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AVIGDOR ARIKHA Paintings and works on paper
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Cover image: Tomato and Two Aubergines, 1994
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AVIGDOR ARIKHA
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7 APRIL – 7 MAY 2016
AVIGDOR ARIKHA Paintings and works on paper
Marlborough Gallery Inc., 40 West 57th Street, New York, N.Y. 10019 Telephone: +1-212-541 4900 | Telefax: +1-212-541 4948 | mny@marlboroughgallery.com www.marlboroughgallery.com
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AVIGDOR AND FRANCE
Avigdor Arikha’s talents at drawing were recognized early on, from the time he was about twelve years old. He was interned in a concentration camp in the Ukraine. Someone found drawing paper for him; he made brushes out of sticks and hair. He even had a set of his drawings – scenes of the horrors around him – bound for him (after his father had been beaten to death) by a friend of his father’s, a binder by trade. In 1944, aged 14, he was one of some 1500 children saved by Aliyat Hanoar and the Red Cross: under another name, he escaped to Palestine and was settled in a kibbutz near Jerusalem where, again, his talent for drawing was quickly noted. He would work in the kibbutz fields in the morning, go to school in the afternoons, worked as a night guard and received military training. He then attended the Bezalel Academy of Fine Arts in Jerusalem (Bezalel is the name of the painter mentioned in the Bible). After the 1948 war and the official birth of the State of Israel, a scholarship set up by the founder of Youth Aliya, Henrietta Szold, allowed him to leave for France, to which artists from all over the world had flocked. The first year at Bezalel was given over primarily to drawing. Arikha’s teacher, Mordechai Ardon, one of the many German Bauhaus artists who had found refuge in Israel, would say to pupils impatient to start oil painting, “What? You want to spend what you don’t yet have?” The Bezalel curriculum was aimed at teaching students what might help them earn a living. The teachers, many of them refugees from Germany like Ardon, and like him imbued with the Bauhaus method, taught design, graphic arts, calligraphy, lithography and etching techniques such as aquatints and engravings, watercolor, the art of grinding pigments, and so on.
When Arikha arrived in Paris, in 1949, he met many painters, writers, philosophers and art historians, but he was disappointed by the teaching at the Ecole des BeauxArts. The teachers only appeared twice a week made just a few corrections and suggestions and offered some criticism. The only thing he learned there, which later would prove useful, was the art of fresco painting, a technique that required rapid execution: one had to finish before the plaster dried, the first underlying drawing having first been traced in charcoal on the fresh plaster. This necessity for rapid execution eventually served as Arikha’s dictumguiding principle when, some decades later, he began to draw, and then to paint from life: he had to finish the work in a single session. It was also at Bezalel that Arikha discovered the great works of the Spanish, French, Italian, German, Dutch, Flemish masters as well as those of Cézanne, Picasso, Kandinsky - but only in reproduction. Cézanne was a model for the students, and so was Picasso, whose Guernica hung on many walls. When he arrived in Paris from Marseille, his dream realized, he dropped off his suitcase at the hotel reserved for him by the Aliyat Hanoar organization and went straight to the Louvre. It was 7:30 am. The Louvre opened its doors only at 9:00 am. Arikha lay down on a bench by the steps and fell asleep. When the doors opened, he tells of how he ran like an animal, not knowing what to look at first. He went to see Giovanni de Paolo,
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Patinir, then the Raphaels, etc. As he put it, when he recounted the moment, he was almost drunk on painting. From then on, Arikha frequented all the museums, from morning until night; and he began copying the masters. He travelled to Italy (once again sleeping on benches when he had to), to Scandinavia where he quickly befriended poets, writers, philosophers, includng Pär Lagerquist for whom he illustrated two books. He made himself known to art materials shops (such as Sennelier, Gattegno, La Grande Chaumière) as well as to printers, suppliers and studios like that of Frank Bordas, who still remembers him 50 years later. Gallery owners and collectors started to recognize him. He obtained French citizenship thanks to the persistence of some of the curators and art historians with whom he worked in the Louvre, and who considered him one of theirs. Arikha prepared two major projects for them - one on Poussin, on which he worked for three years, another on Ingres, which took him two years. Ingres’s statement that « Drawing is the probity of art » became his mantra. Michel Laclotte, who was then Chief Curator and Director of the Louvre, asked him why he had chosen these two painters, so antithetical to his principles, rather than Velazquez or Caravaggio. Arikha replied: “because the French don’t appreciate them enough, they don’t figure on the hit parade of favorite artists. He was given a small office at the Louvre to allow him to work on these and other projects. Arikha was in one way or another involved in most of the departments of the Louvre, participating in questions of restoration and attribution, lecturing curators on drawing at the request of Françoise Viatte, then Head of Prints and Drawings in the Department of Graphic Arts, whose curators wanted to learn more about red chalk and other drawing techniques. Because of his passion and art historical erudition, Arikha was much appreciated in the museum world. He gave talks at the Frick Collection, New York; Princeton University, New Jersey; Yale, Connecticut; Houston; London, as well as the Prado Museum, Madrid. And there were exhibitions of his drawings in Lille and at the British Museum.
