Paul Jenkins - The Spectrum of Light by openartgallery

PAUL JENKINS

MUSEO DI PITTURA MURALE IN S. DOMENICO, PRATO GALLERIA OPEN ART, PRATO 27 September - 30 November 2014

Carlo Cambi Editore

PAUL JENKINS THE SPECTRUM OF LIGHT

PAUL JENKINS

THE SPECTRUM OF LIGHT

MUSEO DI PITTURA MURALE IN S. DOMENICO, PRATO GALLERIA OPEN ART, PRATO 27 September - 30 November 2014

TESTI A CURA DI / TEXTS BY

BEATRICE BUSCAROLI Volume realizzato in occasione della mostra Published on the occasion of the exhibition

PRODUZIONE E COORDINAMENTO | PRODUCTION AND COORDINATION: MAURO STEFANINI REALIZZAZIONE GRAFICA | GRAPHICS-LAYOUT: ANDREA GIURINTANO SUPERVISIONE | SUPERVISION: GIOVANNI CARFAGNINI EDIZIONI | PUBLISHER: CARLO CAMBI EDITORE, Poggibonsi (SI) STAMPA | PRINTING: TAP GRAFICHE, Poggibonsi (SI) ASSICURAZIONI | INSURANCE: AXA ART DIGITAL CROMALIN | DIGITAL CHROMALIN: TAP GRAFICHE, Poggibonsi (SI)

ALL WORKS BY PAUL JENKINS © ESTATE OF PAUL JENKINS 2014 PHOTOGRAPHS COURTESY THE ESTATE OF PAUL JENKINS CHRONOLOGY SUZANNE DONNELLY JENKINS

Copertina/Cover: SPHINX (also known as WESTERN SPHINX) 1958 (part./detail) - olio e smalto su tela/oil and enamel on canvas - 163,8 x 169,5 cm. Pagine precedenti/Previous pages: PHENOMENA MEPHISTO STANCE 1969 (part./detail) - acrilico su tela/acrylic on canvas - 188 x 125 cm.

Monograph © 2014 Galleria Open Art | Estate of Paul Jenkins Monograph © 2014 Carlo Cambi Editore www.carlocambieditore.it Nessuna parte di questo catalogo può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo elettronico, meccanico o altro senza l’autorizzazione scritta dei proprietari dei diritti e dell’editore. L’editore resta a disposizione degli eventuali detentori di diritti che non sia stato possibile identificare o rintracciare. No part of this catalogue may be reproduced or transmitted in any form or by any means, whether electronic, mechanical, or otherwise, without the written permission of the copyright holders and the publisher. Every effort has been made to trace copyright holders. The publisher apologizes for any errors or omissions and would be grateful if notified of any corrections that should be incorporated in future reprints or editions.

INDICE | CONTENTS

Le Forme della Luce - The Forms of Light

The Spectrum of Light

by Claudio Cerretelli

by Beatrice Buscaroli

Opere - Works

Apparati - Appendix

171

Biografia - Biography

173

Musei e collezioni pubbliche Museum collections

194

Esposizioni personali - Solo Exhibitions

196

Esposizioni collettive - Group Exhibitions

199

Cinema e teatro - Film and theatre

206

LE FORME DELLA LUCE Un’occasione imperdibile, poter ospitare nei suggestivi spazi del Museo di San Domenico – e nel vasto Salone delle capriate, mai presentato dopo il recente restauro – questo importantissimo omaggio a Paul Jenkins, artista colto e curioso, in continua tensione e ricerca. Il progetto, in linea con la tradizionale apertura della Diocesi di Prato all’arte contemporanea (come mostrano gli interventi di Robert Morris e di Giuseppe Spagnulo in Cattedrale), è reso possibile dal fatto che il Museo di San Domenico, in ristrutturazione, è ancora parzialmente disallestito, dopo aver ospitato per quindici anni le opere pratesi più importanti – da Giovanni da Milano a Donatello, ai Lippi – recentemente ricollocate nel nuovo Museo di Palazzo Pretorio. Gli antichi spazi si aprono così ad accogliere un’eccezionale selezione di opere dipinte da Paul Jenkins in oltre mezzo secolo di attività, sintesi di un’arte complessa e colta, frutto delle molteplici esperienze di una vita intensamente vissuta. L’arte di Jenkins non è inquadrabile in uno specifico movimento o corrente artistica; affonda le radici nella profonda conoscenza dell’arte moderna e postmoderna, europea e orientale, trae sostanza dall’amicizia con Pollock, Rothko, Kuniyoshi, dai frequentissimi scambi con le massime personalità artistiche del secondo Novecento a Parigi, New York, Tokio, dai riflessi dei colori e del calore delle varie terre visitate, dalla Sicilia alla Spagna, dall’India al Giappone, alla Cina, ai Caraibi, e soprattutto da una personale, costante ricerca dell’assoluto. L’esplorazione di tecniche, culture, filosofie – con forti accostamenti all’arte e alle filosofie orientali, o a quelle esoteriche di Gurdjieff – dà forma al mondo interiore dell’artista, con immagini fortemente evocative, filtrate attraverso la memoria e l’immaginazione. Nelle sue sintesi vitali la luce, con vibrazioni quasi sonore, prende vita e calore, diviene protagonista delle forme, dai fasci cromatici scomposti da prismi newtoniani – quasi raggi della creazione o esplosioni di energia – al magmatico coagularsi del colore (nelle opere degli anni ’50) nella ricerca di un equilibrio dal caos primigenio, ai richiami orientali dei velari fluttuanti tra aria, acqua, fuoco e terra (dagli anni ’60), fino al fruscio delle sete nei templi giapponesi o sulle pareti della Grande muraglia.

THE FORMS OF LIGHT An event not to be missed: the opportunity to host in the inspiring spaces of the Museum of San Domenico, and in the vast Salone delle Capriate, opened for the first time following its recent restoration – this important tribute to Paul Jenkins, an insightful artist who remained a restless seeker in continual pursuit of his quest. This project, in line with the Diocese of Prato’s traditional open stance toward contemporary art (as evidenced in works by Robert Morris and Giuseppe Spagnuolo present in the cathedral), was made possible by the fact that due to the restoration, the Museum of San Domenico remains partially dismantled after having provided a home for more than fifteen years for Prato’s most important artworks – those by Giovanni da Milano, Donatello, and Lippi, which were recently moved to the new Museum of Palazzo Pretorio. These ancient spaces are thus able to welcome an exceptional selection of the works painted by Paul Jenkins in over half a century of activity, the synthesis of a complex and erudite art brought to fruition through the multitude of experiences throughout a life lived intensely. Jenkins’ art cannot be framed within a specific movement or current; its roots sink into a thorough knowledge of modern and postmodern, European and Asian art; it draws substance from the artist’s friendships with Pollock, Rothko, Kuniyoshi and from his frequent exchanges with the greatest figures of 20th-century art in Paris, New York, Tokyo, from the reflections of colors and heat of the various lands he visited, from Sicily to Spain, from India to Japan, China, the Caribbean, and, above all, from an ongoing personal search for the absolute. The exploration of techniques, cultures, philosophies – and a strong interest in Eastern art and philosophy and the esoteric teachings of Gurdjieff – gave form to the artist’s interior world in intensely evocative images filtered by memory and imagination. In his vital syntheses, light – vibrating in a nearly audible range – takes on life and warmth and becomes the protagonist of form, in chromatic bundles broken down by the Newtonian prism – like rays of Creation or explosions of energy – or in magmatic coagulations of color (in the works of the Fifties) searching for an equilibrium in the primordial chaos; or, again, in the cast of veils billowing between air, water, fire, and earth (in the Sixties) or the rustling silks in Japanese temples or along the Great Wall of China.

Claudio Cerretelli Direttore dei Musei Diocesiani di Prato

Paul Jenkins with the ivory knife in Paris, ca. 1963. Photo Marianne Adelmann.

THE SPECTRUM OF LIGHT

«I dipinti non sono illustrazioni, ma manifestazioni di una essenza inconoscibile.» «Goethe e Kant guidano la mia mente e la visione per penetrare questo regno.» Parole di Paul Jenkins. A ripensarle è difficile evitare la domanda: com’è possibile coniugare il fondatore del criticismo, che aveva cercato di dare una giustificazione filosofica al sistema della fisica di Newton, con un genio della letteratura che non esitava a sostenere che i colori sono i patimenti della luce? Dove mai si nascondono le affinità elettive – per rimanere ad un’immagine goethiana, e rinviando quel suo romanzo di rara profondità in cui si scandagliano i conflitti tra ragione e sentimento – che legano un prussiano orientale a dir poco sedentario a un Goethe che ha girovagato per la Germania intera, ha inventato la Weltliteratur e si è spinto, ammirato, per due anni in Viaggio in Italia, che è poco più che una finzione linguistica? Forse era necessario nascere in una notte sulla quale incombe un uragano per generare un connubio tanto stravangante. Almeno in apparenza. E ancora, perché mai un americano trentenne, dopo un viaggio che lo porta in Italia e in Spagna, sceglie nel 1953 di vivere a Parigi? Sappiamo che all’inizio degli anni Cinquanta, Jenkins, durante quel viaggio, non solo è affascinato da Pompei, dalla pittura dei “primitivi” italiani e dalle collezioni del Prado di Madrid, ma anche dalla lettura di Jung, di Herrigel (Zen and the Art of Archery) e del I Ching, così come dai pastelli di Odilon Redon e dal gesto puro e controllato dell’arte giapponese di Hokusai. A tal proposito, è importante riportare di seguito questa descrizione dell’artista della linea di Hokusai: «Essa [la linea di Hokusai] aveva un significato autonomo e ha creato una sua forma significativa.» Nel 1953, a Parigi, Paul Jenkins osserva i bozzetti di Gustave Moreau e annota: «Se Moreau usava le craquelures del colore ancora fresco dalla sua tavolozza, quello che rimane, per me, non sono studi grezzi ma le cose in se stesse.» Quel che sorprende è la chiusa: le ébauches sono le cose in se stesse. Il pittore descrive le ébauches come «esperienze soggettive in pittura con enfasi sulla pittura.» Per Goethe la luce non si dissolve in uno spettro, in un fantasma di flussi, corpuscolari o ondulatori che siano. Goethe guarda attraverso il prisma di Newton. E, se osserviamo attraverso un prisma, non ci rendiamo conto solo della trasformazione che quella singolare, trasparente struttura geometrica genera. Ma, e forse in particolare, dell’aura che costantemente la circonda, dell’incertezza di un contorno che la avvolge e la custodisce. Lo spettro è visibile solo lì, nell’aura che si manifesta una volta osservata attraverso il prisma. Fenomeni, manifestazioni, non delle cose o della luce che le investe (come richiederebbe il programma dell’Impressionismo, che l’artista vede come «una illustrazione di un evento nella natura»). Ma piuttosto emergono dall’atto della loro creazione ad opera dell’artista. Per Jenkins il prisma non è l’argomento, ma una fonte di ispirazione e un’affermazione in costante mutamento del fatto che la luce crea il colore. Parole di Paul Jenkins: «Tutto questo non simboleggia il mondo fisico, perché non è di qualcosa, è qualcosa a se stesso... Esso acquisisce la sua propria metafora e significato». C’è una coreografia del gesto di Jenkins ben descritta da Alain Bosquet nel 1982, una manipolazione del supporto

pittorico che accompagna l’artista nella realizzazione delle sue opere. «In quegli anni Paul Jenkins aveva un modo molto personale di manipolare i suoi mezzi espressivi. L’intervento esterno era di due tipi: l’uno, il più originale, consisteva nel versare i colori nel cavo del foglio o della tela preparata, dopo averla curvata. Poi, dondolata, spostata, ripiegata leggermente o spiegata, essa stessa obbligava i colori a concentrarsi, a stendersi, a trovare il loro letto e perciò la loro forma. La coreografia veniva esaltata dalla coreografia imposta dal pittore. (…) L’altro intervento è meno rivoluzionario, benché indispensabile alla comprensione dell’opera di Jenkins. Si riferisce alla direzione che egli dà ai suoi colori e alle sue masse, attraverso uno strumento, una bacchetta che fa le veci di un pennello, o un coltello d’avorio, il cui ruolo è quella di correggere la parte – certo considerevole – del caso in questa danza. Il risultato è sorprendente: meno per la sua ingegnosità e la tecnica, quanto per l’aggraziata necessità che emana dall’opera trattata in questo modo.» Eppure la coreografia di cui scrive Bosquet è indispensabile per introdurre un ordine originale allo statuto del dipinto in corso, perché indubbiamente è vero che il colore è una sensazione – sostiene Jenkins – e non solo una manifestazione esterna della natura. Questa constatazione “kantiana” permette all’artista di generare forme in cui il costante ed il variabile possono convivere, amalgamarsi e di smentire l’idea che i concetti formali non abbiano spazio in relazione alle necessità informali. Come dice Paul Jenkins: «Quei colori che vedo sulla tela non possono che essere quelli; hanno caratteri specifici, una loro interiore e intensa necessità». Ciò ha portato l’artista a quello che egli definisce “il colore non-alternativo“, [«non-alternate color»] nel senso che «non ci può essere nessun altro colore che quello sulla tela.» Ma la constatazione “kantiana”, nella coreografia del farsi dell’immagine e con la sua capacità radicale, inevitabile e inconfondibile di manifestarsi, si afferma nel prisma di Goethe. In un mondo destinato a spegnersi è ancora possibile individuare una cifra che resista, una misura in cui suggestione dell’assoluto ed ever-changing, sulla quale insistono trasformazioni sempre più immediate, «non solo possono coesistere, ma affermarsi reciprocamente», un concetto a lungo sottolineato da Jenkins. A condizione di essere un artista. E di essere nato mentre infuriava l’uragano. Da giovane trentenne americano in Europa, Jenkins descrisse il Manga di Hokusai come «un’affermazione dell’immensità e delle infinite possibilità all’interno di un mondo che è stato coerente verso sé stesso.» Un opera d’arte «deve essere un mondo e non una cosa.»

Beatrice Buscaroli

Gustave Moreau: Moot grandfather of abstraction. Testo di Paul Jenkins. Art News Vol. 60, no. 8, December 1961. Paul Jenkins. Testo di Albert E. Elsen. Harry N. Abrams, Inc., 1973. Paul Jenkins. Testo di Alain Bosquet. Editions Prints Etc./Georges Fall, Parigi, 1982. Anatomy of a Cloud, di Paul Jenkins, Suzanne Donnelly Jenkins, Harry N. Abrams, Inc., New York, 1983. Paul Jenkins Broken Prisms. Testo di Frank Anderson Trapp. Catalogo della mostra alla galleria Gimpel & Weitzenhoffer, New York, 1986. Viaggio in Italia. Testo di Beatrice Buscaroli. Catalogo della mostra Paul Jenkins: Viaggio in Italia, Basilica Palladiana, Vicenza, settembre 2000-gennaio 2001. Edisai Edizioni, Milano, 2000. La Coscienza del Tempo [On the Rim of Time]. Testo di Beatrice Buscaroli. Volume realizzato in occasione delle mostre presso Palazzo Pacchiani e Galleria Open Art, Prato, 2010.

Paul Jenkins in Paris. Photo David Douglas Duncan 1963.

THE SPECTRUM OF LIGHT

«The paintings are not illustrations, but manifestations of an unknowable essence.» «Goethe and Kant guided my mind and vision in penetrating this realm.» The words of Paul Jenkins. Thinking back, it is difficult to avoid the question: how is it possible to bring together the founder of criticism, who endeavored to give a philosophical explanation to Newton’s system of physics, with a literary genius who did not hesitate to state that colors are the deeds and suffering of light? Where are the elective affinities hidden? — to stay with a Goethean image, and referring to his remarkably deep novel which plumbs conflicts between the rational and the emotional — that link a slightly sedentary East Prussian to a Goethe who rambled throughout Germany, invented Weltliteratur, and for two years set about his Italian Journey, resulting in a work which is somewhat a linguistic fiction? Perhaps it was necessary to have been born in a lightning storm to generate such an extravagant alignment. At least in appearance. And again, why would a thirty-year old American, after a journey that carried him to Italy and Spain, choose in 1953 to live in Paris? We know that in the early fifties during these travels, Jenkins is not only deeply affected by Pompeii, Italian “primitive” painting and the collections of the Prado in Madrid, but also from reading Jung, Herrigel’s Zen and the Art of Archery, and the I Ching as well as by the pastels of Odilon Redon and the controlled and pure gesture of the Japanese artist Hokusai.... In this regard, it is relevant to recall the artist’s description of Hokusai’s line: «It had an independent meaning and created its own significant form.» In 1953, Paul Jenkins observes Moreau’s ébauches in Paris and notes that «if Moreau used the craquelures from the still fresh color of his palette, what remains for me are not rough studies but things in themselves.» What is surprising is the artist’s closing words, that the ébauches are «things in themselves.» The painter goes on to describe the ébauches as «subjective experiences in paint with emphasis on paint.» For Goethe, light does not dissolve into a spectrum or in diaphanous flows, which are corpuscular or wavelike. Goethe looks through Newton’s prism. And in looking through the prism, we become aware not only of the transformation that the singular transparent geometric structure generates. But also, and perhaps most notably, of the aura that constantly surrounds it, of the uncertainty of the boundary that envelopes and protects. The spectrum is visible only there, in the aura revealed as seen through the prism. Phenomena, or occurrences, are not of things or of the light that strikes them (as in Impressionism... which the artists sees as «an illustration of an event in nature»). But rather emerge from the act of their own creation by the artist. For Jenkins, the prism is not the subject matter but

The artist in Saint-Paul-de-Vence 1984. Photo © Suzanne Donnelly Jenkins.

is a source of inspiration, «an emblem of ever-changing affirmation» of the fact that light creates color. Paul Jenkins: «All this does not symbolize the physical world because it is not OF something, it is something unto itself...it takes on its own metaphor and meaning.» It is Jenkins’ choreography of gesture that is well-described by Alain Bosquet in 1982: the manipulation of the pictorial support that accompanies the artist in the realization of his work. «During those years, Paul Jenkins had a very personal way of manipulating his media. Outside intervention was of two types. One, the most original, consisted of pouring the paint into the hollow of the prepared paper or canvas, after curving it. Then, swung, shifted, slightly folded or unfolded, it forced the colors to concentrate, to spread, to find their resting place and hence their form. The choreography was enhanced by the choreography imposed by the painter. (....) The second intervention is less revolutionary, but indispensable for an understanding of Jenkins’ work. It stems from the direction that he imparts to his colors and masses, by the use of an instrument, a rod, used as a brush or ivory knife, but intended to correct the — considerable — share of accident in this dance. The result is confounding: less for its ingenuity and technique, than for the graceful necessity that emanates from the work treated in this way.» And yet the choreography written about by Bosquet is essential for introducing an original order to the state of the work in progress, because undoubtedly it is true that color is a sensation — as Jenkins asserts — «and not only an outside manifestation of nature». This «Kantian» observation allows the artist to create forms in which the constant and the variable can co-exist, amalgamate; and to refute the idea that formal concepts have no place in relation to informal necessities. As Paul Jenkins states: the colors that I see on the canvas cannot be any other color; they have their own specific character, their own intrinsic and intense necessity. This led Jenkins to what he termed «non-alternate color»: the color «cannot be any other color than what is on the canvas.» The “Kantian” in the choreography of making the image, with its radical, inescapable and unmistakable ability to manifest itself, is affirmed by the prism of Goethe. In a world destined to fade, it is still possible to find a way that endures, where the suggestion of the absolute and the ever-changing with its unrelenting demands for immediate transformation not only can co-exist but affirm each other. A concept long held by Jenkins. Provided you are an artist. And born in a lightning storm. As a thirty-year old American in Europe, Jenkins saw Hokusai’s Manga as an «affirmation of the immensity and endless possibilities within one world which was consistent unto itself.» A work of art has to be «a world not a thing.»

