A Centennial Retrospective
ENRICO DONATI
A Centennial Retrospective
ENRICO DONATI
WEINSTEIN GALLERY
Photograph of Enrico Donati by Hans Namuth, c. late 1940s. Courtesy Center for Creative Photography, University of Arizona Š 1991 Hans Namuth Estate
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Front and back cover: Above & Below (detail, see p. 51) Inside front cover: 3 Grigi e Nero (detail, see p. 27) Inside back cover: Coptic Wall Verdoso (detail, see p. 44)
ALCHEMY ENRICO DONATI (1909–2008)
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s an artist, I was always involved with the aesthetic values of alchemy and magic, and in their influence on the creative imagination of man. Even though the alchemists have maintained that their art was ancient, it is a fact, instead, this “magic vision” is actually very young and can attract the “real,” and influence people. What interests me is the fight in which alchemists have sought the fusion of the spirit, the brain, and the divine. The alchemic vision of the world, for me, is not the creation of gold, but something else, infinitely superior to mere craft or science because transformation cannot be reproduced solely by ability. Moral virtues are necessary. Only when a man has fused spirit, brain, and divine encompassed in a moral orbit will he reach a sublime state of perfection and will he be able to create in a vacuum of purity. The alchemists have lived in seclusion as if they were in a tacit protest against life and its external elements, and in this seclusion I find a real, common stamp, the external stream of life that has always attracted me. With his intelligence and art, man has always wished to rejoin this stream via studies and contemplation, ascending gradually toward the divine light. Khunrath could not be bored. On the door to this entrance was written: “Be vigilant, even when you sleep.” Khalid wrote: “The stone holds within itself all the colors of red, white, yellow, blue sky, and green.” Every philosopher agrees with this subject. Beyond the transformation of metals, the stone has other miraculous virtues, among which is prolonged life beyond the limit of natural. In all of this I felt tied up, and I tried to maintain this vision in the life of my work. The people whose company I frequented, were, in a major way, involved in Alchemy and magic: André Breton, Marcel Duchamp, Antonin Artaud, Kurt Seligmann, etc. I started to get interested in alchemy around 1942–43. An artist can create an isolated element. For me, art starts when the brain is conscious that the element does not exist by itself, but has needs, contrasting and complementary, and requests a visual situation to give it life. My work is involved with the isolated elements of nature and their different forms. This intuitive and spontaneous development creates forces that become one with the situation.
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A CENTENNIAL RETROSPECTIVE ROWLAND WEINSTEIN
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ne of the great pleasures of my professional career was the opportunity to work with Enrico Donati, who passed away in 2008 at the age of 99. I discovered his work through the 2005 exhibition Surrealism USA, which also featured the work of Gerome Kamrowski and Gordon Onslow Ford, whose estates the gallery represents. Among a series of wall tags bearing both artists’ birth and death dates, there was one which read simply “Born 1909.” Enrico Donati was in fact, at that point, the “last living Surrealist.” I wrote a letter to him and was invited to meet him. I was to discover a studio full of Enrico’s masterpieces, virtually intact from the early 1940s to the 21st century. These pieces had resided since their creation in one of Manhattan’s most beautiful lofts overlooking Central Park South, which was Donati’s studio. Enrico and I spent the day admiring the works together, Enrico as enthusiastic as I. This meeting led to our 2006 Weinstein Gallery exhibition and an overwhelming resurgence of interest in Donati’s artwork and life. In the larger sense, this show also helped to shed much needed light on the cultural and intellectual transfer that occurred during World War II from Europe to the United States, of which Donati was a key example. The most palpable consequence of our initial Weinstein show was that Timothy Burgard, the chief curator of American art at the de Young Museum in San Francisco, was so moved by seeing the work in person, which previously he had only read about in the history, that he decided to mount a solo exhibition of Donati’s work. The result was The Surreal World of Enrico Donati, which took place in 2007 and examined Donati’s remarkable contributions to Surrealism and Abstract Expressionism. Simultaneously the gallery complemented this showing with a fuller exhibition of works from all of Donati’s seven decades of painting. Our current exhibition marks the first posthumous retrospective of the work of Enrico Donati. It is our first opportunity to look back in a comprehensive way over the 100 years since Donati’s birth and celebrate the legacy and life of this most accomplished of individuals.
