Académique Documents
Professionnel Documents
Culture Documents
in
Solomon
R.
Guggenheim Museum
Library
and Archives
http://www.archive.org/details/europeandrawingsOOallo
EUROPEAN
DRAWINGS
THE SOLOMON
It.
New
York, 1966
THE SOLOMON
K.
Cl'GGKNHEIM FOUNDATION
'I'KrsTKKS
IIARRV
F.
ALBERT
II. II.
PETER
O.
GUGGENHEIM, PRESIDENT
E. TII1EI.K,
VICE PRESIDEN"
DANA DRAPER
A.
CIIAUNCEY SEWLIN
MICHAEL
MEDLEY
<;.
F.
B.
WETTACH
WHELPLEY
CARL ZIGROSSER
series
at
The
their
since 1962.
EUROPEAN DRAWINGS
were held
made
is
The
museums and
art centers
features 37 artists
from 13
its
Thomas M.
Messer, Director
ACKNOWLEDGEMENTS
am
of this exhibition. I
am
to
Frederick Tuten
Bissell.
Mary
Italian.
their
The bibliography
is
manuscript for the printer and Linda Konheim was editor of the catalogue.
I. A,
Mrs.
Rene
Arthur
T.
New
Bloomquist, Rye,
York
New
York
New
Alexander Iolas,
York
New
York
Jon
Manzoni
Streep,
Milan
Estate,
New
York
Jane F. Umanoff,
New
York
The Baltimore
Milan
Museum
New
York
Cordier
and Ekstrom
Inc.,
New
York
A lexander
Kasmin
Iolas Gallery,
Gallery,
Lefebre Gallery,
New
London
New
York
Ltd.,
London
New
York
Howard Wise
Gallery,
New
York
Germany
1]
INTRODUCTION
Asger Jorn has stated that "I do not accept the existence of any European art"
There
a sense in which he
is
instance,
is
not.
However,
is
it is
Europe
correct, because
is
as if they
(French
still
art of the
Common
Market
esthetics. High-
were comparable units. But such comparisons are usually no more than reflexes
logic,
German metaphysics)
(1).
way
divided in a
artists (as
an
earlier
The reason
to
American)
there are
term groupings. Jorn himself was part of one such group, (Cobra 1948-51) which joined Danish.
Belgian, and
Dutch
and Dusseldorf
artists.
Ten
European mythos
that these
drawings are presented, but as a collection of work by a group of living individuals born after
1900. This year
is
perhaps the
who were
my
to
time
of each one
is
essential in
Four of the
limit).
Wols
at 38.
ar-
The work
art.
In the 1940's a generation of American and European artists, born between 1900 and
new
1914, developed a
sensibility.
and from
artist'
shift
art to a
improvisatory technique. In Europe, drawing played an important part in this general shift of
New York where paintings were, fundamentally, the serious element in any esthetic development or discussion. The European development, which was separate from that of New York, owing to World War II and time-lags in communication afteremphasis, far larger than in
wards, has various approximate labels, as has the American. Here Abstract Expressionism,
School of
New
fitful
use; in
Vart autre, Tachisme, abstraction lyrique, have been proposed, either as general labels or in
connection with special interests. Simply to
modern
art
first
make some
its
What
is
not. Actually,
what
\^ ols (as
well as
is
is
is
being discussed
common
art,
is
Matiere
et
Memoire.)
Fautrier,
and
an increased responsive-
is
demonstrated variously
we
that earher
is called,
12
W ols'
is
(or
poems)
"One
always that of the page, usually a notebook from the early drawings,
Here he communicates
like terrain.
swarming
a sense of fertile,
echoes
(2),
of huge cities and harbour scenes, to the organic clumps of line and color,
some
full of
some
wounds,
like
life,
pervading everything
later
organic power of flowers that rupture concrete. Landscape, with biomorphic potentials
premise of
ols'
is
the
iconography, whereas Henri Michaux has treated the head as a world. Taking
pursued the
aimlessly, he has
By drawing
(see Quotations*).
reflex
human
style.
He
Michaux provokes internal phantoms, charged with human content, indissolubly linked with
medium. Here
the
compound
that
is
(a
Mirobolus,
Macadam &
though he
Cie.
basic in early
is
is
de
to the Corps
Dames
it,
series,
from the
1947-50.
Les Phenomenes, 1958-62 and to the Texturology, 1958, and Materiology, 1960, paintings.
What
is
common
and paintings
is
air,
many American
paintings with
ences. It
is
(3) as
is
a substratum of allusion.
The
Dubuffet has pointed out, apropos Les Phenomenes, the way in which "the suggestive
of
sometimes seemed.
it
naming things
as
It is
much
it had its name, and the irresistembodied the idea suggested by the name, however ar-
as in creating pictures
artist's
function con-
... I
made, not through the production of images, but from the interpretation of them"
buffet,
contrasts of visual
that
it
that
meaning
may appear
is
says
is
work of
Du-
What he
(4).
beyond usual
is
Thus he
art is a carrier
and/or a provoker of
and reference an
title
make
association
Dubuffet's openness to the interaction of visual and verbal meanings has parallels in
the simultaneous practice of art
tity
their art).
Michaux
books are
in the anthology,
and drawing
its
is
later.
is
artists,
Thus
there
is
by
1.
differs,
poems from
his sketch-
common
different
authorship and by
2.
and
the issue of transferable content: to what extent can themes be stated in two ways and retain
13
common properties
of
meaning
transfers possible
between two
redundancies
media of communication. To
different
to the
is
true that the channel characteristics are important, but to suppose the domination of the
is
medium and
human communication.