Before the canvas of a master, Arikha scrutinized and judged how well - or not - the painter had drawn a hand, a foot, a petal, leeks. It was the dirty feet in Caravaggio’s The Raising of Lazarus (in Messina), shown in the Louvre’s Caravaggio show in 1965, that convinced Arikha to abandon abstraction (in spite of his admiration for Mondrian). One night, while we were strolling with Beckett, at three in the morning, in front of the Dôme in Montparnasse, we ran into Giacometti, who had been trying for years to convince Arikha to draw more. He would say, “You shouldn’t be abstract. Since you know how to draw, why don’t you draw from life? And why don’t you draw more?” A while later Arikha drew a portrait of Giacometti (now in an unknown collection). Giacometti asked him to choose a drawing, any drawing, as a gift in exchange. In 1965 we met Giacometti – same time, same restaurant, same protagonists – and Arikha told him, “Alberto, you were right! No more abstraction! I’m drawing from life now!” But Alberto, frail and ill, died in 1966, one year after his fateful words, and never saw Arikha’s drawings from life. Art critics admired his work throughout all his periods, figurative, abstract, from life: Pierre Cabanne and later André Fermigier, both writing in Le Monde, John Ashbery, Robert Hughes for Time, Maurice Tuchman, Barbara Rose - this in spite of their attachment to other trends in painting. Whether drawing with goldpoint, silverpoint, graphite, or charcoal, Arikha put on spiritual
gloves, like the Chinese and Japanese sumi masters. Arikha loved all varieties of paper: papier velours, papier gras, Arches, Fabriano, parchment, for which he used special brushes, like other artists throughout history, as Natalie Coural demonstrated in her exhibition for the Louvre, Le papier à l’œuvre. It was necessary for Arikha to finish a work in one go. During the 1948 war, between two explosions, Arikha drew the soldiers in the trenches in different positions. At his side was one of the Bezalel teachers. Observing the rapidity with which Arikha was drawing, he said to him what he had said gravely to other students as well, “Consider that you may die before drawing a line; it may be the last line you’ll ever draw; therefore it must be perfect.” Arikha was about 17. That was precisely the lesson the Chinese and Japanese sumi masters taught; once the brush has touched the paper, one can’t go back to correct anything. This was a lesson Arikha retained all his life, even with regard to oil painting: never flinch. In order to achieve this, one had to learn and master the material, respect the paper – and he never gave up on this goal. It was the same constraint he imposed on himself in daily life: finish a painting or drawing before the spirit or the inspiration failed, the chi faded away, before the bombs exploded, before the light fell. ANNE ATIK ARIKHA February 2015
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LIST OF WORKS 1. Self-Portrait in a White Turtle-neck, 1975
8. Miss A. Nude, Seated on a Bed, Profile, 1990
Oil on canvas 181/8 x 15 in / 46 x 38 cm Signed and dated upper centre Dated on reverse 19 20 XII 75
Charcoal on heavy rag paper 263/8 x 20 in / 67 x 51 cm Signed lower right Dated upper right 17 X 90
Illustrated on page 23
Illustrated on page 24
2. Self-Portrait in a Black Shirt, 1975
9. Mount Zion, The Dormition, 1991
Watercolour on paper 151/16 x 81/4 in / 38.2 x 21 cm Signed lower centre Dated lower centre 75
