INTRODUCTION

It is an immense joy for us to present for the first time in our gallery an exhibition of the works of Paul Jenkins, his last exhibition in Paris having taken place 15 years ago.

We discovered Paul Jenkins through his emblematic work of the 60’s and 70’s: large canvases whose poetry transports the imagination of the viewer. A poetry of youth and beauty, Jenkins’ work, through its vital and eternal color, recalls the magic of semper primavera, the perpetual Spring so beloved by the Italian Renaissance. These large canvases are for us like the large-scale frescoes of Botticelli: an ode to joy.

As we entered more deeply into Jenkins’ work, we were struck by his paintings from the 50’s. The density in these canvases is exceptional: small or large, they exude an extraordinary energy. Each work is its own universe, a world that is sufficient unto itself.

In New York, we saw striking examples of his large paintings from later decades. We understood that they form the synthesis of the artist’s life: force and poetry emanate from his brushes and we share this sensation with the artist.

An American artist who participated fully in abstract expressionism, Jenkins is also French at heart. The elegance and uniqueness of his painting shoots out like a comet, going beyond the spectrum of any “movement”. It is crystal clear today that Jenkins is “his own man”, a man who goes beyond definitions through the forceful individuality of his painting.

Diane de Polignac & Khalil de Chazournes

COLOR LIGHT AND THE SHAMAN
BY PIERRE RESTANY

The fate of individual destinies creates alternating cycles of rapprochement or of distancing between men, of presence or absence. This cyclic rhythm is similar to a more profound breathing of being. All the more when it concerns mental and emotional ties between a painter and a critic.

The story of my friendship with Paul Jenkins has followed this type of sinusoidal curve. The key points have coincided with personal and determining realizations.

I met Jenkins in 1953 on his arrival in Paris, during an ambiguous, confused, and vehement period in which he figured as the exception that confirms the rule: although the war between markets had created a barrier between Paris and New York, Paul Jenkins quite naturally and without mishap crossed the sound barrier. He intended to assume his American identity without rejecting anything of the European cultural experience and of the vibrant context of the period.

Paul Jenkins’ first exhibition in Paris was held in 1954 at Paul Facchetti’s. The informal painting Jenkins did at the time was in a direct line from the preoccupations of the young generation of European tachist painters: the accent was on a fluid definition of space animated in depth in a subtle play of rhythmic condensations. One could already see two fundamental structural components in Jenkins’ work: first, the rejection of static elements in the gestural organization of the surface, as well as the desire to push the intrinsic dynamism of color to the fullest.

At the time, one could already perceive Jenkins’ will to create through light and color. This notion of light-color is fundamental in the painter’s work and constitutes its conceptual and sensitive framework. Later, during the 1960’s, Jenkins’ flowing paint achieved, in its direct impregnation of the canvas, the immediate and organic synthesis of space and of light in color. At the time, Jenkins’ art lost its spatio-informal connotation for a more contemporary reference in America, that of “post-painterly abstraction”. Compared with Morris Louis’ linear flow, Jenkins’ colors moved in successive waves and in zones of shimmering stagnation creating the unstable image of a romantic unfolding.

I saw Paul Jenkins again after the parenthesis of the 1970’s, during the “Broken Prisms” period in 1983.

The beginnings of the color-light language already affirmed in 1954 found thirty years Iater their greatest blossoming. There was both a visually sumptuous effervescence in the levels of refraction of color and also the emergence, beyond the gestural fragmentation, of a grave and hearty tone: I seemed to detect (and I was not the only one) the indirect reflection of a spiritual and mystical journey by the painter. I knew of the influence the doctrine of Gurdjieff had had on Jenkins in the 1950’s. But the Russian guru had been particularly fashionable in artistic and intellectual circles in Paris at the time, and I had only seen, in Jenkins’ relationship with oriental spirituality, a manifestation of adhesion to one of the profound upheavals which periodically take hold of the collective artistic conscience.

I should make amends by admitting that without this shamanistic reference, color would never have attained the degree of internal luminosity which characterizes the current phenomenology of Jenkins’ work.

And it is indeed a question of phenomena. Jenkins’ paintings, centered around the prism as a central operational core, reveal, in the undulating folds of their vivid colors, the entire history of the event they constitute.

Whether referring to Light of the Visitation, Sundial, Prism Table or Astral Tundra, the titles of the canvases are explicit and they lead us inexorably and imperceptively towards the Incantation Cycle and the visual revelation of the Shaman. lmperial violet, canary yellow, emerald green, ultramarine, and cardinal red are the structural and inter-active elements of the artist’s chromatic range. Their visual symbolism is omnipresent in their clashing contrasts as in their osmotic passages…

Violet, yellow, blue and red are the dancing and active protagonists around the Shaman in Paul Jenkins’ ballet presented at the Opéra Comique in Paris. Thanks to Paul I recently had one of the most poetic surprises of my life.

On February 25, on one of the only sunny mornings this winter, I visited him in the ateliers of the Opéra, on boulevard Berthier: a series of huge buildings, conceived by Eiffel and Garnier, on the scale of the respective volumes of the Opéra and the Opéra Comique.

Imagine gigantic metallic hangars with brick walls, sunlight streaming through the skylights. Silks 10 x 12 meters long and canvases 10 x 13 meters filling the immense space exalting the warm colors… the décors for Paul Jenkins’ ballet, “The Shaman to the Prism Seen”.

There is something at once monumental, solemn, and strangely serene in these draped and flowing veils filling a space transcended by its overwhelming lightness. Man feels a little lost in front of these immense volumes of striking clarity.

He realizes that he is seeing the actual scale of the stage. But the stage is non-existent, emptied of its structural attributes, there only through the dimension and the presence of the canvases, curtains, veils, and large panels which constitute the visual mechanism of the action, the spatial equipment of the ballet. And at that moment of visual delirium, the blues became even bluer, the opaque colors more profound, the transparencies more illuminating.

The painter guiding me and explaining that the concept of the “Broken Prisms” symbolized the fundamental coexistence of opposites and the essential dialectic between the esprit de géometrie and the esprit de finesse, this painter had became the omnipresent Shaman, dominating the space with his quasi-immaterial stature… In short, this visit was transformed into the most shimmering optical illusion. Such is painting’s spiritual spell, when it is conducted with talent and with rigor on the highest level of spiritual and linguistic expression. In this 30 year-old friendship I find the vital spark of a great style: the continuity of thought and vision united in the warmth of painting where light becomes spirit.

Pierre Restany 1987

INTERVIEW
BY PHILIPPE BOUCHET

This interview was published for the first time in the exhibition catalogue Paul Jenkins: “œuvres Majeures” at the Palais des Beaux-Arts in Lille from September 17th to November 20th 2005, curated by Régis Dorval with the Fondation Demeures du Nord, chaired by Christian Paindavoine.

Ph. B. : Why in the 5o’s did you leave New York. a principal center of innovation in the visual arts, for Europe? Was it the need to explore other sources of inspiration? In your experience of sharing American and European culture, does this align you with Whistier or Mary Cassat?

P. J. : I did not align myself consciously with anyone – l was caught up in the urgency of my necessity and this is what took me there alter 4 years of studylng with Yasuo Kuniyoshi at the Art Students League in New York. There was plenty of inspiration in New York: past. present and evolving into the future. There is no answer to the question of why l came to Europe. lt was essential to me then and has remained a constant part of my life. There was just as much unknown in New York as there was in Europe.

Ph. B. : In looking back on your view of the works of Gustave Moreau, Odilon Redon or Paul Gauguin, or, Matisse or Kandinsky, did they open new ways in your own creative approach?

