Getty Museum’s Open Content project makes 4,600 pieces of art freely available to download


 

 

Much of the world’s great artwork is tightly controlled, but the Getty Museum just announced a significant initiative to open things up — its new Open Content Program has made some 4,600 pieces of art from the museum’s collection free to use. Users can visit the Getty Search Gateway to browse through the entire collection of high-resolution images, and they can all be used for commercial and non-commercial purposes so long as they’re properly attributed to the museum. When downloading an image, the site also asks for you to share why you’re using it — so the museum can see why people are downloading its content.

Amongst the many freely available pieces of art released by Getty are a number of quite famous images, including work by Claude Monet, Vincent van Gogh, Rembrandt, and Leonardo da Vinci.  The 4,600 pieces of artwork available are just the beginning, as well. Getty says that it’s actively exploring the possibility of releasing much more art into the public domain, both from the museum’s collection as well as materials from the Getty Research Institute’s special collections. While Getty isn’t the first museum to push forward with an open artwork initiative (the museum cited a number of institutions like the Walters Art Museum as inspirations for the movement), it’s the latest example of how the internet is making classic, famous works more accessible.

Image credit:

Vincent van Gogh (Dutch, 1853 – 1890)
Irises, 1889, Oil on canvas
Unframed: 71.1 x 93 cm (28 x 36 5/8 in.)
Framed: 95.3 x 115.6 x 7.9 cm (37 1/2 x 45 1/2 x 3 1/8 in.)
The J. Paul Getty Museum, Los Angeles

OTHER FAMOUS WORKS OF INTEREST

Leonardo da Vinci (Italian, 1452 – 1519), Caricature of a Man with Bushy Hair, Italian, about 1495, Pen and brown ink, 6.6 x 5.4 cm (2 5/8 x 2 1/8 in.)

Jean-François Millet (French, 1814 – 1875), Man with a Hoe, French, 1860 – 1862, Oil on canvas, 81.9 × 100.3 cm (32 1/4 × 39 1/2 in.)

Paul Cézanne (French, 1839 – 1906), Young Italian Woman at a Table, French, about 1895 – 1900, Oil on canvas, 92.1 × 73.5 cm (36 1/4 × 28 15/16 in.)

Théodore Géricault (French, 1791 – 1824), The Race of the Riderless Horses, French, 1817, Oil and pen and ink on paper laid on canvas, 19.8 × 29.1 cm (7 13/16 × 11 7/16 in.),

Vincent van Gogh (Dutch, 1853 – 1890), Portrait of Joseph Roulin, Dutch, 1888, Reed and quill pen and brown ink, over black chalk, 32.1 × 24.4 cm (12 5/8 × 9 5/8 in.)

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Permission to Create Continues the Journey


Painting and sharing in the new web site format Studio Journey, with our artist guide Nancy Hillis, brings the fulfillment of granting the permission to create, for many knowledgeable painters from all over the world. Nancy Hillis is an inspiring painter, teacher and medical doctor who brings us all together through the website to share her projects, resulting in the creation of art work and feedback from one another.

Thank you Nancy for leading our inspiring journey, which has just begun.

Jan Kirstein

Photo courtesy of Pascal

Check out her website to see more about Nancy and her Art Journey at https://nancyhillis.com

As a beginning, our first intention was to work in a series, encouraging experimentation within a framework of self imposed limitations. Some artists chose limited color range, some chose exploring art mark making. An amazing outpouring of creative production rose from this first task, generating a wide range of very well informed results. I hope to share some of these with you after I gain artist permission for the use of their works in my blog.

For now, I share with you the paintings I have created on this Journey so far. I lost my studio about a month ago and this program gave me the impetus to resume painting again. For that, I am indeed very grateful.

The artist’s hand.

Reading Cy Twombly: Poetry in Paint


Reading Cy Twombly

By Mary Jacobus

September 16, 2016
ARTS & CULTURE
These images, selected from my book Reading Cy Twombly: Poetry in Paint, indicate the range and provocation of Cy Twombly’s works on canvas and paper, pointing especially to his inventive use of literary quotation and allusion throughout his long career and his relation to poetry as an inspiration for his art.

