Hans Hofmann by Miles McEnery Gallery

HANS HOFMANN

525 W E S T 22ND S T R E E T NE W YOR K N Y 10 011 T E L 212 4 45 0 051 W W W. A M Y- N Y C . C OM

Provincetown Studio

THE 1940s: HANS HOFMANN’S BREAKTHROUGH YEARS

C YNTHIA GOODMAN

Hans Hofmann’s first solo show in New York was held at Peggy Guggenheim’s Art of This Century Gallery in 1944, which is also the date of the earliest works in the current Hofmann exhibition at Ameringer | McEnery|Yohe. The exhibition at Guggenheim’s gallery was significant because it provided the first opportunity for the New York art world to see his work. Exhibiting at Peggy Guggenheim’s gallery was also a critical formative experience in Hofmann’s own career. As her gallery was at the center of Surrealist activity for many European artists who had sought refuge in the United States during World War II, showing there gave Hofmann unprecedented access to those artists and their work. Guggenheim also presciently exhibited many artists who were seminal to the emerging American art movement, including Jackson Pollock, who had brought Hofmann’s work to her attention, Robert Motherwell, William Baziotes, Mark Rothko and Clyfford Still. After his New York debut, Hofmann was not only part of the critical dialogue but also an inextricable presence in the development of the

then-nascent New York School of painting, as well as the most respected art teacher in America. Nineteen forty-four was a breakthrough year for Hofmann for another reason: A hernia operation prevented him from carrying his heavy easel out of doors. As a consequence, landscape was no longer his predominant theme, and his works became increasingly involved with a number of trends that other artists at Guggenheim’s gallery were exploring. In addition to their fascination with the artistic language of Surrealism and its exploration of automatism, these artists were influenced by the biomorphism of Hans Arp and Joan Miró, and were also intrigued with mythic forms, primitive iconography and aquatic imagery. Although Hofmann was responding to the same sources as his American colleagues, there was an important distinction between his use of these themes and theirs. For the emerging American artists, these sources represented a newfound fascination. But Hofmann had had direct contact with many European art traditions,

including Fauvism and Cubism, when he lived and studied in Paris many years earlier. There, his acquaintances included the greatest artists of the early 20th century, among them Pablo Picasso, Georges Braque, Juan Gris, Georges Rouault and Robert Delaunay, as well as the collector Leo Stein. Henri Matisse, whose use of highly saturated color was a lifelong influence on Hofmann, was a fellow student at the Académie de la Grande Chaumière in 1904. Following the lead of the Cubists, in whose studios and compositions primitive art figured prominently, Hofmann in 1930 brought back to Munich an Ivory Coast initiation mask he had purchased in San Francisco. In the middle of the 1940s, Hofmann also produced a number of highly inventive mixed-media works on paper. Among the most remarkable, was a series of gouaches that ranged from the exuberantly colored Untitled, 1945 [page 21], to others more austere in coloration although still adhering primarily to a red, white and black palette like Untitled, 1946 [page 23], and Untitled, 1946 [page 29]. With their frequent punctuation by Miróesque doodles and the appearance of mythic creatures, they signaled a distinct development in the artist’s work, which he acknowledged by calling them his “free creations.” Yet no matter how “free,” the reference to his earlier still lifes, portraits and figure studies is pervasive. This lifelong dependence on the natural world as his point of departure would continue to distinguish Hofmann from his younger American counterparts. In his words, as expressed in an essay written for his solo exhibition at the Addison Gallery of American Art in Andover, Massachusetts, in 1948, but also repeated in writings and lectures through his career: “Creation is dominated by three absolutely different factors; first nature which works upon us by its laws; second, the artist who creates a spiritual contact with nature and his materials; third, the medium of expression through which the artist translates his inner world.” In fact, this very underpinning, manifested at times by his conformity to fairly traditional

outlines, seemed to give Hofmann the greatest freedom in his manner of depiction. The mid-1940s, the time in which the majority of drawings and paintings on view in the current Hans Hofmann exhibition at Ameringer |McEnery|Yohe were created, was a significant period not only in the work of this artist but also for the entire group of artists who came to be known as the Abstract Expressionists. During the preceding years, there had been a growing recognition that the American art scene was undergoing a profound transformation and revitalization. Hofmann’s work and teaching were central to both. And his European roots and affiliations distinguished both his contributions and his stature. In 1945, Howard Putzel, the acclaimed owner of 67 Gallery in New York, organized the pivotal exhibition titled A Problem for Critics, which was motivated by his desire to define the characteristics of the new art movement. Hofmann was included in this exhibition along with Arshile Gorky, Arp, Adolph Gottlieb, André Masson, Miró, Rothko and Pollock. Miró and Arp, as well as Picasso, were the European masters whose work found the greatest resonance in Hofmann’s work of this period. And yet, as Putzel observed in his press release for this exhibition, he had included Hofmann with this group of artists who were no longer content to simply mimic the Europeans but were also developing their own individualistic style. According to Putzel, this style manifested a “genuine talent, enthusiasm and originality” indicative of “a real American painting beginning now.” And this realization exerted an almost intoxicating effect on this emerging group. In a review of Hans Hofmann’s 1946 solo exhibition at the Mortimer Brandt Gallery in New York, the critic Robert Coates wrote: “He is certainly one of the most uncompromising representatives of what some people call the spatter-and-daub school of painting, and I, more politely, have christened Abstract Expressionism.” Interestingly, the very name both denotes the artists’ reliance

on European precedence as well as their liberation from it through their increasingly abstract manner of depiction. What is not firmly established in the art history of this period, however, is whether Hofmann introduced the much-heralded drip technique to Pollock in whose work the technique became a hallmark. Nevertheless, it is undeniable that in important works of the 1940s painted prior to 1948, Hofmann had been prophetic and masterful in his use of the calligraphy and amorphous shapes that were to become trademarks of Abstract Expressionism. The range of works in the current exhibition is not only typical of Hofmann’s work at this time; it also reflects how divergent his many styles were at any one time in his artistic career. The bold lines, shapes and colors of Black, Red, Yellow, 1949 [page 71], continue to exhibit a strong reference to the shapes, droll menagerie and palette of Miró, which are pervasive in some of Hofmann’s most successful works of this period. Miró’s exhibition at the Museum of Modern Art in 1941, offered many New York artists, Hofmann among them, a great opportunity to examine the inventive pictorial language of a heralded European master. Yet, very tellingly for Hofmann, his affinity to the work of Miró had been established years before, when he had purchased a gouache by Miró that was one of the prized possessions he and his wife Miz brought to the United States. Hofmann had also been recommending to his students that they attend Miró’s annual exhibitions at Pierre Matisse’s New York Gallery since the mid-1930s. Yet what also distinguished Hofmann’s works of these years is that, despite the Miróesque references, Hofmann exhibits a remarkable ability to imbue the borrowed shapes and colors with his own bold vocabulary, as did others in Hofmann’s circle of New York painters. Yet unlike other New York painters to whom he was close, Hofmann was outspoken in his allegiance to the European masters he most admired, and he called Wassily Kandinsky, Miró, Arp and Piet Mondrian the greatest innovators in modern art in a 1945 interview with critic Ben Wolf for Art

