MILTON AVERY

BARBARA HASKELL
MILTON
AVERY
Milton Avery, c. 194?

I
M LTON I

AVERY
BARBARA HASKELL

WHITNEY MUSEUM ()l \MERICAN \K I

in association \\ ith

HARPER <& ROW, PI BLISHERS, Ne\» York

( !ambridge, Philadelphia, San I ran< is< o, I ondon
Mexi< o City, S3o Paulo, Sydne)
Dates of the exhibition:

Whitney Museum of American Art Ubright Knox Ait Galler)

New York, New York Buffalo. New York
September I6-Decembei 5, 1982 Max 21 |ul> 10, 1983

Museum of Art, Carnegie Institute The Denver \tt Museum

Pittsburgh. Pennsylvania Denver, Colorado
Januars 15 March 6, 1983 Julv 27 September 4, 1983

Fort Worth Art Museum Walker Art Center

Fort Worth, Texas Minneapolis, Minnesota
March 22-May 8. 1983 September 18-October 30, 1983

This book was published on the occasion of the exhibition "Milton Avery" at the Whitney
Museum of American Art, supported bv grants from Sperrv Corporation and the National Endow-
ment for the Arts. The publication was organized at the Whitney Museum by Doris Palca, Head,
Publications and Sales; Sheila Schwartz, Editor; James Leggio, Associate Editor; and Sarah Trotta,
Secretary.

Designer: C. Linda Dingier

Typesetter: TriStar Graphics

Printer: Princeton Polychrome Press

Binder: A. Horowitz & Sons

milton avery. Copyright © 1982 by the Whitney Museum of American Art. All rights reserved.

Printed in the United States of America. No part of this book may be used or reproduced in any
manner whatsoever without written permission except in the case of brief quotations embodied in
critical articles and reviews. For information address Harper & Row, Publishers, Inc., 10 East 53rd
Street, New York, N.Y. 10022. Published simultaneously in Canada by Fitzhenry & Whiteside
Limited, Toronto.

FIRST EDITION

Library of Congress Cataloging in Publication Data

Haskell. Barbara.

Milton Avery.

(Icon editions)

Bibliography: p.

Includes index.
1. Avery, Milton, date. 2. Painters — United
States — Biography. I. Avery, Milton, date.
II. Title.

ND237.A85H37 1982 759.13 82-4754" AACR2

ISBN 0-06-433320-5 (Harper & Row I
83 84 85 86 10 9 8 7 6 5 4 3 2

ISBN 0-06-430121-4 (Harper & Row: pbk. I

83 84 85 86 10 9 8 7 6 5 4 3 2

ISBN 0-87427-040-5 (Whitnej Museum of American Art)

Sperry Corporation is pleased to join with the National Endowment tor the
Arts in sponsoring the exhibition "Milton Avery" at the Whitney Museum
of American Art.

Since Sperry is a high technology corporation, we understand the

importance of creative genius and value the opportunity to support this ret

rospective. Like many great artists, Milton \\er\'s work did not fit into

convenient aesthetic categories, and thus his art did not receive the critical

acclaim that it deserves. The time has come to rectifv this oversight.

With this fine exhibition at the Whitney, the public will have a

unique opportunity to witness an artistic vision that resists definition and, at

the same time, inspires profound admiration. This is a rare privilege, and one
that we at Sperry take great pride in sharing.

Gl RALD G. Pw >Us I

Chairman and Chief Exec utnc ( )fh~i a

Spcn\ Corporation
 Digitized by the Internet Archive
in 2013

http://archive.org/details/miltonaveryOOhask
 CONTENTS

Foreword 8

Acknowledgments 10

Milton Avery 1

Notes 182

Chronology 1 86

Bibliography & Exhibition History 193

Index 221
 FOREWORD

In presenting the largest retrospective of the work of Milton Avery since his

death in 1965, the Whitney Museum of American Art offers the public an
opportunity to study the achievements of an artist who has often been ne-
glected by critics and scholars because his art cannot be easily labeled or
categorized. An independent thinker, Avery pursued his own aesthetic inter-

ests, which were often at odds with the dominant styles of the time. During
the flood of enthusiasm for American Scene painting in the 1930s, his work

was criticized for being too abstract. When abstraction received critical ac-

claim in the 1950s, Avery was generally ignored because he refused to aban-
don all references to natural forms. In spite of the fact that his extraordinary

abilities as a colorist strongly influenced several of the Abstract Expression-

ists — notably Mark Rothko, Adolph Gottlieb, and Barnett Newman — he
never achieved a stature comparable to theirs during his lifetime.
Barbara Haskell, curator of the exhibition, has uncovered many facts

about Avery's life which offer new insights into his development as an artist.

With the same tenacity with which she approached her research for the
monographs on the life and works of Arthur Dove and Marsden Hartley, she
has conducted an exhaustive effort to relate Avery's work to the factual
details of his life. Her disciplined method of documenting the biography of

an artist provides a foundation for research upon which she and others can
build.

During the three years required to research and organize the exhibi-
tion and publication, Milton Avery's widow, Sally Avery, has been extreme-
ly generous, offering support and encouragement and giving much of her

time. The project has, naturally, been of enormous interest to her, but she
has shown commendable professional restraint in allowing others to make
critical judgments in situations where her own response might diflfei because
of her affection foi the artist and Ins work. She lias the great respe< t ol all ol

us who recognize hei commitment to the work "I Milton Vvery.

The Whitney Museum is also grateful to Sperrj ( lorporation and the

National Endowment for the Arts tor then assistance. Finally, we are in

debted to the lenders to the exhibition, both museums and private < olle< tors,

whose cooperation made possible tins important retrospective.

I I i •
'
\k\ts I «( II

Diic( tOt
 ACKNOWLEDGMENTS

A project of this scope requires the aid of a great many people — especially so
in the present case where Avery's exceptional prolificacy made determining

the whereabouts of his work a formidable task. I am fortunate to have had

an extraordinary level of cooperation from the galleries that handled his

work over the years. Grace Borgenicht has been particularly generous in

making her records and related documents available to me. I am grateful

both to her and to her —

staff especially Lois Borgenicht, Curt R. Marcus,

and Roberto White — for the thoroughness and unflagging good humor with
which they answered our innumerable questions and responded to our re-

quests. Donald, Florence, and Mark Morris are equally to be thanked for

providing information and material from their files and for arranging much of

the necessary Detroit area photography. They extended themselves in every

way to ensure that I saw and received data on the large number of Avery
works in Detroit collections. Their company, good meals, and their insights

into Avery and his work were invaluable. Marianne Friedland played a simi-

larly important and hospitable role in Toronto and I am grateful to her as

well. Also helpful were Douglas Webster (Yares Gallery); Marie Withers
(Lunn Gallery); Timothy Walsh (Andrew Crispo Gallery); Leslie Wadding-
ton and Janet Yapp (Waddington Galleries Ltd.); Dolly Fiterman; Thomas
Gibson; Barbara K. Lewis (Richard Gray Gallery); Alan Fink and Leslie
Foss (Alpha Gallery); Paule Anglim; and Sid Sachs (Makler Gallery).
I deeply appreciate the cooperation and encouragement of my col-

leagues at the Whitney Museum of American Art. Tom Armstrong's enthu-

siastic support and commitment to the project from its inception has meant a
great deal to me. Patterson Sims has been a helpful and encouraging col-

league in various phases of the exhibition and book preparation, as have

Jennifer Russell, Palmer Wald, Jane Heffner and Nancy McGary.

Special thanks are due the Museum's publications department. The
insights and editorial advice offered by Sheila Schwartz contributed enor-
mously to the quality of the book, as did James Leggio's fastidious editing

and Doris Palca's diplomatic supervision of the book's production. The en-

10
thusiasm of Cass Canfield, Jr.. ot Harpei & Row foi the publication ol tins
book is also greatly appreciated.

Especiall) valued is the assistance provided In my immediate staff,

without whose commitment and hard work neithei the book noi the ex
hibition could have been realized. Since the project's inception three

ago, many individuals have worked with me to assemble biographical and

bibliographical data. In particular I would like to thank Sarah Crandall, Jod\
di Vito, James Donnelly, Peter Freeman, George Creos, Kristie fayne, Poll)

Lubell, Peggy Merrill, Eliza de Sola Mendez, Sydney Waller, Eliza Webb.
Lisa Weber and Karl Willers. Dana Friis Hansen took responsibility lor or

ganizing the bibliography and exhibition history into its present torm and foi

resolving outstanding bibliographical questions. I am deepK grateful to him

and to Suzanne Dickerson, whose thoroughness and professionalism in ban
dling the myriad details concerning loans and the assembly and preparation

of catalogue material were absolutely essential to the smoothness and sir

cess of the project.

Many individuals gave of their time to show me their collections and

to share with me their ideas and remembrances about Avery; to them
particularly to March Avery Cavanaugh. Aaron Berkman. Martin Dibner,
Nathan Halper, Alex Katzman, Annalee Newman, and Wallace Putnam—
extend deep thanks. I am equally grateful to Leon Botstein, who read the
manuscript and offered valuable editorial suggestions; to Elizabeth Hoke foi

investigating Avery's association with the Connecticut League ol \it Stu

dents; to Maria Price for answering several bibliographical questions from

her own research on Avery; to Edwin E. Stein for providing information on

Avery's career at the School of the Art Society of Hartford; and to Richard
Wiles, who spent countless hours researching the genealogy ol the \\ei\

family.

To the lenders — whose commitment to Vvery and to sharing his art

with the public overrode their understandable reluctance to part with chei
ished works for an extended period — I am unequivocally grateful. W it bout
their generosity and support, an exhibition ol this scope would have been
impossible.

Finally, my greatest debt is to Sally Michel Vvery, whose unwavei

ing commitment to Milton Avery's art was integral to making this exhibition

and book not only possible, but immensely rewarding. She has shared hei
ideas and time with me with a grace and generosity ol spirit foi which I am
deeply grateful. 1 thank her for her friendship and for her support.

B. II.

11
In order to paint one has to go by the way
one does not know. Art is like turning cor-

ners; one never knows what is around the

corner until one has made the turn.
— Milton Avery
 MILTON AVERY

Milton Avery lived and worked as if to avoid biography, lie left no signifi

cant autobiographical remnants. He wrote virtual!) nothing; participated in

no organizations; and spoke with such reticence that scant oral testimony

was recorded. He seemed to have had no will to express himsell in any way
other than painting
— "Why talk when you can paint?" \\ .is his oft quoted
1
remark. Yet even his paintings elude biographical interpretation; although
they draw upon a narrow and consistent repertoire ol images, the) remain
opaque, revealing little about the painter himself. As a result, information
about Avery's life is often inaccurate and sketchy. The kind ol environment
in which he grew up, his family's structure, even his father's name these
are questions which have either never been addressed or have been .111

2
swered incorrectly. Biographical quests are valuable only insofai .is they

offer insight into how art is generated how personal and psychological fa<

tors affect an artist's development; how prevailing aesthetic and intellectual

concerns influence the work. In Avery's case, we now know that he was
eight years older than previously thought and was tar better trained as an

artist.
3
The revised view of him that emerges l;i\cs new insight into the

development of his paintings and their relationship to the ait ol his tune.

That his masterful late paintings were executed when he was in his seven
ties rather than his sixties, for example, lends them marked distinc tion in the

American pictorial tradition, where such late achievement is rate. 1 hat his

artistic training took place in an earlier decade than once assumed makes his

adoption of modernism more remarkable; that Ins training was ol longei

duration makes his later singularity of purpose .is an aitist and Ins devotion
to a personal aesthetic vision more comprehensible.
Born in 1885, Milton Vvery came of age aesthetically in an era inhos
pitable to advanced art. Looking back on American artistic development at

13
the turn of the century, we see the ambitious variety of approaches with

which artists struggled to forge individual styles; what we cannot see is the
isolation in which thev often had to work. We fail to recall the ignorance

and the hostility to modernist painting which persisted in America until after

World War II. Avery was a solitary presence in this environment, coming to
terms with advanced painting notions without critical support. He arrived in

New York City in 1925 — when the lingering psychological and political cri-

ses generated by World War I were pushing artists away from modernism.
Working with total commitment to his own ideals, Avery combined an en-
gagement with purely aesthetic issues with a loyalty to the observed motif.
In so doing, he bridged the gap between realist and abstract art. That he
initially did this in the twenties and thirties, when subject matter and "real-

ist" painting were paramount and, later, in the forties and fifties, when they
were suspect, attests to the independence of vision which he sustained
throughout his life. Despite the advantages of conforming to prevailing taste,

he remained aloof from the stylistic and ideological struggles that raged
around him. His reluctance to position his work within the confines of a

single style or rhetorical posture confounded critics and probably delayed the
acknowledgment of his deserved place in the history of twentieth-century

American art.

But fellow artists and select critics appreciated and were affected by
Avery's spectacular ability to handle color. As one of the first and most
accomplished American exponents of color and its structural function, Avery
paved the way for later generations of American colorists. Applying thin
layers of paint, he created chromatic harmonies of striking subtlety, delicacy,
and invention. The range and originality of his achievement established him
unequivocally as one of America's greatest color poets. Yet Avery was also a
rigorous draftsman who contained his color within lean and tight pictorial
structures. He distilled out of his subjects everything extraneous, retaining
only the essential idea. His simplified, spare forms were locked together into
compositions which, while seemingly effortless, were so finely balanced that
to change even one shape or color saturation would destroy the equilibrium
of the whole.

Yet Avery brought more to his paintings than mere formal invention.
He imbued familiar subjects — landscapes, still lifes, scenes of daily life — with
an iconic timelessness. And he depicted the immediate world around him
with a gentleness that few artists equaled. His domestic scenes and still lifes

portray a world free of anger and dissonance, a world of harmony and com-
posure. Perhaps the most powerful Avery works are those that reveal his

deep response to nature, for he was one of the finest American landscape

14
painters of this century. I lis landscapes convej the grandeui "l nature bul
a nature whose c harac tci is ,ik adian rathei than alien and threatening. ( me
teeK looking at an Aver) landscape 01 seascape that the highest human
experience is being alone and at peace with the land ,incl the sea.

Milton \\ei\ was descended from English immigrants who settled

initial!) in New England in the earl) eighteenth centur) mh\ whose offspring
pioneered north central \e\\ York between the Catskill and Adirondack
mountains. The count) histories ol the region surest that the normal mem
bers of the \\ei\ famil) were relativel) affluenl and held respected positions
in their communities fo] several generations. But neither Milton's father,

Russell N. A\er\ . nor his grandfather, I larlow . is mentioned in lo< al re< ords,

an indication that the artist's immediate progenitors were less prominenl

than manv of then collateral relatives/ \t Milton's birth. Ins fathei was
employed as a tanner in the village ol Sand Bank, a provincial and remote

communit) inland from Lake Ontario which boasted a tannery, .1 saw mill.
and a chair factory. Russell and Ins wife, I sthei March, a woman from
nearbv Williamstown, raised foui children m Sand Bank: George, Minnie,
Fabian, and Milton.' Milton, the youngest child, was born in 1885, when
Sand Bank was still a village and had yel to be incorporated as the town of

Altmar.
Tanning and lumber dominated the econom) in thai region ol New
York State until the 1880s, when the tanning mdustr\ underwent .1 radical

change as chemical extracts replaced bark as the essential processing agent.'

The subsequent closing ol several tanneries in the northern part ol the state

may have led Russell Aver) to move with Ins famil) in 1898 to a two famil)
house in the village of \\ ilson Station. Connecticut, a rural suburb adjacent
7
to East Hartford. Avery's fathei worked there foi seven years as .1 tannei

until his death in a freak wood-chopping accident in 1905. I hat Russell was
held in higher esteem than usuall) accorded a simple laborei is suggested b\
the length of Ins obituaries and the newspapei reports ol his funeral, which
took place in \ It mar; the' Hartford Dail) I imes desc ribed him as .1 man who
"had the respect of the community," while the Pulaski Democrat noted that

the flowers sent were the "finest evei seen in \ltinai.'"

Russell Avery's death did not drasticall) change the family's living

pattern. Even before, everyone in the famil) had lived togethei and contrib

Uted to the household income: George, the oldest \\ei\ son. had died be-

fore the lamiK moved to Connecticut, but Milton and Fabian, along with

15
their sister, Minnie, her husband and two daughters, all lived in the Wilson
Station home. The economic necessity
9
of living in the same house became
even more acute after Russell's death. And when Fabian married in 1910,

he and his wife, Mabel, and their subsequent two children remained in the
family home as well. Despite their more prosperous ancestors, the Averys
were working-class: Milton's brother Fabian and his brother-in-law, George
Sargent, were truckmen, and Milton had been obliged to begin working in
"
local factories by the time he was sixteen. 1

The year his father died, Milton was still drifting from job to job in

East Hartford factories without evident direction or career ambition. But his
positions as aligner, assembler, latheman, and mechanic were neither satisfy-

ing nor lucrative. When he came across a magazine advertisement for a

correspondence course promising that money could be made in lettering, he

decided to pursue it as a career possibility.
11
He enrolled in a lettering class

at the Connecticut League of Art Students, an informally organized night

school for men founded by Charles Noel Flagg in 1888.
12
The League
charged no tuition and offered no formal instruction; it was simply one large

room in downtown Hartford to which students had free access at night.

Instruction consisted of drawing from models or antique casts and receiving

individual criticism several times a week from Flagg or from Albertus E.

Jones, who became director of the League after Flagg's death in 1916.
1:!

According to Avery's later account, the lettering class was discontinued after

one month, but Flagg persuaded him to enroll in the life-drawing class for
14
the remainder of the term as an alternative. For Avery, art school may
have provided, for the first time, an environment outside his family in which
he felt comfortable. He began going to the League in the evenings after
working an eight-hour factory shift. By 1911, when Avery was twenty-six,

his conversion to art was complete, for in that year he was listed in the
Hartford City Directories as an artist whose place of employment was the
League, an indication that he had saved enough money to take time off
15
from work in order to paint. That Avery became fascinated by art from the
moment he was introduced to it seems clear. What is less explicable, given
his background as a factory worker from a working-class family, is his imme-
diate and total embrace of a profession with so few remunerative prospects.

But whatever his motivation, his will to paint was irreversible; once commit-
ted, he remained resolute about a career as an artist — even after 191 5, when
the financial pressure to support his family became intense.

In that year Milton became the sole adult male in a household of

nine women. 1 *1
His brother Fabian had died suddenly in 1913, leaving Milton

as his mother's last surviving son. Two years later, his sister's husband died.

16
Even before these deaths, \\ci\ had been surrounded primaril) In wom< n.

Esthei Aver) nevei remarried artei Russell's death in 190 and from thai

tunc on the famil) was dominated In women, .ill ol whom lived in tl

house dud till ol whom doted on Milton, \ttci the death ol the othei adull
males in the family, the women around \\cr\ acted even more protective!)

toward him. This pattern ol living in a household ol women who supported

and believed in him was one he found again through Ins mania
The death ol his father, two brothers, and brothei in law, all before
his thirtieth birthday, engendered in \\ei\ a profound sense ol the transito

ry nature ol life. I le responded to this sense ol temporalit) w ith an unrelenl

ing compulsion to work, .is it work itsell would provide .1 deliverance from
the terrors of everyday reality, a feeling which corresponded to the Puritan
notion that work accounted foi life's essential meaning. Taint 1114 was Wery's
work; he approached it with utter dedk ation, eliminating .ill unrelated a< ti\ 1

ties and interests. Routine and discipline became his means ol combating
uncertainty His sense ol discipline pushed him to rise at the same earl) houi
each morning and paint or sketch most ol the day. Because \\ei\ viewed
painting as a duty, his approach was thai ol .111 artisan and his altitude with
out pretension or agony. He likened himself to a shoemaker working ever)
17
day, regardless of mood or inspiration. Aver) was known to scotl at artists

who complained about lacking sufficient inspiration or who used moodiness

to camouflage lack of discipline. A jingle he frequentl) sang around the

house later in life reflected the equation he made between the imperative to

work and mortality: "Work, for the nighl is coming when man's work is

done.""

Despite his being thrust into the role ol provide! fol a famil) ol ele\

en, Avery's commitment to painting once made nevei wavered. Still.

since the only other income lor the entire famil) came from a musing job

held by Fabian's widow, necessit) demanded that \\ei\ continue to find

lucrative employment, howevei menial. Even so. finances were strained. In

1915 the family was forced to move into a foui famil) house in East Hart

ford, in a lower middle-class neighborhood on one ol the main thoroughfares

into the city." In order to pamt in the daytime, Wer) eventual!) found
employment at the Travelers Insurance Companies, where he worked the

night shifl -is a hie cleik from 1917 to 1922J Working from 6 p.m. to mid
night not onl) allowed \\er\ to paint during the c\a\ , but also to transfei in

17
 1.

Painting for which Avery was awarded

prize for best work in portrait class at
the School of the Art Society of
Hartford, Spring 1919. Whereabouts
unknown

1918 from the Connecticut League of Art Students to the School of the Art
Society of Hartford, whose daytime program of formal instruction he felt

would give him better training. It apparently did, for in 1919 Avery won two
top awards from the school: best painting in the portrait class and best draw-
21
ing in the life class (1, 2). By this time Avery had been attending art school
for at least eight years, a far longer time than previously thought. Just why
he stayed in art school until he was thirty-four is uncertain. Financial respon-

sibility to his family may have kept him from regarding art as a means of
earning a living, or perhaps he lacked at this time the drive and self-confi-
dence that could push him to strike out on his own. Whatever the reason,
the fact remains that his formal training was relatively lengthy. This changes
our understanding not only of his achievement in art school, but of t he-

subsequent development of his work. No longer can his paintings of the

1920s be seen as those of an impressionable, "self-taught" talent superficially
emulating aspects of the work he saw around him; rather, they must be
viewed as the work of a mature artist seriously and intelligently confronting

the art of his contemporaries.

During the first two decades of the twentieth century, the Hartford

art community was typically provincial; it was for Avery and his fellow stu-

dents the full extent of their art world, curtailing exposure to any art not

18
 heralded In local luminaries. Here \\ci\ and his contemporaries were niti<>

duced to the work ol the academic artists who exhibited .it the National
\c .kIci ii\ ol Design in New York, bul the) were kepi totally ignorant ol

European modernism. The) were oriented toward plein-aii landscape paint

11U4; their idols were George Inncss and the American Impressionists I rn< 1

Lawson and John Twa< htman.

Avery's earliest paintings reflect this conservative atmosphere. I w
cuted in densely brushed dark tones, the) showed the lingering influence ol

Flagg, whose st\le had earned him the position ol unofficial portrait paintei

of Connecticut. Typical ol Wery's works from this period are the portrait ol

his mother dating from around 1916 and the 1919 portrait lor which he won
highest honors in his painting class (3, 1).

Aver) quickl) moved from portraits to a group ol landscape paintings

executed between 1920 and 192^ in the countryside around Hartford where

he sketched with various artist friends. From the American Impressionists

Drawing foi which \verj \«.a\ awarded

pn/e (or best work in life-drawing
class at the School <>l the \rt Societ)

of Hartford, Spring 1919, \\ hereabouts

unknou i)
 3.

Portrait of the Artist's Mother, c. 1916

Oil on canvas, 48 x 30 inches
(121.9 x 76.2 cm). Collection of Henry Fox

20
Avery acquired not only .1 sensitivity to place and atmosphere bul also the
idea of capturing a single instanl in nature. These canvases resembled those
of Lawson, whose work impressed \\ei\ in this period b\ the luminosity
achieved with layer upon layei ol variegated color. I
sing the light, sun

drenched palette ol the Impressionists, Wery appropriated Lawson's tech

nique of applying colors with brushes and a palette knife and then blending
them together on the canvas with his fingers to create shiny, enamel like

surfaces. This allowed the brushstrokes and heavy impasto to assume ,1 struc

tural significance independent of the three-dimensionalit) produced by lighl

dark contrasts. Comparing Lawson's painting Farmhouse, Connecticut (4)

with Avery's Tree in Meadow of 1921 (5) reveals an identical painting lech

nique, as well as a similar sense of organization — an open area in the fore

ground and middle ground of the canvas blocked b\ a commanding central

form. As for Twachtman, his overall decorative treatment of the picture-

surface— as in Snow Bound of 1885 (6) — although not as significant an influ

ence, was assimilated by Avery in compositions such as Gloucestei Dawn

(7). Twachtman was intrigued by the tonal effects created b\ adding white-

pigment to his palette and might have enhanced Avery's appreciation ol the
mellowing effects of this color.

Considering the developments in abstraction that had occurred in the

earlier part of the century and the revolution in subject mattei brought about

by The Eight, Avery's works from the early twenties appear traditional and

conservative. Yet they clearly foreshadow his mature style. Looking at these

landscapes, it is apparent that from the beginning Avery's fascination with

color focused on the effects of layered pigment — not with the way colors are
broken up into separate hues and then reconstructed in the eye, but with the

creation of a single tone through the actual layering of colors on the cam, is.
Furthermore, the muted palette and simplified shapes in these paintings con

stitute the hallmarks of Avery's mature work. \very's Moon ovei Mu^h (8)

from this period and his 1957 U lute Moon i

c
») are related not only in subject

matter and palette but in conception and sensibility as well. Avery avoided
emotional drama and narrative content in both works m order to concentrate

on the paintings' purely visual properties — specifically color. In both winks

the blending of closely valued hues evokes a kindred mood ol tranquility.

Size notwithstanding, the major difference between these early and late-

works lies in the thick impasto of the one and the thin washes ol the other.
By the mid-1920s Aver\ had grown dissatisfied with densely textured

pigment. He felt disappointed with friends' responses to his Hartford paint

ings, realizing that the attention paid to the surface quality ol the paint

overshadowed his central concern color.-

1

Consequently, he gradually

:t
 4.

Ernest Lawson
Farmhouse, Connecticut, n.d.

Oil on canvas, 18 x 24 inches

(45.7 x 61 cm). Private collection

Y~

Tree in Meadow, 1921

Oil and wax on board, 16'/$ x 19
inches (41.3 x 48.3 cm). Collection
of Sally M. Avery

22
John llenr\ wachtman
I

Snow Bound. 1885

Oil on canvas, 25!4 x iOVs \iu Irs
(64.1 x 76.5 cm).The Art Institute ol

Chicago; Friends of American \il

Collec tion

7.

Gloucester Dawn, c. 1921

Oil on board. 18x21 ,
i inches
(45.7 x 55.2 cm). Collection of
Sails M. Avery

23
abandoned the impastoed, palette-knife technique adopted from Lawson in
Moon over Marsh, c. 1919
favor of broadly painted areas of color applied with a brush. In so doing, he
Oil on board, 9 x 6I-2 inches
liberated the effects of color from surface structure. This focus on color per (22.9 x 16.5 cm). Collection of
Sally M. Avery
se became Avery's lifelong preoccupation; by the early 1930s he was identi-

fying it as his principal concern in discussions with friends. 25 The develop-

ment of color harmonies came to dominate Avery's art; regardless of the White Moon, 1957
Oil on canvas, 50 x 38 inches
structural and technical phases through which his painting evolved, his mat- (127 x 96.5 cm). Milton Avery Trust,

uration as a colorist proceeded autonomously and without interruption. New York

In contrast, the technical and compositional evolution of Avery's art

was never consistent, especially at this early stage. Although a painterly style

characterized his output by the early 1920s, examples of the earlier palette-
knife technique reappeared sporadically until 1926. The habit of pursuing

several stylistic approaches at one time became increasingly pronounced as

Avery's career progressed. Often by the time he had explored one aspect of
style to his satisfaction, he would already have begun pursuing another and
the two manners would overlap, thus making generalization about the char-
acter of his work in any given period difficult. For example, he intermittent-

24
I\ employed Hal planes ol arbitrary coloi as earl) as 1932, while still primari
K involved with illusionisti< modeling; nol until the earl) 1940s did tins
more abstrac t st) It- predominate.

During the List \c.us Wery attended arl school and immediately fol

lowing Ins formal training, he summered in the arl colon) ol Gloucester,

Massachusetts. He gradually gained sufficient respeel within the community
so that b\ the summei ol 1924 he was offered free studio space and accom
modations in a rooming house. I lis living situation th.it summei proved one
of the most fortuitous ol Ins life, because directl) across the hall a young
woman, Sally Michel, had also taken a room foi the summer. |ust out ol

high school and intoxicated In the romantic myth ol the young aspiring
2'
artist, she immediately attracted the attention ol the handsome oldei artist.

Sally seemed to radiate the energy and optimism ol youth, and hei habit of
rising early and leaving with her canvas and equipment foi an entire d.w ol

painting impressed Avery; in the paint splattered young woman who did nol
return until evening he saw a disciplined and serious commitment to paint

ing, much like his own. Avery, considerabk Sally's senior, represented tor

her the ideal of the struggling artist. A bond formed between them as they

discovered how perfectly their personalities complemented one another.

The innocent summer id\ll gradually evolyed into romance. It was probably
at this point that Avery obscured the date ol his birth." Having (alien in

love with Sally, he did not want anything to come between them, and he
might have feared that his age would inhibit her feelings toward him and
certainly those of her parents. He was thirty nine in b'2-4. Subtr.ic ting sevei

al years from his age made him a more appropriate match tor .1 young worn
an in her early twenties.
Sally returned to her parents' home 111 BiookKn at the end ol the

summer; it was not until the following spring that Vvery managed to follow

her to New York City. Here he suddenly found himsell in the center ol

twentieth-cent urv art in America. His immediate attention toe used on Sally

but the background ol their courtship was the museum and gallery world of

New York. Avery courted Sally tor the ne\t year, much to the chagrin ol

her orthodox Jewish parents, who considered him an inappropriate suitor.

Sally Avery recalls that an older man wearing .1 spoil coat with a frayed

collar and saying virtually nothing during his introduction tailed to impress

her parents as someone who would properly support then youngest daugh

ter. But Sally, having found in Milton the man she wanted to marry, was

25
rebellious. On May 1, 1926, without notifying either family, she and Milton

went to the Brooklyn courthouse and were married. 28

Marrying Sallv was the most decisive event in Avery's life and ca
reer. Sally guided their relationship in a manner that created a supportive

environment in which he could work freely, unimpeded by economic or

social responsibilities. The comfort of a woman who was also provider and
fellow artist seemed a natural yet somehow magical extension of the home
environment in which he had lived before meeting Sally. For Sally the mar
riage was the romantic dream come true of a life devoted to art. She recog-
nized the genius in Avery and seemed willing to do anything to provide a
secure atmosphere in which he could work. The lack of competitive ambi-

tion or self-confidence which may have accounted for Avery's remaining in

art school until he was thirty-four was counteracted by Sally's drive and
energy. She insisted on being the one to earn a living so that he could
concentrate on painting. Even teaching was eliminated as a job possibility
because Sally strenuously objected, believing it would be a waste of Avery's
time. Through her sister, the art editor of Progressive Grocer, a small-circu-
lation magazine, Sally found work as a freelance illustrator, an occupation
which could be pursued at home and thus allow her to remain with Avery

both day and night. Their entire lives revolved around art; rising at six in the
morning, they would often draw or paint straight through until dinner. Sally
was as gregarious as Avery was taciturn and was so attuned to his thoughts

that she became his spokesman, articulating his ideas and expanding upon
his cryptic comments. Her support extended into every area of their lives:

she eliminated virtually all mundane distractions; if she was out, Avery
would generally not even answer the telephone. Years later Frederick
Wight characterized the Averys' marriage as "a fusion of will and interests
which seems at most to divide itself into complementary functions rather
than two people. Avery had reserved for himself the essential of painting.
Sally Avery provided for everything else." 2 "
They made their first home in 1926 in a one-room walk-up in Lincoln
Arcade, a former office building on Broadway at Sixty-fifth Street that had
become a studio complex for artists.
3"
The amenities were few: the bath
room was down the hall and meals were cooked on a hot plate. The Averys'

social life during these years centered on activities in the building, and the

artists there — Wallace Putnam, Aaron Berkman, Vincent Spagna, all of

whom Avery had known in Hartford, and Gershon Benjamin, a Romanian

painter — gradually formed their coterie. Because their finances were limited,
entertainment was usually self-generated. In the evenings, they would go to
each other's studios or to sketch classes at the Art Students League, where,

26
foi five doll, us .1 month, the) < ould spend as mu< h tunc as they liked. I lit

Averys could seldom afford movies; instead, Milton would read aloud al

night. \\ hen reading to himself, he sele< ted mystery stones, bul reading oul
loud involved the beauty ol language, and ovei the years theii reading list

included Melville, Proust, rhoreau, Wallace Stevens, and I. S. Eliol am

bitious choices foi .1 man with a relatively limited a< ademi< ba< kground.
The Averys' remarkable partnership impressed then friends with its

singularity ol purpose; il represented foi thai community ol struggling .utisls

an example of unwavering dedication and belief. Vt thai dedication was

accompanied b\ a warm openness to the fellou artists who would often drop

by the Averys' apartment, knowing they were welcome. I Ik \hh home

became a meeting place foi artists seeking stimulating conversation and a
congenial atmosphere. Mthough the \verys' own h\ cs .is artists were sel

dom free ol struggle and disappointment, their optimism and then commit
ment to art gave others courage.

The \\er\s' fust years togethei generated sweeping changes in Mil

ton's art as Sally's support and an avalanche ol new influences encouraged
him to venture into a different series ol paintings. Foi the next ten years he
experimented with the styles of those painters whose work he saw in \ew
York, while at the same time evolving his own personal aesthetic. I he at

eepted critical concept ol Wery as a sell taught, naive painter, oblivious ol

the art produced around him is misleading. Wery was vastly cunous about
art: he read from cover to cover every art magazine he could find, and he
and Sally spent every Saturday going to galleries and museums. I rom these
aesthetic encounters, he evolved his independent vision.

The art community in New York in l

g 2^ was entirely different from

that which Avery had known in Hartford. Living in Hartford, he had missed

the initial wave of European avant garde influences that had generated the
abstract movement in American art during the first two decades ol the cen
tury. B\ the time Vvery arrived in Nev> York, modernism had collapsed.

Alter World War I a general mood ol distrust and cynicism had developed
about American participation in European affairs and European styles; by

1920 even those artists who had earlier responded to European modernist
innovations had renounced abstraction and retreated into more realistic

styles. Of the early modernists, only \ithur Dove maintained a consistent

commitment to abstraction. In the disillusioned postwar period. Alfred Stieg

lit/, the charismatic champion ol the Ainciican avant garde, had closed his

27
"291" gallery and suspended publication of his vanguard magazine, Camera
Work. Although he later opened a second exhibition space (the Intimate
Gallery), by the time Avery arrived in New York in 1925, Stieglitz's fervor
for modernism had waned, as had the influence of his gallery and those
artists associated with it.

Not surprisingly, given his schooling, Avery was initially drawn to

more conservative artists working within the academic tradition. His training
in Hartford had focused on sketching from a model or plaster casts, and in
10.
his early years in New York he continued this discipline at the Art Students Sun Worshippers, 1931
Oil on canvas, 26 x 33 inches
League, where he and Sally spent many of their evenings. The League was
(66 x 83.8 cm). Yares Gallery,
the stronghold of the realist tradition its students and faculty included most Scottsdale, Arizona

28
of the prominent members ol the American academii art community. \l

though formal instruction was nol given in the sketch classes, Wi\ w.is

exposed to the dominant attitudes at the League, expressed .it that time by

Kenneth Hayes Millei and Vasuo Kuniyoshi. these .irtists represented the
League's two approaches to subject matter: artists around Kuniyoshi |ules

Pascin, Bernard Karfiol, Vlexandei Brook painted still lifes or posed interior

figure compositions, while the contingent ol painters around Miller Wall

Kuhn, Isabel Bishop, Guy Pene du Bois sought to ( apture the daily lues of
urban Americans. During the 1920s, the work ol these two groups dominal
ed the American art community, being exhibited regular!) in most ol the
leading Nev, York galleries Daniel, Downtown, Frank K. \1. Rehn, Valen
tine, and Montross- as well as at the \\ hitney Studio Club, one ol the lew
non-commercial exhibition spaces available to Vmerican artists.

Avery's paintings from his fust yeai in \ew Vuk general!) followed
the painterly mode ol Ins Hartford works, but he soon abandoned this ,ip

proach as the various artistic st\les he saw in the cit\ began to affect him.
The most immediate change that occurred in his work was Ins replacement
of the light-drenched palette of his earlier paintings with the somber tones
characteristic of American academic realism. As his colors darkened, his snr

faces became less dense. Even before his arrival in \ew York, Wery had
stopped using the thickl) impastoed, palette-knife technique ol his Impres
sionist paintings. Now his experimentation with the possibilities ol coloi a<

celerated as he began to use matte pigments, brushed onto the canvas in

thin layers with a stiff brush. In Sun Worshippers 'I"), tor example, this

scumbling technique blurred individual strokes and created an overall tex

tnred softness. Although he was using heav) bodied paint, rathei than the

transparent paint he would use in his mature work. Vvery's thin application

of pigment revealed bits of the canvas ground, especially around the perime

ters of shapes, thus allowing the bare canvas to tunc tion as color. During this

period, Avery became convinced that mixing more than three colors togeth
er obscured their clarity, a belief he maintained throughout Ins career.

With Ins move to New York \\ei\ started to paint from sketches,
rather than to work directl) from nature .is he had done previously. I Ins

allowed him to expand Ins sc ale sin< e he was no longei restru ted to a c anvas
size he could easily transport. The sketches, with occasional color notations.

were straightforward visual recordings ol the subject; they varied little in

style and technique throughout Ins career. Vfter adding gouaches and watei
colors to Ins repertoire in 1927, Wery's working procedure became more
elaborate. Thereaftei he generally sketched on location usually in the sum
mer — and from an assortment ol sketches he would later choose one to de
velop into a watercolor. When the time came to make a painting, he would 11.

Portrait of Mark Rothko. 1933

select a watercolor to transcribe onto the canvas, sometimes sketching the Oil on canvas, mounted on masonite,
structure of the entire painting with charcoal before beginning to paint, oth- 22'/2 x 16 inches (57.2 x 40.6 cm).

Museum of Art, Rhode Island School

er times merely using the watercolor as a visual referent. Often, years would of Design, Providence; The Albert
elapse between the original watercolor idea and the finished painting; the Pilavin Collection; 20th-Centurv
American Art
watercolor version of Avery's 1960 Bathers by the Sea, for example, was
executed in 1948(74, 98). 12.

Due to Avery's lifelong habit of sketching everything around him, his Mark Rothko, c. 1933
Pencil on paper, 11x9 inches
subject matter became a kind of diary of his activities. Although he enjoyed (27.9 x 22.9 cm). Collection of

the company that frequently gathered at his apartment in the twenties and Dr. and Mrs. Marvin Klein

early thirties, he seldom contributed to the conversations and his proclivity

for sketching rather than talking on these occasions became well known.
When friends came over to visit, thev became portrait subjects (11, 12, 13);

lacking guests, he sketched Sallv and, later, his daughter, March. His group

portraits reflected his excursions into the world outside his apartment-
Coney Island, the circus, vaudeville, sports events, and Central Park.

30
 I

Avery's portraits and figure compositions were typical ol the work

thai dominated the New York art scene in the twenties: Ins close-cropped
individual portraits isolated againsl Hal backgrounds (13) related to tin

demi< paintings ol artists al the \rt Students I eague (14), wink- his figure

groups (
16) were similai to the urban genre paintings ol artists latei identified

with the American Scene. In general, Wery's desire to represent the sub
jects ol the single portraits .is recognizable individuals necessitated conven
tional renderings; consequently, Ins one-figure portraits remained relatively

academic. In contrast, his -roup scenes provided an anonymity that lent

13.
itself to abstrac tion.
Woman in Wicket Chair, 1929
Oil on canvas, 40 x 30 inc Iks Along with occasional still lifes, these two portrait categories domi
(101.6 x 76.2 cm). Milton Aver) Trust,
New York
nated \very's output until 1935, when he reintroduced landscapes into his

repertoire ol themes. B\ this tune group genre sublets outnumbered single

14. portraits, although \\ei\ continued producing portraits through 1943, when
1 Irnest Fiene
he executed perhaps his most successlul characterization, that ol Ins friend
Concetta, 1926
Oil on canvas, 4014 x 30!4 inches and fellow artist Marsden Hartley (27). There. iltei. Wery's single-figure
(102.2 x 76.8 cm). Whitney Museum ol
American
imagery was confined either to anonymous depictions or to the sell poitr.nts
Art, New York; Gift of
Gertrude Vanderbilt Whitney 31.193 which he painted throughout his career in the absence ol other sublets.

J
 •

ft

15.

Coney Island Sketches. 193

Pencil on paper, 17 x 14'/2 inches
(43.2 x 36.8 cm). Collection of
Sally M. Avery

16.

Coney Island, 1933

Oil on canvas, 26 x 33 inches
(66 x 83.8 cm). Milton Avery Trust,
New York

32
 Sf
L
n
i

'-/

.....»•».

17.

Aver) on 57th Street. 1943

Oil on canvas, 36 x 28 inches
(91.4 x 71.1 cm). Andrew Crispo Gallery,
New York

Avcr\' introduced elements ol humoi into these sell portraits and eai

ly genre scenes through scale distortion, exaggerated color, and caricature.

Although often compared in reviews of the thirties to the comic illustrations
of James Thurber, Avery's humor is neither s.itmcal nor biting; rather, it

takes the form of a gentle playfulness, revealing the \\r\. \ew England
humor friends came to expect from him.
:

The comic exaggeration ol the

portly man in Cone) Island ot 1933 (16) or the childlike sell parod) in Iverj

on 57th Street of 1943 (17), for example, allowed \ver) to explore serious

formal considerations without appearing ponderous. V his work developed.

these droll caricatures gave wa\ to a more subtle, formal caprice.
18.

Sitters by the Sea, 1933

Oil on canvas, 28 x 36 inches (71.1 x 91.4 cm). Private collection

34
19.

Barbershop, 1936
Oil on canvas, 30 x 25 inches (76.2 x 63.5 cm). Crace Borgenichl Callery, New York
 Avery's first genre scenes appeared in the gouaches he began in the 20.

Acrobats, 1931
summer of 1927. Executed on dark construction paper which he cut in half
Gouache on black paper, 12x18 inches
to save money, they were far looser and more adventurous than his concur- (30.5 x 45.7 cm). The Eason Callery,
Santa Fe, New Mexico
rent paintings, a characteristic of his works on paper that would persist

throughout his career. In contrast to the academic subject matter of the

single portraits and still lifes which had occupied him in his first two years in

New York, the vaudeville performers and beach habitues of the gouaches
anticipate by several years the thematic direction his oils would take (20).

Eventually Avery's gouaches and watercolors came to have more far-reach-

ing influences on his painting than merely that of subject matter. Because of

their necessarily quick brushwork and their lack of pretension, they gave him
freedom to experiment. From them, he learned to make decisions rapidly

and avoid reworking; to paint with thin pigments in order to duplicate the
fluidity and luminosity of the watercolor medium. As he developed his

unique color sense, Avery gradually incorporated these watercolor tech-

niques into his oils.

Avery's involvement with the academic artists at the Art Students

League would seem to have discouraged his investigation of European art

36
styles. But in fact, he- was fai from closed to the influence <>i European art,

which was still readil) available in Nev, ^oik. Galleries such .is Valentine,
Wildenstein, and Durand-Ruel still exhibited modernisl European ari on .1

regulai basis, and reproductions ol it frequently appeared in certain ari joui

nals, especially Creative \rt, Cahiers d'Art, and The Kits. With the found
ing ol the Museum ol Modem \rt in P>2 C
>. I uropean ari be< ame even more

publicly accessible.

Henri Matisse and Pablo Picasso were the two European artists who
exerted the strongest influence on Wery. Matisse's work could regularl) be
seen at the Valentine Gallery, which mounted an important retrospective ol
his paintings in 1927. Three years later. Matisse visited the I nited Stales to

serve on the Pittsburgh International Exposition award jury. Mis stay in \ew
York was a major public event, generating even more interest in his work.
The Averys' habit ol spending Saturdays visiting museums and galleries
would certainK have taken them to the 193] Matisse exhibition at the new
ly opened Museum of Modern Ait.

Picasso was the only artist whose work rivaled Matisse's in prestige

and public visibility. By 1928 he had had three major exhibitions at \\ ilden

stein & Co. in New York. In 1930, fourteen of Picasso's paintings were
included in the important "Painting in Paris" exhibition at the Museum ol

.Modern Art, and throughout the decade his work was exhibited there as

well as at the Valentine Gallery and A. E. Gallatin's Museum ol I i\ ing \it.

The aesthetic Avery evolved during his hist years in \ew Vuk re

fleeted both the European modernism he saw and the work of the American
academics with whom he associated. He felt comfortable with this Vmerican
tradition but he could not embrace its ideological emphasis on subject mat

ter; conversely, the theoretical concerns ol the Europe. in avanl garde were

alien to him, but he was stimulated b\ its techniques and pictorial freedom.
His solution was to advance American academic art b\ overlaying it with
European avant garde devices, primarily those of Matisse and Picasso. Con
secjuently, he pushed the academic tradition farther in the direction ol 1 uro

pean modernism than did an) ol his contemporaries at the \it Students
League. Still, compared to the work of the Stieglitz group, Wery's ari ol the

twenties remained conservative and can best be interpreted more as a mod

ernist extension of the academic tradition than as a fora) into European
painting.

V)
21.