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Twombly’s working copy of a paperback translation of Three Secret Poems, by the twentieth-century Greek poet George Seferis, shows his hands-on approach to quotation and revision as well as paint stains from his work in progress. A number of marked passages reappear in Twombly’s paintings of the mid-1990s, notably in Quattro Stagioni (1993–94) and Say Goodbye, Catullus, to the Shores of Asia Minor (finally completed in 1994).

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One of a sequence of related drawings, Venus and Adonis (1978) wittily alludes to Shakespeare’s poem of the same title. Along with a series of cleft heart-shaped (buttock-shaped?) and phallic forms poised in suggestive proximity, each drawing contains a flower-like scribble and a foldout book. Perhaps Twombly is alluding to the “flowers” of poetry as well as to Venus’s rival, the boar who gores Adonis with his amorous tusk.

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Il Parnasso (1964) riffs on Raphael’s Renaissance fresco in the papal Stanza della Segnatura. Twombly responds in his own fashion to the auratic cultural icons of Rome, drawing attention to the missing role of painting in the representation of learning and culture. The play of line replaces the playing of Apollo’s lyre at the apex of Raphael’s design. Signing himself in the shuttered rectangular window around which Raphael’s fresco arches, Twombly draws attention to the flat surface of the “wail” or support.

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The early series of works on paper Poems to the Sea (1959) shows Twombly’s use of horizon line, wave signs, and quasi-writing, along with thick creamy paint, to eroticize the abstract play of repetition. In a series that makes reference to Sappho, Twombly also seems to be alluding to the typographical experiment of Mallarmé’s shipwreck poem, Un Coup de Dés, as a sequence of rhythmic marks and blanks. Non-referential signs tussle with the impulse to “read” and “write,” as if words and thoughts were about to be born from the waters of the Mediterranean.

 

 

 

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Synopsis of a Battle (1968) takes Twombly’s blackboard paintings of the late 1960s in the direction of the era’s obsession with space travel, alluding to the blackboard calculations of NASA scientists as well as his own fascination with weightlessness. Abstruse mathematical formulas and recurrent fan shapes suggest orbiting gyrations, rather than battle formations. Cyanotype blueprints for gravity-defying Gemini and Apollo spacecraft were widely available at the time. Here, Twombly designs his own prototype.

 

 

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Twombly’s paired paintings, Bacchus Psilax and Bacchus Mainomenos (2004) show the winged Bacchus morphing into his identical twin, the raging mad god who unleashes a title of blood. Painted during the bloodiest years of the Iraq occupation, when the first and second Battles of Fallujah brought the heaviest urban fighting since the Vietnam War, the Bacchus series has been linked to the fury of Achilles’s twelve-day brutalization of Hector’s body, towed around the grave mount of Patroclus. Twombly’s work elsewhere refers to the destruction of Sumerian cultural heritage.

 

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CY TWOMBLY, HERO AND LEANDRO, PART II, 1981–84. OIL-BASED HOUSE PAINT, OIL PAINT (PAINT STICK) ON CANVAS, 61 3⁄8″ × 80 1⁄2″. © CY TWOMBLY FOUNDATION. PHOTO COURTESY KARSTEN GREVE, ST. MORITZ.

The middle painting from Twombly’s sequence, Hero and Leandro (1981–84), suggests his interest in the whiteout—an obliteration that is also a kind of memory. As the sea washes through the story of Leandro’s drowning, the liquidity of water and paint eradicate the visible. Drawing on another Mediterranean narrative, Twombly combines his lifelong fascination with the sea with the erasure of a forgotten name, hidden in the darkness at lower right—not Leandro’s, but Hero’s.

 

 

 

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CY TWOMBLY, UNTITLED (TO SAPPHO), 1976, OIL, WAX CRAYON ON DRAWING CARDBOARD, 59″ × 53 1⁄4″. © CY TWOMBLY FOUNDATION. COURTESY ARCHIVES FONDAZIONE NICOLA DEL ROSCIO.

