Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Appendix
Anne Monahan
Description: Horace Pippin, American Modern
Horace Pippin, American Modern
Appendix
Author
Anne Monahan
PublisherYale University Press
Copyright© 2020 by Anne Monahan
Stable URL: https://aaeportal.com/?id=-20346
View chapters with similar subject tags
Chapter images ()
Loading image navigation...
No image index could be found for this publication.
Close this Panel
Show previous images Show next images
Appendix
STATEMENTS
Horace Pippin sent “The Story of Horace Pippin as told by Himself” and “How I Paint” to Dorothy C. Miller, curator at the Museum of Modern Art (MoMA), in spring (probably March) 1938. They are written in ink by an unidentified amanuensis, but he titled the former and signed the latter in pencil. She published excerpts in the exhibition catalogue Masters of Popular Painting: Modern Primitives of Europe and America (New York: MoMA, in association with Grenoble Museum, 1938). The manuscripts can be found in the exhibition files in MoMA’s Department of Painting and Sculpture.
The Story of Horace Pippin as told by Himself
I was born on Washington Street in West Chester, Pa. February 22, 1888. That same year my mother moved to Goshen, New York. I was raised and had my schooling in Goshen. At ten years of age I saw in a magazine an advertisement, by a company in Chicago of Art Supplies. The advertisement read, “draw me and win a prize.” It was a picture of a funny faced man, that they asked to draw and send it to them. I did this!
A week after I received a box of crayons and a box of cold water paints and brushes. I never used the cold water paints, but the crayon pencils I did.
The A. M. E. Methodist Church of Goshen, New York, was giving a festival for the Sunday School classes.
Each member was to donate something for sell, such as, pies, cakes, and home made ice cream. I got a yard of unbleached muslin, and cut it into six pieces. And fringed the four sides the depth of an inch. I drew in the center all types of Christian pictures, such as, Jesus ascending into Heaven, Daniel in the Lions Den, Elijah ascending into Heaven in the fiery Charriot. I gave them to my Sunday School teacher, and they were sold to an old lady. A week or so afterwards, I was on my way to school and this old lady called to me, and said, “You did me wrong by selling me those tidies.” I asked her what was wrong with them, and she said look here, and showed me one of the tidies held in her hand, and said “I washed these, and all that I have left is the material.” Of course she did not know that they were made with the crayon that I had received from Chicago.
A week after I had used the crayons, the company from Chicago sent me a letter stating they would send me a complete drawing outfit for seventeen dollars and fifty cents. Due to the fact that we were poor people I nor my Mother did not have the money, so I put the idea of getting the outfit out of my head, but continued to draw with what I had.
At the age of fifteen years I had to quit school and take any kind of work that I could get, because my Mother was sick. The first job that I had was at the St. Elmo Hotel. I worked there for seven years as a porter. After mother died I quit and went to Patterson, New Jersey. There I got a job in the Fidelity Storage House, which was located on Van Houten Street.
I worked in this building for five years. Then I went to Wawa, New Jersey, and worked for the American Brake Shoe Company. I started breaking boxes and stacking boxes, then I got the opportunity to learn to become a moulder, but the war came and called our regiment to Armes, and knocked all my plans in the head. I went to Goshen on July 1st in nineteen and seventeen. I enlisted in the Old Fifteen New York Infantry. We went overseas on the Pochantas. We served in the Argonne Forest and the Champagne Sector. I was wounded in the Champagne Sector around October the fifteenth, 1918. I have three wounds, two flesh wounds and one in the right shoulder and arm, splitting my shoulder blade in two places, and wrecking the socket of the right arm causing me not to be able to lift my right hand above my head, without the aid of my left hand. I was a corporal in the first squad of the first platoon of K Company.
Hamilton Fish was captain of K Company, who is now one of the congressmen of New York. On December the twenty fourth, 1918, we were to get ready to sail for the U.S.A. on the twenty fifth which was Christmas Day. We boarded the Northern Pacific out of Brest, France. We were supposed to be in New York on the fifth of January, 1919. I heard the captain say that tomorrow we will be in New York. That night there was a deep fog. All of a sudden the ship came to a sudden stop. We found ourselves on a sand bar off of Far Island. It was three days before I got off of that ship. I was handed over the side in a basket, to a hospital ship that took us into New York. We then went to Far Hill Hospital, from there to Long Beach Island Hospital, from there to Fort Ontario, New York.
I was discharged from Fort Ontario Hospital, May 22nd, 1919. In 1920 I was married to Mrs. Jennie Ora Giles. As the years went by I began to get stronger.
Then I began to think of the things that I had always loved to do. First, I got together all of the old cigar boxes that I could get, and made fancy boxes out of them. I put one in the Chester County Fair. It won first prize in its division. The following year I put it back and it again won first prize. At the fair it was entered in class 12, number 18, entry 230K. The name of the box was Forgetmenot. I then sent it to Cheyney Normal School Fair and received second prize.
I was not satisfied with that sort of work. In the winter of 1925 I made my first Burnt Wood Panels, which were, Hunting Lodge, Pocono Mts.[,] Trapper in Pocono Mts.[,] Tracking a Bear, Country Doctor Lost in the Snow, Highland Dairy Farmhouse, Winter, Teachers College Powerhouse, and Autumn Scene Near Durham, N.C.
This brought me back to my old self. It was difficult for me to handle a pencil without laying the drawing flat on a table. Then I remembered something I had seen in Vichy, France. I saw a French Artist drawing General Pershing with a brush. I tried the same thing and found it was successful with me on canvas. I worked slowly on every picture that I did. The first picture that I ever made on canvas, was the ending of War, starting home, which took me three years to finish. This picture came to me when I thought of the last drive. I sat down and started it in 1930 and finished it in 1933. The next picture was The Cabin in the Cotton, as I thought of the old lady attending her daughter child daily in South Carolina, one mile from the city of Spartanburgh. And the rest of the pictures are as follows: Paul B. Dague, The Blue Tiger, Gas Alarm Outpost, Argonne. Shell Holes and Observation Balloon, Champagne Sector, Outpost Raid, Abraham Lincoln and his Father building there Cabin on Pigeon Creek, Fishing in the Brandywine, Early Spring, and Trout Fishermen. So many of my friends persuaded me to enter the Exhibition sponsored by the Chester County Art Association. Which I am proud to say that I am now a member. This was the first time I ever exhibited any of my paintings and the two pictures I entered were: Cabin in the Cotton and the Blue Tiger.
The pictures did not win a prize at the exhibit but they did receive honorable mention. I was then given a one man exhibit sponsored by the Art Association, at the West Chester Community Center.
Hundreds of people came to see the paintings. The pictures are now on exhibition at The Museum of Modern Art, 14 West 49th Street, New York City. Thanks to Dr. Christian Brinton, for leading thus far. I thank God for this talent that he has given me from birth.
I never was taught by any Artist nor did I go to any art school. I think of my pictures and then set down and make them.
Thanking Dr. Brinton and the Chester County Art Association for there sincere cooperation in which they have given me.
Horace Pippin
327 W. Gay Street
West Chester, Pa.