Digest, included in a review of the artist’s exhibition at the Mortimer Brandt Gallery, New York. A bronze sculpture by Arp was another of the artist’s most prized possessions. His ongoing affinity to the School of Paris masters was demonstrated on his return to Paris in 1949 for a solo show of his work at the Galerie Maeght. On that trip, he visited the studios of Picasso, Braque, Constantin Brâncusi and Miró. Picasso reciprocated by visiting the Maeght exhibition, a visit that is documented by a photograph of the two men standing in front of one of Hofmann’s paintings at the gallery. No matter the forms, titles or point of departure—figure, landscape or still life—all were a pretext for Hofmann to explore his translation of the plasticity of natural forms into the subject matter of his paintings. It is interesting to note Hofmann’s unabashed reliance as well as his simultaneous tentative attempts to camouflage this dependence by leaving works like Untitled, 1945 [page 17], an obvious still life composition, without a title. In fact, it was this very underpinning that seemed to give Hofmann the greatest freedom in his manner of depiction. This was reflected in the artist’s inimitable wizardry, which repeatedly metamorphosed recognizable forms into his own variable abstractions through a creative pictorial process he called “push and pull.” He used this term so frequently that it became synonymous with his teachings, as well as with his own attempts to imbue his compositions with the greatest sense of volume and plasticity while maintaining the integrity of the two-dimensional picture surface. He also had a lingering dependence on the figure studies that were a hallmark of his student classes. They were fondly remembered by artists like Larry Rivers, who recalled, “There was always a nude model in some pose which would make Hofmann’s push and pull magic on Tuesday and Friday a more discernible reality.” Not surprisingly, the undulating graphic elements and curvilinear forms in works of this era, such as those depicted by the meandering, partially delineated lines,

dots and dashes in Loop on Loop, 1944, are often directly traceable to specific parts of the human physiognomy. In the formidable Seated Woman, 1944 [page 45], the title is unnecessary to identify the source for the small, triangular pin-like head, massive breasts, forceful arms and enormous trunk-like legs, which almost fill the picture plane, as one of his well-endowed studio models. I initially dismissed Seated Woman as a larger, colorfully painted version of one of these figure studies when I first studied it in a small color thumbnail illustration in the back of the monograph on Hofmann’s work for a retrospective held at the Addison Gallery of American Art in 1948. But this painting has become increasingly interesting to me. I attribute my re-evaluation to a closer examination, which revealed the artist’s remarkably fluid integration of remnants of his Provincetown landscapes and their increasingly rectangular cubistic planes with shapes akin to his still lifes, all in one monumental figure integrated by color and agile lines. Several years later, in both The Mannequin, 1946 [page 57], and The Virgin, 1946 [page 55], the shapes of the human anatomy have been distilled further, yet the upraised right arm of the model anchors both compositions. In Black Form, 1946 [page 67], the minimally disguised dark totemic figure on a bright green ground replete with two yellow dabs for eyes, a red swathe to denote the cheek and a series of short yellow lines that delineate either teeth or facial hair metamorphoses the human physiognomy further. Once again, Hofmann could not resist enlivening the composition with fine energetic lines that initially have an aura of randomness but generally refer to some bodily delineation or function. Once more, in the sparsely colored Telescope, 1946 [page 53], the composition bears more resemblance to a bowl of fruit than to the popular stargazing instrument. And the application of paint with which Hofmann accentuated only a few carefully selected elements continued to be a genre of painting for Hofmann through the 1950s and

1960s in the midst of his most luscious and densely packed surfaces of heaving and surging pigment often applied directly from the tube. This watercolor-like treatment, which initially looks almost as if the compositions are unfinished to those unfamiliar with this style in his work, aligns Hofmann not only to similar compositional features in Matisse’s oeuvre but also to the Color Field painters Mark Rothko and Barnett Newman. Although in 1946 Hofmann already used canvas as a support, in the following year of 1947, he relinquished painting on canvas board or wood panels and began using canvas consistently as the surface for his painted works. Hofmann’s works of these two years, exemplified by Astral Image II, 1947 [page 65], Alchimy [sic], 1946 [page 59], and Joy II, 1947 [page 69], reflected a range of moods as divergent as his styles. In words that reflect his lifelong simultaneous embrace of different stylistic manners, Hofmann had explained at a meeting of the American Abstract Artists in 1941 that, “Every art expression is rooted fundamentally in the personality and temperament of the artist … when he is of a more lyrical nature his work will have a more lyrical and poetical quality; when he is of a more violent nature his work will express this in a more dramatic sense.” In one of his final interviews with Irma Jaffe, published in ArtForum in 1971, Hofmann reinforced how his paintings reflected his variable moods: “I let things develop according to my sensing and feeling, to my moods, especially those in which I find myself when I get up in the morning.” And although one should be somewhat wary of ascribing too much meaning to all of Hofmann’s titles, particularly in the 1940s when he felt compelled to respond to the non-pictorial influences in the work of other painters, nevertheless, they offer a pretty good indication of the subject that he was attempting to portray. Hofmann’s audacious joy in the application of color was a distinguishing feature of his work, not only in the time span covered by this show but throughout his

career. And color was often the trigger for a composition, and a recurrent element in the titles for his compositions, as exemplified by several works in this show. Again, we can find an explanation for the frequent references to color in the artist’s own words, included in his interview in Katherine Kuh’s 1962 publication, The Artist’s Voice: Talks With Seventeen Artists: “The first red spot on a white canvas may at once suggest to me the meaning of ‘morning redness,’ and from there on I dream further with my color.” Halloween was an unfamiliar holiday for the Germanborn Hofmann. Yet, in Hallowin [sic], 1948, he has successfully captured some of the ghoulish aspects and frights of this night. Although there is not a reference to color in the title, the very mention of this beloved holiday conjures up the red, black and white palette of this painting. With colors akin to those of the witch and ghost costumes donned by innumerable trick-or-treaters, Hofmann has depicted both the children in search of treats and the dreaded birdlike creatures that appear out of the

darkness on this night that mingles sweet rewards with goose-bumping chills. According to his student Glenn Wessels, in Hofmann’s earlier works, whether in the studio or out of doors, he painted a particular subject; in his later more abstract works, he distilled the essence of many still lifes, landscapes or figure studies into a unified composition. As Hofmann expressed it in his essay The Search for the Real: “The ability to simplify means to eliminate the unnecessary so that the necessary may speak. Simplification is the essence of abstraction from which objective values are not necessarily eliminated.” It was this unwillingness to relinquish nature as a recurrent theme, coupled with an enduring fascination with color and a highly original application of it in divergent manners, that led Hans Hofmann to compose some of the most memorable and highly original works of the 1940s, 1950s and 1960s. As a consequence, his name has become synonymous with some of the greatest achievements of this watershed era in American painting.

