Stuart Walker: Modernist Master Revealed

A

R E T R O S P E C T I V E

E X H I B I T I O N

S T U A R T WA L K E R M O D E R N I S T M A S T E R R E V E A L E D

MODERNIST MASTER REVEALED A RETROSPECTIVE EXHIBITION

14 AUGUST – 17 OCTOBER 2009

213 East Marcy Street | Santa Fe, New Mexico 87501 T. 505 995 9779 F. 505 995 9780 E. info@apfineart.com artnet.com/apayne.html

for my muses NINA, NATALIA RHU & SACHI KOH

Figure 1.

UNTITLED (ILLUSTRATED MAP OF NEW MEXICO) 1939 Mixed media on paper 25 1 / 2 x 21 1 / 4 inches Signed and dated lower right: Stuart Walker / 3-12-39 Collection: The Stuart Walker Family Collection Notes: Study for mural (not completed), possibly for the old Albuquerque airport.

S T U A R T WA L K E R M O D E R N I S T M A S T E R R E V E A L E D A

RETROSPECTIVE

EXHIBITION

When I first met with the grandchildren of Stuart Walker and was able to look at all of the work in this exhibition, it was one of the great experiences of my twenty years as a dealer of American modernism. I had only seen a couple of his works firsthand, but had long admired paintings I had seen in books the way a child admires a picture of a unicorn. I had figured that it was enough to know that they were beautiful and did exist, although I never expected to see one. I also immediately Figure 2.

UNTITLED (NORTHERN NEW MEXICO VILLAGE IN WINTER)

understood why the family had held onto the work for so long.

As I looked at all of the work, from the early watercolors and drawings to the masterful Transcendental paintings he did at the very end of his life, the whole story of an artist I knew only

Circa 1930 Watercolor on paper 13 3 / 4 x 19 3 / 4 inches

from a handful of images began to unfold before my eyes. For me, discovering these paintings was

Signed lower right: Stuart Walker

very little about them, but immediately know that you have made a connection. I didn’t know what

Collection: The Stuart Walker Family Collection

very much like meeting a good, lifelong friend for the first time. The reaction is immediate. You know to expect when I first saw the work, but when I saw it all together, it all made perfect sense and

Figure 3.

UNTITLED (SUNLIT ADOBES) Circa 1930-35 Watercolor on paper 15 x 21 inches Signed lower right: Stuart Walker

created a chorus of color and line and form, as perfect as a symphony, a progression as original and magnificent as the music that inspired Walker himself.

In the paintings in this exhibition, we observe the influence of his musical background in Movement (Figure 32), the radiant abstraction of O’Keeffe in Untitled Abstraction (Figure 28), and there is an architectural dynamism which emerges from compositions No. 59 (Figure 25) and No. 9A (Figure 31). The Art Deco age was a big influence on Walker, and his best works are distinguished by this sensibility. He peaked as he painted with arguably one of the most talented and original groups of modernist painters, the Transcendental Painting Group, right at the very end of his life. Walker was part of a large community of artists, and he quickly absorbed the art he saw around him. And yet, from the very beginning, he had his own style and vision and a sense of color and line and shadow that makes his work instantly recognizable.

This exhibition covers the works done upon his arrival in Albuquerque in 1925, to his death 15 years later. It is the first exhibition of work dedicated to Stuart Walker since the memorial exhibitions of 1940.

It was almost 40 years after his death that any of Stu’s works began to emerge. All of the works given to the Jonson Gallery of the University of New Mexico by the family were sold and then quickly

Figure 4.

TAOS MOUNTAIN Circa 1930-35 Watercolor on paper 15 x 21 inches Signed lower right: Stuart Walker Collection: The Stuart Walker Family Collection

Figure 5.

CORDOVA CHURCH Circa 1930 Watercolor on paper 12 1 / 4 x 18 3 / 4 inches Inscribed: Verso: Cordova Church

disappeared into private collections across the country. Fortunately, these artworks were subsequently included in major exhibitions of the Transcendental Painting Group and in other exhibitions related to the history of abstraction in American art. For the first time, they are illustrated in color! And included in beautiful catalogues, lauded and circled in prose.

