Hans Hofmann by Miles McEnery Gallery

HANS HOFMANN

MILES M c E N E RY G A L L E RY

520 West 21st Street New York NY 10011

tel +1 212 445 0051 www.milesmcenery.com

525 West 22nd Street New York NY 10011

“Feeling Into” Form: The Empathic Mind By Tina Dickey

When I start to paint—I want to forget all I know about painting. I take for granted that my knowledge has become second nature. In the approach toward my work, I follow not one, but several seemingly opposed principles. I make sure, however, not to make the mistake of mixing two or all of them in one and the same creative operation. What I would hate most is to repeat myself over and over again—to develop a false style. I do not want to avoid immersing myself in trouble—to be in a mess—to struggle out of it. I want to invent, to discover, to imagine, to speculate, to improvise—to seize the hazardous in order to be inspired. I want to experience the manifestation of the absolute—the manifestation of the unexpected in an extreme and unique relation. I know that only by following my creative instincts—in an act of creative destruction—will I be able to find it. As a painter, I deny any rule, any method and any theory. I trust and follow only the inner eye in the faculty of empathy. The painterly instincts are stronger than the will. The outcome fascinates me—it permits no reasoning. Or may it be that a kind of super-concentration makes one forget the immense mental effort as it makes one forget the immense physical effort? I don’t know. The Philistine will see in it a similarity to the art of the Schizophrene. —Hans Hofmann, “When I Start to Paint…,” Typescript, April 1, 1950, Hans Hofmann Papers, Archives of American Art

Totally naked and covered in paint, Hans Hofmann was leaning on the rail of the second story boardwalk in the Days Lumberyard Studios in Provincetown, Massachusetts, staring through his studio door with a furrowed brow. His student and neighbor James Gahagan emerged from his own studio in search of a breeze. “What’s the problem?” Gahagan asked. “Step into my studio,” said Hofmann. “You’ll see what’s wrong. I have just slaughtered a painting.” Some fifty years later, lecturing at the New York Studio School, Gahagan recalled his insight of that moment: “Up to that point, I’d always demanded maybe a bit too much control over my painting, over the process itself. Here was the man I considered a master—who freely admitted that he could blow the whole thing apart, lose it. I thought once you became a painter and you knew what the hell you were doing, you just made beautiful paintings, one right after the other.”

In 1915, Hofmann started an art school in Munich, Germany, to provide rehabilitation assistance for shell-shocked soldiers. Hofmann recognized that the creative process offered a means to regenerate and transform a damaged psyche. He also had the larger hope that the health of the human psyche would be reflected in the political health of the culture, the nation, and the world—as one sacred and inseparable organism. Despite the radical changes in his work from decade to decade, and even from painting to painting, Hofmann’s understanding of the creative process did not change. In the statement “When I Start to Paint…,” he rebelled against the imposition or cultivation of a uniform (and marketable) style. He fought to achieve the highest states of visual awareness—and gave himself the freedom to fail. Such a creative process—aiming not to please and winding up not where one expects or plans or even wants to be—results in the birth of an interrelated whole. The Philistine will see in it a similarity to the art of the Schizophrene. To one hostile to the arts, this can appear to be madness. Through empathy—Einfühlung or “feeling into”—the inner eye senses the emerging relationships on canvas. Then, by simplifying, even destroying, to clarify those relationships, the inner eye strengthens the connections. As Hofmann embraced fear and frustration— and wound up using what he called the scheiss, scraping what’s left on the palette together into its own color—his outlined architectonic forms of the 1940s become unteth-

ered forces of color from 1952 on. Large masses activate space; through counterbalance and thrust, they turn in space. As the eye engages different relationships, a movement can shift in multiple directions. Movement within stillness is power. Power is tension. And power and tension are life. Each work in this exhibition is a profound resolution of the unpredictable development of Hofmann’s vision. “There is in reality no such thing as modern art,” wrote Hofmann in 1952 for his Kootz Gallery exhibition, “Art is carried on up and down in immense cycles through centuries and civilizations.” Yet no artist creates in a visual vacuum. At age 65 at the end of World War II, Hofmann drew upon memory as urgently as he drew upon his surroundings. He still painted from still lifes and the occasional model, yet he also responded to the visual language of his peers and his students. A work might echo an experience of light and movement in the landscape, or the singing blades of an electric fan. The years after the war were a fertile period of semi-abstraction, a movement that remains without a name. The cubists had long ago returned to figurative work to anchor their structural exploits in an emotional reality. The avant-garde artists of New York, including Hofmann, had been experimenting with automatism and biomorphic forms: free associations and unintended meanings that might result in a new visual language. Hofmann’s own experience of the history of European art and what he had learned of visual traditions worldwide informed his emphasis on color as the primary force in painting, an emphasis that set him apart from his New York contemporaries. His creative emergence was thus more complex than theirs: He was transforming the dictates of a multifaceted history into contemporary relevance. “I develop two styles in painting, a decorative one and a highly symphonic one,” Hofmann summarized in 1952. “Besides these, I work as I please.” Two works of 1946 give a hint of his dance between the poles of structure and emotion, between precision of form and poetry of color, between geometric simplicity and symphonic facture: The Virgin and The Conjurer (Small Version). What seems strange now is that these veins of work and his experiments with biomorphic form, garnered the label

“Abstract Expressionism” in a New Yorker review of his exhibition at the Mortimer Brandt Gallery, on 57th Street in New York, in the early spring of 1946.1 And in 1961, Clement Greenberg would write, “Summer Glory of 1944 and Conjurer of 1946 declare the impastoed, non-linear manner which, in my view, was his most consistently successful one in the ten years after 1948. Here color determines form from the inside as it were…”2

In his youth, Hofmann would have become familiar with a famous painting by Hieronymus Bosch. The original was in a museum in the suburbs of Paris, and blockprint copies of the painting were popular. Bosch’s Conjurer, a rounded figure in red, stands on the right, facing his audience with his vessels of deception, luring his prey with a game of cups and balls. In one version, a frog emerges from his mouth to distract the former owner of the now stolen purse that is in the Conjurer’s hand. Hofmann’s Conjurer’s Vessels of 1945 is a similar composition, as is his abstract Conjurer of 1959. Hans Hofmann’s 1940s experiments with amoebic form and thrown paint find gravity in the interlocking volumes and sexual imagery of The Virgin, which formed part of an evolution that had begun in 1945. The painting’s potent form and decisive line suggest the work of Hofmann’s peers Arshile Gorky and Pablo Picasso. During that time, Hofmann had been coaching his friend (soon to be his dealer) Samuel Kootz on how to court Picasso, and by the end of 1946, Kootz brought the first new Picassos to New York since the beginning of the war. Through the next few years, Hofmann’s inner struggle to mine the magic of older traditions continued to influence his circles of painters and students. In 1949, Hofmann had recently returned from his first exhibition in Paris at Galerie Maeght and from his reunions with Pablo Picasso, Georges Braque, Constantin Brancusi, Joan Miró, and others. He was also part of a vibrant artistic community in Provincetown. An influx of talented artists, writers, and poets in Provincetown in the summers of 1949 and 1950 led to Forum 49, a summer-long series of exhibits and programs, which helped inspire the 1950 exhibition Post-Abstract Painting 1950, France and America at the Provincetown Art Association.

Hieronymus Bosch, The Conjurer, c. 1502

Hofmann’s inclusive view of art history, combined with his insistence on working from nature, resulted in a more definitive turn toward figuration among a number of his former students, among them Robert De Niro Sr., whose private studio was then the only studio to share the loft floor with Hofmann’s. The Canadian painter Joseph Plaskett recalled, “I’ve always thought that Hofmann’s teaching turned me from an abstract painter to a figurative one.” He attributed the change to his deepened understanding of visual dynamics.3 What the students perceived to be their rebellion did not faze Hofmann. It was evidence of the grand shifts in visual exploration throughout time. Irving Sandler was impressed by the degree of Hofmann’s own figuration in 1950, in works such as Fruit Bowl,4 or Le Coq, and the easily identifiable pineapple in Magenta and Blue. This figuration was balanced by his severely geometric mural studies of 1950 for a civic center in Chimbote, Peru (a collaboration with the Catalan architect Josep Lluís Sert that was arranged by Kootz). Vestiges of these studies appear in the 1951 work Perpetuita. The title is Italian for perpetuity: endless, everliving, everlasting—not an unusual preoccupation for a 71-year-old. A big-bellied nude in sandals bends in a close space, perhaps dressing himself in infinity, about to roll in a blanket of sky, pulling back the curtain to another realm—revealing white bones in the night. A master includes everything in a masterwork—sex, fear, love, pain, joy, being and nothingness, birth and death, day and night—for existence itself is a transformative nexus of simultaneous transitions. END NOTES 1. Robert Coates, “The Art Galleries, at Home and Abroad” New Yorker, March 30, 1946, p. 83. The term originated in 1919 in Der Sturm, see Helen Harrison, “Arthur G. Dove and the Origins of Abstract Expressionism,” American Art 12, no. 1 (Spring 1998): 75–76. 2. Clement Greenberg, Hans Hofmann (Paris: Editions Georges Fall, 1961), reprinted in Cynthia Goodman, Hans Hofmann, (Munich: Prestel Verlag, 1990), p. 126. 3. Joseph Francis Plaskett, taped interview with the author, Paris, March 31, 1999. 4. Irving Sandler, “Hans Hofmann, I Hate to Repeat Myself,” in Hans Hofmann: Circa 1950, exhibition catalog (Waltham, MA: Rose Art Museum, 2010), p. 94.

Tina Dickey is the author of Color Creates Light: Studies with Hans Hofmann, 2011.

Light House, 1936 Casein on panel 20 x 23 inches 50.8 x 58.4 cm No inscriptions HH cat. no. 441-1936 Estate no. M-0896 HH CR no. P115 8

Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 1995 Marianne Friedland Gallery, Naples, FL (group) Drabinsky and Friedland Galleries, Toronto, Canada (solo)* 2012 Acme Fine Art, Boston (19 May – 23 June; group) Acme Fine Art, Boston (21 July – 18 August; group) Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P115.

[Landscape], c. 1941 Oil on panel 24 x 30 inches 61 x 76.2 cm Painting on verso Estate no. M-1259 HH CR no. P352

Provenance Estate of the artist (1966-1973) André Emmerich Gallery, New York (1973) Makler Gallery, Philadelphia (1973) Private collection (1973) Ameringer | McEnery | Yohe, New York (2017) Exhibitions 1972 Galerie Omnasch, Cologne, Germany (solo, traveled to Basel, Switzerland) 1973 Makler Gallery, Philadelphia, “American Abstract Expressionists,” 4 – 29 September, (group) Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P352.

[Untitled] Landscape No. 11 [per HH cat. no.], 1942 Oil on panel 30 x 35 1/8 inches 76.2 x 89.2 cm No inscriptions

HH cat. no. 1156-1942 Estate no. M-1217 HH CR no. P435 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue RaisonnĂŠ of Paintings, Vol. 2, color ill., cat no. P435.

[Untitled] Landscape No. 49 [per HH cat. no.], 1942 Oil on panel 35 x 30 inches 88.9 x 76.2 cm No inscriptions HH cat. no. 1194-1942 Estate no. M-1239 HH CR no. P374 Renate, Hans and Maria Hofmann Trust (acquired 1996) 14

Provenance Estate of the artist (1966-1996) Exhibitions 1972 Richard Gray Gallery, Chicago (January – March; solo) 1989 John Berggruen Gallery, San Francisco (solo) 2006 David Findlay Jr. Fine Art, New York, “9th Street: Nine artists from the Ninth Street Show” (group),* color ill. p. 13, comm. n.p. Literature 2006 Ban, ARTnews (group exh. rev.), comm. p. 183, as Untitled 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P374.

