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susantellergallery

Susan Teller

We feature American paintings and works on paper from the 1920s to the 1950s with special interest in the Urban/Industrial Scene, Modernism, Atelier 17, Surrealism, and African American work.

Blog entries from susantellergallery

Howard Daum, Combat, 1947, intaglio, final state

The Bombing of Guernica, 1937

Posted: April 26, 2017 12:13

It would have been market day eighty years ago today in the small Basque town of Guernica when it was bombed by the German Luftwaffe and the Italian Aeronautica Militare. It was the first deliberate targeting of civilians by a military air force in the history of the world.   The number of dead was probably around 300 with scores of people, and as Picasso reminded us, animals, horribly injured, and the town destroyed. Within three months Pablo Picasso made a monumental work that continues to haunt us today.   Picasso’s painting, while under the protection of the Museum of Modern...

Anne Ryan, Collage, 1951

ANNE RYAN COLLAGE WEEK!

Posted: April 16, 2017 11:49

Collages by Anne Ryan (1889-1954) date from the last five or six years of her short artistic career and for that matter, of her life. Right now they are having a moment. The piece shown here, dated 1951 and made on Douglas Howell paper, is currently on view at Rutgers University’s Zimmerli Art Museum in Innovation and Abstraction: Women Artists and Atelier 17, through May 31. It is more cubist grid than expressionist composition like those on view in the Museum of Modern Art’s Making Space: Women Artists and Postwar Abstraction, on view through August 13. In his New York Times review...

Peggy Bacon, Low Tide (Wellfleet, MA)

PEGGY BACON AND CLARE LEIGHTON FEATURED IN PROVINCETOWN

Posted: April 09, 2017 16:17

 Down the Road: Wellfleet Printmakers from the 20th Century is on view at the Provincetown Art Association and Museum, Provincetown, MA, from April 7 through May 21, 2017. It’s a wide reaching show with exceptional examples of work by Clare Leighton and including many of the actual woodblocks for her 1954 book, Where Land Meets Sea – The Enduring Cape Cod, jewels in themselves. Leighton’s print of the Oyster Houses, 1948 (and my new favorite of hers), is paired with a related preparatory drawing, as well as Peggy Bacon’s Low Tide, 1952, Albert Edel’s extremely scarce Oyster Shacks, and...

Thomas Hart Benton, The Race (also titled Homeward Bound), 1942

Depression-Era American Art at the Royal Academy

Posted: March 27, 2017 15:36

Work by Thomas Hart Benton is featured in America After the Fall: Painting in the 1930s, at The Royal Academy of Arts, London, through June 4.   Above is Benton’s lithograph The Race (also titled Homeward Bound), of 1942. In the Creekmore Fath print catalogue raisonné there's a note by Benton that horses galloped with steam engines but not with diesels. A member of Associated American Artists’ 'Triumvirate of American Regionalism' along with John Steuart Curry and Grant Wood, Benton was a painter, muralist, and printmaker. His America Today mural series of 1930-31 is at the...

Ben Shahn, Four Freedoms, 1941

WEST COAST REVIEW

Posted: February 11, 2017 13:07

We’re back from the West Coast fairs. The Portland Fine Print Fair (January 28 and 29) coincided with the museum’s Constructing Identity show of African-American Art with work by Elizabeth Catlett. Of course, it’s wonderful to have a museum as a sponsor and the curators frequented the show: Mary Chapin included our collection in her Sunday tour and her Curator’s Choice was Peggy Bacon’s The Vain Pleasures; Sara Krajewski’s Choice was Ben Shahn’s Four Freedoms with Franklin Roosevelt. Traveling north to south, Portland was followed by the Los Angeles Fine Print Fair at Bonhams, February 4...

Harry Sternberg, Subway Construction (NYC), 1927

CELEBRATING THE NEW SECOND AVENUE SUBWAY

Posted: January 03, 2017 09:51

Ninety years after Harry Sternberg’s etching Subway Construction, 1927, the three new stations of New York City’s Second Avenue Subway opened to the public on January 1, 2017.   Bravo to the MTA for meeting the deadline. Its most northern stop, the 96th Street Station, is the turn-around point for the Q train.   The Abe Blashko drawing of the musicians at the Union Square Station always makes me wonder if that’s supposed to be me in the blue outfit. He knew waiting for a train with those guys would make me crazy.      

 

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