Gaspe Pink Sky. 1940

Oil on canvas, 32 x 44 inches (81.3 x 1 1 1.8 cm) Collection of Mr. and Mrs. Samuel 11. I.indenbaum

38
 *r fc -ss*
—-~ ay-%3 ~ "* +~-~-

22.

Sprint; in Vermont, c. 1935

Watcrcolor on paper, 22 x 30 inches (55.9 x 76.2 cm). ( lollei lion ol S.ilK \l \\cr\

*V
23.

Caspc Landscape. 1938

Watercoloi on paper. 22 \ JO inches (55.9 \ ~'> 2 cm). Private collection
 24.

Pablo Picasso
La Toilette, 1906
Oil on canvas, 59'/2 x 39 inches
(151.1 x 99.1 cm). Albnght-Knox Art
Gallery, Buffalo; Fellows for Life Fund

On the whole, Avery's paintings from his first decade in New York—
1925 to 1935 — reflect the subject matter of the American academics, but the
techniques of the Europeans. While early paintings shared stylistic features

of shape and design with American academic portraits, by 1930 Avery had
begun incorporating aspects of the work of Picasso and Matisse into his

paintings. He became fascinated by Picasso's brushy modulation of closely

valued colors in such Rose Period paintings as La Toilette (24), exhibited at

the Museum of Modern Art in 1930, and he adopted a similar layering of

color in his own compositions: in Woman with Mandolin of 1930 (25), for

example, layers of allied hues create the suggestion of brushy, homogeneous

color areas reminiscent of early Picasso. Similarly, Matisse's exhibition at the

Museum of Modern Art in 1931 had an impact on Avery's work. Nude

Ironing #2 (28) and Self Portrait (29), with their strongly modeled forms set

against dark and unadorned backgrounds, clearly drew upon the French
master's innovations. As Avery's work developed through the thirties, he

40
 came to focus nol on Matisse's compositional modes, bul on Ins exploitation
of arbitrar) color a characterise which would become the mainstay of
\verj 's own ait.

Interspersed with the more formative and derivative works ol the late
twenties and earl) thirties were isolated paintings whi< h contained the seeds

25.

Woman with Mandolin. 1930

Oil on canvas, 33'/2 x 24'/2 inches
(85.1 x 62.2 cm). Collection ol

Dr. and Mrs. Harold Kilkin

-41
 26.
Self Portrait. 1941
Oil on canvas, 54 x 34 inches (137.2 x 86.4 cm). Collection of Roy R. Neuberger

42
27.

Portrait of Marsden Hartley, 1943

Oil on canvas, 36 x 28 inches (91 .-4 \ "1 I cm) Museum of Fine \rls, Boston;
Charles Henry Havden I'und

43
 28.

Nude Ironing #2, 1931

Oil on canvas, mounted on board,
22 x 14 inches (55.9 x 35.6 cm).
Milton Avery Trust, New York

44
29.

Sell Portrait, 1930

Oil on canvas, 19!4 x 15'/2 inches
(48.9 x 39.4 cm). University of Nebraska
Art Galleries, Lincoln; Howard S.

Wilson Memorial Collection

of Avery's mature style a st\le which, despite its French modernist

sources, was very much his own. \Ik\kI\ apparent In the earl) thirties w.is

Averv's predilection for compositions based on large, closel) modulated col

or areas. In Wom.m \\ ilh Green I ./< e (32), he dispensed w it li illusionists all)

rounded volumes and modeled forms to create instead the appearance ol Ral

color areas. He achieved this b) isolating coloi into discrete shapes and
painting each shape with several closel) valued hues, a technique which
allowed his tones to blend into seemingl) uniform coloi areas.

In these ke\ works \\ci\ did more than mereh evolve a wa\ ol

45
30.

Checker Players. 1943

Oil on canvas, 32 x 44 inches (81.3 x 1 1 1.8 cm). Collection of Mr. and Mrs. Herbert Elfers

46
31.
Two Figures at Desk, 1944
Oil on canvas, 48 x 32 inches (121.9 \ 81.3 cm) Neubergei Museum, Stat* I niversitj ol Nov Vttk

at Purchase; Gift of Ro> R. Neubergei

_
4
32.

Woman with Green Face, 1932

Oil on canvas, 23 x 24 inches (58.4 x 61 cm). Collection of Constance and Bernard Livingston

48
painting broad areas ol evenl) toned color; In treating ea< li shape as .1 single
color area and minimizing the numbei ol shapes in .1 painting, he Rattened
and abstrac tal the images. Tins metamorphosis ol representational elements
into lint, interlocking shapes ol homogeneous coloi formed the basis ol his

mature work. In effect, Aver) changed recognizable images into abstract

forms winch functioned .is autonomous equals ol the actual objects the)
depicted. He even treated the space between figures with as much presence
as the flames themselves, so that the negative shapes between recognizable
forms achieved pant \ with the tonus themselves. In so doing, \\ei\ sue

ceeded in creating a pictorial dynamic between positive and negative shapes.

as well as between these shapes and the subject matter. I Ins interpla) be
tween recognizable tonus and abstract shapes alwa\s characterizes Vvery's

best paintings. Although tentative m their abstraction when compared with

later works, Ins paintings ol the earl) thirties were cleaih the progenitors of

his mature style. Sitters In the Sea 1 18) shares with late paintings a minimiza
tion of detail and flattening ol form into large fields ol uniform color winch
lock together as abstract arrangements. Even Wery's characteristic three
tiered division of space into sk\ sea land is alread) evident in the earliei

work. What differentiates the later paintings are their lighter hues and greal

er homogenization ol color within delineated shapes.

Few opportunities existed lor lessci known aitists to exhibit then

work during the twenties, and from Ins experience in these- years \\er\

developed his lifelong inclination to show anywhere that offered space, lbs
2~~
first chance to exhibit in New York came in l
l,
with Ins participation 111

the large, non juried Independents exhibition, a continuation ol the open

salon established by the Society ol Independent Vrtists in 1917. In 1928 he

took work around to various galleries and was included in a show at the

Frank K. \1. Kehn Callers. That fall he submitted work to the newl)
opened Opportunity Callers, a non-profil organization designed to help
young artists gain exposure." Each month a different well known artist se-

lected the show: the juror lor the Novembei 1928 exhibition. Bernard K.u
fiol, chose both Aver) and another unknown artist, Man us Rothkowitz,
who soon alter shortened Ins name to Mark Rothko. I he two aitisls did not

meet at the time of the exhibition, but several months later the) began what

would become an enduring friendship a friendship that contributed much

toward defining the possibilities ol Coloi I icld painting in \1ne11ca.

Early critical response to Wery's work was uneven, t k nix McBride,

the influential art critic for the Vew )oik Sun, mentioned \\ei\'s name 111

his write up ol the l

l '2~ Independents exhibition, and. when reviewing the
Morton Galleries show two years later, noted that Wen was \\ new and

49
 33.

Mother and Child, 1944

Oil on canvas, 40 x 30 inches (101.6 x 76.2 cm). Private collection; Courtesy of Andrew Crispo
50 Gallery, New York
H
Seated Girl with Dog, 1944
Oil on canvas, 44 x 32 inches (111.8 x 813 cm). Collection ol Roy K Neubergei

51
promising painter. . . . The man has a genuine instinct for painting. Collec-
tors in particular should take a look at his work and see what they think of
36
it." McBride championed Avery's work throughout the thirties and forties;

it was McBride, too, who influenced the prestigious Valentine Gallery to

:n
take Avery on in 1935. In his columns he continually encouraged collectors
to invest in Avery's work, even singling out a painting from the 1933 Inde-
pendents exhibition that he would have purchased himself had his finances
38
allowed. McBride's astute description of Avery's art in this period could

well be applied to his entire career: "It is a fine and natural talent that he
has, though not easily defined. He is a poet, a colorist and a decorator; so

excellent in each of these diversions that he might exist on any one of them;

yet I presume the being a poet will eventually be his strongest claim." 39
Not all reviewers were as convinced of Avery's achievement. Ed-
ward Alden Jewell, art critic for the rival New )brk Times, noted disparag-
ingly that the work Avery exhibited in his 1929 Rehn show "lookfed] best in
40
a dimmish light." In a later review, entitled "Paintings with Baffling Quali-

ty on View in Milton Avery's One-Man Show," Jewell expressed bewilder-

ment at what he saw:

What precisely is the effect it [Avery's color] does produce? That

depends upon the observer. The fact that Milton Avery sticks, sea-

son after season, to his mysterious — or, as the case may be, his mildlv
exasperating —
paint theories, makes one feel that he is perfectly sin-
cere. These often grotesque and sometimes rather gruesome forms of
his must mean something pretty definite to him. But the present . . .

reviewer, who doesn't pretend to be able to fathom such painting,

suspects that Mr. Avery will, as time goes on, succeed in stating his
credo, whatever it be, a little more clearly. He is still in his early

thirties, and as his talent matures we shall doubtless find it less diffi-
41
cult to perceive what he is trying to say.

As Avery's aesthetic developed, it placed him increasingly at odds

with the stylistic currents that came to dominate American art in the thir-

ties. In keeping with the country's growing isolationism, the majority of

painters in the thirties turned against abstraction and what they saw as the

internationalism of European art styles. They tried instead to define the

American experience as something distinct from the European one. More
than ever, the depiction of everyday American subjects dominated the art

52
scene: Regionalism, the variant ol American Scene painting typified b)

Thomas Hart Benton and Grant Wood, celebrated rural life; the cityscapes
characteristic of American Scene painters such as Reginald Marsh and the
Soyer brothers showed the povert) and disillusionment of the urban masses;
and Social Realist artists sue h as Hen Slialin and Philip Evergood sought to

convey specific political messages about social and economic inequality. \l

though these groups assumed different attitudes toward the depiction ol

contemporary conditions, fundamentally all three were oriented toward

content.
In this aesthetic environment Avery seemed a maverick. Superficial!)
allied with American Scene painters through his choice ol subject mattei
urban genre scenes — he was nevertheless uninterested in pursuing content as
such. Subject matter to him was always secondarx to form and color. \\ hile

most American artists in the thirties considered style less important than
social and political attitudes, to Avery style was everything. In addition, the
graphic, relatively illustrational character of American art in this period clis

tinctly contrasted with Avery's increasingly simplified forms and flat planes
of color. More and more he felt at odds, pitted against established styles. To
his close friends he lamented that "either I am crazy or they are crazy.
However confident Avery was about his work, in such a climate he
occasionally lost faith. But Sally was an unflagging and optimistic supportei

who served as an antidote to discouragement. She prodded him when he

despaired, telling him she did not want to be m. lined to a bad painter.'

Avery found reassurance in her conviction that his pictures were important
and that something would happen with them.
Avery also had the support of the coterie of other artists who came to

socialize and see his paintings at his Lincoln Arcade apartment. \t dinner
time, each person would chip in fift\ cents tor food and Sail) would make
hamburgers for all. Avery's habit of painting at least one canvas each day
always provided something new to look at and talk about. Rothko and
Adolph Gottlieb were frequently among the visitors. \t tunes during the

thirties these two artists, eighteen years Avery's juniors, would chop in almost

daily to see what he was painting and to talk. Eager tor Avery's evaluation

of their work, both artists— but particular!) Rothko would unite Sal!) and
Milton to their studios to elicit Milton's comments on then paintings.

Avery's dictum— "Why talk when you can paint"" was reflected b) his

habit of listening while others spoke. But his occasional remarks were always
incisive and highly valued by these artists. Although it is Rothko's later work
 35.

Green Chair, 1944

Oil on canvas, 36 x 28 inches (91.4 x 71.1 cm). Private collection

54
36.

Ping Pong. 1944 55

Oil on canvas, 46 x 28 inches (116.8 x 71.1 cm) Private collection

that shows most indebtedness to Avery, in the late twenties and thirties both
his and Gottlieb's paintings strongly resembled Avery's in the deployment of
figures and in the think lavered, transparent surfaces and muted palette — as
evident in Rothko's untitled watercolor (37) and Gottlieb's The Swimming
Hole (38).

Avery's strength of purpose — his independence and his to pursue will

a vision counter to prevailing artistic styles — inspired these younger artists.

At a time when the narrative and political aspects of art dominated the
American art community, he provided a courageous alternative. In speaking
later of Avery's importance to him during this period, Gottlieb acknowl-

edged: "I have always thought he was a great artist. When Social Realism

and the American Scene were considered the important thing, he took an
aesthetic stand as opposed to regional subject matter. His attitude helped
reinforce me in my chosen direction. I always regarded him as a brilliant
colorist and draftsman, a solitary figure working against the stream." 44
Discussions about art in the Avery household revolved around the
notion that a painting should be flat and lie on one plane rather than evoke
what Avery called photographic depth. 45 He championed simplified, precise-

ly delineated forms and flattened color masses when few were willing to

listen. Perhaps Avery's greatest legacy was his ability to abstract the mood of

a place or situation with color. Although other Americans had concentrated

on color in their paintings, Avery's use of soft, lyrical color to evoke subtle

emotion was unique in American art. His simplification of form and lumi-
nous color harmonies provided a model for future generations of American
colorists. As Alfred Jensen explained when listing Avery as one of the five

most important twentieth-century American artists, "Avery brought color to

America." 46

In October 1932 Sally Avery gave birth to a daughter, March,

named after Milton's mother's family. The family became even more cen-
tral to Avery. They moved to Greenwich Village when March was old

enough for school so that she could attend the Little Red School House, a

grammar school popular among artists and liberal intellectuals in New

York. March became a regular portrait subject for Avery throughout her

childhood — the depictions of her that were included at the Durand-Ruel

Galleries in the 1947 exhibition "My Daughter, March" presented such a

broad spectrum of Avery's painting styles that they constituted almost a

mini-retrospective.

56
37.

Mark Rothko
Untitled, late 1920s
Watercolor on paper, I2H x 15 inches
(31.4 x 38.1 cm). Estate of the artist

38.

Adolph Gottlieb
The Swimming Hole, 1937
Oil on canvas, 25 Vi x 34K inches
(64.8 x 88.3 cm). Adolph and Ksther
Gottlieb Foundation, Inc., New York

57
39.

Autumn, 1944
Oil on canvas, 27 x 35 inches (68.6 x 88.9 cm). Collection of Beverly and Raymond Sackler

58
 40.

Lavender Sea, 1 944

Couachc on paper, 22 x 30 inches (55.9 x 76.2 cm). Collection of Stephen Burakofl

L
 March's physical transformation as she matured made her ideal sub-
ject matter for Avery because of his need for constantly changing visual
stimuli. Not wanting to repeat the same composition, he continually sought
out fresh material from which to generate new compositional ideas. Ironical-

ly, the Depression served his needs perfectly. The inability of many families

to pay rent or meet mortgage payments during these years left the New
York rental market with a devastating glut of vacancies. Desperate for ten-

ants, apartment owners offered elaborate inducements to potential renters.

This situation enabled the Averys to leave New York every summer, confi-

dent of finding a different apartment when they returned. The summer

places they selected were dictated by the availability of inexpensive living

accommodations: with the exception of one interlude on the Gaspe Peninsu-

la, they summered from 1930 to 1940 in Gloucester, Massachusetts, and
southern Vermont, where they were frequently joined by Rothko, Gottlieb,
and Barnett Newman. 47
Avery's access to these fresh visual environments was significant, for
at the core of his approach to painting was a single firm rule: never invent
imagery. He would simplify, flatten, distort, or chromatically abstract a land-

scape, portrait, or interior, but he never introduced elements into the compo-
sition which did not exist in the physical world. He would not invent what
was not there. This fidelity to his own visual experience almost proved disas-

trous the first summer in Vermont. It rained continuously for the first three
weeks; when it stopped, everything was the same brilliant green. Avery hat-
ed it and wanted to leave because he felt it impossible to paint a landscape
that had so little color variation. Fortunately, a few sunny days and shoots of

new vegetation sufficed to change his mind and Vermont eventually be-

came an important source of fresh imagery. Perhaps the necessity of con-

fronting each day a landscape dominated bv one color furthered Avery's

sense of the subtlety and power of a single hue. The gentle undulations of
the mountains and the variegations in the foliage found their way into paint-

ings such as Pink Field (41). Avery had not painted landscape motifs since
his Hartford days and these paintings reflected the aesthetic distance he had
traveled in the intervening decade. The enamel-like impasto and indistinct,
light-drenched forms of his Hartford paintings had given way to matte sur-
faces and more structured compositions. But in contrast to the precisely de-

lineated, flattened color masses in his New York genre pictures, the shapes
in these Vermont landscapes were not crisply differentiated from one anoth-
er. The pronounced modulation of color values within shapes and the indi

vidualization of brushstrokes served a more naturalistic portrayal of space. In

place of the abstract relationships developed in his New York paintings

60
41.
Pink Field, 1935
Oil on canvas, 28 x 36 inches (71 x 91.4 cm). Collection of Lad\ Kleinworl
 42.
Feeding, 1944
Oil on canvas, 48 x 36 inches (121.9 x 91.4 cm). Collection of Mr. and Mrs. Carl Reiner

62
43.

Pink Tablecloth. 1944

Oil on canvas, 32'/s x 48'/s inches (81.6 x 124.1 cm). Munson Williams Proctor Institute, Utica,
New York; Cift of Mr. and Mrs. Roy R. Neuberger

63
 :
»'ii,.. AV» '>

44.
Secluded Beach. 1941
Watercolor on paper, 22 x 30 inches (55.9 x 76.2 cm). Collection of Dr. A. Rubinoff and Ms. Suzanne Giroux

64
 through interlocked, flattened forms, Vver) adopted .1 loose, brush) painl

handling which resembled the wash effects ol his watercolors. I lis willing

ncss to reveal more ol his pro< ess perhaps indi< ated in< r< a ing 1 onfiden* e in

his brushwork.

Despite the aesthetic growth \\ei\ had achieved in his work since

1925, and the genuine though limited critical success of his exhibitions. Ins

45.
first decade in New York wen! largel) unnoticed b) the public. He had been
Sparkling Blue In Id. 1938 included in a numbei ol commercial group exhibitions, but .it h!t\ he had
Watercolor on paper, 22 x 30 in< hes
received little real external support. Instead, in an art community sympathet
(55.9 x 76.2 cm). Collection oi Mr. and
Mrs. David |. Grifl ic to Regionalism and American Scene painting, he saw othei artists Ins own

y A
JP^tfutfe*
ft

A,
n

'. '•<
5V.
v".
-9ti _"
»

65
 46.
Sealed Blonde, 1946
66 Oil on canvas, 52 x 34 inches (132 x 86.4 cm). Walker Art Center, Minneapolis; Gift of Mr. and Mrs.
Roy R. Neuberger
47.

Oregon Coast. 1947

Oil on canvas, S6 x 46 inches (91.4 \ 1 16.8 cm). Collection ol Michael Rea
 age 01 youngei enjoying immense critical and institutional success. I Ik in

conic generated In Sally's magazine illustrations provided enough mone) to

survive, but onl\ marginally. Often during the twenties and thirties, the fam

ily ate peanut buttei and Spam foi dinnei because the) could nol afford
anything else. Forced to be frugal about painting supplies, Wi\ would ol

ten pamt ovei friends' discarded canvases. Since primed canvas was too ex
pensive, the \verys pruned unsized cotton duck with rabbit skin glue and
white lead, a procedure which lelt then house smelling foi days.

The financial incentive to capitulate to accepted shies notwithstand-

ing, Avery persevered in his vision of a simplified painting based on color
harmonies. Eventually his unique place within the mainstream ol American
art attracted the attention of Valentine Dudensing, who asked him to join

his gallery in 1935. The Valentine Gallery was one of the major galleries on
Fifty-seventh Street and included in its exhibition schedule work b\ six h

European artists as Matisse, Andre Derain, Joan Miro. Picasso. Georges

Braque, Wassily Kandinsky, Ghaim Soutine, and the Americans Stuart Da-

vis, Bernard Karfiol, Reginald Marsh, and Alexander Brook. \very's lust

one-man show there, that March, had a major effect on his career. For the
first time he had a dealer committed to supporting his work throughout the
"
year. Suddenly, financial prospects seemed brighter.
1
The resulting confi

dence allowed him to push further in the development of his painting style,

and over the next seven years his work displayed an increased devotion to

abstraction and a mature mastery of color nuance. He dropped the academic

subject matter and occasional modeling that had marked his work in the

previous decade, while the layering of closely valued colors that had ap-
peared sporadically before 1935 became a primary locus in compositions
such as Burlesque {AH). In these works Avery created visual fields of textured
color by applving thin layers of deep, rich tones within individual color areas.

To preserve the effect of thin paint, he often scraped pigment from the
canvas, a process which revealed lower coats of pigment or, on occasion, the
primed canvas itself. The resonant harmonies he achieved were unparalleled
in his earlier work. Writing about the 1935 exhibition at the Valentine Gal-

lery, McBride identified color as Averv's salient characteristic: "He reall) is

a colorist of exceptional ability. When an artist gives you a landscape with a

moving and dramatic, but wine-colored sky and then makes you believe
literally in the wine-colored sky, it simply means that the artist can do things
-
"
with color that not every artist can do.'
48
Burlesque. 1936 Aver) extended his c oloi harmonies even liiithci in the woik he
Oil on canvas, 36 x 28 inches
produced m 1938, when the taniih summered on the Gaspe Peninsula, in
(91.4 x 71.1 cm). Grace Borgenichl '

Gallery New York southeastern Canada. The landscape ol the isolated Gaspe region is bathed
 49.
Crucifixion, 1946
Oil on canvas, 44 x 34 inches (1 1 1.7 x 86.4 cm). Collection of Sally M. Avery

70
50.

Prayers, 1946-S5
Oil on canvas, 36 x 54 inches (91.4 x 137.2 cm). Grace Borgenicht Gallery, New York

71
in an almost white light, quite different from the sky's usual yellowish cast in

the urban regions of the northeastern United States. Avery set out to capture
this light and its vibrant color harmonies in the watercolors he executed that
summer (23, 45). The result was a unique luminosity of color, distinct from

any American art being produced at that time. That these watercolors were
executed on more expensive white paper rather than on the usual colored
construction paper added to their crisp radiance. Avery spent the next two
years translating these watercolors into oil.

By 1940 a discernible shift had taken place in Avery's attitude toward

color. The dark palette of his previous work brightened and became more
highly saturated. And he consistently introduced colors into his compositions
which, while related to reality, were not necessarily naturalistic. The red sky
and blue and red fields of Gaspe — Pink Sky (21) reflect a mood more than a
naturalistic representation of color. Although this use of non-associative color
brought Avery closer to abstraction, compositionallv he retained the more
realistic pictorial structure of his Vermont landscapes — detailed, graphically

articulated forms instead of the flat planes of color developed in the early
thirties. Rather than simplify his shapes, Avery embellished them with draw-
ing, often using single strokes of paint to represent objects in the landscapes.

Not until 1944 would he combine non-associative color with his earlier tech-
nique of flattening compositional elements into abstract tonal planes. When
he did, he established himself as one of the leading colorists in America.
Matisse remained a major impetus behind this striking adoption of
saturated, arbitrary color. Although Avery's awareness of Matisse's work had
preceded his affiliation in 1935 with the Valentine Gallery, his new alliance

with Matisse's American dealer revitalized his interest in an artist whose

sensibilities were much like his own. Matisse had written earlier that "Fau-
vism came into being because we suddenly wanted to abandon the imitation
of the local colors of nature and sought by experimenting with pure color to

obtain increasingly powerful — obviously instantaneous — effects, and also to

achieve greater luminosity."

50
A similar desire impelled Avery, whose own
commitment to color and to form reduction had been firmly established
early in his career. But until his contact with Matisse's work, he had not
totally embraced the Fauve attitude toward non-associative color, except in

isolated paintings (32). Essentially, Matisse's example gave Avery license to

extend the concerns he was already pursuing. His color after 1940 became
much bolder as he created the mood of a situation by discarding the con-

straints of naturalistic hues and favoring a saturated, non-naturalistic palette.

The importance both artists gave to color and the simplification of

72
 form inevitabl) called foi critical comparison. Vverj discounted .m\ influ

ence, saying that Matisse's work was too hedonistic tor his taste. His an
noyance at being constantly likened to Matisse and denial ol an) influence
arose from Ins feeling thai the comparison pigeonholed him and prevented
people from seeing the unique qualities of his own paintings. Occasional!) in

compositions from the forties, such .is The Lettei (54), Wi\ introduced
arabesques and linear patterns reminiscent ol Matisse, but b) the end ol the
decade he had virtually eliminated tins drawing aspect. Subsequent Vver)

paintings were far more restrained than the detailed, richl) ornamented Ma
tisses then being shown in America (51). Nevertheless, while- aestheticall)
different, the two artists remained similai in mood. Matisse's dream ol an art

"of balance, of purity and serenity devoid ol troubling 01 depressing subject

51.

Henri Matisse
Interior with a Violin Case, 1918 l
w

Oil on canvas, 28% x 23% inches

(73 x 60 cm). The Museum ol Modern
Art, New York; Lillie P. Bliss Collection
52.

White Sea, 1947

Oil on canvas, 3114 x 39'/4 inches (79.4 x 99.7 cm). Private collection

74
53.

Autumn in the Rockies. 1948

Oil on canvas, 34 x 38 inches (86.4 x 96.5 cm). Private collection
matter, an art which might be . . . like an appeasing influence, like a mental 54.

The Letter. 1945

soother, something like a good armchair in which to rest from physical fa-
Oil on canvas, 34 x 48 inches

tigue," could be seen in Avery's own subtle and warmly harmonious paint- (86.4 x 121.9 cm). Collection of
Mrs. Arthur Belfer
ings.
53
What this reveals is not so much a matter of influence, however, as a

shared artistic temperament.

Avery exhibited his work with Valentine Dudensing until 1943,

when Paul Rosenberg asked him to join his gallery. Before the war, Rosen-
berg had operated an important modern art gallery in Paris devoted to nine-

teenth- and twentieth-century French painting. In his capacity as president

of the Art Dealers Association in France he had been instrumental in orga-

nizing the attempted boycott of the Nazi sale of "degenerate" art, an effort
which placed him in danger with the coming of the Nazi occupation. In

June 1940, just days before the Germans entered Paris, Rosenberg fled to

76
New York, bringing with him an inventory ol paintings by such arti I

Legei .iikI Braque, .is well as ovei 150 Picassos. Interested in running more
tli. in ,1 European gallery, Rosenberg determined to turn his attention to

\merican painters. He began In inviting Max Webei to join th< gallery; by

1943 he had added Abraham Rattnei and Marsden Hartley to Ins rostei ol

artists. Thai Hartley was a membei ol the- gallery w.is significant; by the
early forties the oldei artist was a fervenl < hampion <>l \\ei\ 's work and had
in fad been influenced In it in Ins own figure compositions of that period.

Fishermen's Last Suppei \

7)
^i foi example, reveals the dark outlining and
blocky handling ol tonus found in such Wery paintings as Cleaning Fish,
Gaspe (59).

Rosenberg initially encountered Wery's work through black and

54
white reproductions in Parke-Bernel auction catalogues. rhus it was the
structure of Avery's work rather than its color wlu< h Inst ,iltia< ted the deal

er. a fact that would be significant when \very began stripping Ins tonus ol

everything that seemed to inhibit Ins coloi expression. Rosenberg's gallery

director, Alex Katzman, persuaded him to make the trek to Wery's studio.
After seeing the work, Rosenberg asked Dudensing it they could jointly ex

hibit it. When Dudensing objected, Rosenberg asked \\ei\ to join Ins gal

lery. The incentives foi leaving the Valentine Gallery and going to Rosen
berg were substantial. Dudensing's artists, although prominent, included
many of the academics of the time, while Rosenberg was asso< iated with the

most renowned members of European avant garde. More important, Rosen

berg, who did not believe in commissions, proposed buying twenty five

paintings twice a year, a guarantee that promised rehel from the \\cr\s"
55
penurious existence. The induce incut was sufficient; Wery had Ins first

show at Paul Rosenberg & Co. in June 1943. Rosenberg, having purchased
twentv-five of Avery's paintings, apparently asked the Durand Ruel Gallei
ies to join him in handling Wery. It did, and Wery's works were exhibited
from 1944 to PM 1
) at both galleries. That Durand Ruel. anothei ol \ew
York's French oriented galleries, was also attracted to Wery's work is an

indication of how striking among Americans Wery's assimilation ol the Ies

sons of French modernism was.

Avery's prestige reached a new plateau. I hat yeai 1944 Ins firs!

one-man museum exhibition opened at the Phillips Memorial Gallery in

Washington, D. (;., and in January 1945 two cone uncut exhibitions ( .i Ins

work were held on Fifty seventh Sheet at the Rosenberg and Durand Ruel
" \ltei
galleries. Maude Riley summed up Wery's reputation: remaining un

noticed for a good main years \hlton Wery has of late become a sod ol

institution. No one remains ignorant ol his past; and wink enthusiasm varies,

77
 55.

March in Red. 1950

Oil on canvas, 42 x 26 inches (106.7 x 66 cm). Sheldon Ross Gallery, Birmingham, Michigan

78
56.

Maternity. 1950
Oil on canvas, 32 x 46 inches (81.3 x 1 16.8 cm). Collection of Sail) M. \verj

79
 57.

Pink Rocks, Creen Sea. 1944

Watercolor on paper, 22 x 30 inches
(55.9 x 76.2 cm). Collection of
Marianne Friedland

a general cordiality prevails in regard to this innocently sophisticated form of

51 '
picture making."

Despite increased critical recognition, Avery remained a painter's

painter in this period, supported by artists and dealers but largely ignored by

the established hierarchy of collectors and museums. Even his simultaneous

exhibitions at the Rosenberg and Durand-Ruel galleries did not improve his

ratings with these art world luminaries, who felt that the shows simply over-
exposed him. Among fellow artists, Avery's association with two major gal-
leries created the impression of a substantial income: rumors had him mak-
57
ing as much as 60,000 dollars a year. In fact, sales were so infrequent that
Rosenberg would occasionally throw in an Avery painting along with anoth-
er sale in order to develop interest in his work. 5 * At one point in the forties,

Alfred H. Barr, Jr., director of the Museum of Modern Art, asked Rothko
which American artists he considered the greatest; when Rothko named
Avery, Barr laughed." The Whitney Museum of American Art was no
more receptive: it was not until 1944 that Avery was included in a Whitney
painting Biennial and then only because Rosenberg otherwise threatened to

withdraw his other gallerv artists from the exhibition.""

Joining the Rosenberg gallery had a significant impact on Avery. As-
sociation with a gallery of such high standing, with its connection to impor-
tant French art, gave him a degree of self-confidence he had not previously
58.

Marsden Hartley
Fishermen's Last Supper, 1938
Oil on academy board, 22 x 28 inches
(55.9 x 71.1 cm). Collection ,.|

Mrs. Hudson D. Walker

59.

Cleaning Fish, Caspe, 1940

Oil on canvas, 33K x 5-4 inc lies

(85.7 x 137.2 cm). Whitnej Museum

of American Art, New York; Gift ol

Mr. and Mis. Ro) K. Neubergei 50.5

M
60.
Red Rock Falls, 1947
Oil on canvas, 33% x 4378 inches (86 x 1 1 1 .4 cm). Milwaukee Art Museum;
Cift of Mrs. Harry Lynde Bradley

82
61.

Sketches b\ the Stream, 1951

Oil on canvas. 32 x 48 inches (81.3 x 121.9 cm). Collection of Sidncv and Madeline Forbes

-
62.
Still Life with Derby, 1944 Oil on canvas, 28 x 36 inches (71.1 x 91.4 cm) Neuberger Museum,
State University of New York at Purchase; Gift of Roy R. Neuberger

84
 fell. In addition. Rosenberg's monetary Mippoit heed Werj from the strain
"I financial uncertainty. And with tins encouragement, the pac< ol Wery's
work quickened. Always prolific, lit- produced in I'M! the largesl number ol
works ol am yeai in Ins career. Bui most important was the change thai
took place in Ins paintings aftei joining the gallery. In general, developments
in Avery's arl had been gradual rathei than abrupt, and it sometimes took
ovei a decade foiol an aspeel icad: maturity. Now, however,
Ins style to

63.
change was sudden. The graphic detailing and brush) paint appli< ation that
Bridge to the Sea, 1 944 had dominated his work ol the previous si\ \ c.ir s vanished. In then place
Oil on canvas, 32 x 48 inches
(81.3 x 121.9 cm). Collection ol
weredensei. more evenlj modulated areas ol flattened coloi contained with
Mrs. Sylvia G. /ell in crisply delineated tonus. I nlike the naturalistic sp.K e ol the Gaspe land-

S
64.
Sunset. 1952
Oil on canvas, 42'/2 x 48'/« inches (108 x 122.2 cm). The Brooklyn Museum, New York;
Gift of Roy R. and Marie S. Neuberger Foundation, Inc.
65.
Hint of Autumn, 1954
Oil on canvas, 53 x 34 inches (134.6 \ 86.4 < m). Col lei lien ol I larold Price
66.
Fencers, 1944
Oil on canvas, 48(4 x 32!4 inches (122.6 x 81.9 cm). The Santa Barbara Museum of Art. California;
Gift of Mrs. Burton C. Tremaine
scapes, the .ibsti.u I relationships ol interlo< king shapes in / em ers 66 i real

ed a much shallowei pictorial space, articulated l>\ steep perspective and

tilted planes, \very retained coloi .is the primary vehicle ol feeling and ex
pression, bul in his increased abstraction he achieved a greatei parity be
tween recognizable forms and abstract shapes. In effeel \\ci\ combined the
non associative coloi from his earliei work with the Rattening ol shape and
homogenization ol color developed in the earl) thirties. I he mature Vver)
st\ le was born.
One impetus for the change in Wery's work may have been Paul
Rosenberg himself. On Saturday afternoons, Rosenberg's gallery functioned
like a salon tor all ot the gallery aitisls. It the \\ei\s had not arrived b\ a
certain hour. Rosenberg would often phone and ask them to stop by." Ro
senberg injected into these gatherings his own attitudes about painting. He
favored taut structure and architectural solidity in paintings and encouraged
his artists to embrace his attitudes. \c < ording to Ins son. he did this espe< ial

Iv with Avery, tor he found in \\ei\\ inclination to work quickly a tenden

62
cv to let superficial graphic notations signify objects. Given Rosenberg's
authoritative presence, his unassailable credentials, and Ins role as self-ap

pointed arbiter ot twentieth-century taste, he undoubtedly affected Wery's

perception ot himself as an artist. Still, Rosenberg did not directly influence

Avery's new mode as much as encourage him to develop the an hitectonic

aspect of his work at the expense ot Ins other concerns. Rosenberg's prefei

ence for structural clarity was reflected in the clearly delineated planes ot

dense, homogeneous color that became typical of Avery's post 1943 painl

ings which seem to be constructed out of chunks ol color. On a less aesthetic

and more mundane level, Rosenberg persuaded \\ci\ to date Ins paintings,

citing as precedent Picasso's habit ot msc ribing all Ins paintings w ith a date.'

Avery's sudden arrival at his mature style was stimulated not only by

Rosenberg, but also b\ the work ol Picasso, which Vvery looked at with
renewed attention from the beginning ot his affiliation with Rosenberg. \s

with Matisse earlier, it was not the French artist's imagery but Ins painting

technique which impressed Avery. Picasso had been represented exclusively

by Rosenberg in Paris, \mong the I 50 odd Pi( assos Rosenberg broughl w ith

him to New 101k were a nunibei ol canvases from the early thirties similai

to Seated Bat hci (69). The smooth smiaces ol think modulated coloi divid

ed bv precise, but not hard, edges which Picasso had developed in this pen
od particularh fascinated \\ei\. who had ample opportunity to stuck Picas

so's rich palette and Ins application techniques in the private showroom
Rosenberg maintained on the second flooi ot his gallery. Wery's subsequent
woik resembled these Pic asvis both ill the modulation ol coloi and in the
 67.
Nude Combing Hair. 1954
Oil on canvas, 50 x 34 inches (127 x 86.4 cm). Collection of Joy Futter
90
68.
Shapes of Spring, 1952
Oil on canvas, 34 x 38 inches (86.4 x 96.5 cm). Collection ol Waltei and I <>k Kann

y|
 69.

Pablo Picasso
Seated Bather, 1930
Oil on canvas, 64 !4 x 51 inches
(163.2 x 129.5 cm). The Museum of

Modern Art, New York; Mrs. Simon

Cuggenheim Fund

simplification of figures into geometric yet biomorphic shapes. Paintings such

as Morning Call (70) still refer to the thin, planar interlocking of Matisse's

compositions, but the application of paint and the particular distortion of the
figure reflect Avery's renewed engagement with the art of Picasso.

As the forties advanced, Avery's concentration on color and the sim-

plification of shapes became increasingly intense. As before, color created
the dominant impression and set the emotional tone, but now Avery's
choice of colors and their combination became more striking and daring.
Multiple layers of pigment were blended together into evenly toned areas

92
 !

70.
Morning Call. 1946
Oil on canvas, 5414s x 34 1
* inches
(137.5 x 86.7 cm). Hirshhorn Museum
and Sculpture Garden. Smithsonian
Institution, Washington, I ).(
71.

Green Seascape, 1954

Oil on canvas, 34 x 52 inches (86.4 x 132.1 cm). Donald Morris Gallery, Birmingham, Michigan

94
72.

Waterfall, 1954
Oil on canvas, 32 x 52 inches (81.3 x 132. cm). Neubergei Museum, State I niversiti ol New Vuk
at Purchase; Gift of Rov R. Neuberger
 f ^^ %

/YVxWo'

73.
Beach Umbrellas, 1944
Gouache on paper, 22 x 30 inches (55.9 x 76.2 cm). Private collection

96
74.

Reader and Sunbather, 1948

Watercolor on paper, 22 x JO inches (55.9 x 76.2 cm). Collection ol Mr. and Mrs. Irwin Nal Pincus
75.
White Wave, 1954
Oil on canvas, 40 x 60 inches (101.6 x 152.4 cm). Milton Avery Trust, New York

98
76.

Walkers bv the Sea. 1954

Oil on canvas, 42 x 60 inches 1 106.7 \ I ^2.4 < m). Private collection
77.
Red Umbrella, 194S
Oil on canvas, 24 x 36 inches (61 x 91.4 cm). Collection of Annalee Newman

100
 -
78.
Reader b\ the Sea, 1945
Watcrcolor on paper, 22 x 30 inches
*,#
(55.9 x 76.2 cm). Collection ol Dr. Paul
Vanck

<?

79.

Sketches by the Sea. 1949

Pencil on paper. 9 x 16 inches
(22.9 x -40.6 cm). Collection ol
Paul M. Ingersoll

101
80.
Green Sea. 1954
Oil on canvas, 42 x 60 inches 106.7 x 152.4 cm). The Metropolitan Museum of Art, New York;
Arthur H. Hearn Fund

102
81.

Sea and Sand Dunes, 1955

Oil on canvas, 40 x 60 inches (101.6 x 152.4 cm). Collection of Thos Mar< I utter

103
 82.

Studious Sketcher, 1945

Oil on canvas, 36 x 28 inches (91.4 x 71.1 cm). The Cleveland Museum of Art;
Contemporary Collection
104
83.
The Card Players, 1945
Oil on canvas, 50 x 34 inches (127 x 86.4 cm). Milwaukee \it Museum;
Gift of Mrs. Harr\ I. wide Riadlo 105
84.

Sea Crasses and Blue Sea. 1958

Oil on canvas, 60'/8 x 72Ys inches (152.7 x 183.8 cm). The Museum of Modern Art, New York; Cift of
friends of the artist

106
 85.

Dunes and Sea II. 1960

Oil on canvas, 52 x 72 inches (132. 1 x 182.9 cm). Whitney Museum of American Art. New York;
Promised 50th Anniversary Cift of Sally M. Avery P. 14.80

107

.
marked by Avery's unmistakable color sense. Within these barely modulat-
ed color planes Avers created textures by scratching into the paint with a

fork or razor, a process which reduced illusionistic recession by calling atten-

tion to the two-dimensional surface of the canvas (86). As a means of height-

ening awareness of his resonant color harmonies, he stripped his design to

essentials and neutralized the picture plane as much as possible bv avoiding
both "paint quality" and brushwork. To ensure a drv, unobtrusive surface,
he mixed his paint with large amounts of turpentine rather than linseed oil

and chose canvas that was slightlv absorbent and not too rough. He began
discarding extreme value contrasts in favor of closelv allied color harmonies,

a radical departure from the traditional Western modulation of light and

dark values used to produce the illusion of space and volume. Space in his

paintings came be determined by the interaction of adjacent hues not bv

to —
linear
M
perspective or value contrast. This was a significant innovation for an
American artist. As Hans Hofmann noted: "Avery was one of the first to

understand color as a creative means. He was one of the first to relate colors

in a plastic way."' 5
Avery's approach opened new formal possibilities to
American painting and exerted a profound influence on the group of young-
er artists whose work came to focus on the expressive potential of color.

Both Rothko and Newman saw in Avery's disavowal of material paint de-
posits a wav to make color evoke the sublime. Throughout the forties both
artists continued to turn to Avery's work for inspiration; in 1946, despite

their own lack of money, Annalee and Barnett Newman purchased one of
Avery's paintings, Red Umbrella (77).

As Avery sharply reduced the number of elements in his composi-

tions, shape came to play a role equal in importance to color. Given the
nature of his subjects and the spareness of his formal means, Avery's work
might easily have become banal were it not for his highly developed pictori-
al logic — his impeccable and precise arrangement of forms on the canvas. In
addition to maintaining pictorial tension, shape came to define pictorial

space as Avery's introduction of closely valued color harmonies eliminated

the spatial illusionism traditionally created bv light /dark contrasts. To sug-

gest space, Avery relied on such depth cues as diagonally thrusting lines and
overlapping planes, which he ordered to create a typically shallow space of
steep perspective and tilted planes. His vocabulary of shapes continued to be
derived from the external world, but in the process of manipulating images
for the sake of formal relationships, he transformed them. Although he sub-
jected the human form to the same flattening as landscape motifs, his figure

distortions remained more restrained because of the obligation to maintain

recognizable associations with human anatomy. Nonetheless, his motivation,

even when dealing with the figure, remained the generation of formally en

108
86.
Self Portrait. 1949
Oil on canvas, 12x9 inches
(30.5 x 22.9 cmj. Collection of
Louis and Annette Kaufman

gaging shapes —a fact which confounded his occasional detractors who saw
his figure distortions as failures of draftsmanship.
Avery's abstract treatment of landscape motifs began with Ins genre
paintings of the earl) thirties. In Sun Worshippers (10), for example, the
landscape functioned as a ground which simplified figures divided into ab
stract shapes. In his subsequent Vermont and Gaspe landscapes ol the late
thirties and early forties, Avery concentrated less on abstract relationships
than on naturalistic space and chromatic experimentation; not until N-H did

he refocus on the formal possibilities of flattened shapes. \t lust he followed

his earlier procedure of depicting figures in landscapes, but In l
c
H-4 he had
removed the figure. Without the limitations imposed In human anatomy,
Avery could more freely explore formal possibilities. \s a result, his land

scapes verge more closel) on abstraction than do his figurative pictures.

The landscapes depicted in \very's work ol the forties derived from
summer travels, which became more varied as the \\ei\s' income in

creased, due parti) to more frequent painting sales and parti) to Sally's illus

tration job for the New )ork Times* However, the outbreak ol wai and
the subsequent rationing of gasoline curtailed then travel from 1942 through
l
c
>-b. Consequently, figure paintings dominated Wery's output during these
years. But In the end of the decade Avery's desire foi new landscapes had
been fulfilled In trips to Mexico, California, the Canadian Northwest, and

109
87.

White Cull, 1958

Oil on canvas, 40 x 50 inches (101.6 x 127 cm). Rutland Gallery, London

110
Moon Path, 1958
Oil on canvas, 50 x 42 inches (127 x 106.7 cm). Collection of \lt and Mrs Gifford Phillips

III
Maine, all of which became source material for his paintings of the forties.
Rocks by Ebbing Sea. 944
1

The family's three-month trip to Mexico in 1946 generated a distinct body Watercolor and gouache on paper.
of work which relied on the dense planes of single color first introduced in 22 x 30 inches (55.9 x 76.2 cm).
Collection of Mr. and Mrs. Donald
1944. Deriving its imagery from the country's ceramic figures of Christ, Cru- Morris
cifixion (49) resonates with the bright pastel pinks, lavenders, and oranges
that colored the Mexican scene. In its atypical coloration it reflected Avery's

commitment to capturing the specific moods of particular locales. In subse-

quent works Oregon Const (47), for example — Averv achieved greater
compositional sophistication with his interlocked landscape elements while
simultaneously extending the range of his color harmonies through more
subtle modulations of richly valued hues.

In January 194 c^, at age sixty -three, Avery suffered a major heart at-

tack. For those who believed him to be only fifty-five, the attack seemed
premature; but given his real age, the coronary and his subsequent ill health

112
are somewhat more comprehensible. \\ei\ was released from the hospital
after six weeks in intensive care, but doctors told Sail) privatel) thai his

chances ol surviving beyond the next three years wen- remote. I naware ol

the doctors' prediction, he lived foi anothei sixteen years, but he nevei lulK
recovered and his health remained fragile foi the remaindei ol hi life. \l

though Sally became increasingly protective and saw to it thai he limited his

activities, he suffered throughoul the decade from attacks ol angina pet to

ris
— painful chest constrictions thai could be relieved onl) b\ dail) doses of

nitroglycerin. He was unable to take even shorl walks without having to stop
and wait for the recurrent spasms to pass. lbs health deteriorated furthei as

hardening of the arteries set in, aggravating his head condition and increas
ing his discomfort.