P. J. : There is no way to generalize about these complex and profoundly significant artists. They held great meaning for me then, as they do now. Each painter’s sense of light is sornething that cannot be decoded – it remains the artist’s inexplicable secret.

Ph. B. : Through your experience and in your vision of things, through your painting, the label of abstract expressionist does not seem exact. I know very well that it is difficult to situate oneself in history, but how do you handle this question?

P. J. : As de Kooning said, it is disastrous to name ourselves.

Ph. B. : Moreover, one speaks of your work as that of a great religious and spiritual painter of our tlme. Do you think that is accurate?

P. J. : This is for others to decide, and not the artist.

Ph. B. : The notion of space in painting – which has preoccupied numerous contemporary artists – is this not one of your major preoccupations? lsn’t that what you want to render in your large scale works, whether watercolor or painting?

P. J. : To me, microcosm and macrocosm walk hand in hand. When you see a small Paul Klee or a small Mark Tobey, these are in reference to the microcosm that becomes the macrocosm. Space is not large or small, it is intrinsic to the painting. Mark Rothko liked low light on his paintings and he hung large-scale works close together in intimate spaces.

Ph. B. : In the 8o’s, what led you to leave behind the principle of pouring in order to structure your works more deliberately?

P. J. : Pouring is not a principle, it is a way of working to render a specific result. And not to be mistaken: pouring is also in its own way structured. It was not left behind, as you put it, it continues to coexist with the heavier impasto, both structured to discover the inherent potentiality of the work. That makes me think of Jackson Pollock at the Cedar Bar one night when someone was diminishing Mondrian. Incredulous, Pollock shot back, “You mean you don’t see Mondrian in my works?” The underlying grid for Pollock is there.

Ph. B. : Has your experience in ceramics had an influence on your painting? I mean the visible thickness of paint on the surface of the canvas, does it not refer to the enamel of ceramics?

P. J. : For me, the thickness of paint on the canvas does not relate to the enamel of ceramics, but to the intensity and differentiation of the color. I was struck by the transformation of color by fire.

Ph. B. : Why at one point did you choose to paint with an ivory knife? Why did you choose this type of tool?

P. J. : This I discovered in Paris. The substance of ivory acts like an invisible tool – it is organic and leaves no marks or traces of itself on the canvas

Ph. B. : Why and how does the prism hold such an attraction for you?

P. J. : The prism proves beyond a question of a doubt that the suggestion of the absolute and the world of the ever-changing do not only coexist but affirm each other.

This paradox has a meaning. The fact that light creates color is the ever-haunting subject, and the prism is the evidence of that fact.

Ph. B. : The idea of composition through light, does it not attach your work to the great tradition of painting? I am thinking for example of the Spanish luminist painters, or the beautiful light of Velasquez.

P. J. : You are referring to the 1959 text by Pierre Restany comparing my work to the Spanish luminists, and to Kenneth B. Sawyer who made reference to the école de Venise. When I visited Spain in 1953, the Spanish painters filled me with pain – they made me want to break my brushes. The enormity of their impact… they conquered unimaginable insights that you had to see and experience physically. They were terrifying in their way of apprehending, of rendering what appeared to them as the real. Their paintings were monumental, and by this I mean monumental within the painting and not with regards to scale which could be large or not.

Ph. B. : Numerous works of yours have the title of Phenomena, why? Does its poetic character correspond to something precise for you?

P. J. : I can only respond as I did to Jean Cassou. Titles are for me like names on the map of the artist’s world. I try to find the identity word that will secure an attitude towards the painting rather than provoke
a visual object that the eye will seek out. Phenomenon for me is involved with the capture of the ever-changing, both in the act of painting and the final result. It is capturing “the-thing-as-itchanges”.

Ph. B.: You have the habit of making notes, of putting down on paper your reflections and thoughts. Does this affect your work?

P. J.: When I put notes or thoughts down on paper, it is like drawing with words. The notes range from lists of imperative things to do,
poems, thoughts, fragments, ideas, observations, imaginary dialogues… Sometimes I find that I refer to them as clues to something that is coming into being, to catch the essence of a thought that has yet to be realized.

Ph. B.: Through your own American culture, how do you view the
Parisian scene, do you find it has its own dynamism? Do you see a difference between New York and Paris?

P. J.: There is a great difference between New York and Paris but they interchange, each being unique unto itself and each having its own substantial energy. When Jean-Louis Barrault called himself a “citizen of the world”, he was embracing the idea that you can belong to different places.

Ph. B.: Who were the painters of the New York scene you knew?

P.J.: To me New York is not a scene, it is an integral part of my life and those who shared it have a special place. Sometimes friends now
gone emerge abruptly into the present, the way you would take a sharp turn, and then veer away again, back into the fragments of those times. Philip Pavia of the Artists’ Club, Mark Rothko, Jackson Pollock, Franz Kline, Willem de Kooning, Joan Mitchell, Robert Motherwell… We were all part of each other’s lives. In rereading some of the letters from that time, what is clear is that the artist was always under siege. The letters were written forthrightly and there was no hedging of terms. The artist is caught up in a lasting urgency.

Ph. B.: Did you know Mark Rothko very well?

P. J.: I met Mark Rothko in 1951 in the cafeteria of the Art Students League in New York when l was a student there. He was broke, and had just obtained a job teaching lithography in Brooklyn and was talking about it to Will Bamet. After that first meeting, Mark and I used to see each other often in our neighborhood and at Jerry’s Bar. I lived on West 55th Street off of Sixth Avenue and Mark lived a block away on West 54th Street. During a visit to his studio in 1956, I became entranced by a small painting and told Mark I wanted to buy it.
He accepted my offer and then walked home with me, and with the painting under his arm. Then the next day and in an agitated state, Mark called me to say that he needed to have the painting back and that he would keep my check but not cash it. I know that it meant something to Mark that I wanted this painting so much. He told that to a friend, who later told me. When Mark was working on his chapel for Houston, he wrote from Rome to me in Paris.

He wanted to meet up with me in Paris to look at different ways of creating protective distances between the viewer and the work. We visited the Orangerie to see Monet’s “Nympheas”, and then went to the Jeu de Paume where Mark saw a small Pissarro. He turned to me and said, “Think of the courage it took for him to make that painting at that time”. Years later, prior to the opening of the chapel. l donated Mark’s letter to Jean and Dominique de Ménil for the chapel’s archives. Mark to me was a dark and luminous experience. The profound radiance in his canvases never leaves me.

Ph. B. : How did you meet Jackson Pollock?

P. J. : While I was still at the Art Students League, I met Jackson Pollock at an art dealer’s home in New York City where his work was being shown. He was with Barnett Newman. After circling me for a while, Jackson began to activate and we started to get to know each other. In 1955 and 1956. I used to see him on a regular basis at the Cedar Street Tavern. He and his wife, Lee Krasner, invited me to visit them in Springs, on Long Island, in the spring of 1956. Which I did, staying at Alfonso Ossorio’s place.

It was at that time Jackson told me if an artist had five people who believed in him, that was what mattered. Toward the end of the visit, Jackson shot an arrow into the kitchen wall. So, when I returned to the city, I sent him an inscribed copy of Herrigel’s “Zen and the Art of Archery”, which is still in the library of their house in Springs. I tried to encourage Jackson to come to Paris but he looked down, shook his head. and said, “Paul. it’s too late”. I still cannot understand how someone 44 years old could say that it was too late. Lee Krasner stayed with me and Esther, my wife at that time, at my atelier in the 14th arrondissement and that is where Clement Greenberg reached us by telephone to tell us what had happened to Jackson. Thanks to friends, I was able to secure a flight for Lee back to New York that very night. Bamett Newman and his wife went to meet Lee at the airport on her arrival.

