Editor's note: The Philadelphia Museum of Art provided source material to Resource Library for the following article or essay. If you have questions or comments regarding the source material, please contact the Philadelphia Museum of Art directly through either this phone number or web address:


Arshile Gorky: A Retrospective

October 21, 2009 - January 10, 2010


The Philadelphia Museum of Art will present a major traveling retrospective celebrating the extraordinary life and work of Arshile Gorky (American, born Armenia, c.1902-1948), a seminal figure in the movement towards gestural abstraction that would transform American art in the years after World War II. The first comprehensive survey of the work of this artist in nearly three decades, Arshile Gorky: A Retrospective will premier at the Museum and present 180 paintings, sculptures and works on paper reflecting the full scope of Gorky's prolific career. Drawn from public and private collections throughout the United States and Europe, this retrospective will reveal the evolution of Gorky's unique visual vocabulary and mature style. It is organized by the Philadelphia Museum of Art and will be accompanied by a major publication, published in association with Yale University Press. The exhibition will travel to Tate Modern, London (Spring 2010) and The Museum of Contemporary Art, Los Angeles (Summer 2010) following its debut in Philadelphia. (right: Arshile Gorky, Self-Portrait, c. 1937. 139.7 x 60.6 cm. Oil on canvas 55 x 23 7/8 inches. Private Collection, on loan to the National Gallery of Art, Washington. Image courtesy of the Board of Trustees, National Gallery of Art, Washington.  ©2009 Estate of Arshile Gorky / Artists Rights Society (ARS), New York)

"Gorky built upon the achievements of the early modern artists he greatly admired and broke new ground during a remarkable moment to become an inspiration to a new generation of American painters," said Timothy Rub, the George D. Widener Director-elect and CEO of the Museum. "The exhibition and catalogue will offer a deeply moving reassessment of the artist's entire career, including his struggles and his triumphs -- personal as well as artistic -- and the powerful legacy of his work."

Arshile Gorky: A Retrospective is the first major exhibition of its type since 1981 and the first to benefit from the publication of three biographies of the artist: Nouritza Matossian's "Black Angel: The Life of Arshile Gorky" (1998), Matthew Spender's "From a High Place: A Life of Arshile Gorky" (1999), and Hayden Herrera's "Arshile Gorky: His Life and Work" (2003), all of which shed new light on the artist's Armenian background and his central role in the American avant-garde. This will be the first major museum exhibition to highlight the artist's Armenian heritage and examine the impact of Gorky's experience of the Armenian Genocide on his life and work. The retrospective and its accompanying catalogue have also benefited from in-depth interviews with the artist's widow, Agnes "Mougouch" Gorky Fielding, who has generously supported the project from the start, through key loans and first-hand accounts of Gorky's artistic practice as well as his cultural milieu. Among the works to be included are such renowned paintings as the two versions of The Artist and his Mother, 1926-36 (Whitney Museum of American Art, New York) and about 1929-42 (National Gallery of Art, Washington, D.C.); The Liver is the Cock's Comb, 1944 (Albright-Knox Art Gallery), the artist's largest easel painting; Water of the Flowery Mill, 1944 (Metropolitan Museum of Art), which demonstrates his deep absorption in nature-based abstraction; The Plow and the Song series,1944-47, which reflects Gorky's continuing engagement with memories of his rural Armenian childhood; Agony, 1947 (Museum of Modern Art, New York), Gorky's haunting late painting, a product of his increasingly tormented imagination in the late 1940s; and The Black Monk ("Last Painting") (Museo Thyssen-Bornemisza, Madrid), which was left unfinished on Gorky's easel at the time of his death in 1948. Some of the works included in the exhibition have not been on public view before, among them the wood sculptures, Haikakan Gutan I, II, and III (Armenian Plow I, II and III), of 1944, 1945, and 1947 (collection of the Diocese of the Armenian Church of America (Eastern), on deposit at the Calouste Gulbenkian Foundation, Lisbon), as well as the Museum's recently acquired Woman with a Palette (1927).