When
Ideas and
Lucebert writes
"she no longer comforts man/She comforts the larvae the reptiles the rats" or "every eye
bedbug
alhambra"
in a dream's gigantic
is
to that of his
drawings. Just as literary sources have led artists to visual configurations (as iconographers
sustaining. (This
art,
is
not intended
but simply
to
deny
is
depend on drawing,
Though
is
a draughtsman, but no
it
is
way
which
in
techniques. Georges Mathieu, for example, transferred the speed of drawing to the area and
materials of painting
(6).
The
impetuous lunge, unlike, for example, Pollock's large drip paintings which are rhythmically
repetitive and/or tend towards the continuous color skin of painting.
work speed
grids
is
and repetitions of
line bear
no resemblance
men
up the
Klee's influence
on
the heritage of
it is
Mathieu's work, he
Whereas Pollock
to paint fast
at the
end of
his
is
life,
surface.
that critics,
to
discussed, possibly
many
of Klee's important
little
which he proceeds
and
about. Possibly, too, evaluation has been deterred by the fact that so
works except
like Mathieu,
is
act,
Cubism
a horizontal surface,
because
to
is
he used
letters,
checker boards, and crosses. The use of different codes within one work led him to
invent forms of reciprocal ornament between different levels of signification. Growing arabesques
and sequential patterns combine iconographical references and decorative invention. This play
of conventions
is
a major addition to
modern
art's
drawing (and painting) to include signs and symbols not previously available. Another aspect
of his work
interested
derive
is
American
artists,
from Klee in
and extrapolates
drawing as a
to
medium
was
this
which
seem
to
the canvas.
it
fields also
am my own
style" (7).
art.
As
see myself as a
complex but
flat
am my own
model,
configuration, clinging to
14
his
clarity, the
sonnages and landscape into linear definition. Gestural energy gradually overwhelms iconographical exactness as Jorn establishes his typical style of racing
magoric
Nordic Man. At
European
art,
especially in those
artists,
who
it
were, the
art, characteristic
as
this
man becomes,
figures. In
its
graffiti
of
moved
in
stylistic parallels
and iconography,
is
work. Troels Andersen, writing about connections between verbal and visual symbols in the
art of the
art
and
Cobra prob-
literature in
ably arises from the synthetic conception of surrealism" (9) in which art and poetry were
in a sanitorium in Silkeborg)
verbal, objects
patterns, their
is
of one another's
artists
work
people
from Germany,
development of
in the
will
Italy,
have, in one
all
and the
is
(see illustration).
England, and
own
their
styles.
making simul-
art
taneous use of more than one sign system. Mary Bauermeister's ink drawings consist of
striations
and
series of repetitive
which can only be read in one direction. She brings, covertly or flamboyantly, the temporal
element of words into the spatial display of
Duchamp and
Klee),
with tbeir scatter of diagrammatic parts and details, are also temporal one's attention is directed
;
from point
is
Or
get second?
if
Do
He
how
grow older? Can they be slow or not? What about the midwe investigated the tactile nature of distance for example?" (10). In Bernard
distances
Cohen's drawings the individually distinct signs generate sequences and coalitions like those
of discourse. Fahlstrom's imagery
is
these artists
-
f UC
:..
'c i.-^.
'
wA
frl
,-i
ii
R fl/^v Avnisr?)
\&QOT\~<*j
'
jt&i
imager)
is
cartographic, whether
m ^"^t^on^^L^^"^ ^
Hcb3" fC?tW'
implies
AkS]^'
Unm
Common
to
is
JC 4iwi /"'
recorded
<''V
^3ff\|
mPjIaP ^ ENC
!
''
^(IL
'
''
'
lil^wSs^- .^SfiSifil
m^^vl^^^^^sWhff^/
Kfi^f fr>ANf w SmJIO^
&
i
^^gsg^go^S^j^^^L,
causa]
oi
relationships
Uechinsky,
are
l>\
associated in one's
temporal nature
ol
our
being
possible
those drawings
serial
or
or Photomaton.)
shown
are
thai
(Another
multiple
activity as stressed
is
which
Their
find
programmed.
ii
signs.
we can
is
by such
"I
titles as
[ne
firmly
or
inexplicil
Open Journal
15
artists
who regard
the notion of drawing as a special procedure as "a concept of merely conventional value" (11).
In the late 1950's an anti-Informal body of art and opinion developed which involved contacts
between
that
is
artists in Paris,
Wols
the art of
as
pathological" (12). In Paris Yves Klein was seminal, with his polemical candour about
monochrome
hunks of
canvases, solid
blue,
compared
to the
organic complexities of Informal Art. Jean Tinguely was important, representing an art of
man
Mack know
of their
became increasingly
and
attractive to
Of
in
Europe
this
became
is
States.
by
trails
little later,
it,
regular and then, abruptly, stretched into a few long cuts, as opposed to collections of bullet
holes. This
first,
and systematic
later,
graphic traces, with the surface disrupted in order to create light and shadow; the piercing
that
we
become
and Uecker.
order.
devel-
oping, in negative, rows of impressions grouped in blocks of varying shape and density. Uecker
presses pins, nails, and screws into his paper from the back in sequences like the flow patterns
The
of magnetized particles.
illumination,
is to
make
effect of the
the paper, as Uecker wrote of his white objects, into "a zone of light"
(14).
Yves Klein
is
He
prospectus.
anonymous"
scale, is significant
(15).
monochrome
publicized for an obvious reason and for a less obvious one: his aim was "to tear
temple
To keep nothing
of
elicit
my
devel-
down
the
The ascending
scale of
brush, roller, body, rain, leads to air architecture (see Klein quotation), of which the drawings
in the present exhibition are a part.