Untitled (The Peach), c. 1941 Oil on canvas, 36 x 30 inches
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Donati first came to the United States in the 1930s to study Native American culture and to collect their artifacts. He would move between the U.S. and Europe several times before making New York his home in 1940. Having set aside his early career as a composer, he threw himself into painting full time. His work showed a certain level of introspection and an innate ability to handle paint. One of Donati’s early works, a nude titled The Peach (c. 1941, opposite) foretells his fascination soon after with the medieval myth of the mandragora,
a mysterious plant that is a member of the nightshade family. The transition was a natural one, as its large poisonous root system in fact strikingly resembles the human figure. The lore surrounding the mandragora root makes reference to its magical properties regarding concepts of birth, death, and rebirth. It would prove to be the perfect metaphor and inspiration for Donati’s ongoing painting. It would also capture the attention of André Breton, Surrealism’s prominent leader. By the early 1940s Surrealism had been at the forefront of avant-garde art for nearly twenty years. Many of its members had been exiled to the United States for the duration of the War. Breton and Donati met through a mutual friend, Lionello Venturi. Venturi was a respected art historian who gave Donati a letter of introduction to Breton after seeing his show at the New School for Social Research in 1943. Upon meeting Donati and seeing his work, Breton immediately proclaimed him a Surrealist. In this way Donati came to know and collaborate with such twentieth-century giants as Yves Tanguy, Max Ernst, Roberto Matta, Alexander Mandragora Nest, 1947 Calder, and Marcel Duchamp. He was quickly Ink on paper, 14 x 11 inches regarded as the future of Surrealism and began an eight-year exploration into the deep realms of the subconscious using the mandragora myth as a guide. Donati’s works of this period were greeted with much fanfare. The art critic Nicolas Calas concisely stated, “Donati’s paintings are love songs,” and Breton himself would famously say, “I love the painting of Enrico Donati as I love a night in May.” In 1947 Donati and Duchamp collaborated and helped to organize the Exposition Internationale du Surréalisme in Paris. Although the show announced Surrealism’s return to Europe after the War it also marked the beginning of the end of Surrealism as a viable art movement. Donati choose to stay in New York City to remain at the ever-evolving forefront of twentieth-century art. Donati’s post-Surrealist work would undergo a major transition in the late 1940s to include series of finely detailed geometric abstractions that were as mechanized as the madragoras were organic such as La Prière (p. 18). He also experimented with a series he called “spaziale,” or “spatial” paintings. The thin color washes stand in contrast to the light texture that populates and subtly directs the viewer’s eye. In the case of Spaziale XXIII (p. 20) we sense a pyramidal base that appears to vaporize as we look for more detail. The surface itself seems to have undergone a kind of erosion, with drips and other evidence of the artist’s allowing random chance to guide him. By the early 1950s Donati’s artwork had undergone a complete metamorphosis, and he had begun to show his work at the prestigious Betty Parsons Gallery, which had also exhibited the work of Pollock, Rothko,
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Reinhardt, Newman, and others of the New York School. Donati’s interest in texture had also evolved; it was now the primary visual element in his painting. By applying thick opaque layers of vacuum cleaner dirt and dense carpet fibers that had been mixed with pigment and medium, Donati was able to create a surface that was, as Duchamp described, “like the surface of the Moon.” The name would stick and the “Moonscapes” were born. These beautiful rich canvases (see pp. 26–29) left any sense of illusion behind. The nature of the texture is so encompassing that Donati’s work of the 1950s must be seen to be truly experienced, as any form of reproduction comes up strikingly short. The dark colors of the Moonscapes would be replaced by the earthen-toned “Sargon Series” paintings of the mid- to late 1950s (see pp. 30–31), just as the carpet fiber and vacuum dirt would give way to finely crushed sands and silicates. They would be applied to the canvases layer by layer and worked back into it while the surface was still malleable. The nature of the texture creates a surface of marvelous dimension and motion. Through this period of growth Donati also came to accept the fossil as a metaphorical guide in his work. According to Donati, “The fossil has an incredibly animated inside form. . . and carries the whole cycle of creation in it. . . to me the fossil contains within itself all the mystery, power, and indestructibility of life.” It would be through this revelation that Donati’s great Fossil Series would begin. In 1960 Donati brought together his mastery of texture and the intense beautiful color that had been absent from his art for a full decade. Paintings such as 222 CPS (p. 33) exemplify his use of multiple layers of texture infused with interwoven bands of colors that allude to having been deposited on the canvas by some grand geological force. Upon closer inspection you see the gray central surface has been scored in such a way that it appears inscribed in some forgotten language. Throughout the next decades Donati would continue to expand his research into the possibilities and concepts of lost cultures and language. Whether he be revisiting the Gaelic myth of the walking stones (pp. 38–39) or exploring Egyptian history with his Luxor and Coptic Wall Series (pp. 43–44), he always managed to apply the pioneering precepts and vitality of the early Surrealists.