I would like to give a very special thank you to my colleague, Melissa Trujillo. Melissa spent long hours in the archives of the Jonson Gallery of the University of New Mexico, and in the library of the New Mexico Museum of Art, Santa Fe, as well as calling many museums and institutions to piece together the exhibition history and chronology we have put together for this catalogue. She did tireless research to clarify titles, exhibition dates and locations, etc. We are now able to get a better sense of where Walker exhibited, and which paintings were studies for completed oils. Thank you for always matching your endeavor with great enthusiasm for the task.

I would also like to thank the Walker family for their enthusiasm, support and willingness to share their legacy with me and, ultimately, with you all.

We are very pleased to be a part of bringing these works and Stu’s story to a larger community.

We hope you enjoy this catalogue and exhibition.

Aaron Payne Santa Fe, New Mexico August 2009

Figure 6.

MARTINEZ TOWN 1937 Oil on masonite 18 x 24 inches Signed lower left: Stuart Walker Inscribed: Verso: “Martinez Town” / by Stuart Walker / Series 84 No. 1 37

Notes: This artwork is listed as being painted in December, 1937 in the inventory of Walker’s paintings compiled by fellow TPG member Ed Garman in 1940.

Circa 1935 Oil on linen 24 x 30 inches

Inscribed: Label on verso: The Art Institute of Chicago American Paintings & Sculpture Forty-Sixth Annual Exhibition Stuart Walker / 304 S. Dartmouth, Albuquerque, NM / Valley Farms / $100

Signed lower left: Stuart Walker

Notes: This painting was exhibited in 1935.

Figure 7.

VALLEY FARM

Inscribed: Stretcher: Stuart Walker “Valley Farm” $100

Figure 8.

EARLY SNOW (FENTON HILL, JEMEZ MOUNTAINS) Circa 1935 Oil on canvas 32 x 38 1 / 4 inches Signed lower right: Stuart Walker Inscribed: Verso: Stuart Walker / No. 2 B-FERA-1-F3-63

Inscribed: Stretcher: No. 3 Inscribed: Frame: Early Snow Notes: This painting was done for FERA (the Federal Emergency Relief Administration), which existed from May of 1933 to December of 1935. FERA provided various employment opportunities and economic relief for many and was later taken over by the WPA (Works Progress Administration) which began in 1935.

Figure 9.

MOUNTAIN RANCHO 1935 Oil on linen 32 x 37 1 / 2 inches Signed lower left: Stuart Walker Inscribed: Verso: Stuart Walker / FERA-1-F3-63 / 1935 Inscribed: Stretcher: 150.00 No. 2 Mountain Rancho

Notes: This painting was done for FERA (the Federal Emergency Relief Administration), which existed from May of 1933 to December of 1935. FERA provided various employment opportunities and economic relief for many and was later taken over by the WPA (Works Progress Administration) which began in 1935.

Figure 10.

UNTITLED (COMPOUND GATE WITH CROSS) Watercolor on paper 8 3 / 4 x 11 3 / 4 inches Signed lower right: Stuart Walker

Figure 11.

STUDY FOR “MOUNTAIN RANCHO” Circa 1935 Watercolor on paper 9 3 / 4 x 13 3 / 4 inches Signed lower right: Stuart Walker

Figure 12.

UNTITLED (CORDOVA CHURCH WITH FIGURE) 1933 Watercolor on paper 14 x 20 inches Signed and dated lower right: Stuart Walker / 33

Figure 13.

UNTITLED (ABSTRACTION OF ADOBES, TREES AND HILLS) Circa 1932-33 Watercolor on paper 6 1 / 4 x 8 1 / 2 inches Signed lower right: Stuart Walker Collection: The Stuart Walker Family Collection

Figure 14.

NO. 7 S 28 Circa 1935 Watercolor on paper 15 x 21 inches Signed lower right: Stuart Walker Inscribed: Verso: No. 7 S 28

Figure 15.

NO. 28 FLOWER FORMS (DAFFODILS)

Figure 16.

NO. 27 FLOWER FORMS (DAFFODILS)

1938 Oil on canvas mounted on plywood 12 x 10 inches

1938 Oil on canvas mounted on plywood 14 1 / 2 x 11 1 / 2 inches

Signed bottom center: Walker

Signed bottom center: Stuart Walker

Inscribed: Verso: No. 28 / Flower Forms / $40

Inscribed: Verso: No. 27 / Flower Forms / $50

Figure 17.

NO. 26 FLOWER FORMS (TULIPS)

Figure 18.