Michael Taylor, the Museum's Muriel and Philip Berman Curator of Modern Art and curator of the retrospective, stated: "Gorky was a pivotal figure in modern American Art who has since come to be known as the quintessential artist's artist. It is our sincere belief that this landmark retrospective will secure Gorky's place alongside Jackson Pollock and Willem de Kooning as one of the most daring, innovative, and influential American artists of the 20th century."

Arshile Gorky: A Retrospective will be presented in a generally chronological sequence. Thematic groupings will represent each phase of Gorky's career, which underwent an astonishing metamorphosis as he assimilated the lessons of earlier masters and movements and utilized them in the service of his own artistic development. Beginning in the mid-1920s with Gorky's earliest experiments with Impressionism and the structural rigor of the paintings of Paul Cézanne, and continuing through his prolonged engagement with Cubism in the 1930s, the exhibition ends with the Surrealist-inspired burst of creativity that dominated the final decade of Gorky's life and left us with so many breathtakingly beautiful paintings and drawings. In the 1940s, Gorky's contact with Surrealism informed his breakthrough landscapes in Virginia and the visionary works made in his spacious, light-filled studio on Union Square, which he called his "Creation Chamber." Several galleries in the exhibition will serve as "creation chambers" in their own right, highlighting the artist's working process by presenting Gorky's most significant paintings alongside the numerous painstaking studies that informed their making.

Arshile Gorky: A Retrospective is organized by the Philadelphia Museum of Art in association with Tate Modern, London, and The Museum of Contemporary Art, Los Angeles.



The exhibition will be accompanied by a 400-page catalogue, Arshile Gorky: A Retrospective, published by the Philadelphia Museum of Art in association with Yale University Press. The catalogue will include essays by a group of noted art historians and curators: Harry Cooper, Jody Patterson, Robert Storr, Michael Taylor, and Kim Theriault, who will present new theoretical approaches to the artist's work. The essays will build upon new biographical details about the artist's Armenian background that have emerged in recent years, while also exploring Gorky's creative thinking, his unique experimentation and extraordinary command of materials, and his imaginative exploration of various themes. The catalogue will be fully illustrated in color and include a section devoted to Gorky's exhibition history, a bibliography, and a chronology of his life and work.


About Arshile Gorky

Born Vosdanig Adoian around 1902 near Lake Van in an Armenian province of Ottoman Turkey, Gorky witnessed as a young boy the ethnic cleansing of his people, the minority Armenians. Turkish troops in 1915 drove Gorky's family and thousands of others out of Van on a death march to the frontier of Caucasian Armenia. Suffering from starvation in 1919, during a time of severe deprivation for the Armenian refugees, Gorky's mother died in his arms. With his sister, Vartoosh, he eventually arrived in the United States where, claiming to be a cousin of the Russian writer Maxim Gorky, he changed his name to Arshile Gorky.

Gorky stayed briefly with relatives in Watertown and Boston, Massachusetts, before settling permanently in New York in 1924, where he studied at the Grand Central School of Art, later becoming an art instructor there. Gorky met and became fast friends with many of the city's emerging avant-garde artists, including Stuart Davis, Willem de Kooning, John Graham, Isamu Noguchi, and David Smith. Among his students was Mark Rothko.

The noted art critic Harold Rosenberg observed that Gorky, "a lifelong student, was an intellectual to the roots, he lived in an aura of words and concepts, almost as much at home in the library as in the museum or gallery." He was largely self-taught, visiting museums and galleries and reading voraciously. Gorky became familiar with modern European art and embarked on a systematic study of its masters and their methods, from Paul Cézanne and Henri Matisse, whose landscapes and still-lifes he emulated masterfully, to Pablo Picasso's Cubist and neoclassical works, and the biomorphic abstractions of Joan Miró. Works by Giorgio de Chirico and Fernand Léger informed, respectively, Gorky's vast Nighttime, Enigma, and Nostalgia series of the early 1930s and the sequence of murals on the theme of aviation that Gorky created in 1936 for the Administration Building of Newark Airport, under the aegis of the Public Works of Art Project (later the Works Progress Administration), through which Gorky and many other American modernists found employment during the Great Depression. (right: Arshile Gorky, The Black Monk ("Last Painting"), c. 1948, Oil on canvas, 30 3/4 x 39 3/4 inches. Museo Thyssen-Bornemisza, Madrid. © 2009 Estate of Arshile Gorky / Artists Rights Society (ARS), New York)