Nagy's proposal of
is
unmistakable.
jects, at the
ly,
new
air furniture
He was
Though
(cushions of compressed
aiming,
first
air),
and harbours
and
city
an
artificial
in
World War
II
and of
Moholy
activities
with Manzoni'
(all
to a
new
scale.
16
by
direct,
is
across the paper that anticipates his subsequent moves. His later
(certainly accepted
ficance
sion,
is
artists)
of the
work
work of art
excluded'" (18)
The
sufficiently wholistic.
is
as "non-existent problems."
all
in black
Then he began
He
color
physical
art.
Mack,
quote the
as, to
for instance,
artist,
too proble-
regards the use of color in art as divisible into the decorative and the physical;
when
decorative
vertical
"Only
to
means.
is
signi-
matic.
assumption
as
compressed. The figurative drawings show Manzoni engaged in the "allusion, expres-
a single uninterrupted
worked
a single line
rejects the
when
it
spectral order
is
and blue,
and
at the
for instance),
drawings of
red). His
they are more diffused and atmospheric; internally, too, each color step or tonal change echoes
this rising
rhythm. Clearly the systematic character of the work, deriving from a conceptual
origin, is strong,
is
art is
sensitized
act of drawing.
medium
in
The new
The expansion
number
size of
post-war paintings.
not in
fact,
them
carried
and quantity.
becomes
diagram.
On
is
it
bears of
its
creation
do with the
to
Scale, in the
painting ultimately
by the
artist. It is
not a
lends itself to projects, proposals, and rehearsals. Klein, with a kind of Shangri-La panache,
invents
on the
tions.
fire
Etienne-Martin tangles
grid, however,
is
a hop-scotch grid
it
The maze
not play as a
Les Demeures which are actually occupied by the spectator. Sitting or standing in
made aware
and presence,
new
far
d Habita-
cursions far
from
Le Corbusier's Unites
removed from
the codes
it
we
are
an experience. He used
under-water explosive forming to create instantly the main forms of a twenty foot high stainless
steel sculpture
in
Long Beach,
California.
The sketches
first
Technology
bands of Tinguely
it is
new method
of
work (used
time).
wildly conspicuous.
to
The mechanical
suggests a nostalgia for early technology and an infatuation with engineers' experimental
models. His drawings record an improvisatory process that proliferates systems of pulleys and
gear wheels. Paolozzi's later sketches, in which serpentine and blocky shapes coalesce (as
snake charmer were working with geometric solids) and his Mickey Mouse
to
Robot
if
variations
have a comparable attitude. Technology nourishes fantastic play: with the functioning engine
in Tinguely's case, with the
differ-
ences between the economical, streamlined Zero Croup style and the copious inventions of
17
Tmguely and
common
THEORV OFO??OSI7SS OR
'
"
tvt
much modern
Implicitly
on
tAK
this
A
Awareness
of the
acceptance of
.
and
for
example).
j
j
man-made
environment and
an
an architecture from
tools of the child
?KE SEARCH FOR arch- types
ir
it
>
:r
;:
A * D the
"
the
man-made scene
discrete objects
as given.
Hamilton compiles
is
a Lush Situation
.
7 \
r
i
r>i
.i
or #ne),
quoter ot existing
" whereas Blake, though
&
& a1
i
signs,
is
pallas
graph
is
convention in
(a
oddly concur in
finish
hjduardo Paolozzi.
Metafisikal Translations, 1962.
page from
Giacometti
is
often regarded as a
man whose
life,
later figurative
wrote the
artist,
riting of
one of the
as "the statue of a
memories"
woman,
poems quoted
in
which
both works
(20). In
recognize
memory
my
sequence of images
is
Moving
is to say,
show
air,
solidity is
embodied
in
soft
a world
dreams
whose
prose-
tions are subject to one organizing principle, that of mutability. This is beautifully
his pencil drawings
earliest
The
my
eroded by
memory and
or as hesitancy about present substance, shakes the outline, eats at the surfaces of forms. It
is
not the transience of the Impressionist (painting a world on the move), but a self-generated
restlessness
and doubt
The nude,
a traditional
it
one arm up, one down, but beyond that point the reference
lines
flatness is
from junction
happens he
is
such that
nude
is
is
suggests a
map
of the Metro
nudes, on the
other hand, are glimpsed through a screen of gestural marks, either emanating from, or falling
It is
is
and Star-King
D'Haese, who draws with a soft firm touch that evokes atmospheric bulk, nevertheless
describes fantastic scenes, like the Bruegel of Dulle Griet rather than of the Seasons.
18
Hollegha makes his "drawings after the visible reality of certain objects
The
size
open
objects are
of the drawings
in
make
it
hard
at
is
in
to
(like rotten
move doing
my
is,
refers less to
objects than to a sense of space (largely landscape in his earlier work, interiors in the present
drawings), which he creates as the analogue of an original spatial experience. Objects are no
to the physical
Mundy
Hollegha, Mikl, or
traffic in his
more
scenic space.
the reverse of
is
on the basic of
his
hard curling calligraphy and Pedersen expands a fixed cast of creatures and encounters into
expressive symbols.
In Tapies* drawings the basic precision that has tended to be buried in the thick crust
of his paintings
is
out in the open. His drawings are spare and pale, a terse and economical
mark, or cluster of marks, which activate the paper even though occupying so
little
of
it.
The
central citing of symmetrical forms, as in the drawings in the exhibition, has a capacity for
Symmetry,
in even
forms, has implicit references to experiences that are not purely esthetic.
cy of
graffiti, as
many
of
its
resources
is
its least
demonstrative
itself, as
order,
is
NOTES
1.
2.