One night that spring of 1956 and before I left for Paris, Jackson and I were outside on the sidewalk in front of the Cedar Street Bar that had just closed for the night. Then he said, “Paul, I have a car. Do you want to take a ride?” Having had the experience of driving through the Ozarks with my father at the wheel and under the influence, I backed off.

It was during this period of time and the following years that Michel Tapié came often to New York and went to the Cedar Bar. Many artists referred to this in their letters to me. They all wanted to know what he was up to.

Two years later, Joan Mitchell and I exchanged studios. I worked in her studio at St. Mark’s Place in New York and she worked in my atelier in the 14th arrondissement, and this lasted for two years. After St. Mark’s Place, I found a small flat on East 12th Street which I read about on the bulletin board at the Cedar Street Tavern.

In 1963, Bill de Kooning turned over to me his loft at 831 Broadway, and I kept that place until the long running lease expired at the end of 2000. Fortunately, in the mid-70’s I bought a loft nearby from Italian carpenters. In the beginning of 2001, I moved there and took with me, as we had agreed, the armoire Bill designed and painted at 831 Broadway.

When I think of the 50’s in New York, they are inseparable from Paris. Because even though passage was by boat, many made the trip over and over again. In 1953, I met Zoe Dusanne in Paris and in 1955, she gave me my first one-man exhibition in the States in Seattle, Washington. I brought her to Jean Dubuffet and she then had an exhibition of his lithographs. Zoe was also the first to show Henri Michaux’s work in the States, in 1954. Then, that same year, I had my first one-man show in Paris at Studio Paul Facchetti on the rue de Lille. Also in 1954, I met Martha Jackson in Paris and she gave me my first one-man show in New York City in 1956. For me, these two cities are inseparable.

Ph. B. : How did you experience the quarrel between abstraction and figuration? Did those discussions affect your work?

P. J. : To paraphrase Gertrude Stein, a painting is a painting is a painting.

© Paul et Suzanne Jenkins 2005.
Traduction de Tracy Christopher
Philippe Bouchet is an art historian
and curator of numerous exhibitions.

PAUL JENKINS

Kansas city Missouri 1923 – New York city 201

SELECTED SOLO EXHIBITIONS

2014
Diane de Polignac Gallery, Paris.

2012
Robert Green Fine Arts, Mill Valley.

2011
The Redfern Gallery, London.

2010
Crocker Art Museum, Sacramento.
Robert Green Fine Arts, Mill Valley.
Palazzo Pacchiani, Prato.
Galleria Open Art, Prato.
UB Anderson Gallery, State University of New York at Buffalo.
Galleria Civica Ezio Mariani di Seregno.

2009
D. Wigmore Fine Art, New York.
Cummer Museum of Art & Gardens, Jacksonville.
Archives of American Art, Smithsonian Institution, New York location.

2008
Robert Green Fine Arts, Mill Valley, California

2014
Diane de Polignac Gallery, Paris.

2012
Robert Green Fine Arts, Mill Valley.

2011
The Redfern Gallery, London.

2010
Crocker Art Museum, Sacramento.
Robert Green Fine Arts, Mill Valley.
Palazzo Pacchiani, Prato.
Galleria Open Art, Prato.
UB Anderson Gallery, State University of New York at Buffalo.
Galleria Civica Ezio Mariani di Seregno.

2009
D. Wigmore Fine Art, New York.
Cummer Museum of Art & Gardens, Jacksonville.
Archives of American Art, Smithsonian Institution, New York location.

2008
Robert Green Fine Arts, Mill Valley, California

2000
Butler Institute of American Art, Youngstown.
Basilica Palladiana, Vicenza.
Joseph Rickards Gallery, New York.
Center for the Arts, Vero Beach, Florida (collage retrospective).
Agama Gallery, New York.

1999
Galerie Wild, Frankfurt.
Galerie Patrice Trigano, Paris.
Hofstra Museum, Hempstead, New York.
Joseph Rickards Gallery, New York.

1998
Joseph Rickards Gallery, New York.

1997
Butler Institute of American Art, Youngstown.
Galerie Georges Fall, Paris.
Galerie Proarta, Zurich.

1996
Lorenzelli Arte, Milan.

1995
Artcurial, Paris (graphics).
Centre d’art contemporain, Bouvet Ladubay, Saumur.
Galerie Proarta, Zurich.
Chateau Musée Grimaldi, Cagnes sur mer.
Associated American Artists, New York.

1994
Gallery Art Point, Tokyo.
Pasquale Iannetti Gallery, San Francisco.
“L’Eau et la Couleur”, traveling watercolor exhibition in France.
La Maison Française, New York University, New York (collages: Hommage à Jean-Louis Barrault).

1993
Smith Andersen Gallery, Palo Alto.
Yoshii Gallery, Paris (collages).
Associated American Artists, New York (collages).

1992
Roswitha Haftmann Gallery, Zurich.
Atelier Franck Bordas, Basel Art Fair and Paris.
Guy Pieters Gallery, Knokke-le-Zoute.
Associated American Artists, New York.
Galerie Iris Wazzau, Davos, Switzerland.

1991
Gimpel & Weitzenhoffer Gallery, New York (polyptychs I).
Gimpel Fils, London (polyptychs II).

1990
Galerie Patrice Trigano, Paris.
Castello Doria, Portovenere.
Gallery Art Point, Tokyo.

1989
Musées de Nice: Galerie des Ponchettes et Galerie d’Art Contemporain, Nice.

1988
Samuel Stein Gallery, Chicago.
Galerie Patrice Trigano, Paris.
Gimpel & Weitzenhoffer Gallery, New York (collages).
Galerie Régis Dorval, Le Touquet.
Gana Gallery, Seoul.
Galleria La Loggia, Bologna.

1987
Galerie 63, Klosters.
Samuel Stein Gallery, Chicago.
Musée Picasso, Antibes (retrospective).
Galerie Régis Dorval, Lille.
Galleri Atrium, Stockholm.

1986
Gimpel Fils, London.
MR Galleria d’Arte Contemporaneo, Rome.
Galerie Michel Delorme, Paris.
Roswitha Haftmann, Zurich.
Gallery Art Point, Tokyo.
Butler Institute of American Art, Youngstown (collages).
Gimpel & Weitzenhoffer Gallery, New York.

1985
Gimpel & Weitzenhoffer Gallery, New York.
Gallery Moos, Toronto.
Galerie Georges Fall, Paris.
Gallery Art Atrium, Stockholm.
FIAC, Gimpel & Weitzenhoffer Gallery, Paris.

1984
Carone Gallery, Fort Lauderdale.
Musée d’Art Contemporain, Dunkirk (collages).

1983
Mead Art Museum, Amherst.
Gimpel & Weitzenhoffer Gallery, New York.
Galerie Georges Fall, Paris.
Alex Rosenberg Gallery, New York (collages).
Contemporary Gallery, Dallas.

1982
Nicoline Pon Gallery, Zurich.
Gimpel Fils, London.
I. Irving Feldman Galleries, Detroit.
Galerie Georges Fall, Paris.
Contemporary Gallery, Dallas.

1981
Belk Art Gallery, Western Carolina University, Cullowhee.
Carone Gallery, Fort Lauderdale.
Samuel Stein Gallery, Chicago.
French Cultural Services, New York, and la Maison Internationale du Théâtre,
Théâtre du Rond-Point, Paris (collages: Hommage à Jean-Louis Barrault).
Gimpel & Weitzenhoffer Gallery, New York.
I. Irving Feldman Galleries, Sarasota.