Beatrice Buscaroli

Gustave Moreau: Moot grandfather of abstraction. Text by Paul Jenkins. Art News Vol. 60, no. 8, December 1961. Paul Jenkins. Text by Albert E. Elsen. Harry N. Abrams, Inc., 1973. Paul Jenkins. Text by Alain Bosquet. Editions Prints Etc./Georges Fall, Paris, 1982. Anatomy of a Cloud. Texts by Paul Jenkins with Suzanne Donnelly Jenkins, Harry N. Abrams, Inc., New York, 1983. Paul Jenkins Broken Prisms. Text by Frank Anderson Trapp. Catalogue of the exhibition at the Gimpel & Weitzenhoffer Gallery, New York, 1986. Viaggio in Italia. Text by Beatrice Buscaroli. Catalogue of the exhibition Paul Jenkins: Viaggio in Italia, Basilica Palladiana, Vicenza, September 2000-January 2001. Edisai Edizioni, Milan, 2000. La Coscienza del Tempo [On the Rim of Time]. Text by Beatrice Buscaroli. Volume published on the occasion of the exhibitions at the Galleria Open Art and the Palazzo Pacchiani, Prato, 2010.

OPERE | WORKS

TUNNEL 1953 oil and ink on paper laid down on canvas 65 x 120 cm.

PERSAN SALON 1953 oil and enamel on paper laid down on canvas 150 x 80 cm.

UNTITLED ca. 1954-1955 oil and enamel on canvas 60 x 120 cm.

UNTITLED (INSCRIBED TO ARNOLD NEWMAN) 1956 oil and enamel on canvas 92,5 x 73,1 cm.

The artist with Michel TapiĂŠ in front of Anaconda (1956), Paris.

ANACONDA 1956 oil and enamel on canvas 161,5 x 130 cm.

The artist in Paris with his painting IGUANA (1956).

oil and enamel on canvas 195 x 130 cm.

TAINO EYE 1957 oil and enamel on canvas 96,5 x 96,5 cm.

FIRE HOOP 1957 oil and enamel on canvas Ã&#x2DC; 86 cm.

WARLOCK 1957 oil and enamel on canvas 120 x 80 cm.

SALAMANDER 1957 oil and enamel on canvas 65 x 91,8 cm.

SPHINX (also known as WESTERN SPHINX) 1958 oil and enamel on canvas 163,8 x 169,5 cm.

NEWBORN 1958 oil and enamel on canvas 60 x 60 cm.

ASTRAL TRIANGLE 1959 oil and enamel on canvas 40 x 40 cm.

GOODNIGHT 1959 oil and enamel on canvas 45 x 60,7 cm.

EYES OF THE DOVE: SEEN BY THE DRAGON 1959 oil and enamel on canvas 75 x 100 cm.

The artist at his retrospective at the Museum of Fine Arts, Houston, 1971. Photo A. Mewbourn.

PHENOMENA WITH NITROGEN BEFORE PHENOMENA HIGH OCTANE 1959 oil and enamel on canvas 178 x 127 cm.

PHENOMENA GLOBAL OUT OR TO AN ULSTER MAN 1960 oil and enamel on canvas 144,5 x 122 cm.

Martha Jackson Gallery, New York City, 1960.

Paul Jenkinsâ&#x20AC;&#x2122; retrospective at the Museum of Fine Arts, Houston, 1971. Photo A. Mewbourn.

PHENOMENA FOR ICARUS (INSCRIBED TO JUAN-EDUARDO CIRLOT) 1960 oil and enamel on canvas 102 x 76,5 cm.

PHENOMENA VIOLET OVER 1960 oil and enamel on canvas 126,5 x 102 cm.

PHENOMENA BEDOUIN CHANT 1961 acrylic on canvas 99,7 x 80,6 cm.

PHENOMENA SOMNABULE 1961 acrylic on canvas 100 x 73 cm.

Paul Jenkins in his atelier in Paris. Photo Shunk Kender 1963 ÂŠ Roy Lichtenstein Foundation.

PHENOMENA RIP TIDE 1962 acrylic on canvas 60 x 72,3 cm.

PHENOMENA NIGHTENGALE 1962 oil on canvas 16 x 10 cm.

PHENOMENA TRIPLE ARCH 1962 acrylic on canvas 27 x 46 cm.

PHENOMENA ALTER SIGHT 1963 acrylic on canvas 51,2 x 60,7 cm.

PHENOMENA LIGHT ON LIGHT 1963 acrylic on canvas 65 x 81 cm.

PHENOMENA YELLOW STRIKE 1964 acrylic on canvas 152,6 x 101,3 cm.

The artist at his retrospective at the Museum of Fine Arts, Houston, 1971. Photo A. Mewbourn.

PHENOMENA RAPID FIRE 1964 acrylic on canvas 51 x 91,7 cm.

PHENOMENA CODE WEATHER 1964 acrylic on canvas 119,5 x 55,7 cm.

PHENOMENA OVERCAST 1965 acrylic on canvas 80,5 x 100 cm.

PHENOMENA MEASURE RED 1965 acrylic on canvas 50,5 x 91,5 cm.

PHENOMENA RED ARRESTED 1965 acrylic on canvas 40,8 x 51 cm.

PHENOMENA HER CALL NEAR 1965 acrylic on canvas 91,6 x 50,7 cm.

Paul Jenkins in his atelier in Paris. Photo Shunk Kender 1963 ÂŠ Roy Lichtenstein Foundation.

PHENOMENA ASCENDING URANUS 1965 acrylic on canvas 127,5 x 122 cm.

PHENOMENA UP RIGHT UP LEFT 1966 acrylic on canvas 84 x 84 cm.

PHENOMENA AS THE FALCON HER BELLS 1966 acrylic on canvas 51 x 177,7 cm.

PHENOMENA POINT OF RETURN 1966 acrylic on canvas 89 x 116 cm.

PHENOMENA SIGN FOR HARVEST 1966 acrylic on canvas 83,5 x 83,5 cm.

Paul Jenkins in his atelier in Paris. Photo Shunk Kender 1963 ÂŠ Roy Lichtenstein Foundation.

PHENOMENON FIRE CROSSING 1966 acrylic on canvas 96,5 x 162,6 cm.

PHENOMENA SIGHT UNSEEN 1967 acrylic on canvas 122 x 162,6 cm.

PHENOMENA NORTH EAST PREVAILING 1967 acrylic on canvas 140 x 183 cm.

PHENOMENA SPANISH REFLECTIONS 1967 acrylic on canvas 162,6 x 96,5 cm.

UNTITLED ca. 1966-70 acrylic on canvas 241 x 120,8 cm.

PHENOMENA IN ANSWER 1968 acrylic on canvas 51 x 40,5 cm.

PHENOMENA DYLANâ&#x20AC;&#x2122;S HOST 1969 acrylic on canvas 163 x 122 cm.

PHENOMENA SILVER THEN VIOLET MERCURY 1969 acrylic on canvas 88,9 x 182,9 cm.

PHENOMENA FOREST MEDIUM 1969 acrylic on canvas 50 x 40 cm.

PHENOMENA MEPHISTO STANCE 1969 acrylic on canvas 188 x 125 cm.

PHENOMENA NORTH HARBOR OMEN 1969 acrylic on canvas 120,5 x 169 cm.

PHENOMENA SUNG MANTLE 1969 acrylic on canvas 127 x 160 cm.

The artist in New York with his painting“Phenomena Merlin’s Mantle“.

Exhibition at the Martha Jackson Gallery, New York City, 1970.

PHENOMENA MERLINâ&#x20AC;&#x2122;S MANTLE 1970 acrylic on canvas 200 x 157 cm.

PHENOMENA SPRING ALTER 1970 acrylic on canvas 116 x 79 cm.

PHENOMENA SPECTRUM SHIFT 1971 acrylic on canvas 129,7 x 96 cm.

PHENOMENA BAY WINDOW 1971 acrylic on canvas 96,5 x 163,2 cm.

The artist in Paris with the ivory knife, 1971. Photo Graziella Archibald.

PHENOMENA RIM OF AUGUST 1973 acrylic on canvas 66 x 121,9 cm.

PHENOMENA HEXAGON MOVE 1974 acrylic on canvas 200 x 192 cm.

PHENOMENA WIND OF CHALICE 1974 acrylic on canvas 196 x 254 cm.

PHENOMENA SURVEYORâ&#x20AC;&#x2122;S PREDICTION 1976 acrylic on canvas 114 x 157,5 cm.

PHENOMENA AHAB SHELTER 1976 acrylic on canvas 60 x 75 cm.

100

PHENOMENA RAINBOW TELLIN PRINCE 1977 acrylic on canvas 196 x 335,8 cm.

The artist in New York with Noh mask, 1970s. Photo Akira Kokubo.

102

103

104

PHENOMENA MINISTER OF SECRETS 1978-79 acrylic on canvas 96,5 x 302 cm.

PHENOMENA CHECK MATE WIND 1979 acrylic on canvas 160 x 95 cm.

106

PHENOMENA FAR SIDE OF EDEN ROCK 1977-81 acrylic on canvas 203,2 x 148 cm.

107

108

PHENOMENA DELTA STRANDS 1981 acrylic on canvas 195,6 x 343,2 cm.

110

PHENOMENA SIGHTING SAINT PAUL 1984 acrylic on canvas 95,9 x 165,1 cm.

PHENOMENA TIBETAN SHELF 1984 acrylic on canvas 162 x 122 cm.

112

PHENOMENA SAINT PAUL IN SPRING 1985 acrylic on canvas 56 x 132 cm.

113

PHENOMENA PRISM ANVIL 1985 acrylic on canvas 45,8 x 38 cm.

114

PHENOMENA ATLANTIS ANGLE 1987 acrylic on canvas 114 x 145 cm.

115

PHENOMENA PRISM TO THE MAGI 1987 acrylic on canvas 152 x 127 cm.

116

PHENOMENA SOOTH SAYER 1988 acrylic on canvas 100 x 81 cm.

117

PHENOMENA SHAMAN TO SEE BY 1988 acrylic on canvas 127 x 152,6 cm.

119

The artist with Phenomena Wind at the Foot of the Anvil.

120

PHENOMENA WIND AT THE FOOT OF THE ANVIL 1988-89 acrylic on canvas 198 x 187 cm.

121

PHENOMENA VEIL FOR LIGHT 1989 acrylic on canvas 100 x 81 cm.

122

PHENOMENA DARKLING FIELD 1989-90 acrylic on canvas 41,5 x 33 cm.

123

PHENOMENA MASK WILL OUT 1989 acrylic on canvas 46 x 38 cm.

124

PHENOMENA OFF TO YOUR LEFT 1989 acrylic on canvas 41 x 33 cm.

125

PHENOMENA LIKE KEATS 1990 acrylic on canvas 73 x 60 cm.

126

PHENOMENA COMPASS TO SEE BY 1996-97 acrylic on canvas 73 x 59,7 cm.

127

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PHENOMENA ORACLE CURTAIN 1998 acrylic on canvas 124 x 152 cm.

PHENOMENA NIGHT WALK 1998 acrylic on canvas 41 x 33,5 cm.

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PHENOMENA DERVISH TELLER 1998-99 acrylic on canvas 45,7 x 38,1 cm.

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PHENOMENA BECKONING TO TIDES 1999 acrylic on canvas 185,5 x 225,5 cm.

The artist in Sagaponack, 1991. Photo ÂŠ Suzanne Donnelly Jenkins.

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PHENOMENA VOYAGER GONE WEST 1999 acrylic on canvas 45,9 x 37,9 cm.

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PHENOMENA CRESTING ENIGMA 2004 acrylic on canvas 130,2 x 97,2 cm.

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PHENOMENA TIDAL CURTAIN 2005 acrylic on canvas 73 x 59,7 cm.

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PHENOMENA DARK HARBOR 2005 acrylic on canvas 73 x 59,7 cm.

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PHENOMENA EDGE OF SOUND 2006 acrylic on canvas 100,8 x 91,6 cm.

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PHENOMENA TRAIL OF SILENCE 2006 acrylic on canvas 73,6 x 155 cm.

PHENOMENA EVER THERE 2010 acrylic on canvas 81 x 130 cm.

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Paul Jenkins in his atelier in Paris. Photo Shunk Kender 1963 ÂŠ Roy Lichtenstein Foundation.

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UNTITLED 1953 ink on paper 35,8 x 53,3 cm.

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TRAVEL UNDER 1953 ink on paper 53,6 x 36 cm.

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ZOEâ&#x20AC;&#x2122;S VISIT 1953 watercolor and ink on paper 24 x 33 cm.

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TATOOED DEER HUNTER 1954 watercolor and ink on paper 53,9 x 35,9 cm.

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Works on paper by Paul Jenkins at Zoe Dusanne’s home, in Seattle. The fourth artwork from the left in the photo above is “Pandora’s High Priests”. In 1955, the Zoe Dusanne Gallery in Seattle held Jenkins’ first solo exhibition in the United States. The Seattle Museum is the first museum to purchase his work.

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PANDORAâ&#x20AC;&#x2122;S HIGH PRIESTS 1954 watercolor and ink on paper 53,8 x 35,9 cm.

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GHOSTS 1954 ink on paper 53,4 x 35,9 cm.

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UNTITLED 1954 mixed media on paper 53,5 x 36 cm.

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MARSH 1954 mixed media on paper 55,4 x 38,4 cm.

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ROSETTA STONE 1955 ink on paper 54,5 x 36 cm.

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UNTITLED 1955 ink on paper 35,9 x 53,6 cm.

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VISITATION 1957 watercolor and ink on paper 45,7 x 61 cm.

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FOOLISH CONFETTI ca. 1957 ink on paper 42 x 35,4 cm.

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UNTITLED 1959 watercolor on paper 76,2 x 56,2 cm.

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PHENOMENA OVERBOUND 1 1963 watercolor on paper 56,9 x 77 cm.

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UNTITLED 1963 watercolor on paper 77 x 56 cm.

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UNTITLED (INSCRIBED TO EGIDIO COSTANTINI, VENICE) 1968 watercolor on paper 47,6 x 36 cm.

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The artist with Egidio Costantini (second from left) and the glass maker Loredano Rosin at â&#x20AC;&#x153;Fucina degli Angeliâ&#x20AC;? in Murano, ca. 1968-70.

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Paul Jenkins with the glass maker Loredano Rosin at â&#x20AC;&#x153;Fucina degli Angeliâ&#x20AC;?, Murano, ca. 1968-70.

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UNTITLED 1970 glass, hot-worked and hand-formed, made by the artist at the Fucina degli Angeli, Murano 1970, 1/2. 43,5 x 20,7 x 8,5 cm.

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PHENOMENA MORGANâ&#x20AC;&#x2122;S SPOT 1977 watercolor on paper 110 x 79 cm.

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PHENOMENA WATER TILTS 1979 watercolor on paper 106 x 76,5 cm.

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BEDOIN 1984 ink on paper 34 x 26,5 cm.

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PHENOMENA TIBETAN RITUAL PLACE 1994 watercolor on paper 57 x 37,5 cm.

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APPARATI | APPENDIX

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The artist in Paris, 1959. Photo Walter Silver.