Avery's confrontation as a young man with the premature deaths of

his father and two brothers had already given him a deep seated ^ense ol the
ephemeral character of life. I lis New England reserve apparentl) had sup
pressed outward manifestations ol tension, but his heart .itt.uk suggests the

presence of a deeper anxiety. Underlying Avery's gentle and seeming!) plat

id demeanor was a fierce intensity, evident earl) on in the obsessive bi< y< le

racing he did as a young man and in his lifelong habit of driving cars at

87
excessively high speeds. In art, it manifested itsell in the heaw workload
and the ambitious goals he imposed on himself. Despite the surface calm ol

his pictorial depictions, Avery was impelled b\ an intense drive to leave

something of lasting significance in the world. Nol surprisingly, he became
depressed after his heart attack; physical weakness and pain contributed to a

darkening in his palette, a change his daughter, March, attributed to an

overall shift in his mood.'" Although Aver) continued to paint idyllic land

scapes and peaceful figure compositions, his more muted color tonalities re
vealed a deepening of perception and feeling.
Too weak to travel, Aver) spent the summei oi 1949 in Millbrook,

New York, at the house of a friend who had gone to Europe. 1 nable to

sketch outside, he concentrated on still lifes. producing in 1949 an output

dominated bv arrangements ol the Victorian objects and curlicued furniture

in his friend's house (92). Avery's physician encouraged Sail) to take him to

a warm climate that winter; with the help ol then friend Martin Dibner,

Sally arranged an invitation from the Research \it Colony, a studio housing
complex for writers and painters in Maitland, I lorida, outside Orlando. I hat

Dec ember the) drove to the Colony, where the) remained until mid April.

\\er\ turned to making monotypes during Ins sta) in Florida be

cause the exertion required foi painting and foi other types ol printmaking
was too great. The simplicit) ol the monotype process ideall) suited the
69
physical limitations imposed on Ins work b\ Ins recuperation. It proved a

13
90.

Speedboat's Wake, 1959

Oil on canvas, 54 x 72 inches (137.2 182.9 cm). Collection of Sally M. Avery

114
91.

Sail fish in Fog. 1959

Oil on canvas, 50 x 50 inches (76.2 x 127 cm). Collection of Mrs. Warren Brandt

115
 92.
Rose and Blue Teapot. 1949
Oil on board, 14 x 18 inches
(35.6 x 45.7 cm). Collection of
Mr. and Mrs. Ceorge Berman

fortuitous interlude, for Avery responded immediately to the medium and

over the next two years produced an impressive body of nearly 200 prints.
But even more significant was the compositional and technical impact on his

subsequent paintings of the inherent requirements of the medium itself. Be-

cause monotypes require rapid execution, they encouraged a relatively sim-

plified structure devoid of extraneous detail, a quality Averv retained when

he resumed painting, the following spring. In addition, the process used in

making monotypes — sponging wet, heavily diluted oil paint onto plate
glass — was one Avery subsequently adapted to his paintings. His oils became
not only markedly thinner and more fluid, but by the late fifties he was using
a sponge technique to apply paint.

After their return from Florida, the Averys remained in New York
only a few months before setting out for the summer art colony of Wood-
stock, New York. Avery's stamina gradually returned and the paintings he

executed during the summer of 1950 and the following winter at the Re-
search Art Colony showed a renewed vigor and strength of purpose. The
experience of his heart attack had convinced him how relatively insignificant

were the specific details that distinguish one object from another, and how

16
93.
Nursing Mother. 1933
Oil on canvas, 3ft x 28 inches
(91.4 x 71.1 cm). Collection ol

Sail) M. Averv

important were interconnections and universalities. 70 \s a result. Ins pictorial

focus shifted from the description of individual parts within a composition to

the harmony of the whole. Overall tonal harmonies replaced the contrasting
color areas typical of his work of the preceding decades. Moreover, although
Avery had begun to simplify shape and reduce detail as earl) as 1944, he

now saw such paring down as a means to express the more universal quali

ties of experience. B\ broadly generalizing contours, and minimizing shapes

and graphic details, he soughl to transc end the partk ulai fa< tual ac < idents ol

his subjects and capture their universality — whethei ol individual form 01 ol

essential relationships between objects. A comparison of the l

g ss and 1950

interpretations of the maternit) theme (93. 56) reveals thai Vvery's treal

ment became more generalized. The descriptive linearit) ol the earliei pi<

tnre suggests a particular characterization, where. is the distilled 1950 version

is almost iconic, evoking an archetypal mother and child relationship. Elimi

natmg the transitory allowed Aver) to retain the final, irreducible constitu

ents of Ins subjects.

The formal cconoim ol Avery's compositions ol the fifties combined

with a palette which became nchei and more refined as he replaced the
94.
Hills by the Sea, 1960
Oil on canvas, 30 x 40 inches (76.2 x 101.6 cm). Collection of Mr. and Mrs. Murray Bring

118
95.
Black Sea, 1959
Oil on canvas, 50 x 68 inches (127 x 172.7 cm). The Phillips Collection. Washington. D.C.

119
 96.
Artist at Work. 1950
Gouache on paper, 30 x 22 inches (76.2 x 55.9 cm). Collection of Mr. and Mrs. Benjamin Frankel

120
97.
Hammock Reader. 1951
Oil on canvas, 26 x 42 inches (66 x I Oh. 7 cm). The Universit) of Michigan Museum of Art, \nn
Arbor; Cift of Dr. and Mrs. Marvin E. Klein

121
98.
Bathers by the Sea. I960
Oil on canvas, 50 x 72 inches (127 x 182.9 cm). Collection of Wendell Cherry

122
99.

Tangerine Moon and Wine Dark Sea. 1959

Oil on canvas, 50 x 72 inches (127 x 182.9 cm). The Dr. Seymour Rettek Trust, Erk Warren
Coldman. Trustee; on extended loan to the National Callers of Art. Washington, D.C.

123
 100.
Rosey Nude Asleep, 1950
Monotype, 17 x 22 inches (43.2 x 55.9 cm).
Private collection

vibrant hues of earlier work with quieter, more muted color harmonies. Thin
washes of paint applied one over another created veiled, slightly mottled
fields of color. Each color was more subtly employed; color combinations

became more daring. In Hint of Autumn (65) glimpses of tan underpainting

show through from beneath overlayed tones of dark green, aqua, and orange,
creating unique color mixtures and emphasizing the overall sense of transpar-

ency and atmosphere.

As Averv's focus shifted to the interconnections between objects, the

boundaries separating forms took on greater significance. Contours, the junc-

ture between one shape and another, had always held special significance for

him. He felt one could identify good painting by the way the artist handled
edges. In his own work, boundaries were seldom hard or abrupt, but fuzzy
and diffuse, a quality he achieved through intricate color transitions at the
borders. In the twenties his habit was to underpaint with a dark color which
was left exposed around the edges of his shapes so that it functioned as a
dark contour line. In the late thirties and early forties, when he adopted a

brushier handling of paint, contours became less clearly delineated, with the

result that shapes tended to dissolve into one another. Beginning around
1944, when Avery again treated color as coextensive with shape, contour

124
101.

Meditation, 1950
Oil on cam .is. -H \ 34 m< hes (1 11.8 \ 86.4 cm) Private < olle< lion

125
102.
Offshore Island. 1958
Oil on canvas, 46 x 56 inches (1 16.8 x 142.2 cm) Collection of the Nebraska Art Association; Cift of
Mrs. Thomas C. Woods

126
103.

Plunging Cull, I960

Oil on canvas, 30 x 40 inches (76.2 x 101.6 cm). Collection ol Maurice and Margo Cohen

127
 104.
Black Coat. While Coat. 1951
Oil cm canvas, 34 x 38 inches (86.4 \ 96.5 cm). Private collection

128
delineations took the form ol slivers ol coloi sonic times similai in hue In

the adjacent colors, sometimes different which produced the scns.it m x i

ol

an inner color emanating from between abutting tonus. Thus in Sunset

the glimpses of green underpainting visible around the tan inlet generate an
aureole of green light surrounding the inlet. The effeel was to ( reate contig

uous forms that had no abrupt transitions but instead blended into one .111

other.

The hazy character ol Avery's softl) edged shapes has parallels in ilie

ideas of Eastern philosophy and among some theoreticians ol physics al

though Avery himsell was probabb unaware ol them. The concept tli.it

objects are not fixed and static, that tonus are not discrete, has become an
attractive and popular idea associated with both these fields ol thought. In
this view, Eastern philosoph) posits an essential unit) ol all things in whi< h
distinctions between objects are fundamental!) illusory, made merel) foi the

sake of convenience. A similar view has been encouraged b\ speculative

debates within science: that objects are composed of a mass ol particles all in

a state of constant interchange. We indeed perceive objects as stationary,

separate forms, but this may not be entirel) so. In the case ol a cup mi .1

table, for example, we perceive the cup as an object differentiated from both
the table beneath it and the air surrounding it. Yet perhaps no precise
boundary realh exists between the cup and the table —there ma) be no
specific end of the cup or beginning ol the table. This notion ol an indeter

minate realitv is one that is reflected in much ol twentieth centur) ait: lew

artists, however, dealt as specifically with the fugitive nature ol borders as

did Aven

Ironically, the aesthetic success ol Avery's paintings done alter his

heart attack came when the critical acclaim of the forties was replaced In

critical eclipse. His depression and physical discomfort throughout the fifties

were exacerbated by economic hardship. Alter his return to New N oik in

1950, following his second winter at the Research \rt Colony, Paul Rosen
berg informed him ol his decision to close Rosenberg & Co. and move to

Venezuela. Although he eventuall) decided against the move, Vvery's asso

ciation with the gallery became tenuous as Rosenberg's son. Alexandre, be-

gan to take primar) responsibilit) for running the gallery. Alexandre Rosen
berg apparentl) did not appreciate the growing simplicit) ol Wery's work,
which he felt was careless and superficial, lhs failure to encourage \\ci\ to

remain with the gallcrx alter the Venezuela plan was discarded reflected

129
105.

Sandbar and Sea, 1958

Oil on canvas, 50 x 66 inches (127 x 167.6 cm). Milton Avery Trust, New York

30
106.
Red Sea. I960
Oil on paper. 23 x 35 (58.4 x 88.9 cm). Collection of Sanford Schwartz

J
both his father's increasing remove from the gallery and his own ambiva- 107.
Excursion on the Thames, 1 95
71
lence about handling Avery's work. Although Avery's directness in color Oil on canvas, 40 x 50 inches
(101.6 x 127 cm). Milton and Sally
and reduction of form would increasingly be recognized bv others as the
Aven Arts Foundation, New 'lork
hallmarks of his genius, Rosenberg's attitude left him without a dealer. In

the meantime, Grace Borgenicht, an artist herself, had decided to open a

gallery to support the American artists she felt were being ignored by collec-

tors and museums. She had met Avery while working at the Laurel Gallery
in 1948 when it published his first drypoint portfolio, and she asked him to
join her gallery in 1951. The gallery, whose artists included Jimmy Ernst,

George Constant, and Jose de Rivera, established a solid reputation for it

self; but because it was new, it had neither the clientele nor the prestige of

132
 Rosenberg's. Furthermore, although supportive as ,i dealer, Borgenichl did

not subscribe to the European s\siem ol buying .) numbei <>t paintings i a< li

year from her gallerj artists, a polic) which lefl \ui\ dependent <>n individ

ual sales which were simpl) not forthcoming. One yeai In earned <>ul\

fifty dollars. SalK's salar) notwithstanding, money \\ .is tight and the Vverys
were attain toned to economize. On occasion the) were assisted b\ friends
108.
or Sally's brother and, whenevei possible. ex< hanged paintings foi such ser-
The Seine, 1953
Oil on canvas, 41 x 50 inches vices as dentistry and accounting. But having survived the Depression with
(104.1 x 127 cm). Whitney Museum
optimism, Milton and Sail) did not seem to mind theii lack ol capital; then
of American Art, New York;
Purchase 54.33 pleasures remained simple and Aver) continued to be indifferent to mat< rial

:»

I V
ft,
109.

Mountain Lake, 1960

Oil on canvas, 60 x 68 inches (152.4 x 172.7 cm). Milton and Sally Avery Arts Foundation, New York

134
110.

Spring Orchard. 1959

Oil on canvas, 50y.66 ' i inches (127 x 168.3 cm). National Museum of American Art,
Smithsonian Institution. Washington, D.C.; Gift of S. C. Johnson & Son, Inc.

135
111.

Breaking Sea. 1952

Oil on canvas, 30 x 40 inches (76.2 x 101. ft cm). The Baltimore Museum of Art;

Frederick W. Cone Fund

136
112.

The While Wave, 19S6

Oil on canvas, 30 x 42 inches (76.2 x 106.7 cm). Herberl 1. [ohnson Museum ol \rt, Cornel
University, Ithaca, New York; Gift <>l Helen Hooker Roelofs in memorj ol hei Father, 1 Ion
1 luntington Hooker

137
IB.
Lone Bather, 1960
Oil on canvas. 50 x 72 inches (127 x 182.9 cm). Milton Avery Trust, New York

138
114.

Dunes and Dune Crass, 1960

Oil on paper, 21 x 35 inches (58.4 x 88.9 cm). Marianne Friedland Gallery, 1 oronto

139
comforts. He transcended his physical and economic sufferings by focusing

exclusively on refining and perfecting his painting.

Avery's fall from critical favor in the fifties was brought about b\ the

acclaim accorded the Abstract Expressionists — many of whom were among

the younger artists who had grouped around him in the thirties and forties.

Of the two currents in Abstract Expressionism, Avery had been the forerun-

ner of chromatic abstraction. For Rothko, Newman, and Gottlieb, Avery's

paintings had provided a model for the expressive possibilities of color. But
by 1950 the painters loosely grouped under the rubric of Abstract Expres-
sionism overshadowed everyone else — including Avery. Fashionable criti-

cism championed abstraction, and Avery's commitment to motifs based on

observed reality pitted him, once again, against established taste — this time
because he was too "realistic." Critics perceived his work as less "advanced"
than that of the Abstract Expressionist painters, nearly all of whom bv the

fifties had banished any hint of representational imagery from their work.

Moreover, given an art community attuned to metaphvsical content in

painting, Avery's harmonious vision of everyday life appeared facile and na-
ive to some; because it celebrated pleasure, many critics did not take it

seriously. Although Avery was showing regularly, he was not considered the
equal of the celebrated masters of Abstract Expressionism.
As the fifties progressed, Abstract Expressionist painting was shown
and discussed more and more widely and featured in key art magazines.
Thomas Hess and Harold Rosenberg, two of the most influential critics of

the time, promoted the work of gestural or "action" painters such as Jackson
Pollock and Willem de Kooning; neither treated Avery as a creator of signif-

icant art. Clement Greenberg, the third critic close to the Abstract Expres-

sionists, based his criticism on the formal properties of art, holding that what
was important in painting were those characteristics that distinguished it

from other media. In the forties he had supported gestural abstraction, while
his attitude toward chromatic abstraction had been negative. In 1943 he had
criticized Avery, calling him "a 'light' modern who in oil can produce off-

spring of Marie Laurencin and Matisse that are empty and sweet, with nice

flat areas of color. . . . The painting is almost faultless within its limitations,
72
but has been seen before." By 1953, however, Greenberg had grown dis-

satisfied with gestural abstraction because of its illusionist — and therefore

retrograde — components. In a major article entitled " 'American-Type'

Painting," he asserted that the most radical development in painting in the

previous two decades was chromatic abstraction because it suppressed light/

73
dark contrasts. Although this had been true of Avery's work for decades,
his development as a colorist had progressed simultaneously with his concern

140
IIS.

Double Wave, 1955

1
Oil on canvas, S^ 1 \ SS inches (90.8 x 134.6 cm). Private collection; Courtesy ol \ndrew Crispo
Gallery, New York

HI
116.
Beach Blankets. 1960
Oil on canvas, 54 x 72 inches (B7.2 x 182.9 cm). Wichita Art Museum, Kansas; Gift of S. O. Beren
and Marian L. Beren

142
117.

Sand. Sea and Sky, 1 960

Oil on canvas, 56 x 70 inches (H2.2 x 177.9 cm). The Lariviere Collection, Montreal

143
for pictorial space. Moreover, his retention of recognizable imagery — albeit 118.

Upper Pasture, 1955

abstracted — caused Greenberg and his followers to overlook him as a major Oil on canvas, 40 x 52 inches

figure. Thus, while the more purely abstract painters — Gottlieb, Newman, (101.6 x 132.1 cm). Private collection

Rothko — utilized the kind of color Avery had developed years before, what
they achieved with color seemed more revolutionary. Their work fit into an

easily interpreted historical progression in which they moved beyond Euro-

pean modernism, whereas Avery's allegiance to representation could not be
readily separated from European precedents of the early years of the twenti-

eth century. Consequently, Avery's position suffered, not because of a lack

144
119.
\1.ik h in Brown, 1954
Oil on c anvas, -H \ 32 inc hes 1.8 x 81.3 (iin. Collection ol Mi and Mrs. Philip (' l

145
in quality or failure to be a seminal figure in the development of color, but
from critical circumstance. Even the earlier support of Avery bv Rothko,
Newman, and Gottlieb, for whom he had been a precursor, abated some-
what as these younger artists developed their own mature styles.
74

In addition to being denied critical approbation because of his adher-

ence to recognizable forms, Avery failed to become engaged in contempo-
rary theoretical concerns. He was not interested in discussing the intellectual

or spiritual aspects of art, and this estranged him from an art world attuned
to rhetoric and the redefinition of painting. The formal implications of art

outlined by Greenberg were not important for Avery; he had incorporated

them into his painting twenty years earlier — but not because he was interest-
ed in extending the frontiers of art. Bv the 1950s he was an older man whose
motives for making paintings did not include impressing the art world or
changing the course of painting history through theoretical advances. Rath
er, Averv dedicated himself to perfecting his color harmonies and making
more beautiful paintings. Although the fortunes and accolades bestowed on
the younger artists rapidly obscured Avery's critical recognition, his steadfast
dedication to his own goals as a painter never faltered. Despite the obvious

advantages in adopting pure abstraction, Avery's refusal to compromise his

vision attested to his unwavering belief in his own aesthetic and in himself as

an artist.

The Averys continued to spend their summers outside New York,

but in locales not far from the city. In the summer of 1952, however, they

journeyed for the first time to Europe. Their three-week trip consisted of a
week's stay each in London, Paris, and the French Riviera. Given Avery's
earlier interest in seeing the work of other artists, one would have expected
him to spend most of his time in museums. But March Avery Cavanaugh
remembers her father feeling too weak to both visit museums and sketch
outdoors; given the choice, he decided that museum visits were more ex-
75
hausting and less productive than sketching. The drawings he produced
proved a fruitful source of imagery which he translated into paintings such as
Excursion on the Thames (107) and The Seine (108).

The following summers were spent closer to home. In 1953, 1954, and
1956, both Sally and Milton were offered fellowships to the MacDowell
Colony in Peterborough, New Hampshire. Established in 1907 as a retreat
for writers, composers, and visual artists, the Colony provided studio and
living facilities and communal meals. Marcel Duchamp was a Colony guest

146
120.

Dunes and Sea 1. 1958

Oil on canvas, 54 x 72 inches (137.2 x 182.9 cm). Milton Avery Trust, New York

1-4"
their first summer there and Avery, who was an avid pool player, taught
Duchamp the t;ame. Duchamp was so delighted with his new skill that he
joked about printing calling cards that would read: "Marcel Duchamp—pu-
76
pil of Milton Avery." In the summer of 1955, the Avervs went to Yaddo, a

retreat near Saratoga Springs, New York, similar to the MacDowell Colony.
In the landscape and figure compositions Averv produced in these years
he continued to distill his motifs and enrich his color harmonies. As he grew
more secure in his vision, he further eliminated what seemed to him extrane-
ous. "I always take something out of my pictures," he said. "I strip the
design to essentials: the facts do not interest me as much as the essence of
77
nature." Avery's ongoing reduction of form was matched bv an instinct for
increasingly lyrical color. Throughout the decade, surprising and unorthodox
juxtapositions of color continued to be his primary expressive focus: as he

perfected the technique of layering coats of thin paint onto the canvas, his
color effects became ever more luminous. Sea and Sand Dunes (81) exhibits

the radiance and the refinement of chromatic harmonies that mark Avery's
work of the fifties, as well as the overall rhythmic undulations set up bv his

occasional use of dashes, dots, scrawls, and crosshatching, which he had

retained in his work from the late forties.

The summer of 1 ^57 marked a major shift in Avery's approach to

painting. He and Sally summered that year in Provincetown, Massachusetts,

an artists' summer colony on Cape Cod. While there, he enlarged the scale

of his work, a development of decisive importance. Expanding from paint-

ings which were at most 40 by 50 inches to paintings that measured 60 by 70

inches created more potential for the impact of color. Although Sally main-
tained that Milton began using larger formats because it was relatively easy

to order larger stretchers from the nearby frame shop in Provincetown, the
large scale adopted by the Abstract Expressionists must have been a factor

in Avery's decision. To create an image so large that it would take up the

viewer's field of vision — and hence occupy the entire consciousness — had
become an effective device of Abstract Expressionism, and Avery could not
have been immune to this influence.

Along with this expansion of scale came a further reduction of com-

positional elements and a heightened degree of abstraction. While Avery
was doubtless encouraged to move further toward abstraction by the exam-
ple of Rothko, Gottlieb, and Newman, his progression was not sudden; prec-
edents for these increasingly abstract works exist in his own early paintings—

148
121.
Conversation, 1956
Oil on canvas, 4<> \ 56 mc hes (101.6 x 142.2 cm). Museo de \rte de Ponce, Puerto Rico; rhe Luis \.

Ferre Foundation. Inc.; Donated bv the Chase Manhattan Bank

l-W
Two Figures b\ the Sea, 1963
Oil on canvas, 50 x 60 inches (127 x 152.4 cm). Private collection

150
123.
Dark Inlet, 1963
Oil on canvas, SO x 60 inches 127 x 152.4 cm). Collection ol Leslie Waddington

151
 *

124.

Sand Dunes and Yellow Skv. 1959

Oil on canvas. 66 x 50 inches (167.6 x 127 cm). Milton Avery Trust. New York

152
those same paintings whi< li had initially inspired the youngei artists. V eai

ly as 1933, in works such as Sitters by theSea(\8), Vvery had minimized the

number ol pictorial elements and graphi< details to such an extent thai

shapes began to tunc lion both .is referential images and as purely abstract

tonus. Tins development bee ame in< reasingl) evident in landscape paintings

of the forties and fifties, as Avery exploited the interplay between abstract
and representational tonus to such an extent that images could be interpret
ed either as figure or ground. By the late fifties this te< hnique had matured
sufficiently to accommodate the large scale ol the Provincetown paintings.
In Sand Dunes and Yellow Sk) (124), foi example, the black triangle defines
the horizon line the ocean visible through the depression in the sand
dunes- but it can also be read simply as an abstiac t bla< k shape interloc king

with an abstract geometry. Read as water, the triangle is perceived as being

behind the dunes; read as an abstract shape, it registers on the same plane .is

the adjacent color areas. Because the shapes nevei resolve into one reading
or another, they impart an element of pictorial wit to the paintings which
transcends the humorous caricatures ol earlier works. Wery's humor was
now formal rather than anecdotal; it concerned itselt not with narrative pos

sibilities, but with odd qualities ol shape and quirkiness ol outline. In ma

nipulating visual effects so that a shape represents two different things simul

taneously, Avery plaved with shape and color the wax a punster plays with
words. In the process he made a statement about the very nature ol paint

ing — the ability of a two dimensional surface to yield an illusion ol three

dimensions. Similarly, the subtly modulated surface created b\ Wery's rich

ly inflected color fields implied atmospheric space; at the same time, his

broad configurations ol seemingly uniform color suggested flat, cutout tonus.

The effect was a spatial reading, simultaneously flat and infinite.

On occasion, the perception ol a dimensional duplicity hinged on

language — on verbal knowledge ol the subject. In Beach Blankets 1
1 16) and
Boathousc by the Sea (126), Avery distilled forms to such a degree that the
painting is initially perceived as an abstract arrangement ol shapes, exclusive

of recognizable subject. Only the title identifies it with an objective, three

dimensional scene. Thus, in these works, the sense ol space is generated not
by visual cues, but b\ verbal definition; the titles have perceptual conse
quences. Bv identifying a subject, they arouse associations with familial im
ages, thus extending the viewer's perception ol the painting.

In late paintings such as these, \\ei\ pushed to the farthest limits ol

pure abstraction without abandoning the tiadilional convention ol working

from nature. Rothko's and Newman's art had confirmed that a painting's

153
125.

Maine Coast. 1956

Oil on canvas, 36 x 46 inches (91.4 x 1 16.8 cm). Collection of Maurice and Margo Cohen

154
 126.
Boathouse by the Sea, 1959
Oil on canvas, 72 x 60 inches (182.9 x 152.4 cm). Milton .ind Sally \\n\ \iu I oundation, New V>ik

155

I
 "

greatness could reside in its purely formal properties. Although deeply im-

pressed by the achievements of these artists, Aver) was not willing to aban
don his commitment to representational references by embracing an art-for-

art's-sake ideology. Deriving his images from reality provided him with an
inexhaustible supply of motifs, continually replenished by the visible world.

As a result his formal vocabulary, unlike that of some non objective painters,

was never reduced to a single format, but remained richly varied. "1 work on
two levels," he had written in 1951. "I try to construct a picture in which
shapes, spaces, colors, form a set of unique relationships, independent of any

subject matter. At the same time I try to capture and translate the excite-
7K
ment and emotion aroused in me by the impact with the original idea."
His work thus remained poised between objective depictions and non-objec-
tive aesthetic issues; by anchoring his work in subject matter while simulta-

neously giving fundamental importance to formal characteristics, Avery rec-

onciled modernism with his own commitment to recognizable imagery.

Avery's process of distilling imagery from external phenomena allied

him with the American modernist tradition of Georgia O'Keeffe, Arthur

Dove, and Marsden Hartley, whose achievements had been somewhat over-
shadowed by academics at the Art Students League during the formative
years of Avery's career. This tradition identified truth with the facts of expe-

rience and sought to extrapolate universal generalities from particular mani-

festations. The aim of artists embracing this philosophy was truth to objec-
tive reality — but truth in its totality, its inner logic, rather than in its visible

details. "Nothing is less real than realism," Georgia O'Keeffe wrote. "It is

only by selection, by elimination, by emphasis, that we get at the real mean-

7H
ing of things. These artists employed the most advanced formal conven-
tions of their era, but the real subjects of their work were the emotions

generated in them by external phenomena, filtered through their own inner

visions of the world.

While Avery's landscapes undeniably retained the reverential atti-

tude toward nature which underlay the work of these artists, his involve-

ment with figures and still lifes was more detached than theirs. He was less

interested in conveying emotions related to particular circumstances or peo-

ple or in revealing insights about existing relationships in nature than in

creating harmonious compositions. Like the American Precisionists, whose

aim was to extract from their urban and industrial subjects a lucid, geometric

art, Avery was attracted to what he was painting not for its specific content,

but for its potential formal, coloristic, and spatial relationships. He painted
whatever was there — the place or person did not matter to him. According
to Sally, he was no more attached to her or to March as subject matter than

156
127.
Inta luck: I960
Oil on canvas, 68 x 58 inches (172.7 x 147.3 cm). Philadelphia Museum ol M; Given b) the
Woodward Foundation, Centennial C'.itis
!>
to anyone else who might have been around. In Interlude (127), for example,
he focused not on the emotional interaction of figures but on formal relation-
ships; the psychology of the figures — and his emotional reaction to them—
was ultimately subservient to the total design. Thus Avery's paintings, while

serving as an inventory of where he was and who and what he saw, do not
reveal the emotional nuances of his life.

What they reveal is a mood. When one thinks of an Avery painting

one thinks of a world of low-key emotions from which anger and anxiety are
absent. His paintings are imbued with a sense of contentment and harmony:
nature is not threatening, but is at peace with man; domestic scenes are
calm; figures are in repose. Order prevails, as do serenity and restraint, all of

which reflected Avery's own personality and the kind of life Sally had made
possible. He may have worked with driving intensity to reach self-imposed
goals, but he was not a hostile or angry man. His habit of diffusing occasion-
al resentments through humor, plus his New England reserve and the har-

mony of a family situation that was almost without parallel among artists of

his generation, helped him to accept difficult conditions and to paint without

anger. Since this tranquility is the underlying quality in Avery's work, it

affects the appreciation of his paintings. For those who equate great art only

with angst, Avery's achievements remain incomprehensible. As Frederick

c
Wight noted in l )52: "Response to Avery is on a curious basis. It seems to

hinge on some attitude for which the paintings are touch-stones — whether
one accepts or is humiliated by peace of mind."*"
As the scale of his paintings increased, the devices for conveying
harmony and calm which Avery had introduced after his heart attack be-

came even more accentuated. He eliminated disturbing color contrasts by

building chromatic harmonies around closely allied hues, equalizing values

so that even complementaries had similar intensity. The homogeneous color

areas of previous work now yielded to mottled effects produced either by

applying uneven densities of the same color or by brushing strokes of dark
color over lighter grounds. The result — shimmering rhythms within color
zones. Still, each painting possessed an overall balance in which no shape or
color dominated. Favoring pastel colors, Avery tinted his paint with white

pigment which imparted a coolness of tone even when colors were highly
saturated. This ability to create pastel color harmonies which were volup-

tuous and opulent was one of the distinguishing features of Avery's late
paintings.

Central to Avery's color expression had been his ability to consistent-

ly translate the fluid quality of watercolor into oil. From the time he aban-

doned the palette-knife technique of Lawson, he paid great attention to sur-

158
128.

Poetry Reading, 1957

Oil on canvas, 43% x 56 inches 1 .1 \ 142.2 cm). Munson Williams Proctoi Institute,
Utica, New York

159
 129.

Madonna of the Rocks. 1957

Oil on canvas, SO x 40 inches (127 x 101.6 cm). Collection of Dr. and Mrs. Martin Weissman

160
face, minimizing the materiality ol painl so thai tactile associations did nol

intrude upon the experience ol color. Now to ensure the ul i ab orption

ol paint into the canvas, \veiv applied Ins pigments with greal frugality,

thinning them onK with turpentine in ordei to maintain the surface dryness

he had favored throughout Ins career. He used so little pigment on these

canvases thai he joked aboul being embarrassed when the painl salesman
came to his studio because he rarel) needed to bu) paint.'
1

I lis technique ol

using rags to modulate multiple layers ol coloi within each shape created a
sense ol luminosit) h\ allowing light to reflect from the base color up
through darker hues. This extraordinar) degree ol radiance corresponded to
the brilliant light in Provincetown, where \\ei\ spent the summers ol l°o~

through I960. Stuart Davis said about Provincetown: "On clear days the an

and water had a brilliance ol light greater than I had evei seen and while
this tended to destro) local coloi it stimulated the desire to invent high
i2
intensity color-intervals." Aveiv captured this chromatic brilliance in laic

works such as Tangerine Moon and W ine link Sea (99).

This master) ol coloristic and formal nuance, which reached its pin

nacle in Avery's Provincetown paintings, coincided with the growing univei

sality of his imagery, hints ol which had appealed alter his heart .it lack in

1949. He abandoned specific references and treated his images as visual ex

pressions of generalized experiences; figures and landscapes no longei re

ferred to specific individuals or locales, but to universal situations, lie be

came less concerned with moinentarv sensations than with the permanence
ol what he observed. In earliei paintings \veiv captured fleeting moments
that occurred at a particular time, in a particulai place: the individuals in

Concv Island of l
(
>ss (In) could never reappear in exactl) that same configu
ration of clothes, hair style, or position. Similarly, Aveiv's Gaspe landscapes.
while simplified, were nevertheless ol Gaspe. In contrast, HLick Sea (95),

while inspired by the Cape Cod landscape, is not ol the Cape. It is so genei

al, so completel) non-specific that it represents the quintessential breaking

wave. Madonna of the Rocks (129) avoids an) visible reference to Christ
and Mary; nor is it identifiable with anv specific mother and child. Instead, it

becomes a paradigm ol an eternally recurring relationship.

Avery's genius lav in his abilitv to poitrav moods that stimulate each
viewer's consciousness on an almost archetypal level. \s the depiction ol

iconic relationships came to dominate his work, his paintings acquired greal
er poignancy. In relinquishing the transitor) and the specific, \vei\ be
stowed on his subjects a suspended calm. Depictions ol group activities

familv and friends playing games, making music, relaxing together at the

beach were replaced bv a quality ol separateness. I igure portrayals were

161
 1 30.

Outdoor Sketchcr, 1957

Oil on canvas, 42 x 32 inches (106.7 x 81.3 cm). Collection ol Blake Kdwards

162
 »*%*TSf'^ -•

• k< -)'
i

131.

Onrushing Wave, 1958

Oil on canvas, 54 x 72 inches (137.2 x 182.9 cm). Milton Vverj frust, New V>ik

163

L
now generally of single figures or of couples isolated in otherwise deserted

landscapes (98, 133). This mood of emptiness and quietude extended to his

landscapes and seascapes as well; even in these, pictorial incidents seldom

intrude upon the limitless expanse of empty space.

As Avery's health deteriorated he introduced a new set of themes

into his work which perhaps reflected a heightened awareness of death and
the passage of time. One of these new themes was the motif of a lone bird,
83
an image often associated with the soul after death. His 1959 depiction of a
single bird flying over the ocean (134) suggested freedom from physical re-

straint; bv 1960 the motif had become one of a bird descending irrevocably
to earth (103). Avery's fascination with the borders which separate one ob-
ject from another was also extended in these works to suggest the transition

between dark and light: Tangerine Moon and Wine Dark Sea (99) and Sun-
set Sails (138) illustrate a frequent theme from this period — the changing of
day into night.
Despite their grandeur, Avery's late paintings evoke the tenderness
that people near death often feel for the familiar and ordinary. From the

beginning, his method of working — from sketches to watercolors to finished

132.

Bay and Dunes, 1°58

Oil on canvas. 50 x 60 inches
(127 x 152.4 cm). Private collection

164
[33.
Yelhv, Robe I%0
Oil on canvas, 60 x 50 inches 1 1 >2 A \ 127 cm). Donald Morris Gallery, Birmingham, \l

165
134.
Flight, 1959
Oil on canvas, 40 x 50 inches (101.6 x 127 cm). Private collection

166
 hJmA A
4^jfi lit,. j|

SSraSH^flnnfl •
IT

...-

jfe
^4^

135.

Dark Forest, 1958

Oil on canvas, 40 x 5 s mchcs (101.6 x 134.6 cm). Collection ol Mr. and Mis. I >onald Morns

167
 136.
Red Nude. 1954
Oil on canvas, 48 x 30 inches (121.9 x 76.2 cm). Collection of F.dward Albee

168
137. painting — involved a kind of looking back, which forced him to draw upon
Brown Sea. 1958
Oil on canvas, 50 x 72 inches
and reassess recollections of experiences or places. Consequently, his poi
(127 x 182.9 cm). Milton Aver) Itust. travals are imbued with the kind of intensity William Carlos \\ illiams allud
New York
ed to when he wrote that "there is no whiteness so white as the memor) ol
84
white." Toward the end of Avery's life a qualit) oi detachmenl and nostal

gia overlaid his visual memories, as it he were looking back not at specific

events, places, or people, but at lite itself. In part, \vciv achieved this

through radically united color and pictorial distancing. The device ol aerial

perspective in Brown Sea (137) and. elsewhere, the frequenl placemenl ol

images in the middle ground rather than the foreground oi the canvas served

to separate the image from Avery's, as well as from the spectator's, space
creating the sensation that the scene was being viewed from afar. Bv com

169
bining these techniques with the veiled, slightly mottled softness of his col
ors, Aver) placed his subjects at an enigmatic distance.

c
Avery's completion of his first series of these large canvases in l )57

marked a turning point in his critical fortunes. Clement Greenberg saw the
work and completely repudiated his earlier disdain. He wrote an article that

year in Arts in which he publicly acknowledged Avery's importance and

called for a full-scale retrospective "not for the sake of his reputation but for

the sake of the situation of art in New York. The latest generation of ab-
stract painters in New York has certain salutary lessons to learn from him
that they cannot learn from any other artist on the scene." 85 Greenberg's
article was the first on Avery's work to be printed in a national magazine
and, according to Sally, his support was an important factor in turning the
tide for Averv. Suddenly the hesitancy critics had shown toward his work in

the early fifties vanished. Over the next few years favorable articles on him
appeared in major publications, one of them Time magazine. In 1957, the
American Federation of Arts chose him as one of twelve artists across the
country to honor with retrospectives.
s,;
Avery's exhibition — his largest and
most important show to date — was scheduled for three years later at the
Whitney Museum of American Art. His star seemed to be rising; after forty

years of working independently, with little outside support, Avery's achieve-

ment was finally acknowledged. He returned to Provincetown in 1958 and
1959 full of vigor, and executed a series of canvases which rank among the
richest color compositions produced by an American — spare canvases im-
bued with an undisputed lyrical elegance and poetic grandeur. But just as he
seemed to reach his greatest level of self-expression, his physical condition,

deteriorating steadily throughout the fifties, became serious. Avery was so

weak following his 1959 summer in Provincetown that he could not climb
the stairs to his second-floor Greenwich Village walk-up without enormous
difficulty. Realizing how grave his condition was, Sally began searching for
more comfortable accommodations and found an apartment on Central Park
West. But that winter Avery's condition worsened. As the time for his retro-

spective at the Whitney Museum drew closer, his doctor counseled Sallv
that Averv was too frail to attend the opening ceremonies and advised their

going south to avoid the winter chill; two weeks before the preview, the
Averys left for Key West, Florida.

The 1960 retrospective was well received. Yet critics seemed unwill-

ing to view Avery's earlier achievement as commensurate with the daring

170
138. <*
Sunset Sails, I960
Watercoloi on paper, ^4 \ 22 inches
(86.4 \ 55.9 dm ( !olle< tion ol Ian ^>\\i>y
f\^(yil»»
Scotl O.C.

171
r

139.

Sea, Moon and Stars, 1 960

Oil on canvas, 50 x 66 inches (127 x 167.6 cm). Donald Morris Gallery, Birmingham, Michigan

172
140.
Robed Nude, 1960
Oil on canvas, 68 x 58 inches (172.7 x 1473 cm). Collection of Dr. and Mrs. Sidnc\ Merians

173
 *\-
141.
Mountain and Meadow, 1960
Oil on canvas, 60 x 68 inches (152.4 x 172.7 cm). Collection of Sally M. Avery

174
142.
White Umbrella, 1961
Oil on canvas, 40 x 50 inches (101.6 x 127 cm). Collection of Mr. and Mrs. Martin Lederman

175
 143.

Self Portrait— Feeling Old. 1961

Oil on canvas board, 12x9 inches
(30.5 x 22.9 cm). Collection of
Albert Padover

144.

Dari Trees, Pale Mountain, 1962

Oil on paper, 23 x 35 inches
(58.4 x 88.9 cm). Collection of
Sally M. Avery

145.

Dark Mountain, Light Mountain, 1962

Oil on paper, 23 x 35 inches
(58.4 x 88.9 cm). Richard Gray
Gallery, Chicago

and scope of his late work, and the exhibition did not generate the outpour-
ing of wildly enthusiastic reviews such as might have been expected after

the recent praise lavished on his Provincetown paintings. He was still not
considered to be on a par with the leading Abstract Expressionists, but rath-
er with the other artists — such as Lee Gatch, Andrew Dasburg, Karl Schrag,
and Hugo Robus — who had received American Federation of Arts retro-

spectives, a situation exacerbated bv the fact that Avery's retrospective, at

the Whitney Museum, was presented jointly with Catch's. The art market

176
177
reflected this disparity in prestige: Avery's large Provincetown paintings 146.
Two Poets. 1963
were valued at only one third of similarly sealed Rothkos. Still, Avery had a Oil on canvas, 50 x 60 inches

substantial number of important and influential supporters, among them Hil- (127 x 152.4 cm). Milton Aver) Trust.
New York
ton Kramer, who wrote the first book on Avery in 1962.

The summer following the AFA retrospective, the Averys were back
in Provincetown. Milton remained optimistic; despite failing health he pro-
duced another major group of large paintings. But that October, while still

on the Cape, Avery suffered his second heart attack. Although he lived for

four more \ears, he remained frail, rarely going outside except for occasional

walks in Central Park, and rarely moving far from the oxygen tanks that he

178
 needed to get through the night. Sail) encouraged him to painl a much as

possible, but bis weakened condition made il difficult to control the brush
and he became depressed .it Ins inability to translate into oil whal he be
lieved would have been the most profound images he had yel i reated. I he
feeling ol crazed helplessness reflected m Sell Portrait Feeling Old (143),

executed a few years before his death, was typical ol Ins last group ol

works."

Sally arranged for them to spend the summers ol l

(
">_ and 1963 in

Lake Hill, New York, several miles north ol Woodstock. I nable in paint on

147.

White Nude #2, 1963

Oil on canvas. 50 \ 41 1 m< he
(127 x 101.6 i in Collection of
Allen M. furnei

179
a large scale yet desperately anxious to keep working, Aver) turned to oils

on paper (144, 145). Having reduced his compositions in previous decades to

simple shapes, he now purified them even of color, limiting himself to grada-

tions of black. His decision to work on paper was necessitated bv his restrict-

ed physical capabilities, but his choice of palette — given his prior commit
ment to high-intensity color — must be attributed at least in part to the
depression caused bv his helplessness and his awareness of imminent death.
These black-and-white oils can be seen as symptomatic not onlv of his phvsi

cal condition but of his state of mind as well; they convey a mood more
somber and foreboding than any Avery had portrayed before.
During the winter of 1962-63, Avery managed to execute a few
paintings on canvas — interior figures which he treated as large, angular
shapes. No longer physically able to blend multiple layers of color into uni-

form fields, Avery allowed thinly applied single hues to delineate forms. The
result — as in Two ffoers(146) and White Nude #2(147) — was a much more
transparent, brushier effect than in previous work.

Finally, in February 1964 Avery became so sick that Sally was forced
to take him to Montefiore Hospital, where he remained for ten months,
virtually unconscious, in intensive care. On January 3, 1965, he died in his

sleep. His death came at a time when a rising generation of American color
painters was looking to his achievement for inspiration for their own yvork.

Yet Avery's art continues to elude categorization. He remains, even today,

an independent figure whose works emanate a contemplative serenity that

feyv artists achieve. With highly restrained formal means, he created ineffa-

ble color harmonies and relationships between forms which remain compel
ling and fresh with each successive viewing.

180
 Commemorative Essay
In Mark Rothko

I would like to say a few words about the greatness ol Milton Wery.
This conviction of greatness, the feeling thai one was in the present e
of great events, was immediate on encountering his work. It was true foi

manv of us who were younger, questioning, and looking for an anchor. I his

conviction has never faltered. It has persisted, and has been reinforced
through the passing decades and the passing fashions.
I cannot tell you what it meant for us during those earl) years to
be made welcome in those memorable studios on Broadway, 72nd Street,

and Columbus Avenue. We were, there, both the subjects ol his paint

ings and his idolatrous audience. The walls were always covered with an
endless and changing arrav of poetrv and light.

The instruction, the example, the nearness in the flesh of this marvel
ous man — all this was a significant fact — one which I shall never forget.
Avery is first a great poet. His is the poetr) of sheer loveliness, ol
sheer beautv. Thanks to him this kind of poetr) has been able to survive in

our time.
This — alone — took great courage in a generation which felt that it

could be heard only through clamor, force and a show of power. But \verj
had that inner power in which gentleness and silence proved more audible
and poignant.
From the beginning there was nothing tentative about Avery. He
alwavs had that naturalness, that exactness and that inevitable completeness
which can be achieved only b\ those gifted with magical means. In those
born to sing.

There have been several others in our generation who have c ekhr.it

ed the world around them, but none with that inevitability where the poetr)
penetrated every pore of the canvas to the very last touch ol the brush Foi

Averv was a great poet inventor who had invented sonorities never seen nor
heard before. From these we have learned much and will learn more for a

long time to come.

What was Averv's repertoire? His living room. Central Park, his wife

Sallv, his daughter March, the beaches and mountains where the) sum
mered; cows, fish heads, the flight of birds; his friends and whatever world
strayed through his studio: a domestic, unherou cast. But from these there

have been fashioned great canvases, that far from the casual and transitor)
implications of the subjects, have always a gripping lyricism, and often
achieve the permanence and monumentalit) of Egypt.
I grieve for the loss of this great man. I rejoice tor what he has kit us.

