. They continue to show many of the same artists, including Motherwell.

a pr I l 25

Los Angeles gallery owner Paul Kantor writes Motherwell, offering to act as his West Coast dealer and show his work during the next year: “If you are interested in permanent representation on the West Coast, we would be most happy to work with you. We do not know your current New York arrangements (Emerson Woelffer told us you left Kootz).”283 Though Motherwell does not enter into a formal relationship with Kantor, his gallery will be the primary West Coast outlet for his work for several years.

a pr I l 26– m ay 21

Motherwell exhibits in the Fourth Annual Exhibition of Painting and Sculpture at the Stable Gallery.

m ay 11– a ugus t 7

The New Decade, a comprehensive survey of art since the end of World War II, opens at the Museum of Modern Art and the Whitney Museum of American Art. The Museum of Modern Art shows 22 Europeans, an exhibition that includes Karel Appel, Francis Bacon, Alberto Burri, Jean Dubuffet, and Pierre Soulages. The Whitney presents 35 American Painters and Sculptors, including Motherwell, who is represented by five works and who writes an essay titled “A Painting Must Make Human Contact” for the exhibition catalogue.

m ay 20–June 5

Motherwell’s drawing Flight is included in the Third International Art Exhibition at the Tokyo Metropolitan Art Museum, his first showing in Japan.284

m ay 30

Motherwell sees Goya at the Metropolitan Museum of Art, the largest and most comprehensive showing of the Spanish master’s work in the United States to date.285

s ummer

The Motherwells rent a house on Allerton Street in Provincetown. He is ill most of the summer with jaundice, a result of his heavy drinking.

a ugus t 11

Barnett Newman writes John I. H. Baur, director of the Whitney Museum, objecting to the presence of his name in the New Decade catalogue: “I am shocked to see my name on page 8 as part of Motherwell’s biography when a simple, flat statement saying that Mr. Motherwell was one of the original founders of the [Subjects of the Artist] school would have been adequate. . . . I wish to make clear that I do not protest my association with this school.”286

a ugus t 19

In private notes, Motherwell expresses his unhappiness with Betty, with whom he finds himself intellectually incompatible: “My life as hitherto is barren & impossible, & only can lead [to] my being isolated & suicidal and ceasing to paint; my typical state of mind becomes more & more one of nausea & exhaustion & irritability. . . . Find responsibilities at home devastating, especially in relation to owning a house. Both marriages began to break on acquisition of a house.”287

o ct ober 13– d ecember 18

Je t’aime No. II (p157) is included in The 1955 Pittsburgh International Exhibition of Painting and Sculpture at the Carnegie Museum of Art.

n ovember 11

Motherwell is arrested and held overnight on murder charges in a case of mistaken identity. A humorous account of the events, published in the New York Post, relates that Motherwell told the police: “This is fantastic. . . . I’m a recognized artist and a professor at Hunter College. I don’t make a practice of committing crimes between these activities.”288

l ate autumn

Motherwell tells Betty that he is involved with another woman. She later writes, “He came to me with what he called a ‘proposition.’ During one of his visits to the Village he had come in contact with a woman he had known several years before. To put it in his words, she was a

lesbian, but they had had an affair. . . . He wanted an intellectual relationship with her. She was bright, well educated and someone he could talk to.”289

d ecember 12–30

A g roup show at the Paul Kantor Gallery in Los Angeles includes Île-deFrance (France) (p137) and At Five in the Afternoon (p96). Kantor and his wife, Josephine, purchase the latter.

1956

January 22– f ebruary 26

The One Hundred and Fifty-first Annual Exhibition of Painting and Sculpture at the Pennsylvania Academy of the Fine Arts includes Wall Painting IV (p155), Je t’aime No. III with Loaf of Bread (p159), and the recent collage Souvenir de Californie (c61).

f ebruary

Motherwell is appointed to the arts commission of the National Council of Churches’ Department of Worship and the Arts; other appointees include the poets W. H. Auden and Marianne Moore, the actors Raymond Massey and Lillian Gish, and the conductors Charles Munch and Dimitri Mitropoulos.290

f ebruary 6– m arch 3

Philip Guston shows at the Sidney Janis Gallery. Following the opening, Motherwell throws a party in Guston’s honor that is attended by Kline, de Kooning, and Pollock, among others.291

f ebruary 6

Shozo Shimamoto (b. 1928) of the Gutai group in Japan sends Motherwell the first issue of the Gutai art journal and writes, “Now we are anxious to know the opinion about our action toward art, and so if you would criticize of our paintings, it will help us very much to improve our works. Therefore we entreat you to give us the suggestion, and overmore to hand the extra magazines to Mr. Baziotes, Gottlieb, Matthieu, and Soulages, though it is quite impudent asking.

“Then, we will be very happy to be able to repay your kindness even a little by sending some information or materials in Japan, which helps your work.”292

For Motherwell, the interest of the Gutai artists represents a further

affirmation of the international spirit of modernism. Later that year he writes, “There are certain American painters who are better understood now in Tokio [sic] than in St. Louis or Los Angeles.”293

m arch 17

Motherwell writes Emerson Woelffer about the continuing problems in his personal life: “I’m not dead yet, though in a way I have been close to it—as a human being, and it is just now that I am beginning to pull out of it, so I’ve done only what’s immediately at hand and let everything else, especially correspondence, slide. . . . my studio is torn up, we are in the process of remodelling our ancient place, and everything is hidden under plaster dust. . . . But I never had a 2 year long depression before, and it rattles you more than one would think.”294

s ummer

The Motherwells return to Provincetown for the summer, renting a house at 200 Bradford Street. In July they buy an eighteenth-century house at 622 Commercial Street, using a small inheritance Betty received after her mother’s death.

The HC Gallery is dissolved after John Cuddihy leaves, but Halper continues on, renaming it the HCE Gallery, after the character of the father in Finnegans Wake. Motherwell shows several drawings with Halper over the summer and finds himself increasingly at home in the Provincetown community of artists, writers, and psychiatrists. He joins a poker game with Halper, the painter Mervin Jules, and others that becomes a regular feature of his summers for the next thirty-five years.

June 1–July 13

Je t’aime No. III with Loaf of Bread (p159) is exhibited in the June Salon at the Camino Gallery on Tenth Street (through June 22). During the run of the exhibition, Motherwell learns of Clement Greenberg’s May 4 marriage to Jennie Van Horne and gives him the painting as a wedding gift. Greenberg misses the Camino Gallery exhibition and doesn’t see the work until it is delivered to him on July 13, when he telegrams Motherwell: “so delIghted wIth your paIntIng couldn’t be happIer the most sumptuous weddIng gIft we’ve gotten thank you.”295

July 20

Representative George Dondero (R-Wisconsin) delivers a speech, “UNESCO—Communism and Modern Art,” in the House of Representatives, accusing Motherwell, Pollock, and Baziotes of being dangerous protégés of Marcel Duchamp who are trying to destroy American morality through modern art. Dondero and his allies had recently mobilized to force the cancellation of two international touring exhibitions organized by the State Department and the American Federation of the Arts.296

July 31

In an unpublished note, Motherwell reflects on the artist’s relationship to the social world: “There is only one thing worth ‘knowing-how,’ and that is to feel one’s own self, one’s own humanity; and act accordingly which nowadays must mean to rebel. . . . My point is that if one doesn’t rebel one becomes part of a silent conspiracy of tacit consent that men have the right to do certain things to each other, mainly, to insist on conformity or extermination, as your existential choices.”297

a ugus t 13– o ct ober

Motherwell’s Mural Fragment (p102) is installed in the University of MinnesotaDuluth Student Center. The painting immediately draws the ire and criticism of faculty and students, who organize a petition and collect 128 signatures demanding its removal. One professor says, “We feel a better example of modern art could have been selected, rather than this crude daub that looks like a deformed octopus alongside of two decayed dinosaur eggs.”298 University president Hjalmer J. Lee refuses to bow to the demand to remove the mural because, in his words, to do so would “invite ‘all sorts of bookburning.’ ”299

a ugus t 11

Jackson Pollock (1912–1956) dies in a car accident in Springs, Long Island. In the weeks that follow Motherwell paints Monument to Jackson Pollock (w24).

s eptember 24– o ct ober 29

The Sidney Janis Gallery presents 7 Americans, featuring works by Albers, de Kooning, Guston, Gorky, Kline, Pollock, and Rothko.

o ct ober 1 and 4

Sidney Janis writes Motherwell, confirming plans for a solo exhibition in the spring or early fall of 1957. Three days later, a press release announces that Motherwell has joined the Janis Gallery.300

a u tumn

In New York, Motherwell creates a series of new collages (c64–c67). Several of the works include a line from Paul Eluard’s poetry, which Motherwell is reading obsessively during this time: “It was a moment when I was very unhappily married, teaching at Hunter, feeling very lonely, very uptight. In one of the poems there was a line ‘Jour la maison nuit la rue’ (meaning ‘In daytime at home, at night in the streets’). And that was exactly my miserable life at that time. I would stay home in the daytime and paint and by nighttime I couldn’t stand it anymore. I’d wander the streets, go to the Cedar Bar, drop in on Rothko, go to Times Square, or go to a movie, or I don’t know whatever. So that no, the phrase was not a decoration but a declaration.”301

o ct ober 2–27

Motherwell is included in Salute to Modern Art U.S.A. at the Martha Jackson Gallery, an exhibition mounted to mark the publication of Rudi Blesh’s book Modern Art U.S.A

n ovember 14–January 6, 1957

Histoire d’un Peintre (c66) is exhibited in the Annual Exhibition: Sculpture, Paintings,Watercolors, Drawings at the Whitney Museum of American Art.

d ecember 19– f ebruary 3, 1957

The Museum of Modern Art shows Jackson Pollock, a memorial retrospective exhibition, organized by Sam Hunter.

d ecember

Motherwell earns nearly $5,000 in painting sales for the year 1956, including sales made directly to his friend B. H. Friedman (1926–2011) and to the collector Ben Heller as well as through the Paul Kantor and HCE galleries.

1957

January– m ay

Motherwell completes the large canvas Je t’aime No. IV (p161), begun in 1955, and The Tearingness of Collaging (c69). He later relates the latter work’s aggressive technique to his emotional state during what he describes as “some of the most tormented and exhausted years of my life,” adding, “the tearing was also equivalent to murdering, symbolically.”302

f ebruary

The Leo Castelli Galler y opens at 4 East Seventy-seventh Street, with a group exhibition featuring de Kooning, Pollock, and David Smith.

m arch 14–apr I l 30

The Voyage (p87), donated by Mrs. John D. Rockefeller, and Personage, with Yellow Ochre and White (p64), donated by Mr. and Mrs. Samuel M. Kootz, appear in Recent American Acquisitions at the Museum of Modern Art.

a pr I l 1–20

Elegy to the Spanish Republic XXXIV (p156) is exhibited in 8 Americans at the Janis Gallery. It is the first new work in the Elegy to the Spanish Republic series that Motherwell has exhibited since January 1954. Seymour H. Knox buys the painting and donates it to the Albright Art Gallery in Buffalo.

m ay 13–June 8

Motherwell’s first solo exhibition at the Sidney Janis Gallery features eighteen works from the past four years, including two Wall Paintings (p154, p155), four pictures from the Je t’aime series (p157–p159, p161), and a large selection of recent collages.

Among those who see the exhibition is Frank Stella (b. 1936), who is studying at Princeton University with the painter and curator William C. Seitz303 and who paints a series of pictures in response to the Je t’aime series that are in equal parts homage and parody. Stella’s canvases, with phrases such as “Mary Lou Loves Frank” and “Your Lips are Blue” inscribed across their surfaces, take aim at Motherwell’s attachment to “high” culture.304

m ay 15– f ebruary 15, 1958

Motherwell’s Elegy to the Spanish Republic XXXIV (p156) is included in Contemporary Art: Acquisitions, 1954–1957 at the Albright Art Gallery in Buffalo. Motherwell attends the opening with Jimmy Ernst, Guston, Kline, and Rothko.

l ate spr I ng

Motherwell accepts an invitation from his neighbor Fritz Bultman to draw from a nude model that he has hired for the evening. Motherwell writes in August that he made nearly seventy pencil-on-paper drawings during this one evening (only half a dozen are known to have survived).

June– s eptember 10

The Motherwells spend the summer in Provincetown. He rents a separate studio several blocks away at 200 Bradford Street. In the months following his exhibition at the Janis Gallery, he enters a period of deep frustration and suffers from severe painter’s block. At the end of June he announces that he is moving into his studio and begins a brief affair with a nineteenyear-old woman. His public flaunting of this relationship in the small community of Provincetown humiliates Betty and convinces her the marriage is over.305

June 21

Nelson A. Rockefeller’s personal curator writes Motherwell, describing the flaking and paint loss that have developed on Granada since it was damaged in shipping in 1954; this initiates several years of correspondence and restoration work.306

a ugus t 4–11

The HCE Gallery in Provincetown exhibits a selection of the nudes Motherwell drew at Fritz Bultman’s studio in the late spring. Motherwell writes that the uncharacteristically figurative works “no more represent a change in the basic direction of my work than a chance encounter with a woman changes one’s life. The drawings are simply traces that remain of several consecutive hours of my sensing a nude.”307

s eptember 10– n ovember

Betty demands a divorce, but Motherwell refuses and promises her that the latest affair is over and there will be no more. They attempt to reconcile.

s eptember 11– o ct ober 20

The Museum of Modern Art holds retrospective exhibitions of works by Matta and David Smith as part of the museum’s new Artists in Mid-Career series.

[ a fter m I d- s eptember]

Motherwell trades The Poet (c42) with Mark Rothko for Rothko’s Untitled (1949), a painting of roughly the same date and size.308

s eptember 25– n ovember 12

Bradley Walker Tomlin, a retrospective exhibition, is held at the Whitney Museum of American Art. The exhibition catalogue includes essays by John I. H. Baur and Philip Guston as well as Motherwell’s essay “Bradley Walker Tomlin,” in which Motherwell affectionately writes, “He loved painters and painting. . . . In everything else, he was a dandy and a dilettante.”309 On October 20, Barnett Newman writes Baur to protest “the untruth, smear, and slander practiced by Motherwell against [Tomlin].” Newman calls Motherwell a “so-called” artist, protests his “attempt to make himself a leader by this communication belt,” and jabs at his recent paintings: “I would like to give [Motherwell] some friendly advice . . . the secret word which every Parisian street singer knows is not ‘Je t’aime’ but ‘Toujours.’ ”310 Newman’s letter is a symptom of the unfortunate jockeying over history that will come to haunt Motherwell as he continues to give interviews and lectures and write articles for important

Fig. 208. Motherwell in 1957

Fig. 206. Motherwell’s 1957 solo exhibition at the Sidney Janis Gallery. Left to right: Je t’aime No. IV (p161) and Wall Painting No. III (p154)

Fig. 207. Motherwell’s basement studio at 173 East Ninety-fourth Street, New York, winter 1957–58. Left to right: Spanish Elegy XIV (Palamos) (w17); Collage with Ochre and Black (c77); and Diary of a Painter (p169), in progress

shows in the coming decades. Newman’s words cause a temporary cooling-off in their friendship, but they nevertheless remain close during the next decade.

a u tumn–early w I nter

Motherwell begins three new large paintings in the Elegy to the Spanish Republic series (p214, p217, p218) and a group of collages that emphasize his use of printed paper set on monochromatic grounds (c72–c79).

d ecember 2

Betty moves out of the house on East Ninety-fourth Street, taking the children with her. Shortly after, she and the children move to Virginia to be near her family.

[ e arly d ecember]– d ecember 16

Abby and B. H. Friedman invite Motherwell to a dinner party, where he meets Helen Frankenthaler. Shortly afterward, Motherwell calls Frankenthaler to ask her out. Frankenthaler rebuffs his advances, but on December 16 she relents and invites him to accompany her to the opening of a group exhibition in which she is included at the Leo Castelli Gallery.

Overwhelmed by the crowded opening, Frankenthaler asks Motherwell to take her home. She will later recall: “We sat and talked all night long about what life is like in a way that most people would think that profound adolescents might. But it was a sort of very accurate and real but fantasy night of this is the way life is, this is the way I think it could be made, these are the problems, there are things I don’t know about and wonder about, these are the horrors of experience. And there was a fantastic recognition and a permanent road into each other. And it developed.”311

d ecember 27

Betty Motherwell receives an order of formal separation from Motherwell that ensures support for their children.

1958

John Cuddihy, a collector of Motherwell’s work and former partner in the HC Gallery in Provincetown, begins the first of five scrapbooks that he will compile through 1978, documenting Motherwell’s career. The materials in the scrapbooks, many provided by Motherwell, include exhibition catalogues and announcements, writings, reviews, articles, and other ephemera, including a record of Cuddihy’s collection of Motherwell works.312

January 6–25

Helen Frankenthaler exhibits new works at the Tibor de Nagy Gallery.

e arly January

Motherwell finishes Jour La Maison, Nuit La Rue (p164) and the large Elegy for the Spanish Republic XXXV (p168). He completes this large Elegy painting, begun in 1954, using Magna, a turpentine soluble acrylic paint (and one of the first commercially available artist’s acrylics) manufactured by Leonard Bocour.

January 20– f ebruary 8

Jasper Johns’s first solo exhibition is held at the Leo Castelli Gallery.

f ebruary 10

Eager to have what he considers his best works represented in major museum collections, Motherwell writes to a curator at the Metropolitan Museum of Art, which owns La Danse (p138), encouraging him to look at a new large painting at the Janis Gallery, most likely Elegy for the Spanish Republic XXXV (p168): “If I am to be honored by a big picture in a prominent place in the Met, you can understand that I would prefer one in the mainstream of my work, rather than one of the occasional off-beat experiments that I make (which ‘La Danse’ is), no matter how successful in its own terms. Anyhow I do wish you’d look.”313

f ebruary 18– m arch 8

William Baziotes has his final exhibition at the Kootz Gallery.Within the year he will join the Sidney Janis Gallery.

m arch– m ay

As Motherwell’s relationship with Frankenthaler deepens, she spends many nights in his studio, encouraging

him to avoid drinking and to apply himself to his work with renewed focus.314 Motherwell paints Diary of a Painter (p169) and Black and White Plus Passion (p170), which anticipate the Iberia series he will begin during the summer. He also further develops the imagery of Jour La Maison, Nuit La Rue (p164) in Afternoon in Barcelona, The Wedding, and A Sculptor’s Picture, with Blue (p171–p173).

m arch 20

Motherwell’s divorce from Betty Little is finalized.315

m arch 28

Motherwell’s engagement to Helen Frankenthaler is announced in the New York Times

a pr I l 6

Motherwell and Frankenthaler wed on Easter Sunday at the home of Frankenthaler’s sister, Gloria Ross (1923–1998). Fritz Bultman serves as Motherwell’s best man. Hans Namuth photographs the wedding and reception.

Through Frankenthaler, a distinguished painter in her own right, Motherwell meets such younger artists as Grace Hartigan (1922–2008), Kenneth Noland (1924–2010), and Alfred Leslie (b. 1927) and the actress Irene Worth (1916–2002), and becomes closer to the poet Frank O’Hara. David Smith, a friend of both Frankenthaler and Motherwell before their marriage, becomes a regular visitor at 173 East Ninety-fourth Street in the years to come; they eventually give him a key to their house, so that he can stay there when he comes down from Bolton Landing.

a pr I l 12–20

Osaka Festival 1958: The International Art of a New Era, U.S.A., Japan, Europe at the Takashimaya Department Store, Osaka, Japan, includes Motherwell’s Black and White with Yellow (p225; now called Elegy to the Spanish Republic). The exhibition is the first to show the artists of the Japanese Gutai group, European Art Informel, and American Abstract Expressionism side by side. The exhibition catalogue, edited by the artist Shozo Shimamoto, features an essay by the French critic Michel Tapié.

a pr I l 17– o ct ober 18

Seventeen Contemporary American Painters is shown in the U.S. Pavilion at the 1958 Brussels World’s Fair. The exhibition, selected by H. H. Arnason, includes Motherwell’s Elegy (c49), At Five in the Afternoon (w10), Interior with Nude (p121), and Wall Painting No. III (p154).

a pr I l 19–september 8, 1959

The New American Painting, organized by the Museum of Modern Art, includes six paintings by Motherwell, including Jour La Maison, Nuit La Rue (p164) and Elegy for the Spanish Republic XXXV (p168). The exhibition opens in Basel on April 19 and travels to Milan, Madrid, Berlin, Amsterdam, Brussels, Paris, London, and New York.

m ay 4–24

The New Gallery at Bennington College in Vermont shows a retrospective exhibition of work by Barnett Newman, organized by Clement Greenberg. This is Newman’s first solo exhibition since 1951.

m ay 18

Motherwell, Guston, Kline, de Kooning, and Rothko sign an agreement authorizing Bernard Reis to act as their representative in business arrangements with the Sidney Janis Gallery.316

June 13–23

Having delayed their honeymoon because of Motherwell’s teaching schedule, Motherwell and Frankenthaler sail for Spain. Because of his opposition to the Franco government, Motherwell initially resisted Frankenthaler’s suggestion that they visit the country, but Frankenthaler, who had traveled there twice before, insisted on the need for him to see the paintings in the Prado and in the caves of Altamira.317

Motherwell and Frankenthaler disembark in Alicante and drive through the Spanish countryside, visiting Granada, Cordoba, and Seville before heading to Madrid for several days. The Spanish countryside, with its ochre hills, white plastered houses, and sharp black shadows, touches Motherwell deeply. They not only remind him of the California of his youth but also confirm on a visceral level the connection between his Elegy to the Spanish Republic series and Spain itself.318

June 19–21

In Madrid the couple stay at the Ritz Hotel, directly across from the Prado, where Motherwell is deeply moved by the collection of Goya’s Black Paintings.319

Motherwell receives a cable from the Museum of Modern Art, informing him of a controversy that has developed while he and Frankenthaler have been traveling.320 The Spanish authorities have refused to allow Elegy for the Spanish Republic XXXV (p168) to be exhibited in the New American Painting show, soon to open in Madrid, and will relent only if the title is changed. Motherwell refuses, and the U.S. Embassy informs him that he has been declared persona non grata by the Spanish authorities; it is suggested that he and Frankenthaler leave the country immediately.

June 21

On their last night in Madrid, Motherwell creates the four drawings of the Madrid series. He later writes: “I felt a sudden impulse in the hotel to work, and my wife pinned some pieces of paper to the wall, which was of white plaster with a very marked grain, so that when I drew with pencil, the lines were broken by the wall into a series of dots, not unlike Seurat’s neoimpressionism. The next day we left for St.-Jean-de-Luz.”321

June 22– a ugus t 28

Motherwell and Frankenthaler leave Madrid and settle in Saint-Jean-de-Luz, France, a fishing village on the Atlantic coast, where on June 24 they rent the

Villa Sainte-Barbe, a large house that is to be converted into a hotel at the end of the summer.

They purchase whatever art supplies are available locally. When rolls of canvas of a size they are accustomed to cannot be found, they buy sheets of Basque linen.322 Motherwell sets to work at a furious pace. The first works he paints are small automatist pictures, which he titles the Frontier series (w49–w59), in reference to “the Spanish frontier, and . . . after a long time of sterility; crossing the frontier, so to speak.”323 In the weeks that follow, he paints Spanish Painting with the Face of a Dog (p176), Chambre d’Amour (p190), and works in the Two Figures series (p174–p175, p207, w34–w42), and creates numerous collages (c79–c88) and drawings.

July 9

A week before the opening of The New American Painting in Madrid, Motherwell wires curator Porter McCray in Madrid and Alfred H. Barr in New York, asking that all of his paintings be removed from the Madrid exhibition rather than bow to the censorship demands of the Spanish authorities: “rather no paIntIng by me show In madrId. please confIrm In wrItIng or telephone.”324

July 15–18

Motherwell and Frankenthaler go to Périgueux, Lascaux, and Toulouse. In Lascaux they view the Paleolithic cave paintings (see fig. 73), an experience Motherwell later describes as one of the most profound and moving of his life.325

July 16

The New American Painting opens at the Museo Nacional de Arte Contemporaneo de Madrid. Unbeknownst to Motherwell, and against his express wishes, McCray removes only Elegy for the Spanish Republic XXXV (p168) from the show.

July 22

Motherwell and Frankenthaler visit the Musée Bonnat in Bayonne, which has a collection of works by Rubens, Ingres, and Goya, among others.

July 25

Barr writes Motherwell that he won’t intervene, saying that all decisions regarding the Madrid show are McCray’s: “On the other hand I do sympathize with your refusal to change the title of Elegy to the Spanish Republic. I wonder if you’re right in believing that you will not be permitted to go to Spain.”326 Having left in a hurry, Motherwell and Frankenthaler were not able to see Barcelona or Cadaqués, where they had hoped to visit Salvador Dalí and Marcel Duchamp.327

July 28

McCray sends a telegram to Motherwell explaining his decision to remove only Elegy for the Spanish Republic XXXV (p168) from the Madrid show: “I took responsIbIlIty removal elegy only stop character show support by young spanIsh paInters of lIberal commItment and catalog IncludIng entrIes your statements etc would have been JeopardIzed by wIthdrawal.”328

Motherwell decides to let the matter drop because, being on his honeymoon, he later says, “it was the last moment that I wanted to deal with world politics. I wanted to deal with my own intimate life.”329 That evening, he and Frankenthaler attend a performance in Saint-Jean-de-Luz by Les Ballets Basques de Biarritz Oldarra, a Basque-language music and dance troupe.330

a ugus t 3

Motherwell and Frankenthaler attend the bullfights at the Plaza de Toros in Biarritz, featuring three of the greatest living matadors: Luis Miguel Dominguín, Antonio Ordóñez, and

Rafael Ortega. The violence of the day and the blood-soaked ring horrify Frankenthaler, but Motherwell is invigorated by the pageantry and artistry as the three matadors try to outperform each other.331

a ugus t 4–23

With the experience of the bullfights fresh in mind, Motherwell paints Iberia No. 2 (p177) and Iberia No. 4 (p178) and the series of small works that make up the Bull and Iberia series (p179, p180, w60–w70; for further details see Chapter 6 in this volume).

[ mI d- a ugus t]

Despite warnings not to reenter Spain, Motherwell concludes that he must see the caves at Altamira, so he and Frankenthaler drive there from SaintJean-de-Luz. They arrive late, after public tours have ended for the day, but the guide allows them to view the cave for a fee. They enter by the glow of a single bare lightbulb, and once they are inside, the guide hands Motherwell a candle, extinguishes the bulb, and “the animals moved as the candle flickered, and I never got over that impression.”332

a ugus t 24

Motherwell ships his summer’s production back to New York, a rich body of 55 paintings and collages (as well as numerous drawings), more works than he had made in the previous three years combined. The bill of lading lists the following works, most grouped by their French format-size numbers: six large paintings (more than six feet in one direction); six works in format no. 2 (24 x 19 cm); six works in format no. 3 (27 x 22 cm); nine works in format no. 5 (35 x 20 cm); five works in format no. 6 (41 x 33 cm); seventeen works in format no. 8 (46 x 38 cm); two works in format no. 10 (55 x 46 cm); and six works in format no. 12 (61 x 50 cm).333

[ a ugus t 28– s eptember 6]

Motherwell and Frankenthaler drive from Saint-Jean-de-Luz to Paris and sail for New York.

[ mI d- s eptember]

On returning to New York, Motherwell stops sessions with psychoanalyst Dr. Saul Fisher, with whom he began working in 1957, and renews his therapy sessions with Dr. Montague Ullman.

Fig. 209. Madrid No. 1, 1958. Crayon and ink on paper, 15¼ x 24¼ in.

210. Motherwell’s 1959 solo exhibition at the Sidney Janis Gallery (with Sidney Janis standing near the doorway). Left to right: p178; Drawing No. 5; Pregnant Nude No. 4; Pregnant Nude No. 1; Drawing No. 8; Drawing No. 7; Drawing No. 10; Untitled; p187; Pregnant Nude No. 6; Sepia and Black Ink (Automatism Series); A View No. 6; w82; and Madrid No. 4 (all drawings 1958)

[ o ct ober– n ovember]

Janis writes to discuss Motherwell’s upcoming solo exhibition, scheduled for January 5–31, 1959: “I shall soon want photos of various paintings now ready and should like very much to discuss with you the announcement, poster, etc.”334 One month later, Motherwell tells Nathan Halper that he has asked Janis to postpone the exhibition to March: “I am doing a great deal of work, I think the best I have ever done and I think by the time of my show at the beginning of March, that I will have a couple of hundred drawings, as well as all the rest of the work.”335

o ct ober 31

Tatyana Grosman (1904–1982), of the recently established Universal Limited Art Editions (ULAE) in West Islip, Long Island, writes Motherwell inviting him to be the first artist to produce limited-edition lithographs in her new workshop. Motherwell replies, “Your projects sounds interesting,” but ultimately demurs because he needs to focus on his upcoming shows with Janis and at Bennington College.336

1959

January 5–31

The Wedding (p172) is included in 8 American Painters at the Sidney Janis Gallery. It is purchased by Joseph H. Hirshhorn, along with Black and White Plus Passion (p170).

January 5–24

The first exhibition of Ad Reinhardt’s black paintings is held at the Betty Parsons Gallery.

January 16– f eburary 8

New York and Paris: Painting in the Fifties at the Museum of Fine Arts, Houston, includes Motherwell’s Homely Protestant (p85) and Iberia No. 4 (p178).

January– f ebruary

E. C. Goossen publishes “Robert Motherwell and the Seriousness of the Subject” in Art International. 337 This article is the first to make the Elegy to the Spanish Republic series and Motherwell’s “Spanishness” central issues in the discussion of his work.

f ebruary 1

Motherwell is granted a one-year sabbatical from Hunter College.

n ovember 19–January 4, 1959

Spanish Painting with the Face of a Dog (p176) is included in the Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings at the Whitney Museum of American Art; it is the first of the Saint-Jean-de-Luz pictures to be shown.

d ecember 5– f ebruary 8, 1959

The Carnegie Institute Museum of Art includes The End of Dover Beach (c68) in its 1958 Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture

d ecember 15–January 17, 1959

Brussels ’58, at the World House Galleries, New York, includes Interior with Nude (p121) and Wall Painting No. III (p154).

d ecember 29–January 24, 1959

Hein, Ma Vie? (c78) is included in Beyond Painting: An Exhibition of Collages and Constructions at the Alan Gallery, New York, along with works by Jasper Johns, Bruce Conner, Joseph Cornell, Alfred Leslie, and Robert Rauschenberg.

f ebruary 24– m arch 21

Antoni Tàpies is shown at the Martha Jackson Gallery, New York. During the run of the exhibition, Motherwell meets Tàpies, who later recalls the visit: “I will always remember, for example, the time I spent with Robert Motherwell I felt a special bond with him, not only because of his innumerable Elegies to the Spanish Republic, but also because I found in him the same influence from Far-Eastern art that I also loved.”338

m arch 9– a pr I l 4

Rober t Motherwell, the artist’s second solo exhibition at the Sidney Janis Gallery, presents sixty-eight works from 1958 and 1959, including most of the works made in Saint-Jean-de-Luz. The exhibition features the Frontier, View, Two Figures, Bull, and Iberia series as well as drawings from the Madrid and Pregnant Nude series and many new collages.

Fig.

m arch 10– a pr I l 5

Bar nett Newman: A Selection, 1946–1952, the inaugural exhibition of French and Company at 978 Madison Avenue, is an expanded version of Newman’s Bennington College show of the previous year, which was curated by Clement Greenberg, who is now serving as an adviser to the new gallery.

m arch 19– m ay 10

Joan Miró, the first full-scale retrospective of the Spanish artist’s work since the winter of 1941–42, is shown at the Museum of Modern Art. In the May issue of Artnews, Motherwell publishes “The Significance of Miró,” one of his most deeply felt essays.

m arch 30– a pr I l 25

Helen Frankenthaler’s first exhibition at the André Emmerich Gallery presents works she made during the past year, including those painted in Saint-Jean-de-Luz. Motherwell, who knew Emmerich from his work with UNESCO in the early 1950s, had encouraged Frankenthaler to leave the Tibor de Nagy Gallery for Emmerich.

a pr I l 5–23

In the short time between his exhibition with the Sidney Janis Gallery and his show at Bennington College, Motherwell reworks several pictures, including Iberia No. 4 (p178) and Spanish Painting with the Face of a Dog (p176), painting out the loose brushwork in favor of more solid forms. The main effect of the changes is to increase the density of the blacks.

a pr I l 6– m ay 2

Marcel Duchamp is shown at the Sidney Janis Gallery. It is Duchamp’s first solo exhibition in the United States since 1937, and a sign of the growing interest in his work in the years following the publication of Motherwell’s Dada Painters and Poets

a pr I l 24– m ay 23

Robert Motherwell: First Retrospective Exhibition, organized by Eugene C. Goossen, is shown at the New Gallery, Bennington College. The exhibition includes twenty-nine works in all mediums, including La Belle Mexicaine (Maria) (p1), exhibited here for the first time.

m ay 17

Motherwell appears on David Susskind’s Open End, broadcast on WNTA-TV, New York. The program, on “The World of Contemporary Art,” features a panel that includes Ben Shahn, Emily Genauer, René d’Harnoncourt, Lloyd Goodrich, Roy Neuberger, and Lee Nordness.

[ m ay 19]

Motherwell begins Monster (for Charles Ives) (p194) while listening to an Ives festival on WBAI radio, New York.339 This painting, the first of many “monsters” that Motherwell will paint, is deeply influenced by his experience of the caves at Lascaux and Altamira the previous summer.340

June 15– a ugus t 11

Motherwell and Frankenthaler spend the summer in Falmouth, Massachusetts, where they rent a large modern-style house on Buzzard’s Bay. Mark Rothko and David Smith are frequent guests. Motherwell completes Monster (for Charles Ives)

July 11– o ct ober 11

Documenta II, in Kassel, West Germany, features five works by Motherwell: The Homely Protestant (p85), Fockink No. 1 (c75), Two Figures No. 8 (w37), Untitled (p192), and A View No. 1 (p182).

July 14–20

A joint exhibition of drawings and collages by Motherwell and Frankenthaler is shown at the HCE Gallery, Provincetown.341

July 25– s eptember 5

Motherwell’s Wall Painting No. III (p154) is included in American Painting and Sculpture, mounted at Sokolniki Park, Moscow, the first showing of Abstract Expressionist works in the USSR. When the exhibition returns to the United States in October, it is presented at the Whitney Museum of American Art.

The show comes under attack both from right-wing politicians in the United States, who condemn it because of the alleged Communist affiliations of the participating artists, and from officials in Moscow, who denounce it as a “reactionary” example of the “spiritual degradation of the so-called free world.”342

Fig. 213. Motherwell and David Smith, Falmouth, Mass., summer 1959

Fig. 211. Motherwell’s first retrospective exhibition, New Gallery, Bennington College, 1959. Left to right: w37, w39, p178, p177, and p236

Fig. 212. Motherwell and Helen Frankenthaler, Falmouth, Mass., summer 1959

a ugus t 11– s eptember 15

Motherwell and Frankenthaler travel in Canada for three weeks. Motherwell brings back packaging from Canadian Sea Lion brand sardines, which he incorporates into new collages (c91–c94).

s eptember 16– a pr I l 1960

Back in New York, Motherwell begins an extended series of gestural paintings in oil on paper (w190–w207) and new collages (c99–c120). Among these works are Figure 4 on an Elegy, The Black Sun, and the N.R.F. series (w104, w101, c104–c106).

o ct ober 28

Motherwell, appearing with Dr. Charles R. Hulbeck (aka Richard Huelsenbeck) at the annual meeting of the Association for the Advancement of Psychoanalysis, speaks on the meaning and importance of abstraction in art.

n ovember– d ecember 1960

Artists as Collectors at the American Federation of Arts, New York, includes three works from Motherwell’s personal collection: Picabia’s Étude pour la Novia (1917), a small untitled oil by Kline, and a small untitled drawing by Guston.

d ecember

Sixteen Americans, mounted at the Museum of Modern Art, includes work by Jasper Johns, Robert Rauschenberg, and Frank Stella; this is Stella’s first New York exhibition.

1960

January 18– f ebruary 13

Fourteen New York Artists at the Ferus Gallery, Los Angeles, includes Motherwell’s Red Skirt (p65).

January 26– m arch 2

Helen Frankenthaler: Paintings, her first retrospective exhibition, is curated by Frank O’Hara and presented at the Jewish Museum, New York.

f ebruary 8–15

Motherwell and Frankenthaler vacation in Port-au-Prince, Haiti. During their stay Motherwell witnesses a voodoo ceremony and is deeply moved by the parallels between his own painting practice and the priest’s ritual drawings made with white chalk on the ochrecolored ground.343

m arch

David Sylvester, art critic for the New Statesman, interviews Motherwell for BBC radio; the interview is broadcast in London on October 22.

[ a fter m arch 17]

Motherwell receives a sheet of paper used to wrap editions of La Nouvelle Revue Française from the writer B. H. Friedman; he soon incorporates pieces of this paper into the first three N.R.F collages (c104–c106).344

m arch 28

“The Concept of the New,” a panel discussion at the Philadelphia Museum School of Art, features Motherwell, Guston, Reinhardt, and Rosenberg; Jack Tworkov moderates. Excerpts from the discussion are published in the spring 1960 issue of It Is magazine.345

m ay 4–28

Motherwell donates an unknown work to Homage to Albert Camus, a benefit exhibition for Spanish Refugee Aid, Inc., at the Esther Stuttman Gallery, New York.

June

Motherwell writes Alfred Barr on June 2, seeking his advice about the restoration of Granada (p86), which belongs to Nelson A. Rockefeller, the governor of New York, and trustee of the Museum of Modern Art. Addressing the difficulties of repainting the damaged work, executed on paper mounted on Masonite, Motherwell proposes three options to Barr: “If I would have ‘Granada’ back, I would make an exact version on canvas just because it is broad masses of black on a white ground.— Alternately I would give Rockefeller the money back (which is slightly absurd, but I would) or credit ‘Granada’ towards one of my new large Spanish Elegy Series. . . . I have thought for years whether there is an ethical question in a reconstruction & I think in a painting where brushwork is not the issue, there is not.”346

Barr writes Rockefeller regarding Motherwell’s proposal and suggests he accept a replica in oil on canvas. On June 10 Rockefeller’s assistant writes: “The Governor would be very happy if you would make a copy of granada As I understand it you are leaving for Europe soon. Mr. Barr has suggested

that we get the original granada to you on June 27th or 28th. However if you are not going to have time then to make the copy and have the paintings shipped back we would prefer holding granada until you have the time to copy it.”347

June 4–23

Motherwell and Frankenthaler vacation in Provincetown.

June 20

Motherwell submits his resignation from Hunter College, effective September 1. With income from his sales at the Janis Gallery approaching $50,000 a year, he is free to devote himself exclusively to painting.

June 29–July 11

Motherwell and Frankenthaler go to Paris, where she collects the prize money awarded her at the Première Biennale de Paris in 1959. After three days in Paris, they spend a week touring in France before heading to Italy, where they stop in Alassio, a small town on the Ligurian coast.

July 12– a ugus t 29

Motherwell and Frankenthaler rent the Villa delle Grazie in Alassio (see figs. 98–99). Motherwell uses two rooms off the garden as a studio, while Frankenthaler works in a single large room near the first-floor staircase.348

Inspired by the locale, Motherwell creates the first works in the Summertime in Italy ser ies (c121–c123, w116, w117), and begins the eighteen-footwide painting The Voyage: Ten Years After (p222), which incorporates the pouring and staining techniques used by Frankenthaler.

From August 10 to 16 they travel in France, visiting the Matisse Chapel in Vence, Renoir’s house in Cagnes, the newly opened Léger museum in Biot, and the Grimaldi museum in Antibes, which is dedicated to the works of Picasso.

a ugus t 4

Motherwell and Frankenthaler’s lawyers finalize the purchase from Betty Little of the house she and Motherwell shared in Provincetown. Motherwell and Frankenthaler have applied for a permit to build studios on the property, but the town rejects their plan.

a ugus t 31– s eptember 13

Motherwell and Frankenthaler leave Alassio “weighed down with canvases,” as Frankenthaler writes. While waiting to sail home, they stay in the town of Ezé on the French Riviera, where Motherwell creates an early version of The French Line (c124).349

s eptember 13–autumn

In New York, Motherwell rents a large studio at 173 East Eighty-third Street, where he will be able to work on largescale paintings. Early in the fall he receives Granada (p86) from Nelson Rockefeller, and over the next eighteen months he works on making a copy of the damaged painting. Elegy to the Spanish Republic No. 54 (p215) is one product of these efforts, in effect a variation on the earlier work.

During these months he paints the architectonic Elegy to the Spanish Republic No. 55 (p216), on a canvas begun in 1955 as Wall Painting No. 5, and Two Figures with Cerulean Blue Stripe (p208).

s eptember 27– o ct ober 15

Frank Stella’s first solo exhibition is held at the Leo Castelli Gallery, New York.

n ovember

Motherwell’s daughters Jeannie and Lise unexpectedly move in with Motherwell and Frankenthaler during a time of personal crisis for their mother. This change in circumstances causes Motherwell to delay his planned solo exhibition at the Sidney Janis Gallery.

[ l ate autumn]

The Bride Stripped Bare by Her Bachelors, Even, by Marcel Duchamp, is published as No. 13 in the Documents of Modern Art series. Motherwell has no involvement in the publication, although he had proposed it fifteen years earlier.350

n ovember 30

Motherwell completes The Voyage: Ten Years After, begun in Alassio, the largest canvas he has painted to date.

During the next several years, the large studio spaces Motherwell works in, the development of the Lebron stretcher (which allows for the easier adjustment of large chassis), and the influence of Frankenthaler are all elements in Motherwell’s shift to consistently larger formats.351

1961

January

Motherwell is one of the signers of “In Support of the French Intellectuals,” published in Partisan Review, a statement in defense of people being persecuted for speaking out on behalf of the victims of France’s war in Algeria.352

January– m arch

Motherwell paints the bold, gestural Black on White (p219) and completes a series of Elegies to the Spanish Republic, some started as early as 1957 (p215–p218). He also begins Untitled (p237), his earliest effort to translate the Summertime in Italy series to canvas.

January 18– m arch 12

A Mark Rothko retrospective is shown at the Museum of Modern Art, the first solo exhibition given by the museum to a living Abstract Expressionist painter.

f ebruary 26

Motherwell and nearly fifty other cultural figures sign a letter to the editor of the New York Times protesting the hostility to modern art of the newspaper’s art critic John Canaday. The letter charges that Canaday’s criticism is “the activity not of a critic but of an agitator.”353

m arch

Motherwell’s essay “What Should a Museum Be?” appears in the March–April issue of Art in America 354

m arch 3

A fire at the Governor’s Mansion in Albany destroys much of Nelson A. Rockefeller’s art collection. Motherwell’s Granada (p86) is spared because it remains in his studio to be copied. (In time, Motherwell abandons the notion of making a copy and works with the conservator Margaret Watherston to restore the picture.)355

m arch 16– m ay 26

Encouraged by Frankenthaler, Motherwell makes his first lithographs, Poet I and Poet II, at Tatyana Grosman’s Universal Limited Art Editions (ULAE).356 This marks the beginning of Motherwell’s intense engagement with printmaking.

a pr I l 10– m ay 6

Rober t Motherwell at the Sidney Janis Gallery presents twenty-six works dating from the summer of 1959 to the spring of 1961. Seven new paintings in the Elegy to the Spanish Republic series are shown (p216–p218, w94, w104, w111, w112), representing the largest and most significant grouping of such works since Motherwell’s 1952 solo show at the Kootz Gallery.

The exhibition also features Monster (for Charles Ives) (p194), Two Figures with Cerulean Blue Stripe (p208), Figure before Blackness (p213), Black on White (p219), and a selection of recent collages and paintings on paper.

In a review of the exhibition, Donald Judd writes: “Motherwell’s work has always been made of layers, one surface before another. He has been changing this to an equivalent type of surface, and the expression as well to a more rarified version of the accidental manifestation of dominating, exclusive form. This exhibition explains Motherwell’s difficulties and is better than any since the Je t’aime series.”357

m ay 8–June 3

The Janis Gallery exhibits Elegy to the Spanish Republic No. 54 (p215) in 10 American Painters. Following the exhibition, Motherwell gives the work anonymously to the Museum of Modern Art.

m ay 23– J une 6

Art and jazz critic Rudi Blesh interviews Motherwell for a proposed monograph on his work, which never materializes.358

June– m ay 1962

Eleg y to the Spanish Republic No. 59 (w94), The Wedding (p172), and Figure before Blackness (p213) are shown in Vanguard American Painting, an exhibition curated by H. H. Arnason; it opens in Vienna, then travels to London, Darmstadt, and six cities in Yugoslavia.

June 11– s eptember 15

In Provincetown, Motherwell and Frankenthaler rent the Days Lumberyard building, each using an entire floor of the building as a studio. Motherwell later describes the place: “The huge floors were undivided, and perfectly suited for the enormous formats of the paintings we both were accustomed to. The barn was beautiful

Fig. 215. Motherwell and Helen Frankenthaler at Days Lumberyard, Provincetown, Mass., summer 1961

Fig. 214. Motherwell’s 1961 solo exhibition at the Sidney Janis Gallery. Left to right: p218, w103, p194, w104, and c108

to behold then, shingled, with arched barn doors on each floor . . . windows on all sides.”359

Motherwell begins work on two large paintings (p223–p224) that further explore the use of bold color and of pouring and staining techniques seen in The Voyage: Ten Years After (p222). In his hands these innovations, first developed in Frankenthaler’s work, are used as an automatist technique meant to bring greater unpredictability into the structure of his paintings. He also begins Elegy to the Spanish Republic No. 70 (p220) and Elegy to the Spanish Republic No. 77 (p229), both works inspired by and modeled on the forms and gestural force of The Figure 4 on an Elegy (w104).

s eptember 1

Motherwell donates an unknown work, probably a print or drawing, to a benefit exhibition on behalf of the Congress for Racial Equality (CORE) and the Freedom Riders Movement, held at the Front Street Gallery, Provincetown.

s eptember 10– d ecember 3

Motherwell represents the United States at the VI Bienal de São Paulo Frank O’Hara curates this retrospective exhibition of thirty-four works dating from 1941 to 1961.

In the New York Times, John Canaday writes of Motherwell, “In an exhibition where other competitors are guilty of giantism and clamor, there is a crudeness here that leaves one feeling a bit as if a fellow countryman had committed a vulgarity.”360

s eptember 28– o ct ober 21

Motherwell and Frankenthaler go to France, where they each have solo exhibitions, he with Galerie Heinz Berggruen and she with Galerie Lawrence. While in Paris they visit the painter Pierre Soulages.

In London they see the dealer Charles Gimpel, the sculptor Anthony Caro, and the critic David Sylvester. During the London trip, they also meet Bryan Robertson, the director of the Whitechapel Gallery, who will become a close friend.

o ct ober 2– n ovember 12

The Art of Assemblage, curated by William C. Seitz, is mounted at the Museum of Modern Art. The exhibi-

tion includes Motherwell’s In Grey with Parasol (c46) and the recently completed Pyrénéen Collage (c125).

o ct ober 3–28

Robert Motherwell Collages, 1958–1960 opens at the Galerie Heinz Berggruen, Paris. The gallery publishes a catalogue printed in the pochoir technique and a limited-edition print modeled on Capriccio (w100).361

o ct ober 12– d ecember 31

Motherwell’s Voyage: Ten Years After (p222) is included in American Abstract Expressionists and Imagists, at the Solomon R. Guggenheim Museum, New York.

1962

January

Collages di Motherwell, curated by Sam Hunter, is shown at the Galleria Odyssia, Rome. The exhibition presents twenty-five collages from 1957 to 1961, including seventeen from the recent exhibition at the Galerie Heinz Berggruen in Paris.

January–[spr I ng]

Motherwell rents a 5,000-square-foot former pool hall at Eighty-sixth Street and Third Avenue for use as a studio. The loft has skylights throughout and over a hundred feet of windows facing south and east.

He soon has nearly a dozen new canvases under way, and he reworks and finishes many paintings begun during the past two years, including The Golden Fleece (p223), Chi Ama, Crede (p224), and Elegy to the Spanish Republic No. 77 (p229).362 During this period he also paints two new works in the Elegy to the Spanish Republic series (p225–p226) and repaints View No. 2, which becomes Summertime in Italy No. 8 (p236).

January 13–26

Motherwell teaches a two-week seminar in painting at the Lowe Gallery, University of Miami, Florida.

f ebruary 18– m arch 11

Robert Motherwell: A Retrospective Exhibition at the Pasadena Art Museum includes forty-seven works drawn from local collections and Motherwell’s recent exhibition at the VI Bienal de São Paulo. The catalogue for the show

Fig. 216. Motherwell’s solo exhibition at the sixth São Paulo Bienal, 1961. Left to right: w45, c20, c104, c105, p219, c49, w97, and p161

Fig. 217. Motherwell in his Eighty-sixth Street and Third Avenue, New York, studio with two paintings, February 1962: Summertime in Italy No. 8 (p236), in progress; and Elegy to the Spanish Republic No. 70 (p220)

includes essays by Sam Hunter and Frank O’Hara, and the poem “All Elegies Are Black and White” by Barbara Guest.363

m arch 1–8

Motherwell travels to California, where he and Frankenthaler visit his mother in San Francisco before driving to Pasadena. On March 6, he delivers a public lecture at the Pasadena Art Museum that draws an overflow crowd of between six hundred and a thousand “professionals, collectors and students,” forcing the museum to set up chairs and loudspeakers in the museum’s galler ies and basement.364

a pr I l 6– m ay

Rober t Motherwell is mounted at the Galerie der Spiegel in Cologne, Germany.

a pr I l 21– o ct ober 21

The French Line (c124) and A View No. 10 (p183) are included in the exhibition Seattle World’s Fair: Art since 1950, American and International, organized by Sam Hunter.

m ay

Helen Frankenthaler : A Retrospective Exhibition, curated by Eugene C. Goossen, is held at the New Gallery, Bennington College.

m ay 7–June 2

Elegy to the Spanish Republic No. 70 (p220) is exhibited for the first time in 10 American Painters at the Janis Gallery. Writing in Artnews, Irving Sandler describes it as “one of the more tragic and sensuous of this series.”365

m ay 13–23

Franz Kline (1910–1962) dies of a heart attack. Ten days later, on what would have been Kline’s fifty-second birthday, a memorial service is held at Grace Church in New York.

[ s ummer]

William Baziotes leaves the Sidney Janis Gallery.

June 15– o ct ober 4

Motherwell and Frankenthaler once again rent the Days Lumberyard building in Provincetown. Motherwell negotiates the purchase of a small house on the water, at 631 Commercial

Street. He closes the purchase in late August, and over the winter the original house will be torn down and construction of a three-story house and studio complex will begin.

Throughout the summer, he has been drawn to this property on Provincetown Bay and has spent a good deal of time sitting on the breakwall behind the house, imagining what he would do with the property. Watching the tides, he is inspired to create works that embody his experience of the sea: “Sitting, dreaming on the steps, I used to be struck by the beauty, the force and the grace, at high tide with a strong Southwest wind of the seaspray spurting up, sometimes taller than a man, above the sea wall. After a time, I began experimenting with painting the seaspray.”366

The result of these experiments is the Beside the Sea series (w127–w161) and a related number of paintings and collages (p240–p245, c131–c135). Taken together, these works are an extended experiment in automatism, reminiscent of the outpouring of works during the summer of 1958. To imitate the force of the sea striking the concrete seawall, Motherwell mixes buckets of thinned oil paint and strikes the five-ply sheets of Strathmore paper with the full force of his arm, producing arcing lines and splatters. He also makes a number of these pictures with a new type of acrylic paint, acrylic polymer emulsion.367

At the beginning of September, Motherwell’s daughters return to Virginia to live with their mother, ending a difficult two-year custody dispute (they will continue to spend their summers in Provincetown). He and Frankenthaler remain in Provincetown for an additional month because continuing renovations on their house in New York are not yet complete.

a ugus t 17

Motherwell writes “Homage to Franz Kline” for a retrospective exhibition of Kline’s paintings planned for the fall in Washington, D.C. Because of unforeseen problems in assembling the catalogue Motherwell’s essay is not used, and will not be published until 1979.368

september 20

Monster (for Charles Ives) (p194) is included in the exhibition Art USA: Now, which opens at the Milwaukee Art

Fig. 218. Motherwell teaching at the University of Miami, January 1962

Fig. 219. Motherwell’s studio at Eighty-sixth Street and Third Avenue, New York, with works in progress, ca. February 1962. Left to right: Chi Ama, Crede (p224); and The Golden Fleece (p223)

Museum, and travels to Tokyo and several European and North American cities through 1967.

o ct ober 5–autumn

On returning to New York, Motherwell immediately has the works he created in Provincetown photographed for the catalogue for his upcoming solo exhibition at the Sidney Janis Gallery. But in the weeks that follow he revises many of the pictures.

a u tumn–w I nter

Motherwell begins Elegy to the Spanish Republic No. 100 (p850), the largest work in the Elegy series to date. He will finish the first version of it in early 1963 and continue to work on it until 1975.

o ct ober 29

Motherwell travels to Washington, D.C., for the opening of Franz Kline: Memorial Exhibition, the inaugural exhibition of the Washington Gallery of Modern Art. At a dinner party hosted by Gallery trustees Phillip and Leni Stern, Motherwell paints a picture in casein directly on the plaster wall of the house (p247); the image is related to his Two Figures series.369

o ct ober 31– d ecember 1

The Sidney Janis Gallery mounts The New Realism in a storefront on Fiftyseventh Street rented for the occasion. The exhibition features Jim Dine, Robert Indiana, Roy Lichtenstein, Claes Oldenburg, George Segal, and Andy Warhol, among others, and is a succès de scandale that marks the arrival of Pop art in the uptown art establishment.

[ n ovember]

In advance of his upcoming exhibition at the Smith College Museum of Art, Motherwell speaks at the school and takes questions from students at an event hosted by the director of the museum, Charles Chetham. When asked about The New Realism, he replies: “I am all in favor of ‘pop art.’ For one thing, certain parasitical painters will get off (inevitably) the back of abstract expressionism . . . And I’m glad to see young painters enjoying themselves, which the ‘pop’ artists obviously are . . . And I prefer their solution, natural and unforced, to the problem of dealing with the human figure (and with objects), to the various

forced, pseudo-Renaissance and naturalistic modes of painting the figure in our time. Bravo for the young! I hope they keep their energy. Energy alone can find the new.”370

d ecember 4–29

The Janis Gallery presents New Paintings in Oil and Collages by Robert Motherwell. The exhibition features twenty-five works from the Beside the Sea series, eight collages, the recent large color-field paintings The Golden Fleece and Chi Ama, Crede (p223, p224), and three recent large Elegies, numbers 70, 77, and 78 (p220, p229, p230).

d ecember 10

Newsweek publishes “The Deepest Identity,” a profile of Motherwell. In the article Motherwell makes his first public comments since 1950 about the Elegy to the Spanish Republic series. Speaking of the associations Spain car ries for him, he states: “I was 21 in 1936 . . . [the Spanish Civil War] was the most moving political event of the time. I never got to Spain until 1958, and then I discovered the Madrid plateau is yellow ocher and black and white.”371

[ mI d- d ecember]

Motherwell, Barnett Newman, and Tony Smith accept an invitation from the University of Pennsylvania’s Visiting Artist’s Program and travel together to Philadelphia to lecture and offer cr itiques of students’ work. They make monthly visits through the spring semester.

1963

Motherwell purchases a small cutout by Henri Matisse, La Danseuse (ca. 1949), from the Pierre Matisse Gallery (see fig. 143); he will keep it until the end of his life.

January

Motherwell begins seeing the psychoanalyst Dr. Hans Kleinschmidt, a friend of Richard Huelsenbeck (aka Dr. Charles Hulbeck) and a collector with an interest in Dada and German Expressionist art.

Fig. 220. Motherwell’s inspiration for the Beside the Sea series (w127–w158) came from watching the waves crashing against the bulkhead wall of the property he purchased in Provincetown in 1962 (shown here in 1975)

Figs. 221 and 222. Motherwell’s 1962 solo exhibition at the Sidney Janis Gallery. Top, left to right: p220, w120, p224, c128, and c125; bottom, left to right: top row, w144, w137, w142, w143; bottom row, w132, w146, w131, w130, and p230

Street and Third Avenue, New York, ca.

c139, in progress; w162; w163; p277, in progress; p261, in progress; c136; and c129

January 10–28

An Exhibition of the Work of Robert Motherwell is held at the Smith College Museum of Art. The exhibition presents twenty-nine works, ranging from Mallarmé’s Swan (c11) to the recent Beside the Sea series. In conjunction with the show, Motherwell delivers the first Louise Lindner Eastman Memorial Lecture on January 14, and teaches two seminars on January 15–16.

f ebruary– m arch

Artnews publishes a letter by Esteban Vicente, attacking Motherwell for his recent comments about Spain in Newsweek and belittling Motherwell’s personal identification with the Spanish Civil War: “Is this the reaction of a man who is trying to establish his profound involvement with a tragedy that affected a whole country and the entire world? A tragedy of injustice that shocked humanity! What can this possibly mean?”372

Motherwell’s reply appears in the next issue: “I cannot make much out of Vicente’s letter [Feb. ’63]—overtly, at least. But when I listen with my ‘third ear,’ I hear his jealousy and rage. One general point: did Picasso have to be a German to paint The Charnel House?”373

f ebruary 11– m arch 3

The New Galler y at the Massachusetts Institute of Technology presents Robert Motherwell, an exhibition of thirtytwo works, including eighteen works from the Smith College show, with an additional number of the large canvases painted in the past year (p220, p222, p223, p229, p230).

f ebruary 18

Frank Lloyd of Marlborough Fine Art, London, visits Motherwell’s studio. Marlborough is planning to open a gallery in New York in the autumn, and Lloyd encourages Motherwell to join the new venture.

m arch 10

CBS Television broadcasts Exhibition: 14 American Painters, a nationwide program billed as “A special showing American painters at work in their studios, including Robert Motherwell, James Brooks, Barnett Newman, Hans Hofmann, Stuart Davis, Larry Rivers, Elaine de Kooning, Robert Rauschenberg, Andy Warhol and Claes Oldenburg.”374

s pr I ng

Motherwell pushes his use of color in dramatically new directions, beginning with the large-scale Dublin 1916, with Black and Tan (p271), The Dordogne (p273), and In Green and Ultramarine (p274). He continues the Summertime in Italy series (p253–p257, p277–p279) and paints A Throw of Dice No. 17 (p261) and the related paintings on paper (w162–w179) as well as a number of collages including The Magic Skin (Peau de Chagrin) (c136). a pr I l 11

Motherwell works on a new series of lithographs at ULAE, A Throw of the Dice numbers 1–7.375 Inspired by the technique of the Beside the Sea series, he hits the stones with an ink-loaded brush, creating bold, splattered, gestural forms. Tatyana Grosman objects to the works, in part because of Motherwell’s working method, and refuses to publish them. Offended, Motherwell does not return to work at ULAE until 1965.376

June 6

William Baziotes (1912–1963) dies of lung cancer.

June 6

Rothko, Guston, and Motherwell leave the Sidney Janis Gallery. Rothko and Motherwell join the Marlborough Gallery, which, in Motherwell’s words, “is building the biggest gallery in N.Y at 41 East Fifty-Seventh, has enormous galleries in London and Rome and is building one in Cologne.” Motherwell signs a five-year contract, making Marlborough his exclusive representative for paintings and prints worldwide in exchange for a guaranteed minimum of $2,000 per month against future sales. Motherwell writes Barnett Newman urging him to pursue a contract of his own: “Mark [Rothko], David Smith & I signed with Marlborough. . . . I spoke up several times very strongly for you (as I imagine did David) & Lloyd told me to tell you that he remembers with pleasure his lunch with you, & would like to see you when he returns very much.”377

June 16– o ct ober 3

Motherwell and Frankenthaler spend the first summer in their new studio complex at 631 Commercial Street in

Fig. 224. Motherwell’s studio at East Eighty-sixth

June 1963. Clockwise: c143, in progress;

Fig. 223. Motherwell at the Smith College Museum of Art, January 1963, in front of Elegy to the Spanish Republic No. 57 (p217)

Provincetown. Motherwell calls the new building, which has living quarters on the ground floor and two open floors for use as studios, the Sea Barn. Construction on the building is not completed until early 1964.

s eptember 11– d ecember 1

Hans Hofmann, a retrospective exhibition, is held at the Museum of Modern Art.

o ct ober 5

Motherwell delivers a lecture, “A Process of Painting,” at the Eighth Annual Conference of the American Academy of Psychotherapists, part of the two-day seminar titled The Creative Use of the Unconscious by the Artist and by the Psychotherapist.378

o ct ober 7– n ovember 2

The Sidney Janis Gallery includes Motherwell’s Elegy to the Spanish Republic No. 70 (p220) in its exhibition 11 Abstract Expressionist Painters

o ct ober 12–26

Motherwell and Frankenthaler travel to Paris for her exhibition at the Galerie Lawrence (October 15–November 7), which is owned by Lawrence Rubin. They then visit Peggy Guggenheim in Venice and go to London, where Motherwell meets with Gilbert Lloyd, director of Marlborough A.G.

Bryan Robertson proposes a retrospective of Motherwell’s work, to be held at the Whitechapel Gallery.379

n ovember 12

The Marlborough Galler y, in partnership with the New York dealer Otto Gerson, opens the Marlborough-Gerson Gallery at 41 East Fifty-seventh Street. The gallery space is very large, 12,000 square feet. In addition to Motherwell and Rothko, the gallery has signed Alberto Burri, Adolph Gottlieb, Jacques Lipchitz, Seymour Lipton, Larry Rivers, David Smith, and the estate of Jackson Pollock. The first exhibition at the gallery is Art and Maecenas: A Tribute to Curt Valentin

n ovember 22

President John F. Kennedy is assassinated in Dallas.

d ecember 12– f ebruary 5, 1964

Black and White at the Jewish Museum, curated by Sam Hunter, includes paintings by Motherwell, de Kooning, Kline, Newman, and Pollock, alongside those of their younger contemporaries: Jim Dine, Jasper Johns, Ellsworth Kelly, Robert Rauschenberg, and Frank Stella. Motherwell’s 1950 essay “Black or White” is reprinted in the exhibition catalogue.

Fig. 225. Motherwell in his studio, April 1964. Left to right: The Dordogne (p273); Summertime in Italy No. 7 (In Golden Ochre), in progress (p277); and Italian Summer (p253)

f ebruary 8–9

Motherwell delivers the lecture “A Painter’s World” at the Baltimore Museum of Art.380 He stays with the museum’s director, Charles Parkhurst, and the two discuss the potential acquisition of a major work by the museum.

f ebruary 15–16

Motherwell hires Beverly Keith as a part-time secretary to help with preparations for his Whitechapel Gallery exhibition and with general correspondence; she is his first paid assistant.381

f ebruary 21

Motherwell and Frankenthaler attend a performance of Frank O’Hara’s play Love’s Labour Lost: An Eclogue at the Poet’s Theater, New York.

a pr I l 18 and 25

1964

January– a pr I l

Motherwell completes Dublin 1916, with Black and Tan (p271), In Green and Ultramarine (p274), Summertime in Italy No. 7 (In Golden Ochre) (p277), Summertime in Italy No. 10 (p278), and The Sculptor’s Studio No. 2 (p279).

January 10–13

Bryan Robertson arrives in New York to begin work on the Motherwell retrospective he has proposed for the Whitechapel Gallery.

January 13

Motherwell and Robertson attend the opening of Jackson Pollock at the Marlborough-Gerson Gallery; the exhibition includes 145 works dating from 1933 to 1956.

January 16– m arch 29

Guggenheim International Award 1964, curated by Lawrence Alloway, includes Elegy to the Spanish Republic No. 70 (p220). The grand prize for the show is awarded to Alberto Giacometti, while Motherwell, Victor Vasarely, Tàpies, Wilfredo Lam, and Asger Jorn are each awarded prizes of $2,500. The exhibition travels to Canada, Germany, and Argentina.

Alexander Liberman takes photographs in Motherwell’s studio, including a series of portraits and images of Motherwell at work, that will appear in Vogue in October 1965.382

a pr I l 22–June 28

Eleg y to the Spanish Republic No. 78 (p230), Elegy to the Spanish Republic No. 57 (p217), and In White and Yellow Ochre (c129) are included in Painting & Sculpture of a Decade: 54–64 at the Tate Gallery in London. The exhibition is one of many museum shows in this period that begin to analyze the history and legacy of Abstract Expressionism.

late a pr I l

The city of New York condemns Motherwell’s studio building, forcing him to abandon it on short notice and put all his work of the past two years into storage.

m ay 2

Motherwell attends a reading by the Italian poet Giuseppe Ungaretti (1888–1970) in the loft of the painter Mario Schifano and Anita Pallenberg, who live below Frank O’Hara. In addition to Ungaretti and O’Hara, Allen Ginsberg, Leroi Jones, Kenneth Koch, and James Schuyler read from their work.

m ay 3

Motherwell and Frankenthaler attend a screening of Jack Smith’s Flaming Creatures and Jean Genet’s Un Chant d’amour at the Filmmaker’s Cooperative.

This screening is held just weeks after the arrest of Jonas Mekas and Ken Jacobs on obscenity charges for an earlier screening of the films.

m ay 4

Motherwell is offered a retrospective exhibition at the Museum of Modern Art to open in 1965, which will travel to Europe and be combined with the exhibition being planned by Bryan Robertson. Motherwell makes clear his desire to work with Frank O’Hara, trusting his poet’s sensibility. O’Hara soon assembles a team to prepare the catalogue, including curator Kynaston McShine (b. 1935) to work on the chronology, and poet Bill Berkson (b. 1939) to prepare a selection of Motherwell’s writings.

m ay 13–June 12

Frankenthaler flies to London to prepare for her exhibition with Kasmin Limited (May 21–June 29), while Motherwell and Robertson sail for London, using the time to work on Robertson’s book on Motherwell.

Motherwell and Frankenthaler spend three weeks in London, taking day trips to visit Peter Lanyon at the artists’ colony of St. Ives and to see Henry Moore and Sir Kenneth Clark. They also go to Stonehenge.

and Motherwell trades a recent canvas, Indian Summer No. 1 (p280), for Noland’s Seed (1962).383

In August, Motherwell and Frankenthaler host large parties in honor of H. H. Arnason, Ralph Ellison, Henry Geldzahler, and David Smith. Other visitors include Bryan Robertson and the British painters Paul Huxley and John Hoyland.

a ugus t 7

The U.S. Senate passes the Gulf of Tonkin resolution, escalating U.S. involvement in the Vietnam War.

s eptember

On June 2, Motherwell and Frankenthaler fly to Nice, with Robertson, and stay at Alexander Liberman’s villa in Sainte-Maxime.

June 10–July 31

Motherwell’s Joy of Living (p667; now known as Le Printemps) is in American Vision, a group show at the Marlborough-Gerson Gallery that includes works by Gottlieb, Guston, Rivers, Rothko, and Smith.

June 23– s eptember 8

Motherwell and Frankenthaler return to Provincetown for the summer.

Chi Ama, Crede (p224), Elegy to the Spanish Republic No. 77 (p229), and the recently completed Summertime in Italy No. 7 (In Golden Ochre) (p277) are included in Documenta III in Kassel, Germany (June 27–October 5).

Much of Motherwell’s time is spent discussing and planning his retrospective at the Museum of Modern Art. In July, Frank O’Hara and Bill Berkson visit him. In mid-July, Motherwell, Frankenthaler, and his daughters visit David Smith and his children at Bolton Landing. While there, Motherwell begins preparing an article on Smith, which will be published in the February 1965 issue of Vogue magazine. They also visit with Kenneth Noland, who lives nearby in South Shaftsbury, Vermont,

Mark Rothko has recently rented a former carriage house on East Sixty-ninth Street in order to work on a suite of paintings for a chapel commissioned by Dominique de Menil. Motherwell sublets Rothko’s former studio at First Avenue and Seventy-sixth Street, and spends the first weeks there preparing the space, and having works brought out of storage.

Motherwell accepts an appointment as visiting critic at Columbia University’s Graduate Program in the Arts and teaches a painting thesis class with André Racz and John Heliker, meeting with students on a biweekly basis.

s eptember 6

Motherwell is among the dozens of cultural figures listed as supporters of Alternative Perspectives on Vietnam, an international conference to be held September 14–16 in Ann Arbor, Michigan, to organize opposition to the war.384

a u tumn–spr I ng 1965

Much of Motherwell’s time is consumed with preparations for his collage retrospective at the Phillips Collection in Washington, D.C., in January 1965, and with organizing material for his retrospective at the Museum of Modern Art in September 1965.

With his secretary, Beverly Keith, Motherwell compiles lists of all his known works, gathers photographs of them, and notes which photographers have the negatives. He attempts to document the present location of his works and solicits new photographs from museums and collectors. Peter A. Juley & Son, with whom he has worked since joining Janis in 1957, documents many

of the works in his possession and new works through early 1965.385 These records will eventually become the basis of Motherwell’s studio inventory system.

s eptember 17– o ct ober 25

American Drawings, curated by Lawrence Alloway at the Solomon R. Guggenheim Museum, includes four works from Motherwell’s Beside the Sea series.

o ct ober

Motherwell creates an untitled print based on a recent collage (c145).386

The print is part of a limited-edition portfolio titled Ten Works x Ten Painters done to benefit the Wadsworth Atheneum.

o ct ober 8–11

Motherwell participates in a seminar on elementary and secondary school education in the visual arts at New York University, sponsored by the U.S. Office of Education. “The Motherwell Proposal,” an edited version of his talk, is published the following year in a volume edited by Howard S. Conant.387

o ct ober 30–January 10, 1965

In Green and Ultramarine (p274) is exhibited in the 1964 Pittsburgh International Exhibition of Contemporary Painting and Sculpture at the Carnegie Institute Museum of Art.

n ovember 13– d ecember 2

Motherwell paints dozens of small automatist works on canvas board (p287–p332) in preparation for the large canvases Africa (p338) and Africa No. 2 (p339). On December 2 he sends Charles Parkhurst slides of the two larger works in progress to illustrate the direction of the mural-sized painting he has agreed to paint for the Baltimore Museum of Art.388

d ecember 11–15

Br yan Robertson and Motherwell tape an interview that is broadcast on December 15 as part of the ART: New York series on WNDT/Channel 13.

Fig. 226. Motherwell’s Provincetown home and studio, known as “Sea Barn.” View from the street at left showing Motherwell and his daughters on the third-floor balcony. Oceanside view at right

1965

January– a pr I l Motherwell completes Africa (p338) and Africa No. 2 (p339), refining the raw, splattered gestures of their early states into elegant crossing arcs in black and white.

During these months he also creates the three African Collages (c154–c156) and paints Elegies to the Spanish Republic Nos. 102–104 (p341, p342, p373) and Irish Elegy (p340). Elegy to the Spanish Republic No. 102 and Irish Elegy introduce bold color into the generally austere Elegy for mat for the first time since 1954.

January 2– f ebruary 15

The Phillips Collection, Washington, D.C., shows Collages by Robert Motherwell, the first museum exhibition devoted exclusively to his work in collage. The exhibition of thirty pictures is drawn mostly from work done between 1959 and 1964.

f ebruary 7

The Solomon R. Guggenheim Museum hosts the panel discussion “Cubism in American Painting,” featuring Motherwell, Everett Ellin, Sam Hunter, Robert Rosenblum, and William C. Seitz.389

e arly a pr I l– m ay 23

Walter Gropius approaches Motherwell about painting a large mural for the planned John F. Kennedy Federal Building in Boston, which he is designing with the Architects Collaborative. Although it will be many months before a contract is signed, Motherwell is enthusiastic about the possibility of realizing a large automatist painting in the manner of his recent Africa paintings. While shopping in Chinatown, Motherwell discovers sheets of a 12 x 9–inch Japanese rice paper called Dragon and Clouds and purchases ten packages of one hundred sheets each. The thousand sheets of paper inspire him to begin a series of purely automatist ink on paper drawings as a starting point for the proposed Boston mural. The character of the paper allows for the ink to bleed, transforming the color and breadth of Motherwell’s brushstrokes as they dry. During the following six weeks he completes nearly six hundred works.

Marginalia in his datebooks indicate several rejected titles for the series: “automatIsms 1–1000,” “Cadenza,” and “Gestures.”390 He later titles the series the Lyric Suite (see figs. 88–89), after the string quartet by Alban Berg that he had listened to repeatedly while making the drawings.391

a pr I l 18

Motherwell is one of over a hundred artists and writers who sign “End Your Silence,” a letter protesting the Vietnam War published in the New York Times. 392

m ay–June

Motherwell meets with Frank O’Hara several times a week, sometimes daily, to put the finishing touches on the planned retrospective.

m ay 7

Motherwell submits his final proposal for the John F. Kennedy Federal Building mural.

m ay 14–16

Motherwell, Frankenthaler, Cleve Gray, and Francine du Plessix Gray spend the weekend with David Smith in Bolton Landing.

m ay 23

On May 23, David Smith (1906–1965) is killed in an automobile accident while driving from Bolton Landing to the opening of an Anthony Caro exhibition at the New Gallery, Bennington College. Motherwell later recalled: “Kenneth Noland telephoned from Bennington (as we were finishing dinner in NYC) that David Smith was seriously hurt, and in the hospital at Albany. . . . I drove Helen at ninety miles an hour in the dark night to the hospital, where Tony Caro met us at the door and quietly told us David had died a few minutes before.”393

Motherwell, Clement Greenberg, and the lawyer Ira Lowe are named trustees of Smith’s estate. After the shock of Smith’s death, Motherwell never returns to work on the Lyric Suite and stops painting altogether until after the opening of his retrospective in September.

J une 16–august 1

Eight works by Motherwell are included in New York School, the First Generation: Paintings of the 1940s and

Fig. 227. Motherwell’s 1965 retrospective exhibition being installed at the Museum of Modern Art, New York. Left to right: Wall Painting with Stripes (p16); and, on cart, View from a High Tower (c17)

Fig. 228. Motherwell’s 1965 traveling retrospective exhibition at the Palais des Beaux-Arts, Brussels, May–June 1966. Left to right: Africa (p338); Africa No. 2 (p339); and Dublin 1916, with Black and Tan (p271)

1950s, organized by the Los Angeles County Museum of Art, the largest museum survey to date of Abstract Expressionism.

The September issue of Artforum is devoted to The New York School, and features Max Kozloff’s “Interview with Robert Motherwell: ‘How I Admire My Colleagues!’ ”394

July 7– a ugus t 11

On July 7 the Museum of Modern Art picks up works from Motherwell’s home and studio for the upcoming retrospective exhibition. The next day Motherwell and Frankenthaler sail to Europe with his daughters Jeannie and Lise. They spend a week in Paris and several days in Venice, followed by a stay in Athens and the Greek islands and a week in London.

a ugus t 18

Frank O’Hara suffers from writer’s block while preparing his essay for the catalogue for Motherwell’s retrospective. Hoping to inspire him, Motherwell writes O’Hara an eighteen-page letter full of aphorisms and random thoughts about art. O’Hara convinces Motherwell to allow it to be printed in full in the catalogue.395

a ugus t 19

Motherwell travels to Washington, D.C., to meet with the representatives of the General Services Administration regarding the mural project for the John F. Kennedy Federal Building in Boston. Though they are wary of Motherwell’s automatist approach to the mural, they approve his plan; but they insist on being able, periodically, to evaluate his progress. Motherwell persuades the GSA to consider the purchase of a large David Smith sculpture for the plaza outside the building.396

s eptember 20– a pr I l 23, 1967

The Museum of Moder n Art organizes a circulating exhibition, Robert Motherwell: Works on Paper, which includes over fifty collages, paintings on paper, drawings, and prints. It travels to eighteen venues over the next year and a half.

s eptember 29– n ovember 29

Robert Motherwell, a retrospective exhibition, is shown at the Museum of

Modern Art (see fig. 89). It includes eighty-seven works from 1941 to the present. After New York, the show travels to Amsterdam, London, Brussels, Essen, and Turin, through October 1966.

The exhibition is met with enthusiasm by younger critics such as Lucy Lippard and Max Kozloff. Kozloff’s article in the Nation explores the duality and tensions at play in Motherwell’s work and psyche: “More than any of his peers, Motherwell sublimates his conflicts, of which the paintings themselves are visual embodiments.”398

But some newspaper articles are openly hostile. On October 17, John Canaday publishes an especially scathing attack on Motherwell, “Each Man to His Own Cup of Tea” (see Chapter 6 in this volume).397

o ct ober 22– n ovember 22

Motherwell collaborates with the printmaker Irwin Hollander at the Hollander Workshop to produce the Madrid Suite, a series of ten lithographs modeled on the Madrid drawings he made just before leaving Spain in 1958 (see fig. 209).399

n ovember 22

The Foundation for the Arts, Religion, and Culture sponsors “An Evening with Robert Motherwell” at the Museum of Modern Art. The panel discussion, on the relationship of moder n art to religious buildings, features Motherwell in conversation with Ad Reinhardt, Dr. David Read of Madison Presbyterian Church, and Dominique de Menil.

n ovember–January 14, 1966

Building on the imagery of the Madrid Suite, Motherwell paints The Forge (p350) in memory of David Smith, and In Scarlet and Black (p349).

d ecember 18–January 3, 1966

Motherwell and Frankenthaler sail to the Caribbean on the S.S. Rotterdam He makes three collages during the trip (c161–c163).

1966

January

The proposed purchase of a David Smith sculpture for the Federal Building in Boston falls through when the GSA decides it is too costly. Motherwell encourages Herbert Ferber to propose a work for the commission.

January 12– f ebruary 13

Philip Guston: Recent Paintings and Drawings is mounted at the Jewish Museum.

January 20

H. H. Arnason’s “On Robert Motherwell and His Early Work” is published in Art International, the first in a series of articles by Arnason offering a detailed overview of Motherwell’s career. (The subsequent articles are published in April 1966, summer 1969, and October 1976, and will form the basis of Arnason’s 1977 monograph on Motherwell, published by Harry N. Abrams.)400

January– a pr I l Dur ing the first weeks of the year, Motherwell paints the In Black and White series (p358–p363) in preparation for the Boston mural. He writes Gropius: “If I can get brushes large enough I think I will be able to do exactly what I want to, mural scale. I do think, however, that there will be considerable controversy, which I do not especially like, but should be used to.”401 In the months that follow he paints two large pictures (p365, p368) modeled on In Black and White No. 1 (p358).

f ebruary 8–26

Motherwell donates a drawing from the Lyric Suite to Hommage à Caissa (Homage to Chess), a benefit exhibition at the Cordier-Eckstrom Gallery to raise funds for the American Chess Foundation, organized by Marcel Duchamp.402

f ebruary 17

Hans Hofmann (1880–1966) dies in New York.

f ebruary 18

Motherwell signs the government contract for the Boston mural, and in the weeks that follow he orders the specially designed 13 x 15–foot stretchers and prepares the canvases.

f ebruary 26

Motherwell is one of nearly two hundred artists, including Philip Guston and James Rosenquist, who each create a 24 x 24–inch panel for the Artist’s Tower against the War in Vietnam, also known as the Peace Tower, in Los Angeles (the whereabouts of Motherwell’s panel are unknown). The tower is the brainchild of Mark di Suvero and Irving Petlin, who invites Motherwell to speak at its dedication; but he is too busy to travel.403

m arch 18– a pr I l 20

Motherwell paints a first version of the mural for the John F. Kennedy Federal Building in Boston (p367). The 13 x 15–foot canvas, which is too large to stand vertically in Motherwell’s studio, is painted on the floor.

On April 1, Motherwell writes Bryan Robertson describing his progress: “Am deep in work, roughly in the ‘Africa’ direction, and we have also decided to go to Europe in mid-May, which gives me a short deadline for the Gropius mural.”404

m arch 23

Motherwell appears in an hour-long PBS program about the Museum of Modern Art’s exhibition Turner: Imagination and Reality, which is focused on the highly abstract works produced in the last twenty years of Turner’s life.405

a pr I l 4

At the Hollander Workshop Motherwell produces a series of open-bite etchings for Paroles Peintes and a livre d’artiste with poems by Richard Huelsenbeck to be published by Galerie im Erker.406

a pr I l 20–June 19

Bar nett Newman’s series of black-andwhite canvases Stations of the Cross: Lema Sabachthani is shown at the Guggenheim Museum, New York.407

a pr I l 20– m ay 23

Motherwell writes Walter Gropius on April 20 that he has nearly completed his mural and predicts that it will create controversy: “I call the mural ‘Tragic Elegy.’ . . . I have not made it in order to be controversial: on the contrary I have simply tried to make as powerful and uncompromising an image as I could, in line with my notion that the

engineered quality of modern architecture needs the spontaneously personal human in conjunction with it, and that this building is moreover a memorial to a tragic man. But certainly the Senator, and other politicians will be bewildered and probably angered by it.”408

In the weeks that follow, Motherwell paints a second version of the Boston mural (p366). On May 23 he writes to Gropius: “Since I wrote you last, there is a new development. . . . I have two versions of the mural, of which I feel quite certain that one is better than the other for your building.”409 Two weeks later, Gropius comes to New York and selects the second painting Motherwell executed for the Federal Building (p366), which both agree would work better with the architecture.

a pr I l 27–June 12

Primary Structures: Younger American and British Sculptors is held at the Jewish Museum, New York (see fig. 125).

June 2–29

Motherwell and Frankenthaler go to Venice, where Frankenthaler, Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski have been chosen to represent the United States at the Venice Biennale in an exhibition curated by Henry Geldzahler. Frankenthaler and Motherwell then travel through Italy and the south of France.

June 7

Jean (Hans) Arp (1886–1966) dies in Basel, Switzerland. Soon after, Motherwell creates the lithograph To Arp with Hollander.410

June 29– s eptember 5

Contemporary Art for the Synagogue at the Jewish Museum, New York, includes Motherwell’s tapestry for the Temple Beth El in Springfield, Massachusetts, and studies for his mural in the B’nai Israel synagogue in Millburn, New Jersey.

July 8– s eptember 6

Motherwell and Frankenthaler summer in Provincetown.

July 25

Frank O’Hara (1926–1966) dies from injuries sustained when a car struck him in the early hours of July 24 on the

beach at Fire Island. Three days later Motherwell and Frankenthaler attend his funeral in Sag Harbor.

a ugus t 6–17

Motherwell travels from Provincetown to Boston on August 6 to oversee the installation of the New England Elegy (p366). Although the John F. Kennedy Federal Building is not officially open to the public, the mural is seen by many workers and becomes the source of growing controversy.

On August 12 and 13, groups of protestors gather in the lobby beneath the painting, calling for its removal. The painting is rumored to be a depiction of President Kennedy’s assassination, and the Boston newspapers run a series of articles that inflame the controversy, declaring, “Painting of John F. Kennedy Shooting Stirs Up Storm of Protests,” and “Abstract Painting of John F. Kennedy Death Scene Stirs Furor.” Public comments on the mural from the building’s workers include “An outrage,” “A horror,” and “It stinks.”411

Motherwell issues a public statement of his intentions: “It is not a picture of his death, but an elegy, which is an expression of grief for someone dead, like a requiem mass.”412

After repeated requests for comment, Senator Edward M. Kennedy issues a public statement on August 17, affirming his understanding of the artist’s intentions: “An unfortunate misunderstanding has arisen since the mural by Robert Motherwell was installed in the Federal office building in Boston.

I am personally satisfied that the painting is not meant to represent any specific event. I respect an artist’s freedom to decide on the approach he wishes to use in his work. The responsibility for selecting art for display in government buildings lies with the General Services Administration and the Fine Arts Commission. I appreciate the fact that they have sought out artists of the recognized stature of Robert Motherwell.”413

s eptember– m ay 1967

Motherwell is named Albert Dorn Professor of Drawing at the University of Bridgeport in Connecticut. He travels there once a month during the academic year to offer critiques of student works.

s eptember 28–29

Motherwell and Frankenthaler attend the opening of David Smith, 1906–1965 at the Fogg Art Museum.

o ct ober

Motherwell suffers a torn ligament in his back and is bedridden for several weeks. The condition keeps him from working on any large canvases until the winter of 1967 and forces him to cancel plans to travel to Tokyo for the opening of the exhibition Two Decades of American Painting, organized by the Museum of Modern Art.

n ovember 3

Frank Lloyd writes Motherwell to confir m dates for a solo show at the Marlborough-Gerson Gallery in the autumn of 1967. But continuing back problems and new developments in his work eventually lead Motherwell to postpone the show.

n ovember 7– d ecember 31

Tony Smith: Two Exhibitions of Sculpture is shown at the Wadsworth Atheneum in Hartford, Connecticut.414

n ovember 23–January 15, 1967

Ad Reinhardt, a retrospective exhibition, is shown at the Jewish Museum, New York.

1967

January– m arch

Following the return of works from the European tour of his Museum of Modern Art retrospective, Motherwell repaints Elegy to the Spanish Republic No. 104, which he renames Elegy to the Spanish Republic No. 108 (p373).

Motherwell also continues to develop the New England Elegy motif in New England Elegy No. 3, two untitled paintings, and Red, Cut by Black (p369–p372).

f ebruary 7

Herbert Ferber, awarded a commission for the John F. Kennedy Federal building in Boston, thanks Motherwell for recommending his work for the project: “I recall that when Kootz asked me to join the gallery he said that all his group had been in agreement with his choice, and you have again made it possible that we will be in the same building. Another risk.”415

f ebruary 27

Motherwell speaks on “The Present and Future State of Modern American Art” to the National Council of Arts, Washington, D.C.416

m arch

In his studio, Motherwell notices his recent Summertime in Italy (p378) leaning against another larger canvas primed with an ochre ground. Finding the proportion of the smaller canvas to the larger one pleasing, he traces the outline of the smaller canvas in charcoal on the ochre ground of the larger one (see fig. 109). He originally intends to paint within the area defined by the charcoal line, but finds its simplicity compelling: “I had meant to elaborate the painting, but over a period of weeks did not; and now realize that it did not need elaboration, simple as it was.”417 He provisionally titles this canvas, which would become the first painting in the Open series, Ochre Door (see fig. 111).

m arch 10

Motherwell goes to the Hollander Workshop to proof an edition made to benefit the Committee of Spanish Refugees, Inc.418 On his way downtown, he picks up Mark Rothko, who invites him into his studio—a rare occurrence with the exceedingly private Rothko— to view the progress on the murals Rothko is working on for the de Menil chapel in Houston (later known as the Rothko Chapel). Motherwell later recalls the visit in his “On Rothko.”419 On the same day, Motherwell donates twelve Lyric Suite drawings to the Museum of Modern Art in memory of Frank O’Hara.

m arch– n ovember

Arthur A. Cohen (1928–1986), a writer and authority on Jewish theology and an editor at Holt, Rinehart, and Winston, proposes that Motherwell revive the Documents of Modern Art series, which he had edited from 1943 to 1952. Motherwell and Cohen begin meeting weekly, and Motherwell draws up a statement outlining the purpose of this revived series, which they call the Documents of 20th-Century Art, to avoid confusion with the Wittenborn series: “The implicit structure of the series has as its basic axioms: A) Since 1900 B) internationalism or ‘l’art moderne’ C) main part of text by artists

Fig. 229. The house at 173 East Ninety-fourth Street, New York, where Motherwell lived from 1953 to 1971; shown here after renovation in 1967

themselves, or close creative associates & D) relatively literal translation—the exact meaning is important, because everything will be quoted thousands of times.” Motherwell also draws up lists of over a hundred potential titles, a broad and eclectic list ranging from the writings of Matisse, Picasso, and Bonnard to Johns, Judd, and Oldenburg.420

a pr I l

Motherwell writes on Jackson Pollock as part of Artnews’s feature “Jackson Pollock: An Artists’ Symposium, Part I,” published to coincide with the Pollock retrospective at the Museum of Modern Art (April 5–June 4).

a pr I l 28–october 27

The first painting made by Motherwell as part of the commission for the John F. Kennedy Federal Building in Boston, New England Elegy Mural (Second Variation) (p367), is shown as Large Painting No. 2 in the exhibition American Painting Now in the U.S. Pavilion at Expo ’67 in Montreal.

s pr I ng–summer

Dr. Hans Kleinschmidt publishes “The Angry Act: The Role of Aggression in Creativity” in the spring–summer issue of American Imago. Central to the article is a case study of “an accomplished painter of great originality,” clearly based on Motherwell, who has been in treatment with Kleinschmidt since the beginning of 1963.421

June 5–10

The Six-Day War is fought between Israel and its neighboring Arab states.

Motherwell gives the title Gaza (p380) to a recent canvas composed of blue and red fields divided by a black gestural line.

June 8 and 14

On June 8, Motherwell meets Roger Stevens at the White House in Washington, D.C., to discuss the proposed National Endowment for the Arts.

On June 14, Motherwell attends a dinner at the White House as part of the National Festival of the Arts. In a public protest, the poet Robert Lowell says he cannot attend because of his opposition to U.S. foreign policy in Vietnam and the Dominican Republic. While Motherwell sympathizes with

Lowell’s position, he views his own attendance as a show of support for Stevens and the potential good of the administration’s arts policy.422

June 15–20

Motherwell notifies Rothko that he is moving out of the studio he has been subletting from him, “for a new one next door to Alex Liberman, quiet and secluded, whereas the Third Ave one is so noisy that it is deafening, with trucks and fire engines.”423

The contents of his studio, including Ochre Door (p397), are moved to the Santini Brothers warehouse for the summer, and Motherwell signs a lease on the new studio at 414 East Seventyfifth Street, effective September 1.

s ummer

Sidney Simon’s “Concerning the Beginnings of the New York School, 1939–1943” is published in Art International in two parts: a joint interview with Matta and Peter Busa, and an interview with Motherwell.424

June 21– s eptember 22

Motherwell and Frankenthaler summer in Provincetown, where Motherwell reflects on his recent Ochre Door (p397) and on Chi Ama, Crede (p224), a work that he believes to hold possibilities that he has not fully explored. He creates a series of colorful collages that summer (c180–c214) but does no painting, in part because he is still suffering from the torn ligament in his back. Several of his new collages include packages of blue Gauloises cigarette wrappers that he acquires from B. H. Friedman, who recently purchased the house next door to Motherwell’s, previously owned by Joseph H. Hirshhorn.

Over the summer, extensive renovations are done on the house on East Ninety-fourth Street. Because of delays in finishing the work, Motherwell and Frankenthaler remain in Provincetown later than usual.

a ugus t 6–18

Motherwell and Frankenthaler travel to Vermont, where he teaches in Bennington College’s summer session and delivers four lectures. Their free time in Bennington is spent with Eugene C. Goossen, Richard Howard, and Kenneth Noland. Motherwell

Fig. 230. Motherwell in his studio at 414 East Seventy-fifth Street, New York, with Untitled (In Black and White with Lavender) (p361) and a blank canvas on the floor, November 1967

trades Beside the Sea No. 20 (w143) for Noland’s Hub, a 1961 acrylic painting on canvas that measures 84 inches square.

a ugus t 30

Ad Reinhardt (1913–1967) dies of a heart attack in his New York studio. Motherwell is deeply affected by Reinhardt’s death.425

s eptember

Following discussions in Provincetown with Bill Berkson, Motherwell signs a contract to illustrate Arthur Rimbaud’s Season in Hell (translated by Paul Schmidt), which Berkson is editing for a new publications program at the Museum of Modern Art.

Motherwell makes a series of ink drawings on vellum for the Rimbaud book and contributes one of them to In Memory of My Feelings by Frank O’Hara (constant administrative changes in the publications department at the museum lead Motherwell and Berkson to abandon the Rimbaud project in May 1970).426

s eptember–January 1968

Motherwell’s interview with Sidney Simon provokes hostile responses from Barnett Newman and David Hare. Newman publishes a letter to the editor in the September issue of Art International, attacking Motherwell for “constructing his own epitaph, which he confuses with history,” and alleging that Motherwell’s interview in its entirety was an attempt to “take my work away from me.”427 He is particularly incensed by what he views as Motherwell’s suggestion that he may have learned or borrowed anything from Clyfford Still’s early exhibitions.

Motherwell replies in the following issue: “I resent Barney Newman’s letter . . . not only because it hurts our long relationship, which I esteemed, not only because of its cruelty, but above all because it is so unnecessary. . . . You realize that only God is self-begotten!”428 The two artists become engaged in a game of one-upmanship until the editor, James Fitzsimmons, asks both for a final word on the matter for the January issue. The thin-skinned Newman, unable to let the matter go, continues to press his case; Motherwell writes simply: “I very much regret my exchange with Barnett Newman. . . . Newman is

a major and original artist, and on that premise I would conclude.”429

David Hare’s response to Simon’s interview, published in December 1967, is especially vituperative. Though asked to submit a text to the Artnews symposium on Jackson Pollock in April, Hare instead waits six months to submit a piece to the magazine. His 2,500-word text is not about Pollock but instead is an attack on the veracity of Motherwell’s statements in the Simon interview, and on what Hare sees as Motherwell’s attempt to rewrite history.430

Motherwell is offended both by Hare’s letter and by the fact that the editors of Artnews, Thomas B. Hess and John Ashbery, chose to publish what he views as nothing more than a personal attack. He writes several drafts of a reply to Hare’s letter but ultimately chooses not to respond: “There is a certain kind of attack that, in its ir rationality & viciousness, cannot be answered . . . because the real subject is not overt ‘issues,’ but abhorrence of one’s very existence.”431

o ct ober

Motherwell moves into his new studio at 414 East Seventy-fifth Street, which measures approximately twenty-two by eighty feet. He prepares the new space—cleaning, painting, and building storage racks—with Herbert Perr, a student at Hunter College who has worked for him off and on since 1965, and Patrick Cooney, from the newly formed Whitney Independent Study Program (Perr will continue to work for Motherwell into 1970).432 Toward the end of the month, all of Motherwell’s materials and several dozen works are brought from the Santini Brothers warehouse to the studio.

o ct ober 23– n ovember 22

With renovations at East Ninety-fourth Street complete, Motherwell has two works, The Homely Protestant (p85) and Ochre Door (p397), removed from storage and brought to the house to be hung. On November 13 Rudy Burckhardt visits the house and photographs Ochre Door in situ (see fig. 111).433

Within days Motherwell rotates Ochre Door so the rectangular charcoal lines descend from the top of the canvas in the manner of a window, instead of ascending from the bottom like a

door. He re-signs the canvas to affirm its new orientation and gives it a new provisional title. This is In Yellow Ochre, with Three Lines, the first painting in what will develop into the Open series. On either November 14 or 22, Ugo Mulas photographs the revised work in the entryway of the house.434

o ct ober 27–January 7, 1968

Untitled (p370), the fifth painting in the New England Elegy series, is included in the 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture at the Museum of Art, Carnegie Institute.435

l ate n ovember– d ecember

Motherwell begins to explore in a sustained way the possibilities suggested by In Yellow Ochre, with Three Lines, later known as Open No. 1: In Yellow Ochre (p397). A diagram created by Motherwell toward the end of the year documents the beginnings of the series (see fig. 116).436 He executes paintings on paper and drawings in this new mode, as well as large works on canvas (see p398, w251, w252, p399, p406, p409). Six other canvases in the series are started in December and finished early the next year, though Motherwell signs many of them with a date of 1967 (see p400, p402, p404, p407, p410, p411).

n ovember 29–June 18, 1968

An expanded version of Robert Motherwell: Works on Paper, which has completed its tour of the United States, is paired with an exhibition of works on paper by Arshile Gorky and is first shown in Buenos Aires, then travels to Caracas, Bogotá, and Mexico City.

d ecember 13– f ebruary 4, 1968

The Whitney Museum of American Art includes Summertime in Italy (p378) in its 1967 Annual Exhibition of Contemporary Painting

l ate d ecember–w I nter 1968 Motherwell creates the Beige Figuration series and related collages (c225–c248). These works will comprise the bulk of his 1968 exhibition of collages at the Whitney Museum of American Art.

1968

January– a ugus t

Motherwell continues to develop his series of austere paintings later known as the Opens. Approximately fifteen large canvases are painted in New York and Provincetown during these months.

f ebruary– a ugus t 1969

Motherwell’s In Blue (p398) is loaned to the U.S. embassy in Mexico City, the first public display of a work from the Open series.

f ebruary 1–7

Motherwell and Frankenthaler vacation in the Virgin Islands.

f ebruary 16

Motherwell writes Tatyana Grosman of ULAE to propose a livre d’artiste using the poem “A la pintura,” by Rafael Alberti (1902–1999), which he had first read in Alberti’s Selected Poems, 1945–1952 in the autumn of 1966.

a pr I l 4

Martin Luther King Jr. is assassinated in Memphis.

a pr I l 24

Mr. and Mrs. Robert H. Shoenberg of Saint Louis purchase Singing Yellow (p403) from the Marlborough-Gerson Gallery, the first sale of a painting from the as yet unnamed Open series.

a pr I l 24– m ay 4

Motherwell and Frankenthaler travel to Mexico for the opening of his touring Works on Paper exhibition at the University of Mexico Museum. They spend the first part of their trip in Acapulco, then travel to Mexico City via Taxco and Cuernavaca.437

m ay 3

Motherwell donates a print to Artists for CORE at the Grippi and Waddell Gallery, a benefit in support of the Scholarship, Education and Defense Fund of the Congress of Racial Equality.

m ay 6

Frank Lloyd of the MarlboroughGerson Gallery writes Motherwell, confirming the dates of January 4–25, 1969, for his solo exhibition at the gallery. Lloyd informs Motherwell that the final selection of works should be

made by September in order to produce the exhibition catalogue in time for the opening.438

m ay 15–17

Motherwell and Frankenthaler work on prints at ULAE. Motherwell works in the etching studio with master printer Donn Steward, and over a three-day period they complete the first work of A la pintura, an image modeled on the first Open painting (p397).439

m ay 29– s eptember 11

Motherwell and Frankenthaler summer in Provincetown, where Frankenthaler rents a separate studio in order to have greater privacy.440

Motherwell is one of a group of artists and writers (including Fritz Bultman, Stanley Kunitz, Myron Stout, and Jack Tworkov) who participate in the second session of the Fine Arts Work Center of Provincetown, a residency program for young artists and writers that he will continue to support in years to come.

June 5

Invited to design a poster for the eleventh Festival of the Two Worlds (June 27–July 14) in Spoleto, Italy, Motherwell submits a collage, known thereafter as Spoleto (c253), to be used as the model for the silkscreen poster.441

June 6

The Documents of 20th-Century Art series, now to be published by Viking Press, is featured in an article in the New York Times. For the new project, Motherwell’s role is that of series editor rather than as editor of the individual volumes. In this capacity, he will choose titles and match editors and translators with the appropriate texts. Once again he enlists the talents of Bernard Karpel to prepare the bibliographies for the individual volumes and to act as a general adviser. Although three years will pass before the first volume is published, Motherwell spends much of his summer working on the series.

Arthur A. Cohen, co-editor of the Documents series, purchases an untitled painting from Motherwell, the second work to be sold in the still unnamed Open series; the painting is later titled Open No. 10: In Green on Blue (p407).

June 10– o ct ober 20

Motherwell’s Elegy to the Spanish Republic No. 108 (p373) is shown at the thirty-fourth Venice Biennale in the exhibition Linee della ricerca contemporanea: Dall’informale alle nuove strutture (Ways of Contemporary Research: From the Informal to the New Structures).

July 1– s eptember 4

Rothko rents a cottage at 621 Commercial Street in Provincetown, across the street from Motherwell. Their relationship becomes strained as Motherwell is a daily witness to Rothko’s heavy drinking and depression: “It is anguishing to see his difficulty in simply getting through the hours of the day, though I am sure he would vehemently deny this.”442

July 24

Motherwell writes Herbert Ferber about his summer’s progress: “Helen and I have done a little painting, I have done a lot of editorial work, since the early beginnings of the project have to be kept tightly in hand and Helen is quite often in New York about the choice of her pictures for her retrospective at the Whitney next winter. I was going to have a show at Marlborough in Rome, but called it off, since I have a big show in New York in January which is enough to think about at one time.”443

July 28

In honor of the poet Stanley Kunitz’s birthday, Motherwell presents him with the collage Provincetown: Stanley’s View (c255).

a ugus t 26–29

During the Democratic National Convention in Chicago, the police, under the direction of Mayor Richard J. Daley, attack antiwar protestors, creating a national scandal.

s eptember 5

The New York Times reports that fiftyone American painters and sculptors, including Motherwell, “have agreed not to exhibit their work in Chicago for the next two years as an expression of ‘disgust and revulsion’ at police tactics there during the recent Democratic National Convention.”444 Shortly afterwards, the Chicago dealer Richard Feigen persuades the artists to participate in Richard J. Daley, an exhibition

(October 23–November 23) protesting Daley’s actions, as an alternative to the boycott. Motherwell contributes two works to the exhibition, which travels to Cincinnati and New York: Mural Sketch (w250) and Iberia No. 18 (p180).

s eptember 11

On his last day in Provincetown, Motherwell makes eighteen charcoal drawings with the rectangular U-shaped motif from his recent paintings. He later adds a small area of white paint to some of these works (see w289–w295), which he calls Open studies.

a u tumn

Back in New York, Motherwell travels regularly to ULAE to work on trial proofs for A la pintura. The variations of the color and composition feed the freedom with which he develops the new painting series.445

Motherwell postpones his exhibition at the Marlborough-Gerson Gallery until March 1969, because, as he writes shortly afterward, “I was in the middle of a beautiful painting streak which I would have had to stop in order to prepare the catalog.”446 By the end of the year, the new series totals fortythree paintings, not including the Open Studies and miscellaneous related works on paper.

s eptember 27

Motherwell sees the exhibition The Great Age of Fresco: Giotto to Pontormo at the Metropolitan Museum of Art. His study of Uccello’s sinopias (the preparatory drawings underlying the frescoes) leads to a different kind of appreciation of process, which influences both the Open paintings and the A la pintura prints; see also Uccello’s Space: A la pintura (p712).447

o ct ober 2

Marcel Duchamp (1887–1968) dies in Neuilly-sur-Seine, France.

o ct ober 7– n ovember 17

Robert Motherwell: Collages at the Whitney Museum of American Art presents twenty-nine new collages created pr imarily in 1967 and 1968, his first solo exhibition in New York since his 1965 Museum of Modern Art retrospective. Motherwell makes a limited-edition silkscreen poster for the show to benefit the Whitney.448

o ct ober 22–23

Motherwell travels to Chicago to lecture at the Art Institute of Chicago and appears on the Huntley-Brinkley Report, NBC’s national evening news program.

o ct ober 31– n ovember 3

The Museum of Modern Art presents In Honor of Dr. Martin Luther King, Jr., a benefit for the Southern Christian Leadership Conference. Motherwell donates African Collage No. 1 (c154) to the sale.

n ovember– d ecember

Motherwell, who is aware of how different his recent paintings will appear to the public, begins to invite prominent figures in the art community to his studio to view and discuss the new series. Those invited include H. H. Arnason, William Rubin, Clement Greenberg, Henry Geldzahler, and Ulfert Wilke.

Motherwell gives Wilke two paintings (p202, w250) and a drawing in exchange for an anonymous seventeenth-century Japanese brush painting, which Motherwell feels “equals a Rembrandt.”449

n ovember 12–19

Approximately a dozen works in Motherwell’s new series of paintings are photographed in his studio for the catalogue for his upcoming Marlborough-Gerson Gallery exhibition. A week later he accompanies the photographer to the Hahn Brothers warehouse, where an additional eighteen paintings are photographed. Around this time Motherwell draws up the first list of work in the new series, which is still without a name. This list of thirty-eight works assigns numbers to the paintings, without regard for chronology and without titles.

d ecember 10

Frank Lloyd writes Motherwell concer ning his request to delay his exhibition yet again, this time until May. Lloyd reminds him that people in informed circles have begun to talk about the new work and that to delay the exhibition “would only be misinterpreted by the public, who would think that you do not want to show your latest work.”450

1969

January– f ebruary 10

Motherwell revises Ron Padgett’s translation and writes the introduction to Pierre Cabanne’s Dialogues with Marcel Duchamp, slated to be the first volume published in the Documents of 20thCentury Art series (published in May 1971).

January 31– f ebruary 7

Motherwell and Helen Frankenthaler take a cruise to the Virgin Islands. Motherwell sends a postcard to himself in New York, with an idea for new paintings to work on when he returns: “RM, make some small ptings [sic], like Alberti acquatint [sic] in living room. See you soon.”451 Back in New York, the project will develop into the Alberti Suite (p522–p528).

[January– f ebruary]

Motherwell writes the draft of a press release for his upcoming show at the Marlborough-Gerson Gallery, in which he outlines the development of his work since his 1965 retrospective. He describes in detail how he first stumbled on the idea for the new series, to which he gives the name Window, and the creation of the first painting in it (p397), which he now calls “Window No. 1.”

In early to mid-February he settles on the final name for the series, changing it from Window to the more evocative Open, inspired in part by the eighty-two definitions of the word in the Random House Unabridged Dictionary. He considers using these definitions as the introduction to the exhibition catalogue, or possibly as a handout in the gallery, and has them typeset by the catalogue printer. But he and the gallery decide against using the definition (which he later calls “one of the most beautiful poems in the English language”), “for fear that the entry rather than the pictures would become the principal subject matter of critical discourse.”452

f ebruary 20– a pr I l 6 Helen Frankenthaler, a retrospective exhibition curated by Eugene C. Goossen, is mounted at the Whitney Museum of American Art.

m arch 18

In advance of the Museum of Modern Art’s exhibition The New American Painting and Sculpture: The First Generation, Motherwell answers a questionnaire about the works he will have in the show. One of them is Spanish Picture with Window of 1941 (p4), which he had removed from storage earlier in the year. (This picture was first shown as White Painting in 1959; but Motherwell now changes the title to emphasize the relationship between this work and his new Open paintings.)453

a pr I l 8– m ay 3

An untitled work (w305) is featured in The Big Drawing, organized by the framer Barbara Kulicke and the James Graham & Sons Gallery; this is among the earliest works in the Open series to be shown publicly.

a pr I l 26

Twenty-two small canvases in the Open series, all 30 x 40 inches or smaller, are sent to the MarlboroughGerson Gallery without titles. By the end of the summer Motherwell will have created eight more small canvases and have assigned the entire group numbers between 45 and 74 in the Open series, once again without regard to chronology.454

a pr I l 30– m ay 8

Motherwell goes to London for the opening of Frankenthaler’s retrospective at the Whitechapel Gallery (May 7–June 8). He returns to New York on May 8 in order to oversee the installation of his exhibition at the Marlborough-Gerson Gallery.

m ay 13–June 7

Robert Motherwell: Open Series, 1967–1969 is shown at the Marlborough-Gerson Gallery (see figs. 130, 232). The exhibition features fourteen large paintings. Press coverage is widespread and overwhelmingly enthusiastic, not only for the achievement of the new work but for Motherwell’s courage in exploring such new territory at this stage of his career. Motherwell’s Open No. 28: In Orange with Charcoal Line (p424) is featured on the cover of Artforum, which contains Rosalind Krauss’s essay “Robert Motherwell’s New Paintings.” H. H. Arnason publishes the latest installment in his survey of Motherwell’s

Fig. 231. Motherwell’s 1968 collage exhibition at the Whitney Museum of American Art. Left to right: the 1968 aquatint Gauloises Bleues; In Green, with Ultramarine and Ochre (c208); Beige Figuration No. 3 (c230); and The Brown Stripe (c200)

Fig. 232. Motherwell’s first exhibition of the Open paintings, MarlboroughGerson Gallery, New York, 1969. Left to right: Open No. 12: In Raw Sienna with Gray (p409); and Open No. 26: In Grey with White and Umber (p422)

career in Art International, “Motherwell: The Window and the Wall,” which traces the development of the window motif throughout the history of modern art and in Motherwell’s oeuvre.

June 12

The Art Workers Coalition protests the Museum of Modern Art’s upcoming survey of Abstract Expressionism, The New American Painting and Sculpture: The First Generation, accusing the Museum of “blackmail” for soliciting donations of artworks from the artists in the show “in order to guarantee themselves a place in history.”455 Motherwell, Ferber, and Gottlieb write a letter defending the museum and its actions that is signed by Rothko, Guston, Theodore Roszak, Seymour Lipton, and Ad Reinhardt’s widow; Richard Poussette-Dart, Louise Bourgeois, and David Hare dissent from their position. Though Motherwell disagrees with the coalition on this issue, he is sympathetic to their general aims and attends their meetings until the spring of 1970.456

June 18– o ct ober 5

The New American Painting and Sculpture: The First Generation, shown at the Museum of Modern Art, includes ten works by Motherwell, including the recent Open No. 24: In Variations of Orange (p420), which he donates to the museum.

June– d ecember

Following his exhibition of the Open paintings at the Marlborough-Gerson Gallery, Motherwell’s production increases. He creates forty-seven more large canvases in the Open series, which are given the number s 75 to 122 (p466–p505).

July 29– a ugus t 4

In Provincetown, Motherwell learns that he is suffering from an irregular heartbeat and a pulse of 150 beats per minute. He and Frankenthaler race back to New York, where he is examined and ordered to change his diet, to exercise, and to give up alcohol completely. On August 3, he notes in his datebook that he has become a teetotaler “for life.” (He will refrain from drinking for several years, though he eventually resumes the habit.)

a ugus t 4– s eptember 25

Motherwell and Frankenthaler return to Provincetown, and over the next weeks he loses over thirty pounds and his health improves dramatically. He also begins two collages: Untitled (c265) and Tree of My Window (c266), the first to incorporate sheet music.

a ugus t 11–18

Arthur A. Cohen, coeditor of the Documents of 20th-Century Art series, conducts wide-ranging interviews with Motherwell as a prelude to Cohen’s planned, but never realized, edition of Motherwell’s collected writings.457

s eptember 8– o ct ober 13

Robert Motherwell: Lyric Suite, an exhibition of thirty of his 1965 ink on paper drawings, is shown at the Museum of Modern Art. An excerpt of his “Addenda to MoMA Lyric Suite Questionnaire—from Memory . . . with Possible Chronological Slips,” written in August, is published in the fall 1969 Members Newsletter. 458

o ct ober 7

Curator Kynaston McShine mails

Motherwell empty packages of RothHändle cigarettes, writing: “Had smoked these for you while in Hannover for Helen’s show on the off-chance you might like the package.”459 Years later, Motherwell will incorporate the packages in two collages (c526 and c618) and a number of prints.

o ct ober 18– f ebruary 8, 1970

Twelve works by Motherwell are included in New York Painting and Sculpture, 1940–1970 at the Metropolitan Museum of Art, organized by Henry Geldzahler. Motherwell views the exhibition a week before the opening and leaves the museum angry and disappointed about how his work has been hung: “Without feeling or space—same for David & Tony Smith.”460

o ct ober 23– n ovember 25

Robert Motherwell, an exhibition of sixteen works, including ten paintings from the Open series, is shown at the Marlborough Galleria d’Arte in Rome. Carla Panicali, who runs the gallery, and her husband, the painter Carlo Battaglia, become friendly with Motherwell.

Fig. 234. Motherwell in his Provincetown studio, 1969. Left to right: Untitled (w307); Untitled (w308); and Open No. 97: The Spanish House (p486)

Fig. 233. The cover of Artforum, May 1969, showing a detail of Open No. 28: In Orange with Charcoal Line (p424)

o ct ober 28–early d ecember

After several months of house hunting, Motherwell discovers a run-down carriage house in Greenwich, Connecticut. His second offer on the property is accepted on November 1. (Motherwell has been interested in moving to the country since early 1963, and for a time had even considered moving to England.)461

To raise money for the purchase of the house in Greenwich, Motherwell asks the Marlborough-Gerson Gallery for an advance against future sales. The gallery refuses, and Motherwell decides to terminate his contract with them in the spring.462

Motherwell enters into an agreement with the Toronto dealer David Mirvish, who lends him $25,000 as an advance against the purchase of twenty paintings.463

n ovember

Motherwell and one hundred other prominent cultural figures sign a letter of protest in favor of Muhammad Ali’s right to defend his world heavyweight boxing title. The letter is published in Esquire along with Irwin Shaw’s article “Muhammad Ali and the Little People.”

n ovember 24

Motherwell reaches an agreement with Harry N. Abrams to publish a monograph on his work, to be written by H. H. Arnason.

d ecember

To take advantage of the tax deductions allowed for donations of ar tworks before the 1969 tax reform law goes into effect on January 1, 1970, Motherwell donates fifteen paintings to five institutions—the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the San Francisco Museum of Art, and the American Federation of Art (which is used as a conduit to donate works to the Tate Gallery, London). After January 1, artists will no longer be able to deduct the fair market value for their works, only the cost of materials.

d ecember 16– f ebruary 1, 1970

Open No. 101: Big Orange (p489) is included in 1969 Annual Exhibition: Contemporary American Painting at the Whitney Museum of American Art.

l ate d ecember–January 25, 1970

Motherwell paints a new group of twenty-three small canvases in the Open series, assigning them the series numbers 125 through 148 (p532–p552). He also puts together a group of paintings, some dating back to 1968, under the rubric of the Alberti Suite, and assigns them the series numbers 1–13 (p522–p528, p1022).

1970

January 1–June

Motherwell’s marriage to Frankenthaler becomes increasingly troubled.

Frankenthaler takes a new studio in New York at the beginning of January, a week before Motherwell finalizes the purchase of the house in Greenwich, which he had envisioned as a place in which they both could escape the daily grind of New York. The day before the closing on the house, on January 8, Frankenthaler leaves for a week-long vacation with her sister.

Motherwell is consumed with plans for the new house and immediately begins extensive renovations. During the spring he hires Rick Klauber, a painting student at Bard College, to work as his assistant in Greenwich (Herbert Perr continues to assist him in New York into the summer).

f ebruary 4–28

Paintings and Collages by Robert Motherwell is presented at the St. Paul’s School in Concord, New Hampshire. On February 6, Motherwell delivers a lecture, “On the Humanism of Abstraction,” at the school; it is published later that summer in the catalogue for the exhibition.464

f ebruary 24– m arch 10

Eager to break from the MarlboroughGerson Gallery, Motherwell flies to London to work on the thirty editions of prints he is contractually obligated to produce for them. During his three weeks there, he completes thirty-nine prints, which make up the Africa Suite, the London Suite, and the Basque Suite. (The latter is a kind of inside joke at Marlborough’s expense, as it is printed over lithographs made with Irwin Hollander in 1967, which Marlborough forbade him to publish.)465

f ebruary 25

Mark Rothko (1903–1970) commits suicide in his New York studio.

a fter m arch 10

On his return to New York, Motherwell paints Open No. 150: In Black and Cream (Rothko Elegy) (p554).

m arch 24

Motherwell testifies before the Select Subcommittee on Education, at the invitation of Representative John Brademas (D-Indiana), on the Environmental Quality Education Act of 1970 (H.R. 14753): “As an artist, I am used to being regarded as a somewhat eccentric maker of refined, but rather unintelligible, objects of perception. Actually, those objects contain a murderous rage, in black and white forms, of what passes for the business of everyday life, a life so dehumanized, so atrophied in its responsibility that it cannot even recognize a statement as subtle and complicated as the human spirit it is meant to represent.”466

a pr I l 26

Emile de Antonio interviews Motherwell in Greenwich for his documentary film Painters Painting (1973).467

a pr I l 29

Motherwell delivers the address “The Universal Language of Children’s Art, and Modernism” at the plenary session of International Exchange in the Arts at the United Nations, a conference sponsored by the Institute of International Education. The talk is published the following winter in the American Scholar 468

m ay

Motherwell meets with Frank Lloyd to terminate his contract with the Marlborough-Gerson Gallery but learns that it is too late; on March 7, while he was in London, an automatic two-year renewal of the contract had taken effect, so he is locked into it for another two years.

Despairing, he writes Mirvish about the new development and encourages him to negotiate with Marlborough for the works promised him in December “at the best terms you can make, [and] I will refund you myself, the difference bet[ween] their discount & what we have agreed on

ourselves.” He continues, “This procedure would have to be followed from now thru June 1972. Does this seem fair to you? I would appreciate it if dur ing that period you did not buy more than the amount that we agreed on, since I will in effect be paying a double commission & receiving therefore relatively little for work that I think is as of high quality as I have ever done & relatively low priced in relation to my most eminent colleagues. I cannot express adequately how deeply I regret my carelessness in allowing this awkward situation to develop, but what I propose, as far as I can see, in no way damages you, which is certainly my intent. Please let me have yr reaction.”469 Shortly afterward, Mirvish agrees to the new arrangement.

[ m ay 15]

Motherwell breaks the lease on his studio at 414 East Seventy-fifth Street in anticipation of the summer in Provincetown and his planned move to Greenwich in the autumn.

m ay 19–22

In New York, Motherwell paints Open No. 149: In Ultramarine with Charcoal Line (p553).470 He meets Mirvish three days later and takes him to see recent pictures at the Hahn Brothers warehouse, where Mirvish purchases this work

m ay 23

Motherwell meets with Frankenthaler’s sister, the tapestry maker Gloria Ross, and agrees to allow her to make a unique tapestry based on Elegy to the Spanish Republic No. 116 (p515).

m ay 26

Motherwell is inducted into the National Institute of Arts and Letters.

m ay 26–June 25

On May 26 Motherwell and his current secretary, Ellen Grand, prepare a list of the 148 paintings completed to date in the Open series. Although the list leaves some numbers blank, all works are assigned a number followed by a description of the color of the work, the dimensions, and its location, such as “1: In Yellow Ochre, 114" x 82". Living room at 94th St.”

On June 25 numerous handwritten corrections are made to the May 26 list, filling in some of the blanks on the first list, amending the current locations of works, and adding six new paintings completed in the past month. This brings the total of numbered paintings in the series to 154.

June 6

Motherwell joins a group of twenty-five artists who refuse to participate in an exhibition of American graphics for the Venice Biennale that is sponsored by the U.S. government. The protest is organized by the Emergency Cultural Government Committee, a subgroup of the New York Artists Strike Against Racism, Sexism, Repression and War. The artists state that they “are denying the use of their art as a cultural veneer to cover policies of ruthless aggression abroad and intolerable repression at home.”471

June 9–July 19

Open No. 26: In Grey with White and Umber (p422) and Open No. 101: Big Orange (p489) are shown in the Recent Acquisitions exhibition at the Whitney Museum of American Art. Both works were among the donations made by Motherwell in December 1969.

June 18– s eptember 10

In Provincetown, Motherwell creates twenty-three paintings in the Open series, assigning them numbers 154 to

on A la pintura, and is absorbed by his editorial work on the Documents of 20th-Century Art series.

n ovember 25–29

Motherwell spends the Thanksgiving weekend alone at the Caneel Bay resort in St. John, Virgin Islands.

d ecember 5–January 5, 1971

The exhibition Robert Motherwell is the artist’s first solo show with the David Mirvish Gallery. While in Toronto, Motherwell gives a lecture at the Ontario College of Art.

wI nter– m ay 1971

Motherwell paints Elegy to the Spanish Republic (p606) and Elegy to the Spanish Republic No. 110 (p607), the first large works in the series since 1967.

d ecember 24

176 (p557–p573); these are the last of the numbered paintings in the series. At the end of the summer he creates a list of these twenty-three additional paintings.472

Motherwell and Frankenthaler’s marriage continues to deteriorate, and she spends only a short time in Provincetown.

July 4

Barnett Newman (1905–1970) dies of a heart attack in New York.

July 14

Motherwell writes “Thoughts on Drawing” for the catalogue of the circulating exhibition Drawing Society National Exhibition, 1970, organized under the auspices of the American Federation of the Arts, which opened at the Cooper-Hewitt Museum of Design in New York in March.473

s eptember 19– o ct ober 10

Motherwell’s Open No. 149: In Ultramarine with Charcoal Line (p553) is included in the group exhibition The Opening at the David Mirvish Gallery, Toronto. Motherwell flies to Toronto for the event.

a u tumn

Renovations continue on the house in Greenwich, and Motherwell divides his time between there and New York. He gives frequent lectures, works at ULAE

a pr I l 12–14

Motherwell meets Richard Aakre, a young artist in residence at the Fine Arts Work Center in Provincetown, and hires him to work as his studio assistant for the coming summer.

a pr I l 24–25

In Greenwich, the documentary filmmaker Michael Blackwood begins filming Robert Motherwell: Summer of 1971, which will later be shown on German television.

m ay 27

The first two volumes of the Documents of 20th-Century Art series are published by Viking Press: Dialogues with Marcel Duchamp, by Pierre Cabanne, with an introduction by Motherwell; and My Galleries and Painters, by Daniel-Henry Kahnweiler.

Motherwell and Frankenthaler have a violent argument. Motherwell notes in his datebook: “end of marriage.” She soon files for divorce.

1971

wI nter–spr I ng

Motherwell continues to divide his time between New York and Greenwich, spending most weekends in the country. He works at ULAE an average of one or two days a week during January and February, trying to complete A la pintura

January 28

Motherwell delivers a eulogy for Mark Rothko at a memorial service held at the National Institute of Arts and Letters.474

f ebruary 26– m arch 11

Open No. 17: In Ultramarine with Charcoal Line (p414) is shown in the Recent Acquisitions exhibition at the Museum of Modern Art.

m arch

A la pintura goes to press at the ULAE workshop. When the edition is printed, a ceremony is held at ULAE to destroy the plates. Motherwell hesitates to do so, but Grosman insists. Motherwell later feels that something is missing from the final edition, and during the next several months he returns to work on several new plates.

m ay 31–June 30

Motherwell and his daughter Jeannie fly to London, where he signs the thirty editions made the previous year for Marlborough—a total of 2,200 prints. They then go to St. Gall, Switzerland, where he works on a new series of lithographs at the Galerie im Erker. He gives an interview to Irmeline Lebeer for the journal Chroniques de l’art vivant, which is published in the July–August 1971 issue. Following the opening of his exhibition with Galerie im Erker on June 12, he and Jeannie travel in the south of France before sailing to New York.

The exhibition catalogue for the show at Galerie im Erker (June 12–August 28) includes a new poem by Octavio Paz (1914–1998) inspired by Motherwell’s paintings and writings, “Piel del Mundo/Sonido del Mundo” (The Skin of the World/The Sound of the World).475

June 15

Motherwell and Frankenthaler’s divorce is finalized. Under the terms of the settlement, Frankenthaler keeps the house at 173 East Ninety-fourth Street and receives several important paintings by Motherwell, including At Five in the Afternoon (w10) and Open No. 1: In Yellow Ochre (p397); the latter has been hanging in the house since 1967. He in turn gets several paintings by Frankenthaler, including Wales (1966).476

Fig. 235. Motherwell with his daughters Lise and Jeannie in Greenwich, Conn., 1971

July 8– s eptember 22

After several days in Greenwich Motherwell goes to Provincetown, where Aakre has prepared his studio and a number of canvases that he will work on over the summer. He paints over thirty new works (p615–p638, and p640–p647).

July 14

Motherwell paints a large version of At Five in the Afternoon (see w10 and p647), knowing that he will be losing the early painting to Frankenthaler at the end of the summer. Copying the picture in the aftermath of the recent divorce brings him back emotionally to the depressing weeks of December 1948, when he made the original version of the painting after his breakup from Maria Ferreira.477

J uly 26

Motherwell writes to E. A. Carmean Jr., a recent graduate of the University of Illinois, Urbana-Champaign, who has sent the artist a copy of his thesis, “The Collages of Robert Motherwell.” Shortly afterward, Carmean will take a position as curator at the Museum of Fine Arts, Houston, where he will organize an exhibition of Motherwell’s collages in 1972.

a ugus t 22–29

Michael Blackwood films Motherwell in Provincetown, beginning to work on Elegy to the Spanish Republic (with Lemon-Yellow Panel) (p648).

s eptember

Ulfert Wilke, now the director of the University of Iowa Art Gallery, proposes a mural commission to Motherwell.

s eptember 22– o ct ober

Motherwell begins living in Greenwich full-time. He also accepts a temporary appointment as Distinguished Professor at Hunter College for the academic year 1971–72. His classes bring him into the city two days a week, allowing him to maintain his business relationships and connections to New York.

Richard Aakre lives in a cottage on the Greenwich property, while working as Motherwell’s assistant. For a while Aakre shares the two-bedroom cottage with Bryan Robertson, who has moved to the United States to help establish

the Neuberger Museum at SUNY–Purchase, the newest school in the state university system, which is still under construction.478

o ct ober 10–17

Wilke visits Motherwell and suggests that he create a large Elegy painting for the University of Iowa mural commission, modeled on a small Elegy study he sees in the studio (w353). The initial proposal calls for the painting to be completed by June 1972.

o ct ober 18

Motherwell attends a cocktail party at publisher Charles Cowles’s New York apartment in honor of John Coplans, the new editor in chief at Artforum. Among the guests are David McKee, Robert Rauschenberg, Jasper Johns, and a young German photographer, Renate Ponsold (b. 1935).

o ct ober 21–January 10, 1972

Barnett Newman, a retrospective exhibition, is shown at the Museum of Modern Art.

o ct ober 29–31

Motherwell returns to New York and spends the weekend in the city seeing exhibitions with his daughter Jeannie, including the Barnett Newman retrospective at the Museum of Modern Art. On Sunday, he brings Renate Ponsold to Greenwich so she can photograph him and his studio. Soon after, they begin dating regularly.

n ovember

Motherwell writes the introduction to a new edition of The Journals of Eugène Delacroix, published by the Viking Press.

n ovember 8

Kate Rothko files suit to remove the executors of her father’s estate, Bernard Reis, Theodoros Stamos, and Morton Levine, and to obtain an injunction preventing the Marlborough-Gerson Gallery from selling any more of her father’s paintings, accusing them of collusion and fraud.

n ovember 24

Paul Cummings of the Archives of American Art interviews Motherwell for the Oral History Program of the Archives.

n ovember 25

Motherwell hosts a Thanksgiving dinner in Greenwich with Aakre, Ponsold, and two German friends of Ponsold’s: Heidi Colsman-Freyberger, an art historian working at the Robert Elkon Gallery, and her husband, Claus Colsman-Freyberger, a doctoral student at Columbia University.

d ecember 9

Construction of new studio and office space begins at Greenwich.

1972

January 2

Motherwell gives the MarlboroughGerson Gallery notice that he is terminating his contract with them, effective June 1. In addition to his ongoing troubles with the gallery, he is acutely aware of the ethical problems revealed by Kate Rothko’s lawsuit against the gallery. He writes his accountant Michael Hecht: “I am particularly anxious that the termination contract be executed in case of my death. I would prefer a much smaller gallery such as Mirvish or Rubin or Emmerich to handle the liquidation of my estate. Not that I expect anything to happen!”479

January 6–19

Motherwell goes to St. Gall to complete and sign the print editions he made the previous summer with the Galerie im Erker. While in St. Gall, he makes several small collages (c281–c288) and a series of twelve automatist lithographs, which are never published.

f ebruary 11

Motherwell makes the collage Gauloises with Scarlet (c289), the first work in what will develop into an extended numbered series.

s pr I ng

Heidi Colsman-Freyberger begins working for Motherwell part-time as his secretary; shortly after, her husband Claus begins working part-time as a studio assistant. She begins an inventory of the works that remain in Motherwell’s studio, creating individual index cards with the title, medium, dimensions, and date of each work, along with a blackand-white photograph.480

a pr I l 14– m ay 21

Abstract Painting in the 70’s: A Selection at the Museum of Fine Arts, Boston, includes five works from the Open series by Motherwell, including Open in Ochre (p592), which has recently been purchased by the museum.

a pr I l 25–28

Motherwell delivers a lecture, “The New York School of Abstract Expressionism,” in several cities in Iowa. While in Iowa City, he meets with Wilke to discuss the mural commission and to see the space intended for it at the museum.481

m ay 7

Motherwell completes Elegy to the Spanish Republic No. 125 (p651), his second large variation on At Five in the Afternoon (w10) to be painted in the past year.

June 15– a ugus t 6

Robert Motherwell: Recent Paintings, curated by Martin Friedman, is shown at the Walker Art Center, Minneapolis. It presents sixteen paintings completed during the previous summer, including four works from the Great Wall of China series (p615–p616, p618, p1071), Elegy to the Spanish Republic (with LemonYellow Panel) (p648), The August Sea (p633), and At Five in the Afternoon (p647).

On August 6, Motherwell participates in a public interview by Martin Friedman and Dean Swanson at the Walker Art Center, to discuss his career and his current exhibition there.

June 17– a ugus t 28

In Provincetown, Motherwell creates twenty-five paintings and the Gauloises series of collages (c290–c351), comprising sixty-one unique variations on Gauloises with Scarlet (c289); this series incorporates blue Gauloises Caporal cigarette packages torn and pasted on painted Upson board supports.482

He purchases two units in the Sign of the Mermaid, the inn next door to his house on Commercial Street, which has been converted to condominiums. These units are used by his daughters and other visitors during the summer months. In Provincetown as in Greenwich, Motherwell increasingly constructs a community around himself, with assistants and collaborators close at hand to facilitate his work.

June 22

Motherwell writes an essay on the development of A la pintura for the catalogue of the upcoming exhibition of the livre d’artiste at the Metropolitan Museum of Art.

July 1

Motherwell’s mother, Margaret H. Rosener (1892–1972), dies in Palo Alto, California.

July 10

Motherwell paints an early version of Riverrun (p659) in the same palette of grays and green that he used in some of the recent Gauloises collages.

July 17

E. A. Carmean Jr. interviews Motherwell for the upcoming retrospective of his collages at the Museum of Fine Arts, Houston.

July 23

Motherwell makes the German Line series of collages (c352–c363), which incorporate the blue, white, and orange packages of Ernte 23 brand cigarettes.

a ugus t 16

Motherwell marries Renate Ponsold in Wellfleet, Massachusetts.

a ugus t 19

Motherwell paints Dark Open (p673), covering the canvas with thin washes of black acrylic paint and then rocking the canvas to allow the paint to spread and drip over the surface.483 He later renames this work In Plato’s Cave No. 1

a u tumn–w I nter

In Greenwich, Motherwell paints the Shem the Penman series (p679–p691) and the Zen series (p697–p702). In these works the rectangular U-shaped form of the Open series becomes a gestural sign, maintaining the ambiguity of the figure-ground relationship but adding an emphasis on gesture that is new to the series.

Freed from his contract with the Marlborough-Gerson Gallery, Motherwell joins the Lawrence Rubin Gallery, located at 49 West Fiftyseventh Street; he will show with Rubin for the rest of his life. No longer constrained by Marlborough’s worldwide exclusivity, he is now free to arrange

exhibitions outside New York with any gallery he chooses. During the next three years he has solo gallery exhibitions in Washington, D.C., Detroit, San Francisco, Los Angeles, and Houston.

During the autumn, Kenneth Tyler of Gemini, G.E.L., Los Angeles, visits Motherwell and convinces him to go to Los Angeles the next spring to work on lithographs.

s eptember

A la pintura is published by ULAE in an edition of forty, after four and a half years of work by Motherwell.484

o ct ober 21– n ovember 8

Robert Motherwell, the artist’s first exhibition with the Lawrence Rubin Gallery, includes nine recent paintings, among them Shem the Penman (p679), The August Sun and Shadow (p664), and August Sky (p676).

o ct ober 24– d ecember 3

A la pintura is shown at the Metropolitan Museum of Art. A catalogue, A la pintura: The Genesis of a Book, with essays by Motherwell and curator John McKendry, accompanies the show.

n ovember 15–January 14, 1973

The Collages of Robert Motherwell: A Retrospective Exhibition, organized by E. A. Carmean Jr., is shown at the Museum of Fine Arts, Houston. The exhibition includes forty-one works, dating from 1943 to 1972, and travels to Cleveland, Hartford, and Boston. The catalogue, written by Carmean, includes comments by Motherwell on many of the works.485

n ovember 16–19

In conjunction with Motherwell’s collage exhibition, the Museum of Fine Arts, Houston, hosts “A Colloquium on Abstract Expressionism,” a four-day conference with speakers including Motherwell, Carmean, Sam Hunter, William Camfield, Edward B. Henning, Rosalind Krauss, Irving Sandler, and Philippe de Montebello.

While in Houston, Motherwell sees the Rothko Chapel for the first time.

n ovember 27–[m I d- d ecember]

Motherwell and Ponsold travel to Muenster, Germany, and then to the Galerie im Erker, St. Gall, where he works on graphics.

Fig. 236. Motherwell in his Greenwich studio, 1972, with Elegy to the Spanish Republic No. 125 (p651) in progress

Fig. 237. Motherwell’s 1972 exhibition at the Walker Art Center, Minneapolis. Left to right: Elegy to the Spanish Republic (with Lemon-Yellow Panel) (p648); The Great Wall of China No. 1, an early version of The Bridge (p1071); and The Great Wall of China No. 2 (p615)

d ecember 12–January 6, 1973

Robert Motherwell: Paintings and Collages, a solo exhibition at the Gertrude Kasle Gallery, Detroit, includes twenty-three works from 1968 to 1972.

d ecember– a pr I l 24, 1973

Motherwell enters an agreement with the frame makers Dain/Schiff to publish graphics produced in his Greenwich studio. Robert Dain sells Motherwell a used Brand etching press and installs it in his Greenwich studio. Motherwell hires printmaker Catherine Mosley to work several days a week in Greenwich and begins publishing his own editions. In preparation for the first of these, he executes a series of automatist variations on the Open theme (w409–w448).

1973

January 5– f ebruary 17

Rober t Motherwell: Recent Work, an exhibition organized by the graduate students of the Department of Art and Archaeology, under the supervision of Sam Hunter, is presented at the Art Museum, Princeton University. The exhibition is conceived as a survey of Motherwell’s output since his 1965 retrospective at the Museum of Modern Art and includes seventy-three works, primarily from the years 1968–72.

January 10– m arch 18

Shem the Penman (p679) is included in the 1973 Biennial Exhibition: Contemporary American Art at the Whitney Museum of American Art.

f ebruary 1–7

Motherwell paints the In Beige with Charcoal series (p714–p722).

m arch 2–26

Motherwell works with Kenneth Tyler at Gemini G.E.L., Los Angeles, producing thirty-four lithographic editions, twenty-two of which he allows to be published, including the Summer Light series and the Soot Black Stone series.486 For the first time, he incorporates lithographic reproductions of labels and cigarette packages in his collages.

s pr I ng

Motherwell begins work on Elegy to the Spanish Republic No. 126 (p851), the mural for the University of Iowa Museum of Art. For comparison, he brings the 1962–65 Elegy to the Spanish Republic No. 100 (p850) out of storage. On seeing the earlier painting he proceeds to rework the twenty-footlong Elegy over several weeks, modeling the new version of it on the same small study (w353) that he is using as the basis for the Iowa project.

m arch 24– a pr I l 21

The David Mirvish Gallery, Toronto, shows Robert Motherwell: New Works, an exhibition of thirty-two collages and works on paper from 1964 to 1972.

a pr I l 8

Pablo Picasso (1881–1973) dies. Motherwell contributes a lithograph made at Gemini G.E.L., Hommage à Picasso: Window, to a series of five memorial portfolios published later in the year by Propyläen Verlag, Berlin, and Pantheon Press, Rome.487

a pr I l 9–20

Motherwell paints a series of blue Open paintings that will later be reworked as part of The Blue Painting Lesson (p842–p846).

m ay

Dore Ashton’s New York School: A Cultural Reckoning is published by Viking Press.488 Motherwell, who has been friendly with Ashton since the early 1950s, deeply admires the book’s sweep and even borrows from it for his 1977 essay “Parisian Artists in Exile: New York, 1939–1945,” which he dedicates “To Dore Ashton, on whose text mine is a slight gloss.”489

m ay 13

Dur ing the Boston showing of The Collages of Robert Motherwell at the Museum of Fine Arts (May 10–June 24), Motherwell attends a performance of the Contemporary Music Ensemble of the Boston Symphony Orchestra. The evening’s program is called Collage and features works by Stravinsky and the American composers Hans Badings, Robert Selig, and Robert Fritz.

The performance marks the debut of Fritz’s composition “Some say existence like a Pirouot and Pirouette, forever in one place stands still and dances, but it runs away,” which was written in honor of Motherwell.490

s ummer

In Provincetown, Motherwell works on new paintings and collages, including Sic et Non (p728), A Sea of Sand (p730), Bordeaux Summer (c397), and Stravinsky (c398).

s eptember

Lawrence Rubin forms a partnership with Knoedler & Company, establishing Knoedler Contemporary Arts. Motherwell continues to show with Rubin at Knoedler and is instrumental in bringing the estate of David Smith from the Marlborough-Gerson Gallery to Rubin’s new venture.

s eptember 11

Salvador Allende, the democratically elected president of Chile, is assassinated in a coup d’état staged by General Augusto Pinochet.

Motherwell will make two collages in honor of Allende in 1975 (c528–c529).

s eptember 30– d ecember

Motherwell is especially prolific, creating nearly thirty new canvases in the Open series (p737–p763) and nearly twenty collages (c402–c418).

o ct ober 20–22

Motherwell paints four new variations on Dark Open (p673) of 1972. When he completes the new works (p739–p742), he calls the series “In Plato’s Cave” and renames Dark Open as In Plato’s Cave No. 1

Fig. 238. Motherwell and Renate Ponsold Motherwell, November 1972

Fig. 239. Motherwell in his Greenwich print workshop with Catherine Mosley, November 1973

January 3

The success of his numerous exhibitions during the past two years allows Motherwell to pay off the mortgage on his Greenwich house and in the coming months to plan a large expansion of his studios.

January 27– f ebruary

Motherwell creates Heidi and Claus and seven other collages (c423–c430) that measure 72 x 36 inches, the first of several large-scale collages that he will make during the next three years. While the collages of the previous year maintained a clear dialogue with the Open series, these new collages introduce a vocabulary of torn canvas, artists’ papers, and printed elements on a scale not previously seen in his work.

f ebruary 20

Kenneth Tyler, who has left Gemini G.E.L., Los Angeles, purchases a house and studio in Bedford, New York (a ten-minute drive from Motherwell’s Greenwich home), where he will establish Tyler Graphics Ltd. Motherwell will work closely with Tyler for the rest of his life.

m arch

Motherwell creates the Baltic Sea Bride series (c431–c435) in which he uses Mozart sheet music in his collages for the first time (see Chapter 9 in this volume). He also paints Dover Beach III (p768), a large canvas that accentuates the richly painted surfaces characteristic of the works he paints in the Open series this year.

m arch 4

Adolph Gottlieb (1903–1974) dies in New York City.

m arch 30– a pr I l 1

Motherwell paints In Plato’s Cave No. 5 and In Plato’s Cave No. 6 (p770 and p771).

a pr I l 6–25

Robert Motherwell: Recent Paintings and Collages is mounted at Knoedler Contemporary Arts. The exhibition marks the first public showing of Motherwell’s recent large collages

(including c423, c425, and c427) and Elegy to the Spanish Republic No. 124 (p650); the exhibition also features In Plato’s Cave No. 1 (p673).

a pr I l 7–30

Motherwell paints the Samurai series and related works (p775–p783), a group of paintings modeled on a gestural image (w389) created in 1972.

m ay

With the encouragement of gallery owner Brooke Alexander, Motherwell produces his first monotypes in Greenwich, working with Catherine Mosley and Jeffrey Beardsall, a British printer recommended by Alexander.

Motherwell also creates a new group of large collages (c456–c462).

[ l ate m ay]

Jeannie Motherwell graduates from college and moves to a loft in Soho, with the support of her father, to pur sue a career as a painter.

June

Motherwell begins four large paintings in the Elegy to the Spanish Republic series, numbers 128–131 (p815–p818). They will not be completed until the following winter.491

June 25–July 1

Motherwell suffers an acute attack of pancreatitis and is hospitalized for several weeks. Because he also suffers from a hiatal hernia and an irregular heartbeat, the doctors decide to wait until the fall before performing surgery. He is put on a strict diet and exercise regime.

s ummer

A large new studio is constructed on Motherwell’s property, which connects the main house with the guest cottage. The new building provides him with a large painting studio, over 120 feet long, a loft-like space that he sometimes describes as his “New York studio.”492 The space he previously used as his main studio will now be exclusively dedicated to making collages. A full print shop and storage spaces are also added.493

July 7–9

Motherwell is taken ill again and diagnosed with numerous gallstones.

July 11– s eptember 2

Fully aware of the danger entailed by his upcoming operations (and that his father died at the same age he now is), Motherwell paints as though each work could be his last, dating many of his works with the exact day as well as the month and year. During this period he creates thirty works—an average of more than one every two days (p786–p798, c464–c479, and w465). Among these are the delicately nuanced Summer Open with Mediterranean Blue (p786), the Persian series (p789, p792, p795–p796, and w465), and The Wild Duck (p794).

a ugus t– d ecember

Elegy to the Spanish Republic No. 126 (p851), the mural for the University of Iowa, is sent to Iowa City. Motherwell had intended to finish the project onsite, but because of his illness he instead asks Wilke to place the unstretched canvas in the space intended for it and to mark the most appropriate dimensions for that space. Wilke does so and returns the work to him in late December.

s eptember 3– o ct ober 2

Returning to Greenwich from Provincetown, Motherwell continues his furious pace in the studio. He paints a somber group of new works in the Open series (p799–p804) and Premonition Open with Flesh over Grey (p807), a meditation on his own mortality.

s eptember

Rosalind Krauss writes an exposé in Art in America, documenting the modifications of several David Smith sculptures and the neglect of others on Smith’s property in Bolton Landing. Krauss confirms that Clement Greenberg had authorized the stripping of the paint, touching off a scandal in which Greenberg is accused of misrepresenting Smith’s wishes.494

Motherwell is caught unawares. The New York Times reports that “because of ill health in recent years, he had not been able to follow the affairs of the estate very closely. He did say, however, that he had written to the other executors some time ago urging them to remove Smith’s work from Bolton Landing to warehouses in New York for safekeeping, but he had never received a reply.”495

On September 28, days before he is to enter the hospital, Motherwell writes Smith’s daughters of his intention to resign as a trustee of the estate.496

s eptember 21–early January 1975

In September, Motherwell starts to work in Kenneth Tyler’s new studio in Bedford, New York. Their first project is a lithograph that incorporates a largescale reproduction of a blue-and-gold Bastos cigarette wrapper.

Motherwell returns to Tyler’s studio in December to execute the violent, arcing gestural forms that envelop the Bastos cigarette package in two collages (c501–c502), one of which (c501) will serve as the model for the 62 x 40–inch print called Bastos 497

Tyler’s proximity will have a strong influence on Motherwell’s collages during this period. Tyler will provide numerous lithographically reproduced collage elements.

o ct ober 1

The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, opens in Washington, D.C. The museum’s inaugural exhibition includes Motherwell’s Blue Air (w5) and Black and White Plus Passion (p170).

o ct ober 2–19

On October 2 Motherwell undergoes a series of five operations at Mt. Sinai Hospital in New York to remove his gallbladder, repair a hiatal hernia, and have his stomach and esophagus sewn together. In the days that follow, his heart rate is over 160 beats per minute, and his doctors decide to install a temporary pacemaker. During the procedure, he nearly dies. Two weeks later he is well enough to return home.

o ct ober 15

George Wittenborn (1905–1974) commits suicide. The following spring Motherwell dedicates a collage to his memory, In Memoriam: Wittenborn Collage (c515).

o ct ober 19

Robert Hobbs, a doctoral student at the University of North Carolina–Chapel Hill, who has chosen to write his doctoral dissertation on the Elegy to the Spanish Republic series, conducts his first interview with Motherwell.

Fig. 240. Motherwell’s Greenwich studio, ca. 1975. Left to right, top to bottom: Elegy to the Spanish Republic No. 100 (p850), in progress; with Mural Sketch (p849); Untitled (Elegy) (p605); and Study for State II “Elegy No. 100” (w353) in progress

Fig. 241. Motherwell’s home and studios in Greenwich, ca. 1975. At the left is the original cottage, which he used as a guesthouse, and at the far right is the original carriage house, which he converted into living quarters and studios. Connecting the two original buildings are the studios completed in 1974

n ovember

Motherwell begins to work with the photographer Steven Sloman to document his work and studio practices for the monograph being prepared by H. H. Arnason. Sloman will visit the studio approximately every three months during the next year to photograph both old and new works. He will continue in this role well beyond the publication, serving as the primary photographer of Motherwell’s work and studios until 1985.

n ovember 13

Motherwell formally resigns from his position as executor of the David Smith estate, believing that the estate should now be turned over to the control of Smith’s daughters, Rebecca and Candida. Until now, Motherwell thought of his role as a trustee as being primarily to look after their welfare, as the girls are close in age to Motherwell’s own children. Before he resigns, he asks that a public statement be issued assuring the public that no further alterations of Smith’s work will be allowed.498

n ovember 22

E. A. Carmean Jr., now a curator at the National Gallery of Art in Washington, D.C., visits Motherwell in Greenwich to discuss a commission for a large painting for the National Gallery’s new East Building, designed by I. M. Pei.

n ovember 26–January 12, 1975

Robert Motherwell in California Collections is shown at the Otis Art Institute, Los Angeles. The exhibition presents twenty-eight paintings, collages, and drawings, along with a group of works from the Lyric Suite and a number of prints.

1975

January 4– f ebruary 1

Rober t Motherwell: Recent Paintings and Collages, shown at Knoedler Contemporary Art, features fourteen works from 1974.

f ebruary– m arch

Having received no reponse from Clement Greenberg about a proposed statement regarding the alterations of Smith’s sculptures, Motherwell and Ira Lowe (the lawyer who is the third trustee of the David Smith estate) issue their own statement in the February issue of Art Letter. Motherwell and Lowe state that attempts to arrange a meeting with Greenberg have been unsuccessful, and that his actions were taken without their approval. Motherwell and Lowe assure the public that no more of Smith’s works will be altered, and that Smith’s works at Bolton Landing will be removed to a warehouse to protect them from the elements.499

f ebruary– a ugus t

Robert Hobbs conducts several long interviews with Motherwell about the Elegy to the Spanish Republic series and is invited by Motherwell to move into the cottage on his property for the summer to continue research in Motherwell’s archives. The conversations with Hobbs, and the commissions for Iowa and the National Gallery of Art, bring Motherwell back to the Elegy to the Spanish Republic series with a renewed focus and intensity.

f ebruary 22– a pr I l 6

In Plato’s Cave (p739) is included in the 34th Biennial of Contemporary American Painting at the Corcoran Gallery of Art, Washington, D.C.

Fig. 242. Motherwell’s 1975 exhibition at Knoedler & Company.

Left to right: Geneva Collage (c472); Edgar Allan Poe Series (The House of Usher) (c464); and Untitled (c485)

[ wI nter]

In his new painting studio, Motherwell returns to work on the four Elegy to the Spanish Republic canvases he began in June; he also begins four companion works, seeking to explore different notions of space in the Elegy format (p815–p822).

He also completes two works in the A la pintura series (p813–p814) that incorporate the gestural Open sign— composed of three or four roughly drawn vertical lines and a single horizontal line—a motif he first used in a group of works done in September, just before his surgery (p800–p805).

l ate w I nter–early spr I ng

Motherwell is busy with preparations for several imminent solo exhibitions— in Boston, Mexico City, London, Toronto, San Francisco, Los Angeles— and cannot devote himself fully to painting again until May.

m arch 19– m ay

Robert Motherwell: Retrospectiva del gran pintor norteamericano, curated by Dore Ashton, is held at the Museo de Arte Moderno, Bosque de Chapultepec,

Mexico City. The exhibition features forty works from 1941 to 1975. Though Motherwell is scheduled to attend the opening and deliver several lectures in conjunction with the exhibition, he is forced to cancel at the last minute because of poor health.

a pr I l

Motherwell completes the mural for the University of Iowa Museum of Art, Elegy to the Spanish Republic No. 126 (p851), after working on it for three years. The canvas is shipped to Iowa, where it will eventually be stretched on-site.

a pr I l 24–July 8

Motherwell is commissioned to create a large collage for the new Stanford University Law School building, the Crown Quadrangle. He creates In Celebration (c513), inspired in part by Matisse’s La Danseuse (see fig. 143), which he has owned since 1963. This collage is meant as a tribute to a key event of his years at Stanford—his first encounter with the works of Matisse. A limited-edition lithograph based on the collage is released to commemorate the opening of the building.500

a pr I l 27

Motherwell meets with E. A. Carmean Jr. to discuss the proposed commission for the National Gallery. At this meeting it is agreed that the mural should be an Elegy.501

June

During the first week of June,

Motherwell and Heidi ColsmanFreyberger work on the design and layout of Arnason’s monograph, completing the first dummy for the publication. Late in June, Sloman makes transparencies of several hundred works by Motherwell from all periods. These will form a major component of the artist’s photographic archive of his work.

July 12– s eptember 13

Motherwell is in Provincetown, but given his continuing involvement with the Arnason monograph, his meetings about the National Gallery of Art mural commission, and the proofing and signing of editions with Tyler Graphics Ltd., he has no time to work in the studio during July and early August.

Fig. 243. Motherwell’s Greenwich collage studio, April 1975, with works in progress

Fig. 244. Motherwell’s Greenwich painting studio, ca. 1975, with works in progress. Left to right: p819, p820, p815, p817, and p821

Fig. 245. Reproductions pinned to the wall of Motherwell’s Greenwich studio, ca. 1975. Among them are Picasso’s Studio, 1928 (see fig. 11), and Matisse’s Painter and His Model, 1936 (see fig. 59)

Beginning August 22, he devotes himself to several series of automatist works, painting a group of nine canvases dominated by broad gestural forms, which he titles the Africa and the African Plateau series (p829–p837).

During the last weeks of the summer he creates the Gesture Paper Paintings (w469–w502) and Elegy for Salvador Allende and Chilean Revolutionary Collage (c528–c529).

a ugus t 30

Returning home from a party, Motherwell has his attention caught by a reproduction of Elegy to the Spanish Republic No. 70 (p220) on a poster for his 1965 Museum of Modern Art retrospective. The forms on the right-hand side of the picture suggest a motif for a new painting. Over the next six hours he paints the large picture that he will eventually call The Spanish Death (p838).502

s eptember 3

Chr istopher Crosman and Nancy Miller of the Albright-Knox Art Gallery film an interview with Motherwell about Bradley Walker Tomlin, in advance of the September showing of Bradley Walker Tomlin: A Retrospective View at the museum.503

o ct ober– d ecember

In October Motherwell hires John Scofield, a young sculptor and furniture maker he has known for several years, as his studio assistant.

Motherwell repaints four blue paintings from the Open series that were painted in April 1973. He adds to this group a fifth canvas, Open No. 85 (p843), which he also reworks, and he arranges the five canvases into a pentaptych that he names The Blue Painting Lesson: A Study in Painterly Logic (p842–p846).

o ct ober 16–17

Motherwell lectures at the Baltimore Museum of Art and while at the museum has the opportunity to view his 1964–65 painting Africa (p338).

The next day he visits I. M. Pei’s new building at the National Gallery of Art, which he calls “stunning.”504

o ct ober 22– n ovember 4

Motherwell delivers a lecture at Yale University on the early days of Abstract Expressionism. After returning to Greenwich that evening, he creates a sketch (p849) for what will become the final version of Elegy to the Spanish Republic No. 100 (p850). Over the next two weeks, he repaints the large canvas, first started in 1962, completing it on November 4, when he writes in his datebook: “Finish Elegy #100!! after ten years.”

n ovember 13–January 1976

Inspired by his recent viewing of Africa (p338) in Baltimore, Motherwell paints a series of monumental canvases modeled on the small Africa and Primordial Sketch paintings done during the summer; those include In Black and White

No. 2 (p860), Threatening Presence, Ancestral Presence, and Les Caves No. 2 (p875–p877).

n ovember 20

General Francisco Franco (1892–1975) dies in Spain, ending his nearly fortyyear rule over the country. To mark his death, Motherwell titles the large canvas painted over Labor Day weekend The Spanish Death (p838), a reference not only to Franco’s death but also to the loss of forty years of freedom for the Spanish people during Franco’s reign.

1976

January– m arch

Motherwell and Arnason work on editing Arnason’s final text for the Abrams book.

Motherwell hires Dorothy Belknap to work part-time as his print curator, maintaining his inventories both in the studio and among his dealers. Belknap soon begins the process of cataloguing his entire output of graphics for a catalogue raisonné of his prints that will be published in 1980.505

January 10–february 11

The exhibition Robert Motherwell: Recent Paintings and Collages at Knoedler & Company includes seventeen recent works, among them the first large grouping of new works in the Elegy series since his 1965 retrospective at the Museum of Modern Art (p607, p815, and p816).506

January 17– f ebruary 29

Aspects of Postwar Painting in America is presented at the Columbus Museum of Art, Ohio. It is organized by the Solomon R. Guggenheim Museum, where it is subsequently shown as Aspects of Postwar Painting in America: Acquisition Priorities (October 14–January 16, 1977). The exhibition includes five works by Motherwell.

January 19

Motherwell is commissioned to create the label for the 1974 vintage of Château Mouton Rothschild wine, for which he submits the small Les Caves (p862). The baron de Rothschild keeps the painting as part of the agreement, and Motherwell receives several cases of the wine as payment.

January 23– m arch 23

The Solomon R. Guggenheim Museum, New York, presents Twentieth-Century American Drawing: Three Avant-Garde Generations, an exhibition that includes nine collages, paintings on paper, and drawings by Motherwell, spanning the years 1947 to 1974.

a pr I l 10–may 9

Critical Perspectives in American Art, a group exhibition selected by Rosalind Krauss, Marcia Tucker, and Sam Hunter, opens at the Fine Arts Center Gallery, University of Massachusetts, Amherst. Three works by Motherwell appear in Hunter’s segment of the show, titled “Field Painting” (along with works by Robert Ryman and Jake Berthot).

m ay

Motherwell hires Robert Bigelow to work as a second studio assistant (with John Scofield). Bigelow, a trained printmaker, has worked with Kenneth Tyler at Gemini G.E.L. and at Tyler Graphics. He and his wife move into the cottage on Motherwell’s property.

m ay 14

Art critic Robert Hughes and a television crew from the BBC interview Motherwell in Greenwich; the program is broadcast in March 1977.507

June 13– o ct ober 10

Critical Perspectives in American Art, an edited version of the exhibition organized by Krauss, Tucker, and Hunter in the spring at the University of Massachussets, appears in the United States Pavilion at the thirty-seventh Venice Biennale. Motherwell is represented by In Plato’s Cave No. 1 (p673).

June 25

Heidi and Claus Colsman-Freyberger leave Motherwell’s employ.

June 26

Motherwell creates two approximately 1 x 2–inch Elegy to the Spanish Republic paintings (p881–p882), one of which he sends to the artist Herbert Distel for his Museum of Drawers (1970–77, Collection Kunsthaus, Zurich).

Distel had requested a painting from Motherwell the previous autumn for his “museum,” a cabinet with twenty

Fig. 246. Motherwell’s 1976 exhibition at Knoedler & Company. Left to right: A la pintura No. 12 (p805); and The Spanish Death (p838)

“rooms” hung with original miniature artworks by numerous artists, including Picasso, Judd, Warhol, and Beuys.

July– a ugus t

Bigelow and Scofield work in Greenwich during the summer, reorganizing the studio and installing a new lithography press.

s eptember 3– o ct ober 10

Robert Motherwell at the Städtische Kunsthalle Düsseldorf is the first full-scale retrospective of Motherwell’s work since 1965. The exhibition, which includes sixty-six works, travels to Stockholm and Vienna through the following April. The catalogue features essays by Robert Hobbs on both the Elegy to the Spanish Republic series and the Open series. The final state of Elegy to the Spanish Republic No. 100 (p850) is exhibited for the first time. Motherwell and Ponsold attend the opening, and afterward they go to Paris.

s eptember 9– d ecember

Throughout the autumn, Motherwell continues discussions with Carmean about the mural for the National Gallery of Art. He also meets with Suzanne Pagé, curator of the Musée d’Art Moderne de la Ville de Paris, to discuss his spring retrospective in Paris.

Motherwell makes the first lithographs on his new press, working with Robert Bigelow. In advance of his retrospective in Paris, he begins reworking several older canvases and completes The Deserted Studio, Summer Seaside Doorway, and Summer Seaside Night (p913–p915). He also creates a new group of collages (c581–c591).

Betty Fiske is hired to take over Heidi Colsman-Freyberger’s responsibilities; she joins a crew that includes Robert Bigelow, John Scofield, Dorothy Belknap, and Catherine Mosley.

o ct ober– n ovember

“Robert Motherwell: 1966–1976,” the last of Arnason’s four articles on Motherwell’s career, is published in Art International

n ovember 30

Motherwell goes to Washington, D.C., to view the progress on the East Building of the National Gallery of Art and to meet with its director, J. Carter Brown, along with Carmean and Charles Parkhurst.

1977

January– m ay

The fir st months of the year are given over to preparations for Motherwell’s large retrospective in Paris. Marcelin Pleynet, editor of the journal Tel Quel, who is working on an essay for the exhibition catalogue, and Catherine Millet, editor of Art Press, visit Greenwich in early January.

Motherwell works on a group of major new paintings for the Paris show (p917–p924). He also begins the canvas that will develop into Face of the Night (for Octavio Paz) (p1024).

m arch 5–12

Motherwell attends the opening of his retrospective at the Museum des 20. Jahrhunderts, Vienna (March 8–April 11). He and Arnason then meet with Suzanne Pagé in Paris to discuss his retrospective there.

a pr I l– m ay

With the preparations for his Paris show nearly complete, Motherwell turns his attention to the National Gallery mural. As his ideas for the project begin to take shape, he makes many drawings and paintings on paper as studies for it (see w526–w530).

m ay 20–June 6

Motherwell spends two weeks in Provincetown painting. While there, he sees his old Stanford roommate Henry David Aiken, now a professor of philosophy at Brandeis University.

June 1– s eptember 19

The exhibition Paris–New York at the Musée National d’Art Moderne in Paris includes three works by Motherwell: Collage No. 2 (c22), The Voyage (p87), and The French Line (c124). Motherwell writes an essay for the exhibition catalogue, “Parisian Artists in Exile: New York, 1939–45.”508

June 13– s eptember 20

Motherwell, Ponsold, and Scofield travel to Paris for two weeks, where he oversees the installation of his retrospective exhibition, Robert Motherwell: Choix de peintures et collages, 1941–1977, at the Musée d’Art Moderne de la Ville de Paris (June 21–September 20). A greatly expanded version of the Düsseldorf retrospective, it is

accompanied by a catalogue with texts by Suzanne Pagé and Marcelin Pleynet. A smaller version of the exhibition will travel to the Royal Scottish Academy, Edinburgh, and the Royal Academy in London.

The most comprehensive survey of Motherwell’s work to date, the Paris exhibition includes 143 works in all mediums and presents many works never seen before.509 The exhibition receives widespread coverage in the United States; Hilton Kramer’s article “An American in Paris” appears in the New York Times Magazine, and Robert Hughes’s “Paris’ Prodigal Son Returns” is published in Time magazine.510

June 18

After seven years of work, H. H. Arnason’s monograph Robert Motherwell, with a preface by Bryan Robertson, is published by Harry N. Abrams. To help offset the cost of printing and design, Motherwell creates a limited-edition print, Red Sea I, sold with 200 signed editions of the book.511

June 29–July 10

On his return to Greenwich, Motherwell is filmed by Teri WehnDamisch and a French television crew. Wehn-Damisch and her husband, the philosopher and art historian Hubert Damisch, become good friends of Motherwell and Ponsold.

June 28–July 9

Motherwell contributes a drawing to the opening exhibition at the Long Point Gallery, an artist’s cooperative in Provincetown. He is one of the founding members of the new gallery, along with Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Edward Giobbi, Budd Hopkins, Rick Klauber, Leo Manso, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, and Tony Vevers.

The gallery provides an important sense of community, and Motherwell’s participation is crucial to the success of the venture. He exhibits there every summer for the next fourteen years.

July

Guy Scarpetta’s “Les 9 Ateliers de Robert Motherwell” appears in Art Press International (Paris); the article is based on Motherwell’s detailed answers to a questionnaire Scarpetta had sent him earlier in the year.512

July 11– s eptember 20

In Provincetown, Motherwell makes approximately twenty collages.

a ugus t 1–17

Carmean visits Motherwell and conducts a number of intensive interviews about the Elegy to the Spanish Republic series, in preparation for the opening exhibition at the National Gallery of Art’s East Building, American Art at Mid-Century: The Subjects of the Artist

s eptember– o ct ober

In Provincetown, Motherwell creates two maquettes for the National Gallery mural (p956), one in black and white (p955) and one, uncharacteristically, in red and green on a blue ground (c616). He submits them to the board of trustees for approval. On September 25, the board meets and selects the image in red, green, and blue.

On October 8 Scofield and Bigelow begin preparing the canvas in the studio for the 10 x 30–foot painting; they use a specially designed system of clamps to hold it taut on the floor.

s eptember 10– o ct ober 24

Motherwell lends La Danseuse (fig. 143) to Matisse: The Cut-outs, an exhibition of fifty-seven works that opens at the National Gallery of Art, Washington, D.C. Prior commitments prevent Motherwell from traveling to Washington to see the exhibition but he is strongly affected by the exhibition catalogue, which he will write about for the New York Times Book Review in 1978.513

o ct ober 11–17

Motherwell and Ponsold travel to Edinburgh for the opening of Robert Motherwell: Paintings and Collages, 1941–1977 at the Royal Scottish Academy (October 14–November 20), a greatly reduced version of the Paris retrospective.

o ct ober 12

Betty Fiske writes Knoedler & Company about the new studio inventory number system she is instituting, and says the Motherwell studio is in the process of trying to have all the works in Motherwell’s possession photographed for identification purposes. The system assigns a letter prefix designating the medium to all unique works (P for painting, C for collage, D

for drawing) followed by the year, and then a unique identification number (for example, p77-1023 for a painting executed in 1977). This system is the first serious attempt to catalogue Motherwell’s works in a comprehensive way, and it will remain in use throughout the rest of his life.

n ovember 17– d ecember 30

The exhibition Twelve Americans: Masters of Collage at the Andrew Crispo Gallery, New York, includes twenty-one collages by Motherwell, including The Pink Mirror (c39), a work he has not seen since the 1940s.514

n ovember–early January 1978

While Scofield and Bigelow continue the process of applying multiple coats of gesso to the canvas for the National Gallery mural, Motherwell expresses his doubts to Carmean about the multicolor image. They decide to ask the board of trustees to approve instead the black-and-white study; this the board does at their last meeting of the year.

Bigelow and Scofield create a fullscale paper cartoon of the final image and prepare to transfer the image to the gessoed ground.

1978

January 9–14

Motherwell attends the opening of his retrospective exhibition at the Royal Academy, London, a modified version of the Paris exhibition that includes fifty-four works. Royal Academy curator Terence Maloon conducts an extensive interview with him that is published in the April 1978 issue of Artscribe 515 In London, Motherwell meets with David Sylvester, Bryan Robertson, John Kasmin, and Norman Rosenthal, and visits Henry Moore in Hertfordshire.

January 18

Mayor Jacques Chirac presents Motherwell with the Grande Médaille de Vermeil de la Ville de Paris, the highest honor given by the city. Motherwell is the first American painter to be so honored.

January 25– f ebruary 2

Motherwell and Scofield finish transferring the red chalk compositional drawing of the National Gallery mural to the canvas. After three years of planning

Fig. 247. Motherwell’s Greenwich studio, 1977. Left to right: Threatening Presence (p875); and Face of the Night (for Octavio Paz) (p1024), in progress

Fig. 248. Motherwell’s Greenwich studio, spring 1977, with the large paintings Elegy to the Spanish Republic No. 134 (p821) and Elegy to the Spanish Republic No. 132 (p819)

and discussion, Motherwell paints the monumental canvas in three days (January 31–February 2) and titles it Reconciliation Elegy (p956).

m arch 13–22

Reconciliation Elegy (p956) is sprayed with a light acrylic varnish and delivered to the National Gallery, where it is stretched and hung in the atrium of the East Building.

m arch 18– a pr I l

Robert Motherwell: Collages, Drawings, Paintings at the Janie C. Lee Gallery, Houston, presents twenty-two works from the past decade, including Open No. 82: The Blue Easel (p473), The Red Garden Window (c608), and The Summer Studio (p946).

m arch 30– m ay 14

Abstract Expressionism: The Formative Years, curated by Robert Hobbs and Gail Levin, is shown at the Herbert F. Johnson Museum of Art, Cornell University. It includes ten works by Motherwell, notably Joy of Living (c3), Personage (p11), The Spanish Prison (Window) (p12), and the recently restored Recuerdo de Coyoacán (p8). The exhibition travels to the Seibu Museum of Art, Tokyo, and to the Whitney Museum of American Art, New York.

a pr I l 22– m ay 29

Knoedler & Company presents Robert Motherwell, an exhibition of thirty-nine paintings and collages, including a number of his recent monumental canvases, In Black and White No. 2 (p860), Threatening Presence (p875), Les Caves No. 2 (p877), and Phoenician Red Studio (p924).

m ay 27– a ugus t 8

The exhibition Selected Works of the European and American Abstract Expressionism at the Galerie Veith Turske in Cologne includes Motherwell’s Blueness of Blue (p769). This is Motherwell’s first exhibition at the Turske Gallery, which will soon become his primary European dealer.

m ay

Betty Fiske leaves her position with Motherwell to enter the Winterthur/ University of Delaware art conservation program. Two years later Fiske will interview Motherwell about his materials and practice for her thesis.516

m ay 31–June 1

Motherwell sees Reconciliation Elegy (p956) installed at the National Gallery of Art. The building opens to the public in a ceremony officiated by President Jimmy Carter on June 1.

June 1–January 14, 1979

American Art at Mid-Century: The Subjects of the Artist, curated by E. A. Carmean Jr. and Eliza Rathbone, opens in the East Building of the National Gallery. The exhibition presents an indepth study of seven American artists: Arshile Gorky, Willem de Kooning, Motherwell, Jackson Pollock, Barnett Newman, Mark Rothko, and David Smith. Motherwell is represented by ten works from the Elegy to the Spanish Republic series, ranging from the 1948 drawing Elegy to the Spanish Republic No. 1 (see fig. 44) to Elegy to the Spanish Republic No. 100 (p850).

June 4

For the New York Times Book Review

Motherwell writes “Words of the Painter,” a review of Matisse on Art, edited by Jack Flam, and Henri Matisse: The Paper Cut-outs, by Jack Cowart, Flam, Dominique Fourcade, and John Hallmark Neff, the exhibition catalogue for the show that opened the previous autumn at the National Gallery of Art, Washington, D.C.517

June– n ovember

Following the official unveiling of Reconciliation Elegy (p956), Motherwell does almost no painting, but he continues to work on collages (see c619–c629). He spends much of the summer working with April Kingsley on a revised edition of the Arnason monograph. Motherwell has come to feel that the first edition, published in 1977, “pictorially is off key.”518

a ugus t 3

Robert Bigelow leaves his position with Motherwell to take a teaching position in the art department of Concordia University in Montreal.

a ugus t 18– o ct ober 1

Motherwell’s essay “Provincetown and Days Lumberyard: A Memoir” appears in the catalogue of the exhibition Days Lumberyard Studios: Provincetown, 1914–1971 at the Provincetown Art Association.519

Fig. 251. Motherwell painting Reconciliation Elegy (p956) in his Greenwich studio, January 1978

Fig. 249. Motherwell and Henry Moore at Moore’s home in Hertfordshire, England, January 1978

Fig. 250. Motherwell’s 1978 retrospective exhibition at the Royal Academy of Arts, London. Left to right: The Persian No. 1 (p789); and Chi Ama, Crede (p224)

a ugus t 27

John Scofield leaves his position with Motherwell.

s eptember

Motherwell hires Diane Jablon as his secretary, a position that includes maintaining his cor respondence and scheduling, arranging shipping, and maintaining the inventory of his works.

Motherwell injures his back, which bothers him through the winter and prevents him from working steadily.

s eptember 27

Elegy to the Spanish Republic No. 126 (p851) is installed in the University of Iowa Museum of Art, Iowa City.

o ct ober 23–25

The Conference on Communications and Political Culture: The Iberian Peninsula in Transition is held at Columbia University, devoted to a consideration of the transition from fascism to democracy in Spain and Portugal. The writer Barbara Probst Solomon arranges for Motherwell to give Elegy paintings to the University of Salamanca in Spain and the University of Coimbra in Portugal.520 Solomon presents the two Elegy paintings on paper (see w534) to representatives of each university: Nicolas Sánchez Albornoz, a former political prisoner under Franco, for the University of Salamanca; and Manuel Garciá Lorca Montesinos, nephew of the poet, for the University of Coimbra. Solomon reads a statement by Motherwell, who is unable to attend: “I wanted to give them to universities because the search for the truth, and not political position, is what makes men ultimately free— internally and externally.”521

1979

January– a pr I l

The Documents of 20th-Centur y Art has just ended its relationship with Viking Press, and Motherwell is in talks with G. K. Hall (Boston) to continue the series.

Motherwell has several meetings with Jack Flam, who is organizing a retrospective exhibition of his drawings for the Janie C. Lee Gallery in Houston, which will open in the fall. Motherwell enjoys their working relationship, and,

as he admires Flam’s Matisse on Art, he invites him to serve as coeditor of the series when it is reactivated under G. K. Hall, under the slightly modified title, Documents of Twentieth Century Art.522

January 29– a pr I l

Motherwell makes fifteen gestural oil-on-paper paintings, the first works in what will become the Drunk with Turpentine series (including w560, w564, w583–w585, and w588).

f ebruary 20

Motherwell hires Mel Paskell to work as his studio assistant. Paskell will remain his assistant until the end of Motherwell’s life.

m arch 19–June 3

Robert Motherwell & Black, curated by Stephanie Terenzio, is shown at the William Benton Museum of Art, University of Connecticut, Storrs; it includes ninety-nine works in all mediums, including two of the earliest works from the Drunk with Turpentine series, shown as Untitled (w560, w588).

Motherwell is impressed with Terenzio’s exhibition, and in the decade that follows she will become a close collaborator, working with him on a projected memoir (starting in 1984) and a volume of his Collected Writings that is published in 1992.523

m arch 22

Motherwell establishes the Motherwell Foundation (later the Dedalus Foundation) to support modernism in the arts and to administer his artistic legacy.

m ay– a ugus t

While rummaging around in his archive room with Flam in anticipation of his upcoming drawings retrospective, Motherwell rediscovers his 1941 Mexican Sketchbook (see figs. 3 and 19), which contains his early experiments in automatism. Seeing these drawings for the first time in many years confirms for him the thrust of his recent oil-on-paper paintings. He returns to these new works and creates nearly sixty more pictures in the Drunk with Turpentine series (w541–w623).

Fig. 252. Reconciliation Elegy (p956) installed in the National Gallery of Art, Washington, D.C.

Fig. 253. Motherwell’s paintbrushes hanging in his studio, 1978

m ay

Motherwell writes “The International World of Modernist Art, 1945–1960” for the Art Journal. 524

m ay 8–July 28

Two consecutive exhibitions of works by Motherwell are mounted at the William Ehrlich Gallery, New York: Small Paintings and Robert Motherwell: The Remaining Miniatures from the Original Exhibit. Together the two shows present sixty works made between 1964 and 1979, all measuring from 4 x 6 inches to 10 x 13 inches.

m ay 10

Robert Mattison, a doctoral candidate at Princeton University who is writing his dissertation on Motherwell’s work of the 1940s, requests an interview with Motherwell. Over the next year, Motherwell and Mattison will frequently meet to discuss his work.

June

Galerie Veith Turske exhibits Drunk with Turpentine No. 24 (w559) and Drunk with Turpentine No. 16 (w553) at the Basel Art Fair. These are the first works in the series to be shown under the title Drunk with Turpentine. The

title of the series is derived from “Ebrio de trementina” (Drunk on Turpentine), the ninth poem in Pablo Neruda’s Veinte poemas de amor y una canción desesperada (1924).525

June 21– s eptember 25

In Provincetown, Motherwell begins a number of large paintings that show the influence of the Drunk with Turpentine series: Painting for Bertolt Brecht (p959), Posada (p960), and Mexican Night (p974).

Elegy to the Spanish Republic No. 159 and Elegy to the Spanish Republic No. 160 are painted late in the summer (p963 and p964).

July 3– n ovember

Motherwell and Ponsold separate. He intends to file for divorce, but after living apart for several months, they are reconciled. During the period of their separation, Motherwell creates the collage Votre Miroir (c639), which contains lines of poetry by Max Jacob and Federico García Lorca that allude to his personal turmoil.

1980

January– m ay

To help alleviate Ponsold’s sense of isolation in Greenwich, one of the sources of their marital difficulties, Motherwell acquires a pied-à-terre for her at 43 Fifth Avenue in New York City. Robert Mattison temporarily moves into the cottage on the Greenwich property to study Motherwell’s archives for his dissertation. Mattison conducts over half a dozen interviews with Motherwell about his early works during these months.

f ebruary 26– a pr I l 6

Motherwell, a survey of his career, is shown at the Centro Cultural de la Caixa de Pensions, Barcelona, his first solo exhibition in Spain. The exhibition, which includes the livre d’artiste A la pintura and twenty-three additional works, travels to Madrid in April. Motherwell and Ponsold travel to Barcelona for the opening (February 24–March 2); it is his first visit to Spain since 1958.

a u tumn

Motherwell works with Stephanie Terenzio and Dorothy Belknap on the catalogue raisonné of his prints.

o ct ober 3– n ovember 25

The Spirit of Surrealism, curated by Edward B. Henning, is shown at the Cleveland Museum of Art. The exhibition presents four early works by Motherwell, including The Homely Protestant (p85).

n ovember 13– d ecember

Robert Motherwell Drawings: A Retrospective, 1941 to the Present, organized by Jack Flam, is shown at the Janie C. Lee Gallery, Houston. The exhibition contains 121 works and is the first large survey devoted solely to Motherwell’s drawings. The 1941 Mexican Sketchbook (see figs. 3 and 19) is shown here for the first time.

n ovember 24– m arch 3, 1980

Robert Motherwell: Paintings, Collages, Works on Paper, 1962–1979 is his first solo exhibition at Galerie Veith Turske, Cologne. Among the works shown are Elegy to the Spanish Republic (The Basque Elegy) (p374), The Sienna Wall (p744), and The Summer Studio (p946).

a pr I l 6

Motherwell writes “A Note by the Artist: On Collaboration,” the preface to the forthcoming catalogue raisonné of his prints.526

a pr I l 14–21

Motherwell returns to Spain, where he attends the opening of his exhibition at Fundación Juan March in Madrid on April 18. As Motherwell and representatives of the Fundación are saying a few words to an assembled crowd before entering the galleries at the opening, the poet Rafael Alberti steps forward from the audience and reads a new poem written for the occasion, “El Negro Motherwell.”

This is Motherwell’s first meeting with the heroic poet of the Generation of ’27 and author of “A la pintura.”

Alberti, who lived in exile from Spain during Franco’s rule, is now a member of Parliament. The next day, the two meet in private, and Motherwell asks Alberti if he can publish “El Negro Motherwell” in the United States. This eventually leads to the livre d’artiste El Negro, which Motherwell will create during the next few years and which will be published by Tyler Graphics Ltd. in 1983.

Fig. 254. Robert Motherwell & Black at the William Benton Museum of Art, University of Connecticut, Storrs, 1979

1980.

to right: Elegy to the Spanish Republic No. 132 (p819), in progress; Elegy to the Spanish Republic No. 84 (p232); Elegy to the Spanish Republic No. 79 (p231); and Elegy to the Spanish Republic No. 127 (p925)

Fig. 255. Motherwell’s Greenwich studio, September 1979

Fig. 256. Motherwell’s Greenwich studio, March 1980

Fig. 257. Motherwell’s Greenwich studio, March

Left

Fig. 258. Rafael Alberti and Motherwell in Madrid, 1980. Je t’aime No. II (p157) is in the background

m ay 11

Motherwell sees a preview of Picasso:

A Retrospective at the Museum of Modern Art with Robert Hughes.

m ay 18– J une 21

The Harcus Krakow Gallery in Boston presents Robert Motherwell, an exhibition of paintings, collages, and prints that includes Two Figures with Stripe (p246), Open No. 29: In Crimson with Charcoal Line (p425), and Elegy to the Spanish Republic No. 127 (p925).

June 7

Philip Guston (1913–1980) dies of a heart attack in Woodstock, New York.

June 12– s eptember 17

In Provincetown, Motherwell attends the International James Joyce Foundation’s annual meeting, where he participates in a panel discussion with Nathan Halper and B. H. Friedman. Shortly after the conference, he writes in his datebook “remember relentless J. Joyce.” The experience triggers a renewed interest in Joyce, evident in his works of the next year.

June 23

Clyfford Still (1904–1980) dies of cancer in Baltimore.

o ct ober

The Painter and the Printer: Robert Motherwell’s Graphics 1943–1980, a complete catalogue of his pr ints by Stephanie Terenzio and Dorothy Belknap, is published by the American Federation of Arts. The book includes Motherwell’s preface, “A Note by the Artist: On Collaboration,” and Terenzio’s interviews with twelve printmakers who have collaborated with Motherwell. Put Out All Flags, a print with imagery reminiscent of the Drunk with Turpentine series, is published to coincide with the release of the book.527

n ovember

Petersburg Press, in London, becomes Motherwell’s primary print publisher.

d ecember 10

Robert Buck (director) and Douglas Schultz (chief curator) of the AlbrightKnox Art Gallery offer Motherwell a retrospective exhibition at the museum.

d ecember 26

The sculptor Tony Smith (1912–1980) dies of a heart attack.

1981

January– a pr I l

Motherwell completes ten paintings (p1015–p1024), including Face of the Night (for Octavio Paz) (p1024) and Blue Elegy (p1026).

January 28

Diane Jablon leaves her position as Motherwell’s secretary.

f ebruary 13– m arch 12

To coincide with the publication of Stephanie Terenzio’s catalogue for the Robert Motherwell & Black exhibition that was shown at the University of Connecticut two years earlier, Knoedler & Company presents an exhibition on the same theme: Robert Motherwell & Black, which includes thirty works from 1947 to the present.

[ l ate f ebruary]

Motherwell is commissioned to create a poster, Art 1981 Chicago Print, for the Chicago International Art Exposition.528 In the process of developing the poster, he revises several of the Cathedral collages of 1977 (c661–c665), using the revised Untitled (c664) as the image of the poster.

m arch 16

Motherwell hires Joan Banach as his secretary; she will work for Motherwell until the end of his life.

a pr I l 21

Motherwell is awarded the Skowhegan Medal for Printmaking.

a pr I l 27– n ovember

Motherwell begins Signs on a White Field (p1029), the first in a series of canvases (p1032–p1041) made during the coming year in which he enlarges images from the Drunk with Turpentine series to a monumental scale and gives them titles derived from Joyce’s Ulysses

m ay 20

Motherwell turns down a position on a Task Force for the Arts and Humanities, created by President Ronald Reagan, which is to find ways to offset severe cuts to the National Arts budget. He

writes, “I don’t want to cut money for the arts, and if the budget must be cut—which I think is wrong considering its relatively small amount in relation to the total budget—I don’t want to play King Solomon. Also . . . I don’t want to be manipulated in any way, especially to cut back the opportunities for other artists.”529

In the weeks that follow, Motherwell joins an honorary committee sponsoring rallies across the country protesting the severe cuts proposed by the administration.

June 6–13

Motherwell reworks a violent, gestural collage from 1977 and titles it The Irish Troubles (c669), in reference to current Irish hunger strikes against British rule and to Bobby Sands, the striker who died on May 5.

He also creates the lithograph Lament for Lorca, his largest print on the Elegy to the Spanish Republic theme.530

June 13– s eptember 8

New movable painting racks are installed in Motherwell’s large painting studio, employing a lightweight design conceived by Paul Matisse.

Motherwell does little painting in his Provincetown studio. But he and Jack Flam, who is spending the second of ten summers in Greenwich with his family, work on editing the imagery and the translation of Alberti’s poem “El Negro Motherwell” for the livre d’artiste Motherwell is doing with Tyler Graphics.

a ugus t 15

Alfred H. Barr Jr. (1901–1981) dies.

o ct ober 13

Motherwell attends a luncheon at the Spanish embassy in Washington, D.C., hosted by the king and queen of Spain, during Juan Carlos’s first state visit to the United States. Earlier that year, the king’s opposition to an attempted coup by supporters of Franco was instrumental in preserving the fragile five-year-old Spanish democracy.

Soon afterward, Motherwell creates the collage The Spanish King (c675).

o ct ober 15

A public memorial for Alfred H. Barr Jr. is held at the Museum of Modern Art. Philip Johnson and Motherwell deliver the eulogies.

o ct ober 19

A memorial for Tony Smith is held in the Medieval Sculpture Hall at the Metropolitan Museum of Art. Motherwell delivers the eulogy; William S. Lieberman and Henry Geldzahler also speak.

1982

f ebruary 20– m arch 11

Rober t Motherwell: A Selection from Current Work is shown at Knoedler & Company. This exhibition is one of Motherwell’s most focused; it features only a dozen paintings, including eight large canvases from 1981 (including p1025, p1029, p1030, p1034, and p1037).

m arch 8–10

During the process of reviewing works for his upcoming retrospective exhibition at the Albright-Knox Art Gallery, Motherwell reworks a number of paintings and collages, some dating back to the late 1950s (see p160, p225, p226, p615, p616, p819, and p820).

s pr I ng

Harry N. Abrams publishes the new and revised edition of Robert Motherwell Since Motherwell initiated the process of revising the book in 1978, he has worked with April Kingsley, Pat Cunningham, and Ellen Grand. The second edition retains H. H. Arnason’s full text but adds an essay by Dore Ashton and a 1977 interview with Motherwell by Barbaralee Diamonstein, along with poems by Barbara Guest, Octavio Paz, and Rafael Alberti, and a new selection of works.

June 4– s eptember 17

In Provincetown, Motherwell devotes himself mostly to working on prints with Catherine Mosley. He makes several small paintings for an exhibition at the Long Point Gallery (p1052–p1054) and creates the ink drawings of the Dedalus Sketchbook

In the final weeks of the summer, he creates the first of a group of works that introduce pink as a key color in his palette, the Straw Horse series (p1055–p1057, c681), and Elegy to the Spanish Republic No. 164 (p1062).

o ct ober 30

Motherwell speaks at Yale University on his transition “from WASPism to modernism,” on the occasion of Yale’s 150th anniversary.531

n ovember

Jack Flam conducts the first of a series of interviews with Motherwell that will be published in the exhibition catalogue of Motherwell’s upcoming retrospective at the Albright-Knox Art Gallery.

n ovember 14–22

Motherwell and Ponsold travel to Munich for the opening of the “Motherwell Room” at the Bayerische Staatsgemäldesammlungen, Staatsgalerie für moderne Kunst, Munich. In a transaction arranged by Veith Turske, the museum has purchased a representative group of ten works by Motherwell from all periods of his career that will remain on permanent view. The works include: Je t’aime No. IV (p161), Greek Collage (c89), In Plato’s Cave No. 6 (p771), and Stephen’s Gate (p1040).

1983

January 9

Motherwell’s daughter Jeannie gives birth to his only grandchild, Rebecca.

January 26

Motherwell receives the Gold Medal for the Visual Arts from the National Arts Club.

f ebruary– a pr I l

Motherwell paints The Hollow Men (p1063), the first work in what will become his major new series of the 1980s.

m arch 19

Motherwell delivers the lecture “Kafka’s Visual Recoil: A Note,” at Kafka Unorthodox, a seminar on Kafka at the Cooper Union, New York, which marks the centennial of Kafka’s birth. The talk is later published in the Partisan Review 532

m ay 2

Motherwell and Ponsold attend a party at Norman Mailer’s Brooklyn Heights home in celebration of the centennial of the Brooklyn Bridge. In the months

that follow he repaints an earlier canvas and titles it Brooklyn Bridge, later shortened to simply The Bridge (p1071).

m ay 23

Motherwell agrees to compose a memoir with Stephanie Terenzio. Over the next three years, Terenzio will conduct more than twenty interviews for it, but Motherwell ultimately decides to abandon the project.

m ay 27–June 26

Robert Motherwell: Tribute to James Joyce is mounted at the Provincetown Art Association and Museum to coincide with the annual meeting of the International James Joyce Foundation during the week of June 12. The exhibition includes thirteen works on Joycean themes from the past decade.

June 27

Nathan Halper (1907–1983) dies at Cape Cod Hospital, Hyannis. On August 12, Motherwell delivers the eulogy “A Collage for Nathan Halper in Nine Parts” at a memorial service held at the Provincetown Art Association.533

s eptember 25– o ct ober 1

Motherwell flies to Buffalo to view his retrospective exhibition and spends most of the day rehanging it. On September 30, he suffers a “near heart attack” and flies home in a private plane on October 1, missing the public opening.534

o ct ober 1– n ovember 27

The Albright-Knox Art Gallery presents Robert Motherwell, the first full-scale retrospective of his work in the United States since 1965. The exhibition subsequently travels to Los Angeles, San Francisco, Seattle, Washington, D.C., and New York (see the discussion of the exhibition in Chapter 10 in this volume).

d ecember 25

Joan Miró (1893–1983) dies in Palma, Majorca, Spain.

Fig. 259. Motherwell’s 1982 exhibition at Knoedler & Company. Left to right: Bloom in Dublin (p1037); and Stephen’s Iron Crown (p1030)

Figs. 260 and 261. Motherwell’s 1983 retrospective exhibition installed at the Albright-Knox Art Gallery, Buffalo. Top, left to right: p842–p846, p741, and (seen through the doorway) p1063. Bottom, left to right: p340, p238, p659, and p156

1984

January 5– m arch 4

Motherwell’s retrospective travels to the Los Angeles County Museum of Art, where on February 18, the museum hosts a “Symposium on Robert Motherwell,” with speakers including E. A. Carmean Jr., Anne Carnegie Edgerton, Irving Sandler, and Maurice Tuchman.

January– s eptember

With his retrospective exhibition traveling, Motherwell enjoys a period of relative freedom to work. He devotes himself to printmaking with Ken Tyler and Catherine Mosley, producing over twenty-five editions during the year.535 His printmaking informs the many collages he will produce in the following months, in which he introduces torn fragments from print proofs (see c688–c717).

m arch

Motherwell writes “Introduction: A Note on Robert Osborn,” for Osborn on Conflict, an exhibition at the Carpenter Center for the Visual Arts, Harvard University.536 Motherwell has known Osborn since they met in Taxco during the summer of 1941.

o ct ober 3–25

Robert Motherwell: New Collages at Knoedler & Company includes twenty-two collages made during the previous year.

o ct ober 10

Dorothy Belknap leaves her position as Motherwell’s print curator.

d ecember 6– f ebruary 3, 1985

Motherwell’s traveling retrospective is shown at the Solomon R. Guggenheim Museum, its final venue, where it is greatly expanded to include 146 works. Among the lectures sponsored by the museum during the exhibition are talks by Dore Ashton and E. A. Carmean Jr., and a public dialogue between Motherwell and Jack Flam.

1985

January 24

Renate Ponsold surprises Motherwell with a Festschrift in honor of his seventieth birthday. The book contains tributes from friends and colleagues including Arthur Berger, Hubert Damisch, Stanley Kunitz, and Frank Stella.538

march 3–11

a ugus t

“An Artist’s Garden,” an article on Motherwell’s Greenwich property, appears in Vanity Fair with photos by Duane Michels.

a u tumn

Motherwell works with Kenneth Tyler on lithographs for a portfolio sponsored by King Juan Carlos I of Spain, which commemorates Bartolomé de Las Casas, one of the earliest Spaniards to travel to the Americas, and an early defender of universal human rights. Each participating artist is asked to illustrate one or more of the articles of the United Nations Universal Declaration of Human Rights.537 Motherwell illustrates the first, eleventh, and twenty-fifth articles, which state that all people are born free and equal in dignity and rights, that all defendants have a right to be presumed innocent, and that all people have a right to an adequate standard of living and that mothers and children are entitled to special care.

Motherwell and Ponsold attend a ceremonial dinner and reception in Madrid, at the invitation of King Juan Carlos I of Spain, in honor of the recently completed print portfolio commissioned by the king.

a pr I l 14

Motherwell and Andrew Hoyem of Arion Press agree to begin work on a limited edition livre d’artiste of James Joyce’s Ulysses 539

m ay 3

Motherwell’s Dublin 1916, with Black and Tan (p271) and paintings by Frankenthaler, Gottlieb, Guston, Hartigan, Mitchell, Ray Parker, and William Pettet are slashed and covered with graffiti by a vandal in the concourse of the Nelson A. Rockefeller Empire State Plaza in Albany, New York. The police arrest Eugene D. Burt, who runs a shoeshine stand in the mall and claims to be from “Star Base 10.” He confesses to attacking the works with a kitchen knife and writing slogans in permanent marker on them.540

Fig. 262. The living room in Motherwell’s Greenwich home, June 1983. Left to right: an early state of Elegy Study (p1133); and Iberia No. 2 (p177)

Fig. 263. The entrance area to Motherwell’s Greenwich home, seen from the living room, June 1983

Motherwell’s painting is initially considered beyond repair, but the Williamstown Regional Art Conservation Laboratory at the Clark Art Institute is able to restore it after three years of work.541

June 11– s eptember 11

In Provincetown, Motherwell creates a new group of works in the Hollow Men series (p1091–p1101) and paints Elegy with Opening (p1113).

July 20

Fritz Bultman (1919–1985) dies of cancer in Provincetown.

a ugus t 2

Motherwell’s Quonset hut in East Hampton, designed by Pierre Chareau, is demolished by the new owners of the property.542

a ugus t 18

Motherwell receives the Edward MacDowell Medal.

s eptember 15– n ovember 17

Robert Motherwell: Stephen’s Iron Crown and Related Works is shown at the Fort Worth Art Museum. The exhibition, organized by E. A. Carmean Jr., now the chief curator at Fort Worth, is built around the museum’s recent acquisition of Beside the Sea No. 24 (w147), The Iron Crown (w452), Drunk with Turpentine No. 2 (Stephen’s Gate) (w542), and Stephen’s Iron Crown (p1030) and includes other works that explore the significance of gestural marks in Motherwell’s work.

s eptember 28– d ecember 1

Robert Motherwell: The Collaged Image is shown at the Walker Art Center, Minneapolis.

n ovember 17

An Die Musik, a chamber music ensemble, celebrates its tenth anniversary with a special program at the Solomon R. Guggenheim Museum, “The Painter’s Music–The Musician’s Art.” Motherwell, Frankenthaler, David Hockney, and Kenneth Noland each design a poster, write comments on the role of music in their lives, and choose a composition to be performed for the concert. Motherwell selects Mozart’s “Quartet for piano and strings in E flat Major” (k. 493).

1986

January 7

Motherwell completes the fourteenfoot canvas Primal Sign on Sand (p1138; later known as The Big 4), begun the previous autumn.

January 23

Homage to Joan Miró, an ongoing exhibition at the Fundació Joan Miró, Barcelona, presents works donated in honor of Miró, including Motherwell’s Green Label (c683). The exhibition catalogue repr ints Motherwell’s 1959 essay “The Significance of Miró.”

January 30– m arch 24

Motherwell paints The Golden Bough (p1115), the largest picture to date among the works related to the Hollow Men series.

a pr I l 15– m ay 8

Robert Motherwell: New Work, at Knoedler & Company, presents twenty works created during the past sixteen months, including Quintet (p1114), The Golden Bough (p1115), Homage to Catalonia (p1116), Primal Sign on Sand (p1138), and a group of small canvases from the Hollow Men series.

m ay

Motherwell reworks a number of collages from the 1966 Guardian series, adding recent print fragments and in many cases painting the ground blue. Most of the reworked collages are renamed as the Figure “4” series (c742–c748).

July 16– s eptember 14

Motherwell is included in The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938–1948, at the Newport Harbor Art Museum, Newport Beach, California. The exhibition, which travels to the Whitney Museum of American Art and the Walker Art Center in Minneapolis, includes two early collages by Motherwell: Figure with Blots (c5) and Collage No. 2 (c22), as well as a selection of drawings, including the 1941 Mexican Sketchbook (see figs. 3 and 19).

Fig. 264. Motherwell’s traveling retrospective exhibition installed at the Solomon R. Guggenheim Museum, New York, December 1984–February 1985

Fig. 265. Motherwell’s Greenwich studio, January 1986. On the painting racks at the far end of the studio is Primal Sign on Sand, an early state of The Big 4 (p1138)

o ct ober 9– n ovember 15

Robert Motherwell, an exhibition at the Galería Joan Prats, Barcelona, presents forty-nine works, including The Golden Bough (p1115), Elegy to the Spanish Republic No. 166 (All Souls’ Day Elegy) (p1111), and Elegy to the Spanish Republic No. 167 (Spanish Earth Elegy) (p1112); the latter two are exhibited for the first time.

o ct ober 25

Motherwell speaks on a panel that is part of the day-long seminar “The Effects of the Spanish Civil War on Arts and Letters in Spain and the United States of America” at the Spanish Institute.543

o ct ober 27

Renate Ponsold travels to Madrid to accept on Motherwell’s behalf the Medalla de Oro de Bellas Artes, the highest cultural award in Spain, from King Juan Carlos I.544

1987

m arch 6

Motherwell is one of fifteen artists who sign a petition urging Pope John Paul II to halt the restoration of the paintings in the Sistine Chapel and of Leonardo da Vinci’s Last Supper fresco.545

m ay 2–28

Rober t Motherwell: Major Works from the 1980’s is shown at Knoedler & Company. The exhibition includes seven paintings and a selection of drawings, including Face of the Night (for Octavio Paz) (p1024), The Hollow Men (p1063), The Big A (p1136), The Mexican Skull (p1137), and The Big 4 (p1138).

m ay 9–late July

On May 9 Motherwell tears a muscle in his arm and shoulder that limits his ability to paint.

June 17– s eptember 24

Motherwell spends the summer in Provincetown. Since he is unable to paint for the first two months, he extends his stay for longer than usual.

June 4–19

Motherwell donates Blue Collage with Yellow and Music (c653) to the exhibition Art against AIDS, held in

galleries throughout New York City to benefit the American Foundation for AIDS Research.

a ugus t 3–22

Working with Mosley in Provincetown, Motherwell returns to the techniques of the Alphabet series and makes fiftysix new unique collages on a common printed image. He titles the series The Red and Black (c760–c815).

s eptember 19– n ovember 29

Abstract Expressionism: The Critical Developments, curated by Michael Auping, is presented at the AlbrightKnox Art Gallery. The exhibition includes five works by Motherwell: In Grey with Parasol (c46), Wall Painting No. III (p154), Elegy to the Spanish Republic XXXIV (p156), Black and White Plus Passion (p170), and Painting (p210).

o ct ober 4

Motherwell introduces Octavio Paz at the Poetry Center of the 92nd Street Y in New York. He and Paz agree to collaborate on a livre d’artiste

d ecember 11– f ebruary 23, 1988

The Museum of Modern Art presents Gifts of Works on Paper by Robert Motherwell, an exhibition of thirty-seven works donated by the artist, representing all periods of his career (including some made only weeks before, from the 18 October 1987 Sketchbook). Among the most significant of the donations are the Mexican Sketchbook (see figs. 3 and 19) and Elegy to the Spanish Republic No. 1 (see fig. 44).

d ecember 15

Motherwell meets with the art consultant Isabel Trimper and Jack Welch, the president of GE, to discuss a mural commission for the new General Electric headquarters in Fairfield, Connecticut, and a fee of $1,000,000 is agreed on.

1988

January 20–28

L’Atelier de Robert Motherwell, a documentary for French television directed by Benoît Jacquot, is filmed in Greenwich for broadcast in 1989.

m arch 6–

m ay 3

Peggy Guggenheim’s Other Legacy at the Solomon R. Guggenheim Museum focuses on artists who showed at the Art of This Century gallery; it includes five works by Motherwell and is later shown at the Peggy Guggenheim Collection in Venice.

a pr I l

Motherwell creates the first two collages in the Night Music Opus series (c825 and c826).

a pr I l 23–may 12

Robert Motherwell: The Summer 1987 Collage Series; “The Red and Black” and Other Unexhibited Works is shown at Knoedler & Company through May 12. Only one of the Red and Black collages (c793) sells during the Knoedler exhibition, and the gallery returns all the remaining works in the series.

June 16– s eptember 20

Motherwell undergoes regular physical therapy sessions to regain strength in his injured arm and shoulder. He completes only one painting during the summer in Provincetown, The Feminine I (p1152). He revisits the Red and Black series (c760–c815), adding painted gestural forms to some of the works.

July 12

The Joyce scholar David Hayman interviews Motherwell about the creation and publication of his illustrations for Joyce’s Ulysses. This interview will be published in a catalogue by Arion Press for the exhibition The Ulysses Etchings of Robert Motherwell in April 1989.546

a u tumn

Motherwell’s return to Greenwich marks the beginning of a period of great productivity. He creates over a dozen paintings, including A Rose for James Joyce (p1155), The Feminine II (p1153), The Sirens (p1157), and Primal Image (p1160). He also completes Three Poems, a livre d’artiste with poetry by Octavio Paz.547

d ecember 22– m arch 1989

Motherwell paints Elegy to the Spanish Republic No. 171 (p1176) and creates twenty-five collages in the Night Music Opus series (c827–c851), his last sustained series of collages.

1989

January– a pr I l

Motherwell completes a half dozen pictures in anticipation of his upcoming exhibition at Knoedler & Company (p1164–p1169); among them is Hollow Men II (p1166), which he finishes after four years. He also begins The Grand Inquisitor (p1182).

a pr I l 22– m ay 25

Robert Motherwell: New Work at Knoedler & Company contains eighteen works, including Automatic Oracle (p1168), Primal Image (p1160), Hollow Men’s Cave (p1183), and The Barbarians (p1169), along with nine collages from the Night Music series. Motherwell comments, “It’s the first time in years that I tried to give a show a real focus in terms of color. It’s all black and yellow and beige. . . . This time I decided to make a highly focused show of some of the things that I’ve done in the last six months.”548

m ay 23–29

David Hayman conducts a ser ies of in-depth interviews with Motherwell about his early work and career. While looking at early works during the interview, Motherwell discovers a 1942 drawing that he made as a proposal for an early exhibition at Art of This Century (see fig. 13).

June 20–early s eptember

Motherwell has surgery on his shoulder on June 20. During his recovery, he focuses his energies on printmaking with Catherine Mosley in Provincetown. By August his health is restored and he completes half a dozen new canvases, including a series of studies for the General Electric mural (p1172–p1174).

s eptember 28– n ovember 26

Robert Motherwell, a retrospective exhibition at the Padiglione d’Arte Contemporanea, in Milan, is curated by Dore Ashton. The exhibition includes thirty-one works, including Spanish Picture with Window (p4) and The Feminine II (p1153).

n ovember 1

Motherwell sees Picasso and Braque: Pioneering Cubism at the Museum of Modern Art with Jack Flam and Anthony Terenzio.

n ovember 8

The 92nd Street Y in New York presents Robert Motherwell in conversation with Jack Flam as part of its Artist’s Visions series.

n ovember 9

John Frohnmayer, chairman of the National Endowment for the Arts, withdraws a $10,000 grant to the New York gallery Artists Space because of controversy surrounding its exhibition Witnessing: Against Our Vanishing, a show of art about AIDS. On learning of the controversy, Motherwell privately donates $10,000 to Artists Space, to cover its loss of funding.

n ovember 17

President George H. W. Bush presents Motherwell with the National Medal of Arts in a ceremony at the White House. Other recipients of the award that year include Alfred Eisenstaedt, Martin Friedman, Dizzy Gillespie, Czeslaw Milosz, and John Updike. Leonard Bernstein was also awarded the medal, but refused it in the wake of the NEA’s recent withdrawal of funding from Artists Space.

1990

January– m ay

Motherwell completes his last major group of Elegy paintings (p1175–p1181), including Elegy to the Spanish Republic No. 171 and Elegy to the Spanish Republic No. 172 (with Blood)

During this period he also completes a number of collages (c856–c868) and a major group of works related to the Hollow Men series (p1182–p1187), including The Grand Inquisitor (p1182) and The Homely Protestant No. II (40 Years Later) (p1187).

f ebruary 22

Motherwell listens to a broadcast perfor mance on WXQR radio of the American composer Kenneth Fuchs’s composition Face of the Night (after a Painting by Robert Motherwell), a chamber concerto for oboe and English horn, which had its premiere at Merkin Concert Hall in New York in January.

m arch 27–July 1

Octavio Paz: Los Privilegios de la vista, at the Centro Cultural Arte Contemporáneo in Mexico City, presents works by artists with whom Octavio Paz has collaborated or whose work has influenced his poetry. Motherwell is represented by two works: Face of the Night (for Octavio Paz) (p1024) and Esta Vida (c676).

June 20– s eptember 15

In Provincetown, Motherwell continues to be especially productive, creating nearly a dozen paintings (p1188–p1196) and an equal number of collages (c869–c877), among them Summertime: Provincetown (c871) and The Blue Guitar (To Wallace Stevens) (c877).

July–august 31

The Summer Group Exhibition at Knoedler & Company includes Motherwell’s The Grand Inquisitor (p1182), the first public exhibition of the picture.

s eptember 25– n ovember 10

Robert Motherwell: Peintures et collages, 1969–1990 is presented at Artcurial Centre d’Art Plastique Contemporain, in Paris. The exhibition includes twenty-seven paintings and collages, including The Garden Window (p496), Threatening Presence (p875), and two recently completed Elegy paintings (p1175 and p1176).

o ct ober 12

Motherwell suffers a minor stroke and is hospitalized for four days. His doctor warns him that he must quit drinking and smoking entirely, but he can do neither in the months that follow. The stroke slightly affects his walking and generally slows him down physically. The psychological impact is even greater. He becomes painfully aware that his time is limited. Although he has many projects that he wants to complete, he is not able to begin painting again for nearly two months.

Fig. 266. Motherwell’s Greenwich studio, April 1990. On the painting racks on the far end of the studio is The Grand Inquisitor (p1182), in progress

Fig. 267. Motherwell’s Greenwich studio, 1991. Left to right, top to bottom: p1125, p916, p951, p1055, p1206, and p1084

1991

January 2– a pr I l

Motherwell’s assistants, Joan Banach and Mel Paskell, return to work at Motherwell’s studio after a severalmonth hiatus in the wake of his illness. Motherwell returns to work with a sense of urgency, as he has scheduled an exhibition with Knoedler & Company in May and has committed himself to a retrospective exhibition in Mexico City in the autumn.

During these months he completes ten new paintings, including three very large ones: Mexican Past (p1204), Either/Or (for Kierkegaard) (p1205), and Massive Image (p1206). The palette of black and white, with pink

wI nter–spr I ng

Concerned about his legacy, Motherwell begins meeting weekly with Richard Rubin (his financial advisor since 1980) about plans for the Motherwell Foundation, which will be activated after his death.

Another problem that weighs on Motherwell’s mind is the need to edit his works in storage, something he had long intended to do but either could not find the time or bring himself to do, as it would involve destroying some of his own works. Joan Banach spends several weeks reviewing the inventory at the Ollendorf warehouse. Motherwell plans to go to the warehouse with Flam and Banach to begin the process of winnowing out lesser works from his oeuvre. The planned warehouse visit is repeatedly put off, and Motherwell decides to deal with the matter in the fall.

f ebruary 16– m ay 1

Robert Motherwell: New Lithographs on Hand-colored, Handmade Paper is mounted at Tyler Graphics Ltd., Mt. Kisco, New York. The exhibition includes the 53 x 61–inch lithograph Burning Elegy, the largest Elegy print created by Motherwell.550

m arch

under tones and sienna and umber in place of his usual yellow ochre, gives the works a stark power that is also evident in Mourning Elegy (p1203), the final painting completed in the Elegy to the Spanish Republic series.

January 18– f ebruary 21

Motherwell agrees to create a poster for the Mostly Mozart Festival at Lincoln Center. He creates two collages, both titled M (c883 and c884), for possible use and chooses one to be printed.549

Motherwell meets with E. A. Carmean Jr. on March 6 to choose works for his upcoming Knoedler & Company exhibition and for the retrospective at the Museo Rufino Tamayo in Mexico City that Carmean has been chosen to curate. But in the weeks that follow it becomes clear that Carmean will not be able to fulfill his commitment, and Motherwell asks Joan Banach to take over as curator for the show in Mexico City.

a pr I l 30–June 28

Robert Motherwell: From the Studio at Knoedler & Company presents thirtytwo works from 1958 to 1991, including the large canvases he painted during the past winter: Improvisation (p1201), Mexican Past, Either/Or (for Kierkegaard), and Massive Image (p1204–p1206).

m ay 5

Motherwell decides to rename the Motherwell Foundation the Dedalus Foundation, after Stephen Dedalus, the hero of Joyce’s Portrait of the Artist as a Young Man and Ulysses, with whom he deeply identifies.

June

Galería Joan Prats presents twenty-two works by Motherwell at the Basel Art Fair, including Elegy to the Spanish Republic No. 173 (p1178), The Grand Inquisitor (p1182), and Hollow Men’s Cave (p1183).

June 27

Catherine Tatge and Dominique Lasseur screen their film Robert Motherwell and the New York School: Storming the Citadel and host a party for Motherwell and the film’s other participants at the Chelsea Hotel in New York.

July 12

Teresa del Conde interviews Motherwell for the exhibition catalogue of his upcoming retrospective at the Museo Rufino Tamayo, Mexico City.551

July 13

Motherwell and Ponsold drive to Provincetown after some hesitation about whether he will go there at all that summer.

July 14–27

The exhibition Those Lovely Golden Thighs at the Long Point Gallery in Provincetown includes Motherwell’s work The Feminine I (p1152).

July 16

At noon, Motherwell signs a new last will and testament at his lawyer’s office. He returns to his home in Provincetown, and at around 4:00 p.m. he suffers a major stroke. An ambulance rushes him to the hospital, but he dies en route of heart failure.

July 20

A memorial service for Motherwell is held at low tide in Provincetown. His ashes are scattered in the sea and in his garden in Greenwich.

Fig. 268. Motherwell in his Greenwich studio in 1990, with Elegy to the Spanish Republic No. 127 (p925)

n otes to the chr onology

All letters and copies of letters from and to Motherwell, as well as all studio records, photographs, datebooks, and so forth, that are referred to in the endnotes without a source can be found in the Dedalus Foundation Archives. The locations of the original manuscripts of unpublished writings by Motherwell are fully cited in “Writings by the Artist,” in the Bibliography, as are the locations of transcriptions of unpublished interviews with Motherwell. Some of these interviews (such as Terenzio 1983, Breslin 1987, and Hayman 1989) were conducted over a period of several days, or even weeks. In the endnotes below, the dates of the individual interviews are given, along with the page numbers in the transcription, rather than the short form used elsewhere in this book.

Further information on published writings by Motherwell can be found in “Writings by the Artist,” in the Bibliography. As elsewhere in this book, when published writings by Motherwell are cited, only the title and date of the original publication are given, along with a reference to either the 1992 or 2007 edition of Motherwell’s writings. If a text has been included in both Motherwell 1992 and Motherwell 2007, only Motherwell 2007 is cited.

1. Motherwell’s most extensive discussions of his family and early childhood can be found in his interviews with Paul Cummings, November 24, 1971–May 1, 1974, and in an interview with James E. B. Breslin, June 30, 1987, pp. 2–3. See also Arnason 1966a, pp. 17–19.

2. The Motherwell family’s residence at 127 North Manhattan Place is recorded on the 1926 voter registration rolls; see California Voter Registrations, 1900–1968, online database (Provo, Utah: Ancestry.com, 2008). Motherwell attended the nearby Cahuenga Elementary School in 1927; his report card for the year 1926–27 is in the Dedalus Foundation Archives.

3. Motherwell, interview with Breslin, July 4, 1987, pp. 4–5.

4. Ibid., p. 5.

5. Ibid., p. 10. See also Arnason 1966a, p. 18. No works by Motherwell from this period are known to survive.

6. Details of Motherwell’s study at the California School of Fine Arts in 1930, 1937, and 1940 were communicated by Jeff Gunderson, Librarian, San Francisco Art Institute Library, to Tim Clifford in an e-mail, October 20, 2004.

7. Motherwell, interview with Arthur A. Cohen, August 11–12, 1969, p. 11.

8. Robert Burns Motherwell III, Student Transcript, Office of the University Registrar, Stanford University. John Dewey, Art as Experience (New York: Minton, Balch, 1934). Hobbs 1975b and Mattison 1987 explore the impact of Dewey on Motherwell. Gilbert 2001 develops ideas about the important role that Pragmatism played in shaping Motherwell’s aesthetic sensibility.

9. “Igor Stravinsky in Stanford Concert on February 14,” San Mateo Times and Daily News Leader, February 7, 1935, p. 7. For Motherwell’s recollection of Stravinsky, see Hemenway 1986, p. 38.

10. Phil Bernheim, “Stein Stein Is Clear to Big Crowd Crowd,” Stanford Daily, April 21, 1935, p. 1. Cedric Larson, “Oil Paintings Alone Appeal to Authoress,” Stanford Daily, April 26, 1935, p. 1. For the probable texts of Stein’s lectures, see “What Is English Literature?” and “Pictures” in Gertrude Stein, Lectures in America (Modern Library, 1935; reprint, New York: Vintage Books, 1975).

11. Motherwell discussed his travels in Europe in his interview with Cummings, November 24, 1971, and in his interview with Breslin, June 30, 1987, pp. 13–14. Motherwell’s date of return to the United States is recorded in New York Passenger Lists, 1820–1957, online database (Provo, Utah: Ancestry.com, 2010).

12. Motherwell, interview with Martin Friedman and Dean Swanson, August 1, 1972, p. 3. In that interview, Motherwell recalled that he “was seventeen or eighteen” when he saw the works at the Steins; he also dated the encounter to his sophomore year in an interview with Arthur A. Cohen, August 11–12, 1969, p. 9. But Michael and Sarah Stein did not return to the United States from Paris until the spring of 1935, and were newly settled in Palo Alto that September. (Janet Bishop, Curator of Painting and Sculpture at the San Francisco Museum of Modern Art, provided valuable information on the Stein collection and the Steins’ return to the United States in a telephone conversation, March 26, 2010.)

13. Their apartment was at 759 Middlefield Road in Palo Alto. Aiken’s address is listed in the Stanford University Bulletin, Forty-sixth Annual Register, 1936–37 (Palo Alto, Calif.: Stanford University, 1936). Motherwell’s address is listed in Polk’s Palo Alto (California) City Directory 1937, in U.S. City Directories, online database (Provo, Utah: Ancestry.com, 2010). Details of Motherwell’s surgery are given in his letter to the Harvard registrar, June 3, 1937; student files, Dean’s Office, Harvard University, Cambridge, Mass.

14. Meyer Schapiro, “The Nature of Abstract Art,” Marxist Quarterly 1, no. 1 (January–March 1937). Motherwell’s heavily annotated copy of Schapiro’s essay is in the Dedalus Foundation Archives.

15. “Andre Malraux Talks Tonight on Spain War,” San Francisco Chronicle, March 27, 1937. “Malroux [sic] Tells of Part in Spain War,” San Francisco Chronicle, March 28, 1937. The content of Malraux’s speech was similar to the talk he delivered at Harvard several weeks earlier; see André Malraux, The Fascist Threat to Culture: A Speech Delivered on March 8, 1937, in the New Lecture Hall, Harvard University (Cambridge, Mass.: Cambridge Union of University Teachers and the Harvard Student Union, 1937).

16. Details of Motherwell’s application to Harvard are given in his letter to the registrar, June 3, 1937; student files, Dean’s Office, Harvard University, Cambridge, Mass. 17. Ibid.

18. David Wight Prall, Aesthetic Judgment (New York: Thomas Y. Crowell, 1929). David Wight Prall, Aesthetic Analysis (New York: Thomas Y. Crowell, 1936). When Aesthetic Analysis was reprinted in 1967 by Apollo Editions, New York, Motherwell was invited to write the introduction. But because of other commitments he declined, and recommended Arthur Berger, who wrote it (see Motherwell letter to Arthur Berger, September 27, 1966).

19. Eugène Delacroix, The Journal of Eugène Delacroix, trans. Walter Pach (New York: Covici, Friede Publishers, 1937). Motherwell would write an “Introduction to the Compass Edition” when Pach’s translation was reprinted in 1972 by Viking Press (pp. 7–8). Reprinted in Motherwell 2007, pp. 286–87.

20. Alfred North Whitehead, Modes of Thought (New York: MacMillan, 1938).

21. “On Not Becoming an Academic,” in Motherwell 2007, p. 344.

22. Papers of David W. Prall and Margaret C. Prall, 1908–1954, Mills College. Prall’s papers, though small in scope, contain evidence of his involvement in many left-wing political activities and organizations including donations to the Abraham Lincoln Brigade.

23. Robert C. Hobbs discussed the film with Motherwell while writing his dissertation; see Hobbs 1975b, p. 171. The film had great notoriety even before its release, having been shown to Franklin Delano Roosevelt at the White House in July (see John T. McManus, “Down to Earth in Spain,” New York Times, July 25, 1937, p. 134). It opened in New York on August 20, 1937 (“News of the Screen,” New York Times, August 20, 1937). Motherwell probably saw it in Boston during the autumn of 1937. The Harvard Crimson for 1937–38 includes several dozen articles reporting on the campus debate over the Spanish Civil War, including both pro-Republican and proFranco opinions. It also reports on the death of several alumni fighting for the Republican cause. See for example: “Appleton, Harvard ’32, Killed Serving in Loyalist Forces,” Harvard Crimson, November 27, 1939.

24. Hobbs 1975b, pp. 154–55.

25. Motherwell arrived at the Centre Universitaire on June 27: “During his stay, he resided at 78, rue d’Eybens (which could be the avenue d’Eybens in Poisat, a town on the Grenoble border),” according to Thomas Mayer, administrative officer of Centre Universitaire d’Études Françaises, Université Stendhal-Grenoble 3 (e-mail to Olivia Kalin, August 21, 2010).

26. Motherwell, interview with David Hayman, 1989, pp. 5–6, 99.

27. Ibid., p. 100.

28. Motherwell’s account of the Rouault painting is given in Arnason 1966a, p. 20. The work would influence the style and subject of several of Motherwell’s early works; see for example Untitled (Two Nudes) (ew.Iv) and Lady S. (ew v) in this volume.

29. Motherwell, letter to Meyer Schapiro, April 11, 1940. See also Motherwell, interview with Hayman, 1989, p. 96.

30. Motherwell, interview with Hayman, 1989, p. 96.

31. Motherwell, letter to Schapiro, April 11, 1940.

32. Arthur Berger, Reflections of an American Composer (Berkeley and Los Angeles: University of California Press, 2002), pp. 229–30.

33. Motherwell, letter to Livingston Gearhart, ca. March 6, 1939. Berger, Reflections of an American Composer, p. 113. The date of the Bartók performance in Paris is given in Emöke Ujj-Hilliard, “An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók,” Ph.D. diss., University of North Texas, 2004, p. 15.

34. Motherwell, letter to Philip Wadsworth, October 14, 1965.

35. Motherwell, interview with Breslin, July 4, 1987, p. 13.

36. Motherwell, letter to Schapiro, April 11, 1940.

37. For additional information see Motherwell’s letter to Meg Perlman, November 11, 1975; Motherwell, interview with Breslin, July 4, 1987, pp. 14–15; and Hayman 1989, pp. 104–5.

38. Motherwell, interview with Breslin, July 4, 1987, p. 11.

39. Motherwell, interview with Cummings, July 24, 1971.

40. Passenger lists record Motherwell’s return voyage on the S.S. Ile de France from Southampton, England, to New York on July 5, 1939. See New York Passenger Lists, 1820–1957, online database (Provo, Utah: Ancestry. com, 2010).

41. Oregon Daily Emerald 1939b, p. 3.

42. Motherwell, interview with Cummings, November 24, 1971.

43. Pride and Prejudice, theater program, January 23–25, 1940. Courtesy of Jon Ziady, copy in the Dedalus Foundation Archives.

44. Motherwell, letter to Schapiro, April 11, 1940.

45. Ibid., June 1, 1940. Schapiro later recalled that Motherwell mailed him a painting, now lost, along with this letter. “He had read my article on abstract art in the Marxist Quarterly a year or two before, and was interested in theoretical questions and leftist politics also. He sent me some of his work from Oregon, a male and female figure on a long bench in a city park” (Thompson and Raines 1994, p. 5).

46. Ship manifest for S.S. Manhattan, in New York Passenger Lists, 1820–1957, online database (Provo, Utah: Ancestry.com, 2010). See also Motherwell, interview with Cummings, November 24, 1971.

47. Motherwell, student transcript, Columbia University (film# 0724-1735).

48. Bosley Crowther, “the screen; ‘Time in the Sun,’ a Documentary of Mexico, Based on Eisenstein’s Material, at the Fifth Avenue,” New York Times, October 1, 1940, p. 34.

49. Interview with the artist by Bryan Robertson, 1965; printed in Motherwell 1992, p. 146.

50. Waring 2002, p. 206. The work described could be the etching The Jewish Girl (Engberg and Banach 2003, cat. no. 2, as The Jewish Bride, not illustrated), but that work was not printed until the spring of 1941, so it is more likely to have been Lady S. (ew.v) or a similar, unknown work. An image of the etching The Jewish Girl can be see on the Dedalus Foundation web site’s Robert Motherwell: Prints Catalogue Raisonné Updates and Addenda: http://dedalusfoundation.org/index. php/site/motherwell-prints_cr_updates/

51. Schapiro lived at 279 West Fourth Street, three blocks from Motherwell’s apartment.

52. Motherwell, interview with Hayman, 1989, p. 1.

53. Although Motherwell emphasized his lack of interest in Surrealist painting, he was well read in the movement. His library, now at the Dedalus Foundation, still retains copies of David Gascoyne’s A Short Survey of Surrealism (1936), purchased in London in 1938, and of Herbert Read’s Surrealism (1936), purchased in Oregon in October 1939.

54. Engberg and Banach 2003, cat. no. 1, not illustrated. This work can be seen on the Dedalus Foundation web site’s Robert Motherwell: Prints Catalogue Raisonné Updates and Addenda: http:// dedalusfoundation.org/index.php/site/ motherwell-prints_cr_updates/

55. Sawin 1995, p. 72.

56. The inscription in Seligmann’s copy of Aesthetic Analysis by Prall was described by a trustee of his estate, Stephen Robeson Miller, in correspondence with the Dedalus Foundation, March 22, 2006.

57. A three-page student paper by Motherwell from Schapiro’s class on European Painting Since 1860 survives: “The Form of Cézanne’s ‘The Balcony,’ ” written in spring 1941.

58. Onslow Ford’s lectures are reprinted in Martica Sawin, Gordon Onslow Ford: Paintings and Works on Paper, 1939–1951 (New York: Francis M. Nauman Fine Art, 2010), pp. 55–71.

59. Matta met Federico García Lorca in Madrid in 1935 and the poet gave him a copy of the recently published Llanto por Ignacio Sánchez Mejías. See G. Ferrari, Entretiens Morphologiques: Notebook No. 1, 1936–1944 (London: Sistan, 1987), pp. 199, 205, 210–11.

60. Engberg and Banach 2003, cat. no. 2 (as The Jewish Bride).

61. Seligmann’s accounting sheets for Motherwell’s lessons in the spring of 1941 show that he charged him for rebiting two etching plates and five sheets of Fabriano paper. Kurt Seligmann Papers, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn.

62. Letter to Jonathan Ziady, May 1, 1941, courtesy Jon Ziady, Portland, Ore.; copy in the Dedalus Foundation Archives. The exhibition that Motherwell said he hoped to have in the

autumn never materialized. No other information is known about it.

63. Stephanie Terenzio writes that Motherwell sailed for Mexico on May 22, 1941, on “The Cuban Mail” (Terenzio in Motherwell 1992, p. 155, n. 8). The name of the ship was almost certainly conveyed to Terenzio by Motherwell himself; but the date cannot be correct as Seligmann recorded payments for lessons with Motherwell on May 23, 27, and 29, 1941. It is fair to assume that they sailed on the next and final voyage of the Cuba Mail ocean liner Oriente to Vera Cruz on June 7, 1941, after which the ship was requisitioned by the U.S. military (see “Another Trip for Oriente,” New York Times, June 7, 1941, p. 31).

64. Motherwell recalled that “she had been married for 17 days as a young girl” in an interview with Stephanie Terenzio, September 7, 1983, p. 3.

65. Ferreira 2004, pp. 65 and 68. During 1940–41 Ferreira shared an apartment in New York with the Russian actress Mira Rosovskaya, who became a well-known acting coach.

66. Motherwell to Kurt and Arlette Seligmann, June 21, 1941.

67. Barbara Reis to Kurt Seligmann, June 26, 1941. Matta later wrote, “We spent all summer in Taxco, a genuine colony of American writers” (see Ferrari, Entretiens Morphologiques, p. 226). Motherwell’s studio was in the pension Kitagawa.

68. Motherwell to Kurt and Arlette Seligmann, July 9, 1941.

69. Simon 1967b, p. 21; reprinted in Motherwell 1992, p. 159.

70. Amy Winter discusses the exchange of ideas between Paalen and Motherwell in Wolfgang Paalen: Artist and Theorist of the Avant-Garde (Westport, Conn.: Praeger, 2003).

71. Motherwell, translation of Wolfgang Paalen, “The New Image,” Dyn (Mexico City), no. 1 (April–May 1942): pp. 7–15.

72. Motherwell discussed the Mexican masks and the creation of Little Spanish Prison (p3) in an interview with Arthur A. Cohen, August 18, 1969, pp. 17–20.

73. H. Felix Kraus and Bruce Downes, “Blumenfeld at Work,” Popular Photography 15, no. 4 (October 1944): pp. 38–47, 51, 66, 88–90. Photographs of Maria, called “Marua” by Blumenfeld, are reproduced on pages 39, 41, and 47. Several prints by Blumenfeld are in the Dedalus Foundation Archives.

74. Mattison 1985b, p. 64. Gallatin’s collection included important works by Miró and four paintings by Mondrian, which Motherwell could have seen prior to the Dutch artist’s solo exhibition in January 1942.

75. For a discussion of the origins of VVV, see Sawin 1995, pp. 214–20. In 1967, David Hare challenged Motherwell’s account of his role as editor of VVV, claiming “Motherwell was editor for about four to six days” (see Hare 1967). But a subscription announcement for the magazine (ca. 1942) contradicts Hare’s account: “VVV has been assured the active

support of the following, under the editorship of Robert motherwell and the editorial advisership of André breton, William Carlos wIllIams, Max ernst and matta.” Harold Rosenberg Papers, Research Library, Getty Research Institute, Los Angeles (980048).

76. Motherwell to William Carlos Williams, December 3, 1941; printed in Motherwell 1992, p. 17.

77. See printed VVV subscription announcement in Harold Rosenberg Papers. Stephanie Terenzio in Motherwell 1992, p. 19, n. 4, writes, “Motherwell eventually met with Williams to discuss the matter further. Although the poet did not join the editorial board of VVV, he did contribute a poem to the first issue.” The subscription announcement, however, lists Williams as one of the editors. After Motherwell left the magazine in late spring, Williams was also apparently removed as coeditor.

78. Motherwell in Simon 1967b, p. 20.

79. Milton Gendel, The Margin to the Middle (Rome: 2RC Edizioni d’arte, 1993), p. 6. Gendel places this event in December of 1941, when he began working with Hayter and Percival Goodman as an assistant to their Camoflauge Engineering Company. However, it is possible that the events he describes occurred in the winter of 1943–44, when Motherwell created the etching Personage, 1944 (Engberg and Banach 2003 as cat. no. 3), which Motherwell gave as a Christmas gift to Pierre and Dollie Chareau. Whatever the date was, the anecdote illustrates the inherent conflicts in temperment that arose between Breton and Motherwell.

80. According to Sawin 1995, p. 192, only twenty portfolios were produced, although fifty were announced. As of this writing, images of fifteen works that Motherwell produced for the portfolio are known.

81. Mattison 1987, p. 54.

82. Maria Ferreira in conversation with Tim Clifford and Allison Harding, Monterey, Calif., December 1, 2004. Ferreira played down her career as an actress and rolled her eyes at Motherwell’s description of her as “a Mexican actress,” noting that she always thought of herself as an aspiring writer and that she supported herself in the 1940s by writings scripts for comic books. In The Flowers of Virtue she said that she played the role of the maid, Serafina, and had only one line in the play: “Si, Señor.” She remembered that Motherwell attended the play’s opening night performance, his arms full of flowers, and cheered wildly for her performance.

83. Jimmy Ernst to William Baziotes, April 14, 1942, William and Ethel Baziotes Papers, Archives of American Art. See also Motherwell to Livingston Gearhart, June 9, 1942.

84. Sawin 1995, p. 214.

85. Abel 1981.

86. Motherwell to Gearhart, May 21, 1942. See also Janis 1944.

87. Ibid.

88. “ ‘Two Trees’ Reports Rentals,” Provincetown Advocate, June 4, 1942, p. 1.

89. Motherwell, “Provincetown and Days Lumberyard: A Memoir,” 1978, p. 15; reprinted in Motherwell 2007, p. 309.

90. Motherwell to Gearhart, May 21, 1942.

91. Motherwell’s book on Mondrian was never realized. Motherwell to Meyer Schapiro, September 25, 1942. Motherwell’s 1942 notebook was a bound 14 x 10–inch sketchbook.

92. Sawin 1995, p. 219.

93. Motherwell to Gearhart, June 9, 1942. Both Kafka and Joyce remained touchstones for Motherwell throughout his career. His interest in Silone did not last, but is notable as evidence of his interest in incorporating social and political content into his work, as in Recuerdo de Coyoacán (p8). Motherwell saved a review of Silone’s Seed beneath the Snow, which he had clipped from the Nation (Paolo Milano, “Silone’s Catacombs,” Nation, August 29, 1942, p. 174) in his journal of that summer.

94. Motherwell in Simon 1967b, p. 22; reprinted in Motherwell 1992, p. 163.

95. This is found on page 12 of the journal Motherwell kept during the summer of 1942.

96. Motherwell, “Provincetown and Days Lumberyard,” 1978, pp. 14–15; reprinted in Motherwell 2007, p. 308.

97. Certificate of Marriage, Commonwealth of Massachusetts, Provincetown, August 16, 1942, registered no. 18, filed August 17, 1942. Motherwell later remarked that their reason for marrying at that time was that he had received an early number in the draft, and wanted Maria to be his legal heir; however, with his 4F classification of May 1941 he had already received an exemption. In any case, after December 8, 1941, no deferments were granted on the basis of marital status. Concern about the visit by the FBI may have encouraged the couple to marry as Maria, though raised in Los Angeles, was a Mexican citizen. She would become a naturalized U.S. citizen in 1969.

98. Motherwell to Schapiro, September 25, 1942.

99. Dyn, no. 3 (fall 1942): p. 6.

100. Recuerdo de Coyoacán (p8) was reproduced in the catalogue for the exhibition in an early state with the title El Miedo de la Obscuridad. In photographs of the exhibition only one painting by Motherwell can be seen, title unknown (p9), which Motherwell identified as his in a letter to Yve-Alain Bois, October 13, 1980; printed in Motherwell 1992, p. 238. It is possible that both works were exhibited.

101. Motherwell to Bois, October 13, 1980; printed in Motherwell 1992, p. 238.

102. Motherwell, interview with Hayman, May 23–29, 1989, p. 50.

103. David S. Rubin, “A Case for Content: Jackson Pollock’s Subject Was the Automatic Gesture,” Arts Magazine 53 (March 1979): p. 105.

104. Dyn, no. 4–5 (December 1942): p. 85.

105. Motherwell said that Mondrian was in the gallery repairing a work that had cracked because of the dry heat characteristic of New York buildings in the winter; so their meeting took place sometime between December 1942 and March 1943. Motherwell to Bois, October 13, 1980; printed in Motherwell 1992, p. 239. 106. Ibid., pp. 239–40.

107. Davidson and Rylands 2004, p. 293.

108. 5 Serenades, performance program, March 30, 1942, Merce Cunningham Dance Company Archives. The other works on the program were the premiere of Homage to García Lorca by the Mexican composer Silvestre Revueltas (1899–1940), a Spanish Civil War veteran; and El Café de Chinitas, a ballet featuring the troupe of the dancer Argentinita, with music by the Spanish guitarist Carlos Montoya. El Café de Chinitas was based on a Malaguenan folk song recorded by García Lorca. Argentinita had been a close friend of Lorca’s and performed in his first play, El Malefico de la Mariposa (The Butterfly’s Evil Spell), in 1920 in Madrid. She was also the lover of the matador Ignacio Sánchez Mejías, subject of Lorca’s famed poem, which the poet dedicated to her. Argentinita left Spain in 1938 and was a prominent presence in the New York dance scene of the early 1940s.

109. Virgil Thomson, “musIc: Brilliant Occasion,” New York Herald Tribune, April 1, 1943.

110. Art of This Century sales records, Bernard and Rebecca Reis Papers, ca. 1924–85, Research Library, Getty Research Institute (900184). See also Motherwell to Meyer Schapiro, August 18, 1943.

111. Adolph Gottlieb and Mark Rothko, “Letter to the editor, 1943,” reprinted in Mark Rothko, Writings on Art, ed. Miguel LopezRimero (New Haven, Conn.: Yale University Press, 2006), pp. 35–36. In a 1977 letter to Guy Scarpetta, Motherwell quoted passages from Gottlieb and Rothko’s 1943 letter to the editor and noted the importance of it and of the radio talk in the development of Abstract Expressionism.

112. Rothko and Gottlieb, “The Portrait and the Modern Artist,” 1943, in Rothko, Writings on Art, pp. 37–40. The importance of the subject in the work of the Abstract Expressionists was later emphasized by the name and program of the school founded in 1948 by Motherwell and Rothko, The Subjects of the Artist.

113. Little is known about Motherwell’s activities in Mexico during the summer of 1943. His departure date is per a letter from Motherwell to Livingston Gearhart, May 24, 1943. The date of his return to San Francisco is per his August 18, 1943, letter to Schapiro. Motherwell told Stephanie Terenzio (September 7, 1983, pp. 7–9) that he was in Taxco when he received news of his father’s illness.

114. Interview with Breslin, June 30, 1987, p. 9. When the money finally became available to Motherwell in 1965, he signed the trust over to his daughters.

115. Motherwell’s upcoming exhibition at the gallery was mentioned in the advertisement for the Pollock show in View, ser. 3, no. 4 (December 1943): n.p.

116. Davidson and Rylands 2004, p. 374.

117. Engberg and Banach 2003, cat. nos. 3 and 4. The latter was included in Motherwell’s exhibition at Art of This Century in October 1944.

118. Motherwell discusses working at Atelier 17 in Colsman-Freyberger 1974a, and in “A Special Genius: Works on Paper,” September 29, 1976.

119. Motherwell in “Painters’ Objects,” Partisan Review 11, no. 1 (winter 1944): p. 97; reprinted in Motherwell 2007, p. 43.

120. Motherwell in Maloon 1978, p. 16. For the dates of the public viewings of Mondrian’s studio, see Robert M. Coates, “Studio,” New Yorker, April 15, 1944, p. 19.

121. It is not known exactly when Guggenheim purchased the work, but it was before Motherwell’s October solo exhibition, since the exhibition catalogue lists the work as being in the collection of Art of This Century. Guggenheim acquired it, partly, in exchange for Motherwell’s earlier canvas The Sentinel (p10). Personage (Autoportrait) (c8) appears in the 1945 list of works in the collection; see Art of This Century sales records, Bernard and Rebecca Reis Papers.

122. See Davidson and Rylands 2004, pp. 296–97. The 1943 Spring Salon for Young Artists was chosen by a jury composed of Alfred H. Barr Jr., Marcel Duchamp, Peggy Guggenheim, Kenneth McPherson, Howard Putzel, James Thrall Soby, and James Johnson Sweeney.

123. Mattison 1987, p. 125.

124. Motherwell to Dorothy Miller, May 22, 1946.

125. Motherwell, interview with Robertson, 1965; printed in Motherwell 1992, p. 145. See also Hobbs 1975b, pp. 127–28. Motherwell’s copy of Posada: Printmaker to the Mexican People (text by Fernando Gamboa, catalogue by Carl O. Schniewind and Hugh L. Edwards [Chicago: Art Institute of Chicago, 1944]) is inscribed “Robert Motherwell Amagansett 1944.”

126. Anita Brenner, The Wind That Swept Mexico: The History of the Mexican Revolution 1910–1942 (New York: Harper & Bros, 1943).

127. Ernst gave Motherwell the plaster of Le Roi jouant avec la Reine (The King Playing with the Queen) in the summer of 1944. Several years later Ernst asked if he could have the plaster back to cast it in bronze for the Menil family, with the promise that he would give Motherwell a second bronze cast of the sculpture in exchange. Motherwell, letter to Werner Spies, February 12, 1972. Motherwell kept the sculpture until the end of his life.

128. Motherwell to William Baziotes, September 6, 1944.

129. Motherwell later noted, “The Painter & The Modern World originates in part in those conversations [with Paalen] in Coyoacan,

was well as Abel’s suggestion.” Undated note (ca. 1983) in the Dedalus Foundation Archives.

130. “The Modern Painter’s World,” 1944; reprinted in Motherwell 2007, pp. 27–35.

131. Motherwell discussed his friendship with the Helmuths in an interview with Stephanie Terenzio, September 7, 1983, pp. 2–7. Walter K. Helmuth (1928–2008) provided background on his family and Motherwell’s friendship with them in conversation with Tim Clifford, Rosendale, N.Y., March 4, 2005. Two drawings given by Motherwell to William and Mardi Helmuth in 1946 and 1947 were destroyed when Walter K. Helmuth’s home burned in 2004 (photographs of the works survive in the Dedalus Foundation Archives).

132. Guillaume Apollinaire, The Cubist Painters: Aesthetic Meditations, 1913, translated by Lionel Abel, Documents of Modern Art 1 (New York: Wittenborn, 1944). The list of forthcoming titles in the series, printed on the back cover, includes several notable volumes that were never realized under Motherwell: Luigi Russolo’s Futurist manifesto The Art of Noise, Jean Hélion’s Writings on Art, volumes of wr itings by Erik Satie and Stanley William Hayter, and Duchamp’s “Notes to la mariée or Green Box.”

133. Cited in Motherwell 1992, p. 3.

134. Art of This Century sales records, Bernard and Rebecca Reis Papers.

135. Engberg and Banach 2003, cat. no. 1. The title of the etching is given as Figure with Mandoline [sic] in Motherwell’s 1944 Art of This Century catalogue and the misspelling is repeated in the Catalogue Raisonné of Prints by Robert Motherwell, Engberg and Banach 2003; we have corrected the spelling here to “mandolin.”

136. The Ambiguity of Experience (1944) and Equilibrium Abstracted (1943), both unidentified works, are discussed in the entry for p13. The latter painting was extant as late as 1946, when it was shown at the Arts Club of Chicago (see Peggy Guggenheim to Mrs. Rue Shaw, January 14, 1946, Arts Club Records, Midwest Manuscript Collection, Newberry Library, Chicago).

137. Motherwell, press release for his solo exhibition at Art of This Century, October 1944. For more on whether Mallarmé’s Swan was exhibited, see the entry for c11.

138. Motherwell changed the title of this work to The Door when it was shown in the Fourteen Americans exhibition at the Museum of Modern Art in September 1946. Dyn (Mexico City), no. 6 (November 1944): n.p.

139. Motherwell in Janis 1944; reprinted in Motherwell 2007, p. 36.

140. See the statement “Problems of Contemporar y Art” on the back cover of Wolfgang Paalen, Form and Sense, Problems of Contemporary Art 1 (New York: Wittenborn, Schultz, 1945).

141. Motherwell, interview with Phyllis Tuchman, December 15, 1981.

142. The contract, dated February 2, 1945, provided Motherwell with $200 per month for

the first two years, $250 for the second two, and $300 per month in the fifth and final year.

