Ethel Fisher: Portraits of the Sublime Digital Catalog

Ethel Fisher

Portraits of the Sublime

ethel fisher

Portraits of the Sublime

APRIL 26 - MAY 25 | 2024

Ethel Fisher: Portraits of the Sublime, inaugurates LewAllen Galleries’ exclusive representation of this truly outstanding artist’s work and its initial exhibition focusing on her figurative paintings. These works include distinctive large-scale portraiture of prominent people from her social circle including most especially well-known artists of her time, such as the renowned American painter Will Barnet, the Abstract Expressionist Alice Baber, modernist painter Henry Pearson, painter and photographer Martha Alf, collagist Ilse Getz, among many others. These works have an alluring purity to them, a sense of near ethereal mystery and profound psychological intensity set against background fields of color that confer deep contemplative engagement.

Fisher also had a particularly protean career. She exercised her artistic abilities in a number of disparate genres that ranged from abstraction to representation and included grid-like architectural paintings of ornate facades of iconic buildings in major cities, as well as lush landscapes, still lifes and interiors. In addition to the portraits that form the subject of this exhibition, LewAllen will also present future exhibitions of her works from these other periods beginning with her abstract paintings based on architectural elements, what Fisher referred to as her “Abstract Impressionist” works. (It was these works that gave Fisher her early commercial and critical success and prompted a critic in a 1960 New York Times review to compare them favorably to those of Arshile Gorky. The LewAllen exhibition focusing on the abstract work is scheduled for 2025.)

Both a technically brilliant artist and an individual who pursued her art with a sense of invincible dedication over seven decades, Fisher lived at various times in New York, Miami and Los Angeles. During the early part of her career in the 1940s and ’50’s, her abstract work was exhibited widely, including in galleries and museums in

Miami, Havana, New York, San Francisco and Los Angeles. By the 1960s, however, living in New York and then California, and married for the second time, Fisher became less concerned with seeking wide commercial success and, instead concentrated on her artwork for its own sake. For the next five decades her commitment to painting, its variety and, most especially, its remarkable excellence, was unflagging.

Throughout her career, irrespective of pecuniary motivation, she was invited to exhibit her works at various galleries and museums throughout the United States, and today they are included in the collections of such prominent institutions as the Los Angeles County Museum of Art; the Museum of Contemporary Art in La Jolla, CA; the Crocker Museum in Sacramento, CA; the Jewish Museum in New York; the Norton Museum in Palm Beach, FL; the Metropolitan Museum of Art in New York; the Dallas Museum of Art; the Morgan Library and Museum in New York, among many others. Notably, Fisher was recognized by the Louis Comfort Tiffany Foundation Award for Painting in 1965.

Fisher was born in Galveston, Texas in 1923, and studied art from 1939 to 1943 at the University of Houston, the University of Texas, and Washington University in St. Louis. In 1943, she and her first husband moved to New York City where she enrolled at the Art Students League. It was there that Fisher studied with the legendary Will Barnet, as well as noted teacher Morris Kantor, during the early years of the Abstract Expressionist movement. In 1947, Fisher relocated to Miami where she became recognized for her Abstract Impressionist work which was exhibited successfully in Miami and Havana galleries and museums in the 1950s, and soon her works were being exhibited throughout the United States.

In 1961, Fisher left Miami to travel in Europe for a year, visiting major museums in France and Italy where she became enamored of the human figure. She wrote about the trip that it was “transformative” and said:

“[It] altered my artistic direction … There, amidst the awe-inspiring ancient Roman frescoes and Greek sculptures of the 4th and 5th centuries housed in the Athens museums, I found myself drawn toward a figurative style, abandoning abstraction for a more tangible representation…”

[Undated 1960s Artist Statement]

Fisher’s striking portraits of the 1960s and ’70s demonstrate statuesque qualities clearly reflecting the influence of the Roman Pompeian frescoes and the Classical Greek sculpture Fisher saw and spent time drawing while at the Louvre in Paris and other museums during her travels in Europe.

