Ary Stillman

ARY STILLMAN

Postwar, Post-New York

By Dr. Kent Minturn, Columbia University

“During the last war and in the years following, our vision of reality has undergone a vast change (. . .) the attachment to places is not so strong.”

Ary Stillman, Paris, 1952 In the February 1949 issue of Artnews, Elaine de Kooning (art critic, painter, and wife of Willem) published a review of Oils, Gouaches, Drawings, Ary Stillman’s first solo show at the Bertha Schaefer Gallery on 57th Street in New York (January 24 – February 12, 1949). [Fig. 1]. Halfway through her review she observes that Stillman’s “black and chalky lines are often superimposed in separate constructions, in the manner of [John] Marin.”1 [Fig. Fig. 1, Ary Stillman, New York No. 1, c.1946-48 2]. The com-

parison is a highly complementary one. Marin, who had exhibited at Alfred Stieglitz’s 291 Gallery and participated in the legendary Armory Fig. 2, John Marin, Lower Manhattan (Composing Derived from Top of WoolShow in 1913, was worth), 1922, Museum of Modern Art, arguably the most New York, NY important non-Regionalist American painter in the interwar period. Although he continued to be active in the postwar period he was getting far too old to carry on the title of America’s leading avant-garde painter. Many critics, including de Kooning, were beginning

to wonder who would replace him. our time.”3 Although he passed the torch as It was none other than Clement Greenhe pleased, from Marin to Pollock to Still, berg who decided that Jackson Pollock, Greenberg (a literary critic turned art critic) and not Stillman, or for that matter any was ultimately attracted to these three artists other postwar painter, would be the next for the same reason; succinctly stated, their Marin. At the end of his reworks expressed something “auview of Pollock’s third one-man thentically American,” their paintshow at The Betty Parsons ings were the visual equivalent Gallery, Greenberg focuses on of the quintessentially American the “powerful,” predominately force that haunted the writings of “black-gray” painting, Full Fathom Greenberg’s homegrown literary Five (1947) [Fig. 3], before anheroes, Hawthorne, Poe, Melville, nouncing that it is Marin “with and Whitman. whom Pollock will in time be Why didn’t Stillman become able to compete for recognithe next Marin? De Kooning’s tion as the greatest American review hints at the bipartite anpainter of the twentieth century swer to this question. Near the – no other American artist has beginning she includes a truncat2 presented such a case.” Green- Fig. 3, Jackson Pollock, Full Fathom ed biography in which she deFive, 1947, Museum of Modern Art, berg’s prognostications would scribes Stillman’s art as emerging New York, NY hold true until early 1955, that from a mixed bag of influences: is, until he began to sense that Pollock had “Russian-born painter who at one time was “lost his stuff ” and he deemed Clyfford Still a student of John Sloan and, later of André the “most original and important painter of Lhote in France where he lived for several

years . . .” And, shortly thereafter she admits that his latest works are too difficult to discern “ . . . his previous impressionistic style has become increasingly abstract in the past three years . . . [his] vaguely defined clusters of planes that sometimes suggest figures . . . sometimes still-lifes . . .” Stillman’s work, de Kooning tacitly posits, is first and foremost too international, and secondly, it is too ambiguous, stuck somewhere in between abstraction and repreFig. 4, Ary Stillman, Small Gasoline Station, Sioux City, 1929, sentation. In lieu (WRFA Exhibition Catalogue No. 1) of views of specific locations, such as those that we see in his earlier pre-war works, e.g., Small Gasoline Station, Sioux City (1929) [Fig. 4], MacDougal Street (1935), Fireworks, Coney Island, Boardwalk (1937), Coney Island Fireworks (1940), Market Scene, Mexico City (1940) [Fig. 5], and Nas-

sau Street (1942), Stillman, in 1949, presents his viewers and critics with disorienting, dislocated “constructions” made of meandering, “superimposed” black lines. His previous, immediately recognizable Fig. 5, Ary Stillman, Market Scene, Mexico City, 1940, sites have been (WRFA Exhibition Catalogue No. 5) transformed into, as one anonymous New York Times reviewer aptly put it, “non-representational linear handwriting.”4 Stillman’s work would continue in this vein well into the 1960s. [Fig. 6].