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PAUL JENKINS

1923 Nasce a Kansas City, Missouri. 1937-42 Studia al Kansas City Art Institute, dove fa disegni da modelli e dipinge una serie di acquerelli che definisce “paesaggi interiori”, relativi ad alcune grotte viste negli Ozarks, oltre a fiumi, falò ed altre forme della natura. Lavora la ceramica con James Weldon, dove versa argilla semiliquida negli stampi e crea così una serie di sculture d’argilla che rappresentano teste e figure che poi vengono cotte in forno e smaltate. Il fuoco del forno rivela la trasformazione del colore: gli smalti asciutti e opachi prima della cottura possono allora diventare sottilmente traslucidi o assai definiti in densità. Compie frequenti visite alla rinomata Eastern Collection del Nelson Atkins Museum (divenuto poi William Rockhill Nelson Gallery), dove è fortemente influenzato da un vasto ciclo di affreschi cinesi di Buddha, da sculture policrome, in particolare il Bodhisattva, Kuan-Yin, provenienti da Shansi, nel nord della Cina (XI-XII secolo), oltre che da bronzi indiani, soprattutto di Shiva, e da statue di lohan in meditazione. Incontra Frank Lloyd Wright nel 1940 quando il suo prozio, il reverendo Burris Jenkins, pastore della First Community Church di Kansas City, Missouri, commissiona a Wright la ricostruzione della sua chiesa, dopo che un incendio aveva distrutto l’edificio di Linwood Boulevard [questa chiesa è oggi nota con il nome di Community Christian Church]. Su suggerimento del prozio, si reca a casa di Thomas Hart Benton, per discutere la sua intenzione di diventare pittore. 1944-47 Dopo un periodo presso l’ U.S. Maritime Service, entra nel U.S. Naval Corps. Durante questi anni dipinge una serie di acquarelli di danzatori Kabuki, disegni in bianco e nero, realizzati con la tecnica della grafite e che l’insigne storico d’arte, Albert E. Elsen, definisce “dureriani”. L’artista è attratto dagli scritti di Lao Tse Tung nel Tao Te Ching, che egli descrive, in una lettera del 5 dicembre 1945, come capolavori di semplicità. Dopo il congedo dal servizio militare nel marzo 1946, studia drammaturgia con George McCalmon presso il Carnegie Institute of Technology e continua a dipingere e a disegnare per conto proprio. 1948-52 Studia con Yasuo Kuniyoshi per quattro anni e con Morris Kantor presso l’Art Students League di New York, dove incontra Mark Rothko. Frequenta assiduamente la Frick Collection per ammirare le opere di Goya, Rembrandt (l’autoritratto), Turner, Georges de la Tour, Vermeer, Bellini, Holbein. A New York, nel 1951, dipinge Sea Escape con inchiostro acquerellato su carta. Lo stesso anno, invitato da Martha Graham ad assistere alle sue lezioni di danza, le fa diversi disegni. Sempre a New York, incontra Jackson Pollock e Barnett Newman. Nel leggere il libro di Pytor Demianovich Ouspensky, In Search of the Miraculous (Alla ricerca del miracoloso), scopre le idee di Georgei Ivanovitch Gurdjieff. 1953 Compie un viaggio in Italia dove, a Taormina, in Sicilia, dipinge su tela una serie di opere, e dopo in Spagna, dove è profondamente impressionato dalla visita al Prado. Si stabilisce a Parigi, dove, a dicembre, incontra Jean Dubuffet in occasione della sua mostra di litografie e “Terres Radieuses” presso la galleria La Hune. Incontra, inoltre, Michel Tapié, Pierre Restany, Etienne Martin, Zoe Dusanne, Kenneth B. Sawyer, e anche artisti americani che in quel periodo vivono a Parigi. Visita il Gustave Moreau Museum, dove è attratto dalla struttura e dalla luminosità del colore delle sue ébauches. Comincia allora a versare colori su tela e carta. La densità luminosa che emana dai pastelli di Odilon Redon, specialmente nella Coquille, gli rivela una forma speciale di luce irradiante. Scopre la Psicologia e l’Alchimia di Carl Gustav Jung ed I Ching: Il Libro dei Mutamenti di Confucio. 1954 La piattezza delle luci notturne riflesse sull’acqua della Senna assume un’avvincente verticalità, che infrange l’intrusiva linea dell’orizzonte e si muove verso lo spettatore in una configurazione frontale, evocando una sensazione di vicinanza. La prima mostra personale si svolge presso lo Studio Paul Facchetti di Parigi, Édouard Jaguer scrive il testo, Lumière d’Ambre. Sempre a Parigi incontra Martha Jackson, Peter Charles, Jean Gimpel e Mark Tobey. Lavora con Winsor & Newton sperimentando pigmenti e “chrysochrome”, uno smalto viscoso. Partecipa ad una mostra collettiva, Divergences, alla Galerie Arnaud di Parigi. Visita a Vence la Cappella di Henri Matisse.

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1955 Prima mostra personale negli Stati Uniti presso la Zoe Dusanne Gallery di Seattle. Il Seattle Museum è il primo museo ad acquistare una delle sue opere. Partecipa anche a varie mostre collettive: alla Martha Jackson Gallery di New York; al Petit Palais, alla Galleria Jean Larcade, e in Signes Autres alla Galleria Rive Droite di Parigi. Da Parigi si reca a Londra per vedere la mostra di Mark Tobey al ICA (Institute of Contemporary Art). Nel luglio del 1955 viaggia da Parigi a New York sull’SS Liberté. Lì, conosce Willem de Kooning, Franz Kline, Ad Reinhardt, Philip Guston e, insieme a George Wittenborn, incontra Robert Motherwell. Durante il suo soggiorno di un anno a New York, visita lo studio di Mark Rothko nel West Side, vicino all’attuale Lincoln Center. 1956 La prima mostra personale a New York ha luogo a marzo, presso la Martha Jackson Gallery. John I.H. Baur acquista Divining Rod per il Whitney Museum of American Art di New York. Nel frattempo, George Wittenborn pubblica a New York il suo libro, Observations of Michel Tapié. Seguono mostre collettive al Museum of Modern Art di New York e, a Parigi, alla Galerie Stadler, Galerie Rive Droite, Galerie Jean Larcade e, infine, alla Galerie Arnaud con Sculpteurs et Peintres Abstraits Américains de Paris. Per la stagione successiva, Peter Cochrane lo invita a partecipare alla mostra collettiva The Exploration of Paint, presso la Arthur Tooth & Sons di Londra. Visita lo studio di Jackson Pollock a Springs e vede le sue opere recenti, tra le quali la serie in bianco e nero destinata alla mostra presso la Gimpel Fils Gallery di Londra. Al suo ritorno a New York, regala a Pollock una copia del libro di Eugen Herrigel, Zen in the Art of Archery, attualmente nella libreria della PollockKrasner House di Springs. Ritorna poi a Parigi. Lì, dopo una visita per vedere il Gimpels di Ménerbes in luglio, Lee Krasner si ferma per alcuni giorni nello studio di Jenkins, dove, l’11 agosto riceve una telefonata da Clement Greenberg che la informa del mortale incidente d’auto in cui è rimasto vittima Pollock. Incontra Henri Michaux alla mostra di Odilon Redon a Parigi, presso l’Orangerie. Arnold Newman inizia a fotografare l’artista a Parigi e poi a New York per diversi decenni. 1957 Peggy Guggenheim acquista Osage nel suo studio di Parigi e quest’opera sarà poi inclusa nella mostra personale alla Galleria Stadler di Parigi. É grazie a Michel Tapié che viene a conoscenza del Gruppo Gutai di Osaka. Hideo Hayahasi e il signor Yamamoto della Tokyo Gallery visitano il suo studio in rue Decrès, a Parigi. Partecipa successivamente a mostre collettive alla Arthur Tooth & Sons di Londra e al Whitney Museum di New York. Per due anni scambia il suo studio con quello di Joan Mitchell: si stabilisce nello studio di lei in St. Mark’s Place, a New York, e lei lavora in quello di lui nella rue Decrès, a Parigi. Incontra lo scrittore James Jones e sua moglie Gloria a New York; rimarranno amici per tutta la vita. 1958 Verso la fine del 1957, nello studio di Joan Mitchell in St. Mark’s Place a New York, comincia a dipingere la serie di quadri intitolati Eyes of the Dove, che terminerà nel 1959. Il titolo deriva dalla storia raccontata da Harold Rosenberg, in cui un rabbino intonava “the eyes of the dove” nelle sue visite nelle varie sinagoghe. Per l’artista, la storia significava che “gli occhi della colomba vedono tutto, ma mai la stessa cosa due volte”. Alla mostra del gruppo Gutai alla Martha Jackson Gallery di New York, viene invitato da Jiro Yoshihara a lavorare con i Gutai ad Osaka.Tuttavia, Jenkins non andrà in Giappone prima del 1964. Joseph Hirshhorn compra Dakota Ridge, proveniente dalla mostra presso la galleria di Martha Jackson, a New York. Partecipa a varie mostre alla Arthur Tooth & Sons di Londra, al Carnegie Insitute Museum of Art di Pittsburgh e alla Corcoran Gallery of Art di Washington, D.C.

The artist with Peggy Guggenheim in Paris, 1957.

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1959-60 Mostra personale alla Galleria Stadler di Parigi nel 1959. A Parigi, James Jones è uno dei primi ad acquistare un dipinto della serie Eyes of the Dove: Turtle Gold. Lavora con pigmenti ad olio. Compie studi sugli scritti di Kant e di Goethe. Utilizza un coltello d’avorio per guidare i flussi di colore. Comincia a titolare le sue tele Phenomena, cui segue una frase o una parola chiave. Viaggia in Spagna e incontra il poeta e critico, Juan-Eduardo Cirlot, che scriverà sul lavoro dell’artista. Si stabilisce in un appartamento a New York nella Dodicesima Strada, tra la Avenue A e B. Comincia gradualmente a dipingere in acrilico. 1961 Prima mostra alla Galerie Karl Flinker di Parigi; James Jones scrive il testo del catalogo, Moving Shapes without Name. La mostra evidenzia la continua evoluzione dell’immagine su uno sfondo bianco e il recente sviluppo delle opere monocrome. The Paintings of Paul Jenkins viene pubblicato dalla Éditions Two Cities di Parigi con testi di Kenneth B. Sawyer, Pierre Restany e James Fitzsimmons. 1962 Fa un viaggio in Europa. Incontra Albert E. Elsen al Musée Rodin di Parigi. Henri Michaux visita il suo studio di Parigi. Partecipa a mostre collettive presso vari musei: Musée des Arts décoratifs, Musée du Louvre e Musée d’Art Moderne di Parigi e al Whitney Museum di New York. La graduale invasione di veli granulari nelle sue opere rivela un nuovo senso della sostanza integrata nella tela e “un altro genere di luce, una luce riflessa o incandescente”. [Elsen, Paul Jenkins, p. 77] L’artista prosegue l’esplorazione nell’uso della pittura monocroma su tela, comprese alcune opere in grisaille. 1963 Viene pubblicato il libro Jenkins di Jean Cassou, Éditions de la Galerie Karl Flinker di Parigi. Partecipa a mostre collettive presso il Musée d’Arte Moderne di Parigi, l’Art Institute di Chicago e il Guggenheim Museum di New York. Ottiene, da Willem de Kooning, un loft sulla Broadway di New York. A Parigi, il fotografo David Douglas Duncan scatta una serie di fotografie prismatiche dell’artista.

The artist working at the Gutai Pinacotheca, Osaka, 1964, with Jiro Yoshihara looking on.

1964 La prima retrospettiva ha luogo al Kestner-Gesellschaft di Hannover, con il testo del catalogo scritto da Wieland Schmied. Viene girato il film The Ivory Knife: Paul Jenkins at Work, prodotto da Martha Jackson a New York con le musiche originali di Irwin Bazelon. Si reca in Giappone, per la sua mostra alla Tokyo Gallery. Su suggerimento di Joseph Campbell, visita il tempio d’Ise ed è profondamente colpito dagli elementi architettonici dell’ambiente sacro. In Giappone prende il treno con Bernard Leach per scoprire le ceramiche di Hamada. Lavora con Jiro Yoshihara e il gruppo Gutai a Osaka. Va in India e visita Bombay, Agra, le grotte di Ajanta ad Aurangabad. A Nuova Delhi, è colpito dal contrasto fra i colori dei vestiti e quelli del paesaggio. Dona la testa bronzea di Dylan Thomas, eseguita da Ibram Lassaw e David Slivka, al National Museum of Wales di Cardiff; la scultura viene presa in consegna da Richard Burton e dal suo padre adottivo, Phillip Burton, durante una presentazione al The Poetry Center del YM-YWHA nella Novantaduesima Strada di New York. 1965 Si reca a Madrid, visita l’Escorial e, in seguito, va a Biarritiz per ritrovare James e Gloria Jones. Esce Seeing Voice Welsh Heart, a cura delle Éditions de la Galerie Karl Flinker di Parigi. Si tratta di una serie di litografie originali su pietra stampate da Fernand Mourlot, con poesie di Cyril Hodges. Partecipa a mostre collettive al Whitney Museum di New York e alla Pennsylvania Academy of Arts di Philadelphia.

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1966 Fa un viaggio in Russia, dove visita Mosca, Leningrado e Kiev. A Zagorsk, vede le icone di Andrei Roublev, la cui intensità e forza lo impressionano notevolmente. The Ivory Knife viene proiettato al Museum of Modern Art di New York e riceve il Golden Eagle Award a Venezia. Esce l’opera teatrale Strike the Puma, a cura delle Éditions Gonthier, Parigi. A New York, prosegue gli studi sui concetti junghiani con il dr. Erlo Van Waveren. Harry Abrams gli propone la pubblicazione di un volume monografico sul suo lavoro. 1967 Per diversi anni, l’artista realizza una serie di grandi tele in cui predominano grigi e bianchi granulari. Quello che Albert E. Elsen descrive come “l’arrivo dei grigi” è il risultato della ricerca dell’artista “per trovare una nuova temperatura” ed entrare in contatto con un nuovo senso della struttura, o “una sostanziale sostanza”. Gli viene assegnata la medaglia d’argento per la pittura alla Trentesima Biennale alla Corcoran Gallery of Art di Washington, D.C. Lascia in deposito un baule pieno di fotografie, lettere e scritti presso la Bienecke Library dell’università di Yale. 1968 Strike the Puma è prodotto off-Broadway, diretto da Vasek Simek. L’artista dipinge due tele per la scenografia a anche il busto di un manichino (dipinto nel 1967). Produce una serie di sculture di vetro fatte in esemplare unico a Venezia insieme ad Egidio Costantini, che aveva conosciuto attraverso Mark Tobey. Harry Abrams decide di non includere nella sua monografia di Jenkins (pubblicata nel 1973) quelli che l’artista definisce i suoi “fotomontaggi autobiografici in bianco e nero”. Alcuni elementi di questi fotomontaggi, un decennio più tardi, saranno integrati nella monografia Anatomy of a Cloud, pubblicato da Harry N. Abrams nel 1983. 1971 Retrospettive allo Houston Museum of Fine Arts e al San Francisco Museum of Art, organizzate da Gerald Nordland e da Philippe de Montebello. Jean-Louis Barrault visita il suo studio a New York. Scolpisce un blocco di roccia calcarea francese da due tonnellate allo Sculptors’ Symposium, presso il Cooper-Hewitt Museum di New York. Durante l’inaugurazione della Cappella Rothko, dona una lettera scritta per lui da Mark Rothko, relativa al viaggio di quest’ultimo a Parigi, dove i due artisti avevano visitato musei, in particolare L’Orangerie (per vedere Les Nymphéas), al fine di studiare possibili soluzioni per una barriera protettiva tra l’osservatore e le opere di Rothko, per la cappella allora in preparazione. 1972 Paul Jenkins: Works on Paper è il titolo di una mostra itinerante di acquerelli presentata alla Corcoran Gallery di Washington, D.C. , che viaggerà negli Stati Uniti per due anni. Dopo la sua mostra a Londra alla Gimpel Fils Gallery, si reca in Cornovaglia con Peter Gimpel per vedere i dolmen. Esegue una serie di litografie su pietra, The Four Seasons, per Abrams Original Editions. Alla Triton Press, Jenkins crea Sanctuary, che l’artista ed il tipografo Harry Lerner definiscono “light graphic” (grafica di luce) per distinguerlo dal tradizionale collotipo. 1973 Il libro Paul Jenkins, con un testo di Albert E. Elsen, viene pubblicato a New York da Harry N. Abrams. Risalgono a questo periodo i primi disegni per Meditation Mandala Sundial, un progetto scultoreo per un parco. In Francia, visita le pietre preistoriche di Carnac. Vede la luce Horizon Findings, il primo collage autobiografico. Riceve un dottorato honoris causa dalla facoltà umanistica dei Lindenwood Colleges di Saint Charles, nel Missouri. 1974-76 Retrospettiva al Palais des Beaux-Arts di Charleroi. Fonde il Meditation Mandala Sundial in bronzo e ottone. Intanto, su tela e su carta, continua ad esplorare il prisma newtoniano attraverso veli di colore ed a studiare la luce traslucida ed opaca, in forme palesi e nascoste. Conclude Boy Man Man Boy, un collage di importanza fondamentale per Anatomy of a Cloud. Nel 1974-1975, assiste ad una serie di conferenze tenute da Meyer Schapiro alla Columbia University di New York. Crea una serie di litografie originali su pietra all’Atelier Mourlot di Parigi, incluso un diagramma per Meditation Mandala Sundial. 1977 Inizia la serie St. Croix di acquerelli e dipinti, influenzata fortemente dalla fisicità del lavoro en plein air, ricordando i colori e la luce che aveva trovato a Taormina. Nel suo studio newyorchese viene girato, da Paul Mazursky, il film An Unmarried Woman.

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Lavora sui collages autobiografici. Meditation Mandala Sundial e lo Shakti Samothrace vengono fusi in bronzo alla Tallix Foundry di New York. Con un dipinto dell’artista proiettato come sfondo, Jean Erdman crea una scenografia per Shining House, una rappresentazione teatrale di danza su Pelé, una dea della mitologia hawaiana. Su sua richiesta, gli viene restituito il baule di fotografie, corrispondenze e scritti, prestato alla Beinecke Library della Yale University nel 1967; questi elementi vengono successivamente integrati nei collages autobiografici, ai quali l’artista stava lavorando e, in seguito, pubblicati in Anatomy of a Cloud di Harry N. Abrams nel 1983. 1978 Espone Anatomy of a Cloud, una serie di collages, dipinti e sculture presso la Gimpel Weitzenhoffer Gallery di New York. Fonde due sculture in bronzo, Excalibur e Echo Chamber alla Tallix Foundry di New York. 1979 Durante un lungo soggiorno nei Caraibi, nei suoi quadri cominciano ad apparire segni di impasto. Qui, conclude anche il dipinto Phenomena Forcing a Passage at the Mark, che per lui costituisce un quadro chiave nella scoperta di veli raschiati con il prisma concentrato. Utilizza spessi strati di pittura per rivelare e rompere le persistenti caratteristiche del prisma newtoniano. 1980 É nominato Officier des Arts et Lettres dalla Repubblica Francese. Partecipa al festival di D.H. Lawrence a Taos e Santa Fe, nel New Mexico. Alla fonderia Shidoni, vicino Santa Fe, inizia la versione in grandezza naturale di una sezione del Meditation Mandala Sundial in acciaio. 1981 Retrospettiva al Palm Springs Desert Museum. In parallelo alla preparazione del suo libro, Anatomy of a Cloud, crea una serie di collages in onore a Jean-Louis Barrault, che vengono esposti presso il French Cultural Services dell’Ambasciata Francese di New York. Queste opere inaugurano la Maison Internationale du Théâtre del Renaud-Barrault Company, presso il teatro di Rond-Point di Parigi, per il quale realizza anche gli emblemi. In Canada, crea una serie di litografie originali su pietra, alla Sword Street Press. Continua a costruire, a grandezza naturale, elementi di Meditation Mandala Sundial, una scultura in acciaio, alla Shidoni Foundry di Tesuque, New Mexico; (questi elementi si trovano ora nello Sculpture Garden dell’Hofstra University Museum a Hempstead, nello Stato di New York). 1982 Viene pubblicato il libro Paul Jenkins di Alain Bosquet, edito da Georges Fall, Parigi, in contemporanea con una mostra visitata dal presidente François Mitterrand. Il Fonds National d’Art Contemporain du Ministère de la Culture et de la Communication acquista Phenomena Saturn Observes. Partecipa, a Parigi, alla conferenza organizzata da Jack Lang sulla creazione artistica e il suo relativo sviluppo. Il direttore Alan Schneider inserisce Anatomy of a Cloud nel programma del suo laboratorio teatrale presso l’università della California a San Diego. Riceve il premio Humanitarian Award dal National Committee of Arts for the Handicapped. Comincia ad usare leggeri strati di colore granulare versati su forme di prisma raschiate; elementi di collage astratti vengono integrati nelle opere su tela. 1983 Viene nominato Commandeur des Arts et Lettres dalla Repubblica di Francia. Anatomy of a Cloud, un libro autobiografico di ciò che l’artista chiama “word impressions” e collages, è pubblicato da Harry N. Abrams a New York; viene inoltre premiato con la medaglia d’argento dall’Art Directors Club. 1984 Le serie di collages Homage to Jean-Louis Barrault e Tibetan Remnants vengono esposti al Musée d’Art Contemporain di Dunkirk. 1985 Crea una medaglia in bronzo, placcata d’argento, coniata a La Monnaie di Parigi, per il Centro di Civiltà e Cultura della New York University. Mostre personali: alla Gimpel Weitzenhoffer Gallery di New York, presso la FIAC (Foire Internazionale d’Art Contemporain) di Parigi. Jean- Louis Martinoty gli propone la creazione di un balletto basato su Jeux, di Debussy.