Oil on canvas 11 x 11 in / 28 x 28 cm Signed lower left Dated on reverse 13 VIII 91
Illustrated on page 22
15. Thyme and Laurel, 1996 Pastel on paper 153/4 x 113/4 in / 40 x 29.9 cm Signed lower right
Illustrated on page 13
16. Winter View over Boulevard Arago, 2001 Oil on canvas 181/8 x 15 in / 46 x 38 cm Signed upper right Dated on reverse I XII 01
Illustrated on page 17
Illustrated on page 21 17. Red Tie, 2001
3. Apple, Half-Peeled on a Black Plate, 1976
10. Tomatoes in a Basket, 1991
Watercolour on paper 97/16 x 71/2 in / 24 x 19.2 cm Signed and dated lower centre
Pastel on paper mounted on museum board 61/2 x 13 in / 16.6 x 33 cm Signed and dated lower left
Illustrated on page 18
11. Jerusalem Landscape, 1994
Watercolour on paper 151/8 x 11 in / 38.5 x 28 cm Signed and dated lower right
Oil on canvas 255/8 x 1911/16 in / 65 x 50 cm Dated on reverse I VII 94
Illustrated on page 20
18. The Chair in the Studio (Square de Port Royal), 2006 Oil on canvas 455/8 x 35 in / 116 x 89 cm Signed upper left Dated on reverse I IX 06
5. Pastel Boxes, 1983
12. Tomato and Two Aubergines, 1994
Pastel on paper 91/2 x 121/2 in / 24.1 x 31.8 cm Signed upper right Dated upper left 19 III 83
Oil on canvas 13 x 101/16 in / 33 x 25.5 cm Dated on reverse 23 VI 94
Illustrated on page 15
Illustrated on page 14 13. Anne Leaning Forward, 1995
6. Standing Nude, 1987 Sumi ink 385/8 x 141/2 in / 98 x 37 cm Signed lower left Dated upper left 6 XI 87
Charcoal on Japan paper 343/4 x 251/2 in / 88.5 x 65 cm Signed lower left Dated upper left 2 XI 95
Illustrated on page 25
Illustrated on page 24 14. White Vase, 1996
7. Mount Zion, 1990 Watercolour on paper 67/8 x 10 in / 17.6 x 25.4 cm Signed lower right Dated lower left 4 VIII 90
Illustrated on page 18
Oil on canvas 181/8 x 13 in / 46 x 33 cm Dated on reverse 18 VI 96
Illustrated on page 12
Illustrated on page 16
4. Mount Zion, 1976
Illustrated on page 19
Pastel on velvet paper 91/2 x 153/8 in / 24 x 39 cm Signed lower right Dated lower left 15 VII 01
Illustrated on page 10
Illustrated on page 11
19. Green and White Gloves, 2008 Pastel on paper 85/8 x 137/8 in / 22 x 35.2 cm Signed lower left Dated lower right 17 08 08
Illustrated on page 12
20. Hats Placed on a Pile of Books, 2009 Graphite on paper 271/4 x 201/8 in / 69 x 51 cm Signed lower right Dated upper left 4 IV 09
Illustrated on page 25
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14. W hite Vase, 1996 Oil on canvas 181/8 x 13 in / 46 x 33 cm
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18. T he Chair in the Studio (Square de Port Royal), 2006 Oil on canvas 455/8 x 35 in / 116 x 89 cm
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17. R ed Tie, 2001 Pastel on velvet paper 91/2 x 153/8 in / 24 x 39 cm
19. G reen and White Gloves, 2008 Pastel on paper 85/8 x 137/8 in / 22 x 35.2 cm
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15. T hyme and Laurel, 1996 Pastel on paper 153/4 x 113/4 in / 40 x 29.9 cm
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5. Pastel Boxes, 1983 Pastel on paper 91/2 x 121/2 in / 24.1 x 31.8 cm
12. T omato and Two Aubergines, 1994 Oil on canvas 13 x 101/16 in / 33 x 25.5 cm
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10. T omatoes in a Basket, 1991 Pastel on paper mounted 61/2 x 13 in / 16.6 x 33 cm
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16. W inter over Boulevard Arago, 2001 Oil on canvas 181/8 x 15 in / 46 x 38 cm