143. Samuel M. Kootz, Modern American Painters (New York: Brewer & Warren, 1930), and New Frontiers in American Painting (New York: Hastings House, 1943).

144. Motherwell had maintained the apartment at 33 West Eighth Street even while living in East Hampton. He gave 33 W. 8th Street as his address on the May 1945 questionnaire for the Museum of Modern Art, but on the same form listed himself as “Now in Bridgehampton, N.Y.” The photograph of Motherwell with an early state of Wall Painting with Stripes (see fig. 32) was taken in the Eighth Street apartment during the winter of 1944–45, possibly as a press photograph for the Samuel M. Kootz Gallery. After Motherwell’s trip to Florida, the Eighth Street address no longer appears on his correspondence.

145. Motherwell, interview with Arthur Cohen, August 18, 1969, p. 23.

146. McBride 1945a, p. 7.

147. Newsweek 1945a, p. 74.

148. On April 18, 1945, Baziotes acted as a witness to the contract between Motherwell and Reynal & Hitchcock. Five pages of notes for the project by Motherwell can be found in the Dedalus Foundation Archives.

149. Christian Zervos to George Wittenborn, April 22, 1945, George Wittenborn, Inc., Papers, [I.A.20]. The Museum of Modern Art Archives, New York. Motherwell discussed Duchamp’s contribution (which included reviewing the proofs of the book and suggesting the pre-Dada section on Erik Satie) in his “Preface” to The Dada Painters and Poets; reprinted in Motherwell 2007, p. 106. He spoke of the contributions of Duchamp, Ernst, and Arp to the book in an interview with Terenzio, January 24, 1984, p. 3. Explaining what attracted him to Dada, Motherwell said, “Dada was anarchist, and that was acceptable to me, whereas Surrealism was much more party-line. The Surrealists were originally communists and later anti-Stalinist which was equally the tone of the Partisan [Review] milieu.” Motherwell, transcript of lecture at Hastings Hall, Yale University, April 22, 1965, p. 7.

150. 391, no. 1. Edited by Francis Picabia (Barcelona), January 25, 1917.

151. Robert Motherwell, ed., The Dada Painters and Poets: An Anthology, Documents of Modern Art 8 (New York: Wittenborn, Schultz, 1951), p. 138. The drawing is listed as La Novia in the anthology. Motherwell said that he acquired the work around 1942, but since he began work on the Dada anthology in 1945 and did a drawing called Construction that year that mimics the style of the Picabia, 1945 seems a more likely date for the purchase.

152. Motherwell to James Johnson Sweeney, June 21, 1945, Department of Painting and Sculpture Files, Museum of Modern Art Archives.

153. R[eed] 1945, p. 9.

154. Black Mountain College records, 1933–56, Archives of American Art, Smithsonian

Institution. Ray Johnson had his first solo exhibition in 1948 at the One-Wall Gallery in George Wittenborn’s New York bookstore.

155. Motherwell recalled discussing Kierkegaard with Rosenberg in the mid-1940s; letter to Brandon Taylor, February 2, 1980.

156. Motherwell, interview with Jeffrey Potter, August 18, 1982, transcript, pp. 9–10.

157. Motherwell to Marianne Moore, November 29, 1945. Moore’s translation, without illustrations, was published by Viking Press, New York, in 1954.

158. On February 22, 1946, Motherwell wrote a detailed letter discussing the imagery and subject of Personage (p11) to William Lee McKim of the Society of the Four Arts, the group that purchased the work and donated it to the Norton Museum of Art, West Palm Beach, Florida.

159. Jewett 1946, p. F4.

160. The first exhibitions of the Galerie Jeanne Bucher were held in the Boutique Pierre Chareau, 3, rue du Cherche-Midi in 1925. Bucher took over the space in 1926, per Christian Derouet, Marie-Blanche Pouradier Duteil, Madine Lehnie, and Patricia Scheer, Jeanne Bucher: Une galerie d’avant-garde, 1925–1946, de Max Ernst à de Staël (Geneva: Skira, in association with Les Musées de la ville de Strasbourg, 1994), p. 41. Motherwell’s planned exhibition with the Galerie Jeanne Bucher continued to be listed on his bio, even after it was canceled; see, for example, New American Painting (New York: Museum of Modern Art, 1958).

161. Romare Bearden, Paintings and Watercolors Inspired by García Lorca’s “Lament for a Bullfighter” (New York: Samuel M. Kootz Gallery, 1946).

162. Motherwell, “Beyond the Aesthetic,” 1946; reprinted in Motherwell 2007, pp. 54–56.

163. Motherwell to Dorothy Miller, May 22, 1946.

164. Chronology compiled by Ellen Grand (with editing by Motherwell and Jack Flam), 1980–81, p. 18. This chronology was prepared for Arnason 1982, but was not used in the final publication.

165. George Wittenborn wrote to Motherwell on July 17, 1946, “I am free this Sunday afternoon or some evening next week in order to talk about Dyn and other matters.” See also Oral history interview with Luchita Hurtado, 1994 May 1–1995 Apr. 13, Archives of American Art, Smithsonian Institution.

166. Motherwell, letter to Christian Zervos, June 13, 1947; reprinted in Motherwell 1992, p. 44.

167. The earliest use of the name Possibilities for the magazine appears in a March 14, 1947, letter from Motherwell to Rosenberg, at which time the name change appears to have been a settled issue. The link between the titles of Motherwell’s Possibilities and Paalen’s Dyn (from dynaton, Greek for “the possible”) was first made by Gibson 1984, pp. 73–74.

168. Mark Rothko sent Motherwell his essay on January 3, 1947, writing in his cover letter, “Have no qualms about rejecting it, making suggestions, etc. I feel to [sic] uncertain about it to entertain any pride.” Some weeks later Rothko approved Motherwell’s version, though he expressed reservations: “Dear Bob, am returning the article with permission for you to use it in this revised form. I cannot help wishing, tho: that you had seen more eye to eye with me on the original sequence.”

169. Motherwell purchased two acres of land from Martha Keck Clark and Jane Keck Reynolds, as executrixes of Caroline S. Keck Pulley (formally Caroline S. Keck), on November 20, 1946. Transfer deed on record with the Building Department, Village of East Hampton, New York, per e-mail from Linda Beyer, secretary to the Building Department, Village of East Hampton, New York, to Tim Clifford, May 7, 2010.

170. Ibid. The Village of East Hampton records that a building permit was issued in the name of Maria F. Motherwell on April 25, 1947.

171. The text of Louis Sullivan’s Kindergarten Chats published in the Documents series was a revised version of the 1901 text prepared by Sullivan in 1918, but not published then.

172. Barnett Newman to Motherwell, January 17, 1947.

173. Barnett Newman, The Ideographic Picture (New York: Betty Parsons Gallery, 1947).

174. Motherwell to Samuel M. Kootz, January 21, 1947; printed in Motherwell 1992, p. 42. Jackson Pollock’s fourth and final solo exhibition at Art of This Century was scheduled for January 14 to February 1, 1947, but was extended to February 7 (Davidson and Rylands 2004, pp. 342–43). B. H. Friedman later wrote of Kootz’s reaction: “Sam Kootz was blunt: He liked Jackson’s work . . . but, no matter what, didn’t want to have to deal with a drunk in his gallery.” Friedman, Jackson Pollock: Energy Made Visible (New York: McGraw-Hill, 1972), pp. 115–16.

175. Motherwell, artist’s statement in the catalogue for his exhibition at the Kootz Gallery, April 1947; reprinted in Motherwell 2007, p. 42.

176. Greenberg 1947, p. 665.

177. Harper’s Bazaar 1948, pp. 86–87.

178. Motherwell and Harold Rosenberg, “Editorial Preface,” in Possibilities 1 (winter 1947–48); reprinted in Motherwell 1992, pp. 45–46.

179. Motherwell to Harold Rosenberg, Pierre Chareau, and John Cage, January 29, 1948.

180. Motherwell to Joseph Cornell, March 4, 1948.

181. Walter K. Helmuth in conversation with Tim Clifford, Rosendale, N.Y., March 4, 2005.

182. Motherwell to George Wittenborn and Heinz Schultz, March 18, 1948, George Wittenborn, Inc., Papers, [I.A.38]. The Museum of Modern Art Archives, New York.

183. Motherwell in Enright 1989, p. 13.

184. Harold Rosenberg “A Bird for Every Bird,” unpublished typescript, ca. 1948, George Wittenborn, Inc., Papers, [I.B.25]. The Museum of Modern Art Archives, New York.

185. For Baziotes’s reaction to the closing of the Kootz Gallery, see his correspondence from the spring and summer of 1948 with his brother Christos; William and Ethel Baziotes Papers, Archives of American Art.

186. Oral history interview with Leo Castelli, July 1969, Archives of American Art, Smithsonian Institution.

187. John P. O’Neill, Clyfford Still (New York: Metropolitan Museum of Art and Harry N. Abrams, 1979), p. 179.

188. Breslin 1993, pp. 262–63.

189. Classified advertisement, New York Times, September 12, 1948, pp. R14, X10.

190. Motherwell, “Concerning ‘Subjects of the Artist,’ ” ca. 1950.

191. Ferreira in conversation with Clifford and Harding, Monterey, Calif., December 1, 2004.

192. Motherwell, “Editorial Notice,” in Wassily Kandinsky, Concerning the Spiritual in Art and Painting in Particular, Documents of Modern Art 5 (New York: Wittenborn, 1947).

193. Motherwell, “Prefatory Note,” in Max Ernst et al., Max Ernst: Beyond Painting and Other Writings by the Artist and His Friends, 1948; reprinted in Motherwell 2007, pp. 59–60. Also, Motherwell, “Prefatory Note,” in Jean Arp, On My Way: Poetry and Essays, 1912–1947, 1948; reprinted in Motherwell 2007, pp. 61–62.

194. Rosemary Jasinowski, “The Subjects of the Artist and Robert Motherwell School of Fine Art as Seen by the Students of the Schools,” unpublished typescript, 1966, Irving Sandler Papers (ca. 1914–2001, bulk 1950–2000), Research Library, Getty Research Institute, Los Angeles (2000.M.43), pp. 1–10.

195. On October 14, 1948, Baziotes wrote to his brother Christos that he would not be exhibiting during the 1948–49 season because Kootz had closed the gallery, but that he expected to have a show with Parsons in January of 1950. Advertisements listing Motherwell and Baziotes on Betty Parsons Gallery’s roster of artists appeared in three issues of Tiger’s Eye: December 1948, no. 6 (volume 1), p. 135; March 15, 1949, no. 7 (volume 1), p. 121; and June 15, 1949, no. 7 (volume 8), p. 129.

196. Ferreira in conversation with Clifford and Harding, Monterey, Calif., December 1, 2004. Ferreira was very reticent about discussing the breakup in detail, but explicitly denied having an affair. According to her, no single event marked the breakup of their marriage; rather, they drifted apart.

197. Motherwell to Lee Hall, May 3, 1981. Hall identifies Natica Waterbury as the woman Motherwell was “in competition with Betty for the attention of.” Hall, Betty Parsons: Artist, Dealer, Collector (New York: Harry N. Abrams, 1991), p. 180.

198. Motherwell, interview with Martin Friedman and Dean Swanson, August 1, 1972, transcript, p. 20.

199. Motherwell, quoted in Carmean 1978, p. 97.

200. Motherwell, interview with Rudi Blesh, May 23, 1961, p. 99.

201. Motherwell, “A Tour of the Sublime,” 1948; reprinted in Motherwell 2007, p. 63.

202. Motherwell lecture and conversation with Ruth Vollmer, moderated by Howard S. Conant, 1960, transcript, p. 89.

203. Fineberg 1978, p. 55. Motherwell discussed this in an interview with Terenzio, September 7, 1983, pp. 12–13.

204. “Art Seminars Taking Shape in New York,” Washington Post, February 13, 1949, and Motherwell, “Concerning ‘Subjects of the Artist,’ ” ca. 1950.

205. Motherwell, answers to Whitney Museum questionnaire on The Red Skirt (p65), March 23, 1951.

206. Motherwell, “Preliminary Notice,” in Daniel-Henry Kahnweiler, The Rise of Cubism, 1949; reprinted in Motherwell 2007, pp. 69–71.

207. Motherwell, “A Personal Expression,” 1949; reprinted in Motherwell 2007, pp. 75–80.

208. George A. Dondero, speech given in the U.S. House of Representatives, August 16, 1949. Published in the Congressional Record, 1st sess., 81st Cong.; reprinted in Charles Harrison and Paul Wood, eds., Art in Theory, 1900–1990: An Anthology of Changing Ideas (Oxford: Blackwell, 1992), pp. 654–58.

209. Motherwell, letter to Herbert Ferber, September 11, 1949, Herbert Ferber Papers, 1931–1987, Archives of American Art, Smithsonian Institution.

210. Letter from Bradley Walker Tomlin to Herbert Ferber, September 27, 1949, Herbert Ferber Papers, 1931–1987, Archives of American Art, Smithsonian Institution.

211. José Ortega y Gasset, “On Point of View in the Arts,” Partisan Review 16, no. 8 (August 1949): pp. 822–36.

212. Preston 1949, p. 12.

213. Tristan Tzara to Motherwell, September 26, 1949; Motherwell to Tzara, September 22, 1949; Tzara to Motherwell, September 26, 1949, George Wittenborn, Inc., Papers, [I.A.22]. The Museum of Modern Art Archives, New York.

214. William Baziotes to Motherwell, October 18, 1949.

215. Kimball 1995, pp. 24–25.

216. The work can be seen in Kynaston McShine, ed., Joseph Cornell (New York: Museum of Modern Art, 1980), pl. 140.

217. Motherwell wrote Cornell to thank him for the box on February 18, 1950: “For a long time I wanted to write you about the marvelous ‘box’ that you made for me—but when I contemplate it, & think of the grace of your gesture,

I am moved on a much deeper level than those for which I have words, & irritated at my inadequacy. I will have to make you something wordless, though it may originate in something verbal, perhaps Un Coup de Dés—but you know how long it takes for a complete conception to develop.” Joseph Cornell Papers, 1804–1986, bulk 1939–1972, Archives of American Art, Smithsonian Institution.

218. Motherwell, letter to Barnett Newman, January 30, 1950. Barnett Newman Foundation.

219. Louis Zukofsky in a postcard to George Wittenborn writes, “I understand from Mr. Harold Rosenberg, Possibilities II will not appear,” February 20, 1950, George Wittenborn, Inc., Papers, [I.B.19]. The Museum of Modern Art Archives, New York.

220. Drafts of material for Possibilities 2 can be found in the George Wittenborn, Inc., Papers, [I.B.19–I.B.26]. The Museum of Modern Art Archives, New York. Following the demise of Possibilities, Wittenborn continued to pursue the concept of a regular journal and enlisted Harry Holtzman to edit the new project under the name Transformation—the original title of Motherwell and Rosenberg’s Possibilities having been Transformations. Holtzman produced three issues of Transformation: Arts Communication Environment, A World Review, between 1950 and 1952.

221. In the chronology for Motherwell’s 1965 Museum of Modern Art retrospective, it is noted that in 1950, during the Black or White show, Motherwell had met “Franz Kline who is deeply affected by Granada.” In 1967, both Barnett Newman and David Hare attacked Motherwell for “implying that Kline’s paintings come out of his”; see Newman, Art International 11, no. 8 (October 20, 1967): p. 38; see also Hare 1967. Their attacks, incong ruously based on the single line of the 1965 chronology, miss the larger point that for Motherwell Kline’s affirmation was at least as important to him as he implied Granada was to Kline. Kline’s compliment encouraged Motherwell in this new direction his work was taking; during the following months he would create the first major group of Elegy paintings. Motherwell later elaborated on his meeting with Kline; see Motherwell in Diamonstein 1979b, p. 382.

222. Motherwell, “For David Smith 1950,” 1950; reprinted in Motherwell 2007, p. 88.

223. New York Times 1950, pp. 1, 15.

224. Motherwell, “The New York School,” 1950; reprinted in Motherwell 2007, p. 93; New York Herald Tribune 1950b, p. 8.

225. Letter from Heinz Schultz to George and Joyce Wittenborn, August 21, 1950, George Wittenborn, Inc., Papers, [I.E.1]. The Museum of Modern Art Archives, New York.

226. Motherwell’s maquette is now in the collection of the Art Gallery of Ontario, Toronto.

227. Motherwell, “The New York School,” 1950; reprinted in Motherwell 2007, pp. 93–98.

228. Ibid.; reprinted in Motherwell 2007, p. 97.

229. The catalogue for the exhibtion states: “The following titles represent a complete catalogue of the paintings done in 1949 and 1950, as well as some very recent drawings. The present exhibition is a selection from these titles.” We do not know which works were shown, as no photographs of the show exist.

230. Joseph Cornell to Motherwell, November 30, 1950.

231. K[rasne] 1950b. Each of the five Kootz Gallery artists chose three unknown artists, but only Beck is identified as having been chosen by Motherwell.

232. “Books Published Today,” New York Times, December 5, 1950, p. 29.

233. Meyer Schapiro, letter to Motherwell, January 3, 1950.

234. Motherwell, interview with Sigmund Koch and Jack Flam, May 12 and 13, 1986.

235. Motherwell, “The School of New York,” 1951; reprinted in Motherwell 2007, pp. 154–55. Still’s objections are discussed in O’Neill, Clyfford Still, pp. 191–92.

236. Life 1951, p. 34.

237. Theodore Brenson, Herbert Matter, and Robert Motherwell, dummy for an unpublished book to be distributed by Third National Conference on UNESCO, 1951. Museum of Modern Art Archives, New York.

238. Motherwell, “The Public and the Modern Painter,” 1951, pp. 80–81.

239. Motherwell, “The Rise and Continuity of Abstract Art,” April 12, 1951.

240. It is not known which work Motherwell submitted to the exhibition, but he did create a collage, Ninth Street Collage (c55), which incorporates a fragment of the poster designed by Franz Kline for the show.

241. Samuel M. Kootz to Motherwell, August 24, 1951.

242. Motherwell, interview with Sigmund Koch and Jack Flam, May 12 and 13, 1986.

243. Motherwell, “The Rise and Continuity of Abstract Art,” 1951; in Motherwell 2007, pp. 160–61.

244. “On the Radio,” New York Times, October 15, 1951.

245. Scotchlite was composed of ground colored glass attached to a paper backing; it had the texture of fine sandpaper and was manufactured for use in highway signs. A small model of Motherwell’s composition, not made by Motherwell, assembled prior to the fabrication of the full scale copy, is in the Dedalus Foundation Archives.

246. Between 1986 and 1991, Motherwell took legal action to prevent the sale of two panels of the Scotchlite copy as works created by him. He repeatedly asserted, “I did not make the ‘Scotch-lite’ version” and submitted to a deposition in a lawsuit against a dealer, by a collector who had not been informed that Motherwell did not consider the work to be by him. Motherwell’s letter about the Scotchlite copy, November 5, 1986, is in the Dedalus Foundation Archives, along with documents related to the lawsuit.

247. “Art Festival: New Mural Technique by Robert Motherwell,” in “On the Radio,” New York Times, October 16, 1951. See also Motherwell, “An Experiment in a New Medium,” 1951.

248. Jasper Johns, for example, stated in an interview, “I first went to see [Duchamp’s] work in the Arensberg Collection when someone referred to me as ‘neo-Dada,’ and I did not know what Dada was. Then I read the Motherwell book on Dada and Surrealism.” Christel Hollevoet, ed., Jasper Johns: Writings, Sketchbook Notes, Interviews (New York: Harry N. Abrams, 1996), p. 179.

249. The Dada Painters and Poets was originally scheduled for publication in the autumn of 1949 but was delayed by Tristan Tzara’s temporarily withdrawing from the project. Thus, although it is officially the eighth volume of the series, it was published after volumes 9 and 10. In Motherwell’s interview with Cummings, November 24, 1971, he states that two factors led to his leaving the editorship of the series: the death of Heinz Schultz, and George and Joyce Wittenborn’s belief in an astrologer who advised them it was no longer propitious to work with Motherwell after reading his astrological chart. Schultz, however, died nearly two years after the publication of The Dada Painters and Poets and Modern Artists in America. An equal factor must have been Motherwell’s increased responsibilities as a professor at Hunter College and the demands of his family.

250. Motherwell, “Notes,” in Stuart Brent Presents Cy Twombly, 1951; reprinted in Motherwell 2007, p. 103.

251. Alfred H. Barr Jr., Matisse: His Art and His Public (New York: Museum of Modern Art, 1951).

252. Twombly’s KLU was illustrated on the exhibition announcement for the show. It is listed as cat. no. 24 in the Cy Twombly Catalogue Raisonné of Paintings, vol. 1, 1948–1960, ed. Heiner Bastian (Munich: Schirmer/ Mosel, 1992).

253. “At Pigeon Fanciers Show Here,” New York Times, December 13, 1951, p. 38.

254. Motherwell, letter to Charles Parkhurst, March 21, 1952, Allen Memorial Art Museum Records, 1916–1967, Archives of American Art, Smithsonian Institution.

255. William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution.

256. Motherwell, letter to Virginia Museum of Fine Arts, April 28, 1952; Cy Twombly artist’s file, Virginia Museum of Fine Arts Archives.

257. Kimball 1995, pp. 71–80.

258. O’Hara 1965b, p. 263.

259. Percival Goodman to Motherwell, in a letter that includes architectural drawings for a house, June 9, 1952.

260. June 15, 1952: see Motherwell 1952. June 30, 1952: see New York Times 1952; “Open Letter to Roland L. Redmond, President of the Metropolitan Museum of Art.” June 27, 1952, reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill

(Berkeley and Los Angeles: University of California Press, 1992), pp. 36–37.

261. Rosenberg 1952. Motherwell believed that Rosenberg’s idea had been inspired by his reading of Huelsenbeck’s “En Avant Dada” in Possibilities, which emphasized action over aestheticism (see Motherwell in Kozloff 1965a, p. 37).

262. Motherwell, statement in “Symposium: Is the French Avant Garde Overrated?” Art Digest, September 1953; reprinted in Motherwell 2007, p. 167.

263. Motherwell’s datebook entry for April 11, 1955, notes that it is the second anniversary of his family’s moving into the house.

264. In handwritten notes dated August 19, 1955, Motherwell stated: “Find responsibilities at home devastating, especially in relation to owning a house. Both marriages began to break on acquisition of a house.”

265. Montague A. Ullman, “Factors Involved in the Genesis and Resolution of Neurotic Detachment,” Psychiatric Quarterly 27, no. 2 (April 1953): pp. 228–39.

266. Walter K. Helmuth remembered Motherwell asking his mother, Mardi Helmuth, to give de Kooning the keys to the studio (in conversation with Tim Clifford, March 4, 2005). The publisher Barney Rosset remembered that when he purchased the property in December 1953, “De Kooning had previously rented the studio that went with the house and he left behind a lot of his things.” “Pataphysics Magazine Interview with Barney Rosset,” 2001, Pataphysics, see http://www.yanniflorence.net/ pataphysicsmagazine/rosset_interview.html.

267. Motherwell, “Preface to a Joseph Cornell Exhibition,” June 26, 1953; reprinted in Motherwell 2007, pp. 168–69.

268. Motherwell, statement in “Symposium: Is the French Avant Garde Overrated?” 1953; reprinted in Motherwell 2007, pp. 166–67.

269. The Tomb of Captain Ahab (p153), which was used as a model for Elegy to the Spanish Republic No. XXXIV (see Hobbs 1975b, pp. 222–23), was consigned to the Kootz Gallery in late February 1954, suggesting that Motherwell was far enough along with the (rather different) larger work to allow the study to leave the studio (Kootz Gallery consignment list, February 24, 1954).

270. The date of the transfer deed as per Linda Beyer, secretary to the Building Department, Village of East Hampton, New York, in an e-mail to Tim Clifford, May 7, 2010.

271. In curatorial notes by John I. H. Baur of the Whitney Museum, this “Painting” is noted as Motherwell’s “last work.” Soon after, handwritten corrections were made to the list and the title “Fish with Red Stripe” was inserted. This is the earliest documentation of the work now known as Fishes with Red Stripe (w19). Baur, curatorial notes in Robert Motherwell artist’s file, Whitney Museum of American Art Archives.

272. Fitzsimmons 1954.

273. Chicago Sun-Times, June 13, 1954. Golub was one of the early organizers of the Momentum shows.

notes to the chronology

274. Ad Reinhardt, “The Artist in Search of an Academy, Part II: Who Are the Artists?” 1954; in Art-as-Art: The Selected Writings of Ad Reinhardt, ed. Barbara Rose (New York: Viking Press, 1975), p. 202.

275. Kimball 1995, pp. 108–15.

276. Motherwell to Herbert Ferber, July 19, 1954, Herbert Ferber Papers, 1931–1987, Archives of American Art, Smithsonian Institution.

277. “Widow Asks $500,000; Sues as Result of Husband’s Death in Irish Air Crash,” New York Times, May 17, 1955, p. 16.

278. Kimball 1995, pp. 115–17.

279. Motherwell, interview with Cummings, November 24, 1971.

280. Motherwell, notes for a lecture on “The Arts and Protestant Culture,” March 16, 1955.

281. Greenberg 1955, p. 185.

282. Breslin 1993, pp. 342–48.

283. Paul Kantor to Motherwell, April 14, 1955.

284. Flight, ca. 1952, ink on paper, 16½ x 26½ in. (42 x 67.3 cm).

285. Goya: Drawings and Prints was shown at the Metropolitan Museum of Art, May 4–30, 1955. The exhibition relied heavily on loans from the Prado. See Howard DeVree, “About Art and Artists,” New York Times, May 4, 1955, p. 26. Motherwell saw the show on May 30, 1955 (datebook entry).

286. Barnett Newman, “Letter to John I. H. Baur,” in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill, commentary by Mollie McNickle (Berkeley and Los Angeles: University of California Press, 1992), p. 205.

287. Motherwell, handwritten manuscript, August 19, 1955.

288. Jim Cook, “An Incident in Manhattan . . . ,” New York Post, April 9, 1956, pp. 5, 20.

289. Kimball 1995, pp. 194–95. The woman in question was probably Natica Waterbury, who had returned to New York from Paris in late 1953.

290. “Religion: Art Needs the Church,” Time, February 13, 1956.

291. The party and its aftermath are described in Fielding Dawson, An Emotional Memoir of Franz Kline (New York: Pantheon Books, 1967), pp. 124–34.

292. Shozo Shimamoto to Motherwell, February 16, 1956.

293. Motherwell, handwritten manuscript, ca. 1956.

294. Motherwell, letter to Emerson Woelffer, March 17, 1956, Emerson Woelffer Papers, 1937–1999, Archives of American Art, Smithsonian Institution.

295. Telegram from Clement Greenberg to Motherwell, July 13, 1956.

296. “I do know that three more so-called geniuses discovered by dealer and promoter of the radical ‘isms,’ Marcel Duchamp, were to have been part of the State Department’s proposed ‘20th Century American Painters’

exhibition. They are Jackson Pollock, Robert Motherwell and William Baziotes.” George Dondero, speech to the U.S. House of Representatives, Congressional Record, July 20, 1956, p. 3. Craven 1990 provides an important analysis of Cold War politics in the 1950s. The two exhibitions canceled by the State Department and the United States Information Agency (USIA) were Sport in Art, a show organized to coincide with the 1956 Olympics, and an exhibition organized by the College Art Association that included works by Picasso, who was deemed a threat because of his opposition to the U.S. role in the Korean War. Craven 1990, pp. 98–99.

297. Motherwell, handwritten notes, July 31, 1956.

298. Finberg 1956, p. 1.

299. Ibid.; UMD Statesman 1956.

300. Sidney Janis to Motherwell, October 1, 1956. Philip Guston altered a copy of the poster for 7 Americans (the exhibition then on view at the Sidney Janis Gallery) to mark the occasion, by painting Motherwell’s name below the list of seven other artists. This poster is in the Dedalus Foundation Archives.

301. Motherwell, interview with Cummings, November 24, 1971.

302. Motherwell, “Notes,” in Museum of Fine Arts, Houston, exh. cat. 1972, p. 63.

303. William C. Seitz conducted interviews and consulted Motherwell for advice in preparing his dissertation for Princeton University, “Abstract Expressionist Painting in America: An Interpretation Based on the Work and Thought of Six Key Figures” (Seitz 1955). Motherwell wrote the introduction for the book when it was published in 1983; see Motherwell in Seitz 1983.

304. Cooper and Luke 2006, pp. 44–47. Cooper characterizes Stella’s works as “vandalizing Motherwell” but also quotes William Rubin on Stella’s admiration for Motherwell’s paintings and his objection to the Je t’aime works as rooted specifically in Motherwell’s use of French.

305. Kimball 1995, pp. 205–16.

306. Letter from Carol Kinzel to Motherwell, June 21, 1957, Record Group 4.C.III, Box 20, Folder 174. Nelson A. Rockefeller Papers, Rockefeller Family Archives, Rockefeller Archive Center.

307. Motherwell, quoted in “Motherwell Show at HCE Gallery,” Provincetown Advocate, August 1, 1957.

308. Mark Rothko, Untitled (1949), cat. no. 415a, in Anfam 1998.

309. Motherwell, “Notes,” in Bradley Walker Tomlin, exh. cat., 1957; reprinted in Motherwell 2007, p. 186.

310. Newman, “Letter to John I. H. Baur,” October 20, 1957; in Barnett Newman: Selected Writings and Interviews, p. 209.

311. Helen Frankenthaler interview, n.d. (ca. 1969), Barbara Rose Papers, 1940–1993 (bulk 1960–1985), transcript, Research Library, Getty Research Institute, Los Angeles (930100).

312. Robert Motherwell scrapbooks, [ca. 1940]–1978, Museum of Modern Art Archives, New York.

313. Motherwell, letter to “Bob” at the Metropolitan Museum of Art, February 10, 1958, Metropolitan Museum of Art Archives.

314. Helen Frankenthaler, conversation with Jack Flam, Darien, Conn., June 5, 2007.

315. Telegram from Betty Little to Motherwell, Juarez, Mexico, March 20, 1958.

316. Agreement with Bernard Reis, May 18, 1958.

317. Motherwell, interview with Sigmund Koch and Jack Flam, May 13, 1986, partial transcript, tape 3A, pp. 2–3.

318. Newsweek 1962, p. 94.

319. Motherwell to Irwin Hollander, December 17, 1965, with a statement for the title page of The Madrid Suite

320. Frank O’Hara, in a letter to René d’Harnoncourt, Porter McCray, and Dorothy Miller, June 23, 1958, quotes a postcard from Helen Frankenthaler (dated June 19) confirming that Motherwell received their cable about the controversy. Dorothy Miller Papers (DCM I.14.d), Museum of Modern Art Archives, New York.

321. Motherwell to Hollander, December 17, 1965.

322. In the exhibition catalogue for The Gifford and Joann Phillips Collection at UCLA, November 1962, Spanish Painting with the Face of a Dog (p176) is listed as “oil on primed bed linen.” Motherwell later referred to the linen as “ ‘French peasant’ sheets made out of heavy linen”; interview with Koch and Flam, May 13, 1986, partial transcript, tape 3A, pp. 2–3. The conservation department of the Tate recorded the support of Iberia No. 2 (p177) as “medium weight linen canvas.”

323. Motherwell, plate caption no. 9 in An Exhibition of the Work of Robert Motherwell, exh. cat. (Northampton, Mass.: Smith College Museum of Art, 1963).

324. Motherwell, handwritten draft of a telegram to Porter McCray, July 9, 1958.

325. Motherwell, interview with Barbaralee Diamonstein, New School for Social Research, November 17, 1977, transcript, pp. 39–40.

326. Alfred H. Barr Jr. to Motherwell, July 25, 1958.

327. Frankenthaler discussed their plans to visit Dalí and Duchamp in Cadaqués in a postcard to Bernard and Rebecca Reis, July 26, 1958, Bernard and Rebecca Reis Papers, ca. 1924–1985, Research Library, Getty Research Institute (900184).

328. Telegram from Porter McCray to Motherwell, July 28, 1958.

329. Motherwell, interview with Koch and Flam, May 13, 1986.

330. Motherwell incorporated a handbill advertisement for this performance in Les Ballets Basques de Biarritz (c138).

331. Motherwell described the bullfight in detail in his interview with Koch and Flam,

May 13, 1986. He later incorporated tickets from the bullfight into Cabaret No. 7 (c448) and Cabaret No. 12 (c453).

332. Motherwell, interview with Barbaralee Diamonstein, New School for Social Research, November 17, 1977, transcript, pp. 39–40.

333. These works are identified in the catalogue raisonné entries in volumes 2 and 3. The list was prepared for insurance purposes on August 27 by Harvey Dann, Motherwell’s shipping agent.

334. Letter from Sidney Janis to Motherwell, October 15, 1958.

335. Motherwell, letter to Nathan Halper, November 11, 1958, Nathan Halper correspondence and gallery records, 1952–79, Archives of American Art, Smithsonian Institution.

336. Tatyana Grosman, Bill Goldston, and Riva Castleman, Tatyana Grosman: A Scrapbook by Riva Castleman (Bay Shore, N.Y.: Universal Limited Art Editions, New York, 2009), pp. 92–93.

337. Goossen 1959.

338. Antoni Tàpies, A Personal Memoir: Fragments for an Autobiography (Bloomington: Indiana University Press, 2009), p. 334.

339. Motherwell in Arnason 1977b, n.p., plate no. 108. We have found no information about the Charles Ives radio festival, but the broadcast was likely scheduled for May 19, 1959, to mark the fifth anniversary of Ives’s death. Motherwell would thus have started the painting in the spring and worked on it through the summer.

340. Motherwell discussed this painting in relation to his experience at Lascaux in a lecture at the Pasadena Art Museum on March 6, 1962; the original audiotape and digital transfer are in the archives of the Norton Simon Museum of Art, Pasadena, Calif.

341. Advertisement for the HCE Gallery in the Provincetown Advocate, July 16, 1959, p. 7.

342. Paintings and Sculpture from the American National Exhibition in Moscow, essay by Lloyd Goodrich (New York: Whitney Museum of Art, 1959), p. 6.

343. Motherwell, interview for the film Robert Motherwell and the New York School: Storming the Citadel (1991) by Catherine Tatge. First draft of the script, September 8, 1987.

344. A fourth collage using a remaining scrap of this paper appears in 1973: N.R.F. Collage No. 4 (c384).

345. Motherwell, statement in “The Philadelphia Panel,” ed. by P. G. Pavia and Irving Sandler, It Is., no. 5 (spring 1960): pp. 34–38; reprinted in Motherwell 2007, pp. 198–99.

346. Letter from Motherwell to Alfred H. Barr Jr., June 2, 1960, Alfred H. Barr Jr. Papers, Museum of Modern Art Archives, New York. Ultimately Motherwell found himself unable to complete such a reconstruction and abandoned the idea.

347. Carol A. Uht to Motherwell, June 10, 1960, Record Group 4.C.III, Box 20, Folder

174. Nelson A. Rockefeller Papers, Rockefeller Family Archives, Rockefeller Archive Center.

348. The description of the Villa delle Grazie is from a letter by Helen Frankenthaler to B. H. Friedman, July 22, 1960; B. H. Friedman Papers.

349. The description “weighed down with canvases” is from a letter by Helen Frankenthaler to Bernard and Rebecca Reis, September 1, 1960, Bernard and Rebecca Reis Papers, ca. 1924–1985, Research Library, Getty Research Institute (900184). Their departure date of August 13 is known from a postcard by Frankenthaler and Motherwell to David Smith dated August 29, 1960; David Smith Papers, 1926–1965, Archives of American Art, Smithsonian Institution.

350. Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even: A Typographic Version by Richard Hamilton of Marcel Duchamp’s “Green Box,” ed. Richard Hamilton, trans. George Heard Hamilton (New York: Wittenborn, 1960). This volume was among those that Motherwell originally planned for the series in 1943; but he had no involvement with this 1960 publication.

351. The Lebron stretcher was developed in the 1950s by James Lebron, when he incorporated Knape & Vogt® Tite Joint Fasteners into his wooden stretchers to allow large-format paintings to be adjusted in accordance with the changing humidity and seasons to prevent them from warping. See Margalit Fox, “James, Lebron, a Wizard at Moving Art, Dies at 76,” New York Times, March 31, 2005.

352. “In Support of the French Intellectuals,” Partisan Review 28, no. 1 (January–February 1961): pp. 144–45. The statement was signed by forty-eight international figures including Hannah Arendt, Italo Calvino, de Kooning, Guston, Robert Lowell, Mary McCarthy, Rothko, Meyer Schapiro, Giuseppe Ungaretti, and Edgar Varèse.

353. “A Letter to the Editor of the New York Times,” New York Times, February 26, 1961.

354. Motherwell, “What Should a Museum Be?” March–April 1961; reprinted in Motherwell 2007, pp. 202–4.

355. Documentation and correspondence regarding the restoration of Granada can be found in Record Group 4.C.III, Box 20, Folder 174. Nelson A. Rockefeller Papers, Rockefeller Family Archives, Rockefeller Archive Center.

356. Engberg and Banach 2003, cat. nos. 6–7.

357. J[udd] 1961.

358. Motherwell, interview with Rudi Blesh, May 23 and 30 and June 6, 1961.

359. Motherwell, “Provincetown and Days Lumberyard,” 1978, p. 16; reprinted in Motherwell 2007, p. 309.

360. John Canaday, “Big Show, Even Bigger Question,” New York Times, September 10, 1961.

361. Engberg and Banach 2003, cat. no. 5.

362. Motherwell’s 1962 datebook records a visit by Fred W. McDarrah of the Village Voice

on February 18. He photographed Motherwell with various works in progress (see fig. 217).

363. The poem was included in Barbara Guest’s Poems: The Location of Things, Archaics, the Open Skies (Garden City, N.Y.: Doubleday, 1962).

364. Nordland 1962a, p. 22.

365. S[andler] 1962, p. 16.

366. Motherwell, “Provincetown and Days Lumberyard,” 1978, p. 17; reprinted in Motherwell 2007, p. 310.

367. Leonard Bocour introduced acrylic polymer emulsions, under the Aqua-Tec brand name, in the early 1960s. Liquitex Permanent Pigments acrylic polymer emulsion paints were introduced in 1963. After 1963, Motherwell relied primarily on Liquitex’s Permanent Pigments when using acrylic paint, although he continued using oils as his primary medium until around 1967.

368. The catalogue as originally conceived was not published; of the five artists asked to write an essay for it, Motherwell was the only one to submit a finished essay. Instead the catalogue used an essay by Elaine de Kooning outlining Kline’s achievement. Adelyn D. Breeskin, Washington Gallery of Modern Art, to Motherwell, September 18, 1962.

369. Leni Stern gave the account of Motherwell painting the mural; telephone conversation with Mary Fass of the Dedalus Foundation, June 1, 2009. In 1973, the Sterns sold their house; before moving, they donated the mural to the Smithsonian American Art Museum (Conroy 1973).

370. Motherwell, “A Conversation at Lunch,” 1963; reprinted in Motherwell 1992, pp. 137–38.

371. Newsweek 1962, p. 94.

372. Vicente 1963.

373. Motherwell, letter to the editor, Artnews 62, no. 1 (March 1963): p. 6.

374. “Cinema,” Time, March 8, 1963.

375. Engberg and Banach 2003, cat. nos. 9–15.

376. Esther Sparks, Universal Limited Art Editions: A History and Catalogue; The First Twenty-five Years (New York: Art Institute of Chicago and Harry N. Abrams, 1989), p. 170.

377. Motherwell to Barnett Newman, June 14, 1963.

378. An advertisement for the conference can be found in the Robert Motherwell scrapbooks, [ca. 1940]–1978, Museum of Modern Art Archives, New York. Other speakers included David Amram and Joseph Campbell. Motherwell’s talk “A Process of Painting” was published in 1964; reprinted in Motherwell 2007, pp. 214–17.

379. Robertson’s planned Motherwell exhibition was eventually replaced by Frank O’Hara’s 1965 Museum of Modern Art retrospective of Motherwell’s work, which traveled to the Whitechapel Gallery in 1966. A monograph on Motherwell by Robertson also failed to materialize.

380. No text exists for this lecture, though the title was commonly used by Motherwell for speaking engagements at this time and

the lecture probably followed the format of his Pasadena lecture of March 6, 1962, which combined images of his works, studios, homes, and travels.

381. During this period he occasionally hired Domenick Capobianco (b. 1928) to assist him in the studio. Motherwell to Gilbert Carpenter, December 12, 1966.

382. O’Hara 1965b.

383. Noland’s painting can be seen in an autumn 1964 photograph of Motherwell and Frankenthaler’s New York home in Motherwell 1964, p. 88.

384. “Alternative Perspectives on Vietnam,” advertisement in the Nation, September 6, 1965, n.p.

385. The Peter A. Juley & Son collection of photographs, now part of the Photographic Collection of the Smithsonian American Art Museum, documents works by Motherwell from the early 1940s through early 1965. Motherwell provided Juley with negatives for many of his early works, leading to some confusion as to which photographs Peter A. Juley & Son actually took and which they simply printed for Motherwell. The Juley firm documented works still in Motherwell’s collection from the time he joined the Sidney Janis Gallery in late 1956; older works were periodically photographed as needed for exhibitions. This created an inconsistent relationship between the chronological sequence of the works and their numbers in the Juley photograph collection. Reference numbers specific to Motherwell’s works were added to many of these copy negatives and were later used as internal references in Motherwell’s studio. The photographic archive of works from 1941 to early 1965 in the Dedalus Foundation Archives is composed largely of these 8 x 10–inch blackand-white photographs, which are referred to as Juley photo nos. 1–463.

386. Engberg and Banach 2003, cat. no. 16, as Ten Works by Ten Painters. The portfolio also included prints by Stuart Davis, Robert Indiana, Ellsworth Kelly, Roy Lichtenstein, George Ortman, Larry Poons, Ad Reinhardt, Frank Stella, and Andy Warhol.

387. Motherwell, “The Motherwell Proposal,” in Seminar on Elementary and Secondary School Education in the Visual Arts (seminar at New York University, October 8–11, 1964), ed. Howard Conant (New York: New York University, 1965), pp. 203–9.

388. Motherwell, letter to Charles Parkhurst, n.d. (ca. November 1964), Baltimore Museum of Art Archives.

389. Panel discussion “Cubism in American Painting,” February 7, 1965, reel-to-reel collection, A0004, Solomon R. Guggenheim Museum Archives, New York.

390. Motherwell, 1965 datebook.

391. The recording Motherwell listened to was probably by the Juilliard String Quartet: Berg: Lyric Suite; Weber: 5 Pieces for String Quartet, Op. 5; 6 Bagatelles, Op. 9, released in 1961 (RCA Victor LM 2531; stereo LSC 2531).

392. “End Your Silence,” New York Times, April 18, 1965.

393. Motherwell, “Addenda to MoMA Lyric Suite Questionnaire—from Memory . . . with Possible Chronological Slips,” August 8, 1969; reprinted in Motherwell 2007, pp. 232, 235. 394. Kozloff 1965a.

395. Motherwell to Frank O’Hara, August 18, 1965. The edited version that was included in the 1965 Museum of Modern Art exhibition catalogue is reprinted in Motherwell 1992, pp. 148–55.

396. Motherwell to Walter Gropius, August 29, 1965.

397. John Canaday, “Each Man to His Own Cup of Tea,” New York Times, October 17, 1965.

398. Kozloff 1965b, p. 257. See also Lippard 1965.

399. Engberg and Banach 2003, cat. nos. 21–30.

400. See Arnason 1966a, Arnason 1966b, Arnason 1969, Arnason 1976, Arnason 1977b.

401. Motherwell, letter to Walter Gropius, February 9, 1966.

402. The poster for Hommage à Caissa, which was designed by Duchamp, includes images of the postcards sent to the artists asking them to participate in the show. Duchamp photographed the returned cards, which contained the signatures of the artists and notations confirming their agreement to donate works to the show.

403. Telegram from Irving Petlin to Motherwell, February 11, 1966.

404. Motherwell to Bryan Robertson, April 1, 1966, unpublished typescript. On March 18, 1966, Motherwell wrote to Robertson: “[I] am just now beginning on the Gropius mural which I must finish before we go to Venice in early June.”

405. “Television,” New York Times, March 23, 1966.

406. Engberg and Banach 2003, cat. nos. 37–44. The livre d’artiste with Huelsenbeck’s poems was never realized.

407. Motherwell attended the opening, according to his datebook entry for April 19, 1966.

408. Motherwell to Walter Gropius, April 20, 1966.

409. Ibid., May 23, 1966.

410. Engberg and Banach 2003, cat. no. 54. 411. See Currier 1966. For more detail on the controversy, see the Comments for p366.

412. Motherwell, quoted in Fenton 1966.

413. Telegram from Sen. Edward M. Kennedy to Stephen Weil, Marlborough-Gerson Gallery, August 17, 1966.

414. Motherwell and Frankenthaler attended Smith’s opening with the painter Theodoros Stamos.

415. Letter from Herbert Ferber to Motherwell, February 7, 1967.

416. Motherwell, “The Present and Future State of Modern American Art,” February 27, 1967.

417. “Motherwell: On His Works in the MoMA Collection,” March 18, 1969.

notes to the chronology

418. Engberg and Banach 2003, cat. no. 57.

419. Motherwell, “On Rothko,” March 10, 1967; reprinted in Motherwell 2007, pp. 230–31.

420. Motherwell’s lists of potential titles for the Documents of 20th-Century Art are in the Arthur Cohen Papers, Yale University, New Haven, Conn. From 1972 to 1980, Viking Press published the series as the Documents of 20th-Century Art, with Motherwell as general editor and Arthur A. Cohen as managing editor. In 1980, the series moved to G. K. Hall and its name was changed to the Documents of Twentieth Century Art, with Motherwell and Jack Flam as general editors. After Motherwell’s death the series continued as the Documents of Twentieth Century Art with Jack Flam as general editor. The University of California Press (Berkeley and Los Angeles) became the publisher beginning in 1995.

421. Hans J. Kleinschmidt, “The Angry Act: The Role of Aggression in Creativity,” American Imago, spring–summer 1967, pp. 98–127. The section devoted to Motherwell is on pp. 117–27, and the phrase “an accomplished painter of great originality” appears on p. 117. Kleinschmidt’s article gained notoriety in 1985 when Jeffrey Berman identified Philip Roth as the subject of another case study in it; see Jeffrey Berman, The Talking Cure: Literary Representations of Psychoanalysis (New York: New York University Press, 1985), pp. 239–69.

422. A draft of a letter by Motherwell to Abigail Angell of Harper’s Magazine, dated December 27, 1968, explained his evolving position on the war.

423. Motherwell to Herbert Ferber, September 18, 1967, Herbert Ferber Papers, 1931–1987, Archives of American Art, Smithsonian Institution.

424. See Simon 1967a, p. 16, and the interview with Motherwell in Simon 1967b, pp. 20–23; the latter is partially reprinted in Motherwell 1992, pp. 156–67.

425. Motherwell to Ferber, September 18, 1967: “[I] got in a terrible depression at Ad Reinhardt’s death. . . . Mark phoned me about Ad, & wanted me to take over the arrangements, but I couldn’t face it, especially as it was in E. Hampton, which is filled with terrible memories and faces for me.”

426. Bill Berkson to Motherwell, May 27, 1970.

427. Barnett Newman, “Letter to the Editor,” Art International 11, no. 7 (September 1967): p. 51.

428. Motherwell, “Letter to the Editor,” Art International 11, no. 8 (October 1967): p. 38.

429. Newman, “Letter to the Editor” (September 1967), pp. 24, 27; letters to the editor from both Newman and Motherwell in Art International 12, no. 1 (January 1968): p. 41.

430. Hare 1967.

431. In an upublished draft of a planned response to Hare’s criticisms, Motherwell wrote, “how can one apparently be amicably acquainted more than 20 yrs with X & not realize he hated you? Stupid indeed.”

432. See also Cooney 1968.

433. Burckhardt photo no. bu6, in the Dedalus Foundation Archives. Motherwell’s datebook records the visit by Burckhardt on November 13. Two days earlier, Helen Frankenthaler commented on the works in their house in an article in the New York Post: “The first picture we hung, is the one in the hall given to us by Kenneth Noland. And the others so far are my husband’s—‘The Homely Protestant’ and another I call ‘the Ochre Door.’ ” Agnes Murphy, “At Home with . . . Helen Frankenthaler,” New York Post, November 11, 1967.

434. In Motherwell’s 1968 datebook, two visits by Mulas are recorded, November 14 and November 22, both as “Mulas to Studio.” It is not known on which day the photo in question was taken.

435. Motherwell discusses five works in the New England Elegy series, not all named and numbered as such, in “Motherwell: On His Works in the MoMA Collection,” March 18, 1969.

436. This diagram by Motherwell (see fig. 116 in this volume) was drawn in December 1967 or January 1968 and illustrates the first five large paintings of what he later named the Open series (p397–p399, p406, and p409).

437. Frankenthaler’s account of the Mexico trip is in a letter to Robert Shoenberg, May 13, 1968; copy in Dedalus Foundation Archives.

438. Francis K. Lloyd to Motherwell, May 6, 1968.

439. Engberg and Banach 2003, cat. no. 114. For Motherwell’s comments on the first print made for A la pintura, see the plate caption for “Black” 1–3, in Robert Motherwell and Diane Kelder, Robert Motherwell’s A la Pintura: The Genesis of a Book, exh. cat. (New York: Metropolitan Museum of Art, 1972), n.p.

440. At this time, Motherwell sold the house he had previously owned in Provincetown, at 622 Commercial Street, and began using the Sea Barn as both studio and residence.

441. Engberg and Banach 2003, cat. no. 60.

442. Motherwell, letter to Herbert and Edith Ferber, July 24, 1968.

443. Ibid.

444. Dan Sullivan, “Artists Agree on Boycott of Chicago Showings,” New York Times, September 5, 1968, p. 41.

445. Engberg and Banach 2003, cat. nos. 111–31.

446. Motherwell to Carla Panicali, January 16, 1969.

447. The central linear configuration of this canvas, which consists of a triangle with a vertical line rising from each of its angles, had previously been used by Motherwell for the print A la pintura:White 10–13 (Engberg and Banach 2003, cat. no. 128).

448. Engberg and Banach 2003, cat. no. 61. 449. Ulfert Wilke, “From the Journals,” foreword to Willard L. Boyd, An Artist Collects: Ulfert Wilke—Selections from Five Continents, exh. cat. (Iowa City: University of Iowa

Museum of Art, 1975), p. 36. The anonymous seventeenth-century Japanese painting that Motherwell acquired from Wilke is illustrated in The Third Mind: American Artists Contemplate Asia, 1860–1989, exh. cat. (New York: Solomon R. Guggenheim Museum, 2009), p. 152, fig. 51.

450. Francis K. Lloyd to Motherwell, December 10, 1968.

451. Motherwell, postcard to himself, February 2, 1969.

452. A letter from Francis K. Lloyd to Motherwell, May 6, 1968, states that production time for the catalogue would be approximately three months. Thus we can assume that Motherwell had settled on the title “Open” by early February 1969. The definition of open from the Random House Unabridged Dictionary was typeset by Marlborough’s London printer for use as an introduction or appendix to the catalogue on February 19, 1969, but not used; the proof sheets are in the Dedalus Foundation Archives.

453. Although Motherwell said that he was surprised by the relationship between the Open paintings and his work of 1941–42, Recuerdo de Coyoacán (p8) can be seen in a November 1967 photograph of Motherwell’s studio (see fig. 112).

454. Consignment list prepared by Marlborough-Gerson Gallery, April 26, 1969.

455. Grace Glueck, “Modern Museum’s Policy On Artists’ Gifts Assailed,” New York Times, June 12, 1969, p. 50.

456. “Artist Defends Modern Museum in a Dispute over Soliciting Art,” New York Times, June 13, 1969, p. 40; Art Museum, Princeton University, 1973, exh. cat., p. 63.

457. The collection “Robert Motherwell: Writings on Art,” housed at the Getty Research Institute, is composed of the papers collected by Cohen for his planned volume of Motherwell’s writings.

458. Motherwell, Museum of Modern Art questionnaire on the Lyric Suite, August 8, 1969. And “Addenda to MoMA Lyric Suite Questionnaire—from Memory . . . with Possible Chronological Slips,” August 8, 1969; reprinted in Motherwell 2007, pp. 232–35.

459. Letter from Kynaston McShine to Motherwell, October 7, 1969. See Engberg and Banach 2003, nos. 168, 171, 184–91.

460. Datebook entry, October 9, 1969.

461. In a note Motherwell wrote on the card sent to Dr. Montague A. Ullman inviting him to his January 14, 1963, lecture at Smith College, Motherwell stated, “Am thinking of moving to New England country next year.”

In 1967 Motherwell subscribed to Country Life, a magazine featuring homes available for sale in England, pages from which found their way into several collages of the period: see c180, c188, c205, and c212.

462. In 1973 Motherwell called his relationship with the Marlborough-Gerson Gallery “a cold, monstrous situation” and said, “It should be warmer, more humanistic. I once asked them for a loan and somebody there told me that I’d be rich when I’m dead.” David L.

Shirey, “Frank Lloyd and the Marlborough: Art and Success; Sales of $30-Million,” New York Times, May 21, 1973.

463. David Mirvish to Motherwell, December 22, 1969; and Motherwell to David Mirvish, January 2, 1970. A handwritten draft of a letter dictated by Motherwell to Ellen Grand around June 1970 outlined the terms of the agreement between Motherwell and Mirvish.

464. “Robert Motherwell at the St. Paul’s School: On the Humanism of Abstraction,” 1970; reprinted in Motherwell 2007, pp. 250–55. 465. Engberg and Banach 2003, cat. nos. 69–98. 466. “Statements of Robert Motherwell and Helen Frankenthaler, Artists,” Environmental Quality Education Act of 1970: Hearings on H.R. 14753 Before the Select Subcommittee on Education of the Committee on Education and Labor House of Representatives, 91st Cong., 2nd sess., March 24, 1970 (1970), pp. 24–32; reprinted in Motherwell 2007, pp. 256–65.

467. Painters Painting, 1972; see Filmography. De Antonio’s interview with Motherwell was later printed in De Antonio and Tuchman 1984.

468. Motherwell, “The Universal Language of Children’s Art, and Modernism,” 1970; reprinted in Motherwell 2007, pp. 266–70. 469. Motherwell to David Mirvish, ca. May 1970.

470. Motherwell’s datebook entry for May 19, 1970, reads “Paints background of 18' 4" ciel blue painting.” On May 20 he notes, “Finish drawing on big blue painting.”

471. Grace Glueck, “Artists to Withdraw Work at Biennale,” New York Times, June 6, 1970, p. 27.

472. Motherwell, “23 Summer 1970 Pictures” list, n.d. (ca. September 1970). Motherwell subsequently gave one additional work from the series a number: Open No. 184 (p508), but this was done retroactively and as a result does not accord with the numerical sequence.

473. “Thoughts on Drawing,” 1970; reprinted in Motherwell 2007, pp. 247–49. The exhibition’s first venue was the Cooper-Hewitt Museum of Design, New York, March 10–May 9. The catalogue was produced for the traveling portion of the show, which opened at the Corcoran Museum of Art in Washington, D.C., on September 25, 1970, and toured through 1972.

474. Motherwell, “On Rothko” [December 1970] (eulogy delivered at the National Institute of Arts and Letters, New York, January 28, 1971); printed in Motherwell 1992, pp. 197–201.

475. Paz’s poem was inspired by Motherwell’s statement, “I am interested in the skin of the world, the sound of the world. Art can be profound when the skin is used to express a judgment of values,” in Ashton 1971, p. 112.

476. Helen Frankenthaler, Wales, 1966, acrylic on canvas, 115 x 46 inches. Motherwell donated the painting anonymously to the National Gallery of Art, Washington, D.C., in 1981. He owned five other works on paper by Frankenthaler.

477. In his datebook for July 14, 1971, Motherwell noted: “big depression.” This entry corresponds with his account of the dramatic circumstances under which he painted the third version of At Five in the Afternoon (p647), in an interview with Martin Friedman and Dean Swanson at the Walker Art Center, August 1, 1972. This new painting was sent to the Provincetown Art Association as Elegy to the Spanish Republic No. 120 in August, per Motherwell’s 1971 datebook, but there is no record of it having been exhibited there.

478. Richard Aakre, in conversation with Tim Clifford, New York, October 29, 2004.

479. Motherwell to Michael Hecht, January 2, 1972.

480. These photographs are referred to as “studio inventory photos” in the catalogue raisonné entries in volumes 2 and 3 of this publication.

481. No transcript of this lecture survives. The title and dates of the lectures are known from a letter from Ulfert Wilke to Motherwell, January 25, 1972, and from a schedule sent to Motherwell by Wilke several weeks later.

482. Cigarette packages from other brands were also used, including HB and Ernte, but all were consistent with the methods he developed in the Gauloises series.

483. Motherwell in Enright 1989, p. 12. 484. Engberg and Banach 2003, cat. nos. 111–31.

485. Motherwell, “Notes,” in Museum of Fine Arts, Houston, exh. cat. 1972.

486. Engberg and Banach 2003, cat. nos. 142–52 and nos. 162–67.

487. Engberg and Banach 2003, cat. no. 141. 488. Ashton 1972.

489. Motherwell, “Parisian Artists in Exile: New York, 1939–45,” 1977; reprinted in Motherwell 2007, pp. 291–307. Dore Ashton had been engaged by Motherwell to edit Picasso on Art: A Selection of Views, published in the Documents of 20th-Century Art series in 1972. Ashton was involved with many other projects with Motherwell, including curating his 1975 retrospective exhibition at the Museo de Arte Moderno, Mexico City; contributing an essay to the revised edition of H. H. Arnason’s monograph on Motherwell, in 1982; and wr iting an essay for the catalogue of the 1983 Albright-Knox Art Gallery retrospective.

490. The title of Robert Fritz’s composition was taken from a line in Robert Frost’s poem “West Running Brook.”

491. Motherwell, in a June 10, 1974, letter to Ellen C. Oppler, mentions that he has started work on the new paintings.

492. The most detailed discussion of Motherwell’s various studios and the role they played in his working process is found in a draft of a long letter Motherwell wrote to Guy Scarpetta in 1977 and in the French critic’s subsequent article (Scarpetta 1977).

493. Motherwell, datebook entry for July 2, 1974.

494. Rosalind Krauss, “Changing the Work of David Smith,” Art in America, September/ October 1974, pp. 30–34.

495. Motherwell, quoted in Hilton Kramer, “Altering of Smith Work Stirs Dispute; Stripped of Paint,” New York Times, September 13, 1974, p. 28.

496. Motherwell, letter to Candida and Rebecca Smith, September 28, 1974.

497. Engberg and Banach 2003, cat. no. 169. Tyler’s technical abilities opened up new avenues for Motherwell’s prints and collages over the next seventeen years, allowing for an increase in scale and a new relationship between object and gesture. The proximity of Tyler Graphics Ltd. also allowed Motherwell a regular escape from the isolation of his Greenwich studio. At Tyler Graphics he had the opportunity to socialize with a wide variety of artists, including Roy Lichtenstein, David Hockney, Frank Stella, and Joan Mitchell.

498. Motherwell to Lee Eastman, Clement Greenberg, Ira Lowe, and John Mannix, November 13, 1974.

499. Art Letter 1975, p. 3.

500. Engberg and Banach 2003, cat. no. 192.

501. Carmean 1980, p. 81.

502. Carmean 1978, p. 116; this was confirmed by Claus Colsman-Freyberger in conversation with Katy Rogers and Tim Clifford, October 5, 2006.

503. The Tomlin retrospective opened at the Emily Lowe Gallery, Hofstra University, Hempstead, N.Y., on April 17, ran there until May 25, and was shown at the Albright-Knox Art Gallery from September 26 to November 9 before traveling to further venues. The inter view with Motherwell was recorded for research purposes on a black-and-white VHS tape; a DVD transfer now exists in the AlbrightKnox Art Gallery Archives.

504. Motherwell, datebook entry for October 17, 1975.

505. Terenzio and Belknap 1980.

506. With the 1975–76 season, Knoedler Contemporary ceased to exist as a separate entity and the gallery became known simply as Knoedler & Company, with Lawrence Rubin as director.

507. Omnibus: Art USA: New York Real, New York Abstract, 1977; see Filmography.

508. Motherwell, “Parisian Artists in Exile: New York, 1939–45,” 1977; reprinted in Motherwell 2007, pp. 291–307.

509. Among the works exhibited for the first time in the Paris retrospective were Wall with Graffiti (p195), Totemic Figure (p212), Elegy to the Spanish Republic No. 84 (p232), Open No. 162: In Blue with Red (p562), and The Blue Painting Lesson nos. 1–5 (p842–p846).

510. Kramer 1977a; Hughes 1977.

511. Engberg and Banach 2003, cat. no. 193. 512. Scarpetta 1977.

513. Motherwell, “Words of the Painter,” 1978; reprinted in Motherwell 2007, pp. 312–14.

514. Tallmer 1977.

515. Maloon 1978.

516. Motherwell, interview with Betty Fiske and Rita Albertson, December 11, 1980.

517. Motherwell, “Words of the Painter,” 1978; reprinted in Motherwell 2007, pp. 312–14.

518. Discussions of a revised second edition of Arnason’s book had begun during the autumn of 1978. See Motherwell to H. H. Arnason, November 29, 1978.

519. Motherwell, “Provincetown and Days Lumberyard,” 1978; reprinted in Motherwell 2007, pp. 308–11.

520. Various letters to Motherwell recount the moving ceremony in which the works were presented to representatives of the universities. The University of Coimbra has no record of the work, and its current whereabouts are unknown (see the Comments for w535).

521. Motherwell, handwritten note, October 1978.

522. When the series was moved to G. K. Hall and later the University of California Press, its name was changed from the Documents of 20th-Century Art to the Documents of Twentieth Century Art.

523. See Motherwell 1992; the memoir was never published.

524. Motherwell, “The International World of Modernist Art, 1945–1960,” 1980; reprinted in Motherwell 2007, pp. 317–18.

525. The phrase “drunk with turpentine” comes from the ninth poem in Christopher Logue’s book The Man Who Told His Love: 20 Poems based on Pablo Neruda’s “Los Cantos d’Amores” (London: Scorpion Press, 1958), p. 18.

526. Motherwell, “A Note by the Artist: On Collaboration,” 1980; printed in Terenzio and Belknap 1980.

527. Engberg and Banach 2003, cat. no. 263.

528. Engberg and Banach 2003, cat. no. 282.

529. Glueck 1981, p. C25.

530. Engberg and Banach 2003, cat. no. 289.

531. Motherwell, “Remarks,” October 30, 1982; reprinted in Motherwell 1992, pp. 259–62.

532. “Kafka’s Visual Recoil: A Note,” 1983; printed in Partisan Review 51 (1984–85): pp. 751–54; reprinted in Motherwell 2007, pp. 336–38.

533. “A Collage for Nathan Halper in Nine Parts” (eulogy for Nathan Halper, August 12, 1983); printed in Motherwell 1992, pp. 267–69.

534. Motherwell’s entry in his datebook for September 30, 1983, includes the words “Near heart attack.”

535. Engberg and Banach 2003, nos. 323–52.

536. Motherwell, “Introduction: A Note on Robert Osborn,” March 1984.

537. Engberg and Banach 2003, nos. 350–52. Other participants in the portfolio included Eduardo Chillida, José Guerrero, Matta,

Antonio Saura, Rufino Tamayo, and Antoni Tàpies.

538. Copies of the tributes can be found in the Dedalus Foundation Archives.

539. Engberg and Banach 2003, cat. nos. 445–67.

540. Among the statements written by Burt are “John Paul is Good—Reagan is Bad!” “Antichrist Ronald Reagan 666,” and “Come Quickly Lord Jesus, Be Baptised now before it’s too late” (Carroll 1985, p. 32). On Motherwell’s canvas he wrote: “New Testiment The Epistles of St James to be behold by all man & Christ is King &.” Photographic documentation of the damaged canvas is in the Dedalus Foundation Archives.

541. Details of the treatment and the correspondence between Motherwell’s studio and the Williamstown Regional Art Conservation Laboratory at the Clark Art Institute (1985–87) are in the Dedalus Foundation Archives. 542. Brooke 1985, p. 26.

543. Motherwell, “A Personal Recollection,” 1986; printed in Motherwell 2007, pp. 346–50. 544. Motherwell chose not to travel to Madrid because of concerns about his health.

545. Grace Glueck, “Halt Urged in Work on Sistine and ‘Last Supper,’ ” New York Times, June 30, 1987. Others who signed the petition included Christo, Eric Fischl, Robert Rauschenberg, James Rosenquist, Susan Rothenberg, George Segal, and Andy Warhol.

546. Motherwell, interview with Hayman, July 12–13, 1988; partially printed in Hayman 1988; partially reprinted in Motherwell 1992, pp. 283–89.

547. Engberg and Banach 2003, nos. 387–414. 548. Motherwell, interview with Hayman, May 23–29, 1989, transcript, p. 10.

549. Engberg and Banach 2003, cat. no. 526.

550. Engberg and Banach 2003, cat. no. 520. 551. Motherwell, interview with Teresa del Conde, July 12, 1991.

The Making of a Motherwell

Catalogue Raisonné

Jack Flam

Setting Parameter S

At first glance, what should be included in a catalogue raisonné seems self-evident: everything. But as the research is done for a catalogue raisonné, one realizes that even everything, usually thought of as an absolute, becomes a relative term. The question that has to be asked is: Everything that is part of what? If every catalogue raisonné is different from every other catalogue raisonné, that is because every artist is different from every other artist. So in order to proceed in good conscience with any catalogue raisonné, the parameters for that particular undertaking must be set.

For example, early on a decision was made that this catalogue raisonné would include paintings, paintings on paper, and collages, but not drawings, since most of Motherwell’s drawings are quite different in spirit from his paintings and collages, and we felt that they would be better published in a separate catalogue at a later date. At the same time, we also realized that some of Motherwell’s drawings that were executed with a brush and ink, gouache, or watercolor had a good deal in common with his paintings on paper. One of our first tasks was to define the difference, in these cases, between a painting on paper and a drawing. Firm conceptual distinctions between drawings and certain kinds of paintings were less clear for artists of Motherwell’s generation than they had been traditionally; this was one of the many revolutionary aspects of their originality. Moreover, the absence of preparatory underpainting and the direct application of paint on unaltered white grounds created expressive and spatial effects in their paintings that were similar to those traditionally created by the relationship of brush marks on blank paper in drawings. Our distinctions between paintings on paper and drawings, then, would have to be based on the materials used in individual works.

In most cases, these distinctions were fairly easy to make. But here again, there were exceptions, and in some cases when we examined a work on paper it was difficult to ascertain the exact medium that Motherwell used in its execution without undertaking a scientific analysis of it (a costly and time-consuming process usually made impossible by the inaccessibility of so many of the works that raised such questions). Where testing was not practical, we relied on written descriptions of works found in gallery records, museum records, and in Motherwell’s own studio records. In at least a handful of cases, these too were contradictory, with the same picture being described by different apparently dependable sources as having been done in oil, in gouache, and in ink. In a few cases, we therefore had to rely on educated guess, based on the date of the work, its physical characteristics, the relative reliability of the various written descriptions of it, and the time and place in which the written descriptions were made. In such instances, we usually—but not always—gave priority to early descriptions that originated with the artist.

Because a catalogue raisonné aims to present as coherent an account of the artist’s oeuvre as is possible, within the parameters of variation set up by the artist himself, on rare occasions we have made an exception to the distinctions just discussed, in order to keep major groups of pictures together. When such an exception is made, it is noted in the Comments for the work. For example, a few of the Africa Suite paintings on paper technically contain collage elements (see w345–w348, w351), but they are grouped with the rest of the series as paintings on paper; and although some of the nearly six hundred ink-on-paper Lyric Suite drawings of 1965 appear to have small touches of paint in certain areas, we have nonetheless considered all the works in that series to be drawings and have therefore not included any of them in this catalogue.

Another issue had to do with when to start. We thought it was appropriate to include only Motherwell’s mature works in the catalogue raisonné proper, and we took 1941 as a starting date, based on our review of all his known early pictures and our consideration of his own judgment that his mature work as an artist began in the summer of 1941, when he definitively decided to become a painter and produced his first mature paintings during a trip to Mexico.1

But although Motherwell said that he had little formal training in art, he had in fact been painting and drawing since he was a child, and had taken courses at the Otis Institute of the Arts and the California School of Fine Arts. During the period from the late 1930s to mid-1941 he produced a number of pictures (some of which he exhibited in Paris, California, and Oregon), but only a few of them have survived (see Early Works, in this volume). He himself had mixed feelings about these pictures. In at least one instance, he traded a recent collage for an early painting on paper in order to remove the early painting from public view; see the Comments for Descent from the Cross (ew.Xiii) and Scarlet with Gauloises No. 10 (c299). At another time, he claimed through an intermediary that one of his early pictures was not by him (see ew XVi). Yet during the time between 1937 and the summer of 1941 he had exhibited, sold, or given away some of these early pictures, and he also held on to a number of them. He left these, along with all the other works that remained in his possession, his personal papers, and his studio records, to the Dedalus Foundation, which he founded in 1981, with the express intention that the foundation would eventually undertake a catalogue raisonné of his work. While we did not feel that Motherwell’s early pictures belonged in the catalogue raisonné proper, we feel strongly that they cast light on Motherwell’s mature production and should be made known. So the Early Works section in this volume contains reproductions with short descriptive entries of all the known surviving unique works in all mediums that Motherwell did before the summer of 1941. These works have been given the designation EW and have been assigned roman numerals in order to distinguish them from works in the catalogue raisonné proper.

Organizati O n by m edium

We have given the works in this catalogue raisonné numbers that reflect their different medium categories, designated by the prefixes P (for paintings on canvas or panel), C (for collages), and W (for paintings on paper or paperboard). (The prefixes used in the first two categories correspond to the initial letter of the word that describes the category; but since we did not want to risk confusion by using PP for paintings on paper, we used the more arbitrary W for these painted works on paper. When the catalogue raisonné of drawings is eventually published, the prefix D will be used.) Within each of these categories, the works are arranged in chronological sequence (see the “Usage Guide to the Catalogue Entries” for a detailed discussion of how these categories have been defined).

Motherwell himself catalogued his works according to medium, and he was acutely aware of the particular significance that the separate mediums he worked in had in relation to his oeuvre as a whole.

During the last two decades of his life, when he often worked on paintings and collages in separate studios, he repeatedly remarked on how different his practice was in those two mediums. Similarly, his paintings on paper generally represent a rather different kind of undertaking from his paintings on canvas and panel: they are usually smaller and less richly worked, and they generally were executed within a shorter span of time and were less frequently revised.

wO

rk S t hat m ay nO lO nger eX i S t

A major decision had to do with whether we would include works that are known only from photographs and that we are not sure still exist; or, if they do still exist, that may not still be in the same form as illustrated in this publication. In order to make decisions about the inclusion or exclusion of such works, we carefully examined our lists of “ghosts”—that is, works that appear in some written record, but of which we have found no image—and our lists of “unidentified works,” that is, works for which we have a photographic image but to which we have not been able to assign a title, and for which we frequently do not have dimensions. (The titles of pictures designated as “ghosts” that were exhibited are given in the “List of Exhibitions” under the individual exhibitions in which they appeared.) In determining which works to include, we decided that most pictures that are known only from photographs should be included, even though we understand that it is possible that some of those pictures, which are included here as discrete works, may in fact have been only early states of pictures that were later revised or that no longer exist. In order to avoid including works that may have been later revised by Motherwell, we have made a great effort to determine whether any of these works might be buried under the paint film of a later work of the same size. And indeed, in some cases, we found works that were painted over

earlier ones with different titles; these include In Yellow and Black (P46), Le Printemps (P667), and The Bridge (P1071). So far, only one instance has emerged where a work to which we had decided to give a catalogue raisonné number turned out not to have an independent existence: this is the untitled painting (originally given the number P140) that was found to be on the verso of Castile (España) (P131).

Given this situation, we feel comfortable about including works known only from photographs (clearly marked as such) because they comprise an important part of Robert Motherwell’s production as an artist; and since most have never been seen before, their inclusion here will aid future scholarship on Motherwell and his art.

For similar reasons, we have decided to include unfinished paintings—always clearly marked here as such—and to place them in the catalogue raisonné along with finished paintings rather than in a separate section. Placing them in this way allows the reader to see how these (very few) unfinished works fit into Motherwell’s oeuvre as a whole. All of these unfinished paintings, it should be noted, were in the artist’s possession when he died, and were therefore left to the Dedalus Foundation.

S O urce S OF i n FO rmati O n, eSPecially Ph O t O gra Ph S

Documentary information and photographs from a wide range of sources helped determine the titles, dates, and sequencing of the works in this catalogue raisonné. Some of these sources are published—in books and articles, exhibition catalogues, and auction records—and some unpublished. The latter include Motherwell’s studio records and personal archives, exhibition records, gallery checklists, shipping lists, invoices, and storage inventory lists, as well as documents in other archives.

Over the course of his career, Motherwell used different systems of written and photographic documentation of his work, and so the kinds of information available for different periods vary a fair amount. For the first thirty years of his life as a professional artist, he left photographic documentation largely to his dealers. During the years he showed at the Samuel M. Kootz Gallery (1945–55), most of the photography of his work was done in black and white by Percy Rainford.

When Motherwell joined the Sidney Janis Gallery in 1956, most of the photography was done in black and white by Peter A. Juley & Son. Motherwell also gave Juley black-and-white prints of many of his previous works (along with some personal photographs), which Juley copied and kept negatives of (these are now posted on the web site of the Smithsonian American Art Museum). The photographs Juley took of Motherwell’s pictures were not dated, but they were given numbers within the Juley studio’s overall numbering sequence, and we have been

able to use the numbers of the photographs as an aid in establishing the relative dates of some of Motherwell’s pictures.

During the years Motherwell was associated with the MarlboroughGerson Gallery (1963–72), the gallery supervised the photography of his work, which after 1967 was done mostly as color transparencies. During this period, a number of outside photographers also took important photographs of Motherwell’s work. For example, during the fall of 1967 Ugo Mulas photographed Motherwell’s studio at a time when the first paintings in the Open series were there, with the second Open painting, In Blue (P398) seen lying on its side, tacked to the wall (see fig. 112).

Around 1964, as Motherwell became involved in the selection of works for his upcoming retrospective exhibition at the Museum of Modern Art, he made lists of the locations of many of his earlier pictures and gathered black-and-white photographs of them, which were arranged chronologically and stored in binders that he kept intact until the end of his life (and that were subsequently added to by the Dedalus Foundation). These photographs have provided us with information about a number of his early works, and in some cases are the only images we have of those works.

Motherwell changed galleries again in 1972, when he moved to Knoedler & Company (initially the Lawrence Rubin Gallery, which later merged with Knoedler Contemporary Art and M. Knoedler & Company). That same year, when Motherwell was settled into his new studio in Greenwich, he began to make a photographic record of the pictures that were in his studio. This project of taking black-and-white photographs of the pictures still in his possession was done over a period of about two years, from 1972 to 1974. A card was made for each work that was photographed, and each work was given a number, preceded by the letters PH (for “Photograph”). The numbers were not keyed to the dates or mediums of the works but were based simply on the numbers of the film rolls and of the frames within each roll. In the catalogue raisonné entries, these photographs are referred to in the Comments as studio inventory photographs, and their PH numbers are given (as in “studio inventory photo no. Ph 45-10”). These photographs have provided valuable information about the reworking of several pictures. Although the photographs were not dated, they were taken within a fairly short period of time, and the roll numbers indicate the sequence in which they were taken. Since several of the early pictures that were photographed at this time appear in a different form in earlier photographs or were later modified, these studio inventory photographs have provided us with a good deal of information about how and when Motherwell revised certain pictures.

During Motherwell’s years with Knoedler & Company, a number of photographers were involved in making transparencies of his work, including Steven Sloman, Ken Cohen, and Eric Pollitzer. Starting in

late 1974, Sloman began to photograph works in Motherwell’s studio on a regular basis. Sloman dated the color transparencies he took, which was the first time that photographs taken of Motherwell’s pictures were systematically dated. This information has allowed us to describe in detail the revisions that Motherwell made to many of his pictures. During the 1970s and 1980s, Motherwell and his assistants frequently used Polaroid cameras to take color photographs of works in the studio, often while they were in progress. These Polaroid photographs, which were sometimes attached to the studio inventory cards, have also provided a valuable visual resource for dating works and tracing their evolution.

Not until October 1977 was a comprehensive inventory system begun for Motherwell’s pictures. Initially, this included only works still in his possession, but it was eventually expanded to include works that had left the studio, as they came on the market or were called to his attention by collectors. This inventory system was the first step Motherwell took in preparing the way for an eventual catalogue raisonné. In it, each work was assigned a studio inventory number, which was organized by medium (designated by a prefix, such as P for painting, C for collage, and D for drawing) and by year, expressed as a twodigit number, as in “P75” to designate a painting done in 1975. These designations of medium and year were followed by an inventory number, as in “P75-502.” The studio inventory numbers were entered on the 5 x 8–inch studio cards that were created for each individual work (and were usually written on the backs of the works, though almost never by Motherwell himself). Each studio card contained the title, dimensions, and medium of the work, along with information about location, exhibitions, consignments, and publications; most studio cards also contained a photographic image of the work. Although the information on the studio cards was not always accurate or complete, these cards have been a valuable resource with regard to titles and changes in title, dates, revisions, and consignments.

t itle S , c hrO n O lO gical Placement, and Sequencing

As is well known, the most vexing issues that surround catalogues raisonnés usually have to do with identifying all of the works by the artist, finding out where they are and who has owned them, and deciding which works said to be by the artist were really done by him. All of these problems were, of course, raised by this present catalogue raisonné. But in a curious way, they turned out to be less daunting conceptually than the multitude of questions that arose pertaining to the titles and dates that should be assigned to Motherwell’s paintings and collages, and where they should be placed within the overall sequence of his development within this book. As the reader may imagine, a good many of these questions were directly related to Motherwell’s working

method, which entailed frequent rethinking, retitling, and revision. Valéry’s words about Degas can be applied equally to Motherwell: “He cannot see a work of his own hands without longing to destroy it or begin it over again.”2 Like Degas, Motherwell was relentlessly selfcritical, and if a painting remained in his studio or was returned to him from an exhibition, it risked being revised, often in a major way. This is because for Motherwell a painting was never really “finished” but could at best be what we might call “resolved,” or, to use Cézanne’s term, “realized.” And since such a sense of realization was not necessarily a closure but something like a pause, a kind of hiatus in the work’s existence as it moved through time, it could in principle be taken up again at almost any moment that the artist had the physical opportunity to do so.

When we sequenced works within a year, we relied upon a combination of documentary information and stylistic features in order to determine the placement of a work. We took into account whether the picture was signed and dated, and if so, whether it had been reworked after the signature and date had been inscribed on it. If a picture had been reworked, we took particular notice of its stylistic affinities with other pictures from the periods when it had been worked on, in order to determine where in the overall chronological sequence it should best be placed. Placing such pictures within a chronological sequence involved making judgments about whether it remained substantially the product of the date it was started, despite revisions, or whether it was more the product of a later revision. These decisions were not easily arrived at, and we are aware that in some cases an argument could be made for placing a picture elsewhere in the book. This, we believe, is an inevitable consequence of the way that Motherwell worked. In any case, we want to emphasize that our decision about where an individual picture should be placed was in each instance based solely upon when we believe its most essential aspects were determined, and that no value judgments about individual pictures are implied by whether they have been placed near the beginning, or midway through, or at the end of the time that Motherwell worked on them.

It is worth noting that the presence of either a frame or a signature in a documentary photograph of a picture in Motherwell’s studio did not necessarily mean that the picture was considered to be finished—even provisionally—at the time it was signed, dated, or framed. Motherwell often signed pictures while he was still working on them, sometimes because the signature was in effect part of the composition, sometimes, it seems, simply to put his mark on it. He also sometimes framed pictures before they were finished, in order to see them in a “presentation mode,” where both their strengths and their weaknesses would be more apparent. (Sometimes he repainted pictures in their frames, as in Uccello’s Space: A la pintura, P712, where the paint film clearly extends out onto the frame.) This is something that

Motherwell made a particular point of in the second, 1982 edition of H. H. Arnason’s monograph, which was the most comprehensive book about him published during his lifetime: “The fact that all the works leaning against the wall (or hanging) are framed is misleading. I sometimes put collages-in-progress into frames to separate them from their surroundings while working on them, so that framed pictures in studio shots such as this are not necessarily finished works.”3

Since the works that Motherwell left to the Dedalus Foundation are the ones that remained in his possession until the end of his life, they have provided us with an excellent opportunity to see how his process of revision and retitling worked. A good case in point—which could be multiplied dozens of times over—is Guillotine (fig. 271). At first, its placement would seem quite clear-cut. The painting is signed and dated 1966 at the lower left, and it is titled and dated 1966 on the verso. When it was first reproduced (in Arnason 1982, p. 166), it was dated simply to 1966; the next year, it was shown at Motherwell’s Albright-Knox Art Gallery retrospective, where it was reproduced on page 86 of the catalogue as a 1966 painting; and subsequent publications have always given its date simply as 1966.

But in the course of our research, we discovered photographs of the painting in earlier states that made it clear that the painting looked quite different in 1966 (see fig. 269). When it was consigned to the Marlborough-Gerson Gallery that March, it was titled Mediterranean Window, and although it already contained the central linear forms, much of the rest of the painting was quite unlike its present state. The painting was oriented upside down from the way it is now seen, and

the ground in that earliest version was painted in pale blue, green, and pink. What is now the upper rectangular part of the central linear form contained a large area of pink. At that stage, the painting was signed and dated on the verso, but not on the recto; the area of exposed white canvas ground that now contains the signature was then left blank. The picture was returned to Motherwell in November 1966, and sometime around April 1973 he painted over the pink areas with black and added the black vertical form that is now on the right side of the canvas. Taking up the canvas again between December 1979 and February 1980, Motherwell further revised it, painting over the pinks with blue, reinforcing the black lines, and turning it upside down (fig. 270). It was at this time that he inscribed the 1966 date on the recto (“RM/66”), as if to reinforce the date of conception of the original composition. He then reworked the painting a final time during the winter of 1980–81, when the reds were added, changing the mood of the composition from lyrical to rather menacing. Early in 1981, he gave the painting a new title, The Guillotine (which was inscribed on the verso), but soon after, he changed the title to the less physically specific Guillotine. It is this title that appears on a studio list of paintings being considered for Motherwell’s February 1981 exhibition at Knoedler & Company, where it was listed as “Guillotine Acrylic on canvas 1966–81.” So, in effect, this painting could be dated anywhere between 1966 and 1981; and if one were to follow literally the inscription on the verso, one could call it “The Guillotine” rather than “Guillotine” and date it (following the earlier inscription) to January 1966. The question of the title was easiest to resolve, since it involved

Fig. 271. Guillotine, 1966–81 (P352)

Fig. 270. Guillotine, as it looked ca. 1979 (Sloman photo no. 998)

Fig. 269. Guillotine, as it looked in 1966

simply noting that the title under which Motherwell subsequently exhibited the painting clearly superseded the inscribed title.

With the date, the decision was harder to make. Eventually, we decided to place it among paintings from 1966, in part because Motherwell clearly meant to do so when he inscribed it with the “66” date in 1980, but also largely because the basic composition was set in 1966, even though the canvas was later flipped upside down and largely repainted in different colors—including the bright reds, which are more typical of Motherwell’s paintings from the early 1980s than those from the mid-1960s. Another way of explaining our decision might be to say that although the painting contains strong elements from around 1980, its overall composition is closer to his paintings from around 1966. And of course, as the reader will realize, when the elements within the date for a painting represent a chronological spread as broad as fifteen years (1966/1973–81), one must keep in mind that certain aspects of its appearance will by necessity reflect different times from within that range.

As noted above, Motherwell’s inscription of the 1966 date on the front of the canvas in 1980 played a role in our placing Guillotine among paintings done in 1966. But in some cases, we have felt it necessary to place a picture in a chronological position different from the one suggested by the date Motherwell wrote on it. For example, we have placed the 1966 Guardian collages that Motherwell extensively reworked in 1986 among works with the latter date (see c742–c748) even though he let the 1966 date stand, because the revision altered them so radically. Similarly, the five paintings in the Blue Painting Lesson polyptych (P842–P846) were originally conceived of as independent works and given Open or Window titles until Motherwell decided to unite them as a polyptych. Although he left the 1973 signatures and dates inscribed on all of them, we have placed them with works painted in 1975, the year in which the five pictures in the Blue Painting Lesson polyptych were all united as a group and given their final form.

Confusion about the titles of works was sometimes the result of Motherwell’s changes of mind mixed with accident. One of his most powerful early collages, for example, was first shown in a group exhibition at Art of This Century in April 1944, as Personnage (see fig. 25). A few months later, in October 1944, it was shown in Motherwell’s solo exhibition at the same gallery, this time with the title spelled somewhat differently, and with a subtitle added: Personage (Autoportrait). The following year, the collage was reproduced in Wolfgang Paalen’s book Form and Sense (which Motherwell edited, and for which he wrote a preface), next to the title of Paalen’s essay “Surprise and Inspiration.” As a result, Peggy Guggenheim, who owned the collage, mistakenly called it Surprise and Inspiration, a title that was used for the next several decades. To complicate things

further, in 1979 Motherwell told Robert Mattison that he had originally titled this collage Wounded Personage, “a title and an image that struck Meyer Schapiro very much when I showed it to him before she [Guggenheim] made the change when she exhibited it.”4 After a good deal of reflection, we decided to use Personage (Autoportrait), the title that had been given to the collage—whether or not by Motherwell— when it was shown at his first solo exhibition in New York (especially since the collage was never actually shown as Wounded Personage, and Motherwell later discussed it as a clear self-portrait).5

Questions also arose about the titles of pictures that were part of numbered series. The large 1966 New England Elegy (see fig. 90), for example, was commissioned by the General Services Administration as a mural for the John F. Kennedy Federal Building in Boston, designed by Walter Gropius. Since Motherwell was not able to execute the mural on site, he painted two quite different versions of it, from which a choice would be made. After he and Gropius chose the version that would be installed in the building, Motherwell gave the painting that was not chosen a rather generic title, Large Painting No. 2 (see fig. 91), when he exhibited it in the U.S. Pavilion at Expo ’67 in Montreal. In 1991, he gave it a more historically self-conscious title, New England Elegy (Second Variation), when it was about to be shown at the Museo Rufino Tamayo in 1991. Since this later title was given to the painting by Motherwell, we have retained it as the official title, even though it was shown earlier under another one. The story, however, does not stop here. After Motherwell finished the mural commission, he was carried along by his own energy and undertook three more, slightly smaller, related paintings. The first of these was the third picture completed in the series (P368), which Motherwell sold in 1966 as New England Elegy No. 2 (apparently because the “Second Variation” had not yet been given an actual series number), even though he himself referred to it as “New England Elegy, #3” in a 1969 Museum of Modern Art questionnaire. Ordinarily, we would have considered using the chronologically more accurate title; but since another picture, painted in 1967, came to be known as New England Elegy No. 3 (P369), we have retained the title under which New England Elegy No. 2 was sold, and under which it has subsequently come to be known, referring to the earlier title only as an alternative title. (In 1967 the first two paintings in the series were still unnumbered, and the picture that was actually painted third, P368, was already known as New England Elegy No. 2.)

The painting that was given the title New England Elegy No. 3 (P369) is signed as such on the verso, even though it was actually the fourth painting completed in the series, and Motherwell described it as the fourth painting in that same 1969 Museum of Modern Art questionnaire. Since the title of record had been inscribed on the verso by the artist in 1967, and it has been known as such since then,

we have retained that title: New England Elegy No. 3. As a result of these circumstances, no painting in the series was given the number 4. We designate a fifth painting in the series as Untitled (P370), with the alternative title of New England Elegy No. 5, because Motherwell referred to it as “Number 5” in the series of New England Elegy paintings in that 1969 Museum of Modern Art questionnaire, even though it was never formally given that title. Because of the strong affinities between the paintings related to the New England Elegy commission, we have decided to place all five paintings together sequentially (P366–P370), even though two of them were done a year after the first three.

Not only were the titles of Motherwell’s pictures frequently changed, and some worked on over long periods of time, several of his paintings were revised after they were reproduced in publications or exhibited. In some cases, a picture that was reproduced in an exhibition catalogue was reworked before the show opened, and so was shown in a form different from the catalogue illustration. This was the case with Elegy to the Spanish Republic No. 77, which was revised after it was photographed for a 1962 Sidney Janis Gallery exhibition catalogue and shown at the gallery in its final form (see figs. 272, 273). Motherwell also reworked paintings that had been exhibited in major museum exhibitions. Iberia No. 4 (P178), originally titled The Black Bulls of Europe, was provisionally completed in 1958 and shown in January 1959 at the Museum of Fine Arts, Houston, as Iberia No. 4. That March, it was shown at the Sidney Janis Gallery simply as Iberia. It was then revised before it was exhibited (as Iberia No. 1) at Bennington College the following month, in late April 1959. (Since this painting was one of the Iberia pictures Motherwell had set the composition for when he was in southern France, at Saint-Jean-de-Luz, during the summer of 1958, we have placed it among the 1958 works.)

One of the most complicated histories of documented reworking involved Elegy to the Spanish Republic No. 132 (fig. 278), which was repainted several times both before and after being exhibited. Begun in 1975, this painting was originally based on the composition of an earlier, small-scale work, Spanish Elegy with Orange No. 3 (P644), but it subsequently underwent a number of permutations and revisions that lasted from the mid-1970s well into the next decade. In its very first version, it contained areas of orange, like the small picture on which it was modeled, but Motherwell repainted it entirely in black and white shortly afterward, and it was photographed on September 19, 1975 (fig. 274). He made significant revisions soon after this, and it looked quite different when it was photographed again on October 27, 1975 (fig. 275). He made major revisions again before it was photographed on February 10, 1976 (fig. 276),6 and it was revised yet again before it was shown at his 1977 retrospective exhibitions in Paris and Edinburgh. In 1982 Motherwell reworked it again, adding large areas of pink

Fig. 272. Elegy to the Spanish Republic No. 77, 1961–62 (P229) as reproduced in the catalogue for Motherwell’s 1962 exhibition at the Sidney Janis Gallery

Fig. 273. Elegy to the Spanish Republic No. 77, 1961–62 (P229)

Fig. 274. Elegy to the Spanish Republic No. 132 (P819), as photographed on September 19, 1975

Fig. 275. Elegy to the Spanish Republic No. 132 (P819), as photographed on October 27, 1975

Fig. 276. Elegy to the Spanish Republic No. 132 (P819), as photographed on February 10, 1976

Fig. 277. Elegy to the Spanish Republic No. 132 (P819), as photographed on December 22, 1982

Fig. 278. Elegy to the Spanish Republic No. 132, 1975–88 (P819)

and yellow ochre, before it was shown at his 1983 retrospective at the Albright-Knox Art Gallery, where it was reproduced in the catalogue (fig. 277). After it was returned to him in 1985, he revised it yet again, painting over the pink areas with ochre (see fig. 278).

Motherwell was conscious of how odd it might seem for him to have revised a picture that already had a history as part of his work. “It was an important picture in my oeuvre,” he explained to Paul Gardner, who was working on an article called “When Is a Painting Finished?” for the November 1985 issue of Artnews, “but at my age, I would rather wreck a picture than feel it to be off-key.”7

Even after Elegy to the Spanish Republic No. 132 had undergone this apparently “definitive” revision and had been reproduced in that state in Artnews, Motherwell took up the canvas again, after it was returned to him from consignment at Knoedler & Company in 1988, when he made some further minor adjustments of the areas around the left oval and in the ochres. Despite the numerous revisions that Motherwell made to this painting, we have placed it among the 1975 works, because the basic composition was set at that time. But the way we express the date for this 1975–88 painting in the catalogue raisonné entry for it reflects some of the complexity of its history of revision: 1975–77/1982/1985/1988.

In many cases, it is difficult to say exactly what prompted Motherwell to rework a given picture at a certain time. It was not simply a matter of “perfectionism,” since he himself accepted as a kind of philosophical truth that a work of art could never be perfect. The most surprising thing is how many pictures he revised—mostly paintings on canvas and panel, but also collages and paintings on paper— and also how many times he chose to repaint a picture when it would have seemed easier simply to start a new one, and how much time and effort he gave to the revision of minor pictures. It was as if he was constantly trying to find, redefine, and find again an elusive reality not only within the world but within himself.

nO te S

1. Motherwell repeated this several times. In a 1969 Museum of Modern Art Questionnaire related to the New American Painting and Sculpture exhibition, he noted that 1941 was his “first year devoted entirely to painting”; in his 1971 interview with Paul Cummings he said that 1941 “was the first year I began to paint seriously” (see “Writings by the Artist,” in the Bibliography). In September 1983, he told Stephanie Terenzio, “I date my career beginning the summer Matta and I went to Mexico; before that I was a student, not in studio but in intellectual matters” (see “Writings by the Artist,” in the Bibliography). And in his 1986 essay “On Not Becoming an Academic,” he noted that insights about abstraction that he had gained from Alfred North Whitehead had, “allowed me within six months of when I began painting full-time (for the rest of my life) in 1941 to paint a now celebrated small work called The Little Spanish Prison” (see Motherwell 2007, p. 344).

2. Paul Valéry, “Degas Dance Drawing,” in Degas Manet Morisot (Princeton, N.J.: Princeton University Press, 1989), p. 101.

3. Motherwell in Arnason 1982, p. 190; this text faces a photograph of Motherwell’s studio.

4. Motherwell to Robert Mattison, August 20, 1979; published in Mattison 1981, pp. 174–76.

5. Motherwell discussed it as such in a statement in the catalogue of A Painting Prophecy— 1950, a 1945 exhibition at the David Porter Gallery; see the Comments for c8.

6. Although the painting was not exhibited in this state, it was reproduced this way in Drudi 1984, p. 92.

7. Motherwell in Gardner 1985, p. 94.

Usage Guide to the Catalogue Entries

w hat iS i ncluded and hOw i t iS Organized

This catalogue raisonné includes detailed entries for all of the known paintings, collages, and paintings on paper executed by Robert Motherwell between the summer of 1941 and his death in July 1991. The 1941 starting date for the catalogue raisonné of Motherwell’s paintings and collages is based on Motherwell’s own judgment that maturity as an artist began in the summer of that year, when he definitively decided to become a painter and produced his first mature works during a trip to Mexico.

To provide a context for the paintings and collages in the catalogue raisonné proper, we have also included reproductions of all known surviving unique works in all mediums done by Motherwell before the summer of 1941 in an Early Works section, which follows immediately in this volume. These works are designated by a prefix of EW and assigned roman numerals.

This publication has been sponsored by the Dedalus Foundation, which was created by Robert Motherwell and inherited all of his studio records and personal archives, along with almost all the works of art in his possession at the time of his death. All studio records and personal archives—including studio photographs, datebooks, and studio inventory cards—that are referred to in this publication can be found in the Dedalus Foundation Archives. Any such materials that come from another source are noted as such.

The coauthors, in consultation with the Scientific Committee of the Dedalus Foundation’s Robert Motherwell Catalogue Raisonné Project, have reviewed and unanimously decided upon the works included in this catalogue raisonné, which reflect our knowledge as of July 31, 2009. Works that came to our attention after that date will be included in a later supplement. Ownership information, exhibitions, and references are current until roughly the middle of 2010.

The three volumes of this publication are organized as follows. The first volume contains essays about Motherwell’s career as an artist, along with a detailed chronology of his life, a comprehensive list of solo and group exhibitions of his work, and a bibliography that includes writings by him and about him, as well as references to documentary films. The second and third volumes contain the catalogue raisonné entries for Motherwell’s paintings and collages. Each of those volumes contains a “Key to the Catalogue Entries,” which is a concise version of the information contained in this Usage Guide. Within those volumes, we have divided Motherwell’s works into three different categories, based on their mediums and supports: (1) paintings on canvas or panel; (2) collages; (3) paintings on paper or paperboard. The works in each category are presented separately, in chronological order, and are numbered separately, with a different prefix before the catalogue raisonné numbers in the different categories: P for paintings on canvas and panel; C for collages; and W for paintings on paper

and paperboard. The paintings appear in the second volume, and the collages and paintings on paper appear in the third volume.

In this publication, a painting is a work executed (either wholly or in part) in the medium of paint—such as oil, acrylic, alkyd enamel, casein, tempera, or shellac—on a support of canvas, canvas board, wood, Masonite, Upson board, Bone Board, or any other composite board panel (other than paperboard).

A collage is a work in any medium, on any support, that has a pasted-on (or, more rarely, taped-on) element or elements.

A painting on paper is a painting executed in the medium of paint (as described above) on a support of paper or paperboard (board composed of pulp without added wood particles, such as rag board, illustration board, cardboard, Tycore, or mat board), or on Mylar or any similar kind of flexible plastic sheet.

Drawings, a fourth medium in which Motherwell worked extensively, are not included in this catalogue raisonné, but will be published in a subsequent catalogue dedicated to his drawings. For the purposes of this publication, drawings are works on paper without a collage element that are executed exclusively in dry mediums (such as graphite, charcoal, or crayon), in fluid mediums other than paint (such as ink, watercolor, or gouache, which is an opaque form of watercolor), or in both the dry and fluid non-paint mediums listed above.

c hrO n O lO gical Sequencing OF the wO rk S

The works within each of the three different medium categories in this catalogue raisonné (designated by the prefixes P, C, and W) have been arranged in chronological order. When we sequenced works within a year, three factors played a substantial role in determining the precise placement of a work within the sequence for that year: the exact date of execution of the work (if known); stylistic affinities with other works; and (when applicable) how the work relates to a numbered series of works. For the date of execution, we were informed by inscriptions that Motherwell sometimes made on works (for example, the day and month within a year), and also by studio documents, photographs, correspondence, gallery records, and exhibition records. In the absence of documentary information that would allow us accurately to date and place a work in the chronological sequence, stylistic affinities were used as guides for its placement. Such affinities range from general ones, such as formal similarities with other works, to features as specific as the use of collage elements torn from the same piece of paper, similar kinds of brush marks, or the use of a similar color palette. When pertinent, we give a rationale regarding placement in the Comments for the work.

As a general rule, we have grouped together works in a numbered series that were done around the same time, especially when the available chronological information about individual works within a series

is not strong enough to override the series sequencing. Motherwell was erratic in his numbering of series, which often contain both gaps and repetitions. So when a specific date is known for a work within a series that separates it from the rest of the series, we sometimes allow the date to take precedence over the work’s relationship to other works in the series. In the Open series, however, we have given precedence to numerical order even though the numbering clearly deviates from the exact chronology of the works. The first 175 Open paintings were done within a relatively short period of time, and Motherwell himself kept a detailed, numbered list of them, but the paintings were frequently numbered in groups, some time after they had been done.

t he Structure OF the e ntrie S FO r the i ndi V idual wO rk S

In each entry, information about the work is given in the following order:

Catalogue Raisonné Number

Title

Alternative Title(s)

Date

Materials (Mediums and Supports)

Dimensions

Inscriptions

Artist’s Studio Number

Present Owner

Provenance

Exhibitions

References

Comments

c atalO gue r ai SO nné n umber

Each catalogue raisonné number includes a prefix letter (P, C, or W) that designates its medium category. Works within each category are numbered separately and preceded by a letter that designates the category to which they belong: P1–P1209 for paintings on canvas or panel; c1–c889 for collages; and w1–w722 for paintings on paper or paperboard. Within each category sequence, the numbering reflects the general chronological order of works within the sequence.

t itle and a lternati V e t itle( S )

We prefer titles that are inscribed on the work, that were used in public exhibitions or publications of the work, or that reflect Motherwell’s stated preference as the title of the work. But these three kinds of information sometimes conflict: inscribed titles sometimes refer to earlier versions that have been radically altered; titles used in public

exhibitions were sometimes later changed; and many works that remained in the artist’s studio were never given formal titles. Works that remained in Motherwell’s studio were often given “studio titles”—descriptive titles that were normally entered on the 5 x 8–inch inventory cards known as “studio cards” (see “Artist’s Studio Number,” below). These descriptive titles were meant to facilitate identification of works in the studio by noting salient characteristics of form and color, as in Untitled (Black Vertical Stroke on White) (P330). Sometimes pictures went out into the world with such titles, but more frequently they were given formal titles when Motherwell consigned them to a gallery or exhibited them. Many of the works inherited by the Dedalus Foundation had been given only studio titles.

A number of works have had more than one valid title over time. Those other titles are listed under “Alternative Title(s).” They include titles that were at one time used publicly in exhibitions or publications, and titles that are inscribed on the versos of works but that have been superseded by other titles. Only alternative titles that were not the result of a misunderstanding, misspelling, or some other kind of clear error are listed here. (Such erroneous variants, however, are listed in the Exhibitions and References sections of the catalogue entries.)

t itle

Generally, we prefer original public titles rather than later titles. But in cases where Motherwell deliberately changed the title of a work, we respect that change.

Beginning in 1977, when a comprehensive inventory system was first created for Motherwell’s works, the titles were written on the studio inventory cards for the works, along with dimensions, mediums, and other relevant data. After his death, some untitled works that had remained in his studio were given generic subtitles—for example, Untitled (Iberia) (P263). In some cases titles used during Motherwell’s lifetime were forgotten or overlooked and replaced by the Dedalus Foundation. This was the case with Black Plant and Window of 1950 (P103), which was exhibited under that title three times during Motherwell’s lifetime, but retitled Black Figuration on Blue after his death. In such cases, we have either noted that the title was posthumous or, if possible, restored the historical lifetime title, as with P103, for which the posthumously assigned title is now given as an alternative title. In no case, though, do we give a work a new title.

Motherwell frequently changed even the public titles of his works, sometimes giving the same work several different titles, as with Doorway with Figure (P88); any earlier titles are listed under “Alternative Titles.” In establishing the title of a work, we have given priority to the earliest title or titles given to the work by the artist, rather than to

later titles assigned by others. But sometimes the artist’s intentions have been obscured by the passage of time and the flow of events. For example, sometimes Motherwell (and others) forgot the original titles of his works, even when they were inscribed on the back, as with Mariner (P80) or Singing Yellow (P403). Sometimes he himself deliberately changed the title of a work years after it was done, as with The Homely Protestant (Bust) (P84). Sometimes he revised a work and gave a new title to the revised version, as with Wall Painting with Stripes (P16); sometimes other people changed his original title and he accepted the change, as with The Best Toys Are Made of Paper (c48). Occasionally, a work acquired a title that was not given by the artist but that nonetheless became associated with it; for years, Personage (Autoportrait) (c8) was mistakenly called Surprise and Inspiration. So although we have preferred to restore original titles whenever possible, whether to do so was not always a clear or straightforward process, as the reader will see in several of the catalogue entries.

For works that were not given a definitive title by the artist, we have proceeded as follows: If the work was given only a descriptive studio title or subtitle during the artist’s lifetime, we have used the code of square brackets [ ] around the title. This is especially relevant for untitled works that were given parenthetical subtitles on the studio cards, which can be understood as an implicit endorsement by the artist, during his lifetime, of a descriptive subtitle; for example: [ Untitled (Ochre, Gray, Scarlet Open) ] (P511). If the work was titled or subtitled posthumously, we use the code of braces { } around the title or alternative title; for example: { Untitled (Iberia) } (P263). These codes, it should be noted, are used only in the entries for this catalogue raisonné. When such works are referred to elsewhere in this publication, the brackets and braces are not used. If a painting is unfinished, its title is given as: { Unfinished painting }. If the title of a painting is not known it is given as: { Title unknown }.

Our title sometimes varies slightly from the title inscribed on the verso of a work, especially with regard to the absence of commas in our title and in our use of “No.” for “#” in the titles of works that are part of a numbered series. Generally, we prefer to leave out superfluous commas in titles; for example, despite the slight change in emphasis we prefer In White with Beige No. 1 to In White, with Beige No. 1. (Motherwell himself was inconsistent in his use of commas and number signs in titles; commas in the titles inscribed on the versos of works were frequently dropped in studio records or publication captions, and number signs were often replaced by “No.”)

a lternati V e t itle( S )

Alternative titles are listed in chronological order, beginning with the earliest. Some alternative titles were public titles, while others were not (for example, a title that appears on a studio inventory card, a studio

list, or a gallery shipping list). Minor, incidental variations—such as the absence, presence, or change of articles (The, A, An)—and minor changes in prepositions generally are not noted as alternative titles or noted in published sources (in the Exhibitions and References). Errors regarding titles in published sources are noted only in the Exhibitions and References, not in the Alternative Title line.

When an alternative title refers to an earlier, effaced or repainted work, the title of the effaced or repainted work remains in the Alternative Title line and is usually discussed in the Comments.

t itle S OF Serie S in g eneral

Works that are part of a series, whether done at the same time or done over a period of several years, are given normative titles without a comma before the number of the work within the series. For example, we prefer Bull No. 4 to Bull, No. 4. We use No. to designate “Number,” even if the title inscribed on the back of the work uses a number sign to designate the number of the work within the series.

Motherwell himself—and various publications—often alternated between the use of Roman numerals and Arabic numbers, even for the same work. We aim to be consistent within individual series, guided by the kind of numeral used by Motherwell in inscriptions on the works within a series, and by the kinds of numerals used in publications; for example, Zen III (P699), but Beside the Sea No. 1 (w127). Any small variations in titles (such as Roman vs. Arabic numbers, etc.) are generally given—if given at all—as alternative titles, but not in the Exhibitions or References.

t itle S OF wO rk S in the e legy t O the S Pani S h r e P ublic Serie S

The numbered works in the Elegy to the Spanish Republic series have all been given titles without commas and in most cases use the abbreviation “No.” to designate “number” (even if the original title used “Number” or “#” to designate the number of the work within the series). The Elegy paintings that were given Roman numerals, however, do not include No., following Motherwell’s own practice as evidenced with Elegy paintings whose versos we have been able to examine.

Not all the Elegy paintings were numbered, and the numbering was full of gaps. But among the Elegy paintings that Motherwell did number, the numbers assigned to paintings, paintings on paper, and drawings were part of a single sequence that included works on various kinds of supports. He gave some Elegy pictures Roman numerals—a practice that ended at number XL; after that, he used Arabic numbers. The use of Arabic numbers or Roman numerals in exhibition catalogues and publications, however, often depended on the house style of the museum or publisher. In order to reflect

Motherwell’s actual practice, the numbered Elegy pictures have been given Roman numerals through number 40 (as in Elegy to the Spanish Republic XXXIV, P156). Elegies with numbers greater than 40 have been given Arabic numbers (as in Elegy to the Spanish Republic No. 70, P220). Variations in the use of Arabic and Roman numerals, or in punctuation, are not noted under References and Exhibitions.

t itle S OF the wO rk S in the O P en Serie S

Published references to the Open paintings (as to other Motherwell series) are full of inconsistencies. (H. H. Arnason, for example, used different forms for the titles of the Opens in his books as distinct from his articles.) In this catalogue raisonné, the Open paintings through mid-1970 are whenever possible given their original descriptive titles, taken from Motherwell’s own May 26, 1970, list of the paintings in the Open series, which is the most extensive list of a series of paintings that he ever put together. The word Open is followed by No., and the (Arabic) number is followed by a colon, which is in turn followed by a descriptive subtitle, as in Open No. 9: In Green on Gray with Black Stripe (P406). (When the Marlborough-Gerson Gallery first showed the Opens in 1969, they used British-style single quotation marks around the word Open, but we do not.) If an Open work was subsequently revised and retitled, the original title is given in the Alternative Title line. If only the number of an Open painting is given in a publication, without a descriptive subtitle, or if prepositions in the descriptive subtitle are different, these features are not pointed out in the References.

F O reign t itle S

Translations of Motherwell’s English-language titles in foreign exhibitions or publications are not given as alternative titles, but they are listed in the Exhibitions and References.

date

Motherwell frequently reworked his paintings and collages, sometimes years or even decades after they had been begun. As a result, the dates that he inscribed on his works frequently indicate when they were started rather than when they were finished. Often works remained in his studio continuously between the times when they were revised; but almost as frequently, they were sent out on consignment or to exhibitions, or published, or both, before they were reworked. In order to convey these different conditions in a succinct manner, dates or ranges of dates are expressed in different ways in this publication, depending on the specific circumstances under which the works were revised. Rather than expressing later revisions in parenthetical remarks—for example, 1961 (revised 1983)—we have decided to use the following protocols because they concisely convey a variety of situations.

If a work was painted in a single year, it is dated simply to that year, such as 1961, or, if the exact date is uncertain, ca. 1961. When a painting was worked on over the course of more than one year and did not leave the studio during that time, its date range is given with the starting and finishing dates separated by a dash (as in 1961–64). If a work was started in one year, then left the studio on consignment or for an exhibition before it was reworked at another time, its starting and finishing dates are separated by a forward slash (as in 1961/1964).

Sometimes Motherwell worked on pictures that remained in his studio continuously over a period of time, sent them out, then revised them if they were returned to him; in such cases, the dates are separated by both dashes and forward slashes (as in 1961–64/1973). Sometimes this process of revision after exhibition or consignment was repeated, so the date of a work can be expressed in terms as complex as 1975–77/1982/1985/1988 (see the entry for P819 in volume 2, and “The Making of a Motherwell Catalogue Raisonné,” in this volume). The placement of such a work within the chronological sequence of works in its medium category would depend on the main characteristics of its present form. A work with a history of revision as complex as this one could be placed among works from a number of different years, ranging from 1975 to 1988, depending on the nature of the revisions that were made. As the reader will appreciate, a certain amount of subjective judgment must necessarily be exercised in such cases. Pictures that were worked on at more than one time are placed according to when they took on their most salient characteristics. As a result, some pictures are placed chronologically by when they were started, while others are placed according to when they were finished, and still others are placed according to the date of a determinant intermediate state. This is because the amount and kind of reworking that Motherwell did on a picture varied quite a lot. In some cases it was relatively minor, in others a very different kind of picture emerged, and in still others the earlier picture was completely overpainted. So by necessity, the placement of works within this catalogue raisonné has been decided on a case-by-case basis.

In establishing the dates of works, we have made extensive use of photographs taken of works at various stages in their development. Whenever possible, the photographers’ inventory numbers are given in the Comments.

Our dates sometimes vary from those given in past publications, but we do not make note of previously published different dates. The dates we give are based on extensive and detailed research and supersede the dates that have been previously assigned to the works in question. Issues related to the revision and redating of works are discussed in the Comments.

m aterial S ( m edium S and Su PPO rt S )

Our descriptions of the mediums and supports used in individual works have been determined by our examination of the works themselves and by information given in various documentary sources, such as Motherwell’s studio records, shipping lists, and information supplied by museums, galleries, and collectors. In a few cases, information was also obtained by chemical analysis of works.

For paintings, the order of the description of materials is as follows: paint medium, other solid materials (such as sand), graphic materials (if any), and support.

For example:

Oil on canvas

Oil and charcoal on canvas

Oil, sand, and crayon on Masonite

For collages, the order of the description of materials is as follows: paint, other solid materials such as sand (if any), pasted materials, graphic materials, and support.

For example:

Oil, pasted papers, and graphite on board

Oil, sand, pasted paper, and graphite on canvas

The main paint mediums for both paintings and paintings on paper are designated as follows: oil, acrylic, casein, and tempera; occasionally, sand or dry pigments were mixed into the paint. (Water-based paints have been variously described as tempera and casein. Although we have tried to be as precise as possible, in some cases we have received conflicting information about whether a work was executed in tempera or casein, and it has not been possible to verify exactly which was used.)

The main pasted materials in collages are paper and cardboard; sometimes other materials were used, such as wood veneer and animal skin. (While we attempt to identify, in the Comments, the sources of paper and cardboard elements, such as the brands of cigarettes and other products, we do not identify types or brands of paper in the line for mediums and supports.)

Motherwell also used a number of graphic materials in his paintings and collages, mainly charcoal, graphite, chalk, ink, crayon, Conté crayon, and China marker.

The main supports for paintings are as follows: canvas, canvas board (both commercial and studio-made), Masonite, wood, Upson board, Bone Board, or any other composite board panel other than paperboard.

The main supports for paintings on paper are as follows: paper, various kinds of paperboard (such as rag board, illustration board, cardboard, Tycore, or mat board), or Mylar and other kinds of flexible plastic sheets.

A number of works previously described as oil or alkyd enamel on “board” have in fact turned out to be on multi-plied paperboards,

and are here considered paintings on paper; among these are the Frontier paintings (w49–w59) that Motherwell did in Europe in 1958.

The main supports for collages are canvas, canvas board (both commercial and studio made), Upson board, paper, and paperboard.

Works executed on paper but mounted onto panel or board under the artist’s supervision have been grouped with paintings on canvas or panel if the panel or board has been painted on, is visible and therefore part of the work, or plays a role in the visual effect of the work (such as being visible under translucent areas), as in The Voyage (P87). If the mounting onto panel was not done under the supervision of the artist—for example, Gesture Series No. 1 (w373)—or if the panel is not directly visible or does not play a role in the appearance of the work, the work is considered a painting on paper and has been given a W number; for example, The Figure 4 on an Elegy (w104).

Works in graphic materials on supports with painted grounds, such as canvas, canvas board, Masonite, or toned Upson board, are grouped with paintings on canvas and panel.

d imen S i O n S

Height precedes width. Dimensions are given in inches (using fractions to the nearest eighth), followed by centimeters in parentheses (using decimals rounded off to the nearest tenth).

If the dimensions of a work are not known and cannot be approximated, they are described as “Dimensions unknown.”

i n S cri P ti O n S

The Inscriptions field contains signatures, dates, and other inscriptions that appear on either the front (recto) or the back (verso) of a work. Only inscriptions in Motherwell’s own hand are included; verso inscriptions made by others and information on labels are not included. Inscriptions are recorded exactly as written; errors in spelling are not corrected or signaled by “sic.”

If the recto of a work has no inscriptions, this is noted as “Recto not signed, not dated.”

If a painting on canvas or panel has no verso inscriptions, or the verso has not been seen, this is noted as “Verso not signed, not dated,” or “Verso not seen.” If a collage or painting on paper has no verso inscriptions, or the verso has not been seen, the verso inscription line is omitted. This is because many fewer collages and paintings on paper contain verso inscriptions and because those inscriptions that may exist are usually covered by mounting and framing or have been removed by reframing.

For each work, the recto and verso inscriptions are listed separately, with the word “Recto” or “Verso” followed by a colon. The inscription

itself follows the colon. In the inscription, all signatures, dates, titles, and so forth are given exactly as Motherwell wrote them. A line break in a signature or inscription is designated by a backward slash set off by a single empty space between it and whatever precedes or follows it (see examples below).

When Motherwell uses a forward slash within an inscription, we keep it as a forward slash, but in order to avoid confusion with the backward slashes that we use to designate line breaks, an empty space is not left between the forward slash and what follows it.

For example:

Verso: the \ hOmely \ PrOteStant. \ /48

Additional descriptive information about the inscriptions on a work is given in square brackets or parentheses to the left of the colon. As a rule, information in square brackets to the left of the colon is italicized and indicates actions taken, such as crossing out, painting over, or circling; information in parentheses to the left of the colon is not italicized and describes the orientation or direction of the inscription, or clarifies a source of information.

Square brackets to the right of the colon enclose the portion of the inscription that is described by the bracketed action to the left of the colon:

For example:

Verso [crossed out]: [Motherwell]

If part of the inscription is illegible, this is signaled in bracketed italics to the right of the colon.

For example:

Verso [painted over]: [illegible]

r ect O i n S cri P ti O n S

The positions of recto inscriptions are described as follows: upper left, upper center, upper right, lower left, lower center, lower right.

If an inscription on the recto is scratched into the paint film with a sharp instrument or drawing tool, it is described as “incised.” If an inscription on the recto is both incised and painted or written, it is described as “incised and inscribed.”

On the recto, if all or part of the signature or date (or both) is painted over, that part is described as “painted over” in italic type set within square brackets, with the part of the signature or date that is painted over also set in square brackets (but not italicized).

For example:

Recto, upper left, incised [painted over]: [RM 67]

Recto, lower left [partially painted over]: R Motherwell [62]

Ver SO i n S cri P ti O n S

Verso inscriptions are listed starting at the upper left. Each verso inscription that appears in a different place on the back of the work is

placed on a separate line, in order to make clear the distinctive features and idiosyncrasies of the various parts of each inscription.

We indicate whether verso inscriptions are directly on the verso of the work itself, or on a backing board, stretcher, or strainer. If an inscription is not on the work itself, we specify where it is, within parentheses.

For example:

Verso (on horizontal crossbar): R Motherwell 1958

The versos of works frequently contain handwritten inscriptions that are not in Motherwell’s hand, which may include titles, dates, medium, inventory numbers, and so forth. These are not included under Inscriptions but are sometimes discussed in the Comments.

In the verso inscriptions, all signatures, dates, titles, and notations about medium and so forth are given exactly as Motherwell wrote them, including particularities or idiosyncrasies such as titles written in full capitals or set within quotation marks (no part of an inscription is placed within quotation marks unless Motherwell put quotation marks around it). A line break in a signature or inscription is designated by a backward slash set off by a single empty space between it and whatever precedes or follows it.

For example:

Verso: Robert Motherwell \ «The Sentinel» \ NYC \ October \ 1942

On the verso, if the signature or title has been crossed out or blacked out, this is noted.

For example:

Verso [crossed out]: [Motherwell]

Verso [partially painted over]: [illegible] \ R. Motherwell \ 4.XII.47–19. II.48 \ “SailOr”

If some of the words in a verso inscription have been circled or set within a triangle, this is noted before the colon, within brackets, italicized, and after the colon in brackets.

For example:

Verso [circled ]: [Oil On Panel]

Verso [set in triangle]: [46]

A circled number inscribed in Motherwell’s hand on the verso of a work done during the years when he was represented by the Samuel M. Kootz Gallery (1945–55) designates the Kootz Gallery inventory number of the work (except in P19 and P79, where the significance of the circled numbers is unknown).

The orientation of an upside-down verso inscription (rotated 180 degrees) is given in terms of the present orientation of the picture. If a verso inscription is upside down, this is noted in parentheses.

For example:

Verso (upside down): Motherwell

Verso (upside down, with arrow pointing in opposite direction): Robert Motherwell \ 1964 \ Oil On canVaS

If the verso has not been seen, but auction catalogues, gallery records, studio cards, or other sources provide information about the verso, “Verso not seen” is followed by the putative inscription information, noted as “per” the provider of the information, quoted directly from the source, and placed within square brackets.

For example:

Verso not seen [“title, date, and signature on verso,” per Sotheby’s 1977]

If we have not seen the verso of a work, and the same inscription information for it is given in more than one source (such as different auction catalogues, or different gallery or studio records), we cite the earliest source. If varying amounts of information about the verso inscription appear in different sources, we cite the description with the most comprehensive information. If different sources for the verso information give conflicting descriptions of that information, we cite all relevant descriptions of the inscriptions and their sources, in chronological order, separated by semicolons.

For example:

Verso not seen [“signed RM and dated 1969 on the reverse,” per Sotheby’s 1999; “signed Motherwell and dated 1968–1972 on the reverse,” per Sotheby’s 2003]

If we have not been able to see the verso of a work, but Motherwell’s studio records give verso information, we cite the information on the studio card or other document.

For example:

Verso not seen [“signed ‘Robert Motherwell’ with date,” per studio card] Verso not seen [“r. mOtherwell Oct 1970,” per studio card]

If a work has been relined and we have not been able to see the verso, we note the following:

Verso covered by relining, no longer visible

If a work that has been relined had a documented verso inscription (known by pretreatment photographs or other dependable information) that was subsequently covered by relining, we record what we know of the inscription, directly transcribed from the source.

For example (for a single work, Spanish Picture with Window, P4):

Verso covered by relining and remounting to a hollow-core panel, no longer visible (inscriptions known from a pretreatment photograph)

Verso: R. Motherwell \ 1941

Verso (on original top horizontal stretcher): SPaniSh Picture with windOw

Verso (on original horizontal crossbar): Motherwell #1

a rti S t’ S Studi O n umber

Starting in 1977, studio inventory numbers, called “studio numbers,” were assigned to works in Motherwell’s possession. (See the Concordance of Catalogue Raisonné and Studio Inventory Numbers later in this volume.) These were entered on the 5 x 8–inch studio cards

that were created for each individual work. The studio numbers were normally also put on the backs of the works, usually on the strainers or frames, almost always by someone other than Motherwell himself.

These studio numbers organized his works by medium (designated by a prefix, such as P for painting) and by year (expressed as a two-digit number), as in “P79” to designate a painting done in 1979. These designations of medium and year were followed by an inventory number, as in “P79-2251.”

Eventually, cards were made for earlier works that had left Motherwell’s studio before the card system was initiated (as the works were published or appeared on the market); this was an early step toward creating a complete catalogue of his works. The works that were catalogued after they had left his studio were usually given inventory numbers of 5000 and higher (for example, P57-5122 and c57-5087).

This process of making new studio cards as works came to light continued after Motherwell’s death, supervised by the Dedalus Foundation.

Although the information on the studio cards is not always complete, consistent, or accurate, the cards are a valuable source of information about titles and changes in title, dates, revisions, exhibitions, and consignments. The numbering system on the studio cards established different categories between paintings (P), collages (C), and drawings (D), as well as monotypes (M) and hand-painted or unique impressions of prints (U). Those categories, however, were rather fluid during Motherwell’s lifetime (particularly P’s changed to D’s and vice versa), and the Dedalus Foundation sometimes made further changes of category—not always accurate—posthumously. Sometimes works were given more than one studio number; and sometimes the studio numbers were left incomplete, with the date or medium left blank, or replaced by fillers, such as asterisks, dashes, empty spaces, or question marks. An unfinished painting (P997) done around 1980, for example, was given the studio number “P**- ???”

The medium category or date designated by the studio number for a work is sometimes different from the medium or date given in this catalogue raisonné; this is the result of new information that has been discovered in the course of our research.

If a studio number was not assigned to a work, this field is excluded in the catalogue raisonné entry for that work (as opposed to saying “No studio number”).

Pre S ent Owner

The present owner of each work is listed with the information and credit line provided by the owner. Some owners have wished to remain anonymous and are listed with some variation of “Private collection.” If a work is known to have been destroyed, we note the circumstances of its destruction, if known. An Index of Owners will be found near the end of this volume.

PrOV enance

The past owners of each work are listed in chronological order, beginning with the first known owner after the work left the artist’s studio, and noting the year in which the work was acquired by each owner, when known. The present owner is listed as the last entry in the Provenance as well as on the Present Owner line. Auction sales are set in square brackets and include the name of the auction house, the city, date, and lot number, and whether the work is illustrated in the auction catalogue.

Past owners have sometimes wished to remain anonymous and are listed with some variation of “Private collection.” When we have not been able to contact the owner or a representative of the owner of a work, and the past or present ownership is a matter of public record (as given in an auction or exhibition catalogue, book, or periodical), we generally list the ownership as given in the published source. When we have not been able to contact the owner or a representative of the owner of a work, and past or present ownership is known only through a private source (such as correspondence, shipping lists, invoices, etc.), we list the ownership as “Private collection.”

If a work was destroyed, or is said to have been destroyed, while still in the possession of the artist, the Provenance lists the work as “The artist.” If Motherwell bought back a work after it had been sold to a collector or museum, he is listed as “Robert Motherwell” rather than as “The artist.” For works that Motherwell left to the Dedalus Foundation, the first owner in the Provenance is “Dedalus Foundation.”

The Provenance does not include art dealers and galleries to whom a work was consigned; they are included only if they actually owned the work. (If consignment information is relevant to the provenance, it is dealt with in the Comments.) Gaps in the provenance are indicated by the phrase “unknown owner.”

Any unusual circumstances surrounding the provenance of a work are noted in the Comments rather than in the Provenance rubric, except for stolen works.

eX hibiti O n S

Solo and group exhibitions are listed separately and are arranged chronologically within each separate list. The abbreviated citations refer to the full citations given in the “List of Exhibitions” in this volume, in which solo and group exhibitions are listed separately and arranged chronologically within each year. When a work that appeared in an exhibition was reproduced in the exhibition catalogue, the citation for that work is given under Exhibitions rather than References. (If a work was illustrated in the exhibition catalogue but not shown in the exhibition, it is cited in the References section.) In citations of exhibition catalogues, the information is given in the following order:

venue (museum, gallery, library, etc.), city, year, catalogue number, and where in the catalogue the work is illustrated.

For example:

Metropolitan Museum of Art, New York, 1969, cat. no. 253, illus. p. 231.

If a work was included in an exhibition of works from the permanent collection at the institution that owns it, we generally do not include such a presentation of the work among the Exhibitions except for such instances before 1970. But if the work was included in a monographic or thematic loan exhibition at the institution that owns it, or in a show of recent acquisitions, that exhibition is included here.

A traveling exhibition (one that was first shown at the organizing museum and then traveled to other institutions) is designated as such in italics set within parentheses, directly following the year: (traveling). For example:

Albright-Knox Art Gallery, Buffalo, 1983 (traveling), cat. no. 58, color illus. p. 49; not shown in Los Angeles and Seattle.

A circulating exhibition is one that was organized by an institution but not shown first at that institution, and in most cases is not shown at all at the organizing institution. An exhibition that is categorized as “circulating” is listed under the organizing institution rather than the first venue on the exhibition’s itinerary; it is described within parentheses as “(circulating)” rather than “(traveling).” If a traveling or circulating exhibition had different catalogues (or checklists) at different venues, the catalogue numbers for those exhibitions are listed in the catalogue entry by the venue’s city.

For example:

Museum of Modern Art, New York, 1967 (circulating), Buenos Aires, cat. no. 6; Caracas, cat. no. 61; Bogotá, cat. no. 61; Mexico City, cat. no. 6.

When the same institution originates two or more exhibitions in the same year, the year is preceded by the month the exhibition started, as a way of differentiating between the two exhibitions.

For example:

Samuel M. Kootz Gallery, New York, March 1946.

When the same institution originates two or more exhibitions in the same month of the same year, the title of the exhibition is included along with the month and the year.

For example:

Museum of Modern Art, New York, Robert Motherwell, September 1965 (traveling).

Museum of Modern Art, New York, Robert Motherwell: Works on Paper, September 1965 (circulating).

If an exhibition did not have a proper catalogue, but only a checklist or a brochure, the expression “cat. no.” is nonetheless used to designate the numbers given in the exhibition checklist or

other ephemera (our source for the “cat. no.” is described in the List of Exhibitions).

As previously noted, minor incidental variations in articles (The, An, A) or prepositions that were not noted as alternative titles are not noted in the published sources listed in References and Exhibitions. Errors or discrepancies in titles, however, are noted as erroneous when relevant. If a work was shown under an alternative title, this is noted in Exhibitions, and foreign titles are also noted and translated.

r e F erence S

The References are listed in an abbreviated form, by author and year, and are arranged chronologically and alphabetically within each year. This abbreviated form corresponds to the author and year listed in the full citation located in the Bibliography in this volume, which is also organized chronologically and alphabetically within each year by author and year. Each citation in the References includes the page numbers on which the work is discussed, illustrated, or both.

For example:

Celentano 1957, pp. 33, 107, illus. n.p. (fig. 38); Arnason 1982, p. 25, illus. p. 25 (pl. 13)

When a work in a publication was reproduced in situ—that is, in the artist’s studio, in an exhibition, or installed in a public or private collection—this is noted in parentheses following the illustration. If the work was reproduced in an early state, or in progress, that is also noted.

For example:

Janis and Blesh 1962, illus. p. 164 (fig. 220, in progress)

Arnason 1976, p. 33, illus. p. 33 (pl. 13, installation view)

Arnason 1977b, p. 86, color illus. n.p. (pl. 298, in early state)

Tyler 1977, illus. sec. F, p. 7 (in exhibition, in early state)

Arnason 1982, p. 49, illus. p. 50 (pl. 42, in exhibition)

West 1984, illus. p. 15 (in studio, in progress)

When an author is cited in two or more references within a given year, the citations are differentiated with the letters a, b, c, and so forth; these do not indicate order of importance, but rather how the citations are alphabetized in the Bibliography.

For example:

Arnason 1977a, p. 535; Arnason 1977b, pp. 12, 17–18, 28–29, 41, 72–73, 82, 97, color illus. n.p. (pl. 58)

When Motherwell is quoted discussing a work in a published source, this is indicated by an abbreviated form that contains Motherwell’s name and the source and year. The full citations for such references are located in “Writings by the Artist,” in the Bibliography.

For example:

Motherwell in Janis 1944, p. 65, illus. p. 65 (pl. 39, in early state)

When a work is reproduced only as a comparative figure in an exhibition catalogue, or when it is listed in the catalogue but did not appear in the exhibition, the citation is given under References rather than in Exhibitions. (In citations to exhibition catalogues, only works that were exhibited are listed under Exhibitions.) But in such a case, the full citation to the exhibition catalogue will be found in the List of Exhibitions rather than in the Bibliography.

The abbreviated form for an exhibition catalogue in the References gives the venue, exh. cat., and year not separated by commas.

For example:

Cleveland Museum of Art exh. cat. 1966, illus. n.p.

Errors or discrepancies in titles are cited in the References when relevant, and alternative titles are also noted, as are foreign language titles.

Auction catalogues are cited under Provenance rather than under Exhibitions or References.

cO mment S

The Comments on the individual works are not interpretive in the broad sense but are meant to clarify fairly specific issues. These include the following: variations in titles and dates; revisions and reworkings; information about early states; the sources and significance of titles, including literary allusions and references; statements by Motherwell about the work; any special circumstances (such as a commission) surrounding the work’s inception or installation; the sources of collage elements; and conservation or condition issues.

For series of works done around the same time, the main body of information about the series is generally given in the Comments for the first work (or the first numbered work) in the series.

If a work is illustrated with a reproduction that is not of normal quality and format, the source of the reproduction is mentioned in the Comments (that it is from a Polaroid or black-and-white photograph, for example, or from an auction catalogue or a color slide).

Photographs have provided important information about the revision and dating of works. Unless stated otherwise, studio photographs are from the Dedalus Foundation Archives. For photographs taken by professional photographers, we cite the photographer’s inventory numbers whenever possible. Motherwell gave his own inventory numbers to his prints of the photographs taken by Peter A. Juley & Son, which we cite; the Smithsonian American Art Museum has subsequently posted the Juley photographs on its web site, using Juley’s negative numbers. So for Juley photographs we give both Motherwell’s archive number for the print (which sometimes had crucial information written on the verso) and the Smithsonian American Art Museum number, which always starts with “J000.” (In a few

instances, there was no Motherwell archive number or no Smithsonian American Art Museum negative number; in those cases only a single number is given.)

When we describe a photograph as “early,” we mean that it was taken early in the work’s history—that is, at a time close to the creation of the work, or of a state of the work.

Early Works

Robert Motherwell had small public exhibitions of his work in Paris in 1939 and in San Francisco and Portland, Oregon, in 1940, but he later distanced himself from the paintings and drawings he had created before the summer of 1941, the time when he said his mature works began. (“I date my career beginning the summer Matta and I went to Mexico,” Motherwell told Stephanie Terenzio in September 1983. Before that, he said, “I was a student, not in studio but in intellectual matters.”) Some of those early works he had sold, some he had given to relatives and friends. Others he kept until the end of his life. Since so few early works have survived, we reproduce here all those unique works that are now known, regardless of the medium in which they were executed.

In a 1971 interview Motherwell described to Paul Cummings his state of mind when he created these early works:

I had painted some in Paris. In fact, I had a small show in Paris of sort of silly work. You see, then I was very ingrained with what nowadays would be called French intimate painting. . . . Everything changes, but one has no idea how dominant in terms of international communication that particular aspect of modern art was—and Matisse above all. . . . So I began to work that way. I mean very much in my own way. . . . Unfortunately, none of the work exists. You know, I’d leave it at home and when the family would move they’d give it away or burn it, or whatever. I spent a year learning, let’s say, French intimate painting very well. I did some of it from postcards of France. I did some of it from nature in Oregon. But it was hard to do in Oregon because Oregon is very foresty and Scandinavian; and all that French thing is based on everything being parks and mannered and manicured and transformed by man.

At various times in his career, Motherwell acknowledged the authenticity of works he created before the summer of 1941, but sometimes he denied them.

The main responsibility of a catalogue raisonné, of course, is to include all of the known works by the artist. By listing the works below separately, as “Early Works,” we believe that we have been able to fulfill our duties both to the artist and to the catalogue raisonné of his mature works.

Hommage à Poussin

1939

Watercolor on paper

13⅞ x 10⅝ in. (35.2 x 27 cm)

i n S cri P ti O n S

Recto, upper right: Motherwell \ 1939 Recto, upper left: Hommage \ à Poussin

Pre S ent Owner

Private collection

Pr OV enance

Private collection, ca. 1939; private collection

g r O u P eX hibiti O n S

San Francisco Museum of Art, 1940 (not in catalogue).

cO mment S

This composition is a free copy of Nicolas Poussin’s Funeral of Phocion (1648), one version of which is in the Musée du Louvre, Paris.

ew.ii

La Tronche (Isère)

1939

Gouache on paperboard

18 x 17 in. (45.7 x 43.2 cm)

i n S cri P ti O n S

Recto, upper left: La Tronche \ (Isère)

1939 \ Motherwell

Pre S ent Owner

Private collection

Pr OV enance

Mr. and Mrs. William Bosschart, ca. 1939; private collection, 2006

cO mment S

La Tronche is a northeastern suburb of Grenoble, in the Isère region of France. Motherwell spent the summer of 1938 in Grenoble, followed by a year in Paris. We do not know whether this picture was painted in France or after Motherwell’s return to the United States in the late summer of 1939, from a postcard or photograph.

Motherwell gave this work to his sister and her husband shortly after it was made.

ew.iii

Uzès

Ca. 1939

Gouache on paper

21¾ x 16⅜ in. (55.2 x 41.6 cm)

i n S cri P ti O n S

Recto, upper right: Motherwell \ Uzès

Pre S ent Owner

Collection of Dr. Sidney and Barbara Borsuk

Pr OV enance

Dr. Sidney and Barbara Borsuk, ca. 1943

cO mment S

This painting depicts a twelfth-century Romanesque cathedral, the Tour Fenestrelle, in Uzès, a town located in the south of France, north of Nimes and just west of Avignon.

This work has an interesting provenance. Shortly after Motherwell’s father died in August 1943, his mother sold the family property, Middlefield Farm in Novato, California. This painting had been left behind, and was found by the subsequent owner of the house.

ew.iV

[ Untitled (Two Nudes) ]

Ca. 1939

Gouache and ink on paper

12¼ x 10¾ in. (31.1 x 27.3 cm)

i n S cri P ti O n S

Recto not signed, not dated

a rti S t’ S Studi O n umber

d31-3297

Pre S ent Owner Dedalus Foundation

Pr OV enance Dedalus Foundation, 1991

cO mment S

While studying in Paris in 1938–39, Motherwell purchased a small watercolor of a prostitute by Georges Rouault, which he later said influenced him at the time (Arnason 1966a, p. 20). A notation written by one of Motherwell’s assistants on the backing board of this work states, “This Gouache By R Motherwell—Age 16.”

But stylistic evidence, such as the black “#” mark in the upper right part of the composition and the assured handling of the watercolor and ink, suggests that this work dates from around 1939. The composition suggests a depiction of Adam and Eve in the Garden of Eden.

ew.V

Lady S.

1939

Gouache on paper

12½ x 8½ in. (31.8 x 21.6 cm)

i n S cri P ti O n S

Recto, upper right: Robert Motherwell 1939

Pre S ent Owner Unknown

Pr OV enance Unknown

g r O u P eX hibiti O n S

San Francisco Museum of Art, 1940 (cat. no. 71).

cO mment S

Our image of this painting is from a 5 x 3–inch photograph in the Dedalus Foundation Archives. The current location of this work is unknown. It was exhibited in February 1940 at the Fourth Annual Watercolor Exhibition of the San Francisco Art Association at the San Francisco Museum of Art. Like Untitled (ew iV), its subject appears to be related to the Rouault watercolor Motherwell purchased in Paris.

ew.Vi

Rue de la Chaise

1940

Gouache and ink on paperboard

14¾ x 9½ in. (37.5 x 24.1 cm)

i n S cri P ti O n S

Recto, lower center: Rue de la Chaise

Recto, lower center [painted over]: [illegible] \ [illegible]

Recto, lower right: Robert Motherwell \ V-40

Recto, lower right [partially painted over]: Robert Mothe[rwell] \ 2-V [40]

Pre S ent Owner

Private collection, Portland, Ore.

Pr OV enance

Private collection, ca. 1940; private collection; private collection, Portland, Ore.

cO mment S

This work was executed in Eugene, Oregon, in May 1940. It was probably painted from a photograph or postcard. In 1938–39, Motherwell had rented a room in Paris in a boardinghouse at 5, rue de la Chaise, in the seventh arrondissement.

Oregon Landscape

1940

Watercolor and ink on paper 9 x 9 in. (22.9 x 22.9 cm)

i n S cri P ti O n S

Recto, upper left: For Valborg Recto, lower right: «Oregon Landscape» \ Robert Motherwell 1940

Pre S ent Owner

Private collection

Pr OV enance

Valborg Anderson, ca. 1940; private collection; Knoedler & Company, 2000; private collection, 2000

r e F erence S Arnason 1966a, pp. 20–21.

cO mment S

H. H. Arnason has described Motherwell’s comments on this painting as follows: “All of his own paintings from this period have disappeared or been destroyed with the exception of an imaginary landscape of Oregon which he gave to a colleague in the English department, Valborg Anderson. Seeing the painting many years later in Professor Anderson’s home in Greenwich Village, Motherwell was able to recognize in it that naturalism was no longer anything but a pretext, that he was already groping towards a kind of abstract automatism related to reality in about the same degree as was a John Marin sketch” (Arnason 1966a, pp. 20–21).

[ Untitled (Female

Nude

Figure) ]

1940

Ink and graphite on paper 11½ x 6¼ in. (29.2 x 15.9 cm)

i n S cri P ti O n S Recto, lower right: Motherwell 40

a rti S t’ S Studi O n umber d40-2782

Pre S ent Owner

Dedalus Foundation

Pr OV enance

Dedalus Foundation, 1991

cO mment S

In the spring of 1940, while on break from teaching at the University of Oregon, Motherwell enrolled in a weeklong figure-drawing class with Lee Randolph at the California School of Fine Arts, San Francisco. It is possible that this drawing and Untitled (Figure) (ew iX) date from these sessions.

In 1989, Motherwell spoke to David Hayman about this work: “I would have been back in America for six or seven months when I did that. It would be one of the first things I did after Paris. My show at Raymond Duncan looked sort of like that” (see “Writings by the Artist,” in the Bibliography).

ew.iX

[ Untitled (Figure) ]

Ca. 1940

Ink on paper

7 x 5 in. (17.8 x 12.7 cm)

i n S cri P ti O n S

Recto not signed, not dated

a rti S t’ S Studi O n umber d40-12; d4-12

Pre S ent Owner Dedalus Foundation

Pr OV enance Dedalus Foundation, 1991

r e F erence S Mattison 1985b, illus. n.p. (fig. 115).

cO mment S See the Comments for ew Viii

ew.Viii

ew.Vii

ew.X Untitled

1940

Gouache, watercolor, ink, and graphite on Masonite

13⅞ x 17⅞ in. (35.2 x 45.4 cm)

i n S cri P ti O n S

Recto, upper left: Motherwell 23-IX-40

Verso not signed, not dated

Pre S ent Owner

Private collection

Pr OV enance

Livingston and Virginia Gearhart, 1940; Livingston Gearhart, 1953; private collection; private collection, ca. 2000

cO mment S

This work was painted during Motherwell’s first month in New York, where he had come to study art history at Columbia University with Meyer Schapiro. The number-sign-like mark (#) at the upper left of the composition also appears in other works from this period, including Untitled (Two Nudes) (ew iV) and Descent from the Cross (ew.Xiii).

ew.Xi

Souvenir d’Exposition du Monde

1940

Watercolor and ink on board 16 x 11¾ in. (40.6 x 29.8 cm)

i n S cri P ti O n S

Recto, lower right: young Motherwell 27-X-XXXX \ Souvenir d’Exposition du Monde \ N.Y.C.

Verso not signed, not dated

Pre S ent Owner

Collection of Robert G. Hughes

Pr OV enance

Livingston and Virginia Gearhart, 1940; Livingston Gearhart, 1953; Robert G. Hughes, late 1950s

cO mment S

This painting depicts the parachute jump that was sponsored by Life Savers candy at the 1939–40 New York World’s Fair, which ran through October 1940. Motherwell probably went to see it during his first months in New York. The sky in this picture resembles a popular postcard image of the parachute jump, which Motherwell used as a point of departure, into which he introduced such idiosyncratic elements as the signage, the stars, and the airplanes overhead.

ew.Xii

Portrait of Livingston Gearhart

1940 Ink on paper

9½ x 7½ in. (24.1 x 19.1 cm)

i n S cri P ti O n S

Recto, upper right: á Gearhart \ Motherwell \ 23-X-40

Pre S ent Owner

Martha Gearhart Schermerhorn

Pr OV enance

Livingston and Virginia Gearhart, 1940; Livingston Gearhart, 1953; Martha Gearhart Schermerhorn, 1984

cO mment S

Motherwell met the composer Livingston Gearhart (1916–1996) in Paris in 1939, while he was nominally working on his Harvard dissertation and Gearhart was studying composition with Nadia Boulanger. Shortly after Motherwell settled in New York in 1940, he continued his friendship with Gearhart and his wife, Virginia Morley. They encouraged Motherwell’s early efforts as a painter, let him use their attic as a studio, and bought several of his early works.

ew.Xiii

Descent from the Cross

Ca. 1940

Oil on paper

17¾ x 18¼ in. (45.1 x 46.4 cm)

i n S cri P ti O n S

Recto not signed, not dated a rti S t’ S Studi O n umber P30-2352

Pre S ent Owner

Dedalus Foundation

Pr OV enance

Family of Mary A. Pengra, ca. 1940; Robert Motherwell, 1972; Dedalus Foundation, 1991

cO mment S

The composition of this picture reflects Motherwell’s interest in High Renaissance religious painting, and has certain affinities with the poses of Cézanne’s Bathers. The left side of the composition, with the prominent ladder, seems to refer to Picasso’s Crucifixion of February 1930 (Collection Musée Picasso, Paris). It is not possible to say whether this painting was done in Oregon or in New York, after Motherwell began to study with Meyer Schapiro. Shortly after he painted this picture, Motherwell gave it to his cousin, Mary Pengra. In 1972 he traded a recent collage, Scarlet with Gauloises No. 10 (c299) for it, apparently because he did not think it consonant with his mature work and wanted to remove it from the market.

ew.XiV

[ Untitled (Still Life Study) ]

Ca. 1940

Oil and graphite on canvas

22⅝ x 15 in. (57.5 x 38.1 cm)

i n S cri P ti O n S

Recto not signed, not dated

Verso not signed, not dated

a rti S t’ S Studi O n umber

P41-1032

Pre S ent Owner

Dedalus Foundation

Pr OV enance

Dedalus Foundation, 1991

cO mment S

This early painting, done in a style inspired by Cézanne, appears to be unfinished.

ew.XV

Gouache, watercolor, and graphite on Masonite

10 x 8 in. (25.4 x 20.3 cm)

i n S cri P ti O n S

Recto, lower right: à Margaret \ Motherwell 40

Verso not signed, not dated

Pre S ent Owner

Mark Borghi Fine Art, Inc.

Pr OV enance

Margaret Koons Miller, 1940; private collection, 2004; [Christie’s, New York, September 10, 2007, lot 285, illus.]; Richard P. Friedman, 2007; Mark Borghi Fine Art, Inc., 2007

cO mment S

This work was painted during the first weeks that Motherwell studied with the Swiss Surrealist Kurt Seligmann, and reflects his influence. Speaking of the months he spent working in Seligmann’s studio, Motherwell told David Hayman in 1989: “I painted two pictures in his style . . . being in his studio once a week and seeing it all, I couldn’t help but be influenced” (see “Writings by the Artist,” in the Bibliography). In December 1940, Motherwell gave this picture to Miller, a fellow art history student at Columbia University.

ew.XVi

Monoprint and paint on paper

20 x 12⅛ in. (50.8 x 30.8 cm)

i n S cri P ti O n S

Recto, upper left: Motherwell 41

Pre S ent Owner

Stevan Raul Minamora

Pr OV enance

Otto Seligman Gallery, Seattle, ca. 1941; Chauncey Lee Harris; Stevan Raul Minamora, before 1985

cO mment S

This monoprint was probably done in Kurt Seligmann’s print studio in April 1940. It has automatist elements that already anticipate the works Motherwell would do in Mexico a few months later; the forms and colors in the background are clearly related to the automatist passages in La Belle Mexicaine (Maria) (P1).

When this work was examined in 2008, two old newspaper pages were found beneath the backing board of the original frame, one from the New York Times, dated April 27, 1941, which suggests that the work was done around that time. This would place the work several weeks prior to Untitled (ew.XVii), to which it is stylistically related.

ew.XVii

Untitled

1941

Watercolor and gouache on paper

12¾ x 10⅛ in. (32.4 x 25.7 cm)

i n S cri P ti O n S

Recto, lower left: à Barbara \ 9-V-41

Motherwell

Pre S ent Owner

Barbara Poe Levee

Pr OV enance

Barbara Poe Levee (née Reis), 1941

cO mment S

The inscription on this work is to Barbara Reis (the daughter of Bernard and Rebecca Reis), whom Motherwell met while they were both studying in the New York studio of Kurt Seligmann. (Seligmann’s records show that Motherwell paid for a lesson on the day this work was executed.) A month later, Reis would travel to Mexico with Motherwell, Matta, and Matta’s wife Anne. The landscape forms in this picture anticipate those in the Mexican Sketchbook, which Motherwell created at Taxco during July 1941 (see fig. 19).

List of Exhibitions

This comprehensive list includes all exhibitions in which paintings, collages, and paintings on paper by Robert Motherwell were shown. It is organized chronologically, with solo and group exhibitions listed separately within each year. When applicable, we identify our source of information about each exhibition by stating (in parentheses) whether it was accompanied by a catalogue, brochure, or checklist. If a catalogue or brochure was published in conjunction with an exhibition, its full citation immediately follows the exhibition entry; such publications are listed here and not in the Bibliography. The catalogue raisonné numbers are given for all known paintings and collages in each exhibition; but neither drawings nor prints are listed. When we could not identify a work in an exhibition, we have listed the unknown work under a descriptive title or the title given by the institution (preceded by “unidentified”) in the entry for that exhibition.

Reviews of exhibitions are cited with the author’s name and the year of publication. This abbreviated form corresponds to how we refer to publications throughout the catalogue raisonné, and allows the reader to locate the full citation in the Bibliography.

Exhibitions of works from a museum’s permanent collection are included in the List of Exhibitions, but appear in the catalogue raisonné entries only if they were accompanied by a brochure or catalogue. We have tried to be comprehensive in listing such exhibitions of works from permanent collection shows held during the early years of Motherwell’s career, but we are more selective about later instances, when his works were in the permanent collections of numerous museums.

Significant exhibitions of drawings are listed and are noted by the phrase “drawings only,” at the end of the citation. Drawings are not identified, however, in exhibitions of paintings, collages, or both. If we were unable to verify which works were included in an exhibition, the phrase “works unknown” appears at the end of the citation.

When an exhibition catalogue or brochure includes a text or statement by Motherwell, we note this in parentheses within the citation. A section of the Bibliography called “Writings by the Artist” contains a complete list of Motherwell’s published writings as well as a comprehensive selection of his unpublished writings.

In the List of Exhibitions, brackets are used to designate information about which we are not positively certain.

1939

S O l O eX hibiti O n S

Galerie Raymond Duncan, Paris, title unknown, June 1939. Works unknown (included “a small self-portrait on a wooden panel,” per letter to Meg Perlman, November 11, 1975).

1940

g r O u P eX hibiti O n S

San Francisco Museum of Art, Fourth Annual Watercolor Exhibition of the San Francisco Art Association, February 7–March 3, 1940 (catalogue). See ew i, ew V

Fourth Annual Watercolor Exhibition of the San Francisco Art Association. San Francisco: San Francisco Museum of Art, 1940.

Portland Art Museum, Ore., All-Oregon Exhibition: Paintings and Sculpture by Oregon Artists, May 22–June 30, 1940 (catalogue). Unidentified: 222. Figure by the Sea; 223. Landscape with Figures; 224. Souvenir de Proust

All-Oregon Exhibition: Paintings and Sculpture by Oregon Artists. Foreword by Robert Tyler Davis. Portland, Ore.: Portland Art Museum, 1940.

San Francisco Museum of Art, “student work from the California School of Fine Arts,” August 6–25, 1940. Unidentified: “Nude in Landscape.”

1942

g r O u P eX hibiti O n S

Whitlaw Reid Mansion, New York, First Papers of Surrealism, October 14–November 7, 1942 (catalogue). See P8(?), P9.

First Papers of Surrealism: Hanging by André Breton, His Twine Marcel Duchamp Foreword by Sidney Janis; text by R. A. Parker. New York: Coordinating Council of French Relief Societies, 1942.

1943

g r O u P eX hibiti O n S

Norlyst Gallery, New York, Adventures in Perspective, March 8–31, 1943 (checklist). See P10. Unidentified: 75. Composition. Reviewed in CUE 1943.

Art of This Century, New York, Exhibition of Collage, April 16–May 15, 1943. See c3.

Art of This Century, New York, Spring Salon for Young Artists, May 18–June 26, 1943 (checklist). See P10(?). Reviewed in Coates 1943, Connolly 1943, and Jewell 1943.

Baltimore Museum of Art, Selections from the May Collection, June 29–September 30, 1943. See c3. Reviewed in Baltimore Sun 1943.

Art of This Century, New York, Natural, Insane, Surrealist Art, December 1–31, 1943. Works unknown.

1944

S O l O eX hibiti O n S

Art of This Century, New York, Robert Motherwell: Paintings, Papiers Collés, Drawings, October 24–November 11, 1944 (catalogue).

See P3, P11–P14, P16, c3, c4, c7, c8, c11(?), c12, c13. Unidentified: 2. Equilibrium Abstracted; 4. The Ambiguity of Experience. Reviewed in Artnews 1944, Faber 1944, Greenberg 1944b, Jewell 1944a, and Stroup 1944.

Robert Motherwell. Preface by James Johnson Sweeney. New York: Art of This Century, 1944.

g r O u P eX hibiti O n S

Abstract and Surrealist Art in the United States, Cincinnati Art Museum, February 8–March 12, 1944; Denver Art Museum, March 26–April 23, 1944; Seattle Art Museum, May 10–June 4, 1944; Santa Barbara Museum of Art, Calif., July 8–23, 1944; Portland Art Museum, Ore., August 9–26, 1944; San Francisco Museum of Art, September 6–24, 1944 (catalogue). See c4.

Abstract and Surrealist Art in the United States Introduction by Sidney Janis. San Francisco: San Francisco Museum of Art, 1944.

Art of This Century, New York, First Exhibition in America of, April 11–30, 1944 (checklist). See c8. Reviewed in J[ewell] 1944b and Riley 1944a.

Art of This Century, New York, Spring Salon for Young Artists, May 9–June 3, 1944 (checklist). See c7. Reviewed in Greenberg 1944a and Jewell 1944c.

Mortimer Brandt Gallery, New York, Abstract & Surrealist Art in America: Fifty Paintings by Outstanding Artists, November 29–December 30, 1944 (catalogue). See P12. Reviewed in New York Sun 1944 and R[iley] 1944b.

Abstract & Surrealist Art in America: Fifty Paintings by Outstanding Artists. New York: Mortimer Brandt Gallery, 1944.

67 Gallery, New York, 40 American Moderns, December 4–30, 1944 (checklist). See c12.

Art of This Century, New York, Christmas Suggestions, December 12, 1944–January 6, 1945. Drawings only.

Julien Levy Gallery, New York, The Imagery of Chess: A Group Exhibition of Paintings, Sculpture, Newly Designed Chessmen, Music and Miscellany, December 12, 1944–January 31, 1945 (catalogue). Unidentified: cat. no. 21.

The Imagery of Chess: A Group Exhibition of Paintings, Sculpture, Newly Designed Chessmen, Music and Miscellany. New York: Julien Levy Gallery, 1944.

1945

g r O u P eX hibiti O n S

David Porter Gallery, Washington, D.C., A Painting Prophecy—1950, January 31–February 28, 1945; George Walter Vincent Smith Art Gallery, Springfield, Mass., March 28–April 18, 1945; City Art Museum of Saint Louis, May 1–30, 1945; San Francisco Museum of Art, September 9–October 7, 1945; Rochester Memorial Gallery of Art, [October 1945] (catalogue). See c8.

Personal Statement: Painting Prophecy—1950 (includes artist’s statements). Foreword by David Porter. Washington, D.C.: David Porter Gallery, 1945.

Museum of Modern Art, New York, Recent Acquisitions, February 14–March 18, 1945 (permanent collection exhibition; checklist). See c7.

Samuel M. Kootz Gallery, New York, inaugural exhibition, April 9–28, 1945; shown at a temporary space at the Feigl Gallery, New York, in conjunction with Léger: Oils, Gouaches, Drawings. Unidentified: “large canvas.”

Reviewed in Artnews 1945, Gibbs 1945, Jewell 1945a, McBride 1945a, and Newsweek 1945a.

California Palace of the Legion of Honor, San Francisco, Contemporary American Painting, May 17–June 17, 1945 (catalogue). Unidentified: Collage. Reviewed in Frankenstein 1945.

Contemporary American Painting Introduction by Jermayne MacAgy. San Francisco: California Palace of the Legion of Honor, 1945.

Museum of Modern Art, New York, The Museum Collection of Painting and Sculpture, June 20, 1945–February 13, 1946. See c7.

Samuel M. Kootz Gallery, New York, [group exhibition], July 17–August 1945. Works unknown. Reviewed in R[eed] 1945. 17th Regiment Armory, New York, The Arts and Antiques Show, September 24–30, 1945. Unidentified: “painting.” Reviewed in Loveman 1945a and Newsweek 1945b.

Art of This Century, New York, Autumn Salon, October 6–29, 1945. Works unknown.

Samuel M. Kootz Gallery, New York, Christmas Gift Show, November 26–December 22, 1945. Works unknown. Reviewed in Devree 1945.

Whitney Museum of American Art, New York, 1945 Annual Exhibition of Contemporary American Painting, November 27, 1945–January 10, 1946 (catalogue). See P19. Reviewed in Jewell 1945b, Loveman 1945b, and McBride 1945b.

1945 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1945.

1946

S O l O eX hibiti O n S

Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Collages, Drawings, January 2–19, 1946 (catalogue). See P15, P20, P23, P24, P33, P34, P46, c16, c19, c20, c23, c25. Unidentified: 1. Grey Abstraction with Mauve; 8. Figure on White; 11. Abstraction with Stripes; 18. Large Construction; 19. In Orange and Violet. Reviewed in Artnews 1946a, Coates 1946, Greenberg 1946, Jewell 1946d, McB[ride] 1946, New York Herald Tribune 1946, Stroup 1946, and Wolf 1946a.

Robert Motherwell: Paintings, Collages, Drawings. New York: Samuel M. Kootz Gallery, 1946.

Arts Club of Chicago, Robert Motherwell: Paintings, Collages, Drawings, February 7–27, 1946; San Francisco Museum of Art, March 26–April 14, 1946 (catalogue). See P3, P16, P19, P20, P24, P32, P33, c7, c8, c13, c16,

c20, c23, c25. Unidentified: 1. Abstraction in Ochre and Red; 9. Figure in White; 11. Large Collage; 18. Figure on Yellow; 19. Black and White; 21. Drawing; 23. Drawing; 28. Landscape with Figures. Reviewed in Frankenstein 1946a, Frankenstein 1946b, and Jewett 1946.

Robert Motherwell: Paintings, Collages, Drawings. Introduction by James Johnson Sweeney. Chicago: Arts Club of Chicago, 1946.

g r O u P eX hibiti O n S

Society of the Four Arts, Palm Beach, Fla., Abstract and Expressionist Paintings, January 18–February 10, 1946 (catalogue). See P11. Abstract and Expressionist Paintings. Palm Beach, Fla.: Society of the Four Arts, 1946. Pennsylvania Academy of the Fine Arts, Philadelphia, The One Hundred and Forty-first Annual Exhibition of American Painting and Sculpture, January 26–March 3, 1946 (catalogue). See P12.

The One Hundred and Forty-first Annual Exhibition of American Paintings and Sculpture. Philadelphia: Pennsylvania Academy of Fine Arts, 1946.

Whitney Museum of American Art, New York, 1946 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, February 5–March 13, 1946 (catalogue). See c21. Reviewed in Gibbs 1946b. 1946 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. New York: Whitney Museum of American Art, 1946.

Museum of Modern Art, New York, Recent Acquisitions in Painting and Sculpture, February 6–24, 1946 (permanent collection exhibition; checklist). See c19. Reviewed in Jewell 1946c.

Samuel M. Kootz Gallery, New York, The Big Top, March 4–23, 1946 (catalogue). See w7. Unidentified: Viola the Bareback Rider. Reviewed in Artnews 1946b and Jewell 1946a.

The Big Top. Introduction by Samuel M. Kootz. New York: Samuel M. Kootz Gallery, 1946.

Saint Paul Gallery and School of Art, Minn., Contemporary Art, Part 2: Paintings, April 3–25, 1946 (catalogue). Unidentified: Figuration Contemporary Art, Part 2: Paintings. Saint Paul, Minn.: Saint Paul Gallery and School of Art, 1946.

Samuel M. Kootz Gallery, New York, Building a Modern Collection, May 13–June 1, 1946 (catalogue). See P24. Unidentified: In the Garden; Viva (either c10 or c33). Reviewed in Wolf 1946b.

Building a Modern Collection. Introduction by Samuel M. Kootz. New York: Samuel M. Kootz Gallery, 1946.

Samuel M. Kootz Gallery, New York, Modern Paintings for a Country Estate, June 3–29, 1946. Works unknown. Reviewed in Devree 1946. Tate Gallery, London, American Painting from the Eighteenth Century to the Present Day (organized by the National Gallery of Art, Washington, D.C.), June 14–August 5, 1946 (catalogue). See c3.

American Painting from the Eighteenth Century to the Present Day. Introduction by John Rothenstein. London: Tate Gallery, 1946.

Samuel M. Kootz Gallery, New York, In the Sun, September 4–28, 1946 (catalogue). See c15. Unidentified: 14. In the Sun. Reviewed in Reed 1946.

In the Sun. New York: Samuel M. Kootz Gallery, 1946.

Museum of Modern Art, New York, Fourteen Americans, September 10–December 8, 1946; Vassar College, Poughkeepsie, N.Y., January 5–26, 1947; Society of the Four Arts, Palm Beach, Fla., February 7–March 7, 1947; Cincinnati Modern Art Society, March 20–April 17, 1947; San Francisco Museum of Art, May 6–June 1, 1947; Louisiana State University, Baton Rouge, June 15–30, 1947; Indiana University Art Center Gallery, Bloomington, October 11–18, 1947 (catalogue). See P15, P19, P32, P34, c7, c8, c17, c19, c20, c25, w4. Reviewed in Gibbs 1946a and Tyler 1946.

Miller, Dorothy C., ed. Fourteen Americans Entry “Robert Motherwell” (includes artist’s statements), pp. 34–38. New York: Museum of Modern Art, 1946. Philadelphia Art Alliance, [group exhibition], October 1–27, 1946. Unidentified: Imaginary Landscape No. 2

Samuel M. Kootz Gallery, New York, Homage to Jazz, December 3–21, 1946 (catalogue). See c6, c37(?), c38. Reviewed in Jewell 1946b. Homage to Jazz. Introduction by Barry Ulanov. New York: Samuel M. Kootz Gallery, 1946.

Whitney Museum of American Art, New York, 1946 Annual Exhibition of Contemporary American Painting, December 10, 1946–January 16, 1947 (catalogue). See w4. 1946 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1946.

1947

S O l O eX hibiti O n S

Samuel M. Kootz Gallery, New York, Motherwell, April 28–May 17, 1947 (catalogue). See P36, P45–P48, P50–P53, P56, P58, c42, c47(?). Unidentified: 3. Feminine Personage; 13. Dark Figure; 15. Figure with Red. Reviewed in Artnews 1947b, Devree 1947b, Greenberg 1947, McB[ride] 1947, and W[olf] 1947. Motherwell (includes artist’s statements). New York: Samuel Kootz Gallery, 1947.

g r O u P eX hibiti O n S

Museum of Fine Arts, Houston, 55 Works of Modern Art Owned in Houston, January 12–February 3, 1947 (catalogue). See P21. 55 Works of Modern Art Owned in Houston Houston: Museum of Fine Arts, 1947. Pennsylvania Academy of the Fine Arts, Philadelphia, The One Hundred and Fortysecond Annual Exhibition of Painting and Sculpture, January 26–March 2, 1947 (catalogue). See P37.

The One Hundred and Forty-second Annual Exhibition of Painting and Sculpture Philadelphia: Pennsylvania Academy of the Fine Arts, 1947.

Whitney Museum of American Art, New York, 1947 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, March 11–April 17, 1947 (catalogue). See c6. 1947 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. New York: Whitney Museum of American Art, 1947.

Samuel M. Kootz Gallery, New York, 20th Century Still Life, March 17–April 5, 1947. Works unknown. Reviewed in Jewell 1947a. Galerie Maeght, Paris, Introduction à la peinture moderne américaine, March 28–April 1947 (catalogue). See P36, P41, P42(?), P57, c44. Reviewed in Cahiers d’art 1947, Cassou 1947, and Citron 1947.

Introduction à la peinture moderne américaine (text in French). Essay by Harold Rosenberg. Paris: Galerie Maeght, 1947.

Corcoran Gallery of Art, Washington, D.C., The Twentieth Biennial Exhibition of Contemporary American Oil Paintings, March 30–May 11, 1947 (catalogue). Unidentified: 216. Figure with Red Stripes

The Twentieth Biennial Exhibition of Contemporary American Oil Paintings Preface by Hermann Warner Williams Jr. Washington, D.C.: Corcoran Gallery of Art, 1947.

Brooklyn Museum, International Water Color Exhibition: Fourteenth Biennial, April 16–June 8, 1947 (catalogue). See w2.

International Water Color Exhibition: Fourteenth Biennial. Brooklyn: Brooklyn Museum, 1947.

Samuel M. Kootz Gallery, New York, Season’s Highlights, June 9–[30], 1947. Works unknown.

University of Iowa, Iowa City, Third Summer Exhibition of Contemporary Art, June 15–July 30, 1947 (catalogue). See P46.

Third Summer Exhibition of Contemporary Art. Foreword by Lester D. Longman. Iowa City: University of Iowa, 1947.

Musée National d’Art Moderne, Le Salon des réalités nouvelles, July 21–August 18, 1947; may have traveled to additional venues (catalogue). See P36.

Réalités nouvelles. Paris: Comité du Salon des Réalités Nouvelles, 1947.

Samuel M. Kootz Gallery, New York, Women, September 8–27, 1947 (catalogue). See P64.

Reviewed in Artnews 1947c, J[ewell] 1947b, and Reed 1947.

Galantière, Lewis, Paul Goodman, Clement Greenberg, Weldon Kees, Benjamin Péret, Harold Rosenberg, Jean-Paul Sartre, Barry Ulanov, Tennessee Williams, William Carlos Williams, and Victor Wolfson. Women: A Collaboration of Artists and Writers. Preface by Samuel M. Kootz; accompanying text to the artist’s work by Weldon Kees. New York: Samuel M. Kootz Editions, 1948.

Samuel M. Kootz Gallery, New York, 8 Paintings, September 29–October 18, 1947. See P58, P68. Reviewed in Artnews 1947a, Devree 1947a, and L[ansford] 1947.

Art Institute of Chicago, Abstract and Surrealist American Art: Fifty-eighth Annual Exhibition of American Paintings and Sculpture, November 6, 1947–January 11, 1948 (catalogue). See P56.

Sweet, Frederick A., and Katherine Kuh. Abstract and Surrealist American Art: Fifty-eighth Annual Exhibition of American Paintings and Sculpture. Foreword by Daniel Catton Rich. Chicago: Art Institute of Chicago, 1947.

California Palace of the Legion of Honor, San Francisco, 2nd Annual Exhibition of Painting, November 19, 1947–January 4, 1948 (catalogue). Unidentified: Composition

2nd Annual Exhibition of Painting. Foreword by Thomas Carr Howe Jr.; introduction by Jermayne MacAgy. San Francisco: California Palace of the Legion of Honor, 1947.

Whitney Museum of American Art, New York, 1947 Annual Exhibition of Contemporary American Painting, December 6, 1947–January 25, 1948 (catalogue). See P65.

1947 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1947.

Samuel M. Kootz Gallery, New York, Water Colors, December 15–[31], 1947. Works unknown. Reviewed in Louchheim 1947.

1948

S O l O eX hibiti O n S

Samuel M. Kootz Gallery, New York, Paintings and Collages by Motherwell, May 10–29, 1948 (catalogue). See P64–P69, P76(?), P77, P80–P84, c45, c48–c50. Unidentified: 9. In Ochre and White; 15. Grey Woman; 17. In Brown and White; 20. Woolworth’s Worst. Reviewed in Artnews 1948, Greenberg 1948, Hunter 1948b, New York Sun 1948, and W[olf] 1948.

Paintings and Collages by Motherwell. New York: Samuel M. Kootz Gallery, 1948.

g r O u P eX hibiti O n S

Whitney Museum of American Art, New York, 1948 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, January 31–March 21, 1948 (catalogue). Unidentified: 123. Nude

1948 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. New York: Whitney Museum of American Art, 1948.

Abstract and Surrealist American Art (organized by the Art Institute of Chicago; circulated by the American Federation of Arts, Washington, D.C.), Kalamazoo Art Center, Mich., February 1–22, 1948; J. B. Speed Art Museum, Louisville, Ky., March 7–28, 1948; Cincinnati Modern Art Society, Cincinnati Art Museum, April 11–May 2, 1948; San Francisco Museum of Art, May 17–June 6, 1948; Modern Institute of Art, Beverly Hills, Calif., June [16]–July 11, 1948; Dallas Museum of Fine Arts, July 25–August 15, 1948; Cranbrook Academy of Art Museum,

Bloomfield Hills, Mich., September 1–26, 1948; Baltimore Museum of Art, October 6–27, 1948; Vassar College Art Gallery, Poughkeepsie, N.Y., November 9–30, 1948; Isaac Delgado Museum of Art, New Orleans, December 15, 1948–January 8, 1949; selected works from the exhibition shown at Art Institute of Chicago, 1948 (see separate entry) [venue catalogues]. See P56.

Abstract and Surrealist American Art Bloomfield Hills, Mich.: Cranbrook Academy of Art Museum, 1948.

Museo de Bellas Artes, Caracas, Venezuela, Exposicion Panamericana de Pintura Moderna, February 15–March 1, 1948 (catalogue). See c19.

Sicre, José Gómez, ed. Exposicion Panamericana de Pintura Moderna (text in Spanish). Caracas, Venezuela: Museo de Bellas Artes, 1948.

Columbia University Bookstore, New York, [group exhibition], March 1948. Works unknown.

Samuel M. Kootz Gallery, New York, Third Anniversary, March 20–April 17, 1948 (catalogue). See P67. Reviewed in Hunter 1948a.

Third Anniversary. New York: Samuel M. Kootz Gallery, 1948.

Whitney Museum of American Art, New York, 117 Oil and Water Color Originals by Leading American Artists, May 21–June 18, 1948; exhibition and sale of works from the collection of the War Assets Administration (catalogue). Drawings only.

Catalog of 117 Oil and Water Color Originals by Leading American Artists. New York: War Assets Administration, 1948.

Palazzo Centrale, Venice, XXIV Biennale di Venezia: La Collezione Peggy Guggenheim, May 29–September 30, 1948; Palazzo Strozzi, Florence, February 19–March 10, 1949; Palazzo Reale, Milan, June–July 1949 [venue catalogues]. See c8.

Argan, G. C., “La Collezione Peggy Guggenheim.” In XXIV Biennale di Venezia (text in Italian). Venice: Edizioni Serenissima, 1948.

University of Iowa, Iowa City, Fourth Summer Exhibition of Contemporary Art, June–July 1948 (catalogue). See P45.

Fourth Summer Exhibition of Contemporary Art. Foreword by Lester D. Longman. Iowa City: University of Iowa, 1948.

Des Moines Art Center, Inaugural Exhibition of European and American Painting, Sculpture, Drawings, Prints, and Ceramics, June 2–September 1, 1948 (catalogue). See P19.

Inaugural Exhibition of European and American Painting, Sculpture, Drawings, Prints, and Ceramics. Des Moines: Des Moines Art Center, 1948.

Museum of Modern Art, New York, Collage, September 21–December 5, 1948. See c7.

California Palace of the Legion of Honor, San Francisco, 3rd Annual Exhibition of Painting,

December 1, 1948–January 16, 1949 (catalogue). See c41.

3rd Annual Exhibition of Painting. Foreword by Thomas Carr Howe Jr.; introduction by Jermayne MacAgy. San Francisco: California Palace of the Legion of Honor, 1948.

Jewish Museum, New York, American Artists for Israel, December 21, 1948–January 30, 1949 (catalogue). See P46. Reviewed in Devree 1948. American Artists for Israel. Foreword by Elias Newman. New York: Jewish Museum, 1948. Museum of Modern Art, New York, American Paintings from the Museum Collection, December 22, 1948–March 20, 1949 (permanent collection exhibition; checklist). See c7. Reviewed in Devree 1948.

1949

S O l O eX hibiti O n S

Samuel M. Kootz Gallery, New York, Robert Motherwell Collages, 1943–49, October 4–22, 1949 (catalogue). See c1, c15, c19, c20, c41, c42, c44, c46, c48, c49, c52, c53. Reviewed in Devree 1949, G. 1949, and S[harp] 1949.

Robert Motherwell Collages, 1943–49 (includes artist’s statements). Introduction by Marianne Moore. New York: Samuel M. Kootz Gallery, 1949.

g r O u P eX hibiti O n S

Architecture Building, College of Fine and Applied Arts, Urbana, Ill., University of Illinois Exhibition of Contemporary American Painting, February 27–April 3, 1949 (catalogue). See P81.

Weller, Allen Stuart. University of Illinois Exhibition of Contemporary American Painting. Introduction by Rexford Newcomb. Urbana: University of Illinois Press, 1949.

Modern Art: Paintings, Sculpture, Drawings; And a Group of Contemporary Manuscripts, previewed at Laurel Gallery, New York, March 1–10, 1949; exhibition and sale of works at the Kende Galleries, New York, March 12–18, 1949 (sale to benefit the International Rescue, Inc.; auction catalogue). Unidentified: European Elegy

Modern Art: Paintings, Sculpture, Drawings; And a Group of Contemporary Manuscripts New York: Laurel Gallery, in association with the Kende Galleries, 1949.

Whitney Museum of American Art, New York, 1949 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, April 2–May 8, 1949 (catalogue). See c53. 1949 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. New York: Whitney Museum of American Art, 1949.

John and Mable Ringling Museum of Art, Sarasota, Fla., American Painting: 3 Centuries, April 3–24, 1949 (catalogue). Unidentified: Black and White

American Painting: 3 Centuries. Sarasota, Fla.: John and Mable Ringling Museum of Art, 1949.

Gallery 200, Provincetown, Mass., Forum 49, July 3–16, 1949. See w10. Reviewed in De Kooning 1949 and Provincetown Advocate 1949.

American Paintings from the Modern Collection (circulated by the Museum of Modern Art, New York), September 1949–June 1952 (venues and dates unknown). See c7.

Samuel M. Kootz Gallery, New York, The Intrasubjectives, September 14–October 3, 1949 (catalogue). See P87. Reviewed in Preston 1949 and De Ezcurra ca. 1949.

The Intrasubjectives. Introduction by Harold Rosenberg and Samuel M. Kootz. New York: Samuel M. Kootz Gallery, 1949. Art Center School Galleries, Los Angeles, [group exhibition], October 24–November 4, 1949. See P53. Reviewed in Millier 1949.

Samuel M. Kootz Gallery, New York, The Birds & the Beasts, October 25–November 12, 1949. Unidentified: Bird. Reviewed in R[eed] 1949.

Museum of Modern Art, New York, Recent Acquisitions, October 25, 1949–January 22, 1950 (permanent collection exhibition; checklist). See P82. Reviewed in Burrows 1949.

Whitney Museum of American Art, New York, 1949 Annual Exhibition of Contemporary American Painting, December 16, 1949–February 5, 1950 (catalogue). See P88. 1949 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1949.

Samuel M. Kootz Gallery, New York, Extremes in Scale, December 27, 1949–[first week of January 1950]. Works unknown. Reviewed in Preston 1950d.

1950

S O l O eX hibiti O n S

Samuel M. Kootz Gallery, New York, Motherwell: First Exhibition of Paintings in Three Years, November 14–December 4, 1950; it is uncertain which works were included in the exhibition, according to the catalogue the works listed “represent a complete catalogue of the paintings done in 1949 and 1950. . . . The present exhibition is a selection from these titles” (catalogue). See P86–P88, P90–P94, P96, P101–P105, P107–P112, c52, c53, w9(?), w10. Unidentified: 8A. Catalonia; 9A. Spanish Drum Roll; 10A. “Little” Spanish Drum Roll; 2B. Brown Still Life; 8B. Victoria; 9B. Interior; 11B. Sienna and White; 14B. Still Life with Yellow and White. Reviewed in K[rasne] 1950b, McBride 1950, and Preston 1950b.

Motherwell: First Exhibition of Paintings in Three Years (includes artist’s statements). New York: Samuel M. Kootz Gallery, 1950.

g r O u P eX hibiti O n S

Student Center, Washington University in Saint Louis, American Abstract Art, January 4–25, 1950. Works unknown. Reviewed in Edwards 1950.

Akron Art Institute, Ohio, The Variety in Artistic Production. January 15–February 15, 1950. See P76.

Frank Perls Gallery, Beverly Hills, Calif., [inaugural group exhibition], January 24–[March 1], 1950. Works unknown. Reviewed in Los Angeles Times 1950.

Museum of Modern Art, New York, Recent Acquisitions to the Museum Collection, January 31–May 7, 1950 (permanent collection exhibition; checklist). See P47. Reviewed in Burrows 1950b and Devree 1950b.

Detroit Institute of Arts, Little Show of Works in Progress, February 20–March 24, 1950 (catalogue). See c45, c48.

Little Show of Works in Progress. Detroit: Detroit Institute of Arts, 1950.

Architecture Building, College of Fine and Applied Arts, Urbana, Ill., University of Illinois Exhibition of Contemporary American Painting, February 26–April 2, 1950 (catalogue). See c20.

University of Illinois Exhibition of Contemporary American Painting. Introduction by Rexford Newcomb; essay by Allen S. Weller. Urbana: University of Illinois Press, 1950.

Samuel M. Kootz Gallery, New York, Black or White: Paintings by European and American Artists, February 28–March 20, 1950 (catalogue). See P86. Reviewed in Coates 1950, Devree 1950a, H[ess] 1950a, and S[harp] 1950. Black or White: Paintings by European and American Artists. Introduction by Robert Motherwell. New York: Samuel M. Kootz Gallery, 1950.

San Francisco Museum of Art, Modern American Painting, March 15–April 16, 1950. See c7.

Metropolitan Museum of Art, New York, Young American Artists, March 24–April 30, 1950 (checklist). Unidentified: “collage.”

Reviewed in Genauer 1950a and New York Herald Tribune 1950a.

Baldwin Kingrey, Chicago, [group exhibition], [April] 1950. Works unknown. Reviewed in Jewett 1950.

Des Moines Art Center, Contemporary American Painters, 1940–50, April 3–30, 1950 (checklist). See c44.

Watkins Gallery, American University, Washington, D.C., Objective and Non-Objective, April 16–May 5, 1950 (checklist). See P79. Perspectives Gallery, New York, Magic, April 20–May 20, 1950. Works unknown.

Virginia Museum of Fine Arts, Richmond, American Painting, 1950, April 22–June 4, 1950 (catalogue). See P64.

Sweeney, James Johnson. American Painting, 1950. Foreword by Leslie Cheek Jr. Richmond: Virginia Museum of Fine Arts, 1950.

Art Institute of Chicago, 10th Annual Society for Contemporary American Art Exhibition, May 16–June 4, 1950 (checklist). Unidentified: Composition

Toledo Museum of Art, Ohio, 37th Annual Exhibition: Contemporary American Paintings, June 1–August 31, 1950 (catalogue). See P67. 37th Annual Exhibition of Contemporary American Paintings. Toledo, Ohio: Toledo Museum of Art, 1950.

Samuel M. Kootz Gallery, New York, Something Old Something New, June 6–30, 1950. See P68, P94. Reviewed in B[reuning] 1950b, Burrows 1950a, and Devree 1950c.

University of Michigan, Ann Arbor, Contemporary Visual Arts: Postwar American Painting, June 28–August 28, 1950 (checklist). Unidentified: Bird

Guild Hall, East Hampton, N.Y., 10 East Hampton Abstractionists, July 1–20, 1950. Works unknown.

Samuel M. Kootz Gallery, New York, [group exhibition], [August] 1950. Unidentified: “collage.” Reviewed in G[enauer] 1950b.

Hawthorne Memorial Gallery, Provincetown Art Association, Mass., Post-Abstract Painting 1950: France and America, August 6–September 4, 1950 (checklist). Unidentified: 8. Personage Reviewed in Preston 1950c.

Samuel M. Kootz Gallery, New York, Looking Ahead, [September]–October [1], 1950. See P87. Unidentified: Still Life. Reviewed in B[reuning] 1950a, Burrows 1950c, and Preston 1950a.

Argent Gallery, New York, America Paints: 2nd Exhibition, September 18–30, 1950. Unidentified: “collage.” Reviewed in P[reston] 1950e.

American Painting, 1951: The Twelfth Annual Southeastern Circuit Exhibition of Contemporary Painting, Columbia Museum of Art, S.C., October 1–22, 1950; Friends of Contemporary Art, Miami, October 29–November 19, 1950; Norton Gallery and School of Art, West Palm Beach, Fla., November 26–December 17, 1950; Key West Art and Historical Society, Fla., December 28, 1950–January 14, 1951; Morse Gallery of Art, Rollins College, Winter Park, Fla., January 21–February 11, 1951; Florida Gulf Coast Art Center, Clearwater Museum of Art, Fla., February 13–March 11, 1951; High Museum of Art, Atlanta, March 18–April 8, 1951; Department of Art, University of Alabama, April 15–May 5, 1951; Isaac Delgado Museum of Art, New Orleans, May 13–June 1, 1951; Akron Art Institute, Ohio, June–July 25, 1951 (checklist). See w4.

Samuel M. Kootz Gallery, New York, The Muralist and the Modern Architect, October 3–23, 1950 (catalogue). See P102. Reviewed in Brian 1950, H[ess] 1950b, and Louchheim 1950.

Johnson, Philip, Marcel Breuer, Frederick Kiesler, Paul Lester Wiener, Jose Luis Sert, and John Harkness. The Muralist and the Modern Architect. New York: Samuel M. Kootz Gallery, 1950.

Walker Art Center, Minneapolis, Contemporary American Painting: 5th Biennial Purchase Exhibition, October 15–December 10, 1950 (catalogue). Unidentified: 79. Still Life

Contemporary American Painting: 5th Biennial Purchase Exhibition. Minneapolis: Walker Art Center, 1950.

J. B. Speed Art Museum, Louisville, Ky., Drawings and Sculpture by Members of the Drawings and Sculpture Panels, October 26–28, 1950; shown in conjunction with the Midwestern College Art Conference (College Art Association) at the Allen R. Hite Art Institute, University of Louisville, Ky., October 26–28, 1950 (conference program). Works unknown.

Architectural League, New York, [group exhibition], October 30–November 11, 1950. See P102.

Whitney Museum of American Art, New York, 1950 Annual Exhibition of Contemporary American Painting, November 10–December 31, 1950 (catalogue). See P87.

1950 Annual Exhibition of Contemporary American Painting. Foreword by Herman More. New York: Whitney Museum of American Art, 1950.

California Palace of the Legion of Honor, San Francisco, 4th Annual Exhibition of Contemporary Painting, November 25, 1950–January 1, 1951 (catalogue). See P88.

4th Annual Exhibition of Contemporary Painting. Introduction by Thomas Howe Carr Jr., Jermayne MacAgy, and Frederick S. Bartlett. San Francisco: California Palace of the Legion of Honor, 1950.

1951

g r O u P eX hibiti O n S

Milwaukee Art Institute, [“loan from the Whitney Museum of American Art”], January 4–February 15, 1951. See P65.

Frank Perls Gallery, Beverly Hills, Calif., Seventeen Modern American Painters, January 11–February 7, 1951; Santa Barbara Museum of Art, Calif., March 1–19, 1951 (catalogue). See P88. Reviewed in Millier 1951 and Sorzano 1951.

School of New York. Preface, “The School of New York,” by Robert Motherwell. Beverly Hills, Calif.: Frank Perls Gallery, 1951.

Stedelijk Museum, Amsterdam, Surréalisme + abstraction, January 19–February 26, 1951; Palais des Beaux-Arts, Brussels, March 5–28, 1951; Kunsthaus Zürich, April 14–May 1951 [venue catalogues]. See c8.

Surréalisme + abstraction: Choix de la collection; keuze uit de verzameling Peggy Guggenheim (text in French and Dutch). Amsterdam: Stedelijk Museum; Brussels: Palais des Beaux-Arts, 1951.

Pennsylvania Academy of the Fine Arts, Philadelphia, The One Hundred and Forty-sixth Annual Exhibition of Painting and Sculpture, January 21–February 25, 1951 (catalogue). See P64.

The One Hundred and Forty-sixth Annual Exhibition of Painting and Sculpture Foreword by Joseph T. Fraser Jr. Philadelphia: Pennsylvania Academy of Fine Arts, 1951.

list of exhibitions

Museum of Modern Art, New York, Abstract Painting and Sculpture in America, January 23–March 25, 1951; Dallas Museum of Fine Arts, October 1–22, 1951; Saint Paul Gallery and School of Art, Minn., November 5–26, 1951; Winnipeg Art Gallery, Del., December 10–31, 1951; Toledo Museum of Art, Ohio, January 14–28, 1952; J. B. Speed Art Museum, Louisville, Ky., February 18–March 10, 1952; Southern Illinois University, Carbondale, March 24–April 14, 1952 (catalogue). See P47, P82. Reviewed in Time 1951a.

Carnduff, Andrew Ritchie. Abstract Painting and Sculpture in America. New York: Museum of Modern Art, 1951. College of Fine and Applied Arts, Urbana, Ill., University of Illinois Exhibition of Contemporary American Painting, March 4–April 15, 1951 (catalogue). See P111.

University of Illinois Exhibition of Contemporary American Painting Introduction by Allen Stuart Weller. Urbana: University of Illinois Press, 1951.

University Galleries, University of Nebraska, Lincoln, Nebraska Art Association Sixty-first Annual Exhibition, March 4–April 1, 1951 (catalogue). See P110.

Nebraska Art Association Sixty-first Annual Exhibition. Foreword by Duard W. Laging. Lincoln: University Galleries, University of Nebraska, 1951.

Samuel M. Kootz Gallery, New York, Male + Female, March 6–26, 1951. See P57. Unidentified: “Male.” Reviewed in H[olliday] 1951 and P[reston] 1951a.

Whitney Museum of American Art, New York, 1951 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, March 17–May 6, 1951 (catalogue). Works unknown.

1951 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. Foreword by Herman More. New York: Whitney Museum of American Art, 1951.

Samuel M. Kootz Gallery, New York, 5 x 6, March 28–April 14, 1951. See P113. Reviewed in Preston 1951b.

Art Institute of Chicago, 11th Annual Society for Contemporary American Art Exhibition, April 10–May 6, 1951 (checklist). See P101.

Indiana University Art Center, Bloomington, Contemporary Painting and Sculpture, May 1–21, 1951 (catalogue). See P57.

Contemporary Painting and Sculpture. Bloomington: Indiana University Art Center, 1951.

Samuel M. Kootz Gallery, New York, The Intimate Media:Watercolors, Drawings, Oils on Paper, Collages, Pastels, May 8–June 2, 1951. See c57. Reviewed in B[reuning] 1951 and G[oodnough] 1951.

Brooklyn Museum, International Water Color Exhibition: Sixteenth Biennial, May 9–June 24, 1951 (catalogue). Unidentified: 187. Figure

International Water Color Exhibition: Sixteenth Biennial. Brooklyn: Brooklyn

Museum; Brooklyn Institute of Arts and Sciences, 1951.

60 East Ninth Street, New York, Ninth Street Show, May 21–June 10, 1951. See c55(?). Los Angeles County Museum, Contemporary Painting in the United States: 1951 Annual Exhibition, June 2–July 22, 1951 (catalogue). See P96.

Contemporary Painting in the United States: 1951 Annual Exhibition. Introduction by James B. Byrnes. Los Angeles: Los Angeles County Museum, 1951.

Samuel M. Kootz Gallery, New York, Resumé of the 1950–51 Season, June 4–29, 1951 (catalogue). See P101, P103, P105. Reviewed in Burrows 1951a and Devree 1951c.

Resumé of the 1950–51 Season. New York: Samuel M. Kootz Gallery, 1951.

University Gallery, University of Minnesota, Minneapolis, 40 American Painters, 1940–1950, June 4–August 30, 1951 (catalogue). See P57, c11.

40 American Painters, 1940–1950 (includes artist’s statements). Preface by H. H. Arnason. Minneapolis: University Gallery, University of Minnesota, 1951.

Museum of Modern Art, New York, Selections from Five New York Private Collections, June 26–September 9, 1951 (checklist). See P87. Reviewed in Genauer 1951a.

Duxbury Town Hall, Mass., [group exhibition], July 12–August 21, 1951. See c49.

Amerikanische Malerei:Werden und Gegenwart (circulated by the American Federation of Arts for Berliner Festwochen 1951), Rathaus Schöneberg, Berlin, September 20–October 5, 1951; Schloss Charlottenburg, Berlin, October 10–24, 1951; Galerie des Amerika Hauses, Munich, November 24–December 14, 1951 (venue catalogues). See P65, c52.

Amerikanische Malerei: Werden und Gegenwart (text in German). Introduction by Joachim Tiburtius. Berlin: Rathaus Schöneberg; Schloss Charlottenburg, 1951.

Amerikanische Malerei (text in German). Munich: Galerie des Amerika Hauses, 1951.

Samuel M. Kootz Gallery, New York, Art for a Synagogue, October 3–20, 1951 (catalogue). See P114. Reviewed in Chanin 1951, Louchheim 1951b, R[eed] 1951, and Reiss 1951.

Art for a Synagogue. Introduction by Samuel M. Kootz. New York: Samuel M. Kootz Gallery, 1951.

Watercolors by Artists of the United States (circulated by the Virginia Museum of Fine Arts, Richmond), Chatham Hall, Va., October 8–21, 1951; College of William and Mary, Williamsburg, Va., November 5–21, 1951; Arlington County Public Schools, Va., December 3–14, 1951; Winchester American Association of University Women, Handley School, Va., January 14–27, 1952; Mary Baldwin College, Staunton, Va., February 4–14, 1952; Richmond Public Schools, Va., February 25–March 3, 1952, and March 10–31, 1952; Mary Washington College,

Fredericksburg, Va., April 21–May 5, 1952; National Cathedral School, Washington, D.C., May 12–25, 1952. Drawings only.

Art Institute of Chicago, 60th Annual American Exhibition: Paintings and Sculpture, October 25–December 16, 1951 (catalogue). See P109.

60th Annual American Exhibition: Paintings and Sculpture. Chicago: Art Institute of Chicago, 1951.

Busch-Reisinger Museum, Harvard University, Cambridge, Mass., Harvard Art Association, November 2–24, 1951. See c21.

Whitney Museum of American Art, New York, 1951 Annual Exhibition of Contemporary American Painting, November 8, 1951–January 6, 1952 (catalogue). See P105. Reviewed in Devree 1951b and Farber 1951.

1951 Annual Exhibition of Contemporary American Painting. Foreword by Herman More. New York: Whitney Museum of American Art, 1951.

City Art Museum of Saint Louis, Contemporary American Painting, November 12–December 10, 1951 (catalogue). See P86. Reviewed in Condon [1951].

Contemporary American Painting. Foreword by H. Stewart Leonard. Saint Louis: City Art Museum of Saint Louis, 1951.

Brooklyn Museum, Revolution and Tradition: An Exhibition of the Chief Movements in American Painting from 1900 to the Present, November 15, 1951–January 6, 1952 (catalogue). See P96. Reviewed in Coates 1951a.

Baur, John I. H. Revolution and Tradition: An Exhibition of the Chief Movements in American Painting from 1900 to the Present Brooklyn: Brooklyn Museum; Brooklyn Institute of Arts and Sciences, 1951.

Samuel M. Kootz Gallery, New York, Review of 1951, December 1951–January 5, 1952. Works unknown. Reviewed in B[oswell] 1952.

New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, Contemporary American Painting, December 11, 1951–January 9, 1952; selected works shown at the College of Fine and Applied Arts, Urbana, Ill., 1951 (see separate entry). See P111. Reviewed in Tech 1951.

American Vanguard Art for Paris Exhibitions (organized by Sidney Janis Gallery, New York, for the Galerie de France, Paris; circulated by the American Federation of Arts, New York), Sidney Janis Gallery, New York, December 26, 1951–January 5, 1952; Galerie de France, Paris, February 26–March 15, 1952; Los Angeles County Museum, August 3–24, 1952; San Francisco Museum of Art, September 9–October 5, 1952; Stanford University Art Gallery, Palo Alto, Calif., November 16–December 7, 1952; University of British Columbia, Vancouver, January 1–25, 1953; Vancouver Art Gallery, January 27–February 8, 1953; State College of Washington, Pullman, March 1–22, 1953; University of Washington, Seattle, April 12–May 3, 1953; Columbus Museum of Arts and Crafts, Ga., June 13–July 4, 1953; Miami Beach Public Library and Art Center, July 20–August 6, 1953 (catalogue). See P101.

Reviewed in Burrows 1951b, Coates 1951b, Devree 1951a, Fitzsimmons 1952a, and L. 1951.

Regards sur la peinture américaine (text in French; includes artist’s statements). Paris: Galerie de France, 1952.

1952

S O l O eX hibiti O n S

Library Rotunda, University of Louisville, Ky., [Drawings by Robert Motherwell], February 11, 1952–end of February. Works unknown. Reviewed in Bier 1952a.

Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Drawings, and Collages, April 1–19, 1952 (catalogue). See P85, P116, P117, P121, P124, P128–P134, P136, P137, c54, c55, w12, w14. Reviewed in Burrows 1952b, Faison 1952b, Fitzsimmons 1952b, H[ess] 1952, and Preston 1952b.

Robert Motherwell: Paintings, Drawings, and Collages. New York: Samuel M. Kootz Gallery, 1952.

Allen Memorial Art Museum, Oberlin College, Ohio, Paintings by Robert Motherwell, April 15–May 12, 1952 (checklist published in Allen Memorial Art Museum Bulletin 1952). See P16, P57, P87, P88, P91, P94, P95(?), P102, P125, c11, c46, c52, w10. Reviewed in Waters 1952.

g r O u P eX hibiti O n S

Art Center, Indiana University, Bloomington, Movements and Countermovements in Contemporary American Art, January 7–[28], 1952. Works unknown. Reviewed in Indiana Daily Student 1952.

California Palace of the Legion of Honor, San Francisco, 5th Annual Exhibition of Contemporary Painting, January 24–March 2, 1952 (catalogue). Unidentified: Black Painting 5th Annual Exhibition of Contemporary Painting. Foreword by Thomas Carr Howe Jr. San Francisco: California Palace of the Legion of Honor, 1952.

College of Fine and Applied Arts, Urbana, Ill., University of Illinois Exhibition of Contemporary American Painting, March 2–April 13, 1952 (catalogue). See P105.

Contemporary American Painting Introduction by Allen Stuart Weller. Urbana: University of Illinois Press, 1952.

Furniture Gallery, John Wanamaker’s department store, Great Neck, N.Y., Living with Art Exhibit, March 9–22, 1952 (checklist). See c41.

Whitney Museum of American Art, New York, 1952 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, March 13–May 4, 1952 (catalogue). Works unknown. Reviewed in Faison 1952a.

1952 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. New York: Whitney Museum of American Art, 1952.

Phillips Collection, Washington, D.C., Painters of Expressionistic Abstractions, March 16–April 29, 1952 (checklist). See c48.

City Art Museum of Saint Louis, St. Louis Collects: An Exhibition Selected from Private Collections, April 7–May 5, 1952 (catalogue). See c19.

St. Louis Collects: An Exhibition Selected from Private Collections. Foreword by Perry Townsend Rathbone. Saint Louis: City Art Museum of Saint Louis, 1952. Exhibition catalogue doubled as the Bulletin of the City Art Museum of Saint Louis 37, nos. 2 and 3 (1952).

Samuel M. Kootz Gallery, New York, 7 Invited to South America, April 22–May 17, 1952; Museu de Arte Moderna do Rio de Janeiro, June 15, 1952 (end date unknown); Instituto de Arte Moderna, Buenos Aires, [September] 1952. See P57, P125. Reviewed in P[reston] 1952a.

Art Institute of Chicago, 12th Annual Society for Contemporary American Art Exhibition, May 6–June 8, 1952. See P103.

Cincinnati Art Museum, Purchase Exhibition: Modern Painting and Drawing, April 29–May 26, 1952 (catalogue). See P85, P96, P105.

Purchase Exhibition. Cincinnati: Cincinnati Art Museum, 1952.

Samuel M. Kootz Gallery, New York, French and American Paintings and Sculpture, May 6–31, 1952. Works unknown. Reviewed in L[a] F[arge] 1952.

Randolph-Macon Woman’s College, Lynchburg, Va., The Forty-first Annual Exhibition: American Paintings, May 11–June 9, 1952 (checklist). See c32.

J. B. Speed Art Museum, Louisville, Ky., 60th Annual American Exhibition (circulated by the American Federation of Arts, New York), May 16–June 8, 1952; selected works shown at the Art Institute of Chicago, October 1951 (see separate entry; checklist). See P109. Reviewed in Bier 1952a and Bier 1952b.

Frank Perls Gallery, Beverly Hills, Calif., [group exhibition], July [21]–August 16, 1952. Works unknown. Reviewed in M[illier] 1952. Guild Hall, East Hampton, N.Y., Fourth Annual Invitation Exhibition by Regional Artists, July 24–August 12, 1952. See c52. Reviewed in East Hampton Star 1952.

The Versatile Medium (circulated by the Museum of Modern Art, New York), Pennsylvania State College, September 10–October 1, 1952; Wellesley College, Mass., October 15–November 5, 1952; Vassar College, Poughkeepsie, N.Y., November 19–December 10, 1952; Binghamton Museum of Fine Arts, N.Y., December 24, 1952–January 14, 1953; University of New Hampshire, Durham, January 28–February 18, 1953; Skidmore College, Saratoga Springs, N.Y., March 4–25, 1953; Currier Gallery of Art, Manchester, N.H., April 8–29, 1953; Lawrence Art Museum, Williams College, Williamstown, Mass., May 13–June 3, 1953; Parrish Memorial Art Museum, Southampton, N.Y., June 20–July 19, 1953; to additional venues without the artist’s work (checklist). See c7.

Arts and Industries Building, Iowa State Teachers College, Cedar Falls, [group exhibition], October 6–10, 1952. See P132.

Carnegie Institute, Pittsburgh, The 1952 Pittsburgh International Exhibition of Contemporary Painting, October 16–November 14, 1952; California Palace of the Legion of Honor, San Francisco, February 1–March 1, 1953 (catalogue). See P131. Reviewed in Frankenstein 1953, Kantner 1952a, and Krasne 1952.

The 1952 Pittsburgh International Exhibition of Painting and Sculpture. Foreword by Gordon Washburn. Pittsburgh: Department of Fine Arts, Carnegie Institute, 1952.

Municipal Art Center, Long Beach, Calif., Contemporary American Painting, October 26–November 30, 1952. Works unknown. Reviewed in Ward 1952.

Whitney Museum of American Art, New York, 1952 Annual Exhibition of Contemporary American Painting, November 6, 1952–January 4, 1953 (catalogue). See P117.

1952 Annual Exhibition of Contemporary American Painting. Foreword by Herman More. New York: Whitney Museum of American Art, 1952.

Worcester Art Museum, Mass., Painters’ Choice: An Exhibition of Contemporary American Pictures Selected by Their Makers, November 6–December 14, 1952 (catalogue). See P121.

Painters’ Choice: An Exhibition of Contemporary American Pictures Selected by Their Makers. Worcester, Mass.: Worcester Art Museum, 1952.

Samuel M. Kootz Gallery, New York, The Kootz Review of 1952, November 25–December 23, 1952. See P136. Reviewed in Burrows 1952a, Devree 1952, and R[itter] 1952.

Paul Kantor Gallery, Beverly Hills, Calif., Watercolors and Drawings by William Baziotes, Adolph Gottlieb, Hans Hofmann, and Robert Motherwell, December 8, 1952–January 7, 1953. Works unknown. Reviewed in M[illier] 1953.

1953

S O l O eX hibiti O n S

Samuel M. Kootz Gallery, New York, Robert Motherwell, April 6–25, 1953. See P138, P139, P141–P143, P145, P148, P149, c58, c59, c61, c68, w17, w87. Unidentified: The Turtle Doves; La Danse IV. Reviewed in C[ampbell] 1953, Faison 1953, F[itzsimmons] 1953b, and Preston 1953.

Kootz Gallery, Provincetown, Mass., [Robert Motherwell], July 18–31, 1953. See P144, c59.

g r O u P eX hibiti O n S

Stable Gallery, New York, Second Annual Exhibition of Painting and Sculpture, January 11–[February 7], 1953 (catalogue). Works unknown.

Second Annual Exhibition of Painting and Sculpture. Introduction by Clement Greenberg. New York: Stable Gallery, 1953. Arts Club of Chicago, Adolph Gottlieb, Robert Motherwell,William Baziotes, Hans Hofmann, January 14–Febuary 4, 1953; Walker Art Center, Minneapolis, Four Abstract Expressionists, February 15–March 15, 1953 (brochure). See

P85, P88, P91, P130, P136, P137, c42, c46. Reviewed in Jewett 1953.

Adolph Gottlieb, Robert Motherwell,William Baziotes, Hans Hofmann. Chicago: Arts Club of Chicago, 1953.

Museu de Arte Moderna do Rio de Janeiro, Exposição Permanente, January 15–April 17, 1953 (permanent collection exhibition; catalogue). See P99.

Exposição permanente: catálogo (text in Portuguese). Introduction by Flavio de Aquino. Rio de Janeiro: Museu de Arte Moderna, 1953.

Memorial Hall, Hofstra College, Hempstead, N.Y., Contemporary Americans, February 9–20, 1953 (checklist). See P65.

Metropolitan Museum of Art, New York, The Edward Root Collection, February 12–April 12, 1953 (checklist). Drawings only.

College of Fine and Applied Arts, Urbana, Ill., Contemporary American Painting and Sculpture, March 1–April 12, 1953 (catalogue). See P117.

Contemporary American Painting and Sculpture. Introduction by Allen S. Weller. Urbana, Ill.: College of Fine and Applied Arts, 1953.

University Galleries, University of Nebraska, Lincoln, Nebraska Art Association Sixty-third Annual Exhibition, March 1953 (catalogue). See P110.

Nebraska Art Association Sixty-third Annual Exhibition. Foreword by Dorothy Holland and W. E. Militzer. Lincoln: University Galleries, University of Nebraska, Lincoln, 1953.

Furniture Gallery, John Wanamaker’s department store, Great Neck, N.Y., Art in America: 20th Century (organized by the Fine Arts Committee of Great Neck Education Association), March 1–14, 1953 (catalogue). See P121.

Art in America: 20th Century. Foreword by A. L. Chanin. Great Neck, N.Y.: Fine Arts Committee of Great Neck Education Association, 1953.

Palazzo del Parco, Bordighera, Italy, Seconda Mostra Internazionale di Pittura Americana, March 1–31, 1953. See c8.

Watkins Gallery, American University, Washington, D.C., Color, March 1–April 3, 1953 (catalogue). See c3.

Judd, Deane B., and Karl Knaths. Color Washington, D.C.: Watkins Gallery, American University, 1953.

Corcoran Gallery of Art, Washington, D.C., The Twenty-third Biennial of Contemporary American Oil Paintings, March 15–May 3, 1953. See P111.

Samuel M. Kootz Gallery, New York, French/ American, March 16–April 4, 1953. See P96. Reviewed in B[rach] 1953.

Parish House, Church of the Ascension, New York, An Exhibition of Contemporary Religious Art, March 22–April 5, 1953 (catalogue). See w14.

An Exhibition of Contemporary Religious Art New York: Parish House, Church of the Ascension, 1952.

Whitney Museum of American Art, New York, 1953 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, April 9–May 29, 1953 (catalogue). Drawings only.

1953 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, New York: Whitney Museum of Art, 1953.

Walker Art Center, Minneapolis, The Classic Tradition in Contemporary Art, April 24–June 30, 1953 (catalogue). See c32.

The Classic Tradition in Contemporary Art Minneapolis: Walker Art Center, 1953.

Randolph-Macon Art Gallery, RandolphMacon Woman’s College, Lynchburg, Va., 42nd Annual Loan Exhibition: Contemporary American Painting, May 9–June 9, 1953 (checklist). See P130.

Samuel M. Kootz Gallery, New York, Art for a Synagogue, May 22–June 6, 1953 (catalogue). Tapestry only. Reviewed in F[itzsimmons] 1953a, La Farge 1953a, Louchheim 1953, and Smith 1953a.

Art for a Synagogue. New York: Samuel M. Kootz Gallery, 1953.

Art Institute of Chicago, 13th Annual Society for Contemporary American Art Exhibition, June 2–28, 1953 (checklist). See P117.

Toledo Museum of Art, Ohio, 40th Annual Exhibition: Contemporary American Paintings, June 7–August 30, 1953 (catalogue).

Unidentified: 41. La Danse IV

40th Annual Exhibition: Contemporary American Paintings. Toledo, Ohio: Toledo Museum of Art, 1953.

Fine Arts Gallery, University of Colorado, Boulder, Exhibition of Paintings, June 21–August 16, 1953. See P65.

Guild Hall, East Hampton, N.Y., A Selection from 12 East Hampton Collections, July 2–22, 1953 (catalogue). Unidentified: 39. Figure

A Selection from 12 East Hampton Collections. Introduction by Gerald Sykes. East Hampton, N.Y.: Guild Hall, 1953.

Wisconsin Union Gallery, University of Wisconsin, Madison, Contemporary American Drawings, July 15–August 20, 1953 (catalogue). Drawings only.

Contemporary American Drawings. Madison: Wisconsin Union Gallery, University of Wisconsin, 1953.

Kootz Gallery, Provincetown, Mass., [group exhibition], July 18–31, 1953. See P144, c59. Kootz Gallery, Provincetown, Mass., [group exhibition], August 29–September 13, 1953. Works unknown.

Memorial Building, Deerfield Academy, Mass., Juried National Art Show, September 3–20, 1953. Works unknown.

Art Building, Fair Grounds, Pomona, Calif., Painting in the U.S.A., 1721–1953 (presented by

list of exhibitions

the Los Angeles County Fair), September 18–October 4, 1953 (catalogue). See P105.

Painting in the U.S.A., 1721–1953

Introduction by Arthur Millier. Pomona, Calif.: Los Angeles County Fair, 1953.

Samuel M. Kootz Gallery, New York, [group exhibition], October 1953. See P117. Reviewed in Devree 1953.

Museum of Cranbrook Academy of Art, Bloomfield Hills, Mich., First Biennial Exhibition: American Painting, Sculpture, October 2–November 1, 1953 (catalogue). See P88.

First Biennial Exhibition: American Painting, Sculpture. Bloomfield Hills, Mich.: Museum of Cranbrook Academy of Art, 1953.

Syracuse Museum of Fine Arts, N.Y., Abstract Painting in America: A Loan Exhibition, October 14–November [8], 1953 (catalogue). See P82.

Abstract Painting in America: A Loan Exhibition. New York: Syracuse Museum of Fine Arts, 1953.

Whitney Museum of American Art, New York, 1953 Annual Exhibition of Contemporary American Painting, October 15–December 6, 1953 (catalogue). See c68.

1953 Annual Exhibition of Contemporary American Painting. Foreword by Herman More. New York: Whitney Museum of American Art, 1953.

The Embellished Surface (organized by the Museum of Modern Art, New York), McMurray College, Jacksonville, Ill., October 26–November 23, 1953; Currier Gallery of Art, Manchester, N.H., January 4–25, 1954; Museum of Art, University of Michigan, Ann Arbor, February 8–March 1, 1954; Lamont Gallery, Phillips Exeter Academy, N.H., April 19–May 9, 1954; Mount Holyoke College, South Hadley, Mass., October 4–25, 1954; Newcomb College, Tulane University, New Orleans, January 1–22, 1955; Michigan State College, East Lansing, February 9–March 2, 1955; University of Connecticut, Storrs, April 14–May 4, 1955. See c46. Birmingham Museum of Art, Ala., Eight Modern Americans, November 15–December 12, 1953. See P101, P117, P129, P145, c59.

Samuel M. Kootz Gallery, New York, [group exhibition], December 14–31, 1953. Works unknown.

Tanager Gallery, New York, Painting, Sculpture, December 14, 1953–[January 7], 1954. Works unknown.

Museu de Arte Moderna, São Paulo, Brazil, II Bienal do Museu de Arte Moderna de São Paulo, December 12, 1953–February 28, 1954 (catalogue). See c58.

II Bienal do Museu de Arte Moderna de São Paulo: Catalogo geral (text in Portuguese).

São Paulo, Brazil: Edições Americanas de Arte e Arquitectura, 1953.

1954

g r O u P eX hibiti O n S

Addison Gallery of American Art, Phillips Academy, Andover, Mass., Variations, Three Centuries of Painting, January 8–February 15, 1954 (catalogue). See w17.

Variations, Three Centuries of Painting Andover, Mass.: Addison Gallery of American Art, 1954.

Contemporary Arts Museum, Houston, 4

Americans: From the Real to the Abstract, January 10–February 11, 1954 (catalogue). See P86, P88, P121, P150, c11, c52. Reviewed in Holmes 1954, Houston Post 1954, and Louden 1954.

4 Americans: From the Real to the Abstract Introduction by R[alph] A. A[nderson] Jr. Houston: Contemporary Arts Museum, 1954.

Phillips Collection, Washington, D.C., Some American Painters, January 17–February 23, 1954. See c68.

Pennsylvania Academy of the Fine Arts, Philadelphia, One Hundred and Forty-ninth Annual Exhibition of Painting and Sculpture, January 24–February 28, 1954 (catalogue). See P96.

One Hundred and Forty-ninth Annual Exhibition of Painting and Sculpture Philadelphia: Pennsylvania Academy of Fine Arts, 1954.

Stable Gallery, New York, Third Annual Exhibition of Painting and Sculpture, January 27–February 20, 1954. Works unknown.

Downtown Gallery, New York, International Exhibition: Painters under 40, February 2–27, 1954 (checklist). See P111.

Woman’s College of the University of North Carolina, Greensboro, Festival of the Arts, February 12–April 24, 1954. Works unknown.

Virginia Museum of Fine Arts, Richmond, American Painting 1954, February 26–March 21, 1954; Des Moines Art Center, April 4–May 2, 1954 (catalogue). See P109.

American Painting 1954. Foreword by Leslie Cheek Jr. Richmond: Virginia Museum of Fine Arts, 1954.

Museum of the University City, Caracas, Venezuela, U.S. Representation: Tenth InterAmerican Conference, March 1–31, 1954 (catalogue). See P47.

Piconsalas, Mariano. La Pintura en Venezuela (text in Spanish). [Caracas, Venezuela: Secretaría General de la Décima Conferencia Interamericana], 1954.

A University Collects: Nebraska (circulated by the American Federation of Arts, New York), Dickinson College, Carlisle, Pa., March 15–April 5, 1954; College of Wooster, Ohio, April 19–May 10, 1954; Miami Beach Art Center, May 24–June 14, 1954; Art Gallery, University of Notre Dame, South Bend, Ind., July 1–31, 1954; Atlanta Public Library, August 20–September 9, 1954; Madison Art Association, University of Wisconsin, September 19–October 3, 1954; Rosicrucian Egyptian,

Oriental Museum, San Jose, Calif., October 16–November 4, 1954; Iowa State Teachers College, Cedar Falls, December 2–23, 1954; Western Michigan College, Kalamazoo, January 4–25, 1955; Florida Gulf Coast Art Center, Clearwater, February 4–25, 1955; University of Oklahoma, Norman, March 7–27, 1955 (checklist). See P110.

Whitney Museum of American Art, New York, 1954 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings, March 17–April 18, 1954 (catalogue). See w22. Reviewed in H[ess] 1954.

1954 Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings. New York: Whitney Museum of American Art, 1954.

Rembrandt Hall, Pomona College, Claremont, Calif., [group exhibition], [April] 1954. Works unknown. Reviewed in M[illier] 1954.

Department of Art, Iowa State Teachers College, Cedar Falls, 38 Contemporary Painters, April 4–28, 1954 (brochure). Unidentified: 30. La Danse. Reviewed in College Eye 1954.

38 Contemporary Painters. Cedar Falls: Iowa State Teachers College, 1954.

Detroit Institute of Arts, Annual Exhibition for the Friends of Modern Art, April 20–May 16, 1954 (checklist). See P101, c68.

Yale University Art Gallery, New Haven, Conn., Object and Image in Modern Art and Poetry, April 30–June 14, 1954 (catalogue). See P55, P117.

Object and Image in Modern Art and Poetry Introduction by Jacques Maritain. New Haven, Conn.: Yale University Art Gallery, 1954.

Edwin Watts Chubb Library Art Gallery, Ohio University, Athens, The Exhibition of American Painting, 1804–1954, May 1–June 15, 1954 (catalogue). See c52.

The Exhibition of American Painting, 1804–1954. Foreword by Thornton Wilder. Athens: Ohio University, 1954.

Solomon R. Guggenheim Museum, New York, Younger American Painters: A Selection, May 12–September 26, 1954; to additional venues without the artist’s work (catalogue). See P154, P155. Reviewed in Faison 1954.

Younger American Painters: A Selection. Essay by James Johnson Sweeney. New York: Solomon R. Guggenheim Museum, 1954.

Samuel M. Kootz Gallery, New York, American and French Painting and Sculpture by Baziotes, Ferber, Gottlieb, Hare, Hofmann, Lassaw, Mathieu, Motherwell, Soulages, May 17–June 12, 1954. See P137. Reviewed in D[evree] 1954.

San Francisco Museum of Art, Smith College Collects, May 26–June 13, 1954. See c43. Kootz Gallery, Provincetown, Mass., [group exhibition], June 1954. Works unknown.

Toledo Museum of Art, Ohio, 41st Annual Exhibition of Contemporary American Paintings, June 6–August 29, 1954 (brochure). See P111.

41st Annual Exhibition Contemporary American Paintings. Toledo, Ohio: Toledo Museum of Art, 1954.

Art Building and Iowa Memorial Union, State University of Iowa, Iowa City, Then and Now: American Painting in the 1930’s and 1950’s, June 13–July 31, 1954 (catalogue). See P96.

Then and Now: American Painting in the 1930’s and 1950’s. Foreword by Earl E. Harper; introduction by Lester D. Longman. Iowa City: State University of Iowa, 1954.

Kootz Gallery, Provincetown, Mass., [Recent work by William Baziotes and Robert Motherwell], July 21–[28], 1954. Works unknown.

Städtisches Museum Schloß Morsbroich, Leverkusen, Germany, Internationale Sezession 1954, August 3–September 11, 1954 (catalogue). See P121, w10.

Internationale Sezession 1954 (text in German). Leverkusen, Germany: Städtisches Museum Schloß Morsbroich, 1954.

Watercolors by U.S. Artists (circulated by the Virginia Museum of Fine Arts, Richmond), Douglas S. Freeman High School, Richmond, Va., October 1954; Madison College, Harrisonburg, Va., May 9–23, 1955; to additional unknown venues. Drawings only.

Museum of Modern Art, New York, XXVth Anniversary Exhibitions: Paintings, October 19, 1954–February 6, 1955 (permanent collection exhibition). See c7.

Art Institute of Chicago, 61st American Exhibition: Paintings & Sculpture, October 21–December 5, 1954 (catalogue). See P155. 61st American Exhibition: Paintings and Sculpture. Chicago: Art Institute of Chicago, 1954.

L’Aquarelle contemporaine aux Etats-Unis [organized by the Association Française d’Action Artistique, Paris], Salle Franklin, Bordeaux, France, November 1954; Musée Paul Dupuy, Toulouse, France, December 12, 1954–January 8, 1955; Musée des Beaux-Arts, Pau, France, February 17–March 27, 1955; Doris Meltzer Gallery, New York, June 19–October 1, 1956; may have traveled to additional venues [venue catalogues]. Unidentified: 79. Sans titre, I [Untitled, 1]; 80. Sans titre, II [Untitled, II].

L’Aquarelle contemporaine aux Etats-Unis (text in French). Toulouse, France: Musée Paul Dupuy, 1954.

Margaret Brown Gallery, Boston, The Botolph Group Presents Religious Art Today, December 9–31, 1954 (catalogue). See P154.

The Botolph Group Presents Religious Art Today. Boston: Margaret Brown Gallery, 1954.

Samuel M. Kootz Gallery, New York, [group exhibition], December 13–31, 1954. Works unknown. Reviewed in New York Times 1954.

1955

John Herron Art Museum, Indianapolis, Contemporary American and European Paintings, January 15–February 20, 1955 (catalogue). See P109.

Contemporary American and European Paintings. Indianapolis: John Herron Art Museum, 1955.

College of Fine and Applied Arts, Urbana, Ill., 163rd Annual Exhibition: American Oil Painting and Sculpture, February 27–April 3, 1955 (catalogue). See c58. Reviewed in George 1955.

163rd Annual Exhibition: American Oil Painting and Sculpture. Essay by Allen Stuart Weller. Urbana: University of Illinois Press, 1955.

University Gallery, University of Minnesota, Minneapolis, Drawings by Nineteen Americans, March 7–April 1, 1955 (checklist). Drawings only.

Modern Art in the United States: Selections from the Collections from the Museum of Modern Art (circulated by the International Council of the Museum of Modern Art, New York), Musée Nationale d’Art Moderne, Paris, Cinquante ans d’art aux Etats-Unis, March 30–May 15, 1955; Kunsthaus Zürich, Moderne Kunst aus U.S.A., July 16–August 28, 1955; Museo de Arte Moderno, Barcelona, III Bienal Hispanoamericana de Arte: El Arte moderno en los Estados Unidos, September 24–October 24, 1955; Haus des Deutschen Kunsthandwerks, Frankfurt, Moderne Kunst aus U.S.A., November 13–December 11, 1955; Tate Gallery, London, Modern Art in the United States: A Selection from the Collections of the Museum of Modern Art, January 5–February 12, 1956; Gemeente Museum, The Hague, 50 Jaar moderne kunst in de U.S.A., March 2–April 15, 1956; Wiener Secession Galerie, Vienna, May 5–June 2, 1956; Kalemagdan Pavillion, Belgrade, Yugoslavia, Savremena utmetnost U.S.A.D., July 6–August 6, 1956 [venue catalogues]. See P86, c7. Reviewed in B[ernier] 1955 and Heron 1956.

Moderne Kunst aus U.S.A.: Auswahl aus den Samlungen des Museum of Modern Art, New York (text in German). Foreword by Rene d’Harnoncourt; essay by Holger Cahill and Dorothy C. Miller. Zurich: Kunsthaus Zürich, 1955.

III Bienal Hispanoamericana de arte: El Arte moderno en los Estados Unidos (text in Spanish). Introductory texts by Holger Cahill, William S. Lieberman, and Arthur Drexler; prologue by Henry-Russell Hitchcock. Barcelona: Museo de Arte Moderno, 1955.

Modern Art in the United States: Selections from the Collections of the Museum of Modern Art. Foreword by Rene d’Harnoncourt. London: Tate Gallery, 1956.

Andrew Dickson White Museum of Art, Ithaca, N.Y., The Integration of Painting and Sculpture with Architecture, April 10–May 1, 1955. Works unknown.

Samuel M. Kootz Gallery, New York, Tenth Anniversary Festival: A Decade of Modern

Painting and Sculpture, April 11–May 7, 1955 (catalogue). See P64.

Tenth Anniversary Festival: A Decade of Modern Painting and Sculpture. New York: Samuel M. Kootz Gallery, 1955.

Stanford Art Gallery, Stanford University, Palo Alto, Calif., Twentieth Century Drawings, April 16–May 15, 1955 (catalogue). Drawings only.

Twentieth Century Drawings. Introduction by George A. Harris. Palo Alto, Calif.: Stanford University, 1955.

Stable Gallery, New York, Fourth Annual Exhibition of Painting and Sculpture, April 26–May 21, 1955. Works unknown.

Brooklyn Museum, International Water Color Exhibition: Eighteenth Biennial, May 4–June 12, 1955 (catalogue). Works unknown.

International Water Color Exhibition: Eighteenth Biennial. Foreword by John Gordon. Brooklyn: Brooklyn Museum; Brooklyn Institute of Arts and Sciences, 1955.

Whitney Museum of American Art, New York, The New Decade: 35 American Painters and Sculptors, May 11–August 7, 1955; San Francisco Museum of Art, October 6–November 6, 1955; Art Galleries, University of California at Los Angeles, November 20–December 11, 1955; Pasadena Art Museum, Calif., December 12, 1955–January 8, 1956; Colorado Springs Fine Arts Center, February 9–March 20, 1956; City Art Museum of Saint Louis, April 15–May 15, 1956 (catalogue). See P87, P154, c42, w19.

Baur, John I. H., ed. The New Decade: 35 American Painters and Sculptors. New York: Whitney Museum of American Art, 1955.

Tokyo Metropolitan Art Museum, The Third International Art Exhibition, Japan, May 20–June 5, 1955; Sogo Gallery, Osaka, Japan, June 24–July 6, 1955; Culture Hall, Nagoya, Japan, July 13–26, 1955; Iwataya Gallery, Fukuoka, Japan, August 16–24, 1955; Public Hall Gallery, Saseho, Japan, September 8–25, 1955; Watanabe Memorial Hall, Ube, Japan, October 1–15, 1955; Modern Art Museum, Takamatsu, Japan, October 23–November 13, 1955; Fukuya/ Tenmaya, Hiroshima, Japan, November 22–December 4, 1955 (catalogue). Drawings only.

The Third International Art Exhibition, Japan (text in English and Japanese). Foreword by Chikao Honda; essay by Teiichi Hijikata. Tokyo: Mainichi Newspapers, 1955.

San Francisco Museum of Art, Art in the 20th Century: Commemorating the Tenth Anniversary of the Signing of the U.N. Charter, June 17–July 10, 1955. See P50.

HC Gallery, Provincetown, Mass., [group exhibition], June 25–July 8, 1955. Works unknown.

Carnegie Institute, Pittsburgh, The 1955 Pittsburgh International Exhibition of Painting and Sculpture, October 13–December 18, 1955 (catalogue). See P157. Reviewed in Faison 1955.

The 1955 Pittsburgh International Exhibition of Painting and Sculpture. Foreword by

Gordon Bailey Washburn. Pittsburgh: Department of Fine Arts, Carnegie Institute, 1955.

Paul Kantor Gallery, Beverly Hills, Calif., [group exhibition], December 12–30, 1955. See P96, P137.

1956

g r O u P eX hibiti O n S Pennsylvania Academy of the Fine Arts, Philadelphia, The One Hundred and Fifty-first Annual Exhibition of Painting and Sculpture, January 22–February 26, 1956 (catalogue). See P155, P159, c61.

The One Hundred and Fifty-first Annual Exhibition of American Painting and Sculpture. Foreword by Joseph T. Fraser Jr. Philadelphia: Pennsylvania Academy of Fine Arts, 1956.

Rose Fried Gallery, New York, Collages: International Collage Exhibition, February 13–March 17, 1956 (catalogue). Unidentified: cat. no. 17.

Collages: International Collage Exhibition Introduction by Herta Wescher. New York: Rose Fried Gallery, 1956.

Newark Museum, N.J., Abstract Art: 1910 to Today, April 27–June 10, 1956 (catalogue). See c20.

Abstract Art: 1910 to Today. Foreword by Mildred Baker; introduction by William H. Gerdts. Newark, N.J.: Newark Museum, 1956.

Yale University Art Gallery, New Haven, Conn., Pictures Collected by Yale Alumni, May 8–June 18, 1956 (catalogue). See c38.

Pictures Collected by Yale Alumni. Foreword by Lamont Moore; introduction by Theodore Sizer. New Haven, Conn.: Yale University Art Gallery, 1956.

Stable Gallery, New York, Fifth Annual Exhibition of Painting & Sculpture, May 22–June 16, 1956. Works unknown.

Camino Gallery, New York, June Salon, June 1–22, 1956. See P159.

HCE Gallery, Provincetown, Mass., [group exhibition], July 5–20, 1956. Drawings only.

Kirby Student Center, University of Minnesota, Duluth, [loan exhibition], August 1956–beginning of May 1957. See P102. Reviewed in Finberg 1956 and UMD Statesman 1956.

HCE Gallery, Provincetown, Mass., [group exhibition], August 1–13, 1956. Drawings only.

Saint Paul Gallery of Art, [loan exhibition], August 7, 1956–May 17, 1957. See P102.

HCE Gallery, Provincetown, Mass., [group exhibition], August 18, 1956 (end date unknown). Works unknown.

Martha Jackson Gallery, New York, Salute to Modern Art U.S.A., October 2–[27], 1956. See P154. Reviewed in A[shton] 1956.

Whitney Museum of American Art, New York, Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings, November 14, 1956–January 6, 1957 (catalogue). See c66.

Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings. New York: Whitney Museum of American Art, 1956.

Fleming Museum, University of Vermont, Burlington, [loan exhibition], November 19–December 10, 1956. See P65.

1957

S O l O eX hibiti O n S

Sidney Janis Gallery, New York, Robert Motherwell, May 13–June 8, 1957 (checklist). See P154, P155, P157–P159, P161, P163, c64–c70, w16, w19, w24. Unidentified: 11. Collage; 14. Collage. Reviewed in Ashton 1957a, Ashton 1957c, Coates 1957, H[ess] 1957, Rice 1957, S[awin] 1957, and Sawyer 1957a.

HCE Gallery, Provincetown, Mass., [Robert Motherwell], August 4–11, 1957. Drawings only.

g r O u P eX hibiti O n S

Alan Gallery, New York, Paintings and Drawings by Living Americans: A Selection by Vincent Price, January 22–February 9, 1957 (catalogue). See c38.

Paintings and Drawings by Living Americans: A Selection by Vincent Price. Foreword by Vincent Price. New York: Alan Gallery, 1957.

Grand Rapids Art Gallery, Mich., American Painting Exhibition, January 31–March 2, 1957 (checklist). See P65.

University of Michigan, Ann Arbor, Paintings from the UN Art Galleries, February 10–March 10, 1957. See P110.

Woman’s College of the University of North Carolina, Greensboro, Panel’s Choice, 1957, March 8–27, 1957; North Carolina Museum of Art, Raleigh, April 2–24, 1957 (catalogue). See c38.

Panel’s Choice, 1957. Raleigh: North Carolina Museum of Art, 1957.

Museum of Modern Art, New York, Recent American Acquisitions, March 14–April 30, 1957 (permanent collection exhibition). See P64, P87.

Sidney Janis Gallery, New York, 8 Americans, April 1–20, 1957 (catalogue). Reviewed in S[iegel] 1957. See P156.

8 Americans. New York: Sidney Janis Gallery, 1957.

Stable Gallery, New York, 6th Annual Exhibition of Painting and Sculpture, May 7–June 1, 1957. Works unknown. Reviewed in Ashton 1957b.

Albright Art Gallery, Buffalo, Contemporary Art: Acquisitions, 1954–1957, May 15, 1957–June 15, 1957 [exhibition extended to February 15, 1958] (permanent collection exhibition; catalogue). See P156.

Contemporary Art: Acquisitions, 1954–1957 Foreword by Gordon M. Smith. Buffalo: Buffalo Fine Arts Academy; Albright Art Gallery, 1957.

Fogg Art Museum, Harvard University, Cambridge, Mass., Modern Painting, Drawing, and Sculpture: Collected by Louise and Joseph Pulitzer, Jr., May 16–September 15, 1957 (catalogue). See c19.

list of exhibitions

Chetham, Charles Scott. Modern Painting, Drawing, and Sculpture: Collected by Louise and Joseph Pulitzer, Jr. Contributions by Agnes Mongan, Walter Barker, John Coolidge, Joseph Pulitzer Jr., and Helmut Ripperger. Vol. 2. Cambridge, Mass.: Fogg Art Museum, 1958.

Boston Arts Festival, American Painting and Sculpture: A National Invitational Exhibition, June 1–September 1, 1957 (catalogue). See c21.

Boston Arts Festival: 1957 Souvenir Program Boston: [Boston Art Festival Committee], 1957.

Minneapolis Institute of Arts, American Paintings, 1945–1957, June 18–September 1, 1957 (catalogue). See P102, P157, c42.

American Paintings, 1945–1957. Minneapolis: Minneapolis Institute of Arts, 1957.

Wesleyan University, Middletown, Conn., American Scene, July 22–October 10, 1957. See P47.

Art Gallery, Douglass College, Rutgers, State University of New Jersey, New Brunswick, Group 1, October 9–30, 1957. Works unknown.

Whitney Museum of American Art, New York, 1957 Annual Exhibition: Sculpture, Paintings, Watercolors, November 20, 1957–January 12, 1958 (catalogue). See P158. Reviewed in Time 1957b.

1957 Annual Exhibition: Sculpture, Paintings, Watercolors. New York: Whitney Museum of American Art, 1957.

Zabriskie Gallery, New York, Collage in America (organized with the American Federation of Arts, Washington, D.C.), December 16, 1957–January 4, 1958; Davenport Municipal Art Gallery, Iowa, February 1–24, 1958; George Peabody College, Nashville, Tenn., March 7–26, 1958; Florida A&M University, Tallahassee, April 7–27, 1958; University of Wyoming, Laramie, May 8–28, 1958; Atlanta Public Library, September 15–October 5, 1958; Newcomb College, Tulane University, New Orleans, October 21–November 15, 1958; Vassar College, Poughkeepsie, N.Y., November 24–December 18, 1958; Colorado Springs Fine Art Center, January 5–25, 1959; Ohio University, Athens, February 8–28, 1959 (checklist). See c67.

1958

g r O u P eX hibiti O n S Hetzel Union Gallery, Pennsylvania State University, University Park, Albers, de Kooning, Gorky, Guston, Kline, Motherwell, Pollock, Rothko: An Exhibition in Tribute to Sidney Janis, February 3–24, 1958 (catalogue). See P164.

Albers, de Kooning, Gorky, Guston, Kline, Motherwell, Pollock, Rothko: An Exhibition in Tribute to Sidney Janis. University Park: Pennsylvania State University, 1958.

University of Utah, Salt Lake City, Nine American Painters: The Fourth Annual Invitational Exhibition of the University of Utah Department of Art, March 2–23, 1958 (catalogue). See P85, P149, P155, c42.

Nine American Painters: The Fourth Annual Invitational Exhibition of the University of Utah Department of Art. Salt Lake City: University of Utah, 1958.

Takashimaya Department Store, Osaka, Japan, Osaka Festival 1958: The International Art of a New Era, U.S.A., Japan, Europe, April 12–20, 1958; traveled to additional unknown venues in Nagasaki, Hiroshima, Tokyo (September 2–7, 1958), and Kyoto (September 10–20, 1958; catalogue). See P225.

Osaka Festival 1958: The International Art of a New Era; U.S.A., Japan, Europe (text in English, French, and Japanese). Essays by Michel Tapié and Jiroˉ Yoshihara. Series Gutai 9. Kyoto: Publishing Committee of Gutai, 1958.

United States Pavilion, Brussels World’s Fair, Seventeen Contemporary American Painters (circulated by the American Federation of Arts, New York), April 17–October 18, 1958; USIS Library, London, Seventeen American Artists + Eight Sculptors, October 31–November 21, 1958 (venue catalogues). See P121, P154, c49, w10. Reviewed in Coates 1958, Genauer 1958, Sylvester 1958, and Vogue 1958.

Morley, Grace L. McCann. “Seventeen Contemporary American Painters.” In American Art: Four Exhibitions (text in English and French). New York: American Federation of Arts, 1958.

Morley, Grace L. McCann. Seventeen American Artists + Eight Sculptors. Foreword by Harris K. Prior. London: USIS Library, in association with the American Federation of Arts, 1958.

The New American Painting (circulated by the Museum of Modern Art, New York), Kunsthalle, Basel, Switzerland, Jackson Pollock und Neue Amerikanische Malerei, April 19–May 26, 1958; Galleria Civica d’Arte Moderna, Milan, June 1–29, 1958; Museo Nacional de Arte Contemporaneo de Madrid, July 16–August 11, 1958; Hochschule für Bildende Künste, Berlin, September 1–October 1, 1958; Stedelijk Museum, Amsterdam, Jong Amerika Schildert, October 17–November 24, 1958; Palais des Beaux-Arts, Brussels, Jackson Pollock et la Nouvelle Peinture Americaine, December 6, 1958–January 4, 1959; Musée National d’Art Moderne, Paris, Jackson Pollock et la Nouvelle Peinture Américaine, January 16–February 15, 1959; Tate Gallery, London, February 24–March 22, 1959; Museum of Modern Art, New York, May 28–September 8, 1959 (venue catalogues). See P64, P87, P159, P164, P168, w19. Reviewed in Time 1958.

The New American Painting: La Nueva Pintura Americana (text in Spanish; includes statements by the artist). Preface by Porter A. McCray; introduction by Alfred H. Barr Jr. Madrid: Museo Nacional de Arte Contemporaneo de Madrid, 1958.

Jong Amerika Schildert (text in Dutch). Preface by Porter A. McCray; introduction by Alfred H. Barr Jr. Amsterdam: Stedelijk Museum, 1958.

The New American Painting: La Nouvelle Peinture Americaine (text in French). Preface by Porter A. McCray; introduction

by Alfred H. Barr Jr. Brussels: Palais des Beaux-Arts, 1959.

Jackson Pollock et la Nouvelle Peinture Américaine (text in French; includes artist’s statements). Introduction by Jean Cassou, Porter A. McCray, and Sam Hunter. Paris: Musée National d’Art Moderne, 1959.

The New American Painting (includes artist’s statements). Foreword by Gabriel White; preface by Porter A. McCray; introduction by Alfred H. Barr Jr. London: Tate Gallery, 1959.

The New American Painting (includes artist’s statements). Foreword by Rene d’Harnoncourt; introduction by Alfred H. Barr Jr. New York: Museum of Modern Art, 1959.

Whitney Museum of American Art, New York, The Museum and Its Friends: Twentieth-Century American Art from Collections of the Friends of the Whitney Museum, April 30–June 15, 1958 (catalogue). See P157.

The Museum and Its Friends: TwentiethCentury American Art from Collections of the Friends of the Whitney Museum. Foreword by Flora Whitney Miller. New York: Whitney Museum of American Art, 1958.

James Gallery, New York, Invitation Annual, May 16–June 6, 1958. Drawings only. Reviewed in Ashton 1958.

HCE Gallery, Provincetown, Mass., [group exhibition], June 28–July 8, 1958. Works unknown.

Flint Institute of Arts, Mich., Contemporary American Art, August 7–September 15, 1958 (catalogue). See c71.

Contemporary American Art. Flint, Mich.: Flint Institute of Arts, 1958.

HCE Gallery, Provincetown, Mass., [group exhibition], August 7, 1958 (end date unknown). Works unknown.

Coliseum, New York, National Home Furnishings Show (organized by the United States Rubber Company), August 11–21, 1958. See P170.

Pennsylvania Academy of the Fine Arts, Philadelphia, Twentieth Century American Painting and Sculpture from Philadelphia Private Collections, October 25–November 30, 1958 (checklist). See P12.

Whitney Museum of American Art, New York, Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings, November 19, 1958–January 4, 1959 (catalogue). See P176.

Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings. New York: Whitney Museum of American Art, 1958.

Contemporary Arts Museum, Houston, Personal Contacts: A Decade of Contemporary Drawings, 1948–1958, November 20, 1958–January 4, 1959 (catalogue). Drawings only. Reviewed in Geeslin 1958 and Holmes 1958.

Personal Contacts: A Decade of Contemporary Drawings, 1948–1958. Essays by Jermayne MacAgy and James Boynton. Houston: Contemporary Arts Association, 1958.

Carnegie Institute, Pittsburgh, The 1958 Pittsburgh Bicentennial International Exhibition

of Contemporary Painting and Sculpture, December 5, 1958–February 8, 1958 (catalogue). See c68.

The 1958 Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture. Introduction by Gordon Bailey Washburn. Pittsburgh: Carnegie Institute, 1958.

Oklahoma Art Center, Oklahoma City, Oklahoma Art Center Inaugural Exhibition, December 5, 1958–January 31, 1959. See P110. World House Galleries, New York, Brussels ’58 (organized by the American Federation of Arts, New York), December 15, 1958–January 17, 1959 (catalogue). See P121, P154. Brussels ’58. Foreword by Harris K. Prior. New York: World House Galleries, 1959.

Alan Gallery, New York, Beyond Painting: An Exhibition of Collages and Constructions, December 29, 1958–January 24, 1959 (brochure). See c78. Reviewed in Ashton 1959b. Beyond Painting: An Exhibition of Collages and Constructions. New York: Alan Gallery, 1958.

1959

S O l O eX hibiti O n S

Sidney Janis Gallery, New York, Robert Motherwell, March 9–April 4, 1959 (checklist). See P173, P175, P177, P178, P182, P187, P191, P207, P236, c79, c81–c84, w34–w40, w43–w45, w47, w49–w53, w57–w64, w66–w70, w72, w74, w78, w79, w82. Unidentified: 11. Pregnant Nude No. 3; 17. Pregnant Nude No. 9; 23. Painting; 29. Altamira. Reviewed in Ashton 1959a, Genauer 1959a, M[ott] 1959, Preston 1959b, and S[andler] 1959.

New Gallery, Bennington College, Vt., Robert Motherwell: First Retrospective Exhibition, April 24–May 23, 1959 (catalogue). See P1, P3, P4, P85, P90, P156, P158, P171, P176–P178, P187, P192, P236, c1, c42, c49, c71, c72, c75, c78, c87, w16, w37, w39, w45, w65. Unidentified: 7. Collage; 13. Painting

Robert Motherwell: First Retrospective Exhibition. Foreword by E. C. Goossen. Bennington, Vt.: Bennington College, 1959.

g r O u P eX hibiti O n S

Poindexter Gallery, New York, To Nell Blaine, 1959 (exact dates unknown). Works unknown.

Sidney Janis Gallery, New York, 8 American Painters, January 5–31, 1959 (catalogue). See P172. Reviewed in Coates 1959, Preston 1959a, and S[chuyler] 1959.