How I Paint
My paint is Weber’s Paints. The colors are very simple such as: brown, amber, yellow, black, white and green. The pictures which I have already painted comes to me in my mind, and if to me it is a worth while picture. I paint it. I go over that picture in my mind several times and when I am ready to paint it I have all the details that I need. I take my time and examine every coat of paint carefully and to be sure that the exact color in which I have in mind is satisfactory to me. Then I work my fore ground from the back ground. That throws the back ground away from the fore ground. In other words bringing out my work. The time it takes to make a picture depends on the nature of the picture. For instance, the picture called, “The Ending of the War, Starting Home,” which was my first picture. On that picture I couldn’t do what I really wanted to do, but my next pictures I am working my thoughts more perfectly[.]
My opinion of art is that a man should have love for it, because my idea is that he paints from his heart and mind. To me it seems impossible for another to teach one of art. Meaning this. For instance after I had come from the Army. As I was sitting one afternoon a picture came to me in France. I sat down and made the picture naming it “The Observation Balloon and Shell Hole.” This picture was over four thousand miles from me, and as I was frequently around the sector a good many times it would be impossible for me to have gotten the exact color and nature of that place from anyone else. So it must be in the Artist himself to bring out the thing that is in him. I could not tell another Artist how I wanted a picture if he did not know the nature of my heart and mind, so I have to do it myself. That’s what I call Art. So to give you an idea exactly what I mean by a picture to be in you I will try and explain how they come. When a picture comes to me as I said before I ponder over it several different times. My first pondering would be the location of where it was. Then what back ground there were.
Then the picture is in my mind the color and the nature. I am already to paint. For instance, I thought of my childhood days. Of the games we used to play. It came to me forceably of London Bridge. It was forty years ago since I had played the game or had seen the house of the people sitting in the back yards. The old ladies smoking their pipes.
This picture will take a good bit of work to put it in condition to suit me. So I thank God for the great talent in which he has given to me from my birth. As I have already stated an Artist is born and not made.
Horace Pippin
327 W. Gay St.
West Chester, Pa.
WORKS
This list includes every known work with a demonstrable connection to Pippin and/or the dealers who represented him in life. Objects are grouped by support based on available technical data and arranged chronologically. Absent more information, approximate dates are based on the earliest one assigned in his lifetime and that of the work’s first appearance.
Preference is given to Pippin’s choice of title, then to a title’s initial published iteration (except those abbreviated in Chester County Art Association Annual catalogues). Unless noted otherwise, works are signed on recto at lower right; “(inscribed)” indicates a date there, too. Other inscriptions, especially verso, have not been fully catalogued.
The year-letter designations (for example, 1938a) cross-reference entries in the exhibition history that follows, which also includes a few key documents identified by asterisks (e.g., 1938*). Variant titles and dates are included in parentheses. “SR” indicates the checklist entry in Selden Rodman’s Horace Pippin: A Negro Painter in America (New York: Quadrangle, 1947).
For dimensions and reproductions of almost every work, see Judith E. Stein et al., I Tell My Heart: The Art of Horace Pippin, exh. cat. (Philadelphia and New York: Pennsylvania Academy of the Fine Arts in association with Universe, 1993).
Works on Paper
Four War Memoirs° “Notebook Fragments,” “Handwritten Notebook, October 4, 1920,” “[S]t. Mihiel, Heaviest Champagne Argonne, Hear,” “Horace Pippin’s Autobiography, First World War,” early 1920s Archives of American Art, Smithsonian Institution, Washington, D.C.
Sold by Robert Carlen, 1956
Paul B. Dague, ca. 1934–1937 (unsigned)
Ex. coll. Vincent B. Murphy, Jr.
Sold by Robert Carlen, 24 July 1970
After Supper, ca. 1935–1939 (inscribed by Robert Carlen: “After Supper, West Chester”)
Metropolitan Museum of Art, New York, 1982.55.8 1946f (After Supper—West Chester), SR: 114 (After Supper, West Chester, 1935)
“History of a Case,” n.d. (unsigned, inscribed by Robert Carlen verso: “Dear Dave, This original drawing of Ora Jennie Pippin, wife of Horace Pippin, was made by the artist from life. I got this drawing direct from Horace, and owned it up to this date when I sold it to you. Bob Carlen, Phila., PA 19102, 11-17-68”)
P. Bruce Marine and Donald Hardy Collection, Washington, D.C.
Sold by Robert Carlen, 17 November 1968
Burnt-Wood Panels
1940a included five unidentified panels, probably from 1937c. Around that time, Pippin retouched Highland Dairy Farmhouse (ca. 1925–1930) and exhibited it as The Old Mill (1940), and may have similarly recycled other unsold, early examples.
The Bear Hunt I, ca. 1925–1930 (signed at lower left; inscribed at lower right: “WE WERE ON HIS TRAIL. AS THE SUN. WENT D”)
Chester County Historical Society, West Chester, Pa., 1989.11
1937c (Tracking the Bear), 1938* (Tracking a Bear), 1940d (The Bear Hunt), 1941f (1940), 1947c (1930), SR: 102 (1930)
The Bear Hunt II, ca. 1925–1930 (unsigned; possibly inscribed on verso: “WE SEEN HIM GO UP”) Chester County Historical Society, West Chester, Pa., 1999.15
It was separated from The Bear Hunt I by 1947 and reunited in 1999.
Teachers College Powerhouse, Winter, ca. 1925–1930
Harmon and Harriet Kelley Foundation for the Arts, San Antonio
1937c, 1938* (Teachers College Powerhouse), SR: 125 (before 1937)
Autumn Scene near Durham, N.C., ca. 1925–1930
Private collection, San Diego
1937c, 1938*, 1940d (Fall—Durham, North Carolina), 1941f (Late Fall—Durham, N.C.), 1942c (Late Fall—Durham, N.C., 1936), 1947c (Autumn, Durham, N.C., 1930), SR: 103 (1930?)
Trapper, Pocono Mountains, ca. 1925–1930
Ex. coll. Horace Pippin?, 1937
1937c, 1938* (Trapper in Pocono Mts.), SR: 123 (Trapper, Poconos, before 1937)
Untitled (Winter Scene), ca. 1925–1930
Ex. coll. Anne Strick, Santa Monica, 1994
1940a (Rhea Laskin Wachsman, letter to Robert Carlen, 18 April 1974, Carlen Galleries, Inc. Records, Archives of American Art [CGR])
Likely 1937c (Hunting Lodge, Pocono Mountains), 1938* (Hunting Lodge, Pocono Mts.), SR: 122 (before 1937)
Losing the Way, ca. 1925–1930 (inscribed lower left: “LOSING THE WAY”)
Pennsylvania State Museum, Harrisburg, 64.22 1940d, 1941f (1930), 1947c (1930), SR: 101 (1930)
Likely 1937c (Country Doctor Lost in the Snow), 1938* (Country Doctor Lost in the Snow)
The Old Mill, ca. 1925–1930/1940
Destroyed by fire, 2017
1937c (Highland Dairy Farmhouse, Winter), 1938* (Highland Dairy Farmhouse, Winter), 1940d, 1940*, 1941f (1932), 1947c (1930), SR: 2 (1930) and 124 (before 1937)
Supper Time, ca. 1940–1941
Barnes Foundation, Philadelphia, BF985 (17 February 1941)
SR: 113 (Cabin Interior, 1941?)
