Paul Jenkins by The Redfern Gallery Ltd

PAUL JENKINS

PAUL JENKINS PAINTINGS AND WORKS ON PAPER 1984 -2 010

Paul Jenkins, Yasuo Kuniyoshi and Asian Affinities by Gail Levin

13 June – 4 August 2 018 Commemorating the 95th anniversary of the artist’s birth

20 Cork Street, London W1S 3HL +44 (0)20 7734 1732 redfern-gallery.com

Self Portrait, 1984. Ink on paper, 33 × 48.3 cm, 13 × 10 ins sight.

Paul Jenkins, Yasuo Kuniyoshi and Asian Affinities

Two early influences set the abstract painter Paul Jenkins on a course that would cause him to take a lasting interest in Asian art and aesthetics.1 When the first happened, Jenkins was only ten years old. In the midst of the Great Depression, on December 11, 1933, a new art museum, then called the Nelson Gallery (now the Nelson-Atkins Museum of Art), opened in his hometown, Kansas City, Missouri. The boy, who, while still in junior high school, won a fellowship to attend classes at the Kansas City Art Institute, loved going to the new museum. The Nelson Gallery was already becoming known for its now famous collection of Asian art. What the young Jenkins saw was the beginning of that distinguished collection chosen by the art historian, Lawrence Sickman, who had gone from studying Asian art history at Harvard to China on a fellowship in 1930, where he met with his former Harvard professor Langdon Warner, who was also a trustee of the new Kansas City museum, then under formation. As Warner’s disciple, Sickman eventually had the responsibility of selecting the new museum’s Asian art with the substantial funds that had been bequeathed for the purpose by William Rockhill Nelson, a real estate developer and newspaper publisher. Jenkins, writing to his paternal grandmother in July 1944, reminisced about his hometown’s museum: “But that city holds such a beautiful period in it. For it was there that I discovered that life had a mystery and a tormenting intensity. How often have I walked to the Art Gallery to seek it out vainly. Now I have left and have found particles of the secret and each time that I do, I want to return and tell the pillars of the gallery and the woods, not forgetting the streets, that were my actual home.”2

The Flying Welshman, 1980. Collage on paper, 78.74 × 109.25 cm, 31 × 43 ins.

Siva, 1979. Collage on paper, 78.74 × 109.25 cm, 31 × 43 ins.

The second event that connected Jenkins to Asian art was meeting the American architect, Frank Lloyd Wright, whom Paul’s great-uncle, the Rev. Burris Jenkins, commissioned to rebuild his church in Kansas City, Missouri, after a fire.3 [left, above: the artist’s collage of Frank Lloyd Wright and his church for the Rev. Burris Jenkins.] Wright tried to encourage the young Jenkins, who already wanted to be an artist, to consider a career in agriculture instead. Even so, one can imagine that Paul could have learned about the famous architect’s enthusiasm for Japan and Japanese art, especially woodblock prints, since Wright was well known to collect and sell Japanese prints to museums as well as to his architectural clients, which would include Jenkins’ great-uncle. Jenkins later commented on the architect’s link to Asian aesthetics: “Hokusai’s particular structures and grid compositions laid down laws as much for Frank Lloyd Wright as for Vincent van Gogh.”4 Among the objects Jenkins had studied and admired in the Nelson Gallery in Kansas City, he recalled the compelling “Kuan-Yin,” a polychromed wood sculpture from North China, made in the 11th to 12th centuries.5 This Buddhist sculpture, now famous, depicts a bodisattva, a being that compassionately refrains from entering nirvana in order to save others. Jenkins was also drawn to Chinese fresco, which he discovered in the museum. Another of his favorite sculptures in this collection was Siva, Nataraja, the Lord of Dance, an Indian bronze figure from the thirteenth century with multiple arms symbolizing the “idea of disintegration and regeneration.”6 The Asian art at the Nelson Gallery became a precious memory when the teenaged Jenkins moved to Struthers, Ohio, where his mother and stepfather lived and who together ran the local newspaper. There, in the part of Northeastern Ohio where the steel industry then flourished, Jenkins graduated from high school. He went on to serve in the U.S. Naval Air Corps during World War II. By 1944, however, Jenkins’ interest in Japanese art had led him to make three watercolors of Kabuki actors which he later gave to his mother, writing to her that the inspiration for this subject came to him from “Japanese theater woodcuts.”7 The source for one of Jenkins’ three 1944 watercolors of Kabuki actors can be identified as The First Nakamura Nakazo in the Role of Ko no Moronao, Katsukawa Shunkō, June 1786, an exemplar of which the Metropolitan Museum purchased in 1914 from William S. and John T. Spaulding of Boston, who, interestingly, had bought works from Frank Lloyd Wright in Japan. In his watercolor version of this print, Jenkins changed and brightened the palette and adjusted the composition to suit himself, but his source is nonetheless recognizable. What looks like an awning across the top left of this print appears in his watercolor only as a liquid wash of pigment, suggestive of a direction that Jenkins’ abstract art will eventually take.

Left, Katsukawa Shunkō, First Nakamura Nakazo in the Role of Ko no Moronao, 1786. Polychrome woodblock print, 29.1 × 12.7 cm, 11.50 × 5 ins. Rogers Fund, Metropolitan Museum of Art, New York. Right, Paul Jenkins, Untitled, 1944. Watercolour on paper, 28.9 × 19.5 cm, 11.375 × 7.50 ins. Private Collection.

Jenkins, raised in a Protestant family, was, when he reflected upon his development, surprised by his own deep passion for Asian culture: “These Eastern attitudes fostered in me a sense of mystery about the universe that has drawn me all my life. Eastern art has inspired, nourished, and helped me enter a state of mind where dualism seemed normal. Knowing that you are two instead of one allows you to see and perceive more than one thing at the same time.”8 Not long after he painted the Kabuki actors, Jenkins, still in the Naval Air Corps on December 5, 1945, wrote to Esther Ebenhoe, whom he married in 1944, asking if she had read the “Tao Te Ching,” a classic Chinese text, which he described as: “a small collection of the teachings of Lao-tze,” while referring to their “beauty.” “From the standpoint of poetry they are masterpieces in simplicity. I feel kindred to these beliefs…for they are eternally immediate. They are the here and now, and do not believe in an attempt to describe the eternal.” Jenkins elaborated by giving “a brief example”: “Not That Which Can be Expressed. The Tao that can be expressed is not the eternal Tao; The name that can be defined is not the unchanged name.” Jenkins added, “It is highly idealistic but I can recall so much reference and example where it is profoundly true.”9 Thus, Jenkins was alert not just to Asian art, but to Asian religion, philosophy and literature. By 1948, Jenkins had settled in New York City and begun to study art at the Art Students League, taking advantage of the G.I. Bill, which offered veterans the option of free tuition and living expenses to further their education. At the Art Students League, Jenkins was attracted to classes taught by Yasuo Kuniyoshi with whom he would study for four years. Kuniyoshi had come to the United States in 1906, from his native Okayama, Japan, on his own at the age of 16, taking one of two choices his father presented. The other choice, just after the Russo-Japanese War, was to enlist in the Japanese military. Instead, Kuniyoshi settled in Los Angeles, eventually studying art there before moving to New York in 1910, where he enrolled at the National Academy of Design and later the Independent School of Art. Then, in 1916 he settled in for four years at the Art Students League, studying with the figurative painter Kenneth Hayes Miller. Kuniyoshi, however, by the time he came to America, had already studied textile design at his high school in Okayama, absorbing aesthetic lessons from Japanese culture. In 1948, when Jenkins started to study with Kuniyoshi, he found the charismatic teacher that so many American art students adored. Yet he also found Kuniyoshi at a time when he, as a Japanese citizen living in the United States, had suffered during the war, even though he had worked as a propaganda artist for the United States Office of War Information. It was also in 1948, that Kuniyoshi became the first living artist to have a retrospective at the Whitney Museum of American Art, receiving this singular honor two years ahead

Paul Jenkins, left, standing behind Yasuo Kuniyoshi in class at the Art Students League, New York, ca. 1948-1952. Photographer unknown.