This kind of universally illegible script, which conjures up language and description without ever fully committing to it, obviously fascinated Stillman. [Fig. 7]. It was in fact quite common in both American and European postwar cultural production. Green-

berg could not stand it; it was an unwelcome third term in his Manichean either abstraction or representation universe.5 This perhaps helps to explain why, even though he knew Stillman personally, and years later would fondly recall listening to his enlightening contributions to group discussions at “The Club” (other regular participants included John Cage, Frank O’Hara, Hebert Ferber, Willem de KoonFig. 6, Ary Stillman, New York 19B, c.1961-66, ing, Franz Kline, (WRFA Exhibition Catalogue No. 36) Philip Guston, and Jack Tworkov), Greenberg never published on him or promoted is work. In his mind Greenberg likely placed Stillman in the same category as those “lesser” (Greenberg’s term) Abstract Expressionists, Mark Tobey [Fig. 8] and Morris Graves. Neither “action”

Fig. 7, Ary Stillman, Calligraphics, 1953-60, (WRFA Exhibition Catalogue No. 13)

nor “color-field” painters, their works defy facile categorization. Greenberg saw them as peripheral to Abstract Expressionism not only because he considered their works too beholden to non-American influences, namely, French Surrealism’s concept of écriture automatique, Paul Klee’s ideographic “poetry,” and/or Asiatic calligraphy, but also because they physically resided outside of New York City, in Washington State. Triumphal modern art, Greenberg explained in Sartre’s Les Temps Modernes (September 1946) is “confined geographically and demographically to 57th Street in New York and its outposts in Greenwich Village . . .”6

Whereas a great deal of scholarly attenthe move constantly) he exhibited his works tion has been devoted to chronicling the at the University of Houston. Posthumousarrival of the surrealists on America’s shores, ly, Stillman was given a full retrospective in and to understanding How New 1972 at The Museum of Fine York Stole the Idea of Modern Art Arts, Houston, including works (to borrow the title of Frenchsuch as Untitled (1966) [Fig. born Serge Guilbaut’s well9], seen in the present exhibiknown book) and why America tion at William Reaves Fine felt the need to have an avantArt. Since then his works have garde of its own after the war, entered into the permanent little attention has been given collections of other noted to those American artists, like Texas art institutions, including Stillman, who consciously the Dallas Museum of Art and chose to leave New York just Rice University Art Gallery. as it was becoming the world’s To be sure, there were praccapital of modern art. In the Fig. 8, Mark Tobey, Transit, 1948, tical reasons for Stillman’s postearly 1950s Stillman left to go Metropolitan Museum, New York, NY war departure from New York to Paris and then to Majorca, – his health was ailing, and he one of the Balearic Islands off the coast of needed to find new studio space – but we Spain. After this he went to Cuernavaca, should also think of it as an artistic decision, Mexico and stayed for the next five years. In a purposeful challenge, a salubrious change 1962 he relocated to Houston, Texas where of scenery, a willful depaysement. Even after he remained until his death in 1967. In he had settled permanently in Texas, he 1964, after a ten year hiatus (he had been on was still very much interested in the idea of

motion, circumambulation, as is evinced in his late Moving Figures #2 (1963-1964) [Fig. 10].

Fig. 9, Ary Stillman, Untitled, 1966, Although (WRFA Exhibition Catalogue No. 49) his failing health moored him to some extent, his mind and spirit remained peripatetic. He continued to visit Mexico for short periods of time. Two works included in the present exhibition include a hyphenated “HoustonCuernavaca” in their titles Yellow and Gray (Houston-Cuernavaca) (1962) and Unnamed Painting #1 (Houston-Cuernavaca) (c. 1962) [Figs. 11 and 12]. We are tempted to conclude that there is something inherently in transit about them, which is expressed not only in their two-part titles, but also through Stillman’s rapidly applied brushstrokes, im-

provisational facture, and decision to work on a smaller scale – approximately 15x20 inches (38x51 cm) – which makes for easy portability.