1980
Palm Springs Desert Museum, Palm Springs, California (retrospective).
Elaine Horwitch Gallery, Scottsdale.
Gimpel Fils, London.
Contemporary Gallery, Dallas.
Galerie Karl Flinker, Paris.

1979
Gimpel & Weitzenhoffer Gallery, New York.
Baukunst Galerie, Cologne.
Elaine Horwitch Gallery, Scottsdale.

1978
Gimpel & Weitzenhoffer Gallery, New York.
Samuel Stein Gallery, Chicago.
Elaine Horwitch Gallery, Santa Fe.
Balcon des Arts, Paris.
Diane Gilson Gallery, Seattle.
Galleria d’Arte Narciso, Turin.

1977
Martha Jackson Gallery, New York.
Gimpel & Hanover Galerie, Zurich.
La Galerie Cours Saint-Pierre, Geneva.
Sears Bank & Trust Company, Chicago.
Contemporary Gallery, Dallas.
Philbrook Art Center, Tulsa.
Diane Gilson Gallery, Seattle.

1976
Samuel Stein Gallery, Chicago.
Galerie Karl Flinker, Paris and Basel Art Fair, Basel.
Gimpel & Weitzenhoffer Gallery, New York.

1975
Galerie Tanit, Munich.
Carone Gallery, Fort Lauderdale.

1974
Musée des Beaux-Arts de Charleroi, Charleroi (retrospective).
Baukunst Galerie, Cologne.
Gimpel & Weitzenhoffer Gallery, New York.
Gimpel Fils, London.

1973
Galerie Karl Flinker, Paris.
Art Gallery of the University of Notre Dame, Notre Dame.
Lindenwood College Art Gallery, St. Charles, Missouri.
Oklahoma Art Center, Oklahoma City.
Martha Jackson Gallery, New York.
Gimpel & Weitzenhoffer Gallery, New York.

1972
San Francisco Museum of Art, San Francisco (retrospective).
Gimpel Fils, London.
Abrams Original Editions, New York.
Corcoran Gallery of Art, Washington, D.C. initiates watercolor exhibition traveling to the Amarillo Art Center, Santa Barbara Museum of Art, Indianapolis Museum of Art, Fort Lauderdale Museum of Art, Lauren Rodgers Memorial Library and Art Gallery, Montgomery Museum of Fine Arts, Witte Memorial Museum.

1971
Museum of Fine Arts, Houston (retrospective).
Martha Jackson Gallery, New York.
Richard Gray Gallery, Chicago.

1970
Martha Jackson Gallery, New York.
Gertrude Kasle Gallery, Detroit.

1969
Martha Jackson Gallery, New York.

1968
Galerie Daniel Gervis, Paris.
Gallery Moos, Toronto.
Galerie Räber, Luzern.
Martha Jackson Gallery, New York.

1966
Martha Jackson Gallery, New York.
Galerie Agnès LeFort, Montreal.
Hope Makler Gallery, Philadelphia.
Arthur Tooth & Sons, London.

1965
Galerie Karl Flinker, Paris.
Gertrude Kasle Gallery, Detroit.
Court Gallery, Copenhagen, Denmark.
Gallery of Modern Art, Scottsdale.

1964
Tokyo Gallery, Tokyo.
American Art Gallery, Copenhagen.
Kumar Gallery, New Delhi.
Martha Jackson Gallery, New York.
Kestner-Gesellschaft, Hanover (retrospective).

1963
Arthur Tooth & Sons, London.
Galerie Karl Flinker, Paris.
Gallery Moos, Toronto.

1962
Galerie Lienhard, Zurich.
Galerie Karl Flinker, Paris.
Esther Robles Gallery, Los Angeles.
Toninelli Arte Moderna, Milan.
Galleria Odyssia, Rome.
Kölnischer Kunstverein, Cologne.

1961
Galerie Karl Flinker, Paris.
Martha Jackson Gallery, New York.
University Gallery, University of Minnesota.

1960
Arthur Tooth & Sons, London.
Martha Jackson Gallery, New York.
Esther Robles Gallery, Los Angeles.
Galerie d’Art Moderne, Stuttgart.

1959
Galerie Stadler, Paris.

1958
Martha Jackson Gallery, New York.

1957
Galerie Stadler, Paris.

1956
Martha Jackson Gallery, New York.

1955
Zoe Dusanne Gallery, Seattle.

1954
Studio Paul Facchetti, Paris.
Zimmergalerie Franck, Frankfort am Main.

SELECTED GROUP EXHIBITIONS

2013
“The Redfern Gallery at 90”. Redfern Gallery, London.
“Made in the USA – From the Abstract Expressionists to the Color Field Painters”. Palm Springs Art Museum, Palm Springs, California.
“Red”. Antoine Helwaser Gallery, New York.

2012
“Local Color”. The San Jose Museum of Art, California.
“Abstract Expressionism: Then and Now”.
Flint Institute of Arts, Michigan.
“Un Art Autre? Artistes autour de Michel Tapié”,
une Exposition. Christie’s, Paris.

2011
Gottfried Honegger/Paul Jenkins. Centre d’art contemporain, Bouvet Ladubay, Samur.
“Fragments 1915-2011: Modern and Contemporary Collage”. ACA Galleries, New York.
“Colour Moves Surface”. Lorenzelli Arte, Milan.
“American Masterworks: 150 Years of American Painting from the Butler Institute of American Art”.
Vero Beach Museum, Florida.
“The Armory Show. D. Wigmore Fine Art”, New York, Pier 92.
“Gloria F. Ross: Rebirth of Modern Tapestry”.
Jane Kahan Gallery, New York.

2010
“Into the Void: Abstract Art, 1948-2008” Tucson Museum of Art.
“Under Each Other’s Spell” Gutai and New York. UB Anderson Gallery, State University of New York at Buffalo.
“Modern Drawings: Tracing 100 Years”. Academy Art Museum, Easton.
“Action Painting in the Chrysler”. Chrysler Museum, Norfolk.
“Hidden in Plain Sight: Art Treasures from Regional Collections”. Erie Art Museum.

2009
“Under Each Other’s Spell”, Gutai and New York.
Pollock-Krasner House & Study Center, East Hampton. The Harold B. Lemmerman Gallery, New Jersey City University, New Jersey.
“Exploring Black and White: the 1930’s through the 1960’s”. D. Wigmore Fine Art, New York.
“184th Annual Exhibition”. National Academy Museum, New York.
“Juicy Paint”. San Jose Museum of Art, San Jose, California.
“En mémoire de Rodolphe Stadler”. Les Abattoirs, Toulouse.

2008
“Beyond the Canon: Small Scale American Abstraction, Past and Present”. Robert Miller Gallery, New York.
“Dialogue”. Galerie Iris Wazzau, Davos.

2007
“East End Artists, Past and Present”.
Telfair Museum of Art, Savannah, Georgia.
“Freedom to Experiment: American Abstraction 1945-75”. D. Wigmore Fine Art, New York.
“Viva Vetro! Glass Alive! Venice and America, 1950-2006”. Carnegie Museum of Art, Pittsburgh.
“Shining Spirit-Westheimer Family Collection”. Oklahoma City Museum of Art.
“Les Formes de la Couleur”. Centre d’Art Contemporain, Bouvet Ladubay, Saumur.
“182nd Annual Exhibition of Contemporary American Art”. National Academy, New York.
“London Original Print Fair”. The Royal Academy of Arts, London.
“A Selection of 20th Century and Contemporary Paintings”, Works on Paper and
Sculpture. Redfern Gallery, London.