WORKS ON PAPER

STILL LIFE IN RED AND BLACK 1945, Gouache on paperboard 25¾ x 21¾ inches (65.4 x 55.2 cm) HH Estate #M-0733

PROVENANCE Estate of Hans Hofmann

E XHIBITED

Modena, Italy: Foro Boario, Action Painting. Arte Americana 1940–1970: dal disengno all’opera [21 November 2004 – 27 February 2005]. Curated by Luca Massimo Barbero. Exhibition catalogue: Barbero, Luca Massimo. Action Painting. Arte Americana 1940–1970: dal disengno all’opera. Monaco: Grafiche Aurora, illustrated in color, p. 103. Boston: Acme Fine Art and Design, Days Lumberyard Exhibition 1915–1972 [15 May – 22 August 2009]. Traveled to Cape Cod Museum of Art, Dennis, Mass. [19 September – 15 November 2009].

LITER AT URE Barbero, Luca Massimo, Philip Rylands, and Valentina Sonzogni. Peggy Guggenheim e la Nuova Pittura Americana. Exhibition catalogue. Firenze and Milano, Italy: The Solomon R. Guggenheim Foundation and Giunti Arte Mostre Musei, 2008, illustrated in color, p. 90.

UNTITLED 1945, Gouache on paper 26 x 22 inchesâ&#x20AC;&#x201A; (66 x 55.9 cm) HH Estate #M-0521/02A

PROVENANCE Estate of Hans Hofmann

WHITE IN BLACK 1945, Gouache and ink on paper 25¾ x 22 inches (65.4 x 55.9 cm) HH Estate #M-0724B

PROVENANCE Estate of Hans Hofmann

UNTITLED 1945, Gouache on paper 18½ x 23¾ inches (47 x 60.3 cm) HH Estate #M-0644/10

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Gouache on paper 18 x 24 inchesâ&#x20AC;&#x201A; (45.7 x 61 cm) HH Catalogue #C-0065

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Ink on paper 24 x 18 inchesâ&#x20AC;&#x201A; (61 x 45.7 cm) HH Estate #M-0508/02

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Gouache on paper 24 x 18 inchesâ&#x20AC;&#x201A; (61 x 45.7 cm) HH Estate #M-0508/05

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Gouache and ink on paper 18 x 24 inchesâ&#x20AC;&#x201A; (45.7 x 61 cm) HH Estate #C-0072

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Oil and ink on paper 24 x 18 inchesâ&#x20AC;&#x201A; (61 x 45.7 cm) HH Estate #M-0831/11

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Ink on paper 24 x 18 inchesâ&#x20AC;&#x201A; (61 x 45.7 cm) HH Estate #M-0508/02

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Gouache on paper 24 x 19 inchesâ&#x20AC;&#x201A; (61 x 48 cm) HH Estate #M-0507/03

PROVENANCE Estate of Hans Hofmann

UNTITLED 1946, Oil and gouache on paper 19 x 25 inchesâ&#x20AC;&#x201A; (48.3 x 63.5 cm) HH Estate #M-0823

PROVENANCE Estate of Hans Hofmann

UNTITLED 1947, Gouache on paper 17 x 14 inchesâ&#x20AC;&#x201A; (43.2 x 35.6 cm) HH Estate #M-0434/10

PROVENANCE Estate of Hans Hofmann

FURY 1948, Gouache on paper 24 x 18 inchesâ&#x20AC;&#x201A; (61 x 45.7 cm) HH Estate #C-0066

PROVENANCE Estate of Hans Hofmann

PAINTINGS

SEATED WOMAN 1944, Oil on panel 61 x 46¾ inches (154.9 x 118.7 cm) HH Catalogue #611-1944 HH Estate #M-1059

PROVENANCE Estate of Hans Hofmann

E XHIBITED New York: 67 Gallery, Hans Hofmann: Abstract Paintings [2–21 April 1945].

Paris, France: Galerie Maeght, Hans Hofmann, Peintures [7 January – 9 February 1949]. Exhibition brochure: Derrière le Miroir (Galerie Maeght, Paris, France) no. 16: special issue on Hans Hofmann (January 1949): n.p. Lithographs by Hofmann; essays by Charles Estienne and Peter Neaoge; poem by Weldon Kees; reprint of “An Appreciation” (1949) by Tennessee Williams. Provincetown, Mass.: First 1951 Exhibition [1–29 July].

New York: 67 Gallery, A Problem for Critics [14 May – 7 July 1945]. Curated by Howard Putzel. New York: Kootz Gallery, Women [8–27 September 1947]. Exhibition catalogue: Women: A Collaboration of Artists and Writers. Preface by Samuel M. Kootz; texts by Lewis Galantière, Paul Goodman, Clement Greenberg, Weldon Kees, Benjamin Péret, Harold Rosenberg, Jean-Paul Sartre, Barry Ulanov, Tennessee Williams, William Carlos Williams, Victor Wolfson; accompanying text to Hofmann’s work by Tennessee Williams, “An Appreciation.” New York: Samuel M. Kootz Editions, 1948, illustrated n.p. Andover, Mass.: Addison Gallery of American Art, Hans Hofmann: Painter and Teacher, retrospective in conjunction with publication of Hofmann’s Search for the Real and Other Essays [2 January – 9 February 1948]. Exhibition catalogue: Hofmann, Hans. Search for the Real, and Other Essays. Edited by Sarah T. Weeks and Bartlett H. Hayes, Jr. Andover, Mass.: Addison Gallery of American Art, 1948, illustrated pp. 33, 85 (installation view), p. 91 (color), comm. p. 32. Reprinted by Cambridge: MIT Press, 1967, illustrated pp. 27, 79 (installation view), p. 83 (color), comm. p. 26.

Nuremberg, Germany: Fränkische Galerie am Marientor, Hans Hofmann [March 1962]. Traveled to Kunstverein, Cologne; Kongresshalle, Berlin; and Städtische Galerie, Munich. Exhibition catalogue: Grote, Ludwig. Hans Hofmann, Ausstellung 1962. Contributions by Frederick S. Wight, Clement Greenberg, and Tennessee Williams. Nuremberg, Germany: Fränkische Galerie am Marientor, 1962, illustrated, p. 5. Madrid, Spain: Museo Nacional Centro de Arte Reina Sofîa, The Surrealists in Exile and the Beginning of the New York School [21 December 1999 – 27 February 2000]. Traveled to Musée d’Art Moderne et Contemporain de Strasbourg, France. Exhibition catalogue: Surrealistas en el exilio y los inicios de la Escuela de Nueva York. Madrid: Ministerio de Educación y Cultura, 1999, illustrated in color, p. 249. Kaiserslautern, Germany: Museum Pfalzgalerie Kaiserslautern, Hans Hofmann: Magnum Opus [9 March – 16 June 2013]. Exhibition catalogue: Buhlmann, Britta E., ed. Hans Hofmann: Magnum Opus, essays by William C. Agee, Annette Reich, and Karen Wilkin. Ostfildern, Germany: Hatje Cantz Verlag, 2013, illustrated in color, p. 63. (continued on page 90)

FURY NO. 1 1945, Oil on panel 55 x 44 inches (141 x 112 cm) HH Catalogue #1126-1945 HH Estate #M-1126

PROVENANCE

LITER AT URE

Estate of Hans Hofmann

Abell, Walter. “The Law, the Maze and the Monster.” Magazine of Art 41, no. 1 (January 1948): pp. 6–11 [Art Institute of Chicago exhibition review], illustrated p. 8, comm. p. 8.