Duck Shooting, ca. 1940–1941
Walter O. Evans Collection of African American Art, Savannah
1941c, 1941f (1940), 1942c (1941), 1947c (1940), SR: 106 (1941)
Fishing Through the Ice, ca. 1940–1941
Johnson Memorial Art Museum, Cornell University, Ithaca, N.Y., 2017.068.005
1941c, 1941f (1940), 1942c (Fishing Through Ice, 1941), 1947c (1941), SR: 107 (Fishing Through Ice)
Saturday Night, ca. 1940–1941
Private collection, New York
1941c, 1941f, 1942c, 1943c, 1943g (Saturday Night Bath), SR: 111 (Saturday Night Bath)
The Trapper Returning Home, ca. 1940–1941
Private collection, courtesy of Michael Rosenfeld Gallery, New York
1941c, 1941f, 1947c (Snow Scene, 1941), SR: 112 (Snow Scene, 1941)
Possibly 1937c (Trapper, Pocono Mountains), 1938* (Trapper in Pocono Mts.), SR: 123 (Trapper, Poconos, before 1937)
Amish Store, 1941 (inscribed)
Stolen from Mrs. H. Gates Lloyd, Haverford, Pa., by 1960
1941c, 1941f, SR: 110
Maple Sugar Season, 1941 (inscribed)
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.6
1941c, 1941f, SR: 108 (Maple Sugaring)
Man Seated near Stove, 1941 (inscribed)
Private collection, Potomac, Md.
1941c, 1941f, 1942c, 1947c, SR: 109
The Whipping, 1941 (inscribed)
Reynolda House, Winston-Salem, N.C., 1973.2.1
1941c, 1941f, 1942c, 1947c (The Whipping Post, 1940), SR: 105 (The Whipping Post, 1940?)
Fall Landscape, by 1946
Hirshhorn Museum and Sculpture Garden, Washington, D.C., 66.4070
1947c (1940), SR: 104 (1940)
Oil on Lightweight Fabrics
Pippin used various nonstandard fabric supports in the 1930s. Most have been relined.
Buffalo Hunt, 1933 (inscribed verso: “Made by Horace Pippin/Oct. 30 [31?], 1933/327 W. Gay St. W.C.”)
Whitney Museum of American Art, New York 41.27 1940a, 1940d, 1941b, 1941f (1932), 1942a (The Buffalo Hunt), 1942c (The Buffalo Hunt, 1931), 1943a (The Buffalo Hunt), 1946l (The Buffalo Hunt), 1947c (The Buffalo Hunt), 1947d (The Buffalo Hunt), SR: 7 (The Buffalo Hunt)
The Ending of the War, Starting Home, 1930–1933 (inscribed verso: “S-Sep 15th 1930/By-Horace Pippin/327 W. Gay. St/West Chester P. A./F-Dec 21th. 1933”)
N.B., work includes the painting and handmade frame; for the title, see 1938*
Philadelphia Museum of Art, 41-2-1
1937c (The End of the War—Starting Home), 1938a (The End of the War: Starting Home), 1938b (The End of the War: Starting Home), 1938*, 1940a (The End of the War: Starting Home), 1940c (End of the War), 1940d (End of the War—Starting Home), 1941f (The End of the War—Starting Home, 1930), 1941g (The End of the War: Starting Home), 1944p (The End of the War: Starting Home, 1930–1933), 1945a (End of the War: Starting Home), 1947c (End of the War: Starting Home, 1931), 1947d (End of the War: Starting Home, 1930), SR: 1 (The End of the War: Starting Home, 1930)
The Elk, ca. 1936?
Ex. coll. Joseph J. Shapiro, Philadelphia, 1947
1937a, 1940a (omitted from checklist), 1940*, 1947c (Landscape with Elk, 1936), SR: 16 (The Moose, I, 1936)
Cabin in the Cotton, ca. 1931–1937
Art Institute of Chicago, 1990.417
1937a, 1937b (special mention), 1937c, 1938a, 1938*, 1939a, 1940a, 1940*, SR: 12 (Cabin in the Cotton I, 1935?)
The Blue Tiger, ca. 1933–1937
Indianapolis Museum of Art, 2008.362
1937b (Blue Tiger, special mention), 1937c, 1938a, 1938*, 1940a, 1940*, 1941f (1933), SR: 9 (1933)
Shell Holes and Observation Balloon, Champagne Sector, ca. 1931–1937
Baltimore Museum of Art, 1967.48
1937c, 1938a (Shell Holes and Observation Balloon), 1938b (Shell Holes and Observation Balloon), 1938* (Shell Holes and Observation Balloon, Champagne Sector and The Observation Balloon and Shell Hole), 1940a, 1940d (Shell Holes and Observation Balloon), 1940* (Shell Holes and Observation Balloon), 1941f (Shell Holes and Observation Balloon, 1931), 1942c? (Shell Holes and Observation Balloon, 1932), 1947d (Shell Holes and Observation Balloon, 1931), SR: 3 (Shell Holes and Observation Balloon, 1931)
Outpost Raid, Champagne Sector, ca. 1931–1937 (unsigned)
American Folk Art Museum, New York, 1999.25.1
1937c, 1938* (Outpost Raid), 1940a, 1941f (1931), 1947c (1931), SR: 4 (Outpost Raid: Champagne Sector, 1931)
Fishing in the Brandywine, Early Spring, ca. 1932–1937
Collection of Robert Gober and Donald Moffett, New York
1937c, 1938c (Fishing in the Brandywine), 1938*, 1940a (Fishing in the Brandywine—Early Spring), 1940d (Fishing in the Brandywine—Early Fall), 1941f (Fishing in the Brandywine—Early Fall, 1932), 1947c (Fishing in the Brandywine, 1932), SR: 6 (Fishing in the Brandywine: Early Fall, 1932)
Paul B. Dague, Deputy Sheriff of Chester County, ca. 1934–1937
The support may have been part of a canvas board Chester County Historical Society, West Chester, Pa., 1985.512
1937c, 1938* (Paul B. Dague), 1940a, 1941f (1934), 1947c (Portrait of Paul B. Dague, 1936), SR: 14 (Paul B. Dague, Deputy Sheriff Chester County, 1936)
Abraham Lincoln and His Father Building Their Cabin on Pigeon Creek, ca. 1934–1937 (unsigned)
Barnes Foundation, Philadelphia, BF978 (18 January 1940) 1937c, 1938c (Abraham Lincoln and Father), 1938* (Abraham Lincoln and His Father Building There Cabin on Pigeon Creek), 1940a, 1940*, SR: 10 (1934?)
Trout Fisherman, by 1937
Ex. coll. Horace Pippin?, 1937
1937c, 1938*
Christ, ca. 1935–1939 (unsigned)
Howard University Art Gallery, Washington, D.C.
1940a, 1940*, 1941e, 1941f (1935), 1941i (1938), 1944l, 1947c (Head of Christ, 1938), SR: 21 (1938)
Oil on Canvas, Canvas Board, and Composition Board
Gas Alarm Outpost, Argonne, ca. 1931–1937
Private collection, New York
1937c, 1938*, 1940a (Gas Alarm Outpost—Argonne), 1940d (Gas Alarm Outpost—Argonne), 1941f (Gas Alarm Outpost—Argonne, 1931), 1942b (Gas Alarm Outpost), 1942c (Gas Alarm Outpost, 1932), 1943m (Gas Alarm Outpost—Argonne Sector, 1933), 1944f (Gas Alarm Outpost—Argonne Section), 1947c (Gas Alarm Outpost—Argonne Section, 1932), SR: 5 (Gas Alarm Outpost: Argonne Sector, 1931)
Major-General Smedley D. Butler, U.S.M.C., Retired, ca. 1937–1938
Collection of Philip Jamison, West Chester, Pa.
