An Innate Eye: The Artist and The Collector by wolfsgallery

Innate Eye: The Artist and The Collector,

the late Stanley J. Seeger Jr. Collection of Works by Joseph Glasco

INNATE EYE:

The Artist and The Collector, the late Stanley J. Seeger Jr. Collection of Works by Joseph Glasco -Bridget McWilliams

Following our recent exhibition Joseph Glasco: The David Chesler Collection, We are pleased to bring to the gallery a most important second private collection of works by this truly brilliant figurative expressionist artist. A fortuitous circle of events sparked into motion the communion of these two collections. With this catalog we are fortunate to bring 63 works by Joseph Glasco from the collection of the late Stanley J. Seeger Jr. to Cleveland from his estate in London, UK.

Seeger graduated from Princeton University in 1952 and traveled to Florence, Italy to study music composition. Upon his return in 1953, and inspired by Italian art, he began to collect the work of Italian figurative expressionists. This led him to the Catherine Viviano Gallery in New York, as she was showing the works of those artists, but she had also represented Joseph Glasco since 1951, after his one man show at Perls Galleries. It was here that artist and collector met.

The late Stanley J. Seeger Jr, has been recognized as one of the most astute, intelligent and thorough art collectors of the twentieth century. An heir to a great timber and oil fortune, his wide ranging intellectual interests and his financial ability to buy art produced a multi-faceted grouping of collections that encompassed modern painting, African, Asian, Persian, PreColumbian and Indian art, antique silver, furniture, art nouveau, art glass, and more; all collected with a superb eye for quality. A very private man verging on reclusive, the scope of these collections only became apparent upon their subsequent sales at auction, both before and after Seeger’s death in 2011. In his lifetime, Seeger was known to “complete” a collection and then move on to the next. For example, 88 Picassos were sold in a single sale in1993. After his death a Joseph Conrad library put together by Seeger and sold in 2013 was called “the greatest single-owner book collection ever assembled.” Collecting allowed Seeger to build and revel in his own private world again and again through his collections in his string of houses, one of which was the great English Tudor manor, Sutton Place.

Seeger’s collection of works by Joseph Glasco was put together out of a true appreciation for the work and for his own personal enjoyment of it. That the collection remained intact and was not sold was probably both a testament to that fact and to the friendship the two shared. All told, Seeger likely owned between 80 and 100 Glasco works. In all of Seeger’s collecting, one thing he gravitated toward was a captivating provenance. The works we present in the current exhibition bear their own prized provenance, the stamp of Stanley J. Seeger. We hope that you will enjoy this extraordinary collection of Joseph Glasco’s work, which, combined with the Chesler Collection should create new devotees of Glasco’s art. We have long been in that category. We are immensely grateful to author Michael Raeburn for his continuous scholarly and knowledgeable support, for his remarkable insights, his good-natured patience and for his wonderful monograph which traces the life and work of this amazing and singular artist. Without his exhaustive research and diligence we would know little about Joseph Glasco.

INNATE EYE:

The Artist and The Collector, the late Stanley J. Seeger Jr. Collection of Works by Joseph Glasco -Michael Raeburn

When Stanley Seeger was considering his first Glasco purchases at Catherine Viviano’s gallery in 1955, Viviano called the artist, who appeared at the gallery within ten minutes. A friendship between artist and collector quickly developed. Seeger immediately bought the recent painting Salome, the masterpiece of Glasco’s early period, which had pride of place in many of Seeger’s successive homes. It was Glasco who suggested Seeger should visit Greece, and, living for a time in the same neighborhood of Athens, they shared a love of the islands, the bustle of Athens, the ancient and modern culture, and the Greek people. This eventually led the collector to establish the Seeger Center for Hellenic Studies at Princeton University. For Glasco, the Greek myths, along with some favorite Bible stories (Salome, Bathsheba, Susanna and the Elders), were an inexhaustible source of subject-matter for paintings and drawings. Seeger’s support for Joe Glasco, who could be a difficult and wayward friend, was constant. One time, visiting him at the Algonquin Hotel in New York, Glasco cut off a cord and tassel from the hotel curtains, which he included as collaged elements in Queen of Sheba, a work that Seeger added to his collection. He would host parties for Glasco’s exhibition openings and laugh off the artist’s outrageous misbehavior. After Viviano closed her gallery in 1970, Glasco spent time with Seeger in Lanzarote, Canary Islands, executing a series of monumental drawings that are among the most remarkable works in the collection. Glasco’s drawings, mostly executed in pen and India ink, combine free-flowing line with passages of dense patterning and, often, chance effects of spattering. Sometimes, as in the 1951 Head, words spelled out in

