An Introduction to th

HIRSHHORN
MUSEUM AND
SCULPTURE GARDEN

auk \ \« n
 An Introduction to the Hirshhorn
M U S E U Al
l

.- S C U I /' T U R I Q A R D I N
 An Introduction to tb e

MUSEUM AND S C
 Introduction by Abram Lerner
DIRECTOR, THE HIRSHHORN MUSEIM AND SCULPTUR1 GARD1 N

Hirshhorn
U L P T U R E GARDEN
SMITHSONIAN INS I II U HON

Harry N. Abrams, Inc., Publishers, New ^ ork

 Second Printing

Nai Y. Chang Vice-President. Design and Production

John L. Hochmann Executive Editor

Margaret L. Kaplan Managing Editor

Ellen Shultz Editor

Barbara Lyons Picture Editor

Dirk J. van O. Luykx Book Design

Standard Book Number: 8 09-205 1-4 1

Library of Congress Catalogue Card Number: 74-1 1204

Published by Harry N. Abrams, Incorporated. New York. 1974
All rights reserved. No part of the contents of this book may be
reproduced without the written permission of the publishers
Printed and bound in Japan
 Introduction

hirshhorn's catholicity has provided us with an unusual

h.
Joseph
record of American painting from about 18"0 on, European and
American sculpture from the middle of the nineteenth century on, and
European painting of the past three decades. These constitute the major
categories of our inaugural exhibition.
Although painting and sculpture from Mr. Hirshhorn's collection
frequently appeared in important national and international exhibitions
and his collecting career was wellknown in the art world, was a major it

show of 444 sculptures at the Solomon R. Guggenheim Museum in New

York, in 1962. that focused sudden public interest on the collector au^\

his collection.
Mr. Hirshhorn's career as art collector spans a period of forty \ ears.
He recollects that his interest in art began when, as a boy . he discovered
reproductions of popular Salon masters in an insurance company
calendar. He pasted them on his bedroom wall and spent hours studying
their colors and edifying sentiments. This fateful experience remained
etched in his memory and. perhaps because of it. the firs! paintings he

acquired as a successful young businessman were In William \dolplie

Bouguereau, Joseph Israels. Edwin Henry I.andseei. and Jean-Jacques
Henner.
But an unrelenting curiosity, strengthened by \ isits to museums au^I

galleries, inevitably led to the revelation of modern art which w.is a

liberating experience, ending his quest for the past. By natural

temperament a man of the present, he found thai modem ait touched
him deeply and yielded aesthetic experiences which he had not
previously known.
By the late 1930s. Mr. Hirshhorn had disposed of his Salon heroes
and substituted such modern painters as Monet. ( e/aiine. Degas.
Renoir. Chagall. Rouault, Jules Pascin, and \iulie Masson, He turned
decisively to the contemporary scene, and eventually gave up Ins
Impressionist and School of Pans w oi ks his action can be uiulei Stood
I

in retrospect as a change of emphasis, foi Renoii Dee. is. M.iiisse. a\u\

Picasso are represented in the collection In sculpture, and paintings h\
Pascin and Masson have, happily ,
been reinstated
The 1930s and 1940s appeal to have been decisive years in Mi
Hirsh horn's collecting career. His earlier taste for the past and its

ssuring nostalgia was subtly challenged by the realities of the

Depression years. From visits to galleries and museums, and friendships
formed with artists. \lr. Hirshhorn began to develop that inspired greed
for art which has dominated so much of his life. He would leave a
business meeting and rush to an exhibition or an artist's studio, or would
suddenly descend on a gallery and buy several works with a certainty
.\no\ speed rarely encountered by dealers accustomed to endless
deliberation and reflection. In the early forties, together with a small
group of fellow collectors, he would spend every Saturday visiting the
galleries on Fifty-seventh Street in New York. His enthusiasm,
decisiveness, and bargaining skill became legendary.
was on one of his visits to the ACA Gallery in New York, in 1945,
It

that first met Mr. Hirshhorn.