2006
“A Century of American Art”. D. Wigmore Fine Art, New York, November 2006-January 2007.
“Art London”. The Redfern Gallery. October 6-10, 2006.
“L’Envolée Lyrique: Paris 1945-1956”. Musée du Luxembourg, Paris.
“Geometric Abstraction: Two Generations”. D. Wigmore Fine Art, Inc., New York.

2005
“Beyond Representation-Abstract Art in the South”. The Gibbes Museum of Art, Charleston, South Carolina.
“New Acquisitions 2005”. Portland Museum of Art, Portland, Maine.

2004
“Modernism and Abstraction”. Palm Springs Desert Museum.
“Selections from the Haskell Collection”. Jacksonville Museum of Modern Art, Jacksonville.
“Modern and Contemporary Prints, Part Two”. Redfern Gallery, London.

2003
“Tradition and Innovation in European Modernist Drawings and Watercolors”. San Diego Museum of Art, San Diego.
“Trésors du XXe Siècle dans les Collections Angevines”. Présence d’Art Contemporain, Angers.

2001-2002
“Three Decades of Contemporary Art: The Dr. John & Rose M. Shuey Collection”. Cranbrook Art Museum, Bloomfield Hills, Michigan.

2001
“The Stamp of Impulse: Abstract Expressionist Prints”. Worcester Art Museum, Worcester.
“Clement Greenberg: A Critic’s Collection”. Portland Museum of Art.
“Artists after Moby Dick”. Hofstra Museum of Art, Hempstead, New York.
“10e Anniversary”. Centre d’art contemporain, Bouvet Ladubay.

2000
“Le Mouvement Phases de 1952 à l’horizon 2001”. Centre Culturel Noroit, Arras.

1999
“Vision Nouvelle”. Fondation Maeght, Saint-Paul-de-Vence.
“Les Années de Combat”, La Galerie Arnaud, Revue Cimaise 1951-1962. PACA exhibition traveling in France.
“Suspicion-Art in the Cinema”. Haifa Museum of Art.

1998
“Masters of Color and Light, Homer, Sargent and the American Watercolor Movement”, Brooklyn Museum of Art, Brooklyn.
“Three Americans: Francis, Jenkins, Tobey”. Galerie Wazzau, Davos.
“Regard sur l’estampe en France de 1945 à nos jours”. PACA exhibition traveling in France.
“The Art of Collaborative Printmaking-Smith Andersen Éditions”. Nevada Museum of Art, Reno.
“On Paper”. Associated American Artists, New York.
“Ligne Courbe = Curved Line”. Musée de l’art contemporain de Montréal.

1997
“Francis, Jenkins, Mathieu”. Associated American Artists, New York.
“Egidio Costantini – Vetro un Amore”. Museo Diocesano d’Arte Sacra, Sant’Apollonia, Venice.
“Michel Tapié – Un Art Autre”. Galleria Civica d’Arte Moderna e Contemporanea di Torino.
Espace d’Art Moderne et Contemporain de Toulouse et Midi-Pyrénées.

1996
“50th Anniversary Exhibition”. Gimpel Fils, London.
“Künstler der Galerie”. Roswitha Haftmann Modern Art, Zurich.

1995
“Unpainted to the Last: Moby Dick and 20th Century Art”. Spencer Museum of Art, Lawrence, traveling exhibition.
“Collecting for Stanford: Selected Acquisitions 1990-95”. Stanford University Museum of Art, Stanford, California.

1994
“Whistler to Dine: Important Prints from the Collection”. New Britain Museum of American Art, New Britain, Connecticut.
“Style des Années 40: Peintres GI”. Musées de Cherbourg.
“Works from the Collection”. David Anderson Gallery, Buffalo.
Martha Jackson Gallery: 1953-1979. Associated American Artists, New York.
“Cinquante Années de la peinture américaine 1944-1994”. Palais Bénédictine, Fécamp; le Chateau du Grand Jardin, Joinville.

1993
Vancouver Collects. Vancouver Art Gallery, British Columbia.
“Triennale des Ameriques: Présence en Europe 1945-92”. Maubeuge.
“Collection de la Fondation Maeght: un choix de 150 oeuvres”. Fondation Maeght,
Saint-Paul-de-Vence, France.
“La Forge des Anges, Sculptures en verre”. Espace Kiron, Paris.
“From Intimate to Monumental”. Associated American Artists, New York.

1992
“Abstract Expressionism: The Haskell Collection”. Cummer Gallery of Art, Jacksonville.
Rue du Bac – Rue de Tournon: Karl Flinker.
37e Salon de Montrouge, Paris.
“L’Art Actif-Art Works: La Collection”. Fondation Peter Stuyvesant. École Nationale Supérieure des Beaux-Arts, Paris.
“Le Tondo d’Aujourd’hui”. Exhibition traveling in France.
“Beato Passio. Quinta Biennale d’Arte Sacra”. San Gabriele, Italy.
“Passions”. Centre d’Art Sacré, L’Hospice d’Ille sur Têt.

1991
“The Helena and Kenneth Levy Bequest, Fourteen Twentieth Century Works for
the Collection”. The Tate Gallery, London.
“Masters of Contemporary Printmaking”. Associated American Artists, New York.

1990
“Globale Künstler”. Baukunst Galerie, Cologne.
“East Hampton Avant-Garde: A Salute to the Signa Gallery 1957-1960.” Guild Hall Museum, East Hampton, New York.

1989
“The Broader Canvas: Large-Format Paintings”. Gimpel Fils, London.
“Le Paysage dans l’Art Contemporain”. L’École des Beaux-Arts, Paris.
“La Passion de Dunkerque”. Hôtel de Ville, Paris.

1988
“Selections from the Bequest of Nancy Hanks”. Duke University Museum of Art, Durham.
“The Fifties and the Sixties”. Gimpel Fils, London. “Abstraction Lyrique, et Aspect de l’Art Abstrait des Années 50”. Two traveling exhibitions in France.

1987
“20th Century Paintings from the Guggenheim”. Picker Art Gallery, Colgate University, Hamilton.
“Color Pure and Simple”. Stamford Museum and Nature Center.
“The Spontaneous Gesture, Prints and Books of the Abstract Expressionist Era”.
Australian National Gallery, Canberra. “Abstractions Lyriques: Paris 1945-1955”. Espace Belleville, Paris.

1986
“Post Tenebras Lux”. Musée Rath, Geneva.
“Watercolor USA 1986 – The Monumental Image”. Springfield Art Museum, Springfield, Missouri.
“The 1950’s – American Artists in Paris Part III”. Denise Cadé Gallery, New York.

1985
“Action et Emotion, Peinture des Années 50, Informel, Gutai, Cobra”. National Museum of Art, Osaka.
“Les Années 50”. Musée d’Art Contemporain, Dunkirk.

1984
“Homer, Sargent and the American Watercolor Tradition”. The Brooklyn Museum of Art, Brooklyn.
“Ordinary and Extraordinary Uses: Objects by Arts”. Guild Hall Museum, East Hampton.
“Aspects de la Peinture Contemporaine – 1945-1983”. Musée d’art moderne de Troyes, Troyes.

1982
“Forms in Color”. Indianapolis Museum.
Les Américains de Paris. Paris Art Center, Paris.

1977
“American Postwar Painting from the Guggenheim Collection”. The Solomon R. Guggenheim Museum, New York.
“Selections from the Lawrence H. Bloedel Bequest”. Whitney Museum of American Art, New York.
“Quelques Américains à Paris”. Centre Georges Pompidou, Paris.