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I was privy to Donati’s personal vitality on numerous occasions during those last three years of his life. I remember fondly his gift for storytelling, as he regaled me with delightful anecdotes of his lunches with Duchamp, Breton, Ernst, and others at Larré’s French restaurant. His zest for life was on display in full form when, upon stepping into the gallery at his 2006 retrospective, he cried with joy at the sight the full display of all the “children”— decades’ worth of paintings he had been saving—that he had released to my care. And this vitality was never so vivid as when, at the age of 98, he made an impromptu speech that captivated a crowd of hundreds for more than twenty minutes at the dinner at the de Young Museum in honor of his 2007 exhibition there. One day in particular stands out. Donati and I were in his studio selecting work for the 2006 exhibition. He pulled out one work after another, and each time he would exclaim rhetorically, “Who would do such a thing? What was I thinking? I must have been crazy.” This, again and again. The answer, though, was clear—only Enrico Donati would have done these things, and done them so magnificently. I could empathize with and revel in his sentiments, however. To re-approach the work of Enrico Donati, in all its phases, is to be constantly surprised by its freshness and life. This collection of Donati’s work is like no other. The pieces in this show were the ones he chose to keep until his death, the ones he kept to remind himself of the incredible journey that was his life. And, in many ways, this exhibition is the grand epitaph not just of Donati but of Surrealism as well. Donati was the last surviving member of the single most influential art movement of the twentieth century. His death marks the end of Surrealism as a living movement. It is now purely historical and has become a fossil in itself. But the works live on in vibrant form. I am pleased to present this Centennial Retrospective celebrating the life and art of Enrico Donati. I would like to thank Travis Wilson for his assistance in drafting this essay, as well as Luke Weinstein for his contributions. I would also like to thank Briana Tarantino, Nicholas Pishvanov, and Jasmine Moorhead for their production, photographic, and editorial roles, respectively, and Kendy Genovese for her work preparing the exhibition. Finally, I am grateful to both Kathleen Hill, indispensable registrar of the Donati estate, and Adele Donati, for aiding me and allowing me to present this body of work.
PAINTINGS
L’Huître et Ses Compagnons, 1942 Oil on canvas, 30 x 40 inches
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3 ĂŠtres Marins, 1943 Oil on canvas 25 x 30 inches
Le Philtre II, 1943 Oil on canvas 22 x 28 inches
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Veille de Guerre, 1943 Oil on canvas, 30 x 25 inches
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Ă€ la Recherche de l'Or, 1945 Oil on canvas 25 x 30 inches
Study for Collage, 1945 Mixed media on canvas 20 x 24 inches
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Lutherie de Sirocco, c. 1944 Oil on canvas, 20 x 24 inches
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Discours au Peuple, 1946 Oil on canvas, 30 x 25 inches
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Archimboldo, 1945 Oil on canvas, 30 x 20 inches
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Decalcomania (60), 1943 Oil tempera on paper, 91⁄2 x 131⁄2 inches Decalcomania #4, 1945 Ink on paper, 151⁄2 x 131⁄2 inches
Decalcomania (59), c. 1946 Oil tempera on paper, 16 x 13 inches Decalcomania (66), c. 1946 Oil tempera on paper, 131⁄2 x 151⁄2 inches
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Involved, 1946 Mixed media on canvas, 36 x 30 inches
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Rayons Bleutés, 1946–47 Oil on canvas, 30 x 25 inches
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Untitled, 1947 Oil on canvas, 30 x 25 inches