Returning to New York in 1963 with her second husband, Seymour Kott, Fisher became a part of the New York art scene, shifting her attention to figurative painting. At the end of the ’60s, the couple moved to California where, in subsequent decades, Fisher produced a large body of work that included her important portraits which form the subject of this first LewAllen Galleries exhibition, as we well as the other works for which she would become well regarded. A dominant characteristic of Fisher’s approach to art was unflinching fearlessness. Throughout her career, she was undaunted by the artworld’s trends and fashions of any particular moment. As early as 1953, Fisher declared in a statement for an exhibition that “I believe that a work of art is the artist’s own personal vision [and that] a painter creates his own world on canvas….” Her figurative paintings of the 1960s and 1970s were, in her words “eccentric to the fashion at the time,” created, as they were, when Pop and Op Art, as well as Minimalism, dominated the art scene.

Although there were other artists making figurative work in at this time New York — such as Philip Pearlstein, Alex Katz, Fairfield Porter and even Richard Diebenkorn, as well as in San Francisco with the Bay Area Figurative Painters such as David Park, Nathan Oliveira, Frank Lobdell — this genre was given much less attention in the art press during this era than the other more “edgy” “contemporary” modes of art. Notwithstanding, Ethel Fisher resolutely persevered with her portraits and created works that transformed pictures into conceptually charged statements that are now highly valued and sought after by major museums as well as private collectors.

Fisher wrote that in her figurative work, she strove to “encapsulate both intimacy and alienation.” In this regard she painted mainly family and artist friends, saying that she “preferred the psychological resonance of real-life subjects over professional models.” She wanted to plumb the depths of the human psyche in her paintings. In an artist statement for a 1979 portrait

exhibition in Los Angeles, she stated that she saw figure painting as a “demanding spiritual exercise” and her intention in rendering subjects was to “create a set of characters that would have the depth of characters in novels.” But notably, the characters she portrays attain their dramatic personae devoid of sentimentality. Like her teacher and mentor, Will Barnet, the power in Fisher’s figuration is created with material — clarity of form, close color values— and without gratuitous emotionalism. She confers on these characters the qualities of strength, mystique and a certain sense of quiet grandeur such that, were these pictures novels, they would surely be on a best sellers list.

Initially, Fisher utilized large simple figural shapes in interpreting human forms onto her canvasses — what she referred to as “sort of rounded bodies” — against flat spaces of strong color. She believed that color possesses the psychological power to evoke what an artist feels and experiences. It became the basis for the potent sensibility in her paintings and she used it to great effect. Many of her works possess atmospheres with a bit of smolder, a trance-like sense of seduction for the eye with their starched figures and defused colors conferring on them an incongruous mix of both clarity and mystery; perhaps, one wonders, whether this combination of psychological aspects might have been precisely the ones in her subjects she sought to portray. Some have the feeling of monumentality, as though the personages sit for regal or deific immortalizing.

Fisher chose to paint subjects mainly singularly, or at most two, in her portraits. Her works, in this regard, were more about capturing the intensity of solitary individuals rather than ever portraying a social milieu. One has the feeling that Fisher was more concerned with relating the individual persona rather than, say, an urban persona. Her portraits are imprints of the importance of her subject’s individual existence at a point in history. As Will Barnet observed about his own portraits of a similar character to those of Fisher’s, “they became a way of preserving culture, of stopping time, of making the moment timeless.”

Fisher creates enduringly gorgeous pictorial innovations from a truly remarkable sense for the gravity of spirit and aesthetic power of seriousness of pose and context. She produced sophisticated portraits that rise far above the ordinary and justify sustained looking. They possess a timeless quality that resides in their profound contemplative sensibility. Beyond individual biography, the paintings in Ethel Fisher: Portraits of the Sublime possess a remarkable autonomy that makes their appeal transcend the particulars of their subjects to the universal and truly fascinating human psychological elements pervasive in these works.

— Kenneth R. Marvel

EthEl FishEr

Each painting is a new adventure, an experience into the unknown and a grinding for a new and personal order.

I cannot pre-determine the exact outcome of the finished painting. The look of the painting changes the demands of the painting, and the painting is right when all formal relationships are under control.