tiny capital letters (THE LOVERS OF FILTH / AND THE WHEEL WAS TIED TO THE DOOR) are hidden among the markings. These individual, bravura, works – mainly devoted to figures, cats and other animals – mark Glasco as one of the masters of American drawing in the 20th century. His painting shows an equal command of technical procedures. During his time at the Art Students’ League Glasco learned the technique of glazing, as practiced by the great masters of the Italian Renaissance, and the layering of his paint, applied with great craftsmanship in his earlier works, seems to anticipate the multiple layers of his later canvas collages. During the 1950s and into the ‘60s, Glasco’s work attracted other important collectors – Joseph Hirshhorn, Lee Ault, Richard Brown Baker, Philip Johnson, Nelson Rockefeller and many others – and their generosity, as well as museum purchases, brought Glasco’s works into the collections of many of the leading museums in the USA. However, Glasco’s continual swimming against the tides of fashion led to his works being displaced by others that reflected more modish tastes and trends and then consigned to storage depositories. It was Stanley Seeger, convinced of the quality and originality of Glasco’s work, who encouraged me to undertake a journey of research and rediscovery so as to bring this extraordinary artist – sculptor as well as painter, draftsman, and collagist – back into the public eye. This exhibition of some of the cream of his artistic production, from the collections of the late Stanley J. Seeger and Glasco’s friend David Chesler, offers an opportunity for the artist Joseph Glasco to be given his rightful place among the masters of the great American half-century.

LIST OF EXHIBITIONS: As noted in catalog descriptions

VIVIANO 1951: Exhibition of Paintings, Colored Ink, Drawings Catherine Viviano Gallery, April 3-28, 1951. 42 East 57th Street,New York, NY

Center, Colorado Springs, CO (February 9-March 20, 1956) City Museum of St.Louis, St. Louis, MO (April 15-May 15, 1956).

FACCHETTI 1952: Un Art Autre Studio Paul Facchetti, December, 1952. Paris,France

VIVIANO 1956: Joseph Glasco. Exhibition of Paintings, Sculpture, Drawings (January 30-February 25,1956)

VIVIANO 1953: Glasco, Exhibition of Paintings, Sculpture, Drawings Catherine Viviano Gallery, March 24-April 18, 1953.

VIVIANO 1958: Joseph Glasco. Exhibition of Paintings and Sculpture (March 10-April 5, 1958)

EMBELLISHED SURFACE 1953-55: The Embellished Surface, A traveling exhibition organized by the Museum of Modern Art, New York, October 26, 1953—May 4, 1955: McMurray College, Jacksonville, IL (October 26-November 23, 1953) Currier Gallery of Art, Manchester, NH (January 4-25, 1954) University of Michigan Museum of Art, Ann Arbor, MI (February 7-March 1, 1954) Lamont Gallery, Phillips Exeter Academy, Exeter, NH (April 19-May 9, 1954) Mount Holyoke College, South Hadley, MA (October 4-25, 1954) Newcomb College, New Orleans, LA (January 1-22, 1955) Michigan State University, East Lansing, MI (February 8-March 2, 1955) University of Connecticut, Storrs, CT (April 14-May 4, 1955).