Fury No. 1, 1945 Oil on panel 55 1/2 x 44 inches 141 x 111.8 cm Lower right: “hans hofmann I 29 / 45” Verso upper left [MH]: "55 1/2 x 44"; upper right: “To Museum of Modern Art / for Mr. Barr”; “1945” HH cat. no. 1126-1945 Estate no. M-1126 HH CR no. P530 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996)

Exhibitions 1947 Betty Parsons Gallery, New York, “The Ideographic Picture,” 20 January – 8 February, (group),* cat. no 1, as The Fury I The Art Institute of Chicago, Chicago, “Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture,” 6 November 1947 – 11 January 1948, (group),* ill. p. 4, cat. no. 118 1949 Galerie Maeght, Paris, “Hans Hofmann Peintures,” 7 January – 9 February (solo) as Fury 1 2013 Ameringer | McEnery | Yohe, New York, “Hans Hofmann,” 5 December 2013 – 25 January 2014, color ill., p. 47, as Fury 1 Literature 1947 Jewell, New York Times (group exh. rev.), comm. p. 21 Riley, MKR’s Art Outlook (group exh. rev), comm. p. 3, as Fury 1 1948 Abell, Magazine of Art (group exh. rev.), ill. p. 8, comm. p. 8 1949 Estienne et. al, Derrière le Miroir (solo exh. rev.), ill. n.p., comm. n.p. Special issue on Hofmann, published in conjunction with the gallery’s exhibition Hans Hofmann Peintures. Lithographs by Hofmann; essays by Charles Estienne and Peter Neagoe; poem by Weldon Kees; reprint of “An Appreciation” (1948) by Tennessee Williams. 1989 Mackie, Art/Talk: Theory and Practice in Abstract Expressionism, comm. p. 23, as The Fury 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P530.

Mysterious Approach II, 1945 Oil on panel 26 1/2 x 30 inches 67.3 x 76.2 cm Lower right: “hans hofmann / VIII 22 45” Verso upper strainer: “Mysterious Approach II”; upper left panel [MH]: “Catalogue No. / 5991945 / oil on plywood / 26 1/2 x 30"; upper strainer: ‘599-1945 – oil on plywood 26 1/2 x 30” HH cat. no. 599-1945 Estate no. M-0274 HH CR no. P519 18

Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 1947 Dallas Museum of Fine Arts (solo, traveled),* cat. no. 8, as Mysterious Approach 1 1995 Annely Juda Fine Art, London, “The End of the War,” (group, traveled),* color ill. n.p., cat. no. 32, as Misterious Approach Literature 1947 Oklahoma Daily (solo exh. rev.), comm. p. 5, as Mysterious Approach 1 1995 Hilton, Independent on Sunday (group exh. rev.), ill. p. 24, comm. p. 24, as Misterious Approach 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P519.

Alchemy, 1946 Oil on panel 35 x 30 inches 88.9 x 76.2 cm Lower right: “hans hofmann VII.23.46” Verso upper left: “18”; upper center [MH]: “Catalogue 607-1946 / Alchimy [sic] / oil on plywood / 35 x 30"; on board attached to strainer: “Catalogue 607-1046 Alchimy [sic] oil on plywood”

HH cat. no. 607-1946 Estate no. M-0374 HH CR no. P567 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 2017 Ameringer | McEnery | Yohe, New York, “Hans Hofmann: The Post-War Years: 1945-1946,” 23 March – 22 April, color ill., p. 59 Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P567.

The Conjurer (Small Version), 1946 Oil on panel 25 x 30 inches 63.5 x 76.2 cm Lower right: “hans hofmann 46” Verso upper right: “The conjurer [sic] / (small [sic] version) / 25 x 30”; upper center [MH]: “Hans Hofmann / No. 116 / Catalogue / 25 x 30” HH cat. no. 116-1946 Estate no. M-0253 HH CR no. P615 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996)

Exhibitions 1946 American Contemporary Gallery, Hollywood, CA (solo, traveled) 1946 Mortimer Brandt Gallery, New York, “Hans Hofmann: Recent Painting,” 18 – 30 March (solo) 1959 Kootz, New York, “Hans Hofmann: Early Paintings,” (curated by Clement Greenberg), 20 – 31 January; solo* 1985 Thomas Babeor Gallery, La Jolla, CA, “Hans Hofmann: Painting and Works on Paper,” 8 February – 6 April (solo) 2008 Robert Sandelson, London, “New York School: Hans Hofmann, Richard Pousette-Dart, David Smith and Jack Tworkov,” 12 June – 15 August (group) Peggy Guggenheim Collection, Venice and Arca, Chiesa di San Marco, Vercelli, Italy, “Peggy Guggenheim e la Nuova Pittura Americana,” 21 November 2008 – 1 March 2009, (group),* color ill. p. 93, comm. p. 96 , as Il prestigiatore (The Conjurer) 2009 American Contemporary Art Gallery, Munich, “Hans Hofmann: From Figuration into Abstraction,” 26 November 2009 – 28 February 2010 (solo) 2010 Stiftung Museum Kunst Palast, Düsseldorf, Germany, “Le Grand Geste! Informel und Abstraker Expressionismus, 1946 – 1964,” 10 April – 1 August, (group),* color ill. p. 110, cat. no. 72 Museum Wiesbaden, Germany, “Das Geistige in der Kunst: Vom Blauen Reiter zum Abstrakten Expressionismus,” 31 October 2010 – 27 February 2011, (group),* color ill. p. 321 (fig. 3), p. 353, comm. p. 321, as The Conjurer (Der Zauberer) 2012 Ameringer | McEnery | Yohe, New York, “Hans Hofmann: Art Like Life Is Real,” 15 March – 21 April, (solo),* color ill. pp. 23, 24-25 (detail), comm. p. 9 2017 Ameringer | McEnery | Yohe, New York, “Hans Hofmann: The Post-War Years: 1945-1946,” 23 March – 22 April, color ill., p. 23 Literature 1946 Matter, Arts & Architecture (solo exh. rev.), ill. p. 28 1961 Greenberg, hofmann, (solo exh. cat.; not in exhibition), comm. p. 20 1990 Goodman, Hans Hofmann (solo exh. cat.; not in exhibition), comm. p. 126 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P615.

The Virgin, 1946 Oil on board 41 1/4 x 30 1/2 inches 104.8 x 77.5 cm Lower right: “hans hofmann VII 23 46” Verso obscured by backing HH cat. no. 503-1946 Estate no. M-0312 HH CR no. P592 Renate, Hans and Maria Hofmann Trust (acquired 1996)

Provenance Estate of the artist (1966-1996) Exhibitions 1949 Galerie Maeght, Paris, “Hans Hofmann Peintures,” 7 January – 9 February (solo) 1959 Kootz, New York, “Hans Hofmann: Early Paintings,” (curated by Clement Greenberg), 20 – 31 January; solo* 2013 Ameringer | McEnery | Yohe, New York, “Hans Hofmann,” color ill. p. 55. 2017 Ameringer | McEnery | Yohe, New York, “Hans Hofmann: The Post-War Years: 1945-1946,” 23 March – 22 April, color ill., p. 17 Literature 1949 Estienne et. al, Derrière le Miroir (solo exh. rev.), ill. n.p., comm. n.p. Special issue on Hofmann, published in conjunction with the gallery’s exhibition Hans Hofmann Peintures. Lithographs by Hofmann; essays by Charles Estienne and Peter Neagoe; poem by Weldon Kees; reprint of “An Appreciation” (1948) by Tennessee Williams. 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P592.

Black Form, 1946 Oil on board 44 1/4 x 28 1/2 inches 112.4 x 72.4 cm Lower left: “HH” Verso obscured by backing HH cat. no. 496-1946 Estate no. M-1088 HH CR no. P605 26

Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 2013 Nassau County Museum of Art, Roslyn, “AB-EX-RE-CON: Abstract Expressionism Reconsidered,” 9 March - 16 June. 2013 Ameringer | McEnery | Yohe, New York, “Hans Hofmann,” color ill. p. 67. 2017 New York Studio School, New York, “Special Exhibit of Founding Faculty/Key Influences,” 24 July – 27 August. Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P605.

La Révision, 1946 Oil on panel 41 1/2 x 32 1/2 inches 105.4 x 82.6 cm Lower right: “hans hofmann / VI 24 46” HH. cat. no. 482-1946 Estate no. M-0997 HH CR no. P596

Provenance Estate of the artist (1966-1996) Renate, Hans and Maria Hofmann Trust (acquired 1996) Ameringer & Yohe Fine Art, New York, NY Private collection Exhibitions 1983 B. R. Kornblatt, Washington, D.C., “Hans Hofmann,” 20 September – 26 October (solo) 1985 Thomas Babeor Gallery, La Jolla, CA, “Hans Hofmann: Painting and Works on Paper,” 8 February – 6 April (solo) 1987 Douglas Drake Gallery, New York, “Opening Show: Milton Avery, Calder, Dan Christensen, Dove, Helen Frankenthaler, Hartley, Hans Hofmann, Robert Motherwell, Kenneth Noland, and Larry Poons” (group) 2006 Ameringer & Yohe Fine Art, New York, “Hans Hofmann, The Unabashed Unconscious: Reflections on Hofmann and Surrealism,” (solo),* color ill. p. 30 Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P596.

Obliquité, 1947 Oil on canvas 30 1/2 x 41 inches 77.5 x 104.1 cm Lower right: “I 25 47 / hans hofmann” HH. cat. no. 764-1947 Estate no. M-0371 HH CR no. P663

Provenance Estate of the artist (1966-1996) Renate, Hans and Maria Hofmann Trust (acquired 1996) Ameringer & Yohe Fine Art, New York, NY Private collection Exhibitions 1989 André Emmerich Gallery, New York, “Hans Hofmann, The Post-War Years: 1945-49,” 12 January – 18 February (solo),* color ill., pl. 6 2005 Ameringer & Yohe Fine Art, New York, “Hans Hofmann: Search for the Real,” 6 January – 12 February (solo) Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P663.

Yellow Volume, 1947 Oil on panel 30 x 35 inches 76.2 x 88.9 cm Lower right: “hans hofmann VI 18 47” Verso upper left [MH]: “1949 [sic] 30 x 35”

HH cat. no. 1103-1947 Estate no. M-1141 HH CR no. P653 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 1948 Harvey Prober, Inc., Grand Rapids, MU (group) [per Kootz] Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P653.

Blue Bottle, Red Round Table [Untitled (Blue Bottle-Red Round Table)], 1947 Oil on canvas 48 1/2 x 60 inches 123.2 x 152.4 cm Lower right: “II 5 47 / hans hofmann” Verso: “Cat. 1134, Paris 15” HH cat. no. 1134-1947 Estate no. M-1134 HH CR no. P637 34

Provenance Estate of the artist (1966-1972) André Emmerich Gallery, New York (1972) David Mirvish Gallery, Toronto, Canada (1972) Private collection (1972-2008) Exhibitions 1970 André Emmerich Gallery, New York (solo)* [not in published checklist] 1972 David Mirvish Gallery, Toronto, Canada (solo), as Untitled (Blue Bottle) Literature 1972 Kritzwiser, The Globe and Mail (solo exh. rev.), comm. p. 26, as Blue Bottle 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P637.

The Blande Interior Blande Interior with Table-White Lines and Squares, 1949 Oil on canvas 60 x 42 inches 152.4 x 106.7 cm Lower right: “49 / hans hofmann” Verso upper left: “The blande [sic] interior”; upper left [MH]: "60 x 42"; upper stretcher: “Blande [sic] Cat. 894-1949 Interior with table – white lines and Squares / oil on canvas 60 x 42" 36

HH cat. no. 894-1949 HH cat. no. 1110-1949 Estate no. M-0981 HH CR no. P715 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P715.