1938c (General Butler), 1940a, 1940d (Portrait of Major-General Smedley D. Butler), 1941f (Major-General Smedley D. Butler, U.S.M.C., 1937), SR: 20 (Major General Smedley D. Butler, 1937)
Christ before Pilate, ca. 1938/1941? (inscribed verso of relined canvas in unknown hand: “Behold the Man!—John—19.3/H.P. 1941”)
Collection of Janet Shein, Miami
1938c (Before Pilate), 1941f (1941), 1942c (1940), 1943a, 1944a (1941), 1944j, 1945* (Behold the Man), SR: 40 (1941)
The Admirer, ca. 1938
Ex. coll. Averell Harriman/Columbia University, ca. 1963
1938d, 1940a, 1940*, SR: 19 (1937)
The Country Doctor, ca. 1935–1939
Museum of Fine Arts, Boston, 1970.47
1939a, 1940a, 1940d, 1941f (1935), 1947c (1933), SR: 8 (1933)
The Getaway, ca. 1938–1939
Philadelphia Museum of Art, 2016-3-3
1939a, 1940a, 1940*, 1942c (1938), 1947c (The Get-Away, 1939), 1947d (1939), SR: 23 (1939)
After Supper, ca. 1935–1939
Collection of Leon Hecht, New York
1939b, 1940a (After Supper—West Chester), 1940* (After Supper—West Chester), 1941f (After Supper—West Chester, 1935), 1942c? (After Supper—West Chester, Pa., 1933), SR: 11 (After Supper: West Chester, 1935?)
Coming In, 1938–1939
Private collection, courtesy of D. C. Moore Gallery, New York
1939b (special mention), 1940a, 1940*, 1941f (1938), 1942c (1937), 1947c (The Coming In, 1938), 1947d (1939), SR: 22 (1939)
Portrait of My Wife, ca. 1936–1939
Harmon and Harriet Kelley Foundation for the Arts, San Antonio
1940a, 1941b (Portrait of his Wife), 1941f (1936), 1945k, 1947c (1936), 1947d (The Artist’s Wife, 1936), SR: 15 (The Artist’s Wife, 1936)
Lush Valleys, Landscape, ca. 1936–1939
For the title, see label fragment in Pippin’s hand (fig. 3 and Four Delaware Valley Primitives: Henry Braunstein, Ida E. Jones, Edward Charles Kimmel, Horace Pippin, exh. cat. (Wilmington: Delaware Art Museum, 1974)
Myron Kunin Collection of American Art, Minneapolis 1940a (Mountain Landscape), 1940* (Mountain Landscape), SR: 17 (Mountain Landscape, 1936)
The Lady of the Lake, ca. 1936–1939
Metropolitan Museum of Art, New York, 1982.55.1
1940a, 1940d, 1941f (1936), 1942c (1939), SR: 18 (1936)
Dogfight over the Trenches, ca. 1939
Hirshhorn Museum and Sculpture Garden, 66.4071
1940a, 1940d, 1947c (Dog Fight over the Trenches, 1935), SR: 13 (Dog Fight over the Trenches, 1935?)
On Guard, ca. 1938–1940 (unfinished)
Destroyed by fire, 1992
SR: 115 (1940)
[Proposed Design for James A. Bland Memorial], 1940
Materials and location unknown; reportedly submitted to the Commissioners of Merion Township, Pennsylvania (May 1940)
Announced in Opportunity: Journal of Negro Life 18, no. 4 (April 1940): 120
Birmingham Meeting House, 1940 (inscribed)
Myron Kunin Collection of American Art, Minneapolis 1940a (Birmingham Meeting-House), 1940d, 1940*, 1947c (Birmingham Meeting House No. 1, 1938), SR: 25 (Birmingham Meeting House I)
The Squirrel Hunter, 1940
Private collection, New York
1940b (Squirrel Hunter), 1940d, 1941c, 1941f, 1942c, 1947c (Squirrel Hunter, 1932), SR: 24
The Warped Table, 1940
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.1
1940d, 1941c, 1941f, 1947c, SR: 29
Roses with Red Chair, 1940
Last known in the collection of Bill and Camille Cosby, 2001
1940d, 1940*, 1941c, 1941f, 1942c, 1947c, 1947d, SR: 35
My Backyard, 1940
Ex. private coll., Philadelphia, 1994
1940d, 1941c, 1941f (My Back Yard), 1942c (My Back Yard), 1943h (My Back Yard), 1944a (My Back Yard, 1942), 1944d, SR: 37 (My Back Yard, 1941)
Giant Daffodils, 1940 (inscribed)
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.2
1940d, 1941c, 1941f, 1942c, SR: 30
Court House—West Chester, Pennsylvania, 1940 (inscribed)
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.3
1940d, 1941c, 1941f (Courthouse—West Chester, Pa.), 1942c (West Chester Courthouse, 1941), 1947c (The West Chester Court House), 1947d (West Chester Courthouse), SR: 36 (West Chester Courthouse)
Roses in a Jar, 1940 (inscribed)
Ex. ACA Galleries, New York, after 1994
1940d, SR: 34 (Flowers and Books)
Waiting, 1940 (inscribed)
Collection of C. Sylvia and Eddie C. Brown, Glen Arm, Md.