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3. A pple, Half-Peeled on a Black Plate, 1976 Watercolour on paper 97/16 x 71/2 in / 24 x 19.2 cm
7. Mount Zion, 1990 Watercolour on paper 67/8 x 10 in / 17.6 x 25.4 cm
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4. Mount Zion, 1976 Watercolour on paper 151/8 x 11 in / 38.5 x 28 cm
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11. J erusalem Landscape, 1994 Oil on canvas 255/8 x 1911/16 in / 65 x 50 cm
9. M ount Zion, The Dormition, 1991 Oil on canvas 11 x 11 in / 28 x 28 cm
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2. S elf-Portrait in a Black Shirt, 1975 Watercolour on paper 151/16 x 81/4 in / 38.2 x 21 cm
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1. S elf-Portrait in a White Turtle-neck, 1975 Oil on canvas 181/8 x 15 in / 46 x 38 cm
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8. M iss. A. Nude Seated on a Bed, Profile, 1990 Charcoal on heavy rag paper 263/8 x 20 in / 67 x 51 cm
6. S tanding Nude, 1987 Sumi ink 385/8 x 141/2 in / 98 x 37 cm
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13. A nne Leaning Forward, 1995 Charcoal on Japan paper 343/4 x 251/2 in / 88.5 x 65 cm
20. H ats Placed on a Pile of Books, 2009 Graphite on paper 271/4 x 201/8 in / 69 x 51 cm
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BIOGRAPHY SOLO EXHIBITIONS 1952 TEL AVIV, Galeria Zeira, Paintings and Drawings, no catalogue 1953 JERUSALEM, Artists’ House, Paintings, Drawings, Illustrations, 3 - 24 January 1953, Paintings, Drawings, Illustrations, foreword by Binyamin Tammuz, Hebrew and English, brochure 8pp. JERUSALEM, The National Museum Bezalel, Paintings, Drawings, Woodcuts, 5 - 22 September 1953, Peintures, Dessins, Bois, foreword by Mordechai Narkiss, Hebrew and French, folder 1954 STOCKHOLM, Galerie Moderne, Paintings and Drawings, 24 April - 7 May 1954, checklist, Swedish, folder 1955 COPENHAGEN, Athenæum Kunsthandel, Paintings, Drawings, Book-Illustrations, 1 - 15 September 1955, Tegninger, grafik og bogkunst introduction Peter P. Rohde, Danish, folder, 1 repr. (cover) PARIS, Galerie Furstenberg, Paintings and Drawings, 4 - 17 October 1955, no catalogue 1956 LONDON, Matthiesen Gallery, Paintings and Drawings, ‘First London Exhibition’, 5 - 28 April 1956, folder 1957 PARIS, Galerie Furstenberg, Paintings, 2 - 16 April 1957, Peintures récentes, text by Jean Wahl, folder
1959 LONDON, Matthiesen Gallery, Paintings, Gouaches, Drawings, 8 April - 2 May 1959, Paintings, gouaches, drawings, with a poem (French) by Samuel Beckett, brochure, 8pp. 1 col. repr., cover 1960 AMSTERDAM, Stedelijk Museum, Paintings, Gouaches, Watercolours, October November 1960, catalogue no. 248 (joint with Panter), Dutch, foreword by W. Sandberg, brochure 12pp. 7 b&w 1 col. repr. 1961 PARIS, Galerie Karl Flinker, Paintings, Gouaches, Watercolours, Drawings, 11 October - 4 November 1961, 1 col. repr. (cover) 2 b&w repr. (untitled brochure) 1966 JERUSALEM, Israel Museum, Paintings 196366 and Drawings 1947-1966, September October 1966, introduction by Yona Fischer, Hebrew and English, 12pp. 4 b&w repr. (brochure) 1967 PARIS, Galerie Claude Bernard, Arikha – dessins, January - February 1967, announcement, with the text ‘Pour Avigdor Arikha’ by Samuel Beckett, 26 January 1967, no catalogue 1970 PARIS, Centre National d’Art Contemporain, Drawings 1965-70, Dessins 1965-1970, 8 December 1970-18 January 1971, foreword by Samuel Beckett, introduction by Barbara Rose, and two texts by the artist, 64pp. 42 repr. Supplementary checklist 8pp.