H. Prinzhorn. Bildnerei der Geisteskranken, Berlin, Springer, 1922, reproduces schizophrenic art and
to the author.
"Compagnie de
art",
cf.
Psychoanalytic Explorations
3.
4.
Ibid.
5.
6.
in
Art,
horn's material "was meant to support an aesthetic thesis and to plead the cause of
p.
88.
p. 17.
Unfortunately the speed of Mathieu's art was not matched by his correspondence; hence his regrettable
New
7.
8.
Lawrence Alloway. "Danish Art and Primitivism", Living Arts, London, no.
9.
10.
September 30-October
p. 101.
1,
12.
Stadtisches
13.
Bibliography no.
8,
1960,
Monochrome Malerei.
10.
14.
15.
16.
Ibid.
17.
18.
19.
20.
Ibid., p. 44.
21.
4.
4.
4.
p. 55.
to the author,
by Troels Andersen.
21
QUOTATIONS
Translations by
WOLS
(7)
FREDERICK TUTEN
still
In every instant,
(8)
you
is
From
eternity.
It
around;
to the goal.
the beginning
in all matter,
cat,
this leads
(1)
SIMONA MORINI
and
life
is
useful.
is
in
you
If the
of not existing,
being would
(3)
still
(9)
have existed.
Sad poem:
a
(10)
his
own
One
tells
leash
fish,
glass,
From
made me
must be prepared
to
answer
humans.
me away from
life,
Am I a vessel,
or a funnel,
or a spring
Or
am
I nothing?
(11)
Every tiling
in a large, beautiful,
(5)
Rocks
we
it.
(6)
unknown town
some
As we can
Society slaughters
than cattle:
Not
to think
that's the
dream.
Roger
le
Werner Haftmann.
ed.
^ ols,
Wols Aufzeichnungen
Cologne, Verlag
Dumont Schauberg,
22
GIACOMETTI
BURNED GRASS
Turning in the void, in broad daylight,
and
voice,
stars
head
slightly
red, decaying
I revisit
the buildings
surreality.
which
love,
beautiful palace
columns, the
perfect, useless
aerial,
live in their
white-diced
it's
we
own
floors
mechanisms.
gives
It
life to life,
and needles
alternately precede
and
skin; but suddenly a shrill cry: the air vibrates, the pale
The whole
life is
sphere that
glitters
women, who
imagined by the
If
we
From
fever.
the
moment
And
drawn
we
life,
suffer
from
facial
fifteen, twenty.
Am
you
faces multiply
for the
most
my
and therefore
thought?
suffering adult,
who
poker
face
From behind
unbearable paroxysm.
like
boy,
little
all
The
time
first
particularly
sing sound-
dressed up,
who
some way
to escape. In
it
happens one
is
amazed.
unknown
(strange,
known nor
remote correspondence!).
will,
ran
drown,
to
(it's difficult
things.
palace!
La Surrealisme au Service de
May
\J
Oh! palace
II
earth trembles.
IK
faces. Since
wall.
like
MSI
III
la
faces
lost,
all is
settled with
fears;
adulthood
5,
and which
1933, p. 15,
still
SILENT,
tends to decide
MOVING OBJECTS
All things
near, far,
all
all
my
girls
change
my
is
no
station here,
you threw
orange peels from the terrace down into the deep and
narrow
street
stir,
there
and
la
leg,
is
gone.
and unforms
...
like
as if
making faces
we were con-
which forms
matographic synthesis.
Endless crowd: our clan.
It is
There
is
a certain internal
fluid
found
moment
friends,
skin,
My
able to paint,
externally.
3,
itself in
and
La Surrealisme au Service de
December 1931, pp. 18-19.
Or a kind
intellectually,
memory and
all
desire.
them
at the
teristic that is
understood by
all
unfortunately by painters.
Had
would have
tomism
(or psychologism).
The
phan-
phantom
23
He
nostrils
phantom's
on his forehead,
that
fire is. I
he deserves
if
it,
lips,
(I
PIEBRB ALECHIXSKI
colors.
NOTE ON A BITE
Start
A few old
forgot to mention
some unassuming
times,
infinite variety of
caricaturists
and more
rarely,
essentially
though
second
per. Yes,
sometime,
my
were a
if it
mute
little,
who
and the
pa-
draw one of
at night,
girl,
who
died
available to
is
they
all
by
du
musty on
skull.
them, as
painters
wave.
friend
have guessed
some
double.
Model
temperaments.
At
lines.
skull.
et Dessins", Paris,
Le Pont
From
pot
purple: a
From
Jour, 1946.
memory
of school.
The
ink-
The bottom of
From
green
in the
ANTOXIO SACRA
CROWDS
From
From
to
some law of
in
white
the place.
We follow,
and separations,
red vigor.
The
full
my
human masses
cult, a spectacle
attracted, as
luminous beam
Any break
or eruption
my weak
At the
barrier.
risk of
to
Support
End
qualms,
jumping, of passing
Character
on the mountain.
Never seen
before.
COCKTAIL PARTY
racter,
orgiastic feast,
life
tal.
The
is racist;
its tradi-
of ingredients which, at
seem contradictory.
THE TEMPTATIONS OF
The only way
is
of
number
as
some old
lines
best contri-
result of
see. It's as
are.
through
of the tribe.
CATHEDRALS
to Gaudi,
Now
to partici-
to possess
ST.
ANTHONY
hundreds of women
at
1965,
one time,
Galerie
La Hune,
Paris,
May
8,
1963.
10 etchings by the
artist.
24
IVES KLEIX
OTTO PIFXK
"Graphic art"
is
means
"to write"
But contem-
power.