One of the key themes of Arshile Gorky: A Retrospective will be the artist's profound engagement with the Surrealist movement throughout the 1940s. Gorky's relationships with members of the Surrealist group in exile in the United States, including its leader, André Breton, as well as painters Yves Tanguy, Wifredo Lam, and Max Ernst, and his close friendship with the Chilean-born artist Roberto Matta all contributed to the development of his singular visual vocabulary, a highly original form of Surrealist automatism characterized by biomorphic forms rendered with thinned-out washes of paint. After his marriage in 1941 to Agnes Magruder, whose parents had a farm in Virginia, Gorky's experience of the American landscape would enrich his artistic vision, and, beginning in 1943, emerges as a central theme in the lush, evocative paintings for which Gorky is best known. The rich farmland and bucolic atmosphere of rural Virginia (and later Sherman, Connecticut) reminded Gorky of his father's farm near Lake Van, and inspired him to create freely improvised abstract works that combined memories of his Armenian childhood with direct observations from nature. The resulting paintings, such as Scent of Apricots on the Fields (1944) and The Plow and the Song series (1944-1947), are remarkable for their evocative strength, lyrical beauty, and fecundity of organic forms.

Gorky's last years were tragic. In January 1946, a fire in his Connecticut studio destroyed 27 recent paintings. Shortly thereafter, he underwent a painful operation for rectal cancer, and while recovering created some of the most powerful, though agonized, works of his final years, including the haunting Charred Beloved series (1946), which alludes to his lost paintings. In June 1948, Gorky was involved in a serious car accident that left him with a broken neck and temporarily paralyzed his painting arm. His young wife left him shortly afterwards to pursue a brief affair with Matta, Gorky's friend and mentor. Gorky took his own life on July 21, 1948, leaving behind an impressive body of work that secured his reputation as the last of the great Surrealist painters and an important precursor to Abstract Expressionism.


Gorky and Philadelphia

The Philadelphia Museum of Art's extraordinary collection of modern art provides a unique context for understanding Gorky's work, since it includes many paintings from the A.E. Gallatin Collection, such as Fernand Léger's The City (1919), Pablo Picasso's Self-Portrait (1906), Giorgio de Chirico's The Fatal Temple (1914), André Masson's Cockfight (1930), and Joan Miró's Dog Barking at the Moon (1926), all of which inspired the artist during his formative years. Gorky often visited the Gallery of Living Art at New York University where the Gallatin Collection was on view in the 1920s and 1930s, and he made several paintings that were directly inspired by works by modern artists that he encountered there. De Chirico's painting The Fatal Temple (1914) provided the point of departure for the Nighttime, Enigma, and Nostalgia series, which consists of more than 80 drawings and paintings made between 1930 and 1934. Gorky also had his first one-man show at the Mellon Galleries in Philadelphia in February 1934, and one of his first patrons was the noted Philadelphia collector Bernard Davis. Bernard and Irmgard Davis were keen collectors of modern art and assembled a large collection under the name of La France Art Institute, including numerous works by Gorky, many of which were later donated to prominent American museums, including the Philadelphia Museum of Art, and the Museum of Modern Art, New York. Gorky and his first wife Marny George even spent their honeymoon with the Davis family in Frankford, a neighborhood in northeast Philadelphia, during which time Gorky visited the Philadelphia Museum of Art (then known as the Pennsylvania Museum of Art) as well as the Barnes Foundation in nearby Merion. The Museum also owns three major works by Gorky that will be included in the exhibition: Abstraction with a Palette (1930), Dark Green Painting (1948), and the recently acquired Woman with a Palette (1927).