8 American Painters. New York: Sidney Janis Gallery, 1959.

Addison Gallery of American Art, Phillips Academy, Andover, Mass., The American Line: 100 Years of Drawing (circulated by the American Federation of Arts, New York), January 10–February 15, 1959; University of Michigan, Ann Arbor, March 1–21, 1959; Newcomb College, New Orleans, April 2–22, 1959; J. B. Speed Art Museum, Louisville, Ky., May 4–24, 1959; Des Moines Art Center, June 10–30, 1959; Oglebay Institute, Wheeling, W.Va., August 1–21, 1959; Kansas State

Teacher’s College, Emporia, September 3–23, 1959; Charles and Emma Frye Art Museum, Seattle, October 5–25, 1959; Fine Arts Association, Tucson, Ariz., November 8–29, 1959; Madison Art Association, Wis., December 10–31, 1959; Montclair Art Museum, N.J., January 17–February 21, 1960; Allentown Art Museum, Pa., March 5–25, 1960; Root Art Center, Hamilton College, N.Y., April 10–June 5, 1960 (catalogue). Drawings only.

Hayes, Bartlett H., Jr. The American Line: 100 Years of Drawing. Andover, Mass.: Addison Gallery of American Art, Phillips Academy, 1959.

Playhouse Gallery, Miami, Paintings and Sculpture from the Norton Collection, January 12–24, 1959. See P11.

Museum of Fine Arts, Houston, New York and Paris: Painting in the Fifties, January 16–February 8, 1959 (catalogue). See P85, P178.

Dorival, Bernard, and Dore Ashton. New York and Paris: Painting in the Fifties Houston: Museum of Fine Arts, Houston, 1959.

Baltimore Museum of Art, Museum Directors’ Choice, February 15, 1959 (end date unknown; catalogue). See c86.

Museum Director’s Choice. Foreword by Adelyn D. Breeskin. Baltimore: Baltimore Museum of Art, 1959.

Coe College, Cedar Rapids, Iowa, 1959 Fine Arts Festival, March 3–April 26, 1959. See P65.

Horace Mann School, New York, A HalfCentury of American Art, March 11–April 18, 1959. See w80.

Museum of Art, Rhode Island School of Design, Providence, Paintings since 1945: A Collection in the Making, March 18–April 19, 1959 (catalogue). See c38.

Paintings since 1945: A Collection in the Making. Introduction by Richard Brown Baker. Providence: Museum of Art, Rhode Island School of Design, 1959.

Gallery Kimura, Tokyo, Motherwell, Newman, Okada, Rothko, Tobey,Youngerman, April 4–30, 1959 (catalogue). See w10.

Motherwell, Newman, Okada, Rothko, Tobey, Youngerman. Tokyo: Gallery Kimura, 1959.

Contemporary American Watercolors and Drawings from the Edward W. Root Collection (circulated by the Smithsonian Institution, Washington, D.C.), J. B. Speed Art Museum, Louisville, Ky., June 1–30, 1959; George Thomas Hunter Gallery of Art, Chattanooga, Tenn., July 15–September 15, 1959; Art Department, State University of New York Teachers College, Fredonia, October 1–25, 1959; Lawrence Art Museum, Williams College, Williamstown, Mass., November 6–29, 1959; Phillips Gallery, Washington, D.C., December 12, 1959–January 5, 1960; Syracuse Museum of Fine Arts, N.Y., January 14–February 17, 1960; Carleton College, Northfield, Minn., March 1–22, 1960; Peabody Fine Arts Museum Building, George Peabody College for Teachers, Nashville, Tenn., April 3–24, 1960; Albany Institute of History and Art, May 7–31, 1960 (checklist and catalogue). Drawings only.

Selections from the Edward Root Collection Utica, N.Y.: Munson-Williams-Proctor Institute, [1959].

Wesleyan University, Middletown, Conn., [group exhibition], July 1–August 31, 1959. See c49.

Museum Fridericianum, Kassel, Documenta II, July 11–October 11, 1959 (catalogue). See P85, P182, P192, c75, w37.

II. Documenta ’59: Kunst nach 1945; Malerei, Skulptur, Druckgrafik (text in German). Introduction by Werner Haftmann. Cologne, Germany: Verlag M. DuMont Schauberg, 1959.

Baltimore Museum of Art, New Paintings and Sculpture from Established and Newly Formed Baltimore Collections, July 12–September 26, 1959 (checklist). See c66, c68, c86. Reviewed in Ashton 1959c.

HCE Gallery, Provincetown, Mass., Frankenthaler/Motherwell, July 14–20, 1959. Works unknown.

Sokolniki Park, Moscow, American Painting and Sculpture: American National Exhibition in Moscow, July 25–September 5, 1959; Whitney Museum of Art, New York, Paintings and Sculpture from the American National Exhibition, October 28–November 15, 1959 (venue catalogues). See P154.

American Painting and Sculpture: American National Exhibition in Moscow. Essay by Lloyd Goodrich. Detroit, Mich.: Archives of American Art, 1959.

Paintings and Sculpture from the American National Exhibition in Moscow. Essay by Lloyd Goodrich. New York: Whitney Museum of Art, 1959.

Signa Gallery, East Hampton, N.Y., Third Exhibition 1959: A Selection of Painting & Sculpture, August 21–September 20, 1959. See c83, c84.

Albany Institute of History and Art, Recent American Paintings, September 10–October 25, 1959; selected works from the circulating exhibition by the Museum of Modern Art, New York, 1958. See P64, P164.

Galerie Beyeler, Basel, Switzerland, Panorama, October–November 1959 (catalogue). See P191.

Panorama. Basel, Switzerland: Galerie Beyeler, 1959.

Rocky Mount Arts Center, N.C., Private Collection, October 4–30, 1959 (brochure). Drawings only.

Private Collection. Rocky Mount, N.C.: Rocky Mount Arts Center, 1959.

Artists as Collectors (circulated by the American Federation of Arts, New York), City National Bank, Fort Smith, Ark., November 1–22, 1959; Allyn Gallery, Southern Illinois University, Carbondale, December 4–25, 1959; Akron Art Institute, Ohio, January 5–25, 1960; Wabash College, Crawfordsville, Ind., February 7–27, 1960; Fort Wayne Museum of Art, Ind., March 12–April 2, 1960; Miami Beach Art Center, June 2–22, 1960; [venue unknown], July 15–August 20, 1960; University of North

Carolina, Greensboro, September 8–28, 1960; Museum of Art, University of Virginia, Charlottesville, October 10–31, 1960; Midland Art Association, Mich., November 17–December 8, 1960 (checklist). See c90.

Art Gallery, Douglass College, Rutgers, State University of New Jersey, New Brunswick, Group 3, November 30–December 16, 1959. Works unknown.

Whitney Museum of American Art, New York, 1959 Annual Exhibition of Contemporary American Painting, December 9, 1959–January 31, 1960 (catalogue). See P177.

1959 Annual Exhibition of Contemporary American Painting, New York: Whitney Museum of American Art, 1959.

1960

g r O u P eX hibiti O n S

Addison Gallery of American Art, Phillips Academy, Andover, Mass., American Art, January 8–February 15, 1960. See P101.

Columbus Gallery of Fine Arts, Ohio, Contemporary American Painting, January 14–February 18, 1960 (catalogue). See P156.

Contemporary American Painting Introduction by Tracy Atkinson. Columbus, Ohio: Columbus Gallery of Fine Arts, 1960.

Ferus Gallery, Los Angeles, Fourteen New York Artists, January 18–February 13, 1960. See P50, w72.

Trabia Gallery, New York, Small Masterpieces, February 3–27, 1960. Drawings only. Reviewed in Ashton 1960b.

Montgomery Center, Pomona College, Claremont, Calif., New York School, February 18–March 6, 1960. See P50. Reviewed in S[eldis] 1960.

Stedelijk Van Abbemuseum, Eindhoven, the Netherlands, Jonge kunst uit de collectie Dotremont, Brussel, February 20–March 27, 1960 (catalogue). See P169.

Jonge kunst uit de collectie Dotremont, Brussel (text in Dutch). Preface by Michel Tapié. Eindhoven, the Netherlands: Stedelijk Van Abbemuseum, 1960.

Walker Art Center, Minneapolis, 60 American Painters, 1960: Abstract Expressionist Painting of the Fifties, April 3–May 8, 1960 (catalogue). See P102.

Arnason, H. H. 60 American Painters, 1960: Abstract Expressionist Painting of the Fifties Minneapolis: Walker Art Center, 1961.

Sidney Janis Gallery, New York, 9 American Painters, April 4–23, 1960 (catalogue). See P208. Reviewed in Ashton 1960a.

9 American Painters. New York: Sidney Janis Gallery, 1960.

Newark Museum, N.J., Collage: Art in Scraps and Patchwork, April 28–June 12, 1960. See c38.

Esther Stuttman Gallery, New York, Homage to Albert Camus, May 4–28, 1960. Works unknown.

The Mint Museum of Art, Charlotte, N.C., The Horace Richter Collection: Contemporary

American Painting and Sculpture, May 1–August 1, 1960 (catalogue). See c44.

The Horace Richter Collection: Contemporary American Painting and Sculpture. Charlotte, N.C.: The Mint Museum of Art, 1960.

Wilmington Society of the Fine Arts, Delaware Art Center, Six American Painters, May 9–30, 1960. See P65.

Minneapolis Institute of Arts, Drawings, Paintings, and Sculpture from Three Private Collections, July 13–August 14, 1960 (catalogue). See w38, w67.

Drawings, Paintings, and Sculpture from Three Private Collections. Introduction by Sam Hunter. Minneapolis: Minneapolis Institute of Art, 1960.

Signa Gallery, East Hampton, N.Y., Second Exhibition 1960, July 22–August 18, 1960. See P164.

HCE Gallery, Provincetown, Mass., [group exhibition], August 22–28, 1960. Works unknown.

Everett Ellin Gallery, Los Angeles, Drawings by Fifteen Americans, September 11–October 8, 1960. Works unknown.

Art Center in La Jolla, Calif., La Jolla Collects: Paintings, Prints, and Sculpture, September 29–November 7, 1960 (catalogue). Drawings only.

La Jolla Collects: Paintings, Prints and Sculpture. Introduction by Donald J. Brewer. La Jolla, Calif.: Art Center in La Jolla, 1960.

Cleveland Museum of Art, Paths of Abstract Art, October 5–November 13, 1960 (catalogue). See P85, P156, P177.

Henning, Edward B. Paths of Abstract Art Entry “Motherwell,” pp. 36–37. New York: Cleveland Museum of Art, 1960.

Kunsthaus Zürich, Thompson Pittsburgh: Aus einer amerikanischen Privatsammlung, October 15–November 27, 1960; Kunstmuseum, Düsseldorf, Sammlung G. David Thompson, Pittsburgh/USA, December 14, 1960–January 29, 1961; Gemeentemuseum, The Hague, Collectie Thompson uit Pittsburgh, February 17–April 9, 1961; Galleria Civica d’Arte Moderna, Turin, Italy, Esposizione: Collezione G. David Thompson, Pittsburgh/USA, October–November 1961; shown in New York without the artist’s work (venue catalogues). See P31, P191.

Thompson Pittsburgh: Aus einer amerikanischen Privatsammlung (text in German). Foreword by G. David Thompson; introduction by Alfred H. Barr Jr. Zurich: Kunsthaus Zürich, 1960.

Sammlung G. David Thompson (text in German). Foreword by Meta Patas and G. David Thompson; introduction by Alfred H. Barr Jr. Düsseldorf: Kunstmuseum, 1960.

Collectie Thompson uit Pittsburgh (text in Dutch). Foreword by L. W. and G. David Thompson; introduction by Alfred H. Barr Jr. The Hague: Haags Gemeentemuseum, 1961.

Esposizione: Collezione G. David Thompson, Pittsburgh/USA (text in Italian). Foreword

by G. David Thompson; introduction by Alfred H. Barr Jr. and Vittorio Viale. Turin, Italy: Galleria Civica d’Arte Moderna, 1961.

Walden School, New York, [Eleventh annual art exhibition and sale], October 27–30, 1960; an auction to benefit the Walden School Scholarship Fund. See c57.

Esther Stuttman Gallery, New York, The Current Scene: American Painting, November 8–December 3, 1960 (checklist). See c115. Art Gallery, McCormick Place, Chicago, Inaugural Exhibition, November 18–December 23, 1960 (checklist). See P11.

1961

S O l O eX hibiti O n S

Sidney Janis Gallery, New York, Robert Motherwell, April 10–May 6, 1961 (catalogue). See P193, P194, P208, P210, P213, P216–P219, c89, c92, c104, c105, c108, c110, c113, c115, c123, c124, w94, w96, w99, w100, w103, w104, w111, w112, w116. Reviewed in J[udd] 1961, K[roll] 1961b, Porter 1961, and Sandler 1961a.

Robert Motherwell. New York: Sidney Janis Gallery, 1961.

Museu de Arte Moderna, São Paulo, Brazil, VI Bienal de São Paulo, September 10–December 3, 1961 (catalogue). See P3, P84, P85, P135, P161, P164, P177, P192, P194, P208, P216, P217, P219, c7, c20, c33, c49, c104, c105, w10, w19, w45, w68, w69, w97, w104. Reviewed in Rosenberg 1961, Schiff 1961, and Schiff 1962.

D’Harnoncourt, Robert. VI Bienal do Museu de Arte Moderna, São Paulo, 1961: Estados Unidos (text in Portugese). Entry “Robert Motherwell,” by Frank O’Hara. São Paulo: Museu de Arte Moderna, 1961.

Galerie Heinz Berggruen, Paris, Robert Motherwell Collages, 1958–1960, October 3–28, 1961 (catalogue). See c75, c78, c82, c89–c92, c106–c109, c112, c114, c115, c117, c119, c121, c122, c124, w100. Reviewed in Ashbery 1961 and Frigerio 1961.

Hunter, Sam. Robert Motherwell Collages, 1958–1960 (text in French). Paris: Galerie Heinz Berggruen, 1960.

g r O u P eX hibiti O n S

Art Institute of Chicago, 64th American Exhibition: Paintings, Sculpture, January 6–February 5, 1961 (catalogue). See P164.

64th American Exhibition: Paintings, Sculpture. Foreword by J. M. Chicago: Art Institute of Chicago, 1961.

Kunstverein für die Rheinlande und Westfalen, Düsseldorf, and Düsseldorf Kunsthalle Grabbeplatz, Aktuelle Kunst: Bilder und Plastiken aus der Sammlung Dotremont, March 3–April 9, 1961 (catalogue). See P169.

Aktuelle Kunst: Bilder und Plastiken aus der Sammlung Dotremont (text in German and French). Essay by Julien Alvard. Düsseldorf: Kunstverein für die Rheinlande und Westfalen; Düsseldorf Kunsthalle Grabbeplatz, 1961.

Union College, Schenectady, N.Y., New Trends in Twentieth-Century Art, March 5–26, 1961. Drawings only. Reviewed in Bell 1961. Walker Art Center, Minneapolis, Eighty Works from the Richard Brown Baker Collection, March 21–April 16, 1961 (catalogue). See c38.

Eighty Works from the Richard Brown Baker Collection. Minneapolis: Walker Art Center, 1961.

New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, Paintings, Sculpture, Prints, and Drawings Presented as Part of the Institute’s Centennial Celebration, April 1–30, 1961 (brochure). See P137.

Paintings, Sculpture, Prints, and Drawings Presented as Part of the Institute’s Centennial Celebration. Cambridge, Mass.: New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, 1961.

Crown Hall, Illinois Institute of Technology, Chicago, The Maremont Collection at the Institute of Design, April 5–30, 1961 (catalogue). See P171.

The Maremont Collection at the Institute of Design. Preface by Katherine Kuh. Chicago: Institute of Design Press, 1961.

Art Gallery, McCormick Place, Chicago, [group exhibition], April 7–30, 1961. See c50.

John and Mable Ringling Museum of Art, Sarasota, Fla., The Sidney Janis Painters: Albers, Baziotes, Gorky, Gottlieb, Guston, Kline, De Kooning, Motherwell, Pollock, Rothko, April 8–May 7, 1961 (catalogue). See P158, P192.

The Sidney Janis Painters: Albers, Baziotes, Gorky, Gottlieb, Guston, Kline, De Kooning, Motherwell, Pollock, Rothko (includes artist’s statements). Foreword by Kenneth Donahue; introduction by Dore Ashton. Sarasota, Fla.: John and Mable Ringling Museum of Art, 1961.

Kunsthalle Basel, Switzerland, Moderne Malerei seit 1945 aus der Sammlung Dotremont, April 22–May 28, 1961 (catalogue). See P169. Reviewed in Schoenenberger 1961.

Moderne Malerei seit 1945 aus der Sammlung Dotremont (text in German). Introduction by Arnold Rüdlinger. Basel, Switzerland: Kunsthalle Basel, 1961.

Theater Guild, New York, The Dissent Art Show, May 6–7, 1961; exhibition and sale for the benefit of Dissent magazine. Works unknown.

Sidney Janis Gallery, New York, 10 American Painters, May 8–June 3, 1961 (catalogue). See P215. Reviewed in S[andler] 1961b. 10 American Painters. New York: Sidney Janis Gallery, 1961.

Rice Gallery, New York, Group Show: Artists of East 94th–95th Sts., May 18–June 10, 1961. Works unknown.

Vassar College, Poughkeepsie, N.Y., Centennial Loan Exhibition: Drawings & Watercolors from Alumnae and their Families, May 19–June 11, 1961; Wildenstein & Company, New York, June

14–September 9, 1961 (catalogue). Drawings only. Reviewed in Fay 1961.

Mayor, Hyatt, Aline B. Saarinen, and Katharine Kuh. Centennial Loan Exhibition: Drawings & Watercolors from Alumnae and their Families. Poughkeepsie, N.Y.: Vassar College, 1961.

Palazzo Ancaiani, Festival of Two Worlds, Spoleto, Italy, Modern American Drawings (organized by the International Council of the Museum of Modern Art, New York), June 16–July 16, 1961; Bezalel National Museum, Jerusalem, August 19–October 3, 1961; Athens Technological Institute, Greece, January 3–21, 1962; Helsinki Art Hall, Finland, March 23–April 18, 1962; Göteborg Museum of Fine Arts, Sweden, April [23]–May 9, 1962; American Cultural Center, Paris, Dessins américains contemporains, June 6–July 10, 1962; USIS Gallery, U.S. Embassy, London, July 22–August 17, 1962; Städtischen Kunstsammlungen, Bonn, Amerikanische Zeichnungen, 1942–1861, August 28–September 30, 1962 (venue catalogues). Drawings only.

Carandente, Giovanni. Disegni Americani Moderni (text in Italian). Rome: De Luca Ediore, 1961.

Modern American Drawings. Introductions by William S. Lieberman, Porter McCray, and Karl Katz. New York: Museum of Modern Art; Jerusalem: Bezalel National Museum, 1961.

Amerikanische Zeichnungen, 1942–1961 (text in German). Introductions by William S. Lieberman and Eberhard Marx. Bonn: Städtischen Kunstsammlungen, 1962.

Modern American Drawings (text in English and Greek). Athens, Greece: Athens Technological Institute, 1962.

Dessins américains contemporains (text in French). Introduction by William S. Lieberman. Paris: Centre Culturel Américain, 1962.

Vanguard American Painting (circulated by the United States Information Agency, Washington, D.C.), Galerie Wurthle, Vienna, June 19–July 8, 1961; Zwerglgarten, Salzburg, Austria, July 10–August 31, 1961; Kalemegdan Pavilion, Belgrade, Yugoslavia, September 15–October 1, 1961; Umetnicki Pavilion, Skoplje, Yugoslavia, October 14–29, 1961; Moderna Galerija, Zagreb, Yugoslavia, November 9–20, 1961; Umetnostna Galerija, Maribor, Yugoslavia, November 25–December 4, 1961; Moderna Galerija, Ljubljana, Yugoslavia, December 11, 1961–January 7, 1962; [venue unknown], Rijeka, Yugoslavia, January 13–31, 1962; USIS Gallery, American Embassy, London, March 1–15, 1962; Landesmuseum, Darmstadt, Germany, April 14–May 13, 1962 (venue catalogues). See P172, P213, w94.

Savremena americˇka umetnost. Introduction by H. H. Arnason (text in Serbo-Croatian). [Belgrade: American Embassy, 1961]. Amerikanische maler der gegenwart (text in German). Introduction by H. H. Arnason. [Salzburg, Austria: Zwerglgarten, 1961.]

Vanguard American Painting. Introduction by H. H. Arnason. London: USIS Gallery, American Embassy, 1962.

New Gallery, Provincetown, Mass., 1961 Invitational, July 21–27, 1961. Works unknown.

The Collection of Mr. and Mrs. Ben Heller (circulated by the Museum of Modern Art, New York), Art Institute of Chicago, September 22, 1961–October 22, 1961; Baltimore Museum of Art, December 3–31, 1961; Cleveland Museum of Art, March 13–April 10, 1962; California Palace of the Legion of Honor, San Francisco, April 30–June 3, 1962; Portland Museum of Art, Ore., June 15–July 22, 1962; Los Angeles County Museum, September 5–October 14, 1962 (catalogue). See P155, c52. Reviewed in Loper 1962.

The Collection of Mr. and Mrs. Ben Heller Preface by Alfred H. Barr Jr.; introductions by Ben Heller and William C. Seitz. New York: Museum of Modern Art, 1961. Joslyn Art Museum, Omaha, 100 Works from the Collections at the University of Nebraska, October 1961 (catalogue). See P110.

100 Works from the Collection of the University of Nebraska. Introduction by Eugene Kingman and Norman A. Geske. Omaha: Joslyn Art Museum, 1961.

Museum of Modern Art, New York, The Art of Assemblage, October 2–November 12, 1961; Dallas Museum for Contemporary Arts, January 9–February 11, 1962; San Francisco Museum of Art, March 5–April 15, 1962 (catalogue). See c46, c125.

Seitz, William C. The Art of Assemblage New York: Museum of Modern Art, 1961. Solomon R. Guggenheim Museum, New York, American Abstract Expressionists and Imagists, October 12–December 31, 1961 (catalogue). See P222. Reviewed in Alloway 1961, Kroll 1961a, and Picard 1961.

Arnason, H. H. American Abstract Expressionists and Imagists. New York: Solomon R. Guggenheim Museum, 1961.

Robert Elkon Gallery, New York, Inaugural Exhibition, October 17–November 4, 1961. Works unknown.

Carnegie Institute, Pittsburgh, The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, October 27, 1961–January 7, 1962 (catalogue). See P218.

The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture Introduction by Gordon Bailey Washburn. Pittsburgh: Carnegie Institute, 1961. Museum of Fine Arts, Springfield, Mass., An Exhibition of Contemporary Art: Paintings, Prints, and Sculpture from Private Collections in Greater Springfield (organized by the Greater Springfield Chapter of the National Women’s Committee for Brandeis University), November 29–December 13, 1961 (checklist).

Unidentified: Biblical Symbols Roland de Aenlle Gallery, New York, Artists for Artists of PS619, December 12, 1961–January 6, 1962. Works unknown.

Whitney Museum of American Art, New York, 1961 Annual Exhibition of Contemporary American Painting, December 13, 1961–February 4, 1962 (catalogue). See P183. 1961 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1961.

Galerie Schmela, Düsseldorf, Conrad MarcaRelli Malerei und Robert Motherwell Collagen, December 15, 1961–January 15, 1962. See c115, c121, c122.

Museum of Modern Art, New York, Recent Acquisitions, December 18, 1961–February 25, 1962 (permanent collection exhibition; checklist published in Museum of Modern Art Bulletin 1962). See P215.

1962

S

Galleria Odyssia, Rome, Collages di Motherwell, [January–February] 1962 (catalogue). See c70–c72, c75, c78, c81–c83, c89–c93, c99, c101, c106–c109, c112–c114, c116, c117, c119, c124, c129, w100.

Hunter, Sam. Collages di Motherwell (text in Italian). Rome: Galleria Odyssia, 1962.

Pasadena Art Museum, Calif., Robert Motherwell: A Retrospective Exhibition, February 18–March 11, 1962 (catalogue). See P3, P50, P53, P54, P79, P84, P85, P96, P105, P135, P148, P161, P164, P173, P176, P177, P192, P194, P208, P216, P217, P222, c7, c33, c45, c48, c49, c69, c104, c105, w10, w19, w25, w45, w48, w68, w69, w97, w104. Reviewed in Langsner 1962, Nordland 1962b, Secunda 1962, and Seldis 1962b.

Robert Motherwell: A Retrospective Exhibition Foreword by Thomas W. Leavitt; essays by Frank O’Hara, Sam Hunter, and Robert Motherwell; and poem by Barbara Guest. Pasadena, Calif.: Pasadena Art Museum, 1962.

Galerie der Spiegel, Cologne, Germany, Robert Motherwell, April 6–May 1962. See c83, c89, c112, c116, c117, c124.

Sidney Janis Gallery, New York, New Paintings in Oil and Collages by Robert Motherwell, December 4–29, 1962 (checklist and catalogue; works not listed in the catalogue are listed in the checklist). See P220, P223, P224, P229, P230, P242–P244, P246, c125–c128, c131–c133, c135, w120, w127, w129–w133, w135–w137, w139, w140, w142–w147, w149–w156. Reviewed in Ashton 1963a, Ashton 1963b, E[dgar] 1963, Fried 1963, Newsweek 1962, O’Doherty 1962, Roberts 1963, and Tillim 1963.

New Paintings in Oil and Collages by Robert Motherwell. New York: Sidney Janis Gallery, 1975.

g r O u P eX hibiti O n S

Abstract Drawings and Watercolors: U.S.A. (circulated by the International Council of the Museum of Modern Art, New York), Museo de Bellas Artes, Caracas, Venezuela, January 14–February 24, 1962; Museu de Arte Moderna do Rio de Janeiro, March 29–April 22, 1962; Museu de Arte Moderna, São

Paulo, Brazil, May 10–30, 1962; Museo de Arte Moderno, Buenos Aires, July 2–22, 1962; Salon of the Municipal Government of Montevideo, Uruguay, August 3–19, 1962; Reifschneider Gallery, Santiago, Chile, September 24–October 10, 1962; Instituto de Arte Contemporáneo, Lima, Peru, October 23–November 3, 1962; Casa de la Cultura Ecuatoriana, Guayaquil, Ecuador, November 10–16, 1962; Museo de Arte Colonial, Quito, Ecuador, November 23–30, 1962; Museo Nacional, Bogotá, Colombia, February 6–27, 1963; Instituto Panameño de Arte, Panama City, Panama, March 11–26, 1963; Palacio de Bellas Artes, Mexico City, May 8–28, 1963 (venue catalogues). See P99.

Ashton, Dore. Dibujos acuarelas abstractos, USA (text in Spanish). Contributions by Anne Dahlgren Hecht and Nadia Hermos. Caracas, Venezuela: Museo de Bellas Artes, 1962.

Ashton, Dore. Desenhos e aquarelas abstratos, USA (text in Portuguese). São Paulo, Brazil: Museu de Arte Moderna de São Paulo, 1962.

Ashton, Dore. Dibujos acuarelas abstractos, USA (text in Spanish, includes artist’s statements). Montevideo, Uruguay: Salon Municipal de Exposiciones, 1962.

Dibujos y acuarelas, USA (text in Spanish). Panama City, Panama: Instituto Panameño de Arte, 1963.

Art USA Now: The Johnson Collection of Contemporary American Paintings (circulated by the United States Information Agency, Washington, D.C., and S. C. Johnson & Sons; international dates unknown), Milwaukee Art Center, September 20–October 21, 1962; Bridgestone Gallery, Tokyo, 1962; Honolulu Academy of Arts; Royal Academy of Arts, London, February 14–March 17, 1963; Zappeion, Athens; Palazzo Venezia, Rome; Haus der Kunst, Munich; Salon Prives, Casino de Monte-Carlo, Monaco; Congress Hall, Berlin; Charlottenborg, Copenhagen; Liljevalchs Konsthall, Stockholm; Civico Padiglione d’Arte Contemporanea, Milan; Palais des Beaux-Arts, Brussels; Municipal Gallery of Art, Dublin; Cason del Buen Retiro, Madrid; Kunst-Museum, Lucerne, Switzerland; Musée d’Art Moderne de la Ville de Paris; Akademie der Bildenden Kunste, Vienna; Corcoran Gallery of Art, Washington, D.C., December 29, 1964–January 17, 1965; Philadelphia Museum of Art, February 1–March 7, 1965; Whitney Museum of American Art, New York, March 23–April 18, 1965; Rhode Island School of Design, Providence, April 30–May 23, 1965; Museum of Fine Arts, Boston, June 4–27, 1965; Detroit Institute of Arts, July 9–August 1, 1965; Minneapolis Institute of Arts, August 10–September 5, 1965; Krannert Art Museum, University of Illinois, Urbana, September 17–October 10, 1965; City Art Museum of Saint Louis, October 22–November 14, 1965; Cincinnati Art Museum, November 22–December 16, 1965; Joslyn Art Museum, Omaha, January 28–February 20, 1966; Denver Art Museum, March 4–27, 1966; Seattle Art Museum, April 8–May 1, 1966;

Fresno State College, Calif., May 13–June 5, 1966; Fine Arts Gallery of San Diego, Calif., June 17–July 10, 1966; Fort Worth Art Center, July 22–August 14, 1966; Des Moines Art Center, September 1–20, 1966; Tennessee Fine Arts Center, Nashville, September 30–October 23, 1966; Birmingham Museum of Art, Ala., November 4–23, 1966; Wichita Art Museum, Kans., December 7–28, 1966; Andrew Dickson White Museum, Cornell University, Ithaca, N.Y., January 15–February 17, 1967; Joe and Emily Lowe Art Center, Coral Gables, Fla., March 7–April 9, 1967; Columbia Museum of Art, S.C., April 21–May 14, 1967; Museum of Modern Art, Mexico City, June 29–August 15, 1967; O’Keefe Centre, Toronto, September 14–October 15, 1967 [venue catalogues]. See P194.

Weller, Allen S. Art USA Now. Edited by Lee Nordness. Entry “Robert Motherwell,” by Jane Gollin, vol. 2, pp. 189–91. New York: Viking Press, 1963.

Art USA Now (text in English and Japanese). Foreword by Edwin O. Reischauer. Tokyo: Asahi Press and Bridgestone Gallery, 1962.

Gimpel Fils, London, A Selection of East Coast and West Coast American Painters, March 1962 (catalogue). See P203.

A Selection of East Coast and West Coast American Painters. London: Gimpel Fils, 1962.

Society of the Four Arts, Palm Beach, Fla., American Art of Our Century, March 3–April 1, 1962 (catalogue). See P65.

American Art of Our Century: Lent by the Whitney Museum of American Art. Palm Beach, Fla.: Society of the Four Arts, 1962.

Museum of Fine Arts, Houston, Some Recent Accessions, March 8–April 22, 1962 (permanent collection exhibition; catalogue). See P219.

Some Recent Accessions. Houston: Museum of Fine Arts, Houston, 1962.

Horace Mann School, Riverdale, N.Y., American Art, April 2, 1962–[end of April] (checklist). See c86. Reviewed in Horace Mann Record 1962.

Wadsworth Atheneum, Hartford, Conn., Continuity and Change: 45 American Abstract Painters and Sculptors, April 12–May 27, 1962 (catalogue). See c7, w96.

Continuity and Change: 45 American Abstract Painters and Sculptors. Foreword by Samuel Wagstaff Jr. Hartford, Conn.: Wadsworth Atheneum, 1962.

Seattle Fine Arts Pavilion, Seattle World’s Fair: Art since 1950, American and International, April 21–October 21, 1962; Institute of Contemporary Art, Boston, American Art since 1950, November 20–December 23, 1962; Rose Art Museum, Brandeis University, Waltham, Mass., American Art since 1950, November 21–December 23, 1962 (venue catalogues). See P183, c124.

Hunter, Sam. Seattle World’s Fair: Art since 1950, American and International. Seattle: Seattle World’s Fair; Waltham, Mass.:

Brandeis University, and Poses Institute of Art, 1962.

American Art since 1950. Foreword by Sam Hunter. Boston: Institute of Contemporary Art, 1962.

John and Mable Ringling Museum of Art, Sarasota, Fla., Works of Art from Florida Public Collections, May 1962. See P11. Reviewed in Edelson 1962.

Joe and Emily Lowe Art Gallery, University of Miami, Coral Gables, Fla., 18th, 19th, and 20th Century Paintings, July–September 1962. See P92.

Arkansas Arts Center, Little Rock, The James A. Michener Collection of Twentieth Century American Paintings, May 3–June 3, 1962; William Rockhill Nelson Gallery of Art, Kansas City, Mo., July 15–September 30, 1962 (catalogue). See P210.

The James A. Michener Collection of Twentieth Century American Paintings. Little Rock: Arkansas Arts Center, 1962.

Centenary College for Women, Hackettstown, N.J., [“a collection of contemporary American paintings”], May 6–9, 1962; part of the Centenary College for Women’s “Fine Arts Week,” May 6–12, 1962. See P65.

Sidney Janis Gallery, New York, 10 American Painters, May 7–June 2, 1962 (catalogue). See P220. Reviewed in S[andler] 1962.

10 American Painters. New York: Sidney Janis Gallery, 1962.

Whitney Museum of American Art, New York, The First Five Years: Acquisitions by the Friends of the Whitney Museum of American Art, 1957–1962, May 16–June 17, 1962 (permanent collection exhibition; catalogue). See c104, c105.

The First Five Years: Acquisitions by the Friends of the Whitney Museum of American Art, 1957–1962. Foreword by Roy R. Neuberger. New York: Whitney Museum of American Art, 1962.

Museu de Arte Moderna do Rio de Janeiro, Museu de Arte Moderna Collection Exhibition, June 12–August 26, 1962. See P99.

Galerie Charles Lienhard, Zurich, Accrochage, August 1962 (brochure).

Accrochage. Zurich: Galerie Charles Lienhard, 1962.

Pasadena Art Museum, Calif., U.S. Abstract Expressionism, October 3–19, 1962. See P50. Reviewed in Seldis 1962a.

Trabia-Morris Gallery, New York, Art of the Americas, October 16–November 10, 1962 (catalogue). See w5.

Art of the Americas. Introduction by Emilio del Junco. New York: Trabia-Morris Gallery, 1962.

UCLA Art Galleries, Los Angeles, The Gifford and Joann Phillips Collection, November 4–December 9, 1962 (catalogue). See P18, P105, P176, w25, w48, w116. Reviewed in Nordland 1962c.

The Gifford and Joann Phillips Collection. Foreword by Frederick S. Wight. Los Angeles: UCLA Art Galleries, 1962.

list of exhibitions

Art Center in La Jolla, Calif., Oil Paintings from the Collection of Mr. and Mrs. Joseph Hazen (organized by the Los Angeles County Museum of Art), November 29–December 20, 1962; Santa Barbara Museum of Art, Calif., May 14–June 9, 1963. See P127.

Galerie Charles Lienhard, Zurich, [group exhibition], December 1962–January 1963 (catalogue). See c78, c90, c106–c108.

Appel, Arp, Tal Coat, Robert Delaunay, Dubuffet, Estéve, Sam Francis, Glarner, Hélion, Herbin, Jenkins, Asger Jorn, Kupka, Wilfredo Lam, Léger, Lohse, Marca-Relli, Miró, Joan Mitchell, Motherwell, Müller, Ben Nicholson, Osborne, Pasmore, Picasso, Riopelle, Rothko,William Scott, Soulages, de Staël,Valenti, Bram van Velde,Villon. Zurich: Galerie Charles Lienhard, 1962.

1963

S O l O eX hibiti O n S Smith College Museum of Art, Northampton, Mass., An Exhibition of the Work of Robert Motherwell, January 10–28, 1963 (catalogue). See P85, P177, P201, P216, P217, c11, c43, c49, c87, c94, c124, w10, w19, w50, w96, w104, w112, w128, w134, w139, w141, w148, w150, w151, w155–w157.

An Exhibition of Work of Robert Motherwell (includes artist’s statements). Introduction by Lee V. Eastman; foreword by Thomas C. Mendenhall; interview with the artist by Charles Chetham, transcribed by Margaret Paul. Northampton, Mass.: Smith College Museum of Art, 1963.

New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, Robert Motherwell, February [11]–March 3, 1963. See P85, P177, P216, P217, P220, P222, P223, P229, P230, c11, c49, c72, c89, c94, c124–c126, w19, w96, w104, w127, w128, w137–w139, w141, w142, w144, w149–w151, w155. Reviewed in Driscoll 1963 and Taylor 1963.

Watkins Gallery, American University, Washington, D.C., Robert Motherwell, March 20–April 4, 1963. See P150, P224, c3, c66.

g r O u P eX hibiti O n S Wellesley College, Mass., [group exhibition], 1963 (exact dates unknown). See c38.

Art Institute of Chicago, 66th American Exhibition: Directions in Contemporary Painting and Sculpture, January 11–February 10, 1963 (catalogue). See w136, w140, w146.

66th Annual American Exhibition: Directions in Contemporary Painting and Sculpture Foreword by A. James Speyer. Chicago: Art Institute of Chicago, 1963. Goucher College, Baltimore, Selections from the Collection of Mrs. Henry Epstein: An Exhibition at Goucher College Marking the Opening of the College Center, January 13–February 13, 1963 (catalogue). See w17.

Selections from the Collection of Mrs. Henry Epstein: An Exhibition at Goucher College Marking the Opening of the College Center Preface by Otto F. Kraushaar; introduction

by Lincoln F. Johnson. Baltimore: Goucher College, 1963.

Baltimore Museum of Art, Master Works from the Museum and Private Collections, January 15–February 10, 1963. See c68.

Galerie Müller, Stuttgart, Germany, Sam Francis, Franz Kline, Joan Mitchell, Robert Motherwell, Mark Rothko, January 19–February 15, 1963. Works unknown.

Allentown Art Museum, Pa., The James A. Michener Foundation Collection, February 2–March 20, 1963 (catalogue). See P210.

The James A. Michener Foundation Collection Foreword by James A. Michener; introduction by Richard Hirsch. Allentown, Pa.: Allentown Art Museum, 1963.

Washington Gallery of Modern Art, D.C., Lyricism in Abstract Art, February 21–March [9], 1963; traveled to additional venues without the artist’s work. See P224.

University of Pennsylvania, Philadelphia, [group exhibition], spring 1963. See w69.

Muhlenberg College, Allentown, Pa., Selections from the James A. Michener Foundation Collection, March 21–May 21, 1963. See P210.

Galleria la Bussola, Turin, Italy, [group exhibition], April 1963. Works unknown.

Columbia Museum of Art, S.C., Ascendancy of American Painting, April 3–June 2, 1963 (brochure). See c44.

Ascendancy of American Painting. Columbia, S.C.: Columbia Museum of Art, 1963.

Peoria Art Center, Ill., [loan exhibition], April 7–May 2, 1963. See c50.

University of Rhode Island, Kingston, Paintings and Sculpture from the Whitney Museum of American Art, April 28–May 17, 1963 (checklist). See P65.

Pasadena Art Museum, Calif., Mr. and Mrs. Max Zurier Collection, April 30–May 21, 1963 (catalogue). See P53, c69.

Mr. and Mrs. Max Zurier Collection Foreword by Thomas W. Leavitt. Pasadena, Calif.: Pasadena Art Museum, 1963.

Sheldon Memorial Art Gallery, Lincoln, Neb., A Selection of Works from the Art Collections at the University of Nebraska, May 1963 (permanent collection exhibition; catalogue). See P110.

A Selection of Works from the Art Collections at the University of Nebraska. Foreword by Clifford M. Hardin. [Lincoln, Neb.]: Board of Regents, University of Nebraska, 1963.

Centre Culturel Américain, Paris, De A à Z 1963: 31 Peintres américains choisis par the Art Institute of Chicago, May 10–June 20, 1963; selected works from the Art Institute of Chicago, January 1963 (see entry; catalogue). See w136.

De A à Z 1963: 31 peintres américains choisis par the Art Institute of Chicago (text in French). Introduction by John Maxon and A. James Speyer. Paris: Centre Culturel Américain, 1963.

Dallas Museum for Contemporary Arts, Texas Collects 20th Century Art, May 15–28, 1963 (catalogue). See P219.

Texas Collects 20th Century Art. Dallas: Dallas Museum for Contemporary Arts, 1963.

Art Institute of Chicago, 23rd Annual Exhibition by the Society for Contemporary American Art, May 24–June 17, 1963 (checklist). See c131.

American Federation of Arts, New York, [group exhibition], August 1963 (checklist). See P199.

National College of Art and Design, Dublin, Irish Exhibition of Living Art, 1963, August 15–September 14, 1963 (catalogue). See P156. Reviewed in O’Doherty 1963.

Irish Exhibition of Living Art, 1963. Dublin: National College of Art and Design, 1963.

Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada, The Dunn International Exhibition, September 7–October 6, 1963; Tate Gallery, London, November 15–December 22, 1963 (catalogues). See P224.

Dunn International: An Exhibition of Contemporary Painting Sponsored by the Sir James Dunn Foundation. Foreword by M. Beaverbrook. London: Arts Council of Great Britain, 1963.

Philadelphia Museum of Art, Philadelphia Collects 20th Century, October 3–November 17, 1963 (catalogue). See P12, c22.

Philadelphia Collects 20th Century Philadelphia: Philadelphia Museum of Art, 1963.

Memorial Art Gallery, University of Rochester, N.Y., Selections from the James A. Michener Foundation Collection, October 4–27, 1963 (brochure). See P210.

Selections from the James A. Michener Foundation Collection. Foreword by James A. Michener. Rochester, N.Y.: Memorial Art Gallery, University of Rochester, 1963.

Sidney Janis Gallery, New York, 11 Abstract Expressionist Painters, October 7–November 2, 1963 (catalogue). See P220.

11 Abstract Expressionist Painters. New York: Sidney Janis Gallery, 1963.

Solomon R. Guggenheim Museum, New York, 20th Century Master Drawings, November 6, 1963–January 5, 1964; University Gallery, University of Minnesota, Minneapolis, February 3–March 15, 1964; Fogg Art Museum, Harvard University, Cambridge, Mass., April 6–May 24, 1964 (catalogue). Drawings only.

Simon, Sidney, and Emily Rauh. 20th Century Master Drawings. Minneapolis: University of Minnesota, 1963.

University of Notre Dame Art Gallery, Ind., American Paintings from the Whitney Museum, November 17–December 22, 1963. See P65. Minneapolis Institute of Arts, Four Centuries of American Art, November 27, 1963–January 19, 1964 (catalogue). See P110.

Davidson, Marshall B. Four Centuries of American Art. Introduction by Carl J. Weinhardt. Minneapolis: Minneapolis Institute of Arts, 1963.

[Venue unknown], New York, The Second Dissent Art Show, [December] 1963; exhibition and sale for the benefit of Dissent magazine. Works unknown.

Museum of Art, Munson-Williams-Proctor Institute, Utica, N.Y., New Directions in American Painting (organized by the Poses Institute of Fine Arts, Brandeis University, Waltham, Mass.), December 1, 1963–January 5, 1964; Isaac Delgado Museum of Art, New Orleans, February 7–March 8, 1964; Atlanta Art Association, March 18–April 22, 1964; J. B. Speed Art Museum, Louisville, Ky., May 4–June 7, 1964; Art Museum, Indiana University, Bloomington, June 22–September 20, 1964; Washington University in Saint Louis, October 5–30, 1964; Detroit Institute of Arts, November 10–December 6, 1964 (catalogue). See w171.

New Directions in American Painting Introduction by Sam Hunter. Waltham, Mass.: Poses Institute of Fine Arts, Brandeis University, 1963.

Isaac Delgado Museum of Art, New Orleans, The James A. Michener Foundation Collection, December 8, 1963–January 12, 1964. See P210.

Whitney Museum of American Art, New York, Annual Exhibition, 1963: Contemporary American Painting, December 11, 1963–February 2, 1964 (catalogue). See w165.

Annual Exhibition, 1963: Contemporary American Painting. New York: Whitney Museum of American Art, 1963.

Jewish Museum, New York, Black and White, December 12, 1963–February 5, 1964 (catalogue). See P217, w10. Reviewed in Hudson 1964, Kozloff 1964b, Rose 1964, and Sandler 1963a.

Heller, Ben. Black and White (includes artist’s statements). Preface by Alan R. Solomon. New York: Jewish Museum, 1963.

National Gallery of Art, Washington, D.C., Paintings from the Museum of Modern Art, New York, December 17, 1963–March 1, 1964 [extended to March 22, 1964] (catalogue). See P215. Reviewed in Raymont 1963.

Paintings from the Museum of Modern Art, New York. Preface by John Walker; foreword by René d’Harnoncourt; introduction by Alfred H. Barr Jr. Washington, D.C.: National Gallery of Art, 1963.

1964

g r O u P eX hibiti O n S

Solomon R. Guggenheim Museum, New York, Guggenheim International Award 1964, January 16–March 29, 1964; Academy of Arts, Honolulu, May 14–July 5, 1964; Haus am Luetzowplatz, Berlin, August 21–September 15, 1964; National Gallery of Canada, Ottawa, October 5–November 9, 1964; John and Mable Ringling Museum of Art, Sarasota, Fla., January 16–March 14, 1965; Museo Nacional de Bellas Artes, Buenos Aires, April 20–May 20, 1965 (catalogue). See P220. Reviewed in Sandler 1964 and World 1964. Guggenheim International Award 1964 (includes artist’s statements). Introduction

by Lawrence Alloway. New York: Solomon R. Guggenheim Foundation, 1963.

Art Gallery, University of New Mexico, Albuquerque, Selections from the L. M. Asher Family Collection, January 20–February 23, 1964 (catalogue). Drawings only.

Selections from the L. M. Asher Family Collection. Introduction by C[lint] A[dams]. Albuquerque: Art Gallery, University of New Mexico, 1964.

Wollman Hall, New School Art Center, New York, The American Conscience: An Exhibition of Contemporary Paintings, March 3–April 4, 1964 (catalogue). See c7, w10. Reviewed in Canaday 1964b.

The American Conscience: An Exhibition of Contemporary Paintings (includes artist’s statements). Foreword by Paul Mocsanyi. New York: New School Art Center, 1964. Goucher College, Towson, Md., Selections from the Robert and Jane Meyerhoff Collection, March 8–April 5, 1964. See c68.

City Art Museum of Saint Louis, 200 Years of American Painting, April 1–May 31, 1964 (catalogue). See P156.

200 Years of American Painting. Foreword by Charles Nagel; introduction by Merrill C. Rueppel. Saint Louis: City Art Museum of Saint Louis, 1964.

Washington Gallery of Modern Art, D.C., Treasures of 20th Century Art from the Maremont Collection, April 1–May 3, 1964 (catalogue). See P171.

Treasures of 20th Century Art from the Maremont Collection. Preface by Katherine Kuh. Washington, D.C.: Washington Gallery of Modern Art, 1964.

Fine Arts Gallery, Indiana University, Bloomington, American Painting 1910 to 1960: A Special Exhibition Celebrating the 50th Anniversary of the Association of College Unions, April 19–May 10, 1964 (catalogue). See P101.

American Painting 1910 to 1960: A Special Exhibition Celebrating the 50th Anniversary of the Association of College Unions. Entry “Robert Motherwell” by Annemarie E. Mahler. Bloomington: Indiana University, 1964.

Tate Gallery, London, Painting & Sculpture of a Decade: 54–64 (organized by the Calouste Gulbenkian Foundation, London), April 22–June 28, 1964 (catalogue). See P217, P230, c129. Reviewed in Farnsworth 1964 and Robertson 1964.

Painting & Sculpture of a Decade: 54–64. London: Calouste Gulbenkian Foundation, 1964.

Paul Kantor Gallery and Frank Perls Gallery, Beverly Hills, Calif., 50 Years of Beverly Hills, April 25–26, 1964 (checklist). See P148.

Fogg Art Museum, Harvard University, Cambridge, Mass., Within the Easel Convention: Sources of Abstract-Expressionism, May 7–June 7, 1964 (catalogue). See P90, c21, c49, w10.

Within the Easel Convention: Sources of Abstract-Expressionism (includes artist’s statements). Foreword by Ann Gabhart, Frieda Grayzel, and Rosalind Krauss; essay

by Rosalind Krauss. Cambridge, Mass.: Fogg Art Museum, 1964.

Whitney Museum of American Art, New York, The Friends Collect: Recent Acquisitions by Members of the Whitney Museum of American Art, May 8–June 16, 1964 (catalogue). See w124.

The Friends Collect: Recent Acquisitions by Members of the Whitney Museum of American Art. New York: Whitney Museum of American Art, 1964.

San Francisco Museum of Art, New Collectors, May 12–June 15, 1964. See c33.

Rose Art Museum, Brandeis University, Waltham, Mass., Boston Collects Modern Art, May 24–June 14, 1964 (catalogue). See c124.

Boston Collects Modern Art. Waltham, Mass.: Poses Institute of Fine Arts, Brandeis University, 1964.

Marlborough-Gerson Gallery, New York, American Vision: Paintings and Sculpture, June 10–July 31, 1964. See P667. Reviewed in O’Doherty 1964, Willard 1964b, and Willard 1964c.

Pavilion of Fine Arts, New York World’s Fair, 1964–65, New York, American Art Today, June 16–July 16, 1964 (catalogue). See c137.

American Art Today. Foreword by Norman E. Blankman. New York: Long Island Arts Center, 1964.

Whitney Museum of American Art, New York, Between the Fairs: 25 Years of American Art, 1939–1964, June 24–September 23, 1964 (catalogue). See P157.

Between the Fairs: 25 Years of American Art, 1939–1964. Foreword by Lloyd Goodrich; introduction by John I. H. Baur. New York: Whitney Museum of American Art, 1964. Museum Fridericianum, Kassel, Documenta III, June 27–October 5, 1964 (catalogue). See P224, P229, P277.

Documenta III (text in German). Foreword by Karl Branner; introduction by Werner Haftmann and Arnold Bode. Cologne, Germany: Verlag M. DuMont Schauberg, 1964.

Philadelphia Museum of Art, Art since 1945: The Michener Foundation Collection, June 29–September 23, 1964. See P210.

Provincetown Art Association, Mass., Golden Anniversary Exhibition, August 2–October 6, 1964 (catalogue). See c138. Reviewed in Newsweek 1964.

Golden Anniversary Exhibition. Foreword by Hudson P. Walker. Provincetown, Mass.: Provincetown Art Association, 1964.

J. L. Hudson Gallery, Detroit, Gallery Selections, September 8–26, 1964. Works unknown.

Institut Mathildenhöhe, Darmstadt, Germany, I. Internationale der Zeichnung, September 12–November 15, 1964 (catalogue). Unidentified: Untitled Krimmel, Bernd, and Micheline Schöffler. I. Internationale der Zeichnung (text in German). Essays by Heinz Winfried Sabais, Werner Hofmann, Dore Ashton, Carl

Georg Heise, and Werner Hafmann. Darmstadt, Germany: Institut Mathildenhöhe, 1964.

Solomon R. Guggenheim Museum, New York, American Drawings, September 17–October 25, 1964; University of Michigan Museum of Art, Ann Arbor, November 11–December 13, 1964; Grand Rapids Art Museum, Mich., January 10–February 7, 1965; University Gallery, University of Minnesota, Minneapolis, February 24–March 21, 1965; Seattle Art Museum, April 8–May 2, 1965; Denver Art Museum, June 6–July 4, 1965; Dallas Museum of Fine Arts, July 25–August 22, 1965; Columbus Gallery of Fine Arts, Ohio, September 12–October 10, 1965; Krannert Art Museum, University of Illinois, Champaign, November 15–December 5, 1965 (catalogue). See w131, w149, w152, w153. Reviewed in Canaday 1964a.

American Drawings. Introduction by Lawrence Alloway. New York: Solomon R. Guggenheim Foundation, 1964.

FAR Gallery, New York, Drawing Today, October 20–31, 1964. Drawings only. Reviewed in Willard 1964a.

Museum of Art, Carnegie Institute, Pittsburgh, The 1964 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, October 30, 1964–January 10, 1965 (catalogue). See P274.

The 1964 Pittsburgh International Exhibition of Contemporary Painting and Sculpture Foreword by Gustave von Groschwitz. Pittsburgh: Museum of Art, Carnegie Institute, 1964.

Washington University, Saint Louis, [loan exhibition], November 1964. See c50.

Sidney Janis Gallery, New York, A Selection of 20th Century Art of 3 Generations, November 24–December 26, 1964 (catalogue). See w17.

A Selection of 20th Century Art of 3 Generations. New York: Sidney Janis Gallery, 1964.

Baltimore Museum of Art, Forty Nine Plus One, November 30, 1964–January 10, 1965 (permanent collection exhibition; checklist). See c3.

Tate Gallery, London, The Peggy Guggenheim Collection, December 31, 1964–March 7, 1965 (catalogue). See c8.

The Peggy Guggenheim Collection. Foreword by Gabriel White; preface by Herbert Read; introduction by Peggy Guggenheim. London: Arts Council of Great Britain, 1965.

1965

S O l O eX hibiti O n S

Phillips Collection, Washington, D.C., Collages by Robert Motherwell: A Loan Exhibition, January 2–February 15, 1965 (catalogue). See c3, c21, c49, c68, c71, c78, c82, c90, c91, c106, c108, c112, c117, c124–c126, c129, c131, c136, c137, c141, c142, c144, c146, c147, c149–c152, w116.

Collages by Robert Motherwell: A Loan Exhibition. Washington, D.C.: Phillips Collection, 1965.

Robert Motherwell:Works on Paper (circulated by the Museum of Modern Art, New York), Duke University, Durham, N.C., September 20–October 11, 1965; University of Minnesota, Minneapolis, October 25–November 22, 1965; College of St. Benedict, Saint Joseph, Minn., November 30–December 21, 1965; University of Utah, Salt Lake City, January 7–28, 1966; White Memorial Museum, San Antonio, Tex., February 13–March 6, 1966; Library Gallery, University of South Florida, Tampa, March 21–April 11, 1966; Contemporary Arts Association, Houston, April 27–May 17, 1966; Baltimore Museum of Art, September 13–October 16, 1966; Indiana University Museum, Bloomington, October 31–November 20, 1966; University of Colorado, Boulder, December 5–26, 1966; University of California, Riverside, January 13–February 5, 1967; San Francisco Museum of Art, February 20–March 18, 1967; Sacramento State College, Calif., April 2–23, 1967 (catalogue). See P84, P96, P105, P158, P176, P182, P208, P219, P255, P256, P277, P334, P339, P340, P349, c67, c71, c91, c123, c130–c132, c139, c154–c156, w16, w68, w96, w115, w116, w119–w122, w128, w138, w139, w161, w162, w164, w196, w197, w202. Unidentified: Bennington; Drawing; Untitled. Reviewed in Frankenstein 1967a, Fried 1967, Holmes 1966, and Monte 1967.

Robert Motherwell:Works on Paper Introduction by Wilson Burdett. Houston: Contemporary Arts Museum, 1966. Museum of Modern Art, New York, Robert Motherwell, September 29–November 29, 1965; Stedelijk Museum, Amsterdam, January 7–February 27, 1966; Whitechapel Art Gallery, London, March 17–April 17, 1966; Palais des Beaux-Arts, Brussels, May 5–June 5, 1966; Museum Folkwang, Essen, Germany, Robert Motherwell: Gemälde Collagen Zeichnungen, July 2–August 14, 1966; Galleria Civica d’Arte Moderna, Turin, Italy, September 27–October 30, 1966 (venue catalogues). See P3, P12, P16, P18, P47, P64, P68, P85, P87, P121, P155, P156, P158, P161, P164, P176, P177, P180, P182, P208, P215–P220, P224, P236, P261, P271, P274, P277, P278, P280, P281, P334, P338–P342, P373, P850, c1, c3, c7, c11, c16, c17, c33, c42, c46, c49, c52, c69, c72, c89, c104, c105, c113, c119, c124, c125, c136, c142, c146, c147, c151, c152, w10, w19, w40, w45, w65, w95, w101, w104, w123, w124, w127, w129, w130, w133, w136, w141, w145, w147. Reviewed in Barker 1965, Berkman 1965, B[erkson] 1965, Bernardi 1966, Bourdon 1955, Bowen 1966, Bowyer 1966, [Brett] 1966, Burr 1966, C[anaday] 1965, Carver 1965, Davis 1965, Dunlop 1966, Fabri 1965, Genauer 1965a, Genauer 1965b, Gosling 1966, Grinke 1966, Hudson 1965, Kaufman 1965, Kay 1965, Kozloff 1965b, Lippard 1965, Lynton 1966a, Lynton 1966b, Melville 1966, Moyse 1966, Newsweek 1965, New Yorker 1965, New York Herald Tribune 1965, O’Hara 1965a, Roberts 1966, Robertson 1965, Rykwert 1966, Stone 1966, Tillim 1965, Times (London) 1965, Vogue 1966, Wasserman 1965, Willard 1965, and Williams 1966.

list of exhibitions

O’Hara, Frank. Robert Motherwell:With Selections from the Artist’s Writings (includes statements by the artist). With contributions by William Berkson, Kynaston McShine, and Bernard Karpel. New York: Museum of Modern Art, 1965.

O’Hara, Frank. Robert Motherwell (text in English and Dutch; includes artist’s statements). Amsterdam: Stedelijk Museum, 1966.

Robert Motherwell: Gemälde Collagen Zeichnungen (text in German; includes artists statements). Introduction by Paul Vogt. Essen, Germany: Museum Folkwang, 1966.

Mallé, Luigi, and Frank O’Hara. Robert Motherwell (text in Italian; includes artist’s statements). Turin, Italy: Galleria Civica d’Arte Moderna, 1966.

g r O u P eX hibiti O n S

Herron Museum of Art, Indianapolis, Painting & Sculpture Today, January 1–31, 1965 (checklist). Unidentified: 34. Untitled

American Collages (circulated by the International Council of the Museum of Modern Art, New York), State University College, Oswego, January 5–26, 1965; Wells College, Aurora, N.Y., February 8–28, 1965; Chatham College, Pittsburgh, March 10–31, 1965; Allentown Art Museum, Pa., April 9–30, 1965; Museum of Modern Art, New York, May 10–July 25, 1965; Goucher College, Baltimore, September 26–October 17, 1965; Kresge Art Center, Michigan State University, East Lansing, November 1–22, 1965; Coe College, Cedar Rapids, Iowa, January 4–26, 1966; Delaware Art Center, Wilmington, February 11–March 4, 1966; State University College, Geneseo, N.Y., May 3–24, 1966; Museum Boymans-van Beuningen, Rotterdam, the Netherlands, September 20–October 30, 1966; Museum Voor Stad en Lande, Groningen, the Netherlands, November 5–December 11, 1966; Court Gallery, Copenhagen, January 6–21, 1966; Kunstnernes Hus, Oslo, February 11–March 5, 1967; Amos Anderson Gallery, Finnish American Society, Helsinki, Finland, April 14–May 7, 1967; Liljevalchs Konsthall, Stockholm, June 2–18, 1967 (checklist and venue catalogues). See c104, c105, c110, c135, c157–c159. Reviewed in Nieuwe Rotterdamse Courant 1966.

Amerikaanse Schilderijen Collages (text in English and Dutch; includes artist’s statements). Rotterdam, the Netherlands: Museum Boymans-van Beuningen, 1966.

American Collages (text in English and Norwegian). Introduction by Kynaston L. McShine. Oslo: Kunstnernes Hus, 1967.

American Collages (text in English and Swedish). Stockholm: Liljevalchs Konsthall, 1967.

Charlotte Crosby Kemper Gallery, Kansas City Art Institute, Mo., Expressionism: Force of the Fifties, January 13–February 4, 1965. See P110.

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 1943–1953: The Decisive Years, January 14–March 1, 1965 (catalogue). See P84, P85, c7, w10, w16. Unidentified: Hen

1943–1953: The Decisive Years. Introduction by Samuel Adams Green. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1965.

University of Alabama, Tuscaloosa, [loan exhibition], February 1965. See c50.

Krannert Art Museum, Champaign, Ill., Twelfth Exhibition of Contemporary American Painting and Sculpture, March 7–April 11, 1965 (catalogue). See P280.

Twelfth Exhibition of Contemporary American Painting and Sculpture. Introduction by Allen S. Weller. Urbana: University of Illinois Press, 1965.

Providence Art Club, R.I., Critics’ Choice: Art since World War II, March 31–April 24, 1965 (catalogue). See P340.

Hess, Thomas B., Hilton Kramer, and Harold Rosenberg. Critics’ Choice: Art since World War II. Providence, R.I.: Providence Art Club, 1965.

Metropolitan Museum of Art, New York, Three Centuries of American Painting, April 9–October 17, 1965 (catalogue). See P138.

Three Centuries of American Painting. New York: Metropolitan Museum of Art, 1965.

Whitney Museum of Art, New York, A Decade of American Drawings, 1955–1965, April 28–June 6, 1965 (catalogue). See w156. Unidentified: 65. Untitled

A Decade of American Drawings, 1955–1965 Foreword by Donald M. Blinken. New York: Whitney Museum of Art, 1965. Greenross Gallery, New York, [group exhibition], May 6–22, 1965. Works unknown.

Lyman Allyn Museum, New London, Conn., A Contemporary Collection of Painting and Sculpture Selected from the Collection of Eleanor Ward, May 16–September 16, 1965 (catalogue). See c61.

A Contemporary Collection of Painting and Sculpture Selected from the Collection of Eleanor Ward. Introduction by Dore Ashton. New London, Conn.: Lyman Allyn Museum, 1965.

Museum of Fine Arts, Houston, Contemporary American and European Painting and Sculpture, summer 1965 (permanent collection exhibition). See P219.

White House, Washington, D.C., The White House Festival of the Arts, June 14, 1965 (catalogue). See P216.

The White House Festival of the Arts. Washington, D.C.: White House, 1965.

Los Angeles County Museum of Art, New York School, The First Generation: Paintings of the 1940s and 1950s, June 16–August 1, 1965 (catalogue). See P54, P96, P164, P173, c7, c38, c48, w17. Reviewed in Seldis 1965.

Tuchman, Maurice, ed. New York School, The First Generation: Paintings of the 1940s and 1950s (includes artist’s statements). Los Angeles: Los Angeles County Museum of Art, 1965.

Marlborough Galleria d’Arte, Rome, Maestri del XIX e XX secolo, July 1–September 15, 1965 (checklist). See w167, w177.

Treat Gallery, Bates College, Lewiston, Maine, Primitive Art through Optical Art, November 1–30, 1965. See P65.

Whitney Museum of American Art, New York, 1965 Annual Exhibition: Contemporary American Painting, December 8, 1965–January 30, 1966 (catalogue). See P256.

1965 Annual Exhibition: Contemporary American Painting. New York: Whitney Museum of American Art, 1965.

1966

g r O u P eX hibiti O n S

Birmingham Museum of Art, Ala., Selections from the James A. Michener Foundation Collection, January 2–31, 1966; University of Alabama, Tuscaloosa, February [3]–28, 1966.

See P210.

University Art Museum, University of Texas, Austin, Drawings &: An Exhibition at the University Art Museum of the University of Texas, February 6–March 15, 1966 (catalogue). See P65.

Drawings &: An Exhibition at the University Art Museum of the University of Texas. Foreword by Donald B. Goodall; introduction by Mercedes Matter. Austin: University Art Museum, University of Texas, 1966.

Cordier & Ekstrom, New York, Hommage à Caissa, February 8–26, 1966. Drawings only.

Cincinnati Art Museum, American Painting, February 15–March 15, 1966 (brochure). See P1123.

American Painting. Preface by Richard J. Boyle. Cincinnati: Cincinnati Art Museum, 1966.

Peace Tower (installed at the intersection of La Cienega and Sunset boulevards), Los Angeles, February 26, 1966 (end date unknown). Works unknown.

Seth Siegelaub, New York, 25: Painting and Sculpture, March 1–26, 1966 (checklist). Unidentified: 11. Painting

Kunstverein Hannover, Germany, 127. Frühjahrsausstellung, March 13–April 17, 1966 (catalogue). See P191.

127. Frühjahrsausstellung (text in German). Hannover, Germany: Kunstverein Hannover, 1966.

Nelson Gallery-Atkins Museum, Kansas City, Mo., [loan exhibition from Washington University in Saint Louis], April 7–May 8, 1966. See c55.

San Francisco Museum of Art, Art for the Collection: 20th Century American Master Drawings, April 20–May 29, 1966. See w182.

Marlborough-Gerson Gallery, New York, America, Italy, England: Three Concepts, [June]–July 29, 1966. Works unknown. Reviewed in Schjeldahl 1966.

Palais Galliera, Paris, Centenaire de ToulouseLautrec: Tableaux et sculptures modernes, June 7–8, 1966 (catalogue). Works unknown.

Centenaire de Toulouse-Lautrec: Tableaux et sculptures modernes. Introduction by Michel Tapié. Paris: Palais Galliera, 1966.

Cleveland Museum of Art, Fifty Years of Modern Art, 1916–1966, June 14–July 31, 1966 (catalogue). See P156, P215.

Henning, Edward B. Fifty Years of Modern Art, 1916–1966 (includes artist’s statements). Cleveland: Cleveland Museum of Art, 1966. Cedar Rapids Art Center, Iowa, [loan exhibition], June 24–July 24, 1966. See c50.

Jewish Museum, New York, Contemporary Art for the Synagogue, June 29–September 5, 1966; Hillel Foundation, University of Chicago, September 29–October 20, 1966; Westside Jewish Community Center, Los Angeles, November 3–23, 1966; Rochdale Jewish Center, Jamaica, N.Y., December 7–20, 1966; Woodsdale Temple, Wheeling, W.Va., January 4–19, 1966; Council of Jewish Organizations, Hamilton, Ontario, Canada, February 1–21, 1966; to additional unknown venues (catalogue). See P116.

Kline, Katherine. Contemporary Art for the Synagogue. New York: Jewish Museum, in association with the Union of American Hebrew Congregations, 1966.

Baltimore Museum of Art, Selections from the Robert and Jane Meyerhoff Collection, September 27–October 30, 1966 (catalogue). See P198, c68.

Selections from the Robert and Jane Meyerhoff Collection. Foreword by Charles Parkhurst. Baltimore: Baltimore Museum of Art, 1966.

Whitney Museum of American Art, New York, Art of the United States, 1670–1966, September 28–November 27, 1966 (catalogue). See P87.

Goodrich, Lloyd. Art of the United States, 1670–1966. New York: Whitney Museum of American Art, 1966.

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, New Art in Philadelphia, September 30–November 11, 1966 (catalogue). See P343, w148.

New Art in Philadelphia. Philadelphia: Institute of Contemporary Art, 1966.

Kunstmuseum St. Gallen, Switzerland, Amerikanische Kunst aus Schweizer Besitz, October 8–November 20, 1966 (catalogue). See P31, P191. Unidentified: 87. Personnage; 90. In Black

Amerikanische Kunst aus Schweizer Besitz (text in German). St. Gall, Switzerland: Kunstverein St. Gallen, 1966.

Two Decades of American Painting (circulated by the International Council of the Museum of Modern Art, New York), National Museum of Modern Art, Tokyo, October 15–November 27, 1966; National Museum of Modern Art,

Kyoto, Japan, December 10, 1966–January 22, 1967; Lalit Kala Akademi, New Delhi, March 28–April 15, 1967; National Gallery of Victoria, Melbourne, Australia, June 6–July 9, 1967; Art Gallery of New South Wales, Sydney, Australia, July 17–August 13, 1967 (venue catalogues). See P177, P229, P350, P353, P363. Reviewed in McCaughey 1967.

Rasmussen, Waldo, ed. Two Decades of American Painting (text in English and Japanese). Essays by Irving Sandler, Lucy R. Lippard, and G. R. Swenson. Tokyo: National Museum of Modern Art, 1966.

Rasmussen, Waldo, ed. Two Decades of American Painting. Essays by Irving Sandler, Lucy R. Lippard, and G. R. Swenson. New Delhi: Lalit Kala Akademi, 1967.

Rasmussen, Waldo, ed. Two Decades of American Painting. Essays by Lucy Lippard, Irving Sandler, and G. R. Swenson. Melbourne, Australia: National Gallery of Victoria; Sydney, Australia: Art Gallery of New South Wales, 1967.

Fogg Art Museum, Harvard University, Cambridge, Mass., Paintings and Sculpture from the Hazen Collection, October 19–December 1, 1966 (checklist). See P127.

Weatherspoon Art Gallery, University of North Carolina at Greensboro, Art on Paper, 1966, November 6–December 16, 1966 (catalogue). See w216.

The Weatherspoon Annual Exhibition: Art on Paper, 1966. Introduction by Gilbert F. Carpenter. Greensboro, N.C.: Weatherspoon Art Gallery, 1966.

Drexel Institute of Technology, Philadelphia, Art 75: Seventy-fifth Anniversary Exhibition; Contemporary Painting and Sculpture, November 9–December 2, 1966 (checklist). See P362.

J. L. Hudson Gallery, Detroit, Abstract Expressionism—A Continuing Tradition, November 9–30, 1966 (brochure). See P255, P359, c75, c160, c168, w190, w210.

Abstract Expressionism—A Continuing Tradition. Detroit: J. L. Hudson Gallery, 1966.

Cranbrook Academy of Art, Bloomfield Hills, Mich., Source: Detroit, December 8, 1966–January 1, 1967 (checklist). See P255.

Oakland University, Rochester, Mich., A Point of View: Selected Paintings and Drawings from the Richard Brown Baker Collection, December 16, 1966–January 28, 1967 (checklist). See c38.

1967

S O l O eX hibiti O n S

Robert Motherwell:Works on Paper (circulated by the International Council of the Museum of Modern Art, New York; shown in conjunction with Drawings by Arshile Gorky), Centro de Artes Visuales del Instituto Torcuato Di Tella, Buenos Aires, November 29–December 23, 1967; Museo de Bellas Artes de Caracas, Venezuela, January 21–February 14, 1968; Biblioteca Luis-Angel Arango del Banco de la Republica, Bogotá, Chile, March 25–April 7,

1968; Museo Universitario de Ciencias y Arte, Mexico City, May 3–June 18, 1968 (venue catalogues). See c71, c72, c82, c89, c117, c119, c125, c132, c136, c150, c155, c157, c198, c222, w10, w16, w19, w94, w97, w101, w122, w128, w138, w139, w162, w170, w196, w197, w206, w207, w213, w229, w231–w233.

Reviewed in Herner de Schmelz 1968.

“Sobre papel”: Obras de Robert Motherwell (text in Spanish). Foreword by Waldo Rasmussen; introduction by H. H. Arnason. Buenos Aires: Centro de Artes Visuales del Instituto Torcuato de Tella, 1967.

Gorky-Motherwell (text in Spanish).

Foreword by Waldo Rasmussen; introduction by H. H. Arnason. Caracas, Venezuela: Museo de Bellas Artes de Caracas, 1968.

Arshile Gorky: Dibujos; Robert Motherwell: Obras sobre papel (text in Spanish). Foreword by Waldo Rasmussen; introduction by H. H. Arnason. Bogotá, Chile: Biblioteca Luis-Angel Arango del Banco de la Republica, 1968.

Sobre papel: Obras de Arshile Gorky y Robert Motherwell (text in Spanish). Introduction by Juan Garcia Ponce. Mexico City: Museo Universitario de Ciencias y Arte, 1968.

g r O u P eX hibiti O n S

J. L. Hudson Gallery, Detroit, Gallery Selections, January 7–February 1, 1967. Works unknown.

Winnipeg Art Gallery, Manitoba, Canada, Contemporary Americans, February 8–28, 1967 (catalogue). See c46, c145, c169.

Contemporary Americans. Introduction by Illi-Maria Harff. Manitoba, Canada: Winnipeg Art Gallery, 1967.

Henry Gallery, University of Washington, Seattle, Drawings by Americans: Recent Work by Thirteen Contemporary Artists, February 12–March 19, 1967 (catalogue). See w82.

Unidentified: 6. Pregnant Nude, #3; 7. Untitled. Drawings by Americans: Recent Work by Thirteen Contemporary Artists. Introduction by Gervais Reed. Seattle: Henry Gallery, University of Washington, 1967.

Museum of Art, Rhode Island School of Design, Providence, Exchange Exhibition, Exhibition Exchange: From the Collection of Rose Art Museum, Brandeis University, February 15–March 31, 1967 (catalogue). See P218. Exchange Exhibition, Exhibition Exchange: From the Collection of Rose Art Museum, Brandeis University. Essays by William C. Seitz and Daniel Robbins. Providence: Museum of Art, Rhode Island School of Design, 1967.

Krannert Art Museum, Champaign, Ill., Contemporary American Painting and Sculpture, 1967, March 5–April 9, 1967 (catalogue). See P361.

Contemporary American Painting and Sculpture, 1967. Introduction by Allen S. Weller. Urbana: University of Illinois Press, 1967.

Library and Teaching Galleries, University of South Florida, Tampa, Drawings and Collages from the Richard Brown Baker Collection, March 7–April 6, 1967. See c38.

North Carolina Museum of Art, Raleigh, American Paintings since 1900 from the Permanent Collection, April 1–23, 1967 (permanent collection exhibition; catalogue). See P67.

American Paintings since 1900 from the Permanent Collection. Raleigh: North Carolina Museum of Art, 1967.

Grand Rapids Art Museum, Mich., 20th Century American Painting, April 2–30, 1967 (catalogue). See P110.

Warnock, Anne E. 20th Century American Painting. Foreword by Walter H. McBride. Grand Rapids, Mich.: Grand Rapids Art Museum, 1967.

Institute of Contemporary Art, Boston, New Directions in Collecting, Part One: Museum Acquisitions, April 8–May 14, 1967; Berkshire Museum, Pittsfield, Mass., July 5–25, 1967 (catalogue). See P218.

New Directions in Collecting, Part One: Museum Acquisitions. Introduction by Sue M. Thurman. Boston: Institute of Contemporary Art, 1967.

North Shore Community Arts Center, Great Neck, N.Y., Fifty American Painters from the Whitney Museum and Collections of Long Island, April 9–30, 1967. See P65.

Art Institute of Chicago, 27th Annual Exhibition by the Society for Contemporary American Art, April 11–May 21, 1967 (checklist). See P341, c128.

American Painting: The 1940’s (circulated by the American Federation of Arts, New York, and the Cultural Affairs Committee of the University of Georgia, Athens), Georgia Museum of Art, University of Georgia, Athens, April 19–May 10, 1967; Art Club of Erie, Pa., August 6–27, 1967; Roberson Center for the Arts and Sciences, Binghamton, N.Y., September 10–October 1, 1967; Everson Museum, Syracuse, N.Y., October 15–November 5, 1967; Kent Boys’ School, Conn., November 19–December 10, 1967; Museum of Fine Arts, St. Petersburg, Fla., January 28–February 18, 1968; Bacardi Imports, Miami, March 3–24, 1968; Greenville County Museum of Art, S.C., April 7–28, 1968; Nassau Community College, Garden City, N.Y., May 12–June 12, 1968 (catalogue). See P12.

Dodd, Lamar, and William D. Paul Jr. American Painting: The 1940’s. New York: American Federation of Arts, 1967. United States Pavilion, Expo ’67, Montreal, American Painting Now, April 28–October 27, 1967; Horticultural Hall, Boston, December 15, 1967–January 10, 1968 (catalogue).

See P367.

Solomon, Alan. American Painting Now, Boston: Institute of Contemporary Art, 1967.

University of California, Irvine, A Selection of Paintings and Sculptures from the Collections of Mr. and Mrs. Robert Rowan, May 2–21, 1967;

San Francisco Museum of Art, June 2–July 2, 1967 (catalogue). See P50.

A Selection of Paintings and Sculptures from the Collections of Mr. and Mrs. Robert Rowan Irvine: University of California, 1967.

Fondation Maeght, Saint-Paul-de-Vence, France, Dix ans d’art vivant, 1955–1965, May 3–July 23, 1967 (catalogue). See c125. Dix ans d’art vivant, 1955–1965 (text in French). Preface by François Wehrlin. Saint-Paul-de-Vence, France: Fondation Maeght, 1967.

Whitney Museum of American Art, New York, American Art of the Twentieth Century: Selections from the Permanent Collection, June 30–September 24, 1967 (permanent collection exhibition). See P65, c104, c105.

Cleveland Museum of Art, Recent Acquisitions by Cleveland Collectors, July 11–September 11, 1967. See c10.

Dayton Art Institute, Ohio, International Selection 1967, September 15–October 15, 1967. See P359.

Washington Gallery of Modern Art, D.C., Art for Embassies Selected from the Woodward Foundation Collection, September 30–November 5, 1967 (catalogue). See P151.

Art for Embassies Selected from the Woodward Foundation Collection. Introductions by Charles W. Millard and Henry Geldzahler. Washington, D.C.: Washington Gallery of Modern Art, 1967.

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Selected Works from the Collection of Mr. and Mrs. H. Gates Lloyd, October 18–November 19, 1967 (catalogue). See P12. Unidentified: 40. Automatism with Splash

Selected Works from the Collection of Mr. and Mrs. H. Gates Lloyd. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1967.

Museum of Art, Carnegie Institute, Pittsburgh, 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, October 27, 1967–January 7, 1968 (catalogue). See P370.

1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture Foreword by Gustave von Groschwitz. Pittsburgh: Museum of Art, Carnegie Institute, 1967.

Stedelijk van Abbemuseum, Eindhoven, the Netherlands, Kompass 3: Schilderkunst na 1945 uit New York, November 9–December 17, 1967; Frankfurter Kunstverein, Kompass New York: Schilderkunst na 1945 uit New York, December 30, 1967–February 11, 1968 (venue catalogues). See P365, c178, c179.

Kompass 3: Schilderkunst na 1945 uit New York; Paintings after 1945 in New York (text in English and Dutch). Preface by P. Wember and Jean Leering; essay by Jean Leering. Eindhoven, the Netherlands: Stedelijk van Abbemuseum, 1967.

Kompass New York: Malerei nach 1945 aus New York; Paintings after 1945 in New York (text in English and German). Essays by

list of exhibitions

Jean Leering and E. Rathke. Frankfurt: Frankfurter Kunstverein, [1967].

Richard Gray Gallery, Chicago, Artists/ Bennington: An Exhibition of Works by Artists Identified with Bennington College, December 6–31, 1967. Works unknown.

Whitney Museum of American Art, New York, 1967 Annual Exhibition of Contemporary Painting, December 13, 1967–February 4, 1968 (catalogue). See P378.

1967 Annual Exhibition of Contemporary Painting. New York: Whitney Museum of American Art, 1968.

1968

S O l O eX hibiti O n S

San Francisco Museum of Art, Robert Motherwell Paintings, October 1–November 3, 1968. See P334. Reviewed in Albright 1968, Bloomfield 1968, and Los Angeles Times 1968.

Whitney Museum of American Art, New York, Robert Motherwell: Collages, October 7–November 17, 1968 (checklist). See c150, c200, c205, c207, c208, c210, c223, c228–c233, c235–c241, c246, c252, c253, c257, c259, c262, c263, c633. Reviewed in Andreae 1968, Kramer 1968, and Wasserman 1968.

g r O u P eX hibiti O n S

United States Embassy, Mexico City, Art in Embassies: Mexico City III, February 1968–August 1969 [extended to August 1970]. See P398.

Telfair Academy of Arts and Sciences, Savannah, Ga., American Paintings from the Whitney Museum, N.Y., January 9–February 20, 1968; Society of the Four Arts, Palm Beach, Fla., March 1–31, 1968. See P65. Pennsylvania Academy of the Fine Arts, Philadelphia, The One Hundred and Sixtythird Annual Exhibition: American Painting and Sculpture, January 19–March 3, 1968 (catalogue). See P339, P362, P376.

The One Hundred and Sixty-third Annual Exhibition: American Painting and Sculpture. Foreword by Joseph T. Fraser Jr. Philadelphia: Pennsylvania Academy of Fine Arts, 1968.

City Art Museum of Saint Louis, Works of Art of the Nineteenth and Twentieth Centuries Collected by Louise and Joseph Pulitzer, Jr., January 23–March 24, 1968 (catalogue). See c19.

Works of Art of the Nineteenth and Twentieth Centuries Collected by Louise and Joseph Pulitzer, Jr. Saint Louis: City Art Museum of Saint Louis, 1968.

Social Comment in American Art (circulated by the Museum of Modern Art, New York), Lawrence University, Appleton, Wis., February 25–March 15, 1968; White Museum of Art, Cornell University, Ithaca, N.Y., April 9–30, 1968; Museum of Art, Bowdoin College, Brunswick, Maine, June 13–July 7, 1968; Bloomsburg State College, Pa., September 22–October 13, 1968; College of Wooster, Ohio, November 1–22, 1968; Municipal University of Omaha, January 3–31, 1969;

DePauw University, Greencastle, Ind., February 21–March 16, 1969; Sloan Galleries of American Painting, Valparaiso University, Ind., April 8–28, 1969; Mankato State College, Minn., May 19–June 9, 1969. See P331, P516.

Finch College Museum of Art, New York, Betty Parsons’ Private Collection, March 13–April 24, 1968; Cranbrook Academy of Art, Bloomfield Hills, Mich., September 22–October 20, 1968; Brooks Memorial Art Gallery, Memphis, November 1–December 1, 1968 (venue catalogues). See P41.

Betty Parsons’ Private Collection. Essay by E. C. Goossen. New York: Finch College Museum of Art, 1968.

Betty Parsons’ Private Collection. Foreword by Robert J. McKnight; introduction by Elayne H. Varian; essay by E. C. Goossen.

Bloomfield Hills, Mich.: Cranbrook Academy of Art; Memphis: Brooks Memorial Art Gallery, 1968.

Museum of Modern Art, New York, Dada, Surrealism, and Their Heritage, March 27–June 9, 1968; Los Angeles County Museum of Art, July 16–September 8, 1968; Art Institute of Chicago, October 19–December 8, 1968 (catalogue). See c42 (work shown only in New York). Reviewed in Ashbery 1968a and Ashbery 1968b.

Rubin, William S. Dada, Surrealism, and Their Heritage (includes artist’s statements). New York: Museum of Modern Art, 1968. Gould Student Center Gallery, New York University, Selections from the New York University Art Collection, April 27–May 4, 1968 (checklist). See c88.

Herron Museum of Art, Indianapolis, Painting & Sculpture Today—’68, May 12–June 9, 1968 (catalogue). See w203.

Painting & Sculpture Today—’68. Indianapolis: Herron Museum of Art, 1968.

National Gallery of Art, Washington, D.C., Paintings from the Albright-Knox Art Gallery, May 18–July 21, 1968 (catalogue). See P156.

Paintings from the Albright-Knox Art Gallery. Foreword by John Walker; introduction by Gordon Mackintosh Smith. Buffalo: Buffalo Fine Arts Academy, 1968.

Central Pavilion, XXXIV Biennale di Venezia, Venice, XXXIV Biennale di Venezia: Linee della ricerca contemporanea: Dall’informale alle nuove strutture, June 10–October 20, 1968 (catalogue). See P373.

Venezia Biennale 1968 (text in Italian).

Preface by Giovanni Favaretto Fisca; introduction by G. A. Dell’Acqua. Venice: Ufficio Stampa della Biennale, 1968. Museum of Contemporary Art, Chicago, Selections from the Collection of Mr. & Mrs. Robert B. Mayer, July 13–September 8, 1968 (catalogue). See P341.

Selections from the Collection of Mr. & Mrs. Robert B. Mayer. Essays by Jan van der March and David H. Katzive. Chicago: Museum of Contemporary Art, 1968.

San Francisco Museum of Art, Contemporary Painting and Sculpture from Bay Area Collections, September 13–October 23, 1968. See P360.

Olympic Games Arts Festival, Mexico City, Contemporary American Painting from the Collection of Richard Brown Baker, October 1968. See c38.

Honolulu Academy of Arts, Signals in the ’Sixties, October 5–November 10, 1968 (catalogue). See P353.

Signals in the ’Sixties. Foreword by James W. Foster Jr.; introduction by James Johnson Sweeney. Honolulu: Honolulu Academy of Arts, 1968.

Finch College Museum of Art, New York, Documentation: Sculpture, Painting, Drawing, October 15–November 24, 1968 (catalogue). See w80.

Documentation: Sculpture, Painting, Drawing Essay by Elayne H. Varian. New York: Finch College Museum of Art, 1968.

Richard Feigen Gallery, Chicago, Richard J. Daley, October 23–November 23, 1968; Contemporary Arts Center, Cincinnati, December 19, 1968–January 4, 1969; Richard Feigen Gallery, New York, February 19, 1969; to additional unknown venues (catalogue). See P180, w250. Reviewed in Janson 1968 and Time 1968b.

Richard J. Daley. Introduction by J. S. M. Cincinnati: Contemporary Arts Center, 1968.

Milwaukee Art Center, The Collection of Mrs. Harry Lynde Bradley, October 25, 1968–February 23, 1969 (catalogue). See w205, w208.

The Collection of Mrs. Harry Lynde Bradley Introduction by Tracy Atkinson. Milwaukee: Milwaukee Art Center, 1968.

Museum of Modern Art, New York, In Honor of Dr. Martin Luther King, Jr., October 31–November 3, 1968 (checklist). See c154. Café Galerie, New York, Premiere Exhibit, November 1968 (exact dates unknown; checklist). See c57.

American Painting: The 1950’s (circulated by the American Federation of Arts, New York), Georgia Museum of Art, University of Georgia, Athens, November 3–December 1, 1968; Wichita Art Museum, Kans., December 22, 1968–January 19, 1969; Charles and Emma Frye Art Museum, Seattle, February 9–March 9, 1969; Roberson Memorial Center for the Arts and Sciences, Binghamton, New York, May 18–June 15, 1969; University of Pittsburgh, July 6–August 3, 1969; Huntington National Bank, Columbus, Ohio, September 8–October 6, 1969; Edmonton Art Gallery, Alberta, Canada, October 26–November 23, 1969 (catalogue). See w19.

Washburn, George B., ed. American Painting: The 1950’s. New York: American Federation of the Arts, 1968. Provincetown Art Association and Museum, Mass., [group exhibition], November 3–December 1968. Works unknown.

Reese Palley Gallery, San Francisco, Motherwell/Kline, November 6–December 7, 1968. See P169, c155, c157, c198, c222, w122, w128, w138, w139, w206, w229.

Marlborough-Gerson Gallery, New York, Drawings,Watercolors, and Sculpture by Modern Masters, December 1968–January 25, 1969. Drawings only.

1969

S O l O eX hibiti O n S

Marlborough-Gerson Gallery, New York, Robert Motherwell: “Open” Series, 1967–1969, May 13–June 7, 1969 (catalogue). See P409, P411, P413, P415, P418–P422, P425, P427, P429–P431. Reviewed in Andreae 1969, Apollo 1969a, Ashton 1969a, Glueck 1969, Gruen 1969, Kramer 1969b, Schjeldahl 1969b, and Simon 1969.

Robert Motherwell: “Open” Series, 1967–1969 New York: Marlborough-Gerson Gallery, 1969.

Museum of Modern Art, New York, Robert Motherwell: Lyric Suite, September 8–October 13, 1969. Drawings only.

Marlborough Galleria d’Arte, Rome, Robert Motherwell, October 23–November 25, 1969; Galleria Toninelli, Milan, December 1969; Galleria La Bussola, Turin, Italy, January 27–February 23, 1970. See P425, P448, P453, P474, P475, P480, P488, P495, P498, P501, c214, c257, w254. Unidentified: three untitled works.

Toledo Museum of Art, Ohio, Paintings and Collages by Robert Motherwell, November 2–December 7, 1969; Seattle Art Museum, January 9–February 15, 1970; Stanford University Art Museum, Palo Alto, Calif., New Works by Robert Motherwell, April 14–May 17, 1970 (checklist). See P177, P277, P340, P350, P353, P378, P413, P416, P430, P490, P492, P998, c22, c132, c238, c246. Unidentified: 5. Beside the Sea, No. 68 Reviewed in Bruner 1969.

g r O u P eX hibiti O n S

Solomon R. Guggenheim Museum, New York, Works from the Peggy Guggenheim Foundation, January 16–March 23, 1969 (catalogue). See c8.

Works from the Peggy Guggenheim Foundation. Foreword by Harry F. Guggenheim and Harry F. Messer; introduction by Peggy Guggenheim. New York: Solomon R. Guggenheim Museum, 1969.

University of Maryland Art Department and Art Gallery, J. Millard Tawes Fine Arts Center, College Park, Retrospective for a Critic: Duncan Phillips, February 12–March 16, 1969 (catalogue). See c129.

Hormats, Bess. Retrospective for a Critic: Duncan Phillips. Preface by George Levitine; introduction by William H. Gerdts; foreword by J. William Fulbright. College Park: University of Maryland, 1969.

Virginia Museum of Fine Arts, Richmond, Judge the Jury, March 14–April 13, 1969; selected works from Whitney Museum of American Art, New York, 1968. See P336, P378, c205, c207, c208, c210, c223, c230–c233, c235, c236, c238–c241, c246, c252, c253, c257, c259, c262, c263, c633, w196.

Department of Creative Arts Gallery, Purdue University, West Lafayette, Ind., Collage: Bearden, Bultman, Motherwell, Nickle, Roeber, April 1–May 2, 1969 (catalogue). See c132. Unidentified: five collages.

Collage: Bearden, Bultman, Motherwell, Nickle, Roeber. Introduction by Tony Vevers. Lafayette, Ind.: Purdue University, 1969.

James Graham & Sons Gallery, New York, The Big Drawing, April 8–May 3, 1969. See w305.

Scudder Gallery, Paul Creative Arts Center, University of New Hampshire, Durham, The Rose Art Museum Collection, Brandeis University, April 14–May 5, 1969 (catalogue). See P218.

The Rose Art Museum Collection, Brandeis University. Introductions by Dirk Bach and Russell Connor. Durham, N.H.: Scudder Gallery, 1969.

Museum of Modern Art, New York, TwentiethCentury Art from the Nelson Aldrich Rockefeller Collection, May 26–September 1, 1969 (catalogue). See P86, w133, w136.

The Nelson Aldrich Rockefeller Collection. Foreword by Monroe Wheeler; preface by Nelson A. Rockefeller; essay by William S. Lieberman. New York: Museum of Modern Art, 1969.

National Museum of Modern Art, Tokyo, Contemporary Art: Dialogue between the East and the West, June 12–August 17, 1969 (catalogue). See P426.

Contemporary Art: Dialogue between the East and the West (text in English and Japanese). Introduction by Yukio Kobayashi and Masayoshi Homma. Tokyo: National Museum of Modern Art, 1969.

Lincoln Laboratory, Massachusetts Institute of Technology, Lexington, [loan exhibition], June 16–September [30], 1969. See c49.

Museum of Modern Art, New York, The New American Painting and Sculpture: The First Generation, June 18–October 5, 1969 (checklist). See P3, P4, P47, P87, P215, P373, P420, c7, c237, w259. Reviewed in Apollo 1969b, Reading Eagle 1969, Rosenberg 1969, and Schjeldahl 1969a.

Tirca Karlis Gallery, Provincetown, Mass., Ten Americans, July 11–17, 1969. Works unknown.

Whitney Museum of American Art, New York, Seventy Years of American Art, Permanent Collection: Section 2, 1950–1969, July 15–September 28, 1969 (permanent collection exhibition). See c104, c105.

Emily Lowe Gallery, Hofstra University, Hempstead, N.Y., From Betty Parsons’ Private Collection, September 1969–October 17, 1969. See P41.

San Francisco Museum of Art, Focus on Collectors, September 26–October 26, 1969. See P253.

Metropolitan Museum of Art, New York, New York Painting and Sculpture, 1940–1970, October 18, 1969–February 8, 1970 (catalogue). See P3, P85, P220, P338, P411, P414, c11, c230, w252. Reviewed in Kramer 1969a, Kramer 1969c, and Young 1969.

Geldzahler, Henry. New York Painting and Sculpture, 1940–1970. Foreword by Thomas P. F. Hoving; essays by Harold Rosenberg, Robert Rosenblum, Clement Greenberg, William Rubin, and Michael Fried. New York: E. P. Dutton, in association with the Metropolitan Museum of Art, 1969.

Museo Nacional de Bellas Artes, Buenos Aires, 109 Obras de Albright-Knox Art Gallery, October 23–November 30, 1969 (catalogue). See P156.

109 Obras de Albright-Knox Art Gallery (text in Spanish). Foreword by Seymour H. Knox; introduction by Gordon M. Smith. Buenos Aires: Asociación Amigos del Museo Nacional de Bellas Artes, 1969.

Marion Koogler McNay Art Museum, San Antonio, Tex., Collectors Gallery III, November 7–December 24, 1969. See c199.

New School Art Center, New York, American Drawings of the Sixties: A Selection, November 11, 1969–January 10, 1970 (catalogue). See w109.

American Drawings of the Sixties: A Selection Foreword by Paul Mocsanyi. New York: New School Art Center, 1969.

Whitney Museum of American Art, New York, 1969 Annual Exhibition: Contemporary American Painting, December 16, 1969–February 1, 1970 (catalogue). See P489. Reviewed in Mellow 1969.

1969 Annual Exhibition: Contemporary American Painting. Foreword by John I. H. Baur. New York: Whitney Museum of American Art, 1969.

1970

S O l O eX hibiti O n S Art Center in Hargate, St. Paul’s School, Concord, N.H., Paintings and Collages by Robert Motherwell, February 4–28, 1970 (catalogue). See P65, P281, P336, P374, P399, P401, P409, P478, P487, P491, P493, P499, P541, P542, c138, c139, c157, c168, c222, w150, w164, w196, w220.

Robert Motherwell at St. Paul’s School: On the Humanism of Abstraction (includes artist’s statements). Introduction by Thomas R. Barrett. Concord, N.H.: St. Paul’s School, 1970.

University of Wisconsin, Milwaukee, Robert Motherwell:Works on Paper, March 9–27, 1970; University of Iowa, Iowa City, April 22–May 20, 1970; Detroit Institute of Fine Arts, August 1–September 15, 1970; Reed College, Portland, Ore., September 16–October 9, 1970 (checklist). See P440, c181, c205, c206, c223, c227, c231, c232, c237, c241, c243, c245, c248, c249, c252, c253, c261, c262, w283–w285, w291, w292, w295, w296.

David Mirvish Gallery, Toronto, Robert Motherwell, December 5, 1970–January 5, 1971. See P463, P464, P475, P483, P486, P494, P508, P559, P561, P564, P565, P570, P571, P843. Reviewed in Kritzwiser 1970 and Russell 1970.

Art Galleries, University of California, Santa Barbara, Trends in Twentieth Century Art: A Loan Exhibition from the San Francisco Museum of Art, January 6–February 1, 1970 (catalogue). See P334.

Story, Ala. Trends in Twentieth Century Art: A Loan Exhibition from the San Francisco Museum of Art. Santa Barbara: University of California, 1970.

School of Fine & Applied Arts Gallery, Boston University, American Artists of the Nineteen Sixties: Boston University School of Fine & Applied Arts Centennial Exhibition, February 6–March 14, 1970 (catalogue). See P504.

Arnason, H. H. American Artists of the Nineteen Sixties: Boston University School of Fine & Applied Arts Centennial Exhibition Boston: Boston University, 1970.

Drawing Society National Exhibition, 1970 (organized by the Drawing Society, New York; circulated by the American Federation of Arts, New York), Cooper-Hewitt Museum of Decorative Arts and Design, New York, March 10–May 9, 1970; Corcoran Gallery of Art, Washington, D.C., September 25–November 1, 1970; Shreveport Art Guild, La., November 22–December 13, 1970; Finch College, New York, January 12–31, 1971; Canton Art Institute, Ohio, February 14–March 7, 1971; Indianapolis Museum of Art, March 28–April 18, 1971; Municipal Arts Department, Los Angeles, May 9–30, 1971; High Museum of Art, Atlanta, June 20–July 11, 1971; Yellowstone Art Center, Billings, Mo., August 1–22, 1971; Marion Koogler McNay Art Institute, San Antonio, Tex., September 12–October 3, 1971; College of Wooster, Ohio, January 16–February 6, 1972; Philadelphia Civic Center, February 27–March 19, 1972; E. H. Little Gallery, Memphis State University, April 9–30, 1972; Fort Lauderdale Museum, Fla., May 21–June 11, 1972; Portland Art Museum, Ore., July 2–30, 1972; Central Louisiana Art Association, Alexandria, September 24–October 15, 1972 (catalogue). See w290.

Drawing Society National Exhibition, 1970 (includes artist’s statements). Introduction by James Biddle. New York: Drawing Society, 1970.

Waddington Galleries, London, Works on Paper, March 10–April 4, 1970 (catalogue). Drawings only.

Works on Paper. London: Waddington Galleries, 1970.

Indiana University Art Museum, Bloomington, The American Scene, 1900–1970, April 6–May 17, 1970 (catalogue). See P47. Solley, Thomas T., and Henry Radford Hope. The American Scene, 1900–1970 Bloomington: Indiana University Art Museum, 1970.

Montclair Art Museum, N.J., The Recent Years, April 12–May 24, 1970 (catalogue). See w190.

The Recent Years. Introduction by Kathryn E. Gamble. Montclair, N.J.: Montclair Art Museum, 1970.

Virginia Museum of Fine Arts, Richmond, American Painting, 1970, May 4–June 7, 1970 (catalogue). See P503.

Seitz, Peter. American Painting, 1970 Introduction by James M. Brown. Richmond: Virginia Museum, 1970. Philadelphia Museum of Art, Peace, May 19–June 21, 1970. See P414.

Art Gallery, American Academy of Arts and Letters and National Institute of Arts and Letters, New York, Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, May 27–June 21, 1970 (catalogue). See P397, P447, P458, P459, P491, c239.

Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards. New York: American Academy of Arts and Letters; National Institute of Arts and Letters, 1970.

Whitney Museum of American Art, New York, Recent Acquisitions, June 9–July 19, 1970 (permanent collection exhibition). See P422, P489.

San Francisco Museum of Art, Santa Barbara Collects, July 11–August 30, 1970 (catalogue). See P173.

Santa Barbara Collects. Introduction by Gerald Nordland. San Francisco: San Francisco Museum of Modern Art, 1970. Fondation Maeght, Saint-Paul-de-Vence, France, L’Art vivant aux États-Unis, July 16–September 30, 1970 (catalogue). See P504, c230, w252.

L’art vivant aux États-Unis (text in French).

Introduction by Dore Ashton. Saint-Paulde-Vence, France: Fondation Maeght, 1970.

Provincetown Art Association, Mass., Third 1970 Exhibition, August 11–September 7, 1970 (checklist). See P532.

Institut Mathildenhöhe, Darmstadt, Germany, 3. Internationale der Zeichnung, August 15–November 11, 1970 (catalogue). See w289, w302. Unidentified: 371. Untitled

3. Internationale der Zeichnung (text in German). Darmstadt: Institut Mathildenhöhe, 1970.

Albright-Knox Art Gallery, Buffalo, Color and Field, 1890–1970, September 15–November 1, 1970; Dayton Art Institute, Ohio, November 20, 1970–January 10, 1971; Cleveland Museum of Art, February 4–March 28, 1971 (catalogue). See P416, P461.

Color and Field, 1890–1970. Introduction by Priscilla Colt. Buffalo: Albright-Knox Art Gallery, 1970.

David Mirvish Gallery, Toronto, The Opening, September 19–October 10, 1970 (catalogue). See P553. Reviewed in Fenton 1970–71. The Opening. Toronto: David Mirvish Gallery, 1970.

Western Illinois University, Macomb, [loan exhibition], November 6–December 4, 1970. See c50.

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Against Order: Chance and Art, November 14–December 22, 1970 (catalogue). See P224.

list of exhibitions

Pincus-Witten, Robert. Against Order: Chance and Art. Foreword by Stephen S. Prokopoff. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1970.

1971

S O l O eX hibiti O n S

Galerie im Erker, St. Gall, Switzerland, Robert Motherwell: Bilder und Collagen, 1967–1970, June 21–August 28, 1971; Kunstverein Freiburg, Germany, September 15–October 13, 1971; the exhibition catalogue erroneously dates the exhibition as shown in 1970 (venue catalogues). See P269, P433, P451, P474, P522, P529, P532, P537, P538, P582, P583, P587, P597, P998, P1194, c181, c206, c207, c243, c245, c246, c252, c253, c262. Reviewed in Das Kunstwerk 1971, H. 1971, Hernandez 1971, and I. 1971.

Robert Motherwell: Bilder und Collagen, 1967–1970 (includes artist’s statements). Poem by Octavio Paz; essays by Bryan Robertson and Robert Motherwell. St. Gall, Switzerland: Galerie im Erker, 1971; an alternative version of this catalogue was printed for the Kunstverein Freiburg venue.

g r O u P eX hibiti O n S

Museum of Modern Art, New York, Recent Acquisitions: Americans, February 26–March 11, 1971 (permanent collection exhibition; checklist). See P414.

Boston City Hall, The New York School: Selections from the Graham Gund Collection, March 18–April 24, 1971. See P419.

Phillips Collection, Washington, D.C., Seven Loans from the Gifford and Joann Phillips Collection, May 8–June 20, 1971. See P176.

Bronx County Courthouse Museum, N.Y., Paintings from the Metropolitan, May 12–June 13, 1971 (checklist). See P430.

French & Company, New York, Contemporary American Drawings, May 15–June 23, 1971. Works unknown.

Tacoma Art Museum, Wash., [inaugural exhibition], May 25–[June 30], 1971 (permanent collection exhibition; catalogue). See P573.

Tacoma Art Museum: May 25, 1971. Foreword by Jon W. Kowalek. Tacoma, Wash.: Tacoma Art Museum, 1971.

Stanford University Art Museum, Palo Alto, Calif., A Decade in the West: Painting, Sculpture, and Graphics from the Anderson Collection, June 12–August 22, 1971; Santa Barbara Museum of Art, Calif., September 10–October 10, 1971 (catalogue). See P253.

A Decade in the West: Painting, Sculpture, and Graphics from the Anderson Collection Introduction by Albert E. Elsen. Palo Alto, Calif.: Stanford University Museum of Art, 1971.

Galerie Beyeler, Basel Art Fair, Switzerland, America, June 24–29, 1971 (catalogue). See P31, P192. Unidentified: 19. Composition

America. Basel, Switzerland: Galerie Beyeler, 1971.

Museum of Modern Art, New York, The Artist as Adversary, July 1–September 27, 1971 (catalogue). See P215, c7.

The Artist as Adversary (includes artist’s statements). Introduction by Betsy Jones.

New York: Museum of Modern Art, 1971.

Tyler Museum of Art, Tex., Paintings of the Sixties, August 8–September 16, 1971. See P210.

David Mirvish Gallery, Toronto, Group Show, August 14–September 14, 1971. See P571.

Institute for the Arts, Rice University, Houston, Selection from the Ménil Collection, September 24, 1971–April 30, 1972 (catalogue). See P431.

Selection from the Ménil Collection. Foreword by Dominique de Ménil. Houston: Institute for the Arts, Rice University, 1972.

Art Gallery, Ball State University, Muncie, Ind., Collages by American Artists, October 1971 (catalogue). See c194.

Collages by American Artists. Muncie, Ind.: Ball State University, 1971.

Baltimore Museum of Art, Maryland Collectors, October 5–December 5, 1971. See c66.

Whitney Museum of American Art, New York, Selections from the Permanent Collection, October 5–31, 1971 (permanent collection exhibition). See P489.

Boston Center for the Arts, New England Art/ Painting and Sculpture Invitational Show, October 24–November 6, 1971 (catalogue). See P529.

New England Art/Painting and Sculpture Invitational Show. Boston: Boston Center for the Arts, 1971.

New Orleans Museum of Art, New Orleans Collects: A Selection of Works of Art Owned by New Orleanians, November 14, 1971–January 9, 1972 (catalogue). Drawings only.

New Orleans Collects: A Selection of Works of Art Owned by New Orleanians. New Orleans: New Orleans Museum of Art, 1971.

1972

S O l O eX hibiti O n S Walker Art Center, Minneapolis, Robert Motherwell: Recent Paintings, June 15–August 6, 1972 (catalogue). See P615, P616, P618–P620, P622, P627, P632–P636, P647, P648, P914, P1071. Reviewed in Close 1972a, Close 1972b, D[avis] 1972, Hughes 1972, Minneapolis Star 1972, and Steele 1972.

Robert Motherwell: Recent Paintings (includes artist’s statements). Minneapolis: Walker Art Center, 1972.

Lawrence Rubin Gallery, New York, Robert Motherwell, October 21–November 8, 1972 (checklist). See P611, P662, P664, P670–P672, P676, P677, P679. Reviewed in Masheck 1973 and Siegel 1972.

Fendrick Gallery, Washington, D.C., Robert Motherwell, November 8–December 9, 1972 (checklist). See P623, P624, P680, P681, w315, w316, w327, w338, w365, w367, w371.

Unidentified: [3]. Untitled (Open), “litho and acrylic on paper.” Reviewed in Allen 1972. Museum of Fine Arts, Houston, The Collages of Robert Motherwell: A Retrospective Exhibition, November 15, 1972–January 14, 1973; Cleveland Museum of Art, February 6–25, 1973; Wadsworth Atheneum, Hartford, Conn., March 14–April 22, 1973; Museum of Fine Arts, Boston, May 10–June 24, 1973 (catalogue). See c7, c11, c16, c17, c20, c22, c23, c46, c49, c50, c58, c66, c67, c69, c82, c89, c94, c104, c105, c108, c124, c126, c129, c136, c150, c179, c205, c220, c238, c239, c248, c252, c253, c259, c262, c264, c277, c281, c296, c319, c367. Reviewed in Apollo 1972, Baker 1973, Freed 1972, Holmes 1972, Patton 1973, and Supplément a la Gazette des Beaux Arts 1973.

Carmean, E. A., Jr. The Collages of Robert Motherwell: A Retrospective Exhibition Introduction by Philippe de Montebello. Houston: Museum of Fine Arts, Houston, 1972.

Gertrude Kasle Gallery, Detroit, Robert Motherwell: Paintings and Collages, December 12, 1972–January 6, 1973. See P439, P456, P459, P638, P653, P669, P674, c291, c294, c301, c304, c310, w366, w390, w391.

g r O u P eX hibiti O n S

Montclair Art Museum, N.J., Selections from the Betty Parsons’ Collection, January 16–February 27, 1972 (brochure). See P41.

Selections from the Betty Parsons’ Collection. Foreword by Kathryn E. Gamble. Montclair, N.J.: Montclair Art Museum, 1972.

Albright-Knox Art Gallery, Buffalo, Abstract Expressionism: The First and Second Generations in the Albright-Knox Art Gallery, January 19–February 20, 1972 (catalogue). See P156.

Abstract Expressionism: The First and Second Generations in the Albright-Knox Art Gallery Buffalo: Albright-Knox Art Gallery, 1972.

Whitney Museum of American Art, New York, Free Form Abstraction, February 26–April 9, 1972 (permanent collection exhibition). See c104, c105.

University of Iowa Museum of Art, Iowa City, Very Small Paintings, Objects,Works on Paper, March 15–April 20, 1972; Krannert Art Museum, University of Illinois, Champaign, April 23–June 18, 1972; Indianapolis Museum of Art, August 29–October 1, 1972; Art History Gallery, University of Wisconsin, Milwaukee, October 15–November 26, 1972; University of New Mexico Art Museum, Albuquerque, December 11, 1972–January 14, 1973; Joslyn Art Museum, Omaha, February 2–28, 1973; Indiana University Art Museum, Bloomington, March 11–April 15, 1973; Art Gallery, University of Notre Dame, Ind., April 25–July 1, 1973; Utah Museum of Fine Arts, University of Utah, Salt Lake City, November 25, 1973–January 6, 1974 (catalogue). See P202, w250.

Very Small Paintings, Objects,Works on Paper Introduction by Ulfert Wilke. Iowa City: University of Iowa Museum of Art, 1972.

Museum of Fine Arts, Houston, A Salute to the Contemporary Arts Museum: 20th Century Art from the Collection of the Museum of Fine Arts, Houston, March 17–April 16, 1972. See P431.

Marlborough Galleria d’Arte, Rome, American Action Painting, April 1972; Galleria Morone, Milan, 1972 (exact dates unknown; venue catalogues). See P633, c204, w289.

Rosenberg, Harold. American Action Painting (text in Italian). Rome: Marlborough Galleria d’Arte, 1972. Galleria Morone. Scuola di New York (text in Italian). Milan: Galleria Morone, 1972.

Museum of Fine Arts, Boston, Abstract Painting in the 70’s: A Selection, April 14–May 21, 1972 (catalogue). See P465, P553, P571, P592, P619. Reviewed in Elderfield 1972.

Abstract Painting in the 70’s: A Selection Introduction by Kenworth Moffett. Boston: Museum of Fine Arts, Boston, 1972.

High Museum of Art, Atlanta, The Modern Image, April 15–June 11, 1972 (catalogue). See P350.

The Modern Image. Foreword by Gudmund Vigtel; essay by John Howett and Karl Nickel. Atlanta: High Museum of Art, 1972.

Museu de Arte Moderna do Rio de Janeiro, Patrimony Exhibition: International Artists, April 18–June 6, 1972 (permanent collection exhibition). See P99.

Fogg Art Museum, Harvard University, Cambridge, Mass., American Art at Harvard, April 19–June 18, 1972 (permanent collection exhibition; catalogue). See c49.

American Art at Harvard. Entry “Robert Motherwell,” by Harry Z. Rand. Cambridge, Mass.: Fogg Art Museum, 1972.

Edmonton Art Gallery, Alberta, Canada, Masters of the Sixties (organized by the Edmonton Art Gallery and the David Mirvish Gallery, Toronto), May 4–June 4, 1972; Winnipeg Art Gallery, Manitoba, Canada, June 15–July 15, 1972 (catalogue). See P463, P464. Reviewed in Marshall 1972.

Masters of the Sixties. Edmonton: Edmonton Art Gallery; Toronto: David Mirvish Gallery, 1972.

Haus der Kunst, Munich, Welt Kulturen und Moderne Kunst: Die Begegnung der europäischen Kunst und Musik im 19. und 20. Jahrhundert mit Asien, Afrika, Ozeanien, Afro- und IndoAmerika (organized by the Olympic Organizing Committee for the XX Olympic Games in Munich), June 16–September 30, 1972 (catalogue). See P607.

Wichmann, Hans. “Formen aus Japan— europäische Produktformen.” In Welt Kulturen und Moderne Kunst: Die Begegnung der europäischen Kunst und Musik im 19. und 20. Jahrhundert mit Asien, Afrika, Ozeanien, Afro- und Indo-Amerika (text in German). Munich: Verlag Bruckmann, 1972. Art Institute of Chicago, Seventieth American Exhibition, June 24–August 20, 1972 (catalogue). See P565, P571.

Seventieth American Exhibition. Preface by C. C. Cunningham; introduction by A. James Speyer. Chicago: Art Institute of Chicago, 1972.

Cleveland Museum of Art, Cleveland Collects Contemporary Art, July 11–August 20, 1972 (catalogue). See c10, w140, w165.

Cleveland Collects Contemporary Art Introduction by Edward B. Henning. Cleveland: Cleveland Museum of Art, 1972.

Pasadena Art Museum, Calif., Post 1950 Paintings, July 25–September 3, 1972. See P229.

Artmobile Exhibition, Encounter II: Color, September 1972–February 1974; traveling exhibition to various venues. See w210.

Baltimore Museum of Art, Works from the Saidie A. May Collection, September 5–October 22, 1972; the exhibition catalogue doubled as the Baltimore Museum of Art Record 3, no. 1 (1972) (catalogue). See c3.

Saidie A. May Collection. Baltimore: Baltimore Museum of Art, 1972.

Philadelphia Museum of Art, American Art since 1945: A Loan Exhibition from the Museum of Modern Art, September 15–October 22, 1972 (catalogue). See P215.

American Art since 1945: A Loan Exhibition from the Museum of Modern Art. Philadelphia: Philadelphia Museum of Art, 1972.

Robert Elkon Gallery, New York, Twentieth Century Masters, September 30–November 2, 1972 (catalogue). See c16, c17. Reviewed in Kramer 1972b.

Twentieth Century Masters. New York: Robert Elkon Gallery, 1972.

Pasadena Art Museum, Calif., Post 1945 Paintings, October 17, 1972–January 21, 1973. See P229.

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Inside Philadelphia: Selections from Private Collections, November 11–December 19, 1972 (catalogue). See P12.

Inside Philadelphia: Selections from Private Collections. Introduction by Suzanne Delehanty. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1972.

Michener Galleries, Humanities Research Center, University of Texas at Austin, The Michener Collection: American Paintings of the Twentieth Century, November 22, 1972–March 1, 1973. See P210.

1973

S O l O eX hibiti O n S Art Museum, Princeton University, N.J., Robert Motherwell: Recent Work, January 5–February 17, 1973 (catalogue). See P3, P84, P85, P177, P353, P397, P417, P426, P432, P442, P452, P457, P458, P496, P522, P532, P534, P541, P542, P586, P587, P608, P618, P650, P659, P673, P683–P686, P843, c51, c75, c157, c168, c190, c272, c274, c275, c295, c311, c313, c320, c329, c330, c337, c338, c341, c349, c352, c354, c356, c366, w10, w64, w273–w277, w362, w363, w374, w377–w379,

w382, w388. Reviewed in Friend 1973, Kramer 1973b, and Morrin 1973.

Robert Motherwell: Recent Work (includes artist’s statements). Introduction by Sam Hunter; essays by Harry B. Titus, Peter S. Rohowsky, and Deborah P. Strom. Princeton, N.J.: Art Museum, Princeton University, 1973.

Current Editions, Seattle, Robert Motherwell: Works on Paper, Including the Illuminations for A La Pintura, March 24–April 29, 1973. See c315, c317, c320, c331, c332, c334, c338, c341, c356, c358, c359, c366, w318, w319, w321–w323.

David Mirvish Gallery, Toronto, Robert Motherwell: New Works, March 24–April 21, 1973. See P606, c145, c147, c148, c151, c207, c223, c224, c232, c233, c243, c247, c254, c257, c272, c274, c275, c278–c280, c292, c297, c305, c309, c312, c322, c362, c365, c368. Reviewed in Marshall 1973.

John Berggruen Gallery, San Francisco, Robert Motherwell: Paintings, Collages & Drawings, March 28–May 5, 1973 (checklist). See P442, P451, P457, P484, P487, P495, P496, P559, P587, P591, P597, P612, P843, c75, c261, c295, c311, c329, c330, c337, c350, c355, w292, w295, w296.

Tirca Karlis Gallery, Provincetown, Mass., Robert Motherwell: Recent Sketches and Graphics, August 3–9, 1973. See c393, c418, w317, w320, w327, w373, w375, w382, w384, w387, w398, w400, w403. Unidentified: two untitled works. Reviewed in Advocate Summery 1973.

g r O u P eX hibiti O n S

Whitney Museum of American Art, New York, 1973 Biennial Exhibition: Contemporary American Art, January 10–March 18, 1973 (catalogue). See P679.

1973 Biennial Exhibition: Contemporary American Art. Foreword by John I. H. Baur. New York: Whitney Museum of American Art, 1973.

Baltimore Museum of Art, Collection of Robert and Jane Meyerhoff, January 16–February 25, 1973. See P198, c68.

Montclair Art Museum, N.J., The Harold and May Rosenberg Collection, February 4–March 25, 1973 (catalogue). See P70, P73.

The Harold and May Rosenberg Collection Foreword by Kathryn E. Gamble. Montclair, N.J.: Montclair Art Museum, 1973.

National Academy of Design, New York, 148th Annual Exhibition, February 24–March 18, 1973. See c293.

La Jolla Museum of Contemporary Art, Calif., Kurt Schwitters and Related Developments, March 10–May 6, 1973. See c156, c169. Reviewed in Winer 1973.

Lawrence Rubin Gallery, New York, [group exhibition], March [15]–31, 1973. See P705. Reviewed in Stitelman 1973.

Museum of Art, Rhode Island School of Design, Providence, Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art, April 5–May 6, 1973 (catalogue). Drawings only.

Marandel, J. Patrice. Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art. Foreword by Stephen E. Ostrow. Providence: Rhode Island School of Design, 1973.

Art Gallery, University of California at Riverside, Art and Marriage: An Exhibition of Husband and Wife Artists of the Twentieth Century, May 7–31, 1973 (catalogue). See P50, c32, w25, w116.

Terbell, Melinda. Art and Marriage: An Exhibition of Husband and Wife Artists of the Twentieth Century. Riverside, Calif.: Art Gallery, University of California at Riverside, 1973.

Whitney Museum of American Art, New York, American Drawings, 1963–1973, May 25–July 22, 1973 (catalogue). See w290, w293.

Solomon, Elke M. American Drawings, 1963–1973. New York: Whitney Museum of American Art, 1973.

Provincetown Art Association, Mass., [group exhibition], summer 1973. Unidentified: “grey gauloises collage.”

Wadsworth Atheneum, Hartford, Conn., Greater Hartford Civic and Arts Festival, June 1–10, 1973. Unidentified: 9 April 1973

University of Maryland Art Gallery, College Park, The Private Collection of Martha Jackson, June 22–September 30, 1973; Finch College Museum of Art, New York, October 16–November 25, 1973; Albright-Knox Art Gallery, Buffalo, January 8–February 10, 1974 (catalogue). Drawings only.

The Private Collection of Martha Jackson Preface by Adelyn Breeskin; foreword by David Anderson; introduction by Elayne H. Varian. Baltimore: University of Maryland Art Gallery, 1973.

Whitney Museum of American Art, New York, Selections from the Permanent Collection, 1950–1973, July 4–August 26, 1973 (permanent collection exhibition). See P422.

Seattle Art Museum Pavilion, American Art: Third Quarter Century, August 22–October 14, 1973 (catalogue). See P677.

Marck, Jan van der. American Art: Third Quarter Century. Seattle: Contemporary Art Council of the Seattle Art Museum, 1973.

Wadsworth Atheneum, Hartford, Conn., One Hundred Master Drawings from New England Private Collections, September 5–October 14, 1973; Hopkins Center Art Galleries, Dartmouth College, Hanover, N.H., October 26–December 3, 1973; Museum of Fine Arts, Boston, December 14, 1973–January 25, 1974 (catalogue). See w153.

Robinson, Franklin W. One Hundred Master Drawings from New England Private Collections. Hartford, Conn.: Wadsworth Atheneum, 1973.

Mount Holyoke College Art Museum, South Hadley, Mass., Contemporary Paintings, Drawings and Prints from the Collection of Dr. and Mrs. Robert Mandelbaum, September 8–October 9, 1973 (catalogue). See c199.

Contemporary Paintings, Drawings and Prints from the Collection of Dr. and Mrs. Robert Mandelbaum. Introduction by Jean Harris. South Hadley, Mass.: Mount Holyoke College Art Museum, 1973.

San Francisco Museum of Art, Selection of American and European Paintings from the Richard Brown Baker Collection, September 14–November 11, 1973; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, December 7, 1973–January 27, 1974 (catalogue). See c38.

A Selection of American and European Paintings from the Richard Brown Baker Collection. San Francisco: San Francisco Museum of Art, 1973.

Rosa Esman Gallery, New York, Modern Master Drawings, September 25–October 13, 1973. Drawings only. Reviewed in Henry 1973 and Mellow 1973.

Museum of Art, Rhode Island School of Design, Providence, The Albert Pilavin Collection: Twentieth-Century American Art II, October 23, 1973–November 25, 1973 (catalogue). See P351.

Marandel, J. Patrice. The Albert Pilavin Collection: Twentieth-Century American Art II Introduction by Stephen E. Ostrow. Providence: Museum of Art, Rhode Island School of Design, 1973.

National Gallery of Art, Washington, D.C., American Art at Mid-Century 1, October 28, 1973–January 6, 1974 (catalogue). See P164. Reviewed in Canaday 1973.

American Art at Mid-Century 1. Introduction by William C. Seitz. Washington, D.C.: National Gallery of Art, 1973.

Musée d’Art Contemporain, Montreal, 11 Artistes Americains, November 4–December 2, 1973 (catalogue). See P463, P494, P553. Reviewed in Bates 1973.

11 Artistes Americains (text in French). Essay by Fernande Saint-Martin. Montreal: Musée d’Art Contemporain, 1973.

Whitney Museum of American Art, New York, Selections from the Permanent Collection, November 28, 1973–February 4, 1974 (permanent collection exhibition). See P422.

1974

S O l O eX hibiti O n S

Tibor de Nagy Gallery, Houston, Robert Motherwell: Paintings & Collages, January 12–February 16, 1974 (catalogue). See P497, P561, P659, P714, P715, P718, P728, P730, P739, P766, P913, c273, c300, c316, c341, c374. Reviewed in Holmes 1974.

Robert Motherwell: Paintings & Collages Introduction by E. A. Carmean Jr. Houston: Tibor de Nagy Gallery, 1974.

Albright-Knox Art Gallery, Buffalo, Robert Motherwell: “A la Pintura” and Four Related Paintings, March 1–May 26, 1974. See P463, P503. Unidentified: two paintings.

Knoedler & Company, New York, Robert Motherwell: Recent Paintings and Collages, April 6–25, 1974 (checklist). See P650, P673, P713,

list of exhibitions

P764, c306, c315, c404, c405, c409, c410, c423, c425, c427, c430–c432, c606, c643. Reviewed in Herrera 1974, Hess 1974, and Kramer 1974a.

Images Gallery, Toledo, Ohio, [solo exhibition], May 1974. See P609, c295, c337, c443.

Galerie André Emmerich, Zurich, Robert Motherwell: New Paintings, Collages, and Graphics, October 12–November 16, 1974 (catalogue). See P481, P660, P726, P744, P752, P768, c171, c311, c320, c391, c400, c413, c429, c435, c449, c452, c456, c460.

Robert Motherwell: New Paintings, Collages, and Graphics (text in English and German). Zurich: Galerie André Emmerich, 1974. Otis Art Institute, Los Angeles, Robert Motherwell in California Collections, November 26, 1974–January 12, 1975 (catalogue). See P18, P50, P53, P54, P105, P148, P176, P229, P360, P408, c32, c69, c198, c350, c408, c447, c453, c454, w48, w72, w73, w116. Reviewed in Seldis 1974b.

Wagener, Richard. Robert Motherwell in California Collections (includes artist’s statements). Contributions by Melinda Wortz, Emerson Woelffer, Peter Clothier, Gifford Phillips, and Joann Phillips. Los Angeles: Otis Art Institute, 1974.

g r O u P eX hibiti O n S Douglas Drake Gallery, Kansas City, Mo., Contemporary American Colorfield Painting, 1974 (exact dates unknown). See P442.

Art Galleries, University of California, Santa Barbara, 5 American Painters: Recent Work, January 8–February 17, 1974 (catalogue). See P431, P442, P487, P573, P587, P672. Reviewed in Seldis 1974a.

5 American Painters: Recent Work. Foreword by Phyllis Plous. Santa Barbara: Art Galleries, University of California, 1974.

Museum of Fine Arts, Houston, The Great Decade of American Abstraction: Modernist Art, 1960 to 1970, January 15–March 10, 1974 (catalogue). See P416, P506.

Carmean, E. A., Jr. The Great Decade of American Abstraction: Modernist Art, 1960 to 1970. Introduction by Philippe de Montebello. Houston: Museum of Fine Arts, Houston, 1974.

Society of the Four Arts, Palm Beach, Fla., Master Drawings and Watercolors from the Collection of Yale University Art Gallery, February 2–March 3, 1974 (catalogue). See c126.

Master Drawings and Watercolors from the Collection of Yale University Art Gallery Foreword by John Gordon; introduction by Alan Shestack. Palm Beach, Fla.: Society of Four Arts, 1974.

Museu de Arte Moderna do Rio de Janeiro, Collection: Brazilian and International Artists, February 6–April 29, 1974 (permanent collection exhibition). See P99.

David Mirvish Gallery, Toronto, 10 Years Ago . . . An Exhibition of Paintings and Sculpture from 1964, February 9–March 6, 1974. See c151.

Pace Gallery, New York, Selected American Painters of the Fifties, February 9–March 19, 1974. See P177, c71.

Whitney Museum of American Art, New York, Frank O’Hara, a Poet among Painters, February 12–March 17, 1974 (catalogue). See c104, c105. Reviewed in Kramer 1974b and Schjeldahl 1974.

Frank O’Hara, a Poet among Painters Foreword by Richard Armstrong, Hope Davis, Mary C. Foster, Elizabeth King, Michael R. Klein, and Bill Zimmer. New York: Whitney Museum of American Art, 1974.

Pasadena Art Museum, Calif., [Permanent and loan exhibition], April 5–21, 1974. See P229.

Lyman Allyn Museum, New London, Conn., Selections from the Albert Pilavin Collection of 20th Century American Art, April [7]–May [12], 1974. See P351.

Fine Arts Gallery of San Diego, Calif., Monumental Paintings of the Sixties, April 19–June 16, 1974 (catalogue). See P408. Monumental Paintings of the Sixties

Introduction by Henry G. Gardiner. San Diego, Calif.: Fine Arts Gallery of San Diego, 1974.

Galerie Beyeler, Basel, Switzerland, America on Paper, May–June 1974 (catalogue). See c281.

America on Paper. Basel, Switzerland: Galerie Beyeler, 1974.

Indianapolis Museum of Art, Painting & Sculpture Today, 1974, May 22–July 14, 1974; Taft Museum, Cincinnati, September 12–October 26, 1974. See c372.

Painting & Sculpture Today, 1974

Indianapolis: Contemporary Art Society of the Indianapolis Museum of Art, 1974.

Dallas Museum of Art, The Meadows Collection, June 5–July 7, 1974. See P358.

Albright-Knox Art Gallery, Buffalo, American Art in Upstate New York: Drawings,Watercolors, and Small Sculpture from Public Collections in Albany, Buffalo, Ithaca, Rochester, Syracuse, and Utica, July 12–August 25, 1974; Memorial Art Gallery, University of Rochester, N.Y., September 10–October 13, 1974; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y., October 22–November 24, 1974; Everson Museum of Art, Syracuse, N.Y., December 5, 1974–January 12, 1975; Museum of Art, Munson-Williams-Proctor Institute, Utica, N.Y., January 26–March 2, 1975; Albany Institute of History and Art, March 14–April 27, 1975 (catalogue). Drawings only.

American Art in Upstate New York: Drawings, Watercolors, and Small Sculpture from Public Collections in Albany, Buffalo, Ithaca, Rochester, Syracuse, and Utica. Buffalo: Buffalo Fine Arts Academy, 1974.

Tirca Karlis Gallery, Provincetown, Mass., 10 Modern Masters, August 16–22, 1974. Works unknown.

John Berggruen Gallery, San Francisco, Paintings,Watercolors & Sculpture: Goode, Francis, Frankenthaler, Holland, Kelly, Moses,

Motherwell, Oldenburg, Olitski, Poons, Rickey, Rueda, Stella, Thiebaud, Twombly,Westermann, and Wiley, August 21–September 14, 1974. Works unknown.

University of Iowa Museum of Art, Iowa City, Accessions 1973, September 8–October 31, 1974 (permanent collection exhibition; catalogue). See P851.

Accessions 1974. Foreword by Ulfert Wilke. Iowa City: University of Iowa Museum of Art, 1974.

Virginia Museum of Fine Arts, Richmond, Twelve American Painters, September 30–October 27, 1974 (catalogue). See P673, P699, P702, c317, c423, c444.

Gaines, William. Twelve American Painters Richmond: Virginia Museum of Fine Arts, 1974.

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., Inaugural Exhibition, October 1, 1974–September 15, 1975 (permanent collection exhibition; catalogue). See P170, w5. Reviewed in Raynor 1974a.

Nochlin, Linda, Alfred Frankenstein, John I. H. Baur, Irving Sandler, and Dore Ashton. The Hirshhorn Museum & Sculpture Garden, Smithsonian Institution. Edited with an introduction by Abram Lerner; foreword by S. Dillon Ripley. New York: Harry N. Abrams, 1974.

Musée Galliera, Paris, L’Art au présent, October 2–November 10, 1974; shown as part of the Festival d’Automne à Paris (catalogue). See P772, w282.

L’Art au présent (includes artist’s statements; text in French). Paris: Galerie Daniel Templon, 1974.

William Zierler, New York, American Works on Paper, 1944 to 1974, November 2–30, 1974 (catalogue). See c75.

American Works on Paper, 1944 to 1974. New York: William Zierler, 1974.

Margo Leavin Gallery, Los Angeles, Small Paintings, November 7–30, 1974. See P587. Locksley Shea Gallery, Minneapolis, The Christmas Show, [December] 1974. Works unknown.

Städtische Kunsthalle Düsseldorf, Surrealität—Bildrealität, 1924–1974: In den unzähligen Bildern des Lebens, December 8, 1974–February 2, 1975; Staatliche Kunsthalle, Baden-Baden, Germany, February 14–April 13, 1975 (catalogue). See P673, c122. Harten, Jürgen. Surrealität—Bildrealität, 1924–1974: In den unzähligen Bildern des Lebens (text in German). Düsseldorf: Städtische Kunsthalle Düsseldorf, 1974.

Acquavella Contemporary Art, New York, [group exhibition], December 11, 1974–January 11, 1975. See P802, c401, c486.

1975

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: Recent Paintings and Collages,

January 4–February 1, 1975 (checklist). See P769, P771, P789, P790, P804, P806, P808, c464, c472, c484, c485, c493, c498, c500. Reviewed in Ellenzweig 1975, Kaplan 1975, Kramer 1975, New York Newsday 1975, Ratcliff 1975, and Schjeldahl 1975.

Harcus Krakow Rosen Sonnabend Gallery, Boston, Robert Motherwell: Selected Prints and Collages, February 1–26, 1975. Works unknown.

Museo de Arte Moderno, Mexico City, Robert Motherwell: Retrospectiva del gran pintor Norteamericano, March 19–May 1975 (catalogue). See P3, P84, P157, P182, P208, P216, P222–P224, P277, P455, P497, P647, P713, P720, P741, P795, P800, P801, c11, c20, c49, c66, c75, c104, c105, c261, c427, c495, w101, w127, w374, w384, w468. Reviewed in Acha 1975.

Ashton, Dore. Robert Motherwell: Retrospectiva del gran pintor Norteamericano (text in Spanish). Introduction by Fernando Gamboa; poem by Octavio Paz. Mexico City: Museo de Arte Moderno, 1975.

Glenn/Smith Gallery, Newport Beach, Calif., Robert Motherwell: Paintings, Drawings, Collages, and Selected Fine Prints, March 22–April 30, 1975. Works unknown.

Waddington Galleries, London, Robert Motherwell: Collages and Graphics, April 8–May 3, 1975 (catalogue). See P803, c173, c371, c436, c444, c448, c465, c469, c489, c493, c510, c747.

David Mirvish Gallery, Toronto, Robert Motherwell, April 12–May 7, 1975. See P793, c364, c451, c471, c473, c490–c492, c497, c505, c745. Reviewed in Perry 1975.

John Berggruen Gallery, San Francisco, Robert Motherwell: Recent Collages & Drawings/ Selected Prints, 1961–1975, May 21–June 25, 1975 (catalogue). See c330, c389, c417, c437, c517, c588, c742. Reviewed in Albright 1975, Campbell 1975, and Dunham 1975.

Ace Gallery, Los Angeles, Robert Motherwell: Major Paintings & Collages, [July]–August 23, 1975 (checklist). See P722, P723, P738, P741, P779, P808, P813, P814, P982, c439, c474–c476, c516, c519, c523. Reviewed in Seldis 1975.

Laguna Gloria Art Museum, Austin, Tex., Robert Motherwell: Paintings, Collages, and Prints, September 19–October 19, 1975 (checklist). See P442, P714, P715, P718, P728, P730, P766, P913, c273, c300, c341, c374, c409, c447.

Gertrude Kasle Gallery, Detroit, Robert Motherwell: Paintings, Collages, Drawings, November 8, 1975–January 8, 1976 (checklist).

See P678, P695, P725, P781, P786, P807, P827, P832, c420, c467, c516, c529, c688, w469, w471, w472. Reviewed in Colby 1975 and Miro 1975.

g r O u P eX hibiti O n S

Denver Art Museum, The Virginia and Bagley Wright Collection: American Art since 1960, February 1–March 16, 1975 (catalogue). See P619.

Chambers, Marlene. The Virginia and Bagley Wright Collection: American Art since 1960. Denver: Denver Art Museum, 1975.

Southeastern Massachusetts University Gallery, North Dartmouth, A Selected Exhibition from the Collection of Mrs. Harry Lynde Bradley, Milwaukee, February 8–March 3, 1975 (catalogue). See w205, w208.

Feingold, Arnold, ed. A Selected Exhibition from the Collection of Mrs. Harry Lynde Bradley, Milwaukee. Essay by Evan R. Firestone. North Dartmouth: Southern Massachusetts University, 1975.

Tampere Art Museum, Finland, Collection of Didrichsen Art Museum, February 9–March 12, 1975. See w199.

Corcoran Gallery of Art, Washington, D.C., 34th Biennial of Contemporary American Painting, February 22–April 6, 1975 (catalogue). See P739. Reviewed in Forgey 1975. 34th Biennial of Contemporary American Painting. Introduction by Ray Slade. Washington, D.C.: Corcoran Gallery of Art, 1975.

Color (circulated by the International Council of the Museum of Modern Art, New York), Museo de Art Moderno, Bogotá, Colombia, February 24–March 30, 1975; Museu de Arte de São Paulo, Brazil, April 18–May 18, 1975; Museu de Arte Moderna do Rio de Janeiro, June 12–July 20, 1975; Museo de Bellas Artes, Caracas, Venezuela, August 3–September 4, 1975; Museo de Arte Moderno, Mexico City, October 2–November 23, 1975 [venue catalogues]. See P99, P751.

Color (text in Spanish; includes artist’s statements). Foreword by Fernando Gamboa; introduction by Kynaston McShine. Mexico City: Museo de Arte Moderno, 1975.

Steinberg Hall, Washington University Gallery of Art, Saint Louis, A la Pintura, March 2–6, 1975 (catalogue). See P652, c19, c55. Reviewed in Duffy 1975.

A la Pintura. Foreword by Graham W. J. Beal. Saint Louis: Washington University Gallery of Art, 1975.

University of Iowa Museum of Art, Iowa City, An Artist Collects: Ulfert Wilke; Selections from Five Continents, March 23–May 3, 1975 (catalogue). See P202, c91, w250.

Wilke, Ulfert. An Artist Collects: Ulfert Wilke; Selections from Five Continents. Foreword by William L. Boyd. Iowa City: University of Iowa Museum of Art, 1975.

Whitney Museum of American Art, Downtown Branch, New York, Subjects of the Artist: New York Painting, 1941–1947, April 22–May 28, 1975 (catalogue). See P65, c22. Reviewed in Alloway 1975.

Subjects of the Artist: New York Painting, 1941–1947 (includes artist’s statements). New York: Whitney Museum of American Art, 1975.

Yale University Art Gallery, New Haven, Conn., Richard Brown Baker Collects! A Selection of Contemporary Art from the Richard Brown Baker Collection, April 24–June 22, 1975 (catalogue). See c38.

Richard Brown Baker Collects! A Selection of Contemporary Art from the Richard Brown Baker Collection. New Haven, Conn.: Yale University Art Gallery, 1975.

Waco Creative Art Center, Tex., Abstract Painting and Sculpture Today, May 1975. See c374.

Margo Leavin Gallery, Los Angeles, Drawing Exhibition, May 12–June 28, 1975. See c438, w148.

Knoedler & Company, New York, [group exhibition], summer 1975. See c445.

Museum of Fine Arts, Houston, Modern Painting, 1900 to the Present, July 15–September 21, 1975 (checklist). See P21.

Whitney Museum of American Art, New York, American Abstract Art: A Survey from the Permanent Collection, July 24–October 26, 1975 (permanent collection exhibition). See P422.

Estudio Actual, Caracas, Venezuela, L’Art Vivant, September 1975. See c281.

Galerie Allen, Vancouver, American Masters of the 60s, September 6–October 9, 1975. Works unknown.

Joslyn Art Museum, Omaha, The Growing Spectrum of American Art, September 20–November 9, 1975 (catalogue). See P351.

Price, Vincent. The Growing Spectrum of American Art. Foreword by Harrison C. Taylor. Omaha: Joslyn Art Museum, 1975. Martha Jackson Gallery, New York, Acquisitions, 1970–1975: A Selection of Works from the Gallery Collection, September 27–November 1, 1975. See P559.

American Art since 1945 from the Collection of the Museum of Modern Art (organized and circulated by the Museum of Modern Art, New York), Worcester Art Museum, Mass., October 20–November 30, 1975; Toledo Museum of Art, Ohio, January 10–February 22, 1976; Denver Art Museum, March 22–May 2, 1976; Fine Arts Gallery of San Diego, Calif., May 31–July 11, 1976; Dallas Museum of Fine Arts, August 19–October 3, 1976; Joslyn Art Museum, Omaha, October 25–December 5, 1976; Greenville County Museum, S.C., January 8–February 20, 1977; Virginia Museum of Fine Arts, Richmond, March 14–April 17, 1977; Bronx Museum, N.Y., May 9–June 30, 1977 (catalogue). See P215.

Legg, Alicia. American Art since 1945 from the Collection of the Museum of Modern Art New York: Museum of Modern Art, 1975. Museum of Art, Carnegie Institute, Pittsburgh, Pittsburgh Corporations Collect, October 25, 1975–January 4, 1976 (catalogue). See P363.

Pittsburgh Corporations Collect. Introduction by Leon A. Arkus. Pittsburgh: Museum of Art, Carnegie Institute, 1975.

Visual Arts Museum, School of Visual Arts, New York, Formative Years: Early Works by Prominent New York Artists, November 17–December 16, 1975. See P64.

Albright-Knox Art Gallery, Buffalo, The Martha Jackson Collection at the Albright-Knox Art Gallery, November 21, 1975–January 4,

1976 (permanent collection exhibition; catalogue). Drawings only.

Smith, Gordon M. The Martha Jackson Collection at the Albright-Knox Art Gallery Introduction by Robert T. Buck Jr.; foreword by Seymour H. Knox. Buffalo: Albright-Knox Art Gallery, 1975.

Acquavella Contemporary Art, New York, [group exhibition], winter 1975. See c295, c550.

Rizzoli Gallery, New York, Fashion as Fantasy, December 3, 1975–January 31, 1976. Drawings only.

Edmonton Art Gallery, Alberta, Canada, The Collective Unconscious: American and Canadian Art, 1940–1950, December 5, 1975–January 18, 1976 (catalogue). See P69, P84.

Wilkin, Karen. The Collective Unconscious: American and Canadian Art, 1940–1950 Edmonton, Alberta, Canada: Edmonton Art Gallery, 1975.

Fogg Art Museum, Harvard University, Cambridge, Mass., New York School: From the First Generation, December 5, 1975–January 5, 1976 (checklist). See c21, c49. André Emmerich Gallery, New York, Works on Paper, December 6, 1975–January 6, 1976. See c483.

Rosa Esman Gallery, New York, Small Works: Modern Masters, December 9, 1975–January 10, 1976. See w476. Reviewed in Lorber 1976.

1976

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: Recent Paintings and Collages, January 10–February 11, 1976 (checklist).

See P607, P805, P815, P816, P838, P876, c474, c503, c507, c512, c518, c530, c532, c538, c540, c567, w478. Reviewed in Andre 1976, Greenwich Time 1976a, Hoesterey 1976, Kramer 1976a, Perrone 1976a, and Ratcliff 1976.

Janie C. Lee Gallery, Houston, Robert Motherwell, April 10–May 15, 1976. See P712, P804, P823, P834, P846, c330, c349, c369, c417, c437, c497, c501, c517, c526, c528, c588, w473, w482. Reviewed in Crossley 1976 and Moser 1976.

Städtische Kunsthalle Düsseldorf, Robert Motherwell, September 3–October 10, 1976; Galleriet Kulturhuset, Stockholm, November 12, 1976–January 9, 1977; Museum des 20. Jahrhunderts, Vienna, March 8–April 11, 1977 (catalogue). See P3, P18, P47, P84, P88, P135, P177, P180, P182, P230, P353, P422, P429, P431, P590, P677, P685, P690, P719, P721, P722, P768, P769, P775, P776, P779, P780, P786, P805, P807, P838, P850, P860, c22, c49, c52, c58, c75, c104, c105, c121, c122, c124, c125, c129, c131, c220, c423, c428, c515, c530, c531, c551, c560, c567, c573, c575, w2, w10, w16, w19, w91, w104. Reviewed in Franzke 1977, Granath 1976, Haase 1976a, Haase 1976b, Jappe 1976, Romdahl 1976, Schmidt 1976, Sydhoff 1976, Trappschuh 1976, Westphal 1976, Winter 1976a, and Winter 1976b.

Harten, Jürgen, and Robert C. Hobbs. Robert Motherwell (text in English and German; includes artist’s statements).

Düsseldorf: Stadtische Kunsthalle, 1976.

B. R. Kornblatt Gallery, Baltimore, Robert Motherwell: Recent Collages, October 3–November 3, 1976. See P791, c490, c492, c507, c520, w474. Reviewed in Johnson 1976.

Dart Gallery, Chicago, Recent Paintings and Collages by Robert Motherwell, November 5–December 8, 1976 (checklist). See P468, P541, P746, P806, P825, P832, P861, c291, c377, c471, c506, c545, c552, c563. Reviewed in Morrison 1976.

g r O u P eX hibiti O n S

Buecker & Harpsichords, New York, 40 Years of American Collage, January 3–February 28, 1976. See c325.

Columbus Gallery of Fine Arts, Ohio, Aspects of Postwar Painting in America (organized by the Solomon R. Guggenheim Museum, New York), January 17–February 29, 1976; Solomon R. Guggenheim Museum, New York, Aspects of Postwar Painting in America: Acquisition Priorities, October 14, 1976–January 16, 1977 (venue catalogues). See P82, P220, P416, P607, P818.

Aspects of Postwar Painting in America Preface by Thomas M. Messer. Columbus, Ohio: Columbus Gallery of Fine Arts, 1976.

Aspects of Postwar Painting in America: Acquisition Priorities. Foreword by Thomas M. Messer. New York: Solomon R. Guggenheim Foundation, 1976.

Solomon R. Guggenheim Museum, New York, Twentieth-Century American Drawing: Three Avant-Garde Generations, January 23–March 23, 1976; Staatliche Kunsthalle, Baden-Baden, Germany, Amerikanische Zeichner des 20. Jahrhunderts: Drei Generationen von der Armory Show bis Heute, May 27–July 11, 1976; Kunsthalle, Bremen, Germany, July 18–August 29, 1976 (venue catalogues). See c3, c23, c46, c124, c125, c434, w10, w129.

Waldman, Diane. Twentieth Century American Drawing: Three Avant-Garde Generations. Preface by Thomas M. Messer. New York: Solomon R. Guggenheim Foundation, 1976.

Amerikanische Zeichner des 20. Jahrhunderts: Drei Generationen von der Armory Show bis Heute (text in German). Foreword by Hans Albert Peters. Baden-Baden, Germany: Staatliche Kunsthalle, 1976.

Whitney Museum of American Art, New York, Selections from the Permanent Collection, January 28–February 16, 1976 (permanent collection exhibition). See P489.

Archer M. Huntington Gallery, University of Texas at Austin, Abstract Expressionists and Imagists: A Retrospective View; An Exhibition of Paintings from the Michener Collection, February 1–March 28, 1976 (catalogue). See P210.

Powell, Earl A., III. American Abstract Expressionists and Imagists: A Retrospective View; An Exhibition of Paintings from the Michener Collection. Austin: University of Texas at Austin, 1976.

list of exhibitions

Minneapolis Institute of Arts, America Now, February 29–May 2, 1976. See P611.

Albright-Knox Art Gallery, Buffalo, Heritage and Horizon: American Painting, 1776–1976 (organized by the Toledo Museum of Art, Ohio), March 6–April 11, 1976; Detroit Institute of Arts, May 5–June 13, 1976; Toledo Museum of Art, Ohio, July 4–August 15, 1976; Cleveland Museum of Art, September 8–October 10, 1976 (catalogue). See P156.

Heritage and Horizon: American Painting, 1776–1976. Toledo, Ohio: Toledo Museum of Art, 1976.

Miami-Dade Community College, South Campus, Abstract Expressionism:Works from the Collection of the Whitney Museum of Art, March 8–April 1, 1976 (catalogue). See c104, c105.

Abstract Expressionism:Works from the Collection of the Whitney Museum of Art Miami: Miami-Dade Community College, 1976.

Hirschl & Adler Galleries, New York, Second Williams College Alumni Loan Exhibition: In Celebration of the 50th Anniversary of the Williams College Museum of Art and Professor S. Lane Faison, Jr., April 1–24, 1976; Williams College Museum of Art, Williamstown, Mass., May 9–June 13, 1976 (catalogue). See w153.

Second Williams College Alumni Loan Exhibition: In Celebration of the 50th Anniversary of the Williams College Museum of Art and Professor S. Lane Faison, Jr. Introduction by S. Lane Faison Jr.; preface by William H. Alexander, James S. Deely, and Bernard Heineman Jr. Williamstown, Mass.: Williams College, 1976.

Fine Arts Center Gallery, University of Massachusetts, Amherst, Critical Perspectives in American Art, April 10–May 9, 1976 (catalogue). See P806, c503, c512. Reviewed in Kramer 1976b.

Hunter, Sam, Rosalind Krauss, and Marcia Tucker. Critical Perspectives in American Art Introduction by Hugh M. Davies. Amherst: Fine Arts Center Gallery, University of Massachusetts, 1976.

La Jolla Museum of Contemporary Art, Calif., Paintings from the Max Zurier Collection, May 8–June 6, 1976. See P53, c69.

Katonah Gallery, N.Y., American Painting, 1900–1976, July 24–September 11, 1976; the artist’s work was shown in “Abstract Expressionism and Later Movements, 1955–1976,” part 3, section 2 of a three-part exhibition for the Katonah Gallery bicentennial celebration (catalogue). See P157.

Baur, John I. H. American Painting, 1900–1976. Foreword by Ellen R. Cabell. Katonah, N.Y.: Katonah Gallery, 1976. Phillips Collection, Washington, D.C., American Art from the Phillips Collection, Part 1, May 29–August 21, 1976 (permanent collection exhibition). See c90, c129.

Galerie Beyeler, Basel, Switzerland, Autres Dimensions: Collages, Assemblages, Reliefs, June–September 1976 (catalogue). See c331, c487.

Autres Dimensions: Collages, Assemblages, Reliefs (text in French). Introduction by Andreas Franzke. Basel: Galerie Beyeler, 1976.

United States Pavilion, Venice, 37th Venice Biennial, 1976: Critical Perspectives in American Art, June 13–October 10, 1976 (catalogue). See P673.

Hunter, Sam, Marcia Tucker, and Rosalind Krauss. 37th Venice Biennial: Critical Perspectives in American Art (text in English and Italian). Foreword by Thomas M. Messer. [Venice]: [Bienale di Venezia], 1976.

Seibu Museum of Art, Tokyo, Three Decades of American Art Selected by the Whitney Museum, June 18–July 20, 1976 (catalogue). See P820, c415.

Three Decades of American Art Selected by the Whitney Museum (text in English and Japanese). Contributions by Thomas N. Armstrong III, James D. Hodgson, and Barbara Haskell. Tokyo: Seibu Museum of Art, 1976.

Guild Hall of East Hampton, N.Y., Artists and East Hampton: A 100 Year Perspective; A Bicentennial Exhibition, August 14–October 3, 1976 (catalogue). See P64.

Braff, Phyllis. Artists and East Hampton: A 100 Year Perspective; A Bicentennial Exhibition. East Hampton, N.Y.: Guild Hall of East Hampton, 1976.

Minneapolis Institute of Arts, American Master Drawings and Watercolors, September 2–October 24, 1976; Whitney Museum of American Art, New York, November 23, 1976–January 23, 1977; Fine Arts Museums of San Francisco, February 20–April 17, 1977 (catalogue). See c11, c38, c126.

Stebbins, Theodore E., Jr. American Master Drawings and Watercolors: A History of Works on Paper from Colonial Times to Present Contributions by John Caldwell and Carol Troyen. New York: Harper and Row, 1976.

Newcomb College, Tulane University, New Orleans, Drawing Today in New York, September 2–23, 1976; Sewall Art Gallery, Rice University, Houston, October 8–November 19, 1976; Southern Methodist University, Dallas, January 10–February 16, 1977; University Art Museum, University of Texas at Austin, March 1–April 1, 1977; Oklahoma Art Center, Oklahoma City, April 15–May 15, 1977; Dayton Art Institute, Ohio, June 3–August 21, 1977 (checklist). See w475. Reviewed in Gorney 1976–77.

Nationalgalerie Berlin, New York in Europa, September 4–November 7, 1976 (catalogue). See P161, P365.

Honisch, Dieter, and Jens Christian Jensen. Amerikanische Kunst von 1945 bis heute: Kunst der USA in europäischen sammlungen (text in German). Edited by Lucius Grisebach. Cologne, Germany: DuMont Buchverlag, 1976.

Rose Art Museum, Brandeis University, Waltham, Mass., Action and Reaction: Contemporary Trends in Painting and Sculpture, September 12–October 24, 1976 (permanent collection exhibition). See P218.

Art Galleries, California State University, Long Beach, An Exhibit Beyond the Artist’s Hand: Explorations of Change, September 13–October 10, 1976 (catalogue). See c231, c235, c238.

An Exhibit Beyond the Artist’s Hand: Explorations of Change. Preface by Constance W. Glenn; essays by Frieda Kay Fall and Jan Butterfield. Entry “Motherwell,” by Mary Schoeser, pp. 16–17. Long Beach: Art Galleries, California State University, 1976.

Grey Art Gallery, New York University, Inaugural Exhibition, Part II: Selections from the New York University Art Collection, September 22–October 16, 1976 [permanent collection exhibition; catalogue]. See c88.

Gruenebaum Gallery, New York, Three Generations of American Painting: Motherwell, Diebenkorn, Edlich, September 23–October 30, 1976 (catalogue). See P420, P489, P678, P777, c489, c542, c568. Reviewed in Brown 1976, Perrone 1976b, Russell 1976a, and Zalkind 1976.

Hoffeld, Jeffrey. Three Generations of American Painting: Motherwell, Diebenkorn, Edlich. New York: Gruenebaum Gallery, in association with Gimpel and Weitzenhoffer, 1976.

Meadow Brook Art Gallery, Oakland University, Rochester, Mich., Creative Encounters: Gertrude Kasle Collection of Contemporary Art, October 2–November 14, 1976 (catalogue). See P669, P695, P781, c304, c467.

Creative Encounters: Gertrude Kasle Collection of Contemporary Art. Foreword by Robert Dearth; introduction by G. Stuart Hodge. Rochester, Mich.: Meadow Brook Art Gallery, Oakland University, 1976.

Robert Elkon Gallery, New York, Twentieth Century Masters on Paper, October 2–November 3, 1976 (catalogue). See c51. Reviewed in Russell 1976b.

Twentieth Century Masters on Paper New York: Robert Elkon Gallery, 1976. Colorado Springs Fine Arts Center, New Accessions USA, October 23–December 4, 1976 (catalogue). See c406.

New Accessions USA. Foreword by William Henning. Colorado Springs: Colorado Springs Fine Arts Center, 1976.

Rosa Esman Gallery, New York, Small Masterworks, December 7, 1976–January 6, 1977. See w476. Reviewed in Ellenzweig 1976.

Galerie Daniel Templon, Paris, Peinture, December 11, 1976–January 6, 1977. Works unknown.

Kunsthaus Zürich, The Museum of Drawers, 1976–present; exhibited at International Cultureel Centrum, Antwerp, Belgium, December 18, 1976–January 9, 1977; Museum Schwäbisch Gmünd, Predige, Switzerland, January 23–February 20, 1977; Städtische Kunsthalle Düsseldorf, March 4–27, 1977; Kunsthaus Zürich, June 16–July 18, 1979; to additional unknown venues (catalogue). See P881.

Distel, Herbert. Tentoonstellingen (text in Dutch). Antwerp, Belgium: International Cultureel Centrum, 1977.

Distel, Herbert. Das Schubladenmuseum; Le Musée en Tiroirs; The Museum of Drawers (text in German, French, and English). Zurich: Kunsthaus Zürich, 1978.

1977

S O l O eX hibiti O n S

Galerie André Emmerich, Zurich, Robert Motherwell: Paintings, April 2–May 24, 1977 (catalogue). See P457, P809, P829, P834, P836, P840, P886, P887, P909, P914, P915.

Robert Motherwell: Paintings (text in English and German). Zurich: Galerie André Emmerich, 1977.

Musée d’Art Moderne de la Ville de Paris, Robert Motherwell: Choix de peintures et collages, 1941–1977, June 21–September 20, 1977 (catalogue). See P3, P4, P69, P84, P88, P135, P177, P180, P182, P195, P212, P224, P230–P232, P242, P353, P378, P429, P431, P474, P480, P492, P496, P536, P562, P574, P596, P673, P677, P685, P690, P719, P721, P722, P744, P751, P769, P772, P775, P776, P779, P780, P786, P789, P794, P805, P807, P816, P819–P821, P838, P842–P846, P850, P856, P860, P862, P875, P877, P887, P902, P904, P905, P913, P915, P920–P922, P924, P925, c49, c52, c58, c71, c75, c78, c104, c105, c125, c129, c131, c139, c201, c216, c220, c258, c266, c277, c278, c371, c384, c401, c423, c428, c436, c504, c515, c528–c531, c541, c551, c560, c567, c569, c573, c575, c579, c583, c589, c592, c596, c606, w6, w10, w16, w19, w40, w91, w101, w104, w119, w160, w164, w167, w169, w343, w346–w348, w350, w514. Reviewed in Almansi 1977, Bouisset 1977, Breerette 1977, C. 1977, Kenedy 1977, Lecombre 1977, Lit Tout 1977, Plazy 1977, S[chulmann] 1977, Warnod 1977, and Wilson 1977b.

Robert Motherwell: Choix de peintures et collages, 1941–1977 (includes artist’s statements). Preface by Suzanne Pagé; essay by Marcelin Pleynet; poem by Octavio Paz. Paris: Musée d’Art Moderne de la Ville de Paris, 1977.

Royal Scottish Academy, Edinburgh, Robert Motherwell: Paintings and Collages, 1941–1977, October 14–November 20, 1977; selected works shown at the Musée d’Art Moderne de la Ville de Paris, 1977 (see separate entry). See P84, P88, P673, P719, P721, P769, P776, P779, P780, P805, P807, P816, P819–P821, P838, P842–P846, P875, c49, c131, c428, c515, c529, c567, c575, c583, c589, c592, c606, w19, w104, w160. Reviewed in Baillie 1977, Power 1977, Scottish Press 1977, and Shipway 1977.

g r O u P eX hibiti O n S

Henry Art Gallery, University of Washington, Seattle, Henry Gallery/Five Decades: The Henry Art Gallery, University of Washington, 1927–1977, February 11–March 13, 1977 (permanent collection exhibition; catalogue). Drawings only. Grove, Richard, comp. Henry Gallery/Five Decades: The Henry Art Gallery, University of

Washington, 1927–1977. Contributions by Susan Moseley, Carl F. Gould, Charlotte Stokes, and Martha Kingsbury. Seattle: Henry Art Gallery Association, 1977. Admiral’s House, vice presidential residence, Washington, D.C., [loan exhibition], February 22, 1977–March 15, 1978. See c406. Reviewed in Cimons 1977 and Foreman 1977.

Rutgers University Art Gallery, New Brunswick, N.J., Surrealism and American Art, 1931–1947, March 5–April 24, 1977 (catalogue). See c46.

Weschler, Jeffrey. Surrealism and American Art, 1931–1947. Introduction by Jack J. Spector. New Brunswick, N.J.: Rutgers University Art Gallery, 1976.

Bard College, Annandale-on-Hudson, N.Y., Aspects of the Collage, March 10–31, 1977. See c578, c592.

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., Acquisitions, 1974–1977, March 25–July 24, 1977 (permanent collection exhibition). See c459.

Everson Museum of Art, Syracuse, N.Y., Provincetown Painters, 1890’s–1970’s, April 1–June 26, 1977; Provincetown Art Association, Mass., August 15–September 5, 1977 (catalogue). See w260.

Kuchta, Ronald A., ed. Provincetown Painters, 1890’s–1970’s. Essay by Dorothy Gees Seckler. Syracuse, N.Y.: Everson Museum of Art, 1977.

Fogg Art Museum, Cambridge, Mass., Master Paintings from the Fogg Collection, April [13]–August [31], 1977 (permanent collection exhibition). See P101.

San Francisco Museum of Modern Art, Collectors, Collecting, Collection: American Abstract Art since 1945, April 22–June 5, 1977 (catalogue). See P164, P334, P360, P408, c438, c536, c557. Reviewed in Frankenstein 1977.

Collectors, Collecting, Collection: American Abstract Art since 1945. San Francisco: San Francisco Museum of Modern Art, 1977. Heritage Plantation of Sandwich, Mass., Cape Cod as an Art Colony, April 30–October 16, 1977 (catalogue). See P559.

Cape Cod as an Art Colony. Sandwich, Mass.: Heritage Plantation of Sandwich, 1977.

Whitney Museum of American Art, New York, 30 Years of American Art: 1945–1975, May 6–July 24, 1977 (permanent collection exhibition). See P65.

Margo Leavin Gallery, Los Angeles, Paintings, Drawings, and Sculpture, May 18–June [30], 1977. See P823.

Musée National d’Art Moderne, Centre Georges Pompidou, Paris, Paris—New York, June 1–September 19, 1977 (catalogue). See P87, c22, c124.

Hulten, Pontus, Robert Bordaz, Elliott Carter, et al. Paris—New York (text in French; includes artist’s statements). Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1977.

Galerie Brusberg, Hannover, Germany, André Emmerich bei Brusberg, June 5–August 6, 1977 (checklist). See P834, c413, c449, c452, c460, c523.

Davis and Long Company, New York, American Collage, June 6–July 1, 1977. See c174.

Oak Room, Campus Center, Fairfield University, Conn., Oak Room Exhibition, 15th Annual Fairfield Festival of the Arts, June 8–10, 1977. Works unknown.

Institute of Contemporary Art, Boston, Collectors Collect Contemporary: A Selection from Boston Collections, June 22–September 4, 1977. See c150.

Long Point Gallery, Provincetown, Mass., Group Exhibition, June 28–July 9, 1977. Unidentified: Bird Study

David Mirvish Gallery, Toronto, Large-Scale Paintings, July 9–August 3, 1977. See P606.

Minnesota Museum of Art, Saint Paul, American Drawing, 1927–1977, September 6–October 29, 1977; Henry Art Gallery, Seattle, January 6–February 6, 1978; Santa Barbara Museum of Art, Calif., April 11–May 14, 1978; National Gallery of Iceland, Reykjavik, June 4–July 1, 1978; Fine Arts Museum, Bordeaux, France, September 15–October 20, 1978; Spanish Museum of Contemporary Art, Campus of Complutense University, Madrid, November 2–December 3, 1978; Museo de Bellas Artes, Caracas, Venezuela, January 14–February 4, 1979; Museo Municipal de Artes Graficas, Maracaibo, Venezuela, February 11–March 3, 1979; Galerie de Arte Moderno, Santo Domingo, Dominican Republic, April 5–19, 1979; Museum of Arts and Sciences, National Autonomous University, Mexico City, May 4–21, 1979; Municipal Museum, Ciudad Juarez, Mexico, June 3–17, 1979 (catalogue). See w461.

Cummings, Paul. American Drawing, 1927–1977. Prologue by Miriam B. Lein. Saint Paul: Minnesota Museum of Art, 1977.

Rose Art Museum, Brandeis University, Waltham, Mass., Contemporary Masters, September 11–October 30, 1977 (permanent collection exhibition). See P218.

Montgomery Art Gallery, Pomona College, Claremont, Calif., Works on Paper, 1900–1960: From Southern California Collections, September 18–October 27, 1977; M. H. de Young Memorial Museum, San Francisco, November 11–December 31, 1977 (catalogue). See c4. Reviewed in Wilson 1977a.

Steadman, David W. Works on Paper, 1900–1960: From Southern California Collections Introduction by Frederick S. Wright. Claremont, Calif.: Galleries of the Claremont College, 1977.

Indianapolis Museum of Art, Perceptions of the Spirit in Twentieth-Century American Art, September 20–November 27, 1977; University Art Museum, Berkeley, Calif., December 20, 1977–February 12, 1978; Marion Koogler McNay Art Institute, San Antonio, Tex., March 5–April 16, 1978; Columbus Gallery of Fine Arts, Ohio, May 10–June 19, 1978 (catalogue). See P334.

Dillenberger, Jane, and John Dillenberger. Perceptions of the Spirit in Twentieth-Century American Art. Introduction by Henry Geldzahler. Indianapolis: Indianapolis Museum of Art, 1977.

Aldrich Museum of Contemporary Art, Ridgefield, Conn., Fall 1977: Contemporary Collectors, September 25–December 18, 1977 (catalogue). See P661.

Fall 1977: Contemporary Collectors Ridgefield, Conn.: Aldrich Museum of Contemporary Art, 1977.

New York State Museum, Albany, New York: The State of Art, October 8–November 27, 1977 (catalogue). See P85, P220.

Bishop, Robert, William H. Gerdts, and Thomas B. Hess. New York: The State of Art Albany: New York State Museum, 1977.

Yale University Art Gallery, New Haven, Conn., Recent American Art from the Woodward Foundation, October 13, 1977–February 4, 1978. See P151. Reviewed in Raynor 1978a.

National Museum of Art, Osaka, Japan, Aesthetics in Japanese Art: Form and Colour, October 15–December 18, 1977 (catalogue). See P777.

Aesthetics in Japanese Art: Form and Colour. Osaka, Japan: National Museum of Art, 1978.

Kunstverein St. Gallen, Switzerland, Ostschweizer Privatbesitz, October 28–December 4, 1977 (checklist). See P191. Huntington Galleries, W.Va., Twenty-five Selections from the Permanent Collection, November 13–September 3, 1977 (permanent collection exhibition; catalogue). See P527.

Twenty-five Selections from the Permanent Collection. Huntington, W.Va.: Huntington Galleries, 1977.

Andrew Crispo Gallery, New York, Twelve Americans: Masters of Collage, November 17–December 30, 1977 (catalogue). See c3, c17, c20, c23, c39, c46, c104, c105, c237, c407, c434, c449, c452, c493, c510, c520, c559, c565, c576, c598, c603. Reviewed in Conroy 1977, Russell 1977, and Tallmer 1977.

Twelve Americans: Masters of Collage Foreword by Andrew J. Crispo; introduction by Gene Baro. New York: Andrew Crispo Gallery, 1977.

Drawing Center, New York, Artists’ Postcards (traveling venues organized by the Smithsonian Institution Traveling Exhibition Service, Washington, D.C.), November 19, 1977–January 7, 1978; Kenan Center, Lockport, N.Y., February 11–March 12, 1978; Montclair Art Museum, N.J., April 1–30, 1978; Kennedy-Douglass Center for the Arts, Florence, Ala., May 20–June 18, 1978; Michigan Art Train, Detroit, July 8–August 10, 1978; Toledo Museum of Art, Ohio, October 14–November 12, 1978; C. W. Woods Art Gallery, Hattiesburg, Miss., December 2–31, 1978; Cranbrook Academy of Art Museum, Bloomfield Hills, Mich., January 20–February 18, 1979; Millersville State College, Pa., March 10–April 8, 1979; Portland Art

Museum, Ore., August 4–September 2, 1979; Guild Hall, East Hampton, N.Y., September 22–October 21, 1979; Concord College, Athens, W.Va., November 10–December 9, 1979; Nelson-Atkins Museum, Kansas City, Mo., December 29, 1979–January 27, 1980 (checklist). See c600. Reviewed in Kramer 1977b and Wallach 1977a.

Solomon R. Guggenheim Museum, New York, From the American Collection: New Additions, November 22, 1977–January 8, 1978 (permanent collection exhibition). Drawings only. Sid Deutsch Gallery, New York, Americans & Europeans, December 9, 1977–January 5, 1978. Works unknown.

Knoedler & Company, New York, Group Show, December 13, 1977–January 13, 1978 (checklist). See P806, c503.

1978

S O l O eX hibiti O n S

Royal Academy of Arts, London, Robert Motherwell: Paintings and Collages from 1941 to the Present, January 14–March 19, 1978; selected works shown at the Musée d’Art Moderne de la Ville de Paris, 1977 (see separate entry; catalogue and addenda). See P3, P69, P88, P177, P224, P231, P232, P429, P496, P673, P690, P719, P722, P751, P769, P775, P776, P779, P780, P786, P789, P794, P805, P807, P816, P821, P838, P842–P846, P850, P875, P877, P924, c49, c266, c384, c423, c428, c504, c515, c528, c567, c575, c583, c589, c592, c596, w19, w101, w104. Reviewed in Burr 1978, Heathcote 1978, L[ucie-]S[mith] 1978a, Lucie-Smith 1978b, Overy 1978, Quantrill 1978, Roberts 1978, Spurling 1978, SZ 1978, Tisdall 1978, Vaizey 1978, and Wykes-Joyce 1978.

Maloon, Terence. Robert Motherwell: Paintings and Collages from 1941 to the Present (includes artist’s statements). Preface by Norman Rosenthal. London: Royal Academy of Arts, 1978.

Knoedler Gallery, London, Robert Motherwell, January 16, 1978 (end date unknown). Works unknown. Reviewed in Spurling 1978.

Janie C. Lee Gallery, Houston, Robert Motherwell: Collages, Drawings, Paintings, March 18–April 1978. See P473, P778, P929, P946, c207, c378, c395, c396, c437, c476, c595, c599, c608, c609, w504, w513, w524, w529. Reviewed in Crossley 1978 and Moser 1978.

Knoedler & Company, New York, Robert Motherwell, April 22–May 29, 1978 (catalogue). See P492, P678, P719, P722, P763, P775, P776, P779, P780, P860, P875, P877, P924, P935, P941, P953, c541, c579, c583, c589, c592, c606, c617, c619, w505, w516–w518, w521. Reviewed in Frackman 1978 and Russell 1978. Robert Motherwell. New York: Knoedler & Company, 1978.

Douglas Drake Gallery, Kansas City, Mo., Robert Motherwell: Paintings, Collages, Graphics, November 11–December 5, 1978. See P442, P830, P941, c300, c409, c559, c605, w489. Reviewed in Melcher 1978.

list of exhibitions

Solomon & Company Fine Art, New York, Recent Acquisitions: De Kooning, Dine, Matta, Motherwell, Stella, ca. 1978 (exact dates unknown). See w198.

Hayward Gallery, London, Dada and Surrealism Reviewed, January 11–March 27, 1978 (catalogue). See c44.

Ades, Dawn. Dada and Surrealism Reviewed Introduction by David Sylvester; essay by Elizabeth Cowling. London: Arts Council of Great Britain, 1978.

Carlson Gallery, University of Bridgeport, Conn., Connecticut Painting, Drawing, and Sculpture, ’78 (organized by the Art Resources of Connecticut, New Haven), January 15–February 19, 1978; New Britain Museum of American Art, Conn., February 24–March 24, 1978; Cummings Art Center, Connecticut College, New London, March 29–April 22, 1978 (catalogue). See w392. Reviewed in Cameron 1978, Gonzales 1978, and Raynor 1978b.

Connecticut Painting, Drawing, and Sculpture, ’78. Foreword by Joseph S. MacLaughlin III; introduction by Virginia Mann Haggin. New Haven: Art Resources of Connecticut, 1978.

Rocky Mount Arts and Crafts Center, N.C., Art and Education at Black Mountain College, 1933–1956, January 15–February 28, 1978 (catalogue). See P67.

Smith, Leverett T., Jr., and Daisy B. Thorp. Art and Education at Black Mountain College, 1933–1956. Rocky Mount, N.C.: Rocky Mountain Arts and Crafts Center, 1978.

Margo Leavin Gallery, Los Angeles, Three Generations: Studies in Collage, January 26–March 4, 1978. See c73, c114, c426.

Samuel J. Zacks Gallery, York University, Toronto, The John A. Schweitzer Collection, March 9–April 7, 1978. See P571.

Asheville Art Museum, N.C., Black Mountain College Retrospective, March 14–May 14, 1978. See P67.

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y., Abstract Expressionism: The Formative Years, March 30–May 14, 1978; Seibu Museum of Art, Tokyo, June 17–July 12, 1978; Whitney Museum of American Art, New York, October 5–December 3, 1978 (venue catalogues). See P8, P11, P12, P68, P69, P84, c3, c22, c46, w5.

Hobbs, Robert Carleton, and Gail Levin. Abstract Expressionism: The Formative Years. Introduction by Thomas W. Leavitt and Tom Armstrong. Entry “Robert Motherwell,” by Robert Carleton Hobbs, pp. 88–93. New York: Whitney Museum of American Art; Ithaca: Herbert F. Johnson Museum of Art, 1978.

Bijutsukan, Seibu, and Asahi Shinbunsha, Abstract Expressionism: The Formative Years (text in English and Japanese). Tokyo: Seibu Museum of Art, 1978.

Waddington and Tooth Galleries, London, Groups, April 4–28, 1978 (catalogue). See P834.

Groups. London: Waddington and Tooth Galleries, 1978.

Montgomery Museum of Fine Arts, Ala., American Art, 1934–1956: Selections from the Whitney Museum of American Art, April 26–June 11, 1978; Brooks Memorial Art Gallery, Memphis, June 30–August 6, 1978; Mississippi Museum of Art, Jackson, August 21–October 1, 1978 (catalogue). See P65.

American Art, 1934–1956: Selections from the Whitney Museum of American Art. Foreword by Tom Armstrong; introduction by Diane Gingold. Montgomery, Ala.: Montgomery Museum of Fine Arts, 1978.

Whitney Museum of American Art, New York, American Art 1950 to the Present: Selections from the Permanent Collection, May 3–September 10, 1978 (permanent collection exhibition). See P489. Reviewed in New York Post 1978.

Humanities Research Center, University of Texas at Austin, Figure and Form, 1960–1970: Selections from the Michener Collection, May 14–August 20, 1978. See P210.

Galerie Veith Turske, Cologne, Germany, Selected Works of the European and American Abstract Expressionism, May 27–August 8, 1978. See P769.

National Gallery of Art, Washington, D.C., American Art at Mid-Century: The Subjects of the Artist, June 1, 1978–January 14, 1979 (catalogue). See P156, P216, P220, P230, P650, P838, P850, w10, w104. Reviewed in Canaday 1978, Forgey 1978b, and Spike 1978.

Carmean, E. A., Jr., and Eliza A. Rathbone. American Art at Mid-Century: The Subjects of the Artist (includes artist’s statements). Contributions by Thomas B. Hess; essay “Robert Motherwell: The Elegies to the Spanish Republic,” by E. A. Carmean Jr., pp. 95–122. Washington, D.C.: National Gallery of Art, 1978.

Long Point Gallery, Provincetown, Mass., [group exhibition], June 25–July 8, 1978. Works unknown.

Akron Art Institute, Ohio, Ten Paintings & Sculptures from the Hirshhorn Museum, July 1–September 3, 1978. See P170.

Galerie André Emmerich, Zurich, American Painting, July 1–August 26, 1978. See P917, P944.

Provincetown Art Association and Museum, Mass., Days Lumberyard Studios: Provincetown, 1914–1971, August 18–October 1, 1978 (catalogue). See w145. Unidentified: Untitled collage. Reviewed in Advocate Summer Guide 1978, Kingsley 1978, and Taylor 1978b. Brooks, Ben, and Robert Motherwell. Days Lumberyard Studios: Provincetown, 1914–1971 Provincetown, Mass.: Provincetown Art Association and Museum, 1978.

Long Point Gallery, Provincetown, Mass., Robert Motherwell/Tony Vevers, August 20–September 2, 1978 (checklist). See P939, P952, c524, c601, c606, w510, w528, w533. Unidentified: 22. Elegy. Reviewed in Hornak 1978.

Rose Art Museum, Brandeis University, Waltham, Mass., Modern and Contemporary Masters from the Permanent Collection, September 10–October 29, 1978 (permanent collection exhibition). See P218.

Saint Louis Artists Guild, The New York Schools, September 10–28, 1978. Works unknown.

Galerie Daniel Templon, Paris, Dix ans: Exposition du dixième anniversaire de la galerie, October 7–November 16, 1978 (catalogue). Works unknown.

Dix ans: Exposition du dixième anniversaire de la galerie (text in French). Introduction by Catherine Millet. Paris: Galerie Daniel Templon, 1978.

Greenberg Gallery, Saint Louis, [group exhibition], October–November 30, 1978. Works unknown.

Art Center College of Design, Pasadena, Calif., Berggruen at Art Center, November [1]–30, 1978. Works unknown.

Janus Gallery, Venice, Calif., Drawing Explorations, 1930–1978, November 17–December 23, 1978. Works unknown.

Federal Reserve Bank, Boston, New England Connections, November 27, 1978–January 31, 1979. See P218, P592, c601, c606.

Meredith Long Contemporary, New York, Paperworks by Ellsworth Kelly, Robert Motherwell, Frank Stella, and Stanley Boxer, December 2–24, 1978. Works unknown.

Brooks Memorial Art Gallery, Memphis, American Masters of the Sixties and Seventies: Selections from the Collection of Jan and Ronald K. Greenberg, December 9–28, 1978 (catalogue). See P652.

Witt, Gary, ed. American Masters of the Sixties and Seventies: Selections from the Collection of Jan and Ronald K. Greenberg. Foreword by Lynda Ireland; introduction by Emily Rauh Pulitzer; essays by Lynda Ireland, Mary King, Richard H. Knowles, Emily Rauh Pulitzer, and Anne Robbins. Memphis: Brooks Memorial Art Gallery, 1978.

1979

S O l O eX hibiti O n S

William Benton Museum of Art, University of Connecticut, Storrs, Robert Motherwell & Black, March 19–June 3, 1979 (brochure, tabloid, and catalogue). See P135, P177, P180, P182, P232, P307, P308, P311–P313, P524, P649, P665, P673, P719, P721, P722, P751, P776, P779, P780, P838, P859, P860, P864, P865, P869, P877, P892, P924, c384, c402, c493, c498, c515, c524, c528, c530, c555, c573, c628, w16, w50, w64, w68, w70, w101, w128, w145, w147, w149, w343, w350, w357, w515, w560, w588, w630. Reviewed in Braun 1979, Highwater 1979, Morrin 1979, Newtown Bee 1979, Raynor 1979, and Scott 1979.

Terenzio, Stephanie. Robert Motherwell & Black (exhibition brochure). Storrs, Conn.: William Benton Museum of Art, 1979. Partially reprinted, with extensive additions, in Stephanie Terenzio, Robert Motherwell & Black (exhibition catalogue, includes artist’s

statements). Storrs, Conn.: William Benton Museum of Art, 1980.

William Ehrlich Gallery, New York, Small Paintings, May 8–June 16, 1979. See P309, P354, P517, P518, P530, P543, P599, P604, P644–P646, P858, P897, P927, P947, P950, P951, P1122, P1133, c182, c249, c632, w272, w279, w281, w286–w288. Reviewed in Henry 1979.

William Ehrlich Gallery, New York, Robert Motherwell: The Remaining Miniatures from the Original Exhibit, June 18–July 28, 1979. See P519, P531, P548, P576, P600, P601, P641, P811, P848, P898, P899, P926, P940, P942, P945, P949, c181, c184, c618, w276, w280, w283, w525. Reviewed in Edwards 1979 and Henry 1979.

Long Point Gallery, Provincetown, Mass., Motherwell, September 21–23, 1979 (checklist). See P960, P963, P964, P973, P974, c477, c626, c629, c634, c635, w638. Unidentified: 12. Red,White, and Blue with Music; 13. Drunk with Turpentine

Ulrich Museum of Art, Wichita State University, Kans., Robert Motherwell: Recent Works, October 31–November 25, 1979. See P665, P793, P835, P960, P976, P1024, c274, c496, c558, c626, c634, w543, w546, w547, w550, w551, w555, w557, w561, w564, w569, w572, w574, w577, w622.

Janie C. Lee Gallery, Houston, Robert Motherwell Drawings: A Retrospective, 1941 to the Present, November 13–December 1979 (catalogue). See P288, P319, P689, P696, P776, P779, P780, P952, w16, w21, w109, w128, w145, w147, w149, w252, w286–w288, w290, w312, w357–w359, w468, w510, w528, w533, w541, w542, w549, w556, w563, w565, w568, w570, w625. Reviewed in Tennant 1979.

Flam, Jack. Robert Motherwell Drawings: A Retrospective, 1941 to the Present (includes artist’s statements). Houston: Janie C. Lee Gallery, 1979.

Galerie Veith Turske, Cologne, Germany, Robert Motherwell: Paintings, Collages,Works on Paper, 1962–1979, November 24, 1979–March 3, 1980. See P374, P744, P907, P946, w544. Reviewed in Du Journal 1980.

g r O u P eX hibiti O n S

Ace Gallery, Los Angeles, [group exhibition], January 1979. Works unknown. Reviewed in Wilson and Muchnic 1979b.

Montgomery Art Gallery, Pomona College, Claremont, Calif., Black and White Are Colors: Paintings of the 1950s and 1960s, January 28–March 7, 1979; shown concurrently at the Lang Art Gallery, Scripps College, Claremont, Calif. (catalogue). See P96.

Rubin, David S. Black and White Are Colors: Paintings of the 1950s–1970s. Foreword by David W. Steadman. Claremont, Calif.: Galleries of the Claremont Colleges, 1979.

Sierra Nevada Museum of Art, Reno, Nev., The New York School, 1940–1960: The First Generation of Abstract Expressionism, February 3–March 4, 1979 (catalogue). See P58.

The New York School, 1940–1960: The First Generation of Abstract Expressionism

Preface by Suzanne M. Loomis; essay by Irving Sandler. Reno, Nev.: Sierra Nevada Museum of Art, 1979.

Peninsula Arts Association, Newport News, Va., Contemporary Works from the Virginia Museum, February 5–26, 1979. See w210.

American Art from the Museum of Modern Art (circulated by the International Council of the Museum of Modern Art, New York), Kunstmuseum, Bern, Switzerland, February 15–April 16, 1979; Museum Ludwig, Cologne, Germany, May 18–July 16, 1979; Calouste Gulbenkian Foundation, Lisbon, August 6–September 16, 1979; Museo España de Arte Contemporáneo, Madrid, October 8–November 18, 1979; Museum des 20. Jahrhunderts, Vienna, Austria, December 10, 1979–January 20, 1980; Tel Aviv Museum, Israel, February 18–April 12, 1980 (catalogue). See P215, P420.

Das Museum of Modern Art New York zu gast im Kunstmuseum Bern und Museum Ludwig Köln (text in German). Foreword by Sandor Kuthy and Karl Ruhrberg; essays by Richard E. Oldenburg, Waldo Rasmussen, Carolyn Lanchner, Barbara London, William S. Liebermann, Bernice Ross, Riva Castelman, Howardena Pindell, Arthur Drexler, J. Steward Johnson, John Szarkowski, Eileen Bowser, and Clive Phillpot. New York: Museum of Modern Art, in association with the Kunstmuseum, Bern, and Museum Ludwig, Cologne, 1978.

Galerie Isernhagen, Germany, 15 Amerikaner, February 25–April 30, 1979. See P907, c521.

Montgomery Museum of Fine Arts, Ala., Art Inc.: American Paintings from Corporate Collections, March 7–May 6, 1979; Corcoran Gallery of Art, Washington, D.C., June 12–July 14, 1979; Indianapolis Museum of Art, August 8–September 23, 1979 (catalogue). See P822.

Art Inc.: American Paintings from Corporate Collections. Introduction by Mitchell Douglas Kahan. Montgomery, Ala.: Montgomery Museum of Fine Arts, in association with Brandywine Press, 1979.

Montclair Art Museum, N.J., Collage: American Masters, Part I, March 25–May 6, 1979 (catalogue). See c619. Reviewed in Shirey 1979 and Watkins 1979.

Collage: American Masters. Foreword by Kathryn E. Gamble; introduction by Robert J. Koenig. Montclair, N.J.: Montclair Art Museum, 1979.

Rockland Center for the Arts, West Nyack, N.Y., Works on Paper U.S.A., April 8–May 20, 1979 (catalogue). See w516.

Greene, Stephen. Works on Paper U.S.A. West Nyack, N.Y.: Rockland Center for the Arts, 1979.

Harcus Krakow Gallery, Boston, American Abstract Painting in the 1950’s, April 28–June 9, 1979 (catalogue). See P218, c66.

Divver, Barbara. American Abstract Painting in the 1950’s. Boston: Harcus Krakow Gallery, 1979.

Museo de Arte Contemporaneo de Caracas, Venezuela, David Smith/Robert Motherwell,

May 1979. See P486, P507, P510, P777, P791, P799, P891, P908, P911, c545, w505.

Ashton, Dore. David Smith/Robert Motherwell (text in English and Spanish; includes artist’s statements). Foreword by Sofia Imber. Caracas, Venezuela: Fundacion Museo de Arte Contemporaneo de Caracas, 1979.

Margo Leavin Gallery, Los Angeles, Summer Exhibition: Selected Acquisitions, July 4–September 15, 1979. See c308.

Metropolitan Museum of Art, New York, Summer Loan Exhibition, July 17–September 30, 1979 (checklist). See P159, P278.

Provincetown Art Association and Museum, Mass., Provincetown Art Association and Museum Invitational 1979, [ca. September–October 1979]. See c629.

Norman MacKenzie Art Gallery, University of Regina, Saskatchewan, Canada, American Painting, 1955 to 1976: Twenty-five Selections from the Collection of the Albright-Knox Art Gallery, September 14–October 28, 1979; Winnipeg Art Gallery, Manitoba, Canada, November 9, 1979–January 6, 1980; Mendel Art Gallery, Saskatoon, Saskatchewan, Canada, January 18–March 2, 1980; Art Gallery of Greater Victoria, British Columbia, Canada, March 21–May 4, 1980; Glenbow Museum, Calgary, Alberta, Canada, May 23–July 13, 1980 (catalogue). See P672.

American Painting, 1955 to 1976: Twenty-five Selections from the Collection of the AlbrightKnox Art Gallery. Regina, Saskatchewan, Canada: Norman Mackenzie Art Gallery, 1979.

Pace Gallery, New York, 5 Action Painters of the 50’s, September 21–October 13, 1979 (catalogue). See P122, P147, P177, c66. Reviewed in Cavaliere 1979b.

5 Action Painters of the 50’s. Essay by Harold Rosenberg. New York: Pace Gallery, 1979.

Centre Culturel Américain, U.S. Embassy, Paris, Autour de Jackson Pollock, East Hampton, 1946–56, September 28–November 10, 1979. See c551.

Art Gallery of Western Australia, Perth, America & Europe: A Century of Modern Masters from the Thyssen-Bornemisza Collection, October 2–November 18, 1979; Art Gallery of South Australia, Adelaide, December 7, 1979–February 3, 1980; Queensland Art Gallery, Brisbane, Australia, February 12–March 30, 1980; National Gallery of Victoria, Melbourne, Australia, April 16–May 30, 1980; Art Gallery of New South Wales, Sydney, Australia, July 26–August 24, 1980; National Art Gallery, Wellington, New Zealand, September 4–October 1, 1980; Auckland City Art Gallery, New Zealand, October 8–November 4, 1980; Robert McDougall Art Gallery, Christchurch, New Zealand, November 11–December 7, 1980 (venue catalogues). See c603.

America & Europe: A Century of Modern Masters from the Thyssen-Bornemisza Collection. Introduction by Henry ThyssenBornemisza, David Thomas, William

Warner, and Andrew J. Crispo. Sydney: Australian Gallery Directors Council, 1980. Cleveland Museum of Art, The Spirit of Surrealism, October 3–November 25, 1979 (catalogue). See P3, P85, c11, c44. Reviewed in Wilson 1979.

Henning, Edward B. The Spirit of Surrealism. Chicago: Cleveland Museum of Art, in cooperation with Indiana University Press, 1979.

Squibb Gallery, Princeton, N.J., Selections from the Collection of Richard Brown Baker, October 4–November 4, 1979 (catalogue). See c38. Selections from the Collection of Richard Brown Baker. Introduction by Richard Brown Baker. Princeton, N.J.: Squibb Gallery, 1976.

Asher/Fauré, Los Angeles, Alexander Calder, Robert Motherwell, Jules Olitski, David Smith, October 13–November 10, 1979. Drawings only. Reviewed in Wilson and Muchnic 1979a.

1980

S O l O eX hibiti O n S Centro Cultural de la Caixa de Pensions, Barcelona, Motherwell, February 26–April 6, 1980; Fundación Juan March, Madrid, April 18–June 8, 1980 (venue catalogues). See P3, P157, P177, P222, P224, P277, P673, P722, P786, P789, P850, P860, P924, P933, P958, P964, P974, c428, c515, c532, c573, c628, c637. Reviewed in ABC 1980, CorredórMatheos 1980, Figuerola-Ferretti 1980, Garcia 1980, Glueck 1980, Guisasola 1980, Rubio 1980, Serraller 1980, and Torroella 1980.

Motherwell (text in Catalan). Poem by Octavio Paz. Barcelona: Centro Cultural de la Caixa de Pensions, in association with Fundación Juan March, 1980.

Motherwell (text in Spanish). Interview with the artist by Barbaralee Diamonstein. Madrid: Fundacion Juan March, 1980.

Harcus Krakow Gallery, Boston, Robert Motherwell, May 18–June 21, 1980 (checklist). See P246, P425, P500, P925, c196, c643, c644, w562, w567, w578, w579, w628.

g r O u P eX hibiti O n S Knoedler & Company, New York, Group Show, January 5–24, 1980 (checklist). See P468.

Galerie Beyeler, Basel, Switzerland, Lettres et chiffres, Schrift im Bild, March–May 1980 (catalogue). See c639.

Lettres et chiffres, Schrift im Bild (text in English, French, and German). Basel, Switzerland: Galerie Beyeler, 1980.

Montgomery Museum of Fine Arts, Ala., American Painting of the Sixties & Seventies: The Real/The Ideal/The Fantastic; Selections from the Whitney Museum of American Art, April 4–May 25, 1980; Joslyn Art Museum, Omaha, July 25–September 14, 1980; Museum of Fine Arts of St. Petersburg, Fla., September 28–November 9, 1980; Columbus Museum of Art, Ohio, December 8, 1980–January 15, 1981; Colorado Springs Fine Arts Center, Colo., February 1–March 21, 1981; Sierra

Nevada Museum of Art, Reno, Nev., April 11–May 23, 1981 (catalogue). See P489.

Kahan, Mitchell Douglas. American Painting of the Sixties & Seventies: The Real/ The Ideal/The Fantastic; Selections from the Whitney Museum of American Art. Preface by Tom Armstrong; foreword by Philip A. Klopfenstein. Montgomery, Ala.: Montgomery Museum of Fine Arts, 1980.

Brockton Art Museum-Fuller Memorial, Mass., Aspects of the 70’s: Painterly Abstraction, May 3–August 24, 1980 (catalogue). See P465, P593.

Hoffman, Marilyn Friedman. Aspects of the 70’s: Painterly Abstraction. Brockton, Mass.: Brockton Art Museum-Fuller Memorial, 1980.

Brooklyn Museum, From the Twenties to the Seventies: Paintings from the Museum of Modern Art, May 17–September 28, 1980 (checklist). See P373, P420.

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., The Fifties: Aspects of Painting in New York, May 22–September 21, 1980 (catalogue). See P122, P147, P173. Reviewed in Landau 1980.

Rosenzweig, Phyllis. The Fifties: Aspects of Painting in New York. Foreword by Adam Lerner. Washington, D.C.: Smithsonian Institution Press, 1980.

Knoedler & Company, New York, Group Show, summer 1980 (checklist). See P468, P816.

NorthPark National Bank, Dallas, Three Decades: Oil on Canvas, summer 1980. See P370.

Parrish Art Museum, Southampton, N.Y., Seventeen Abstract Artists of East Hampton: The Pollock Years, 1946–56, July 20–September 14, 1980; William Benton Museum of Art, University of Connecticut, Storrs, October 11–November 16, 1980; Zabriskie Gallery, New York, November 18–December 14, 1980 (catalogue). See c51, w16, w30. Reviewed in Harrison 1980, Preston 1980, and Shirey 1980.

Seventeen Abstract Artists of East Hampton: The Pollock Years, 1946–56. Introduction by Virginia M. Zabriskie; essay by Dore Ashton. Southampton, N.Y.: Parrish Art Museum, 1980.

Margo Leavin Gallery, Los Angeles, An Exhibition of Important Contemporary Drawings, Paintings, and Sculpture, August 9–September 6, 1980. See c80, c518.

Washington University Gallery of Art, Saint Louis, Old and Modern Master Drawings, August 22–October 7, 1980 (permanent collection exhibition). See c55.

Rose Art Museum, Brandeis University, Waltham, Mass., Selections from the Permanent Collection, September 7–October 26, 1980 (permanent collection exhibition). See P218.

Cleveland Museum of Art, Cleveland Collects Modern Art, September 10–October 26, 1980 (catalogue). See P622.

Cleveland Collects Modern Art. Introduction by Edward B. Henning. Cleveland: Cleveland Museum of Art, 1980.

list of exhibitions

Knoedler & Company, New York, Selections for Fall ’80, September 10–October 11, 1980 (checklist). See P816.

Douglas Drake Gallery, Kansas City, Mo., [group exhibition], [October] 1980. See P587.

Solomon & Company Fine Art, New York, Major Paintings: De Kooning, Dine, Lichtenstein, Motherwell, Stella, November 1–30, 1980. Unknown works.

Washburn Gallery, New York, From Matisse to American Abstract Painting, November 5–December 31, 1980 (brochure). See c303.

From Matisse to American Abstract Painting New York: Washburn Gallery, 1980.

Museo del Palacio de Bellas Artes, Mexico City, La Pintura de los Estados Unidos de museos de la cuidad de Washington, November 18, 1980–January 4, 1981 (catalogue). See P194.

Brown, Milton W. La Pintura de los Estados Unidos de museos de la cuidad de Washington (text in Spanish). Mexico City: Museo del Palacio de Bellas Artes, 1980. Published in English as Milton W. Brown, One Hundred Masterpieces of American Painting from Public Collections in Washington, D.C., with contributions by Judith H. Lanius (Washington, D.C.: Smithsonian Institution Press, 1983).

Brooklyn Museum, American Drawing in Black & White, 1970–1980, November 22, 1980–January 18, 1981 (catalogue). See w462.

American Drawing in Black & White, 1970–1980. Brooklyn: Brooklyn Museum, 1980.

Ring House Gallery, University of Alberta, Edmonton, Canada, A Growing Collection, December 4–21, 1980 (permanent collection exhibition). See P281.

1981

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell & Black, February 13–March 12, 1981 (checklist). See P177, P231, P243, P263, P647, P673, P722, P751, P770, P776, P860, P877, P939, P958, c44, c493, c515, c530, c573, c628, c650, c651, c657, c658, w107, w125, w541, w564. Reviewed in Baro 1981, Newman 1981, and Wolff 1981.

g r O u P eX hibiti O n S Nassau County Museum of Fine Art, Roslyn Harbor, N.Y., The Abstract Expressionists and Their Precursors, January 18–March 22, 1981 (catalogue). See P208, w3, w127, w141, w157, w198.

Schwartz, Constance. The Abstract Expressionists and Their Precursors. Essays by Max Kozloff and Dore Ashton. Entry “Robert Motherwell” by Constance Schwartz, pp. 55–58. Roslyn, N.Y.: Nassau County Museum of Fine Art, 1981.

Henry Art Gallery, University of Washington, Seattle, One Night of Color, February 6, 1981. See P340.

Museo de Arte Contemporaneo de Caracas at Sala Cadafe, Venezuela, Arte en las Embajadas, February 15–March 15, 1981 (catalogue). See c552. Reviewed in Luers 1981.

Arte en las Embajadas (text in Spanish). Foreword by William H. Luers. Caracas, Venezuala: Museo de Arte Contemporaneo de Caracas, 1981.

Whitney Museum of American Art, New York, Decade of Transition, 1940–1950: A Permanent Collection Exhibition,Whitney Museum of American Art, April 30–July 12, 1981 (permanent collection exhibition; catalogue). See P65. Sims, Patterson. Decade of Transition, 1940–1950. New York: Whitney Museum of American Art, 1981.

Marisa del Re Gallery, New York, Ten American Abstract Masters, May 1–30, 1981 (brochure). See P425.

Milwaukee Art Museum, Center Ring, the Artist: Two Centuries of Circus Art, May 7–June 28, 1981; Columbus Museum of Art, Ohio, August 30–October 11, 1981; New York State Museum, Albany, December 11, 1981–March 7, 1982; Corcoran Gallery of Art, Washington, D.C., April 24–June 6, 1982 (catalogue). Drawings only.

Jensen, Dean, and Susanne-Christine Voeltz. Center Ring, the Artist: Two Centuries of Circus Art. Foreword by Robert H. Wills; preface by Gerald Nordland. Milwaukee: Milwaukee Art Museum, 1981.

High Museum of Art, Atlanta, Drawings from Georgia Collections: 19th & 20th Centuries, May 14–June 28, 1981; Georgia Museum of Art, University of Georgia, Athens, July 12–August 23, 1981 (catalogue). Drawings only.

Morrin, Peter, and Eric Zafran. Drawings from Georgia Collections: 19th & 20th Centuries. Atlanta: High Museum of Art, 1981.

Metropolitan Museum of Art, New York, An American Choice: The Muriel Kallis Steinberg Newman Collection, May 21–September 27, 1981 (catalogue). See P168. Reviewed in Kramer 1981 and Wilson 1981.

Lieberman, William S., ed. An American Choice: The Muriel Kallis Steinberg Newman Collection. New York: Metropolitan Museum of Art, 1981.

Museen der Stadt Köln, Cologne, Germany, Westkunst: Zeitgenössische Kunst seit 1939, May 30–August 16, 1981 (catalogue). See P82, c46.

Glozer, Laszlo. Westkunst: Zeitgenössische Kunst seit 1939 (text in German). Cologne, Germany: DuMont Buchverlag, 1981.

Knoedler & Company, New York, East Hampton/New York: New York Museums Salute Guild Hall, June 10–19, 1981 (catalogue). See P138.

East Hampton/New York: New York Museums Salute Guild Hall. Foreword by Eloise Spaeth and Enez Whipple. East Hampton, N.Y.: Guild Hall Museum, 1981.

California Palace of the Legion of Honor, San Francisco, Master Paintings from the Phillips Collection, July 4–November 1, 1981; Dallas Museum of Fine Arts, November 22, 1981–February 16, 1982; Minneapolis Institute of Arts, March 14–May 30, 1982; High Museum of Art, Atlanta, June 24–September 16, 1982;

Oklahoma Art Center, Oklahoma City, October 17, 1982–January 9, 1983 (catalogue). See c129. Green, Eleanor, and Robert Cafritz. Master Paintings from the Phillips Collection Introduction by Laughlin Phillips; foreword by Milton Brown. Fort Lee, N.J.: Penshurst Books, 1981.

City Art Centre and Fruitmarket Gallery, Edinburgh, American Abstract Expressionists (organized by the International Council of the Museum of Modern Art, New York), August 13–September 12, 1981; shown as part of the Edinburgh International Festival (catalogue). See P3, P4, P215, c44. Reviewed in Connoisseur 1981, Phillipson 1981, and Vaizey 1981.

American Abstract Expressionists. Introduction by John Drummond; essay by Waldo Rasmussen. New York: Museum of Modern Art, 1981.

Mouton Rothschild: Paintings for the Labels, 1945–1981 (circulated by the Château Mouton Rothschild, Pauillac, France), Montreal Museum of Contemporary Art, Canada, September 1981; City of Quebec Cultural Center, Canada, September 1981; Hull-Ottawa Cultural Center, Canada, September 1981; Seibu Museum of Art, Ikebukuro, Japan, June 15–17, 1982; Takanawa Art Festival, Tokyo, June 18–21, 1982; Seibu Museum of Art, Karuizawa, Japan, June 26–July 20, 1982; Seibu Museum of Art, Shibuya, Japan, July 27–August 15, 1982; Royal Scottish Academy, Edinburgh, August 20–September 10, 1983; Corcoran Gallery of Art, Washington, D.C., December 15, 1984–March 10, 1985; Victoria and Albert Museum, London, April 15–June 9, 1985; Brooks Museum of Art, Memphis, July 6–August 25, 1985; Norton Gallery of Art, West Palm Beach, Fla., September 21–November 10, 1985; Lowe Art Museum, University of Miami, Coral Gables, Fla., December 7, 1985–January 19, 1986; Louisiana State Museum, New Orleans, February 15–March 30, 1986; Spertus Museum of Judaica, Chicago, April 26–August 17, 1986; Vancouver Museum of Art, September 16–October 26, 1986; Wichita Falls Museum and Art Center, Tex., November 22, 1986–January 4, 1987; Santa Barbara Museum of Art, Calif., January 31–March 15, 1987; Oklahoma Museum of Art, Oklahoma City, April 11–May 24, 1987; San Diego Museum of Art, Calif., June 20–August 2, 1987; Krasl Art Center, Saint Joseph, Mich., August 29–October 11, 1987; Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh, November 6–December 18, 1987; Golden Nugget Casino, Las Vegas, January 29, 1988; University of Nevada at Las Vegas, February 2–11, 1988; Tacoma Art Museum, Wash., March 26–May 8, 1988; Arkansas Art Museum, Little Rock, May 26–June 16, 1988; Memorial Art Gallery, University of Rochester, N.Y., December 9, 1988–February 12, 1989; Palm Springs Desert Museum, Calif., March 4–April 16, 1989; Wadsworth Atheneum, Hartford, Conn., May 6–June 14, 1989; Flint Institute of Art, Mich., June 25–July 23, 1989; Davenport Museum of Art, Iowa, August 6–September 17, 1989; Martin-Gropius-Bau Museum, Berlin, February 1992; Waddesdon

Manor, England, March–November 1995; Banque du Crédit Communal de Bruxelles, “Les Arts du Vin,” Brussels, November 1995–March 1996; CAPC—Museum of Contemporary Art, Bordeaux, France, April 2–26, 1998; Hong Kong Convention and Exhibition Center, June 16–18, 1998; China National Art Gallery, Beijing, April 21–May 6, 2001; Hermitage Museum, Saint Petersburg, Russia, February 22–March 5, 2005; Pushkin Museum of Fine Arts, Moscow, March 15–20, 2005; Sotheby’s, New York, February 23–March 13, 2007; Mori Arts Center Gallery, Tokyo, March 1–30, 2008; Wolfsonian-Florida International University, Miami, February 19–March 8, 2009 (catalogue). See P862. Reviewed in Kessler 1984 and R[ebello] 1985. Rothschild, Philippine de, and Jean-Pierre de Beaumarchais. Mouton Rothschild: Paintings for the Labels, 1945–1981. Translated by John Wells. Boston: Little, Brown, 1983. Knoedler & Company, New York, [group exhibition], fall 1981 (checklist). See P183.

Whitney Museum of American Art, Fairfield County, Stamford, Conn., A Tradition Established, 1940–1970: Selections from the Permanent Collection of the Whitney Museum of American Art, September 4–October 14, 1981 (permanent collection exhibition; catalogue). See P171.

Phillips, Lisa. A Tradition Established, 1940–1970: Selections from the Permanent Collection of the Whitney Museum of American Art. New York: Whitney Museum of American Art, 1981.

Robert Elkon Gallery, New York, Robert Elkon: Two Decades, September 26–November 4, 1981 (catalogue). See c39.

Robert Elkon: Two Decades. Essay by Barbara Rose. New York: Robert Elkon Gallery, 1981.

American Museum: An Experience in Community (circulated and organized by the International Communication Agency, Washington, D.C.), [unknown venue], Bucharest, October 13–November 1, 1981; Museum of Cluj-Napoca, Romania, May 25–June 13, 1982; Shipka Gallery, Sofia, Bulgaria, July 27–August 19, 1982. See c406.

B. R. Kornblatt Gallery, Washington, D.C., Eleven Paintings and Two Sculptures from the Sixties, November 7–December 10, 1981 (catalogue). See P425, w17. Reviewed in Lewis 1981.

Eleven Paintings and Two Sculptures from the Sixties. Foreword by B. R. Kornblatt. Washington, D.C.: B. R. Kornblatt Gallery, 1981.

Haus der Kunst, Munich, Amerikanische Malerei, 1930–1980, November 14, 1981–January 31, 1982 (catalogue). See P161, P877. Reviewed in Bode 1981 and Ude 1982.

Armstrong, Tom. Amerikanische Malerei, 1930–1980 (text in German). Contributions by Bernd Growe; translated by Helmut Schneider. Munich: Prestel-Verlag, 1981.

Henry Art Gallery, University of Washington, Seattle, Washington Collections—An American

Tradition: Abstraction, December 1981–January 1982. See P677. Reviewed in Kangas 1982.

American Academy in Rome, Works by American Artists in Roman Collections, December 10, 1981–January 8, 1982 (catalogue). Drawings only.

Works by American Artists in Roman Collections. Foreword by Sophie Consagra. Rome: American Academy in Rome, 1981. Saint Louis Art Museum, Contemporary Masterpieces from the Shoenberg Foundation, December 11, 1981–January 31, 1982. See P403.

Newport Harbor Art Museum, Newport Beach, Calif., California Collects: Important Works from the Permanent Collection of the San Francisco Museum of Modern Art, December 17, 1981–February 14, 1982. See P790.

1982

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: A Selection from Current Work, February 20–March 11, 1982 (checklist). See P1025, P1029–P1031, P1033, P1034, P1037, P1038, c667, c670, c675, w579. Reviewed in Bass 1982.

g r O u P eX hibiti O n S Rosa Esman Gallery, New York, A Curator’s Choice, 1942–1963: A Tribute to Dorothy Miller, February 6–March 6, 1982 (catalogue). See c14.

Miller, Dorothy C., and Robert Rosenblum. A Curator’s Choice, 1942–1963: A Tribute to Dorothy Miller. New York: Rosa Esman Gallery, 1982.

Museum of Fine Arts, Boston, A Private Vision: Contemporary Art from the Graham Gund Collection, February 9–April 4, 1982 (catalogue). See P419, P821.

A Private Vision: Contemporary Art from the Graham Gund Collection. Essays by Carl Belz, Kathy Halbreich, Kenworth Moffett, Elisabeth Sussman, and Diane W. Upright. Boston: Museum of Fine Arts, Boston, 1982.

Museum of Modern Art, New York, A Century of Modern Drawing, March 1–16, 1982 (permanent collection exhibition). See c7.

Marisa del Re Gallery, New York, Selected Works on Paper, March 2–April 3, 1982. See w144.

Dallas Museum of Art, Recent Gifts from the Meadows Collection, March 9–April 25, 1982 (permanent collection exhibition; checklist). See P358.

Los Angeles County Museum of Art, The Michael and Dorothy Blankfort Collection, April 1–June 13, 1982 (catalogue). See P148.

Tuchman, Maurice, and Anne Carnegie

Edgerton. The Michael and Dorothy Blankfort Collection. Introduction by Michael Blankfort. Los Angeles: Los Angeles County Museum of Art, 1996.

CDS Gallery, New York, Artists Choose Artists, April 15–June 12, 1982 (catalogue). See P1046. Reviewed in Glueck 1982.

Artists Choose Artists. New York: CDS Gallery, 1982.

New Britain Museum of American Art, Conn., Small Pictures: The Connecticut Academy of Fine Arts 72nd Year Exhibition; Small Paintings, April 17–May 30, 1982. See P949.

Nassau County Museum of Fine Art, Roslyn Harbor, N.Y., The Long Island Collections: A Century of Art, 1880–1980, April 20–July 18, 1982 (catalogue). See c41.

Schwartz, Constance, and Thomas Saltzman. The Long Island Collections: A Century of Art, 1880–1980. Roslyn, N.Y.: Nassau County Museum of Fine Art, 1982.

Harcus Krakow Gallery, Boston, Paintings from the 1960s, May 8–June 15, 1982. See P218.

Marisa del Re Gallery, New York, The Season in Review, summer 1982. Works unknown.

Solomon R. Guggenheim Museum, New York, The New York School: Four Decades, Guggenheim Museum Collection and Major Loans, July 1–August 22, 1982 (permanent collection exhibition; catalogue). See P607.

Dennison, Lisa. The New York School: Four Decades, Guggenheim Museum Collection and Major Loans (includes artist’s statements). Foreword by Diane Waldman. New York: Solomon R. Guggenheim Museum, 1982.

Contemporary Arts Museum, Houston, The Americans: The Collage, July 11–October 3, 1982 (catalogue). See c476, c595.

The Americans: The Collage. Essay by Linda L. Cathcart. Houston: Contemporary Arts Museum, 1982.

Long Point Gallery, Provincetown, Mass., Gray Day Studies, July 25–August 7, 1982. See P1052–P1054.

Phillips Collection, Washington, D.C., Works on Paper: A Selection of Collages from the Phillips Collection, September 11–November 14, 1982 (permanent collection exhibition; brochure). See c90. Reviewed in Lewis 1982.

Stamford Museum & Nature Center, Conn., Abstract Expressionism Lives!, September 19–November 7, 1982 (catalogue). See P15, P147, P425, P1025. Reviewed in Beals 1982, Jinishian 1982, Kurtzman 1982, Raynor 1982, and Roswell 1982.

Metzger, Robert. Abstract Expressionism Lives! Stamford, Conn.: Stamford Museum & Nature Center, 1982.

Visual Arts Gallery, Florida International University, Miami, Treasures from the Norton Gallery of Art, September 28–October 21, 1982 (checklist). See P11.

Fred L. Emerson Gallery, Hamilton College, Clinton, N.Y., Edward W. Root: Collector and Teacher, October 1–November 14, 1982 (catalogue). Drawings only.

Trovato, Joseph S. Edward W. Root: Collector and Teacher. Foreword by William Salzillo. Clinton, N.Y.: Fred L. Emerson Gallery, Hamilton College, 1982.

Robert Elkon Gallery, New York, Twentieth Century Masters, October 2–November 11, 1982. See P154.

CDS Gallery, New York, Renate Ponsold, October 12–November 15, 1982 (catalogue). See c289.

Renate Ponsold. New York: CDS Gallery, 1982.

Corcoran Gallery of Art, Washington, D.C., Acquisitions since 1975, November 5, 1982–January 16, 1983 (permanent collection exhibition). See w470.

Marisa del Re Gallery, New York, Seven American Abstract Masters, November 9–December 18, 1982. See P15, P19.

Solomon R. Guggenheim Museum, New York, 60 Works: The Peggy Guggenheim Collection, November 18, 1982–March 13, 1983 (permanent collection exhibition; catalogue). See c8.

60 Works: The Peggy Guggenheim Collection New York: Solomon R. Guggenheim Foundation, 1982.

Marisa del Re Gallery, New York, Small Works by Major Artists, December 14, 1982–January 22, 1983. See P949.

Phoenix II Gallery, Washington, D.C., Twentyfive Artists, December 22, 1982–January 1983 (catalogue). See P1039.

Bujese, Arlene, ed. Twenty-five Artists Foreword by Thomas M. Messer. Frederick, Md.: University Publications of America, 1982.

1983

S O l O eX hibiti O n S

Visual Arts Museum, School of Visual Arts, New York, Robert Motherwell Drawings, March 28–April 14, 1983. See w542, w547, w567, w573, w578, w579, w583, w609, w618, w621, w629, w649, w667, w668.

Provincetown Art Association and Museum, Mass., Robert Motherwell: Tribute to James Joyce, May 27–June 26, 1983; Long Point Gallery, Provincetown, Mass., August 7–20, 1983 (checklist). See P659, P680, P683, P687, P857, P1066, P1069, c476, c503, c532, c669, w636. Reviewed in Advocate Summer Guide 1983a, Advocate Summer Guide 1983b, Forman 1983, and Ryan 1983.

Albright-Knox Art Gallery, Buffalo, Robert Motherwell, October 1–November 27, 1983; Los Angeles County Museum of Art, January 5–March 4, 1984; San Francisco Museum of Modern Art, April 12–June 3, 1984; Seattle Art Museum, June 21–August 5, 1984; Corcoran Gallery of Art, Washington, D.C., September 15–November 4, 1984; Solomon R. Guggenheim Museum, New York, December 3, 1984–February 3, 1985; the New York venue included a vastly different selection of works and therefore was treated as a separate exhibition (catalogue). See P3, P4, P11, P18, P47, P84, P85, P88, P118, P122, P136, P147, P156, P160, P163, P164, P176, P182, P183, P194, P216, P219, P223, P224, P238, P340, P352, P378, P408, P463, P486, P492, P494, P496, P606, P607, P650, P659, P673, P707, P717, P741, P777, P786, P789, P804, P805, P819, P830, P842–P846,

P860, P867, P868, P875, P974, P1024, P1025, P1035, P1038, P1046, P1063, c3, c5, c11, c22, c43, c44, c46, c104, c105, c124, c129, c220, c441, c493, c498, c515, c530, c532, c669, c675, w2, w10, w19, w40, w101, w104, w622. Reviewed in Baitz 1984, Bannon 1983a, Bannon 1983b, Bannon 1984b, Boettger 1984, Brenson 1983b, Burkhart 1984, Danieli 1984, Duffy 1984, Fowler 1984, Glowen 1984, Hackett 1984, Hayes 1984, Hughes 1983, Hüllenkremer 1984, Ianco-Starrels 1984, Inje 1984, Kangas 1984, Knight 1984, Levine 1984, Los Angeles Herald Examiner 1984, McClintic 1984, McColm 1984, Morch 1984b, Morgan 1983, News Chronicle/Thousand Oaks 1984, Pasadena Star-News 1984, Ratcliff 1983, Regan 1984, Richard 1984, San Gabriel Valley Herald 1984, San Marino Tribune and San Marino News 1984, Silverman 1984, Stevens 1984, Stutzin 1984, Tarzan 1984, West 1984, West Art 1984, Wilson 1984, and Winter 1984.

Ashton, Dore, and Jack Flam. Robert Motherwell (includes artist’s statements). Introduction by Robert T. Buck. Buffalo: Albright-Knox Art Gallery; New York: Abbeville Press, 1983.

g r O u P eX hibiti O n S

Wadsworth Atheneum, Hartford, Conn., Connecticut Painters 7 + 7 + 7, January 15–March 6, 1983 (catalogue). See P160, P1050, c667. Reviewed in Raynor 1983a and Whitbeck 1983.

Connecticut Painters 7 + 7 + 7. Introduction by Andrea Miller-Keller and Cecil B. Adams. Hartford, Conn.: Wadsworth Atheneum, 1984.

American Abstract Expressionist Paintings from the Collection of the Sarah Campbell Blaffer Foundation (circulated by the Sarah Campbell Blaffer Foundation, Houston), Santa Barbara Museum of Art, Calif., February 4–March 20, 1983; Oklahoma Art Center, Oklahoma City, November 30, 1984–January 20, 1985; Block Museum of Art, Northwestern University, Evanston, Ill., July 5–October 6, 1985; Arkansas Arts Center, Little Rock, June 19–August 2, 1987; to additional unknown venues (brochure). See P753.

American Abstract Expressionist Paintings from the Collection of the Sarah Campbell Blaffer Foundation. Essay by Sam Hunter. Santa Barbara, Calif.: Santa Barbara Museum of Art, 1983.

Montclair Art Museum, N.J., On the Twentieth Century: Recent Acquisitions, March 6–April 10, 1983 (permanent collection exhibition). See P336.

Corcoran Gallery of Art, Washington, D.C., American Master Drawings from the Collection, March 11–April 24, 1983 (permanent collection exhibition). See w470.

Washington University Gallery of Art, Saint Louis, Modern Drawings and Watercolors, March 26–May 29, 1983 (permanent collection exhibition). See c55.

Fred L. Emerson Gallery, Hamilton College, Clinton, N.Y., Art from the Ivory Tower: Selections from College and University Collections, April 9–May 29, 1983 (catalogue). See c40.

list of exhibitions

Stimmell, Erin M., and David L. Prince. Art from the Ivory Tower: Selections from College and University Collections. Clinton, N.Y.: Fred L. Emerson Gallery, Hamilton College, 1983.

Knoedler Zürich, Abstract Painting, April 23–June 4, 1983. See c677.

Salander-O’Reilly Galleries, New York, American Masters, May [8]–28, 1983. See w9. Butler Institute of American Art, Youngstown, Ohio, 47th Annual National Midyear Exhibition, June 26–August 28, 1983 (catalogue). See c630. Reviewed in Dialogue: The Ohio Arts Journal 1983.

National Midyear Exhibition—1983: The Butler Institute of American Art. Youngstown, Ohio: Butler Institute of American Art, 1983.

Long Point Gallery, Provincetown, Mass., Blue, July 24–August 6, 1983. See c653, w525. Long Point Gallery, Provincetown, Mass., Thirteen Ways of Looking at a Blackbird, August 7–20, 1983. See c649. Unidentified: Untitled Reviewed in Advocate Summer Guide 1983a. Miami University Art Museum, Oxford, Ohio, Living with Art, Two: The Collection of Walter and Dawn Clark Netsch, September 10–December 16, 1983; Snite Museum of Art, University of Notre Dame, Ind., January 22–March 25, 1984 (catalogue). See P137.

Living with Art, Two: The Collection of Walter and Dawn Clark Netsch. Foreword by David Berreth; introduction by Sterling Cook. Oxford, Ohio: Miami University Art Museum, 1983.

Williams College Museum of Art, Williamstown, Mass., The New England Eye: Master American Paintings from New England School, College & University Collections, September 11–November 6, 1983 (catalogue). See P218.

Faison, S. Lane, Jr. The New England Eye: Master American Paintings from New England School, College & University Collections Preface by Thomas Krens. Williamstown, Mass.: Williams College Museum of Art, 1983.

Whitney Museum of American Art, Fairfield County, Stamford, Conn., Live from Connecticut, September 15–November 2, 1983 (catalogue). See P230, P723, P1042, c676. Reviewed in Jinishian 1983, Raynor 1983b, and Sill 1983.

Live from Connecticut. Foreword by Lisa Phillips and Pamela Gruninger. New York: Whitney Museum of American Art, 1983. Marisa del Re Gallery, New York, Nine Contemporary American Masters, September 29–October 22, 1983 (catalogue). See P963, c435.

Nine Contemporary American Masters New York: Marisa del Re Gallery, 1983.

Fenwick Library Gallery, George Mason University, Fairfax, Va., Abstractions from the Phillips Collection, October 14–November 15, 1983 (catalogue). See c90.

North, Percy. Abstractions from the Phillips Collection. Fairfax, Va.: George Mason University, 1983.

Robert Elkon Gallery, New York, Robert Elkon—Memorial Exhibition, A Tribute, October 15–November 23, 1983 (catalogue). See c51.

Robert Elkon—Memorial Exhibition, A Tribute Introduction by Leo Castelli. New York: Robert Elkon Gallery, 1983.

Margo Leavin Gallery, Los Angeles, Art for a Nuclear Weapons Freeze, October 18, 1983 (auction and exhibition to benefit the Nuclear Weapons Freeze campaign); Fuller Goldeen Gallery, San Francisco, October 21, 1983; Munson Gallery, Santa Fe, N.Mex., October 28, 1983; Delahunty Gallery, Dallas, November 4, 1983; Greenberg Gallery, Saint Louis, November 8, 1983; John C. Stoller & Company, Minneapolis, November 12, 1983; Richard Gray Gallery, Chicago, November 21, 1983; Barbara Krakow Gallery, Boston, November 25, 1983; Brooke Alexander, New York, December 3, 1983 (catalogue). See w547.

Art for a Nuclear Weapons Freeze. Foreword by Randall Kehler; introduction by Judith Goldman and Michael Mazur. Los Angeles: Margo Leavin Gallery, 1983.

Waterloo Municipal Galleries, Iowa, Selected Works from the Des Moines Art Center’s Permanent Collection, October 24–November 20, 1983; Charles H. MacNider Museum, Mason City, Iowa, January 15–February 26, 1984; Muscatine Art Center, Iowa, April 1–May 13, 1984; Cedar Rapids Museum of Art, Iowa, May 27–July 1, 1984; Sioux City Art Center, Iowa, July 15–August 26, 1984 [catalogue]. See c406.

Museum of Modern Art, New York, The Modern Drawing: 100 Works on Paper from the Museum of Modern Art, October 26, 1983–January 3, 1984 (permanent collection exhibition; catalogue). See c7.

Elderfield, John. The Modern Drawing: 100 Works on Paper from the Museum of Modern Art. New York: Museum of Modern Art, 1983.

Solomon & Company Fine Art, New York, Paintings & Sculpture, November 1983 (checklist). See w105.

Stephen Mazoh & Company, New York, Twentieth Century Works of Art, November 1–December 31, 1983 (catalogue). See c52.

Twentieth Century Works of Art. New York: Stephen Mazoh, 1983.

Grey Art Gallery and Study Center, New York University, New York, The Permanent Collection: Highlights and Recent Acquisitions, November 8–December 10, 1983 (permanent collection exhibition). See c88.

Fondation Nationale des Arts Graphiques et Plastiques, Paris, Art contre/against Apartheid, November 22, 1983 (end date unknown); Konsthall, Lund, Sweden; Porin Taidemuseo, Pori, Finland; Lahden Taidemuseo, Lahti, Finland; Tampere Modern Art Museum, Finland; Udstillingsbygningen, Copenhagen; Nordjyllands Kunstmuseum, Aalborg,

Denmark; Centre d’Action Culturelle de Saint-Brieuc, France, Les Artistes du Monde Contre L’Apartheid, January 23–February 20, 1983; La Maison de l’Etranger, Marseille, France, March 7, 1985 (end date unknown); Public Lobby of the General Assembly Building, United Nations, New York, November 3–22, 1985 (catalogue). See w581. Reviewed in Craven 1985.

Art contre/against Apartheid (text in English and French). Essay by Antonio Saura and Ernest Pignon-Ernest. Paris: Les Artistes du Monde Contre l’Apartheid, 1983.

Knoedler & Company, New York, Adolph Gottlieb, Robert Motherwell, David Smith, December 7, 1983–January 14, 1984 (checklist and catalogue). See P177, P231, P1073, P1105, c649, c653, c657, c687, w18, w107, w125, w659.

Adolph Gottlieb, Robert Motherwell, David Smith. New York: Knoedler & Company, 1983.

Davenport Art Gallery, Iowa, American Works on Paper: 100 Years of American Art History, December 11, 1983–February 12, 1984; Arkansas Arts Center, Little Rock, February 24–April 8, 1984; Oklahoma Art Center, Oklahoma City, April 15–May 20, 1984; Wichita Falls Museum, Tex., May 27–July 1, 1984; Art Museum of South Texas, Corpus Christi, July 8–August 12, 1984; Nelson-Atkins Museum of Art, Kansas City, Mo., August 19–September 23, 1984; Huntsville Museum of Art, Ala., September 30–November 4, 1984; Gardiner Art Gallery, Stillwater, Okla., November 11–December 16, 1984; Sangre de Cristo Art Center, Pueblo, Colo., January 4–March 3, 1985; Sheldon Memorial Art Gallery, Lincoln, Neb., March 17–April 21, 1985; Lakeview Museum of Arts & Sciences, Peoria, Ill., May 5–June 9, 1985; Salina Art Center, Kans., August 11–September 15, 1985; Springfield Art Museum, Mo., September 29–November 3, 1985; Art Museum, University of Kentucky, Lexington, November 17–December 29, 1985 (catalogue). See c434.

American Works on Paper: 100 Years of American Art History. Kansas City, Mo.: Lowell Press, 1983.

1984

S O l O eX hibiti O n S Gallery 30, San Mateo, Calif., Robert Motherwell, Prints and Works on Paper, April 12–May 16, 1984. See w142. Reviewed in San Mateo Times 1984.

Knoedler & Company, New York, Robert Motherwell: New Collages, October 3–25, 1984 (catalogue). See c688–c696, c698–c710. Reviewed in Raynor 1984b, Seeney 1984, Siegel 1984, and Tatransky 1985.

Robert Motherwell: New Collages. New York: Knoedler & Company, 1984.

Knoedler Zürich, Robert Motherwell: Ausgewählte Druckgrafik und Arbeiten auf Papier, November 17, 1984–January 12, 1985. See w516.

Solomon R. Guggenheim Museum, New York, Robert Motherwell, December 6,

1984–February 3, 1985; final venue of the 1983 Albright-Knox Art Gallery’s traveling retrospective (checklist). See P3, P11, P18, P84, P85, P100, P118, P147, P156, P157, P162, P164, P176, P177, P182, P183, P194, P219, P220, P223, P224, P238, P340, P378, P486, P492, P607, P644–P646, P673, P682, P717, P741, P751, P777, P786, P789, P805, P819, P830, P842–P846, P857, P875, P884, P916, P924, P949, P974, P1008, P1013, P1024, P1025, P1027, P1028, P1038, P1046, P1063, P1066, P1074–P1077, P1080, P1082–P1086, P1088, P1101–P1103, P1146, c5, c11, c22, c42, c44, c46, c52, c66, c104, c105, c124, c129, c220, c384, c441, c477, c493, c498, c515, c530, c532, c669, c675, c708, c710, w2, w10, w19, w30, w40, w65, w87, w101, w104, w272, w578, w579, w622, w658, w668, w677, w678. The New York version featured a vastly different selection of works from the versions shown at the previous venues and appears in the catalogue entries for these works as a separate exhibition. Reviewed in Beals 1984, Cooke 1985, Danto 1985, Fairburn 1984, GarciaHerraiz 1985, Gaugh 1985, Kimball 1985, Larson 1985, Rosand 1985, Russell 1984, Sozanski 1984, Wallach 1984a, Wallach 1984b, and Wolff 1984a.

g r O u P eX hibiti O n S

Montgomery Museum of Fine Arts, Ala., Advancing American Art: Politics and Aesthetics in the State Department Exhibition, 1946–48 (organized by the United States Department of State, Washington, D.C.), January 10–March 4, 1984; William Benton Museum of Fine Art, Storrs, Conn., March 17–May 6, 1984; National Museum of American Art, Smithsonian Institution, Washington, D.C., June 1–October 8, 1984; Terra Museum of American Art, Evanston, Ill., October 21–December 9, 1984 (catalogue). Drawings only. Ausfeld, Margaret Lynne, and Virginia M. Mecklenburg. Advancing American Art: Politics and Aesthetics in the State Department Exhibition, 1946–48. Foreword by Ross C. Anderson. Montgomery, Ala.: Montgomery Museum of Fine Arts, 1984.

Center for the Fine Arts, Miami, In Quest of Excellence: Civic Pride, Patronage, Connoisseurship, January 14–April 22, 1984 (catalogue). See P632.

Van der Marck, Jan. In Quest of Excellence: Civic Pride, Patronage, Connoisseurship Contributions by J. Carter Brown, Sherman E. Lee, Agnes Mongan, and Phillipe de Montebello. Miami: Center for the Fine Arts, 1984.

Twentieth-Century American Drawings from the Arkansas Arts Center Foundation Collection (organized by the Arkansas Arts Center, Little Rock), Eastern Shore Association, Fairhope, Ala., January 15–February 29, 1984; Arkansas Arts Center, Little Rock, April 27–September 30, 1984; Louisiana Arts & Sciences Center, Baton Rouge, May 7–June 30, 1985; Art Institute for the Permian Basin, Odessa, Tex., September 8–October 31, 1985; Jacksonville Art Museum, Fla., November 14, 1985–January 5, 1986; Rollins College, Cornell Fine Arts Center, Winter Park, Fla., March

14–April 27, 1986; Meadows Museum and Sculpture Court, Southern Methodist University, Dallas, June 8–August 3, 1986; Sangre de Cristo Arts & Conference Center, Pueblo, Colo., September 12–October 24, 1986; Alexandria Museum Visual Art Center, La., November 3, 1986–January 3, 1987; Alaska State Museum, Juneau, March 19–April 26, 1987; University of Alaska Museum, Fairbanks, May 8–June 21, 1987 (catalogue). See w529.

Wolfe, Townsend. Twentieth-Century American Drawings from the Arkansas Arts Center Foundation Collection. Little Rock: Arkansas Arts Center, 1984.

Seattle Art Museum, The Richard and Jane Lang Collection, February 2–April 1, 1984 (catalogue). See P340, P677.

Johns, Barbara. The Richard and Jane Lang Collection. Foreword by Arnold Jolles; introduction by Bruce Guenther. Seattle: Seattle Art Museum, 1984.

Wadsworth Atheneum, Hartford, Conn., The Tremaine Collection: 20th Century Masters; The Spirit of Modernism, February 26–April 29, 1984 (catalogue). See P149.

Rosenblum, Robert, Gregory Hedberg, and Emily Tremaine. The Tremaine Collection: 20th Century Masters; The Spirit of Modernism Preface by Tracy Atkinson. Hartford, Conn.: Wadsworth Atheneum, 1984.

Janie C. Lee Gallery, Houston, Master Drawings, 1928–1984, March–April 1984 (catalogue). See w504.

Master Drawings, 1928–1984. Houston: Janie C. Lee Gallery, 1984.

Hunter College Art Gallery, New York, Artists at Hunter, 1950–1965, April 11–May 10, 1984 (catalogue). See P138.

Goossen, E. C. Artists at Hunter, 1950–1965 New York: Hunter College Art Gallery, 1984.

Galeries Nationales du Grand Palais, Paris, La Rime et la raison: Les Collections Ménil (Houston–New York), April 17–July 30, 1984 (catalogue). See P431.

De Ménil, Dominique, Walter Hopps, Bertrand Davezac, and Jean-Yves Mock. La Rime et la raison: Les Collections Ménil (Houston–New York) (text in French). Foreword by Hubert Landais. Paris: Editions de la Réunion des Musées Nationaux, 1984.

Acquavella Galleries, New York, XIX & XX Century Master Drawings & Watercolors, April 24–May 19, 1984 (catalogue). See c52.

XIX & XX Century Master Drawings & Watercolors. New York: Acquavella Galleries, 1984.

Twentieth-Century American Drawings: The Figure in Context (organized by the International Exhibitions Foundation, Washington, D.C.), Terra Museum of Art, Evanston, Ill., April 26–June 17, 1984; Arkansas Arts Center, Little Rock, July 5–August 19, 1984; Oklahoma Museum of Art, Oklahoma City, September 1–October 15, 1984; Toledo Museum of Art, Ohio, November

7–December 30, 1984; Elvehjem Museum of Art, University of Wisconsin, Madison, January 19–March 3, 1985; National Academy of Design, New York, March 19–May 5, 1985 (catalogue). Drawings only.

Cummings, Paul. Twentieth-Century American Drawings: The Figure in Context Washington, D.C.: International Exhibitions Foundation, 1984.

Hirschl & Adler Modern and Hirschl & Adler Galleries, New York, Great American Artists: The Skowhegan Medal Recipients, May 1–31, 1984 (catalogue). See P1026. Reviewed in Raynor 1984a.

Great American Artists: The Skowhegan Medal Recipients. Foreword by John Whitney Payson and Mrs. Lawrence E. Brinn; essay by Calvin Tompkins. Entry “Robert Motherwell,” by E. A. Carmean Jr., pp. 92–93. New York: Alpine Fine Arts Collection; Skowhegan, Maine: Skowhegan School of Painting & Sculpture, 1984.

Salander-O’Reilly Galleries, New York, [group exhibition], May 1–25, 1984. See w9. Reviewed in Klein 1984.

Arnold Herstand & Company, New York, Surrealism:Works on Paper from de Chirico to Pollock, May 5–June 30, 1984. Unidentified: Personage

André Emmerich Gallery, New York, Important Works by Contemporary Masters, May 10–15, 1984. See P370, P569, P932.

Portland Museum of Art, Maine, [loan exhibition], May 10–September 16, 1984. See P821.

Knoedler & Company, New York, Summer Selections, June–August 1984 (checklist). See P1032.

Long Point Gallery, Provincetown, Mass., Early Works, July 15–28, 1984. See P100.

San Francisco Art Institute, American Art from the Frederick R.Weisman Foundation Collection, July 16–August 11, 1984 (catalogue). See P914. Reviewed in Curtis 1984.

American Art from the Frederick R.Weisman Foundation Collection. Introduction by David S. Rubin. San Francisco: San Francisco Art Institute, 1984.

Thomas Babeor Gallery, La Jolla, Calif., [group exhibition], [August] 1984. See P752. Reviewed in Damsker 1984.

Pennsylvania Academy of the Fine Arts, Philadelphia, A Growing American Treasure: Recent Acquisitions and Highlights from the Permanent Collection, September 21, 1984–April 14, 1985 (permanent collection exhibition; catalogue). See c565.

Bantel, Linda, Stephen R. Edidin, Kathleen A. Foster, Frank H. Goodyear Jr., Susan James-Gadzinski, Elizabeth Milroy, and Judith E. Stein. A Growing American Treasure: Acquisitions since 1978. Introduction by Frank H. Goodyear Jr. Philadelphia: Pennsylvania Academy of the Fine Arts, 1984.

Saint Peter’s Church, Citicorp Center, New York, [loan exhibition], October [1], 1984–April [1], 1985. See P984.

Rose Art Museum, Brandeis University, Waltham, Mass., Selections from the Permanent Collection, October 28–December 16, 1984 (permanent collection exhibition). See P218.

Janie C. Lee Master Drawings, New York, Master Drawings, 1879–1984, November 13–December [18], 1984 (catalogue). See w649.

Chivian-Cobb, Hermine, ed. Master Drawings, 1879–1984. Houston: Janie C. Lee Gallery, 1985.

Ecart Gallery, Geneva, Peinture abstraite, November 20–December 8, 1984. See w60.

1985

S O l O eX hibiti O n S

Fort Worth Art Museum, Robert Motherwell: Stephen’s Iron Crown and Related Works, September 15–November 17, 1985 (catalogue). See P869, P1030, w147, w452, w542, w674.

Robert Motherwell: Stephen’s Iron Crown and Related Works. Preface by E. A. Carmean Jr. Fort Worth: Fort Worth Art Museum, 1985.

Walker Art Center, Minneapolis, Robert Motherwell: The Collaged Image, September 28–December 1, 1985; Sioux City Art Center, Iowa, January 18–March 2, 1986; Hood Museum of Art, Dartmouth College, Hanover, N.H., April 5–June 22, 1986; Fort Wayne Museum of Art, Ind., July 26–September 21, 1986; Boston Athenaeum, January 5–March 1, 1987; Hurlbutt Gallery, Greenwich Library, Conn., May 7–June 21, 1987 (catalogue). See c44, c50, c67, c105, c126, c129, c266, c289, c422, c477, c701, c710. Reviewed in Eliasoph 1987, Friedman 1987, Taylor 1986, and Tucker 1987.

Flam, Jack. Robert Motherwell: The Collaged Image. Introduction by Elizabeth Armstrong. Minneapolis: Walker Art Center, 1985.

g r O u P eX hibiti O n S

Galleria dell’Accademia, Venice, Nove artisti della “Scuola di New York” alle Gallerie dell’Accademia di Venezia, February 8–April 8, 1985 (catalogue). See c8.

Rylands, Phillip. Nove artisti della “Scuola di New York” alle Gallerie dell’Accademia di Venezia (text in English and Italian). Venice: Gallerie dell’Accademia, 1985.

Museum of Art, Rhode Island School of Design, Providence, Fortissimo! Thirty Years from the Richard Brown Baker Collection of Contemporary Art, March 1–April 28, 1985; San Diego Museum of Art, Calif., June 29–August 11, 1985; Portland Art Museum, Ore., October 1–November 10, 1985 (catalogue). See c38.

Baker, Richard Brown, and Laura Vookles. Fortissimo! Thirty Years from the Richard Brown Baker Collection of Contemporary Art. Providence: Rhode Island School of Design, 1985.

Fort Worth Art Museum, Grand Compositions: Selections from the Collection of David Mirvish, March 10–May 1, 1985 (catalogue). See P464, P565, P606, c5, c156.

Upright, Diane. Grand Compositions: Selections from the Collection of David Mirvish. Foreword by E. A. Carmean Jr. Fort Worth: Fort Worth Art Museum, 1985. Janie C. Lee Gallery, Houston, Modern American Masters, April 10–May 1985. See P804. Reviewed in Johnson 1985.

Museum of the Borough of Brooklyn at Brooklyn College, Brooklyn’s Bounty: Natural Splendor and Domestic Opulence, April 16–June 5, 1985. See P1071. Reviewed in Brown 1985, Civic News 1985, Dinhofer 1985, Marzano 1985, and Shepard 1985.

Smith College Museum of Art, Northampton, Mass., Dorothy C. Miller:With an Eye to American Art, April 19–June 16, 1985 (catalogue). See c43, c129.

Dorothy C. Miller:With an Eye to American Art. Foreword by Charles Chetham; with contributions by Betsy B. Jones and Robert Rosenblum. Northampton, Mass.: Smith College Museum of Art, 1985.

Museum of Contemporary Art, Chicago, Selections from the William J. Hokin Collection, April 20–June 16, 1985 (catalogue). See P471. Neff, Terry A. R., ed. Selections from the William J. Hokin Collection. Chicago: Museum of Contemporary Art, Chicago, 1985.

Bell Gallery, Brown University, Providence, R.I., Flying Tigers: Painting and Sculpture in New York, 1939–1946, April 27–May 27, 1985, shown concurrently at the Cantor Art Gallery, College of the Holy Cross, Worcester, Mass., April 27–May 27, 1985; Parrish Art Museum, Southampton, N.Y., June 9–July 28, 1985 (catalogue). See P3, c40.

Versaci, Nancy R., Judith E. Tolnick, and Ellen Lawrence. Flying Tigers: Painting and Sculpture in New York, 1939–1946. Introduction Kermit S. Champa. Providence, R.I.: Bell Gallery, Brown University, 1985.

Ecole Nationale Supérieure des Beaux-Arts, Paris, Cinquante ans de dessins américains, 1930–1980 (organized by the Menil Collection, Houston), May 3–July 13, 1985 (catalogue). Drawings only.

Cinquante ans de dessins américains, 1930–1980 (text in French). Preface by Francois Wehrlin; foreword by Dominique de Menil; introduction by Walter Hopps. Houston: Menil Foundation, 1985.

Knoedler & Company, New York, New Acquisitions, May 4–30, 1985. See P372.

Galería Joan Prats, Barcelona, Collage, May 30–June 1985 (catalogue). See c721. Puig, Arnau. Collage. Translated by Joanna Martínez. Barcelona: Galería Joan Prats, 1985.

Knoedler & Company, New York, Group Show, summer 1985. See P372.

Whitney Museum of American Art, New York, Drawing Acquisitions, 1981–1985, June 11–September 22, 1985 (permanent collection exhibition; catalogue). Drawings only.

list of exhibitions

Cummings, Paul. Drawing Acquisitions, 1981–1985. Foreword by Tom Armstrong. New York: Whitney Museum of American Art, 1985.

Margo Leavin Gallery, Los Angeles, American Abstract Painting, 1960–1980, June 19–August 24, 1985. See P509.

Staatsgalerie Stuttgart, Germany, Vom Klang der Bilder: Die Musik in der Kunst des 20.Jahrhunderts, July 6–September 22, 1985 (catalogue). See c677.

Maur, Karin V., ed. Vom Klang der Bilder: Die Musik in der Kunst des 20.Jahrhunderts (text in German). Munich: PrestelVerlag, 1985.

Long Point Gallery, Provincetown, Mass., Tribute to Stanley Kunitz, July 14–27, 1985. See c718, c726. Reviewed in Fraser 1985, Samuelson 1985b, and Smith 1985. Stephen Mazoh & Company, New York, Twentieth Century Works of Art, fall 1985 (catalogue). See P116.

Twentieth Century Works of Art. New York: Stephen Mazoh & Company, 1985.

