Joseph Glasco: The David Chesler Collection

Joseph Glasco T H E D AV I D C H E S L E R C O L L E C T I O N

In Loving memory of my great friend Joseph Milton Glasco Astonishing Isabella Maria Basile; My dear sweet brother Jonathan Marc Chesler; Lewis Chesler, mia babbino caro; And gratefully to the late Stanley J. Seeger David Chesler

Joseph Glasco

T H E D AV I D C H E S L E R C O L L E C T I O N

November 2016 13010 Larchmere Boulevard Cleveland, Ohio 44120 wolfsgaller y.com 1

I think we met over a bottle of Chanel #5 in 1968 and took to each other like two cannibals eating a dead clown; it was hilarious and I was in awe.

Suddenly everything in the world was visible. I was seeing an artist at work, and work my dear Joe did, like no one I have ever seen. Selling art was paying the rent and eating and everything else.

Our entertainment was Maria Callas screaming at the top of her lungs. We were hooked on “La Divina,” which went on for years until this day.

The pictures in this collection represent a figurative beginning and ending in the beauty of shapes and colors.

Joe loved famous and talented people. One day on Greene Street I was told his friend Glenda Jackson and Christopher Miles were coming over for lunch and we had to go to Dean and Deluca. I made Scotch Eggs. They licked their plates. Meeting Mia Farrow in Ian McKellan’s dressing room gave me a headache, but we didn’t go home! Joe loved opera singers and was in constant contact with Teresa Stratas and Elaine Stritch, not known for her “Casta Diva.”

In the 70’s Joe pivoted from figures to contrasting collage, always some form of space in a piece without showing distance; the spatial effects are there, but can’t be measured.

Finally, the concept of any piece by Joe Glasco seems to be a glimpse into a private paradise visible only to the cunning eye. Further interest in the work of Joe Glasco is beautifully available in Michael Raeburn’s stunning biography “Joseph Glasco—The Fifteenth American.”

Love, David Chesler

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Joseph Glasco

T H E D AV I D C H E S L E R C O L L E C T I O N Wolfs Art Dealers and Appraisers | November17, 2016

In 1950 the Museum of Modern Art, New York purchased a drawing by Joseph Glasco which had been a part of a one man exhibit of his work at Perls Gallery in New York city. With this purchase Joseph Glasco became the youngest artist to have a work in the permanent collection of the museum.

He had only arrived in New York one year earlier, in 1949. With works subsequently acquired by other major museums including the Metropolitan, the Guggenheim, the Whitney, the Hirshhorn and the Houston MFA among others, this was a very auspicious beginning for a young artist at the beginning of the modern movement. From the beginning Glasco was considered an important part of this movement and was an integral part of the scene. The work of Joseph Glasco now deserves a long revisit.

Glasco’s career began at the very center of the new art world in New York in 1949, where he was a peripatetic collector of friends. His intimate circle included Jackson Pollock, Alfonso Ossorio, Clyfford Still and Jean Dubuffet among others. Pollock though, was, for Glasco, the most influential. During these early years as the young Glasco developed his personal style, he spent time with Pollock and Lee Krasner at their estate in East Hampton, which happened to coincide with the two years of Pollock’s sobriety between 19491951. Glasco respected Pollock and the straightforward manner and in which he communicated. As he stated in an interview done in 1995, “I learned an awful lot, and awfully quickly, from this brilliant man who spoke very, very simply.” In addition, Glasco was a very quick learner, and immersed himself in the New York museums, admiring 13th and 14thc. Italian artists, Ingres, Matisse and ancient Greece, with its myths and heroes.

From the many nightly discussions within this circle of artists, which often included art critic Clement Greenberg, Jackson Pollock’s major supporter, Glasco absorbed specific ideas about the the process of painting which he would carry with him throughout his career. While he greatly admired Pollock’s work, he was determined not to work in that style, but to find his own individual manner, and to do this he applied a self-mandated discipline.

Glasco’s work was therefore characterized by restrictiveness, rather than the freedom he thought Pollock must have felt when making a painting. Physically, Glasco worked in painstaking detail, using a single small brush and a laborious building up of surface texture.

