January 24 – February 2, 2025
Park Avenue Armory, 643 Park Avenue, New York, NY, 10065
Charles Burchfield, Edward Mitchell Bannister, Bob Thompson, Loren MacIver, Elizabeth Catlett, Gaston Lachaise, Marsden Hartley, Horace Pippin, Arthur Dove, John Marin, Milton Avery, Stuart Davis, Grant Wood, John La Farge, Charles Demuth, Charles Sheeler, Tom Uttech
Charles Burchfield, Edward Mitchell Bannister, Bob Thompson, Loren MacIver, Elizabeth Catlett, Gaston Lachaise, Marsden Hartley, Horace Pippin, Arthur Dove, John Marin, Milton Avery, Stuart Davis, Grant Wood, John La Farge, Charles Demuth, Charles Sheeler, Tom Uttech
PUBLIC OPENING HOURS:
Friday, January 24 12pm – 8pm
Saturday, January 25 12pm – 7pm
Sunday, January 26 12pm – 6pm
Monday, January 27 12pm – 8pm
Tuesday, January 28 12pm – 4:30pm
Wednesday, January 29 12pm – 8pm
Thursday, January 30 12pm – 4:30pm
Friday, January 31 12pm – 8pm
Saturday, February 1 12pm – 7pm
Sunday, February 2 12pm – 6pm
For further information, e-mail the gallery: inquiries@alexandregallery.com
Charles Burchfield, March Clouds and Tree, 1946, watercolor on paper, 35 1/2 x 28 1/2 inches
Edward Mitchell Bannister, Woodsman Returning, oil on canvas, 22 x 18 inches
Edward Mitchell Bannister, Sheep Grazing, 1881, oil on canvas, 22 x 30 inches
These early canvases are unruly and full of raw emotion. The compositions are slightly distorted, the rendering of forms cryptic, and the depictions of the body and nature abbreviated. In all, the works of this period attest to Thompson’s early attempts at a personal approach to figuration in relation to other artists of the day. These works rely on geometry and color to make their point: they rush, fast and hard, and set out a large terrain that Thompson would revisit for the rest of his career.
— Thelma Golden
Bob Thompson, Two and the Same, 1960, oil on canvas, 61 x 71 inches
Loren MacIver, A Fall of Snow, 1948, oil on canvas, 42 x 29 inches
Loren MacIver, Porte Bonheur, 1980, oil on linen, 21 3/4 x 18 1/4 inches
Loren MacIver, Untitled, c. 1940, pastel on black paper, 8 x 6 inches
Loren MacIver, Untitled, c. 1940, pastel on black paper, 9 x 12 inches
Loren MacIver, Untitled, c. 1940, pastel on black paper, 9 x 12 inches
Stuart Davis, (Study for "Flying Carpet"), 1942, gouache and graphite on paper, 10 x 14 inches
Stuart Davis, The Plan #2, 1960, oil on canvas, 8 x 12 inches, (SD 59.02)
Elizabeth Catlett’s sculptures are revelatory expressions of her radical politics, profound empathy, and abiding aesthetic of care. When sculpting, she said, “I’m thinking about form. But I’m also thinking about women, Black women.” Grounded in her representations of these women, Catlett’s sculptural practice fused form and politics through her choice and handling of materials and her sculptures’ formal elegance, organic vitality, and commanding presence.
— Melanie Anne Herzog
Elizabeth Catlett, Untitled (Female Figure with Arms Raised), 1979, carved wood, 32 1/2 x 10 x 7 inches
Gaston Lachaise, Single Dolphin, 1924; cast by 1930 bronze, gold patina, 13 x 2 x 9 inches
I have but one ambition—to put down with a sense of authority and artistic conviction an object—some days for form only—then for color.
— Marsden Hartley
Marsden Hartley, Songs of Winter, 1908, oil on board, 8 1/2 x 11 1/2 inches
Marsden Hartley, Autumn, Dogtown Common, 1934, oil on board, 12 x 15 1/2 inches
Marsden Hartley, West Brooksville, Maine, 1939, oil on board, 22 x 16 inches
Marsden Hartley, New Mexico Recollection — Storm, 1923, oil on canvas, 29 x 41 1/2 inches
Marsden Hartley, Bowl with Fruit, 1919, oil on canvas, 13 7/8 x 25 3/4 inches
Marsden Hartley, Portrait of the Artist, 1909, black crayon on paper, 12 x 8 3/4 inches
In contrast to the decorative stylized patterning of his first New Mexico series, the Recollections are domi- nated by undulating forms which expressed what he felt were the “natural wave rhythms” of the Southwest. In what were his most expressionistic and perhaps successful New Mexico Recollections, Hartley turned these undulating forms into fanciful, turbulent landscapes infused with a brooding quality which corresponded to his current mood, as well as to his earlier experience in Taos—or “chaos” as he saw it.
— Barbara Haskell
Horace Pippin, Victory Vase, c. 1942, oil on canvas, 19 x 19 inches
I look at nature, I see myself. Paintings are mirrors, so is nature.
— Arthur Dove
Arthur Dove, Untitled, 1942, gouache on card, 3 x 4 inches
Arthur Dove, Untitled Abstraction, c. 1942, gouache on card, 3 x 4 inches
Arthur Dove, Untitled (Sea and Sand), 1943, mixed media on paper, 3 x 4 inches
John Marin, New York No. 2, 1925, charcoal and watercolor on paper, 25 1/4 x 20 3/4 inches
Milton Avery, Milliner, 1945, oil on canvas, 49 1/2 x 35 3/8 inches
“You might say everything I’ve done since has been based on that Egg-Beater idea” wrote Stuart Davis (American, 1892-1964) in 1945, looking back at the subject which spawned his excitement for depictions of the everyday object in the early 1920s. Egg Beater (1923), the first of those paintings, served as a catalyst for Davis both stylistically and in terms of subject matter, reigning in a new era of abstracted depictions of everyday subjects unlike anything done before.
— EC
Stuart Davis, Egg Beater, 1923, oil on board, 37 x 22 inches
Stuart Davis, Egg Beater No. 1, 1927, gouache on board, 14 1/4 x 17 7/8 inches
Stuart Davis, Egg Beater No. 4, 1928, gouache on illustration board, 13 1/4 x 18 5/8 inches
Stuart Davis, (Study for "Egg Beater No. 1"), 1927, graphite and orange crayon (grid) on paper, 14 3/8 x 18 inches
Stuart Davis, [Study for "Egg Beater No. 4"], 1928, graphite and [colored crayon (grid)] on paper, 15 1/4 x 19 1/4 inches
According to Wood’s early biographer Darrell Garwood, “nothing he did ever pleased Grant more.” Thomas Hart Benton was reportedly so impressed by the image that he threatened to make an oil painting if Wood did not. Instead, in 1940, Wood himself carefully recreated Adolescence in oil, a painting nearly identical to its predecessor.
— Andrea Dale Smith
Grant Wood, Adolescence, 1933, gouache and ink on paper, 24 1/4 x 12 1/2 inches
John La Farge, Still Life with Waterlilies and Hibiscus, 1865, watercolor on paper, 12 x 15 1/4 inches
Charles Demuth, Single Peonies, 1929, watercolor on paper, 13 1/2 x 19 1/2 inches
Charles Sheeler, Summer Flowers, 1927, graphite and watercolor on paper, 22 3/4 x 14 inches
Tom Uttech, Bibagishe, 2024, oil on canvas, 67 x 73 inches, including artist's hand painted frame