1976
“Abstract Expressionists and Imagists: A Retrospective View”. Archer M. Huntington Gallery, University of Texas at Austin.
“Aspects of Postwar Painting in America”, The Columbus Gallery of Fine Arts, Columbus.

1975
“The Martha Jackson Collection at the Albright-Knox Gallery”. Albright-Knox Gallery, Buffalo. [1975-1976]
“100 Artists Associated with the Art Students League of New York”. Kennedy Galleries, New York.

1973
Harold & May Rosenberg Collection. Montclair Art Museum.
“L’Espace Lyrique”. Abbaye de Beaulieu, Ginals.
“International Glass Sculpture”. Lowe Art Museum, University of Miami.
“Flowing Form”. The Museum of Fine Arts, St. Petersburg, Florida; The Loch Haven Art Center, Orlando; The Le Moyne Art Foundation, Tallahassee.

1972
“Abstract Expressionism”. Albright-Knox Gallery, Buffalo.

1971
“American Paintings and Sculpture: 1948-1969”.
Krannert Art Museum, University of Illinois, Champaign-Urbana.

1970
Michener Collection. University Art Museum, Austin.
“Trends in Twentieth Century Art”. A loan exhibition from the San Francisco Museum of Art. The Art Galleries, University of California, Santa Barbara.
“XXXVII Mostra Internazionale di sculture in Vetro”. Palazzo Ducale, Fucina degli Angeli, Venice.
“American Painting and Sculpture”. Krannert Art Museum, Champaign-Urbana.
La Peinture Contemporaine de la Collection de la Baronne Alix de Rothschild. Musée des Beaux-Arts, Caen.

1969
“XXXV Mostra Internazionale, Sculture in Vetro della Fucina della Angeli”. Castelli Campo SS.
Filippo e Giacomo, Venice.
“The 164th Annual Exhibition”. Pennsylvania Academy of Fine Arts, Philadelphia.

1968
“Icon Idea”. Lafayette College, Easton.
Circulated by the Smithsonian Institution, Washington, D.C.
“East Coast-West Coast Paintings”. Museum of Art, University of Oklahoma, Norman and the Oklahoma Art Center, Oklahoma City, traveling to the Philbrook Art Center, Tulsa.
Krannert Art Museum, Champaign-Urbana.

1967
“The Art of Organic Form”. National Museum of Natural History, Smithsonian, Washington, D.C.
“Contemporary American Painting and Sculpture”. Krannert Art Museum, ChampaignUrbana.
“30th Biennial Exhibition of Contemporary American Painting”. Corcoran Gallery of Art, Washington, D.C.
“The 1960’s: Painting and Sculpture from the Museum of Modern Art Collection”, MOMA, New York.
“The 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture”. Carnegie Institute Museum of Art, Pittsburgh.
“Dix Ans d’Art Vivant: 1955-1965”. Fondation Maeght, Saint-Paul-de-Vence.

1966
“Past Present. Corcoran Gallery of Art”, Washington, D.C.
“Peter Stuyvesant Collection”. Stedelijk Museum, Amsterdam.
“Peter Stuyvesant Collection: Le Musée dans l’Usine”. Palais du Louvre, Paris.
“International Art: 1965-1966”. American Art Gallery, Copenhagen.
“2e Salon International de Galeries Pilotes – Artistes et Découvreurs de notre temps”. Musée cantonal des Beaux-Arts, Lausanne.

1965
“Painting without a Brush”. Institute of Contemporary Art, Boston.
“A University Collects-Paintings from the New York University Art Collection”.
Circulated by the American Federation of Arts. Krannert Art Museum. Champaign, Urbana. Lithographies de l’Atelier Mourlot. Redfern Gallery, London.

1964
“Paintings and Sculptures of a Decade”. Tate Gallery, London.
Gutai. Osaka.
Larry Aldrich Contemporary. Ridgefield.
Kunst des 20 Jahrhunderts in Kölner Privatbesitz.
Kölner Kunstverein, Cologne.

1963
“Abstract Watercolors by Fourteen Americans”. Museum of Modern Art, New York, traveling exhibition, U.S.I.S. Gallery, London.
“66th Annual American Exhibition: Directions in Contemporary Painting and Sculpture”. The Art Institute of Chicago.
“Art USA Now”. Royal Academy of Arts, London.
“22nd International Watercolor Biennial”. The Brooklyn Museum, Brooklyn.
“1er Salon International de Galeries PilotesArtistes et Découvreurs de notre temps”. Musée cantonal des Beaux-Arts, Lausanne.

1962
“Primitives to Picasso”. Royal Academy of Arts, London.
“Paris Comparisons”. Musée du Louvre.
“Recent Developments in Painting V”. Arthur Tooth & Sons, London.
“Gegenwart bis 1962”. Haus am Waldsee, Berlin.
”Selections 1934-1961: American Artists from the Collection of Martha Jackson”. Martha Jackson Gallery, New York.
”Art Since 1950”. World’s Fair, Seattle.

1961
“Abstract Expressionists and Imagists”. Solomon R. Guggenheim Museum, New York.
“Recent Developments in Painting IV”. Arthur Tooth & Sons, London.
“Contemporary American Painting and Sculpture”. Krannert Art Museum, Champaign-Urbana. Brooklyn Museum. Brooklyn.
“The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture”. Carnegie Institute Museum of Art, Pittsburgh.
“Sixty-Fourth American Exhibition”, Art Institute of Chicago.

1961, 63, 65
“Annuals, Biennials”. Whitney Museum of American Art, New York.

1960
“American Painters”. Walker Art Center, Minneapolis.
“Recent Developments in Painting III”. Arthur Tooth & Sons, London.
“New Forms – New Media I”. Martha Jackson Gallery, New York.
“An Exhibition of Avant-Garde Paintings”. Brooks Memorial Art Gallery, Memphis.

1959
Gutai Osaka Festival. Osaka.
“Arte Nuova”, Palazzo Graneri, Turin.
“Contemporary American Painting and Sculpture”. Krannert Museum.
Champaign-Urbana.
Kunstverein, Cologne.
Brooklyn Museum. Brooklyn.

1958
“Nature in Abstraction”. Whitney Museum of American Art, New York. Traveling to The Phillips Gallery, Washington, D.C.; Fort Worth Art Center, Fort Worth; Los Angeles County Museum, Los Angeles; San Francisco Museum of Art; Walker Art Center, Minneapolis; City Art Museum of St. Louis.
“An International Selection”. Signa Gallery, East Hampton. Chosen by Michel Tapié.
“The 1958 Pittsburgh International Exhibition of Contemporary and Sculpture”.
Carnegie Institute Museum of Art, Pittsburgh, Pennsylvania.
“Corcoran Biennial”. Corcoran Gallery of Art, Washington, D.C.

1957
“Young America-Thirty American Painters and Sculptors under Thirty-five”. Whitney Museum of American Art, New York.
“41 Watercolorists of Today [41 Aquarellistes d’Aujourd’hui]”. Musée des Ponchettes, Nice. Organized by The International Council of The Museum of Modern Art, New York and selected by Dorothy Miller.
“The Exploration of Paint”. Arthur Tooth & Sons, London.
“Recent Developments in Painting”. Arthur Tooth & Sons, London.
“Annual”. Art Institute of Chicago.

1956
“Recent American Watercolors”. The Museum of Modern Art, New York, traveling exhibition.
“New Trends in Painting”. Arts Council of Great Britain.
“Recent Drawings USA”. Museum of Modern Art, New York.
“Forecasts”. American Federation of Arts traveling exhibition; Butler Institute of American Art.
“Divergences”. Galerie Arnaud, Paris. Galerie Rive Droite, Paris.