1972 TEL AVIV, Gordon Gallery, 8 Paintings, 10 February - 1 March 1972, folder, no catalogue LOS ANGELES, Los Angeles County Museum of Art, Drawings 1965-72, art, 39 ink drawings, 25 April - 28 May 1972 (extended to 31 July), with a text by Samuel Beckett, introduction Barbara Rose and a presentation note by Maurice Tuchman, 1 repr. (cover), folder NEW YORK, Marlborough Gallery, December 1972, foreword by Samuel Beckett, introduction by Barbara Rose, 1 repr. 8 p. folder 1973 SYRACUSE, NY, Everson Museum, Ink drawings 1965-1972, February 1973, foreword by Samuel Beckett, introduction by Barbara Rose, 1 repr. 8 p. folder FORT WORTH, TEXAS, Fort Worth Art Center Museum, Ink drawings 1965-1972, April - May 1973, foreword by Samuel Beckett, introduction by Barbara Rose, 1 repr. 8pp. folder TEL AVIV, The Tel Aviv Museum of Art, Paintings: 1957-1965 and 1968 (retrospective of the abstract period), introduction by Haim Gamzu, 28pp. 12 b&w repr., brochure, Hebrew and English 1974 HOUSTON, Texas, Janie C. Lee Gallery, Inks, Drawings and Prints, 6 December 1974 16 January 1974, announcement, poster, no catalogue LONDON, Marlborough Fine Art, Drawings, Inks and Etchings, March 1974, introduction by Robert Hughes, 30pp. 64 repr. (mostly vignette)
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1974–79 PARIS, CNAC – MNAM Centre Georges Pompidou, circulating exhibition of Prints, 39 gravures 1970–73, catalogue (later increased number of prints from 1974–1979), with an introduction by André Fermigier, and interview with Germain Viatte, 8p. 40 repr. (vignettes), brochure.1974: boulogne-sur-mer, Musée des Beaux-Arts et d’Archéologie; saint-quentin-en-yvelines, Chapelle de la Villedieu; 1975: le mans, Musée Tessé; nice, Ecole Internationale d’Art Décoratif; dole, Maison des Jeunes et de Culture; 1976: mitry-mory, Municipalité; brive-lagaillarde, Foyer Culturel; saint-cloud, mjc; annecy, mjc; mandelieu-la-napoule, mjc; verberie, mjc; bordeaux, Renaissance du Vieux Bordeaux; 1977: mougins, Maison pour Tous; saumur, Bibliothèque Municipale; tourcoing, Ecole des Beaux-Arts; vieux condé, Lycée Technique; gennevilliers, Société Creusot-Loire; gérardmer, mjc; chamonix, Bibliothèque Municipale; bastia, Musée d’Ethnographie Corse; 1978: grasse, Fédération Régionale des mjc; sorgues, Comité d’Animation de la Bibliothèque; compiègne, Lycée Pierre d’Andilly; castres, Musée Goya; lyon, Espace Lyonnais d’Art Contemporain; mussidan, Amicale Laïque; evry, Bibliothèque de l’Agora; 1979: cologne, Institut Français; aachen, Institut Français; essen, Institut Français; grenoble, Bibliothèque Municipale 1975 PARIS, Cabinet des Estampes, Bibliothèque Nationale, Prints, Spring 1975, no catalogue, see Nouvelles de l’Estampe no.20, March April 1975 NEW YORK, Marlborough Gallery, Paintings and watercolors 1973–1975, 1 October 1 November 1975 (first showing of the lifepaintings) with a text by the artist, 24pp. 13 b&w repr. 6 col.
