• The fall issue of our magazine Now Modern includes essays by leading scholars and journalists on the Transcendental Painting Group, Paris in the 1950s, Georgia O'Keeffe's abstraction, and the emergence of modernism in American art, among other diverse features. The exhibition at the gallery presents a curated selection of representative artworks from the Fall edition of Now Modern, and will be on view through the end of the year.
  • Henrietta Shore, Rocks, Point Lobos, c. 1930

    Henrietta Shore

    Rocks, Point Lobos, c. 1930
    Henrietta Shore made the present drawing, Rocks, Point Lobos, the year of her move to Carmel, California in 1930. Working alongside her friend and fellow artist, the photographer Edward Weston, Point Lobos became a fruitful painting location of hers and is now part of a California State Marine Reserve. Shore employed rich, evenly built-up colors, and utilized the closedcropped view of rock forms to exude a sense of stillness characteristic to much of her oeuvre. The present work typifies Shore's method of abstraction, which integrated her traditional European fine art training with a keen focus on elements of the natural world, such as shells, flowers, rocks, and roots.
  • John Marin (1870-1953)

    • John Marin The Berkshires, 1917
      John Marin
      The Berkshires, 1917
    • John Marin The Brook, Tyrol Series I, 1910
      John Marin
      The Brook, Tyrol Series I, 1910
    • John Marin Casco Bay, 1914
      John Marin
      Casco Bay, 1914
    • John Marin Islands Looking out from Deer Island, Maine #1, 1919
      John Marin
      Islands Looking out from Deer Island, Maine #1, 1919
    • John Marin Echo Lake District, Pennsylvania, 1916
      John Marin
      Echo Lake District, Pennsylvania, 1916
  • Robert Motherwell, Maria, 1945

    Robert Motherwell

    Maria, 1945
    Robert Motherwell began to experiment with collageunder the supervision of Surrealist artist Roberto Matta and at the encouragement of legendary arts patron and collector Peggy Guggenheim. The rich tan, brown, and black tones form Motherwell's signature deep color palette. The artist's approach to collage combines found elements with a gestural application of paint, a unique style rooted in historical movements such as Cubism, Dada, and Surrealism yet engaged in a creative dialogue with the contemporaneous movement of Abstract Expressionism.

     

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  • Alfred Maurer (1868-1932)

    • Alfred Maurer Abstraction, c. 1919
      Alfred Maurer
      Abstraction, c. 1919
    • Alfred Maurer Abstraction, 1919, 1919
      Alfred Maurer
      Abstraction, 1919, 1919
    • Alfred Maurer Abstraction: Fishing, c. 1919-20
      Alfred Maurer
      Abstraction: Fishing, c. 1919-20
  • Charles E. Burchfield, Sunflower in Backyard, 1949

    Charles E. Burchfield

    Sunflower in Backyard, 1949

    In Sunflower in Backyard, Burchfield depicted his home and studio, resplendent in late fall afternoon sun, as he described in his journal: “Oct. 29 (Saturday) / P. M. sketch of view showing gable end of studio, our house & fence-row—brilliant October sunlight emotion.” Throughout the composition, Burchfield layered highly saturated, nearly neon hues of green and yellow on top of the primary pictorial layer leading the overall scene to vibrate with a pulsing energy.

  • Richard Estes (b. 1932)

    • Richard Estes EAT, 2022
      Richard Estes
      EAT, 2022
    • Richard Estes Study XIII, Theater, 1997
      Richard Estes
      Study XIII, Theater, 1997
    • Richard Estes Detail, Times Square, 2000
      Richard Estes
      Detail, Times Square, 2000
    • Richard Estes Self Portrait in VW Bug, 2022
      Richard Estes
      Self Portrait in VW Bug, 2022
    • Richard Estes Downtown Reflections, 2001
      Richard Estes
      Downtown Reflections, 2001
    • Richard Estes Holland Hotel, 1980
      Richard Estes
      Holland Hotel, 1980
  • Henry Koerner, Joan Nursing Stephanie, 1954

    Henry Koerner

    Joan Nursing Stephanie, 1954

    Henry Koerner's Joan Nursing Stephanie reveals an elaborate new mode of expression that evolved out of the artist's earlier Magic Realist style toward an Impressionist approach defined by fluid brushwork and painted from life. Koerner's experiments in watercolor in 1953-55 led to the development of a light palette that characterizes his paintings of the period, of which the present work is one of the earliest examples.