Composition No. 5, 1950 Oil on canvas 36 1/8 x 48 1/8 inches 91.8 x 122.2 cm Original verso has been re-lined. Per documentary photographs, upper right: “Composition - / No. 5 / hans hofmann”; [MH]: “50” HH cat. no. 317-1950 Estate no. M-9003 HH CR no. P789

Provenance The artist (1950-c. 1965) Collection Dr. Paul Schmitz (c. 1965-1973) Estate of the artist (1973-1996) Renate, Hans and Maria Hofmann Trust (1996-2012) Ameringer | McEnery | Yohe, New York (2012) Weber Fine Art, Scarsdale, NY (2012) Private collection (acquired 2012) Exhibitions 2003 Naples Museum of Art, FL, “Hans Hofmann: A Retrospective,” (curated by Karen Wilkin), 1 November – 21 March, color ill., cat. no. 21 2009 The Rose Art Museum, Brandeis University, Waltham, MA, “Hans Hofmann: Circa 1950,” traveled to The Philbrook Museum, Tulsa, OK and The Weatherspoon Guild Gallery of The University of North Carolina, Greensboro, NC, 3 July 2009 – 17 October 2010, color ill. pp. 121 2011 New Britain Museum of American Art, CT, “The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony,” traveled to The Westmoreland Museum of American Art, Greensburg, PA, The Wichita Art Museum, Wichita, KS and The Cape Cod Museum of Art, Dennis, MA, 15 July 2011 – 26 August 2012, color ill. pp. 77, 170, cat. no. 55 2012 Ameringer | McEnery | Yohe, New York, “Hans Hofmann: Art Like Life Is Real,” 1 5 March – 21 April, (solo),* color ill. p. 29, comm. p. 10 Literature 2002 Yohe, ed., Hans Hofmann, color ill. p. 130 2003 Wilkin, Hans Hofmann: A Retrospective (solo exh. cat.; not in exhibition), color ill., cat. no. 21 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P789.

The Pumpkin, 1950 Oil on canvas 36 x 48 inches 91.4 x 121.9 cm Lower right: “50 / hans hofmann” Original verso has been re-lined. Per documentary photographs, [MH]: “Catal. No. 603-1950 / The Pumpkin / oil on canvas / 36 x 48"; “56 / The Pumpkin 36 x 48 / canvas” HH cat. no. 603-1950 Estate no. M-0255 HH CR no. P770 Renate, Hans and Maria Hofmann Trust (acquired 1996)

Provenance Estate of the artist (1966-1996) Exhibitions 1950 Kootz, New York (solo)* 1952 Kootz, New York (group, traveled) 1954 Boris Mirski Art Gallery, Boston (solo)* 2003 Naples Museum of Art, FL, “Hans Hofmann: A Retrospective,” 1 November – 21 March, color ill., cat. no. 23 2009 The Rose Art Museum, Brandeis University, Waltham, MA, “Hans Hofmann: Circa 1950,” traveled to The Philbrook Museum, Tulsa, OK and The Weatherspoon Guild Gallery of The University of North Carolina, Greensboro, NC, 3 July 2009 – 17 October 2010, color ill. pp. 109, 142 (thumbnail) Literature 1950 Holliday, ARTnews (solo exh. rev.), comm. p. 48 1951 “Vue d’ensemble et tendances diverses.” Art d’Aujourd’hui 2, no. 6 (June 1951): ill. p. 1 1952 Guest, ARTnews (group exh. rev.), comm. p. 53 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P770.

Perpetuita, 1951 Oil on canvas 72 x 60 inches 182.9 x 152.4 cm Lower right: “51 / hans hofmann” Verso upper left: “Perpetuita 1951 / 6ft x 5ft / hans hofmann / 72 x 60 inch”; [MH]: “Cat 848 / oil on canvas” HH cat. no. 848-1951 Estate no. M-1048 HH CR no. P839 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996)

Exhibitions 1955 Bennington College, VT, “A Retrospective Exhibition of the Paintings of Hans Hofmann,” 15 – 31 May. 1957 Whitney Museum of American Art, New York, “Hans Hofmann,” traveled to Des Moines Art Center, IA, San Francisco Museum of Art, CA, Art Galleries of the University of California Los Angeles, CA, Seattle Art Museum, WA, Walker Art Center, Minneapolis, MN, Munson-Williams-Proctor Institute, Utica, NY, The Baltimore Museum of Art, MD, cat. no. 28, comm. p. 44 1962 Fränkische Galerie am Marientor, Nuremberg, Germany, “Hans Hofmann,” traveled to Kölnischer Kunstverein, Cologne, Kongrebhalle, Berlin, Städtische Galerie München Lenbachpalais, Munich, cat. no. 22, as Fortdauer 1999 Riva Yares Gallery, Santa Fe, NM, “Hans Hofmann: Major Paintings 1935-1964,” traveled to Riva Yares Gallery, Scottsdale, AZ, color ill. p.16 2003 Naples Museum of Art, FL, “Hans Hofmann: A Retrospective,” 1 November – 21 March, color ill., cat. no. 26 2005 The Painting Center, New York, “Hans Hofmann: The Legacy,” 1 November – 24 December, (group)* 2006 David Findlay Jr. Fine Art, New York, “9th St: Nine Artists from the Ninth Street Show,” 9 – 29 June, (group),* color ill. n.p., comm. n.p. 2009 Reykjavik Art Museum, Iceland, “Frá Unuhúsi til Áttunda straetis/ From Unuhús to West 8th Street,” 15 May – 30 August, (group)* Literature 1957 Coates, The New Yorker (solo exh. rev.), comm. p. 106 Rosenberg, ARTnews (solo exh. rev.), comm. p. 55 1964 Rosenberg, The Anxious Object: Art Today and Its Audience, comm. p. 157 1969 Rosenberg, The Anxious Object: Art Today and Its Audience (1964), 2nd ed., comm. p. 124 2006 Ban, ARTnews (group exh. rev.), comm., as Eilifo 2009 Jóa, Reykjavik Art Museum (group exh. rev.) comm., as Eilifo 2013 Buhlmann, ed., Hans Hofmann: Magnum Opus (solo exh. cat.; not in exhibition), comm. p. 44 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P839.

White Expansion, 1954 Oil on canvas 48 x 74 inches 121.9 x 188 cm Lower right: “54 / hans hofmann” Verso upper right: “white expansion / 74 x 48 [sic] – 1954 / hans hofmann” HH cat. no. 194-1954 Estate no. M-0138 HH CR no. P944 Renate, Hans and Maria Hofmann Trust (acquired 1996) 44

Provenance Estate of the artist (1966-1996) Exhibitions 1956 Philadelphia Art Alliance (solo) 2006 Ameringer & Yohe Fine Art, New York, “Hans Hofmann, The Unabashed Unconscious: Reflections on Hofmann and Surrealism,” (solo),* color ill. p. 50 Literature 2002 Yohe, ed., Hans Hofmann, color ill. p. 182 2006 Perl, ed., Hans Hofmann, The Unabashed Unconscious: Reflections on Hofmann and Surrealism, color ill., p.50. 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P994.

Blue Arcata, 1955 Oil on pencil on canvas 52 x 60 inches 132.1 x 152.4 cm Lower right: “hans hofmann 55” Verso upper right: “blue arcata.. / 52 – 60 1955 / hans hofmann”; stretcher [MH]: “170”

HH cat. no. 170-1955 Estate no. M-0139 HH CR no. P987 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 1955 Kootz, New York (solo)* Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P987.

Capriccio, 1955 Oil on canvas 48 x 60 inches 121.9 x 152.4 cm Lower right: “hans hofmann 55” Verso upper right: “Capriccio / 48 – 60 1955 / hans hofmann”; upper stretcher [MH]: “Cat. 849-1955” HH cat. no. 849-1955 Estate no. M-0128 HH CR no. P986 Renate, Hans and Maria Hofmann Trust (acquired 1996) 48

Provenance Estate of the artist (1966-1996) Exhibitions 1955 Kootz, New York (solo)* 1956 Philadelphia Art Alliance (solo) 2000 PAAM, Provincetown, MA (solo),* as Cappiccio 2000 Provincetown Art Association and Museum, MA, “Hans Hofmann: four decades in Provincetown” (curated by Lillian Orlowsky), July 28 - October 1, as Cappiccio Literature 1955 Tyler, ARTnews (solo exh. rev.), comm. p. 56 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P986.

Snow White, 1960 Oil on canvas 84 x 52 inches 213.4 x 132.6 cm Lower right: “60 / hans hofmann” Verso upper right: “Cat# 1013 / snow white / 84 x 52 1960 / hans hofmann” HH cat. no. 1013-1960 Estate no. M-0015 HH CR no. P1259

Provenance Estate of the artist (1966-1996) Renate, Hans and Maria Hofmann Trust (1996-2009) Ameringer | McEnery | Yohe, New York (2009) Jack Rutberg Fine Arts, Los Angeles (2009) Judy Strum Design Studio, Portland, OR (2009) Collection William R. Work and Mandy Gray (acquired 2009) Exhibitions 1961 Kootz, New York, “Hans Hofmann,” 7 – 25 March, (solo),* ill. n.p. 1962 Fränkische Galerie am Marientor, Nuremberg, Germany, “Hans Hofmann,” traveled to Kölnischer Kunstverein, Cologne, Kongrebhalle, Berlin, Städtische Galerie München Lenbachpalais, Munich, cat. no. 78, as Schneewittchen 1964 Long Island Arts Center, Pavilion of Fine Arts at the New York World’s Fair, NY, “American Art Today,” 16 June – 16 July, (group)* ill. n.p. 1969 Everson Museum of Art, Syracuse, NY, “Hans Hofmann,” 20 February – 7 April (solo) Literature 1961 Coates, The New Yorker (solo exh. rev.), comm. p. 128 Sandler, ARTnews (solo exh. rev.), comm. p. 10 1963 Hunter, Hans Hofmann, ill., pl. 138 With reprints of essays by Hans Hofmann: “Plastic Creation” (1932), pp. 35-38; “The Search for the Real in the Visual Arts” (1948), pp. 39-43; “The Resurrection of the Plastic Arts” and “The Mystery of Creative Relations” (1954). pp. 44-45; “The Color Problem in Pure Painting-Its Creative Origin” (1955), pp. 46-48; “Sculpture” (1933), pp. 49-51. 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P1259.

The Climb, 1960 Oil on board 84 x 48 inches 213.4 x 121.9 cm Lower right: “hans hofmann 60” Verso upper right: “Cat. #1463 / the climb / 84 x 48 1960 / hans hofmann” HH cat. no. 1463-1962 Estate no. M-0945 HH CR no. P1267 Renate, Hans and Maria Hofmann Trust (acquired 1996) 52

Provenance Estate of the artist (1966-1996) Exhibitions 2003 Naples Museum of Art, FL, “Hans Hofmann: A Retrospective,” 1 November – 21 March, color ill., cat. no. 48 2007 Palmer Museum of Art, Pennsylvania State University, University Park, “Installation in Galleries,” 7 June 2007 – 10 October 2009 (group) 2012 ART in Embassies Program, Washington, D.C., (group), exhibited at American Ambassador’s Residence Luxembourg Literature 2003 Wilkin, Hans Hofmann: A Retrospective (solo exh. cat.; not in exhibition), color ill., cat. no. 48 2006 Adams, The Making and Meaning of Art, color ill. p. 111, fig. no. 6.4, comm. p. 110 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P1267.

Blue Mirage, 1961 Oil on canvas 60 x 52 inches 152.4 x 132.1 cm Lower right: “hans hofmann 61” Verso upper right: “Cat.# 1305 / blue mirage / oil on canvas / 60 x 52 1961 / hans hofmann”

HH. cat. no. 1305-1961 Estate no. M-0963 HH CR no. P1313 Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P1313.

Grief, 1961 Oil on canvas 72 x 60 inches 182.9 x 152.4 cm Lower right: “hans hofmann 61” Verso upper right: “Cat.#1328 / grief / oil on canvas / 72 x 60 1961 / hans hofmann” HH cat. no. 1328-1961 Estate no. M-0122 HH CR no. P1314 Renate, Hans and Maria Hofmann Trust (acquired 1996) 56

Provenance Estate of the artist (1966-1996) Exhibitions 1962 Kootz, New York (solo)* Fränkische Galerie am Marientor, Nuremberg, Germany, “Hans Hofmann,” traveled to Kölnischer Kunstverein, Cologne, Kongrebhalle, Berlin, Städtische Galerie München Lenbachpalais, Munich, cat. no. 91, as Schmerz Literature 1962 W.F., Die Welt (solo exh. rev.), comm., as Schmerz Schuyler, ARTnews (solo exh. rev.), comm. p. 43 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P1314.

