Paul Klee Actor’s Mask, 1924 Oil on canvas mounted on boardO. Louis Guglielmi Wedding in South Street, 1937 Oil on canvasPavel Tchelitchew Leaf Children, 1940 Oil on canvasBernard Perlin The Lovers, 1946 Gouache and ink on paper-faced boardPavel Tchelitchew Head of Autumn (Study for Hide-and-Seek), 1941 Watercolour and pencil on paperEdward Hopper House by the Railroad, 1925 Oil on canvasBen Shahn Willis Avenue Bridge, 1940 Gouache on paper on boardIvan LeLorraine Albright Woman, 1928 Oil on canvasBernard Perlin The Lovers, 1946 (detail) Gouache and ink on paper-faced boardPavel Tchelitchew Hide-and-Seek, 1940-1942 Oil on canvasElie Nadelman Man in the Open Air, c. 1915 Bronze
Paul Cadmus Ballet Positions. Drawings for Ballet Alphabet: A Primer for Laymen 1939 Ink, pencil, coloured ink, and gouache on paper
Works by Forrest Thayer, Charles Rain, Tom Lee, and Keith Morrow Martin
Keith Morrow Martin Costume design for the ballet Harlequin for President 1936 Gouache, watercolour, metallic gouache, and pencil on paper
Alvin Colt Finale Girls. Costume design for the ballet A Thousand Times Neigh 1940 Gouache, pencil, stamped ink, and stapled fabric on coloured card
Alvin Colt Costume design for the ballet Charade (or The Debutante) 1939 Gouache, stapled fabric, pencil, and stamped coloured ink on coloured card
Forrest Thayer Costume designs for the ballet Promenade 1936 Watercolour and pencil on paper
Kurt Seligmann Costume designs for the ballet The Four Temperaments c. 1946 Fourth Variation/Choleric Gouache, watercolour, coloured pencil, and pencil on paper
Kurt Seligmann Costume designs for the ballet The Four Temperaments c. 1946 First Variation/Melancholic Crayon, gouache, watercolour, coloured pencil, and pencil on paper
Kurt Seligmann Costume designs for the ballet The Four Temperaments c. 1946 Second Variation/Sanguinic Gouache, watercolour, coloured pencil, crayon, and pencil on paper
Kurt Seligmann Costume designs for the ballet The Four Temperaments c. 1946 Theme 3 (Female) Gouache, watercolour, and pencil on paper
Henri Cartier-Bresson Lincoln Kirstein, 1964 Gelatin silver print, printed 1968
Lucian Freud Portrait of Lincoln Kirstein, 1950 Oil on canvas
Kirstein sat for this portrait while he was in London for a New York City Ballet performance at Covent Garden and to organize the exhibition Symbolic Realism in American Painting: 1940-1950 at the Institute of Contemporary Arts.
Lucian Freud Portrait of a Woman, 1949 Oil on canvas
Artworks by Pavel Tchelitchew, George Platt Lynes, Paul Cadmus & Jean Cocteau
Pavel Tchelitchew George Platt Lynes, 1935 Coloured ink on paper
Walker Evans Lincoln Kirstein, c. 1931 Gelatin silver print
Paul Cadmus Designs for the ballet Filling Station, 1937
Paul Cadmus Designs for the ballet Filling Station, 1937
Paul Cadmus Designs for the ballet Filling Station, 1937
Paul Cadmus Designs for the ballet Filling Station, 1937
Paul Cadmus Designs for the ballet Filling Station, 1937
Karl Free Costume designs for the ballet Pocahontas, c. 1936
Jared French Costume design for the ballet Billy the Kid, 1938
“I have a live eye,” proclaimed Lincoln Kirstein, signaling his wide-ranging vision. Lincoln Kirstein’s Modern explored this polymath’s sweeping contributions to American cultural life in the 1930s and ’40s. Best known for cofounding New York City Ballet and the School of American Ballet with George Balanchine, Kirstein (1907–1996), a writer, critic, curator, impresario, and tastemaker, was also a key figure in MoMA’s early history. With his prescient belief in the role of dance within the museum, his championing of figuration in the face of prevailing abstraction, and his position at the center of a New York network of queer artists, intimates, and collaborators, Kirstein’s impact remains profoundly resonant today. [source: MoMA]
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