Memorial address delivered .ii the New N ork Socich i"i I Ihical Culture, T West Sixl> fourth Street
on (anuan 7, 1965

181
 NOTES

Citations of conversations with Sally Averv were extrapolat- census report of 1900lists his birth date as 1885. This date

ed from the author's countless discussions with her in New issupported circumstantially by the fact that Avery began
York City over a three-vear period, from 1979 through working full time in 1901 which would make him eight
1981. These were not formal interviews but rather an ongo- years old had he been born in 1893, but a more plausible
ing dialogue in which ideas and issues were rediscussed and sixteen if documented birth date of 1885 is accepted.
the
clarified. Descriptions of the Averys' relationship, and of When Milton and Sally were married he listed his age as
Milton Avery's attitudes and his responses to personal and thirty-six (City of New York, Office of the City Clerk, Mar-
professional situations, if otherwise unreferenced, derive riage Register #HD5895-26 lm). This would give Avery a
from these discussions. birth date of 1890. It is not known when, or for what reason,
he took off an additional three years to arrive at the 1893
1. Quoted Adelyn D. Breeskin, Milton Avery,
in birth date that always appears in the critical literature. The
exhibition catalogue (Washington, D.C.: National Collec- mention of the 1893 birth date is in Hugo Weisgall,
earliest

tion of Fine Arts, Smithsonian Institution, 1969), unpaginat- Advancing American Art (Prague: U.S. Information Service,
ed. 1947), unpaginated.
2. Avery's father has been previously identified as 4. Information about the Averv family was ob-
Russell Eugene Averv. However, he is listed as Russell N. tained chiefly from the Population Schedules for Albion,
in his obituaries (Hartford Daily Times, January 18, 1905; New York, and from Avery Notes and Queries: A Quarterlv
Pulaski[N.Y.] Democrat, January 25, 1905, p. 1); in the Feb Magazine Devoted to the Historv of the Croton Averys,
ruary 18, 1892, Election District Record for the Town of nos. 1-18 (February 1898-May 1902). Early nineteenth cen-
Albion, p. 5; in his death certificate (Windsor Town Hall tury members Avery family were
of the listed in these docu-
records, catalogued: 1905, Avery); and in the death certifi- ments as doctors, judges, and lawyers.
cates of his wife and children (State of Connecticut, Bureau 5. See Chronology and notes 2 and 3, above, for
of Vital Statistics: registration #279, Fabian E. Avery [son] specific birth and death dates of Averv family members.
December 10, 1913; and registration #556, Esther J. Aver) 6. P'ires had destroyed the tanneries in Sand Bank a
December 30, 1926). At no time is he identified as
[wife] number of times prior to 1900. Rebuilding of the tanneries
Russell Eugene. The confusion might have arisen because was becoming increasingly impractical by the turn of the
his grandson — Milton's nephew — was in fact named Russell century as local supplies of tanning bark became scarce.
Eugene Avery. This, as well as the introduction of new chemical agents,
3. The age problem in Milton Avery literature is contributed to the closing of the factories. Information from
complex. Avery's birth date has always been given as 1893. Sandy Creek (N.Y.) News, January 22, 1975, p. 4; further
Although his birth certificate was destroyed in the 1918 fire information on tanning New
York State from conversa-
in

which consumed all the official documents of Sand Bank, tions with Richard Wiles, Professor of Economics, Bard
New York, according to all extant documents he was born College, Annandale-on-Hudson, New York, July 1981.
in 1885: February 18, 1892, Election District Records for 7. Previous Avery texts have given 1905 (the vear

the Town of Albion, p. 5, lists Averv as being seven years of Russell Avery's death) as the year the Averv family-
old at that time, one year before his later biographers credit moved to Connecticut. However, according to Russell
him with being born; the Windsor, Connecticut, federal Avery's obituaries (see note 2, above), the family had moved

182
there in 1898, seven years before. This is confirmed In the were living on the block, .mil ill. it the b a den ol

1900 federal census (sec note \ above), which records the crime. B\ 1920 .1 numbei ol cai d< id established
Avery famil) as living in Wilson Station, Connecticut, .1 businesses there and the block was known as Automobile
small village in the township Windsor. ol Row. Information from Lei Paquetti On!) Vfort s" I Ik

8. Pulaski (N.Y.) Democrat, |anuarj 25, 1905, p. I; History ol East Hartford, I i

(Easl Hartford < k>nn.:
Hartford Daily limes, [anuarj 18, 1905. Raymond I ibrary Company, 19 6 pp. 213 14.
9. The records indicating the exact date ol George 20. Dan Raymond (Administrator, Personnel VI
Avery's death were burned, along with all othei official doc ministration Department, Mm rravelei In irance Compa-
uments, in the Sand Bank fire of 1918. He was listed in the nies, I lartford, ( lonn.), letter to the author, JuK In, 1981
1892 election records but was not included in the 1900 led 21. \\ci\ won the Airs. Stanlej Edwards Pi

eral census (see note 3, above), indicating he died sometime best woik m the portrait class and th< Mrs. Arthur I'. I),i\

between those dates. Prize fin besl drawing in the hie class. Each prize was ten
10. Information on the occupations ol Avery's dollars. Albertus I .. [ones, Avery's formei instructoi al the
brother and brother in law was obtained from their respec- Connecticul League ol \rl Students, was the instructoi in
tive death certificates. For Fabian, sec note 2, above; lor drawing, painting, and (imposition and in plan .in painting c

George E. Sargent, May 31, 1913, State of Connecticut, Bu at the School ol the \it Societ) ol Hartford. 1 lis present
reau of Vital Statistics: registration #122. For specihcs ol the School could have been a far lor in encouraging \\er\
Milton Avery's employmenl historv between IW| and to enroll.

1924, see Chronology; information from the Hartford Cit) 22. This overview ol the S< hool ol the \it Si

Directories, courtesv ol the Connecticut Historical Society, ol Hartford was provided l>\ formei student Aaron Berl
Hartford, Elizabeth Abbe, Librarian. in an interview with the an hoi. 1 New York City, [une I

I I. See Chris Ritter, "A Milton Avery Profile," Art 23. Avery's attraction to Lawson's art wa:
Digest. 27 (December 1, 1952), p. II. firmed in an interview with Sail) M. \\cr\. \ discussion
12. For additional information on the League, see also appears in Maria Price, Milton \very, Earl) and Late,
"Amusing and Serious Fxperiences of Focal Art Students exhibition catalogue Annandalc on Hudson, N.Y.:
1 I ch th C.
league," Hartford Courant, November 28, 1920, p. X7; and Blum Art Institute, Milton and Sail) Aver) Center fin the
"Nomads of Palette and Brush," Hartford Courant Sunda) A.ts. Baid College, 1981), p. 7.

Magazine, January 29, 1922, p. 4. 24. "Al firsl I painted vci\ thickly, rubbing th<

13. James C. McManus, who succeeded Jones as di paint with m\ fingei alter it was set, until the colors were
rector of the League in 19|9, taught there during Jones' ten blended and took on a shun, seductive quality. People no
ure and could also have been Avery's teacher. ticed that enamel like surface mostly, and since thai wasn't
14. There are two different accounts of Avery's what I wanted to sa\ in m\ painting, I quit it" (quoted in

switch from the lettering class to the drawing class. In one- Ritter, " \ Milton Aver) Profile," p. 12).

version, which appears in most major texts, the lettering 25. Interview with Lotus Kaulman. Ins \n
class was full (see, for example, Frederick S. Wight, Milton Februar) 1981. Also see "Modern Ail \ iew I xplained In
Avery, exhibition catalogue [Baltimore: The Baltimore \lu Artists," Hartford Courant, |anuar) 3, 1931, p. 32. in which
seum of Art. 1952], p. 4; and Breeskin, Milton Avcrv, unpa \\crv defended modern art In saying thai the onl) diffei
ginated). In the second account, the lettering class was dis ence between it and arl ol othei periods la) in the use ol

continued after one month and Aver) switched to the coloi rather than outline to develop form.
drawing class while waiting for it to be resumed (see Ritter, 26. I he description ol then courtship is based on
"A Milton Averv Profile," p. 11). disc ussions with Sail) M. Avery.
15. Hartford Cit) Directories (see note 10. above). 27. On the question ol Avery's birth date, sec note
The nine women were: Mabel Aver.y and her
16. 3, above.
daughter; Minnie Sargent and her the daughters; and Fs 28. Wallace Putnam ',1 paintei friend from Mail
ther Avery. finch and Sally's sistei weie then witnesses. Interview with
17. Interview with Sail) M. Avery. She further re Wallace Putnam, New York City, Septembei 1981.
ported Avery's theory of inspiration: "II you go ahead and 29. W ight, Milton lun. p. 8.

start to work, inspiration will come." " Beginning in 1915, main important rench art I

is. Interview with Sail) M. Avery. Avery's jingle is ist s \ laic el I )uchamp, Francis Picabia, and |ac ques \ illon,
a version ol |ohn 9:4 "I must work the woiks ol him thai for example had become familial figures in the Lincoln
sent me. while it is day: the nighl cometh when no man cm Arcade. When the Averys arrived, Stuarl Davis had a stu

work." dio nexl door; see |ames |ohnson Sweeney, Stuart Davis,
19. The \\ei\s' house was located on the mam exhibition catalogue (New York: I Ik Museum ol Modern
mad leading into Hartford, a lew blocks from the centei ol \it. 1945), p. 13.
Fasi Hartford. The town lusior\ siaies thai in 1915 gypsies 31. Interview wilhSalK \l. Avery.

183
 32. \\er\ told Nathan Halper, owner oi the HCE Downe in a conversation with the author. New York City,
Callcrv in Provincetown, that he refrained from showing July 1981.
the portrait to Hartlev because he felt it revealed too accu- 47. Gottlieb's description of the interaction of these

rately the feminine side of Hartley's character. Interview artists in Gloucester is quoted in Miriam Roberts, Adolph
with Nathan Halper. New York City, April 1981. Cottlieb Paintings, 1921-1956, exhibition catalogue (Oma-
Two examples of Avery's humor: During a
33. ha, Nebr.: Joslvn Art Museum, 1980), p. 8: "While he was
medical checkup. Avery's doctor announced that he painting a lot of portraits of his wife, I painted my wife.
planned to take up painting when he retired. "When re- I We'd paint scenes of Gloucester Harbor. I got into the hab-
tire." Avery responded, "I'm going to take up medicine" it of working the way he did, but that was sort of natural for

(quoted in Bob Niss, "Pavson Gallery Exhibit of Avery me because had always worked from sketches. We'd go
1

Works Is a 'Coup.'" Portland (Maine) Evening Express, out and make sketches of Gloucester Harbor or people on
June 15, 1978. p. 40). Someone once asked Avery if there the beach up at Gloucester and then go home and paint
were a reason win his paintings' space was reminiscent of them."
Eastern art. "Yes, 1 used to paint in East Hartford" (quoted 48. Dudensing purchased fifty paintings in 1935 for
in Florence Berkman, "Ex Hartford Painter's Exhibit Em- 1,500 dollars; in 1939 he purchased twenty for 1,000 dollars.
phasizes Color, Simplicity," Hartford Times, Eebruarv 13, He arranged to give Avery ten percent of the purchase
1960. p. 3). price when paintings were sold, but since few had been sold
The Opportunity Gallery, run b\ Louise Cup-
34. by the time Avery left the gallery in 1943, he received little

ferd, was located in the Art Center, on Fifty-sixth Street. more than the initial purchase price. Shortly after Avery's
The gallery gave little-known artists a chance to show their departure from the gallery, Dudensing sold the thirty-five
work; the exhibition which included Avery was the second paintings that remained to Roy R. Neuberger for 5,000
for the gallery. dollars. Averv himself never benefited financially from
33. The two artists were introduced by the violinist these sales.
Louis Kaufman. Kaufman, who had known Rothko in Port 49. Henry McBride, "Attractions in the Galleries,"
land, Oregon, and his wife became strong supporters of New York Sun. March 16, 1935, p. 32.

Avery's work during these lean years. Interview with Louis 50. Quoted in Charles Rosen, Arnold Schoenberg
Kaufman, Los Angeles, Februarv 1981. (New York: The Viking Press, 1975), p. 1 1.

36. Henry McBride. "It is highly important 51. Henry McBride was the first major critic to
New )ork Sun, March 13, 1927; Henry McBride, "Varied publicly compare Avery's work to Matisse's, in his review
Caller\ Attractions." New York Sun. \la\ II. 1929, Art of the Avery/Hartl show at the Valentine Gallery in 1940.
section, p. 9. See "Hartl and Avery: Two American Artists Who Paint
37. Interview with Sail) M. Avery. for Painters," New York Sun, February 24, 1940, Art sec-
38. Henry McBride, "Independent Artists Again at tion, p. 8. This comparison continued to haunt Avery
the Grand Central Palace, "Sew York Sun, April 13, 1933, p. 9. throughout his career. After 1940, almost all writers on his
39. Henry McBride, "Attractions in Other Galler- work felt compelled to discuss it in relation to Matisse's, if

ies," New York Sun, February 29, 1936, Art section, p. 14. only to point out the differences between the two artists.

40. Edward Alden Jewell, "Now It Can Be Told," 52. Interview with Sally M. Avery. Avery's re-

New York limes. May 12, 1929. sponse is also Frank Crotty, "He Paints Like Ma-
quoted in

41. Edward Alden Jewell, "Art in Review," New tisse," Worcester Sunday Telegram, February 26, 1961, p.

York Times. April 18, 1932, p. 13. 21: "Some critics like to pin Matisse on me but don't . . . I

42. Interview with Sally M. Avery. think he has influenced my work."

43. See Ritter, "A Milton Averv Profile," p. 1 1. 53. Quoted in Alfred H. Barr, Jr., Matisse: His Art

44. Quoted in Charlotte Willard. "In the Art Gal- and His Public, reprint (New York: Arno Press for The Mu-
leries," New York Post, January 10, 1965, p. 46. The gather- seum of Modern Art, 1966), p. 122.
ings at Avery's house are described in Wight, Milton 54. Interview with Alex Katzman (Rosenberg's gal-

Averv. p. 13: "According to [Adolph] Gottlieb, Avery's lery director at that time), New York City. June 1981.
views revolved around 'picture making' ... his comments 55. Avery's arrangement with Rosenberg was that
were in line with this intention. 'That white jumps out. he purchase twenty-five unframed paintings for a nominal
doesn't hold its place in the picture.' General ideas, sophis- sum each year, giving the artist thirty percent of the selling
ticated ideas, an awareness of what was going on in the price when the paintings were sold.
world, familiarity with current exhibitions, in short, a wide 56. Maude Riley, "Milton Averv Fills an Interna-

view: this is what the young Gottlieb found in Avery." tional Cap," Art Digest. 19 (January 15, 1945), p. 10.

45. Interview with Sally M. Averv. 57. Reported in Ritter, "A Milton Averv Profile,"

46. Alfred Jensen to Edward Downe; recounted by p. 12.

184
 ) |

58. Interview w i t h Rov Neubergei (a majoi colle< ing," repi inted in \it and Culture: Critical Essays Boston:
tor ol Aver) \ work), New York City, |une 1981. Beacon Press, 1961), pp. 208
59. Interview with Sally \1. Avery. 74. Nveiv's personal relationship with Rothko had

60. Although the Whitney Museum American

ol begun to deteriorate in the 1940 Although Rothko re-
Art was not interested in Avery's oil paintings, it did sup mained fervenl supporter ol Wery's art, in 19-45 he had
,i

port his watercolors and had included several in prior \\ hit remarried and had stopped seeing many ol the people who
ne\ Museum Biennials: the 1933 watercoloi and print Bien were associated with Ins lust wife. According to Sally
nial; the 1936 watercolor and pastel Biennial. I he oil Avery, he was also something ol a hypoi hondriac and could
selected for the 1944 painting Biennial was Fencers (66). not bear being around anyone who was sick; Ins frequent
Information from Artists' Files and Registrar's Files, Whit- visits to the \vciv household ceased aftei Xverv's first

ney Museum of American Art, New York. heart attack.

61. Interview with Sails M. Avery. 75. Interview with March \verv Cavanaugh, New
62. Telephone interview with Paul Rosenberg's York City, |une 1981.
son, Alexandre Rosenberg, July 1981. 76. Iniciv lew w ith Sally M. Wery.
63. Interview with Sally M. Avery. 77. Quotedin Ritter, "A Milton \verv Profile,"
64. "1 do not use linear perspective, but achieve 78. Quoted in Contemporar) [merican Painting,
depth by color — the function of one color with another" exhibition catalogue it rbana, III.: College ol 1 ine and \p
(quoted in Ritter, "A Milton Avery Profile." p. 28). plied Arts, I niversity of Illinois, 1951), p. 159.
65. Hans llofmann, interview with Frederick S. 79. Quoted in Laurie Lisle, Portrait ol an \rtist: \
Wight, 1952; notes from the interview are in the Archives Biography of Georgia O'Keeffe (New York: Seaview Books.
of the Whitney Museum of American Art, New York. 1980). p. 278.
66. Sally received 100 dollars a week for illustrating Wight, Milton Avery, p. 16.
80.
a column called "Child and Parent" in the Vevi York "A Milton Wery Profile," p. 28.
81. Ritter.
Times Magazine. 82. Quoted in E. C. Goossen, Stuart Davis (New
67. Interview with Sallv M. Avery. York: Ceorge Braziller, Inc.. 1959), p. 16.
68. Interview with March Avery Cavanaugh, New S3, George Ferguson, Signs and
lor example, see
York City, [une 1981. Symbols in (New York: Oxford
Christian \it niversity I

69. The impetus for doing monotypes came from Press. 1966), pp. 12 15 Funk and Wagnalls St.uuhnl Du
:

Avery's friend Boris Margo, who was also in Florida at the tionar) <>l Folklore (New York: Funk and Wagnalls Co.,
time and was using printer's ink in his own work; interview 1949), vol. p. 1-42; (-ail |ung, The Structure and Dynamics
I,

with Sallv M. Avery. For a discussion of Averv's monotypes of the Psyche, trans. R. 1. Hull (New York: Pantheon
and their relation to his paintings, see Bonnie Fee Crad. Books, 1960), p. -438.

Milton Aver) Monotypes, exhibition catalogue (Princeton, 84. Quoted in Henry Geldzahler, The Sea b) Mil
N.J.: Firestone Library. Princeton University, 1977). ton A\cr\, exhibition catalogue (Keene, N.H.: Ionise. I

70. Interview with Sallv M. Avery. Thome Memorial \it Gallery, Keene State College, 1971),
71. In a telephone interview. Julv 1981, Alexandre unpaginated.
Rosenberg suggested that his father had used the excuse ol 85. Clement Greenberg, "Milton \very," iris, 32
moving to Venezuela as a way ol extricating himsell from (December 1957), p. 45.
the responsibility of handling Averv's woik. However, Alex- 86. The other artists selected weie: I cc Catch. \n
andre Rosenberg had taken over most of the control of Paul chew Dasburg, |osc de Creeft, Mauricio l.is.mskv. Carl
Rosenberg & Co. bv that time and it is likelv that it was Morns, William Pachner, Walter Ouut. Abraham Rattner,
his — not his lather's — dissatisfaction with \veiv thai caused Hugo Robus, Karl Sclnag. and 1 veretl Spruce.
the break. 87. Avery Donald and Florence Morris aftei
told
72. Clement Greenberg, "Art— Charles Burchfield, his second heart attack. "My ban felt electric and my head
Milton Avery, Eugene Berman," The Nation, November crazv. have funny feelings inside mv head." Quoted in
I

13, 1943, p. 565. Marsha Miro, "A Milton \veiv Seashore Helps Ban the
73. Clement Greenberg, "'American-Type' Painl W inter," Detroit I ree Press, |anuary 21, 1979, p. 201

185
 CHRONOLOGY

1885 1905
March 7. Milton Clark Aver) born to Russell N., a January 17. Father dies.
tanner, and Esther March Avery in Sand Bank (later

Altmar), a town in north-central New York inland 1905-11

from Lake Ontario on the Salmon River. Youngest of Sometime during this period, Avery briefly enrolls in

four children: George (born 1877), Fabian E. (born a lettering class at the Connecticut League of Art Stu-
1881), and Minnie (born 1883). dents, Hartford, after seeing magazine ad promising
that one can "Make money lettering." Class discon-

1898 tinued after one month; persuaded to transfer to life-

The Averys move into a two-family house in Wilson drawing class for rest of term by League director,

Station, Connecticut, near East Hartford, in the town- Charles Noel Flagg. Remains at the League until

ship of Windsor. Father continues to work as tanner. 1918.

Family now includes Minnie's husband, George

Sargent. 1910
February 5. Fabian marries Mabel Anson; daughter
born October 1910, son March 1912.
1900
August 2. Birth of first of five daughters to Minnie
1911
and George Sargent. The Sargents and Averys all live
Avery sufficiently committed to art by this time to
together in the same house in Wilson Station.
list his occupation as that of artist.

1901
1913
Milton begins work at the Hartford Machine and December 9. Fabian dies.
Screw Company; employed for next two years, first as

an aligner, then as an assembler.

1915
February. First public exhibition of his work
1904 (Glimpse of Farmington, c. 1914; whereabouts un
Finds job at the Underwood Manufacturing Compa known) in "Fifth Annual Exhibition of Oil Paintings
ny, where he works for the next six years as an assem- and Sculpture," Annex Gallery, Wadsworth Athene-
bler, a latheman, and finally as a mechanic. urn, Hartford, Connecticut.
May 31. Brother in law, George Sargent, dies. Family
moves into a loin family house .it 98 Connecticut
Boulevard, in a lower middle class neighborhood ol

East Hartford.

1916
Resumes job as assembler at the I nderwood \lanu
facturing Company.

1917
May. Begins working as a file clerk at the Travelers

Insurance Companies; remains tor the next five years

in the Liability Claim Department; takes 6 i\i to

midnight shift in order to paint in the daytime.

1918
Transfers from the Connecticut League of Art Stu
dents to the School of the Art Society of Hartford.

1919 l
Milton Avery, l >24. Photo: Hartford
Wins top honors in portrait and life-drawing classes Coin. int. 1924.
at the School of the Art Society of Hartford.
eral months of living with Putnam, takes a free room
with another friend on Staten Island lor a \ear.
1920
Visits Gloucester, Massachusetts, for first time.
1926
May 1. Marries Sally Michel; they go to Hartford tor
1921
honeymoon.
Summer. Returns to Gloucester, where he spends the
next several summers. Summer. Gloucester.

Couple lives in a one-room apartment in Lincoln \r

1923
cade, a studio complex at 1931 Broadway on the coi
Begins working at United States Tire and Rubber
ner of Sixty fifth Street. Social life revolves around
Company.
artists in the building; occasional recreation consists

of circus and burlesque shows, boxing matches, and

1924
swimming at Coney Island.
Employed as construction worker in Last Hartford.
Attends Art Students League sketch class several eve
Becomes member of the Connecticut Academy of
nings a week, a practice he continues through 1938.
Fine Arts.
Sallv works as a freelance illustrator foi Progressive
Summer. Meets Sally Michel in Gloucester.
Grocer, which her sister edits, m ordei to allow Wi\
to paint full tune; latei she illustrates ads foi Macy's
1925
department store.
May. Moves to New York City y\ith artist friend
Wallace Putnam, in order to be \yith Sally. Alter sev- December 29. Mothei dies.

187
1927 October 12. Birth of daughter, March.
March. Included in Independents exhibition, his first
Makes drypoints with discarded copperplates picked
exhibition in New York City.
up from the printer of Progressive Grocer. Works in

Summer. Executes watercolors and gouaches on half this medium until 1948.

sheets of dark construction paper.

1933

1928 Summer. Gloucester.

November. Bernard Karfiol selects two paintings by
1934
Avery from among 200 submissions for an Opportuni
Summer. Gloucester; Rothkos join Averys.
tv Gallery group show; other participants include
Mark Rothko. 1935

Beginning of friendship between Avery and Rothko. joins the Valentine Gallery. First one-man show
there in March. Dr. Albert Barnes purchases The
1929 Nursemaid (1934; Barnes Foundation, Merion, Pa.)

March. Awarded the Atheneum Prize of 200 dollars out of the exhibition.

for Brooklyn Bridge (1929; whereabouts unknown) in

Summer. Jamaica, Vermont.
the annual Connecticut Academy of Fine Arts exhibi-

tion. 1936
Summer. Jamaica, Vermont.
October. First painting to enter a museum collection:

Duncan Phillips purchases Winter Riders (1929) for

1937
the Phillips Memorial Gallery, Washington, D.C.,
Summer. Rawsonville, Vermont, five miles from Ja-
out of a group exhibition at the Morton Galleries,
maica. The Gottliebs and Newmans come for visits.
New York.

Meets Adolph Gottlieb through Rothko.

1930
June. Finds a house for the summer in Collinsville,

Connecticut, after abandoning rental on Friendship

Island, Maine, because of inadequate accommoda-
tions.

December. Awarded Mr. and Mrs. Frank G. Logan

Prize of 250 dollars for White Horse (1930; where-
abouts unknown) in the annual watercolor exhibition
at the Art Institute of Chicago.

1931
Summer. Gloucester.

1932 Self Portrait. 1957

Drypoint. edition of 60; 7 15/16 x 6V2 inches
Summer. Gloucester; vacations with Gottlieb, Roth- (20.1 x 165 cm). Associated American Artists.

ko, and Barnett Newman. Inc., New York

1938
Works brieflj in the Easel Division oi the Works
Progress Administration Federal Ait Project; stops

because he resents signing the obligator) pauper's

oath.

Summer. Travels to the Gaspe Peninsula, Quebec,

Canada; rents a cabin for two months at Riviere-au-
Renard ("River of the Fox").

Moves to 294 West Fleventh Street in Greenwich

Village so that March can attend the Little Red
School House, a grammar school populai among art

ists and intellectuals.

Stops attending the Art Students League; instead,

Milton \verv, 444.
week
1

Averys and friends hire a model several times a

and sketch at each other's homes.

1939
The Valentine Caller \ sells R<>\ Neuberger its inven
tory of thirty five Averv paintings.
Summer. Rawsonville, Vermont.
Summer. Gloucester. The Gottliebs and Rothkos are

1940 daily guests.

Sally gets a job as illustrator for the "Child and Par

ent" column in the New York Times Magazine. 1944
January. His first one man museum exhibition opens
Summer. Rawsonville, Vermont.
at the Phillips Memorial Caller\, Washington, D.C.

1941 Summer. Gloucester.

Summer. Drives cross-country to California; stops in

Yellowstone and Glacier national parks on the way. 1945

Stays one month in Laguna Beach, California. January. Concurrent exhibitions at the Rosenberg and

Durand Ruel galleries; shows with both dealers foi

next five years.

1942
Summer. Stays in New York because of wartime gas Summer. Gloucester.
rationing.

1946
November. Fast show with the Valentine Gallery.
Summer. Travels in Mexico foi three months; stays

six weeks in San Miguel tie Allende.

1943

Spring. Leaves the Valentine Gallery and joins Paul 1947

Rosenberg & Co.; has first show there in June. On Februarv. "M\ Daughter, March" exhibition, his tiist

Rosenberg's advice, begins dating pictures on front of retrospective survey, opens at the Durand Ruel Gal
canvas. leries, \ew "i oik.
Summer. Canada. Visits a collector near Toronto to

deliver a painting; stays three weeks before proceed-

ing to the Canadian Northwest and Oregon.

1948
Summer. Pemaquid Point, Maine.

Laurel Gallery publishes a portfolio of five of his dry-

points in an edition of 100.

December. Receives first prize for the watercolor Sea

and Rocks (1944; whereabouts unknown) in the "Bal-
timore National Watercolor Exhibition," the Balti-
more Museum of Art. Health very poor; advised by
doctor to remain at home.

Milton Avery sketching, with his daughter,

March, and their dog, Picasso, in Woodstock,
New York, 1950.

Winter. Health still poor; spends winter at the Re-

search Art Colony for writers and painters in Mait-
land, Florida, near Orlando.

Experiments with monotypes; executes over 200 dur-

ing the next two years.

Milton Avery, Pemaquid Point, Maine, 1948.

1949
January. Suffers a major heart attack; in hospital for
six weeks. Last show with Paul Rosenberg & Co.

Summer. Recuperates from heart attack at a friend's

Milton Avery and his wife, Sally, in their studio, Woodstock, New
house in Millbrook, New York. York, 1950.

190
1950 when the physical effort of cutting and printing be-
April. Returns to New York. comes too taxing.

Spring. Rosenberg and Avery terminate their associa- December. Retrospective exhibition opens at the B.il

tion; Rosenberg sells his fifty Avery paintings to Roy timore Museum of Art.

Neuberger.

Summer. Woodstock, New York.

Winter. Returns to the Research Art Colony, Mait-

land, Florida.

Makes lithographs this year and next for fund raising

ball sponsored by Artists Equity Association of New
York.

1951
Joins the newly opened Grace Borgenicht Gallery;
has first exhibition there in October.

Summer. Woodstock.
Milton and Sallv Avers in theii I leventh Street apartment, 19

1953
Summer. Residency at the MacDowell Colony, Petei

borough. New Hampshire; both Milton and Sally gi\

en studios.

195-1

June. Daughter, March, graduates from college and

marries Philip Cavanaugh.

Summer. MacDowell Colony.

1955
Summer. Invited to spend summer al Yaddo, an ait

The Avery family, Woodstock, New York. 1^1. colony near Saratoga Springs. New York.

1956
Summer. MacDowell Colony.
1952
Summer. Visits Europe for the first time; travels to
1957
London, Paris, and the French Riviera.
Summer. Provincetown, Massachusetts. I xecutes lust

Executes woodcuts; works in this medium until 1955. large format c an vases.

M
December. Clement Greenberg publishes a major ar- Summer. Provincetown.
ticle on Avery in Arts.
October. Suffers second heart attack; returns to New
York in an ambulance.
1958
Summer. Provincetown.

August. Exhibits large-format paintings at the HCE

Gallery in Provincetown.

1959
Summer. Provincetown.

November. Health deteriorating; takes nitroglycerin

every day for pains in his chest. Moves to a Central

Park West apartment because of difficulty walking up
the stairs to Greenwich Village apartment.

Winter. Doctor recommends going to a warm climate

for his health. Sally quits her job and hires chauffeur
to drive them to Florida; finds house in Key West for

the winter. Milton Avery, November 1960.

1961
Recuperating from heart attack. Requires constant
nursing; needs oxygen at night.

Summer. Remains in New York because of health.

1962
Hilton Kramer writes the first book on Avery, Milton
Avery: Paintings, 1930-1960.

Summer. Lake Hill, New York.

1964
February. Executes last painting.

March 6. Enters Montefiore Hospital; remains there

Milton Avery's studio in the Averys' Central Park West in intensive care.
apartment, 1960.

1965
Dies on January 3.
1960
February. Retrospective exhibition opens at the January 7. Memorial service held at the Society for

Whitney Museum of American Art, New York, un- Ethical Culture, New York. Buried in Artists Ceme-
der the auspices of the American Federation of Arts. tery, Woodstock, New York.

192
 BIBLIOGRAPHY & EXHIBITION HISTORY

Because much of the literature on Milton Avery takes the form ol exhibition 1923
reviews, the bibliography and exhibition hislor\ haw been combined mto Wadsworth itheneum, Hartford, Conn. "Milton \very, Owen Smith, Wal
one chronological list. Books ,\\k\ articles unrelated to specific exhibitions arc- lace Putnam, fames Conlon " Mm h 10 18.

given first in cadi \ear, followed b\ a listing, in italics, o( the year's exhibi
"Arl I overs Urged to Attend I xhil P it \nnex ol
tions; an asterisk denotes a one-man exhibition. Catalogues are cited within
Wadsworth Atheneum— Subjects Varied." Hartford Times, March
data on individual exhibitions: reviews are listed immediate!) following each
II. 1923.
exhibition, and are indented.
Main reviews ol \\cr\'s exhibitions have appeared in smallnewspa The Clubhouse, Gloucester Society ot \rtists, Gloucester, Miss. "Opening
pers across the country. Some of them exist in the form ol clippings m muse I xhibition. " Jul) 7->0.
um and gallery files or in Sails Avery's notebooks (now on deposit at the
I he Clubhouse. Gloucestei Society ot \rtists, Gloucester, Mass Croup ex
Archives of American Art). Everj effort has been made to trace these re-
views to their sources. In some cases, however, precise page numbers or oth- hibition. /i/A 10 Septembei

er bibliographical data could not be obtained. When the title ol a review is

Wiley Callen. Ilaitlord. Conn. "Francis II Storrs, Cornelia Vetler, Milton
unknown, the first words of the clipping are given. C. Aver\. and Owen I Smith h tober.
(

[Putnam, Wallace], "four \rtisl Exhibition at Wiles Callers." Hart

1915 ford Courant, October.
Annex Gallery, Wadsworth Atheneum, Hartford, Conn. "The Connecticut
Acadcnn ol I mc \rts: Fifth Annual Exhibition ol Oil Paintings and .V ulp
ture." February 15-28. Brochure: checklist. 1924
\nnex Callen. Wadsworth \theneum, Hartford, Conn. "The Connecticut

1917 Academy ol Fine irts: Fourteenth innual I xhibition of Oil Paintings and
Sculpture." April 14- 10. Brochure: checklist.
\nnex Gallery, Wadsworth Atheneum, Hartford, Conn. "The Connecticut
Acadcnn ol Fine Arts: Seventh \nnual I xhibition ol Oil Paintings and The Clubhouse, Gloucestei Society ol \rtists, Gloucester, W.i» Croup ex
Sculpture." February 12 26. Brochure: checklist. hibition. July.

Annex Gallery, Wadsworth Atheneum, Hartford, Conn. "The Connecticut 'Green Gate Studio, Hartford, Conn "Milton \very." November.
Acadcnn of line Arts: First Exhibition ol Water Colors and Pastels." No-
vember > /°. Brochure: checklist. Ringius, Carl. "Hartford." \rt Vews, 23 (Novembei 8, 1924). p. 8.

Old Cate Studio. Hartford. Conn. Croup exhibition. December.

1920
[Putnam, Wallace). "Art." Hartford Courant. 1924.
Annex Gallery, Wadsworth Atheneum, Hartford, Conn. "The Connecticut
Acadcnn of I mc \its. Tenth \nnn.il I xhibition of Oil Paintings and Sculp Ringius, Carl. "Hartford " \n V»s. :
:
(Decembei 20, 1924 .
p. 9.
turc." April 19 Via) 2. Brochure: checklist.
"Studio W indows." (Clipping.)

1921
Annex Callen. Wadsworth \theneum, Hartford, Conn. "The Connecticut 1925
Acadcnn ol Fine \rts: Eleventh \nnual Exhibition ol Oil Paintings and \nnc\ Gallery, Wadsworth Mheneiini. Hartford, Conn I bt Connecticut
Sculpture/April I8-May I. Brochure: dicikhsi. Acadcnn innual xhibition ol Oil Paintings and
ol Fine \rts Fifteenth I

Sculpture." \/>n// ;
10. Brochure: checklist.
1922
Annex Callen. Wadsworth \theneum, Hartford, Conn. "The Connecticut
Acadcnn ol Fine \rts: Twelfth \nnual Exhibition ol Oil Paintings and 1926
Sculpture." April 17 W. Brochure: checklist. Annex Callen. Wadsworth Uheneum, Hartford, Conn. "The Connecticut

193
 .

\cademy ot Fine \rts: Sixteenth Annual Exhibition ol Oil Paintings and Morton Galleries, New )oik. \). "Portraits." October 7-28.
Sculpture." \pnl 12 25. Brochure: checklist.
Breuning. Margaret. "The Art World Decidedly Alive Again with
I lie Clubhouse. Cloucester Society ot \rtists, Gloucester, Mass. Croup ex- Opening Exhibitions." New York Evening Post, October 12, 1929,
hibition. July.
p. M5.

"Art and Theatre Notes." Cape \nn Shore, July IT, 1926, p. 3. Coodrich. Lloyd. "The Opening Season: A Portrait Croup." 77?e
Arts, 16 (October 1929), pp. 121-22.

1927
Jewell, Edward Alden. "French Art Finds the Latch String Out Chez
Waldorl \storia Hotel, Vew York, Y). "The I lth \nnual Exhibition of the
Nous: Other Exhibitions of the Week Commented Upon." New York
Society of Independent Krtists." March 1 1- April >.
limes. October 13, 1929, p. I2x.

McBride, Henry. "It is highl) important...." Vew )ork Sun. March

"Noted in New York Galleries." Parnassus. 1 (December 1929), pp.
IS. 1927.
3-5,9.

\nnex Gallery, Wadsworth \theneum, Hartford, Conn. "The Connecticut

College Art Association. Chicago. III. Croup exhibition. November. Trav-
Academy ol Fine Arts: Seventeenth Annual Exhibition of Oil Paintings and
eled to: Yale I niversity, New Haven, Conn.: Princeton University, Prince
Sculpture." April In \4ay I. Brochure: checklist.
ton, N.J.: Cornell University. Ithaca. N.Y.; Dartmouth College. Hanover,
N.H.
1928
Waldorl Kstoria Hotel, New York, N.Y. "The 12th Annual Exhibition of the "College Art Show Opens in Chicago." Art News, 23 (November 8,

1929), p. 9.
Society ol Independent Artists. " Manh 9 April I.

Marines. Marya. "Caller)

Morion Calleries. New )'ork, N.}\ "Ten Young American Painters." No-
Notes." Creative Art, 2 (April 1928),
vember- December.
p. \ III.

Morgan Caller\. Morgan Memorial. Hartford. Conn. "The Connecticut Breuning, Margaret. "Water Color Exhibitions Predominate in

Academy of Fine Arts: I ighteenth \nnual Exhibition of Oil Paintings and Openings of the Local Calleries." New York Evening Post, Novem
Sculpture." March 17 \pnl I. Brochure: checklist.
ber 30, 1929. p. M5.

'Frank K. M. Rehn Gallery, Vew York, N.Y. "Milton {very: Watercolors."

Burrows. Carlyle. "News and Exhibitions of the Week in Art." New
November. York Herald Tribune. December I, 1929, pp. 8, 11.

Harris, Ruth Creen. "In Various Calleries." New York Times, De-
"I xhibitions." lntern.ition.il Studio. November 1928, p. 82.
cember 1, 1929, p. 22.
"Attractions in the Local Galleries." New York Sun. November 17,

1928. p. 7.
"The Morton Calleries. . .
." New )ork Sun. November 27, 1929.

"Noted in New York Calleries." Parnassus. I (December 1929), pp.

Opportunity Caller\. New York, V. Y. Croup exhibition. November 15-
3-5,9.
December 8. Artists selected b\ Bernard Karhol.

"Attractions in the Local Galleries." Vew York Sun. November 17.

1928. p. 7.
1930
Pemberton. Muidock. "Marin and Others." Creative Art. 3 (Decem-
ber 1928). p. 45. McMahon, Audrey. "A Perspective on the New York Season." Parnassus, 2
(May 1930), pp. 3-7.
. "The Art Galleries." The New Yorker, December 1,

1928, p. 105.
The Murai Gallery. New )ork. N.Y. "American Moderns." March-April.
Opportunitv Gallery, Vew York, \.Y. Croup exhibition. December.
Burrows, Carlyle. "News and Exhibitions of the Week in Art." New
McBride. Henry. "Various Attractions in the Galleries." New York York Herald Tribune. March 23, 1930. p. 11.

Sun. Januar) 12. 1929, p. 12.

l.ddv, Frederick W "Modern Painters Seen in Notable Croup." New
York World. March 30, 1930, p. 9M.

1929 Harris, Ruth Creen. "Further Comment on Exhibitions ot the Week:

Morgan Gallery, Morgan Memorial. Hartford. Conn. "The Connecticut Seen in the Calleries." New )ork limes. March 30, 1930, p. 13.

Academy of Fine Arts: Nineteenth \nnual Exhibition ot (hi Paintings and

"Hartford Artists Exhibit in New York." Hartford 'Times, March 23,
Sculpture." March 16 April I. Brochure: checklist.
1930.

"Jury Safe This Time." Hartford Couranl, March 12. 1929.

McBride. Henry. "Attractions in Various Galleries." Vew )ork Sun.

Frank K. \l. Rehn Gallery, Vew York, V>. "All Figure." May. March 29. 1930, Art section, p. 6.

Jewell. Edward Alden. "Now It Can Be Told." /Vew York Times, Morton Calleries. New )ork. N.Y. "Paintings: Milton Avery, Clara Lea
Cousins. " March 2-1- April
Ma) 12. 1929. 7.

Morton Galleries, New York, N.Y. "Review of 1928-1929." May 5-29. Breuning, Margaret. "Milton Avery, who is. . .
." New )oik Evening
Post, March 29, 1 930.
Breuning, Margaret. "Croup Exhibitions Feature the Week and Indi

cate the Closing of Art Season." New York Post. May II. 1929, Burrows, Carlyle. "News and Exhibitions of the Week in Art." New
p. S-5. York Herald Tribune. March 30, 1930, p. 1 1

McBride, Henry. "Varied Caller) attractions." Vew )ork Sun. \lav Klein. Jerome. "The good people of Connecticut. . .
." Chicago Eve
II, 1929. Art section, p. 9. n, ng Post. April 8, 1930.

194
 I
pton, Melville. "Attractions in Various Galleries." Vew York Sun. old, Vlolph " Ground the Calk i
ebru
Man li 26, 1930, p I"' arj I
'

\ .iii^han, Malcolm. "Mew Inhibitions ol I Ins Week." \< » York Gallery 144 West 13th Street, V» York. \ ) "Eight Landscapes by I

American, March 51, 1930, p. M-ll. Amerii am "

January

Frank K. \l Rchn Gallery, Veu )<nL \ ) Croup exhibition. October. •Gallery 144 West 13th Street, Ven York, V.) "Milton \vei •

Paintings " January 16 II

Klein, Jerome. "American Scene Interpreted in Paint." Chicago I ve
ning Post, October 14, 1930. McBride, 1 1 1 1 1
1
•. "Attractions in Othei Callerii Veu )<nk Sun.
Januarv 25. 1932, p. 5.
Morton Galleries, V-i» York, Y>. "Watercolors by Contemporary {men
cans." October 15 Novembei '0 ' irdlinger], Virginia]. "On \ iew in the New Vorl i
I'.i

nassus, 4 il ebruar) 1932), p

Bignou, Etienne, "Caller) Notes." Parnassus, I (Novembei 1930
p. 18. Sterne. K|athenne] G[ranl|. "Aver) I mcls a Formula." Vu )<nk
I unes. |anuar) 25. 1952. p. 13.
Breuning, Margaret "The \rl Season Shows Sit;ns ol Rapidb Cct
ting into I sual Stride." New York I vening /'ml, October II. 1950. Vaughan, Malcolm. "In the Parade of Exhibitions I Ins Week" Vu
p. 7. )uik \merican, January 24. 1952, p M
Klein, |erome, "Mrs, Morton opens. . .
."
Chicago I vening Post, No Morion Calleries, Veu York, \ > "Watercolors." January It

vembcr 18, 1930.

Callcr\ 144 West Ihh Street. \c » )oik. \ ) "Choici Examples of Living
I pton, Melville. "Milton Avery, a grizzled veteran, ." Veu )oik Art." February 13 March 4.

Sun. October II. 1930.

"In the group show al the Caller) 144 West I hirteenth Street, Mil
The \it Institute at Chicago, Chicago, III. "llth \nnual I xhibition." I\ ton Aver) has. . .
." i
Clippin
cember.
Classt;old. Adolph. " Around the Galleries." Creative \rt. 10 I ebru
.ik 1932), pp. 141, 143.
"Averv Captures Prize al Chicago." Ilartlord limes, Decembei
"
1930. •Callcr\ 144 West 13th Street, Veu York, \ ) 'Paintings: Milton hen
April If} May 6. Brochure: checklist.
"Milton \\ci\ Wins \ii Prize in Chicago." Hartford Times, Decem-
ber 1930. Breuning, Margaret. "Othei \ 1 1 Events." Vu York Evening
April 511, 1952, p. 55.
Morgan Memorial, Wadsworth Uheneum, Hartford, Conn. "Avery, Berk
man, Cheney, O'Callahan." Decembei 21 -January II. 1931. Brochure: Huiiows, Carlvlc. " \il News and Comment: Milton Vver) " Vu
checklist. York Herald Tribune, \pril 2-4. 1952. section 7, p. 9.

"'Modern' \ii \ iew Explained b) Artists Milton Avery and Aaron Fisher, Rose Mars. "Al 144 West 13th Streel Milton \,.,

Berkman Discuss Own Paintings at Morgan Memorial." Hartford Chicago I vening Post, \pril 26, l
l
'52.

Times, Jamian 3, 1931, p. 5.

" \it
Jewell. Edward Alden. in Review." Veu York I unes. \pnl Is.

"Modern Exhibit Opens al Museum." Hartford Times, December 22. 1932, p. 13.

1930. p. 27.
Pemberton, Murdock "The \it Calleries." I he Veu Yorker, Mas 7,

"Modem Exhibit Opens on Monday." Hartford Times, Decembei 20, 1952. pp. -45 44.

1930.
Shelley, Melvin Geer. "Al the Calleries: Caller) 144 West |5ih
Street." Creative \it. 10 (June 1932). p 476
1931
Morgan Memorial, Hartford, Conn. "The Connecticut Icademy ol Fine
I pton, Melville. "Jusl whal esoterii Vew )oik Sun, April 21.
1932
Arts:Twenty lust \nnual I xhibition ol Oil Paintings and Sculpture
March 7 25. Brochure: checklist. Gallery 144 West 13th Street, Veu York, V). "John Kane, ludson Smith,
Morton Galleries, Veu York, V). "Oils and Watercolors by Young {men Ben Benn, Milton \very, Moses .s,, w/ . Nicholas Vasilieff, Paul Rohland."

cans." May I fune ; ". Septt mhi i

Morton Galleries. Ve» York, Y> "Recent Watercolors." October 17 >/ Jewell, Edward Mden. " \it I wo Downtown Exhibits." Vu )ork
I unes. Septembei 13, l
>J 52. p. 19.
Jewell. Kdward Alden. "New Morion Caller) Opens." Vu York
limes. October 13, 1931, 52.
Shelle) Melvin Occi \t the Calleries: Caller) 144 West 15th
p.
" 149.
Streel ( 'reative \rt, II (Or tobei 1932), p
"
Sterne, Katherine Grant. "In the exhibition Gotham I ife, Octo
ber 18, 1931. Gallery 144 West \ 3th Street, Vu )oiL \ ) w ttero Ion November.