Selections from the Frederick R.Weisman Collection (circulated by the Frederick R. Weisman Foundation, Los Angeles), Israel Museum, Jerusalem, September 10–October 29, 1985; Tel Aviv Museum, Israel, November 9–December 28, 1985; American Center and Centre National des Arts Plastiques, Paris, February 18–April 20, 1986; Calouste Gulbenkian Foundation Museum, Lisbon, October 3–November 2, 1986; Musée d’Art et d’Histoire, Fribourg, Switzerland, November 21, 1986–January 25, 1987; Baltimore Museum of Art, February 28–April 19, 1987; Pennsylvania Academy of the Fine Arts, Philadelphia, June 18–August 3, 1987; Birmingham Museum of Art, Ala., December 12, 1987–January 17, 1988; Norton Gallery and School of Art, West Palm Beach, Fla., February 5–March 27, 1988; Colorado Springs Fine Arts Center, Colo., April 23–June 12, 1988; New Orleans Museum of Art, July 16–October 2, 1988; University Art Gallery, New Mexico State University, Las Cruces, November 11–December 14, 1988; Cheney Cowles Museum, Spokane, Wash., January 6–February 12, 1989; Boise Art Museum, Idaho, April 15–June 11, 1989; University of Wyoming Art Museum, Laramie, August 28–October 22, 1989; Virginia Beach Center for the Arts, Va., November 17, 1989–January 29, 1990; Gibbs Museum of Art, Charleston, S.C., March 15–May 4, 1990; Arkansas Art Center, Little Rock, July 5–August 12, 1990 (catalogue). See P914.

Freshman, Phil, and Nora Halpern, eds. Selections from the Frederick R.Weisman Collection. Preface by Henry T. Hopkins. Los Angeles: Frederick R. Weisman Collection, 1987.

Janie C. Lee Gallery, Houston, Charcoal Drawings, 1880–1985, October 3–November 1985 (catalogue). Drawings only.

Charcoal Drawings, 1880–1985. Houston: Janie C. Lee Gallery, 1985.

Lowe Art Museum, University of Miami, Coral Gables, Fla., Abstract Expressionist Painters in Miami Collections, October 10–November 24, 1985. See P170, P232.

Harvard University Art Museums, Cambridge, Mass., Modern Art at Harvard: The Formation of Nineteenth- and Twentieth-Century Collections of the Harvard University Art Museums, October 21, 1985–January 5, 1986 (permanent collection exhibition; catalogue). See c21, c49.

Jones, Caroline A. Modern Art at Harvard: The Formation of Nineteenth- and TwentiethCentury Collections of the Harvard University Art Museums. Preface by John M. Rosenfield; essay by John Coolidge. New York: Abbeville Press; Cambridge, Mass.: Harvard University Art Museums, 1985.

Museum of Contemporary Art, Chicago, Abstract Painting and Sculpture: 1950s–80s, October 22, 1985–April 13, 1986. See P137.

Marisa del Re Gallery, New York, Masters of the Fifties: American Abstract Painting from Pollock to Stella, October 23–December 28, 1985 (catalogue). See P177.

Hunter, Sam. Masters of the Fifties: American Abstract Painting from Pollock to Stella New York: Marisa del Re Gallery, 1985.

Sprengel Museum, Hannover, Germany, Stiftung Sammlung Bernhard Sprengel III, November 10, 1985–January 5, 1986 (catalogue). See P907.

Stiftung Sammlung Bernhard Sprengel III (text in German). Hannover, Germany: Sprengel Museum, 1985.

Turske & Turske, Zurich, Works on Paper, November 23–December 7, 1985 (catalogue). See c521, c578, w558.

Works on Paper (text in English and German). Zurich: Turske & Turske, 1985.

Städtische Galerie, Städelschen Kunstinstitut, Frankfurt, Amerikanische Zeichnungen, 1930–1980, November 28, 1985–January 26, 1986 (catalogue). Drawings only.

Gallwitz, Klaus, ed. Amerikanische Zeichnungen, 1930–1980 (text in German). Houston: Menil Foundation, 1985.

Phoenix Gallery, New York, Black on White, White on Black, December 22, 1985–January 14, 1986. See w107, w579, w657.

1986

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: New Work, April 15–May 8, 1986 (checklist). See P1092, P1096, P1098–P1100, P1114–P1116, P1138, c718, c725, c726, c728–c733, c736, c816. Reviewed in Mathew 1986, Raynor 1986, and Silverthorne 1986.

Galería Joan Prats, Barcelona, Robert Motherwell, October 9–November 15, 1986; Palau Solleric, Palma de Mallorca, Spain, November 20–December 1986; Galería Juana Mordó, Madrid, March 12–May 2, 1987; Museo de Bellas Artes de Bilbao, Spain, January 20–March 1, 1987 (venue catalogues). See P520, P521, P1016, P1086, P1091–P1093, P1095, P1097, P1101, P1111, P1112, P1115,

P1123, c108, c649, c670–c673, c735. Reviewed in Campoy 1987, Chamorro 1986, Danvila 1987, Diario de Mallorca 1986, Erausquin 1987, Garesse 1987, Miralles 1986, Molina 1987, Parcerisas 1986, Permanyer ca. 1986, and Soler 1987.

Robert Motherwell (text in English, Spanish, and Catalan). Barcelona: Galería Joan Prats, 1986.

Robert Motherwell (text in English and Spanish). Essays by Stephanie Terenzio, Nissa Torrents, and Jack Flam. Palma de Mallorca, Spain: Palau Solleric, 1986.

Robert Motherwell (text in Spanish). Essays by Stephanie Terenzio and Jack Flam. Bilbao, Spain: Museo de Bellas Artes de Bilbao, 1987.

Robert Motherwell (text in Spanish). Madrid: Galería Juana Mordó, 1987.

g r O u P eX hibiti O n S Museum of Art, Fort Lauderdale, Fla., An American Renaissance: Painting and Sculpture since 1940, January 12–March 30, 1986 (catalogue). See P154.

Daniel, Malcolm R., Harry F. Gaugh, Sam Hunter, Karen Koehler, Kim Levin, Robert C. Morgan, and Richard Sarnoff. An American Renaissance: Painting and Sculpture since 1940. Edited with an introduction by Sam Hunter. Fort Lauderdale, Fla.: Museum of Art, Fort Lauderdale, 1986. Círculo de Bellas Artes, Madrid, Pintar con Papel, January 23–March 14, 1986 (catalogue). See c721.

Pintar con Papel (text in Spanish). Introduction by Rosa Queralt. Madrid: Círculo de Bellas Artes, 1986.

Century Association, New York, From the Collection of Centurion André Emmerich, February 5–20, 1986. See w172.

Cleveland Museum of Art, The Art of Collecting Modern Art, February 12–March 30, 1986 (catalogue). See P159, c454, c463, c605.

Henning, Edward B. The Art of Collecting Modern Art. Cleveland: Cleveland Museum of Art, 1986.

Institute of Contemporary Art, Boston, Revolt in Boston: Fear vs. Freedom, February 18–April 20, 1986 (catalogue). See P85.

Sussman, Elisabeth, Reinhold Heller, Serge Guilbaut, David Joselit, and Benjamin H. D. Buchloh. Dissent: The Issue of Modern Art Foreword by David A. Ross. Boston: Institute of Contemporary Art, in association with Northeastern University Press, 1986.

Janie C. Lee Master Drawings, New York, Master Drawings, 1918–1985, spring 1986 (catalogue). Drawings only.

Chivian-Cobb, Hermine, ed. Master Drawings, 1918–1985. New York: Janie C. Lee Master Drawings, 1986.

Janie C. Lee Gallery, Houston, [group exhibition], March 7, 1986 (end date unknown). See P496, c722.

Queens Museum, N.Y., After Matisse (organized by Independent Curators, New York), March 30–May 25, 1986; Chrysler Museum, Norfolk, Va., September 11–November 9, 1986; Portland Museum of Art, Maine, December 9, 1986–February 9, 1987; Bass Museum of Art, Miami Beach, March 17–May 17, 1987; Phillips Collection, Washington, D.C., June 19–August 14, 1987; Dayton Art Institute, Ohio, September 12–November 8, 1987; Worcester Art Museum, Mass., December 9, 1987–February 7, 1988 (catalogue). See c698. Reviewed in Lipson 1986.

Bell, Tiffany, Dore Ashton, and Irving Sandler. After Matisse. New York: Independent Curators, 1986.

Centre de la Vielle Charité, Marseille, France, La Planète affolée: Surréalisme dispersion et influences, 1938–1947, April 12–June 30, 1986 (catalogue). See c8.

Noël, Bernard, José Pierre, Georges Raillard, Michel Fauré, Alfredo CruzRamirez, Martica Sawin, Edouard Jaguer, Sarah Wilson, José Vovelle, Peter Shield, Ragnar von Holten, et al. La Planète affolée: Surréalisme dispersion et influences, 1938–1947 (text in French). Marseille, France: Direction des Musées de Marseille; Paris: Editions Flammarion, 1986.

University of Iowa Museum of Art, Iowa City, 101 Masterworks, April 19–August 17, 1986 (catalogue). See P851.

Hobbs, Robert. 101 Masterworks. Iowa City: University of Iowa Museum of Art, 1986. Long Point Gallery, Provincetown, Mass., Yellow, June 29–July 19, 1986. See c116.

Musée National d’Art Moderne, Centre Georges Pompidou, Paris, Qu’est-ce que la sculpture moderne? July 3–October 13, 1986 (catalogue). See P236.

Rowell, Margit. Qu’est-ce que la sculpture moderne? (text in French). Paris: Editions du Centre Georges Pompidou, 1986.

Newport Harbor Art Museum, Newport Beach, Calif., The Interpretive Link: Abstract Surrealism into Abstract Expressionism,Works on Paper, 1938–1948, July 16–September 14, 1986; Whitney Museum of American Art at Equitable Center, New York, November 13, 1986–January 21, 1987; Walker Art Center, Minneapolis, February 15–April 19, 1987 (catalogue). See c5, c22.

Alloway, Lawrence, Dore Ashton, Robert C. Hobbs, Philip Leider, Mollie McNickle, Martica Sawin, and Paul Schimmel. The Interpretive Link: Abstract Surrealism into Abstract Expressionism;Works on Paper, 1938–1948. Newport Beach, Calif.: Newport Harbor Art Museum, 1986.

Long Point Gallery, Provincetown, Mass., Tribute to Arthur Berger, July 20–August 9, 1986. See c738. Reviewed in Nickerson 1986. American Masters: Works on Paper from the Corcoran Gallery of Art (circulated by the Smithsonian Institution Traveling Exhibition Service, Washington, D.C., and the Corcoran Gallery of Art, Washington, D.C.), Oklahoma Museum of Art, Oklahoma City, [September–October] 1986; Queens Museum, N.Y.,

November 22, 1986–January 4, 1987; Burling Library, Grinnell, Iowa, [January] 1988; Cincinnati Art Museum, March 15–April 6, 1988; Society of the Four Arts, Palm Beach, Fla., September 1987; Corcoran Gallery of Art, Washington, D.C., October 17–December 6, 1987 (catalogue). See w470.

Nygren, Edward J., and Linda Crocker Simmons. American Masters:Works on Paper from the Corcoran Gallery of Art. Washington, D.C.: Smithsonian Institution, in association with the Corcoran Gallery of Art, 1986. Knoedler & Company, New York, Color on Paper, September 9–October 4, 1986 (checklist). See c693, w16.

Neuberger Museum, State University of New York at Purchase, The Window in TwentiethCentury Art, September 21, 1986–January 18, 1987; Contemporary Arts Museum, Houston, April 24–June 29, 1987 (catalogue). See P4, P496. Reviewed in Raynor 1987 and Waterfall 1986.

Blum, Shirley Nielsen, and Suzanne Delehanty. The Window in Twentieth-Century Art. Purchase: Neuberger Museum, State University of New York at Purchase, 1986. Philadelphia Museum of Art, Philadelphia Collects Art since 1940, September 28–November 30, 1986 (catalogue). See P12, P481.

Rosenthal, Mark, and Ann Percy. Philadelphia Collects Art since 1940 Philadelphia: Philadelphia Museum of Art, 1986.

Rose Art Museum, Brandeis University, Waltham, Mass., 25th Anniversary Exhibition: Selected 20th Century Paintings, September 28–November 2, 1986 (permanent collection exhibition). See P218.

Lamont Gallery, Frederick R. Mayer Art Center, Phillips Exeter Academy, Exeter, N.H., An die Musik: The Painter’s Music, The Musician’s Art, October 10–November 9, 1986. See P419, c630, c631.

Mattatuck Museum, Waterbury, Conn., Connecticut Masters, November 8, 1986 (end date unknown; brochure). See c507.

Connecticut Masters. Waterbury, Conn.: Mattatuck Museum, 1986.

Sala Pelaires, Palma de Mallorca, Spain, Robert Motherwell/Jim Bird, November–December 1986; Galería Antonio Machón, Madrid, March 12–April 1987. See c174, c742, c743, c745–c748, w562, w579, w599, w606, w621, w667, w668, w675.

Torrents, Nissa. Robert Motherwell/Jim Bird (text in Spanish). Palma de Mallorca, Spain: Sala Pelaires, 1986.

Two Hundred Years of American Art: The Munson-Williams-Proctor Institute (circulated by the Art Museum Association of America, San Francisco), Montgomery Museum of Fine Arts, Ala., November 15, 1986–January 10, 1987; R. W. Norton Art Gallery, Shreveport, La., January 21–March 18, 1987; Tucson Museum of Art, Ariz., March 28–June 7, 1987; Sunrise Museums, Charleston, W.Va., June 19–August 7, 1987; Bass Museum of

Art, Miami Beach, September 19–November 14, 1987; San Antonio Museum of Art, Tex., December 19, 1987–February 13, 1988; Oklahoma Museum of Art, Oklahoma City, March 12–May 7, 1988 (catalogue). See P153.

Craven, Wayne, and Richard Martin. Two Hundred Years of American Art: The MunsonWilliams-Proctor Institute. Foreword by Paul D. Schweizer. San Francisco: Art Museum Association of America, 1986.

Marion Koogler McNay Art Museum, San Antonio, Tex., Collecting: A Texas Phenomenon, November 23–December 24, 1986 (catalogue). See w452.

Collecting: A Texas Phenomenon. San Antonio, Tex.: Marion Koogler McNay Art Museum, 1986.

Holly Solomon Gallery, New York, Text and Image: The Wording of American Art, December 11, 1986–January 3, 1987. See c685.

1987

S O l O eX hibiti O n S

Century Club, New York, Robert Motherwell, January 5–February 27, 1987 (checklist). See c501.

Knoedler & Company, New York, Robert Motherwell: Major Works from the 1980’s, May 2–28, 1987 (checklist). See P1024, P1063, P1082, P1132, P1136–P1138. Reviewed in Ruhe 1987 and Russell 1987.

Museum of Modern Art, New York, Gifts of Works on Paper by Robert Motherwell, December 11, 1987–February 23, 1988 (checklist). See P680, P682, P683, c810, w16, w125, w547, w571, w582, w628–w630. Reviewed in N. 1987 and Zaya 1987.

g r O u P eX hibiti O n S

Postwar Paintings from Brandeis University (organized by the Rose Art Museum, Brandeis University, Waltham, Mass., and circulated by the Art Museum Association of America, San Francisco), Art Museum, Florida International University, Miami, January 16–March 13, 1987; University Gallery, University of Florida, Gainesville, March 29–May 24, 1987; Tucson Museum of Art, Ariz., September 13–November 8, 1987; Palm Springs Desert Museum, Calif., January 17–March 13, 1988; Scottsdale Center for the Arts, Ariz., April 15–June 12, 1988 (catalogue). See P218.

Belz, Carl, and Beth Goldberg. Postwar Paintings from Brandeis University. Foreword by Myrna Smoot and Harold B. Nelson. San Francisco: Art Museum Association of America, 1987.

Rahr-West Museum, Manitowoc, Wis., The Draughtsman’s Process: Master Drawings from the Milwaukee Art Museum, January 17–February 28, 1987; Monroe Art Center, Wis., March 16–April 24, 1987; Pump House, La Crosse, Wis., May 2–June 28, 1987; Bergstrom-Mahler Museum, Neenah, Wis., October 4–November 2, 1987; Leigh Yawkey Woodson Art Museum, Wausau, Wis., November 7–December 31, 1987; Neville

Public Museum, Green Bay, Wis., January 31–March 6, 1988 [catalogue]. See w208.

Janie C. Lee Master Drawings, New York, Ink Drawings, 1890–1986, February–March 1987 (catalogue). Drawings only.

Chivian-Cobb, Hermine, ed. Ink Drawings, 1890–1986. New York: Janie C. Lee Master Drawings, 1987.

Aldrich Museum of Contemporary Art, Ridgefield, Conn., Connecticut Artists, March 1–September 6, 1987. See c645.

Solomon R. Guggenheim Museum, New York, Peggy Guggenheim’s Other Legacy, March 6–May 3, 1987; Peggy Guggenheim Collection, Venice, October 31, 1987–January 10, 1988 (catalogue). See P3, P11, c4, c7. Reviewed in Loughery 1987.

Lader, Melvin P., and Fred Licht. Peggy Guggenheim’s Other Legacy. Preface by Thomas M. Messer. New York: Solomon R. Guggenheim Museum, 1987.

Worcester Art Museum, Mass., American Traditions in Watercolor: The Worcester Art Museum Collection, March 8–May 10, 1987; National Museum of American Art, Smithsonian Institution, Washington, D.C., September 17–November 22, 1987; Minneapolis Institute of Arts, December 13, 1987–February 14, 1988 (catalogue). Drawings only.

Strickler, Susan E., Donelson Hoopes, and Judith C. Walsh. American Traditions in Watercolor: The Worcester Art Museum Collection. Edited by Susan R. Strickler; preface by Kenneth H. Olsen; foreword by James A. Welu. New York: Abbeville Press, in association with Worcester Art Museum, 1987.

Palm Springs Desert Museum, Calif., Masterpieces from the Phillips Collection, March 21–May 17, 1987; Center for the Fine Arts, Miami, Selections from the Phillips Collection, June 13–August 30, 1987. See c129.

Douglas Drake Gallery, New York, Opening Exhibition, April 11–May 9, 1987. Works unknown.

Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, N.Y., The Arts at Black Mountain, 1933–1957, April 11–July 5, 1987; North Carolina Museum of Art, Raleigh, July 25–October 4, 1987; Grey Art Gallery, New York University, November 2–December 19, 1987 (catalogue). Drawings only. Reviewed in Wade 1987.

Harris, Mary Emma. The Arts at Black Mountain, 1933–1957. Cambridge, Mass.: MIT Press, 1987.

Janie C. Lee Gallery, Houston, Drawings, 1944–1954, April 17–June 17, 1987. Works unknown.

Bruce Museum, Greenwich, Conn., The Art of Collecting: A Private View, May 10–June 21, 1987 (catalogue). See c542. Reviewed in Stamford Advocate and Greenwich Time 1987. Simpson, Edith J., and Nancy HallDuncan. The Art of Collecting: A Private View. Preface by John B. Clark. Greenwich, Conn.: Bruce Museum, 1987.

Art Galleries, American Academy and Institute of Arts and Letters, New York, Exhibition of Work by Newly Elected Members and Recipients of Awards, May 20–June 14, 1987 (catalogue). See P735, P924, c676.

Exhibition of Work by Newly Elected Members and Recipients of Awards. New York: American Academy of Arts and Letters, 1987.

Guild Hall Museum, East Hampton, N.Y., American Masters, May 25–June 28, 1987. See w65.

Helmhaus Zürich, Fitzwilliam: A Cambridge Collection of Music, May 28–August 10, 1987. See c677.

Knoedler & Company, New York, Art against AIDS, June 4–19, 1987 (catalogue). See c653.

Art against AIDS. Preface by Elizabeth Taylor; foreword by Mathilde Krim; essay by Robert Rosenblum. New York: American Foundation for AIDS Research, 1987.

Centro Cultural Arte Contemporáneo, Mexico City, Leo Castelli y sus artistas: XXX años de promocion del arte contemporaneo, June 26–October 18, 1987 (catalogue). See P47.

Littman, Roberto, Calvin Tompkins, Robert Pincus-Witten, and Judith Goldman. Leo Castelli y sus artistas: XXX años de promocion del arte contemporaneo (text in Spanish). Mexico City: Fundación de Investigaciones Sociales, 1987.

Montclair Art Museum, N.J., Recent Acquisitions, 1977–1987, July 17–September 17, 1987 (permanent collection exhibition). See c687.

Long Point Gallery, Provincetown, Mass., Homeric Themes, August 9–22, 1987. See w669, w695, w696. Reviewed in Bonetti 1987 and Nickerson 1987.

Charles Cowles Annex Gallery, New York, Stanford Artists in New York, September 15–October 7, 1987 (catalogue). See P1113.

Stanford Artists in New York. New York: Friends of Stanford Artists in New York, 1987.

Cleveland Museum of Art, Creativity in Art and Science, 1860–1960, September 16–November 8, 1987 (catalogue). See c11.

Henning, Edward B. Creativity in Art and Science, 1860–1960. Cleveland: Cleveland Museum of Art, 1987.

Albright-Knox Art Gallery, Buffalo, Abstract Expressionism: The Critical Developments, September 19–November 29, 1987 (catalogue). See P154, P156, P170, P210, c46. Reviewed in Brenson 1987.

Auping, Michael, Ann Gibson, Donald Kuspit, Michael Leja, Marcelin Pleynet, Richard Shiff, and David Sylvester. Abstract Expressionism: The Critical Developments New York: Harry N. Abrams, in association with the Albright-Knox Art Gallery, 1987.

James Goodman Gallery, New York, Strong Statements in Black and White, October 6–31, 1987. See P1193.

Herter Art Gallery, University of Massachusetts, Amherst, Contemporary American Collage, 1960–1986, November 9–December 11, 1987; William Benton Museum

list of exhibitions

of Art, Storrs, Conn., January 24–March 7, 1988; Lehigh University Galleries, Lehigh University, Bethlehem, Pa., March 27–May 8, 1988; Butler Institute of American Art, Youngstown, Ohio, September 11–October 23, 1988; Kansas City Art Institute, Mo., November 14–December 24, 1988; University Art Gallery, State University of New York, Albany, January 24–March 6, 1989; Nevada Institute for Contemporary Art, Las Vegas, March 27–May 8, 1989 (catalogue). See c644.

Coblyn, Michael E., and Trevor Richardson. Contemporary American Collage, 1960–1986 Amherst: Herter Art Gallery, University of Massachusetts, 1987.

Solomon R. Guggenheim Museum, New York, Fifty Years of Collecting: An Anniversary Selection; Painting since World War II: Europe, Latin America, North America, November 13, 1987–January 10, 1988 (catalogue). See P607.

Messer, Thomas M. Fifty Years of Collecting: An Anniversary Selection; Painting since World War II: Europe, Latin America, North America. New York: Solomon R. Guggenheim Foundation, 1987.

Suzanne Lemberg Usdan Gallery, Bennington College, Vt., From the Collection: Selected Works from the Bennington College Permanent Collection, November 17–December 10, 1987 (permanent collection exhibition; checklist). See c94.

Turske & Turske, Zurich, Das Kleine Format, December 4, 1987–February 2, 1988. See w516.

Albright-Knox Art Gallery, Buffalo, Intimate Gestures, Realized Visions: Masterworks on Paper from the Collection of the Albright-Knox Art Gallery, December 12, 1987–January 31, 1988 (permanent collection exhibition; catalogue). See c498.

Brutvan, Cheryl A., Anita Coles Costello, and Helen Raye. Masterworks on Paper from the Collection of the Albright-Knox Art Gallery. Entry “Robert Motherwell,” by Cheryl A. Brutvan, p. 114. New York: Hudson Hills Press, in association with the Albright-Knox Art Gallery, 1987.

1988

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: The Summer 1987 Collage Series; “The Red and Black” and Other Unexhibited Works, April 23–May 12, 1988 (checklist). See P615, P1142, P1166, P1185–P1187, c756, c757, c759, c763, c770, c773, c774, c776, c786, c791, c794, c796, c802, c804, c811, c813, c825. Reviewed in Art & Antiques 1988 and Kingsley 1988.

Arthur A. Houghton Jr. Gallery, Cooper Union, New York, Robert Motherwell: The Dedalus Sketchbook and Other Works in the Joycean Mode, November 21–December 3, 1988 (checklist). See P69, P687, P729, P1036, P1083, P1155, c532, c817, w636.

g r O u P eX hibiti O n S

Walker Art Center, Minneapolis, Selections from the Permanent Collection, January 13–June

19, 1988 (permanent collection exhibition). See P632.

CDS Gallery, New York, The Irascibles, February 4–27, 1988 (catalogue). See P147.

Sandler, Irving. The Irascibles. New York: CDS Gallery, 1988.

Arkansas Arts Center, Little Rock, American Abstract Drawings, 1930–1987: Selections from the Arkansas Arts Center Foundation Collection, February 26–June 19, 1988; Arts Club of Chicago, January 8–February 12, 1990; Memphis State University, March 2–30, 1990; Tampa Museum of Art, Fla., May 19–July 22, 1990; Center for the Arts, Vero Beach, Fla., September 8–November 10, 1990; Montgomery Gallery, Claremont College, Calif., January 12–February 9, 1992 (catalogue). See c300, c550, w529.

Wolfe, Townsend. American Abstract Drawings, 1930–1987: Selections from the Arkansas Arts Center Foundation Collection Little Rock: Arkansas Arts Center, 1988.

Museum of Art, Munson-Williams-Proctor Institute, Utica, N.Y., The Painter’s Music, The Musician’s Art, March 5–May 15, 1988. See c649, c777.

Picker Art Gallery, Colgate University, Hamilton, N.Y., The Luther W. Brady Collection of Deferred Gifts to the Picker Art Gallery: 20thCentury Works on Paper, March 13–June 5, 1988. See w80.

Solomon R. Guggenheim Museum, New York, Aspects of Collage, Assemblage and the Found Object in Twentieth Century Art, March 29–May 22, 1988 (catalogue). See c22, c105.

Hapgood, Susan. Aspects of Collage, Assemblage and the Found Object in TwentiethCentury Art. Preface by Diane Waldman. New York: Solomon R. Guggenheim Museum, 1988.

Modern Art Museum of Fort Worth, The American Collection, April 10–June 3, 1988 (permanent collection exhibition). See P1030, w147, w452, w542.

Manny Silverman Gallery, Los Angeles, Abstract Work from the 1950s, April 23–June 4, 1988. Works unknown.

André Emmerich Gallery, New York, Selected Works from the Gallery’s Collection, May 3–27, 1988. See P622.

Montclair Art Museum, N.J., The New York School, May 29–August 28, 1988. See c687.

Whitney Museum of American Art, Fairfield County, Stamford, Conn., Convulsive Beauty: The Impact of Surrealism on American Art, June 24–August 27, 1988; Whitney Museum of American Art Downtown at Federal Reserve Plaza, New York, October 4–December 2, 1988 (catalogue). See P65.

Convulsive Beauty: The Impact of Surrealism in American Art. New York: Whitney Museum of American Art, 1988.

Long Point Gallery, Provincetown, Mass., Opposites, June 26–July 16, 1988. See w630. Reviewed in Lloyd 1988a, Marks 1988, and Nickerson 1988.

Musée National d’Art Moderne, Centre Georges Pompidou, Paris, Les Années 1950, June 28–October 17, 1988 (catalogue). See P212. Reviewed in Smith 1988.

Abadie, Daniel, Philippe Arbaizar, Laurent Bayle, Claude Eveno, Raymond Guidot, et al. Les Années 50 (text in French). Paris: Centre Georges Pompidou, 1988.

Works Festival, Manulife Centre, Edmonton, Alberta, Canada, The University Collects: A Celebration of the Human Spirit, June 30–July 10, 1988 (permanent collection exhibition). See P281.

Long Point Gallery, Provincetown, Mass., Black, July 17–August 6, 1988. See P1113, P1139.

National Museum of Contemporary Art, Seoul, International Contemporary Painting Exhibition of Seoul Olympiad Art, August 17–October 5, 1988 (catalogue). See c741.

Glibota, Ante, ed. Olympiade des arts/ Olympiad of Art (text in English, French, and Korean). Seoul, South Korea: Seoul Olympic Organizing Committee, 1988.

Gallery One, Toronto, Summer Selections, August 25–September 14, 1988. See w251.

Kunstverein St. Gallen, Switzerland, Sammlung T, August 27–October 30, 1988 (catalogue). See P191.

Sammlung T (text in German). Introduction by Rudolf Hanhart. St. Gall, Switzerland: Der Verein, 1988.

John Berggruen Gallery, San Francisco, Works on Paper, September 8–October 8, 1988 (catalogue). See c766.

Works on Paper. San Francisco: John Berggruen Gallery, 1988.

Parrish Art Museum, Southampton, N.Y., Drawing on the East End, 1940–1988, September 18–November 13, 1988 (catalogue). See w30. Reviewed in Long 1988 and Slivka 1988.

Kertess, Klaus. Drawing on the East End, 1940–1988. Foreword by Trudy C. Kramer. Southampton, N.Y.: Parrish Art Museum, 1988.

Berlinische Galerie, Museum für Moderne Kunst, Photographie und Architektur, Berlin, Stationen der Moderne, September 25, 1988–January 8, 1989 (catalogue). See c75.

Roters, Eberhard, Walter Grasskamp, Uwe M. Schneede, Andreas Hüneke, Wulf Herzogenrath, Jörn Merkert, Mario-Andreas von Lüttichau, Helen Adkins, Inka Graeve, Kurt Winkler, et al. Stationen der Moderne (text in German). Berlin: Nicolai, 1988.

Musée Saint-Pierre Art Contemporain, Lyon, France, La Couleur seule: L’Expérience du monochrome, October 7–December 5, 1988 (catalogue). See P924.

Raspail, Thierry, Maurice Besset, Thomas McEvilley, Thierry de Duve, Jean-Claude Marcadé, Richard Stanislawski, Pierre Restany, Ursula Perucchi-Petri, Giorgio Franchetti, Edmond Charriere, et al. La Couleur seule: L’Expérience du monochrome (text in French). Lyon, France: Ville de Lyon, 1988.

Behind the Line: An Inquiry into Drawing (organized by the Grey Art Gallery and Study Center, New York University, and circulated by the Gallery Association of New York State, Hamilton), Haverford College Art Gallery, Pa., October 8–November 6, 1988; Metropolitan Life Gallery, New York, November 21, 1988–January 6, 1989; Adirondack Community College, Glens Falls, N.Y., March 6–April 12, 1989; Michael C. Rockefeller Arts Gallery, State University of New York at Fredonia, September 7–October 1, 1989; Tower Fine Arts Gallery, State University of New York at Brockport, October 10–November 5, 1989; University Gallery, Towson State, Baltimore, November 17–December 13, 1989; Ruth Dowd Art Gallery, State University of New York at Cortland, January 23–February 16, 1990; Roberson Center for Arts and Sciences, Binghamton, N.Y., July 7–August 26, 1990; Arnot Art Museum, Elmira, N.Y., September 15–October 27, 1990; Rowland Gibson Gallery, State University of New York at Potsdam, November 12–December 16, 1990; Alfred University, N.Y., January 23–February 10, 1991; Myers Fine Art Gallery, State University of New York at Plattsburgh, March–April 1991 (catalogue). See c88.

Behind the Line: An Inquiry into Drawing New York: Gallery Association of New York State, 1988.

Marisa del Re Gallery, New York, Black & White, October 12–November 12, 1988 (catalogue). See P819.

Hunter, Sam. Black & White. Foreword by Marisa del Re. New York: Marisa del Re Gallery, 1988.

James Goodman Gallery, New York, Paintings, Drawings and Sculpture by Modern and Contemporary Masters, November 1988. Works unknown.

Museum of Modern Art, New York, Collage: Selections from the Permanent Collection, November 3, 1988–February 28, 1989 (permanent collection exhibition). See c7. Douglas Drake Gallery, New York, Anthony Caro, Dan Christensen, Friedel Dzubas, Helen Frankenthaler, Robert Motherwell,Wayne Thiebaud, November 4–26, 1988. See c617. Rose Art Museum, Brandeis University, Waltham, Mass., Selections from the Permanent Collection, November 4–December 18, 1988 (permanent collection exhibition). See P218.

Janie C. Lee Master Drawings, New York, Abstract Expressionist Drawings, 1941–1955, November 5–December 30, 1988 (catalogue). Drawings only.

Abstract Expressionist Drawings, 1941–1955 Foreword by Robert McDaniel. New York: Janie C. Lee Master Drawings, 1988.

Richard L. Feigen & Co., Chicago, “Richard J. Daley”: The 20th Anniversary, November 8–December 6, 1988 (catalogue). See P180.

Feigen, Richard L. “Richard J. Daley”: The 20th Anniversary. Chicago: Richard L. Feigen, 1988.

Stanford University Museum of Art, Palo Alto, Calif., Twentieth-Century Drawings from the

Anderson Collection: Auguste Rodin to Elizabeth Murray, November 15, 1988–February 19, 1989 (catalogue). See c51.

Jones, Caroline A. Twentieth-Century Drawings from the Anderson Collection: Auguste Rodin to Elizabeth Murray. Palo Alto, Calif.: Stanford University Museum of Art, 1988.

Seattle Art Museum, The New York School, 1945–60, November 23, 1988–January 29, 1989. See P56.

Picker Art Gallery, Colgate University, Hamilton, N.Y., Abstract Expressionist and COBRA Works on Paper in the Luther W. Brady DFA ’88 Collection, November 30–December 18, 1988 (checklist). See w80.

Solomon R. Guggenheim Museum, New York, Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, December 9, 1988–January 22, 1989 (permanent collection exhibition; catalogue). See P607.

Dennison, Lisa. Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans. New York: Solomon R. Guggenheim Museum, 1988.

National Gallery of Art, Washington, D.C., Twentieth-Century Art: Selections for the Tenth Anniversary of the East Building, December 13, 1988–December 31, 1990 (catalogue). See P208, P956. Reviewed in Kimmelman 1988.

Strick, Jeremy. Twentieth-Century Art: Selections for the Tenth Anniversary of the East Building. Washington, D.C.: National Gallery of Art, 1989.

Museum of Contemporary Art, Chicago, Three Decades: The Oliver-Hoffmann Collection, December 17, 1988–February 5, 1989 (catalogue). See P425.

Oliver-Hoffmann, Camille, I. Michael Danoff, Phyllis Tuchman, Lynne Warren, and Bruce Guenther. Three Decades: The Oliver-Hoffmann Collection. Chicago: Museum of Contemporary Art, Chicago, 1988.

1989

S O l O eX hibiti O n S

Marisa del Re Gallery, New York, Robert Motherwell: Selected Drawings, February 8–March 4, 1989 (catalogue). See w279, w357, w509, w560, w563, w589, w592, w637, w671, w681, w682, w695. Reviewed in Calnek 1989.

Robert Motherwell: Selected Drawings Introduction by Marisa del Re. New York: Marisa del Re Gallery, in cooperation with Knoedler & Company, 1989.

Knoedler & Company, New York, Robert Motherwell: New Work, April 22–May 25, 1989 (checklist and catalogue). See P1145, P1160, P1162, P1164, P1168, P1169, P1183, c816, c824, c827, c831, c837, c838, c840, c843, c844, c848, w716. Reviewed in Russell 1989.

Robert Motherwell: New Work. New York: Knoedler, 1989.

Marian Locks Gallery, Philadelphia, Robert Motherwell: Paintings, June 2–30, 1989

(catalogue). See P78, P193, P418, P946, P1160, c817, w46, w61.

Robert Motherwell: Paintings. Philadelphia: Marian Locks Gallery, 1989.

Padiglione d’Arte Contemporanea, Milan, Robert Motherwell, September 28–November 26, 1989 (catalogue). See P4, P84, P122, P163, P224, P437, P486, P673, P717, P805, P819, P838, P875, P1063, P1112, P1138, P1153, c8, c22, c402, c410, c532, c676, c763, c782, c813, c828–c830, w64, w659. Reviewed in Appella 1989, D’Amico 1989, and Zanetti 1990.

Ashton, Dore, and Paolo Sega Serra Zanetti. Robert Motherwell (text in English and Italian). Milan: Arnoldo Mondadori Editore Arte, 1989.

Waddington Graphics, London, Robert Motherwell: Etchings, Lithographs, Livres Illustrés, 1986–1989, October 4–28, 1989 (catalogue). See c771, c781, c784, c786, c790, c796, c798, c804, c809, c811.

Robert Motherwell: Etchings, Lithographs, Livres Illustrés, 1986–1989. London: Waddington Graphics, 1989.

Sert Gallery, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Mass., Robert Motherwell: Two Books, November 15–December 10, 1989. See P1024.

Montclair Art Museum, N.J., Robert Motherwell: The Music Collages, November 19, 1989–January 7, 1990 (catalogue). See c398, c433, c535, c553, c556, c623, c657, c687, c706, c728, c757, c758, c776, c823. Reviewed in Navarra 1989.

Koenig, Robert J. Robert Motherwell: The Music Collages. Montclair, N.J.: Montclair Art Museum, 1989.

g r O u P eX hibiti O n S

Albright-Knox Art Gallery, Buffalo, Transformations in Landscape: Postwar Works from the Collection, January 20–February 19, 1989 (permanent collection exhibition; checklist). See P672.

High Museum of Art, Atlanta, Georgia Collects, January 24–March 6, 1989 (catalogue). Drawings only.

Georgia Collects. Atlanta: High Museum of Art, 1989.

Waddington Galleries, London, Works on Paper, February 1–25, 1989 (catalogue). See c724.

Works on Paper. London: Waddington Galleries, 1989.

Katzen Brown Gallery, New York, Homage to Walter Chrysler: The Provincetown Years, February 2–25, 1989. Works unknown.

Salón de Baile del Círculo de Bellas Artes, Madrid, XXV Aniversario de la Galería Juana Mordó, March 15–April 29, 1989 (catalogue). See P521.

De Alvear, Helga, Juan Manuel Bonet, Francisco Calvo Serraller, Julián Gállego, Miguel Logroño, and Simón Marchán Fiz. XXV Aniversario de la Galeria Juana Mordó (text in Spanish). Madrid: Galería Juana Mordó, 1989.

Marisa del Re Gallery, New York, The Linear Image: American Master Works on Paper, April 25–May 27, 1989 (catalogue). See w691.

Hunter, Sam. The Linear Image: American Master Works on Paper. Foreword by Marisa del Re. New York: Marisa del Re Gallery, 1989.

André Emmerich Gallery, New York, Selected Works II: From the Gallery’s Collection, April 27–May 17, 1989 (catalogue). See c32.

Selected Works II: From the Gallery’s Collection. New York: André Emmerich Gallery, 1989.

Associated American Artists, New York, The Painter and the Printmaker, May 2–June 2, 1989 (catalogue). See P1143.

The Painter and the Printmaker. Introduction by Robert Conway and Stephen Long. New York: Associated American Artists, 1989.

Allen Memorial Art Museum, Oberlin College, Ohio, Oberlin Alumni Collect: Modern and Contemporary Art, May 9–June 14, 1989 (catalogue). Drawings only.

Oberlin Alumni Collect: Modern and Contemporary Art. Introduction by William J. Chiego. Oberlin, Ohio: Allen Memorial Art Museum, Oberlin College, 1989.

Knoedler & Company, New York, Summer Group Exhibition, summer 1989 (checklist). See c887.

Marisa del Re Gallery, New York, [group exhibition], June 1–July 1, 1989. Works unknown.

Long Point Gallery, Provincetown, Mass., Myth and Ritual, June 25–July 15, 1989. Works unknown.

Annely Juda Fine Art, London, From Picasso to Abstraction, June 29–September 23, 1989 (catalogue). See P746.

From Picasso to Abstraction. Introduction by Bryan Robertson. London: Annely Juda Fine Art, 1989.

Museum of Modern Art, Shiga, Japan, American Painting in the 1950s and 1960s, July 22–September 17, 1989 (catalogue). See P215, P485.

Sandler, Irving, Masaharu Ono, and Masao Kobayashi. American Painting in the 1950s and 1960s (text in English and Japanese).

Otsu-shi, Japan: Shiga Kenritsu Kindai Bijutsukan, 1989.

Whitney Museum of American Art, New York, Art in Place: Fifteen Years of Acquisitions, July 27–October 29, 1989 (permanent collection exhibition; catalogue). Drawings only.

Armstrong, Tom, and Susan C. Larsen. Art in Place: Fifteen Years of Acquisitions New York: Whitney Museum of American Art, 1989.

Provincetown Art Association and Museum, Mass., Contemporary Provincetown, August 25–October 29, 1989; Murray Feldman Gallery, Pacific Design Center, West Hollywood, Calif., November 22–December 13, 1989 (catalogue).

See c803, c826.

Lloyd, Anne Wilson. Contemporary Provincetown: 75 Years of American Art, 1914–1989. Foreword by Jim Rogers; introduction by William Harper Evaul Jr. Provincetown, Mass.: Provincetown Art Association and Museum, 1989.

Long Point Gallery, Provincetown, Mass., Summer’s Work, August 27–September 9, 1989. See P1171.

Tacoma Art Museum, Wash., The Permanent Collection: Celebrating 25 Years, September 1–October 29, 1989 (permanent collection exhibition). See P573.

IBM Gallery of Science and Art, New York, 50 Years of Collecting Art at IBM, September 12–November 25, 1989 (permanent collection exhibition; catalogue). See P182.

50 Years of Collecting Art at IBM. New York: IBM Corporation, 1989.

Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, The Gestural Impulse, 1945–60, September 29–December 1, 1989 (catalogue). See P171.

Willers, Karl Emil. The Gestural Impulse, 1945–60. New York: Whitney Museum of American Art, 1989.

Williams Center for the Arts, Lafayette College, Easton, Pa., The Painter’s Music, The Musician’s Art, October 16–November 8, 1989. See c649.

Galerie Claude Lafitte, Montreal, Renoir à/to Riopelle: Masters of the 20th Century, October 24–November 18, 1989 (catalogue). See w73. Renoir à/to Riopelle: Masters of the 20th Century (text in English and French).

Montreal: Galerie Claude Lafitte, 1989. Lowe Art Museum, University of Miami, Coral Gables, Fla., Abstract Expressionism: Other Dimensions (organized by the Jane Voorhees Zimmerli Art Museum, Rutgers, State University of New Jersey, New Brunswick), October 26–December 3, 1989; Terra Museum of American Art, Chicago, January 23–March 11, 1990; Jane Voorhees Zimmerli Art Museum, Rutgers, State University of New Jersey, New Brunswick, March 25–June 13, 1990 (catalogue). See P153, c105, w112.

Weschler, Jeffrey, Sam Hunter, and Irving Sandler, Abstract Expressionism: Other Dimensions. Contributions by William Seitz and Matthew Lee Rohn. New Brunswick: Rutgers, State University of New Jersey, 1989.

Le Consortium, Centre d’Art Contemporain, Dijon, France, Une Autre Affaire, November 18, 1989–January 13, 1990. See w60.

Musée d’Art Moderne Villeneuve d’Ascq, France, Blast, foyer, et explosion: Surrealisme europeen, expressionisme abstrait américain, December 2, 1989–February 19, 1990 (catalogue). See P215.

Pijaudier, Joëlle, Fabrice Hergott, Sylvie Férey, and Christian Vieaux. Blast, foyer, et explosion: Surrealisme europeen, expressionisme abstrait américain (text in French).

list of exhibitions

Villeneuve d’Ascq, France: Musée d’Art Moderne Villeneuve d’Ascq, 1990. Fendrick Gallery, Washington, D.C., Small Format Works, December 5–30, 1989. Works unknown.

Lannan Foundation Gallery, Los Angeles, Abstraction since 1944: Selections from the Lannan Foundation Collection, December 5, 1989–June 2, 1990 (permanent collection exhibition). See P16.

1990

Artcurial Centre d’Art Plastique Contemporain, Paris, Robert Motherwell: Peintures et collages, 1969–1990, September 25–November 10, 1990; Heland Wetterling Gallery, Stockholm, and Wetterling Gallery, Göteborg, Sweden, Robert Motherwell: Paintings, 1971–1990, January 29–March 20, 1991 (venue catalogues). See P496, P673, P717, P805, P819, P856, P875, P1071, P1124, P1138, P1139, P1150, P1153, P1169, P1170, P1175, P1176, P1179, P1185, c637, c710, c818, c859–c863, c865, c866, w659. Reviewed in Dayde 1990, Foll 1990, Francou 1990, La Depeche 1990, La Gazette de L’Hôtel Drouot 1990, Le Monde 1990, M. 1990, P[ierrard] 1990, Pinte 1990, Pythoud 1990, Stern 1990, and Warnod 1990.

Pleynet, Marcelin. Robert Motherwell, 1969–1990 (text in French). Paris: Artcurial Centre d’Art Plastique Contemporain, 1990.

Robert Motherwell: Paintings, 1971–1990 Stockholm: Heland Wetterling Gallery, 1990.

Marisa del Re Gallery, New York, Robert Motherwell: The Passionate Line, November 1–24, 1990. See w102, w293, w360, w660, w698, w717, w718, w720.

g r O u P eX hibiti O n S

Rose Art Museum, Brandeis University, Waltham, Mass., Selections from the Permanent Collection (The Hand That Rocks the Cradle), January 21–February 25, 1990 (permanent collection exhibition). See P218.

Knoedler & Company, New York, Selected Works By Gallery Artists, February 3–28, 1990 (checklist). See P1063, c567.

Baltimore Museum of Art, BMA Collects: Surrealist Drawings, February 27–April 29, 1990 (permanent collection exhibition). See c3.

Ameringer & Avard Fine Art, New York, [group exhibition], spring 1990. Works unknown.

Elkon Gallery, New York, Modern and Contemporary Masters, spring 1990. See w39.

Centro Cultural Arte Contemporáneo, Mexico City, Octavio Paz: Los Privilegios de la vista, March 27–July 1, 1990 (catalogue). See P1024, c676.

Octavio Paz: Los Privilegios de la vista (text in Spanish). Mexico City: Centro Cultural Arte Contemporáneo, 1990.

Katonah Museum of Art, N.Y., Watercolors from the Abstract Expressionist Era, April 1–June 3, 1990 (catalogue). Drawings only.

Weschler, Jeffrey. Watercolors from the Abstract Expressionist Era. Foreword by George G. King. Katonah, N.Y.: Katonah Museum of Art, 1990.

André Emmerich Gallery, New York, The Great Decade: The 1960s, April 5–28, 1990 (catalogue). See w172.

The Great Decade: The 1960s. New York: André Emmerich Gallery, 1990.

Heland Wetterling Gallery, Stockholm, Heland Wetterling Gallery Shows Knoedler Gallery Artists, April 7–24, 1990 (catalogue). See c822.

Heland Wetterling Gallery Shows Knoedler Gallery Artists. Stockholm: Heland Wetterling Gallery, 1990.

Martin-Gropius-Bau, Berlin, Gegenwart

Ewigkeit: Spuren des Transzendenten in der Kunst unserer Zeit, April 7–June 24, 1990 (catalogue). See P776, P1112. Reviewed in Porikys 1990.

Schmeid, Wieland, and Jürgen Schilling. Gegenwart Ewigkeit: Spuren des Transzendenten in der Kunst unserer Zeit (text in German). Stuttgart, Germany: Edition Cantz, 1990.

Neue Galerie der Stadt Linz, Austria, OÖ. Landesausstellung 1990: Ursprung und Moderne, May 6–July 29, 1990 (catalogue). See P838.

Baum, Peter. OÖ. Landesausstellung 1990: Ursprung und Moderne (text in German).

Linz, Austria: Neue Galerie der Stadt Linz, 1990.

Arnold Herstand and Company, New York, Surrealism: From Paris to New York, May 12–August 31, 1990 (catalogue). See P65.

Surrealism: From Paris to New York. New York: Arnold Herstand, 1990.

Knoedler & Company, New York, Summer Group Exhibition, July–August 31, 1990 (checklist). See P1182.

Long Point Gallery, Provincetown, Mass., Squares, July 15–28, 1990. See P1184. Reviewed in Nickerson 1990.

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y., Cornell Collects: A Celebration of American Art from the Collections of Alumni and Friends, August 21–November 4, 1990 (catalogue). See c34.

Roberts, Carol, ed. Cornell Collects: A Celebration of American Art from the Collections of Alumni and Friends. Essays by Nancy Allyn Jarzombek, Nancy E. Green, and Jill Hartz. Ithaca, N.Y.: Herbert F. Johnson Museum of Art, Cornell University, 1990.

Achim Moeller Fine Art, New York, Private Views, October–[November] 1990 (catalogue). See c141.

Private Views. New York: Achim Moeller Fine Art, 1990.

Stux Modern, New York, Abstract Expressionists: Studio 35/Downtown, October 5–December 1, 1990 (catalogue). See P177.

Abstract Expressionists: Studio 35/Downtown (includes artist’s statements). Foreword by Beth Wilson. New York: Stux Modern, 1990.

Pascal de Sarthe Gallery, Los Angeles, 19th & 20th Century Masters, December 6, 1990–January 19, 1991. See P254.

1991

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: From the Studio, April 30–June 28, 1991 (checklist). See P665, P839, P865, P916, P926, P951, P995, P1012, P1055–P1057, P1099, P1177, P1194, P1195, P1201, P1202, P1204–P1206, c532, c654, c864, w40, w68, w117, w636, w661. Reviewed in Decter 1991, Noland 1991, and Tyler 1991a.

Galería Joan Prats, Basel Art Fair, Switzerland, Robert Motherwell, June 12–17, 1991 (catalogue). See P1126, P1151, P1158, P1178, P1182, P1183, P1190, c343, c349, c395, c410, c415, c510, c577, c708, c721, c833, w118, w458, w600.

Robert Motherwell. Introduction by Jack Flam. Barcelona: Galería Joan Prats, 1991.

Long Point Gallery, Provincetown, Mass., Robert Motherwell: Recent Work, August 25–September 13, 1991. See P1152, c667, c856, c889, w101, w658. Reviewed in Forman 1991d.

Museo Rufino Tamayo, Mexico City, Robert Motherwell: The Open Door (organized by InterCultura), September 9–October 27, 1991; Museo de Monterrey, Mexico, November 7, 1991–January 6, 1992; Modern Art Museum of Fort Worth, February 3–April 10, 1992 (catalogue). See P1, P4, P8, P107, P212, P222, P367, P665, P839, P850, P865, P866, P869, P916, P924, P951, P1012, P1024, P1030, P1055–P1057, P1140, P1177, P1180, P1181, P1194–P1196, P1202, P1204–P1206, c79, c139, c277, c385, c442, c529, c531, c532, c602, c644, c654, c676, c851, c864, w40, w91, w452, w542, w638, w642, w716. Reviewed in Kutner 1992a and Tyson 1992.

Del Conde, Teresa, Octavio Paz, Dore Ashton, and Joan Banach. Robert Motherwell, 1915–1991: La Puerta abierta/The Open Door (text in English and Spanish). Foreword by Gordon Dee Smith. Mexico City: Museo Rufino Tamayo, 1991.

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., Robert Motherwell: Prints and Collages from the Museum’s Collection, November 14, 1991–April 12, 1992 (permanent collection exhibition; checklist). See c399, c405, c440, c457, c459.

g r O u P eX hibiti O n S

Locks Gallery, Philadelphia, Directions: Paintings, Sculpture, Prints, January 10–February 23, 1991. See P946, P1160.

Rose Art Museum, Brandeis University, Waltham, Mass., Collection Notes: Selections from the Permanent Collection, January 27–March 3, 1991 (permanent collection exhibition). See P218.

Museum of Modern Art, New York, Art of the Forties, February 24–April 30, 1991 (catalogue). See c7. Reviewed in Glimcher 1991 and Kramer 1991a.

Castleman, Riva, ed. Art of the Forties Foreword by Richard E. Oldenburg; essay by Guy Davenport. New York: Museum of Modern Art, 1991.

National Gallery of Art, Washington, D.C., Art for the Nation: Gifts in Honor of the 50th

Anniversary of the National Gallery of Art, March 17–June 16, 1991 (permanent collection exhibition; catalogue). See P31.

Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art. Entry “Robert Motherwell,” by Jeremy Strick, pp. 362–63. Washington, D.C.: National Gallery of Art, 1991.

Artcurial Centre d’Art Plastique Contemporain, Paris, Drawings by Painters and Sculptors, March 21–May 4, 1991. Works unknown.

Galerie Ronny van de Velde, Antwerp, Belgium, About Collecting: Four Collectors, Four Spaces, April 16–June 1, 1991. See P508.

University of Iowa Museum of Art, Iowa City, The Painter’s Music, The Musician’s Art, April 20–June 23, 1991 (checklist). See P703, c406, c649.

Smith College Museum of Art, Northampton, Mass., Smith Collects Contemporary, May 3–September 15, 1991 (catalogue). See P360.

Smith Collects Contemporary. Introduction by Edward J. Nygren. Northampton, Mass.: Smith College Museum of Art, 1991.

Heckscher Museum, Huntington, N.Y., Under the Big Top: The Circus in Art, May 4–June 23, 1991 (catalogue). Drawings only. Reviewed in Lipson 1991.

Under the Big Top: The Circus in Art Huntington, N.Y.: Heckscher Museum, 1991.

Guild Hall Museum, East Hampton, N.Y., Aspects of Collage, May 5–June 9, 1991 (catalogue). See c476.

Strassfield, Christina Mossaides. Aspects of Collage. East Hampton, N.Y.: Guild Hall Museum, 1991.

Wadsworth Atheneum Museum of Art, Hartford, Conn., Delaunay to De Kooning: Modern Masters from the Tremaine Collection and the Wadsworth Atheneum, May 5–September 15, 1991. See P34, P149.

Galerie Alice Pauli, Lausanne, Switzerland, Un Regard atlantique: Europe/Amerique, peintures/sculptures, May 30–July 27, 1991. See c677.

Renee Fotouhi Fine Art East, East Hampton, N.Y., Black and White, June 15–July 9, 1991. See w590.

Williams College Museum of Art, Williamstown, Mass., Selections from the Collection of Bennington College, June 15–December 8, 1991. See c94. Reviewed in Journal of the Print World 1991.

Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, Constructing American Identity, June 19–August 30, 1991 (catalogue). See P171.

Tepfer, Ellen, Elizabeth Bigham, and Andrew Perchuk. Constructing American Identity. Introduction by Eric Miles. New York: Whitney Museum of American Art, 1991.

Long Point Gallery, Provincetown, Mass., Key Works, June 23–July 13, 1991. See w101.

John Berggruen Gallery, San Francisco, Small Format Works on Paper, June 26–August 3, 1991. Works unknown.

Cape Museum of Fine Arts, Dennis, Mass., The Sixth Annual Art in the Garden Exhibition, July 6–August 24, 1991 (brochure). See c401. Reviewed in Forman 1991c.

The Sixth Annual Art in the Garden Exhibition. Dennis, Mass.: Cape Museum of Fine Arts, 1991.

Long Point Gallery, Provincetown, Mass., Those Lovely Golden Thighs, July 14–27, 1991. See P1152.

Knoedler & Company, New York, Works on Paper by Gallery Artists, September 7–October 3, 1991 (checklist). See c140, c144, c728. David Anderson Gallery, Buffalo, Selected Works from the Gallery Collection, Part I, October 5–November 16, 1991. See c408.

Lannan Foundation Gallery, Los Angeles, Abstraction: Selections from the Lannan Foundation Collection, October 12, 1991–February 8, 1992 (permanent collection exhibition). See P16.

Rose Art Museum, Brandeis University, Waltham, Mass., Selections from the Permanent Collection, November 21, 1991–January 5, 1992 (permanent collection exhibition). See P218.

Des Moines Art Center, The Abstract Tradition in American Art, December 7, 1991–February 23, 1992 (permanent collection exhibition). See c406.

Tony Shafrazi Gallery, New York, A Passion for Art:Watercolors and Works on Paper, December 7, 1991–February 25, 1992. See c91.

1992

S O l O eX hibiti O n S

Locks Gallery, Philadelphia, Robert Motherwell: Paintings and Collages, April 10–May 27, 1992 (catalogue). See P78, P193, P217, P418, P481, P946, P1160, c96, c260, c488, c774, c817, w17, w61, w139.

Ashton, Dore. Robert Motherwell: Paintings and Collages. Philadelphia: Locks Gallery, 1992.

Walker Art Center, Minneapolis, Robert Motherwell: The Spanish Elegies, October 11, 1992–January 3, 1993 (checklist). See P156, P198, P199, P216, P1112, P1146, P1147, P1149, P1175, P1176, P1180, w10, w18, w357.

g r O u P eX hibiti O n S Lingotto, Turin, Italy, Arte Americana, 1930–1970, January 11–March 31, 1992 (catalogue). See P138. Reviewed in Vetrocq 1992.

Arte Americana, 1930–1970 (text in Italian). Introduction by Attilio Codognato; with contributions by Furio Colombo, Claudio Gorlier, Renato Barilli, Matthew Baigell, Sam Hunter, Alberto Boatto, and Kenneth Baker. Milan: Fabbri, 1992.

Museum of Modern Art, New York, The William S. Paley Collection, February 2–May 7, 1992 (catalogue). See c164.

Rubin, William, and Matthew Armstrong.

The William S. Paley Collection. New York: Museum of Modern Art, 1992.

Sidney Mishkin Gallery, Baruch College, New York, Paths to Discovery, the New York School: Works on Paper from the 1950s and 1960s, March 20–April 17, 1992 (catalogue). See c91.

Paths to Discovery, the New York School:Works on Paper from the 1950s and 1960s. Foreword by Sandra Kraskin; text by Ellen Russotto.

New York: Sidney Mishkin Gallery, Baruch College, 1992.

Station Gallery, Katonah, N.Y., Black Mountain College: Scratching the Surface, March 21–May 9, 1992. Drawings only. Reviewed in Zimmer 1992.

Cummer Museum of Art, Jacksonville, Fla., Abstract Expressionism: The Haskell Collection, April 17–June 28, 1992 (catalogue). See P704.

Abstract Expressionism: The Haskell Collection Jacksonville, Fla.: Cummer Museum of Art, 1992.

Pascal de Sarthe Gallery, Los Angeles, Collages, summer 1992. See c283.

Solomon R. Guggenheim Museum, New York, The Guggenheim Museum and the Art of This Century, June 22–September 7, 1992. See P224.

Morris Museum, Morristown, N.J., The Painter’s Music, The Musician’s Art, November 1–December 7, 1992. See c649.

Studio Museum in Harlem, New York, Wilfredo Lam and His Contemporaries, 1938–1952, December 6, 1992–April 11, 1993 (catalogue). See P47, c40. Reviewed in Smith 1993a.

Balderrama, Maria R., ed. Wilfredo Lam and His Contemporaries, 1938–1952. Foreword by Kinshasha Holman Conwill; introduction by Jacques Leenhardt; essays by Giulio V. Blanc, Julia P. Herzberg, and Lowery Stokes Sims. New York: Studio Museum in Harlem, 1992.

1993

S O l O eX hibiti O n S

Knoedler & Company, New York, Robert Motherwell: The Open Series, February 13–March 11, 1993 (checklist). See P397, P419, P489, P557, P559, P637, P664, P674, P752, P1020, c276, w278, w308. Reviewed in Solomon 1993.

San Francisco Museum of Modern Art, Preserving a Modern Masterpiece: The Conservation of a Motherwell Elegy, September 30–November 28, 1993. See P217. Reviewed in Tanner 1993.

Modern Art Museum of Fort Worth, Selections from the Permanent Collection and Robert Motherwell Recent Acquisitions, October 31–December 5, 1993 (checklist). See P4, P122, P128, P226, P496, P745, P786, P789, P1024, P1030, P1176, c384, c476, c506, c515, c676, c685, c842, w147, w452, w542. Reviewed in Tyson 1993a.

g r O u P eX hibiti O n S

High Museum of Art, Atlanta, Abstract Expressionism:Works on Paper, Selections from the

Metropolitan Museum of Art, January 26–April 4, 1993; Metropolitan Museum of Art, New York, May 4–September 12, 1993 (catalogue). Drawings only.

Messinger, Lisa Mintz. Abstract Expressionism: Works on Paper, Selections from the Metropolitan Museum of Art. New York: Metropolitan Museum of Art; Atlanta: High Museum of Art, 1992.

Stuart Levy Fine Art, New York, Salute to Long Point, January 26–February 27, 1993. Works unknown.

Museum of Fine Arts, Boston, Building a Collection: The Department of Contemporary Art, January 28–July 3, 1993 (permanent collection exhibition). See P592.

Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy, Un’avventura internazionale Torino e le arti, 1950–1970, February 5–April 25, 1993 (catalogue). See P207.

Un’avventura internazionale Torino e le arti, 1950–1970 (text in Italian). Milan: Charta Editions, 1993.

Ueno Royal Museum, Tokyo, Masterworks from the Museum of Modern Art, February 6–May 9, 1993 (catalogue). See P215.

Masterworks from the Museum of Modern Art (text in Japanese and English). Essays by Shuji Takashina et al. New York: Museum of Modern Art; Tokyo: Ueno Royal Museum, 1993.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Intimates and Confidants in Art: Husbands,Wives, Lovers, and Friends, February 28–May 23, 1993 (catalogue). See P138, c411.

Intimates and Confidants: Husbands, Wives, Lovers, and Friends. Introduction by Constance Schwartz; essay by Franklin Hill Perrell. Roslyn Harbor, N.Y.: Nassau County Museum of Art, 1993.

Sidney Janis Gallery, New York, An American Homage to Matisse, May 20–June 26, 1993. See c66, c285, c649.

Fondation Cartier, Jouy-en-Josas, France, Azur, May 28–September 12, 1993 (catalogue). See P555. Reviewed in Levergeois 1993.

Ashbery, John, Denys Riout, Angelika Overath, Manlio Brusatin, Michael Jakob, Jacqueline Lichtenstein, Paolo Fabbri, Allen S. Weiss, Paul Virilio, Michel Cassé, Gilles A. Tiberghien, Agnès Minazzoli, and Michel Pastoureau. Azur (text in French).

Preface by Hervé Chandès. Jouy-en-Josas, France: Fondation Cartier pour l’Art Contemporain, 1993.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Long Island Collections: The Gilded Age to the 1990s, May 30–September 12, 1993 (catalogue). See c758, w135.

Schwartz, Constance. Long Island Collections: The Gilded Age to the 1990s Roslyn Harbor, N.Y.: Nassau County Museum of Art, 1993.

Musée d’Ethnographie, Neuchâtel, Switzerland, Si: Regards sur le sens commun, June 5, 1993–January 9, 1994 (catalogue). See w60.

Hainard, Jacques, and Roland Kaehr. Si: Regards sur le sens commun (text in French and German). Contributions by Jean-Blaise Grize, Marc-Olivier Gonseth, Jean-Michel Adam, Marie-Dominique Perrot, Jean-Luc Alber, Alexandre Mallart, Bruno Latour, Lucien Sfez, Fabrizio Sabelli, Hans Ulrich Reck, Silvio Fanti, and Claude Macherel. Neuchâtel, Switzerland: Musée d’Ethnographie, 1993.

Knoedler & Company, New York, Richard Diebenkorn, Helen Frankenthaler, Adolph Gottlieb, Robert Motherwell: On Paper, June10–July 30, 1993 (checklist). See c276, c433, c675.

Williams College Museum of Art, Williamstown, Mass., Third Williams College Alumni Loan Exhibition: Two Hundred Years of American Art, June 12–November 28, 1993 (catalogue). See w11.

Third Williams College Alumni Loan Exhibition: Two Hundred Years of American Art. Preface by Linda Shearer; with contributions by Whitney S. Stoddard, S. Lane Faison Jr., and William H. Pierson Jr. Williamstown, Mass.: Williams College Museum of Art, 1993.

Long Point Gallery, Provincetown, Mass., Masterworks: Bultman, Manso, Motherwell, Rothschild, June 20–July 10, 1993. See P702, c841, w131, w518. Reviewed in Myers 1993.

IBM Gallery of Science and Art, New York, 20th Century Works from the University of Iowa Museum of Art, July 11–September 13, 1993. See P851. Reviewed in Smith 1993b.

James A. Michener Art Center, Doylestown, Pa., Twentieth Century American Art from the Mari and James A. Michener Collection (organized by the Archer M. Huntington Art Gallery), July 18, 1993–January 2, 1994; Samuel P. Harn Museum of Art, University of Florida, Gainesville, January 31–July 7, 1994; Triton Museum of Art, Santa Clara, Calif., July 23–September 11, 1994. See P210. Heckscher Museum, Huntington, N.Y., Baudelaire’s Voyages: The Poet and His Painters, August 28–November 14, 1993; Archer M. Huntington Gallery, University of Texas at Austin, January 21–March 13, 1994 (catalogue). See P222. Reviewed in Russell 1993. Coven, Jeffrey. Baudelaire’s Voyages: The Poet and His Painters. Essay by Dore Ashton. New York: Bulfinch Press, 1993. Manny Silverman Gallery, Los Angeles, The Usual Suspects, September 9–October 16, 1993. Works unknown.

Yale University Art Gallery, New Haven, Conn., South of the Border: Mexico in the American Imagination, 1914–1947, September 10–November 21, 1993; Phoenix Art Museum, December 26, 1993–February 13, 1994; New Orleans Museum of Art, May 7–July 17, 1994; Museo de Monterrey, Mexico, September 9–November 20, 1994 (catalogue). See P8. Oles, Jules, ed. South of the Border: Mexico in the American Imagination, 1914–1947. Essay by Karen Cordero Reiman. Washington, D.C.: Smithsonian Institution Press, 1993. CDS Gallery, New York, The 3 Americas, September 11–October 2, 1993. See c281.

list of exhibitions

Marisa del Re Gallery, New York, The Linear Image II: Twentieth-Century Master Works on Paper, October 7–November 6, 1993. Works unknown.

Washburn Gallery, New York, Miro and New York, 1930–1950, October 13–November 27, 1993 (checklist). See c44.

Acquavella Galleries, New York, XIX & XX Century Master Paintings & Sculptures, October 25–December 12, 1993. Works unknown.

Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, Canada, The Painter’s Art: Masterworks of Modernism, October 31, 1993–April 3, 1994 (catalogue). See P503, P698, c5, c169.

Castel, Boris. The Painter’s Art: Masterworks of Modernism. Foreword by Dorothy Farr. Kingston, Ontario, Canada: Agnes Etherington Art Centre, 1993.

Murray and Isabella Rayburn Foundation, New York, Roma—New York, 1948–1964: An Art Exploration, November 5, 1993–January 10, 1994 (catalogue). See P277.

Celant, Germano. Roma—New York, 1948–1964: An Art Exploration (text in Italian). Milan: Edizioni Charta, 1993.

1994

S O l O eX hibiti O n S

Modern Art Museum of Fort Worth, Selections from the Permanent Collection and Recent Acquisitions: Robert Motherwell, January 20–April 10, 1994 (permanent collection exhibition). See P128, P226, P745, c384, c476, c506, c685, c842, w452, w542.

Knoedler & Company, New York, Robert Motherwell: At Five in the Afternoon, December 7, 1994–January 5, 1995 (checklist). See P152, P221, P645, P647, P819, P850, w10, w30, w107, w276, w357, w518. Reviewed in Karmel 1994.

g r O u P eX hibiti O n S

Century Club, New York, Leo Manso, Robert Motherwell, and Judith Rothschild: A Memorial Exhibition, January 12–February 25, 1994. See P796, P916, P1045, P1047, c843, c881.

Albright-Knox Art Gallery, Buffalo, Two Paths through Abstraction: A Selection from the Permanent Collection, January 15–March 27, 1994 (permanent collection exhibition). See P672.

Tacoma Art Museum, Wash., What Is Real? American Art, 1960 to 1975, March 19–June 19, 1994. See P573.

CDS Gallery, New York, Intersections: Crossroads of International Contemporary Artists, April 2–May 28, 1994. See c281.

Tokyo Metropolitan Art Museum, New York: A Magnet for Artists, April 15–June 12, 1994 (catalogue). See w15.

New York: A Magnet for Artists (text in English and Japanese). Foreword by Shunichi Suzuki. Tokyo: Tokyo Runessansu Suishi Iinkai, 1994.

Museum of Contemporary Art, Chicago, Under Development: Dreaming the MCA’s

Collection, April 30–August 28, 1994 (catalogue). See P92, P925, c643.

Francis, Richard, and Lynne Warren. Under Development: Dreaming the MCA’s Collection Chicago: Museum of Contemporary Art, 1994.

Milwaukee Art Museum, Abstract Expressionism: Works on Paper from the Permanent Collection, June 3–September 11, 1994; Rahr-West Art Museum, Manitowoc, Wis., October 23–November 20, 1994; Lands’ End Gallery, Dodgeville, Wis., January 25–March 8, 1995 (catalogue). See w205, w208.

Abstract Expressionism:Works on Paper from the Permanent Collection. Essay by Dean Sobel. Milwaukee: Milwaukee Art Museum, 1994.

Museum of Fine Arts, Museum of New Mexico, Santa Fe, Romantic Modernism, 100 Years, June 4–July 31, 1994 (catalogue). See P816.

Ballatore, Sandy. Romantic Modernism, 100 Years. Essay by Robert Rosenblum. Santa Fe, N.Mex.: Museum of Fine Arts, Museum of New Mexico, 1994.

Provincetown Art Association and Museum, Mass., Provincetown Abstract Painting, 1915–1950: From the Penny and Elton Yasuna Collection, August 5–September 5, 1994 (catalogue). Drawings only.

Vevers, Tony. Provincetown Abstract Painting, 1915–1950: From the Penny and Elton Yasuna Collection. Provincetown, Mass.: Provincetown Art Association and Museum, 1994.

Museum of Art, Munson-Williams-Proctor Institute, Utica, N.Y., Life Lines: American Master Drawings, 1788–1962 from the MunsonWilliams-Proctor Institute, September 17–November 13, 1994; Samuel P. Harn Museum of Art, University of Florida, Gainesville, January 15–March 12, 1995; Taft Museum, Cincinnati, June 15–August 20, 1995; Museums at Stony Brook, N.Y., June 22–September 2, 1996; Columbus Museum, Ga., October 6–December 1, 1996; Woodmere Art Museum, Philadelphia, February 16–April 27, 1997 (catalogue). Drawings only.

Murray, Mary E., and Paul D. Schweizer. Life Lines: American Master Drawings, 1788–1962: From the Munson-Williams-Proctor Institute. Contributions by Ross C. Anderson, Andrea Henderson Fahnestock, Jeffrey R. Hayes, Gail Levin, David Meschutt, Ellen G. Miles, Lisa N. Peters, and Judith Wolfe. Utica, N.Y.: Munson-Williams-Proctor Institute, 1994.

Kemper Museum of Contemporary Art, Kansas City, Mo., Debut: Selections from the Permanent Collection, October 2, 1994–June 30, 1995 (permanent collection exhibition). See c397.

Baltimore Museum of Art, Major Modern Drawings from the Collection, October 8, 1994–January 29, 1995 (permanent collection exhibition). See c3.

Armory, Philadelphia, USArtists ’94, Exposition and Sale of American Art for the Benefit of the

Pennsylvania Academy of Fine Arts, November 4–6, 1994. See c565.

1995

S O l O eX hibiti O n S Long Fine Art, New York, Robert Motherwell Prints, 1961–1991: A Thirty Year Voyage, April 7–June 3, 1995. Works unknown. Reviewed in Walsh 1995.

Washington University Gallery of Art, Saint Louis, Motherwell in St. Louis: A Selection from Local Collections, September 8–October 22, 1995 (catalogue). See P118, P238, P477, P652, c19, c48, c55, c303, c489, c609, c621, w517.

Homburg, Cornelia. Motherwell in St. Louis: A Selection from Local Collections. Saint Louis: Washington University Gallery of Art, 1995.

Denver Art Museum, Robert Motherwell, November 5, 1995–fall 1996 (permanent collection exhibition; catalogue). See P22, P88, P147, P339, P391, P410, P451, P473, P722, P777, P796, P811, P1177, c101, c401, c553, c830, w270, w632. Reviewed in Paglia 1996.

Robert Motherwell: Recent Acquisitions Denver: Denver Art Museum, 1996.

g r O u P eX hibiti O n S

National Museum of Modern Art, Tokyo, Abstract Expressionism: Masterpieces from Japanese Collections, March 11–June 4, 1995 (catalogue). See P485, P813.

Takahashi, Koji. Abstract Expressionism: Masterpieces from Japanese Collections (text in English and Japanese). Foreword by Hiroshi Ueki and Hisashi Hieda. Tokyo: National Museum of Modern Art, 1995.

Sidney Mishkin Gallery, Baruch College, New York, Painting in Poetry, Poetry in Painting: Wallace Stevens and Modern Art, March 17–April 27, 1995 (catalogue). See c877, w5. MacLeod, Glen. Painting in Poetry, Poetry in Painting:Wallace Stevens and Modern Art Preface by Sandra Kraskin. New York: Sidney Mishkin Gallery, Baruch College, 1995.

Neuberger Museum of Art, State University of New York at Purchase, Crossing State Lines: 20th Century Art from Private Collections in Westchester and Fairfield Counties, March 26–June 18, 1995 (catalogue). See P1161. Reviewed in Raynor 1995.

Crossing State Lines: 20th Century Art from Private Collections in Westchester and Fairfield Counties. Introduction by Lucinda H. Gedeon. Purchase, N.Y.: Neuberger Museum of Art, 1995.

CDS Gallery, New York, Masters of the Twentieth Century, April 7–May 6, 1995. See c281.

Milwaukee Art Museum, Recent Acquisitions, May 18–August 27, 1995 (permanent collection exhibition). See P246, P277.

Manny Silverman Gallery, Los Angeles, Air Conditioned Abstraction,Volume II, June–August 1995 (checklist). See P708, P861.

National Gallery of Art, Washington, D.C., Recent Acquisitions of Works of Art on Paper, July 2–December 31, 1995 (permanent collection exhibition). See c433.

Spencer Museum of Art, University of Kansas, Lawrence, Unpainted to the Last: Moby Dick and Twentieth-Century American Art, August 19–October 8, 1995; University of Michigan Museum of Art, Ann Arbor, November 4–December 24, 1995; Mary and Leigh Block Gallery, Northwestern University, Evanston, Ill., January 12–March 10, 1996 (catalogue). See P153.

Schultz, Elizabeth A. Unpainted to the Last: Moby Dick and Twentieth-Century American Art. Lawrence: University Press of Kansas, 1995.

Margo Leavin Gallery, Los Angeles, 25 Years: Margo Leavin Gallery, 1970–1995; An Exhibition of Selected Works, September 23–October 28, 1995 (catalogue). See c408.

Margo Leavin Gallery: 25 Years. Los Angeles: Margo Leavin Gallery, 1995.

Whitney Museum of American Art, New York, Picassoid: Collection in Context, September 29–December 10, 1995 (permanent collection exhibition; catalogue). Drawings only.

Fitzgerald, Michael C. Picassoid: Collection in Context. New York: Whitney Museum of American Art, 1995.

Toyota Municipal Museum of Art, Japan, Message 1995: Masterpieces of Modern Art from the Detroit Institute of Arts, November 11, 1995–January 7, 1996 (catalogue). See P818.

Message 1995: Masterpieces of Modern Art from the Detroit Institute of Arts (text in English and Japanese). Toyota, Japan: Toyota Municipal Museum of Art, 1995.

1996

S O l O eX hibiti O n S

Walker Art Center, Minneapolis, Robert Motherwell: Reality and Abstraction, March 3–June 30, 1996 (catalogue). See P108, P265, P437, P627, P632, P753, P1112, c66, c139, c410, c493, c507, w40, w68, w70, w101, w107, w518.

Robert Motherwell: Reality and Abstraction (includes artist’s statements). Foreword by Kathy Halbreich. Minneapolis: Walker Art Center, 1996.

Smith College Museum of Art, Northampton, Mass., Robert Motherwell, April 3–May 5, 1996. See P139, P1133, c43, c189, w131.

Fundació Antoni Tàpies, Barcelona, Motherwell, November 13, 1996–January 12, 1997; Museo Nacional Centro de Arte Reina Sofía, Madrid, March 5–May 5, 1997 (catalogue). See P4, P8, P71, P84, P88, P93, P108, P109, P122, P129, P139, P163, P164, P177, P181, P182, P212, P219, P221, P222, P224, P240, P267, P277, P339, P352, P392, P437, P486, P496, P519, P554, P673, P717, P777, P791, P799, P805, P819, P838, P875, P1012, P1030, P1063, P1112, P1115, P1138, P1153, P1177, c8, c22, c44, c63, c66, c67, c79, c402, c410, c676, w70, w101, w562, w579, w587, w606, w621, w636.

Ashton, Dore, Norbert Lynton, Francisco Calvo Serraller, and Joan Banach. Motherwell (text in English, Spanish, and Catalan). Barcelona: Fundació Antoni Tàpies, 1996.

g r O u P eX hibiti O n S

Nassau County Museum of Art, Roslyn Harbor, N.Y., American Vanguards, January 21–April 28, 1996 (catalogue). See c41. Schwartz, Constance. American Vanguards Roslyn Harbor, N.Y.: Nassau County Museum of Art, 1996.

Wadsworth Atheneum Museum of Art, Hartford, Conn., Acquiring Art in the 1990’s: The Inside Story, January 21–April 14, 1996 (permanent collection exhibition). See P842–P846.

Philharmonic Center for the Arts, Naples, Fla., American Painting, February 8–March 9, 1996. See P934.

National Gallery of Art, Washington, D.C., The Robert and Jane Meyerhoff Collection, 1945 to 1995, March 31–July 21, 1996 (catalogue). See c68.

Rosenthal, Mark. The Robert and Jane Meyerhoff Collection, 1945 to 1995. Contributions by David Anfam, Harry Cooper, Molly Donovan, Ruth E. Fine, Marla Prather, Charles Ritchie, and Jeffrey Weiss. Washington, D.C.: National Gallery of Art, 1996.

Pace Wildenstein Gallery, New York, 50/50: Fifty Artists from Fifty Years of Skowhegan, April 9–27, 1996; Robert Miller Gallery, New York, April 30, 1996. See w525.

Kemper Museum of Contemporary Art, Kansas City, Mo., Visual Gestures: Abstraction in the Permanent Collection, April 30–May 26, 1996 (permanent collection exhibition). See c397.

Wexner Center for the Arts, Ohio State University, Columbus, Forces of the Fifties: Selections from the Albright-Knox Art Gallery, May 4–August 4, 1996 (catalogue). See P156.

De Salvo, Donna. Forces of the Fifties: Selections from the Albright-Knox Art Gallery Foreword by Sherri Geldin; essay by David Moos. Columbus: Wexner Center for the Arts, Ohio State University, 1996.

Sezon Museum of Art, Tokyo, Abstract Expressionism, June 6–July 14, 1996; Aichi Prefectural Museum of Art, Nagoya, Japan, July 26–September 16, 1996; Hiroshima City Museum of Contemporary Art, Japan, September 29–November 17, 1996 (catalogue). See P194, P821.

Abstract Expressionism (text in Japanese and English). Essays by Kenichiro Makino, Hitoshi Dehara, et al. Nagoya, Japan: Aichi-ken Bijutsukan, 1996.

Butler Trumbull County Branch Museum, Howland, Ohio, [inaugural exhibition], June 15–September 26, 1996. See P1204, c77, c473, c833, w657.

Guild Hall Museum, East Hampton, N.Y., The Surrealists and Their Friends on Eastern Long Island at Mid-Century, August 10–October 13, 1996 (catalogue). See P26, c41.

Braff, Phyllis. The Surrealists and Their Friends on Eastern Long Island at MidCentury. Foreword by Henry Korn. East Hampton, N.Y.: Guild Hall of East Hampton, 1996.

Tacoma Art Museum, Wash., Tacoma Art Museum Collects, September 27–December 31, 1996 (permanent collection exhibition). See P573.

Marsh Art Gallery, George M. Modlin Center for the Arts, University of Richmond, Va.,

Seeing Across Cultures: Objects from the Virginia Museum of Fine Arts, October 4, 1996–January 19, 1997 (catalogue). See P1179. Reviewed in James 1997 and Roberts-Pullen 1997.

Seeing Across Cultures: Objects from the Virginia Museum of Fine Arts. Foreword by Richard Waller. Richmond, Va.: Marsh Art Gallery, University of Richmond, 1996.

Centro Cultural de Arte Contemporáneo, Mexico City, Pintura estadounidense expresionismo abstracto, October 11, 1996–January 12, 1997 (catalogue). See P131, P164, P207, c47.

Pintura estadounidense expresionismo abstracto (text in Spanish). 2 vols. Mexico City: Centro Cultural de Arte Contemporáneo; Fundación Cultural Televisa, A.C., 1996.

New Britain Museum of American Art, Conn., American Artists Abroad, October 12, 1996–January 26, 1997 (permanent collection exhibition). See P1113.

Palacio de la Lonja; Sala Luzán, Caja de Ahorros de la Inmaculada; Palacio de Montemuzo, Zaragoza, Spain, Después de Goya: Una mirada subjetiva, November 19, 1996–January 10, 1997; it is unknown at which venue the work by Motherwell was shown. (catalogue). See w534.

Saura, Antonio. Después de Goya: Una mirada subjetiva (text in Spanish, includes artist’s statements). Foreword by Santiago Lanzuela Marina; introduction by Luisa Fernanda Rudi Ubeda and Manuel Sola Sanchez de Rojas. Aragón, Spain: Gobierno; Madrid: Elect España, 1996.

Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, Proud Possessions: Paintings and Prints, 1993–96, December 13, 1996–February 9, 1997 (permanent collection exhibition; checklist). See P922.

Centre National d’Art et de Culture Georges Pompidou, Paris, Face à l’histoire, 1933–1996: L’Artiste moderne devant l’événement historique, December 19, 1996–April 7, 1997 (catalogue). See P156.

Ameline, Jean-Paul, ed. Face à l’histoire, 1933–1996: L’Artiste moderne devant l’événement historique (text in French). Paris: Flammarion, 1996.

Museo di Capodimonte, Naples, Italy, Prospettiva del passato: Da Van Gogh ai contemporanei nelle raccolte dello Stedelijk Museum di Amsterdam, December 20, 1996–April 6, 1997 (catalogue). See P365.

Prospettiva del passato: Da Van Gogh ai contemporanei nelle raccolte dello Stedelijk

Museum di Amsterdam (text in Italian). Naples, Italy: Electa Napoli, 1996.

1997

S O l O eX hibiti O n S

Miriam & Ira D. Wallach Art Gallery, Columbia University, New York, Robert Motherwell on Paper: Gesture,Variation, Continuity, January 29–March 29, 1997; Marsh Art Gallery, University of Richmond, Va., October 17–December 13, 1997; Spencer Museum of Art, University of Kansas, Lawrence, April 4–May 31, 1998 (catalogue). See P688, P690, P779, P780, c493, c838, c840, c841, c848–c850, w10, w125, w131, w145, w152, w287, w294, w389, w407, w514, w576, w579, w590, w604. Reviewed in Cotter 1997.

Rosand, David, ed. Robert Motherwell on Paper: Drawings, Prints, Collages. Essays by David Rosand, Arthur C. Danto, Stephen Addiss, and Mary Ann Caws. New York: Harry N. Abrams, in association with the Miriam & Ira D. Wallach Art Gallery, Columbia University, 1997.

Manny Silverman Gallery, Los Angeles, Robert Motherwell:Works on Paper, 1950–1991, November 1–December 20, 1997 (catalogue). See P692, w91, w92, w109, w145, w160, w174, w286, w392, w408, w460, w512, w526, w556, w573, w578, w584, w622, w633, w638, w641, w677. Reviewed in Darling 1998, Muchnic 1998, and Pagel 1997.

Robert Motherwell:Works on Paper, 1950–1991 Los Angeles: Manny Silverman Gallery, 1997.

g r O u P eX hibiti O n S

Bruce Museum, Greenwich, Conn., Reflections of Taste: American Art from Greenwich Collections, January 19–March 30, 1997. See c17. Reviewed in Zimmer 1997.

Museum of Contemporary Art, Tokyo, Founders and Heirs of the New York School, January 25–March 16, 1997; Miyagi Museum of Art, Tokyo, April 5–May 25, 1997; Museum of Modern Art, Ibaraki, Japan, June 28, 1997–August 3, 1997 (catalogue). See P411, P924, P1150, P1206, c71.

Ashton, Dore, and Chieko Hirano. Founders and Heirs of the New York School (text in English and Japanese). Entry “Robert Motherwell,” by Chieko Hirano, p. 121. Tokyo: Museum of Contemporary Art, 1997.

CDS Gallery, New York, Art of This Century, March 1–April 30, 1997. See c281.

Museu de Arte Moderna do Rio de Janeiro, Modern Examples: The Museu de Arte Moderna Collection, May 28–June 25, 1997 (permanent collection exhibition). See P99.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Poets and Painters, June 8–September 7, 1997 (catalogue). See P916, P1114.

Schwartz, Constance, Franklin Hill Perrell, Barbara Lekatsis, and Peter Strauss. Poets and Painters. Roslyn Harbor, N.Y.: Nassau County Museum of Art, 1997.

Sheldon Swope Art Museum, Terre Haute, Ind., New Acquisitions, July 1997–October 1998 (permanent collection exhibition). See w615.

Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, The View from Denver: Contemporary American Art from the Denver Art Museum, July 5–August 31, 1997 (catalogue). See P88, P339, P777, P1177.

The View from Denver: Contemporary American Art from the Denver Art Museum Foreword by Lóránd Hegyi and Lewis I. Sharp; with contributions by Dianne Perry Vanderlip, Jane Fudge, Gwen F. Chanzit, and Nancy B. Tieken. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 1997.

Long Point Gallery, Provincetown, Mass., 20th Anniversary Exhibition, August 24–September 13, 1997. See P793.

Dennos Museum Center, Northwestern Michigan College, Traverse City, Picasso to Warhol: 20th Century Masterworks from the Detroit Institute of Arts, October 19, 1997–February 15, 1998 (catalogue). See P772, P818. Reviewed in Barnes 1997.

Shinners, Jacqueline. Picasso to Warhol: 20th Century Masterworks from the Detroit Institute of Arts. Traverse City, Mich.: Dennos Museum Center, 1997.

Guggenheim Museum Bilbao, Spain, The Guggenheim Museum and the Art of This Century, October 19, 1997–June 1, 1998 (checklist). See P181, P222, P607, P924.

Pfalzgalerie Kaiserslautern, Germany, Malerei des Amerikanischen Abstrakten Expressionismus: Jackson Pollock, Robert Motherwell, Adolph Gottlieb, Richard Pousette-Dart, November 2, 1997–January 4, 1998 (catalogue). See P93, P163, P181, P411, c71, w541, w564.

Buhlmann, Britta E., Justus Jonas-Edel, Sanford Hirsch, and Dirk Görtler. Malerei des Amerikanischen Abstrakten Expressionismus: Jackson Pollock, Robert Motherwell, Adolph Gottlieb, Richard PousetteDart (text in German). Kaiserslautern, Germany: Pfalzgalerie Kaiserslautern, 1997.

Sidney Mishkin Gallery, Baruch College, New York, Alumni Collect: Twentieth-Century Masterpieces from the Collections of Baruch College Alumni, November 7–December 12, 1997 (catalogue). See w43.

Kraskin, Sandra. Alumni Collect: TwentiethCentury Masterpieces from the Collections of Baruch College Alumni. New York: Sidney Mishkin Gallery, Baruch College, 1997. Cobra Museum, Amstelveen, the Netherlands, De Kooning Sculptures among American Paintings, December 19, 1997–March 1, 1998. See P365.

1998

S O l O eX hibiti O n S

Museo Nacional Centro de Arte Reina Sofía, Madrid, Presencia Inquietante de Robert Motherwell, March 9–17, 1998 (catalogue). See P875. Reviewed in Lynton 1997.

Bozal, Valeriano. Presencia Inquietante de Robert Motherwell (text in Spanish). Madrid:

list of exhibitions

Museo Nacional Centro de Arte Reina Sofía, 1998.

The Modern at Sundance Square, Modern Art Museum of Fort Worth, Masterworks from the Modern Art Museum: Robert Motherwell (A Tribute to the Nancy Lee and Perry R. Bass Performance Hall), April 5–June 7, 1998. See P128, P226, P1024, P1030, c476, c506. Unidentified: “two collages.” Reviewed in Tyson 1998.

g r O u P eX hibiti O n S Republic Plaza, Denver, Corporation Collection, January–February 1998. See P449. Arnot Art Museum, Elmira, N.Y., Masterpieces from the Albright-Knox Art Gallery, February 6, 1998–January 22, 1999. See P672. Arkansas Arts Center, Little Rock, Twentieth Century American Drawings from the Arkansas Arts Center Foundation Collection, February 13–March 15, 1998; Sunrise Museums, Charleston, W.Va., September 6–November 8, 1998; Philharmonic Center for the Arts, Naples, Fla., December 11, 1998–January 30, 1999; Fort Wayne Museum of Art, Ind., February 21–April 18, 1999; Knoxville Museum of Art, Tenn., May 16–July 11, 1999; Boise Art Museum, Idaho, August 8–October 17, 1999; Mobile Museum of Art, Ala., November 7, 1999–January 9, 2000; Art Museum of Southeast Texas, Beaumont, January 30–March 26, 2000; Art Museum of South Texas, Corpus Christi, April 23–June 19, 2000; Joslyn Art Museum, Omaha, July 16–September 10, 2000; Kalamazoo Institute of Arts, Mich., October 15–December 31, 2000 (catalogue). See w529.

Nordland, Gerald. Twentieth Century American Drawings from the Arkansas Arts Center Foundation Collection. Contributions by Ruth Pasquine, Brian Young, and Michael Preble. Miami Beach: Grassfield Press, in association with the Arkansas Arts Center Foundation Collection, 1998. Knoxville Museum of Art, Tenn., Masterworks of American Art from the Munson-WilliamsProctor Institute Museum of Art, February 26–August 23, 1998. See P153.

Worcester Art Museum, Mass., Master Drawings from the Worcester Art Museum, April 18–June 21, 1998; University of Michigan Museum of Art, Ann Arbor, November 7, 1998–January 17, 1999; Davenport Museum of Art, Iowa, February 7–April 11, 1999; Michael C. Carlos Museum, Emory University, Atlanta, May 8–July 11, 1999 (catalogue). See w630.

Acton, David. Master Drawings from the Worcester Art Museum. New York: Hudson Hills Press, in association with the Worcester Art Museum, 1998.

National Gallery of Victoria, Melbourne, Australia, Beyond Belief: Modern Art and the Religious Imagination, April 24–July 26, 1998 (catalogue). See P225.

Crumlin, Rosemary, and Margaret Woodward. Beyond Belief: Modern Art and the Religious Imagination. Essays by Rosemary Crumlin, David Freedberg,

Mark C. Taylor, Diane ApostolosCappadona, Friedhelm Mennekes, Veronica Lawson, Elaine Wainwright, Maria Harris, and Margaret Woodward. Melbourne, Australia: National Gallery of Victoria, 1998.

Cape Museum of Fine Arts, Dennis, Mass., A Tribute to Long Point Gallery, May 10–June 21, 1998. See P734, c123.

Solomon R. Guggenheim Museum, New York, Peggy Guggenheim: A Centennial Celebration, June 12–September 2, 1998; Peggy Guggenheim Collection, Venice, September 29, 1998–January 12, 1999 (catalogue). See c8.

Vail, Karole P. B. Peggy Guggenheim: A Celebration. Foreword by Thomas Krens; essay by Thomas M. Messer. New York: Solomon R. Guggenheim Foundation, 1998.

Ackland Art Museum, University of North Carolina at Chapel Hill, Identity Revealed: Message and Meaning in Contemporary Art, June 14–October 11, 1998 (catalogue). See P197.

Matilsky, Barbara. Identity Revealed: Message and Meaning in Contemporary Art. Chapel Hill, N.C.: Ackland Art Museum, 1998.

Nardin Gallery, New York, A Salute to the Long Point Gallery, June 16–July 18, 1998. Works unknown.

Williams College Museum of Art, Williamstown, Mass., 20th Century Masterpieces from the Albright-Knox Art Gallery, June 27, 1998–February 14, 1999. See P156.

Manny Silverman Gallery, Los Angeles, Group Exhibition, July 11–August 22, 1998 (checklist). See w264.

Milwaukee Art Museum, Making Marks: Drawing in the 20th Century from Picasso to Kiefer, July 12–August 23, 1998 (permanent collection exhibition; catalogue). Drawings only.

Making Marks: Drawing in the 20th Century from Picasso to Kiefer. Introduction by Russell Bowman. Milwaukee: Milwaukee Art Museum, 1998.

Hudson D. Walker Gallery, Fine Arts Work Center, Provincetown, Mass., Long Point Gallery at FAWC, July 17–August 4, 1998. Works unknown.

Museu de Arte Moderna do Rio de Janeiro, The International Way: Sculptures and Paintings, 1920–1960, July 29–August 20, 1998 (permanent collection exhibition). See P99.

Ulrich Museum of Art, Wichita State University, Kans., Language of Abstraction, August 1, 1998–January 3, 1999 (permanent collection exhibition). See P839, P877.

Kalamazoo Institute of Arts, Mich., Art and the American Experience, September 13–December 6, 1998 (catalogue). See c575.

Marck, Jan van der. Art and the American Experience. Kalamazoo, Mich.: Kalamazoo Institute of Arts, 1998.

Museum of Modern Art, New York, The New York School, September 17, 1998–January 12, 1999 (permanent collection exhibition). Drawings only.

Edmonton Art Gallery, Alberta, Canada, Brush with Disaster, October 23, 1998–February 28, 1999. See P589.

Salvador Dalí Museum, Saint Petersburg, Fla., Surrealism in America during the 1930s and 1940s: Selections from the Penny and Elton Yasuna Collection, November 7, 1998–February 21, 1999; David and Alfred Smart Museum of Art, University of Chicago, November 19, 1999–January 9, 2000; Cape Museum of Fine Arts, Dennis, Mass., July 19–September 17, 2000 (catalogue). See c27.

Jeffett, William, ed. Surrealism in America during the 1930s and 1940s: Selections from the Penny and Elton Yasuna Collection. Essays by Martica Sawin and William Jeffett. Saint Petersburg, Fla.: Salvador Dalí Museum, 1998.

Bellevue Art Museum, Wash., Hands on Color, November 14, 1998–January 17, 1999. See P573. Guggenheim Museum Bilbao, Spain, The Avant-Garde and the Expressionism [sic] in the 20th Century, November 18, 1998–February 14, 1999 (permanent collection exhibition). See P181, P924.

Knoedler & Company, New York, Epic Painting: Adolph Gottlieb, Robert Motherwell, Richard Pousette-Dart, December 10, 1998–January 30, 1999 (checklist). See P554, P913. Reviewed in Vincent 1998.

1999

S O l O eX hibiti O n S

Marlborough Gallery, New York, Robert Motherwell: Drawings, 1951–1986, February 16–March 13, 1999 (catalogue). See P691, w119, w152, w293, w501, w513, w528, w541, w564, w580, w597, w600, w621, w633, w685, w686. Reviewed in Johnson 1999.

Motherwell: Drawings, 1951–1986. Essay by Frédérick-Yves Jeannet. New York: Marlborough Gallery, 1999.

Delaware Art Museum, Wilmington, Master Works at Mid-Century: New Motherwell Acquisitions, June 22–September 12, 1999 (permanent collection and loan exhibition). See P163, P354, P409, P517–P520, P576, P901, c71, c75, c79, c108, c747, w40, w63, w287. Reviewed in Sozanski 1999.

Stein Gallery, Saint Louis, Robert Motherwell, 1915–1991: The Final Prints, and Other Works, October 7–November 6, 1999. Works unknown.

g r O u P eX hibiti O n S

Manny Silverman Gallery, Los Angeles, The January White Show, January 9–February 20, 1999 (checklist). See w286.

Rose Art Museum, Brandeis University, Waltham, Mass., Abstract Expressionism from the Brandeis University Art Collection, January 21–March 7, 1999 (permanent collection exhibition). See P218.

Centre Cultural de la Fundació la Caixa, Barcelona, Made in USA, 1940–1970: Between Art and Life, January 28–March 28, 1999; Schirn Kunsthalle Frankfurt, April 30–July 10, 1999 (catalogue). See P156, P162.

Messer, Thomas M., and Irving Sandler. Made in USA, 1940–1970: Between Art and Life (text in English and Catalan). Preface by Lluis Monreal. Barcelona: Fundació la Caixa; Frankfurt: Schirn Kunsthalle, 1999.

Manny Silverman Gallery, Los Angeles, Willem De Kooning, Adolph Gottlieb, Robert Motherwell, February 27–April 10, 1999 (checklist). See w264, w408, w460, w512, w677. CDS Gallery, New York, International Twentieth Century Art, March 2–May 8, 1999. See c281. Haus der Kunst, Munich, Kunst über Grenzen: Die Klassische Moderne von Cézanne bis Tinguely und die Weltkunst—aus der Schweiz gesehen, March 3–May 30, 1999 (catalogue). See P768.

Vitali, Christoph, and Hubertus Gaßner, eds. Kunst über Grenzen: Die Klassische Moderne von Cézanne bis Tinguely und die Weltkunst—aus der Schweiz gesehen (text in German). Munich: Prestel Verlag, 1999.

North Carolina Museum of Art, Raleigh, Sign and Gesture: Contemporary Abstract Art from the Haskell Collection, March 21–June 13, 1999; Cummer Museum of Art and Gardens, Jacksonville, Fla., June 23–October 3, 1999; Knoxville Museum of Art, Tenn., October 22, 1999–February 13, 2000; Birmingham Museum of Art, Ala., March 5–May 21, 2000 (catalogue). See P704.

Coffey, John W., and David W. Wood. Sign and Gesture: Contemporary Abstract Art from the Haskell Collection. Foreword by Lawrence J. Wheeler and Preston H. Haskell. Raleigh: North Carolina Museum of Art, 1999.

Musée Cantonal des Beaux-Arts, Lausanne, Switzerland, Un Musée pour demain? L’Art contemporain dans des collections privées vaudoises, March 23–June 20, 1999 (catalogue). See P257, P823, c524, c677, w516. Zutter, Jörg, and Bernard Ceysson, Un Musée pour demain? L’Art contemporain dans des collections privées vaudoises (text in French). Lausanne, Switzerland: Musée Cantonal des Beaux-Arts, 1999.

State Hermitage Museum, Saint Petersburg, Russia, Abstract Expressionism: Three Paintings from the Museum of Modern Art, New York, March 23–August 15, 1999. See P215.

Wriston Art Gallery, Lawrence University, Appleton, Wis., Connections: Recent Gifts and the Permanent Collection, April 10–May 16, 1999 (permanent collection exhibition). See c301.

Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain, À Rebours: La Rebelión Informalista/The Informal Rebellion, 1939–1968, April 20–June 13, 1999; Museo Nacional Centro de Arte Reina Sofía, Madrid, July 6–October 11, 1999 (catalogue). See P207, w106.

Ashton, Dore, David Craven, Michio Hayashi, Maria Dolores Jiménez-Blanco, Fred Licht, Matti Megged, and Marek Bartelik. À Rebours: La Rebelión Informalista/ The Informal Rebellion, 1939–1968 (text in English and Spanish). Las Palmas de Gran

Canaria, Spain: Centro Atlántico de Arte Moderno; Madrid: Museo Nacional Centro de Arte Reina Sofía, 1999.

Whitney Museum of American Art, New York, The American Century: Art & Culture, 1900–1950, April 23–August 22, 1999 (catalogue). See P96.

Haskell, Barbara, and Lisa Phillips. The American Century: Art & Culture, 1900–1950 Vol. 1. New York: Whitney Museum of American Art, in association with W. W. Norton, 1999.

Drawing Center, New York, Drawn from Artists’ Collections, April 24–June 12, 1999 (catalogue). See c125.

Drawn from Artists’ Collections. Foreword by Catherine de Zegher; essay by Robert Storr. New York: Drawing Center, 1999.

Walker Art Center, Minneapolis, Art in Our Time: 1950 to the Present, May 9, 1999–September 2, 2001 (permanent collection exhibition). See w107.

Pierpont Morgan Library, New York, New York Collects: Drawings and Watercolors, 1900–1950, May 20–August 29, 1999 (catalogue). See c35.

Braun, Emily, Riva Castleman, John Czaplicka, Dorothea Dietrich, Jack Flam, Nina Gourianova, Diane Kelder, RoseCarol Washton Long, Marilyn McCully, Carter Ratcliff, Bernice Rose, Martica Sawin, Jennifer Tonkovich, Nicholas Fox Weber, and Robert Welsh. New York Collects: Drawings and Watercolors, 1900–1950 Foreword by Charles E. Pierce Jr.; introduction by William M. Griswold; essays by Jack Flam and Carol Selle. Entry “Robert Motherwell,” by Diane Kelder, pp. 294–95. New York: Pierpont Morgan Library, 1999.

Guggenheim Museum Bilbao, Spain, Modern Painting and Sculpture, May 29, 1999–May 14, 2000 (permanent collection exhibition). See P181.

Museum für Gegenwartskunst Basel, Switzerland, White Fire, Flying Man: Amerikanische Kunst, 1959–1999, in Basel, June 5–September 26, 1999 (catalogue). See P130. Schmidt, Katharina, and Philip Ursprung, eds. White Fire, Flying Man: Amerikanische Kunst, 1959–1999, in Basel (text in English and German). Basel, Switzerland: Museum für Gegenwartskunst, 1999.

Asheville Art Museum, N.C., Abstraction, 1940–1970: Masterpieces from the Whitney Museum of American Art, June 12–October 3, 1999. See P171.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Contemporary American Masters: The 1960s, June 13–September 12, 1999 [catalogue]. Works unknown.

Crane Kalman Gallery at Art 30 Basel, Switzerland, Collage: The Pasted-Paper Revolution, June 15–21, 1999; Crane Kalman Gallery, London, June 28–September 7, 1999 (catalogue). See c268.

Collage: The Pasted-Paper Revolution. Essays by Clement Greenberg and Diane Waldman. London: Crane Kalman Gallery, 1999.

Musée Fabre, Montpellier, France, Abstractions américaines, 1940–1960, July 3–October 3, 1999 (catalogue). See P265. Hilaire, Michel, and Eric de Chassey. Abstractions américaines, 1940–1960 (text in French). Paris: Réunion des Musées Nationaux; Montpellier, France: Musée Fabre, 1999.

Museum of Contemporary Art, Los Angeles, In Memory of My Feelings: Frank O’Hara and American Art, July 11–November 14, 1999; Wexner Center for the Arts, Ohio State University, Columbus, April 14–May 28, 2000; Parrish Art Museum, Southampton, N.Y., June 10–July 30, 2000 (catalogue). See P94, w160.

Ferguson, Russell. In Memory of My Feelings: Frank O’Hara and American Art Los Angeles: Museum of Contemporary Art, Los Angeles, in association with University of California Press, Berkeley and Los Angeles, and University of California Press, London, 1999.

Massillon Museum, Ohio, Post World War II American Paintings from the Butler Institute of American Art, July 29–October 1, 1999. See w657.

Bunkamura Museum of Art, Tokyo, Modern Art at Harvard, July 31–September 26, 1999; Takamatsu City Museum of Art, Kagawa, Japan, October 9–November 14, 1999; Matsuzakaya Art Museum, Nagoya, Japan, December 2–27, 1999; Oita Art Museum, Japan, January 5–February 6, 2000; Museum of Modern Art, Ibaraki, Mito, Japan, February 11–March 26, 2000 (catalogue). See P101, c21, c49.

Kijima, Shunsuke. Modern Art at Harvard (text in English and Japanese). [Tokyo]: Nihon Keizai Shimbun, 1999.

Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, Calif., Frederick R.Weisman: Los Angeles Collector, August 21–October 3, 1999 (permanent collection exhibition). See P914.

Albuquerque Museum, N.Mex., Silent Things, Secret Things: Still Life from Rembrandt to the Millennium, September 19, 1999–January 2, 2000 (catalogue). See P117.

Barryte, Bernard, Selma Reuben Holo, and Peter Frank. Silent Things, Secret Things: Still Life from Rembrandt to the Millennium Foreword by Ellen J. Landis. Albuquerque, N.Mex.: Albuquerque Museum, 1999. Phillips Collection, Washington, D.C., Renoir to Rothko: The Eye of Duncan Phillips, September 25, 1999–January 23, 2000 (catalogue). See c90, c129.

Passantino, Erika D., and David W. Scott, eds. The Eye of Duncan Phillips: A Collection in the Making. Contributions by Kenneth E. Silver, Erika D. Passantino, David W. Scott, William C. Agee, Richard L. Rubenfeld, Sarah Wilson, Eliza E. Rathbone, Ben L. Summerford, Willem de Looper, and Jeffrey Harrison. Washington, D.C.: Phillips Collection, in association with Yale University Press, New Haven, Conn., 1999.

Smith College Museum of Art, Northampton, Mass., American Spectrum: Paintings and Sculpture from the Smith College Museum of Art, September 25–December 22, 1999; Faulconer Gallery, Grinnell College, Iowa, February 5–April 23, 2000; National Academy of Design Museum, New York, June 21–September 10, 2000; Norton Museum of Art, West Palm Beach, Fla., October 28, 2000–January 7, 2001; Museum of Fine Arts, Houston, March 4–May 28, 2001; Pennsylvania Academy of the Fine Arts, Philadelphia, June 29–September 30, 2001; Memorial Art Gallery, University of Rochester, N.Y., October 28, 2001–January 13, 2002; Tucson Museum of Art, Ariz., February 16–April 28, 2002; Katonah Museum of Art, N.Y., June 23–September 15, 2002 (catalogue). See P139.

Muehlig, Linda, ed. Masterworks of American Painting and Sculpture from the Smith College Museum of Art. Contributions by Betsey B. Jones, Kristen Erickson, Linda Merrill, and Daniel J. Strong, and conservation notes by David Dempsey. New York: Hudson Hills Press, in association with the Smith College Museum of Art, Northampton, Mass., 1999.

Edmonton Art Gallery, Alberta, Canada, Making History: The Edmonton Art Gallery Celebrates 75 Years, October 23, 1999–March 12, 2000 (permanent collection exhibition). See P589.

Bobbie Greenfield Gallery, Santa Monica, Calif., Drawings: Adolph Gottlieb, Robert Motherwell, Louise Nevelson, Joan Banach, David Hockney, November 11, 1999–January 8, 2000 (checklist). See w503.

Ulrich Museum of Art, Wichita State University, Kans., 25 Years of Collecting, December 4, 1999–January 9, 2000 (permanent collection exhibition). See P839, P916.

Museu de Arte Moderna do Rio de Janeiro, The Museu de Arte Moderna Collection: Selected Works, December 9, 1999–February 12, 2000 (permanent collection exhibition). See P99.

Museo Nacional Centro de Arte Reina Sofía, Madrid, Surrealistas en el exilio y los inicios de la Escuela de Nueva York, December 21, 1999–February 27, 2000; Musée d’Art Moderne et Contemporain, Strasbourg, France, Les Surréalistes en exil et les débuts de L’École de New York, May 13–August 27, 2000 (catalogue). See P8, P23, P26, P72, P108, c5.

Surrealists en el exilio y los inicios de la Escuela de Nueva York (text in Spanish). Introduction by Josefina Alix and Martica Sawin; essays by Josefina Alix, Maria Lluïsa Borrás, Lisa Jacobs, Emmanuel Guigon, Michael Leja, Charles Seliger, Salomon Grimberg, Martica Sawin, Fred Becker, and Ana Zarzo. Madrid: Ministerio de Educación y Cultura, 1999.

2000

S O l O eX hibiti O n S

Bobbie Greenfield Gallery, Santa Monica, Calif., Robert Motherwell: Five Drawings; Inspiration for Seven Prints, January 22–March 4, 2000. See w100, w715.

Philadelphia Museum of Art, New Acquisitions: Robert Motherwell’s A la Pintura and In Plato’s Cave, February 19–May 21, 2000 (permanent collection exhibition). See P740.

Columbus Museum, Ga., Motherwell at the Columbus Museum, March 15–June 11, 2000 (permanent collection exhibition; catalogue). See P244, P411, P1206, c402, w121. Motherwell at the Columbus Museum Introduction by Tom Butler. Columbus, Ga.: Columbus Museum, 2000.

Manny Silverman Gallery, Los Angeles, Robert Motherwell: Works on Paper, October 26–December 16, 2000 (checklist and catalogue). See P26, P328, P475, P691, P791, P1096, P1146, P1186, c172, c428, c494, c731, c746, c827, c840, c859, c865, w159, w286, w287, w463, w541, w563, w578, w685, w686. Robert Motherwell: Works on Paper. Los Angeles: Manny Silverman Gallery, 2000.

g r O u P eX hibiti O n S

Modernism & Abstraction: Treasures from the Smithsonian American Art Museum (circulated by the Smithsonian Institution Traveling Exhibition Service, Washington, D.C.), Art Museum at Florida International University, Miami, January 7–March 26, 2000; Colby College Museum of Art, Waterville, Maine, August 1–October 29, 2000; Memorial Art Gallery, University of Rochester, N.Y., January 28–March 25, 2001; Allentown Art Museum, Pa., April 22–June 17, 2001; Frist Center for the Visual Arts, Nashville, July 21–September 9, 2001; Worcester Art Museum, Mass., October 7, 2001–January 6, 2002; National Academy Museum, New York, February 6–April 7, 2002; Des Moines Art Center, May 4–June 30, 2002; Muskegon Museum of Art, Mich., July 21–September 29, 2002 (checklist and catalogue). See P136, P194. Reviewed in Wibking 2001.

McClintic, Miranda. Modernism & Abstraction: Treasures from the Smithsonian American Art Museum. Foreword by Elizabeth Brown. New York: WatsonGuptill, in association with the Smithsonian American Art Museum, Washington, D.C., 2001.

Marlborough Gallery, New York, On Paper: Selected Drawings of the 19th and 20th Centuries, January 18–February 19, 2000 (catalogue). See w96, w152.

On Paper: Selected Drawings of the 19th and 20th Centuries. New York: Marlborough Gallery, 2000.

Knoedler & Company, New York, Pasted Pictures: Collage and Abstraction in the Twentieth Century, February 3–March 11, 2000 (catalogue). See c69, c140, c658, c837. Reviewed in Kunitz 2000.

Carmean, E. A., Jr. Pasted Pictures: Collage and Abstraction in the Twentieth Century New York: Knoedler & Company, 2000.

Institut Mathildenhöhe, Darmstadt, Germany, Marca-Relli und die Maler des Abstrakten Expressionismus in den USA, March 12–May 1, 2000 (catalogue). See P508, c424, c460.

list of exhibitions

Wolbert, Klaus, ed. Conrad MarcaRelli:Works, 1945–1996 (text in English and German). Darmstadt: Institut Mathildenhöhe, 2000.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Convergence: The Hamptons since Pollock, April 2–May 29, 2000 (catalogue). See c41, w3, w106.

Gordon, Alastair. Convergence: The Hamptons since Pollock. Introduction by Constance Schwartz. Roslyn Harbor, N.Y.: Nassau County Museum of Art, 2000.

Knoedler & Company, New York, The Collector as Patron in the Twentieth Century, May 2–July 31, 2000 (catalogue). See c397.

Sandler, Irving, and DeCourcy E. McIntosh. The Collector as Patron in the Twentieth Century. Foreword by Ann Freedman. New York: Knoedler & Company, 2000. Joseph Helman Gallery, New York, In Transition: The New York School in the 1940s, May 10–June 10, 2000 (catalogue). See P84.

Waldman, Diane. In Transition: The New York School in the 1940s. New York: Joseph Helman Gallery, 2000.

Gemäldegalerie Neue Meister, Residenzschloss, Dresden, Germany, Dalí, Miró, Picasso: Sammlung Ulla und Heiner Pietzsch, June 18–August 20, 2000. See c14.

Guggenheim Museum Bilbao, Spain, American and European Postwar Art, June 24–October 15, 2000 (permanent collection exhibition). See P181.

Nagasaki Prefectural Art Museum, Japan, A Scottish Collection: Treasures from Aberdeen Art Gallery, June 29–July 20, 2000; Takashimaya Art Gallery, Nihonbashi, Tokyo, July 27–August 15, 2000; Nara Prefectural Art Gallery, Japan, August 19–September 17, 2000; Hamamatsu Municipal Museum of Art, Shizuoka, Japan, September 22–October 22, 2000; Takamatsu City Museum of Art, Kagawa, Japan, November 2–December 3, 2000; Kariya City Art Museum, Aichi, Japan, January 4–February 11, 2001; Shimane Art Museum, Japan, February 20–April 1, 2001; Aberdeen Art Gallery, Scotland, May 5–August 18, 2001 (catalogue). See c862.

Melville, Jennifer, Ann Steed, Lisa O’Connor, and Olga Ferguson. A Scottish Collection: Treasures from Aberdeen Art Gallery (text in English and Japanese). [Tokyo]: Yomiuri Shimbun/Japan Association of Art Museums, 2000.

Kunstmuseum St. Gallen, Switzerland, Gesten der Freiheit, July 15–September 10, 2000. See P191.

Knoedler & Company, New York, September Selections, August 17–September 30, 2000 (checklist). See P1169.

Sprengel Museum, Hannover, Germany, In the Beginning was Merz: From Kurt Schwitters to the Present Day, August 20–November 5, 2000; Kunstsammlung Nordhein-Westfalen, Düsseldorf, November 25, 2000–February 18, 2001; Haus der Kunst, Munich, March 9–May 20, 2001 (catalogue). See c11, c460.

Meyer-Büser, Susanne, and Karin Orchard, eds. In the Beginning Was Merz: From Kurt Schwitters to the Present Day. OstfildernRuit, Germany: Hatje Cantz, 2000. Blanton Museum of Art, University of Texas at Austin, Abstraction at Mid-Century: Masterpieces from the Whitney Museum of American Art, September 8–October 31, 2000; Georgia Museum of Art, Athens, January 20–March 17, 2001; Hood Museum of Art, Dartmouth College, Hanover, N.H., March 31–June 17, 2001; Palm Springs Desert Museum, Calif., November 17, 2001–February 3, 2002. See P171.

Montclair Art Museum, N.J., Lyrical Visions: Music and Dance in American and Native American Art, September 17, 2000–January 7, 2001 (permanent collection exhibition). See c687.

Walker Art Center, Minneapolis, The Cities Collect: Selected Masterworks from Area Collections, September 24, 2000–January 7, 2001. See P209, P753.

Joseph Helman Gallery, New York, 1950s: The New York School, September 27–October 28, 2000 (catalogue). See w68, w106.

Waldman, Diane. 1950s: The New York School New York: Joseph Helman Gallery, 2000.

Bruce Museum of Arts and Science, Greenwich, Conn., The American Avant-Garde: A Decade of Change, 1936–1946, October 1–December 31, 2000 (catalogue). See c17. Hall-Duncan, Nancy, and Irving Sandler. The American Avant-Garde: A Decade of Change, 1936–1946. Greenwich, Conn.: Bruce Museum of Arts and Science, 2000.

San Francisco Museum of Modern Art, Celebrating Modern Art: The Anderson Collection, October 7, 2000–January 15, 2001 (catalogue). See P155, P200, P253, c51.

Bishop, Janet, Julia Bryan-Wilson, Martin Fox, Molly Hutton, and Rachel Teagle. Celebrating Modern Art: Highlights of the Anderson Collection. Foreword by David A. Ross. San Francisco: San Francisco Museum of Modern Art, 2000.

Josef-Haubrich-Kunsthalle Köln, Cologne, Germany, Wahre Wunder: Sammler und Sammlungen im Rheinland, November 5, 2000–February 11, 2001 (catalogue). See P374, P769, P807, c393.

Gohr, Siegfried, ed. Wahre Wunder: Sammler und Sammlungen im Rheinland (text in German). Cologne, Germany: Oktagon, 2000.

Aspen Art Museum, Colo., De Kooning in Context: Abstract Expressionism from Area Collections, December 8, 2000–February 4, 2001. See P310.

2001

S O l O eX hibiti O n S

Robischon Gallery, Denver, Robert Motherwell: Early Drawings, 1963–1976, January 13–March 3, 2001 (checklist). See w289, w501, w562, w587, w600, w606. Reviewed in Chandler 2001a, Chandler 2001b, MacMillan 2001a, MacMillan 2001b, and Paglia 2001.

Galerie Bernd Klüser, Munich, Robert Motherwell: A Dialogue with Literature, April 5–May 16, 2001 (catalogue). See P857, P1036, c403, c503, c532, w636.

Klüser, Bernd, and David Hayman.

Robert Motherwell: A Dialogue with Literature (text in English and German; includes artist’s statements). Munich: Galerie Bernd Klüser, 2001.

Lawrence Rubin/Greenberg Van Doren Fine Art, New York, Robert Motherwell: Abstract Imagist, April 25–June 1, 2001 (catalogue). See P370, P464, P514, P652, P1136, c588, c609, c621, w46, w132.

Robert Motherwell: Abstract Imagist (includes artist’s statements). New York: Lawrence Rubin/Greenberg Van Doren Fine Art, 2001.

g r O u P eX hibiti O n S

Washington University Gallery of Art, Saint Louis, Caught by Politics: Art of the 1930s and 1940s, January 19–March 18, 2001 (permanent collection exhibition). See c55.

Ulrich Museum of Art, Wichita State University, Kans., Selections from the Wichita State University Foundation Art Collection, February 5, 2001–January 2, 2002 (permanent collection exhibition). See P839, P877, P916.

Solomon R. Guggenheim Museum, New York, The Global Guggenheim: Selections from the Extended Collection, February 9–April 22, 2001 (permanent collection exhibition; catalogue). See P924.

Spector, Nancy, ed. Guggenheim Museum Collection A to Z (includes artist’s statements). Preface by Thomas Krens; introduction by Nancy Spector. New York: Guggenheim Museum Publications, 2001.

Miriam & Ira D. Wallach Art Gallery, Columbia University, New York, Percival Goodman: Architect, Planner, Teacher, Painter, February 14–March 31, 2001 (catalogue). Drawings only.

Elman, Kimberly J., and Angela Giral, eds. Percival Goodman: Architect, Planner, Teacher, Painter. New York: Miriam & Ira D. Wallach Art Gallery, in association with Columbia University in the City of New York, 2000.

Jewish Museum, New York, Voice, Image, Gesture: Selections from the Jewish Museum’s Collection, 1945–2000, March 25–August 5, 2001 (permanent collection exhibition; checklist). See P117, w76.

Joslyn Art Museum, Omaha, An American Anthem: 300 Years of Painting from the Butler Institute of American Art, April 14–June 17, 2001; Lauren Rogers Museum, Laurel, Miss., July 3–August 19, 2001; Cedar Rapids Museum of Art, Iowa, September 8–November 18, 2001; Hunter Museum of American Art, Chattanooga, Tenn., December 15, 2001–February 24, 2002; Yellowstone Art Museum, Billings, Mont., March 23–June 9, 2002; John and Mable Ringling Museum of Art, Sarasota, Fla., June 28–September 8, 2002; Orlando Museum of Art, Fla., December 7, 2002–February 9, 2003; Butler Trumbull County Branch Museum, Howland, Ohio, March 9–April 13, 2003. See c833.

Museo Nacional Centro de Arte Reina Sofía, Madrid, Minimalismos, un signo de los tiempos, July 11–October 8, 2001 (catalogue). See P437.

Orbegozo, Marta González, Anatxu Zabalbeascoa, Javier Rodríguez Marcos, and Tom Johnson. Minimalismos, un signo de los tiempos (text in English and Spanish). Madrid: Museo Nacional Centro de Arte Reina Sofía, 2001.

Museu de Arte Moderna do Rio de Janeiro, The Modernist Presence: International Museu de Arte Moderna Collection, August 8, 2001–January 7, 2002 (permanent collection exhibition). See P99.

Ackland Art Museum, University of North Carolina at Chapel Hill, Space, Abstraction and Freedom: Twentieth-Century Art from the Collection of Mary and Jim Patton, September 9–November 11, 2001 (catalogue). See c426. Sandler, Irving, and Charles Millard. Space, Abstraction and Freedom: Twentieth-Century Art from the Collection of Mary and Jim Patton. Foreword by Gerald Bolas. Chapel Hill, N.C.: Ackland Art Museum, 2001.

Meadows Museum, Southern Methodist University, Dallas, Bold Strokes: Abstract Art from the Haskell Collection, September 16–December 31, 2001. See P704.

Rose Art Museum, Brandeis University, Waltham, Mass., A Defining Generation: Then and Now, 1961 and 2001, September 30–December 9, 2001 (permanent collection exhibition; catalogue). See P218.

Ketner, Joseph D., and Sam Hunter. A Defining Generation: Then and Now, 1961 and 2001. Waltham, Mass.: Rose Art Museum, Brandeis University, 2001.

Imperial War Museum, London, Spanish Civil War: Dreams + Nightmares, October 18, 2001–April 28, 2002 (catalogue). See P819. Reviewed in Jones 2002.

Spanish Civil War: Dreams + Nightmares Introduction by Paul Preston. London: Imperial War Museum, 2001.

Museu d’Art Contemporani de Barcelona, The Onnasch Collection: Aspects of Contemporary Art/ Aspectos da Arte Contemporânea, November 7, 2001–February 24, 2002; Museu de Arte Contemporânea de Serralves, Porto, Portugal, March 22–June 23, 2002 (catalogue). See P154, P508.

Groys, Boris, and Petra Kipphoff. Onnasch: Aspects of Contemporary Art/Aspectos da Arte Contemporânea (text in English and Portuguese). Barcelona: Museu d’Art Contemporani de Barcelona; Porto, Portugal: Museu de Arte Contemporânea de Serralves, 2001.

Greenberg Van Doren Gallery, New York, All American, Part I, November 14–December 28, 2001. Works unknown.

National Gallery of Art, Washington, D.C., A Century of Drawing:Works on Paper from Degas to LeWitt, November 18, 2001–April 7, 2002 (catalogue). See c68.

Brodie, Judith, and Andrew Robison, eds. A Century of Drawing: Works on Paper from

Degas to LeWitt. Foreword by Earl A. Powell III. Washington, D.C.: National Gallery of Art, 2001.

Cranbrook Art Museum, Bloomfield Hills, Mich., Three Decades of Contemporary Art: The Dr. John & Rose M. Shuey Collection, December 8, 2001–April 7, 2002 (permanent collection exhibition; catalogue). See P709, c701.

Three Decades of Contemporary Art: The Dr. John & Rose M. Shuey Collection Introduction by Gregory Wittkopp; preface by Gerhardt Knodel; essays by Dora Apel, Richard H. Axsom, Jeffrey D. Grove, Irene Hofmann, Diane Kirkpatrick, Dennis Alan Nawrocki, Lisa Pasquariello, Sarah Schleuning, Lisa Wainwright, and Gregory Wittkop. Bloomfield Hills, Mich.: Cranbrook Art Museum, 2001.

2002

S O l O eX hibiti O n S

Marlborough Gallery, New York, Robert Motherwell:Works on Paper, March 12–April 13, 2002 (checklist). See c123, w86, w102, w214, w289–w291, w408, w531, w579, w649, w656. Bobbie Greenfield Gallery, Santa Monica, Calif., Robert Motherwell: Drawings and Unique Works That Relate to Prints, September 14–November 16, 2002 (checklist). See c662, c667, c713, w315.

Manny Silverman Gallery, Los Angeles, Robert Motherwell: Themes & Variations Including the Dedalus Sketchbook, November 2–December 21, 2002 (brochure and checklist). See P60, P354, P518, P598, P600, P604, P702, P708, P759, P765, P852, P888, P890, P897, P901, P942, P1004, P1008, P1017, P1074, P1077, P1088, P1152, P1200, c131, c158, c196, c357, c731, w87, w264, w265, w627, w633, w634, w677, w680. Reviewed in Knight 2002.

Robert Motherwell: Themes & Variations Including the Dedalus Sketchbook. Los Angeles: Manny Silverman Gallery, 2002.

g r O u P eX hibiti O n S

Casal Solleric, Palma de Mallorca, Spain, Poètiques modernes: Obra sobre paper a la collecció Serra, January–February 2002 (catalogue). See c171.

Serra, Pere A., and Dolores Durán Ucar. Poètiques modernes: Obra sobre paper a la col-lecció Serra (text in English, Spanish, and Catalan). Prefaces by Maria Antònia Munar i Riutort, Damià Pons i Pons, and Joan Fageda Aubert; essay by Josep Miquel García and Anna M. Guasch. Palma de Mallorca, Spain: Casal Solleric, 2002.

Ulrich Museum of Art, Wichita State University, Kans., Connecting the Past to the Present: Modern and Contemporary Art from the WSU Foundation Collection, January 10, 2002–February 10, 2003 (permanent collection exhibition). See P839, P877, P916.

Rose Art Museum, Brandeis University, Waltham, Mass., Refining Expressionism: Painterly to Post-Painterly Abstraction, January 24–July 14, 2002. See P218, P263.

Daum Museum of Contemporary Art, Sedalia, Mo., Harold F. Daum Collection, January 26–February 28, 2002. See c549.

Yale University Art Gallery, New Haven, Conn., The Synthetic Century: Collage from Cubism to Postmodernism, Selections from the Collection, February 19–April 28, 2002 (permanent collection exhibition; catalogue). See c82, c106, c126, c136.

Hodermarsky, Elisabeth. The Synthetic Century: Collage from Cubism to Postmodernism, Selections from the Collection New Haven, Conn.: Yale University Art Gallery, 2002.

Allan Stone Gallery, New York, Abstraction, March 14–April 25, 2002. See c143.

Tacoma Art Museum, Wash., Geometric Abstraction, March 19–May 27, 2002 (permanent collection exhibition). See P573.

Palazzo Reale, Milan, New York Renaissance: Masterworks from the Whitney Museum of American Art, March 21–September 15, 2002 (catalogue). See P171.

Prather, Marla, and Dana Miller. New York Renaissance dal Whitney Museum of American Art (text in Italian). Contributions by David Brown, Maura Heffner, Anne Lampe, and Veronica Roberts. New York: Whitney Museum of American Art; Milan: Electa, 2002.

Centro Culturale Candiani, Mestre, Italy, The “Irascibles” and the New York School, March 23–June 30, 2002 (catalogue). See P71.

Pollock’s America: Jackson Pollock in Venice; The “Irascibles” and the New York School Essays by Giandomenico Romanelli, Bruno Alfieri, Philip Rylands, Achille Bonito Oliva, Sam Hunter, Ellen G. Landau, Kirk Varnedoe, William S. Lieberman, and Fernanda Pivano. Milan: Skira, 2002.

Huntington Museum of Art, W.Va., Huntington Museum of Art: Fifty Years of Collecting, April 27–September 2, 2002 (permanent collection exhibition; catalogue). See P527.

Hatten, Christopher, David Owens, Malcolm Goldstein, Sue D’Auria, and Jenine E. Culligan. Huntington Museum of Art: Fifty Years of Collecting. Foreword by Margaret Ann Skove. Huntington, W.Va.: Huntington Museum of Art, 2001.

Sheldon Swope Art Museum, Terre Haute, Ind., Modern Art from the Swope Collection, June 21–August 4, 2002 (permanent collection exhibition). See w615.

University of Michigan Museum of Art, Ann Arbor, The New York School: Abstract Expressionism and Beyond, July 20, 2002–January 19, 2003 (permanent collection exhibition). See w366.

Manny Silverman Gallery, Los Angeles, Group Exhibition, September 14–October 26, 2002 (checklist). See P708, P1008.

Neuhoff Gallery, New York, The Gesture: Movement in Painting and Sculpture, September 17–October 19, 2002 (catalogue). See c532.

Morgan, Robert C. The Gesture: Movement in Painting and Sculpture. New York: Neuhoff Gallery, 2002.

Andy Warhol Museum, Pittsburgh, Americanisms: Shaping Art and Culture in the 1950s, September 28, 2002–July 20, 2003. See P131.

Everson Museum of Art, Syracuse, N.Y., Some Assembly Required: Collage Culture in Post-War America, September 28, 2002–January 26, 2003; Madison Art Center, Wis., June 8–August 17, 2003; Polk Museum of Art, Lakeland, Fla., August 30–October 26, 2003 (catalogue). See c95. Reviewed in Bennett 2003.

Some Assembly Required: Collage Culture in Post-War America. Foreword by Sandra Trop; essays by Thomas Piché Jr., Mark Alice Durant, and Melissa Pearl Friedling. Syracuse, N.Y.: Everson Museum of Art, 2002.

Philadelphia Museum of Art, Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art, September 29–December 8, 2002 (permanent collection exhibition; catalogue). See P221.

Beamesderfer, Alice. Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. Foreword by Anne d’Harnoncourt; introductory essays by Harvey S. Shipley Miller and Danielle Rice. Philadelphia: Philadelphia Museum of Art, 2002.

National Gallery of Australia, Canberra, The Big Americans: Albers, Frankenthaler, Hockney, Johns, Lichtenstein, Motherwell, Rauschenberg, and Stella at Tyler’s Studios, October 4, 2002–January 27, 2003 (permanent collection exhibition; catalogue). See P225.

Kinsman, Jane. The Art of Collaboration: The Big Americans (includes artist’s statements). Canberra: National Gallery of Australia, 2002.

Carnegie Museum of Art, Pittsburgh, Panopticon: An Art Spectacular, October 5, 2002–August 17, 2003 (permanent collection exhibition; catalogue). See P35.

Panopticon: An Art Spectacular. Pittsburgh: Carnegie Museum of Art, 2002.

Greenberg Van Doren Gallery, New York, All American, Part II, October 8–November 2, 2002. See P652.

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y., The David M. Solinger Collection: Masterworks of Twentieth-Century Art, October 12, 2002–January 12, 2003 (catalogue). See c37.

Green, Nancy, Andrea Inselmann, Frank Robinson, and Andrew Weislogel. The David M. Solinger Collection: Masterworks of Twentieth-Century Art. Essays by Betty Ann Besch Solinger and Robert Rosenblum. Entry “Robert Motherwell,” by Nancy Green, pp. 120–22. Ithaca, N.Y.: Herbert F. Johnson Museum of Art, Cornell University, 2002.

Barbara Mathes Gallery, New York, Collage: Abstract Expressionist and Pop, October 18–December 21, 2002. See c75.

Museu de Arte Moderna do Rio de Janeiro, Archipelagoes: The Museu de Arte Moderna’s Plural Universe, October 18–December 1, 2002 (permanent collection exhibition). See P99.

Museo Nacional Centro de Arte Reina Sofía, Madrid, Black Mountain College: Una Aventura Americana, October 28, 2002–January 13, 2003 (catalogue). See P91.

Katz, Vincent, ed. Black Mountain College: Experiment in Art. Essays by Martin Brody, Robert Creeley, Vincent Katz, and Kevin Power. Cambridge, Mass., and London: MIT Press, 2002.

Katz, Vincent, ed. Black Mountain College: Una Aventura Americana (text in Spanish). Essays by Martin Brody, Robert Creeley, Vincent Katz, and Kevin Power. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2002.

Modern Art Museum of Fort Worth, 110 Years: The Permanent Collection of the Modern Art Museum of Fort Worth, December 14, 2002–March 9, 2003 (permanent collection exhibition; catalogue). See P4, P226, P554, P1030, P1176, c685.

Auping, Michael, ed. Modern Art Museum of Fort Worth 110. Foreword by Marla Price; with contributions by Michael Auping, Andrea Karnes, and Mark Thistlethwaite. Entry “Robert Motherwell,” by Mark Thistlethwaite, pp. 115–23. London: Third Millennium, 2002.

2003

S O l O eX hibiti O n S

Jerald Melberg Gallery, Charlotte, N.C., Robert Motherwell:Works on Paper, May 17–July 12, 2003 (checklist). See w578, w649.

Bernard Jacobson Gallery, London, Robert Motherwell, June 10–July 12, 2003 (checklist). See c112, c133, c190, c375, w261, w458, w541, w561, w576, w633.

Contemporary Art Center of Virginia, Virginia Beach, Robert Motherwell: An American Original, November 20, 2003–February 1, 2004. See w578, w649. Reviewed in Annas 2003.

g r O u P eX hibiti O n S

Museum of Fine Arts, Houston, The Heroic Century: The Museum of Modern Art Masterpieces, 200 Paintings and Sculptures, September 21, 2003–January 4, 2004 (catalogue). See P215. Elderfield, John, ed. Visions of Modern Art: Painting and Sculpture from the Museum of Modern Art. Foreword by Glenn D. Lowry; preface by Barry Walker. New York: Museum of Modern Art, 2003.

Tehran Museum of Contemporary Art, Iran, Abstract Expressionism: Art Movements in the 20th Century, January 28–July 22, 2003 (permanent collection exhibition; catalogue). See P428.

Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, Seeing Red, Part I: Pioneers of Nonobjective Painting, January 30–May 3, 2003 (catalogue). See c290.

Fehr, Michael, and Sanford Wurmfeld, eds. Seeing Red: On Nonobjective Painting and Color Theory. Essays by Tracy L. Adler, Frederick A. Horowitz, Tina Dickey, Sanford Wurmfeld, William C. Agee, Gabriele Evertz, John Gage, Georges Roque, Michael Fehr, Klaus Honnef, James Gordon, and

list of exhibitions

Robert Swain. Cologne, Germany: Salon Verlag, 2004.

San Francisco Museum of Modern Art, Treasures of Modern Art: The Legacy of Phyllis Wattis at SFMOMA, January 30–June 24, 2003 (permanent collection exhibition). See P217.

Acme Fine Art, Boston, The New York School: Modern Painting at Mid-Century, February 27–March 29, 2003. See P1187.

Huntington Museum of Art, W.Va., Through American Eyes: Two Centuries of American Art from the Huntington Museum of Art, April 12–August 31, 2003; Morris Museum, Morristown, N.J., October 21, 2003–January 4, 2004; Museum of Texas Tech University, Lubbock, June 27–August 22, 2004; Taft Museum, Cincinnati, September 12–November 7, 2004; Louise Wells Cameron Art Museum, Wilmington, N.C., November 28, 2004–January 23, 2005; Muskegon Museum of Art, Mich., February 13–April 10, 2005; Krasl Art Center, St. Joseph, Mich., May 1–June 26, 2005 (catalogue). See P527.

Through American Eyes: Two Centuries of American Art from the Huntington Museum of Art. Contributions by George Woodman, David B. Dearinger, Jenine E. Culligan, Sue D’Auria, Christopher Hatten, David Owens, and Fawn Valentine. Huntington, W.Va.: Huntington Museum of Art, 2003.

Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, Big Canvas: Paintings from the Permanent Collection, April 12–August 10, 2003 (permanent collection exhibition; checklist). See P922.

San Diego Museum of Art, Of Earth and Sky: Elements in Abstraction, April 19–December 14, 2003. See P517.

Art Gallery of Ontario, Toronto, Motherwell, Ewen, Deacon, June 27, 2003–January 11, 2004 (permanent collection exhibition). See P1063, P1115.

Solomon R. Guggenheim Museum, New York, From Picasso to Pollock: Classics of Modern Art, July 4–September 28, 2003 (permanent collection exhibition; catalogue). See P607.

From Picasso to Pollock: Modern Art at the Guggenheim Museum. Preface by Thomas Krens; introduction by Lisa Dennison.

New York: Solomon R. Guggenheim Foundation, 2003.

Hackett-Freedman Gallery, San Francisco, Pairings: Discovered Dialogues in Postwar Abstraction, July 8–August 30, 2003 (catalogue). See c277.

O’Toole, Erin. Pairings: Discovered Dialogues in Postwar Abstraction. San Francisco: Hackett-Freedman Gallery, 2003.

Guggenheim Museum Bilbao, Spain, Antonio Saura: Memory and Recollection, July 22, 2003–January 11, 2004 (permanent collection exhibition). See P181.

Museum of Fine Arts, Gifu, Japan, Master Drawings from the Arkansas Arts Center Foundation Collection (organized by the Arkansas Arts Center, and TG Concepts [Taniguchi Jimusho]), August 9–September 15, 2003; Takasaki Museum of Art, Japan, September

20–October 26, 2003; Kitakyushu Municipal Museum of Art, Japan, November 8–December 7, 2003; Tanabe City Museum of Art, Japan, December 13, 2003–January 25, 2004 (catalogue). See w529.

Master Drawings from the Arkansas Arts Center Foundation Collection (text in English and Japanese). Tokyo: TG Concepts (Taniguchi Jimusho), 2003.

Seattle Art Museum, International Abstraction: Making Painting Real, Part II, August 15, 2003–February 29, 2004. See P349.

Hyde Collection, Glens Falls, N.Y., Form[ation]: Modern & Contemporary Works from the Feibes & Schmitt Collection, September 7–December 7, 2003 (catalogue). See P522.

Johnson, Ken. Form[ation]: Modern & Contemporary Works from the Feibes & Schmitt Collection. Foreword by Randall Suffolk. Glens Falls, N.Y.: Hyde Collection, 2003.

Rose Art Museum, Brandeis University, Waltham, Mass., Abstract Expressionism: The Brandeis University Art Collection, September 11–December 7, 2003 (permanent collection exhibition). See P218.

Flint Institute of Arts, Mich., All American: Paintings and Sculptures from the Collection of the Flint Institute of Arts, September 27, 2003–February 1, 2004 (permanent collection exhibition). See P1178.

Mount Holyoke College Art Museum, South Hadley, Mass., Mount Holyoke Encounter: The Artists of Pontigny-in-America, September 30–December 14, 2003. See P139, P1133, c43, w11.

Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain, El Expresionismo abstracto americano en las colecciones españolas, October 7, 2003–January 11, 2004 (catalogue). See P222, P342, P508, c171, c683, w534.

Serraller, Francisco Calvo. El Expresionismo abstracto americano en las colecciones españolas (text in Spanish). Segovia, Spain: Museo de Arte Contemporáneo Esteban Vicente, 2003.

Peggy Guggenheim Collection, Venice, Peggy and Kiesler: The Collector and the Visionary, October 11, 2003–January 9, 2005; the work by Motherwell was removed mid-show in November 2004 (permanent collection exhibition; catalogue). See c8.

Davidson, Susan, and Philip Rylands, eds. Peggy Guggenheim & Frederick Kiesler: The Story of Art of This Century. Essays by Dieter Bogner, Susan Davidson, Francis V. O’Connor, Don Quaintance, Philip Rylands, Jasper Sharp, and Valentina Sonzogni. Venice: Peggy Guggenheim Collection; Vienna: Austrian Frederick and Lillian Kiesler Private Foundation, 2004.

New York Studio School, New York, American Cutout, October 14–November 22, 2003 (checklist). See c57, c116, c743.

Guggenheim Hermitage Museum, Las Vegas, A Century of Painting: From Renoir to Rothko, November 7, 2003–May 2, 2004 (catalogue). See P607.

A Century of Painting: From Renoir to Rothko New York: Solomon R. Guggenheim Foundation, 2003.

Rhode Island School of Design, Providence, The New York School: Aaron Siskind in Context, November 7, 2003–January 25, 2004. See c40. Armand Hammer Museum of Art and Cultural Center, University of California, Los Angeles, The Eunice and Hal David Collection of Nineteenth and Twentieth-Century Works on Paper, November 14, 2003–February 8, 2004; Portland Art Museum, Ore., May 1–July 25, 2004 (catalogue). See w714.

Burlingham, Cynthia, ed. The Eunice and Hal David Collection of Nineteenth and Twentieth-Century Works on Paper. Essay by Lee Hendrix; with contributions by Judith Brodie, Cynthia Burlingham, Claudine Dixon, Carol S. Eliel, Noriko Gamblin, Robert Hobbs, Claudine Isé, Carolyn Peter, Amy Schichtel, and Marilyn Symmes. Los Angeles: UCLA Grunwald Center for the Graphic Arts and the Armand Hammer Museum of Art and Cultural Center, 2003.

Art Institute of Chicago, Graphic Modernism: Selections from the Francey and Dr. Martin L. Gecht Collection at the Art Institute of Chicago, November 15, 2003–January 11, 2004 (catalogue). Drawings only.

McCullagh, Suzanne Folds, and Mark Krisco. Graphic Modernism: Selections from the Francey and Dr. Martin L. Gecht Collection at the Art Institute of Chicago Preface by James N. Wood and Douglas W. Druick. Chicago: Art Institute of Chicago, in association with Hudson Hills Press, Manchester, Vt., 2003.

Danese, New York, Black/White, November 21–December 19, 2003. See w274.

Manny Silverman Gallery, Los Angeles, Group Exhibition, winter 2003 (checklist). See P759, P1200, w634.

Saginaw Art Museum, Mich., Treasures from the Butler Institute of American Art, December 11, 2003–February 29, 2004; Midwest Museum of American Art, Elkhart, Ind., April 3–May 31, 2004. See c77.

2004

S O l O eX hibiti O n S

William Shearburn Gallery, Saint Louis, Robert Motherwell: Paintings and Drawings, March 5–April 10, 2004 (checklist). See P732, P1184, c877.

Modern Art Museum of Fort Worth, Robert Motherwell: The Spirit of the Brush,Works from the Collection, 1941–1990, September 12–November 28, 2004 (permanent collection exhibition). See P4, P128, P180, P226, P267, P496, P848, P869, P937, c47, c685, w452, w674.

Museum Morsbroich, Leverkusen, Germany, Motherwell, October 17, 2004–January 30, 2005 (catalogue). See P8, P104, P178, P251, P264, P328, P463, P494, P497, P564, P618, P702, P793, P820, P838, P889, P896, P923, P959, P981, P994, P1016, P1035, P1037, P1039, P1040, P1084, P1144, c89, c116, c231, c233, c373, c391, c422, c424, c666, c828, c829, c831, w63, w353, w458, w459, w462, w638,

w680. Reviewed in Dittmar 2005, Gross 2005, Imdahl 2004, Lokale Informationen 2004, Lorscheider 2004, Luddemann 2004, Müller 2004, Palette & Zeichenstift 2004, S. 2004, S. 2005, Stadel 2004, Stiftel 2004, Thiels 2004, Via Rheinland 2004–5, and Vielhaber 2004.

Finckh, Gerhard, ed. Robert Motherwell (text in German). Essays by Gerhard Finckh, Antje von Graenvenitz, Dieter Gutknecht, Bernd Klüser, and Jan-Hendrik Wentrup. Leverkusen: Museum Morsbroich, 2004.

Rosenbaum Contemporary, Gallery Center, Boca Raton, Fla., Robert Motherwell:Works, 1965–1991, November 11–December 6, 2004. See c378, c631, c797, w677.

g r O u P eX hibiti O n S

University of Virginia Art Museum, Charlottesville, American Collage, January 23–August 22, 2004 (catalogue). See c90, c129. American Collage. Charlottesville: University of Virginia Art Museum, 2004.

Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Palo Alto, Calif., Picasso to Thiebaud: Modern and Contemporary Art from the Collections of Stanford University Alumni and Friends, February 18–June 20, 2004 (permanent collection exhibition; catalogue). See P1181.

Faberman, Hilarie. Picasso to Thiebaud: Modern and Contemporary Art from the Collections of Stanford University Alumni and Friends. Contributions by Wanda M. Corn, Patience Young, Sarah Birnbaum, Meredith Brown, Susan Cameron, Heather P. Farkas, Jeanne W. Fraise, Allan Hsu, Kela Shang, Hilary K. Snow, Janice L. Ta, and Anneke Voorhees. Palo Alto, Calif.: Iris & B. Gerald Cantor Center for Visual Arts, 2004.

Neue Nationalgalerie, Berlin, Das MoMA in Berlin: Meisterwerke aus dem Museum of Modern Art, New York, February 20–September 19, 2004 (catalogue). See P215.

Elderfield, John. Das MoMA in Berlin: Meisterwerke aus dem Museum of Modern Art, New York (text in German). OstfildernRuit, Germany: Hatje-Cantz; New York: Museum of Modern Art, 2004.

Thomas McCormick Gallery, Chicago, Well Put Together: Abstract Expressionist Collage, February 20–April 3, 2004 (catalogue and checklist). See c254, c563.

Well Put Together: Abstract Expressionist Collage. Chicago: Thomas McCormick Gallery, 2004.

Museum of Fine Arts, Houston, A Spirited Vision: Highlights of the Bequest of Caroline Wiess Law to the Museum of Fine Arts, Houston, February 22–April 25, 2004 (permanent collection exhibition; catalogue). See w106.

Marzio, Peter C. A Spirited Vision: Highlights of the Bequest of Caroline Wiess Law to the Museum of Fine Arts, Houston. Houston: Museum of Fine Arts, 2004.

ACA Galleries, New York, A Black Mountain Assemblage, March 20–April 10, 2004. See P107.

Jewish Museum, New York, My America: Art from the Jewish Museum Collection, 1900–1955, March 26–July 25, 2004; Columbia Museum

of Art, S.C., January 26–May 7, 2006; Judah L. Magnes Museum, Berkeley, Calif., June 3–September 24, 2006; Memorial Art Gallery, University of Rochester, N.Y., October 21–December 24, 2006 (checklist). See P117.

Círculo de Bellas Artes, Madrid, An American Odyssey, 1945–1980: Debating Modernism, April 13–May 30, 2004; Domus Artium 2002, Salamanca, Spain, June 10–July 31, 2004; Kiosco Alfonso, A Coruña, Spain, September 2–October 2, 2004; QCC Art Gallery, Queensborough Community College, City University of New York, October 24, 2004–January 15, 2005 (catalogue). See P109.

Foster, Stephen C., Estera Milman, Janis Mink, Daniel A. Siedell, and John Yau. An American Odyssey, 1945–1980: Debating Modernism (text in English and Spanish). Madrid: Círculo de Bellas Artes, 2004.

Bruce Museum of Arts and Science, Greenwich, Conn., Off the Wall:Works from the JPMorgan Chase Collection, May 15–September 12, 2004 (catalogue). See c398.

Gershon, Stacey B., and Nancy HallDuncan. Off the Wall:Works from the JPMorgan Chase Collection. Foreword by William B. Harrison Jr. Greenwich, Conn.: Bruce Museum of Arts and Science, 2004. Hyde Collection, Glens Falls, N.Y., Masterworks: Selections from the New Britain Museum of American Art, May 22–October 3, 2004; Georgia Museum of Art, University of Georgia, Athens, January 10–March 25, 2005; Cincinnati Art Museum, March 28–June 27, 2005; Cummer Museum of Art and Gardens, Jacksonville, Fla., June 30–October 7, 2005; Frick Art and Historical Center, Pittsburgh, December 28, 2005–March 24, 2006; Mobile Museum of Art, Ala., March 27–July 7, 2006. See P1113.

Katonah Museum of Art, N.Y., Behind Closed Doors: Area Collectors Celebrate the Museum’s Golden Anniversary, May 29–July 11, 2004 (catalogue). See c143.

Behind Closed Doors: Collectors Celebrate the Museum’s Golden Anniversary. Katonah, N.Y.: Katonah Museum of Art, 2004.

William Benton Museum of Art, University of Connecticut, Storrs, The Betty Sterling Collection of Contemporary Art, August 31–October 10, 2004. See P1042, c629.

Knoedler & Company, New York, 3 Classics: Motherwell, Frankenthaler, Stella, September9–October 30, 2004 (checklist). See P606, w533. Jacksonville Museum of Modern Art, Fla., Image + Energy: Selections from the Haskell Collection, September 24, 2004–January 9, 2005 (catalogue). See P704.

Kinghorn, George, Debra Murphy Livingston, and Kahren Jones Arbitman. Image + Energy: Selections from the Haskell Collection. Jacksonville, Fla.: Jacksonville Museum of Modern Art, 2004.

Princeton University Art Museum, N.J., American Art in the Princeton University Art Museum, October 16, 2004–January 9, 2005; Musée d’Art Americain, Giverny, France, April 1–July 3, 2005; High Art Museum, Atlanta, April 1–June 25, 2006 (catalogue).

Wilmerding, John. American Art in the Princeton University Art Museum. Essay by Kathleen A. Foster; with contributions by Robert T. Cozzolino, Laura M. Giles, Mark D. Mitchell, and Diana K. Tuite. Princeton, N.J.: Princeton University Art Museum, in association with Yale University Press, New Haven, 2004.

Rockford Art Museum, Ill., Reuniting an Era: Abstract Expressionists of the 1950s, November 13, 2004–January 23, 2005 (catalogue). See P925.

Reuniting an Era: Abstract Expressionism of the 1950s. Rockford, Ill.: Rockford Art Museum, Ill., 2004.

National Gallery of Art, Washington, D.C., Six Centuries of Prints and Drawings: Recent Acquisitions, November 14, 2004–June 6, 2005 (permanent collection exhibition). See w336.

Foro Boario, Modena, Italy, Action Painting: Arte americana, 1940–1970, dal disegno all’opera, November 21, 2004–February 27, 2005 (catalogue). See P607, c8.

Rosenthal, Mark, Luca Massimo Barbero, Marco Vallora, and Leigh Robb. Action Painting: Arte americana, 1940–1970, dal disegno all’opera (text in Italian). New York: Solomon R. Guggenheim Foundation, 2004.

2005

S O l O eX hibiti O n S

Galerie Bernd Klüser, Munich, Robert Motherwell: Paintings, Collages,Works on Paper, May 4–July 30, 2005 (checklist). See P793, P889, P923, P981, P994, P1035, P1144, c57, c79, c116, c563, c745, c829, w50, w54, w56, w63, w353, w475, w638.

Annandale Galleries, Sydney, Australia, Robert Motherwell, July 27–August 20, 2005. See P791, P1008, P1017, c112, c504, c602, c641, c764, w458, w541, w651, w691.

Manny Silverman Gallery, Los Angeles, Robert Motherwell, September 29–November 26, 2005 (catalogue). See P432, P444, c95, c146, c248, c254, c308, c352, c364, c644, w89, w159, w163, w167, w211, w224, w264, w371, w448, w503, w530, w602, w645.

Robert Motherwell. Los Angeles: Manny Silverman Gallery, 2005.

Galerie Lelong, Paris, Robert Motherwell, November 24, 2005–January 14, 2006. See P331, P524, P690, P734, P1016, c371, c428, c529, c710, c839, c851, w295, w462, w607, w613, w623, w687, w695, w716.

Thomas McCormick Gallery, Chicago, Robert Motherwell: Te Quiero, December 9, 2005–January 14, 2006; Salt Lake Art Center, Salt Lake City, February 10–May 31, 2006 (checklist). See P259, P453, P584, P588, P598, P604, P925, P991, c216, c267, c490, c643, c709, c741, c836, c844, c875, w265, w513, w586. Reviewed in Griggs 2006.

g r O u P eX hibiti O n S Contemporary Museum, Honolulu, A Collector’s Journey and Legacy: Selected Works from the Sterling Collection, January 21–March 13, 2005. See P1042, c629.

National Academy Museum, New York, Surrealism USA, February 17–May 8, 2005; Phoenix Art Museum, June 5–September 25, 2005 (catalogue). See c5. Dervaux, Isabelle. Surrealism USA

Contributions by Michael Duncan, Robert Hobbs, Gerrit L. Lansing, Robert S. Lubar, Marshall N. Price, and Scott Rothkopf. New York: National Academy Museum, in association with Hatje Cantz, OstfildernRuit, Germany, 2004.

Thomas McCormick Gallery, Chicago, Black, March 11–April 23, 2005 (catalogue). See c709, w586.

Long, Robert. Black. Chicago: Thomas McCormick Gallery, 2005.

Walker Art Center, Minneapolis, Quartet: Johns, Kelly, Mitchell, Motherwell, April 17–July 3, 2005. See P437, P632, P1112, c66, c507, w70, w101, w107, w518.

Pavel Zoubok Gallery, New York, Collage: Signs & Surfaces, April 21–May 21, 2005. See c323.

Museum of Arts and Design, New York, Dual Vision: The Simona and Jerome Chazen Collection, May 26–September 11, 2005; Chazen Museum of Art, University of Wisconsin, Madison, October 7–December 31, 2005 (catalogue). See P651.

McFadden, David Revere, Russell Panczenko, Ursula Ilse-Neuman, and Jennifer Scanlan. Dual Vision: The Simona and Jerome Chazen Collection. Foreword by Holly Hotchner. New York: Museum of Arts and Design, 2005.

Art Gallery of Ontario, Toronto, The Shape of Colour: Excursions in Colour Field Art 1950–2005, June 1–August 7, 2005 (catalogue). See P553. Moos, David, ed. The Shape of Colour: Excursions in Colour Field Art, 1950–2005 Introduction by Matthew Teitelbaum; essays by David Moos, Robert Hobbs, Sarah K. Rich, Mark Cheetham, and Raphael Rubenstein. Toronto: Art Gallery of Ontario, 2005.

Peggy Guggenheim Collection, Venice, Affinities:Works from the Ulla and Heiner Pietzsch Collection, Berlin, June 4–September 18, 2005. See c14, c127.

Gow Langsford Gallery, Auckland, New Zealand, McCahon, Gimblett, Motherwell, June 30–July 2005 (catalogue). Drawings only. Curnow, Wystan. McCahon, Gimblett, Motherwell. Auckland, New Zealand: Gow Langsford Gallery, 2005.

Nagasaki Prefectural Art Museum, Japan, Picturing America: Selections from the Whitney Museum of American Art, July 12–August 21, 2005; Fuchu Art Museum, Japan, August 27–October 2, 2005; 21st Century Museum of Contemporary Art, Kanazawa, Japan, October 8–November 6, 2005; Kitakyushu Municipal Museum of Art, Japan, November 20, 2005–January 9, 2006; Koriyama City Museum of Art, Japan, January 28–March 12, 2006 (catalogue). See P171.

Miller, Dana A., Junji Ito, and Hitoshi Yamamura. Picturing America: Selections

from the Whitney Museum of American Art (text in English and Japanese). Foreword by Adam D. Weinberg. New York: Whitney Museum of American Art, 2005.

Kunstsammlungen Chemnitz, Germany, Schrift, Zeichen, Geste: Carlfriedrich Claus im Kontext von Klee bis Pollock, July 24–October 9, 2005 (catalogue). See P1035.

Mössinger, Ingrid, and Brigitta Milde, eds. Schrift, Zeichen, Geste: Carlfriedrich Claus im Kontext von Klee bis Pollock (text in German). Cologne, Germany: Wienand Verlag, 2005.

John Berggruen Gallery, San Francisco, Highlights: New Acquisitions, August 2–September 9, 2005. See P471.

Hillsboro Fine Art, Dublin, International Collectibles, August 4–27, 2005. See P665, w600.

Tel Aviv Museum of Art, American Abstract Painting after World War II, August 18–November 5, 2005. See P46.

Pennsylvania Academy of the Fine Arts, Philadelphia, In Private Hands: 200 Years of American Painting, October 1, 2005–January 8, 2006 (catalogue). See P209.

Sajet, Kim, ed. In Private Hands: 200 Years of American Painting. Contributions by Lynn Marsden-Atlass, Nicolai Cikovsky Jr., and Robert Rosenblum. Philadelphia: Pennsylvania Academy of the Fine Arts, 2005.

Wadsworth Atheneum Museum of Art, Hartford, Conn., Dalí, Picasso, and the Surrealist Vision, October 7–December 31, 2005 (permanent collection exhibition). See P34.

Leonard Hutton Galleries, New York, Modern American Art, October 20–November 30, 2005.

Noguchi Museum, Long Island City, N.Y., The Imagery of Chess Revisited, October 20, 2005–March 5, 2006; Menil Collection, Houston, September 8, 2006–January 7, 2007 (catalogue). Drawings only.

List, Larry, ed. The Imagery of Chess Revisited. Introduction by Ingrid Schaffner. New York: Isamu Noguchi Foundation and Garden Museum, in association with George Braziller, 2005.

Chrysler Museum of Art, Norfolk, Va., Behind the Seen: The Chrysler’s Hidden Museum, October 21, 2005–February 19, 2006 (permanent collection exhibition). See P223.

Leslie Sacks Fine Art, Los Angeles, New Acquisitions, Part One: The Moderns, October 22–November 21, 2005. See c713, c784. Cahoon Museum of American Art, Cotuit, Mass., Striking the Right Notes: Music in American Art, October 25–December 31, 2005. See c776.

Andrea Rosen Gallery, New York, Looking at Words: The Formal Presence of Text in Modern and Contemporary Works on Paper, November 2, 2005–January 2006. See c746.

CDS Gallery, New York, The Irascibles: On Paper, November 4, 2005–January 21, 2006. See w182.

list of exhibitions

Arnolfini, Bristol, England, Starting at Zero: Black Mountain College, 1933–57, November 5, 2005–January 15, 2006; Kettle’s Yard, Cambridge, England, January 28–April 2, 2006 (catalogue). See P69.

Harris, Mary Emma, Christopher Benfey, Eva Diaz, Edmund de Waal, and Jed Perl. Starting at Zero: Black Mountain College, 1933–57. Preface by Caroline Collier and Michael Harrison. Bristol, England: Arnolfini; Cambridge, England: Kettle’s Yard, 2005.

Galerie Klüser 2, Munich, Small Drawings, November 17–December 23, 2005. See c745. Hillsboro Fine Art, Dublin, Annual Christmas Exhibition, November 17–December 23, 2005. See P1055, c326, c820.

Fundació Joan Miró, Barcelona, Mestres del collage de Picasso a Rauschenberg, November 25, 2005–February 26, 2006 (catalogue). See c56, c93, c100, c683.

Waldman, Diane, Donald B. Kuspit, and Carter Ratcliff. Mestres del collage de Picasso a Rauschenberg (text in Catalan). Barcelona, Spain: Fundació Joan Miró, 2005.

Galerie Contemporaine du Musée d’Art Moderne et d’Art Contemporain, Nice, France, Ecole de New York: Expressionnisme abstrait américain, œuvres sur papier, December 8, 2005–March 5, 2006 (catalogue). See P251, c194, c729, w459.

Perlein, Gilbert, and Dore Ashton. Ecole de New York: Expressionnisme abstrait américain, œuvres sur papier (text in French). Preface by Jacques Peyrat and André Barthe. Nice, France: Musée d’Art Moderne et d’Art Contemporain, 2005.

2006

S O l O eX hibiti O n S Rosenbaum Contemporary, Boca Raton, Fla., Robert Motherwell, February 9–March 7, 2006. See c158, c308, c731.

Bobbie Greenfield Gallery, Santa Monica, Calif., Robert Motherwell, Africa Suite: Ink Drawings and Related Prints, April 1–May 13, 2006 (catalogue). See w342–w352.

Robert Motherwell, Africa Suite: Ink Drawings and Related Prints. Santa Monica, Calif.: Bobbie Greenfield Gallery, 2006.

Galleria d’Arte il Gabbiano, Rome, Robert Motherwell, May 4–June 17, 2006 (catalogue). See P439, c162, c633, c655, c797, w169, w371, w526. Reviewed in Turner 2006.

Arditi, Fiamma. Robert Motherwell (text in English and Italian). Rome: Galleria d’Arte il Gabbiano, 2006.

William Shearburn Gallery, Saint Louis, Robert Motherwell: Portfolios and Related Drawings and Paintings, May 5–June 11, 2006 (checklist). See P323, P666, P732, P747, P841, P903, P951, P1193, w492.

Baltimore Museum of Art, Robert Motherwell: Meanings of Abstraction, May 21–July 30, 2006 (permanent collection and loan exhibition; checklist). See P338, P341, c3, c84, c693, w59, w69. Reviewed in McNatt 2006.

Jerald Melberg Gallery, Charlotte, N.C., Robert Motherwell: The Torn Edge; Collages and Related Prints, September 8–October 14, 2006 (checklist). See c146, c235, c346, c385, c449, c610, c626, c776, c803, c812, c886.

g r O u P eX hibiti O n S

Manny Silverman Gallery, Los Angeles, Winter Group Exhibition, January–March 2006 (checklist). See P393, P1105.

Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain, La Obra maestra desconocida: Basado en el relato Le Chefd’Oeuvre inconnu de Honoré de Balzac, 1831–2006, 175 aniversario, February 2–May 28, 2006 (catalogue). See P156.

La Obra maestra desconocida: Basado en el relato Le Chef-d’Oeuvre inconnu de Honoré de Balzac, 1831–2006, 175 aniversario (text in Spanish). Essays by Francisco Calvo Serraller, Arthur C. Danto, Javier González de Durana, and Brigitte Léal; text by Honoré de Balzac. Vitoria-Gasteiz, Spain: Artium, 2006.

Bernard Jacobson Gallery, London, [group exhibition], March 2006 (checklist). See P791.

BA-CA Kunstforum, Vienna, Austria, Verrückte Liebe:Von Dalí bis Francis Bacon, Surreale Kunst aus der Sammlung Ulla und Heiner Pietzsch, March 8–June 18, 2006 (catalogue). See c14, c127.

Verrückte Liebe:Von Dalí bis Francis Bacon, Surreale Kunst aus der Sammlung Ulla und Heiner Pietzsch (text in German). Texts by Evelyn Benesch, Ulrich Bischoff, Ingried Brugger, et al. Vienna: BA-CA Kunstforum, 2006.

Art Institute of Chicago, Great American Drawings, March 18–June 19, 2006 (permanent collection exhibition). See c64.

Asheville Art Museum, N.C., Black Mountain College: Its Time and Place, April 7–August 6, 2006 (catalogue). See P104.

Diaz, Eva. Black Mountain College: An Exhibition Series. Asheville, N.C.: Asheville Art Museum, 2006.

Hillsboro Fine Art, Dublin, International Artists, May 4–24, 2006. See P903, P1022.

Cleveland Museum of Art, The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art, June 9–August 20, 2006 (permanent collection exhibition; catalogue). See P216.

Sims, Lowery Stokes. The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art Cleveland: Cleveland Museum of Art, 2006.

Gilcrease Museum, Tulsa, Okla., Lines of Discovery: 225 Years of American Drawings (organized by the Columbus Museum, Ga.), June 17–August 27, 2006; Kalamazoo Institute of Arts, Mich., September 23–December 31, 2006; Arkansas Arts Center, Little Rock, January 26–April 22, 2007; Asheville Art Museum, N.C., November 9, 2007–February 10, 2008 (catalogue). See w121.

Butler, Charles T., ed. Lines of Discovery: 225 Years of American Drawings; The Columbus

Museum. Essays by Bruce W. Chambers, Marilyn Laufer, and Stephen C. Wicks; commentary by Philip L. Brewer. Columbus, Ga.: Columbus Museum in association with D. Giles, 2006.

Gerald Peters Gallery, Dallas, Gerald Peters Modern: In Celebration of the 20th Anniversary of Gerald Peters Gallery, Dallas, July 7–August 29, 2006 (catalogue). See P512.

Gerald Peters Modern: In Celebration of the 20th Anniversary of Gerald Peters Gallery, Dallas. Dallas: Gerald Peters Gallery, 2006.

Bernard Jacobson Gallery, London, An Exhibition of Paintings, July 12–October 11, 2006 (checklist). See P768.

Grimaldi Forum, Monaco, New York, New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video, July 14–September 10, 2006 (catalogue). See P606. Celant, Germano, and Lisa Dennison, eds. New York, New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video. Essays by Janet L. Abu-Lughod, Germano Celant, RoseLee Goldberg, Melissa Harris, Kirstin Hübner, Thierry Jousse, Herbert Muschamp, Mario Perniola, Fernanda Pivano, Robert Rosenblum, et al. Milan: Skira, 2006.

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, The Guggenheim die Sammlung, July 21, 2006–January 7, 2007 (catalogue). See P607.

The Guggenheim die Sammlung (text in German). Essays by Jennifer Blessing, Julia Brown, Anthony Calnek, Susan Davidson, Lisa Dennison, Matthew Drutt, Michael Govan, Kay Heymer, Ted Mann, and Diane Waldman. New York: Solomon R. Guggenheim Foundation, in association with Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 2006. Whitney Museum of American Art, New York, Picasso and American Art, September 28, 2006–January 28, 2007; San Francisco Museum of Modern Art, February 25–May 28, 2007; Walker Art Center, Minneapolis, June 17–September 9, 2007; the artist’s work was included only in Minneapolis (catalogue). See c20.

Fitzgerald, Michael. Picasso and American Art. New York: Whitney Museum of American Art, in association with Yale University Press, New Haven, Conn., 2006.

Museum of Art, Washington State University, Pullman, Art & Context: The ’50s and ’60s, September 29–December 16, 2006 (catalogue). See c124.

Bruce, Chris, and Keith Wells. Art & Context: The ’50s and ’60s. Contributions by Nella Van Dyke. Pullman: Museum of Art, Washington State University, 2006.

Greenberg Van Doren Gallery, New York, Pre-Post: American Abstraction, October 11–November 11, 2006. See w132.

Dallas Museum of Art, Fast Forward: Contemporary Collections for the Dallas Museum of Art, November 21, 2006–April 8, 2007 (permanent collection exhibition; catalogue). See P364.

De Corral, María, and John R. Lane, eds. Fast Forward: Contemporary Collections for the Dallas Museum of Art. Contributions by Frances Colpitt, María de Corral, John R. Lane, Mark Rosenthal, Allan Schwartzman, and Charles Wylie. Dallas: Dallas Museum of Art, in association with Yale University Press, New Haven, Conn., 2007.

Hackett-Freedman Gallery, Art Basel, Miami Beach, A Culture in the Making: New York and San Francisco in the 1950s and ’60s, December 7–10, 2006; Hackett-Freedman Gallery, San Francisco, January 11–March 3, 2007 (catalogue). Drawings only.

Perl, Jed. A Culture in the Making: New York and San Francisco in the 1950s and ’60s. San Francisco: Hackett-Freedman Gallery, 2006.

Hillsboro Fine Art, Dublin, Inaugural, December 12–22, 2006. See P1096.

2007

S O l O eX hibiti O n S

Virginia Steele Scott Gallery, Huntington Library, Art Collections, and Botanical Gardens, San Marino, Calif., Twelve Drawings from Robert Motherwell’s Lyric Suite, June 9–August 12, 2007. Drawings only.

Galerie Lelong, Paris, Robert Motherwell: Spanish Frontier, December 14, 2007–January 26, 2008 (brochure). See P332, P348, P350, P475, P510, P518, P525, P952, P954, P998, P1012, P1035, P1075, P1081, P1197, P1202, c197, c226, c525, w50, w92, w215, w587.

g r O u P eX hibiti O n S

Hollis Taggart Galleries, New York, Pathways and Parallels: Roads to Abstract Expressionism, April 12–May 12, 2007 (catalogue). See P107. Wechsler, Jeffrey. Pathways and Parallels: Roads to Abstract Expressionism. New York: Hollis Taggart Galleries, 2007.

Newcomb College, Tulane University, New Orleans, Drawn from New Orleans: TwentiethCentury Works from Private Collections, April 24–June 30, 2007. See P1058.

Scottsdale Museum of Contemporary Art, Ariz., Modern(ist) Love: The Dorothy LincolnSmith and Harvey K. Smith Collection, May 12–September 16, 2007. See P723, c679.

Georgia Museum of Art, University of Georgia, Athens, Suitcase Paintings: Small Scale Abstract Expressionism (organized by Art Enterprises, Ltd., and TMG Projects, Chicago), May 19–July 22, 2007; Ball State University Museum of Art, Muncie, Ind., September 8–December 2, 2007; Utah Museum of Fine Art, Salt Lake City, January 19–March 29, 2008; Sydney Mishkin Gallery, Baruch College, New York, May 3–June 4, 2008; Greenville County Museum of Art, S.C., June 28–August 24, 2008; Loyola University Museum of Art, Chicago, September 19–October 26, 2008 (catalogue). See w54. Reviewed in Warner 2008. Kingsley, April. Suitcase Paintings: Small Scale Abstract Expressionism. Essays by John Corbett, Jim Dempsey, and Thomas McCormick. Chicago: Art Enterprises, and TMG Projects, 2007.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Surrealism: Dreams on Canvas, May 26–August 12, 2007 (catalogue). See P65, P916, c41.

Schwartz, Constance, Charles A. Riley II, and Fariba Bogzaran. Surrealism: Dreams on Canvas. Roslyn Harbor, N.Y.: Nassau County Museum of Art, 2007.

Pavel Zoubok Gallery, New York, In Context: Collage + Abstraction, May 31–August 10, 2007. See c468.

Bernard Jacobson Gallery, London, Summer Exhibition, summer 2007 (checklist). See w501. Hillsboro Fine Art, Dublin, Summer Exhibition, June 7–July 6, 2007. See P981.

Galerie Klüser 2, Munich, Drawings, June 12–July 28, 2007. See c380, c829, w231.

Fine Arts Building Gallery, University of Alberta, Edmonton, Canada, Aspects of Abstraction: A Selection of Paintings from Private and Public Collections, June 21–July 2007. See P281.

National Gallery of Victoria, Melbourne, Australia, Guggenheim Collection: 1940s to Now, June 30–October 7, 2007 (catalogue). See P607.

Hillings, Valerie L. Guggenheim Collection: 1940s to Now. Melbourne, Australia: National Gallery of Victoria, 2007.

Metropolitan Museum of Art, New York, Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in the Metropolitan Museum of Art, September 18, 2007–February 3, 2008 (permanent collection exhibition; catalogue). See P168.

Tinterow, Gary, Lisa Mintz Messinger, and Nan Rosenthal, eds. Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in the Metropolitan Museum of Art. Entry “Robert Motherwell,” by Pepe Karmel, pp. 160–63. New York: Metropolitan Museum of Art, 2007.

Huntington Museum of Art, W.Va., The Collection of Alex E. Booth, Jr., September 22, 2007–January 27, 2008 (permanent collection exhibition). See P527.

Museu d’Art Contemporani de Barcelona, Be-Bomb: The Transatlantic War of Images and All That Jazz, 1946–1956 (organized by Museu d’Art Contemporani de Barcelona and Museo Nacional Centro de Arte Reina Sofía de Madrid), October 4, 2007–January 7, 2008 (catalogue). See P154, c2, w5.

Be-Bomb: The Transatlantic War of Images and All That Jazz, 1946–1956 (separate versions in Spanish and English). Essays by Manuel J. Borja-Villel, Serge Guilbaut, Thomas Crow, et al. Barcelona: Museu d’Art Contemporani de Barcelona; Madrid: Museo Nacional Centro de Arte Reina Sofía, 2007.

Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy, Collage/Collages: From Cubism to New Dada, October 9, 2007–January 6, 2008 (catalogue). See c8.

Lamberti, Maria Mimita, and Maria Grazia Messina, eds. Collage/Collages: From Cubism to New Dada. Contributions by Flavio Fergonzi, Maria Mimita Lamberti, Maria Grazia Messina, Alessandro Nigro, and Federica Rovati. Milan: Electa, 2007.

Leslie Feely Fine Art, New York, Private Eye, October 18–November 13, 2007 (catalogue). See P1175, c146, c631.

Private Eye. Introduction by Jane Livingston. New York: Leslie Feely Fine Art, 2007.

Washburn Gallery, New York, The Tiger’s Eye, November 1–December 21, 2007 (checklist). See P43.

Denver Art Museum, Color as Field: American Painting, 1950–1975 (organized by the American Federation of Arts, New York), November 9, 2007–February 3, 2008; Smithsonian American Art Museum, Washington, D.C., February 29–May 26, 2008; Frist Center for the Visual Arts, Nashville, June 20–September 21, 2008 (catalogue). See P224, P564.

Wilkin, Karen. Color as Field: American Painting, 1950–1975. Essay by Carl Belz. New York: American Federation of Arts, in association with Yale University Press, New Haven, Conn., 2007.

Russell Bowman Art Advisory, Chicago, Collage, November 16, 2007–January 5, 2008. See c247.

Picker Art Gallery, Colgate University, Hamilton, N.Y., War Fallout: Mid-century Modernism in the Luther W. Brady Collection, November 27, 2007–April 3, 2008 (permanent collection exhibition; catalogue). See w80.

Monahan, Anne. The Luther W. Brady Collection at the Picker Art Gallery, Colgate University (includes artist’s statements). Hamilton, N.Y.: Picker Art Gallery, 2007.

Galería Cayón, Madrid, Tamaño Real/Actual Size, December 20, 2007–February 7, 2008 (catalogue). See P1028.

Tamaño Real/Actual Size (text in English and Spanish). Madrid: Galería Cayón, 2007.

2008

S O l O eX hibiti O n S

Museo Dolores Olmedo Patiño, Mexico City, Robert Motherwell: Obras Selectas de la Colección Walker Art Center, February 23–May 25, 2008 (catalogue). See P265, P437, P627, P1112, c66, c139, c410, c493, c507, w70, w101, w107, w518.

Carpenter, Elizabeth, and Elia Espinosa. Robert Motherwell: Obras selectas de la Colección Walker Art Center (text in Spanish). Mexico City: Museo Dolores Olmedo Patiño, 2008.

Bendheim Gallery, Greenwich, Conn., Selective Space: An Intimate Look at the Studio Life of Robert Motherwell, May 8–June 8, 2008. See c182, c824, w303, w492, w636.

William Shearburn Gallery, Santa Fe, N.Mex., Robert Motherwell, July 4–August 15, 2008 (checklist). See P308, P311, P495, P784, P793, P1015, P1050, P1118, P1128, w173, w186.

Bernard Jacobson Gallery, London, Robert Motherwell: Five Great Opens, October 15–November 22, 2008 (checklist). See P412, P418, P479, P497, P556, P561, c253, w289, w290, w299, w300, w356, w368–w370.

Galleria d’Arte il Gabbiano, Rome, Robert Motherwell, October 15, 2008–January 15, 2009 (catalogue). See P315, P316, P322, P326, c655, w169, w190, w526, w602, w640, w654, w662. Robert Motherwell (text in Italian and English). Rome: Galleria d’Arte il Gabbiano, 2008.

hibiti O n S

g r O u P eX

Manny Silverman Gallery, Los Angeles, Mostly Black & White, January 12–March 1, 2008 (checklist). See w602.

Fondation Beyeler, Basel, Switzerland, Action Painting, January 27–May 12, 2008 (catalogue). See P154, P192.

Boehm, Gottfried, Robert Fleck, Pepe Karmel, Jason Edward Kaufman, and Ulf Küster. Action Painting. Basel: Beyeler Museum AG, 2008.

Samuel P. Harn Museum of Art, University of Florida, Gainesville, Paradigms and the Unexpected: Modern and Contemporary Art from the Shey Collection, February 10–May 18, 2008 (catalogue). See P474, P667, P775, c157, c837.

Paradigms and the Unexpected: Modern and Contemporary Art from the Shey Collection Essay by Budd Harris Bishop; with contributions by Dulce María Román and Kerry Oliver-Smith. Gainesville, Fla.: Samuel P. Harn Museum of Art, 2008.

Mount Holyoke College Art Museum, South Hadley, Mass., Side by Side—Docents’ Choice:Works on Paper, March 4–June 1, 2008. See c604.

Blanden Art Museum, Fort Dodge, Iowa, Casualties of War: Modern Artists and the Second World War, March 6–September 10, 2008. See P132.

Grey Art Gallery, New York University, New York Cool: Painting and Sculpture from the NYU Art Collection, April 22–July 19, 2008; Palmer Museum of Art, Pennsylvania State University, University Park, September 16–December 14, 2008; University of Iowa Museum of Art, Iowa City, January 17–March 15, 2009; Bowdoin College Museum of Art, Brunswick, Maine, April 17–July 19, 2009; Hunter Museum of American Art, Chattanooga, Tenn., August 23–October 25, 2009 (catalogue). See c88.

Karmel, Pepe, ed. New York Cool: Painting and Sculpture from the NYU Art Collection Essays by Lynn Gumpert, Pepe Karmel, Alexandra Lange, and Lytle Shaw. New York: Grey Art Gallery, New York University, 2008.

Bernard Jacobson Gallery, London, Mixed Gallery Exhibition, May 2008 (checklist). See c504.

Jewish Museum, New York, Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976, May 4–September 21, 2008; Saint Louis Art Museum, October 19, 2008–January 11, 2009; Albright-Knox Art Gallery, Buffalo, February 13–June 14, 2009; the artist’s work

was shown in Buffalo only (catalogue). Drawings only.

Kleeblatt, Norman L., ed. Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976. Essays by Maurice Berger, Irving Sandler, Norman L. Kleeblatt, Caroline A. Jones, Debra Bricker Balken, Douglas Dreishpoon, Charlotte Eyerman, Mark Godfrey, and Morris Dickstein. New York: Jewish Museum, in association with Yale University Press, New Haven, Conn., 2008.

Ameringer Yohe Fine Art, New York, Summer Selections, May 24–August 22, 2008. See P248. Cameron Art Museum, Wilmington, N.C., Bearden to Ruscha: Contemporary Art from the North Carolina Museum of Art, May 25, 2008–May 24, 2009. See P1025.

Bernard Jacobson Gallery, London, Summer Show, summer 2008 (checklist). See P711. Museum of Fine Arts, St. Petersburg, Fla., Art, Friendships, and the New York School: The Benjamin Gollay Collection, June 28–September 28, 2008. See c76.

Leslie Sacks Fine Art, Los Angeles, New Acquisitions: The Moderns, September 6–October 6, 2008. See c627.

Manny Silverman Gallery, Los Angeles, Fall Selections, September 6–October 18, 2008. See c509.

Haunch of Venison, New York, Abstract Expressionism: A World Elsewhere, September 12–November 12, 2008 (catalogue). See P606, c5, c169, c191. Reviewed in Smith 2008.

Anfam, David. Abstract Expressionism: A World Elsewhere. Forewords by Harry Blain, Robert Fitzpatrick, and Graham Southern. New York: Haunch of Venison, 2008.

Galerie Bernd Klüser, Munich, Reflections on Light: 30 Jahre Galerie Bernd Klüser/30 Years Galerie Bernd Klüser, September 16–November 15, 2008 (catalogue). See c829.

Klüser, Bernd. Reflections on Light: 30 Jahre Galerie Bernd Klüser/30 Years Galerie Bernd Klüser (text in English and German). Munich: Galerie Bernd Klüser, 2008. DePaul University Art Museum, Chicago, 1968: Art and Politics in Chicago, September 18–November 23, 2008 (catalogue). See P180. Kelly, Patricia. 1968: Art and Politics in Chicago. Interviews by Robert Cozzolino, Christopher Mack, Joanna Gardner Huggett, and Amor Kohli. Chicago: DePaul University Art Museum, 2008.

Musée des Beaux-Arts de Lyon, France, 1945–1949, Repartir à zéro: Comme si la peinture n’avait jamais existé, October 24, 2008–February 2, 2009 (catalogue). See P93, c2. Chassey, Eric de, and Sylvie Ramond. 1945–1949, Repartir à zéro: Comme si la peinture n’avait jamais existé (text in French). Essays by Guiternie Maldonado, Karolina Lewandowska, Annie Claustres, Jeffrey Wechsler, Emmanuel Guigon, JeanFrançois Chougnet, Marek Swica, and Klaus Herding. Paris: Hazan; Lyon, France: Musée des Beaux-Arts de Lyon, 2008.

list of exhibitions

Rogaland Kunstmuseum, Stavanger, Norway, Traces and Spaces: Jan Groth’s Influences and Contemporaries, November 13, 2008–April 13, 2009; Henie Onstad Kunstsenter, Høvikodden, Norway, May 5–September 13, 2009 (catalogue). See P417.

Meyer, Peter S., and Jan Windsholt, eds. Traces and Spaces: Jan Groth’s Influences and Contemporaries (text in English and Danish). Essays by Peter S. Meyer, Karin Hellandsjø, Asmund Thorkildsen, and Vibece Salthe. Stavanger, Norway: Rogaland Kunstmuseum, in association with Henie Onstad Kunstsenter, Høvikodden, 2008.

Gana Art New York, Collector’s Eye: Modern, Pop, and Contemporary Art, November 20–December 20, 2008. See P1164.

Robert Miller Gallery, New York, Beyond the Canon: Small Scale American Abstraction 1945–1965, November 20, 2008–January 3, 2009 (checklist). See c746, w56, w220.

Arca, Chiesa di San Marco, Vercelli, Italy, Peggy Guggenheim e la nuova pittura americana, November 21, 2008–March 1, 2009 (checklist and catalogue). See P607, w37.

Barbero, Luca Massimo. Peggy Guggenheim e la nuova pittura americana (text in Italian). Vercelli, Italy: Arca, Chiesa di San Marco, 2008.

Hillsboro Fine Art, Dublin, Annual Christmas Exhibition, November 27–December 22, 2008. See P1131.

Patricia and Phillip Frost Art Museum, Florida International University, Miami, Modern Masters from the Smithsonian American Art Museum, November 29, 2008–March 1, 2009; Westmoreland Museum of American Art, Greensburg, Pa., June 14–September 6, 2009; Dayton Art Institute, Ohio, October 10, 2009–January 2, 2010; Telfair Museum of Art, Savannah, Ga., November 13, 2010–February 5, 2011; Cheekwood Botanical Garden and Museum of Art, Nashville, March 19–June 19, 2011; Reynolda House Museum of American Art, Winston-Salem, N.C., October 7, 2011–January 1, 2012 (catalogue). See P136, P194, c22, c44.

Mecklenburg, Virginia M. Modern Masters: American Abstraction at Midcentury. Contributions by Tiffany D. Farrell. Washington, D.C.: Smithsonian American Art Museum, in association with D. Giles, London, 2008.

2009

S O l O eX hibiti O n S

Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Palo Alto, Calif., Robert Motherwell, May 6–November 15, 2009. See P1181, c667, c706.

Bernard Jacobson Gallery, London, Robert Motherwell: Open, June 17–August 28, 2009 (checklist). See P400, P412, P438, P439, P458, P532, P543, P550, P555, P567, P591, P617, P696, P711, P729, P735, P768, P801, P802, P807, P853, P987, P1068, P1107, c262, c263, w299, w356, w485. Reviewed in Glover 2009.

Leslie Sacks Fine Art, Los Angeles, Robert Motherwell: Prints and Unique Works on Paper, July 11–August 10, 2009. See c784.

Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Ill., Robert Motherwell: An Attitude towards Reality, from the Collection of the Walker Art Center, September 25–December 6, 2009 (checklist). See P265, P437, P627, P1112, c66, c139, c410, c493, c507, w70, w101, w107, w518.

g r O u P eX hibiti O n S

Hackett-Freedman Gallery, San Francisco, Synchronies: Undercurrents in Postwar European and American Abstraction, January 8–February 28, 2009. See P1118.

Manny Silverman Gallery, Los Angeles, Made in America, January 9–April 22, 2009 (checklist). See P971.

Bernard Jacobson Gallery, London, Gallery Mixed Show, January 13–February 5, 2009 (checklist). See P966, c638.

Nassau County Museum of Art, Roslyn Harbor, N.Y., Long Island Collects, January 18–March 15, 2009. See P1184, c41.

Morgan Library and Museum, New York, The Thaw Collection of Master Drawings: Acquisitions since 2002, January 23–May 3, 2009 (catalogue). Drawings only.

Eitel-Porter, Rhoda, Cara Dufour Denison, Isabelle Dervaux, Jennifer Tonkovich, Andaleeb Banta, Todd Magreta, and Justine Pokoik. The Thaw Collection of Master Drawings: Acquisitions since 2002. Foreword by William M. Griswold; preface by Eugene V. Thaw; introduction by Rhoda EitelPorter. New York: Morgan Library and Museum, 2009.

Espace de l’Art Concret, Centre d’Art Contemporain, Mouans-Sartoux, France, Vivre l’art: Collection Venet, January 25–May 24, 2009 (catalogue). See P804.

Avrilla, Jean-Marc, and Bernard Marcadé. Vivre l’art: Collection Venet (text in French). Mouans-Sartoux, France: Espace de l’Art Concret, Centre d’Art Contemporain, 2009.

Armand Bartos Fine Art, New York, 1968–69: 40 Years Later, February 18–March 21, 2009. See P444.

Hillsboro Fine Art, Dublin, International: 20th Century and Contemporary Masters, March 26–April 18, 2009. See P321, P1083. Reviewed in Dunne 2009.

Nohra Haime Gallery, New York, Layered/ Boxed, March 26–May 16, 2009. See c746.

Bernard Jacobson Gallery, London, Gallery Mixed Show, April 1–May 2, 2009 (checklist). See P526.

Figge Art Museum, Davenport, Iowa, Pollock’s Mural and Modern Masterworks from the University of Iowa Museum of Art, April 19–December 31, 2009. See P851.

Neue Nationalgalerie, Berlin, Bilder Träume: Die Sammlung Ulla und Heiner Pietzsch, June 19–November 22, 2009 [catalogue]. See c14, c127.

Broadbent, London, The Seamless Garment, June 24–August 15, 2009. See c481.

Waddington Galleries, London, Group Show, July 1–October 14, 2009. See c503. Fred, London, Collage: London/New York, August 6–September 27, 2009. See c449.

John Berggruen Gallery, San Francisco, Independent Visions: American Paintings, Drawings, and Sculpture, August 14–September 30, 2009. See c143.

Kent Gallery, New York, All in This Together: Dorothea Tanning & Friends, September 10–November 28, 2009 (catalogue). See P112. All in This Together, New York: Kent Gallery, 2009.

Mildred Lane Kemper Art Museum, Washington University, Saint Louis, Chance Aesthetics, September 18, 2009–January 4, 2010 (catalogue). Drawings only.

Malone, Meredith. Chance Aesthetics. Essays by Susan Laxton and Janie Mileaf; entries by Bradley Bailey and Emily Hage. Saint Louis: Mildred Lane Kemper Art Museum, Washington University, 2009.

El Museo del Barrio, New York, Nexus New York: Latin/American Artists in the Modern Metropolis, October 17, 2009–February 28, 2010 (catalogue). See P8, P10.

Nexus New York: Latin/American Artists in the Modern Metropolis. New York: El Museo del Barrio; New Haven and London: Yale University Press, 2009.

2010

g r O u P eX hibiti O n S

Jewish Museum, New York, Modern Art, Sacred Space: Motherwell, Ferber, and Gottlieb, March 14–August 1, 2010. See P114. Reviewed in Freudenheim 2010 and Rosenberg 2010.

Bibliography, Writings by the Artist, and Filmography

b ibli O gra P hy

The Bibliography is organized alphabetically, by author’s last name. Preceding each entry is an abbreviated form giving the author’s name and the year of publication, which identifies how the publication is referred to throughout the catalogue raisonné. When more than one text by the same author was published in the same year, a letter is added to differentiate the two entries (for example, Ashton 1957a and Ashton 1957b).

Reviews of exhibitions direct the reader to the corresponding entry in the List of Exhibitions. Important essays from exhibition catalogues are listed here under the author’s name.

Publications often contain excerpts from Motherwell’s letters, interviews, and writings, which are indicated by the phrase “includes artist’s statements.” In the catalogue raisonné entries, Motherwell’s discussions of specific works are listed in abbreviated form (for example, Motherwell in Janis 1944). The abbreviated form used in the catalogue raisonné entries appears both here and in the “Writings by the Artist.”

Incomplete references, based on magazine and newspaper clippings in the Dedalus Foundation Archives, are indicated as such.

w riting S by the a rti S t

The Writings by the Artist section of the Bibliography is arranged chronologically. It contains all of Motherwell’s published writings and a comprehensive selection of his unpublished writings, including essays, lectures, interviews, statements, and letters. (With letters, dates are given when known and the place from which they were sent is noted when relevant.)

In this section, each entry indicates the original publication of the text and any significant reprintings, whether in whole or in part. Reprintings are identified in the abbreviated form of author and year, cross-referenced to the general Bibliography. When Motherwell discusses a specific work, the catalogue raisonné number for that work is given in parentheses. In the catalogue raisonné entries, a short form is used to refer to the artist’s discussions of his own works in published sources; these short forms are given in parentheses following their corresponding entries below. Volumes edited by Motherwell are listed separately at end of this section

Extensive collections of Motherwell’s writings were published posthumously in two anthologies. These two volumes are referred to hereafter in abbreviated form, as Motherwell 1992 and Motherwell 2007.

Film O gra P hy

This list includes films, television appearances, and interviews.

abc 1980 “ ‘Es muy arriesgado decir que Nueva York ha desbancado artisticamente a Europa’ ” (text in Spanish). ABC (Madrid), April 17, 1980, p. 21. Review of the traveling exhibition at Fundación Juan March, Madrid, April 1980 (see Centro Cultural de la Caixa de Pensions, Barcelona, 1980).

a bel 1981

Abel, Lionel. “The Surrealists in New York.” Commentary (American Jewish Committee) 72, no. 4 (October 1981): pp. 44–54. Reprinted in Lionel Abel, The Intellectual Follies: A Memoir of the Literary Venture in New York and Paris (New York: W. W. Norton, 1984).

a cha 1975

Acha, Juan. “Robert Motherwell” (text in Spanish). Plural (Universidad Nacional Autónoma de México) 4, no. 8 (May 6, 1975): pp. 81–82. Review of Museo de Arte Moderno, Mexico City, 1975.

a ckerman 1969

Ackerman, James S. “The Demise of the Avant Garde: Notes on the Sociology of Recent American Art.” Comparative Studies in Society and History 11, no. 4 (October 1969): pp. 371–84.

a de S 1997

Ades, Dawn. Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago. Edited by Margherita Andreotti, with contributions by Margherita Andreotti and Adam Jolles. Chicago: Art Institute of Chicago; New York: Thames and Hudson, 1997.

a dVO cate Summer g uide 1978

“Days’ Retrospective Show Opens: Chronicling 55 Years of Provincetown Art History.” Advocate Summer Guide (Provincetown Advocate magazine), August 31, 1978, pp. 3, 21. Review of Provincetown Art Association and Museum, Mass., 1978.

a dVO cate Summer g uide 1983a

“Art Openings.” Advocate Summer Guide (Provincetown Advocate magazine), August 4, 1983, p. 6. Review of the traveling exhibition at Long Point Gallery, Provincetown, Mass., August 1983 (see Provincetown Art Association and Museum, Mass., 1983); and of Long Point Gallery, Provincetown, Mass., Thirteen Ways of Looking at a Blackbird, August 1983.

a dVO cate Summer g uide 1983b

“Motherwell Pays Tribute to Joyce” (includes artist’s statements). Advocate Summer Guide (Provincetown Advocate magazine), June 16, 1983, p. 3. Review of the traveling exhibition at Long Point Gallery, Provincetown, Mass., August 1983 (see Provincetown Art Association and Museum, Mass., 1983).

a dVO cate Summery 1973

“Art.” Advocate Summery (Provincetown Advocate magazine), August 2, 1973, pp. 10–11. Review of Tirca Karlis Gallery, Provincetown, Mass., 1973.

a lberti 1983

Alberti, Rafael. Robert Motherwell: El Negro Preface by Jack Flam. Bedford Village, N.Y.: Tyler Graphics, 1983.

a lbright 1968

Albright, Thomas. “Spare Magic in ‘Lyric Suite.’ ” San Francisco Chronicle, October 11, 1968, p. 47. Review of San Francisco Museum of Art, October 1968.

a lbright 1975

Albright, Thomas. “The Motherwell Collage.” San Francisco Chronicle, May 27, 1975, p. 38. Review of John Berggruen Gallery, San Francisco, 1975.

a lbright- k n OX a rt g allery c alendar 1983

“Robert Motherwell.” Albright-Knox Art Gallery Calendar, October 1983, pp. 1–5.

a ldan 1960

Aldan, Daisy, ed. A New Folder; Americans: Poems and Drawings. Foreword by Wallace Fowlie. New York: Folder Editions, 1960.

a l FO rd 1952

Alford, John. “The Prophet and the Playboy: ‘Dada Was Not a Farce’ ” (includes artist’s statements). College Art Journal 11, no. 4 (summer 1952): pp. 269–76.

a llen 1972

Allen, Henry. “Motherwell: Palate-Pleasing” (interview with the artist). Washington Post, November 8, 1972, sec. D, p. 3. Review of Fendrick Gallery, Washington, D.C., 1972.

a llen m em O rial a rt m u S eum b ulletin

1952

“Robert Motherwell” (includes artist’s statements). Allen Memorial Art Museum Bulletin (Oberlin College) 9, no. 3 (spring 1952): pp. 110–12.

a lley 1984

Alley, Ronald. “Arnason, Ashton, Diamonstein: Robert Motherwell” (book review). Art International 27, no. 2 (April–June 1984): pp. 56–58.

a ll O way 1960

Alloway, Lawrence. “Sign and Surface: Notes on Black and White Painting in New York.” Quadrum: Revue internationale d’art moderne 9 (summer 1960): pp. 49–62.

a ll O way 1961

Alloway, Lawrence. “Easel Painting at the Guggenheim.” Art International 5, no. 10 (Christmas 1961): pp. 26–34. Review of Solomon R. Guggenheim Museum, New York, 1961.

a ll O way 1970–71

Alloway, Lawrence. “The Spectrum of Monochrome.” Arts Magazine 45, no. 3 (December 1970–January 1971): pp. 30–33.

a ll O way 1975

Alloway, Lawrence. “Art.” Nation 220, no. 20 (May 24, 1975): pp. 635–36. Review of Whitney Museum of American Art, Downtown Branch, New York, 1975.

a ll O way 1978

Alloway, Lawrence. “Art.” Nation 226, no. 1 (January 14, 1978): pp. 29–30.

a lman S i 1977

Almansi, Guido. “Una Mostra parigina di Robert Motherwell al Museo di Arte Moderna: Dietro l’icona, il sesso” (text in Italian). La Repubblica (Rome), August 10, 1977, sec. Cultura, pp. 8–9. Review of Musée de l’Art Moderne de la Ville de Paris, 1977.

a me P nka 1986

“Petpocrektnba Kknborncn Cobpemehhoro Mactepa” (text in Russian). Amepnka, no. 360 (November 1986): pp. 45–48.

a merican a b S tract a rti S t S 1957

American Abstract Artists, eds. The World of Abstract Art. New York: George Wittenborn, 1957.

a merican a rt 1991

“American Archives: From the Peter A. Juley and Son Collection, National Museum of American Art.” American Art (Smithsonian Institution) 5, no. 4 (fall 1991): p. 70.

a merican a rt bOO k 1999

The American Art Book. London: Phaidon Press, 1999.

a merican Selecti V e b i O gra P hical

r e F erence 1947

“The Monthly Supplement and International Who’s Who.” American Selective Biographical Reference 8, no. 11 (November 1947): p. 286.

a nder SO n 1981

Anderson, Janet Tracy. “Eluding the A Priori: A Hermeneutic of Process Based upon Robert Motherwell’s Superordinant Concepts on the Making of Art” (includes artist’s statements). Ph.D. diss., Pennsylvania State University, 1981.

a nder SO n and w hitney m u S eum OF

a merican a rt 2002

Anderson, Maxwell L., and Whitney Museum of American Art. American Visionaries: Selections from the Whitney Museum of American Art Entry “Robert Motherwell,” p. 213. New York: Whitney Museum of American Art, 2002.

a ndre 1976

Andre, Michael. “New York Reviews.”

Artnews 75, no. 4 (April 1976): p. 119. Review of Knoedler & Company, New York, 1976.

a ndreae 1968

Andreae, Christopher. “ ‘A Delight to the Eyes’: Motherwell’s Collages.” Christian Science Monitor, November 9, 1968, p. 14.

Review of Whitney Museum of American Art, New York, 1968.

a ndreae 1969

Andreae, Christopher. “One Thing after Another” (includes artist’s statements). Christian Science Monitor, June 23, 1969, p. 8. Review of Marlborough-Gerson Gallery, New York, 1969.

a n Fam 1997

Anfam, David. “Madrid and New York: Robert Motherwell.” Burlington Magazine 139, no. 1132 (July 1997): pp. 504–5.

a n Fam 1998

Anfam, David. Mark Rothko: The Works on Canvas; Catalogue Raisonné. Vol. 1. New Haven, Conn.: Yale University Press; Washington, D.C.: National Gallery of Art, 1998.

a n Fam 2002

Anfam, David. Abstract Expressionism. New York: Thames and Hudson, 2002.

a nna S 2003

Annas, Teresa. “Robert Motherwell.” VirginianPilot (Norfolk), November 25, 2003, sec. E, pp. 1, 7. Review of Contemporary Art Center of Virginia, Virginia Beach, 2003.

aPO ll O 1969a

“Art Across the U.S.A.” Apollo 90, no. 91 (September 1969): p. 263. Review of Marlborough-Gerson Gallery, New York, 1969.

aPO ll O 1969b

“Art Across the U.S.A.” Apollo 90, no. 92 (October 1969): pp. 345–46. Review of Museum of Modern Art, New York, June 1969.

aPO ll O 1972

“Art Across the U.S.A.” Apollo 96, no. 129 (November 1972): p. 450. Review of Museum of Fine Arts, Houston, November 1972.

aPO ll O ni O et al. 1958

Apollonio, Umbro, G. C. Argan, Oto BihaljiMerin, Marcel Brion, Will Grohmann, J. P. Hodin, Sam Hunter, H.L.C. Jaffé, and Herbert Read. Art since 1945. Essay “USA,” by Sam Hunter. New York: Harry N. Abrams, 1958.

aPO ll O ni O et al. 1962

Apollonio, Umbro, G. C. Argan, Nello Ponente, Oto Bihalji-Merin, Marcel Brion, Will Grohmann, J. P. Hodin, Sam Hunter, H.L.C. Jaffé, and Herbert Read. Art since 1945 Essay “The United States,” by Sam Hunter. New York: Washington Square Press, 1962.

aPP ella 1989

Appella, Giuseppe. “Nella osmosi tra pittura e poesia le radici dell’arte come coscienza etica” (text in Italian). L’Osservatore Romano (Vatican City), November 27–28, 1989, p. 3. Review of Padiglione d’Arte Contemporanea, Milan, 1989.

a rchitectural d ige S t 1996

“Before and After: Born Again Neutra.”

Architectural Digest 53, no. 7 (July 1996): pp. 88–93.

a rchitectural d ige S t 2006a

“Breathing Lessons on Fifth Avenue: A Fresh Approach for an Apartment in a McKim, Mead & White Building.” Architectural Digest 63, no. 11 (November 2006): pp. 185–91, 261.

a rchitectural d ige S t 2006b

“A Not-So-Simple Plan: Based on a Pinwheel, a Contemporary Palo Alto Residence Offers

a Unique Outlook on California Living.”

Architectural Digest 63, no. 11 (November 2006): pp. 192–99, 261.

a rchitectural F O rum 1953

“Two Small Religious Buildings.” Architectural Forum 99, no. 1 (July 1953): pp. 118–23.

a rchitectural F O rum 1954

“Sculpture and Tapestry Used Architecturally.”

Architectural Forum 100, no. 4 (April 1954): pp. 140–45.

l’architecture d’au JO urd’hui 1950

“Maison d’été pour un peintre a Long Island” (text in French). L’architecture d’aujourd’hui, no. 30 (July 1950): p. 51.

a rna SO n 1966a

Arnason, H. H. “On Robert Motherwell and His Early Work.” Art International 10, no. 1 (January 20, 1966): pp. 17–35.

a rna SO n 1966b

Arnason, H. H. “Robert Motherwell: The Years 1948 to 1965.” Art International 10, no. 4 (April 20, 1966): pp. 19–45.

a rna SO n 1968

Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture. Entry “Robert Motherwell,” pp. 507–8. New York: Harry N. Abrams, 1968.

a rna SO n 1969

Arnason, H. H. “Motherwell: The Window and the Wall.” Artnews 68, no. 4 (summer 1969): pp. 48–52, 61–68.

a rna SO n 1976

Arnason, H. H. “Robert Motherwell: 1966–1976.” Art International 20, nos. 9–10 (October–November 1976): pp. 9–25, 55–57.

a rna SO n 1977a

Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture. Entry “Robert Motherwell,” pp. 535–36. 2nd ed. New York: Harry N. Abrams, 1977.

a rna SO n 1977b

Arnason, H. H. Robert Motherwell. Notes to the plates by Robert Motherwell. Preface by Bryan Robertson. 1st ed. New York: Harry N. Abrams, 1977.

a rna SO n 1982

Arnason, H. H. Robert Motherwell (includes a reprinted 1977 interview with the artist at the New School for Social Research). Introduction by Dore Ashton; notes to the plates by Robert Motherwell; interview by Barbaralee Diamonstein. 2nd ed. New York: Harry N. Abrams, 1982.

a rna SO n 1986

Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture, Photography Revisions and updates by Daniel Wheeler. 3rd ed. New York: Harry N. Abrams, 1986.

a rna SO n 1998

Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture, Photography. Contributions by Marla F. Prather (revising author of the 4th ed.), and Daniel Wheeler (revising author of the 3rd ed.). 4th ed. New York: Harry N. Abrams, 1998.

a rnaud 1989

Arnaud, John-Robert. “Gabriella Drudi: Robert Motherwell” (book review). Cimaise 36, nos. 200–201 (June–July–August 1989): p. 58.

a rnheim 1954

Arnheim, Rudolf. “The Psychologist Who Came to Dinner.” College Art Journal 13, no. 2 (winter 1954): pp. 107–12.

a rt & a ntique S 1988

“Charting the Course: Mapping Familiar Territory—from Country Lawns to Urban Landscapes.” Art & Antiques, April 1988, pp. 37–38. Review of Knoedler & Company, New York, 1988.

a rt e nter P ri S e S 2000

Art Enterprises. Art Enterprises: Selections from the Collection. Introduction by Richard Francis; compiled by Stacey Skold. Entry

“Robert Motherwell,” by Grace Glueck, pp. 120–21; and entry “Robert Motherwell,” by Robert Hughes, pp. 122–23. Chicago: Art Enterprises, 2000.

a rt g allery 1964

“The National Institute of Arts and Letters.” Art Gallery 7, no. 8 (May 1964): pp. 20–21, 35.

a rt g allery m agazine 1968

Art Gallery Magazine 11, no. 8 (May 1968): p. 39.

a rt g allery OF Ontari O a nnual r e PO rt 2004

“Acquisition Highlights.” In Art Gallery of Ontario Annual Report, 2003–2004, pp. 11–16. Toronto: Art Gallery of Ontario, 2004.

a rtic S 1986

Artics (Barcelona), September–October–November 1986, cover.

a rt in e mba SS ie S 1966

Arta˘ în Ambasade (text in Romanian). Introduction by John Farr Simmons. Bucharest, Romania: United States Embassy, 1966. Published in conjunction with a loan to the United States Embassy, Bucharest, Romania.

a rt in e mba SS ie S 1977

Eighteen Contemporary Masters. Introduction by Gaetana Enders. Ottawa, Ontario, Canada: United States Embassy, 1977. Published in conjunction with a loan to the United States Embassy, Ottawa.

a rt in e mba SS ie S 1979

Arte en la Embajada (text in Spanish). Introduction by William H. Luers. Caracas, Venezuela: Embajada de los Estados Unidos de América, 1979. Published in conjunction with a loan to the American ambassador’s residence, Caracas, Venezuela.

a rt in e mba SS ie S 1980

Art in Embassies. Introduction by Warren D. Manshel. Copenhagen: United States Embassy, 1980. Published in conjunction with a loan to the American ambassador’s residence, Rydhave, Copenhagen.

a rt in e mba SS ie S 1985

Contemporary American Art (text in English and Czech). Introduction by William H. Luers. Prague: United States Embassy, 1985. Published in conjunction with a loan to the United States Embassy, Prague.

a rt in e mba SS ie S 1999

Artists in the Residence (text in English and Korean). Introduction by Stephen W. Bosworth and Christine Bosworth. Seoul, South Korea: United States Department of State, Art in Embassies Program, 1999. Published in conjunction with a loan to Habib House, residence of the United States ambassador to the Republic of Korea, Seoul.

a rt in e mba SS ie S 2001

Art in Embassies (text in English and Spanish). Introduction by Jeffrey Davidow and Joan Davidow. Washington, D.C., and Mexico City: Art in Embassies Program, 2001. Published in conjunction with a loan to the United States Embassy, Mexico City.

a rt in e mba SS ie S 2002a

A New Look at Common Ground (text in English and Chinese). Introduction by Clark T. Randt Jr. Washington, D.C.: Art in Embassies Program, 2002. Published in conjunction with a loan to the United States Embassy, Beijing.

a rt in e mba SS ie S 2002b

An Exhibition of American Art in the Residence of the U.S. Ambassador to the Netherlands Introduction by Robert Rosenblum; introductory essay by Nicholas Fox Weber. Washington, D.C.: Art in Embassies Program, 2002. Published in conjunction with a loan to the United States ambassador to the Netherlands, The Hague.

a rt in e mba SS ie S 2008

Art in Embassies Exhibition. Introduction by Nicholas F. Taubman, Jenny Taubman, and Lara Taubman. Washington, D.C.: United States Department of State, 2008. Published in conjunction with a loan to the United States Embassy, Bucharest, Romania.

a rt i nternati O nal 1961

Art International 5, no. 1 (February 1, 1961): cover, index.

a rt i nternati O nal 1974

Art International 18, no. 7 (September 20, 1974): cover.

a rt l etter 1975

“ ‘War Conference’ Planned by David Smith Estate Executors” (includes artist’s statements). Art Letter 4, no. 2 (February 1975): p. 3.

a rt m arket r e PO rt 2003a

“From the Chicago Gallery.” Art Market Report (Hollis Taggart Galleries), fall–winter 2003, p. 2.

a rt m arket r e PO rt 2003b

“Recent Acquisitions.” Art Market Report (Hollis Taggart Galleries), spring–summer 2003, pp. 6–21.

a rtner 1997

Artner, Alan G. “2 Chicago Museums Hit Art Jackpot.” Chicago Tribune, February 26, 1997, sec. 1, pp. 1, 18.

a rtnew S 1944

“The Passing Shows.” Artnews 43, no. 14 (November 1–14, 1944): p. 26. Review of Art of This Century, New York, October 1944.

a rtnew S 1945

“The Passing Shows.” Artnews 45, no. 10 (August 1–31, 1945): pp. 24–25. Review of Samuel M. Kootz Gallery, New York, April 1945.

a rtnew S 1946a

“The Passing Shows.” Artnews 44, no. 19 (January 15–31, 1946): p. 21. Review of Samuel M. Kootz Gallery, New York, January 1946.

a rtnew S 1946b

“The Passing Shows.” Artnews 45, no. 1 (March 1946): p. 54. Review of Samuel M. Kootz Gallery, New York, March 1946.

a rtnew S 1947a

“Reviews and Previews.” Artnews 46, no. 8 (October 1947): p. 45. Review of Samuel M. Kootz Gallery, New York, 8 Paintings, September 1947.

a rtnew S 1947b

“Reviews and Previews.” Artnews 46, no. 3 (May 1947): pp. 47–48. Review of Samuel M. Kootz Gallery, New York, April 1947.

a rtnew S 1947c

“Reviews & Previews.” Artnews 46, no. 7 (September 1947): p. 39. Review of Samuel M. Kootz Gallery, Women, New York, September 1947.

a rtnew S 1948

“Reviews and Previews.” Artnews 47, no. 4 (June–July–August 1948): p. 49. Review of Samuel M. Kootz Gallery, New York, May 1948.

a rtnew S 1953

“The Year’s Best: 1952.” Artnews 51, no. 9 (January 1953): pp. 42–43.

a rtnew S 1998

“Art Market: Early Motherwell Does Well; Krasner Gets Her Due: Whitney Acquires Nadelmans, Lewitts.” Artnews 97, no. 4 (April 1998): p. 58.

a rtnew S letter 1983

“Robert Motherwell’s Market.” Artnewsletter 8, no. 14 (March 8, 1983): pp. 3–5.

a rtnew S letter 1991

“Limited Supply May Boost Motherwell’s Market.” Artnewsletter 17, no. 4 (October 15, 1991): pp. 1–2.

a rt nO w g allery g uide 1976

“Special Events.” Art Now Gallery Guide 6, no. 5 (January 1976): pp. 20–24.

a rt nO w g allery g uide 1992a

“Robert Motherwell at Modern Art Museum, Fort Worth.” Art Now Gallery Guide (international edition) 11, no. 6 (February 1992): sec. SW, p. 7.

a rt nO w g allery g uide 1992b

“ ‘Robert Motherwell: The Spanish Elegies’ at the Walker Art Center.” Art Now Gallery Guide 13, no. 3 (November 1992): sec. MW, p. 11.

a rt Pré S ent 1975

“Entretien avec Marcelin Pleynet” (text in French). Art Présent (Paris), no. 1 (September–October 1975): n.p.

a rt S & a rchitecture 1951

“The Muralist and the Modern Architect.” Arts & Architecture 68, no. 4 (April 1951): pp. 18–19.

a rt S indiana 1998

“From Ancient Burial Customs to Abstract Expressionism.” Artsindiana 20, no. 2 (March–April 1998): p. 9.

a rt S y earb OO k 1964

“A Color Portfolio of Recent Painting.” Arts Yearbook 7 (1964): pp. 60–76.

aS hbery 1961

Ashbery, John. “Savage Splendor in Paris Persian Art Show.” New York Herald Tribune (Paris), October 18, 1961, p. 6. Review of Galerie Heinz Berggruen, Paris, 1961.

aS hbery 1968a

Ashbery, John. “Dada & Surrealism.” New Republic 158, no. 22 (June 1, 1968): pp. 35–36, 38. Review of Museum of Modern Art, New York, March 1968.

aS hbery 1968b

Ashbery, John. “Growing Up Surreal.” Artnews 67, no. 3 (May 1968): pp. 40–44, 65. Review of Museum of Modern Art, New York, March 1968.

a [ S ht O n] 1956

A[shton], D[ore]. “About Art and Artists: Contemporary Works Open 2 Galleries.” New York Times, October 4, 1956, p. 67. Review of Martha Jackson Gallery, New York, 1956.

aS ht O n 1957a

Ashton, Dore. “Art.” Arts & Architecture 74, no. 7 (July 1957): pp. 4, 33. Review of Sidney Janis Gallery, New York, May 1957.

aS ht O n 1957b

Ashton, Dore. “Art: A Local Anthology: New York Annual, at the Stable Gallery Offers Many Works of Merit.” New York Times, May 8, 1957, p. 75. Review of Stable Gallery, New York, 1957.

aS ht O n 1957c

Ashton, Dore. “Reveries in Paint.” New York Times, May 19, 1957, sec. 2, p. 14. Review of Sidney Janis Gallery, New York, May 1957.

aS ht O n 1958

Ashton, Dore. “Art: Downtown Shows.” New York Times, May 23, 1958, p. 26. Review of James Gallery, New York, 1958.

aS ht O n 1959a

Ashton, Dore. “Art.” Arts & Architecture 76, no. 5 (May 1959): pp. 6–8. Review of Sidney Janis Gallery, New York, March 1959.

aS ht O n 1959b

Ashton, Dore. “Art: Collages Are Shown in Exhibition; ‘Beyond Painting’ Is at Alan Gallery.” New York Times, January 1, 1959, p. 29. Review of Alan Gallery, New York, 1958.

aS ht O n 1959c

Ashton, Dore. “Moderns in Baltimore.” New York Times, July 26, 1959, sec. 2, p. 12. Review of Baltimore Museum of Art, July 1959.

aS ht O n 1959d

Ashton, Dore. “Nueva York: Expresionismo Abstracto” (text in Spanish). Arquitectura México 21, no. 15 (March 1959): pp. 51–56.

aS ht O n 1960a

Ashton, Dore. “Art: 9 Abstract Leaders; Sidney Janis Gallery Shows Works by Major Figures in the Movement.” New York Times, April 5, 1960, p. 44. Review of Sidney Janis Gallery, New York, 1960.

aS ht O n 1960b

Ashton, Dore. “Art: Double Anniversary Celebrated at Exhibition.” New York Times, February 5, 1960, p. 24. Review of Trabia Gallery, New York, 1960.

aS ht O n 1960c

Ashton, Dore. “Perspective de la Peinture Américaine” (text in French). Cahiers d’art, nos. 33–35 (1960): pp. 203–20.

aS ht O n 1962

Ashton, Dore. The Unknown Shore: A View of Contemporary Art. Boston: Little, Brown, 1962.

aS ht O n 1963a

Ashton, Dore. “Art.” Arts & Architecture 80, no. 2 (February 1963): pp. 8–9. Review of Sidney Janis Gallery, New York, December 1962.

aS ht O n 1963b

Ashton, Dore. “Motherwell Loves and Believes.” Studio International 165, no. 839 (March 1963): pp. 116–19. Review of Sidney Janis Gallery, New York, December 1962.

aS ht O n 1964a

Ashton, Dore. “La Voix du tourbillon dans l’Amérique de Kafka” (text in French). XXe Siècle (Paris) 26, no. 23 (May 1964): pp. 92–96.

aS ht O n 1964b

Ashton, Dore. “Robert Motherwell: Passion and Transfiguration” (includes artist’s statements). Studio International 167, no. 851 (March 1964): pp. 100–105.

aS ht O n 1967

Ashton, Dore. “Gli inizi dell’espressionismo astratto in America” (text in Italian). L’Arte Moderna (Milan) 13, no. 109 (1967): pp. 1–40.

aS ht O n 1969a

Ashton, Dore. “New York Commentary.” Studio International 178, no. 913 (July–August 1969): pp. 28–29. Review of MarlboroughGerson Gallery, New York, 1969.

aS ht O n 1969b

Ashton, Dore. “Response to Crisis in American Art.” Art in America 57, no. 1 (January–February 1969): pp. 24–35.

aS ht O n 1970

Ashton, Dore. Modern American Painting New York: New American Library, 1970.

aS ht O n 1971

Ashton, Dore. “A Fusion of Modern Assumptions.” Chap. 13 in A Reading of Modern Art (includes artist’s statements). Rev. ed. New York: Harper and Row, 1971.

aS ht O n 1972

Ashton, Dore. The New York School: A Cultural Reckoning (includes artist’s statements). New York: Viking Press, 1972.

aS ht O n 1980

Ashton, Dore. “Robert Motherwell” (includes artist’s statements). Flash Art, no. 100 (November 1980): pp. 4–8.

aS ht O n 1983

Ashton, Dore. “On Motherwell.” In Robert Motherwell (exhibition catalogue), by Dore Ashton and Jack Flam, pp. 29–51. Buffalo: Albright-Knox Art Gallery; New York: Abbeville Press, 1983. See entry in List of Exhibitions.

aS ht O n 1987

Ashton, Dore. “Mallarmé, Friend of Artists.” Chap. 48 in Out of the Whirlwind: Three Decades of Arts Commentary, edited by Donald Kuspit. Contemporary American Art Critics 8. Ann Arbor, Mich.: UMI Research Press, 1987.

aS ht O n 1989

Ashton, Dore. “Robert Motherwell.” In Robert Motherwell (exhibition catalogue, text in English and Italian), by Dore Ashton and Paolo Sega Serra Zanetti, pp. 6–25. Milan: Arnoldo Mondadori Editore Arte, 1989. See entry in List of Exhibitions.

aS ht O n and b anach 2007

Ashton, Dore, and Joan Banach, eds. The Writings of Robert Motherwell. Introduction by Dore Ashton. Berkeley and Los Angeles: University of California Press, 2007. Referred to in Writings by the Artist as Motherwell 2007.

aSP en m u S ic Fe S ti Val and Sch OO l 1997 Aspen Music Festival and School, summer 1997, cover.

a tlantic 1992

“Arts & Entertainment Preview.” Atlantic 270, no. 6 (December 1992): p. 39.

a t the mO dern 1993

“Preserving a Modern Masterpiece: The Conservation of a Motherwell Elegy.” At the Modern (San Francisco Museum of Modern Art), November–December 1993, p. 6.

a t the m u S eum 1995–96a

“The Collectors Committee.” At the Museum (Los Angeles County Museum of Art), December 1995–January 1996, p. 6.

a t the m u S eum 1995–96b

“Motherwell.” At the Museum (Los Angeles County Museum of Art), December 1995–January 1996, cover, pp. 4–5.

a t the rOS e a rt m u S eum 1999

“Abstract Expressionism from the Brandeis University Art Collection.” At the Rose Art Museum (Brandeis University), spring 1999, n.p.

ayar S and d egatina 1984

Ayars, Mike, and John Degatina. “The Motherwell Lode” (letters to the editor).

Los Angeles Times, February 5, 1984, sec. Calendar, p. 103.

b aby 1977a

Baby, Yvonne. “Robert Motherwell: Order Out of Chaos” (includes interview with the artist reprinted from Baby 1977b). Guardian (Manchester), July 31, 1977, p. 14.

b aby 1977b

Baby, Yvonne. “Un Ordre visuel arraché au chaos: Un Entretien avec le peinture Robert Motherwell” (text in French; interview with the artist). Le Monde, June 30, 1977, p. 11.

b aigell 1966

Baigell, Matthew. “American Abstract Expressionism and Hard Edge: Some Comparisons.” Studio International 171, no. 873 (January 1966): pp. 10–15.

b aillie 1977

Baillie, Martin. “Excess and Discipline Evident in American School Collection.” Glasgow Herald, October 31, 1977, p. 8. Review of Royal Scottish Academy, Edinburgh, 1977.

b aitz 1984

Baitz, J. R. “Art: Robert Motherwell’s Endless Instant.” Publication unknown [California], January 27, 1984, sec. Reader’s Guide, p. 15. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

b aker 1961

Baker, Richard Brown. “Notes on the Formation of My Collection.” Art International 5, no. 7 (September 20, 1961): pp. 40–47.

b aker 1973

Baker, Kenneth. “Motherwell, Metaphor, and the Thing Itself.” Boston Phoenix, June 5, 1973, sec. 2, p. 12. Review of traveling exhibition at the Museum of Fine Arts, Boston, 1973 (see Museum of Fine Arts, Houston, November 1972).

b aker 2003

Baker, Kenneth. “S.F. Museums’ Collection Beefed Up by Bequest: Multimillion-Dollar Gift of 5 Prominent Paintings from Morris Estate.” San Francisco Chronicle, August 29, 2003, sec. D, pp. 1, 3.

b aker- c arr 1975

Baker-Carr, Janet. “A Conversation with Robert Motherwell, Painter” (interview with the artist). Harvard Magazine 78, no. 2 (October 1975): pp. 34–41.

b aldwin 1978

Baldwin, Nick. “Rescue!” (includes artist’s statements). Des Moines Register, July 30, 1978, sec. B, p. 5.

b alken 2005

Balken, Debra Bricker. Movements in Modern Art: Abstract Expressionism. London: Tate, 2005.

b altim O re Sun 1943

“Sadie May Collection.” Baltimore Sun, July 4, 1943, sec. 1, p. 12. Review of Baltimore Museum of Art, 1943.

b anach 1996

Banach, Joan. Robert Motherwell: A Painter’s Album. Barcelona: Fundació Antoni Tàpies, 1996. Published in conjunction with the catalogue for the exhibition at Fundació Antoni Tàpies, Barcelona, 1996.

b anham 1966

Banham, Reyner. “Motherwell & Others.” Architectural Review 140, no. 833 (July 1966): pp. 59–62.

b ann 1970

Bann, Stephen. Experimental Painting: Construction, Abstraction, Destruction, Reduction London: Studio Vista, 1970.

b ann O n 1983a

Bannon, Anthony. “Gallery to Unveil Historic Robert Motherwell Show.” Buffalo News, September 25, 1983, sec. E, pp. 1, 4. Review of Albright-Knox Art Gallery, Buffalo, 1983.

b ann O n 1983b

Bannon, Anthony. “Passion and Intelligence Sweep through Four Decades of Robert Motherwell’s Art.” Buffalo Times, [October] 1983, sec. Art. Review of Albright-Knox Art Gallery, Buffalo, 1983.

b ann O n 1983c

Bannon, Anthony. “The Motherwell Secret to Creating or Appreciating Art: A Good Eye” (interview with the artist). Buffalo News, November 13, 1983, sec. E, pp. 1, 5.

b ann O n 1984a

Bannon, Anthony. “The Main Event: Thoroughly Modernist Motherwell” (includes artist’s statements). Continental 2, no. 3 (March 1984): cover, pp. 36–39, 99–100.

b ann O n 1984b

Bannon, Anthony. “The Motherwell Experiment” (includes artist’s statements). Connoisseur, May 1984, pp. 24, 31. Review of the traveling exhibition at San Francisco Museum of Art, April 1984 (see AlbrightKnox Art Gallery, Buffalo, 1983).

b arker 1965

Barker, Walter. “Painter of the Indomitable Gesture: Robert Motherwell Retrospective at the Modern.” St. Louis-Post Dispatch, November 21, 1965, sec. B, p. 5. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

b arne S 1997

Barnes, Jim. “From Picasso to Warhol: DIA Loans 20th Century Masterworks to Dennos Museum Center.” Traverse City Record-Eagle, November 7, 1997, sec. D, pp. 1, 6. Review of Dennos Museum Center, Northwestern Michigan College, Traverse City, 1997.

b arnier 2000

Barnier, Aurélie. “Une Revue de l’expressionnisme abstrait américain: Possibilities (1947–1948)” (text in French; includes artist’s statements). Les Cahiers du Musée National d’Art Moderne 71 (spring 2000): pp. 104–21.

b ar O 1966a

Baro, Gene. “Robert Motherwell: Order in Freedom.” Art and Artists 1, no. 1 (April 1966): pp. 36–37.

b ar O 1966b

Baro, Gene. “The Ethics of Risk” (includes artist’s statements). Arts Magazine 40, no. 3 (January 1966): pp. 36–41.

b ar O 1981

Baro, Gene. “New York Letter.” Art International 24, nos. 9–10 (August–September 1981): pp. 117–18. Review of Knoedler & Company, New York, February 1981.

b ar O n and Peck 2005

Baron, Cynthia L., and Daniel Peck. Digital Photography Field Guide. Berkeley, Calif.: Peachpit Press, 2005.

b arr 1948

Barr, Alfred H., Jr., ed. Painting and Sculpture in the Museum of Modern Art. New York: Museum of Modern Art, 1948.

b arr 1986

Barr, Alfred H., Jr. Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. (includes artist’s statements). Edited by Irving Sandler and Amy Newman; introduction by Irving Sandler. New York: Harry N. Abrams, 1986. b arr 1999

Barr, Pamela T., ed. New Britain Museum of American Art. Vol. 1, Highlights of the Collection Entry “Robert Motherwell,” by L[eesa] F[anning], pp. 116–17. New Britain, Conn.: New Britain Museum of American Art; New York: Prestel Verlag, 1999.

b arrett 1952

Barrett, William. “High-Jinks Wasn’t All” (book review). New York Times, February 3, 1952, sec. Book Review, pp. 7, 25.

b art O n 2004

Barton, Peter. “The Motherwell Code.” Country and Abroad 9, no. 6 (November 2004): pp. 60–61.

b a SS 1982

Bass, Ruth. “New York Reviews.” Artnews 81, no. 5 (May 1982): p. 168. Review of Knoedler & Company, New York, 1982.

b ate S 1973

Bates, Catherine. “Getting Up to Date.”

Montreal Star, November 10, 1973, sec. D, p. 12. Review of Musée d’Art Contemporain, Montreal, 1973.

b atterberry 1973

Batterberry, Michael. Twentieth Century Art Foreword by Howard Conant. New York: McGraw-Hill, 1973.

b aum et al. 2003

Baum, Kelly, Monique M. Desormeau, Melissa Miller Farr, John B. Henry III, Melina Kervandjian, Valerie Ann Leeds, Akella Reason, R. Sarah Richardson, Sue Scott, and Kristie Everett Zamora. American Art at the Flint Institute of Arts. Introduction by William H. Gerdts. Entry “Robert Motherwell,” by Sue Scott, pp. 180–81. New York and Manchester, Vt.: Hudson Hills Press and Flint Institute of Arts, 2003.

b aur 1951a

Baur, John I. H. “American Art After 25 Years: A Richer Diversity Than Ever Before.” Art Digest 26, no. 3 (November 1, 1951): pp. 14–19.

b aur 1951b

Baur, John I. H. Revolution and Tradition in Modern American Art (includes artist’s statements). Cambridge, Mass.: Harvard University Press, 1951.

b aur 1967

Baur, John I. H. “The Rich Turmoil of Contemporary Art: Today’s Art and How It Got that Way.” Chicago Tribune, April 23, 1967, sec. Magazine, pp. 42–45, 66, 69, 71.

b eal S 1982

Beals, Kathie. “Abstract Expressionism Still Lives.” Gannett Westchester Newspapers, October 22, 1982, sec. Weekend, p. 1. Review of Stamford Museum & Nature Center, Conn., 1982.

b eal S 1984

Beals, Kathie. “Motherwell Retrospective Spans Four Decades of Artist’s Work.” Gannett Westchester Newspapers, December 6, 1984, sec. C, pp. 1–3. Review of Solomon R. Guggenheim Museum, New York, 1984.

b earden and hO lty 1969

Bearden, Romare, and Carl Holty. The Painter’s Mind: A Study of the Relations of Structure and Space in Painting. New York: Crown, 1969.

b elgrad 1994

Belgrad, Daniel Mark. “The Social Meanings of Spontaneity in American Arts and Literature, 1940–1960” (includes artist’s statements). Ph.D. diss., Yale University, 1994.

b elgrad 1998

Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Arts in Postwar America (includes artist’s statements). Chicago: University of Chicago Press, 1998.

b ell 1961

Bell, Gilbert. “New Trends: Modern Art Exhibit.” Concordiensis 91, no. 18 (March 17, 1961): p. 4. Review of Union College, N.Y., 1961.

b elle V ue g azette 1969

“Motherwell Art Exhibit Opens.” Bellevue Gazette (Ohio), October 24, 1969, p. 4.

b el S er k un S t q uartal 2004

Belser Kunst Quartal 4 (October–December 2004): cover.

b elting 1983

Belting, Hans. “Bericht aus München” (text in German). Art International 26, no. 2 (April–June 1983): pp. 60–63, 66–67, 76.

b ennett 2003

Bennett, Lennie. “Bits and Pieces.” St. Petersburg Times (Florida), October 12, 2003, sec. F, pp. 4, 12. Review of Everson Museum of Art, Syracuse, N.Y., 2002.

b en SO n 1951a

Benson, Gertrude. “Striking Camera Studies at Art Museum” (includes artist’s statements). Philadelphia Inquirer, October 7, 1951, sec. Society, pp. 19, 28.

b en SO n 1951b

Benson, Gertrude. “Synagogue Goes Modern” (includes artist’s statements). Today (Philadelphia Inquirer magazine), November 18, 1951, p. 30.

b erkman 1962

Berkman, Florence. “Motherwell Opens Art Lecture Series” (includes artist’s statements). Hartford Times, March 24, 1962, p. 26.

b erkman 1965

Berkman, Florence. “25 Years Art Leader: Motherwell Honored with Show” (includes artist’s statements). Hartford Times, October 30, 1965, p. 36. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

b erkman 1971

Berkman, Florence. “Motherwell—Painting Entering ‘Temporary’ Decline” (interview with the artist). Hartford Times, March 28, 1971, sec. D, p. 13.

b [erk SO n] 1965

B[erkson], W[illiam]. “In the Museums: Recent Exhibitions.” Arts Magazine 40, no. 2 (December 1965): pp. 42–43. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

b erman 1985

Berman, Avis. “The Triumph of Abstract Expressionism” (includes artist’s statements). Modern Maturity 28, no. 2 (April–May 1985): pp. 58–65, 108.

b erman 1991

Berman, Ann E. “Designing Man: With an Artist’s Eye, Jay Crawford Composes a Dramatic Mix of Objects and Pictures in His Manhattan Town House.” Art & Auction, November 1991, pp. 140–45.

b ernardi 1966

Bernardi, Marziano. “L’Artista americano Motherwell in una grande mostra a Torino” (text in Italian). La Stampa (Turin, Italy), September 27, 1966, p. 5. Review of traveling exhibition at Galleria Civica d’Arte Moderna (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

b [ernier] 1955

B[ernier], R[osamond]. “Coup d’oeil sur l’art américain” (text in French). L’Oeil, no. 3 (March 15, 1955): pp. 40–43. Review of the circulating exhibition at Musée Nationale d’Art Moderne, March 1955 (see Museum of Modern Art, New York, 1955).

b ern S tein 1996

Bernstein, Jay. “The Death of Sensuous Particulars: Adorno and Abstract Expressionism.” Radical Philosophy 76 (March–April 1996): cover, pp. 7–18.

b erten S and n at O li 2002

Bertens, Hans, and Joseph Natoli, eds. Postmodernism: The Key Figures. Malden, Mass.: Blackwell, 2002.

b etti and Sale 1980

Betti, Claudia, and Teel Sale. Drawing: A Contemporary Approach. 1st ed. New York: Holt, Rinehart, and Winston, 1980.

b etti and Sale 1997

Betti, Claudia, and Teel Sale. Drawing: A Contemporary Approach. 4th ed. Fort Worth, Tex.: Harcourt Brace College, 1997.

b etti and Sale 2008

Sale, Teel, and Claudia Betti. Drawing: A Contemporary Approach. 6th ed. Boston: Thomson Wadsworth, 2008.

b ett S 1952

Betts, Edward. “Dada: The Last Word” (book review). Art Digest 26, no. 15 (May 1, 1952): p. 23.

b ier 1952a

Bier, Justus. “Art: Paintings from Abstract Movement Are on Exhibit at Speed.”

Courier-Journal (Louisville, Ky.), March 2, 1952, sec. 5, p. 4. Review of J. B. Speed Art Museum, Louisville, Ky., 1952; and of Library Rotunda, University of Louisville, Ky., 1952.

b ier 1952b

Bier, Justus. “Art: Speed Museum Exhibits Selections from Chicago Show.” Courier-Journal (Louisville, Ky.), May 25, 1952, p. 4. Review of J. B. Speed Art Museum, Louisville, Ky., 1952.

b inkiewicz 2004

Binkiewicz, Donna M. Federalizing the Muse: United States Arts Policy and the National Endowment for the Arts, 1965–1980. Chapel Hill: University of North Carolina Press, 2004.

b [ird] 1951

B[ird], P[aul]. “Motherwell: A Profile” (interview with the artist). Art Digest 26, no. 1 (October 1, 1951): pp. 6, 23.

b i S h OP et al. 2005

Bishop, Janet, Michael Auping, Jonathan Weinberg, and Charles Ray. Robert Bechtle: A Retrospective. Berkeley and Los Angeles: University of California Press, 2005.

bJO ne 2002

Bjone, Christian. First House: The Grid, the Figure, and the Void. Chichester, West Sussex, England: Wiley-Academy, 2002.

b le S h 1956

Blesh, Rudi. Modern Art USA: Men, Rebellion, Conquest, 1900–1956. New York: Alfred A. Knopf, 1956.

b l OO m F ield 1968

Bloomfield, Arthur. “A Remarkable Gift to the S.F. Museum.” Publication unknown [California], [October 1968]. Review of San Francisco Museum of Art, October 1968.

bO c O la 2001

Bocola, Sandro. Timelines: The Art of Modernism, 1870–2000. Cologne, Germany: Taschen, 2001.

bO de 1981

Bode, Peter M. “Ich liebe die Malerei wie den Körper einer Frau” (text in German). Publication unknown [Munich], [November] 1981. Review of Haus der Kunst, Munich, 1981.

bO eh S 1971

Boehs, Clydene Lillian. “Robert Motherwell: Neo-Academician” (includes artist’s statements). M.A. thesis, University of Oklahoma, 1971.

bO eing wO rld h eadquarter S 2003

Boeing World Headquarters. Our Home in Chicago. Chicago: Boeing, 2003.

bO ettger 1984

Boettger, Suzaan. “Action Painting: ‘Elegies,’ ‘Opens’ and Other Motherwellian Form.” City Arts, April 1984, p. 19. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

bO higa S et al. 1986

Bohigas, Oriol, Victoria Combalia, Jacques Dupin, Michel Leiris, Barbara Rose, and Margit Rowell. A Joan Miró: Col-lecció permanent d’art contemporani en homenatge a Joan Miro (text in English and Catalan; includes artist’s statements). Barcelona: Fundació Joan Miró, 1986.

bO net 1978

Bonet, Juan Manuel. “El Esplendor Motherwell” (text in Spanish). El Pais (Madrid), November 5, 1978, p. 6.

bO net 1980

Bonet, Juan Manuel. Robert Motherwell Vino a Madrid (text in Spanish). Boletín Informativo (Fundación Juan March) 94 (June 1980): pp. 15–21.

bO net 1982

Bonet, Juan Manuel. “Campano” (text in French). Art Press International (Paris) 56 (February 1982): p. 21.

bO net 1983

Bonet, Juan Manuel. “Americanos en Paris: Los Años cincuenta” (text in Spanish). Goya: Revista de Arte (Madrid), no. 177 (November–December 1983): pp. 132–37.

bO net 1996

Bonet, Juan Manuel. “Motherwell en el Recuerdo” (text in Spanish). Arte y Parte, no. 5 (October–November 1996): pp. 6–12.

bO net 2002

Bonet, Juan Manuel. 200 Obras de la colección del Museo Nacional Centro de Arte Reina Sofía (text in English and Spanish). Madrid: Ediciones Aldaesa, 2002.

bO netti 1987

Bonetti, David. “Art: The First Resort.” Boston Phoenix, September 4, 1987, sec. 3, pp. 9, 14. Review of Long Point Gallery, Provincetown, Mass., 1987.

bO rger 1988

Borger, Irene. “Knossos Moderne: Refined Lines for Palm Springs.” Architectural Digest 45, no. 12 (December 1988): pp. 126–33.

bO rge S 1986

Borges, Jorge Luis. Enquêtes suivi de Entretiens (text in French). Paris: Éditions Gallimard, 1986, cover.

bOS t O n g l O be 1966a

“Abstract Painting of JFK Death Scene Stirs Furor.” Boston Globe, August 12, 1966, p. 26.

bOS t O n g l O be 1966b

“JFK Painting Furor Fulfills a Purpose?” (includes artist’s statements). Boston Globe, August 12, 1966, pp. 1, 19.

bOS t O n t raV eler 1966

“Ted to Inspect Mural Depicting JFK’s Slaying.” Boston Traveler, August 12, 1966, pp. 1, 4.

bOS t O n u ni V er S ity J O urnal 1973

“Drawing.” Boston University Journal 21, no. 2 (spring 1973): p. 43.

bOS well 1950

Boswell, Peyton. “Modern Manifesto Repercussions.” Art Digest 24, no. 14 (April 15, 1950): p. 5.

b [ OS well] 1952

B[oswell], P[eyton]. “Fifty-seventh Street in Review.” Art Digest 26, no. 7 (January 1, 1952): p. 20. Review of Samuel M. Kootz Gallery, New York, December 1951.

bO ui SS et 1977

Bouisset, Maiten. “La Peinture de Robert Motherwell: Une Grande aventure de l’esprit” (text in French). Le Matin (Paris), July 7, 1977, p. 22. Review of Musée de l’Art Moderne de la Ville de Paris, 1977.

bO urd O n 1965

Bourdon, David. “Elephantine Doodling.” Village Voice, November 11, 1965, p. 13. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

bO wen 1966

Bowen, Denis. “Robert Motherwell at the Whitechapel.” Arts Review (London) 18, no. 6 (April 2, 1966): p. 132. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

bO wne SS 1967

Bowness, Alan. “The American Invasion and the British Response.” Studio International 173, no. 890 (June 1967): pp. 285–93.

bO wne SS 1978

Bowness, Alan. “Image of the Week’s Search for Expression.” Sunday Times (London), [February 1978].

bO wne SS 1989

Bowness, Alan. The Conditions of Success: How the Modern Artist Rises to Fame. London: Thames and Hudson, 1989.

bO wyer 1966

Bowyer, A. W. “Art.” Belfast Telegraph, April 15, 1966, p. 12. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

b [rach] 1953

B[rach], P[aul]. “Fifty-seventh Street in Review.” Art Digest 27, no. 12 (March 15, 1953): p. 20. Review of Samuel M. Kootz Gallery, New York, March 1953.

b raun 1979

Braun, Elisabeth. “Motherwell’s New Oils Use Black and White as Colors.” Greenwich Time, April 6, 1979, p. 16. Review of William Benton Museum of Art, University of Connecticut, Storrs, 1979.

b raun- m unk 1991

Braun-Munk, E. C. “Unfettered Art.” Vogue Decoration, no. 30 (February–March 1991): pp. 70–79.

b reerette 1977

Breerette, Genevieve. “La Rétrospective Motherwell a l’Arc: Exprimer l’homme dans sa totalité” (text in French). Le Monde, June 24, 1977, pp. 1, 32. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

b ren SO n 1982

Brenson, Michael. “Motherwell in Munich.” New York Times, September 10, 1982, sec. C, p. 16.

b ren SO n 1983a

Brenson, Michael. “Art People: U.S. Selects Miss Tucker.” New York Times, November 25, 1983, sec. C, p. 22.

b ren SO n 1983b

Brenson, Michael. “Why Robert Motherwell Provokes Diverse Opinions” (includes artist’s statements). New York Times, October 30, 1983, sec. 2, pp. 29, 35. Review of Albright-Knox Art Gallery, Buffalo, 1983.

b ren SO n 1987

Brenson, Michael. “When America Put Its Stamp on World Painting.” New York Times, October 18, 1987, sec. 2, pp. 39, 40. Review of Albright-Knox Art Gallery, Buffalo, September 1987.

b re S lin 1993

Breslin, James E. B. Mark Rothko: A Biography (includes artist’s statements). Chicago: University of Chicago Press, 1993.

b re S lin 1995

Breslin, James E. B. “Robert Motherwell: From WASPism to Modernism” (includes artist’s statements). Threepenny Review, no. 61 (spring 1995): pp. 24–25.