Other artists associated with Abstract Expression and the New York School also decided, for a variety of reasons, to leave the city. In addition to Stillman there was, to name a few, Paul Jenkins, Cy Twombly, Beauford Delaney, and Ellsworth Kelly. These artists also left on their own accord, they were not simply pawns in America’s “cultural cold war.” While scholars have deftly traced the ramifications that the exhibition of their paintings Fig. 10, Ary Stillman, Moving Figures #2, 1963-64, abroad (WRFA Exhibition Catalogue No. 43) had on the

course of international postwar art, they rarely investigate the lasting effects these self-imposed exiles had on the individual artists themselves. In “leaving New York”7 these artists invariably ended up learning something about themselves, their work, and their own sense of place in the world. This is a chapter Fig. 11, Ary Stillman, Yellow and Gray (Houston - Cuernavaca), 1962, in the story (WRFA Exhibition Catalogue No. 39) of postwar American art that is as yet unwritten.

These artists point the way to a new and broader understanding of Abstract Expressionism as something inherently “elsewhere,” to borrow an apposite phrase recently utilized by David Anfam,8 of Abstract Expressionism as a movement made up of comings and goings, void of a geographically locat-

able “vital center,” a post-New York, postnational Abstract Expressionism minus the “American” prefix that is still attached to it.

Stillman’s paintings present us with a “place” to a start, precisely at Abstract Expressionism’s shifting margins. They can also help us understand that today’s global contemporary art “community” emerged, paradoxically, out of a history of individual existences, dislocated identities, and dispossessed dreams.

Fig. 12, Ary Stillman, Unnamed Painting #1 (Houston - Cuernavaca), c.1962, (WRFA Exhibition Catalogue No. 38)

1 Elaine de Kooning, “Ary Stillman,” Artnews 47 (February 1949): 45.

2 Clement Greenberg, “Review of Exhibitions of Worden Day, Carl Holty, and Jackson Pollock,” January 24, 1948, The Nation, reprinted in Clement Greenberg: The Collected Essays and Criticism, vol. II (Chicago: University of Chicago Press, 1986): 200-203. Also see, Helen Harrison, “Beyond the Border are Possibilities,” Ary Stillman: From Impressionism to Abstract Expressionism (London/New York: Merrell Publishers Ltd., 2008): 124-135; and, for more on Greenberg and Marin, Debra Bricker Balken, John Marin: Modernism at Midcentury (London and New Haven: Yale University Press, 2011), especially pp. 22-24.

3 Clement Greenberg, “American-Type Painting,” reprinted in Clement Greenberg: The Collected Essays and Criticism, vol. III (Chicago: University of Chicago Press, 1986): 230.

4 Anonymous, New York Times (January 28, 1949).

5 For more on this see my essay entitled, “Greenberg Misreading Dubuffet,” in Joan Marter, ed., Abstract Expressionism: The International Context (New Brunswick, NJ: Rutgers University Press, 2007): 125-137.

6 Clement Greenberg, “L’Art américain au XXe siècle,” Les Temps Modernes 11-12 (August-September 1946), translated and reprinted in Serge Guilbaut, ed., Be-Bomb: The Transatlantic War of Images And All That Jazz, 1946-1956 (Barcelona: Museu d’Art Contemporani de Barcelona, 2007): 264.

7 Leaving New York: Writers Look Back (ed. Kathleen Norris, Saint Paul, MN: Hungry Mind Press, 1995), is the title of an extremely interesting anthology of texts produced by American writers who chose to leave New York. At the Abstract Expressionism Scholars Colloquium, sponsored by the Stillman-Lack Foundation, New York, NY, July 23, 2010, it was Jonathan Katz, I believe, who first broached the idea of a future group exhibition of paintings along similar lines. The colloquium’s participants included the present author, David Anfam, Samantha Baskind, David Craven, Mona Hadler, Jonathan Katz, Robert Slifkin, and James Wechsler.

8 David Anfam, Abstract Expressionism: A World Elsewhere (New York: Hauch of Venison, 2008).

Ary Stillman Selected Biography

Selected Biographical and Career Highlights • 1891, Born in Hresk, Belarus, Russia • 1905, Academy of Fine Arts, Vilnius, Lithuania • 1907, Immigrates to the U.S. and settles in Sioux City, Iowa • 1912, Art Institute of Chicago, Chicago, Illinois • 1919-20, National Academy of Design, New York • 1919-20, Art Students League, New York • Académie Montparnasse, Paris, France • 1962, Settles permanently in Houston, Texas Ary Stillman, photograph courtesy • 1967, Dies in Houston, Texas of Stillman-Lack Foundation.