of Edward Hopper, who was a few years his senior. Kuniyoshi, however, despite his work for the United States government, was not at that time allowed to become a citizen because of laws going back to the 1924 Immigration Act and earlier restrictions, which effectively excluded Asians.10 At the time, Jenkins was able to see his new teacher making veiled references to the tensions between his native country and his adoptive land. Asked in 1948 about one of these images, Festivities Ended, of 1947, which shows a carousel horse upended, looming over a landscape with two reclining figures on the littered ground below, Kuniyoshi remarked: “The world is chaotic today, but we must go on.” Another time, he spoke of his “hopelessness,” alluding to issues of racism and the U.S. government’s persecution of those thought to have been Communists, among them some of his friends, including some Japanese artists who had long been living in America.11 Kuniyoshi’s conflicted national identity was also expressed in his frequent exploration of masks in his art of these years, for example in paintings such as I Wear a Mask Today (1946-47); The Clown, Charade, Clown with Mask, and Last

Act (all 1948); Carnival (1949); and Revelation and To the Ball (1950); Mask and Masquerade (1951); and Fakirs, Mr. Ace, Amazing Juggler, and The Juggler (all 1952). Some of the paintings in Kuniyoshi’s series that explores masks prompted Jenkins to purchase a Japanese Noh drama mask, which he saw in a New York antique shop, and give it to his teacher. Kuniyoshi was so moved by his student’s thoughtful gift that he reciprocated by giving the young man a small painting.12 Jenkins later also acquired a drawing by Kuniyoshi. The affectionate interaction between the student and the professor poses the question of whether there are traces of Kuniyoshi’s influence in Jenkins’ art. The most obvious example is a homage to his teacher that Jenkins made as one of his collages. Titled Kuniyoshi Scroll, from 1979-80, this collage is one of many and represents an aspect of Jenkins’ work that remains less well known than his signature abstract paintings. Jenkins first published this work in 1983 with other collages in a book for Harry N. Abrams called Anatomy of a Cloud.13 Jenkins loved making collages. He commented, “The collages to me are like diagrams. Burnt parchment maps giving indication of the terrain. Emblems that go back to another ancestral time and mean something I cannot totally explain but can feel as pointing to a place.”14 He saw his collages as a way to express his experience: “The collage becomes a concentrate and when it reaches its final form, it is as though it had always been that way.”15

Kuniyoshi Scroll, 1979-80. Collage on paper, 78.74 × 109.25 cm, 31 × 43 ins.

Hokusai Portal, ca.1954 -1958, 1997. Collage on wood, 243.8 × 170 × 25.4 cm, 96 × 67 × 10 ins, recto-verso.

Jenkins also used collages to personalize any environment that he stayed in long enough. Doors, panels, any surface could be inviting to him. When he was in Paris in the mid-1950s, he created an inner partition in wood in his atelier on the rue Decrès in the 14th arrondissement which he called Hokusai Portal16 (referring to the Japanese artist, Hokusai, ukiyo-e painter and printmaker of the Edo period 16031868) because of the number of collaged Japanese woodblock prints. Jenkins’ Kuniyoshi Scroll contains reproductions of Kuniyoshi’s canvas, Somebody Tore My Poster, of 1943 (which references a 1942 poster made for the U.S. Department of War Information by the American Social realist artist, Ben Shahn); an undated photograph of an old carrousel horse that Kuniyoshi kept in the garden of his home in Woodstock, New York; Arnold Newman’s 1941 photo of Kuniyoshi in his studio with an American folk art duck decoy on a table; other photographs of Kuniyoshi, especially with his students in his classes at the Art Students League; and two nautical paintings by Albert P. Ryder, the American eccentric painter of the late nineteenth-century, who influenced Kuniyoshi’s early work; and, in the upper left, a photograph of a Noh mask, possibly the one that Jenkins gave to his teacher. In sum, Jenkins’ work is a highly personal picture about and dedicated to Kuniyoshi, his beloved teacher. But what about the influence of Kuniyoshi on Jenkins’ abstract paintings? Though figurative, Kuniyoshi emphasized the nature of painting, especially light, color and

spatial relations. These were issues that deeply affected Jenkins. Indeed, the high pitch of vivid color in Kuniyoshi’s late paintings appears to have been translated into some of Jenkins’ compositions. Jenkins noted in his diary for January 17, 1949, that Kuniyoshi had advised him: “Push and dig deeper in the color within the color.”17 It is said that Kuniyoshi did not advocate one particular kind of theory or style, instead speaking on the nature of painting.18 Jenkins did not so much emulate the forms of Asian art, as he embraced an approach to painting that imbibes the lessons of the East. Only occasionally, one can see a formal relationship between the Asian art that Jenkins studied so intently and the abstract painting that he produced. In a major monograph on his art with an essay by Albert E. Elsen, Jenkins himself pointed this out by juxtaposing one of the ca. 1840 illustrations of landscape for One Hundred Poems from Master Poets (copy in The Louvre) by Hokusai, with his own 1958 canvas, Dakota Ridge, in the collection of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.19 Elsen took the trouble to note, “the selection and arrangement of the illustrations are mostly the decisions of the artist.”20 We can thus conclude that Jenkins chose to point out that the whooshing diagonal lines in his canvas, even though they go in opposite directions, relate to those of Hokusai’s figural landscape. Jenkins made a point of acquiring an original of Hokusai’s Manga, a rare handprinted multi-volumed book of woodcuts, which he found in Paris in 1953. He attributed his interest in Japan to the Manga, which “revealed to me the soul, humor, and splendid hauteur of a great island people. He [Hokusai]. . . .conquered a great sense of imagined space in a microcosmic format. His sense of inner penetration of positive and negative space was spellbinding.”21

From the monograph Paul Jenkins, text by Albert E. Elsen, plates 47, 48.

Eugen Herrigel, Zen in the Art of Archery. London, 1953, with an inserted note from Paul Jenkins. Pollock-Krasner House & Study Center, East Hampton, NY. Gift to Jackson Pollock and Lee Krasner from Paul Jenkins 1956.

Later, from the same bookseller, Jenkins purchased a copy of Hokusai’s Thirty-six Views of Fuji, the Japanese artist’s most celebrated work, which features the iconic print, The Great Wave off Kanagawa. Jenkins had all these volumes by Hokusai specially bound in Paris and they remain with his Estate. We now know that Jenkins drew sustenance from the many books that he read on Asian culture. Some of his reading included The I Ching: Book of Changes,22 The Spirit of Zen: A Way of Life, Work and Art in the Far East by Alan Watts,23 The Spirit of the Brush: Being the Outlook of Chinese Painters on Nature from Eastern Chin to Five Dynasties A.D. 317-960,

and The Flight of the Dragon: An Essay on the

Theory and Practice of Art in China and Japan, Based on Original Sources25. In his collection, he also had the volume, Japanese Poetry The ‘UTA’ by Arthur Waley.26 By 1963, he had acquired a History of Haiku.27 Jenkins purchased a wide variety of Asian art objects over the course of his lifetime. He was drawn to objects both for their appearance and for their significance, but he did not shun interesting works in poor condition. It is as if he personally related to each and every object that he purchased. He occasionally gave his treasures away, for example, the Noh mask to Kuniyoshi or a rare Chinese garment to the Victoria and Albert Museum in London.28 In fact, Jenkins himself experienced so much excitement reading and absorbing ideas from Asia that he wanted to share his revelations. With that in mind, and precipitated by the troubled Jackson Pollock’s shooting an arrow into the kitchen

wall at his Long Island home during Jenkins’ visit in the spring of 1956, he gave Pollock and his devoted and beleaguered wife, the artist Lee Krasner, a copy of the 1953 book, Zen in the Art of Archery by Eugen Herrigel.29 This book is a classic work on Eastern philosophy, explaining the Zen concept of being in the moment, a lesson that Pollock was then too disturbed to absorb, though Krasner did engage with this idea.30 There were Japanese artists who came to appreciate Jenkins’ passionate engagement with their culture. His first solo show in New York was at the Martha Jackson Gallery in 1956. Two years later, the gallery held a show of Gutai artists, Japan’s first radical, post-war artistic group, founded in Osaka in 1954, by the artist Jiro Yoshihara. In addition to painting, Gutai emphasized performance, theatrical events, and multimedia environments. Jenkins was first introduced to Gutai in Paris through Michel Tapié prior to his own exhibition at Galerie Stadler in Paris (March 19-April 13, 1957). In New York during the 1958 Martha Jackson exhibition, Yoshihara invited Jenkins to come to work with Gutai in Osaka, Japan. Jenkins took up their invitation in 1964, making his first of several trips to Japan. While working in Osaka at the Gutai Pinacotheca, Jenkins exchanged works with several of the Gutai artists31. That same year of 1964, Jenkins also traveled to India for the first time, visiting Bombay, Agra, the caves of Ajanta with their fabulous murals, and Delhi.