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La Prière, 1947 Oil on canvas, 30 x 25 inches
La Prière de l'Araignée, 1946–47 Oil on canvas, 24 x 20 inches
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Somnamble, 1948 Oil on canvas, 30 x 21 inches
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Spaziale XXIII, 1948 Mixed media on canvas, 52 x 60 inches
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Spaziale, 1948 Oil on canvas, 40 x 30 inches
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Meteor, 1949 Oil on canvas, 50 x 40 inches
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Lumaca, 1949 Oil on canvas, 50 x 40 inches
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Machine à Écrire, 1949 Oil on canvas, 30 x 25 inches
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The Grand Tour, 1949-50 Mixed media on canvas 50 x 8 inches
Forget Me Not, 1949 Mixed media on canvas 50 x 8 inches
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Moonscape—Blue & Black & White Line, 1953 Mixed media on canvas, 15 x 30 inches Untitled (196), c. 1950s Mixed media on canvas, 12 x 9 inches
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3 Grigi e Nero, 1954 Mixed media on canvas, 70 x 50 inches
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Untitled (198), c. 1950s Mixed media on canvas, 12 x 10 inches Moonscape—Ivory & Black Lines, 1952 Mixed media on canvas, 24 x 28 inches
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Grigio a Grigio, 1953–54 Mixed media on canvas, 25 x 30 inches Unfortunately They Have 2 Legs, 1955 Mixed media on canvas, 30 x 24 inches
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Gudea Priest of Akkad, 1957–58 Mixed media on canvas, 72 x 50 inches
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Fighters, 1958 Mixed media on canvas, 38 x 50 inches
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Fossil Series—Grey and Terracotta, 1961 Mixed media on canvas, 25 x 30 inches
Fossil Series—Brown Tablet, 1961 Mixed media on canvas, 25 x 30 inches
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222 CPS, 1962 Mixed media on canvas, 50 x 60 inches
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Ice & Fossil, 1963 Mixed media on canvas, 44 x 57 inches
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Cosmic Cauldron, 1969–71 Mixed media on canvas 50 x 60 inches Untitled (5 Squares), c. 1970s Mixed media on canvas 32 x 36 inches
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Six Squares in Search of a Title II, 1971 Mixed media on canvas, 45 x 39 inches
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Magic Circles, 1971 Mixed media on canvas 40 x 50 inches
Magic Squares, 1971 Mixed media on canvas 40 x 50 inches
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Walking Stones, 1973 Mixed media on canvas, 36 x 36 inches Walking Stones VI, 1974 Mixed media on canvas, 40 x 50 inches
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Walking Stones VIII, 1974 Mixed media on canvas, 30 x 40 inches
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Checkmate, 1976 Mixed media on canvas, 36 x 40 inches
Moonscape VI, 1976 Mixed media on canvas, 36 x 40 inches
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Donati’s San Gimignano X, 1976–77 Mixed media on canvas, 50 x 60 inches
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Donati's Dialogue of Carcassonne II, 1978 Mixed media on canvas, 50 x 50 inches
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Luxor III, 1978 Mixed media on canvas, 60 x 50 inches
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Luxor (Midnight) VI, 1979 Mixed media on canvas, 32 x 36 inches Coptic Wall Verdoso, 1980 Mixed media on canvas, 40 x 30 inches
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The Battle of Jericho, 1978 Mixed media on canvas, 50 x 60 inches
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Khatchkar III, 1981 Mixed media on canvas, 60 x 60 inches
