Art in New York
Abstract Expressionism
Arshile Gorky, The Liver Is the Cock’s Comb, 1944, Oil on canvas, 6‘ X 8‘ 2“.
Jackson Pollock, She-Wolf, 1943.
Jackson Pollock, Guardians of the Secret, 1943, Oil on canvas, 48 ¾” X 75".
Jackson Pollock, Shimmering Substance, 1945, Oil on canvas, 30 ⅛” X 24 ¼”.
David Alfaro Siqueiros, Self-Portrait, 1945, Pyroxylin on masonite.
Thomas Hart Benton, A Social History of Missouri, 1935-37, tempera on
canvas, Missouri State Capitol, Jefferson City.
Thomas Hart Benton, A Social
History of Missouri.
Thomas Hart Benton, A Social History of Missouri.
Thomas Hart Benton, A Social History of Missouri.
Jackson Pollock, One (Number 31), 1950.
Jackson Pollock, Autumn Rhythm (No. 30, 1950) 1950, Oil on canvas,
8' 9" X 17' 3", Metropolitan Museum of Art.
Jackson Pollock, Lavender Mist (No. 1, 1950), 1950, oil,
enamel paint, etc. on canvas, 7' 3" X 9' 11".
Jackson Pollock at Work in his studio at East Hampton, Long Island
(Photograph by Hans Namuth), 1950.
Jackson Pollock at Work (by Namuth) 1950.
Jackson Pollock at Work (by Namuth) 1950.
Jackson Pollock at Work (by Namuth) 1950.
Jackson Pollock at Work (Lee Krasner in the back), 1950.
Vogue Magazine, 1951
Jackson Pollock, Easter and the Totem, 1953, Oil on canvas.
Willem de Kooning,
Woman I, 1951-52, Oil on
canvas, 75 ⅞” X 58".
Willem de Kooning, Woman, 1950s.
Mark Rothko, Four Darks on Red, 1958.
Mark Rothko, Red on Red, 1950s.
Mark Rothko, Orange and
Tan, 1954, Oil on canvas,
6' 9" X 5' 3".
Mark Rothko, Rust on Blue /
No. 61, 1953, Oil on canvas,
9' 6” X 7' 7".
Mark Rothko, Houston Chapel, 1971.
Barnett Newman, Vir Heroicus Sublimis, 1950-51, Oil on
canvas, 7' 11 3/8" x 17' 9 ¼”, MoMA, NY.
Barnett Newman, Onement I, 1948.
Barnett Newman.
Franz Kline, Mahoning, 1956, Oil on canvas, 6' 8" X 8' 4".
Franz Kline, Meryon, 1961.
Robert Motherwell, Elegy to the Spanish Republic, 1953.
Morris Louis, Veil, Synthetic Polymer on canvas, 1958-59.
Helen Frankenthaler, Mountains and Sea, 1952, Oil on canvas, collection of the
artist Mark di Suvero, Hankchampion, 1960, 73" X 12' 6" X 8' 9".
Mark di Suvero, Hankchampion, 1960, 73" X 12‘ 6" X 8‘ 9“.
Isamu Noguchi, Kouros, 194445, Pink marble, Metropolitan
Museum of Art.
Isamu Noguchi, Pyramid, Sun and Cube / sunken garden,
Beinecke Library, Yale University, 1960-64.
Josef Albers, Homage to the Square: Apparition, 1959, Oil on masonite, 24" X 24".
Frank Stella, Die Fahne
Hoch!, 1959, enamel on
canvas, 10' 1 ½" X 6' 1".
Frank Stella, Ophir, 196061, copper and oil paint
on shaped canvas, 9' X 7'
(irregular).
Art in New York
European Postwar
Jean Fautrier, The Jewess, 1943.
Jean Fautrier, Head of a Hostage, 1944.
Jean Dubuffet, Will to Power, 1946.
Jean Dubuffet, Le Metafisyx, August 1950. Oil on canvas, 45 5/8 X 35 ¼”.
Jean Dubuffet, Childbirth (L’Accouchement), from the “Marionettes of the
Town and the Country” series, 1944. Oil on canvas, 39 3/8 X 31 3/4”.
