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
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]
From February through April 2019, David Zwirner presented The Young and Evil, a group exhibition featuring significant works from the first half of the twentieth century by Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Jensen Yow, and their circle.
Among them, some works by Pavel Tchelitchew, to which I was particularly drawn.
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