Twombly’s “homage” to Sappho in Untitled (To Sappho) (1976) creates an erotic visual poem out of Sappho’s fragmentary epithalamium, using purple (the mark of consummation and death) both to celebrate and to mourn Hyacinthus’s death and transformation into a flower. The juxtaposition of paint and poetry marks the conjunction of the pastoral strain and the pastoral “stain”—painting and sexuality. Twombly’s relation to pastoral suggests, not so much nostalgia as the modern artist’s inextricable entanglement with sociality.

 

 

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CY TWOMBLY, ORPHEUS, 1975, COLLAGE: OIL PAINT, COLOR PENCIL, SCOTCH TAPE ON PAPER, 55 1⁄2″ × 39 3⁄8″. © CY TWOMBLY FOUNDATION. COURTESY ARCHIVES FONDAZIONE NICOLA DEL ROSCIO. PHOTO: MIMMO CAPONE

Twombly’s recurrent preoccupation with Rilke’s Orpheus sonnets emerges in numerous paintings, drawings, and sculptures. His collage Orpheus (1975) quotes from Rilke’s “Be in advance of all parting” (“be a ringing glass that shivers even as it rings”), beneath a repeated broken line that seems to record a break in the fabric of life. Here, an oblique line has its start in the faint pink of erotic passion. Spare and epitaphic, the broken ascent echoes Rilke’s emphasis on “the realm of decline” inhabited by the poet.

This article originally appeared in the Paris Review.

 

 

 

 

 

 

 

 

Seas of the Moon by Painter Sandy Miller Sasso


 

THE RECENT WORK OF SANDY SASSO

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The paintings and drawings of Sandy Sasso reign in the forces of nature to tell a story of mysterious talismans, presenting a reality woven from metaphoric symbolism and imagination. The results form an astute observation of a current collective consciousness and state of mind of our world today.

Jan Kirstein

 

“I am still haunted by the names of the seas of the moon… Sea of Crisis, Sea of Rains, Sea of Tranquility, Sea of Cold…. they sum up my response to the atmosphere of fragility and uncertainty that permeates the world now. I ordered a 3-D moon the size of a tennis ball that I suspend in still life set ups of illuminated objects from the woods around our house.”

Sandy Miller Sasso

 

 

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Sea of Crisis II
22x5inches, charcoal/conte on paper, 2016

 

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Sea of Rains
22x5inches, charcoal, conte on paper, 2016
This drawing is currently in Ways of Seeing, a traveling exhibit organized by the Kentucky Arts Council. Sites are Hindman; Richmond; Williamsburg, Somerset, and Madisonville.

 

 

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Beech Leaves
22 . 4.5 inches,charcoal and conte on paper, 2015
Private collection

 

“I have been working on a series of paintings and drawings united by the theme of the mares, or seas of the moon. Several of these paintings were on exhibit in Paducah, KY; at the Legacy exhibit of past and present art teachers at the Paducah School of Art and Design, and in Different Times Different Places, a group show at the Ruth Baggett Gallery. The entire body of work has just been shown at the Murray Art Guild in March, 2017 in Sea of Crisis, a solo show.”

 

Click thumbnails to enlarge

 

 

Artist Sandy Sasso lives with her husband, artist Paul Sasso in a lovely home they designed and built, surrounded by their own splendidly created gardens in Western Kentucky. Their daughter, now grown is Maggie Sasso, also an artist.

Sandy has also taught as a high school visual arts teacher in Murray Kentucky, and most recently taught a painting workshop at Arrowmont School of Art and Craft in Gatlinburg, TN in early November, 2016.

“It was really great to teach again, and the students and the facilities at Arrowmont were all exceptional,” she says. “The horrible fire happened two weeks after I was there. Though three buildings on campus were lost the studio/lab buildings are intact and all classes are on schedule for 2017. ”

 

 

To see more art works by Sandy Miller Sasso, visit her artist website at www.sandymillersasso.com

 

 

Collector’s Choice: Jean Michel Basquiat


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QUICK FACTS

NAME
Jean-Michel Basquiat
OCCUPATION
Painter
BIRTH DATE
December 22, 1960
DEATH DATE
August 12, 1988
PLACE OF BIRTH
Brooklyn, New York
PLACE OF DEATH
New York, New York
NICKNAME
“SAMO”

Jean-Michel Basquiat was a Neo-Expressionist painter in the 1980s. He is best known for his primitive style and his collaboration with pop artist Andy Warhol.