E XHIBITED Chicago: The Art Institute of Chicago. Abstract and Surrealist American Art: 58th Annual Exhibition of American Paintings and Sculpture [6 November 1947–11 January 1948]. Illustrated, p. 4, cat. no. 118.

Jewell, Edward Alden. “New Phase in Art Noted at Display: ‘Ideographic Picture’ Is Title of Provocative Group Exhibition at Betty Parsons Gallery.” The New York Times, 23 January 1947 [Betty Parsons Gallery exhibition review], comm. p. 21.

New York: Betty Parsons Gallery, The Ideographic Picture, [10 January–8 February 1947].

Mackie, Alwynne. Art/Talk: Theory and Practice in Abstract Expressionism. New York: Columbia University Press, 1989, comm. p. 23.

Paris, France: Galerie Maeght, Hans Hofmann, Peintures, [7 January–9 February 1949].

Riley, Maude. “Coming to Terms with Modern Painting.” MKR’s Art Outlook 1, no. 29 (27 January 1947): pp. 2–3 [Betty Parsons Gallery exhibition review], comm. p. 3.

YELLOW 1945, Oil on panel 22 x 25¾ inches (55.9 x 65.4 cm) HH Catalogue #245-1945 HH Estate #M-0764

PROVENANCE Estate of Hans Hofmann

PHOSPHORIC FORM 1946, Oil on panel 25 x 30 inches (double-sided) (63.5 x 76.2 cm) HH Catalogue #1093-1946 HH Estate #M-1151

PROVENANCE

LITER AT URE

Estate of Hans Hofmann

Coates, Robert. “The Art Galleries, At Home and Abroad.” The New Yorker, vol. 22, no. 7 (30 March 1946): pp. 83–84 [Mortimer Brandt Gallery exhibition review], comm. p. 8.

E XHIBITED New York: Mortimer Brandt Gallery, Hans Hofmann: Recent Paintings, [18–30 March 1946].

Dallas: Dallas Museum of Fine Arts, TX, Hans Hofmann: Space Paintings, [26 January–23 February 1947]. Traveled to Texas State College for Women, Denton, [6 March–3 April 1947], under the title Hans Hofmann: Space Paintings; University of Oklahoma, Norman, [15–30 April 1947]; Memphis Academy of Arts, TN, [May–June 1947]. Paris, France: Galerie Maeght, Hans Hofmann, Peintures, [7 January–9 February 1949].

“Paintings by German, Hans Hofman [sic], Given Art Building Display.” Oklahoma Daily, 18 April 1947 [Dallas Museum of Fine Arts exhibition review], comm. p. 5. Yohe, James, ed. Hans Hofmann. Essays by Tina Dickey, Sam Hunter and Frank Stella, New York: Rizzoli, 2d ed., 2006, illustrated in color, p. 125.

TELESCOPE 1946, Oil on panel 30 x 24 inches (76.2 x 61 cm) HH Estate #M-0384

PROVENANCE Estate of Hans Hofmann

E XHIBITED Hollywood: American Contemporary Gallery, Hans Hofmann, [14 May–10 June 1946]. Traveled to San Francisco Museum of Art, [17 September–6 October 1946]. 52

THE VIRGIN 1946, Oil on board 41½ x 31½ inches (105.4 x 80 cm) HH Catalogue #503-1946 HH Estate #M-0132

PROVENANCE

LITER AT URE

Estate of Hans Hofmann

Derrière le Miroir (Galerie Maeght, Paris, France) (text in English and French; includes artist’s statements, no. 16: special issue on Hans Hofmann (January 1949): n.p. Lithographs by Hofmann; essays by Charles Estienne and Peter Neaoge; poem by Weldon Kees; reprint of “An Appreciation” (1949) by Tennessee Williams.

E XHIBITED Paris, France: Galerie Maeght, Hans Hofmann, Peintures, [7 January–9 February 1949].

New York: Kootz Gallery, Hans Hofmann: Early Paintings, [20–31 January 1959]. Curated by Clement Greenberg.

Greenberg, Clement. “Hans Hofmann: Paintings of 1958 and Early Paintings.” New York: Kootz Gallery, 1959 [exhibition brochure].

THE MANNEQUIN 1946, Oil on paperboard 40½ x 31 inches (102.9 x 78.7 cm) HH Estate #M-0158

PROVENANCE Estate of Hans Hofmann

E XHIBITED New York: Kootz Gallery, Hans Hofmann: Early Paintings, [20–31 January 1959]. Curated by Clement Greenberg.

Toronto: Marianne Freidland Gallery, Hans Hofmann: Important Paintings and Works on Paper, [5–24 November 1988].

LITER AT URE Yohe, James, ed. Hans Hofmann. Essays by Tina Dickey, Sam Hunter and Frank Stella, New York: Rizzoli, 2d ed., 2006, illustrated in color, p. 126.

ALCHIMY [sic] 1946, Oil on panel 35 x 30 inchesâ&#x20AC;&#x201A; (89 x 76 cm) HH Catalogue #607-1946 HH Estate #M-0374

PROVENANCE Estate of Hans Hofmann

FEAR 1946, Oil on canvas 42 x 58 inchesâ&#x20AC;&#x201A; (106.7 x 147.3 cm) HH Catalogue #1120-1946 HH Estate #M-1149

PROVENANCE Estate of Hans Hofmann

LITER AT URE Yohe, James, ed. Hans Hofmann. Essays by Tina Dickey, Sam Hunter and Frank Stella, New York: Rizzoli, 2d ed., 2006, illustrated in color, p. 129. 60

BLACK, GREY AND BROWN 1946, Oil on board mounted on canvas 30 x 40 inchesâ&#x20AC;&#x201A; (76.2 x 101.6 cm) HH Catalogue #487-1946 HH Estate #M-1335

PROVENANCE Estate of Hans Hofmann

LITER AT URE Yohe, James, ed. Hans Hofmann. Essays by Tina Dickey, Sam Hunter and Frank Stella, New York: Rizzoli International Publications, 2d ed., 2006, illustrated in color, p. 124. 62

ASTRAL IMAGE II 1947, Oil on board mounted on canvas 39½ x 59¾ inches (100.3 x 151.8 cm) HH Catalogue #1140-1947 HH Estate #M-1130

PROVENANCE Estate of Hans Hofmann

E XHIBITED New York: Betty Parsons Gallery, NY, Hans Hofmann: Recent Works, [24 March–12 April 1947].