The Old and the Becoming, 1961 Oil on canvas 40 x 50 inches 101.6 x 127 cm Lower right: “61 / hans hofmann” Verso upper right: “Cat.# 1316 / The old and the becoming / oil on canvas / 40 x 50 1961 / hans hofmann” HH cat. no. 1316-1961 Estate no. M-1156 HH CR no. P1307 58

Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 1962 Kootz, New York (solo)* Literature 1962 Sandler, New York Post (solo exh. rev.), comm. p. 12, as The Old and the Beginning 2002 Yohe, ed., Hans Hofmann, color ill. p. 228, comm. p. 36 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P1307.

Serenada, 1961 Oil on canvas 38 x 30 inches 96.5 x 76.2 cm Lower right: “hans hofmann 61” Verso upper right: “Cat.# 1329 / Serenada / oil on canvas / 38 x 30 1961 / hans hofmann” HH cat. no. 1329-1961 Estate no. M-0083 HH CR no. P1320 Renate, Hans and Maria Hofmann Trust (acquired 1996)

Provenance Estate of the artist (1966-1996) Exhibitions 2009 Acme Fine Art, Boston and Cape Cod Museum of Art, Dennis, MA, “Days Lumberyard Studios,” (group, traveled); shown at Cape Cod Museum of Art only, color ill. pl. 159 2015 Paul Kasmin Gallery, New York, “The New York School, 1969, Henry Geldzahler at The Metropolitan Museum of Art,” 13 January – 22 August, (group) Literature 1963 Hunter, Hans Hofmann, ill., pl. 159 With reprints of essays by Hans Hofmann: “Plastic Creation” (1932), pp. 35-38; “The Search for the Real in the Visual Arts” (1948), pp. 39-43; “The Resurrection of the Plastic Arts” and “The Mystery of Creative Relations” (1954). pp. 44-45; “The Color Problem in Pure Painting-Its Creative Origin” (1955), pp. 46-48; “Sculpture” (1933), pp. 49-51. 1965 Rosenberg, Vogue, comm. p. 236, as Serenade 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 2, color ill., cat no. P1320.

Mirage, 1962 Oil on canvas 60 x 52 inches 152.4 x 132.1 cm Lower right: “hans hofmann 62” Verso upper right: “Cat# 1426 / mirage / oil on canvas / 60 x 52 1962 / hans hofmann” HH cat. no. 1426-1962 Estate no M-0956 HH CR no. P1409 62

Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 1963 Kootz, New York (solo)* Literature 1963 Fried, ArtInternational (solo exh. rev.), comm. p. 54 Munro, ARTnews (solo exh. rev.), comm. p. 10 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 3, color ill., cat no. P1409.

Caprizio, 1962 Oil on canvas 50 x 40 inches 127 x 102.1 cm Lower right: “hans hofmann 62” Verso upper right: “Cat.# 1434 / Caprizio [sic] / oil on canvas / 50 x 40 1962 / Hans Hofmann”; upper stretcher [MH]: “Cat. 1434” HH. cat. no. 1434-1962 Estate no. M-1154 HH CR no. P1425 Renate, Hans and Maria Hofmann Trust (acquired 1996) 64

Provenance Estate of the artist (1966-1996) Exhibitions 1964 Bayonne Jewish Community Center, NJ (group),* cat. no. 13, as Caprizio 1965 Westchester Art Society, NY (group), as Caprizio 2000 Provincetown Art Association and Museum, MA, “Hans Hofmann: four decades in Provincetown” (curated by Lillian Orlowsky), 28 July – 1 October, color ill. p. 40, as Caprizio Literature 1971 Baker, Art News Annual, comm. p. 113 1999 Hans Hofmann: Late Paintings from the Hofmann Estate (solo exh. brochure; not in exhibition), color ill. n.p., as Caprizio 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 3, color ill., cat no. P1425.

[Untitled], c. 1960 - 1965 Oil on board 32 x 24 inches 81 x 61 cm Estate no. M-11782 HH CR no. PW64 66

Renate, Hans and Maria Hofmann Trust (acquired 1996) Provenance Estate of the artist (1966-1996) Exhibitions 2000 Gallery One, Toronto, Canada, “Hans Hofmann: Paintings on Paper”, 23 September – 1 November. Literature 2014 Villiger, ed., Hans Hofmann: A Catalogue Raisonné of Paintings, Vol. 3, color ill., cat no. PW64.

CHRONOLOGY 1880 Hans Hofmann is born in Weissenburg in Bavaria, Germany, on 21 March. His father Theodor Hofmann, a government official, and his mother Franciska, the daughter of a prominent brewer and wine producer, have three sons and two daughters. Hans is the second son. 1886 The family moves to Munich. Hofmann attends public schools and develops special interests in mathematics, science and music. He plays the violin, piano and organ, and begins to draw. 1896 With his father’s help, he finds a position as assistant to the director of public works of the state of Bavaria. He patents several scientific inventions. 1898 Hofmann studies painting with Willi Schwarz, who introduces him to Impressionism, at Moritz Heymann’s art school in Munich. 1900 Hofmann meets Maria “Miz” Wolfegg, his future wife. 1903 Through Willi Schwarz, Hofmann meets Phillip Freudenberg, the nephew of a Berlin collector, who becomes his patron from 1904 to 1914 and enables him to live in Paris (though he often spends his summers in Germany). 1904 Hofmann frequents Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Mortiz Heymann’s school. Miz joins him in Paris. Hofmann attends evening sketch classes at the École Colarossi, where he meets Picasso, Braque and Matisse. 1908 Hofmann exhibits with the Neue Sezession in Berlin, and again in 1909. 1910 Hofmann’s first solo exhibition is held at Paul Cassirer Gallery, Berlin. He meets and befriends Robert Delaunay, who co-founded the Orphism art movement, known for its use of color and geometric shapes.

1914 Hofmann and Miz leave Paris for Corsica, where Hofmann recuperates from tuberculosis. An illness of Hofmann’s sister leads them to return to Germany. The outbreak of World War I forces them to remain there. Financial assistance from Phillip Freudenberg ends. 1915 Ineligible for the army due to the aftereffects of his lung condition, Hofmann opens the Schule für Bildene Kunst in Munich. 1918 After the war, Hofmann’s school becomes known abroad. Between 1922 and 1929, he holds summer sessions in Bavaria, Yugoslavia, Italy, and France. He makes frequent trips to Paris. He has little time to paint, but draws continually. 1924 Hofmann marries Miz Wolfegg. 1930 At the invitation of former student Worth Ryder, Hofmann teaches a summer session at the University of California, Berkeley, where Ryder is an Associate Professor in the Department of Art. Hofmann returns to Munich for the winter. 1931 In the spring, he teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. He exhibits drawings at the California Palace of the Legion of Honor, San Francisco—his first solo exhibition in the United States. 1932 He returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of growing political hostility toward intellectuals in Germany, Hofmann settles in New York. Former student Vaclav Vytlacil helps arrange a teaching position at The Art Students League of New York. 1933 Hofmann spends the summer as a guest instructor at the Thurn School of Art in Gloucester, Massachusetts. In the fall, he opens a school in New York at 444 Madison Avenue and begins to paint again.

1934 Hofmann travels to Bermuda, where he stays for several months before returning to the United States with a permanent visa. He teaches again at the Thurn School of Art and opens the Hans Hofmann School of Fine Arts at 137 East 57th Street in New York. 1935 Hofmann opens a summer school in Provincetown, Massachusetts. 1936 Hofmann moves his school to 52 West 9th Street in New York. 1938 The Hofmann School moves again, to 52 West 8th Street, its permanent home in New York until 1958. Hofmann’s lecture series at the school in the winter of 1938-39 is attended by such figures as Arshile Gorky and Clement Greenberg.

1939 Miz Hofmann arrives in America and joins her husband. From that year on, they spend five months each summer in Provincetown and the rest of the year in New York. 1941 Hofmann becomes an American citizen. He delivers an address at the annual meeting of American Abstract Artists at the Riverside Museum and has a solo exhibition at the Isaac Delgado Museum of Art, New Orleans. 1942 Lee Krasner, formerly a Hofmann student, introduces him to Jackson Pollock. 1944 Hofmann has his first exhibition in New York at Peggy Guggenheim’s The Art of This Century Gallery. Hans Hofmann, Paintings 1941-1944 opens at The Arts Club of Chicago and travels to the Milwaukee Art Institute. Hofmann’s paintings are included in Forty American Moderns at 67 Gallery and Abstract and Surrealist Art in America at the Mortimer Brandt Gallery (arranged by Sidney Janis in conjunction with the publication of Janis’ book of the same title) in New York. Hofmann meets the critic Clement Greenberg, and his close friendship with the author and critic Harold Rosenberg begins.

1945 Hofmann is included in Contemporary American Painting at the Whitney Museum of American Art, New York. He is included in all subsequent Whitney painting annuals during his lifetime. 1947 Hofmann exhibits at the Betty Parsons Gallery in New York and the Dallas Museum of Fine Arts. He begins to exhibit with the Kootz Gallery, New York, which would hold a solo show of Hofmann’s work each year (except 1948 and 1956) until the artist’s death. 1948 There is a retrospective exhibition of Hofmann’s work at the Addison Gallery of American Art in Andover, MA in conjunction with the publication of his book The Search for the Real and Other Essays. 1949 Hofmann travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picasso, Braque, Brancusi and Miró. He helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures and exhibitions at Gallery 200 in Provincetown. 1950 Hofmann participates in a symposium at Studio 35 with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith and Bradley Walker Tomlin. He joins the “Irascibles,” a group of Abstract Expressionist artists in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American Art at The Metropolitan Museum of Art, New York. 1951 Hofmann juries the 60th Annual American Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume. 1954 Hofmann has a solo exhibition at the Baltimore Museum of Art. 1955 Clement Greenberg organizes a small retrospective of Hofmann’s paintings at Bennington College in Vermont.

1956 Hofmann designs mosaic murals for the lobby of the William Kaufmann Building, 711 Third Avenue, New York. A retrospective is held at the Art Alliance in Philadelphia. 1957 A retrospective exhibition is held at the Whitney Museum of American Art, New York. It travels to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica and Baltimore. 1958 Hofmann ceases teaching to devote himself to painting. He moves his studios into his former New York and Provincetown schools. He completes a mosaic mural for the New York School of Printing at 439 West 49th Street.

1965 Hofmann is awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. He marries Renate Schmitz and completes “The Renate Series.” 1966 Hofmann’s final exhibition at the Kootz Gallery, New York, opens on 1 February. He dies on 17 February in New York. His exhibition at Kootz closes 26 February. Courtesy, the Hans Hofmann Catalogue Raisonné Project

1960 Hofmann represents the United States, along with Philip Guston, Franz Kline, and Theodore Roszac, at the Venice Biennale. 1962 A retrospective exhibition opens at the Fränkische Galerie am Marientor, Nuremburg, Germany, and travels to Cologne, Berlin and Munich. The exhibition Oils on Paper 1961-1962 opens in Munich. Hofmann is awarded honorary membership in the Akademie der Bildende Kunst in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College. 1963 Miz Hofmann dies. A retrospective exhibition, Hans Hofmann and His Students, organized by William Seitz under the auspices of The Museum of Modern Art, travels throughout the United States, South America, and Europe. Hofmann signs an agreement to donate fortyfive paintings to the University of California, Berkeley, to fund the construction of a gallery in his honor. 1964 Hofmann receives an honorary Doctor of Fine Arts degree from the University of California, Berkeley, and the Solomon R. Guggenheim International Award. He becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires “The Renate Series.”

SELECTED EXHIBITIONS 1908 Berlin: Neue Sezession. 1909 Berlin: Neue Sezession. 1910 Berlin: Paul Cassirer Galerie, Hofmann—Kokoschka. 1931 Berkeley: University of California, Doctor of Fine Arts (July). San Francisco: California Palace of the Legion of Honor (August). 1941 New Orleans: Isaac Delgado Museum of Art, Hans Hofmann (March).