Synopsis

Jean-Michel Basquiat was born on December 22, 1960, in Brooklyn, New York. He first attracted attention for his graffiti under the name “SAMO” in New York City. He sold sweatshirts and postcards featuring his artwork on the streets before his painting career took off. He collaborated with Andy Warhol in the mid-1980s, which resulted in a show of their work. Basquiat died on August 12, 1988, in New York City.

 

Early Years

Artist Jean-Michel Basquiat was born in Brooklyn, New York, on December 22, 1960. With a Haitian-American father and a Puerto Rican mother, Basquiat’s diverse cultural heritage was one of his many sources of inspiration.

A self-taught artist, Basquiat began drawing at an early age on sheets of paper his father, an accountant, brought home from the office. As he delved deeper into his creative side, his mother strongly encouraged to pursue artistic talents.

Basquiat first attracted attention for his graffiti in New York City in the late 1970s, under the name “SAMO.” Working with a close friend, he tagged subway trains and Manhattan buildings with cryptic aphorisms.

In 1977, Basquiat quit high school a year before he was slated to graduate. To make ends meet, he sold sweatshirts and postcards featuring his artwork on the streets of his native New York.

Commercial Success

Three years of struggle gave way to fame in 1980, when his work was featured in a group show. His work and style received critical acclaim for the fusion of words, symbols, stick figures, and animals. Soon, his paintings came to be adored by an art loving public that had no problem paying as much as $50,000 for a Basquiat original.

His rise coincided with the emergence of a new art movement, Neo-Expressionism, ushering in a wave of new, young and experimental artists that included Julian Schnabel and Susan Rothenberg.

In the mid 1980s, Basquiat collaborated with famed pop artist Andy Warhol, which resulted in a show of their work that featured a series of corporate logos and cartoon characters.

On his own, Basquiat continued to exhibit around the country and the world. In 1986, he traveled to Africa for a show in Abidjan, Ivory Coast. That same year, the 25-year-old exhibited nearly 60 paintings at the Kestner-Gesellschaft Gallery in Hanover, Germany—becoming the youngest artist to ever showcase his work there.

Personal Problems

As his popularity soared, so did Basquiat’s personal problems. By the mid-1980s, friends became increasingly concerned by his excessive drug use. He became paranoid and isolated himself from the world around him for long stretches. Desperate to kick a heroin addiction, he left New York for Hawaii in 1988, returning a few months later and claiming to be sober.

Sadly, he wasn’t. Basquiat died of a drug overdose on August 12, 1988, in New York City. He was 27 years old. Although his art career was brief, Jean-Michel Basquiat has been credited with bringing the African-American and Latino experience in the elite art world.

Jean-Michel Basquiat Biography
Author

Biography.com Editors
Website Name

http://www.biography.com/people/jean-michel-basquiat-185851

 

 

 

Collector’s Choice: Red!


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Mark Rothko : Red Abstracts

Thanks to Azurebumble

Above:  Mark Rothko. Orange, Red, Orange. Oil on paper.

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Mark Rothko. Untitled. Oil on canvas.

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Mark Rothko. Untitled. Oil on canvas.

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Mark Rothko.  Oil on canvas.

One of the preeminent artists of his generation, Mark Rothko is closely identified with the New York School, a circle of painters that emerged during the 1940s as a new collective voice in American art. During a career that spanned five decades, he created a new and impassioned form of abstract painting. Rothko’s work is characterized by rigorous attention to formal elements such as color, shape, balance, depth, composition, and scale; yet, he refused to consider his paintings solely in these terms. He explained:

“It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing.”

 

 

More Red Paintings

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Henri Matisse:  “The Desert:  Harmony in Red, 180 x 221 cm, 1908

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More Red Art

This set of images includes art from living artists. All of these artists have been featured on Kirsteinfinefineart. These artists include Kurt Nimmo, Rick Bennett, and Janis Kirstein.