NO. 25 FLOWER FORMS T-2 (TULIPS)

1938 Oil on canvas mounted on plywood 10 1 / 8 x 12 inches

1938 Oil on canvas mounted on plywood 15 x 10 inches

Inscribed: Verso: No. 26 / $40

Inscribed: Verso: No. 25 / $50

Flower Forms T-1 / Series 04 #10-8

Stuart Walker / 304 South Dartmouth / Albuquerque / “Flower Forms T-2” / Series 04, #11-8 Notes: Records document this work was painted in March, 1938.

Figure 19.

UNTITLED (ABSTRACT OF ADOBE ON HILL) Circa 1936-39 Watercolor on paper 6 5 / 8 x 8 1 / 8 inches Signed lower left: Stuart Walker Collection: The Stuart Walker Family Collection

Figure 20.

UNTITLED (ABSTRACT OF RANCHOS DE TAOS CHURCH) Circa 1936-39 Watercolor on paper 6 3 / 8 x 8 3 / 8 inches Signed lower left: Stuart Walker Collection: The Stuart Walker Family Collection

Figure 21.

K 1932 Watercolor on paper 6 3 / 4 x 11 3 / 4 inches Signed and dated lower right: Stuart Walker / 32 Inscribed: Verso: WC K

Figure 22.

UNTITLED 1933 Watercolor on paper 19 3 / 4 x 13 3 / 4 inches (sight) Signed and dated lower right: Stuart Walker / 1933

Figure 23.

E

Figure 24.

COMPOSITION N

Circa 1933 Watercolor on paper 18 x 14 inches

1935 Oil on linen 30 1 / 4 x 24 1 / 8 inches

Signed lower left: Stuart Walker

Signed lower left: Stuart Walker

Inscribed: Verso: W.C. E

Inscribed: Verso: Stuart Walker / Composition N Inscribed: Stretcher: 1935 / 1st n.o.

Notes: This work is noted in the Stuart Walker archives as being his first nonobjective oil painting. It is also noted by the artist on the stretcher bar.

Figure 25.

COMPOSITION NO. 59 1939 Oil on linen 36 1 / 8 x 26 inches Signed lower left with monogram: SW Inscribed: Verso: Composition # 59 / Stuart Walker / 1939 / -3Notes: Records document this work was painted in March, 1939.

Figure 26.

NO. 22 Circa 1939 Watercolor and pencil on paper 9 5 / 8 x 6 7 / 8 inches Inscribed: Verso: No. 22

Figure 27.

NO. 21 (STUDY FOR “COMPOSITION NO. 65”) 1939 Watercolor and pencil on paper 9 5 / 8 x 6 7 / 8 inches Inscribed: Verso: No. 21 Unfinished Study for Composition No. 65 Sept. 1939

Figure 28.

UNTITLED ABSTRACTION Circa 1938 Oil on canvas 35 3 / 4 x 29 5 / 8 inches Inscribed: Verso: Stuart Walker Notes: Also inscribed with Transcendental Painting Group logo, verso.

Collection: The Albuquerque Museum of Art and History, Museum purchase made possible by the Earl W. Stroh Trust

Figure 29.

UNTITLED

Figure 30.

UNTITLED

Circa 1938 Watercolor on paper 8 1 / 4 x 6 1 / 4 inches

Circa 1938 Watercolor on paper 8 1 / 4 x 6 1 / 4 inches

Notes: This watercolor is a study for Untitled Abstraction (Fig. 28).

Signed lower right: Stuart Walker

Figure 31.

COMPOSITION NO. 9A 1938 Oil on canvas 23 3 / 4 x 19 3 / 4 inches Signed lower left: Stuart Walker Inscribed: Verso: Composition / #9A / Stuart Walker / 1938 / -9Inscribed: Stretcher: Stuart Walker Notes: Also inscribed with Transcendental Painting Group logo, verso.

Records document this work was painted in September, 1938.

Figure 32.

MOVEMENT Circa 1936-39 Oil on canvas mounted on plywood 22 1 / 8 x 24 1 / 8 inches Inscribed: Verso: Movement / $100

Figure 33.

NO. 32 (STUDY FOR “COMPOSITION NO. 57”) Circa 1936-39 Watercolor on paper 9 1 / 4 x 6 inches Signed lower left with monogram: SW Inscribed: Verso: No. 32 / #702

Figure 34.

NO. 26 Circa 1936-39 Mixed media on paper 9 1 / 4 x 6 1 / 4 inches Inscribed: Verso: No. 26

Figure 35.