CHICAGO ARTS CLUB 1958: Baskin, Farr, Glasco, Lipton, Schmidt, Schor The Arts Club of Chicago, Chicago,IL (November 7-December 8, 1958) Milwaukee Art Center, Milwaukee, WI (December 18-January 20, 1959)

NEW DECADE 1955: The New Decade. 35 American Painters and Sculptors, A traveling exhibition organized by the Whitney Museum of American Art, New York,; New York, (May 11-August 7 1955) San Francisco Museum of Art, San Francisco, CA (October 6-November 6 1955) Art Galleries UCLA, Los Angeles, CA (November 20, 1955-January 7, 1956) Colorado Springs Fine Art

PRINCETON 1961: The Stanley J. Seeger Jr. Collection, Princeton University Art Museum, June, 1961 VIVIANO 1963: Glasco. Exhibition of Paintings and Objects, January 23, 1963 GIMPEL + WEITZENHOFFER 1979: Joseph Glasco Recent Work, November 20-December 21, 1979, New York, NY HOUSTON CAM 1986: Joseph Glasco 1948-1986: A Sesquicentennial Exhibition, April 19-June 29, 1986, Contemporary Arts Museum, Houston, TX WADDINGTON 1989: Joseph Glasco, November 29-December 22, Waddington Galleries, London, UK

100 BOY

1950 Oil and aggregate on canvas Signed and dated lower right 28 x 20 inches Framed Exhibited: Viviano 1951, no. 5 Illustrated: Un Art Autre, by Michel Tapie, as Peinture, Paris, 1952 As Glasco worked toward his own true style he was influenced by the artists around him. Boy shows the influence of artist Jean Dubuffet(1901-1985), who had reportedly given Glasco the ratio of ingredients for working with oil and sand. As Michael Raeburn states in his monograph, “It also introduces a motif that reappears again and again. . .a circle divided by spokes . . .” Michael Raeburn, Joseph Glasco: The Fifteenth American, London:Cacklegoose Press, 2015, p.78

101 STANDING FIGURE

1950 India ink on beige paper Inscribed, “For Stanley from Joe for the new house” Signed and dated lower left 25 x 19.5 inches Framed Exhibited: Princeton, 196, no. 81, as “Standing Man”

102

104

FIGURE STUDY

SUMMER

1950 India ink on pink paper Signed and dated lower center 17.5 x 12 inches Framed

1951 Oil and sand on canvas 31.5 x 23.5 inches Framed Exhibited: Embellished Surface, 1954 Houston, CAM, 1986 Summer bears some resemblance to the works of Alfonso Ossorio (1916-1990) who is not extremely well known today, but with whom Glasco was spending considerable time between 1950-53, along with Jackson Pollock (1912-1956) and Jean Dubuffet.

103 ANIMAL

1950 Oil and sgraffito on thin card Signed and dated lower right 14 x 22 inches Framed

105 HEAD (THE LOVERS OF THE FILTH AND THE WHEEL WAS TIED TO THE DOOR)

1951 Black ink on paper Signed and dated lower right 39.75 x 26.75 inches Framed Exhibited: Princeton, 1961, no. 83 Illustrated: As catalog cover for Viviano, 1958 Head (The Lovers of the Filfth/And the Wheel was Tied to the Door) is notable in its composition, which expands the subject (a head in profile) to fill the entire sheet of paper. This important tenet of Abstract Expressionism was something that Glasco took to heart as he was finding his own way of expressing his art.

Details

106 MARVELLO

1953 Oil on canvas 84 x 50 inches Exhibited: Viviano, 1953, no. 1 New Decade, 1955 Princeton, 1961, no. 71 Marvello was titled after a character of the same name in the writer William Goyen’s experimental novel Half A Look of Cain, completed in 1953 and published posthumously in 1994. In Goyen’s novel, Marvello was a beautiful and highly sexualized aerialist, and the novel is a complicated exploration of desire, sexuality, love, heartbreak, creation and destruction. Goyen and Glasco, both Texans, had met and were living together in Taos, New Mexico in complete happiness at the time the book was written and the painting was created. During their time together, their creative works were symbiotic reflections of one another.

Details

107 STANDING CAT IN BLUE LANDSCAPE

1953 Black and colored inks on paper Signed and dated lower right 28.25 x 40 inches Framed Standing Cat in Blue Landscape. Glasco was an animal lover and often used animals as subject matter or included them in his compositions. Here the body of the cat fills almost the entire space of the page as he does with his human figures.