[ b rett] 1966

[Brett, Guy]. “Robert Motherwell Retrospective in London.” Times (London), March 24, 1966, p. 16. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

b [reuning] 1950a

B[reuning], M[argaret]. “Fifty-seventh Street in Review.” Art Digest 24, no. 20 (September 15, 1950): p. 18. Review of Samuel M. Kootz Gallery, New York, [September] 1950.

b [reuning] 1950b

B[reuning], M[argaret]. “Fifty-seventh Street in Review.” Art Digest 24, no. 17 (June 1, 1950): p. 16. Review of Samuel M. Kootz Gallery, New York, June 1950.

b [reuning] 1951

B[reuning], M[argaret]. In “Fifty-seventh Street in Review.” Art Digest 25, no. 16 (May 15, 1951): p. 22. Review of Samuel M. Kootz Gallery, New York, May 1951.

b rian 1950

Brian, Doris. “Dealers Help Artists Help Themselves.” Art Digest 25, no. 1 (October 1, 1950): pp. 11, 29. Review of Samuel M. Kootz Gallery, New York, October 1950.

b ri O t 1981

Briot, Marie-Odile, and Danielle Molinari. “Musée d’Art moderne de la Ville de Paris” (text in French). La Revue du Louvre 31 (April 1981): pp. 300–302.

b ritannica e ncycl OP edia OF a merican

a rt 1973

The Britannica Encyclopedia of American Art Entry “Robert Motherwell,” by H. H. Arnason, pp. 380–83. Chicago: Encyclopaedia Britannica Educational Corporation, 1973.

b r O mberg 1983

Bromberg, Anne R. Dallas Museum of Art: Selected Works. Dallas: Dallas Museum of Art, 1983.

b r O mmer 2007

Brommer, Gerald F. “Abstract Expressionism.” Chap. 17.1 in Discovering Art History. 4th ed. Worcester, Mass.: Davis, 2007.

b r OO ke 1985

Brooke, James. “Trend-Setting Quonset Hut Is Demolished on L.I.” (includes artist’s statements). New York Times, August 3, 1985, p. 26.

b r OO ker 1989

Brooker, Alice S. “Was There a Myth in the Making?—A Structuralist Approach to Robert Motherwell’s Elegies to the Spanish Republic” (includes artist’s statements). Athanor (Florida State University) 7 (March 1989): pp. 63–69.

b r O wn 1951–52

Brown, Gordon. “New Tendencies in American Art” (includes artist’s statements). College Art Journal 11, no. 2 (winter 1951–52): pp. 103–10.

b r O wn 1976

Brown, Gordon. “Arts Reviews.” Arts Magazine 51, no. 3 (November 1976): p. 18. Review of Gruenebaum Gallery, New York, 1976.

b r O wn 1985

Brown, Kenneth. “Brooklyn’s Beauty Is Highlighted in a New Exhibition.” Flatbush Life 29, no. 19 (May 13, 1985): sec. 2, p. 11B. Review of Museum of the Borough of Brooklyn at Brooklyn College, 1985.

b runel 1987

Brunel, Nathalie. “L’Art ne s’est pas arrêté en 1900” (text in French). L’Express Style, January 16–February 12, 1987, pp. 60–65.

b runer 1969

Bruner, Louise. “See Motherwell Now, Ask About Show Later.” Toledo Blade (Ohio), November 7, 1969, pp. 1, 4. Review of Toledo Museum of Art, Ohio, 1969.

b runet- w einmann 1987

Brunet-Weinmann, Monique. “Robert Motherwell a Provincetown: Une interview avec Monique Brunet-Weinmann” (text in French; interview with the artist). Vie Des Arts 32, no. 128 (September–autumn 1987): pp. 40–41.

b runet- w einmann 1991

Brunet-Weinmann, Monique. “Élégie pour Motherwell” (text in French, obituary). Le Devoir, August 3, 1991, sec. B, pp. [1], 2.

b ru S tein 1958

Brustein, Robert. “The Cult of the Unthink.” Horizon 1, no. 1 (September 1958): pp. 38–44, 134–35.

b uettner 1973

Buettner, William Stewart. “American Art Theory: 1940–1960” (includes artist’s statements). Ph.D. diss., Northwestern University, 1973.

b uettner 1981

Buettner, Stewart. American Art Theory: 1945–1970 (includes artist’s statements). Ann Arbor, Mich.: UMI Research Press, 1981.

b u J e S e 1982

Bujese, Alene, ed. Twenty-five Artists. Foreword by Thomas M. Messer; photographs by Hans Namuth. Frederick, Md.: University Publications of America, 1982.

b ulletin 1967

“American Painting 1952–1966: The Largest Exhibition of U.S. Paintings to Come to this Country, Currently in Sydney.” Bulletin (Sydney) 89, no. 4561 (August 5, 1967): pp. 10–12.

b ulletin OF the r h O de iS land Sch OO l OF d e S ign 1973

“Section III: Contemporary Graphics from the Museum’s Collection.” Bulletin of the Rhode Island School of Design 59, no. 6 (April 1973).

b ürcklin 1974

Bürcklin, Heidi. “Oden für einen Maler: Motherwells Zyklus A La Pintura in der Galerie Wentzel” (text in German). Die Welt 79 (April 3, 1974): p. 24.

b urg et al. 1995

Burg, Detlev von der, Martin Schawe, et al. Pinakothek der Moderne: Eine Vision des Museums für Kunst, Architektur und Design des 20. Jahrhunderts in München (text in German). Entry “Robert Motherwell,” p. 169. New York and Munich: Prestel, 1995.

b urkhart 1984

Burkhart, Dorothy. “Motherwell: Elegance Is His Signature.” Mercury News (San Jose, Calif.), April 20, 1984, sec. D, pp. 1, 5. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

b urlingt O n m agazine 1999

“Supplement: Twentieth-Century Works of Art Recently Acquired by American Museums.” Burlington Magazine 141, no. 1150 (January 1999): pp. 68–72.

b urnham 1973

Burnham, Sophy. The Art Crowd: The Inside Story of How a Few Rich and/or Powerful Figures Control the World’s Art Market. New York: David McKay, 1973.

b urr 1966

Burr, James. “Totems and Techniques.” Apollo 83, no. 50 (April 1966): pp. 299–300. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

b urr 1978

Burr, James. “The Immediacy of America.” Apollo 107, no. 191 (January 1978): p. 64. Review of Royal Academy of Arts, London, 1978.

b urr O w S 1949

Burrows, Carlyle. “Modern Museum Exhibit Features Works by Chagall.” New York Herald Tribune, December 26, 1949. Review of Museum of Modern Art, New York, 1949.

b urr O w S 1950a

Burrows, Carlyle. “Art Review: A New Glance at the Summer Offerings.” New York Herald Tribune, June 18, 1950, sec. 5, p. 5. Review of Samuel M. Kootz Gallery, New York, June 1950.

b urr O w S 1950b

Burrows, Carlyle. “Purchase Show on at Museum of Modern Art: Work by DeChirico, Masson, Modigliani and Picasso Among 13 Acquisitions.” New York Herald Tribune, February 1, 1950. Review of Museum of Modern Art, New York, 1950.

b urr O w S 1950c

Burrows, Carlyle. “Varied Art Openings Here Anticipate a New Season.” New York Herald Tribune, September 10, 1950, sec. 5, p. 6. Review of Samuel M. Kootz Gallery, New York, [September] 1950.

b urr O w S 1951a

Burrows, Carlyle. “Art Review: Among the Modern Groups; Progress Indicated By Group Shows.” New York Herald Tribune, June 10, 1951, sec. 4, p. 6. Review of Samuel M. Kootz Gallery, New York, June 1951.

b urr O w S 1951b

Burrows, Carlyle. “Art: Vanguard Works Selected for Exhibition.” New York Herald Tribune, December 30, 1951, sec. 4, p. 7. Review of Sidney Janis Gallery, New York, 1951.

b urr O w S 1952a

Burrows, Carlyle. “Art Review: The Holiday Groups, Other Exhibitors.” New York Herald Tribune, November 30, 1952, sec. 4, p. 4. Review of Samuel M. Kootz Gallery, New York, November 1952.

b urr O w S 1952b

Burrows, Carlyle. “Rouault, on the Circus; American Period Survey.” New York Herald Tribune, April 6, 1952, sec. 4, p. 10. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Drawings, and Collages, April 1952.

b urt O n et al. 2007

Burton, Johanna, Kevin Hatch, Suzanne Hudson, Alex Kitnick, Julia E. Robinson, and Diana K. Tuite. Pop Art: Contemporary Perspectives (exhibition catalogue). Preface by John Wilmerding; introduction by Hal Foster. New Haven, Conn.: Yale University Press, 2007.

b u S a 1988

Busa, Christopher, ed. “The Painter and the Printer: Robert Motherwell & Catherine Mosley” (interview with the artist). Provincetown Arts 4 (1988): pp. 10–15.

b u S a 1991

Busa, Christopher. “Long Point Gallery: Thirteen Ways of Looking at an Artist” (includes artist’s statements). Provincetown Arts 7 (1991): pp. 4–15, 143–47.

c . 1977

P. C. “Exposition Motherwell l’humain” (text in French). Elle (Paris), August 2, 1977, p. 18. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

c . 1980

R.M.C. “Motherwell, un filosofo de la pintura” (text in Spanish). La Vanguardia, February 26, 1980, p. 55.

c ahier S d’art 1947

“Exposition de peintres Américains a Paris” (text in French). Cahiers d’art, no. 22 (1947): pp. 330, 333. Review of Galerie Maeght, Paris, 1947.

c alder O ne 1996

Calderone, Joe. “PA Stash Is a Work of Art: Hidden Treasures Appraised at 26M.” Daily News (New York), February 12, 1996, pp. 5, 28.

c alnek 1989

Calnek, Anthony. “New York.” Contemporanea, May 1989, pp. 14–15. Review of Marisa del Re Gallery, New York, February 1989.

c amer O n 1978

Cameron, Alan. “Art of the State.” New Haven Advocate 3, no. 23 (January 25, 1978): sec. 2, pp. 22–23. Review of Carlson Gallery, University of Bridgeport, Conn., 1978.

c [am P bell] 1953

C[ampbell], L[arry]. “Reviews and Previews.” Artnews 52, no. 3 (May 1953): p. 52. Review of Samuel M. Kootz Gallery, New York, April 1953.

c am P bell 1975

Campbell, R. M. “In SF’s ‘Garden.’ ” Seattle Post-Intelligencer, July 8, 1975, sec. A, p. 15. Review of John Berggruen Gallery, San Francisco, 1975.

c am P bell 1993

Campbell, Peter. “To Hell with the Lyrics” (book review; includes artist’s statements).

London Review of Books, March 25, 1993, pp. 19–20.

c am POy 1987

Campoy, A. M. “La Exposicion de la semana: Robert Motherwell” (text in Spanish). ABC (Madrid), March 19, 1987, p. 101. Review of the traveling exhibition at Galería Juana Mordó, Madrid, March 1987 (see Galería Joan Prats, Barcelona, 1986).

c anaday 1960

Canaday, John. “Word of Mouth: Four Abstract Painters Make a Brave Try at Explaining Their Ideas” (includes artist’s statements). New York Times, April 3, 1960, sec. 2, p. 13.

c anaday 1964a

Canaday, John. “Art: Two Exhibitions Begin Guggenheim’s Season.” New York Times, September 17, 1964, p. 50. Review of Solomon R. Guggenheim Museum, New York, September 1964.

c anaday 1964b

Canaday, John. “Re Conscience: An Exhibition Traces the Persistence of Social Awareness in Our Art” (includes artist’s writings). New York Times, March 1, 1964, sec. 2, p. 23. Review of Wollman Hall, New School of Art Center, New York, 1964.

c [anaday] 1965

C[anaday], J[ohn]. “Each Man to His Own Cup of Tea.” New York Times, October 17, 1965, sec. 2, p. 33. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

c anaday 1969

Canaday, John. Culture Gulch: Notes on Art and Its Public in the 1960’s. Essay “Out of Patience with Robert Motherwell,” pp. 82–83. New York: Farrar, Straus, and Giroux, 1969. Essay originally published as “Each Man to His Own Cup of Tea”; see C[anaday] 1965.

c anaday 1973

Canaday, John. “National Gallery Samples Some Moderns.” New York Times, November 2, 1973, p. 52. Review of National Gallery of Art, Washington, D.C., 1973.

c anaday 1978

Canaday, John. “John Canaday on Art: This One We’ll Keep.” New Republic, July 8 and 15, 1978, pp. 30–31. Review of National Gallery of Art, Washington, D.C., 1978.

c a P e cO dder 1977

“Art.” Cape Codder, August 23, 1977, sec. 2, p. 8.

c a P e cO d Standard- t ime S 1963

“Cape-tip Colonist Exhibits Art in Cambridge Gallery.” Cape Cod Standard-Times, February 25, 1963, p. 3.

c areri 1992

Careri, Giovanni. “Le Vertige du Mélange: Architecture, Sculpture, Peinture” (text in French; includes artist’s statements). Les Cahiers du Musée National d’Art Moderne 39 (spring 1992): pp. 6–23.

c arlin 1976

Carlin, Margie. “Abstract Artistry Grows, Robert Motherwell Says” (includes artist’s statements). Pittsburgh Press, February 19, 1976, sec. Living, p. 18.

c arl S en 1979

Carlsen, Peter. “New York Simplicity: A Sleek Contemporary Design for the Olympic Tower.” Architectural Digest 36, no. 1 (January–February 1979): pp. 84–91.

c arl S en 1982

Carlsen, Peter. “Tradition Redefined: A New Direction for Designer Jay Spectre in Washington, D.C.” Architectural Digest 39, no. 4 (April 1982): pp. 114–21.

c armean 1972

Carmean, E. A., Jr. “The Collages of Robert Motherwell.” In The Collages of Robert Motherwell (exhibition catalogue; includes artist’s statements), pp. 11–42. Houston: Museum of Fine Arts, Houston, 1972. See entry in List of Exhibitions.

c [armean] 1974a

C[armean], E. A. “Four Prints by Robert Motherwell.” Museum of Fine Arts, Houston, Bulletin 5, no. 1 (spring 1974): pp. 91–93.

c armean 1974b

Carmean, E. A., Jr. “Modernist Art 1960 to 1970.” Studio International 188, no. 968 (July–August 1974): pp. 9–13.

c armean 1976

Carmean, E. A., Jr. “Robert Motherwell’s Spanish Elegies” (includes artist’s statements). Arts Magazine 50, no. 10 (June 1976): pp. 94–97.

c armean 1978

Carmean, E. A., Jr. “Robert Motherwell: The Elegies to the Spanish Republic.” In American Art at Mid-Century: The Subjects of the Artist (exhibition catalogue; includes artist’s statements), by E. A. Carmean Jr., Eliza E. Rathbone, and Thomas B. Hess, pp. 92–122. Washington, D.C.: National Gallery of Art, 1978. See entry in List of Exhibitions.

c armean 1980

Carmean, E. A., Jr. Reconciliation Elegy

Contributions by Robert Motherwell, Robert Bigelow, and John E. Scofield. Geneva: Editions d’Art Albert Skira S.A.; New York: Rizzoli International, 1980.

c armean 1981

Carmean, E. A., Jr. “The Sandwiches of the Artist.” October 16 (spring 1981): pp. 87–101.

c arr O ll 1985

Carroll, Maurice. “Vandal Slashes 8 Big Paintings at Albany Mall.” New York Times, May 4, 1985, pp. 1, 32.

c ar V er 1965

Carver, Mabel MacDonald. “Local Art.” Villager (New York) 33, no. 26 (October 7, 1965): pp. 6, 12. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

c a SSO u 1947

Cassou, Jean. “Paris in July: Sculpture in the Open, Picasso, Severini.” Artnews 46, no. 5 (July 1947): pp. 24, 39. Review of Galerie Maeght, Paris, 1947.

c ate FO ri S 2000–2001

Cateforis, David. “Robert Motherwell’s ‘Figure Before Blackness’ ” (includes artist’s statements). Spencer Museum of Art Register 7, no. 3 (July 1, 2000–June 30, 2001): pp. 2–11.

c at O ir 1976a

Catoir, Barbara. “Robert Motherwell oder die Überwindung des Weisen” (text in German). Feuilleton, October 2, 1976, p. 23.

c at O ir 1976b

Catoir, Barbara. “Uberwindung der weisen Fläche: Ein Gespräch mit Robert Motherwell” (text in German; interview with the artist). Das Kunstwerk 6, no. 24 (November 1976): pp. 7–8, 14–15, 43.

c at O ir 1980

Catoir, Barbara. “The Artist as a ‘Walking Eye’: Fragen an Robert Motherwell” (text in English and German; interview with the artist). Pantheon 38, no. 3 (July–August–September 1980): pp. 281–89, 304.

c aValiere 1979a

Cavaliere, Barbara. “Early Abstract Expressionism: The 1940s” (text in English and Italian; includes artist’s statements).

Flash Art, nos. 86–87 (January–February 1979): pp. 26–32.

c aValiere 1979b

Cavaliere, Barbara. “Arts Review.” Arts Magazine 54, no. 3 (November 1979): p. 21. Review of Pace Gallery, New York, 1979.

c aValiere and hO bb S 1977

Cavaliere, Barbara, and Robert C. Hobbs. “Against A Newer Laocoon” (includes artist’s statements). Arts Magazine 51, no. 8 (April 1977): pp. 110–17.

c aw S 1996a

Caws, Mary Ann. “End Paper: A Passion for Process” (includes interview with the artist). Chronicle of Higher Education 42, no. 42 (June 28, 1996): sec. 2, pp. 1, 48. Excerpted from Caws 1996b.

c aw S 1996b

Caws, Mary Ann. Robert Motherwell:What Art Holds (includes artist’s statements). New York: Columbia University Press, 1996.

c aw S 2003

Caws, Mary Ann. Robert Motherwell:With Pen and Brush (includes artist’s statements). London: Reaktion Books, 2003.

c aw S 2004

Caws, Mary Ann. “Looking: Literature’s Other.” PMLA (Modern Language Association of America) 119, no. 5 (October 2004): pp. 1293–1314.

c aw S 2006

Caws, Mary Ann. “Robert Motherwell and the Modern Painter’s World.” In Artists, Intellectuals, and World War II: The Pontigny Encounters at Mount Holyoke College, 1942–1944, edited by Christopher Benfey and Karen Remmler, pp. 114–21. Amherst: University of Massachusetts Press, 2006.

c elentan O 1957

Celentano, Francis M. “The Origins and Development of Abstract Expressionism in the United States” (includes interview with the artist). M.A. thesis, New York University, 1957.

c ernu S chi 1997

Cernuschi, Claude. “Not an Illustration but the Equivalent”: A Cognitive Approach to Abstract Expressionism (includes artist’s statements). Madison, N.J.: Fairleigh Dickinson University Press; Teaneck, N.J.: Associated University Presses, 1997.

c halumeau 1984

Chalumeau, Jean-Luc. “L’Abstraction Farouche de Corine Ferté” (text in French). Opus International, no. 93 (spring 1984): pp. 35–36.

c halumeau 1998

Chalumeau, Jean-Luc. Motherwell, 1915–1991 (text in French). Paris: Cercle d’Art, 1998.

c ham O rr O 1986

Chamorro, Eduardo. “Ida y vuelta de Robert Motherwell” (text in Spanish). Cambio, no. 780 (November 10, 1986): p. 214. Review of Galería Joan Prats, Barcelona, 1986.

c handler 1971

Chandler, John Noel. “The Colors of Monochrome: An Introduction to the Seduction of Reduction” (includes artist’s statements). Artscanada 28, no. 5 (October–November 1971): pp. 18–31.

c handler 2001a

Chandler, Mary Voelz. “Contemporary Art Evolution on Wazee.” Rocky Mountain News (Denver), January 21, 2001, sec. D, p. 4. Review of Robischon Gallery, Denver, 2001.

c handler 2001b

Chandler, Mary Voelz. “Critics’ Choice.”

Rocky Mountain News (Denver), February 18, 2001, sec. Sunday Spotlight, p. 3D. Review of Robischon Gallery, Denver, 2001.

c hanin 1951

Chanin, A. L. “Abstract Art in a Synagogue, a Revolutionary Innovation.” Compass, October 7, 1951, p. 24. Review of Samuel M. Kootz Gallery, New York, October 1951.

c ha P man 1980

Chapman, George. “Painterly Painting—Into the Seventies: Robert Motherwell, Robert Ryman, and Jake Berthot” (includes artist’s statements). Rutgers Art Review 1 (January 1980): pp. 49–66.

c harmet 1965

Charmet, Raymond. Concise Encyclopedia of Modern Art. Edited by Roger Brunyate. Chicago: Follett, 1965.

c ha S lin 1992

Chaslin, François. “Architectes en désir des arts” (text in French). Les Cahiers du Musée National d’Art Moderne 39 (spring 1992): pp. 44–59.

c hicag O t ribune 1967

“Notes about Art.” Chicago Tribune, December 3, 1967, sec. 5, p. 2.

c hicag O t ribune 1968

“Notes and Exhibits.” Chicago Tribune, July 7, 1968, sec. 5, p. 3.

c hi PP 1968

Chipp, Herschel B. Theories of Modern Art: A Source Book by Artists and Critics (includes artist’s statements). Contributions by Peter Selz and Joshua C. Taylor. Berkeley and Los Angeles: University of California Press, 1968.

c hry S ler m u S eum OF a rt 2007

Chrysler Museum of Art. Collecting with Vision: Treasures from the Chrysler Museum of Art Norfolk, Va.: Chrysler Museum of Art, in association with D Giles, London, 2007.

c im O n S 1977

Cimons, Marlene. “Joan Mondale, Expert in Residence: Art Tour at Admiral’s House.” Los Angeles Times, March 25, 1977, sec. F, pp. 1, 13. Review of Admiral’s House, vice presidential residence, Washington, D.C., 1977.

c incinnati e nquirer 1974

“Art Museum Acquires Motherwell Painting” (includes artist’s statements). Cincinnati Enquirer, May 26, 1974, sec. F, p. 6.

c inc O d ia S 1987

“Robert Motherwell, sólo pintura” (text in Spanish). Cinco Dias (Montevideo, Uruguay), March 31, 1987.

c inqualbre et al. 1993

Cinqualbre, Olivier, Christian Leprette, Joseph Abram, Gilles Ragot, Marc Bédardia, Philippe Fouquey, Bernard Bauchet, Francis Lamond, Arthur Rüegg, and Marc Vellay. Pierre Chareau architecte, un art intérieur (text in French). Entry “Maison et atelier de Robert Motherwell,” pp. 82–83. Paris: Centre Georges Pompidou, 1993.

c itr O n 1947

Citron, Minna. “Paris Post: Some Impressions of the French Art Season.” New York Herald Tribune, June 20, 1947. Review of Galerie Maeght, Paris, 1947.

c i V ic n ew S 1985

“Brooklyn’s Bounty at Boro Museum.”

Civic News (Brooklyn) 48, no. 4 (April 1985): p. 5. Review of Museum of the Borough of Brooklyn at Brooklyn College, 1985.

c larke 1983

Clarke, Orville O., Jr. “Motherwell Reappraised” (book review). Artweek 14, no. 31 (September 24, 1983): p. 13.

c larke 1988

Clarke, David James. “The Influence of Oriental Thought on Postwar American Painting and Sculpture.” Ph.D. diss., Courtauld Institute of Art, 1988.

c lau S 1965

Claus, Jurgen. “Robert Motherwell— Grundtypen Seines Werkes” (text in German; includes artist’s statements). Das Kunstwerk 8, no. 18 (February 1965): pp. 3–9.

c leaV er 1984

Cleaver, Dale G. Art: An Introduction. 4th ed. San Diego, Calif.: Harcourt Brace Jovanovich, 1984.

c l OS e 1972a

Close, Roy M. “ ‘Elegy’ Series Still Dramatic in Walker Motherwell Exhibit.” Minneapolis Star, June 20, 1972, sec. B, p. 2. Review of Walker Art Center, Minneapolis, 1972.

c l OS e 1972b

Close, Roy M. “There’s Hint of Poet in this Artist Exhibiting at Walker.” Minneapolis Star, August 10, 1972. Review of Walker Art Center, Minneapolis, 1972.

c l O thier 1990

Clothier, Peter. “Jay Chiat: Order and Mystery.” Artnews 89, no. 5 (May 1990): pp. 113–16.

cO ate S 1943

Coates, Robert M. “The Art Galleries: Past and Present.” New Yorker 19, no. 48 (May 29, 1943): pp. 49–50. Review of Art of This Century, New York, May 1943.

cO ate S 1946

Coates, Robert M. “The Art Galleries: Past and Present.” New Yorker 21, no. 48 (January 12, 1946): pp. 49–50. Review of Samuel M. Kootz Gallery, New York, January 1946.

cO ate S 1950

Coates, Robert M. “The Art Galleries: Masters, Mixed.” New Yorker 26, no. 3 (March 11, 1950): pp. 70–73. Review of Samuel M. Kootz Gallery, New York, February 1950.

cO ate S 1951a

Coates, Robert M. “The Art Galleries: Analyzing the Americans.” New Yorker 27, no. 41 (November 24, 1951): pp. 89–91. Review of Brooklyn Museum, November 1951.

cO ate S 1951b

Coates, Robert M. “The Art Galleries: The Abstract Expressionists and Others.” New Yorker 27, no. 46 (December 29, 1951): pp. 58–59. Review of Sidney Janis Gallery, New York, 1951.

cO ate S 1957

Coates, Robert M. “The Art Galleries: Italian and American.” New Yorker 33, no. 15 (June 1, 1957): pp. 85–87. Review of Sidney Janis Gallery, New York, May 1957.

cO ate S 1958

Coates, Robert M. “The Art Galleries: Americans, All Sizes.” New Yorker 34, no. 45 (December 27, 1958): pp. 61–63. Review of United States Pavilion, Brussels World’s Fair, 1958.

cO ate S 1959

Coates, Robert M. “The Art Galleries: Styles and Personalities.” New Yorker 34, no. 48 (January 17, 1959): pp. 77–79. Review of Sidney Janis Gallery, New York, January 1959.

cO d O gnat O 1988

Codognato, Attilio. Jim Dine (text in Italian). Milan: Gabriele Mazzotta, 1988.

cO hen 1966

Cohen, Cathleen. “Artist Says Mural Doesn’t Depict Death of Kennedy.” Boston Globe, August 13, 1966, pp. 1, 12.

cO hen 1971

Cohen, George M. A History of American Art (includes artist’s statements). New York: Dell, 1971.

cO hen 1977

Cohen, Arthur A. “The Motherwell Atelier: Robert Motherwell’s Country Life as Artist and Artisan.” Vogue 167, no. 3 (March 1977): pp. 230–33, 256.

cO lby 1975

Colby, Joy Hakanson. “Motherwell Has Show.” Detroit News, November 23, 1975, sec. F, p. 2. Review of Gertrude Kasle Gallery, Detroit, 1975.

cO llege a rt J O urnal 1957

“College Art Collections.” College Art Journal 17, no. 1 (fall 1957): pp. 83–84.

cO llege e ye 1954

“Exhibit Variety of Art Types.” College Eye (Iowa State Teachers College, Cedar Falls) 45, no. 26 (April 9, 1954): p. 1. Review of Department of Art, Iowa State Teachers College, Cedar Falls, 1954.

cO llin S 1970

Collins, Gladys. “Pictures to the Editors.” Life 68, no. 14 (April 17, 1970): p. 24.

cO llin S 1984

Collins, Bradford R. “The Fundamental Tragedy of the Elegies to the Spanish Republic, or Robert Motherwell’s Dilemma” (includes artist’s statements). Arts Magazine 59, no. 1 (September 1984): pp. 94–97.

cO l O ny n ew S 1985

“ ‘What Animal’s Bones, or Horns, Are Making the Furrow of My Picture?’: Robert Motherwell, Medalist, 1985” (includes artist’s statements). Colony News (MacDowell Colony) 15, no. 1 (fall 1985): pp. 1–4.

cO l O ny n ew S letter 1985

“Medal 1985 to Robert Motherwell, August 18th.” Colony Newsletter (MacDowell Colony) 14, no. 3 (spring 1985): n.p.

cO l S man-Freyberger 1974a Colsman-Freyberger, Heidi. “Robert Motherwell: Words and Images” (interview with the artist). Print Collector’s Newsletter 4, no. 6 (January–February 1974): pp. 125–29.

cO l S man-Freyberger 1974b

Colsman-Freyberger, Heidi. “Robert Motherwell: Words and Images” (interview with the artist reprinted from ColsmanFreyberger 1974a). Art Journal 34, no. 1 (fall 1974): pp. 19–24.

cO lumbu S m u S eum 2003

American Art in the Columbus Museum: Painting, Sculpture, and Decorative Arts Columbus, Ga.: Columbus Museum, 2003.

cO nant 1965

Conant, Howard. Seminar on Elementary and Secondary School Education in the Visual Arts New York: New York University, 1965.

cO nd O n [1951]

Condon, Elmore. “Modern Art in St. Louis.” St. Louis Post-Dispatch, 1951. Review of City Art Museum of Saint Louis, 1951.

cO nnai SS ance de S a rt S 1989

“Robert Motherwell: Peindre vrai” (text in French). Connaissance des Arts, no. 454 (December 1989): p. 17.

cO nn O i SS eur 1981

“American Abstract Expressionists.”

Connoisseur (London), August 1981, pp. 244–45. Review of City Art Centre and Fruitmarket Gallery, Edinburgh, 1981.

cO nn O lly 1943

Connolly, Jean. “Spring Salon for Young Artists.” Nation 156, no. 22 (May 29, 1943): p. 786. Review of Art of This Century, New York, May 1943.

cO nr Oy 1973

Conroy, Sarah Booth. “New Home for Abstract.” Washington Post, July 31, 1973, sec. B, p. 3.

cO nr Oy 1977

Conroy, William T., Jr. “Columbian Collage: American Art of Assembly.” Arts Magazine 52, no. 4 (December 1977): pp. 86–87. Review of Andrew Crispo Gallery, New York, 1977.

cOO k 1956

Cook, Jim. “An Incident in Manhattan. . . .” New York Post, April 9, 1956, pp. 5, 20.

cOO k and Oli V er 2007

Cook, Molly Malone, and Mary Oliver. Our World. Boston: Beacon Press, 2007.

cOO k et al. 1983

Cook, John W., Giles Gunn, John Dillenberger, and John W. Dixon Jr. “Religion and the Visual Arts: A Case Study” (includes artist’s statements). Religion & Intellectual Life 1, no. 1 (fall 1983): pp. 11–103.

cOO ke 1985

Cooke, Lynne. “New York: Contemporary American Exhibitions.” Burlington Magazine 127, no. 984 (March 1985): pp. 190–91, 193. Review of Solomon R. Guggenheim Museum, New York, 1984.

cOO ney 1968

Cooney, James Patrick. “Robert Burns Motherwell: A Study of the Development of Abstract Expressionism as Seen in His Works” (includes artist’s statements). B.A. thesis, Lake Forest College, 1968.

cOOP er and l uke 2006

Cooper, Harry, and Megan R. Luke. Frank Stella: 1958 (exhibition catalogue). New Haven, Conn.: Yale University Press, 2006.

cO rredór- m athe OS 1980

Corredór-Matheos, J. “Gran exposición de Motherwell en Barcelona” (text in Spanish). Triunfo (Madrid) 33, no. 895 (March 22, 1980): pp. 39–40. Review of Centro Cultural de la Caixa de Pensions, Barcelona, 1980.

cOS ta 1987

Costa, J. M. “Motherwell, un apasionado de España nos devuelve nuestro propio reflejo” (text in Spanish). ABC (Madrid), March 12, 1987.

cO tter 1997

Cotter, Holland. “ ‘Robert Motherwell on Paper.’ ” New York Times, March 14, 1997, sec. C, p. 30. Review of Miriam & Ira D. Wallach Art Gallery, Columbia University, New York, 1997.

cO urthi O n 1970

Courthion, Pierre. “Situation de la nouvelle peinture américaine” (text in French). XXe Siècle (Paris) 32, no. 34 (June 1970): pp. 9–17.

c ra F t 1996

Craft, Catherine Anne. “A ‘Clearer Image’: Robert Motherwell and The Dada Painters and Poets.” Chap. 1 in “Constellations of Past and Present: (Neo-) Dada, the AvantGarde, and the New York Art World, 1951–1965.” Ph.D. diss., University of Texas at Austin, 1996.

c ranbr OO k J O urnal 2002

“The Shuey Collection: A Transformative Gift.” Cranbrook Journal, spring 2002, n.p.

c raV en 1985

Craven, David. “Artists Against Apartheid.” Arts Magazine 60, no. 2 (October 1985): pp. 98–100. Review of Fondation Nationale des Arts Graphiques et Plastiques, Paris, 1983.

c raV en 1990

Craven, David. “Abstract Expressionism, Automatism and the Age of Automation” (includes artist’s statements). Art History 13, no. 1 (March 1990): pp. 72–103.

c raV en 1991

Craven, David. “Abstract Expressionism and Third World Art: A Post-Colonial Approach to ‘American’ Art” (includes artist’s statements). Oxford Art Journal 14, no. 1 (1991): pp. 44–66.

c raV en 1996

Craven, David. “Aesthetics as Ethics in the Writings of Robert Motherwell and Meyer Schapiro” (includes artist’s statements). Archives of American Art Journal 36, no. 1 (1996): pp. 25–32.

c raV en et al. 1998

Craven, David, Ann Eden Gibson, Lowery Stokes Sims, and Jorge Daniel Veneciano. Norman Lewis: Black Paintings, 1946–1977 Introduction by Kinshasha Holan Conwill. New York: Studio Museum in Harlem, 1998.

c raV en 1999

Craven, David. Abstract Expressionism as Cultural Critique: Dissent during the McCarthy Period. Cambridge, England: Cambridge University Press, 1999.

c re SS y 1985

Cressy, Judith. “Bultman and Motherwell at Cherry Stone.” Cape Cod Antiques & Arts, August 1985, pp. 10, 23.

c ri SP in O 1970

Crispino, Luigi. “FC Art Director Writes of Motherwell Paintings.” Republic (Columbus, Ind.), January 29, 1970.

c r OS man and m iller 1979–80

Crosman, Christopher B., and Nancy E. Miller. “Speaking of Tomlin” (interview with the artist). Art Journal 39, no. 2 (winter 1979–80): pp. 110–11.

c r OSS ley 1976

Crossley, Mimi. “Subject Is Art for Motherwell.” Houston Post, April 13, 1976, sec. A, p. 9. Review of Janie C. Lee Gallery, Houston, 1976.

c r OSS ley 1978

Crossley, Mimi. “Review: Robert Motherwell.” Houston Post, March 24, 1978, sec. E, p. 15. Review of Janie C. Lee Gallery, Houston, 1978.

c uddihy 1974

Cuddihy, John M. Ordeal of Civility: Freud, Marx, Levi-Strauss, and the Jewish Struggle with Modernity. New York: Basic Books, 1974, cover.

c uddihy 1978

Cuddihy, John Murray. No Offense: Civil Religion and Protestant Taste. New York: Seabury Press, 1978.

cue 1943

“ ‘Adventures in Perspective.’ ” CUE, March 13, 1943. Review of Norlyst Gallery, New York, 1943.

c umming S 2004

Cummings, Mary. “Robert Motherwell’s Life in the Hamptons.” http://www.hamptons. com/The-Arts/Main-Articles/255/RobertMotherwells-Life-in-the-Hamptons.html (accessed May 27, 2011).

c unningham and r eich 1982

Cunningham, Lawrence, and John Reich. “The Contemporary Contour.” Chap. 18 in Culture and Values: A Survey of the Western Humanities. New York: CBS College, 1982.

c unningham and r eich 1984

Cunningham, Lawrence S., and John J. Reich. Culture and Values: A Survey of the Western Humanities. Fort Worth, Tex.: Harcourt Brace College, 1984.

c urrier 1966

Currier, Ann-Mary. “Reaction: Confused . . . Appalled.” Boston Globe, August 12, 1966, p. 19.

c urti S 1984

Curtis, Cathy. “Art as a ‘Way of Life.’ ” Artweek, July 29, 1984, p. 12. Review of San Francisco Art Institute, 1984.

daily h am PS hire g azette 1963 “Interim Artist and Painting” (includes artist’s statements). Daily Hampshire Gazette, January 23, 1963, p. 8.

daily t elegra P h 1991

“Robert Motherwell” (obituary). Daily Telegraph (London), July 20, 1991, p. 15.

d ’ a mic O 1989

D’Amico, Fabrizio. “Splendore nero” (text in Italian). La Repubblica, September 27, 1989, p. 31. Review of Padiglione d’Arte Contemporanea, Milan, 1989.

dam S ker 1984

Damsker, Matt. “A Look at 6 of Kline’s Works.” Los Angeles Times, August 3, 1984, sec. Calendar, pp. 1, 16. Review of Thomas Babeor Gallery, La Jolla, Calif., 1984.

danieli 1984

Danieli, Fidel. “Robert Motherwell and His Critics.” Artweek 15, no. 7 (February 18, 1984): cover, p. 1. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

dant O 1985

Danto, Arthur C. “Art.” Nation 240, no. 2 (January 19, 1985): pp. 58–60. Review of Solomon R. Guggenheim Museum, New York, 1984.

dant O 1987

Danto, Arthur C. “Robert Motherwell.” Chap. 9 in The State of the Art. New York: Prentice Hall, 1987.

dant O 1991

Danto, Arthur C. “Remembering Motherwell” (obituary). Artnews 90, no. 7 (September 1991): pp. 110–11.

dant O 1993

Danto, Arthur C. “Renaissance Man—The Collected Writings of Robert Motherwell” (book review; includes artist’s statements). New Republic 208, no. 3 (January 18, 1993): pp. 36–38.

dant O 1997

Danto, Arthur C. “The ‘Original Creative Principle’: Motherwell and Psychic Automatism.” In Robert Motherwell on Paper: Drawings, Prints, Collages (exhibition catalogue), pp. 39–58. New York: Harry N. Abrams, in association with the Miriam and Ira D. Wallach Art Gallery, Columbia University, 1997. See entry in List of Exhibitions.

dant O 1999

Danto, Arthur C. “The ‘Original Creative Principle’: Motherwell and Psychic Automatism” (includes artist’s statements). Chap. 1 in Philosophizing Art: Selected Essays Berkeley and Los Angeles: University of California Press, 1999. Chapter reprinted from Danto 1997.

dant O 2003

Danto, Arthur C. The Abuse of Beauty: Aesthetics and the Concept of Art. Paul Carus lecture series 21. Chicago and La Salle, Ill.: Open Court, 2003.

dan V ila 1987

Danvila, Jose Ramon. “El Poder y la magia de la pintura” (text in Spanish). El Punto, March 20–26, 1987, p. 9. Review of the traveling exhibition at Galería Juana Mordó, Madrid, March 1987 (see Galería Joan Prats, Barcelona, 1986).

bibliography

darling 1998

Darling, Michael. “Robert Motherwell.” Art Issues, no. 51 (January–February 1998): p. 40.

Review of Manny Silverman Gallery, Los Angeles, 1997.

da S k un S twerk 1971

“Austellungen” (text in German). Das Kunstwerk 5, no. 24 (September 1971): p. 58. Review of Galerie im Erker, St. Gall, Switzerland, 1971.

da S k un S twerk 1980

Das Kunstwerk 1, no. 33 (1980): p. 51.

daV id SO n 1974

Davidson, Abraham A. The Story of American Painting. New York: Harry N. Abrams, 1974.

daV id SO n and e dit O r S OF a merican h eritage 1973

Davidson, Marshall B., and Editors of American Heritage. The American Heritage: History of the Artists’ America. New York: American Heritage, 1973.

daV id SO n and ryland S 2004

Davidson, Susan, and Philip Rylands, eds.

Peggy Guggenheim & Frederick Kiesler: The Story of Art of This Century (exhibition catalogue). Essays by Dieter Bogner, Susan Davidson, Francis V. O’Connor, Don Quaintance, Philip Rylands, Jasper Sharp, and Valentina Sonzogni. New York: Solomon R. Guggenheim Foundation, 2004. See entry in List of Exhibitions.

daV i S 1965

Davis, Douglas M. “It’s Modern Art, But Not in Tune with Popular Trends of the ’60s.” National Observer, October 25, 1965, p. 20. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

d [aV i S ] 1972

D[avis], D[ouglas]. “Opening Up.” Newsweek 80, no. 3 (July 17, 1972): p. 69. Review of Walker Art Center, Minneapolis, 1972.

daV i S 1975

Davis, Nancy K. “Motherwell.” Yale Notes, 1975, p. 7.

dayde 1990

Dayde, Emmanuel. “Bonheur” (text in French). Muséart, no. 4 (October 1990): p. 19. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

d e a nt O ni O and t uchman 1984 De Antonio, Emile, and Mitch Tuchman.

Painters Painting: A Candid History of the Modern Art Scene, 1940–1970 (interview with the artist from 1970). New York: Abbeville Press, 1984. See Filmography; a collection of interviews based on the transcript of the film Painters Painting from 1972.

d e cOPP et and J O ne S 1984

De Coppet, Laura, and Alan Jones. The Art Dealers: The Powers Behind the Scene Tell How the Art World Really Works. New York: Clarkson N. Potter, 1984.

d ecter 1991

Decter, Joshua. “New York in Review.” Arts Magazine 66, no. 2 (October 1991): p. 97. Review of Knoedler & Company, New York, April 1991.

d e e zcurra ca. 1949

De Ezcurra, Enrique. “Pictoria Ortega y Gasset da nombre a una tendencia” (text in Spanish). La Nacion (Buenos Aires), ca. 1949. Review of Samuel M. Kootz, New York, September 1949.

d e g uardi O la 2006

De Guardiola, Joanne. “Designer Secrets: Joanne de Guardiola.” Architectural Digest 63, no. 1 (January 2006): pp. 106, 109.

d e kOO ning 1949

De Kooning, Elaine. “Record Exhibit of Paintings Shown.” Cape Cod Standard-Times, July 5, 1949, pp. 1, 2. Review of Gallery 200, Provincetown, Mass., 1949.

d e l aunay 1979

De Launay, Marc B. “L’Objet en cause” (text in French). Revue d’esthétique, nos. 3–4 (1979): pp. 108–23.

d el cO nde 1997

Del Conde, Teresa. Tres Maestros: Reflexiones sobre Bacon, Motherwell y Tamayo (text in Spanish; includes artist’s statements). Mexico City: Universidad Nacional Autónoma de México, 1997.

d en SO n and m c eV illey 1996

Denson, G. Roger, and Thomas McEvilley. Capacity: History, the World, and the Self in Contemporary Art and Criticism. Amsterdam, the Netherlands: G + B Arts International, 1996.

d er F ner 1975

Derfner, Phyllis. “New York Letter.” Art International 19, no. 1 (January 20, 1975): pp. 44–49.

d erringer 1975

Derringer, Liz. “Roberto C. Polo.” Andy Warhol’s Interview 5, no. 12 (December 1975): pp. 34–35.

d er S P iegel 1976

“Kunst: Motherwell gemalte Wollust” (text in German). Der Spiegel, no. 38 (September 13, 1976): p. 169.

d e Vade 1977

Devade, [Marc]. “Pour une politique culturelle (entretien avec Marcelin Pleynet)” (text in French). Peinture cahiers theoriques 12 (February 1977): pp. 7–33.

d e V ree 1945

Devree, Howard. “Diverse Gallery Events.” New York Times, December 2, 1945, sec. Art, p. 7. Review of Samuel M. Kootz Gallery, New York, November 1945.

d e V ree 1946

Devree, Howard. “By Groups and One by One.” New York Times, June 9, 1946, sec. 2, p. 7. Review of Samuel M. Kootz Gallery, New York, June 1946.

d e V ree 1947a

Devree, Howard. “By Groups and Singly: Recently Opened Shows Are Modern in Tenor.” New York Times, October 5, 1947, sec. 2, p. 9.

Review of Samuel M. Kootz Gallery, New York, 8 Paintings, September 1947.

d e V ree 1947b

Devree, Howard. “Groups and Singly: Exhibitions by Four Sculptors—Painting from Traditional to Ultra-Modern.” New York Times, May 4, 1947, sec. 2, p. 10. Review of Samuel M. Kootz Gallery, New York, April 1947.

d e V ree 1948

Devree, Howard. “2 Museums Show U.S. Artists’ Work: Exhibitions at Modern Art and Jewish Institution Feature Items by Contemporaries.” New York Times, December 22, 1948, sec. 1, p. 21. Review of Jewish Museum, New York, 1948; and of Museum of Modern Art, New York, December 1948.

d e V ree 1949

Devree, Howard. “Out of Our Times: Modern Museum Shows Influence of Art on Daily Life—A Group and Three.” New York Times, October 9, 1949, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell Collages, 1943–49, October 1949.

d e V ree 1950a

Devree, Howard. “Both Old and New: From the Early Renaissance to Picasso; Range the New Exhibitions.” New York Times, March 5, 1950, sec. C, p. 4. Review of Samuel M. Kootz Gallery, New York, February 1950.

d e V ree 1950b

Devree, Howard. “Double Exhibition in Modern Museum: 13 Recently Acquired Paintings Share Honors with Stieglitz and Atget Photographs.” New York Times, March 29, 1950, sec. 1, p. 27. Review of Museum of Modern Art, New York, 1950.

d e V ree 1950c

Devree, Howard. “Expanding Horizons: Four Newly Opened Exhibitions Enlarge Our Outlook on Art of Today.” New York Times, June 11, 1950, sec. 2, p. 10. Review of Samuel M. Kootz Gallery, New York, June 1950.

d e V ree 1951a

Devree, Howard. “Abstract Export: Controversial ‘Vanguard’ Work to Go to Paris.” New York Times, December 30, 1951, sec. 2, p. 9. Review of Sidney Janis Gallery, New York, 1951.

d e V ree 1951b

Devree, Howard. “Annual Round-Up: The Whitney Opens Its Survey for 1951—Recent Work by Knaths and Others.” New York Times, November 11, 1951, sec. 2, p. 9. Review of Whitney Museum of American Art, New York, November 1951.

d e V ree 1951c

Devree, Howard. “Modern Outburst: Abstract Work Stressed in Late Season Shows.” New York Times, June 10, 1951, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, June 1951.

d e V ree 1952

Devree, Howard. “By Contemporaries: Paintings by Group of Israeli Artists—a Gallery Review—Joseph Floch.” New York Times, November 30, 1952, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, November 1952.

d e V ree 1953

Devree, Howard. “New Group Shows: Diverse European and American Artists Represented in Gallery Events.” New York Times, October 11, 1953, sec. 2, p. 12. Review of Samuel M. Kootz Gallery, New York, October 1953.

d [e V ree] 1954

D[evree], H[oward]. “About Art and Artists: 2 Galleries Closing with Works of Men Seen There During the Season.” New York Times, May 26, 1954, p. 33. Review of Samuel M. Kootz Gallery, New York, May 1954.

d ial O gue: t he Ohi O a rt S J O urnal 1983

“47th Annual National Midyear Show.”

Dialogue: The Ohio Arts Journal 5, no. 6 (July–August 1983): p. 33. Review of Butler Institute of American Art, Youngstown, Ohio, 1983.

d iam O n S tein 1974

Diamonstein, Barbaralee. “Caro, de Kooning, Indiana, Lichtenstein, Motherwell and Nevelson on Picasso’s Influence” (includes artist’s statements). Artnews 73, no. 4 (April 1974): pp. 44–46.

d iam O n S tein 1979a

Diamonstein, Barbaralee. Inside New York’s Art World (includes interview with the artist reprinted from Diamonstein 1979b). New York: Rizzoli International, 1979.

d iam O n S tein 1979b

Diamonstein, Barbaralee. “Inside New York’s Art World: An Interview with Robert Motherwell.” Partisan Review 46, no. 3 (1979): pp. 376–90.

d iari O de m all O rca 1986

“Inaugurada la muestra de Motherwell en el Solleric” (text in Spanish). Diario de Mallorca, November 21, 1986, p. 36. Review of traveling exhibition at Palau Solleric, Palma de Mallorca (see Galería Joan Prats, Barcelona, 1986).

d igby and d igby 1985

Digby, John, and Joan Digby. The Collage Handbook. London: Thames and Hudson, 1985.

d i S. l . 1951

G. di S. L. [Spacio–Milano] (text in Italian), no. 6 (December 1951–52): p. 109. Review of Sidney Janis Gallery, New York, 1951.

d inh OF er 1985

Dinhofer, Shelly Mehlman. “Brooklyn’s Bounty: Natural Splendor and Domestic Opulence.” Brooklyn Affairs 2, no. 4 (May 1985): pp. 8–9. Review of Museum of the Borough of Brooklyn at Brooklyn College, 1985.

d ittmar 2005

Dittmar, Peter. “Bilder über Bilder” (text in German). Weltkunst 1 (January 2005): p. 98. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

dm Fa n ew S letter 1967

“Museum Activities for October 1967.” DMFA Newsletter, October 1967, n.p.

dO min O and h u SSO n 1991

Domino, Christophe, and Marie-Françoise Husson. L’Art Moderne: Musée National d’Art Moderne, Centre Georges Pompidou (text in French). Paris: Editiona Scala, 1991.

dO nnell 1964

Donnell, Radka Zagoroff. “Space in Abstract Expressionism.” Journal of Aesthetics and Art Criticism 23, no. 2 (winter 1964): pp. 239–49.

dO ri Val et al. 1964

Dorival, Bernard, et al. Peintres Contemporains (text in French; includes artist’s statements). Entry “Robert Motherwell,” pp. 220–21. Paris: Editions d’Art Lucien Mazenod, 1964. dO rtch 1994

Dortch, Virginia M., ed. Peggy Guggenheim and Her Friends (includes artist’s statements). Milan: Berenice Art Books, 1994.

d ri S c O ll 1963

Driscoll, Edgar J., Jr. “This Week in the Art World: Motherwell at Hayden with ‘Way-Out’ Show.” Boston Globe, February 24, 1963, p. A28. Review of New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, 1963.

d r O h OJO w S ka 1987

Drohojowska, Hunter. “Minneapolis: The Interpretive Link.” Artnews 86, no. 2 (February 1987): pp. 29, 31.

d r O h OJO w S ka 1988

Drohojowska, Hunter. “Art of Living: Fluent Spaces for a Designer’s Beverly Hills House.” Architectural Digest 45, no. 12 (December 1988): pp. 108–17.

d rudi 1983

Drudi, Gabriella. Robert Motherwell Collages Edited by Gabriele Stocchi. Milan: Multhipla Edizione, 1983.

d rudi 1984

Drudi, Gabriella. Note romane a Robert Motherwell (text in Italian). Milan: Multhipla Edizioni, 1984.

d rudi 1988a

Drudi, Gabriella. “Robert Motherwell: Les Hommes vides” (text in French). Translated from Italian by Alain Degange. Art Press (Paris) 130 (November 1988): pp. 12–13.

d rudi 1988b

Drudi, Gabriella. Robert Motherwell notes romaines (text in French). Translated from Italian by Philippe Di Meo. Paris: Editions de la Différence, 1988.

d u FF 1998

Duff, Christina. “In Pay Scales, Life Sometimes Imitates Art.” Wall Street Journal Classroom Edition, September 1998, p. 21.

d u FF y 1975

Duffy, Robert. “Motherwell Works Now at Steinberg.” St. Louis Post-Dispatch, March 9, 1975, sec. D, p. 3. Review of Steinberg Hall, Washington University Gallery of Art, Saint Louis, 1975.

d u FF y 1978

Duffy, Robert W. “Greenberg on Maryland Plaza.” Saint Louis Post-Dispatch, September 10, 1978, sec. C, p. 5.

d u FF y 1984

Duffy, Helen. “Robert Motherwell un art empreint de sensibilité” (text in English and French; includes artist’s statements). Vie des arts 28, no. 114 (March–April–May 1984): pp. 59–61, 92–93. Review of Albright-Knox Art Gallery, Buffalo, 1983.

d ugan 1952

Dugan, James. “The Hamptons.” Park East 12, no. 8 (August 1952): pp. 6–12.

d u J O urnal 1979

“Moderne Kunst aus der RockefellerSammlung” (text in German). Du Journal, no. 5 (May 1979): pp. 60–61.

d u J O urnal 1980

“Bilder und Collagen von Motherwell” (text in German). Du Journal, no. 2 (February 1980): pp. 82–83. Review of Galerie Veith Turske, Cologne, Germany, 1979.

d uma S 2001

Dumas, Timothy. “Motherwell in Greenwich” (includes artist’s statements). Greenwich 54, no. 5 (May 2001): pp. 98–114, 117, 119.

d unham 1975

Dunham, Judith L. “Motherwell and Twombly.” Artweek 6, no. 21 (June 14, 1975): pp. 1–2. Review of John Berggruen Gallery, San Francisco, 1975.

d unl OP 1966

Dunlop, Ian. “The Painter Who Gives an Intelligent Man’s Response.” Evening Standard (London), May 1966. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

d unne 2009

Dunne, Aidan. “A Mixture of the Assertive and Uncertain.” Irish Times (Dublin), April 1, 2009. Review of Hillsboro Fine Art, Dublin, 2009.

d unning 2000

Dunning, Jennifer. “A Premiere Engagement Is Turned into a Memorial.” New York Times, April 13, 2000, sec. E, p. 5.

d u Ple SS i X 1965

Du Plessix, Francine, ed. “Painters and Poets.” Art in America 53, no. 5 (October–November 1965): pp. 24–56.

d ur O z O i 1998

Durozoi, Gérard. Regarder l’art du XXème siècle: 100 chefs-d’oeuvre (text in French). Entry “Robert Motherwell,” pp. 124–25. Paris: Editions Hazan, 1998.

d uthy 1982

Duthy, Robin. “The Investment File: New York School Painting; A Monthly Guide to Art Investment.” Connoisseur (London) 209, no. 839 (January 1982): pp. 49–56.

e agle 1967

Eagle, Joanna. “Artists as Collectors” (interview with the artist). Art in America 55, no. 6 (November–December 1967): pp. 55–63.

e a S t h am P t O n Star 1952

“Prizes Awarded at Guild Hall in Regional Show.” East Hampton Star, July 31, 1952, p. 1.

Review of Guild Hall, East Hampton, N.Y., 1952.

e del SO n 1962

Edelson, Elihu. “Sarasota Art.” [Sarasota Herald & Tribune], [April 8], 1962, p. 6. Review of John and Mable Ringling Museum of Art, Sarasota, Fla., 1962.

e [dgar] 1963

E[dgar], N[atalie]. “Reviews and Previews.” Artnews 61, no. 9 (January 1963): p. 10. Review of Sidney Janis Gallery, New York, December 1962.

e dgar 1965

Edgar, Natalie. “The Satisfactions of Robert Motherwell.” Artnews 64, no. 6 (October 1965): pp. 38–41, 65–66.

e dit O r S OF a rt in a merica 1967

Editors of Art in America, comps. The Artist in America. Introduction by Lloyd Goodrich. New York: W. W. Norton, 1967.

e dward S 1950

Edwards, Peter G. “Works Take Many Forms at Center Art Exhibition.” Student Life (Washington University in Saint Louis) 74, no. 24 (January 6, 1950): p. 2. Review of Student Center, Washington University in Saint Louis, 1950.

e dward S 1979

Edwards, Susan. “Motherwell on Display.” City Choice, June 19, 1979, pp. 8, 21. Review of William Ehrlich Gallery, New York, June 1979.

e gbert 1967

Egbert, Donald Drew. Socialism and American Art: In the Light of European Utopianism, Marxism, and Anarchism. Princeton, N.J.: Princeton University Press, 1967.

e lder F ield 1972

Elderfield, John. “Abstract Painting in the Seventies.” Art International 16, nos. 6–7 (summer 1972): pp. 92–94. Review of Museum of Fine Arts, Boston, 1972.

e lger and k rem P el 2003

Elger, Dietmar, and Ulrich Krempel. Sprengel Museum Hannover: Malerei und Plastik (text in German). Vol. 2, Bestandsverzeichnis Hannover, Germany: Sprengel Museum Hannover, 2003.

e lia SOP h 1987

Eliasoph, Philip. “Elegy to the Object: Motherwell’s Collaged Images.” Advocate and Greenwich Time, May 17, 1987, sec. D, p. 5. Review of the traveling exhibition at Hurlbutt Gallery, Greenwich Library, Conn., May 1987 (see Walker Art Center, Minneapolis, 1985).

e li O t 1957

Eliot, Alexander. Three Hundred Years of American Painting. Introduction by John Walker. New York: Time, 1957.

e llenzweig 1975

Ellenzweig, Allen. “Arts Reviews.” Arts Magazine 49, no. 7 (March 1975): p. 21. Review of Knoedler & Company, New York, January 1975.

e llenzweig 1976

Ellenzweig, Allen. “Arts Reviews.” Arts Magazine 50, no. 7 (March 1976): p. 22. Review of Rosa Esman Gallery, New York, 1976.

e ngberg and b anach 2003

Engberg, Siri, and Joan Banach. Robert Motherwell: The Complete Prints, 1940–1991; Catalogue Raisonné. Minneapolis: Walker Art Center, 2003.

e nright 1989

Enright, Robert. “The Monumental Diarist: An Interview with Robert Motherwell” (interview with the artist). Border Crossings 8, no. 4 (November 1989): pp. 7–17.

e rau S quin 1987

Erausquin, S. “Un Histórico del expresionismo abstracto expone en Madrid” (text in Spanish). Expansion, March 20, 1987. Review of Galería Joan Prats, Barcelona, 1987. eV eritt 1975

Everitt, Anthony. Abstract Expressionism London: Thames and Hudson, 1975.

Fabri 1965

Fabri, Ralph. “First Motherwell Retrospective.” Today’s Art, November 1965, pp. 9–10. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

Fairburn 1984

Fairburn, Gordon R. “ ‘The Whiteness of the Whale.’ ” Art/World 9, no. 3 (December 11–January 11, 1984): pp. 1, 4. Review of Solomon R. Guggenheim Museum, New York, 1984.

Fai SO n 1952a

Faison, S. Lane, Jr. “Art.” Nation 174, no. 15 (April 12, 1952): pp. 354–55. Review of Whitney Museum of American Art, New York, March 1952.

Fai SO n 1952b

Faison, S. Lane, Jr. “Art.” Nation 174, no. 16 (April 19, 1952): pp. 391–92. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Drawings, and Collages, April 1952.

Fai SO n 1953

Faison, S. Lane, Jr. “Art.” Nation 176, no. 16 (April 18, 1953): pp. 333–34. Review of Samuel M. Kootz Gallery, New York, April 1953.

Fai SO n 1954

Faison, S. Lane, Jr. “Art.” Nation 178, no. 24 (June 12, 1954): p. 509. Review of Solomon R. Guggenheim Museum, New York, 1954.

Fai SO n 1955

Faison, S. Lane, Jr. “Art.” Nation 181, no. 27 (December 31, 1955): pp. 582–83. Review of Carnegie Institute, Pittsburgh, 1955.

Fai SO n 1964

Faison, S. Lane, Jr. Art Tours & Detours in New York State. New York: Random House, 1964.

Fai SO n 1991

Faison, S. Lane, Jr. “Homer to Motherwell to Nature.” Berkshire Eagle (Pittsfield, Mass.), July 30, 1991, sec. A, p. 10.

Falgà S 1995

Falgàs, Jordi. “The Art of Robert Motherwell and the Poetry of Federico García Lorca, Rafael Alberti and Octavio Paz” (includes artist’s statements). M.A. thesis, Michigan State University, 1995.

Farber 1944

Farber, Manny. “The Art of Contrast.” New Republic 111, no. 20 (November 13, 1944): p. 626. Review of Art of This Century, New York, October 1944.

Farber 1951

Farber, Manny. “Art.” Nation 173, no. 25 (December 22, 1951): pp. 555–56. Review of Whitney Museum of American Art, New York, November 1951.

Farn S w O rth 1964

Farnsworth, Clyde. “Tate Gallery Shows 310 Works Ranging from Matisse to Pop.” New York Times, April 21, 1964, p. 26. Review of Tate Gallery, London, April 1964.

Fay 1961

Fay, Jean D. “Vassar Exhibition of Drawings.” Art Journal 20, no. 4 (summer 1961): pp. 234, 236. Review of Vassar College, Poughkeepsie, N.Y., 1961.

Feigenbaum 1978

Feigenbaum, Joan. “Artist Speaks at Carpenter, Lauds Matisse” (includes artist’s statements). Harvard Crimson, February 24, 1978, p. 1.

Feldman 1992

Feldman, Edmund Burke. Varieties of Visual Experience. 4th ed. New York: Harry N. Abrams, 1992.

Fent O n 1966

Fenton, John H. “Abstract Mural Stirs Bostonians: Viewers Link Motherwell Work to Kennedy Death” (includes artist’s statements). New York Times, August 13, 1966, p. 22.

Fent O n 1970–71

Fenton, Terry. “The David Mirvish Opening Show.” Artscanada 27, nos. 150–51 (December 1970–January 1971): pp. 57–58. Review of David Mirvish Gallery, Toronto, September 1970.

Ferlinghetti 1990

Ferlinghetti, Lawrence. When I Look at Pictures Salt Lake City: Peregrine Smith Books, 1990.

Figuer O la-Ferretti 1980

Figuerola-Ferretti, Luis. “El Arte en Madrid” (text in Spanish). Goya: Revista de arte (Madrid), no. 156 (May–June 1980): p. 360. Review of the traveling exhibition at Fundación Juan March, Madrid, April 1980 (see Centro Cultural de la Caixa de Pensions, Barcelona, 1980).

Finberg 1956

Finberg, Earl. “Students Object to Nonobjective Art.” Duluth News-Tribune, August 16, 1956, pp. 1, 5. Review of Kirby Student Center, University of Minnesota, Duluth, 1956.

Fineberg 1978

Fineberg, Jonathan. “Death and Maternal Love: Psychological Speculations on Robert Motherwell’s Art” (includes artist’s statements). Artforum 17, no. 1 (September 1978): pp. 52–57.

Fineberg 1995

Fineberg, Jonathan. Art since 1940: Strategies of Being. London: Laurence King, 1995.

Fineberg 2000

Fineberg, Jonathan. Art since 1940: Strategies of Being. 2nd ed. Englewood Cliffs, N.J.: Prentice Hall, 2000.

Fire S t O ne 1981

Firestone, Evan R. “Color in Abstract Expressionism: Sources and Background for Meaning” (includes artist’s statements). Arts Magazine 55, no. 7 (March 1981): pp. 140–43.

Fire S t O ne 1982

Firestone, Evan R. “James Joyce and the First Generation New York School” (includes artist’s statements). Arts Magazine 56, no. 10 (June 1982): pp. 116–21.

Fire S t O ne 1994

Firestone, Evan R. “Fritz Bultman: The Case of the Missing ‘Irascible’ ” (includes artist’s statements). Archives of American Art Journal 34, no. 2 (1994): pp. 11–20.

Fi S cher [1950]

Fischer, Klaus J. “Was ist Tachismus?” (text in German). Das Kunstwerk 5, no. 9 [September 1950]: p. 11.

Fi S her 1992

Fisher, Allen. “Plurality and the Reproduced: A Selective Approach to American Visual Arts in the 1950s.” In Cracking the Ike Age: Aspects of Fifties America, edited by Dale Carter, pp. 150–78. Aarhus, Denmark: Aarhus University Press, 1992.

Fitz S imm O n S 1951

Fitzsimmons, James. “Artists Put Faith in New Ecclesiastic Art.” Art Digest 26, no. 2 (October 15, 1951): pp. 15, 23.

Fitz S imm O n S 1952a

Fitzsimmons, James. “Art for Export: Will It Survive the Voyage?” Art Digest 26, no. 7 (January 1, 1952): p. 9. Review of Sidney Janis Gallery, New York, 1951.

Fitz S imm O n S 1952b

Fitzsimmons, James. “Illusions of Simplicity.” Art Digest 26, no. 13 (April 1, 1952): p. 18. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Drawings, and Collages, April 1952.

F[itz S imm O n S ] 1953a

F[itzsimmons], J[ames]. “57th Street.” Art Digest 27, no. 17 (June 1953): p. 16. Review of Samuel M. Kootz Gallery, New York, May 1953.

F[itz S imm O n S ] 1953b

F[itzsimmons], J[ames]. “57th Street.” Art Digest 27, no. 14 (April 15, 1953): p. 17. Review of Samuel M. Kootz Gallery, New York, April 1953.

Fitz S imm O n S 1954

Fitzsimmons, James. “Robert Motherwell.” Design Quarterly, no. 29 (1954): pp. 18–22.

Flam 1983

Flam, Jack D. “With Robert Motherwell.” In Robert Motherwell (exhibition catalogue), pp. 9–27. New York: Abbeville Press, in association with Albright-Knox Art Gallery, 1983.

Flam 1985

Flam, Jack. “Robert Motherwell’s Collage Prints.” In Robert Motherwell: The Collaged Image (exhibition catalogue), pp. 7–27. Minneapolis: Walker Art Center, 1985.

Flam 1991

Flam, Jack. Motherwell (includes artist’s statements). Oxford: Phaidon, 1991.

Fla S h a rt 1977

“Robert Motherwell” (text in English and Italian; includes artist’s statements). Flash Art, nos. 70–71 (January–February 1977): pp. 48–49.

Fl O re S 1968

Flores, Margarita García. “Con Robert Motherwell: Expone en el Museo Universitario de Ciencias y Arte” (text in Spanish; interview with the artist). Siempre (1968).

Fl O rida d e S ign 2008

Florida Design 17, no. 4 (2008): cover.

Fl O wer S and c urti S 2000

Flowers, Arthur, and Anthony Curtis. The Art of Gambling through the Ages. Foreword by LeRoy Neiman. Las Vegas: Huntington Press, 2000.

F O cill O n and c euleer S 2008

Focillon, Henri, and Jan Ceuleers. Artists’ Handbook: George Wittenborn’s Guestbook, with 21st Century Additions. Ghent, Belgium: Ludion, 2008.

F O ll 1990

Le Foll, Josephine. “Motherwell: Peintures et collages” (text in French). Maison Francaise, no. 441 (November 1990): p. 44. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

F O reman 1977

Foreman, Laura. “ ‘Good Humor’ Rules at Mondale Modern Art Show.” New York Times, March 24, 1977, sec. D, p. 16. Review of Admiral’s House, vice presidential residence, Washington, D.C., 1977.

F O rgey 1972

Forgey, Benjamin. “Motherwell’s Miracle.” Evening Star (Washington, D.C.), November 17, 1972, sec. B, p. 1.

F O rgey 1975

Forgey, Benjamin. “Corcoran Show Is Mostly Big.” Washington Star, February 21, 1975, sec. B, pp. 1–2. Review of Corcoran Gallery of Art, Washington, D.C., 1975.

F O rgey 1977

Forgey, Benjamin. “Mural-Sized Canvas Coming Here from Motherwell?” Washington Star, June 28, 1977, sec. D, p. 2.

F O rgey 1978a

Forgey, Benjamin. “Kinetic Spaces: A Competition for the Eye.” Washington Star, May 28, 1978, sec. Calendar, p. 3.

F O rgey 1978b

Forgey, Benjamin. “Of Mystery and Beauty at the East Building.” Washington Star, July 30, 1978, sec. E, p. 3. Review of National Gallery of Art, Washington, D.C., 1978.

F O rman 1979

Forman, Debbie. “The Light in Robert Motherwell’s Art: Artist Uses P’town Colors in His Work” (interview with the artist). Cape Cod Times, September 10, 1979, pp. 13, 20.

F O rman 1980

Forman, Deborah. “The Boston Magazine Interview: Robert Motherwell” (interview with the artist). Boston Magazine 72, no. 7 (July 1980): pp. 55–69.

F O rman 1983

Forman, Debbie. “Motherwell Draws on Irish Author” (includes artist’s statements). Cape Cod Times, June 14, 1983, p. 13. Review of Provincetown Art Association and Museum, Mass., 1983.

F O rman 1991a

Forman, Debbie. “A Bright Light Goes Out of Art World” (obituary; includes artist’s statements). Cape Cod Times, July 21, 1991, sec. E, p. 8.

F O rman 1991b

Forman, Debbie. “Friends Remember Artist at His ‘Special Place’ ” (obituary). Cape Cod Times, July 21, 1991, sec. A, pp. 1, 7.

F O rman 1991c

Forman, Debbie. “Motherwell Brings Stature, Colleagues to Museum Exhibit.” Capeweek (Cape Cod Times magazine), June 21, 1991, p. 7. Review of Cape Museum of Fine Arts, Dennis, Mass., 1991.

F O rman 1991d

Forman, Debbie. “Tribute to Motherwell: Long Point Exhibit Small Gem of a Show.” Cape Cod Times, August 31, 1991, sec. C, p. 1. Review of Long Point Gallery, Provincetown, Mass., August 1991.

F O rtune 1953

“Faith Speaking through Modern Art.” Fortune 48, no. 6 (December 1953): pp. 123–29.

F O rtune 1962

“ ‘Art: USA: Now’: Thanks to a Wax Company.” Fortune 66, no. 3 (September 1962): pp. 132–39. Review of United States Information Agency, Washington, D.C., 1962.

F O rt wO rth a rt m u S eum c alendar 1985a “Grand Compositions: Selections from the Collection of David Mirvish.” Fort Worth Art Museum Calendar, March–April 1985, front and back cover, pp. 6–7.

F O rt wO rth a rt m u S eum c alendar 1985b “Robert Motherwell: Stephen’s Iron Crown and Related Works.” Fort Worth Art Museum Calendar, September–October 1985, cover, pp. 1–5, 16.

F OS ter 1980

Foster, Stephen C. The Critics of Abstract Expressionism (includes artist’s statements). Studies in the Fine Arts: Criticism 2. Ann Arbor, Mich.: UMI Research Press, 1980.

F OS ter et al. 2004

Foster, Hal, Rosalind Krauss, Yve-Alain Bois, and Benjamin H. D. Buchloh. Art since 1900: Modernism, Anti-Modernism, Postmodernism New York: Thames and Hudson, 2004.

F O wler 1984

Fowler, Carol. “Retrospective Honors Motherwell Youngest of the New York School” (includes artist’s statements). Contra Costa Times, April 23, 1984, sec. A, p. 15. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

Frackman 1978

Frackman, Noel. “Arts Reviews.” Arts Magazine 53, no. 1 (September 1978): p. 24. Review of Knoedler & Company, New York, 1978.

França 1991

França, J[osé]-A[ugusto]. “Bibliographia: Robert Motherwell—notes romaines” (text in Portuguese, book review). Colóquio Artes 88, no. 2 (March 1991): p. 74.

Franc O u 1990

Francou, Michel-Marie. “Motherwell et son oeuvre vivante” (text in French). Elle (Neuillysur-Seine, France), no. 2334 (October 1990): p. 28. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

Franken S tein 1945

Frankenstein, Alfred. “A Critic Reviews the Contemporary American Painting Exhibition.” Bulletin of the California Palace of the Legion of Honor Museum 3, no. 2 (June 1945): pp. 114–27. Review of California Palace of the Legion of Honor, San Francisco, 1945.

Franken S tein 1946a

Frankenstein, Alfred. “Art Exhibits: Posada Prints Reveal a ‘Man of the People.’ ” San Francisco Chronicle, April 7, 1946, p. 7. Review of the traveling exhibition at San Francisco Museum of Art, March 1946 (see Arts Club of Chicago, 1946).

Franken S tein 1946b

Frankenstein, Alfred. “Showings at Local Art Galleries: Spring Annual Due at Legion of Honor.” San Francisco Chronicle, March 31, 1946, p. 9. Review of the traveling exhibition at San Francisco Museum of Art, March 1946 (see Arts Club of Chicago, 1946).

Franken S tein 1953

Frankenstein, Alfred. “A Word of Warning Take the Pittsburgh Art Show Slowly.” San Francisco Chronicle, February 1, 1953, sec. “This World,” pp. 22, 23. Review of the traveling exhibition at California Palace of the Legion of Honor, San Francisco, February 1953 (see Carnegie Institute, Pittsburgh, 1952).

Franken S tein 1967a

Frankenstein, Alfred. “Elegies, Anguish, and Lyric Suites.” San Francisco Sunday Examiner & Chronicle, March 5, 1967, pp. 26–27. Review of the circulating exhibition at San Francisco Museum of Art, February 1967 (see Museum of Modern Art, New York, Robert Motherwell: Works on Paper, September 1965).

Franken S tein 1967b

Frankenstein, Alfred. “The Latest Crop of Endowment Grants.” San Francisco Sunday Examiner & Chronicle, February 19, 1967, pp. 37–38.

Franken S tein 1977

Frankenstein, Alfred. “U.S. Abstract Art since 1945—A Rare Exhibit.” San Francisco Chronicle Examiner, May 1, 1977, p. 49. Review of San Francisco Museum of Modern Art, 1977.

Frank S 2002

Franks, Pamela. The Tiger’s Eye: The Art of a Magazine (exhibition catalogue). New Haven, Conn.: Yale University Art Gallery, 2002.

Franzke 1977

Franzke, Andreas. “Museen und Galerien” (text in German). Pantheon 35, no. 1 ([January] 1977): pp. 64–66. Review of Städtische Kunsthalle Düsseldorf, 1976.

Franzke 1994

Franzke, Andreas. “Uber Robert Motherwell: Ausgleich von Gegensatzen” (text in German). Kunstler: Kritische Lexikon der Gegenwartskunst (Verlage Weltkunst und Bruckmann), no. 25 (1994): pp. 1–16.

Fra S cina 1999

Frascina, Francis. Art, Politics and Dissent: Aspects of the Art Left in Sixties America. Manchester, England: Manchester University Press, 1999.

Fra S er 1985

Fraser, C. Gerald. “Exhibition Pays Tribute to Kunitz” (includes artist’s statements). New York Times, July 15, 1985, sec. C, p. 18. Review of Long Point Gallery, Provincetown, Mass., 1985.

Frederick r w ei S man F O undati O n 1984

Frederick R.Weisman Foundation. Vol. 1. Los Angeles: Frederick R. Weisman Foundation, 1984.

Frederick r w ei S man F O undati O n 1985

Frederick R.Weisman Foundation of Art Vol. 2. Los Angeles: Frederick R. Weisman Foundation of Art, 1985.

Frederick r w ei S man Philanthr OP ic F O undati O n 2007

The Frederick R.Weisman Art Foundation Collection. Foreword by Richard Koshalek. Entry “Robert Motherwell,” by Rosalind Bickel and Joseph R. Wolin, pp. 242–45. Los Angeles: Frederick R. Weisman Philanthropic Foundation, 2007.

Freed 1972a

Freed, Eleanor. “Collages by Motherwell.” Houston Post, November 19, 1972, sec. Spotlight, pp. 8–9. Review of Museum of Fine Arts, Houston, November 1972.

Freed 1972b

Freed, Eleanor. “Robert Motherwell Expresses Views on World of Art” (interview with the artist). Houston Post, November 17, 1972, sec. A, p. 22.

Freedman 1985

Freedman, Samuel G. “How Inner Torment Feeds the Creative Spirit” (includes interview with the artist). New York Times, November 17, 1985, sec. 2, pp. 1, 22.

Freireich 1961

Freireich, Paul. “How Jewish Is Jewish Art—If It Is at All?” National Jewish Post and Opinion 17, no. 11 (November 10, 1961): p. 12.

Freud 1956

Freud, Sigmund. Delusion and Dream and Other Essays. Edited and introduction by Philip Rieff. Boston: Beacon Press, 1956, cover.

Freudenheim 1973

Freudenheim, Tom L. “The Robert and Jane Meyerhoff Collection.” Baltimore Museum of Art Record 3, no. 5 (January–February 1973): n.p.

Freudenheim 2010

Freudenheim, Tom L. “Abstraction in the Synagogue.” Wall Street Journal, April 15, 2010, sec. D, p. 9. Review of Jewish Museum, New York, 2010.

Fried 1963

Fried, Michael. “New York Letter.” Art International 7, no. 1 (January 25, 1963): pp. 68–70, 72. Review of Sidney Janis Gallery, New York, December 1962.

Fried 1967

Fried, Alexander. “In Art, What Counts Is How Your Mind Sees It.” San Francisco Sunday Examiner & Chronicle, March 5, 1967, sec. 2, p. 4. Review of the traveling exhibition at San Francisco Museum of Art, February 1967 (see Museum of Modern Art, New York, Robert Motherwell: Works on Paper, September 1965).

Friedman 1972

Friedman, B. H. Jackson Pollock: Energy Made Visible (includes artist’s statements). New York: McGraw-Hill, 1972.

Friedman 1986

Friedman, B. H. Crosscurrents (exhibition catalogue). East Hampton, N.Y.: Guild Hall of East Hampton; Provincetown, Mass.: Provincetown Art Association and Museum, 1986.

Friedman 1987

Friedman, Dorothy. “American-Scottish Foundation to Honor Robert Motherwell.” Greenwich Time, April 24, 1987, sec. A, p. 8. Review of the traveling exhibition at Hurlbutt Gallery, Greenwich Library, Conn., May 1987 (see Walker Art Center, Minneapolis, 1985).

Friedman 1992

Friedman, B. H. “Robert Motherwell: Excerpts from the Journals of B. H. Friedman” (includes artist’s statements). Provincetown Arts 8 (1992): pp. 35–39.

Friend 1973

Friend, Miriam. “Art Museum: Major Motherwell Show Opening.” Princeton Packet, January 3, 1973, p. 19. Review of Art Museum, Princeton University, N.J., 1973.

Friend S OF a rt and Pre S er Vati O n in e mba SS ie S 2001

Friends of Art and Preservation in Embassies. Gift to the Nation. Washington, D.C.: Friends of Art and Preservation in Embassies, 2001.

Frigeri O 1961

Frigerio, Simone. “Les Expositions” (text in French). Aujourd’hui 6, no. 33 (October 1961): p. 30. Review of Galerie Heinz Berggruen, Paris, 1961.

Fr OO mkin et al. 2000

Froomkin, Victoria A., Susan Curtiss, Bruce P. Hayes, Nina Hyams, Patricia A. Keating, Hilda Koopman, Pamela Munro, et al. Linguistics: An Introduction to Linguistic Theory

Edited by Victoria A. Froomkin. Malden, Mass.: Blackwell, 2000, cover.

Fuch S 1990

Fuchs, Kenneth. About the Program (brochure to accompany a musical performance at the Merkin Concert Hall, Abraham Goodman House, January 14, 1990). New York: New York Philharmonic Ensembles, 1990.

g. 1949

R. G. “Reviews and Previews.” Artnews 47, no. 7, pt. 1 (November 1949): pp. 50–51. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell Collages, 1943–49, October 1949.

g allery g uide 1977

Gallery Guide, January 11–February 5, 1977, p. 29.

g allery nO te S 1958

“Annual Report 1956–1957.” Gallery Notes (Buffalo Fine Arts Academy, Albright-Knox Art Gallery) 21, no. 1 (April 1958).

g allery nO te S 1974

“Exhibitions and Acquisitions.” Gallery Notes (Buffalo Fine Arts Academy, Albright-Knox Art Gallery) 38, no. 1 (1974): pp. 13–93.

g amarekian 1985

Gamarekian, Barbara. “National Gallery Assembles a 20th-Century Show.” New York Times, September 8, 1985, sec. 1, p. 76.

g arcia 1980

Garcia, Angel Gonzalez. “El Ultimo de los ‘pintores negros’ ” (text in Spanish). El Pais Artes (Madrid), no. 24 (April 19, 1980): p. 3. Review of the traveling exhibition at Fundación Juan March, Madrid, April 1980 (see Centro Cultural de la Caixa de Pensions, Barcelona, 1980).

g arcia- h erraiz 1982

Garcia-Herraiz, Enrique. “Cronica de Nueva York” (text in Spanish). Goya: Revista de Arte (Madrid), no. 166 (January–February 1982): pp. 226–28.

g arcia- h erraiz 1985

Garcia-Herraiz, Enrique. “Cronica de Estados Unidos” (text in Spanish). Goya: Revista de Arte (Madrid), no. 185 (March–April 1985): p. 307. Review of Solomon R. Guggenheim Museum, New York, 1984.

g ardner 1982

Gardner, Paul. “Will Success Spoil Bob & Jim, Louise & Larry?” (interview with the artist). Artnews 81, no. 9 (November 1982): pp. 102–9.

g ardner 1985

Gardner, Paul. “When Is a Painting Finished?” (editorial symposium, includes artist’s statements). Artnews 84, no. 9 (November 1985): p. 94.

g are SS e 1987

Garesse, Antonio. “Robert Motherwell” (text in Spanish). Formas Plasticas, April 1987, p. 20. Review of the traveling exhibition at Galería Juana Mordó, Madrid, March 1987 (see Galería Joan Prats, Barcelona, 1986).

g auer 2004

Gauer, Walter. “Meister des Abstrakten Expressionismus” (text in German). Luremburger Wort, November 23, 2004. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

g augh 1978

Gaugh, Harry F. “Monographs” (book review). Art in America 66, no. 2 (March–April 1978): pp. 29, 31.

g augh 1985

Gaugh, Harry F. “Elegy for an Exhibition” (includes artist’s statements). Artnews 85, no. 3 (March 1985): pp. 71–75. Review of Solomon R. Guggenheim Museum, New York, 1984.

g aul 1963

Gaul, Winifred. “Amerika, Hast du es besser?” (text in German). Das Kunstwerk 9, no. 16 (March 1963): pp. 2–13.

g aul 2009

Gaul, Alma. “Famous Art from the U of Iowa Comes to Figge.” Quad-City Times (Davenport, Iowa), March 19, 2009.

g ay 1976

Gay, Peter. Art and Act: On Causes in History— Manet, Gropius, Mondrian (includes artist’s statements). New York: Harper and Row, 1976.

l a g azette de l ’ h ôtel d r O u O t 1990

“Les Expositions” (text in French). La Gazette de L’Hôtel Drouot (Paris) 99, no. 36 (October 12, 1990): pp. 126–28. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

g ee S lin 1958

Geeslin, Campbell. “Drawings as Art, or Variety Unlimited.” [Houston Post], November 23, 1958. Review of Contemporary Arts Museum, Houston, 1958.

g ei SS ler 2005

Geissler, Peter. Nonverbale interaktion in der Psychotherapie: Forschung und Relevanz im therapeutischen Prozess (text in German). Giessen, Germany: Psychosozial-Verlag, 2005, cover.

g eldzahler 1965

Geldzahler, Henry. American Painting in the 20th Century. New York: Metropolitan Museum of Art, 1965.

g elle S 1984

Gelles, George. “Motherwell: Call of the Sea and Window of the Soul” (includes artist’s statements). Arts Line 2, no. 2 (June 1984): cover, pp. 10–11, 37–38.

g enauer 1946

Genauer, Emily. “Under the Hammer.” New York World-Telegram, March 23, 1946, p. 9.

g enauer 1950a

Genauer, Emily. “Art and Artists: Artists under 36, Index to Present Day Painting, Builds Case for Youth.” New York Herald Tribune, March 26, 1950, sec. 5, p. 4. Review of Metropolitan Museum of Art, New York, 1950.

g [enauer] 1950b

G[enauer], E[mily]. “Art for Summer Viewing in New York Galleries.” New York Herald Tribune, August 13, 1950, sec. 5, p. 5. Review of Samuel M. Kootz Gallery, New York, [August] 1950.

g enauer 1951a

Genauer, Emily. “Art and Artists: Collectors’ Personalities Show Up in Modern Museum Loan Exhibition.” New York Herald Tribune, July 1, 1951, sec. 4, p. 4. Review of Museum of Modern Art, New York, June 1951.

g enauer 1951b

Genauer, Emily. “Art and Artists: U.S. Abstractionists Execute Fine Decor for a New Jersey Synagogue.” New York Herald Tribune, October 7, 1951, sec. 4, p. 9.

g enauer 1953

Genauer, Emily. “Works of Faith.” New York Herald Tribune, May 24, 1953, sec. “This Week” Magazine, p. 12.

g enauer 1954

Genauer, Emily. “Art and Artists: Yale Links Pen, Brush and Chisel” (book review). New York Herald Tribune, June 6, 1954, sec. Book Review, p. 18.

g enauer 1958

Genauer, Emily. “U.S. Art Going to Brussels Called Scandal: Selections Missing Chance to Erase Label of ‘Materialistic’ Culture.” New York Herald Tribune, March 17, 1958, pp. 1, 13. Review of United States Pavilion, Brussels World’s Fair, 1958.

g enauer 1959a

Genauer, Emily. “Art: The Great Void; Now Come ‘Inaction’ Painters Shouting a Significant Silence.” New York Herald Tribune, March 15, 1959, sec. 4, p. 7. Review of Sidney Janis Gallery, New York, March 1959.

g enauer 1959b

Genauer, Emily. “Hours of Art Talk Draw Top Response.” New York Herald Tribune, May 24, 1959, sec. 4, p. 7.

g enauer 1965a

Genauer, Emily. “A Wish at Motherwell Show.” New York Herald Tribune (morning edition), October 1, 1965. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

g enauer 1965b

Genauer, Emily. “Motherwell Show: ‘Shut Up and Paint.’ ” New York Herald Tribune (evening edition), October 1, 1965, p. 23. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

g e O rge 1955

“Contemporary Americans.” Art Digest 29, no. 12 (March 15, 1955): pp. 14–15. Review of College of Fine and Applied Arts, Urbana, Ill., 1955.

g e O rgia O’ k ee FF e m u S eum m ember n ew S 2001

Georgia O’Keeffe Museum Member News (includes artist’s statements), spring–summer 2001, cover, p. 2.

g erdt S 2003

Gerdts, William H. American Art at the Flint Institute of Arts. Contributions by Kelly Baum, Monique M. Desormeau, Melissa Miller Farr, John B. Henry III, Melina Kervandjian, Valerie Ann Leeds, Akella Reason, R. Sarah Richardson, Sue Scott, and Kristie Everett Zamora. Entry 88, “Robert Motherwell,” by Sue Scott, pp. 180–81. Flint, Mich.: Flint Institute of Arts, in association with Hudson Hills Press, New York, 2003.

g e S ke and Jan OV y 1988

Geske, Norman A., and Karen O. Janovy, eds. The American Painting Collection of the Sheldon Memorial Art Gallery. Lincoln: University of Nebraska Press, 1988.

g ibb S 1945

Gibbs, Jo. “Kootz Opens Gallery.” Art Digest 19, no. 14 (April 15, 1945): pp. 11, 31. Review of Samuel M. Kootz Gallery, New York, April 1945.

g ibb S 1946a

Gibbs, Jo. “Fourteen Moderns at the Modern.” Art Digest 20, no. 20 (September 15, 1946): pp. 5, 30–31. Review of Museum of Modern Art, New York, September 1946.

g ibb S 1946b

Gibbs, Jo. “Sculpture Dominates Whitney Exhibition.” Art Digest 20, no. 10 (February 15, 1946): p. 6. Review of Whitney Museum of American Art, New York, February 1946.

g ib SO n 1977

Gibson, Michael. “Art in Paris: Robert Motherwell–A Survivor” (interview with the artist). International Herald Tribune, July 9–10, 1977, p. 7.

g ib SO n 1984

Gibson, Ann. “Theory Undeclared: AvantGarde Magazines as a Guide to Abstract Expressionist Images and Ideas” (includes artist’s statements). Ph.D. diss., University of Delaware, 1984.

g ib SO n 1988

Gibson, Ann. “Abstract Expressionism’s Evasion of Language.” Art Journal 47, no. 3 (fall 1988): pp. 208–14.

g ib SO n 1990

Gibson, Ann Eden. Issues in Abstract Expressionism: The Artist-Run Periodicals (includes artist’s statements). Ann Arbor, Mich.: UMI Research Press, 1990.

g ib SO n 1997

Gibson, Ann Eden. Abstract Expressionism: Other Politics (includes artist’s statements). New Haven, Conn.: Yale University Press, 1997.

g ilbert 1998

Gilbert, Gregory Mark. “The Alternate Aesthetic: Robert Motherwell’s Early Collages and the Formative Years of Abstract Expressionism” (includes artist’s statements). Ph.D. diss., State University of New Jersey, Rutgers, 1998.

g ilbert 2001

Gilbert, Gregory. “The Collected Writings of Robert Motherwell” (book review). Art Journal 60, no. 3 (fall 2001): pp. 107–9.

g ilbert 2004a

Gilbert, Gregory. “Robert Motherwell’s Collage and Cutout Aesthetic.” Country and Abroad 9, no. 6 (November 2004): p. 61.

g ilbert 2004b

Gilbert, Gregory. “Robert Motherwell’s World War Two Collages: Signifying War as Topical Spectacle in Abstract Expressionist Art.” Oxford Art Journal 27, no. 3 (2004): pp. 311–37.

g ill OO ly 1966

Gillooly, Ed. “Painting of JFK Shooting Stirs Up Storm of Protests.” Record American (Boston), August 12, 1966, p. 2.

g lenn 1981

Glenn, Constance W. “The Collectors: Contemporary Art; Mr. and Mrs. John Martin Shea in Palm Springs.” Architectural Digest 38, no. 11 (November 1981): pp. 108–15.

g lenn 1982a

Glenn, Constance W. “Art: Contemporary Collage; The Mixture of Form and Medium.” Architectural Digest 39, no. 5 (May 1982): pp. 104–9.

g lenn 1982b

Glenn, Constance W. “The Collectors: A House Created for Art; Mr. and Mrs. Jimmy J. Younger in Houston.” Architectural Digest 39, no. 4 (April 1982): pp. 100–105.

g lenn 1983

Glenn, Constance W. “The Collectors: A Cultivated Vision; Mr. and Mrs. Gifford Phillips in New York City.” Architectural Digest 40, no. 6 (June 1983): pp. 110–17.

g lenn 1984

Glenn, Constance W. “Architectural Digest Visits: Mr. and Mrs. Robert Motherwell” (interview with the artist). Architectural Digest 41, no. 1 (January 1984): cover, pp. 84–91.

g lenn and g lenn 1988

Glenn, Constance, and Jack Glenn. Robert Motherwell: The Dedalus Sketchbooks (includes artist’s statements). New York: Harry N. Abrams, 1988.

g limcher 1991

Glimcher, Mildred. “ ‘Art of the Forties’ Surveys Cultural Revolution: The Museum of Modern Art Examines Its Own Role in Shaping the Art of Our Time.” Journal of Art, March 1991, p. 11. Review of Museum of Modern Art, New York, 1991.

g l OV er 2009

Glover, Michael. “Robert Motherwell: Bernard Jacobson.” Artnews 108, no. 9 (October 2009): pp. 138–39. Review of Bernard Jacobson Gallery, London, June 2009.

g l O wen 1984

Glowen, Ron. “Motherwell’s Exhibit: A Trip into the Abstract.” [Publication unknown] (Seattle), June 21, 1984. Review of the traveling exhibition at Seattle Art Museum, June 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

g lub O k 1976

Glubok, Shirley. The Art of America since World War II. New York: Macmillan, 1976.

g lueck 1969

Glueck, Grace. “New York Gallery Notes: Like a Beginning.” Art in America 57, no. 3 (May–June 1969): pp. 116–19. Review of Marlborough-Gerson Gallery, New York, 1969.

g lueck 1976a

Glueck, Grace. “Art People.” New York Times, July 30, 1976, sec. C, p. 16.

g lueck 1976b

Glueck, Grace. “Motherwell, at 61, Puts ‘Eternal’ Quality into Art” (interview with the artist). New York Times, February 3, 1976, pp. 33, 52.

g lueck 1980

Glueck, Grace. “Art People: Merge, No. Collaborate, Yes” (includes artist’s statements). New York Times, January 25, 1980, sec. C, p. 18. Review of Centro Cultural de la Caixa de Pensions, Barcelona, 1980.

g lueck 1981

Glueck, Grace. “Motherwell Turns Down Post on U.S. Arts Panel” (includes artist’s statements). New York Times, May 20, 1981, sec. C, p. 25.

g lueck 1982

Glueck, Grace. “In the Arts: Critics’ Choices.” Guide, May 23, 1982, p. 3. Review of CDS Gallery, New York, April 1982.

g lueck 1984a

Glueck, Grace. “ ‘Family’ Revived Art on Cape Cod: 13 Founded Top Gallery 7 Years Ago” (includes artist’s statements). New York Times, August 1, 1984, sec. C, p. 17.

g lueck 1984b

Glueck, Grace. “The Mastery of Robert Motherwell.” New York Times, December 2, 1984, sec. Magazine, pp. 68–72, 74, 76, 78, 80, 82, 86.

g lueck 1991

Glueck, Grace. “Robert Motherwell, Master of Abstract, Dies” (obituary; includes artist’s statements). New York Times, July 18, 1991, sec. A, p. 1, sec. B, p. 9.

gO ldberger 1990

Goldberger, Paul. “Architecture: Robert A. M. Stern.” Architectural Digest 47, no. 11 (October 1990): pp. 196–205.

gO ldman 1981

Goldman, Judith. “Izdavanje I Stampanje Grafika u Americi” (text in Russian). Pregled 211 (1981): pp. 4–13.

gO ld S tein 1989

Goldstein, Nathan. Design and Composition Englewood Cliffs, N.J.: Prentice Hall, 1989.

gO ldwater 1947

Goldwater, Robert. “A Season of Art.” Partisan Review 14, no. 4 (July–August 1947): pp. 414–18.

gO ldwater 1952

Goldwater, Robert. “The Dada Painters and Poets: An Anthology” (book review). Art Bulletin 34, no. 3 (September 1952): pp. 249–51.

gO ldwater 1960

Goldwater, Robert. “Reflections on the New York School.” Quadrum: Revue Internationale d’Art Moderne 8 (1960): pp. 17–36.

gO nzale S 1978

Gonzales, Shirley. “Moveable Feast of State Artists.” New Haven Register, January 22, 1978, sec. D, pp. 1, 4. Review of Carlson Gallery, University of Bridgeport, Conn., 1978.

gOO ch 1993

Gooch, Brad. City Poet: The Life and Times of Frank O’Hara. New York: Alfred A. Knopf, 1993.

gOO dman 1953

Goodman, Percival. “The New Synagogue.” Brooklyn Jewish Center Review, October 1953, pp. 10–11.

g [ OO dn O ugh] 1951

G[oodnough], R[obert]. “Reviews and Previews.” Artnews 50, no. 3 (May 1951): p. 56. Review of Samuel M. Kootz Gallery, New York, May 1951.

gOO dn O ugh and b rach 1965

Goodnough, Robert, and Paul Brach. “Two Postscripts.” Artforum 4, no. 1 (September 1965): p. 32.

gOO drich et al. 1957

Goodrich, Lloyd, Dorothy C. Miller, James Thrall Soby, and Frederick S. Wright. New Art in America: Fifty Painters of the 20th Century (includes artist’s statements). Edited by John I. H. Baur. Entry “Robert Motherwell,” by Frederick S. Wright, pp. 247–50. Greenwich, Conn.: New York Graphic Society; New York: Frederick A. Praeger, 1957.

gOO drich and b aur 1961

Goodrich, Lloyd, and John I. H. Baur. American Art of Our Century. New York: Frederick A. Praeger, 1961.

gOO dyear 2003

Goodyear, Dana. “The Gardener: For Most of a Century, Stanley Kunitz Has Cultivated Generations of Poems—and Poets.” New Yorker 79, no. 24 (September 1, 2003): pp. 104–11.

gOOSS en 1959

Goossen, E. C. “Robert Motherwell and the Seriousness of Subject.” Art International 3, nos. 1–2 (January–February 1959): pp. 33–35, 38, 51.

gO rd O n 2001

Gordon, Alastair. Weekend Utopia: Modern Living in the Hamptons (includes interview with the artist). New York: Princeton Architectural Press, 2001.

gO rd O n 2007

Gordon, Alastair. “The End of an Era: Recalling Robert Motherwell’s Landmark 1946 East Hampton Quonset Hut” (includes artist’s statements). Architectural Digest, October 2007, pp. 134, 136, 138, 140.

gO rney 1976–77

Gorney, Jay. “Reviews: Drawing Today in New York.” Art Journal 36, no. 2 (winter 1976–77): p. 143. Review of Newcomb College, Tulane University, New Orleans, 1976.

gOS ling 1966

Gosling, Nigel. “Straddling Two Worlds of Paint.” Observer (London), March 27, 1966, p. 34. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

g ranath 1976

Granath, Olle. “Motherwell pa Kulturhuset: Ogonblick av passion” (text in Swedish). Dagens Nyheter, December 7, 1976, p. 4. Review of the traveling exhibition Galleriet Kulturhuset, Stockholm, November 1976 (see Städtische Kunsthalle Düsseldorf, 1976).

g ratz 1973

Gratz, Roberta Brandes. “Daily Closeup: Wallto-Wall Friends.” New York Post, January 12, 1973, sec. Magazine, p. 3.

g ray 1985

Gray, Channing. “An Artist’s Perspective: Motherwell Reflects on a Life’s Work at Degree Ceremony” (includes artist’s statements). Providence Journal, May 3, 1985, sec. C, p. 4.

g reenberg 1944a

Greenberg, Clement. “Art.” Nation 158, no. 22 (May 27, 1944): p. 634. Review of Art of This Century, New York, May 1944.

g reenberg 1944b

Greenberg, Clement. “Art.” Nation 159, no. 20 (November 11, 1944): pp. 598–99. Review of Art of This Century, New York, October 1944.

g reenberg 1946

Greenberg, Clement. “Art.” Nation 162, no. 4 (January 26, 1946): pp. 109–10. Review of Samuel M. Kootz Gallery, New York, January 1946.

g reenberg 1947

Greenberg, Clement. “Art.” Nation 164, no. 22 (May 31, 1947): pp. 664–65. Review of Samuel M. Kootz Gallery, New York, April 1947.

g reenberg 1948

Greenberg, Clement. “Art.” Nation 166, no. 22 (May 29, 1948): pp. 612–13. Review of Samuel M. Kootz Gallery, New York, May 1948.

g reenberg 1949

Greenberg, Clement. “Art.” Nation 168, no. 24 (June 11, 1949): pp. 669–70.

g reenberg 1955

Greenberg, Clement. “ ‘American-Type’ Painting.” Partisan Review 22, no. 2 (spring 1955): pp. 179–96.

g reenberg 1961

Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.

g reenberg 1964

Greenberg, Clement. “A Famous Art Critic’s Collection.” Vogue 143, no. 2 (January 15, 1964): pp. 92–95.

g reenberg 1965

Greenberg, Clement. “The Artist Speaks: Part Six.” Art in America 53, no. 4 (August–September 1965): pp. 110–30.

g reenberg 1986a

Greenberg, Clement. Clement Greenberg: The Collected Essays and Criticism. Vol. 1, Perceptions and Judgments, 1939–1944. Edited by John O’Brian. Chicago: University of Chicago Press, 1986. Essay originally published in Greenberg 1944a.

g reenberg 1986b

Greenberg, Clement. Clement Greenberg: The Collected Essays and Criticism. Vol. 2, Arrogant Purpose, 1945–1949. Edited by John O’Brian. Chicago: University of Chicago Press, 1986. Originally published in Greenberg 1946, Greenberg 1947, and Greenberg 1948.

g reenberg g allery 1989

Selected Works. Foreword by Ronald K. Greenberg; introduction by Sissy Thomas. Saint Louis: Greenberg Gallery, 1989.

g reene 1992

Greene, Seth. “Guernsey’s Goes to the Hamptons.” Art & Auction 14, no. 6 (January 1992): p. 100.

g [reen SPan] 1984

G[reenspan], S[tuart]. “Contemporary Art.” Art & Auction 7, no. 1 (July–August 1984): p. 61.

g reenwich t ime 1976a

“Knoedler Contemporary Art Showing Abstract Works by Motherwell.” Greenwich Time, February 2, 1976, p. 9. Review of Knoedler & Company, New York, 1976.

g reenwich t ime 1976b

“Sneak Preview of Art Film Due in April.” Greenwich Time, March 29, 1976, p. 10.

g reenwich t ime 1987

“Collages by Motherwell at Library.” Greenwich Time, May 6, 1987, sec. B, p. 11.

g rigg S 2006

Griggs, Brandon. “Mother Lode from an Abstract Master.” Salt Lake Tribune, February 12, 2006, sec. D, p. 3. Review of the traveling exhibition at Salt Lake Art Center, Salt Lake City, February 2006 (see Thomas McCormick Gallery, Chicago, December 2005).

g rinke 1966

Grinke, Paul. “Motherwell Retrospective.” Financial Times (London), April 9, 1966, p. 7. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

g r OSS 2005

Gross, Roland. “Abstraktion ohne Kompromisse: Ausstellung; Robert Motherwell im Schloss Morsbroich” (text in German). Ruhr Nachrichten (Dortmund, Germany), January 4, 2005, n.p. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

g ruen 1969

Gruen, John. “Art in New York: Open Window.” New York Magazine 2, no. 19 (May 12, 1969): p. 57. Review of Marlborough-Gerson Gallery, New York, 1969.

g ruen 1972

Gruen, John. The Party’s Over Now: Reminiscences of the Fifties—New York’s Artists, Writers, Musicians, and Their Friends (includes interview with the artist). New York: Viking Press, 1972.

g uggenheim c alendar OF eV ent S 1984

Solomon R. Guggenheim Museum. “New Exhibition: Robert Motherwell.” Guggenheim Calendar of Events, November–December 1984.

g uggenheim c alendar OF eV ent S 1985

Solomon R. Guggenheim Museum, “Continuing Exhibitions: Robert Motherwell.” Guggenheim Calendar of Events, January–February 1985.

g uilbaut 1983

Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War (includes artist’s statements). Translated by Arthur Goldhammer. Chicago: University of Chicago Press, 1983.

g ui S a SO la 1980

Guisasola, Félix. “La Imagen: Copyright del arte internacional” (text in Spanish; includes artist’s statements). Sábado Grafico (Madrid), May 7, 1980, p. 55. Review of traveling exhibition at Fundación Juan March, Madrid, April 1980 (see Centro Cultural de la Caixa de Pensions, Barcelona, February 1980).

h aa S e 1976a

Haase, Amine. “Robert Motherwell in der Düsseldorfer Kunsthalle: Die malerische macht Amerikas” (text in German). Feuilleton, September 16, 1976. Review of Städtische Kunsthalle Düsseldorf 1976.

h aa S e 1976b

Haase, Amine. “Robert Motherwell in der Düsseldorfer Kunsthalle: Die Malerische macht Amerikas” (text in German). Rheinische Post, September 16, 1976. Review of Städtische Kunsthalle Düsseldorf 1976.

h ackett 1984

Hackett, Regina. “Motherwell Exhibit Is a Celebration in Paint.” Seattle Post-Intelligencer, June 21, 1984, sec. C, p. 11. Review of the traveling exhibition at Seattle Art Museum, June 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

h adler 1977

Hadler, Mona. “William Baziotes: A Contemporary Poet-Painter.” Arts Magazine 51, no. 10 (June 1977): pp. 102–110.

h aenlein 1990a

Haenlein, Joy L. “Subconscious Art: Robert Motherwell” (includes artist’s statements). Advocate and Greenwich Time, January 14, 1990, sec. D, pp. 1–2.

h aenlein 1990b

Haenlein, Joy L. “Turning 75, Artist Motherwell Looks Back at His Life” (includes artist’s statements). Philadelphia Inquirer, January 21, 1990, sec. I, p. 8.

h aenlein 1991

Haenlein, Joy L. “Motherwell, Force in American Art, Dies” (obituary; includes artist’s statements). Greenwich Time, July 18, 1991, sec. A, pp. 1, 6.

h a F tmann 1959

Haftmann, Werner. “On the Content of Contemporary Art.” Quadrum: Revue internationale d’art moderne 7 (1959): pp. 5–22.

h a F tmann 1960

Haftmann, Werner. Painting in the Twentieth Century. Vol. 2, A Pictorial Survey. Translated by Ralph Manheim. New York: Frederick A. Praeger, 1960.

h a F tmann 1965

Haftmann, Werner. Painting in the Twentieth Century: An Analysis of the Artists and Their Work (includes artist’s statements). Translated by Ralph Manheim. 2 vols. New York: Frederick A. Praeger, 1965.

h ahn 1982

Hahn, Walter H. “Introduction to Chinese Calligraphy.” Focus on Asian Studies 1, no. 3 (spring 1982): pp. 24–29, 43.

h akan SO n 1972

Hakanson, Joy. “Motherwell’s Terse ‘Intensity.’ ” Sunday News (Detroit), December 10, 1972, sec. E, p. 4.

h amilt O n 1953

Hamilton, George Heard. “Modern Artists in America” (book review). Magazine of Art 46, no. 1 (January 1953): p. 44.

h ankin S 2002

Hankins, Evelyn C. The New York Scene: Selections from the Whitney Museum of Art at City Hall. Foreword by Maxwell L. Anderson. New York: Whitney Museum of American Art, 2002.

h an S en 1965

Hansen, Al. A Primer of Happenings & Time/Space Art. New York: Something Else Press, 1965.

h arbi SO n and l aderman 1992 Harbison, John, and Ezra Laderman. “Works by John Harbison and Ezra Laderman.” Conducted by New Jersey Symphony Orchestra. New York: New World Records, 1992. Compact disc, cover.

h are 1967

Hare, David. “Communication.” Artnews 66, no. 8 (December 1967): pp. 8, 10.

h ar P er’ S b azaar 1948

“Robert Motherwell’s Quonset House.” Harper’s Bazaar, no. 2838 (June 1948): pp. 86–87.

h ar P er’ S b azaar 1951

“Artists on the Island.” Harper’s Bazaar, no. 2876 (July 1951): pp. 50–53.

h arri SO n 1973

Harrison, Charles. “Abstract Expressionism I.” Studio International 185, no. 951 (January 1973): pp. 9–18.

h arri SO n 1980

Harrison, Helen A. “Diversity in Abstract Expressionism Apparent in Exhibit of Regional Artists.” Bridgehampton Sun, September 3, 1980, p. 14. Review of Parrish Art Museum, Southampton, N.Y., 1980.

h arri SO n 1982

Harrison, Helen A. “Five Leading Artists Exert a Powerful Force on Art Today” (interview with the artist). Sunday Advocate (Stamford, Conn.), October 17, 1982, sec. E, pp. 1, 3.

h arri SO n 1991

Harrison, Helen A. “Black & White: Back to Basics” (includes artist’s statements). Provincetown Arts 7 (1991): pp. 98–99.

h arri SS 1974

Harriss, R. P. “Commencement at Mount Royal.” News American (Baltimore), May 13, 1974.

h art FO rd cO urant 1966

“Artist Says Painting Is Not JFK Death Scene” (includes artist’s statements). Hartford Courant, August 13, 1966, p. 13.

h art FO rd cO urant 1977

Hartford Courant, July 3, 1977, sec. F, p. 14.

h art FO rd cO urant 1991

“Robert Motherwell Dies; Abstract Painter was 76” (obituary; includes artist’s statements). Hartford Courant, July 18, 1991, sec. A, pp. 1, 13.

h artz et al. 1970

Hartz, John von, Tony Chiu, Paula Pierce, Suzanne Seixas, and Robert Morton. The World of American Painting, 1900–1970. New York: Time-Life Books, 1970.

h ar Vard g azette 1978

“Motherwell: ‘An Abstractionist Is Someone Who Understands Structure’ ” (includes artist’s statements). Harvard Gazette, March 3, 1978, p. 5.

h a S i O ti S 1983

Hasiotis, Georgette, ed. Robert Motherwell: In His Own Words (exhibition brochure; includes artist’s statements). Compiled by Catherine Green. Buffalo: Buffalo Fine Arts Academy, 1983. Published in conjunction with the exhibition at Albright-Knox Art Gallery, Buffalo, 1983.

h a S kell and Philli PS 1999

Haskell, Barbara, and Lisa Phillips. The American Century: Art & Culture, 1950–2000 (exhibition catalogue). Vols. 1 and 2. New York: Whitney Museum of American Art, in association with W. W. Norton, New York, 1999.

h a X all 2009

Haxall, David Louis. “Cut and Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage.” Ph.D. diss., Pennsylvania State University, University Park, 2009.

h aye S 1984

Hayes, Michael. “Spotlight on Motherwell.” Diversion Vacation Planner, March–April 1984, p. 44. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

h aye S 2004

Hayes, Christa-Maria Lerm. Joyce in Art: Visual Art Inspired by James Joyce (exhibition catalogue). Foreword by Fritz Senn. Dublin: Lilliput Press, 2004.

h ayman 1989

Hayman, David. “ ‘Ulysses’ and Motherwell: Illustrating an Affinity.” James Joyce Quarterly (University of Tulsa, Okla.) 26, no. 4 (summer 1989): pp. 583–605.

h eathc O te 1978

Heathcote, Graham. “Motherwell’s Abstract Art” (includes artist’s statements). St. Louis Globe Democrat, February 11–12, 1978, sec. F, p. 5. Review of Royal Academy of Arts, London, 1978.

h egewi S ch 1982

Hegewisch, Katherine. “Ein Denkmal für Motherwell—zuviel des Guten?” (text in German). Frankfurter Allgemeine, December 28, 1982, p. 21.

h emenway 1986

Hemenway, Gayle. “Robert Motherwell: A Celebration” (interview with the artist). Stanford Magazine (Stanford University Alumni Magazine) 14, no. 2 (summer 1986): pp. 36–43.

h enning 1960

Henning, Edward B. “Exhibition: Paths of Abstract Art.” Bulletin of the Cleveland Museum of Art 47, no. 8 (October 1960): pp. 199–201.

h enning 1962

Henning, Edward B. “Some Contemporary Paintings.” Bulletin of the Cleveland Museum of Art 49, no. 3 (March 1962): pp. 46–54.

h enning 1964a

Henning, Edward B. “The Language of Art.” Bulletin of the Cleveland Museum of Art 51, no. 9 (November 1964): pp. 210–31.

h enning 1964b

Henning, Edward B. “Reports from the Departments.” Bulletin of the Cleveland Museum of Art 51, no. 6 (June 1964): pp. 146–47.

h enning 1969

Henning, Edward B. “Some Modern Paintings.” Bulletin of the Cleveland Museum of Art 56, no. 2 (February 1969): pp. 55–87.

h enning 1970

Henning, Edward B. “The Art Museum and the Avant-Garde.” Art Journal 30, no. 1 (fall 1970): pp. 20–26.

h enric 1989

Henric, Jacques. Pierre Klossowski. Paris: Editions Adam Biro, 1989.

h enry 1973

Henry, Gerrit. “Reviews and Previews.” Artnews 72, no. 9 (November 1973): p. 104. Review of Rosa Esman Gallery, New York, 1973.

h enry 1979

Henry, Gerrit. “New York Reviews.” Artnews 78, no. 7 (September 1979): p. 181. Review of William Ehrlich Gallery, New York, May 1979; and of William Ehrlich Gallery, New York, June 1979.

h erald w ire Ser V ice S 1991

Herald Wire Services. “Robert Motherwell, 76, Abstract Expressionist” (obituary; includes artist’s statements). Boston Herald, July 18, 1991, p. 65.

h erb S t 1954

Herbst, René. Un Inventeur . . . L’Architecte Pierre Chareau (text in French). Preface by Francis Jourdain. Paris: Editions du Salon des Arts Ménagers, 1954.

h ernandez 1971

Hernandez, Antonio. “St. Gallen: Ausstellungen im Sommer 1971” (text in German). Werk, no. 10 (October 1971): p. 712. Review of Galerie im Erker, St. Gall, Switzerland, 1971.

h ernandez 1980

Hernandez, Julio L. “Motherwell” (text in Spanish; includes artist’s statements). Arteguía (Madrid) 7, no. 54 (April 1980): pp. 26–30.

h erner de Schmelz 1968

Herner de Schmelz, Irene. “Gorky and Motherwell Exhibition.” Mexico/This Month 14, no. 2 (June 1968): pp. 12–13. Review of the circulating exhibition at Museo Universitario de Ciencias y Arte, Mexico City, May 1968 (see Museum of Modern Art, New York, 1967).

h er O n 1956

Heron, Patrick. “The Americans at the Tate Gallery.” Arts 30, no. 6 (March 1956): pp. 15–17. Review of the circulating exhibition at Tate Gallery, London, January 1956 (see Museum of Modern Art, New York, 1955).

h errera 1974

Herrera, Hayden. “Reviews and Previews.” Artnews 73, no. 6 (summer 1974): pp. 112–13. Review of Knoedler & Company, New York, 1974.

h er S kOV ic 2000

Herskovic, Marika, ed. New York School Abstract Expressionists: Artists Choice by Artists; A Complete Documentation of the New York Painting and Sculpture Annuals, 1951–1957 (includes artist’s statements). Entry “Robert Motherwell,” pp. 258–61. New Jersey: New York School Press, 2000.

h er S kOV ic 2003

Herskovic, Marika, ed. American Abstract Expressionism of the 1950s: An Illustrated Survey (includes artist’s statements). Entry “Robert Motherwell,” pp. 239–41. Franklin Lakes, N.J.: New York School Press, 2003.

h erwig 1983

Herwig, Carol. “For Contemporary Artists, a Seller’s Market.” USA Today, November 17, 1983, sec. D, p. 5.

h [e SS ] 1950a H[ess], T[homas] B. “Reviews and Previews.” Artnews 49, no. 1 (March 1950): p. 45. Review of Samuel M. Kootz Gallery, New York, February 1950.

h [e SS ] 1950b H[ess], T[homas] B. “Reviews and Previews.”

Artnews 49, no. 6 (October 1950): p. 48. Review of Samuel M. Kootz Gallery, New York, October 1950.

h e SS 1951

Hess, Thomas B. Abstract Painting: Background and American Phase. New York: Viking Press, 1951.

h [e SS ] 1952

H[ess], T[homas] B. “Reviews and Previews.” Artnews 51, no. 2 (April 1952): pp. 44–45. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Drawings and Collages, April 1952.

h [e SS ] 1954

H[ess], T[homas] B. “Reviews and Previews.” Artnews, [March] 1954: p. 44. Review of Whitney Museum of American Art, New York, March, 1954.

h [e SS ] 1957

H[ess], T[homas] B. “Reviews and Previews.” Artnews 56, no. 4 (summer [June–July–August] 1957): p. 21. Review of Sidney Janis Gallery, New York, May 1957.

h [e SS ] 1963

H[ess], T[homas] B. “The Year’s Best: 1962.” Artnews 61, no. 9 (January 1963): p. 8.

h e SS 1974

Hess, Thomas B. “Vanity Fare.” New York Magazine 7, no. 17 (April 29, 1974): pp. 68–69. Review of Knoedler & Company, New York, 1974.

h e SS 1978

Hess, Thomas B. “Sketch for a Portrait of the Art Historian among Artists.” Social Research 45, no. 1 (spring 1978): pp. 6–14.

h e SS 2006

Hess, Barbara. Abstract Expressionism. Edited by Uta Grosenick. Entry “Robert Motherwell,” pp. 70–71. Los Angeles: Taschen, 2006.

h e SS and aS hbery 1967

Hess, Thomas B., and John Ashbery, eds. Avant-Garde Art. London: Collier-Macmillan, 1967.

h e SS and Steiner 2009

Hess, Donald, and Myrtha Steiner. Hess Art Collection. Germany: Hatje Cantz, 2009.

h ighwater 1979

Highwater, Jamake. “Motherwell Retrospective.” [New York Journal of the Arts, no. 15 (August 1979).] Review of William Benton Museum of Art, University of Connecticut, 1979.

h ighwater 1986

Highwater, Jamake. “Watching Robert Motherwell.” In Shadow Show: An Autobiographical Insinuation (includes artist’s statements), pp. 215–20. New York: Alfred Van Der Marck Editions, 1986.

h ilt O n 1978

Hilton, Tim. “Searching for the Sublime” (book review). Times Literary Supplement (London), January 20, 1978, p. 63.

h ir S ch 2002

Hirsch, Edward. “Motherwell’s Black.” In The Demon and the Angel: Searching for the Source of Artistic Inspiration, pp. 184–90. New York: Harcourt Books, 2002.

hO bb S 1975a

Hobbs, Jack A. Art in Context. New York: Harcourt Brace Jovanovich, 1975.

hO bb S 1975b

Hobbs, Robert C. “Motherwell’s Concern with Death in Painting: An Investigation of His Elegies to the Spanish Republic, Including an Examination of His Philosophical and Methodological Considerations” (includes artist’s statements). Ph.D. diss., University of North Carolina, Chapel Hill, 1975.

hO bb S 1976a

Hobbs, Robert C. “Robert Motherwell’s Elegies to the Spanish Republic.” In Robert Motherwell (exhibition catalogue, text in English and German), pp. 21–34. Düsseldorf: Städtische Kunsthalle, 1976. See the entry in List of Exhibitions.

hO bb S 1976b

Hobbs, Robert C. “Robert Motherwell’s Open Series.” In Robert Motherwell (exhibition catalogue, text in English and German), pp. 35–54. Düsseldorf: Städtische Kunsthalle, 1976. See the entry in List of Exhibitions.

hO bb S 1979

Hobbs, Robert C. “Re-Review: Possibilities.”

Art Criticism (State University of New York, Stony Brook) 1, no. 2 (1979): pp. 96–103.

hO bb S 1985

Hobbs, Robert C. “Early Abstract Expressionism and Surrealism.” Art Journal 45, no. 4 (winter 1985): pp. 299–302.

hO ch F ield 1990

Hochfield, Sylvia. “The Rubin Years.” Artnews 89, no. 2 (February 1990): pp. 130–33.

hO e S terey 1976

Hoesterey, Ingeborg. “New York” (text in German). Art International 10, nos. 4–5 (April–May 1976): pp. 48–50, 69. Review of Knoedler & Company, New York, 1976.

hOFF man 1989

Hoffman, Katherine, ed. Collage: Critical Views (includes artist’s statements). Foreword by Kim Levin. Ann Arbor, Mich.: UMI Research Press, 1989.

hOFF man 1991

Hoffman, Katherine. Explorations: The Visual Arts since 1945 (includes artist’s statements). New York: HarperCollins, 1991.

hOFF mann 1966

Hoffmann, Donald L. “Last Words on That Boston Painting.” Kansas City Star, August 21, 1966, sec. F, p. 8.

h [ O lliday] 1951

H[olliday], B[etty]. “Reviews and Previews.” Artnews 50, no. 1 (March 1951): p. 48. Review of Samuel M. Kootz Gallery, New York, Male + Female, March 1951.

hO llwager 1964

Hollwager, Nikki. “From Tiny Cathedral to Home.” Chicago Tribune, December 2, 1964, sec. B, p. 1.

hO lme S 1954

Holmes, Ann. “New Show May Shed a Little Light on Old Bogey, Modern Art.” Houston Chronicle, January 10, 1954, p. 3. Review of Contemporary Arts Museum, Houston, 1954.

hO lme S 1958

Holmes, Ann. “The Spotlight: An Art Show to View with Mixed Reactions.” Houston Chronicle, November 1958. Review of Contemporary Arts Museum, Houston, 1958.

hO lme S 1966

Holmes, Ann. “CAA’s Bold, Dynamic Motherwell.” Houston Chronicle, May 1, 1966, sec. “Zest,” p. 37. Review of the circulating exhibition at Contemporary Arts Association, Houston, April 1966 (see Museum of Modern Art, New York, Robert Motherwell:Works on Paper, September 1965).

hO lme S 1972

Holmes, Ann. “MFA Motherwell Collage Exhibit Very Important.” Houston Chronicle, November 15, 1972, sec. 3, p. 8. Review of Museum of Fine Arts, Houston, November 1972.

hO lme S 1974

Holmes, Ann. “Motherwell: Major Works at Nagy.” Houston Chronicle, January 11, 1974, sec. 3, p. 18. Review of Tibor de Nagy Gallery, Houston, 1974.

hOO t O n 1982

Hooton, Bruce. “How It All Happened: Motherwell Remembers” (first part of an interview with the artist). Art/World 6, no. 6 (February 22–March 22, 1982), pp. 1, 9. “What We Wanted to Do: Motherwell Remembers” (second part of an interview with the artist). Art/World 6, no. 7 (March 22–April 22, 1982): pp. 1, 9.

hOPPS 1991

Hopps, Walter. Robert Rauschenberg: The Early 1950s. Houston: Menil Collection, in association with Houston Fine Arts Press, 1991.

hO riz O n 1978

“Painter Laureate” (interview with the artist). Horizon 21, no. 5 (May 1978): p. 59.

hO rnack 1978

Hornack, Richard. “Long Point Exhibit Source of Great Pride.” Advocate Summer Guide, August 24, 1978, pp. 9, 23. Review of Long Point Gallery, Provincetown, Mass., August 1978.

hO ryn 2004

Horyn, Cathy. “Tom Ford’s Intermission.” New York Times, October 17, 2004, sec. 9, pp. 1, 11.

hO u S e & g arden 1951

“A New Season . . . a New Outlook,” House & Garden (October 1951): pp. 124–29.

hO u S e & g arden 1969

“The Robert Motherwells: ‘It’s All a Question of Light and Air and Whiteness’ ” (includes artist’s statements). House & Garden 136, no. 1 (July 1969): pp. 48–53.

hO u S t O n P OS t 1954

“Houstonians Bring Work of 4 American Artists to Town.” Houston Post, January 10, 1954, sec. 5, p. 1. Review of Contemporary Arts Museum, Houston, 1954.

h ud SO n 1964

Hudson, Andrew. “Canada’s Place in Abstract Art Today.” Canadian Forum 44, no. 520 (January 1964): pp. 27–28. Review of Jewish Museum, New York, 1963.

h ud SO n 1965

Hudson, Andrew. “Viewpoint on Art: Hanging Dims Motherwell Show.” Washington Post, October 10, 1965, sec. G, p. 7. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

h ughe S 1972

Hughes, Robert. “A Sense of Exuberance.” Time 100, no. 3 (July 17, 1972): pp. 54–56. Review of Walker Art Center, Minneapolis, 1972.

h ughe S 1977

Hughes, Robert. “Paris’ Prodigal Son Returns.” Time 110, no. 3 (July 18, 1977): pp. 50–51.

h ughe S 1981a

Hughes, Robert. “Exhibitions: American Abstract Expressionists.” Edinburgh International Festival Official Programme, 1981, p. 58. Partially excerpted from The Shock of the New (London: BBC, 1980).

h ughe S 1981b

Hughes, Robert. The Shock of the New: The Hundred-Year History of Modern Art; Its Rise, Its Dazzling Achievement, Its Fall (includes artist’s statements). New York: Alfred A. Knopf, 1981.

h ughe S 1983

Hughes, Robert. “Master of Anxiety and Balance: In Buffalo, the Magisterial Abstractions of Robert Motherwell.” Time 122, no. 16 (October 10, 1983): pp. 68–70. Review of Albright-Knox Art Gallery, Buffalo, 1983.

h üllenkremer 1984

Hüllenkremer, Marie. “Los Angles: Robert Motherwell” (text in German). Art: Das Kunstmagazin, no. 1 (January 1984): pp. 106–7. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

h ume 1998

Hume, Christopher. “AGO Acquires World’s Top Motherwell Collection.” Toronto Star, September 30, 1998, sec. E, pp. 1, 2.

h unter 1948a

Hunter, Sam. “A Group and Singly: Work of Contemporaries in Current Shows.” New York Times, April 4, 1948, sec. 2, p. 11. Review of Samuel M. Kootz Gallery, New York, March 1948.

h unter 1948b

Hunter, Sam. “Diverse Modernism: New Shows of Painting by Contemporaries.” New York Times, May 16, 1948, sec. 2, p. 8. Review of Samuel M. Kootz Gallery, New York, May 1948.

h unter 1959

Hunter, Sam. Modern American Painting and Sculpture. New York: Dell, 1959.

h unter 1966a

Hunter, Sam. Modern American Painting and Sculpture (text in Chinese). Hong Kong: World Today Press, 1966.

h unter et al. 1966b

Hunter, Sam, Alain Jouffroy, Alan Bowness, Nello Ponente, and Maurizio Fagiolo. New Art Around the World: Painting and Sculpture. New York: Harry N. Abrams, 1966.

h unter 1970

Hunter, Sam. La Pittura Americana del Dopoguerra (text in Italian). Milan: Fratelli Fabri Editori, 1970.

h unter 1972

Hunter, Sam. American Art of the 20th Century New York: Harry N. Abrams, 1972.

h unter 1977

Hunter, Sam. “Motherwell on a Wide Screen” (book review). Artnews 76, no. 10 (December 1977): pp. 128–29.

h unter and Jac O bu S 1985

Hunter, Sam, and John Jacobus. “The New York School: Abstract Expressionism” (includes artist’s statements), in Modern Art: Painting/Sculpture/Architecture. 2nd ed. New York: Harry N. Abrams, 1985.

h unter, Jac O bu S , and w heeler 2004

Hunter, Sam, John Jacobus, and Daniel Wheeler. “The New York School: Abstract Expressionism,” in Modern Art: Painting/ Sculpture/Architecture/Photography. 3rd ed. New York: Prentice Hall, 2004.

h untingt O n 1993

Huntington, Richard. “Motherwell Collection Presents Only the Motherwell Version” (book review; includes artist’s statements). Buffalo News, March 14, 1993, p. 8.

h u S er 1977

Huser, France. “Bleu d’outre-mer” (text in French). Le Nouvel Observateur, no. 661 (July 11–17, 1977): p. 55.

h uyghe 1965

Huyghe, René, ed. Larousse Encyclopedia of Modern Art: From 1800 to the Present Day. New York: Prometheus Press, 1965.

i . 1971

X. I. “ ‘Open’—Reihe von Robert Motherwell” (text in German). Stadt St. Gallen und Umgebung, June 13, 1971, p. 17. Review of Galerie im Erker, St. Gall, Switzerland, 1971.

i anc O -Starrel S 1982

Ianco-Starrels, Josine. “National Post for Andrews.” Los Angeles Times, May 30, 1982, sec. C, p. 83.

i anc O -Starrel S 1984

Ianco-Starrels, Josine. “In the Footsteps of Motherwell.” Los Angeles Times, January 8, 1984, sec. Calendar, p. 81. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see AlbrightKnox Art Gallery, Buffalo, 1983).

i mdahl 2004

Imdahl, Georg. “Kraftvoll wie ein wilder Stier: Bilder von Robert Motherwell in einer Ausstellung in Leverkusen” (text in German). Kolner Stadt-Anzeiger, October 15, 2004, p. 28. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

i ndiana daily Student 1952

“Contemporary Artists in Art Center Spotlight.” Indiana Daily Student, January 5, 1952. Review of Art Center, Indiana University, Bloomington, 1952.

i n J e 1984

Inje, Phil. “Robert Motherwell: Another View.” WestArt 22, no. 16 (May 11, 1984): p. 13. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

i nteri O r S 1951

“For Your Information.” Interiors 111, no. 4 (November 1951): pp. 12–14.

iO wa c ity Pre SS - c itizen 1974

“Robert Motherwell Painting Acquired by UI Museum.” Iowa City Press-Citizen, July 24, 1974, sec. A, p. 7. i r V ine 1983

Irvine, Hope. “The Titles of Paintings and Children’s Art.” Art Education 36, no. 6 (November 1983): pp. 14–17.

i t iS. 1959

It Is. (includes artist’s statements), no. 3 (winter–spring 1959): p. 10.

Jachec 1991

Jachec, Nancy. “ ‘The Space between Art and Political Action’: Abstract Expressionism and Ethical Choice in Postwar America, 1945–1950” (includes artist’s statements). Oxford Art Journal 14, no. 2 (1991): pp. 18–29.

Jachec 2000

Jachec, Nancy. The Philosophy and Politics of Abstract Expressionism, 1940–1960 (includes artist’s statements). Cambridge, England: Cambridge University Press, 2000.

Jac O b 1977–78

Jacob, Mary Jane. “Modern Art.” Bulletin of the Detroit Institute of Arts 56, no. 5 (1977–78): pp. 284–88.

Jac O b S 1974

Jacobs, Jody. “Mayoral Milestone Nears.” Los Angeles Times, December 1, 1974, sec. E, p. 2.

Ja FF é 1967a

Jaffé, Hans L. C. 20,000 Years of World Painting: A Comprehensive Historical Survey from Cave Painting to Modern Art. New York: Harry N. Abrams, 1967.

Ja FF é 1967b

Jaffé, Hans L. C. 20,000 Years of World Painting: 19th & 20th Century Painting. New York: Dell, 1967.

Ja FF é 1967c

Jaffé, Hans L. C. Nineteenth and Twentieth Century Painting. Entry “Robert Motherwell,” p. 207. Translated by Robert Erich Wolf. New York: Dell, 1967.

Ja FF e and kO r S hak 1983

Jaffe, Irma B., and Yvonne Korshak. Selections from the Permanent Collection of the Arkansas Arts Center Foundation. Entry “Robert Motherwell,” by Irma B. Jaffe, pp. 130–31. Little Rock: Arkansas Arts Center, 1983.

Jame S 1997

James, Curtia. “There’s Method to the Abstract Madness.” Richmond Times-Dispatch, October 31, 1997, sec. C, p. 5. Review of Marsh Art Gallery, George M. Modlin Center for the Arts, University of Richmond, Va., 1996.

Jame SO n 1976

Jameson, Sam. “An American Showcase, Korean Style.” Los Angeles Times, November 28, 1976, sec. G, pp. 7, 18.

Jani S 1944

Janis, Sidney. Abstract & Surrealist Art in America (includes artist’s statements). New York: Reynal and Hitchcock, 1944.

Jani S and b le S h 1962

Janis, Harriet, and Rudi Blesh. Collage: Personalities, Concepts, Techniques. Philadelphia: Chilton, 1962.

Jan SO n 1968

Janson, Donald. “Anti-Daley Art Put in Show in Chicago.” New York Times, October 24, 1968, p. 40. Review of Richard Feigen Gallery, Chicago, 1968.

Ja PP e 1976

Jappe, Georg. “Fläche frei gesetzt: Eine Werkübersicht des Malers des Abstrakten Expressionismus” (text in German). Die Zeit, September 24, 1976, p. 40. Review of Städtische Kunsthalle Düsseldorf, 1976.

Jay 1997

Jay, Hilary. “Philadelphia Freedom.” Art & Antiques 20, no. 8 (September 1997): pp. 54–59.

Jenning S 1991

Jennings, Kate F. “Robert Motherwell: A 20th Century Legacy.” Greenwich News, July 25, 1991, p. 19.

Jewell 1943

Jewell, Edward Alden. “Collections in New Homes: Twentieth-Century Section of the Chester Dale Paintings Installed in Chicago— ‘Living Art’ in Philadelphia.” New York Times, May 23, 1943, sec. Art, p. 10. Review of Art of This Century, New York, May 1943.

Jewell 1944a

Jewell, Edward Alden. “Diverse Art Shows: Feininger, Hartley and Anne Goldthwaite in Retrospect—Other Events.” New York Times, October 29, 1944, sec. 2, p. 8. Review of Art of This Century, New York, October 1944.

J[ewell] 1944b

J[ewell], E[dward] A[lden]. “Greek, Russian and Modern.” New York Times, April 16, 1944, sec. 2, p. 7. Review of Art of This Century, New York, April 1944.

Jewell 1944c

Jewell, Edward Alden. “Peggy Guggenheim Opens Art Show: Work of 24 Young Artists Is Displayed in Spring Salon—Nearly All in Abstract.” New York Times, May 10, 1944, p. 15. Review of Art of This Century, New York, May 1944.

Jewell 1945a

Jewell, Edward Alden. “Impressionist Art: Monet Retrospective—Degas and Renoir Paired—Leger and Other Moderns.” New York Times, April 15, 1945, sec. 2, p. 8. Review of Samuel M. Kootz Gallery, New York, April 1945.

Jewell 1945b

Jewell, Edward Alden. “Stress on ‘Painting’: Contemporary Work at Whitney Includes Much Abstraction—Other Events.” New York Times, December 2, 1945, sec. 2, p. 7. Review of Whitney Museum of American Art, New York, 1945.

Jewell 1946a

Jewell, Edward Alden. “Caravaggio & Co.: Chiaroscuro at End of the Renaissance— Americans—Stress on Abstraction.” New York Times, March 10, 1946, sec. 2, p. 6. Review of Samuel M. Kootz Gallery, New York, March 1946.

Jewell 1946b

Jewell, Edward Alden. “Melange of Shows: Japanese Prints at the Metropolitan— Impressionism, Jazz, Abstraction.” New York Times, December 8, 1946, sec. 2, pt. 2, p. 13. Review of Samuel M. Kootz Gallery, New York, December 1946.

Jewell 1946c

Jewell, Edward Alden. “Modern Museum Opens 4 Displays: Three New Exhibitions Offer Architectural Phases, Other Has Recent Acquisitions.” New York Times, February 6, 1946, sec. 1, p. 21. Review of Museum of Modern Art, New York, February 1946.

Jewell 1946d

Jewell, Edward Alden. “New Year Melange: Drawing Annual at National Academy— Abstract Painting and Sculpture.” New York Times, January 6, 1946, sec. 2, p. 7. Review of Samuel M. Kootz Gallery, New York, January 1946.

Jewell 1947a

Jewell, Edward Alden. “Academy by Itself: Second Half of Annual Devoted to Work by Members—Diverse Modernism.” New York Times, March 23, 1947, sec. 2, p. 7. Review of Samuel M. Kootz Gallery, New York, March 1947.

J[ewell] 1947b

J[ewell], E[dward] A[lden]. “Quite in Modern Vein.” New York Times, September 14, 1947, sec. 2, p. 6. Review of Samuel M. Kootz, New York, Women, September 1947.

Jewett 1946

Jewett, Eleanor. “60 Drawings on Display in Print Gallery.” Chicago Daily Tribune, February 17, 1946, sec. F, p. 4. Review of Arts Club of Chicago, 1946.

Jewett 1950

Jewett, Eleanor. “New York City Art Club Has Exhibit Here.” Chicago Tribune, April 23, 1950, pt. 7, p. 4. Review of Baldwin Kingrey, Chicago, [April] 1950.

Jewett 1953

Jewett, Eleanor. “Good Painting Marks Show of Watercolors.” Chicago Tribune, January 23, 1953, p. A13. Review of Arts Club of Chicago, 1953.

Jini S hian 1982

Jinishian, J. Russell. “Not ‘Pretty’ nor Recognizable, but Strong, Personal, Alive!” Bridgeport Post, October 31, 1982, sec. C, p. 9. Review of Stamford Museum & Nature Center, Conn., 1982.

Jini S hian 1983

Jinishian, J. Russell. “Especially in Art, It’s ‘Better Yet Connecticut.’ ” Sunday Post (Bridgeport, Conn.), October 9, 1983, p. 9. Review of Whitney Museum of American Art, Fairfield County, Stamford, Conn., 1983.

J O achimide S , rOS enthal, and a n Fam 1993

Joachimides, Christos M., Norman Rosenthal, and David Anfam, eds. American Art in the 20th Century: Painting and Sculpture, 1913–1993 Munich: Prestel-Verlag, 1993.

J O hn b erggruen g allery 1986

John Berggruen Gallery. San Francisco: John Berggruen Gallery, 1986.

J O hn SO n 1976

Johnson, Lincoln F. “Motherwell at Kornblatt.” Baltimore Sun, October 21, 1976, sec. B, p. 1. Review of B. R. Kornblatt Gallery, Baltimore, 1976.

J O hn SO n 1985

Johnson, Patricia C. “These ‘Masters’ Deserve.” Houston Chronicle, April 28, 1985, sec. “Zest,” p. 16. Review of Janie C. Lee Gallery, Houston, April 1985.

J O hn SO n 1999

Johnson, Ken. “Ad Reinhardt, Robert Motherwell.” New York Times, February 26, 1999, sec. E, p. 41. Review of Marlborough Gallery, New York, 1999.

J O hn SO n et al. 1963

Johnson, Pauline, Ivan E. Johnson, Jack D. Stoops, Edward Mattil, and August L. Freundlich. “A Symposium: Vision in Art, in People to People.” Art Education 16, no. 2 (February 1963): pp. 5–20.

J O ne S 1993

Jones, Caroline A. “Finishing School: John Cage and the Abstract Expressionist Ego” (includes artist’s statements). Critical Inquiry 19, no. 4 (summer 1993): pp. 628–65.

J O ne S 1996

Jones, Caroline A. Machine in the Studio: Constructing the Postwar American Artist (includes artist’s statements). Chicago: University of Chicago Press, 1996.

J O ne S 2002

Jones, Jonathan. “The Spanish Civil War: Dreams and Nightmares.” World of Interiors 22, no. 3 (March 2002): p. 165. Review of Imperial War Museum, London, 2001.

J O urnal OF a e S thetic e ducati O n 1996 Journal of Aesthetic Education 30, no. 4 (winter 1996): cover.

J O urnal OF the Print wO rld 1991

“Bennington College Collection at the Williams College Museum of Art.” Journal of the Print World 14, no. 4 (fall 1991): p. 28. Review of Williams College Museum of Art, Williamstown, Mass., 1991.

J[udd] 1961

J[udd], D[onald]. “In the Galleries.” Arts 35, nos. 8–9 (May–June 1961): p. 84. Review of Sidney Janis Gallery, New York, April 1961.

k ahmen 1971

Kahmen, Volker. Erotic Art Today. Greenwich, Conn.: New York Graphic Society, 1971.

k ai S er 1995

Kaiser, Guy S. “The Individual and Modern Culture as Presented in the Language of James Joyce and the Works of Robert Motherwell” (includes artist’s statements). Ph.D. diss., Ohio University, 1995.

k anga S 1982

Kangas, Matthew. “Abstraction as a Northwest Tradition.” Artweek 13, no. 1 (January 9, 1982): p. 1. Review of Henry Art Gallery, University of Washington, Seattle, December 1981.

k anga S 1984

Kangas, Matthew. “Abstract Expressions: The Art and Soul of Robert Motherwell.” [The Weekly (Seattle), July 5, 1984], sec. Arts & Leisure. Review of the traveling exhibition at Seattle Art Museum, June 1984 (see AlbrightKnox Art Gallery, Buffalo, 1983).

k anga S 2002

Kangas, Matthew. William Ingham: Configuration of Forces. Seattle: Gordon Wooodside Editions, 2002.

k antner 1952a

Kantner, Dorothy. “Pittsburgh International—A Flood of Abstracts: Paintings Reflect Chaos, Omens ‘of Our Times.’ ” Pittsburgh Sun-Telegraph, October 16, 1952, p. 20. Review of Carnegie Institute, Pittsburgh, 1952.

k antner 1952b

Kantner, Dorothy. “It’s Really Impressionistic: Woman Exhibitor Can Explain Abstract Art.” Pittsburgh Sun-Telegraph, October 5, 1952, sec. 1, p. 19.

k a P lan 1975

Kaplan, Patricia. “New York Reviews.” Artnews 74, no. 3 (March 1975): pp. 106–7. Review of Knoedler & Company, New York, January 1975.

k a P lan 2003

Kaplan, Cheryl. “ ‘The Gesture’: Neuhoff.” Artnews 102, no. 3 (March 2003): p. 121.

k armel 1994

Karmel, Pepe. “Motherwell Painted Art from the Gut but Used His Head.” New York Times, December 30, 1994, sec. C., p. 3. Review of Knoedler & Company, New York, 1994.

k arra S 1993

Karras, Gabrielle. “Abstract Expressionism: The Artists and Their Statements” (includes artist’s statements). M.A. thesis, University of Iowa, 1993.

k a S hdin 1965

Kashdin, Gladys Shafran. “AbstractExpressionism: An Analysis of the Movement Based Primarily upon Interviews with Seven Participating Artists” (interview with the artist). M.A. thesis, Florida State University, 1965.

k au F man 1965

Kaufman, Betty. “Motherwell Retrospective.” Commonweal 83, no. 12 (December 24, 1965): pp. 383–84. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

k ay 1965

Kay, Jane H. “Motherwell: Intense, Energetic.” Christian Science Monitor, October 15, 1965, p. 4. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

k ee S 1948

Kees, Weldon. “Robert Motherwell” (includes artist’s statements). Magazine of Art 41, no. 3 (March 1948): pp. 86–88.

k ee S 1950

Kees, Weldon. “Art.” Nation 170, no. 22 (June 3, 1950): pp. 556–57.

k elder 1972

Kelder, Diane. “Motherwell’s ‘A la Pintura.’ ” Art in America 60, no. 5 (September–October 1972): pp. 100–101.

k enedy 1977

Kenedy, R. C. “Paris.” Art International 21, no. 4 (July–August 1977): pp. 57–62. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

k enny 1966

Kenny, Herbert A. “Art Furor: Kennedy Painting Stirs Controversy—Misinterpreted, Says the Artist” (includes artist’s statements). Boston Globe, August 12, 1966, pp. 1, 19.

k erber 1969

Kerber, Bernhard. “Der Ausdruck des sublimen in der Amerikanischen kunst” (text in German). Art International 13, no. 10 (Christmas 1969): pp. 31–35.

k erber 1992

Kerber, Bernhard. Bestände Onnasch (text in German). Bremen, Germany: Neues Museum Weserburg, 1992.

k ernan 1978

Kernan, Michael. “Washington’s Cultural Crown.” Horizon 21, no. 6 (June 1978): pp. 40–47.

k e SS ler 1984

Kessler, Pamela. “A Baronial Approach to Bottling.” Washington Post, December 7, 1984, sec. Weekend, p. 61. Review of the circulating exhibition at Corcoran Gallery of Art, Washington, D.C., December 1984 (see Château Mouton Rothschild, Pauillac, France, 1981).

k e SS ler 1997

Kessler, Robert E. “Fence ’Em In.” New York Newsday, May 8, 1997, sec. A, p. 3.

k imball 1985

Kimball, Roger. “The Motherwell Retrospective” (includes artist’s statements). New Criterion 3, no. 7 (March 1985): pp. 31–40. Review of Solomon R. Guggenheim Museum, New York, 1984.

k imball 1995

Kimball, Betty Little. My Life with Robert Motherwell. Edmonton, Alberta, Canada: Commonwealth, 1995.

k immelman 1988

Kimmelman, Michael. “In Pursuit of the 20th Century.” New York Times, October 16, 1988, sec. 2, pp. 1, 19. Review of National Gallery of Art, Washington, D.C., 1988.

k ing S ley 1974

Kingsley, April. “The Tirca Karlis Gallery.” Advocate Summer Guide (Provincetown Advocate magazine), August 1, 1974, p. 13.

k ing S ley 1978

Kingsley, April. “Robert Motherwell by the Sea.” Village Voice, September 4, 1978, p. 113. Review of Provincetown Art Association and Museum, Mass., 1978.

k ing S ley 1982

Kingsley, April. “Art on the Beach: Provincetown People and Places.” Art Express 2, no. 2 (March–April 1982): pp. 45–49.

k ing S ley 1988

Kingsley, April. “New York: Baziotes, Newman, Motherwell, Dehner, Hare.” Burlington Magazine 130, no. 1024 (July 1988): pp. 561–63. Review of Knoedler & Company, New York, 1988.

k ing S ley 1992

Kingsley, April. The Turning Point: The Abstract Expressionists and the Transformation of American Art (includes artist’s statements). New York: Simon and Schuster, 1992.

k i PP h OFF 1980

Kipphoff, Petra. “Robert Motherwell zum 65. Geburtstag: Der Nachdenkliche Künstler” (text in German). Die Zeit, no. 6 (February 1, 1980): p. 29.

k lein 1984

Klein, Ellen Lee. “Arts Reviews.” Arts Magazine 59, no. 1 (September 1984): pp. 37–38. Review of Salander-O’Reilly Galleries, New York, 1984.

k night 1984

Knight, Christopher. “The Perplexing Evolution of Artist Robert Motherwell” (includes artist’s statements). Los Angeles Herald Examiner, January 15, 1984, sec. E, p. 3. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

k night 2002

Knight, Christopher. “Vision Tutored by the Camera.” Los Angeles Times, November 15, 2002, sec. Home, p. 24. Review of Manny Silverman Gallery, Los Angeles, November 2002.

k n OX 1956

Knox, Sanka. “21 Artists Assail Museum Interior: Object to Showing Pictures on Spiraling Ramp in Frank Lloyd Wright Building.” New York Times, December 12, 1956, p. 46.

k n OX 1958

Knox, Sanka. “Abstract Art Is Going to Europe to Represent American Culture.” New York Times, March 11, 1958, p. 31.

kO ch 1991

Koch, John. “PBS Documentary Listens to Robert Motherwell” (includes artist’s statements). Boston Sunday Globe, August 18, 1991, sec. A, pp. 1, 9.

kO zl OFF 1964a

Kozloff, Max. “Notes on the Psychology of Modern Draftsmanship. ” Arts Magazine 38, no. 5 (February 1964): pp. 58–63.

kO zl OFF 1964b

Kozloff, Max. “The Many Colorations of Black and White: An Examination of the Jewish Museum’s Recent Black and White Exhibition.” Artforum 2, no. 8 (February 1964): pp. 22–25. Review of Jewish Museum, New York, 1963.

kO zl OFF 1965a

Kozloff, Max. “An Interview with Robert Motherwell: ‘How I Admire My Colleagues!’ ” (interview with the artist). Artforum 4, no. 1 (September 1965): pp. 33–37.

kO zl OFF 1965b

Kozloff, Max. “Motherwell.” Nation 201, no. 12 (October 18, 1965): pp. 256–58. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

kO zl OFF 1968

Kozloff, Max. Renderings: Critical Essays on a Century of Modern Art. Essay 22, “Robert Motherwell,” pp. 168–72. New York: Simon and Schuster, 1968. Essay originally published in Kozloff 1965b.

kO zl OFF 1973

Kozloff, Max. “American Painting during the Cold War” (includes artist’s statements). Artforum 11, no. 9 (May 1973): pp. 43–54.

k ramer 1968

Kramer, Hilton. “Robert Motherwell: The Art of Collage.” New York Times, October 13, 1968, sec. D, p. 37. Review of Whitney Museum of American Art, New York, 1968.

k ramer 1969a

Kramer, Hilton. “Ascendancy of American Art: Metropolitan Offers Variety of Styles in Centennial Show.” New York Times, October 18, 1969, p. 23. Review of the Metropolitan Museum of Art, New York, 1969.

k ramer 1969b

Kramer, Hilton. “Between Past and Present” (includes artist’s statements). New York Times, May 25, 1969, sec. D, p. 41. Review of Marlborough-Gerson Gallery, New York, 1969.

k ramer 1969c

Kramer, Hilton. “30 Years of the New York School.” New York Times, October 12, 1969, sec. Magazine, pp. 28–31, 89–90, 92, 94, 97, 99–100, 102, 109–10, 117, 119–20. Review of the Metropolitan Museum of Art, New York, 1969.

k ramer 1970

Kramer, Hilton. “Episodes from the Sixties.” Art in America 58, no. 1 (January–February 1970): pp. 56–61.

k ramer 1972a

Kramer, Hilton. “Art: Aquatint Commentary on Poems.” New York Times, November 11, 1972, p. 29.

k ramer 1972b

Kramer, Hilton. “Unfamiliar Works by Familiar Names.” New York Times, October 21, 1972, p. 27. Review of Robert Elkon Gallery, New York, 1972.

k ramer 1973a

Kramer, Hilton. The Age of the Avant-Garde: An Art Chronicle of 1956–1972. New York: Farrar, Straus and Giroux, 1973. See esp. essay, “Robert Motherwell,” pp. 342–44, originally published in Kramer 1968; and pp. 344–47, originally published in Kramer 1969b.

k ramer 1973b

Kramer, Hilton. “The Folklore of Modern Painting.” New York Times, January 14, 1973, sec. D, p. 23. Review of Art Museum, Princeton University, N.J., 1973.

k ramer 1974a

Kramer, Hilton. “Art: Motherwell’s Tall Collages.” New York Times, April 13, 1974, p. 21. Review of Knoedler & Company, New York, 1974.

k ramer 1974b

Kramer, Hilton. “Art: O’Hara, Poet, Is Honored.” New York Times, February 16, 1974, p. 27. Review of Whitney Museum of American Art, New York, 1974.

k ramer 1975

Kramer, Hilton. “Art: Seeing an Emotion’s Shape.” New York Times, January 11, 1975, p. 21. Review of Knoedler & Company, New York, January 1975.

k ramer 1976a

Kramer, Hilton. “Diverse Pictorial Eloquence of Motherwell: Artist, at 60, Still Creating Strongly.” New York Times, January 17, 1976, p. 21. Review of Knoedler & Company, New York, 1976.

k ramer 1976b

Kramer, Hilton. “Our Venice Offering—More a Syllabus than a Show.” New York Times, May 2, 1976, sec. D, p. 29. Review of Fine Arts Center Gallery, University of Massachusetts, Amherst, 1976.

k ramer 1976c

Kramer, Hilton. “Where Are Today’s Masters—and Tomorrow’s?” New York Times, August 29, 1976, sec. 2, pp. 1, 26.

k ramer 1977a

Kramer, Hilton. “An American in Paris” (includes artist’s statements). New York Times Magazine, June 19, 1977, pp. 16–17, 22, 24, 31.

k ramer 1977b

Kramer, Hilton. “Postcards Become Instant Art.” New York Times, November 25, 1977, sec. C, pp. 1, 17. Review of Drawing Center, New York, 1977.

k ramer 1978

Kramer, Hilton. “Going Beyond the ‘Edifice Complex.’ ” New York Times Magazine, May 7, 1978, pp. 60–61, 66–68.

k ramer 1981

Kramer, Hilton. “Modernist Show Moves Met Firmly into Art of 20th Century.” New York Times, May 22, 1981, sec. C, pp. 1, 21. Review of Metropolitan Museum of Art, New York, 1981.

k ramer 1991a

Kramer, Hilton. “MoMA’s ‘Art of the Forties’ Show: Worst Kind of Institutional Myopia.” New York Observer, March 4, 1991, pp. 1, 20. Review of Museum of Modern Art, New York, 1991.

k ramer 1991b

Kramer, Hilton. “Motherwell: Driven to Abstraction” (obituary; includes artist’s statements). New York Times, July 28, 1991, sec. 2, pp. 1, 20.

k ramer 1991c

Kramer, Hilton. “Postwar Painting Games: The Fraudulent Campaign to Import the Cold War into Art” (book review). Times Literary Supplement (London), March 15, 1991, p. 14.

k ramer 1991d

Kramer, Hilton. “Robert Motherwell, 1915–1991” (obituary). MD, September 1991, pp. 31, 33.

k ramer 1993

Kramer, Hilton. “The Voice of the New York School” (book review; includes artist’s statements). New York Times, February 28, 1993, sec. 7, pp. 3, 24.

k rane, eV ren, and r aye 1987 Krane, Susan, Robert Evren, and Helen Raye. Albright-Knox Art Gallery: The Painting and Sculpture Collection; Acquisitions since 1972. Edited by Karen Lee Spaulding. Entry “Robert Motherwell,” by Robert Evren, p. 251. New York: Hudson Hills Press, in association with Albright-Knox Art Gallery, Buffalo, 1987.

k rantz 1988

Krantz, Les. The New York Art Review: An Illustrated Survey of the City’s Museums, Galleries and Leading Artists. Foreword by Mary Boone. Chicago: American References, 1988.

k [ra S ne] 1950a K[rasne], B[elle]. “Fifty-seventh Street in Review.” Art Digest 25, no. 6 (December 15, 1950): p. 18.

k [ra S ne] 1950b K[rasne], B[elle]. “Fifty-seventh Street in Review.” Art Digest 25, no. 5 (December 1, 1950): pp. 17–18. Review of Samuel M. Kootz Gallery, New York, November 1950.

k ra S ne 1952

Krasne, Belle. “Pittsburgh’s Carnegie Forges an International Art.” Art Digest 27, no. 3 (November 1, 1952): pp. 7–8. Review of Carnegie Institute, Pittsburgh, 1952.

k rau SS 1969

Krauss, Rosalind. “Robert Motherwell’s New Paintings.” Artforum 7, no. 9 (May 1969): pp. 26–28.

k ren S et al. 1993

Krens, Thomas, Andrea Fraser, Michael Govan, Jennifer Blessing, Diane Waldman, Nancy Spector, and Clare Bell. Art of This Century: The Guggenheim Museum and Its Collection. 1st ed. New York: Solomon R. Guggenheim Foundation, 1993.

k ren S et al. 1997

Krens, Thomas, Andrea Fraser, Michael Govan, Jennifer Blessing, Diane Waldman, Nancy Spector, and Clare Bell. Art of This Century: The Guggenheim Museum and Its Collection. 2nd ed. New York: Solomon R. Guggenheim Foundation, 1997.

k ren S and ryland S 2000

Krens, Thomas, and Philip Rylands. Masterpieces from the Peggy Guggenheim Collection. Entry “Robert Motherwell,” pp. 154–55. New York: Guggenheim Museum, 2000.

k ritzwi S er 1970

Kritzwiser, Kay. “At the Galleries: Downing Show Marooned at York.” Globe and Mail (Toronto), December 12, 1970, p. 24. Review of David Mirvish Gallery, Toronto, December 1970.

k r O ll 1961a Kroll, Jack. “American Painting and the Convertible Spiral.” Artnews 60, no. 7 (November 1961): pp. 34–37, 66, 68–69. Review of Solomon R. Guggenheim Museum, New York, 1961.

k [r O ll] 1961b K[roll], J[ack]. “Reviews and Previews.” Artnews 60, no. 3 (May 1961): p. 10. Review of Sidney Janis Gallery, New York, April 1961.

k ultur Szene 2004

“Robert Motherwell Museum Morsbroich” (text in German). Kultur Szene, November 2004. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

k ultur Szene 2004–5

“Robert Motherwell—90. Geburtstag” (text in German). Kultur Szene, December 2004–January 2005. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

k unitz 2000

Kunitz, Daniel. “Gallery Chronicle.” New Criterion, April 2000, pp. 53–57. Review of Knoedler & Company, New York, February 2000.

k urtzman 1982

Kurtzman, Susan. “Name Artists in Stamford Show, Abstract Art in Stamford.” Fairpress, October 27, 1982, sec. C, pp. 4–5. Review of Stamford Museum & Nature Center, Conn., 1982.

k u S in 1991

Kusin, David. “Abstract Painter Robert Motherwell Dies of Stroke at 76” (obituary). Dallas Times Herald, July 18, 1991, sec. A, p. 4.

k u SP it 2000

Kuspit, Donald. The Rebirth of Painting in the Late Twentieth Century. Cambridge, England: Cambridge University Press, 2000.

k utner 1977

Kutner, Janet. “Egos Lying on the Coffee Table” (book review). Dallas Morning News, August 26, 1977, sec. G, p. 87.

k utner 1985a

Kutner, Janet. “Grouping Motherwells.” Dallas Morning News, September 1, 1985, sec. C, pp. 1, 3.

k utner 1985b

Kutner, Janet. “Museum Gets Motherwell Works: Artist Assists in Bringing 10 Related Pictures to Fort Worth.” Dallas Morning News, September 1, 1985, sec. A, pp. 29, 31.

k utner 1991

Kutner, Janet. “Artist Robert Motherwell Dies at Age 76” (obituary; includes artist’s statements). Dallas Morning News, July 18, 1991, sec. A, pp. 1, 18.

k utner 1992a

Kutner, Janet. “Motherwell’s Travels: New Exhibit Reflects Mexico’s Influence.” Dallas Morning News, February 13, 1992, sec. C, pp. 1, 4. Review of the traveling exhibition at Modern Art Museum of Fort Worth, February 1992 (see Museo Rufino Tamayo, Mexico City, 1991).

k utner 1992b

Kutner, Janet. “Preview.” Dallas Morning News, February 7, 1992, sec. Guide, p. 2.

k utner 1993

Kutner, Janet. “FW Museum Gets 17 Motherwells.” Dallas Morning News, October 22, 1993, sec. A, pp. 23–25.

l a d e P eche 1990

“Expositions en Capitale: Robert Motherwell” (text in French). La Depeche, September 21, 1990. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

l ader 1981

Lader, Melvin Paul. “Peggy Guggenheim’s Art of This Century: The Surrealist Milieu and the American Avant-Garde, 1942–1947” (includes artist’s statements). Ph.D. diss., University of Delaware, 1981.

l ader 1988

Lader, Melvin P. “David Porter’s ‘Personal Statement’: A Painting Prophecy, 1950.” Archives of American Art Journal 28, no. 1 (1988): pp. 17–25.

l [a] F[arge] 1952

L[a] F[arge], H[enry]. “Reviews and Previews.” Artnews 51, no. 4 (June–July–August 1952): pp. 105, 117. Review of Samuel M. Kootz Gallery, New York, May 1952.

l a Farge 1953a

La Farge, Henry. “Reviews and Previews.” Artnews 52, no. 3 (May 1953): p. 44. Review of Samuel M. Kootz Gallery, New York, May 1953.

l aFarge 1953b

LaFarge, John. “The Church as Instrument and Expression.” Architectural Record 114, no. 6 (December 1953): pp. 122–23.

l aidman 1961

Laidman, Hugh. How to Make Abstract Paintings. New York: Viking Press, 1961.

l ambert 1971

Lambert, Robert. The Tunnel and the Light: Readings in Modern Fiction. Edited by Kenneth S. Lynn. Boston: Houghton Mifflin, 1971.

l andau 1980

Landau, Ellen G. “Aspects of the Fifties.” Art Journal 40, nos. 1–2 (winter 1980): pp. 387–89. Review of Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., 1980.

l andau 1985

Landau, Ellen G. “ ‘Space and Pictorial Life’: Hans Hofmann’s Smaragd Red and Germinating Yellow.” Bulletin of the Cleveland Museum of Art 72, no. 5 (September 1985): pp. 311–23.

l andau 1986

Landau, Ellen G. “ ‘A Certain Rightness’: Artists for Victory’s ‘America in the War’ Exhibition of 1943” (includes artist’s statements). Arts Magazine 60, no. 6 (February 1986): pp. 43–54.

l andau 2005

Landau, Ellen G., ed. Reading Abstract

Expressionism: Context and Critique (includes artist’s statements). New Haven, Conn.: Yale University Press, 2005.

l and F ield 2000

Landfield, Ronnie. “The Whitney Museum Ends the American Century.” Linea (Art Students League of New York) 4, no. 1 (winter 2000): pp. 1, 14–18.

l ane S 1959

Lanes, Jerrold. “Reflections on Post-Cubist Painting.” Arts 33, no. 8 (May 1959): pp. 24–29.

l ang S ner 1962

Langsner, Jules. “Art News from Los Angeles.” Artnews 61, no. 3 (May 1962): pp. 46, 68. Review of Pasadena Art Museum, Calif., February 1962.

l [an SFO rd] 1947

L[ansford], A[lonzo]. “Eight Who Share the Modern Approach.” Art Digest 22, no. 1 (October 1, 1947): p. 19. Review of Samuel M. Kootz Gallery, New York, 8 Paintings, September 1947.

l ar SO n 1985

Larson, Kay. “The Player and the Game.” New York 18, no. 1 (January 7, 1985): pp. 72–73. Review of Solomon R. Guggenheim Museum, New York, 1984.

l ebeer 1971

Lebeer, Irmeline. “Robert Motherwell” (text in French; interview with the artist). Chroniques de l’art vivant, no. 22 (July–August 1971): pp. 10–12.

l ec O mbre 1977

Lecombre, Sylvain. “Motherwell: Tableaux d’une exposition” (text in French). [Canal, July 7, 1977], sec. Manifestations Culturelles. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

l ee 1970

Lee, Sherman E. “The Water and the Moon in Chinese and Modern Painting.” Art International 14, no. 1 (January 20, 1970): pp. 47–59.

l ee Pa 1949

Leepa, Allen. The Challenge of Modern Art (includes artist’s statements). Foreword by Herbert Read. New York: Beechhurst Press, 1949.

l e J a 1993

Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (includes artist’s statements). New Haven, Conn.: Yale University Press, 1993.

l en OX 1960

Lenox, Barbara. “Art & Architecture on Display.” Los Angeles Times, February 21, 1960, sec. H, p. 16.

l e O nard 1991

Leonard, Sandy. “Robert Motherwell: Storming the Citadel” (includes artist’s statements). ’GBH (Boston) 5, no. 8 (August 1991): pp. 10–11.

l e V erge O i S 1993

Levergeois, Pierre-Marc. “L’Azur en ses demeures: Azur in Its Dwelling Places” (text in English and French). Cimaise 40, no. 224 (June–July–August 1993): pp. 52–54. Review of Fondation Cartier, Jouy-en-Josas, France, 1993.

l e V in 1991

Levin, Gail. “The Response to Picasso’s Guernica in New York” (includes artist’s statements). Jong Holland (the Netherlands) 7, no. 2 (1991): pp. 2–11.

l e V ine 1971

Levine, Edward M. “Abstract Expressionism: The Mystical Experience” (includes artist’s statements). Art Journal 31, no. 1 (fall 1971): pp. 22–25.

l e V ine 1984

Levine, Melinda. “Critic’s Choice.” San Francisco Focus, April 1984, p. 16. Review of San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

l ewi S 1958

Lewis, Linda. “We Hitch Our Wagons” (interview with the artist). Mademoiselle 47, no. 4 (August 1958): p. 242.

l ewi S 1981

Lewis, Jo Ann. “Strokes of ’60s Nostalgia.” Washington Post, November 7, 1981, sec. C, p. 3. Review of B. R. Kornblatt Gallery, Washington, D.C., 1981.

l ewi S 1982

Lewis, Jo Ann. “Robert Motherwell’s Enthralling Cacophony.” Washington Post, July 9, 1982, sec. D, p. 4. Review of Phillips Collection, Washington, D.C., 1982.

l i F e 1951

“Irascible Group of Advanced Artists Led Fight against Show.” Life 30, no. 3 (January 15, 1951): p. 34.

l i F e 1958

“A Boom in U.S. Art Abroad.” Life 44, no. 20 (May 19, 1958): pp. 76–80.

l i F e 1963

“A Gallery of Expensive Art, Wall-to-Walk.” Life 55, no. 1 (July 5, 1963): sec. NY, pp. 6–7. l in S enmeyer 1993

Linsenmeyer, John. “Book Reviews: The Collected Writings of Robert Motherwell” (book review; includes artist’s statements). Greenwich Time, February 17, 1993, sec. B, p. 8.

l i P man and Franc 1976

Lipman, Jean, and Helen M. Franc. Bright Stars: American Painting and Sculpture since 1776 (includes artist’s statements). Introduction by John I. H. Baur. New York: E. P. Dutton, 1976.

l i PPard 1965

Lippard, Lucy R. “New York Letter: Miró and Motherwell” (includes artist’s statements). Art International 9, no. 9–10 (December 20, 1965): pp. 33–35. Review of Museum of Modern Art, Robert Motherwell, September 1965.

l i PSO n 1986

Lipson, Karin. “After Matisse: At the Queens Museum, an Exhibit of 37 American Artists Shows the Colorful Legacy of Henri Matisse.” New York Newsday, April 18, 1986, pt. 3, p. 19. Review of Queens Museum, N.Y., 1986.

l i PSO n 1991

Lipson, Karin. “The Magic and Reality of Circus Life.” New York Newsday, June 7, 1991, sec. 2, p. 101. Review of Heckscher Museum, Huntington, N.Y., 1991.

l i P t O n 1965

Lipton, E. Trina. “Motherwell: Artist and Intellectual.” Columbia Owl 8, no. 10 (November 24, 1965): pp. 1–2.

l it tO ut 1977

“Motherwell: Fugue Romantique” (text in French). Lit Tout, October 1977. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

l leó 1984

Lleó, Vicente. Arte contemporaneo Norteamericano: Coleccion David Mirvish (exhibition catalogue, text in Spanish). Introduction by Gaetana Enders. Madrid: United States Cultural Information Service, 1984. Published in conjunction with an exhibition at the American ambassador’s residence, Madrid.

l l Oyd 1987a

Lloyd, Ann. “A Display of Objects to Spur Creativity.” Boston Globe, July 10, 1987, p. 92.

l l Oyd 1987b

Lloyd, Ann. “The Life & Times of Long Point Gallery.” Cape Cod Antiques & Arts, June 1987.

l l Oyd 1988a

Lloyd, Ann. “Long Point Gallery ‘Opposites.’ ” Cape Cod Antiques & Art, [June 26–July 16, 1988]. Review of Long Point Gallery, Provincetown, Mass., June 1988.

l l Oyd 1988b

Lloyd, Ann. “On Motherwell.” Cape Cod Antiques & Arts, July 1988, pp. 20–21.

l l Oyd 1988c

Lloyd, Ann. “One Man and His Art: Robert Motherwell” (interview with the artist). Cape Cod Antiques & Arts, July 1988, pp. 16–19.

lO ercher-Pazicky 1981

Loercher-Pazicky, Diana. “Une Donation bienvenue” (text in French). Connaissance des Arts, no. 354 (August 1981): pp. 20–21.

lO kale i n FO rmati O nen 2004

“Rückkehr ins Schloss: Museum Morsbroich zeigt Robert Motherwell” (text in German). Lokale Informationen, October 27, 2004. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

lO ng 1988

Long, Robert. “East End Drawing Exhibit at Parrish.” Southampton Press (N.Y.), October 13, 1988. Review of Parrish Art Museum, Southampton, N.Y., 1988.

lOP er 1962

Loper, Mary Lou. “Heller Abstracts Previewed.” Los Angeles Times, September 7, 1962, sec. D, pp. 2, 9. Review of the circulating exhibition at Los Angeles County Museum, September 1962 (see Museum of Modern Art, New York, September 1961).

lO rber 1976

Lorber, Richard. “Arts Reviews.” Arts Magazine 50, no. 7 (March 1976): p. 21. Review of Rosa Esman Gallery, New York, 1976.

lO ring 1980

Loring, John. “The Collectors: The Refinements of Art Déco; Andrew Crispo in New York.” Architectural Digest 37, no. 2 (March 1980): pp. 106–13.

lO r S cheider 2004

Lorscheider, Antje. “In den Farben leuchtet das Unbewusste” (text in German). Westfälische Rundschau, October 21, 2004. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

lOS a ngele S cO unty m u S eum OF a rt

m ember S ’ c alendar 1984

Los Angeles County Museum of Art Members’ Calendar 22, no. 1 (January 1984).

lOS a ngele S h erald eX aminer 1984

“Art Museum’s Ahmanson Gallery Presents Motherwell Retrospective.” Los Angeles Herald Examiner, January 12, 1984. Review of Albright-Knox Art Gallery, Buffalo, 1983.

lOS a ngele S t ime S 1950

“Perls Gallery to Open Jan. 24.” Los Angeles Times, January 15, 1950, sec. D, p. 6. Review of Frank Perls Gallery, Beverly Hills, 1950.

lOS a ngele S t ime S 1953

“Art Events.” Los Angeles Times, January 4, 1953, sec. D, p. 10.

lOS a ngele S t ime S 1967

“Johnson Asked to Act for Peace in Mideast.” Los Angeles Times, September 20, 1967, sec. E, p. 18.

lOS a ngele S t ime S 1968

“Hartley Exhibit Slated at USC.” Los Angeles Times, October 27, 1968, sec. C, p. 54. Review of San Francisco Museum of Art, October 1968.

lOS a ngele S t ime S 1983

“Rothko Painting Fetches $1.8 Million.” Los Angeles Times, November 11, 1983, sec. 6, p. 4.

lO uchheim 1947

Louchheim, Aline B. “On View in Galleries.” New York Times, December 21, 1947, sec. Art, p. 10. Review of Samuel M. Kootz Gallery, New York, December 1947.

lO uchheim 1950

Louchheim, Aline B. “Architect, Painter—and the Mural: Five Modernists Present Their Solutions for Projects.” New York Times, October 1, 1950, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, October 1950.

lO uchheim 1951a

Louchheim, Aline B. “Six Abstractionists Defend Their Art” (includes artist’s statements). New York Times Magazine, January 21, 1951, pp. 16–17.

lO uchheim 1951b

Louchheim, Aline B. “Two Shows with Unusual Themes: Sidelights on Leonardo— Modern Decoration for a Synagogue.” New York Times, October 7, 1951, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, October 1951.

lO uchheim 1953

Louchheim, Aline B. “Art for Religion: Collaborative Project for a Synagogue Successfully Employs Modern Design.” New York Times, May 24, 1953, sec. 2, p. 8. Review of Samuel M. Kootz Gallery, New York, May 1953.

lO uden 1954

Louden, Catherine. “Varied Degrees of Abstract Painting.” Houston Post, January 10, 1954, sec. 6, p. 3. Review of Contemporary Arts Museum, Houston, 1954.

lO ughery 1987

Loughery, John. “Art Reviews.” Arts 61, no. 10 (summer 1987): p. 111. Review of Solomon R. Guggenheim Museum, New York, March 1987.

lOV eman 1945a

Loveman, Hilda. “The Armory 1945: The Contemporary and Antique Chosen by Critics and Dealers.” Artnews 44, no. 12 (October 1–14, 1945): p. 18. Review of 17th Regiment Armory, New York, 1945.

lOV eman 1945b

Loveman, Hilda. “Progress at the Whitney.” Limited Edition 6 (December 1945): p. 5. Review of Whitney Museum of American Art, New York, 1945.

lO wry 2002

Lowry, Glenn D., and Dennis R. Anderson. The Governor Nelson A. Rockefeller Empire State Plaza Art Collection and Plaza Memorials. Entry “Robert Motherwell,” by Tiffany Bell, pp. 130–33. New York: Rizzoli International, 2002.

l ucie-Smith 1969

Lucie-Smith, Edward. Late Modern: The Visual Arts since 1945. New York: Frederick A. Praeger, 1969.

l [ucie-]S[mith] 1978a

L[ucie-]S[mith], E[dward]. “Robert Motherwell.” Art & Artists 12, no. 11 (March 1978): p. 52. Review of Royal Academy of Arts, London, 1978.

l ucie-Smith 1978b

Lucie-Smith, Edward. “The Opulent Puritan.” Evening Standard (London), January 19, 1978, p. 23. Review of Royal Academy of Arts, London, 1978.

l uddemann 2004

Luddemann, Stefan. “Mit einer schwarzen Träne” (text in German). Osnabrücker Zeitung 37, no. 270 (November 17, 2004). Review of Museum Morsbroich, Leverkusen, Germany, 2004.

l uer S 1981

Luers, William H. “Progenitors of North American Abstract Art on Show.” Daily Journal (Caracas, Venezuela), March 6, 1981.

lynt O n 1966a

Lynton, Norbert. “Egghead Frontiersman” (includes statement by the artist). Guardian (Manchester), March 26, 1966, p. 7. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

lynt O n 1966b

Lynton, Norbert. “London Letter.” Art International 10, no. 8 (October 20, 1966): pp. 49–53. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

lynt O n 1980

Lynton, Norbert. The Story of Modern Art Ithaca, N.Y.: Cornell University Press, 1980.

lynt O n 1997

Lynton, Norbert. “An American in Europe.” Modern Painters, spring 1997, pp. 38–41. Review of Museo Nacional Centro de Arte Reina Sofía, Madrid, 1998.

lynt O n 2001

Lynton, Norbert. “Robert Motherwell.” In Writers on Artists: Modern Painters, pp. 174–83. New York: DK, 2001.

lyO n 1966

Lyon, Ninette. “Helen and Robert Motherwell: A Second Fame; Good Food” (interview with the artist). Vogue 147, no. 7 (April 1, 1966): pp. 194–96.

lyO n S 1969

Lyons, Leonard. “The Lyons Den.” New York Post, November 18, 1969, sec. Magazine, p. 3.

m . 1990

J-P. M. “Motherwell une dimension ethique” (text in French). D’Architectures, November 1990, p. 45. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

m ac dO nald 1986

MacDonald, Georgia, comp. “Connecticut Celebrity Register” (includes artist’s statements). Hartford Courant Northeast Magazine, May 18, 1986, p. 50.

m achli S and F O rney 2003

Machlis, Joseph, and Kristin Forney. The Enjoyment of Music. 9th ed. New York: W. W. Norton, 2003.

m ackie 1989

Mackie, Alwynne. “Robert Motherwell.” Chap. 9 in Art/Talk: Theory & Practice in Abstract Expressionism (includes artist’s statements). New York: Columbia University Press, 1989.

m ac l e O d 1993

MacLeod, Glen. Wallace Stevens and Modern Art: From the Armory Show to Abstract Expressionism (includes artist’s statements). New Haven, Conn.: Yale University Press, 1993.

m ac m illan 1978

MacMillan, Duncan. “Robert Motherwell” (interview with the artist). Art Monthly, no. 14 (February 1978): pp. 4–6.

m ac m illan 2001a

MacMillan, Kyle. “Angst & Abstract: Local Gallery Features Dynamic Works by Motherwell, Serra.” Denver Post, January 19, 2001, sec. FF, pp. 1, 4. Review of Robischon Gallery, Denver, 2001.

m ac m illan 2001b

MacMillan, Kyle. “Motherwell, Serra on View.” Denver Post, February 25, 2001, sec. H, p. 2. Review of Robischon Gallery, Denver, 2001.

m ad OFF 1997

Madoff, Steven Henry, ed. Pop Art: A Critical History (includes artist’s statements). Berkeley and Los Angeles: University of California Press, 1997.

m agazine OF a rt 1951

“Modern Art for the Millburn Synagogue.” Magazine of Art 44, no. 6 (October 1951): pp. 216–17.

m agyar 1994

Magyar, Roger John. “Into the Light: Violent, Enfolded, and Delicate Tensions in the Work of Art for Hegel and Motherwell” (includes artist’s statements). M.A. thesis, Kent State University, 1994.

m ai 1986

Mai, Ekkehard. “Alte Künstler—junge Kunst: Zur Avantgarde der ‘späten Jahre’ ” (text in German). Das Kunstwerk 2, no. 39 (April 1986): pp. 6–20.

m aier and Steingräber 1983

Maier, Hans, and Erich Steingräber. “Robert Motherwell in der Staatsgalerie moderner Kunst, München” (text in German, includes artist’s statements). Die Kunst und das Schöne Heim 95, no. 6 (June 1983): pp. 385–92, 441.

m al OO n 1978

Maloon, Terence. “Robert Motherwell” (interview with the artist). Artscribe, no. 11 (April 1978): pp. 16–22.

m anth O rne 1990

Manthorne, Katherine. “Robert Motherwell in Mexico” (includes artist’s statements). Latin American Art 2, no. 4 (fall 1990): pp. 66–69.

m ark S 1988

Marks, Joan. “Contrasts & Common Ground.” Cape Codder Summery, July 12, 1988, pp. 20–21. Review of Long Point Gallery, Provincetown, Mass., June 1988.

m arlan 2005

Marlan, Stanton. The Black Sun: The Alchemy and Art of Darkness. Foreword by David H. Rosen. College Station: Texas A&M University Press, 2005.

m ar S hall 1972

Marshall, W. Neil. “Chronicles: Toronto.” Art International 16, no. 9 (November 1972): pp. 59–62. Review of Edmonton Art Gallery, Alberta, Canada, 1972.

m ar S hall 1973

Marshall, W. Neil. “Toronto Letter.” Art International 17, no. 2 (February 1973): pp. 33–36. Review of David Mirvish Gallery, Toronto, March 1973.

m arter 2007

Marter, Joan, ed. Abstract Expressionism: The International Context (includes artist’s statements). New Brunswick, N.J.: Rutgers University Press, 2007.

m artin 1990

Martin, Douglas. “At Home with Robert Motherwell” (interview with the artist). New York Times Magazine. June 3, 1990, pt. 2, p. 70.

m artin et al. 1992

Martin, Jennifer, Claude Massu, Sarah Nichols, Alexandra Parigoris, Denys Riout, and David Travis. “La Peinture a l’Américaine.” In L’Art des Etats-Unis (text in French), translated by Christiane Thiollier and Dominique Férault, pp. 251–57. Paris: Citadelles and Mazenod, 1992.

m ar V el 1985

Marvel, Bill. “Fort Worth Art Museum Obtains 10 Abstract Works by Motherwell.” Dallas Times Herald, September 1, 1985, sec. C, p. 3.

m arzan O 1985

Marzano, Nick. “This Art Is a Display of Brooklyn’s Bounty.” Phoenix (Brooklyn), April 25, 1985, sec. 2, p. 15. Review of Museum of the Borough of Brooklyn at Brooklyn College, 1985.

m a S heck 1973

Masheck, Joseph. “Reviews.” Artforum 11, no. 5 (January 1973): pp. 91–92. Review of Lawrence Rubin Gallery, New York, 1972.

m a SO n 1998

Mason, Brook S. “Gold, Silver and the American Vasari.” Art Newspaper 10, no. 87 (December 1998): p. 63.

m a SS u 1992

Massu, Claude. “Le Dessein contourné de Frank Lloyd Wright: Le Solomon R. Guggenheim Museum et les artistes” (text in French). Les Cahiers du Musée National d’Art Moderne 39 (spring 1992): pp. 80–95.

m athew 1986

Mathew, Ray. “Motherwell’s Still Center Where Black Is Life” (includes artist’s statements). Art/World 10, no. 7 (April 1986): pp. 1, 3. Review of Knoedler & Company, New York, April 1986.

m at OFF 1999

Matoff, Theo. “Theo Matoff: Artist’s Eye.” Art Review 51 (May 1999): p. 39.

m atti SO n 1981

Mattison, Robert S. “Two Decades of Graphic Art by Robert Motherwell” (includes artist’s statements). Print Collector’s Newsletter 11, no. 6 (January–February 1981): pp. 197–201.

m atti SO n 1982

Mattison, Robert S. “The Emperor of China: Symbols of Power and Vulnerability in the Art of Robert Motherwell during the 1940s” (includes artist’s statements). Art International 25, nos. 9–10 (November–December 1982): pp. 8–14.

m atti SO n 1985a

Mattison, Robert S. “A Voyage: Robert Motherwell’s Earliest Works” (includes artist’s statements). Arts Magazine 59, no. 6 (February 1985): pp. 90–93.

m atti SO n 1985b

Mattison, Robert Saltonstall. “The Art of Robert Motherwell during the 1940s” (includes artist’s statements). Ph.D. diss., Princeton University, 1985.

m atti SO n 1987

Mattison, Robert Saltonstall. Robert Motherwell: The Formative Years (includes artist’s statements). Studies in the Fine Arts: The AvantGarde 56. Ann Arbor, Mich.: UMI Research Press, 1987.

m atti SO n 1988

Mattison, Robert S. “Robert Motherwell’s First Collages: ‘All My Life I Have Been Obsessed with Death’ ” (includes artist’s statements). Studies in Iconography (Arizona State University) 12 (1988): pp. 171–86.

m atti SO n 1997

Mattison, Robert. “Robert Motherwell.” Art Out Front (Allentown Art Museum), 1997, n.p.

m atti SO n et al. 2009

Mattison, Robert S., John Yau, Robert Hobbs, Donald Kuspit, Mel Gooding, Saul Ostrow, and Matthew Collings. Robert Motherwell: Open (includes artist’s statements). London: 21, 2009.

m ayO 1974

Mayo, Anna. “Against Motherwellism.” Village Voice 19, no. 44 (October 31, 1974): p. 54.

m c b ride 1945a

McBride, Henry. “The Work of Leger: Two Galleries Expose Recent Pictures by the Noted Modernist.” New York Sun, April 14, 1945, p. 7. Review of Samuel M. Kootz Gallery, New York, April 1945.

m c b ride 1945b

McBride, Henry. “The Whitney Museum: West Eighth Street Seems to Be Going Entirely Modern.” New York Sun, December 1, 1945, p. 9. Review of Whitney Museum of American Art, New York, 1945.

m c b [ride] 1946

McB[ride], H[enry]. “Attractions in the Galleries.” New York Sun, January 12, 1946, p. 9. Review of Samuel M. Kootz Gallery, New York, January 1946.

m c b [ride] 1947

McB[ride], H[enry]. “Attractions in the Galleries.” New York Sun, May 2, 1947, p. 9. Review of Samuel M. Kootz Gallery, New York, April 1947.

m c b ride 1950

McBride, Henry. “By Henry McBride.” Artnews 49, no. 8 (December 1950): p. 51. Review of Samuel M. Kootz Gallery, New York, November 1950.

m c c aughey 1967

McCaughey, Patrick. “Great American Moderns.” The Age, June 10, 1967. Review of the circulating exhibition at National Gallery of Victoria, Melbourne, Australia, June 1967 (see Museum of Modern Art, New York, 1966).

m c c lintic 1984

McClintic, Miranda. “Life Lines.” Studio International 197, no. 1007 (1984): pp. 39–41. Review of the traveling exhibition at Corcoran Gallery of Art, Washington, D.C., September 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

m c cO lm 1984

McColm, Del. “Motherwell: Major Art Retrospective of American Abstract Expressionist.” Davis Enterprise Weekend (Calif.), May 24, 1984. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

m c cO nathy 1966

McConathy, Dale. “The Poet and the Jukebox.” Harper’s Bazaar, no. 3050 (January 1966): pp. 84, 165.

m c cO rmick g allery 2007

Abstract Expressionism: Second to None; 4 Chicago: McCormick Gallery, 2007.

m c cO ubrey 1963

McCoubrey, John W. American Tradition in Painting. New York: George Braziller, 1963.

m c darrah 1961

McDarrah, Fred W. The Artist’s World in Pictures. Introduction by Thomas B. Hess; commentary by Gloria Schoffel McDarrah. New York: E. P. Dutton, 1961.

m c eV illey 1993

McEvilley, Thomas. The Exile’s Return: Toward a Redefinition of Painting for the Post-Modern Era (includes artist’s statements). New York: Cambridge University Press, 1993.

m cFadden 2010

McFadden, Cynthia. “Jennifer Aniston at Home: The Actress Indulges Her Love of Entertaining in Beverly Hills.” Architectural Digest 67, no. 3 (March 2010): pp. 56–67.

m cFarland et al. 1972

McFarland, Philip, Allen Kirschner, Alfred Ferguson, Larry D. Benson, and Morse Peckham. Themes in American Literature Boston: Houghton Mifflin, 1972.

m c g ill 1985a

McGill, Douglas C. “Robert Motherwell Gets MacDowell Medal” (includes artist’s statements). New York Times, August 19, 1985, sec. C, p. 16.

m c g ill 1985b

McGill, Douglas C. “The Importance of Being Motherwell” (includes artist’s statements). International Herald Tribune, August 24–25, 1985, p. 7.

m c k enna 1997

McKenna, Kristine. “At Art’s Service.” Los Angeles Times, October 26, 1997, pp. 66, 68.

m c k inn O n 1966

McKinnon, George. “Art Fuss Irks Motherwell” (includes artist’s statements). Boston Globe, August 14, 1966, p. 49.

m c l aughlin 1985

McLaughlin, Jeff. “Motherwell Deeply Moved by MacDowell Medal” (includes artist’s statements). Boston Globe, August 18, 1985, sec. A, p. 8.

m c n att 2006

McNatt, Glenn. “Motherwell Sought to Give Shape to Truth” (includes artist’s statements). Baltimore Sun, May 21, 2006, sec. E, pp. 1, 4. Review of Baltimore Museum of Art, 2006.

m c n ay a rt m u S eum 2001

McNay Art Museum. Modern Art at the McNay: A Brief History and Pictorial Survey of the Collection. Introduction by William J. Chiego. San Antonio, Tex.: Marion Koogler McNay Art Museum, 2001.

m eewi S 1983

Meewis, Wim. Iconologie van de Action Painting: Theorie en werk van een aantal action painters in het ruimer verband van het abstract expressionisme (text in Dutch; includes artist’s statements). Brussels: Paleis der Academien, 1983.

m ei S ter 1976a

Meister, Helga. “Grober Altmeister aus Amerika” (text in German). [Westdeutsche Zeitung], September 4, 1976.

m ei S ter 1976b

Meister, Helga. “Sich selbst treu geblieben: Arbeiten von Robert Motherwell in Düsseldorfs Kunsthalle” (text in German). Westdeutsche Zeitung, September 12, 1976. Review of Städtische Kunsthalle, Düsseldorf, 1976.

m elcher 1978

Melcher, Victoria Kirsch. “Colors Dance on Paper, Fibers.” Kansas City Star, November 19, 1978, p. 3. Review of Douglas Drake Gallery, Kansas City, Mo., 1978.

m ell O w 1969

Mellow, James R. “New York Letter.” Art International 13, no. 1 (January 20, 1969): pp. 52–57. Review of Whitney Museum of American Art, New York, December 1969.

m ell O w 1973

Mellow, James R. “From Calder, Gay, Spidery Forms.” New York Times, October 13, 1973, p. 29. Review of Rosa Esman Gallery, New York, 1973.

m elV ille 1966

Melville, Robert. “Black Devices.” New Statesman (London), April 1, 1966, p. 478. Review of traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

m em O rial a rt g allery m agazine 2001a “Modernism & Abstraction: Treasures from the Smithsonian American Art Museum.” Memorial Art Gallery Magazine (Memorial Art Gallery, University of Rochester), January–February 2001, pp. 1–2, 6.

m em O rial a rt g allery m agazine 2001b “What’s New in the Collection.” Memorial Art Gallery Magazine (Memorial Art Gallery, University of Rochester), autumn 2001, p. 5.

m endel O witz 1960

Mendelowitz, Daniel M. A History of American Art. New York: Holt, Rinehart and Winston, 1960.

m etr OPO litan m u S eum OF a rt 1975

Metropolitan Museum of Art. The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. Entry “Robert Motherwell,” by Henry Geldzahler, pp. 205, 211. New York: Metropolitan Museum of Art, 1975.

m etr OPO litan m u S eum OF a rt 1987

Metropolitan Museum of Art. Recent Acquisitions: A Selection, 1986–1987; The Metropolitan Museum of Art. Entry “Robert Motherwell,” by Lisa M. Messinger, p. 70. New York: Metropolitan Museum of Art, 1987.

m etzger 1973

Metzger, Robert Paul. “Biomorphism in American Painting.” Ph.D. diss., University of California, Los Angeles, 1973.

m ichaud 1989

Michaud, Yves. “Robert Motherwell par Marcelin Pleynet” (text in French, book review). Art Press International (Paris) 142 (December 1989): p. 52.

m icucci 2002

Micucci, Dana. Best Bids: The Insider’s Guide to Buying at Auction. New York: Viking Studio, 2002.

m iller 1976

Miller, Donald. “Motherwell Recounts History of Modern Art” (includes artist’s statements). Pittsburgh Post-Gazette, February 20, 1976, p. 12.

m iller 1986

Miller, John, ed. Voices against Tyranny:Writing of the Spanish Civil War—on the 50th Anniversary of the Event. Introduction by Stephen Spender. New York: Charles Scribner’s Sons, 1986, cover.

m illet 1977

Millet, Catherine, and Jacques Henric. “Pleynet in Progress: Art et littérature” (text in French). Art Press International (Paris) 8 (June 1977): pp. 6–11.

m illier 1949

Millier, Arthur. “Paintings in Abstract Style Being Shown.” Los Angeles Times, October 30, 1949, sec. D, p. 6. Review of Art Center School Galleries, Los Angeles, 1949.

m illier 1951

Millier, Arthur. “Show by 17 Moderns Adds Life to Gallery: Lack of Dogma in Perls Exhibit Represents Trend Peculiar to U.S.” Los Angeles Times, January 21, 1951, sec. D, p. 7. Review of Frank Perls Gallery, Beverly Hills, Calif., 1951.

m [illier] 1952

M[illier], A[rthur]. “ ‘Bear Memorial Fund Exhibition Held Over,’ in the Galleries.” Los Angeles Times, July 27, 1952, sec. D, p. 5. Review of Frank Perls Gallery, Beverly Hills, Calif., 1952.

m [illier] 1953

M[illier], A[rthur]. “Tiepolo Star in Show of Baroque Drawings.” Los Angeles Times, January 18, 1953, sec. D, p. 6. Review of Paul Kantor Gallery, Beverly Hills, Calif., 1952.

m [illier] 1954

M[illier], A[rthur]. “Strong and Beautiful De Erdely Works Exhibited at Scripps College.” Los Angeles Times, April 25, 1954, sec. D, p. 6. Review of Rembrandt Hall, Pomona College, Claremont, Calif., 1954.

m ilwaukee a rt c enter 1975 Milwaukee Art Center. Personal Selections from the Mrs. Harry Lynde Bradley Collection Bradford, England: Lund Humphries, 1975.

m innea PO li S Star 1972

“Sights for Sore Eyes.” Minneapolis Star, July 5, 1972, sec. A, p. 6. Review of Walker Art Center, Minneapolis, 1972.

m iralle S 1986

Miralles, Francesc. “Paseo por la obra de Robert Motherwell: El Gusto por la complejidad” (text in Spanish). La Vanguardia, November 11, 1986, p. 41. Review of Galería Joan Prats, Barcelona, 1986.

m ir O 1975

Miro, Marsha. “Abstracts by Motherwell: Sensual and Elegant.” Detroit Free Press, November 23, 1975, sec. D, p. 4. Review of Gertrude Kasle Gallery, Detroit, 1975.

m ittler 2000

Mittler, Gene A. Art in Focus. Entry “Robert Motherwell,” p. 554. 4th ed. Woodland Hills, Calif.: Glencoe/McGraw-Hill, 2000.

m ittler and r agan S 1999

Mittler, Gene, and Rosalind Ragans. Exploring Art. New York: Glencoe/McGraw-Hill, 1999.

mO dern a rt m u S eum OF F O rt wO rth

c alendar 1993

“Recent Acquisitions: Robert Motherwell” (includes artist’s statements). Modern Art Museum of Fort Worth Calendar, November–December 1993, pp. 1–7.

mO dern a rt m u S eum’ S g allery g uide

FO r c hildren 1988

“Children’s Pages.” Modern Art Museum’s Gallery Guide for Children, March–April 1988, p. 8.

mO eller et al. 1985

Moeller, Magdalena M., Stephen von Wiese, Bernhard Holeczek, Arta Valstar, Joachim Büchner, Ursula Bickelmann-Aldinger, Andreas Franzke, Ursula Bode, Beatrix Nobis, and Norbert Nobis. Sprengel Museum Hannover, Malerei und Plastik des 20. Jahrhunderts (text in German). Entry “Robert Motherwell,” p. 421. Hannover: Sprengel Museum, 1985.

mOFFat 1967

Moffat, Frances. “Separate Ways for the W. H. Crockers.” San Francisco Chronicle, February 24, 1967, p. 21.

mO lina 1987

Molina, A. Fernandez. “Veleta al viento: Motherwell, un acertado homenaje a Juana Mordo” (text in Spanish). El Dia, March 27, 1987, p. 28. Review of the traveling exhibition at Galería Juana Mordó, Madrid, March 1987 (see Galería Joan Prats, Barcelona, 1986).

mO nahan 2007

Monahan, Anne. The Luther W. Brady Collection at the Picker Art Gallery, Colgate University (includes artist’s statements). Entry “Robert Motherwell,” pp. 57–59. Hamilton, N.Y.: Picker Art Gallery, 2007.

l e mO nde 1990

“Galeries: Robert Motherwell” (text in French). Le Monde, October 11, 1990, sec. 3, p. 32. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

mO ntclair a rt m u S eum 1977

Montclair Art Museum. The American Painting Collection of the Montclair Art Museum

Montclair, N.J.: Montclair Art Museum, 1977.

mO ntclair a rt m u S eum b ulletin 1974

Montclair Art Museum Bulletin, June 1974, cover.

mO nte 1967

Monte, James. “San Francisco.” Artforum 5, no. 9 (May 1967): pp. 67–69. Review of the circulating exhibition at San Francisco Museum of Art, February 1967 (see Museum of Modern Art, New York, Robert Motherwell: Works on Paper, September 1965).

mOO re 1968

Moore, Janet Gaylord. The Many Ways of Seeing: An Introduction to the Pleasures of Art Cleveland: World, 1968.

mOO re 1980

Moore, Janna. “Robert Motherwell: The Purist” (includes artist’s statements). NewPaper 3, no. 108 (May 28–June 4, 1980): p. 3.

mO rch 1984a

Morch, Al. “Major Museum Exhibits in 1984.” San Francisco Examiner, January 2, 1984.

mO rch 1984b

Morch, Al. “The Marvels of Motherwell.” San Francisco Examiner, April 16, 1984. Review of San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

mO rgan 1983

Morgan, Robert C. “Brilliance of Motherwell” (includes artist’s statements). Democrat and Chronicle (Rochester, N.Y.), October 9, 1983, sec. D, p. 3. Review of Albright-Knox Art Gallery, Buffalo, 1983.

mO rgan 1997

Morgan, Robert C. “Robert Motherwell.” Chap. 12 in Between Modernism and Conceptual Art: A Critical Response. Jefferson, N.C.: McFarland, 1997.

mO ritz 1962

Moritz, Charles, ed. Current Biography Yearbook: 1962. Entry “Robert Motherwell,” pp. 308–10. 23rd ed. New York: H. W. Wilson, 1962.

mO riz O t 2004

Morizot, Jacques. “Motherwell éditeur.” In Les Ecrits d’artistes depuis 1940 (text in French; includes artist’s statements), edited by Françoise Levaillant, pp. 250–57. Paris: Institut Mémories de L’Edition Contemporaine, 2004.

mO rrin 1973

Morrin, Peter. “ ‘When the Future of Painting Has Been Questioned. . . .’ ” Daily Princetonian, February 14, 1973, p. 6. Review of Art Museum, Princeton University, N.J., 1973.

mO rrin 1979

Morrin, Peter. “Robert Motherwell.” Arts Magazine 54, no. 1 (September 1979): p. 13. Review of William Benton Museum of Art, University of Connecticut, Storrs, 1979.

mO rri SO n 1976

Morrison, C. L. “Motherwell’s Abstraction.” Midwest Art 3, no. 8 (December 1976): p. 16. Review of Dart Gallery, Chicago, 1976.

mO rtimer 1986

Mortimer, Kristin A. Harvard University Art Museums: A Guide to the Collections Contributions by William G. Klingelhofer. Cambridge, Mass.: Harvard University Art Museums; New York: Abbeville Press, 1986.

mOS er 1976

Moser, Charlotte. “Motherwell a Super Artist at 61.” Houston Chronicle, April 16, 1976, sec. 2, p. 6. Review of Janie C. Lee Gallery, Houston, 1976.

mOS er 1978

Moser, Charlotte. “Motherwell Show Reveals New Paint, Color Handling.” Houston Chronicle, March 25, 1978, sec. 3, p. 9. Review of Janie C. Lee Gallery, Houston, 1978.

mO therwell 1946

“Beyond the Aesthetic.” Design 47, no. 8 (April 1946): pp. 14–15.

mO therwell 1951

“The Rise and Continuity of Abstract Art.” Arts & Architecture 68, no. 9 (September 1951): pp. 20–21, 41.

mO therwell 1952

“The Mural (Interpretations by Motherwell).”

In Symbols and Inscriptions in the Synagogue of the Congregation B’nai Israel (brochure). Millburn, N.J.: Congregation B’nai Israel, 1952.

mO therwell 1956

“Letters” (letter to the editor). Arts 30, no. 7 (April 1956): p. 5.

mO therwell 1958

“U.S. Art Abroad” (letter to the editor). In “Letters to the Editors.” Life, June 9, 1958, p. 15.

mO therwell 1959

“The Motherwell Show” (letter to the editor). Arts Magazine 33, no. 8 (May 1959): p. 8.

mO therwell 1961

“What Should a Museum Be” (editorial symposium, with Thomas M. Messer, Larry Aldrich, Geoges Wildenstein, John Canaday, Herbert Ferber, Edward Durell Stone, C. C. Cunningham, Edward G. Robinson, and R. Sturgis Ingersoll). Art in America 49, no. 2 (March–April 1961): pp. 32–33.

mO therwell 1962

Statements made at the opening for New Paintings in Oil and Collages by Robert Motherwell, at the Sidney Janis Gallery, New York, 1962. In “The Deepest Identity.” Newsweek 60, no. 24 (December 10, 1962): p. 94. (See Newsweek 1962.)

mO therwell 1964

“The Motherwell Collection.” Vogue 143, no. 2 (January 15, 1964): pp. 88–91, 118.

mO therwell 1969

Artist’s statement on the Open series. In Art Now: New York 1, no. 5 (May 1969): n.p.

mO therwell 1970

“Motherwell.” In Ethel Moore, ed., “Letters from 31 Artists to the Albright-Knox Art Gallery.” Gallery Notes (Buffalo Fine Arts Academy) 31–32, no. 2 (spring 1970): p. 26.

mO therwell 1978

“Provincetown and Days Lumberyard: A Memoir” (July 21, 1978). In Days Lumberyard Studios: Provincetown, 1914–1971 (exhibition catalogue), pp. 14–18. Provincetown, Mass.: Provincetown Art Association and Museum, 1978.

mO therwell 1981a

“Fragmentos sobre la Elegia de la reconciliacion” (text in Spanish). Separata (Seville, Spain), nos. 5–6 (spring 1981): pp. 12–17.

mO therwell 1981b

“Provincetown y Days Lumberyard: Un Recuerdo” (text in Spanish). Separata (Seville, Spain), nos. 5–6 (spring 1981): pp. 5–7.

mO therwell 1987

“Philosophy and Abstract Expressionism: A Painter’s Palette.” Harvard Graduate Society Newsletter, winter 1987, pp. 6–7.

mO therwell 1989

Excerpts from an interview with the artist by David Hayman, July 12–13, 1988, “An Artist’s Odyssey: A Master of Abstraction Illuminates James Joyce’s Literary Monument.” Art & Antiques 6, no. 11 (February 1989): pp. 72–77.

mO therwell in a lbright- k n OX a rt g allery e X h. cat. 1983

Interview with the artist by Jack D. Flam, November 5, 1982, “With Robert Motherwell.” In Dore Ashton and Jack D. Flam, Robert Motherwell (exhibition catalogue), pp. 9–27. New York: Abbeville Press, in association with Albright-Knox Art Gallery, 1983.

mO therwell in a llen 1972

Interview with the artist. In Henry Allen, “Motherwell: Palate-Pleasing.” Washington Post, November 8, 1972, sec. D, p. 3. (See Allen 1972.)

mO therwell in a rna SO n 1977b

Notes to the plates. In H. H. Arnason, Robert Motherwell, preface by Bryan Robertson, pp. 103–215. 1st ed. New York: Harry N. Abrams, 1977. (See Arnason 1977b.)

mO therwell in a rna SO n 1982

“A Note by the Artist on the Second Edition,” and notes to the plates. In H. H. Arnason, Robert Motherwell, introduction by Dore Ashton; interview by Barbaralee Diamonstein, pp. 7, 104–225. 2nd ed. New York: Abrams, 1982. (See Arnason 1982.)

mO therwell in b aldwin 1978 Statement. In Nick Baldwin, “Rescue!” Des Moines Register, July 30, 1978, sec. B, p. 5. (See Baldwin 1978.)

mO therwell in b en SO n 1951b Statement. In Gertrude Benson. “Synagogue Goes Modern.” Today (Philadelphia Inquirer magazine), November 18, 1951, p. 30. (See Benson 1951b.)

mO therwell in bOS t O n g l O be 1966b Statement defending New England Elegy (P366). In “JFK Painting Furor Fulfills a Purpose?” Boston Globe, August 12, 1966, pp. 1, 19. (See Boston Globe 1966b.)

mO therwell in c armean 1980 “Fabrication”; “Execution”; “Presentation”; “Conception”; “Preparation” (with Robert Bigelow, John Scofield, E. A. Carmean Jr.), “Revision” (with E. A. Carmean Jr.), and “Conclusion”; “Reconciliation.” Chapters in E. A. Carmean Jr., ed., Reconciliation Elegy. By Robert Motherwell, Robert Bigelow, John E. Scofield. Geneva, Switzerland: Editions d’Art Albert Skira; New York: Rizzoli International, 1980. (See Carmean 1980.)

mO therwell in c incinnati e nquirer 1974

Statement. In “Art Museum Acquires Motherwell Painting.” Cincinnati Enquirer, May 26, 1974, sec. F, p. 6. (See Cincinnati Enquirer 1974.)

mO therwell in d iam O n S tein 1979b Interview with the artist, New School for Social Research, November 17, 1977. In Barbaralee Diamonstein, “Inside New York’s Art World: An Interview with Robert Motherwell” (revised and abridged). Partisan Review 46, no. 3 (1979): pp. 376–90. (See Diamonstein 1979b.)

mO therwell in e nright 1989

Interview with the artist. In Robert Enright, “The Monumental Diarist: An Interview with Robert Motherwell.” Border Crossings 8, no. 4 (November 1989): pp. 7–17. (See Enright 1989.)

mO therwell in Fent O n 1966

Statement. In John H. Fenton, “Abstract Mural Stirs Bostonians: Viewers Link Motherwell Work to Kennedy Death.” New York Times, August 13, 1966, p. 22. (See Fenton 1966.)

mO therwell in F O rman 1979

Interview with the artist. In Debbie Forman, “The Light in Robert Motherwell’s Art: Artist Uses P’town Colors in His Work.” Cape Cod Times, September 10, 1979, pp. 13, 20. (See Forman 1979.)

mO therwell in g ardner 1985

Statement by the artist. In Paul Gardner, “When Is a Painting Finished?” (editorial symposium). Artnews 84, no. 9 (November 1985): p. 94. (See Gardner 1985.)

mO therwell in g ib SO n 1997

Interview with the artist. In Ann Eden Gibson, Abstract Expressionism: Other Politics Motherwell, p. 15. New Haven, Conn.: Yale University Press, 1997. (See Gibson 1997.)

mO therwell in h art FO rd cO urant 1966 Statement. In “Artist Says Painting Is Not JFK Death Scene.” Hartford Courant, August 13, 1966, p. 13. (See Hartford Courant 1966.)

mO therwell in hO riz O n 1978

Interview with the artist. In “Painter Laureate.” Horizon 21, no. 5 (May 1978): p. 59. (See Horizon 1978.)

mO therwell in Jani S 1944

Plate caption. In Sidney Janis, Abstract & Surrealist Art in America, p. 65. New York: Reynal and Hitchcock, 1944. (See Janis 1944.)

mO therwell in l ee Pa 1949

“Robert Motherwell: Person with Orange.”

In Allen Leepa, The Challenge of Modern Art, foreword by Herbert Read, p. 194. New York: Beechhurst Press, 1949. (See Leepa 1949.)

mO therwell in lO uchheim 1951a Statement. In Aline B. Louchheim, “Six Abstractionists Defend Their Art.” New York Times Magazine, January 21, 1951, p. 17. (See Louchheim 1951a.)

mO therwell in m ac m illan 1978

Interview with the artist. In Duncan Macmillan, “Robert Motherwell.” Art Monthly, no. 14 (February 1978): pp. 4–6. (See MacMillan 1978.)

mO therwell in m al OO n 1978

Interview with the artist. In Terence Maloon, “Robert Motherwell.” Artscribe, no. 11 (April 1978): pp. 16–22. (See Maloon 1978.)

mO therwell in m u S eum OF Fine a rt S , hO u S t O n, e X h. cat. 1972

“Notes.” In E. A. Carmean Jr., The Collages of Robert Motherwell: A Retrospective Exhibition (exhibition catalogue), pp. 48, 50, 51, 54, 63, 64, 70, 72, 73, 75, 76. Introduction by Philippe de Montebello. Houston: Museum of Fine Arts, Houston, 1972.

mO therwell in m u S eum OF mO dern a rt, n ew yO rk, robert motherwell , e X h. cat.

Se P tember 1965

“Letter from Robert Motherwell to Frank O’Hara dated August 18, 1965.” In Frank O’Hara, Robert Motherwell:With Selections from the Artist’s Writings (exhibition catalogue), pp. 58–59, 67–68, 70. New York: Museum of Modern Art, 1965.

mO therwell in n ew S week 1962 Statements. In “The Deepest Identity.”

Newsweek 60, no. 24 (December 10, 1962): p. 94. (See Newsweek 1962.)

mO therwell in r ec O rd a merican 1966 Statement. In “Painter Defends Mural Depicting JFK Shooting.” Record American (Boston), August 13, 1966, p. 8. (See Record American 1966.)

mO therwell in Smith cO llege m u S eum OF a rt e X h. cat. 1963 Notes to the plates. In An Exhibition of the Work of Robert Motherwell (exhibition catalogue). Northampton, Mass.: Smith College Museum of Art, 1963.

mO therwell in wallach 1984b Interview with the artist. In Amei Wallach, “Motherwell’s Savage Muse.” New York Newsday, December 5, 1984, pt. 2, pp. 4–5. (See Wallach 1984b.)

m [ O tt] 1959

M[ott], H[elen] D[e]. “In the Galleries.” Arts 33, no. 7 (April 1959): p. 53. Review of Sidney Janis Gallery, New York, March 1959.

mOy S e 1966

Moyse, Arthur. “Round the Galleries.” Freedom (Anarchist Weekly), April 30, 1966. Review of the traveling exhibition at Whitechapel Art Gallery, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

m uchnic 1998

Muchnic, Suzanne. “Los Angeles: Robert Motherwell.” Artnews 97, no. 3 (March 1998): p. 178. Review of Manny Silverman Gallery, Los Angeles, 1997.

m uehlig and J O ne S 1999

Muehlig, Linda, and Betsy B. Jones, eds. Masterworks of American Painting and Sculpture from the Smith College Museum of Art Contributions by Kristen Erickson, Linda Merrill, and Daniel J. Strong. Entry “Robert Motherwell,” by Linda Muehlig, pp. 198–201. New York: Hudson Hills Press, 1999.

m üller 2004

Müller, Bertram. “Spanische Elegien” (text in German). Rheinische Post (Düsseldorf), October 22, 2004, sec. A, p. 8. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

m ur P hy 1967

Murphy, Agnes. “At Home with . . . Helen Frankenthaler.” New York Post, November 11, 1967, sec. Magazine, p. 13.

m urray and m urray 1978

Murray, Peter, and Linda Murray. The Penguin Dictionary of Art & Artists (includes artist’s statements). 4th ed. New York: Penguin Books, 1978.

m u S eu de a rte mO derna d O r i O de Janeir O 1999

Museu de Arte Moderna do Rio de Janeiro. O Museu de Arte Moderna do Rio de Janeiro (text in Portuguese). Entry “Robert Motherwell,” pp. 340–41. Rio de Janeiro: Banco Safra, 1999.

m u S eum OF Fine a rt S , hO u S t O n, b ulletin 1972

“Exhibitions: The Collages of Robert Motherwell.” Museum of Fine Arts, Houston, Bulletin 3, no. 6 (October–November 1972): p. 89.

m u S eum OF Fine a rt S , hO u S t O n, c alendar 1972

“Special Exhibitions.” Museum of Fine Arts, Houston, Calendar, autumn 1972, n.p.

m u S eum OF mO dern a rt 1973

An Invitation to See: 125 Paintings from the Museum of Modern Art (includes artist’s statements). Introduction and commentary by Helen M. Franc. New York: Museum of Modern Art, 1973.

m u S eum OF mO dern a rt 2005

Masterworks of Modern Art: From the Museum of Modern Art, New York. Introduction by Glenn D. Lowry. Florence: Scala Vision, 2005.

m u S eum OF mO dern a rt b ulletin

1950–51

“Painting and Sculpture Acquisitions: July 1, 1949–July 1, 1950.” Museum of Modern Art Bulletin 18, no. 2 (winter 1950–51).

m u S eum OF mO dern a rt b ulletin 1951

“What Abstract Art Means to Me” (includes artist’s statements). Museum of Modern Art Bulletin 18, no. 3 (spring 1951): pp. 12–13.

m u S eum OF mO dern a rt b ulletin 1962

“Painting and Sculpture Acquisitions: January 1, 1961 through December 31, 1961.” Museum of Modern Art Bulletin 29, nos. 2 and 3 (1962): pp. 8, 61, 64.

m u S eum OF mO dern a rt m ember S c alendar 1988

“Gifts of Works on Paper by Robert Motherwell.” Museum of Modern Art Members Calendar 9, no. 1 (January 1988): p. 6.

m yer S 1970

Myers, D. H., trans. The Thursday Evening Art World: The Alfred Weary Lectures. New York: McCall, 1970.

m yer S 1993

Myers, K. C. “ ‘Masterworks’ Memorial: ‘Artists Leave Behind What Was Most Important in Their Lives’ ” (includes artist’s statements). Cape Codder, June 29, 1993, sec. 2, pp. 8–9. Review of Long Point Gallery, Provincetown, Mass., 1993.

n. 1987

J.R.N. “Motherwell y España” (text in Spanish). Diario 16 (Madrid), December 18, 1987, sec. Cultura, p. 1. Review of Museum of Modern Art, New York, 1987.

n amuth 1989

Namuth, Hans. “Artists’ Portraits.” Art International 6 (spring 1989): pp. 40–49.

n ati O nal g allery OF a rt 1978

East Building Engagement Calendar 1979 Washington, D.C.: National Gallery of Art, 1978.

n ati O nal g allery OF a rt 2001

How Americans Built Their National Gallery of Art: A Chronology (brochure). Washington, D.C.: National Gallery of Art, 2001.

n ati O nal g allery OF a rt, c enter FO r a dVanced Study in the Vi S ual a rt S 2002

National Gallery of Art, Center for Advanced Study in the Visual Arts. The A.W. Mellon Lectures in the Fine Arts: Fifty Years. Washington, D.C.: National Gallery of Art, 2002.

n ati V e g uide: San Franci S c O 1984

“Madness, Vulnerability, Passion.” Native Guide: San Francisco, May 1984.

n aVarra 1989

Navarra, Tova. “ ‘Hearing’ Motherwell at Montclair: Artist Creates a Musical Canvas” (interview with the artist). Asbury Park Press, December 17, 1989, sec. F, pp. 1, 12. Review of Montclair Art Museum, N.J., 1989.

n ewh O u S e 2005

Newhouse, Victoria. Art and the Power of Placement. New York: Monacelli Press, Inc., 2005.

n ewman 1965

Newman, Barnett. “The New York School Question.” Interview by Neil A. Levine. Artnews 64, no. 5 (September 1965): pp. 38–42, 55–56.

n ewman 1981

Newman, David. “Arts Review.” Arts Magazine 55, no. 10 (June 1981): p. 25. Review of Knoedler & Company, New York, February 1981.

n ew S c hr O nicle/ t h O u S and Oak S 1984

“Ahmanson Gallery to Exhibit Motherwell Retrospective.” News Chronicle/Thousand Oaks, January 6, 1984, sec. A, p. 11. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see AlbrightKnox Art Gallery, Buffalo, 1983).

n ew S week 1945a

“Kootz’s Kaleidoscopes.” Newsweek 26, no. 5 (July 30, 1945): p. 74. Review of Samuel M. Kootz Gallery, New York, April 1945.

n ew S week 1945b

“They Knew What They Liked.” Newsweek 26, no. 15 (October 8, 1945): p. 118. Review of the 17th Regiment Armory, New York, 1945.

n ew S week 1961

“Something for All.” Newsweek 58, no. 5 (July 31, 1961): pp. 80–81.

n ew S week 1962

“The Deepest Identity” (includes artist’s statements). Newsweek 60, no. 24 (December 10, 1962): p. 94. Review of Sidney Janis Gallery, New York, December 1962.

n ew S week 1964

“Sharks, Go Home” (includes artist’s statements). Newsweek 64, no. 8 (August 24, 1964): p. 78. Review of Provincetown Art Association, Mass., 1964.

n ew S week 1965

“ ‘What a Gesture!’ ” (includes artist’s statements). Newsweek, October 11, 1965, pp. 98–99. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

n ew S week 1968

“Artists vs. Mayor Daley” (includes artist’s statements). Newsweek 72, no. 19 (November 4, 1968): p. 117.

n ew S week 1991

“Civilizing Influence” (obituary). Newsweek 118, no. 5 (July 29, 1991): p. 53.

n ewt O wn b ee 1979

“The Day They Hung Robert Motherwell.” Newtown Bee (Conn.), April 6, 1979, sec. C, pp. 1, 28–29. Review of William Benton Museum of Art, University of Connecticut, Storrs, 1979.

n ew yO rker 1965

“The Talk of the Town.” New Yorker 41, no. 38 (November 6, 1965): p. 43. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

n ew yO rk h erald t ribune 1946

“In the Art Galleries.” New York Herald Tribune, January 6, 1946, p. 7. Review of Samuel M. Kootz Gallery, New York, January 1946.

n ew yO rk h erald t ribune 1950a

“52 Oils by Young Artists Go on Exhibit Today at Metropolitan Museum of Art.” New York Herald Tribune, March 24, 1950, p. 25. Review of Metropolitan Museum of Art, New York, 1950.

n ew yO rk h erald t ribune 1950b

“18 U.S. Artists Boycott Contest of Metropolitan.” New York Herald Tribune, May 22, 1950, p. 8.

n ew yO rk h erald t ribune 1965

“The Galleries—A Critical Guide.” New York Herald Tribune, October 2, 1965, pp. 24–25. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

n ew yO rk i n S urance eXchange 1986 New York Insurance Exchange Annual Report, 1986, cover, p. 1.

n ew yO rk n ew S day 1975

“Beauty and Impact.” New York Newsday, January 26, 1975, sec. 2, p. 16. Review of Knoedler & Company, New York, January 1975.

n ew yO rk n ew S day 1991

“Museum to Honor Motherwell.” New York Newsday, July 31, 1991, pt. 2, p. 49.

n ew yO rk P OS t 1978

“Expressionism Led Way to the Top Spot.” New York Post, October 15, 1978, sec. B, p. 121.

Review of Whitney Museum of American Art, New York, 1978.

n ew yO rk Sun 1944

“Attractions in the Galleries.” New York Sun, December 2, 1944, p. 9. Review of Mortimer Brandt Gallery, New York, 1944.

n ew yO rk Sun 1948

“Attractions in the Galleries.” New York Sun, May 11, 1948. Review of Samuel M. Kootz Gallery, New York, May 1948.

n ew yO rk t ime S 1948

“Books.” New York Times, March 12, 1948, sec. 1, p. 21. Review of Columbia University Bookstore, New York, 1948.

n ew yO rk t ime S 1949

“Art Education Meetings: Committee Slates Lecture and Symposium for Today.” New York Times, March 19, 1949, sec. 1, p. 12.

n ew yO rk t ime S 1950

“18 Painters Boycott Metropolitan; Charge

‘Hostility to Advanced Art.’ ” New York Times, May 22, 1950, sec. 1, pp. 1, 15.

n ew yO rk t ime S 1951a

“Art Symposium at Harvard.” New York Times, April 8, 1951, p. 52.

n ew yO rk t ime S 1951b

“Mural in New Art Medium.” New York Times, October 17, 1951, sec. 1, p. 7.

n ew yO rk t ime S 1952

“Metropolitan Hit by 7 Modernists.” New York Times, June 20, 1952.

n ew yO rk t ime S 1954

“About Art and Artists: Galleries Can Be Judged by Works They Show for Sale at Christmas Time.” New York Times, December 16, 1954, p. 48. Review of Samuel M. Kootz Gallery, New York, December 1954.

n ew yO rk t ime S 1955

“French Flocking to U.S. Art Show: Museum Head Here Reports on Reaction to 500 Items Shown, Including Gadgets.” New York Times, April 6, 1955, p. 27.

n ew yO rk t ime S 1958a

“Art from U.S. to Be Exhibited at Brussels Fair.” New York Times, January 22, 1958, p. 10.

n ew yO rk t ime S 1958b

“2 Artists to Marry: Helen Frankenthaler, Robert Motherwell Are Engaged.” New York Times, March 28, 1958, p. 21.

n ew yO rk t ime S 1958c

“Miss Frankenthaler Wed Here to Artist.” New York Times, April 7, 1958, p. 25.

n ew yO rk t ime S 1961

“Art.” New York Times, August 27, 1961, sec. 2, p. 13.

n ew yO rk t ime S 1965

“Defending Mr. Motherwell” (letters to the editor from Carlos Basq, J. Kaplan, R.W.B. Lewis, and George Rickey). New York Times, October 31, 1965, sec. 2, p. 27.

n ew yO rk t ime S 1974

“500 View U.S. Art at Moscow Embassy.” New York Times, June 22, 1974, p. 18.

n ew yO rk wO rld- t elegram and Sun 1950

“18 Artists Vow to Boycott ‘Met’ Exhibit.” New York World-Telegram and Sun, May 22, 1950.

n icker SO n 1986

Nickerson, Cindy. “Artists Honor a Musician: Long Point Gallery’s Distinguished Dozen Pay Tribute to Composer Arthur Berger” (includes artist’s statements). Time Out (Cape Cod Times magazine), July 27–August 2, 1986, cover, p. 3. Review of Long Point Gallery, Provincetown, Mass., July 1986.

n icker SO n 1987

Nickerson, Cindy. “ ‘Homeric Themes’ at Long Point Gallery.” Capeweek (Cape Cod Times magazine), August 14, 1987, p. 8. Review of Long Point Gallery, Provincetown, Mass., 1987.

n icker SO n 1988

Nickerson, Cindy. “ ‘Opposites’ Attract at Long Point Gallery.” CapeWeek (Cape Cod Times magazine), July 8, 1988, p. 11. Review of Long Point Gallery, Provincetown, Mass., June 1988.

n icker SO n 1990

Nickerson, Cindy. “Long Point Gallery Artists Embelish the Square.” CapeWeek (Cape Cod Times magazine), July 20, 1990, p. 12. Review of Long Point Gallery, Provincetown, Mass., 1990.

n icker SO n 1991

Nickerson, Cindy. “Culture Club: Lower Cape Gallery Stars Eclectic Group of Artists” (includes artist’s statements). Cape Cod Times, June 15, 1991, p. 5.

n ieuwe rO tterdam S e cO urant 1966

“Bescheiden introductie van de Amerikaanse kunst” (text in Dutch). Nieuwe Rotterdamse Courant (Rotterdam, the Netherlands), October 8, 1966, p. 4. Review of the circulating exhibition at Museum Boymans-van Beuningen, Rotterdam, the Netherlands, September 1966 (see Museum of Modern Art, New York, American Collages, January 1965).

nO land 1991

Noland, Kenneth. “Art.” New Yorker 67, no. 16 (June 10, 1991): p. 14. Review of Knoedler & Company, New York, April 1991.

nO rdland 1962a

Nordland, Gerald. “Art: Robert Motherwell.” Frontier 13, no. 6 (April 1962): pp. 20–22.

nO rdland 1962b

Nordland, Gerald. “From Dirge to Jeer.” Arts Magazine 36, no. 5 (February 1962): pp. 50–52. Review of Pasadena Art Museum, Calif., February 1962.

nO rdland 1962c

Nordland, Gerald. “Los Angeles Letter.” Das Kunstwerk 5–6, no. 16 (November–December 1962): pp. 67–68, 76. Review of UCLA Art Galleries, Los Angeles, 1962.

nO rdland 1972

Nordland, Gerald. “Nordland’s View of Nordland.” California Living (San Francisco Examiner & Chronicle magazine), December 10, 1972, pp. 17–24.

O’ b rian 1999

O’Brian, John. Ruthless Hedonism: The American Reception of Matisse. Chicago: University of Chicago Press, 1999.

O’ b rien 1962

O’Brien, George. “Artists’ Row.” New York Times, March 4, 1962, sec. Magazine, pt. 1, pp. 52–53.

Oc V irk et al. 2005

Ocvirk, Otto, Robert E. Stinson, Philip R. Wigg, Robert O. Bone, and David L. Cayton. Art Fundamentals. 9th ed. New York: McGrawHill, 2005.

O’ dO herty 1962

O’Doherty, Brian. “Art: Robert Motherwell; Objective Works in Introspection Are Displayed at Sidney Janis Gallery.” New York Times, December 6, 1962, p. 52. Review of Sidney Janis Gallery, New York, December 1962.

O’ dO herty 1963

O’Doherty, Brian. “Art: Native and Foreign in Irish Show.” New York Times, August 17, 1963, sec. 1, p. 16. Review of National College of Art and Design, Dublin, 1963.

O’ dO herty 1964

O’Doherty, Brian. “Two Groups: Togetherness as a Virtue.” New York Times, June 21, 1964, sec. 2, p. 11. Review of Marlborough-Gerson Gallery, New York, 1964.

O’ dO herty 1967

O’Doherty, Brian. Object and Idea: An Art Critic’s Journal, 1961–1967. New York: Simon and Schuster, 1967.

O’ dO herty 1973

O’Doherty, Brian. American Masters: The Voice and the Myth. Photography by Hans Namuth. New York: Random House, 1973.

O’ h ara 1965a

O’Hara, Frank. “Robert Motherwell.” Art in America 53, no. 5 (October–November 1965): pp. 80–81. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

O’ h ara 1965b

O’Hara, Frank. “The Grand Manner of Motherwell” (includes artist’s statements). Vogue 146, no. 6 (October 1, 1965): pp. 206–9, 263–65.

O’ h ara 1975

O’Hara, Frank. “Robert Motherwell.” In Art Chronicles, 1954–1966 (includes artist’s statements), pp. 65–79. New York: George Braziller, 1975.

O’ h ara 1983

O’Hara, Frank. Standing Still and Walking in New York (includes artist’s statements). Edited by Donald Allen. San Francisco: Grey Fox Press, 1983.

Old S 2008

Olds, Kirsten. “Highlight: Robert Motherwell.” Art Market Report (Hollis Taggart Art Galleries), spring–summer 2008, pp. 8, 20.

Oli V er 1977

Oliver, Georgina. “The Two Sides of Robert Motherwell” (interview with the artist). Paris–Metro, July 20, 1977.

On & O FF the wall 1995

“Robert Motherwell.” On & Off the Wall (Denver Art Museum), September–October 1995, cover, p. 12.

O’ n eill 1988

O’Neill, John. “The Rejuvenation of Motherwell.” AGO News (Art Gallery of Ontario) 10, no. 1 (January 1988): p. 3.

O PP ler 1988

Oppler, Ellen C., ed. Picasso’s Guernica (includes artist’s statements). New York: W. W. Norton, 1988.

Oreg O n daily e merald 1939a

“Lance Hart to Paint Early Logging Mural.” Oregon Daily Emerald (University of Oregon, Eugene), October 1, 1939, p. 1.

Oreg O n daily e merald 1939b

“Motherwell Says ‘UO Art School Is One of Best in United States’ ” (includes artist’s statements). Oregon Daily Emerald (University of Oregon, Eugene), October 21, 1939, p. 3.

Orlandini 1970

Orlandini, Marisa Volpi. Arte Dopo il 1945

U.S.A. (text in Italian). Bologna, Italy: Capelli, 1970.

Orr- c ahall et al. 1995

Orr-Cahall, Christina, Jaqueline Francis, Anne M. Bolin, Catherine M. Chastain, Lacey Taylor Jordan, and Diana McClintock. The American Collection: Selected Works from the Norton Museum of Art Collection (includes artist’s statements). Edited with an introduction by Christina Orr-Cahall. Entry “Robert Motherwell,” pp. 171–73. West Palm Beach, Fla.: Norton Museum of Art, 1995.

O S termann 1964

Ostermann, Robert. “Men Who Lead an American Art Revolution: Fame and Fortune for Today’s Painters” (includes artist’s statements). National Observer, February 17, 1964, p. 18.

O V ery 1978

Overy, Paul. “Motherwell—No Score.” Times (London), January 31, 1978, p. 10. Review of Royal Academy of Arts, London, 1978.

Paalen 1945

Paalen, Wolfgang. Form and Sense. Problems of Contemporary Art 1. New York: Wittenborn, 1945.

Page 1964

Page, Eleanor. “She Lives in an Art Museum.” Chicago Tribune, September 13, 1964, sec. 5, p. 3.

Pagel 1997

Pagel, David. “Smart Sculptures with FunLoving Form.” Los Angeles Times, November 7, 1997, sec. F, p. 27. Review of Manny Silverman Gallery, Los Angeles, 1997.

Paglia 1996

Paglia, Michael. “Holy Motherwell!” Westword, November 15–21, 1996, pp. 55–56. Review of Denver Art Museum, 1995.

Paglia 1997

Paglia, Michael. “Rare Editions.” Westword 20, no. 24 (February 6–12, 1997): p. 57.

Paglia 2001

Paglia, Michael. “Slights of Hand: Robischon Salutes Three Generations of New York School Artists.” Denver Westword, February 15, 2001, sec. Arts, p. 53. Review of Robischon Gallery, Denver, 2001.

Paire 1981

Paire, Alain. “Reconciliation Elegy by Robert Motherwell” (text in French, book review; includes artist’s statements). Esprit, no. 1 (January 1981): p. 223.

Palette & z eichen S ti F t 2004

“Robert Motherwell” (text in German). Palette & Zeichenstift, no. 56 (June 2004): pp. 32–33. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

Parceri S a S 1986

Parcerisas, Pilar. “Motherwell o l’abstracció lírica mediterrània” (text in Catalan). Avui (Barcelona), November 13, 1986, p. 23. Review of Galería Joan Prats, Barcelona, 1986.

Park S 1960

Parks, Robert O. “Unpublished Works and Recent Acquisitions.” Smith College Museum of Art Bulletin, no. 40 (1960): pp. 1–92.

Parri S h a rt m u S eum n ew S 2001

“Acquisitions 1999–2001.” Parrish Art Museum News, autumn 2001, p. 6.

Parti S an r e V iew 1945

Partisan Review 7, no. 2 (spring 1945): p. 148.

Parti S an r e V iew 1949

“Frontispiece.” Partisan Review 16, no. 6 (June 1949): n.p.

Parti S an r e V iew 1961

Partisan Review 28, nos. 3–4 (1961): cover.

Pa S adena Star- n ew S 1984

“Motherwell in Review at Gallery.” Pasadena Star-News, January 13, 1984. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see AlbrightKnox Art Gallery, Buffalo, 1983).

Patter SO n 2006

Patterson, Vivian, ed. Encounter:Williams College Museum of Art. Entry “Robert Motherwell,” by Dana Pilson, pp. 148–49. Williamstown, Mass.: Williams College Museum of Art, 2006.

Patt O n 1973

Patton, Phil. “Downtown and in Town.” Harvard Crimson, June 11, 1973, p. 2. Review of traveling exhibition at Museum of Fine Arts, Boston, 1973 (see Museum of Fine Arts, Houston, November 1972).

Patt O n 1982

Patton, Phil. “Robert Motherwell: The Mellowing of an Angry Young Man” (interview with the artist). Artnews 81, no. 3 (March 1982): pp. 70–76.

Paul 1986

Paul, April J. “Introduction a la Peinture Moderne Américaine: Six Young American Painters of the Samuel Kootz Gallery; An Inferiority Complex in Paris.” Arts Magazine 60, no. 6 (February 1986): pp. 65–71.

PaV ia and Sandler 1960

Pavia, P. G., and Irving Sandler, eds. “The Philadelphia Panel” (transcript of “Conversations with Artists,” Philadelphia Museum School of Art, March 28, 1960; Jack Tworkov, moderator; Philip Guston, Robert Motherwell, Ad Reinhardt, Harold Rosenberg, speakers). It Is., no. 5 (spring 1960): pp. 34–38.

Payant 1978–79

Payant, René. “The Tenacity of the Sign: Borduas in New York.” Artscanada 35, nos. 224–25 (December 1978–January 1979): pp. 31–38.

Paz and a lberti 1981

Paz, Octavio, and Rafael Alberti. “Poemas a Robert Motherwell” (text in Spanish).

Separata, nos. 5–6 (spring 1981): pp. 8–11.

Print of Octavio Paz’s The Skin/Sound of the World and Rafael Alberti’s Negro Motherwell

Peggy g uggenheim cO llecti O n 1960

Peggy Guggenheim Collection. La Collezione

Peggy Guggenheim (text in Italian).

Introductions by P. J.H.B. Sandberg, Herbert Read, and Alfred H. Barr. Venice, Italy: Palazzo Venier dei Leoni, 1960.

Peggy g uggenheim cO llecti O n 1983

Peggy Guggenheim Collection. Handbook, the Peggy Guggenheim Collection. New York: Solomon R. Guggenheim Foundation, 1983.

Pellegrini 1966

Pellegrini, Aldo. New Tendencies in Art

Translated by Robin Carson. New York: Crown, 1966.

Pély- a udan 1991

Pély-Audan, Annick. “Motherwell” (text in English and French). Cimaise 38, no. 210 (January–March 1991): pp. 99–102.

Penin S ula t ime S - t ribune 1984

“Motherwell Retrospective.” Peninsula TimesTribune calendar (Palo Alto, Calif.), May 3, 1984, sec D., p. 1.

Penn S ylVania a cademy OF the

1989

Pennsylvania Academy of the Fine Arts. “The American Paintings in the Pennsylvania Academy of the Fine Arts: An Illustrated Checklist.” Compiled by Nancy Fresella-Lee; edited by Jacolyn A. Mott. Philadelphia: Pennsylvania Academy of the Fine Arts, in association with the University of Washington Press, 1989.

Perl 2005

Perl, Jed. New Art City (includes artist’s statements). New York: Alfred A. Knopf, 2005.

Permanyer ca. 1986

Permanyer, Lluis. “El Gran Motherwell, en la Prats” (text in Spanish). Vivir en Barcelona, ca. 1986, p. 114. Review of Galería Joan Prats, Barcelona, 1986.

Perr O ne 1976a

Perrone, Jeff. “Reviews.” Artforum 14, no. 8 (April 1976): pp. 70–72. Review of Knoedler & Company, New York, 1976.

Perr O ne 1976b

Perrone, Jeff. “Reviews.” Artforum 15, no. 4 (December 1976): pp. 72–75. Review of Gruenebaum Gallery, New York, 1976.

Perry 1975

Perry, Art. “American Masters at Galerie Allen: Abstractions a Mixed Bag.” Province (Vancouver, Canada), September 16, 1975, p. 11. Review of David Mirvish Gallery, Toronto, 1975.

Perry 1985

Perry, Gerald. “Pulling Together the Pieces of Motherwell’s Classic Modernism” (interview with the artist). Chicago Tribune, January 27, 1985, sec. 13, pp. 20–21.

Phel PS 1965

Phelps, Robert, ed. Twentieth-Century Culture: The Breaking Up. New York: George Braziller, 1965.

Philadel P hia a rt a lliance b ulletin 1946

“Six American Artists Hold Group Show.” Art Alliance Bulletin, October 1946, p. 6.

Philli PS 1951

Phillips, John Goldsmith. “Art in Silk.” Artnews Annual 20 (1951): pp. 159–76.

Philli PSO n 1981

Phillipson, Nicholas. “Edinburgh: . . . and Clearings in the Myth.” Times Literary Supplement (London), August 28, 1981, p. 980. Review of City Art Centre and Fruitmarket Gallery, Edinburgh, 1981.

Picard 1961

Picard, Lil. “New Yorker Kunstbrief” (text in German). Das Kunstwerk 5–6, no. 15 (November–December 1961): pp. 55–56. Review of Solomon R. Guggenheim Museum, New York, 1961.

P[ierrard] 1990

P[ierrard], J[ean]. “Art Contemporain” (text in French). Le Point, October 8–16, 1990, p. 23. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

Pinte 1990

Pinte, Jean-Louis. “Motherwell: Des reves d’évasion” (text in French). Figaroscope, September 26, 1990, p. 49. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

Pi S chel 1978

Pischel, Gina. A World History of Art Introduction and chap. “Art since 1960,” by Henry A. La Farge and Catherine Bernard. 2nd ed. New York: Newsweek Books, 1978.

Pitt S burgh P OS t- g azette 1964

“Trip to the Show.” Pittsburgh Post-Gazette, December 21, 1964, sec. Magazine, p. 37. Plante et al. 1986

Plante, Michael, Christopher Campbell, Megan Fox, Mitchell F. Merling, Jennifer Wells, and Ima Ebong. Definitive Statements: American Art, 1964–66. Providence, R.I.: Brown University, 1986.

Plazy 1977

Plazy, Gilles. “Robert Motherwell: Un Rêve américain” (text in French). [Quotidien de Paris, August 23, 1977.] Review of Musée d’Art Moderne de la Ville de Paris, 1977.

Pleynet 1975

Pleynet, Marcelin. “Peinture et poésie ou la leçon de Robert Motherwell” (text in French). Art Press (Paris), no. 19 (July–August 1975): pp. 4–9.

P[leynet] 1976

P[leynet], M[arcelin]. “Une Retrospective de l’oeuvre de Motherwell a Paris?” (text in French; includes artist’s statements). Art Press (Paris), no. 22 (January–February 1976): p. 2.

Pleynet 1977

Pleynet, Marcelin. “La Méthode de Robert Motherwell” (text in French; includes artist’s statements). Tel Quel 71, no. 73 (autumn 1977): pp. 183–99.

[Pleynet] 1981

Pleinet [Pleynet], Marcelin. “Elegíaco Robert Motherwell” (text in Spanish; includes artist’s statements). Translated by Juan Montero. Separata, nos. 5–6 (spring 1981): pp. 18–26.

Pleynet 1986

Pleynet, Marcelin. “La Méthode de Robert Motherwell.” In Les Etats-Unis de la peinture (text in French). Paris: Editions du Seuil, 1986.

Pleynet 1989a

Pleynet, Marcelin. “Robert Motherwell” (text in French; interview with the artist). Beaux Arts, no. 72 (October 1989): pp. 70–75, 177.

Pleynet 1989b

Pleynet, Marcelin. Robert Motherwell

Translated by Mary Ann Caws. Paris: Daniel Papierski, 1989.

Pleynet 1991

Pleynet, Marcelin. “Art and Literature: Robert Motherwell’s Riverrun.” Chap. 1 in Interpreting Contemporary Art, edited by Stephen Bann and William Allen. London: Reaktion Books, 1991.

Pleynet 1995

Pleynet, Marcelin. “Robert Motherwell: Elegie à la République espagnole ou de l’art comme tauromachie” (text in French; includes artist’s statements). Revue d’esthétique (Paris) 27, no. 95 (1995): pp. 101–16.

Pleynet 1998

Pleynet, Marcelin. “Art et littérature: Riverrun” (text in French; includes artist’s statements). La Nouvelle revue francaise (Paris), nos. 546–47 (July–August 1998): pp. 85–101.

Pl O ttel 1983

Plottel, Jeanine Parisier, ed. Collage (includes artist’s statements). New York: New York Literary Forum, 1983.

P O e S ia y P O ética 1990

Poesia y Poética, no. 4 (winter 1990): passim.

P O lcari 1979

Polcari, Stephen. “The Intellectual Roots of Abstract Expressionism: Mark Rothko” (includes artist’s statements). Arts Magazine 54, no. 1 (September 1979): pp. 124–34.

P O lcari 1991

Polcari, Stephen. “Robert Motherwell: The School of Paris Meets New York.” Chap. 10 in Abstract Expressionism and the Modern Experience (includes artist’s statements). Cambridge, England: Cambridge University Press, 1991.

P O l O 1975

Polo, Roberto. “Robert Motherwell Talks about Fashion as Fantasy with Roberto Polo” (interview with the artist). Andy Warhol’s Interview 6, no. 1 [December] 1975, p. 19.

P O marède and d elar O ière 1978

Pomarède, Alain, and Thierry Delaroière. “Robert Motherwell” (text in French; interview with the artist). Art Présent, nos. 6–7 (1978): n.p.

P O nente 1960

Ponente, Nello. Modern Painting: Contemporary Trends. Paris: Editions d’Art Albert Skira, 1960.

P O riky S 1990

Porikys, Gunnar. “Spuren der Tanszendenz” (text in German). Unsere Zeitung, no. 3 (May 1990). Review of Martin-Gropius-Bau, Berlin, 1990.