 

Click on  thumbnails to enlarge.

Red is a color I love, but ordinarily for me, a little red goes a long way. However, all of the paintings on this series use a proportional predominance of red. Red is an assertive color that comes forward toward the viewer. It is a warm color, an assertive color, and even can be an aggressive color. Red is associated with fire, passion, heat, energy, blood, life force, and is a high impact color. Red is said to make people hungry, thus the predominance of red in fast food decor: McDonald’s, Kentucky Fried Chicken, Rally’s for examples.

Hope this blog didn’t make you too hungry!

 

Jan Kirstein

Kirsteinfineart

 

To see more of my Red Collage Series, click here and go to November Collages 2016 Gallery.

 

 

 

Collector’s Choice: Grace Hardigan


http-americanart-si-edu-images-1969-1969-47-17_1a-jpgPallas Athena–Earthoil on canvas64 1/8 x 52 1/8 in. (162.9 x 132.4 cm.)Smithsonian American Art MuseumGift of S.C. Johnson & Son, Inc.1969.47.17

Grace Hartigan was an American was a second-generation Abstract Expressionist painter and a member of the New York School.
Born: March 28, 1922, Newark, NJ
Died: November 15, 2008, Baltimore, MD

Luce Center Quote

“I knew . . . painting was not an activity but a total life. And you would do anything to keep painting, even if you starved. You were the paintings and the paintings were you.” Hartigan, quoted in Mattison, Grace Hartigan: A Painters World, 1990

Luce Center Label

Pallas Athena was the Greek goddess of wisdom, strategy, and war. Grace Hartigan has been inspired by fantasy since childhood, when she would dream up stories filled with gypsies, queens, and fairy-tale characters. Here, figural elements emerge from the image, such as the suggestion of a face in the top right, but Hartigan’s thick, abstract strokes of paint dominate the canvas. The rich tones of red, brown, and black evoke the earth, spreading across the lower half of the canvas, and the jumbled mass of color at the top may represent the confusion and noise of the realm of the gods. (Barber, “Making Some Marks,” quoted in Mattison, Grace Hartigan: A Painter’s World, 1990)

Many thanks to the Smithsonian  American Art Museum

 

 Artists in 60 Seconds: Grace Hartigan

© 2008 Grace Hartigan; used with permission - © 2008 Grace Hartigan
Grace Hartigan (American, 1922-2008). New England October, 1957. Oil on canvas. 68 1/4 x 83 in. (173.4 x 210.8 cm). Gift of Seymour H. Knox, Jr., 1958. Albright-Knox Art Gallery, Buffalo, N.Y.  © 2008 Grace Hartigan

Movement, Style, School or Type of Art:

Abstract Expressionism

Grace Hartigan did, indeed, get her start as an Abstract Expressionist–she was a “second generation” member of the New York School, and its most visible female member. She very quickly moved on, though, and caught tremendous flak from artist friends and critics for introducing representational elements into her work.

She has been called a precursor to Pop Art (a movement with which she did not care to be associated). In honesty, Hartigan was so intellectually curious that her work changed regularly over six decades. The most accurately descriptive stylistic phrase would be “her own.”

Date and Place of Birth:

March 28, 1922, Newark, New Jersey

Grace was the eldest of four children born to her accountant father and housewife mother. According to interviews, her parents seemed to have lacked sympathy and understanding for their daughter’s creative nature. However, her grandmother and schoolteacher aunt (both of whom lived in the other half of the family duplex in her early childhood) filled her imaginative young head with Irish folklore, fairy tales and a love of the English language.

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All of this manifested in Grace’s desire to become an actress, and fascination with Gypsy caravans that passed through the area seasonally.

Her Start in Art:

Alas, Grace would never become an actress. She married for the first time (there would, eventually, be four Misters Hartigan) straight out of high school. The newlyweds’ cross-country trip to homestead in Alaska ended in Los Angeles when they (1) ran out of money and (2) Grace discovered she was pregnant.

Shortly afterwards, the United States entered WWII. Her husband drafted, Grace returned to the East Coast to live with her in-laws and got a job as a mechanical draftsman (on the strength of a few drawing classes in California). In this most un-creative setting, a co-worker introduced her to Matisse’s works.