Paul Jenkins working at the Gutai Pinacotheca, with Jiro Yoshihara, Osaka 1964. Photographer unknown.

From the monograph Paul Jenkins, text by Albert E. Elsen, plates 49, 50.

Jenkins’ appreciation of Asian art led him to make several more suggestive juxtapositions in the 1975 monograph on his work by placing reproductions of his paintings across from favorite Chinese images. For his 1960 Phenomena After Image, he chose to link his abstraction with Chao Meng-Fu’s Horses and Old Trees from the Yuan dynasty (1277-1368), an ink on paper composition in the National Palace Museum in Beijing. Jenkins seems to suggest that he saw an affinity with the graceful, feathery form of the horse’s mane and the wind sweeping the male figure’s long garment.32 For his 1968-69 painting, entitled, Phenomena Stance of Change, Jenkins placed it across the page from a Sung dynasty (960-1279) painting by an unknown artist from the Musée Guimet in Paris.33 In the Chinese painting, an upside-down figure appears to tumble, much like Jenkins’ flowing paint. What he telegraphs by this pairing is his affinity for aesthetics in early Chinese art. In 1988, Paul and Suzanne

From the monograph Paul Jenkins, text by Albert E. Elsen, plates 89, 90.

Jenkins spent more than a month in China, visiting — in addition to Beijing — Suzhou, Shanghai, Xian and Banpo. Whether through travel, through reading, or through studying works of art, the rest of Asia beckoned. We find occasional hints of this complex affiliation in some of the titles Jenkins chose for his paintings. Since 1959, he prefaced most of his titles with the term “phenomena,” which suggests visual fascination: Phenomena Over Siva (1961), Phenomena Ex Oriente Lux (1963), Phenomena Zen Bow String (1969), Phenomena Kwan Yin (1969), Phenomena Himalayan (1971), Phenomena Noh Veil (1971), Phenomena Peking Dragon (1988), Phenomena China Winds (1996), Phenomena Tibetan Light Shadows (1997), and Phenomena Ever Near Tibet (2009). More than just admire Asian art, philosophy, and literature, Jenkins continued to find spiritual sustenance that nourished his remarkable creativity. Jenkins’ work on paper has long included using Chinese or India ink, which, as in Asian art, he sometimes combined with watercolor. In a work like Jenkins’ Sea Escape (1951), using few lines and tones, he caught the essence rather than the appearance of what he observed and experienced. The resulting image seems to express nature’s force and spirit in a way that again suggests his affinity with Asian art.

Sea Escape 1951. Watercolour and ink on paper, 25.4 × 35.6 cm, 10 × 14 ins. Private collection.

Turning then to Jenkins’ later abstractions, we can enjoy them for their visual impact alone. But beyond appreciating spectacular color, dramatic light, movement, and forms, one can also delve into the aesthetic passions of their maker. Jenkins’ love of Asian art and culture informed his creative process from the time the boy saved his lunch money to purchase one of the tiny carved, button-like toggles, called a netsuke, once worn by Japanese men. Jenkins never lost that originary excitement that he discovered in Asia’s art. Gail Levin April 2018

Endnotes 1.

The author wishes to thank Suzanne Donnelly Jenkins for her invaluable help.

Paul Jenkins to Theresa Jenkins, July 1944, excerpted in Paul Jenkins: A Tribute (Youngstown, Ohio: The Butler Institute of American Art, 2015), 62.

Paul Jenkins, in Anatomy of a Cloud, Paul Jenkins with Suzanne Donnelly Jenkins (New York: Harry N. Abrams, Inc., 1983), 59. See also, The Flying Welshman 1980, the artist’s collage of Frank Lloyd Wright showing the church commissioned by his great-uncle, Rev. Burris Jenkins, 58-59.

Paul Jenkins as Jenkins-san, in Seven Aspects of Amadeus and the Others (Paris: Editions Galilée, 1992), 67.

See the renowned Guanyin of the Southern Sea, Chinese, 11th/12th century, Liao (907-1125) or Jin Dynasty (1115-1234) on the Nelson-Atkins website: https://nelson-atkins.org/collection/chinese/.

Paul Jenkins, Anatomy of a Cloud, 41. See also http://art.nelson-atkins.org/objects/23552/shiva-nataraja-thelord-of-dance?ctx=dc1d14a3-ec96-4bff-917c-795b8ebc9cf8&idx=6. See the artist’s collage Siva, 1979, Anatomy of a Cloud, 42-43.

These three watercolors are approximately 11.25 x 8 inches each. See PJ letter to his mother dated April 1, 1961, PJ inv. no. 11200: “The three Oriental ones are copies from Japanese theatre woodcuts. The year was 1944.” Original letter, Archives of American Art, Paul Jenkins Papers.

Paul Jenkins, Anatomy of a Cloud, 40.

Paul Jenkins to Esther Ebenhoe, December 5, 1945. PJ Inv. No. 10978. Also see Paul Jenkins to Esther Ebenhoe, November 5, 1945, PJ Inv. No. 10727. Original letters, Archives of American Art, Paul Jenkins Papers.

10. By June 27, 1952 when the McCarran-Walter Act was passed permitting Asians to become naturalized US citizens, Kuniyoshi, who would die of cancer on May 14, 1953, was already very ill. See Sara Cash: “His lifelong desire to become an American citizen was not realized; he completed the application in 1952 but died the following year of cancer before it was approved.” National Gallery of Art, Washington, D.C. Online Editions: https://www.nga.gov/collection/artist-info.2600.html. 11. Lloyd Goodrich, notes of interviews with Yasuo Kuniyoshi, February 19 and January 13, 1948. Whitney Museum artists’ records, Archives of American Art, microfilm reel N670, frames 46 and 71. 12. Paul Jenkins, “Gift of the Master,” in Yasuo Kuniyoshi 1889-1953 A Retrospective Exhibition (Austin: University of Texas, 1975), 47. 13. Paul Jenkins, Anatomy of a Cloud, 94-95. The reproduction of the Kuniyoshi photograph collaged by the artist with permission by Arnold Newman. 14. Paul Jenkins, Anatomy of a Cloud, 8. 15. Paul Jenkins, in “Collage-Paintings,” catalogue for his solo exhibition (December 2, 1993-January 8, 1994), Associated American Artists, New York, 3. 16. Broken Silences: The Collages of Paul Jenkins. Exhibition catalogue, Center for the Arts, Vero Beach, Florida, December 2000-January 2001, 4, 6, described as Hokusai Portal. The artist also referred to this work as Hokusai Arch and, on occasion, as Decrès Arch, referring to the location of the artist’s atelier in Paris. 17. Paul Jenkins, Paul Jenkins, Albert E. Elsen (New York: Harry N. Abrams, Inc., 1973), 32. 18. See Yoshio Ozawa, I am an American! Yasuo Kuniyoshi in New York, 1916-1953 Selected Works from the Fukutake Collection (Okayama, Japan, March 2013), 88. 19. Albert E. Elsen, Paul Jenkins (New York: Harry N. Abrams, Inc., 1973), plates 47, 48. 20. Albert E. Elsen, Paul Jenkins, “Author’s Note,” before the title page. 21. Paul Jenkins, Anatomy of a Cloud, 153. 22.

Albert E. Elsen, Paul Jenkins, 273. The I Ching: Book of Changes. (New York: Pantheon, 1950 first edition). Foreword by C. G. Jung.