• Selected Publications:

Ary Stillman 1891 – 1967, A Retrospective Exhibition, The Museum of Fine

Arts, Houston, Texas, February 23 – March 26, 1972, foreword by

Philippe de Montebello, text by Richard Teller Hirsch, published with the

exhibition in 1972.

A Life on Canvas, The Ary Stillman Green Room, Moores School of Music,

University of Houston, Foreword by Frances Fribourg Stillman,

published in 1997.

Ary Stillman, From Impressionism to Abstract Expressionism, Edited by

James Wechsler, Foreword by Donald Kuspit, published in 2008 by

Merrell Publishers Limited.

Selected Exhibitions • 1928, First one-man exhibition, Galerie Bernheim-Jeune, Paris, France • 1934, One-man show, Midtown Galleries, New York • 1934, Member of Federal Art Project, exhibiting in group shows • 1945, American Federation of Modern Painters and Sculptors, Wildenstein Gallery,

New York • 1946, One-man show, Macbeth Gallery, New York • 1949, 1950, 1951, 1952, 1954, One-man show, Bertha Schaefer Gallery, New York; also

participated in gallery’s group shows through subsequent years • 1951, Sculpture, Watercolors, Drawings, Whitney Museum of American Art,

New York • 1964, Informal exhibition of abstract works at the University of Houston, Texas • 1972, Ary Stillman 1891-1967, A Retrospective Exhibition, The Museum of Fine Arts,

Houston, Texas • 2006, Encore, Five Abstract Expressionists, The Mishkin Gallery, Baruch College,

New York • 2007, Ary Stillman, The Sayville Drawings, 1950, Pollock-Krasner House, East

Hampton, New York • 2008, Alchemy of Light, The Art of Ary Stillman, Singer Gallery, Denver, Colorado Selected Collections • Albright-Knox Art Gallery, Buffalo, New York • Butler Institute of American Art, Youngstown, Ohio • Dallas Museum of Art, Dallas, Texas • The Museum of Fine Arts, Houston, Texas • Rice University Art Gallery, Houston, Texas • Columbia University, New York

Ary Stillman

September 30 - October 29, 2011 Exhibition Checklist Title 1. Small Gasoline Station,

Sioux City 2. Nude

3. Girl With Fishbowl

4. Fish and Flower Market,

Mexico City 5. Market Scene, Mexico City 6. Still Life

7. Structural

8. Black and White, Horizontal 9. Rememberance

10. Vista Mystique

11. Interplay

12. Interplay #1

13. Calligraphics

14. Movement in Space

15. Indian Design

16. Oriental Poem

17. Textural Variation

Date 1929

Medium oil/canvas

Size (inches) 18x22

1930 1931 1940

oil/canvas oil/canvas oil/canvas

26x22 26x21 13x18

1940 1944 c. 1950 1950-60 1951 1951-61 c. 1953 1953 1953-61 1954 c. 1958 c. 1958 c. 1958-60

oil/canvas

oil/canvas

oil/canvas

acrylic/canvas acrylic/oil/canvas acrylic/oil/canvas oil/canvas

acrylic/oil/canvas acrylic/oil/canvas oil/canvas

acrylic/canvas acrylic/canvas acrylic/canvas

24x20 20x27 30x24 18x24 24x20 30x40 44x36 30x44 18x36 44x36 18x10 1/2 23 1/2x17 1/2 17 3/4x23 5/8

Title 18. Corner of the Atelier

19. Kaleidoscopic

20. Mosaic in the Temple #2 21. Decoration from a Temple 22. Decoration from the Palace,

“Man and Woman�

23. Persian Design

24. Sacrifice

25. Spirits

26. From the Book of

Wisdom No. 2 27. In Persian Spirit

28. Arabesque No. 1

29. Arabesque No. 2

30. Archaic Design

31. Decoration from the Palace 32. Dream

33. Fantasy (2 Panels)

34. In the Beginning No. 4 35. In the Beginning No. 5 36. New York 19B

37. Strange Flight

Date 1958-60 1958-60 1958-60 c.1961-63 c.1961-63

Medium acrylic/canvas acrylic/canvas acrylic/canvas gouache/paper gouache/paper

Size (inches) 23x17 22x18 23 1/2x17 1/2 19x14 19x14

c.1961-63 c.1961-63 c.1961-63 1961-63

gouache/paper gouache/paper gouache/paper gouache/paper

18 3/4x13 3/4 18 3/4x14 19x14 19x14

1961-63 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66 c. 1961-66

acrylic/canvas gouache/paper gouache/paper gouache/paper gouache/paper gouache/paper gouache/paper gouache/paper gouache/paper gouache/paper gouache/paper