Always a traveller after his time in the army in 1943, Glasco lived his life in various places. These travels kept him often outside of New York after 1952 and aided in the development of his work. Time spent in Mexico, Taos, Italy, Greece, Cleveland and Galveston, with brief touchdowns in New York allowed him to create and maintain his own idiom. His studio environment reflected 4

this. Wherever Glasco’s studio was, it was organized in the same way, with a canvas covered floor, white walls, and heavy velvet curtains blocking out the light and the world, allowing him to paint what was inside of him. An early epiphany while studying at The Art Students League in New York seemed to solidify his thought process in regards to his work, as he wrote, “ I made a startling discovery . . . .it occurred to me one day as I was drawing that you really don’t have to look up at something and then try to repeat it on paper.

That I could look over at a figure and back to the paper and record what I had remembered. I explored and found the surface of the paper and from then on it was a question of making the paper turn on, not the figure.” And as quoted in his artist’s statement for the exhibition Fifteen Americans, held at The Museum of Modern Art in 1952, “Painting for me does not consist in something I have seen, but something I am. There is no “subject matter.’

My heads are perhaps landscapes and my landscapes heads. They are interior thoughts that exist in my heart and mind and not in my eyes.”

The David Chesler Collection consists largely of Glasco’s work during the period of the 1970’s when the two were together frequently and for longer periods of time. The works of this period are characterized by a monumentality of form, a complexity of surface and an intense focus on detail. While expressionist in form and figurative in style, each work is masterful in its control of the medium and the composition. Upon close inspection the very deliberate stokes of the ink loaded brush and the amazingly controlled splatters give each work an intense life, but upon viewing from further away, also a classical stillness. Under inspection and careful scrutiny it is becomes clear to the viewer that these works incorporate an enormous amount of minute detail and an incredible control of the surface. This was accomplished by that strict discipline and work ethic, consciously employed by the artist from his earliest work and as relayed by David Chesler, who stated that Glasco would paint and work, then sit and study and paint and work for hours on end on each piece.

The monumental heads, kissing figures, classical style reclining nudes, studio posed figures and still lifes are all a part of Glasco’s unique oeuvre; they are striking; arresting, and convey a timelessness and a beauty of their own. As critic Hilton Kramer commented in a review of a Glasco exhibit in 1970, “ Titles. . .give us a clue to the nature of his pictorial imagination. ‘Judgment of Paris,’ ‘Orestes,’ ‘Three Graces,’ ‘Death of Ariadne,’ ‘Narcissus,’ –such titles alert us to a pictorial sensibility immersed in the realm of mythic images. . . .and each of his pictures therefore has the quality of a discrete poetic conception. Each has a wonderful resonance as well as a compelling visual presence.”

We are happy to be able to exhibit this wonderful collection and to see again an artist who not only created beautiful works of art, but also is a part of the art history of 20thc. America. ­

– Bridget McWilliams

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1.

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Seated Figure Pen and ink Signed and dated 1950 24 x 19 inches

Seated Figure. The earliest work in the Chesler collection, Seated Figure, 1950, is an example of Glasco’s early style, and similar in style to Big Sitting Cat, 1949, which was the piece purchased by the Museum of Modern Art (MoMA), New York in 1950. Pl.24 in Joseph Glasco:Fifteenth American , by Michael Raeburn, London, Cacklegoose Press, 2015.

2. Portrait of a Young Lady

Plaster, 1956

14.5 h. inches Portrait of a Young Lady is the original plaster for the bronze sculpture, one of which was purchased by Joseph H.Hirshhorn, and resides in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.

3.

The City Oil on canvas Signed and dated ‘63 lower left 60 x 36.25 inches

Ex. Collection: The Sara Lee Corporation The City, painted in 1963, is a synthesis of synthetic cubism, surrealism and Glasco’s own style with his use of a labor intensive patterned ground. In this painting we see the use of the outlined domed shape which denotes a human figure or head.

