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Out From Under Our Brushes

20th Century American Modernism

July 22 – September 23, 2022

Alfred Maurer Abstract Portraits: Man and Woman, c. 1930–32

Alfred Maurer
Abstract Portraits: Man and Woman, c. 1930–32
Oil on gesso board
21.25 x 18.1 in.

Robert Keyser Creek Road Farewell, 1961

Robert Keyser
Creek Road Farewell, 1961
Peper collage
7.5 x 6 in.

Morris Barazani Collage #16, 1964

Morris Barazani
Collage #16, 1964
Collage on paper
13 x 13 in.

Larry Rivers Perspective Drawings, 1965

Larry Rivers
Perspective Drawings, 1965
Paper collage and mixed media on paper mounted on panel
17 x 21 in.

Balcomb Greene Untitled, 1937

Balcomb Greene
Untitled, 1937
Collage on paper
7.5 x 11.25 in.

George L. K. Morris

George L. K. Morris
Rondeau, 1948
Watercolor and pencil on paper
14 x 11 in.

Reuben Nakian Europa and the Bull, 1979

Reuben Nakian
Europa and the Bull, 1979
bronze, edition 4/10
16.5 x 20 in.
 

Balcomb Greene #10, 1935
Balcomb Greene
#10, 1935
collage on paper
7.5 x 6 in
Kenneth Stubbs Still Life with Pipe and Bottle, 1934

Kenneth Stubbs
Still Life with Pipe and Bottle, 1934
gouache on paper
10 x 16 in.
 

Arthur Dove Figure 4, 1945

Arthur Dove
Figure 4, 1945
Oil on canvas
18 x 24 in.

Morris Barazani, Untitled, 1970's
Morris Barazani
Untitled, 1970's
mixed media collage
12.38 x 10.5 in
Judith Rothschild Nauset Heights Ill., 1970

Judith Rothschild
Nauset Heights Ill., 1970
Oil on canvasboard
9 x 11.75 in.

Dorothy Dehner Untitled #10, 1986

Dorothy Dehner
Untitled #10, 1986
Bronze
11.5 x 3 x 1-5 in.

Dorothy Dehner

Dorothy Dehner
People and Buildings #11, 1949
Watercolor and ink on paper
18 x 22.75 in.

Tom John Untitled, 2017

Tom John
Untitled, 2017
Watercolor on paper
12.9 x 11 in.

Tom John Untitled, 2017

Tom John
Untitled, 2017
Watercolor on paper
12.9 x 11 in.

Reuben Nakian Voyage to Crete, c. 1983

Reuben Nakian
Voyage to Crete, c. 1983
Black litho crayon with blue and green wash on paper
29.75 x 36.5 in.
 

Reuben Nakian, Voyage to Crete, 1970

Reuben Nakian

Voyage to Crete, 1970

bronze

10.5 x 14.5 x 1.25 in. 

Tom John Laidley House, San Francisco, 2001

Tom John
Laidley House, San Francisco, 2001
Gouache and pencil on paper
17.5 x 17.5 in.

Reuben Nakian Nymph and Dolphins, 1982–85

Reuben Nakian
Nymph and Dolphins, 1982–85
Black litho crayon and color wash on paper
29.75 x 40.75 in.
 

Reuben Nakian Nymph and Cupid, 1982–85

Reuben Nakian
Nymph and Cupid, 1982–85
Black litho crayon with blue and green wash on paper
29.75 x 33.1 in.
 

Louis Ribak Untitled (Seated Nude), c. 1920

Louis Ribak
Untitled (Seated Nude), c. 1920
Oil on canvas
18 x 15 in.

Max Weber Woman with a Purple Scarf, 1921

Max Weber
Woman with a Purple Scarf, 1921
Color oil sticks on light tan wove paper
9.5 x 6.5 in.
 

Marsden Hartley Still Life with Lemons (Fruit and Tumbler), 1928

Marsden Hartley
Still Life with Lemons (Fruit and Tumbler), 1928
Oil on composition board
23.9 x 19.6 in.

Reuben Nakian, Seal, 1922

Reuben Nakian

Seal, 1922

bronze

6.4 × 11 × 6.5 in.

Marsden Hartley Still Life, Pomegranates, 1927

Marsden Hartley
Still Life, Pomegranates, 1927
Graphite on paper
11.5 x 14.4 in.

Marsden Hartley Ski Signs, c. 1939–40

Marsden Hartley
Ski Signs, c. 1939–40
Oil on board
22 x 28 in.