. "In I he New tork Calleries: Six W.ilcrc olois al Morton |ewell, Edward Mden \it in Review: \n I xhibition ol Watercol

Galleries." Parnassus, -I (Novembei 1931), pp. 8-9.

ors " Vu )oils I uues. Novembei 6, 1932 p

Vaughan, Malcolm. "Young Vmericans al Morton Gallery." V»

)oil Kmerican, October 18, 1931, p. M5.
1933
"Among th( \rtisl Mlied \rl Bulletin, \ugusl 1955.
1932
Dudensing Gallery, Veu )mL \) "Portraits ol Young People by Contem "Modern Vrl \kin to Classic Musii I Oregon S Ocl
porary \rtists." January. p 5.

195
'Callers l-H l\es.' Hth Street. New York. N.Y. "Milton Avery: Recent T. H. P. "Two Former Local Artists Exhibit Here." Hartford Cou
Watercolors." January 27-Februar\ 16. Catalogue: ill., checklist. rant. March 26, 193S, p. 20.

Breuning, Maigaret. "Croup F.xhibitions and One Man Shows Bring °\'alentinc Callerv, New York, N.Y. "Milton Averv. " March. Brochure:
New Works to Local Galleries." New York Evening Post. February checklist.
II. 193?, p. 8.
Breuning, Margaret. "Valentine Gallery." New York Post. March 16,

Burrows, Carlyle. "Notes on Art Exhibitions: Water Colors by a 1935, p. 24.

Modern Painter." New )ork Herald Tribune. February 5, 1933, sec-
Burrows. Carlyle. "Notes and Commentary on Events in Art: A Dis
tion 7. p. 8.
play by Milton Avery." New Herald Tribune, March 17, 1935,
)'ork

McBride, Henry. "Attractions in the Calleries." New York Sun. Feb p. 10 V.

ruary -4. 1933, p. 9.
Devree. Howard. "A Reviewer's Notebook: Briefs on Twenty
Grand Central Palace. New )ork. N. "The I7th Annual Exhibition of
Y. the Shows." New York Times. March 17, 1935, section 8. p. 7.
Societ\ of Independent Artists." April Is \U\ 6.
McBride, Henry. "Attractions in the Calleries." New )brk Sun.
McBride. Henry. "Independent Artists Again at the Grand Central March 16. 1935, p. 32.

Palace." New York Sun. April IS, 1933, p. 9.

Morrell. Mary. "Exhibitions in New York." Art News. 3S (March 16,

W hitne) Museum of American Art. New York, N.Y. "First Biennial Exhibi- 1935). p. 14.

tion of Contemporars American Sculpture. Watercolors. and Prints." De-

\alentine Gallery, New York. N.Y. "American Exhibition." September.
cember i~-Januar\ II. 1934. Catalogue: ill., checklist: Foreword bv Juliana
Force. Burrows, Carlyle. "Notes and Comments on Events in Art: Eight
Americans at Valentine's." .Yew )brk Herald Tribune. September 15.

1935. p. 8-V.

1934
Cenauer. Emily. "His Charms Not Obvious." New )brk World
Grand Central Palace. New )ork. N. ). "The 18th Annual Exhibition of the
Telegram. September 14, 1935, section 2, p. 26.
Society of Independent Artists." April 13-Ma\ 6.

Jewell, Edward Alden. "In the Local Spotlight." New )'ork Times,
"Propaganda and Freedom Mark Independents." Art Digest, H (April
September 15, 1935, section 9, p. 7.
IS. 1934), p. 7.

Rockefeller Center. Yen )ork. \). "The First Municipal Art Exhibition." 1936
May. Choate School. Wallingford. Conn. "The Chrysler Collection." January 17-
Februars 13.
Shelley. Melvin Ceer. "Fifty seventh Street." Studio News, 5 (May
1934). p. 23.
Dulles. C. A. "The Walter P. Chrysler Art Collection." The Choate
News, January 18, 1936, p. 3.

Mellon Calleries. Philadelphia. Pa. "Avery and On." May 1-17.

Whitnes Museum of American Art, New York. N.Y. "Second Biennial I \ln
Bonte. C. H. "Avery and Orr Paintings Arouse Much Enthusiasm." bit ion. Part II: Watercolors and Pastels." February 18-March 18. Catalogue:
Philadelphia Inquirer. May 6, 1934. ill., checklist: Foreword.

"Boyer Calleries. Philadelphia. Pa. "Milton Avery." June. McB|ride], HJenrv]. "American Watercolors on View: Whitney Mu-
"At Boyer Calleries." Philadelphia Evening Public Ledger, June 8,
seum's Second Biennial Exhibition Devoted to Them." New )ork
Sun. February 22. 19S6, p. 26.
1934.

Bailey. Weldon. "Bover Galleries." Philadelphia Record, )une 10,

. "Attractions in Other Calleries." Yew )'ork Sun. Feb
ruarv 29, 1936, Art section, p. 14.
1934.

Bonte, C. H. "A New Print Exhibition and Milton Avery Work." 'Valentine Gallery, New )orL. Y). "Milton Aver) Watercolors." Februars
Philadelphia Inquirer. June 10, 1934. 24 -March 7.

'Theodore A. Kohn Callers. Sew )ork. N.Y. "Gouaches by Milton Avery." Burrows, Carlyle. "Notes and Comment on Events in Art: Milton
Jul) 11-21. Avery." New York Herald Tribune. March 1936, section 9, p. 10.
1,

Burrows, Carlyle. "A Three Part Show of Modern Paintings." New Cenauer. Emily. "Milton Avery at Valentine." New York World
)ork Herald Tribune. July IS, I9S4, p. 6-V Telegram. February 29, 1936, p. 12B.

Cenauer, Emily. "Violent art. ... " New )ork World Telegram, |ul\ Ejdward] A[lden|. "Solo Exhibitions b\ Nine Artists." New
JJewell),
1934. York limes. March I. 1936. p. X 9.

Coodsoe. Robert I Inch. "The Art Marts." (Clipping.! McBride. Henry. "Attractions in Other Calleries." Wew )i<rk Sun.

Edward Alden. "New York Exhibitions." New York Times. February 29, 1936, Art section, p. 14.
Jewell.

July IS. 1934. section 10, p. 7.

Klein, Jerome. "Milton Aver) Shows Finesse in His Work." Veu
York Post. February 29, 1936, p. 24.

Simonton, Thomas. "Cezanne and Renoir in Harriman Show: Other

1933
Exhibitions." Yew York American, February 29. 1936, p. 16.
Stavola Calleries. Hartford. Conn. "Milton Avery, Aaron Berkman. Irwin
Hoffman. " March.
1937
Murray, Marian. " \ri Show Gives I ling to Youth." Hartford Times, The Detroit Institute of Arts. Detroit. Mich. "Selected Exhibition ol the
March 1935. Walter P. Chrysler, /r.. Collection." October.

196
 1938 1941
Boswell, Peyton "Comments: I Ik Burden ol Proof." irt Digest, 12 (May I, Millier, \iilnir "The \rts and \rtisls: tin \rl rhrill of Ihc Weel I

1958). p. 3. \ngela Times, \ugusl 10, 1941, section i, p. S.

'Valentine Gallery, V-n )<>iL \ ) "Milton \very " \/>nl II 10 Brochure

checklist.
1942
Phillipi Memorial Gallery, Washington, D.C. "American Paintings and Wa
Bird. Paul. "The Fortnight in New 'ind \ Question ol Drav tercolon March I / atalogue: ill. checklist. (

Irt Digest, l2(May I, 1938), p 18

Marquii Gallery, Vew )mk. \ ) Croup exhibition. Octobei 17 Sovem
Genauer, I mil) "Arl |oins Wai on slums rwo Different Shows he, 4
Mike." \<» York World Telegram \|>nl 16, 1938,
"Varied Modi rns." Irt Digest, 17 (Oi tob( i I
194] p
Klein, |erome. "Taubes Shows Fine Technique in Bold Strokes."
New York Post, \pril 16, 1938, p. 12.
'Valentine Gallery, V» York, \ ) "Milton \very." Novembei
\li Buck. 1 lenr\ "Allr.u lions in the Galleries." New York Sun. April her 26 Catalogue: checklist; text by Samuel M Kiuil/

16, 1938, P . 12,

Farber, Manny Chaim (imss. Milton Wery and William Si

"Milton \verj Makes a rhree-Yeai Report." \/i Digest, IT (April int "I irt, 56 (January 1943), pp. 10 15.

IS. 1938), p. 10.

I i'>\t|, R[osamund). "Milion \very, Vmerican Fauvi \it Sews, 41
"New I xhibitions ol the Week " \rt Sews. 56 |
Vpril 16, 1938), p. 15. I Dec ember 15, 194

.Men Memorial Hall, Wadsworth Ktheneum, Hartford, ('ami. "50th \nni

1943
versarx Show." December 12 24
"An Interview with Milton \very." Irt Students League Hulk-tin. \pril
Murray, Marian. I eague ol \n Students Show .it Museum Range 1945.
ol Interest Over 50 Years Seen in Exhibition: Paintings mi Similar
Kootz, Samuel M Veu Frontiers in \mei ng New York Hastings
Subjects mi Exhibition at Vvery." Hartford I urns. Decembei 17,
I louse. Publishers.
1958. p. 7.
Phillips Memorial Gallery, Washington, D.C. "Six Loan Exhibitions." Janu-
ary 17 I chiu. in 15. Catalogue: checklist; essay by C. I U
1939 'Paul Rosenberg & Co., V» York \ ) Recent Paintings by Milton
Portland \ii Museum. Portland, Oreg. "
\n Exhibition ol Contemporary Avery "
fum
Paintings." Septembei IS October 29. Catalogue: ill. checklist: text In .s/<-

phen Bourgeois. Genauer, I mily "Milton Vvery Cams in Stature Sen York World
Telegram, |une 5. 1943, p. 4.

|ewell, 1 dward Mden. "In (he Realm ol \rt: Sprint; Slows to a Deco
1940 rous Pac( " Sen York Times, June 6, 1943, p. 9.

Valentine Gallery, Vew York, \ >. "Leon Hartl and Milton \very." Febru " I he Passing Shows/' \it V»s. 42 (June Julv. 1943), p. 44.
ar\ /y Much 2. Catalogue: checklist.
R[iley], M[aude). "Milton \very." Irt Digest. 17 |uly I I
•

Breuning, Margaret. "In the World ol \rt: Milton \very." Vew York
American, February 25, 1940. p. 6M. I pton, Melville. "Art Caller) Doings." Vcm York Sun. |une 4
p. 26.
IXwa. Howard. "A Reviewer's Notebook." Vew )oik limes. Feb
ruarx 25, 1940, se< lion 9, p. 10.
'Paul Rosenberg & Co., Sen York, S.Y. 'Recent Watercolors by Milton
I rosi, Rosamund. "Art." Town and ( lountry .February 1940 Ivery." Octobei l
; Sovembei 15. Catalogue, checklist.

|. W. L. "New Exhibitions of the Week." \it Sews, 38 (February 24, Cenauer, Emily. "Art and Antiques: Milton Wen's New
1940), p. II. Shows Vmazing Changes." V» )<nk World Telegram. October 2; .

1945. p. 6.
Klein, Jerome. "Two \mericans." Vew York I'ost. February 24. 1940
\ii section, p. 10. Green rg, Clement. "Arl Charles Burchfield, Milton \very, Eu
gem Berman." The Nation, Novembei 13, 1943, pp
; '

McBride, Henry "Hartl and Wery: l«n American \ihsis Who

Paint lor Painters." Vew )mk Sun, February 24, 1940, \ri section, McBride, Henry "Attractions in the Calleries." V << York Sun. 0<

p. 8. i
22. 1943, p. 25.

. "Nature with Variations Seen I hrough Milton Vvery's I

:
as" \rt Sews, 42 (Novembei I. 1943), pp. 21

Personality: li Gets It sell \cross." Vew York Sun, March 1940 "
Riley, Maude. "I ifty seventh Street in Review \it Digest.

American Fine irts Building, Vew York. V.I "Tht 24th Annual Exhibition vembei I. 1943), p. 20.

of the Society of Independent \itists." \pnl h May 12

Whitney Museum ol \merican \it. V» York. \ > "1941 4-/ \nnual Exhi
C[enauer{. 1 mily "Dawn ol the Renaissance to the New Indepen bit ion ol Contemporary \merican \/t. Sculpture. Paintings. Wateri

dents." V» York World Telegram, \.pril 27 1940, p. 34. and Drawings Sovembei 23 January 4. 1944. Brochure: checklist; Introdm
t urn by Juliana For< <

Breuning, Margaret. "In the \h World." Vew York \merican, \piil

28, 1940, p 6 \1
1944
Portland Arl Museum. Portland, Ore- "20th Century Figure Painting." Jul) Sweeney lames |ohnson. "Fivt American Painters." Harpei
15 Septembei 15. Catalogue: checklist, essay Vpril 1944 pp. 76 77

197
Ta\lor, Tim. "Artists Irked b\ Sale of Canvases for Junk." ,Veiv York World 1945
Telegram, February 21, 1944. p. 16. Soyer, Moses. "For many years. . .
." NM, February 13. 1945. (Clipping.)

Museum of Art, Rhode Island School ot Design. Providence, R.I. "American Whitne) Museum of American Art. New York, N.Y. "1945 Annual Exhibi
Painters of the Present Da\." }anuar\ 7-February 14. Catalogue: bio., ill., lion of Contemporary American Sculpture. Watercolors, and Drawings."
checklist. January ^-February 8. Catalogue: checklist.

'Phillips Memorial Gallery, Washington. D.C. "Watercolors by Milton "Paul Rosenberg & Co., New York, N.Y. "Recent Gouaches by Milton
Avery." January 9 si. Catalogue: checklist. Avery." January 8-February 3. Catalogue: checklist.

'Paul Rosenberg & Co.. Sew )ork. N.Y. "Recent Paintings: Milton Avery." Genauer, Emily. "This Week in Art." New York World Telegram.
February 5 -March II. Catalogue: checklist. 13, 1945, p. 9.
I January

Breuning, Margaret. "Fecund Milton Avery." Art Digest. 18 (March C. M. W "Expositions Milton Avery." France Amerique, January
1. 1944), p. 20. 21, 1945.

Coates. Robert M. "The Art Galleries: In Black and White." The Jewell, Edward Alden. "Art: Diverse Shows — Averv and Carroll."
New Yorker, February 26, 1944, pp. 63-65. New York Times, January 14, 1945, section 2, p. 8.

Devree, Howard. "From a Reviewer's Notebook: Brief Comments on L[ouchheim], A[line] B. "Double Perspective on Milton Avery." Art
Some Recently Opened Croup and One Man Shows." New York News, 43 (January 15, 1945), p. 24.

Times, February 20, 1944, section 2, p. 6.

McBride, Flenry. "Attractions in the Galleries." New York Sun, Janu-
Genauer. Emily. "Some Cood Solo Exhibits." New York World ary 13, 1945, p. 19.
Telegram. February 19, 1944, p. 6.
Riley, Maude. "Milton Avery Fills an International Gap." Art Digest.
McBride, Henry. "Attractions in the Galleries." New York Sun, Feb- 19 (January 15, 1945), p. 10.

ruary 19, 1944, p. 9.

'Durand Ruel Galleries. New York, N.Y. "Paintings by Milton Averv." Janu-
"The Passing Shows." Art News. 43 (March IS, 1944), p. 19.
ary 9-February 3. Catalogue: checklist.
Grand Central Art Galleries, New York. N.Y "The American British Cood
For reviews, see preceding exhibition.
Will Exhibition of Contemporary Art." March 8-18. Traveled to Hertford
House. London, England. Organized by Artists for Victory, Inc. Curated by Wildenstein & Co. Inc.. New York, N. Y. "The Child Through Four Centu-
Hobart Nichols. Leon Kroll, and Max Weber. ries. " February 28-March 28.

|uta, Jan. "Showing Britain U.S. Art Today." Art News, 43 (March 1, McBride, Henry. "Children in Art." New York Sun, March 3, 1945,
1944), pp. 9-12. p. 9.

'Durand Ruel Galleries. New York, N.Y. "Milton Avery." April-May. University of Nebraska Art Galleries. Lincoln, Nebr. "Annual Exhibition of
Contemporary Art." March 4-April I.
Arts Club of Chicago. Chicago, III. "Evsa Model. James Thurber, Milton
Averv." May 2-31. Paul Rosenberg & Co.. New York. N. Y. "Paintings by Avery, Hartley, He-
lion, Rattner, Weber." July.
"The Arts Club last. . .
." (Clipping.)

Wolf, Ben. "Modern Americans at Rosenberg." Art Digest, 19 (July

Bulliet. C. J.
"Artless Comment on the Seven Arts." Chicago Sun,
1, 1945), p. 21.
May 6. 1944.

"Evsa Model, along with. ..." (Clipping.)

17th Regiment Armory, New York, N.Y. "Arts and Antiques Show." Sep-
tember 24-30.
Department of Fine Arts, Carnegie Institute. Pittsburgh. Pa. "Painting in the
Salpeter, Harry. "The Armory. 1945." Art News, 44 (October 1,
United States, 1944. " October 12-December 10. Catalogue: checklist.
1945), pp. 13. 32-34.
Durand Ruel Galleries. New York, N.Y. "Kelekian: As the Artist Sees Him."
Institute of Contemporary Art, Boston, Mass. "Works by 59 Members of the
October 15-November 4.
Federation of Modern Painters and Sculptors." October 6-November II.
V[aughan], M(alcolm). "Kelekian's Face: Artists Pay Tribute." Art
News, 43 (October 15, 1944), p. 14.

1946
The Bertha Schaefer Gallery, New York, N. Y. "George Constant. Milton
Frankfurter, Alfred M. "American Art Abroad: The State Department's Col-
Avery. " November.
lection." Art News. 45 (October 1946), p. 25.

R[iley], M(aude]. "Avery and Constant." Art Digest, 19 (November

Durand Ruel Galleries, New York, N.Y. "Modern Religious Painting." Janu
15, 1944), p. 14.
ary 8-31.
Whitney Museum of American Art, New York, N.Y. "1944 Annual Exhibi- New
Burrows, Carlyle. "Art of the Week." York Herald Tribune.
tion ofContemporary American Painting." November 14-December 12.
January 13, 1946. p. V-7.
Catalogue: checklist.
Frankfurter, Alfred M. "Investigating a Dilemma: Modern Religious
Frost, Rosamund. "The Whitney Does It Again: Artists Rally Round
Art." Art News, 44 (January I, 1946), pp. 21-22.
a Well Known Banner in the Outstanding Show to Date." Art News,
43 (November 15, 1944), p. 9. Jewell, Edward Alden. "Religious Art Seen in Modern Display." New-

York Times. January 9, 1946, p. 21.

Jewell.Edward Alden. "Art: The Whitney Stress on Fantasy in the
Annual Show of Painting Americans, Modigliani." New York — . "Religion, Theatre, Pearls." New York Times, January

Times, November 19, 1944. 13. 1946, section 2, p. 7.

198
'DurandRuel Galleries, V» )<>iL \ ) "W.iiti Colors In \hlton {very 1948
February 4-28. Pari Leonard \ Six \rlists and a Model." Colliers. July 31. 194

Wolf. Ben. "Twin \\xr\ Shows." Art Digest, 20 (Februan I, 1946), \ a in. i Museum ol Fine \rts, Richmond, \.i "Contemporary \merican
p. Iv Paintings." \pnl II Ma) 9 Catalogue: checklist, Foreword b\ Vhon
Colt. 1
"The Passing Shows." Art News, 44 (I ebruarj 1946), p. 90.

Brings Fint \iis Center. Colorado Sprin <

'Paul Rosenberg & Co., New York, N.Y. "Recent Paintings l>\ Milton
sums. I S I." /ul\ 12 Septem t, Introduction
Avery. " February 4-28.
\.C \ Calleries, Vew York, \ ) "An American Croup. '

Novembei
["or reviews, see preceding exhibition.
Lansford, Alonzo. "An \merican Crou ember
Samuel M. Kootz Gallery, New York, \ ) "Modern American Paintings
I
1948), p. II.
from the Collection of Mr. and Mrs. Roy R. Ncubcrgcr. " April 1 5 -Ma) 4.

I Ik Baltimore Museum ol \rt, Baltimore, Md "Baltimort "National Walei

Tate Callery. London, England. "American Painting from the 18th Century
color Exhibition." December ? January 9, 1949.
to the Present Day. " June-Juh
"Baltimore Waten iloi \rt Di I December IS 1948). p. II.
Walker Art Center. Minneapolis. Minn. "116 American Painters." August
25-September 22. The Jewish Museum. Vew York, N.Y. "American \rtisls lor Israel." D\

Lawrence Art Museum, Williams College, Williamstown. Mass. "Modern

ber 21 January W 1949 Brochure: checklist, Foreword-

Paintings from the Collection of Mr. and Mrs. Roy R. Neuberger. " Septem Reed, Judith Ka\c. "American \tt Destined lor Israeli Museums."
ber 5 -October 14. 1/7 Digest, 23 |anuarj I 1949). p. 16.

'The Metropolitan Museum of Art. New York, N.Y. "Advancing American

Art. " October 4-27. Catalogue: ill.: text by Hugo Weisgall. Traveled in Europe. 1949
Frankfurter, Alfred M "American Art Abroad." Art News, 45 (Octo- Lowengrund, Margaret. "Field of Craphii
23 (August
Vrl Hi f March." \rl Digest.

I. 1949), p. 16.
ber 1946), p. 25.

Colorado Springs Fine Arts Center. Colorado Springs, Colo. "Milton Avery Paul Rosenberg & Co., Vch York. \ > "Still Lifes." January 10-29.

Paintings." November 27-December 31.

Breuning, Margaret. "Still 1 ife with International \ccenl \rl Di
gi ./ . i (Januarj 15. 1949,, p. 17.

1947
"Reviews and Previews." \rl Vew*. 47 (January 1949), p. 52.
Brown, Milton. "Forces Behind Modern U.S. Painting." Art 'slews, 46 (Au-
gust 1^-47,. pp. Id 17, 54-35. Institute ol Contemporary Krt, Boston, Mass. "Milestones ol \merican
Painting Our Century "January 20 March I. Catalogue: bibi. ill., check
in
'DurandRuel Galleries, Vew York, V) "\/i Daughter, March." February
list; Preface and essay by Frederick S. Wigh ido Springs
4-March I. Catalogue: ill., checklist; note In Marchal F.. Landgren.
Fine \rts Center, 'olorado Springs, Goto.: M. II. de Young Memorial Muse
(

Cenauer. Emily. "Tins Week in Art: Paintings of Daughter." New um, San Francisco, Calif.; Los Kngeles County Museum, Los \ngeles I

York World Telegram, Februarj 8, 1947. p. 5. The Cleveland Museum ol \rj, ( 'leveland. Ohio.

Jewell. Edward Alden. "Watercolors 1947: \K Daughter, March." Vassar College Art Callery, Pot • V). "Selection-, horn the Collet
New York Limes, February 9, 1947, section 2, p. 9. tion of Rm and Mine Neuberger." \pril.

McBride. Henry. "The Durand-Ruel Galleries." New )orl Sun. Feb 'Durand-Ruel Galleries, Vew York, \ ) "Paintings In Milton \very." April

man 1947. 18 May 12

"Reviews and Previews." Art News, 45 (February 1947), p. 42. Devree, Howard. "I Idei Modernist: Paintings ol tin I
i I Decade b\

Villon— Christian Berard Milton \very: \very's Recent Work."

Wolf, Ben. "Twin Averys Crow." Art Digest, 21 (February 15. 1947),
Vew York I imt Ma> 194' s, 1 . p. 9.
p. II.

H[ess], T[homas] B. "Reviews and Previews." \rt News. 4 s Ma)

'Portland Art Museum. Portland. Oreg. "Milton Wery Paintings." March 3 1

19 p. -14.
30.

McBride, Henrj "Attractions in the Calleries: Durand-Ruel Cal

"Exhibition of Milton Avery's Paintings Opens .it Museum." Port
lery." Vch York Sun. April 29. 1949, p. 23.
/and (Oreg. |
Journal. March 1947.
R[ecd], Jjudith] Kjayej. "Fift) seventh Street in Review." \tt I

Whitney Museum of American Art. Vew )orl. N.Y. "1947 Annual Exhibi
M ill- p. IV.
tion of Contemporary American Sculpture, Watercolors, and Drawings
March II \pril 17. dialogue: ill., checklist. I he United Nations \rt Club. Vew York, \ > "Fivt Americans." June.
Included {very, Marsden Hartley, \braham Rattner, Max Weber, ai
Paul Rosenberg & Co.. New York. N.Y. "Paintings In {very, Knaths,
Knaths.
Rattner, Weber." April
Crane, |ane Watson. "Five Modernists Show a Wa) Washington
Lansford, Alonzo. "Foui \mericans." Art Digest, 21 (April 15, 1947),
Post, lime I". 1949, p 31
p. 21.

I he George Baei Callery, Salisbury, Conn. "Works In Milton {very

Dwight \ri Memorial. Mount Holyoke College, South Hadley, Mass. "Mod ( 'eorgt ( 'onstant. " July.
em Paintings from the Collections of Mr. and Mrs. James Thrall Soby ol
Farmington. Connecticut, and Mr. and Mrs. Rm R, Neubergei ot Vew )ork "New I xhibition Opening fomorrov. at Baer Lakeville

City." October > 26. (Conn i

Journal, |ul\ 14, 1949, p. 13.

199
 1950 Foreword b\ Hermon More. Traveled to: Walker Art Center. Minneapolis,
" Vogue Presents: 55 Living American Artists." Vogue, February 1950, pp. Minn.
1,

150-53.
Whitney Museum of American Art, New York. N.Y. "1952 Annual Exhibi
College of Fine and Applied \rt, University of Illinois, Urbana, III. "Con tion of Contemporary American Painting." November 6-Januar\ 4. 1953.
temporarx American Painting." February 26-April 2. Catalogue: chron., ill, Catalogue: ill., checklist; Foreword b\ Hermon More.
checklist; cssa\ b\ Allen S. Weller, bio. bv Edwin C. Rae.
"Grace Borgenicht Callerv. New York, N.Y. "Milton Avery: Retrospective
Smith College Museum of Art, Northampton, Mass. "Contemporary Ameri and Recent Paintings." December 8-27.
can Paintings from the Collection ol Roy Neuberger. " September 27-Octo
A[shton], D(ore]. "Fifty-seventh Street in Review." Art Digest. 27
ber 22.
(December I, 1952), p. 17.
Paul Rosenberg & Co., New York, N.Y. "Paintings by Avery, k'naths,
'The Baltimore Museum of Art. Baltimore. Md. "Milton Averv." December
Rattner. Weber." December -1-30. Catalogue: checklist.
9-January 18. 1953. Catalogue: chron.. biblio., ill. checklist; Foreword by

"Laurel Callerv. New )'ork. N). "Milton Avery Monotypes." December 12- Adelyn D. Breeskin. essay by Frederick S. Wight. 85 works shown in Balti
30. more; a 40-work version traveled to: The Phillips Collection, Washington
D.C; Wadsworth Atheneum. Hartford, Conn.; Lowe Caller\. Coral Cables.
B[reuning], M|argaret|. "Fifty seventh Street in Review." Art Digest,
Fla.; Delaware Art Center. Wilmington, Del; Institute of Contemporary
25 (December 15. 1950). p. 17.
Art. Boston, Mass.
"Modern Paintings and Prints." Art News, 49 (December 1950), p. 50.
Adlow, Dorothy. "Paintings by Milton Avery." Christian Science
H[ollidav], B[ettv). "Reviews and Previews." Art News, 49 (December Monitor, September 21, 1953, p. 6.
1950), p. 50.
"An Artist's Life: Twenty-five Years in Paintings." Quick. 1 (Decem-
ber 29, 1952), p. 51.
1951
Lewison, Warren. Milton Averv: A Painter's World (film). Released by Wal- "The Compleat Averv." Art Digest, 27 (December 1, 1952), p. 14.

ter Lewison Associates: 16 mm, color, 14 minutes.

Edgar One Man Show
Driscoll, J.
"Boston of Milton Avery's Work."

College of Fine and Applied Art, University of Illinois, Urbana, III. "Con Boston Globe, September 1953.

temporar\ American Painting." March 4- April 15. Catalogue: ill., checklist; "4 One-Man Art Shows Held with Yule Creens." Baltimore Evening
essay bv Allen S. Weller; chron., bio. by Edwin C Rae. Sun. December 30, 1952, p. I.

The Brooklyn Museum, Brookhn, N.Y. "International Watercolor Exhibi Hay, Jacob. "Avery Is a Silent Man — His Art Talks for Him." Balti
tion. " Mav 9- June 24. more Evening Sun. December 11, 1952.

McBride, Henry. "Watercolors Gigantic." Art News, 50 (May 1951), Minard, Ralph H. "Milton Avery Greeted: Museum Shows His Art."
pp. 26-27, 67. Hartford Times, March 6, 1953, p. 25.

'Crace Borgenicht Callerv. New York, N.Y. "Milton Avery: Recent Paint Ritter, Chris. "A Milton Averv Profile." Art Digest, 27 (December 1,

ings." October 15-November 4. Catalogue: checklist. 1952), pp. 11-12. 28.

B[reuning], M[argaret|. "Fifty-seventh Street in Review." Art Digest, Seckler, Dorothy Cees. "A Very Nice Avery." Art News, 51 (Decem-
26 (October 15, 1951), p. 21. ber 1952), pp. 31.60-61.

Burrows, Carlvle. "Art: Marcks, a Sculptor of Stature — Other Taylor, Robert. "Milton Avery: A Thoreau in the Midst of the Gold
Events." New York Herald Tribune, October 21, 1951, section 4, p. 6. Rush." Boston Sunday Herald, September 20, 1953, section 1, p. 3.

Devree, Howard. "Diverse Modernism." New York Times, October T H. P. "Avery Art to Be Seen Here Today." Hartford Courant,
21, 1951, section 2. p. X9. March 5, 1953, p. 8.

Goossen, E. C. "The New York Letter." (Clipping.)

1953
P[orter], F[airfield]. "Reviews and Previews." Art News, 50 (October "Fine Art Makes Broker 'Bullish' About World." Look, November 3, 1953,
1951), p. 48. pp. 72-74.

American Federation of Arts traveling exhibition. "Contemporary American

1952
Paintings in India. " Opened May. Traveled in India.
College of Fine and Applied Art, University of Illinois, Urbana, III. "Con
temporary American Painting." March 2-April 13. Catalogue: ill., checklist; Spaeth, Eloise. "Synthesis of Arts in America: Contemporaries." Hin-
essay by Allen S. Weller; chron.. bio. by Edwin C. Rae. dustan Times, May 6, 1953.

Whitne\ Museum of American Art, New York, N.Y. "1952

Annual Exhibi Whitney Museum of American Art, New York, N.Y. "1953 Annual Exhibi
tion of Contemporary American Sculpture. Watercolors, and Drawings." tion of Contemporary American Painting." October 1 5-December 6. Cata
March 13-May 4. Catalogue: ill, checklist; Foreword by Hermon More. logue: ill, checklist; Foreword b\ Hermon More.

Dallas Museum of Fine Arts, Dallas. Tex. "Some Business Men Collect Con-
temporary Art. " April 6-27. 1954
'Grace Borgenicht Callerv, New York, N. Y. "Milton Avery: Recent Paint-
Walker Art Center, Minneapolis, Minn. "Contemporary American Painting
ings." March 29- April 17. Brochure: checklist.
and Sculpture from the Collection of Mr. and Mrs. Roy R. Neuberger. " May
24-August 10. Catalogue: checklist; Foreword by H. H. Arnason; Introduc B[reuning], M[argaret]. "Fortnight in Review." Art Digest, 28 (April

tion by Marie and Roy Neuberger. 1, 1954), p. 22.

Whitney Museum of American Art, New York, N. Y. "The Edith and Milton B[urrows], Cfarlyle]. "The New Averys." New York Herald Tribune,
Lowenthal Collection." October 1 -November 2. Catalogue: ill., checklist; April 4, 1954, section 4, p. 8.

200
 P[orter], F(airfield]. "Reviews and Previews." \// Vew5, 53 (April . "Avery Worl D Ven ><>/< Herald tribune
195 t, p M Book Review, Vpril 22. 1956, p. 12.

Preston, Stuarl "New Shows Keep Vrl Season \livi "

V» York Robert M. "Thi \rt Calleries." Tht Vu Yorkei
Fimes, March 2 C >. 1954, section + p. 24. I .
, 1956. p. IIS.

Rudolph Galleries, Coral Cables, Fla, Group exhibition. May, Ivt(ellow), |[ames] K "In the Galleries " Arts. 50 | \pril 1956), p

"Rudolph Holds New \n foi \!.i\ 2

1
'
."
(Clipping.) M[unroj, E[leanor] C. "Selecting fi \//

Sews, 55 (April 1956), pp. 24, 95.

Brooks Memorial \rt Gallery, Memphis, Term "An Exhibition ol s Mo
efe/Ttt. " May /<5 /one ?0 Preston. Stuart. "French and American "m'i ts." Vu York limes.
April 22, 1956, section 2. p. II.
Northrop, Guy, |r. "Avant-Garde ^gain Shown by \it roda
Memphis] Venn |
I ommercial \ppeal, May 16, 1954. Seckler, Dorothv Cees. "Season's Landmarks." \n in \mei
(Spring 1956) pp. 58 59.
Colorado Springs line \its (.'(7i/c;. Colorado Spurn;-,. Colo 'Vu Wco
sib/is. i" .s
\
" //;/i / Septembei 5. Catalogue: bio., ill . i ne< /t/w/, R>« iron/ bj Whitney Museum of American Art. Vu )ork. \ ) "1956 Annual Exhibi

jame\ It By rm S,
lion of Sculpture. Walercolors. and Drawings " \pril / s lime 10 Catalogue:
ill., i hecklist.
Whitney Museum ot imerican 1/7, Vew ><>/i. \ ) "ftqi and V/ani V«j
berger Collection: Modern imerican Painting and Sculpture." Movembei Mead Art Gallery. Amherst College; Amherst. Miss "thirteen \rlists

I7-Decemhcr /v. Catalogue ill checklist, foreword by John II Baur, I. In Forty Years. " May 2-28.

troduction b) Roy and Mine Neubergei Traveled to: \rts Club ol ft/i I i£0
Colorado Springs line \its Center. Colorado Springs. Colo. 'Vu
Chicago. III.; \rt Gallery, I niversity ol California, Los Angeles ( 'a/;/., San 5)'on5, USA." June 1-August 5. Catalogue: ill., checklist. Introduction In I red
Francisco Museum of Art. San Francisco, Calif.; The St. loin- \rt Museum, S. Bartlett.
St. Louis. Mo; Cincinnati \il Museum. Cincinnati, Ohio; lie I Phillips Col
lection. Washington. D.C. "What the Museums Are Buying." Time, June 25, 1956. pp. 72

Devree, Howard. "Art and \rtists: Show al the Whitney Neubergei 'The Santa Barbara Museum ol \rt, "s.inta Barbara. Cahl "Milton Wery
Collection Paintings Displayed." Vu York Times, November 17. June 5- July 8.

1954, section L, p. 32.

Seldis, Henry ). "DuCassc and Avery Show Difference in Spirit." San
Coc College. Cedar Rapids, Iowa. "I xhibition ol Jit ol the Greatest Contem ta Barbara News-Press, )une 10. 1956.

porar) American and I uropean irtists. " Dei ember.

'Texas National Bank. Houston. Tex "Milton \very Sponsored b\ I he

Pinnev, Dick. "Paintings of AFA Showing at Coe Today." Cedar Museum of Fine Arts. Houston. Tex. June I2-July 6. Brochure; checklist;
Rapids (lowaj Gazette, December 12. I
l
^4. text by Lee Malone.

The Gallery, Katonah Village Librars. Katonah, \ ) "Paintings from the

Collection of Mr. and Mrs Km R \euhergcr." Septembc 5. r

1955
"Felix Landau Gallery, I os ingeles, Cahl. "Milton Avery." October 22-
College ol Fine and Applied \rt. University ol Illinois, t rbana. Ill "Con
temporary \merican Painting and Sculpture." February 27
November 10. Brochure: ill., checklist; text by Frederick S. Wight.
ipril \ Cata
logue: ill., checklist; essay by {lien S Weller, bio by Edwin C. Rae. \\hitnc\ Museum of American Art. Vu York, \ ) "Annual Exhibition:
Duke Durham, V.C. "Loan Sculpture. Paintings. Watercolors. Drawings." November H-Janua
I niversity, I xhibition." M.iuh
1957. Catalogue: ill. checklist.
Brandeis University, Waltham. Miss. "Contemporary Painting and Sculp
'Mills College. Oakland. Calif "Milton Avery Drawings' Sovembi
lure from the Collection ol Joseph II. Hirshhorn." June 1-17.
December 31.
Red Men's Hall, Rockport, Mass. "Tenth \nnual I xhibition ol Cape Ann
Modern P[orter], F(airfield]. 'Reviews and Previews \it Sews Decern
Society ol \rtists." July Brochure: checklist.
ber 1956). p. 10.
\merican Federation ol Arts traveling exhibition. "Collectors' Choici
Yjoung], V[ernon). "In the Calleries." Arts. 31 (januars 1957), p. 50.
Opened October. Itinerary: Hackley Art Gallery, Muskegon, Mich.: Win
slon Salem Library, Winston -Salem, V.C; Union \rt Institute. Dayton,
Ohm; Coc College. Ccd.ii Rapids. Iowa; Texas Western College, II Paso,
Tex.; Atlanta Public Library, \tlanta, C.i; Nashville irtists Guild, Sash
1957
ville. lam.: 1 he Canton \rt Institute, Canton. Ohio. Colorado Stall I

Berkman, Florenc< "Milton \very in 'Faces in \merican \it.' i

kgc. Greeley, Colo.; t niversity ol Kansas. Lawrence, Kans.

Greenberg. Clement. "Milton Wery." lr/5. 32 (Decembei 1957), pp ;

Randolph Macon Woman's College: Lynchburg, \a "Paintings from the

1956
Collection ol Mi and Mrs /<.n R Seuberger." February ! Marcl
Pousette-Dart, Nathaniel, ed. American Painting Today New York: Has
tings I louse. Publishers. Institute ol Contemporary \it. Boston, Mass "Portraiture: The l°th and
20th Centuries." March I Wovembei I Traveled to: Munson Williams
Institute ol Contemporary \it. Boston, Miss.
\merican "20th Century
Proctoi Instituti ' (lira, \ ) Tht Baltimore Museum ol \rt, Baltimore.
Paintings horn the Collection ol Mr. and Mrs Roy Seuberger." March 13
Md., Dallas Museum of Fine Arts, Dallas. Tex.; Colorado S
April 8.
(
'enter, ( blorado Springs, Colo.
'Grace Borgenicht Gallery, Vu )orL. \) "Milton Wery Paintings." \pril
Collegi ol Fine and \pplied \rt. I niversity ol Illinois. I rbana. Ill >

lh May 5. Brochure: checklist.

temporary \merican Painting and Sculpture." March - \pnl ?
I

Burrows, Carlyle. "3 'Well Knowns' Compete Vgain." (Clipping.) ill., checklist; essa) hi [lien S Weller, bio. b\ Rat
 Kramer, Hilton. "Notes on the Illinois Biennial." Arts. 31 (April American Federation of Arts traveling exhibition. "Crosscurrents." Opened
1957). pp. 50-33. October. Itinerary: Time Inc., New York, N.Y.; Winston Salem Public Li-
brary, Winston Salem, N.C.; Vassar College Art Callery. Poughkeepsie,
Wadsworth Atheneum. Hartford, Conn. "Collected in Three Years: A Mu
N.Y.; Southern Illinois University, Carbondale, III.; Art Alliance, Philadel-
seum within a Museum." March 20-May 5.
phia, Pa.; Alabama College, Moritevallo, Ala.; Monticello Rotary Club, Mon
Poindexter Callery, New York, N.Y. "The 30's: Painting in New York." June ticello, N.Y; Montclair Art Museum, Montclair, N.J.; Cornell University,
1-29. Catalogue: ill.; text by Edwin Denby, artists' statements edited by Pa Ithaca, N. Y; Eastern Illinois University, Charleston, III.

tricia Passloff.
'Otto Seligman Callery, Seattle, Wash. "Milton Avery: Oils and Watercol-
Greenberg, Clement. "New York Painting Only Yesterday." Art ors." October 18-November 15.

News, 56 (Summer 1957). pp. 58-59, 84-86.

Callahan, Kenneth. "Avery's Work Is Sincere, Individualistic." Seat-
P(ollet], Elizabeth]. "In the Calleries." Arts, 31 (June 1957), p. 56. tle Times, October 1958.

The Minneapolis Institute of Arts, Minneapolis, Minn. "American Paintings, Faber, Ann. "Seligman Callery Has Avery Exhibition." Seattle Post-
1945-1957." June 18-September 1. Catalogue: checklist. Intelligencer, October 24, 1958, p. 22.

Felix Landau Caller\. Los Angeles, Calif. "New York School, Second Gener
Little Red School House, New York, N.Y. "Milton Avery, Moses Soyer and
ation." July.
Jack Levine." November 14-16.
Millier, Arthur. "Exhibition of 'N.Y. School' Features Wide Use of
"Art Show Set Up to Help School." New York Times. November 14,
Color." Los Angeles Times, Julv 21, 1957.
1958, p. 29.
Contemporar\ Arts Center, Cincinnati, Ohio. "An American Viewpoint:
Realism in Twentieth Century American Painting." October 12-Noyember
"Crace Borgenicht Callery, New York, N. Y. "Milton Avery: Paintings. " No-
vember 18-December 11. Brochure: checklist.
17. Traveled to: Dayton Art Institute, Dayton, Ohio.
B[enn], B[en], "In the Galleries." Arts, 33 (December
'Crace Borgenicht Callery. New York, N. Y. "Milton Avery. " October 28- 1958), p. 55.

November 16. Brochure: checklist. Berkman, Florence. "Subtle Color, Charm Mark Avery Art in

Burrows, Carlyle. "Art: New Exhibitions." New York Herald Trib- Gotham." Hartford Times, November 19, 1958, p. 46.
une Book Review, November 3, 1957, p. 14.
Qampbell], L[awrence]. "Reviews and Previews." Art News, 57 (No-
Devree, Howard. "From Far and Near:Modern to Primitive in the vember 1958), p. 13.

New Shows." New York Times, November 3, 1957, section 2, p. 15. Schiff, Bennett. "In the Art Galleries." New York Post, November
C[enauer], E[milv]. "In the Calleries." Arts, 32 (November 1957), 30, 1958, p. M-12.
p. 52.
Whitney Museum of American Art, New York, N.Y. "1958 Annual Exhibi
P[orter], F[airfield]. "Reviews and Previews." Art News, 56 (Novem Hon: Sculpture, Paintings, Watercolors, Drawings." November 19-January 4,

ber 1957), p. 10. 1959. Catalogue: checklist.

Whitney Museum of American Art, New York, N.Y. "1957 Annual Exhibi- Kramer, Hilton. "Month in Review: This Year's Whitney Annual."
tion: Sculpture, Paintings, Watercolors." November 20-January 12. 1958. Arts, 33 (December 1958), pp. 46-49.

1958
"Avery, Milton (Clark)." Current Biography, 19 (June 1958). 1959
Swenson, May. "Milton Avery." Arts Yearbook, 3 (1959), pp. 108-13.
Seckler, Dorothy Cees. "Problems of Portraiture: Painting." Art in America,
46 (Winter 1958-59) pp. 22. 37. American Federation of Arts traveling exhibition. "Ten Modern Masters of
American Painting." Opened January. Itinerary: Coe College, Cedar Rapids,
Esther Robles Callery. Los Angeles, Calif. "Artists Invite Artists." February
Iowa; Quincy Art Club, Quincy III.; Des Moines Art Center, Des Moines,
14-March I.
Iowa; E. B. Crocker Art Callery, Sacramento, Calif.; Nashville Artists' Cuild,
Whitney Museum of American Art, New York, N.Y. "The Museum and Its Roanoke Fine Arts Center, Roanoke, Va.; Time Inc., New
Nashville, Tenn.;
Friends: A Loan Exhibition —
Twentieth Century Art from Collections of N.Y; Columbia Museum of Art, Columbia S.C; Joslyn Art Museum,
York,

the Friends of the Whitney Museum." April 30-June 15. Catalogue: ill.. Omaha, Nebr.; Nelson Callery, Kansas City, Mo.; Fort Lauderdale Art Cen-
checklist; Foreword by Flora Whitney Miller. ter, Fort Lauderdale, Fla.; John Herron Art Institute, Indianapolis, Ind.

Colgate Art Callery, Colgate University, Hamilton, N. Y. "Selections from 'Art Alliance, Philadelphia, Pa. "Milton Avery: Watercolors. " February 4-
the Collection of Mr. and Mrs. Roy R. Neuberger. " May 26-June 18. March 8.