13 1/2x18 1/2 17 1/2x13 17x12 20x13 18 3/4x13 1/4 19x13 19x14 9x14 9 1/4x13 1/4 19 3/4x15 12 3/4 x 17 1/2

Title 38. Unnamed Painting #1

(Houston - Cuernavaca) 39. Yellow and Gray

(Houston - Cuernavaca) 40. Primitive Festival

41. Fantasy (Black Magic No. 2) 42. Man and Woman

(Leyenda #84) 43. Moving Figures #2

44. Unnamed Figures, Light Brown

Background (Leyenda #102) 45. Composition in Black and Red

(Leyenda #79) 46. Design in Brilliant Colors 47. Unnamed (Leyenda 82) 48. Unnamed

49. Untitled

Date c. 1962

Medium acrylic/canvas

Size (inches) 21x16

1962

acrylic/canvas

16x20

1962-65 c. 1963 1963

acrylic/canvas acrylic/canvas acrylic/canvas

24x32 10x21 14x20

1963-64 c.1963-65

acrylic/canvas acrylic/canvas

16x21 15 3/4x20 1/2

1963-65

acrylic/canvas

16x20

1963-65 1963-65 c. 1964-66 1966

acrylic/canvas acrylic/canvas acrylic/oil/canvas acrylic/oil/canvas

16x20 16x20 38x30 36x44

1. Small Gasoline Station, Sioux City, 1929 oil on canvas 18 x 22 in.

2. Nude, 1930 oil on canvas 26 x 22 in.

3. Girl with Fishbowl, 1931 oil on canvas 26 x 21 in.

4. Fish and Flower Market, Mexico City, 1940 oil on canvas 13 x 18 in.

5. Market Scene, Mexico City, 1940 oil on canvas 24 x 20 in.

6. Still Life, 1944 oil on canvas 20 x 27 in.

7. Structural, c. 1950 oil on canvas 30 x 24 in.

8. Black and White, Horizontal, 1950-60 acrylic on canvas 18 x 24 in.

9. Rememberance, 1951 acrylic and oil on canvas 24 x 20 in.

10. Vista Mystique, 1951-61 acrylic and oil on canvas 30 x 40 in.

11. Interplay, c. 1953 oil on canvas 44 x 36 in.

12. Interplay #1, 1953 acrylic and oil on canvas 30 x 44 in.

13. Calligraphics, 1953-61 acrylic and oil on canvas 18 x 36 in.

14. Movement in Space, 1954 oil on canvas 44 x 36 in.

15. Indian Design, c. 1958 acrylic on canvas 18 x 10 1/2 in.

16. Oriental Poem, c. 1958 acrylic on canvas 23 1/2 x 17 1/2 in.

17. Textural Variations, c. 1958-60 acrylic on canvas 17 3/4 x 23 5/8 in.

18. Corner of the Atelier, 1958-60 acrylic on canvas 23 x 17 in.

19. Kaleidoscopic, 1958-60 acrylic on canvas 22 x 18 in.

20. Mosaic in the Temple #2, 1958-60 acrylic on canvas 23 1/2 x 17 1/2 in.

21. Decoration from a Temple, c.1961-63 gouache on paper 19 x 14 in.

22. Decoration from the Palace, “Man and Woman,� c.1961-63 gouache on paper 19 x 14 in.

23. Persian Design, c.1961-63 gouache on paper 18 3/4 x 13 3/4 in.

24. Sacrifice, c.1961-63 gouache on paper 18 3/4 x 13 3/4 in.

25. Spirits, c.1961-63 gouache on paper 19 x 14 in.

26. From the Book of Wisdom No. 2, 1961-63 gouache on paper 18 3/4 x 14 in.

27. In Persian Spirit, c.1961-63 gouache on paper 13 1/2 x 18 1/2 in.

28. Arabesque No.1, c.1961-66 gouache on paper 17 1/2 x 13 in.

29. Arabesque No.2, c.1961-66 gouache on paper 17 x 12 in.

30. Archaic Design, c.1961-66 gouache on paper 20 x 13 in.

31. Decoration from the Palace, c.1961-66 gouache on paper 18 3/4 x 13 1/4 in.

32. Dream, c.1961-66 gouache on paper 19 x 13 in.