NO. 23 (STUDY FOR “COMPOSITION NO. 61”) Circa 1936-39 Watercolor on paper 9 1 / 4 x 6 1 / 2 inches Inscribed: Verso: No. 23 Notes: “Composition No. 61” is in the Smithsonian American Art Museum, Washington, DC.

Figure 36.

NO. 24 Circa 1936-39 Watercolor on paper 9 x 6 1 / 2 inches Inscribed: Verso: No. 24 / Study for Completed Oil

Figure 37.

NO. 29 Circa 1936-39 Watercolor on paper 7 7 / 8 x 5 3 / 4 inches Inscribed: Verso: No. 29

Figure 38.

NO. 40 Circa 1936-39 Watercolor on paper 6 1 / 4 x 7 1 / 4 inches Signed lower left: Stuart Walker Inscribed: Verso: No. 40 Collection: The Stuart Walker Family Collection

Figure 39.

UNTITLED Circa 1936-39 Watercolor on paper 8 1 / 2 x 6 5 / 8 inches Signed lower left: Stuart Walker Inscribed: Label on verso: Jonson Gallery Stuart Walker / Untitled, c. 1936-39 / Courtesy of the Stuart Walker Family

Figure 40.

NO. 30 Circa 1936-39 Watercolor on paper 9 5 / 8 x 6 3 / 4 inches

Figure 41.

UNTITLED Circa 1936-39 Watercolor on paper 7 x 8 7 / 8 inches Signed lower left: Stuart Walker Collection: The Stuart Walker Family Collection

Figure 42.

UNTITLED Circa 1936-39 Watercolor on paper 8 1 / 2 x 6 1 / 2 inches Collection: The Stuart Walker Family Collection

1904

CHRONOLOGY 1 9 0 4 – 1 9 4 0 1919 1920 1922/1923 1924/1925 1925 circa 1929

Figure 43.

MOUNTAIN HOUSES

circa 1931

Circa 1933 Lithographic crayon on paper 7 1 / 4 x 6 3 / 4 inches

1932

Inscribed: Verso: Mountain Houses

1933/1934 1934 1935 1938 1939 1940

Born February 25 in Paint Lick, Kentucky to Maude and Toll Walker. (The Walkers of Kentucky were foxhound and fox hunting enthusiasts. They ‘developed’ the Walker Hound, a well known hunting breed.)

Family moves to Indiana.

Joins the Navy at age 15. Lies about his age to enlist.

Becomes ill with a strep infection, which turns into rheumatic fever and weakens his heart.

He is discharged from the United States Navy.

Studies at the John Herron Institute in Indianapolis.

Studies with illustrator Frank Schoonover in Wilmington, Delaware.

Moves to Albuquerque.

Attends art classes at the University of New Mexico.

Operates a commercial art studio (WALLIS Studio) with fellow artist Brooks Willis.

Becomes president of Art League of New Mexico and provides design work for the league’s projects.

Plays drums in dance band, the “Collegians.”

Paints a mural with fellow artist Brooks Willis at the Nob Hill Drugstore in Albuquerque.

Marries Elizabeth Lee Adams.

William Lumpkins builds Walker an art studio in back of his home at 304 S. Dartmouth.

Daughter Janet, born October 23.

Produces sketches and paintings for Public Works Art Project.

Joins Willis again in completing a mural for the Bernalillo County Courthouse.

Son James (Jimmy), born October 24.

Completes first non-objective painting, Composition N. Joins Transcendental Painting Group as a founding member.

Walker is hospitalized May 30 and released from hospital in July/August.

Thursday, January 18 – Dies in Albuquerque, New Mexico.

Figure 44.

A BOOK OF HOME PLANS FOR ALBUQUERQUE 1930 7 3 / 4 x 10 1 / 2 inches Notes: Book contains 32 pages Collection: The Stuart Walker Family Collection

Figure 45.