In the upper left, two domed head shapes appear to lie next to each other, covered by a blanket shaped textured block. This possibly relates to and is an abstraction of an earlier work entitled “Sleepers, “ from 1949.

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4. Couple

Acrylic on canvas

Initialed J.G. and dated ‘68, lower left

25 x 30 inches 5. Standing Nude

Ink on paper

39 x 29 inches

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6. Two Heads

Ink on foam core

45 x 39.5 inches

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7. Ariadne on Naxos

Ink on paper

50.5 x 92.5 inches

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8. Ariadne

Ink on foam core

Signed and dated ‘70, lower right

47.5 x 96.5 inches

Ariadne. Glasco’s subject matter often incorporated biblical and mythological themes.

In the myth of Ariadne, the goddess assisted the Athenian hero Theseus in the slaying of the Minotaur. They then traveled to the island of Naxos, where Ariadne fell asleep and woke to find her lover Theseus rowing away in a boat. As Glasco was a lover of opera, his use of the subject of Ariadne may have been inspired by the Wagner opera, ‘Ariadne auf Naxos.’

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9.

Three Heads Ink on foam core signed and dated ‘70 lower right 59 x 47 inches

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10. Seated Nude

Ink on artist board

Signed and dated

30 x 20 inches

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14

< 11. Portrait of David

Ink on paper with glazing

Signed and dated ‘70 lower right

40 x 26 inches 12. Seated Nude

Colored ink on paper with glazing

30.5 x 23 inches

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< 13. Two Standing Nudes

Signed and dated ‘72 lower right

48 x 22 inches 14. Two Heads

Acrylic on paper

14 x 11.5 inches 15. Reclining Boys

Acrylic on paper

19 x 25 inches

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16. Narcissus

Colored and metallic inks on paper

23.5 x 37 inches

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17. Reclining Figure I

Signed and dated ‘70

18 x 24 inches 18. Reclining Figure II

Signed and dated ‘70

18 x 24 inches 19. Reclining Figure III

18 x 24 inches

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20. Abstract

Acrylic on paper

21.5 x 29.5 inches 21. Portrait of Rosemary

Oil pastel on canvas

Signed and dated ‘70, lower right

45 x 39 inches > 22. Two Heads

Ink on paper

37.5 x 27.5 inches

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23. Narcissus

Enamel on Strathmore board

Signed lower right

39.5 x 59.5 inches

Narcissus. The myth of Narcissus and Echo, from Ovid, is the story of an impossibly beautiful young man who cruelly rejects the affections of a nymph, Echo, because he has seen his reflection in a pool and has fallen in love with his own image. Heartbroken Echo wastes away, leaving only her voice. In this image we see Narcissus gazing into the pool, and on the bank the simplified images of a mirror, a small vase and two flowers, and a comb inscribed ‘Echo.’ This subject, also portrayed in catalog no.16, likely had importance to Glasco as a homosexual theme, in the rejection of the female. The images of the mirror and the comb appear frequently in Glasco’s work.

> 24. Two Heads

Ink on paper

Signed and dated ‘70/’71

25 x 19.5 inches

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< 25. Standing Man, Hero

Acrylic and oil pastel on paper

Signed and dated ‘72 lower right

31 x 23 inches

26. Rock Lady, Janis Joplin

Ink on paper

Signed and dated ‘72,

inscribed, lower right

17 x 14 inches 27. Liz

Ink on paper

Signed and dated ‘73

21.5 x 30 inches

Exhibited: Joseph Glasco 1948-1986 A Sesquicentennial Exhibition, April-June 1986, Houston, Contemporary Arts Museum

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28. Lilith

Pastel on paper

40 x 26 inches 29. Lilith

Pastel on cardboard with glazes

Signed and dated ‘73 lower left

59.5 x 39.5 inches

Exhibited: Joseph Glasco 1948-1986 A Sesquicentennial Exhibition, April-June 1986, Houston, Contemporary Arts Museum

> 30. The Studio

Pastel on paper with glazes

signed and dated ‘73

60 x 40 inches

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Exhibited: Joseph Glasco 1948-1986 A Sesquicentennial Exhibition, April-June 1986, Houston, Contemporary Arts Museum