108 CONVERSATION

1953 Ink, oil and chalk on paper Signed and dated lower right 18 x 23.5 inches Framed Exhibited: Viviano, 1953, no. 28 Princeton 1961, no. 86

109 HORSE’S HEAD

1953 India ink on canvas Signed and dated lower left 12 x 8.5 inches Framed 110 HORSE

1953 Blue india ink on canvas Signed and dated lower center 11.75 x 8.75 inches Framed

111 STUDY OF A HEAD

c.1953 Green ink on paper 12 x 9 inches Framed

112 RED AND BLACK LADY

1953 Ink and color on textured paper, titled verso 19.75 x 15.75 inches Framed Exhibited: Viviano, 1953, no. 22 Princeton, 1961, no. 85

113 HEAD (RED AND ORANGE ABSTRACT)

1953 Colored inks on thin card with sgraffito Signed and dated lower right 28.25 x 22 inches Framed Exhibited: Viviano, 1953 Princeton, 1961, no. 88

114 MICHELANGELO’S DAVID

1954 Ink on paper Signed in pencil ,lower center 12.25 x 9 inches Framed Michelangelo’s David. An exceptionally beautiful example of the virtuosity of Glasco’s drawing technique and his ability to render form through line and gesture and his expert use of one of his favorite mediums, India Ink.

Details

115 WOMAN SHELLING PEAS

1954 Black, bistre and green ink on paper Signed in pencil, lower center 10.25 x 8 inches Framed 116 STANDING FIGURE

1954 India ink on paper Signed and dated lower right 17.5 x 11 inches Framed 117 FIGURE IN OSTIA

1954 Ink on paper 10.75 x 8 inches Framed

118 DANCING FIGURE

1954 Ink on paper Signed in pencil lower center 10.25 x 8 inches Framed

119 TWO WOMEN

1954 Pen and blue ink on paper Signed lower right 12.75 x 8.5 inches Framed 120 FIGURE STANDING IN A POOL

1954 Bistre and blue ink on paper Signed middle center 12.75 x 9 inches Framed 121 HEAD

1954 India ink on paper Signed and dated lower right 18 x 12 inches

122 TREE

1954 Black ink on paper Signed middle center 10.25 x 8 inches Framed

123 SALOME

1955 Oil on canvas Signed and dated lower right 79 x 67 inches Framed Exhibited: New Decade, 1955 Viviano, 1956, no.1 Princeton, 1961, no.72 Salome. A monumental depiction of the biblical subject, this was the first purchase by Stanley J. Seeger of a Joseph Glasco work. This important and iconic painting was given prime placement in each of Seeger’s successive homes. Historically Salome has been a favorite subject for painters and is seen as a symbol of dangerous female seductiveness. Here Salome stands with her mother Herodius, for whom she acquired the head of John the Baptist on a silver platter. The painting took a full year to complete and the composition was thoughtfully altered numerous times until this version was retained. The labor-intensive technique and the intricate use of paint to form pattern and texture is typical of Glasco’s work throughout his career.

Details

124 INTERIOR WITH STANDING MAN

1955 Oil on canvas Signed and dated lower left 76 x 43 inches Framed Exhibited: Viviano, 1956, no. 2 Princeton, 1961, no. 74

125 HEAD

1955 Ink and charcoal on cardboard Signed and dated lower right 39 x 30 inches Framed Head was the second purchase made by Stanley J. Seeger

126 MAN WITH MIRROR

1955 Bronze Signed with initials JG Cast by Roman Bronze Works, NY 32 inches high Exhibited: Viviano 1956, no. 7 Chicago Arts Club 1958, no. 23 Princeton 1961, no. 77

Man with a Mirror and Head represent Glasco’s completely successful foray into sculpture. The translation of his imagery from the two-dimensional to the threedimensional produced astounding results. These works were cast at the famous Roman Bronze Works Foundry in New York.

Details

HEAD

1955 Bronze Signed with initials JG With foundry mark for Roman Bronze Works, NY 9.25 x 7 x 7 inches Exhibited: Viviano, 1956, no. 9 or 10 Princeton, 1961, no. 78

128 MAN WITH A MIRROR

1955 India ink with tempera on textured paper 12 x 8.5 inches Framed Exhibited: Princeton, 1961, no. 90

129 ANIMAL

c.1955 Oil on canvas 8.5 x 11.5 inches Framed

Details

130 HEAD

1956 Oil on canvas Signed and dated lower left 16.5 x 12 inches Framed Exhibited: Viviano, 1956, no. 5 Princeton, 1961, no. 75 Head. An unusual small size oil, nevertheless the work retains the monumentality of form and scale of the larger works.