In
will cease
my
which
art",
traditional way,
is
is
will take
it
not graphic at
represented in a rather
material
paintings.
then rubbed
of
impressed
the
with
sheet
it is
highway leading
The
a project for
central
town
into a
living
and an
air.
industrial section.
aiea.
the smoke
In order to
different colors to
it.
it
become
pulsations, a
Red
is
applied
moderate success
it
operates through
:
on a photo-sensitive paper.
in this area
encourages
me
My
to experi-
of light.
town.
A new
condition of
The
is
12-February
human
completely
inhabitants'
intimacy
is
free, individual,
main occupation
possible.
impersonal.
is leisure.
firewalls
waterwalls
objects floating in the air
fire
fountains
water fountains
pools
airbeds, airchairs
The
the condi-
The conditioning
Stadtisches
have,
exposed
human
still
completely
The
Light-graphic
itself is
light-flooded,
a manifestation of the
which many of us
privacy,
this
pattern.
requires a greater
light.
in
The
vibrating
smoke:
moment. Light
disappears
Society
make
Smoke produces
The concept of
By
its
I
it
sity of vibration.
is
but today
underground.
with cloth.
I
minds only as an
residential area
art.
for later
Museum,
2,
1962, Licht
und Rauch-Graphik.
will
be accomplished not so
much by
of
human
The
Through
this
new
sensibility, "the
new human
undergo
a metamorphosis.
To want means
to invent.
Together with
accomplished in
all
own
this
wanting
is
believe in miracles
is
not
a realist."
25
\ICH O CASTESLliANl
by the same
The
result
N.WZOM
I'lIltO
In 1957
made my
in kaolin
and glue
which
chloride,
in time
with balls
still
is
more
material,
pressures
to
which
it
was
subjected.
Nevertheless,
common
the reiteration
may add
in
inflexible
that
it is
my
my work
work.
develops
membrane
vocal classification of
my work
as bas-relief. In
any
case,
in
experimented
its
made some
natural elasticity,
first
in
at
changed
plastic,
and a
color. In
1961
made
first
clouds of natural or
made
and
a sculp-
In 1959
space:
first
sculpture in
principle,
spheroids
air jet.
held up by an air
jet,
which
first,
my
produced
first lines,
my
etc.).
for
painting
themes,
constitute
easily
field
and promptly
of
research
treated.
The
longest
letter
1965.
so far
consecrated to art a
made
ever
my
them with
is
7200 meters
number
of hard-
finger-prints.
The
objects of art,
minutes.
..
In January 1961
my
built
remained there,
work of
mark
it's
it
art.
built a
From 1958
to
1960
it
it
second one in
in a park in Herning,
is
first
rests the
DenEarth
worked on a
series of "verification
published
in
portfolio
(maps,
alphabets,
finger-
prints...).
Stedelijk
Museum, Amsterdam,
Teksten.
26
BIBLIOGRAPHY
INDIVIDUAL ARTISTS
PIERRE ALECHINSKY
1927,
Resident
Brussels.
Paris.
14.
3 drawings illustrated.
15.
alechinsky,
"Paysages
pierre.
vants", Cahiers
Poursuivis
du Muse'e de Poche,
Poursui-
May
Paris,
2.
17.
Lausanne, no.
drawing
20,
18.
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Drawings (1948-1958). Introduction by Jermayne
1958-January
4, 1959,
MacAgy.
3.
ltd.,
rence Alloway.
vol.
5.
c.
"Peinture
8.
Quadrum,
21.
rolf-gunter,
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vol.
lefebre gallery,
Schriften",
16, no.
New
3,
January 1963,
by Alechinsky
Alechinsky.
1963,
Sylvester.
et Ecriture",
Brussels,
Diisseldorf,
legrand, francine
Quadrum,
"Pierre Alechinsky",
1961.
3,
f. c.
sters",
20.
trated.
19.
legrand,
82,
illustrated.
4.
Text
by
Edouard
7,
Jaguer.
2 drawings illustrated.
17,
22.
Das
1965,
8,
10, April
1963, p. 4.
9.
10.
5,
III.
GILLIAN AYRES
1964, Docu-
Werner Haftmann.
piene, otto. "The Development of The Group Zero",
menta
Introduction by
23.
4 drawings
illustrated.
3,
H.
W.
Sabais,
Zeichnung. Texts by
and C. G. Heise.
12.
Mack, Piene,
Schmied,
Uecker.
Text
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1965,
by Wieland
Uecker.
13.
armando; peeters, henk; sleutelaar, hans; VAANdrager, c.b. and verhagen, hans, eds. De Nieuwe
Stijl, Amsterdam, De Bezige Bij, n.d.
Resident Rome.
24. bonicatti, maurizio. "Gianfranco Baruchello", Metro,
Milan,
GIANFRANCO BARUCELLO
no.
8,
3 drawings illustrated.
25. galeria la
Text
4 drawings
26. asiiton,
dore.
"Art",
Angeles, vol.
4 drawings
Jouffroy.
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81,
Arts
no.
illustrated.
4,
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Los
6-7.
27
MARY BAUERMEISTER
New York and
27.
JEAN DUBUFFET
York, George
1964, Bauermeister.
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1
New York,
by
Introduction
and
drawing
44.
April 13-May
construction-
Braziller, 1960.
45.
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December
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74 drawings
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London.
29.
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46.
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London,
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1,
il
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segno, Rome,
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15, 1964. 6
XVI,
vol.
Loreau, Noel
Barilli.
Lithographs
January
11,
Jean
1965,
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ENRICO CASTELLANI
Max
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Dubuffet
26,
1964-
Tekeningen,
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Resident Milan.
Italy.
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20
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31. melville,
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16,
PETER BLAKE
New
1965,
8,
Solomon.