Because things have an inherent character, form, color, and images evoke corresponding feelings and ideas in us. Conversely, our ideas and feelings must have appropriate experiences to express them.

I believe that painting is primarily color (just as the primary factor in music is sound.) Color is charged with a psychological evocative power which associates with one’s own experiences with nature.

To me, form and feeling, images and feeling are all one, and the rational process makes them complete. The sensations should penetrate the thoughts, so that the two constitute a single state.

I try to reduce the natural to the abstract by intensification, and the synthesis of form and color in keeping with the conscious control of my painting, though abstract is usually about something. It is about my reactions to the world around me, what I express of it and how I express it makes the painting, and if I happen to like how the Byzantine artists to the Persian artists handled space and color, then that goes into it too.

I believe that painting is not a recording of nature, but an extension of nature through the vision, expressiveness, and intention of the artist.

Ethel

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Fisher, 1960 solo exhibition at Angeleski Gallery, New York

Photo of: Ethel Fisher

Alice Baber and Paul Jenkins, 1967

Oil on canvas

Henry Pearson, 1968-1969 Oil on canvas 33 x 36 in.

Double Portrait, Yellow Space (Ethel & Seymour), 1969

Oil on linen

50 x 45 in.

Two Figures in an Interior, 1965 Oil on linen 60 x 45 in.

Oil on canvas

68 x 53.5 in.

Model in Red Robe, 1979

Janice (Rebecca Gabriel) Seated in a Garden, 1988 Oil on canvas 57 x 63 in.

Paul Thek, Head and Torso with Hand, 1971

Oil on linen 30 x 25 in.

Portrait of Paul Thek, New York, 1967

Two Figures Dream Space 1970

Oil on canvas

16.25 x 16 in.

Double Portrait Paul Thek, 1967 Oil on linen 36 x 33 in.

Self Portrait with Black Beret, 1992 Oil on canvas

Self Portrait Standing in Front of Sea and Mountains, 1986 Oil on canvas 30.25 x

Self-Portrait in Green Robe, 1982

Oil on canvas 30 x 25 in.

Self Portrait in

Seated Figure in Interior - Los Angeles, 1970

on canvas

Ben (Rosen) Eating, 1998

Oil on canvas

Female (Nude), 1968 Oil on panel 12 x 10 in.

Rosalinda, 1981

Oil on linen

18 x 16 in.

Photo of: Ethel Fisher

Crolie, 1980-1981

Oil on canvas

20 x 16 in.

Janet at Lunch in Museum of Modern Art, 1997 Oil on canvas

Michael Wingo Standing Reading #2, 1988

Oil on canvas

Michael Seated, 1984 Oil on canvas 20 x 16 in.

Linda the Collector, 1984 Oil on canvas

Pat Getz, 1983

Oil on canvas

10 x 8 in.

Interior (Fireplace), 1947

Gouache on paper 16.5 x 13 in.

Interior Fireplace and Piano (Will Barnet's Class), 1945 Oil on linen 32 x 26 in.

b. 1923 Galveston, Texas

d. 2017 Los Angeles, CA

Education

University of Houston

The University of Texas, Austin, with Everett Spruce, Howard Cook, and William McVey

Washington University, St. Louis, with Fred Conway

The Art Students League of New York, with Morris Kantor, Robert Beverly Hale, and Will Barnet