P O rter 1961

Porter, Fairfield. “Art.” Nation 192, no. 17 (April 29, 1961): pp. 378–79. Review of Sidney Janis Gallery, New York, April 1961.

P O wer 1977

Power, Kevin. “Robert Motherwell.” Arts Review (London) 29, no. 21 (October 14, 1977): pp. 618, 640. Review of Royal Scottish Academy, Edinburgh, 1977.

Preble and Preble 1994

Preble, Duane, and Sarah Preble. Artforms: An Introduction to the Visual Arts. 5th ed. New York: HarperCollins College, 1994.

Preble, Preble, and Frank 1999

Preble, Duane, Sarah Preble, and Patrick Frank. ArtForms: An Introduction to the Visual Arts. 6th ed. New York: Addison-Wesley, 1999.

Preble, Preble, and Frank 2002

Preble, Duane, Sarah Preble, and Patrick Frank. Artforms: An Introduction to the Visual Arts. Revised by Patrick Frank. 7th ed. Upper Saddle River, N.J.: Prentice Hall, 2002.

Pre S t O n 1949

Preston, Stuart. “Early Exhibitions: Group Shows of Moderns—Work by Indians.” New York Times, September 18, 1949, sec. 2, p. 12. Review of Samuel M. Kootz Gallery, New York, September 1949.

Pre S t O n 1950a

Preston, Stuart. “Among the Early Shows.”

New York Times, September 17, 1950, sec. B, p. 9. Review of Samuel M. Kootz Gallery, New York, [September] 1950.

Pre S t O n 1950b

Preston, Stuart. “Artists of Today: Recent Painting by Ernst, Motherwell and Others.”

New York Times, November 19, 1950, sec. 2, p. 10. Review of Samuel M. Kootz Gallery, New York, November 1950.

Pre S t O n 1950c

Preston, Stuart. “Cape and City Shows.”

New York Times, August 27, 1950, sec. 2, p. 8. Review of Hawthorne Memorial Gallery, Provincetown Art Association, Mass., 1950.

Pre S t O n 1950d

Preston, Stuart. “Diverse Modernism: Vivin, French ‘Primitive’—Recent Abstraction.”

New York Times, January 1, 1950, sec. 2, p. 8. Review of Samuel M. Kootz Gallery, New York, December 1949.

P[re S t O n] 1950e

P[reston], S[tuart]. “Janet Marren Has Exhibition of Oils: Her First One-Man Show at the Roko Gallery Is Marked by a Tactful Use of Color.” New York Times, September 22, 1950, sec. 1, p. 29. Review of Argent Gallery, New York, 1950.

P[re S t O n] 1951a

P[reston], S[tuart]. “Art Shows Thrive in Galleries Here: Variety of Displays Continues Heavy—Abstracts Exhibition on View at the Kootz.” New York Times, March 9, 1951, sec. 1, p. 23. Review of Samuel M. Kootz Gallery, New York, Male + Female, March 1951.

Pre S t O n 1951b

Preston, Stuart. “Chiefly Abstract: New One-Man Exhibitions Exploit Variety.” New York Times, April 8, 1951, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, 5 x 6, March 1951.

P[re S t O n] 1952a

P[reston], S[tuart]. “Avant Garde Art Is Exhibited Here: 2 Group Shows by Americans and Work of Contemporary French Painter on View.” New York Times, April 26, 1952, p. 18. Review of Samuel M. Kootz Gallery, New York, 7 Invited to South America, April 1952.

Pre S t O n 1952b

Preston, Stuart. “Primitive to Modern: Sculpture of Old Mexico—David Smith— Buffet.” New York Times, April 6, 1952, sec. 2, p. 11. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell: Paintings, Drawings, and Collages, April 1952.

Pre S t O n 1953

Preston, Stuart. “Of Several Centuries.” New York Times, April 12, 1953, sec. 2, p. 9. Review of Samuel M. Kootz Gallery, New York, April 1953.

Pre S t O n 1959a

Preston, Stuart. “Art: Many Viewpoints; New Shows Run the Gamut of Twentieth Century’s Styles and Schools.” New York Times, January 10, 1959, p. 15. Review of Sidney Janis Gallery, New York, January 1959.

Pre S t O n 1959b

Preston, Stuart. “The Many Faces of Painting and Sculpture.” New York Times, March 15, 1959, sec. 2, p. 18. Review of Sidney Janis Gallery, New York, March 1959.

Pre S t O n 1980

Preston, Malcolm. “Art Review: The East End ‘Rebels’ on Exhibit.” New York Newsday, September 9, 1980, pt. 2, p. 31. Review of Parrish Art Museum, Southampton, N.Y., 1980.

Prial 1977

Prial, Frank J. “Mouton: Art Within and Without.” New York Times, May 18, 1977, sec. C, p. 15.

Price 1972

Price, Vincent. The Vincent Price: Treasury of American Art. Entry “Robert Motherwell,” pp. 284–85. Waukesha, Wis.: Country Beautiful, 1972.

Princet O n a lumni w eekly 1973

Princeton Alumni Weekly 73, no. 13 (January 23, 1973): cover.

Pr OV incet O wn a dVO cate 1949

“Forum 49 Spotlights Early Pioneers in Modern Movement in American Art.”

Provincetown Advocate, June 30, 1949, p. 1. Review of Gallery 200, Provincetown, Mass., 1949.

Pr OV incet O wn a dVO cate 1957

“Motherwell Show at HCE Gallery.”

Provincetown Advocate, August 1, 1957.

Pyth O ud 1990

Pythoud, Laurence. “Paris: Robert Motherwell” (text in French). L’Oeil, no. 423 (October 1990): p. 97. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

q in 1996

Qin, Zhao-Kai. “The Influence of Oriental Art and Ideas on Robert Motherwell’s Work: An Investigation of Certain Affinities between His Work and Chinese and Japanese Calligraphy and Ink Painting” (includes artist’s statements). M.A. thesis, Virginia Commonwealth University, 1996.

q uantrill 1978

Quantrill, Malcolm. “London” (includes artist’s statements). Art International 22, no. 3 (March 1978): pp. 43–49. Review of Royal Academy of Arts, London, 1978.

q ua S t 2003

Quast, Antje. “Mallarmé Topoi in the Work of Robert Motherwell” (includes artist’s statements). Translated by Julia Bernard. Word & Image 19, no. 4 (October–December 2003): pp. 314–26.

q uick P O cket n ew S w eekly 1951 “A New Art Medium.” Quick Pocket News Weekly 5, no. 18 (October 29, 1951): p. 44.

r à FO l S - c a S amada 1996

Ràfols-Casamada, Albert. “Proximidad de Motherwell” (text in Spanish). Arte y Parte, no. 5 (October–November 1996): pp. 17–20.

r ag O n 1969

Ragon, Michel. Vingt-cinq ans d’art vivant: Chronique vécue de l’art contemporain de l’abstraction au pop art, 1944–1969 (text in French; interview with the artist). [Paris]: Casterman, 1969.

r ai S er et al. 1972

Raiser, William, Arthur Elrod, and Ernest A. Grunsfeld III. “The Quintessential Design for Art.” Architectural Digest 28, no. 6 (May–June 1972): pp. 12–23.

r atcli FF 1973

Ratcliff, Carter. “New York Letter.” Art International 17, no. 1 (January 1973): pp. 58–63.

r atcli FF 1975

Ratcliff, Carter. “New York.” Art Spectrum 1, no. 3 (March 1975): pp. 32–35. Review of Knoedler & Company, New York, January 1975.

r atcli FF 1976

Ratcliff, Carter. “New York Letter.” Art International 10, nos. 3–4 (March–April 1976): pp. 67–75. Review of Knoedler & Company, New York, 1976.

r atcli FF 1987

Ratcliff, Carter. “Architectural Digest Visits: Andy Williams.” Architectural Digest 35, no. 7 (July 1987): pp. 40–47, 139.

r atcli FF 1983

Ratcliff, Carter. “Motherwell: A Passion for a Literate Art.” Vogue 173, no. 10 (October 1983): p. 92. Review of Albright-Knox Art Gallery, Buffalo, 1983.

r atcli FF 1996

Ratcliff, Carter. The Fate of a Gesture: Jackson Pollock and Postwar American Art. New York: Farrar, Straus, Giroux, 1996.

r attemeyer 2009

Rattemeyer, Christian. The Judith Rothschild Foundation: Contemporary Drawings Collection; Catalogue Raisonné. New York: Museum of Modern Art, 2009.

r aV enal 2007

Ravenal, John B. Modern & Contemporary Art at the Virginia Museum of Fine Arts. Richmond: Virginia Museum of Fine Arts, 2007.

r ay 1966

Ray, Muriel. “The Cover Picture.” Instructor 75, no. 6 (February 1966): pp. 4–5.

r aym O nt 1963

Raymont, Henry. “National Gallery Opens its Doors to Modern Art.” New York Times, December 18, 1963, p. 37. Review of National Gallery of Art, Washington, D.C., 1963.

r aym O nt 1968

Raymont, Henry. “Viking to Publish a Vast Modern-Art Series: Texts By and About Artists to Appear over 12 Years” (interview with the artist). New York Times, June 6, 1968, sec. C, p. 55.

r ayn O r 1974a

Raynor, Vivien. “A Preview of the New Hirshhorn Museum.” New York Times, July 14, 1974, sec. 2, pp. 1, 14. Review of Joseph H. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., 1974.

r ayn O r 1974b

Raynor, Vivien. “A Talk with Robert Motherwell” (interview with the artist). Artnews 73, no. 4 (April 1974), pp. 50–52.

r ayn O r 1978a

Raynor, Vivien. “A Well-Traveled Collection.”

New York Times, January 29, 1978, sec. 23, p. 12. Review of Yale University Art Gallery, New Haven, Conn., 1977.

r ayn O r 1978b

Raynor, Vivien. “Notes on Some Native Sons.” New York Times, February 5, 1978, sec. 23, p. 10. Review of Carlson Gallery, University of Bridgeport, Conn., 1978.

r ayn O r 1979

Raynor, Vivien. “Motherwell Fuses Color and Expression” (includes artist’s statements). New York Times, April 15, 1979, sec. 23, p. 14. Review of William Benton Museum of Art, University of Connecticut, Storrs, 1979.

r ayn O r 1982

Raynor, Vivien. “Milton Avery: Paintings on Paper at the Whitney.” New York Times, October 10, 1982, sec. 23, p. 26. Review of Stamford Museum & Nature Center, Conn., 1982.

r ayn O r 1983a

Raynor, Vivien. “Artists Champion Other Artists.” New York Times, January 30, 1983, sec. 23, p. 18. Review of Wadsworth Atheneum, Hartford, Conn., 1983.

r ayn O r 1983b

Raynor, Vivien. “Works of State Residents Shine in 3 Shows.” New York Times, October 2, 1983, sec 23, p. 24. Review of Whitney Museum of American Art, Fairfield County, Stamford, Conn., 1983.

r ayn O r 1984a

Raynor, Vivien. “Art: Hiroshige Prints at I.B.M. Gallery.” New York Times, May 4, 1984, sec. C, p. 28. Review of Hirschl & Adler Modern and Hirschl & Adler Galleries, New York, 1984.

r ayn O r 1984b

Raynor, Vivien. “The Collages of Robert Motherwell.” New York Times, October 12, 1984, sec. C, pp. 1, 21. Review of Knoedler & Company, New York, October 1984.

r ayn O r 1986

Raynor, Vivien. “Art: Scanning Career of Georgia O’Keeffe.” New York Times, May 2, 1986, sec. C, p. 30. Review of Knoedler & Company, New York, April 1986.

r ayn O r 1987

Raynor, Vivien. “Art: ‘The Window’ in 20thCentury Works.” New York Times, January 2, 1987, sec. C, p. 19. Review of Neuberger Museum of Art, State University of New York at Purchase, 1986.

r ayn O r 1994

Raynor, Vivien. “A Painter Who Patiently Tried to Explain What He Did” (book review). New York Times, February 20, 1994, sec. 13, p. 18.

r ayn O r 1995

Raynor, Vivien. “Private Collections in the Spotlight.” New York Times, April 16, 1995, sec. 13, p. 14. Review of Neuberger Museum of Art, State University of New York at Purchase, 1995.

r ead 1970

Read, Charles. “Robert Motherwell Comes to St. Paul’s School to Find ‘A Receptive and Eager Audience’ ” (includes artist’s statement). Pelican 25, no. 9 (February 11, 1970): pp. 1, 3.

r eading e agle 1969

“Museum Aids Abstract Expressionism.”

Reading Eagle (Pa.), July 13, 1969, p. 50. Review of Museum of Modern Art, New York, June 1969.

r éalité S n O u V elle S e X h. cat. 1947

Réalités nouvelles (exhibition catalogue). Paris: Comité du Salon des Réalités Nouvelles, 1947.

r [ebell O ] 1985

R[ebello], S[tephen]. “Vintage Art.” Saturday Review, January–February 1985, p. 13. Review of the circulating exhibition at Corcoran Gallery of Art, Washington, D.C., December 1984 (see Château Mouton Rothschild, Pauillac, France, 1981).

r ec O rd american 1966

“Painter Defends Mural Depicting JFK Shooting” (includes artist’s statements). Record American (Boston), August 13, 1966, p. 8.

r [eed] 1945

R[eed], J[udith] K[aye]. “Kootz Opens Gallery.” Art Digest 19, no. 19 (August 1, 1945): p. 9. Review of Samuel M. Kootz Gallery, New York, July 1945.

r eed 1946

Reed, Judith Kaye. “Moderns at Kootz.” Art Digest 20, no. 20 (September 15, 1946): p. 11. Review of Samuel M. Kootz, New York, September 1946.

r eed 1947

Reed, Judith Kaye. “Without Flattery.” Art Digest 21, no. 20 (September 15, 1947): p. 10. Review of Samuel M. Kootz Gallery, New York, Women, September 1947.

r [eed] 1949

R[eed], J[udith] K[aye]. “Kootz Circus.” Art Digest 24, no. 3 (November 1, 1949): p. 14. Review of Samuel M. Kootz Gallery, New York, The Birds & the Beasts, October 1949.

r [eed] 1951

R[eed], P[rudence] B. “Reviews and Previews.” Artnews 50, no. 6 (October 1951): p. 45. Review of Samuel M. Kootz Gallery, New York, October 1951.

r egan 1984

Regan, Kate. “Messages from Motherwell” (includes artist’s statements). San Francisco Chronicle, April 29, 1984, sec. Review, p. 12. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

r egan 1987

Regan, Sue. “Guests Get Glimpse of Artistic Process” (includes artist’s statements). Greenwich Time, May 17, 1987, sec. B, p. 1.

r ei F 1981a

Reif, Rita. “Recent Art Brings Record Auction Prices.” New York Times, May 19, 1981, sec. C, p. 8.

r ei F 1981b

Reif, Rita. “Records Set in Postwar Art.” New York Times, August 28, 1981, sec. C, p. 19.

r ei F 1982a

Reif, Rita. “Auction Prices for Quality Works Holding Firm.” New York Times, May 24, 1982, sec. C, p. 17.

r ei F 1982b

Reif, Rita. “Silver Linings at 2 Galleries.” New York Times, July 16, 1982, sec. C, p. 26.

r ei F 1983

Reif, Rita. “Painting Draws $506,000.” New York Times, November 9, 1983, sec. C, p. 24.

r ei F 1984

Reif, Rita. “De Kooning Work Sold.” New York Times, November 2, 1984, sec. C, p. 23.

r einhardt 1954

Reinhardt, Ad. “The Artist in Search of an Academy, Part Two: Who Are the Artists?” College Art Journal 13, no. 4 (summer 1954): pp. 314–15.

r ei SS 1951

Reiss, Lionel. “Art for the Synagogue.” Reconstructionist 17, no. 12 (October 19, 1951): pp. 27–29. Review of Samuel M. Kootz Gallery, New York, October 1951.

r en O 1962

Reno, Doris. “He Paints–What You Don’t See” (interview with the artist). Miami Herald, January 24, 1962, sec. C, p. 2.

r en S e 1982

Rense, Paige, ed. Architectural Digest: The Collectors. Los Angeles: Knapp Press, 1982.

r e VSO n 1985

Revson, James A. “Razing the Roof Where Motherwell Once Lived” (interview with the artist). Newsday, June 6, 1985, pt. 3, pp. 4–5.

r ice 1957

Rice, Dustin. “Art: Second-Generation.” Village Voice 2, no. 30 (May 22, 1957): p. 9. Review of Sidney Janis Gallery, New York, May 1957.

r ichard 1984

Richard, Paul. “Hesitation at the Brink” (includes artist’s statements). Washington Post, September 16, 1984, sec. D, pp. 1, 12–13. Review of the traveling exhibition at Corcoran Gallery of Art, Washington, D.C., September 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

r ichard SO n 2001

Richardson, Margaret. “Robert Motherwell’s Use and Understanding of Oriental Art” (includes artist’s statements). Virginia Review of Asian Studies 3 (fall 2001): pp. 241–63.

r iley 1944a

Riley, Maude. “Fifty-seventh Street in Review.” Art Digest 18 (May 15, 1944): p. 18. Review of Art of This Century, New York, April 1944.

r [iley] 1944b

R[iley], M[aude]. “Whither Goes Abstract and Surrealist Art?” Art Digest 19, no. 5 (December 1, 1944): pp. 8, 31. Review of Mortimer Brandt Gallery, New York, 1944.

r [itter] 1952

R[itter], C[hris]. “Fifty-seventh Street in Review.” Art Digest 27, no. 5 (December 1, 1952): p. 17. Review of Samuel M. Kootz Gallery, New York, November 1952.

rO bb r e PO rt 1984

Robb Report 8, no. 5 (May 1984): cover.

rO bert S 1963

Roberts, Colette. “Lettre de New York” (text in French). Aujourd’hui 7, no. 40 (January 1963): pp. 54–55. Review of Sidney Janis Gallery, New York, December 1962.

rO bert S 1966

Roberts, Keith. “Current and Forthcoming Exhibitions.” Burlington Magazine 108, no. 758 (May 1966): pp. 273–77. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

rO bert S 1978

Roberts, Keith. “London.” Burlington Magazine 120, no. 900 (March 1978): pp. 174–78, 180. Review of Royal Academy of Arts, London, 1978.

rO bert SO n 1964

Robertson, Bryan. “The Spirit of a Decade.” Times (London), April 28, 1964, p. 15. Review of Tate Gallery, London, April 1964.

rO bert SO n 1965

Robertson, Bryan. “Robert Motherwell v. American and European Culture.” Times (London), October 19, 1965, p. 16. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

rO bert SO n 1966a

Robertson, Bryan. “From a Notebook on Robert Motherwell.” Studio International 171, no. 875 (March 1966): pp. 89–93.

rO bert SO n 1966b

Robertson, Bryan. “Robert Motherwell” (book review). Studio International 172, no. 883 (November 1966): n.p.

rO bert SO n 1986

Robertson, Nan. “Artists in Old Age: The Fires of Creativity Burn Undiminished.” New York Times, January 22, 1986, pp. C1, C10 (includes artist’s statements).

rO bert SO n 1991

Robertson, Bryan. “Robert Motherwell” (obituary; includes artist’s statements). Independent (London), July 19, 1991, p. 25.

rO bert S -Pullen 1997

Roberts-Pullen, Paulette. “Action Art.” Style Weekly, November 25, 1997, p. 55. Review of Marsh Art Gallery, George M. Modlin Center for the Arts, University of Richmond, Va., 1996.

rO bin SO n and w ilke S 1991

Robinson, Walter, and Anastasia Wilkes, comps. “Obituaries” (obituary; includes artist’s statements). Art in America 79, no. 9 (September 1991): p. 160.

rO b SO n 1990

Robson, Deirdre. “The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance.” Archives of American Art Journal 30, no. 1 (1990): pp. 113–18.

rO dari 1988

Rodari, Florian. Collage: Pasted, Cut, and Torn Papers. New York: Rizzoli International, 1988.

rO mdahl 1976

Romdahl, Margareta. “Pionjär i maleri pa Kulturhuset” (text in Swedish). [Dagens Nyheter], [December] 1976. Review of the traveling exhibition at Galleriet Kulturhuset, Stockholm, November 1976 (see Städtische Kunsthalle Düsseldorf, 1976).

rOS and 1985

Rosand, David. “Voyages of Discovery” (includes artist’s statements). Times Literary Supplement (London), January 25, 1985, p. 93. Review of Solomon R. Guggenheim Museum, New York, 1984.

rOS and 1997

Rosand, David. “ ‘My I’: Toward an Iconography of the Self.” In Robert Motherwell on Paper: Drawings, Prints, Collages (exhibition catalogue), pp. 13–38. New York: Harry N. Abrams, in association with the Miriam and Ira D. Wallach Art Gallery, Columbia University, 1997. See entry in List of Exhibitions.

rOS e 1964

Rose, Barbara. “New York Letter.” Art International 8, no. 1 (February 15, 1964): pp. 40–41. Review of Jewish Museum, New York, 1963.

rOS e 1967

Rose, Barbara. American Art since 1900: A Critical History (includes artist’s statements). New York: Frederick A. Praeger, 1967.

rOS e 1968

Rose, Barbara, ed. Readings in American Art since 1900: A Documentary Survey (includes artist’s statements). New York: Praeger, 1968.

rOS e 1969

Rose, Barbara. “Art: Openness and Robert Motherwell, ‘an Infallible Eye.’ ” Vogue 154, no. 2 (August 1, 1969): p. 62.

rOS e 1970

Rose, Barbara. American Painting: The 20th Century. Edited by Alexis Gregory. Geneva: Albert Skira, 1970.

rOS e 1971

Rose, Barbara. “Mondrian in New York.” Artforum 10, no. 4 (December 1971): pp. 54–63.

rOS e 1972

Rose, Barbara. “Robert Motherwell: Young Old Master.” Vogue 160, no. 8 (November 1, 1972): p. 54.

rOS e 1975

Rose, Barbara. American Art since 1900: Revised and Expanded Edition (includes artist’s statements). 2nd ed. New York: Praeger, 1975.

rOS e 1982

Rose, Barbara. Miró in America (exhibition catalogue; includes artist’s statements). Essays by Judith McCandless and Duncan Macmillan. Houston: Museum of Fine Arts, Houston, 1982.

rOS e 1986

Rose, Barbara. American Painting: The Twentieth Century. 2nd ed. Geneva: Editions d’Art Albert Skira; New York: Rizzoli International, 1986.

rOS e 1991

Rose, Barbara. “A Letter to Robert Motherwell Never Mailed.” Journal of Art 4, no. 7 (September 1991): p. 8.

rOS e and Sandler 1967

Rose, Barbara, and Irving Sandler. “Sensibility of the Sixties” (includes artist’s statements). Art in America 55, no. 1 (January–February 1967): pp. 44–57.

rOS enberg 1961

Rosenberg, Harold. “Art in Orbit.” Artnews 60, no. 6 (October 1961): pp. 22–25, 54, 57. Review of Museu de Arte Moderna, São Paulo, Brazil, 1961.

rOS enberg 1963

Rosenberg, Harold. “Art and Identity: The Unfinished Masterpiece.” New Yorker 38, no. 46 (January 5, 1963): pp. 70–77.

rOS enberg 1964

Rosenberg, Harold. The Anxious Object: Art Today and Its Audience. New York: Horizon Press, 1964.

rOS enberg 1969

Rosenberg, Harold. “The Art World: Moma’s Napas.” New Yorker 45, no. 32 (September 27, 1969): pp. 102–12. Review of Museum of Modern Art, New York, June 1969.

rOS enberg 2010

Rosenberg, Karen. “Audacious Expressions on the Walls of the Temple.” New York Times, April 8, 2010, sec. C, p. 28. Review of Jewish Museum, New York, 2010.

rOS enberg and Fliegel 1965

Rosenberg, Bernard, and Norris Fliegel. The Vanguard Artist: Portrait and Self-Portrait Chicago: Quadrangle Books, 1965.

rOS enblum et al. 2004

Rosenblum, Robert, Phillip Dennis Cate, Martin Eidelberg, Alice Cooney Frelinghuysen, Henry Hawley, Anne H. Hoy, Pepe Karmel, Lauren Kogod, Amy F. Ogata, Gail Stavitsky, Philippe Thiébaut, and Christian WittDöring. The Kogod Collection. Introduction by Stephanie Rachum. [Washington, D.C.]: Robert P. and Arlene R. Kogod, 2004.

rOS enthal 1996

Rosenthal, Mark. Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline (exhibition catalogue). New York: Guggenheim Museum, 1996.

rOSS 1990

Ross, Clifford, ed. “Robert Motherwell” (includes artist’s statements). In Abstract Expressionism: Creators and Critics; An Anthology, pp. 102–119. New York: Harry N. Abrams, 1990.

rOSS 1998

Ross, Val. “AGO Unveils Motherwell Collection” (includes artist’s statements). Globe and Mail (Toronto), September 30, 1998, sec. C, pp. 1, 3.

rOS well 1982

Roswell, Clint. “Pioneering Artists’ Top Abstract Show.” Fairfield, October 3, 1982, sec. F, p. 9. Review of Stamford Museum & Nature Center, Conn., 1982.

rO th S child 1978a Rothschild, Ilene. “At Home: With the Motherwells” (interview with the artist). Fairfield County 8, no. 1 (January 1978): pp. 2, 48–50.

rO th S child 1978b

Rothschild, Judith. “Summer ’78: Provincetown Journal.” Art/World, September 22–October 15, 1978, p. 15.

r uben F eld 1997

Rubenfeld, Florence. Clement Greenberg: A Life. New York: Scribner, 1997.

r ubin 1958a

Rubin, William S. “The New York School— Then and Now: Part I.” Art International 2, nos. 2–3 (March–April 1958): pp. 23–26.

r ubin 1958b

Rubin, William S. “The New York School— Then and Now: Part II.” Art International 2, nos. 4–5 (May–June 1958): pp. 19–22.

r ubi O 1980

Rubio, Javier. “Robert Motherwell y la Escuela De Nueva York” (text in Spanish). Blanco y Negro (Madrid), April 13, 1980, pp. 20–21. Review of the traveling exhibition at Fundación Juan March, Madrid, April 1980 (see Centro Cultural de la Caixa de Pensions, Barcelona, 1980).

r uden S tine 1985

Rudenstine, Angelica Zander. Peggy Guggenheim Collection,Venice, The Solomon R. Guggenheim Foundation (includes interview with the artist). Foreword by Peter Lawson-Johnston; preface by Thomas M. Messer. New York: Harry N. Abrams, in association with Solomon R. Guggenheim Foundation, 1985.

r uhe 1987

Ruhe, Barnaby. “Motherwell at Knoedler.” Art/World 11, no. 8 (May 15–June 15, 1987): pp. 1, 6. Review of Knoedler & Company, New York, May 1987.

r uhrberg 1992

Ruhrberg, Karl. Die Malerei in Europa und Amerika, 1945–1960: Die Zweite Moderne (text in German). Entry 28, “Robert Motherwell,” pp. 104–5. Cologne, Germany: DuMont Buchverlag, 1992.

r uhrberg 1996

Ruhrberg, Karl. Alfred Schmela: Galerist— Wegbereiter der Avantgarde (text in German). Contributions by Axel Wendelberger and Elfriede Ruhrberg. Cologne: Wienand Verlag, 1996.

r u SS ell 1959

Russell, John. “The ‘New American Painting’ Captures Europe.” Horizon 2, no. 2 (November 1959): pp. 32–41, 120–21.

r u SS ell 1970

Russell, Paul. “A Severe Tone Pervades Mirvish Gallery Show.” Toronto Daily Star, December 12, 1970, p. 59. Review of David Mirvish Gallery, Toronto, December 1970.

r u SS ell 1975

Russell, John. The Meanings of Modern Art Vol. 10, “America Redefined.” New York: Museum of Modern Art, 1975.

r u SS ell 1976a

Russell, John. “Art: A Fine Omen for New Season.” New York Times, September 24, 1976, sec. C, p. 16. Review of Gruenebaum Gallery, New York, 1976.

r u SS ell 1976b

Russell, John. “Monet’s Reputation on Top This Time.” New York Times, October 29, 1976, sec. C, p. 15. Review of Robert Elkon Gallery, New York, 1976.

r u SS ell 1977

Russell, John. “Art: Masters of Collage.” New York Times, November 25, 1977, sec. C, p. 18. Review of Andrew Crispo Gallery, New York, 1977.

r u SS ell 1978

Russell, John. “A Saturday Guide to Gallery Hopping.” New York Times, April 28, 1978, sec. C, pp. 1, 15. Review of Knoedler & Company, New York, 1978.

r

u SS ell 1980

Russell, John. “Art: Modern Museum Stages Motherwell Show.” New York Times, October 31, 1980, sec. C, p. 22.

r u SS ell 1984

Russell, John. “Art: From Motherwell, Biography and History.” New York Times, December 7, 1984, sec. C, p. 22. Review of Solomon R. Guggenheim Museum, New York, 1984.

r u SS ell 1987

Russell, John. “Art: Guigou’s Depictions of His Beloved Provence.” New York Times, May 8, 1987, sec. C, p. 24. Review of Knoedler & Company, New York, May 1987.

r u SS ell 1989

Russell, John. “Life’s Carnival, by Old Masters.” New York Times, May 5, 1989, sec. C, p. 29. Review of Knoedler & Company, New York, April 1989.

r u SS ell 1993

Russell, John. “Baudelaire as Painterly Inspiration.” New York Times, October 15, 1993, sec. C, p. 22. Review of Heckscher Museum, Huntington, N.Y., 1993.

r u SSO 2005

Russo, John Paul. The Future without a Past: The Humanities in a Technological Society Columbia: University of Missouri Press, 2005, cover.

ryan 1983

Ryan, Margaret. “Two Exhibits Celebrate Joyce” (includes artist’s statements). Advocate, June 2, 1983, pp. 11, 21. Review of Provincetown Art Association and Museum, Mass., 1983.

rykwert 1966

Rykwert, Joseph. “Mostre a Londra” (text in Italian). Domus, no. 439 (June 1966): p. 31.

Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

S. 2004

H.M.S. “Robert Motherwell” (text in German). Heinz, November 2004, p. 44. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

S. 2005

H.M.S. “Gefühl mit verstand: Robert Motherwell” (text in German). Heinz, January 2005. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

Sach S 2006

Sachs, Brita. “Andy rosarot im Textilviertel” (text in German). Frankfurter Allgemeine Zeitung, May 23, 2006, p. 43.

Salcman 2007

Salcman, Michael. The Clock Made of Confetti Alexandria, Va.: Orchises Press, 2007.

Samuel SO n 1985a

Samuelson, Marnie. “An Artist’s Place in the Sun.” Cape Cod Times, July 15, 1985.

Samuel SO n 1985b

Samuelson, Marnie. “Close-up on the Creativity of Poet Stanley Kunitz: Artists Exhibit Works Inspired by His Writings” (includes artist’s statements). Cape Cod Times, July 15, 1985, p. 3. Review of Long Point Gallery, Provincetown, Mass., 1985.

S[andler] 1959

S[andler], I[rving] H[ershel]. “Reviews and Previews.” Artnews 58, no. 2 (April 1959): p. 10. Review of Sidney Janis Gallery, New York, March 1959.

Sandler 1961a

Sandler, Irving H. “Robert Motherwell.” Art International 5, nos. 5–6 (June–August 1961): pp. 43–44. Review of Sidney Janis Gallery, New York, April 1961.

S[andler] 1961b

S[andler], I[rving] H[ershel]. “Reviews and Previews.” Artnews 60, no. 4 (summer 1961): p. 10. Review of Sidney Janis Gallery, New York, May 1961.

S[andler] 1962

S[andler], I[rving] H[ershel]. “Reviews and Previews.” Artnews 61, no. 4 (summer 1962): p. 16. Review of Sidney Janis Gallery, New York, May 1962.

Sandler 1963a

Sandler, Irving. “In the Art Galleries.” New York Post, December 29, 1963, sec. Magazine, p. 14. Review of Jewish Museum, New York, 1963.

Sandler 1963b

Sandler, Irving Hershel. “New York Letter.” Quadrum: Revue internationale d’art moderne 14 (1963): pp. 115–24.

Sandler 1964

Sandler, Irving. “In the Art Galleries.” New York Post, February 2, 1964, p. 40. Review of Solomon R. Guggenheim Museum, New York, January 1964.

Sandler 1965

Sandler, Irving. “The Club: How the Artists of the New York School Found Their First Audience—Themselves.” Artforum 4, no. 1 (September 1965): pp. 27–31.

Sandler 1970

Sandler, Irving. “Robert Motherwell” (includes artist’s statements). Chap. 6 in The Triumph of American Painting: A History of Abstract Expressionism. New York: Praeger, 1970.

Sandler 2003

Sandler, Irving. A Sweeper-Up after Artists: A Memoir (includes artist’s statements). New York: Thames and Hudson, 2003.

Sandler 2009

Sandler, Irving. Abstract Expressionism and the American Experience: A Reevaluation. New York: Hard Press Editions, 2009.

Sandler et al. 1972

Sandler, Irving, Edward F. Fry, John Russell, R.W.D. Oxenaar, Lawrence Alloway, Jan van der Marck, George Rickey, and Henry Geldzahler. Contemporary Art, 1942–72: Collection of the Albright-Knox Art Gallery Essay “Abstract Expressionism” (includes artist’s statements), by Irving Sandler. New York: Praeger, 1972.

San Franci S c O eX aminer 1967

“Preview of New Museum Exhibit.” San Francisco Examiner, February 23, 1967, p. 24.

San g abriel Valley h erald 1984

“Art Museum Presents Motherwell.” Greater San Gabriel Valley Herald, January 12, 1984, p. 3. Review of Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

San m arin O t ribune and San m arin O n ew S 1984

“ ‘Robert Motherwell’ Retrospective Opens.” San Marino Tribune and News, January 5, 1984.

Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

San m ate O t ime S 1984

“The Abstract Art of Robert Motherwell.” San Mateo Times, April 12, 1984, sec. B, p. 7. Review of Gallery 30, San Mateo, Calif., 1984.

Santiag O 1998

Santiago, Chiori. “Museums Scoop Up Motherwells.” Artnewsletter 23, no. 12 (February 10, 1998): pp. 3–4.

Sardà 2009

Sardà, Elisabet Goula. “ ‘Someone Who Did Not Forget’: The Reception of Robert Motherwell’s Elegies to the Spanish Republic in Spain.” Trans. Julie Wark. Revista Forma 00 (fall 2009): pp. 77–91.

Sardar 2009

Sardar, Zahid. “S.F. Decorator Showcase Spotlights Art.” San Francisco Chronicle, May 10, 2009.

SaVage 1989

Savage, Brenda. “Making a Getaway.” Palm Beach Life 82, no. 8 (August 1989): pp. 10–11.

S[awin] 1957

S[awin], M[artica]. “In the Galleries.” Arts 31, no. 10 (September 1957): p. 56. Review of Sidney Janis Gallery, New York, May 1957.

Sawin 1988

Sawin, Martica. “ ‘The Third Man,’ or Automatism American Style” (includes artist’s statements). Art Journal 47, no. 3 (fall 1988): pp. 181–86.

Sawin 1995

Sawin, Martica. Surrealism in Exile and the Beginning of the New York School. Cambridge, Mass.: MIT Press, 1995.

Sawyer 1957a

Sawyer, Kenneth B. “The Exceptional Robert Motherwell.” Baltimore Sun, August 18, 1957, sec. A, p. 14. Review of Sidney Janis Gallery, New York, May 1957.

Sawyer 1957b

Sawyer, Kenneth B. “The Season at Provincetown.” Baltimore Sun, July 28, 1957, sec. A, p. 2.

Sawyer 1965

Sawyer, Kenneth B. “The Grossman Collection: U.S. Collectors of Modern Art—2.” Studio International 169, no. 862 (February 1965): pp. 82–87.

Sayre 1994

Sayre, Henry M. A World of Art (includes artist’s statements). Englewood Cliffs, N.J.: Prentice Hall, 1994.

Sayre 1997

Sayre, Henry M. A World of Art. 2nd ed. Upper Saddle River, N.J.: Prentice Hall, 1997.

Scar P etta 1977

Scarpetta, Guy. “Les 9 Ateliers de Robert Motherwell” (text in French; includes artist’s statements). Art Press International (Paris) 9 (July 1977): pp. 20–22.

Scar P etta 1978

Scarpetta, Guy. “North-Stars: Carnet de Bord New-Yorkais” (text in French; interview with the artist). Libération (Paris), May 16, 1978, pp. 14, 16.

Scar P etta 1981

Scarpetta, Guy. “Picasso par Robert Motherwell” (text in French; includes artist’s statements). Art Press International (Paris) 50 (July–August 1981): pp. 10–11.

Scar P etta 1989–90

Scarpetta, Guy. “Une Journée dans la vie de Robert Motherwell” (text in French; includes interview with the artist). Globe (Paris), no. 43 (December 1989–January 1990): pp. 114–18.

Scha FF ner 1998

Schaffner, Ingrid, ed. Julien Levy: Portrait of an Art Gallery. Cambridge, Mass.: MIT Press, 1998.

Scherrer 2005

Scherrer, Patrik. Gott in Sicht?: 33 Impulse zum christlichen aus der Pinakothek der Moderne (text in German). Regensburg, Germany: Verlag Schnell & Steiner, 2005.

Schi FF 1961

Schiff, Gert. “The VI Sao Paulo Bienal.” Art International 5, no. 10 (Christmas 1961): pp. 55–64. Review of Museu de Arte Moderna, São Paulo, Brazil, 1961.

Schi FF 1962

Schiff, Gert. “Die Sechste Biennale von São Paulo” (text in German). Das Kunstwerk 7, no. 15 (January 1962): p. 27. Review of Museu de Arte Moderna, São Paulo, Brazil, 1961.

Sch J eldahl 1966

Schjeldahl, Peter. “Art: Summering.” Village Voice 11, no. 40 (July 21, 1966): pp. 11–12. Review of Marlborough-Gerson Gallery, New York, 1966.

Sch J eldahl 1969a

Schjeldahl, Peter. “New York Letter.” Art International 13, no. 8 (October 1969): pp. 74–79. Review of Museum of Modern Art, New York, June 1969.

Sch J eldahl 1969b

Schjeldahl, Peter. “New York Letter.” Art International 13, no. 7 (September 1969): pp. 70–73. Review of Marlborough-Gerson Gallery, New York, 1969.

Sch J eldahl 1974

Schjeldahl, Peter. “O’Hara—Art Sustained Him.” New York Times, March 3, 1974, sec. D, p. 21. Review of Whitney Museum of American Art, New York, 1974.

Sch J eldahl 1975

Schjeldahl, Peter. “Fragments of an Awesome Whole.” New York Times, January 19, 1975, p. 24. Review of Knoedler & Company, New York, January 1975.

Schmidt 1976

Schmidt, Katharina. “Auf das Finden kommt es an zum werk von Robert Motherwell” (text in German; includes artist’s statements). Musik+Medizin 9, no. 76 (September 1976): pp. 77–79. Review of Städtische Kunsthalle Düsseldorf, 1976.

Schmidt 1982

Schmidt, Doris. “Zehntausend Pinselstriche . . . Zum neuen MotherwellSaal in der Staatsgalerie moderner Kunst” (text in German). Süddeutsche Zeitung, November 25, 1982, p. 15.

Schneede 1966

Schneede, Uwe M. “Die Kunst der abwandlung oder: Robert Motherwell” (text in German). Das Kunstwerk 9, no. 19 (March 1966): p. 32.

Sch O enenberger 1961

Schoenenberger, Gualtiero. “La Collection Dotremont à la Kunsthalle, Bâle” (text in French). Art International 5, no. 7 (September 20, 1961): pp. 30–32. Review of Kunsthalle Basel, Switzerland, 1961.

Sch O rr and Sch O rr 2003

Schorr, Lenore, and Herbert Schorr. “Collector’s Call” (letter to the editor). Artforum 41, no. 10 (summer 2003): pp. 18, 20.

Schulman 1999

Schulman, Daniel. “Highlights of the Lannan Collection.” Art Institute of Chicago Museum Studies 25, no. 1 (1999): pp. 12–13, 101. S[chulmann] 1977

S[chulmann], F[rancoise]. “Robert Motherwell Arc 2” (text in French; includes artist’s statements). Esprit, no. 10 (October 1977): pp. 140–42. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

Schulz- hOFF mann et al. 1995 Schulz-Hoffmann, Carla, Peter-Klaus Schuster, Cornelia Stabenow, Ulrich Bischoff, Joachim Kaak, Cathrin KlingsöhrLeroy, Clelia Segieth, and Corinna Thierolf. Staatsgalerie moderner Kunst München: Erläuterungen zu ausgewählten Werke (text in German). Entries “Robert Motherwell,” by Carla Schulz-Hoffmann and Corinna Thierolf, pp. 233–36. Munich: Bruckmann, 1995.

S[chuyler] 1959

S[chuyler], J[ames]. “Review and Previews.” Artnews 57, no. 9 (January 1959): p. 10. Review of Sidney Janis Gallery, New York, January 1959.

Sc O tt 1979

Scott, Martha B. “Connecticut Gets Look at Modern Master, Motherwell.” [Publication unknown], [March] 1979. Review of William Benton Museum of Art, University of Connecticut, Storrs, 1979.

Sc O tt and r utkOFF 1999

Scott, William B., and Peter M. Rutkoff. “Homage to the Spanish Republic: Abstract Expressionism and the New York Avant-Garde.” Chap. 10 in New York Modern: The Arts and the City (includes artist’s statements). Baltimore: Johns Hopkins University Press, 1999.

Sc O tti S h Pre SS 1977

“Arts Focus: Little Seen Motherwell on Show.” Scottish Press (Edinburgh), [October] 1977, p. 15. Review of Royal Scottish Academy, Edinburgh, 1977.

Scully 1991

Scully, Sean. “Robert Motherwell, 1915–1991” (obituary). Artscribe, no. 88 (September 1991): p. 19.

Secunda 1962

Secunda, Arthur. “Los Angeles.” Artforum 1, no. 1 (June 1962): pp. 6–7. Review of Pasadena Art Museum, Calif., February 1962.

Sedgwick 1966

Sedgwick, John P., Jr. Discovering Modern Art: The Intelligent Layman’s Guide to Painting from Impressionism to Pop (includes artist’s statements). New York: Random House, 1966.

Seeley 1950

Seeley, Carol. “On the Nature of Abstract Painting in America.” Magazine of Art 43, no. 5 (May 1950): pp. 163–68.

Seeney 1984

Seeney, Lynn. “Motherwell Collages.” Art/ World 9, no. 1 (October 1984): pp. 1, 8. Review of Knoedler & Company, New York, October 1984.

Seidel 1991

Seidel, Miriam. “Wild Gentleman” (includes artist’s statements). Applause 17 (August 1991): pp. 13–15.

Seitz 1953

Seitz, William. “Spirit, Time and ‘Abstract Expressionism.’ ” Magazine of Art 46, no. 2 (February 1953): pp. 80–87.

Seitz 1955

Seitz, William Chapin. “Abstract Expressionist Painting in America: An Interpretation Based on the Work and Thought of Six Key Figures” (includes artist’s statements). Ph.D. diss., Princeton University, 1955.

Seitz 1963

Seitz, William C. “The Rise and Dissolution of the Avant-Garde” (includes artist’s statements). Vogue 112, no. 4 (September 1, 1963): pp. 182–83, 230–33.

Seitz 1983

Seitz, William C. Abstract Expressionist Painting in America (includes artist’s statements). Foreword by Robert Motherwell. Cambridge, Mass.: Harvard University Press, 1983.

S[eldi S ] 1960

S[eldis], H[enry] J. “Claremont Exhibitions Well Worth the Trip. ” Los Angeles Times, February 28, 1960, sec. G, p. 6. Review of Montgomery Center, Pomona College, Claremont, Calif., 1960.

Seldi S 1962a

Seldis, Henry J. “More Art News.” Los Angeles Times, September 30, 1962, sec. Calendar, p. 27. Review of Pasadena Art Museum, Calif., October 1962.

Seldi S 1962b

Seldis, Henry J. “Pasadena Show Scores a First: Motherwell Retrospective.” Los Angeles Times, February 25, 1962, sec. A, p. 24. Review of Pasadena Art Museum, Calif., February 1962.

Seldi S 1965

Seldis, Henry J. “N.Y. School a Tribute to Independence.” Los Angeles Times, July 4, 1965, sec. C, p. 3. Review of Los Angeles County Museum of Art, 1965.

Seldi S 1970

Seldis, Henry J. “Biennale Message: Protest Art Belongs in the Gallery.” Los Angeles Times, June 28, 1970, sec. E, p. 1.

Seldi S 1974a

Seldis, Henry J. “Distinctive Idiom at UCSB Exhibit.” Los Angeles Times, February 11, 1974, sec. 4, p. 2. Review of Art Galleries, University of California, Santa Barbara, 1974.

Seldi S 1974b

Seldis, Henry J. “Invention Is the Necessity of Motherwell” (includes artist’s statements). Los Angeles Times, December 1, 1974, sec. C, p. 82. Review of Otis Art Institute, Los Angeles, 1974.

Seldi S 1975

Seldis, Henry J. “A Sample of the Summer Palette.” Los Angeles Times, August 11, 1975, sec. 4, p. 3. Review of Ace Gallery, Los Angeles, 1975.

Serraller 1980

Serraller, Francisco Calvo. “Robert Motherwell: ‘La guerra civil española fue un símbolo para mi generación’ ” (text in Spanish; includes artist’s statements). El Pais (Madrid), April 18, 1980, p. 32. Review of the traveling exhibition at Fundación Juan March, Madrid, April 1980 (see Centro Cultural de la Caixa de Pensions, Barcelona, 1980).

S[eu P h O r] 1951a

S[euphor], M[ichel]. “La Peinture Abstraite aux U.S.A.” (text in French; includes artist’s statements). L’Art d’aujourd’hui 2, no. 6 (June 1951): pp. 16–23.

Seu P h O r 1951b

Seuphor, Michel. “Paris New-York 1951” (text in French). L’Art d’aujourd’hui 2, no. 6 (June 1951): pp. 4–15.

Seu P h O r 1957

Seuphor, Michel. Dictionnaire de la peinture abstraite: Precede d’une histoire de la peinture abstraite (text in French). Paris: Fernand Hazan, 1957.

Seu P h O r 1962

Seuphor, Michel. Abstract Painting: Fifty Years of Accomplishment from Kandinsky to the Present 1st ed. New York: Harry N. Abrams, 1962.

Seu P h O r 1964

Seuphor, Michel. Abstract Painting: Fifty Years of Accomplishment from Kandinsky to the Present. 2nd ed. New York: Dell, 1964.

Se V enteen 1949

“A Picture Is a Picture.” Seventeen 8, no. 9 (September 1949): pp. 144–45.

Sewell 1985

Sewell, Carol. “Museum Acquires Motherwell Works.” Fort Worth Star-Telegram, September 1, 1985, pp. 21, 30.

Sha P ir O and Sha P ir O 1990

Shapiro, David, and Cecile Shapiro. Abstract Expressionism: A Critical Record (includes artist’s statements). New York: Cambridge University Press, 1990.

S[har P ] 1949

S[harp], M[arynell]. “Fifty-seventh Street in Review.” Art Digest 24, no. 2 (October 15, 1949): p. 22. Review of Samuel M. Kootz Gallery, New York, Robert Motherwell Collages, 1943–49, October 1949.

S[har P ] 1950

S[harp], M[arynell]. “When Black + White = Color.” Art Digest 24, no. 11 (March 1, 1950): p. 25. Review of Samuel M. Kootz Gallery, New York, February 1950.

S haw-eagle 1985

Shaw-Eagle, Joanna. “Architectural Digest Visits: Helen Frankenthaler.” Architectural Digest 66, no. 5 (March 1985): pp. 170–75.

Shea 2002

Shea, Patricia, ed. Picasso to Pop: The Richard Weisman Collection. Entry “Robert Motherwell,” pp. 66–67. New York: Atelier Press, 2002.

Sheehy 1965

Sheehy, Gail. “Mating Season at the Museums.” New York Herald Tribune, October 17, 1965, sec. 2, p. 3.

Sheet S 2005

Sheets, Hilarie M. “Getting the Hang of It” (book review). Artnews 104, no. 7 (summer 2005): p. 140.

Sheld O n Sw OP e a rt m u S eum 1999

Art since 1950. Terra Haute, Ind.: Sheldon Swope Art Museum, 1999.

Shenker 1971

Shenker, Israel. “Picasso, 90 Today, Assayed by Critic, Curator, 3 Artists” (interview with the artist). New York Times, October 25, 1971, p. 42.

She Pard 1985

Shepard, Richard F. “Bountiful Brooklyn.” New York Times, April 16, 1985, sec. C, p. 15. Review of Museum of the Borough of Brooklyn at Brooklyn College, 1985.

Shere 1984

Shere, Charles. “Motherwell: A Postwar Painter Who Stands Apart.” Oakland Tribune, April 22, 1984, sec. Calendar, p. 4.

Shi FF et al. 2000

Shiff, Richard, Robert Storr, Arthur C. Danto, and Nancy Princenthal. Robert Mangold (includes artist’s statements). London: Phaidon Press, 2000.

Shi P ley 1991

Shipley, Alan. “Tribute to Motherwell.” Modern Painters 4, no. 4 (winter 1991): p. 113.

Shi PP 1986

Shipp, Steve. “Cowboy Artists and America’s Blue Chips.” World Fine Art, October 30, 1986, n.p.

Shi P way 1977

Shipway, Alan. “Motherwell: A Sense of Exuberance.” Student (University of Edinburgh), [October] 1977, sec. Arts, p. 12. Review of traveling exhibition at Royal Scottish Academy, Edinburgh, 1977.

Shirey 1973

Shirey, David L. “Reviews & Previews.” Artnews 72, no. 1 (January 1973): p. 19.

Shirey 1979

Shirey, David L. “Montclair Museum Pays Homage to Collage.” New York Times, May 6, 1979, sec. 11, p. 30. Review of Montclair Art Museum, N.J., 1979.

Shirey 1980

Shirey, David L. “The Image of a Momentous Era.” New York Times, September 7, 1980, sec. 21, p. 14. Review of Parrish Art Museum, Southampton, N.Y., 1980.

Sidney Jani S g allery 1958 10th Anniversary Exhibition from September 29 to November 1, 1958: The Sidney Janis Gallery (brochure). New York: Sidney Janis Gallery, 1958.

S[iegel] 1957

S[iegel], J[eanne]. “Reviews and Previews.” Artnews 56, no. 2 (April 1957): pp. 11–12. Review of Sidney Janis Gallery, New York, April 1957.

Siegel 1972

Siegel, Jeanne. “Reviews and Previews.” Artnews 71, no. 8 (December 1972): pp. 11–12. Review of Lawrence Rubin Gallery, New York, 1972.

Siegel 1984

Siegel, Jeanne. “Robert Motherwell.” Arts Magazine 59, no. 4 (December 1984): p. 6. Review of Knoedler & Company, New York, October 1984.

Sill 1983

Sill, Gertrude Grace. “At Stamford’s Whitney: ‘Live from Connecticut.’ ” Fairfield Citizen News, October 12, 1983, sec. 3, pp. 16–17. Review of Whitney Museum of American Art, Fairfield County, Stamford, Conn., 1983.

SilV er 1991

Silver, Joanne. “Painter Sought Balance: Motherwell Mixed Emotion and Experience.” Boston Herald, July 18, 1991, p. 57.

SilV erman 1984

Silverman, Gene. “Artist Paints Ideas, Not Objects” (includes artist’s statements). Times Herald (Vallejo, Calif.), May 27, 1984, pp. 31–32. Review of the traveling exhibition at the San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

SilV erth O rne 1986

Silverthorne, Jeanne. “Reviews.” Artforum International 25, no. 2 (October 1986): p. 126. Review of Knoedler & Company, New York, April 1986.

Sim O n 1967a

Simon, Sidney. “Concerning the Beginnings of the New York School, 1939–43: An Interview with Peter Busa and Matta, Conducted by Sidney Simon in Minneapolis in December 1966.” Art International 11, no. 6 (summer 1967): pp. 17–20.

Sim O n 1967b

Simon, Sidney. “Concerning the Beginnings of the New York School, 1939–1943: An Interview with Robert Motherwell, Conducted by Sidney Simon in New York in January 1967” (interview with the artist). Art International 11, no. 6 (summer 1967): pp. 20–23.

Sim O n 1969

Simon, Rita. “Robert Motherwell: ‘Open’ Series at Marlborough-Gerson.” Arts Magazine 43, no. 8 (summer 1969): pp. 34–35. Review of Marlborough-Gerson Gallery, New York, 1969.

S J ölin 1998

Sjölin, Jan-Gunnar, ed. Att tolka bilder: Bildtolkningens teori och praktik med exempel pa tolkningar av bilder fran 1850 till i dag (text in Swedish). Lund, Sweden: Studentlitteratur, 1998.

SkO whegan Sch OO l OF Painting and Scul P ture 1984

Visiting Artists (brochure). Skowhegan, Me.: Skowhegan School of Painting and Sculpture, 1984.

Skurka 1974

Skurka, Norma. “Two Levels Beats Five Stories.” New York Times Magazine, July 28, 1974, p. 43.

Sli V ka 1988

Slivka, Rose C. S. “From the Studio.” East Hampton Star, October 20, 1988, sec. II, p. 1. Review of Parrish Art Museum, Southampton, N.Y., 1988.

Sl O ane 1961

Sloane, Joseph C. “On the Resources of NonObjective Art.” Journal of Aesthetics and Art Criticism 19, no. 4 (summer 1961): pp. 419–24.

Smith 1953a

Smith, Wayne C. “Art Objects for Beth El Are Exhibited in New York.” Springfield Union (Mass.), May 23, 1953, p. 28. Review of Samuel M. Kootz Gallery, New York, May 1953.

Smith 1953b

Smith, Wayne C. “Hold of Traditional Lines Broken by New Temple: Artists Given Free Rein.” Springfield Union (Mass.), January 3, 1953, p. 12.

Smith 1953c

Smith, Wayne C. “Restrained ‘Modern’ Style Seen in New Beth El Temple.” Springfield Daily Republican (Mass.), January 4, 1953, sec. D, p. 7.

Smith 1957

Smith, Gordon M. “The Brave Buffalo.” Artnews 56, no. 3 (May 1957): pp. 32, 70.

Smith 1985

Smith, Rosalind. “Stanley Kunitz: Long Point Gallery.” Provincetown Magazine, 1985, p. 29. Review of Long Point Gallery, Provincetown, Mass., 1985.

Smith 1988

Smith, Roberta. “The Exhibition as Art Form and Blood Sport.” New York Times, July 10, 1988, sec. 2, pp. 33, 36. Review of Musée National d’Art Moderne, Centre Georges Pompidou, Paris, 1988.

Smith 1991

Smith, Roberta. “Robert Motherwell’s Achievements.” New York Times, August 26, 1991, sec. C, p. 18.

Smith 1993a

Smith, Roberta. “Restraint and Ebullience in Cuban and Colleagues.” New York Times, January 8, 1993, sec. C, p. 3. Review of Studio Museum in Harlem, New York, 1992.

Smith 1993b

Smith, Roberta. “Works from Iowa and Vassar at the I.B.M. Gallery.” New York Times, August 27, 1993, sec. C, p. 21. Review of IBM Gallery of Science and Art, New York, 1993.

Smith 2008

Smith, Roberta. “A Gallery Debut with Stars of the New York School.” New York Times, September 12, 2008, sec. E, p. 31. Review of Haunch of Venison, New York, 2008.

Smith 2009

Smith, Roberta. “Grand and Intimate Modern Art Trove.” New York Times, May 14, 2009, sec. C, p. 5.

Smith cO llege m u S eum OF a rt 1986

Smith College Museum of Art. A Guide to the Collections: Smith College Museum of Art Northampton, Mass.: Smith College Museum of Art, 1986.

Smith cO llege m u S eum OF a rt

n ew S letter and c alendar 1996

“Acquisitions: Museum Acquires Motherwell Paintings, Drawing.” Smith College Museum of Art Newsletter and Calendar, spring–summer 1996, cover, n.p.

Smith SO nian 1980 “Smithsonian Highlights.” Smithsonian, May 1980, p. 172.

S O by 1948

Soby, James Thrall. Contemporary Painters New York: Museum of Modern Art, 1948.

S O by 1953

Soby, James Thrall. “The Postwar Generation in Arts & Letters.” Saturday Review 36, no. 11 (March 14, 1953): pp. 19, 60.

S OFF er 1981

Soffer, Miriam. “Sweet Land of Liberty.” NAHO (New York State Museum) 13, nos. 1–2 (spring–summer 1981): pp. 42–46.

S O ler 1980

Soler, Jaime. “Elegia española de un pintor Americano” (text in Spanish; interview with the artist). Diario 16 (Madrid), April 17, 1980, p. 21.

S O ler 1987

Soler, Jaime. “La Pintura española del americano Robert Motherwell.” Diario 16 (Madrid), March 11, 1987, p. 37. Review of the traveling exhibition at Galería Juana Mordó, Madrid, March 1987 (see Galería Joan Prats, Barcelona, 1986).

S O l O m O n 1993

Solomon, Deborah. “Head of the Abstractionists.” Wall Street Journal, February 25, 1993, sec. A, p. 12. Review of Knoedler & Company, New York, February 1993.

S O l O m O n r g uggenheim m u S eum

c alendar OF eV ent S 1984 “New Exhibition.” Solomon R. Guggenheim Museum Calendar of Events, November–December 1984.

S O l O m O nt 2010

Solomont, E. B. “Shul of Visual Arts.” Artnews 109, no. 5 (May 2010): p. 42. Review of Jewish Museum, New York, 2010.

S O ria 1988

Soria, Georges. Grande Histoire de La Révolution Francaise (text in French). 3rd vol. Paris: Bordas, 1988.

S O rzan O 1951

Sorzano, Marco. “17 Modern American Painters: A Recent Exhibition at the Frank Perls Gallery.” Arts & Architecture 68, no. 1 (January 1951): pp. 26–28, 42. Review of Frank Perls Gallery, Beverly Hills, Calif., 1951.

S O zan S ki 1983

Sozanski, Edward J. “An Artist Who Is a Giant of His Time” (interview with the artist). Philadelphia Inquirer, February 27, 1983, sec. I, pp. 1, 13.

S O zan S ki 1984

Sozanski, Edward J. “A Retrospective of Motherwell’s Abstract Works” (includes artist’s statements). Philadelphia Inquirer, December 16, 1984, sec. H, p. 16. Review of Solomon R. Guggenheim Museum, New York, 1984.

S O zan S ki 1999

Sozanski, Edward J. “Illuminating Motherwell’s Minimalistic Elegance.” Philadelphia Inquirer, July 18, 1999, sec. F, p. 11. Review of Delaware Art Museum, Wilmington, 1999.

S Paulding 1999

Spaulding, Karen Lee, ed. Masterworks at the Albright-Knox Art Gallery (includes artist’s statements). Entry “Robert Motherwell,” edited by E[thel] M[oore], pp. 182–83. New York: Hudson Hills Press, in association with Albright-Knox Art Gallery, Buffalo, 1999.

S P ear S 2004

Spears, Dorothy. “Hidden Pleasures and Public Treasures.” Artnews 103, no. 5 (May 2004): pp. 100–104.

S P encer 1980

Spencer, Harold, ed. American Art: Readings from the Colonial Era to the Present (includes artist’s statements). New York: Charles Scribner’s Sons, 1980.

S P ike 1978

Spike, John T. “Washington.” Burlington Magazine 120, no. 907 (October 1978): pp. 704–6. Review of National Gallery of Art, Washington, D.C., 1978.

S P urling 1978

Spurling, John. “Feeling Good.” New Statesman (London), January–March 1978: p. 230. Review of Royal Academy of Arts, London, 1978; and of Knoedler Gallery, London, 1978.

Staatlichen k un S t S ammlungen and z entralin S titut F ür

k un S tge S chichte 1983

Staatlichen Kunstsammlungen and Zentralinstitut für Kunstgeschichte, eds. Münchner Jahrbuch der bildenden Kunst (text in German). Dritte Folge Band 34. Munich: Prestel Verlag München, 1983.

Staat S and m atthie SS en 1977

Staats, Margaret, and Lucas Matthiessen. “The Genetics of Art: Interviews with de Kooning, Motherwell, and Nevelson” (interview with the artist). Quest 1, no. 1 (March–April 1977): pp. 70–73.

Staben O w 1983

Stabenow, Cornelia. “München Robert Motherwell für die Staatsgalerie moderner Kunst” (text in German). Pantheon 41, no. 1 (January–February–March 1983): pp. 81–82.

Staber 1974–75

Staber, Margit. “Robert Motherwell” (text in German). Kunstforum International, no. 12 (December 1974–January 1975): pp. 112–22.

Stadel 2004

Stadel, Stefanie. “Beim schachspiel mit Max Ernst” (text in German). Neues Deutschland, December 29, 2004. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

Stam FO rd a dVO cate and g reenwich

t ime 1987

“Motherwell, Others, at Bruce.” Stamford Advocate and Greenwich Time (Conn.), May 8, 1987, sec. Weekend, p. 2. Review of Bruce Museum, Greenwich, Conn., 1987.

Stark 1963

Stark, George K. “Silent Images.” Art Education 16, no. 8 (November 1963): pp. 14–19.

Stebbin S 1976

Stebbins, Theodore E., Jr. American Master Drawings and Watercolors: A History of Works on Paper from Colonial Times to the Present Contributions by John Caldwell and Carol Troyen. New York: Harper and Row, 1976.

Steele 1972

Steele, Mike. “Speaking of Art.” Minneapolis Tribune, June 25, 1972, sec. D, p. 6. Review of Walker Art Center, Minneapolis, 1972.

Steinhauer 2002

Steinhauer, Jennifer. “Suddenly, It’s Art for the City’s Sake.” New York Times, July 3, 2002, sec. B, pp. 1, 6.

Steir 1989

Steir, Pat. “The Word Unspoken.” Artforum 28, no. 4 (December 1989): pp. 125–27.

Stern 1990

Stern, Fred. “Art & Auction News” (text in Japanese). Mizue, no. 956 (autumn 1990): pp. 131–43. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

Ste V en S 1984

Stevens, Mark. “The American Masters.” Newsweek 103, no. 1 (January 2, 1984): pp. 66–69. Review of Albright-Knox Art Gallery, Buffalo, 1983.

Ste V en S and Swan 2004

Stevens, Mark, and Annalyn Swan. De Kooning: An American Master. New York: Alfred A. Knopf, 2004.

Sti F tel 2004

Stiftel, Ralf. “Stürmisches Schwarz” (text in German). Westfälischer Anzeiger, December 21, 2004, p. 298. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

Stitelman 1973

Stitelman, Paul. “Notes on the Absorption of the Avant-Garde into the Culture.” Arts Magazine 47, no. 7 (May–June 1973): pp. 55–59. Review of Lawrence Rubin Gallery, New York, 1973.

St O ne 1966

Stone, Peter. “An Eloquent Painter.” Jewish Chronicle, April 1, 1966, p. 38. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

Stral O w 1963

Stralow, Hans. “Ausstellungen” (text in German). Das Kunstwerk 9, no. 16 (March 1963): pp. 16, 28–39.

Str O u P 1944

Stroup, Jon. “Motherwell, Modern.” Art Digest 19, no. 3 (November 1, 1944): p. 16. Review of Art of This Century, New York, October 1944.

Str O u P 1946

Stroup, Jon. “Time Out . . . For Robert Motherwell.” Town & Country 100, no. 4280 (January 1946): p. 58. Review of Samuel M. Kootz Gallery, New York, January 1946.

Stutzin 1984

Stutzin, Leo. “Abstract, Photo Exhibits a Powerful Combination.” Modesto Bee, May 24, 1984, sec. D, p. 1. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

S[tyr O n] 1978

S[tyron], T[homas] [W.] “Major Robert Motherwell Painting on Loan.” Chrysler Museum at Norfolk 7, no. 5 (May 1978): n.p.

Sulli Van 1990

Sullivan, Charles, ed. Ireland in Poetry:With Paintings, Drawings, Photographs, and Other Works of Art. New York: Harry N. Abrams, 1990.

Sundell 1980

Sundell, Nina. The Robert and Jane Meyerhoff Collection, 1958–1979. Baltimore: Jane B. Meyerhoff, 1980.

Su POV itz 1967

Supovitz, Marjory. “Robert Motherwell’s New England Elegy.” Harvard Art Review 2, no. 2 (spring–summer 1967): pp. 21–24.

Su PP lément à la g azette de S b eau X a rt S 1973

“La Chronique des arts” (text in French). Supplément à la Gazette des Beaux Arts, no. 1251 (April 1973): pp. 18–19. Review of the traveling exhibition at Cleveland Museum of Art, February 1973, and at Wadsworth Atheneum, Hartford, Conn., March 1973 (see Museum of Fine Arts, Houston, November 1972).

Sutt O n 1966

Sutton, Keith. “Robert Motherwell.” London Life, March 26, 1966.

Sweeney 1986

Sweeney, John S. “Painter Named to Academy of Arts and Letters” (includes artist’s statements). Greenwich Time, December 5, 1986, sec. A, pp. 1, 4.

Sweetkind 1997

Sweetkind, Irene S., ed. The Butler Institute of American Art: Index of the Permanent Collection Contributions by Louis A. Zona and Martha Menk. Youngstown, Ohio: Butler Institute of American Art, 1997.

Swi F t 1987

Swift, Orla. “Show Opens of Works by Motherwell.” Greenwich Time, May 7, 1987, sec. A, pp. 1, 5.

Sydh OFF 1976

Sydhoff, Beate. “Maleri med tragiskt patos” (text in Swedish). Svenska Dagbladet, November 20, 1976, p. 8. Review of the traveling exhibition Galleriet Kulturhuset, Stockholm, November 1976 (see Städtische Kunsthalle Düsseldorf, 1976).

SylV e S ter 1958

Sylvester, David. “London Views Advanced American Painting of Today.” New York Times, November 30, 1958, sec. 2, p. 9. Review of the traveling exhibition at USIS Library, London, October 1958 (see United States Pavilion, Brussels World’s Fair, 1958).

SylV e S ter 1962

Sylvester, David. “ ‘Painting as Existence’: An Interview with Robert Motherwell” (interview with the artist). Metro, no. 7 (1962): pp. 94–97.

SylV e S ter 2001

Sylvester, David. “Robert Motherwell” (interview with the artist). In Interviews with American Artists, pp. 73–83, 364–65. London: Chatto & Windus, 2001.

Syring 1977

Syring, Maire Luise. “Leiden, Landschaft und die Erinnerung: Robert Motherwell’s werk 1941 bis 1977” (text in German). Du Journal, no. 441 (November 1977): pp. 7, 9.

S z 1978

“In der Royal Academy” (text in German). [SZ (Spediteur-Zeitschrif)], January 31, 1978. Review of Royal Academy of Arts, London, 1978.

t ale S e 1961

Talese, Gay. “Mantle, Maris and a Few Others Stir a Potpourri of Fan Emotion” (includes artist’s statements). New York Times, September 2, 1961, p. 10.

t allmer 1977

Tallmer, Jerry. “Motherwell: Framing the Years.” New York Post, November 19, 1977, p. 16. Review of Andrew Crispo Gallery, New York, 1977.

t annenbaum 1976

Tannenbaum, Judith, ed. The New York Art Yearbook, 1975–1976. Vol. 1. New York: Noyes Art Books, 1976.

t anner 1993

Tanner, Marcia. “Conservators’ Elaborate Cure for ‘Inherent Vice.’ ” San Francisco Examiner, October 27, 1993, sec. Habitats, p. 3. Review of San Francisco Museum of Modern Art, 1993.

t a P ert 2000

Tapert, Annette. “Designer’s Own Homes: Joanne De Guardiola.” Architectural Digest 57, no. 9 (September 2000): pp. 238–45, 322.

t à P ie S 1981

Tàpies, Antoni. Mémoire: Autobiographie (text in French). Paris: Editions Galilée, 1981.

t à P ie S 1984

Tàpies, Antoni. “Señas de la modernidad” (text in Spanish). La Vanguardia, February 21, 1984, p. 37.

t arzan 1984

Tarzan, Deloris. “Robert Motherwell: The Aberdeen-born Artist Is Featured in a Retrospective of His Famous Works” (includes artist’s statements). Seattle Times, June 21, 1984, sec. E, pp. 1, 12. Review of the traveling exhibition at Seattle Art Museum, June 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

t atran S ky 1985

Tatransky, Valentin. “Arts Reviews.” Arts Magazine 59, no. 5 (January 1985): p. 37. Review of Knoedler & Company, New York, October 1984.

t ayl O r 1963

Taylor, Robert. “Events in Art: ‘Abstract’ Shows at Four Galleries.” Boston Sunday Herald, February 17, 1963, sec. 3, p. 16. Review of New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, 1963.

t ayl O r 1978a

Taylor, Robert. “Motherwell’s Life a Collage of Modern Art” (interview with the artist). Boston Globe, March 5, 1978, sec. A, pp. 8, 13.

t ayl O r 1978b

Taylor, Robert. “Provincetown Permits Artists to Risk.” Boston Globe, August 27, 1978, sec. A, pp. 8, 12. Review of Provincetown Art Association and Museum, Mass., 1978.

t ayl O r 1986

Taylor, Robert. “Motherwell Exhibition Shows Creative Process.” Boston Globe, April 13, 1986, sec. B, pp. 2, 3. Review of the traveling exhibition at Hood Museum of Art, Dartmouth College, Hanover, N.H., April 1986 (see Walker Art Center, Minneapolis, 1985).

t ayl O r 1991

Taylor, John. “Modern Disciplines: An Art Collection Sets the Tone for an I. M. Pei House in Texas.” Architectural Digest 48, no. 4 (April 1991): pp. 138–43.

t ayl O r 1993

Taylor, Michael. “The Brutality of the Moment: A Study of Robert Motherwell’s Controversial New England Elegy Mural in the John F. Kennedy Federal Office Building in Boston, Massachusetts” (includes artist’s statements). M.A. thesis, University of Edinburgh, 1993.

t ayl O r 2004

Taylor, Brandon. Collage: The Making of Modern Art (includes artist’s statements).

1st ed. New York: Thames and Hudson, 2004. t ech 1951

“Library Shows New American Paintings.” Tech (MIT student newspaper) 71, no. 49 (December 11, 1951): pp. 1, 6. Review of New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, 1951.

t ede S chi 2004

Tedeschi, Francesco. La Scuola di New York: Origini, vicende, protagonisti (text in Italian; includes artist’s statements). Milan: Vita e Pensiero, 2004.

t ennant 1979

Tennant, Donna. “A Method in Motherwell’s Madness.” Houston Chronicle, November 25, 1979, pp. 14, 27. Review of Janie C. Lee Gallery, Houston, 1979.

t erenzi O 1979

Terenzio, Stephanie, comp. Robert Motherwell & Black (supplementary catalogue; includes artist’s statements). Edited by Hildegard Cummings. Storrs, Conn.: William Benton Museum of Art, 1979. Accompanied the exhibition at the William Benton Museum of Art, Storrs, Conn., 1979.

t erenzi O and b elkna P 1980

Terenzio, Stephanie, and Dorothy C. Belknap. The Painter and the Printer: Robert Motherwell’s Graphics, 1943–1980. 1st ed. New York: American Federation of Arts, 1980.

t erenzi O and belkna P 1984

Terenzio, Stephanie, and Dorothy C. Belknap. The Prints of Robert Motherwell: A Catalogue Raisonné, 1943–1984 (includes artist’s statements). Revised by Dorothy C. Belknap.  2nd ed. New York: Hudson Hills Press, in association with the American Federation of the Arts, 1984.

t erenzi O and belkna P 1990

Terenzio, Stephanie, and Dorothy C. Belknap. The Prints of Robert Motherwell: A Catalogue Raisonné, 1943–1990 (includes artist’s statements). Revised by Dorothy C. Belknap.  3rd ed. New York: Hudson Hills Press, in association with the American Federation of Arts, 1990.

t erenzi O 1992a

Terenzio, Stephanie, ed. “From Conversations with Robert Motherwell” (interview with the artist). Provincetown Arts 8 (1992): pp. 29–33.

t erenzi O 1992b

Terenzio, Stephanie, ed. The Collected Writings of Robert Motherwell. Foreword by Jack Flam. Berkeley and Los Angeles: University of California Press, 1999. Referred to in Writings by the Artist as Motherwell 1992.

t e S ch and hO llmann 1997

Tesch, Jürgen, and Eckhard Hollmann, eds. Icons of Art: The 20th Century. Entry “Robert Motherwell” (includes artist’s statements), pp. 144–45. New York: Prestel, 1997.

t haw 1986–87

Thaw, Eugene Victor. “The Abstract Expressionists.” Metropolitan Museum of Art Bulletin, winter 1986–87, pp. 1–56.

t hibeau 1984

Thibeau, Alice. “Calendar.” Los Angeles 26, no. 4 (April 1984): p. 22.

t hiel S 2004

Thiels, Gabriele. “Abstrakte Kraftfelder, so reich wie die Natur” (text in German). Welt Am Sonntag, October 17, 2004, sec. Kultur, pp. 42, 69. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

t hier O l F 2002

Thierolf, Corinna. Amerikanische Kunst des 20. Jahrhunderts in der Pinakothek der Moderne (text in German). Munich: Hatje Cantz Verlag, 2002.

t hi S tlew OO d 1993

Thistlewood, David, ed. American Abstract Expressionism (includes artist’s statements). Vol. 1, Tate Gallery Liverpool Critical Forum Liverpool, England: Liverpool University Press, in association with Tate Gallery Liverpool, 1993.

t h O ma S 1976

Thomas, Denis. Abstract Painting. Oxford: Phaidon; New York: E. P. Dutton, 1976.

t h O m PSO n and r aine S 1994

Thompson, James, and Susan Raines. “A Vermont Visit with Meyer Schapiro (August 1991).” Oxford Art Journal 17, no. 1 (1994): pp. 3–12.

t ieken 2000

Tieken, Nancy B. Robert Motherwell at the Denver Art Museum (includes the artist’s statements). Denver: Denver Art Museum, 2000.

t iger’ S e ye 1948a

“Robert Motherwell: The Red Skirt.” Tiger’s Eye 1, no. 3 (March 15, 1948): p. 95.

t iger’ S e ye 1948b

“The Homely Protestant.” Tiger’s Eye 1, no. 6 (December 15, 1948): p. 24.

t ighe and l ang 1977

Tighe, Mary Ann, and Elizabeth Ewing Lang. Art America (includes artist’s statements). New York: McGraw-Hill, 1977.

t illim 1963

Tillim, Sidney. “Month in Review.” Arts Magazine 37, no. 4 (January 1963): pp. 40–43. Review of Sidney Janis Gallery, New York, December 1962.

t illim 1965

Tillim, Sidney. “Motherwell: The Echo of Protest.” Artforum 4, no. 4 (December 1965): pp. 34–36. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

t ime 1951a

“On & On.” Time 57, no. 6 (February 5, 1951): p. 46. Review of Museum of Modern Art, New York, January 1951.

t ime 1951b

“Signs & Symbols.” Time 58, no. 20 (November 19, 1951): p. 87.

t ime 1954

“Robert Motherwell’s Collage.” Time 63, no. 6 (February 8, 1954): p. 76.

t ime 1956

“The Wild Ones.” Time 67, no. 8 (February 20, 1956): pp. 70–75.

t ime 1957a

“A Place in the Sun.” Time 70, no. 5 (July 29, 1957): p. 63.

t ime 1957b

“The New Academy.” Time 70, no. 23 (December 2, 1957): p. 60. Review of Whitney Museum of American Art, New York, 1957.

t ime 1958

“American Abstraction Abroad.” Time 72, no. 5 (August 4, 1958): pp. 40–45. Review of Museum of Modern Art, New York, 1958.

t ime 1965

“Painting: Lochinvar’s Return.” Time 86, no. 15 (October 8, 1965): pp. 84–87.

t ime 1966

“Murals: Assassination in Boston.” Time 88, no. 9 (August 26, 1966): p. 60.

t ime 1968a

“Decorators: The Mix Masters.” Time 91, no. 6 (February 9, 1968): pp. 56–61.

t ime 1968b

“Exhibitions: The Politics of Feeling.” Time 92, no. 18 (November 1, 1968): p. 76. Review of Richard Feigen Gallery, Chicago, 1968.

t ime S ( lO nd O n) 1965

“New York Sees Maturing of Motherwell.” Times (London), September 29, 1965, p. 14.

Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

t ime S l iterary Su PP lement 1953

“The Dada Movement” (book review). Times Literary Supplement (London), no. 2,699 (October 23, 1953): pp. 69–71.

t i S dall 1978

Tisdall, Caroline. “Royal Academy: Robert Motherwell.” Guardian (Manchester), January 13, 1978, p. 8. Review of Royal Academy of Arts, London, 1978.

tO n O 1966

Tono, Yoshiaki. “Two Decades of American Paintings: Birth and Death of Abstract Expressionism” (text in Japanese). Mizue, no. 741 (October 1966): pp. 10–30.

tO rner 1996

Torner, Gustavo. “Con Motherwell” (text in Spanish). Arte y parte, no. 5 (October–November 1996): cover, pp. 13–16.

tO rr O ella 1980

Torroella, Santos. “Robert Motherwell en Barcelona” (text in Spanish). El Noticiero Universal (Barcelona), March 6, 1980, p. 17. Review of Centro Cultural de la Caixa de Pensions, Barcelona, 1980.

tO wle 1975

Towle, Tony. “From Góngora for Robert Motherwell” (a poem written for the artist). New York Quarterly, no. 17 (1975): p. 71.

tO wle 1977

Towle, Tony. Autobiography and Other Poems, New York: Sun, 1977, cover.

tO wn S end 1962

Townsend, J. Benjamin. 100: The Buffalo Fine Arts Academy, 1862–1962. Buffalo: Buffalo Fine Arts Academy, 1962.

t ra PPS chuh 1976

Trappschuh, Elke. “ ‘Zwei Modi: Erfindung und Variation’; Retrospektive Robert Motherwell in Düsseldorf” (text in German). Neue Zürcher Zeitung, September 28, 1976, p. 19. Review of Städtische Kunsthalle Düsseldorf, 1976.

t r O tta 1965

Trotta, Geri. “Not to Be Missed.” Harper’s Bazaar, no. 3047 (October 1965): pp. 14–15, 122.

t uchman et al. 1980

Tuchman, Maurice, Gerald Nordland, Robert T. Buck Jr., and Linda L. Cathcart. Richard Diebenkorn: Paintings and Drawings, 1943–1980. Buffalo: Albright-Knox Art Gallery, in association with Rizzoli, New York, 1980.

t ucker 1987

Tucker, Dorothy. “Motherwell Exhibit Opens.” Greenwich News, May 7, 1987, sec. 2, pp. 8, 14. Review of traveling exhibition at Hurlbutt Gallery, Greenwich Library, Conn., May 1987 (see Walker Art Center, Minneapolis, 1985).

t urner 1989

Turner, Elisa. “The Bramans: The Happy Look.” Artnews 88, no. 3 (March 1989): pp. 105–8.

t urner 2006

Turner, Jonathan. “Robert Motherwell: Il Gabbiano.” Artnews 105, no. 8 (September 2006): p. 156. Review of Galleria d’Arte il Gabbiano, Rome, 2006.

t yler 1945

Tyler, Parker. “The Limit of the Probable in Modern Painting.” View 5, no. 1 (March 1945): pp. 39, 41.

t yler 1946

Tyler, Parker. “Fourteen Minus One.” View 7, no. 1 (fall 1946): pp. 35–37. Review of Museum of Modern Art, New York, September 1946.

t yler 1977

Tyler, Betty. “Greenwich Influence on Motherwell Shows in Definitive Book on His Art” (book review). Bridgeport Post (Conn.), August 14, 1977, sec. F, p. 7.

t yler 1991a

Tyler, Betty. “A Preview of the Mexican Show.” Fairpress, June 20, 1991, sec. D, p. 3. Review of Knoedler & Company, New York, April 1991.

t yler 1991b

Tyler, Betty. “Artist in His Studio” (interview with the artist). Fairpress, June 20, 1991, sec. D, pp. 1, 3–4.

t yler 1993

Tyler, Betty. “It Is Not to Be” (includes artist’s statements). Fairfield County Weekly, [1993].

t y SO n 1992

Tyson, Janet. “Robert Motherwell.” Fort Worth Star-Telegram, March 1, 1992, sec. D, pp. 1, 5. Review of the traveling exhibition at Modern Art Museum of Fort Worth, February 1992 (see Museo Rufino Tamayo, Mexico City, 1991).

t y SO n 1993a

Tyson, Janet. “Abstract Expressions: Motherwell’s Major Themes Come Through Visually Clear in Modern’s Exhibit.” Fort Worth Star-Telegram, October 31, 1993, p. 1. Review of Modern Art Museum of Fort Worth, 1993.

t y SO n 1993b

Tyson, Janet. “Major Motherwell Acquisition: 17 Paintings, Collages for Fort Worth Modern Art Museum.” San Francisco Chronicle, October 23, 1993, sec. E, p. 3.

t y SO n 1993c

Tyson, Janet. “Modern Art Museum Adds 17 Major Motherwell Works.” Fort Worth StarTelegram, October 22, 1993, sec. A, pp. 1, 13.

t y SO n 1998

Tyson, Janet. “Singing Art’s Praises: The Modern’s Motherwell Exhibit Salutes Bass Performance Hall.” Fort Worth Star-Telegram, April 18, 1998, sec. F, pp. 1, 7. Review of the Modern at Sundance Square, Modern Art Museum of Fort Worth, 1998.

u de 1982

Ude, Karl. “In Der Staatsgalerie moderner Kunst: Robert-Motherwell-Saal eröffnet” (text in German). Süddeutsche Zeitung, November 18, 1982, p. 15. Review of Haus der Kunst, Munich, 1981.

u lan OV 1965

Ulanov, Barry. The Two Worlds of American Art: The Private & the Popular. New York: Macmillan; London: Collier-Macmillan, 1965.

umd State S man 1956

“KSC Motherwell Mural Provokes Variety of Opinions.” UMD Statesman (University of Minnesota, Duluth) 25, no. 2 (October 13, 1956), p. 1. Review of Kirby Student Center, University of Minnesota, Duluth, 1956.

u ni V er S ity OF iO wa m u S eum OF a rt 1973 Accessions 1973. Introduction by Ulfert Wilke. Iowa City: University of Iowa Museum of Art, 1973.

u ni V er S ity OF m inne SO ta and u ni V er S ity a rt m u S eum 1986

University of Minnesota and the University Art Museum. American Paintings and Sculpture in the University Art Museum Collection. Entry “Robert Motherwell,” pp. 358–60. Minneapolis: University of Minnesota, 1986.

Vail 1998

Vail, Karole P. B. Peggy Guggenheim: A Celebration. Essay by Thomas M. Messer. New York: Guggenheim Museum, 1998.

Vaizey 1978

Vaizey, Marina. “The Painter Who Became a Hero.” Sunday Times, January 29, 1978, p. 35. Review of Royal Academy of Arts, London, 1978.

Vaizey 1981

Vaizey, Marina. “A Window on the World of Experiment.” Arts in Edinburgh, [August 16, 1981]. Review of City Art Centre and Fruitmarket Gallery, Edinburgh, 1981.

Valentiner 1958

Valentiner, William R. “Notes on Duccio’s Space Conception.” Art Quarterly 21, no. 4 (winter 1958): pp. 353–81.

Valle JO 1954

Vallejo, Antonio Buero. En la ardiente oscuridad (text in Spanish). Introduction by Juan R.-Castellano; edited by Samuel A. Wofsy. New York: Charles Scribner’s Sons, 1954, cover.

Valley t ime S 1984

Valley Times, April 25, 1984, [p. 2].

Vallier 1967

Vallier, Dora. L’Art abstrait (text in French). Paris: Le Livre de Poche, 1967.

Vallier 1970

Vallier, Dora. Abstract Art: A History and Analysis of a Main Current in Twentieth Century Art. Translated by Jonathan Griffin. New York: Orion Press, 1970.

Van h en S bergen 2004

Van Hensbergen, Gijs. Guernica: The Biography of a Twentieth-Century Icon. New York: Bloomsbury, 2004.

Van hOO k 1983

Van Hook, L. Bailey. “Robert Motherwell’s Mallarmé’s Swan” (includes artist’s statements). Arts Magazine 57, no. 5 (January 1983): pp. 102–6.

Vanity Fair 1984

“An Artist’s Garden” (interview with the artist). Photographs by Duane Michals. Vanity Fair 47, no. 8 (August 1984): pp. 78–83.

Van Siclen 1991

Van Siclen, Bill. “American Art’s ‘Barbarian’ ” (includes artist’s statements). Providence Journal-Bulletin, August 19, 1991, sec. D, pp. 1, 5.

Van Syckle 1975

Van Syckle, Lillian. “Valuable Painting Given to Library.” Daily World (Aberdeen, Scotland), January 26, 1975, sec. C, p. 20.

Varc O , Jan SO n, and SinaikO 1998

Varco, Sandra, Anthony F. Janson, and Eve Sinaiko. Vietnam: Reflexes and Reflections; The National Vietnam Veterans Art Museum

Edited by Eve Sinaiko. New York: Harry N. Abrams, 1998.

Va S ari 1991

Vasari, Giorgio. “ ‘A Bunch of Old Guys’ ” (includes artist’s statements). Artnews 90, no. 5 (May 1991): p. 28.

Va S t O ka S 1979

Vastokas, Joan M. “The Roots of Abstraction: An Introduction” (includes artist’s statements). Artscanada, nos. 226–27 (May–June 1979): pp. 2–23, 68.

Venn and w einberg 1998

Venn, Beth, and Adam D. Weinberg. American Art of the Twentieth Century: Treasures of the Whitney Museum of American Art. Foreword by David A. Ross; introduction by Adam D. Weinberg. New York: Abbeville Press, 1998.

Vetr O cq 1992

Vetrocq, Marcia E. “Report from Turin: Back to Basics.” Art in America 80, no. 4 (April 1992): pp. 67, 69, 71. Review of Lingotto, Turin, Italy, 1992.

Via r heinland 2004–5

“Motherwell im Museum Morsbroich” (text in German). Via Rheinland, December 2004–February 2005, p. 25. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

Vicente 1963

Vicente, Esteban. “Editor’s Letters.” Artnews 61, no. 10 (February 1963): p. 6. Vielhaber 2004

Vielhaber, Christiane. “Wucht und Poesie: Werke des Abstrakten Expressionisten im Museum Schloss Morsbroich” (text in German). Art: Das Kunstmagazin, no. 11 (November 2004): p. 153. Review of Museum Morsbroich, Leverkusen, Germany, 2004.

Vincent 1998

Vincent, Steven. “Epic Painting at Knoedler.” Art & Auction 21, no. 5 (December 14, 1998): p. 74. Review of Knoedler & Company, New York, 1998.

Vin SO n 1990

Vinson, James, ed. International Dictionary of Art and Artists. Entry “Robert Motherwell,” by Robert Saltonstall Mattison, pp. 572–74. 2 vols. Chicago: St. James Press, 1990.

Virginia m u S eum b ulletin 1974

“Twelve American Painters.” Virginia Museum Bulletin 35, no. 1 (September 1974): cover, pp. 3–4.

Vir S hu P 1984

Virshup, Amy. “Making the Arts Affordable for All.” New York 17, no. 41 (October 15, 1984): p. 31.

VO gel 1993

Vogel, Carol. “Inside Art.” New York Times, October 22, 1993, sec. C, p. 29.

VO gel 1998a

Vogel, Carol. “Inside Art.” New York Times, October 9, 1998, sec. E, p. 33.

VO gel 1998b

Vogel, Carol. “$17.3 Million ‘Marilyn’ Sets Record for Warhol.” New York Times, May 15, 1998, sec. B, p. 5.

VO gt 1981

Vogt, Paul. Contemporary Painting. Translated by Robert Erich Wolf. New York: Harry N. Abrams, 1981.

VO gue 1958

“At the Brussels World’s Fair: Paintings by 17 Americans.” Vogue 131, no. 8 (April 15, 1958): pp. 60–61. Review of United States Pavilion, Brussels World’s Fair, 1958.

VO gue 1961

“Two Great American Artists.” Vogue 138, no. 7 (October 15, 1961): pp. 90–91.

VO gue 1965

“Vogue’s Notebook: Dinner, in New York, for Robert Motherwell.” Vogue 146, no. 10 (December 1965): pp. 140–41.

VO gue 1966

“Art.” Vogue [Paris] [147, no. 7] (April 1, 1966). Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1966).

VO gue 1972

“At Home: The New Roman Way—A Power of American Art.” Vogue 159, no. 8 (April 15, 1972): pp. 118–21.

VO gue 1991

“The Decisive Decade” (interview with the artist), introduction by Rosamond Bernier. Vogue, no. 181 (March 1991): pp. 376–83, 430.

VO lb O udt 1973a

Volboudt, Pierre. “La Ruée vers l’espace” (text in French). XXe Siècle (Paris) 35, no. 40 (June 1973): pp. 75–82.

VO lb O udt 1973b

Volboudt, Pierre. “Perspectives de Robert Motherwell” (text in French). XXe Siècle (Paris) 35, no. 40 (June 1973): pp. 83–86.

VO n hO henz O llern 1984

Von Hohenzollern, Johann Georg Prinz. “Munich Museums: A Report on Recent Developments.” Burlington Magazine 126, no. 970 (January 1984): pp. 57–59, 61. VVV 1943

VVV 2–3 (March 1943): p. 86. wade 1987

Wade, Marcia J. “Utopia Revisited.” Horizon 30, no. 5 (June 1987): pp. 13–16. Review of Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, N.Y., 1987. waldman 1992

Waldman, Diane. “Abstract Expressionism.” Chap. 8 in Collage, Assemblage, and the Found Object (includes artist’s statements). New York: Harry N. Abrams, 1992.

waldman 2006

Waldman, Diane. The Guggenheim Collection New York: Guggenheim Museum, 2006.

wale SO n 1985

Waleson, Heidi. “An Die Musik: A Venturesome Ensemble Offers Diverse Repertory and Celebrates Its 10th Birthday in an Unusual Way.” High Fidelity 35, no. 12 (December 1985): pp. 4–5, 18.

walker and b r OO k S 1983

Walker, Richard W., and Valerie F. Brooks. “The Art Market: All’s Motherwell.” Artnews 82, no. 5 (May 1983): pp. 9–10.

walker a rt c enter a nnual r e PO rt 1996 Walker Art Center Annual Report, 1994–1995 Minneapolis: Walker Art Center, 1996.

walker a rt c enter c alendar 1953 “Four Abstract Expressionists.” Walker Art Center Calendar, February 1953.

wallach 1977a

Wallach, Amei. “It’s One of the Smallest Traveling Art Shows.” New York Newsday, November 27, 1977, pt. 2, pp. 11, 12. Review of Drawing Center, New York, 1977.

wallach 1977b

Wallach, Amei. “ ‘The Soap Opera’ Is Not for Robert Motherwell” (interview with the artist). New York Newsday, June 26, 1977, pt. 2, pp. 17–18.

wallach 1984a

Wallach, Amei. “Motherwell: Elusive Painter Views Exhibit Apprehensively” (includes artist’s statements). Southern Connecticut Newspapers, December 16, 1984, sec. F, pp. 1, 5. Review of Solomon R. Guggenheim Museum, New York, 1984.

wallach 1984b

Wallach, Amei. “Motherwell’s Savage Muse” (interview with the artist). New York Newsday, December 5, 1984, pt. 2, cover, pp. 4–5. Review of Solomon R. Guggenheim Museum, New York, 1984.

wall O ck 1988

Wallock, Leonard, ed. New York: Culture Capital of the World, 1940–1965. Essays by Dore Ashton, Alexander Bloom, Lynn Garafola, Richard Gilman, Carol Herselle Krinsky, John Rockwell, William Sharpe, and Leonard Wallock. New York: Rizzoli International, 1988.

wal S h 1995

Walsh, James. “Robert Motherwell Prints.” Edmonton Review 2, no. 1 (spring–summer 1995): pp. 4, 6.

ward 1952

Ward, Mary. “Long Beach Club to Aid Art Center.” Los Angeles Times, October 26, 1952, sec. D, p. 2. Review of Municipal Art Center, Long Beach, Calif., 1952.

ward 1998

Ward, Dawn M. “Tracing Automatism: An Investigation of the Method and Its Emergence in the Art and Literature in the United States from 1944 to 1962” (includes artist’s statements). Ph.D. diss., New York University, 1998.

warh O l and h ackett 1980

Warhol, Andy, and Pat Hackett. POPism: The Warhol ’60s. New York: Harper and Row, 1980. waring 2002

Waring, Virginia. Letters from Fontainbleau Palm Desert, Calif.: H.S. Publishing, 2002.

warner 2008

Warner, Emily. “Suitcase Paintings: Small Scale Abstract Expressionism.” Brooklyn Rail, November 2008, p. 38. Review of the traveling exhibition at Loyola University Museum of Art, Chicago, September 2008 (see Georgia Museum of Art, University of Georgia, Athens, 2007).

warn O d 1977

Warnod, Jeanine. “Motherwell à Paris” (text in French). Le Figaro (Paris), [July 2, 1977]. Review of Musée d’Art Moderne de la Ville de Paris, 1977.

warn O d 1990

Warnod, Jeanine. “Peintures gestuelles ParisNew York” (text in French). Le Figaro (Paris), October 23, 1990, p. 27. Review of Artcurial Centre d’Art Plastique Contemporain, Paris, 1990.

war S haw 1961

Warshaw, Howard. “Return of Naturalism as the ‘Avant-Garde’ ” (includes artist’s statements). Nation 192, no. 16 (April 22, 1961): pp. 344–50.

wa S hingt O n a rt cO n SO rtium 1977 Washington Art Consortium. Works on Paper: American Art, 1945–1975. Introduction by Rosalind Krauss. Seattle: Washington Arts Consortium, 1977.

wa S hingt O n P OS t 1949

“Art Seminars Taking Shape in New York.” Washington Post, February 13, 1949, sec. 6, p. 5.

wa S hingt O n u ni V er S ity g allery OF a rt b ulletin 1995

“New Acquisitions and an Exhibition of Works by Robert Motherwell.” Washington University Gallery of Art Bulletin, fall 1995, pp. 2–3.

wa S hingt O n u ni V er S ity g allery OF a rt

c alendar OF eV ent S 1982

Washington University Gallery of Art Calendar of Events (Washington University in Saint Louis), spring 1982.

wa SS erman 1965

Wasserman, Burt. “The Art of Robert Motherwell.” Art Education 18, no. 7 (October 1965): pp. 16–19. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

wa SS erman 1968

Wasserman, Emily. “New York.” Artforum 7, no. 4 (December 1968): p. 59. Review of Whitney Museum of American Art, New York, 1968.

water Fall 1986

Waterfall, Beth. “The ‘Opening’ of the Window.” North County News, September 24–30, 1986, sec. V, pp. 1–3. Review of Neuberger Museum, State University of New York at Purchase, 1986.

water S 1952

Waters, Amy. “Motherwell Difficult to Evaluate: Waters” (includes artist’s statements). Oberlin Review 80 (April 25, 1952): pp. 1, 4. Review of Allen Memorial Art Museum, Oberlin College, Ohio, 1952.

watkin S 1979

Watkins, Eileen. “Collage Show Brings It All Together.” Sunday Star-Ledger (Newark, N.J.), April 22, 1979, sec. 4, p. 12. Review of Montclair Art Museum, N.J., 1979.

w ebb 1996

Webb, Michael. “Before and After: BornAgain Neutra; The Nesbitt House Reworked for Pippa Scott.” Architectural Digest 55, no. 7 (July 1996): pp. 88–93.

w ein S tein 1968

Weinstein, Arnold. “The Marriage (an historical play in 16 acts for Helen and Robert Motherwell),” in “Theatre Poems and Plays.” Yale/Theatre 1 (spring 1968): pp. 66–67.

w ein S tein 1985

Weinstein, Arnold. “A Poet in New York: Federico Garcia Lorca.” Columbia (Columbia University), November 1985, pp. 30–33.

w ei S man 1978

Weisman, Mary-Lou. “Robert Motherwell: ‘My Concern Is to Humanize Everything’ ” (interview with the artist). Connecticut Magazine, January 1978, pp. 118–19.

w eitz 1950

Weitz, Morris. Philosophy of the Arts (includes artist’s statements). Cambridge, Mass.: Harvard University Press, 1950.

w elch 1986

Welch, Meredith L. “Robert Motherwell: Reflects On the Journey that Brought Him Here” (interview with the artist). Greenwich News, December 11, 1986, sec. 3, pp. 1, 3–4.

w eli S h 1972

Welish, Marjorie. “Robert Motherwell: Bridging the Generations.” Art International 16, no. 10 (December 1972): pp. 44–47.

w eller 1963

Weller, Allen S. Art: USA: Now. Edited by Lee Nordness. Entry “Robert Motherwell,” by Jane Gollin, vol. 2, pp. 189–91. New York: Viking Press, 1963.

w entru P 2001

Wentrup, Jan-Hendrik. “Robert Motherwell und die ‘Spanischen Elegien’ ” (text in German). M.A. thesis, Münster (Westfalen), Germany, 2001.

w [e S cher] 1954

W[escher], H[erta]. “Collages: Esprit spontané” (text in French). L’Art d’aujourd’hui 5, nos. 2 and 3 (March–April 1954): pp. 30–35.

w e S cher 1968

Wescher, Herta. Collage. Translated by Robert E. Wolf. New York: Harry N. Abrams, 1968.

w e S t 1984

West, Langland. “Motherwell and the MoMA.” City Arts (San Francisco), May 1984, pp. 15, 16. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

w e S t a rt 1984

“Robert Motherwell: 1941 to 1982.” West Art 22, no. 9 (January 27, 1964): p. 1. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see AlbrightKnox Art Gallery, Buffalo, 1983).

w e S tgee S t 1996

Westgeest, Helen. Zen in the Fifties: Interaction in Art between East and West. Zwolle, the Netherlands: Uitgeverij Waanders, 1996.

w e S t P hal 1976

Westphal, Gert. “ ‘Zwei Modi: Erfindung und Variation’; Retrospektive Robert Motherwell in Düsseldorf” (text in German). Neue Zürcher Zeitung (Zurich), September 28, 1976, p. 33. Review of Städtische Kunsthalle Düsseldorf, 1976.

w hitbeck 1983

Whitbeck, Doris. “Artists Judge Peers.” Hartford Courant, January 14, 1983, sec. D, pp. 1, 7. Review of Wadsworth Atheneum, Hartford, Conn., 1983.

w hite 1991

White, James E. Contemporary Moral Problems 3rd ed. Saint Paul, Minn.: West, 1991, front and back covers.

w ibking 2001

Wibking, Angela. “Modern Times: Visiting Smithsonian Exhibit Traces Development of American Art during the 20th Century.” Nashville Scene, August 9, 2001, p. 27. Review of the circulating exhibition at Frist Center for the Visual Arts, Nashville, July 2001 (see Smithsonian Institution Traveling Exhibition Service, Washington, D.C., 2000).

w ilkin 1984

Wilkin, Karen. David Smith. New York: Abbeville Press, 1984.

w ilkin 1991

Wilkin, Karen. “Robert Motherwell, 1915–1991” (obituary; includes artist’s statements). Partisan Review 58, no. 4 (1991): pp. 724–28.

w illard 1964a

Willard, Charlotte. “Drawing Today.” Art in America 52, no. 5 (October 1964): pp. 49–67. Review of FAR Gallery, New York, 1964.

w illard 1964b

Willard, Charlotte. “In the Art Galleries.” New York Post, July 19, 1964, p. 44. Review of Marlborough-Gerson Gallery, New York, 1964.

w illard 1964c

Willard, Charlotte. “In the Art Galleries.” New York Post, May 31, 1964, sec. Magazine, p. 14. Review of Marlborough-Gerson Gallery, New York, 1964.

w illard 1965

Willard, Charlotte. “In the Art Galleries.” New York Post, October 24, 1965, sec. Magazine, p. 14. Review of Museum of Modern Art, New York, Robert Motherwell, September 1965.

w illiam b ent O n m u S eum OF a rt 1988

“Looking Around.” William Benton Museum of Art, winter–spring 1988, n.p.

w illiam S 1966

Williams, Sheldon. “ ‘The Last Blue Rider’ Exhibits Works in London.” New York Herald Tribune (international edition), March 29, 1966, p. 7. Review of the traveling exhibition at Whitechapel Art Gallery, London, March 1966 (see Museum of Modern Art, New York, Robert Motherwell, September 1965).

w ilmerding 1973

Wilmerding, John, ed. The Genius of American Painting (includes artist’s statements). Contributions by R. Peter Mooz, John Wilmerding, Richard J. Boyle, Irma B. Jaffe, Harry Rand, and Dore Ashton. New York: William Morrow, 1973.

w il SO n 1970

Wilson, William. “L.A. Artists in Boycott of Biennale.” Los Angeles Times, June 19, 1970, sec. G, p. 1.

w il SO n 1977a

Wilson, William. “Institutional Ways and Means: Bigger Cut of the Wealth.” Los Angeles Times, October 9, 1977, sec. Calendar, p. 74. Review of Montgomery Art Gallery, Pomona College, Claremont, Calif., 1977.

w il SO n 1977b

Wilson, William. “Portrait of the Artist as a Literary Scholar.” Los Angeles Times, July 31, 1977, sec. Calendar, pp. 1, 86. Review of Musée de l’art Moderne de la Ville de Paris, 1977.

w il SO n 1979

Wilson, William. “ ‘Spirit of Surrealism’ in Cleveland.” Los Angeles Times, November 19, 1979, sec. E, p. 11. Review of Cleveland Museum of Art, Ohio, 1979.

w il SO n 1981

Wilson, William. “The High Cost of Culture at the Met.” Los Angeles Times, July 5, 1981, sec. Calendar, pp. 73, 77. Review of the Metropolitan Museum of Art, New York, 1981.

w il SO n 1984

Wilson, William. “Academy a la Motherwell.” Los Angeles Times, January 22, 1984, sec. Calendar, p. 75. Review of the traveling exhibition at Los Angeles County Museum of Art, January 1984 (see Albright-Knox Art Gallery, Buffalo, 1983).

bibliography

w il SO n 1991

Wilson, William. “Robert Motherwell: An American Titan” (obituary). Los Angeles Times, July 18, 1991, sec. F, pp. 1, 4.

w il SO n and m uchnic 1979a

Wilson, William, and Suzanne Muchnic. “A Critical Guide.” Los Angeles Times, October 19, 1979, sec. G, p. 16. Review of Asher/Fauré, Los Angeles, 1979.

w il SO n and m uchnic 1979b Wilson, William, and Suzanne Muchnic. “Art Walk: A Critical Guide to the Galleries.” Los Angeles Times, January 19, 1979, sec. 4, p. 6. Review of Ace Gallery, Los Angeles, 1979.

w indr O w 1992

Windrow, Kathy. Robert Motherwell: The Open Door (supplemental exhibition brochure, text in English and in Spanish; includes artist’s statements). Fort Worth: Modern Art Museum of Fort Worth, 1992.

w iner 1973

Winer, Helene. “Collages Shown in La Jolla.” Los Angeles Times, April 9, 1973, p. 10. Review of La Jolla Museum of Contemporary Art, Calif., 1973.

w inter 1976a

Winter, Peter. “Robert Motherwell” (text in German). Das Kunstwerk 6, no. 24 (November 1976): pp. 55–56. Review of Städtische Kunsthalle Düsseldorf, 1976.

w inter 1976b

Winter, Peter. “Robert Motherwell: Künstler und Intellektueller” (text in German). Du Journal, November 1976, p. 7. Review of Städtische Kunsthalle Düsseldorf, 1976.

w inter 1982

Winter, Peter. “Die Farbe, das Meer und der Tod: Zum Werk des amerikanischen Malers Robert Motherwell” (text in German). [Pantheon], ca. February 1982, pp. 74–79.

w inter 1984

Winter, David. “Motherwell Retrospective Shows Works on a Grand Scale.” Peninsula Times-Tribune (Palo Alto, Calif.), April 29, 1984, sec. “Things to Do,” p. 3. Review of the traveling exhibition at San Francisco Museum of Modern Art, April 1984 (see Albright-Knox Art Gallery, Buffalo 1983).

w itkOVS ky 1989

Witkovsky, Matthew S. “Experience vs. Theory: Romare Bearden and Abstract Expressionism.” Black American Literature Forum 23, no. 2 (summer 1989): pp. 257–82.

w m agazine 1976 “New York [Shows].” W Magazine, February 20–27, 1976.

wO hl 1973

Wohl, Hellmut. “Five Drawings by Robert Motherwell” (includes artist’s statements). Boston University Journal 21, no. 1 (winter 1973): pp. 42–47.

wO l F 1946a

Wolf, Ben. “Difficult Origins.” Art Digest 20, no. 8 (January 15, 1946): p. 17. Review of Samuel M. Kootz Gallery, New York, January 1946.

wO l F 1946b

Wolf, Ben. “With Modern Accent.” Art Digest 20, no. 16 (May 15, 1946): p. 17. Review of Samuel M. Kootz Gallery, New York, May 1946.

w [ O l F ] 1947

W[olf], B[en]. “Fifty-seventh Street in Review.” Art Digest 21, no. 15 (May 1, 1947): p. 21. Review of Samuel M. Kootz Gallery, New York, April 1947.

w [ O l F ] 1948

W[olf], B[en]. “Fifty-seventh Street in Review.” Art Digest 22, no. 16 (May 15, 1948): p. 19. Review of Samuel M. Kootz Gallery, New York, May 1948.

wO l F e 1976

Wolfe, Tom. The Painted Word. New York: Bantam Books, 1976.

wO l F e 1984

Wolfe, Townsend. Twentieth-Century American Drawings from the Arkansas Arts Center Foundation Collection. Little Rock: Arkansas Arts Center, 1984.

wO l FF 1979

Wolff, Theodore F. “High Brinksmanship. ” Christian Science Monitor, January 19, 1979, sec. Home Forum, p. 20.

wO l FF 1981

Wolff, Theodore F. “Artists Motherwell and Marin: Two American Giants to Be Reckoned With.” Christian Science Monitor 73, no. 69 (March 5, 1981): p. 18. Review of Knoedler & Company, New York, February 1981.

wO l FF 1982

Wolff, Theodore F. “The Many Masks of Modern Art.” Christian Science Monitor, January 5, 1982, sec. Home Forum, p. 20.

wO l FF 1984a

Wolff, Theodore F. “For 40 years, Motherwell Has Steered His Own Course” (includes artist’s statements). Christian Science Monitor, December 31, 1984, pp. 17–18. Review of Solomon R. Guggenheim Museum, New York, 1984.

wO l FF 1984b

Wolff, Theodore F. “Our Simple and Important Part in a 40-Year Debate.” Christian Science Monitor, August 30, 1984, p. 26.

wO l FO wicz 1977

Wolfowicz, Eugenia. “ ‘L’Art est la mauvaise conscience d’une société bourgeoise’: Un Entretien avec Robert Motherwell” (text in French; interview with the artist). Les Nouvelles Littéraires, June 23–30, 1977, p. 15.

wO ng 1994

Wong, Janay Jadine. “Synagogue Art of the 1950s: A New Context for Abstraction.” Art Journal 53, no. 4 (winter 1994): pp. 37–43.

wOO d 1997

Wood, Christopher. The Great Art Boom, 1970–1997. Edited by Duncan Hislop and Sharron Clarke. Weybridge, Surrey, England: Art Sales Index, 1997.

wO rce S ter t elegram 1966

“Painting of Kennedy’s Death Is ‘Horror,’ Hub Workers Say.” Worcester Telegram (Mass.), August 12, 1966, p. 1.

wO rld 1964

“Guggenheim Awards.” World (Tulsa, Okla.), January 19, 1964, sec. E, p. 14. Review of Solomon R. Guggenheim Museum, New York, January 1964.

w yer 1988

Wyer, E. Bingo. “Flaky Art: Modern Masterpieces Are Crumbling.” New York Magazine 21, no. 4 (January 25, 1988): pp. 42–44, 46, 48.

w yke S -J Oyce 1978

Wykes-Joyce, Max. “London.” International Herald Tribune, January 21–22, 1978, p. 7. Review of Royal Academy of Arts, London, 1978.

yale c enter FO r i nternati O nal and a rea Studie S 1985

Europe and Latin America in the World Economy

Edited by Colin I. Bradford Jr. New Haven, Conn.: Yale Center for International and Area Studies, Yale University, 1985.

yale u ni V er S ity a rt g allery b ulletin

1963

“Recent Gifts and Purchases.” Yale University

Art Gallery Bulletin 29, no. 1 (April 1963): pp. 42–43.

yale u ni V er S ity a rt g allery b ulletin

1964

“Recent Gifts and Purchases.” Yale University

Art Gallery Bulletin 30, no. 1 (August 1964): pp. 40–41, 48, 50–51.

yO ung 1969

Young, Mahonri Sharp. “The Metropolitan Museum of Art Centenary Exhibitions—I: The New York School.” Apollo 90, no. 93 (November 1969): pp. 426–32. Review of the Metropolitan Museum of Art, New York, 1969.

z alkind 1976

Zalkind, Simon. “Richard Diebenkorn, Stephen Edlich, Robert Motherwell.” Arts Magazine 51, no. 1 (September 1976): p. 9. Review of Gruenebaum Gallery, New York, 1976.

z anetti 1990

Zanetti, Paola Serra. “Robert Motherwell” (includes artist’s statements). Contemporanea 3, no. 1 (January 1990): pp. 90–91. Review of Padiglione d’Arte Contemporanea, Milan, 1989.

z aya 1987

Zaya, Octavio. “El Museo de Arte Moderno de Nueva York expone los dibujos y la obra gráfica de Motherwell” (text in Spanish). Diario 16 (Madrid), December 18, 1987, sec. Cultura, p. 1. Review of Museum of Modern Art, New York, 1987.

z ell and b ur S tein 1988

Zell, Sylvia G., and Dotty Burstein. The Sylvia G. Zell Collection of Modern Art. Boston: Daughters of Sylvia G. Zell, 1988.

z immer 1987

Zimmer, William. “Works of Collage by Motherwell.” New York Times, June 7, 1987, sec. 23, p. 34.

z immer 1992

Zimmer, William. “Memorabilia and Painting from Black Mountain’s Glory Days.” New York Times, April 19, 1992, sec. 12, p. 10. Review of Station Gallery, Katonah, N.Y., 1992.

z immer 1997

Zimmer, William. “Known Artists, Fresh Work from Private Collections.” New York Times, March 9, 1997, sec. 13, p. 16. Review of Bruce Museum, Greenwich, Conn., 1997.

z ucker 1997

Zucker, Steven Ezekiel. “Art in Dark Times: Abstract Expressionism, Hannah Arendt, and the ‘Natality’ of Freedom” (includes artist’s statements). Ph.D. diss., City University of New York, 1997.

w riting S by the a rti S t

Motherwell, Robert. The Collected Writings of Robert Motherwell. Edited by Stephanie Terenzio. New York: Oxford University Press, 1992; cited here as Motherwell 1992. (A paperback edition, with a foreword by Jack Flam, and an index, was published by the University of California Press in 1999, as part of the Documents of Twentieth-Century Art series.)

Motherwell, Robert. The Writings of Robert Motherwell. Edited by Dore Ashton with Joan Banach; introduction by Dore Ashton. Documents of Twentieth Century Art. Berkeley and Los Angeles: University of California Press, 2007; cited here as Motherwell 2007.

1939

Letter to Livingston Gearhart, from Paris, ca. March 6, 1939, inviting Gearhart to listen to music. Original handwritten letter, Martha Gearhart Schermerhorn, Rochester, N.Y.

Statement on the teaching methods of the art department at the University of Oregon. In “Motherwell Says ‘UO Art School Is One of Best in United States,’ ” Oregon Daily Emerald (University of Oregon, Eugene), October 21, 1939, p. 3. (See Oregon Daily Emerald 1939b.)

1940

Letter to Meyer Schapiro, from the University of Oregon, Eugene, April 11, 1940, introducing himself and expressing his interest in studying art history. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

Letter to Meyer Schapiro, from the University of Oregon, Eugene, June 1, 1940, regarding Motherwell’s intention to study with Schapiro at Columbia University the following fall. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

Seven double-sided pages of sketches and notes on Greek art made by Motherwell when he was a student in Margarete Bieber and William Bell Dinsmoor’s Greek art course at Columbia University, ca. November 1940, Dedalus Foundation Archives. Printed as “Notebook from a Visit to the Metropolitan Museum of Art, New York, November 13, 1940” in Banach 1996, pp. 6–9 (reproduced on pp. 6, 8).

1941

“The Form of Cézanne’s ‘The Balcony,’ ” spring 1941. Essay written for Meyer Schapiro’s course European Painting Since 1860 at Columbia University. Three-page typescript with handwritten annotations by Motherwell, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

Letter to Jonathan Ziady, from New York, May 1, 1941, regarding the possibility of traveling to Mexico. Original handwritten letter, Jon Ziady, Portland, Ore.

Letter to Kurt and Arlette Seligmann, written on June 18, 1941, from Mexico City and July 9, 1941, from Taxco; giving his impressions of Mexico. Handwritten letter, Kurt Seligmann Papers, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn. Partially printed in Sawin 1995, p. 186.

English translation of Wolfgang Paalen, “The New Image,” autumn 1941. Dyn (Mexico City), no. 1 (April–May 1942): pp. 7–15.

Reprinted in Wolfgang Paalen, Form and Sense, Problems of Contemporary Art 1 (New York: Wittenborn, Schultz, 1945), pp. 31–36.

Letter to William Carlos Williams, from New York, December 3, 1941. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 16–18. Partially reprinted in Hobbs 1975b, pp. 54, 55; Mattison 1985b, p. 8; Caws 1996b, p. 35.

Letter to William Carlos Williams, December 8, 1941, regarding Motherwell’s relationship with Roberto Matta and the members of the VVV ’s editorial board, André Breton and Nicholas Calas. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 930100. Partially printed in Mattison 1985b, p. 93.

1942

Letter to Livingston and Virginia Gearhart, from New York, May 21, 1942, discussing his current projects. Unpublished typescript, Martha Gearhart Schermerhorn Papers, Rochester, N.Y.

“Notes on Mondrian & Chirico.” VVV 1 (June 1942): pp. 58–61. Reprinted in Motherwell 2007, pp. 15–19. Partially reprinted in Motherwell 1992, pp. 20–22; Buettner 1973, p. 269; Fineberg 1978, p. 55; Buettner 1981, p. 87; Collins 1984, p. 97; Mattison 1985a, p. 93; Mattison 1985b, p. 68; Jachec 1991, p. 22; Caws 1996b, p. 20; Gibson 1998, pp. 247, 248, 249, 253, 339, 340; Caws 2003, p. 43.

Motherwell’s response to a Surrealist questionnaire. In “Concerning the Present Day Relative Attractions of Various Creatures in Mythology & Legend.” VVV 1 (June 1942): pp. 62–63.

Letter to Livingston Gearhart, from Provincetown, Mass., June 9, 1942; includes a discussion of writers whom he esteems. Typescript, Martha Gearhart Schermerhorn, Rochester, N.Y.

Bound volume including handwritten drafts of essays on David W. Prall and Piet Mondrian, and drafts of statements on Recuerdo de Coyoacán (P8), summer 1942. 14 x 10–inch sketchbook, Dedalus Foundation Archives.

Letter to Meyer Schapiro, from Provincetown, September 25, 1942, regarding Recuerdo de Coyoacán (P8). Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

Draft of a book review of Art of This Century: Objects, Drawings, Photographs, Paintings, Sculpture, Collage, 1910–1942, edited by Peggy Guggenheim (New York: Art of This Century, 1942), ca. 1942. Handwritten draft, in two

parts: on three sheets of drawing paper, and on one and a half pages of graph paper, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 20–22.

1943

Note on modern art, ca. 1943. Handwritten statement, Dedalus Foundation Archives. Printed in Banach 1996, p. 11 (reproduced on p. 10). Reprinted in Motherwell 2007, p. 23.

Letter to Livingston and Virginia Gearhart, May 24, 1943, proposing that he introduce Livingston Gearhart to John Cage. Handwritten letter, Martha Gearhart Schermerhorn, Rochester, N.Y.

Letter to Meyer Schapiro, from Novato, Calif., August 18, 1943, discussing his conflicts in regard to teaching. Handwritten letter, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

1944

Plate caption for The Spanish Prison (Window) (P12). In Abstract & Surrealist Art in America, by Sidney Janis, p. 65. New York: Reynal and Hitchcock, 1944. (See Janis 1944.) Reprinted in Motherwell 2007, p. 36; Weitz 1950, p. 88; Mattison 1985b, p. 31. Partially reprinted in Baur 1951b, p. 73; Sandler 1970, pp. 203, 206; Hobbs 1975b, p. 124; Meewis 1983, p. 197; Seitz 1983, p. 103; Hunter and Jacobus 1985, p. 277; Levin 1991, p. 8; Polcari 1991, pp. 53, 307; Belgrad 1998, p. 37; MacLeod 1993, p. 145. (Short form used in catalogue raisonné entries: Motherwell in Janis 1944.)

Preface, editor’s notes, and paragraph headings. In The Cubist Painters: Aesthetic Meditations, 1913, by Guillaume Apollinaire, translated by Lionel Abel, pp. 5–6, 34–35. Documents of Modern Art 1. New York: Wittenborn, 1944. Reprinted in Motherwell 2007, pp. 24–26. Partially reprinted in Plottel 1983, p. 44.

Letter to William Baziotes, from Amagansett, N.Y., September 6, 1944, recounting the events of the summer, including the fellow artists Motherwell met in East Hampton and at the Pontigny-en-Amérique conference at Mount Holyoke College. Handwritten letter, William and Ethel Baziotes Papers, 1916–1992, N 70/21, no. 139, Archives of American Art, Smithsonian Institution. Partially printed in Hobbs 1975b, p. 51; Guilbaut 1983, pp. 80, 223; Mattison 1985b, p. 135.

Press release for Robert Motherwell: Paintings, Papiers Collés, Drawings at Art of This Century, New York, October 21–November 11, 1944. Typescript, Kurt Seligmann Papers, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn.

“The Modern Painter’s World.” Dyn (Mexico City), no. 6 (November 1944): pp. 9–14. Presented as a lecture, “The Place of the Spiritual in a World of Property,” at the Pontigny-en-Amérique conference, Mount Holyoke College, South Hadley, Mass., August 10, 1944. Reprinted in Motherwell 2007, pp. 27–35. Partially reprinted in Motherwell 1992, pp. 27–35; Seitz 1963, p. 230; Lippard 1965, p. 34; Rose 1967, p. 155;

Rose 1968, pp. 130–35; Museum of Fine Arts, Houston, exh. cat. November 1972, pp. 21, 91; Buettner 1973, p. 297; Kozloff 1973, p. 45; Dunham 1975, p. 2; Hobbs 1975b, pp. 21, 69, 79, 80; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Carmean 1978, pp. 33, 96, 102; Foster 1980, pp. 41, 42; Harrison 1982, sec. E, p. 1; Guilbaut 1983, pp. 80, 81, 82; Seitz 1983, pp. 92, 95, 108, 112, 132, 134, 139, 141, 142, 146; Van Hook 1983, p. 103; Collins 1984, pp. 95–96; Bell Gallery, Brown University, exh. cat. 1985, p. 76; Mattison 1985a, p. 91; Mattison 1985b, pp. 25–26, 32, 33, 136–37; Barr 1986, p. 231; Landau 1986, p. 52; Gilbert 1998, pp. 242, 244, 343; Brooker 1989, p. 64; Pleynet 1989a, p. 74; Craven 1991, pp. 47, 56; Flam 1991, p. 15; Levin 1991, pp. 8, 11; Kramer 1993, sec. 7, p. 3; Leja 1993, pp. 37, 252, 253; Caws 1996b, p. 210; Cernuschi 1997, pp. 37, 38; Del Conde 1997, p. 74 (Spanish translation); Gibson 1997, p. 27; Madoff 1997, p. 358; Belgrad 1998, pp. 21, 79; Scott and Rutkoff 1999, pp. 303, 305; Jachec 2000, pp. 37–38, 198; Cateforis 2000–2001, p. 5; Caws 2003, pp. 44, 54, 59; Landau 2005, pp. 129–31.

“Calder’s ‘Three Young Rats’ ” (book review). New Republic 3, no. 26 (December 25, 1944): pp. 874, 876. Reprinted in Motherwell 2007, pp. 38–39.

“Painters’ Objects.” Partisan Review 11, no. 1 (winter 1944): pp. 93–97. Reprinted in Motherwell 1992, pp. 23–27; and in Motherwell 2007, pp. 40–43. Partially reprinted in Hobbs 1975b, pp. 7–8; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 35–36; Los Angeles County Museum of Art exh. cat. 1965, p. 21; Francis V. O’Connor, Jackson Pollock, exh. cat. (New York: Museum of Modern Art, 1967), p. 31; Friedman 1972, p. 62; National Gallery of Art, Washington, D.C., exh. cat. 1978, pp. 34, 127; Guilbaut 1983, p. 83; Seitz 1983, pp. 127, 129; Rudenstine 1985, p. 776; Shapiro and Shapiro 1990, p. 382; Huntington 1993, p. 8; MacLeod 1993, p. 95; Caws 1996b, pp. ix–xi, 13; Caws 2003, pp. 44, 45, 46–47.

1945

“Statements” (artist’s statement). In Personal Statement: Painting Prophecy—1950 (exhibition catalogue; includes statements by Jackson Pollock, Adolph Gottlieb, Mark Rothko, Louise Bourgeois, et al.), foreword by David Porter, n.p. Washington, D.C.: David Porter Gallery, 1945. Reprinted in Motherwell 2007, p. 46. Partially reprinted in Mattison 1985b, p. 196; Polcari 1991, p. 302; Scott and Rutkoff 1999, pp. 301–2.

“Why Not Abstract,” 1945. Draft, Dedalus Foundation Archives. Partially printed in Hobbs 1975b, pp. 7, 70.

Preface. In Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943, by Piet Mondrian, pp. 5–6. Documents of Modern Art 2. New York: Wittenborn, Schultz, 1945. Reprinted in Motherwell 2007, pp. 44–45.

Drafts of preface to Wolfgang Paalen (ca. February–March 1945), Form and Sense, Problems of Contemporary Art 1 (New York: Wittenborn, Schultz, 1945). (Original early

writings by the artist

handwritten draft and several subsequent typescripts, Dedalus Foundation Archives; final draft, George Wittenborn, Inc., Papers, I.B.1. Museum of Modern Art Archives, New York.) Printed final draft in Motherwell 2007, p. 50 (reproduced on p. 51); handwritten draft as “Handwritten Statement, ca. 1944,” Banach 1996, p. 13 (reproduced on p. 12).

Drafts of text for Twentieth Century Art, ca. 1945. Motherwell signed a contract on April 18, 1945, with the publisher Reynal & Hitchcock to write a book on the subject. Five pages of handwritten notes.

Telegram to Josef Albers, April 28, 1945 (regarding his plan to lecture at Black Mountain College on Piet Mondrian and Henry Moore). Black Mountain College records, 1933–56, Archives of American Art, Smithsonian Institution.

Answers to Museum of Modern Art questionnaire on Pancho Villa, Dead and Alive (c7), May 1945. Department of Painting and Sculpture, Museum of Modern Art Archives.

Letter to Meyer Schapiro, from Black Mountain College, N.C., August 28, 1945, regarding Motherwell’s decision to teach at Black Mountain College. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

Letter to Meyer Schapiro, from East Hampton, September 13, 1945. Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

“Henry Moore” (book review). New Republic 113, no. 17 (October 22, 1945): p. 538. Reprinted in Motherwell 2007, pp. 48–49.

Letter to Marianne Moore, from East Hampton, November 29, 1945, regarding his illustrations for Moore’s translation of La Fontaine’s Fables. Original handwritten letter, Marianne Moore Papers, Rosenbach Museum and Library, Philadelphia.

1946

“Robert Motherwell” (artist’s statement). In Fourteen Americans (exhibition catalogue), edited by Dorothy Miller, pp. 34–36. New York: Museum of Modern Art, 1946. Reprinted in Motherwell 1992, pp. 39–40; and in Motherwell 2007, p. 53. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 36; Hobbs 1975b, p. 50; Herskovic 2003, p. 238.

Letter to Marianne Moore, January 23, 1946, regarding illustrating Moore’s translations of La Fontaine’s Fables. Original handwritten letter, Marianne Moore Papers, Rosenbach Museum and Library, Philadelphia.

Letter to William Lee McKim, from East Hampton, February 22, 1946; includes a discussion of the titling of Personage (P11). Typescript with handwritten annotations by Motherwell, Norton Museum of Art Archives.

“Beyond the Aesthetic.” Design 47, no. 8 (April 1946): pp. 14–15. This text was reprinted in a special edition of thirty numbered copies in 1967 by Kresge Art Center

(Michigan State University, East Lansing), designed and printed by James B. Nutter. Reprinted in Motherwell 1992, pp. 36–38; Motherwell 2007, pp. 54–56; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 37, 39; Ross 1990, pp. 103–6. Partially reprinted in Lippard 1965, p. 33; Baro 1966b, pp. 37, 38; Sandler 1970, p. 203; Galerie im Erker exh. cat. 1971, pp. 52, 57; Museum of Fine Arts, Houston, exh. cat. 1972, pp. 25, 91; Art Museum, Princeton University, exh. cat. 1973, n.p.; Wohl 1973, p. 42; Hobbs 1975b, pp. 40, 224; Whitney Museum of American Art exh. cat. 1975, n.p.; Carmean 1976, p. 97; Städtische Kunsthalle exh. cat. 1976, pp. 5, 6–7, 14, 18; Lipman and Franc 1976, p. 184; Flash Art 1977, p. 48; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, p. 47; Firestone 1981, p. 140; Mattison 1981, pp. 9, 10; Seitz 1983, pp. 54, 71, 101, 125, 127; Van Hook 1983, pp. 103, 104, 105; Gelles 1984, p. 38; Mattison 1985b, p. 186; Hemenway 1986, p. 40; Brooker 1989, p. 64; Hoffman 1989, p. 18; Mackie 1989, pp. 56, 101, 120, 172, 173–74, 185–86, 190–91; Kaiser 1995, p. 114; Craven 1996, p. 29; Caws 1996b, pp. 20, 123–24, 145; Cernuschi 1997, p. 73; Belgrad 1998, pp. 122, 135, 143; Gilbert 1998, p. 362; Gordon 2001, p. 53; Caws 2003, pp. 93, 123; Taylor 2004, pp. 103, 105; Sandler 2009, p. 18. (Short form used in catalogue raisonné entries: Motherwell 1946.)

Letter to Dorothy Miller, from East Hampton, May 22, 1946, outlining the four distinct themes present in his work over the past six years. Dorothy Miller Papers, Museum of Modern Art Archives.

1947

Preface (revised). In Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943, by Piet Mondrian, introduction by Harry Holtzman, pp. 5–6. Documents of Modern Art 2. 2nd rev. ed. New York: Wittenborn, Schultz, 1947. (Draft of preface, written winter 1944–45, with a significant discussion of Piet Mondrian that was omitted from the published version, George Wittenborn, Inc., Papers, I.A.5. Museum of Modern Art Archives, New York.)

Letter to Samuel M. Kootz, January 21, 1947. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 41–42. Partially printed in Danto 1993, p. 37; Morizot 2004, p. 257 (French translation).

Artist’s statement, April 1947. In Motherwell (exhibition catalogue). New York: Samuel M. Kootz Gallery, 1947. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 1992, pp. 42–43; Motherwell 2007, p. 57. Partially reprinted in Kees 1948, p. 88; Finberg 1956, p. 5; Ostermann 1964, p. 18; Hobbs 1975b, pp. 25–26, 69, 76; Mattison 1982, pp. 9, 11; Seitz 1983, pp. 94, 108, 137; Kimball 1985, p. 38; Mattison 1985b, pp. 186–87, 192, 210; MacLeod 1993, p. 130; Gibson 1997, p. 37; Caws 2003, p. 138.

Letter to Christian Zervos, from East Hampton, June 13, 1947, discussing his conception of Possibilities. Typescript with

handwritten annotations by Motherwell, Dedalus Foundation Archives. Partially printed in Motherwell 1992, p. 44; Craven 1996, p. 28; Barnier 2000, pp. 107, 109 (French translation).

“Statement” (editorial preface with Harold Rosenberg, September 1947). In Possibilities 1: An Occasional Review, edited by Robert Motherwell, Harold Rosenberg, Pierre Chareau, and John Cage, p. 1. Problems of Contemporary Art 4. New York: Wittenborn, Schultz, winter 1947–48. Reprinted in Motherwell 1992, pp. 45–46 (as “Editorial Preface”); Motherwell 2007, p. 58; Rose 1968, pp. 129–30; Ashton 1972, p. 163; Landau 2005, pp. 153–54. Partially reprinted in Seitz 1963, pp. 111, 230; Chipp 1968, p. 489 (as “The Question of What Will Emerge Is Left Open”); Carmean 1978, p. 102; Seitz 1983, p. 134; Bell Gallery, Brown University, exh. cat. 1985, p. 14; Mattison 1985b, p. 187; Jachec 1991, p. 20; Campbell 1993, p. 20; MacLeod 1993, p. 172; Caws 1996b, p. 87; Gibson 1997, p. xxiv; Gilbert 1998, p. 345; Barnier 2000, pp. 107, 114 (French translation); Jachec 2000, p. 83; Marter 2007, p. 216; Sandler 2009, p. 147.

1948

“Prefatory Note.” In On My Way: Poetry and Essays, 1912–1947, by Jean Arp, p. 6. Documents of Modern Art 6. New York: Wittenborn, Schultz, 1948. Original handwritten draft, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 50–51; Motherwell 2007, pp. 61–62. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 42.

“Prefatory Note.” In Max Ernst: Beyond Painting and Other Writings by the Artist and His Friends, by Max Ernst et al., pp. v–vi. Documents of Modern Art 7. New York: Wittenborn, Schultz, 1948. Reprinted in Motherwell 1992, pp. 47–49; Motherwell 2007, pp. 59–60. Partially reprinted in Baur 1951b, p. 32; Allen Memorial Art Museum Bulletin 1952, pp. 110–11; Campbell 1993, p. 20.

Letter to John Cage, Pierre Chareau, and Harold Rosenberg, from East Hampton, January 29, 1948, regarding his ideas for the second issue of Possibilities. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 980048.

Letter to Joseph Cornell, from East Hampton, March 4, 1948, asking him to contribute to Possibilities magazine. Typescript, Joseph Cornell Papers, 1804–1986, bulk 1939–1972, Archives of American Art, Smithsonian Institution.

Postcard to Margaret Miller, July 1, 1948 (regarding the title of The Best Toys Are Made of Paper, c48). Original handwritten note, Department of Painting and Sculpture, Museum of Modern Art Archives.

Postcard to Dorothy Miller, July 25, 1948 (regarding the choice of works for the exhibition Collage at the Museum of Modern Art, 1948). Typescript, Department of Painting and Sculpture, Museum of Modern Art Archives.

“A Tour of the Sublime.” In “The Ides of Art: 6 Opinions on What Is Sublime in Art” (includes contributions by Kurt Seligmann, A.D.B. Sylvester, Barnett B. Newman, Nicolas Calas, and John Stephan), pp. 46–48. Tiger’s Eye 1, no. 6 (December 15, 1948): pp. 46–60. Reprinted in Motherwell 1992, pp. 52–53; Motherwell 2007, pp. 63, 66. Partially reprinted in Ashton 1964b, p. 100; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 40, 42; Newsweek 1965, p. 98; Galerie im Erker exh. cat. 1970, p. 58 (German translation); Levine 1971, p. 23; Hobbs 1975b, pp. 45, 243; Whitney Museum of American Art exh. cat. April 1975, n.p.; National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 261; Cook et al. 1983, p. 31; Seitz 1983, p. 162; Craven 1990, p. 72; Jachec 1991, p. 21; Campbell 1993, p. 19; McEvilley 1993, pp. 49–50; Caws 1996b, p. 16; Craven 1996, p. 31; Jachec 2000, p. 97.

1949

“Preliminary Notice.” In The Rise of Cubism, by Daniel-Henry Kahnweiler, translated by Henry Aronson, pp. vi–viii. Documents of Modern Art 9. New York: Wittenborn, Schultz, 1949. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 54–56; Motherwell 2007, pp. 69–71. Partially reprinted in Allen Memorial Art Museum Bulletin 1952, p. 110; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 42; Museum of Fine Arts, Houston, exh. cat. November 1972, p. 92; Caws 1996b, p. 34; Cateforis 2000–2001, p. 6.

“Robert Motherwell: Person with Orange.” In The Challenge of Modern Art, by Allen Leepa, foreword by Herbert Read, p. 194. New York: Beechhurst Press, 1949. (See Leepa 1949.) Reprinted in Mattison 1985b, p. 199. Partially reprinted in Brown 1951–52, p. 103. (Short form used in catalogue raisonné entries: Motherwell in Leepa 1949.)

“A Personal Expression.” Lecture presented at the session “The Artist’s Point of View,” at the Seventh Annual Conference of the Committee on Art Education, sponsored by the Museum of Modern Art, New York, March 19, 1949. Typescript, Dedalus Foundation Archives; typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; typescript with handwritten annotations by Motherwell, George Wittenborn, Inc., Papers, I.B.23. Museum of Modern Art Archives, New York. Printed in Motherwell 1992, pp. 57–62; Motherwell 2007, pp. 75–80. Partially reprinted in Kingsley 1992, p. 310; Danto 1993, p. 37; Kramer 1993, sec. 7, p. 3; Craven 1996, pp. 26, 29; Lawrence Rubin/Greenberg Van Doren Fine Art, exh. cat. 2001, n.p.; Morizot 2004, pp. 253, 254 (French translation).

“Preliminary Notice” (March 29, 1949).

In The Cubist Painters: Aesthetic Meditations, 1913, by Guillaume Apollinaire, pp. iv–v. Documents of Modern Art 1. 2nd rev. ed. New York: Wittenborn, Schultz, 1949.

Reprinted in Motherwell 1992, pp. 63–64; Motherwell 2007, pp. 67–68.

“Reflections on Painting Now.” Lecture presented at the symposium “French Art vs. U.S. Art Today,” at Forum 49, Provincetown, August 11, 1949. Typescript, Dedalus Foundation Archives; typescript with minor handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 65–68; Motherwell 2007, pp. 81–84. Partially printed in Samuel M. Kootz Gallery, Robert Motherwell Collages, 1943–49, October 1949 exh. cat., n.p. Partially reprinted in Hobbs 1975b, p. 7; Campbell 1993, p. 20; Kaiser 1995, pp. 136–37; Craven 1996, p. 28; Cateforis 2000–2001, p. 6; Caws 2003, p. 76. “Preliminary Notice” (October 16–21, 1949). In From Baudelaire to Surrealism, by Marcel Raymond, introduction by Harold Rosenberg, bibliography by Bernard Karpel, pp. vii–viii. Documents of Modern Art 10. New York: Wittenborn, Schultz, 1949. Original handwritten manuscript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 69–70; Motherwell 2007, pp. 72, 74 (reproduced on p. 73). Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 42; Sandler 1970, p. 209; Hobbs 1975b, p. 178; Foster 1980, p. 22; Hughes 1981b, p. 161; Van Hook 1983, pp. 104, 105; Mattison 1985b, pp. 29–30; Mackie 1989, pp. 53, 171; Caws 2003, pp. 111–12.

Answers to Museum of Modern Art questionnaire on The Homely Protestant (P82), November 1949. Handwritten responses to questionnaire, Department of Painting and Sculpture, Museum of Modern Art Archives.

“Abstract Art and the Real” (essay, ca. 1949). Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, p. 126; Motherwell 2007, p. 85.

1950

“Expressionism” (essay, ca. 1950). Typescript, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 99–100; Städtische Kunsthalle exh. cat. 1976, pp. 8–10. Partially reprinted in Caws 2003, pp. 69–70.

Statements describing the four categories of works included in his exhibition Motherwell: First Exhibition of Paintings in Three Years (exhibition catalogue). New York: Samuel M. Kootz Gallery, 1950. Partially reprinted in Hobbs 1975b, pp. 4, 212; Carmean 1978, pp. 100, 110; Fineberg 1978, p. 55; Firestone 1981, p. 140; Kingsley 1992, pp. 307, 314.

“Black or White” (essay). In Black or White: Paintings by European and American Artists (exhibition catalogue). New York: Samuel M. Kootz Gallery, 1950. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 71–72; Motherwell 2007, p. 86; Jewish Museum exh. cat. 1963, n.p.; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, p. 94; Poesia y Poética 1990, pp. 32–34 (Spanish translation). Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 43; as “Thoughts on Black and White,” in “An Appointment

Calendar for the Year 1971 with Selected Black and White Works from the Museum of Modern Art” (New York: Junior Council of the Museum of Modern Art, 1970), n.p.; Hobbs 1975b, p. 225; Carmean 1978, p. 95; Seitz 1983, p. 72; Mattison 1985b, p. 231; Harrison 1991, p. 98; Spencer Museum of Art, University of Kansas, Lawrence, exh. cat. 1995, p. 136; Cateforis 2000–2001, p. 10; Richardson 2001, p. 249; Caws 2003, p. 180; Sandler 2009, p. 121. “For David Smith 1950.” In David Smith (exhibition catalogue). New York: Willard Gallery, 1950. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 2007, p. 88. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 43.

Letter to Barnett Newman, January 30, 1950, congratulating Newman on his exhibition at the Betty Parsons Gallery. Handwritten letter, Barnett Newman Foundation archives.

Statements and questions in “Artists’ Sessions at Studio 35 (1950),” edited by Robert Goodnough. In Modern Artists in America, edited by Robert Motherwell, Ad Reinhardt, and Bernard Karpel, pp. 8–22. 1st series. New York: Wittenborn, Schultz, 1951. Partial transcript of the symposium at Studio 35, New York, April 21–23, 1950; moderated by Alfred H. Barr, Richard Lippold, and Robert Motherwell. Partially reprinted in Los Angeles County Museum of Art exh. cat. 1965, pp. 33–41; Rose 1968, pp. 162–64; Hobbs 1975b, pp. 48, 49; Städtische Kunsthalle exh. cat. 1976, p. 6; Carmean 1978, pp. 33, 36, 38, 104; Seitz 1983, pp. 39, 40, 94; Mackie 1989, pp. 76, 93–94, 100, 101; Abstract Expressionists: Studio 35/Downtown (exhibition catalogue; New York: Stux Modern, 1990), n.p.; Ross 1990, p. 212; Flam 1991, p. 9; Jachec 1991, pp. 19, 23, 25; Kingsley 1992, pp. 135–36; Jones 1993, p. 642; Caws 1996b, p. 123; Cernuschi 1997, p. 161; Gibson 1997, p. xxiii; Jachec 2000, p. 145; Caws 2003, pp. 11–12; Sandler 2009, p. 25.

Statement on Matisse, April 1950. Printed in Alfred H. Barr Jr. in Matisse: His Art and His Public (New York: The Museum of Modern Art, 1951), p. 266. Partially reprinted in Seitz 1955, p. 437; Seitz 1983, p. 163.

Preface (July 14, 1950). In The Fauvist Painters, by Georges Duthuit, translated by Ralph Manheim, bibliography by Bernard Karpel, pp. ix–x. Documents of Modern Art 11. New York: Wittenborn, Schultz, 1950. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 73–75; Motherwell 2007, pp. 89–92. Partially reprinted in Caws 2003, pp. 47, 104.

“The New York School.” Lecture presented at the panel “Appraisals of Contemporary Art,” at the Midwestern Conference of the College Art Association, Allen R. Hite Art Institute, University of Louisville, Ky., October 27, 1950. Typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 76–81; Motherwell 2007, pp. 93–98. Partially reprinted in Campbell 1993, pp. 19–20; Caws 1996b, p. 15; Craven 1996, pp. 26, 27, 29; Jones 1996,

p. 11; Cateforis 2000–2001, p. 5; Caws 2003, pp. 37, 41, 63, 94; Marter 2007, pp. 73–74; Sandler 2009, p. 150.

Letter to Meyer Schapiro, East Islip, N.Y., December 30, 1950, discussing the possible use of abstract motifs in Wall of the Temple (P114). Typescript, Meyer Schapiro Papers, box 149, folder 21, Rare Book and Manuscript Library, Columbia University, New York.

Letter to Creighton Gilbert, East Islip, N.Y., December 10, 1950, discussing his lecture on the New York School. Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

1951

“A Statement by the Editors” (preface, with Bernard Karpel and Ad Reinhardt), and “Introduction to the Illustrations” (with Ad Reinhardt). In Modern Artists in America, edited by Robert Motherwell, Ad Reinhardt, and Bernard Karpel. 1st ser. New York: Wittenborn, Schultz, 1951. Reprinted in Motherwell 1992, pp. 94–95; Motherwell 2007, pp. 101–2. Partially reprinted in Barr 1986, p. 36; Jachec 1991, p. 20; MacLeod 1993, pp. 140, 166; Caws 1996b, p. 15; Morizot 2004, p. 257 (French translation).

Preface and introduction. In The Dada Painters and Poets: An Anthology, edited by Robert Motherwell, pp. xi–xxxvii. 1st ed. Documents of Modern Art 8. New York: Wittenborn, Schultz, 1951. Second edition by Cambridge, Mass.: Belknap Press of Harvard University Press, 1989. Reprinted in Motherwell 2007, pp. 104–53. Partially reprinted in Motherwell 1992, pp. 90–93; Alford 1952, pp. 269, 271; Plottel 1983, p. 193; Seitz 1983, p. 111; Scott and Rutkoff 1999, p. 317.

“Notes.” In Cy Twombly (exhibition catalogue). Chicago: Seven Stairs Gallery, 1951. Reprinted in Motherwell 2007, p. 103; and in Cy Twombly: Paintings and Sculptures, 1951 and 1953 (exhibition catalogue; New York: Sperone Westwater, 1989), n.p. Partially reprinted in Banach 1996, p. 19.

“The School of New York” (preface). In “Seventeen Modern American Painters” (exhibition catalogue). Beverly Hills, Calif.: Frank Perls Gallery, 1951. Reprinted in Motherwell 1992, pp. 83–84; Motherwell 2007, pp. 154–55. Partially reprinted in Dorival et al. 1964, p. 220; Sandler 1970, p. 202; Art Museum, Princeton University, exh. cat. 1973, n.p.; Städtische Kunsthalle exh. cat. 1976, p. 6; Kramer 1977a, p. 24; Guilbaut 1983, p. 204; Seitz 1983, pp. 95, 142; Meewis 1983, p. 198; Mackie 1989, p. 189; Flam 1991, pp. 18, 20; Caws 1996b, p. 34; Marter 2007, p. 3.

“Postscript to the Preface [‘The School of New York’],” ca. 1951 (in response to criticism of “The New York School”; see entry).

Typescript, with handwritten annotations. Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed in Motherwell 1992, pp. 82–83; Motherwell 2007, pp. 156–57.

Statement on Western Air (P47). In Aline B. Louchheim, “Six Abstractionists Defend Their Act.” New York Times Magazine, January 21,

1951, p. 17. (See Louchheim 1951a.) (Short form used in catalogue raisonné entries: Motherwell in Louchheim 1951a.)

“What Abstract Art Means to Me: Statements by Six American Artists.” Museum of Modern Art Bulletin 18, no. 3 (spring 1951): pp. 12–13. (See Museum of Modern Art Bulletin 1951.) Presented at the symposium “What Abstract Art Means to Me” in conjunction with the exhibition Abstract Painting and Sculpture in America, at the Museum of Modern Art, February 5, 1951; speakers also included George L. K. Morris, Willem de Kooning, Alexander Calder, Fritz Glarner, and Stuart Davis. Reprinted in Motherwell 1992, pp. 85–87; Motherwell 2007, pp. 158–59; Städtische Kunsthalle exh. cat. 1976, pp. 16–18. Partially reprinted in S[euphor] 1951a, p. 21; Warshaw 1961, p. 347; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 45; Andreae 1969, p. 8; Kramer 1969b, sec. D, p. 41; Chandler 1971, pp. 23, 26; Wohl 1973, p. 42; Hobbs 1975b, p. 47; Lipman and Franc 1976, p. 144; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Firestone 1982, p. 120; Seitz 1983, pp. 103, 116, 141; Van Hook 1983, p. 104; Barr 1986, p. 230; Mathew 1986, p. 3; Berlinische Galerie, Museum für Moderne Kunst, Photographie, und Architektur, exh. cat. 1988, pp. 81–82 (German translation); Mattison 1988, p. 174; Mackie 1989, pp. 32, 35, 107; Flam 1991, pp. 14, 27; Polcari 1991, p. 302; Kramer 1993, sec. 7, p. 24; McEvilley 1993, p. 49; Spencer Museum of Art, University of Kansas, Lawrence, exh. cat. 1995, p. 129; Caws 1996a, sec. 2, p. 48; Caws 1996b, pp. 86–87, 96–99; Jones 1996, p. 40; Del Conde 1997, p. 81 (Spanish translation); Gibson 1997, p. 7; Gilbert 1998; p. 370; Ward 1998, p. 53; Jachec 2000, p. 198; Caws 2003, p. 73; Quast 2003, p. 315; Sandler 2009, pp. 21, 31.

Answers to Whitney Museum questionnaire on The Red Skirt (P65), March 23, 1951. Frances Mulhall Achilles Library, Artist Files, Whitney Museum of American Art, New York. Partially printed in Gibson 1997, p. 55.

“The Public and the Modern Painter.” Catholic Art Quarterly 14, no. 2 (Easter 1951): pp. 80–81. Partially reprinted in Hobbs 1975b, p. 40; Carmean 1978, p. 104; Raynor 1979, p. 22; Mackie 1989, p. 190.

“The Rise and Continuity of Abstract Art.” Lecture presented at The Symposium on Modern Painting at the Fogg Art Museum, Harvard University, Cambridge, Mass., April 12, 1951; speakers also included Oliver W. Larkin and Ben Shahn. Typescript of final draft, Dedalus Foundation Archives; handwritten outline and typescript of an early draft with extensive handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed final draft in Mattison 1982, p. 9; Mattison 1985b, p. 18; Flam 1991, p. 12; Sandler 2009, p. 201.

Lecture given at the Artists Equity Association, April 19, 1951 (lecture now lost, summarized in a letter sent to Motherwell by Theodore Brenson, May 23, 1951). Typescript of letter, Dedalus Foundation Archives.

artist

“The Rise and Continuity of Abstract Art.” Arts & Architecture 68, no. 9 (September 1951): pp. 20–21, 41. (A slightly revised version of the concluding portion of a lecture presented at a symposium on modern art at the Fogg Art Museum, Harvard University, Cambridge, Mass., April 12, 1951.) Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 87–89; Motherwell 2007, pp. 160–61. Partially reprinted in Museum of Fine Arts, Houston, exh. cat. 1972, pp. 92–93; Hobbs 1975, p. 30; Polcari 1991, p. 303. (Short form used in catalogue raisonné entries: Motherwell 1951.)

Interview with Motherwell. In P[aul] B[ird], “Motherwell: A Profile.” Art Digest 26, no. 1 (October 1, 1951): pp. 6, 23. (See B[ird] 1951.) Partially reprinted in Kingsley 1992, p. 300.

Statement on modern art’s historical antecedents. In Gertrude Benson, “Striking Camera Studies at Art Museum.” Philadelphia Inquirer, October 7, 1951, sec. Society, pp. 19, 28. (See Benson 1951a.)

Statement on Wall of the Temple (P114). In Gertrude Benson, “Synagogue Goes Modern.” Today (Philadelphia Inquirer magazine), November 18, 1951, p. 30. (See Benson 1951b.) (Short form used in catalogue raisonné entries: Motherwell in Benson 1951b.)

1952

Diagram that maps the development of Abstract Expressionism drawn by Motherwell during a conversation with William C. Seitz, ca. 1952. Printed in Seitz 1983, pp. 168–69.

Final page of letter to unknown party, ca. 1952. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 96–97. Partially printed in Campbell 1993, p. 20.

Interview with Motherwell, January 14, 1952. Partially reprinted in Seitz 1955; Seitz 1983; Kimball 1985, p. 39. Typescript notes from the interview, William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution.

“Apropos ‘Traditional’ and ‘Modern’ Methods of Teaching Art.” Lecture presented at the panel “Traditional and Modern Methods of Teaching Painting,” at the annual meeting of the College Art Association, Barbizon-Plaza Hotel, New York, January 24, 1952; moderated by H. H. Arnason, participants included Leon Kroll, Reginald Marsh, and Robert J. Wolff. Typescript, Dedalus Foundation Archives; typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 2007, pp. 162–65.

Letter to William C. Seitz, April 12, 1952, regarding the development of Abstract Expressionism from the perspective of Motherwell and his contemporaries, and discussing critical responses to his work. Original handwritten letter, William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution. Partially printed in Seitz 1983, p. 163.

“The Ideas and Rejections of Modern Art.” Ten-day seminar for students, the Baldwin

Fund Special Advanced Seminar, at Oberlin College, Ohio, April 15–24, 1952; in conjunction with two public lectures by Motherwell: “Abstract Art and the Synagogue” (April 17, 1952) and “Modern Art as a Mode of Modern Thought” (April 24, 1952). Typescript outline of seminar topics, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; typescript of “Modern Art as a Mode of Modern Thought” (transcribed by Seitz from Motherwell’s handwritten draft), and notes on Motherwell’s seminar written by students, William Chapin Seitz Papers, 1934–1995, Archives of American Art, Smithsonian Institution. Partially reprinted in Waters 1952, sec. V, p. 4.

“The Mural (Interpretations by Motherwell).” In Symbols and Inscriptions in the Synagogue of the Congregation B’nai Israel (brochure accompanying the “Art Dedication Exercises” at Congregation B’nai Israel, Millburn, N.J., June 15, 1952). Millburn, N.J.: Congregation B’nai Israel, 1952. (Short form used in catalogue raisonné entries: Motherwell 1952.)

“Apropos ‘Aesthetics and the Artist.’ ” Lecture presented at the panel “Aesthetics and the Artist,” at the annual Woodstock Art Conference hosted by the Woodstock Artists Association, N.Y., August 22–23, 1952. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; reel-to-reel audiotapes of the seminar including Motherwell’s lecture, Woodstock Artists Association & Museum, N.Y.

“Science and the Modern Artist.” Lecture presented at the Oreon E. Scott Symposium, Washington University in Saint Louis, November 23, 1952. Typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed in Hobbs 1975b, p. 70.

1953

“Preface to a Joseph Cornell Exhibition” (June 26, 1953). In Joseph Cornell Portfolio— Catalogue (exhibition catalogue). New York: Leo Castelli Gallery and Richard L. Feigen; Los Angeles: James Corcoran Gallery, 1976. Originally prepared for an exhibition at the Walker Art Center (July–August 1953), but the scheduled catalogue was not published. Typescript, Dedalus Foundation Archives; Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 2007, pp. 168–69; “Seven Boxes by Joseph Cornell” (Tokyo: Gatodo Gallery, 1978), pp. 10–11 (Japanese translation); Joseph Cornell, 1903–1972 (Cologne: Galerie Karsten Greve, 1992), n.p. (German translation). Partially printed in Städtische Kunsthalle exh. cat. 1976, pp. 15–16 (as “On Cornell”); Caws 1996b, p. 57.

Statement in “Symposium: Is the French Avant Garde Overrated?” (editorial symposium, with Ralston Crawford, Clement Greenberg, and Jack Tworkov). Art Digest 27, no. 20 (September 1953), pp. 12–13, 27. Reprinted in Motherwell 2007, pp. 166–67. Partially reprinted in Hobbs 1975b, p. 51; Foster 1980, p. 61; Jachec 2000, p. 154.

1954

“Of Form and Content,” ca. 1954. Typescript, Dedalus Foundation Archives. Printed in Hobbs 1975b, p. 33. Reprinted in Motherwell 1992, p. 126; Motherwell 2007, p. 180.

Partially reprinted in Mattison 1985b, p. 7.

Artist’s statement. In 4 Americans: From the Real to the Abstract (exhibition catalogue), introduction by R[alph] [A.] A[nderson] Jr. Houston: Contemporary Arts Museum, 1954.

Interview with Motherwell, “Modern Art: Four Artists of Hunter College Talk about Their Work” (with William Baziotes, Henry Kahn, and Richard Lippold). Interviewed by Edna Wells Luetz; narrated by Bill O’Toole. Panorama, Du Mont Television Network, no. 13, February 13, 1954. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

“Symbolism.” Lecture presented at Hunter College, New York, February 24, 1954.

Typescript, Dedalus Foundation Archives; typescript, with handwritten annotations, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 98–103; Motherwell 2007, pp. 170–75. Partially reprinted in Städtische Kunsthalle exh. cat. 1976, p. 5; Helmut M. Federle Bilder, 1977–78 (Basel, Switzerland: Kunsthalle Basel, 1979), n.p. (German translation); Caws 1996b, p. 27; Belgrad 1998, p. 125; Cateforis 2000–2001, p. 7; Caws 2003, pp. 41–42, 73–74; Picker Art Gallery, Colgate University, exh. cat. 2007, p. 57.

Answers to a questionnaire submitted by the students of seminar taught by Frederick Wight at UCLA, May 3, 1954. Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

“The Painter and the Audience” (part of the editorial symposium “The Creative Artist and His Audience,” with Saul Bellow, Robinson Jeffers, and Roger Sessions). Perspectives USA, no. 9 (autumn 1954): pp. 107–12. Typescript, Dedalus Foundation Archives. Printed concurrently in French, Italian, and German as “Le Peintre et le public,” Profils, no. 9 (autumn 1954): pp. 188–92; “I Pittori,” Prospeti, no. 9 (autumn 1954): pp. 114–17; and “Der Maler und sein publikum,” Perspektiven, no. 9 (autumn 1954): pp. 163–67. Reprinted in Motherwell 1992, pp. 104–8; Motherwell 2007, pp. 176–79; Peintre et Public (Caen, France: L’Échoppe, 1989), pp. 9–21 (French translation); Ross 1990, pp. 106–10. Partially reprinted in Goodrich et al. 1957, p. 248; Haftmann 1965, p. 347; Baro 1966b, p. 41; Hobbs 1975b, pp. 13, 81; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Murray and Murray 1978, p. 311; Cavaliere 1979a, p. 29; Silver 1991, p. 57; Kramer 1993, sec. 7, p. 24; Caws 1996b, pp. 3, 5, 65, 73–75; Cernuschi 1997, p. 101; Ross 1998, sec. C, p. 3; Herskovic 2000, p. 258; Jachec 2000, pp. 154–55; Sandler 2009, pp. 21, 150. Printed with minor additions in Museum of Modern Art exh. cat. 1958, p. 52. Reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 47. Partially reprinted in Galerie im Erker exh. cat. 1971, p. 57 (German translation).

Interview with Motherwell. In Jean Paulhan, “L’Artiste moderne et son public” (text in French; part of the editorial symposium “The Creative Artist and His Audience,” with Saul Bellow, Robinson Jeffers, and Roger Sessions. Profils (French edition of Perspectives), no. 9 (autumn 1954): pp. 192–98.

1955

Artist’s statement. In The New Decade: 35 American Painters and Sculptors (exhibition catalogue), edited by John I. H. Baur. New York: Whitney Museum of American Art, 1955. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 108–9 (as “A Painting Must Make Human Contact”). Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 50; Sedgwick 1966, p. 149; Hobbs 1975b, p. 81; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Mackie 1989, p. 170; Sayre 1994, p. 33; Caws 1996b, p. 75; Jachec 2000, pp. 154–55; Caws 2003, p. 174.

Notes for a lecture on the arts and religion presented at “The Arts and Protestant Culture,” a four-week series sponsored by the Judson Memorial Church, New York, March 16, 1955. Original handwritten notes, Dedalus Foundation Archives.

“The Artist and Modern Society.” Syllabus for a course offered by Motherwell at Hunter College, New York, fall 1955. Original annotated typescript, with eight pages of handwritten subject notes, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 298–99; Motherwell 2007, pp. 181–84 (reproduced on pp. 182–83).

Interview with Motherwell, November 16, 1955, regarding the beginning of Abstract Expressionism in New York. In “The Origins and Development of Abstract Expressionism in the United States,” by Francis M. Celentano, pp. x–xi. M.A. thesis, New York University, 1957.

1956

Statement on the relationship between the artist’s medium and the audience, ca. 1956. Printed in Banach 1996, p. 29 (reproduced on p. 28).

“The Artist’s Life” (artist’s statement), 1956. Original handwritten manuscript, Dedalus Foundation Archives. Printed in Motherwell 2007, p. 185; Banach 1996, p. 19 (reproduced on p. 18).

“The Modern Artist and Society,” February 1956. Syllabus for a course offered by Motherwell at Hunter College, spring 1956. This course was a continuation of the course at Hunter College offered in fall 1955. BMS 555/27 (3), Society for the Arts, Religion, and Contemporary Culture, Records, 1961–2003, Andover-Harvard Theological Library, Harvard Divinity School, Cambridge, Mass.

“Letters” (letter to the editor). Arts 30, no. 7 (April 1956): p. 5. (Short form used in catalogue raisonné entries: Motherwell 1956.)

Statement on European modern artists (July 31, 1956). Original handwritten manuscript,

Dedalus Foundation Archives. Printed in Banach 1996, p. 19 (reproduced on p. 18).

Letter to John Alford, November 10, 1956, declining an invitation to speak at the upcoming forty-fifth College Art Association meeting. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 110–12. Partially reprinted in Caws 1996b, pp. 17, 18.

1957

“Notes.” In Bradley Walker Tomlin (exhibition catalogue), by John I. H. Baur, pp. 11–12. New York: Macmillan, in association with Whitney Museum of American Art, 1957. Typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 113–14; Motherwell 2007, pp. 186–87. Partially reprinted in John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews (exhibition catalogue), commentary by Mollie McNickle (Berkeley and Los Angeles: University of California Press, 1992), p. 207; Kingsley 1992, p. 26.

Answers to a Museum of Modern Art questionnaire on The Voyage (P87), ca. 1957, Department of Painting and Sculpture, Museum of Modern Art Archives.

Answers to a Museum of Modern Art questionnaire on Personnage, with Yellow Ochre and White (P64), ca. 1957, Department of Painting and Sculpture, Museum of Modern Art Archives.

Letter to Carol Kinzel, from Provincetown, June 26, 1957, discussing how to proceed with the conservation of Granada (P86). Original handwritten letter, Rockefeller Family Archives at the Rockefeller Archive Center.

Interviews with Motherwell by Irving Sandler, Provincetown, July 16 and 22, and August 8 and 16, 1956. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 2000.M.43. Partially printed in Sandler 2003, pp. 27, 46, 90, 91; Sandler 2009, p. 30.

Statement on his recent series of drawings of a nude quoted in “Motherwell Show at HCE Gallery.” Provincetown Advocate, August 1, 1957, p. 8. (See Provincetown Advocate 1957.)

1958

“U.S. Art Abroad” (letter to the editor). In “Letters to the Editors.” Life, June 9, 1958, p. 15. (Short form in catalogue raisonné entries: Motherwell 1958.)

Interview with Motherwell. In Linda Lewis, “We Hitch Our Wagons.” Mademoiselle 47, no. 4 (August 1958): p. 242. (See Lewis 1958.)

“Art Is Where You Find It” (letter to the editor). Time 72, no. 11 (September 15, 1958): p. 4.

Letter to Tatyana Grosman, November 4, 1958, declining Grosman’s offer to create lithographs at ULAE. Original typescript, ULAE Archives, Bay Shore, N.Y. Printed in Tatyana Grosman, Bill Goldston, and Riva Castleman, Tatyana Grosman: A Scrapbook by Riva Castleman (Bay Shore, N.Y.: Universal Limited Art Editions, 2009), p. 92.

1959

“Statement” (artist’s statement). It Is., no. 3 (winter–spring 1959): p. 10. (See It Is. 1959.)

“The Motherwell Show” (letter to the editor). Arts Magazine 33, no. 8 (May 1959): p. 8. (Short form used in catalogue raisonné entries: Motherwell 1959.)

“The Significance of Miró” (exhibition review; abridged version). Artnews 58, no. 4 (May 1959): pp. 32–33, 65–67. Typescript, Dedalus Foundation Archives. Printed unabridged version in Motherwell 2007, pp. 188–93. Reprinted abridged version in Motherwell 1992, pp. 115–20; Bohigas et al. 1986, pp. 27–30 (Catalan translation, as “La Importância de Miró”); Flam 1991, p. 9; Polcari 1991, p. 24; Kingsley 1992, p. 312; Kaiser 1995, p. 113; Craven 1996, p. 28; Sandler 2009, p. 71. Partially reprinted abridged version in Lippard 1965, p. 35; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, pp. 50–51, 53; Hobbs 1975b, p. 67; Rose 1982, p. 5.

“Lecture with Charles R. Hulbeck.” Lecture presented in conjunction with a lecture by Dr. Charles R. Hulbeck [Richard Huelsenbeck], “Modern Art and Human Development, a Psychoanalytic Comment,” at the meeting of the Association for the Advancement of Psychoanalysis, New York Academy of Medicine, October 28, 1959. Typescript of lecture, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 121–25; Motherwell 2007, pp. 194–97. Partially reprinted in Hobbs 1975b, pp. 22, 73; Campbell 1993, p. 19.

1960

Blurb for May Natalie Tabak, But Not for Love: A Novel. New York: Horizon Press, 1960.

Statement in “The Philadelphia Panel,” edited by P[hilip] G. Pavia and Irving Sandler (transcript of “The Concept of the New” at the Philadelphia Museum School of Art, March 28, 1960; moderated by Harold Rosenberg, speakers included Philip Guston, Robert Motherwell, Ad Reinhardt, and Jack Tworkov). It Is., no. 5 (spring 1960): pp. 34–38. (See Pavia and Sandler 1960.) Original handwritten transcript and typescript, Philip Pavia Papers, 1913–2005, Manuscript, Archives, and Rare Book Library, Emory University. Reprinted in Motherwell 2007, p. 198. Partially reprinted in Canaday 1960, sec. 2, p. 13; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 53; Hobbs 1975b, p. 187.

Letter to Alfred H. Barr Jr., June 2, 1960, regarding the Museum of Modern Art’s collection of works by Motherwell, and the conservation of Granada (P86). Original typescript, Alfred H. Barr Jr. Papers, Museum of Modern Art Archives, New York.

1961

“What Should a Museum Be?” (editorial symposium, with Thomas M. Messer, Larry Aldrich, Georges Wildenstein, John Canaday, Herbert Ferber, Edward Durell Stone, C. C.

Cunningham, Edward G. Robinson, and R. Sturgis Ingersoll). Art in America 49, no. 2 (March–April 1961): pp. 32–33. Reprinted in Motherwell 1992, pp. 130–32; Motherwell 2007, pp. 202–4. Partially reprinted in Pasadena Art Museum exh. cat. February 1962, n.p.; Caws 2003, p. 50. (Short form used in catalogue raisonné entries: Motherwell 1961.)

Answers to Whitney Museum of American Art questionnaire on N.R.F. Collage No. 1 (c104), April 13, 1961. Handwritten responses to the questionnaire, Dedalus Foundation Archives. Interviews with Motherwell by Rudi Blesh, Provincetown, May 23 and 30, June 6, 1961. Handwritten transcript, Rudi Blesh Papers, 1909–1983, Archives of American Art, Smithsonian Institution.

Statement on night games at Yankee Stadium. In Gay Talese, “Mantle, Maris and a Few Others Stir a Potpourri of Fan Emotion.” New York Times, September 2, 1961, p. 10. (See Talese 1961.)

1962

Interview with Motherwell. In Doris Reno, “He Paints—What You Don’t See” (includes an account of the course Motherwell taught at the University of Miami, and a lecture he gave at the Lowe Art Museum, University of Miami). Miami Herald, January 24, 1962, sec. C, p. 2. (See Reno 1962.)

Excerpts of the lecture presented at the Burns School Auditorium, University of Hartford, March 21, 1962, sponsored by the Wadsworth Atheneum Museum of Art and the Student Alliance of the Hartford Art School. “Motherwell Opens Art Lecture Series.” Hartford Times, March 24, 1962, p. 26. (See Berkman 1962.)

Interview with Motherwell, spring 1960. In David Sylvester, “ ‘Painting as Existence’: An Interview with Robert Motherwell” (minor revisions of “Painting as Self-Discovery” interview for BBC, London, broadcast on October 22, 1960). Metro (Milan), no. 7 (1962): pp. 94–97. (See Sylvester 1962.) Transcript of “Painting as Self-Discovery,” with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 2007, pp. 205–11; Sylvester 2001, pp. 75–83. Partially reprinted in Claus 1965, p. 9; Hobbs 1975b, pp. 59–60, 72; Lippard 1965, p. 34; Carmean 1978, p. 103; Mackie 1989, pp. 119–20; Ross 1990, pp. 111–12; Caws 1996b, pp. 3, 24; Madoff 1997, p. 247; Caws 2003, p. 100. “Homage to Franz Kline” (August 17, 1962). In Franz Kline: The Color Abstractions (exhibition catalogue), p. 43. Washington, D.C.: Phillips Collection, 1979. Originally prepared for the 1962 Franz Kline retrospective at the Washington Gallery of Modern Art, D.C., but not published at that time. Reprinted in Motherwell 1992, pp. 133–34; Motherwell 2007, pp. 212–13. Partially reprinted in Campbell 1993, p. 19.

Answers to Museum of Modern Art questionnaire on Elegy to the Spanish Republic No. 54 (P215), September 13, 1962. Handwritten

responses to the questionnaire, Department of Painting and Sculpture, Museum of Modern Art Archives.

Lecture and conversation with students, November 1962. In Charles Chetham, “Robert Motherwell: A Conversation at Lunch,” transcribed by Margaret Paul, in An Exhibition of the Work of Robert Motherwell (exhibition catalogue), pp. 10–19. Northampton, Mass.: Smith College Museum of Art, 1963. Reprinted in Motherwell 1992, pp. 135–38. Partially reprinted in Robert Motherwell’s letter to the editor, in “Editor’s Letters,” Artnews 62, no. 1 (March 1963): p. 6 (see entry); Canaday 1964b, sec. 2, p. 23; Claus 1965, pp. 4, 9; Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 54; Andreae 1969, p. 8; Galerie im Erker exh. cat. 1970, p. 58 (German translation); Levine 1971, p. 23; Museum of Fine Arts, Houston, exh. cat. November 1972, pp. 28, 29, 93; Art Museum, Princeton University, exh. cat. 1973, n.p.; Hobbs 1975b, pp. 69, 84; Lipman and Franc 1976, pp. 144, 184; Städtische Kunsthalle exh. cat. 1976, pp. 7, 8, 13–14; Flash Art 1977, p. 48; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Pleynet 1977, pp. 194, 195; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 8, 77, 127; [Pleynet] 1981, p. 20 (Spanish translation); Mattison 1982, p. 12; Hasiotis 1983, n.p.; Gelles 1984, p. 38; Regan 1984, sec. Review, p. 12; Mattison 1985b, p. 213; Ross 1990, p. 112; Flam 1991, p. 9; Wilkin 1991, p. 725; Danto 1993, p. 38; Kaiser 1995, p. 119; Caws 1996b, pp. 161–64; Walker Art Center exh. cat. 1996, n.p.; Belgrad 1998, p. 136; Cateforis 2000–2001, pp. 4, 6, 10, 11; Richardson 2001, p. 252; Caws 2003, pp. 58, 76–77, 82–84, 85–86, 139. Statements made at the opening of New Paintings in Oil and Collages by Robert Motherwell, at the Sidney Janis Gallery, New York, December 1962. In “The Deepest Identity.” Newsweek 60, no. 24 (December 10, 1962): p. 94. (See Newsweek 1962.) (Short form used in catalogue raisonné entries: Motherwell in Newsweek 1962.)

1963

Notes to the plates. In An Exhibition of the Work of Robert Motherwell (exhibition catalogue). Northampton, Mass.: Smith College Museum of Art, 1963. Partially reprinted in Motherwell 2007, p. 222; Daily Hampshire Gazette 1963, p. 8; Robert Motherwell (traveling exhibition catalogue; Amsterdam: Stedelijk Museum, 1966), n.p.; Sandler 1970, p. 207; Museum of Fine Arts, Houston, exh. cat. November 1972, pp. 28, 54, 66, 69; Museum of Modern Art 1973, p. 142; Hobbs 1975b, p. 84; Carmean 1978, pp. 99, 101; Fineberg 1978, p. 55; National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 36; Ashton 1980, p. 5; Firestone 1981, p. 140; Cook et. al. 1983, pp. 28, 63; Morgan 1983, sec. D, p. 3; Van Hook 1983, pp. 104, 106; Collins 1984, pp. 95, 96–97; Gelles 1984, p. 38; Gaugh 1985, p. 74; Kimball 1985, p. 36; Rosand 1985, p. 93; Oppler 1988, p. 117; Brooker 1989, p. 63; Mackie 1989, pp. 119,

writings by the artist

185; Haenlein 1990a, sec. D, p. 2; Ross 1990, p. 112; Craven 1991, p. 56; Flam 1991, p. 12; Glueck 1991, sec. B, p. 9; Levin 1991, p. 8; Wilkin 1991, p. 724; Modern Art Museum of Fort Worth Calendar 1993, p. 2; Caws 1996b, pp. 9, 126; Tieken 2000, n.p.; Cateforis 2000–2001, p. 6; Georgia O’Keeffe Museum Member News 2001, p. 2; Caws 2003, p. 112; Quast 2003, p. 318; McNatt 2006, p. 4; Mattison et al. 2009, pp. 35, 36, 51; Sandler 2009, p. 121. (Short form used in catalogue raisonné entries: Motherwell in Smith College Museum of Art exh. cat. 1963.)

Interview with Motherwell by Norris E. Fliegel, February 1, 1963. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

Letter to the editor in response to Esteban Vicente’s letter to the editor published in February 1963. (See Vicente 1963.) In “Editor’s Letters.” Artnews 62, no. 1 (March 1963): p. 6.

Lecture presented at the Pasadena Art Museum, March 6, 1962. Two-part lecture, the second of which was a slide lecture discussing Motherwell’s work to date. Original audiotape and digital transfer, Norton Simon Museum of Art, Pasadena, Calif.

“A Process of Painting” (October 5, 1963). In “The Creative Use of the Unconscious by the Artist and by the Psychotherapist” (transcript of a symposium at the Eighth Annual Conference of the American Academy of Psychotherapists, October 5–6, 1963), edited by Jules Barron and Renee Nell. Annals of Psychotherapy (Journal of the American Academy of Psychotherapy) 5, no. 1 (1964): pp. 47–49. Handwritten manuscript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 138–41; Motherwell 2007, pp. 214–17. Partially reprinted in Hobbs 1975b, pp. 37, 74, 215; Städtische Kunsthalle exh. cat. 1976, pp. 10–13; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Terenzio and Belknap 1980, p. 9; Hasiotis 1983, n.p.; Wolff 1984a, p. 18; Glueck 1991, sec. A, p. 1; Wilkin 1991, p. 727; Kingsley 1992, p. 315; Gilbert 1998, p. 261; Cateforis 2000–2001, p. 5; Caws 2003, pp. 31–32, 59, 174; Quast 2003, p. 316; Mattison et al. 2009, pp. 83, 87.

1964

“The Motherwell Collection.” Vogue 143, no. 2 (January 15, 1964): pp. 88–91, 118. (Short form used in catalogue raisonné entries: Motherwell 1964.)

Statements on Motherwell’s artistic process. In “Men Who Lead an American Art Revolution: Fame and Fortune for Today’s Painters.” National Observer, February 17, 1964, p. 18. (See Ostermann 1964.)

Interview with Motherwell on Jackson Pollock by Francis V. O’Connor, February 19, 1964. O’Connor’s handwritten notes, Francis V. O’Connor Papers, New York.

Interview with Motherwell, ca. spring 1964; and letter from Motherwell to Michel Ragon, May 10, 1964. In Vingt-cinq ans d’art vivant: Chronique vécue de l’art contemporain de

l’abstraction au pop art, 1944–1969 (text in French), by Michel Ragon, pp. 309–15. [Paris]: Casterman, 1969. (See Ragon 1969.) Handwritten letter, Dedalus Foundation Archives. Reprinted (interview and letter) in Motherwell 2007, pp. 236–42.

Letter to James T. Valliere, August 31, 1964, responding to a research question about Jackson Pollock. James Valliere research material on Jackson Pollock, correspondence, 1963–1967 (box 2, folder 54), in Jackson Pollock and Lee Krasner Papers, ca. 1905–1984, Archives of American Art, Smithsonian Institution.

“The Motherwell Proposal.” In Seminar on Elementary and Secondary School Education in the Visual Arts (seminar at New York University, October 8–11, 1964), edited by Howard Conant, pp. 203–9. New York: New York University, 1965. Partially reprinted in Hobbs 1975b, p. 234.

Interview with Motherwell, December 11, 1964. In Bryan Robertson, Art New York, Channel 13/WNDT, December 15, 1964. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694; typescript and audio file, Museum of Modern Art archives; 16mm film, Museum of Modern Art Film Studies Center, New York. Partially printed in O’Hara 1965b, pp. 208, 264; Art Museum, Princeton University, exh. cat. 1973, pp. 33, 37; Hobbs 1975b, pp. 50, 176; Cavaliere and Hobbs 1977, p. 111; Carmean 1978, p. 101; O’Hara 1983, p. 178; Mattison 1985b, pp. 15, 35, 59, 62; Mackie 1989, pp. 75, 101, 186; Levin 1991, p. 8; Caws 1996b, pp. 34–35.

1965

“On the Forties,” Interview with Motherwell by Bryan Robertson, 1965. Often referred to as “Addenda.” Transcript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, pp. 142–47 (as “Addenda”); Hobbs 1975b, pp. 24, 68, 127, 128–29, 218, 231; Städtische Kunsthalle exh. cat. 1976, pp. 14–15 (as “Addenda”); Carmean 1978, p. 103; Raynor 1979, sec. 23, p. 14; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 36, 53, 127, 141; Mattison 1985a, p. 92; Mattison 1988, pp. 178, 182; Manthorne 1990, p. 68; Flam 1991, p. 15; Kingsley 1992, p. 306; Leja 1993, p. 94; Kaiser 1995, p. 123; Gibson 1997, p. 6; Cateforis 2000–2001, pp. 5, 6; Caws 2003, p. 109; Quast 2003, pp. 324, 325.

“The Madrid Suite,” December 17, 1965. Statement for the title page of the portfolio of ten lithographs Madrid Suite, published by Hollander Studio, 1965.

“Letter from Robert Motherwell to Frank O’Hara dated August 18, 1965.” In Robert Motherwell: With Selections from the Artist’s Writings (exhibition catalogue), by Frank O’Hara, pp. 58–59, 67–68, 70. New York: Museum of Modern Art, 1965. Excerpts from the letter were also printed in the exhibition catalogue published by the Stedelijk Museum, Amsterdam, January 1966. Original handwritten letter and typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell

1992, pp. 148–55. Partially reprinted in Galerie im Erker exh. cat. 1970, p. 57 (German translation); Wilmerding 1973, p. 282; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); [Pleynet] 1981, p. 21 (Spanish translation); Advocate Summer Guide 1983b, p. 3; Van Hook 1983, p. 103; Gelles 1984, p. 38; Mattison 1988, p. 176; Mackie 1989, pp. 167, 211; Huntington 1993, p. 8; Kaiser 1995, pp. 121–22; Caws 1996b, p. 62; Galerie Bernd Klüser exh. cat. 2001, p. 20 (as “Edgar Allen Poe”); Richardson 2001, p. 242; Quast 2003, p. 315; Mattison et al. 2009, p. 83. (Short form used in catalogue raisonné entries: Motherwell in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965.)

“David Smith: A Major American Sculptor.” Vogue 145, no. 3 (February 1965): pp. 134–39, 190. Reprinted as “David Smith: A Major American Sculptor; A Personal Appreciation,” Studio International 172, no. 880 (August 1966): pp. 65–68; Motherwell 2007, pp. 218–21. Partially reprinted in Lynton 1966a, p. 7; Hobbs 1975b, p. 173; Tighe and Lang 1977, p. 283; National Gallery of Art, Washington, D.C., exh. cat. 1978, p. 239; Firestone 1982, p. 118. Revised and reprinted as “A Major American Sculptor: David Smith,” in Robert Motherwell:With Selections from the Artist’s Writings (exhibition catalogue), by Frank O’Hara, edited by William Berkson, p. 65 (New York: Museum of Modern Art, 1965).

“Cubism in American Painting.” Panel discussion at the Guggenheim Museum, February 7, 1965; moderated by Everett Ellin, participants included William Seitz, Sam Hunter, Robert Motherwell, and Robert Rosenblum. Reel-toreel collection, A0004, Solomon R. Guggenheim Museum Archives, New York.

Lecture and conversation with students, moderated by Jack Tworkov, at Hastings Hall, Yale University, April 22, 1965. Transcript and audio file, Museum of Modern Art Archives, New York.

Interview with Motherwell, May 1, 1965. In “Abstract-Expressionism: An Analysis of the Movement Based Primarily upon Interviews with Seven Participating Artists,” by Gladys Kashdin. M.A. thesis, Florida State University, 1965. (See Kashdin 1965.)

Letter to Walter Gropius, May 12, 1965, regarding New England Elegy (P366). Typescript, Dedalus Foundation Archives. Interview with Motherwell. In Max Kozloff, “An Interview with Robert Motherwell: ‘How I Admire My Colleagues!’ ” Artforum 4, no. 1 (September 1965): pp. 33–37. Partially reprinted in Museum of Modern Art, New York, Robert Motherwell, exh. cat. September 1965, p. 54; Hobbs 1975b, pp. 66, 67; Foster 1980, p. 28; Van Hook 1983, p. 103; Brooker 1989, p. 65; Mackie 1989, pp. 66–67, 71, 83, 91–92, 170; Polcari 1991, p. 32; Breslin 1993, p. 264; Madoff 1997, pp. 137, 358.

Interview with Motherwell by John Jones, October 25, 1965. Transcript, John Jones interviews with artists, Archives of American Art, Smithsonian Institution. Partially printed in Hobbs 1975b, pp. 23, 45, 46, 105, 182. Partially reprinted in National Gallery of Art,

Washington, D.C., exh. cat. 1978, p. 110; Mackie 1989, pp. 183–84; Scott and Rutkoff 1999, p. 307.

“An Evening with Robert Motherwell.” Panel discussion sponsored by the Foundation for the Arts, Religion and Culture (ARC) and the Museum of Modern Art, New York, November 22, 1965; moderated by Robert Motherwell, participants included Dr. David Read, Dominique de Menil, and Ad Reinhardt. Transcript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

Letter to H. H. Arnason, November 29, 1965, discussing a passage from Leonardo da Vinci’s Trattato della Pittura. Typescript, Dedalus Foundation Archives.

Letter to the editor (regarding errors in Edgar 1965). “Editor’s Letters.” Artnews 64, no. 8 (December 1965): p. 6.

1966

Interview with Motherwell and Helen Frankenthaler. In Ninette Lyon, “Helen and Robert Motherwell: A Second Fame; Good Food.” Vogue 147, no. 7 (April 1, 1966): pp. 194–96. (See Lyon 1966.)

Letter to Bryan Robertson, April 20, 1966, responding to Robertson’s essay “From a Notebook on Robert Motherwell,” in particular Robertson’s opinion about his new Elegies. (See Robertson 1966a.) Typescript, Dedalus Foundation Archives.

Letter to Walter Gropius, April 20, 1966; includes a discussion of the visual forms in New England Elegy (P366), and his prediction that the imagery could be controversial. Typescript, Dedalus Foundation Archives; and Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

Letter to Dr. Joseph Paul Hodin, August 10, 1966, regarding the major themes in his work. Typescript, Dedalus Foundation Archives.

Statement defending New England Elegy (P366). In “JFK Painting Furor Fulfills a Purpose?” Boston Globe, August 12, 1966, pp. 1, 19. (See Boston Globe 1966b.) (Short form used in catalogue raisonné entries: Motherwell in Boston Globe 1966b.)

Statement defending New England Elegy (P366). In “Artist Says Painting Is Not JFK Death Scene.” Hartford Courant, August 13, 1966, p. 13. (See Hartford Courant 1966.) (Short form used in catalogue raisonné entries: Motherwell in Hartford Courant 1966.)

Statement defending New England Elegy (P366). In John H. Fenton, “Abstract Mural Stirs Bostonians: Viewers Link Motherwell Work to Kennedy Death.” New York Times, August 13, 1966, p. 22. (See Fenton 1966.) (Short form used in catalogue raisonné entries: Motherwell in Fenton 1966.)

Statement defending New England Elegy (P366). In “Painter Defends Mural Depicting JFK Shooting.” Record American (Boston), August 13, 1966, p. 8. (See Record American 1966.) (Short form used in catalogue raisonné entries: Motherwell in Record American 1966.)

Letter to the editor praising the newspaper’s coverage of the controversy over New England

Elegy (P366; see Hoffmann 1966). In “Letters to the Editor of Arts & Entertainment,” Kansas City Star (Missouri), September 18, 1966.

1967

“Robert Motherwell: The Art World Is Much Younger, Like the Population as a Whole” (answers to questionnaire). In Barbara Rose and Irving Sandler, “Sensibility of the Sixties.” Art in America 55, no. 1 (January–February 1967): p. 47. (See Rose and Sandler 1967.) Reprinted in Motherwell 2007, p. 224. Handwritten manuscript, Barbara Rose Papers, 1966–1967, Archives of American Art, Smithsonian Institution.

“The Present and Future State of Modern American Art in Four or Five Minutes!” Lecture presented at the National Council on the Arts, Rainbow Room, New York, February 27, 1967. Typescript with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

“On Rothko” (an account of a visit to Mark Rothko’s studio), March 10, 1967. Typescript, Dedalus Foundation Archives; typescript, titled “RM on Rothko and Irwin Hollander,” Research Library, Getty Research Institute, Los Angeles, accession no. 930100. Printed in Motherwell 1992, pp. 195–96; Motherwell 2007, pp. 230–31; Sur Mark Rothko, preface by Dore Ashton; translated into French by Patrice Cotensin (Paris: L’Échoppe, 2005), pp. 41–46. Partially reprinted in Breslin 1993, p. 267.

Statement in “Jackson Pollock: An Artists’ Symposium, Part I” (editorial symposium, with Barnett Newman, Elaine de Kooning, Philip Pavia, Adolph Gottlieb, James Brooks, Larry Rivers, Alex Katz, Al Held, and Allan Kaprow). Artnews 66, no. 2 (April 1967): pp. 29–30, 64–67. Reprinted in Motherwell 2007, pp. 225–29 (as “On Jackson Pollock”). Partially reprinted in Friedman 1972, p. 222; Museum of Fine Arts, Houston, exh. cat. 1972, p. 25; Hobbs 1975b, p. 44; Carmean 1978, pp. 143, 151; Art Press International (Paris), no. 32 (October 1979): pp. 9–10 (text in French as “Un Héros”); Craven 1990, p. 72; Ross 1990, p. 147; Craven 1991, p. 48; Sandler 2009, pp. 106, 116.

“On Rothko” (an account of a conversation between Motherwell and Mark Rothko at Rothko’s studio), April 18, 1967. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 930100.

Interview with Motherwell, January 1967. In Sidney Simon, “Concerning the Beginnings of the New York School, 1939–1943: An Interview with Robert Motherwell, Conducted by Sidney Simon in New York in January 1967.” Art International 11, no. 6 (summer 1967): pp. 20–23. (See Simon 1967b.) Reprinted in Shapiro and Shapiro 1990, pp. 33–45; Landau 2005, pp. 276–89. Partially reprinted in Motherwell 1992, pp. 156–67; Hobbs 1975b, p. 53; Mattison 1985a, p. 91; Sawin 1988, pp. 184, 186; John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews, commentary by Mollie McNickle (New York: Alfred A. Knopf, 1990), pp. 225–26; Breslin 1993,

pp. 185, 317; Danto 1993, p. 37; Danto 1999, p. 22; Scott and Rutkoff 1999, p. 296; Morizot 2004, p. 255 (French translation); Sandler 2009, p. 110.

Letter to Emerson and Dina Woelffer, September 27, 1967, regarding Ad Reinhardt’s death and Motherwell’s plans for a new studio on Seventy-fifth Street in New York. Typescript with handwritten annotations by Motherwell, Emerson Woelffer Papers, 1937–1999, Archives of American Art, Smithsonian Institution.

Letter to the editor, regarding Barnett Newman’s letter to the editor about Motherwell’s interview with Sidney Simon in “Concerning the Beginnings of the New York School,” printed in the previous issue (see Simon 1967). Art International 11, no. 8 (October 20, 1967): p. 38. Reprinted in John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews, with commentary by Mollie McNickle (New York: Alfred A. Knopf, 1990), pp. 227–28.

Drafts of a response to David Hare’s criticism of Motherwell published in Artnews, ca. October–November 1967. (See Hare 1967.) Handwritten drafts, Dedalus Foundation Archives; typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694.

Interview with Motherwell and Helen Frankenthaler. In Joanna Eagle, “Artists as Collectors.” Art in America 55, no. 6 (November–December 1967): pp. 55–63. (See Eagle 1967.)

“Random Notes,” ca. 1967. A seventeenpage undated letter to Barbara Rose with comments on her manuscript for American Art since 1900: A Documentary Survey, see Rose 1967. Research Library, Getty Research Institute, Los Angeles, accession no. 930100.

1968

Interview with Motherwell. In Margarita García Flores, “Con Robert Motherwell: Expone en el Museo Universitario de Ciencias y Arte” (text in Spanish). Siempre (1968). (See Flores 1968.) Dedalus Foundation Archives.

Letter to the editor regarding his exchange with Barnett Newman in the October 1967 issue. In “Letter to the Editor: Busa, Motherwell, Newman.” Art International 12, no. 1 (January 20, 1968): p. 41. Partially reprinted in John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews, with commentary by Mollie McNickle (New York: Alfred A. Knopf, 1990), p. 232.

Interview with Motherwell and Arthur A. Cohen regarding the Documents of Modern Art series. In Henry Raymont, “Viking to Publish a Vast Modern-Art Series: Texts by and About Artists to Appear Over 12 Years.” New York Times, June 6, 1968, sec. C, p. 55. (See Raymont 1968.)

Letter to Emerson Woelffer, August 26, 1968, regarding Motherwell’s revival of the Documents of Modern Art series with Viking and Thames and Hudson. Typescript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, p. 169.

Eulogy for René d’Harnoncourt. In “René d’Harnoncourt, 1901–1968: A Tribute” (program for proceedings at the Sculpture Garden, Museum of Modern Art, New York, October 8, 1968; participants included Arthur Drexler, William S. Paley, and David Rockefeller). New York: Museum of Modern Art, 1968. Several handwritten drafts and typescripts of his remarks, Dedalus Foundation Archives. Statement on the connection between art and politics. In “Artists vs. Mayor Daley.” Newsweek 72, no. 19 (November 4, 1968): p. 117. (See Newsweek 1968.)

List of favorite films in “Notables Pick Their Favorites of ’68.” New York Times, December 22, 1968, sec. D, p. 15.

Letter to the editor, unpublished, December 26, 1968, regarding Eric F. Goldman, “The White House and the Intellectuals.” Harper’s Magazine 238, no. 1424 (January 1969): pp. 31–45.

1969

Letter to Dina and Emerson Woelffer, February 12, 1969, regarding upcoming publications in the Documents of Modern Art series. Typescript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, pp. 169–70.

“Motherwell: On His Works in the MoMA Collection,” March 18, 1969. Answers to the Museum of Modern Art questionnaire in preparation for The New American Painting and Sculpture: The First Generation, at the Museum of Modern Art, New York, 1969. Includes a discussion of Spanish Picture with Window (P4) and other works. Typescript, with handwritten annotations by Motherwell, Department of Painting and Sculpture, Museum of Modern Art Archives.

“Motherwell Muses, Monday, April 21, 1969.” Typescript, Dedalus Foundation Archives; typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Printed in Motherwell 1992, pp. 196–97 (as “On Rothko”); Motherwell 2007, pp. 245–46 (as “Motherwell Muses”).

Statement on the Open series. In Art Now: New York 1, no. 5 (May 1969): n.p. Reprinted in Motherwell 2007, pp. 243–44. Typescript, with handwritten annotations by Motherwell, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. (Short form used in catalogue raisonné entries: Motherwell 1969.)

Draft of a press release for Motherwell’s exhibition at Marlborough-Gerson Gallery, Robert Motherwell: “Open” Series, 1967–1969, May 1969 (regarding Motherwell’s Open series, titled the “Window” series by Motherwell at the time of this writing). Typescript, unsigned and undated (ca. January 1969), Dedalus Foundation Archives.

Answers to a Museum of Modern Art questionnaire on the Lyric Suite, August 8, 1969, Department of Painting and Sculpture, Museum of Modern Art Archives. “Addenda to MoMA Lyric Suite Questionnaire—from Memory . . . with

Possible Chronological Slips,” August 8, 1969. Members Newsletter (Museum of Modern Art), fall 1969, pp. 9–10. This is an addenda to the handwritten questionnaire also dated August 8, 1969, Museum of Modern Art Archives, New York. Printed complete addenda in Motherwell 1992, pp. 171–73; Motherwell 2007, pp. 232, 235. Reprinted in Galerie Bernd Klüser exh. cat. 2001, p. 27 (as “Lyric Suite”); Caws 2003, pp. 90, 91. Partially reprinted in Otis Art Institute exh. cat. 1974, n.p.; Walker Art Center exh. cat. 1996, n.p.; Ward 1998, p. 130; Mattison et al. 2009, p. 62.

Interviews with Motherwell by Arthur A. Cohen, August 11–12, 14, and 18, 1969. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Partially printed in Hobbs 1975b, pp. 123, 144, 168, 178, 184, 221, 249–50.

“The Painter’s Mind.” Lecture presented at the Toledo Museum of Art, Ohio, in conjunction with the exhibition Paintings and Collages by Robert Motherwell, November 9, 1969. Typescript draft of introduction and outline of quotes, Dedalus Foundation Archives.

1970

“Notes for an Informal Talk, ca. 1970.” Original handwritten manuscript, Dedalus Foundation Archives. Printed in Banach 1996, p. 27 (reproduced on p. 26).

Interview with Motherwell, 1970. In Painters Painting: A Candid History of the Modern Art Scene, 1940–1970, by Emile de Antonio and Mitch Tuchman (compiled from filmed interviews with artists). New York: Abbeville Press, 1984. (See De Antonio and Tuchman 1984.) Interview excerpts first used in a film by Emile de Antonio, Painters Painting: The New York Art Scene, 1940–1970; A Film by Emile de Antonio (New York: Mystic Fire, 1972). (See Filmography.)

“Robert Motherwell at the St. Paul’s School: On the Humanism of Abstraction; The Artist Speaks.” In Paintings and Collages by Robert Motherwell (exhibition catalogue), pp. 4–14. Concord, N.H.: St. Paul’s School, 1970. Lecture presented to students at St. Paul’s School, Concord, N.H., February 6, 1970, in conjunction with his appointment as 1970 Conroy Fellow and the opening of his 1970 solo exhibition at the St. Paul’s School. Reprinted in Motherwell 1992, pp. 175–81; Motherwell 2007, pp. 250–55. Partially reprinted in Hobbs 1975b, pp. 41–42; Hasiotis 1983, n.p.; Berman 1985, p. 62; L’Humanisme de l’Abstraction, translated into French by Joël Dupont (Caen, France: L’Échoppe, 1991), n.p.; Wilkin 1991, pp. 726–27; Kaiser 1995, pp. 117–18; Caws 1996b, pp. 3, 5, 129; Gilbert 1998, p. 294; Cateforis 2000–2001, p. 6. “A Painter’s Mind.” Lecture presented at Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, New York, January 13, 1970, in conjuction with the exhibition New York Painting and Sculpture, 1940–1970. Handwritten manuscript, Dedalus Foundation Archives. Letter to Irving Sandler, February 23, 1970, regarding Wolfgang Paalen. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 182–83.

writings by the artist

“Statements of Robert Motherwell and Helen Frankenthaler, Artists,” March 24, 1970. In U.S. Congress, House Committee on Education and Labor, Testimony to Select Subcommittee on Education, Environmental Quality Education Act of 1970. H.R. 14753, pp. 24–32. Washington, D.C.: U.S. Government Printing Office, 1970. Transcript, Dedalus Foundation Archives. Reprinted in Motherwell 2007, pp. 256–65. Partially reprinted in Motherwell 1992, pp. 184–87; Terenzio 1979, p. 145; Caws 2003, p. 59; Mattison et al. 2009, p. 83.

“Motherwell.” In Ethel Moore, ed., “Letters from 31 Artists to the Albright-Knox Art Gallery.” Gallery Notes (Buffalo Fine Arts Academy) 31–32, no. 2 (spring 1970): p. 26. Published letter to Robert M. Murdock (in response to a request from the Albright-Knox Art Gallery for an artist’s statement on Elegy to the Spanish Republic XXXIV (P156), October 18, 1968. Typescript, Dedalus Foundation Archives. Partially reprinted in Sandler et al. 1972, p. 39; Carmean 1978, p. 106; Spaulding 1999, p. 182. (Short form used in catalogue raisonné entries: Motherwell 1970)

Selection of books in “Neglected Books.” American Scholar 39, no. 2 (spring 1970): pp. 334, 336.

“Thoughts on Drawing” (July 14, 1970). In The Drawing Society National Exhibition, 1970 (exhibition catalogue), n.p. New York: Drawing Society, 1970. Reprinted in Motherwell 1992, pp. 193–94; Motherwell 2007, pp. 247–49.

Interview with Motherwell by Karl E. Fortess, Provincetown, July 21, 1970. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Original audiotape, Karl E. Fortess taped interviews with artists (1963–1985), Archives of American Art, Smithsonian Institution. Partially printed in Hobbs 1975b, p. 23; Art Museum, Princeton University, exh. cat. 1973, p. 32.

Letter to Ronald Alley, October 2, 1970, regarding his friendship with David Smith and the titling of Open No. 121: Bolton Landing Elegy (P504). Typescript, Dedalus Foundation Archives.

“On Rothko” (December 1970). Eulogy delivered at the National Institute of Arts and Letters, New York, January 28, 1971. Original handwritten draft and typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 197–201; Motherwell 2007, pp. 271–74; Sur Mark Rothko, preface by Dore Ashton; translated into French by Patrice Cotensin (Paris: L’Échoppe, 2005), pp. 27–39. Reprinted in Breslin 1993, pp. 285, 339, 357, 373–74.

Lecture presented at the Ontario College of Art, Toronto, December 3, 1971. Original audiotape, Art Gallery of Ontario.

“The Universal Language of Children’s Art, and Modernism.” American Scholar 40, no. 1 (winter 1970): pp. 24–27. Lecture presented at “The Arts: An International Force,” at the Conference on International Exchange in the

Arts, April 29, 1970. Typescript, Research Library, Getty Research Institute, Los Angeles, accession no. 870694. Reprinted in Motherwell 2007, pp. 266–70; Ross 1990, pp. 112–18. Partially reprinted in Motherwell 1992, pp. 188–92; Cohen 1971, p. 236; Ellen C. Cooper, ed., Picasso’s Guernica (New York: W. W. Norton, 1988), pp. 344–45; Oppler 1988, pp. 344–45; Campbell 1993, p. 20; Caws 1996b, p. 5; Del Conde 1997, p. 76 (Spanish translation); Zimmer 1997, p. 115.

1971

Introduction. In Dialogues with Marcel Duchamp, by Pierre Cabanne, translated by Ron Padgett, pp. 7–12. Documents of 20thCentury Art. New York: Viking Press, 1971. Early handwritten drafts and typescripts of the introduction and an additional unpublished note from 1973, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 205–10; Motherwell 2007, pp. 275–78.

“Statement on Radicalism in the Visual Arts,” 1971 (in response to a solicitation by the editors of Partisan Review, December 7, 1971, where contributors were asked to comment on the growing tendency toward conservatism in the arts). Printed in Motherwell 2007, pp. 280–81.

Interview with Motherwell. In Florence Berkman, “Motherwell—Painting Entering ‘Temporary’ Decline.” Hartford Times, March 28, 1971, sec. D, p. 13. (See Berkman 1971.)

Interview with Motherwell, April 9, 1971. In The Party’s Over Now: Reminiscences of the Fifties—New York’s Artists,Writers, Musicians, and their Friends, by John Gruen, pp. 191–96. New York: Viking Press, 1972. (See Gruen 1972.) Original handwritten draft and typescript, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 202–4; Motherwell 2007, pp. 282–85; Galerie im Erker exh. cat. 1971, pp. 43–46, 51 (German translation, as “David Smith—Erinnerungen”); “David Smith—Erinnerungen” (text in German). In David Smith: Sculpture and Drawings (exhibition catalogue), edited by Jörn Merkert (Munich, Germany: Prestel-Verlag, 1987), pp. 169–70.

Interview with Motherwell, June 8, 1971, St. Gall. In Irmeline Lebeer, “Robert Motherwell” (text in French). Chroniques de l’art vivant, no. 22 (July–August 1971): pp. 10–12. Partially reprinted in Walker Art Center exh. cat. 1972, n.p.; Art Museum, Princeton University, exh. cat. 1973, n.p.; Musée Galliera exh. cat. 1974, pp. 69–71 (French translation); Hobbs 1975b, p. 12; Museum of Modern Art exh. cat. 1975, n.p. (Spanish translation); Lipman and Franc 1976, p. 184; Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Pleynet 1977, p. 192; Fineberg 1978, p. 55; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, p. 141; Chapman 1980, p. 52; Ross 1990, p. 119; Caws 1996b, p. 92; Cernuschi 1997, p. 114; Del Conde 1997, p. 77 (Spanish translation).

Letter to E. A. Carmean Jr., from Provincetown, August 3, 1971, regarding Carmean’s unpublished master’s thesis on Robert Motherwell. Several handwritten and typescript drafts with handwritten annotations by Motherwell, Dedalus Foundation Archives.

Interview with Motherwell by Virginia Dortch, October 1971, regarding Art of This Century and Peggy Guggenheim. Partial transcript, Dedalus Foundation Archives.

Interview with Motherwell. In Israel Shenker, “Picasso, 90 Today, Assayed by Critic, Curator, 3 Artists” (participants included William S. Rubin, Thomas B. Hess, Louise Nevelson, and David Levine). New York Times, October 25, 1971, p. 42. (See Shenker 1971.)

Interviews with Motherwell by Paul Cummings, Greenwich, Conn., November 24, 1971, and May 1, 1974. Part of the Oral History Collections at the Archives of American Art. Transcript and tape reels, Archives of American Art, Smithsonian Institution. Partially printed in Mattison 1985b, p. 159; Breslin 1993, pp. 184, 253; Belgrad 1998, pp. 36, 93; Scott and Rutkoff 1999, p. 303.

1972

“Introduction to the Compass Edition.” In The Journal of Eugène Delacroix, by Eugène Delacroix, translated by Walter Pach, pp. 7–8. New York: Viking Press, 1972. Reprinted in Motherwell 2007, pp. 286–87. Partially reprinted in Hobbs 1975b, p. 106.

“Notes.” In The Collages of Robert Motherwell: A Retrospective Exhibition (exhibition catalogue), by E. A. Carmean Jr., introduction by Philippe de Montebello, pp. 48, 50, 51, 54, 63, 64, 70, 72, 73, 75, 76. Houston: Museum of Fine Arts, Houston, 1972. (Original handwritten notes on the collages and annotations on a draft of the exhibition catalogue, Museum of Fine Arts, Houston, Archives.) Partially reprinted in Art Museum, Princeton University, exh. cat. 1973, n.p.; Caws 1996b, p. 134. (Short form in catalogue raisonné entries: Motherwell in Museum of Fine Arts, Houston, exh. cat. 1972.)

Interview with Motherwell by Mary E. Harris, Greenwich, Conn., March 30, 1972, on Black Mountain College. Transcript, Dedalus Foundation Archives.

Letter to E. A. Carmean Jr., July 15, 1972, regarding materials Motherwell used in his collages. Partially printed in Museum of Fine Arts, Houston, exh. cat. 1972, p. 29.

Interviews with Motherwell by E. A. Carmean Jr., March 7, July 15 and 17, 1972. Partially printed in Museum of Fine Arts, Houston, exh. cat. 1972, pp. 17, 26, 36. Partially reprinted in Carmean 1978, p. 117.

Interview by Martin Friedman and Dean Swanson at the Walker Art Center, Minneapolis, August 1, 1972. Transcript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Audiotape and digital transfer at Walker Art Center Archives.

“The Book’s Beginnings” (September 22, 1972). In Robert Motherwell’s A la Pintura: The Genesis of a Book (exhibition catalogue),

by Robert Motherwell and Diane Kelder, introduction by John J. McKendry. New York: Metropolitan Museum of Art, 1972. Reprinted in Motherwell 1992, pp. 211–14. Partially reprinted in Art Museum, Princeton University, 1973, n.p.; Mattison 1981, p. 199.

Interview with Motherwell. In Henry Allen, “Motherwell: Palate-Pleasing.” Washington Post, November 8, 1972, sec. D, p. 3. (See Allen 1972.) (Short form used in catalogue raisonné entries: Motherwell in Allen 1972.)

Interview with Motherwell. In Eleanor Freed, “Robert Motherwell Expresses Views on World of Art.” Houston Post, November 17, 1972, sec. A, p. 22. (See Freed 1972b.)

1973

Statement on Pablo Picasso. In “Picasso Is Dead in France at 91.” New York Times, April 9, 1973, pp. 1, 47. Partially reprinted in Fitzgerald 2006, p. 259.

Interview with Motherwell, Greenwich, Conn., October 8, 1973. In Heidi ColsmanFreyberger, “Robert Motherwell: Words & Images.” Print Collector’s Newsletter 4, no. 6 (January–February 1974): pp. 125–29. (See Colsman-Freyberger 1974a.) Reprinted in Colsman-Freyberger 1974b, pp. 19–24. Partially reprinted in Hobbs 1975b, p. 153; Mattison 1981, p. 200.

1974

Interview with Motherwell. In Vivien Raynor, “A Talk with Robert Motherwell.” Artnews 73, no. 4 (April 1974): pp. 50–52. (See Raynor 1974b.)

Statement on Picasso. In Barbaralee Diamonstein, “Caro, de Kooning, Indiana, Lichtenstein, Motherwell and Nevelson on Picasso’s Influence.” Artnews 73, no. 4 (April 1974): p. 46. (See Diamonstein 1974.) Reprinted in Motherwell 2007, p. 288.

Answers to Montclair Art Museum questionnaire on Ulysses (w15), April 3, 1974. Typescript, Montclair Art Museum Registration Files. Statement on Ochre with Black Window (P750). In “Art Museum Acquires Motherwell Painting.” Cincinnati Enquirer, May 26, 1974, sec. F, p. 6. (See Cincinnati Enquirer 1974.) (Short form used in catalogue raisonné entries: Motherwell in Cincinnati Enquirer 1974.)

“Interview of Robert Motherwell, June 14, 1974.” In Robert Motherwell in California Collections (exhibition catalogue), by Richard Wagener. Los Angeles: Otis Art Institute Gallery, 1974. Transcript of complete interview, Dedalus Foundation Archives. Partially reprinted in Motherwell 1992, pp. 214–20; Seldis 1974b, sec. C, p. 82; Hobbs 1975b, p. 226; William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 42, 54; Firestone 1981, p. 140; Hasiotis 1983, n.p.; Flam 1991, p. 12; Kaiser 1995, p. 130; Cateforis 2000–2001, p. 10; Richardson 2001, p. 249; Caws 2003, pp. 37, 42, 63, 71; Quast 2003, pp. 314, 326.

Letter to H. H. Arnason, July 24, 1974, discussing his artistic influences. Handwritten letter, Dedalus Foundation Archives.

Statement at “Symposium on American Prints: 1913–1963.” Presented at the celebration of the twenty-fifth anniversary of the founding of the Museum of Modern Art’s Abby Aldrich Rockefeller Print Room and the opening of the exhibition American Prints: 1913–1963; one-day symposium at the Museum of Modern Art, December 3, 1974, moderated by Riva Castleman, with Sylvan Cole, Tatyana Grosman, and William S. Lieberman. Transcript, Dedalus Foundation Archives.

1975

Interview with Motherwell, May 12, 1975. In Mona Hadler, “William Baziotes: A Contemporary Poet-Painter.” Arts Magazine 51, no. 10 (June 1977): pp. 102–10. (See Hadler 1977.) Partially reprinted in Van Hook 1983, p. 104; Cernuschi 1997, p. 159; Quast 2003, p. 324.

Unpublished preface to Dina Rubinstein’s manuscript “Provincetown Observed.” Typescript, Dedalus Foundation Archives.

Interview with Motherwell by Louise Averill Svendsen, Providence, Mass., August 15, 1975. Reel-to-reel collection, A0004, Solomon R. Guggenheim Museum Archives, New York.

Interview with Motherwell by Christopher B. Crosman, September 3, 1975. Excerpts in Christopher B. Crosman and Nancy E. Miller, “Speaking of Tomlin.” Art Journal 39, no. 2 (winter 1979–80): pp. 110–11. (See Crosman and Miller 1979–80.) Videotape and digital transfer, Albright-Knox Art Gallery archives, Buffalo.

Interview with Motherwell, October 1975. In Janet Baker-Carr, “A Conversation with Robert Motherwell, Painter.” Harvard Magazine 78, no. 2 (October 1975), pp. 34–41 (See Baker-Carr 1975.)

Lecture and discussion with Motherwell, moderated by Jane Cone, Baltimore Museum of Art, October 16, 1975. Transcript, Dedalus Foundation Archives.

Interview with Motherwell. In Roberto Polo, “Robert Motherwell Talks about Fashion as Fantasy with Roberto Polo.” Andy Warhol’s Interview 6, no. 1 (December 1975), p. 19. (See Polo 1975.)

1976

“Art and Reality,” ca. 1976. Printed in Motherwell 2007, p. 290; Städtische Kunsthalle exh. cat. 1976, p. 5. “The New York School (and Symbolism),” ca. 1976. Printed in Motherwell 2007, p. 289; Städtische Kunsthalle exh. cat. 1976, p. 15.

Letter to Marcelin Pleynet, “Correspondance.” In M[arcelin] P[leynet], “Une Retrospective de l’oeuvre de Motherwell à Paris?” (text in French). Art Press (Paris), no. 22 (January–February 1976): p. 2. (See P[leynet] 1976.)

Excerpts from an interview with Motherwell by Grace Glueck. Published as “Robert Motherwell on Art and Artists,” in Grace Glueck, “Motherwell, at 61, Puts ‘Eternal’ Quality into Art.” New York Times, February 3, 1976, pp. 33, 52. (See Glueck 1976b.) Partially reprinted in Glueck 1980, sec. C, p. 18.

Interview on the trajectory of contemporary art. In Maggie Carlin, “Abstract Artistry Grows, Robert Motherwell Says.” Pittsburgh Press, February 19, 1976, sec. Living, p. 18. (See Carlin 1976.)

Interview with Motherwell by Denise Green, March 20, 1976. Transcript, Dedalus Foundation Archives.

Interview with Motherwell, September 5, 1976, Düsseldorf. In Barbara Catoir, “Überwindung der weisen Fläche: Ein Gespräch mit Robert Motherwell” (German translation). Das Kunstwerk 6, no. 29 (November 1976): pp. 7–8, 14–15, 43. (See Catoir 1976b.) Several transcripts with handwritten annotations by Motherwell, Dedalus Foundation Archives.

“A Special Genius: Works on Paper.” Bulletin of the Rhode Island School of Design 63, no. 4 (winter 1977): pp. 20–35. Panel discussion held in conjunction with the exhibition A Special Genius: Contemporary American Graphics, at Rhode Island School of Design’s Museum of Modern Art, Providence, September 29, 1976; moderated by Diana Johnson, participants included Brooke Alexander, Richard Brown Baker, John Loring, and Robert Motherwell. Transcript, Dedalus Foundation Archives.

1977

“Artistes parisiens en exile: New York, 1939–45.” In Paris—New York (exhibition catalogue, translated into French), pp. 106–14. Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1977. Typescript in English, Centre Pompidou Archives, Paris. Reprinted in Motherwell 2007, pp. 291–307. Partially reprinted in Barnier 2000, p. 111.

Notes to the plates. In Robert Motherwell, by H. H. Arnason, preface by Bryan Robertson, pp. 103–215. 1st ed. New York: Harry N. Abrams, 1977. (See Arnason 1977b.) Partially reprinted in Musée d’Art Moderne de la Ville de Paris exh. cat. 1977, n.p. (French translation); Carmean 1978, p. 112; Firestone 1982, p. 116; Van Hook 1983, p. 106; Gelles 1984, p. 37; Mattison 1985b, p. 216; Mackie 1989, p. 28; Flam 1991, pp. 9, 25; Jones 1996, p. 284; Pleynet 1998, pp. 90, 96; Tieken 2000, n.p.; Cateforis 2000–2001, p. 8. (Short form used in catalogue raisonné entries: Motherwell in Arnason 1977b.)

Introduction (March 1977). In Emerson Woelffer: Paintings and Collages (exhibition catalogue). New York: Gruenebaum Gallery, 1978. Reprinted as “Emerson Woelffer: A Born Painter,” Artnews 77, no. 2 (February 1978): p. 80.

Interview with Motherwell. In Margaret Staats and Lucas Matthiessen, “The Genetics of Art: Interviews with de Kooning, Motherwell, and Nevelson.” Quest 1, no. 1 (March–April 1977): p. 72. (See Staats and Matthiessen 1977.)

Interview with Motherwell. In Eugenia Wolfowicz, “ ‘L’Art est la mauvaise conscience d’une société bourgeoise’: Un Entretien avec Robert Motherwell” (text in French). Les Nouvelles Littéraires, June 23–30, 1977, p. 15. (See Wolfowicz 1977.)

Interview with Motherwell. In Yvonne Baby, “Un Entretien avec le peintre Robert Motherwell: Un Ordre visuel arraché au chaos” (French translation). Le Monde, June 30, 1977, p. 11. (See Baby 1977b.) Reprinted in Baby 1977a.

Interview with Motherwell. In Amei Wallach, “ ‘The Soap Opera’ Is Not for Robert Motherwell.” New York Newsday, June 26, 1977, pt. 2, pp. 17–18. (See Wallach 1977b.)

Letter to Guy Scarpetta (in response to twelve questions by Scarpetta about Motherwell’s artistic practice). Multiple handwritten and typescript drafts, Dedalus Foundation Archives. Printed in Guy Scarpetta, “Les 9 ateliers de Robert Motherwell” (French translation). Art Press International (Paris) 9 (July 1977): pp. 20–22. (See Scarpetta 1977.) William Benton Museum of Art, University of Connecticut, Storrs, exh. cat. 1979, pp. 80–81.

Interview with Motherwell regarding the Surrealists in New York. In Michael Gibson, “Robert Motherwell—A Survivor.” International Herald Tribune, July 9–10, 1977, p. 7. (See Gibson 1977.)

Interview with Motherwell by E. A. Carmean Jr., August 17, September 23, and October 9 and 28, 1977. In the introduction and “Robert Motherwell: The Elegies to the Spanish Republic.” In E. A. Carmean Jr. and Eliza A. Rathbone, American Art at Mid-Century: The Subjects of the Artist (exhibition catalogue), with contributions by Thomas B. Hess. Washington, D.C.: National Gallery of Art, 1978, pp. 15, 35, 36–37, 38, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 108, 109, 111, 112, 113, 114, 116, 120, 121. (See Carmean 1978.)

Partially reprinted in Vastokas 1979, p. 22; Oppler 1988, pp. 115, 117; Mackie 1989, pp. 172, 180, 186, 187; Flam 1991, pp. 21, 22; Levin 1991, p. 9; Polcari 1991, p. 315; Breslin 1993, p. 263; Cateforis 2000–2001, p. 7.

Letter to Norman Rosenthal, November 8, 1977, regarding the different venues of his European retrospective. Typescript, Dedalus Foundation Archives.

Letter to Norman Rosenthal, November 11, 1977, regarding the choice and hanging of his works at the Royal Academy of Arts, London, 1978. Typescript, Dedalus Foundation Archives.

Letter to Lynda Hartigan, November 15, 1977, with description of Joseph Cornell. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 221–23. Partially printed in Danto 1993, p. 38.

Letter to Irving Sandler, December 6, 1977, regarding Sandler’s book Triumph of American Painting (see Sandler 1970). Typescript, Dedalus Foundation Archives.

1978

Interview with Motherwell. In Ilene Rothschild, “At Home: With the Motherwells.” Fairfield County 8, no. 1 (January 1978): pp. 2, 48–50. (See Rothschild 1978a.)

Interview with Motherwell. In Mary-Lou Weisman, “Robert Motherwell: ‘My Concern Is to Humanize Everything.’ ” Publication

unknown, January 1978, pp. 118–19. (See Weisman 1978.)

Interview with Motherwell. In Duncan Macmillan, “Robert Motherwell.” Art Monthly, no. 14 (February 1978): pp. 4–6. (See MacMillan 1978.) (Short form used in catalogue raisonné entries: Motherwell in MacMillan 1978.)

“A Structure of Creativity.” Lecture presented as part of the “Learning from Performers” series at Harvard University, February 23, 1978; part of a two-day visit by Motherwell to the university, February 23–24, 1978. Handwritten manuscript with discussion topics, Dedalus Foundation Archives. Original audiotape, Learning from Performers: Sound Recordings, 1977 Mar. 31–1979 June 4, Archives of American Art, Smithsonian Institution. Partially printed in Feigenbaum 1978, p. 1.

Interview with Motherwell. In Robert Taylor, “Motherwell’s Life a Collage of Modern Art.” Boston Globe, March 5, 1978, sec. A, pp. 8, 13. (See Taylor 1978a.)

Interview with Motherwell. In Terence Maloon, “Robert Motherwell.” Artscribe, no. 11 (April 1978): pp. 16–22. (See Maloon 1978.) (Short form used in catalogue raisonné entries: Motherwell in Maloon 1978.)

Letter to John Russell, April 28, 1978, regarding Phoenician Red Studio (P924), and Russell’s review of Robert Motherwell, at Knoedler & Company, 1978. (See Russell 1978.) Typescript, Dedalus Foundation Archives.

Interview with Motherwell; includes a discussion on Reconciliation Elegy (P956). In “Painter Laureate.” Horizon 21, no. 5 (May 1978): p. 59. (See Horizon 1978.) (Short form used in catalogue raisonné entries: Motherwell in Horizon 1978.)

Interview with Motherwell, Greenwich, Conn., April 10, 1978. In Guy Scarpetta, “North-Stars: Carnet de Bord New-Yorkais” (text in French). Libération (Paris), May 16, 1978, p. 14. (See Scarpetta 1978.)

Interview with Motherwell. In Alain Pomarède and Thierry Delaroière, “Entretien avec Robert Motherwell” (text in French). Art Présent, nos. 6–7 (1978): n.p. (See Pomarède and Delaroière 1978.)

“Excerpts from a Public Lecture and a Conversation with Students.” Interview with Motherwell by Stephanie Terenzio, Provincetown, July 11, 1978. In Robert Motherwell & Black (exhibition catalogue), compiled by Stephanie Terenzio, edited by Hildegard Cummings, pp. 99, 114, 136–37. Storrs, Conn.: William Benton Museum of Art, 1979.

“Provincetown and Days Lumberyard: A Memoir” (July 21, 1978). In Days Lumberyard Studios: Provincetown 1914–1971 (exhibition catalogue), pp. 14–18. Provincetown, Mass.: Provincetown Art Association and Museum, 1978. Reprinted in Motherwell 1992, pp. 224–27; Motherwell 2007, pp. 308–11; Separata (Seville, Spain), nos. 5–6 (spring 1981): pp. 5–7. Partially reprinted in Caws 2003, p. 89 (Short form used in catalogue raisonné entries: Motherwell 1978.)

writings by the artist

Statement by Motherwell on Elegy to the Spanish Republic No. 126 (P851). In Nick Baldwin, “Rescue!” Des Moines Register, July 30, 1978, sec. B, p. 5. (See Baldwin 1978.) (Short form used in catalogue raisonné entries: Motherwell in Baldwin 1978.)

“Words of the Painter” (book review of Matisse in Art, by Jack D. Flam, and Henri Matisse Paper Cut-outs, by Jack Cowart, Jack D. Flam, Dominique Fourcade, and John Hallmark Neff). New York Times Book Review, June 4, 1978, pp. 12, 42–43. Reprinted in Motherwell 2007, pp. 312–14.

Letter to Edward Henning, October 18, 1978, regarding the Surrealists in New York. Printed in Motherwell 1992, pp. 228–31. Partially reprinted in Kaiser 1995, pp. 112–13; Danto 1999, pp. 22–23, 24, 27, 28–30.

Statement presented when works were given to the University of Salamanca, Spain, and the University of Coimbra, Portugal (see w534 and w535). Handwritten manuscript, with a letter from Barbara Probst Solomon about the conference, Dedalus Foundation Archives.

1979

“Foreword” and “Footnotes.” In Robert Motherwell: Prints, 1977–1979 (exhibition catalogue). New York: Brooke Alexander, 1979. Partially reprinted in Mattison 1981, p. 201.

“Presentation to I. M. Pei of the Gold Medal for Architecture.” Proceedings, no. 30 (1979): pp. 34–35. Several handwritten drafts and typescripts with handwritten annotations by Motherwell, Dedalus Foundation Archives.

Interview with Motherwell, New School for Social Research, November 17, 1977. In Barbaralee Diamonstein, “Inside New York’s Art World: An Interview with Robert Motherwell” (revised and abridged). Partisan Review 46, no. 3 (1979): pp. 376–90. (See Diamonstein 1979b.) Complete and abridged transcripts, Dedalus Foundation Archives. Reprinted in Diamonstein 1979a, pp. 239–53; Fundación Juan March exh. cat. 1980, n.p. (Spanish translation); Arnason 1982, pp. 227–31. Partially reprinted in Cook et al. 1983, pp. 29, 30; Hasiotis 1983, n.p.; Bannon 1984a, p. 37; Duffy 1984, pp. 92, 93; Tarzan 1984, sec. E, pp. 1, 12; Bell Gallery, Brown University, exh. cat. 1985, p. 74; Mattison 1988, p. 174; Mackie 1989, pp. 170, 177, 187, 190; Flam 1991, p. 26; Robertson 1991, p. 25; Wilkin 1991, pp. 725, 727; Breslin 1993, p. 153; Craven 1996, p. 28; Danto 1999, pp. 15, 23, 24, 31; Tieken 2000, n.p.; Cateforis 2000–2001, p. 7; Marter 2007, p. 76. (Short form used in catalogue raisonné entries: Motherwell in Diamonstein 1979b.)

“The International World of Modernist Art, 1945–1960” (May 1979). Art Journal 39, no. 4 (summer 1980): pp. 270–71. Reprinted in Motherwell 1992, pp. 234–35; Motherwell 2007, pp. 317–18.

Presentation of award to Erick Hawkins. In “Dancemagazine Awards 1979: Erick Hawkins, Aaron Copland, Jorge Donn; Regency Hotel, March 19, 1979.” Dancemagazine 53, no. 6 (June 1979):

pp. 56–57. Reprinted in Motherwell 2007, pp. 315–16.

“Excerpts from a Public Lecture and a Conversation with Students” (transcript of a lecture and discussion with students at Von der Mehden Recital Hall, William Benton Museum of Art, University of Connecticut, Storrs, April 5–6, 1979). In Robert Motherwell & Black (exhibition catalogue), compiled by Stephanie Terenzio, edited by Hildegard Cummings, pp. 125–31, 134, 140, 142–47.

Storrs, Conn.: William Benton Museum of Art, 1980. Partially reprinted in Motherwell 1992, pp. 227–28; Hemenway 1986, p. 38; Kaiser 1995, pp. 126–27; Belgrad 1998, pp. 110, 122; Scott and Rutkoff 1999, p. 305; Tieken 2000, n.p.; Caws 2003, p. 178.

Transcript and recording on compact disc, Dedalus Foundation Archives.

Letter to Edward Henning, May 15, 1979, regarding Surrealism. Printed in Motherwell 1992, pp. 231–33.

Interviews with Motherwell by Robert S. Mattison, Greenwich, Conn., June 6 and December 11, 1979. Partially printed in Mattison 1987, p. 7; Flam 1991, p. 12; Caws 1996b, p. 86.

Letter to Robert S. Mattison, August 20, 1979, regarding an early draft of Mattison’s article “The Emperor of China: Symbols of Power and Vulnerability in the Art of Robert Motherwell during the 1940s” (see Mattison 1982). Partially printed in Mattison 1982, pp. 9, 10.

Interview with Motherwell, August 28, 1979. In Deborah Forman, “The Boston Magazine Interview: Robert Motherwell.” Boston Magazine 72, no. 7 (July 1980): pp. 55–69. (See Forman 1980.) Partially reprinted in Leonard 1991, p. 10. Transcript, Dedalus Foundation Archives.

Letter to Robert S. Mattison, September 5, 1979, answering Mattison’s questionnaire about his artistic influences. Partially printed in Mattison 1982, p. 11.

Interview with Motherwell; includes statement on Blue Music (c477). In Debbie Forman, “The Light in Robert Motherwell’s Art: Artist Uses P’town Colors in His Work.” Cape Cod Times, September 10, 1979, pp. 13, 20. (See Forman 1979.) Partially reprinted in Forman 1983, p. 13; Forman 1991a, sec. E, p. 8. (Short form used in catalogue raisonné entries: Motherwell in Forman 1979.)

1980

“Fabrication”; “Execution”; “Presentation”; “Conception”; “Preparation” (with Robert Bigelow, John Scofield, and E. A. Carmean Jr.); “Revision” (with E. A. Carmean Jr.); “Conclusion”; and “Reconciliation.” Chapters in Reconciliation Elegy, edited by E. A. Carmean Jr. Geneva: Editions d’Art Albert Skira; New York: Rizzoli International, 1980. (See Carmean 1980.) Undated typescript, Gallery Archives, National Gallery of Art, Records of the Curatorial Departments, Modern and Contemporary Art, unprocessed box 7442. Partially reprinted in Paire 1981, p. 223; Seperata (Seville, Spain), nos. 5–6 (spring 1981): pp. 13–17 (Spanish translation);

Polcari 1991, pp. 318–19; Careri 1992, pp. 17–18, 19–20; Caws 1996b, pp. 57, 59, 63; Richardson 2001, pp. 253, 254. (Short form used in catalogue raisonné entries: Motherwell in Carmean 1980.)

Interviews with Motherwell by Robert S. Mattison, Greenwich, Conn., January 23, March 9–10 and 21, April 2–4, May 21, and June 5–6, 1980. Partially printed in Mattison 1981, pp. 198, 200, 201; Mattison 1985a, pp. 90, 92, 93; Mattison 1988, pp. 171, 172, 176. Partially reprinted in Breslin 1993, p. 180. Statement on the exhibition Motherwell, at Centro Cultural de la Caixa de Pension, Barcelona, 1980. In Grace Glueck, “Art People: Merge, No. Collaborate, Yes.” New York Times, January 25, 1980, sec. C, p. 18. (See Glueck 1980.)

Letter to Brandon Taylor, February 20, 1980, regarding his relationship with Harold Rosenberg. Typescript, Dedalus Foundation Archives. Partially printed in Mattison 1985b, p. 188.

Interview with Motherwell. In Jaime Soler, “Elegia española de un pintor Americano” (text in Spanish). Diario 16 (Madrid), April 17, 1980, p. 21. (See Soler 1980.)

Introduction (May 1980). In Face of the Artist: Photographs by Norma Holt (exhibition catalogue), n.p. Provincetown, Mass.: Provincetown Art Association and Museum, 1980. Handwritten draft and typescript, Dedalus Foundation Archives.

Interview with Motherwell by Dominique de Menil and Susan Barnes, May 10, 1980. Summary transcript, Susan Barnes’s Rothko Chapel Research Documentation for Act of Faith, 1964–1989, 01/28a, Menil Archive, Menil Collection, Houston. Commencement address delivered at Rhode Island School of Design, May 24, 1980, and interview with Motherwell conducted in conjunction with the commencement. Partially printed in Moore 1980, p. 3.

Notes for a Joyce symposium. Prepared for a talk at the James Joyce Symposium, Provincetown, June 15, 1980. Original handwritten manuscript, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 319, 322 (reproduced on p. 320); Banach 1996, pp. 31, 33 (as “Manuscript for Joyce Symposium, 1980”; reproduced on p. 32).

Interview with Motherwell by Heywood Hale Broun. In “Robert Motherwell” (includes scenes of Rafael Alberti reading his poem “El Negro Motherwell” at the opening of Motherwell’s retrospective at Fundación Juan March in Madrid, 1980). CBS Sunday Morning, June 29, 1980. Film, Dedalus Foundation Archives. (See Filmography.)

Interview with Motherwell. In Barbara Catoir, “The Artist as a ‘Walking Eye’: Fragen an Robert Motherwell” (text in English and German). Pantheon 38, no. 3 (July–August–September 1980): pp. 281–89, 304. (See Catoir 1980.) Partially reprinted in Brooker 1989, pp. 63, 65.

“A Note by the Artist: On Collaboration,” August 1980. In The Painter and the Printer:

Robert Motherwell’s Graphics, 1943–1980, by Stephanie Terenzio and Dorothy Belknap, p. 9. 1st ed. New York: American Federation of Arts, 1980. (See Terenzio and Belknap 1980.) Letter to Yve-Alain Bois, October 13, 1980, regarding Piet Mondrian. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 238–40. Partially reprinted in Danto 1993, p. 38; Morizot 2004, p. 254 (French translation).

Interview with Motherwell by Betty Fiske and Rita Albertson, Greenwich, Conn., December 11, 1980, on his use of materials and thoughts on conservation. Transcript, Dedalus Foundation Archives.

1981

Unpublished foreword (ca. 1981) for Rafael Alberti, Robert Motherwell: El Negro, preface by Jack Flam (Bedford Village, N.Y.: Tyler Graphics, 1983. (See Alberti 1983.)

Handwritten draft and typescript, Dedalus Foundation Archives.

Journal entry on abstraction, ca. 1981. (Motherwell intended to expand this manuscript and present it at a conference of psychoanalysts, the specific details of which are unknown.) Handwritten manuscript on three pages of drawing paper, Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 325–26.

Letter to Robert C. Hobbs, March 16, 1981; includes discussion of a possible book of Motherwell’s collected writings. Typescript, Dedalus Foundation Archives.

Statement on his reasons for turning down a governmental post. In Grace Glueck, “Motherwell Turns Down Post on U.S. Arts Panel.” New York Times, May 20, 1981, sec. C, p. 25. (See Glueck 1981.)

Letter to Guy Scarpetta, June 1, 1981. In Guy Scarpetta, “Picasso par Robert Motherwell” (text in French). Art Press International (Paris) 50 (July–August 1981): pp. 10–11. (See Scarpetta 1981.) Several handwritten drafts and typescripts with handwritten annotations by Motherwell, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 241–45.

Eulogy for Tony Smith, Metropolitan Museum of Art, New York, October 19, 1981. Original typescript with handwritten annotations, Dedalus Foundation Archives. Printed in French as “In Memoriam: Anthony Smith,” translated by Guy Scarpetta, Art Press International (Paris) 57 (March 1982): p. 50. Reprinted in Motherwell 1992, pp. 245–46; Motherwell 2007, pp. 323–24.

Interview with Motherwell by Phyllis Tuchman, Greenwich, Conn., December 15, 1981. Transcript, Archives of American Art, Smithsonian Institution.

1982

“A Note by the Artist on the Second Edition,” and notes to the plates. In Robert Motherwell, by H. H. Arnason, introduction by Dore Ashton, interview by Barbaralee Diamonstein, pp. 7, 104–225. 2nd ed. New York: Abrams, 1982. (See Arnason 1982.) Partially reprinted in

Manthorne 1990, p. 66; Mattison 1990, p. 182; Flam 1991, p. 19; Caws 1996b, pp. 101, 111; Danto 1999, p. 24; Tieken 2000, n.p.; Caws 2003, p. 121. (Short form used in catalogue raisonné entries: Motherwell in Arnason 1982.)

Letter to Virginia Dortch, January 26, 1982, regarding Motherwell’s comments in an interview in October 1971 on Art of This Century. Typescript, Dedalus Foundation Archives. Partially printed in Motherwell 1992, pp. 247–48 (as “Letter to Virginia Dorazio”); Dortch 1994, pp. 102–3.

Letter to Bruce Grenville, February 4, 1982, regarding the influence of Henri Matisse on his work. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 249–51.

Interview with Motherwell, February 12, 1982. In Bruce Hooton, “How It All Happened: Motherwell Remembers” (1st part), Art/World 6, no. 6 (February 22–March 22, 1982): pp. 1, 9; “What We Wanted to Do: Motherwell Remembers” (2nd part), Art/World 6, no. 7 (March 22–April 22, 1982): pp. 1, 9. (See Hooton 1982.)

Interview with Motherwell. In Phil Patton, “Robert Motherwell: The Mellowing of an Angry Young Man.” Artnews 81, no. 3 (March 1982): pp. 70–76. (See Patton 1982.) Partially reprinted in Brooker 1989, pp. 63, 65.

Interview with Motherwell by Barbara Flug Colin, June 9, 1982. Transcript with handwritten annotations, Dedalus Foundation Archives. Partially printed in Barbara Flug Colin, “An Interview with Robert Motherwell,” Evergreen Review, no. 122 (March 2010): p. 1.

Interview with Motherwell by Stephen McClymont, June 16, 1982. Transcript with handwritten annotations, Dedalus Foundation Archives.

Interview with Motherwell by Jeffrey Potter, Provincetown, August 19, 1982, regarding Jackson Pollock. In To a Violent Grave: An Oral Biography of Jackson Pollock, by Jeffrey Potter, pp. 69–70, 71, 74, 77–78, 86, 99, 113, 118, 127, 149, 152, 161, 173, 185, 199, 211, 219, 220, 227, 277, 278. New York: G. P. Putnam’s Sons, 1985. Partially reprinted in Ward 1998, p. 37. Transcript, original audiotape and digital transfer, Pollock-Krasner House and Study Center.

“Reflections on Abstract Art,” August 20, 1982. Address presented at the University of Munich, Germany, November 18, 1982, on the occasion of the inaugural exhibition of a room dedicated to Motherwell’s work at the Bavarian State Museum of Modern Art. Outline and draft with handwritten annotations by Motherwell, Dedalus Foundation Archives. Outline and section titled “On Modernism” printed in Motherwell 2007, pp. 327–30; outline in Banach 1996, p. 33 (reproduced on p. 32). Partially reprinted in Maier and Steingräber 1983, pp. 388–92 (German translation, as “Gedanken über abstrakte Kunst”).

Interview with Motherwell, Provincetown, August 27, 1982, regarding Peggy

Guggenheim. In Peggy Guggenheim Collection, Venice, the Solomon R. Guggenheim Foundation, by Angelica Zander Rudenstine, pp. 583, 799. Foreword by Peter Lawson-Johnston; preface by Thomas M. Messer. New York: Harry N. Abrams, in association with Solomon R. Guggenheim Foundation, 1985. (See Rudenstine 1985.)

Letter to Ann Louise Coffin McLaughlin, September 29, 1982, regarding his foreword to William C. Seitz’s Abstract Expressionist Painting in America (see Seitz 1983). Printed in Motherwell 1992, pp. 252–53.

Interview with Motherwell. In Michael Brenson, “Motherwell in Munich.” New York Times, September 10, 1982, sec. C, p. 16. (See Brenson 1982.)

Interview with Motherwell. In Helen A. Harrison, “Five Leading Artists Exert a Powerful Force on Art Today.” Sunday Advocate (Stamford, Conn.), October 17, 1982, sec. E, p. 1. (See Harrison 1982.)

“Remarks.” In “On the Occasion of the 150th Anniversary of the Yale University Art Gallery” (brochure for proceedings at Yale University, October 30, 1982; speakers included Robert Motherwell, Alan Shestack, Henry J. Heinz II, A. Bartlett Giamatti), pp. 17–24. New Haven, Conn.: Yale University, 1982. Reprinted in Motherwell 1992, pp. 259–62.

Interview with Motherwell. In Paul Gardner, “Will Success Spoil Bob and Jim, Louise and Harry?” Artnews 81, no. 9 (November 1982): pp. 102–9. (See Gardner 1982.)

Statement on two emerging contemporary artists (Richard Fishman and Laura Newman). In Grace Glueck, “The Artists’ Artists.” Artnews 81, no. 9 (November 1982): pp. 96–97.

Interview with Motherwell for the film David Smith: Steel into Sculpture. Directed by Jay Freund for Cort Productions; narrated by Dustin Hoffman; produced by Karen Lindsay. Santa Monica, Calif.: Direct Cinema Limited, 1983. VHS. Transcript with annotations by Motherwell, December 8, 1982, Dedalus Foundation Archives.

“With Robert Motherwell.” Interview with Jack D. Flam, November 5, 1982. In Robert Motherwell (exhibition catalogue), by Dore Ashton and Jack D. Flam, pp. 9–27. New York: Abbeville Press, in association with Albright-Knox Art Gallery, 1983. Recording on tape transferred to compact disc, Dedalus Foundation Archives. Partially reprinted in Duffy 1984, p. 92; Fowler 1984, sec. A, p. 15; Regan 1984, sec. Review, p. 12; Richard 1984, sec. D, pp. 1, 12–13; Silverman 1984, p. 31; Gaugh 1985, p. 75; Rosand 1985, p. 93; Hemenway 1986, p. 42; Brooker 1989, p. 64; American Art 1991, p. 70; Flam 1991, pp. 8, 10–11, 13, 16, 18, 24–25; Glueck 1991, sec. B, p. 9; Wilkin 1991, p. 725; Caws 1996b, pp. xi, 89, 92, 123; Tieken 2000, n.p.; Cateforis 2000–2001, p. 9; Museu d’Art Contemporani de Barcelona exh. cat. 2001, p. 58; Richardson 2001, pp. 243, 253, 259. (Short form used in catalogue raisonné entries: Motherwell in Albright-Knox Art Gallery exh. cat. 1983.)

1983

“Foreword.” In Abstract Expressionist Painting in America, by William C. Seitz, pp. xi–xiv. Cambridge, Mass.: Harvard University Press, in association with National Gallery of Art, Washington, 1983. Reprinted in Motherwell 1992, pp. 254–58; Motherwell 2007, pp. 331–35. Partially reprinted in Knight 1984, sec. E, p. 3; Kimball 1985, p. 38; Gibson 1997, p. 221; Sandler 2009, p. 23.

Blurb for Dore Ashton, About Rothko. New York: Oxford University Press, 1983.

Interview with Motherwell, February 18, 1983. In Edward J. Sozanski, “An Artist Who Is a Giant of His Time.” Philadelphia Inquirer, February 27, 1983, sec. I, pp. 1, 13. (See Sozanski 1983.)

Letter to Nathan Halper, May 19, 1983, regarding James Joyce and Franz Kafka. Partially printed in Forman 1983, p. 13; Ryan 1983, p. 12; Advocate Summer Guide 1983b, p. 3. Typescript, Dedalus Foundation Archives.

Interviews with Motherwell by Stephanie Terenzio, June 30, July 13, 22–23, August 24, September 7, November 1, 1983; January 11 and 25, 1984, November 17, 1984; August 24, 1985; and May 4, 1986, for an unrealized memoir. Transcript, Dedalus Foundation Archives. Partially reprinted in Terenzio 1992; Dumas 2001, p. 111.

“A Collage for Nathan Halper in Nine Parts,” eulogy for Nathan Halper, August 12, 1983. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 267–69.

Letter to Glen MacLeod, September 21, 1983, regarding the connections between poems by Wallace Stevens and Abstract Expressionist painting. Typescript, Dedalus Foundation Archives. Printed in Motherwell 1992, pp. 269–70.