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Fragments, 1983 Mixed media on canvas, 40 x 36 inches
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Untitled, c. 1985 Mixed media on canvas, 28 x 36 inches Underwater Reliefs, 1985 Mixed media on canvas, 24 x 40 inches
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Les Oreilles du Monde, 1984 Mixed media on canvas, 32 x 78 inches Abu Simbel V, 1984 Mixed media on canvas, 30 x 24 inches
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Blue Atlantis, 1988 Mixed media on canvas, 32 x 36 inches
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Above & Below, 1988 Mixed media on canvas, 36 x 42 inches
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153, 1989 Mixed media on canvas, 48 x 36 inches
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1960–1970–1980–1990, 1990 Mixed media on canvas, 50 x 60 inches
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Fleurs de Rocaille, 1992 Mixed media on canvas, 50 x 40 iniches
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3 Coins in a Fountain, 1993 Mixed media on canvas, 36 x 40 inches
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Trip to the Future, 1994 Mixed media on canvas, 40 x 40 inches
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Le Mystère de Nuit, 1995 Mixed media on canvas, 32 x 40 inches
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History Again, 1995 Mixed media on canvas, 30 x 25 inches
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Minotaure, 1996 Mixed media on canvas, 40 x 50 inches
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Le Grand Transparent, 1996 Oil on canvas, 50 x 50 inches
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Family Crest, 1997 Oil on canvas, 42 x 46 inches
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Brothers & Sisters, 1997 Oil on canvas, 24 x 36 inches Ville Imaginaire, 1998 Oil on canvas, 10 x 50 inches
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Loupe Marine et Loupe Terrestre, 1998 Oil on canvas, 30 x 40 inches
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Inscription 2200 BC, 2000 Mixed media on canvas, 36 x 32 inches
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Evil Eye, 1946 Mixed media, 103⁄8 x 113⁄4 x 81⁄4 inches (irreg.) (One of two similar works of this title)
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CHRONOLOGY AND EXHIBITION HISTORY 1909 1928 1929 1933 1934
Born, Milan, Italy Enrolls at University of Pavia Receives Doctorate in Sociology Moves to Paris; joins a group of composers Visits American Southwest and Canada to collect Native American and Eskimo artifacts 1935 Moves to New York 1936 Returns to Paris. Enrolls in art school at the École de la rue de Berri 1940 Moves back to New York 1942 First solo exhibition, Passedoit Gallery, New York 1943 Exhibition at New School for Social Research, New York Meets André Breton and others of the Surrealist movement 1944 Breton writes famous preface to Passedoit Gallery exhibition catalogue, in which he concludes “I love the painting of Enrico Donati as I love a night in May.” 1945 Becomes a naturalized American citizen Collaborates with Marcel Duchamp on installation of window display at Brentano’s store in New York 1947 Helps Duchamp and Breton organize the Exposition Internationale du Surréalisme at Galerie Maeght, Paris 1947–49 Works in Surrealist geometrical style 1948 Experiments in Letters Series 1949 Begins Moonscape Series 1954 First show at Betty Parsons Gallery, New York Member of Jury of Fullbright Scholarship Program 1955 Travels to India, Japan, Hong Kong 1956 Begins Sargon Series 1960 Begins Fossil Series 1960–62 Visiting lecturer at Yale University 1963 Member of Jury of Fulbright Scholarship Program 1965 Enrico Donati by Peter Selz published by Éditions Georges Fall, Paris 1968 Begins Antimagnetic Series 1970, 72 Chairman National Committee, University Art Museum of California, Berkeley 1978 Begins Coptic Walls Series 1979 Visits Egypt 1995 Monograph Enrico Donati: Surrealism and Beyond by Theodore F. Wolff published by Hudson Hills Press 1997 Retrospective at Boca Raton Museum, Florida 2007 Solo exhibition, de Young, Fine Arts Museums of San Francisco 2008 Dies in New York City at the age of 99 PUBLIC COLLECTIONS Albright Knox Art Gallery, Buffalo, New York Baltimore Museum of Art, Maryland Berkeley Art Museum, University of California, Berkeley Detroit Institute of Arts, Detroit, Michigan Doane College, Crete, Nebraska