Alan
combination
13
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"Enrico
dell'ariete,
Castellani. Text
36. stedelijk
Castellani",
Metro,
ETIENNE-MARTIN
Milan,
by
February
Milan,
Resident Paris.
1963,
26,
50.
galerie
breteau,
Paris,
Martin. 3 drawings
Gillo Dorfles.
8,
1965,
51.
Enrico Castellani.
illustrated.
of a letter
1963,
1,
from the
artist.
BERNARD COHEN
37.
38.
drawings
illus-
53.
13,
1963-
drawings illustrated.
p. 59. 12
OYVIND FAHLSTROM
in no. 51. 8
trated.
November
Reproduction of letter as
4,
1964. Bernard
55.
drawing
Novem-
1960,
illustrated.
Dado; Peintures
28, 1961,
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November 3-November
et dessins. 3
12, 1963,
6,
1962-
Rauschenberg.
ber
54.
illustrated.
January
DADO
1928,
Stockholm.
drawings
gallery,
New
2,
28
LUCIO FONTANA
Rosario
1899,
Santa
di
1943.
75.
pp. 120-121.
"Lucio
paul.
2,
International,
Hamilton, richard.
London, no.
78.
drawing
illustrated.
ALBERTO GIACOMETTI
le
York,
May
jacques.
Rome,
Editalia,
Giacometti,
Drawings,
New York,
drawings illustrated.
On
148-149. 1 drawing
1961, pp.
11,
JEAN IPOUSTEGUY
Maeght
Paris,
81.
artist
1965,
including sketches. 21
in the
studio.
12,
artist.
Pierre Matisse
by James Lord. 47
Resident Paris.
ical
1962.
68.
New
drawing
Giacometti,
Alberto
illustrated.
Isere,
Brussels, no.
Barbezat,
illustrated.
80.
sketches.
Max
20,
the
9 drawings illustrated.
drawings
10
Resident Vienna.
64.
4459.
pp.
WOLFGANG HOLLEGHA
63. giacometti,
1963,
2,
1961, n.p.
1,
illustrated.
1958,
3,
illustrated.
77.
Inc., 1962.
61.
drawing
Chrysler Corpora-
London, no.
New
Fontana,
"Hommage
Art
Fontana",
Resident
76.
2 drawings illustrated.
59. Oliver,
Hamilton, richard.
illustrated.
58. giani,
London.
1922,
London.
Parana, Argentina,
drawing
HAMILTON
RICHARD
Fe,
vol.
drawings illustrated.
draw-
ing illustrated.
ROEL D'HAESE
1921,
ASGER JORN
Rhode-Saint-Genese, Belgium.
69. galerie
claude Bernard,
d'Haese Sculptures
70.
Paris,
et Dessins. 1
drawing illustrated.
85.
no.
8,
1960,
pp.
115-122,
Conseilles Technique
rudolf
February
1
73.
17,
drawing
zwirner,
1963,
XXe
Cologne,
January
87.
17-
1961,
XXVI,
no. 23,
illustrated.
illustrated.
La Chevelure
Summer
Elise Jo-
May
Copenhagen,
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Detournement, 1957.
le
86.
pour
drawings illustrated.
72.
Italy.
197-198.
7 drawings illustrated.
71.
olsen,
R.
Dahlmann
Olsen.
29
Asger
guy.
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92. atkins,
93.
artist. 1
Jorns
Skrifter
London, Methuen,
Jorri,
Statement by the
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1964.
108.
Asger
til
107.
illustrated.
Lucebert.
cover drawings.
26 drawings
schade,
Asger
virtus.
Copenhagen,
Jorn,
Stig
illustrated.
109. galerie
niepel,
YVES KLEIN
94.
illustrated.
95.
II
Nuovo Realismo
Yves
See nos.
7, 12, 13.
February 1962,
97.
drawing
p. 77. 1
vol.
VI,
no.
98.
PIERO MANZONI
1,
illustrated.
text in
Archambault. 2 drawings
Paris, vol.
XXV,
no. 21,
May
f",
Nul-O,
XXe Siecle,
HENRI MICHAUX
1899,
Paris.
115. michaux, henri. Peintures, sept poemes et seize illustrations, G.L.M., 1939.
illustrated.
PIOTR KOWALSKI
Lwow, Poland.
1927,
Resident
1951.
102.
Babel
Ring des
119. galerie
rene drouin,
Parcours Henri
Med Formens
Mojliche1,
1965,
Stockholm,
Resident
Bergen,
Lucebert. Introduction
artist.
16,
1956,
1956. 7 drawings
XXXVI,
illustrated.
shown
at
Ad
Michaux",
Marlborough
Introduction by
recentes
1959-1962.
1962,
illustrated.
May 25-June
Michaux 1939 a
Michaux-oeuvres
7 drawings illustrated.
106. bezalel
4 drawings
by the
Holland.
104. stedelijk
Paris,
Amsterdam.
XXe
illustrated.
Baden,
1924,
Le Point du Jour,
illustrated.
pp. 12-15.
LUCEBERT
Paris,
ski included.
ter",
Movements,
poem. 65 drawings
Le Point du
43 drawings illustrated.
Paris.
Architecture",
series 1,
1963. 4 drawings
illustrated.
drawing
Manzoni
illustrated.
illustrated.
drawing
124.
8,
Gouaches, Eaux-fortes.
XXe
Text
by
illustrated.
XXV,
no. 22,
125.
musee national d'art moderne, Paris, February 12April 4, 1965, Henri Michaux. Preface by Jean
Cassou. 12 drawings illustrated.