Selected Solo Exhibitions

1986 Michael Ivey Gallery, Los Angeles, CA

1975 Ethel Fisher: Recent Paintings, Mitzi Landau Gallery, Los Angeles, CA

1960 Angeleski Gallery, New York, NY

1958 Norton Gallery, West Palm Beach, FL

1958 The Gallery, Miami, FL

1957 Instituto Nacional de Cultura, Palacio de Bellas Artes, Havana, Cuba

1956 Miami Beach Art Center, Miami Beach, FL

1956 Normany Isle Branch of Washington Federal Bank, Miami Beach, FL

1956 Sunset Art Theater, South Miami, FL

1954 Mirell Gallery, Coconut Grove, FL

1954 Joe and Emily Lowe Gallery, University of Miami, Coral Gables, FL

Selected Group Exhibitions

2023 First Look: New to the Museum, Oklahoma Museum of Art, Oklahoma City, OK

2022 Personas: Artists on Artists, The Jewish Museum, New York City, NY

2003 Face to Face: Portraits, Herman & Marjorie Platt Gallery, University of Judaism, Los Angeles, CA

2000 Revealing and Concealing, Portraits, Skirball Cultural Center and Museum, Los Angeles, CA

1999 Art Trends 1940s - 1960s, Kendall Campus Art Gallery, Miami, FL

1998 Venice Art Walk, Exhibit, Venice, CA

1997 Group Show, Paintings, Hooks Epstein Gallery, Houston, TX

1986 Contemporary Artists Presently Working in California, Michael Ivey Gallery, Los Angeles, CA

1985 AG Nature, Visuals for Performance Art by MAFISHCO, Dance Theater Workshop, New York, NY

1983 Facings, Downey Museum, Downey, CA

1979 Portraits/1979, Municipal Art Gallery, Los Angeles, CA

1978 Déjá vu, Masterpieces Updated, Downey Museum, Downey, CA

1977 Shades of Grey, Drawing Survey, Loyola Marymount University, Los Angeles, CA

1977 Cityscapes, San Francisco Museum Association, San Francisco, CA

1977 California Figurative Painters, Tortue Gallery, Los Angeles, CA

1976 West Side Story, Tortue Gallery, Los Angeles, CA

1976 Video Interviews, Ron Feldman Gallery, New York, NY

1976 Hansen Fuller Gallery, San Francisco, CA

1976 Broxton Gallery, Los Angeles, CA

1975 Current Concerns II, Los Angeles Institute of Contemporary Art, Los Angeles, CA

1974 Painting, Color, Form and Surface, Lang Gallery, Scripps College, Claremont, CA

1973 Women Choose Women, New York Cultural Center, New York, NY

1972 Small Images Exhibit, California State University, Los Angeles, Los Angeles, CA

1971 Figurative Show, Los Angeles County Museum, Los Angeles, CA

1971 American Portraits – Old and New – Long Beach Museum of Art, Long Beach Museum of Art, Long Beach, CA

1970 Second Annual Art Exhibition, Santa Barbara Art Museum, Santa Barbara, CA

1968 The 164th Annual Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia, PA

1968 Fourth Annual Juried Exhibition of Painting and Sculpture, Westchester Art Society, Westchester, NY

1968 Margo Leavin Gallery, Los Angeles, CA

1968 Waddell Gallery, New York, NY

1967 The Silvermine Annual New England Exhibit, Silvermine Arts Center, New Cannan, CT

1967 The Contained Object, Los Angeles County Museum, Los Angeles, CA

1967

Eugenia Butler Gallery, Los Angeles, CA

1967 Artists by Artists, Capricorn Gallery, New York, NY

1965 Tavoletta (Table Size Paintings) Show, Castagno Gallery, New York, NY

1965 A.M. Sachs Gallery, New York City, NY

1962

Recent Acquisitions, Lowe Art Gallery, Miami Beach, FL

1962 Miami Artists, Design Center, Miami, FL

1961 Paintings and Collages by Ethel Fisher, Edward Dean Gallery, San Francisco, CA

1961 Cubism Now and Expressionism in the West, Ford Foundation and Stanford University, San Francisco, CA

1961 Artists from Miami, Fine Arts Museum, Springfield, MA

1960 The Boston Arts Festival, Boston, MA

1960

The Artist Interprets the Figure, Natalie Baskin Gallery, Coconut Grove, FL

1960 Survey Show, The Museum of Modern Art (art rental), New York, NY

1960 Riverside Museum, New York, NY

1960 Miami Artists Assocation, Gallery Restaurant, Coral Gables, FL

1960 Hortt Memorial Exhibition, Fort Lauderdale Art Center, Fort Lauderdale, FL

1960 The Playhouse Gallery, Coconut Grove, FL

1960 Contemporary Arts Gallery, Pinellas Park, FL

1960 The Artist Interprets the Figure, Natalie Baskin Gallery, Coconut Grove, FL

1960 Staempfli Gallery, New York, NY

1960 The Gallery, Miami, FL

1959 Tenth Annual Exhibition of the Florida Artist Group, Inc. : 1959-1960, Playhouse Gallery, Coconut Grove, FL

1959 Religious Paintings by Miami Artists, Rudolph Galleries, Coral Gables, FL

1959 21st Annual Exhibition of Contemporary American Painting, Society of the Four Arts, Palm Beach, FL