1976 LONDON, Victoria and Albert Museum, London, Samuel Beckett by Avigdor Arikha, 11 February - 23 May 1976, foreword by C. M. Kauffmann, introduction and catalogue by Mordechai Omer, 12pp. 16 repr., brochure 1977 ZURICH, Marlborough Galerie, Paintings, Watercolours and Drawings, Ölbilder, Aquarelle, Zeichnungen, April - May 1977, foreword by Samuel Beckett, 20pp. 9 b&w 2 col. repr. ZURICH, Galerie Amstutz, Prints, reproduction of the facsimile catalogue published by the Atelier Crommelynck, Paris, 1977, Avigdor Arikha Huit Gravures, Paris 1977 (collotype 500 copies), with additional German captions, brochure 12pp. 1978 LONDON, Marlborough Fine Art, Oil paintings – Watercolours – Drawings, May - June 1978, interview with Barbara Rose, 20pp. 9 b&w 6 col. repr. EDINBURGH, New 57 Gallery, Paintings Drawings Watercolours, 14 August 9 September 1978, foreword by Samuel Beckett, 16pp. 9 b&w 3 col. repr. 1979 HOUSTON, TEXAS, Janie C. Lee Gallery, Drawings, Watercolors and Paintings, February - March 1979, introduction: interview with Barbara Rose, 16pp. 5 col 2 b&w repr. (brochure) WASHINGTON, The Corcoran Gallery of Art, Twenty Two Paintings 1974-78, 15 June - 26 August 1979, introduction by Jane Livingston, 40pp. 18 b&w 4 col. repr. PARIS, FIAC Marlborough stand, Avigdor Arikha Peintures et aquarelles, 18 - 27 October 1979, no catalogue, folder 1 repr. (col)
1980 PARIS, Galerie Berggruen, Dessins et gravures, 29 May - 12 September 1980, with a text by the artist, 98pp. 80 repr. NEW YORK, Marlborough Gallery, Recent work, 4 October - 1 November 1980, 44pp. 5 col. 32 b&w repr. 1981 DIJON, Musée des Beaux-Arts, Arikha, 29 March - 28 June 1981, introduction by Pierre Georgel, 60pp. 107 b&w repr. (mostly vignette) 1982 LONDON, Marlborough Fine Art, Oil paintings and drawings, May - June 1982, 48pp. 9 col. 33 b&w repr. 1983 NEW YORK, Marlborough Gallery, Paintings, drawings and pastels, 8 September 4 October 1983, 14 col. 28 b&w repr. 1984 NEW YORK, Marlborough Gallery, New York Drawings – January - May 1984, 8 November - 4 December 1984, introduction by Jane Livingston, 36pp. 36 repr. 1985 NEW YORK, Marlborough Gallery, Recent paintings, 29 May - 22 June 1985, 30pp. 15 col. 10 b&w repr. 1986 TEL AVIV, Tel Aviv University Gallery, Prints 1950-1985, January - February 1986, introduction by Mordechai Omer, reprint of 1974 Robert Hughes introduction, and of ‘Avigdor Arikha interviewed by Barbara Rose’. (Second corrected limited reprint) 144pp. 110 repr. Book LONDON, Marlborough Fine Art, Oil paintings, pastels and drawings, October 1986, pp.48 18 col. 25 b&w repr.
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1987 VENICE, CALIFORNIA, L.A. Louver Gallery, 7 April - 9 May 1987, with excerpts from texts by Samuel Beckett, Robert Hughes, Barbara Rose, Maurice Tuchman, (two pages errata), 32pp. 13 col. 8 b&w repr.
1996 TEL AVIV, Gordon Gallery, ‘Meheva le Avigdor Arikha – avodoth nivharot’, a loan exhibition of Paintings, Drawings and Prints, October - November 1996, announcement 1 col. repr. No catalogue
1988 TOKYO, Marlborough Fine Art, Oils, watercolours, pastels, inks and drawings, 19 April - 31 May 1988, introduction by Shûji Takashina, 50pp. 25 col. 7 b&w repr. Japanese & English
1998 NEW YORK, Marlborough Gallery, Sixty-Five Drawings 1965-1997, 4 - 28 March 1998, 56pp. 65 pl.
NEW YORK, Marlborough Gallery, Paintings, pastels and drawings 1986-1988, October 1988, with a text by the artist, 48pp. 29 col. 10 b&w repr. 1990 LONDON, Marlborough Fine Art, Oils, pastels, drawings, 14 March - 14 April 1990, 56pp. 31 col. 16 b&w repr. 1992 NEW YORK, Marlborough Gallery, Works 1990-91, 7 May - 6 June 1992, 44pp. 28 col. 8 b&w repr. + cover 1994 LONDON, Marlborough Fine Art, Works 1992-1993, 6 May - 4 June 1994, 40pp. 27 col. pl LONDON, Marlborough Graphics, Etchings and Lithographs, 6 May - 4 June 1994, 24pp. 20 repr. brochure TEL AVIV, Gordon Gallery, Drawings, 25 May - 14 June 1994, Rishumim, 56pp. , 40 repr. Hebrew 1996 NEW YORK, Marlborough Gallery, Recent Paintings and Drawings, 14 May - 15 June 1996, 44pp. 29 col. pl. 9 b&w pl. NEW YORK, Marlborough Graphics, Selected Prints 1966-95, 14 May - 15 June 1996, 38pp. 65 pl.