1940d, 1947c (Six O’Clock), 1947d (Six O’Clock), SR: 31 (Six O’Clock)
Birmingham Meeting House in Spring, 1940 (unsigned)
Private collection, courtesy of Sotheby’s
1940e, 1940*, 1947c (Birmingham Meeting House No. 3, 1941), SR: 56 (Birmingham Meeting House IV, 1942)
Birmingham Meeting House in Late Summer, 1940 (inscribed)
Hirshhorn Museum and Sculpture Garden, 66.4072
1940d, 1941c, 1941f, 1947d (Birmingham Meeting House II, 1942), SR: 28 (Birmingham Meeting House II, 1940)
Sketch of Dr. Christian Brinton, ca. 1940
Materials and location unknown; see Rodman’s annotated “Pippin Catalogue,” p. 2, CGR
Portrait of Dr. Christian Brinton, 1940 (inscribed)
For the title, see Brinton’s inventory, 3 June 1941, Philadelphia Museum of Art
Philadelphia Museum of Art, 41-179-139
1941h (A Chester County Art Critic), 1942c (Dr. Christian Brinton, 1939), SR: 27 (Christian Brinton)
Woman of Samaria, 1940 (inscribed)
Barnes Foundation, Philadelphia, BF986 (20 February 1941)
1941c, SR: 26 (The Woman at Samaria)
Amish Letter Writer, 1940 (inscribed)
Collection of the Davidsons, Los Angeles
1941c, 1941f, 1942c, 1947c (The Amish Letter Writer), 1947d, SR: 32
Self Portrait, 1941
Albright-Knox Art Gallery, Buffalo, RCA1942:2
1941a, 1942c (1942), 1944a, 1944d (Self-Portrait), 1947d (Self-Portrait I), SR: 44 (Self-Portrait I)
Two Roses, ca. 1940–1941
Ex. coll. Herbert Fried, 1994
1941c, 1947c (Two Pink Roses, 1940), SR: 33 (Two Pink Roses, 1940)
Portrait of Marian Anderson, 1940 (inscribed)/1941
New York Public Library, Schomburg Center for Research in Black Culture
1940d, SR: 43 (Marian Anderson II, painted 1940, repainted 1941)
Likely 1941c, 1947b (Marian Anderson), 1947c (Marian Anderson)
Pink Flowers, 1941 (inscribed)
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.4
1941c, 1941f, 1942c (Pink Cyclamen), 1947c Pink Cyclamen), SR: 41 (Pink Cyclamen)
The Lilies, 1941 (inscribed)
Private collection, New York
1941c (The Lillies), 1941f, 1941i, 1942c (Lilies), 1944d (Lilies), 1945a (Lilies), 1946m (Lilies, 1940?), 1947c, 1947d (Lilies), SR: 47 (Lilies)
Marian Anderson Singing, 1941 (inscribed)
Collection of James and Ann Harithas, Houston
SR: 42 (Marian Anderson I)
Possibly 1941c, 1947b (Marian Anderson), 1947c (Marian Anderson)
The Woman Taken in Adultery, 1941 (inscribed verso: “Let him that is without sin cast the first stone”)
Apparent pendant to Christ before Pilate
Last known in the collection of Bill and Camille Cosby, 2001
1941f, 1941i (Woman Taken in Adultery), 1942c (1940), 1943d (St. John, Chapter 8, Verses 3–11), 1943k (Woman Taken in Adultery), 1944d (Woman Taken in Adultery), 1945m (Woman Taken in Adultery), 1946h (Woman Taken in Adultery), 1946m (Woman Taken in Adultery), 1947d, SR: 39
Birmingham Meeting House in Summertime, 1941
Brandywine River Museum of Art, Chadds Ford, Pa., 2011.19
1942c, 1947c (Birmingham Meeting House No. 2), SR: 38 (Birmingham Meeting House III)
Red, Yellow, and White Roses, 1941 (inscribed)
Collection of Elizabeth Gold, Connecticut
1942c, 1943i, 1944c, 1946m (1942?), SR: 45
Possibly 1943f (Roses)
Cyclamen, ca. 1941
Collection of Karen Elizaga and Jay Ptashek, New York
1942c (Pink Cyclamen, 1941), SR: 46
Spring Flowers with Lace Doily, 1942
For the title, see stock book entry, 1942, Downtown Gallery records, Archives of American Art (DGR) Private collection, New York
1942c (Spring Flowers with Lace Doily, 1942), 1944d, 1944u, SR: 74 (1944)
Giving Thanks, 1942
Barnes Foundation, Philadelphia, BF990 (22 September 1942)
1942c, SR: 48 (1942?)
West Chester, Pa., 1942
Wichita Art Museum, Kansas, M51.44
1942c (Negro Slums, West Chester, Pa.), 1942d, 1943a (West Chester), 1944a (West Chester, Pennsylvania), 1944d, 1944m (West Chester, Pennsylvania), SR: 55 (West Chester, Pennsylvania)
Abraham Lincoln, the Great Emancipator, Pardons the Sentry, 1942 (inscribed)
Museum of Modern Art, New York, 142.1977
1942c, 1943l (Abraham Lincoln, the Great Emancipator), 1944d (Abraham Lincoln, the Great Emancipator), 1944h (Abraham Lincoln, the Great Emancipator), SR: 54 (Abe Lincoln, the Great Emancipator)
John Brown Going to His Hanging, 1942
Pennsylvania Academy of the Fine Arts, Philadelphia, 1943.11
1943b, 1943e, 1944d, 1945a, 1946i, 1946m, 1947c, 1947d, SR: 53
The Trial of John Brown, 1942 (inscribed)
Fine Arts Museums of San Francisco, 1979.7.82
1943n, 1944d, 1947d, SR: 51
John Brown Reading His Bible, 1942 (inscribed)
Myron Kunin Collection of American Art, Minneapolis
1944d, 1944g, 1944m, 1945* (John Brown Reading), 1946m, 1947d, SR: 52
Victory Vase, ca. 1942
Last known in the collection of Bill and Camille Cosby, 2001
1943j, 1944d, 1944h (Victory Base), 1945g, 1945u, 1947c (1942), 1947d (1942), SR: 57 (1942)
The Wash, ca. 1942?
Private collection, New York
1947c (1942), SR: 50
Refugees, ca. 1942
For the title, see “Carlen Offers Work by Local Negro Artists,” Philadelphia Inquirer, 4 April 1943
Ex. private coll., Nashville, 1990s
1943g (Carlen’s handwritten checklist, CGR: Russian Refugees Bombed Out), SR: 58 (A Tribute to Stalingrad, 1942)
The Domino Game, 1943 (inscribed)
For the title, see Horace Pippin, letter to Robert Carlen, 1 February 1943, Horace Pippin notebooks and letters, Archives of American Art
Phillips Collection, Washington, D.C.
1943c (Domino Players), 1943g (Domino Players), 1943j (Domino Players), 1944d (Domino Players), 1944l (Domino Players), 1945c (Dominoes), 1945i (Domino Players), 1946m (Domino Players), 1947c (Domino Players, 1942), 1947d (Domino Players), SR: 69 (Domino Players)
Sleepers, 1943
For the title, see “Carlen Offers Work by Local Negro Artists”
Metropolitan Museum of Art, 1982.55.3
1943g, 1944d (Asleep), 1945* (Resting), 1947c (Asleep), SR: 67 (Asleep)
Abe Lincoln as the Good Samaritan, 1943 (inscribed)
For the title, see “Carlen Offers Work by Local Negro Artists”
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.5
1943g (Carlen’s handwritten checklist, CGR: Abraham Lincoln Was a Kind Hearted Man), 1944d (Abraham Lincoln, the Good Samaritan), 1947c (Abraham Lincoln, the Good Samaritan), SR: 68 (Abe Lincoln, the Good Samaritan)
Victory Garden, 1943
For the date, see stock book entry, March 1943, DGR
Walter O. Evans Collection of African American Art, Savannah
1944a, 1944d, 1944h, 1944u, 1946m, 1947c, SR: 59
Saying Prayers, 1943 (inscribed)
Brandywine River Museum of Art, Chadds Ford, Pa., 80.4
1947c, 1947d, SR: 66
Mr. Prejudice, 1943 (inscribed)
Philadelphia Museum of Art, 1984-108-1
SR: 60
Old Black Joe, 1943 (inscribed)
Smithsonian American Art Museum, Washington, D.C., 1999.23
1944d, 1944n, SR: 63
Water Boy—A Dedication to Paul Robeson, 1943 (inscribed)
Missing/stolen from Natural History Museum of Los Angeles County by 1965
1944d, 1944i (Water Boy), 1945d (Water Boy), SR: 64 (Water Boy)
Zachariah, 1943 (inscribed)
Butler Institute of American Art, Youngstown, Ohio
1944d, 1944h, 1945e, SR: 49 (1942?)