30
JOSEPH MIKL
OTTO PIENE
MiM", Quadrum,
142. stadttsches
128.
drawing
museum des
March
8,
mann. 8 drawings
illustrated.
20.
Brussels, no. 8,
17-
143. galerie
Werner Hof-
artist.
Alfred schmela,
4 drawings
Diisseldorf,
illustrated.
September-Octo-
illustrated.
144.
4-20,
HENRY MUNDY
See nos.
7, 12.
dent London.
129.
130.
2,
1961, p.
6-30,
BERNARD REQUICHOT
Painting",
in
1960,
Gazette,
(Reprinted in catalogue.
145. galerie
drawing
9, 1962,
6,
1961-
9,
Henry
1962,
drawings
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jacques.
147. lassaigne,
illustrated.
132.
January
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131.
died 1961.
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2,
1965,
91.
4 drawings
XXV,
(1928-1961)",
May
no. 21,
XXe
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30-September 29,
EDUARDO PAOLOZZI
London.
133. paolozzi, eduardo. "Notes from a Lecture
stitute of
no.
1,
at the In-
7,
tive (1929-1961). 5
135. paolozzi,
tary
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1930,
Huesca,
Resident
Spain.
Madrid.
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New
1,
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136. paolozzi,
1961,
drawings illustrated.
Antonio Saura.
March
artist.
Text by Juan-Eduardo
of Newcastle, Newcastle-
6,
1965,
Cirlot.
4 drawings
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no.
22,
XXe
XXV,
drawings
49-59. 2
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CARL-HENNING PEDERSEN
1913,
Resident Copenhagen.
138.
155. stedelijk
4,
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25, 1964,
23 drawings illustrated.
5 drawings illustrated.
139. statens
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illustrated.
February 15-March
May 25-June
Paris,
de France,
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140. galerie
New
Copenhagen.
16, 1963,
WILLIAM SCOTT
illustrated.
23-December
Retrospektiv
8,
1963,
Carl-Henning
Pedersen
Dotremont. 7 drawings
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Somerset, England.
157.
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Drawings.
31
158. galerie
Scott.
William
p. 44.
145-187).
159. ester
177.
William
Bowness. 2 drawings
Text by Alan
Scott.
162. galerie
10,
1923,
1960,
statement by the
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no.
1961,
10,
karl flinker,
1962,
25 drawings
27,
1962,
for
moving
8,
January-
"do-it-yourself"
195-196.
Alexandre iolas,
January
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Paris,
Sonderborg.
131-140,
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July
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180. hulten, K. G.
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November 15-December
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The
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u
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10,
1964-
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182.
illustrated.
ten.
4 drawings
Meta
11".
Text by K. G. Hul-
illustrated.
GUNTHER UECKER.
illustrated.
karl flinker,
Paris,
kolnischer
kunstverein,
October
3,
February 9-March
1965, K. R. H. Sonderborg:
ANTONI TAPIES
1923,
Gemdlde
Bar-
celona.
170.
R.
&
cie, Paris,
May
[1965].
Rome, February
1,
7, 12, 13.
Died
Paris, 1951.
rene drouin,
Sylveire
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and Wols.
illustrated.
1964,
La
Tarta-
7,
illustrated.
illustrated.
189.
hofmann, werner, "Der Maler Wols", Werk, Winterthur, Switzerland, vol. 46, no. 5,
W ols,
1964, Antoni
collages.
1,
artist.
174. galerie
1913,
186. galerie
173. sala
n.d.
THE SOLOMON
berggruen
illus-
Berlin.
171.
2 drawings illustrated.
drawing
See nos.
Resident
artist.
trated.
illustrated.
Barcelona.
Hofhaus Presse,
Dumont Schauberg,
3-
September
Diisseldorf,
Introduction
statements by the
6,
Wendorf (Mecklenburg),
Diisseldorf.
Weisstrukturen,
Cologne,
Zeichnungen. 4 drawings
Uecker:
1962.
183.
drawings illustrated.
Inc., 1964. 12
168. galerie
New
1930,
Germany. Resident
190.
illustrated.
Brussels,
no.
6,
October
1959,
pp.
95-118. Illustrated.
JEAN TINGUELY
dent Soisy-sur-ecole,
175.
France.
191.
192.
haftmann, werner,
vol.
relle,
XXXVI,
Wols
Aufzeichnungen, Aqua-
32
DRAWINGS
IK
THE EXHIBITION
PIERRE ALECH1XSKY
1.
OPEN JOURNAL.
New
York.
1965. Ink,
PHOTOMATON.
Collection Mr.
4.
New
York.
THE WHEEL.
New
York.
M. Feldman, Pittsburgh.
GILLIAN AIRES
5.
UNTITLED.
UNTITLED.
UNTITLED.
UNTITLED.
New
York.
Gouache and
New
York.
Inc.,
New
York.
1964.
Gouache and
Inc.,
New
York.
33
MARY
12.
HERVARD
lUllltUI ISTlit
UNTITLED NO.
10. 1962.
New
DRAWING
Ink and
NO.
collage, 194
25.
New
14.
15.
UNTITLED NO.
26.
New Y ork.
New
x 234".
27.
28.
1963.
29.
UNTITLED.
UNTITLED.
Museum
UNTITLED
UNTITLED
of Art.
Inc..
194x234"
New
York.
UNTITLED
Inc.,
New
York.
Inc.,
New
York.
HOLLYWOOD.
Collection Mr.
19.
1963.
30.
18.
UNTITLED.
E.
9 x 104
1\IM>
Thomas
c.
York.
1962.
9 x 104", b. 9 x 104",
PETER BLAKi:
16.
a.
\ork.
UNTITLED (TRYPTICH).
Private collection, London.
1964.
x 23V'.