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< 31. Two Figures

Acrylic on board

Signed and dated ‘73 lower center

59 x 39 inches 32. Portrait of Duke

Acrylic and mixed media on paper

41 x 29 inches

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33. Backstage at the Fillmore East

Acrylic on paper

Signed and dated ‘73 lower right

19 x 25 inches

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34. Reclining Nude

Ink and acrylic on paper

Signed and dated ‘73 lower right

18.5 x 24.5 inches

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35. Horse

Ink on paper

Signed and dated ‘73

18.5 x 24 inches

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36. Lanzarote Landscape

Colored ink on paper

Signed and Dated ‘73 lower right

22 x 30 inches

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37. Adam and Eve Ink

Signed and dated ‘73 lower right

23.5 x 17.5 inches

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38. Figure

Acrylic on paper

Signed and dated ‘73 lower right

40 x 26 inches

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39. Standing Nude

Ink on paper

Signed and dated ‘73 lower right

30 x 22 inches

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40. Standing Nude

Ink on paper

Signed and dated ‘73 lower right

29 x 21.5 inches

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41. Figures Kissing

Ink on paper

Signed and dated ‘74 lower right

34 x 28 inches 42. Two Heads

Ink on paper

Signed and dated ‘74 lower right

33.5 x 28 inches

> 43. Standing Nude

Ink on paper

Signed and dated ‘74 lower right

39.5 x 25.5 inches

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44. Tree

Pen and ink

20 x 24 inches 45. Still Life, Plant

Ink on paper

Signed and dated ‘75 lower right

40 x 30 inches

46. Sue at Rest

Ink on paper

Signed and dated ‘75 lower right

34 x 27 inches 47. Still Life, Plant on Table

Ink on paper

signed and dated ‘75

59 x 47 inches

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< 48. Seated Nude

Ink on paper

Signed and dated ‘75 lower right

33 x 27.5 inches < 49. Reclining Nude

Ink on paper

Signed and dated ‘76 lower right

25.5 x 39.5 inches

50. Figure Etching

Signed in pencil and dated ‘76,

titled, numbered 6/12

21 x 17 inches 51. Conversation Etching

Signed and dated ‘76 lower right

Titled, numbered A/P

19.5 x 24 inches

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52. Reclining Figure

Pen on ink

Signed and dated ‘76 lower right

19 x 25 inches 53. Island Memories

Colored ink on paper

Signed and dated ‘76

lower right, inscribed

20.5 x 29 inches 54. Plant on Stand

Graphite on paper

Signed and dated ‘78 lower right

23 x 18 inches

> 55. Big Diamond

Acrylic collage on canvas

Initialed J.G. verso

102 x 102 inches

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Joseph Glasco

T H E D AV I D C H E S L E R C O L L E C T I O N

MUSEUM COLLECTIONS Albright-Knox Art Gallery, Buffalo, New York

SOLO EXHIBITIONS 2015

Joseph Glasco: The Fifteenth American, Waddington Custot Galleries, London

2012

Joseph Glasco: Paintings from the Estate, Talley Dunn Gallery, Dallas, Texas

Corcoran Gallery of Art, Washington, D.C.

1996

Joseph Glasco: A Celebration, Barry Whistler Gallery, traveled to the Center for Research in Contemporary Art, University of Texas at Arlington, Arlington, Texas

Detroit Institute of Arts, Detroit, Michigan

Moody Gallery, Houston, Texas

1993

Meredith Long & Company, Houston, Texas

1990

New Work: Joseph Glasco, Museum of Art, University of Oklahoma, Norman, Oklahoma

1989

Waddington Galleries, London, England

The Metropolitan Museum of Art, New York, New York

1986

Joseph Clasco 1948-1986: A Sesquicentennial Exhibition, Contemporary Art Museum, Houston, Texas