1958 20th Annual Exhibition of Contemporary American Painting, Society of the Four Arts, Palm Beach, FL

1958 Three Younger Miami Painters, Norton Gallery, West Palm Beach, FL

1958

Friday Night Sketch Group [Member's Exhibition], Lowe Gallery, Coconut Grove, FL

1958 Six Miami Painters, The Little Gallery, Lewis State Bank, Tallahassee, FL

1958 Nine from Miami, Riverside Museum, New York, NY

1958 Art USA, 1958, Madison Square Garden, New York City, NY

1958 Studio Craft Shop, Coconut Grove, FL

1958 20th Annual Exhibition of Contemporary American Painting, Society of the Four Arts, Palm Beach, FL

1958 Gallery Restaurant, Coral Gables, FL

1957 Three Younger Miami Painters, High Museum of Art, Atlanta, GA

1957 Four Arts Society, Society of the Four Arts, Palm Beach, FL

1957 7th National [Sarasota Art Association exhibition], The Ringling Museum, Sarasota, FL

1957 Recorder Workshop, Coconut Grove, FL

1956 Miami Artists Association, Studio Craft Shop, Miami, FL

1956

The Lyceum, Esposición Colectiva de pintura Norteamericana, The Lyceum, Habana, Cuba

1956 Miami Artists Association, Washington Art Galleries, Miami Beach, FL

1956 Miami Artists Assocation, Lowe Gallery, Coconut Grove, FL

1956 Corcoran Gallery, Washington, D.C.

1955 Prints by Local Artists, Mirell Gallery, Coconut Grove, FL

1955 Miami Artists Association, Sarasota Art Association Gallery; Norton Gallery, West Palm Beach, FL

1955 Four Arts Society, Society of the Four Arts, Palm Beach, FL

1955 Florida Artist Group Exhibition, Norton Gallery, West Palm Beach, FL

1955 Mirell Gallery, Coconut Grove, FL

1954 Annual Award Winners, Joe and Emily Lowe Gallery, University of Miami, Coconut Grove, FL

1954 Eve Tucker Galleries, Miami Beach, FL

1954 Mirell Gallery, Coconut Grove, FL

1953 Joe and Emily Lowe Gallery, University of Miami, Coconut Grove, FL

1945 The Philadelphia Print Club, The Philadelphia Print Club, Philadelphia, PA

1945 Artists under 25, Jacques Seligmann Gallery, New York and Bennington College, VT

Awards

1965 The Tiffany Award for Painting, Louis Comfort Tiffany Foundation, NY

1963 The Kulicke Award, Westchester Art Association, White Plains, NY

1960 The Four Arts Award, Society of the Four Arts, Palm Beach, FL

1959 The Four Arts Award, Society of the Four Arts, Palm Beach, FL

1957 Harry Rich Exposition, painting award, Miami

1953 Lowe Gallery, first prize in painting, Miami

Museum Collections

Archives of American Art, Smithsonian Institution, Washington, D.C.

Avery Architectural and Fine Arts Library, Columbia University, New York, NY

Crocker Museum, Sacramento, CA

Dallas Museum of Art, Dallas, TX

Fairfield University Art Museum, Fairfield, CT

Jewish Museum, New York, NY

Kalamazoo Institute of Arts, Kalamazoo, MI

Los Angeles County Museum of Art, Los Angeles, CA

Martha Alf Foundation, Los Angeles, CA

Metropolitan Museum of Art, New York, NY

Morgan Library and Museum, New York, NY

Museum of the City of New York, New York, NY

Norton Museum of Art, West Palm Beach, FL

Oklahoma City Museum of Art, Oklahoma City, OK

UCLA Special Collections Library, Los Angeles CA

Publications

Kienholz, Lyn. L.A. Rising: SoCAL Artists Before 1980. California/International Arts Foundation, Los Angeles. 2010. Garbee, Jenn, and Colleen Dunn Bates. Hometown Santa Monica, The Bay Cities Book. Prospect Park Books, Los Angeles. 2007. cover (illustrated), pp. 108.