Alberto Giacometti, Man Pointing, 1947. Bronze, 70 ½” X 40 3/4”.
Alberto Giacometti, The Invisible Object (Hands Holding a Void),
1934-35, bronze, 5’1” high, MoMA, NY.
Alberto Giacometti, The Chariot, 1950.
Alberto Burri, Composition, 1953, Oil, gold paint on burlap and canvas.
Alberto Burri, Grande Rosso P 18, 1964.
Alberto Burri, Sacchi (sack), c. 1954, Mixed media on canvas.
Lucio Fontana, Spatial Concept, Iron, 1950.
Lucio Fontana, Spatial Concept, 1960.
Guy Debord and Asger Jorn, International Situationism, 1959.
Asger Jorn, Modifications, 1962.
Giuseppe Pinot-Gallizio, Industrial Painting, 1958.
Joseph Beuys, Action in University of Aachen, 1964.
Joseph Beuys, How to Explain Paintings to a Dead Hare, 1965.
Joseph Beuys, The Pack, 1969.
Joseph Beuys, Fat Chair, 1964.
Joseph Beuys, Coyote, I Like America and America Likes Me, 1974, oneweek performance/ action sculpture in René Block Gallery, New York.
Art in New York
Nouveau Realism
Yves Klein, Single Day Newspaper- (Nov. 27, 1960), The Painter
of Space Hurls Himself into the Void, 1960.
Yves Klein, Anthropometries of the Blue Period, 1960, Performance, Paris, March
9 1960, at Galerie Internationale d’Art Contemporain.
Yves Klein, Anthropometries of the Blue Period, 1960.
Yves Klein, Anthropometries of the Blue Period, 1960 Performance,
9 March 1960, at Galerie Internationale d’Art Contemporain, Paris.
Yves Klein, Anthropometries of the Blue Period, 1960 Performance, 9 March 1960, at
Galerie Internationale d’Art Contemporain, Paris.
Yves Klein, from Anthropometries of
the Blue Period, Ant 74, 1960.
Yves Klein, from Anthropometries of the Blue
Period, 1960.
Yves Klein, from Anthropometries of the Blue
Period, 1960.
Yves Klein, Untitled Blue Monochrome (IKB), 1959. Dry
pigment in synthetic resin on paper, 8 ½” X 7 1/8”.
Yves Klein, Requiem, Blue Monochrome, sponge relief, 1960.
Yves Klein, Le Vide, Iris Clert Gallery, 1958.
Yves Klein, Zone of Immaterial Pictorial Sensibility, Paris, 26 January, 1962.
Yves Klein, F31, 1961, fire paintings done
with torch flame.
Yves Klein, PRI, Portrait Relief
of Arman, 1962 plaster cast
made in bronze and tinted blue.
Reconstruction of Yves Klein's Sculpture Aérostatique: 1001 Blue Balloons released
on the Paris Centre Pompidou Piazza, on Sunday January 21st, at 3PM, 2007.
Arman, Le Plein (Full Up), 1960.
Arman, Le Plein (Full Up), detail, 1960.
Arman, Accumulations, Poubelle Ménagère, (Household Trash), 1960.
Piero Manzoni, Living Sculpture, 1961.
Piero Manzoni, Living Sculpture, 1961.
Piero Manzoni, Achrome, fiberglass on board, 1962.
Manzoni, Merde d’Artiste (Artist’s Shit), 1961.
Piero Manzoni, Merde d’Artiste (Artist’s Shit), 1961.
Francis Bacon, Three Studies for figures at the Base of a Crucifixion, 1944,
Oil on board support, triptych, each panel 37” X 29”.
Francisc Bacon, Study After Velazquez’s Portrait of Pope Innocent X,
1953. Oil on canvas, 5’ ¼” X 3’ 10 ½”.
Francis Bacon, Self-Portrait, 1969. Oil on canvas, 14” X 12”.
Mario Merz, Double igloo, 1979 (showing Alligator with Fibonacci Numbers to
377 on the ceiling). Outer structure: metal tubes, clamps, glass, and hat; inner
structure: metal tubes, wire mesh, dried mud, neon tubes; 9’ 10” high X 19’ 8 ¼”
diameter overall.