23. Alan W. Watts, The Spirit of Zen: A Way of Life, Work and Art in the Far East [Wisdom of the East Series] (London: John Murray, Albemarle Street, first edition 1936, 1948 edition). J. L. Cranmer-Byng, M.C., ed. 24. J. L. Cranmer-Byng, M.C., ed., The Spirit of the Brush: Being the Outlook of Chinese Painters on Nature from Eastern Chin to Five Dynasties A.D. 317-960 [Wisdom of the East series], translated by Shio Sakanishi, PhD (London: John Murray, Albemarle Street, first edition 1939, 1948 edition). 25. Laurence Binyon, The Flight of the Dragon: An Essay on the Theory and Practice of Art in China and Japan, Based on Original Sources (London: John Murray, Albemarle, first edition 1911, reprinted 1914, 1922, 1927, 1935, 1943, 1948, 1953 edition) 26. Arthur Waley, Japanese Poetry The ‘UTA’ (London: Lund Humphries & Co., first edition 1919, 1946 edition). 27. R. H. Blyth, A History of Haiku, Volume One: From the Beginnings up to Issa (Tokyo: The Hokuseido Press, first edition 1963). 28. Man’s dragon robe of silk tapestry weave (kesi), China, late 19th Century. See http://collections.vam.ac.uk/item/ O485725/robe-unknown/. 29. Eugen Herrigel, Zen in the Art of Archery (London: Routledge & Kegan Paul, 1953). 30. Gail Levin, Lee Krasner: A Biography (New York: William Morrow, 2011), 305. 31. These works were the fulcrum for the exhibition “Under Each Other’s Spell”: Gutai and New York, shown in 2009 at the Pollock-Krasner House and Study Center, East Hampton, traveling to the Harold B. Lemmerman Gallery of New Jersey City University and, in 2010, to UB Anderson Gallery, State University of New York at Buffalo. Exhibition catalogue published by The Stony Brook Foundation, Inc., Stony Brook State University of New York. 32. Elsen, Paul Jenkins, plates 49, 50. 33. Elsen, Paul Jenkins, plates 89, 90.

Noh masks and Bunraku puppet heads in the artistâ&#x20AC;&#x2122;s collection. Photo Arnold Newman, Paris 1968. ÂŠArnold Newman Properties/Getty Images.

PA I N T I N G S

Phenomena 12th Portal 1995 acrylic on canvas 84.50 × 25 ins 214.6 × 63.5 cm

P h e n o m e n a N i g h t Wa t c h m a n 1 9 9 4 acrylic on canvas 63.75 × 51.25 ins 161.9 × 130.2 cm

Phenomena Holland Dyke 1984 acrylic on canvas 38.25 × 65.25 ins 97.2 × 165.7 cm

Phenomena Sound of Moon Bowl 1987-89 acrylic on canvas 77 × 87 ins 195.6 × 221 cm

Phenomena Shaman Lost & Found Again 1994 acrylic on canvas 64 × 51 ins 162.6 × 129.5 cm

Phenomena Struck by Red 2006 acrylic on canvas 58 × 41 ins 147.3 × 104.1 cm

Phenomena Oracle Reckoning 2007

acrylic on canvas 94.5 × 148.4 ins 240 × 376.9 cm

P h e n o m e n a Tr a n c e o f W i n d s 2 0 0 5 acrylic on canvas 38.25 × 51.50 ins 97.2 × 130.8 cm

Phenomena Out of Sight 2010 acrylic on canvas 78.7 × 78.7 ins 200 × 200 cm

Phenomena Upper Right 2009 acrylic on canvas 80 × 51.25 ins 203.2 × 130.2 cm

Phenomena Out of Reach Reckoning 2006 acrylic on canvas 42 × 58 ins 106.7 × 147.3 cm

Phenomena Magnetic Compass 2005 acrylic on canvas 38 Ă&#x2014; 51 ins 96.5 Ă&#x2014; 129.5 cm

Phenomena Celtic Enigma 2008 acrylic on canvas 29 × 23.75 ins 73.7 × 60.3 cm

Phenomena Pendant Compass 2010 acrylic on canvas 38 × 33.50 ins 96.5 × 85.1 cm

Phenomena North Seeking 2010 acrylic on canvas 38 × 33.50 ins 96.5 × 85.1 cm

P h e n o m e n a S h i e l d t o S e e B y We s t 2 0 0 0 acrylic on canvas 74.80 × 51.18 ins 190 × 130 cm

Phenomena Sweep of Dawn 1990 acrylic on canvas 32 × 39 ins 81.3 × 99.1 cm

Phenomena When Odin Fell 1992 acrylic on canvas 118.9 × 79.5 ins 302 × 201.9 cm

The artist with thangkas and Japanese scroll. Photo Arnold Newman, Paris 1968. ÂŠArnold Newman Properties/Getty Images.

W O R K S O N PA P E R

P h e n o m e n a B i g S u r Ta k e 1 9 9 4 watercolour on paper 31 Ă&#x2014; 41.25 ins 78.7 Ă&#x2014; 104.8 cm

Phenomena Basalt Light 1994 watercolour on paper 43.25 Ă&#x2014; 31 ins 109.9 Ă&#x2014; 78.7 cm

Phenomena Lesson of the Sphinx 1995 watercolour on paper 43.375 Ă&#x2014; 31 ins 110.2 Ă&#x2014; 78.7 cm

Phenomena China Winds 1996 watercolour on paper 43.25 Ă&#x2014; 31 ins 109.9 Ă&#x2014; 78.7 cm

Phenomena Lost & Found 1995 watercolour on paper 31.125 Ă&#x2014; 43.375 ins 79.1 Ă&#x2014; 110.2 cm

Phenomena Ultramarine Northwester 1995 watercolour on paper 31.125 Ă&#x2014; 43.375 ins 79.1 Ă&#x2014; 110.2 cm

Phenomena Prism Inscape 1995 watercolour on paper 31 Ă&#x2014; 43.25 ins 78.7 Ă&#x2014; 109.9 cm

P h e n o m e n a P h o e n i x Ta l i s m a n 1 9 9 5 watercolour on paper 43.375 Ă&#x2014; 31.125 ins 110.2 Ă&#x2014; 79.1 cm

above

Phenomena Cross Over 1994 watercolour on paper 30 × 22.50 ins 76.2 × 57.2 cm

below

Phenomena Given Stages 1996 watercolour on paper 30 × 22 ins 76.2 × 55.9 cm

Phenomena Green is There 1994 watercolour on paper 29.50 Ă&#x2014; 22.50 ins 74.9 Ă&#x2014; 57.2 cm

P h e n o m e n a C e d a r Va l l e y S c o p e 1 9 9 5 watercolour on paper 29.50 Ă&#x2014; 22.50 ins 74.9 Ă&#x2014; 57.2 cm

Phenomena Ever Near Tibet 2009 watercolour and acrylic on paper 30.25 Ă&#x2014; 23 ins 76.8 Ă&#x2014; 58.4 cm

Phenomena Black Lightening 1994 watercolour and acrylic on paper 29.825 Ă&#x2014; 22.50 ins 75.8 Ă&#x2014; 57.2 cm

Phenomena Another Dawn 1986 watercolour on paper 22.50 Ă&#x2014; 29.75 ins 57.2 Ă&#x2014; 75.6 cm

P h e n o m e n a 8 a . m . a n d A l l i s We l l 1 9 8 6 ink and acrylic on paper 43.25 × 31.125 ins 109.9 × 79.1 cm

above left

Untitled n.d. [1986] watercolour on paper 23 × 5.50 ins 58.4 × 14 cm below left

Phenomena Fox Chapel 1995 watercolour on paper 20.875 × 15.625 ins 53 × 39.7 cm right