131 LEDA

1956 Oil on paper Signed and dated lower left 60 x 39 inches Framed Exhibited: Viviano, 1956, no. 3 Princeton, 1961, no. 73 Houston, CAM, 1986 Leda. As Raeburn states, “Ancient and modern myth— Salome, Lilith, Leda, and Goyen’s Marvello—already had provided him {Glasco} with inspiration, and he continued to evoke mythical characters in the subjects and titles of his art.” MR, p.199. Dore Ashton of the New York Times reviewed the January 1956 show at Catherine Viviano, including this description of Leda,” One of the outstanding canvasses in the show is entitled ‘Leda.’ Executed in tones of brown with pale orange highlights, this painting shows a huge ambiguous female figure, her back to the spectator. Beyond her a giant fringe of feathers indicates the mythical swan. The whole effect is startling.” NYT Feb. 3 1956. In the right corner of the work is a small mirror and comb. These two elements are often incorporated into Glasco’s paintings, with the comb seeming to be an attribute of a woman while the mirror is often associated with his depictions of Narcissus.

132 STANDING MAN

1956 India ink and color on paper 11.75 x 9 inches Framed Exhibited: Viviano, 1956, no. 3 Chicago Arts Club, 1958, no. 28? Princeton, 1961, no. 91

133 OWL ON ROCK

1956 India ink and color on paper Signed lower right 12 x 9 inches Framed Exhibited: Princeton, 1961, no. 94

134 MY OWN SWEET SWAN

1956 India ink on paper Signed lower right 8.5 x 12 inches Framed Exhibited: Princeton, 1961, no. 93

135 BATHSHEBA

1956 India ink on paper 25 x 18.75 inches Framed Exhibited: Princeton, 1961, no. 92

136 HEAD

1958 Marble 18 x 9 x 5 inches Exhibited: Viviano, 1958, no. 11 Princeton, 1961, no. 80 Head. Glasco’s only works in stone were made between 1957-1961

Detail

137 SCARLET LETTER

1962 Oil on canvas Signed and dated lower right 24 x 30 inches Framed Exhibited: Viviano, 1963, no. 1

138 QUEEN OF SHEBA

1962-63 Oil with collage on canvas Signed lower right 48 x 72 inches Framed

Queen of Sheba Is yet another biblical subject in which the story concerns a powerful and seductive woman who tests a man. The Queen of Sheba is sometimes identified with Lilith, a subject Glasco explored at least several times. Sheba was often called half human, half demon, was a seductive dancer, and perhaps had a left foot that was cloven like a goat, and a hairy leg. Glasco collaged a hotel drapery cord and tassel into the work.

Details

139 ABSTRACT

1963 Ink, oil and chalk on paper 24 x 17.25 inches Framed

140 STANDING FIGURES

A multiple portrait of Stanley J. Seeger Jr. 1971 India Ink on paper Signed and dated ’71 lower right 39 x 25 inches Framed Standing Figures. This is a multiple portrait of Stanley Seeger, done in 1971 while Glasco was a guest at Seeger’s house in Lanzarote, Canary Islands. Seeger appears to be wearing a Greek style caftan.

141 RECLINING FIGURE, FACING RIGHT (NIKOS)

1971 India ink on paper Signed and dated middle right 26 x 38.25 inches Framed

142 RECLINING FIGURE, FACING LEFT (NIKOS)

1971 India ink on paper Signed and dated lower right 25.25 x 39 inches Framed

Details

143 INTERIOR WITH FIGURE (STANLEY)

1971 India ink and colored ink on paper 20 x 28.75 inches Framed

144 GARDEN IN THE CANARIES

1971 India ink and gray gouache on paper Signed and dated lower right 28.75 x 20 inches Framed 145 STANLEY ’S HOUSE FROM THE GARDEN, LANZAROTE