BLACK FORM 1946, Oil on board 44 x 28¼ inches (111.7 x 71.7 cm) HH Catalogue #496-1946 HH Estate #M-1088

PROVENANCE Estate of Hans Hofmann

E XHIBITED Roslyn, NY: Nassau County Museum of Art, AB-EX-RE-CON: Abstract Expressionism Reconsidered, [9 March–16 June 2013].

JOY II 1947, Oil on panel 30 x 35 inchesâ&#x20AC;&#x201A; (76.2 x 88.9 cm) HH Catalogue #760-1947 HH Estate #M-0379

PROVENANCE Estate of Hans Hofmann

BLACK, RED, YELLOW 1949, Oil on canvas 48 x 36 inches (121.9 x 91.4 cm) HH Catalogue #1117-1949 and 320-1947 HH Estate #M-1083

PROVENANCE Estate of Hans Hofmann

E XHIBITED New York: André Emmerich Gallery, Hans Hofmann: The Years 1947–1952, [3–28 April 1976].

Los Angeles: Asher/Faure Gallery, Hans Hofmann: Paintings. Presented by André Emmerich, [30 May–27 June 1981]. Houston: Museum of Fine Arts, Miró in America, [21 April–27 June 1982].

LITER AT URE Muchnic, Suzanne. “Galleries: La Cienega Area.” Los Angeles Times. 5 June 1981 [Asher/Faure Gallery exhibition review], comm. p. 4. Rose, Barbara, Judith McCandless, and Duncan Macmillan. Miró in America. Exhibition catalogue. Houston: Museum of Fine Arts, Houston, 1982.

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.

sketch classes at the Académie de la Grand Chaumière and the Académie Colarossi, and meets Picasso, Braque and Matisse.

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.

1910 Hofmann’s first one-person 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.

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 summers in Germany). 1904 Hofmann frequents the 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

1908 Hofmann exhibits with the Neue Sezession in Berlin, and again in 1909.

1914 Hofmann and Miz leave Paris for Corsica, where Hofmann recuperates from what proves to be 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 because of the aftereffects of his lung condition, Hofmann opens the Schule für Bildenes Kunst in Munich, so he can earn a living by teaching. 1918 After the war, Hofmann’s school becomes known abroad and attracts foreign students. 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 he 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, Hofmann 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 one-person 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, Mass. In the fall, he opens a school in New York at 444 Madison Avenue and begins to paint again. 1934 Upon the expiration of his visa, 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, Mass.

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 in Provincetown. 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, New York, and also 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 one-person 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, Mass., 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, panels and exhibitions at Gallery 200 in Provincetown.

1950 Hofmann participates in a three-day 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 avantgarde 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 new 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 full-time to painting. He moves his studios into his former New York and Provincetown schools. He completes a mosaic mural for the exterior of the New York School of Printing at 439 West 49th Street. 1960 Hofmann represents the United States, along with Philip Guston, Franz Kline and Theodore Roszac, at the XXX Venice Biennale. 1962 A retrospective exhibition opens at the Frankische 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 Bildenden Kunste 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 forty-five paintings to the University of California, Berkeley, and to fund the construction of a gallery in his honor at the university’s new museum, then in the planning stage. 1964 Hofmann receives an honorary doctor of fine arts degree from the University of California, Berkeley, and the Solomon Guggenheim International Award. He becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires “The Renate Series.” 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

SELEC TED E XHIBITIONS

1908 Berlin: Neue Sezession. 1909 Berlin: Neue Sezession. 1910 Berlin: Paul Cassirer Galerie, Hofmann—Kokoschka.

1931 Berkeley, Calif.: University of California, Berkeley (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, Santa Barbara, Calif. (June–July), San Francisco Museum of Art (July). New York: Art of This Century Gallery, First Exhibition: Hans Hofmann (7–31 March). 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 Painting (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). 1947 Andover, Mass.: Addison Gallery of American Art, Seeing the Unseeable (22 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, Tenn. (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, Mass.: Addison Gallery of American Art, Hans Hofmann: Painter and Teacher (2 January–9 February).

1949 Paris: Galerie Maeght, Hans Hofmann, Peintures (January). 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 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, N.Y.: 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). New York: Kootz Gallery, Hofmann New Paintings (15 November–11 December). 1955 Bennington, Vt.: 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, Des Moines, Iowa (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, N.Y. (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). 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 (2 April–4 May), Fort Worth Art Center, Fort Worth, Texas (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 (20–31 January). Kassel, Germany: Museum Fridericianum, Documenta II (11 July–11 October). 78

1960 New York: Kootz Gallery, Hans Hofmann, Paintings of 1959 (5–23 January). Munich: Stådtische Galerie, Neue Malerei: Form, Struktur, Bedeutung (10 June–28 August). Venice, Italy: XXX Venice Biennale, Stati Uniti d’America-Quattro Artisti Americani: Guston, Hofmann, Kline, Roszak (June–October). Mexico City: Museo Nacional de Arte Moderna, Palacio de las Bellas Artes, Il Bienal Interamericana (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, Venezuela: 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, Germany: Frankische Galerie am Marientor, Hans Hofmann (March). Traveled to Kunstverein, Cologne, Germany; Kongresshalle, Berlin; Stådtischen Galerie, Munich. Hanover, N.H.: 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, Calif.: 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, East Lansing (1–22 July), Akron Art Institute, Akron, Ohio (2–28 September), Indiana University, Bloomington (11 October–2 November), Auburn University, Auburn, Ala. (18 November–9 December), George Thomas Hunter Gallery of Art, Chattanooga, Tenn. (2–23 January 1964), Richmond Artists Association, Richmond, Va. (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, N.Y. (26 October–16 November 1964), William Hayes Ackland Memorial Art Center, Chapel Hill, N.C. (5–26 January 1965), Goucher College, Towson, Md. (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, Mass. (6 April–24 May).