Phenomena Peking Dragon 1988 watercolour on paper 23 × 5.25 ins 58.4 × 13.3 cm

Untitled 1994

ink on paper 23.125 × 11.50 ins 58.7 × 29.2 cm

ink on paper 23 × 11 ins 58.4 × 27.9 cm

Untitled 1994 ink on paper 11.25 Ă&#x2014; 22.75 ins 28.6 Ă&#x2014; 57.8 cm

Untitled 1994 ink on paper 23 Ă&#x2014; 11.75 ins 58.4 Ă&#x2014; 29.8 cm

above

below

Untitled 1994

ink on paper 11.125 × 23.25 ins 28.3 × 59.1 cm

ink on paper 10.625 × 23 ins 27 × 58.4 cm

Untitled 1994

ink on paper 22.875 × 11.50 ins 58.1 × 29.2 cm

ink on paper 23 × 11.50 ins 58.4 × 29.2 cm

Untitled 1994 ink on paper 22.875 Ă&#x2014; 10.875 ins 58.1 Ă&#x2014; 27.6 cm

1923 Born in Kansas City, Missouri. Early Years At the Kansas City Art Institute takes several courses and makes drawings from a model and paints watercolors he calls “interior landscapes” related to caves he visited in the Ozarks, rivers, campfires and other forms of nature. Is ejected from class for eating the still life. As Albert E. Elsen quotes the artist in his monograph: “For me the pear is to be eaten and experienced, not painted.” Works with the ceramist 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 the firing which then become subtly translucent or vitally defined in density. Frequent visits to the renowned Asian collection of the Nelson-Atkins Museum of Art [then the William Rockhill Nelson Gallery], where he is strongly affected by the monumental Chinese fresco of Buddha, the polychrome sculptures of the Bodhisattva, Kuan-Yin (11-12th century), Indian bronzes, especially Shiva and statues of lohans in meditation. In writing about this early time in his life, the artist states: “These Eastern attitudes fostered in me a sense of mystery about the universe that has drawn me all my life. Eastern art has inspired, nourished and helped me enter a state of mind where dualism seemed normal. Knowing that you are two instead of one allows you to see and perceive more than one thing at the same time.” [Anatomy of a Cloud, p 40] Meets Frank Lloyd Wright in 1940 when his great-uncle, the Reverend Burris Jenkins, pastor of the First Community Church in Kansas City, Missouri, commissioned Wright to rebuild his church after a fire destroyed the building on Linwood Boulevard. [This church is now called the Community Christian Church.] Frank Lloyd Wright advises the aspiring young artist to consider agriculture as a more solid pursuit to the vagaries of being an artist. On his great-uncle’s suggestion, visits with Thomas Hart Benton at his home to discuss his intention to be a painter. Thomas Hart Benton asks the artist to return when he was 21. By that time, Paul Jenkins was in the US Naval Air Corps during WWII and didn’t make the return visit. 1944-47 In 1944, from the United States Maritime Service enters the US Naval Air Corps. Paints watercolors of Kabuki actors and makes what the distinguished art historian Albert E. Elsen describes 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.” He later donates in 1969 a Chinese dragon robe with Taoist symbols to the Victoria and Albert Museum, London. After his discharge from military service at the end of February 1946, studies playwriting with George McCalmon at the Carnegie Institute of Technology [now Carnegie Mellon University] and continues to paint and draw on his own.

1948-52 Under the G.I. Bill, studies with Yasuo Kuniyoshi for four years at the Art Students League in New York where, in 1951, he meets Mark Rothko, with whom he remains friends. Kuniyoshi gives Jenkins free use of his studio in New York during the summers. [Yoshio Ozawa in his essay on Kuniyoshi works in the Fukutake Collection, 2013]. 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, Inc., New York, 1973]. 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, meeting Jean Dubuffet in December at his exhibition of “Terres Radieuses” at the La Hune. Frequents Michel Tapié, Pierre Restany, Etienne Martin, Zoe Dusanne, Kenneth B. Sawyer, as well as other American artists living there at the time. Working flat and pouring paint on paper and primed canvas provides a greater sense of totality. The unique abstract ébauches in oil of Gustave Moreau reveal to him the structure and inherent luminosity of color. He later writes an article entitled “Gustave Moreau: Moot Grandfather of Abstraction,” published by Art News [vol. 60, no. 8 December 1961]. In the illuminated density radiating from the subject in the pastels of Odilon Redon, particularly in La Coquille [The Conch Shell], he sees a specific kind of emanating light existing only in the pastels. He did not find either the imagery of Moreau’s canvases or the phantasmagoria subject matter of Redon’s charcoals of interest for him. Discovers Hokusai’s Manga in Paris, Psychology and Alchemy by Carl Gustav Jung and the The I Ching: Book of Changes. 1954 The flatness of the reflected lights at night on the Seine assumes a compelling verticality which disrupts the intruding horizon line and moves forward in a frontal configuration, evoking a sensation of nearness. 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. Group exhibition “Divergences” at the Galerie Arnaud in Paris. 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. Participates in group exhibitions at the Martha Jackson Gallery in New York; the Petit Palais, Galerie Jean Larcade and “Signes Autres” at the Galerie Rive Droite in Paris. 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. In New York, comes to know Willem de Kooning, Franz Kline, Ad Reinhardt, and, with George Wittenborn, Robert Motherwell. During his year-long stay in New York, visits Mark Rothko’s studio on the West side, near what is now Lincoln Center. 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. Invited by Peter Cochrane to exhibit in a group show, The Exploration of Paint, at Arthur Tooth & Sons in London the following season. Visits Jackson Pollock’s studio in Springs 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 Herrigal’s Zen and the Art of Archery, presently in the library of the Pollock-Krasner House in 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 what became over several decades, a continuing series of photographs of the artist in Paris and in New York. Meets Henri Michaux at the Odilon Redon exhibition at the Orangerie in Paris. Group exhibitions at the Museum of Modern Art in New York; in Paris, with the Galerie Stadler, Galerie Rive Droite, Galerie Jean Larcade and in Sculpteurs et Peintres Abstraits Américains de Paris at the Galerie Arnaud. 1957 Peggy Guggenheim buys the canvas 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 Group in Osaka through Michel Tapié. Hideo Hayahasi and Mr. Yamamoto of the Tokyo Gallery visit his atelier, rue Decrès. Participates in group exhibitions at Arthur Tooth & Sons in London and at the Whitney Museum in New York. 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 the 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 various 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. Participates in exhibitions at Arthur Tooth & Sons, London, the Carnegie Institute Museum of Art, Pittsburgh, and the Corcoran Gallery of Art, Washington, D.C. 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 flow of paint. Influenced by Goethe’s color theories and drawing on his study of Immanuel Kant, begins to title his canvases Phenomena, followed by a key phrase or word. Harkening back to the artist’s statement about Asian art, Albert E. Elsen quotes the artist regarding his choice of the plural of phenomena: “We see one thing, but are never one. We are many things, but gravitate toward the single point. It is an acknowledgment of the variables which make the plural [of Phenomenon] ever present.” [Elsen, p 22] Travels to Spain, meets the poet and critic, Juan-Eduardo Cirlot in Barcelona, who later writes about Jenkins’ 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 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 Travels in Europe. 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.” [Elsen, Paul Jenkins, p. 77] The artist continues his exploration of monochrome paint on canvas, including works in grisaille. Participates in group exhibitions at the Musée des Arts décoratifs, Musée du Louvre and Musée d’Art moderne in Paris and at the Whitney Museum in New York.

1966 Travels in Russia, visits Moscow, Leningrad and Kiev. In Zagorsk, sees for the first time the icons of Andreiev Roublev, 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. In New York, pursues the study of Jungian concepts with Dr. Erlo van Waveren. Harry Abrams proposes publishing a monograph book on his work.

The artist’s bookshelves in Paris, rue Decrès. Photo François Tapié.

1963 Publication of Jenkins by Jean Cassou, Éditions de la Galerie Karl Flinker, Paris. Group exhibitions at the Musée d’Art moderne in Paris, at the Art Institute in Chicago, and at the Guggenheim Museum in New York. Obtains the downtown on Broadway in New York from Willem de Kooning. The photographer David Douglas Duncan takes prismatic photographs of the artist in Paris.

1967 Over the next several years the artist paints large works on primed canvas 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. Exhibits a work on canvads in Dix Ans d’Art Vivant at the Fondation Maeght in St-Paul-de-Vence.

1964 First retrospective takes place at the KestnerGesellschaft of Hanover, with the catalogue text by Wieland Schmied. 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 the 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, during a presentation at The Poetry Center of the YM-YWHA at 92nd Street in New York. 1965 Travels to Madrid, visits L’Escorial, and then to Biarritz. Publication of Seeing Voice Welsh Heart by the Éditions de la Galerie Karl Flinker in Paris; original lithographs on stone printed by Fernand Mourlot, with poems by Cyril Hodges. Group exhibitions at the Whitney Museum in New York and at the Pennsylvania Academy of Arts in Philadelphia.

The artist in Tokyo, 1964. Photo Kaoru Sekine.

The artist with Noh mask, ca. 1970s. Photo Akira Kokubo.

1968 Strike the Puma is produced off-Broadway, directed by Vasek Simek, with two large-scale canvases painted by the artist for the stage set, as well as a mannequin torso (painted in 1967). Begins to make unique glass sculptures in Venice with Egidio Costantini, introduced to him by 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 the two artists visited museums, notably L’Orangerie [for Les Nymphéas], to explore different solutions for a protective distance between the viewer and the paintings regarding the chapel then in preparation. 1972 “Paul Jenkins: Works on Paper,” an exhibition of watercolors, is presented 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, Jenkins creates Sanctuary, described by the artist and printer Harry Lerner as a “light graphic” 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 Mandala Meditation Sundial, a sculpture project for a park. Sees the prehistoric stones at Carnac in France. Emergence of the key 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 Sundial in bronze and in brass. On primed canvas and paper, continues to explore through veils of color the Newtonian prism 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 series of 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 Sundial.