1944 Cincinnati: Cincinnati Art Museum, Abstract and Surrealist Art in the United States (8 February–12 March). Organized by the San Francisco Museum of Art. Traveled to Denver Art Museum (26 March–23 April), Seattle Art Museum (7 May–10 June), Santa Barbara Museum of Art, (8 June–23 July), San Francisco Museum of Art (6-24 September). New York: Art of This Century Gallery, First Exhibition: Hans Hofmann (7 March–8 April). Chicago: The Arts Club of Chicago, Hans Hofmann, Paintings 1941–1944 (3–25 November). New York: Mortimer Brandt Gallery, Abstract and Surrealist Art in America (29 November–30 December). New York: 67 Gallery, Forty American Moderns (December). 1945 Milwaukee: Milwaukee Art Institute, Hans Hofmann (1–14 January). New York: 67 Gallery, Hans Hofmann: Abstract Paintings (2 – 21 April). San Francisco: California Palace of the Legion of Honor, Contemporary American Paintings (17 May–17 June). New York: Whitney Museum of American Art, 1945 Annual Exhibition of Contemporary American Painting (27 November–10 January 1946). 1946 Hollywood: American Contemporary Gallery, Hans Hofmann (14 May–10 June). Traveled to San Francisco Museum of Art (17 September–6 October).

1947 Andover: Addison Gallery of American Art, Seeing the Unseeable (3 January–3 March). Dallas: Dallas Museum of Fine Arts, Hans Hofmann: Space Paintings (February). Traveled to the Art Department of the Texas State College for Women, Denton (6 March–3 April), University of Oklahoma, Norman (15–30 April), Memphis Academy of Arts, Memphis (May–June). New York: Betty Parsons Gallery, Hans Hofmann (24 March–12 April). Chicago: The Art Institute of Chicago, 58th Annual Exhibition of American Paintings and Sculpture (6 November–11 January 1948). New York: Kootz Gallery, Hans Hofmann (23 November–13 December). New York: Whitney Museum of American Art, 1947 Annual Exhibition of Contemporary Painting (6 December–25 January 1948). 1948 Andover: Addison Gallery of American Art, Hans Hofmann: Painter and Teacher (2 January–23 February). 1949 Paris: Galerie Maeght, Hans Hofmann, Peintures (7 January–9 February). New York: Kootz Gallery, Hans Hofmann (14 September–3 October). New York: Kootz Gallery, The Intrasubjectives (14 September–3 October). New York: Kootz Gallery, Recent Paintings by Hans Hofmann (15 November–5 December). 1950 New York: Kootz Gallery, The Muralist and the Modern Architect (3–23 October). New York: Kootz Gallery, Hans Hofmann: New Paintings (24 October–13 November). 1951 Philadelphia: Pennsylvania Academy of the Fine Arts, 146th Annual Exhibition of Painting and Sculpture (21 January-25 February). New York: The Museum of Modern Art, Abstract Painting and Sculpture in America (23 January–25 March). New York: 60 East 9th Street, 9th Street Exhibition of Paintings and Sculpture (21 May–10 June). Minneapolis: University of Minnesota, 40 American Painters, 1940–1950 (4 June–30 August).

New York: Kootz Gallery, New Paintings by Hans Hofmann (13 November–1 December). New York: Sidney Janis Gallery, American Vanguard Art for Paris Exhibition (26 December–5 January 1952). Traveled to the Galerie de France, Paris (26 February–15 March 1952). 1952 Buffalo: Albright Art Gallery, Expressionism in American Painting (10 May–29 June). New York: Kootz Gallery, Hans Hofmann: Recent Paintings (28 October–22 November). 1953 New York: Kootz Gallery, Hans Hofmann: The First Showing of Landscapes Created From 1936–39 (27 April–20 May). New York: Kootz Gallery, Hans Hofmann: New Paintings Created in 1953 (16 November–12 December). 1954 New York: Sidney Janis Gallery, Nine American Painters Today (4–23 January). Baltimore: Baltimore Museum of Art, Paintings by Hans Hofmann (5 October–21 November). Chicago: The Art Institute of Chicago, Sixty-first American Exhibition Paintings and Sculpture (21 October-5 December). New York: Kootz Gallery, Hofmann New Paintings (15 November–11 December). 1955 Bennington: Bennington College, A Retrospective Exhibition of the Paintings of Hans Hofmann (May). New York: Kootz Gallery, Hans Hofmann: New Paintings (7 November–3 December). 1957 New York: Kootz Gallery, Hans Hofmann: New Paintings (7–26 January). New York: Whitney Museum of American Art, A Retrospective Exhibition of Hans Hofmann (24 April–16 June). Traveled to Des Moines Art Center, (4 July–4 August), San Francisco Museum of Art (21 August–22 September), Art Galleries of the University of California, Los Angeles (6 October–4 November), Seattle Art Museum (11 December–12 January 1958), Walker Art Center, Minneapolis (7 February–11 March 1958), Munson-Williams-Proctor Arts Institute, Utica, (28 March–30 April 1958), Baltimore Museum of Art (16 May–17 June 1958).

1958 New York: Kootz Gallery, New Paintings by Hans Hofmann (7–25 January). Venice: Venice Biennale, XXIV Esposizione Biennale Internazionale d’Arte Venezia (1958). New York: Whitney Museum of American Art, Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth Century American Art, 14 January–16 March. Traveled to The Phillips Gallery, Washington, D.C. (2 April–4 May), Fort Worth Art Center (2–29 June), Los Angeles County Museum of Art (16 July–24 August), San Francisco Museum of Art (10 September–12 October), Walker Art Center, Minneapolis (29 October–14 December), City Art Museum of St. Louis (7 January 1959–8 February 1959). 1959 New York: Kootz Gallery, Hans Hofmann: Paintings of 1958 (6–17 January). New York: Kootz Gallery, Hans Hofmann: Early Paintings curated by Clement Greenberg (20–31 January). Kassel: Museum Fridericianum, Dokumenta II (11 July–11 October). 1960 New York: Kootz Gallery, Hans Hofmann, Paintings of 1959 (5–23 January). Munich: Städtische Galerie, Neue Malerei: Form, Struktur, Bedeutung (10 June–28 August). Venice: XXX Venice Biennale, Stati Uniti d’America-Quattro Artisti Americani: Guston, Hofmann, Kline, Roszak (15 June–15 October). Mexico City: Museo Nacional de Arte Moderna, Instituto Nacional de Bella Artes, Segunda Bienal Interamericana de Mexico (5 September–5 November). 1961 New York: Kootz Gallery, Hans Hofmann (7–25 March). New York: Solomon R. Guggenheim Museum, American Abstract Expressionists and Imagists (13 October–31 December). 1962 Caracas: Museo de Bellas Artes, Dibujos acuarelas abstractos USA (January). Traveled under the auspices of the International Council of The Museum of Modern Art to Museu de Arte Moderna do Rio de Janeiro (March). New York: Kootz Gallery, Hans Hofmann: New Paintings (2–20 January).

Munich: Neue Galerie im Kunstlerhaus, Oils on Paper, 1961–1962 (March). New York: Whitney Museum of American Art, Geometric Abstraction in America (20 March–13 May). Nuremberg: Fränkische Galerie am Marientor, Hans Hofmann (March). Traveled to Kunstverein, Cologne; Kongresshalle, Berlin; and Städtische Galerie, Munich. Hanover: Hopkins Center, Dartmouth College, Paintings by Hans Hofmann (8–30 November).

1963 Chicago: The Art Institute of Chicago, 66th Annual American Exhibition: Directions in Contemporary Painting and Sculpture (11 January–10 February). Santa Barbara: Santa Barbara Museum of Art, Paintings by Hans Hofmann (1–24 February). New York: Kootz Gallery, Hans Hofmann (5–23 March). Paris: Galerie Anderson-Mayer, Oils on Paper (23 April–18 May). Denver: International House, Hans Hofmann and His Students (6 May–May 27). Organized under the auspices of The Museum of Modern Art and traveled to Michigan State University (1–22 July), Akron Art Institute (2–28 September), Indiana University, Bloomington (11 October– 2 November), Auburn University (18 November–9 December), Hunter Gallery of Art, Chattanooga (2–23 January 1964), Richmond Artists Association (9 February–1 March 1964), University of North Carolina, Greensboro (17 March–7 April 1964), Ohio University, Athens (21 April–12 May 1964), University of South Florida, Tampa (1–22 June 1964), Portland Museum of Art, Portland, Maine (18 September–13 October 1964), State University College, Oswego (26 October–16 November 1964), Ackland Memorial Art Center, Chapel Hill (5–26 January 1965), Goucher College, Towson (8 February–1 March 1965), Joe and Emily Lowe Art Gallery, University of Florida, Coral Gables (17 March–7 April 1965). New York: Solomon R. Guggenheim Museum, Twentieth-Century Master Drawings (6 November–5 January 1964). Traveled to University Gallery, University of Minnesota, Minneapolis (3 February–15 March), and Fogg Museum, Harvard University, Cambridge (6 April–24 May). 1964 New York: Kootz Gallery, Hans Hofmann: Paintings, 1963 (18 February–7 March).

Berkeley: University Art Museum, University of California, Recent Gifts and Loan of Paintings by Hans Hofmann (2 April–3 May). Copenhagen: American Art Gallery, Hans Hofmann: Oils (18 April–9 May). London: Tate Gallery, Painting and Sculpture of a Decade, 1954/1964 (22 April–28 June). Washington, D.C.: Art: USA: The Johnson Collection of Contemporary American Painting (29 December–17 January 1965). Traveled to Philadelphia Museum of Art (1 February–7 March 1965), Whitney Museum of American Art, New York (23 March–18 April 1965), Rhode Island School of Design, Providence (30 April–23 May 1965), Museum of Fine Arts, Boston (4–27 June 1965), Detroit Institute of Arts (9 July–1 August 1965), Minneapolis Institute of Arts (10 August–5 September 1965), Krannert Art Museum, University of Illinois, Urbana (17 September–10 October 1965), City Art Museum of St. Louis (22 October–14 November 1965), Contemporary Arts Center, Cincinnati (22 November–16 December 1965), Joslyn Art Museum, Omaha, (28 January–20 February 1966), Denver Art Museum (4–27 March 1966), Seattle Art Museum (8 April–1 May 1966), California Palace of the Legion of Honor, San Francisco (13 May–5 June 1966), Fine Arts Gallery, San Diego (17 June–10 July 1966), Fort Worth Art Center (22 July–14 August 1966), Des Moines Art Center (1–22 September 1966), Tennessee Fine Arts Center, Nashville, (30 September–23 October 1966), Birmingham Museum of Arts (4 November–27 November 1966), Art Gallery of Toronto (December 1966), Cornell University, Ithaca, (January–February 1967), Ringling Museum of Art, Sarasota, (7 March–9 April 1967), Columbia Museum of Art (21 April–14 May 1967). 1965 New York: Kootz Gallery, Hans Hofmann, 85th Anniversary: Paintings of 1964 (16 February–6 March). San Francisco: San Francisco Museum of Art, Colorists 1950–1965 (15 October–21 November). 1966 New York: Kootz Gallery, Hans Hofmann at Kootz (1–26 February). Stanford: Stanford Art Museum, Hans Hofmann: 21 Paintings From the Collection of the University of California, Berkeley (22 June–11 September).