1971 India ink on paper Signed and dated lower right 20 x 28.5 inches Framed

146 RECLINING MALE FIGURE

1971 India ink on paper Signed and dated lower right 22.5 x 30.25 inches Framed 147 STANDING MAN

1971 India ink on paper Signed and dated lower left 28.5 x 20 inches Framed

148 MALE STANDING FIGURE (NIKOS)

1971 India ink on paper Signed and dated lower right 39.5 x 25 inches Framed

149

150

STANDING MAN

HEAD

1971 Chalk and crayon on paper Signed and dated lower right 25 x 18.5 inches Framed

1971 Charcoal and gouache on paper Signed and dated lower right 30.25 x 22.5 inches Framed

Details

151 SEATED FIGURE WITH DOG

1971 Colored ink and watercolor on paper Signed and dated lower right 25.75 x 19.75 inches Framed Seated Figure with Dog is a beautiful work in colored india ink, a medium with which Glasco demonstrates complete proficiency. The pleasant subject of a woman seated in an interior, holding a small dog on her lap, with a composed still life on the table beside her, reflects Glasco’s admiration for the work of Henri Matisse. In Glasco’s words, derived from one of his notebooks, “ Matisse is wonderful because he really wanted to paint pictures for people to enjoy. His pictures make the spectator important. They don’t preach at one or evaluate, they only confirm the best things in one. . .He served people, he worked for the betterment and joy of other people, and this requires great personal selfishness.” As excerpted in Raeburn, p.183. Glasco had expressed the desire for an art free from pain, focused on subject, composition and color before. Likely this was a longstanding reaction to atrocities he had witnessed as a soldier in World War II.

152 SEATED WOMAN

1971 India ink on paper Signed and dated lower right 28.5 x 19.75 inches Framed 153 RECLINING MALE FIGURE (FOR NICK)

1971 India ink on paper Inscribed, signed and dated 10.25 x 14 inches Framed

154 CONVERSATION

1976 Etching Signed in pencil lower left Edition 3/25 19.5 x 24 inches Framed

155 UNTITLED

1978 Acrylic on canvas collage Initialed verso and dated 80 x 69 inches Framed Exhibited: Gimpel + Weitzenhoffer, 1979, no. 6 Houston, CAM 1986 Untitled. In the late 70’s Glasco moved away from his figurative work and began creating abstract acrylic on canvas collages, many of them monumental in size. The underlying layer was painted in an abstract manner and then using strips of canvas which had been painted and cut, Glasco applied these over the canvas ground creating an effect of depth and movement which on this large scale envelops the viewer in a micro environment.

156 UNTITLED NO. 8

1978 Mixed Media and collage on canvas 108 x 84 inches Framed Exhibited: Waddington, 1989, no. 12

157 UNTITLED

1978-79 Acrylic on canvas collage Initialed verso 80 x 71 inches Framed

158 UNTITLED

1978-81 Acrylic on canvas collage initialed verso and dated ‘81 48 x 51 inches Framed

159 UNTITLED

1979 Acrylic on canvas collage 72 x 93 inches Framed Exhibited: Gimpel + Weitzenhoffer, 1979, no. 4 Houston, CAM, 1986

160 UNTITLED

1979 Acrylic and paper collage Signed and dated J.G. 1979 Inscribed in Greek letters Aptera, Crete 38 x 27 inches Framed

161 UNTITLED

1979 Acrylic, oil pastel and paper collage Signed and dated with initials lower left 39 x 29 inches Framed 162 UNTITLED

1985 Acrylic on canvas collage 88 x 78 inches Framed

163 THREE BATHERS

1985 Etching and aquatint 8 x 5.75 inches plate size Framed

JOSEPH GLASCO MUSEUM COLLECTIONS

SOLO EXHIBITIONS 2015 Joseph Glasco: The Fifteenth American, Waddington Custot Galleries, London

Albright-Knox Art Gallery, Buffalo, New York The Art Museum, Princeton University, Princeton, New Jersey The Brooklyn Museum, Brooklyn, New York

2012 Joseph Glasco: Paintings from the Estate, Talley Dunn Gallery, Dallas, Texas

Corcoran Gallery of Art, Washington, D.C. Detroit Institute of Arts, Detroit, Michigan The High Museum of Art, Atlanta, Georgia