LONDON, Marlborough Fine Art, Arikha, 15 May -15 June 1998, 48pp. 41 col. & b&w pl. JERUSALEM, Israel Museum, Retrospective exhibition, Avigdor Arikha Selected Paintings 1953-1997, 20 November 1998-20 February 1999, introduction by Jean-Pierre Cuzin, with a text by Marc Jordan, chronology by Duncan Thomson, and a dialogue with Yona Fischer, 166pp. 102 pl., Hebrew – English, book TEL AVIV, Tel Aviv Museum of Art, Retrospective exhibition, Drawings, 19 November 1998-20 February 1999, contains a dialogue with Mordechai Omer, 172pp. 116 pl., Hebrew – English, book 1999 EDINBURGH, Scottish National Gallery of Modern Art, Retrospective exhibition, Avigdor Arikha, 13 March - 9 May 1999, Israel Museum & Tel Aviv Museum catalogues and an additional folder by Duncan Thomson LILLE, Palais des Beaux-Arts, Paris sur le vif, drawings, 11 June - 13 September 1999, dialogue with Arnauld Brejon de Lavergnée, catalogue published by La Réunion des Musées nationaux, Paris, 1999, 96pp. 107 pl. MADRID, Galería Marlborough, Pinturas, pasteles, dibujos, 1969-1999, 26 October 27 November 1999, catalogue 56pp. 44 repr. 2000 LONDON, Marlborough Fine Art, Paintings, Pastels and Drawings, 1999-2000, 27 September - 28 November 2000, catalogue, 48pp. 35 repr.
2002 NEW YORK, Marlborough Gallery, Recent Work: oils, pastels, drawings, 12 September 5 October 2002, catalogue, 60pp. 52 repr. 2004 LONDON, Marlborough Graphics, 23 June 24 July 2004, catalogue, 20pp. 16 repr. PARIS, FIAC Marlborough stand, 20-24 October 2004, eighteen paintings 2006 LONDON, Marlborough Fine Art, Avigdor Arikha, Recent work, 7 June - 15 July 2006, catalogue, 48pp. 36 col. repr. LONDON, The British Museum, Avigdor Arikha, From Life, Drawings and Prints 1965–2005, 29 June 2006 - 7 January 2007, catalogue preface by Neil MacGregor, introductions by Stephen Coppel and Duncan Thomson, with three texts by Samuel Beckett and two essays by Robert Hughes, 144pp. and 114 col. repr; The British Museum Press, London, 2006 2007 NEW YORK, Marlborough Gallery, Avigdor Arikha, Twenty-Five Pastels 1983-2007, 1 November - 8 December 2007, 40 pp. 25 col. repr., with statement by the artist 2008 MADRID, Museo Thyssen-Bornemisza, Arikha, 10 June - 7 September 2008, with texts by Guillermo Solana, Robert Hughes and Samuel Beckett/Avigdor Arikha, 220 pp. 2010 TEL AVIV, Tel Aviv Museum of Art, Avigdor Arikha: Self-Portraits, 4 September 27 December 2010, with texts by Mordechai Omer, 86 pp. 2011 LONDON, Marlborough Fine Art, Avigdor Arikha Works from the Estate, 29 March 7 May, preface by Martin Gayford
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2012 NEW YORK, Marlborough Gallery Inc., Avigdor Arikha Works from the Estate, 20 March - 21 April
PUBLIC COLLECTIONS
MONOGRAPHS
AMSTERDAM, Stedelijk Museum
NIMES, Ecole des Beaux-Arts, Avigdor Arikha Oeuvres sur Papier, 10 July 31 August
DENVER, Denver Art Museum
AVIGDOR ARIKHA: BOYHOOD DRAWINGS MADE IN DEPORTATION Seven facsimile reproductions of drawings made at age thirteen in Nazi concentration camps (1942– 43) with an introduction, 18pp. box, English edition of 200 copies, French edition of 100 copies all signed and numbered. Printed in collotype by Daniel Jacomet, Paris, 1971, published by Alix de Rothschild for the benefit of Youth Aliyah