'HCE Callery, Provincetown. Mass. "Milton Avery." August 1-12. Brooks Memorial Art Callery, Memphis, Tenn. "The Roy and Marie Neu-
berger Collection: 21 American Paintings. 1944-1956. " February 13 -March I.
Berkman, Florence. "Averv Paints Music, Poetrv, and Humor." Hart
ford Times, September 30, 1958. Rudolph Galleries, Coral Gables, Fla. "Two Husband and Wife Painting
Teams. " March.
"Seaside Painting." Time, September 15, 1958, p. 72.

Reno, Doris. "Husband-Wife Art Teams Show Refreshing Talent."

Downer College, Milwaukee, Wis. "Avery and Ernst." September 15-Octo-
Miami Herald, March 22, 1959, p. 5
J.
ber.

F. G. "Ernst and Averv in Downer Show." Milwaukee Journal, Sep- College of Fine and Applied Art, University of Illinois, Urbana, III. "Con-
tember 14. 1958. temporary American Painting and Sculpture." March 1-April 5. Catalogue:
ill., checklist; essay by Allen S. Welter, bio. by Edwin C. Rae.
Wadsworth Atheneum, Hartford, Conn. "Directions in Modern American
Painting and Sculpture. " October 6-November 1 5. The New York Coliseum, New York, N.Y. "Art: USA." April 4-18.

202
 Ccnauci, Emily. "$1,000 Prizes Awarded to -4 American Artists." Breuning, Margaret Catcl '

Vvet t Whitm \ri March

Vew York Herald Tribune, \ot\\ 4, 1959, p. 9. p. 52

"2. SOti .it Art Show " \<» York limes, \pril 4, l'^
1
). p. II. t
tmpbell], I .(ass renci !

1/7 Nev
ruary I960 p
'Felix Landau Callers. Ins \iu;eles. Cahl. "Milton Avers "September
Coales. Robert M. "The Ait Calleries Milton V.<r. and !•
'I ICF Callers. I'rosincelossn. Mass "Milton \sers: Preview." September I.
he \o> Yorker, February 20, I960, 125 24. 126 27.
Catch." I
pp
Fort Wayne Museum ot \it. Fort Wayne, Ind. "Twent) loin Paintings In
eh
"Ex-Hartford Painter Honon I chibit." Hartford rimes, I

Contemporars American \rtists Iroin the Collection ot Mi and Mrs. Ro) H

ruary J, I960, p. 25.
Ncubcrgcr." September /> October 20.
"Exhibit "I \ver) Worl to Open al Heel chei Museum." / ong Is

World I louse Galleries. Ness York. N.Y. "Trustees' Choice." September 15

i.mdt\ v, Press, |,i- i
<
October >. Circulated b) lite \merican Federation ol \rts.
i ;• M. mi i I mil) "2 Retrosper tut 1 xhibits Open al Wh
The New York Sociels lor Ethical Culture and the I ieldston I tlntal Alumni
New
urn." York Herald Fribunt February 4, I

Association. New \brk. N.Y. and Sale

"Second \nnual I Khibition ol Con
temporars Paintings, Sculpture, and Graphic Arts." October 22-25. "Who Said the Past Wai Ml P< it' 1
1 Neu York ihi
aid Tribune, February 7, I960, section 4, p. 6.
St. Louis Art Museum traveling exhibition. "25 Years ol American Paint
ing." November October I960 Cuiulated in Europe by the I nited Stales C'.uesi. Barbara "Avery and Catch Inn. h, \mcrican V\

Information Agent s Retrospectives." \rt News >9 March I960), pp. 42-44, 57.

Pomdexter Callers. New York, N.Y. "To Nell Blaine." December I 19. Levick.'L. E. "Whitney Honors 2 I .S Painters: \very Catch." Vh
)<>rk loiuii.il \mt ii' -in Februai i
I960, p. 7.
"Homage to Nell Blaine." Art Sews, 58 (December 1959). pp. 54-35.
"Milton Avers." Baltimore I vening s un I

1960 "Milton Avery and Lee Catch." Pictures on Exhibit, 23, February
Pollack. Peter. "Fifteen Sell Portraits by American Artists." \nicn<.iii \rtist, I960)
24 (Summer 1960), pp. 30-3?. 92-97.
"Milton Avery: Retrospective I xhibition Is June Display al

'Grace Borgenicht Callers. \<u )oil. N.Y. "Milton {very: Recent Paint Heckscher Museum " I hi I ong Islander I
s- 1

ings. " February 3-20.

"Next Week at the Mu i< inn Ji rant m Pa / inns. |uls 25. 1
I

Bcrkman. Florence. "Ex Hartford Painter's Exhibit Emphasizes Col

Poole. Duane E. "Art Exhibit." Flint (Mi< hi Journal, August 6, 1961.
or. Simplicity." Hartford Times, Fcbruars 13, P'hti, p. 13.

Preston, Stuart. "Arl rwo Retrospei tisc I xhibitions Work ol Mil

C(ampbcll], Lfawrence]. "Reviews and Previews." \rt News, 58 (Feb
ton As< is and lee Catch Seen Vew )oik limes. February
ruary I960), p. 12.
p. 36.

Tillim. Sidiics. "Month in Review." \rts. 54 (February I960), pp.

. "Ariisis' Progress: Avery and Catch at \\ hitney Muse
52-53.
urn Contemporaries I Isewhere." Nen York limes. February
'Whitnes Museum ot American \rt. New York. N.Y. "Milton [very." Feb 1960. section 2. p. 19.

man > March Is (in conjunction with the exhibition "lee Catch"). Cats
Schiff. Bennett. "In the Art Calleries." Ne* York Post, February
logue: bio., bib!., checklist; essas In Kdelyn D. Breeskin. Circulated l>\
ill.,
I960, p. M 12.
the American Federation ol Arts to: Bennington College, Bennington, \ t.;

Bradford junior College, Bradlord. Mass.: Heckscher Museum. Huntington,

'Park Gallery, Detroit, Mich. "Milton \very Exhibition." \pril 24 Mis
N.Y.; Everhart Museum. Scran ton, Pa.; Swain School of Design, New Bed
Brochure: t he< khst
ford. Mass.. Bossdom College, Brunswick, Mime: Is man Allyn Museum.
New London. Conn.; Art Department. Pennsylvania Stale College, Inch. in. i.
Broner, Robert. Detroit Free Press, \pril 24
Pa.; The Baltimore Museum of Art, Baltimore. Md.; \rl Department, I m
versit) of Kentucky, Lexington, Ky.; University ol Minnesota. Minneapolis. Driver, Morley. "Milton V/ery's World on 1 xhibil al Park Detroit
Minn.; Krannert \n Museum. I 'niversity ol Illinois. I rbana. III . I hut Insti Free Press. Mas I, I960
tute of Arts, Flint, Mich.; Southern Illinois I niversity, Carbondale, III.; I ni
Hakanson, joy, "Yankee 'Mystic' Solos al Ness Park Callery." Detroit
sersits ol Wisconsin, Madison. Wis.; Oklahoma \rt Center, Oklahoma City,
News, \pril 24, I960, p 14 I

Okla.; The Santa Barbara Museum ot \rl. Santa Barbara. Calif.

Rudolph Galleries, Woodstock, V.) " \n I xhibition ot Fine Paintings and
Adlow, Dorothy. Christian Science Monitor |uK 19, 1960
Sculptures In Outstanding \merican Krtists." May
"Ait Exhibit." Flint (Mich.) Journal, August 6, 1961.
Maklei Gallery, Philadelphia. Pa. "The Nude." Mas ;
June II Brochure
\ii I xhibil at Heckschei Museum." Suffolk Count) (N.Y.) W.ihh ill. . checklist.

man. ]une 2. I960.

State University ot Iowa \mes, Iowa "Mam Currents m Contemporary
"Averj \ii Show " Baltimore Morning Sun, |anuar) 29, 1961. \menian I'aintim;." Mas 2b \ugusl 7.

"Avers Retrospective Exhibit Hue Today." Santa Barbara (Calil M Knoedlerd Co., Im New York, \ ) \merican \n. 1910

Nesvs Press. Jamjar) 28, 1962. lions from the Collec lion ol Ml and Mrs lios l< NeubergCI luni S Si

lembei 9
Berkman, Florence, "Aver) Paintings Chosen foi rwo-Year Show
Tour." Hartford limes. Septembei 5, 1959, p. 18. \dlow. Horoths < '.hiisti in s, „ ,./, , Vlonitoi |uly 19,1961

.
"Ex 1 la r t ford Painter's Exhibit I mphasizes Color, Sim Richardson, |ohn "I xhibition Preview: I he Neubergei Colk I

plu it*.
"
Hartford limes, February 13, I960, p I: \ii m \merica, 48 (Summei 1961

203
Colorado Springs Fine Arts Center, Colorado Springs. Colo. "New Acces Grafly, Dorothy. "Work of Milton Avery Offered in Exhibit at Fon-
sions. USA." July 7-September 7. Catalogue: ill.; Introduction b\ William tana Gallery." Philadelphia Sunday Bulletin, May 14, 1961, p. 7.

Henning.
"Makler Callery. Philadelphia, Pa. "Milton Avery." October 9-November 4.

'Haydon Calhoun Gallery. Dallas. Tex. "Milton Avery." September 11-Octo

Makler, Paul Todd. "Milton Avery." Prometheus, September 1961,
ber 9. Brochure: checklist.
pp. 21-24.
Reed College. Portland. Oreg. "Kaufman Memorial Collection of Modern
Paintings. " October. 'Felix Landau Callery, Los Angeles, Calif. "Recent Painting: Milton Avery."
October 16-November 4. Catalogue: bio., ill., checklist: text by Louis Kauf
Downer College. Milwaukee. Wis. "Contemporary Miniatures. " October 2-
December II.
Seldis, Henry J.
"Avery Canvases Confirm Stature." Los Angeles
Key, Donald. "Miniature Art Makes Imposing Exhibition at Downer Times, October 20, 1961, section 2, p. 2.
College." Milwaukee journal. October 2, 1960.
Rutgers University, New Brunswick, N.J. "A Selection of Paintings from the
French & Co. Inc.. New York, NY. "An Art Collection for a Small School Collection of Roy R. Neuberger. " November 1-19.
Community Museum. " October 27-November 5.
Whitney Museum of American Art, New York, N. Y. "1961 Annual Exhibi
'The Calerie Internationale, Washington D.C "Milton Avery." December. Contemporary American Painting." December 13-Februarv 4, 1962.
tion of
Catalogue: ill, checklist. Foreword.
Ahlander, Leslie Judd. "Thoreau in the Midst of a Gold Rush."
Washington Post. December 1 1, 1960, section C. p. 7.
1962
Berkman, Florence. "Art of Hartford's Milton Avery in Book and Two En-
1961 glish Shows." Hartford Times, April 28. 1962, p. 54.
Crottv, Frank. "He Paints Like Matisse." Worcester Sunday Telegram, Feb-
ruary 26. 1961, p. 21.
Kramer, Hilton. Milton Avery: Paintings, 1930-1960, New York: Thomas
Yoseloff.
Creenberg. Clement. "Milton Avery" ( i 958). Art and Culture: Critical Es
Boston: Beacon Press.
"Milton Avery." Horizon, July 1962.
says.

'Crace Borgenicht Galler\. Yen York. \.Y. "Milton Ayerv: Figure Paint-
Nordness, Lee, ed. Ar t: USA:-Now, Lucerne, Switzerland: C. ]. Butcher Ltd.
Essay on Avery by Barbara Moore.
ings. I960." January 3-21.

Qampbell], Ljawrence]. "Reviews and Previews." Art News, 59 (Jan-

"Crace Borgenicht Callery, New York, N. Y. "Milton Avery. " January 2-20.

uarv 1961). p. 10.

J(ohnston], J[ill]. "Reviews and Previews." Art News, 60 (February
Preston, Stuart. "1961 Rings in the Old, Rings in the New." New 1962), p. 17.

York Times. Januarv 8, 1961, section 2, part 1, p. 11.

Preston, Stuart. "First Moves on the 1962 Exhibition Front." New
Ra\nor, Vivien. "In the Galleries." Arts. 35 ()anuarv 1961), York Times, January 7, 1962, section 2, p. 25.
p. 54.

R[aynor], VJivien]. "Milton Avery." Arts Magazine, 36 (February

Art Callery. McCormick Place. Chicago, III. "The Roy R. Neuberger Collec
tion." Januar\ 5 March 1.
1962), p. 39-40.

Des Moines Art Center. Des Moines. Iowa. "Six Decades of American Paint- 'Park Gallery, Detroit, Mich. "Paintings by Milton Avery." January 7-27.

ing of the Twentieth Century. " February 10-March 12. Catalogue: ill.,
Catalogue: ill., checklist.

checklist: Foreword by Thomas S. Tibbs.

Driver, Morley. "He Draws the Faces of the Sea." Detroit Free Press,

"Shore Galleries, Boston, Mass. "Milton Avery." February 11-28. Brochure: January 7, 1962.

ill.: note b\ Robert Campbell. Hakanson, "Art in Michigan: Frugal Magic of Yankee Painter."
Joy. a

Adlow, Dorothv. "Canvases by a Neo-lmpressionist: The 'Pure Paint- Detroit News, December 31, 1961, p. 1 IB.
ing' Stvle of Milton Avery." Christian Science Monitor, February 15.
'The Carillon, Byrd Park, Richmond, Va. "Milton Avery: An Exhibition of
1961. p. 7.
Paintings." February 4-25. Catalogue: bio., ill., checklist.

Driscoll, Edward |r. "Avery Callery Show Subtle, Attractive." Bos

J.,
"The Avery Show." Richmond News-Leader, February 3, 1962.
ton Sunday Globe, February 18, 1961.
Longaker, Jon D. "Avery Paintings on Display Here." Richmond
Morris. George N. "Art: Milton Avery Show at Boston Gallery."
Times-Dispatch, February 4, 1962.
Worcester (Mass.) Telegram, February 17. 1961, p. 9.
. "Carillon Exhibit Pleases the Eye." Richmond Times-
Taylor, Robert, "Events in Art." Boston Sunday Herald, February 19,
Dispatch, February 11, 1962.
1961, section 2, p. 4B.
United States Embassy. London, England. "\'anguard American Painting."
Krannert Art Museum, University of Illinois, Urbana, 111. "Contemporary
February 28-March 30. Catalogue: bio., ill.

American Painting and Sculpture. " February 26- April 2. Catalogue: ill.,

checklist: essav bv Allen S. Weller. bio. by Edwin Rae. C Wallis, Nevile. "From the New World." London Observer, March 4,

1962, p. 28.
Dallas Museum of Fine Arts. Dallas. Tex. "The Roy R. Neuberger Collec
lion." March 19-April 16. 'Rudolph Galleries, Coral Gables, Fla. "Milton Avery." March.

Whitney Museum of American Art. New York. N.Y. "The Theater Collects Reno, Doris. "Dim Detail, Wrong Color — But Avery Hits Target."
American Art. " April 10-Mav 16. Catalogue: ill., checklist: Foreword b\ Eh Miami Herald. March 25, 1962, section J. p. 7.

ise Spaeth.
Herring-Cole Art Center, St. Lawrence University, Canton, N. Y. "Exhibi
"The Fontana Callery. Narbeth. Pa. "Milton Avery." May. tion of 20th Century American Painting. " March 14-24.

204
The Downtown Community School, New York, \ ) "16th \nnual \rt in;; Selections bom the Collection ol Mi and Mis Km '.

Show " \pril. i Novembei IS

W.kIuuhiIi Mhcnciim. Hartford, Conn "Continuity and Change: 4i \meri \merican Federati traveling exhibition
(.in \bslracl Painters and Sculptors " \pnl 12 May 26. Catalogue: bio., ill., sephll Hirshhorn Foun ection \ V «» bom tin Protean Centu
chet klist. m Opened Novembei Catalogue: ill., checklist; essays by II II \i

I ravi it d nationally.
Milwaukee \ii (kutcr, Milwaukee, w is "Art USA Fhe Johnson Collet
Hon of Contemporary American Paintings." Septembei 22-Octobei 21 Tra\ 'Fori Wayne Museum ol \rt, Fori Wayne, bid "Milton \very " Novembei
eled to: Bridgestone Gallery, Tokyo, fapan, \cademy ol \rts, Honolulu. Ha Brochure ill., checklist; Introductions by John I I brt It

waii, Royal Academy ol \rts, London, England, Zappeion, \thens, Cr> I itzwatei
ll.ms dei Kunst, West Germany; Casino de Monte-Carlo, Salons
Munich,
Privcs, Monte Monaco; Congress Hall, West Berlin, West Germany
Carlo, 1963
Liljevalchs Konsthall, Stockholm. Sweden. Cmeo Padu;hoiii ,! \ii, 'ontem i
Bergei Michael 'Milton Wery." Master's thesis, University of Pittsburgh.
poranea, Milan, Italy; I'.il.us des lie.iu\ \its. Brussels, Belgium; Municipal
Dublin. Ireland; Casdn del Buen Retiro, Madml.
Forma, Waiun I In \mencans: llm< East Coast
Gallery ol Art, Spain,
Released b) < lonti mpi rary I 16 nun. color, 19 minutes.
Kiinsiniuseiim. I ,m erne. Switzerland; Mus6e d'Ari Moderne de la Vil
Paris. I'jns. France; \kademie dei Bildenden KUnste, \ ienna, Austria, The Rudolph Galleries, Coral Cables, I la. "Milton \very." January.
Corcoran Gallery ol \rt, Washington, DC; Philadelphia Museum ol \rt.

Philadelphia. Pa, Whitney Museum of American Art. New York, \ K; Mu Reno, Doris. "Avery's Canvases Filled with Concept of N.itnr>

seuni ol Art, Rhode Island School ol Design, Providence, l< I .

Museum ol ami Herald, |anuar) 20, 1963, p E I

line \ils. Boston. Mass.; Ihe Detroit Institute ol \rts, Detroit, Mich.; The Battle Creek Civit \it Center, Battle Creek, Mich "Thirty Contem\
Minneapolis Institute ol \ils. Minneapolis. Minn; Ki.inneil \il Museum. American Paintings." February ;
March 1.
University ol Illinois. I rbana, III; TheSt, Louis \it Museum St I our,. Mo.;
C.ontemporar\ \rts Center. Cincinnati, Ohio; foslyn \rl Museum. Omaha. Museum ol Modem \it (New York, \ ) traveling exhibition '
s

Nebr.; Phe Denver \ii Museum. Denver, Colo.; Seattle \n Museum, Seat einmeiii \ii Projects: Some Distinguished Alumni." Opened Much, timer

tie, Wash.; (
'alitor ma I'alac e ol the I egion ol Honor, San Francisco Calif.:
ary: Obcrlin College, Obeihn. Ohio; Meieei University VI Um
Port Worth \rt Museum. I oil Worth. I'e\.; Des Moines \rt Center. Des versity Ol Nevada, Kino Ne\ . I. noma \it Museum. noma. Wash;I.

Moines, loua; lennessee line \rl Center, Nashville, I enn.; Birmingham National Gallery ol \rl, Washington. D.C., 'state University ol New

Museum ol Art, Birmingham, \la.; \rt Gallery ol Toronto, Toronto, Ontai Oswego. N.Y.; Cranbrook \cademy ol \rt, Bloomfield Hills, Mich: Carle
io; Cornell I niversity, Ithaca, \ ) ; The fohn and Mahle Ringling Museum ton College, Northheld, Mum; Cot I Cedai Rapids, low
College, '.laieinonl.
Ol Art, Sarasota. I"la ; Columbia Museum ol Art, Columbia. S.C. Catalogue. < ( ( '.alii

bibl.. ill., checklist; essay b\ W illiam ( U<< Krannert \n Museum University ol Illinois. Urbana. III. "Contemporary
Cenaucr. I niiK . "I raveling 'ART: 1 SA' Slops ( )H " Vew York Her \merican Painting and Sculpture." Much J \pnl 7. Catalogue: ill., check

aid tribune. March 23, 1965, p. 21.

list; essay by \lhn S Wellei bio by Edwin C Rae.

Goodrich Lloyd. "Portrail ol the \rtist." Woman's Day, Februar) 'Makler Gallery, Philadelphia. Pa "Milton \very." \pril I

1965, pp. 37 41, 92. Columbia Museum ol \rt. Columbia. s.C "Ascendancy ol \merican Paint

"One Canvas Each." London Sunday ing. " April J lime 2.

Russell, John. Times, Februar)
17, 1963. Ihe Corcoran (-alien ol \rt. Washington, DC. I lie \e\\ Tradition."
\pril '

fune 2
"The Waddington Galleries Ltd., London, England "Milton Kvery " Septem
I'oii!. mil \it Museum. Portland. Oreg "20th Century \merican Paint
bet 25 October 2d. Catalogue: bio., ill., checklist; essay by Clement Green
Septembei Octobei I i/a gue: ill., checklist; text by Francis J.
\c»
berg, reprinted from \iK. ?2 (Decembei 1957).
Ion.

"I xhibition Thai Should Not Be Missed." / ondon Times, Octobei 1

Kssociated \merican \rtists, New York, \ "Milton ) Kvery: Etching

1962, p. 17. Woodcuts Octobei 21 Novembei 9. Brochure: bio., ill., checklist
\\oid In S\ h.iu ( oh //
C'.nslin^. \ii;cl. "Opposite Worlds in the Wesl 1 ml." London Ob
servei Weekend Review, Septembei ; " I

B[akei . I [lizabeth] C. "Reviews and Previews." \it New

oei 196 p. 13.
Lambert, Helen. "British Boom Milton \ver) as One ol Besl I
,S

\rtists." International Herald Tribum (Paris), Octobei 3, 1962, p. 5.

Levich, L. E. "Arl and \rlists." Vew )oik journal \merican I

1963 p 7.
"Milton Vvery: Waddington Gallery." The \rts Review, September
22. 1962. Goodman Gallery. Buffalo, N.Y. "Milton \verv." October 27 \
'James
Russell. John. " I he rranquil \ iev. ." / ondon Sunday I imes, St ptem be I I".

bei s", 1962, Magazine s< i lion, \> 40.

'Grace Borgenichl Gallery. \<» York, \ ) "Milton \very." Ot

Stockwood, Jane "Art: Milton \very." Queen, October 9, 1962 Novembei 21.

Suit on. Denys. "Mill on Wery: I he Voice ol Refinement " / ui.uu ial "Arl I ''in lii. Calleries A Critical Cuide." New York H
Times. Octobei I
« I iihune. Novemb

"Makler Gallery, Philadelphia. Pa. "Milton \very." Octobei 9 Novembei 4.

•
iday, |ohn. "Milton \very: I lis New Work Mfirms I lis II

Ven
sition." )oil. Times. Novembei
Makler, Paul rodd. "Milton \very." Prometheus, Septembei 196 Novembi
pp. 17-18.
Callcrii \rts M
University ol Michigan, \nn \rbor, Mich "Contemporary \mt p. 61.
 L[onngren], L(illian]. "Reviews and Previews." Art .Sens, 62 (Decem- The High Museum of Art. Atlanta. Ca. "An Anthology of Modern American
ber 1963). p. 10. ? I -December 6.
Painting." October

".Milton Avery." rime, November 15, 1963. The American Federation of Arts Gallery. New York, N.Y. "Ceramic Sculp
November 30-December II.
ture."
Sandler. Ir\int;. "In the Art Galleries." Veu York Post. November 10,
1963, section 2, p. 14. Gray, Cleve. "Ceramics by Twelve Artists." Art in America, 52 (De-
cember 1964), pp. 27-41.
The Rve Free Reading Room. R\c. Y>. "Avery Family Group Show." No
vember. Roanoke Fine Arts Center, Roanoke. Va. "Randolph Macon Woman's Col

"Avery Exhibiting Paintings

lege Collection." December 6-Januarv 17, 1965.
at Rve Library." Rve Chronicle, No
vember 21, 1963. p. 6. Wadsworth Atheneum. Hartford. Conn. "Recent Accessions." December
17-January 5. 1965.
Whitney Museum of American \rt. Veu York, N.Y. "1963 Annual Exhibi
tion of Contemporar\ American Painting." December 1 1-Februar\ 2. I%4.
Catalogue: ill., checklist. Foreword. 1965
Obituaries:
1964 Berkman, Florence. "Milton Averv. 71, Artist, is Dead." Hartford Times,
Gray. Cleve. "Summertime U.S.A.: Print Review." Art in America. 52 (June January 4, 1965, p. 24.

1964). pp. 102-6. . "Colleagues Memorialize Ex-Hartford Artist." Hartford Times,

January 8, 1965.
Columbus Gallery of Fine Arts, Columbus, Ohio. "The Neuberger Collec-
tion." January 9-February 23. "Died: Milton Avery." Time, January 15, 1965, p. 88.

'Donald Morris Callers, Detroit. Mich. "Milton Avery Paintings." March 8- "Died: Milton Avery." Newsweek, January 18, 1965, p. 57.
31. Brochure: bio., ill., checklist.
"Milton Avery. 1893-1965." Arts Magazine, 39 (January 1965). p. 4.
Hakanson, Jov. "Solos by Yankee Painter, German Sculptor." Detroit
Free Press, March 8. 1964.
"Milton Avery: His Art Accepted After 40 Years." New York Herald Trib-
une, January 4. 1965, p. 14.
"A Painter Who Keeps Shedding Light." Detroit Free Press, March
1964.
"Milton Avery, Internationally Known Artist." Boston Globe, January 1965.
8.

Flint Institute of Arts. Flint. Mich. "The Coming of Color." April 2-30.
"Milton Avery, Noted Painter, Dies in New York." Holyoke (Mass.) Tran-
script Telegram. January 4, 1965.
Catalogue: ill., checklist; Foreword by C. Stuart Hodge.

Fine Arts Gallery, Indiana University, Bloomington, Ind. "American Paint

"Milton Avery Service Set." New York Journal American. January 4, 1965.

ing, 1910 to I960." April 19-May 10. Catalogue: bibi, ill.; Foreword by En "Milton Avery. 71, Dies: Painter Won Late Fame." Washington Post, Janu-
yeart Harper, Introduction by Henry R. Hope. ary 4. 1965, p. B-2.

"Wadsworth Atheneum. Hartford, Conn. "Paintings by Milton Avery." May "Milton Avery, 71, Painter, Is Dead: Pioneer of Abstract Art in U.S. Was
5-31. Self-Taught." New York Times, January 4. 1965, p. 29.

Berkman, Florence. "Atheneum's Avery Show Honors Hartford Art- "Milton Clark Avery, 71, Prize- Winning Painter." Garden City (N.Y.)
ist." Hartford Times. May 9. 1964, p. 28. Newsdav, January 5, 1965, p. 26.

Whitney Museum of American Art, New York, N.Y. "The Friends Collect: "Obituaries: Milton Avery." Art News, 63 (February 1965), p. 6.

Recent Acquisitions of the Friends of the Whitney Museum of American

Willard, Charlotte. "In the Art Galleries." New York Post, January 10, 1965,
Art — 7thFriends' Loan Exhibition." May 8-]une 16. Catalogue: ill. check-
p. 46.
list; Foreword by Hudson D. Walker, essay by Armand C. Erpf.

'3900 Watson Place, Washington, D.C. "Milton Avery." June.

"On the Beach: Six Artists with a Special Interest." Art in America, 53 (June

Getlein. Frank. "24 Superior Milton Avery Paintings on Exhibit in 1965), p. 90.

Apartment Lobby." Washington Sunday Star, June 14, 1964, p. F-5.

"St. Joseph College. West Hartford, Conn. "Milton Avery." January 5-13.
Whitney Museum of American Art, New York, N.Y. "Between the Fairs: 25
"Avery Work to Be Shown." Hartford Times, January 5, 1965, p. 8.
Years of American Art, 1939-1964." June 24-September 23. Catalogue: ill,
checklist; Foreword bv Lloyd Goodrich, Introduction by John 1. H. Baur. "Allen R. Hite Art Institute, University of Louisville, Louisville, Ky. "Milton
Avery. " January 9-29. Catalogue: checklist.
'HCE Gallery, Provincetown, Mass. "Milton Avery." August 21-27.
'Richard Gray Gallery. Chicago, 111. "Milton Avery: Paintings and Draw
"FelixLandau Gallery, Los Angeles, Calif. "Paintings: Milton Avery." Sep-
ings." January 18-Eebruary 27. Brochure: chron.. ill.
tember 9-26.
Friedlander, Alberta R. "Just Across the Street but Worlds Apart."
Seldis. Henry J.
"71-vear-old Avery Recaptures Charm of Youth." Los
Chicago Tribune. February 7, 1965.
Angeles Times, September 14, 1964, section 4, p. 11.

Moses, Paul. "Milton Avery: An Artist of Honesty and Integrity."

Virginia Museum of Fine Arts, Richmond, Va. "Randolph Macon Woman's
Chicago Daily News, January 23, 1965.
College Collection." September 11-October 18.

"Rudolph Galleries, Coral Cables, Fla. "Milton Avery." February.

FAR Gallery, New York, N. Y. "Art in America Drawing Show. " Organized
by Charlotte Willard. October 20-31. Reno, Doris. "Simplicity of Avery's Late Work Is Poetic." Miami
Herald. February 7. 1965, p. 6-H.
Willard, Charlotte. "Drawing Today." Art in America, 52 (October
1964), pp. 49-68. 'Makler Gallery. Philadelphia, Pa. "Milton Avery." February 1-27.

206
 1

Makler, Paul odd "Milton ^very." Prometheus. Januarj 1965,

I
p. 4. Willard I h trlottr In the Wt Callerii Mew ]

191
Wolf, Ben "Studio Letter: Milton \very." I h< Jewish Exponent,
I ebruar) 196 In Brooklyn Museum. Brooklyn. V.)
I "Tht Herbert \ Coldstom <

tion "i \mt rit an \rt funt I Septt ml

The Vch School foi Social Research, Vew York, \ ) "Modern Portraits."
i

February 2 27. Provincetown \it \ssociation, Provincetown Miss. "Provincetown I

Ition I Us/ Show " July.

H[ess], rjhomas] B. "Private Faces in Public Plac< \rl V< h
(Februar) 1965), pp. 56 58,62. Woodstock \rlists \ssociation, Woodstock, \> "Milton {vert Memorial
xhibition " Septembei
I I vhure: ill., checklist; commentary by \i
Portland \it Museum, Portland, Oreg. "Matching thi Masters "
February
nold Blanch.
2> March 2S. lirochure: checklist

"Aver) \n mi Displa) in Woodstock." Albany (N Times-Union,

Tampa \rt Institute, Tampa, Fla "Two Centuries ol American l'<
r |

si ptembei 10, 1965.

from the Collection ol Randolph Macon's Woman's ollege Februai <
'

April 25. Traveled to: Loch Haven \it Center, Orlando, Fla.; niversit) I "Imporl Memorial Shov. al Woodstock Callery." Wood
Gallery. University ol Florida, Gainesville, Fla.; Cummei Gallery ol \rt, stock (N "i i
Week, Septembi
lacksom ilk'. I l.i

"M. \ver) Memorial Shov, \i WAA Caller) Friday." Woodstock

'The Waddington Galleries lid.. London. England. "Milton \very " March (N.Y.) Record Press. S< pti mbr i
-
l'"

2-27. Catalogue: chron., ill., checklist. "Milton \ver) Honored with Memori Middletown
Hun. |.
-'\\ ithoul a Style." \pollo, 81 (Man h 1965), p. 256.
(Conn.) Times Herald, ^ ptembei 1

Gosling, Nigel. "Majors and Minors." London Observer Weekend

I
G "An Wr\ Tribute." Woodstock (NU i
Record Press, Septem
Ik 15. 1965. p
Review, Man h 7, 1965, p. 25.
i

Mullins, Edwin. "Art." London Sunday Telegraph, March 7, 1965.

Donald Moms Callery, Detroit, Mich Croup exhibition. October
vemb< i 16
"The I nique and Purel) Visual \rl ol Milton \very." London
I lines. Mart li 5, 1965.
Museum ol \rt, Carnegie Institute Pittsburgh, Pa. "The Seashore in Paint
ings ol the 19th and 20th Centimes. " October 22 Decembt
The Metropolitan Museum ol \rt, Vew York, V) "Three Centuries ol

American Painting." \pril 9 October 17. Catalogue: bio., bibl., ill.; Introdut
tion b\ Robert Beverly Hale and fames / Rorimer, text by Henry Geld
zahlcr. 1966
|ohnson, I na I Milton Kvery Prints and Drawings. Brooklyn, \ A hi
Vu
. I

Kramer, Hilton. "A World of Shadows." The I e.ulei. \pril

Brookl) n Museum
1965, pp. 28-29.
Wilson, Patricia Boyd. "The Hume Forum." Christian Scienct Monitor. \u
Preston, Stuart. "Art: I hree Hundred Years ol \merican Painting."
gusl 26 1966 p
-

Vu York Times, April 9, 1965, p. 50.

'Rudolph Galleries I I
iWej Fla Milton \very." February.
Leeds City Art Gallery, I eeds, I ngland. " \merican Paintings from the Bloe
"
del Collection." April 10 May In. Catalogue. Traveled to: Chelsea School ol Reno. Dons. "Nev. Shows I
p on Walls of -1 Calleries I Ins Week
Art. London. England. Miami Herald, February 6, l
l
">o.
p

*lnterlochen Arts Academy, Interlochen, Mich. "Milton Avery." April 25- ."One Mm. I wo Man. Croup: Quahts Fine in :

May 2. Catalogue: bio., checklist. Shows." Miami Herald, Februar) 15 1966, p. 6K.

'Museum ol Modem \ii (Neu York, Y> '

traveling exhibition. "Milton 'Donald Morris Gallery. Detroit, Mich. "Milton \\cn Watcrcolors." Febru
Avery." Catalogue: ill . checklist; Introduction b\ Alicia Legg. Opened May. an 20 Much IV.

Itinerary:The Phillips Collection. Washington, D.C.; Mercei University,

'David Mirvish Callery, Toronto Ontario M {very " March 17 \pril 3.
Macon. Ga.; Indiana University, Bloomin^ton. Ind.: Man Washington Col
lege. Fredericksburg, \.i.. Michigan State University, East Lansing, Mich.; Hale, Barrie, "A Show of Merit." Toronto Telegram. March 19
Coe College, Cedar Rapids. Iowa; Witte Memorial Museum. San \ntonio,
Tex.; Colorado Springs line Arts Center. Colorado Springs, Colo.; Madison
Kritzwiser, Ka) M the Calleries: \rtists Wh Scene for the
Croup of 7." Toronto Globe and Mail, March 19, 1966, p. 15.
Art Center. Madison. Wis.; Munson Williams Proctor Institute. I tica, V>.
Malcolmson, Harry. "Harr) Malcolmson." Toronto Telegram
"American Masters." Newsweek. June 21, 1965, p. 88.
26, 1966
Berkman, Florence. "Artist Avery Wins Renown in Washington."
'The Sheldon Memorial \rt Gallery, Lincoln, Vefci "Lincoln \n \s
Hartford Times, Mas 51, 1965, p. 21,
tion Milton Kvery \rt Show \pnl 1 May I Catalogue: ill., checklist; In
Cctlcin, Frank. "Phillips Shows Avery Paintings." Washington Sun troduction In Sorman \ CcsLc. essay l>\ I tank Cetlein. Traveled
day Star. May 25. 1965. p. D-6. ls.ins.is \rts Center. Little Rock, \it.

Hudson. Andrew. "Aver) Has Influenced Abstract in Still I ifc 'Center W ill Cell bratc "
Stuttgart (Ark L 166.

Washington I'ost. |anuar> 16, 1966, p. G-9.

"Biggesl \its Center Show Presents \it World Ciant." Litth
"Milton \verj " Washington Post, Maj 23, 1965, p. C-7. (Ark.) Gazette. Ma) 4, N6o.

South funioi High School, Great VecJt, \ ) " \n I xhibition ol 150 Years ol Haggit Helen "Avery's \i\ an Experience al 1966 Exhibit." Lincoln
American Painting." May 9 22. (Nebi Sunday fournal and Star, \pril 19, 1966 Magazine section

'Grace Borgenicht Gallery, Vu York, V.) "Milton \very." June. "On the Beach in Nebraska." I he Vu Republii \pril In. l°*so.
 "Sheldon Callerv to Displav Half-Million Dollar Collection." The 'Richard Gras Gallery. Chicago. III. "Milton Avery." November 7 -December
Daily Nebraskan, April 6. 1966. 5. Catalogue: ill., checklist: text bs Henry Geldzahler.

Spence, Hoik. "At Sheldon Callerv, Sprint; Is an Avers Work of Art: The Metropolitan Museum of Art. New York, N.Y. "200 Years -if Watercol
Avery 'Highly Personal Artist.' " Lincoln (Nebr.) Sunday journal and December 8 -January 29, 1967.
or Painting in America. "
Star, April 3, 1966, p. ID.

Thiessen. Leonard. "Art in the Midlands: Recognition of Eloquent 1967

Shape." Omaha (Nebr.) Sunday World'Herald. April 17, 1966, Maga- Borsick, Helen. "The Latest Look." Cleveland Plain Dealer. September 2-4,

1967.
zine section.

Schorr, Burt. "Art Works Produced in Federal Programs in 3()'s Are Neglect-
'Esther Stuttman Gallery, Washington. DC. "Milton Avery." April 3-Mas I.
ed." Wall Street Journal. December 21. 1967.
Brochure: ill. checklist; texts bs \delsn D. lireeskin. John Canadas. and
Esther Stuttman. Norton Callerv and School of Art, West Palm Beach, Fla. "A Trio of Ameri
can Painters." February 10-March 12. Brochure: ill., checklist.
Getlein, frank. "Art: Impressive Exhibit of Milton Avery's Work."
Washington Sunday Star. April 3, 1966, section C, p. 3. Kutztown State College. Kutztown, Pa. "American Paintings. 1925-1966,
from the Michner Collection." March 1-31.
"Seven Decades. 1895-1965: Crosscurrents in Modern Art." April 26-May
21. organized by Peter Selz for the Public Education Association, exhibited North Carolina Museum of Art. Raleigh. N.C "American Paintings Since
in ten New York galleries. Works by Avery shown at M. Knoedler & Co.. 1900 from the Permanent Collection. " April 1-25 Catalogue: bio., ill., check
Inc. Catalogue: ill., checklist: text b\ Peter Selz. list.

'The Waddington Galleries Ltd.. London. England. "Milton Avery: Water- University of Georgia, Athens, Ca. "American Painting: the 19-iO's." April

colors. " April 26-May 21. 19-Mav 10. Catalogue: ill., checklist; text by Lester Walker, Jr. Circulated C
by The American Federation of Arts. 'Traveled to: The Art Club of Erie.
Mullaly. Terence. "Milton Avery Water Colours Show Complete
Erie, Pa.; Robertson Center for the Arts and Sciences. Binghamton. N.Y;
Masters-. " London Daily Telegraph. April 27, 1966, p. 19.
Everson Museum of Art, Syracuse, N. >'.,- Kent Bens' School. Kent, Conn.;
Rosenthal. T. C. "Quiet American." London Listener, May 19, 1966, Museum of Fine Arts of St. Petersburg, St. Petersburg, Fla.: Bacardi Imports,

p. 728. Miami, Fla.; Greenville County Museum of Art, Greenville, S.C.; Nassau
Community College. Carden City. N.Y.
Rudolph Calleries. Woodstock. N.Y. "An Exhibition of Einc Paintings and
Sculpture by Outstanding American Artists." Mas. "The Waddington Calleries Ltd., London, England. "Milton Avery: Middle
Period Paintings. 1955-1951." September 26-October 28. Catalogue: ill.
Provincetown Art Association. Provincetown. Mass. "Milton Avery Memori- checklist.
al Exhibit. " August 4-31.
Mullins, Edwin. "First of the Americans." London Sunday Telegram.
"Avery Memorial Exhibition Featured at Provincetown." Cape Cod October 21. 1967.
Standard Times. August 10, 1966.
Oliver, Paul. "Waddington Calleries." (Clipping.)
Berkman. Florence. "Art Club Show Honors Avery." Hartford
Times. August 27. 1966, p. 20. Wykes-Joyce, Max. "London." International Herald Tribune (Path),
October s, 1967.
Driscoll. Edgar ].. )r. "Haven in P Town." Boston Clobe. August 14.

1966. "Donald Morris Callers. Detroit. Mich. "Milton Avery Paintings. 1950-63."
October 1-21. Catalogue: ill., checklist.
Hickik. Ralph ). "P-town Art Association Is Center of Major Colony."
New Bedford (Mass.) Standard Times, August 21, 1966. Broner, Robert. "Avery's Landscapes. Sutton's Rich Figures." Detroit
Free Press. October 1967.
Kay, Jane. "Averv at Provincetown." (Clipping.)

"Milton Averv Memorial Exhibition at Provincetown Art Associa-

tion." Provincetown (Mass.) Advocate, August -1, 1966. p. 1.

1968
Wilson, Patricia Bovd. "The Home Forum." Christian Science Moni Robbins. Daniel. "Collector: Roy Neuberger." Art in America. 56 (Novem-
tor, August 26, 1966, p. 8. ber/December 1968). pp. 46-53.

4/7 and Home Center, Sess York State Exhibition, Syracuse, N.Y. "125
"Rudolph Calleries. Coral Cables. I la. "Milton Avery." February.
Years of New York Stale Painting and Sculpture." August 30-September 5.

Reno. Doris. "A Look Back at Averv Work Is a Study ol Style

Callers Reese Palley, Atlantic City, N.J. "Milton Avery and Family." Sep- Changes." Miami Herald. February II. 1968, p. 2-F.
tember 2-25. Brochure: chron.. ill., Introduction b\ Reese Palley.
T. G. "Milton Averv: Translation of Insight: Droll Cut Out Figures
Randolph Macon Woman's College (Lynchburg, \'a.) traveling exhibition. in Luminous Color." Palm Springs (Fla.) Life, February 1968.
"Paintings from the Collection of American Painting at Randolph Macon
Kent State University, Kent. Ohio. "Second Kent Invitational " February 4-
Woman's College." Opened October. Itinerary: It ilmington Society of Fine
Arts. Wilmington. Del.: Lincoln t niversity, Oxford. Pa.: Montclair \rl Mu 28. Catalogue: ill., checklist; Introduction bs l.eros Flint.

scum. Montclair. N.J.; I niversity ol Worth Carolina. Greensboro. N.C.; J.B.

Waddington Fine Art Galleries. Mnnlic.il. Quebec. Group exhibition. April.
Speed Art Museum. Louisville, Ky.; Tennessee Fine Arts Center. Nashville,
I enn. Avre. Robert. "International Figures at a New Gallery." Monlic.il
Star. April 6, 1968, Entertainments sec lion, p. 14.
'Makler Gallery, Philadelphia, Pa. " Wery: Oils. Watercolors, and Graphics."
Vovembei I 26. Brochure: ill., checklist. 'Grace Borgenicht Callers. Sess York, N.Y. "Milton \very." \pril 27 Mas
24. Catalogue: ill., checklist; note bs Frederick S. H ight.
Donohoe, Victoria. "Philadelphia Art Scene: A\crv Full Range Dis
plaved at Makler." Philadelphia Inquirer. October 30, 1966. section 7, Ashton, Dore. "Milton Avery: \ Painter's Painter at Borgenicht."

p. 6. Arts Magazine. 42 (May 1968), pp. 34 35.

208
 B|cncdikt|, M[ichael], "Reviews and Previews." \rt News, 67 (Sum Artmobile "Tht Randolph-Macon Worn feet ion ol \meri
mei 1968), p. 13. can Art" Organized b) Virginia M I I m< \rts, l<

Traveled to '8 chapters and a/Kliati Museum of Fim

Kramer, Hilton. "Art: For Eye and Spirit." V» York Times.Mi) II,
li' colh gt s and universities -
\ia \ri

1968, p. 30.

'Rudolph Caller ii i
bles, Fla Milton iver) January
K. W. "In the Galleries." \rts Magazine, 42 (Sui ei 1968), p 19

Smith, Criffin. "Avery's Lati Sing." Miami Herald, Janu

Museum ol irt, Rhode Island School ol Design; Brown niversity, Provi I

.us 19, 1969 ection I

p. 2.
"An American Collection." Ma) s funi W Traveled to National
.

dence, R.I.
Collection of Fine \rts, Smithsonian Institution, Washington, D.C. / Millard Tawes Fim \rt (enter. University ol Maryland, Collegt Park,

Frank Oehlschaegei Gallery, Sarasota, Fla "Works from the Estates ot Mil
Ml "Retrospectivi for a Crilk Duncan Phillips." February 12 March 16.
Catalogue: ill checklist; Foreword b) Senatoi \\ illiam Fulbright, P
ton Avery and John Corbino." July .
I

l>\ George Levitine, Introduction b) William II (.Units, essay b) Bt

Paintings "I I wo In I xhibit." Sarasota il la.) Herald Tribune, |une mats.
30, 1968
'David Mirvish Gallery Toronto Ontario Milton \very Land an
"Gallery Reese Palley, San Francisco, Calif. "A Small Retrospective Surve) ol scapes. 1958 60." February 21 March 17. Catalogue ill. checklist
Paintings, and Drawings h\ Milton \very. " Septembei ( atalogut i hecklist;
statement b) Idolph Gottlieb, commemorative essay b) Mark Rothko, ess.
'The \lpha Gallery, Boston. M.iss. "Milton \very." \pril S W Catalogue:
ill checklist, essay by Frank Getlein (reprinted from I niversit) ol V«
by James R Mellow
catalogue, 1966)
Albright. I In im.is \ 1 1 with a 1 \ i t \ isuin." San Francisco Chroni
"Storm King \rt Center, Mountainville, N.Y. "Milton \very: Monotypes,
cle, Septembei 11. 1968, p. 44.
Watercolors. and Drawings " Ma) ;
/i//i 13. Catalogue: ill, checklist
"Milton Aver) Retrospective in S. F. 'Little Guggenheim.'" San word b\ I na I fohnson.
Francisco Sunda) limes Herald, September 22, l%8.
The Museum ot \rt, Vew York, \ ) "A/en York Painting and
Metropolitan
"The K Caller\. Woodstock. Y>. "Milton Avery." September. Sculpture. 1940 1970." Summer. Catalogue: chron., bibl., ill. checklist; es
says b\ Henr) Geldzahier, Harold Rosenberg, Robert Rosenblum, Clement
"Avery .it the 'K.' " September 1968. (Clipping.)
Greenberg, U illiam Rubin, and Mil bat

"The Waddington Galleries Ltd.. London. England "Watercolors: Milton

Shirey, David L. "N.Y. Painting and Sculpture. 1941 19
Aver v. " Oc tober 1-24.
of the Centennial at tin Mel \//s Magazine, 44 (Sept<

Associated American Artists. .Yen )ork. \). "American Master Tunis." ber 1969). pp. 3

October 8 November 2. Catalogue: ill., checklist, commentary.