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1986 Scrive Shaman to the Prism Seen, un balletto drammatico. Espone i suoi collages autobiografici al Butler Institute of American Art in Ohio. Compie un viaggio a Londra per una mostra presso la Gimpel Fils Gallery e a Tokyo per un’altra mostra con la Gallery Art Point. Si reca ad Okayama per visitare la collezione di opere di Yasuo Kuniyoshi, dove scopre che uno dei primi quadri dell’artista l’aveva già visto appoggiato al muro dello studio di Kuniyoshi a Union Square, nella Quattordicesima Strada di New York, durante gli anni della Art Students League. Gli rimarranno fortemente The artist in the ateliers of the Paris Opera working on the impresse le sete dai colori backdrop for his dance-drama Shaman to the Prism Seen, 1987. vibranti gonfiate dalla brezza Photo courtesy Natacha Hochman. all’entrata dei templi di Nara e di Kyoto, contrapposte alla monumentale staticità dell’architettura. Viene organizzata la mostra-installazione presso la Shidoni Foundry, vicino Santa Fe, della costruzione in acciaio di una parte, a grandezza naturale, del Meditation Mandala Sundial. 1987 Retrospettiva di opere su tela al Musée Picasso di Antibes. L’Opera di Parigi presenta Shaman to the Prism Seen nella Sala Favart, nel contesto della nuova serie “Carte Blanche”, inaugurata dal regista Jean-Louis Martinoty. Dipinge due tele che misurano mt. 9,1 x 12,2 ciascuna, per la scenografia, insieme ad una serie di dipinti verticali su tele, costumi e sete; crea, inoltre, una pedana a forma di prisma per Shaman. Le musiche sono di Henri Dutilleux e la rappresentazione è diretta da Simone Benmussa. Crea una litografia originale su pietra, in un trittico, per un’edizione bicentenaria su pergamena della Costituzione Americana, pubblicata dalla Galerie Art Concorde di Parigi e stampata all’Atelier Clot Bramsen Georges, Parigi. 1988 Gli viene commissionata la creazione di una scenografia in seta per le festività del Return of Marco Polo (Il ritorno di Marco Polo) alla Grande Sala del Popolo di Pechino, organizzata dall’International Committee for the Safeguard of Venice (Comitato Internazionale per la Salvaguardia di Venezia). A Pechino dipinge sei stendardi che misurano 12,2 x 4,6 metri, un fondale teatrale di 18,3 x 22,9 metri e un’altra serie di stendardi di 9,1 x 0,9 metri per la Grande Muraglia. L’atelier Franck Bordas di Parigi pubblica Euphories de la couleur, un portafoglio di litografie originali su pietra, con testi di André Verdet. 1989 I Musei di Nizza presentano le scenografie dipinte per Shaman to the Prism Seen, insieme ad una serie di acquerelli e di dipinti di grandi dimensioni eseguiti negli ultimi cinque anni alla Galerie des Ponchettes e alla Galerie d’Art contemporain. Euphories de la Couleur viene presentato alla mostra alla Maison des Écrivains di Parigi, organizzata da Hughes de Kerret. Basato su Broken Prism, l’architetto Yves Bayard crea alcuni disegni per Meditation Tower, struttura composta da grandi vetrate colorate che l’artista avrebbe poi realizzato. 1990 Altra mostra presso il Castello Doria di Portovenere delle opere in seta dipinte in Cina e a Parigi. Riceve una medaglia dalla città

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di Menton. Abba and Suzy Eban lo invitano in Israele, dove soggiorna al Mishkenot Sha’ananim di Gerusalemme. Visita la tomba di Maimonides a Tiberiade. Si reca in Giappone per la sua mostra alla Gallery Art Point di Tokyo. 1991 Mostra di Conjunctions and Annexes, una serie di polittici su tela, alla Gimpel Weitzenhoffer Gallery di New York, insieme alla pubblicazione di un libro dallo stesso titolo, con un testo di Pascal Bonafoux. Nel mese di agosto viene invitato da Tadashi Suzuki in Giappone per partecipare al decimo anniversario del teatro festival di Toga. Successivamente, presso la Gimpel Fils di Londra, viene inaugurata la mostra Grid Panel Prisms, seconda serie di polittici su tela. A dicembre si reca a Mito, in Giappone, per la prima di Ivanov, un adattamento di Tadashi Suzuki dell’opera teatrale di Cechov, nella quale Suzuki usa le sete dipinte in Cina e a Parigi per il costume di Anna e come elementi delle scenografie. 1992 Fa una mostra di acquerelli alla galleria Roswitha Haftmann di Zurigo. Seven Aspects of Amadeus and the Others, litografie su pietra stampate dalla Atelier Franck Bordas, vengono esposte alla Fiera d’Arte di Basilea. Scrive un testo, concepito come atto unico, basato sulle litografie della serie Amadeus e pubblicato dalle Éditions Galilée di Parigi. Si reca a Firenze, dove va a visitare di nuovo gli affreschi di Giotto e di Fra Angelico. 1993 Si reca a Palo Alto, in California, dove porta a compimento una serie di monotipi per le Smith Andersen Editions. Espone nell’ambito della mostra Collection of the Maeght Foundation “A Choice of 150 Works”, presso la Fondation Maeght di StPaul-de-Vence. Altre mostre di due gruppi di collages, nell’autunno: a Parigi, alla Yoshii Gallery, e a New York, alla Associated American Artists Gallery. 1994 Scrive Prism Moon to the Shaman, un racconto allegorico sul colore. Viene inaugurata L’Eau et la Couleur, una mostra itinerante in Francia di oltre 50 acquerelli, relativi alla rappresentazione, all’Opera di Parigi, del suo spettacolo teatrale che l’artista ha descritto come “a dance drama”, Shaman to the Prism Seen, insieme agli acquerelli più recenti, incluse cinque grandi opere su carta create a Parigi nel novembre 1993. Lo storico dell’arte Frank Anderson Trapp produce un importante studio sull’opera acquerellata per il catalago della mostra. Lavora su una serie di monotipi per le Smith Andersen Editions di Palo Alto. La sua scultura, Meditation Mandala Sundial, viene installata nel giardino scultoreo del Hofstra University Museum Sculpture Garden, ad Hempstead, non lontano da New York City.

The artist’s sculpture Meditation Mandala installed in the Hofstra Museum Sculpture Garden, Hempstead, New York. Photo © Suzanne Donnelly Jenkins.

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1995 Lo Chateau-Museum di Cagnes-sur-Mer organizza una grande mostra dei collages recenti, incluse le porte-collage provenienti dal suo studio di Parigi e risalenti agli anni Cinquanta, mai esposte prima. Si reca a Zurigo per la sua

mostra di quadri su tela ed acquerelli recenti, presso la Galerie Proarta. Jacques Garelli, poeta e fenomenologo, scrive un ampio testo riguardante queste opere e alcuni brani del testo vengono pubblicati nel catalogo della mostra. 1996 Riceve un dottorato honoris causa dalla facoltà umanistica dell’Università di Hofstra. Partecipa alla mostra per il cinquantesimo anniversario della Gimpel Fils di Londra. Si reca a Milano per una mostra presso la galleria Lorenzelli Arte. 1997 Il Butler Institute of American Art allestisce una sua mostra di opere recenti, risalenti agli ultimi cinque anni. Riceve, dallo stesso istituto, il Life Achievement Award, insieme alla medaglia della Città di Parigi da Pierre Buhler, Consigliere Culturale francese a New York. Mostra alla galleria Georges Fall di Parigi. Viene eletto membro della National Academy di New York. Merchant Ivory mette in evidenza una selezione delle opere di Jenkins degli anni Cinquanta nel film A Soldier’s Daughter Never Cries, da un romanzo di Kaylie Jones, basato sugli anni della scrittrice a Parigi insieme ai genitori, lo scrittore James Jones e sua moglie Gloria. 1998 Crea Entrance Shaman, cinque litografie originali su pietra stampate dall’Atelier Bordas di Parigi. Viene eletto membro onorario della Cambrian Academy del Galles. Fa una mostra di opere su tela alla Joseph Rickards Gallery di New York. Partecipa ad una mostra collettiva, Masters of Color and Light: Homer, Sargent and the American Watercolor Movement, al Brooklyn Museum of Art. Partecipa, inoltre, alla collettiva intitolata Regard sur l’estampe en France de 1945 a nos jours, una mostra itinerante che si inaugura presso la PACA (Présence de l’Art Contemporain) a Angers. 1999 Hofstra Museum allestisce una mostra delle sue opere dal 1954 al 1960 e la Joseph Rickards Gallery di New York espone le opere della serie di transizione, Eyes of the Dove, realizzate tra il 1957 e il 1959. Una delle opere provenienti da Eyes of the Dove viene esposta nella mostra itinerante Les Années de Combat, 1951-1962, organizzata dalla Présence d’Art Contemporain di Angers, incentrata sulla rivista d’arte parigina Cimaise e sulla Galerie Arnaud. É invitato a scrivere un testo sul Gutai per la mostra al Jeu de Paume di Parigi, lì incontra alcuni artisti Gutai che aveva conosciuto ad Osaka nel 1964, venuti a Parigi per l’inaugurazione. 2000 Si reca in Ohio presso il Butler Institute of American Art, dove è allestita la sua mostra Water and Color, in occasione dell’inaugurazione della nuova ala dell’edificio. Riceve la medaglia Benjamin Clinedinst dall’Artists’ Fellowship di New York. La città di Vicenza allestisce un’ampia mostra di sue opere su tela e acquerelli presso la Basilica Palladiana, con un catalogo completo delle opere in mostra, e di un testo di Beatrice Buscaroli. Microcosms, una mostra di piccole opere su tela, viene inaugurata alla Joseph Rickards Gallery di New York. Espone le opere più recenti all’Agon-shu Agama Gallery in onore della visita a New York del reverendo Seiyu Kiriyama Kancho, il quale celebra il Rituale del Sacro Fuoco alla Unitarian Church a New York City. Broken Silences, la prima mostra retrospettiva di collages dell’artista, viene inaugurata al Vero Beach Museum of Art, in Florida. Lascia lo studio acquistato nel 1963 da Willem de Kooning. 2001 Invitato dal reverendo Seiyu Kiriyama Kancho, in febbraio si reca a Kyoto per la monumentale Cerimonia del Fuoco all’aperto; visita giardini di pietra, templi e santuari sperimentando l’intensità della loro immobilità. Il Centre d’Art Contemporain di Bouvet-Ladubay a Saumur allestisce un’ampia mostra di recenti opere su tela. 2002 Dallo studio dell’artista a St-Paul-de-Vence, David Douglas Duncan acquista un grande dipinto che poi dona al Nelson-Atkins Museum of Art di Kansas City, Missouri. Va a Londra per vedere la mostra di Barnett Newman alla Tate Gallery. Si sposta poi a Bordeaux per assistere a Feu Sacré, una performance teatrale di Macha Méril con un grande sfondo dell’opera dell’artista Phenomena Strike the Tiger, con testi di George Sand e musica di Chopin, interpretata da Jean-Marc Luisada. 2003 Si reca a Londra per la sua mostra alla Redfern Gallery e poi in Italia alla Galleria Open Art di Prato.

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2004 La televisione giapponese NHK manda in onda un’intervista con l’artista nel suo studio relativa a Yasuo Kuniyoshi e gli anni dell’Art Students League. 2005 Alla Robert Green Fine Arts di Mill Valley, in California, viene presentata una mostra divisa in due parti: le tele realizzate negli anni Sessanta e negli anni Novanta. Realizza a New York specifiche opere su tela per As Above So Below, un’installazione temporanea alla Abbaye di Silvacane, una abbazia cistercense del XII secolo a Roque d’Anthèron, vicino a Aix-en-Provence. Oeuvres Majeures, una mostra di opere su tela e acquerelli, si inaugura al Palais des Beaux-Arts di Lille. All’inaugurazione della mostra riceve la medaglia d’oro della città di Lille. La mostra Paintings 1954-1960 si apre alla Redfern Gallery di Londra. In seguito viene inaugurata alla Galleria Open Art di Prato la mostra delle opere 1954-2003, accompagnata dal catalogo Cosmogonie Interiori, con testo a cura di Bruno Corà. 2006 La mostra Water and Color si svolge all’Arkansas Arts Center di Little Rock. Feu Sacré, performance teatrale con Macha Méril e Jean-Marc Luisada, viene rappresentata a Parigi al Teatro Mogador, con scenografie tratte da Phenomena Strike the Tiger. Il dipinto Iguana (1956) viene esibito alla mostra L’Envolée Lyrique: Paris 1945–1956, Musée du Luxembourg, Parigi. Mostra alla Maison des Princes, a Pérouges (Rhône-Alpes). Mostra di opere su tela degli anni Settanta alla Robert Green Fine Arts, Mill Valley, California. 2007 La mostra Paul Jenkins in the Fifties: Space, Color and Light, works on canvas from 1955–1960 si svolge alla D. Wigmore Fine Art, New York. Il Ballet Western Reserve realizza due serate di danza con coreografie ispirate ai suoi dipinti nella collezione della Butler Institute of American Art in Ohio. Si reca a Londra per la mostra delle sue opere recenti presso la Redfern Gallery,

“Paul Jenkins - La Coscienza del Tempo” Palazzo Pacchiani, Prato, 2010.

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The artist in St. Croix, 1979. Photo Â© Suzanne Donnelly Jenkins.

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e a Venezia per una retrospettiva delle sue opere alla Cornice Art Fair organizzata dalla Galleria Open Art. Si reca a Padova per visitare ancora una volta gli affreschi di Giotto nella Cappella degli Scrovegni. L’artista dona quasi cinquemila pezzi della sua collezione agli Archives of American Art dello Smithsonian Institution. Questa donazione comprende lettere ricevute da Willem de Kooning, Beauford Delaney, Jean Dubuffet, Philippe Hosiasson, Thomas B. Hess, Joan Mitchell, Mark Tobey e molti altri. Inoltre, la raccolta contiene un ampio carteggio con la mercante d’arte di Seattle, Zoe Dusanne, e gli storici d’arte Albert E. Elsen e Frank Anderson Trapp. Dona più di quattrocento fotografie in bianco e nero, selezionate dall’artista a Parigi nel 1980, di Jean-Louis Barrault e del suo teatro, 1947-1979, alla Special Collections & Archives della Fenwick Library presso la George Mason University di Fairfax, Virginia. 2008 Un’ulteriore donazione dell’artista agli Archives of American Art dello Smithsonian Institution, comprendente più di mille pezzi fra lettere, scritti e altri materiali, si aggiunge alle Paul Jenkins Papers. 2009 Recent Acquisitions: the Paul Jenkins Papers, una selezione di documenti sono in mostra nella sede newyorkese degli Archives of American Art. La D. Wigmore Fine Arts di New York City allestisce la mostra Paul Jenkins in the 1960s and 1970s: Space Color and Light. Presso la Pollock-Krasner House & Study Center ad East Hampton, New York, si tiene la mostra “Under Each Other’s Spell”: Gutai and New York, che presenta opere della collezione di Paul Jenkins – acquisiti durante la sua visita del 1964, quando aveva lavorato con il gruppo Gutai a Osaka – insieme ad un dipinto realizzato dall’artista durante quel periodo. La mostra si sposta successivamente all’Harold B. Lemmerman Gallery, presso la New York City University, in New Jersey. Partecipa alla tavola rotonda sul Gutai, A ‘Concrete’ Discussion of Transnationalism, al Guggenheim Museum di New York. Dona agli Archives of American Art otto disegni ad acquerello realizzati dall’architetto Frank Prince, riguardanti il progetto di un edificio da collocare accanto al parco scultoreo dell’artista, Meditation Mandala Sundial. 2010 “Paul Jenkins Watercolors” esposizione presso la Galleria Civica Ezio Mariani di Seregno. L’Art Galleries of the State University of New York di Buffalo organizza due mostre in contemporanea: “Paul Jenkins in the 1960s and 1970s: Space Color and Light”, che include dipinti di grandi dimensioni, e “Under Each Other’s Spell: Gutai and New York”. Mostra a Prato presso la Galleria Open Art e Palazzo Pacchiani, accompagnata da un ampio catalogo, con testo a cura di Beatrice Buscaroli: La Coscienza del Tempo. In quella occasione riceve gli antichi sigilli della città di Prato. 2011 Dipinti degli anni ‘60 e ‘70 sono esposti presso la Redfern Gallery in London, con un testo in catalogo di Michel Peppiatt. 2012 Un dipinto degli anni ‘50 è incluso nell’importante mostra, “Un Art Autre? Artistes Autour de Michel Tapié, Une Exposition”, tenutasi presso Christie’s Paris per il cinquantesimo anniversario della pubblicazione di Un Art Autre di Michel Tapié, un libro fondamentale per l’introduzione dell’Espressionismo Astratto americano in Europa. Partecipa a mostre collettive presso il San Jose Museum of Art, California e il Flint Institute of Arts, Michigan. Muore a New York nel mese di giugno. Ha luogo il suo memoriale presso la Morgan Library and Museum di New York. 2014 Dipinti ed acquerelli sono esposti nella mostra “Gravity’s Edge” presso l’Hirshhorn Museum and Sculpture Garden of the Smithsonian Institutution in Washington, D.C. Mostra personale dal titolo On canvas and Paper 1989-2009 presso la Redfern Gallery di Londra. Paul Jenkins: The Spectrum of Light, una retrospettiva di lavori su tela e su carta in mostra presso la Galleria Open Art ed il Museo di Pittura Murale in S. Domenico a Prato. Per l’occasione è pubblicato una monografia con testi a cura di Beatrice Buscaroli.