Selected wall text and object labels from the exhibition


Arshile Gorky in Context: American Modernism
In 1924 Arshile Gorky moved from Boston to New York, having been offered a teaching position at the New School of Design, where his students included the future Abstract Expressionist painter Mark Rothko. Gorky soon found himself at the epicenter of an exciting artistic milieu and over the next two decades played a leading role in the New York avant-garde, whose number included such close friends and colleagues as Willem de Kooning, John Graham, Alexander Calder, Isamu Noguchi, and fellow Armenian Reuben Nakian.
The diverse array of paintings and sculptures on display in this gallery attests to the eclectic range of styles and themes adopted by these artists as they grappled with recent developments in European modern art, especially Cubism and Surrealism. In the early 1940s, American art underwent a dramatic transformation when abstraction came to the fore. During World War II, which initiated the relocation of several leading European artists to the United States, the capital of the art world shifted from Paris to New York. With the arrival of Roberto Matta, for instance, American painters like William Baziotes, Adolph Gottlieb, and Jackson Pollock were introduced firsthand to the Surrealist notion of automatism, in which the creation of images is determined by chance procedures associated with the unconscious mind. Using this approach, these artists produced works suggestive of ancient figures and biomorphic forms. The dense space, allover imagery, and spontaneous application of paint found in their work epitomized many aspects of what would later come to be known as Abstract Expressionism, a movement that was profoundly influenced by Gorky's daring abstract paintings of the 1940s. In the 1950s artists such as Pollock and de Kooning received international attention for their large-scale, gestural paintings, which were understood as a uniquely American contribution to modern art.
Arshile Gorky in Context: European Modernism
The Philadelphia Museum of Art's collection of modern art provides a unique context for understanding Arshile Gorky's work, as it includes many paintings from Albert Eugene Gallatin's art collection, among them André Masson's Cockfight, Joan Miró's Dog Barking at the Moon, and Pablo Picasso's Still Life with a Bottle, Playing Cards, and a Wineglass on a Table, all three of which inspired Gorky during his formative years in New York. Gorky became familiar with the Gallatin Collection during the 1920s and 1930s, when it was on display at the Gallery of Living Art at New York University. He was a frequent visitor to the gallery, which was free to the public and located just a stone's throw from his studio, and often made paintings and drawings that were directly inspired by the avant-garde art he encountered there.
Gorky was a great connoisseur of painting and his formidable knowledge was largely self-taught, based upon his patient and sustained study of modern art through reproductions in magazines and books and repeated trips to museums and galleries, where he voraciously absorbed the techniques of the artists he discovered there. The art historian Meyer Schapiro remembered frequently bumping into Gorky in museums and galleries in New York, where he would be "fixed in rapt contemplation of pictures with that grave, searching look that was one of the beauties of his face. As some poets are great readers, Gorky-especially among painters-was a fervent scrutinizer of paintings." It was this passionate study and emulation of the art of such European masters as Paul Cézanne, Wassily Kandinsky, Fernand Léger, and Picasso that encouraged Gorky toward greater formal experimentation in his own work, preparing the ground for the highly original paintings and drawings he made during the last five years of his life.