1955
“Artistes Étrangers en France”. Petit Palais, Paris. Signes Autres. Galerie Rive Droite, Paris.
“Inaugural Exhibition”. Galerie Stadler, Paris. “Phases de l’art contemporain”.
Galerie R. Creuze, Paris.
“Kunst 1955”. Saarland Museum, Saarbrücken, Germany.

1954
“Divergences”. Galerie Arnaud, Paris.
“Groupe 1954”. Studio Paul Facchetti, Paris.

MUSEUM COLLECTIONS

Australia
Canberra, Australian National Gallery.

Austria
Vienna, Albertina Museum.

Canada
Montréal, Musée d’art contemporain.
Toronto, Art Gallery of Ontario.

France
Antibes, Musée Picasso.
Dunkirk, Musée d’art contemporain.
Paris, Centre Georges Pompidou and Musée national d’art moderne.
Paris, Fonds National de l’Art Contemporain du Ministère de la Culture et de la
Communication.
Saint-Paul-de-Vence, Fondation Maeght. Toulouse, Les Abattoirs, Musée d’art moderne et contemporain.
Villeneuve d’Ascq, Musée d’art moderne.

Germany
Cologne, Kölnischer Kunstverein.
Cologne, Wallraf-Richartz Museum.
Hanover, Kestner-Gesellschaft.
Munich, Bayerische Staatsgemaldesammlungen, Neue Pinakothek.
Stuttgart, Staatsgalerie.

Great Britain
Cardiff, National Museum of Wales.
London, Tate Gallery.
London, Victoria and Albert Museum.

Israel
Jerusalem, Israel Museum.
Tel Aviv, Tel Aviv Museum of Art.

Japan
Hiroshima, Museum of Contemporary Art.
Osaka, National Museum of Art.
Tokyo, National Museum of Western Art.
Tokyo, Seibu Museum.
Toyama, Museum of Modern Art.

Netherlands
Amsterdam, Stedelijk Museum.

United States
Albany, The Governor Nelson A. Rockefeller Empire State Plaza Art Collection.
Albany, Albany Institute of History and Art.
Amherst, Mead Art Museum.
Ann Arbor, University of Michigan Museum of Art.
Austin, University of Texas Art Museum, Huntingdon Art Gallery.
Baltimore, Baltimore Museum of Art.
Berkeley, Berkeley Art Museum and Pacific Film Archive, Berkeley.
Boca Raton, Boca Raton Museum of Art.
Bloomfield Hills, Cranbrook Art Museum.
Boston, Museum of Fine Arts.
Buffalo, Albright-Knox Art Gallery.
Buffalo, UB Art Galleries, State University of New York at Buffalo.
Cambridge, Fogg Museum of Art, Harvard University Art Museums.
Cambridge, Albert and Vera List Visual Arts Center, Massachusetts Institute of Technology.

Champaign, Krannert Art Museum.
Charlotte, Mint Museum of Art.
Cleveland Museum of Art, Cleveland.
Columbus, Columbus Museum of Art.
Corpus Christi, South Texas Institute for the Arts.
Des Moines, Des Moines Art Center.
Detroit, Detroit Institute of Arts.
Durham, Duke University Museum of Art.
East Hampton, Guild Hall.
Fort Lauderdale, Museum of Art.
Grand Rapids, Grand Rapids Art Museum.
Hamilton, Picker Art Gallery, Colgate University.
Hempstead, Hofstra Museum of Art.
Honolulu, Honolulu Academy of Arts.
Indianapolis, Indianapolis Museum of Art.
Jacksonville, Museum of Contemporary Art.
Kansas City, Missouri, Nelson-Atkins Museum of Art.
Lafayette, Greater Lafayette Museum of Art.
Lawrence, Spencer Museum of Art.
Lincoln, DeCordova Museum & Sculpture Park.
Little Rock, Arkansas Arts Center.
Los Angeles, Los Angeles County Museum of Art.
Louisville, J. B. Speed Art Museum.
Milwaukee, Milwaukee Art Museum.
Minneapolis, Walker Art Center.
New Orleans, New Orleans Museum of Art.
New York, Brooklyn Museum.
New York, Solomon R. Guggenheim Museum.
New York, Morgan Library and Museum.
New York, Museum of Modern Art.
New York, New York University Art Collection.
New York, Whitney Museum of American Art.
Norfolk, Chrysler Museum.
Norman, Fred Jones Jr. Museum of Art, University of Oklahoma.
Oklahoma City, Oklahoma City Museum of Art.
Palm Springs, Palm Springs Desert Museum.
Philadelphia, Philadelphia Museum of Art.
Phoenix, Phoenix Art Museum.
Pittsburgh, Carnegie Museum of Art.
Portland, Maine, Portland Museum of Art.
Ridgefield, Aldrich Museum of Contemporary Art.
Sacramento, Crocker Art Museum.
San Diego, San Diego Museum of Art.
San Francisco, San Francisco Museum of Art.
Santa Barbara, Santa Barbara Museum of Art.
Santa Fe, Museum of Fine Arts.
San Jose Museum of Art, San Jose, California.
Seattle, Seattle Art Museum.
South Hadley, Mount Holyoke College Art Museum.
Springfield, Missouri, Springfield Museum of Art.
Stanford, Iris and B. Gerald Cantor Center for Visual Arts.
Savannah, Telfair Museum of Art.
Terre Haute, Sheldon Swope Art Gallery.
Tucson, University of Arizona Museum of Fine Arts.
Washington, D.C., Corcoran Gallery of Art.
Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.
Washington, D.C., Smithsonian American Art Museum.
Washington, D.C., National Gallery of Art.
Williamstown, Williams College Museum of Art.
Worcester, Worcester Art Museum.
Youngstown, Butler Institute of American Art.

BIBLIOGRAPHY

SELECTED SOLO PUBLICATIONS

PAUL JENKINS: PAINTINGS FROM THE 1960’s AND 1970’s
Text Paul Jenkins: The Alchemy of Art by Michel Peppiatt. Exhibition catalogue,
Redfern Gallery, London, June 7-July 28, 2011.
Softbound, 64 pages, 25 reproductions in color, 11 reproductions in black and white.

PAUL JENKINS: ON THE RIM OF TIME LA COSCIENZA DEL TEMPO
Text by Beatrice Buscaroli, Italian-English. Exhibition catalogue, Galleria Open Art, Prato, May 24-July 24, 2010, and the Palazzo Pacchiani, Prato, May 8-June 30, 2010.
Hardbound, 176 pages, 173 reproductions in color, 35 reproductions in black and white.

PAUL JENKINS IN THE 1960’s AND 1970’s: SPACE, COLOR and LIGHT
Text Two Decades by Sandra H. Olsen.
Exhibition catalogue, D. Wigmore Fine Art, New York, May 2-July 2, 2009.
Softbound, 52 pages, 22 reproductions in color, 19 reproductions in black and white.

PAUL JENKINS: RECENT PAINTINGS
Interview with the artist by Philippe Bouchet.
Exhibition catalogue, Redfern Gallery, London, April 17-May 17, 2007.
Softbound, 62 pages, 24 reproductions in color.

PAUL JENKINS IN THE FIFTIES: SPACE, COLOR AND LIGHT
Text Unveiling the Image by Helen A. Harrison. Exhibition catalogue, D. Wigmore Fine Art, New York, February 14-April 14, 2007.
Softbound, 44 pages, 21 reproductions in color and 11 reproductions in black and white.

COSMOGONIE INTERIORI
Text by Bruno Corà. Exhibition catalogue, Galleria Open Art, Prato, November 12-January 31, 2006, Italian-English.
Hardbound, 100 pages, 67 reproductions in color, 7 reproductions in black and white.