SELF PORTRAIT 1936 Oil on masonite 24 x 18 inches Signed and dated lower right: Stuart Walker / 1936 Inscribed: Verso: No. 14 / Stuart Walker / April / 1936 Self Portrait Collection: The Stuart Walker Family Collection

PHOTOS Right STUART WALKER, 1927 Far Right “SHORTY” GERE’S COLLEGIANS STU WALKER (BACK LEFT), WITH FELLOW BAND MEMBERS, 1929 Below STU AND LEE, 1927 Facing page, left STUART WALKER AND DAUGHTER, JANET, ALBUQUERQUE, NM, 1933 Facing page, right STU WALKER WITH HIS CHILDREN, JIMMY AND JANET, JEMEZ, NM, 1936 Facing page, below left STUART, LEE & CHILDREN (CENTER) WITH WALKER FAMILY, INDIANA Facing page, below right STUART & LEE WALKER WITH LEE’S EXTENDED FAMILY, ALBUQUERQUE Photos courtesy of the Stuart Walker family

NOTES Most of what we were able to discover about the body of Walker’s oeuvre comes from many sources: archival records from the Jonson Gallery, records from the New Mexico Museum of Fine Art, Santa Fe, correspondence kept by family members and countless newspaper clippings and references to numerous exhibitions Walker participated in as an artist.

Most notable, however, is the inventory of Walker’s paintings made on February 1st of 1940, a couple of weeks after his death, by Raymond Jonson and his widow, Lee Walker.

Also the “Catalog of Non-Representative Works by Stuart Walker” compiled by fellow Transcendental Painting Group member, Ed Garman, proved to be a valuable resource.

We learned that Walker divided his work into series, although it is still unclear how the works in a particular series relate, or how the series were ordered.

It is also difficult to decipher how Walker titled his paintings. The titles were anonymous and attempted to mask any reference to the objective world. In one letter to Dane Rudhyar, Raymond Jonson writes that he catalogued only 24 abstract oils in his inventory after Stu’s untimely death, and yet there are oils numbering as high as No. 65. And some are not numbered at all.

There are also abstract watercolors numbered verso from 20 to 42 which are watercolor studies for oil compositions, although it is still not entirely clear which of these oils were completed.

Much of Walker’s personal and professional life remain a mystery. This does not diminish the beauty of his art, or their immediate and long lasting impression on us.

In his tribute to Walker on the occasion of his memorial exhibition in February of 1940, his dear friend Raymond Jonson reminds us that his artwork “presents to us a vista of what we could hope to be spiritually and ideally...”

NOVEMBER 14, 1997 – JANUARY 18, 1998 Vision and Spirit,

EXHIBITIONS

The Transcendental Painting Group, Harwood Museum, Taos, New Mexico MAY 27 – AUGUST 15, 1997 Vision and Spirit, The Transcen-

dental Painting Group, Jonson Gallery, University of New Mexico, Albuquerque, New Mexico OCTOBER 3 – NOVEMBER 29, 1992 The Second Wave:

American Abstraction of the 1930’s and 1940’s, Selections from the Penny and Elton Yasuna Collection, Delaware Art Museum, Wilmington, Delaware FEBRUARY 23 – APRIL 12, 1992 The Second Wave: American

Abstraction of the 1930’s and 1940’s, Selections from the Penny and Elton Yasuna Collection, Samuel P. Harn Museum of Art, University of Florida, Gainesville, Florida SEPTEMBER 12 – DECEMBER 1, 1991 The Second Wave:

American Abstraction of the 1930’s and 1940’s, Selections from the Penny and Elton Yasuna Collection, Worcester Art Museum, Worcester, Massachusetts SEPTEMBER 8, 1989 – FEBRUARY 11, 1990 The Patricia and

Phillip Frost Collection, American Abstraction 1930-1945, National Museum of American Art, Washington, DC JUNE 6 – SEPTEMBER 12, 1982 The Transcendental Painting

Group, New Mexico 1938-1941, Albuquerque Museum, Albuquerque, New Mexico OCTOBER 12 – NOVEMBER 7, 1975 Jonson Gallery, The

University of New Mexico, Albuquerque, New Mexico APRIL 9, 1969 Dorothea Whitcraft Memorial Exhibition,

Museum of Albuquerque, Albuquerque, New Mexico APRIL 30 – MAY 26, 1967 Paintings (1935-1939) In The Gallery

Collection By Stuart Walker, Albuquerque’s First Nonrepresentational Paintings, Jonson Gallery, The University of New Mexico, Albuquerque, New Mexico FEBRUARY 1 – 28, 1950 Group Show, Jonson Gallery, The

University of New Mexico, Albuquerque, New Mexico MARCH 16 – MARCH 31, 1946 A Loan Exhibition From the