Museum of Fine Arts, Houston

Meredith Long & Company, Houston, Texas

The Museum of Modern Art, New York, New York

Gimpel + Weitzenhoffer Gallery, New York, New York

The Newark Museum, Newark, New Jersey

1983

Joseph Glasco: Recent Paintings, Gimpel + Weitzenhoffer Gallery, New York, New York

The Solomon R. Guggenheim Museum, New York, New York

1979

Joseph Glasco, Gimpel + Weitzenhoffer Gallery, New York, New York

Whitney Museum of American Art, New York, New York

1976

Joseph Glasco: Recent Works, Arnold Gallery, Inc., Atlanta, Georgia

Yale University Art Gallery, New Haven

1975

Louisiana Gallery, Houston, Texas

1973

Louisiana Gallery, Houston, Texas

1970

Exhibition of Paintings, Pastels, and Drawings, Catherine Viviano Gallery, New York, New York

1968

Kiko Gallery, Houston, Texas

1967

Rizzoli Gallery, New York, New York

Catherine Viviano Gallery, New York, New York

1965

Exhibition of Paintings and Drawings, Catherine Viviano Gallery, New York, New York

Museum of Art, University of Oklahoma, Norman, Oklahoma

1963

Exhibition of Paintings and Objects, Catherine Viviano Gallery, New York, New York

The Art Museum, Princeton University, Princeton, New Jersey The Brooklyn Museum, Brooklyn, New York

The High Museum of Art, Atlanta, Georgia Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

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1961

Exhibition of Paintings and Sculpture, Catherine Viviano Gallery, New York, New York

1958

Catherine Viviano Gallery, New York, New York

1957

Arts Club of Chicago, Chicago, Illinois

1956

Exhibitions of Paintings, Sculpture, Drawings, Catherine Viviano Gallery, New York, New York

1954

Exhibition of Drawings, Catherine Viviano Gallery, New York, New York

Arts Club of Chicago, Chicago, Illinois

1953

Exhibition of Paintings, Sculpture, Drawings, Catherine Viviano Gallery, New York, New York

1952

Glasco, Catherine Viviano Gallery, New York, New York

1951

Exhibition of Paintings, Colored Ink Drawings, Catherine Viviano Gallery, New York, New York

1950

Perls Gallery, New York, New York

GROUP EXHIBITIONS 2015

Texas Modernists, The Grace Museum, Abilene, TX

Texas Artists, Meredith Long & Company, Houston, TX

2014

Selections from the Estate of Sonny Burt and Bob Butler, Talley Dunn Gallery, Dallas, TX

2013

Philbrook Downtown, Philbrook Museum of Art, Tulsa

Back Room, Talley Dunn Gallery, Dallas, TX

1996

Texas Modern and Post-Modern: The Texas Collection of The Museum of Fine Arts, Houston, The Museum of Fine Arts, Houston, Texas

32 Texas Artists, Fifth Floor Gallery, University of Texas-Houston, Houston, Texas

1994

Transformation: Post-War Art from the Museum’s Collection, The Museum of Fine Arts, Houston, Texas

1993

Texas

1992

Island Inspired, Galveston Arts Center, Galveston, Texas

Bob Wilson Collection, Museum of East Texas, Lufkin, Texas

1991

Biennial Exhibition, Whitney Museum of American Art, New York, New York

Galveston Collects Contemporary Art: Post World War II Selections from Galveston Collections, Glaveston Arts Center, Galveston, Texas

1990

Meredith Long & Company, Houston, Texas

1989

Drawings, Prints, and Photographs from the Collection of Bob Wilson, Galveston Arts Center, Galveston, Texas

Meredith Long & Company, Houston, Texas

1988

Texas Art, The Menil Collection, Houston, Texas

1986

Paperworks, Meredith Long & Company, Houston, Texas

Five Texas Artists, McIntosh/Drysdale Gallery, Washington, D.C.