33. Fantasy (2 Panels), c.1961-66 gouache on paper 19 x 14 in.

34. In the Beginning No. 4, c.1961-66 gouache on paper 9 x 14 in.

35. In the Beginning No. 5, c.1961-66 gouache on paper 9 1/4 x 13 1/4 in.

36. New York 19B, c.1961-66 gouache on paper 19 3/4 x 15 in.

37. Strange Flight, c.1961-66 gouache on paper 12 3/4 x 17 1/2 in.

38. Unnamed Painting #1 (Houston - Cuernavaca), c.1962 acrylic on canvas 21 x 16 in.

39. Yellow and Gray (Houston - Cuernavaca), 1962 acrylic on canvas 16 x 20 in.

40. Primitive Festival, 1962-65 acrylic on canvas 24 x 32 in.

41. Fantasy (Black Magic No. 2), c.1963 acrylic on canvas 10 x 21 in.

42. Man and Woman (Leyenda #84), 1963 acrylic on canvas 14 x 20 in.

43. Moving Figures #2, 1963-64 acrylic on canvas 16 x 21 in.

44. Unnamed Figures, Light Brown Background (Leyenda #102), c.1963-65 acrylic on canvas 15 3/4 x 20 1/2 in.

45. Composition in Black and Red (Leyenda #79), 1963-65 acrylic on canvas 16 x 20 in.

46. Design in Brilliant Colors, 1963-65 acrylic on canvas 16 x 20 in.

47. Unnamed (Leyenda #82), 1963-65 acrylic on canvas 16 x 20 in.

48. Unnamed, c. 1964-66 acrylic and oil on canvas 38 x 30 in.

49. Untitled, 1966 acrylic and oil on canvas 36 x 44 in.

Babylon Series

Babylon Series Exhibition Checklist Title 50. Babylon #1 (I)

51. Babylon #4

52. Babylon #10

53. Babylon #11

54. Babylon #14

55. Babylon #16

56. Babylon #19

57. Babylon #20

58. Babylon #26

59. Babylon #30

60. Babylon #32

61. Babylon #33

62. Babylon #36

63. Babylon #44

64. Babylon #48

Date 1956 1956 1956 1956 1956 1956 1956 1956 1956 1956 1956 1956 1956 1956 1956

Medium charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper charcoal/pastel/paper

Size (inches) 13 3/4x10 13 3/4x10 13 3/4x10 13 3/4x10 13 3/4x10 1/4 13 3/4x10 1/2 14 1/4x10 3/4 13 3/4x10 13 3/4x10 14 1/2x10 1/2 13 3/4x10 13 3/4x10 13 3/4x10 13 3/4x10 14 3/4x10 5/8

50. Babylon #1 (I), 1956 charcoal and pastel on paper 13 3/4 x 10 in.

51. Babylon #4, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

52. Babylon #10, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

53. Babylon #11, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

54. Babylon #14, 1956 charcoal and pastel on paper 13 3/4 x 10 1/4 in.

55. Babylon #16, 1956 charcoal and pastel on paper 13 3/4 x 10 1/2 in.

56. Babylon #19, 1956 charcoal and pastel on paper 14 1/4 x 10 3/4 in.

57. Babylon #20, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

58. Babylon #26, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

59. Babylon #30, 1956 charcoal and pastel on paper 14 1/2 x 10 1/2 in.

60. Babylon #32, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

61. Babylon #33, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

62. Babylon #36, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

63. Babylon #44, 1956 charcoal and pastel on paper 13 3/4 x 10 in.

64. Babylon #48, 1956 charcoal and pastel on paper 14 3/4 x 10 5/8 in.