  • Charles Green Shaw, Untitled, c. 1934

    Charles Green Shaw

    Untitled, c. 1934
    Composed of a group of two-dimensional, abstract shapes, the present work is evidence of Shaw’s early Cubist investigations that evolved into the “plastic polygon” style that defined his work for the remainder of the decade. In the present work, the colorful polygons form a figure evocative of a teapot, composed of a bipedal stand, angled handle, and hinged-open lid. Shaw paired fine black and blue lines with rounded shapes, finding parallels in other developments in European and American abstraction.
  • The Transcendental Painting Group

    • Emil Bisttram Allegory of Mourning (recto); Crucifixion (The Sacrifice) (verso), c. 1929 (recto); 1953 (verso)
      Emil Bisttram
      Allegory of Mourning (recto); Crucifixion (The Sacrifice) (verso), c. 1929 (recto); 1953 (verso)
    • Florence Miller Pierce Untitled, c. 1960s
      Florence Miller Pierce
      Untitled, c. 1960s
    • Emil Bisttram Communion, 1929
      Emil Bisttram
      Communion, 1929
    • Florence Miller Pierce Untitled (Tondo), 1985
      Florence Miller Pierce
      Untitled (Tondo), 1985
  • Milton Avery (1885-1965)

    • Milton Avery, Three Cows on a Hillside, 1945
      Milton Avery, Three Cows on a Hillside, 1945
    • Milton Avery, Twilight Sea, 1958
      Milton Avery, Twilight Sea, 1958
  • Günther Förg, Untitled, 1988

    Günther Förg

    Untitled, 1988

    The quintet Untitled from 1988 is a prime example of Gu¨nther Fo¨rg’s precision and commitment to painting within the boundaries of his methodology. It exhibits contrasting monochromatic sections of quickly brushed-on acrylic paint, bisecting the composition of each panel. Space acts as the central character: the space between color—or lack thereof; the space between paintings side-by-side in sequence; even the space between perception and meaning asks to be accounted for.

  • Felrath Hines (1913-1993)

    • Felrath Hines Pond, 1958
      Felrath Hines
      Pond, 1958
    • Felrath Hines Dream Landscape, 1962
    • Felrath Hines Landscape, 1963
      Felrath Hines
      Landscape, 1963
  • Manierre Dawson, Madonna, 1911

    Manierre Dawson

    Madonna, 1911

    Madonna is characteristic of Manierre Dawson's "Cubist Transliterations," a term coined by art historian Mary Mathews Gedo for a group of figurative paintings Dawson created in 1911-12. The paintings appropriate subjects from historical European masterworks Dawson would have seen during his six-month European tour in 1910. In the present example, Dawson deftly reinterpreted the central figure of Leonardo da Vinci's Virgin of the Rocks (c. 1491-1508; The National Gallery, London).

  • Marsden Hartley (1877-1943)

    • Marsden Hartley Autumn Cascade, c. 1910
      Marsden Hartley
      Autumn Cascade, c. 1910
    • Marsden Hartley Autumn Impressional, c. 1906-08
      Marsden Hartley
      Autumn Impressional, c. 1906-08
  • Morton Schamberg, Untitled (Landscape Forms), c. 1913

    Morton Schamberg

    Untitled (Landscape Forms), c. 1913
    Oil on panel
    14 x 10 inches
    35.6 x 25.4 cm
  • Marsden Hartley

    Autumn Cascade, c. 1910

    For more information regarding Now Modern, or to be added to our mailing list, please contact Alana Ricca at (212) 879-8815, or alana@schoelkopfgallery.com. We look forward to being in touch.