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. Works on the autobiographical collages. Mandala Meditation Sundial 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. 1979 During a long stay in the Caribbean, impasto begins to appear in the paintings. Completes Phenomena Forcing a Passage at the Mark, a decisive painting to him in discovering the scraped veils with prism concentrates. 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 full-scale section of Meditation Mandala Sundial 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. These collages are 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 RondPoint in Paris, to inaugurate La Maison Internationale du Théâtre, whose insignia is created from a work by the artist. Creates 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, in conjunction with the exhibition at the Galerie Georges Fall, 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. 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. Participates in the colloquium in Paris organized by Jack Lang on creation and its development. 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. Solo exhibition at the Gimpel Weitzenhoffer Gallery at FIAC in Paris. JeanLouis Martinoty proposes the creation of a ballet to Jeux composed by Debussy. 1986 Writes Shaman to the Prism Seen, a dance drama. Exhibits his autobiographical collages at the Butler Institute of American Art in Ohio. Travels to London for his exhibition with the Gimpel Fils Gallery and to Tokyo for his exhibition with the Gallery Art Point. Visits Okayama for 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. Exhibitioninstallation at Shidoni Foundry near Santa Fe, of the construction in steel of a portion of Meditation Mandala.

1987 Retrospective of his works on canvas at the Musée Picasso in Antibes. The Paris Opera presents his dancedrama, 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. Creates original lithographs on stone at Atelier Franck Bordas in Paris, including one for the Paris Opera. Creates an original lithograph 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 banners 30 x 3 feet for the Great Wall. Paul in Beijing. 1989 The Musées de Nice present the original painted stage sets for Shaman to the Prism Seen, together with watercolors and large-scale paintings from the last five years at the Galerie des Ponchettes and the Galerie d’art contemporain. Architect Yves Bayard creates Meditation Tower, a structure based on the broken prism concept of the artist and featuring his large-scale stained glass windows.

The artist’s original paintings for his dance-drama, Shaman to the Prism, performed at the Paris Opera Salle Favart, May 1988.

1990 Exhibition of the silks painted in China and in Paris at the Castello Doria in Portovenere. Receives the medal of the city of Menton. 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, a series of 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 Suzuk, travels to Japan in August to attend the 10th anniversary of his theatre festival in Toga. Begins to work on 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, returns to Japan for the première in Mito of Ivanov, an adaptation by Tadashi Suzuki of the Chekhov play, where Suzuki integrates the silks painted in China and in Paris as elements of the stage set and for Anna’s costume. 1992 Exhibition of watercolors at the Roswitha Haftmann Gallery in Zurich. Seven Aspects of Amadeus and the Others, lithographs on stone printed by Atelier Franck Bordas, are shown at the Basel Art Fair. Writes a text as a one-act play in reference to the lithographs of the Amadeus series, published by Éditions Galilée in Paris. Visits Florence and returns to the frescoes by Giotto and Fra Angelico. Exhibition of the Amadeus lithographs at Atelier Franck Bordas in Paris. Exhibition of recent watercolors and Amadeus lithographs at Associated American Artists Gallery in New York. 1993 Associated American Artists Gallery presents a selection of collages and watercolors at the Armory show in New York. 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. Exhibitions of two groups of collages in the fall: in Paris at the Yoshii Gallery and in New York, at Associated American Artists Gallery. 1994 Writes Prism Moon to the Shaman, an allegorical tale about color. Associated American Artists Gallery presents selected recent paintings at the Armory show in New York. 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, together with recent watercolors, including major scale works created in Paris in November of 1993. The historian, Frank Anderson Trapp, writes an in-depth study of the work in

watercolor for the catalogue text. Travels to New Mexico for the Santa Fe Institute of Fine Arts. Continues to work on monotypes at Smith Andersen in Palo Alto. His sculpture, Meditation Mandala Sundial, is installed in the Hofstra University Museum Sculpture Garden. 1995 Exhibition of recent works on canvas at Associated American Artists in New York. The Chateau-Museum of Cagnes-sur-mer mounts an extensive exhibition of recent collages including collage doors from his Paris studio made in the fifties and not previously shown. The City of Nice exhibits the series of lithographs Seven Aspects of Amadeus and the Others. Galerie Proarta in Zurich shows recent paintings and watercolors; excertps from the text by poet and philosopher Jacques Garelli are published in the catalogue. ArtCurial in Paris mounts an exhibition of his lithographs. 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 The Butler Institute of American Art presents an exhibition of recent work from the last five years. Receives the Life Achievement Award from the Butler Institute, together with the medal of the City of Paris presented by Pierre Buhler, the French Cultural Counsellor of New York. Exhibitions of Cardinal Recognitions at the Galerie Georges Fall in Paris; and, Francis Jenkins Mathieu at Associated American Artists in New York. Elected to the National Academy, New York. Completes Five Incantations, five original lithographs on stone printed by Atelier Bordas in Paris, for the 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. Group exhibitions: Masters of Color and Light: Homer, Sargent and the American Watercolor Movement, the Brooklyn Museum of Art; On Paper, Associated American Artists; Three Americans [Drei Amerikaner]: Sam Francis, Paul Jenkins, Mark Tobey, at Galerie Wazzau, Davos, Switzerland; Collection of the Fondation Maeght, St-Paul-de-Vence; Regard sur l’estampe en France de 1945 à nos jours, PACA, traveling in France. Elected an honorary member of the Royal Cambrian Academy in Wales. 1999 Creates At Stroke of Twelve, an original stone lithograph for the Print Club in New York presented in October. 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 1957-59 transitional series of 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 the Galerie Arnaud. Invited to write text about the Gutai for the catalogue of the exhibition at the Jeu de Paume in Paris, and reconnects with Gutai artists he knew from Osaka who have traveled to Paris for the opening. 2000 The Butler Institute of American Art in Ohio mounts his 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, with a fully illustrated catalogue of the works shown with a text by Beatrice Buscaroli and others. Creates lithograph on stone with watercolor for the limited edition of La Misère des Philosophes by Jean-François Lyotard, published by Editions Galilée, Paris. Microcosms, an exhibition of small scale works on canvas, opens at the Joseph Rickards Gallery, New York. In honor of the New York visit of the Rev. Seiyu Kiriyama, exhibits recent paintings at the Agonshu Agama Gallery. Seiyu Kiriyama Kancho performs the Sacred Fire Ritual at the Unitarian Church. 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 the Rev. 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. Le Centre d’Art Contemporain of Bouvet-Ladubay in Saumur, presents a comprehensive exhibition of recent works on canvas. 2002 From the artist’s studio, 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. 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, is performed in Bordeaux. 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 to Prato in Italy. 2004 Japanese television, NHK, films interview in the studio about Yasuo Kuniyoshi and the Art Student League years. 2005 Works on canvas from the 60s and the 90s are presented at Robert Green Fine Arts in Mill Valley, California; and watercolors at Galerie Proarta in Zurich. 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

Paul Jenkins: Œuvres Majeures, Palais des Beaux-Arts, Lille 2005. Original paintings by the artist for his dance-drama Shaman to the Prism Seen, performed at the Paris Opera Salle Favart, 1987. Photo ©2015 Suzanne Donnelly Jenkins.

watercolors, opens at the Palais des Beaux-Arts in Lille and is attended by over 40,000 viewers. Receives the gold medal of the City of Lille, awarded at the exhibition inauguration. Works on canvas 1954-1960 are shown at the Redfern Gallery in London, with catalogue text by Kent Minturn; followed by an exhibition of works 19542003 at Galleria Open Art, Prato, with accompanying catalogue text, Cosmogonie Interiori, Bruno Corà. 2006 Water and Color, more than 50 watercolors, including 5 large scale, is shown at the Arkansas Arts Center, Little Rock. Feu Sacré, with Macha Méril and Jean-Marc Luisada, is performed in Paris at the Théâtre Mogador, with a large-scale backdrop of the artist’s painting, Phenomena Strike the Tiger, texts by George Sand and music by Chopin. The canvas, Iguana (1956) is shown in L’Envolée Lyrique: Paris 1945-1956, Musée du Luxembourg, Paris. Exhibition of works on canvas from the 70s at Robert Green Fine Arts, Mill Valley, California. 2007 The exhibition Paul Jenkins in the Fifties: Space, Color and Light, works on canvas from 1955-1960 is shown at D. Wigmore Fine Art, New York. 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. Revisits 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. This donation includes correspondence from Willem de Kooning, Beauford Delaney, Jean Dubuffet, Thomas B. Hess, Philippe Hosiasson, Joan Mitchell, Mark Tobey among many others. In addition, the collection contains a rich and extensive correspondence with the Seattle art dealer