Tokyo: National Museum of Modern Art, Two Decades of American Painting (15 October–27 November). Traveled to Lalit Kala Akademi, New Delhi (28 March–16 April). 1967 New York: André Emmerich Gallery, Hans Hofmann (21 January–9 February). 1968 New York: André Emmerich Gallery, Hans Hofmann (6–31 January). Chicago: Richard Gray Gallery, Hans Hofmann, Paintings (31 January–2 March). New York: Martha Jackson Gallery, New Acquisitions and Hans Hofmann Works on Paper From the 40’s and 50’s (October). 1969 Syracuse: Everson Museum, Hans Hofmann (20 February–7 April). Toronto: David Mirvish Gallery, Hans Hofmann (22 March–15 April). 1970 New York: André Emmerich Gallery, Hans Hofmann: Paintings of the 40’s, 50’s and 60’s (3–29 January). New York: The Metropolitan Museum of Art, Masterpieces of Fifty Centuries (13 November–February 1971). London: Waddington Galleries, Hans Hofmann Paintings (9 June-4 July 1970) 1971 New York: André Emmerich Gallery, Hans Hofmann (9 January–3 February). Montreal: Galerie Godard Lefort, Hans Hofmann (Fall). 1972 New York: André Emmerich Gallery, Hans Hofmann (8–27 January). Chicago: Richard Gray Gallery, Hans Hofmann: Paintings (February). Cologne: Onnash Gallery, Hans Hofmann (Spring). New York: André Emmerich Gallery, Hans Hofmann (21 October–16 November). New York: The Metropolitan Museum of Art, The Renate Series (16–31 October). 1973 New York: André Emmerich Gallery, Hans Hofmann: 10 Major Works (6–24 January).

Washington, D.C.: The Corcoran Gallery of Art, Hans Hofmann: A Colorist in Black and White (2 June–15 July). Traveled under the auspices of the International Exhibitions Foundation to Museum of Art, University of Michigan, Ann Arbor; University Art Museum, University of California, Berkeley; Arkansas Art Center, Little Rock; Tyler Museum of Art; Palm Springs Desert Museum and Wichita State University. London: Waddington Galleries III, Hans Hofmann Watercolors (10 July–4 August). New York: André Emmerich Gallery, Hans Hofmann Works on Paper (15 September–11 October). 1974 New York: André Emmerich Gallery, Hans Hofmann Paintings, 1936–40 (5–24 January). New York: André Emmerich Gallery, Hans Hofmann: Architectural Projects and Other Works on Paper (9 November–31 December). 1975 Santa Ana: Bowers Museum, Hans Hofmann: 108 Paintings (15 April–15 May). New York: André Emmerich Gallery, Hans Hofmann: A Selection of Late Paintings (17 May–27 June). 1976 New York: André Emmerich Gallery, Hans Hofmann: The Years 1947–1952 (3–28 April). New York: André Emmerich Gallery, Hans Hofmann (25 May–30 June). Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Hans Hofmann: A Retrospective Exhibition (14 October–2 January 1977). Traveled to The Museum of Fine Arts, Houston (4 February–3 April 1977). 1977 New York: André Emmerich Gallery, Provincetown Landscapes, 1934–1945 (8–26 January). Oxford: Museum of Modern Art, Hans Hofmann: The American Years (23 April–29 May). Traveled under the auspices of the United States Information Agency to Museum of Fine Arts, Valletta, Malta (May–June). New York: André Emmerich Gallery, Hans Hofmann: Drawings 1930–1944 (10 December–11 January 1978). 1978 Zurich: Galerie André Emmerich, Hans Hofmann: Bilder und Werke auf Papier (3 February–23 March).

1979 New York: André Emmerich Gallery, Hans Hofmann: Provincetown Landscapes 1941–1943 (6–31 January). New York: The Metropolitan Museum of Art, Hans Hofmann as Teacher: Drawings by His Students (23 January–4 March). Traveled to Provincetown Art Association (1 August–12 October 1980). Bern: Kunstmuseum, Amerikanische Kunst des 20. Jahrhunderts (16 February–16 April). Traveled under the auspices of The Museum of Modern Art to Museum Ludwig, Cologne (19 May–16 July).

1981 New York: André Emmerich Gallery, Hans Hofmann, Centennial Celebration, Part II: Works on Paper (17 January–14 February). Munich: Haus der Kunst, Amerikanische Malerei: 1930–1980 (14 November–31 January 1982).

1986 New York: André Emmerich Gallery, Hans Hofmann, Pictures of Summer: Provincetown, 1941–42 (8 January–8 February). Baltimore: C. Grimaldis Gallery, Hans Hofmann: Works on Canvas and Paper (5–29 March). Toronto: Marianne Friedland Gallery, Hans Hofmann: Major Paintings, 1934–1944 (19 April–30 May). Venice: XLII Esposizione Biennale Internazionale d’Arte Venezia, Art e Scienza—Sezione ‘Colore’ (25 June-8 September 1986). Cologne: Museum Ludwig, Europe/America (6 September–30 November). New York: Lever/Meyerson Galleries, Hans Hofmann and His Legacy (15 October–12 December). Berkeley: University Art Museum, University of California, Berkeley, Hans Hofmann (15 October–15 December).

1982 New York: André Emmerich Gallery, Hans Hofmann: The Late Small Paintings (7–30 January). Houston: Museum of Fine Arts, Miró in America, (21 April–27 June. Edmonton: Edmonton Art Gallery, Hans Hofmann, 1880–1966: An Introduction to His Paintings (9 July–5 September).

1987 New York: André Emmerich Gallery, Hans Hofmann: The Pre-War Years in America (9 January–7 February). Baltimore: C. Grimaldis Gallery, Hans Hofmann: Works on Paper (5–28 February). New York: André Emmerich Gallery, Hans Hofmann: The Push and Pull of Cubism (23 December–23 January 1988).

1983 Washington: B.R. Kornblatt Gallery, Hans Hofmann (20 September–26 October).

1988 London: Tate Gallery, Hans Hofmann: Late Paintings (2 March–1 May). Toronto: Marianne Friedland Gallery, Hans Hofmann: Important Paintings and Works on Paper (5–24 November).

1980 New York: André Emmerich Gallery, Hans Hofmann: Private–Scale Paintings (12 January–6 February). New York: André Emmerich Gallery, Hans Hofmann, Centennial Celebration, Part I: Major Paintings (13 December–13 January 1981). New York: The Metropolitan Museum of Art, Hans Hofmann: The Renate Series (December–January 1981).

1985 New York: André Emmerich Gallery, Major Paintings, 1954–1965 (5–26 January). Fort Worth: The Fort Worth Art Museum, Hans Hofmann: Provincetown Paintings and Drawings (15 September–17 November). Fort Worth: The Fort Worth Art Museum, Hans Hofmann: The Renate Series (15 September–17 November).

1984 New York: André Emmerich Gallery, Hans Hofmann: Explorations of Major Themes: Pictures on Paper, 1940–1950 (7 January–4 February). Scottsdale: Yares Gallery, Hans Hofmann: Small Scale Paintings (5–29 February).

1989 New York: André Emmerich Gallery, The Post-War Years: 1945–1949 (12 January–18 February). 1990 New York: André Emmerich Gallery, Hans Hofmann: Paintings on Paper From the 1940s (6–27 January).

Munich: Galerie Thomas, Hans Hofmann: Gemalde und Aquarelle (10 May–21 July). New York: André Emmerich Gallery, Hans Hofmann: Works on Paper From the Summer of 1941 (31 May–29 June). London: Crane Kalman Gallery, Hans Hofmann: A Selection of Paintings and Watercolors (13 June–25 July). Traveled to Galerie Michael Haas, Berlin (September–October) and Galerie Zwirner, Cologne (November–December). New York: Whitney Museum of American Art, Hans Hofmann: Retrospective Exhibition (20 June–16 September). Traveled to The Center for the Fine Arts, Miami (23 November–20 January 1991) and the Chrysler Museum of Art, Norfolk (17 February–14 April). New York: André Emmerich Gallery, Hans Hofmann: The 1950 Chimbote Mural Project (20 December–26 January 1991). 1991 New York: André Emmerich Gallery, Projects for Mosaic Walls (19 October–16 November). 1992 Washington, D.C.: The Phillips Collection, Theme & Improvisation: Kandinsky and the American AvantGarde, 1912–1950 (19 September–29 November). Traveled to Dayton Art Institute, Dayton (12 December–31 January 1993), Terra Museum of American Art, Chicago (13 February–25 April 1993), Amon Carter Museum, Fort Worth (14 May–1 August 1993). 1993 New York: André Emmerich Gallery, Hans Hofmann: Selected Works (7 January–10 February). 1994 Boston: Boston University Art Gallery, Provincetown Prospects: The Work of Hans Hofmann and His Students (22 January–27 February). 1995 Amsterdam: Stedelijk Museum, Tanzenden Mädchen. Toronto: Drabinsky & Friedland Galleries, Hans Hofmann: The Provincetown Paintings (October–November). 1996 Tokyo: Sezon Museum of Art, Abstract Expressionism (6 June–14 July). Traveled to Aichi Prefectural Museum of Art, Nagoya (26 July–16 September) and Hiroshima

City Museum of Contemporary Art (29 September–17 November). New York: André Emmerich Gallery, Push-Pull (14 November–7 December). 1997 Munich: Städtisches Galerie im Lenbachhaus, Hans Hofmann: Wunder des Rhythmus und Schonheit des Raumes (23 April–29 June). Traveled to Schirn Kunsthalle Frankfurt (12 September–2 November). Santa Fe: Riva Yares Gallery, Hans Hofmann: Selected Paintings (27 June–30 July). Berlin: Galerie Haas & Fuchs, Hans Hofmann: Das Spätwerk (1 October–1 November). Barcelona: Museu d’Art Contemporani, Josep Lluis Sert, (3 April–29 June). 1998 Leverkusen: Städtisches Museum Leverkusen Schloss Morsbroich, Das Informel im Internationalen Kontext (12 January–22 November). New York: André Emmerich Gallery, Painting in Provincetown: Milton Avery, Hans Hofmann, Jack Tworkov (June–July). London: Crane Kalman Gallery, Summer Exhibition (2 July–30 August). 1999 Barcelona: Fundación “la Caixa,” Made in USA, 1940–1970: From Abstract Expressionism to Pop Art (21 January–28 March). Traveled to Schirn Kunsthalle Frankfurt under the title Between Art & Life: From Expressionism to Pop Art (21 April–4 July). Seattle: Seattle Art Museum, The Virginia and Bagley Wright Collection of Modern Art (4 March–9 May). New York: Ameringer/Howard Fine Art, Hans Hofmann: Late Paintings From the Estate (18 March–28 May). New York: The Metropolitan Museum of Art, Hans Hofmann in the Metropolitan (13 April–17 October). New York: Pierpont Morgan Library, New York Collects: Drawings and Watercolors 1900–1950 (20 May–29 August). Roslyn: Nassau County Museum of Art, Contemporary American Masters: The 1960s (13 June–12 September). Montpellier: Musée Fabre, Abstractions Américaines, 1940–1960 (3 July–3 October). Salzburg: Galeria Academia Salzburg Residenz, Hans Hofmann: The American Years, Retrospective (July– September 1999). New York: Spring Studio, Hans Hofmann, Instructional Drawings From 1938 (8 August–30 September).

Livorno: Galleria Peccolo, Hans Hofmann: Opere da una Collezione, dipinti su carta 1959–1962 (11 September–2 October). Los Angeles: Manny Silverman Gallery, Hans Hofmann: Works on Paper 1933–1965 (16 September–30 October). Boca Raton: Ameringer/Howard Fine Art, Hans Hofmann: A Retrospective Exhibition (11 November–4 December). New York: Ameringer/Howard Fine Art, Icons (9 December–22 January 2000). Madrid: Museo Nacional Centro de Arte Reina Sofia, Los Surrealistas en el Exilio y los Inicios de la Escuela de Nueva York (14 December–27 February 2000). Traveled to Musée d’Art Moderne et Contemporain, Strasbourg, France.

