Contents
First published on the occasion of the
Supported at the Royal Academy by
Exhibition Catalogue
British Library Cataloguing-in-
exhibition ‘Milton Avery’
The Milton and Sally Avery Arts
Royal Academy Publications
Publication Data
Foundation and Waqas Wajahat,
Florence Dassonville, Production
A catalogue record for this book is
New York
and Distribution Co-ordinator
available from the British Library
Exhibition organised by the Royal
Carola Krueger, Production and
Academy of Arts, London, in
Distribution Manager
collaboration with the Modern Art
Peter Sawbridge, Head of Publishing
Museum of Fort Worth and the
and Editorial Director
Milton Avery: ‘Poet-Inventor’
ISBN 978-1-912520-43-5
Hartford Modern Art Museum of Fort Worth
Copy-editing and proofreading:
Sandy Lane, Old Martlesham,
Vicky Wilson
Woodbridge, Suffolk IP12 4SD
Edith Devaney
The Landscape of Milton Avery’s Connecticut Years
Design: Adam Brown_01.02 The exhibition at the Royal Academy
Colour origination and print:
Distributed in the United States and
has been made possible by the
Gomer Press, Wales
Canada by ARTBOOK | D.A.P.,
provision of insurance through the
Hartford
Government Indemnity Scheme. The
Copyright © 2021
24 February – 5 June 2022
Royal Academy of Arts would like to
Royal Academy of Arts, London
Royal Academy of Arts, London
Government Indemnity and the
Any copy of this book issued by
• All works illustrated are by
16 July – 16 October 2022
Department for Digital Culture, Media
the publisher is sold subject to the
Milton Avery (1885–1965) unless
and Sport and Arts Council England for
condition that it shall not by way of
otherwise stated.
arranging the indemnity.
trade or otherwise be lent, re-sold, hired
• Dimensions of all works of art are
out or otherwise circulated without the
given in centimetres, with inches in
Royal Academy of Arts, London
publisher’s prior consent in any form
parentheses, height before width.
Curator: Edith Devaney, assisted by
of binding or cover other than that
Anna Testar and Isabella Boorman
in which it is published and without
Illustrations
Exhibition management:
a similar condition including these
Page 2: Arnold Newman, Portrait
Stephanie Bush, assisted by
words being imposed on a subsequent
of American painter Milton Avery
Rebecca Bailey and Lucy Davis
purchaser.
January 6, 1961 in New York City.
co-ordination: Caroline Arno and
All Rights Reserved. No part of this
(1415/16 × 1811/16 inches).
Giulia Ariete
publication may be reproduced or
Arnold Newman Collection
transmitted in any form or by any
Pages 4–5: detail of cat. 2
The Modern Art Museum of
means, electronic or mechanical,
Pages 6–7 detail of cat. 45
Fort Worth
including photocopy, recording or any
Pages 8–9: detail of cat. 67
Curatorial: Marla Price and
other information storage and retrieval
Page 12: detail of cat. 6
Andrea Karnes
system, without prior permission in
Pages 14–15: detail of cat. 59
Exhibition management: Brent Mitchell
writing from the publisher.