1964 New York: Kootz Gallery, Hans Hofmann: Paintings, 1963 (18 February–7 March). Berkeley, Calif.: University Art Museum, University of California, Berkeley, Recent Gifts and Loan of Paintings by Hans Hofmann (2 April–3 May). Copenhagen, Denmark: 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: 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, Neb. (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, Fort Worth, Texas (22 July–14 August 1966), Des Moines Art Center, Des Moines, Iowa (1–22 September 1966), Tennessee Fine Arts Center, Nashville, Tenn. (30 September–23 October 1966), Birmingham Museum of Arts, Birmingham, Ala. (4 November–27 November 1966), Art Gallery of Toronto (December 1966), Cornell University, Ithaca, N.Y. (January– February 1967), Ringling Museum of Art, Sarasota, Fla. (7 March–9 April 1967), Columbia Museum of Art, Columbia, S.C. (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, Calif.: Stanford Art Museum, Hans Hofmann: 21 Paintings From the Collection of the University of California, Berkeley (22 June–17 August). Tokyo: National Museum of Modern Art, Two Decades of American Painting (15 October–27 November). Traveled to Lalit Kala Akademi, New Delhi (June 1967). 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, N.Y.: 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 (3–22 January). New York: The Metropolitan Museum of Art, Masterpieces of Fifty Centuries (13 November–February 1971). 1971 New York: André Emmerich Gallery, Hans Hofmann (9 January–3 February). 1972 New York: André Emmerich Gallery, Hans Hofmann (8–27 January). Chicago: Richard Gray Gallery, Hans Hofmann: Paintings (February). Cologne, Germany: 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: 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, Tyler, Texas; Palm Springs Desert Museum, Palm Springs, Calif.; Wichita State University, Wichita, Kan. 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). 80

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, Calif.: 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: 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, England: 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). An expanded version of this exhibition traveled to Provincetown Art Association, Provincetown, Mass. (1 August–12 October 1980). Bern, Germany: Kunstmuseum, Amerikanische Kunst des 20. Jahrhunderts (16 February–16 April). Traveled under the auspices of The Museum of Modern Art to Museum Ludwig, Cologne, Germany (19 May–16 July). 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). 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). 1982 New York: André Emmerich Gallery, Hans Hofmann: The Late Small Paintings (7–30 January).

Edmonton, Alberta: Edmonton Art Gallery, Hans Hofmann, 1880–1966: An Introduction to His Paintings (9 July– 5 September). 1983 New York: André Emmerich Gallery, Hans Hofmann: Paintings on Paper: 1958–1965 (6–29 January). Washington: B.R. Kornblatt Gallery, Hans Hofmann (20 September–26 October). 1984 New York: André Emmerich Gallery, Hans Hofmann: Explorations of Major Themes: Pictures on Paper, 1940–1950 (7 January–4 February). Scottsdale, Ariz.: Yares Gallery, Hans Hofmann: Small Scale Paintings (5–29 February). 1985 New York: André Emmerich Gallery, Major Paintings, 1954–1965 (5–26 January). Fort Worth, Texas: The Fort Worth Art Museum, Hans Hofmann: Provincetown Paintings and Drawings (15 September– 17 November). Fort Worth, Texas: The Fort Worth Art Museum, Hans Hofmann: The Renate Series (15 September–17 November). 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). Cologne, Germany: Museum Ludwig, Europe/America (6 September–30 November). New York: Lever/Meyerson Galleries, Hans Hofmann and His Legacy (15 October–12 December). Berkeley, Calif.: University Art Museum, University of California, Berkeley, Hans Hofmann (15 October–15 December). 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). 1988 London: The 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). 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, Germany (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, Va. (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: The Phillips Collection, Theme & Improvisation: Kandinsky and the American Avant-Garde, 1912–1950 (19 September–29 November). Traveled to Dayton Art Institute, Dayton, Ohio (12 December–31 January 1993), Terra Museum of American Art, Chicago (13 February– 25 April 1993), Amon Carter Museum, Fort Worth, Texas (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 Madchen. 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, Japan (26 July–16 September) and Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (29 September–17 November). New York: André Emmerich Gallery, Push-Pull (14 November– 7 December). 1997 Munich: Stådtisches 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, N.M.: Riva Yares Gallery, Hans Hofmann: Selected Paintings (27 June–30 July). Berlin: Galerie Haas & Fuchs, Hans Hofmann: Das Spåtwerk (1 October–1 November). Barcelona, Spain. Museu d’Art Contemporani, Josep Lluis Sert, (3 April–29 June). 1998 Leverkusen, Germany: Stådtisches 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, Spain: 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). New York: Ameringer/Howard Fine Art, Shining Moment: Color and Abstraction in the 1960s (7 January–13 March). 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, N.Y.: Nassau County Museum of Art, Contemporary American Masters: The 1960s (13 June–12 September). Montpellier, France: Musée Fabre, Abstractions Américaines, 1940–1960 (3 July–3 October). New York: Spring Studio, Hans Hofmann, Instructional Drawings From 1938 (8 August–30 September). Livorno, Italy: 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, Fla.: 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 (21 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, Mass.: Berta Walker Gallery, Hans Hofmann: The Summer Studio: Provincetown Drawings (21 July–21 August). Provincetown, Mass.: 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, Fla.: 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, N.J.: The Newark Museum, Picturing America: American Art From the Museum’s Permanent Collection (10 May– 10 October). Portland, Ore.: Portland Art Museum, The Clement Greenberg Collection (14 July–16 September). Lugano, Switzerland: Museo Cantonale d’Arte, Da Kandinsky a Pollock: La vertigine della non-forma (29 September– 6 January). Roslyn, N.Y.: Nassau County Museum of Art, Twentieth Century Exiles: Artists Fleeing Hitler’s Oppression (18 November– 3 February 2002). 2002 Venice, Italy: Centro Culturale Caniani: Jackson Pollock in America/The “Irascibles” and the New York School, a project by Giandomenico Romanelli, Daniela Ferretti and Vicenzo Sanfo, Museo Correr (23 March–30 June). Champaign, Ill.: 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, Scottsdale, Ariz. (5 October– 19 January 2003), Akron Art Museum, Akron, Ohio (20 September 2003–3 January 2004), Des Moines Art Center, Des Moines, Iowa (21 August 2004–31 October 2004). Scottsdale, Ariz.: 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, Fla.: Ameringer & Yohe Fine Art, Hans Hofmann’s Provincetown: Paintings and Works on Paper (13 March– 5 April). Miami Beach, Fla.: Galerie d’Arts Decoratifs, Hans Hofmann Works on Paper (June–August). Greenwich, Conn.: The Bruce Museum, JFK and Art (20 September–4 January). Traveled to the Norton Museum of Art, West Palm Beach, Fla. (7 February–2 May 2004). Naples, Fla.: Naples Museum of Art, Hans Hofmann: Fifty Years, curated by Karen Wilkin (1 November–21 March 2004). 2004 West Palm Beach, Fla.: International Pavilion of the Palm Beaches, Palm Beach Classic (29 January–8 February). Rockford, Ill.: Rockford Art Museum, Reuniting an Era: Abstract Expressionists of the 1950s (12 November– 25 January 2005). Modena, Italy: Foro Boario, Action Painting. Arte Americana 1940–1970: Dal disengno all’opera (21 November– 27 February 2005). 2005 New York: Ameringer & Yohe Fine Art, Hans Hofmann: Search for the Real (6 January–12 February). Beverly Hills, Calif.: Gagosian Gallery, A Time & Place: East and West Coast Abstraction From the ’60s and ’70s (21–27 July). New York: The Painting Center, Hans Hofmann: The Legacy (1 November–24 December). Nice, France: 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 2005–5 March 2006). 2006 New York: Ameringer & Yohe Fine Art, Hans Hofmann: The Unabashed Unconscious: Reflections on Hofmann and Surrealism (30 March–29 April). Berkeley, Calif.: 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–July 13). 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 (29 February–26 May 2008) and Frist Center for the Visual Arts, Nashville, Tenn. (20 June–21 September 2008). 2008 Basel, Switzerland: Fondation Beyeler, Action Painting (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, Italy: Guggenheim a Vercelli, former Church of San Marco, Peggy Guggenheim e la Nuova Pittura Americana (21 November–1 March 2009). 84