Crucifixion, 1943
For the date, see stock book entry, November 1943, DGR
Menil Collection, Houston, 1979-14 DJ
1944b, 1944j, 1944q, 1945h, 1945n, 1947d, SR: 61
Sunday Morning Breakfast, 1943
For the date, see stock book entry, November 1943, DGR
Saint Louis Art Museum, 164:2015
1944d, 1944h, 1946m, 1947d, SR: 65
Quaker Mother and Child, ca. 1943–1944
Museum of Art, Rhode Island School of Design, Providence, 44.094
1944d, 1944u, 1946m, SR: 80 (1944)
Study for Vogue Magazine, 1944 (unsigned?)
Robert Brady Museum, Cuernavaca, Mexico
1947c (Old King Cotton, oil sketch on cardboard, 1945), SR: 116 (Old King Cotton [Sketch], 1944)
Old King Cotton, 1944 (inscribed)
Davis Art Museum, Wellesley College, Mass., 1956.27
1944d, SR: 79 (Cabin in the Cotton IV)
Cabin in the Cotton, 1944 (inscribed)
Neuberger Museum, SUNY Purchase
1944d, 1944s (4th honorable mention), 1945*, 1945r, 1946m, 1947c, SR: 78 (Cabin in the Cotton III)
The Love Note, 1944 (inscribed)
Last known in the collection of Bill and Camille Cosby, 2001
1944d, 1944e, 1945*, 1946c, 1946m, 1947d (1943), SR: 72
Old Abe’s First Book, 1944 (inscribed)
Carnegie Museum of Art, Pittsburgh, 68.20
1944d, 1945p, 1947c (Abraham Lincoln’s First Book), SR: 70 (Abe Lincoln’s First Book)
Potted Plant in Window, 1944 (inscribed)
Brandywine River Museum of Art, Chadds Ford, Pa., 81.34
1944d, 1947c, SR: 62
Harmonizing, 1944 (inscribed)
Allen Memorial Art Museum, Oberlin College, Ohio, 1964.26
1944k, 1944u, 1946m, SR: 73
The Holy Mountain, 1944 (inscribed: “JUNE 6. 1944”)
Art Bridges Foundation, Fort Worth
1944o, 1944r, 1945j, SR: 76 (The Holy Mountain I)
Cabin in the Cotton (Cotton Plantation), 1944 (inscribed recto: “1944 AUG 21[?]”; inscribed verso in pencil on the stretcher, probably in the artist’s hand: “CABIN IN THE COTTON”)
Private collection, Los Angeles
1947d (Cabin in the Cotton II), SR: 77 (Cabin in the Cotton II)
Uncle Tom, 1944
Fort Wayne Museum of Art, Indiana, 1984.11
1944t, 1945b, SR: 75
The Knowledge of God,* 1944 (inscribed: “DEC 7. 1944”)
For the title, see Pippin, letter to “My Dear Friends,” 5 February 1945, CGR
Collection of Leslie Anne Miller and Richard Worley, Bryn Mawr, Pa.
1945* (Holy Mountain), 1945e (The Magic Mountain), 1946m (The Kingdom of God), 1947d (The Holy Mountain II), SR: 82 (The Holy Mountain II) Possibly 1947a (The Holy Mountain)
Summer Flowers with Two Chairs, 1944
Private collection, New York
1946m (Summer Flowers), 1947c, 1947d, SR: 83
School Studies, 1944
National Gallery of Art, Washington, D.C., 1991.42.1
1945*, 1947c (Interior of Cabin, 1944), SR: 81 (Interior)
Self-Portrait II, 1944
Metropolitan Museum of Art, 1982.55.7
1947c (Self-Portrait), SR: 71
Christmas Morning Breakfast, 1945 (inscribed)
Cincinnati Art Museum, 1959.47
1945* (Xmas Morning Breakfast), SR: 91
Victorian Interior I, 1945 (inscribed: “1945. FEB”)
Metropolitan Museum of Art, 1982.55.5
1947c (Victorian Interior), SR: 87
Study for “The Barracks,” 1945 (unsigned)
Philadelphia Museum of Art, 2016-3-2
1947d, SR: 118
The Barracks, 1945
Phillips Collection, Washington, D.C.
1945f, 1945v (Barracks), 1946g (Barracks), 1946m, 1947c, 1947d, SR: 85
Victorian Interior II, 1945 (inscribed recto: “APR 12-45”; inscribed verso: “H. PIPPIN APRIL 12, 1945”)
NB: Franklin Delano Roosevelt died 12 April 1945
Metropolitan Museum of Art, 58.26
1945t (Victorian Interior), 1946e, 1946m, SR: 89
Saturday Night Bath, 1945 (inscribed)
Yale University Art Gallery, New Haven, 2014.4.1
1945l, 1945s, SR: 92
Flower, 1945
Ex coll. Erica de Meuron Friedman, France, 1990s
Published in Art News, 1 August 1945
The Holy Mountain III, 1945 (inscribed: “AUG 9. 1945”)
Hirshhorn Museum and Sculpture Garden, 66.4069
1947c (The Holy Mountain), SR: 84
Possibly 1947a (The Holy Mountain)
The Elk, 1945 (inscribed: “AUG 26. 1945”)
Pennsylvania Academy of the Fine Arts, Philadelphia, 1979.1.7
1947c, SR: 93 (The Moose II)
The Milkman of Goshen, 1945 (inscribed)
For the title, see Pippin, letter to “my Dear Friends,” [Summer 1946], Goshen Public Library
Collection of Leslie Anne Miller and Richard Worley, Bryn Mawr, Pa.
1945* (Milk Man), 1945q (Milkman of Goshen, New York), 1946b (Scheidt Prize), 1946j (Milkman of Goshen), 1947c, 1947d (The Milk Man of Goshen), SR: 90 (The Milk Man of Goshen)
Deep Are the Roots, 1945
Private collection, courtesy of Galerie St. Etienne, New York
SR: 117 (Poster for “Deep Are the Roots”)
The Den, 1945
Collection of halley k. harrisburg and Michael Rosenfeld, New York
1947c, 1947d, SR: 88
Flowers with Hat and Cane, 1945
Private collection, New York
1947c (Flower Piece), 1947d, SR: 94
Still Life with Chairs, 1945
Collection of Kathryn C. Chenault, New York
SR: 86
The Greatest Temptation of Saint Anthony, 1946 (inscribed: “JAN 17 46”)
For the title, see Pippin’s statement, 1946k catalogue
Collection of James and Ann Harithas, Houston
1946k (The Temptation of Saint Anthony), SR: 97 (The Temptation of Saint Anthony)
Flowers with Doilies and Two Chairs, 1946
Collection of Blaine and Diane Fogg, New York
SR: 95
Flowers with Four Doilies, 1946
Collection of Leslie Anne Miller and Richard Worley, Bryn Mawr, Pa.
1947c (Flower Piece with Four Doilies), 1947d, SR: 96
The Hoe Cake, 1946 (unsigned, probably unfinished)
New Jersey State Museum, Trenton
1947c, SR: 98 (The Hoe-Cake)
The Park Bench, 1946 (unsigned, probably unfinished)
Philadelphia Museum of Art, 2016-3-4
1947d, SR: 99
The Holy Mountain IV, 1946 (unsigned, unfinished)
Metropolitan Museum of Art, 1982.55.2
1947c (The Holy Mountain [Unfinished]), SR: 100 Possibly 1947a (The Holy Mountain)
Chairs, 1946 (unsigned, unfinished)
Metropolitan Museum of Art, 1982.55.6
1947c (Floral Still Life). SR: 119
Family Supper, 1946 (unsigned, unfinished)
Metropolitan Museum of Art, 1982.55.4
1947c (Saying Grace), SR: 121
Flowers, 1946 (unsigned, unfinished, inscribed verso in pen on the stretcher in Carlen’s hand: “PIPPIN PAINTED THIS IN/JUNE 1946/LEFT UNFINISHED IN HIS STUDIO AT THE TIME/OF HIS DEATH ON JULY 5, 1946. ROBERT CARLEN”)
Michael Rosenfeld Gallery, New York
1947c (Floral), SR: 120
EXHIBITIONS, 1937 THROUGH 1947
This list compiles every known exhibition (identified by letter) through Pippin’s memorial shows of 1947, plus a few key lists (identified by asterisk) that are cross-referenced in Works.