Who's Who in American Art: 18th Edition. American Federation of Art, Washington, D.C. 1989. p. 334.

Who's Who in American Art: 17th Edition. American Federation of Art, Washington, D.C. 1986. p. 318.

Who's Who in American Art: 16th Edition. American Federation of Art, Washington, D.C. 1984. p. 290.

Mugniani, J. Hidden Elements of Drawing. Van Nostrand Reinhold Co., New York. 1974. Expressive Drawings.

Eleventh Annual Exhibition of the Florida Artist Group, Inc. : 1960-1961. Florida Artist Group, Inc., West Palm Beach, FL. 1960.

Tenth Annual Exhibition of the Florida Artist Group, Inc. : 1959-1960. Florida Artist Group, Inc., West Palm Beach, FL. 1959. cover (illustrated), pp. 6.

Ninth Annual Exhibition of the Florida Artist Group, Inc. : 1958-1959. Florida Artist Group, Inc., West Palm Beach, FL. 1958. pp. 7 (illustrated).

Eighth Annual Exhibition of the Florida Artist Group, Inc. : 1957-1958. Florida Artist Group, Inc., West Palm Beach, FL. 1957.

7th National [Art Exhibition]. Sarasota Art Association, Sarasota, FL. 1957. p. 5.

Seventh Annual Exhibition of the Florida Artist Group, Inc. : 1956-1957. Florida Artist Group, Inc., West Palm Beach, FL. 1956. pp. 10 (illustrated).

Sixth Annual Exhibition of the Florida Artist Group, Inc. : 1955-1956. Florida Artist Group, Inc., West Palm Beach, FL. 1955.

Press

“Connecticut Art Exhibits.” Hartfourd Courant, April 23, 2023, p. 5 (illustrated). Douglas, Sarah, “Like that Painting? Swipe Right!” ArtNews, October/November 2021, illustrated.

Smith, Nancy, “At Home with Ethel Fisher.” Palisadian Post, August 17, 2006.

Pagel, David, “Art Review; Who, What . . . and Why?” The Los Angeles Times, September 28, 2000, p. 208.

“Founders' Keepers: Historic Homes of Pacific Palisades.” Palisadian Post, August 10, 2000, p. 13.

Pincus, Robert L., “Master Drawings Due at the Getty.” The Los Angeles Times, May 22, 1983, p. 88.

Wilson, William, “The Portrait: New Life for an Old Form.” The Los Angeles Times, April 29, 1979, p. 92.

Muchnic, Suzanne, “Portraiture by L.A.-Area Artists.” The Los Angeles Times, April 15, 1979, K87.

Loach, Roberta, “Ethel Fisher: In Conversation with Roberta Loach.” Visual Dialogue, Winter 1977-1978, Vol. 3 No. 2, p. 8-11.

“Ethel Fisher: Corbusier Chair in Front of Terrace.” Artweek, December 3, 1977.

Ianco-Starrels, Joseine, “Mother Lode of the Graphic Arts.” The Los Angeles Times, November 13, 1977, p. O103.

Ahern, Charlene, “Buildings Live on Canvas.” Palisadian Post, July 15, 1976, p. 13-14.

Ballatore, Sandy, “Current Concerns Part II.” Art Week, April 10, 1976, p. 1.

Alf, Martha, “Buildings as Icons.” Art Week, March 15, 1975.

Wilson, William, “The Light That Dimmed at LAICA.” The Los Angeles Times, March 9, 1975, p. S70.

Ianco-Starrels, Joseine, “Krasnow Exhibit at Barnsdall Park.” The Los Angeles Times, February 23, 1975, p. T68.

MacMasters, Dan, “An Old House Gets Its Chance.” The Los Angeles Times, March 3, 1974.

Wilson, William, “Portrait Show at Museum.” The Los Angeles Times, August 30, 1971, p. E8.