2009 Waltham, Mass.: The Rose Art Museum of Brandeis University, Hans Hofmann: Circa 1950 (14 January–5 April). Traveled to The Philbrook Museum, Tulsa, Okla. (21 February–9 May 2010) and The Weatherspoon Art Museum of The University of North Carolina, Greensboro (3 July–17 October 2010). Reykjavik, Iceland: 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, Germany: Museum Kunstpalast, From Pollock to Schumacher: Le Grand Geste (9 April–1 August). Wiesbaden, Germany: Museum Wiesbaden, Das Geistige in der Kunst—Vom Blauen Reiter zum Abstrakten Expressionismus (31 October–27 February 2011). New York: Ameringer | McEnery | Yohe, Hans Hofmann: Pictures of Summer: Paintings & Works on Paper (9 December– 29 January 2011). 2011 New Britain, Conn.: New Britain Museum of American Art, The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony (15 July–16 October). Traveled to The Westmoreland Museum of American Art, Greensburg, Pa. (30 October–22 January 2012), The Wichita Art Museum, Wichita, Kan. (5 February–29 April 2012), The Cape Cod Museum of Art, Dennis, Mass. (18 May–26 August 2012). 2013 Kaiserslautern, Germany: Museum Pfalzgalerie Kaiserslautern, Hans Hofmann: Magnum Opus [9 March–16 June 2013].

BIBLIOGR APHY

MONOGRAPHS

Bannard, Walter Darby. Hans Hofmann: A Retrospective Exhibition. The Hirshhorn and Sculpture Garden: Washington, D.C. and The Museum of Fine Arts: Houston, 1976. 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. 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. . Hans Hofmann. Munich: 1990. Greenberg, Clement. Hans Hofmann. Paris: 1961. Hunter, Sam. Hans Hofmann. New York; 1963 Ruthenberg, Peter. Vergessene Bilder: 8 Studenten der “Schule für Bildende Kunst, Hans Hofmann,” München (1915–1932). Berlin and Frankfurt: 1986. Seitz, William C. Hans Hofmann. New York: The Museum of Modern Art, 1963. Wight, Frederick S. Hans Hofmann. Berkeley: University of California Press, 1957. Wilkin, Karen. Hans Hofmann: A Retrospective. New York: G. Braziller, 2003. Yohe, James, ed. Hans Hofmann. New York: Rizzoli, 2002 and 2006.

TEXTS WRIT TEN BY HANS HOFMANN “Art in America.” The Art Digest 4 (August 1930): 27. “Painting and Culture.” As communicated to Glenn Wessels. The Fortnightly 1 (11 September 1931): 5–7. “On the Aims of Art.” Translated by Ernst Stolz and Glenn Wessels. The Fortnightly 1 (26 February 1932): 7–11.

“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 Bartlett H. Hayes Jr. and Sara T. Weeks. 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. Untitled statement in It Is, no. 3 (Winter 1958–Spring 1959): 10. “Space and Pictorial Life.” It Is, no. 4 (Autumn 1959): 10. “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. Kuh, Katherine. The Artist’s Voice: Talks With Seventeen Artists. New York: 1962, pp. 118–29. van Okker, William H. “Visit With a Villager: Hans Hofmann.” Villager (18 March 1965). Wolf, Ben. “The Digest Interviews Hans Hofmann.” The Art Digest 19 (1 April 1945): 52.

OTHER BOOKS AND ARTICLES Baker, Elizabeth C. “Tales of Hofmann: The Renate Series.” ArtNews 71 (November 1972): 39–41. Buhlmann, Britta E., ed. Hans Hofmann: Magnum Opus, catalogue for the exhibition, with essays by William C. Agee, Annette Reich, and Karen Wilkin, Ostfildern, Germany: Hatje Cantz Verlag, 2013. 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. Ellsworth, Paul. “Hans Hofmann, Reply to Questionnaire and Comments on a Recent Exhibition.” Arts and Architecture 6, no. 11 (November 1949): 22–28, 45–47. Goodman, Cynthia. “Hans Hofmann as Teacher.” Arts Magazine 53 (April 1979): 22–28. Greenberg, Clement. Art and Culture. Boston: Beacon Press, 1961. Kinkead, Gwen. “The Spectacular Fall and Rise of Hans Hofmann.” ArtNews 79 (Summer 1980): 90. 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. Perl, Jed. New Art City. New York: Knopf, 2005. . The Unabashed Unconscious: Reflections on Hofmann and Surrealism, 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. . “Teaching of Hans Hofmann.” Arts Magazine 45 (December 1970): 17–19. Rush, Michael and Catherine Morris, eds. Hans Hofmann: Circa 1950, catalogue for the exhibition, with essays by Michael Rush, Catherine Morris, and Irving Sandler, Waltham, MA: The Rose Art Museum of Brandeis University, 2008. Sandler, Irving. The Triumph of American Painting: A History of Abstract Expressionism. New York: Praeger Publishers, 1970. . “Hans Hofmann: The Pedagogical Master.” Art in America 61 (May 1973). . The New York School: The Painters and Sculptors of The Fifties. New York: Harper & Row, 1978. Seckler, Dorothy Gees. Provincetown Painters: 1890’s–1970’s. Exhibition catalogue from Everson Museum of Art. Syracuse: 1977. . “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. Bancroft Library, University of California, Berkeley.

SELEC TED PUBLIC COLLEC TIONS

Ackland Art Museum, University of North Carolina at Chapel Hill Addison Gallery of American Art, Andover, Mass. Albright-Knox Art Gallery, Buffalo, N.Y. Art Gallery of Ontario, Toronto Art Institute of Chicago Art Museum of South Texas, Texas A&M University, Corpus Christi Aspen Art Museum, Aspen, Colo. Auckland Art Gallery, Auckland, New Zealand Baltimore Museum of Art Berkeley Art Museum, University of California, Berkeley The Blanton Museum of Art, University of Texas at Austin Brooklyn Museum, Brooklyn, N.Y. Carnegie Museum of Art, Pittsburgh Chazen Museum of Art, University of Wisconsin, Madison Chrysler Museum of Art, Norfolk, Va. Chrystal Bridges Museum of American Art, Bentonville, Ark. Cincinnati Art Museum The Cleveland Museum of Art Currier Museum of Art, Manchester, N.H. Dallas Museum of Art Davis Museum and Cultural Center, Wellesley College, Wellesley, Mass. deCordova Museum and Sculpture Park, Lincoln, Mass. Delaware Art Museum, Wilmington, Del. Fundacion Juan March, Madrid Germanische Nationalmuseum, Nuremberg, Germany Greenville County Museum of Art, Greenville, S.C. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y.