Page 17: detail of cat. 55
Understanding Milton Avery
Catalogue plates Early Work: Landscape Early Work: The City Early Work: Domestic Portraits Innovation in Colour and Form Late Work
Chronology
Page 36: detail of cat. 46 Pages 52–53: detail of cat. 49
54 72 82 90 98 114 137
Endnotes 144 Further Reading 146 Lenders to the Exhibition 146 Photographic Acknowledgements 147 Index 148
Curatorial: Erin C. Monroe Exhibition management: Alison Parman Registrar: Mary Busick
RA222_Avery_Layout_FINAL.indd 10
Isabella Boorman
Page 30: detail of cat. 56
of Art, Hartford
45
A conversation with his daughter March Avery Cavanaugh and his grandson Sean Cavanaugh Waqas Wajahat
Page 18: detail of cat. 41
Wadsworth Atheneum Museum
37
Marla Price
Gelatin silver print, 37.9 × 47.4 cm
Photographic and copyright
Registrar: Jacqueline Stevens
Avery and Matisse
NY 10004
Editorial Note
thank HM Government for providing
31
Erin C. Monroe
75 Broad Street, Suite 630, New York,
Wadsworth Atheneum Museum of Art,
19
Distributed outside the United States and Canada by ACC Art Books Ltd,
Wadsworth Atheneum Museum of Art,
7 November 2021 – 30 January 2022
Foreword 13 Acknowledgements 16
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Contents
First published on the occasion of the
Supported at the Royal Academy by
Exhibition Catalogue
British Library Cataloguing-in-
exhibition ‘Milton Avery’
The Milton and Sally Avery Arts
Royal Academy Publications
Publication Data
Foundation and Waqas Wajahat,
Florence Dassonville, Production
A catalogue record for this book is
New York
and Distribution Co-ordinator
available from the British Library
Exhibition organised by the Royal
Carola Krueger, Production and
Academy of Arts, London, in
Distribution Manager
collaboration with the Modern Art
Peter Sawbridge, Head of Publishing
Museum of Fort Worth and the
and Editorial Director
Milton Avery: ‘Poet-Inventor’
ISBN 978-1-912520-43-5
Hartford Modern Art Museum of Fort Worth
Copy-editing and proofreading:
Sandy Lane, Old Martlesham,
Vicky Wilson
Woodbridge, Suffolk IP12 4SD
Edith Devaney
The Landscape of Milton Avery’s Connecticut Years
Design: Adam Brown_01.02 The exhibition at the Royal Academy
Colour origination and print:
Distributed in the United States and
has been made possible by the
Gomer Press, Wales
Canada by ARTBOOK | D.A.P.,
provision of insurance through the
Hartford
Government Indemnity Scheme. The
Copyright © 2021
24 February – 5 June 2022
Royal Academy of Arts would like to
Royal Academy of Arts, London
Royal Academy of Arts, London
Government Indemnity and the
Any copy of this book issued by
• All works illustrated are by
16 July – 16 October 2022
Department for Digital Culture, Media
the publisher is sold subject to the
Milton Avery (1885–1965) unless
and Sport and Arts Council England for
condition that it shall not by way of
otherwise stated.
arranging the indemnity.
trade or otherwise be lent, re-sold, hired
• Dimensions of all works of art are
out or otherwise circulated without the
given in centimetres, with inches in
Royal Academy of Arts, London
publisher’s prior consent in any form
parentheses, height before width.
Curator: Edith Devaney, assisted by
of binding or cover other than that
Anna Testar and Isabella Boorman
in which it is published and without
Illustrations
Exhibition management:
a similar condition including these
Page 2: Arnold Newman, Portrait
Stephanie Bush, assisted by
words being imposed on a subsequent
of American painter Milton Avery
Rebecca Bailey and Lucy Davis
purchaser.
January 6, 1961 in New York City.
co-ordination: Caroline Arno and
All Rights Reserved. No part of this
(1415/16 × 1811/16 inches).
Giulia Ariete
publication may be reproduced or
Arnold Newman Collection
transmitted in any form or by any
Pages 4–5: detail of cat. 2
The Modern Art Museum of
means, electronic or mechanical,
Pages 6–7 detail of cat. 45
Fort Worth
including photocopy, recording or any
Pages 8–9: detail of cat. 67
Curatorial: Marla Price and
other information storage and retrieval
Page 12: detail of cat. 6
Andrea Karnes
system, without prior permission in
Pages 14–15: detail of cat. 59
Exhibition management: Brent Mitchell
writing from the publisher.