Good, Jeanne, “The Creators in the Sixties.” San Francisco Valley Times, January 2, 1970, p. 7.

Kreisberg, Louisa, “Area Artists Among Winners in Exhibit.” Herald Statesman, March 30, 1968, p. 4.

“High Brow.” The Miami Herald, September 21, 1965, p. 4BR.

Reno, Doris, “Key Miami Painters All in One Place.” The Miami Herald, January 27, 1963, p. 124.

Woods, Joan, “She Packs Impact Into Her Paintings.” The San Francisco Examiner, January 23, 1961, p. 26.

“Artist Showing Works in Frisco.” The Miami Herald, January 23, 1961, p.36.

“Attractive Works at the Playhouse.” The Miami Heraald, January 5, 1961, p. 6D.

“New Works on Display at Grove.” The Miami Herald, December 20, 1960, p. 5B.

“Suncoast Artists in Contest.” The Tampa Times, December 13, 1960, p. 18.

King, Leone, “Art Show Has Wide Range: 17 Works on View at Four Arts.” The Palm Beach Post, December 3, 1960, p. 12.

“At Baskin.” The Miami Herald, October 30, 1960, p. 6F.

“New Shows at Three Art Galleries.” The Miami Herald, October 16, 1960, p. 6F.

La Reau, Maurice, “On Gallery Walls.” Fort Lauderdale News, September 25, 1960, p. 72.

“Art Group Opens Annual Show Today.” The Miami Herald, August 7, 1960, p. 12B.

“Local Show Opens.” The Miami News, July 31, 1960, p. 6D.

“Bankers Find That Art Sort of Grows on Them.” The Miami Herald, July 24, 1960, p. 4.

Taylor, Nancy, “Tired of Clouds? Try the Galleries.” The Miami News, July 12, 1960, p. 7B.

“Beach Sculptor's 'Moses' First in Hortt Exhibit.” The Miami Herald, April 8, 1960, p. 64.

“Art Prize Goes to Miamian.” The Miami Herald, March 27, 1960, Section B.

Reno, Doris, “Internationally-Known Painters Show at 2 Galleries.” The Miami Herald, March 20, 1960, p. 7J.

“New Gallery Opens Friday.” The Miami Herald, March 6, 1960, p. 35F.

“Miamian Has Show in N.Y.” The Miami Herald, February 21, 1960, p. 183.

Preston, Stuart, “Galleries Show Paintings By Lee-Smith, Charcoune, Ethel Fisher, and Halpern.” The New York Times, February 20, 1960, p. 21.

“Pinnellas Fair Art Show Opens Tuesday.” St. Petersburg Times, February 20, 1960, p. 6A.

Hayes, Richard, “Review of Angeleski Gallery exhibition.” ArtNews, February 1, 1960, p. 49.

“Review of Angeleski Gallery exhibition.” Arts Digest, February 1, 1960, p. 65.

Keyes, Emilie, “Opening the '21st Annual Contemporary American Painting' Exhibition of the Society of the Four Arts'.” Palm Beach Life, January 14, 1960, p. 38.

King, Leone, “Contemporary Painting Show Opens at Four Arts Society.” The Palm Beach Post, December 5, 1959, p. 13.

“Moderns Come to Miami.” The Miami News, June 14, 1959, p. 7B.

“4 Artists Showing in Spring Festival.” The Miami News, April 19, 1959, p. 7B.

La Reau, Maurice, “Group of Five Moderns.” Fort Lauderdale News, February 1, 1959, p. 66.

“Miami Artists Display Vigor in Lively Exhibit.” The Miami Herald, December 14, 1958, p. 172.

King, Leone, “Extremes Mark Controversial Show at Four Arts Gallery.” The Palm Beach Post, December 6, 1958, p. 2.

“Work of Six at Gallery.” The Miami News, November 30, 1958, p. 7B.

Bower, Nellie, “Showcase Important When Displaying Art.” The Miami News, August 10, 1958, p. 8B.

“Ethel Fisher Art on View.” The Miami Herald, August 3, 1958, p. 151.