1937
A. Shoe Repair Shop Window, West Chester, Spring (no cat.)
B. Sixth Annual Exhibition, Chester County Art Association (CCAA), Art Centre, West Chester, Pa., 23 May–6 June. Special Mention.
C. Horace Pippin: Paintings and Burnt Wood Panels, CCAA and West Chester Community Center (WCCC), Community Center, West Chester, Pa., 8 June–5 July
1938
A. Masters of Popular Painting: Modern Primitives of Europe and America, Museum of Modern Art (MoMA), New York, 27 April–30 June
B. Masters of Popular Painting: Modern Primitives of Europe and America, abbreviated version circulated by MoMA through June 1939 to Smith College Museum of Art, Northampton, Mass.; Louisville Art Association (J. B. Speed Art Museum), Kentucky; Cleveland Museum of Art; William Rockhill Nelson Gallery of Art, Kansas City, Mo.; Museum of Fine Arts, Houston; Los Angeles Museum of History, Science, and Art; San Francisco Museum of Art
C. Seventh Annual Exhibition, CCAA, 28 May–12 June
D. Flowers in Art, CCAA and West Chester Garden Club, Art Centre, 21–30 October
* “The Story of Horace Pippin as told by Himself” and “My Life Story,” Appendix
1939
A. Works at Hudson Walker Gallery, New York, mid-April 1939–3 January 1940
B. Eighth Annual Oil and Sculpture Exhibition, CCAA, 4–18 June. Special Mention. Pippin is one of four black artists included.
1940
A. Horace Pippin Exhibition, Carlen Galleries, Philadelphia, 19 January–18 February
B. Ninth Annual Oil and Sculpture Exhibition, CCAA, 2–16 June
C. Exhibition of the Art of the American Negro (1851 to 1940), American Negro Exposition, Tanner Art Galleries, Chicago, 4 July–2 September
D. Paintings by Horace Pippin, Bignou Gallery, New York, 30 September–12 October
E. [250th Anniversary of the Birmingham Meetinghouse], Octagonal Schoolhouse, Birmingham, Pa., 6 October (no cat.)
* Checklist, Guggenheim Fellowship application, submitted 11 October 1940
1941
A. Contemporary Art Room, Albright Art Gallery, Buffalo, N.Y., February–? (no cat.)
B. First Annual Exhibition of Art, Pyramid Club, Philadelphia, 2–16 March
C. Recent Paintings by Horace Pippin, Carlen Galleries, 21 March–20 April
D. [The Influence of French Modernism in American Art], Parents Committee, Chestnut Hill Academy, Philadelphia, April (no. cat.)
E. We Too Look at America, South Side Community Art Center, Chicago, 1–30 May
F. Exhibition of Paintings by Horace Pippin, Arts Club of Chicago, 23 May–14 June
G. They Taught Themselves, San Francisco Museum of Art, 5 August–3 September, and Stendhal Gallery, Los Angeles, 26 September–? (no cat.)
H. [The Christian Brinton Collection and Russian Graphic Art], Philadelphia Museum of Art, 15 November–11 February 1942
I. American Negro Art, 19th and 20th Centuries, Downtown Gallery (DG), New York, 9 December 1941–3 January 1942
1942
A. New Acquisitions, Whitney Museum of American Art (WMAA), New York, January (no cat.?)
B. They Taught Themselves: American Primitive Painters of the 20th Century, Marie Harriman Gallery, New York, 9 February–7 March
C. Paintings by Horace Pippin, San Francisco Museum of Art, 14 April–3 May (no cat.)
D. American Art, 1942: New Paintings and Sculpture, DG, 22 September–10 October
1943
A. Paintings and Sculpture by American Negro Artists, Institute of Modern Art, Boston, 5–30 January, and Smith College Museum of Art, 18 February–7 March
B. 138th Annual Exhibition of Painting and Sculpture, Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, 24 January–28 February. [Purchase Prize].
C. Third Annual Exhibition, Pyramid Club, 19–28 February. First Prize in Oils.
D. Fifty-Third Annual Exhibition of Contemporary Art, Nebraska Art Association, University Art Galleries, Morrill Hall, University of Nebraska, Lincoln, 7 March–4 April
E. Eighteenth Biennial Exhibition of Contemporary American Oil Paintings, Corcoran Gallery of Art, Washington, D.C., 21 March–2 May
F. Spring Exhibition, DG, 31 March–24 April
G. Oils, Water Colors, Prints and Sculptures by Negro Artists of Philadelphia and Vicinity, Carlen Galleries, 1–30 April (no cat.?)
H. [Third Annual] Spring Purchase Exhibition, Springfield Museum of Fine Arts, Mass., 18 April–16 May
I. Ninety-Two Artists, Walker Art Center, Minneapolis, 3 June–1 July (no cat.?)
J. American Art, 1943: 18th Annual Exhibition, DG, 5–30 October
K. Painting in the United States, Carnegie Institute, Pittsburgh, 14 October–12 December
L. Fifty-Fourth Annual Exhibition of American Paintings and Sculpture, Art Institute of Chicago, 28 October–12 December
M. American Primitive Painting of Four Centuries, Arts Club of Chicago, 2–27 November
N. Annual Exhibition of Contemporary American Art, WMAA, 23 November 1943–4 January 1944
1944
A. A Selection of American Painters of the Present Day, Museum of the Rhode Island School of Design (RISD), Providence, 7 January–14 February
B. 139th Annual Exhibition of Painting and Sculpture, PAFA, 23 January–27 February
C. Thirty-Seventh Annual Exhibition: American Painting Today, City Art Museum of St. Louis, 5 February–13 March
D. H. Pippin: Exhibition of Paintings, DG, 15 February–11 March
E. Fifty-Fourth Annual Exhibition of Contemporary Art, Nebraska Art Association, 5 March–2 April
F. Goodwill Exhibition of Contemporary American Art, Presented by Artists for Victory, Grand Central Art Galleries, New York, 8–18 March. Tour includes National Academy, Edinburgh, 11 August–17 September, and Central Institute of Art and Design, R. B. A. Galleries, London, 14 March–17 April 1945.
G. Third Annual Exhibition of Paintings, Sculptures, and Prints by Negro Artists, Atlanta University, Georgia, 2–30 April
H. Advance Trends in Contemporary American Art, Detroit Institute of the Arts, 4–30 April
I. American Negro Art: Contemporary Painting and Sculpture, Newark Museum, N.J., 11 April–3 May
J. Religious Art of Today, Dayton Art Institute, Ohio, 11 April–1 June
K. Spring Exhibition: New Important Paintings and Sculpture by Leading Americans, DG, 11 April–6 May
L. New Names in American Art, organized by G Place Gallery. Tour includes Hampton Institute, Virginia, April; Baltimore Museum of Art, May; G Place Gallery, Washington, D.C., 13 June–4 July; City Art Museum of St. Louis, 19 August–18 September; Renaissance Society at the University of Chicago, 6–31 October. Checklist may vary by venue.