I had been working in the gallery for a
I

very short time. It was summer, and there were few visitors. Suddenly a
man hurried in. scanned the exhibition, and inquired about several
paintings. He bought four works in short order and departed as suddenly
as he had entered. After this initial encounter saw him often. I

Frequently accompanied him to galleries and found myself happily

I

involved in the excitement these visits generated. I ventured to suggest

particular exhibits for him to see and was pleased when he acquired
something I had praised. He never bought what he did not personally
respond to. who recommended it. If anything, "expert"
no matter
advice seemed to turn him off. He would listen, and perhaps it might
ha\ e its effect later, but for the moment he would trust his own feelings.
Though we frequently disagreed on individual artists or works of art,
over the next twenty-five years our differences were insignificant in the
face of his general ardor and responsiveness. I was particularly taken by
his enthusiasm for the young artists, his faith in their talent, and his
ability to adjust quickly to their vision of the world. What seemed to
matter most was their unique ability to excite his interest and admiration.
During the late 1930s he acquired his first work of sculpture, a stone
carving by the American John Flannagan. Although he did not begin to
buy sculpture avidly until almost a decade later, this initial purchase
must have been rooted in a fertile, if still dormant, appreciation of
structural form and concrete imagery. What began casually in the thirties
became a passion in the forties and has remained so to the present.
By the late 1950s, the nature of the collection had been determined.
The paintings were primarily American, with a broad sampling of
European art of the past three decades, while the sculpture was
international and covered a greater time span. Warehouse space became
indispensable for the overflow from Mr. Hirshhorn's home and office in
New York, and his house, office, and hotel suite in Canada. The
collection had in a sense taken o\l dible growth creating
inevitable problems.
In 1956. I was appointed full-time itor, and I established
headquarters in Mr. Hirshhorn's New York i ffice at Broadu ay It w
65 . s

a fascinating combination of business offi gallery, and warehouse

Paintings covered the walls, and sculpture occupied tables and floor.
Steel bins held the overflow in another room. When it became evident
that I required separate quarters.found space in a charming building at
I

the corner of Sixty-seventh Street and Madison Avenue mow rep'

by a faceless office building). The "'art office." as Mi. Hirshhorn referred
to it, had many functions, among them the usual ones of cataloguil
handling correspondence and requests for loans, overseeing storage
facilities, clearing foreign shipments, maintaining proper insuranc
levels,and so forth. But it was also a halfway house between Mi
Hirshhorn's business office and the art galleries. Here he could pause to
look at his most recent acquisitions, examine new paintings and
sculpture which I had gathered for his consideration, set up meetings
with artists and dealers, and schedule visits to galleries. Within a short
time the office was packed with new acquisitions, and one had to tread
carefully for fear of bumping into a canvas or toppling a piece of
sculpture.
This office was followed by a somewhat larger one on Sixty-eighth
Street which also filled very quickly, despite the fact that we were
constantly shipping items to the warehouse where we now occupied
considerable space. Kverv so often Mr. Hirshhorn would accompany me
to the warehouse. He always seemed a little surprised b\ the quantity of
objects, but delighted in pulling paintings out of bins, handling the
sculpture, and excitedly discussing individual w orks.
In 1961 Mr. Hirshhorn established
Greenwich, a residence in

Connecticut. The commodious scale of this country estate seemed \o

encourage and even accelerate his art busing. The spacious house SUI
rounded by inviting areas of flowerbeds, lawns, and stone walks was
quickly inundated with paintings and small sculpture. He placed large
bronzes in the garden and on and kept adding pieces foi
the lawns,
variety and contrast. His garden became one of the most exciting places
in the United States in which to see modem sculpture. Ovei the years
thousands of people have visited (ireenw ich. usual I \ in groups organized
by charitable and educational institutions.
One might say that Mr. Hirshhorn was unwilling oi incapable of
confining his acquisitions to a particular style oi school; the breadth and
variety of art was too appealing to be channeled into a specialty I rom
the beginning, he relied on his own sensibility and judgment to direct him
to works of quality and interest. I oi example. \1i llnshhoin acquired
his tiisi paintings b\ the Now York School a decade after the new arl had
t'n st appeared, but he sa\ ored color-field painting from its beginning.
\ ariet) and scope were maintained, and. significantly, the purchase
of an artist's works did not cease once he was represented in the
collection. ( )n the contrary . a positive reaction almost always guaranteed
a sustained interest in an artist and the acquisition of additional works.
This has provided important in-depth representation, making the
collection e\tremel\ valuable for research and study.
It is difficult when Mr. Hirshhorn realized that his
to say just
collection had outgrow n its private status. The question of its future was
often raised between us. and became clear that he felt its size and
it