Collection of Mr. and Mrs. Raymond Jonson, Presented

by The Art League of New Mexico, Art Gallery, Museum of New Mexico, Santa Fe, New Mexico NOVEMBER 28, 1945 – JANUARY 3, 1946 A Loan Exhibition

From the Collection of Mr. and Mrs. Raymond Jonson, Presented by The Art League of New Mexico, Fine Arts Building Gallery, The University of New Mexico, Albuquerque, New Mexico 1941 Faulkner Memorial Art Gallery, Santa Barbara, California 1940 Transcendental Painting Group Exhibition, Guggenheim

Museum, New York, New York FEBRUARY 15 – 23, 1940 Retrospective Exhibition of the Work

of Stuart Walker, Fine Arts Building of The University of New Mexico, Albuquerque, New Mexico OCTOBER 17 – NOVEMBER 1, 1940 Memorial Exhibition,

Museum of New Mexico, Santa Fe

1939 Transcendental Painting Group, Golden Gate

International Exhibition, San Francisco, California 1939 Woman’s Club, Albuquerque, New Mexico WINTER 1939 Albuquerque Artist’s Show, University of

New Mexico, Albuquerque, New Mexico APRIL 18 – JUNE 14, 1939 Transcendental Painting Group,

Fine Arts Festival, University of New Mexico, Albuquerque, New Mexico MAY 1939 Transcendental Painting Group, Museum of

New Mexico, Santa Fe, New Mexico APRIL 1939 New York World’s Fair, New York, New York 1938 Fiesta Show, Albuquerque, New Mexico 1938 Southwestern Art, Seattle 1938 Albuquerque Art League Show, Albuquerque, New Mexico SEPTEMBER 1 – 30, 1938 Twenty-fifth Annual Exhibition

of Painters & Sculptors of the Southwest, School of American Research, Museum of New Mexico, Santa Fe, New Mexico JUNE 1938 Transcendental Painting Group, Museum of New

Mexico, Santa Fe, New Mexico APRIL 1938 Laboratory of Anthropology, Santa Fe, New Mexico 1937 Albuquerque Art League Show, Albuquerque, New Mexico SEPTEMBER 1937 Twentieth Anniversary Exhibition 1917-

1937, School of American Research, Museum of New Mexico, Santa Fe, New Mexico 1936 Albuquerque Art League Show, Albuquerque, New Mexico 1936 Denver Art Museum, Denver, Colorado 1935 Denver Art Museum, Denver, Colorado 1935 Southwestern Artists, Albuquerque Art League,

Albuquerque, New Mexico OCTOBER 24 – DECEMBER 8, 1935 American Paintings &

Sculpture, Forty-Sixth Annual Exhibition, Art Institute of Chicago, Chicago, Illinois SEPTEMBER 1 – 30, 1935 Twenty-Second Annual Exhibition

of Painters and Sculptors of the Southwest, Art Gallery of the Museum of New Mexico, School of American Research, Santa Fe, New Mexico JULY 1935 Museum of New Mexico, Santa Fe, New Mexico APRIL 1934 Public Works of Art Project (PWAP) Exhibition,

Laboratory of Anthropology NOVEMBER 26, 1933 Two Man Show with Brooks Willis,

Franciscan Hotel, Albuquerque, New Mexico SEPTEMBER 1933 Annual Exhibition by Painters and

Sculptors of the Southwest, Museum of New Mexico, Santa Fe, New Mexico

This catalogue is published on the occasion of the exhibition STUART WALKER: MODERNIST MASTER REVEALED A RETROSPECTIVE EXHIBITION August 14 – October 17, 2009 © 2009 Aaron Payne Fine Art Aaron Payne Fine Art 213 East Marcy Street Santa Fe, New Mexico 87501 T. 505 995 9779 F. 505 995 9780 E. info@apfineart.com artnet.com/apayne.html All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, without permission in writing from the publisher.

ISBN: 978-0-615-31583-6 Cover Detail: Composition No. 59 Catalogue Figure 25 Catalogue Design: WinshipPhillips, Dallas Photography: James Hart Photography, Santa Fe

MODERNIST MASTER REVEALED A RETROSPECTIVE EXHIBITION

2 1 3 E A S T M A R C Y S T R E E T | S A N TA F E , N E W M E X I C O 8 7 5 0 1 T 505 995 9779 | F 505 995 9780 I N F O @ A P F I N E A R T. C O M | W W W. A R T N E T. C O M /A P A Y N E . H T M L