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Fine Arts Museums of San Francisco Galleria Nazionale d’Arte Moderne, Rome, Italy Galleria Nazionale d’Arte Moderne, Milan, Italy Solomon R. Guggenheim Museum, New York Fort Lauderdale Museum of Art, Fort Lauderdale, Florida High Museum of Art, Atlanta, Georgia Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Housatonic Community College, Bridgeport, Connecticut International Center of Aesthetic Research, Turin, Italy Israel Museum, Jerusalem Johns Hopkins Hospital, Baltimore, Maryland Lowe Museum, University of Miami, Florida Massachusetts Institute of Technology, List Visual Art Center, Cambridge Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium Museum of Fine Arts, St. Petersburg, Florida Museum of Modern Art, New York Neuberger Museum of Art, State University of New York at Purchase Newark Museum, New Jersey Oklahoma City Art Museum Orlando Museum of Art, Florida Palm Springs Desert Museum, Palm Springs, California Philadelphia Museum of Art, Pennsylvania Portland Art Museum, Oregon Rockefeller University, New York Arturo Schwarz Surrealist Foundation, Milan, Italy Seattle Art Museum, Washington Swarthmore College Art Collection, Swarthmore, Pennsylvania Tacoma Art Museum, Washington University of Michigan Art Gallery, Ann Arbor University of Texas at Austin, Archer M. Huntington Art Gallery Tougaloo College, Tougaloo, Mississippi Vassar College, Poughkeepsie, New York Washington University Gallery of Art, St. Louis, Missouri Whitney Museum of American Art, New York Yale University Art Gallery, New Haven, Connecticut SELECTED SOLO EXHIBITIONS 2010 2007 2006 1997 1996 1995 1994
Weinstein Gallery, San Francisco, California de Young Museum, San Francisco, California Weinstein Gallery, San Francisco, California Weinstein Gallery, San Francisco, California Boca Raton Museum of Art, Boca Raton, Florida Maxwell Davidson Gallery, New York Horwitch Newman Gallery, Scottsdale, Arizona Horwitch Newman Gallery, Scottsdale, Arizona Maxwell Davidson Gallery, New York Carone Gallery, Fort Lauderdale, Florida Louis Newman Gallery, Beverly Hills, California
1992 1991 1990 1989 1987 1986 1985 1984 1982 1980 1979
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1976 1974 1972 1970 1968 1966 1965 1964 1963 1962 1961 1960 1959 1958 1957 1956 1955 1954 1953 1952
Carone Gallery, Fort Lauderdale, Florida Louis Newman Gallery, Beverly Hills, California Carone Gallery, Fort Lauderdale, Florida Galerie Zabriskie, Paris Louis Newman Gallery, Beverly Hills, California Gimpel & Weitzenhoffer Gallery, New York Zabriskie Gallery, New York Gimpel & Weitzenhoffer Gallery, New York Louis Newman Gallery, Beverly Hills, California Georges Fall, Paris Carone Gallery, Fort Lauderdale, Florida Gimpel & Weitzenhoffer Gallery, New York Ankrum Gallery, Los Angeles Staempfli Gallery, New York Palm Springs Desert Museum, California International Art Fair, Grand Palais, FIAC, Paris Ankrum Gallery, Los Angeles Norton Gallery of Art, West Palm Beach, Florida Osuna Gallery, Washington, D.C. The Phillips Collection, Washington, D.C. Davenport Municipal Art Gallery, Iowa Hunter Museum of Art, Chattanooga, Tennessee Wildenstein Art Center, Houston Ankrum Gallery, Los Angeles Minnesota Museum of Art, St. Paul The Chrysler Museum, Norfolk, Virginia Fairweather Hardin Gallery, Chicago Tennessee Fine Arts Center, Nashville Staempfli Gallery, New York Staempfli Gallery, New York Staempfli Gallery, New York Staempfli Gallery, New York Staempfli Gallery, New York Staempfli Gallery, New York J.L. Hudson Gallery, Detroit, Michigan