importance imposed a special responsibility on him to preserve it intact

and to eventually give it to the public. Fate intervened in when
1964,
official representations were made by the British Government to
establish a museum for the collection in London. The offer was tempting
for a variety of reasons, especially the prospect of establishing a
museum which would in large part consist of twentieth-century
American painting and sculpture, the first representation of its kind in a
foreign capital. Its effect on the dissemination and appreciation of
American art abroad could not be overestimated, a fact that was not lost
on Mr. Hirshhorn. At about the same time, representations were also
made from official quarters in Zurich, Florence, and Tel Aviv. In New
York. Governor Nelson A. Rockefeller suggested that the collection be
housed in its own museum on the campus of the State University at
Purchase, where it would serve the student body and the visiting public.
All these overtures were carefully considered. Then, late in 1964,
Mr. Hirshhorn was approached by Dr. S. Dillon Ripley, Secretary of the
Smithsonian Institution, who suggested that Mr. Hirshhorn present his
collection to the United States, under the aegis of the Smithsonian. A
site on the Mall in Washington, D.C., was suggested for a museum
building and sculpture garden. The intercession of President Lyndon B.
Johnson made Mr. Hirshhorn's choice inevitable. In 1966 an agreement
was reached between Mr. Hirshhorn and the Smithsonian, and that same
year Congress enacted legislation creating the Hirshhorn Museum and
Sculpture Garden.
Since its creation in 1846, the Smithsonian Institution has followed
its founder's expressed wish that it serve as "an establishment for the
increase and diffusion of knowledge among men.' What has been
referred to as the nation's "attic" is. in fact, the world's largest museum
complex, including six art museums, four history and science museums,
a national zoological park, and other facilitieswhich reach out across the
nation and the world. The Hirshhorn Museum and Sculpture Garden is
proud to be a part of this distinguished establishment.
I. i HOMA9 i \kins ,\frs Thomas Eaklns i 1899 Oil on canvas 20 Ift
2. WINSLOW HOMER.
Scene at Houghton Farm. c. 1878.
Watercolor on paper, 7!4 x 1114"

3. WILLIAM MERRITT CHASE.

Interior: Young Woman Standing

at Table, c. 1898.

Pastel on paper, 22 x 28"

4. LOUIS EILSHEMIUS.
Mountain Stream (Three Nudes
at a Mountain Creek). 1900.
Oil on canvas, 27 X2
J
x \9Va"

5. MAURICE PRENDERGAST.
Beach at Gloucester, c. 1912-14.

Oil on canvas, 30 5/8 x 43"

6. hj-.nri maiissi LaSerpentitu i
1
'* 1 ''
Bronze 22 -
I IM 7V4"

7. Maksim n iiAKim Painting No. 47, BtrUn 1914 I

s
Oiloncanvai 1914 •
;
 if
&

i.
a I
4 *
x. childe hassam. Hie Union Jack, New York, April Morn 1918 Oiloncanvai

9. philip everoood Nude h\ tht I I i

l
MJ Oil on canvas,
 10. JACKSON POLLOCK.
Water Figure. 1945.

Oil on canvas, 71% x 29"

11. EDWARD HOPPER.

First Row Orchestra. 195 1

Oil on canvas, 31 x 40"

12.AD REINHARDT.
Number 90, 1952 (red). 1952.

Oil on canvas, 11 x 20'

10
11
"%-

13
 J

13. willem di kooning Two Women in the Country 1954 <>ii enamel, and charcoal on
canvas, 46 / 41"

14. markkoiiikii Blue, Orange, Red. 1961 Oil on canvas 90

 15. JOSEF Al HI KS

Homage to the Square:

Chosen. 1966. Oil on
Masonitc,48 x 48"

16. FRANK STEI LA.

Darahjerdlll. 1967.
Fluorescent acrylic on
canvas, 10 x 15'

17. HONORE DAUMIER.

Ratapoil. c. 1850, cast 1925.
Bronze, 17% x 6V* x 7V4"