Page 17: detail of cat. 55
Understanding Milton Avery
Catalogue plates Early Work: Landscape Early Work: The City Early Work: Domestic Portraits Innovation in Colour and Form Late Work
Chronology
Page 36: detail of cat. 46 Pages 52–53: detail of cat. 49
54 72 82 90 98 114 137
Endnotes 144 Further Reading 146 Lenders to the Exhibition 146 Photographic Acknowledgements 147 Index 148
Curatorial: Erin C. Monroe Exhibition management: Alison Parman Registrar: Mary Busick
RA222_Avery_Layout_FINAL.indd 10
Isabella Boorman
Page 30: detail of cat. 56
of Art, Hartford
45
A conversation with his daughter March Avery Cavanaugh and his grandson Sean Cavanaugh Waqas Wajahat
Page 18: detail of cat. 41
Wadsworth Atheneum Museum
37
Marla Price
Gelatin silver print, 37.9 × 47.4 cm
Photographic and copyright
Registrar: Jacqueline Stevens
Avery and Matisse
NY 10004
Editorial Note
thank HM Government for providing
31
Erin C. Monroe
75 Broad Street, Suite 630, New York,
Wadsworth Atheneum Museum of Art,
19
Distributed outside the United States and Canada by ACC Art Books Ltd,
Wadsworth Atheneum Museum of Art,
7 November 2021 – 30 January 2022
Foreword 13 Acknowledgements 16
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15
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15
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Edith Devaney
Milton Avery: ‘Poet-Inventor’
In 1952 the revered artist-teacher Hans Hofmann said of Milton Avery: ‘Avery was one of the first to understand colour as a creative means. He was one of the first to relate colours in a plastic way.’1 By that time Abstract Expressionism in America had reached its zenith. It was the year that Jackson Pollock painted Blue Poles, his monumental and masterful orchestration of skeins of writhing colour and the culminating work in the series of drip paintings that had come to define the movement. The same year Willem de Kooning completed Woman I, the most celebrated and vibrantly coloured of that excoriating series of paintings. By this time Mark Rothko had recently introduced his compositions of hovering rectangles of lambent colours (fig. 1), a painting form he was to continue to explore for the next decade or so. Barnett Newman had just executed one of his largest canvases, Vir Heroicus Sublimis (fig. 2), complete with signature ‘zip’; the painting’s scale and the dominance and depth of the colour red were intended, as the title suggests, to create a sense of the sublime. Still to develop the first of his classic ‘Burst’ paintings, by 1952 Adolph Gottlieb was moving closer towards them stylistically, his
Fig. 1 Mark Rothko, Untitled, 1952–53. Oil on canvas, 299.5 × 442.5 cm (1177/8 inches × 1743/16 inches). Guggenheim Bilbao Museoa 19
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Edith Devaney
Milton Avery: ‘Poet-Inventor’
In 1952 the revered artist-teacher Hans Hofmann said of Milton Avery: ‘Avery was one of the first to understand colour as a creative means. He was one of the first to relate colours in a plastic way.’1 By that time Abstract Expressionism in America had reached its zenith. It was the year that Jackson Pollock painted Blue Poles, his monumental and masterful orchestration of skeins of writhing colour and the culminating work in the series of drip paintings that had come to define the movement. The same year Willem de Kooning completed Woman I, the most celebrated and vibrantly coloured of that excoriating series of paintings. By this time Mark Rothko had recently introduced his compositions of hovering rectangles of lambent colours (fig. 1), a painting form he was to continue to explore for the next decade or so. Barnett Newman had just executed one of his largest canvases, Vir Heroicus Sublimis (fig. 2), complete with signature ‘zip’; the painting’s scale and the dominance and depth of the colour red were intended, as the title suggests, to create a sense of the sublime. Still to develop the first of his classic ‘Burst’ paintings, by 1952 Adolph Gottlieb was moving closer towards them stylistically, his
Fig. 1 Mark Rothko, Untitled, 1952–53. Oil on canvas, 299.5 × 442.5 cm (1177/8 inches × 1743/16 inches). Guggenheim Bilbao Museoa 19
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Erin C. Monroe
The Landscape of Milton Avery’s Connecticut Years
In 1954, almost 40 years after Milton Avery first exhibited publicly as part of a group show at the Wadsworth Atheneum Museum of Art, the museum purchased its first painting by the artist. The landscape, Old Orchard (1953; fig. 9), is an oblique view of mature apple trees. Blending cool blue and lavender with warm peach tones, the lightened palette lends the scene a meditative quality. The poetic mood of this humble landscape exemplifies Avery’s enduring interest in painting from nature, a practice he first began as an art student in Connecticut. In a letter to the museum’s director, he acknowledged the personal significance of the purchase, stating: ‘Because I lived in Hartford during my formative years I am especially pleased and honored to have one of my paintings – one which I am especially fond of – in the Atheneum collection.’1 Far from the first acquisition of his work by a major museum, the purchase was of importance because it commemorated the place where Avery got his start. This essay offers a deeper look at the artist’s longstanding connection to the museum and the significance of the city of Hartford throughout his career.