Obelisk Gallery, Washington, D.C. J.L. Hudson Gallery, Detroit, Michigan Hayden Library, Massachusetts Institute of Technology, Cambridge Staempfli Gallery, New York Neue Galerie im Kunstlerhaus, Munich, Germany Staempfli Gallery, New York Palais des Beaux-Arts, Brussels, Belgium Betty Parsons Gallery, New York Betty Parsons Gallery, New York Lowe Art Gallery, Syracuse University, New York Betty Parsons Gallery, New York Galleria del Naviglio, Milan Betty Parsons Gallery, New York Betty Parsons Gallery, New York Galleria del Cavallino, Venice Galleria del Cavallino, Venice Alexandre Iolas Gallery, New York Galleria del Cavallino, Venice Galleria del Naviglio, Milan
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1949 1947
1946 1945 1944
1943 1942
Galleria Corso Vittorio Emanuele II, Milan Galleria del Milione, Milan Paul Rosenberg Gallery, New York Galleria dell’Obelisco, Rome Durand-Ruel Galleries, New York André Weil, Paris Durand-Ruel Galleries, New York Galerie Drouant-David, Paris Gallery Studio, Chicago Krouse College, Syracuse University, New York Durand-Ruel Galleries, New York Durand-Ruel Galleries, New York The Arts Club of Chicago, Illinois G. Place Gallery, Washington, D.C. Passedoit Gallery, New York New School for Social Research, New York Passedoit Gallery, New York
SELECTED GROUP EXHIBITIONS Albright-Knox Art Gallery, Buffalo, New York, 1946 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, 1967 Alexandre Iolas Gallery, New York, 1952 Allentown Art Museum, Pennsylvania, 1963 Alter & Gil Gallery, Los Angeles, 1999, 2000 American Academy and Institute of Arts and Letters Art Galleries, New York, 1981 American Federation of Arts, New York, 1959 (organized; traveled to nine United States venues) Amici della Francia Gallery, Milan, 1951 Ankrum Gallery, Los Angeles, 1976 ART/LA, International Contemporary Art Fair, Los Angeles, 1990, 1991 Artcurial, Paris, 1986 Arte Moderna e Contemporanea. Vicenza, Italy, 1996 Basilica Palladiana, Vicensa, 1996 Bernice Steinbaum Gallery, NY, 1986-87 Bienal, São Paulo, 1953 Biennale, Venice, 1950, 1986 Bignou Gallery, New York, 1945, 1946, 1947 Birmingham Museum of Art, Alabama, 1962 Boca Raton Museum, Florida, 1997, 1998 Bruce Museum, Greenwich, Connecticut, 1998 Carnegie International, Department of Fine Arts, Carnegie Institute, Pittsburgh, 1945, 1947, 1948, 1950, 1952, 1954, 1956 Centre de Cultura Contemporania de Barcelona and Museo de Bellas Artes de Bilbao, Spain 2005 Centro Atlantico de Arte Moderno, Las Palmas, Spain, 1989–90 Chateau de Saint-Cirq-Lapopie, Lot, France, 1974 Cincinnati Art Museum, Ohio, 1964 College of Fine and Applied Arts, Architecture Building, University of Illinois, Urbana, 1948, 1950, 1951, 1959 Columbia Museum of Art, South Carolina, 1963 Corcoran Biennial, Corcoran Gallery of Art, Washington, D.C., 1945, 1947, 1948, 1957, 1959, 1961 Cultural Center Bank of Brazil, Rio de Janeiro, 2001 De Cordova & Dana Museum, Lincoln, Massachusetts, 1959
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Decorative Arts Center, New York, 1961 Exposition Internationale du Surréalisme, Galerie Maeght, Paris, 1947 Fashion Institute of Technology, New York, 1987-88 Flint Institute of Arts, DeWaters Art Center, Flint, Michigan, 1966 Fondazione Mudima, Milan, 1994 Fundacion Cultural Mapfre Vida, Madrid, 1990 Galerie Maeght, Paris, 1947 Galleria Casanova, Trieste, 1952 Galleria Civica d’arte Moderna, Torino, Italy, 1962 Galleria Credito Valtellinese, Sondrio, 1998, 2000 Galleria d’Arte Bergamo, Italy, 1995, 1997, 1998, 2002, 2009, 2010 Galleria d’Arte Cortina, Milan, Italy, 1969, 1976 Galleria d’Arte del Cavallino, Venice, 1952 Galleria del Calibano, Vicenza, Italy, 1953 Galleria del Naviglio, Milan, 1952, 1956 Galleria La Chiocciola, Padua, 1953 Galleria La Tartaruga, Rome, 1958 Galleria San Fedele, Milan, 1951 Galleria Schwarz, Milan, 1960 Grace Borgenicht Gallery/Terry Dintenfass Gallery, New York, 1982 Guild Hall Museum, East Hampton, New York, 1996 Gutai 9, Osaka, Japan, 1958 Hayden