15
 •

I
 18. JOHN SINGER SARGENT.
Mrs. Kate A. Moore. 1884.
Oil on canvas, 70 x 44"

19. HONORE DAUMIER.

Podenas (The Malicious Man
of Importance), c. 1832-35,
cast 1929-52. Bronze,
8>/8 x 7% x 5"

20. THOMAS EAKINS.

The Opening of the Fight. 1893,
cast 1969. Bronze
relief, 55 x 94"

18
 21

21 EDGAR DEGAS.
.

Dancer at Rest, Hands

Behind Her Back,
Right Leg Forward.
c. 1882-95, cast 1919-21.
Bronze, 17% x 4% X 10"

22. MEDARDO ROSSO.

The Golden Age. 1886.

Wax over plaster,

16% x20V* x 11"

23. ALBERT BIERSTADT.

Coast Scene (West
Indies), c. 1880-93.

Oil on paper mounted

onMasonite, \VA x 18*4"
24. MJGUSTE RODIN.
She Who Was Once the Helmet-Maker's
Beautiful Wife (The Old Courtesan).
1885. Bronze, 19% x 9V4 x 12"

25. AUGUSTE RODIN.

The Burghers of Calais. 1886.
Bronze, 82V4 x 95 x 78"

25
1
26
26. ARTHUR B. DAVIES.
Valley *5 Brim. Before 1910.
Oil on canvas, 18 x 30"

27. ROBERT HENRI.

Blind Singers. 1913.
Oil on canvas, 33 x 41"

28. THOMAS EAKINS

Frank B. A. Linton. 1904.

Oil on canvas, 24 x 2014"

29. MARY ( \ss \ IT.

Woman in Raspberry Costume

Holding a Dog. c. 1901.
Pastel on paper mounted
on canvas, 29 x 23%"
 31

30. HENRI MATISSE.

The Serf. 1900-1903.

Bronze. 36 x 13% x 12W

31. PABLO PICASSO.
Head of a Jester. 1905.
Bronze. WA x 14'/8 x 9"

32. AUGUSTE RODIN.

Walking Man. 1905. cast 1962.
Bronze, 83 x 61 x 28"

32
 T.W

^c.

mr
+./*,-.

**
^*>

r.\
33 34
 35

33. henri matisse. Back /. 1909. Bronze relief , 74% •

46 •
7

34. henri matisse. Back II. 1913. Bronze relief, 74% •

47

35. Hf-.NRi matisse. Back /// 1916-17. Bronze relief 74 ,

•
45

36. henri matisse. Back /V. 1930 Bronze relief , 74VS I

s

37. constantin brancusi Sleeping Muse 1909 II Marble, 7 m

38
38. giacomo Bali \ Bo( t ion

of Force 11. 1915, reconstructed I

Brass construction. "1 !

^ •
JO •

39. john sloan Carmim Theater

Oil on canvas. 2^ • 31'

40. RAYMOND DUCH\MI'-\ II I <>\ Ffoftt 1^14

Bronze. I8V4 x 18'^ • •

41. george bellows rhe Sea. 1911

Oil on canvas. 33 44

41
 42

-:•
 I

42. ( H*Rl I S 1)1 Ml lh

Watercolor and pencil on p

43 ERNES! tWSON High B

Oil on cam.

44. EMU E-AN TOINI BO I K

Head of Beethovt n m ith An iutu tun

Bronze, 16 x 9V4 x 12

45. georgegros/ \ Man of Opinion

Watercolor on papei .
24- ;
•

46. ABRAHAM WALKOWIT2 Well Ni

44 1923. Watercolor on papei JO •
~^y
47. sir Jacob epstein. The Visitation. 1926,

cast 1955. Bronze, 66 < 19 x I7V4"

48. OASTON I M HAIS1 VV<i//w/it; U.mmM. 1919

Bronze, 17 x 10% x 7V4"