1996 Joseph Glasco: A Celebration, Barry Whistler Gallery, traveled to the Center for Research in Contemporary Art, University of Texas at Arlington, Arlington, Texas Moody Gallery, Houston, Texas

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Metropolitan Museum of Art, New York, New York Museum of Fine Arts, Houston The Museum of Modern Art, New York, New York

1993 Meredith Long & Company, Houston, Texas

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

1990 New Work: Joseph Glasco, Museum of Art, University of Oklahoma, Norman, Oklahoma

Whitney Museum of American Art, New York, New York Yale University Art Gallery, New Haven

1989 Waddington Galleries, London, England 1986 Joseph Clasco 1948-1986: A Sesquicentennial Exhibition, Contemporary Art Museum, Houston, Texas Meredith Long & Company, Houston, Texas Gimpel + Weitzenhoffer Gallery, New York, New York 1983 Joseph Glasco: Recent Paintings, Gimpel + Weitzenhoffer Gallery, New York, New York 1979 Joseph Glasco, Gimpel + Weitzenhoffer Gallery, New York, New York 1976 Joseph Glasco: Recent Works, Arnold Gallery, Inc., Atlanta, Georgia 1975 Louisiana Gallery, Houston, Texas

1973 Louisiana Gallery, Houston, Texas

1952 Glasco, Catherine Viviano Gallery, New York, New York

1970 Exhibition of Paintings, Pastels, and Drawings, Catherine Viviano Gallery, New York, New York

1951 Exhibition of Paintings, Colored Ink Drawings, Catherine Viviano Gallery, New York, New York

1968 Kiko Gallery, Houston, Texas

1950 Perls Gallery, New York, New York

1967 Rizzoli Gallery, New York, New York Catherine Viviano Gallery, New York, New York

GROUP EXHIBITIONS

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 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

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 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, Texas 1992 Island Inspired, Galveston Arts Center, Galveston, Texas Bob Wilson Collection, Museum of East Texas, Lufkin, Texas

1966 Permanent Collection Exhibition, Whitney Museum of American Art, New York, New York

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

1965 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)

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

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 The Friends Collect, Whitney Museum of American Art, New York, New York

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

1963 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 Robert Broderson, Joseph Glasco, Peter Lanyon, Catherine Viviano Gallery, New York, New York Exhibition of Drawings, Catherine Viviano Gallery, New York, New York

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

1962 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,

1969 Beckmann, Glasco, Tchelitchew: Drawings, Catherine Viviano Gallery, New York, New York

Syracuse, New York; Andrew Dickson White Museum of Art, Cornell University, Ithaca, New York; Albright-Knox Art Gallery, Buffalo, New York Seventh International Annual, duPont Galleries, Mary Washington College, Fredericksburg, Virginia 1961 64th American Exhibition: Painting and Sculpture, The Art Institute of Chicago, Chicago, Illinois 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 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 1960 100 Drawings from the Museum Collection, The Museum of Modern Art, New York, New York 1959 Made in New York State, Museum of Modern Art, New York, New York 1958 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

1957 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 Contemporary Art Acquisitions, Albright Art Gallery, Buffalo, New York 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 Exhibition of Paintings, Sculpture, and Drawings by Contemporary Americans and Europeans, Catherine Viviano Gallery, New York, New York Painters Today, St.-Gaudens Memorial Picture Gallery, Cornish, New Hampshire 1955 Janicki, Sterne, Glasco, The Arts Club of Chicago, Chicago, Illinois Two-Hundred Years of American Painting, The Vancouver Art Gallery, Vancouver, Canada The 24th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, D.C. 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 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 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 Younger American Painters: A Selection, Solomon R. Guggenheim Museum, New York, New York 61st American Exhibition: Paintings and Sculpture, The Art Institute of Chicago, Chicago, Illinois 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 Il Bienal do Museu de Arte Moderna, Museu de Arte Moderna, Sao Paulo, Brazil 1952 Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, Whitney Museum of American Art, New York, New York Americans, The Museum of Modern Art, New York, New York 4th Annual Invitational Exhibition by Regional Artists, Guild Hall Museum, East Hampton, New York 15 Americans, Museum of Modern Art, New York, New York 1951 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) 1950 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

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