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PAUL JENKINS

1923 Born in Kansas City, Missouri. 1937-42 Studies at the Kansas City Art Institute, where he makes drawings from a model and paints watercolors he calls “interior landscapes” related to caves he knew in the Ozarks, rivers, campfires and other forms of nature. Works in ceramics with James Weldon, pouring clay slip into molds, applying glazes and creating clay sculptures of heads and figures that he then fires. The kiln reveals the transformation of color: the dry opaque glazes prior to firing which then become subtly translucent or vitally defined in density. Frequent visits to the renowned Eastern collection of the Nelson-Atkins Museum of Art [then the William Rockhill Nelson Art Gallery], where he is strongly affected by the vast Chinese fresco of Buddha, the polychrome sculpture of the Bodhisattva Kuan-Yin (11th-12th century), Indian bronzes, especially Shiva, and statues of lohans in meditation. Meets Frank Lloyd Wright in 1940 when his great-uncle, the Rev. Burris Jenkins, pastor of the First Community Church in Kansas City, Missouri, commissions Wright to rebuild the church after a fire destroyed the building on Linwood Boulevard. On his great-uncle’s suggestion, visits with Thomas Hart Benton at his home to discuss his intention to be a painter. 1944-47 From the United States Maritime Service, enters the US Naval Air Corps where he serves as a pharmacist’s mate. Paints watercolors of Kabuki dancers during his time in the Naval Air Corps and makes what the distinguished art historian Albert E. Elsen refers to as “Durer-esque” black and white graphite drawings. Is drawn to the teachings of Lao Tse Tung in the Tao Te Ching which he describes in a December 5, 1945 letter as “masterpieces in simplicity.” After his discharge from military service at the end of February 1946, studies playwriting with George McCalmon at the Carnegie Institute of Technology and continues to paint and draw on his own. 1948-52 Under the G.I. Bill, studies with Yasuo Kuniyoshi for four years and with Morris Kantor at the Art Students League in New York where in 1951 he meets Mark Rothko. Frequent visits to the Frick Collection to see Goya, Rembrandt’s Self-Portrait, Turner, Georges de la Tour, Vermeer, Bellini, Holbein. In New York, paints Sea Escape 1951, a key work on paper using “water as his means and meaning.” [Albert E. Elsen in the monograph, Paul Jenkins, published by Harry N. Abrams.] Invited by Martha Graham to observe her dance classes in 1951, he makes several drawings of her. Meets Jackson Pollock and Barnett Newman in New York. In reading P. D. Ouspensky’s In Search of the Miraculous, discovers the ideas of G. I. Gurdjieff. 1953 Travels to Italy where, during a stay of several months in Sicily, he works on canvas in Taormina. Travels to Spain where he is deeply moved by the Prado. Settles in Paris where he meets Jean Dubuffet, Michel Tapié, Pierre Restany, Étienne-Martin,

The artist in Taormina, 1953.

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Zoe Dusanne, Kenneth B. Sawyer, as well as other American artists living there at the time. Working flat and pouring paint on paper and canvas provides a greater sense of totality. The luminous density that radiates from the subject in the pastels of Odilon Redon, particularly in La Coquille [The Conch Shell], reveals to him a specific kind of emanating light. Discovers Psychology and Alchemy by Carl Gustav Jung and the I Ching: The Confucian Book of Changes. 1954 First solo exhibition: Studio Paul Facchetti in Paris, Édouard Jaguer writes the text, Lumière d’Ambre. In Paris, meets Martha Jackson; Peter, Charles and Jean Gimpel, and Mark Tobey. Works with Winsor & Newton powdered pigments and chrysochrome, a viscous enamel paint. Visits the Henri Matisse chapel in Vence. 1955 First solo exhibition in the United States at the Zoe Dusanne Gallery in Seattle. The Seattle Museum is the first museum to buy his work. Travels to London from Paris to see Mark Tobey’s exhibition at ICA [Institute of Contemporary Art]. Travels from Paris to New York in July of 1955 on the SS Liberté. During his year-long stay in New York, visits Mark Rothko’s studio on the West side, near what is now Lincoln Center. In New York, comes to know Willem de Kooning, Franz Kline, Ad Reinhardt, and, with George Wittenborn, Robert Motherwell. 1956 First solo exhibition in New York takes place at the Martha Jackson Gallery in March. John I. H. Baur buys Divining Rod for the Whitney Museum of American Art in New York. Observations of Michel Tapié is published by George Wittenborn in New York. Is invited by Peter Cochrane to exhibit in a group show, The Exploration of Paint, at Arthur Tooth & Sons in London the following season. Visits with Jackson Pollock at his studio in The Springs, near East Hampton, and sees his recent paintings, as well as black and white drawings to be shown at the Gimpel Fils Gallery in London. On his return to the city, gives Pollock a copy of Herrigel’s Zen and the Art of Archery, presently in the library of the Pollock-Krasner House & Study Center in The Springs. Returns to Paris. After a visit to the Gimpels in Ménerbes in July, Lee Krasner stays at Jenkins’ studio in Paris where she later receives a call from Clement Greenberg informing her of Pollock’s fatal car accident on August 11. Arnold Newman makes the first of a series of photographs of the artist to span several decades in Paris and then in New York. Meets Henri Michaux at the Odilon Redon exhibition at the Orangerie in Paris. 1957 Peggy Guggenheim buys Osage from his studio in Paris; this work is soon included in his solo exhibition at the Galerie Stadler in Paris. Is aware of the Gutai in Osaka through Michel Tapié. Hide Hayashi and Mr. Yamamoto of the Tokyo Gallery visit his atelier, rue Decrès. Exchanges studios with Joan Mitchell for two years; he works in her St. Mark’s Place studio in New York, and she works in his studio on the rue Decrès in Paris. Meets the writer, James Jones, and his wife, Gloria, in New York and they remain lifelong friends. 1958 In late 1957, at Joan Mitchell’s St. Mark’s Place studio in New York, begins the paintings entitled Eyes of the Dove, which continue into 1959. The title was inspired by a story told to the artist by Harold Rosenberg concerning a rabbi who intoned “the eyes of the dove” on his visits to different synagogues. To the artist, the story held the meaning that “the eyes of the dove see everything but never the same thing twice.” At the Gutai exhibition at the Martha Jackson Gallery in New York, is invited by Jiro Yoshihara to work with the Gutai in Osaka, an invitation that he does not implement until 1964. Joseph Hirshhorn buys Dakota Ridge from his exhibition at the Martha Jackson Gallery in New York. 1959-1960 In Paris, James Jones is of the first to buy a painting from the Eyes of the Dove series: Turtle Gold. Works with dry pigments mixed with acri-medium, and in oil. Studies the writing of Kant and Goethe. Uses an ivory knife to guide the flows of paint. Begins to title his canvases Phenomena, followed by a key phrase or word. Travels to Spain and meets the poet and critic Juan-Eduardo Cirlot in Barcelona, who later writes about his work. Obtains a cold-water flat in New York on 12th Street between Avenues A and B. Begins gradually to work in acrylic. 1961 First exhibition at the Galerie Karl Flinker in Paris; James Jones writes the catalogue text, “Moving Shapes without Name.” The exhibition continues the evolution of the image against a white ground and evidences the recent development of monochrome

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paintings. The Paintings of Paul Jenkins is published by Éditions Two Cities in Paris with texts by Kenneth B. Sawyer, Pierre Restany and James Fitzsimmons. 1962 Meets Albert E. Elsen in the Rodin Museum in Paris. Henri Michaux visits his Paris studio. Gradual encroachment of the granular veils in the paintings reveals a new sense of substance integrated on the canvas and “another kind of light, a reflecting or incandescent light.” [Albert E. Elsen, in the monograph, Paul Jenkins, published by Harry N. Abrams.] The artist continues his exploration of monochrome paint on canvas, including works in grisaille. 1963 Publication of Jenkins by Jean Cassou, Éditions de la Galerie Karl Flinker, Paris. Travels to Wales after his exhibition at Arthur Tooth & Sons in London. Begins to donate his own work and works by other artists to the National Museum of Wales in Cardiff. The photographer David Douglas Duncan takes prismatic photographs of the artist in Paris. Obtains loft downtown on Broadway in New York from Willem de Kooning. 1964 First retrospective takes place at the Kestner- Gesellschaft The artist’s studio in New York, 1963. of Hanover, with the catalogue text by Wieland Schmied. Photo Henry Parker. Filming of The Ivory Knife: Paul Jenkins at Work, produced by Martha Jackson in New York with original percussion score by Irwin Bazelon. Travels to Japan for his exhibition at the Tokyo Gallery; at the suggestion of Joseph Campbell, visits Ise and experiences the profound impact of its architectural elements within the sacred environment. With Bernard Leach, travels in Japan to see the works of Hamada. Works with Jiro Yoshihara and the Gutai in Osaka. Travels to India, visits Bombay, Agra, the Ajanta caves in Aurangabad. In New Delhi, is struck by the independence of color worn against the landscape. Donates bronze head of Dylan Thomas by Ibram Lassaw and David Slivka to the National Museum of Wales in Cardiff, accepted by Richard Burton and his foster father, Phillip Burton. 1965 Travels to Madrid, visits El Escorial, and then to Biarritz. Publication of Seeing Voice Welsh Heart by Éditions de la Galerie Karl Flinker in Paris: original lithographs on stone printed by Fernand Mourlot, with poems by Cyril Hodges. 1966 Travels in Russia, visits Moscow, Leningrad and Kiev. In Zagorsk, sees for the first time the icons of Andrei Rublev, whose intensity and force impress him greatly. The Ivory Knife is shown at the Museum of Modern Art in New York and receives the Golden Eagle Award in Venice. Publication of his play, Strike the Puma, by Éditions Gonthier, Paris. Harry Abrams proposes publishing a monograph book on his work. 1967 Over the next several years the artist paints large canvases in which grays and granular whites predominate. What Albert E. Elsen describes as “the coming of the grays,” came about through the artist’s search “to find another temperature” and become in touch with a new sense of “structure, or substantial substance.” Awarded the silver medal in painting during the 30th Biennial of the Corcoran Gallery of Art in Washington, D.C. Places a trunk of photographs, correspondence and writings on deposit with the Beinecke Library at Yale University.

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1968 Strike the Puma is produced off-Broadway, directed by Vasek Simek. The artist paints two large canvases for the stage set, as well as a mannequin torso (painted in 1967). Begins to make a series of unique glass sculptures in Venice with Egidio Costantini, whom he met through Mark Tobey. Harry Abrams decides against integrating what the artist terms his “black and white autobiographical photomontages” into his forthcoming Abrams monograph published in 1973. These elements later evolve into Anatomy of a Cloud, published by Harry N. Abrams in 1983. 1971 Retrospective at the Houston Museum of Fine Arts and the San Francisco Museum of Art, organized by Gerald Nordland and Philippe de Montebello. Jean-Louis Barrault visits his studio in New York. Sculpts two-ton piece of French limestone at the Sculptors’ Symposium at the Cooper-Hewitt Museum in New York. At the inauguration of the Rothko Chapel in Houston, donates a letter written to him by Mark Rothko concerning his trip to Paris where they visited Les Nymphéas in L’Orangerie as well as other museums to explore different solutions for a protective distance between the viewer and the paintings regarding the chapel then in preparation. 1972 The Tate Gallery acquires Phenomena Yonder Near 1964. Paul Jenkins: Works on Paper, an exhibition of watercolors is initiated at the Corcoran Gallery of Art in Washington, D.C., then travels for two years in the United States. After his exhibition in London with the Gimpel Fils Gallery, travels to Cornwall with Peter Gimpel to see the dolmens. Completes The Four Seasons, original lithographs on stone for Abrams Original Editions. At Triton Press, creates Sanctuary, described by printer Harry Lerner and the artist as a “light graphic,” in order to differentiate it from traditional collotype. 1973 Paul Jenkins, with a text by Albert E. Elsen, is published by Harry N. Abrams in New York. First drawings for Meditation Mandala, a sculpture project for a park. Visits the prehistoric stones at Carnac in France. Emergence of the autobiographical collage, Horizon Findings. Receives an honorary Doctor of Humanities from the Lindenwood Colleges in Missouri. 1974-76 Retrospective at the Palais des Beaux-Arts in Charleroi. Casts Meditation Mandala in bronze and in brass. On canvas and paper, continues to explore the Newtonian prism through veils of color and to investigate translucent and opaque light, revealed and hidden forms. Finishes Boy Man Man Boy, pivotal collage for Anatomy of a Cloud. In 1974-75, attends lectures by Meyer Schapiro at Columbia University in New York. Creates original lithographs on stone at Atelier Mourlot in Paris, including a diagram for Meditation Mandala. 1977 Begins St. Croix series of watercolors and paintings and is strongly influenced by the physicality of working outside, reminiscent of Taormina where he was confronted by color in a direct and decisive way. Participates in An Unmarried Woman by Paul Mazursky, filmed in his studio in New York. Meditation Mandala and Shakti Samothrace are cast in bronze at Tallix Foundry, New York. From his work on canvas, Jean Erdman creates a visual environment for Shining House, a dance piece about Pelé, a goddess in Hawaiian mythology. Requests the return of his trunk of photographs, correspondence and writings on deposit with the Beinecke Library at Yale University since 1967, elements of which become integrated into the artist’s evolving autobiographical collages published in Anatomy of a Cloud by Harry N. Abrams in 1983. 1978 Exhibits Anatomy of a Cloud–collages, paintings and sculptures–at the Gimpel Weitzenhoffer Gallery in New York. Casting of two sculptures into bronze, Excalibur and Echo Chamber, at Tallix Foundry, New York.

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The artist’s sculpture Meditation Mandala in bronze in his New York studio. Photo Geoffrey Clements.

1979 During a long stay in the Caribbean, impasto begins to appear in the paintings. Completes Phenomena Forcing a Passage at the Mark, a key painting to him in discovering the scraped veils with prism concentrates. Uses paint thickly to reveal and break down the persistent features of the Newtonian prism. 1980 Named Officer of Arts and Letters by the Republic of France. Participates in the D. H. Lawrence Festival in Taos and Santa Fe, New Mexico. At Shidoni Foundry, near Santa Fe, begins construction of a full-scale section of Meditation Mandala in steel. 1981 Retrospective at the Palm Springs Desert Museum. In conjunction with the preparation of Anatomy of a Cloud, creates collages in honor of Jean-Louis Barrault that are then shown at the French Cultural Services of the French Embassy in New York. At the request of Jean-Louis Barrault, these works travel to the theatre of the Renaud-Barrault Company, Le Théâtre du Rond-Point in Paris, to inaugurate La Maison Internationale du Théâtre, whose insignia is created from a work by the artist. Makes original lithographs on stone in Canada at Sword Street Press. Continues to build full-scale elements of the Meditation Mandala sculpture in steel at the Shidoni Foundry in Tesuque, New Mexico; these elements are later installed in the Sculpture Garden of the Hofstra Museum. 1982 Publication of Paul Jenkins by Alain Bosquet, Éditions Georges Fall, Paris, to accompany the exhibition which is then visited by President François Mitterrand. The Fonds national d’art contemporain du ministère de la culture et de la communication purchases Phenomena Saturn Observes. Participates in the colloquium in Paris organized by Jack Lang on creation and its development. The director, Alan Schneider, enters Anatomy of a Cloud into his workshop of actors at the University of California at San Diego. Receives the Humanitarian Award from the National Committee of Arts for the Handicapped. Begins to use granular poured veils on scraped prism forms; abstract collage elements integrate themselves in the works on canvas. 1983 Named Commander of Arts and Letters by the Republic of France. Anatomy of a Cloud, an autobiographical book of what the artist calls “word impressions” and collages, is published by Harry N. Abrams in New York and receives the silver medal from the Art Directors Club. 1984 The collages Homage to Jean-Louis Barrault and Tibetan Remnants are shown at the Musée d’art contemporain of Dunkirk. 1985 Creates a medal, in bronze dipped in silver and struck at La Monnaie in Paris, for the French Center of Civilization and Culture of New York University. Jean-Louis Martinoty proposes the creation of a ballet to Debussy’s Jeux. 1986 Writes Shaman to the Prism Seen, a dance drama. Exhibits his autobiographical collages at the Butler Institute of American Art. Travels to Tokyo for his exhibition with Gallery Art Point. Visits Okayama to view the collection of works by Yasuo Kuniyoshi and discovers an early painting he last saw leaning against the wall in Kuniyoshi’s 14th Street Union Square studio in New York during his Art Students League years. The billowing and vibrantly colored silks of the entrances to the temples in Nara and Kyoto juxtaposed with the monumental stillness of the architecture leaves a lasting impression. Exhibition-installation at Shidoni Foundry near Santa Fe of the construction in steel of a full-scale portion of Meditation Mandala. 1987 Retrospective of his works on canvas at the Musée Picasso in Antibes. The Paris Opera presents his dance- drama, Shaman to the Prism Seen, in the Salle Favart, within the context of the new series “Carte Blanche,” initiated by Jean-Louis Martinoty. Paints two canvases 30 x 40 feet each for the stage set, together with vertical paintings on canvas as sentinel elements for the stage, as well as costumes and silks, and creates a prism dais form for Shaman. Music by Henri Dutilleux; directed by Simone Benmussa. Works on original lithographs on stone at Atelier Franck Bordas in Paris, including one for the Paris Opera. Makes an original lithograph

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on stone in triptych for a bicentenary edition on parchment of the U.S. Constitution published by Galerie Art Concorde in Paris, and printed at Atelier Clot Bramsen Georges, Paris. 1988 Commissioned to create and paint a silk décor for a performance at the Great Hall of the People in Beijing for “The Return of Marco Polo,” organized by the International Committee for the Safeguard of Venice and the Great Wall. In Beijing paints six banners of 40 x 15 feet, a backdrop of 60 x 75 feet and a series of banners 30 x 3 feet for the Great Wall. Publication by Atelier Franck Bordas in Paris of Euphories de la couleur, a portfolio of original lithographs on stone, with texts by André Verdet. 1989 Les Musées de Nice present watercolors and the original painted stage sets for Shaman to the Prism Seen, together with largescale paintings from the last five years at the Galerie des Ponchettes and the Galerie d’art contemporain. Architect Yves Bayard designs Meditation Tower, a structure based on the prism and featuring large-scale stained glass windows by the artist. 1990 Invited to Israel by Abba and Suzy Eban, and is based in Mishkenot Sha’ananim in Jerusalem; visits the tomb of Maimonides in Tiberius. Travels to Japan for his exhibition with Gallery Art Point in Tokyo. 1991 Exhibits two original lithographs on stone at the Associated American Artists in New York, Masters of Contemporary Printmaking. Exhibition of Conjunctions and Annexes, polyptychs on canvas, at the Gimpel Weitzenhoffer Gallery, New York, together with the publication of a book of the same title with a text by Pascal Bonafoux. Invited by Tadashi Suzuki, travels to Japan in August to attend the 10th anniversary of his theatre festival in Toga. Begins to work on Seven Aspects of Amadeus and the Others, original lithographs on stone, at the Atelier Franck Bordas in Paris. Exhibition of Grid Panel Prisms, a further series of polyptychs on canvas, at the Gimpel Fils Gallery in London. In December, travels to Mito in Japan for the première of Ivanov, an adaptation by Tadashi Suzuki of the Chekhov play, where Suzuki integrates the silks painted by the artist in China as elements of the stage set and for Anna’s costume. 1992 In reference to the lithographs of the Amadeus series, writes a text as a one-act play, published by Éditions Galilée in Paris. Visits Florence and returns to the frescoes by Giotto and Fra Angelico. 1993 Travels to Palo Alto, California where he works on monotypes at Smith Andersen Editions. Exhibits in Collection of the Maeght Fondation, A Choice of 150 works, Fondation Maeght, St-Paul. 1994 Writes Prism Moon to the Shaman, an allegorical tale about color. Inauguration of L’Eau et la Couleur, a traveling exhibition in France of watercolors in conjunction with the Paris Opera performance of his dance-drama, Shaman to the Prism Seen,

The artist in his New York studio with two paintings for the staging of his dance-drama, Shaman to the Prism Seen, performed at the Paris Opera, Salle Garnier, 1987. Photo 1986 © Suzanne Donnelly Jenkins.