49. ALEXANDER ARCHIPENKO (mutlohti 1914

reconstructed c. 1950, enlarged and

16"
cast 19S7. Bronze, 64 - 26 -
 51

M! a
 «

SO I KNSI II \KI \( n
/In \ i ngei i
l
M4
,;
Bronze, I7M •
B

M I VI i.H I I I
Iff III I /

K< t lifliflg Nu./i with (nntiir i

Bronze, 16 •
29* •
13

( .ISSI \MIS IIHVN. I ||

I rsoofa\ oung Wan 1924

Polished bronze «"i oi i^m.il

Stone iiul M >>>ul Kim' i s • I I

heighl of bi

M l i il NADEIMAN
,;
Host ( 1920 Painted I

wood and iron -

54 M RN \M> I
E*G1 R

Sri// / i/< . King o/ /)itJ'Mcniiv

1927. Oil on canvas, H> 26

55 I'M RH k Hf \R\ HRl CE.

Formi #12. 1927
on canvas, ;<
Oil < 45 i

' ROBf RTDELAUN V\

Stlld) for Portrait of

Philippe Soupault. 1922

Watercolor and black chalk on
paper mounted on canvas, 76W K 51'

C.ttlk

54

55
57

58
 .

57. W 1 1 I I VM I |)M<>\l>s< >N

\Uu\ and Martha 1930s

l imestone, 13% 16 I

58 ii i im (,ds/ \i i /
" 1941 42
Headoj "//i. Monlserral //

Bronze, 124 •
10! >

59 \Kls i |OI MAII L.OI

Symph 1936 ; ^

Bronze 60! 18

60 \KSHII I < ,< »Kk>

Porfrail "i \ artoosh <

oil on canva !0 h • 1^4

 61

61. REGINAI D MARSH.

George C. Tilyou's Steeplechase
Park. 1936. Egg tempera
on wood panel, 36 x 48"

62. GEORGIA O'KEEFFE.

Goat's Horn with Red. 1945.
"
Pastel on paper. 31% x 27 5/8

63. ARTHUR B. CARIES.

Abstraction (Last Painting).
"
1936-41. Oil on board. 41 "4 x 58 3/8

64. HENRI I ALRENS.

Maternity. 1932.
Bronze. 21 x 55 x 23"

62
 65

66
65. MAX WEHER.
Reading. 1935.
Oil on canvas,
3 I Vi X 471/4"

66. Mil roN

avery. Interior

with Figure. 1938.

Oil on canvas,
31%/ 40"

67. wn EM 1

DE Kooning. Queen
o\ Hearts. 1943-46.
Oil and charcoal
on composition
board, 46 X 2714"
68

68. PIET MONDRIAN.

Composition with Blue
and Yellow. 1935.

Oil on canvas, 28W x 27V4"

69. ISAMU NOGUCHI.

Lunar Landscape, c. 1944.

Magnesite cement, cork,

fishing line, and electric
lights. 33V* x 24 x 7"

70. HORACE PIPPIN.

Holy Mountain III. 1945.

Oil on canvas. 25 x 30"

71. YVES TANGLY.

The Doubter. 1937.

Oil on canvas. 23 34 x 32"

69
 Bfc

74

72. pablo picasso. Woman with Baby Carriage i''

s " Bronz<
after found objects, xo • s7 < 23%"

73! itMims rhe Room. 1947 48 Oil on canvas, 7!

74. \lberto oi acometti / nil I ig urt 1947 Bronze BO '

75. w alt kuhn. Acrobat in White and Blm 1947 Oiloncanva*

76. marino \i\kim Little Horse and Ridei 1949 Polychromcd hron/i
77. Joseph cornei i . Hotel goldene Sonne
c. 1955-57. Box construction, 12% x 9 x
/i x 4"

78. max ernst. Daughter and Mother.

1959. Bronze, 17% x 10% x WW
79. giacomo MANZU. Large Standing Cardinal.
1954. Bronze. 66VS x 23 x 15%"

80. francis bacon. Study for Portrait V.

1953. Oil on canvas. 60 / 46"

81. Raphael SOYER. Farewell to Lincoln

Square (Pedestrians). 1959. Oil on canvas. 60% x 55'

82. henry moore. Upright Motive No. I:

Glenkiln Cross. 1955-56. Bronze. M'x3'x 3'2"

 '
r

80

M
 ^JW

* %
*T*

fit*'- r'

•#*?
^V-'
*\i
 83. henry moore. King and Queen. 1952-53. Bronze.

