Jane Wilson: Recent Paintings
Also on view: Modern American 1917-1944

Jane Wilson: Recent Paintings
Also on view: Modern American 1917-1944

autumn scene by john marin

John Marin

Autumn Scene, 1918

Preis auf Anfrage

clowns by walt kuhn

Walt Kuhn

Clowns, 1925

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trees by arthur dove

Arthur Dove

Trees, um 1940

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centerport ii by arthur dove

Arthur Dove

Centerport II, um 1940

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chair by arthur dove

Arthur Dove

Chair, 1928

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port soho by oscar florianus bluemner

Oscar Florianus Bluemner

Port Soho, 1935

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Donnerstag, 17. November 2011Freitag, 23. Dezember 2011

New York, NY USA

Jane Wilson: New Paintings
November 17–December 23, 2011
Opening Reception: Thursday, November 17, 6:00–7:30 PM

What I find so remarkable about confronting Jane Wilson’s paintings in the twenty-first century is how elegiac they look and how they simultaneously recall the poetic sensibilities of mid-century, when the syntax was kept simple, when everyday renditions of land and sky or of ordinary life could be at once benevolent and metaphysical—simple situations redolent of the vagaries and complexities of the day-to-day. —Elisabeth Sussman, 2009

Jane Wilson: Recent Paintings features work inspired by the landscape of the East End of Long Island and the artist’s childhood home in Iowa. The catalog accompanying the exhibition presents an overview of Wilson’s sixty-year career and features a compilation of writing about her art by such figures as John Canaday, Fairfield Porter, James Schuyler, and Stephen Westfall.

Wilson’s ethereal new paintings are sensitive investigations of color, documents of fleeting hours, and experiential understandings of seasons. The artist translates her memories of the land, sea, and sky into hovering presences of light and texture shot through with vibrant, unexpected color. At once spontaneous and contemplative, her paintings make the most passing phenomena tangible, evoking the common but impossible-to-articulate experiences of heavy air, oncoming night, and passing thunderstorms.

Wilson has exhibited steadily in New York since 1953, when she was a founding member of the legendary Hansa Gallery. She has continued to receive widespread recognition for her work, which is included in collections such as the Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art, New York, NY; Hirshhorn Museum and Sculpture Garden, Washington, DC; Nelson-Atkins Museum of Art, Kansas City, MO; and San Francisco Museum of Modern Art, CA.

In 2002 Wilson received a Lifetime Achievement Award from the Guild Hall Museum, East Hampton, NY. In 2009 Merrell Publishers released the major monograph Jane Wilson: Horizons, with an essay by Elisabeth Sussman and an interview with the artist by Justin Spring.

On view concurrently: Modern America 1917-1944

Upcoming Exhibitions:
David Driskell January 6–February 4
Janet Fish February 9–March 17
Charles Burchfield Gallery 2, February 9–March 17
Robert De Niro, Sr. March 22–April 28


Modern America 1917-1944
November 17– December 23, 2011
Opening Reception: Thursday, November 17, 6:00–7:30 PM

Highlighting the dynamic period between the world wars, Modern America 1917-1944 features a select group of paintings and watercolors by Oscar Bluemner, Charles Burchfield, Stuart Davis, Arthur Dove, Marsden Hartley, Walt Kuhn, Reginald Marsh, and John Marin. Not only were the interwar decades pivotal to the development of American modernism, which had emerged earlier in the century, but they also witnessed an updated concern with realism, charged with a more modern focus on, or at least an allusion to, the pressing social issues of the day.

The era is characterized by the plurality of stylistic approaches that were pursued simultaneously by American artists working both here and abroad. Those that will be on view in the exhibition span the range from abstraction to social realism. Marsden Hartley’s strikingly modernist New Mexico Recollections No. 7, for example, is one of a series of memory paintings that he created in Germany in 1923, inspired by the powerful landscape and open space of the Southwest, while Reginald Marsh’s quintessential Depression-era painting, Washington Takes Union Square, contrasts a monumental statue that is a commemoration of the nation’s founding with the everyday realities of 1933 America.

On view concurrently: Jane Wilson: New Paintings