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Installation of Paul Jenkins: Œuvres Majeures at the Palais des Beaux-Arts in Lille, 2005. Photo © Suzanne Donnelly Jenkins.

together with recent watercolors, including major scale works created in November of 1993. The art historian, Frank Anderson Trapp, writes an in-depth study of the work in watercolor for the catalogue text. Continues to work on monotypes at Smith Andersen in Palo Alto. His sculpture, Meditation Mandala, is installed in the Hofstra University Museum Sculpture Garden. 1995 The Chateau-Museum of Cagnes-sur-mer mounts an extensive exhibition of recent collages including collaged studio doors made in the fifties and not previously shown. Travels to Zurich for his exhibition of recent paintings and watercolors at Galerie Proarta. The poet and philosopher, Jacques Garelli, writes an expansive text concerning the paintings and watercolors, excerpts from this text are published in the exhibition catalogue. 1996 Receives an honorary doctorate in humanities from Hofstra University. Participates in the 50th Anniversary Exhibition of Gimpel Fils in London. Travels to Milan for exhibition at Lorenzelli Arte. 1997 Receives the Life Achievement Award from the Butler Institute of American Art, together with the medal of the City of Paris from Pierre Buhler, the French Cultural Counsellor of New York. Elected to the National Academy, New York. Completes Five Incantations, five original lithographs on stone printed by Atelier Bordas in Paris fo Galerie Georges Fall. Merchant Ivory features a selection of his works from the fifties in the film, A Soldier’s Daughter Never Cries, from the novel by Kaylie Jones, based on her years in Paris with her parents, the writer James Jones and his wife, Gloria. 1998 Creates Entrance Shaman, five original lithographs on stone printed by Atelier Bordas in Paris. Elected an honorary member of the Royal Cambrian Academy in Wales. Participates in the group exhibition, Masters of Color and Light: Homer, Sargent and the American Watercolor Movement, the Brooklyn Museum of Art. Inauguration of Regard sur l’Éstampe en France de 1945 à nos jours, a traveling group exhibition organized by Présence d’art contemporain in Angers. 1999 Creates At Stroke of Twelve, an original stone lithograph for the Print Club in New York. The Hofstra Museum mounts an exhibition of works on canvas from the years 1954-1960, and the Joseph Rickards Gallery in New York exhibits works from the transitional series of 1957-59 paintings, Eyes of the Dove. A painting from the Eyes of the Dove is shown in the traveling exhibition and catalogue, Les Années de Combat 1951-1962, organized by Présence d’art contemporain in Angers centering on the Paris art review Cimaise and

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the Galerie Arnaud. Invited to write a text about Gutai for the exhibition at the Jeu de Paume in Paris, he meets again Gutai artists he knew from Osaka who have traveled to Paris for the opening. 2000 The Butler Institute of American Art in Ohio presents the exhibition Water and Color in celebration of their new wing. Receives the Benjamin Clinedinst Medal from the Artists’ Fellowship in New York. The City of Vicenza mounts Viaggio in Italia, an extensive exhibition of works on canvas and watercolors in the Basilica Palladiana. In honor of the New York City visit of Seiyu Kiriyama Kancho, the Agon-shu Agama Gallery holds an exhibition of the Jenkins’ recent paintings; Seiyu Kiriyama Kancho performs the Sacred Fire Ritual at the Unitarian Church on Lexington Avenue. Broken Silences, the first retrospective exhibition of collages, is shown at the Vero Beach Museum of Art, Florida. Moves from his studio acquired from Willem de Kooning in 1963. 2001 Invited by Seiyu Kiriyama Kancho, travels to Kyoto in February for the monumental outdoor Fire Ceremony; visits stone gardens, temples and shrines and experiences the intensity of their stillness. 2002 David Douglas Duncan purchases a large-scale painting which he then donates to the Nelson-Atkins Museum of Art in Kansas City, Missouri. Travels to London to see the Barnett Newman exhibition at the Tate Gallery. Travels to Bordeaux for Feu Sacré, a theatre performance by Macha Méril with a large-scale backdrop of the artist’s painting, Phenomena Strike the Tiger, texts by George Sand and music by Chopin interpreted by Jean-Marc Luisada. 2003 Writes eulogy for Al Hirschfeld, published in the Art Students League quarterly, Linea. Travels to London for his exhibition at the Redfern Gallery and then to Italy to Galleria Open Art in Prato. 2004 Japanese television, NHK, films interview in the studio about Yasuo Kuniyoshi and the Art Students League years. 2005 Creates specific works on canvas in New York for As Above So Below, a temporary installation at the Abbaye of Silvacane, a 12th century Cistercian abbey in Roque d’Anthéron, near Aix-en-Provence. A painting from this series is shown at the Maison Cézanne in Aix-en- Provence. Œuvres Majeures, an exhibition of works on canvas together with watercolors, opens at the Palais des BeauxArts in Lille, drawing over 40,000 viewers. Receives the gold medal of the City of Lille, awarded at the exhibition inauguration. Exhibition of works on canvas 1954-1960 opens at the Redfern Gallery in London. Exhibition of works 1954-2003 at Galleria Open Art, Prato, with accompanying catalogue, Cosmogonie Interiori, text by Bruno Corà. 2006 Water and Color, an exhibition of more than 50 watercolors, including 5 large scale, is shown at the Arkansas Arts Center, Little Rock. The canvas Iguana (1956) is shown in the exhibition L’Envolée Lyrique: Paris 1945-1956, at the Musée du Luxembourg in Paris. 2007 The Ballet Western Reserve performs two evenings of dance choreographed to his paintings in the collection of the Butler Institute of American Art in Ohio. Travels to London for his exhibition of recent paintings at the Redfern Gallery, and to Venice for a retrospective presentation of his works at the Cornice Art Fair by Galleria Open Art. Travels to Padua to see again the frescoes of Giotto in the Scrovegni chapel. The artist donates close to 5,000 pieces from his archive to the Archives of American Art of the Smithsonian Institution. The donation includes correspondence from Willem de Kooning, Beauford Delaney, Jean Dubuffet, Philippe Hosiasson, Thomas B. Hess, Joan Mitchell and Mark Tobey among many others. In addition, the collection contains a rich and extensive correspondence with Seattle art dealer Zoe Dusanne, and art historians Albert E. Elsen and Frank Anderson Trapp. Donates over 400 black and white theatre photographs of Jean-Louis Barrault to the Special Collections & Archives of the Fenwick Library of George Mason University in Fairfax, Virginia. Selected and acquired by the artist in Paris in 1980, the photographs document stage productions, theatre events and interior views of the company’s successive theatres from 1979 reaching back to 1947 when the Renaud-Barrault Company was founded.

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2008 The Archives of American Art of the Smithsonian Institution receives more than 1,000 additional items for the Paul Jenkins Papers. 2009 Recent Acquisitions - the Paul Jenkins Papers, selected documents are on view in the New York City location of the Archives of American Art. The Pollock-Krasner House & Study Center in The Springs, near East Hampton, exhibits “Under Each Other’s Spell”: Gutai and New York, curated by Ming Tiampo and featuring work from Jenkins’ Gutai collection - acquired during his stay in 1964 when he worked with Gutai in Osaka - together with a painting by Jenkins from that period. The exhibition travels to The Harold B. Lemmerman Gallery, New Jersey City University, New Jersey. Participates in the panel Gutai: A ‘Concrete’ Discussion of Transnationalism, at the Guggenheim Museum. Donation to the Archives of American Art of eight watercolor drawings from 1977 by the late architect Frank Prince of a proposed building to adjoin the artist’s sculpture park, Meditation Mandala Sundial. 2010 The Galleria Civica Ezio Mariani di Seregno exhibits Paul Jenkins Watercolors. The UB Art Galleries of the State University of New York at Buffalo mount two exhibitions concurrently: Paul Jenkins in the 1960s and 1970s, expanded to include additional large-scale works, and “Under Each Other’s Spell”: Gutai and New York. As part of the festivities celebrating the opening of its new building, the Crocker Art Museum exhibits Paul Jenkins: The Color of Light, 50 watercolors including large-scale and works originally created for the Paris Opera performance of Shaman to the Prism Seen, together with selected paintings on canvas. Exhibition in Prato at the Galleria Open Art and Palazzo Pacchiani, accompanied by a catalogue, with text by Beatrice Buscaroli: La Coscienza del Tempo. On that occasion, receives the historic Seals of the City of Prato. 2011 Paintings from the ‘60s and ‘70s are shown in the Redfern Gallery in London, with catalogue text by Michel Peppiatt. 2012 One work on canvas from the 1950s is shown in the exhibition, “Un Art Autre? Artistes Autour de Michel Tapié, Une Exposition”, held in Christie’s Paris for the 50th anniversary of the publication of “Un Art Autre” by Michel Tapié. Takes part in group exhibitions at the San Jose Museum of Art, California and at the Flint Institute of Arts, Michigan. A celebration of the artist’s life takes place at the Morgan Library and Museum in New York in October. 2014 Two paintings and two watercolors are shown in the group exhibition Gravity’s Edge at Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. Solo exhibition On Canvas and Paper 1989-2009 is held at the Redfern Gallery in London. Paul Jenkins: The Spectrum of Light, a retrospective exhibition of works on canvas and paper, is shown at the Museo di Pittura Murale in S. Domenico and the Galleria Open Art in Prato. A volume with texts by Beatrice Buscaroli is published on the occasion of these exhibitions.

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Gravity’s Edge, exhibition at the Hirshhorn Museum and Sculpture Garden, Washington D.C., February 7 - June 15, 2014. Ill: (left) Phenomena Reverse Spell 1963; (right) Phenomena Tibetan Banner 1973. Photo © Suzanne Donnelly Jenkins.

PHENOMENA REVERSE SPELL 1963 synthetic polymer on canvas 195.9 x 294.4 cm. (77 x 115 7/8 in.) Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966. 66.2593

PHENOMENA TIBETAN BANNER 1973 acrylic on canvas 168 x 188.6 cm. (66 1/8 x 74 1/4 in.) Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Joseph H. Hirshhorn Bequest, 1981. 86.2644

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MUSEI E COLLEZIONI PUBBLICHE - SELECTED MUSEUM COLLECTIONS Australia Canberra, Australian National Gallery. Austria Vienna, The Albertina Museum. Canada Montréal, Musée d’Art Contemporain. Toronto, Art Gallery of Ontario. France Antibes, Musée Picasso. Dunkerque, Musée d’Art Contemporain. Paris, Musée d’Art Modern de la Ville de Paris. Paris, Musée National d’Art Moderne-Centre Pompidou. Paris, Fonds National de l’Art Contemporain du Ministère de la Culture et de la Communication. Saint-Paul-de-Vence, Fondation Maeght. Toulouse, Les Abattoirs, Musée d’Art Moderne et Contemporain. Villeneuve d’Ascq, Musée d’Art Moderne. Germany Cologne, Kölnischer Kunstverein. Cologne, Wallraf-Richartz Museum. Hanover, Kestner-Gesellschaft. Munich, Bayerische Staatsgemäldesammlungen, Neue Pinakothek. Stuttgart, Staatsgalerie. Israel Jerusalem, The Israel Museum. Tel Aviv, Tel Aviv Museum of Art. Japan Hiroshima, Museum of Contemporary Art. Osaka, National Museum of Art. Tokyo, National Museum of Western Art. Tokyo, Seibu Museum of Art. Toyama, Museum of Modern Art. Netherlands Amsterdam, Stedelijk Museum. United Kingdom Aberystwyth, University School of Art Gallery and Museum. Belfast, Ulster Museum, National Museum Northern Ireland. Cardiff, National Museum Wales. Kingston upon Hull, Ferens Art Gallery. Lancaster, Peter Scott Gallery, Lancaster University. Liverpool, Walker Art Gallery. London, Tate. London, Victoria and Albert Museum. Oldham, Gallery Oldham. United States Albany, Governor Nelson A. Rockefeller Empire State Plaza Art Collection. Albany, Albany Institute of History and Art. Amherst, Mead Art Museum. Ann Arbor, University of Michigan Museum of Art. Austin, Blanton Museum of Art, University of Texas at Austin. Baltimore, Baltimore Museum of Art. Berkeley, Berkeley Art Museum and Pacific Film Archive, Berkeley. Boca Raton, Boca Raton Museum of Art. Bloomfield Hills, Cranbrook Art Museum. Boston, Museum of Fine Arts. Buffalo, Albright-Knox Art Gallery.

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Buffalo, UB Art Galleries, State University of New York at Buffalo. Cambridge, Fogg Museum of Art, Harvard University Art Museums. Cambridge, Albert and Vera List Visual Arts Center, Massachusetts Institute of Technology. Champaign, Krannert Art Museum. Charlotte, Mint Museum of Art. Chattanooga, Hunter Museum of American Art. Cleveland Museum of Art, Cleveland. Columbus, Columbus Museum of Art. Corpus Christi, South Texas Institute for the Arts. Des Moines, Des Moines Art Center. Detroit, Detroit Institute of Arts. Durham, Duke University Museum of Art. Fort Lauderdale, Museum of Art. Hamilton, Picker Art Gallery, Colgate University. Hempstead, Hofstra Museum of Art. Honolulu, Museum of Art. Indianapolis, Indianapolis Museum of Art. Jacksonville, Museum of Contemporary Art. Kansas City, Missouri, Nelson-Atkins Museum of Art. Lafayette, Greater Lafayette Museum of Art. Lawrence, Spencer Museum of Art. Lincoln, DeCordova Museum & Sculpture Park. Little Rock, Arkansas Arts Center. Los Angeles, Los Angeles County Museum of Art. Louisville, J. B. Speed Art Museum. Madison, Chazen Museum of Art. Memphis, Memphis Brooks Museum of Art. Milwaukee, Milwaukee Art Museum. Minneapolis, Walker Art Center. New Orleans, New Orleans Museum of Art. New York, Brooklyn Museum. New York, Solomon R. Guggenheim Museum. New York, Museum of Modern Art. New York, Morgan Library and Museum. New York, New York University Art Collection. New York, Whitney Museum of American Art. Norfolk, Chrysler Museum. Norman, Fred Jones Jr. Museum of Art, University of Oklahoma. Oklahoma City, Oklahoma City Museum of Art. Palm Springs, Palm Springs Desert Museum. Philadelphia, Philadelphia Museum of Art. Phoenix, Phoenix Art Museum. Pittsburgh, Carnegie Museum of Art. Portland, Maine, Portland Museum of Art. Sacramento, Crocker Art Museum. San Diego, San Diego Museum of Art. San Francisco, San Francisco Museum of Art. Santa Barbara, Santa Barbara Museum of Art. Santa Fe, Museum of Fine Arts. San Jose, California, San Jose Museum of Art. Seattle, Seattle Art Museum. South Hadley, Mount Holyoke College Art Museum. Springfield, Missouri, Springfield Museum of Art. Stanford, Iris and Gerald B. Cantor Center for Visual Arts. Savannah, Telfair Museum of Art. Terre Haute, Sheldon Swope Art Museum. Tucson, University of Arizona Museum of Fine Arts. Washington, D.C., Corcoran Gallery of Art. Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Washington, D.C., Smithsonian American Art Museum. Washington, D.C., National Gallery of Art. Williamstown, Williams College Museum of Art. Worcester, Worcester Art Museum. Youngstown, The Butler Institute of American Art.

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MOSTRE PERSONALI - SELECTED SOLO EXHIBITIONS 2014 Galleria Open Art, Prato. Museo di Pittura Murale in S. Domenico, Prato. Redfern Gallery, London. Galleria Open Art, Prato: MiArt, Milan.

2000 Basilica Palladiana, Vicenza. Butler Institute of American Art, Youngstown. Vero Beach Museum of Art, Florida (collage retrospective). Joseph Rickards Gallery, New York.

2012 Robert Green Fine Arts, Mill Valley, California.

1999 Hofstra Museum, Hempstead, New York. Joseph Rickards Gallery, New York. Galerie Patrice Trigano, Paris.

2011 Redfern Gallery, London.

1998 Joseph Rickards Gallery, New York.

2010 Crocker Art Museum, Sacramento. Robert Green Fine Arts, Mill Valley, California. UB Anderson Gallery, State University of New York at Buffalo. Galleria Civica Ezio Mariani di Seregno. Galleria Open Art, Prato. Palazzo Pacchiani, Prato.

1997 Butler Institute of American Art, Youngstown. Galerie Georges Fall, Paris. Galerie Proarta, Zurich. 1996 Lorenzelli Arte, Milan.

2009 Cummer Museum of Art & Gardens, Jacksonville. Archives of American Art, Smithsonian Institution, New York location. D. Wigmore Fine Art, New York. Robert Green Fine Arts, Mill Valley, California.

1995 Centre d’art contemporain, Bouvet Ladubay, Saumur. Galerie Proarta, Zurich. Château-Musée Grimaldi, Cagnes sur mer (collages). Associated American Artists, New York. 1994 Gallery Art Point, Tokyo. Pasquale Iannetti Gallery, San Francisco. L’Eau et la Couleur, traveling watercolor exhibition in France. La Maison Française, New York University, New York (collages: Hommage à Jean-Louis Barrault).