Arshile Gorky in Context: Russian Modernism
Arshile Gorky was born Vosdanig Adoian in Turkish Armenia, but changed his name soon after he arrived in the United States in 1920. Claiming to be the cousin of the famous Russian writer Maxim Gorky, the artist exhibited two paintings in the Surrealist section of a large exhibition of modern Russian art that was held in 1932 at the Wilmington Society of the Fine Arts (now the Delaware Art Museum). Organized by the prominent art critic and collector Christian Brinton, this exhibition also included works by several of Gorky's Russian-born friends and colleagues, including David Burliuk, Nicolai Cickowsky, John Graham, Nicholas Roerich, and Nicholas Vasilieff, the last of whom worked in the studio next to Gorky's at 36 Union Square in New York. According to Brinton, the work of these artists "seldom disassociates itself from nature and from life"-a quality these painters sought to intensify and magnify through their dreamlike images. The brightly colored, folkloric paintings of these Russian exiles, many of whom remained close friends and supporters of Gorky for the rest of his life, would prepare him for his eventual engagement with Surrealism in the 1940s. Although Brinton admired Gorky's work, Brinton's formidable collection of modern Russian paintings, drawings, and sculpture, which he donated to the Philadelphia Museum of Art in 1941, did not include any paintings or works of art by the artist. However, the selection of rarely seen works by Russian artists on view in this gallery, all of which are from the Brinton Collection, provides a unique context for understanding Gorky's development in the 1930s, when he was closely associated with the magazine Color and Rhyme, published by David Burliuk and his wife Mary, which provided a crucial forum for the community of New York­based expatriate eastern European artists.
Gallery 119
William Baziotes
American, 1912-1963
Oil on canvas
Gift of Anne d'Harnoncourt Rishel, 1982-103-1
Peter Blume
American (born Belorussia), 1906-1992
The Sheds (Frankie and Johnny)
c. 1928
Oil on canvas
Gift of R. Sturgis and Marion B. F. Ingersoll, 1941-103-1
Ilya Bolotowsky
American (born Russia), 1907-1981
Abstraction in Light Blue
Oil on panel
A. E. Gallatin Collection, 1946-70-7
Louise Bourgeois
American (born France), born 1911
Black Flames
Painted wood
Purchased with funds contributed by Mrs. Edna Beron, Mrs. Adolf Schaap, Mr. and Mrs. Bayard T. Storey, Marion Boulton Stroud; and with gifts (by exchange) of the Samuel S. White 3rd and Vera White Collection and the Sallie Crozier Hilprecht Collection; and gift of Elise Robinson Paumgarten, 1989-52-1
Byron Browne
American, 1907-1961
Woman by a Window
Oil on canvas
Gift of Stephen B. Browne, 2008-189-1
Hans Burkhardt
American (born Switzerland)
Born 1904, died 1994
Burial of Gorky
Oil on canvas
This sorrowful painting depicts a procession of columnar pallbearers carrying the body of Arshile Gorky in a funeral cortege. The blood that drips from the deceased artist's heart reflects Burkhardt's anguish at the passing of his friend and mentor, who committed suicide on July 21, 1948. Burkhardt first met Gorky in 1927, when he enrolled in his class at the Grand Central School of Art, New York, and later took private lessons in Gorky's studio until 1937, when he moved permanently to Los Angeles. Gorky taught Burkhardt the pictorial complexities of Cubism, the lessons of which can still be discerned in this heartfelt homage to his former teacher.
On loan from the Hans G. and Thordis W. Burkhardt Foundation. Courtesy of Jack Rutberg Fine Arts, Los Angeles
Alexander Calder
American, 1898-1976