Zoe Dusanne, and art historians Albert E. Elsen and Frank Anderson Trapp. Donates over 400 black-andwhite 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 1980, the photographs are of 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. 2008 The Archives of American Art of the Smithsonian Institution receives more than 1,000 additional items for the Paul Jenkins Papers. Continues to work on canvas and in watercolor. 2009 Recent Acquisitions—the Paul Jenkins Papers, selected documents are on view in the New York City location of the Archives of American Art. Paul Jenkins in the 1960s and 1970s: Space, Color and Light is shown at D. Wigmore Fine Art in New York City; Sandra H. Olsen of the UB Art Galleries in Buffalo writes the catalogue text. The Pollock-Krasner House & Study Center in East Hampton, New York exhibits “Under Each Other’s Spell”: Gutai and New York, featuring work from the artist’s Gutai collection — acquired during his stay in 1964 when he worked with the Gutai in Osaka — together with a painting by the artist from that time. 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 a selection of watercolors with an accompanying publication. 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. A retrospective presentation of works on canvas takes place at the Palazzo Pacchiani with more recent works at Galleria Open Art in Prato. Receives the Seals of the City of Prato. 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, together with selected paintings on canvas. 2011 Paintings from the 60s and 70s are shown in the Redfern Gallery in London; Michel Peppiatt writes the catalogue text. 2012 Tel qu’en lui, l ‘éternité le change. Stéphane Mallarmé A memorial celebrating the life of Paul Jenkins is held at the Morgan Library & Museum, New York.

2014 Paintings and watercolors are shown in the exhibition Gravity’s Edge at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. Exhibition On Canvas and Paper 1989-2009 at the Redfern Gallery, London. Exhibition at the Galleria Open Art, Prato in conjunction with the retrospective at the Museo di Pittura Murale in S. Domenico, Prato. Robert Miller Gallery in New York presents a survey exhibition of works on canvas from the 1960s to the 2000s, including four paintings from the artist’s Chapel of Meditation on view together for the first time. 2015 The Butler Institute of American Art in Ohio presents a Tribute exhibition of works on canvas 2004-2010. The British Museum in London acquires Katherine Wheel, a 1979 monoprint made at Tyler Graphics, New York. The artist’s work is shown in the group exhibitions On the Front Lines at the Art Students League of New York, based on Art Students League artists and the GI Bill; Abstraction at Robert Miller Gallery in New York; and Martha Jackson Graphics at the UB Galleries at the University of Buffalo.

Installation view of Phenomena Reverse Spell 1963 and Phenomena Tibetan Banner 1973 in the exhibition Gravity’s Edge at the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution, Washington, D.C. February 7 – June 15, 2014. Photo ©2014 Suzanne Donnelly Jenkins.

Solo exhibition at the Pinacoteca of Gaeta: Colors Unseen curated by Giorgio Agnisola. A large-scale canvas from 1969 is among several Jenkins’ works on canvas shown in the group exhibition A Tribute to David K. Anderson at the University of Buffalo, November 2015 to March 2016. The Cleveland Museum of Art acquires an important work from 1960, Phenomena When I Looked Away, one of the last paintings in oil. 2016 The University of Buffalo Art Galleries exhibit the artist’s installation, Chapel of Meditation, along with an expanded version of On the Front Lines. A seminal canvas work in triptych from 1963, Phenomena Galileo Galilei, is shown in the exhibition The Women Who Made Modern Art Modern at X Contemporary, Miami. The Fondation Maeght in St-Paul-de-Vence exhibits a large canvas from its collection in Espace Espace! Abbot Hall Art Gallery of Lakeland Arts, Kendal, Cumbria UK, mounts an exhibition of selected canvases, together with a catalogue.

2017 Exhibition of Made in America at the Galleria Open Art, Prato. Participates in the exhibition Intuition at the Palazzo Fortuny, coinciding with the Venice Biennale.

Installation view of the artistâ&#x20AC;&#x2122;s Chapel of Meditation, UB Anderson Gallery, State University of New York at Buffalo, 2016.

Selected Solo Exhibitions 2017 Robert Green Fine Arts, Mill Valley. 2016 Abbot Hall Art Gallery. Kendal, Cumbria. UB Anderson Gallery, State University of New York at Buffalo. 2015 Butler Institute of American Art, Youngstown. 2014 Robert Miller Gallery, New York. Museo di Pittura Murale, Prato. Redfern Gallery, London. Galleria Open Art, Prato. 2012 Robert Green Fine Arts, Mill Valley. 2011 Redfern Gallery, London. 2010 Crocker Art Museum, Sacramento. Robert Green Fine Arts, Mill Valley. Palazzo Pacchiani, Prato. Galleria Open Art, Prato. UB Anderson Gallery, State University of New York at Buffalo. Galleria Civica Ezio Mariani di Seregno. 2009 Cummer Museum of Art & Gardens, Jacksonville. D. Wigmore Fine Art, New York. Archives of American Art, Smithsonian Institution, NY location. Robert Green Fine Arts, Mill Valley, California. 2008 Robert Green Fine Arts, Mill Valley, California. 2007 Redfern Gallery, London. D. Wigmore Fine Art, New York. 2006 Arkansas Arts Center, Little Rock. Robert Green Fine Arts, Mill Valley, California. 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.

2004 Museo Civico, Assessorato alla Cultura di Pizzighettone. 2003 Redfern Gallery, London. Jerald Melberg Gallery, Charlotte. 2002 Château Haut-Gléon, Les Corbières. 2001 Centre d’art contemporain, Bouvet Ladubay, Saumur. Galerie Proarta, Zurich. 2000 Basilica Palladiana, Vicenza. Butler Institute of American Art, Youngstown. Vero Beach Museum of Art, Florida (collage retrospective). Joseph Rickards Gallery, New York. 1999 Hofstra Museum, Hempstead, New York. Joseph Rickards Gallery, New York. Galerie Patrice Trigano, Paris. 1998 Joseph Rickards Gallery, New York. 1997 Butler Institute of American Art, Youngstown. Galerie Georges Fall, Paris. Galerie Proarta, Zurich. 1996 Lorenzelli Arte, Milan. 1995 Centre d’art contemporain, Bouvet Ladubay, Saumur. Château-Musée Grimaldi, Cagnes-sur-mer. Associated American Artists, New York. Galerie Proarta, Zurich. 1994 L’Eau et la Couleur, traveling watercolour exhibition in France. La Maison Française, New York University, New York (collages: Hommage à Jean-Louis Barrault). Gallery Art Point, Tokyo. Pasquale Iannetti Gallery, San Francisco. Butler Institute of American Art, Youngstown [collages]. 1993 Smith Andersen Gallery, Palo Alto. Yoshii Gallery, Paris (collages). Associated American Artists, New York (collages).

1992 Roswitha Haftmann Gallery, Zurich. Atelier Franck Bordas, Basel Art Fair and Paris. Guy Pieters Gallery, Knokke-le-Zoute. Associated American Artists, New York. Galerie Iris Wazzau, Davos, Switzerland. 1991 Gimpel & Weitzenhoffer Gallery, New York (polyptychs I). Gimpel Fils, London (polyptychs II). 1990 Castello Doria, Portovenere. Galerie Patrice Trigano, Paris. Gallery Art Point, Tokyo. 1989 Musées de Nice: Galerie des Ponchettes et Galerie d’art contemporain, Nice. 1988 Samuel Stein Gallery, Chicago. Galerie Patrice Trigano, Paris. Gimpel & Weitzenhoffer Gallery, New York (collages). Galerie Régis Dorval, Le Touquet. Gana Gallery, Seoul. Galleria La Loggia, Bologna. Carone Gallery, Fort Lauderdale. 1987 Musée Picasso, Antibes (retrospective). Galerie Régis Dorval, Lille. 1986 Butler Institute of American Art, Youngstown (collages). Gimpel Fils, London. MR Galleria d’Arte Contemporaneo, Rome. Galerie Michel Delorme, Paris. Roswitha Haftmann, Zurich. Gallery Art Point, Tokyo. Gimpel & Weitzenhoffer Gallery, New York. 1985 Gimpel & Weitzenhoffer Gallery, New York and FIAC, Paris. Gallery Moos, Toronto. Galerie Georges Fall, Paris. Galleri Art Atrium, Stockholm. 1984 Musée d’art contemporain, Dunkirk (collages). Gimpel & Weitzenhoffer Gallery, New York. Carone Gallery, Fort Lauderdale. 1983 Mead Art Museum, Amherst. Gimpel & Weitzenhoffer Gallery, New York. Galerie Georges Fall, Paris.