4HII \
York.
THREE PERGAMENTS.
16,
24.
JEAN DIBIFFET
"A TRANSFER".
1963.
31.
LANDSCAPE.
Lent by the
artist.
1960.
Ink, 94 x 12".
DRAWING.
Lent by the
33.
1964. Paper
relief,
27 x 4H".
DRAWING.
DRAWING.
1964. Paper
Lent by Galleria
relief,
dell' Ariete,
DRAWING.
1964. Paper
274 x 414"
274 x 414"
Lent by the
artist.
AREA
MATERIOLOGIES SERIES.
III,
Lent by the
Milan.
relief,
1961.
1961.
35.
23.
MATERIOLOGIES SERIES.
II,
AREA
artist.
AREA
V,
artist.
MATERIOLOGIES SERIES.
Lent bv the
artist.
1961.
34
ALBERTO UIACO.UETTI
PLAN NO.
48.
37.
PLAN NO.
and
49.
PLAN NO.
54. 1964.
50.
PLAN NO.
INTERIOR.
New
52.
NOTES FOR
"SITTING... SIX
LATER", (Double
Ink, 8| x lOi"
New
York.
York.
STUDY OF A CHAIR.
New
MONTHS
York.
York.
Collection
OYVIAD FAHLSTRO.M
New
Collection
40.
JEAN-PAUL SARTRE.
York.
drawing). 1962.
and 8* x Hi".
ItOII
Al SI
It II
South Carolina.
41.
NOTES
"150
Tempera,
53.
PERSONS".
collage,
and
Inc.,
UNTITLED.
1963.
54.
New
York.
UNTITLED.
1953.
55.
UNTITLED.
Inc.,
New
York.
56.
UNTITLED.
IA CIO
43.
FO.WANA
SPACIAL CONCEPT.
RICHARD HAMILTON
44.
SPACIAL CONCEPT.
1949.
CORPORATION".
SPACIAL CONCEPT.
Ink, collage
58.
SPACIAL CONCEPT.
59.
STUDY FOR
New
A LUSH SITUATION".
York.
and
ink, 10 x 6*".
Collection
60.
silver paper, 7i x
"$HE". 1958.
Collage, watercolor
1951.
IS
and gouache on
Private collection,
1950.
SPACIAL CONCEPT.
47.
8i".
13".
Collection Mrs.
1949.
1957.
6*".
THE SOLOMON
R.
GUGGENHEIM.
9+".
and gouache, 20 x
Pastel
23".
WOI
61.
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TRUNKS.
(.11 \
FRUITS.
Lent by the
artist.
1965.
Hi".
1958.
35
PIOTR KOHALSKI
AGED WOMAN.
76.
UNTITLED.
Lent by the
OLD CHRIST
IN REPOSE.
77.
II/III.
Lent by the
\S<.I
66.
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JOIt \
UNTITLED.
78.
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UNTITLED.
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York.
New
New
New
1947. Ink,
York.
79.
York.
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2,
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NO.
6,
8*x
10*".
1962.
20*".
HEINZ MACK
83.
New York,
BLACK DRAWING.
Geneva.
84.
COLOUR DRAWING.
New
York.
New
York.
Lent by Alexander
NO.
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PIERO MANZONI
1961.
74.
A STRANGE HARE.
NO.
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73.
7,
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NO.
York.
11-1
New
DRAWING
82.
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LUCEBERT
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York.
New
artist.
New York,
85.
Paris,
Geneva.
UNTITLED NO.
UNTITLED NO.
Tempera, 19* x
2229. 1957.
13*".
UNTITLED NO.
Oil
2230. 1957.
on paper, 19* x
15*".
UNTITLED NO.
36
HEM! MKHAIX
89.
LAZINESS
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1934.
103.
90.
1939.
104.
Watercolor, 94 x 8+".
91.
Rene
TROPICS.
92.
HERMAPHRODITIC
107.
PERMUTATIONS.
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1947.
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97.
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1962.
110.
FIREBIRD.
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Lent by the
artist.
14,
1939.
109.
NO.
and
1947.
JOSEF HI Kl
96.
13",
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OVA
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105.
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93.
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Pastel, 9+ x 124".
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111.
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101.
1959.
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100.
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1964-65.
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RERXARD REQITCHOT
116.
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1957. Ink, 26j x 18*".
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120. 25
York, Paris,
Geneva.
CURE.
New
119.
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STUDY OF MACHINE.
New
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Geneva.
MUTATIONS.
GOiTHER DECKER
CROWD, NO.
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1965.
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FOUNTAIN.
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THE SOLOMON
R.
GUGGENHEIM MUSEUM
STAFF
Thomas M. Messer
Director
Curator
Lawrence Alloway
Associate Curator
Research Fellows
Librarian
Public Affairs
Everett Ellin
Membership
Carol Tormey
Registrar
Alice Hildreth
Goldman
Conservation
Orrin Riley
Photography
Robert E. Mates
Custodian
Jean Xceron
Business Administrator
Administrative Assistant
Office
Manager
Glenn H. Easton,
Jr.
Viola H. Gleason
Agnes R. Connolly
M. Funghini
Purchasing Agent
Elizabeth
Sales Supervisor
Judith E. Stern
Building Superintendant
Peter G. Loggin
Head Guard
Fred
C.
Mahnken
PHOTOGRAPHY CREDITS
All
photographs but the following were made by Robert E. Mates and Paul Katz, The Solomon R. Guggenheim Museum
Bacci Attilio, Milan; 47, 88
Exhibition 66/1
February-March, 1966
January 1966
"European Drawings"
THE SOLOMON
It.
GUGGENHEIM MUSEUM
NEW YORK
10028