2000 New York: Ameringer/Howard Fine Art, Hans Hofmann: The Summer Studio (27 April–10 June). Provincetown: Berta Walker Gallery, Hans Hofmann, The Summer Studio: Provincetown Drawings (21 July–21 August). Provincetown: Provincetown Art Association and Museum, Hans Hofmann: Four Decades in Provincetown (28 July–1 October). London: Crane Kalman Gallery, Hans Hofmann (7–30 November). 2001 San Francisco: John Berggruen Gallery, Hans Hofmann: Paintings (1 February–3 March). Boca Raton: Ameringer/Howard/Yohe Fine Art, Hans Hofmann: The Summer Studio (8 February–3 March). New York: Ameringer/Howard/Yohe Fine Art, Hans Hofmann: Retrospective on Paper (26 April–9 June). Newark: The Newark Museum, Picturing America: American Art From the Museum’s Permanent Collection (10 May–10 October). Portland: Portland Art Museum, The Clement Greenberg Collection (14 July–16 September). Lugano: Museo Cantonale d’Arte, Da Kandinsky a Pollock: La vertigine della non-forma (29 September–6 January 2002). Roslyn: Nassau County Museum of Art, Twentieth Century Exiles: Artists Fleeing Hitler’s Oppression (18 November–3 February 2002). 2002 Venice: Centro Culturale Caniani, Jackson Pollock in America/The “Irascibles” and the New York School, a project by Giandomenico Romanelli, Daniela Ferretti and Vicenzo Sanfo (23 March–30 June).

Champaign: Krannert Art Museum, University of Illinois at Urbana-Champaign, 1940 to 1950: The Breakthrough of American Painting (25 April–4 August). San Francisco: Hackett-Freedman Modern, Hans Hofmann: Evolution/Revolution (2 May–29 June). San Antonio: Marion Koogler McNay Art Museum, Hans Hofmann: Paintings From the 1960s, The Berkeley Museum Collection (10 June–15 September). Traveled to Scottsdale Museum of Contemporary Art (5 October–19 January 2003), Akron Art Museum (20 September 2003–3 January 2004), Des Moines Art Center (21 August 2004–31 October 2004). Scottsdale: Riva Yares Gallery, Hans Hofmann: A Retrospective View, Paintings 1935–1965 (12 October–31 December). 2003 New York: The Bertha and Karl Leubsdorf Art Gallery, Hunter College, Seeing Red: International Exhibition of Nonobjective Painting (30 January–3 May). New York: Ameringer & Yohe Fine Art, Hans Hofmann: Selected Paintings From the University of California, Berkeley Art Museum and the Estate of the Artist (11 February–15 March). Boca Raton: Ameringer & Yohe Fine Art, Hans Hofmann’s Provincetown: Paintings and Works on Paper (13 March–5 April). Miami: Galerie d’Arts Decoratifs, Hans Hofmann Works on Paper (June–August). Greenwich: The Bruce Museum, JFK and Art (20 September–4 January). Traveled to the Norton Museum of Art, West Palm Beach (7 February–2 May 2004). Naples: Naples Museum of Art, Hans Hofmann: A Retrospective, curated by Karen Wilkin (1 November–21 March 2004). 2004 West Palm Beach: International Pavilion of the Palm Beaches, Palm Beach Classic (29 January–8 February). Rockford: Rockford Art Museum, Reuniting an Era: Abstract Expressionists of the 1950s (12 November–25 January 2005). Modena: Foro Boario, Action Painting. Arte Americana 1940–1970: Dal disengno all’opera, (curated by Luca Massimo Barbero) (21 November–27 February 2005).

2005 New York: Ameringer & Yohe Fine Art, Hans Hofmann: Search for the Real (6 January–12 February). Beverly Hills: Gagosian Gallery, A Time & Place: East and West Coast Abstraction From the ’60s and ’70s (21 July–27 August). New York: The Painting Center, Hans Hofmann: The Legacy (1 November–24 December). Nice: Musée d’Art Moderne et d’Art Contemporain, École de New York: Expressionnisme abstrait américain oeuvres sur papier (The New York School: Abstract Expressionism) (8 December–5 March 2006). 2006 New York: Ameringer & Yohe Fine Art, The Unabashed Unconscious: Reflections on Hofmann and Surrealism (30 March–29 April). Berkeley: Berkeley Art Museum & Pacific Film Archive, The Making of a Modernist: Hans Hofmann (13 October–30 June). Munich: American Contemporary Art Gallery, Hans Hofmann (December–February 2007). 2007 Chicago: KN Gallery, Hans Hofmann: Exuberant Eye (10 May–June 30). Denver: Denver Art Museum, Color as Field: American Painting 1950–1975 (9 November–3 February 2008). Organized by the American Federation of Arts and curated by Karen Wilkin. Traveled to Smithsonian American Art Museum, Washington, D.C. (29 February–26 May 2008) and Frist Center for the Visual Arts, Nashville (20 June–21 September 2008). 2008 Basel: Fondation Beyeler, Action Painting: Jackson Pollock (27 January–12 May). New York: Ameringer & Yohe Fine Art, Hans Hofmann: Poems & Paintings on Paper (10 April–23 May). New York: Robert Miller Gallery, Beyond the Canon: Small Scale American Abstraction 1945–1965 (20 November–3 January 2009). Vercelli: Guggenheim a Vercelli, former Church of San Marco, Peggy Guggenheim la Nuova Pittura Americana (21 November–1 March 2009). 2009 Waltham: The Rose Art Museum of Brandeis University, Hans Hofmann: Circa 1956 (14 January–5 April). Traveled to The Philbrook Museum, Tulsa, (21 February–9 May 2010) and The Weatherspoon

Art Museum of The University of North Carolina, Greensboro (3 July–17 October 2010). Reykjavik: Reykjavik Art Museum, From Unuhús to West 8th Street (15 May–30 August). Boston: Acme Fine Art and Design, Days Lumberyard Studios, Provincetown 1915–1972 (15 May–22 August 2009). 2010 New York: Ameringer | McEnery | Yohe, Hans Hofmann: Sketching Along the Road (11 March–17 April). New York: Ameringer | McEnery | Yohe, Hans Hofmann, Lee Krasner, Jackson Pollock, Neighbors in a Great Experiment (11 March–17 April). Düsseldorf: Museum Kunstpalast, From Pollock to Schumacher: Le Grand Gest’ (9 April–1 August). Wiesbaden: Museum Wiesbaden, Das Geistige in der Kunst—Vom Blauen Reiter zum Abstrakten Expressionismun (31 October–4 February 2011). New York: Ameringer | McEnery | Yohe, Hans Hofmann: Pictures of Summer: Paintings & Works on Paper (9 December–29 January 2011). 2011 New Britain: New Britain Museum of American Art, The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony (15 July–16 October). Traveling to The Westmoreland Museum of American Art, Greensburg, (30 October 1–22 January, 2012), The Wichita Art Museum, (5 February–29 April 2012), and The Cape Cod Museum of Art, Dennis, (18 May–26 August 2012). New York: The Morgan Library & Museum, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs (21 January–1 May). New Britain: New Britain Museum of American Art, The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony (1899–2011) (15 July 2011–26 August 2012). Traveled to Museum of American Art, Greensburg (30 October 2011–22 January 2012); Wichita Art Museum (5 February–29 April); Cape Cod Museum of Art, Dennis (18 May–26 August). New York: Ameringer | McEnery | Yohe, Summer Group Show (19 July–19 August). New York: Michael Rosenfeld Gallery, Evolution in Action (10 September–29 October). Provincetown: Provincetown Art Association and Museum, Selections from the PAAM Collection (30 September 2011–29 April 2012). New York: Hollis Taggart Galleries, Gesture and Abstraction: AbEx Gallery Selections (17 October–12 November).

2012 New York: Ameringer | McEnery | Yohe, Hans Hofmann: Art Like Life Is Real (15 March–21 April). Washington, D.C., American Ambassador’s Residence Luxembourg, ART in Embassies Program. New York: Solomon R. Guggenheim Museum, Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, (8 June–12 September). Canberra: National Gallery of Australia, Abstract Expressionism: The National Gallery of Australia Celebrates the Centenaries of Jackson Pollock and Morris Louis, (14 July 2012–3 March 2013).

2013 Kaiserslautern: Museum Pfalzgalerie, Hans Hofmann: Magnum Opus, (9 March–16 June). New York: Ameringer | McEnery | Yohe, Hans Hofmann, (5 December 2013–25 January 2014). Seattle: Seattle Art Museum, From Abstract Expression to Colored Planes, (16 March 2013–9 November 2014). Munich: American Contemporary Art Gallery, Between Art and Life, (22 March–31 May). Los Angeles: Los Angeles County Museum of Art, Art across America, (5 February–1 September). Traveled to The Museum of Fine Arts, Houston; Philadelphia Museum of Art; Terra Foundation for American Art, Chicago; National Museum of Korea, Seoul, and Daejeon Museum of Art. New York: Whitney Museum of American Art, Pollock and the Triumph of American Painting, (1 March 2013–31 July 2014). 2014 Munich: Galerie Thomas Modern, Hans Hofmann—Joan Mitchell—Sam Francis, (21 March–17 May). New York: The Metropolitan Museum of Art, Hans Hofmann: Selected Paintings, (18 November 2014–5 July 2015). Princeton: Princeton University Art Museum, Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell, (24 May– 5 October). Traveled to Cummer Museum of Art, Jacksonville, (31 January–26 April 2015). New York: Hollis Taggart Galleries, Why Nature? Hofmann, Mitchell, Pousette-Dart, Stamos, (30 October–6 December).

2015 New York: Paul Kasmin Gallery, The New York School, 1969: Henry Geldzahler at the Metropolitan Museum of Art, (13 January–14 March). Berlin: Berliner Festspiele, Jahrhundertzeichen: Tel Aviv Museum of Art Visits Berlin/The Century Mark, (27 March–21 June). New York: Ameringer | McEnery | Yohe, Black/White, (9 July–14 August). 2016 New York: Ameringer | McEnery | Yohe, Hans Hofmann: The Summer Studio, (7 July - 12 August). 2017 New York: Ameringer | McEnery | Yohe, Hans Hofmann: The Post-War Years, (23 March - 22 April). New York: Yares Art, Hans Hofmann: The Last Decade Major Paintings, 1955-1965, (6 May–1 July). Bielefeld: Kunstalle Bielefeld, Creation in Form and Color: Hans Hofmann, (5 November 2016 – 5 March 2017). Traveled to Musée National d’Histoire et d’Art, Luxembourg (28 September 2017–14 January 2018). 2018 Kaiserslautern: Museum Pfalzgalerie,Hofmann’s Ways: early drawings 1898-1934, (May 4 – September 9). New York: Yares Projects, Fields of Color, (13 January–17 February). 2019 New York: Miles McEnery Gallery, Hans Hofmann, (4 January–2 February). New York: Bertha and Karl Leubsorf Gallery, Hunter College, The Drawing Master: Hans Hofmann in the Bay Area, 1931, (Opens February 28). Berkeley: Berkeley Art Museum and Pacific Film Archives, Hans Hofmann: The Nature of Abstraction, (25 February–21 July). Travelling to Peabody Essex Museum, Salem, (27 September 2019–6 January 2020). Courtesy, the Hans Hofmann Catalogue Raisonné Project

SELECTED PUBLIC COLLECTIONS Ackland Art Museum, University of North Carolina at Chapel Hill, NC Addison Gallery of American Art, Andover, MA Albright-Knox Art Gallery, Buffalo, NY Art Gallery of Ontario, Toronto, Canada Art Institute of Chicago, IL Art Museum of South Texas, Texas A&M University, Corpus Christi, TX Aspen Art Museum, Aspen, CO Auckland Art Gallery, New Zealand Baltimore Museum of Art, MD Berkeley Art Museum, University of California, CA The Blanton Museum of Art, University of Texas, Austin, TX Brooklyn Museum, NY Carnegie Museum of Art, Pittsburgh PA Centre Georges Pompidou, Paris, France Chazen Museum of Art, University of Wisconsin, Madison, WI Chrysler Museum of Art, Norfolk, VA Chrystal Bridges Museum of American Art, Bentonville, AK Cincinnati Art Museum, OH The Cleveland Museum of Art, OH Currier Museum of Art, Manchester, NH Dallas Museum of Art, TX Davis Museum and Cultural Center, Wellesley College, Wellesley, MA deCordova Museum and Sculpture Park, Lincoln, MA Delaware Art Museum, Wilmington, DL Fundacion Juan March, Madrid, Spain Germanische Nationalmuseum, Nuremberg, Germany Greenville County Museum of Art, Greenville, SC Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY High Museum of Art, Atlanta, GA Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Honolulu Academy of Arts, HI Hood Museum of Art, Dartmouth College, Hanover, NH Hunter Museum of American Art, Chattanooga, TN Indianapolis Museum of Art, IN Krannert Art Museum, University of Illinois at UrbanaChampaign, IL Kunsthaus Hamburg, Germany Los Angeles County Museum of Art, CA Lowe Art Museum, University of Miami, Coral Gables, FL Mead Art Museum, Amherst College, Amherst, MA The Metropolitan Museum of Art, NY Mildred Lane Kemper Art Museum, Washington University in St. Louis, MO Milwaukee Art Museum, WI Mint Museum, Charlotte, NC