Letter to Jack Beatty, senior editor of Atlantic Monthly, October 6, 1983, responding to a request for Motherwell to contribute an essay to the magazine. Printed in Motherwell 1992, pp. 271–72. Partially reprinted in Danto 1993, p. 37; Huntington 1993, p. 8.

Interview with Motherwell. In Anthony Bannon, “The Motherwell Secret to Creating of Appreciating Art: A Good Eye.” Buffalo News, November 13, 1983, sec. E, pp. 1, 5. (See Bannon 1983c.)

“Introduction for Gabriella Drudi Lecture at Cooper Union,” December 7, 1983. For Gabriella Drudi’s lecture, “The Act in Search of the Actor.” Typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives.

1984

Interview with Motherwell. In Constance W. Glenn, “Architectural Digest Visits: Mr. and Mrs. Robert Motherwell.” Architectural Digest 41, no. 1 (January 1984): cover, pp. 84–91. (See Glenn 1984.)

Statement by Motherwell on the importance of Paul Goodman’s short story “The Emperor of China,” Possibilities 1, winter 1947–48, for The Emperor of China, P68 (made in a

telephone conversation with Ann Eden Gibson, January 11, 1984). In Abstract Expressionism: Other Politics, by Ann Eden Gibson, p. 15. New Haven, Conn.: Yale University Press, 1997. (See Gibson 1997.) (Short form used in catalogue raisonné entries: Motherwell in Gibson 1997.)

Interview with Motherwell by Barbara Flug Colin, February 14, 1984. Transcript, Dedalus Foundation Archives.

“Introduction: A Note on Robert Osborn” (March 1984). In Osborn on Conflict: 40 Brush Drawings by Robert Osborn, by Robert Osborn, pp. 2–3. Cambridge, Mass.: Carpenter Center for the Visual Arts, Harvard University, 1984. Typescript, with handwritten annotations, Dedalus Foundation Archives.

Interview with Motherwell and Kenneth E. Tyler by Heywood Hale Broun. “Tyler Graphics Printing” (segment on Ken Tyler’s print studio, Tyler Graphics). CBS Sunday Morning, March 4, 1984. Film, Dedalus Foundation Archives. (See Filmography.)

Interview with Motherwell about his garden. In “An Artist’s Garden.” Photographs by Duane Michals. Vanity Fair 47, no. 8 (August 1984): pp. 78–83. (See Vanity Fair 1984.)

Statement on the Long Point Gallery. In Grace Glueck, “ ‘Family’ Revived Art on Cape Cod: 13 Founded Top Gallery 7 Years Ago.” New York Times, August 1, 1984, sec. C, p. 17. (See Glueck 1984a.) Partially reprinted in Myers 1993, sec. 2, p. 8.

Letter to Christian Leprette, August 5, 1984, regarding Pierre Chareau. Printed in Motherwell 1992, pp. 273–76.

Interview with Motherwell by Martin Friedman, Walker Art Center, September 21, 1984, in conjunction with the exhibition Painting and Sculpture since 1945, at Walker Art Center, Minneapolis, 1984. Partially printed in The Prints of Robert Motherwell (exhibition catalogue; text in English and Japanese translation; Fukushima, Japan: Center for Contemporary Graphic Art and Tyler Graphics Archive Collection, 1995), n.p.

Letter to “Partisan Review,” September 24, 1984, regarding the fiftieth anniversary of the publication. Unpublished typescript with handwritten annotations by Motherwell, Dedalus Foundation Archives.

“Animating Rhythm.” In “Was Jackson Pollock Any Good?” (editorial symposium). Art & Antiques, October 1984, p. 87. Reprinted in Motherwell 2007, p. 339.

Interview with Motherwell. In Grace Glueck, “The Mastery of Robert Motherwell.” New York Times, December 2, 1984, sec. Magazine, pp. 68–72, 74, 76, 78, 80, 82, 86. (See Glueck 1984b.) Partially reprinted in Bell Gallery, Brown University, exh. cat. 1985, p. 12; Glueck 1991, sec. A, p. 1, sec. B, p. 9; Hartford Courant 1991, sec. A, p. 13; Herald Wire Services 1991, p. 65; Koch 1991, sec. A, p. 9; Cateforis 2000–2001, p. 7.

Interview with Motherwell on the retrospective at the Solomon R. Guggenheim Museum, New York, 1984; includes a discussion of Chi Ama, Crede (P224). In Amei Wallach, “Motherwell’s Savage Muse.” New York

writings by the artist

Newsday, December 5, 1984, pt. 2, pp. 4–5. (See Wallach 1984b.) Partially reprinted in Wallach 1984a, sec. F, pp. 1, 5. (Short form used in catalogue raisonné entries: Motherwell in Wallach 1984b.)

“Kafka’s Visual Recoil: A Note (for Dore Ashton).” Partisan Review 51, no. 4, and 52, no. 1 (1984–85): pp. 751–54. Lecture presented at the seminar “Kafka Unorthodox,” at Cooper Union, New York, March 19, 1983. Original draft titled “Kafka’s Visual Alert: A Note,” Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 263–66; Motherwell 2007, pp. 336–38.

1985

Blurb for Matti Megged, Dialogue in the Void: Beckett & Giacometti. New York: Lumen Books, 1985.

Interview with Motherwell, includes statement on How to Dance Sitting Down (c690). In Gerald Perry, “Pulling Together the Pieces of Motherwell’s Classic Modernism.” Chicago Tribune, January 27, 1985, sec. 13, pp. 20–21. (See Perry 1985.) (Short form used in catalogue raisonné entries: Motherwell in Perry 1985.)

“On Modernism in Art.” Lecture presented in conjunction with the exhibition Flying Tigers: Painting and Sculpture in New York, 1939–1946, at Sayles Hall, Brown University, Providence, R.I., May 2, 1985. Partially reprinted in Gray 1985, sec. C, p. 4.

Interview with Motherwell. In James A. Revson, “Razing the Roof Where Motherwell Once Lived.” New York Newsday, June 6, 1985, pt. 3, pp. 4–5. (See Revson 1985.) Partially reprinted in Gordon 2001, pp. 49, 53.

Interview with Motherwell by Alastair Gordon, June 22, 1985. In Weekend Utopia: Modern Living in the Hamptons, by Alastair Gordon, p. 50. New York: Princeton Architectural Press, 2001. (See Gordon 2001.) Partially reprinted in Gordon 2007, pp. 134, 136, 138, 140.

Interview on the relationship between psychoanalysis and art, summer 1985. In Samuel G. Freedman, “How Inner Torment Feeds the Creative Spirit.” New York Times, November 17, 1985, sec. 2, p. 22. (See Freedman 1985.)

Statement on Stanley Kunitz at the opening of the exhibition Tribute to Stanley Kunitz, at Long Point Gallery, Provincetown, Mass. In Gerald C. Fraser, “Exhibition Pays Tribute to Kunitz.” New York Times, July 15, 1985, sec. C, p. 18. (See Fraser 1985.)

Statement on Motherwell’s Quonset hut house designed by Pierre Chareau. In James Brooke, “Trend-Setting Quonset Hut Is Demolished on L.I.” New York Times, August 3, 1985, p. 26. (See Brooke 1985.)

“Mr. Motherwell’s Acceptance.” Colony News (MacDowell Colony, Peterborough, N.H.) 15, no. 1 (fall 1985): pp. 3–4. (See Colony News 1985.) Partially reprinted in McGill 1985a, sec. C, p. 16; McGill 1985b, p. 7; Kutner 1991, sec. A, p. 18.

Statement. In Paul Gardner, “When Is a Painting Finished?” (editorial symposium).

Artnews 84, no. 9 (November 1985): p. 94. Reprinted in Motherwell 2007, pp. 340, 342. (Short form used in catalogue raisonné entries: Motherwell in Gardner 1985.)

“Music Is the Human Soul without Excess Baggage.” In The Painter’s Music: The Musician’s Art. New York: Solomon R. Guggenheim Museum, 1985. Program for a musical performance by An Die Musik, The Painter’s Music: The Musician’s Art, with collaborators Helen Frankethaler, David Hockney, Robert Motherwell, and Kenneth Noland, Solomon R. Guggenheim Museum, New York, November 17, 1985.

Letter to Arthur Berger, December 10, 1985, regarding his year in Paris (1938–39) and the use of sheet music in his collages. Typescript, Dedalus Foundation Archives.

Letter to Bryan Robertson, December 10, 1985, regarding Face of the Night (for Octavio Paz) (P1024) and The Hollow Men (P1063). Typescript, Dedalus Foundation Archives.

1986

Interview with Motherwell on aging and the creative process. In Nan Robertson, “Artists in Old Age: The Fires of Creativity Burn Undiminished,” New York Times, January 22, 1986, pp. C1, C10.

Collection of quotes by Motherwell recorded over the course of thirty years in B. H. Friedman’s journals, from January 17, 1957–February 26, 1986. In B. H. Friedman, “Robert Motherwell: Excerpts from the Journals of B. H. Friedman.” Provincetown Arts 8 (1992): pp. 35–39.

Interview with Motherwell by Sigmund Koch and Jack Flam in Greenwich, Conn., May 12 and 13, 1986; conducted for the Aesthetics Research Archive at Boston University; Jack Flam participated on May 13. Unpublished videotape and partial transcript, Dedalus Foundation Archives. (See Filmography.)

Interview with Motherwell. In Gayle Hemenway, “Robert Motherwell: A Celebration.” Stamford Magazine (Stamford University Alumni Magazine) 14, no. 2 (summer 1986): pp. 36–43. (See Hemenway 1986.)

“Philosophy and Abstract Expressionism: A Painter’s Palette,” Harvard Graduate Society Newsletter, winter 1987, pp. 6–7. First presented as a lecture, “On Not Becoming an Academic,” at the panel “Tradition and Innovation: The Realms of Scholarship,” at Harvard University, Cambridge, Mass., September 4, 1986. Original typescript and draft, Dedalus Foundation Archives. Reprinted in Motherwell 1992, pp. 278–80; Motherwell 2007, pp. 343–44. Partially reprinted in Tieken 2000, n.p.; Morizot 2004, p. 252 (French translation). (Short form used in catalogue raisonné entries: Motherwell 1987.)

“A Personal Recollection.” Lecture presented at the symposium “The Effects of the Spanish Civil War on Arts and Letters in Spain and the United States of America” at the Spanish Institute, New York, October 25, 1986; moderated by John Brademas; participants included Christopher Maurer, Gert Schiff, and Robert Motherwell. Handwritten outline of topics,

Dedalus Foundation Archives. Printed in Motherwell 2007, pp. 346–50. Partially printed in Banach 1996, p. 35.

Interview with Motherwell. In Meredith L. Welch, “Robert Motherwell: Reflects On the Journey That Brought Him Here.” Greenwich News, December 11, 1986, sec. 3, pp. 1, 3–4. (See Welch 1986.)

1987

Interview with and letters to Constance Glenn during the year 1987. In Robert Motherwell: The Dedalus Sketchbooks, by Constance Glenn and Jack Glenn, n.p. New York: Harry N. Abrams, 1988. (See Glenn and Glenn 1988.)

Blurb for Arthur C. Danto, The State of the Art. New York: Prentice Hall, 1987. (See Danto 1987.)

“Aspects of Modernism.” Panel discussion with Motherwell held in conjunction with the traveling exhibition Robert Motherwell: The Collaged Image at the Boston Athenaeum, January 15, 1987; moderated by Jack Flam; participants included Varujan Boghosian, Arthur Berger, and Robert Motherwell. Partially broadcast on Ten o’Clock News with Christopher Lydon and Gail Harris, WGBH Boston, Channel 2, January 30, 1987. Videotape and digital transfer, Dedalus Foundation Archives. (See Filmography.)

Interview with Motherwell by Jade Dellinger, June 2, 1987. Transcript with handwritten annotations by Motherwell, Dedalus Foundation Archives.

Letter to David Hopkins, June 23, 1987, regarding Max Ernst and Piet Mondrian. Draft with handwritten annotations by Motherwell and typescript, Dedalus Foundation Archives.

Interview with James E. B. Breslin, Greenwich, Conn., June 30 and July 4, 1987. Transcripts of interviews and handwritten notes by Breslin, James E. B. Breslin research archive on Mark Rothko, 1900–1994, Research Library, Getty Research Institute, accession no. 2003.M.23.

Interview with Motherwell. In Monique Brunet-Weinmann, “Robert Motherwell a Provincetown: Une Interview avec Monique Brunet-Weinmann” (text in French). Vie Des Arts 32, no. 128 (September–autumn 1987): pp. 40–41. (See Brunet-Weinmann 1987.)

“Introduction for Octavio Paz.” Address delivered at Poetry Center, 92nd Street Y, New York, October 4, 1987. Printed in Motherwell 1992, pp. 281–82.

“Surrealism and the Modernist Condition.”

Lecture and discussion with Arthur Danto hosted by Aldrich Museum of Contemporary Art, Ridgefield, Conn., November 1, 1987.

Transcript with minor handwritten annotations by Motherwell, Dedalus Foundation Archives. Partially published as “Excerpts from a Dialogue between Robert Motherwell and Arthur C. Danto at the Aldrich Museum of Contemporary Arts, parts 1 and 2.” Videotape. Greenwich, Conn.: ArtsAmerica, 1987. (See Filmography.)

1988

Letter to Glen MacLeod, January 19, 1988, regarding Wallace Stevens. Typescript, Dedalus Foundation Archives. Partially printed in MacLeod 1993, p. xxv.

Interview with Motherwell, Greenwich, Conn., January 28, 1988. In L’Atelier de Robert Motherwell (film in English and French). VHS. Directed by Benoît Jacquot. France: I.N.A., with the assistance of Centre National de la Cinématographie; FR3; and La Sept, 1988. Film, Dedalus Foundation Archives. (See Filmography.)

Interview with Motherwell by Catherine Mosley. In Christopher Busa, ed., “The Painter and the Printer: Robert Motherwell & Catherine Mosley.” Provincetown Arts 4 (1988): pp. 10–15. (See Busa 1988.)

Afterword (May 1988). In Eye to Eye: The Camera Remembers; Portrait Photographs by Renate Ponsold, by Renate Ponsold, introduction by Dore Ashton, p. 113. New York: Hudson Hills Press, 1988.

Interview with Motherwell. In Ann Lloyd, “One Man and His Art: Robert Motherwell.” Cape Cod Antiques & Arts, July 1988, pp. 16–19. (See Lloyd 1988c.) Partially reprinted in Busa 1991, p. 14.

Interview with Motherwell, July 12–13, 1988. In The Ulysses Etchings of Robert Motherwell, by David Hayman, pp. 11–26. San Francisco: Arion Press, 1988. Partially reprinted in Motherwell 1992, pp. 283–89; Hayman 1989, pp. 585, 586, 587, 588, 590, 591, 593–94, 597, 600, as “An Artist’s Odyssey: A Master of Abstraction Illuminates James Joyce’s Literary Monument.” Art & Antiques 6, no. 11 (February 1989): pp. 72–77; Kaiser 1995, p. 133; Galerie Bernd Klüser exh. cat. 2001, pp. 40–47.

Interview with Motherwell by Richard Kaplan, Provincetown, August 22, 1988. Transcript with handwritten annotations by Motherwell, Dedalus Foundation Archives. Parts of this interview were included in The Exiles, directed by Richard Kaplan (New York: Richard Kaplan Productions; The Exiles Project, 1989). Broadcast on Thirteen/WNET on September 24, 1989. Videotape and digital transfer, Dedalus Foundation Archives. (See Filmography.)

Nomination of Jasper Johns to the American Academy of Arts and Letters, September 1988. Handwritten draft and typescript, Dedalus Foundation Archives. Printed in Motherwell 2007, p. 351; Banach 1996, p. 37 (illustration of draft on p. 36).

Letter to Jeanne Bultman, October 19, 1988, regarding the work of her husband, Fritz Bultman. Typescript, Dedalus Foundation Archives. Partially printed as “A Tribute to Fritz,” in Fritz Bultman: A Retrospective, by April Kingsley and Irving Sandler (New Orleans: New Orleans Museum of Art, 1993), p. 6. Reprinted in Firestone 1994, p. 12.

Letter to Ted Lindberg, October 19, 1988, regarding Gordon Onslow-Ford and Roberto Matta. Printed in Motherwell 1992, pp. 290–91.

“Dialogue with Robert Motherwell and Dore Ashton.” Discussion held in conjunction with the exhibition Robert Motherwell: The Dedalus Sketchbook and Other Works in the Joycean Mode, at the Great Hall, Cooper Union, New York, November 21, 1988; moderated by Dore Ashton. Transcript, Dedalus Foundation Archives; taped recording of interview audiotape, Dedalus Foundation Archives.

1989

Notes to the plates. In Robert Motherwell, by Marcelin Pleynet, translated by Mary Ann Caws, pp. 62–212. 1st ed. Paris: Daniel Papierski, 1989. (See Pleynet 1989b.) Partially reprinted in Poesia y Poética 1990, pp. 32–35 (Spanish translation); Mattison 1985b, pp. 110–11; Pleynet 1998, pp. 94, 97.

Inter views with Motherwell, August 29, September 11, 1989, in Provincetown; and October 8, 1990, and May 10, 1991, in Greenwich, Conn. “Chapter 6: Five Interviews with Robert Motherwell.” In Robert Motherwell: What Art Holds, by Mary Ann Caws, pp. 170–99. New York: Columbia University Press, 1996. Transcript, Dedalus Foundation Archives.

Interviews with Motherwell, January 27, September 30, and November 27, 1989. Partially printed in Jack Flam, Motherwell, pp. 10, 14, 19. Barcelona: Galeria Joan Prats, 1991.

Interview with Motherwell by David Hayman, artist’s studio, Greenwich, Conn., May 23–29, 1989. Transcript, Dedalus Foundation Archives.

Interview with Motherwell, July 12–13, 1988, “An Artist’s Odyssey: A Master of Abstraction Illuminates James Joyce’s Literary Monument.” Art & Antiques 6, no. 11 (February 1989): pp. 72–77. (Short form used in catalogue raisonné entries: Motherwell 1989.)

Interview with Motherwell. In Marcelin Pleynet, “Robert Motherwell” (text in French). Beaux Arts, no. 72 (October 1989): pp. 70–75, 177. (See Pleynet 1989a.)

Interview with Motherwell. In Robert Enright, “The Monumental Diarist: An Interview with Robert Motherwell.” Border Crossings 8, no. 4 (November 1989): pp. 7–17. (See Enright 1989.) (Short form used in catalogue raisonné entries: Motherwell in Enright 1989.)

Interview with Motherwell by Jack Flam. Presented as part of the 92nd Street Y’s “Artists’ Visions” fall lecture series, held at the Solomon R. Guggenheim Museum, New York, November 8, 1989. Audio file on compact disc, Dedalus Foundation Archives.

Interview with Motherwell on the importance of music in his art. In Tova Navarra, “ ‘Hearing’ Motherwell at Montclair: Artist Creates a Musical Canvas.” Asbury Park Press, December 17, 1989, sec. F, pp. 1, 12. (See Navarra 1989.)

Excerpts of an interview with Motherwell, Greenwich, Conn. In Guy Scarpetta, “Une Journée dans la vie de Robert Motherwell” (text in French). Globe (Paris), no. 43 (December 1989–January 1990): pp. 114–18.

1990

Interview with Motherwell. In Joy L. Haenlein, “Subconscious Art: Robert Motherwell.” Advocate and Greenwich Time, January 14, 1990, sec. D, pp. 1–2. (See Haenlein 1990a.) Reprinted in Haenlein 1990b, sec. 1, p. 8. Partially reprinted in Haenlein 1991, sec. A, pp. 1, 6.

Letter to Mary Ann Caws, May 1, 1990, regarding Caws’s analysis of his work in Robert Motherwell:What Art Holds (see Caws 1996b).

Typescript, Dedalus Foundation Archives. Printed in Caws 1996b, pp. 201–2.

Letter to Montague Ullman, May 1, 1990, regarding his dreams and his recent collages. Typescript with handwritten annotations by Motherwell. Montague Ullman Papers, copy in the Dedalus Foundation Archives.

Interview with Motherwell. In Douglas Martin, “At Home with Robert Motherwell.” New York Times Magazine, June 3, 1990, sec. 6, pt. 2, p. 70. (See Martin 1990.)

1991

Letter to Philipe Sollers, director of L’Infini, February 26, 1991. In L’Infini, no. 35 (autumn 1991): pp. 127–28.

Interview with Motherwell by Dodie Kazanjian. In “The Decisive Decade,” introduction by Rosamond Bernier. Vogue, no. 181 (March 1991): p. 382. (See Vogue 1991.)

“Leo Manso” (March 1991). In Leo Manso: Collage & Assemblage; Selected Works, 1981–1991 (exhibition catalogue), n.p. New York: Stuart Levy Gallery, 1991. Reprinted in Leo Manso: A Retrospective of Four Decades, 1952–1992 (exhibition brochure; New York: Art Students League of New York, 1992), n.p.

Statement on the Long Point Gallery. In Cindy Nickerson, “Culture Club: Lower Cape Gallery Stars Eclectic Group of Artists.” Cape Cod Times, June 15, 1991, p. 5. (See Nickerson 1991.)

Interview with Motherwell. In Betty Tyler, “Artist in His Studio.” Fairpress, June 20, 1991, sec. D, pp. 1, 3–4. (See Tyler 1991b.)

Statement. In Christopher Busa, “Long Point Gallery: Thirteen Ways of Looking at an Artist.” Provincetown Art 7 (1991): pp. 4–15, 143–47. (See Busa 1991.)

Interview with Motherwell by Teresa del Conde, Greenwich, Conn., “Last Interview: Fragmentos de una entrevista con Robert Motherwell,” July 12, 1991. Conducted for inclusion in the exhibition catalogue for Robert Motherwell: The Open Door, Museo Rufino Tamayo, Mexico City, 1991. Typescript in Spanish, Dedalus Foundation Archives.

Interview with Motherwell for the film Robert Motherwell and the New York School: Storming the Citadel American Masters. Directed by Catherine Tatge; narrated by Robert Motherwell and Jonathan Epstein. New York: Tatge/Lasseur Productions; International Cultural Programming, in association with Thirteen/WNET, 1991. Broadcast on Thirteen/ WNET, August 19, 1991. Film and first draft of the script with annotations by Motherwell, September 8, 1987, Dedalus Foundation

Archives. (See Filmography.) Partially printed in Koch 1991, sec. A, pp. 1, 9; Kramer 1991b, sec. 2, p. 20; Leonard 1991, pp. 10, 11; Seidel 1991, p. 15; Van Siclen 1991, sec. D, pp. 1, 5; Walker Art Center exh. cat. 1996, n.p.; Tieken 2000, n.p.

bOOkS edited by rObert mOtherwell

dOcumentS OF mOdern art

Motherwell was director and founding editor of the series. In addition to selecting the subjects that were included, editing the texts, and overseeing the translations of foreign texts, Motherwell often wrote prefatory notes or introductions to the volumes. The series is numbered chronologically, except for numbers 8–11, which were disrupted by the delayed publication of The Dada Painters and Poets

Apollinaire, Guillaume. The Cubist Painters: Aesthetic Meditations, 1913. Documents of Modern Art 1. Translated by Lionel Abel; preface by Robert Motherwell. New York: Wittenborn, 1944. “Preliminary Notice,” by Robert Motherwell. 2nd rev. ed., New York: Wittenborn, Schultz, 1949.

Mondrian, Piet. Plastic Art and Pure Plastic Art, 1937, and Other Essays, 1941–1943. Documents of Modern Art 2. Preface by Motherwell; introduction by Harry Holtzman. New York: Wittenborn, Schultz, 1945. 2nd printing (text augmented), New York: Wittenborn, Schultz, 1947 (updated preface by Motherwell).

Moholy-Nagy, László. The New Vision Documents of Modern Art 3. Revised version of a 1928 translation by Daphne M. Hoffman. Introduction and obituary by Walter Gropius. New York: Wittenborn, 1946. 4th rev. ed., New York: Wittenborn, Schultz, 1949.

Sullivan, Louis H. Kindergarten Chats and Other Writings. Documents of Modern Art 4. Edited by Isabella Athey. New York: Wittenborn, Schultz, 1947.

Kandinsky, Wassily. Concerning the Spiritual in Art and Painting in Particular. Documents of Modern Art 5. Translated by Michael Sadleir and Ralph Manheim; essays by Nina Kandinsky, Julia Feininger, Lyonel Feininger, and Stanley William Hayter. New York: Wittenborn, Schultz, 1947. New footnotes and additions by Kandinsky.

Arp, Jean (Hans). On My Way: Poetry and Essays, 1912–1947. Documents of Modern Art 6. “Prefatory Note” by Robert Motherwell; translated by Ralph Manheim; bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1948.

Ernst, Max, et al. Max Ernst: Beyond Painting and Other Writings by the Artist and His Friends Documents of Modern Art 7. “Prefatory Note” by Robert Motherwell; translated by Dorothea Tanning and Ralph Manheim; bibliography and biography by Bernard Karpel. New York: Wittenborn, Schultz, 1948.

Kahnweiler, Daniel-Henry. The Rise of Cubism. Documents of Modern Art 9. “Preliminary Notice,” by Robert Motherwell; compiled by Bernard Karpel; translated by Henry Aronson. New York: Wittenborn, Schultz, 1949.

Raymond, Marcel. From Baudelaire to Surrealism Documents of Modern Art 10. “Preliminary Notice” by Motherwell; “Mallarmé and Painting” (appendix), by Daniel-Henry Kahnweiler; introduction by Harold Rosenberg; bibliography by Bernard Karpel. New York: Wittenborn,

Schultz, 1949. Translated by G. M. from 1947 rev. ed. of the 1933 French text.

Duthuit, Georges. The Fauvist Painters Preface by Robert Motherwell; translated by Ralph Manheim; bibliography by Bernard Karpel. Documents of Modern Art 11. New York: Wittenborn, Schultz, 1950.

Motherwell, Robert, ed. The Dada Painters and Poets: An Anthology. Documents of Modern Art 8. Preface and introduction by Robert Motherwell; translated by Ralph Manheim et al.; bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1951. 2nd ed., 1981.

PrOblemS OF cOntemPOrary art

Motherwell was director of this series, also published by Wittenborn, Schultz, which was intended as “an open forum for 20th century artists, scholars, and writers, the word ‘art’ being taken in the broadest sense.” This series was meant to complement the Documents of Modern Art series, which consisted largely of previously published texts.

Paalen, Wolfgang. Form and Sense. Problems of Contemporary Art 1. New York: Wittenborn, 1945.

Read, Herbert. The Grass Roots of Art Problems of Contemporary Art 2. New York: Wittenborn, 1947.

Dorner, Alexander. The Way beyond Art: The Work of Herbert Bayer. Problems of Contemporary Art 3. Introduction by John Dewey. New York: Wittenborn, Schultz, 1947.

Possibilities 1: An Occasional Review. Problems of Contemporary Art 4. Edited by John Cage, Pierre Chareau, Robert Motherwell, and Harold Rosenberg. New York: Wittenborn, Schultz, 1947–48.

Vantongerloo, Georges. Paintings, Sculptures, Reflections. Problems of Contemporary Art 5. Preface by Max Bill. New York: Wittenborn, Schultz, 1948.

mOdern artiStS in america

Motherwell, Robert, Ad Reinhardt, and Bernard Karpel, eds. Modern Artists in America: First Series. Bibliography by Bernard Karpel. New York: Wittenborn, Schultz, 1951. Cover design by Motherwell.

the dOcumentS OF t wentieth century art

A continuation of the Documents of Modern Art published under a new name. This series was first published by Viking Press (New York) from 1971 to 1978, as The Documents of 20thCentury Art, with Motherwell as general editor, Arthur A. Cohen as managing editor, and Bernard Karpel as documentary editor. From 1980 to 1993, the series was published by G. K. Hall (Boston) as The Documents of Twentieth Century Art, with Motherwell and Jack Flam as general editors. After Motherwell’s death in 1991, Jack Flam continued as general editor, and the series moved to the University of California Press in 1995.

Cabanne, Pierre. Dialogues with Marcel Duchamp. Translated by Ron Padgett; introduction by Robert Motherwell; preface by Salvador Dalí; appreciation by Jasper Johns; selected bibliography by Bernard Karpel. New York: Viking Press, 1971.

Kahnweiler, Daniel-Henry, with Francis Cremieux. My Galleries and Painters. Translated by Helen Weaver; introduction by John Russell; chronology and selected bibliography by Bernard Karpel. New York: Viking Press, 1971.

Apollinaire, Guillaume. Apollinaire on Art: Essays and Reviews, 1902–1918. Edited by LeRoy C. Breunig. New York: Viking Press, 1971.

Moore, Henry. Henry Moore on Sculpture Edited by Philip James. New York: Viking Press, 1971.

Arp, Jean (Hans). Arp on Arp: Poems, Essays, Memories. Edited by Marcel Jean. New York: Viking Press, 1972.

Picasso, Pablo. Picasso on Art: A Selection of Views. Edited by Dore Ashton. New York: Viking Press, 1972.

Lipchitz, Jacques, with H. Harvard Arnason. My Life in Sculpture. New York: Viking Press, 1972.

Léger, Fernand. Functions of Painting. Edited by Edward F. Fry. New York: Viking Press, 1973.

Apollonio, Umbro, ed. Futurist Manifestos New York: Viking Press, 1973.

Kandinsky, Wassily, and Franz Marc, eds. The Blaue Reiter Almanac. New York: Viking Press, 1974. Documentary editor Klaus Lankheit.

Bann, Stephen, ed. The Tradition of Constructivism. New York: Viking Press, 1974.

Ball, Hugo. Flight out of Time: A Dada Diary Edited by John Elderfield. New York: Viking Press, 1974.

Huelsenbeck, Richard. Memoirs of a Dada Drummer. Edited by Hans J. Kleinschmidt. New York: Viking Press, 1974. Paperback, with foreword by Rudolf Kuenzli. Berkeley and Los Angeles: University of California Press, 1991.

Reinhardt, Ad. Art as Art: The Selected Writings of Ad Reinhardt. Edited by Barbara Rose. New York: Viking Press, 1975.

Bowlt, John C., ed. Russian Art of the AvantGarde: Theory and Criticism, 1902–1934. New York: Viking Press, 1976.

Delaunay, Robert, and Sonia Delaunay. The New Art of Color: The Writings of Robert and Sonia Delaunay. Edited and with an introduction by Arthur A. Cohen. New York: Viking Press, 1978.

Jean, Marcel, ed. The Autobiography of Surrealism. New York: Viking Press, 1980. Motherwell, Robert, ed. The Dada Painters and Poets: An Anthology. Preface and introduction by Robert Motherwell; foreword by Jack D. Flam. 2nd ed. Boston: G. K. Hall, 1981. (Paperback edition, Cambridge, Mass.: Belknap Press of Harvard University Press, 1989.)

Kandinsky, Wassily. Kandinsky: Complete Writings on Art. 2 vols. Edited by Kenneth C. Lindsay and Peter Vergo. Boston: G. K. Hall, 1982.

Duchamp, Marcel. Notes. Edited by Paul Matisse; preface by Anne d’Harnoncourt. Boston: G. K. Hall, 1983.

Mondrian, Piet. The New Art—The New Life: The Collected Writings of Piet Mondrian. Edited and translated by Harry Holtzman and Martin S. James. Boston: G. K. Hall, 1986.

Miró, Joan. Joan Miró: Selected Writings and Interviews. Edited by Margit Rowell. Boston: G. K. Hall, 1986. Reprint, New York: Viking Press, 2003.

unPubliShed bOOk

Brenson, Theodore, Herbert Matter, and Robert Motherwell, eds. Maquette for an unpublished book, which was to have been distributed by the Third National Conference on UNESCO, 1951. Museum of Modern Art Archives, New York. (This is the only known copy of the maquette.)

Film O gra P hy

“Modern Art: Four Artists of Hunter College Talk about Their Work.” Panorama, Du Mont Television Network. February 13, 1954. With Motherwell, William Baziotes, Henry Kahn, and Richard Lippold. Interviewed by Edna Wells Luetz; narrated by Bill O’Toole.

“The World of Contemporary Art,” May 17, 1959. David Susskind’s Open End, WNTA-TV, New York. With Motherwell, René d’Harnoncourt, Emily Genauer, Lloyd Goodrich, Roy Neuberger, Lee Nordness, and Ben Shahn.

Exhibition: 14 American Painters. CBS-TV, national broadcast, March 10, 1963. With Motherwell, James Brooks, Barnett Newman, Hans Hofmann, Stuart Davis, Larry Rivers, Elaine de Kooning, Robert Rauschenberg, Andy Warhol, and Claes Oldenburg.

“Art: New York—Motherwell” (interview with the artist). With Bryan Robertson. WNDT-13, December 15, 1964. Museum of Modern Art Film Study Center, New York.

“Wednesday Review.” WNDT-Channel 13, New York. First broadcast March 23, 1966. The exhibition J.M.W. Turner: Imagination and Reality at the Museum of Modern Art is discussed by Motherwell, Hilton Kramer, Monroe Wheeler, and others.

“Artists Display Work with an Anti-Daley Theme,” 1968. WCIU-TV, Channel 26, Chicago. Never broadcast. With reporter David Burrington. Includes statement with Motherwell about the exhibition Richard Daley at the Richard Feigen Gallery, Chicago, October 23–November 23, 1968.

Robert Motherwell: Summer of 1971. Directed by Michael Blackwood and Christian Blackwood; with Robert Motherwell. New York: Blackwood Productions, 1973. First broadcast in 1972 on a “German television network” (per Art Museum, Princeton University, exh. cat. 1973). Includes scenes of the artist’s studios in Greenwich, Conn., and in Provincetown, Mass.; and scenes of the artist at Tatyana Grosman’s print studio, Universal Limited Art Editions.

Painters Painting: The New York Art Scene, 1940–1970; A Film by Emile de Antonio (includes interview with the artist). Directed by Emile de Antonio and Mary Lampson; prologue by Philip Leider; with Willem de Kooning, Barnett Newman, Frank Stella, Jasper Johns, Robert Rauschenberg, Jackson Pollock, Philip Pavia, Andy Warhol, Kenneth Noland, Hans Hofmann, Jules Olitski, Motherwell, Larry Poons, Tom Hess, Hilton Kramer, Robert Scull, Leo Castelli, William Rubin, Philip Leider, Henry Geldzahler, and Helen Frankenthaler. New York: Mystic Fire, 1972. The interviews are published in De Antonio and Tuchman 1984.

The New York School. Directed by Michael Blackwood; narrated by Barbara Rose; with Maxim Gorky, Adolph Gottlieb, Hans Hofmann, Franz Kline, Willem de Kooning, Lee Krasner, Motherwell, Barnett Newman,

Jackson Pollock, Ad Reinhardt, Mark Rothko, Clyfford Still, Jack Tworkov, Clement Greenberg, and Harold Rosenberg. New York: Michael Blackwood Productions, 1972. Includes interview with the artist and important scenes of the artist’s studios in Greenwich, Conn., and in Provincetown, Mass.

The Challenge . . . A Tribute to Modern Art, 1974. Written, produced, and directed by Herbert Kline. Commentary written by Pierre Schneider. Narrated by Orson Welles. Featuring Picasso, Braque, Matisse, Chagall, Di Chirico, Miró, Calder, Richter, Ernst, Dalí, Kandinsky, Soulages, Wou-Ki, Pollock, de Kooning, Motherwell, Léger, Giacometti, Bacon, Masson, Lipchitz, Moore, Caro, Nevelson, Mazu, Noguchi, Agam, Riley, Da Silva, Bearden, Duchamp, Lichtenstein, Segal, Ono Lennon, Beuys, Oldenburg.

Includes interview with Motherwell and footage of the artist painting Elegy to the Spanish Republic No. 124 (P650).

An Interview with Robert Motherwell. By Christopher Crosman, filmed at the artist’s studio in Provincetown, Mass., September 3, 1975. [Produced by the Albright-Knox Art Gallery, Buffalo.]

Omnibus: Art USA: New York Real, New York Abstract. First broadcast October 3, 1977. BBC-TV. With Robert Hughes, Ralph Fasanella, and Motherwell. Includes interview with Motherwell in his Greenwich studio, May 14, 1977.

“Motherwell: Rêve et Réalité” (Dream and Reality). ZIG-ZAG. First broadcast September 19, 1977. Directed by Yves Kovacs and Teri Wehn-Damisch. France 2.

Inside New York’s Art World: Robert Motherwell. Interview with Motherwell by Barbaralee Diamonstein, New School for Social Research, New York, November 17, 1977. VHS and digital transfer, Diamonstein-Spielvogel Video Archive, Rare Book, Manuscript, and Special Collections Library, Duke University.

Skyline: After Matisse. WNET-Channel 13, New York. First broadcast January 2, 1979. Motherwell et al. discuss the influence of Henri Matisse on their work.

L’Aventure de L’art Moderne. “Part 8: The American Abstraction.” Directed by Carlos Vilardebo. France 3. First broadcast August 4, 1979. Features interview with Motherwell recorded in Provincetown, summer 1978.

The Shock of the New: Part 6, The View from the Edge. Written and narrated by Robert Hughes. Produced by David Cheshire. Series Produced by Laura Pegram. BBC-TV Productions in association with Time-Life Films and RM Productions, Munich. First broadcast October 26, 1980. Features footage of Motherwell working on collages discussing the Elegy to the Spanish Republic series.

“Robert Motherwell,” interview with Robert Motherwell by Heywood Hale Broun. CBS Sunday Morning, June 29, 1980. Includes scenes of Rafael Alberti reading his poem El Negro Motherwell at the opening of Motherwell’s retrospective at Fundación Juan March in Madrid, 1980.

David Smith: Steel Into Sculpture. 1983. Directed by Jay Freund for Cort Productions. Produced by Karen Lindsay. Narrated by Dustin Hoffman. Direct Cinema Limited. Includes excerpts of interview with Motherwell, December 8, 1982.

“Tyler Graphics Printing” (segment on Ken Tyler’s print studio, Tyler Graphics), interview with Motherwell by Heywood Hale Broun. CBS Sunday Morning, March 4, 1984.

Interview with Motherwell by Sigmund Koch and Jack Flam at the artist’s studio in Greenwich, Conn., May 12 and 13, 1986 (conducted for the Aesthetics Research Archive at Boston University; Jack Flam participated on May 13). Dedalus Foundation Archives.

“Excerpts from a Dialogue between Robert Motherwell and Arthur C. Danto at the Aldrich Museum of Contemporary Arts, parts 1 and 2,” interview with Motherwell by Arthur C. Danto. Greenwich, Conn.: ArtsAmerica, 1987. The film is of a conversation between the artist and Arthur C. Danto entitled “Surrealism and the Modernist Condition,” held at the Aldrich Museum of Contemporary Arts November 1 and 2, 1987, as part of the series “Issues on Modernism and the Postmodern Condition.”

Segment on The Ten O’Clock News about Motherwell and the exhibition Robert Motherwell: The Collaged Image shown at the Boston Athenaeum (includes an excerpt from an interview with the artist, January 15, 1987; and shots of the works installed). By Christopher Lydon. WGBH Boston, January 30, 1987.

L’Atelier de Robert Motherwell (in English and French). Interview with Motherwell at the artist’s studio in Greenwich, Conn. Directed by Benoît Jacquot. Paris: I.N.A., with the assistance of Centre National de la Cinématographie; FR3; and La Sept, 1988.

The Exiles (includes interview with artist in Provincetown, Mass.). Thirteen/WNET First broadcast on September 24, 1989. Directed by Richard Kaplan; narrated by Arthur Cunningham and Sabine Thomson; with Josef Albers, Hannah Arendt, Hans Bether, Bruno Bettleheim, Bertolt Brecht, Ernest Dichter, Alfred Eisenstaedt, Max Ernst, Hanna Gray, Walter Gropius, Hans Jonas, Fritz Lang, Erich Leinsdorf, Jacques Lipchitz, Thomas Mann, Herbert Marcuse, Franco Modigliani, Motherwell, Erwin Piscator, Hans Sahl, Arnold Schoenberg, Rod Steiger, Leo Strauss, Edward Teller, Kurt Weill, Billy Wilder, and Helen Wolff. New York: Richard Kaplan Productions; The Exiles Project, 1989.

Robert Motherwell/Rafael Alberti: A La Pintura. Directed by Michael Blackwood; with Motherwell, Don Steward, Tatyana Grosman, and Rafael Alberti. New York: Blackwood Productions, 1989.

“Robert Motherwell” (obituary; includes an excerpt from an interview with the artist that aired in 1985 on MacNeil/Lehrer). MacNeil/ Lehrer Newshour, PBS, July 17, 1991.

Robert Motherwell and the New York School: Storming the Citadel. Directed by Catherine Tatge; narrated by Motherwell and Jonathan Epstein; with Motherwell, William Rubin, Henry Geldzahler, Matta Echaurren, Jack Flam, Dore Ashton, Barnett Newman, Philip Pavia, David Smith, Jackson Pollock, Sidney Janis, Hugh O’Donnell. New York: Tatge/ Lasseur Productions; International Cultural Programming, in association with Thirteen/ WNET, 1991. Thirteen/WNET. First broadcast on August 19, 1991.

“Ken Tyler,” with Liu Thai Ker, Ken Tyler, Sanjot Kaur Sekhon, and Roy Lichtenstein. “Printmaking,” episode 15 of Artitude, 1996. Includes shots of the print exhibition Beyond Print: Masterworks from the Ken Tyler Collection, at the Lasalle-Sia College of the Arts, Singapore, 1996, which included prints by Motherwell. Dedalus Foundation Archives.

Index of Titles and Alternative

Titles

Alternative titles are listed in italics

A (P311)

A la pintura II (P813)

A la pintura #VIII (P814)

A la pintura No. 2 (P813)

A la pintura No. 7 (P804)

A la pintura No. 8 (P814)

A la pintura No. 12 (P805)

A la pintura No. 15 (P896, P897)

A la pintura No. 16 (P898)

A la pintura No. 17 (P899)

A No. 2 (P312)

A No. 2 (Automatism Black) (P312)

L’Abeille (c28)

Abstract Head (P147)

The Abstract Heart (w162)

Abstraction (P35)

Abstraction on Turquoise (P23)

Abstraction with Scallops (c19)

Abstraction with Yellow Stripes (P3)

Absurd Personage with Orange (c42)

Achilles’ Anger (c708)

Achilles’ Heel (w669)

Acrobatic Wave (w196)

Adobe Studio with Sky Blue (P883)

The Adriatic (c429)

Africa (P338)

Africa (P832)

Africa No. 2 (P339)

Africa No. 3 (P829, w196)

Africa No. 4 (P990)

Africa No. 4 (P830)

Africa No. 5 (P831)

Africa No. 6 (P832)

Africa Suite No. 1 (w342)

Africa Suite No. 2 (w343)

Africa Suite No. 3 (w344)

Africa Suite No. 4 (w345)

Africa Suite No. 5 (w346)

Africa Suite No. 6 (w347)

Africa Suite No. 7 (w348)

Africa Suite No. 8 (w349)

Africa Suite No. 9 (w350)

Africa Suite No. 10 (w351)

Africa Suite No. 11 (w352)

African Collage No. 1 (c154)

African Collage No. 2 (c155)

African Collage No. 3 (c156)

African Interior (with Nude) (P121)

African Plateau (P837)

The African Plateau No. 1 (P834)

The African Plateau No. 2 (P835, P836)

Afternoon in Barcelona (P171)

Air 8 (c606)

Airy Blue Collage (Blue Overcoming Gold) (c633)

Aladdin (c609)

Alberti Suite No. 1 (P522)

Alberti Suite No. 2 (Beige on Black) (P523)

Alberti Suite No. 3 (P524, P1022)

Alberti Suite No. 4 (P989)

Alberti Suite No. 5 (P525)

Alberti Suite No. 6 (P754)

Alberti Suite No. 8 (P526)

Alberti Suite No. 9 (P527)

Alberti Suite No. 10 (P755)

Alberti Suite No. 11 (P756)

Alberti Suite No. 12 (P528)

All Hallow’s Eve (c471)

All Is Still (Whitman) (P597)

Alphabet C (c578)

Altamira No. 1 (c530)

Altamira No. 2 (c531)

Altamira No. 3 (c552)

Ambiguity of Space (c425)

The America Cup (c150)

America Cup II (c599)

American Collage (c723)

American Indian Totem (c741)

American Totem (c741)

Ancestral Presence (P876)

Anchor (P604)

Anchor (Ochre, Blue, Pink) (P604)

Anchor No. 1 (w189)

Anchor No. 3 (w190)

Andújar (España) (P128)

Antiquariat Günter Fuchs (c544)

Apparition (P1126)

The Apple of Venus (c676)

Apse (P984)

Arabesque (P863, P1172, w719)

Arabesque Mural Study No. 2 (P1173)

Arches (c421)

Arches Cover (c563)

Arid Window (P1194)

Arizona (w8)

The Ark (w14)

Art Bulletin Collage with Cross (c252)

L’Art Vivant (c281)

Arte (c595)

An Artist’s Collage (c82)

The Artist’s Wife Pregnant, Holding Another Child (w16)

Ascending (Blue) (c591)

Ascending (Red) (c590)

Ascension (c725)

Ash Wednesday (c71)

At Dusk (P1132)

At Five in the Afternoon (P96, P647, w10)

At Five in the Afternoon (Large Version) (P647)

At Five in the Afternoon. Sketch (w10)

At the Beginning of Spring (c548)

Atavistic Presence (P922)

The August Sea (P633)

August Sea No. 2 (P668)

August Sea No. 3 (P669)

August Sea No. 4 (P670)

August Sea No. 5 (P671)

August Sea No. 6 (P672)

August Sky (P676)

The August Sun and Shadow (P664)

Australia II (c686)

Automatic Drawing with Blue Paint (w720)

Automatic Image No. 1 (w164)

Automatic Image No. 2 (w165)

Automatic Image No. 3 (w166)

Automatic Image No. 4 (w167)

Automatic Image No. 5 (w168)

Automatic Image No. 6 (w169)

Automatic Image with Blue (P270)

Automatic Oracle (P1168)

Automatism (Black) (P315, P316)

Automatism (black, brown, blue) (P326)

Automatism (Brown) (P299)

Automatism (Brown, Green) (P302)

Automatism (Brown, Green, White) (P289, P301, P304)

Automatism No. 1 (w202)

Automatism with Ochre Stripes (w231)

Autumn (c414)

Autumn No. 2 (c554)

The Balkan Lute (c523)

Les Ballets Basques (w163)

Les Ballets Basques de Biarritz (c138)

The Baltic Sea Bride No. 1 (c431)

The Baltic Sea Bride No. 2 (c432)

The Baltic Sea Bride No. 3 (c433)

The Baltic Sea Bride No. 4 (c434)

The Baltic Sea Bride No. 5 (c435)

The Baltic Sea Marriage (c436)

The Barbarian (P905)

The Barbarians (P1169)

The Barbarians Are Coming (c688)

The Barbarians’ Tent (c551)

Barbaric Figures (P1170)

Barbaric Rhythms (P1169)

Barcelona (P93)

Basque Collage (c395)

Basque Suite (w334, w335)

Bastos (c501, c502)

The Bathers (P1163)

Beach Scene (P88)

Beckett’s Space (c427)

Beckett’s Space No. 2 (c428)

Before the Day (P677)

Before the Italian Mediterranean (w119)

Beige Double Figuration (c240)

Beige Figuration (c235)

Beige Figuration No. 1 (c228)

Beige Figuration No. 2 (c229)

Beige Figuration No. 3 (c230)

Beige Figuration No. 4 (c231)

Beige Figuration No. 5 (c232)

Beige Figuration No. 6 (c233)

Beige Figuration No. 7 (c234)

Beige Figuration with Gauloises (c225)

Beige Figuration with Gauloises No. 2 (c226)

Beige Figuration with Gauloises No. 3 (c227)

Beige on Ultramarine (c633)

La Belle Epoque (c394)

La Belle France (P375)

La Belle France (c437)

La Belle Hélène (c682)

La Belle Mexicaine (P1)

La Belle Mexicaine (Maria) (P1)

Berggruen Collage (c179)

Berggruen Fils Collage (c381)

Beside the Sea (w158, w259)

Beside the Sea No. 1 (w127)

Beside the Sea No. 1 (Summer 1968) (w254)

Beside the Sea No. 2 (w128)

Beside the Sea No. 3 (w129)

Beside the Sea No. 3 (Summer 1968) (w255)

Beside the Sea No. 4 (w130, w256)

Beside the Sea No. 5 (w131, w257)

Beside the Sea No. 6 (w132)

Beside the Sea No. 8 (w133)

Beside the Sea No. 10 (w134)

Beside the Sea No. 11 (w135)

Beside the Sea No. 12 (w136)

Beside the Sea No. 13 (w137)

Beside the Sea No. 14 (w138)

Beside the Sea No. 15 (w139)

Beside the Sea No. 17 (w140)

Beside the Sea No. 18 (w141)

Beside the Sea No. 19 (w142)

Beside the Sea No. 20 (w143)

Beside the Sea No. 21 (w144)

Beside the Sea No. 22 (w145)

Beside the Sea No. 23 (w146)

Beside the Sea No. 24 (w147)

Beside the Sea No. 25 (w148)

Beside the Sea No. 26 (w149)

Beside the Sea No. 27 (w150)

Beside the Sea No. 28 (w151)

Beside the Sea No. 30 (w152)

Beside the Sea No. 31 (w153)

Beside the Sea No. 32 (w154)

Beside the Sea No. 33 (w155)

Beside the Sea No. 34 (w156)

Beside the Sea No. 36 (w157)

Beside the Sea No. 41 (w212)

Beside the Sea No. 45 (w222)

Beside the Sea No. 64 (w258)

Beside the Sea, with Black and White (c135)

Beside the Sea with Black Stripe (P241)

Beside the Sea with Bulkhead (P240)

Beside the Sea, with Collage (c134)

Beside the Sea with Fish and Chips (c604)

Beside the Sea, with Sand Wave (w260)

The Best Toys Are Made of Paper (c48)

The Best Toys Are Paper (for Harold Rosenberg) (c48)

Bête Noire (P757)

The Big 4 (P1138)

The Big A (P889, P1136)

Big Black Oval (P381)

Big Black Picture (P376)

Bird (P76, w22)

Bird I (P124)

Bird II (P125)

Bird No. 2 (P125)

Bird Study (w20, w23)

Birdness (P77)

Birth (P1051)

Birthday (c372)

Black and Blue and White (w124)

Black and Ochre Painting (P16)

Black and Red (w9)

Black and White (P16)

Black and White Plus Passion (P170)

Black and White Striped (c701)

Black and White with Yellow (P225)

Black, Brown, and Blue Automatism (P326)

The Black Bulls of Europe (P178)

Black Collage (c84)

Black Figuration (P317)

Black Figuration No. 1 (P886)

Black Figuration No. 2 (P887)

Black Figuration on Blue (P103)

Black Four with Blue (P355)

Black Gesture (w494–w498)

Black Guardian (w462, w463)

Black Humor, with Pink (P978)

Black Image with Ochre (w220)

Black Image with Tobacco (P993)

Black Imagery (P993)

Black in Hiding (c565)

Black Interior (P105)

Black Leaves (P104)

Black Line Open (w293)

Black Mountain (P888)

Black Music (c631)

Black No. 17 (P257)

Black on White (P219)

Black on White No. 2 (w283)

Black on White No. 3 (w284)

Black on White No. 4 (w285)

Black on White No. 5 (w286)

Black on White No. 6 (w287)

Black on White No. 7 (w288)

Black Open (P735)

Black Open with Ochre (P637)

Black Oval with Gauloises (c194)

Black Painting (w65)

Black Palette (c516)

Black Plant and Window (P103)

Black Refracts Heat (c493)

Black Rocks and Sea (P927)

Black Samurai (w462, w463)

Black Separation (c740)

Black Signs (P1032)

Black Still Life (P105)

Black Still Life with Red (P52)

The Black Sun (w101)

The Black Sun II (w541)

Black Window (P529)

Black with Ochre (w221)

The Black X (w208)

The Blackness of Black (P938, w72)

The Blackness of Black (Hector’s Helmet) (P938)

The Blank End Off (P1038)

The Blinding of the Cyclop (w696)

Blood and Sand (c511)

Blood Wedding (P1045)

Bloom in Dublin (P1037)

Blotting Paper Collage (c220)

Blue Air (c37, w5)

Blue and White on Orange No. 1 (c480)

Blue and White on Orange No. 2 (c481)

Blue Chevron (w201)

Blue Collage (c79)

Blue Collage with Yellow and Music (c653)

The Blue Door (P723, P958)

Blue Drunk with Turpentine (P1118)

Blue Elegy (P1026, w272)

Blue Elegy (P1117)

Blue Figuration (P286)

Blue Figure (P627, c115)

Blue Figure with Wedge (w526)

Blue Form with Wedge (w526)

Blue Gesture Series No. 1 (w398)

Blue Gesture Series No. 2 (w399)

Blue Gesture Series No. 3 (w400)

Blue Gesture Series No. 4 (w401)

Blue Gesture Series No. 5 (w402)

Blue Gesture Series No. 6 (w403)

Blue Gesture Series No. 7 (w404)

The Blue Guitar (c889)

The Blue Guitar (To Wallace Stevens) (c877)

The Blue Hour (P945)

Blue Music (c477, c533)

Blue Open (P608, P787)

Blue Open with Ochre (P980)

The Blue Painting Lesson No. 1 (P842)

The Blue Painting Lesson No. 2 (P843)

The Blue Painting Lesson No. 3 (P844)

The Blue Painting Lesson No. 4 (P845)

The Blue Painting Lesson No. 5 (P846)

Blue Pears (P994)

The Blue Sun (w6)

The Blue Wall (w525)

Blue Wave (w451)

Blue Window (P583)

Blue Window (w5)

The Blue Window (w362)

The Blue Window (P845)

Blue Window No. 5 (P846)

Blue with China Ink (Homage to John Cage) (c38)

Blue, with Orange (c138)

Blueness of Blue (P769)

Bodensee (w449)

Bordeaux Summer (c397)

Bouquet for Marina (c646)

A Bouquet for Monique (c555)

Bowes & Bowes, Cambridge (c166)

Bowes & Bowes Collage (c178)

Bowes & Bowes with Green (c254)

Brasileira (c527, c645)

Brazil (c626)

Bread and Circuses (c707)

The Bridge (P1071)

Broken Open (P1142)

The Broken S (P314)

Brooklyn Bridge (P1071)

Brown Figure (P81)

The Brown Stripe (c200)

Brown Study (P22)

Brushstroke (P967, w625)

Brushstroke IV (P971)

Brushstroke V (P972)

Brushstroke VI (P973)

Brushy Elegy (w633)

Brushy Open on Buff Ground (w676)

Bugatti (c606)

Bull No. 1 (w60)

Bull No. 2 (w61)

Bull No. 3 (w62)

Bull No. 4 (w63)

Bull No. 5 (w64)

Bull No. 6 (w69)

Bull No. 7 (w68)

Bull No. 8 (w70)

Bull No. 9 (P189)

Bullseye (c373)

Bust of Stravinsky (c535)

By Volume (c422)

Byrrh (c157)

C (c578)

Cabaret Collage (c442)

Cabaret No. 1 (c442)

Cabaret No. 2 (c443)

Cabaret No. 3 (c444)

Cabaret No. 4 (c445)

Cabaret No. 5 (c446)

Cabaret No. 6 (c447)

Cabaret No. 7 (c448)

Cabaret No. 8 (c449)

Cabaret No. 9 (c450)

Cabaret No. 10 (c451)

Cabaret No. 11 (c452)

Cabaret No. 12 (c453)

Cádiz (España) (P132)

Cafetiere Filtres (c137)

California (P193)

California Window (P847)

Call Steve (c158)

Calligraphic Open (P772)

Calligraphic Presence (P917)

Calligraphy (P1190)

The Calligraphy of the Night (P809)

Cambridge Collage (c142, c521)

Canadian Collage (c91)

Canadian Collage, with Sea Lion Sardines (c92)

Cantata XIII (c649)

Canvas Collage with Music (c553)

Canyon (P1020)

Cape Cod (P638)

Cape de Gata (España) (P130)

Capriccio (P108, w100)

Caprice (P251)

Caprice No. 2 (P241)

Caprice No. 3 (P242)

Caprice No. 4 (P243)

Caprice No. 5 (P244)

Caprice No. 6 (P245)

Caribbean Collage (c159)

Castile (P131)

Castile (España) (P131)

The Cat of “The Weasel, Little Rabbit, and Cat” (c27)

Catalan Elegy (P1151)

Catalonia (P129, P1005)

Catalonia (P1182)

Cathedral (Study) (c665)

Cathedral I (c612)

Cathedral II (c613)

Cathedral III (c660)

Cathedral IV (c661)

Cave in India (P1126)

Cave Study (P1082)

Cave Study (P1028, P1083, P1088)

Les Caves (P862)

Les Caves IV (P923)

Les Caves No. 2 (P877)

Celtic Air (c468)

Chalk Circle (c244)

Chambre d’Amour (P190)

The Checkered Skirt (P67)

Chesterfield (c588)

Chi Ama, Crede (P224)

Chilean Collage (c529)

Chilean Collage No. 1 (c528)

Chilean Revolutionary Collage (c529)

Chilean Revolutionary Collage No. 2 (c529)

Chocmel (c285)

Chocmel and Gauloises (c284)

A Chord for Alban Berg (P1048)

Chrome Yellow Elegy (P1089)

Circe (c740)

Clown (w7)

Coca Cola Sun (w6)

Cock Looking Backwards (w90)

The Cockfight (P175)

Collage (c40, c43, c70, c83, c189)

Collage (c1, c8, c12, c23, c52, c67, c439)

Collage (21 April 74) (c440)

Collage (17 May 74) (c459)

Collage (In Yellow and White with Torn Fragments) (c52)

Collage (Yellow and White with Torn Elements) (c52)

Collage in Beige and Black (c16)

Collage in Black and Green (c9)

Collage in Deep Blue Space (c72)

Collage in Ochre with Blue and Red (c385)

Collage, in Tobacco and Blue (c71)

Collage in Tobacco and Blue: Ash Wednesday (c71)

Collage in Yellow and White (c52)

Collage in Yellow and White, with Torn Elements (c52)

Collage No. 1 (c21)

Collage No. 2 (c22)

Collage Torn Out of Black (c86)

Collage with German Music and Canvas (c461)

Collage with German Sheet Music (c478)

Collage with Linen Elements (c165)

Collage with Music and Canvas No. 2 (c495)

Collage with News from Zürich and Black Table (c64)

Collage with Ochre and Black (c77)

Collage with Ultramarine Blue (c110)

Collaged Wall I (c733)

Collaged Wall II (c734)

Collaged Wall III (c735)

Collaged Wall IV (c816)

Collaged Wall V (c736)

Collaged Wall VI (for Arthur Berger) (c737)

Composition (P33, P42, P99)

Composition (c39)

Composition with Red Circle (c35)

Construction (P47)

Cor Anglais (c556)

Corsican Collage (c500)

Côte d’Azur (c393)

The Cotswold Villager (c634)

Country Collage (c640)

Country Life (c188, c212)

Country Life No. 1 (c205)

Covering Black (w199)

Creature (P288, P828, c882)

Creature with Red (P893)

La Crémaillère (c367)

Crete No. 1 (w665)

Crete No. 2 (w666)

Crystal and Earth Yellow (P40)

Cuba y La Noche (P1024)

La Cuisinière (c222)

Cyclops Cave (c738)

Dance (P1025)

Dance of the Widows (P1146)

Dancing Elegy (c693)

Dann Net–Zen Freu (c509)

Danse (c643)

La Danse (P134)

La Danse (P139)

La Danse II (P138)

La Danse III (P139)

Danse Macabre (P1098)

Dark Elegy (P839)

Dark Four (P657)

Dark Lady (P61)

The Dark Lady (P43)

Dark Open (P673)

The Dark Sea (w178)

Dark Window (P1194)

Dead Personage (P11)

Decalogue, Jacob’s Ladder, and Burning Bush (P117)

Decalogue, Jacob’s Ladder and Burning Bush (as Candelabra) (P117)

Delicados (c598, c648)

Delos (c868)

Descent from the Cross (ew Xiii)

The Deserted Studio (P913)

Diary of a Painter (P169)

Dirge (w9)

The Disappearance of Goya’s Dog (c864)

The Displaced Table (c4)

Djarum (P1106)

Dog (c30)

The Dog (c31)

Doorway with Figure (P88)

The Dordogne (P273)

Dordogne Series (Study for Monsters) (P864, P865)

Dover Beach (c68)

Dover Beach III (P768)

Dr. Zhivago’s Country Study (P853)

Draftsman (c187)

Drawing (w82)

Drawing A (w79)

Drawing C (w485, w486)

Drawing with Black and Red Oval (w698)

Drunk on Turpentine No. 47 (w576)

Drunk with Turpentine (w583, w586, w588–w596, w598, w599, w601–w621, w649, w654, w662, w673, w675)

Drunk with Turpentine (w629)

Drunk with Turpentine (Maine) (P993)

Drunk with Turpentine (Spanish Death Figure) (w587)

Drunk with Turpentine (Study for Stephen’s Iron Crown) (w583)

Drunk with Turpentine No. 2 (w542)

Drunk with Turpentine No. 2 (Stephen’s Gate) (w542)

Drunk with Turpentine No. 3 (w543)

Drunk with Turpentine No. 4 (w544)

Drunk with Turpentine No. 5 (w545)

Drunk with Turpentine No. 6 (w546)

Drunk with Turpentine No. 7 (w628)

Drunk with Turpentine No. 8 (w547)

Drunk with Turpentine No. 9 (w548)

Drunk with Turpentine No. 10 (P976)

Drunk with Turpentine No. 11 (w549)

Drunk with Turpentine No. 12 (w550)

Drunk with Turpentine No. 14 (w551)

Drunk with Turpentine No. 15 (w552)

Drunk with Turpentine No. 16 (w553)

Drunk with Turpentine No. 18 (w554)

Drunk with Turpentine No. 20 (w555)

Drunk with Turpentine No. 21 (w556)

Drunk with Turpentine No. 22 (w557)

Drunk with Turpentine No. 23 (w558)

Drunk with Turpentine No. 24 (w559)

Drunk with Turpentine No. 25 (w560)

Drunk with Turpentine No. 26 (w561)

Drunk with Turpentine No. 27 (w562)

Drunk with Turpentine No. 28 (w563)

Drunk with Turpentine No. 30 (w564)

Drunk with Turpentine No. 31 (w565)

Drunk with Turpentine No. 32 (w566)

Drunk with Turpentine No. 33 (w567)

Drunk with Turpentine No. 37 (w568)

Drunk with Turpentine No. 38 (w569)

Drunk with Turpentine No. 40 (w570)

Drunk with Turpentine No. 41 (w571)

Drunk with Turpentine No. 42 (w572)

Drunk with Turpentine No. 42 (w571)

Drunk with Turpentine No. 43 (w573)

Drunk with Turpentine No. 45 (w574)

Drunk with Turpentine No. 46 (w575)

Drunk with Turpentine No. 49 (w577)

Drunk with Turpentine No. 50 (w578)

Drunk with Turpentine No. 51 (w579)

Drunk with Turpentine No. 67 (w580)

Drunk with Turpentine No. 68 (w581)

Drunk with Turpentine No. 70 (w582)

Dublin 1916, with Black and Tan (P271)

Dublin Collage (c503)

Duet (c418)

The Dutch Hat (c497)

E-Z Cut (c100)

The Easel I (c58)

The Easel II (w87)

East Hampton Beach (c59)

Eclipse (c865)

The Edelstone View No. 1 (P613)

The Edelstone View No. 2 (P614)

Edgar Allan Poe Series (Poe No. 1) (c402)

Edgar Allan Poe Series (Poe’s Music) (c510)

Edgar Allan Poe Series (The House of Usher) (c464)

Either/Or (for Kierkegaard) (P1205)

The Electric Guitar (c670)

Elegy (c49)

Elegy (P925)

Elegy (25 October 1975) (P848)

Elegy Drawing No. 17 (w529)

Elegy Drawing No. 28 (w510)

Elegy for Salvador Allende (c528)

Elegy for the Spanish Republic XXX (P150)

Elegy for the Spanish Republic XXXIV (P156)

Elegy for the Spanish Republic XXXV (P168)

Elegy Mural Study (P1122)

Elegy Sketch (P909, P910, P950, P1008, w30, w357)

Elegy Sketch (P949, w28)

Elegy Sketch with Amber (w521)

Elegy Study (P811, P949, P1010, P1080, P1133, w18, w106, w107, w270, w271, w505, w520, w533)

Elegy Study (P910, w30)

Elegy Study A (w516)

Elegy Study B (w517)

Elegy Study C (w518)

Elegy Study No. 1 (P1074)

Elegy Study No. 2 (P1075)

Elegy Study No. 3 (P1076)

Elegy Study No. 4 (P1077)

Elegy Study No. XIII (P908)

Elegy Study with Buff (P1079)

Elegy to the Spanish Republic (P221, P225–P227, P606, w126, w269, w468)

Elegy to the Spanish Republic (P232, P607, P648)

Elegy to the Spanish Republic (Easter Day) (P607)

Elegy to the Spanish Republic (Study 2— 1971) (P643)

Elegy to the Spanish Republic (The Basque Elegy) (P374)

Elegy to the Spanish Republic (with LemonYellow Panel) (P648)

Elegy to the Spanish Republic XXXIV (P156)

Elegy to the Spanish Republic XL (w25)

Elegy to the Spanish Republic LIV (P215)

Elegy to the Spanish Republic, Easter Day (P607)

Elegy to the Spanish Republic No. 17 (Segura) (P149)

Elegy to the Spanish Republic No. 34 (P156)

Elegy to the Spanish Republic No. 35 (P168)

Elegy to the Spanish Republic No. 44 (w108)

Elegy to the Spanish Republic No. 45 (w109)

Elegy to the Spanish Republic No. 50 (w32)

Elegy to the Spanish Republic No. 54 (P215)

Elegy to the Spanish Republic No. 55 (P216)

Elegy to the Spanish Republic No. 57 (P217)

Elegy to the Spanish Republic No. 58 (P218)

Elegy to the Spanish Republic No. 59 (w94)

Elegy to the Spanish Republic No. 60 (w111)

Elegy to the Spanish Republic No. 61 (w112)

Elegy to the Spanish Republic No. 70 (P220)

Elegy to the Spanish Republic No. LXX (P220)

Elegy to the Spanish Republic No. 71 (P229)

Elegy to the Spanish Republic No. 74 (P228)

Elegy to the Spanish Republic No. 77 (P229)

Elegy to the Spanish Republic No. 78 (P230)

Elegy to the Spanish Republic No. 79 (P231)

Elegy to the Spanish Republic No. 84 (P232)

Elegy to the Spanish Republic No. 99 (P333)

Elegy to the Spanish Republic No. 100 (P850)

Elegy to the Spanish Republic No. 102 (P341)

Elegy to the Spanish Republic No. 103 (P342)

Elegy to the Spanish Republic No. 104 (P373)

Elegy to the Spanish Republic No. 108 (P373)

Elegy to the Spanish Republic No. 108 (The Barcelona Elegy) (P364)

Elegy to the Spanish Republic No. 110 (P607)

Elegy to the Spanish Republic No. 110, Easter Day (P607)

Elegy to the Spanish Republic No. 110C (w275)

Elegy to the Spanish Republic No. 114 (P514)

Elegy to the Spanish Republic No. 116 (P515)

Elegy to the Spanish Republic No. 122 (P649)

Elegy to the Spanish Republic No. 124 (P650)

Elegy to the Spanish Republic No. 125 (P651)

Elegy to the Spanish Republic No. 126 (P851)

Elegy to the Spanish Republic No. 126 (P925)

Elegy to the Spanish Republic No. 127 (P925)

Elegy to the Spanish Republic No. 128 (P815)

Elegy to the Spanish Republic No. 129 (P816)

Elegy to the Spanish Republic No. 130 (P817)

Elegy to the Spanish Republic No. 131 (P818)

Elegy to the Spanish Republic No. 132 (P819)

Elegy to the Spanish Republic No. 133 (P820)

Elegy to the Spanish Republic No. 134 (P821, P822)

Elegy to the Spanish Republic No. 135 (P840, P874)

Elegy to the Spanish Republic No. 150 (w534)

Elegy to the Spanish Republic No. 151 (w535)

Elegy to the Spanish Republic No. 158 (P983)

Elegy to the Spanish Republic No. 159 (P963)

Elegy to the Spanish Republic No. 160 (P964)

Elegy to the Spanish Republic No. 161 (P1027)

Elegy to the Spanish Republic No. 163 (P1061)

Elegy to the Spanish Republic No. 164 (P1062)

Elegy to the Spanish Republic No. 165 (P1121)

Elegy to the Spanish Republic No. 166 (All Soul’s Day Elegy) (P1111)

Elegy to the Spanish Republic No. 167 (Spanish Earth Elegy) (P1112)

Elegy to the Spanish Republic No. 168 (Sevilla Elegy) (P1150)

Elegy to the Spanish Republic No. 169 (P1139)

Elegy to the Spanish Republic No. 170 (P1175)

Elegy to the Spanish Republic No. 171 (P1176)

Elegy to the Spanish Republic No. 172 (with Blood) (P1177)

Elegy to the Spanish Republic No. 173 (P1178)

Elegy to the Spanish Republic with Blue No. 110A (w273)

Elegy with Black Bar (P1179)

Elegy with Opening (P1113)

Elegy with Rice Paper and Blue (P1180)

Elegy with Sprung Rhythm (P234)

Emblematic Presence (P904)

Emblematic Presence III (w515)

The Emmerich Collage (c413)

The Emperor of China (P68)

The End of Dover Beach (c68)

The Endless Instant (c524)

L’Enfant du Paradis (c852)

Entrance (c558)

Erupting (c758)

España (P516)

Esta Vida (c676)

Euclid’s Meditation (P895)

Euclid’s Sand (P823)

The Experience of Nothingness (P805)

Explosive Collage (c718)

La Face du Silence (P737)

Face of the Night (for Octavio Paz) (P1024)

Family of 4 (P1120)

Fantasia III (c885)

La Favorita (c139)

February 1, 1973 (P713)

The Feminine I (P1152)

The Feminine II (P1153)

Ferienzeit (c488)

Fetish (P1158)

5th of October (with Black and Green) (c582)

Figaro in the Cemetery (w515)

Figuration (P18, P29, P49, P287)

Figuration (c21)

Figuration in Beige (c412)

Figuration on Blue (c245)

Figuration, with Black and Orange (w96)

Figuration, with Black and Orange No. 2 (w97)

Figuration with Black and Orange No. 2 (w96)

Figuration with Greek Lettering (c243)

Figuration, with Green (w88)

Figure (P30, c23, c24)

Figure (P19, P44)

The Figure “4” No. 2 (c742)

The Figure “4” No. 3 (c743)

The Figure “4” No. 6 (c745)

The Figure “4” No. 8 (c174)

The Figure “4” No. 10 (c746)

The Figure “4” No. 11 (c747)

The Figure “4” No. 12 (c748)

The Figure 4 on an Elegy (w104)

The Figure 4 on an Orange Ground (w200)

The Figure 4 on Black (w197)

Figure 4 with Blue Stripe (w207)

Figure before Blackness (P213)

Figure in Black (c44)

Figure in Black (Girl with Stripes) (c44)

Figure in Green and Pink (P15)

Figure in Ochre and White (P64)

Figure in Pink and Green (P15)

Figure in Red (P19)

The Figure No. 4 (w188)

Figure on White (P64)

Figure with Blots (c5)

Figure with Rectangular Window (P71)

Figure with Stars (P36)

Finnegans Wake No. 1 (c475)

Finnegans Wake No. 6 (c474)

Finnegans Wake VII, with Green (c476)

First Love (c196)

Fishes with Red Stripe (w19)

Five in the Afternoon (P96, w10)

Flight (P29)

Florida (?) (w3)

The Flute (c6)

Fockink No. 1 (c75)

Fockink No. 2 (c76)

Forced Entry (P1034)

The Forge (P350)

Form Cut into Time (c710)

The French Coast (c61)

French Collage (c249)

The French Door (P667)

French Door II (c464)

French Door V (c473)

French Door VI (c474)

French Door VII (c476)

The French Drawing Block (c82)

The French Line (c124)

The French Menorah (w76)

French Ochre with Sky and Personal Objects (P45)

French Revolution Bicentennial No. 1 (c750)

French Revolution Bicentennial No. 2 (c751)

French Revolution Bicentennial No. 3 (c752)

French Revolution Bicentennial No. 4 (c753)

French Revolution Bicentennial No. 5 (c754)

French Revolution Bicentennial No. 6 (c755)

French Sign (c642)

From Below (c540)

Frontier No. 1 (w49)

Frontier No. 2 (w50)

Frontier No. 3 (w51)

Frontier No. 4 (w52)

Frontier No. 5 (w53)

Frontier No. 6 (w54)

Frontier No. 7 (w55)

Frontier No. 8 (w56)

Frontier No. 9 (w57)

Frontier No. 10 (w58)

Frontier No. 12 (w59)

Full Tide (P982)

Fusains Superieurs (c127)

The Garden II (P724)

The Garden No. 2 (P726)

Garden of Delights (c74)

The Garden Window (P496)

Garden with Music (c739)

Gauloises (c268)

Gauloises (c87)

Gauloises and Sienna (c343)

Gauloises Collage (c600)

Gauloises Longues (c685)

Gauloises on Blue and Green No. 1 (c337)

Gauloises on Blue and Green No. 2 (c338)

Gauloises on Blue No. 1 (c341)

Gauloises on Green and Ultramarine No. 1 (c323)

Gauloises on Green and Ultramarine No. 2 (c324)

Gauloises on Green and Ultramarine No. 3 (c325)

Gauloises on Green with Ultramarine No. 3 (c326)

Gauloises on Green with Ultramarine No. 4 (c327)

Gauloises on Grey No. 1 (c320)

Gauloises on Grey No. 26 (c315)

Gauloises on Grey No. 27 (c316)

Gauloises on Grey No. 28 (c317)

Gauloises on Grey No. 29 (c318)

Gauloises on Scarlet No. 6 (c295)

Gauloises on Scarlet No. 9 (c298)

Gauloises on Scarlet No. 23 (c311)

Gauloises on Scarlet No. 24 (c313)

Gauloises on Scarlet over Yellow No. 1 (c331)

Gauloises on Scarlet over Yellow No. 2 (c332)

Gauloises on Scarlet over Yellow No. 3 (c333, c334)

Gauloises on Scarlet over Yellow No. 4 (c335)

Gauloises on Yellow No. 1 (c329)

Gauloises on Yellow No. 2 (c330)

Gauloises with Green (c340)

Gauloises with Pink (c184)

Gauloises with Red and Green (c273)

Gauloises with Scarlet (c289)

Gauloises with Scarlet No. 1 (c290)

Gauloises with Scarlet No. 13 (c302)

Gauloises with Scarlet No. 19 (c308)

Gaza (P380)

Gemini (c399)

Geneva Collage (c472)

The Geneva Mail (c472)

German Line No. 1 (c352, c353)

German Line No. 2 (c354, c355)

German Line No. 3 (c356, c357)

German Line No. 4 (c358)

German Line No. 5 (c359)

German Line No. 6 (c360)

German Line No. 7 (c361)

German Line No. 8 (c362)

German Line with Blue (c363)

Gesture Figure III (P891)

Gesture Figure VI (P928)

Gesture No. 45 (P918)

Gesture Paper Painting No. 1 (w469)

Gesture Paper Painting No. 2 (w470)

Gesture Paper Painting No. 3 (w471)

Gesture Paper Painting No. 6 (w472)

Gesture Paper Painting No. 7 (w473)

Gesture Paper Painting No. 9 (w474)

Gesture Paper Painting No. 10 (w475, w476)

Gesture Paper Painting No. 11 (w477)

Gesture Paper Painting No. 12 (w478, w479)

Gesture Paper Painting No. 13 (w480)

Gesture Paper Painting No. 15 (w481)

Gesture Paper Painting No. 21 (w482)

Gesture Paper Painting No. 22 (w483)

Gesture Series (A) (w311)

Gesture Series (B) (w312)

Gesture Series (C) (w313)

Gesture Series (D) (w314)

Gesture Series No. 1 (w373)

Gesture Series No. 2 (w374)

Gesture Series No. 3 (w375)

Gesture Series No. 4 (w376)

Gesture Series No. 5 (w377)

Gesture Series No. 6 (w378)

Gesture Series No. 7 (w379)

Gesture Series No. 8 (w380)

Gesture Series No. 9 (w381)

Gesture Series No. 10 (w382)

Gesture Series No. 11 (w383)

Gesture Series No. 12 (w384)

Gesture Series No. 13 (w385)

Gesture Series No. 14 (w386)

Gesture Series No. 16 (w387)

Gesture Series No. 17 (w388)

Gift (c410)

Girl with Stripes (c44)

Goethe in Italy (c628)

The Golden Bough (P1115)

The Golden Fleece (P223)

Gordon’s (c377)

Goya’s Dog (P1016, c816)

Goya’s Dog (Sketch) (P861)

Goya’s Dog (Threatening Presence) (P875)

Goya’s Dog II (c816)

Goya’s Dog No. 2 (c864)

Granada (P86)

The Grand Inquisitor (P1182)

Gray Chords (P799)

Gray Shade, Blue Light (P767)

The Great Wall of China No. 1 (P1071)

The Great Wall of China No. 2 (P615)

The Great Wall of China No. 3 (P616)

The Great Wall of China No. 4 (P617)

The Great Wall of China No. 5 (P618)

Greek Collage (c89)

Greek Doorway (c654)

Greek Island (P530)

Greek Island II (P531)

Green and Black (The Basque Suite) (w331, w333)

The Green Beside the Sea (w213)

Green Gauloises (c376)

Green Label (c683)

Green Open with Phoenician Letters (w508)

Green Stripe with Blue and Grey (P914)

Green Stripe with Ochre (P634)

Green with Gauloises (c339, c344)

Greenwich Harbor (c400)

Greenwich Sculpture (w392)

Grey and Black Open (P981)

Grey Chablis (c491)

Grey Collage (c53)

Grey Day No. 1 (P1052)

Grey Day No. 2 (P1053)

Grey Day No. 3 (P1054)

Grey Open (P988, P989)

Grey Presence (c580)

Grey with Gauloises Blue No. 30 (c319)

Grey Woman (c46)

Guardian No. 1 (c170)

Guardian No. 2 (c742)

Guardian No. 3 (c171)

Guardian No. 3 (c743)

Guardian No. 4 (c391, c744)

Guardian No. 5 (c172)

Guardian No. 6 (c745)

Guardian No. 7 (c173)

Guardian No. 8 (c174)

Guardian No. 9 (c175)

Guardian No. 10 (c746)

Guardian No. 11 (c747)

Guardian No. 12 (c748)

Guillotine (P352)

The Guillotine (P352)

Guillotine No. 2 (P996)

Gulf Stream (P995)

Gulfstream (P995)

Gypsy Collage No. 1 (c670)

Gypsy Collage No. 2 (c671)

Gypsy Collage No. 3 (c672)

Gypsy Collage No. 4 (c673)

Haiti (P858)

Half and Half (c130)

Handle with Care (c85)

Hanging Gesture (w499)

Hartley in Germany (c484)

Hartley in London (c520)

Harvest 23 in Deep Blue (c364)

Harvest 23 with Ultramarine (c364)

Havana (P127, c603)

HB on Blue (c349)

HB on Scarlet (c350)

HB on Yellow (c348)

HB on Yellow (c349)

Head (P21)

Heart of Darkness (c709)

Hector’s Corpse (w695)

Heidi and Claus (c423)

Heiliger Geist (c627)

Hein, Ma Vie? (c78)

Helen’s Collage (c72)

Hello! (P885)

High Tide (c620)

Histoire d’un Peintre (c66)

Holland Collage with Gauloises (c210)

The Hollow Men (P1063)

The Hollow Men (from T. S. Eliot) (P1063)

Hollow Men II (P1166)

Hollow Men IV (P1127)

Hollow Men V (P1128)

Hollow Men Frieze (P1130)

Hollow Men Night (P1131)

The Hollow Men No. II (P1064)

The Hollow Men No. III (P1065)

Hollow Men No. VI (P1185)

Hollow Men Series (P1167)

Hollow Men Study (P1129, P1186)

Hollow Men Study (Quartet 1) (P1097)

Hollow Men Study (Trio I) (P1091)

Hollow Men Study (Trio II) (P1092)

Hollow Men Study (Trio III) (P1093)

Hollow Men Study (Trio V) (P1095)

Hollow Men with Yellow (P1183)

Hollow Men’s Cave (P1183, P1184, w715)

Homage to Brancusi (P211)

Homage to Catalonia (P1116)

Homage to John Cage (c38)

The Homely Protestant (P82, P85)

The Homely Protestant (Bust) (P84)

The Homely Protestant No. II (40 Years Later) (P1187)

Hommage à Poussin (ew.i)

Hoppla, wir leben! (P620)

The Hotel Corridor (P111)

Hotel Flora (P110)

Hotel Flora (P109)

The House at Sevilla (P510)

House of Atreus (P857)

The House of Atreus (P856)

The House of Atreus I (P856)

House of the Drowned Helmsman (P1090)

How to Dance Sitting Down (c690)

Human Life Is More . . . (c97)

I Ching (c162)

I.H. Series No. 1 (w315)

I.H. Series No. 2 (w316)

I.H. Series No. 4 (w317)

I.H. Series No. 5 (w318)

I.H. Series No. 6 (w319)

I.H. Series No. 8 (w320)

I.H. Series No. 12 (w321)

I.H. Series No. 15 (w322)

I.H. Series No. 16 (w323)

I.H. Series No. 18 (w324)

I.H. Series No. 22 (w325)

I.H. Series No. 24 (w326)

I.H. Series No. 25 (w330)

I.H. Series No. 26 (w327)

I.H. Series No. 27 (w328)

I.H. Series No. 29 (w329)

I.H. Series No. 30 (w330)

Iberia (P181, P204, P937)

Iberia (P518)

Iberia No. 1 (P178)

Iberia No. 2 (P177)

Iberia No. 4 (P178)

Iberia No. 5 (w65)

Iberia No. 5 (w66)

Iberia No. 5A (w66)

Iberia No. 6 (w67)

Iberia No. 10 (P179)

Iberia No. 11 (w68)

Iberia No. 15 (w69)

Iberia No. 17 (w70)

Iberia No. 18 (P180)

Iberia No. 20 (P264, P392, P641)

Iberia No. 20 (P263)

Iberia No. 23 (P517)

Iberia No. 27 (P354)

Iberia No. 30 (P518)

Iberia No. 31 (P519)

Iberia No. 40 (P641)

Icarus Falling (P1031)

Idaho (P1014)

Ihr Könnt Unbesorgt Sterben (P1187)

Île-de-France (France) (P137)

Imaginary Letter (P309, P310)

Imaginary Letter No. 1 (P307)

Imaginary Letter No. 2 (P308)

Improvisation (P1201)

In Ashes with Collage (c53)

In Beige, Ultramarine, and Green (c246)

In Beige with Broken Easel (P1044)

In Beige with Charcoal No. 1 (P714)

In Beige with Charcoal No. 2 (P715)

In Beige with Charcoal No. 4 (P717)

In Beige with Charcoal No. 5 (P718)

In Beige with Charcoal No. 6 (P719)

In Beige with Charcoal No. 7 (P720)

In Beige with Charcoal No. 8 (P721)

In Beige with Charcoal No. 9 (P722)

In Beige with Cobalt Figuration (P589)

In Beige with Oval (c239)

In Beige with Sand (c19)

In Beige with Two Bands (c241)

In Beige with White No. 3 (c237)

In Beige with White No. 4 (c238)

In Beige with White Oval (c239)

In Black and Blue with Torn Elements (c522)

In Black and Grey (P51)

In Black and Pink with the Number Four (P353)

In Black and Tan (P749)

In Black and White (P201, w105)

In Black and White No. 1 (P358)

In Black and White No. 2 (P359, P860)

In Black and White No. 3 (P360)

In Black and White No. 5 (P362)

In Black and White with Yellow Ochre (w48)

In Black with Blue “4” (w645)

In Black with Blue and Torn Paper (c522)

In Black with Blue Stripe (w205)

In Black with Folded Paper Fragment (c519)

In Black with Ochre (w198)

In Black with Ochre Chevron (P1123)

In Black with Pink (c164)

In Black with Yellow Ochre (w123)

In Blue (P398)

In Blue and Beige (c523)

In Blue and Green with Black Stripe (c818)

In Blue and Ochre with Gauloises (c190)

In Blue and White on Umber (P586)

In Blue and White with Calligraphy (c152)

In Blue with Crosses (P48)

In Blue with Green (P609)

In Brown and White (c119)

In Celebration (c513)

In Darkest Stepaside (c492)

In Forest Green with Woodwinds (c575)

In Golden Ochre (P277)

In Gray with White Shape (c439)

In Green and Grey (P405)

In Green and Ultramarine (P274)

In Green with Gauloises (c209, c257)

In Green with Lemon Yellow Stripes (c571)

In Green, with Two Scarlet Spots (c207)

In Green, with Ultramarine and Ochre (c208)

In Grey and Tan (c50)

In Grey with Japanese Rice Paper (c45)

In Grey with Parasol (c46)

In Memoriam: Wittenborn Collage (c515)

In Ochre and Ultramarine (P622)

In Ochre and White (P64)

In Ochre and Yellow with Sheet Music (c861)

In Ochre with Black (w198)

In Ochre with Cobalt (c262)

In Ochre with Gauloises (c258, c259)

In Ochre with Gestural Black (P209)

In Ochre with Scarlet Spot (c263)

In Orange and Blue (w170)

In Orange with Black (c629)

In Orange with Black Monogram (P1107)

In Pink and Green (c160)

In Pink and Grey with Oval (c469)

In Pink and Yellow Ochre (w232)

In Plato’s Cave (P739, P740)

In Plato’s Cave (20 Oct 73) (P739)

In Plato’s Cave (21 Oct 73) (P740)

In Plato’s Cave I (P673)

In Plato’s Cave IV (22 Oct 73) (P741)

In Plato’s Cave V (P770)

In Plato’s Cave VI (P771)

In Plato’s Cave, #VII (P742)

In Plato’s Cave No. 1 (P673)

In Plato’s Cave No. 4 (P741)

In Plato’s Cave No. 5 (P770)

In Plato’s Cave No. 6 (P771)

In Plato’s Cave No. 7 (P742)

In Red with Rice Paper and Black (c859)

In Red with Two Ovals (c568)

In Rose and Ochre with Red Circle (c854)

In Scarlet and Black (P349)

In Scarlet and Black with Ultramarine Stripe (c570)

In Scarlet and Cognac (c371)

In Scarlet with Black (c574)

In Scarlet with Black Bars (c724)

In Sienna and White (w182)

In Sienna with Black Stripe (w229)

In the Night (w4)

In the Studio (P1101)

In the Summer Sun (P112)

In Ultramarine with Scarlet II (c487)

In Vermilion Red (w170)

In Vermillion with Music (c617)

In Watery Blue with Tan and Black (c863)

In White and Beige (c16)

In White and Black with Blue Hinge (c860)

In White and Blue on Grey (c458)

In White and Orange (c116)

In White and Yellow Ochre (c129)

In White with Beige No. 1 (c235)

In White with Beige No. 2 (c236)

In White with Beige No. 3 (c237)

In White with Beige No. 4 (c238)

In White with Black Ring (c146)

In White with Blue Hole (c148)

In White with Blue Rectangle (c223)

In White with Four Corners (c147)

In White with Four Legs (c144)

In White with Green Stripe (c749)

In White with Pink and Black Rings (c151)

In White with Two Blue Holes (c149)

In Yellow and Black (P46)

In Yellow and Blue: Homage to John Cage (c38)

In Yellow and White (P53)

In Yellow and White (c52)

In Yellow Ochre with Pink (c462)

In Yellow Ochre with Three Lines (P397)

In Yellow Ochre with Two Blues (c261)

In Yellow with Calligraphy (c887)

Incline (P1123)

Indian Head (P37)

Indian Summer No. 1 (P280)

Indian Summer No. 2 (P281)

The Inquisitors (c698)

Interior with Nude (P121)

Interior with Pink Nude (P118)

Intrusion (w454)

Inverness (P892)

The Inverted Heart (P1193)

Ionesco’s Blackboard (P434)

The Irish Book (c817)

Irish Elegy (P340)

The Irish Troubles (c669)

The Iron Crown (w452)

The Iron Flute (c566)

The Irregular Heart (c465)

It Is (P192)

Italian Summer (P253)

Italian Summer No. 3 (w116)

Italian Summer No. 10 (P253)

Ives’ Hawthorne (c378)

Jacob’s Ladder (P116)

James Joyce (w636)

Je t’aime (P162, P344)

Je t’aime in Black and Pink (w641)

Je t’aime No. II (P157)

Je t’aime No. IIA (P158)

Je t’aime No. III with Loaf of Bread (P159)

Je t’aime No. IV (P161)

Je t’aime No. VI (w453)

Je t’aime No. VII (P160)

Je t’aime No. VIII (P163)

Je t’aime with Gauloises Blue (c685)

Jet No. 1 (w455)

Jet No. 2 (w456)

Jet No. 3 (w457)

Jeune Fille (c13)

The Jewish Candelabra (P133)

Jour La Maison, Nuit La Rue (P164)

Joy of Living (c3, c51, c54)

The Joy of Living (P667)

Juilliard School Poster Sketch (w309)

The Juley Collage (c424)

July (c392)

K (P921)

Key West (c625)

Kierkegaard’s Room (c551)

Das Kinderspiel (c506)

Ladder and Candelabra (P116)

Lady S. (ew V)

Läkerol Collage (c386)

Läkerol with Black Stripe (c386)

Lament for Hektor Slain (w695)

Landscape with Rocks (P296)

Large Collage (c8)

Large Painting No. 2 (P367)

Large Personage (P46)

Latour Collage (c417)

Lebensreise (c507)

Leda (c514)

The Letter (c857)

Librairie Hachette (c202)

Lieb und das Glück (c583)

The Life of Will Grohmann (c594)

Life, with Music (c630)

Liffey (c532)

Liffey River (c532)

Liffey River (Dublin) (c532)

Lightolier (c269)

Line and Brush Drawing (w660)

Line Drawing with Blue (w717)

Line Figure in Beige and Mauve (P34)

Line Figure in Turquoise Green (P23)

Line Figure on Green (P24)

Lise (c242)

The Little A (P1164)

Little Greek Collage (c117)

Little Spanish Death (P1012)

Little Spanish House with Blue (P621)

The Little Spanish Prison (P3)

The Little Voyage (P90)

The Little Voyage. Sketch (P90)

London Collage (c550)

London Collage (c579)

Lorca’s Light (P838)

The Lovers (c759)

Low Tide, Mont St. Michel (c619)

Lyrical Collage (c650)

M (c463, c883, c884)

M (15 Dec 73) (c415)

Madrid (P94, P1009)

Madrid Image with Green Stripe (w215)

Madrid Image with Pink (w216)

Madrid No. 6 (P348)

Madrid Plateau (P1073)

The Magic Flute (c557)

The Magic Skin (Peau de Chagrin) (c136)

Magneto and Titanium Man (c597)

Mail Figure (c90)

Málaga (P91)

Málaga (Spanish Elegy Series) (P91)

Mallarmé’s Dream (c11)

Mallarmé’s Swan (c11)

Mallarmé’s Swan: Homage to Philip Guston (P163)

Malta (c679)

Man (P69)

Man in Grey (P79)

Man, in Grey (P80)

Man with Raised Arm (P69)

Manchester Collage (c167)

The Manchester Guardian (c602)

Maquette for the National Gallery Mural (c616)

Mardi Gras (w506)

Maria (c25)

Maria (Emilia Ferreira y Moyers) (P1)

Marine Collage (c81)

Marine Venus (c875)

Mariner (P80)

Maritime Collage No. 3 (c186)

The Marriage (c708)

Le Massif (P1206)

Massive Image (P1206)

Matte Medium (c277)

May Day (w597)

McCartney in Brazil (c626)

McCartney in Mexico (c598)

The Measure of Things (P966)

Mediterranean Door (P1171)

Mediterranean Figuration No. 1 (w667)

Mediterranean Figuration No. 2 (w668)

Mediterranean Interior with Humor and Black Table (c65)

The Mediterranean Sky (c128)

Mediterranean Window (P352)

Memory of Delos (c866)

Memory of St.-Jean-de-Luz (c87)

Das Menschen (c510)

La Mer (P936)

La Mer 3 P.M. (w177)

Mercurey (c286)

Metaphor and Movement (c498)

Mexican Bride (w638)

Mexican Collage (c635)

Mexican Night (P5, P974)

Mexican Past (P1204)

Mexican Portrait (P1)

Mexican Prison (w638)

The Mexican Skull (P1137)

Mexican Window (P764)

Mexico (P975)

Midday Sun (c116)

Middle Wall of China (P912)

El Miedo de la Obscuridad (P8)

Mirror (P1165)

Moderne Enfin (c629)

Monster (Black and White) (P852)

Monster (for Charles Ives) (P194)

Montauk (c41)

Montauk Montage (c41)

Monument to Jackson Pollock (w24)

Moonrise Beside the Sea (w161)

Mourning Elegy (P1203)

Mozart Rondo (c881)

Mr. Chad (P655)

Mural Fragment (P102)

Mural Painting (P1081)

Mural Project. Fragment (P102)

Mural Sketch (P516, P812, P849, w250)

Mural Study (P100, w531, w532)

Mural Study (P812)

Mural Study I (P1145)

Mural Study III (P1174)

Music and Red Stripe (c855)

Music for Alban Berg (P1048)

Music for Monique (c555)

Music over Music (P1042)

Muss Es Sein? No. 1 (c279)

Muss Es Sein? No. 2 (c280)

The Mystery of the Night (w89)

N.R.F. Collage No. 1 (c104)

N.R.F. Collage No. 1 (c105)

N.R.F. Collage No. 2 (c105)

N.R.F. Collage No. 2 (c104)

N.R.F. Collage No. 3 (c106)

N.R.F. Collage No. 4 (c384) Near the Edge (P1124)

Nelson Whitehead with Green (c562)

Nemesis (P1039)

New Amsterdam Painting (P365)

New England Elegy (P366)

New England Elegy Mural (Second Variation) (P367)

New England Elegy No. 2 (P368)

New England Elegy No. 3 (P369)

New England Elegy No. 3 (P368)

New England Elegy No. 4 (P369)

New England Elegy No. 5 (P370)

New Year’s Dawn (c369)

New Year’s Dawn No. 2 (c420)

New York City Collage (c101)

News from Nowhere (c638)

Nicht Werfen with Yellow Stripes (c541)

The Night (P44)

Night Beside the Sea (w160)

Night Dream (c824)

Night Music (c668)

Night Music Opus No. 1 (c825)

Night Music Opus No. 2 (c826)

Night Music Opus No. 3 (c827)

Night Music Opus No. 4 (c828)

Night Music Opus No. 5 (c829)

Night Music Opus No. 6 (c830)

Night Music Opus No. 7 (c831)

Night Music Opus No. 8 (c832)

Night Music Opus No. 9 (c833)

Night Music Opus No. 10 (c834)

Night Music Opus No. 11 (c835)

Night Music Opus No. 12 (c836)

Night Music Opus No. 13 (c837)

Night Music Opus No. 14 (c838)

Night Music Opus No. 15 (c839)

Night Music Opus No. 16 (c840)

Night Music Opus No. 17 (c841)

Night Music Opus No. 18 (c842)

Night Music Opus No. 19 (c843)

Night Music Opus No. 20 (c844)

Night Music Opus No. 21 (c845)

Night Music Opus No. 22 (c846)

Night Music Opus No. 23 (c847)

Night Music Opus No. 24 (c848)

Night Music Opus No. 25 (c849)

Night Music Opus No. 26 (c850)

Night Music Opus No. 27 (c851)

Nightmare (P145)

The Nightmare (P145, w74)

Nightwatch (P827)

Nightwood (P1049)

Ninth Street Collage (c55)

Ninth Street Exhibition (c55)

Nip and Tuck (c702)

Norwegian Collage (c136)

Nude (P298)

Number 70 (c133)

Oaxaca (c584)

Ochre Door (P397)

Ochre Open (P911)

Ochre Open with Charcoal Dust (P593)

Ochre Still Life, with Blue Stripe (P351)

Ochre with Black Window (P750)

Odd Numbers (c698)

Old Man of the Sea (P992)

Ominous Black (w524)

Open (w253)

Open (w371)

Open (Black brush strokes) (w440)

Open (In Blue and White on Umber) (P586)

Open (In Kobalt Blue and White) (P608)

Open (Ochre) (P733)

Open (Sketch) (P574)

Open: Black and White Series No. 18 (w285)

Open, Bolton Landing (c264)

Open Drawing No. 4 (w289)

Open Drawing with Charcoal Lines (w289)

Open in Brown and Black (P590)

Open in Grey with White Edge (P612)

Open in Ochre (P592)

Open—in Orange (P619)

Open in Ultramarine with White (P736)

Open No. 1 (P397)

Open No. 1: In Yellow Ochre (P397)

Open No. 2: In Ochre and Grey (P402)

Open No. 3: In Raw Sienna with Charcoal Line (w250)

Open No. 4: In Two Greens (P463)

Open No. 5: In Yellow Ochre (P403)

Open No. 6: In Gray, Pink, and Green (P404)

Open No. 7: In Cadmium Yellow with Charcoal Line (P462)

Open No. 8 (P405)

Open No. 8: In Green and Grey (P405)

Open No. 9: In Green on Gray with Black Stripe (P406)

Open No. 10: In Green on Blue (P407)

Open No. 11: In Raw Sienna with Gray (P408)

Open No. 12: In Raw Sienna with Gray (P409)

Open No. 13: In Washed Ochre (P410)

Open No. 14: In Ochre with Charcoal Line (P411)

Open No. 15: In Cerulean Blue with White Line (P412)

Open No. 16: In Ultramarine with Charcoal Line (P413)

Open No. 17: In Ultramarine with Charcoal Line (P414)

Open No. 18: In Ultramarine with White Line (P415)

Open No. 19: In Cerulean Blue with Charcoal Line (P416)

Open No. 20: In Orange with Charcoal Line (P417)

Open No. 21: In Deep Ultramarine with Black (P464)

Open No. 22 (P445)

Open No. 22: In Charcoal with White (P418)

Open No. 23: In Blue with Variations of Ultramarine (P419)

Open No. 24: In Variations of Orange (P420)

Open No. 25: In Blue with Variations (P421)

Open No. 26: In Grey with White and Umber (P422)

Open No. 27: In Orange with Charcoal Line (P423)

Open No. 28: In Orange with Charcoal Line (P424)

Open No. 29: In Crimson with Charcoal Line (P425)

Open No. 30: In Crimson with Charcoal Line (P426)

Open No. 31A: In Burnt Sienna (w251)

Open No. 31 (b) blotting paper, raw sienna (w252)

Open No. 31B: In Raw Sienna (w252)

Open No. 32: In Charcoal and Turbulent Umber (P427)

Open No. 33: In Charcoal on Raw Sienna (P428)

Open No. 35: In Raw Umber on Sized Canvas (P429)

Open No. 37: In Orange with Charcoal Line (P430)

Open No. 37A: In Orange (P619)

Open No. 38: In Raw Sienna and Green with Charcoal Line (P431)

Open No. 39 (P432)

Open No. 39: In Raw Umber with White (P432)

Open No. 40: In Gray on Sienna (P433)

Open No. 41: Gray with Sienna Band (P434)

Open No. 45 (P448)

Open No. 45: In Blue with Brown (P447)

Open No. 45A (P449)

Open No. 46: In Ochre and Black (P435)

Open No. 47: In Orange (P436)

Open No. 48: In Scarlet, Black, and Light Blue (P450)

Open No. 49 (P451)

Open No. 50 (P453)

Open No. 50: In Orange with Black (P452)

Open No. 51: In Black on Orange (P454)

Open No. 52: Ochre on Black (P455)

Open No. 53: In Crimson with Charcoal Line (P456)

Open No. 54: In Sienna, Blue and Ochre (P457)

Open No. 54: The Gray Window (P457)

Open No. 55: In Orange (P458)

Open No. 56: In Blue on Scarlet (P459)

Open No. 56: In Crimson (P459)

Open No. 57: Green and Black (P460)

Open No. 58 (Blue and Black on Beige) (P461)

Open No. 58: Blue on Beige (P461)

Open No. 59: In Orange and Blue Panel (P462)

Open No. 60: In Mottled Brown and Green (P463)

Open No. 60: In Raw Sienna and White (P463)

Open No. 61: In Deep Ultramarine with Black (P464)

Open No. 62: In Scarlet and White (P465)

Open No. 62, In Scarlet with Charcoal (P465)

Open No. 62: In Scarlet with Charcoal Line (P465)

Open No. 75 (P466)

Open No. 76 (P467)

Open No. 77 (P468)

Open No. 78: In Green with Charcoal Line (P469)

Open No. 79: In Gray with Charcoal (P470)

Open No. 80: In Medium Ultramarine with Charcoal Line (P471)

Open No. 81: In Blue with Charcoal Line (P472)

Open No. 82: In Gray on Light Blue (P473)

Open No. 82: The Blue Easel (P473)

Open No. 82: The Blue Studio (P473)

Open No. 83 (P474)

Open No. 84: In Orange with Charcoal Line (P475)

Open No. 84A (P652)

Open No. 85 (P843)

Open No. 86: In Blue with Charcoal Line (P476)

Open No. 87: In Deep Ultramarine (P477)

Open No. 88: In Blue (P478)

Open No. 89 (P479)

Open No. 90 (P480)

Open No. 91: In Orange with Black (P484)

Open No. 92: The Blue Wall (P481)

Open No. 93: In Medium Ultramarine Blue with Charcoal Line (P482)

Open No. 94 (P483)

Open No. 95 (P843)

Open No. 96 (P484)

Open No. 96: In Vermillion and Black with Sienna Window (P485)

Open No. 97: In Orange (Cadaqués House) (P486)

Open No. 97: The Spanish House (P486)

Open No. 98: In Red and Black (P487)

Open No. 99 (P488)

Open No. 100 (P727)

Open No. 100: In turbulent crimson (P727)

Open No. 101: Big Orange (P489)

Open No. 101: In Orange (P489)

Open No. 102 (P490)

Open No. 103: Big Square Blue (P491)

Open No. 104: The Brown Easel (P492)

Open No. 105: Big Blue with Green Window (P493)

Open No. 106 (P998)

Open No. 107: In Brown and Black Line (P494)

Open No. 107: In Raw Sienna with Charcoal Line (P494)

Open No. 108 (P495)

Open No. 109: In Gray with Green and Pink (P404)

Open No. 110 (In Cream and Black with Blue Window) (P496)

Open No. 110: In Black and Cream with Blue Window (P496)

Open No. 110: In Red and Beige (The Red Window) (P496)

Open No. 111: Big White and Ochre (P497)

Open No. 111: In White and Ochre (P497)

Open No. 112 (P498)

Open No. 114: In Red, Tan, and Black (P499)

Open No. 115: Indian Red (P500)

Open No. 115: Indian Red with Charcoal Line (P500)

Open No. 116: In Sienna, Blue and Green (P1105)

Open No. 116: La France Open (P1105)

Open No. 117 (P501)

Open No. 119: In Blue with Charcoal Line (P502)

Open No. 120 (P503)

Open No. 121: Bolton Landing Elegy (P504)

Open No. 122: In Scarlet and Blue (P505)

Open No. 124 (P506)

Open No. 125: In Blue with Blue and Green Stripes (P532)

Open No. 125: Jeannie (P532)

Open No. 126: In Beige with Blue (P533)

Open No. 127: Black and Cream with Blue and Green Stripes (P534)

Open No. 127: Lise (P534)

Open No. 128: Charcoal with Blue on Raw Canvas (P535)

Open No. 129: Blue on Gray (P536)

Open No. 130: Charcoal on Light Blue (P537)

Open No. 133: Charcoal on Beige (P538)

Open No. 134: Blue on Beige (P539)

Open No. 135 (P540)

Open No. 135: Blue on Beige (P540)

Open No. 136: Blue on Beige (P541)

Open No. 137: In Ultramarine on Beige (P542)

Open No. 138: Charcoal on Blue (P543)

Open No. 139: Black on Blue with Charcoal (P544)

Open No. 140: Charcoal on Cream (P545)

Open No. 141: In Charcoal and Blue on Scarlet (P546)

Open No. 142 (P547)

Open No. 142: Blue on Black (P547)

Open No. 143: Blue on Scarlet (P548)

Open No. 144: Blue on Scarlet (P549)

Open No. 146: Umber on Black (P550)

Open No. 147: Blue on Beige (P551)

Open No. 148: White on Black (P552)

Open No. 149: In Ultramarine with Charcoal Line (P553)

Open No. 150: In Black and Cream (Rothko Elegy) (P554)

Open No. 151: In Ultramarine with Charcoal Line (P555)

Open No. 152: In Yellow Ochre and Black (P913)

Open No. 153: In Scarlet with White Line (P556)

Open No. 154: In Scarlet with Blue (P557)

Open No. 155: In Scarlet with Blue (P558)

Open No. 156: In Orange with Blue (P559)

Open No. 156: In Orange with White Stripes (P559)

Open No. 157: In Blue with Burnt Sienna (P1000)

Open No. 158: In Blues with Ochre (P1070)

Open No. 160 (P560)

Open No. 160: In Black with Blue (P560)

Open No. 161: In Beige with Black (P561)

Open No. 162: In Blue with Red (P562)

Open No. 163: In Blue with Orange (P707)

Open No. 164 (P563)

Open No. 164: In Blues with Green and Red (P563)

Open No. 165: In Blue and Black (P564)

Open No. 165: In Blues with Green (P564)

Open No. 166: In Yellow with White Stripes (P565)

Open No. 168: In Blues with Green (P566)

Open No. 169: In Brown with White Line (P567)

Open No. 170: In Blue with Green Square and Tan Line (P568)

Open No. 170: In Blues with Green (P568)

Open No. 171: In Blue with Green (P569)

Open No. 173: In Green with Black (P570)

Open No. 174: In Red with Blue Stripes (P571)

Open No. 175 (P572)

Open No. 175: In Yellow and White Stripes (P572)

Open No. 175: In Yellow with Blue Lines (P572)

Open No. 176 in Crimson and Orange (P573)

Open No. 176: In Crimson with Orange and Black Line (P573)

Open No. 176: In Orange with Blue (P573)

Open No. 184 (P508)

Open No. 184: In White with Black Line (P508)

Open Paper Painting No. 1 (w484)

The Open Red Window (P703)

Open: Scarlet with Blue Lines (P611)

Open Study (w372)

Open Study (Brown) (w364)

Open Study (Charcoal with White No. 1) (P692)

Open Study (Charcoal with White No. 2) (P693)

Open Study (In Blue and Pink) (w356)

Open Study (In Blue with Pencil Lines) (w310)

Open Study (White Line on Beige No. 1) (w299)

Open Study (White Line on Beige No. 2) (w300)

Open Study (White Line on Beige No. 3) (w301)

Open Study in Blue (w366)

Open Study in Charcoal on Grey No. 1 (P800)

Open Study in Charcoal on Grey No. 2 (P801)

Open Study in Charcoal on Grey No. 3 (P802)

Open Study in Charcoal on Grey No. 4 (P803)

Open Study in Tobacco Brown (P610)

Open Study No. 1 (P438)

Open Study No. 4 (P439)

Open Study No. 5 (w289)

Open Study No. 6 (P440, w290)

Open Study No. 7 (P441)

Open Study No. 8 (w291)

Open Study No. 8A: In Blue with Black Lines (w292)

Open Study No. 9 (P442)

Open Study No. 10 (P443)

Open Study No. 12 (w293)

Open Study No. 13 (w294)

Open Study No. 14 (w295)

Open Study No. 17 (P444)

Open Study No. 19: In Blue with White Line (w296)

Open Study No. 22 (P445)

Open Study on Sienna (w504)

Open Study with Blue and White No. 1 (P695)

Open Study with Blue and White No. 2 (P696)

Open Study with Blue Lines (w366)

Open Transition (P400)

Open Untitled (Yellow) (P1019)

Open White and Black (P507)

Open with Elegy (w278)

Open with Figuration (c248)

Opening (P678)

Orange 4 (P393)

Orange Collage (c42)

Orange Collage with Green (c256)

Orange Door (P582)

Orange Figure with Interior (P122)

Orange Open (P653)

Orange Personage (P57)

Orange Personage (c42)

Orange Rectangle and Black (c549)

Orange Suchard Bittra No. 4 (c406)

Orange Window (P582)

Oregon Landscape (ew Vii)

Osborn Collage (c722)

Oslo Collage (c587)

The Other Side (c694)

Over the Edge (c825)

Painter (P64, P210)

The Painter (c12)

The Painter’s Wife Pregnant (P141)

Painting (P210, w71, w73)

Painting (P10, P88, P90, P164, w84)

Painting (29 May 1977) (P926)

Painting for Bertolt Brecht (P959)

Painting with Gauloises Bleu (c343)

Painting, with Two Figures (w42)

The Pale Wall (P752)

Pall Mall (c365)

Pall Mall on Blue (c366)

Pancho Villa, Dead and Alive (c7)

Paper Cathedral (c614)

The Paper Guitar (c411)

Paper Night (c539)

Papeteries (c504)

Par Avion, with Music and Gauloises (c623)

Parisian Collage (c383)

The Park (P269)

Pas de Deux No. 1 (c536)

Pas de Deux No. 2 (c537)

Pas de Deux No. 3 (c538)

Paterson’s Oatcakes (c176)

Père Ubu (w180)

The Persian III (P795)

The Persian No. 1 (P789)

The Persian No. 2 (P792)

The Persian No. 3 (P797)

Personage (P11, w2)

Personage (Autoportrait) (c8)

Personage with Orange (c42)

Personage, with Yellow Ochre and White (P64)

Personnage (P31)

Personnage (c8)

Phalanx (P902)

The Philosopher’s Stone (c699)

The Philosophic Mind (c559)

Phoenician Red Studio (P924)

Phoenician Study (P897)

The Photographer (c489)

Picadilly Revisited (c572)

Picayune (c216)

Picture in Black (P106)

Pieces in the Form of a Pear (P994)

Piero’s House (P1113)

Pierre Berès (c460)

Pierrot’s Hat (c1)

Pilgrim (P635)

The Pink Mirror (c39)

Pink Nude (P626)

Pink Nude with Blue Stripe (c569)

Pink Nude with Bowed Head (w45)

Pinkness (c271)

Poe No. 1 (c402)

Poe No. 2 (c403)

Poe No. 3 (c404)

Poe No. 4 (c405)

Poet (P56)

The Poet (P36, c42)

Poet with Orange (P56)

The Poetics of Love (c680)

Port de Boston (c606)

Port de Boston II (c607)

Portal (P1047)

Portrait (c712)

Portrait of James Joyce (w636)

Portrait of Livingston Gearhart (ew Xii)

Portrait of Maria (P70)

Posada (P960)

Posada, the Mexican Printmaker (P991)

Pregnant Nude (P141)

Pregnant Nude II (P142)

Pregnant Nude III (P143)

Pregnant Nude Holding Child (w16)

Pregnant Woman Holding Child (w16)

Prelude (c505)

Premonition Open with Flesh over Grey (P807)

Primal Image (P1160)

Primal Image II (P1161)

Primal Mark (P1086)

Primal Sign (P1108)

Primal Sign Anchored (w191)

Primal Sign on Blue (w192)

Primal Sign on Sand (P1138)

Primavera (P1099)

Primavera Duet (P1099)

Primordial Sketch No. 6 (P864)

Primordial Sketch No. 7 (P865)

Primordial Sketch No. 8 (P866)

Primordial Sketch No. 9 (P867)

Primordial Sketch No. 12 (P868)

Primordial Sketch No. 13 (P869)

Primordial Sketch No. 14 (P870)

Primordial Sketch No. 15 (P871)

Primordial Sketch No. 16 (P872)

Primordial Study (P868)

The Primrose Path (c691)

Prince Hamlet in Africa (c586)

Princeton Collage (c494)

Le Printemps (P667, P1070)

Procession, with Oil (P1033)

Proust’s Room (c589)

Provincetown Bay (P282, P1196)

Provincetown Blue (w659)

Provincetown: Stanley’s View (c255)

Pyrenean Collage (c125)

Pyrénéen Collage (c125)

Q (P313)

Quartet No. 4 (c657)

Quintet (P1114)

Quintet (The Hollow Men Series) (P1114)

Rabbit (c29)

Raging Collage (c107)

Reconciliation Elegy (P956)

Recuerdo de Coyoacán (P8)

Red A I (P1198)

Red A II (P1199)

The Red and Black No. 1 (c760)

The Red and Black No. 2 (c761)

The Red and Black No. 3 (c762)

The Red and Black No. 4 (c763)

The Red and Black No. 5 (c764)

The Red and Black No. 6 (c765)

The Red and Black No. 7 (c766)

The Red and Black No. 8 (c767)

The Red and Black No. 9 (c768)

The Red and Black No. 10 (c769)

The Red and Black No. 11 (c770)

The Red and Black No. 12 (c771)

The Red and Black No. 13 (c772)

The Red and Black No. 14 (c773)

The Red and Black No. 15 (c774)

The Red and Black No. 16 (c775)

The Red and Black No. 17 (c776)

The Red and Black No. 18 (c777)

The Red and Black No. 19 (c778)

The Red and Black No. 20 (c779)

The Red and Black No. 21 (c780)

The Red and Black No. 22 (c781)

The Red and Black No. 23 (c782)

The Red and Black No. 24 (c783)

The Red and Black No. 25 (c784)

The Red and Black No. 26 (c785)

The Red and Black No. 27 (c786)

The Red and Black No. 28 (c787)

The Red and Black No. 29 (c788)

The Red and Black No. 30 (c789)

The Red and Black No. 31 (c790)

The Red and Black No. 32 (c791)

The Red and Black No. 33 (c792)

The Red and Black No. 34 (c793)

The Red and Black No. 35 (c794)

The Red and Black No. 36 (c795)

The Red and Black No. 37 (c796)

The Red and Black No. 38 (c797)

The Red and Black No. 39 (c798)

The Red and Black No. 40 (c799)

The Red and Black No. 41 (c800)

The Red and Black No. 42 (c801)

The Red and Black No. 43 (c802)

The Red and Black No. 44 (c803)

The Red and Black No. 45 (c804)

The Red and Black No. 46 (c805)

The Red and Black No. 47 (c806)

The Red and Black No. 48 (c807)

The Red and Black No. 49 (c808)

The Red and Black No. 50 (c809)

The Red and Black No. 51 (c810)

The Red and Black No. 52 (c811)

The Red and Black No. 53 (c812)

The Red and Black No. 54 (c813)

The Red and Black No. 55 (c814)

The Red and Black No. 56 (c815)

Red, Cut by Black (P372)

The Red Garden Window (c608)

Red Head (P38)

Red Je t’aime No. VIII (P162)

Red Music (c659)

Red Open (P987)

Red Open No. 1 (P707)

Red Open No. 2 (P708)

Red Open No. 3 (P709)

Red Open No. 4 (P710)

(Red Open) In Progress (P594)

Red R with Orange Stripes (c518)

Red Shapes (w99)

The Red Skirt (P65)

Red Square (c543)

The Red Stripe (P50)

The Red Wall (P576, P660)

Red Wall Sketch (w507)

Red, White, and Blue No. 1 (c181)

Red, White, and Blue No. 2 (c182)

The Red Window (P753)

Régie Française (c203)

Remembering Madrid (P998)

La Resistance (c20)

Reversible Collage (c108)

Rites of Spring (c430)

Rivals (c545)

River Liffey (c532)

River Liffey (Dublin) (c532)

River Liffey, Dublin (for James Joyce) (c532)

Riverrun (P659)

The Rock (w78)

Rondo (After Mozart) (c738)

Room 8, Hotel Flora (P109)

Room 8, Hotel Flora, Cannes (P109)

A Rose for James Joyce (P1155)

A Rose for Winter (c114)

Roth-Händle with Black Window (c526)

Roth-Händle with Blue Hat (c618)

Rough Open (w489)

Royal Dirge (P705)

Royal Fireworks Music (c426)

Royal Water Music (c201, c705)

Rue de la Chaise (ew Vi)

Rue de la Grande Truanderie (c588)

Sacre du Printemps (c499, c534)

Sailor (P84)

Samson (c611)

Samurai No. 1 (P775)

Samurai No. 2 (P776)

Samurai No. 3 (P777)

Samurai No. 4 (P778)

Samurai No. 5 (P779)

Samurai No. 6 (P780)

Samurai No. 8 (P929)

Samurai No. 9 (P930)

Samurai No. 10 (P931)

Samurai No. 11 (P932)

Samurai No. 12 (P933)

Samurai No. 13 (P934)

Samurai No. 14 (P935)

Sand and Sea (c401)

Sand Music (c697)

Saraband (c692)

Sardinian Collage (c585)

Scarlet and Black with Ultramarine Stripe (c512)

Scarlet Open (P706)

Scarlet Open (with Green and Ochre Diagonal) (P585)

The Scarlet Ring (c141)

Scarlet with Gauloises (c314)

Scarlet with Gauloises Blue No. 7 (c296)

Scarlet with Gauloises Blue No. 23 (c311)

Scarlet with Gauloises No. 2 (c291)

Scarlet with Gauloises No. 3 (c292)

Scarlet with Gauloises No. 4 (c293)

Scarlet with Gauloises No. 5 (c294)

Scarlet with Gauloises No. 6 (c295)

Scarlet with Gauloises No. 8 (c297)

Scarlet with Gauloises No. 10 (c299)

Scarlet with Gauloises No. 11 (c300)

Scarlet with Gauloises No. 12 (c301)

Scarlet with Gauloises No. 14 (c303)

Scarlet with Gauloises No. 15 (c304)

Scarlet with Gauloises No. 16 (c305)

Scarlet with Gauloises No. 17 (c306)

Scarlet with Gauloises No. 18 (c307)

Scarlet with Gauloises No. 20 (c309)

Scarlet with Gauloises No. 22 (c310)

Scarlet with Gauloises No. 23 (c312)

Scarlet with Gauloises No. 24 (c313)

Schoenberg (c508)

Scottish Ballad (c862)

A Sculptor’s Picture, with Blue (P173)

The Sculptor’s Studio No. 2 (P279)

The Sculptor’s Studio No. 3 (P283)

The Sea at Biarritz (P336)

Sea Grey with Orange (P639)

Sea Horse Collage (c109)

Sea Lion (c93)

Sea Lion with Red Stripe (c94)

Sea Monster (P283)

A Sea of Sand (P730)

Sea, Sky, Sand (w120)

Sea Snail (c667)

Seaside Collage (c47)

Self Portrait as Dog I (P1055)

Self Portrait as Dog II (P1056)

Self Portrait as Dog III (P1057)

Self Portrait as Dog IV (c681)

The Sentinel (P10)

Sepia Shape with Black and Blue (w360)

Sevilla (P92)

Shadows (c510)

Shem the Penman (P679)

Shem the Penman No. 16 (P1066)

Shem the Penman No. 17 (P1067)

Shem the Penman No. 18 (P1068)

Shem the Penman No. 19 (P1069)

Sic et Non (P728)

The Sicilian Door (P675)

The Sicilian Mystery (P665)

Sicilian Window (P674)

The Sicilian Window (P665)

Sicilian Woman (P665)

Sienna and Black (w181)

The Sienna Wall (P744)

The Sign of the Mermaid (c652)

Sign with Stripes (c593)

Signs on a White Field (P1029)

Sih (c283)

Silent Form No. 1 (w279)

Silent Form No. 2 (w280)

Silent Form No. 3 (w281)

Silver Music (c474)

Silvers of Paris (c199)

Singing Yellow (P403)

The Sirens (P1157)

6 (P920)

Sketch for The Tablets of Moses, the Diaspora, and the Burning Bush, for Temple B’nai Israel, Millburn, New Jersey (P115)

Sky and Pelikan (c126)

The Sky Blue Sea (P944)

Sky Blue, with Sand (w159)

Small Elegy (P151)

Small Personage (P32)

Solitary Figure (w75)

Soot Black Stone (P734)

Southern Collage (c396)

Souvenir de Californie (c61)

Souvenir d’Exposition du Monde (ew Xi)

Spanish Afternoon (P154)

The Spanish Death (P838)

Spanish Death II (P939)

Spanish Death II (P940)

Spanish Death IIA (P940)

Spanish Death IV (P941)

Spanish Death V (P942)

Spanish Death #5 (P942)

The Spanish Death VI (P943)

Spanish Elegy (P198–P200, P203, P642, w113)

A Spanish Elegy (w95)

Spanish Elegy (Alcaraz) XV (P148)

Spanish Elegy XIV (Palamos) (w17)

Spanish Elegy XVII (Segura) (P149)

Spanish Elegy XXV-B (w17)

Spanish Elegy Study (w631)

Spanish Elegy Study D (w519)

Spanish Elegy Study No. 150 (P907)

Spanish Elegy with Marine Blue (P948)

Spanish Elegy with Orange No. 3 (P644)

Spanish Elegy with Orange No. 4 (P645)

Spanish Elegy with Orange No. 5 (P646)

Spanish Envelope (c525)

Spanish Frontier (P331)

The Spanish Jailer’s Wife (P16)

The Spanish King (c675)

Spanish Mourning (Mourning Elegy) (P1203)

The Spanish Night (w80)

Spanish Painting with the Face of a Dog (P176)

Spanish Picture with Window (P4)

The Spanish Poet (c581)

The Spanish Pope (w91)

The Spanish Prison (P12)

The Spanish Prison (Window) (P12)

Spanish Prison III (w11)

Spanish Still Life (w26)

Spanish Wall No. 1 (w628)

Spanish Wall No. 2 (w629)

Spanish Wall No. 4 (w630)

The Spartan (P796)

Die Spinnerin (c561)

Splurge No. 2 (P781)

Spoleto (c253)

Spontaneity No. 4 (w206)

Spontaneity with Blue Stripe (w203)

Spontaneity with Blue Stripe No. 2 (w204)

Spring with Green (w233)

St. Gallen (c206)

St. Jean-de-Luz (P337)

St.-Jean-de-Luz (w46)

St.-Jean-de-Luz (c395, w47)

St.-Jean-de-Luz No. 2 (w47)

St. Michel (c567)

St. Michel Collage with Blue (c715)

St. Michel No. 2 (c576)

St. Michel with Yellow Stripe (c678)

Stamps (c401)

Star of David (P113)

The Star of David (c564)

Stars and Moons (c57)

Stedelijk Collage (c168)

Step Inside Love (c596)

Stephen’s Gate (P1040)

Stephen’s Harp (P1041)

Stephen’s Iron Crown (P1030)

Still Life (P83)

Still Life, Ochre and Red (P54)

Still Life with Black (P20)

Still Life with Yellow and White (w12)

Still-Life (w81)

A Storm of White (c716)

A Strange Kind of Music (P1031)

Stravinsky (c398)

Stravinsky Spring (c496)

Straw Horse I (P1055)

Straw Horse II (P1056)

Straw Horse III (P1057)

Striped Above (w103)

Stroke (w625)

Structure before the Italian Mediterranean (w119)

The Studio (P1140)

Studio with Aladdin Label (c609)

Studio with Green (w634)

Study for an Elegy (w31)

Study for Big A (P1135)

Study for Bloom in Dublin (P1036)

Study for Blue Elegy (w272)

Study for Catalonia II (w716)

Study for Elegy (P198)

Study for Elegy to the Spanish Republic No. 70 (P235)

Study for Elegy to the Spanish Republic No. 100 (P849)

Study for Elegy to the Spanish Republic No. 110B (w274)

Study for Elegy to the Spanish Republic No. 110D (w276)

Study for Elegy to the Spanish Republic No. 110E (w277)

Study for Hollow Men (w721) Study for In Black and White No. 2 (P830, P859)

Study for Kilimanjaro (P830) Study for Kilimanjaro Series (P859, P869) Study for Mask (for Ingmar Bergman) (w714) Study for Memory of Delos (w722)

Study for Open Series (w282)

Study for “Open Series” No. 17 (w290) Study for Pancho Villa Dead and Alive (c14) Study for Reconciliation Elegy (P955)

Study for Shem the Penman (P729, w407) Study for Shem the Penman No. 1 (P680) Study for Shem the Penman No. 2 (P681) Study for Shem the Penman No. 3 (P682)

Study for Shem the Penman No. 4 (P683) Study for Shem the Penman No. 5 (P684)

Study for Shem the Penman No. 6 (P685) Study for Shem the Penman No. 7 (P686)

Study for Shem the Penman No. 8 (P687)

Study for Shem the Penman No. 9 (P688)

Study for Shem the Penman No. 10 (P689) Study for Shem the Penman No. 11 (P690, P691)

Study for State II “Elegy No. 100” (w353)

Study for The Grand Inquisitor (P1144, w716)

Study for The Grand Inquisitor No. 1 (P1144) Study in Automatism (P916)

Study in Black (P763)

Study in Watercolor No. 1 (In Green and Blue) (w262)

Study in Watercolor No. 2 (In Green and Blue) (w263)

Study in Watercolor No. 3 (w264)

Study in Watercolor No. 3 (In Orange and Blue) (w264)

Study in Watercolor No. 4 (w265)

Study in Watercolor No. 4 (In Orange and Blue) (w265)

Study in Watercolor No. 5 (In Green and Blue) (w266)

Study in Watercolor No. 6 (In Green and Blue) (w267)

Study on Canvas A (P953)

Study with Blue (P1078)

Suchard (c454)

Suchard on Orange No. 1 (c274)

Suchard on Orange No. 2 (c275)

Suchard on Orange No. 3 (c276)

Suchard on Orange No. 4 (c406)

Suchard on Orange No. 5 (c407)

Suchard on Orange No. 6 (c408)

Suchard on Orange No. 7 (c409)

Suite in Three Movements (c37)

Summer Bath House (P88)

Summer Collage (c34, c717)

Summer Figure (P88)

Summer Hour (c695)

Summer Night (P662, P825)

Summer Open with Mediterranean Blue (P786)

Summer Sea (P1100, c655)

The Summer Sea (P587, P595)

Summer Sea with Debris (c419)

Summer Seaside Doorway (P914)

Summer Seaside Night (P915)

The Summer Studio (P946)

Summer Studio with Sea (P1072)

Summertime (c873)

Summertime: Delos (c867)

Summertime in Italy (P378, P602, P603, w117, w118)

Summertime in Italy in Red (P379)

Summertime in Italy No. 1 (c121)

Summertime in Italy No. 3 (c122, w116)

Summertime in Italy No. 4 (c123)

Summertime in Italy No. 4 (P236)

Summertime in Italy No. 7 (In Golden Ochre) (P277)

Summertime in Italy No. 8 (P236, c636)

Summertime in Italy No. 10 (P278)

Summertime in Italy No. 14 (P254)

Summertime in Italy No. 15 (P255)

Summertime in Italy No. 16 (P256)

Summertime in Italy No. 28 (P238)

Summertime in Italy Sketch No. 11 (P598)

Summertime in Italy Sketch No. 12 (P599)

Summertime in Italy Sketch No. 13 (P600)

Summertime in Italy Sketch No. 14 (P601)

Summertime: Provincetown (c871)

Summertime with Black Clouds (c888)

Summertime with Blue (c467)

The Sun (c15)

Sun and Sea (c99)

The Sunlit Sea (c80)

Surprise and Inspiration (c8)

Swiss Collage (c517)

Talas (c577)

Tapestry Study No. 2 (w390)

Tapestry Study No. 3 (w391)

Tapestry Study No. 4 (w392)

Tapestry Study No. 5 (w393)

Taxco (P1015)

Te Quiero (c643, w642)

The Tearingness of Collaging (c69)

Terra Cotta Image on Blue (P357)

Terzetto (c592)

They Are Not Heard at All (c700) 13, Quai Montebello (c438)

Threatening Presence (P875)

Three Birds (c111)

Three Figures (P2)

Three Personages (P1143)

Three-Tone Scale (c560)

A Throw of Dice No. 2 (P260)

A Throw of Dice No. 3 (P446)

A Throw of Dice No. 17 (P261)

Tibor de Nagy Collage (c374)

The Tide No. 2 (P793)

Time Present and Time Past (c644)

The Times (London) (c601)

The Times in Havana (c644)

The Times in Mexico (c469)

The Times in Mexico II (c470)

The Times, with Music (c622)

Tipped Red Square (c688)

Title unknown (P6, P7, P9, P13, P14, P17, P39, P62, P63, P75, P95, P144, P165, P188, P205, P206, P214, P325, P377, P716, P773, P774, c102, c103, c479, c872, w93, w98)

Tobacco Harvest (c380)

Tokyo Night (c546)

The Tomb of Cap’tain Ahab (P153)

Torino (c542)

Torino Collage (c198)

Torino Collage (c542)

Torn Elegy (w125)

Totem (c741)

Totem No. 2 (P906)

Totemic Emblem (w514)

Totemic Figure (P212, w513)

Totemic Figure (Arrow) (w513)

The Tower (c637)

Tree of My Window (c266)

Tricolor (c98, c621)

Trio I (P1091)

Trio II (P1092)

Trio III (P1093)

Trio IV (P1094)

Trio VI (P1096)

La Tronche (Isère) (ew ii)

23 April 1973 (P725)

23rd June 1972–10th August 1972 (P661)

Two Black Stripes with Grey (P1043)

Two Brush Strokes (w493)

Two Figures (P175, P207)

Two Figures (P26)

Two Figures (for Helen Frankenthaler) (P207)

Two Figures No. 2 (P174)

Two Figures No. 3 (P190)

Two Figures No. 5 (w34)

Two Figures No. 6 (w35)

Two Figures No. 7 (w36)

Two Figures No. 8 (w37)

Two Figures No. 9 (w38)

Two Figures No. 10 (w39)

Two Figures No. 11 (w40)

Two Figures No. 12 (w41)

Two Figures with Cerulean Blue Stripe (P208)

Two Figures with Green Stripe (w115)

Two Figures with Stripe (P246)

Two Pink Stripes (w209)

Two Pink Stripes with Negative Collage (w210)

Two Reds (c382)

U.S. Art Canvas (c131)

U.S. Art New York N.Y. (c132)

Uccello’s Space: A la pintura (P712)

Uganda (P833)

Ultramarine with Gauloises (c342)

Ultramarine with Gauloises No. 1 (c321)

Ultramarine with Gauloises No. 2 (c322)

Ulysses (P69, w15)

Unfinished painting (P166, P167, P196, P272, P275, P344, P345, P594, P997, P1109, P1154, P1207–P1209)

Ungainly Figure (P191)

An Ungainly Figure (P191)

Unglückliche Liebe (c441)

Unitas (c632)

Untitled (P25–P28, P59, P74, P78, P89, P98, P119, P120, P152, P184–P186, P192, P197, P202, P237, P239, P247, P249, P250, P252, P258, P259, P262, P276, P290–P295, P297, P300, P303, P305, P306, P319, P320, P322, P327–P329, P346, P356, P363, P370, P371, P389, P390, P394–P396, P399, P401, P446, P509, P513, P580, P625, P628–P632, P636, P640, P654, P661, P694, P732, P738, P758–P762, P766, P782, P783, P808, P810, P824, P852, P854, P881, P884, P894, P900, P901, P952, P961, P962, P965, P966, P968–P970, P979,

P1000–P1004, P1006, P1011, P1014, P1017–P1019, P1021, P1028, P1050, P1058, P1060, P1083–P1085, P1087, P1088, P1102–P1104, P1107, P1125, P1134, P1141, P1156, P1159, P1163, P1188, P1189, P1191, P1195, P1197, P1199, P1200, c2, c14, c18, c26, c36, c47, c56, c60, c62, c63, c73, c88, c95, c96, c118, c120, c143, c153, c161, c163, c177, c180, c183, c185, c191–c193, c197, c204, c211, c219, c221, c224, c247, c251, c260, c265, c270, c272, c278, c282, c287, c288, c328, c345–c347, c351, c369, c370, c416, c455–c457, c466, c482, c483, c485, c486, c525, c624, c641, c651, c656, c674, c677, c684, c711, c713, c714, c719, c720, c727, c756, c757, c819, c821–c823, c869, c870, c874, c878–c880, w1, w3, w21, w27–w29, w31, w33, w43, w77, w83, w87, w102, w114, w121, w122, w174–w176, w183–w187, w195, w211, w214, w217–w219, w223–w228, w230, w234–w244, w246–w249, w297, w298, w302, w304–w308, w336–w339, w354, w355, w358, w359, w364, w368–w371, w389, w405, w406, w409–w428, w434, w438, w450, w461, w464, w465, w467, w488, w503, w509, w511, w512, w522, w527, w536–w540, w597, w600, w623, w627, w637, w640, w643–w648, w650, w653, w655, w656, w658, w661, w663, w664, w670–w672, w677, w678, w681, w682, w684–w694, w697, w712, w713, w718, ew X, ew XV, ew XVi, ew XVii)

Untitled (P34, P100, P147, P349, P402, P772, P779, P804, P806, P862, P913, P937, P982, P1066, P1080, P1082, P1086, P1101, P1185, c74, c459, c524, c650, c657, c658, w125, w287, w528, w560, w588, w630, w667, w668, ew Xii)

Untitled (Abstract Head) (P147)

Untitled (Anchor) (w193)

Untitled (Automatic Drawing) (P1192)

Untitled (Beside the Sea) (w261)

Untitled (Bird) (P126)

Untitled (black) (P731, P734)

Untitled (Black and Blue) (P323, P324)

Untitled (Black and Grey Horizontal Bands) (P656)

Untitled (Black and Ochre) (P332)

Untitled (Black and Ochre on Deep Blue) (c820)

Untitled (Black and Red Gestural) (w396, w397)

Untitled (Black and White) (P106)

Untitled (Black and White Strokes) (w491, w492)

Untitled (Black and Yellow) (P1162)

Untitled (Black B) (c615)

Untitled (Black, Blue, Brown Open) (P756)

Untitled (Black, Blue, Brown, White Open) (P754)

Untitled (Black, Blue, Brown,White Open) (P755)

Untitled (Black Cloud Shape) (w405)

Untitled (Black Cloud Shapes) (w406)

Untitled (Black Elegy) (w110)

Untitled (Black Gestural Drawing) No. 1 (w699)

Untitled (Black Gestural Drawing) No. 2 (w700)

Untitled (Black Gestural Drawing) No. 3 (w701)

Untitled (Black Gestural Drawing) No. 4 (w702)

Untitled (Black Gestural Drawing) No. 5 (w703)

Untitled (Black Gestural Drawing) No. 6 (w704)

Untitled (Black Gestural Drawing) No. 7 (w705)

Untitled (Black Gestural Drawing) No. 8 (w706)

Untitled (Black Gestural Drawing) No. 9 (w707)

Untitled (Black Gestural Drawing) No. 10 (w708)

Untitled (Black Gestural Drawing) No. 11 (w709)

Untitled (Black Gestural Drawing) No. 12 (w710)

Untitled (Black Gesture) (w674)

Untitled (Black Gesture with Gauloises) (c195)

Untitled (Black Monster) (P263)

Untitled (Black, Ochre) (P332)

Untitled (Black, Ochre and Blue with Triangle) (P348)

Untitled (Black, Ochre, Pink) (P977)

Untitled (Black on Green) (P60)

Untitled (Black, Orange) (P321)

Untitled (Black, Orange,White) (P335)

Untitled (Black Oval) (P382–P388)

Untitled (Black, Pink, Blue) (P318)

Untitled (Black, Red) (w639)

Untitled (Black Shape) (w500–w502)

Untitled (Black Vertical Stroke on White) (P330)

Untitled (Black Wave on Blue) (P784)

Untitled (Blue, Anchor Figure in Ochre) (w191)

Untitled (Blue and Yellow Elegy Drawing) (w527)

Untitled (Blue, Green, Red) (P999)

Untitled (Blue, Green, Swiss Envelope) (c547)

Untitled (Blue, Ochre) (w187)

Untitled (Blue with Black Note) (c647)

Untitled (Blue with white line) (w296)

Untitled (Brown Spot on White) (P284, P285)

Untitled (Brown, Tan) (w184)

Untitled (Brown, White) (w92)

Untitled (Brushstroke) (w626)

Untitled (Brushy Elegy) (w657)

Untitled (Cathedral Series) (c662–c664)

Untitled (Champagne) (c379)

Untitled (Charcoal Line) (w292)

Untitled (charcoal line) (w295)

Untitled (Chateau Cheval Blanc) (c250)

Untitled (Collage with Music and Yellow Ochre) (c610)

Untitled (Composition) (c47)

Untitled (Composition in Grey) (c217)

Untitled (Drawing) (w683)

Untitled (Drunk with Turpentine) (w584, w585, w635, w651, w652)

Untitled (E-Z Cut) (c100)

Untitled (Elegy) (P233, P605, P743, P873, P878–P880, P882, P1110, P1146–P1149, P1181, P1202, w530, w679)

Untitled (Elegy) (P89, P94, P225)

Untitled (Elegy Drawing) (w680)

Untitled (Elegy Lines) (w357)

Untitled (Elegy Sketch) (P954)

Untitled (Elegy Sketch) (P1008)

Untitled (Elegy Study) (w632)

Untitled (Elegy Study) (P152, w107)

Untitled (Ernte on Orange) (c390)

Untitled (Female nude figure) (ew Viii)

Untitled (Figuration) (P72)

Untitled (Figure) (ew iX)

Untitled (Figure 4) (P1193)

Untitled (Figure in Doorway) (P1081)

Untitled (Figure in Turquoise) (P23)

Untitled (for Gabriella) (w624)

Untitled (for Jules Verne) (P957)

Untitled (Gauloises, Red) (c375)

Untitled (Gesture) (c267)

Untitled (Grand Vin on Red) (c389)

Untitled (Gray Ground with Red Open Window on the Bottom) (P1021)

Untitled (Green) (P663)

Untitled (Green, Ochre, Blue) (P581)

Untitled (Green on Blue) (w340, w341)

Untitled (Green, White, and Blue with Black Gesture) (c267)

Untitled (Grey Open) (P658)

Untitled (Grey, Pink, Green, Blue) (w395)

Untitled (Hans Hartung) (c658)

Untitled (Head of a Bull) (w685)

Untitled (Iberia) (P263, P265–P268, P391)

Untitled (Iberia Series) (P520, P521)

Untitled (In Black and White with Lavender) (P361)

Untitled (In Black, Ochre, and White) (P97)

Untitled (In Black, White and Orange) (P335)

Untitled (In Black with Orange Four) (P393)

Untitled (In Blue with Brown on Beige) (c876)

Untitled (In Brown, Red and Light Blue) (c218)

Untitled (In Brown with Gauloises and the Figure 4) (c346)

Untitled (In Orange with Charcoal Lines) (P591)

Untitled (In Sienna) (P1023)

Untitled (In Yellow Ochre with Charcoal Line and Blue Window on Right) (P913)

Untitled (Je t’aime) (P1059)

Untitled (Läkerol on Blue, Green, Beige) (c388)

Untitled (Läkerol on Red, Blue, White) (c387)

Untitled (Lavender Painting) (P363)

Untitled (Line Open) (w485)

Untitled (Mexico) (P11)

Untitled (Music with Yellow Border) (c610)

Untitled (Number 4 Sketch) (w711)

Untitled (Ochre 4 on Blue) (w194)

Untitled (Ochre and Black) (P748, P826)

Untitled (Ochre and Black Open) (P437)

Untitled (Ochre, Black, Green) (w268)

Untitled (Ochre, Black, White) (P855)

Untitled (ochre, blue) (w195)

Untitled (Ochre, Gray, Scarlet Open) (P511)

Untitled (Ochre Open) (P745, P903)

Untitled (Ochre Open) (P666)

Untitled (Ochre with Black Line) (P766)

Untitled (Open) (P579, P623, P624, P666, P747, P985, P986, w303, w365, w367, w429–w433, w435–w437, w439, w441–w448, w490)

Untitled (Open) (P735, P1017, w294)

Untitled (Open & Brushstrokes) (w361)

Untitled (Open; Blue, Beige on Red) (P577)

Untitled (Open Grey on Ochre) (P765)

Untitled (Open in Black, Brown, and White) (P578)

Untitled (Open in Red with Blue Lines) (P512)

Untitled (Open in White on Ochre) (w466)

Untitled (Open in Yellow, Black and Blue) (P588)

Untitled (Open Ochre) (w408)

Untitled (Open-Ochre) (P733)

Untitled (Open, Tan) (P545)

Untitled (Orange and Brown) (w173)

Untitled (Orange and Ochre) (P146)

Untitled (Orange and Tan Open) (w368, w370)

Untitled (Orange, Brown) (P123)

Untitled (Orange Open) (P591)

Untitled (Orange-Ochre) (P146)

Untitled (Pastel Colors and Red Stripe) (P166)

Untitled (Pastel Striped Cloth) (c213)

Untitled (Pink 4 on Blue) (P798)

Untitled (Pink and Black Elegy) (P1007)

Untitled (Pink, Black Caprice) (P785)

Untitled (Pink Figure) (w13)

Untitled (Pink, Green, Blue) (w394)

Untitled (Primal Ochre Sign on Blue) (w192)

Untitled (Red) (P704)

Untitled (Red Collage with Black Wedge) (c856)

Untitled (Red Collage with Music and Crayon Lines) (c858)

Untitled (Red Figure on Black Ground) (w245)

Untitled (Red, Grey) (c336)

Untitled (Red Open) (P575, P577)

Untitled (Red Open) (P594)

Untitled (Red with Blue Lines) (P512)

Untitled (Red with Yellow Oval) (c853)

Untitled (Rose) (P806)

Untitled (Rust, Black, White) (P347)

Untitled (Samurai) (P919, w458–w460, w523)

Untitled (Samurai) (w389)

Untitled (Samurai Black and Ochre) (P758)

Untitled (Samurai Image) (w458)

Untitled (Samurai No. 2) (w459)

Untitled (Samurai or Gesture) (P890)

Untitled (Scarlet Open with Flesh) (P584)

Untitled (Scarlet Open with Green and Ochre Diagonal) (P585)

Untitled (Soot Black Stone) (P731)

Untitled (Spanish Death) (P1013)

Untitled (Spill) (w102)

Untitled (Still Life Study) (ew XiV)

Untitled (Study for The Hollow Men) (w528)

Untitled (Tangerine and Ochre on Blue) (P272)

Untitled (The Studio) (P26)

Untitled (Two Black Vertical Bands) (P841)

Untitled (Two Nudes) (ew iV)

Untitled (Ultramarine) (P790)

Untitled (Ultramarine and Ochre Open) (P711)

Untitled (Ultramarine Blue and Ochre Open) (P711)

Untitled (Wednesday 11 October 1967) (c215)

Untitled (White Open) (w487)

Untitled (with Green, Yellow and Red) (P1119)

Untitled (with Stamps) (c886)

Untitled II (In Blue and Orange) (w172)

Untitled–A (w44)

Untitled A (red with green) (P584)

Untitled No. 1 (w171)

Untitled 16 April 1973 (P723)

Untitled Yellow (P751)

Uzès (ew iii)

V-Letter (c17)

Venetian Blue Sea Bride (c689)

A Very Abstract Woman (P55)

View from a High Tower (c17)

A View No. 1 (P182)

View No. 2 (P236)

View No. 2 (Juan Crisóstomo Arriaga) (P187)

A View No. 3 (w84)

View No. 4 (P236)

A View No. 10 (P183)

A View No. 13 (w85)

A View No. 14 (w86)

Viva (c10, c33)

Vol de Nuit (c666)

Voluptuousness with Bar Sinister (c573)

Votre Miroir (c639)

Voyage (P90)

The Voyage (P87)

The Voyage: Ten Years After (P222)

W (c368)

Wadsworth Atheneum Collage (c145)

Waiting for Samuel Beckett (P1016)

Wall Fragment (P1046)

A Wall in Italy (c32)

Wall of the Temple (P114)

Wall Painting (P101)

Wall Painting III (P136)

Wall Painting IV (P155)

Wall Painting IV (P154)

Wall Painting V (P154)

Wall Painting No. 1 (P135)

Wall Painting No. III (P154)

Wall Painting No. 5 (P216)

Wall Painting No. 10 (P334)

Wall Painting Sketch (P746, P951)

Wall Painting with Stripes (P16)

Wall with Graffiti (P195)

Wanderers (P1117)

The War Machine (w622)

Waves I (P791)

Wave II (P243)

Waves II (P793)

The Wedding (P172)

The Wellfleet Whale: From Port-of-Spain to Baffin Bay (c726)

Western Air (P47)

Western Figure (P41)

Whatman Board Collage (c169)

Where Have You Been (c704)

White Collage with Black Stripe (c113)

White Collage with Red Stripe (c112)

White Collage with Red Stripes (c112)

White Music (c687)

White Music I (c728)

White Music II (c729)

White Music III (c730)

White Music IV (c731)

White Music V (c732)

White on Tan (P574)

The White Oval (P343)

White Painting (P4)

White Sanctuary (P1035)

The White Window (w363)

Whitely Triangle (P248)

The Wild Duck (P794)

Window (P73)

The Window (c579)

Window in Green and Sienna (P437)

Window in Sienna (P437)

Window on Madrid (P947)

Window over Madrid (P788)

Window with Black Cloud (P596)

Winsor Collage (c140)

Woman as Still Life (P83)

Woman in Green (P61)

Woman in Ochre and White (P64)

Work in Progress (The Golden Bough) (P1115)

Wounded Personage (c8)

XX (c721)

Xylol (c605)

Yeats’ Tower (c703)

Yellow and Black (The Basque Suite) (w332)

Yellow and Ochre (c214)

Yellow Collage (c52)

Yellow Envelope (c67)

Yellow Envelope (c70)

Yellow Figure (P58)

Yellow Form with Music (c710)

Yellow Music (c706)

Yellow Still Life (P45, P107)

Yellow Stripe (w179)

Yellow Stripes, with Music (c592)

Yellow Wall (P751)

Yes I Will Yes (c437)

Young Girl (P66)

Young Girl (P67)

Yucatan (c696)

Zen I (P697)

Zen II (P698)

Zen III (P699)

Zen IV (P700)

Zen V (P701)

Zen VI (P702)

Zig-Zag (c490)

Zig-Zag (c741)

Index of Owners

Pri Vate cO llecti O n S

803011 Foundation (P986)

Richard Aakre (w27)

Mr. and Mrs. Morrie K. Abramson (P1162, w87)

Lauro Accorsi (P1135)

Mr. and Mrs. Richard Ackerman (w342)

Adam Gallery, London (w562)

Caroline and Stephen Adler (c35, c41)

Mr. Igal Ahouvi (c268)

Geraldine and Harold Alden (P160, P1106)

Lynn K. Altman (c131, c172, c302)

Helga de Alvear (P521)

American Masters Collection I. Kansas City, Mo. (P1194)

Herta and Paul Amir (P449)

Stephen and Madeline Anbinder (w335)

Harry W. and Mary Margaret Anderson (P155, P200, P253, c51)

Armand Bartos Jr. Fine Art, Inc. (P145)

Jon Yard Arnason and Eleanor A. Arnason (P320, c192)

Art Enterprises, Ltd., Chicago (c643)

Art Hispania SL, Barcelona (w78)

Artnow International (c706)

Dore Ashton (w697)

Elaine Mitchell Attias (P996)

Marilyn and Charles Baillie (P613, P614, P974, c275, c290, w266, w573, w586)

Christina and Robert C. Baker (P724, c659)

Joseph and Abigail Baratta (c773)

Bared Family Collection, Coral Gables, Fla. (P658)

Mr. and Mrs. Victor P. Bared (P1128)

Thomas Baron, Waukegen, Ill. (w265)

Base Gallery, Tokyo (c796)

Benjamin Gollay Collection (c76)

Dr. Vallo Benjamin (P714)

William and Melinda Bentz, California (P354)

Paul and Mildred Berg (w138)

Mr. and Mrs. M. L. Berman (P597)

Bernard Jacobson Gallery, London (P405, P418, P439, P444, P526, P532, P536, P543, P555, P575, P588, P591, P600, P617, P652, P666, P696, P711, P719, P729, P735, P768, P807, P808, P841, P864, P888, P966, P987, P1008, P1017, P1019, P1068, c187, c262, c347, c443, c468, c481, c638, c644, c656, w35, w290, w680)

Bernard Jacobson Gallery, London, and Leonard Hutton Galleries, New York (c882)

Joseph and Maxine Berzok (P831, P948)

Mr. Mark Bidner (c564)

Mr. Fred Birner (c96)

Deanna and Joseph Bittker (P944)

John deC. Blondel Jr. (w584)

Joan Borinstein (P558)

Dr. Sidney and Barbara Borsuk (ew iii)

Borzo Gallery, Amsterdam (c615)

Jennifer Bradford (w651)

Luther W. Brady (P73, P481, P943)

Irma and Norman Braman (P817, c69)

Rena Bransten (P360)

Peter and Linda Bren (c826)

The Bright Family, Los Angeles (w711)

Mr. and Mrs. Ronald Broatch (P174)

Mr. and Mrs. Mark L. Brock, Concord, Mass. (P59, P319, P516, P603, c315)

Mr. and Mrs. Richard A. Brodie (P68, c703)

Gregory Bays Brown, Louisville, Ky. (P576)

Linda and Jerry Bruckheimer (P828, P1080)

Mr. and Mrs. Harvey Buchanan (w140)

Ms. Mary Beth Buck (c658, c724)

Vincent Burgos Jr. (w522)

Carolyn and Preston Butcher (c698)

Elizabeth Cabot (w569)

Mr. and Mrs. Myron and Bobbie Calhoun (c83)

Simon Capstick-Dale (P363)

Mark and Katherine Casa (P1016)

M. Casotto (c134)

S. Gene Cauley (w20)

Salvatore Centola, Rome (c53)

The Century Association, New York (w679)

Shelby and Lee Chaden (c712)

Stanley and Pamela Chais (w166)

Simona and Jerome Chazen (P651)

The Chinese Porcelain Company (c27)

Ricardo Cisneros (P749)

Constance and David Clapp (c257)

Todd and Jill Cohen (P534, P1184)

Judge Jonathan T. Colby, Miami (c346)

La Colección Jumex, Mexico (P182, c544)

James O. Coleman (c599)

Collection Onnasch (P154, P508)

Columbia University, New York (P61)

Cynthia and David Comsky (c455)

Congregation B’nai Israel of Millburn, N.J. (P114)

Josh Conviser and Martine Conviser (c590)

Charlotte and Paul Corddry (P571)

Henry Cornell (P89)

Mr. and Mrs. George W. Couch III, Pebble Beach, Calif. (w127)

W. Stephen Croddy (c65)

Shelby and Frances Curlee (w7)

Robin and George Dalsheimer (P1155)

Conor and Jean Daly, Dublin (c820)

John Daly, Dublin (P321, P903, P981, P1018, P1055, P1083, P1096, P1131, c326, c818, w600)

Lorrie Daube (P623)

Jane M. Davis (P340, P677)

Kenneth and Judy Dayton (P198, P633, c548)

Dedalus Foundation (ew iV, ew Viii, ew iX, ew.Xiii, ew.XiV, P1, P8, P10, P23, P24, P26, P43, P60, P77, P98, P100, P104, P107, P111, P119, P120, P123, P126, P166, P167, P184–P186, P189, P196, P248–P251, P258, P260, P262, P263, P269, P270, P272–P279, P283–P285, P288–P297, P299–P302, P304, P306, P309, P312–P314, P317, P324, P326, P330–P332, P337, P344–P348, P350, P353, P357, P375, P376, P380, P382–P389, P394, P396, P398, P400–P402, P404, P406, P412, P415, P417, P433, P434, P438, P440, P446, P452, P458, P460, P462, P475, P479, P484, P486, P493, P495, P497, P499, P510, P511, P518, P528, P539, P541, P542, P547, P550, P551, P556, P560, P561, P567, P574, P580, P581, P586, P594, P599, P604, P610, P612, P618, P620, P621, P626, P628–P631, P654–P657, P691–P694, P702, P731, P734, P748, P762, P765, P792, P793, P795, P797, P798, P800–P803, P809, P810, P824, P854, P855, P884, P889, P899–P902, P904–P906, P912, P923, P938, P945, P947, P950–P952, P954, P961, P962, P967–P973, P976, P979, P984, P989, P991, P997–P1004, P1006, P1012, P1014, P1015, P1021, P1023, P1028, P1034, P1035, P1049, P1050, P1052–P1054, P1056, P1057, P1071, P1074–P1076, P1079, P1081, P1085, P1088, P1091–P1093, P1097, P1099, P1101, P1104, P1107–P1109, P1123, P1125, P1129, P1134, P1141, P1153, P1154, P1156, P1158, P1159, P1167, P1173, P1174, P1185, P1188–P1192, P1197, P1201, P1202, P1207, c57, c95, c99, c112, c116, c147, c148, c152, c153, c158, c160, c161, c166, c174, c176–c182, c193, c195–c197, c201, c202, c205, c206, c208, c210, c211, c213, c217–c219, c222, c225–c227, c230–c236, c238, c239, c241–c246, c249, c250, c252, c253, c256, c259, c261, c263–c265, c336, c345, c360, c371, c379, c380, c389, c390, c414, c416, c417, c421, c428, c437, c465, c504, c525, c529, c552, c580, c613, c632, c655, c660, c665, c674, c681, c682, c684, c714, c729, c731, c740, c752–c755, c760–c763, c765, c767–c769, c772, c778, c780, c782, c783, c786, c794, c795, c800, c802, c803, c807, c815, c819, c824, c828, c829, c832, c838, c852, c864, c869, c870, c874, c879, c883–c885, w6, w12, w50, w54, w56, w63, w75, w92, w96, w97, w162, w164, w169, w173, w176, w183–w187, w194–w196, w200, w201, w207, w211, w213–w215, w217–w219, w224–w249, w252, w263, w268, w279–w281, w287, w289, w299–w303, w305, w307, w309–w314, w318–w322, w344–w356, w358–w362, w368–w370, w372, w374, w375, w378–w388, w395–w398, w400, w405, w406, w408–w437, w439–w449, w459, w464, w471, w472, w477, w478, w482, w485–w488, w490–w492, w494, w497, w502, w506, w508, w509, w513–w515, w526, w537, w538, w545, w546, w550, w552, w553, w555–w557, w559, w563, w567, w568, w574, w577, w587–w595, w602–w605, w609, w610, w613, w616, w617, w619, w625–w627, w635, w636, w638,

w640, w644, w646–w648, w650, w653–w655, w660, w661, w663–w669, w671, w676, w681, w683, w685, w690, w693, w699–w710, w712, w717–w720)

Jocelyne DeNunzio (c664)

Dana and Rick Dirickson (c662, w721)

A. Distler, Munich (c708)

Mr. and Mrs. Kirk Douglas (w641)

Mr. and Mrs. David M. Draime (w316)

Karen and Robert Duncan, Lincoln, Neb. (P503)

Mr. William T. Eberhard (c661)

Edward Tyler Nahem Fine Art, LLC (w343)

Ruth and William Ehrlich (P898)

Mr. David Eichholtz (P699, c779)

Eight Modern, Santa Fe, N.Mex. (c109, c811)

Frances and Kenneth Eisenberg (P622)

Mr. Jorge Eljuri (c353)

Ray Ellen and Allan Yarkin (P920, c344)

Elliott K. Wolk Family Foundation (P367)

Mike Elliott (w297)

Adam Emmerich (w113)

Drs. Gloria and Ben Engel (w8)

Diane Englander and Mark Underberg (w34)

Michael and Dalia Engler, Texas (P448)

Catherine and Samuel Epstein (w536)

Esta and Robert Epstein, Boston (P980)

ergdeg Collection, LLC (c561)

Erker-Galerie, Ltd. (c282)

Ezratti Collection, Florida (P911)

Ms. Samie Falvey, California (P784)

Family of Mary A. Pengra (c299)

Peter Farrell (c764)

Fayez Sarofim Collection (P44, P162, P728, P815, P1065, P1165, c474, c853, w204)

Feibes & Schmitt–Architects (P522)

Alison N. and John Ferring (P717)

Lorenzo and Teresa Fertitta (P1084)

Douglas R. Feurring (P736)

Bobbie Geller Fields (w91)

G. Fischmann (P477)

Fisher Collection, New York (P1020, c140, c276, c582, c680)

Mr. and Mrs. Richard T. Fisher (P1193, c327)

Gordon and Hannareta Fishman (c668)

Kerianne and James Flynn, New York (P563)

Fondation BNP Paribas (Suisse) SA (c678)

Sidney and Madeline Forbes (c138, c446, c448, c450)

Bobbie Foshay (w31)

Audrey and James C. Foster (P307, c339)

Lois and Hank Foster (w25)

Fram Trust (c17)

Helen Frankenthaler (c72, c125, w10, w45, w285)

Mr. and Mrs. L. Frankfort (P726, P890, c738)

Frederick R. Weisman Art Foundation, Los Angeles (P914, c496)

Mr. and Mrs. Alan L. Freeman (P53)

Carole S. and Dr. Robert H. Freilich (c214)

B. H. Friedman (c185)

Dr. and Mrs. M. Wallace Friedman (w115)

Mimi Fullerton, Toronto (w188)

Mr. and Mrs. Andrew Galef (c273)

Galería Altair Collection (c650)

Galerie Berès, Paris (w390)

Galerie Gmurzynska (P1172)

Galerie Jeanne-Bucher, Paris (c2)

Galerie Lelong (P537)

Ventura Garcés, Barcelona (c415)

Gerald M. McCue and Barbara W. McCue

Marital Trust (P835)

Edward Giobbi (c791)

Simon Goh (w691)

Joanne Gold & Andrew Stern (c880)

Talia Goldberg (c726)

Arthur and Susie Goldner (P918)

John F. Goldsmith (c34)

David and Susan Goode (c396, w389)

Sachiko and Lawrence B. Goodman (c511)

Joni and Monte Gordon, Los Angeles (P79)

Rachel and Dov Gottesman (P982)

Alex Grass (w141, w155, w157)

Francine du Plessix Gray (P298)

Mr. and Mrs. Ronald K. Greenberg (P238, c621)

Greenberg Van Doren, Saint Louis (c609)

Bill and Anne Gregory, Annandale Galleries, Sydney (w541)

Mr. and Mrs. Robert Gross (w677)

Joanne and Roberto de Guardiola (P70, P821)

Tony and Lisa Guerrero (P1120)

Mr. and Mrs. Stanley R. Gumberg, Pittsburgh (w94)

Mr. and Mrs. Graham Gund (P419)

Robert and Colleen Haas (c438)

Hackett-Freedman Gallery (w713)

Mr. David Hale (P1118)

Andrew and Christine Hall (P643, c280, c749)

Dr. and Mrs. Y. Haller (c461)

Barry and Bonnie Halperin (c577)

Frederic C. Hamilton (c432)

The Hamilton Companies (P369)

Mr. and Mrs. Gilbert W. Harrison (P157)

Mitchell A. Harwood and Fran Janis (c841, c849)

Preston H. Haskell (P704)

The Headington Collection (P895)

Dr. Wilfred and Gail Heilbut (c787, w678)

Mr. and Mrs. Gardiner Hempel Jr. (c198)

Susan and John B. Hess (P471, c93)

Hess Art Collection (P478, P964, c566, c570)

Marieluise Hessel (P169)

Marsha and Carl Hewitt (P513)

Caroline Hirsch (P81, c328, c530)

Ashley and Harriet Hoffman (P1061)

Ronna and Eric Hoffman (c591)

David and Beverly Hosokawa (P644, P646)

Robert G. Hughes (ew Xi)

Imaginart Gallery, Barcelona (c159)

Ellen Iseman (P455, c119)

Stan and Judi Jacobs (P468)

Jacobson Howard Gallery (P665)

Mr. and Mrs. Reuben Jeffery III (P559)

Victoria Jemerin (c170)

Olive M. Jenney (c669)

Richard and Louise Jensen (P323)

Robert W. Johnson IV (c281)

Mr. and Mrs. John W. Jordan II (w192)

Dr. Robert L. Josephson (c321)

The JPMorgan Chase Collection (c398)

Kafka Family Collection (c221, c251, w304)

Marcella S. Kahn (P1161)

Gertrude Kasle (c467)

Kasle Family Collection (P669, P695)

Alan and Grace Kass (c354)

Ellen and Howard C. Katz, Carefree, Ariz. (c378, w104)

Mr. and Mrs. Robert Kaufman (c831)

Dr. and Mrs. Jack Kavanaugh (w39)

Mr. and Mrs. M. Klebanoff (P1064, c697)

Richard and Judith Klitzberg (c860)

The Klüser Collection, Munich (w622)

Knoedler & Company (P112, P701, c58, c472)

Michael and Sonja Koerner (w254)

Dorothy and Sidney Kohl (P158)

Magnus Einar Konow (w167)

Mr. and Mrs. Robert Kotick, as Trustees of the 10122cP Trust (P374)

Catharine and Peter G. Kreitler (c355)

Herman Krikhaar, Amsterdam (w221)

Mr. and Mrs. Richard Kronenberg (w649)

Brian and Randye Kwait (P1041)

A. L’H., Switzerland (w60)

Karen LaGatta and Marshall G. Allan (P727)

Alice and Nahum Lainer (w363, w682)

Sandra W. and David B. Landers, MD (P125)

Benoit De Landsheer (w193)

Elyse and Bob Lanier (P718)

Lucy Lanzar and Jennifer St. John, Weston, Fla. (w575)

Dr. and Mrs. C. Law (P487)

David Lazoff (w212)

Mr. and Mrs. R. Leandro (w599)

Mildred and Herbert Lee (P764)

Leonard Hutton Galleries, New York (c132, c742, c746)

Leslie Feely Fine Art, LLC, New York (c143)

Leslie Sacks Fine Art, Los Angeles (c627, c784)

Mary and Howard Lester (P1149)

Ehud and Terry Levy (P1045, P1047)

Elvire and Lucien I. Levy (c452)

Basha Szymanska Lewis (P41)

Herbert Liaunig (P507)

Mr. and Mrs. Robert Liberman (c471)

Lillian Heidenberg Fine Art (P706)

Lillian Heidenberg Fine Art and Miriam Shiell Fine Art (c385, c702)

Lilly Annabelle Brock 2003 Trust (c271)

Gerald S. Lippes & Jody B. Ulrich (P779, P780, c464)

Mr. and Mrs. Martin and Mimi Lipton (P1168)

Mark and Fiona Lochtenberg (P826, c640, c641)

Dr. and Mrs. Leon London (P827)

Meredith & Cornelia Long (P12, P874, P1143, c567, c766)

Mr. and Mrs. Richard Lubin, Boston (P1132, c85)

Ludwig Foundation, Austria. See also Museum Moderner Kunst Stiftung Ludwig, Vienna (P838)

Phyllis and William Mack (c734)

Martha Macks-Kahn (w59)

Mr. and Mrs. John Mahedy (c408)

Alexis C. Manice (c323)

Manny Silverman Gallery, Los Angeles (w109)

Maurice Marciano (P372)

Marlborough-Gerson Gallery (w257)

Martin Z. Margulies, Miami (P170, P232, P1038)

Mark Borghi Fine Art, Inc. (ew XV)

Egidio Marzona (w182)

Emily Mason and Wolf Kahn (w525)

Mrs. Jeanne Lang Mathews (P840)

Mato Family Collection, Coral Gables, Fla. (P1170, w177)

Ramuntcho Matta (c36)

Maxine and Stuart Frankel Foundation for Art, Bloomfield Hills, Mich. (w37, w64)

McCausland-Seve Family (c635)

Donald T. Meder, Los Angeles (w89, w530)

Marla & Jon Mehlman, Scarsdale, N.Y. (w689)

Pauline and Murray Menkes (P640)

Cynthia and Walter Metcalfe (P308, P311)

Robert and Jane Meyerhoff, Phoenix, Md. (c68)

Aaron Milrad (c295)

Stevan Raul Minamora (ew XVi)

Marsha and Jeffrey Miro (c310)

Audrey and David Mirvish, Toronto (P178, P435, P463, P464, P494, P553, P564, P565, P606, P698, c5, c145, c151, c156, c169, c191, c224, c297, c305, c362, c365, c368, w160, w306)

Phyllis and Stuart G. Moldaw (P1062, c272)

R. W. Moncrief (c558)

Mary Tyler Moore and Dr. F. Robert Levine (c483)

Rodman W. Moorhead III, Wilson, Wyo. (P1051, c792)

M. Morando (c612)

Jeannie Motherwell (c889)

Lise Motherwell (P1139, P1187, w202)

Renate Ponsold Motherwell (P470, P721, P743, P882, P995, P1007, c220, c369, c436, w125, w149, w197, w272)

Gene E. Mundie (w83)

Gert W. Munthe, Oslo (P791, P932, c254)

Brooke and Daniel Neidich (c79)

Walter and Dawn Clark Netsch (P137)

David Nisinson (c141, w258)

Kenneth Noland (w143)

Norma and Myron H. Goldberg Art Trust (c626)

Mrs. Nathalie Obadia, Paris (w645)

The Olesen Collection (P318)

Martin and Enid Packard (P459)

Florence Packman (P1152)

Michael Palin (P1009, P1029, c689)

Pascal de Sarthe Fine Art (w275)

Jancy and Gilbert Patrick, North Carolina (c876)

Mr. and Mrs. James R. Patton Jr. (c426, w533)

Skip Paul and Van Fletcher, Beverly Hills, Calif. (P608, c352, c364, w145, w152, w543)

Alain De Pauw, Vevey, Switzerland (c441)

Jaime and Cheryl Peisach (P1130) Willem Peppler, Switzerland (c458)

Mr. and Mrs. Raymond Perelman (P885, P934)

Mr. and Mrs. Thomas E. Philips, Naples, Fla. (P310)

Joann and Gifford Phillips (P18, P105, P176, w48, w116)

Pierre and Maria Gaetana Matisse Foundation Collection (P74)

Ulla and Heiner Pietzsch Collection, Berlin (c14, c127)

David and Geraldine Pincus (P812)

Timoteus R. Pohl, Vermont (c439, w250)

Linda and Richard Pollay (c663)

Mrs. David A. Prager (c183, w124)

The Pritzker Organization, LLC (c844)

Private collection (ew i, ew ii, ew Vi, ew Vii, ew X, ew XVii, P19, P36–P38, P40, P42, P48, P52, P54, P55, P57, P78, P80, P82, P83, P90, P94, P97, P116, P121, P134, P141, P143, P146, P150, P159, P172, P175, P183, P192, P193, P199, P201, P203, P204, P208, P209, P227–P229, P231, P234, P235, P237, P239, P241, P254–P257, P261, P268, P280, P315, P316, P322, P327–P329, P335, P343, P356, P362, P370, P371, P378, P379, P390, P395, P397, P399, P403, P407, P413, P423–P427, P432, P447, P456, P457, P465, P466, P472, P476, P483, P488, P498, P501, P502, P509, P514, P517, P519, P524, P525, P530, P531, P538, P540, P549, P557, P562, P566, P568–P570, P579, P582, P583, P585, P587, P598, P601, P602, P605, P609, P611, P615, P616, P625, P634, P635, P642, P647, P649, P653, P659, P660, P662, P663, P668, P676, P684, P687, P690, P707, P708, P710, P712, P715, P730, P732, P733, P737, P739, P742, P747, P751–P753, P757, P759–P761, P763, P767, P769, P778, P781–P783, P785, P794, P799, P804, P814, P822, P823, P829, P832, P833, P836, P837, P847, P852, P853, P856, P857, P868, P873, P876, P879, P880, P883, P891–P893, P897, P909, P910, P915, P917, P919, P921, P925, P926, P928–P930, P935, P939, P941, P942, P946, P949, P959, P960, P963, P965, P975, P978, P983, P988, P990, P993, P994, P1010, P1013, P1022, P1027, P1033, P1036, P1037, P1039, P1043, P1048, P1058–P1060, P1066, P1067, P1069, P1070, P1072, P1073, P1082, P1087, P1089, P1090, P1094, P1095, P1098, P1100, P1105, P1110, P1111, P1114, P1116, P1119, P1121, P1122, P1124, P1126, P1127, P1136, P1137, P1140, P1142, P1144–P1146, P1148, P1150, P1151, P1157, P1160, P1163, P1169, P1171, P1182, P1183, P1186, P1195, P1199, P1200, P1203, P1205, c6, c10, c15, c16, c23–c25, c32, c33, c39, c48, c56, c59, c60, c75, c78, c80, c86, c92, c100, c107, c117, c118, c120, c123, c130, c133, c135, c142, c144, c146, c149, c162, c163, c165, c167, c168, c186, c188, c190, c194, c199, c203, c204, c207, c215, c223, c247, c248, c258, c260, c266, c267, c269, c277, c278, c284–c289, c292–c294, c304, c306, c308, c313, c314, c317, c319, c320, c324, c325, c329, c331–c333, c335, c340, c342, c343, c348–c351, c357, c358, c363, c370, c375, c376, c381–c383, c387, c388, c391, c393–c395, c400, c403, c412, c419, c420, c422, c423, c427, c430, c434, c442, c444, c449, c451, c456, c466, c470, c477, c480, c485, c487, c489–c492, c494, c497, c499, c501–c503, c508, c510, c512, c514, c517–c519, c522,

c524, c527, c528, c531, c532, c534–c538, c540, c541, c543, c545–c547, c556, c559, c560, c563, c569, c571, c572, c576, c579, c583–c587, c589, c593, c595–c598, c600, c602, c603, c606–c608, c614, c618, c620, c622, c623, c625, c628–c631, c633, c636, c637, c642, c647, c648, c651, c652, c654, c657, c670, c671, c673, c675, c677, c686–c692, c695, c699, c700, c705, c707, c709, c710, c713, c715, c719–c723, c725, c727, c728, c732, c735, c737, c739, c741, c743, c745, c747, c748, c756, c757, c759, c774, c775, c777, c781, c785, c788–c790, c797, c801, c804–c806, c808, c813, c816, c817, c821, c822, c827, c834–c836, c839, c840, c843, c846–c848, c850, c851, c855, c856, c859, c861, c865–c868, c875, c877, c881, c887, c888, w1, w2, w9, w11, w19, w24, w26, w28, w29, w33, w38, w40, w41, w46, w47, w52, w53, w57, w61, w67, w72, w73, w77, w79, w86, w88, w90, w99, w100, w102, w103, w108, w112, w120, w123, w126, w130, w132, w136, w137, w144, w146, w150, w158, w159, w161, w163, w165, w171, w172, w174, w179, w190, w191, w206, w209, w220, w222, w223, w251, w256, w261, w262, w264, w267, w271, w277, w278, w282, w286, w288, w295, w296, w308, w315, w323, w329, w340, w341, w365, w367, w371, w377, w392, w394, w450, w451, w453, w454, w460–w463, w465, w468, w473, w475, w493, w496, w498, w499, w501, w503, w507, w512, w516, w520, w521, w523, w524, w527, w532, w544, w551, w560, w561, w565, w566, w570, w576, w578, w579, w585, w596–w598, w601, w607, w608, w620, w621, w623, w631, w633, w634, w637, w642, w652, w658, w659, w662, w672, w673, w675, w686–w688, w692, w694–w696, w715, w716, w722)

Mark Ptashne and Lucy Gordon, New York (P1175)

Jeffrey Quicksilver, Chicago (P259)

Ed Rabin (P333)

Marley Rabstenek and Richard Austin (w511)

Andy and Debbie Rachleff (c610)

Annette and David Raddock (c751)

Phyllis and Jerome Lyle Rappaport (P15)

Corrado Rava (c184)

Reis Private Collection (P71)

Mr. and Mrs. Michael L. Riddle (P787)

Richard and Susan Rieser (P148)

Dr. and Mrs. Stacy Roback (c279)

Stephen and Pilar Robert (P421)

Mr. & Mrs. Jerome Robinson, Houston (c733)

Arthur and Toni Rock (P648)

Mr. and Mrs. David Rockefeller Jr. (c150)

Stéphane Roman (w612)

Deborah Ronnen (c542)

Donna and Benjamin M. Rosen (c696)

Beverly and Mel Rosenthal (P233)

Clifford Ross (P515, c87, w42, w65)

Kate and Christopher Rothko (c42)

Baron Philippe de Rothschild S.A. (P862)

Mr. and Mrs. Robert Rowan (P50)

Ivor and Colette Royston (P1044)

Jerry and Linda Rubenstein (c209)

Marina Rubin (c588)

Paula and Allan Rudnick (w684)

Mr. B. W. Ryan (P512, P584)

Mrs. Geraldine Sakwa (w325)

Michael and Ilene Salcman, Baltimore (c693)

Samuel Asher Brock 2006 Trust (c270)

Corrie and Jonathan Sandelman (P545)

Sarah Contemporary Art, Inc. (P548)

Mr. and Mrs. Herman Sarkowsky (P349)

Mr. and Mrs. William Schaffel (w564, w580)

Martha Gearhart Schermerhorn (ew Xii, P2)

Linda and Robert Schmier (P894, P958)

Horst and Vivien Schmitter (w606)

Mr. and Mrs. Jack Schneider (w293)

Mark Schnuck (P1166, c878)

Mr. and Mrs. Stanley Scholsohn (P766)

Glenn and Frances Schor (P1117, c758)

Schorr Family Collection (c425)

Hannelore B. Schulhof Collection, New York (c445, w129)

Dr. and Mrs. C. Schwartz (P491)

Steve and Carla Schwartz (w469)

Mr. and Mrs. Scott W. Seaton (w373, w387)

Andrea Selig (P650)

Bonnie Serkin and Will Emery (P685)

Mitchell Shaheen (c463, c605)

Jane and Barton Shallat (P858)

Donn and Dolores Shapiro, Glencoe, Ill. (P825)

Maureen Shapiro (w274)

Mr. and Mrs. Stanley K. Sheinbaum (P173, w32)

The Shelby Family Collection (c619)

Sheridan Corporation (P278)

Mr. and Mrs. David Sherman Jr. (w122)

Carol and Stephen Shey, Gainesville, Fla. (P474, P667, P775, c157, c837)

Eve and Fred Simon, Omaha (c776, c812)

Mr. and Mrs. Lawrence E. Singer (P887)

Mrs. Pamela Skaist-Levy and Mr. Jefery Levy (P931)

Barbara Slifka (w55)

Peter and Deborah Smith (P1198)

Michael Sobczyk (w618)

The Solinger Collection (c37)

Barbara and Gene Spector (c303)

William and Marjorie Staples (c871, c873)

Andrea and John Stark (c431)

Margot Stein, New York (c411, c886)

Blema and Arnold Steinberg (P908)

Eve and Michael Steinberg (P482, P758)

Marianne E. Steiner (P445, P535)

Stephens, Inc. (c300, c550)

Dr. Michael Stewart (c823, c863)

Mr. and Mrs. Robert Straus (P21)

Patsy and Jeff Tarr (c653)

Mr. and Mrs. John C. Tashjian, New York (c137)

Geri and Don Thayer (c509, c557)

Mary Ann Tighe and Dr. David Hidalgo (P191)

Glen and Lynn Tobias (P638, c469)

João Carlos Arez Torres, Lisbon (P1086)

Isabel Trimper (c61, w614)

Dianne and Tom Tuft (P529)

Lynn and Allen Turner (P92, P266)

Kenneth E. Tyler (w643)

The UBS Art Collection (w43)

Unknown (ew V, P5–P7, P9, P13, P14, P17, P20, P25, P28–P30, P32, P33, P39, P45, P58, P62, P63, P66, P75, P76, P95, P113, P115, P124, P133, P142, P144, P149, P164, P179, P187, P188, P202, P205, P206, P211, P214, P245, P276, P286, P287, P303, P305, P325, P355, P361, P377, P381, P441, P443, P450, P454, P461, P467, P469, P523, P546, P552, P578, P590, P595, P624, P636, P637, P639, P670, P671, P674, P675, P678, P679, P681, P697, P700, P703, P713, P716, P738, P746, P754–P756, P773, P774, P806, P830, P834, P863, P927, P957, P977, P985, P1005, P1011, P1046, P1078, P1164, P1208, P1209, c1, c9, c13, c18, c26, c28–c31, c73, c91, c102, c103, c111, c114, c115, c121, c122, c155, c173, c175, c200, c212, c216, c274, c283, c291, c296, c307, c309, c311, c312, c316, c318, c322, c330, c337, c356, c359, c361, c366, c367, c372, c374, c377, c386, c392, c404, c409, c418, c435, c447, c453, c454, c475, c478, c479, c484, c486, c505, c516, c520, c521, c533, c554, c555, c573, c578, c592, c594, c617, c624, c634, c639, c704, c711, c716, c718, c736, c750, c770, c771, c793, c798, c809, c814, c825, c854, c872, w3, w4, w21–w23, w51, w58, w62, w66, w71, w74, w81, w82, w84, w93, w95, w98, w105, w111, w114, w128, w133–w135, w142, w148, w151, w168, w170, w178, w180, w181, w189, w198, w203, w216, w253, w260, w269, w273, w298, w317, w324, w326–w328, w330, w337–w339, w376, w391, w393, w399, w401–w404, w455–w457, w467, w474, w479–w481, w489, w495, w500, w504, w510, w519, w528, w539, w548, w558, w572, w581, w624, w670)

U.S. Department of State, Art in Embassies, Washington, D.C. (P596)

Matt Vaccaro (w334)

J. Verme (c482)

Mr. and Mrs. Herbert Vogel (w438)

Christopher V. Walker (P577, c744)

Mr. and Mrs. George Walker (c539)

John H. Walter and Joy Thornton-Walter (P453, w639)

Alan M. Webber/Frances Diemoz (P500)

Weingarten Family (P1032)

Weinstein Gallery, San Francisco (w331–w333)

Robert F. and Patricia Ross Weis (c298, c645)

Jonathan Weiss (w611)

Weiss Family Collection (c488, w139)

Dr. and Mrs. Samuel Wells (P992)

Sanford and Barbara Wernick (P393, P1077)

Pamela West (c562)

Westchester collection (P436)

Kimberly Schlegel Whitman and Justin Whitman (P1102)

Mr. Andy Williams (P1031, w36)

Jacqueline and Eugene Williams (c52)

Dina and Jerry Wind (w531)

Susan King Wit (w656)

Elliot K. Wolk (P886, c799)

Arnold and Carol Wolowitz (P1103)

Iris S. Wolstein (c45)

William G. Woodford (w549)

M. Woodside (c54)

Mr. and Mrs. Samuel Patrick Woodson III (c611)

Virginia and Bagley Wright. See also Seattle

Art Museum (P741, c124, c429)

Hanford Yang (P661)

Charles M. Yassky, New York (P442)

Bud Yorkin (c523, c694)

Henry and Judith Zachs (c672)

Zane Bennett Contemporary Art (w476)

Lois and Bruce Zenkel (P490)

Bobbi and Walter Zifkin (c649)

Public cO llecti O n S

Aberdeen Art Gallery & Museums, Scotland (c862)

Ackland Art Museum, University of North Carolina at Chapel Hill (P197)

Albright-Knox Art Gallery, Buffalo (P156, P672, P805, c498)

Allentown Art Museum, Pa. (P195)

Arizona State University Art Museum, Tempe (w698)

Arkansas Arts Center Foundation Collection, Little Rock (w529)

Art Gallery of Alberta, Edmonton, Canada (P589)

Art Gallery of Ontario, Toronto (P135, P152, P392, P619, P686, P953, P1063, P1115, c46, c62, w18, w30, w118, w276, w283, w357, w364, w466, w505)

The Art Institute of Chicago (P16, P91, P705, c64, c128, w156)

The Baltimore Museum of Art (P338, P341, c3, c84, w69)

Bennington College, Vt. (c94)

La Biblioteca Luis Angel Arango (w119)

Birmingham Museum of Art, Ala. (P109, P913, c108, c240)

Blanden Memorial Art Museum, Fort Dodge, Iowa (P132)

Blanton Museum of Art, the University of Texas at Austin (P210)

Brooklyn Museum (P544, w284)

The Butler Institute of American Art, Youngstown, Ohio (P1204, c77, c473, c833, w657)

Carnegie Museum of Art, Pittsburgh (P35, P131)

Castellani Art Museum of Niagara University, New York (c338)

Chrysler Museum of Art, Norfolk, Va. (P223)

Cincinnati Art Museum (P750)

The Cleveland Museum of Art (P216, c11)

Columbia Museum of Art, S.C. (c462, c500)

The Columbus Museum, Ga. (P244, P411, P1206, c402, w121)

The Contemporary Museum, Honolulu (P252, P1180)

Corcoran Gallery of Art, Washington, D.C. (w470)

Cranbrook Art Museum, Bloomfield Hills, Mich. (P709, c701)

Dallas Museum of Art (P358, P364)

Daum Museum of Contemporary Art (c549)

David Winton Bell Gallery, Brown University, Providence, R.I. (c40)

The Dayton Art Institute, Ohio (P359)

Delaware Art Museum, Wilmington (P163, P409, P520, c71)

Denver Art Museum (P22, P88, P147, P339, P391, P410, P451, P473, P722, P777, P796, P811, P1177, c101, c401, c553, c830, w270, w632)

Des Moines Art Center (P106, c406)

The Detroit Institute of Arts (P772, P818, c575)

Didrichsen Art Museum, Helsinki, Finland (w199)

Es Baluard Museu d’Art Modern i Contemporani de Palma, Spain (c171)

Everson Museum of Art, Syracuse, N.Y. (P480)

Fine Arts Museums of San Francisco (P27, P96, P1042)

Fine Arts Work Center, Provincetown, Mass. (c255)

Flint Institute of Arts, Mich. (P1178)

Fogg Art Museum, Harvard University Art Museums, Cambridge, Mass. (P101, c21, c49)

Fort Wayne Museum of Art, Ind. (c730)

The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, N.Y. (c228, c229)

Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis (P102)

Fundació Joan Miró, Barcelona (c683)

Goucher College Art Collection, Baltimore (w17)

Grand Rapids Art Museum, Mich. (P103)

Grey Art Gallery & Study Center, New York University (c88)

Guggenheim Museum Bilbao, Spain (P181, P222, P924)

The Hakone Open-Air Museum, HakoneMachi, Kanagawa, Japan (P813)

Hara Museum of Contemporary Art, Tokyo (P485)

High Museum of Art, Atlanta (P93, P282, P533, c113)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (P816, c399, c405, c440, c457, c459, w5)

Honolulu Academy of Arts (P645, P940)

Hood Museum of Art, Dartmouth College, Hanover, N.H. (P190, P1147)

Hunter College, New York (c574)

The Huntington Library, Art Collections, and Botanical Gardens, San Marino, Calif. (P108)

Huntington Museum of Art, W.Va. (P527)

Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Palo Alto, Calif. (P1181, c667)

The Israel Museum, Jerusalem (P127, P352)

The Jewish Museum, New York (P117, w14, w76)

Kemper Museum of Contemporary Art, Kansas City, Mo. (c397)

Krannert Art Museum, University of Illinois, Urbana-Champaign (c50)

Kunsthaus Zürich (P881)

Kunstmuseum Basel, Switzerland (P130)

Kykuit, National Trust for Historic Preservation, Tarrytown, N.Y. (P86)

Los Angeles County Museum of Art (P492, P850, c4)

McNay Art Museum, San Antonio, Tex. (c154, c407, c413, c601)

Memorial Art Gallery, University of Rochester, N.Y. (c845)

The Menil Collection, Houston (P431)

The Metropolitan Museum of Art, New York (P85, P138, P168, P220, P416, P429, P430)

Mildred Lane Kemper Art Museum, Washington University, Saint Louis (P118, c55, w517)

Milwaukee Art Museum (P246, P277, w205, w208)

Modern Art Museum of Fort Worth (P4, P122, P128, P180, P226, P267, P496, P554, P641, P688, P745, P786, P789, P848, P869, P878, P937, P1024, P1030, P1176, c47, c384, c476, c506, c515, c676, c685, c842, w147, w294, w407, w452, w542, w583, w674)

Montclair Art Museum, N.J. (P336, w15)

Mount Holyoke College Art Museum, South Hadley, Mass. (c604)

Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, N.Y. (P153)

Musée d’Art Moderne de la Ville de Paris (c551)

Musée National d’Art Moderne, Centre Pompidou, Paris (P84)

Museo Nacional Centro de Arte Reina Sofía, Madrid (P212, P342, P875)

Museo Tamayo Arte Contemporáneo, Mexico City (c495)

Museu de Arte Moderna do Rio de Janeiro (P99)

Museum Moderner Kunst Stiftung Ludwig, Vienna. See also Ludwig Foundation, Austria (P838)

The Museum of Contemporary Art, Los Angeles (c568)

Museum of Fine Arts, Boston (P592, w458)

The Museum of Fine Arts, Houston (P219, P859, P861, P865–P867, P870–P872, c341, c526, w68, w106)

The Museum of Modern Art, New York (P3, P47, P64, P87, P215, P368, P373, P414, P420, P680, P682, P683, P689, P860, c7, c110, c164, c237, c810, w259, w291, w292, w484, w547, w571, w582, w628, w629)

National Gallery of Art, Washington, D.C. (P31, P673, P955, P956, c63, c98, c433, c616, c646, w16, w117, w336)

National Gallery of Australia, Canberra (P225, P744)

Nelson A. Rockefeller Empire State Plaza, Albany (P271)

The Nelson-Atkins Museum of Art, Kansas City, Mo. (c717, w44)

The New Britain Museum of American Art, Conn. (P1113, w554)

Newark Museum, N.J. (P240)

North Carolina Museum of Art, Raleigh (P67, P207, P788, P1025)

Norton Museum of Art, West Palm Beach, Fla. (P11)

Palm Springs Art Museum, Calif. (P1138)

Peggy Guggenheim Collection, Venice (c8)

Pennsylvania Academy of the Fine Arts, Philadelphia (P776, c565, c857, c858, w13, w110)

Philadelphia Museum of Art (P221, P740)

Picker Art Gallery at Colgate University, Hamilton, N.Y. (w80)

Pinakothek der Moderne, Munich (P161, P264, P771, P820, P896, P1040, c89, c373, c424, c666)

Portland Art Museum, Ore. (w255)

Portland Museum of Art, Maine (P725)

Princeton University Art Museum, N.J. (c70)

Provincetown Art Association and Museum, Mass. (P1196)

The Rhode Island School of Design Museum, Providence (P351)

The Rose Art Museum, Brandeis University, Waltham, Mass. (P218)

The Saint Louis Art Museum (P129, c19, c67, w540)

San Francisco Museum of Modern Art (P72, P217, P334, P408, P506, P790)

Scottsdale Museum of Contemporary Art, Ariz. (P723, c679)

Seattle Art Museum. See also Virginia and Bagley Wright (P56, P741, P936, c124, c334, c429, w154)

Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska–Lincoln (P110, P922)

Sheldon Swope Art Museum, Terre Haute, Ind. (P243, w615)

Smith College Museum of Art, Northampton, Mass. (P139, P1133, c43, c189, w131)

Smithsonian American Art Museum, Washington, D.C. (P136, P194, P247, c22, c44)

Solomon R. Guggenheim Museum, New York (P607)

Spencer Museum of Art, University of Kansas, Lawrence (P213)

Sprengel Museum, Hannover, Germany (P907, c460, w483)

Springfield Art Museum, Mo. (w175)

Staatsgalerie Stuttgart, Germany (P236)

Stanford Law School (c513)

Stedelijk Museum, Amsterdam (P365)

The Syracuse University Art Collection, N.Y. (P51)

Tacoma Art Museum, Wash. (P573)

Tate, London (P69, P177, P504, P505, P819)

Taubman Museum of Art, Roanoke, Va. (P933)

Tehran Museum of Contemporary Art, Iran (P428)

Tel Aviv Museum of Art (P46)

UCLA Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles (w714)

Ulrich Museum of Art, Wichita State University, Kansas (P839, P877, P916)

Universidad de Salamanca, Spain (w534)

University of Alberta, Edmonton, Canada (P281)

University of Coimbra, Portugal (w535)

University of Iowa Museum of Art, Iowa City (P851)

University of Michigan Museum of Art, Ann Arbor (w366)

U.S. General Services Administration (P366)

Virginia Museum of Fine Arts, Richmond (P593, P1179, c81, w210)

Wadsworth Atheneum Museum of Art, Hartford, Conn. (P34, P842–P846)

Walker Art Center, Minneapolis (P265, P437, P627, P632, P1112, c66, c139, c410, c493, c507, w70, w101, w107, w518)

Whitney Museum of American Art, New York (P65, P171, P422, P489, c104, c105)

Wichita Art Museum, Kans. (c12)

The William Benton Museum of Art, University of Connecticut, Storrs (c581, w85)

Williams College Museum of Art, Williamstown, Mass. (P572, c74, w153)

Worcester Art Museum, Mass. (P242, P770, P1026, c97, w630)

Wriston Art Gallery, Lawrence University, Appleton, Wis. (c301)

Yale University Art Gallery, New Haven, Conn. (P230, P664, c20, c38, c82, c106, c126, c136)

Index of the Chapters, Chronology, and Catalogue

Raisonné Entry

Comments

This is an index of names, subjects, and titles discussed in the Chapters and Chronology in volume 1 and in the Comments in the catalogue entries in volumes 2 and 3. The Chapters and Chronology are indexed by page number; the Comments are indexed by catalogue number. Page numbers in italics refer to illustrations. Titles of catalogued works are included below if discussed in the Chapters, Chronology, or Comments. For a complete listing of catalogued works and their corresponding alternative titles and catalogue numbers, see the Index of Titles and Alternative Titles.

Aakre, Richard, 176n.24, 230, 231, w27

Abel, Lionel, 185, 187, 188

Abélard, Pierre: Sic et non (Yes and No), P728

Abercrombie and Fitch labels, c62

Abrams, Harry N., 159, 229, 237, 238, 244

Abstract Expressionism, 104, 132, 206, 209, 212, 214, 215, 217, 253nn.111 and 112, P225

colloquium on (Houston; 1972), 232 exhibitions about, 219, 222, 227, 228, 240, 247, 248, P8

Minimalist art and, 132–33

Motherwell as spokesman for, 20, 106–7, 164, 200, 201, 231, 237

writings on, 171n.66, 206, 222, 224, 233, 256n.303

“Abstract Expressionists” postal stamps, 170n.2

Abstract Heart, The (w162), 218 abstraction, 187, 201, 229, c594 automatism as source of raw material for, 184 of materials used in collage, 43

Matisse as paradigm for certain kind of, 133–35

Motherwell’s imagery and, 3, 4, 5, 9, 11, 16–17, 53–54, 55

Motherwell’s philosophical training and, 18, 19

Motherwell’s views on, 22–23, 77, 200, 213, c8

Whitehead’s ideas and, 181 Abstraction (P35), P24

Abyss (print), c402

Académie Julian, Paris, 182

Ace Gallery, Los Angeles, P982, c474–c476, c523, c543, c567, c685

Acquavella Contemporary Art, New York, c401

acrylic polymer emulsion paint, 101, 209, 257n.367

Beside the Sea series and, 102, 216, w127, w254

Actualités Mondial Photo envelope, c81

Aeneas, P1089, P1115

Africa:

allusions to political concerns in, 4, P338 allusion to Rimbaud, P338

sculpture and masks of, 15, P338, c154

Africa (P338), 12, 220, 221, 221, 237, P516, P829, c154

Africa No. 2 (P339), 220, 221, 221, P829, c154

Africa No. 3 (P829), w196

Africa No. 3 (w196), P829

Africa No. 5 (P831), P1206

Africa No. 6 (P832), P1195, P1205

African Collage No. 1 (c154), 226

African Collage series (c154–c156), 221, c586

African Plateau No. 2 (P835), P836

African Plateau No. 2 (P836), P835

African Plateau series (P834–P837), 4, 237

Africa series of paintings (P338, P339, P829–P833, w196), 221, 237, P860

Africa Suite (prints), 229, w342

Africa Suite: Africa 1, w342

Africa Suite: Africa 2, P775, w343

Africa Suite: Africa 3, w344

Africa Suite: Africa 4, w345

Africa Suite: Africa 5, w346

Africa Suite: Africa 6, w347

Africa Suite: Africa 7, w348

Africa Suite: Africa 8, w349

Africa Suite: Africa 9, w350

Africa Suite: Africa 10, w351

Africa Suite series of paintings on paper (w342–w352), 261, w342 after-images, 9, 27–28, 31, 54, 66, 69, 76–77, 88, 170n.25, P420

Afternoon in Barcelona (P171), 209, P172, w26 AIDS, 248, 249

Aiken, Henry David, 181, 238 Akron Art Institute, Ohio, P76 Aladdin brand wall-lamp bracket packaging, c609

Alan Gallery, New York, 211

A la pintura (livre d’artiste), 225–26, 230, 232, 242, P522, P804, c376

Black 4, c264

White 10–13, 258n.447, P712

A la pintura No. 2 (P813), 235, P804

A la pintura No. 7 (P804), P813

A la pintura No. 8 (P814), 235, w490

A la pintura No. 12 (P805), 237, P813

A la pintura No. 15 (P896), P897, w503, w507

A la pintura No. 15 (P897), P896, P924, w503, w507

A la pintura No. 16 (P898), w503, w507

A la pintura series. See P804, P805, P813, P814, P896–P899

Alassio, Italy: Motherwell and Frankenthaler’s 1960 sojourn in, 114–15, 115, 213, P222, c142

Summertime in Italy series and, 4, 114–15, 213, P236, c121–c123, w116, w117

Albers, Josef, 190, 207

Alberti, Leon Battista, 175n.9 Alberti, Rafael, 19, 79, 173n.12, 243, 244, P522 “A la pintura,” 225

A la pintura (livre d’artiste), 225–26, P522, P804

Motherwell’s first meeting with, 242 El Negro (livre d’artiste) and, 242, 244, P522, c670

“El Negro Motherwell,” 242, 244 Alberti Elegy (print), P1111, w467 Alberti Suite (P522–P528, P754–P756, P989, P1022), 227, w245 numbering of works in, P522

Alberti Suite No. 3 (P524), P1022

Alberti Suite No. 3 (P1022), P524

Alberti Suite No. 12 (P528, fig. 120), 130, 131, 146

Albright-Knox Art Gallery, Buffalo, N.Y. (formerly Albright Art Gallery), 74, 207, 208, 237, P468

Abstract Expressionism: The Critical Developments (1987), 248

Motherwell’s retrospective originating at (1983), 163–65, 244, 245, 245, 259n.489, P147, P162, P163, P842, c5 Alexander VI, Pope, w91 Alexander, Brooke, 234, c550, c587

Alford, John, P157

Algeria, France’s war in, 214 Ali, Muhammad, 229 alkyd enamel, commercial, w71 see also w49–w59

Allende, Salvador, 233, 237, c528, c529

Allen Memorial Art Museum, Oberlin College, Ohio, 203, P95 Alley, Ronald, 137, P350, P504 Alloway, Lawrence, 176n.38, 219, 220 alphabets:

English, forms inspired by, P311

Phoenician, forms inspired by, 159, P924

Alphabet Series (prints; fig. 148), 153 fragments of, as collage elements, c759–c761, c765, c768, c769, c771, c775–c779, c783, c788, c794–c798, c800, c802, c807, c810, c811, c813

Red and Black collages and, 153, 248, c760

Altamira cave paintings, 93, 95, 174n.9, 209, 210, 212

Altamira Elegy (print), w633

Altamira series (c530, c531, c552), c530 Alternative Perspectives on Vietnam (Ann Arbor, Mich.; 1964), 220

Amagansett, N.Y.: Motherwell’s 1944 summer sojourn in, 188, 188

Ambiguity of Experience, The (unidentified work), 189, 253n.136, P13

Ambiguity of Space (c425), 234

America Cup, The (c150, fig. 106), 119, 120, 171n.50

America Cup II (c599), 171n.50

America–La France Variations VIII (print), c781, c786, c804, c815

American Academy of Psychotherapists, 219 American Artists for Israel (New York; 1948), 196

American Chess Foundation, 222

American Federation of Arts, 207, 213, 229, 230, 244

American Fund for Palestinian Institutions, 196 American Imago, 224

American Little Theatre, Paris, 182

American Museum of Natural History, New York, P124

American Scholar, 229

America’s Cup yacht race, c150, c599, c686 Ancestral Presence (P876), 237, P872

Anchor No. 3 (w190), w189 Anchor series. See w189, w190 Anderson, Frederick, 181 Anderson, Valborg, 183, ew.Vii

An die Musik, 247, c649

Andrews/Nelson/Whitehead label, c562 Andújar (España) (P128), 74, 203, 203 see also Elegy to the Spanish Republic series Antonio, Emile de, 229, P496

Apollinaire, Guillaume: The Cubist Painters: Aesthetic Meditations, 187, 188, 197 Appel, Karel, 206 Apse (P984), c612, c662 Arabesque (P863), P864 Arabesque (P1172), P1173, P1174, w719 Arabesque (w719), P1172, P1173 Arabesque Mural Study No. 2 (P1173), P1172 Arches packaging, c400, c421, c563 Architects Collaborative, 200, 200, 221 Architecture d’aujourd’hui, L’, 199 Archives of American Art, 105, 231 Arendt, Hannah, 188 Arion Press, 246, 248

Arjomari-Prioux label, c504 Ark, The (w14), P114

Arkansas Arts Center, P210

Ark Curtain (tapestry for Temple Beth El, Springfield, Mass.), 204, 204, 205, 223, P138, w19

Arnason, H. H., 147, 209, 214, 220, 226, P159, P224, P274, c2 articles on Motherwell’s career (Art International ), 222, 227–28, 238, c169 monograph by (Robert Motherwell ), 158, 159, 222, 229, 235, 236, 237, 238, 259n.489, P204, c398, c563 revised edition of, 240, 244 on Open series, 128, 138 works given to, P320, c192, w104

Arnold, Matthew: “Dover Beach,” 90–91, P768, c61, c68

Arp, Jean (Hans), 22, 118, 186, 194, 195, 199, 223, c52, c154, w162

On My Way, 195, c52

Arriaga, Juan Crisóstomo, P187

ART: New York series (WNDT/Channel 13), 220

Art 1981 Chicago Print (print), 244, c664

Art against AIDS (New York; 1987), 248

Art Bulletin:

collages incorporating fragments of, c252, c385 paintings executed on pages of, c252, c385, w246–w249

Art Bulletin Collage with Cross (c252), c253, c254, c258

Artcurial, Paris, Motherwell’s 1990 solo exhibition at, 249, P1071, P1175, P1185, c710, c860

Art Deco, c616

Art Digest, 71, 191, 202, 204, c12

Arte canvas label, c595

Artforum, 222, 227, 228, 231, c685

Art Gallery of Ontario, w118

Art in America, 214, 234

Art Informel, 209, P225

Art in New York (WNYC radio), 187 “Art in Religion” panel discussion (WNYC; 1951), 202

Art Institute of Chicago, 226

Art International, 105, 211, 224, 225 Arnason’s articles on Motherwell in, 222, 227–28, 238, c169 label from, c169

Artists Equity Association, 204 Artists for CORE, 225 Artists’ Postcards, c600

Artists Space, New York, 249

Artist’s Tower against the War in Vietnam (Los Angeles; 1966), 222

Art Journal, 242

Art Letter, 235

Art Museum, Princeton University, N.J.: Motherwell’s 1973 solo exhibition at, 233, P618, P659, P673, c329, c330, c494, w362

wrapping paper from, c494

Artnews, 36, 72, 79, 171n.73, 204, 216, 218, 224, 225

Art Nouveau, c616

Art of This Century, New York, 172nn.2 and 20, 173n.1, 187, 188, 189, 190, 191, 193, 248, P10

Exhibition of Collage (1943), 39–41, 42, 172nn.1 and 18, 187, c1, c3

First Exhibition in America of . . . (1944), 188 “hours of the day” project for (fig. 13), 32–34, 33, 35, 187, 248, P6, P10

Motherwell’s 1944 solo exhibition at, 35–37, 42, 53, 187, 188, 189, 189, P3, P12–P14, P16, c3, c8, c11–c13

Spring Salon for Young Artists (1943), 187, 253n.122

Art Press International, 238, c588

Arts and Architecture, 202

Arts Club of Chicago, Motherwell’s 1946 solo exhibition at, 191, P3, P16, c13

Artscribe, 239

Art Vivant, L’ (c281), 147, c432

Art Workers Coalition, 228

Ascending (Blue) (c591), c590

Ascending (Red) (c590), c591

Ascension (c725), P1136

Ashbery, John, 225

Asher, Elise, c726

Ashton, Dore, 233, 235, 244, 246, 248, 259n.489

Association for the Advancement of Psychoanalysis, 213

Atavistic Presence (P922), 162, P865

Atelier 17, New York, 185, 188

Atelier de Robert Motherwell, L’ (documentary film), 248, w705

At Five in the Afternoon (P96, fig. 50), 72, 72–73, 141–42, 206

At Five in the Afternoon (P647, fig. 135), 141, 141–42, 231, 259n.477, P96, w10

At Five in the Afternoon (w10, fig. 45), 17, 64, 64, 65–67, 68, 69, 72–73, 76, 141, 166, 168, 196, 197, 209, 230, 231, P86, P96, P647, w9, w272, w468

see also Elegy to the Spanish Republic series

Atreus, P856

At the Edge (print), P1124, c706, c712, c713, c717–c719, c729, c744, c763, c764, c770, c773, c780–c784, c793, c800, c802, c809, c816, w52

Attleboro School, Mass.: mural design for (fig. 196), 200, 200, P102

Aubusson tapestries, c119, c442

Auden, W. H., 206

Augustine, Saint: Confessions, 198

August Sea (P633), 231

August Sea series. See P633, P668–P672

August Sky (P676), 232

August Sun and Shadow, The (P664), 232

Auping, Michael, 248

Australia (print), P1086

Australia II (yacht), c686

Australian Stone (print), c767, c774

Automatic Image No. 2 (w165), w168

Automatic Image No. 4 (w167), w169

Automatic Image No. 6 (w169), w167

Automatic Image series. See w164–w169

Automatic Image with Blue (P270), P248

Automatic Oracle (P1168), 248, P1119 automatism, 6–9, 11, 12, 16, 21, 33, 85, 106, 170n.28, 184, 186, 187, 242, ew.XVi, P1, P270, w203

Beside the Sea series and, 216 collage-making and, 39–40, 42, 43, 44, 85, 89, 154, c4, c42

“correction” of spontaneous elements and, 8, 10, 103, 193

Frankenthaler’s pouring and staining techniques and, 100, 215 Iberia series and, 96–97 Lyric Suite drawings and, 102–3, 221 Motherwell’s first sustained engagement with, 184 Open series and, 132

serial imagery and, 15 spontaneity and, 6–8, 10, 100 synthesis of geometric forms and, 28, 31, 39, 42 titling of works and, 9 as vehicle for self-realization, 25 see also chance Automatism A (print), c811 Automatism B (print), P358, w206 Automatism Elegy (State I White) (print), w633 Automatism Elegy (State II Buff) (print), w633 Automatism No. 1 (w202), w201 Autumn (c414), c554 Ayler Kupp label, c466

Bach, Johann Sebastian: English Suite no. 5 in E minor (bwV 810), c630, c692, c706 French Suite no. 2 in C minor (bwV 813), c695, c706 Bacon, Francis, 206 Badings, Hans, 233 Ballantine Scotch whisky label, c77 Ballard, K. G.: Bar Sinister, c573 Ballets Basques de Biarritz, 210, c138, w163 Ballets Russes de Monte Carlo, 152, c760

Baltic Sea Bride No. 1 (c431), c533

Baltic Sea Bride No. 3 (c433), c431

Baltic Sea Bride No. 4 (c434), c432

Baltic Sea Bride No. 5 (c435), c432

Baltic Sea Bride series (c431–c436), 5, 234, c442, c689

Baltic Sea Marriage (c436), c431

Baltimore Museum of Art, 42, 172nn.19 and 20, 187, 219, 220, 237, P516, c3

Balzac, Honoré de: La Peau de Chagrin, c136

Banach, Joan, 244, 250 Barbarians, The (P1169), 248 Barcelona:

Motherwell’s 1980 trip to, P1005 painting with reference to, P364 see also Elegy to the Spanish Republic series Barnes, Djuna: Nightwood, P1049

Barr, Alfred H., Jr., 172n.8, 199, 199, 210, 213, 244, P215 Barrett, William, 192 Bartók, Béla, 182, c825

Bas, Richard de: Blanc Narcisse handmade papers, c540

Basel Art Fair, Switzerland: 1979, 242, w542 1991, 250, P1126

Basque region, work with reference to, P149, P374

Basque Suite (prints), 229, c244, w315, w331, w334–w337

Basque Suite paintings on paper. See w331–w335

Bastos (c501, fig. 140), 148, 149, 234

Bastos (c502), 234, c501 Bastos (print), 234, c501, c502

Bastos cigarette package, 149, 234, c500–c502 Battaglia, Carlo, 228

Battcock, Gregory: Minimal Art: A Critical Anthology, 132, 133, 137

Baudelaire, Charles, 19, 68, 70, 79, 181, 192, 196

“Correspondences,” 19 “Le Désir de peindre” (The Desire to Paint), w101 “The Voyage,” 173n.17, P87

Bauhaus, 193

Baur, I. H., 206, 208

Bayer, Herbert, 193

Bayerische Staatsgemäldesammlungen, Staatsgalerie für moderne Kunst, Munich (now Pinakothek der Moderne), 245

Baziotes, Ethel, 187, 190, w3

Baziotes, William, 33, 37, 173n.1, 185, 187, 188–89, 190, 192, 193, 194, 195, 196, 197, 198, 200, 201, 206, 207, 209, 216, 218, 254n.195, 256n.296, w3 The Drugged Balloonist (fig. 17), 40, 40, 172n.19, 187, c3 Mirror at Midnight, 35 BBC, 213, 237

Bearden, Romare, 191, 193

Beardsall, Jeffrey, 234

Beau Geste series (prints), w699 Beck, Rosemarie, 196, 201 Beckett, Samuel, P1016, c427 Waiting for Godot, P1016

Beckett’s Space (c427), 234 bed linen, paintings made on, 112 see also P174, P176, P177

Beethoven, Ludwig van, 27 String Quartet no. 16 in F major (op. 135), 151–52, c265, c279, c823, c858 Trio for two oboes and English horn (op. 87), c556

Beidler, Paul, 190

Beige Figuration No. 1 (c228), 171n.50

Beige Figuration No. 3 (c230, fig. 108), 120, 121, 217, 227

Beige Figuration series (c225–c234), 225

Beige Figuration with Gauloises series. See c225–c227

Bein, Mary and Albert, 184

Belknap, Dorothy, 237, 238, 242, 244, 246

Belle Epoque, La, champagne label, c394

Belle France, La (P375), 109

Belle Jardinière, La, Paris, packaging, c722

Belle Mexicaine, La (Maria) (P1, fig. 1), 7–8, 8, 24 (detail), 27, 28, 40, 44, 184, 212, ew.XVi

Bellow, Saul, 205

Bennington College, Vt., 209, 211, 212, 216, w16

Motherwell as teacher at, 224

Motherwell’s 1959 retrospective in New Gallery at, 104, 211, 212, 212, P1, P3, P176, P178, c42, w37, w39

Benton, William, Museum of Art, University of Connecticut, Storrs: Motherwell’s 1979 exhibition at, 161, 241, 242, 244, P307, c402, w542, w598

Berès, Pierre, label, c460

Berg, Alban: Lyric Suite, 103, 221, P1048 Berger, Arthur, 152–53, 182, 183, 246, c737, c814

An Arthur Berger Retrospective album cover, c814

Trio for Guitar, Violin, and Piano (1972), c737, c758, c760, c776, c814

Berggruen, Heinz, Galerie, Paris, 215, c114, c381, w100

Berggruen, John, Gallery, San Francisco, P484, c381, c588, c598

Berggruen & Cie, Paris, c179, c666 Berggruen Collage (c179), c381 Bergman, Ingmar, w714 Berkson, Bill, 220, 225 Berliner Festwochen (Berlin Festival; 1951), 202 Bernstein, Leonard, 27, 182, 187, 249 Berthot, Jake, 237

Beside the Sea, with Black and White (c135), w127

Beside the Sea, with Collage (c134), 203, w127

Beside the Sea No. 4 (w130), 217

Beside the Sea No. 5 (w131, fig. 86), 102, 102, 117

Beside the Sea No. 6 (w132), 217

Beside the Sea No. 13 (w137), 102, 217

Beside the Sea No. 19 (w142), 217

Beside the Sea No. 20 (w143), 217, 225

Beside the Sea No. 21 (w144), 217

Beside the Sea No. 23 (w146), 217

Beside the Sea No. 24 (w147), 247

Beside the Sea No. 40, P24, P35

Beside the Sea series (first series, begun in 1962; P240–P245, w127–w158, w212, w213, w222), 1, 12, 14, 100–102, 174n.23, 217, 220, P775, w254

acrylic polymer emulsion paint in, 102, 216, w127, w254 collages begun as. See c131–c135 genesis of, 102, 216, 217, w127 lithographs inspired by technique of, 218 Beside the Sea series (second series, begun in 1968; w254–w261), c256, w127

Beside the Sea with Black Stripe (P241), P242

Bespaloff, Rachel: “The Moment,” 198 Bête Noire (P757), c405 Beuys, Joseph, 238

Bibliothèque Nationale, Paris, label, c551 Bieber, Margarete, 183

Big 4, The (P1138, fig. 166), 165, 165, 247, 247, 248, P1086

Big A, The (P889), P1136

Big A, The (P1136), 248, P889, P1135, c725

Big Black Picture (P376), 109

Big Drawing, The (New York; 1969), 227, w305

Bigelow, Robert, 237, 238, 239, 240 Bird (w22), c60 Bird I (P124), 74, 202 Bird II (P125), 74, 202, P124 Bird, on White, P76 Bird, Paul: “Motherwell: A Profile,” 202 bird imagery, P76

gestural studies and. See w20–w23 photograph of magpie from New York Times and, 202, 203, P124–P126 Bird Study (w20), c60 Bird Study (w23), c60 Birthday (c372), c399

Black and White (unidentified painting), 197 Black and White Plus Passion (P170), 209, 211, 234, 248

Black and White Scotch whisky label, c135

Black and White series. See P358–P362 Black Cathedral (print), c662

Blackened Sun (print), w541

Black for Mozart (print), c663

Black Gestural Drawing series. See w699–w710

Black Mountain (State I) (print), c696, c701

Black Mountain College, N.C., 190, 191, 192, 202, P114

Black on White (P219), 12, 214, 215 Black on White No. 2 (w283), w285

Black on White No. 3 (w284), w285

Black on White No. 4 (w285), w283

Black on White series. See w283–w288

Black Open (print), c730, c749, c770, c776

Black Plant and Window (P103), 171n.50

Black Signs (P1032), w586

Black Sun, The (w101, fig. 2), 10, 10, 213, w541

Black Wall, The (print), w532

Black with No Way Out (print), w531

Blackwood, Christian, P622, P650

Blackwood, Michael: Robert Motherwell: Summer of 1971 (documentary film), 230, 231, P622, P650, c274–c276

Blanc Narcisse handmade papers, c540

Blesh, Rudi, 214, P182, P768, c68, w84

Modern Art U.S.A., 207

Blood and Sand (films of 1922 and 1941), c511

Bloom in Dublin (P1037), 244, 245

Blue Air (w5), 234

Blue and White on Orange series. See c480, c481

Blue Collage (c79, fig. 94), 112, 112

Blue Collage with Yellow and Music (c653), 248

Blue Door, The (P958), P1017

Blue Drunk with Turpentine (P1118), w584, w690

Blue Elegy (P1026), 244

Blue Elegy (w272), P1026, w189

Blue Elegy (print), P1026, w272

Blue Elegy State I (print), P1026, w272

Blue Elegy State II (print), P1026, w272

Blue Gesture series. See w398–w404

Blue Guitar, The (c889, fig. 150), 154–55, 155

Blue Guitar (To Wallace Stevens), The (c877), 249, c889

Blueness of Blue (P769), 240

Blue Open with Ochre (P980), w354

Blue Painting Lesson: A Study in Painterly Logic, The (P842–P846), 135, 171n.50, 233, 237, 259n.509

seen together as polyptych, 245 See also page 417 in volume 2

Blue Painting Lesson No. 1, The (P842, fig. 123), 130, 131

Blue Window, The (w362), P628

Blue Window series, P842

Blue with China Ink (Homage to John Cage) (c38), c37

Blumenfeld, Erwin, 185

Blum-Helman Gallery, New York, c406

Boas, Franz, 204

Bocour, Leonard, 101, 209, 257n.367, P171

Boghosian, Varujan, 238

Bohannon, Laura: “Shakespeare in the Bush,” c586

Bois, Yve-Alain, P9, w1

Bois Wolverton Dry Gin label, c87

Bolton Landing, N.Y., 209, 220, 221, 234, 235, P504

Bordeaux Summer (c397), 233

Boston Globe, 109

Boston Symphony Orchestra, Contemporary Music Ensemble of, 233

Boulanger, Nadia, 182

Bourgeois, Louise, 190, 228

Bowes & Bowes, Cambridge, England, packaging materials, 112, c79, c90, c166, c178, c254, c521

Bowes & Bowes with Green (c254), c252, c253, c258

Bowles, Jane, 188

Bowles, Paul, 27, 187

Brademas, John, 229

Braman, Norman, P817

Brancusi, Constantin, 16, 116, P211

Brandt, Mortimer, Gallery, New York, 190

Braque, Georges, 47, 87, 172n.8, 194, 198, 249, c51

Brasileira (c527), c596

Brasileira (c645), c527

Brecht, Bertolt, P959

The Caucasian Chalk Circle, c244

“Grosser Dankchoral,” P1187

Brenner, Anita: The Wind That Swept Mexico, 45, 188 Brenson, Michael, 164 Breton, André, 6, 7, 185, 186, c104 Breuer, Marcel, 200 Bridge, The (P1071), 232, 245, 262 Britton, Burt, w511 Brockton Art Museum, Mass., P465 Brodie, Gandy, 196, 202 Broken Open (P1142, fig. 157), 159, 159, w619 Brooklyn Bridge, 245, P1071 Brooks, James, 199, 218 Brown, J. Carter, 238 Browne, Byron, 190, 193 Brown Stripe, The (c200), 227 Brushstroke (print), P967, w626 Brushstroke series (P967–P973), c632, w625, w626 Brussels World’s Fair (1958), 209 Bucher, Jeanne, 172n.10, 191, 254n.160, c2 Buck, Robert, 244 Bugatti, Ettore, c606 bullfighting, 76 Bull and Iberia paintings inspired by, 95–97, P177

Lorca’s poetry and, 20, 65–67, 76, 191, 196, P96, w10

seen by Motherwell at Plaza de Toros Bayonne-Biarritz, France, 5, 95–97, 151, 210, c448, c453, w60

Bull No. 1 (w60), 98, w62

Bull series (P189, w60–w64), 95, 97, 98, 98, 151, 174n.2, 210, 211, c448, c451

Iberia series and, 97, P177, P189, w60, w68, w70

Bultman, Fritz, 197, 198, 201, 208, 209, 226, 238, 247

Burckhardt, Rudy, 123, 225, 258n.433, P397 Burning Elegy (print), 250, P644 Burning Sun (print), c723, c740, c751, c753, c754, c817, c821

Burri, Alberto, 206, 219

Burt, Eugene D., 246, 259n.540 Busa, Peter, 33, 187, 224

Bush, George H. W., 249

Byron, George Gordon, Lord, 25 Byrrh wine label, c157

Cabanne, Pierre: Dialogues with Marcel Duchamp, 227, 230

Cabaret (Broadway musical and film adaptation), 151, 176n.24

Cabaret Collage (c442), 151

Cabaret No. 2 (c443), 151

Cabaret No. 3 (c444), 151

Cabaret No. 4 (c445), 151, c446

Cabaret No. 5 (c446), 151, c455

Cabaret No. 7 (c448, fig. 145), 5, 150–51, 151, c453, w60

Cabaret No. 11 (c452), 151

Cabaret No. 12 (c453), 5, 151, c448, w60

Cabaret series (c442–c453), 150, c418

Cadaqués, Spain, photograph of house in, 128 Cádiz (España) (P132), 203

see also Elegy to the Spanish Republic series

Café des Deux Magots, Paris, c184

Cage, John, 49, 186, 188, 192, 193, 194, 196, 196, 198, c38

Cahuenga Elementary School, Los Angeles, 180

Calas, Nicolas, 185, 196

Calder, Alexander, 185, 188, 201, c616

calendar block page, c215

California Palace of the Legion of Honor, San Francisco, 180, 201, P106

California School of Fine Arts, San Francisco (now the San Francisco Art Institute), 180, 181, 183, 195, 261, ew.Viii

Callahan, Harry, 202

Callard & Bowser’s candies label, c74, c85

Callery, Mary, 190

calligraphy:

Chinese and Japanese, 140–41, P775 musical notes in collages related to, 151 Calligraphy I (print), w699

Calligraphy of the Night, The (P809), P521 Camfield, William, 232

Camino Gallery, New York, 207 Camus, Albert, 213, c104

Canada:

collages with references to, 114, c91–c94

Motherwell’s 1959 sojourns in, 5, 213, c91 Canaday, John, 106–7, 214, 215, 222

Cape Cod: forms related to, P282

Motherwell’s 1959 sojourn in Falmouth, 212, 212

see also Provincetown, Mass.