1985

Fresh Paint: The Houston School, The Museum of Fine Arts, Houston, Texas

1984

Group Exhibition, Hadler/Rodriguez Gallery, Houston, Texas

1982

The Americans: The Collage, Contemporary Arts Museum, Houston, Texas

1970

Exhibitions of Paintings, Pastels and Drawings, Catherine Viviano Gallery, New York, New York

Paintings, Sculpture: American and European, Catherine Viviano Gallery, New York, New York

Exhibition of Paintings & Sculpture, Catherine Viviano Gallery, New York, New York

1969

Beckmann, Glasco, Tchelitchew: Drawings, Catherine Viviano Gallery, New York, New York

1966

Permanent Collection Exhibition, Whitney Museum of American Art, New York, New York

1965

Darkness and Light: Twentieth-Century Works from

Texas Collection, Sarah Campbell Blaffer Gallery,

University of Houston, Houston, Texas

Personal Attachments: The Art of Collage/

Assemblage, Hooks-Epstein Galleries, Houston,

A Decade of American Drawings: 1955-1965, Whitney Museum of American Art, New York, New York Three Distinguished Artists from Oklahoma, Museum of Art, University of Oklahoma, Norman, Oklahoma (with Lee Mullican and Leon Polk Smith)

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1964

Elements of Modern Art II: From the Solomon R. Guggenheim Museum, American Federation of the Arts, traveled to Philbrook Art Center, Tulsa, Oklahoma;

Vanderbilt University, Nashville, Tennessee;

Civic Center, Charleston, West Virginia; Gibbes Art Gallery, Charleston, South Carolina; Skidmore College, Saratoga Springs, New York; Temple University, Philadelphia, Pennsylvania; Laguna Gloria Art Museum, Austin, Texas; Old Dominion College, Norfolk, Virginia; Michigan State University, East Lansing, Michigan; Montclair Art Museum, Montclair, New Jersey; Hackley Art Gallery, Muskegon, Michigan

1963

1962

1961

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The Theatre Collects American Art, Whitney Museum of American Art, New York, New York

The Face of the Fifties: Recent Painting and Sculpture from the Collection of the Whitney Museum of American Art, The University of Michigan Museum of Art, Ann Arbor, Michigan

Exhibition of Paintings, Sculpture and Drawings by Contemporary Americans and Europeans, Catherine Viviano Gallery, New York, New York

The Stanley J. Seeger Jr. Collection, The Art Museum, Princeton University, Princeton, New Jersey

The Friends Collect, Whitney Museum of American

Art, New York, New York

The 28th Biennial Exhibition of Contemporary

American Painting, Corcoran Gallery of Art, Washington D.C.

Contemporary American Painting and Sculpture,

Krannert Art Museum, University of Illinois, Urbana, Illinois 1960

Robert Broderson, Joseph Glasco, Peter Lanyon, Catherine Viviano Gallery, New York, New York 1959

Exhibition of Drawings, Catherine Viviano Gallery, New York, New York 1958

The 157th Annual Exhibition of Paintings and Sculpture, The Pennsylvania Academy of the Fine

Arts, Philadelphia, Pennsylvania

Forty Artists Under Forty, Whitney Museum of

American Art, New York, New York; traveled

to Munson-Williams-Proctor Institute Museum of Art, Utica, New York;

Memorial Art Gallery of the University of

Rochester, Rochester, New York;

Roberson Center for the Arts and Sciences,

Binghamton, New York; Albany Institute of

History and Art, Albany, New York;

Everson Museum of Art, Syracuse, New York; Andrew Dickson White Museum of Art, 1957 Cornell University, Ithaca, New York;

Albright-Knox Art Gallery, Buffalo, New York

Seventh International Annual, duPont Galleries,

Mary Washington College, Fredericksburg, Virginia

64th American Exhibition: Painting and Sculpture, The Art Institute of Chicago, Chicago, Illinois