84. naum gabo. Linear Construction No. 2 (smaller ve

with nylon thread. 15 x II x 11"

85. jean arp. Human Lunar Spectral (Torso of a Giant). 19.^

86. dame Barbara hepworth. Pendour. 194". Painted wood

84

« 83
 r

vw
Id.
 S-,

87. ai Hf.R ro GIA< <>\1| III

Dog. 1951, cast 1957.

Bronze, l7'/4 x 36V* x 6Vfe"

XX. FRANZ KLINI

Delaware dap. 19^8.

Oil on canvas. 6'6" X X' 10"

X (
> ROBI K I MOI HI RWI I I

Black and White Plus Passion. 1958

Oil on canvas. SO x XO"

90. \s rOINI PI \ ssi k

Column <>i Peat < 1954.

Bronze, 52 x 33 x I7V4

'Ml
« GBE/

91
91. Robert km si hi sin ki, Dam 1959 Combine painting on canvas

92. ( i > 1 1 <»HD sin i

1960-R I960. Oil on canvas 9
 l
>* iosIdi kimk\ Construction 0107. 1969
Stainless steel forged rod, 21 14 41 -41"

94 ROBERl INDIANA /7i«- lh\u m -Dangtl \nurn an

Dream #4. 1963. Oil on canvas, 8'6" - 8'6

95. louisi nevelson Silent Music IX. 1964. Wood

construction with mirrors, Formica, and Plexiglas, 33V6 •
JO • 14"

96 \ i< h>k\ \s\ki i v Miliar. 1956 60.

Oil on canvas, 76% x 44 74T

97. si u \ki da\ is Rapt at Rappaport's. 1952.

Oil on canvas, *>2-H x 40-M*"

98. jean dubuffet. Actor in a Ruff. 1961.

Oil on canvas, ASVa < 35! b"
93
95
 \ !\t />:. / ..v.- u alti 1962

no *i> < si Homost \ittil

c on canvas so s - ( ,|

vkpi s Watt king ihe Good hum Go l<\

.
. on composition board, ll M <

undrew wyetn Waiting for McGinley i

l)
<0.
on papei .
'
•
l\H

si nqi is i /(i« / ighl Thai Won't

Oil on canvas, 72 •
96

100

99

101
Ml.
104

106

105
 -

1' i

Ste

107. RE
Bro

108. jo\
Bronze, 90
 109

109. george rickey. Three Red Lines.

1966. Lacquered stainless steel

kinetic construction, height 37'

110. mark DISUVERO. The "A" Train. 1965.

Wood and painted steel. 13' x II '1I" x
9'7"

111. DAVIDSMITH. CubiXII. 1963.

Stainless steel. 9'lVi" x4'l"x 2'2"

112. kenneth snelson. Lorraine (Crane

Booms). 1968. Painted steel and stainless
steel cable. 1
1'9" x 16' 10" x |7'2"

113. ALEXANDER CALDER. TWO Dl5CS. 1965.

Painted steel plate. 25'6" x 27'4" x 17'4"

m*
_

—
 114

114. KhNNMH SOI \M>

Bend Sinister. 1964.
\cryliconcanvas,7'8%" \3'5W

! MSPER JOHNS
15.

Numbers0to9. 1961.
Oil on canvas, 54 x 41 -

I 16. JESUS R\FAF.l SOTO.

7~H(> Volumes in the Virtual. 1968.

Painted metal, Masonite, and

wood,9'10Vi' - 6 6V < 6'6%"

1 17. ROY I ICH 1 F NSTEIN.

Modern Painting with Clef. 1967.
Oil and aery lie on canvas. 8'4" x 15'
16
 1 !

List of Plates

Thomas Eakins. Mrs. Thomas Eakins. c. 1899 30. Henri Matisse /In S, r
Winslow Homer. Scene at Houghton Farm. 31. Pablo Picasso. Head of a Ji iter

c. 1878 32. Auguste Rodin Walking Man

*3. William Merritt Chase. Interior: Young Woman 33. Henri Matisse Back I 1909
Standing at Table, c. 1898 34. Henri Matisse. Buck 11 1913
*4. Louis Eilshemius. Mountain Stream (Three 35. Henri Matisse. Back ///. 1916-17
Nudes at a Mountain Creek). 1900 36. Henri Matisse Back IV. 1930
:i
*5. Maurice Prendergast. Beach at Gloucester. 37. Constantin Brancusi S/ff/)i/ie \fi<M >og_ii

c. 1912-14 38. Giacomo Balla. Bo< ( ioni '& Fisl — / int \of I
*6. Henri Matisse. Lti Serpentine. 1909 IT 1915
*7. Marsden Hartley. Painting No. 47. Berlin. 39. John Sloan. Carmine Theater. 1^12
1914-15 40. Raymond Duchamp-Villon Horst \''\-i