2008 Robert Green Fine Arts, Mill Valley, California. 2007 Galleria Open Art, Cornice, Venice. Redfern Gallery, London. D. Wigmore Fine Art, New York.

1993 Smith Andersen Gallery, Palo Alto. Yoshii Gallery, Paris (collages). Associated American Artists, New York (collages).

2006 Arkansas Arts Center, Little Rock. Robert Green Fine Arts, Mill Valley, California. Maison des Princes de Pérouges.

1992 Associated American Artists, New York. Roswitha Haftmann Gallery, Zurich. Atelier Franck Bordas, Basel Art Fair and Paris. Guy Pieters Gallery, Knokke-le-Zoute.

2005 Palais des Beaux-Arts, Lille. Abbaye de Silvacane, La Roque d’Anthéron. Redfern Gallery, London. Galleria Open Art, Prato. Robert Green Fine Arts, Mill Valley, California. Galerie Proarta, Zurich.

1991 Gimpel & Weitzenhoffer Gallery, New York (polyptychs I). Gimpel Fils, London (polyptychs II).

2004 Museo Civico, Assessorato alla Cultura di Pizzighettone.

1990 Gallery Art Point, Tokyo. Galerie Patrice Trigano, Paris. Castello Doria, Portovenere.

2003 Redfern Gallery, London. Jerald Melberg Gallery, Charlotte. 2002 Château Haut-Gléon, Les Corbières.

1989 Musées de Nice: Galerie des Ponchettes et Galerie d’Art Contemporain, Nice.

2001 Centre d’Art Contemporain, Bouvet Ladubay, Saumur. Galerie Proarta, Zurich.

1988 Gimpel & Weitzenhoffer Gallery, New York (collages). Samuel Stein Gallery, Chicago.

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1979 Gimpel & Weitzenhoffer Gallery, New York. Baukunst Galerie, Cologne. Elaine Horwitch Gallery, Scottsdale.

Galerie Patrice Trigano, Paris. Galerie Régis Dorval, Le Touquet. Gana Gallery, Seoul. Galleria La Loggia, Bologna. Carone Gallery, Fort Lauderdale.

1978 Gimpel & Weitzenhoffer Gallery, New York. Balcon des Arts, Paris. Galleria d’Arte Narciso, Turin. Samuel Stein Gallery, Chicago.

1987 Musée Picasso, Antibes (retrospective). Galerie Régis Dorval, Lille. Galleri Atrium, Stockholm.

1977 Martha Jackson Gallery, New York. Gimpel & Hanover Galerie, Zurich. La Galerie Cours Saint-Pierre, Geneva. Sears Bank & Trust Company, Chicago. Contemporary Gallery, Dallas. Philbrook Art Center, Tulsa. Diane Gilson Gallery, Seattle.

1986 Gimpel Fils, London. MR Galleria d’Arte Contemporanea, Rome. Galerie Michel Delorme, Paris. Roswitha Haftmann, Zurich. Gallery Art Point, Tokyo. Butler Institute of American Art, Youngstown (collages). Focus Gallery, Lausanne. Gimpel & Weitzenhoffer Gallery, New York.

1976 Samuel Stein Gallery, Chicago. Galerie Karl Flinker, Paris and Basel Art Fair. Gimpel & Weitzenhoffer Gallery, New York.

1985 Gimpel & Weitzenhoffer Gallery, New York. Gallery Moos, Toronto. Galerie Georges Fall, Paris. Gallery Art Atrium, Stockholm. FIAC, Gimpel & Weitzenhoffer Gallery, Paris.

1975 Galerie Tanit, Munich. Carone Gallery, Fort Lauderdale. Gimpel & Weitzenhoffer Gallery, New York.

1984 Musée d’art contemporain, Dunkirk (collages). Gimpel & Weitzenhoffer Gallery, New York. Carone Gallery, Fort Lauderdale.

1974 Musée des Beaux-Arts de Charleroi, Charleroi (retrospective). Columbus Gallery of Fine Arts, Columbus. Baukunst Galerie, Cologne. Gimpel & Weitzenhoffer Gallery, New York. Gimpel Fils, London.

1983 Mead Art Museum, Amherst. Gimpel & Weitzenhoffer Gallery, New York. Galerie Georges Fall, Paris. Alex Rosenberg Gallery, New York (collages). Contemporary Gallery, Dallas.

1973 Art Gallery of the University of Notre Dame, Notre Dame. Lindenwood College Art Gallery, St. Charles, Missouri. Oklahoma Art Center, Oklahoma City. Martha Jackson Gallery, New York. Gimpel & Weitzenhoffer Gallery, New York. Galerie Karl Flinker, Paris.

1982 Gimpel Fils, London. I. Irving Feldman Galleries, Detroit. Galerie Georges Fall, Paris. Contemporary Gallery, Dallas. La Maison International du Théâtre, Théâtre du Rond-Point, Paris (collages: Hommage à Jean-Louis Barrault).

1972 San Francisco Museum of Art, San Francisco (retrospective). Abrams Original Editions, New York. Corcoran Gallery of Art, Washington, D.C. Initiates watercolor exhibition continuing to Amarillo Art Center, Santa Barbara Museum of Art, Indianapolis Museum of Art, Fort Lauderdale Museum of Art, Lauren Rodgers Memorial Library and Art Gallery, Montgomery Museum of Fine Arts, Witte Memorial Museum. Gimpel Fils, London.

1981 Belk Art Gallery, Western Carolina University, Cullowhee. Carone Gallery, Fort Lauderdale. Samuel Stein Gallery, Chicago. French Cultural Services, New York (collages: Hommage à Jean-Louis Barrault). Gimpel & Weitzenhoffer Gallery, New York.

1971 Museum of Fine Arts, Houston (retrospective). Martha Jackson Gallery, New York. Richard Gray Gallery, Chicago. Gertrude Kasle Gallery, Detroit.

1980 Palm Springs Museum of Art, Palm Springs, California (retrospective). Gimpel Fils, London. Contemporary Gallery, Dallas. Galerie Karl Flinker, Paris.

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1970 Martha Jackson Gallery, New York.

1957 Galerie Stadler, Paris.

1969 Martha Jackson Gallery, New York.

1956 Martha Jackson Gallery, New York.

1968 Galerie Daniel Gervis, Paris. Gallery Moos, Toronto. Galerie Räber, Luzern. Martha Jackson Gallery, New York.

1955 Zoe Dusanne Gallery, Seattle. 1954 Studio Paul Facchetti, Paris. Zimmergalerie Franck, Frankfurt am Main.

1966 Martha Jackson Gallery, New York. Galerie Agnès LeFort, Montreal. Hope Makler Gallery, Philadelphia. Arthur Tooth & Sons, London. 1965 Galerie Karl Flinker, Paris. Gertrude Kasle Gallery, Detroit. Court Gallery, Copenhagen. Gallery of Modern Art, Scottsdale. 1964 Tokyo Gallery, Tokyo. American Art Gallery, Copenhagen. Kumar Gallery, New Delhi. Martha Jackson Gallery, New York. Kestner-Gesellschaft, Hanover (retrospective). 1963 Arthur Tooth & Sons, London. Galerie Karl Flinker, Paris. Gallery Moos, Toronto. 1962 Galerie Lienhard, Zurich. Galerie Karl Flinker, Paris. Martha Jackson Gallery, New York. Esther Robles Gallery, Los Angeles. Toninelli Arte Moderna, Milan. Galleria Odyssia, Rome. Kölnischer Kunstverein, Cologne. 1961 University Gallery, University of Minnesota. Galerie Karl Flinker, Paris. Martha Jackson Gallery, New York. 1960 Arthur Tooth & Sons, London. Martha Jackson Gallery, New York. Esther Robles Gallery, Los Angeles. Galerie d’Art Moderne, Stuttgart. 1959 Galerie Stadler, Paris. 1958 Martha Jackson Gallery, New York.

The artist with Karl Flinker and Martha Jackson.

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MOSTRE COLLETTIVE - SELECTED GROUP EXHIBITIONS 2014 Gravity’s Edge. Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution, Washington, D.C.

Autumn Exhibition. Redfern Gallery, London. En mémoire de Rodolphe Stadler. Les Abattoirs, Espace d’Art Moderne et Contemporain de Toulouse.

2013 Made in the U.S.A. - From Abstract Expressionists to Color Field Painters. Palm Springs Art Museum, Palm Springs, California.

2008 Beyond the Canon: Small Scale American Abstraction 1945-1956. Robert Miller Gallery, New York.

The Redfern Gallery at 90. Redfern Gallery, London.

Dialogue. Galerie Iris Wazzau, Davos.

Red. Antoine Helwaser Gallery, New York.

2007 East End Artists, Past and Present. Telfair Museum of Art, Savannah, Georgia.

2012 Local Color. The San Jose Museum of Art, California.

Viva Vetro! Glass Alive! Venice and America, 1950-2006. Carnegie Museum of Art, Pittsburgh.

Abstract Expressionism: Then and Now. Flint Institute of Arts, Michigan.

Les Formes de la Couleur. Centre d’Art Contemporain, Bouvet-Ladubay, Saumur.

Un Art Autre? Artistes Autour de Michel Tapié, Une Exposition. Christie’s, Paris.

A Selection of 20th Century and Contemporary Paintings, Works on Paper and Sculpture. Redfern Gallery, London.

2011 Fragments 1915-2011: Modern and Contemporary Collage. ACA Galleries, New York.

Freedom to Experiment: American Abstraction 1945-75. D. Wigmore Fine Art, New York.

Selections. Robert Miller Gallery, New York.

2006 L’Envolée Lyrique: Paris 1945-1956. Musée du Luxembourg, Paris.

Colour Moves Surface. Lorenzelli Arte, Milan. American Masterworks: 150 Years of American Painting from the Butler Institute of American Art. Vero Beach Museum, Florida.

A Century of American Art. D. Wigmore Fine Art, New York. MiArt2006. Galleria Open Art [Prato] in Milan.

Gloria F. Ross: Rebirth of Modern Tapestry. Jane Kahan Gallery, New York.

Geometric Abstraction: Two Generations. D. Wigmore Fine Art, New York.

2010 Into the Void: Abstract Art, 1948-2008. Tucson Museum of Art. Modern Drawings: Tracing 100 Years. Academy Art Museum, Easton.

2005 Beyond Representation: Abstract Art in the South. The Gibbes Museum of Art, Charleston, South Carolina.

Hidden in Plain Sight: Art Treasures from Regional Collections. Erie Art Museum, Erie.

New Acquisitions 2005. Portland Museum of Art, Portland, Maine.

“Under Each Other’s Spell”: Gutai and New York. UB Art Galleries, State University of New York at Buffalo.

MiArt2005. Galleria Open Art [Prato] in Milan. 2004 Modernism and Abstraction. Palm Springs Art Museum, Palm Springs.

Action Painting in the Chrysler. Chrysler Museum, Norfolk. 2009 “Under Each Other’s Spell”: Gutai and New York. PollockKrasner House & Study Center, East Hampton; The Harold B. Lemmerman Gallery, New Jersey City University, New Jersey.

Modern and Contemporary Prints. Redfern Gallery, London.

Acquisitions. Guild Hall Museum, East Hampton.

2003 Tradition and Innovation in European Modernist Drawings and Watercolors. San Diego Museum of Art, San Diego.

Expanding Boundaries - Lyrical Abstraction. Boca Raton Museum of Art, Boca Raton.

Trésors du XXe siècle dans les Collections Angevines. Présence d’Art Contemporain, Angers.

Exploring Black and White: The 1930s through the 1960s. D. Wigmore Fine Art, New York.

2002 Three Decades of Contemporary Art: The Dr. John & Rose

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Contemporain de Toulouse et Midi-Pyrénées.

M. Shuey Collection. Cranbrook Art Museum, Bloomfield Hills, Michigan.

Passion et Résurrection. Recherches d’Art Contemporain, Chapelle des Carmes, Dax.

Kunst des 20 Jahrhunderts. Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, Munich.

1996 50th Anniversary Exhibition. Gimpel Fils, London. Künstler der Galerie. Roswitha Haftmann Modern Art, Zurich.

2001 The Stamp of Impulse: Abstract Expressionist Prints. Worcester, traveling to the Parrish Museum, Southampton.

1995 Unpainted to the Last: Moby Dick and 20th Century Art. Spencer Museum of Art, Lawrence, traveling exhibition.

Clement Greenberg: A Critic’s Collection. Portland Museum of Art.

Collecting for Stanford: Selected Acquisitions 1990-95. Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Palo Alto.

Artists after Moby Dick. Hofstra Museum of Art, Hempstead, New York. 10 Ans. Centre d’art contemporain, Bouvet Ladubay.

1994 Whistler to Dine: Important Prints from the Collection. New Britain Museum of American Art, New Britain, Connecticut.

2000 Le Mouvement Phases de 1952 à l’horizon 2001. Centre Culturel Noroit, Arras. 1999 Vision Nouvelle d’une collection. Fondation Maeght, Saint-Paul-de-Vence.

Style des Années 40: Peintres GI. Musée de Cherbourg. ...And Then Some-Works from the Collection. Anderson Gallery, Buffalo.

Les Années de Combat, La Galerie Arnaud, Revue Cimaise 1951-1962. PACA, exhibition traveling in France.

Martha Jackson Gallery: 1953-1979. Associated American Artists, New York.

Suspicion: Art in the Cinema. Haifa Museum of Art.

1993 Vancouver Collects. Vancouver Art Gallery, British Columbia.

1998 Masters of Color and Light: Homer, Sargent and the American Watercolor Movement. Brooklyn Museum, Brooklyn.

Ier Triennale des Amériques: Présence en Europe 1945-92. Maubeuge.

Regard sur l’estampe en France de 1945 à nos jours. PACA exhibition traveling in France.

Collection de la Fondation Maeght: un choix de 150 oeuvres. Fondation Maeght, Saint-Paul-de-Vence.

The Art of Collaborative Printmaking - Smith Andersen Editions. Nevada Museum of Art, Reno.

La Forge des Anges, Sculptures en verre. Espace Kiron, Paris.

On Paper. Associated American Artists, New York.

From Intimate to Monumental. Associated American Artists, New York.

Fruits d’une passion. Musée des Beaux-Arts de la Ville de Mons.

1992 Abstract Expressionism: The Haskell Collection. Cummer Gallery of Art, Jacksonville.

Ligne courbe - Curved Line. Musée d’Art Contemporain de Montréal.

Rue du Bac - Rue de Tournon: Karl Flinker. 37e Salon de Montrouge, Paris.

Drei Amerikaner: Sam Francis, Paul Jenkins, Mark Tobey. Galerie Iris Wazzau, Davos.

L’Art Actif - Art Works: La Collection Fondation Peter Stuyvesant. Ècole Nationale Supérieure des Beaux-Arts, Paris.

1997 Francis Jenkins Mathieu. Associated American Artists, New York.

Le Tondo Aujourd’hui. Exhibition traveling in France. Egidio Costantini - Vetro un Amore. Museo Diocesano d’Arte Sacra, Venice.

Beata Passio. Quinta Biennale d’Arte Sacra. San Gabriele, Italy.

Michel Tapié - Un Art Autre. Galleria Civica d’Arte Moderna e Contemporanea di Torino; Espace d’Art Moderne et

Passions. Centre d’Art Sacré, L’Hospice d’Ille sur Têt.

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1984 Homer, Sargent and the American Watercolor Tradition. Brooklyn Museum, Brooklyn.

1991 The Helena and Kenneth Levy Bequest, Fourteen Twentieth Century Works for the Collection. The Tate Gallery, London.

Ordinary and Extraordinary Uses: Objects by Artists. Guild Hall Museum, East Hampton.

Masters of Contemporary Printmaking. Associated American Artists, New York.

Aspects de la Peinture Contemporaine - 1945-1983. Musée d’Art Moderne de Troyes, Troyes.

1990 Globale Künstler. Baukunst Galerie, Cologne.

1982 Forms in Color. Indianapolis Museum of Art, Indianapolis.

East Hampton Avant-Garde: A Salute to the Signa Gallery 1957-1960. Guild Hall Museum, East Hampton.

Les Américains de Paris. Paris Art Center, Paris. 1989 The Broader Canvas: Large-Format Paintings. Gimpel Fils, London.

Egidio Costantini e la Fucina degli Angeli di VeneziaSculture in vetro. Chiostro Chiesa di San Fermo, Verona.

La Passion de Dunkerque. Hôtel de Ville, Paris.

1981 50e Rassegna di sculture in Vetro. Proposta per una cattedrale Fucina degli Angeli, Venezia. Palazzo dei priori, Perugia.

1988 Selections from the Bequest of Nancy Hanks. Duke University Museum of Art, Durham.

1977 American Postwar Paintings from the Guggenheim Collection. The Solomon R. Guggenheim Museum, New York.

The Fifties and the Sixties. Gimpel Fils, London.

Selections from the Lawrence H. Bloedel Bequest and Related Works from the Whitney Collection. Whitney Museum of American Art, New York and Williams College of Art, Williamstown.

Le Paysage dans l’Art Contemporain. L’Ecole des BeauxArts, Paris.

Abstractions Lyriques Paris 1945-1955 and Aspect de l’Art Abstrait des Années 50. Two traveling exhibitions in France.

Quelques Américains à Paris. Centre Georges Pompidou, Paris.

Naissance d’une collection. Fondation Vincent Van Gogh, Ancienne Commanderie Sainte-Luce, Arles.

1976 Abstract Expressionists and Imagists: A Retrospective View. Blanton Museum of Art, University of Texas at Austin.

1987 20th Century Painting from the Guggenheim. Picker Art Gallery, Colgate University, Hamilton.

Aspects of Postwar Painting in America. The Columbus Gallery of Fine Arts, Columbus.

Color Pure and Simple. Stamford Museum and Nature Center. The Spontaneous Gesture, Prints and Books of the Abstract Expressionist Era. Australian National Gallery, Canberra.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis. 1975 The Martha Jackson Collection at the Albright-Knox Gallery. Albright-Knox Gallery, Buffalo.

1986 Werke von Künstlern unserer galerie. Baukunst, Cologne. Post Tenebras Lux. Musée Rath, Geneva.

The 100th Anniversary Exhibition of Paintings and Sculptures by 100 Artists Associated with the Art Students League of New York. Kennedy Galleries, New York.

Watercolor USA 1986 - The Monumental Image. Springfield Art Museum, Springfield, Missouri.