Alex Rosenberg Gallery, New York (collages). Contemporary Gallery, Dallas. 1982 Gimpel Fils, London. I. Irving Feldman Galleries, Detroit. Galerie Georges Fall, Paris. 1981 Belk Art Gallery, Western Carolina University, Cullowhee. French Cultural Services, New York, and la Maison Internationale du Théâtre, Théâtre du Rond-Point, Paris (collages: Hommage à Jean-Louis Barrault). Gimpel & Weitzenhoffer Gallery, New York. 1980 Palm Springs Desert Museum, Palm Springs, California (retrospective). Gimpel Fils, London. Contemporary Gallery, Dallas. Albert White Gallery, Toronto. Galerie Karl Flinker, Paris. Gallery Gwyn Hodges, Oxford. 1979 Gimpel & Weitzenhoffer Gallery, New York. Baukunst Galerie, Cologne. Elaine Horwitch Gallery, Scottsdale. Samuel Stein Gallery, Chicago. 1978 Gimpel & Weitzenhoffer Gallery, New York. Samuel Stein Gallery, Chicago. Balcon des Arts, Paris. Diane Gilson Gallery, Seattle. Galleria d’Arte Narciso, Turin. 1977 Martha Jackson Gallery, New York. Gimpel & Hanover Galerie, Zurich. Galerie Cours Saint-Pierre, Geneva. Sears Bank & Trust Company, Chicago. Philbrook Art Center, Tulsa. Diane Gilson Gallery, Seattle. 1976 Samuel Stein Gallery, Chicago. Galerie Karl Flinker, Paris and Basel Art Fair. Gimpel & Weitzenhoffer Gallery, New York. 1975 Gimpel & Weitzenhoffer Gallery, New York. Galerie Tanit, Munich.

1974 Musée des Beaux-Arts de Charleroi, Charleroi (retrospective). Baukunst Galerie, Cologne. Columbus Gallery of Fine Arts, Columbus. Gimpel & Weitzenhoffer Gallery, New York. Gimpel Fils, London. Galerie Ulysses, Vienna. 1973 Galerie Karl Flinker, Paris. Art Gallery of the University of Notre Dame, Notre Dame. Lindenwood Colleges Art Gallery, St. Charles, Missouri. Oklahoma Art Center, Oklahoma City. Martha Jackson Gallery, New York. Gimpel & Weitzenhoffer Gallery, New York. 1972 San Francisco Museum of Art, San Francisco (retrospective). Corcoran Gallery of Art, Washington, D.C. Initiates traveling watercolour exhibition continuing to the 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. 1971 Museum of Fine Arts, Houston (retrospective). Martha Jackson Gallery, New York. Richard Gray Gallery, Chicago. Gertrude Kasle Gallery, Detroit.

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

1970 Martha Jackson Gallery, New York.

1958 Martha Jackson Gallery, New York.

1969 Martha Jackson Gallery, New York.

1957 Galerie Stadler, Paris.

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

1956 Martha Jackson Gallery, New York.

1966 Martha Jackson Gallery, New York. Arthur Tooth & Sons, London. Galerie Agnès LeFort, Montreal. Hope Makler Gallery, Philadelphia.

1954 Studio Paul Facchetti, Paris. Zimmergalerie Franck, Frankfurt am Main.

1965 Galerie Karl Flinker, Paris. Gertrude Kasle Gallery, Detroit.

1955 Zoe Dusanne Gallery, Seattle.

Museum Collections Australia Canberra, Australian National Gallery. Austria Vienna, Albertina Museum. Canada Montreal, Musée d’art contemporain de Montréal. Toronto, Art Gallery of Ontario. France Antibes, Musée Picasso. Dunkirk, Musée d’art contemporain. Paris, Fonds national de l’art contemporain du ministère de la culture et de la communication. Paris, Musée national d’art moderne-Centre Pompidou. Paris, Musée d’art moderne de la ville de Paris. Saint-Paul-de-Vence, Fondation Maeght. Villeneuve d’Ascq, Musée d’art moderne. Germany Cologne, Kölnischer Kunstverein. Cologne, Wallraf-Richartz Museum. Hanover, Kestner-Gesellschaft. Munich, Bayerische Staatsgemaldesammlungen, Neue Pinakothek. Stuttgart, Staatsgalerie. Israel Jerusalem, The Israel Museum. Tel Aviv, The Tel Aviv Museum of Art. Japan Hiroshima, The Museum of Contemporary Art. Osaka, The National Museum of Art. Tokyo, National Museum of Western Art. Tokyo, The Seibu Museum. Toyama, The 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. Kendal, Cumbria, Abbot Hall Art Gallery. Kingston upon Hull, Ferens Art Gallery. Lancaster, Peter Scott Gallery, Lancaster University. Liverpool, Walker Art Gallery. London, British Museum. 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, University of Texas Art Museum, Huntingdon Art Gallery. Baltimore, Baltimore Museum of Art. Berkeley, Berkeley Art Museum and Pacific Film Archive. Boca Raton, Boca Raton Museum of Art. Bloomfield Hills, Cranbrook Art Museum.

Boston, Museum of Fine Arts. Buffalo, Albright-Knox Art Gallery. Buffalo, UB Anderson Gallery, 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. 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. Fort Lauderdale, NSU Art Museum. Grand Rapids, Grand Rapids Art Museum. Hamilton, Picker Art Gallery, Colgate University. Hempstead, Hofstra Museum of Art. Honolulu, Honolulu Academy of Arts. 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. Louisville, J. B. Speed Art Museum. 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. Ridgefield, Aldrich Museum of Contemporary 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 Museum of Art, San Jose, California. Seattle, Seattle Art Museum. South Hadley, Mount Holyoke College Art Museum. Springfield, Missouri, Springfield Museum of Art. Stanford, Iris and B. Gerald Cantor Center for Visual Arts. Savannah, Telfair Museum of Art. Terre Haute, Sheldon Swope Art Gallery. 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, Butler Institute of American Art.

Acknowledgements All works of art by Paul Jenkins ©2018 Estate of Paul Jenkins Photographs courtesy the Estate of Paul Jenkins Arnold Newman photographs printed with generous permission from Arnold Newman Properties and Getty Images Essay Paul Jenkins, Yasuo Kuniyoshi and Asian Affinities ©2018 Gail Levin Catalogue ©2018 The Redfern Gallery and the Estate of Paul Jenkins 2018 Front cover Phenomena Out of Sight 2010 (detail) acrylic on canvas 78.7 × 78.7 ins, 200 × 200 cm

Catalogue design Graham Rees Design Photography Roz Akin Noel Allum Serge Ephraïm Roy Fox Biff Heinrich Timothy Pyle Light Blue Studio Michael Tramis Todd-White Chronology and documentation Suzanne Donnelly Jenkins Published by The Redfern Gallery, London 2018 Commemorating the 95th anniversary of the artist’s birth and in conjunction with the exhibition Paul Jenkins: Paintings and Works on Paper 1984-2010 13 June – 4 August 2018 ISBN 978-0-948460-73-9 All rights reserved. This book may not reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage or retrieval system without prior permission in writing from the gallery and from the Estate of Paul Jenkins and the copyright owners.

20 Cork Street, London W1S 3HL +44 (0)20 7734 1732 redfern-gallery.com

Erratum p. 91 Installation view of the artistâ&#x20AC;&#x2122;s Chapel of Meditation, UB Anderson Gallery, State University of New York at Buffalo, 2016 (corrected after print).