September 2, 2010 - Peggy Guggenheim Collection - Adolph Gottlieb
September 2, 2010

Adolph Gottlieb

Adolph Gottlieb, “Burst 1973,” 1973
Acrylic and enamel on canvas, 213.4 x 152.4 cm
Collection of the Adolph and Esther Gottlieb Foundation, New York
© Adolph and Esther Gottlieb Foundation

Adolph Gottlieb.
A Retrospective

September 4, 2010 – January 9, 2011

701 Dorsoduro
30123 Venice
Italy
+39 041 2405404/415
+39 041 5206885
press [​at​] guggenheim-venice.it
peggyg.mobi

www.guggenheim-venice.it

From September 4 to January 9, 2011 the Peggy Guggenheim Collection presents Adolph Gottlieb. A Retrospective, the first retrospective exhibition of this great American Abstract Expressionist painter to be shown in Italy. Like those previously dedicated to William Baziotes and Richard Pousette-Dart at the Peggy Guggenheim Collection, this exhibition brings to Italy a better understanding of a generation of New York artists that in the 1950s came to form American Abstract Expressionism. The origins of this movement in the 1940s is closely linked to the career of Peggy Guggenheim herself, and to her New York museum-gallery Art of This Century.

The exhibition has been organized in partnership with the Adolph and Esther Gottlieb Foundation, New York, which has lent numerous paintings and sculptures from its holdings. The exhibition also benefits from loans from the Museum Frieder Burda, Baden-Baden, the Solomon R. Guggenheim Museum, New York, the Musée national d’art moderne (Centre Pompidou), Paris, the American Contemporary Art Gallery, Munich, and from several private collectors.

The exhibition opens with paintings, drawings and etchings from the 1930s, including portraits of Rothko and another close friend Milton Avery, as well as allusions to an important sojourn in Arizona in 1937-38. Next comes a numerous selection, for the first time in Italy, of the first cohesive series of Gottlieb’s paintings, the Pictographs, begun in 1941, the year of Pearl Harbor and America’s entry to World War II. These place Gottlieb, alongside Rothko and a few others such as Arshile Gorky and Pollock, among the pioneers of the new American avant-garde. Typically a grid segments the picture surface; inside its compartments Gottlieb placed symbols, whether a hand, an eye, or hieroglyphs of his own invention that blend American Indian or other primitive ritual imagery with allusions to Greek mythology. They influenced a specific formal component of Abstract Expressionism, the ‘allover’ composition, which disperses pictorial incident evenly across the picture surface. Having exhausted the visual possibilities of the Pictograph, Gottlieb developed novel compositional types such as the Labyrinths (beginning with Labyrinth #1, 1950, in the exhibition) and Imaginary Landscapes from 1951, such as Sea and Tide (1952, in the exhibition). In the first group the grid of the Pictographs either takes over and dominates the painting, or becomes transparent, revealing concealed brushwork in the depths of the painting. In the second the composition splits into two zones, with celestial bodies in the upper part and an imaginary, vigorously brushed ‘landscape’ below. These works coincide with Gottlieb’s growing commercial and critical success in the mid 1950s. In 1956, the lower part of the Imaginary Landscapes detached itself from the picture edges to become an independent floating form in vertical compositions known as the Bursts, Gottlieb’s best known works. A jury headed by Italian critic and historian Giulio Carlo Argan awarded Gottlieb first prize at the 1963 São Paulo Biennial. In the 1960s, notwithstanding the emergence of Pop Art, antithesis of Abstract Expressionism, Gottlieb’s painting was perceived as a prophetic and vital source of Minimal art. The exhibition also includes a selection of Gottlieb’s sculptures, made from colored cardboard and presented in the company of the cosmic images that inspired them. The exhibition closes with a series of late works in which the explosive Burst contracts into more geometric and cooler discs, painted in the years prior to his death aged almost 71 in 1974.

The exhibition has been generously supported by the Regione del Veneto, by the Terra Foundation for American Art, Chicago, Illinois and by Intrapresae Collezione Guggenheim. Hangar Design Group created the graphic design for communications. Clear Channel, Radio Italia and Corriere della Sera are media partners.

The Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.

Opening hours: daily 10 am to 6 pm (closed on Tuesday and December 25)
Entrance: euro 12; euro 10 seniors over 65 years; euro 7 students; free 0-10 years

ADOLPH GOTTLIEB. A RETROSPECTIVE
September 4, 2010 – January 9, 2011

Peggy Guggenheim Collection
701 Dorsoduro
30123 Venice
ITALY

phone +39 041 2405404/415
fax +39 041 5206885
email press@guggenheim-venice.it
www.guggenheim-venice.it
peggyg.mobi

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