Red Frame Construction
Painted metal, wood, and wire
A. E. Gallatin Collection, 1946-70-8
Stuart Davis
American, 1892-1964
Something on the Eight Ball
Oil on canvas
Purchased with the Adele Haas Turner and Beatrice Pastorius Turner Memorial Fund, 1954-30-1
Willem de Kooning
American (born Netherlands), 1904-1997
Seated Woman
c. 1940
Oil and charcoal on Masonite
The Albert M. Greenfield and Elizabeth M. Greenfield Collection, 1974-178-23
Marcel Duchamp
American (born France), 1887-1968
Oil on canvas
Arshile Gorky first saw this painting in the mid-1930s, when it was hanging in the New York apartment of Julien Levy, whose gallery would represent Gorky between 1945 and 1948. Although Levy would sell this early Duchamp work to Louise and Walter Arensberg in 1937, its imagery of a wasplike, biomechanical bride continued to haunt Gorky's imagination over the next decade. The impact of Duchamp's painting can be seen in works like Agony and The Betrothal, in which human anatomy is similarly transformed into mechanical forms redolent of menacing robotlike figures or exoskeletal insects.
The Louise and Walter Arensberg Collection, 1950-134-65
Adolph Gottlieb
American, 1903-1974
Oil on canvas
Gift of The Judith Rothschild Foundation, 2007-46-2
John Graham (Ivan Dabrowsky)
American (born Ukraine), 1886-1961
Woman in Tall Hat
c. 1950
Oil on canvas
On loan from the Collection of C. K. Williams, II
Lee Krasner
American, 1908-1984
Oil on canvas
Gift of the Aaron E. Norman Fund, Inc., 1959-31-1
Roberto Matta
Chilean, 1911-2002
The Bachelors Twenty Years After
Oil on canvas
Purchased with the Edith H. Bell Fund, the Edward and Althea Budd Fund, gifts (by exchange) of Mr. and Mrs. William P. Wood and Bernard Davis, and bequest (by exchange) of Miss Anna Warren Ingersoll, 1989-51-1
Reuben Nakian
American, 1897-1986
Bust of Marcel Duchamp
1943, plaster cast
Bronze with brown patina
Gift of Muriel and Philip Berman, 1992-15-3
Isamu Noguchi
American, 1904-1988
Hérodiade: Mirror
On loan from The Isamu Noguchi Foundation and Garden Museum
Isamu Noguchi
American, 1904-1988
Portrait of Julien Levy
Bronze; wood base
Purchased with funds contributed by The Judith Rothschild Foundation in honor of Lynne and Harold Honickman, 2004-90-1
Jackson Pollock
American, 1912-1956
Male and Female
Oil on canvas
In November 1943 this painting was included in Jackson Pollock's stunning solo exhibition at Art of This Century, the innovative New York art gallery run by legendary art patron Peggy Guggenheim. As its title suggests, the work depicts a male figure, embodied in the black columnar form at right, with its mysterious arithmetic graffiti, and a curvy female figure at left, with marvelous catlike eyelashes. Standing on tiny triangular feet, both figures are surrounded by splashed and smeared oil paint that enhances the sense of energy inherent in the two vertical forms, while also foreshadowing the famous "drip" technique that Pollock would develop later that decade.
Gift of Mr. and Mrs. H. Gates Lloyd, 1974-232-1
Mark Rothko
American (born Latvia), 1903-1970
Gyrations on Four Planes
Oil on canvas
Gift of the Mark Rothko Foundation, Inc., 1985-19-3
David Smith
American, 1906-1965
Purchased with the Fiske Kimball Fund and the Marie Kimball Fund, 1972-154-1
Theodoros Stamos
American, 1922-1997
The Altar
Oil on Masonite
On loan from a private collection
Kay Sage
American, 1898-1963
Unicorns Came Down to the Sea
Oil on canvas
Bequest of Kay Sage Tanguy, 1964-151-1
Yves Tanguy
American (born France), 1900-1955
Explosions of Fire
Oil on canvas
Bequest of Kay Sage Tanguy, 1964-181-1
Dorrance Corridor
Georges Braque
French, 1882-1963
Violin and Newspaper
Graphite, charcoal, and oil on canvas
The Louise and Walter Arensberg Collection, 1950-134-26