Cape de Gata (España) (P130), 203 see also Elegy to the Spanish Republic series

Capobianco, Domenick, 257n.381

Capriccio (w100), 215

Capriccios, 12, 71, 201, P101, P108, w100

Caribbean Collage (c159), w215

Caribbean cruise (winter 1965–66), 222, c159 works executed during. See w215–w219, c159, c161–c163

Carmean, E. A., Jr., 147, 159, 160, 176n.5, 231, 232, 235, 236, 238, 239, 240, 246, 247, 250, P956, c1, w104

Carné, Marcel: Les Enfants du paradis (Children of Paradise; film), c852 Carnegie Hall, New York, 193, c38

Carnegie Museum of Art, Pittsburgh, 206, 211, 220, 225

Caro, Anthony, 215, 221

Carpenter Center for the Visual Arts, Harvard University, 246 Carter, Jimmy, 240

Casa de la Mancha, La (print), c789–c791, c803, c806

Cassou, Jean: Matisse, P121 Castelli, Ileana, 195

Castelli, Leo, 195, 202

Castelli, Leo, Gallery, New York, 207, 209, 213, P151

Castile (España) (P131), 203, 203, 262, P140 see also Elegy to the Spanish Republic series Catalonia (P129), 203, 203, P1005 see also Elegy to the Spanish Republic series Cathedral III (c660), P1187 Cathedral series (c612–c614, c660–c665), 244, P563 Catholic Art Quarterly, 201

Cavafy, Constantine P.: “Waiting for the Barbarians,” c688 cave paintings, Paleolithic (fig. 73), 15, 93, 95, 95, 96, 139, 173n.8, 174n.9, 209, 210, 212

Cavern, The (print), c869, c870, c874

Caves, Les (P862), 237, P864, P877, P923 Caves No. 2, Les (P877), 237, P862, P923 Caves IV, Les (P923), P862, P877

CBS Television, 218 Celtique cigarette package, c468

Centro Cultural de la Caixa de Pensions, Barcelona, 242, P1005

Cézanne, Paul, 9, 180, ew.XiV

Bathers, ew.Xiii

Chagall, Marc, 197

Chambre d’Amour (P190), 210, P174

chance: for Dadaists vs. Surrealists, 85 in Motherwell’s process, 85, 101, 103, 113, 123, 133, 154 see also automatism

Charbonnel lithographic crayon box, c438

Chareau, Dollie, 188, 191, 198, 199

Chareau, Pierre, 49, 188, 191, 192, 193, 193, 194, 195, 198, 199, 247, P62, c1

Chateau Cheval Blanc wine label, c250

Chateau Latour wine label, P1107, c389, c397, c417, c637

Château Mouton Rothschild, label for 1974 vintage of, 237, P862

Checkered Skirt, The (P67), 194, P66 Chesterfield cigarette package, c588

Chetham, Charles, 217

Chi Ama, Crede (P224, fig. 85), 12, 100, 100, 101, 103, 104, 130, 132, 215, 216, 217, 217, 220, 224, 240, P396

Chicago Daily Tribune, 191

Chicago International Art Exposition (1981), c664

Chile, overthrow of Allende in (1973), c528, c529

Chilean Revolutionary Collage (c529), 237 Chillingsworth restaurant, Provincetown, Mass., c186

Chinese calligraphy, 140, 141

Chinese imperial portraits, 57, P64, P68

Chirac, Jacques, 239

Chocmel candy wrapper, c284, c285

Chroniques de l’art vivant, 230, c281, c432, c434, c435, c438, c459 Cicero, Carmen, 238

Cimetière Marin, Sète, France, 63 Claessens, V. A., Belgian artist’s canvas label, c133, c382, c425, c463 Clark, Sir Kenneth, 220, P224

Clark Art Institute, Williamstown, Mass., 247 Cleveland Museum of Art, 242, c11 Club, The, New York, 197–98, 199, 202 Clyde, Mary Abbot, 196

“Coca-Cola sun,” w6

Cock Looking Backwards (w90), w84 Cohasset Beach, Westport, Wash., 180, 183 Cohen, Arthur A., 135, 136, 223, 226, 228, 258n.420, c71, c265, c460, c501, c585

Cohen, Elaine Lustig, 136 Cohen, Ken, 262

Cold War, 194

Collage (c43), c11

Collage (c70), c184

Collage (c83), 112, c82

Collage No. 1 (c21), 174n.31, 191, c22

Collage No. 2 (c22), 174n.32, 238, 247, c21 collage and collages, 39–51, 85–91, 111–20, 145–55

animal skin and fabrics in, 46–47 automatism and, 39–40, 42, 43, 44, 85, 89, 154, c4, c42

cardboard in, 149, c78, c93, c415, c484, c520, c521, c606, c669, c670 centering of composition in, 39, 172n.8 cigarette packages in, 4, 113, 259n.482. See also Gauloises cigarette package

cross-fertilization between Motherwell’s paintings and, 41, 43, 45, 53, 54, 56, 116, 163

Cubism and, 39, 45, 85, 86, 87, 88, 89, 172n.8, c6, c7, c42, c51, c58 editing process for, 49, 85 element of chance in, 85, 113, 154 enlargement of elements for, 149, 152 everyday materials in, 111–14, 118, 147–48 executed on aquatint ground, 152, 153, c760 exhibitions of, 215

1943 (Art of This Century, New York), 39–41, 42, 172nn.1 and 18, 187, c1, c3 1948 (Museum of Modern Art, New York), 49, 51, 195

1965 (Phillips Collection, Washington, D.C.), 220, 221, c112

1968 (Whitney Museum of American Art, New York), 176n.12, 225, 226, 227, c228 1972 (Museum of Fine Arts, Houston), 12, 147, 231, 232, 233, c89, c108, c136, c150 fine art papers in, 47, 111 German wrapping paper in, 44–45, 47, 50, 55, c6, c7, c13, c14, c20–c26, c37, c39, c43, c44, c48–c51

Greenwich, Conn., studio dedicated to, 13, 142, 144, 234, 236 integrative vs. disjunctive approach in, 44–45, 172n.25 intensely colored papers in, 4, 42, 43, 172nn.10 and 22, c1–c3, c5, c8, c11 larger-scale, 41–42, 149, 176n.22, 234 materials lacking personal attachment in (1970s), 147–48

Matisse’s cutouts and, 118–19, 149–50, c513 military training map fragments in (fig. 21), 42, 43, 47–49, 172n.23, c3, c12, c17 modernism and, 41 in Motherwell’s 1965 Museum of Modern Art retrospective, 118–19

Motherwell’s first experiments with, 39–41, 187, c1–c3 in Motherwell’s first solo exhibition at Art of This Century (1944), 35–36, 37, 42 Motherwell’s interest in Dada and, 85–86, 88

Motherwell’s love of paper and, 117 newspaper or magazine pages first used in, 87, c58 numbering of, c21, c22, c40, c61

Open paintings and, 119–20, 124 paintings on paper transformed into, 117–18, c132–c135

Peggy Guggenheim and Motherwell’s involvement with, 32, 39, 187 personal significance of elements in, 4–5, 111, 112, 113, 148, 150–51 photographic imagery in, 41, c684, c755 printed facsimiles introduced in, 148–49, 233, 234, c386, c501 printmaking and, 13, 116, 145, 148–49, 153, 246 punning in, 87, 113–14, 119, c80, c85, c124 reality of materials used in, 43 revision process and, 3, 43 sand mixed into paint in, 47 sense of place in, 4 serial approach to, 145–47, 152–54 sheet music in, 5, 151–52, 154. See also specific composers and music shift from fine arts papers to more humble papers in, 111

signature as part of composition in, c52 tearing process in, 44, 45, 87–91, 119, 207, c47, c52, c61, c68, c69 Apollonian and Dionysian aspects of, 89 three-dimensional support in, c78 titling of, 151 torn up and used in new collages, 116 travel and memories of travel as inspirations for, 114–16, 175n.9 Upson board as support for, 146, 149 variation and seriality in, 145–55 wood veneer in, 44, 45, c4, c7, c17, c19, c21–c23 words and graffiti-like writing in, 47–49, c17, c33 with works on versos in various states of completion, c43, c11, c15, c16 see also specific collage elements Collage in Beige and Black (c16), 54, c11 Collage in Black and Green (c9), c416, c568, c575 Collage in Yellow and White, with Torn Elements (c52), 12, 118, 202 Collage with German Music and Canvas (c461), c495, c509 Collage with News from Zürich and Black Table (c64), 207

Collage with Ochre and Black (c77, fig. 93), 111, 111, 208

Collage with Ultramarine Blue (c110), 117 College Art Journal, 205

Colorado Springs Fine Arts Center School, 205 color-field painting, 130, 132, 133 Colsman-Freyberger, Claus, 149, 231, 237, P673, P742, P770, P771, c351, c370, c423, c466, c499

Colsman-Freyberger, Heidi, 149, 176n.19, 231, 236, 237, P274, c351, c370, c423, c499 Columbia University, New York, 241, w534

Motherwell as graduate student at, 36, 182, 183, 184

Columbus Museum of Art, Ohio, 237 Commodore Sloat Grammar School, San Francisco, 180 Communism, 71, 79, 197, 207, 212 Compagnie Générale Transatlantique (the French Line) label, c463 Composition (P33), 55 Composition (unidentified), 187 Conant, Howard S., 220 Confederate one-dollar bill, c396 “Conference on Communications and Political Culture: The Iberian Peninsula in Transition” (New York; 1978), 241, w534 Congregation B’nai Israel Synagogue, Millburn, N.J., mural for (P114). See Wall of the Temple Congress of Racial Equality (CORE), 215, 225 Conner, Bruce, 211 Conrad, Joseph: Heart of Darkness, c709 Container Corporation of America, c95, c96 Contemporary Arts Museum, Houston, 74, 205 Coolidge, John, 205 Cooney, Patrick, 225 Cooper-Hewitt Museum of Design, New York, 230 Cooper Union, New York, 245 Coplans, John, 171n.44, 231 Corcoran Gallery of Art, Washington, D.C., 235

Cordier-Eckstrom Gallery, New York, 222 Cornell, Joseph, 184, 194, 196, 196, 201, 204, 211, 254–55n.217, c11

Untitled (A Suivre), 198 correspondences, notion of, 18–19, 64 Corsican Collage (c500), c501 Coudray, E., label, c476 Country Life mailing envelope and label, 145, 258n.461, c180, c188, c205, c212 Cowart, Jack, 240, P955 Cowles, Charles, 231 Cowles, Charles, Annex Gallery, New York, P1113

Coxson, James, c862 Crane, Hart, 181 “At Melville’s Tomb,” P153 The Bridge, P1071 Craven “A” brand cigarette wrapper, c93 Crawford, Cheryl, 185 Crawford, Ralston, 204 Crémaillère, La (c367), 147 Crémaillère, La, matchbook, c367 Crispo, Andrew, Gallery, New York, 239, c39, c598 crocodile skin, c46 Crosby, Caresse, 190 Crosman, Christopher, 237 Cubism, 17, 19, 22, 47, 106, 128, 206, 221, 249 Apollinaire’s The Cubist Painters: Aesthetic Meditations, 187, 188, 197 collage and, 39, 45, 85, 86, 87, 88, 89, 172n.8, c6, c7, c42, c51, c58 Homely Protestant pictures and, 59 Kahnweiler’s Rise of Cubism, 196, 197, c51 Cuddihy, John, 206, 207, 209, P32 Cuisinière, La, New York, shopping bag, c222 cummings, e. e., 181, 194 Cummings, Paul, 105, 231, P164, c66, c402 Cunningham, Merce, 27, 187 Cunningham, Pat, 244

Dada, 40, 190, 193, 202, 217, 253n.149

Motherwell’s collages and, 85–86, 88 Dada Painters and Poets, The (formerly titled Dada: An Anthology), 22, 85, 86, 190, 197, 198, 202, 212, 253n.149, 255nn.248 and 249

Dain, Robert, 233

Dain/Schiff, 233

Dain/Schiff wrapping paper, c456 Dalí, Salvador, 127, 210 Damisch, Hubert, 238, 246 Dance (P1025), 244 Danieli, Fidel, 164, 177n.17 Danielsen, H., Eftf. Antikvitetshandel, Copenhagen, label, c374 Danoff, I. Michael, P210 Danse, La (P134), 203 Danse II, La (P138), 204, 205, 209 Danse III, La (P139), 74, 204 Danse IV, La, 74 Danse, La, series (P134, P138, P139), 74, 80, 173n.16, P134, P138 Dante, 181 Danto, Arthur, 164, 165 Darwin, Charles, 180 Davidson, Joan, c600 Davis, Stuart, 183, 201, 218 Daykarhanova, Tamara, 184 Days Lumberyard, Provincetown, 214, 214–15, 216, 240, P220, P224, P396 Decalogue, Jacob’s Ladder, and Burning Bush (P117), 203, P114

Dedalus Foundation (formerly Motherwell Foundation), 241, 250, P462

Dedalus Sketchbook, 245 de Kooning, Elaine, 218 de Kooning, Willem, 9, 54, 107, 194, 197–98, 199, 201, 204, 206, 207, 209, 219, 240, 255n.266

Delacroix, Eugène, 181, 182

The Journal of Eugène Delacroix, 18, 25, 181, 182, 231 de la Cruz, Juana Inés: “Que muero porque no muero” (I Die Because I Do Not Die), c676 del Conde, Teresa, 250 Delicados (c598), c626, c648

Delicados cigarette package (lithographic reproduction), c598, c648 Delos (print), c866, w722

Democratic National Convention (Chicago; 1968), 226

Denis, Henry Mounie & Co. cognac label, c414

Dennison, George H., 198

Derain, André, 128

Descent from the Cross (ew.Xiii), ew.X, c299 Deserted Studio, The (P913), 238 Design Quarterly, 205 Des Moines Art Center, c406 De Stijl movement, 197

Destrooper, Jules, biscuit box, c589 Deux Magots Café, Paris, 147 Dewey, John, 17–18, 184

Art as Experience, 17, 181 de Wilde, Eduard, P365 de Young, M. H., Memorial Museum, San Francisco, 57, 180 d’Harnoncourt, René, 204, 212 Diamonstein, Barbaralee, 244

Diary of a Painter (P169), 93, 174n.2, 208, 209, w17

Diebenkorn, Richard, 181

Dine, Jim, 217, 219

Dinsmoor, William Bell, 183

Dirge (w9, fig. 46), 51, 64–65, 65, P46, c41, c53 Disappearance of Goya’s Dog, The (c816), P861 Displaced Table, The (c4), 172n.20, 189, c7 Distel, Herbert: The Museum of Drawers, 237–38, P881 di Suvero, Mark, 222 Djarum (print), P1106

Documenta II (Kassel, Germany; 1959), 220 Documenta III (Kassel, Germany; 1964), 220 Documenta 5 (Kassel, Germany; 1972), P881 Documents of Modern Art, vi, 18, 22, 85, 187, 188, 190, 191, 193, 195, 196, 197, 198, 199, 201, 202, 213, 223, 253n.132, 254n.171, P32, c51, c52, c515

The Dada Painters and Poets, 22, 85, 86, 190, 202, 212, 255nn.248 and 249 Documents of 20th-Century Art (later Documents of Twentieth Century Art), vi, 193, 223–24, 226, 227, 230, 241, 258n.420, 259nn.489 and 522, c460 Dominguín, Luis Miguel, 95, 210 Dom Perignon champagne label, c369, c379 Dondero, George, 197, 207, 256n.296 Doorway with Figure (P88), 68, P86, P87, P89, P1081

Dordogne, The (P273), 218, 219, P269 Dordogne series. See Primordial Sketch series Dorner, Alexander, 190

The Way beyond Art: The Work of Herbert Bayer, 193

Dostoyevsky, Fyodor, 180

The Brothers Karamazov, P1144, P1182

The Idiot, 78

Dover Beach (later revised as The End of Dover Beach; c68, fig. 68), 90, 90, 91, c68

Dover Beach III (P768), P767

Drawing (w82), 211

Drawing C (w485), w486

Drawing C (w486), w485

Drawing Society National Exhibition, 1970 (New York), 230, 258n.473

Drudi, Gabriella, w624

Drunk on Turpentine No. 47 (w576), P1033

Drunk with Turpentine (w583, fig. 159), 161, 161, P1030, w564

Drunk with Turpentine (w586), P1032

Drunk with Turpentine (w588), 241, P1032, w542, w543

Drunk with Turpentine (w599), w598

Drunk with Turpentine (w606), P1029

Drunk with Turpentine (w609), P1034

Drunk with Turpentine (w614), P1041

Drunk with Turpentine (w619), P1142

Drunk with Turpentine (w621), P1161

Drunk with Turpentine No. 1, w542

Drunk with Turpentine No. 2 (Stephen’s Gate) (w542), 247, P1040, w662

Drunk with Turpentine No. 3 (w543), P1047

Drunk with Turpentine No. 9 (w548), w543

Drunk with Turpentine No. 16 (w553), 242, w542

Drunk with Turpentine No. 20 (w555), w543

Drunk with Turpentine No. 24 (w559), 242, w542

Drunk with Turpentine No. 25 (w560), 241, w542, w543

Drunk with Turpentine No. 30 (w564), w583

Drunk with Turpentine No. 50 (w578), P1031

Drunk with Turpentine series (P976, P993, P1118, w542–w623, w649, w651, w652, w654, w662, w673, w675), 1, 14, 100, 161, 241, 244, P974, P976, P1059, P1119, c633, w541, w628

acrylic polymer emulsion paints in, w581, w616–w618, w620

derivation of title, 242, 259n.525, w542 Dublin 1916, with Black and Tan (P271, fig. 124), 4, 132, 132, 218, 219, 221, 246–47, w189

Dubuffet, Jean, 57, 60, 173n.9, 198, 206

Duchamp, Marcel, 34, 186, 190, 193, 198, 207, 210, 212, 222, 226, 227, 253nn.132 and 149, 255n.248, 256n.296, 257n.402

The Bride Stripped Bare by Her Bachelors, Even, 213, 257n.350

Cabanne’s Dialogues with Marcel Duchamp, 227, 230

First Papers of Surrealism (1942) and, P9

Sixteen Miles of String, P9 duende, notion of, 19–20, 25, 79, 97, 171n.4, P127

Dufy, Raoul, 182

Duncan, Raymond, Galerie, Paris, 182, ew.Viii

Duncan, Robert: “A Storm of White,” c716

Düsseldorf, Motherwell’s 1976 retrospective in (Städtische Kunsthalle), 238, P88, P775, P805, P850, c567, w458

Dutch Linen Suite: Untitled (print), P814, w490

Duthuit, Georges: Fauvist Painters, 199, 201, c51 Dyn, 184, 185, 186, 187, 189, 192

Eames, Charles, 205

Easel I, The (c58, fig. 63), 86–87, 87, 88, 89, 203, 204, w87

Easel II, The (drawing), c58 Easter Rebellion (Dublin; 1916), P271 East Hampton, N.Y.: collages with references to, 203, c58, c59 Motherwell’s homes and studios in, 178, 188, 190, 191, 192, 192, 193, 193, 195, 197, 198, 199, 199, 204, 205, 247, 254nn.169 and 170, 255n.266

Motherwell’s move back to New York City from (1948), 195

Motherwell’s residence and sojourns in, 57, 63, 64, 65, 173n.1, 188, 190, 191, 192, 193–94, 195, 196, 197, 198, 199, 199, 200, 202, 203

Motherwell’s return to (1950), 199 works executed in, 194, P64, P95, c19, c37, c38, c41 East Hampton Beach (c59), 204 East Islip, N.Y.: Motherwell’s residence in, 200, 201 Eastman, Lee, P649, c555, c596 Eastman, Monique, P649, c555 Eclipse (c865), 154 Edelstone, Sigmund, P613

Edelstone View No. 2, The (P614), P613

Edgar Allan Poe Series (Poe’s Music) (c510), c402, c509

Edgar Allan Poe Series (The House of Usher) (c464), 235, c402, c473, c509, c510 Edgerton, Anne Carnegie, 246

Egan, Charles, Gallery, New York, 194, 198, 200, 201, 204

Ehrlich, William, Gallery, New York, P354, P517–P519, P548, P641, P1122, P1133

18 October 1987 Sketchbook, 248 Eisenstein, Sergei, 183

Either/Or (for Kierkegaard) (P1205), 250 Elderfield, John, 94

Elegy, first use of title, 51, c49

Elegy (c49, fig. 29), 50, 50, 51, 209, 215 Elegy Black Black (print), w532

Elegy for Salvador Allende (c528), 237, c529

Elegy for the Spanish Republic XXX (P150), 73 Elegy for the Spanish Republic XXXV (P168, fig. 52), 62, 73, 73, 78, 93, 94, 204, 209, 210, w25

Elegy Fragment I (print), P838, c733–c735, c820

Elegy Fragment II (print), P838, c731, c732, c828

Elegy Sketch (drawing), w534

Elegy Study (w106), 116, 117 Elegy Study (w520), w516 Elegy Study (print), P1025

Elegy Study B (w517), w516 Elegy Study C (w518), w516 Elegy Study I (print), w536

Elegy to the Spanish Republic (P221), 98 Elegy to the Spanish Republic (P225), 209, 215, 244

Elegy to the Spanish Republic (P226), 215, 244

Elegy to the Spanish Republic (P606), 230, P605

Elegy to the Spanish Republic No. 1 (fig. 44), 17, 63, 63–64, 173n.1, 198, 240, 248, P86, w10, w17

Elegy to the Spanish Republic XXXIV (P156, fig. 51), 73, 73, 78, 170n.2, 204, 207, 208, 245, 248, 255n.269, P168

Elegy to the Spanish Republic XL (w25), P168, w108, w109

Elegy to the Spanish Republic No. 44 (w108), w109

Elegy to the Spanish Republic No. 45 (w109), w108

Elegy to the Spanish Republic No. 50 (w32), w108, w109

Elegy to the Spanish Republic No. 54 (P215), 98, 213, 214

Elegy to the Spanish Republic No. 55 (P216, figs. 79, 80), 68, 98, 99, 104, 213, 214, P334

Elegy to the Spanish Republic No. 57 (P217), 98, 104, 209, 214, 218, 219

Elegy to the Spanish Republic No. 58 (P218), 98, 104, 209, 214, 214, P188, w17

Elegy to the Spanish Republic No. 59 (w94), 214

Elegy to the Spanish Republic No. 60 (w111), 214

Elegy to the Spanish Republic No. 62 (w112), 214

Elegy to the Spanish Republic No. 70 (P220, fig. 81), 10, 98, 99, 104, 215, 216, 217, 218, 219, 237, P235, P838, w104

Elegy to the Spanish Republic No. 77 (P229, figs. 272–73), 215, 218, 220, 266, 266, P231

Elegy to the Spanish Republic No. 78 (P230, fig. 83), 98, 99, 218, 219, P220, P229

Elegy to the Spanish Republic No. 79 (P231), 243, P229

Elegy to the Spanish Republic No. 84 (P232), 243, 259n.509

Elegy to the Spanish Republic No. 100 (P850, figs. 152, 153), 104, 157, 157, 217, 233, 235, 237, 238, 240, P605, P812, P838, P849, P851, w353

Elegy to the Spanish Republic No. 102 (P341), 221

Elegy to the Spanish Republic No. 103 (P342), 221

Elegy to the Spanish Republic CIV, P373

Elegy to the Spanish Republic No. 108 (P373), 221, 223, 226, P364

Elegy to the Spanish Republic No. 108 (The Barcelona Elegy) (P364), 4, P235, P373

Elegy to the Spanish Republic No. 110 (P607), 230, 237, w273

Elegy to the Spanish Republic No. 110C (w275), P607, w273

Elegy to the Spanish Republic No. 116 (P515), 229

Elegy to the Spanish Republic No. 124 (P650), 234

Elegy to the Spanish Republic No. 125 (P651), 231, 232

Elegy to the Spanish Republic No. 126 (P851), 157, 233, 234, 235, 236, 241, P925, w353

Elegy to the Spanish Republic No. 127 (P925), 243, 244, 250

Elegy to the Spanish Republic No. 128 (P815, fig. 131), 139, 139, 157, 234, 235, 236, 237, P644

Elegy to the Spanish Republic No. 129 (P816), 157, 234, 235, 237, P643, P815

Elegy to the Spanish Republic No. 130 (P817), 157, 234, 235, 236, P646, P815

Elegy to the Spanish Republic No. 131 (P818), 157, 234, 235, P645, P815

Elegy to the Spanish Republic No. 132 (P819, figs. 274–78), 157, 235, 236, 239, 243, 244, 266–68, 267, P644, P815

Elegy to the Spanish Republic No. 133 (P820), 157, 235, 236, 244, P644, P815

Elegy to the Spanish Republic No. 134 (P821), 157, 235, 236, 239, P646, P815, P822

Elegy to the Spanish Republic No. 134 (P822), 157, 235, P642, P815, P821

Elegy to the Spanish Republic No. 135 (P840), P874

Elegy to the Spanish Republic No. 135 (P874), P840

Elegy to the Spanish Republic No. 150 (w534), 241

Elegy to the Spanish Republic No. 151 (w535), 259n.520, w534

Elegy to the Spanish Republic No. 159 (P963), 242

Elegy to the Spanish Republic No. 160 (P964), 242

Elegy to the Spanish Republic No. 161 (P1027), P1110

Elegy to the Spanish Republic No. 163 (P1061), 163

Elegy to the Spanish Republic No. 164 (P1062), 163, 245

Elegy to the Spanish Republic No. 166 (All Souls’ Day Elegy) (P1111), 248, P1110

Elegy to the Spanish Republic No. 167 (Spanish Earth Elegy) (P1112), 166, 249, P1176

Elegy to the Spanish Republic No. 170 (P1175), 166, 249, P1176

Elegy to the Spanish Republic No. 171 (P1176, fig. 170), 166, 168, 248, 249, 250, P1146, P1175

Elegy to the Spanish Republic No. 172 (with Blood) (P1177, fig. 171), 76, 166–68, 169, 250, P1148

Elegy to the Spanish Republic No. 173 (P1178), 75, 166, 250, P1148

Elegy to the Spanish Republic (Study 2—1971) (P643), P642, P816

Elegy to the Spanish Republic (The Basque Elegy) (P374), 242

Elegy to the Spanish Republic (with LemonYellow Panel) (P648), 231, 232

Elegy to the Spanish Republic series. See also Spanish Elegy works, 1, 11, 12, 13, 14, 17, 30, 51, 63–80, 98, 138–39, 140, 201, 204, 238, 240, 250, P85, P86, P96, P101, P127, w9 archetypal imagery in, 69–70, 138–39, 173n.25

color palette in, 67, 73, 76, 174n.44, 221, P1026, w272 compositional elements in, 67, 68–69, 71, 75, 76, P149, P340, P948 critical responses to, 65, 69, 71–72, 79, 198, 211, 214, 216 evolution of, 72–73 exploration of spatial notions in, 235 first exhibition of image from, 197, 198 first written statement on, 71, 200 genesis of, 63–67, 194, 196, w10 Hobbs’s doctoral dissertation on, 234, 235 last numbered work in, P1178 lithography and, 250 Lorca’s poetry and, 65–67, 76, 79 in Motherwell’s 1965 Museum of Modern Art retrospective (fig. 89), 104, 105, 106, 175n.32

Motherwell’s returns to in 1970s, 157–58, 230, 235 in last decade of his life, 166–68

N.R.F. collages and, c104 numbering of works in, 70, 74, 75, 174n.32, 272, P150, P156, w25, w32, w108, w109, w273 first works given numbers, P148, w17 painted over lithographs. See w534–w540 personal content and, 64–65, 70 pictorial allusions in, 72, 75–78 political content in, 4, 70–71, 77–78, 79–80

second issue of Possibilities and, 194–95

Spanish artists’ and writers’ responses to, 79–80

Spanish Civil War theme in, 79, 174n.44, 217

Spanish identity of, 66, 67, 70–71, 79–80, 209, 211

titling of, 4, 70–71, 74–75, 79, 174n.44, 272, P150, P168, P198, w17

Spanish place names in, 68, 70, 72, 74, P86, P91, w17

total number of works in, 174n.32

Wall Paintings in relation to, 68, 71, 80, 98, P216

Elegy to the Spanish Republic with Blue No. 110A (w273), P607

Elegy with Opening (P1113), 247

Elegy with Sprung Rhythm (P234), 166

Eliot, T. S., 9, 25, 70, 198

“Ash Wednesday,” c71

“Burnt Norton,” c644

The Hollow Men, 163, P1063

The Waste Land, 181

Ellin, Everett, 221

Ellis, Gayle, P274

Ellison, Ralph, 220

Eluard, Paul, 19, 207, c11

“Du fond de l’abîme” (From the Depths of the Abyss), c64

“Je t’aime,” P157, P159

“Par un baiser” (By a Kiss), 82, 88–89, 174n.52, P164, c66, c67

Le Phénix, P157

Emblematic Presence (P904), w513, w515

Emblematic Presence III (w515), P856, w513

Emmerich, Adam, w113

Emmerich, André, Galerie, Zurich, c413, c488

Emmerich, André, Gallery, New York, 212, 231, P834, w4

Emperor of China, The (P68, fig. 37), 4, 57, 57–58, 60, 173n.11, 194, 199, P65

Empire State Plaza, Albany, N.Y., 246, P271

End of Dover Beach, The (c68, fig. 69), 90, 90–91, 114, 151, 204, 211, P768, c47, c61

Enfants du paradis, Les (Children of Paradise), c852

English Ovals cigarette label, c74

Environmental Quality Education Act (1970), 229

Equilibrium Abstracted (unidentified work), 189, 253n.136, P13

Erker, Galerie im, St. Gall, Switzerland, 146, 222, 230, 231, 232, P269, P1194, c206, c282–c288

Ernst, Jimmy, 187, 199, 208

Ernst, Max, 22, 32, 33, 185, 186, 186, 187, 188, 188, 190, 193, c12, w8

Beyond Painting, 195, w8

Le roi jouant avec la reine (The King Playing with the Queen), 188, 253n.127

Ernte 23 cigarette package, 148, 176n.19, 232, 259n.482, c352, c364, c380, c390, c391, c554, c586

see also German Line series

España (print), w522

Esprit nouveau, L’, c58

Espronceda, José de, c525, c581

Esquire, 229

Esta Vida (c676), 249

Étude d’espace (gouache, now lost), 186

Euclid, P823, P895

European Art This Month, c64

Exhibition: 14 American Painters (CBS Television; 1963), 218 existentialism, 192, 193 Expo ’67, Montreal, 224, P367 Expressionism, 65, c12 German, 217, c594 see also Abstract Expressionism E-Z Cut brand stencil paper wrapping, c100 Ezé-Sur-Plage, France, Motherwell and Frankenthaler’s sojourn in (1960), 213, c124

Face of the Night (for Octavio Paz) (P1024, figs. 161, 162), 156, 161–63, 162, 171n.50, 238, 239, 244, 248, 249, P866, P1023, P1025, P1160 Falmouth, Mass.: Motherwell’s sojourn in (1959), 212, 212, P194, w94 Fantasia III (c885), c883, c884 Farber, Manny, 36 Farmer, Edward McNeil, 181 Fauvism, 22 Favorita, La (c139), 218 Favorita, La, label, c139 FBI, 186

Feigen, Richard, 226 Feigl Gallery, New York, 190 Feininger, Lyonel, 190 Feminine I, The (P1152), 166, 248, 250, P1153 Feminine II, The (P1153, fig. 167), 166, 166, 171n.50, 248

Fendrick Gallery, Washington, D.C., w338 Ferber, Herbert, 119, 132, 192, 196, 197, 201, 202, 205, 222, 223, 226, 228, P114

Ferreira y Moyers, Maria Emilia. See Motherwell, Maria Emilia, née Ferreira y Moyers

Ferus Gallery, Los Angeles, 213 Fetish (P1158), P1159

Fields, Edward, Inc., 204, P138

Figuration (drawing), 194

Figuration (P18), 190

Figuration (P49), 55

Figuration, with Black and Orange (w96), P214, w97

Figuration, with Black and Orange No. 2 (w97), 215, P214, w96

Figuration on Blue (c245), c633

figurative imagery. See Motherwell, Robert— imagery created by

Figure “4” No. 2 (c742), c170

Figure “4” No. 3 (c743), c170, c171

Figure “4” No. 6 (c745), c170

Figure “4” No. 8 (c174), c170

Figure “4” No. 10 (c746), c170

Figure “4” No. 11 (c747), c170

Figure “4” No. 12 (c748), c170

Figure 4 on an Elegy, The (w104, fig. 82), 98, 99, 117, 213, 214, 215, P220, w516

Figure “4” series (c174, c742–c748), 247, c170, c174

Figure before Blackness (P213), 214

Figure by the Sea (lost work), 183

Figure in Red (P19), 190, 191, 192

Figure with Blots (c5), 247, c4

Figure with Mandoline (etching), 183, 189 Filmmaker’s Cooperative, New York, 219 Fine Arts Center Gallery, University of Massachusetts, Amherst, 237 Fine Arts Work Center, Provincetown, Mass., 226, 230

Fineberg, Jonathan, 70

Finnegans Wake series. See c474–c476, Joyce, James—Finnegans Wake First Papers of Surrealism (New York; 1942), 31, 32, 174n.39, 186–87, P8, P9 Fisher, Saul, 210

Fishes with Red Stripe (w19), 8, 14, 204, 205, 255n.271, P165

Fiske, Betty, 238, 240

Fitzsimmons, James, 140, 205, 225, c59, c64 Flaherty, Monica, 183 Flam, Jack, 240, 241, 242, 244, 245, 246, 249, 250, 258n.420, P1024, c7

Flavin, Dan, 22

Flesh Automatism (print), c697, c724, c765, c770, c790, c793

Flight (drawing), 206 Florida:

Confederate one-dollar bill issued by, c396 Motherwell’s 1945 sojourn in, 190, w3 Flowers of Virtue, The (play), 185 Flute, The (c6), 47, 145, c7, c20, c37 Focillon, Henri, 85 Fockink No. 1 (c75), 212, c67 Fockink No. 2 (c76), 111, 111 Fockink gin label, c75, c76 Fogg Art Museum, Harvard University, Cambridge, Mass., 201, 223 Fontana, Vincent, w83 Forced Entry (P1034), 244, w609 Ford, Gordon Onslow, 184, 185 Forge, The (P350), 10, 222, P349, P504

“For Israel’s Right to Exist” campaign, P838, c564

Fort Benning, Ga.: fragments of map of, 43, 172n.23, c3, c12, c17

Fort Worth Art Museum, 247 Foundation for the Arts, Religion, and Culture, 222 four (4), Motherwell’s use of the figure 4 in his works, P353, P392, w104, w245 see also Figure “4” series

Fourcade, Dominique, 240 Fourchaumes, Les, wine label, c491

France:

Motherwell and Frankenthaler’s honeymoon trip to (1958), 5, 94–97, 150–51, 209, 210, P171, P173, c448 see also Paris

Franco, Francisco, 71, 80, 93, 94, 181, 209, 237, 244, P838, c675 Frankenthaler, Helen (third wife and painter), 204, 209, 212, 212, 214, 221, 222, 223, 224, 225, 227, 246, 247, 258n.433 Autumn Farm (fig. 71), 94, 94 Before the Caves, 93 Canada trip with (1959), 5, 213, c91 Caribbean cruise with (winter 1965–66), 222, c159, w215 courtship and wedding of, 93, 209, P151, P172, P207

divorce settlement of, 141, 230, 231, 258n.476, P626, P647, w10 influence on Motherwell, 94–95, 100–101, 174n.11, 213, 215 marital problems of, 141, 151, 229, 230 with Motherwell in Europe, 215, 219, 220 1958 honeymoon trip to Spain and France, 5, 93–97, 112, 151, 174n.9, 209–10, P171, P177, c138, c448, c451, c453, w34, w60, w163 1960 trip to Paris and Italy (figs. 98, 99), 114, 115, 115, c122 Motherwell’s influence on, 94

Mountains and Sea (fig. 70), 93, 93, 101, 124 in Provincetown, Mass., 213, 214, 214–15, 216, 218–19, 220, 223, 224, 226, 228, 230

retrospective exhibitions of, 213, 216, 226, 227

Wales, 230, 258n.476 works with references to, 111, c72, c100, c103, w45 striped paper dress, as collage element, c211–c214

Two Figures series, P172, P207, w34

Frazer, Sir James: The Golden Bough: A Study in Comparative Religion, P1115

French and Company, New York, 212 French Collage (c249), w272

French Communist Party, 198 French Door series, c473

French Drawing Block, The (c82), 112, c83 French intimate painting, 279 French Line (Compagnie Générale Transatlantique) label, c463

French Line, The (c124, fig. 96), 114, 114, 148, 151, 213, 216, 238, c274, c352, c393

French Revolution Bicentennial series of collages. See c750–c755 French Revolution Bicentennial Suite (prints). See c750–c754

French Symbolism, 18–19, 23, 181, 183, c11 correspondence principle in, 18–19, 64 see also Symbolism

French underground, c20 Freud, Sigmund, 170n.28, 186 Fried, Michael, 100, 104 Friedman, Abby, 209 Friedman, B. H., 147, 207, 209, 213, 224, 244, c104, c105, c184, c185, c472 Friedman, Martin, 231, 249 Fritz, Robert, 233 Frohnmayer, John, 249

Fromboluti, Sideo, 238

Frontier No. 1 (w49), 98 Frontier No. 2 (w50), 98, w49 Frontier No. 3 (w51), 98 Frontier No. 4 (w52), 98, P367 Frontier No. 5 (w53), 98 Frontier No. 9 (w57), 98 Frontier No. 10 (w58), 98 Frontier No. 12 (w59), 98 Frontier series (w49–w59), 94, 98, 210, 211 Front Street Gallery, Provincetown, Mass., 215

Frost, Robert, 19

“Tree at My Window,” c266

“West Running Brook,” 259n.490 Fuchs, Kenneth, 249 Full Tide (P982), P782

Galeria Joan Prats: Untitled (print), c713 Galerie de France, Paris, 202

Gallatin, A. E., Museum of Living Art, New York, 16, 185

Galleria Odyssia, Rome, c81 Gallery 200, Provincetown, Mass., 197 Gallimard, c104

Game of Chance (print), c654

García Lorca, Federico. See Lorca, Federico García Garden II, The (P724), P726

Garden No. 2, The (P726), P724

Garden Window, The (P496), 135, 249 Gauloises cigarette carton, c203, c257

Gauloises cigarette package, 14, 47, 89, 120, 146, 224, 231, 232, c66, c69, c70, c73, c87, c184–c186, c189–c195, c203, c204, c209, c210, c212, c221, c268, c273, c284, c287–c348, c375, c393, c398, c600, c623, c669, c685, c882

Beige Figuration with Gauloises series. See c225–c227 blue (Gauloises Caporal), use of and preference for, 147, c184 early uses of, c184 first reference in collage title to, c184 green (Gauloises Caporal Doux), only use of, c376 steady supply of, supplied by B. H. Friedman, c184, c185 titling and numbering of collages with, c290 white (Gauloises Disque Bleu), use of, c87

Gauloises on Blue and Green series. See c337, c338

Gauloises on Green and Ultramarine No. 3 (c325), c326

Gauloises on Green with Ultramarine No. 3 (c326), c325

Gauloises on Grey series (c315–c320), c290

Gauloises on Scarlet No. 6 (c295), c290

Gauloises on Scarlet No. 23 (c311), c312

Gauloises on Scarlet over Yellow No. 3 (c333), c290, c334

Gauloises on Scarlet over Yellow No. 3 (c334), c333

Gauloises on Scarlet over Yellow series. See c331–c335

Gauloises on Yellow series. See c329, c330

Gauloises with Scarlet (c289), 146, 231, c290

Gauloises with Scarlet series (c289–c314), 145, 146, 147, 148, 153, 231, c320

modification of works in, around October 1982, c289, c290, c293, c295 modification of works in, around November 1983, c320, c337, c343

Gaza (P380), 109, 224

Gearhart, Livingston, 182, 183, 185–86, ew.Xii, P2, c5, w6

Gearhart, Virginia Morley, 183, ew.Xii, P2

Geldzahler, Henry, 220, 223, 226, 228, 244, P390

Gemini G.E.L., Los Angeles, 142, 148, 232, 233, 234, 237, w409

collages created in March 1973 at, c386–c390 wrapping paper and mailing label from, c399

Genauer, Emily, 106, 212

Gendel, Milton, 183, 185

Generacíon del 27 (Generation of ’27), 65, 79, P522

General Electric Corporation headquarters, Fairfield, Conn., mural for (P1172), 248, P1173, P1174, w719

General Services Administration (GSA), 107, 108, 109, 222, 223, P366

Genet, Jean, 219

Geneva Collage (c472), 235

George I, king of England, c201

German Expressionism, 217, c594

German Line No. 1 (c352), c353

German Line No. 1 (c353), c352

German Line No. 2 (c354, fig. 139), 148, 148, c355

German Line No. 2 (c355), c354

German Line No. 3 (c356), c357

German Line No. 3 (c357), c356

German Line series (c352–c363), 148, 232, c274, c364, c393

German wrapping paper, 44–45, 47, 50, 55, 145, c6, c7, c13, c14, c20–c26, c37, c39, c43, c44, c48–c51 Gerson, Otto, 219 Gesture I (State I) (print), c689, c704, c777 Gesture Figure VI (P928), P891 Gesture on Copper Ground (print), c640, c641 Gesture Paper Painting series (w469–w483): additional untitled works in series. See w484–w502

Gesture series. See w373–w388 Gesture Series (A) (w311), P775 Gide, André, 181, c104 Gimpel, Charles, 215 Gimpel Fils, London, P198, P200, P203 Ginsberg, Allen, 219 Ginsel, Arthur, 196 Giobbi, Chambliss: Purgatory, 154, c889 Giobbi, Edward, 154, 238, c889 Gish, Lillian, 206 Glarner, Fritz, 190, 201

Glass Garden (print), c772, c773, c775, c788 Goethe, Johann Wolfgang von, 27 Italian Journey, c628 Golden Bough, The (P1115, fig. 164), 163, 164, 247, 248

Golden Fleece, The (P223), 100, 132, 215, 216, 217, 218

Gold Medal for the Visual Arts, National Arts Club, 245 Golub, Leon, 205 Goodman, James, Gallery, New York, P1193 Goodman, Paul, 194, 201

“The Emperor of China,” 57–58, 194, P68 “Statue of Strength and Goodness,” 198 Goodman, Percival, 201, 202, 203, 204, 205, P114

Goodnough, Robert, 199

Goodrich, Lloyd, 212

Goossen, Eugene C., 98, 211, 212, 216, 224, 227, P3

Gordon’s vodka label, c377

Gorky, Arshile, 9, 192, 195, 198, 206, 207, 225, 240

Diary of a Seducer, P1205 Gottlieb, Adolph, 187, 190, 192, 193, 197, 198, 199, 199, 200, 201, 202, 204, 206, 219, 220, 228, 234, 246, P114 Vigil, 196

Goya, Francisco de, 11, 27, 66, 79, 93, 154, 206, 210, 210 Los desastres de la guerra, 77 Perro semihundido, P176, P861, P875 Third of May 1808 (fig. 57), 76–77, 77 Goya’s Dog (Sketch) (P861), P864, P875, c816, c864 Goya’s Dog II (c816), P861 Graham, James, & Sons Gallery, New York, 227, w305 Granada (P86, fig. 47), 67, 67–68, 72, 74, 174n.32, 196, 198, 200, 206, 208, 213, 214, 255n.221, P87–P89, P215, w17 see also Elegy to the Spanish Republic series Grand, Ellen, 229, 244

Grande Médaille de Vermeil de la Ville de Paris, 239

Grand Inquisitor, The (P1182, fig. 165), 163, 164, 166, 248, 249, 249, 250, P1063, P1144, P1145, w716 Gray, Cleve, 221

Gray, Francine du Plessix, 202, 221

Gray, Henry, 181

Gray Shade, Blue Light (P767), P768

Great Ideas of Western Man advertisements, c95

Great Wall of China No. 2, The (P615), 232, 244, P1071

Great Wall of China No. 3, The (P616), 244

Great Wall of China No. 5, The (P618), 130, 231

Great Wall of China series (P615–P618, P1071), 231

Greece: ancient, 2, c89

Delos, island of, P1208, c866, w722

Motherwell’s 1965 trip to, c243

Greek Collage (c89), 245, c117

Greek lettering, collage with, c243 Green, Lindsay, w643

Greenberg, Clement, 37, 49, 51, 54, 56, 57, 58–59, 60, 193, 198, 204, 209, 212, 221, 226, P69, c3, c49

alteration of David Smith’s sculptures and, 234, 235 “ ‘American-Type’ Painting,” 129, 175n.18, 206

Minimalism as viewed by, 133, 137

Motherwell’s wedding gift to, 207 Greene, Balcomb, 196 Green Studio, The (print), c749 Greenwich, Conn., c400, c465

Motherwell’s move to, 12, 141, 142, 145, 229, 231, c188

Motherwell’s property in, 141, 142, 145, 229, 230, 230, 231, 234, 235, 240, 246, 246, 250, c266

collaborative work at, 142, 145, 259n.479 collage studio, 13, 142, 144, 234, 236 painting studio, 13, 142, 156, 159, 232, 235, 236, 239, 240, 241, 243, 244, 247, 249, 250 printmaking studio, 12, 13, 142, 145, 233, 233, 234, 238, w409

Motherwell’s social sphere in, 147 Greenwich Arts Council, w392 Grey and Black Open (P981), P999 Grey Day series (P1052–P1054), 244 Grey with Gauloises Blue No. 30 (c319), 147 Grippe, Peter, 199

Grippi and Waddell Gallery, New York, 225 Grohmann, Will, c594

Gropius, Walter, 102, 107–9, 190, 200, 200, 221, 222, 223, P102, P366 Grosman, Tatyana, 211, 214, 218, 225, 230 Grosvenor, Robert: Transoxiana, 132 Group Theatre, 184, 185 Gruen, John, 137–38 Grünewald, Max, 201

Guardian No. 3 (c171), c170

Guardian No. 4 (c391), c170

Guardian No. 4 (c744), c170

Guardian series (c170–c175, c391, c742–c748), c602

revising and/or retitling of works in, 247, c170, c174, c391, c742, c744, c745 Guerard, Albert, 181 Guerrero, José, 259n.537, P1120

Guerrero, Roxie (Roxane Pollock Guerrero), P1120

Guest, Barbara, 216, 244 Guggenheim, John Simon, Foundation fellowships, viii Guggenheim, Peggy, 16, 37, 172n.1, 173n.1, 183, 185, 186, 186, 187, 219, 248, P13, c1, c8, c12

Art of This Century (catalogue of Guggenheim’s personal collection), 186 display innovations of, 34, 35 “hours of the day” project and, 32–34, 187 Motherwell’s exploration of collage and, 32, 39, 172n.8, 187 works acquired by, 35, 172n.20, 188, 253n.121, P10, c8

see also Art of This Century, New York Guggenheim, Solomon R., Museum, New York, 16, 222, 237, P162, P607, P1027

American Abstract Expressionists and Imagists (1961), 215

American Drawings (1964), 220

Aspects of Postwar Painting in America (1976), 237

“Cubism in American Painting” panel discussion (1965), 221 Guggenheim International Award, 1964 (traveling), 219

Motherwell’s 1984–85 retrospective at, 163–65, 246, 247, P1086, P1101–P1103, P1146. See also Motherwell, Robert— retrospective exhibitions of—1983–85

“The Painter’s Music–The Musician’s Art” (1985), 247

Peggy Guggenheim’s Other Legacy (1988), 248

Twentieth-Century American Drawing: Three Avant-Garde Generations (1976), 237

Younger American Painters: A Selection (1954), 205

Guillotine (P352, figs. 269–71), 132, 264, 264–65, P996

Guston, Philip, 197, 204, 206, 207, 208, 209, 213, 218, 220, 222, 228, 244, 246, 256n.300, P163

Gutai group, 206, 209, P225

Gypsy series (c670–c673), c670

Hahn Brothers warehouse, New York, 226, 229

Haiti, Motherwell’s 1960 trip to, 2, 213 Half and Half (c130), c164 Hall, G. K., 241, 258n.420, 259n.522

Halper, Nathan, 204, 206, 207, 211, 244, 245, P32

Handel, George Frideric: Music for the Royal Fireworks (hwV 351), c426

Water Music (hwV 348–50), c201 Handle with Care (c85), 113–14 Hansen, Waldemar, 203

Hare, David, 185, 192, 195, 197, 198, 200, 228 Motherwell criticized by, 171n.73, 225, 255n.221, 258n.431 Harper’s Bazaar, 193, P62, P63 Harrison, Lou, 202 Hart, Lance, 180, 183

Hartigan, Grace, 246

Hartley, William P., Ltd., jam label, c484, c520

Hartley in Germany (c484), c520 Hartung, Hans, c658

Harvard University, Cambridge, Mass., 183, 246, c737

Fogg Art Museum, 201

Motherwell as graduate student at, 18, 26, 36, 152, 181–82

Hayman, David, 33–35, 248

Hayter, Stanley William, 185, 188, 192, 253n.132

HB cigarette package, 259n.482, c348–c350

HC Gallery (later HCE Gallery), Provincetown, Mass., 206, 207, 208, 209, 212, P32

Head (P21), 11

Hegel, G.W.F., 181

Heidegger, Martin: Being and Time (Sein und Zeit), 140

Heidi and Claus (c423, fig. 141), 148, 149, 234

Hein, Ma Vie? (c78), 211

Hektor (or Hector), w695

Helen’s Collage (c72), 111, 111

Heliker, John, 220

Hélion, Jean, 187, 188, 253n.132

They Shall Not Have Me, 187

Heller, Ben, 207 Hello! (P885), w490

Helmuth, Mardi, 188, 190, 192, 197

Helmuth, William T., 188, 190, 197

Hemingway, Ernest, 182

Hemley, Cecil, 197

Hempel, Mr. and Mrs. Gardiner, c198

Henle, Fritz, 116

Henning, Edward B., 232, 242

Hermitage (print), c543

Hermitage Museum, Saint Petersburg, c543

Herodotus: Histories, excerpts used in advertisements, c95–c98

Hess, Thomas B., 72, 225

High Renaissance religious painting, ew.Xiii

Hill, Clinton, c60

Hillsmith, Fannie, 190

“Himno el Quinto Regimiento” (Hymn of the Fifth Regiment), c17

Hindemith, Paul, 182

Hirshhorn, Joseph H., 211, 224

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., w5

Histoire d’un Peintre (c66, fig. 65), 88, 89, 207, P164, c184

Hitchcock, Curtice, c27

Hobbs, Robert, 140, 158–59, 176n.5, 234, 235, 238, 240, P165, P166, P338

Hockney, David, 247, 259n.497

Hodin, Joseph, 12

Hofmann, Hans, 193, 198, 199, 200, 206, 218, 219, 222

Hogan, John Carol (grandfather), 180

Hollander, Irwin, 222, 223, 229, w315

Hollander Workshop, 222, 223, P349, P358

Hollow Men, The (P1063, fig. 163), 4, 163, 163, 166, 177n.14, 245, 245, 248

Hollow Men No. II, The (P1064), P1166

Hollow Men No. II, The (P1166), 248, P1064, c760

Hollow Men No. IV, The (P1185), P1186

Hollow Men series (P1063–P1065, P1127–P1131, P1167, P1185, P1186), 1, 245, 247, 249

Red and Black series and, c760 study for, w527

Hollow Men’s Cave (P1183), 248, 250, P1184, w721

Hollow Men’s Cave (P1184), P1183

Hollow Men’s Cave (print), P1183, w715

Hollow Men Study (Trio) series (P1091–P1097), 247

Holty, Carl, 190, 193

Holtzman, Harry, 188, 190, 255n.220

Homage to Catalonia (P1116), 247

Homage to Jazz (New York; 1946), c37

Homely Protestant, The (P82, fig. 40), 4, 58, 59, 194, 198, P85, P789

Homely Protestant, The (P85, fig. 42), 4, 9, 12, 14, 52 (detail), 59, 59, 60, 124, 142, 203, 203, 212, 225, 242, 258n.433, P82, P789, P1187

Homely Protestant, The (Bust) (P84), 59, P789 Homely Protestant No. II, The (40 Years Later) (P1187), 249, P997, c660 Homer:

The Iliad, w695 Long Point Gallery’s Homeric Themes (Provincetown, Mass.; 1987), w695, w696

Hommage à Caissa (Homage to Chess) (New York; 1966), 222, 257n.402 Hommage à Picasso:Window (print), 233, w409 Hommage à Poussin (ew.i), 183 Hopi Kachina dolls, w8 Hopkins, Budd, 238 Hopkins, Gerard Manley, P234 Hotel Corridor, The (P111), 71, 201, P109 Hotel Flora (P110), 71, 201, P109 Hotel National, Moscow, label, c543 “hours of the day” project (fig. 13), 32–34, 33, 35, 187, 248, P6, P10 House of Atreus, The (P856), P904, P906

House of Representatives, U.S., 207, 229, 256n.296 Howard, Richard, 224 Hoyem, Andrew, 246 Hoyland, John, 220 Hudson, Andrew, 105 Hudson, J. L., Gallery, Detroit, c75 Huelsenbeck, Richard (aka Charles R. Hulbeck), 85, 196, 196, 213, 217, c206 “En avant Dada, Geschichte des Dadaismus” (Dada in the Forefront: A History of Dadaism), 193, 255n.261 Manifesto 1949, 198, 202 Hughes, Langston, 66, 173n.12 Hughes, Robert, 237, 238, 244 Hugnet, Georges: “L’Esprit dada dans la peinture,” 190, 193 Hunter, Edys, c376 Hunter, Sam, 60, 207, 215, 216, 219, 221, 232, 237, c74 Hunter College, New York: Motherwell as teacher at, viii, 21, 78, 86, 93, 201, 206, 207, 211, 213, 231, c71 Huntley-Brinkley Report, 226 Hurtado, Luchita, 192 Huxley, Paul, 220

Ibáñez, Vicente Blasco, c511 Iberia (P181, fig. 77), 97, 97 Iberia No. 2 (P177, fig. 74), 92 (detail), 95, 96, 96–97, 210, 212, 256n.322, P178

Iberia No. 4 (P178, fig. 75), 95–96, 96, 210, 211, 212, 212, 266, w60

Iberia No. 5A (w66), 98

Iberia No. 6 (w67), 98

Iberia No. 11 (w68), 98, w60, w70

Iberia No. 15 (w69), 98, w60, w70

Iberia No. 17 (w70), 98, 117, w60

Iberia No. 18 (P180), 226, P204

Iberia No. 20 (P264), P263, P392, P641

Iberia No. 20 (P392), P263, P264, P641

Iberia No. 20 (P641), P263, P264, P392

Iberia No. 23 (P517), P263

Iberia No. 30 (P518), P517

Iberia series (P177–P181, P263–P268, P391–P395, P517–P521, P641, w65–w70), 1, 4, 12, 95–97, 98, 151, 174n.2, 174n.11, 209, 210, 211, P169, P189, c448, c451, w60

Bull series and, 97, P177, P189, w60, w68, w70 genesis of, 95–97, P177 Ibsen, Henrik, 181 The Wild Duck, P794 Ichi (One), P967, c632, w625 I Ching (Book of Changes), c162 Iglehart, Robert, 197

I.H. series (w315–w330), c195, c244 I.H. Series No. 3 (w315), c705 Île-de-France (France) (P137), 205, 206 Imaginary Letter series, P307 Impressionists, 10

Imprimeries Réunis, S.A., Lausanne, mailing label, c65 Improvisation (P1201), 250, P878 In Ashes with Collage (c53), c41 In Beige with Charcoal No. 4 (P717, fig. 121), 13, 130, 131, 139

In Beige with Charcoal series (P714–P722), 233 In Beige with Sand (c19), 191, 198 In Black and Pink with the Number Four (P353), c9 In Black and White No. 1 (P358), 222, P860, w206

In Black and White No. 2 (P359), P860 In Black and White No. 2 (P860, fig. 154), 3, 158, 158, 237, 240, P817, P830, P859 In Black and White series (P358–P363), 222 In Black with Pink (c164), c130 In Black with Yellow Ochre (print), c778, c814 In Blue (P398), 124, 125, 136, 225 In Blue with Crosses (P48), 55 In Brown and White, P75 In Celebration (c513), 150, 150, 171n.50, 236 In Celebration (print), 236, c513 Incline (P1123), w201

Indiana, Robert, 217

Indian Summer No. 1 (P280), 220

In Forest Green with Woodwinds (c575), c416, c568

In Gray with White Stripe (c439, fig. 142), 149, 149 In Green and Ultramarine (P274), 218, 219, 220 In Green with Ultramarine and Ochre (c208), 227 Ingres, Jean-Auguste-Dominique, 210 In Grey with Parasol (c46), 46, 118, 215, 248 In Memoriam:Wittenborn Collage (c515), 234 In Ochre and White, P75

In Ochre with Gauloises (c258), c252–c254

In Plato’s Cave (P739), 235, P673 In Plato’s Cave (P740), P673

In Plato’s Cave No. 1 (P673, fig. 122), 130, 131, 139, 232, 233, 234, 237

In Plato’s Cave No. 4 (P741), 245

In Plato’s Cave No. 5 (P770), 234

In Plato’s Cave No. 6 (P771), 234, 245 In Plato’s Cave series (P673, P739–P742, P770, P771), 233

In Red with Two Ovals (c568), c416, c575 In Scarlet and Black (P349), 222, P350 Interior with Nude (P121, fig. 58), 80, 81, 171n.50, 209, 211, w13 International PEN Congress, 48th (New York; 1986), c493 In the Night (w4), 193

Inverness, Scotland, P892

In White and Yellow Ochre (c129), 218, 219

In White with Beige series. See c235–c238

In White with Four Corners (c147, fig. 104), 118, 119

In White with Green Stripe (print), c749

In Yellow and Black (P46), 51, 63, 196, 262, P32, c41, c53, w9

Ionesco, Eugene: The Chairs, P434

Iowa City Press-Citizen, P851

“Irascible Eighteen, The,” 199, 201 Ireland, allusions to conflict in, 4, 244, P271, c669

Irish Elegy (P340), 4, 221, 245, P149

Irish Troubles (c669), 244

Iron Crown, The (w452), 247

Iseman, Joseph and Marjorie, w46

Isherwood, Christopher: Goodbye to Berlin, 151 Italian Summer (P253), 219, w116

It Is magazine, 213, P192

Ivens, Joris, 182

Ives, Charles, 151, 212, 256n.339, P194, c265, c378

Jablon, Diane, 241

Jackson, Martha, Gallery, New York, 207, 211 Jacob, Max: “Il se peut” (It May Be), 242, c639

Jacob’s Ladder (P116), 203, P114

Jacques, Ronny, 199

Jacquot, Benoît, 248, w705

Jäger, Daniel: “Arete,” c478

Jamaican postal stamp, P248 Janett, Jürg, c282

Janis, Sidney, 16, 185, 207, 211

Abstract and Surrealist Art in America, 189–90, P12

Janis, Sidney, Gallery, New York, 104, 195, 204, 206, 209, 212, 213, 216, 257n.385, 262, P399, c6, c42, c72, w17

American Vanguard Art for Paris Exhibition (1951), 202

Elegy works titled by, P198–P200, P203 group shows at 7 Americans (1956), 207, 256n.300 8 Americans (1957), 74, 207, 211 Nine American Painters (1960), P208

10 American Painters (1961), 214 10 American Painters (1962), 216 11 Abstract Expressionist Painters (1963), 219

The New Realism (1962), 217 Motherwell’s departure from, 218 Motherwell’s joining of, 207 Motherwell’s solo exhibitions at 1957, 90, 207, 208, P158, P163, c65, c67, c68, w16

1959, 97, 98, 98, 211, 211, P174, P178, P187, P190, P207, P236, c81–c83, w35, w51, w58, w60, w62, w66, w69, w70; poster for, w75

1961, 213, 214, 214, P194, P216, P217, P219, c92, c104, c110, w94, w111, w116

1962, 100, 217, P223, P229

Japan: brush and ink painting and calligraphy in, 140–41, 226, P775, P966, P967, c632, w625

first showing of Motherwell’s work in, 206 Gutai group in, 206, 209, P225

Japanese rice papers, c7, c42 in Lyric Suite, 103, 221, P366 in Night Music Opus series, 153 see also rice papers

Jarry, Alfred:

“Fable,” 198 Ubu Roi, w180 Jeffers, Robinson, 205

Jemerin, Edward, c170

Je t’aime (“I love you”; phrase), 80, 82, 205, P164, P709, P996, P1016, P1059, c685, w642

Je t’aime No. II (P157), 82, 205, 206, 207, 243

Je t’aime No. IIA (P158), 205, 207

Je t’aime No. III, with Loaf of Bread (P159), 171n.50, 205, 206, 207

Je t’aime No. IV (P161, fig. 60), 82, 82, 205, 207, 208, 215, 245, P172, P1140

Je t’aime No.VI (w453), P160

Je t’aime No.VII (P160), 244, w24

Je t’aime No.VIII (P163), 218, P162

Je t’aime series (P157–P163, P344, w453, w641), 1, 80–82, 113, 205, 207, 214, 256n.304, w642

Jeune Fille (c13), 36, 37, 47, 172n.20, 189, c3

Jewell, Edward Alden, 36–37, 187

Jewett, Eleanor, 191

Jewish Candelabra, The (P133), 203

Jewish Girl, The (print), 184, 252n.50

Jewish iconography, 201, P113, P114

Jewish Museum, New York, 196, 213, 222, 223

Black and White (1963), 219

Primary Structures (1966), 132, 223

John Paul II, Pope, 248

Johns, Jasper, 209, 211, 213, 219, 224, 231, 255n.248

Johnson, Herbert F., Museum of Art, Cornell University, Ithaca, N.Y., 240

Johnson, Jacqueline, 181, 184

Johnson, Philip, 200, 244

Johnson, Ray, 190

Johnston, Ynez, 205 Jones, Leroi, 219

Jorn, Asger, 219

Jour La Maison, Nuit La Rue (P164, fig. 61), 13, 82, 83, 209, P728, c66

Joyce, James, 19, 20, 25, 186, 204, 245, 250, 252n.93

conferences on, in Provincetown, Mass. (1982 and 1983), 244, P1066

Finnegans Wake, 60, 207, P82, P659, P679, P1115, c474–c476, c532, w407

Portrait of the Artist as a Young Man, 250, P1155

Ulysses, 59, 181, 244, 250, P1029–P1031, P1033, P1037, P1038, c437, c492, c493, c503, w452

livre d’artiste and, 246, 248

Joy of Living (c3, fig. 20), 11, 37, 41–43, 42, 46–47, 49, 172nn.10, 18, and 20, 187, 192, 240, c2, c4, c12, c51, c54

Joy of Living (c51), 50, c54

Joy of Living (c54), 86, c51

Juan Carlos I, king of Spain, 244, 246, 248, c675

Judd, Donald, 22, 214, 224, 238

Untitled, 132

Judson Memorial Church, New York, 206

Juilliard School, poster for, 151, c265, c266, w309

Jules, Mervin, 207

Juley, Peter A., & Son, 220, 257n.385, 262, P149

mailing labels from, c424, c489

Juley Collage, The (c424), c489

Jung, Carl Gustav, P353, w104

Jupiter (fig. 33), 55, 55

Kafka, Ernest, c221

Kafka, Franz, 186, 245, 252n.93

“The Great Wall of China,” 173n.11, P615

Kahlo, Frida, 184 Kahnweiler, Daniel-Henry, 197 “Mallarmé and Painting,” 198 My Galleries and Painters, 230 Rise of Cubism, 196, 197, c51 Kamrowski, Gerome, 33, 187 Kandinsky, Wassily, 11, 16, 22, c594 Concerning the Spiritual in Art, 195 Kantor, Josephine, 206 Kantor, Paul, Gallery, Los Angeles, 206, 207 Kaplan, Jacques, P369 Karpel, Bernard, 193, 198, 226 Kasle, Gertrude, Gallery, Detroit, 233, c290, c529, c688 Kasmin, John, 239 Kasmin Limited, London, 220 Kavacz, Mariska, 196 Kees, Weldon, 197, 198 “Pastiche for Eve,” 194 Keith, Beverly, 219, 220 Kelly, Ellsworth, 219, 223 Kennedy, Edward M., 108, 109, 222, 223, P366 Kennedy, John F.: assassination of, 109, 219, 223, P366 Kennedy, John F., Federal Building, Boston: Motherwell’s mural for (P366). See New England Elegy sculpture for plaza outside of, 222, 223 Kierkegaard, Søren, 191 Either/Or, P1205, c196 Kiesler, Frederick, 34, 187, 200 Kilroy (graffiti), P655

Kilstrom, Kenneth, 196 King, Martin Luther, Jr., 225, 226 Kingsley, April, 240, 244

Kipling, Rudyard: “The Fabulist,” c700 Kissinger, Henry, P615

Klauber, Rick, 229, 238 Klee, Paul, c594

Kleinschmidt, Hans, 217, 224, 258n.421, P333, c117

Klihm, Galerie, Munich, label, c585 Kline, Franz, 197–98, 200, 206, 207, 208, 209, 213, 216, 217, 219, 255nn.221 and 240, 257n.368, P247, c55, c101 Knaths, Karl, 197 Knoedler & Company, New York, 142, 233, 238, 249, 262–63, P458, P766, c116, c646, c658 Hermitage print commissioned by, c543 Lawrence Rubin’s partnership with (Knoedler Contemporary Arts), 233, 259n.506 Motherwell’s solo exhibitions at 1974, 142, 234, P673, c606, c643 1975, 235, 235, c464, c472 1976, 237, 237, c567 1978, 240, P861, P875, c579, c636 1981, 244, P243, P263, P352 1982, 244, 245 1983, P1105 1984, 246, c698 1986, 247, P1091, P1138, c816 1987, 247, P1138 1988, 248, P1185, P1187, c763, c770, c773, c774, c776, c791, c794, c796, c802, c804, c811, c813, c825 1989, 248, P1183, c816, c824, c887, w716 1991, 250, P1204, P1205 Knox, Seymour H., 207 Koch, Kenneth, 219 Koestler, Arthur: Dialogue with Death, 29, 171n.14

Kölnisch Eau de Cologne label, c74

Kootz, Jane, P46

Kootz, Samuel M., 190, 193, 195, 196, 198, 202, 205, 207, 223, 254n.174, P11

Kootz, Samuel M., Gallery, New York, 190, 191, 193, 201, 202, 204, 209, 262, P64, P106, P113, c58, w9 artist-architect collaborations and, P102 closing of, 195, 254n.195 financial issues and, 203, 205, 206 group shows at American and French Painting and Sculpture (1954), 205 Art for a Synagogue (1951), 202 Art for a Synagogue (1953), 204 Black or White: Paintings by European and American Artists (1950), 198 Fifteen Unknowns (1950), 201 Homage to Jazz (1946), c37 The Intrasubjectives (1949), 198 The Muralist and the Modern Architect (1950), 200, 200

Something Old Something New (1950), 199 Tenth Anniversary (1955), 206 Third Anniversary (1948), 194 Women (1947), 194

inventory numbering system of, 174n.31, c21, c22, c40, c61

Motherwell’s contracts with, 53, 173n.1, 190, 191, 197, 253n.142

Motherwell’s departure from, 203, 205, 206, c68

Motherwell’s solo exhibitions at 1946, 54, 191, c19

1947, 3, 49, 56, 61, 63, 193, c47 1948, 51, 59–60, 194, 194, P66–P68, P75, P76, P79, P80, P85, c46 1949, 50, 198

1950, 11–12, 70, 71–72, 79, 200, 201, 255n.229, P13, P86, P93–P95, P101, P108, P150, w11, w100 1952, 74, 202, 203, 203, P85, P121, P124, w17

1953, 74, 87, 204, P139, P148, c58, c59, c61, c68, w17, w19 reopening of (1949), 197, 198 Kootz Gallery, Provincetown, Mass., 204, 206, P144

Kornblatt, B. R., Gallery, P791

Kornfeld, Galerie, Bern, Switzerland, P165 Kozloff, Max, 101, 105–6, 222

Krakow, Harcus, Gallery, Boston, 244, c643, c644

Kramer, Hilton, 138, 238

Krasner, Lee, 191

Krauss, Rosalind, 138, 227, 232, 234, 237 Krylon brand fixatives, c277 Kulicke, Barbara, 227, w305 Kunitz, Stanley, 226, 246, c255 “The Wellfleet Whale,” c726 Kunsthaus Zürich, 182, P881

Lady S. (ew.V), 183, 251n.28, 252n.50 La Fontaine, Jean de, 182 Fables, 190, 191, c27–c31

Laforgue, Jules: “Complainte de l’oubli des morts” (Complaint of the oblivion of the dead), c78

Läkerol pastilles package, c386, c496 Läkerol with Black Stripe (c386), P77 Lakeside Group, c664

Lament for Lorca (print), 244, w672

Landscape with Figures (lost work), 183

Langer, Suzanne, 204

Lanyon, Peter, 220

Larkin, Oliver, 201

Larra, Mariano José de, w515 Las Casas, Bartolomé de, 246

Lascaux cave paintings (fig. 73), 95, 95, 96, 173n.8, 174n.9, 210, 212

Lassaw, Ibram, 199, 204

Lasseur, Dominique, 250

Laughlin, James, 183 Laurens, Henri, 182 Lawrence, Galerie, Paris, 215, 219 Lazzari, Pietro, 193

Lebeer, Irmeline, 230, c281, c432 Lebron stretcher, 213, 257n.351

Le Corbusier: chapel of Notre Dame du Haut, Ronchamp, France, P984, c612 Lee, Francis, P39, P47, c41 Lee, Hjalmer J., 207

Lee, Janie C., Gallery, Houston, 240, 241, 242, P834, P846, c378, c395, c437, c476, c528, c588, c595, c608

Lee, Laurie: A Rose for Winter, c114 Lefranc paper wrapping, 112, c82, c83

Léger, Fernand, 16, 190, 194, 213 Lennon, John, c596

Leonardo da Vinci, 187 Last Supper, 248

Trattato della Pittura, P224

Leslie, Alfred, 209, 211 Levi jeans tag, c447 Levin, Gail, 240 Levin, Harry, 182 Levine, Morton, 231 Lévi-Strauss, Claude, 188

Lewis, C. I., 181 Lewis, Norman, 199 Lewis, Robert, 184, c579

Liberman, Alexander, 202, 219, 224, P533, P544

Liberman, Tatiana, 202, P533, P544

Librarie Hachette, Paris, wrapping paper, c202

Lichtenstein, Roy, 217, 223, 259n.497 Lieberman, William S., 244 Life cigarette package, c630 Life magazine, 65, 95–96, 96, 173n.8, 201 Lightolier brand travel lamp package, c269 Line Figure on Green (P24), P35 Lines for St. Gallen (print), c792 Lippard, Lucy, 101, 105, 118, 222 Lippold, Richard, 199, 199, 201, 205 Lipschitz, Jacques, 219

Lipton, Seymour, 199, 219, 228 Little, Betty. See Motherwell, Betty, née Little Little, Cathy (stepdaughter), 198, 199 “Little” Spanish Drum Roll, P95 see also Elegy to the Spanish Republic series Little Spanish Prison, The (P3, fig. 6), 4, 17, 27, 28–29, 29, 43, 54, 70, 172n.28, 174n.31, 185, 189, P565, c541, c625, w11

livres d’artiste, 248

A la pintura (Alberti), 225–26, 230, 232, 242, P522, P804

Black 4, c264

White 10–13, P712

Huelsenbeck poems, 222, c206

El Negro (Alberti), 244, P522, c670

Three Poems (Paz), 248

Ulysses (Joyce), 246

Lloyd, Frank, 136, 218, 219, 223, 225, 226, 229 Loch Ness monster, P892

London Series I and II (prints), 229, w429

Long Beach Municipal Art Center, Calif., w6

Long Point Gallery, Provincetown, Mass., 238, 244, 250, P100, P1066, P1069, P1199, c116, c626, c738, w638

Gray Day Studies (1982), P1052

Homeric Themes (1987), w695, w696

Tribute to Stanley Kunitz (1985), c726

Lorca, Federico García, 19–20, 25, 26, 27, 71, 72, 74, 79, 128, 173n.12, 176n.54, 181, 184, 191, 253n.108, P86, P127

Así que pasen cinco años (When Five Years Pass), 187

Bodas de sangre (Blood Wedding), P130, P1045

“La casada infiel” (The Unfaithful Wife), 242, P165, c639

duende, 19–20, 25, 79, 97, 171n.4, P127

“Llanto por Ignacio Sánchez Mejías” (Lament for Ignacio Sánchez Mejías), 20, 65–67, 76, 196, P96, w10

Los Angeles County Museum of Art, 222, 246

Los Angeles Sun (State II) (print), c752

Lovejoy, Arthur O., 18, 181, 182

Lowe, Ira, 221, 235

Lowell, Robert, 224

Lowell High School, San Francisco, 180

Lustig, Alvin, 190

Lyrical Collage (c650), c649

Lyric Suite (figs. 87, 88), 100, 102–3, 103, 108, 161, 174n.23, 221, 223, 228, 235, 261, P366, P367, P1048, w203, w542

M (c883), 250, c884, c885

M (c884), 250, c883, c885

MacDowell, Edward, Medal, 247

Machado, William, 196

MacLeod, Glen, c6

Mad Clown (drawing), 191

Madrid (P94), 68, 199, P1009

see also Elegy to the Spanish Republic series

Madrid (P1009), P94

Madrid Image with Pink (w216), w215

Madrid No. 1 (drawing; fig. 209), 210

Madrid series of drawings (1958), 210, 210, 211, P161, w81, w215

Madrid Suite (prints), 222, P349, w215

Maeght, Galerie, Paris, 193, P159

Magic Skin, The (Peau de Chagrin) (c136), 218, 218

Magna paint, 101, 209, P171

Magpie (drawing), 202, 203, P124

Mailer, Norman, 245

Mai Mai Sze: Tao of Painting, 141

Málaga (P91, fig. 49), 68, w17

see also Elegy to the Spanish Republic series

Mallarmé, Stéphane, 13, 18, 19, 44, 79, 140, 181, c11, c71

“Un Coup de dés” (A Throw of the Dice), 103, P260

“Le Vierge, le vivace et le bel aujourd’hui” (The Virgin, Vivid and Lovely Today), c11

Mallarmé’s Swan (c11, fig. 22), 17, 19, 43, 43–44, 45, 171n.50, 172n.10, 189, 218, P163, c2

Maloon, Terence, 239

Malraux, André, 26, 181, c104

Psychology of Art, 198 Manchester Guardian Weekly: collages with pages from, c602. See also Guardian series mailing envelope from, c167

Manet, Edouard, 76–77, 79, 174n.35

The Dead Toreador, 168

The Execution of the Emperor Maximilian (fig. 56), 76–77, 77, 168 Manheim, Ralph, 193 Man in Grey (P79), 4, P80 Mann, Thomas: Magic Mountain, 82 Manolete (Manuel Rodriguez Sánchez), 65, 76, 95, 96, 173n.8 Manso, Leo, 238 map fragments (fig. 21), 42, 43, 47–49, 172n.23, c3, c12, c17 Maquette for the National Gallery Mural (c616), 160, 238, 239 March, Juan, Fundación, Madrid, 242, P996 Margo, Boris, 193 Marin, John, ew.Vii Mariner (P80), 59, P79 Maritime Collage series, c185, c186 Mark, Fore & Strike label, c644 Marlborough Fine Art, London, 218, w257 Marlborough Galleria d’Arte, Rome, 218, 226, 228, P501

Marlborough-Gerson Gallery, New York, 219, 223, 233, 262, P253, P508 American Vision (1964), 220

Motherwell’s 1969 solo exhibition at, 127, 135, 135–38, 176nn.38 and 39, 223, 225, 226, 227, 227, 258n.452, P24, P35, P397, w285, w289

Motherwell’s contract with, 135, 218, 229

Motherwell’s departure from, 142, 229, 231, 232, 258n.462

Motherwell’s printmaking for, 229, 230 Marlborough Graphics, w315

Marti, José: “Dos Patrias,” 162, P1024

Marxist Quarterly, 181

Mask (for Ingmar Bergman) (print), c710, w714 Massachusetts Institute of Technology, Cambridge, Mass., 218, P223 Massey, Raymond, 206 Massine, Léonide, 182

Massive Image (P1206, fig. 169), 167, 167, 249, 250 Masson, André, 185, 188 Mathieu, Georges, 205 Matisse, Henri, 9, 11, 19, 36, 79, 116, 130, 205, 224, 279, P159

Barnes Foundation murals, P1153

Bathers by a River (fig. 55), 75–76, 76 costumes for ballet Rouge et Noir (Red and Black), 152, 182, c760 La Danseuse (fig. 143), 149–50, 150, 217, 236, 238, c513 exhibitions of cutouts, 118–19, 238, 240, c150 retrospectives, 80, 202, P1024 Femme au chapeau (Woman with a Hat), 181 French Window at Collioure (fig. 127), 134, 134–35, 136 influence on Motherwell of, 16–17, 72, 80, 162, 166, 171n.50, c11, w12 collages and, 118–19, 149–50, c513 Open paintings and, 133–35, 138, 139

The Joy of Living, c51 leaf-shaped forms in late works of, 171n.50, w12

Motherwell’s 1935 encounter with work of, 181, 236

Motherwell’s reviews of books on, 240 Painter and His Model (fig. 59), 80, 81, 171n.50, 236, P121, P122

as paradigm for certain kind of abstraction, 133–35

Piano Lesson, 171n.50, c11

Red Studio, 159, 171n.50, P924

Vence Chapel decorated by, 80, 213 View of Notre Dame (fig. 128), 134, 134–36, 171n.50

La Voile (The Sail; fig. 105), 119, 120, c150, c599

Matisse, Paul, 244

Matisse, Pierre, Gallery, New York, 57, 75, 105, 149, 217

Matta (Roberto Antonio Sebastián Matta Echaurren), 172n.1, 185, 186, 186, 187, 188, 195, 208, 224, 259n.537, P74

The Convict of Light, 34

elements reminiscent of, in Motherwell’s work, 27, 34, 35, 41, 42, c4

“hours of the day” project and, 32–33, 34, 35, 187, P6, P10

Motherwell’s 1941 trip to Mexico with, 7, 27, 184, ew.XVii, P1

Motherwell’s collage-making encouraged by, 41, c3

Motherwell works owned by, c36, P74

Years of Fear (fig. 18), 35, 41, 41

Matta, Anne, née Clark, 184, 185, 186, 193, ew.XVii

Matte Medium (c277), 147 Matter, Herbert, 201

Mattison, Robert, 159, 176n.5, 242 May, Saidie A., 42, 187, 172n.19, c3 McBride, Henry, 71, 79, 190 McCarthy, Joseph R., 79 McCartney, Linda Eastman, c596 McCartney, Paul, 152, c626

“Magneto and Titanium Man,” c597

“Step Inside Love,” c596, c598 McClinton’s Barilla Soap package, c503 McCray, Porter, 210 McKendry, John, 232, c376 McKim, William Lee, P8, P11 McShine, Kynaston, 220, 228, c526

Medalla de Oro de Bellas Artes, 248 medieval art, 15, 180

Mediterranean Figuration No. 2 (w668), P1102

Mediterranean Interior with Humor and Black Table (c65), 207

Mediterranean Light (print), w527

Mediterranean Sky, The (c128), 217 Meiss, Millard, 183

Melville, Herman: Moby-Dick, P4, P153 Memorial Art Gallery, University of Rochester, N.Y., P13

Memory of Delos (c866), w722

Memory of St.-Jean-de-Luz (c87), c184 Mendelowitz, Daniel Markus, 181 Menil, Dominique de, 220, 222 Mercurey wine label, c286

Metropolitan Museum of Art, New York, 57, 141, 206, 244, P390, P838

A la pintura exhibited at (1972), 232, c376

American Painting Today (1950), 199

The Great Age of Fresco, Giotto to Pontormo (1968), 226, P712

Motherwell’s works in collection of, 205 donated by artist, 229, P220, P416, P429, P430

New York Painting and Sculpture, 1940–1970 (1969), 228

Mexican Night (P5), 27, 35, 185, 186, P974

Mexican Night (P974), 242, P5

Mexican Night II (print), P974, c711, c723, c725–c727, c757, c855 Mexican Past (P1204, fig. 168), 158, 167, 167, 250, P869

Mexican Revolution, 44–46, 49, 66, 188, c7 see also Pancho Villa, Dead and Alive Mexican Sketchbook (figs. 3, 19), 27, 41, 41, 43, 184, 241, 242, 247, 248, ew.XVii Mexican Skull, The (P1137), 248 Mexico:

Eisenstein’s film Thunder over Mexico and, 183 masks from, 171n.3, 172n.22, 185 Motherwell’s sojourns in 1941, 25, 26, 27, 32, 163, 184, 188, ew.XVii, P1, P8, c1 1943, 27, 187 1968, 225

Motherwell’s spiritual connection with, 4, 25, 26–27, 45–46, 171n.3 palette associated with, 42, 47, 163, 171n.3, 172nn.10 and 22, c1–c3, c5, c8, c11 Mexico City:

American Embassy in, 125, 136, P398 Motherwell’s 1975 retrospective in (Museo de Arte Moderno, Chapultepec Park), 235–36, 259n.489, P455, c456 Michelangelo, 180 Michels, Duane, 246 Midday Sun (c116), 116, 117 Middlefield Farm, Novato, Calif., 181, ew.iii Midwestern College Art Conference (Louisville, Ky.; 1950), 200 Miedo de la Obscuridad, El (alternative title, P8). See Recuerdo de Coyoacán Millard, Charles W., w5 Miller, Dorothy, 11, 14, 47, 54, 192, P2, P34, c32, c33 Miller, Margaret, c48 Miller, Nancy, 237 Millet, Catherine, 238

Milwaukee Art Museum, 216–17 Minami Gallery, Tokyo, c546

Minimalism, 15, 123, 132–33, 136, 137, 138, 139, 146, 175n.27, 176n.38 Minneapolis Institute of Arts, c42 Minnelli, Liza, 151

Miró, Joan, 11, 27, 44, 68, 105, 116, 154, 185, 190, 193, 194, 198, 245, 247, c616

The Hermitage (fig. 5), 27, 28 influence on Motherwell of, 16, 17, 27, 30–31, 55, 56, 133, 138, 139 Museum of Modern Art’s retrospectives 1941, 16, 35, 171n.10, 185 1959, 133, 212

Painting (Blue) (fig. 126), 133, 133 Mirror (print), w699 Mirror IA (print), w699 Mirvish, David, Gallery, Toronto, 229, 230, 231, 233, P508, P571, c471, c473, c497, c505

Mitchell, Joan, 107, 246, 259n.497 Mitropoulos, Dimitri, 206 Mocsanyi, Paul, 197

Modern Artists in America, 198, 199, 202, 202–3 modernism, 5, 9, 19, 20 collage medium and, 41

European, Motherwell’s roots in, 15–16 expressive brushwork and, 10–11 international spirit of, 206 Motherwell as spokesman for, 20–23

Motherwell’s “A Tour of the Sublime” and, 196

Modern Master Tapestries, Inc., c235, c442

Moholy-Nagy, László, 22

New Vision and Abstract of an Artist, 191 Momentum 1954 (Chicago), 205

Mondrian, Piet, 22, 171n.10, 174n.39, 185, 186, 187, 188, 198, 252n.91, 253n.105, P9, c12, w1

Broadway Boogie-Woogie, 187, 188

Composition No. 11, 1940–42—London, with Blue, Red and Yellow (fig. 7), 28, 29

influence on Motherwell, 16, 17, 27, 28, 30–31, 42, 172n.20

publication in Documents of Modern Art series of essays by, 188, 190, 197

“Tableau-Poême,” 198

Monet, Claude, 102, 142

Monster (for Charles Ives) (P194), 212, 214, 214, 216, 256n.339, w92

“monster” paintings, 161, 163, 212, P1024

Montaigne: Essays, 198

Montauk Montage (c41), 51, 63, P46, c53, w9

Montclair Art Museum, N.J., w15

Montebello, Philippe de, 232

Monument to Jackson Pollock (w24), 207, P160

Moore, Henry, 191, 220, 239, 240

Moore, Marianne, 181, 188, 190, 191, 206, c27

Moran Preparatory School, Atascadero, Calif., 180, 181

More, Herman, 196

Morris, George L. K., 201

Morris, Robert, 133

Untitled (2 L beams), 132

Mosley, Catherine, 142, 152, 233, 233, 234, 238, 244, 246, 248, w409

Mostly Mozart (print), 250, c883, c884

Motherwell, Betty, née Little (second wife), 198, 199, 205, 206, 213, w16

marital difficulties and divorce of, 80, 82, 89, 90, 91, 174n.51, 204, 205, 206, 208, 209, 216 painting of, P141

pregnancy and childbearing of, 80, 91, 204, 205, 206

Pregnant Nude series and (P141–P144), 4, 80, w16

Motherwell, Jeannie (elder daughter), 176n.19, 204, 209, 213, 222, 230, 230, 231, 234, 245, 532, P141, P159, P216, w16, w83

Motherwell, Lise (younger daughter), 206, 209, 213, 216, 222, 230, 231, P159, P534, c242, w83

Motherwell, Margaret Lillian, née Hogan (mother; later Margaret H. Rosener), 7, 29, 60, 70, 180, 180, 181, 187, 194, 198, 216, 232, ew.iii, P408

Motherwell, Maria Emilia, née Ferreira y Moyers (first wife), 25, 27, 66, 173n.4, 176n.54, 184, 185, 186, 187, 188, 189, 190, 191, 252nn.82 and 97, P4, w3, w6 marital problems and divorce of, 11, 58, 63, 64, 70, 194, 195, 196, 198, 206, 231, 254n.196

portraits related to (fig. 1), 7–8, 8, 24 (detail), 27, 28, 40, 44, 184, P1, P70, c25

Motherwell, Mary Stuart (sister), 180, 180, 181, ew.ii

Motherwell, Renate, née Ponsold (fourth wife), 5, 142, 152, 176n.54, 231, 232, 233, 233, 238, 242, 245, 246, 248, 250, P851, P852, c431, c545 works with dedication to, P470, P743

Motherwell, Robert: art history studied by, 36, 182, 183

art school co-founded by, 63. See also Subjects of the Artist school, New York art training of, 36, 180, 181, 182, 183, 261, ew.Viii, ew.XVi, ew.XVii birth of, 180 brushwork of, 1, 3, 10–11, 128, 138 catalogue raisonné of prints, 237, 242, 244 childhood of, 7, 28, 31, 60, 70, 180, 180 collages of. See collage and collages color palette of, 1–2, 57, 93, 95, 218, 245, 250 associations with lived experience and, 174n.36 blackness and, 97, 174n.44 in Elegy paintings, 67, 73, 76, 174n.44, 221, P1026, w272 in Open paintings, 126 red in, 76, 174n.36 considered to be “French” painter, 105, 113, 164, c125 considered “too literate,” or “too intellectual,” 36, 164, 171n.71 correspondences notion of, 18–19, 64 death as preoccupation of, vii, 25–26, 45–46, 171n.3, 172n.23 death of, 250 doctoral dissertations on, 21, 159, 176n.5, 234, 242 documentary films and L’Atelier de Robert Motherwell (1988), 248, w705

Motherwell and the New York School: Storming the Citadel (1991), 250 Painters Painting (1972), 229, P496 Robert Motherwell: Summer of 1971 (1973), 230, 231, P622, P650, c274–c276 drawings of in 1940s, 54, 55 retrospective of (Houston; 1979), 241, 242 drinking habit of, 90, 93, 196, 206, 209, 228 early works by, 261, 279–83 as editor. See also Documents of Modern Art; Documents of 20th-Century Art; Possibilities collage-making related to, 49, 85 of Modern Artists in America, 198, 199, 202, 202–3 of Problems of Contemporary Art, 190, 193, 194, 197 of VVV, 171n.73, 185, 252nn.75 and 77 education of, 17–18, 36, 180, 181–82, 183, 184 essays and articles by “Beyond the Aesthetic,” 192 “Black or White,” 198, 219 “Bradley Walker Tomlin,” 208 “Henry Moore: Sculptures and Drawings,” 191

“Homage to Franz Kline,” 174n.35, 216

“The International World of Modernist Art, 1945–1960,” 242

“Introduction: A Note on Robert Osborn,” 246

“Is the French Avant Garde Overrated?”

204

“The Modern Painter’s World,” 21, 27, 170n.28, 188, 189, 253n.129

“A Note by the Artist: On Collaboration,” 242, 244

“Notes on Mondrian and Chirico,” 185

“On Rothko,” 223

“The Painter and the Audience,” 108, 205 “Painters’ Objects,” 188

“A Painting Must Make Human Contact,” 206

“Parisian Artists in Exile: New York, 1939–45,” 233, 238, P959

“A Personal Expression,” 198

“Preface to a Joseph Cornell Exhibition,” 204

“Provincetown and Days Lumberyard: A Memoir,” 240

“The Public and the Modern Painter,” 201

“The Rise and Continuity of Abstract Art,” 202

“The School of New York,” 171n.66, 201

“The Significance of Miró,” 212, 247

“Thoughts on Drawing,” 230

“A Tour of the Sublime,” 196

“What Abstract Art Means to Me,” c11

“What Should a Museum Be?” 214

“Words of the Painter,” 240 on expressive potential of his art, 3, 6, 17–18, c8, c42

finances of, 184, 187, 205, 207, 213, 229, 234 first show in New York of, 185 first work to enter museum collection, 42, 187, c3 health problems of, 7, 142, 180, 181, 184, 206, 236, c465 arm and shoulder injury (1987), 177n.11, 248 asthma, 7, 31, 60, 180, 181, 184 back injuries, 223, 224, 241 irregular heartbeat, 228 stroke, subsequent illness, and death, 249–50 honors and awards given to, 219, 239, 244, 245, 247, 248, 249, c201 imagery created by, 1–2, 3–5 abstraction and, 3, 4, 5, 9, 11, 16–17, 53–54, 55 after-images and, 9, 27–28, 31, 54, 66, 69, 76–77, 88, 170n.25, P420 autobiographical overtones and, 4–5 creation of meaning and, 69–70 figuration and, 4, 9, 11, 53–54, 55–60, 61, 76, 80–82, 208 opposition between organic and geometric forms and, 6, 17, 28, 29–30, 139 photographic, 41, c684, c755 political concerns and, 4, 11, 31–32, 45–46, 70–71, 77–78 red sun motif, 27, 31, 35 representation and, 3–4, 5, 9 resistance to narrative readings and, 5, 9 self-portraiture and, 55, 57, 59, 60, 142, 182, c8, P82, w511 sense of place and, 4 serial. See Motherwell, Robert—serial approach of spatial concepts and, 13–14 variety of, 11–14, 54 words used in, 47–49 instinct-intellect tension and, 6–11 lectures and talks, 216 “Apropos ‘Aesthetics and the Artist,’ ” 204

“The Arts and Protestant Culture,” 206 “Kafka’s Visual Recoil: A Note,” 245 “The Motherwell Proposal,” 220 “New Mural Technique,” 202 “The New York School,” 171n.66, 200 “The New York School of Abstract Expressionism,” 231

“On the Humanism of Abstraction,” 229

“A Painter’s World,” 219, 257n.380

“A Personal Expression,” 21–22, 196

“The Place of the Spiritual in a World of Property,” 21, 188

“The Present and Future State of Modern American Art,” 223

“A Process of Painting,” 219

“The Universal Language of Children’s Art, and Modernism,” 229 literary interests of, 17–20, 180, 181, 252n.93 marriages of, 151 first. See Motherwell, Maria Emilia, née Ferreira y Moyers second. See Motherwell, Betty, née Little third. See Frankenthaler, Helen fourth. See Motherwell, Renate, née Ponsold memoir project and, 241, 245 musical compositions dedicated to, 233, 250 painting process of, 2, 3. See also Motherwell, Robert—repainting and revising processes of automatism and, 6–8, 39. See also automatism

cotton vs. linen canvas and, 101 Frankenthaler’s influence on, 94–95, 100–101, 213, 215 halo effects and, 101, 102, 103, 146, 161, w542 self-exploration and, 3, 6 separate studios for different mediums and, 13 spontaneous gestural freedom and, 100, w104 philosophical interests of, 16, 17–18, 19, 23, 36, 140, 181 photographs of, xiv, 53, 54, 178, 180, 182, 186, 188, 192, 197, 199, 201, 203, 205, 208, 212, 214, 215, 216, 218, 219, 219, 224, 228, 230, 232, 233, 240, 243, 250, P14, P17, P39, P63, P131 printmaking of. See printmaking psychoanalysis of, 11, 23, 67, 70, 170n.23, 173n.15, 197, 210, 217, 224, 258n.421 publication of collected writings of, 228, 241 repainting and revising processes of, vii, 3, 6, 8, 28, 53–54, 61, 116, 165–66, 193, 263–64, 266–68 spontaneity-deliberation tension and, 6–8, 10

retrospective exhibitions of, 104–7, 250 1959 (Bennington College, Vt.), 104, 211, 212, 212, P1, P3, P176, P178, c42, w37, w39

1961 (Museu de Arte Moderna, São Paulo, Brazil), 104, 215, 215–16, P192, w68, w69, w161

1962 (Pasadena Art Museum), 104, 215–16

1963 (Smith College Museum of Art, Northampton, Mass.), 104, 217, 218, 218, c94, c124, w19

1965. See Museum of Modern Art, New York—Motherwell’s 1965 retrospective at 1972 (collages; Museum of Fine Arts, Houston), 12, 147, 231, 232, c89, c108, c136, c150

1975 (Museo de Arte Moderno, Chapultepec Park, Mexico City), 235–36, 259n.489, P455, c456

1976 (Städtische Kunsthalle Düsseldorf), 238, P88, P775, P805, P850, c567, w458

1977 (Musée d’Art Moderne de la Ville de Paris), 159, 238, P195, P596, P820, c579

1977 (Museum des 20. Jahrhunderts, Vienna), 238

1977 (Royal Scottish Academy, Edinburgh), 238, P820

1978 (Royal Academy of Arts, London), 238, 239, 240, c572, c705

1979 (drawings; Janie C. Lee Gallery, Houston), 241, 242

1983–85 (originating at Albright-Knox Art Gallery, traveling in U.S., closing at Solomon R. Guggenheim Museum), 163–65, 244, 245, 245, 246, 247, 259n.489, P147, P162, P163, P819, P842, P1086, P1101–P1103, P1146

1991 (Museo Rufino Tamayo, Mexico City), 250, P367, P838

serial approach of, 14–15, 74, 159, c290. See also specific series in collages, 145–47, 152–54 first extended series of works based on set compositional format, 74, 185 first numbering of paintings and, 74, 174n.31 first work from each series retained by artist, 141 seriality’s appeal and, 14, 15, 145–47 sources of. See also specific influences artist both inspired by, and at same time resistant to, 28, 75, 133 literary, 17–20, 57–58, 65–67 pictorial, 15–17, 27–28, 57, 72, 75–78, 116–17

“Spanishness” of work by, 25–27, 79–80, 106, 211

studio inventory system of, 220, 238–39, 262, 263, 275–76

concordance of catalogue raisonné numbers and, 424–30 studios of. See also East Hampton, N.Y.; Greenwich, Conn.; New York; Provincetown, Mass. documentation of works and practices in, 235, 236, 239, 262–63 reproductions of works by other artists in, 116, 117, 236 as teacher, viii, 181, 183, 200, 203, 205 at Bennington College, 224 at Black Mountain College, 190, 191, 192, 202, P114 at Columbia University, 220 at Hunter College, viii, 21, 78, 86, 93, 201, 206, 207, 211, 213, 231, c71 Robert Motherwell School of Fine Art and, 172n.13, 197, 197

Subjects of the Artist school and, 63, 195, 195–96, 196, 197, 206, 253n.112 at University of Bridgeport, Conn., 223 at University of Miami, Fla., 215, 216 at University of Pennsylvania, Philadelphia, 217 television appearances of, 212, 218, 222, 226, 237, 248 titling process of, 9, 10, 264–66, 270–72, P82, c7 literary references or allusions to other works of art and, 9, 19, 20, 65–67, 91

revisions and retitling, 9, 54, 264–65 Surrealist method, 60, P82 void, concept of the, and, 13, 140, 149, P697 war images collected by, 172–73n.31 working in different mediums, 74. See also collage and collages; printmaking cross-fertilization and, 116, 142 differences between, 12–13, 170n.30 painting as primary medium, 13, 61, 159–60 separate studios in Greenwich, Conn., for, 12, 13, 142. See also Greenwich, Conn. as writer and theorist, 21. See also Motherwell, Robert—as editor; Motherwell, Robert—essays and articles by; Motherwell, Robert—lectures and talks

Motherwell, Robert, School of Fine Art, New York, 172n.13, 197, 197 Motherwell, Robert Burns, II (father), 7, 29, 60, 70, 180, 180, 181, 182, 183, 184, 187 death of, 5, 27, 46, 172n.35, 187, 234, c7 Motherwell and the New York School: Storming the Citadel (documentary film), 250 Motherwell Foundation (later Dedalus Foundation), 241, 250, P462 Mourning Elegy (P1203), 250, P879 Mozart, Wolfgang Amadeus, 152, 234, 247 “An die Hoffnung” (To Hope; k. 390/340c), c477

Das Bandel: “Liebes Mandel, wo ist’s Bandel?” (Dear little husband, where is the ribbon? k. 441), P1042, c431, c433, c436, c442–c445, c452, c462, c533, c621, c651

“Dans un bois solitaire” (In a Lonely Wood; k. 308/295b), c505, c623

“Ein deutsches Kriegslied” (A German War Song; k. 539), c657, c668

Don Giovanni (k. 527), c771, c777, c779, c780, c785–c787, c790, c805, c808, c813, c814

Fantasia in C minor (fragment), for violin and piano (k. 396/385f), c793, c858

“Im Frühlings Anfang” (At the Beginning of Spring; k. 597), c548

Eine kleine deutsche Kantate (k. 619), c461, c509, c510, c622, c649, c652, c653, c677

Eine kleine Nachtmusik (A Little Night Music; k. 525), c825

“Des kleinen Friedrichs Geburstag” (For the Birthday of Little Prince Friedrich; k. 529), c478

“Die kleine Spinnerin” (The Little Spinner; k. 531), c561

“Mi lagnerò tacendo” (I Complain in Silence; k. 437), c592, c701, c710, c725

“Un moto di gioia” (An Emotion of Joy; k. 579), c583, c722

“Oiseaux, si tous les ans” (Birds, If Every Year; k. 307/284), c631, c711, c855

Prelude (Fantasia) and Fugue in C, for piano (k. 394/383a), c749, c858, c885

“Ridente la calma” (May a Happy Calm Arise; k. 152/210a), c722

Rondo in A minor, for piano (k. 511), c881, c883

Rondo in D, for piano (k. 485), c738, c757, c884, c885

“Sehnsucht nach dem Frühlinge” (Longing for the Springtime; k. 596), c474

“Sei du mein Trost” (also known as “Die, Einsamkeit vertrau ich”; k. 391/340b), c697

Sonata movement in G minor, Allegro, for piano (k. 312), c610, c623, c624, c626, c739, c871

“Unglückliche Liebe” (Unfortunate Love; k. 520), c441

“Die Verschweigung” (Discretion; k. 518), c721

Die Zauberflöte (The Magic Flute; k. 620), c6 Mozart Rondo (print), c881

MPL Communications, collage commissions for, c596–c598

Mulas, Ugo, 124, 125, 225, 262, P396–P398, P406, c216–c220, w246, w251, w252 Mumm’s champagne label, c378, c381 Munch, Charles, 206

Munson-Williams-Proctor Institute, Utica, N.Y., c777

Mural Fragment (P102), 108, 200, 207 Scotchlite copy of, 202, 255n.246 mural projects: for Attleboro School, Mass. (maquette; fig. 196), 200, 200, P102 for Congregation B’nai Israel Synagogue, Millburn, N.J. (P114). See Wall of the Temple for General Electric Corporation headquarters, Fairfield, Conn. (P1172), 248, P1173, P1174, w719 for John F. Kennedy Federal Building, Boston (P366). See New England Elegy for National Gallery of Art, Washington, D.C. (P956). See Reconciliation Elegy for University of Iowa Museum of Art, Iowa City (P851). See Elegy to the Spanish Republic No. 126

Mural Sketch (P812), P822, P850

Mural Sketch (P848), P850

Mural Sketch (P849), 235, 237, w353

Mural Sketch (w250), 226, P497

Mural Study (P100), P1081

Mural Study I (P1145), P1182

Mural Study III (P1174), P1172

Musée Bonnat, Bayonne, 210

Musée d’Art Moderne de la Ville de Paris, Motherwell’s 1977 retrospective at, 159, 238, P195, P596, P820, c579

Musée National d’Art Moderne, Paris, 238 Museo Civico di Torino, Italy, c198, c542

Museo de Arte Contemporaneo de Caracas, Venezuela, P507, P791, P908

Museo de Arte Moderno, Chapultepec Park, Mexico City: Motherwell’s 1975 retrospective at, 235–36, 259n.489, P455, c456

Museo Nacional de Arte Contemporaneo de Madrid, 210

Museo Nacional del Prado, Madrid, 93, 210, P176, P861

Museo Rufino Tamayo, Mexico City, Motherwell’s 1991 retrospective at, 250, P367, P838, P1140, P1205, P1206, c529

Museu de Arte Moderna, São Paulo, Brazil, 204 Motherwell’s 1961 retrospective at, 104, 215, 215–16, P192, w68, w69, w161

Museum des 20. Jahrhunderts, Vienna, Motherwell’s 1977 retrospective at, 238 Museum of Fine Arts, Boston, 231, 233, P465 Museum of Fine Arts, Houston, 211

Motherwell’s 1972 collage retrospective at, 12, 147, 231, 232, c89, c108, c136, c150

Museum of Modern Art, New York, 16, 27, 75, 190, 193, 196, 204, 208, 219, 222, 224, 231, 244, P82, P331, c526, w628

Abstract Painting and Sculpture in America (1951), 201

The Art of Assemblage (1961), 215 Collage (1948), 49, 51, 195

Fourteen Americans (1946), 11, 54, 192, 192, P32

Gifts of Works on Paper by Robert Motherwell (1987), 248

In Honor of Dr. Martin Luther King, Jr. (1968), 226 Jackson Pollock (1956), 207 Matisse exhibitions late cutouts (1961), 118–19, c150 retrospective (1951), 80, 202, P1024 Miró retrospectives

1941, 16, 35, 171n.10, 185 1959, 133, 212

Modern Art in the United States (1955–56), 206

Monet exhibition (1962), 102 Motherwell’s 1965 retrospective at, 12, 104, 104–7, 108, 118, 151, 165, 174n.23, 175n.32, 220, 221, 221, 222, 237, 255n.221, 257n.379, 262, P3, P47, P121, P838, P850, c446, c455, w161 catalogue cover for, 116 critical response to, 105–7, 136, 222 European tour of (1965–66), 220, 221, 222, 223, P274, P356, P373, P850, c168, c198

Motherwell’s works in collection of, 172n.20, 198, 207, 223 donated by artist, 214, 223, 228, 229, 248, P215, w571 first to enter, 188

The New American Painting and Sculpture: The First Generation (1969), 209, 227, 228, P3

The New American Painting (traveling; 1958–59), 93–94, 209, 210

The New Decade: 22 Europeans (1955), 206 Picasso and Braque: Pioneering Cubism (1990), 249 questionnaires from, 5, 227, P4, P64, P82, P87, P366, P368–P370, P397, P420, c7 Recent Acquisitions (1946), 191, c19 Recent Acquisitions (1950), 198 Recent Acquisitions (1957), 198, 207

Robert Motherwell: Lyric Suite (1969), 228

Robert Motherwell:Works on Paper (traveling; 1965–67), 222, c167

Robert Motherwell:Works on Paper (traveling; 1967–68), c167, w94

Rothko retrospective (1961), 104, 105, 214

Seventh Annual Conference of the Committee on Art Education, 21–22

Sixteen Americans (1959), 213 Social Comment in American Art (traveling; 1968–69), P516

Turner: Imagination and Reality (1966), 222 Two Decades of American Painting (1966–67), 223, P350

“What Abstract Art Means to Me” symposium (1951), 201 Museum of Modern Art Bulletin, 201 Muss es Sein? No. 1 (c279), 141 Myers, John Bernard, 203 Mystery of the Night, The (w89), w84 mythological figures, allusions to, P1089, P1115, P1155, P1157, w15, w695, w696

Nagy, Tibor de, Gallery, Houston, 203, 204, 209, 212

Motherwell’s 1974 solo exhibition at, P659, P766, P913, c374

Namuth, Hans, 209, P95, P151, P172

Nation, The, 37, 164, 222

National Arts budget, cuts in, 244

National Arts Club, 245

National Council of Arts, 223

National Council of Churches, 206

National Endowment for the Arts (NEA), 224, 249

National Gallery of Art, Washington, D.C., 237, 238, 239, 240, P156, w527

Motherwell’s mural for (P956). See Reconciliation Elegy

National Institute of Arts and Letters, 229, 230

National Medal of Arts, 249

Natural History, c586

Neff, John Hallmark, 240

Negro, El (livre d’artiste), 244, P522, c670

Nelson, George, 205

Nelson, O. E., P547

Neruda, Pablo, 242, w542

Neu, Renée and Kurt, c167

Neuberger, Roy, 212

Neuberger Museum, Purchase, N.Y., 231

Neue Secession (Berlin; 1954), 205

Neutra, Richard, 205

New American Painting, The (traveling; 1958–59), 93–94, 209, 210

New Amsterdam Painting (P365), 109, 222, w206

New Directions 1940 (Laughlin, ed.), 183

New England Elegy (P366, fig. 90), 12, 102, 107, 107–9, 123, 136, 160, 161, 176n.25, 221, 222–23, 224, 265, P102, P365, P367, P369, w203

automatism and, 102–3, 221, P366, w203. See also Lyric Suite

New England Elegy Mural (Second Variation) (P367, fig. 91), 108–9, 109, 222, 224, 265, P365, P369, w52

New England Elegy No. 2 (P368), 109, 265, P369, w206

New England Elegy No. 3 (P369), 109, 265–66, P368, w206

New England Elegy series (P366–P372), 223, 265–66, P364, P365, P376, w201

New Gallery, Bennington, Vt. See Bennington College, Vt.

New Gallery, Massachusetts Institute of Technology, Cambridge, Mass., 218, P223

Newman, Annalee, 197

Newman, Arnold, P9

Newman, Barnett, 1, 9, 15, 106, 129, 187, 192, 193, 195, 196, 197, 197, 198, 199, 204, 205, 206, 209, 212, 217, 218, 219, 222, 230, 231, 240

public disputes with, 171n.73, 208–9, 225, 255n.221

Newport Harbor Art Museum, Newport Beach, Calif., 247

Newport Opera (print), c599

New Republic, 36, 191

New School for Social Research, New York, 184

Newsweek, 190, 217, P224

New World Records, c814

New York:

Motherwell’s arrival in (1940), 183

Motherwell’s desire to leave (mid-1960s), 145, 258n.461

Motherwell’s homes in 1940 (114 West Eleventh Street), 183 1941 (8 Perry Street), 184–85

1942–45 (33 West Eighth Street), 54, 186, 188, 190, 253n.44

1948 (343 West Fourteenth Street), 64, 67, 195, 196

1949–50 (215 East Fifty-seventh Street), 198, 199

1951 (122 East Eighty-second Street), 201 1953–71 (173 East Ninety-fourth Street), 124, 141, 204, 209, 224, 224, 225, 230, 258n.433; basement studio in, 62, 204, 208

Motherwell’s studios in 1949–52 (61 Fourth Avenue), 86, 197, 200, 203, c55

1960 (173 East Eighty-third Street), 213 1962–64 (East Eighty-sixth Street and Third Avenue), 215, 215, 216, 218, 219, 219

1964–67 (First Avenue and Seventy-sixth Street), 220, 224

1967–70 (414 East Seventy-fifth Street), 224, 224, 225, 229

Ponsold’s pied-à-terre in (43 Fifth Avenue), 242

New York Artists Strike Against Racism, Sexism, Repression and War, 230

New York City Collage (c101), c666

New Yorker cartoon, P955

New York Graphic Society, c684

New York Herald Tribune, 106, 187, 199

New York Portfolio: Untitled (print), c684

New York Post, 206

New York School, 20, 171n.66, 200, 201 see also Abstract Expressionism

New York Sun, 190

New York Times, 187, 195, 209, 221, 226, 234, P875, P924 artists’ protest against Canaday’s reviews for, 107, 214

“Irascible” protest letters (1950 and 1952), 199, 204 magpie photograph from, 202, P124 reviews of Motherwell’s exhibitions in, 36–37, 106–7, 138, 164, 165, 198, 215, 222

New York Times Book Review, 238, 240

New York Times Magazine, 238

New York University, 197, 220, P222

New York World’s Fair (1939–40), 183, ew.Xi

New York Yacht Club, c686 Night Music (c688), c825 Night Music Opus No. 16 (c840, fig. 149), 154, 154–55

Night Music Opus series (c825–c851), 153–54, 248, c668 Nin, Anaïs, 188 9: Untitled (print), c195, c244, w315 Ninth Street Collage (c55, fig. 62), 85–86, 86, 255n.240

Ninth Street Show (New York; 1951), 86, 202, 255n.240, c55

92nd Street Y, New York, 248, 249 Nixon, Richard, P615

Noël, Bernard: La Face du silence, P737 Noguchi, Isamu, 192

Noland, Kenneth, 209, 220, 221, 224, 247 Hub, 225, 258n.433, w143 Seed, 220, P280

Nordland, Gerald, P506

Nordness, Lee, 212

Norlyst Gallery, New York, 187

North Carolina Museum of Art, Raleigh, P67

Northern Ireland, conflict over British rule of, c669

Norton Museum of Art, West Palm Beach, Fla., 191

Nouvelle Revue française, La (N.R.F.), mailing wrapper, 213, c104–c106, c143, c384

N.R.F. Collage No. 1 (c104), 116, 117, 215

N.R.F. Collage No. 2 (c105), 110 (detail), 117, 215

N.R.F. Collage No. 3 (c106), 116, 117

N.R.F. series (c104–c106, c143, c384), 213

Nude in Landscape, 183

nude model, drawings from, 208 Number 70 (c133, fig. 103), 117, 118

Oberlin College, Ohio, 203, P95

Ochre Door. See Open No. I: In Yellow Ochre (P397)

Octavio Paz Suite: Untitled (print), c754 Odyssia, Galleria, Rome, 215, c81

Oeil, L’, c65

Offenbach, Jacques: La Belle Hélène, c682

O’Gorman, Juan, 184

O’Hara, Frank, 19, 203, 209, 213, 215, 216, 219, 223, c11, w161

In Memory of My Feelings, 225 Motherwell’s 1965 Museum of Modern Art retrospective and, 104–5, 220, 221, 222, 257n.379

Ojai Music Festival poster (1982), c535

Oldarra choral group, c138, w163 Oldenburg, Claes, 217, 218, 224 Oldfield, Otis, 180

Old Man of the Sea, P992

Olitski, Jules, 223

Olson, Charles, 202

The Maximus Poems, c690 O’Neill, Eugene, 181, c494

On Stage (print), P1081

Open (w253), 124

Open, Bolton Landing (c264), P504

Open City (film; fig. 27), 47, 48, c33

Open End (television show), 212 Opening (P678), P752

Open in Ochre (P592), 231

Open No. 1: In Yellow Ochre (P397, fig. 110), 122 (detail), 123, 123, 124, 127, 135–37, 141, 223, 224, 225, 226, 227, 230, 258n.433

Open No. 9: In Green on Gray with Black Stripe (P406, fig. 113), 125, 125–26

Open No. 10: In Green on Blue (P407), 135, 136, 226

Open No. 12: In Raw Sienna with Gray (P409, fig. 115), 126, 126, 227

Open No. 14: In Ochre with Charcoal Line (P411), 135

Open No. 17: In Ultramarine with Charcoal Line (P414), 230

Open No. 18: In Ultramarine with White Line (P415), 135

Open No. 22: In Charcoal with White (P418, fig. 117), 128, 129, P445

Open No. 23: In Blue with Variations of Ultramarine (P419, fig. 129), 134, 134–35, 135, P420

Open No. 26: In Grey with White and Umber (P422, fig. 118), 128, 129, 227, 230

Open No. 28: In Orange with Charcoal Line (P424), 227, 228

Open No. 29: In Crimson with Charcoal Line (P425), 244

Open No. 31A: In Burnt Sienna (w251), 124, 125

Open No. 31B: In Raw Sienna (w252), 124, 125, w251

Open No. 35: In Raw Umber on Sized Canvas (P429), 135, w290

Open No. 37: In Orange with Charcoal Line (P430), 135, P619

Open No. 37A: In Orange (P619), P430

Open No. 45: In Blue with Brown (P447), P448, P449

Open No. 45 (P448), P447, P449

Open No. 50: In Orange with Black (P452), P453

Open No. 50 (P453), P452

Open No. 81: In Blue with Charcoal Line (P472), P476

Open No. 82: The Blue Easel (P473), 240

Open No. 84: In Orange with Charcoal Line (P475), P652

Open No. 85 (P843), 237

Open No. 86: In Blue with Charcoal Line (P476), P472

Open No. 90 (P480), P497, w306

Open No. 96 (P484), P485

Open No. 96: In Vermillion and Black with Sienna Window (P485), P484

Open No. 97: The Spanish House (P486, fig. 119), 128, 129, 228, P621, w310

Open No. 101: Big Orange (P489), 229, 230

Open No. 111: Big White and Ochre (P497), w250

Open No. 121: Bolton Landing Elegy (P504), 10, c264

Open No. 124 (P506), P507, w289

Open No. 144: Blue on Scarlet (P549), w354

Open No. 149: In Ultramarine with Charcoal Line (P553), 229, 230

Open No. 150: In Black and Cream (Rothko Elegy) (P554), 141, 229

Open No. 161: In Beige with Black (P561), P560

Open No. 162: In Blue with Red (P562), 259n.509

Open No. 184 (P508), 258n.472, w289

Open series. See also specific works, 1, 14, 119–20, 123–41, 145, 146, 149, 226, 234, 238, 258n.453, P4, P366, P378, P397, P398, P856, c220, c274 affinities between Motherwell’s early works and, 130–32 archetypal imagery in, 138–39 automatist variations on theme of (w409–w448), 233 Black on White series and, w283, w285

The Blue Painting Lesson: A Study in Painterly Logic (P842–P846), 135, 233, 237 brushwork in, 128, 138, 234 collages related to, 119–20, 124 concept of metaphysical void and, P697 critical response to, 137–38 definitions of word open and, 137, 176nn.38 and 39, 227, 258n.452 “door” vs. “window” orientation in (figs. 110, 111), 123, 124, 175n.3, 225, P397 exhibitions of first public displays of individual works, 125, 135–36, 225, 227 first time as group (Marlborough-Gerson Gallery, New York; 1969), 127, 135, 135–38, 176nn.38 and 39, 226, 227, 227, 258n.452, P397, w285, w289 subsequent, 228, 230, 231

feelings inherent in, 137, 140, 175n.27

first sale of work from, 136, 225, P403 genesis of (figs. 109–11), 123, 123–25, 136–37, 223, 224, 225, 227, P397

In Beige with Charcoal series and. See P714–P722

lists compiled of works in, 226, 229–30

Motherwell’s diagrams of first five paintings in (fig. 116), 127, 127, 258n.436

Motherwell’s experience with, reflected in Elegy paintings, 157, 158

Motherwell’s press release on, 127, 136–37 naming of series, 125, 127, 137, 226, 227, 258n.452

numbering of works in, 125, 127–28, 175n.13, 226, 227, 229, 230, P397, P399, P404, w251

pictorial sources for, 133–35, 138 spatial ambiguity in, 125–26, 132, 175n.7 titling of works in, 137, 272, P397, P403

U shaped form typical of (Open sign), 130, 232, 235

charcoal drawings with, 226. See also w289–w295

collages with. See c253, c257

variety of paintings in, 125–27, 128

Open Study (In Blue with Pencil Lines) (w310), P486

Open Study series. See P438–P445, w289–w302, w310

Open White and Black (P507), w289

Oppenheimer, Joel, 202

Orange 4 (P393), P394, P395

Orange Lyric (print), c853

Orange Personage (P57), 56, P36, P61

Ordóñez, Antonio, 95, 210

Ordway, Katherine, 202, P102

Oregon Landscape (ew.Vii), 183

Ortega, Rafael, 210

Ortega y Gasset, José, 198

Orwell, George: Homage to Catalonia, P129, P1116

Osaka Festival 1958, 209, P225

Osborn, Robert, 246, P960, c722

Otis Art Institute, Los Angeles, 180, 235, 261

Oval (Black Calligraphy) (destroyed 1967 drawing), c703, c704

Oval series (P381–P388), w245

Oxford University, 182–83

Oy/Yo (print), c624

Paalen, Wolfgang, 184, 185, 188, 192, P8

“Farewell au Surréalisme,” 185

Form and Sense, 190, c17

“The New Image,” 184

“Surprise and Inspiration,” c8

Works from 1939–1945, 190

Padgett, Ron, 227

Pagé, Suzanne, 238

Paillard, J. M., vine charcoal sticks packaging, c127

Painter, The (c12), 43, 172n.20, 190, c3

Painter and the Printer: Robert Motherwell’s Graphics 1943–1980, The (Terenzio and Belknap), 237, 242, 244

Painter’s Music, the Musician’s Art, The, c649

Painters Painting (documentary film), 229, P496

Painting (P210), 2, 248

Painting for Bertolt Brecht (P959), 242

Painting Prophecy—1950, A (traveling), 190, P13, c8

Palacio de Oriente (Royal Palace), Madrid, ticket, c451

palette paper, c60, c75, c101, w20–w23

Palinurus, P1089

Pallenberg, Anita, 219

Palley, Reese, Gallery, Atlantic City, N.J., w254

Pall Mall cigarette package, c365, c366 Pancho Villa, Dead and Alive (c7, fig. 23), 5, 11, 36, 44, 44–46, 47, 51, 71, 85, 145, 172nn.20 and 35, 187, 188, 189, 195, 206, c4, c14, c25 Panicali, Carla, 228 Pantheon Press, Rome, 233 Papastratos cigarette shipping box, c243 paper dress, striped, as college element, c211–c214

Paris:

Motherwell and Frankenthaler’s trips to 1960, 213 1961, 215

Motherwell’s 1935 trip to, 181 Motherwell’s 1938–39 sojourn in, 152–53, 182, 183, 279, c184, ew.iV–ew.Vi, ew.Xii

Motherwell’s 1954 trip to, 205

Paris Exposition Internationale (1937), Spanish Pavilion at, 78

Parisienne Super cigarette label, c383

Paris Review, benefit poster and print for, c150, w533 Park, The (P269), P273

Parke-Bernet Galleries, Inc., New York, w119 Parker, Ray, 201, 246

Parkhurst, Charles, 200, 203, 219, 220, 238

Paroles Peintes, 222

Parrish Art Museum, Southampton, N.Y., w30 Parsons, Betty, Gallery, New York, 192, 193, 194, 196, 197, 198, 202, 204, 211, 254n.195

Partisan Review, 192, 198, 206, 214, 245, c41, c53

Pasadena Art Museum, Calif.: Motherwell’s 1962 retrospective at, 104, 215–16

Pas de Deux No. 1 (c536, fig. 146), 152, 152, 154 collages related to, 152, c760, c853

Paskell, Mel, 241, 250, P1207

Pasternak, Boris: Doctor Zhivago, P853

Paterson’s Scottish oatcakes cloth pouch, c176 Pavia, Philip, 197–98

Pays Basque Irouléguy wine label, c395 Paz, Octavio, 19, 162, 244, 249 livre d’artiste and, 248

“¿No hay salida?” (The Endless Instant), c524

“Piedra de Sol” (Sunstone), P1024 “Piel del Mundo/Sonido del Mundo” (The Skin of the World/The Sound of the World), 230, 258n.475

Sor Juana Inés de la Cruz; o, Las tramps de la fe, c676 work given to, w269 PBS, 222

Peace Portfolio I: Untitled (print), P319 Peace Tower (Los Angeles; 1966), 222 Pears soap label, c76

Pei, I. M., 160, 235, 237, P956

Pelikan drawing ink label, 117, c126 Pengra, Mary (first cousin), ew.Xiii, c299 Pennsylvania Academy of the Fine Arts, Philadelphia, 206, c61

Perls, Frank, Gallery, Beverly Hills, Calif., 171n.66, 201, P27

Perpetual Summer (print), c737, c764, c773 Perr, Herbert, 225, 229 Perreault, John, 133

Perry, Ralph Barton, 181

Persian No. 1, The (P789), 4, 14, 142, 240 Persian II, The (print), P789, c728, c732

Persian series (P789, P792, P795, P797, w465), 234, P856

Personage (P11), 36, 46, 55, 187, 189, 189, 191, 240

Personage (Autoportrait) (c8, fig. 25), 5, 35, 46, 46, 172nn.10 and 20, 187, 188, 189, 190, 253n.121, 265, P10, c2, c4

Personage, with Yellow Ochre and White (P64, fig. 35), 56, 57, 60, 194, 194, 206, 207 Perspectives USA, 205

Peterdi, Gabor, 201

Peters, Donald, c88

Peters, Paul, c26

Petersburg Press, London, 244 Petlin, Irving, 222

Philadelphia Museum of Art, 80 Philadelphia Museum School of Art, 213 Phillips, Joann and Gifford, P231 Phillips Collection, Washington, D.C., 220, 221, c112

Phoenician alphabet, 159, P924

Phoenician Red Studio (P924, fig. 156), 159, 159, 171n.50, 240, P897, w508 Photographer, The (c489), c424 photographic imagery, in collage, c684, c746, c755

Picabia, Francis: Étude pour la Novia, 190, 213, 253n.151

Picasso, Pablo, 9, 27, 31, 47, 68, 78, 79, 128, 187, 193, 195, 198, 213, 218, 224, 233, 238, 244, 249, 256n.296, 259n.489, P88 collages of, 44, 87, 111–12, 175n.3

Crucifixion, ew.Xiii

Dora Maar in a Wicker Chair (fig. 36), 56, 57, P64, P68

Guernica (fig. 54), 16, 75, 75, 76, 77–78 influence on Motherwell of, 16, 17, 20, 31, 37, 53, 55, 57, 72, 111–12, 172n.8

Motherwell’s memories of, in Parisian cafés, 147, 182, c184

The Old Guitarist (fig. 151), 154–55, 155, c889

The Poet, Céret (fig. 41), 59, 59 prints in commemoration of, w409 studio interiors of late 1920s, 16, c12, c20

The Studio (fig. 11), 30, 31, 31, 55, 236, c12 villa near Cannes purchased by, c61 Woman in Green Costume, 194 Picayune (c216), 124 Picayune cigarette package, c216 Pierce, S. S., Co., label, c102 Piero della Francesca, 172n.11, P159, c1 Flagellation of Christ (ca. 1455–60), P1113 Pierrot’s Hat (c1), 39–40, 43, 187, c2, c5 Pinakothek der Moderne, Munich (formerly Bayerische Staatsgemäldesammlungen, Staatsgalerie für moderne Kunst), P264, c101, c666 Pink Mirror, The (c39), 239 Pink Nude with Bowed Head (w45), 215, P626 Pistole, Walter: collages originally owned by. See c27–c31 Plas-Par-Tout, w305

Plato: The Republic, 130, P673

Player’s cigarette package, c91, c197

Plaza de Toros Bayonne-Biarritz, France, 5, 95–97, 151, 210, c448, c453, w60

Plexiglas: painting on. See w705 Pleynet, Marcelin, 238, P936

Poe, Edgar Allan, c402

Poe No. 4 (c405), P757

Poe series. See c402–c405, c464, c510

Poet, The (P36), 55–56, c42 Poet, The (c42, fig. 28), 12, 50, 50–51, 56, 208, P36, P56–P58

Poet I, The (print), 214, c196 Poet’s Eye, The (print), c856, c861, c865, c869, c875, c881

Poet with Orange (P56, fig. 34), 55, 56, P36 Pol Latour & Cie champagne label, c420

Pollitzer, Eric, 262, P23

Pollock, Jackson, 1, 33, 37, 57, 172nn.15 and 28, 187, 188, 190, 191, 192, 193, 194, 196, 197, 198, 204, 206, 207, 219, 224, 240, 254n.174, 256n.296, c1 Abstract Painting (fig. 16), 40, 40 death of, 175n.29, 207, w24 first collage made in studio of, 39–40, 41, 187, c1–c3 Mural, P851

work dedicated to, w24 working methods of, 35, 39, 187 Ponsold, Renate. See Motherwell, Renate, née Ponsold

Pontigny-en-Amérique conference (South Hadley, Mass.; 1944), 188 Poole, Nelson, 180 Pop art, 15, 114, 146, 217

Pope, Alexander: “Essay on Man,” c821 Portal (P1047), w543

Port de Boston (c606), c607

Port de Boston II (c607), c606

Porter, David, Gallery, Washington, D.C.: A Painting Prophecy—1950 (1945), 190, c8

Porter, Peter: The Automatic Oracle, P1168 “Portrait and the Modern Artist, The,” dialogue (WNYC; 1943), 187 Portland Art Museum, 183 Posada (P960), 242

Posada, José Guadalupe, 188, P960, P991

Posada, the Mexican Printmaker (P991), P960 Possibilities, 49, 57–58, 63, 192, 194–95, 197, 198, 201, 254n.167, 255nn.220 and 261, c38, c52 posters: for Chicago International Art Exposition, 244, c664 for International PEN Congress (1986), c493 for Juilliard School, 151, c265, c266, w309 for Mostly Mozart Festival, Lincoln Center, New York, c883, c884 for New Collages exhibition at Whitney Museum of American Art (1968), c228 Newport Opera, c599 for Ojai Music Festival (1982), c535 for The Painter’s Music, the Musician’s Art, c649 for Paris Review, c150 for Spoleto Festival of the Two Worlds (1968), c253 Pound, Ezra, 181

Poussette-Dart, Richard, 199, 228

Poussin, Nicolas: Funeral of Phocion, ew.i Power, Tyrone, c511

Prall, David W., 18, 26, 181–82, 183, 184, 185, c737

Aesthetic Analysis, 18, 183 Prater, Christopher, w429

Prats, Joan, Galería, Barcelona, 250, P772, P1126, P1183, c343

Motherwell’s 1986 solo exhibition at, 248, P1091, P1112, P1123, c713

Pregnant Nude II (P142), 204, P141

Pregnant Nude III (P143), 74, 204, P141

Pregnant Nude series (P141–P144), 4, 80, 211, w16

prehistoric art. See cave paintings, Paleolithic

Premonition Open with Flesh over Grey (P807), 142, 234

Preston, Stuart, 71–72, 197, 198

Pride and Prejudice (play), 183

Primal Image (P1160), 156, 162, 248, P868, P1024

Primal Image II (P1161), w621

Primal Mark (P1086), 165, P544

Primal Sign (P1108), w189

Primal Sign I (print), P1108

Primal Sign II (print), c640, c641

Primal Sign III (print), c640, c641

Primal Sign IV (print), c640, c641

Primitivism, 60

Primordial Sketch No. 7 (P865), P922

Primordial Sketch No. 8 (P866), 156, 161–62, P1024

Primordial Sketch No. 9 (P867), 156

Primordial Sketch No. 12 (P868), P1160

Primordial Sketch No. 13 (P869), P1204

Primordial Sketch No. 14 (P870), 156

Primordial Sketch No. 15 (P871), 156

Primordial Sketch No. 16 (P872), 156, P876

Primordial Sketch series (previously called Dordogne series; P864–P872), 95, 237

Princeton University. See Art Museum, Princeton University, N.J.

Printemps, Le (P667), 220, 262, P1070

Printemps, Le (P1070), P615 printmaking, 12–13, 142, 145, 214, 232, 234, 244 catalogues raisonnés and, 237, 242, 244 collaborative process in, 13, 145. See also Mosley, Catherine; Tyler, Kenneth at Galerie im Erker, St. Gall, Switzerland, 146, 222, 230, 231, 233, P269, P1194, c206, c282–c288

Greenwich, Conn., studio dedicated to, 12, 13, 142, 145, 233, 233, 234, 238 interaction of collage-making and, 13, 116, 145, 148–49, 153, 246 inventory and catalogue processes for, 237. See also Belknap, Dorothy for Marlborough-Gerson Gallery, 229, 230 Motherwell’s reengagement with (1961), 214 seriality in, 15, 145 at ULAE, 211, 214, 218, 225–26, 230, 232, P522 see also livres d’artiste; posters; Tyler Graphics Ltd.; specific prints and series Problems of Contemporary Art series, 190, 193, 194, 197 Procession, with Oil (P1033), w576 Propyläen Verlag, Berlin, 233 Proust, Marcel, c104 Provincetown, Mass.: Beside the Sea series and, 4, 102, 217, w127 Forum 49 in (1949), 197 Joyce symposia in, 244, 245, P1066 Motherwell’s death and memorial in, 250 Motherwell’s description of, w6 Motherwell’s homes and studios in, 185, 206, 207, 208, 213, 214, 214–15, 216, 218–19, 220, 228, 231, 258n.440, P984, c65, c465, c634, c652

Motherwell’s summers in, 32, 111, 123–24, 146, 185–86, 186, 206, 207, 208, 213, 214, 214–15, 216, 220, 223, 224, 225, 226, 228, 229, 230, 231, 233, 236, 238, 242, 244–45, 247, 248, 250, P647, P838, P1106, P1199, c198, c202, c265, c612

see also Long Point Gallery Provincetown: Stanley’s View (c255), 226 Provincetown Art Association and Museum, Mass., 240, 245, 259n.477, P659, P857, c476, c503 Psychiatric Quarterly, 204 Public Theater, New York, P1016 Put Out All Flags (print), 244, c774, c806 Putzel, Howard, 190 Pyrénéen Collage (c125, fig. 95), 113, 113, 115, 217

Queen Elizabeth 2, w257 Queens Pigeon Fanciers Association, P124 Quilapayún poster, c528 Quintet (P1114), 247

Racz, André, 220 Ragon, Michel, c67 Rainford, Percy, 262 Rand, Paul, 187, 190, 194, c95 Randolph, Lee, 180, 181, 183, ew.Viii Rathbone, Eliza, 240 Rattner, Abraham, 205 Rauschenberg, Robert, 118, 202, 203, 211, 213, 218, 219, 231 Raymond, Marcel: From Baudelaire to Surrealism, 198, c11 Razor’s Edge, The (print), c798 Read, David, 222 Read, Herbert, 191 Grass Roots of Art, 193 Reagan, Ronald, 244 Reconciliation Elegy (P956, fig. 158), 160, 160–61, 235, 236, 237, 238, 239, 240, 240, 241 collage maquette for (c616), 160, 238, 239 drawings and small painted sketches for, 160, 177n.14, 238, 239, P950–P955, P1063, w527–w532 Recuerdo de Coyoacán (P8, fig. 12), 4, 27, 31–32, 32, 42, 44, 124, 130, 172nn.21 and 22, 185, 186, 240, 252nn.93 and 100, 258n.453, P2, P9 notebook entry regarding (fig. 177), 32, 186, 186 Red, Cut by Black (P372), 109, 223, w206 Red A I (P1198), P1199

Red and Black No. 34, The (c793), 248 Red and Black No. 55, The (c814, fig. 147), 116, 152–53, 153

Red and Black series (c760–c815), 116, 152–53, 248, c536 aquatint proofs of Pas de Deux No. 1 (c536) as basis for, 152, c536, c760

Red and Grey, P165

Red Garden Window (c608), 240 Red Je t’aime No.VIII (P162), 82, 82 Redmond, Roland, 199

Redness of Red (print), c711

Redness of Red (State I) (print), c711

Red Open No. 2 (P708), P707

Red Open No. 3 (P709), P707

Red Open No. 4 (P710), P707

Red Sea I (print), 238, c563

Red Skirt, The (P65, fig. 38), 58, 58, 60, 194, 196, 202, 213

Red Stripe, The (P50), 55

Red Sun, The (fig. 4), 27, 28, 35

Red Wall, The (P576), w354

Reed, Judith Kaye, 190 Reeves, Ruth, 196

Reeves sketching charcoal label, c450

Régie Française (c203), 119

Régie Française des Tabacs, c203

Reid, Whitlaw, Mansion, New York, 186 Reinhardt, Ad, 129, 187, 193, 196, 198, 199, 199, 201, 211, 222, 223, 225, 228, 258n.425

“The Artist in Search on an Academy: Part II,” 205

Reis, Barbara, 183, 184, ew.XVii

Reis, Bernard, 183, 185, 195, 209, 231, c268, w95

Reis, Rebecca, 183, w95

Rembrandt, 180

Rémy Martin cognac wrapping paper, c371

Renoir, Auguste, 213

Resika, Paul, 238 Resistance, La (c20), 215

Reval, Estonia, c431, c545

Reversible Collage (c108), 214

Reynal, Kay Bell, P131, P140

Reynal & Hitchcock, 190, 192, c27

Reynitas Cigarrilhos package, c527, c596, c626, c645

Ribemont-Dessaignes, Georges: L’Empereur de Chine, 173n.11

rice papers, P1180. See also Japanese rice papers

Richard J. Daley (Chicago; 1968), 226 Richards, M. C., 202

Richter, Hans, 193

Rijeka, Croatia, Yugoslavian customs label from, c429

Rimbaud, Arthur, 181, P338, c154

Season in Hell, 225

Ringling, John and Mable, Museum of Art, Sarasota, Fla., 197

Ripley, Dwight, 172n.20

Rite of Passage I, II, and III (prints), w549 Rivera, Diego, 184

Riverrun (P659), 232, 245 Riverrun (print), c837, c854

Rivers, Larry, 107, 218, 219, 220

Robert Motherwell: Summer of 1971 (documentary film), 230, 231, P622, P650, c274–c276

Robertson, Bryan, 163, 215, 219, 220, 222, 231, 238, 239, 257n.379, P850, P1024, P1063, c7

Rockefeller, David, c150 Rockefeller, Mrs. John D., 207 Rockefeller, Nelson A., 208, 213, 214, P215 Rockefeller Guest House, New York, 201 Romanticism, 181, 182

Ronchamp, France: Le Corbusier’s chapel of Notre Dame du Haut, P984 Room, The (drawing), 189, 192 Room 8, Hotel Flora, Cannes (P109), 71, 200, 201 Roots of Abstract Art in America (print), P378 Rose for James Joyce (P1155), 248 Rosenberg, Harold, 49, 191, 192, 193, 194, 198, P86, w33

“American Action Painters,” 204, 255n.261 “A Bird for Every Bird,” 63–64, 65, 173n.1, 194–95, 198, w10

“Reminder to the Growing. To Patia. For a painting by William Baziotes,” c48 Rosenblum, Robert, 221

Rosener, Ann (stepsister), P27

Rosener, Margaret H. See Motherwell, Margaret Lillian, née Hogan

Rosenquist, James, 222 Rosenthal, Norman, 239

Ross, Gloria F. (sister-in-law), 209, 229

Ross, Gloria F., Tapestries, 229, P515, c119, w389

Rossellini, Roberto: Open City (film; fig. 27), 47, 48, c33

Rosset, Barney, 205

Roszak, Theodore, 228

Roth-Händle II (print), c819

Roth-Händle II (trial proof), c526

Roth-Händle cigarette package, 228, c526, c618

Roth-Händle with Black Window (c526), 228, c618

Roth-Händle with Blue Hat (c618), 228

Rothko, Kate, 231

Rothko, Mark, 1, 9, 15, 106, 129, 187, 190, 192, 193, 194, 198, 201, 203, 206, 207, 208, 212, 220, 228, 240, P554, P620, c42 art school founded by Motherwell and, 195–96, 197, 253n.112

drinking and depression of, 226

gallery representation of, 209, 218, 219, 231

Motherwell’s essay on, 223

New York studios of, 220, 223, 224 No. 1, 201 retrospective exhibition of (New York; 1961), 104, 105, 214

“The Romantics Were Prompted,” 192, 254n.168

Rothko Chapel paintings, 223, 232 suicide of, 141, 229, 230, P554

Untitled (Anfam 1998, no. 415a), 208, c42

Rothko Chapel, Houston, 223, 232 Rothschild, Baron Philippe de, 237, P862 Rothschild, Judith, 238 Rouault, Georges, 182, 251n.28, ew.iV, ew.V Rouge et Noir (Red and Black), Ballets Russes de Monte Carlo’s production of, 152–53, 182, c760 Royal Academy of Arts, London, 238, 239, 240, c572, c705 Royal Scottish Academy, Edinburgh, 238, P820 Royal Society of Arts, London, c201 Royal Water Music (c201), c705 Royal Water Music (c705), w315 Rubens, Peter Paul, 180, 210 Rubin, Lawrence, 142, 233, 259n.506, c646, c658

Rubin, Lawrence, Gallery, New York, 142, 231, 232, P572, c343 Rubin, Marina, c646 Rubin, Richard, 250 Rubin, William, 172n.25, 226 Rudowsky, Berta, 190 Rue de la Chaise (ew.Vi), 183 Russell, Bertrand, 12, 181 Russell, John, P875, P924 Russolo, Luigi, 253n.132 Ryman, Robert, 237

Sabartés, Jaime, 111

Sailor’s Cemetery (drawing; fig. 43), 63, 63, 64, 195, P46, c41, c53, w9 Saint-Exupéry, Antoine de: Vol de nuit (Night Flight), c666 Saint-Jean-de-Luz, France: Les Ballets Basques de Biarritz performance in, c138, w163

Motherwell and Frankenthaler’s 1958 sojourn in, 94–95, 112, 113, 210, 211, 212, c395. See also P174–P180, P190, c79–c88, c125, w34–w83

St.-Jean-de-Luz No. 2 (w47), 98

St. Michael series (prints), c567

St. Michael III, c668, c678, c715, c717, c766, c769, c784, c785, c787, c797, c805, c809, c812

St. Michel (c567), c576, c619

St. Michel No. 2 (c576), c619

St. Michel cigarette label, c567, c576, c619

St. Paul’s School, Concord, N.H., 229

Motherwell’s 1970 solo exhibition at, P541, P542

Sakanishi, Shio: The Spirit of the Brush, 141 Sala Pelaires, Palma de Mallorca, c742

Samurai (print), w311

Samurai series (P775–P780, P929–P935, w458–w462, w523), 140–41, 234, P1071, w311, w389

Sánchez Mejías, Ignacio, 65, 76, 79, 95, 173n.6, 176n.54, 253n.108, P96

Sandler, Irving, 98, 170n.30, 216, 232, 246

Sands, Bobby, 244, c669

San Francisco Museum of Art, 183, 229

San Francisco Museum of Modern Art, P408, P506

Sanitas, La, tissue paper label, c102

Santini Brothers warehouse, New York, 123, 224, 225, P397, w151

São Paulo Bienal, Brazil: 1954, 204

1961, 104, 215, 215–16, P192, w68, w69, w161

Sardà, Elisabet Goula, 79

Sartre, Jean-Paul, 194

“The Wall,” 29

Satie, Erik, 253nn.132 and 149

“Memories of an Amnesiac,” 198

Trois Morceaux en forme de poire (Three Pieces in the Form of a Pear), P994

Saura, Antonio, 259n.537, c207

Scarlet and Black with Ultramarine Stripe (c512), 150

Scarlet with Gauloises Blue No. 7 (c296), 147

Scarlet with Gauloises No. 2 (c291, fig. 138), 146, 147

Scarlet with Gauloises No. 4 (c293), c290

Scarlet with Gauloises No. 10 (c299), ew.Xiii

Scarlet with Gauloises No. 23 (c312), c311

Scarlet with Gauloises series. See Gauloises with Scarlet series

Scarpetta, Guy, 13, 147, 238

Schapiro, Meyer, 32, 182, 183, 185, 186, 196, 198, 201, 251n.45, P8, c8, c737

“The Nature of Abstract Art,” 181, 183

Schifano, Mario, 219

Schiff, John D., P9

Schimmelpenninck Duet cigar package, c76, c418

Schjeldahl, Peter, 138

Schnabel, Julian, viii

Schoenberg, Arnold: Chamber Symphony no. 1 for 15 solo instruments, op. 9, c508, c553, c555

School for the Stage, New York, 184

Schultz, Douglas, 244

Schultz, Heinz (Henry), 187, 194, 199, 205, 255n.249, P32

Schuyler, James, 219

Schwartz, Delmore, 182

“In the Naked Bed, in Plato’s Cave,” 130, P673

Scofield, John, 237, 238, 239

Scotchlite, 255n.245 copy of Mural Fragment (P102), 202, 255n.246

Scott, Francis George: “The Old Fisherman,” c862

Sculptor’s Picture, with Blue, A (P173), 209 Sculptor’s Studio No. 2, The (P279), 219, P283

Sculptor’s Studio series, P279, P283

Sculpture ’76, poster for, w392 Sea, Sky, Sand (w120), 217

Sea Lion sardine package, 5, 213, c92–c94

Sea Monster (P283), P279, P400 Sea of Sand, A (P730), 233 Seaside Studio (print), c857, c868, c871

Seattle World’s Fair: Art since 1950, American and International (1962), 216 Second Spanish Republic (1931–39), P156

Seely, Robert and Marcia, w631

Segal, George, 217

Seibu Museum of Art, Tokyo, 240, P820

Seitz, William C., 207, 215, 221, 256n.303, c17 Sekula, Sonja, 196

Self Portrait as Dog IV (c681), P1055 self-portraiture, 55, 57, 59, 60, 142, 182, P82, c8, w511

Selig, Robert, 233

Seligmann, Arlette, 184 Seligmann, Kurt, 27, 183, 184, 196, ew.XV–ew.XVii Sengai: The Universe, P966 Sennelier watercolor block label, c249 Sentinel, The (P10, fig. 14), 31, 35, 35, 172n.20, 187, 253n.121, c8 senyera (flag of Catalonia), P364 Senzaki, Nyogen: The Iron Flute: 100 Zen Koans, c566 seriality, 14–15, 171n.44

see also Motherwell, Robert—serial approach of Sert, José Luis, 200 Sessions, Roger, 205 Seuphor, Michel, 203 “Tableau-Poême,” 198 Seurat, Georges, 210 Le Chahut, 185

Seven Stairs Gallery and Bookstore, Chicago, 202

Seventh Annual Conference of the Committee on Art Education (New York; 1949), 196 Sevilla (P92), 68 see also Elegy to the Spanish Republic series Shahn, Ben, 196, 201, 205, 212 Shakespeare, William, 180 Hamlet, c586 Shapiro, Karl, c17 shellac, as painting medium, w71 see also P178, w72, w77–w83 Shem the Penman (P679), 232, 233, P729 Shem the Penman series (P679–P691, P729, P1066–P1069, w407), 165, 176n.7, 232, P618, P1164 Shimamoto, Shozo, 206, 209 Shoenberg, Mr. and Mrs. Robert H., 225 Sic et Non (P728), 233 Sicilian Window, The (P665), P674 Sienna Wall, The (P744), 242 Sigari Toscanelli package, c449 Signac, Paul: D’Eugène Delacroix au NéoImpressionnisme, 182 Signs on a White Field (P1029), 244, w606 Signs on Copper (print), w618

Signs on Red (print), w578

Signs on White (print), w578

Silent Form series. See w279–w281

Silhouette, Etienne de, c821

Silone, Ignazio, 186, 252n.93

Silvers of Paris mailing wrapper, c199

Silver Top Dry Gin seal, c82

Simon, Sidney, 224, 225, 238

Singing Yellow (P403), 136, 225, P401 sinopias, of Uccello, 226, P712 Sirens, The (P1157), 248

Sirens II (print), c822, c824

Siskind, Aaron, 202

Sistine Chapel, Vatican, 248

Six-Day War (1967), 224, P380

67 Gallery, New York, 190

Sketch for the Tablets of Moses, the Diaspora, and the Burning Bush, for Temple B’nai Israel, Millburn, New Jersey (P115), P114

Skowhegan Medal for Printmaking, 244

Sky and Pelikan (c126, fig. 102), 117, 118 Sloman, Steven, 235, 236, 262–63 Small Personage (P32), 11, P46, c43

Smith, Candida, 234, 235

Smith, David, 10, 170n.25, 192, 194, 204, 205, 207, 208, 209, 212, 212, 218, 219, 220, 221, 222, 223, 228, 233, 240, P173, P350, P504, c264 death of, 175nn.26 and 28, 221, P350 estate of, 221, 234, 235

Smith, Jack, 219

Smith, Rebecca, 234, 235

Smith, Tony, 192, 197, 217, 223, 228, 244

Smith College Museum of Art, Northampton, Mass.: Motherwell’s 1963 retrospective at, 104, 217, 218, 218, c94, c124, w19

Smithson, Robert, 22

Smithsonian American Art Museum, Washington, D.C., c44

Sobel, Janet, 190

Social Comment in American Art (traveling; 1968–69), P516

Society of the Four Arts, Palm Beach, Fla., 191 Socrates, 2

Sökelands Pumpernickel label, c75

Sokolniki Park, Moscow, 212 Solomon, Barbara Probst, 241 Solomon & Company Fine Art, New York, P49

Soot-Black Stone (P734), P731

Soot-Black Stone (prints), 233, P731, P734

Soria, Georges: Grande histoire de la Révolution française, c750, c755

Sotheby Parke Bernet, New York, c12, c14

Sotheby’s, New York, P165

Soulages, Pierre, 205, 206, 215

Southern Christian Leadership Conference, 226

Souvenir de Californie (c61, fig. 64), 87, 87–88, 89, 90, 204, 206, c47

Souvenir de Proust (lost work), 183

Souvenir d’Exposition du Monde (ew.Xi), 183

Souverbie, Jean, 182

Spain:

coup attempt in (1981), c675 imagery related to, 4. See also specific series and works

Motherwell and Frankenthaller’s honeymoon trip to (1958), 93–94, 174n.9, 209–10, P171, P173, c451

Motherwell declared persona non grata by, 94, 210

Motherwell’s 1980 trip to, 242, 243, P996, P998, P1009

Motherwell’s affinity for, 25–27 postal stamps from, c525, c581, c886

Spanish Civil War, 25–26, 27, 28–29, 181, 182, 248, 251n.23 and Motherwell’s identification with the Spanish Republic, 25–26, 27, 79–80, 174n.44, 217

Vicente’s attack on, 79, 218 Picasso’s Guernica (fig. 54) and, 75, 75, 76, 77–78

references in collages to, 4, c17, c33, c114 refugees in, 26–27, 213, 223 see also Elegy to the Spanish Republic series

Spanish Death, The (P838, fig. 132), 4, 98, 139, 139, 157, 237, 237, P220, P819, P850, P939, P1012, w587

Spanish Death II (P939), P940

Spanish Death IIA (P940), P939

Spanish Death series. See P838, P939–P943, P1012, P1013

Spanish Earth, The (film), 182, 251n.23

Spanish Elegy (P198), P199, P200, P203

Spanish Elegy (P200), P198, P199, P203

Spanish Elegy (P203), P198–P200

Spanish Elegy (P642), P822

Spanish Elegy (Alcaraz) XV (P148), 74, w17

Spanish Elegy (Segura) XVII (P149), w17

Spanish Elegy I (print), w534, w536, w537 Spanish Elegy II (prints), w535, w538–w540

Spanish Elegy XIV (Palamos) (w17), 74, 208, P148, P169

Spanish Elegy XVI (Molina de Segura) (fig. 53), 74, 74, w17

Spanish Elegy Study D (w519), w516

Spanish Elegy with Marine Blue (P948), P149

Spanish Elegy with Orange No. 3 (P644), P642, P815, P819, P820

Spanish Elegy with Orange No. 4 (P645), P642, P818, w275

Spanish Elegy with Orange No. 5 (P646), P642, P817, P821

Spanish Elegy with Orange series. See P641–P646

Spanish Embassy, Washington, D.C.: luncheon at (1981), 244, c675

Spanish Institute, New York, 248 Spanish King, The (c675), 244

Spanish Night (w80), w84

Spanish Painting with the Face of a Dog (P176), 210, 211, 212, 256n.322

Spanish Picture with Window (P4, fig. 10), 17, 30–31, 31, 35, 130–32, 185, 227, 248 Spanish Poet, The (c581), c525

Spanish Prison, The (Window) (P12, fig. 8), 11, 27, 28–30, 30, 36, 70, 71, 130, 174n.31, 187, 189, 189, 190, 240, w11

Spanish Prison III (w11), 174n.31, P129 see also Elegy to the Spanish Republic series Spanish Refugee Aid, Inc., 213 Spanish Still Life (w26), P171

Spanish Wall No. 2 (w629), w628

Spanish Wall No. 4 (w630), w628

Spanish Wall series. See w628–w630 Spartan, The (P796), 4

Spero, Nancy, 205

Speyer, Nora, 238

Spiegel, Galerie der, Cologne, Germany, 216

Spinoza, Baruch: Ethics, 181

Spivak, Max, 198

Splurge No. 2 (P781), P782

Spoleto (c253), c252, c254, c258

Spoleto Festival of the Two Worlds poster (1968), 226, c253

Spontaneity No. 1 (drawing), P24, P35

Spontaneity No. 4 (w206), P358

Spontaneity series of ink drawings, w203 see also w204, w206

Stabat Mater (of unidentified composer), c687, c690, c692, c694, c702–c704, c723, c728–c731, c744, c788, c810, c812

White Music series and, c687, c728–c732

Stable Gallery, New York, 206

Städtische Kunsthalle Düsseldorf, Motherwell’s 1976 retrospective at, 238, P88, P775, P805, P850, c567, w458

Stamos, Theodoros, 193, 231

Stanford University, Palo Alto, Calif.:

Motherwell as undergraduate student at, 17–18, 36, 181, 184, 236, c494, c513

Motherwell’s collage commission for Law School at (c513), 150, 150, 236

Star of David, The, P65

Stars and Moons (c57), 86

State Department, U.S., 194, 207, 256n.296

Stedelijk Museum, Amsterdam, P365, c168

Stein, Gertrude, 181

Stein, Michael and Sarah, 181, 251n.12

Steinberg, Saul, 192, w612

Stella, Frank, 177n.17, 207, 213, 219, 246, 256n.304, 259n.497

Stendahl: Le Rouge et le Noir, c760

Stenersens, J. M., Forlag label, c587

Stephan, John, 196

Stephen’s Gate (P1040), 245, w542, w662

Stephen’s Harp (P1041), w614

Stephen’s Iron Crown (P1030, fig. 160), 161, 161, 244, 245, 247, P1033, w583

Stephen’s Iron Crown Etched (print), w583

Step Inside Love (c596), c598, c626

Stern, Mr. and Mrs. Philip, 217, P247

Stevens, Roger, 224

Stevens, Wallace, 181, 188

“The Man with the Blue Guitar,” 154–55, c6, c889

Stevenson, Robert, c186

Steward, Donn, 225

Still, Clyfford, 1, 9, 15, 106, 193, 195, 196, 201, 206, 225, 244

Still Life with Yellow and White (w12), 171n.50

Stone, Allan, Gallery, P235

Stout, Myron, 226

Strand Book Store, New York, w511

Strange Kind of Music, A (P1031), w578

Stravinsky (c398), 233

Stravinsky, Igor, 181, 233, c535

Pétrouchka, c650

Le sacre du printemps, 152, c398, c430, c495, c496, c499, c534–c538, c542, c553, c555, c557, c562, c617, c650, c672

Straw Horse I (P1055), 249

Straw Horse series (P1055–P1057, c681), ix, 245

Striped Above (w104), 214

Stroup, Jon, c12

Studio 35, New York, 197, 199, 199

Study for Big A (P1135), P1136

Study for Bloom in Dublin (P1036), P1037

Study for Elegy to the Spanish Republic No. 110 (gouache drawing), P607

Study for Elegy to the Spanish Republic No. 110B (w274), P607, w273

Study for Elegy to the Spanish Republic No. 110D (w276), P607, w273

Study for Elegy to the Spanish Republic No. 110E (w277), P607, w273

Study for In Black and White No. 2 (P830), 158, P860

Study for In Black and White No. 2 (P859), 158, P860

Study for Mask (for Ingmar Bergman) (w714), c710 Study for Memory of Delos (w722), c866 Study for Reconciliation Elegy (P955), 238, 239 Study for Shem the Penman No. 11 (P690), 130, P691 Study for Shem the Penman No. 11 (P691), P690

Study for State II “Elegy No. 100” (w353), 231, 233, 235, P851

Study for The Grand Inquisitor (P1144), P1182, w716

Study for The Grand Inquisitor (w716), P1182 Study in Automatism (P916), 249 Study in Watercolor series (w262–w267), c256 Stuttman, Esther, Gallery, New York, 213 Subjects of the Artist school, New York, 63, 195, 195–96, 196, 197, 206, 253n.112 Suchard Bittra brand chocolate wrappers, c274, c406, c413, c433, c454 Suchard on Orange series (c274–c276, c406–c409), c274, c454 Suite in Three Movements, c37 Sullivan, Louis, 22 Kindergarten Chats, 193, 254n.171

Summer Collage (c34), 47

Summer Light series (prints), 148–49, 233, c352, c386 Paulliac prints from, c417, c397

Summer Open with Mediterranean Blue (P786, fig. 133), 139–40, 140, 142, 234

Summer Seaside Doorway (P914), 238, P915

Summer Seaside Night (P915), 238 Summer Sign (print), P980 Summer Studio, The (P946), 240, 242 Summertime: Provincetown (c871), 249 Summertime in Italy (P378), 109, 123, 123, 223, 225, P397

Summertime in Italy No. 1 (c121), 114–15, c122

Summertime in Italy No. 3 (c122, fig. 97), 115, 115, w116

Summertime in Italy No. 3 (w116), c122

Summertime in Italy No. 7 (In Golden Ochre) (P277, fig. 100), 116, 116, 218, 219, 219, 220

Summertime in Italy No. 8 (P236), 212 Summertime in Italy No. 10 (P278), 219 Summertime in Italy No. 28 (P238), 116, 245 Summertime in Italy in Red (P379), 109, P563 Summertime in Italy series (P236–P238, P253–P257, P277–P279, P598–P603, c121–c123, c636, w116–w118), 1, 4, 114–16, 213, 214, 218, c184 see also Alassio, Italy Sun, The (c15), c11 Sun and Sea (c99), c112 Sunlit Sea, The (c80), 113, 151 Surrealism, 16, 17, 22, 33, 40, 106, 114, 183, 184, 185, 187, 188, 190, 242, 252n.53, P5, P224 titling of works and, 60, P82 see also automatism Susskind, David, 212 Swanson, Dean, 231 Swanson, Rebecca (granddaughter), 245 Sweeney, James Johnson, 35–36, 172n.20, 185, 188, 189, 190, 191, c13 Sylvester, A.D.B., 196 Sylvester, David, 213, 215, 239

Symbolism, 70, 78 Poe and, c402 see also French Symbolism

Symbols and Inscriptions in the Synagogue, 204 “Symposium on Modern Painting” (Cambridge, Mass.: 1951), 201

Taback, Dorothy, 196

Takashimaya Department Store, Osaka, P225

Talas conservation materials label, c577 Tanguy, Yves, 185

Tanning, Dorothea, 188 tapestry projects, 205 collages used as maquettes Cabaret Collage (c442) In Brown and White (c119) In White with Beige No. 1 (c235) paintings used as maquettes La Danse II (P138), 204 Elegy to the Spanish Republic No. 116 (P515), 229 for Temple Beth El, Springfield, Mass. (Ark Curtain), 204, 204, 205, 223, P138, w19 for Westinghouse Broadcasting, Philadelphia (1972 series of studies), P775, w389–w393

Tapié, Michel, 209, P225

Tàpies, Antoni, 79, 206, 211, 219, 259n.537 Tàpies, Antoni, Fundació, Barcelona, P163, P392

Task Force for the Arts and Humanities, 244

Tate Gallery, London, 192, 219, 229

Tatge, Catherine, 250

Taxco, Mexico: Motherwell’s sojourns in, 184, 187, 246, P1, P1015, c722

Tearingness of Collaging, The (c69, fig. 67), 84 (detail), 89, 89–90, 207, c184

Tejero, Antonio, c675

Tel Aviv Museum, Israel, 196

Temple Beth El, Springfield, Mass.: tapestry for (Ark Curtain), 204, 204, 205, 223, P138, w19

Ten Works x Ten Painters, 220, c145 te quiero (“I love you”; phrase), use of, c643, w642

Terenzio, Anthony, 249

Terenzio, Stephanie, 241, 242, 244, 245

Teresa of Avila, Saint, c676

Théâtre National du Palais de Chaillot, Paris, 182 13, Quai Montebello (c438), c432

Thomas, Dylan: Portrait of the Artist as a Young Dog, P1055, c681

Thomas, Yvonne, 196

Thomson, Virgil, 187

Threatening Presence (P875, fig. 155), 158, 158, 162, 237, 239, 240, 249, P861, P1024

Three Figures (P2), 185

Three Figures (print), w705

Three Forms II (print), c854, c859

3M Corporation, 202, P102 391, 190

Three Personages Shot (drawing; fig. 9), 11, 28–29, 30, 53, P16, P36

Three Poems (livre d’artiste), 248

Throw of Dice No. 17, A (P261), 218, 218, P260, P262

Throw of Dice series (paintings; P260, P261), P446

Throw of the Dice, A (prints), 218, P260, w213 Thunder over Mexico, 183

Tide No. 2, The (P793), P791 Tiger’s Eye, 196

Time, 238

Time in the Sun, A (film), 183

Times (London):

collage elements torn from, c446, c455, c469

fish and chips bag printed with facsimile of page from, c601, c604, c620, c622, c639, c644

Times Literary Supplement mailing wrappers, c177, c183, c185

title unknown (P6), 27, 31, 35, 185, 186

title unknown (P7), 27, 31, 35, 185, 186

title unknown (P9), 185, 186, 252n.100 title unknown (P14, fig. 31), 53, 53, 189, P13, P16

title unknown (P17), 54 title unknown (P95), 178, 199 title unknown (P144), P141 title unknown (P165), c639 title unknown (P214), 209, w96, w97 title unknown (P377), 109

To Arp, 223 Tobey, Mark, 192, 198 Tokyo Metropolitan Art Museum, 206 Toller, Ernst: Hoppla, wir leben! (Hoppla, We’re Alive!), P620

Tomb of Cap’tain Ahab, The (P153), 255n.269 see also Elegy to the Spanish Republic series Tomlin, Bradley Walker, 67, 172n.13, 192, 196, 197, 198, 201, 204, 208, 237, 259n.503

Number 9: In Praise of Gertrude Stein, 201 Torino, Italy, Museo Civico di, c542

Torino Collage (c198), c542

Totem No. 2 (P906), w513

Totemic Emblem (w514), P856, w513

Totemic Figure (P212), 259n.509, w513

“Tour of the Sublime, A,” 196 Transformation, 255n.220

Tree of My Window (c266), 228 Trimper, Isabel, 248

Trio IV (P1094), P1091

Trio VI (P1096), P1091

Tronche, La (Isère) (ew.ii), 183 Trotsky, Leon:

assassination of, 4, 32, 172n.22, 186, P8 History of the Russian Revolution, 185–86 Tuchman, Maurice, 246 Tucker, Marcia, 237

Turgenev, Ivan, 180 Turner, J.M.W., 222

Turske, Veith, Galerie, Cologne, 240, 242, 245, c638, w542

Two Decades of American Painting (1966–67), 223, P350

Two Figures (P175), P174

Two Figures (P207), P174, P1168

Two Figures No. 2 (P174, fig. 72), 95, 95

Two Figures No. 5 (w34), 98

Two Figures No. 6 (w35), 98

Two Figures No. 7 (w36), 98

Two Figures No. 8 (w37), 98, 212, 212, w39

Two Figures No. 9 (w38), 98

Two Figures No. 10 (w39), 98, 212, w37

Two Figures No. 11 (w40), 98, P182

Two Figures series (P174, P175, P207, P208, w34–w42), 4, 98, 152, 174n.2, 210, 211, 217, P171–P173

Two Figures with Cerulean Blue Stripe (P208), 12, 213, 214, P209, w115

Two Figures with Stripe (P246), 244 Twombly, Cy, viii, 202, 203 KLU, 202, 255n.252

Tworkov, Jack, 204, 226

Tyler, Kenneth, 142, 237, 246, w467, w643

at G.E.L., Los Angeles, 142, 148–49, 232, 233, c386

printed facsimiles for Motherwell’s collages produced by, 148–49, 152, 233, 234, c386

relocated to Bedford, N.Y., near Motherwell, 149, 234, 259n.497, c386

Tyler Graphics Ltd., Mt. Kisco, N.Y., 142, 234, 236, 237, c386, c654

handmade papers created by, w469, w643–w646

lithographic editions produced at, 149, 234, 237, 246, 250, P967, c501, w467, w715 livres d’artiste and, 242, P522

Motherwell’s 1991 solo exhibition at, 250

Motherwell’s opportunity to socialize with wide variety of artists at, 259n.497

printed facsimiles for Motherwell’s collages produced by, 234 enlargement of Bastos cigarette package, 149, 234, c500–c502 fragment of Stravinsky’s Le sacre du printemps, c495, c496, c534–c538, c557 Reynitas Cigarrilhos label, c527, c596, c626, c645 see also specific examples

Tzara, Tristan, 197, 198, 255n.249

Cinéma calendrier du coeur abstrait (Cinema Calendar of the Abstract Heart), w162

An Introduction to Dada, 202

Uccello, Paolo, 226, P712

Uccello’s Space: A la pintura (P712), 226, 258n.447

Uganda (P833), 4

Ullman, Montague A., 67, 158, 170n.23, 173n.15, 197, 204, 210, 258n.461

Ulrich Museum of Art, Wichita State University, Kans., P1024

Ultramarine with Gauloises series. See c321, c322, c342

Ulysses (P69, fig. 39), 46, 58, 58–59, w15

Ulysses, symbolism of, w15

unconscious, use of, 170n.28, 219

see also automatism

UNESCO, 201, 207, 212

unfinished painting (P166), P167 unfinished painting (P167), P166 unfinished painting (P196), P195 unfinished painting (P344), P157

unfinished painting (P1208), c866 unfinished painting (P1209), P1146

Ungaretti, Giuseppe, 219

United Nations, 229, 246

Universal Declaration of Human Rights, 246

Universal Limited Art Editions (ULAE), West Islip, N.Y., 211, 214, 218, 225–26, 230, 232, P522

Université de Grenoble, France, 182

University of Bridgeport, Conn., 223

University of California Press (Berkeley and Los Angeles), 258n.420, 259n.522

University of Coimbra, Portugal, 241, 259n.509, w534, w535

University of Connecticut, Storrs. See Benton, William, Museum of Art

University of Iowa Museum of Art, Iowa City: Motherwell’s mural for (P851), 157, 231, 233, 234, 235, 236, 241, P925, w353

University of Massachusetts, Amherst, 237

University of Miami, Fla., 215, 216

University of Minnesota-Duluth, 109, 207

University of Oregon, Eugene, 183

University of Pennsylvania, Philadelphia, 217

University of Rochester, N.Y., P13

University of Salamanca, Spain, 241, 259n.520, w534

University of Utah, Salt Lake City, c42

University of Wisconsin, Milwaukee, w285

Untitled (ew.X), 183

Untitled (ew.XV), 17, 183

Untitled (ew.XVi), 7, 17

Untitled (ew.XVii), 7, 17, 184, ew.XVi

Untitled (P25), P27

Untitled (P26), P27

Untitled (P89), P86–P88

Untitled (P187), 211

Untitled (P192), 212, c95

Untitled (P237), 214

Untitled (P247), 217

Untitled (P252), 115

Untitled (P370), 109, 223, 225, 266, w206

Untitled (P371), 109, 223, w206

Untitled (P394), P395

Untitled (P395), P394

Untitled (P399, fig. 114), 125, 126, 135

Untitled (P446), P260

Untitled (P629), P628

Untitled (P630), P628

Untitled (P631), P628

Untitled (P759), P761, P762

Untitled (P761), P762

Untitled (P762), P761

Untitled (P881), 237

Untitled (P1017), P1018

Untitled (P1018), P1017

Untitled (P1084), 249

Untitled (P1159), P1158

Untitled (P1199), P1198

Untitled (c2, fig. 15), 39, 39–40, 42, 43, 172n.10, 187, c1, c3, c5

Untitled (c56), 86

Untitled (c60), w20

Untitled (c63), c62

Untitled (c73), c184

Untitled (c143), 218

Untitled (c163), c162

Untitled (c185), c186

Untitled (c219), 124

Untitled (c265), 151, 228, c279

Untitled (c287, fig. 137), 146, 146

Untitled (c288), 146

Untitled (c369), c420

Untitled (c416), c9, c568, c575

Untitled (c485), 235

Untitled (c486), c487

Untitled (c525), c581

Untitled (c651), c649

Untitled (c664), 244

Untitled (w3), 190 Untitled (w21), c60 Untitled (w43), 98 Untitled (w83), w84

Untitled (w87), P236, c58 Untitled (w217), w215

Untitled (w218), w215

Untitled (w219), w215

Untitled (w305), 227

Untitled (w306), P480, w307, w308

Untitled (w307), 228

Untitled (w308), 228

Untitled (w371), P620

Untitled (w389), 234

Untitled (w464), P791

Untitled (w600), w598

Untitled (w690), P1118, w584

Untitled (prints), P576, c145, c394, c397, c876–c880, w630, w688, w689

Untitled (Bird) (P126), 202

Untitled (Cathedral Series) (c662), P984

Untitled (Composition in Grey) (c217), 124

Untitled (Drunk with Turpentine) (w584), P1046, P1118, w690

Untitled (Drunk with Turpentine) (w585), P1035

Untitled (Elegy) (P233), P229

Untitled (Elegy) (P605), 235, P606, P850, w353

Untitled (Elegy) (P878), P1201

Untitled (Elegy) (P879), P1203

Untitled (Elegy) (P882), 237

Untitled (Elegy) (P1110), P1027, P1109

Untitled (Elegy) (P1146), P1176, P1209

Untitled (Elegy) (P1148), P1177, P1178

Untitled (Elegy) (P1202), P879, P1203

Untitled (Elegy Study) (w632), w598

Untitled (Figure) (ew.iX), 183, ew.Viii

Untitled (Figure in Doorway) (P1081), P100

Untitled (Iberia) (P263), P264, P392, P641

Untitled (Iberia) (P265–P267), P264

Untitled (Iberia Series) (P520), P521, P809

Untitled (Iberia Series) (P521), P809

Untitled (In Black and White with Lavender) (P361), 224

Untitled (In Brown, Red and Light Blue) (c218, fig. 107), 120, 121, 124

Untitled (Red Open) (P575), w354

Untitled (Samurai) (w458, fig. 134), 140, 140–41

Untitled (Soot-Black Stone) (P731), P734

Untitled (State I) (print), c822, c887

Untitled (The Hours of the Day) (drawing; fig. 13), 32–34, 33, 35, 187, P6, P10

Untitled (Two Nudes) (ew.iV), 183, 251n.28, ew.X

Untitled (with Green,Yellow and Red) (P1119), P1168

Untitled—A (w44), 98

Upmann, H., Cuban cigar box, c603

Upson board, 146, 149, 176n.7

U.S. Art Canvas label, c131, c132

U.S. Art New York N.Y. (c132), w127

U.S. Information Agency (USIA), 193, 256n.296, c429

U.S. Office of Education, 220 Uzès (ew.iii), 183

Valentine Gallery, New York, 28, 171n.10, 185, 187, w1

Valentino, Rudolph, c511

Valéry, Jeannie, P159

Valéry, Paul, 19, 181, c104

“Le Cimetière Marin,” 63, 195 “Palme,” P159 van der Meulen, Jan: “Recent Literature on the Chronology of Chartres Cathedral,” c252

Vanguard American Painting (traveling; 1962), 214, c429

Van Hook, L. Bailey, c11

Van Horne, Jennie, 207

Vantongerloo, Georges: Paintings, Sculptures, Reflections, 175n.9, 197

Vasarely, Victor, 219

Velázquez, Diego, 93

Vence, France, Matisse Chapel in, 80, 213

Venice Biennale: 1966, 223 1968, 226 1970, 230 1976, 237

Verlaine, Paul, 181

Verne, Jules, P957

Very Little Theatre, Eugene, Oreg., 183 Vevers, Tony, 238

Vicente, Esteban, 79, 218

Vietnam War, 220, 221, 222, 224, 226

View from a High Tower (c17), 38 (detail), 43, 172n.23, 221, c3, c10, c12, c33

View No. 1, A (P182), 13, 212

View No. 10 (P183), 216

View series (P182, P183, w84–w86), 98, 211, P236, w87, w89, w90

Viking Press, 226, 230, 231, 241, 258n.420, c27

Villa, Pancho, 45, c7

see also Pancho Villa, Dead and Alive Virgil: Aeneid, P1089, P1115

Virginia Museum of Fine Arts, Richmond, 203

Viva (c10), 47–49, c33 Viva (c33, fig. 26), 4, 47–49, 48, c10, c17 viva, collages containing word. See c10, c17, c33

“Viva la quinta brigada” (song), 4, c33

Vivian Beaumont Theatre, New York, c244

Vogue, 219, 220

void, concept of the, 13, 140, 149, P697 Vol de Nuit (c666), c101

Volnay Clos des Ducs wine label, c251 Votre Miroir (c639), 242 Voyage, The (P87, fig. 48), 67–68, 68, 100, 173n.17, 196, 198, 200, 200, 201, 201, 207, 238, P65, P86, P88, P89, P222 Voyage: Ten Years After, The (P222, fig. 84), 100, 100, 103–4, 132, 213, 215, 218, P223 VVV, 171n.73, 185, 252nn.75 and 77

Waddington, Leslie, c550, c597

Wadsworth, Philip A., 182

Wadsworth Atheneum, Hartford, Conn., 220, 223, c145

Wadsworth Atheneum Collage (c145), 220 Walker Art Center, Minneapolis, 247 Motherwell’s 1972 exhibition at, 231, 232, P618, P620, P636, P914, P1071

Wall Fragment (P1046), w584

Wall of the Temple (P114), 15–16, 80, 86, 170n.40, 201, 202, 204, w14 studies related to, 223, P113, P115–P117, P133, c56, w14

Wall Painting (P101), 202, P135

Wall Painting III (P136), 74, 203, 212, P131, P154

Wall Painting No. III (P154), 80, 204, 207, 208, 209, 211, 212, 248, P136, P216, P334

Wall Painting IV (P155), 80, 204, 206, 207, P154, P334

Wall Painting series (P16, P101, P135, P136, P154, P155, P334), 130, 173n.16 composition of works in, P334

Elegies in relation to, 68, 71, 80, 98, P216

Motherwell’s conception of category, 12, 13, 71, 130, 201, P101, P334

numbering of paintings in, P154, P334

Wall Painting Sketch (P951), 249

Wall Painting with Stripes (P16, fig. 30), 3, 11, 53, 53–54, 54, 55, 64, 69, 71, 195, 221, P13, P135, P334

Walls of Europe series, 11, 47, c17, c32, c33

Wall with Graffiti (P195), 259n.509, P196 Wanderers (print), c738, c761, c762, c764, c765, c767, c768, c772, c775, c778–c789, c791–c795, c797–c804, c807–c809, c811–c813, c815

Warhol, Andy, 177n.17, 217, 218, 238

Washington, D.C., Gallery of Modern Art, 217, P151, P247

Washington Post, c638

Waterbury, Natica, 196, 197, 254n.197, 256n.289

Water’s Edge (print), c667

Watherston, Margaret, 214

Watson de Nagy Company, c497

Waves I (P791), P793, w464

Waves III (monotype), P793

WBAI radio, 212, P194

Wedding, The (P172), 93, 174n.2, 209, 211, 214, P171, w34

Wehn-Damisch, Teri, 238

Weil, Stephen E., P366, c158

Weinstein, Florence, 196

Welch, Jack, 248

Wellesley College, Mass., 181

Western Air (P47), 9, 55, 56, 192, P65

Westinghouse Broadcasting, Philadelphia: 1972 tapestry studies for, P775, w389–w393

Westinghouse Electric Corporation, c368

Weyhe Gallery, New York, 185

“What Abstract Art Means to Me” symposium (New York; 1951), 201

Whatman, J., packaging, c169

Where Have You Been (c704), c703

Whitechapel Art Gallery Foundation, London, 215, 219, 227, 257n.379, P1135

White Collage with Black Stripe (c113), 116, c112

White Collage with Red Stripe (c112), 116, c99, c113

Whitehead, Alfred North, 18, 19, 139–40, 181

Modes of Thought, 181

White House, Washington, D.C.: Motherwell’s visits to, 224, 249

Whitely, Victor, P248

Whitely Triangle (P248), P270

White Music series (c728–c732), c687

White Sanctuary (P1035), w585

Whitman, Walt: “Song of Myself,” P597

Whitney Museum of American Art, New York, 196, 202, 212, 229, 230, 240, 247, P102, P422

Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings 1956, 207 1959, 211

Annual Exhibition of Contemporary American Painting 1945, 191 1946, 193 1949, P88 1950, 201 1953, 204 1967, 225 1969, 229

Annual Exhibition of Contemporary American Sculpture,Watercolors, and Drawings 1946, 191

Biennial Exhibition: Contemporary American Art 1973, 233 Frankenthaler’s retrospective at (1969), 226, 227

The New Decade: 35 American Painters and Sculptors (1955), 206, P154, c42, w19

117 Oil and Water Color Originals by Leading American Artists (1948), 194

questionnaires from 1951, P65 1961, c104, c105 Robert Motherwell: Collages (1968), 176n.12, 225, 226, 227, c228 Wiener, Paul, 200 Wight, Frederick, 197 Wild Duck, The (P794, fig. 136), 142, 143, 234, w465 Wilder, Clinton, w119 Wilke, Ulfert, 200, 226, 231, 234, P851 Willard, Marion, Gallery, New York, 198 Williams, Tennessee, 194 Williams, William Carlos, 19, 185, 194, 252n.77 Williams College Museum of Art, Williamstown, Mass., c74 Williamstown Regional Art Conservation Laboratory, Mass., 247 Window (print), c712, c875 window motif, 228 orientation of Open paintings and (figs. 110, 111), 123, 124, 175n.3, 225, P397 Wind Remains: A Zarzuela in One Act, The, 187 Winsor & Newton box, c140 Winters, Yvor, 181 With, Karl, 190 Wittenborn, George, 187, 190, 193, 194, 198, 199, 234, 255nn.220 and 249, c515 Wittenborn, Joyce, 199, 255n.249, P29

Wittenborn, Schultz, Inc., 192, 205, P32, c515 Wittenborn and Company wrapping paper, c515

WNYC radio, 187, 202 Woelffer, Emerson, 205, 206, 207 Wolfschmidt vodka label, c73 Woman in Green (P61), 194

Women: A Collaboration of Artists and Writers, 194 Woodruff, Hale, 197 Woodstock, N.Y.: Aesthetics and the Artist seminar in (1952), 203, 204 Woolworth’s Worst, P75 Wordsworth, William, 4, 21 World House Galleries, New York, 211 World War I, 46, 172n.30, 190 collage elements related to (fig. 21), 42, 43, c3, c12, c17

World War II, 16, 46, 182–83, 184, 185, 186, 187 collage references to, c17, c20 Worth, Irene, 209

Worthington’s India Pale Ale label, c159 Wyeth, Andrew, 205

Xylol brand paint thinner and solvent, c605

Yale University, New Haven, Conn., 237, 245 Yale University Summer School, Norfolk, Conn., 205 Yeats, William Butler, 6, 50, c42 “Easter 1916,” P271

“The Tower,” c703 Yeats’ Tower (c703), c704

Yellow Envelope (c67, fig. 66), 88, 89, 207, P164, c66, c75, c184

Yellow Figure (P58), 56, P36 Yellow Flight (print), c750, c752, c769, c772, c774, c801, c810, c824

Yellow Form with Music (c710), w714 Yellow Music (c706), c630 Yellow Stripe (w179), 116, 117 Young Girl (P66), P67 Yunkers, Adja, P172

Zadkine, Ossip, 190 Zapata, Emiliano, 45 Zapata Dead (fig. 24), 45, 45–46 Zen Buddhism, 140, 175n.27, P697 Zen series (P697–P702), 232 Ziady, Jonathan, 183, 184 Zig-Zag Little Cigars package, c490, c741 Zukofsky, Louis: “David and Bathsheba,” 198

Concordance of Catalogue

Raisonné and Studio Inventory Numbers

In the lists that follow, the Artist’s Studio Inventory Number (see “Usage Guide to the Catalogue Entries”) is at the left, the catalogue raisonné number at the right.

7655 c330

[?]-992 c570

??-5214 P643

P-288 P461

P-653 P578

P-1104 P839

P-1157 P983

P-1455 P162

P-3142 w271

P-3596 w354

P-3829 w307

P-3841 w244

P??-483 w253

P**- P1109

P**- ??? P997

P**-1155 P167

P**-1159 P594

P**-1593 P262

P**-1602 P371

P**-2836 P528

P**-3296 P348

P**-3774 P275

P**-3797 P560

P/d68-598 w268

P30-2352 ew Xiii

P40/50-3315 P108

P41-512 P4

P41-940 P8

P41-1032 ew XiV

P41-1529 P3

P41-1610 P1

P41-5044 P3

P42-1460 P10

P43-5001 P11

P43/44 -5011 P12

P44-5013 P16

P44-5133 P15

P45-7 P22

P45-2484 P24

P45-2486 P26

P45-2487 P23

P45-3694 P108

P45-3695 P104

P45-3775 P126

P45-5016 P19

P45-5145 P18

P45-5146 w2

P45-5147 w4

P45-5189 P33

P45/47-5154 P46

P46-4 w6

P46-8 P35

P46-5057 w5

P46-5058 P50

P46-5059 P19

P46-5148 P40

P46-5149 P80

P46-5150 P36

P46-5199 P38

P46-5249 P80

P46-5250 P36

P46/47-5022 P47

P47-513 P69

P47-2485 P60

P47-5018 P64

P47-5019 P65

P47-5020 P56

P47-5023 P68

P47-5084 P55

P47-5104 P68

P47-5151 w8

P47-5152 P67

P47-5156 P52

P47-5157 P41

P47-5158 P58

P47-5159 P66

P47/48-1531 P84

P48-1590 P72

P48-2488 P77

P48-3124 P72

P48-3140 P43

P48-3242 P85

P48-3769 P71

P48-5024 P85

P48-5161 w9

P48-5162 P82

P48-5173 P82

P49-1152 P106

P49-1587 P89

P49-5026 P86

P49-5027 P87

P49-5064 w10

P50- P145

P50-514 P93

P50-516 P94

P50-694 P330

P50-1101 P120

P50-1102 P107

P50-1264 P195

P50-1457 w12

P50-1461 P97

P50-1468 P103

P50-1475 P109

P50-3329 P152

P50-5028 P96

P50-5030 P105

P50-5032 P102

P50/51-689 P129

P51-517 P98, P111

P51-1108 w14

P51-1108b w14

P51-1147 P118

P51-1156 P117

P51-1456 P268

P51-1464 P119

P51-1465 P128

P51-1532 P88

P51-5033 P114

P51-5165 P130

P51-5166 P127

P52-515 P139

P52-688 P136

P52-1545 P135

P52-1589 P131

P52-2760 P100

P52-5031 P137

P52-5032 P102

P52-5039 P138

P52-5125 P121

P53-9 P146

P53-1100 P147

P53-1462 P123

P53-1463 P122

P53-1467 P345

P53-5067 P153

P53/54-5065 P156

P54-25 w21

P54-1474 w18

P54-5040 P154, P155

P54-5169 w19

P55-2173 P157

P55-5111 P158

P55/57-5112 P161

P55/60-709 P111

P55/60-5066 P216

P55/65-692 P344

P56-1151 P160

P56-2977 P209

P56-5170 P159

P57-1469 P163

P57-5122 P164

P57-5171 P216

P57/60-5127 P217

P57/61-5071 P215

P57/61-5116 P218

P57/ 61-5208 P218

P58-23 w63

P58-26 w87

P58-27 w89

P58-28 w56

P58-29 w57

P58-30 w50

P58-31 w54

P58-332 w68

P58-333 w70

P58-334 w64

P58-532 P265

P58-533 P267

P58-534 P264

P58-535 P392

P58-1011 w85

P58-1098 w75

P58-1113 P186

P58-1114 P184

P58-1115 P185

P58-1225 P212

P58-1246 w40

P58-1538 P177

P58-1544 P180

P58-1578 P190

P58-1588 P174

P58-2556 P183

P58-2665 P225

P58-2838 w77

P58-2949 P181

P58-2968 P225

P58-3272 w52

P58-5090 P264

P58-5103 P176

P58-5105 P182

P58-5123 w95

P58-5131 w45

P58/60-2835 w86

P58/60-2951 P221

P59-536 w96

P59-1300 P1133

P59-1455 P162

P59-1466 P189

P59-3675 P197

P59-5182 P194

P59/60-537 w97

P59/74-1313 P811

P60-51 P319

P60-53 P323

P60-54 P321

P60-55 P318

P60-63 P326

P60-65 P299

P60-81 P259

P60-340 P314

P60-610 P824

P60-1316 P226

P60-1458 w100

P60-2750 P213

P60-2964 P248

P60-2970 P207

P60-5106 w104

P60-5119 P208

P60-5129 P236

P60/62-538 P233

P61-969 P277

P61-1606 P222

P61-2604 w185

P61-3565 w118

P61-5107 w123

P61-5115 P220

P61-5120 P219

P61-5174 P223

P61-5210 P223

P62-545 w159

P62-546 w128

P62-549 w147

P62-698 P239

P62-1089 P761

P62-1144 P244

P62-1153 P243

P62-1201 P232

P62-1209 P242

P62-1211 P231

P62-1225 P212

P62-1285 P246

P62-1471 w151

P62-1527 P224

P62-1603 P238

P62-1954 w125

P62-2610 P240

P62-2957 P246

P62-2979 P237

P62-5108 w127

P62-5109 w130

P62-5110 w141

P62/63-1361 P249

P62/64-530 P280

P62/64-5126 P280

P63-71 w173

P63-72 w176

P63-217 P332

P63-338 w92

P63-351 w187

P63-372 w191

P63-375 P251

P63-555 w182

P63-558 w162

P63-637-bi52 w452

P63-1134 P263

P63-1141 P279

P63-1150 P260

P63-1359 P250

P63-1570 P270

P63-1598 P258

P63-1608 P282

P63-2202 P273

P63-2604 w185

P63-2966 P252

P63-5128 P261

P63/65-5118 P274

P63/68-693 P446

P63/75-1539 P850

P64-52 P324

P64-66 P300

P64-67 P304

P64-68 P289

P64-69 P301

P64-79 P328

P64-82 P288

P64-83 P306

P64-287 P540

P64-340 P314

P64-463 P269

P64-695 P335

P64-1037 P517

P64-1167 P291

P64-1268 P284

P64-1269 P285

P64-1517 P271

P64-1583 w196

P64-1605 P272

P64-1893 P389

P64-1895 P382

P64-2517 P327

P64-2848 P667

P64-2965 P283

P64-2989 P317

P64-3306 w194

P64-3308 P295

P64-3309 P293

P64-3310 P292

P64-3311 P296

P64-3312 P294

P64-3313 P297

P64-3314 P290

P64-3350 P759

P64-3631 P327

P64/65-1569 P339

P64/65-5121 P338

P65-283 P347

P65-703 P1123

P65-704 P337

P65-708 P274

P65-1567 P396

P65-2603 w245

P65-2672 w201

P65-5130 P340

P65-5177 P338

P65/66-5069 P368

P65/67-5070 P373

P66-376 c744

P66-568 w212

P66-569 w212

P66-569 b147 w211

P66-570 w215

P66-1120 P354

P66-1121 P937

P66-1171 P331

P66-1177 P357

P66-1540 P353

P66-1597 P399

P66-1609 P367

P66-1956 w272

P66-2439 P352

P66-2962 P350

P66-3870 w211

P66/67-2751 P372

P67-374 P346

P67-577 w231

P67-578 w229

P67-579 w233

P67-1143 P380

P67-1208 P380

P67-1210 P378

P67-1232 w514

P67-1576 P374

P67-1584 P406

P67-1596 P411

P67-1601 P375

P67-1866 w237

P67-1867 w235

P67-1868 w224

P67-1869 w234

P67-1871 c177

P67-1872 w239

P67-1874 w223

P67-1886 P384

P67-1887 P386

P67-1888 P387

P67-1889 P385

P67-1890 P395

P67-1891 P388

P67-1892 P394

P67-1893 P389

P67-1894 P383

P67-1895 P382

P67-2424 P400

P67-2833 P391

P67-2972 P398

P67-5178 P457

P67-5179 P397

P67-5223 P592

P68-56 P315

P68-57 P316

P68-58 P311

P68-59 P308

P68-60 P313

P68-61 P307

P68-62 P312

P68-73-624 P756

P68-73-625 P755

P68-73-626 P754

P68-269 P524

P68-270 P1022

P68-271 P989

P68-374 P346

P68-410 w290

P68-644 P439

P68-646 P433

P68-659 P441

P68-705 P393

P68-1118 P516

P68-1126 P1026

P68-1154 P401

P68-1168 P309

P68-1174 P438

P68-1482 c256

P68-1486 P440

P68-1494 w256

P68-1503 P444

P68-1528 P409

P68-1580 P412

P68-1591 P196

P68-1594 P166

P68-1600 P415

P68-1604 P413

P68-2629 P1022

P68-2953 P405

P68-2955 P437

P68-2958 P432

P68-2959 P423

P68-2978 P404

P68-3003 w261

P68-3295 P1023

P68-3643 P412

P68-3719 P462

P68-5198 P436

P68-5204 P504

P68-5213 P408

P68/75-1219 P856

P69- P414

P69-284 P545

P69-291 P530

P69-480 P525

P69-606 P434

P69-607 P511

P69-611 P513

P69-623 P453

P69-642 P452

P69-645 P448

P69-656 P451

P69-960 P473

P69-1022 P310

P69-1055 P322

P69-1087 P521

P69-1122 P519

P69-1129 P520

P69-1130 P498

P69-1132 P1105

P69-1133 P500

P69-1136 P479

P69-1137 P490

P69-1142 P467

P69-1146 P478

P69-1148 P495

P69-1193 P480

P69-1194 P474

P69-1195 P480

P69-1227 P492

P69-1233 c266

P69-1239 P496

P69-1450 P473

P69-1487 P443

P69-1571 P497

P69-1575 P491

P69-1577 P512

P69-1585 P493

P69-1599 P376

P69-1933 P475

P69-1934 P510

P69-1940 P518

P69-1943 P484

P69-2159 P482

P69-2209 P501

P69-2211 P486

P69-2214 P507

P69-2239 P521

P69-2749 P417

P69-2954 P499

P69-3118 P458

P69-5205 P505

P69/70- P559

P69/70-1574 P410

P69/71-5195 P767

P69/80-1145 P998

P70-225 P999

P70-285 P551

P70-460 w315

P70-474 P534

P70-622 P526

P70-649 P529

P70-651 P583

P70-652 P550

P70-655 w356

P70-658 P460

P70-706 P567

P70-707 P577

P70-1025 P600

P70-1028 P598

P70-1029 P601

P70-1030 P599

P70-1088 P762

P70-1095 P579

P70-1138 P621

P70-1139 P707

P70-1250 P574

P70-1259 P596

P70-1263 P536

P70-1339 w340

P70-1340 w341

P70-1488 P1194

P70-1502 P546

P70-1572 P311, P556

P70-1573 P570

P70-1579 P591

P70-1581 P563

P70-1582 P557

P70-1586 P568

P70-1607 P554

P70-1907 P582

P70-1947 P604

P70-2186 w353

P70-2201 P561

P70-2262 P531

P70-2422 P593

P70-2607 P581

P70-2849 P1070

P70-2857 w361

P70-3674 P787

P70-3725 P577

P70/71-1574 P410

P70/81-647 P539

P71-72 P650

P71-75 P925

P71-227 P626

P71-285 P551

P71-286 P575

P71-290 P588

P71-293 P543

P71-433 w387

P71-434 w382

P71-435 w381

P71-436 w374

P71-437 w386

P71-438 w377

P71-439 w375

P71-440 w379

P71-441 w373

P71-442 w385

P71-443 w378

P71-444 w384

P71-445 w380

P71-446 w383

P71-447 w388

P71-461 P625

P71-464 w363

P71-465 w368

P71-466 w369

P71-467 w370

P71-479 P532

P71-481 P586

P71-482 P547

P71-650 P584

P71-1036 P641

P71-1086 P447

P71-1127 P1000

P71-1128 P615

P71-1135 P402

P71-1149 P616

P71-1175 P610

P71-1279 P644

P71-1280 P645

P71-1286 P986

P71-1299 P646

P71-1337 P605

P71-1523 P913

P71-1568 P612

P71-2426 P608

P71-2429 P541

P71-2749 P417

P71-2834 P1071

P71-2946 P631

P71-2947 P629

P71-2948 P631

P71-2969 P618

P71-2973 P620

P71-3002 P628

P71-3635 P913

P71-3643 P913

P71-5183 P627

P71-5184 P632

P71-5206 P619

P71/72-1091 w355

P71/74-1556 P805

P72-265 P654

P72-280 P694

P72-287 P540

P72-504 P656

P72-643 P702

P72-648 P585

P72-657 P699

P72-961 w392

P72-1110 P666

P72-1169 P657

P72-1243 P673

P72-1549 P685

P72-1550 P690

P72-1595 P676

P72-1896 P678

P72-1951 P576

P72-1962 P470

P72-1975 P665

P72-2608 P580

P72-2677 P659

P72-2967 P658

P72-3123 P706

P72-5021 P672

P72-5207 P705

P72/73-1526 P744

P73-auc97.2 P740

P73-267 P747

P73-472 P748

P73-478 P542

P73-637 w452

P73-668 w454

P73-1016 P732

P73-1017 P733

P73-1034 P763

P73-1111 P758

P73-1117 P858

P73-1125 P727

P73-1131 P734

P73-1140 P710

P73-1170 P729

P73-1203 P925

P73-1218 P751

P73-1220 P842

P73-1221 P843

P73-1222 P844

P73-1223 P845

P73-1224 P846

P73-1275 w451

P73-1276 w462

P73-1277 w463

P73-1315 P717

P73-1546 P721

P73-1547 P722

P73-1548 P719

P73-1592 P736

P73-2160 P737

P73-2266 P724

P73-2375 w449

P73-2425 P708

P73-2435 P723

P73-2717 P743

P73-2950 P745

P73-2952 P711

P73-2956 P735

P73-2971 P731

P73-2991 w458

P73-3671 w450

P73-5185 P753

P73-5186 P753

P73-5200 P713

P73-5211 P750

P73-5221 P720

P73/74-1967 P770

P74-292 P548

P74-493 P800

P74-494 P803

P74-495 P802

P74-496 P801

P74-501 P765

P74-683 P784

P74-684 P798

P74-975 c464

P74-991 P785

P74-997 P793

P74-1003 P795

P74-1166 P810

P74-1204 P816

P74-1206 P794

P74-1229 P789

P74-1254 P821

P74-1445 P778

P74-1479 P797

P74-1522 P815

P74-1524 P915

P74-1525 P772

P74-1551 P775

P74-1552 P776

P74-1553 P779

P74-1554 P780

P74-1557 P786

P74-1558 P807

P74-1945 P792

P74-1951 P576

P74-2210 P799

P74-2212 P777

P74-2329 P771

P74-2777 P788

P74-2984 P809

P74-3091 P809

P74-3637 P791

P74-3670 w464

P74-3698 P772

P74-5180 P764

P74-5181 P768

P74/75-2537 P817

P75-432 P832

P75-473 P855

P75-502 P841

P75-503 P826

P75-506 P828

P75-506a P828

P75-685 P900

P75-912 P830

P75-913 P831

P75-986 P1043

P75-1031 P857

P75-1109 P853

P75-1112 P854

P75-1205 P820

P75-1219d P856

P75-1282 P901

P75-1283 P918

P75-1288 P833

P75-1310 P861

P75-1312 P848

P75-1345 P868

P75-1346 P863

P75-1347 P864

P75-1348 P867

P75-1349 P865

P75-1350 P866

P75-1351 P870

P75-1352 P871

P75-1353 P869

P75-1354 P872

P75-1355 P859

P75-1541 P838

P75-1542 P860

P75-1555 P769

P75-1561 c530

P75-2271 w539

P75-2274 w537, w540

P75-2407 P835

P75-2430 w479

P75-2432 P832

P75-2715 P839

P75-3680 w488

P75-3807 P849

P75-5191 P823

P75-5212 P818

P75/85-1255 P819

P76-711 P907

P76-968 P1106

P76-1013 P899

P76-1040 w507

P76-1080 P910

P76-1105 P884

P76-1106 P1102

P76-1116 P903

P76-1183 P897

P76-1241 P875

P76-1244 P902

P76-1245 P877

P76-1253 P904

P76-1287 P958

P76-1297 P894

P76-1304 P892

P76-1324 w515

P76-1331 P899

P76-1437 P829

P76-1480 P893

P76-1959 P888

P76-1968 P895

P76-1970 P911

P76-1972 P906

P76-1974a P898

P76-1977 P880

P76-1978 P878

P76-1979 P879

P76-2203 P896

P76-2206 P883

P76-2229 w515

P76-2250 w506

P76-2310 w512

P76-2374 P1119

P76-2421 P982

P76-2433 P912

P76-2689 P896

P76-2950 P745

P76-3583 P897

P76-3647 c685

P76-5209 P876

P76/77-921 P891

P76/86-1328 P1122

P77-914 P931

P77-915 P917

P77-916 P934

P77-917 P932

P77-918 P940

P77-921b P891

P77-922 P889

P77-923 P928

P77-923c P928

P77-930 P930

P77-930-c P930

P77-931 P935

P77-934 P929

P77-937 P944

P77-938 P933

P77-938c P933

P77-945 P941

P77-959 P955

P77-967 P890

P77-1023 P942

P77-1024 P949

P77-1026 P945

P77-1027 P947

P77-1033 P953

P77-1038 w527

P77-1053 w529

P77-1074 P952

P77-1119 P852

P77-1121 P937

P77-1161 P938

P77-1162 w518

P77-1163 w516

P77-1182 w525

P77-1191 P921

P77-1192 P920

P77-1195 P905

P77-1207 P924

P77-1242 P922

P77-1248c P1044

P77-1265 P943

P77-1281 P923

P77-1296 P946

P77-1301 P926

P77-1309 P916

P77-1323 w524

P77-1330 P948

P77-1334 w521

P77-1335 w523

P77-1939 P927

P77-1942 P939

P77-1944 w519

P77-2264 P947

P77-2671 P919

P77-3808 P812

P77/79-1298 P1044

P77/79-1306 P978

P77/79-1322 P990

P77/80-1308 P1014

P78-1284 P957

P78-2182 w534

P78-2261 P951

P78-2489 w532

P78-2490 w531

P78-2628 P989

P79-265 P981

P79-712 P908

P79-1302 P1024

P79-1305 P977

P79-1307 P980

P79-2222 w560

P79-2226 P965

P79-2227 w588

P79-2244 w542

P79-2245 w548

P79-2247 w631

P79-2249 w545

P79-2251 w541

P79-2254 w549

P79-2255 w565

P79-2260 w568

P79-2263 w638

P79-2276 w548

P79-2280 w629

P79-2282 w596

P79-2284 w570

P79-2286 w550

P79-2288 w557

P79-2289 w575

P79-2292 w580

P79-2294 w635

P79-2295 w625

P79-2299 w551

P79-2300 w590

P79-2301 w628

P79-2304 w553

P79-2305 w555

P79-2306 w585

P79-2311 w632

P79-2313 w569

P79-2314 w559

P79-2334 w586

P79-2335 w576

P79-2336 w595

P79-2337 w605

P79-2338 w602

P79-2339 w603

P79-2340 w571

P79-2341 w552

P79-2342 w598

P79-2343 w599

P79-2344 w574

P79-2345 w577

P79-2346 w572

P79-2347 w591

P79-2348 w567

P79-2349 w606

P79-2354 P968

P79-2355 P969

P79-2358 P960

P79-2359 P974

P79-2360 P963

P79-2361 P964

P79-2362 P973

P79-2363 P972

P79-2364 P971

P79-2365 P1018

P79-2366 P1017

P79-2367 P959

P79-2368 P1059

P79-2369 P975

P79-2373 P961

P79-2377 w617

P79-2378 w614

P79-2380 w579

P79-2381 w581

P79-2383 w619

P79-2387 w616

P79-2388 w558

P79-2390 w618

P79-2391 w594

P79-2392 w604

P79-2393 w592

P79-2394 w593

P79-2396 w613

P79-2398 w610

P79-2399 w589

P79-2413 w624

P79-2414 w566

P79-2415 P1016

P79-2419 w607

P79-2420 w641

P79-2423 P979

P79-2465 P970

P79-2646 w612

P79-2656 w583

P79-2678 P1061

P79-2741 P962

P79-2790 w609

P79-2894 w620

P79-2898 w608

P79-3092 w582

P79-3328 w611

P79-3607 w625

P79-3676 w601

P79-3777 P981

P79/80-1160 P996

P80-654 P537

P80-2415 P1016

P80-2481 P1020

P80-2482 P994

P80-2483 P1005

P80-2496 P1012

P80-2497 P1013

P80-2500 P1008

P80-2502 P992

P80-2505 P1002

P80-2506 P1001

P80-2508 P1009

P80-2510 P1003

P80-2514 P991

P80-2516 P1010

P80-2518 c653

P80-2528 w659

P80-2529 c647

P80-2545 P1164

P80-2546 P1021

P80-2552 P988

P80-2553 P987

P80-2554 P995

P80-2555 P993

P80-2623 P1007

P80-2691 P985

P80-2758 w647

P80-2900 w654

P80-2961 P984

P80-3011 P1011

P80-3012 P1006

P80-3088 w658

P80-3480 P1134

P80-3654 P1004

P80-3673 c641

P80-3677 P967

P80-3682 w653

P80/85-2509 P1118

P80/88-2428 P1187

P80/90-2511 P1193

P81-1126 P1026

P81-2544 P1108

P81-2545 P1164

P81-2609 P1038

P81-2611 P1036

P81-2617 P1040

P81-2618 P1031

P81-2619 P1029

P81-2620 P1030

P81-2621 P1042

P81-2631 P1025

P81-2632 P1033

P81-2633 P1041

P81-2634 P1037

P81-2635 P1032

P81-2638 P1034

P81-2639 P1048

P81-2642 P1015

P81-2644 P1027

P81-2645 P1024

P81-2647 P1015

P81-2652 P1019

P81-2657 P1046

P81-2660 P1035

P81-2662 P1045

P81-2666 P1039

P81-2752 P1049

P81-2753 P1021

P81-2841 w662

P81-2844 w646

P81-2845 w644

P81-2884 w646

P81-3082 P1028

P81/87-2963 P1142

P82-2657 P1046

P82-2658 P1047

P82-2682 P1051

P82-2683 P1050

P82-2684 w665

P82-2685 w666

P82-2697 P1062

P82-2699 P1060

P82-2701 c681

P82-2702 P1056

P82-2703 P1057

P82-2704 P1055

P82-2705 P1058

P82-2713 w670

P82-2742 P1052

P82-2743 P1053

P82-2744 P1054

P82-2774 P1081

P82-2939 w673

P82-2982 P1007

P82-2990 w674

P83-2810 P1063

P83-2864 P1073

P83-2865 P1080

P83-2866 P1065

P83-2867 P1074

P83-2868 P1075

P83-2869 P1077

P83-2870 P1086

P83-2871 P1076

P83-2872 P1066

P83-2873 P1072

P83-2874 P1069

P83-2875 P1064

P83-2876 P1068

P83-2877 P1067

P83-2901 P1079

P83-2902 P1078

P83-3078 P1082

P83/84-3037 P1146

P83/84-3597 w676

P83/85-2974 P1110

P83/85-2975 P1111

P84-3008 P1087

P84-3036 P1089

P84-3058 P1090

P84-3059 P1113

P84-3073 P1090, P1101

P84-3076 P1103

P84-3077 P1084

P84-3079 P1083

P84-3080 P1085

P84-3081 P1088

P84-3083 w678

P84/88-3037 P1146

P85-2544 P1108

P85-3108 P1117

P85-3109 P1116

P85-3110 P1112

P85-3125 P1150

P85-3126 P1112

P85-3221 P1096

P85-3223 P1094

P85-3224 P1099

P85-3225 P1092

P85-3226 P1093

P85-3227 P1091

P85-3228 P1095

P85-3230 P1097

P85-3231 P1098

P85-3232 P1104

P85-3234 P1170

P85-3235 P1100

P85-3243 P1116

P85-3561 P1174

P85-4000 P1159

P85/87-3258 P1166

P85/88-3440 P1157

P86-2654 w645

P86-3141 P1117

P86-3239 P1163

P86-3241 P1138

P86-3244 P1115

P86-3246 P1114, P1120

P86-3255 P1121

P86-3256 P1127

P86-3257 P1128

P86-3263 P1126

P86-3264 P1144

P86-3265 P1129

P86-3271 P1124

P86-3277 P1131

P86-3327 P1125

P86/87-3259 P1183

P86/87-3260 P1136

P87-2545 P1164

P87-3261 P1130

P87-3262 P1132

P87-3266 P1151

P87-3277 P1131

P87-3278 P1137

P87-3280 P1198

P87-3281 P1135

P87-3330 P1139

P87-3331 P1199

P87-3332 P1145

P87-3434 P1151

P87-3480 P1134

P87/90-3286 P1175

P88-1303 P1160

P88-3439 P1185

P88-3441 P1143

P88-3442 P1186

P88-3445 P1155

P88-3478 P1147

P88-3479 P1149

P88-3484 P1162

P88-3485 P1161

P88-3489 P1144

P88-3501 P1158

P88-3503 P1152

P88-3548 w712

P88-3699 P1141

P88-3779 w712

P88/89-3474 P1153

P88/89-3691 P1156

P88/90-3509 P1176

P89-1158 P1140

P89-3287 P1182

P89-3487 P1182

P89-3488 P1169

P89-3508 P1168

P89-3510 P1171

P89-3541 w719

P89-3542 P1165

P89-3544 P1173

P89-3549 P1148

P89-3550 P1172

P89-3561 P1174

P89-3651 P1167

P89/90-3511 P1177

P90-1360 P1196

P90-1448 P1194

P90-1488 P1194

P90-3560 P1177

P90-3563 P1179

P90-3564 P1180

P90-3581 P1192

P90-3586 P1178

P90-3587 c864

P90-3589 P1184

P90-3623 P1190

P90-3625 P1181

P90-3629 P1191

P90-3633 P1195

P90-3653 P1188

P90-3672 c870

P90-3718 P1189

P90-3726 w722

P90/91-3634 P1204

P91-3590 w641

P91-3622 P1206

P91-3624 P1203

P91-3626 P1205

P91-3630 P787

P91-3632 P1202

P91-3638 P1201

P91-3646 P1200

P91-3649 P1197

P91-3650 P1207

P91-3652 P1159

P91-3717 P1154

P91-3949 P1197

c-981 c534

c-3825 c874

c-3827 c193

c-3836 c684

c43- c5

c43-5002 c6

c43-5004 c8

c43-5005 c7

c43-5046 c1

c43-5047 c3

c43-5085 c1

c43/44-5172 c10

c44-5009 c17

c44-5010 c16

c44-5012 c13

c44-5051 c17

c44/47-5003 c11

c45-1534 c22

c45-5006 c24

c45-5014 c20

c45-5015 c25

c45-5086 c23

c45-5142 c19

c45-5213 c21

c46-5017 c37

c46-5054 c33

c46-5055 c39

c46-5056 c38

c47-5 c44

c47-2759 c47

c47-5021 c42

c47-5153 c45

c47-5155 P57

c48-5061 c50

c48-5062 c49

c48-5160 c48

c48-5163 c41

c48-5214 c49

c49-5025 c52

c49-5164 c53

c51-519 c57

c51-1459 c56

c52-5038 c68

c53/55-5168 c61

c54-5034 c58

c55-2601 c63

c55-2602 c62

c56-328 c67

c56-1948 c66

c57-523 c71

c57-5060 c46

c57-5087 c69

c58-331 c79

c58-1196 c78

c58-1261 c67

c58-1535 c75

c58-2606 c81

c58-5088 c82

c59-337 c98

c59-339 c89

c59-343 c97

c59-344 c101

c59-526 c93

c59-527 c95

c59-529 c99

c59-1012 c100

c59-5091 c94

c59-5092 c104

c59-5100 c125

c60-346 c107

c60-347 c108

c60-348 c116

c60-349 c112

c60-539 c123

c60-559 c154

c60-593 c250

c60-3798 c118

c60-3799 c120

c60-5093 c105

c60-5094 c124

c60-5101 c122

c60-5102 c106

c60-5114 c119

c61-5095 c126

c61-5096 c129

c62-543 c131

c62-544 c131

c62-552 c135

c62-554 c133

c62-1198 c139

c62-1536 c132

c62/63-560 c130

c63-497 c218

c63-498 c217

c63-1504 c138

c63-5097 c136

c64-80 c162

c64-371 c146

c64-691 c153

c64-1293 c147

c64-1294 c148

c64-1477 c152

c64-3800 c265

c64-5083 c150

c65-561 c157

c66-369 c160

c66-370 c159

c66-377 c173

c66-379 c748

c66-380 c743

c66-381 c172

c66-382 c747

c66-383 c742

c66-384 c175

c66-385 c161

c66-386 c166

c66-574 c168

c66-1266 c163

c66-1935 c746

c66-3251 c174

c66/84-376 c744

c67-378 c745

c67-388 c182

c67-389 c181

c67- 390 c209

c67-391 c187

c67-403 c202

c67-404 c205

c67-405 c206

c67-429 c196

c67-572 c178

c67-573 c179

c67-575 c208

c67-576 c158

c67-582 c213

c67-583 c226

c67-584 c227

c67-591 c190

c67-941 c207

c67-1097 c223

c67-1176 c210

c67-1234 c201

c67-1278 c222

c67-1356 c184

c67-1476 c230

c67-1483 c204

c67-1485 c225

c67-1489 c203

c67-1493 c194

c67-1495 w220

c67-1496 c188

c67-1506 c211

c67-1537 c220

c67-1870 c197

c67-1871 c177

c67-1873 c176

c67-1875 c180

c67-2353 P1107

c67-2853 c219

c67-3237 P1107

c67-3300 c195

c67-5098 c220

c67/73-5194 c377

c68-422 c239

c68-423 c236

c68-424 c241

c68-425 c244

c68-426 c633

c68-427 c245

c68-428 c242

c68-430 c231

c68-431 c235

c68-432 c238

c68-585 c259

c68-585b c258

c68-587 c261

c68-588 c252

c68-589 c263

c68-590 c253

c68-592 c248

c68-594 c262

c68-1178 c249

c68-1186 c233

c68-1187 c243

c68-1238 c216

c68-1291 c246

c68-1325 c247

c68-1482 c256

c68-1484 c232

c68-1490 c243

c68-1491 c233

c68-1492 c240

c68-1521 c254

c68-2318 c633

c68-2664 c680

c68-2837 c234

c68-3592 c246

c68-3668 c246

c68-5224 c237

c69-609 c264

c70-228 c269

c70-230 c271

c70-251 c364

c70-612 c267

c70-617 w346

c70-618 w347

c70-1249 w348

c70-1508 c270

c71-1005 c274

c71-1202 c278

c72-231 c315

c72-232 c317

c72-233 c324

c72-234 c308

c72-235 c323

c72-236 c302

c72-237 c327

c72-238 c326

c72-239 c313

c72-240 c290

c72-241 c295

c72-242 c293

c72-243 c325

c72-244 c333

c72-245 c329

c72-246 c337

c72-247 c343

c72-248 c344

c72-249 c340

c72-250 c352

c72-266 c367

c72-289 c289

c72-462 c336

c72-671 c360

c72-946 c358

c72-982 c349

c72-1092 c345

c72-1093 c346

c72-1094 c347

c72-1236 c277

c72-2674 c335

c72-2983 c320

c72-5193 c308

c73-638 c385

c73-641 c372, c373

c73-674 w457

c73-675 c369

c73-676 c389

c73-677 c390

c73-678 c387

c73-679 c388

c73-680 c386

c73-681 c397

c73-710 c417

c73-911 c416

c73-948 c414

c73-955 c396

c73-972 c419

c73-978 c403

c73-989 c415

c73-993 c410

c73-999 c412

c73-1002 c643

c73-1014 c395

c73-1015 c381

c73-1018 c375

c73-1020 c379

c73-1021 c378

c73-1083 c383

c73-1085 c380

c73-1230 c401

c73-1231 c371

c73-1237 c384

c73-1341 c882

c73-1451 c402

c73-1452 c407

c73-1955 c393

c73-1963 c418

c73-2427 c383

c73-2526 c380

c73-3019 c369

c73-3119 c413

c73-3642 c401

c73/79-2470 c643

c73/80-1002 c643

c73/80-2470 c643

c74- c495

c74-252 c491

c74-258 c481

c74-264 c491

c74-488 c450

c74-489 c444

c74-490 c451

c74-491 c446

c74-492 c480

c74-500 c490, c741

c74-507 c448

c74-686 c421

c74-957 c477

c74-975 c464

c74-979 c463

c74-980 c433

c74-987 c424

c74-996 c505

c74-997 P793

c74-1000 c494

c74-1004 c422

c74-1006 c496

c74-1009 c473

c74-1181 c478

c74-1235 c436

c74-1447 c470

c74-1454 c493

c74-1559 c428

c74-1936 c469

c74-1957 P796

c74-1958 c465

c74-1960 c502

c74-1961 c875

c74-2215 P791

c74-2434 c482

c74-2675 c449

c74-2808 c437

c74-2809 c476

c74-3326 c442

c74-3438 c741

c74-3637 P791

c74-3778 c491

c74-5202 c498

c74-5459 c490

c75- c540

c75-951 c627

c75-971 c532

c75-976 c522

c75-984 c524

c75-994 c525

c75-995 c688

c75-1007 c522

c75-1212 c541

c75-1215 c515

c75-1216 c528

c75-1217 c529

c75-1226 c504

c75-1252 c501

c75-1256 c606

c75-1446 c535

c75-1453 c510

c75-1560 c441

c75-1562 c531

c75-1563 c567

c75-2207 c527

c75-2213 c503

c75-2668 c503

c75-2669 c507

c75-3636 c506

c75-5220 c551

c75-5470 c550

c75/83-3017 c688

c76- c590

c76-80-2501 c574

c76-926 c561

c76-949 c619

c76-950 c578

c76-956 c577

c76-970 c558

c76-973 c553

c76-974 c676

c76-985 c584

c76-988 c546

c76-990 c547

c76-995 c572

c76-1008 c587

c76-1010 c682

c76-1189 c578

c76-1213 c579

c76-1214 c583

c76-1228 c569

c76-1257 c589

c76-1436 c576

c76-1564 c560

c76-1565 c575

c76-1566 c573

c76-1937 c563

c76-2204 c685

c76-2205 c585

c76-2216 c545

c76-2667 c552

c76-2676 c580

c76-2776 c581

c76-3351 c579

c76/78-998 c572

c77-919 c604

c77-920 c636

c77-924 c594

c77-925 c601

c77-927 c609

c77-928 c614

c77-929 c608

c77-932 c637

c77-933 c602

c77-935 c599

c77-942 c611

c77-943 c617

c77-944 c638

c77-947 c605

c77-952 c595

c77-953 c607

c77-954 c597

c77-958 c616

c77-1184 c618

c77-1190 c592

c77-1258 c596

c77-1938 c598

c77-2252 c612

c77-2256 c660

c77-2257 c610

c77-2258 c661

c77-2259 c613

c77-2290 c615

c77-2291 c662

c77-2297 c663

c77-2298 c665

c77-2309 c664

c77-2317 c637

c77-2530 c593

c77-3325 c600

c77-3548 c610

c77-5196 c603

c77-9320 c637

c77/80-2437 c660

c78-2158 c620

c78-2184 c627

c78-2194 c621

c78-2195 c622

c78-2196 c626

c78-2197 c629

c78-2198 c628

c78-2199 c625

c78-2267 c623

c79-2242 c630

c79-2265 c632

c79-2317 c637

c79-2356 c634

c79-2357 c635

c79-2370 c639

c79-2371 c644

c79-2372 c696

c79-2416 c640

c79-2438 c631

c79-3696 c469

c80-2436 c645

c80-2491 c655

c80-2492 c651

c80-2495 c650

c80-2498 c658

c80-2501 c574

c80-2503 c659

c80-2507 c657

c80-2512 c652

c80-2513 c656

c80-2527 c648

c80-2670 c739

c80/81-2494 c649

c80/91-2499 c654

c81-983 c669

c81-1448 c666

c81-2612 c668

c81-2613 c667

c81-2624 c646

c81-2636 c670

c81-2637 c724

c81-2661 c675

c82-1090 c683

c82-2679 c671

c82-2680 c672

c82-2681 c673

c82-2695 c679

c82-2698 c677

c82-2700 c681

c82-2706 c678

c82-2896 c674

c83-2863 c687

c83-2897 c686

c84-2999 c696

c84-3000 c701

c84-3009 c699

c84-3010 c704

c84-3013 c693

c84-3014 c702

c84-3015 c703

c84-3016 c695

c84-3017 c688

c84-3018 c689

c84-3022 c697

c84-3023 c691

c84-3024 c710

c84-3025 c707

c84-3026 c708

c84-3027 c706

c84-3028 c716

c84-3029 c700

c84-3030 c705

c84-3031 c690

c84-3032 c698

c84-3033 c694

c84-3034 c692

c84-3043 c709

c84-3072 c711

c84-3084 c717

c84-3245 c713

c84/85-3616 c712

c85-3015 c715

c85-3101 c718

c85-3102 c720

c85-3103 c726

c85-3104 c725

c85-3105 c715

c85-3106 c721

c85-3107 c727

c85-3127 c722

c85-3134 c728

c85-3135 c730

c85-3136 c729

c85-3137 c731

c85-3138 c732

c85-3139 c723

c85-3144 c719

c85-3219 c733

c85-3220 c734

c85-3222 c816

c85-3229 c735

c85-3236 c737

c86-2557 c740

c86-2670 c739

c86-3240 c736

c86-3253 c738

c87-3333 c758

c87-3334 c756

c87-3335 c757

c87-3336 c759

c87-3352 c810

c87-3380 c777

c87-3381 c760

c87-3382 c761

c87-3383 c762

c87-3384 c763

c87-3385 c764

c87-3386 c765

c87-3387 c766

c87-3388 c767

c87-3389 c768

c87-3390 c769

c87-3391 c770

c87-3392 c771

c87-3393 c772

c87-3394 c773

c87-3395 c774

c87-3396 c775

c87-3397 c776

c87-3398 c778

c87-3399 c779

c87-3400 c780

c87-3401 c781

c87-3402 c782

c87-3403 c783

c87-3404 c784

c87-3405 c785

c87-3406 c786

c87-3407 c787

c87-3408 c788

c87-3409 c789

c87-3410 c790

c87-3411 c791

c87-3412 c792

c87-3413 c793

c87-3414 c794

c87-3415 c795

c87-3416 c796

c87-3417 c797

c87-3418 c798

c87-3419 c799

c87-3420 c800

c87-3421 c801

c87-3422 c802

c87-3423 c803

c87-3424 c804

c87-3425 c805

c87-3426 c806

c87-3427 c807

c87-3428 c808

c87-3429 c809

c87-3430 c811

c87-3431 c812

c87-3432 c813

c87-3433 c815

c87-3686 c752

c87-3687 c755

c87-3688 c753

c87-3689 c754

c87-3690 c751

c88-3444 c825

c88-3446 c817

c88-3462 c826

c88-3463 c827

c88-3464 c828

c88-3465 c829

c88-3466 c830

c88-3467 c831

c88-3468 c832

c88-3469 c833

c88-3470 c834

c88-3471 c835

c88-3472 c836

c88-3476 c823

c88-3477 c820

c88-3483 c822

c88-3486 c824

c88-3539 c821

c88-3540 c818

c88-3663 c819

c89-3472 c836

c89-3473 c837

c89-3475 c817

c89-3482 c852

c89-3489 c838

c89-3490 c839

c89-3493 c841

c89-3494 c842

c89-3495 c840

c89-3496 c843

c89-3497 c844

c89-3498 c845

c89-3499 c846

c89-3500 c847

c89-3513 c887

c89-3514 c848

c89-3543 c853

c89-3545 c854

c89-3546 c855

c89-3645 c851

c89-3664 c849

c89-3679 c850

c90-352 c857

c90-3560 c859

c90-3564 P1180, c860

c90-3565 c858

c90-3567 c866

c90-3568 c861, c881

c90-3569 c858

c90-3570 c860

c90-3571 c881

c90-3572 c857

c90-3573 c889

c90-3574 c865

c90-3575 c863

c90-3576 c862

c90-3579 c869

c90-3582 c856

c90-3588 c868

c90-3617 c876

c90-3618 c879

c90-3619 c878

c90-3620 c877

c90-3621 c880

c90-3627 c873

c90-3644 c871

c90-3669 c867

c90-3672 c870

c91-3571 c881

c91-3639 c885

c91-3640 c884

c91-3641 c883

c91-3647 c886

c91-3648 c888

d-1074 P952

d-2846 P966

d-3826 w354

d-3834 w690

d-3835 w650

d-3840a w249

d-3840b w246

d-3840c w248

d-3840d w247

d**-2798 w309

d4-12 ew iX

d31-3297 ew iV

d40-12 ew iX

d40-2782 ew Viii

d49-2462 w30

d50-2350 w13

d51-5167 w11

d52-5029 w11

d53-1533 w16

d53-2539 w107

d53-5035 w87

d58-22 w90

d58-64 P302

d58-336 w81

d58-524 w106

d58-541 w183

d58-2987 w76

d58/60-338 w92

d59-345 w101

d59-1530 w91

d59-5099 c90

d60-1274 w110

d60-1470 w109

d60-2858 w102

d60-3566 w117

d60/63-5176 w179

d61-543 w121

d61-697 w119

d61-3302 w209

d62-547 w131

d62-548 w145

d62-550 w149

d62-551 w152

d62-553 w161

d62-1188 w160

d62-1505 w150

d62-5175 w153

d63-73 w174

d63-354 w167

d63-355 w169

d63-373 w190

d63-556 w177

d63-557 w163

d63-1197 w164

d63-1273 w184

d63-3299 w186

d63-3307 w192

d64-64 P302

d64-65 P299

d64-542 w195

d65-562 w200

d65-702 w197

d65/75-511 w468

d66-368 w213

d66-636 w207

d66-2626 w278

d66-3301 w218

d66-3303 w214

d66-3304 w219

d66-3305 w217

d67-505 w232

d67-628 c705

d67-1495 w220

d67-1501 w252

d67-1876 w242

d67-1877 w238

d67-1878 w240

d67-1879 w230

d67-1880 w225

d67-1881 w226

d67-1882 w241

d67-1883 w227

d67-1884 w236

d67-1885 w243

d67-2403 w228

d67-3613 w360

d68-218 w287

d68-219 w286

d68-220 w288

d68-221 w281

d68-222 w279

d68-387 w280

d68-408 w301

d68-410 w290

d68-413 w295

d68-416 w293

d68-417 w263

d68-418 w264

d68-419 w300

d68-420 w299

d68-421 w292

d68-586 w265

d68-595 w266

d68-596 w267

d68-597 w262

d68-1179 w283

d68-1497 w294

d68-1498 w289

d68-1499 w302

d68-1500 w291

d68-1946 w274

d68-1976 w276

d68-2855 w303

d68-3598 w293

d68-3809 w275

d69-602 w311

d69-603 w312

d69-604 w313

d69-605 w314

d69-608 w310

d69-690 w305

d70-223 w358

d70-224 w359

d70-229 w372

d70-281 w362

d70-452 w316

d70-454 w318

d70-455 w320

d70-456 w323

d70-457 w321

d70-458 w319

d70-459 w322

d70-510 w357

d70-613 w342

d70-614 w343

d70-615 w344

d70-616 w345

d70-617 w346

d70-618 w347

d70-619 w349

d70-620 w351

d70-621 w352

d70-629 w317

d70-1248 w350

d70-1249 w348

d71-276 w365

d71-277 w371

d71-2402 w364

d71-2464 P630

d72-253 w402

d72-254 w404

d72-255 w403

d72-256 w401

d72-257 w399

d72-259 w396

d72-260 w397

d72-261 w394

d72-262 w395

d72-263 w400

d72-264 w398

d72-268 w408

d72-278 P688

d72-279 P691

d72-282 w407

d72-475 P680

d72-476 P689

d72-477 P687

d72-484 P683

d72-485 P693

d72-486 P692

d72-487 P696

d72-669 w406

d72-670 w405

d72-1164 P682

d72-1165 P686

d72-1270 P655

d72-3254 w389

d73-508 w459

d73-509 w460

d73-639 w440

d73-640 w434

d73-672 w455

d73-673 w456

d73-3700 w430

d73-3701 w439

d73-3702 w443

d73-3703 w448

d73-3704 w433

d73-3705 w445

d73-3706 w442

d73-3707 w431

d73-3708 w429

d73-3709 w444

d73-3710 w446

d73-3711 w441

d73-3712 w447

d73-3713 w437

d73-3714 w432

d73-3715 w436

d73-3716 w435

d73-5602 w419

d73-5603 w409

d73-5604 w416

d73-5605 w414

d73-5606 w418

d73-5607 w412

d73-5608 w415

d73-5609 w423

d73-5610 w426

d73-5611 w424

d73-5612 w411

d73-5613 w410

d73-5614 w420

d73-5615 w425

d73-5616 w422

d73-5617 w421

d73-5618 w428

d73-5619 w427

d73-5620 w417

d73-5621 w413

d74-667 w466

d75-300 w485

d75-301 w486

d75-302 w495

d75-303 w496

d75-304 w498

d75-305 w494

d75-306 w497

d75-307 w493

d75-307b w493

d75-308 w499

d75-308b w499

d75-309 w490

d75-310 w483

d75-311 w500

d75-312 w502

d75-313 w472

d75-314 w471

d75-315 w491

d75-316 w489

d75-317 w501

d75-318 w487

d75-319 w478

d75-321 w492

d75-966 w482

d75-1969 w475

d75-1971 w484

d75-2431 w477

d75-3117 w488

d76-1041 w513

d76-1046 w504

d76-1048 w505

d76-1060 w510

d76-1317 w509

d76-1326 w503

d76-2442 w508

d76-2716 P882

d76-3678 w270

d77-1044 P950

d77-1045 w522

d77-1062 w528

d77-1314 w517

d77-1323 w524

d77-1333 w530

d77-3584 w522

d77-3599 w526

d77-3667 w522

d77-3683 w524

d78-2172 w533

d79-1519 P954

d79-2228 w630

d79-2230 w622

d79-2246 w638

d79-2248 w556

d79-2275 w543

d79-2277 w546

d79-2278 w547

d79-2279 w554

d79-2281 P976

d79-2285 w597

d79-2287 w600

d79-2293 w584

d79-2302 w563

d79-2303 w544

d79-2307 w561

d79-2308 w564

d79-2379 w562

d79-2382 w573

d79-2384 w621

d79-2386 w578

d79-2389 w579

d79-2395 w615

d79-2417 w642

d79-2440 c642

d79-2466 w626

d79-2627 w636

d79-2655 w639

d79-2845 w600

d79-2860 w637

d79-2905 w675

d79-2906 w640

d79-2940 w627

d79-3020 w623

d79-3554 w634

d79-3580 w633

d79-3595 w587

d79-3684 w538

d80-2653 w656

d80-2775 w649

d80-2840 w657

d80-2899 w648

d80-3004 w651

d80-3005 w652

d80-3116 w655

d80-3551 w527

d80-3692 w656

d80-3693 w656

d81-2643 w664

d81-2707 w661

d81-2794 w660

d81-3661 w663

d81-3681 w644

d82-2696 w668

d82-2707 w661

d82-2708 w669

d82-2709 w667

d82-2710 w671

d82-2712 w672

d84-3060 w677

d85-3217 w680

d85-3233 c714

d85-3270 w679

d86-3267 w683

d86-3279 w682

d86-3317 w686

d86-3318 w685

d86-3319 w687

d86-3321 w688

d86-3322 w684

d86-3655 w689

d87-3282 w694

d87-3283 w697

d87-3284 w696

d87-3285 w681

d87-3337 w699

d87-3338 w700

d87-3339 w701

d87-3340 w702

d87-3341 w703

d87-3342 w704

d87-3343 w705

d87-3344 w706

d87-3345 w707

d87-3346 w708

d87-3347 w709

d87-3348 w710

d87-3481 w695

d87-3492 w691

d87-3512 w692

d87-3585 w698

d87-3666 w693

d88-3491 w716

d88-3504 w713

d88-3608 w718

d88-3609 w717

d88-3665 w711

d89-3685 w536

d89-3692 w672

d89-3780 w672

d89-3803 w672

d90-3577 w722

d90-3578 w721

d90-3615 w720

d91-3780 w715

Photo and Text

Credits

Ph O t O c redit S

The photographers and sources of visual material other than those indicated in the captions and catalogue entries are as follows. Every effort has been made to credit the photographers and sources; if there are errors or omissions, please contact Yale University Press so that corrections can be made in any subsequent edition. All works of art by Robert Motherwell are copyright © Dedalus Foundation, Inc./Licensed by VAGA, New York, NY.

cha P ter S by Jack Flam and k aty rO ger S

© The Baltimore Museum of Art (fig. 17)

Ben Blackwell Photography (fig. 4)

Rudy Burckhardt (fig. 111)

© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York (figs. 11, 41); photography Archivo Fotográfico Museo Nacional Centro Reina Sofía (fig. 54); photography © The Art Institute of Chicago (fig. 151); © The Metropolitan Museum of Art, New York (fig. 36)

Paul Foster (fig. 24)

© 2012 Helen Frankenthaler/Artists Rights Society (ARS), New York (figs. 70, 71)

Courtesy Independent-International Pictures Corp. (fig. 27)

Art © Judd Foundation. Licensed by VAGA, New York, NY; The Jewish Museum, New York/Art Resource, New York (fig. 125)

Peter A. Juley & Son (figs. 32, 68, 78, 92, 101)

© Kunsthalle Mannheim, photograph by Cem Yücetas (fig. 56)

© 2011 Mondrian/Holtzman Trust c/o HCR International, Virginia; Albright-Knox Art Gallery/Art Resource, New York (fig. 7)

Photo Ugo Mulas © Ugo Mulas Heirs. All rights reserved (fig. 112)

© Museo Nacional del Prado, Madrid, Spain (fig. 57)

Digital Image © 2006 (fig. 3), © 2007 (fig. 19), The Museum of Modern Art/Licensed by SCALA/Art Resource, New York (fig. 89)

O. E. Nelson (fig. 130)

© 2012 The Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York (fig. 16)

Sidney Janis Gallery Archives (Chapter 4 opener)

Steven Sloman (Chapter 10 opener)

© 2012 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris (figs. 5, 126)

© 2010 Succession H. Matisse/Artists Rights Society (ARS), New York (figs. 105, 143); photography © The Art Institute of Chicago (fig. 55); CNAC/MNAM/Dist Réunion des Musées Nationaux/Art Resource, New York (fig. 127); Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, New York (fig. 128); photograph by Jordan Tinker (fig. 59)

Whitney Museum of American Art, photograph by Geoffrey Clements (fig. 9)

c hr O n O l O gy by tim cli FFO rd and the making OF a m O therwell catal O gue rai SO nné

The Barnett Newman Foundation, New York (fig. 191)

Geoffrey Clements (fig. 231)

Ken Cohen (fig. 266)

Joseph Cornell papers, 1804–1986, Archives of American Art, Smithsonian Institution (figs. 178, 184)

Dedalus Foundation Archives (fig. 271)

Klara Farkas (fig. 218)

M. Richard Fish (fig. 223)

Helen Frankenthaler (fig. 213)

Link Harper (fig. 238)

Biff Heinrich (figs. 260, 261)

Ronny Jacques (fig. 187)

Photography by Bruce C. Jones (fig. 242)

Peter A. Juley & Son (figs. 198, 209, 210, 211, 216, 272)

Kootz Gallery records, 1931–1966, Archives of American Art, Smithsonian Institution (fig. 196)

Francis Lee (fig. 185)

Christian Leprette (fig. 253)

Alexander Liberman (fig. 225)

Fred McDarrah (fig. 217)

Photo Ugo Mulas © Ugo Mulas Heirs. All rights reserved (fig. 230)

Digital Image © The Museum of Modern Art/ Licensed by SCALA/Art Resource, New York, photograph by Soichi Sunami (fig. 186)

© 1991 Hans Namuth Estate/Courtesy Center for Creative Photography, University of Arizona (Chronology opener, figs. 194, 195, 208, 215, 226)

O. E. Nelson (fig. 232)

Arnold Newman (fig. 268)

Renate Ponsold (figs. 220, 227, 236, 237, 239, 244, 245, 249, 250, 256, 257, 265, 267)

Percy Rainford (fig. 204)

Bernard J. Reis papers, 1934–1979, Archives of American Art, Smithsonian Institution (fig. 215)

Courtesy of Maria Runyan (fig. 176)

Lee Sievan (fig. 203)

Sidney Janis Gallery (fig. 206)

Steven Sloman (figs. 243, 247, 248, 254, 255, 270)

David Smith (fig. 212)

Peter Vitale (figs. 262, 263)

c atal O gue e ntrie S

204 Studios (P280)

Maurice Aeschimann (P662)

Howard Agriesti (c45, c559, w140)

Albright-Knox Art Gallery, Buffalo, exh. cat. 1970, cat. no. 5, color illus. p. 25 (P461)

Nikolaj Alsterdal (c304)

André Emmerich Gallery, New York, exh. cat. 1989, cat. no. 10, color illus. n.p. (c32)

Isaac Applebaum (P427, P488, P640, P833, c321, w188, w254)

Arnason 1982, color illus. p. 19, pl. 8 (c1)

Digital image © 2007 (P619, c46, w283), © 2009 (w118) Art Gallery of Ontario

Reproduction, The Art Institute of Chicago (P705, w156); photograph by Robert Lifson (c64, c128); photograph by Robert Mashimoto (P91)

© Es Baluard Museu d’Art Modern i Contemporani de Palma Fotògraf: Joan Ramon Bonet (c171)

Mattias Baus (P739, c585)

Bayer and Mitko Fotostudio (P965, c517)

William Baziotes (P14)

John Berens (P653, w646)

Jean Bernard (w221)

Philip Bernard (c260, w193, w390)

Neil Bicknell (c6)

Ben Blackwell Photography (ew ii, ew iii, ew Xi, P360, P408, P506, P605, P648, P790, c272, c381, c509, c539, c557, w115, w120)

Michael Bodycomb (c610, c614, c618, c751–c755)

Will Brown (P73, P78, P116, P193, P204, P362, P481, P885, P934, P943, P1010, c292, w41, w61, w112, w460)

Roger Bruhn (P503)

Martin P. Buhler (P562, c487, w544)

Eduardo Calderón (P340, P677, c24, c299)

David Carmack (P235, P366, P603, P764, P980, c255, c814, w79)

Photo © Christie’s Images Ltd. 2012 (P48, P261, P549, P681, P703, P783, c60, c306, c376, c470, c472, c492, c527, c541, w29, w112, w393, w566)

Christie’s, New York, auction cat., May 13, 1981, lot 46, illus. (w339), May 10, 1983, lot 11, illus. (w111), February 21, 1987, lot 11, illus. (P49), February 14, 1989, lot 110, illus. (w327), November 8, 1990, lot 315, illus. (w71)

Geoffrey Clements (P133, P139, P213, P252, P305, P717, c410, w85, w117, w554)

The Cleveland Museum of Art (P216, c11)

Ken Cohen (P35, P45, P231, P372, P419, P521, P557, P583, P674, P815, P817, P879, P880, P1024, P1032, P1033, P1039, P1048, P1080, P1086, P1093, P1106, P1110, P1111, P1117, P1118, P1134, P1136, P1143, P1145, P1148, P1155, P1160, P1161, P1163–P1165, P1168, P1169, P1171, P1173, P1175, P1176, P1190, P1192, c395, c397, c415, c501, c535, c567, c577, c593, c652, c655, c656, c671, c682, c708, c710, c737, c748, c757–c763, c765–c796, c798–c805, c807–c809, c811, c813, c816–c818, c820, c822, c825, c831, c839, c840, c843, c844, c848, c852–c855, c861,

c866, c869, c871, c872, c889, w101, w599, w614, w653, w663, w675, w692, w693, w698, w713, w719)

Susan A. Cole (P349, c124, c429)

Colgate University, photograph by Warren Wheeler (w80)

Courtesy of Cranbrook Art Museum, photograph by R. H. Hensleigh (P709, c701)

Dedalus Foundation Archives (ew.V, P5, P13, P15, P40, P42, P52, P53, P55, P75, P79, P82, P124, P125, P134, P146, P156, P157, P160, P161, P164, P177, P187, P218, P227, P232, P238, P241, P254, P264, P265, P271, P274, P278, P303, P359, P361, P367, P369, P370, P374, P377, P379, P381, P391, P407, P411, P424, P426, P436, P441, P443–P445, P449, P454, P467, P468, P485, P496, P498, P501, P504, P505, P508, P520, P527, P546, P578, P590, P609, P615, P636, P637, P639, P647, P650, P668, P670, P671, P675, P679, P697, P700, P713, P716, P718, P723, P737, P738, P743, P754, P755–P757, P767, P771, P773, P774, P804, P809, P816, P820–P823, P832, P835, P882, P892, P893, P896, P925–P927, P929, P935, P949, P953, P956, P974, P982, P983, P985, P991, P995, P1005, P1007, P1011, P1037, P1038, P1040, P1042, P1061, P1064, P1070, P1073, P1082, P1087, P1089, P1092, P1098, P1137, P1139, P1147, P1172, P1187, P1208, P1209, c9, c13, c16, c23, c26, c36, c39, c52, c74, c96, c107, c141, c150, c155, c174, c191, c212, c215, c220, c229, c266, c274, c278, c284, c285, c293, c296, c307, c309, c312, c316, c318, c330, c331, c348–c350, c357, c360, c361, c366, c367, c369, c372, c380, c383, c386, c392, c393, c398, c409, c417, c418, c427, c431, c438, c440, c443, c447, c456, c457, c459, c460, c463, c468, c484, c486, c490, c496, c510, c516, c521, c524, c528, c537, c538, c543, c545, c546, c554, c556, c558, c565, c583, c586, c592, c606, c616, c617, c620, c621, c624, c636, c639, c648, c653, c654, c661, c665, c666, c675, c679, c688–c690, c692–c700, c702–c707, c711, c715, c716, c718–c720, c723, c724, c726, c733, c734, c736, c739, c740, c849, c860, c881, w4, w7, w19, w21, w30, w51, w58, w67, w72, w81, w104, w113, w114, w125, w127, w136–w138, w172, w180, w197, w198, w202, w253, w269, w273, w278, w286, w317, w324, w326, w329–w333, w338, w364, w376–w378, w391, w399, w401–w404, w455–w457, w474, w479–w481, w495, w504, w505, w507, w516, w519, w539, w545, w547, w561, w572, w573, w575, w581, w586, w601, w624, w639, w659, w661, w665, w666, w667, w670)

Liz Deschenes (c252)

Destrube Photography (P684, w277, w282)

Photograph © 1993 The Detroit Institute of Arts (P818)

Rafael Doniz (c495)

Thomas DuBrock (P21, P730, P874, c589, w288, w468, w549, w565, w570)

Amy Ellsworth (c294)

Lee Fatheree (c51)

Barbara Fendrick Fine Art (P624)

Brian Forrest (ew.Vii, ew.XVii, P145, P173, P183, P558, P635, P909, P915, P1072, c214,

c273, c355, c562, c564, w8, w32, w39, w297, w465, w520)

Paul Foster (ew.Vi)

Galerie André Emmerich, Zurich, exh. cat. 1974, cover color illus. (c311)

Galerie Heinz Berggruen, Paris, exh. cat. 1961, cat. no. 16, illus. n.p. (c115), color illus. n.p. (c121), color illus. n.p. (c122)

Thomas U. Gessler (c76)

Patrick Goetelen (c186)

Photography by Erik Gould (P351)

John Groo (P298, w469)

Nathan Halper correspondence and gallery records, 1952–1979, Archives of American Art, Smithsonian Institution (P144)

Glenn Halvorson (c477)

Peter Hardholdt (P175)

Harper’s Bazaar 1948, illus. p. 87 (in studio) (P62, P63)

© 2004 President and Fellows of Harvard College, photograph by David Mathews (P101, c21, c49)

Photographed by Avraham Hay (P46)

Greg Hendershot (c15)

Photography courtesy of the Herbert F. Johnson Museum of Art, Cornell University (c37)

Heritage Auction Galleries (w206, w275)

George Hixson (P44, P162, P728, P1065, c474, w204)

Bill Jacobson (P16)

Tom Jenkins (P466, c518)

The Jewish Museum, New York/Art Resource, New York (w76)

Stephanie Johnson (c10, c80, w31)

Peter A. Juley & Son (P6, P7, P17, P36, P80, P142, P165, P188, P202, P205, P206, P211, P214, P245, P287, c18, c102, c103, c111, w22, w47, w62, w66, w74, w82, w93, w95, w98, w105, w130, w134, w135, w142, w151)

Paul Kodama (c629)

Kunstmuseum Basel, photograph by Martin Bühler (P130)

Tim Lanterman (c54)

Francis Lee (P39)

Tom Little (c92, w103)

Drew Ludwig (w133)

Richard Margolis (c542)

Hugh Martell (c519)

Pablo Mason (P1044)

Mathomedia, Cologne, Germany (c391)

Brian Merrett (P783)

Photograph © 1979 (P220), © 1980 (P168), © 1986 photograph by Lynton Gardiner (P430), photograph by Malcolm Varon (P138, P416, P429), © 1987 The Metropolitan Museum of Art (P85)

Bernard C. Meyers (c488, w139)

Photograph by Jamison Miller (c717, w44)

Cindy Momchilov (c300, c550)

Photo © MUMOK, Museum Moderner Kunst Stiftung Ludwig Wien (P838)

Photo © Owen Murphy, Jr. 2009, all rights reserved (c599)

© 2006 Museum Associates/LACMA (P492, c4)

Photograph © 2012 Museum of Fine Arts, Boston (P592, P895)

© 1991 The Museum of Modern Art/Licensed by SCALA/Art Resource, New York, photograph by Olatunji (c164)

Digital Image © 2002 (P3, P215, P373), © 2004 (P47, P368, P414, P420, P860), © 2005 (P87), © 2006 (P64, P680, P682, P683, P689, c110, c237, w571, w628), © 2007 (c7, c810, w259, w582, w629) The Museum of Modern Art/ Licensed by SCALA/Art Resource, New York Museum of Modern Art exh. cat. September 1946, cat. no. 68, illus. p. 36 (P32)

© 1991 Hans Namuth Estate/Courtesy Center for Creative Photography, University of Arizona (P95)

Jose Naranjo (P208, w141)

Image © Board of Trustees, National Gallery of Art, Washington (P955, w336, w438)

O. E. Nelson (P29, P276, P325, P355, P523, c200, w168, w181, w216, w257)

Andy Olenick (ew.Xii, P2)

Otis Art Institute, Los Angeles, exh.cat. 1974, cat. no. 58, illus. n.p. (c453)

Alexander Paschka (P459)

William Peppler (c458)

Stephen Petegorsky Photography (w11)

Gene Pittman (P502, P742, P753, c279)

Eric Pollitzer (P538, P1049, P1050, P1062, c89, c373, c424, w621, w671, w672)

Jordi Balanya Pooch (c721)

The Portland Art Museum, Oregon (w255)

Portland Museum of Art, Maine (P725)

© 2012 Trustees of Princeton University, photograph by Bruce M. White (c70, c425)

Vicente Sierra Puparelli (w534)

Percy Rainford (P28, P58, P66, P113, P115)

Ian Reeves (P343)

Mary Rezny (c540)

Kevin Ryan (P272, P273, P371, P412, P612, P1174)

© 1994 Sammlung Ulla und Heiner Pietzsch, Berlin (c14)

Photo © Sheldon Memorial Art Gallery (P110, P922)

Colin Shultz (P936, c334, w154)

Mark Sink (c432)

Photograph by Steven Sloman (P182, P469, P470, P472, P607, P642, P678, P687, P707, P721, P741, P769, P775, P778, P785, P786, P813, P814, P827, P830, P831, P834, P850, P862, P863, P876, P914, P917, P930–P932, P944, P964, P975, P1013, c181, c182, c184, c207, c308, c337, c382, c419, c433, c436, c475,

c478, c479, c505, c508, c511, c513, c514, c523, c526, c533, c536, c551, c555, c561, c574, c576, c579, c594, c595, c597, c601, c602, c604, c605, c607, c609, c611, c622, c623, c627, c628, c633–c635, c637, c640, c650, c651, c657, c660, c668, c669, c728–c732, w107, w128, w131, w149, w260, w272, w296, w341, w392, w473, w483, w489, w500, w510, w525), © 1982 (P946), © 1983 (P659, P839, P986, c686), © 1990 (P122, P147, P176, c17, c22), © 1995 (P23, P69, P71, P93, P98, P180, P190, P221, P222, P224, P240, P267, P339, P352, P486, P673, P805, P819, P875, P924, P1099, P1113, c154, c532, c581, w56) Oren Slor (ew.iV, ew.Viii, ew.Xiii, ew.XiV, P10, P24, P26, P43, P60, P72, P77, P84, P89, P94, P97, P100, P103, P104, P106, P108, P109, P119, P120, P123, P126, P163, P166, P167, P174, P184–P186, P189, P196, P207, P209, P233, P237, P239, P244, P248–P251, P258, P259, P262, P268–P270, P274, P279, P282, P283, P288, P290, P306–P308, P311, P313, P314, P316, P318, P319, P321–P323, P326–P328, P331, P332, P337, P344–P348, P350, P354, P375, P380, P389, P393–P396, P399, P401, P402, P405, P406, P409, P415, P423, P432–P434, P438–P440, P447, P448, P453, P458, P460, P474, P479, P480, P482, P484, P491, P495, P497, P499, P500, P507, P512, P513, P517–P519, P524–P526, P528, P529, P531, P534, P536, P537, P539–P543, P547, P548, P550, P551, P563, P567, P568, P570, P574–P577, P579–P581, P584–P586, P588, P594, P596, P598–P601, P604, P610, P616, P618, P621, P625, P626, P628, P629, P641, P644–P646, P654–P658, P665–P667, P685, P688, P690–P692, P694, P696, P699, P702, P706, P708, P710, P711, P727, P729, P731, P734–P736, P740, P747, P748, P758, P759, P761, P765, P770, P779, P780, P784, P787, P788, P793–P795, P797–P803, P810, P812, P824, P826, P828, P836, P841, P848, P852–P859, P864–P868, P870–P872, P878, P883, P884, P888–P891, P894, P897, P899–P906, P910–P913, P918–P921, P923, P928, P933, P937–P940, P942, P945, P947, P950–P952, P954, P958, P959, P961, P962, P967–P973, P976–P979, P981, P984, P987–P990, P992–P994, P996, P998–P1004, P1006, P1008, P1012, P1014–P1019, P1021–P1023, P1025, P1026, P1028, P1035, P1036, P1041, P1045–P1047, P1052–P1060, P1063, P1066–P1069, P1071, P1074–P1077, P1079, P1081, P1083–P1085, P1088, P1091, P1095–P1097, P1100–P1105, P1107, P1108, P1114, P1115, P1119, P1122–P1132, P1138, P1140, P1141, P1144, P1146, P1149–P1154, P1156, P1157, P1159, P1162, P1166, P1167, P1170, P1181–P1184, P1186, P1188, P1189, P1191, P1193, P1195–P1198, P1200–P1203, P1207, c47, c56, c63, c75, c78, c93, c95, c97–c100, c108, c112, c116, c118, c120, c123, c130–c133, c138, c146–c148, c152, c157–c163, c166, c168, c172, c176–c180, c188, c190, c193–c196, c201–c204, c208, c209, c211, c213, c216–c219, c222, c223, c225, c227, c230–c233, c235, c236, c238–c245, c248–c250, c253, c254, c258, c261, c262, c265, c267, c269–c271, c277, c289, c290, c295, c302, c313, c315, c317, c320, c323, c325–c327, c329, c333, c335, c343–c347, c352, c358, c364, c371, c375, c378, c379, c387–c390, c402, c403, c407, c414, c416, c421, c422, c428, c437, c441, c444, c446, c448–c451, c464, c465, c469,

c480–c482, c491, c493, c494, c503, c504, c507, c525, c529, c531, c547, c552, c560, c563, c569, c580, c612, c613, c615, c625, c630–c632, c641, c642, c644, c649, c662–c664, c667, c670, c672–c674, c709, c712–c714, c727, c735, c738, c741–c747, c764, c797, c812, c821, c823, c824, c828, c829, c832, c834–c838, c841, c845–c847, c850, c856, c859, c862, c863, c865, c867, c873–c880, c882–c888, w6, w12, w14, w16, w40, w50, w52, w54, w57, w63, w64, w68, w75, w77, w87, w89, w90, w92, w96, w97, w100, w102, w106, w109, w119, w121, w150, w152, w159–w163, w167, w169, w174, w177, w182–w185, w187, w190–w192, w194, w196, w201, w207, w211–w215, w217–w220, w223–w232, w234, w235, w237–w239, w241–w243, w245–w249, w252, w256, w261–w268, w274, w279–w281, w287, w289–w295, w299–w303, w307, w309–w311, w313–w316, w318–w323, w342–w356, w359–w363, w368–w373, w380, w383, w384, w387–w389, w395, w398, w400, w406–w428, w430, w431, w434–w436, w439, w440, w443, w445, w448, w450, w454, w458, w459, w462–w464, w475, w482, w484, w486, w490–w492, w498, w501, w503, w506, w508, w509, w512–w514, w518, w522–w524, w526, w527, w530–w533, w536–w538, w540, w541, w543, w550, w552, w553, w555–w557, w559, w562–w564, w567–w569, w574, w576, w578–w580, w583–w585, w587–w597, w600, w602, w603, w605–w610, w613, w615–w620, w622, w623, w625–w627, w630, w633–w637, w640–w642, w645, w647–w652, w655, w656, w658, w660, w662, w668, w669, w673, w677, w680–w682, w684–w687, w689–w691, w694, w695, w699–w704, w706–w709, w711, w712, w715–w718, w720–w722)

Soria 1988, color illus. pp. 1572–73 (c750)

© Sotheby’s, Inc. 2010 Tobias Meyer, principal auctioneer, #9588677 (P638, c173, c175, c283, c291, w20, w166, w189, w258, w390, w476)

Sotheby’s, Chicago, auction cat., March 19, 2001, lot 803, illus. (w165)

Sotheby’s, New York, auction cat., May 3, 1988, lot 166A, illus. (c359), October 8, 1988, lot 17, illus. (P33), lot 101, illus. (c377), October 5, 1989, lot 83, illus. (w328), October 3, 1991, lot 41, illus. (P450), November 14, 1991, lot 318, illus. (P746), October 6, 1992, lot 47, illus. (w337), May 15, 1998, lot 104, illus. (w548)

Sotheby Parke Bernet, Inc., New York, auction cat., November 24, 1971, lot 117, illus. (P30), May 5, 1973, lot 111, illus. (P595), June 8, 1977, lot 99, illus. (w23), October 20, 1977, lot 228C, illus. (c322), February 27, 1980, lot 59, illus. (w298), October 16, 1981, lot 204, illus. (c356), October 31, 1984, lot 88, illus. (w203), May 5, 1986, lot 19, illus. (c520), November 11, 1986, lot 136, illus. (w178), lot 141, illus. (w170), October 7, 1987, lot 122, illus. (c578), November 5, 1987, lot 103A, illus. (P25)

Courtesy of Staatsgalerie Stuttgart (P236)

Lee Stalsworth (P329, c68, c399, c405, c572, w5, w26, w470)

Mark Stephenson (P623, w36)

Adolph Studly (P179, P286)

Peggy Tenison (c571)

Nicole Teweles (P660)

Tim Thayer (P597, P669, P695, c310, w325)

Alec Thigpen (c83)

Jerry C. Thompson (P489)

Jordan Tinker (ew.iX, ew.XV, ew.XVi, P1, P18, P19, P50, P54, P57, P59, P61, P68, P70, P74, P83, P111, P114, P121, P143, P149, P150, P201, P228, P229, P260, P275, P284, P285, P289, P291–P297, P299–P302, P304, P309, P312, P315, P317, P320, P324, P330, P335, P357, P363, P376, P382–P388, P397, P398, P400, P404, P417, P421, P442, P446, P452, P455, P462, P465, P476, P490, P493, P511, P514, P515, P530, P532, P545, P556, P559–P561, P602, P620, P630, P631, P643, P661, P693, P701, P712, P714, P724, P726, P732, P762, P766, P782, P808, P837, P840, P849, P873, P898, P941, P963, P997, P1009, P1020, P1029, P1034, P1051, P1090, P1109, P1142, P1158, P1185, P1194, P1199, c25, c27, c34, c35, c41, c42, c58, c59, c61, c65, c72, c86, c87, c117, c125, c135, c137, c140, c149, c153, c165, c183, c185, c187, c192, c197, c198, c205, c206, c210, c221, c226, c234, c246, c247, c251, c256, c259, c263, c264, c275, c276, c280, c281, c287, c288, c298, c319, c328, c332, c336, c340, c342, c351, c363, c370, c394, c400, c411, c423, c434, c439, c445, c455, c466, c471, c483, c499, c502, c530, c582, c600, c645, c658, c659, c680, c681, c684, c749, c806, c815, c819, c826, c864, c868, c870, w9, w10, w24, w25, w27, w28, w33, w34, w38, w42, w45, w55, w65, w83, w88, w99, w116, w123, w124, w126, w129, w132, w146, w157, w164, w171, w173, w176, w186, w195, w200, w209, w233, w236, w240, w244, w250, w271, w285, w304, w305, w308, w312, w334, w340, w367, w374, w375, w379, w381, w382, w385, w386, w396, w397, w405, w429, w432, w433, w437, w441, w442, w444, w446, w447, w449, w471, w472, w477, w478, w485, w487, w488, w493, w494, w496, w497, w499, w502, w515, w521, w546, w560, w577, w604, w611, w612, w631, w643, w644, w664, w678, w679, w683, w696, w697, w705, w710)

Todd-White Photography (P203, c596, w73, w222)

J. P. Torno (P477, P1031, c48, c489)

Michael Tropea (ew.X, P92, P137, P148, P266, P333, P663, c354, c512, c725)

Turske & Turske, Zurich, exh. cat. 1985, color illus. n.p. (w558)

Paolo Vandrasch (c588)

Malcolm Varon (P413, c119)

© Virginia Museum of Fine Arts, photograph by Katherine Wetzel (w210)

© CJ Walker Photography Inc. (P158, P159, P571, P622, P887, c69, c257, c353, c452, c467, w122, w155, w179)

Photography by Robert Wedemeyer (w714)

John Wilson White (ew.i, P569, c286, c522, w688)

Whitney Museum of American Art, photograph by Geoffrey Clements (P171, c104, c105), Sheldan C. Collins (P422), Robert E. Mates (P65)

Cameron Wittig (P198, P457, P633, P1121, c548)

Karl Wolfgang (c590)

Zindman/Fremont (P8, P88, P107, P117, P118, P128, P131, P135, P136, P152, P181, P195, P197, P225, P242, P243, P246, P263, P277, P353, P392, P410, P437, P451, P473, P475, P510, P591, P593, P608, P676, P686, P722, P733, P744, P745, P751, P763, P772, P776, P777, P789, P791, P792, P796, P811, P861, P877, P916, P1027, P1094, P1112, P1133, P1178–P1180, P1204, c44, c57, c62, c66, c67, c71, c79, c81, c101, c139, c384, c385, c401, c412, c413, c442, c473, c476, c506, c515, c553, c573, c575, c676, c685, c756, c830, c833, c842, c851, c857, c858, w13, w18, w70, w91, w145, w270, w276, w357, w358, w466, w517, w632, w638, w657)

t e X t c redit S

Llanto por Ignacio Sánchez Mejías/Lament for Ignacio Sánchez Mejías by Federico García Lorca © Herederos de Federico García Lorca. English Adaptation © Stephen Spender/J.L. Gili and Herederos de Federico García Lorca. All rights reserved. For information regarding rights and permissions please contact lorca@artslaw.co.uk or William Peter Kosmas, Esq., 8 Franklin Square, London W14 9UU, England

“The Man with the Blue Guitar” from The Collected Poems of Wallace Stevens by Wallace Stevens, copyright 1954 by Wallace Stevens and renewed 1982 Holly Stevens. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

About the Authors

Jack Flam is the president of the Dedalus Foundation, and distinguished professor emeritus of art and art history at Brooklyn College and the Graduate Center, City University of New York. He is the author of numerous books, catalogues, and articles on various aspects of nineteenth- and twentieth-century art, including several publications on the art of Robert Motherwell. He has been series editor of the Documents of Twentieth Century Art since 1980, and is an advisory board member of Source: Notes in the History of Art. Dr. Flam has served on the board of directors of the United States section of the International Association of Art Critics and was for several years the art critic of the Wall Street Journal. His articles and reviews have appeared in numerous journals, including American Heritage, Apollo, Art Bulletin, Artforum, Art in America, Art Journal, Artnews, Connaissance des Arts, Connoisseur, and the New York Review of Books

Katy Rogers is the project manager of the Robert Motherwell Catalogue Raisonné Project. She is a graduate of the University of Colorado, received her M.A. in art history from Hunter College, and was a Helena Rubinstein Curatorial Fellow at the Whitney Museum of American Art’s Independent Study Program (ISP). While at the ISP, she co-curated the exhibition Image War: Contesting Images of Political Conflict. Her exhibition catalogue essays and articles have been published by El Museo del Barrio, Hunter College Art Galleries, and the Catalogue Raisonné Scholars Association.

Tim Clifford is the senior researcher of the Robert Motherwell Catalogue Raisonné Project. He is a graduate of Bard College and received his M.F.A. from the School of Visual Arts. An artist based in New York, he has exhibited his work at Apex Art, the Socrates Sculpture Park, and Southern Exposure.