Museum of Art, Rhode Island School of Design, Providence, R.I. "The \l

The New School for Social Research. Vni )ork. "The Humanist Tra
\ ) bert Pilavin Collection Twentieth Centur) \merican \/t '
C\
dition in Contemporary Painting." Octobei 15 November 23. Catalogue: ill., vembcr 23.

checklist; Foreword b) Paul Mocsany.

I niversit) ol Texas, \ustin, Tex. "Selected Paintings liom the Michm
'Birmingham Museum ol \n. Birmingham, \la. "Milton Avery, 1893 1965." lection." Novembei 2 fanuar) 5, l°70.

October 27-November 24. Catalogue: ill, checklist; note b) Helen Boswell '

"National Collei tion ol I Int \ris. Smithsonian Institution, Washington, l> (

The Neu Britain Museum ol American \/t. Neu Britain, Conn. "The Mil "Milton \very." Decembei I2-Januar) JO, 1970 Catalogue chron., bibl.,

ton Aver) Family." November. Catalogue: ill., checklist; Foreword b) checklist;Foreword and Introduction b\ Adelyn P Breeskin. Traveled to:

Charles II Fergeson. The Brooklyn Museum, Brooklyn \) Columbus Caller)

lumbus. Ohio
Berkman, Florence. "Hartford's Milton \\er\ Important Art Influ-

ence." Hartford Times, Novembei 3, 1968, p. 8-G. Conroy. Sarah Booth "Artist's Widow Now in Clover." Washington
Huh. Vew s. Decembei 12,
S.V.W.B. "Aver) Famil) and Shapiro Featured at \h Museum."
New Britain (Conn.) Herald, November 1968. Cetlein. Frank. "Milton \very: Ness 1 ngland \me\ can H ishing
ton Star, |anuar) 4, 1970, Magazine section, pp 6 7, 12.
''Mailer Gallery, Philadelphia, Pa. "Milton \very: Oils, Watercolors, and
Craphn s " Dei ember 2 11. Bro< hure: ill, < bet klist. Harris, Helen. "Arl Circuit: Milton \\ei\ Rel H men's
Weai Huh Februarj I
i

Donohoe, Victoria. "Aver) after 1940: Subjective Harmony." Phila

delphia Inquirer, December 8, 1968, section ~i, p. 6.
Kramer. Hilton. "Milton \very: \ Confidence ol \ ision." New )ork
I unes. |anuar) 4, 1970, p. 2 I
I

'Donald Morris Gallery, Detroit, Mich. "Milton \ver) Drawings." December

W fanuar) 4, 1969. ."Art: rhe Oeuvre ol Wery and Moholy: Relrosp
Offered b) I
- • Museums." \oi York Times, Februan 21,
Hakanson, Joj "Milton Wery: Colorist in Black and Whit< "Detroit section L, p
News, December li. 1968, section E, p. 2.
Krebs, Belt) Dietz. "Milton \ver) \ Modern Master.' Davton
Reed College, Portland, Oreg "Reed Collegt Permanent \n I
(Ohio) Leisure, \pril 2d. 1970, pp, 22 23,
December II W. 1

Lichl i

rlotte. "Milton Wis." \rts Magazine. 44 M

p. 56.

1969 Marvel, Bill. "The \it Picture: Milton \un I xhibit Harks B
Milkovitch, Mi< hael. " I he New I niversit) Vrt Caller) al Binghaml in." \ii I nne When Beaut\ Was Sou-ht." National Observer, Januan 12.
v
/ournal, 29 i\\ intei 1969 pp 204 19 o

Rose, Barbara, \merican Painting: The Twentieth Century. 1 ausanne, Suit McCaslin, Walter. "Avery's World Basil) Recognizable." Davton
zerland: Mberl Skua. 1969 Journal Herald. Mas 2. 1970.
 .

Paris, |eanne. "Art: Avery Exhibit at Brooklyn Art Museum." / ong "Avery's Family Paintings on Display at Jarvis Gallery." Kingston
Island (N.Y.) Press. March i, 1470. p. 71. (N.Y.) Freeman. July 3, 1970.

Perreault. John. "Art: In and On." The Village Voice, February 26, 'St. Joseph College. West Hartford. Conn. "Milton Avery: Watercolors and
1970, pp. 15-16, 19. Gouaches. " August-September.

Piper. Frances W. "Art League Stages 60th Ma\ Show." Columbus Coldenthal, Jolene. "Exhibition of Milton Avery Work on View at
(Ohio) Dispatch. May 6. 1970. St. Joseph College." Hartford Courant. August 2, 1970.

Powell, Leslie. "Milton Avery at the Brooklyn Museum." The \ illag Miami Dade Junior College. Miami. Fla. "Campus Show." September.
er. February 26. 1970. p. 8.
Smith. Griffin. "Two Superb Oils Lift Campus Show." Miami Her
"The Quiet One." Time. March 16, 1970. pp. 58-59, 61. aid. September 6, 1970, p. 2-H.

Ratcliff, Carter. "New York Letter." Art Internationa/. 14 (Ma\ David Mirvish Callerv. Toronto. Ontario. "The Opening." September 19-
1970), p. 76.
October 10.

Richard. Paul. "Milton Avery's Joy." Washington Post. December 28,

"The David Mirvish Opening Show: Toronto. Sep
Fenton, Terry.
1969. p. C7.
tember-October 1970." Artscanada. 27 (December 1970 January
Shirey, David. "Motivated by Love." Newsweek, December 29. 1969, 1971), pp. 57-58.
58.'
p.
La Boetie. Inc.. New )ork. N.Y. "The Still Poetic Moon." September 22-
Stevens, Elizabeth. "The Gallery: Slice of Orange Moon in Brook- November IS. Catalogue: ill., checklist.

lyn." Wall Street Journal. March 10, 1970, p. 22.

'Grace Borgenicht Gallery, New York. N. )'.
"Milton Avery: Drawings. " Oc
Wasserman. Emily. "New York: Milton Avery. Brooklyn Museum." tober 3 1 -November 25. Catalogue: ill. checklist.

Artforum. 8 (May 1970), pp. 77-78.

A[nderson], L(aurie). "Reviews and Previews." Art News. 69 (Novem-
Wiegers, Mary. "Avery — Artist of the 30's." Washington Post, De- ber 1970), p. 17.
cember 12, 1969, pp. CI -2.
Antironmis. "Reviews: Calleries." Arts Magazine. 45 (November
. "Avery: An Artist's Tenderness Lives." Detroit News. 1970), pp. 60-61.

January -4. 1970. p. 4-E.

Gruen. John. "The Logical Line." New York Magazine. November
23, 1970. p. 79.

Marandel, J.
Patrice. "Lettre de New York." Art International. 15
1970
(January 20, 1971). p. 71.
American Painting. 1900-1970. New York: Time Inc.. 1970.
Mellow, James R. "Avery: A Childlike Art That Was Far From Na-
'The Louisiana Callers. Houston, Tex. "Milton Aver \." February.
ive." New York Sunday Times, November 22, 1970, p. D23.

Holmes, Ann. "Milton Avery's Compelling Concentration." Houston 'The Alpha Callerv. Boston. Mass. "Milton Avery: Works on Paper." No-
Chronicle. February 1970.
vember 5-December 12. Catalogue: ill. checklist.
The Ackland Art Center. University of North Carolina. Chapel Hill, N.C Driscoll. Edgar Jr. "Avery's Quiet World in Lovely Harmony."
J.,
"The Charles and Isabel Eaton Collection of American Paintings." February Boston Globe, November 17, 1970, p. 40.
22-March 22.
"
Grillic, Jean Bargantini. "Milton Avery: 'The American Matisse.'
"Charles Eaton Collection of Paintings Goes on Exhibit at Ackland (Clipping.)
Art Center." Chapel Hill (N.C.) Weekly. February 25. 1970.
Koethe, John. "Boston: Averv's Spaces." Art News. 69 (January 1971).
"Eatons Show Paintings at Ackland." Raleigh (N.C.) News and Ob- p. 12.
server, March 1, 1970, section 5.

Loercher, Diana. "American Artists: Two Individualists." Christian

David Mirvish Gallery. Toronto. Ontario. Croup exhibition. March 2-31. Science Monitor, December 4. 1970, p. 17.

Indiana University Art Museum. Bloomington. Ind. "The American Scene, 'Richard Cray Gallery, Chicago, 111. "Milton Avery: Works on Paper." No-
1900 to 1970." April 6-May 17. Catalogue. vember 7-December 4. Brochure: checklist.

'Waddington Fine Art Galleries, Montreal. Quebec. "Milton Avery: Water- Clauber, Robert. "Holds Suspense Till Next Week." Chicago Sky-
colors, Paintings, Drawings." April 7-25. Catalogue: ill., checklist.
December 9. 1970. p.
line. 1 I

Ayre. Robert. "A Quintessence of Nature." Montreal Star. April 4.

Schulze. Franz. "The Remarkable Mr. Rauschenberg." Chicago Dai
1970. Art section, pp. 8-9. ly News. December 1970.
Lord. Barry. "Milton Avery: Waddington— Montreal, April 1970."
Artscanada. 27 (June 1970). p. 61.

1971
"The Washington Art Gallery. Washington. Conn. "Milton Avery." June 13-
'Donald Morris Callerv. Detroit. Mich. "Milton Avery: Paintings. 1941-
julv 4.
1949." January 2J-Februarv 20. Catalogue: ill.

Berkman, Florence. "Avery Never Lost Touch with Nature." Hart-

Hakanson, Joy. "Averv 40's Oils Strongest." Detroit Sunday News.
ford Times. June 21. 1970. p. 22-D.
January 31. 1971, p. 4-E.

Bruat. J.
E. " 'Confidence of Vision' Milton Avery Exhibit." New
'William Cooper Proctor Art Center. Bard College. Annandale on Hudson.
Mil ford (Conn.) Times. June 11, 1970.
N.Y. "Milton Avery: Works on Paper." February 4-28. Catalogue: ill.
Jarvis Gallery, Woodstock, N.Y. "The Avery Family." July 4-31. checklist; essay by Matt Phillips.

210
 "Diverse ralents ol Milton \very on Display in I nnsn.il I xhibit." I ociated \merican \rlists. \< » York. \ > "American M.nta Prints H
Kingston (fi2\ I).ul\ Freeman, |anuary :
>", 19 I
Sovembei I < ill., checklist, commentary

'University of California. Irvine. CalU "Milton \ver) I att Paintings [bilent Fint \its Museum, \bih Selections limn tin Michnei
1963)." February March H. Catalogue: 16 bibl., ill., <hi<Uist. essay b) \o\i nbei 2 i 29.
Stephanie Gordon Woland
University ol Texas, \ us tin, l,\ \m \l Realism Between the
Carver, Thomas II. "Los \ngeles: Milton Avery I
nC, Irvini Wars Its Roots and Ramifications." Sovembei H 21
\rtforum, 9 |
Vpril 1971 1, pp 86 87.
I .i Ho, ii< in, \,n York, V.V. "A Selection of 20th Century Master Draw
Howell, Betj< "No Neal Pigeonhole foi Wery "
Los \ngeles Herald ings. " Vow mbei Dect mber.
I xaminer, I ebruary 28, 1971

Seldis, Henry |. "Ecumenical ( Ih.ipi I ,i 1 itting I in ion men i I loi Keith

ko Canvases Best of Intentions." Los \ngeles Times, March 7, 1971,

C lalendai sec tion, p. 54.
Chandler. John Noil "Notes Inwards a \ew \esthetics." \rtscanada. 29
'Maklei Gallery, Philadelphia, Pa "Milton \very." February 26 March ;
l 1 1, tobr i Now mbi r 19 tl.

Brochure: ill., che< khst

'Cract Borgenicht Gallery, V« York, \ > Milton \very: Walercolors,
Donohoe, Victoria. "Gallery rour: I In Subtlety and Powei ol th« Monotypes Oils on Papei " /am/an •/ . I Ualogue: ill., checklist; Fore
Late \liltiiii Avery." Philadelphia Inquirer, February 26, 1971, >e< I wind In I rank Cetlein.
A. p. 14.
Campbell, Lawrenci "The Monotype." \rt ''Jews. 70 (January
I'nivcrsih ol 'Texas. \usim. 'Tex. "Resources from the Michnei ( bllection pp. -1-4 47.
March 20 July 18.
Heifer, Judith "Kunst: Aus Milton Averys Werk Olbilder, Monoty
'The Waddington Galleries Ltd., London, England. "Milton \very: Paint pien, \quarelle." 1 ulb.ru. January 14, 19
ings." March >/ -April 24.
Kramer, Hilton "Avery's Mastery in Paintings on Papei Vett )ork
Mullaly, rerence. "Lessons foi Artists in Milton Avery's Show." Lon I nut I 1972, sec tion I p
don Daily Telegraph. April 6, 1971.
Mikotajuk, \ndrea "Reviews In tin Callerii M
'The Louisiana Gallery. Houston, Tex "Milton \very." May I , bruary 19 i
p. 66.

The Museum ol Modem \rt. V-u York. V) "Ways of Looking." July 28 Rudolph Galleries. Coral Cables, I la. "Little Gems." February March
November I.
Smith. Griffin. "A Look at Massin, Avery, and Clarl Hei
Mellow, James K. "I low ll 1 ooks liom Cc/anne to Pop." \t u )ork aid. February 19 2 p 2 M
I inic. \m;iist IS, |97|, section D, p. 17.
Reynolda House, Win V.C Randolph Macon at Reynolda
'Pasadena Art Museum, Pasadena, Calif. "Avery 's Late Paintings " \ugust 3 Houst " Man h I 7 26
29.
The Harmon Gallery, Naples Fla "American Masters." \pril I

St. James. Ashley. "Less Is More." Christian Science Monitor \ugusl

"American Masters i nhibil to ( in, Harmon Caller
3, 1971, p. 8.
()pen Show " Naplt s (Fla.) Pails Vu ?, Vpril °. 1972.

'Waddington Fine \rt Galleries, Montreal, Quebec. "Milton ivery Prints."

"I mm Gallery, Washington D.( Milton \very: Paintings. Walercolors.
August 2> -September II.
and Drawings \pril 22 May 17.

Allentown Art Museum, \llentown, I'.i. "Paintings by Milton Kvery and His
Forgey, Benjamin "Let's Say It Simply: \ Beautiful Show Washing
Family." September -t 26. Catalogue: ill., checklist; essay by Frank Cetlein.
ton Star. April 23, 1972, p. C-7.
"Aver\'s 'Cubed Impressions' Created a New Tradition." Bethlehem
"Milton \\eis Exhibition at Lunn Gallery." Thi I <wner,
(Pa.) Globe Times, August 14, 1971.
April 20, I'

"Major Exhibition to Open \it Museum Season" Mlentown Pa

Richard, Paul "Steps Vlong I hi Path' Washington Tost. \l
Sundas Call Chroncle, August 29, 1971, section I , p. I 8
1972, p. Bll.

lnnersit\ ol Te\as. \ustm. /ex. "Crosscurrents in 20th Century \merican

Comsky Gallery, Beverly Hills, Calif. "Milton \very: Works on Taper"
Art: from the Michnei Collection." September H October i
Ma\ 12 lime 12 Catalogue: bio., ill.

'Louise /.'.
Thome Memorial Art Gallery, Keene St.ite College, Keene, \ //
Sleldis], Hleni \rl Walk" I os \ngeles limes. Mas 16, 1972.
"The Sea b\ Milton \very." September 26 October 16. Catalogue: ill.,

checklist; Foreword by Henry Geldzahler. Traveled to: The Currier Gallery National < 'ollet tion ol I ine \rts. Smithsonian Institution. Washington, /><
of Art, Manchester \ll. Williams College Museum of Art, Williamstown, "The Monotype: \n Edition of One." July Catalogue: ill., checklist, has
Mass. eled to: I niversity ol Connecticut, Storrs, Conn.. Charles II Mat Sulci Mu
scum. Mason ( i!\ . Iowa
"Paintings by \very to Be Seen." The Monadnock (Keene Stat< ( ol

lege. Keene, N.H.), Septembei 11. 1971. "Art 1 xhibil Si I Mason City :ette, Man h 20,

1972.
The Hudson liner Museum. Yonkers, V) "20th Century Painting and
Sculpture from the Nen )orL I niversity \rt Collation " October I Vo Cutler. Carol. " I Ik I w ilighl Era ol M n '

.
H
i ember IS. July 22. 1972, p. D9

foslyn \rt Museum. (>m.ili.i. \ebi "The Thirties Decade \merican \itists 'An Edition ol One' il UCONN Callery." Willimanl
and Their European Contemporaries." October lit November 28 Chronicle. Octobei 18 1972.

211
 "

Forgev. Benjamin. "lour Men & The Monotype: Small in Scale, Garrett, Kathv. "Horizons: Art — Milton Avery Prints at the Fogg."
Large in Appeal." Washington Star, Julv 7, 1972, section E. Crimson Review (Harvard University, Cambridge Mass.), April 1974.

"The William Benton Museum of Art." Norwich iConn.) Bulletin. "Imagery Shown in Print Collection." Beaumont (Tex.) Journal, July
October 22. 1972. 17. 1975'.

"L Conn Art Museum F.xhibits Monotypes." Springfield (Mass.) Daily Lewis, Jo Ann. "An Updating on the Corcoran." Washington Star-
\ews. October 18. 1972. News, January 18, 1972.

"Lubin House Callcr\. Syracuse University, Syracuse. N.Y. "Milton Avery Weinstein, Ann. "Avery's Work Quiet, Monumental, with a
Drawings." November 21 -December l\ Brochure: ill., checklist; essay by Rhythm." Roanoke (Va.) Times & World News, September 18, 1977.
August L. Freundhch.
"Rudolph Galleries. Coral Cables. Fla. "The Graphic Work of Milton Averv,
I niversity of Texas. Austin. "The Michner Tex. Collection: American 1933-1955." February;
Paintings of the 20th Century." November 22-March I, 1973.
Smith. Griffin. "Milton Avery's 1933-1955 Craphics." Miami Herald.
Louisiana Callers. Houston. Tex. Croup exhibition. December. February 11. 1973, p. 8 F.

"Art Circle Pictures for Every Taste and Pocketbook." Houston Grace Borgenicht Gallery; New York, N. Y. "Still Life: Avery and the Euro
Chronicle. December 1, 1972.
pean Masters. " February 3-March I.

Mellow. James R. "Avery— A Modern Master?" New York Times.

1973
February 11, 1973, section D, p. 25.
Makler, Paul Todd. "Milton Avery." Prometheus Bound. Philadelphia: Paul
Todd Makler. Lowe Art Museum. University of Miami. Miami. Fla. "The American
Prophets." February 22-March 25. Catalogue: ill., checklist; Preface by John
°Comsk\ Gallery, Beverly Hills. Calif. "Milton Avery: Paintings. Watercol-
J.
Barratte. Introduction bv Paul E. Thompson, essay by Robert M. Dotv.
ors. and Prints. "January 26-February 24.
"Crace Borgenicht Gallery. New York. N. Y. "Milton Averv: Oil Crayons.
S[eldis], H[enrv] ). "A Critical Cuide to the Galleries— Beverly Hills."
March 3 1 -April 26. Catalogue: ill., checklist.
Los Angeles Times. January 26, 1973, section 4, p. 8.
Baker, Kenneth. "Making Abstract Art Work." Christian Science
'Associated American Artists, New York, N.Y. "Milton Avery (1893-1965):
Monitor. May 18. 1973, p. 17.
The Complete Collection of Etchings. Lithographs, and Woodcuts from
1933-1955." January 29-February 17. Kramer, Hilton. "New Avery Aspects: Paintings on Paper." New
York Times. April 14, 1973, section L, p. 29.
Brown, Cordon. "Reviews: New York." Arts Magazine. 47 (March
1973). p. 86. Schwartz. Sanford. "New York Letter." Art International. 17 (April
1973j, p. 51.
Mellow, James R. "Avery— A Modern Master?" New York Times.
February II. 1973. section D, p. 25. Tannenbaum, Judith. "New York Galleries: Milton Avery." Arts
Magazine. 48 (September/October 1973), p. 70.
Shirev, David L. "Reviews and Previews." Art News. 72 (March
1973), pp. 80, 84. "Waddington Fine Art Calleries. Montreal. Quebec. "Milton Avery." March
31 -April 21.
'The Corcoran Gallery of Art. Washington. DC. "The Graphic Work of
Milton Avery." January-February . Catalogue: chron.. bibi. ill., checklist: In "L'hesitation d'Avery." La Presse (Montreal), April 7, 1973.

Induction by Harry I unn. Jr.. essays by Frank Cetlein and Alan Fern. Orga
'Tirca Karlis Gallery, Provincetown. Mass. "Milton Avery." July.
nized bv the Lunn Gallery, Washington. D.C; circulated by the Internation-
al Exhibitions Foundation to: Indianapolis Museum of Art. Indianapolis. Ind.; Crace Borgenicht Gallery; New York, N.Y. Group exhibition. July-August.
Portland Museum of Art. Portland. Maine; Telfair Academy of Arts and Sci-
'The Waddington Calleries Ltd.. London, England. "Milton Avery ." Septem
ences. Inc.. Savannah. Ga.; St. Paul's School. Concord. N.H.;
Fogg Art Muse-
bcr lS-October.
um. Harvard University, Cambridge. Mass.; Hopkins Center, Dartmouth
College. Hanover. N.H.; Hunter Museum of Art. Chattanooga. Tenn.; Fort Marie. Judy. "Reviews: Milton Avery at the Waddington Gallery."
Lauderdale Museum of the Arts. Inc.. Fort Lauderdale. Fla.; Dulin Gallery of Studio International. 186 (November 1973), pp. 199-200.
Art. Knoxville, Tenn.; L^heodore Lyman Wright Art Center, Beloit College.
The Alpha Gallery, Boston, Mass. "Milton Avery." October 5-30. Cata
Beloit. Wis.; California State University Art Gallery. Northridge. Calif; The
logue: ill., checklist.
Mint Museum of N.C; Beaumont Art Museum. Beaumont,
Art. Charlotte.
Tex.; Colorado Springs Fine Arts Center, Colorado Springs, Colo.; The Bal- "Andre Emmerich Gallery, New York. N.Y. "Milton Avery: The Caspe Pen
timore Museum of Art, Baltimore. Md.; Hacklev Art Museum. Muskegon. insula. Summer. 1938." October 21-November 14.

111.; Western Illinois I niversity Art Gallery, Macomb. 111.; LSU Union. Loui-
Campbell, Lawrence. "Reviews and Previews." Art News, 72 (De
siana State I Diversity, Baton Rouge, La.; Albrecht Art Museum. St. Joseph.
cember 1973), pp. 94, 96.
Mo..- Art Gallery. University of Southern Maine. Corham. Maine; Pratt
Graphics Center, New York, N.Y.; \rt Gallery, Camden College of Arts and Derfner, Phyllis. "New York." Art International. 18 (January 20.
Sciences. Rutgers University, Camden. N.J.; Art Gallery. Osvens Hall. Vii 1974). pp. 18-20.
ginia Polytechnic Institute and State I niversity. Blacksburg. Va.; Art Gallery
of Hamilton. Hamilton. Ontario; W R. Harper College. Kramer. Hilton. "Modern Master Drawings Are Shown." Vu York
Palatine. 111.: Glen
bow- Alberta Times, November 10, 1973, section L, p. 27.
Institute. Calgary. Alberta; Ml. Hood Community College.
Cresham. Oreg.: Tyler Museum of Art. Tyler. Tex.; Art Exhibition Pro Loercher, Diana. "The Lyrics of an Artist." Christian Science Moni
gram. St. Edward's I niversity, Austin. Tex.: Southern Alleghenies Museum tor. December 14, 1973, p. 25.
of Art. Loretto. Pa.; Art Gallery. Ion son Slate College, Ton son. Md.
'Housatonic Museum of \rt. Housatonic Regional Community College.
Dunbar. Jill. "When Avery's Physician Prescribed Graphics and Ben- Bridgeport. Conn. "Milton Avery Drawings." November. Catalogue: chron..
ton Painted Walls." The \ Wager, June 23, 197". p. II. bibi. ill., checklist; essay by Burt Chernow.

212
 U Knoedlei & Co., In, . New York, \ ) "19th & 20th Centur) \rt " No B( rkman, I lor< nee I he I lirshhorn Spe< i

vember. rim r 6, 1974

'Maklet Gallery, Philadelphia, Pa. "Milton \\en " November 'Louisiana Gallery, Houston, Tex
logue: ill . checklist. ni Milton \very October November

Donohoe, \ ictoria "Practicing Ihe I iru \rts ol Diplomai j

" /'////.) The Harmon Caller) Naples, Fla "Twelfth \nnual O Exhibi
delphia Inquirer. June 24. 1973, sc< tion (' p. 11 tion " Novembt i

"Miliiiii \ver) .it Makler." (Clippin Bennet, Cale. "Sec a So Si

New s Press, Nov< ibi i 1974.

A.C.A. Galleries, New York, \ ) "20th Centur) \mericans " December
Catalogue: ill I In \lpha Gallery, Boston, Mass "Modern M hies " Novt
/ 26
Makler Gallery, Philadelphia, Pa. "Christmas Show Works on Paper " De
(.ember 1-22. William Zierler Int \<» Yorl \ ) \merican ''
1944
1974 " Novembei 2 JO Catalogue.

1974 1975
'Rudolph Galleries, Coral Cables, Fla "Milton \very "January February. 'David Gallery. Pittsford, N.Y. "Milton \very Paintings and Drawing
u.ux ' 24.
Smith, Griffin. "Zuiiiga, \ppcl. \\cr\ on Displaj Here." Miami Her
aid. |.inu.ii\ 27, 1974, p. 11L. 'Comsky Gallery, Beverly Hills, Calif. "Milton \very "January /'' February
v
Grace Borgenichl Gallery, New ioik. \ ) "Tht Figure: Inn and the
European Masters." February 2 28. Grace Borgenichl Gallery, New York, \ ) "The Landscape, \very and the
European Masters." February I
2~
Mellow, |ames R. "2nd Show Pits Avery's Art Against I uropean
\\ orks." Vu )ork I ime\. I ebruar) 9, l
l
'~4, sec lion I ,, p. 25, Russell. John. "Arl Nol So Much the Classes as the I ighl " New
York Times. February 22, 1975, section L, p
Tannenbaum, Judith. "Ails Reviews." \its Magazine. 4H (April
1974), p. 69. I annenbaum. |udith "Arts Reviews." \rts Magazine, M
1975). pp. 14 15.
Associated American Artists, New font, V.V! "American Master Prints III"
March 2> \/>n/ /.S. Catalogue: bibl.. ill., checklist, commentary. Museo Nacional de Bellas \rtes, Universidad de ( Chile.
\merican Paintings ol the 20th Century: Sele< turns I runt the Mic liner Col
Wildenstein & Co., Inc., New Kor/r, \ 1 "Selections from the Cone Collet
In tion February 2 December 28 Traveled to: M \rte Italiano,
tion." March 29 May 4.
Lima. Peru; Museo Nacional d< Bellas Artes, Buenos \ires, \rgentina; Bib

Kramer, Hilton "( )ollecting Picasso and Matisse." \fen York Times, lioteca Luis Angel del Banco de la Republic. i. Bogota. Colombia; Musi
March $1, 1974, section D, p. 27. cional de Belas \rtes. Rio de Janeiro. Brazil; Instituto Cuatemalteca \merr
cano de Culturo, Guatemala City, Guatemala; Museo d< \rtt Moderno,
"I unn Gallery, Washington, D.G "Milton Avery: Paintings, Watercolors &
Mexii o City, Mc \ic o.
Drawings." May 4 June 18. Catalogue: bio., ill., checklist; note by Hilton
Kramer. Kennedy Galleries. New York, N.Y. "The Hundredth Anniversary Exhibi
tion of Paintings and Sculptures by 100 Irtists \ssociated with tht \rt Stu
Forgey, Benjamin. "Painterlj Virtuosit) (or Its Own Sake: roo dents I c lgue ol New York." Match 6 29. Catalogue: ill., checklist; Introdui
rempting." Washington Star Sews, Ma) 13, 1974, p D-4. inm In Laurence Campbell, commentary on \very by Michael Fried.
Richard. Paul. "Museum Ouahu Show." Washington Post, Ma) 15,
'David Mirvish Gallery, Toronto, Ontario. "Milton \very." Much IS I

1974, p. C9.

London Publk Library and Museum. London, Ontario "Selections Irom the
Andrew Crispo Gallery, New York, N.Y. "Ten Americans: Masters ol Wa
Corcoran Gallery." \ptd 4 May 5. Catalogue: ill., text
tercolor." May I7-June 10 Catalogue, Foreword by indrew
ill.; I

The \lpha Gallery. Boston. Mass. "Milton Works on Paper "

essay on \very by George Mbert Perret \very: April
26 Mac 24.
Frackman, Noel. "The I nticemenl ol Watercolor." \rts Magazine,
48 (June 1974), pp. 46 48 raylor, Robert. "A Rare Milton \ver) I xhibit." Boston Globe, Ma\
15. 1975, p. Vs.
Kramer, Hilton "Arl Water-Coloi Mastery." Vu York Times.Ma)
25, 1974, section I .
p. 25. Webb and Parsons Gallery. Bedford. N.Y. "The \very Family: Milton. Sal
ly, and March." Mac 10 lime 14. Brochure: checklist.
Mellow, |ames R. "A Hundred Years ol American Masters ol Watei
coloi " New York limey June 2, 1974, section D, p I

\merika Haus. West Halm. West Germany. "Form and the Creativt
ess Selections from the Michnei Collection." Ma\ IS /unt
I In Mariannt Friedland Gallery, Toronto, Ontario "Group Show
May. The Cleveland Museum ol \rt, Cleveland. Ohio "Landscapes, Inter

Exterior: {very Rothko. and Schueler." July y August II i

farvis Gallery. Woodstock. V) "Avery Family Exhibition." July.

bibl.. ill., checklist. Preface, Introduction, and commentate on \very

University ol Texas, \ustin, Tex. "20th Century Pa The lust Five waul H I U nning.
Decides From the Michner Collection." July 22 fanuary \ I97S.
Portland \n Museum. Portland. Oreg 'American Paintings from tht

Brentano's Gallery. New York, \ ) "The Nude." September. Ice tion " \ugust 3-11. Cai checklist:

Hirshhorn Museum and Sculpturt Garden, Smithsonian Institution. Wash ited \merican \rlists, V< » )oik \ ) "By the sc i By tht Sea, H\
"
ington D.G "Inaugural I xhibition "October I September IS, 1975. the Beautiful Sea \ugusl II September l\

213
Phillips Collation (Washington, D.C.) traveling exhibition. "American \rl Coldenthal. Jolene. "Avery's Sculptured Landscapes." Hartford Cou
from the Phillips Collection: A Selection of Paintings, 1900-1950." Opened rant. March 28. 1976, p. 10F.
September. Catalogue. Itinerary: University of Wyoming. Laramie. Wyo.;
Utah State I Diversity, Logan, Utah; Brigham Young University, Provo.
Goldring. William. "Avery and Schofield: Two Views of New En-

I tah: I he Denver Art Museum. Denver. Colo.: University of New Mexico,

gland." Hartford Chronicle. March 13, 1976.

Albuquerque. N.M.; The Phillips Collection. Washington. D.C. Trimel. Suzanne. "Breathless Ride on Landscape Carousel." Con
necticut Daily Campus, April 8, 1976, p. 8.
Donald Morris Caller\. Detroit. Mich. "Modern Mavericks. African Mas-
ters. " October. Maklcr Callerx. Philadelphia. Pa. "Works on Paper." March 22-April 17.

Catalogue: ill., checklist.

Colby, Joy Hakanson. "Celebration, Survival at Birmingham Gal-
lery." Detroit News, October 5, 1975, p. 2 H. "Marianne Friedland Callers. Toronto. Ontario. "Milton Avery." April 10-

"Modern Mavericks. African Masters at Morris Gallery. Detroit

May 5.

Free Press. October 5, 1975. "Important Milton Avery Show at Marianne Friedland." Toronto
Calendar Magazine, March 26, 1976.
Museum of Fine Arts. St. Petersburg. Fla. "Figure as Form: American Paint
ing, l°>0-1975." November 25-January 4. 1975. Catalogue: ill., checklist; es- Purdie. James. "Avery and Brooker Acclaimed at Last." Toronto
say by Margaret Miller. Traveled to: Florida Center for the Arts. Tampa. Globe and Mail. April 24, 1976.
Fla.. Columbus Museum of Arts and Sciences. Inc.. Columbus. Ca.
'Makler Callen, Philadelphia. Pa. "Milton Avery." April 19-Mav 22. Cata-
Andre Fmmench Gallery, New York, N. Y. "Works on Paper. " December 6- logue: checklist.
Januar\ b. 1976.
Donohoe. Victoria. "Gallery Highlights." Philadelphia Inquirer. May
Whitney Museum of American Art, New York, N.Y. "Young Americans: A 2, 1976, p. 11C.
Selection of Paintings from the Collection of the Pennsylvania Academy of
the Pine Arts." December 1 1 -February 12, 1976. Catalogue: bibl. ill., check- 'Richard Cray Gallery, Chicago, III. "Milton Avery: Prints." May 29-August
list: Preface bv John McCoubrev: Introductions by Louise W. Lippincott and 10.

Richard J Boyle. .

Andrew Crispo Gallery, New York, N.Y. "Important Paintings. Drawings,

Sculpture and Graphics of the 19th and 20th Centuries. "July 1 -August 31.
1976
The Brooklyn Museum, Brooklyn. N. Y. "American Watercolors and Pastels
Kramer, Hilton. "The Guggenheim's Sense of History Is Askew." New York
from the Museum Collection." Juh ^-September 19.
Times, November 28, 1976, section D. p. 39.

University of Texas, Austin, Tex. "20th Century American Figurative Paint

Russell, John. "The Artist Before the Camera." New York Times, February
ings in the Michner Collection." July 4- August I.
IS, 1976, section D, p. 35.

Jarvis Gallery. Woodstock, N. Y. "Third Annual Avery Family Exhibit." Au-

The Katonah Gallery. Katonah, N.Y. "American Painting, 1900-1976." Jan u
gust 1-31.
ary I7-March 14. Catalogue: bio., ill., checklist: Foreword by Ellen R. Cab
ell. Introduction and essay by John I. H. Baur. "Third Annual Avery Family Show at Jarvis Gallery." Woodstock
(N.Y.) Times. July 29, 1976.
"Tibor de Nagv Gallery. New York, N.Y. "Milton Avery." January 24-Febru-
ary 12. Associated American Artists, New York, N.Y. "Let Us Entertain You." Au-
gust 2-September II.
Lorber, Richard. "Arts Reviews." Arts Magazine, 50 (April 1976), p.
20. "Michael Berger Gallery. Pittsburgh. Pa. "Milton Avery: 23 Works on Pa
per." September 18-October 17.
Kramer. Hilton. "Art: Avery's Seascapes and the Masters." New York
Times, January 31, 1976, section L, p. 21. The Museum of Modern Art. New
"The Natural Paradise: Paint-
York, N.Y.
ing in America, 1800-1950. October I-November 30. Catalogue: ill., check-
Grace Borgenicht Gallery, New York, N. Y. "The Seascape: Avery and the
list; essays bv Barbara Novak. Robert Rosenblum. and John Wilmerding.
European Masters." January 31-February 26.
Rutgers University Art Callery, New Brunswick, N.J. "Mr. Kreeger's Collec-
Kramer, Hilton. "Art: Avery's Seascapes and the Masters." New York tion. " October.
Times, January 31, 1976, section L, p. 21.
Shirey, David. "Two Exhibitions at Rutgers." New York Times, Oc-
Tannenbaum, Judith. "Arts Reviews." Arts Magazine. 50 (April
tober 10, 1976. section NJ, p. 38.
1976). p. 28.

"Center Callery, University of Maine at Portland Corham, Corham, Maine.

Roko Gallery, New York, N. Y. "Memorial to Michael. " February.
"Milton Avery Prints from 1933 to 1955." October 6-November 5.

Bourdon, David. "Why Photographers Like Artists." The Village

Northern Virginia Community College, Annandale, Va. "A Sampler of
Voice. February 23, 1976, p. 39. "
American Painting. October 10-November 18.

Louisiana Gallery, Houston, Tex. "Avery, Picasso, Leger: An American and Associated American Artists. New York. N.Y. "American Master Prints III."
Two European Masters. " March.
checklist; Introduction by Sylvan
October 11-30. Catalogue: bio., bibl., ill.,

'The William Benton Museum of Art, University of Connecticut. Storrs, Cole, Jr.

Conn. "Milton Avery and the Landscape." March 1 5- April 16. Catalogue:
Esther Robles Callery. San Francisco, Calif. "Some Aspects of the American
ill., checklist; essay by Stephanie Terenzio.
Scene: Paintings and Drawings, 1913-1976. " October 18-December 11. Cata-
Berkman, Florence. "The Landscapes of Milton Avery Are on View logue.

at the Benton Museum." Hartford Times, March 21, 1976, pp. 32, 34.
James Yu Gallery. New York. N.Y. "Seven Decades of MacDowell Artists."
"Exhibit Records Artist's Northeast Travels." University of Connec- October 24-28. Catalogue: ill; Preface by Thomas Messer. Introduction by
ticut Chronicle, March 15, 1976, p. 3. Russell Lvnes.

214
 Yares Callery. Scottsdale, \riz Croup exhibition. Octobei Vovembet Yares Callery Scottsdale, \riz "Prints and Works o
The Museum ol Modern \rt, Vew )oik. \ ) "Print \cquisitiom " V 'Graphics \its Collection, Fireslont Library, Princeton University, /

ber 23 February 20, 1977. ton. \ / Milton \very Mono! ypi May I

n word by O. Rothrock, essay by Bonnie Lee

Russell, |ohn. "Arl Quality and \crobats in Prints." Vn York
I <

rimes, Dei embei 51, 1976, section L, p. ( 16

'Lunn Gallery, Washington. D.C "Milton \very: Paintin
Di.iw ings " May 21 juh v.
'University ol Texas \rt Museum, \ustin, Tex "Milton \very: Drawings
and Paintings." Decembet S Februa bibl., ill., check
y, Benjamin "Milton \very I
Ml \i m v.
list; Introduction In Earl \ Powell III. essay by Harvey S Shiply Millet
I ,

Post, June 21, 1977. pp 20

Traveled to: Summit \it Center. Summit \ /.. I In Phillip: I
.

Washington, D.C Richard. Paul. M \IK ,,| the Wi I

id Post, May 21, 19

Forgey, Benjamin. "Milton \very Is \ll Kround rown." Wash)
Post. |une 21, 1977, pp 20 21
'Middendorf Callery, Washin i Wen M runts."
Richard. Paul. "Avery: Ally ol the Weekend Painter." Washii May 21 July 9.
Post. May 21, 1977, pp. CI, ( 10
Forgey. Benjamin. "Milton \very Is Ml \ round Town.' ''

Shirey, David
--
I "\ isual Works ol \lilion Wery." Vn )ork Times, Post. June 21, 1977. pp 20.

1 '
\ptil 10, I , p. 16.
I In Musi tun ot Fine \its. Houston. Ii\ "Modern \mcrit.in Painting.
'Hirshhorn Museum and Sculpture Carden, Smithsonian Institution, Wash 1910 1940." July I September 2S. Catalogue: ill., checklist, Forewoi
ington, D.C. "Milton \very. Selections from the Collection." Decembet /
;
essay by W illi.nu ( I

November 17. 1977.

•
I Katonah Callery. Katonah, Y). "Milton \very: I In Late Years." July
In

17 September 4. Brochure: checklist; memorial address by M.irk Rothko

1977 Beals. Katherine "Milton \very Katonah Ca

al Westchestet
Wallach. Alan. "Trouble in Paradise." Artlorum. 15 ()anuarv 1977), pp. 28- \ Weekend. 15.
> July |9
35.
Chernov Burl "Avery: Everywhere Was Ihs Studio." Fairfield
Vassar College Art Callery. Poughkeepsie. N.Y. "Woodstock: An American (Conn. i Fairpress, August 10, 1977, p B7
Art Colony. 1902-1977." January 23-February 4. Catalogue.
Whitney Museum ol \merican \rt, Veu York, \> "Twentieth Century
Grace Borgenicht Callery, New York, N.Y. "The Nude: Milton Avery and American Art from I riends' Collet lions. "
(uly 27 September S I

the European Masters. " February S-March ?.

ihct klist; essay by Tom \rmst

B. C. "Milton Averv and the European Masters." \rt World. Febru The Edmonton \rt Gallery, Edmonton, Mberta. "The Fauvt Het
arv 1977. Septembet 9 Octobei 10. Brochure: checklist.

Harnett. Lile. "Exhibiting the Nude." Cue, February 18, 1977, p. 28. Whitney Museum ol \merican \rt. V» York, Y) "Paintings and Sculp
Karlins. N. F. "Callery Guide: Milton Avery." East Side Express,
tine Promised to the Whitney Museum ol Kmerican \rt by Mis Percy

February 17, 1977. p. 17.

Uris." Septembet •

klist; essay l>\ Patterson

Sims.
Ratcliff, Carter. "Remarks on the Nude." Art International. 21
(March/April 1977). pp. 60-65, 73.
Montgomcn C.iller\. Pomona Calif. "V
IQht), Irom Southern California
IOlH) Collet Irons," September /s Octobei
Tannenbaum, Judith. "Arts Reviews." Arts Magazine. 51 (April 27. Catalogue: ill., checklist; Introduction by Frederick s Wight, text by
1977), p. 30. David W. Steadman. Traveled to: M II de Young Memorial Museum. San
Francisco. C.ilil
'Yares Callerv. Scottsdale. Ariz. "Milton Avery." February 6-28

'Louisiana Callery. Houston. Tex. "Milton Avery." March.

Indianapolis Museum ot \rt, Indianapolis, Ind mi in
Twentieth Century Kmerican [rt." September 20 Sovember 27. Catalogue:
Everson Museum of Art, Syracuse, N.Y. "Provincetown: A Painter's Place." bio., ill., checklist.
April I June 26. Catalogue: ill. checklist: Foreword by Ronald A. Kuchta.
'The John and Mable Ringling Museum ot \rl. Sarasota, Fla. "Milton \very
essay by Dorothy Cees Seckler. Traveled to: Provincetown Art Association.
Restrospectivt "Septembet 23 Octobei
,-
/.
Provincetown, Mass.
"Art Sketches: Milton \very Lectun Sain* Petersb
"Everson Surveys East Coast Art Colony." Syracuse (N.Y.) Down
towner. April 10, 1977. p. 11.

Bcnbow. Charles. "The Pale, Simplistic Isolation ol Milton \

The Harmon Callery. Naples. Fla. "20th Century American Masters Exhibt
Saint Petersburg (Fla Times Octobei 15, I

tion." April 4-30.

Busk. Pat. "Critii I

I
n Sarasota Fla ller.iltl Tribu
"Harmon Callery Presents Winter Season Finale." Naples (Fla.) Dai
2. 1977.
ly News. March 31, 1977.
I>'.iis. Cordon. Wis Show Demonstrates Mis Fondness Foi Rid
Whitney Museum of American Art, New York, N. Y. "Selections from the u ~".
dies." Tampa (Fla.) Tribune, Octobei 12.
Lawrence H
Bloedel Bequest and Related Works from the Permanent Col
I

lection of the Whitney Museum of American Art." April 5-June 19. Cata "Exhibit Features Work by \very." Punt
logue: ill., checklist: essays by Tom Armstrong and Irwin Shainman. i i,
tobei 4, 1977.

The Brooklyn Museum. Brooklyn. N.Y. "Artists' Lives in American Prints Fottler, Martha, "Ringling Spectrum." Saras
and Drawings. " April 9-May IS. line '

215
 Marger. Mary Ann. "Art Sketches: Milton Avery Retrospective." Senie, Harriet,, "Artview: A Breathtakingly Beautiful Exhibition:
Saint Petersburg (Fh.) Times, September 2?, 1977. Moodscapes." New York Post, February II, 1978, p. 17.

Creenberg Callers, Clayton. Mo. Croup exhibition. October. Tannenbaum, Judith. "Arts Reviews." Arts Magazine, 52 (April
1978), p. 36-37.
Peters, John Brod. "Contemporary Croup Show at Creenberg." St.