Reno, Doris, “Our Town's New Shows.” The Miami Herald, August 1, 1958, Review.

“Sketchers to Display Drawings.” The Miami News, July 20, 1958, p. 8B.

Campbell, Lawrence, “Review of 'Nine from Miami.’” ArtNews, Summer 1958, Vol. 57, No. 4, p. 18.

“Miami Trio at Norton.” The Miami Herald, May 25, 1958, p. 121.

Bower, Nellie, “Art U.S.A. Picks Rudolph Galleries.” The Miami News, February 2, 1958, p. 8B.

Bello, A. Martinez, “Gran Pintura Norteamericana.” Diario de la Mañana, December 18, 1957.

“Visitò el Presidente la Sala de Arquitectura en Bellas Artes.” Diario de la Mañana, December 10, 1957. Marquina, Rafael, “Vida Cultural y Artistica.” La Informacion, December 5, 1957, Review.

Jaume, Adele, “Cultural Activity, Mastery and Sensitivity, the Paintings of Ethel Fisher.” Diario de la Mañana, December 3, 1957, Review.

“Three Exhibits Debut Sunday at Art Museum.” The Atlanta Journal, December 1, 1957, p. 20F.

“Artist Group Circuit Show Now at Tampa.” St. Petersburg Times, November 17, 1957, p. 42.

“Florida Artist Exhibit.” The Tampa Times, November 15, 1957, p. 12.

Bower, Nellie, “To Exhibit Paintings in Atlanta.” The Miami News, August 4, 1957, p. 8C.

Bower, Nellie, “Miami Artists Association Shows Members' Works at Lowe Gallery.” The Miami News, July 14, 1957, p. 4C.

“Beach Exhibits Offer Treat to Art Viewers.” The Miami Herald, December 23, 1956, p. 96.

Bower, Nellie, “Notes About Art.” The Miami News, December 16, 1956, p. 4C.

Reno, Doris, “Hirsch Professional Show Tops 1956's.” The Miami Hearld, November 11, 1956, p. 103.

Bower, Nellie, “Week in Art Sees Exhibits Shift; Lowe Opens Show by Local Clubs.” The Miami News, September 9, 1956, p. 8D.

“Let's Stay Home and Have Fun.” The Miami Herald, August 26, 1956, section G (illustrated).

Reno, Doris, “Ethel Fisher Showing 14 Paintings.” The Miami Herald, August 5, 1956, p. 99.

“Studio Craft and Mirell Top Current Art Shows.” The Miami Herald, May 13, 1956, p. 123.

Bower, Nellie, “Miami Lags: Sarasota Painters Exhibit.” The Miami News, April 29, 1956, p. 5C.

“Miamians Win Art Mention at Bradenton.” The Miami Herald, April 29, 1956, p. 120.

“Havana Show Now at Beach.” The Miami Herald, April 1, 1956, p. 114.

“Florida Art Steals Contemporary Show.” The Miami Herald, January 7, 1956, p. 120.

“Miamians Stage Surprise at Print Show.” The Miami Hearld, December 18, 1955, p. 76.

“Lowe Offers One of the Finest Shows in Drawing Exhibit by Top Artists.” The Miami Herald, November 14, 1954, p. 95.

“Artists' 'Disease' Can Hit Anyone.” The Miami News, January 24, 1954, p. 24.

“Four Art Exhibits Display Works of Many South Florida Painters.” The Miami Herald, January 24, 1954, p. 15E.

Bower, Nellie, “Pleasing Exhibit at Lowe Gallery.” Miami Daily News, December 6, 1953, p. 7F.

Reno, Doris, “Upswing in Quality Stands Out as 217 of 311 Entries Are Chosen for Exhibit.” The Miami Herald, December 6, 1953, p. 69.

“Modernists, Clients On Hand for Mirell's Fall Opening.” Miami Daily News, October 11, 1953, p. 6B.

Seckler, Dorothy, “Can painting be taught? Barnet answers.” ArtNews, November 1, 1950, p. 45 (illustrated).

Rotunda Self Portrait in Blue, 1968 Oil on linen 31.5 x 31.5 in.

Photo of: Ethel Fisher