Childe Hassam. /he Union Juck. New York. 41. George Bellows. ihcSm. mi i
i

April Morn. 1918 42. Charles Demuth Circus 1917

*9 Philip Evergood. Nude fry the El. 1934 43. Ernesl Lawson. Hie'i Bridg< 19

*I0. Jackson Pollock. Water Figure. 194s 44. Emile-Antoine Bourdelle Ht<a/ o/ Beethi
*| i
Edward Hopper. First Row Orchestra. 1951 with Architecture. 1925
*12. Ad Reinhardt. Number 90, 1952 (red). I9s2 45. George Grosz. \ Man of Opinion 1928
*13. Willem de Kooning. Two Women in the 46. Abraham Walkowitz Metropolis Wo 2 19

Country. 1954 47. Sir Jacob Epstein, /'it \ iwfun.'/! 1926

*14. Mark Rothko. Blue. Orange. Red. 1961 48. Gaston Lachaise. Uiil^i/u' Uhmmh 1919
*15. Josef Albers. Homage to the Square: Chosen. 4 l
> Alexandei Vrchipenko Gondolier P'I4
1966 50. Ernst Barlach /'i« 4vengei 1914
*I6. Frank Stella. Darahjerd HI. 1967 5 Jacques I ipchitz, Reclining Nude wuh Guitar
17. Honore Daumier. Ratapoil. c. 1850 1928
IX. John Singer Sargent. Mrs. Kate A. Moore. 1884 52. Constantin Brancusi Torso o/ a ^'n 1,
M
19. Honore Daumier. Podenas (The Malicious Man l
l
>24
,;
of Importance), c. 1832-35 S V I lie Nadelman Host t 1920
20. Thomas Eakins. The Opening of the Fight. 1X93 54. Pernand LCgei Sti/i Lt/e, King o/ Diamonds
'

2! Hdgar Degas. Dancer at Rest. Hands Behind 192

Her Back. Right Teg Forward, c. 1882-95 55 Patrick Henrj Bruce I ^'m #;; 19

22. Medardo Rosso. The Golden Age, 18X6 56 Robert Delauna) Stud) foi Portrait of Philipp*
23. Albert Bierstadt. Coast Scene (West Indies) Soupault. 192
c. 1880-93 57. William Edmondson Mary and Martha 1930s
24. Auguste Rodin. She Who Was ()m c the Helmet s 8 Julio Gonzflei //<wi/ o) "Th< Vfonfserral //

Maker's Beautiful Wife (I he Old Courtesan). 1941 42

1885 59 Aristide Maillol Nymph 1936 >^

25. Auguste Rodin rhe Burghers of Calais. 1886 60 \islnU ( Soi k\ Portrait o/ \ .oi.>.>sii v

26. Arthui B. Davies, Valley's Brim Before 1910 61 Reginald Marsh Georgt < niyou s

27. Robert Henri BlindSingers i

(
>n chasePark 1936
28. lhomas Eakins. Frank B \ inton. xm I I
(
62 < leorgia < >'Keeff< < loal i //•"! v.u/i Red :

29. Mary (assati Woman m Raspberry Costume 63 \iilim B Carles Kbstraction (Last Painting)
Holdmga Dog. c. I
(
;<»l 1936 41
 Henri I aurens Maternit) 193 90 Antoine Pevsner. Column o/ Peace. 1954
J Max Webei Reading 1935 91. Robert Rauschenberg. Dam. 1959
Milton \verj /m.nor with Figure, 1938 l
>2. Clyfford Still. I960 R, I960
w Hem de Kooning Queen of Hearts, 194* 4(> 93. .lose de Rivera. Construction #107. 1969
68 Piei Mondrian ( '« >mi/» »si/ii
( »/i with Blue and 94. Robert Indiana. The Beware- Danger American
Yello* 1935 Dream #4. 1963
f>^ Isamu Noguchi Lunar Landscape, c. 1944 95. Louise Nevelson. Silent Music IX. 1964
70 Horace Pippin Holy Mountain III. 1945 96. Victor Vasarely. Mizzar. 1956-60
71. Yves languy. Die Doubter. 1937 97. Stuart Davis. Rapt at Ruppaport's. 1952
~r Pablo Picasso Woman with Baby Carriage. 98. Jean Dubuffet. Actor in a Ruff. 1961