Modern Art Museum of Fort Worth, Fort Worth, TX The Montreal Museum of Fine Arts, Canada Munson-Williams-Proctor Arts Institute, Utica, NY Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA Musée de Grenoble, France Museo Thyssen-Bornemisza, Madrid, Spain Museum Ludwig, Cologne, Germany Museum of Contemporary Art Chicago, IL Museum of Contemporary Art, Los Angeles, CA Museum of Fine Arts, Boston, MA Museum of Fine Arts, Houston, TX The Museum of Modern Art, NY National Gallery of Art, Washington, D.C. National Gallery of Australia, Canberra The Newark Museum, NJ Palm Springs Art Museum, Palm Springs, CA Philadelphia Museum of Art, PA Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, PA Portland Art Museum, Portland, OR San Francisco Museum of Modern Art, CA Scottsdale Museum of Contemporary Art, Scottsdale, AZ Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE Smith College Museum of Art, Northampton, MA Solomon R. Guggenheim Museum, NY Speed Art Museum, Louisville, KY Spencer Museum of Art, University of Kansas, Lawrence, KS Städel Museum, Frankfurt am Main, Germany Städtische Galerie im Lenbachhaus, Munich, Germany Tate Collection, London, United Kingdom Tel Aviv Museum of Art, Tel Aviv, Israel Toledo Museum of Art, Toledo, OH Ulrich Museum of Art, Wichita State University, Wichita, KA University of Michigan Museum of Art, Ann Arbor, MI Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT Walker Art Center, Minneapolis, MN Whitney Museum of American Art, NY Williams College Museum of Art, Williamstown, MA Yale University Art Gallery, New Haven, CT

SELECTED BIBLIOGRAPHY Monographs Bannard, Walter Darby. Hans Hofmann: A Retrospective Exhibition. The Hirshhorn Museum and Sculpture Garden: Washington, and The Museum of Fine Arts: Houston, 1976. Barnes, Lucinda, Hülsewig-Johnen, J., Meschede, Friedrich. Hans Hofmann: Creation in Form and Color. University of California Berkely Art Museum and Pacific Film Archive, Kunsthalle Bielefeld, Hirmer Publishers, 2016.

Wilkin, Karen, Polednik, Marcelle, Greenwold, Diana. Hans Hofmann Works on Paper. Museum of Contemporary Art Jacksonville, Yale University Press, 2017. Texts written by Hans Hofmann “Art in America.” The Art Digest 4 (August 1930): 27.

Buhlmann, Britta E., Reich, Annette, Wilkin, Karen, Yohe, James. Hans Hofmann: Magnum Opus. Hatje Cantz, 2013.

“Painting and Culture.” As communicated to Glenn Wessels. The Fortnightly 1 (11 September 1931): 5-7.

Buhlmann, Britta E., hans hofmann: hofmann’s ways, early drawings 1898 – 1937 [hofmanns wege: frühe zeichnungen 1898-1937]. Museum Pfalzgalerie Kaiserslautern, Edition Cantz, 2018.

“On the Aims of Art.” Translated by Ernst Stolz and Glenn Wessels. The Fortnightly 1 (26 February 1932): 7-11.

Costa, Xavier, Eric Mumford, Tina Dickey, and Marti Peran. Hans Hofmann: The Chimbote Project: The Synergistic Promise of Modern Art and Urban Architecture. Barcelona, 2004.

Wilkin, Karen. Hans Hofman: A Retrospective. New York: G. Braziller, 2003.

Dickey, Tina and Inka Essenhigh, essays. Hans Hofmann: Search for the Real. New York: Ameringer & Yohe Fine Art, 2005. Dickey, Tina, Color Creates Light: Studies With Hans Hofmann. Heriot Bay, British Columbia: Trillistar Books, 2011. Goodman, Cynthia. Hans Hofmann. New York: Abbeville Press, 1986.

“Plastic Creation.” Translated by Ludwig Sander. The League. Published by The Art Students League of New York. (Winter 1932-33): 11-51, 21. Reprinted in The League 22 (Winter 1950): 3-6. “The Search for the Real and Other Essays.” The Search for The Real. Exhibition catalogue edited by Sara T. Weeks and Bartlett H. Hayes Jr. Andover, Mass: Addison Gallery of American Art, 1948. Reprinted by Cambridge, Mass.: MIT Press, 1983. Includes “The Search for the Real in the Visual Arts,” pp.46-54; “Sculpture,” pp. 55-59; “Painting and Culture,” pp. 60-64; excerpts from the teaching of Hans Hofmann adapted from his essays “On the Aims of Art” and “Plastic Creation,”pp.65-76, 76-78. “Space and Pictorial Life.” It Is, no. 4 (Autumn 1959): 10.

Greenberg, Clement. Hans Hofmann. Paris: 1961. Hunter, Sam. Hans Hofmann. New York; 1963. Hunter, Sam, Tina Dickey, and Frank Stella. Hans Hofmann, edited by James Yohe, 1st & 2nd ed. New York: Rizzoli International Publications, 2002 & 2006. Rush, Michael, Morris, Catherine, and Sandler, Irving. Hans Hofmann: circa 1950. Waltham: The Rose Art Museum, Brandeis University, 2008.

“Hans Hofmann on Art.” Lecture at inauguration of the Hopkins Center, Dartmouth College 17 November 1962; published in Art Journal 22 (Spring 1963): 180, 182. “The Painter and His Problems: A Manual Dedicated to Painting.” Thirty-five page typescript dated 21 March 1963. New York: The Museum of Modern Art Library. Published interviews with Hofmann Jaffe, Irma. “A Conversation With Hans Hofmann.” Artforum 9 (January 1971): 34-39.

Ruthenberg, Peter. Vergessene Bilder: 8 Studenten der ‘Schule für Bildende Kunst, Hans Hofmann,’ München (1915-1932). Berlin and Frankfurt: 1986.

Kuh, Katherine. The Artist’s Voice: Talks With Seventeen Artists. New York: 1962, pp.118-29.

Seitz, William C. Hans Hofmann. New York: The Museum of Modern Art, 1963.

van Okker, William H. “Visit With a Villager: Hans Hofmann.” Villager (18 March 1965).

Wight, Frederick S. Hans Hofmann. Berkeley: University of California Press, 1957.

Wolf, Ben. “The Digest Interviews Hans Hofmann.” The Art Digest 19 (1 April 1945): 52.

Other books and articles Barbero, Luca Massimo, Philip Rylands and Valentina Sonzogni. Peggy Guggenheim e la Nuova Pittura Americana, catalogue for exhibition. Florence and Milan, Italy: The Solomon R. Guggenheim Foundation and Giunti Arte Mostre Musei, 2008. Boyle, Richard, Tina Dickey, Michael Taylor, Barbara Wolanin. “From Hawthorne to Hofmann: Provincetown Vignettes, 1899 – 1945,” Hollis Taggart Galleries, 2003. Bultman, Fritz. “The Achievement of Hans Hofmann.” ArtNews 42 (September 1963): 54. Coates, Robert. “The Art Galleries, At Home and Abroad.” New Yorker 22 (30 March 1946): 83. de Kooning, Elaine. “Hans Hofmann Paints a Picture.” ArtNews 48 (February 1950): 38. Dickey, Tina. Hans Hofmann: Exuberant Eye. Chicago: KN Gallery, 2007 Goodman, Cynthia. “Hans Hofmann as Teacher.” Arts Magazine 53 (April 1979): 22-28. Greenberg, Clement. Art and Culture. Boston: Beacon Press, 1961. Herskvic, Marika, ed. New York School Abstract Expressionists: Artist Choice by Artists. New York: New York School Press, 2000. Karmel, Pepe, ed. Action Painting: Jackson Pollock. Essays by Gottfried Boehm, Robert Fleck, and Jason Edward Kaufman. Basel, Switzerland: 2008. Kroll, Jack. “Old Man Crazy About Painting.” Newsweek 62 (16 September 1963): 88, 90. Landau, Ellen G. “The French Sources for Hans Hofmann’s Ideas on the Dynamics of Color-Created Space.” Arts Magazine 51 (October 1976). Loran, Erle. “Hans Hofmann and His Work.” Artforum 2 (May 1964): 34. Matter, Mercedes. “Hans Hofmann.” Arts and Architecture 63 (May 1946): 26-28. Noelle, Alexander J., James R. Bakker, Stephen Borkowski, Robert Bridges, Josephine C. Del Deo. “The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony, 1899-2011,” New Britain Museum of American Art, 2011.

Perl, Jed. New Art City. New York: Knopf, 2005. Perl, Jed. The Unabashed Unconscious: Reflections on Hofmann and Surrealism, New York: Ameringer & Yohe Fine Art, 2006. Plaskett, J. “Some New Canadian Painters and Their Debt to Hans Hofmann.” Canadian Art 10 (Winter 1953): 59-63. Pollet, Elizabeth. “Hans Hofmann.” Arts Magazine 31 (May 1957): 30-33. Riley, Maude. “Hans Hofmann: Teacher-Artist.” The Art Digest 18 (15 March 1944): 13. Rose, Barbara. “Hans Hofmann: From Expressionism to Abstraction.” Arts Magazine 53 (November 1978). Rosenberg, Harold. “Hans Hofmann’s ‘Life’ Class.” ArtNews 6 (Autumn 1962): 16-31, 110-15. Rosenberg, Harold. “Teaching of Hans Hofmann.” Arts Magazine 45 (December 1970): 17-19. Sandler, Irving. The Triumph of American Painting: A History of Abstract Expressionism. New York: Praeger Publishers, 1970. Sandler, Irving. “Hans Hofmann: The Pedagogical Master.” Art in America 61 (May 1973). Sandler, Irving. The New York School: The Painters and Sculptors of The Fifties. New York: Harper & Row, 1978. Schwendener, Martha. “Reviews, Tête-à-Tête.” Time Out: New York (7-13 July 2005). Seckler, Dorothy Gees. Provincetown Painters: 1890’s-1970’s. Exhibition catalogue from Everson Museum of Art. Syracuse, NY 1977. Seckler, Dorothy Gees. “Can Painting Be Taught?” ArtNews 50 (March 1951): 39-40, 63-64. Willard, Charlotte. “Living in a Painting.” Look 17 (28 July 28 1953): 52-55. Archives Archives of American Art, Smithsonian Institute, Washington, D.C. Bancroft Library, University of California, Berkeley, CA.

Published on the occasion of the exhibition

HANS HOFMANN 3 January – 2 February 2019 Miles McEnery Gallery 520 West 21st Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2018 Miles McEnery Gallery All rights reserved Essay © 2018 Tina Dickey Photography by Christopher Burke Studio, New York, NY

Page 2 Hans Hofmann by George Later. Photo courtesy of Provincetown Art Association and Museum. Page 6 Hieronymus Bosch, The Conjurer, c. 1502. Photo courtesy of Musée Municipal, Saint Germain-en-Laye. Page 50 Snow White, 1960 Private collection, Courtesy Alexandra Mollof Fine Art Ltd., London. Catalogue designed by HHA Design, New York, NY ISBN: 978–1–949327–04–5 Cover: Perpetuita (detail), 1951

MILES M c E N E RY G A L L E RY