Paul Jenkins Phenomena Right Beckons, 2008

Paul Jenkins
Phenomena Right Beckons, 2008
Watercolor on paper
22 x 15 in. 

Hans Burkhardt Figures, 1950

Hans Burkhardt
Figures, 1950
Colored chalk on paper
23 x 17 in.

Dorothy Dehner Sand Blow #69, 1951

Dorothy Dehner
Sand Blow #69, 1951
Watercolor and ink on paper
15.75 x 20.5 in.

Dorothy Dehner Burst #5, 1953

Dorothy Dehner
Burst #5, 1953
Watercolor and ink on paper
15.75 x 20.5 in.

John D. Graham

John D. Graham
Still Life with Saw, 1925
Oil on canvas
14.25 x 17 in.

Hans Burkhardt Untitled, 1939

Hans Burkhardt
Untitled, 1939
Charcoal on paper
17.38 x 23.88 in.
 

Alfred H. Maurer

Alfred H. Maurer
Cubist Still Life with Pear, c. 1930–32
Oil on gesso board
18 x 21.5 in.

Derek Uhlman DUOLITH #6, 1995

Derek Uhlman
DUOLITH #6, 1995
Alabaster
15 x 15 x 6 in.

Jeffrey Wasserman Untitled, c. 1985

Jeffrey Wasserman
Untitled, c. 1985
Oil on paper
24.5 x 19.5 in.
 

Theodoros Stamos Infinity Field, Lefkada Series #II, 1970

Theodoros Stamos
Infinity Field, Lefkada Series #II, 1970
acrylic on paper
30.5 x 22.25 in.
 

Conrad Marca-Relli Standing Figure, 1954

Conrad Marca-Relli
Standing Figure, 1954
collage and gouache on board
28 x 22 in.
 

Beatrice Mandelman Untitled, c. 1960

Beatrice Mandelman
Untitled, c. 1960
Collage on cardboard
23.9 x 17.9 in.

Press Release

“Stuart Davis, Gorky, and myself have formed a group and something original, purely American is coming out from under our brushes.”
—John Graham, in a letter to collector Duncan Phillips, December, 1930


At the beginning of the twentieth century, artists in the United States began to define an American style of art. While figurative modes such as Social Realism found popular support in museums, many artists sought to elevate nonobjective art as the style of the future. Rosenberg & Co. is pleased to present Out From Under Our Brushes, an exhibition of works by artists who explored the possibilities of abstraction in a decidedly American context.

A large number of methods and styles emerged from the pursuit of American Modernism, but scholars generally agree upon several shared traits: an indebtedness to the “spatial inventions” of Cubism and an emphasis on a work of art’s material presence.  Many of the artists represented in this exhibition attended the Art Students League under teachers like John Sloan or Hans Hoffman and inherited avant-garde ideas that contributed to an emerging American aesthetic. Groupings—such as the Vanguards that surrounded John Graham, Alfred Stieglitz’s circle that included Alfred Maurer, Arthur Dove, Max Weber, and Marsden Hartley, or the formally organized American Abstract Artists, whose founding members included George L. K. Morris, Balcomb Greene, and Esphyr Slobodkina—dedicated to the development of modernist styles, provided artists a means for innovating beyond the influence of European abstraction.

American Modernism is also deeply linked to the geographical experience of the country itself. On the one hand, as the city of cultural capital shifted from Paris to New York, artists flocked to the American metropolis. On the other hand, artists notably participated in what William C. Agee describes as “that old American habit,” of departing the city in favor of the vast American landscape.  Unique settings, such as New Mexico, as painted by Louis Ribak and Beatrice Mandelman, or the lush vistas of upstate New York or Maine provided the backdrop for distinctly American interpretations.

Together, the works brought together in Out From Under our Brushes explore the legacy of American Modernism: from interpretations of nonrepresentational styles that were developed in Europe, to the wild and sophisticated compositions that emerged at midcentury, and ultimately to the refined abstractions seen in works by contemporary artists such as Tom John and Derek Uhlman. While diversified in form, these works belong to a shared history of defining American Modernism. 

Artists in the exhibition:
Morris Barazani, Hans Burkhardt, Dorothy Dehner, Arthur Dove, John D. Graham, Balcomb Greene, Marsden Hartley, Paul Jenkins, Tom John, Robert Keyser, Beatrice Mandelman, Conrad Marca-Relli, Alfred H. Maurer, George L. K. Morris, Reuben Nakian, Louis Ribak, Larry Rivers, Judith Rothschild, Esphyr Slobodkina, Theodoros Stamos, Kenneth Stubbs, Derek Uhlman, Jeffrey Wasserman, Max Weber