1974 Inaugural Exhibition. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

The 1950s - American Artists in Paris Part III. Denise Cadé Gallery, New York. 1985 Action et Emotion, Peinture des Années 50, Informel, Gutai, Cobra. National Museum of Art, Osaka.

The 1960’s: Color Painting in the U.S. Blanton Museum of Art, University of Texas at Austin. Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

Les Années 50. Musée d’art contemporain de Dunkerque.

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10th Anniversary 1964-1974. Aldrich Contemporary Museum, Ridgefield.

Selected Paintings from the Michener Collection. Blanton Museum of Art, University of Texas at Austin.

1973 Harold and May Rosenberg Collection. Montclair Art Museum.

1968 Icon Idea. Traveling exhibition, Smithsonian Institution, Washington, D.C.

International Glass Sculpture. Lowe Art Museum, University of Miami. L’Action painting, l’abstraction lyrique et leurs environs: le signe, la tache, le nuage... des années cinquante à nos jours. Abbaye de Beaulieu, Ginals.

The Art of Organic Forms. Museum of Natural History, Smithsonian Institution, Washington, D.C. East Coast-West Coast Paintings. Museum of Art, University of Oklahoma, Oklahoma Art Center and Philbrook Museum of Art, Tulsa.

1972 Abstract Expressionism: The First and Second Generations in the Albright-Knox Art Gallery. Albright-Knox Art Gallery, Buffalo.

1967 Contemporary American Painting and Sculpture. Krannert Art Museum, Champaign-Urbana.

Indianapolis Collects: Contemporary Art. Indianapolis Museum of Art, Indianapolis.

30th Biennial Exhibition of Contemporary American Painting. Corcoran Gallery of Art, Washington, D.C.

The Michener Collection: American Painting of the 20th Century. Blanton Museum of Art, University of Texas at Austin.

The 1960s: Painting and Sculpture from the Museum of Modern Art Collection. Museum of Modern Art, New York.

1971 Contemporary American Painting and Sculpture 1948-1969. Krannert Art Museum, University of Illinois, Champaign-Urbana.

The 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture. Carnegie Institute Museum of Art, Pittsburgh.

Art from the Chase Manhattan Bank Collection. Finch College Museum, New York.

Dix Ans d’Art Vivant: 1955-1965. Fondation Maeght, Saint-Paul-de-Vence.

American Painting since World War II. Delaware Art Museum, Wilmington.

Treasures from the Inventory I: “Seventeen Loves.” Martha Jackson Gallery, New York.

1970 Trends in Twentieth Century Art, on loan from the San Francisco Museum of Art. The Art Galleries, University of California, Santa Barbara.

Selections 1967: Recent Acquisitions in Modern Art. University of California, Berkeley Art Museum and Pacific Film Archive. 1966 Past Present: 250 Years of American Painting. Corcoran Gallery of Art, Washington, D.C.

Scultura in Vetro della Fucina degli Angeli, 37th International Exhibition of Glass Sculpture. Palazzo Ducale, Venice and Fucina degli Angeli, Castello Calle Corona.

Peter Stuyvesant Collection. Stedelijk Museum, Amsterdam and Palais du Louvre, Paris.

Contemporary American Painting and Sculpture. Krannert Art Museum, Champaign-Urbana.

USA Art Vivant. Musée des Augustins, Toulouse.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

International Art: 1965-1966. American Art Gallery, Copenhagen.

International Watercolor Exhibition. Brooklyn Museum, Brooklyn.

2e Salon International de Galeries Pilotes - Artistes et Découvreurs de notre temps. Musée Cantonal des BeauxArts, Lausanne.

1969 Scultura in Vetro della Fucina degli Angeli, 35th International Exhibition of Glass Sculpture. Castello Campo SS. Filippo e Giacomo, Venice.

1965 Art USA Now - The Johnson Collection. The Whitney Museum of American Art, New York.

Selections from the Solomon R. Guggenheim Museum Collection. Cincinnati Art Museum.

Annual Exhibition of American Painting. The Whitney Museum of American Art, New York.

Jahresgaben 1969. Kestner-Gesellschaft, Hanover.

Painting without a Brush. Institute of Contemporary Art, Boston.

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Antagonismes 2 L’Objet. Musée des Arts Décoratifs, Palais du Louvre, Paris.

Krannert Art Museum, Champaign-Urbana. Lithographies de l’Atelier Mourlot. Redfern Gallery, London.

Contemporary American Painting - The Art Around Us. Birmingham Museum of Art, Birmingham.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

Art since 1950, American and International. World’s Fair, Seattle.

A University Collects: Paintings from the New York University Art Collection. Traveling exhibition circulated by the American Federation of Arts.

American Art since 1950. Rose Art Museum, Brandeis University, Waltham.

1964 Paintings and Sculptures of a Decade, 1954-1964. Tate Gallery, London. Gutai Pinacotheca, Osaka.

1961 Abstract Expressionists and Imagists. Solomon R. Guggenheim Museum, New York. Modern American Painting, American Embassy, London, USIS [United States Information Service] Gallery.

Old Hundred: Selections from the Larry Aldrich Contemporary Collection 1954-1964. The Aldrich Contemporary Art Museum, Ridgefield.

Recent Developments in Painting IV. Arthur Tooth & Sons, London.

Kunst des 20 Jahrhunderts in Kölner Privatbesitz. Kölner Kunstverein, Cologne.

Contemporary American Painting and Sculpture. Krannert Art Museum, Champaign-Urbana.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis. Color Form and Texture. Arthur Tooth & Sons, London.

The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture. Carnegie Institute Museum of Art, Pittsburgh.

1963 Abstract Watercolors by Fourteen Americans. Museum of Modern Art, New York. Traveling exhibition, U.S.I.S. Gallery, first showing in London.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

Art USA Now. Royal Academy of Arts, London.

1961, 63, 65 Annuals, Biennials. Whitney Museum of American Art, New York.

22nd International Watercolor Biennial. Brooklyn Museum, Brooklyn.

1960 60 American Painters 1960. Walker Art Center, Minneapolis.

1er Salon International de Galeries Pilotes - Artistes et Découvreurs de notre temps. Musée Cantonal des BeauxArts, Lausanne.

Recent Developments in Painting III. Arthur Tooth & Sons, London. New Forms - New Media I. Martha Jackson Gallery, New York.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

An Exhibition of Avant-Garde Paintings. Brooks Memorial Art Gallery, Memphis.

Eleven Americans. Martha Jackson Gallery, New York. Contemporary American Painting Today. Columbus Gallery of Fine Arts.

1962 Primitives to Picasso. Royal Academy of Arts, London. Paris Comparaisons. Musée du Louvre.

1959 Gutai Osaka Festival. Osaka.

Recent Developments in Painting V. Arthur Tooth & Sons, London.

Recent Developments in Painting II. Arthur Tooth & Sons, London.

Gegenwart bis 1962. Haus am Waldsee, Berlin.

Arte Nuova. Circolo degli Artisti, Palazzo Graneri, Turin.

Selections 1934-1961: American Artists from the Collection of Martha Jackson. Martha Jackson Gallery, New York.

Twentieth Biennial Watercolor Exhibition. Brooklyn Museum, Brooklyn.

Art USA Now. Exhibition traveling through the U.S., Europe and Japan.

Contemporary American Painting and Sculpture. Krannert Museum, Champaign-Urbana.

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Kunstverein, Cologne.

Signes Autres. Galerie Rive Droite, Paris.

1958 Nature in Abstraction. Whitney Museum of American Art, New York. Traveling exhibition.

Inaugural Exhibition. Galerie Stadler, Paris.

An International Selection. Signa Gallery, East Hampton. Selected by Michel Tapié and the Signa Gallery.

Kunst 1955. Saarland Museum, Saarbrücken, Germany.

Phases de l’art contemporain. Galerie R. Creuze, Paris.

Galleria di Spazio, Rome. The 1958 Pittsburgh International Exhibition of Contemporary and Sculpture. Carnegie Institute Museum of Art, Pittsburgh, Pennsylvania.

1954 Divergences. Galerie Arnaud, Paris.

Corcoran Biennial. Corcoran Gallery of Art, Washington, D.C.

Groupe 1954. Studio Paul Facchetti, Paris.

1957 Young America - Thirty American Painters and Sculptors under Thirty-five. Whitney Museum of American Art, New York. 41 Watercolorists of Today [41 Aquarellistes d’Aujourd’hui]. Musée des Ponchettes, Nice. Organized by The International Council of The Museum of Modern Art, New York and selected by Dorothy Miller. The Exploration of Paint. Arthur Tooth & Sons, London. Recent Developments in Painting. Arthur Tooth & Sons, London. Annual. Art Institute of Chicago. Post-Picasso Paris. Hanover Gallery, London. New Trends in Painting. Arts Council of Great Britain, Colchester. Otro Arte. Sala Gaspar, Barcelona. Galerie Rive Droite, Paris. New Aspects of Space. Martha Jackson Gallery, New York. 1956 Recent American Watercolorists. The Museum of Modern Art, New York. Traveling exhibition. New Trends in Painting. Arts Council of Great Britain. Recent Drawings USA. Museum of Modern Art, New York. Forecast. American Federation of Arts traveling exhibition. Galerie Arnaud, Paris. Galerie Rive Droite, Paris. Sculpteurs et Peintres Abstraits Américains de Paris. Galerie Arnaud, Paris. Galleria Matteo, Genoa. 1955 Artistes Étrangers en France. Petit Palais, Paris.

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The artist in Paris. Photo Shunk Kender 1963 ÂŠ Roy Lichtenstein Foundation.

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CINEMA E TEATRO 1966 The Ivory Knife. Si tratta di un film documentario sull’artista al lavoro, prodotto da Martha Jackson con la colonna sonora di Irwin Bazelon, proiettato al Museum of Modern Art di New York. A Venezia, il film riceve il Golden Eagle Award.

Suzuki utilizza opere dipinte dall’artista in Cina e a Parigi come elementi per le scenografie e i costumi di Anna. 1997 A Soldier’s Daughter Never Cries. Merchant Ivory includono nel loro film una selezione di opere dell’artista su tela, realizzate negli anni Cinquanta. Il film è tratto da un romanzo di Kaylie Jones, basato sugli anni trascorsi dalla scrittrice a Parigi con i suoi genitori, lo scrittore James Jones e la moglie Gloria.

1967 Strike the Puma. Un’opera drammatica dell’artista (pubblicata dalle Éditions Gonthier, Parigi, 1966), diretta da Vasek Simek, viene presentata off-Broadway.

2002 Feu sacré. Opera teatrale di Macha Méril rappresentata a Bordeaux; tratta da un testo di George Sand, con musiche di Chopin, ha come scenografia, l’opera dell’artista Phenomena Strike the Tiger. Nel 2006 sarà di nuovo presentata al Théâtre Mogador di Parigi.

1978 An Unmarried Woman. Film, con Alan Bates e Jill Clayburg, diretto da Paul Mazursky. Le riprese sono effettuale nel loft dell’artista. The Shining House. I dipinti dell’artista sono proiettati come sfondi per la sceneggiatura di uno spettacolo di danza teatrale, ideato e diretto da Jean Erdman all’Open Eye Theatre di New York, teatro sperimentale di Jean Erdman e Joseph Campbell. Nel 1979 Christopher Millis ebbe l’incarico di scrivere il libretto dell’ opera, rappresentata dal 1980 al 1984, nello stesso teatro.

2004 Intervista. Film documentario di Yasuo Kuniyoshi realizzato dalla tv giapponese NHK. Intervista. Documentario realizzato del canale americano Biography Channel su Jackson Pollock. 2007 Il Balletto Western Reserve presenta due serate di danza con la coreografia di opere dell’artista selezionate dalla collezione del Butler Institute of American Art, Ohio.

1981 Hommage à Jean-Louis Barrault. Una serie di collages realizzati dall’artista, inaugurata da Jean-Louis Barrault e Madeleine Renaud presso la Maison Internationale du Théâtre al Théâtre du Rond-Point, a Parigi. 1982 Tempest (Tempesta). Lungometraggio diretto da Paul Mazursky e girato con i collages dell’artista. Crea l’emblema per la Maison Internationale du Théâtre di Jean- Louis Barrault e Madeleine Renaud al Théâtre du Rond-Point, Parigi. Su invito di Alan Scheider, partecipa al Theatre Communications Group. 1987 Shaman to the Prism Seen. Balletto drammatico pensato e scritto dall’artista, viene rappresentato per cinque sere all’Opera di Parigi, in maggio. La rappresentazione è diretta da Simone Benmussa, mentre la musica è di Henri Dutilleux. Per il set l’artista dipinge due tele di 9,1 x 12,2 mt. e cinque tele verticali, inoltre, crea e dipinge elementi dei costumi così come diverse sete per la scenografia. Nel 1986 realizza una serie di acquerelli collegati a Shaman to the Prism Seen. 1988 Gli viene commissionata la creazione di una scenografia su seta per The Return of Marco Polo, presso la Grande sala del Popolo di Pechino, organizzato dall’International Committee for the Safeguard of Venice and the Great Wall. A Pechino, dipinge sei stendardi di 16,5 x 4,6 mt. un fondale teatrale di 18,3 x 22,9 mt. e un’altra serie di stendardi di 9,1 x 0,9 mt. per la Grande Muraglia. 1991 Ivanov. Un adattamento di Tadashi Suzuki dell’opera di Checov viene rappresentata a Mito, in Giappone. Qui,

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FILM AND THEATRE 1966 The Ivory Knife: Paul Jenkins at Work. A documentary short film of the artist, produced by Martha Jackson and with an original percussion score by Irwin Bazelon, is shown at The Museum of Modern Art in New York; and in Venice, receives the Golden Eagle Award.

of 60 x 75 feet and a series of banners 30 x 3 feet for the Great Wall. 1991 Ivanov. An adaptation by Tadashi Suzuki of the Chekhov play, performed in Mito, where Suzuki implements the silks painted by the artist in China and in Paris as elements of the stage set and for Anna’s costume.

1967 Strike the Puma. A full-length play by the artist [published Editions Gonthier, Paris 1966] is presented off-Broadway, directed by Vasek Simek.

1998 A Soldier’s Daughter Never Cries. Merchant Ivory includes a selection of the artist’s works on canvas from the 50s and 60s in filming the novel by Kaylie Jones, based on her years in Paris with her parents, the writer James Jones and his wife, Gloria.

1978 An Unmarried Woman. Full-length feature film with Alan Bates and Jill Clayburgh, directed by Paul Mazursky. Filmed in the artist’s loft with the loan of several paintings by the artist. The Shining House. The artist’s paintings are projected as backdrops to create a visual environment for a theatredance performance conceived and directed by Jean Erdman. Performed at the Theatre of the Open Eye, the experimental theatre of Jean Erdman and Joseph Campbell in New York. In 1979 Christopher Millis was commissioned to write the libretto and this version was initiated in 1980 at the Theatre of the Open Eye, where it continued to be performed until 1984.

2002 First staging of Feu Sacré, a theatre performance by Macha Méril with a large-scale backdrop of the artist’s painting, Phenomena Strike the Tiger, as the stage set, Bordeaux. Texts George Sand, music Chopin. In 2006, performed at the Théâtre Mogador in Paris. 2004 Interview, NHK documentary film of Yasuo Kuniyoshi. Interview, Biography channel biography of Jackson Pollock.

1981 Hommage à Jean-Louis Barrault. Collages by the artist inaugurate Jean-Louis Barrault and Madeleine Renaud’s La Maison Internationale du Théâtre at the Théâtre du Rond-Point, Paris.

2007 The Ballet Western Reserve presents two evenings of dance choreographed to selected works by the artist in the collection of the Butler Institute of American Art, Ohio.

1982 Tempest. Full-length feature film directed by Paul Mazursky. Includes the artist’s collages. Creates insignia for the Madeleine Renaud and Jean-Louis Barrault Maison Internationale du Théâtre at the Théâtre du Rond-Point, Paris. Invited by Alan Schneider, participates in the Theatre Communications Group’s Fourth Biennial National Conference at Rutgers University. 1987 Shaman to the Prism Seen. A dance drama conceived and written by the artist, is performed for five evenings at the Paris Opera in May; directed by Simone Benmussa, with music by Henri Dutilleux. For the stage, the artist paints two canvases 30 x 40 feet each, as well as five vertical canvases as sentinel elements for the performance. Creates and paints elements of the costumes as well as various silks for the stage. In 1986, creates a series of watercolors in relation to Shaman to the Prism Seen. 1988 Commissioned to create and paint a stage set in silk for a performance at the Great Hall of the People in Beijing for The Return of Marco Polo, organized by the International Committee for the Safeguard of Venice and the Great Wall. In Beijing, paints six banners 54 x 15 feet, a backdrop

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TRA LE OPERE RIPRODOTTE IN QUESTO VOLUME, ALCUNE SONO IN MOSTRA PRESSO: AMONG THE WORKS IN THIS PUBLICATION ARE THOSE SHOWN AT: MUSEO DI PITTURA MURALE IN S. DOMENICO, PRATO GALLERIA OPEN ART, PRATO

RINGRAZIAMENTI | ACKNOWLEDGMENTS Sandro Barnini, Giuseppe Bergamini, Alessio Bondioli, Paolo e Gloria Calamai, Silvio Castiglioni, Ruggero Ceriali, Samuele Conti, Sergio Dal Pio, Luigi Dellupi, Lorenzo Filippini, Andrea e Filippo Formenti, Manuela Fusato, Gianluigi Gargantini, Rosa Jacomuzzi, Pierfrancesco Leone , Gualtiero Metelli, Rino Menegaldo, Vincenzo Montano, Tony Pecoraro, Federico Regalia, Renato Salton, Franco Tonato, Lidia Valenti, Paolo Valentinuzzi, Mario e Cristina Zanobini, Fabrizio Zanoboni, Sergio Wax e a tutti coloro che hanno voluto mantenere lâ&#x20AC;&#x2122;anonimato. and all the others who wish to remain anonymous

UNO SPECIALE RINGRAZIAMENTO A WITH SPECIAL THANKS TO THE ESTATE OF PAUL JENKINS HIRSHHORN MUSEUM AND SCULPTURE GARDEN, SMITHSONIAN INSTITUTION, WASHINGTON, D.C.

under the auspices of con il patrocinio di

Assessorato alla Cultura

GALLERIA OPEN ART Viale della Repubblica, 24 - 59100 Prato (PO) tel. +39 0574 538003 - fax. +39 0574 537808 galleria@openart.it www.openart.it

Finito di stampare nel mese di settembre 2014 presso | Printing completed in September 2014 by Tap Grafiche - Poggibonsi (SI)