Georges Braque
French, 1882-1963
Violin and Pipe
Oil and sand on canvas
The Louise and Walter Arensberg Collection, 1950-134-30
David Burliuk
Russian (active United States), 1882-1967
Portrait of Christian Brinton and Nine Artists
Oil on canvas
Gift of Christian Brinton, 1941-79-106
David Burliuk
Russian (active United States), 1882-1967
Elijah the Prophet
Oil on burlap
Gift of Christian Brinton, 1941-79-112
Paul Cézanne
French, 1839-1906
Still Life with a Dessert
1877 or 1879
Oil on canvas
The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963-116-5
Nicolai Cickowsky
American (born Belorussia), 1894-1987
Young Man from Penza
By 1931
Oil on canvas
Gift of Christian Brinton, 1941-79-107
John Graham (Ivan Dabrowsky)
American (born Ukraine)
Born 1891, died 1961
Study for "Ikon of the Modern Age"
Oil on canvas
Gift of Christian Brinton, 1941-79-66
Juan Gris
Spanish, 1887-1927
Oil on canvas
A. E. Gallatin Collection, 1952-61-34
Hans Hartung
French (born Germany), 1904-1989
Oil on canvas
A. E. Gallatin Collection, 1952-61-46
Jean Hélion
French, 1904-1987
Oil on canvas
A. E. Gallatin Collection, 1945-91-2
Wassily Kandinsky
Russian (active Germany), 1866-1944
Improvisation No. 29 (The Swan)
Oil on canvas
The Louise and Walter Arensberg Collection, 1950-134-102
Fernand Léger
French, 1881-1955
Animated Landscape
Oil on canvas
Gift of Bernard Davis, 1950-63-1
Fernand Léger
French, 1881-1955
The Scaffolding (First State)
Oil on canvas
A. E. Gallatin Collection, 1952-61-57
André Masson
French, 1896-1987
Oil on canvas
A. E. Gallatin Collection, 1952-61-78
Roberto Matta
Chilean, 1911-2002
To Escape the Absolute
Oil on canvas
Gift of Sylvia and Joseph Slifka, 2004-45-3
Joan Miró
Spanish, 1893-1983
Man and Woman
Oil? on canvas
The Louise and Walter Arensberg Collection, 1950-134-142
Joan Miró
Spanish, 1893-1983
Man, Woman, and Child
Oil and/or aqueous medium on canvas
The Louise and Walter Arensberg Collection, 1950-134-144
Joan Miró
Spanish, 1893-1983
Person in the Presence of Nature
Oil and aqueous medium on panel
The Louise and Walter Arensberg Collection, 1950-134-149
Joan Miró
Spanish, 1893-1983
Painting (Fratellini)
Oil and aqueous medium on canvas
A. E. Gallatin Collection, 1952-16-1
Joan Miró
Spanish, 1893-1983
Dog Barking at the Moon
Oil on canvas
A. E. Gallatin Collection, 1952-61-82
Piet Mondrian
Dutch, 1872-1944
Opposition of Lines, Red and Yellow
Oil on canvas
A. E. Gallatin Collection, 1952-61-90
Pablo Picasso
Spanish, 1881-1973
Still Life with a Bottle, Playing Cards, and a Wineglass on a Table
Oil on panel
A. E. Gallatin Collection, 1952-61-95
Pablo Picasso
Spanish, 1881-1973
Still Life with a Guitar and a Compote (The Mandolin)
Oil on canvas
A. E. Gallatin Collection, 1952-61-98
Pablo Picasso
Spanish, 1881-1973
Bather, Design for a Monument (Dinard)
Oil on canvas
A. E. Gallatin Collection, 1952-61-99
Nicholas Roerich
Russian, 1874-1947
Our Forefathers
c. 1920
Tempera on burlap
Gift of Christian Brinton, 1941-79-67
Gaston-Louis Roux
French, 1904-1988
Oil on canvas
A. E. Gallatin Collection, 1946-70-5
Nikol Schattenstein
American (born Lithuania), 1879­-1954
Portrait of David Davidovich Burliuk, Father of Russian Cubo-Futurism
c. 1930
Oil on canvas
Gift of Christian Brinton, 1941-79-111
Nicholas Vasilieff
American (born Russia), 1892-1970
Young Russia (Child with a Rooster)
Oil on canvas
Gift of Christian Brinton, 1941-79-113

RL editor's note: readers may also enjoy:

Read more articles and essays concerning this institutional source by visiting the sub-index page for the Philadelphia Museum of Art in Resource Library.

Search Resource Library for thousands of articles and essays on American art.

Copyright 2009 Traditional Fine Arts Organization, Inc., an Arizona nonprofit corporation. All rights reserved.