Fig. 9 Old Orchard, 1953. Oil on canvas, 101.4 × 142.1 cm (3915/16 × 5515/16 inches). Wadsworth Atheneum Museum of Art, Hartford, Connecticut. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1954.79 31
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Erin C. Monroe
The Landscape of Milton Avery’s Connecticut Years
In 1954, almost 40 years after Milton Avery first exhibited publicly as part of a group show at the Wadsworth Atheneum Museum of Art, the museum purchased its first painting by the artist. The landscape, Old Orchard (1953; fig. 9), is an oblique view of mature apple trees. Blending cool blue and lavender with warm peach tones, the lightened palette lends the scene a meditative quality. The poetic mood of this humble landscape exemplifies Avery’s enduring interest in painting from nature, a practice he first began as an art student in Connecticut. In a letter to the museum’s director, he acknowledged the personal significance of the purchase, stating: ‘Because I lived in Hartford during my formative years I am especially pleased and honored to have one of my paintings – one which I am especially fond of – in the Atheneum collection.’1 Far from the first acquisition of his work by a major museum, the purchase was of importance because it commemorated the place where Avery got his start. This essay offers a deeper look at the artist’s longstanding connection to the museum and the significance of the city of Hartford throughout his career.
Fig. 9 Old Orchard, 1953. Oil on canvas, 101.4 × 142.1 cm (3915/16 × 5515/16 inches). Wadsworth Atheneum Museum of Art, Hartford, Connecticut. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1954.79 31
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Waqas Wajahat
Understanding Milton Avery A conversation with his daughter March Avery Cavanaugh and his grandson Sean Cavanaugh
Fig. 19 Unknown photographer, Milton Avery sketching, with his daughter, March, and their dog, Picasso, Woodstock, New York, 1950. Private collection
WW Given your father’s reticence to speak about any aspect of his work and the lack of any personal recorded information on his processes and how he arrived at each, to have you, his daughter and an artist, as a witness can provide a valuable account of his personality and practice. You were born in 1932, by which time your father was 47 and your mother, herself an artist, was 30. When did you first become aware that your parents were artists? MC I didn’t. I didn’t know anybody who wasn’t an artist so I assumed that everybody was an artist. It was no big deal. WW They had been married for about five years before you were born. Do you think it was a conscious decision to wait and have you later in life? MC Well, nobody had any money and having a child was an added expense. In fact, the doctor wanted Sally to give up the baby for adoption because he thought they couldn’t afford it. And my parents always had to have people taking care of me because my mother worked. WW Did your father seem like an older dad to you? MC It never occurred to me. He rode a bike, we would play badminton, he was active. He stood up all day painting. WW Is it surprising, then, that he had his first heart attack in 1949, in his early 60s? Was he predisposed? MC He smoked but didn’t drink. Nobody had any money, and cigarettes were cheap but booze was expensive. He would always drink coffee if he went to a bar. When we lived on 11th Street in New York he liked the Horn & Hardart automat on 6th Avenue and Waverly Place – it was a big place where