 

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A Star Is Born:

Hartigan–never one to take half-measures–moved very quickly from “wanting to draw like that” (meaning Matisse) to painting full-time in a cold water flat on the Lower East Side. It was here that she met nearly the entire “First Generation” of New York School painters, including Jackson Pollock, Willem de Kooning and Franz Kline. This community of artists accepted her as one of their own–although it is important to remember that no one was selling at the time, and all of them were financially strapped. A band of talented equals, happy to meet nightly at the Cedar Tavern for talk, drinks and an affordable meal.

In due course Pollock and de Kooning were “discovered,” which focused critical and gallery interest on the entire New York School. Hartigan had been showing with the undiscovereds; Pollock recommended her for the New Talent 1950 show at the Kootz Gallery and the rest, as they say, is history. As was the case with nearly everyone else in the Cedar Tavern circle, Grace sold every canvas she could paint in the 1950s–albeit at lower prices than her male counterparts commanded. More importantly, to her, she developed many new artistic friendships and maintained most of those that she already had.

 

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A Star Voluntarily Disappears:

And then, in 1960, she married her fourth husband, Winston Price, a medical researcher at Johns Hopkins University. Hartigan moved to Baltimore, which was at that time akin to Outer Mongolia in terms of sales or gallery interest. (Coincidentally, 1960 was also the year that Pop Art began to be the Next Big Thing.)

She kept painting, though, and in 1965 carved a niche for herself as an instructor, a role she enjoyed for the next 42 years. Grace Hartigan will forever be best known as one of the few women who were accepted by the “guys”–and successfully showed and sold–in the New York School of Abstract Expressionism.

 

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Important Works:

  • Persian Jacket, 1952
  • The Oranges (series), 1952-53
  • Grand Street Brides, 1954
  • New England October, 1957
  • Reisterstown Mall, 1965

In the category of “Important Works,” it would be shameful not to include Ms. Hartigan’s 40+ years as director of the graduate program at the Hoffberger School of Painting, Maryland Institute College of Art. She didn’t care to be called a “teacher,” and downplayed her influence. But the fact remains that from 1965-2007 she mentored, criticized and generally helped hundreds of painters find their own paths.

Date and Place of Death:

November 15, 2008, Timonium, Maryland

Quotes From Grace Hartigan:

  • Art is still the only place in the world where you can do exactly what you want if you pay the price, which is having no one else want it. — Grace Hartigan interview, 1979 May 10, Archives of American Art, Smithsonian Institution.
  • I cannot expect even my own art to provide all the answers – only to hope it keeps asking all the right questions.
  • There’s a lot of work I still want to do. But the thing that’s been incredible is that one way or another I’ve been able to arrange my life so that I could paint every day. And that’s been the main thing.Baltimore Sun interview, October 28, 2001.

Sources and Further Reading

  • Hartigan, Grace. Grace Hartigan (exh. cat.).
    Purchase, N.Y. : Neuberger Museum of Art, 2001.
  • Hartigan, Grace. Grace Hartigan: Painting the Renaissance (exh. cat.).
    New York : Gruenebaum Gallery, 1986.
  • Hirsh, Sharon L. Grace Hartigan: Painting Art History.
    Carlisle, PA : The Trout Gallery, Dickinson College, 2003.
  • Kleeblatt, Norman L. (ed.) Action/Abstraction:
    Pollock, de Kooning and American Art, 1940-1976
    (exh. cat.).
    New Haven : Yale University Press, 2008.
  • Mattison, Robert S. Grace Hartigan: A Painter’s World.
    New York : Hudson Hills Press, 1990.
  • Munro, Eleanor C. Originals: American Women Artists.
    New York : Da Capo Press, 2000.
  • Puniello, Françoise S.; Halina R. Rusak. Abstract Expressionist Women Painters: An Annotated Bibliography: Elaine de Kooning, Helen Frankenthaler, Grace Hartigan, Lee Krasner, Joan Mitchell, Ethel Schwabacher.
    Lanham, MD : Scarecrow Press, 1996.