PAINTINGS 1954-1960
Text by Kent Minturn. Exhibition catalogue, Redfern Gallery, London, October
25-November 24, 2005.
Softbound, 60 pages, 21 color reproductions, 16 reproductions in black and white.

ŒUVRES MAJEURES
Interview with the artist by Philippe Bouchet, French-English. Exhibition catalogue, Palais des Beaux-Arts, Lille, September-November 2005, by Fondation Demeures du Nord.
Softbound, 80 pages, 53 color reproductions, 2 reproductions in black and white.

VIAGGIO IN ITALIA
Texts by Beatrice Buscaroli Fabbri and the artist, Italian-English. Selected anthology of texts in Italian (Pierre Restany 1959; Albert E. Elsen 1973; Alain Bosquet 1982; Frank Trapp 1986; Jacques Garelli 1995; Jean-Louis Prat 1999).
Exhibition catalogue, Basilica Palladiana, September 2000, by the City of Vicenza.
Softbound, 168 pages, 55 reproductions in color, 43 reproductions in black and white.

CONJUNCTIONS AND ANNEXES
Text by Pascal Bonafoux.Éditions Galilée, Paris, 1991. Two separate editions: English; French.
Hardbound monograph in cloth with dust jacket and linen case, 96 pages, 27 reproductions in color.

L’EAU ET LA COULEUR | WATER AND COLOR
Text by Frank Anderson Trapp. Exhibition catalogue for traveling watercolor exhibition, by PACA, Angers, 1994, French-English.
Softbound, 96 pages, 25 reproductions in color.

SEVEN ASPECTS OF AMADEUS AND THE OTHERS SEPT ASPECTS D’AMADEUS ET LES AUTRES
Text by Paul Jenkins with Suzanne Donnelly Jenkins. Éditions Galilée, Paris, 1992, French-English.
Softbound, 96 pages, 20 reproductions in color.

EUPHORIES DE LA COULEUR
Preface Hughes de Kerret. Texts André Verdet.
Images Paul Jenkins. Editions Imago Terrae, New York, St-Paul-de-Vence, 1988, French.
Softbound, 48 pages, 15 color reproductions.

PAUL JENKINS: BROKEN PRISMS SHAMAN TO THE PRISM SEEN PAUL JENKINS: PRISMES BRISÉS LE PRISME DU CHAMAN
Anthology. Exhibition catalogue, Éditions Galilée, Paris, 1989, in cooperation with the Musées de Nice, French-English.
Softbound, 298 pages, 168 reproductions in color including 119 images from work sessions and performances at the Paris Opera of Shaman to the Prism Seen.

ANATOMIE D’UN NUAGE
Selected texts from Anatomy of a Cloud, translated into French by Paul Veyne,
Éditions Galilée, Paris, 1985, revised from N.R.F., no. 387, Gallimard, Paris, April 1985.
Softbound, 56 pages, 7 reproductions in color.

ANATOMY OF A CLOUD
Paul Jenkins with Suzanne Donnelly Jenkins.
Harry N. Abrams, Inc., New York, 1983.
Hardbound monograph in cloth with dust jacket, 272 pages, 70 color reproductions, 100 black-and-white reproductions in gravure.

PAUL JENKINS
Text by Alain Bosquet. Éditions Georges Fall, Paris, 1982, French-English.
Softbound monograph, 64 pages, 24 reproductions in color.

PAUL JENKINS
Text by Albert E. Elsen. Harry N. Abrams, Inc, New York, 1973.
Hardbound monograph in cloth with dust jacket, 284 pages, 171 illustrations, including 56 tipped-in color reproductions, 115 black and-white reproductions in gravure.

PAUL JENKINS
Text by Gerald Nordland, acknowledgements by Philippe de Montebello. Exhibition
catalogue, Universe Books, New York, in cooperation with The Museum of Fine Arts, Houston, and the San Francisco Museum of Art, 1971.
Hardbound in cloth with dust jacket, 70 pages, 11 reproductions in color, 26 reproductions in black and white.

STRIKE THE PUMA
A play by Paul Jenkins, Éditions Gonthier, Paris, 1966.
Softbound, 140 pages with wraparound cover reproducing black-and-white collages by the artist

JENKINS
Text by Jean Cassou. Éditions de la Galerie Karl Flinker, Paris [English] ; Thames and Hudson, London, Modern Artists series, Harry N. Abrams, Inc., New York [English] and Verlag Gerd Hatje, Stuttgart, 1963.
Hardbound monograph in cloth with dust jacket, 68 pages, 9 reproductions in color, 31 reproductions in black and white.

THE PAINTINGS OF PAUL JENKINS
Texts Kenneth B. Sawyer, Pierre Restany; excerpt by James Fitzsimmons.
Editions Two Cities, Paris, 1961, English.
Hardbound monograph in cloth with dust jacket, 36 pages, 2 reproductions in color, 25 reproductions in black and white.

OBSERVATIONS OF MICHEL TAPIÉ
Edited by Paul Jenkins and Esther Ebenhoe Jenkins. George Wittenborn, Inc., New York, 1956, English.
Hardbound with dust jacket in gravure, 32 pages, 9 black-and-white reproductions in gravure.

SELECTED RECENT GROUP PUBLICATIONS

UN ART AUTRE ? ARTISTES AUTOUR DE MICHEL TAPIE, UNE EXPOSITION
Christie’s Paris, 2012.

GUTAI: PAINTING WITH TIME AND SPACE DIPINGERE CON IL TEMPO E LO SPAZIO
Museo Cantonale d’Arte in Lugano, 2011.

“UNDER EACH OTHER’S SPELL”: GUTAI AND NEW YORK
Pollock-Krasner House and Study Center, Springs, East Hampton, 2009. Traveling to the Harold B. Lemmerman Gallery, Visual Arts Building, New Jersey City University, Jersey City, 2009 ; UB Anderson Gallery, State University of New York at Buffalo, 2010.

EAST END ARTISTS, PAST AND PRESENT
Telfair Museum of Art, Savannah Georgia, 2007-2008.

FREEDOM TO EXPERIMENT: AMERICAN ABSTRACTION 1945-1975
D. Wigmore Fine Art, New York, 2007.

VIVA VETRO! GLASS ALIVE! VENICE AND AMERICA, 1950-2006
Carnegie Museum of Art, Pittsburgh, 2007.

LES FORMES DES COULEURS
Centre d’Art Contemporain, Bouvet-Ladubay, Saumur, 2007.

L’ENVOLÉE LYRIQUE: PARIS 1945-1956
Musée du Luxembourg, Paris, 2006.

A CENTURY OF AMERICAN ART
D. WigmoreFine Art, New York, 2006.

AMAZING MEN
Photographs and text by Joyce Tenneson.
Bullfinch Press, New York and Boston, 2004.

AMERICAN ABSTRACT EXPRESSIONISM OF THE 1950S, AN ILLUSTRATED SURVEY
Edited by Marika Herskovic, New York School Press, New York/New Jersey, 2003.

TRÉSORS DU XXE SIECLE DANS LES COLLECTIONS ANGEVINES
L’Hôtel Bessonneau, Présence d’Art Contemporain, Angers, 2003.

AMERIKANISCHE KUNST DES 20 JAHRHUNDERTS
Pinakothek der Moderne, Corinna Thierolf.
Bayerischen Staatsgemaldesammlungen, Munich 2002.

THE GOVERNOR NELSON A. ROCKEFELLER EMPIRE STATE PLAZA ART COLLECTION AND PLAZA MEMORIALS.
Rizzoli International Publications, New York, 2002.