people could have a five-cent coffee and sit for hours. WW Sally grew up in Brooklyn, in a Jewish family, but she came from some means? MC Yes. They were upset that she was with someone like Milton – older, Christian, and a poor artist. It was her father who paid for her to go to the art colony in Gloucester, Massachusetts, where they met. Since college was never an option for her, he gave her the money. WW Did Sally have any siblings? MC She had two brothers and a sister. Her sister worked at a magazine – I forget the name. She collected a little bit of art. WW And what about your father’s family? 45
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Waqas Wajahat
Understanding Milton Avery A conversation with his daughter March Avery Cavanaugh and his grandson Sean Cavanaugh
Fig. 19 Unknown photographer, Milton Avery sketching, with his daughter, March, and their dog, Picasso, Woodstock, New York, 1950. Private collection
WW Given your father’s reticence to speak about any aspect of his work and the lack of any personal recorded information on his processes and how he arrived at each, to have you, his daughter and an artist, as a witness can provide a valuable account of his personality and practice. You were born in 1932, by which time your father was 47 and your mother, herself an artist, was 30. When did you first become aware that your parents were artists? MC I didn’t. I didn’t know anybody who wasn’t an artist so I assumed that everybody was an artist. It was no big deal. WW They had been married for about five years before you were born. Do you think it was a conscious decision to wait and have you later in life? MC Well, nobody had any money and having a child was an added expense. In fact, the doctor wanted Sally to give up the baby for adoption because he thought they couldn’t afford it. And my parents always had to have people taking care of me because my mother worked. WW Did your father seem like an older dad to you? MC It never occurred to me. He rode a bike, we would play badminton, he was active. He stood up all day painting. WW Is it surprising, then, that he had his first heart attack in 1949, in his early 60s? Was he predisposed? MC He smoked but didn’t drink. Nobody had any money, and cigarettes were cheap but booze was expensive. He would always drink coffee if he went to a bar. When we lived on 11th Street in New York he liked the Horn & Hardart automat on 6th Avenue and Waverly Place – it was a big place where people could have a five-cent coffee and sit for hours. WW Sally grew up in Brooklyn, in a Jewish family, but she came from some means? MC Yes. They were upset that she was with someone like Milton – older, Christian, and a poor artist. It was her father who paid for her to go to the art colony in Gloucester, Massachusetts, where they met. Since college was never an option for her, he gave her the money. WW Did Sally have any siblings? MC She had two brothers and a sister. Her sister worked at a magazine – I forget the name. She collected a little bit of art. WW And what about your father’s family? 45
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1
2
Spindly Trees, c. 1910 Oil on board, 25.4 × 27.9 cm (10 × 11 inches)
Blossoming, 1918 Oil on board, 27.9 × 38.1 cm (11 × 15 inches)
Milton Avery Trust
Milton Avery Trust
54
55
EARLY WORK: LANDSCAPE
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1
2
Spindly Trees, c. 1910 Oil on board, 25.4 × 27.9 cm (10 × 11 inches)
Blossoming, 1918 Oil on board, 27.9 × 38.1 cm (11 × 15 inches)
Milton Avery Trust