M. Fourth Annual Spring Purchase Exhibition, Springfield Museum of Fine Arts, 6 May–11 June
N. Twenty-Third Annual National Exhibition of Advertising Art, Art Directors Club of New York, Rockefeller Center Galleries, New York, 15 May–3 June
O. Acquisition Consideration, Encyclopedia Britannica Collection, AAA Gallery, New York, June
P. American Battle Painting, 1776–1918, National Gallery of Art, Washington, D.C., 4 July–4 September, and MoMA, 3 October–18 November
Q. 110 American Painters of Today, Walker Art Center, 18 August–11 September (no cat.?)
R. American Art, 1944: 19th Annual Exhibition, DG, 3–28 October
S. Painting in the United States, Carnegie Institute, 12 October–10 December. Fourth Honorable Mention.
T. Annual Exhibition of Contemporary American Painting, WMAA, 14 November–12 December
U. Seven American Painters, circulated by MoMA 1 December 1944–2 May 1945 to the Mead Art Museum, Amherst College, Mass.; Hamline University, St. Paul; Norton Gallery and School of Art, West Palm Beach, Fla.; Agnes Scott College, Decatur, Ga.; and the Arts and Crafts Club, New Orleans.
1945
A. The Negro Artist Comes of Age: A National Survey of Contemporary American Artists, Albany Institute of History and Art, N.Y., 3 January–11 February. Circulated by American Federation of Arts (AFA) through January 1946 to Albright Art Gallery; Munson-Williams-Procter Institute, Utica, N.Y.; Brooklyn Museum of Art; RISD.
B. 140th Annual Exhibition of Painting and Sculpture, PAFA, 19 January–25 February
C. Contemporary American Paintings, Society of the Four Arts, Palm Beach, Fla., 22 January–12 February
D. The Negro in American Art: Second Annual Art Exhibition, Joint Board, Fur Dressers and Dryers Union CIO, New York, 14–28 February (no cat.?)
E. Fifty-Fifth Annual Exhibition of Contemporary Art, Nebraska Art Association, 4 March–1 April
F. Nineteenth Biennial Exhibition of Contemporary American Oil Paintings, Corcoran Gallery of Art, 18 March–29 April
G. [Thirteen Artists Paint Flowers], Art Alliance, Philadelphia, 20? March–? (no cat.)
H. Fourth Annual Exhibition of Paintings, Sculptures, and Prints by Negro Artists, Atlanta University, 1–29 April
I. A Loan Exhibition of Paintings by Charles W. Hutson and a Group of Americans in the Collection, Phillips Memorial Art Gallery, Washington, D.C., 1–30 April
J. Encyclopedia Britannica Collection of Contemporary American Paintings, Art Institute of Chicago, 12 April–13 May. Tour through 1947: Rockefeller Center Galleries; Boston Museum of Fine Arts; Corcoran Gallery; Dayton Art Institute; Carnegie Institute; Syracuse Museum of Fine Art, N.Y.; Cincinnati Art Museum; Detroit Institute of Arts; Milwaukee Art Institute; John Herron Art Institute, Indianapolis; City Art Museum of St. Louis; Denver Art Museum
K. Second Annual Exhibition of Colored Artists of West Chester, WCCC, 22–29 April (no cat.?)
L. Important New Paintings and Sculpture by Leading American Artists, DG, 1–25 May
M. Contemporary American Painting, California Palace of the Legion of Honor, San Francisco, 17 May–17 June
N. An Exhibition of Selected Paintings by Representative American Artists, Festival of Contemporary American Arts, Willard Straight Memorial Room, Cornell University, Ithaca, N.Y., 1–3 June (no cat.)
O. Small Oils by Contemporary Eastern Artists, Fine Arts Gallery, San Diego, August–September (no cat.?)
P. Exhibition of Paintings and Sculpture by Negro Artists, Artists of Today Gallery, Newark, N.J., 1–19 October
Q. Painting in the United States, 1945, Carnegie Institute, 11 October–9 December
R. Loan Exhibition (Twentieth Anniversary Show), DG, 15 October–3 November
S. Fifty-Sixth Annual American Exhibition of Paintings, Art Institute of Chicago, 25 October–1 January 1946
T. American Art, 1945: New Paintings, DG, 6 November–1 December
U. Fellowship of the Graphic Sketch Club Annual, Samuel Fleisher Art Memorial, Philadelphia, 27 November–22 December (no cat.?)
V. Annual Exhibition of Contemporary American Painting, WMAA, 27 November 1945–10 January 1946
* Robert Carlen, account book page, fig. 96
1946
A. [Modern Religious Painting] (Benefit for Grovesnor Neighborhood House), Durand-Ruel Gallery, New York, 8 January–2 February (no cat.?)
B. 141st Annual Exhibition of Painting and Sculpture, PAFA, 26 January–3 March. J. Henry Scheidt Memorial Prize (best original oil).
C. Purchases from Nebraska Annuals, Morrill Hall, University of Nebraska, 27 January–17 February (no cat.)
D. [Negro History Week], RoKo Gallery, New York, 10–16 February (no cat.?)
E. Thirty-Ninth Annual Exhibition, American Painting, City Art Museum of St. Louis, 16 February–19 March
F. [Eighty-Eight Drawings by Living Philadelphia Painters and Sculptors], Philadelphia Museum of Art, 17 February–17 March (no. cat.)
G. Fifty-Sixth Annual Exhibition of Contemporary Art, Nebraska Art Association, 3–31 March
H. Eighty New Paintings, Albright Art Gallery, 5 April–5 May
I. American Painting: From the Eighteenth Century to the Present Day, organized by the National Gallery of Art, Washington, D.C., for Tate Museum, London, June–July
J. Prize Winners, 1945–46, Addison Gallery of American Art, Andover, Mass., 13 September–21 October
K. The Temptation of Saint Anthony: The Bel Ami International Competition and Exhibition of New Paintings by Eleven American and European Artists, M. Knoedler and Co., New York, 16–28 September. Circulated by AFA through 1947 to G Street Gallery, Washington, D.C.; Copley Society of Boston; Baltimore Museum of Art; Cleveland Museum of Art; Scarab Club, Detroit; Cleveland Museum of Art; Museum of Fine Arts, Houston; Los Angeles County Museum; San Francisco Museum of Art; and possibly England and France.
L. Contemporary American Paintings and Sculpture (WMAA Collection), Art Gallery of Toronto, 18 October–17 November
M. Three Negro Artists: Horace Pippin, Jacob Lawrence, Richmond Barthé, Phillips Memorial Art Gallery, 14 December 1946–6 January 1947
1947
A. 142nd Annual Exhibition of Painting and Sculpture, PAFA, 26 January–2 March
B. 7th Annual Exhibition, Pyramid Club, 21 February–?
C. Horace Pippin Memorial Exhibition, Art Alliance, Philadelphia, 8 April–4 May
D. Memorial Exhibition, Horace Pippin, M. Knoedler and Co., 29 September–11 October
Appendix
Next chapter