High Museum of Art, Atlanta Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington Honolulu Academy of Arts Hood Museum of Art, Dartmouth College, Hanover, N.H. Hunter Museum of American Art, Chattanooga, Tenn. Indianapolis Museum of Art Krannert Art Museum, University of Illinois at UrbanaChampaign Kunsthaus Hamburg, Hamburg, Germany Los Angeles County Museum of Art Lowe Art Museum, University of Miami, Coral Gables, Fla. Mead Art Museum, Amherst College, Amherst, Mass. The Metropolitan Museum of Art, New York Mildred Lane Kemper Art Museum, Washington University in St. Louis Milwaukee Art Museum Mint Museum, Charlotte, N.C. Modern Art Museum of Fort Worth, Fort Worth, Texas The Montreal Museum of Fine Arts Munson-Williams-Proctor Arts Institute, Utica, N.Y. Muscarelle Museum of Art, College of William and Mary, Williamsburg, Va. MusĂŠe de Grenoble, Grenoble, France Museo Thyssen-Bornemisza, Madrid Museum Ludwig, Cologne, Germany Museum of Contemporary Art, Chicago Museum of Contemporary Art, Los Angeles Museum of Fine Arts, Boston Museum of Fine Arts, Houston

The Museum of Modern Art, New York National Gallery of Art, Washington National Gallery of Australia, Canberra The Newark Museum, Newark, N.J. Palm Springs Art Museum, Palm Springs, Calif. Philadelphia Museum of Art Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, Pa. Portland Art Museum, Portland, Ore. San Francisco Museum of Modern Art Scottsdale Museum of Contemporary Art, Scottsdale, Ariz. Sheldon Memorial Art Gallery, University of Nebraska, Lincoln Smith College Museum of Art, Northampton, Mass. Solomon R. Guggenheim Museum, New York Speed Art Museum, Louisville, Ky. Spencer Museum of Art, University of Kansas, Lawrence Stadel Museum, Frankfurt, Germany St채dtische Galerie im Lenbachhaus, Munich Tate Collection, London Tel Aviv Museum of Art, Tel Aviv, Israel Toledo Museum of Art, Toledo, Ohio Ulrich Museum of Art, Wichita State University, Wichita, Kan. University of Michigan Museum of Art, Ann Arbor Utah Museum of Fine Arts, University of Utah, Salt Lake City Walker Art Center, Minneapolis Whitney Museum of American Art, New York Williams College Museum of Art, Williamstown, Mass. Yale University Art Gallery, New Haven, Conn.

(continued from page 44)

LITER AT URE Bultman, Fritz. “The Achievement of Hans Hofmann” [MoMA exhibition review]. ARTnews 62, no. 5 (September 1963): pp. 43–45, 54–55; illustrated, p. 44. Claus, Jürgen. “La pintura como alegria la obra de la vida de Hans Hofmann” [Fränkische Galeria am Marientor exhibition review]. Goya, no. 54 (1963): pp. 403–04; illustrated, p. 403.

Rosenberg, Harold. “Hans Hofmann.” Vogue 145, no. 9 (May 1965): pp. 192–95, 236: comm. p. 236. Seitz, William C. Abstract Expressionist Painting in America. Cambridge, Mass.: Harvard University Press for the National Gallery of Art, Washington, 1983, illustrated, fig. no. 116, comm. pp. 68–69, 147.

Ellsworth, Paul. Hans Hofmann: Reply to Questionnaire and Comments on a Recent Exhibition. Art & Architecture 6, no. 11 (November 1949), illustrated in black and white, pp. 22–28, 45–47.

Weeks, Sara T. and Bartlett Hayes, eds. Search for the Real, Hans Hofmann. Essays by Hans Hofmann, Andover, Mass.: Addison Gallery of American Art, 1948. Reprinted 1967 Edition, Cambridge, Mass., and London: The MIT Press, 1967, illustrated in black and white, pp. 27, 79.

Goodman, Cynthia. Hans Hofmann. New York: Abbeville Press, 1986, comm. pp. 48, 56.

Wight, Frederick S. Hans Hofmann. Berkeley: University of California Press, 1957, comm. pp. 42–43.

Goodman, Cynthia. “Hans Hofmann: The Breakthrough Years.” Provincetown Arts (July 1986): pp. 6–7, 23; comm. p. 23.

Wilkin, Karen. “Becoming Hans Hofmann.” Art & Antiques (May 2013): p. 73.

Greenberg, Clement. “Hans Hofmann: Grand Old Rebel” [Kootz exhibition review; work not in exhibition]. ARTnews 57, no. 9 (January 1959): pp. 26–29, 64; illustrated, p. 28, fig. no. 5, comm. p. 29.

Wolf, Ben. “Cape Cod Art Season in Full Swing” [Provincetown Art Association exhibition review]. Art Digest 25, no. 19 (1 August 1951): pp. 16, 30; comm. p. 16.

Hofmann, Hans. “Plastic Creation.” Translated by Ludwig Sander. The League 22, no. 3 (Winter 1950): pp. 3–6; ill. p. 6.

Yohe, James, ed. Hans Hofmann. Essays by Tina Dickey, Sam Hunter and Frank Stella. New York: Rizzoli, 2002 and 2006. Illustrated in color, p. 101 (2002), p. 107 (2006).

Hunter, Sam. Hans Hofmann. New York: Harry N. Abrams, 1963, illustrated in black and white, plate 10. Rose, Barbara. Miró in America. Houston: The Museum of Fine Arts, 1982. Exhibition catalogue. Illustrated in black and white, figure 18, p. 23.

Published on the occasion of the exhibition

HANS HOFMANN 5 December 2013 – 25 January 2014 Ameringer | McEnery | Yohe 525 West 22nd Street, New York, NY 10011 tel 212 445 0051 www.amy-nyc.com Publication © 2013 Ameringer | McEnery | Yohe All rights reserved Catalogue designed by Dan Miller Design, New York Printed and bound by Puritan Capital, Hollis, New Hampshire Photography of the art by Tom Powel, New York Jacket: Seated Woman (detail), 1944, Oil on panel, 61 x 46¾ inches (154.9 x 118.7 cm) Page 4: Photograph of the artist’s studio by S. Brenner Page 5: Photograph of the artist by Zogbaum Pages 12–13: Fury, 1948, Gouache on paper, 24 x 18 inches (61 x 45.7 cm) Pages 42–43: The Mannequin, 1946, Oil on paperboard 40½ x 31 inches (102.9 x 78.7 cm)

ISBN 978-0-9850184-7-4