2013 LONDON, Avigdor Arikha Works from 1966-2010, 9 October - 2 November, preface by Stephen Coppel 2014 Chambon-Sur-Lignon, Images from the kingdom of the dead - children’s drawings from the deportation camps 194243, 12 June - 12 September, with texts by Eliane Wauquiez-Motte and Jean Clair 2015 PARIS, Salon du Dessin, Avigdor Arikha (1929-2010), 25 - 30 March, with texts by Jean Clair and Anne Atik Arikha 2015 LONDON, Marlborough Fine Art, Avigdor Arikha, Paintings & Works on Paper, 18 September – 17 October 2015, Texts by Jean Clair (translated by Oliver L. Wootton) and Anne Atik Arikha
BOSTON, Museum of Fine Arts DIJON, Musée des Beaux-Arts EDINBURGH, Scottish National Gallery of Modern Art EDINBURGH, Scottish National Portrait Gallery FLORENCE, Galleria degli Uffizi HILLERØD, Det Nationalhistoriske Museum på Frederiksborg HOUSTON, Museum of Fine Arts jERUSALEM, Israel Museum LILLE, Palais des Beaux-Arts LITTLE ROCK, Arkansas Arts Center LONDON, British Museum LONDON, National Portrait Gallery LONDON, Tate Gallery LOS ANGELES, Los Angeles County Museum of Art MARSEILLE, Musée Cantini NEW YORK, Exxon Corporation Collection NEW YORK, The Jewish Museum NEW YORK, Metropolitan Museum PARIS, Cabinet des Estampes, Bibliothèque Nationale PARIS, Musée du Louvre, Cabinet des Dessins PARIS, Musée National d’Art Moderne, Centre Georges Pompidou PRINCETON, The Art Museum – Princeton University ROANNE, Musée Déchelette SAN FRANCISCO, The Fine Arts Museum – The Achenbach Foundation TEL AVIV, The Tel Aviv Museum of Art WASHINGTON, Hirshhorn Museum
ARIKHA Texts by Samuel Beckett, Richard Channin, André Fermigier, Robert Hughes, Jane Livingston, Barbara Rose. Interviews by Barbara Rose, Joseph Shannon and Maurice Tuchman. 224pp. 106 col. pl. 83 b&w, Hermann, Paris/Thames and Hudson, London, 1985 ARIKHA by Duncan Thomson, 256pp. 216 pl, most in col., Phaidon, London, 1994. Soft cover reprint, 1996, 2000 AVIGDOR ARIKHA Testi di Monica Ferrando e Arturo Schwartz, ‘Ritratti d’Artista’, Moretti & Vitali, Bergamo, 2001, 80pp. 26 col. ill. AVIGDOR ARIKHA, FROM LIFE, DRAWINGS AND PRINTS 1965–2005, by Duncan Thomson and Stephen Coppel, preface by Neil MacGregor, with three texts by Samuel Beckett and two essays by Robert Hughes, The British Museum Press, London, 2006, 144 pp. 114 col.repr. University, Jerusalem
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MARLBOROUGH
MADRID
NEW YORK
GalerĂa Marlborough SA Orfila 5 28010 Madrid Telephone: +34-91-319 1414 Telefax: +34-91-308 4345 info@galeriamarlborough.com www.galeriamarlborough.com
Marlborough Gallery Inc.
LONDON Marlborough Fine Art (London) Ltd 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 mfa@marlboroughfineart.com info@marlboroughgraphics.com www.marlboroughfineart.com Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 info@marlboroughcontemporary.com www.marlboroughcontemporary.com
40 West 57th Street New York, N.Y. 10019 Telephone: +1-212-541 4900 Telefax: +1-212-541 4948 mny@marlboroughgallery.com www.marlboroughgallery.com MARLBOROUGH CHELSEA 545 West 25th Street New York, N.Y. 10001 Telephone: +1-212-463 8634 Telefax: +1-212-463 9658 chelsea@marlboroughgallery.com BARCELONA Marlborough Barcelona Enric Granados, 68 08008 Barcelona. Telephone: +34-93-467 4454 Telefax: +34-93-467 4451 infobarcelona@galeriamarlborough.com www.galeriamarlborough.com
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Photography: Devon Johnson, Reto Rodolfo Pedrini, Prudence Cuming Associates and Todd White Design: Shine Design, London Print: Impress Print Services ISBN: 978-1-909707-27-6 Š 2016 Marlborough
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