Milton Avery Trust
54
55
EARLY WORK: LANDSCAPE
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15 Blue Trees, 1945 Oil on canvas, 71.1 × 91.4 cm (28 × 36 inches) Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger
68
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15 Blue Trees, 1945 Oil on canvas, 71.1 × 91.4 cm (28 × 36 inches) Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger
68
69
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16 Little Fox River, 1942 Oil on canvas, 91.8 × 122.2 cm (361/8 × 481/8 inches) Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger
70
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16 Little Fox River, 1942 Oil on canvas, 91.8 × 122.2 cm (361/8 × 481/8 inches) Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger
70
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42 Oyster Catcher, 1944 Oil on board, 58.4 × 86.4 cm (23 × 34 inches) Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger
100
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42 Oyster Catcher, 1944 Oil on board, 58.4 × 86.4 cm (23 × 34 inches) Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger
100
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51 Swimmers and Sunbathers, 1945 Oil on canvas, 71.1 × 122.6 cm (28 × 481/4 inches) Lent by The Metropolitan Museum of Art, New York. Gift of Mr and Mrs Roy R. Neuberger, 1951 (51.97)
112
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51 Swimmers and Sunbathers, 1945 Oil on canvas, 71.1 × 122.6 cm (28 × 481/4 inches) Lent by The Metropolitan Museum of Art, New York. Gift of Mr and Mrs Roy R. Neuberger, 1951 (51.97)
112
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Manuela and Iwan Wirth Mr Robert John Yerbury and those who wish to remain anonymous SILVER PATRONS Mr John Attree Catherine Baxendale Mr and Mrs Jonathan and Sarah Bayliss Mrs J K M Bentley, Liveinart Sam and Rosie Berwick Mr William Bollinger Eleanor E Brass Mrs Marcia Brocklebank Mrs Charles Brown Simon Morris and Annalisa Burello Mr Jack Burgess Ms Debra Burt Ms Pauline Cacucciolo Mrs Ann Chapman-Daniel Ms Natasha Cheung Sir Trevor and Lady Chinn Mr Magnus Christensson Mrs Jane Clark Rosalind Clayton Mr Richard Clothier Denise Cohen Charitable Trust Sir Ronald and Lady Cohen Mrs Jennifer Coombs Andrew M Coppel CBE and June Coppel Mark and Cathy Corbett Edmund Coulthard Mrs Georgina David Mr Daniel Davies Ms Miel de Botton Patrick and Benedicte de Nonne Mr and Mrs Jim Downing Mrs Janet Dwek Maryam Eisler Susan Elliott Nigel and Christine Evans Mrs Stroma Finston Commander P Fletcher Virginia Gabbertas Mr Stephen Garrett Herrmann Jacqueline and Jonathan Gestetner The Hon Piers and Mrs Gibson Mr Mark Glatman Mrs Margaret Guitar Alex Haidas and Thalia Chryssikou Mr Christopher Harrison Mrs Sarah Harvey-Collicott Sir John and Lady Hegarty Sir Michael and Lady Heller Rosalyn and Hugo Henderson Mrs Katrin Henkel Lady Heseltine Mrs Pat Heslop Mrs Susan Hitchin Mary Hobart Mr Philip Hudson Mr and Mrs Jon Hunt Mrs Caroline Jackson Mrs Raymonde Jay Mrs Marcelle Joseph Mrs Ghislaine Kane Dr Elisabeth Kehoe Mrs Kit Kemp Paul and Susie Kempe Miss Rebecca Kemsley Mr Gerald Kidd Mr and Mrs James Kirkman Mrs Anna Kirrage Mrs Aboudi Kosta Mrs Alkistis Koukouliou Mr and Mrs Herbert Kretzmer Mr Matthew Langton Jessica Lavooy Mrs Anna Lee Ms Jolana Leinson