Louis Clobe Democrat, October 1, 1977. "The Society of the Four Arts, Palm Beach. Fla. "Milton Avery." February 4-
March 3.
'Associated American Artists, New York. N.Y. "Milton Aver) Monotypes."
October 3-28. Catalogue: ill., checklist: essay bv S\lvan Cole. jr.. memorial Calhoun, Charles. "For Milton Avery's Art: Take Time, Peace of
address bv Mark Rothko. Mind." Palm Beach (Fla.) Post, February 9, 1978.

Betz, Margaret. "New York Reviews." Art News. 76 (December King, Leone. "Four Arts Exhibition Splendid." Palm Beach (Fla.)

1977), pp. 136-37. Daily News, February 4,. 1978, p. 6.

United States Embassy. Ottawa. Ontario. "Eighteen Contemporary Mas- Associated American Artists, Philadelphia, Pa. "American Master Prints

ters." November. VI." February 20-March 18, Catalogue: bio., bibl, ill, checklist: Introduc-
tions by Sylvan Cole, Jr.. and Margo Dolan.
The Union League Club. New York, N. Y. "American Watercolor Treasures:
A Tribute to the Brooklyn Museum." November 1-30. University of Texas, Austin, Tex. "People and Their Spaces: Selections from
the Michner Collection. " March 12-26.
Parsons School of Design. New York. N.Y. "New York City WPA Art:

Then (1934-1943) and \"ow (1960-1977)." November 8-December 10. Yares Gallery, Scottsdale, Ariz. "Nine Major Painters. " March 1 2- April 8.

Catalogue: bio, ill., checklist.

'Marianne Friedland Gallery. Toronto, Ontario. "Milton Avery." April 10-
Kramer, Hilton. "Art: Pro|t-cts o( WPA Revisited." New York Times. May 4.

November 18, 1977, p. C22.

Joseloff Gallery. The Hartford Art School. West Hartford. Conn. "The Hart-
"The WPA, Then and Now." New York Times. December 6, 1977. ford Art School: The Early Years." April 26-May 18. Catalogue: ill., check
list; essay by Nicholas Fox Weber.
Hirshhorn Museum and Sculpture Garden. Smithsonian Institution. Wash-
ington. D.C "The Animal in Art." November 17-January IS, 1978. Cata- 'Joan Whitney Payson Gallery, Westbrook College. Portland. Maine. "Mil-
checklist.
ton Avery. 1893-1963." July 9-September 10. Catalogue: ill.; Foreword by-
logue: ill,
Martin Dibner. commentaries by Edward Albee and John Canadav. Traveled
The Grey Art Gallery and Slud\ Center, New York University, New )'ork.
to: Colby College Museum of Art. Waterville, Maine; Lamont Gallery. Phil
N. Y. "New Deal for Art. " November I8-December 10. lips Exeter Academy, Exeter, N.H.; William A. Farnsworth Library and Art

Kramer. Hilton. "Art: Projects of WPA Revisited." New York Times, Museum. Rockland. Maine; Plymouth State College Art Galleries, Ph mouth,
N.H.; St. Paul's School, Concord, N.H.
November 18, 1977, p. C22.

'Edwin A. Ulrich Museum of Art. Wichita State University, Wichita, Kans. Bradford], K[athy). "The Avery Show Sets New Standards of Excel-

November lence." Maine Times. July 21, 1978, p. 33.

"Milton Avery: Paintings and Prints. " 30- January 1 3. 1978.

"The Landscape: Lawrence Calcagno/The Dibner, Martin. "Profile." Vision, 1 (October/November 1978), p. 5.
Yares Gallery. Scotlsdale. Ariz.
Figure: Milton Avery." December 4-31. Catalogue: ill., commentary: Hingston, Rebecca. "At the Payson Callery." Vision, 1 (October/No-

"Drawings." December 3-31. vember 1978), pp. 4-5.

Makler Caller\. Philadelphia, Pa.

Isaacson, Phillip. "Show of the Year." Maine Sunday Telegram, Au-

gust 1978.
1978
Kramer, Hilton. "Rothko: Art as Religious Faith." New York Times, No- Landry, Barbara. "Milton Avery Painted in Maine." Portland (Maine)
vember 12, 1978, section 2, pp. 1. 35. Evening Express. June 15, 1978.

Ratcliff, Carter. "Prints: Avery's Monotypes: Color as Texture." Art in Niss, Bob. "Payson Gallery Exhibit of Avery Works Is a 'Coup.'"
America, 66 (January/February 1978), pp. 48-49. Portland (Maine) Evening Express, June 15, 1978, p. 40.

Wolff, Theodore. "Dispatches from Avery's Frontier." Christian Science . "Milton Avery: A 'First' For the Payson Callery."
Monitor, December IS, 1978, p. 20. Maine Sunday Telegram, July 16, 1978.

The Art Center. South Bend. Ind. "Twentieth Century American Masters: "Overview: A Brilliant Celebration of a Creat American Artist."
Inaugural Exhibition." Januars I4-February 26. Catalogue: bio., ill., check- Westbrook College News and Views, 1978, pp. 10-11.
list.
*777e Edmonton Art Callery, Edmonton, Alberta. "Milton Avery." Septem-
Grace Borgenicht Gallery, New York. N.Y. "Milton Aver) and His Friends."
ber 22-Oclober 22. Catalogue: ill., checklist; note bv Robert Ouellet. Trav-
January 28-February 24. Catalogue: ill., checklist: essay by David L. Shiiey, eled to: Walter Phillips Caller\. Banff. Alberta; Windsor Art Callery. Wind
statement by Sally M. Avery. sor, Ontario; Mendel Art Callers. Saskatoon, Saskatchewan; Art Callery of
Hamilton, Hamilton, Ontario.
Frank, Peter. "Milton Avery and His Friends." Art News, 11 (April
Delamora, Richard. "Admiring Milton Avery." Artmagazine. Septem
1978), p. 158.
ber/October 1979.
Ratcliff, Carter. "New York Letter." Art International. 22 (February
1978), pp. 79-80. "Makler Callers. Philadelphia. Pa. "Milton Avery." October 2-31. Brochure:
checklist.
Rosenberg. Harold. "The Art World: The Last Exiles." The New ill.,

Yorker, April 3, 1978, pp. 108-11. Makler. Paul I odd. Prometheus, fall 1978, pp. 1. 3-4.

Russell. John. "Art: Milton Averv and His Friends." Nev, York Yares Callers, Scottsdale, Ariz. Croup exhibition. November-December.
Times, February 17, 1978, section L. p. C23.

216
'Esther Rubles Cilkn. I c» \ngeles, C.iht "Milton \km Paintings, Dram 'Yares Gallery Scotlsdale, \riz "Milton \\er\ Paintings and Dr .<
ings, Prints." December I January 20, 1979 Brochure, checklist February Catalogue: ill., checklist <

Howell, Betje. "Perspe< lives on \ii First California 1 xhibil t"i Mil Borgenichi Gallery, \<» York, \ ) Milton \very >f tht
inn \\ci\ " Santa Monica I vening Outlook, |anuary I v i Thirties." February 2 \e: ill., checklist

M[uchnic], S(uzanne]. " \rt Walk \ Cnin.il Guide to the Calleries." IMisselson, Jane. "Milton v.n, \rts Magazt
Los \ngeles Times, Decembei 15, 1978, section 4, pp 6
'Stephen H nt/ Gallery, s.r/r Francisco, Calil Milton nplete
Craphit Works." February 2 March I Brochure: ill.

1979 'College ol Creative studies, t niversity <</ Caliform

Hyams, Barry. Hirshhorn: Medici from Brooklyn, New Vork I
R Dutton 6 "Milton \very: Paintings <m Papei February March 9 < atalogue: ill.,

Co.. Inc. < /ill Ulst.

'Donald Morris Gallery, Detroit, Mich. "Milton \very "January \ I. ii.ii/, Mindy. "Milton \very in Black and White w
ruary 23, 1

Colby, |<>\ Hakanson. "Canvas Kile with CHnrks Vision." Detroit

Wews, February 1979, p. 5 I
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution,

Miro, Marsha. "A Milton \\<.r\ Seashore Helps Ban the Winter."
ington. D.C. "The Intimate Scale." February H /uly

Detroit Free Press. |anuary 21, 1979, p. 20D. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Wash
Zucker, Helen. "Recognition liinlcls Slowly: \ Quiel \rtist, \very
ington, D.C. "Still Lifes from the Collection." March I May 18.

Captured Everything's Essence." The Eccentric, February I. 1979. 'San Francisco Museum ol Modern \rt, San Francisco, Calif. "Milton \very

Drawings " Mart h 2 \pril

'Grace Borgenichi Gallery, Vew York, V). "Milton \very in the Forties."
February J March I. Catalogue: ill.; essay by Carter li.itchtl.
Mbright, I homas \ Rar< I 00k at a I nique \merican M
Sjn I ram is, Sunday I xaminei and Chronicle. April 6, I9J
Gibson, Eric. "New lcuk Letter: Milton \very ."
\it lnieni.iiiiiii.il,

25 (April 1979), p. 46. 'Gallery Paule \nglim San Frani is,,., c alii. "Milton \\cr\ " M.ioh .

1.
University ol le\.is. \ustm. Tex. "Mainstreams in 20th Century Painting:
Selections from the Michner Collection." February s May 20. F01 review.se* previous exhibition.

'Louisiana Gallery, Houston. Icx. "Paintings b\ Milton \\er\." March. 'University \ii Museum. University ol California, Berkeley, Calif. "Milton
{very " March 26 May 4. Brochure: ill. checklist. Foreword by Michael
Crossley. Mimi. "Review: \rt— 'Paintings b\ Milton \very.'" lions
March Aupim;.
ton Post. 7, 1979, p. I4AA.
I i 11 re\ lew see pres ioUS exhil
'Marianne Friedland Gallery, Toronto, Ontario. "Milton \very: Works on
.

Paper." March ; l \pnl 2-t.

'The Dolly Fiterman Gallery, Minneapolis, Minn "Milton \very W
April.
Dault, Gary Michael. "Visionary \riisi Captures Reality." Toronto
Star. \pnl 21, 1979, p. D6. Woostei College, Wooster, Ohio. "Milton Works on Paper
\very:

Purdie, |ames. "Gallery Reviews." Toronto Globe and Mail, March 18- June 10.

31, 1 9"9. p. 40.

Willers, Kail I "Milton \s e 1 s Works cm Paper." Dialogue: The
Kris louiu.il ol Ohio. Mas |ii,k 1980, pp. 16 17.
The \lpha Gallery, Boston, \/.rss. "/.;//i 20th Century American Landscape
Painting." \pril 29 June IS.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Wash
"Western Electrit Corporate Education Center. Hopewell, W.J. "Milton ington, Di '

"The Fifties \spects ol Painting m Wen )ork." May .

\very." June II 29. Organized by the Princeton Gallery ol I ine \rt, Prince- tember 21. Catalogue, chron., ill., Foreword by \braham Lerner, css.n b\

ton I niversity, Princeton.

I'lnlhs Rosenweig.
W.J.

Hirsbliorn Museum and Sculpture Garden, Smithsonian Institution. Wash 'Sterling and Francine Clark \rt Institute. W illiams c ollegt Williamstown,
ington, D.C "Images of Children." \ugust 17 Wovember 4. M.iss "Milton tun Works on Papei "
May JO /<;A 21 Traveled I

William Benton Museum ol \rt, t niversity ol Connecticut, Storrs, <

Gallery 10, \spen. Colo. "Contemporary American Misters." \ugust 23

Mt. Holyoke College \rt Museum. South ll.ulle\. Miss , Dartmouth 1

September ,;

Museum and Calleries, Hanover, \ //

Amarillo \rt ('enter, \m.iiillo. Ic\ "Selections from the l.unes Michnei Whitney Museum ol \merican \it. Wen )oik W.) "SOth \nniversary
Collection." September I October 21. Gilts "
lu... 11.

Krasner Gallery, Vew York, \ ) Croup exhibition. October 'The Waddington Galleries Ltd., London England. "Milton Vers June 4-
"
2^ ( 'atalogue: bio., ill.
'The \lpha Gallery. Boston, Mass. "Milton \very. Works from the 1 940's."

October 27 Wovembei 20. " he Phillips m

Portland \rt Museum, Portland, Oreg. I l.iste Portland."

'Harcus Kracon Gallery, Boston. Miss "Milton \\er\ " Wovember. /u/i 25 \ugust II. Catalogue: ill., checklist. Foreword by Donald Jenkins,
essay b\ W ilium Chk
M.ikler Gallery, Philadelphia, Pa. "Drawings "December ;
W.
' \kron \rt Institute, \kron, Ohio. "Milton \very: The Late Painting
tenibel I
;
Wovembei 2
1980
reltsch, Kathleen. "A Milton \very Foundation Will Benefil Artists." Vch lien. Marcianne "Milton \un In late. Paintings I

)oik I imes. jul\ 3, 1980, sec turn I .

pp B-l, B 5. I he \its lourn.ll nt Ohio. September October 1980, p. 52

217
 "

'Maklei Ciller y, Philadelphia, Pa. "Milton Avery: Oils, Watercolors, Prints." 'The Creenberg Gallery; St. Louis. Mo. "Milton Avery." April IS -May 31.
Oetohci I November I. Brochure: ill. checklist.

Makler, Paul I odd. Prometheus. September 1980. pp. I, 3-4. 'Richard Cray Callery, Chicago. III. "Milton Avery: Important Paintings."
April 18-May 31. Catalogue: ill., checklist; essay by Dennis Adrian.
Museo de Bellas \rtes, Mexico City, Mexico. "Painting in the United States
horn Public (.Collect ion-, in Washington, D.C." October l-januar\ 6. 1981. Artner, Alan G. "Fragile Beauty on Display in Avery Collection."
Chicago Tribune, May 8, 1981.
The Metropolitan Museum of Art, New York, N.Y. "The Painterly Print:
\lonot\pes from the Seventeenth to the Twentieth Centurv." October In Haydon, Harold. "A Fine Look at the Art of Milton Avery." Chicago
December 7. Catalogue: bib!, ill., checklist: Foreword bv Phillippe de Mon- Sun Times, May 8, 1981.
tebello and fan Fontain, essay by Colta Ives. Traveled to: Museum of Fine
'Callery Paule Anglim, San Francisco, Calif. "Milton Avery: Works on Pa-
Arts. Boston, Mass.
per. " April 29- June 6.

The Chrysler Museum. Norfolk, Va. "American Figurative Painting. 1950-

17-November 30. Catalogue: ill., Morch, Al. San Francisco Examiner, May 11, 1981, p. E6.
1980." October checklist: essay bv Thomas
W. Styron. State Capitol, Albany, N.Y. "Twelve Americans from the Metropolitan Mu-
seum of Art." May 5-June 20. Catalogue: ill; Introduction by William S.
1981 Lieberman.
Cibson, Thomas. Milton Avery: Figures from the Forties. London: Thomas
Gibson Fine Art Ltd. "Lunn Callery. Washington, D.C. "Milton Avery." May 16-June 30. Gala
logue: ill., checklist; commentary reprinted from various published sources.
Grad, Bonnie Lee. Milton Avery. Royal Oak, Mich.: Stratheona Publishing
Co. Lewis, Joann. "Avery's Come of Age." Washington Post, May 23,

Miro, Marsha. "The Artist's Spirit Is Captured in Print." Detroit Free Press, 1981. p. C9.

March 26, 1981, p. 1C.

Forgey, Ben. "Unexpected Beauty in the Work of Edward Kienholz."
Russell, John. "Fantasy Stamps and Other Art." New York Times Book Re Washington Star. June 12, 1981, section D, p. 1.

view. May 31, 1981. pp. 14, 49-50.

'Edith C. Blum Art Institute, Milton and Sally Avery Center for the Arts,
'Charles fl. Scott Gallery, Emily Can College of Art. Vancouver, British Bard College, Annandale on Hudson. N.Y. "Milton Avery. Early and Late."
Columbia. "Milton Avery: Major Paintings and Graphics." January 5-31. May 29-July 11. Catalogue: chron.. ill.; Introduction by Leon Botstein and
Brochure: ill., bio., brbl, checklist; essay by E. Theodore Lindberg. Wendy Shepard. essay by Maria Price.

Kangas, Matthew. "Infinity Beach: Milton Avery." Vanguard Maga Drogseth, Dennis. "Milton Avery's Art Finds a Home at Bard."

zrne, April 1981, pp. 6-9. Poughkeepsie (N.Y.) Journal. June 5, 1981.

Marianne Friedland Gallery. Toronto, Ontario. "Gallery Selection." January Clueck, Grace. "Critics' Choices." New York Times, June 7, 1981,

W-February 4.
Guide section, p. 3.

Wyans Works Hanson, Bernard. "Milton Avery: Rich Survey at Bard." Hartford
"Frans Gallery, Vancouver. British Columbia. "Milton Avery:
on Paper." January I9-February 20.
Courant. June 14, 1981, p. G2.

International Exhibitions Foundation traveling exhibition. "The Lawrence Marianne Friedland Callery; Toronto, Ontario. "Works on Paper." May 30-
H. Bloedel Collection. " Opened February. Itinerary: The Society of the Four June 23.

Arts, Palm Beach. Fla.; Oklahoma Museum of Art, Oklahoma City, Okla.; 'Clarke-Benton Callery, Santa Fe, N.M. "Milton Avery: Paintings, Drawings,
Arkansas Arts Center, Little Rock, Ark.: Krannert Art Center, University of Prints." July 25-August 19. Brochure: ill; essay by William Benton.
Illinors. Champaign. Ill; Columbus Museum of Art, Columbus, Ohio; Seattle
Art Museum, Seattle, Wash.: Honolulu Academy of Arts, Honolulu, Hawaii. 'Museo de Arte Moderno (Mexico City, Mexico) traveling exhibitions.
Catalogue: ill., checklist; Forewords by Tom Armstrong and S. Lane Faison, "Avery in Mexico and After. " Catalogue (bilingual): ill, checklist; chron. and
Introduction by Rick Stewart. bibl. by Maria Price. Introduction by Sally M. Avery, essays by Dore Ashton,

Fernando Camboa, Car la Stellweg, and Salvador Elizondo. Opened August.

"Southern Methodist University, Dallas, Tex. "Milton Avery." March I -April Itinerary: Sarah Campbell Blaffer Callery; University of Houston, Houston,
5. Brochure: ill., checklist; essay by William Jordan. Tex.; Museo de Arte Moderno, Mexico City, Mexico; Museo de Monterrey;

Associated American Artists, New York, N.Y. "American Master Prints Monterrey. Mexico; Museo de Bellas Artes. Caracas, Venezuela; Newport
VII." March I7-April 22. Catalogue: bio., bib!., ill.,checklist; Introduction by Harbor Art Museum, Newport Beach, Calif.
Sylvan Cole, Jr.
Mexico and Hous
Crossley, Mimi. "Art Review: 'Avery in After.'"

The Brooklyn Museum, Brooklyn, N. Y. "Modernistic Art from the Edith ton Post. September 5, 1981, p. 2F.

and Milton Lowenthal Collection." March 21 -May 10. Catalogue: ill., check-
Marvel, Bill. "Avery's Art Enmeshes Time in Fields of Color." Dallas
list; Foreword by Michael Botwinick, essay by John R. Lane.
Times Herald, March 11. 1981, p. El.

"Art Gallery of Hamilton, Hamilton, Ontario. "Milton Avery: Large Late

"Milton Avery Exhibition of Mexican Works Opens." Mexico City
Paintings. " March 3 1 -April 22.
News, October 23, 1981, p. 21.

The Santa Barbara Museum of Art, Santa Barbara, Calif. "American Mod-
The Dolly Fiterman Callery, Minneapolis, Minn. "Monotypes by Milton
ernism, 1910-1945." April 4-26. Brochure: ill., checklist; Foreword bv Kath
Avery and Matt Phillips. " August 12-31.
leen Monaghan.
California Palace of the Legion of Honor, San Francisco, Calif. "Impression
'Grace Borgenicht Gallery, New York, N.Y. "Milton Avery." April 15-May
ism and the Modern Vision: Master Paintings from the Phillips Collection.
9. Catalogue: ill, checklist.
September 4-November I. Traveled to Dallas Museum of Fine Arts, Dallas,
Kramer, Hilton. "Avery: Our Greatest Colorist." New York 'Times, Tex.; The Minneapolis Institute of Arts, Minneapolis, Minn.; The High Mu
April 12, 1981, p. D37. seum of Art, Atlanta, Ga.

218
 1

*Calla\ I'iitilc An^lim. S.m Francisco, < 'alii Milton \very: Paintings and P>2I PHI "
January I ill., checklist; commentary by Sa M
Works on Paper. " Septembei ,;
Octobei J. \very .
css.n

Museum ol \ri, Rhode Island School ol Design, Providence, 1(1 "Rhodt Boca Raton I enter lot the \rts. Boca Raton, Fla "Milton \very
Island Collects." Octobei 1 Vovembei 15 Work: January ;
29. Catalogue ill. checklist: Introductions by l>nll\ 1

terman Sally M \very, and Maria Price

The \lpha Gallery, Bosto, Mass. "Milton \very: Works on Paper." Octo
ber lit \o\cmbei /. Rutgers University \it Gallery, V» Brunswick, V/ "Realism and Reah
lies I Ik Othei s ><.'< ol \merican Painting, I'Hti I960." January 17 March
"Marianne I uedland Callery, Toronto, (int. mo 'Milton \very Works on
2n. Catalogue: ill., checklist; text In feffrey Wechslei and Creta Herman
Paper." October 17 November II Catalogue ill., essay l>\ Marianne Fried
Traveled to Montgomery Museum ol Fint \rts, Montgomery, \la., 1/7
land.
Callcrx. I niversity ol Maryland, College Park, Md.
"The Waddinglon Galleries I /</, London, I ngland "Milton \very." Wovem
Grace Borgenicht Callery, Ve« ).</<. \ "Tht Cloucestei Years." Febru )
bei -I 27. Catalogue: chron., ill., checklist
ary6 March 4. Catalogue: ill., checklist; essay by Carter Ratcliff.
Whitney Museum ol American Art. V-» York, N.Y. "American Prints
Daxland, |ohn. "Landscape Arl ol Mas achusetts." \t» York Daih
Process & November 25-January 24, 1982. Catalogue, ill
Proofs." bibl
Mews. February 12, 1982. p. 18.
checklist: Foreword b) Tom Armstrong, text In Judith Goldman.
Heifer, Judith. "Kunst: Kunsl aus Cloucestei \ulbau.
Februar) 19, 1982, p. 26.

Kachur, Lewis. "America's Argenleuil: Artists at Gloucester." \its

1982
MiKa/mc. So (March 1982), pp. I3S •

Hartley, Marsden. "On the Persistence of the Imagination: The Painting ol

Milton Avery, American Imaginative" (n.d.). In Marsden Hartley: On \it. Kramer. Hilton. "Art: r- rom Glouchestcr, the B\ passed Haven." V»
edited bv Cail R. Scott. New Virk: I Ion/on Press. )ork Times, I ebruarj 5, 1982.

Price. Maria. "The Paintings ol Milton Wery." Ph.d. dissertation, I niversit) Larson. Kay. "Art: American Modern." Vew York, March I. 1982.
of Virginia.
'The Harmon Callery. Naples. Fla. "Milton \very Retrospective: Paint
'Yares Gallery, Scottsdale, An/. "Milton \very: I he Transcending Years, im;s. Draw im:s. Ci.iphus" March H \pril >.

219
 1 H

INDEX

Italicized numbers refei to reproductions. The works ol critics who have made significant contributions to t he W< lure,
as itemized in the Bibliography & Exhibition History, are indicated b\ the yeai ol publication, followed (in parentheses) In the
number of citations in that year, il more than one.

Abstract Expressionism, 140, 148, 176 Park Forest, / ;; I Ik Nursemaid, I

vv

American Federation of Arts, 170, 176 Dark Inlet. 123 Nursing Mother, 1 1 /

American Scene painting. 31, 53, 56. 6s Dark Mountain. Light Mountain, 180, 145 Offshore Island. 102
Art Society of Hartford. School of the, 18, Dark frees, I'.ilc Mountain, 180, 144 Onrushing Wave, I ; /
187 Double Wave, 115 Oregon < hast, 112, 47
Art Students League of New York, 26, 28, Dunes and Dune Class. I Outdoor Sketc her. I
31, 36, 37, 156. 187, 189 Dunes and Sea 120 I. Ping Ron.
Avery, Esther March, 15, 17, 19, 183, 186. Dunes and Sea II. 35 Rink Held. 60, 41
187, ? I xcursion on the Thames, 146, 107 Rmk Roc ks. Gret n v
Avery, Fabian, 15, 16. 17, 113. 186 Feeding. -IS Pink I abler loth. 43
Avery, George. 15. 17. 113, 183, 186 Fencers, 89, 1S5. 66 Plunging Cull. 164. i

Avery, Harlow, 1 5 Flight, 164. 134 Poetr) Reading, 128

Avery. Mabel Anson, 16, 183, 186 Caspe Landscape, 72, 23 Portrait of the Artist's Mother. 19, ;

Avery, March, see Cavanaugh, March Gaspe—Pink Sky, 72, 21 Prayei

Aver) Glimpse of Farmington, 186 Reader and Sunbather, 30, H
Avery, Milton Glout ester Daw n, 21, Reader h\ the Sea, 78
Acrobats, 36. 20 Green Chair, ;; Red Nude, 136
Artist at Work. 96 Green Sea. 80 Red Rock Tails
Autumn. 39 Green Seascape. 71 Red Sea. 106
Autumn in the Rockies. 53 Hammock Header. 97 Red mbrella, 108,
t 77
Avery on 57th Street. 33, 17 Marsden Hartley, 51, 27 Robed Nude, 140
Barbershop. 19 Hills In the Sea. 94 Rocks b) Ebbing 5
Bathers b\ the Sea. 30. 164, 98 Hint ol \utumn, 124, (^ Rose and Blue Teapot, I I

Bav and Dunes, 132 Interlude, 158, 127 Rose) Nudt \sleep
Beach Blankets. 153, lit, Lavender Sea. 40 Mark Rothko. II. 12
Beach I mbrellas, 71 The Letter. 75, 54 Sailhsh in Fog, 91
Black Coat. White Coat. 104 I one Bather. 1 1
;
Sand Dunes and Yellow Sk\. 153, 124
1~
Black Sea. 161, 95 Madonna ol the Rocks. 161, 12" Sand. Sea and Sky, 1
Boathouse bv the Sea. 153, 126 Maine Coast. 125 Sandbar arm s ,

Breaking Sea. 1 1 Man h in Brow n, 11° Sea and Rocks,

Bridge to the Sea. 6? March in Red. 55 Sea and Sand Dunes. 148, s /

Brook hn Bridge, 188 Maternity, 1 17, 56 Sea ( and Blu<

trasses s

Brown Sea, 169, 137 Meditation. 101 \loon and Stars. I \9

Burlesque. W, -18 Moon ovei Marsh, 21, 8 I
d Blonde. 46
The Card Play ers. 83 Moon Rath, ss St att d ( -ul h ith D ..

Checker f'la\ers, 30 Morning Call, 92, 70 Sec hided Beat h. 4-i

Cleaning Fish, Caspe. 77, 5° Mother and Child. ;; I he Seine. 146, 108
Coney Island. 31, 33, 161. M Mountain and Meadow . HI Sell Portrait 4<<. 108
Coney Island Sketches. 15 Mountain I ake, 109 Sell Portrait Feeling Old. 179, 143
Conversation. 121 Nude Combing Han. 67 Shapes ol Spring

Crucifixion. 42. 49 Nude Ironing tt2, 40, 28 Sitters h\ the Sea. 49, 153, h

221
 Sketches by the Sea, 79 Cavanaugh, March Avery, 30, 56, 113, 146, Kandinsky, Wassily, 69
Sketchers by the Stream, 61 156, 188, 189, 191 Karfiol, Bernard, 29, 49, 69, 188
Sparkling Blue Inlet, 72, 45 Cavanaugh, Philip, 191 Katzman, Alex, 77, 184
Speedboat's Wake, 90 Chromatic abstraction, 140 Kaufman, Louis, 183, 184
Spring in Vermont, 22 Coates, Robert, 1944, 1956, 1960 Kramer, Hilton, 99, 148; 1957, 1958, 1962,
Spring Orchard, 110 Connecticut League of Art Students, 16, 1! 1965, 1968, 1969(2), 1972, 1973(2),
Still Life with Derby. 62 183, 186, 187 1974(3), 1976(2), 1977(2), 1978, 1981
Studious Sketcher, 82 Constant, George, 132 Kuniyoshi, Yasuo, 29
Sun Worshippers, 29, 109, 10

Sunset, 129, 64 Daniel Callery, 29 Laurel Callery, 132, 189

Sunset Sails. 164, 118 Dasburg, Andrew, 176, 185 Lawson, Ernest, 19, 21, 24, 158, 4
Tangerine Moon and Wine Dark Sea, Davis, Stuart, 69, 161, 183
161, 164, 99 de Kooning, Willem, 140 MacDowell Colony, 146, 148, 191
Tree in Meadow, 21, 5 Devree, Howard, 1935, 1940, 1944, 1949, Margo, Boris, 185
Two Figures at Desk, 31 1951, 1954, 1957 Marsh, Reginald, 53, 69
Two Figures by the Sea, 122 Dibner, Martin, 1 13 Matisse, Henri, 37, 40, 69, 72-73, 89, 92,
Two Poets, 180, 146 Dove, Arthur, 27, 156 140, 51
Untitled, 1919, 18, /. 2 Downtown Callery, 29 McBride, Henry, 49, 52, 69, 184; 1927,
Upper Pasture, 118 du Bois, Guy Pene, 29 1928(2), 1929, 1930, 1932, 1933(2), 1935,
Walkers by the Sea, 76 Duchamp, Marcel, 146, 148, 183 1936(3), 1938, 1940(2), 1943, 1944,
Waterfall, 72 Dudensing, Valentine, 69, 72, 76-77; see 1945(2), 1947, 1949, 1951
White Cull, 87 also Valentine Gallery McManus, James C, 183
White Horse, 188 Durand-Ruel Galleries, 37, 56, 77, 80, 189 Mellow, James R., 1956, 1968, 1970, 1971,
White Moon, 21, 9 1973(2), 1974(2)
White Nude #2, 180, 147 Eight, The, 21 Miller, Kenneth Hayes, 29
White Sea, 52 Montross Gallery, 29
White Umbrella, 142 Morton Galleries, 49, 188
Fauvism, 72
White Wave, 75 Mullins, Edwin, 1965, 1967
Fiene, Ernest, 14
The White Wave, 112 Museum of Living Art, 37
Flagg, Charles Noel, 16, 186
Winter Riders, 188 Museum of Modern Art, 37, 40
Woman in Wicker Chair, 30, / 3
Gallatin, A. E., 37
Woman with Green Face, 45, 72, 32 National Academy of Design, 19
Gatch, Lee, 176, 178, 185
Woman with Mandolin, 40, 25 Neuberger, Roy, 184, 189
Geldzahler, Henry, 1965, 1966, 1969, 1971
Yellow Robe, 164, 133 Newman, Barnett, 60, 108, 140, 144, 146,
Genauer, Emily, 1934, 1935, 1936, 1938,
Avery, Minnie, see Sargent, Minnie Avery 148, 153, 186, 188
1940, 1943(2), 1944, 1945, 1947, 1957,
Avery, Russell Eugene, 182
1959, 1960(2), 1962
Avery, Russell N., 13, 15, 16, 17, 113, 182, O'KeefFe, Georgia, 156
Gottlieb, Adolph, 53, 56, 60, 140, 144, 146,
186 Opportunity Callery, 49, 188
148, 188, 189, 38
Avery, Sally Michel, 25-27, 31, 53, 56, 60,
Grad, Bonnie Lee, 1977, 1981
69, 109, 113, 133, 146, 148, 156, 158,
Greenberg, Clement, 140, 144, 146, 170, Pemberton, Murdock, 1928(2), 1932
170, 179, 180, 182, 187, 191
191; 1943, 1957(2), 1958, 1961, 1962, Phillips, Duncan, 188
1969 Phillips Memorial Gallery, 77, 188
Barnes, Albert, 188
Gupferd, Louise, 184 Picasso, Pablo, 37, 40, 69, 77, 89, 92, 24, 69
Barr, Alfred H., Jr., 80
Pollock, Jackson, 140
Benjamin, Cershon, 26
Halper, Nathan, 184 Precisionism, 156, 158
Benton, Thomas Hart, 53
Hartley, Marsden, 31, 77, 156, 27, 58 Putnam, Wallace, 26, 183, 187
Berkman, Aaron, 26, 183
Hess, Thomas B., 140
Borgenicht, Grace, 132
Hofmann, Hans, 108 Rattner, Abraham, 77, 185
Borgenicht Gallery, Grace, 132, 190
Braque, Georges, 69, 77 Regionalism, 53, 65
Breeskin, Adelyn D., 1952, 1960, 1966, 1969, Impressionism, American, 19, 21, 29 Rehn Callery, Frank K. M., 29, 49

1970 Inness, George, 19 Research Art Colony, 113, 116, 129, 190
Breuning, Margaret, 1929(3), 1930(2), 1932, Riley, Maude, 77; 1943(2), 1944, 1945

1933, 1935, 1940(2), 1944, 1949, 1950, Jensen, Alfred, 56 Ritter, Chris, 1952
1951, 1954, 1960 Jewell, Edward Alden, 52; 1929(2), 1931, Rosenberg, Alexandre, 89, 129
Brook, Alexander, 29, 49, 69 1932(3), 1934, 1935, 1936, 1943, 1944, Rosenberg, Paul, 76-77, 80, 85, 89, 129, 132,

Burrows, Carlyle, 1929, 1930(2), 1932, 1933, 1945, 1946(2), 1947 189, 190
1934, 1935(2), 1936, 1946, 1951, 1954, Johnson, Una E., 1966, 1969 Rosenberg, Paul, & Co., 76-77, 80, 85, 89,
1956(2), 1957 Jones, Albertus E., 16, 183 129, 133, 189, 190

222
Rothko. Mark, 49, 53, 60, 80, 108, 140, 14-4. Social Realism, 53, 5(> Weber, Max, 77
146, 148, 153, 178, 184. 188, 189, //, 12, Society ol Independenl \rtisN. 49 Whitney Museum ol American \n •

37 Spagna, \ in< enl 1-4 IS

mm .hi/. Alfred, 27, . : Whitney Studio Club, 29
Sargent, George, 16, 186, 187 Wight. Frederick S 26. 158; 1949. 1952.
.,

Sargent, Minnie Avery, 15-16, 183. 186 1956 1968 1^77

Twa< htman, |c>lm. 19, 21, 6
Seckler, Dorothv Gees, 1952. 1956, 1958, Wildenstein & (

1977 Williams, William Garbs, 169

Shirev. David 1... 1969(2). 1973, 1976(2), Valentine Gallery, 29, 37, 52, 69
1978 189

PHOTOGRAPH CREDITS
Photographs have generally been provided bv owners or custodians, as cited in captions.
Additional acknowledgment is due for the following. Figure numbers are used unless
otherwise indicated.
Sally M. Avery: page 190, top
Baker Photo: 77
Dirk Bakker: 12. 53, 61, 71, 89. 103, 104, 125, 124. 133, 134, 155, 139
Benvas-Kaufman Photographers, Inc.: 63,97, 143
Yvan Boulerice: 17 1

Dan Brinzac: 73
Jacob Burckhardt: 126, 137
Geoffrey Clements: 5, 13, 23, 59, 62, 108, 144
Prudence Cuming Associates Ltd.: 35, 36, 76, 96, 1 18, 122, 123
Roy M. Elkind: 16, 54, 58, 124, 141
Mark Friedland: 44, 45, 57, 78, 114
Hartford Art School, University of Hartford: 1, 2
Peter A. Juley & Son: 5

Consuelo Kanaga: page 189

Kate Keller: 31,84
Robert E. Mates and Mary Donlon: 37
Bill McLemore Photography: 7, 8, 10, 15, 28

T. E. Moore: 38 1

Bert and Richard Morgan Studio: 101

Otto E. Nelson: 9, 32, 38, 48. 119, 127, 13 140. 146. page 192
Biagio Pinto: 74, 42
Eric Pollit/er: 33, 115
Quiriconi Tropea Photographers: 147
Percy Rain ford: 14
Arthur Rothstein: page 190, bottom
Sunami: 69
Frank J.
Thomas: 86
Tincher Photo: 20
Rodney Todd-White and Son: 87, 94
Malcolm Varon: 18, 21, 22. 34. 39, 40. 72, 98, 106, 109. 113. 120. 136
Waintrob Budd: page 191, top
 CIII CKI.ISI OF Mil I XHIBITION

The following works are included in the exhibition "Milton Avery." Parenthetical numbers correspond to the figures in this book. Complete
entries refer to works which <ire in the exhibition but not illustrated. An asterisk denotes a work on exhibition only at the Whitney Museum of
American Art.

Sun Worshippers, 1931 1 10); Sitters by the Sea, 1933 (18); Barbershop. 1936 19); Acrobats, 1931 20);
1
1 Gaspc— Pink Skx, 1940(21); Spring in Vermont, c. 193s 22);
1

Gaspe Landscape. 1938 23); SelfPortrait, 1941 26);Portrait of Marsden Hartley, 1943 (27); Two Figures at Desk, L944 (31); Mother and Child, 1944 (33); Seared
GirlwithDog, 1944 (34); Green Cnair, 1944 35); Ping Pong, 1944 (36); Autumn, 1944(39); Lavender Sea, 1944(40); 'Feeding. 1944(42);Pm*'iaWec/of/i. 1944
(43); Sec/Wed Beacfc, 194] [44); Sparkling Blut Inlet. 1938 (45); Seated Blonde, 1946 (46); Oregon Coast, 194" (47); Burlesque, 1936 (48); Crucifixion, 1946(49);
Prayers, 1946-55 (50); WhiteSea, 1947 (52); Autumn in the Rockies, 1948 (53); March in Red, 1950 (55); Maternity, 1950 (56); Pink Rocks, Green Sea, 1944
(57); Red Rock Falls, 1947 (6Q);Sketchers by the Stream, 1951 (61); Bridge to the Sea, 1944 (62); Sunset, 1952 (64); Hint of Autumn, 1954 (65); Fencers, 1944(66);
Nude Combing Hair, 1954(67); Shapes of Spring, 1952(68); MomingCall, 1946 (70); Green Seascape, 1954 (71); Waterfall, 1954 (72); Beach Umbrellas, 1944
_
(73); White Wave, '54 ("5). Walkers by the Sea. 1954 (76); Reader b\ the Sea. 1945 S); 'Green Sea. 1954 (80); Sea and Sand Dunes, 1955 (81); Studious
1
1 (

Sketcher, 1945 (82); he Card Players, I H5 (S3). Sea Wassesand Blue Sea. 1958 (84); Dunes and Sea II, 1960 (85); White Gull, 195S (87); Moon Path, 1958
l
l
(

(88); Rocks bv Ebbing Sea, 1944 (89); Speedboats Wake. 195') (90); Sailfish in Log. 1959 (91); Hills by the Sea, 1960 (94); Black Sea. 1959 (95); Artist at Work.
_
1950 (96); Hammock Reader. 1951 (9 ). Bathers In the Sea. I960 (98); Tangerine Moon and Wine Dark Sea. 1959 (99); Rosey Nude Asleep, 1950 (100); Offshore
Lland. 1958 (102); PlungingGull, I960 (103); Black Goat, White Goat, 1951 (104); Sandbar and Sea, 1958 (105); Red Sea, 1960 (106); Excursion on thelhames,
1953(107); Mountain Lake, 1960 (109); Spring Orchard, 1959 (110); Breaking Sea, 1952 (111); The White Wave, 1956 (112); Lone Bather, 1960 (113); Dunes and
DuneGrass, I960 (114); Double Wave, 1955 (115); Beach Blankets, 1960 (116); Sand, Sea and Sky, 1960 (117); March in Brown, 1954, (119); Dunes and Sea I,
1958 (120). Conversation, 1956 (121); Two Figures bv the Sea. 1963 (122); Dari Inlet, 1965 (123); Maine Coast. 1956 (125); Interlude. 1960 (127); Onrvshing
Wave. 195S(131); Flight. 1959 (134); Dark Forest, 1958 (135); Red Nude, 1954 (137); Sunset Sails, 1960 (138); Sea, Moon and Stars, 1960(139); 'Robed Nude,
1960 (140). Mountain and Meadow, I960 (141); WAife Umbrella, 1961 (142); Dart Trees, Pa/c Mountain, 1962 (144); Dart Mountain, Light Mountain,
1962 (145).

PAINTINGS Many Colored Rocks, 1944 Watercolor on paper. 22 x 30 Red Sea, 1948. Watercolor and pencil on paper, 22 A ]

x
inches (55.9 x "6.2 cm). Private collection
°Sea Gulls — Gaspe, 1938. Oil on canvas, 30 x 40 inches
si) /:
1

Study Center,
inches 56.
( 5 x 77.
New York
5 cm). The Grey Art Gallery and
University; Gift of Mr. and Mrs.
76 2 \ 101.6 cm). Addison Caller) of American Art,
Churning Bay, 1945. Watercolor on paper, 22 x 30 inches

cm Collection of Dr. and Mrs. Jack William Peyton Marin

Phillips Academy, Andover, Massachusetts (55.9 x 76.2 i.

Birnbaum Blue Laced Woman, 1950. Monotype, 21'/: x 16 inches

Summer Reader, 1950. Oil on canvas, 34 x 44 inches
Dart Cove, Pale Dunes. 1945. Watercolor on paper, 22K:
(54. 6x40. 6 cm). Associated American Artists, New York
(86.4x 111.8 cm). Collection of Mrs. Ruth Bernstein
x 30!4 inches (57.2 x 76.8 cm). Private collection Myself in Blue Beret, 1950. Monotype. 22 x 17 inches
Sea Gull. 1955. Oil on canvas, 56 x 2S inches (91.4
-
Female Artist. 1945. Watercolor on paper. 22 x 30 inches (55.9 x 43.2 cm). Collection of Mr. and Mrs. Anthony
\ 1 1 cm). Collection of Maurice and Margo Cohen
(55.9 x 76.2 cm). Collection of Sally M. Aver) Wbodfield
Seated Nude. 1955. Oil on canvas, 54 x 42 inches
Girl in a Brown Hat. 1945. Gouache on paper, 31 x 22/2
Pink Nude, 1950. Monotype. 22 x 1" inches! 55.9 x 43.2
(137 .2 x 106 7 cm). Collection ofSally M. Avery
inches (78.7 x 5~.2 cm). Collection of Mr. and Mrs cm). Collection of Sally M. Aver)
Sailboat Race. 195" Oil on canvas. 42 x 50 inches
Robert Rosenberg Birds and Ruffled Sea, 1951. Monotype, IS x 24 inches
106.7 x 12" cm). Collection of Andrew Crispo
Pink Umbrella, 1945. Watercolor on paper, 22 x 30 (45.7 x 61 cm). Private collection
Sails in Sunset Sea. I960. Oil on canvas, 72 x 52 inches
inches (55.9 x 76.2 cm I. Collection of Robert Fleming & Edge of the Forest, 1951. Monotype, 17 x 22 inches (43.2
182 9x 132.1cm). Grace Borgenicht Gallery, New York
Co., Ltd., London x 55.9 cm). The Metropolitan Museum of Art. New
Watchers by the Sea, 1945. Watercolor on paper. 22 x 30 York; Purchase, by exchange
inches ( 55.9 x 76.2 cm). Private collection; Courtesy of Dark Road, 1953. Watercolor on paper, 22 x 30 inches
WORKS ON PAPER
Andrew Crispo Gallery, New York (55.9 x 76.2 cm). Collection of Henry and Margaret
Jugglers, 1932. Gouache on black paper, 12 x IS inches Morning Sea, 1948. Watercolor on paper, 22 x 30 inches Demant
(30.5 x 45.7 cm). The Eason Gallery, Santa Fe, New (55.9 x 76.2 cm). Collection of Mr. and Mrs. Newman Two Birches, 1956. Monotype, 24 x 18 inches (61 x 45.7
Mexico Halvorson
I. cm). Private collection
Basket of Fish, 1938. Gouache on paper. 22 x 30 inches
Orange Rocks. Orange Sea, 1948. Gouache on paper. 22 Black Sea, 1959. Watercolor on paper, 21 x 30 inches
''
55 \ 76.2 cm). Private collection x inches (55.9 x 76.2 cm). Collection of Sail) M.
511 (53.3 x 76.2 cm). Private collection
Dark Inlet. 1938. Watercolor on paper, 22 x 30 inches Avery
(55 9 x 76 2 cm) Private collection
Pemaquid Point, 194S. Watercolor on paper, 23 x 30
Many Hued Trees, l
l
'5 i ) Watercolor on paper. 22 x 30 inches (58.4 x 76.2 cm). Collection of Mrs. Louis Sos-
inches 55.9 x 76.2 cm). I'm ate collection land
 WHITNEY MUSEUM OF AMERICAN ART
in association with

HARPER & ROW, PUBLISHERS

( uvei illu-tr.ition: Red Rack Fulls, 1947
Oilon canvas, 33 /« x 43% inches (86
;
x 111.4 cm)
Milwaukee Art Museum; ISBN D-0.-M30121-M
Gift of Mrs. Harry Lynde Bradley DllflEf2fi3