Library, Massachusetts Institute of Technology, Cambridge, 1961 Hunter College Art Galleries, New York, 1994 Indiana University Art Museum, Bloomington, 1957, 1959 Inter-American Paintings & Prints Biennial, Mexico City, 1958 International Center of Aesthetic Research, Torino, Italy, 1964 Isidore Ducasse Fine Arts, New York, 1992 John Herron Art Museum, Indianapolis, Indiana, 1946, 1963 Kouros Gallery, New York, 2002, 2005 Krannert Art Museum, University of Illinois, Urbana, 1961, 1963 Kresge Art Center, Michigan State University, East Lansing, 1959 Le Arti Figurative dell’Architettura, Milan, 1952 Lowe Art Museum, University of Miami, Coral Gables, Florida, 1989 (traveled to Terra Museum of American Art, Chicago, Illinois and Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey, 1990) Martha Jackson Gallery, New York, 1960 Mary Washington College Galleries, Fredericksburg, VA, 1961 Meredith Long Gallery, Houston, 1976 Miami Art Exposition, Florida, 1991, 1992, 1994, 1997 Michel Tapié, Paris, 1952 Minnesota Museum of Art, St. Paul, 1960 Munson-Williams-Proctor Institute Museum of Art, Utica, New York, 1955 Musée National d'Arte Moderne, Centre Georges Pompidou, Paris, 1991 Musées Royaux des Beaux-Arts de Belgique, Brussels, 1965 Museo Nacional Centro de Arte Reina Sofia, Madrid, 1991, 1999 Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain and Musée d’Art Moderne et Contemporain, 1999 Museum of Art, Rhode Island School of Design, Providence, 1959 Museum of Fine Arts, Boston, 1966
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Nassau County Museum of Art, Roselyn Harbor, New York, 1995 National Academy of Design, New York, and Phoenix Art Museum, Arizona, 2005 Ninth Street Annual, New York, 1951 Oklahoma City Museum of Art, 2007 Orlando Museum of Art, Florida, 1978 Palazzo dei Diamanti, Ferrara, 1997 Palazzo Reale, Milan, Italy, 1989 (traveled to Shirn Kunsthalle, Frankfurt, Germany, 1989) Passedoit Gallery, New York, 1947 Pavilion of Fine Arts, New York World's Fair, 1964 Pennsylvania Academy of Fine Arts, Philadelphia, 1945, 1947, 1957, 1964 Philadelphia Museum of Art, Pennsylvania, 2002 Pinacoteca e Galleria d’arte contemporanea, Pavullo nel Frignano, 1996 Pittsburgh International, Carnegie Institute, 1958, 1961 Pius XII Memorial Library, St. Louis University, St. Louis, Missouri, 1960 Portland Art Museum, Oregon, 2001, 2005–06 Rutgers University Art Gallery, New Brunswick, New Jersey, 1977 Sale del Ridotto della Fenice, Venezia, 1953 Salvador Dali Museum, St. Petersburg, Florida, 1998 San Francisco Museum of Art, California, 1955 Santa Barbara Museum of Art, California, 1954 Santa Croce sull’Arno, Pisa, 1999 Sibell Wolle Gallery, University of Colorado, Boulder, 1960 Signa Gallery, East Hampton, New York, 1957 Solomon R. Guggenheim Museum, New York, 1954, 1961, 1999 Stable Gallery, New York, 1953, 1954 Staemplfi Gallery, New York, 1976 Studio Paul Facchetti, Paris, France, 1952 Tartaruga Gallery, Rome, 1958 Tate Gallery, London, and Metropolitan Museum of Art, New York, 2001–02 The Art Institute of Chicago, 1945, 1954, 1957, 1960 The Arts Club of Chicago, Illinois, 1959 The Museum of Modern Art, New York, 1953, 1954, 1962 The Toledo Museum of Art, Ohio, 1947 Third Tokyo Annual, Japan, 1951 Topicova Salon, Prague, Czechoslovakia, 1947 University Art Museum, University of California, Berkeley, 1968 University Art Museum, University of Texas at Austin, 1976 University Galleries, University of Nebraska, Lincoln, 1953, 1964 University of Iowa Museum of Art, Iowa City, 1947 Villa Malpensata, Lugano, 1987 Virginia Museum of Fine Arts, Richmond, 1958, 1962, 1970 Walker Art Center, Minneapolis, Minnesota, 1960 Whitney Annual, Whitney Museum of American Art, New York, 1954, 1956, 1958, 1961, 1963, 1964, 1965, 1966, 1970 Whitney Museum of American Art, New York, 1945, 1964 Worcester Art Museum, Massachusetts, 1952 Yale Art Gallery, New Haven, Connecticut, 1963 Zabriskie Gallery, New York, 1989, 2001, 2002
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