Annual Exhibition 1961: Contemporary American Painting, Whitney Museum of American Art, New York, New York Modern American Drawings, The Festival of Two Worlds, Spoleto, Italy Twentieth-Century Drawings from the Museum of Modern Art, Museum of Modern Art, New York, New York 100 Drawings from the Museum Collection, The Museum of Modern Art, New York, New York Made in New York State, Museum of Modern Art, New York, New York Contemporary American Painters, Montreal Museum of Fine Arts, Montreal, Canada The Museum and Its Friends: Twentieth Century American Art from Collections of the Friends of the Whitney Museum of American Art, Whitney Museum of American Art, New York, New York American Sculpture, The Arts Club of Chicago, Chicago, Illinois; traveled to Milwaukee Art Center, Milwaukee, Wisconsin Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh, Pennsylvania Golden Years of American Drawings, 1905-1956, The Brooklyn Museum, Brooklyn, New York Recent American Acquisitions, The Museum of Modern Art, New York, New York Selection of American Paintings from the Solomon R. Guggenheim Museum, Davison Art Center, Wesleyan University, Middleton,

Connecticut; traveled to Williams College of Art, Williamstown, Massachusetts

Younger American Painters: A Selection, Solomon R. Guggenheim Museum, New York, New York

Contemporary Art Acquisitions, Albright Art Gallery, Buffalo, New York

61st American Exhibition: Paintings and Sculpture, The Art Institute of Chicago, Chicago, Illinois

Recent Loans and Acquisitions, Solomon R. Guggenheim Museum, New York, New York

1956

Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings, Whitney Museum of American Art, New York, New York

1953

Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, Whitney Museum of American Art, New York, New York

International Watercolor Exhibition: 17th Biennial, The Brooklyn Museum, Brooklyn, New York

Exhibition of Paintings, Sculpture, and Drawings by Contemporary Americans and Europeans, Catherine Viviano Gallery, New York, New York 1952

Painters Today, St.-Gaudens Memorial Picture

Gallery, Cornish, New Hampshire

1955

Janicki, Sterne, Glasco, The Arts Club of Chicago, Chicago, Illinois

Americans, The Museum of Modern Art, New York, New York

Two-Hundred Years of American Painting, The Vancouver Art Gallery, Vancouver, Canada

4th Annual Invitational Exhibition by Regional Artists, Guild Hall Museum, East Hampton, New York

The 24th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, D.C.

15 Americans, Museum of Modern Art, New York, New York

Exhibition of Drawings, Catherine Viviano Gallery, New York, New York

Vancouver Art Gallery, Vancouver, Canada

1954

Paintings, Gouaches, Drawings, and Sculpture, Catherine Viviano Gallery, New York, New York

Reality and Fantasy: 1900-1954, Walker Art Center, Minneapolis, Minnesota

Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, Whitney Museum of American Art, New York, New York

1951 Three Young Americans: Richard Diebenkorn,

Joseph Glasco, Joseph McCullough, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio

The New Decade: 35 American Painters and

Sculptors, Whitney Museum of American Art, New York, New York; traveled to San Francisco

Museum of Art, San Francisco, California;

Art Galleries, University of California, Los Angeles, Colorado Springs Fine Arts Center, Colorado 1950 Springs, Colorado, City Art Museum of St. Louis,

St. Louis, Missouri

Painting, Sculpture, Catherine Viviano Gallery,

New York, New York

Young Painters, Congress for Cultural Freedom;

traveled to Rome, Brussels, Paris

Il Bienal do Museu de Arte Moderna, Museu de Arte Moderna, Sao Paulo, Brazil

Exhibition of Contemporary American Painting, College of Fine and Applied Arts, University of Illinois, Urbana, Illinois 60th Annual American Exhibition: Paintings and Sculpture, The Art Institute of Chicago, Chicago, Illinois Three Painters, Catherine Viviano Gallery, New York, New York (with Kay Sage and Carlyle Brown) Recent Acquisitions, The Museum of Modern Art, New York, New York New Talent, Museum of Modern Art, New York, New York 4th Annual Exhibition of Contemporary Painting, California Palace of the Legion of Honor, San Francisco, California

“Painting for me does not consist in something I have seen, but something I am.

There is no ‘subject matter.’ My heads are perhaps landscapes and my landscapes heads.

They are interior thoughts that exist in my heart and mind and not in my eyes”

- Joseph Glasco

13010 Larchmere Boulevard Cleveland, Ohio 44120 Phone (216) 721-6945 wolfsgallery.com