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Richard Burger and Rachel Lipson Mr Jeremy and Dr Julie Llewelyn Miss R Lomax-Simpson Sir John Mactaggart Mr George Maher Ms Julie Major Olivier and Priscilla Malingue Mr Richard Mansell-Jones Mr Charles Martin Mr and Mrs Richard C Martin Gillian McIntosh Andrew and Judith McKinna Itxaso Mediavilla-Murray Anthony and Elizabeth Mellows Victoria Miro Ms Bona Montagu Mrs Alexandra Nash Mrs Tessa Nicholson Emma O’Donoghue Neil Osborn and Holly Smith Mr Michael Palin Roderick and Maria Peacock Mr and Mrs D J Peacock Mr Adam and Mrs Michelle Plainer Mary Pollock Ms Susan Prevezer QC Lady Purves Ms Mouna Rebeiz Mrs Catherine Rees Peter Rice Esq Miss Elaine Rowley Mrs Janice Sacher Mr Adrian Sassoon Christina, Countess of Shaftesbury Ms Elena Shchukina Dr Shirley Sherwood OBE Mr and Mrs Alan K Simpson Mrs Jane Smith Mr Stuart Southall The Lady Henrietta St George Miss Sarah Straight Mrs Ziona Strelitz Ms Catherine Sutton Mr Anthony J Todd Mrs Kirsten Tofte Jensen John and Carol Wates Mr Craig D Weaver The Duke and Duchess of Wellington Mrs Juliana Wheeler Mrs Diana Wilkinson Mrs Janet Winslow Mr and Mrs Maurice Wolridge David Zwirner and those who wish to remain anonymous YOUNG PATRONS PLATINUM Mr Toby Noskwith GOLD Bella Kesoyan SILVER Daniel Boehm Mr Nicholas Bonsall Ariana Brighenti Mr Matthew Charlton XiaoMeng Cheng Dr Brian Fu Miss Lemara Grant Mr Phoebus Istavrioglu Peter Jones Miss Min Kemp Sergey Kozlov Miss Matilda Liu Christina Makris Patrick McCrae Ms Julie Scotto
Irene Sieberger Gigi Surel and those who wish to remain anonymous PATRON DONORS Geoffrey Ainsworth and Johanna William The de Laszlo Foundation William Brake Charitable Trust Mr D H Killick The Lady Myners The Michael and Nicola Sacher Mrs Denise Vohra and those who wish to remain anonymous TRUSTEES OF THE ROYAL ACADEMY TRUST Registered Charity No. 1067270 HONORARY PRESIDENT HRH The Prince of Wales KG KT GCB OM AK QSO ADC TRUSTEES Lady Alison Myners (Chair) Rob Suss (Deputy Chair) President of the Royal Academy (ex officio) Treasurer of the Royal Academy (ex officio) Mr Petr Aven Mr Aryeh Bourkoff Mr Varun Chandra Mr Richard Chang Dr Adrian Cheng Ms Melanie Clore Lady Deighton Sir Lloyd Dorfman CBE Mr Pesh Framjee Mr Stephen Gosztony Lady Heywood Mr Clive Humby OBE Dame Carolyn McCall Mr Scott Mead Mrs Batia Ofer Mrs Ina Sandmann Mrs Sian Westerman Ms Andrea Wong The Hon William Yerburgh EMERITUS AND HONORARY TRUSTEES Lord Aldington Mrs Susan Burns Sir James Butler CBE DL Sir David Cannadine FBA Sir Richard Carew Pole Bt OBE DL Sir Trevor Chinn CVO Mr John Coombe Ms Elizabeth Crain Lord Davies of Abersoch CBE Ambassador Edward E Elson Mr John Entwistle OBE Mr Michael Gee The Rt Hon the Earl of Gowrie PC HRH Princess Marie-Chantal of Greece C Hugh Hildesley Mrs Anya Hindmarch CBE Mrs Susan Ho The Lady Lever of Manchester Sir Sydney Lipworth QC The Rt Hon Lord Luce GCVO DL Mr Philip Marsden Sir Keith Mills GBE DL Mr Ludovic de Montille Mrs Minori Mori Mr John Raisman CBE John Roberts Esq FRIBA Sir Simon Robertson Sir Evelyn de Rothschild Mrs Maryam Sachs
The Hon Richard Sharp Mr David Stileman Mr Peter Williams JAPANESE COMMITTEE OF HONOUR Mr Hiroaki Fujii (Chair) and Mrs Fujii CORPORATE MEMBERS Mr Nobuyuki Idei (I Concept) and Mrs Idei Mr Yoshitoshi Kitajima (Dai Nippon Printing Co Ltd) and Mrs Kitajima Mr Shinzo Maeda and Mrs Maeda (Shiseido Co Ltd) Mr Yoshihiko Miyauchi (ORIX Corporation) and Mrs Miyauchi Mr Yuzaburo Mogi (Kikkoman Corporation) and Mrs Mogi Mrs Minoru Mori (Mori Building Co Ltd) Mr Takeo Obayashi (Obayashi Corporation) and Mrs Obayashi Mr Nobutada Saji (Suntory Holding Co Ltd) and Mrs Saji Mr Toichi Takenaka (Takenaka Corporation) and Mrs Takenaka Mr Yuzo Yagi (Yagi Tsusho Ltd) and Mrs Yagi PATRONS Prof Tadao Ando Hon RA and Mrs Ando Mr Shinji Fukukawa and Mrs Fukukawa Prof Arata Isozaki Hon RA and Mrs Isozaki Mr Hideo Morita and Mrs Morita Mr Koichi Nezu and Mrs Nezu Mr Yoji Shimizu and Mrs Shimizu Mr Masayoshi Son and Mrs Son Mr Jonathan Stone and Mrs Stone Mrs Tadao Suzuki Mr Hideya Taida Hon CBE and Mrs Taida Mr Shuji Takashina and Mrs Takashina Mr Tsuneharu Takeda and Mrs Takeda Mr Hiroyasu Tomita and Mrs Tomita Mrs Toshio Yamazaki DIRECTOR Mrs Yu Serizawa SECRETARIAT Mrs Yuko Tadano CORPORATE MEMBERSHIP OF THE ROYAL ACADEMY OF ARTS Launched in 1988, the Royal Academy’s Corporate Membership Scheme offers company benefits for staff, clients and community partners and access to the Academy’s facilities and resources. We thank all members for their valuable support and continued enthusiasm. ASSOCIATE Bank of America Beaumont Nathan Art Advisory Ltd BNP Paribas Bonhams 1793 Ltd British American Tobacco The Cultivist
Deutsche Bank AG London GlaxoSmithKline PLC Imperial College Healthcare Charity Lazard Morgan Stanley & Co International PLC Pentland Group PLC Rolex Sanlam UK SMBC CORPORATE Bird & Bird LLP Bloomberg LP The Boston Consulting Group Bridgepoint Advisers Limited Christie’s Generation Investment Management LLP Holdingham Group Index Ventures John Lewis Partnership Lindsell Train LetterOne Marie Curie Native Land Ridgeway Partners The Royal Society of Chemistry Sisk Sky Trowers & Hamlins LLP UBS Wealth Management Weil Gotshal & Manges LLP PREMIER The Arts Club BNY Mellon Charles Stanley Chestertons Convex UK Services Limited FTI Consulting LLP Insight Investment JM Finn & Co JTI KPMG LLP Linklaters LLP Ocean Outdoor Smith & Williamson Sotheby’s CORPORATE FOUNDING BENEFACTORS BNY Mellon Index Ventures Newton Investment Management Ralph Lauren Sisk Sky CORPORATE SPONSORS AND SUPPORTERS Art Fund Arts Council of New Zealand Toi Aotearoa Blackwall Green BNP Paribas BNY Mellon, Anniversary Partner of the Royal Academy of Arts Bottega Veneta Charles Stanley Associates City of Málaga Derwent London Diputación de Málaga Costa del Sol Edwardian Hotels Estrella Damm La Fundación Bancaria Unicaja Lorcan O’Neill Google Arts and Culture The Government of Flanders Hauser & Wirth Hermès
HS1 Ltd HTC VIVE iGuzzini Insight Investment Italian Trade Agency Jaeger-LeCoultre JM Finn & Co Momart New Zealand Newton Investment Management Octopus Energy Offer Waterman Papua New Guinea Phillips The Pictet Group Rocco Forte Hotels Sky Arts Stewarts Tileyard London The Kingdom of Tonga Turkish Ceramics Unicaja Banco Viking Vhernier Wells Fargo White & Case White Cube Xavier Hufkens BENEFACTORS OF THE RA LEARNING PROGRAMME The Nicholas Bacon Charitable Trust Jeanne and William Callanan Capital Group Dunard Fund Robin Hambro The Margaret and Richard Merrell Foundation Alexandra Nash Peacock Charitable Trust Peter Storrs Trust Lord Leonard and Lady Estelle Wolfson Foundation Worshipful Company of Chartered Architects BENEFACTORS OF THE RA EXHIBITION PROGRAMME Blavatnik Family Foundation Lars Bane Cockayne Grants for the Arts Creative New Zealand Dunard Fund Genesis Foundation Ömer Koç Scott and Laura Malkin The Steel Charitable Trust Peter and Geraldine Williams Pro Helvetia Cate Olson and Nash Robbins Tavolozza Foundation The Magic Trust The Ruddock Foundation for the Arts The Terra Foundation for American Art The Thompson Family Charitable Trust RA BENEFACTORS The Atlas Fund CHK Foundation Joseph Strong Frazer Trust
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