1950 99. Jack Levine. The Last Waltz. 1962

73 Balthus TheRoom. 1947-48 100. Larrj Rivers. The Greatest Homosexual. 1964

Alberto Giacometti. rail Figure. 1947 101. Romare Bearden. Watching the Good Train Go
~< \\ alt Kuhn. Acrobat W and Blue. 1947 By: Cotton. 1964
in kite

76 Marino Marini. Little Horse and Rider. 1949 102. Andrew Wyeth. Waiting for McGinley. 1962
r
7. Joseph Cornell. Hotel goldene Sonne, c. 1955-57 103. James Rosenquist. The Light That Won't Fail.

78 Max Ernst. Daughter and Mother. 1959 1. 1961

_,J Giacomo Manzu. Large Standing Cardinal. 104. George Segal. Bus Riders. 1964
1954 105. Jean Ipousteguy. Man Pushing the Door. 1966
Francis Bacon. Study for Portrait V. 1953 106. David Smith. Voltri XV. 1962
81. Raphael Soyer. Fdrfwi'// to Lincoln Square 107. Rene Magritte. Delusions of Grandeur. 1967
(Pedestn'ans). 1959 108. Joan Miro. Lunar Bird. 1966
82. Henr\ Moore. (. pn#/tf Motive No. I: Glenkiln 109. George Rickey. Three Red Lines. 1966
Cross. 1955-56 110. Mark di Suvero. The "A" Train. 1965
83. Henr\ Moore. King and Queen. 1952-53 111. David Smith. CubiXII. 1963
84. Jean Arp. Human Lunar Spectral (Torso of a 112. Kenneth Snelson. Lorraine (Crane Booms).
Giant). 1957 1968
85. Naum Gabo. Linear Construction No. 2 (small- 113. Alexander Calder. Two Discs. 1965
er version). 1949 114. Kenneth Noland. Bend Sinister. 1964

86. Dame Barbara Hepworth. Pendour. 1947 115. Jasper Johns. Numbers to 9. 1961

87. Alberto Giacometti. Dog. 1951 116. Jesus Rafael Soto. Two Volumes in the Virtual.

88. Franz Kline. Delaware Gap. 1958 1968

89. Robert Motherwell. Black and White Plus 117. Roy Lichtenstein. Modern Painting with Clef.
Passion. 1958 1967

Photocredits
Geoffrey Clements. New York: 1-9. 11. 14-16, 18,26.27.29.39.41-43.45.55.56.
63, 65, 67, 70, 73, 80. 81. 88, 89, 94. 96, 97, 99, 100-103. 107. 114-116; Robert
Mutes. New York: 47. 51.64. 85. 87: Otto Nelson, New York: 19. 21. 24. 30. 37.

38. 40. 44. 53, 57, 58, 69. 77, 78. 84. 92, 95; Walter Rosenblum. New York: 10. 12.

25 52, 59,75,91, 105. 106. Ill

 iNDtrtNCXNO AVUMUt

PLAZA
LOBBY
*

i
t \ I

\ < I

1 I
I

p
I

* FOUNTAIN / /
V V

%5m

MUSEUM
PLAZA

JEFFERSON DRIVE
2
> ;

ADAAAS DRIVE

MALL

LOWER LEVEL SECOND

AND
THIRD
A. LOWER LEVEL EXHIBITION GALLERY
FLOOR
B. AUDITORIUM
EXHIBITION
C. MUSEUM SHOP
GALLERIES
D ESCALATOR
E. CHECK ROOM
F. PUBLIC TELEPHONES

G. DRINKING FOUNTAINS
H. ELEVATOR
I. REST ROOMS