Menconi & Schoelkopf Fine Art

#Repost @the_adaa Starting in the 1930s, the NYC-based Park Avenue Cubists a group of abstractionists from the Upper East Side worked to advance innovations in non-objective painting. Considering themselves heirs to the European tradition of #Cubism and its derivations, the group looked ahead to create an American aesthetic uniquely their own, decades before abstract art would become synonymous with New York painting. At @MenconiSchoelkopf through June 4, the exhibit...ion presents works by three members of the group #AlbertEGallatin, #GeorgeLKMorris, and #CharlesGreenShaw. Here: George L. K. Morris, Route 22, 1947, courtesy Menconi + Schoelkopf, New York. #MenconiSchoelkopf #abstraction See more

"The Park Avenue Cubists" presents works by Albert E. Gallatin, George L. K. Morris, and Charles Green Shawartists on the vanguard of American modernism in the 1930s. After exhibiting with fellow abstractionist Suzy Frelinghuysen at Paul Reinhardt Galleries in 1937, this group of artists came to be known as the Park Avenue Cubists because of their privileged backgrounds and Upper East Side addresses. #MenconiSchoelkopf #AmericanArt #ParkAvenueCubists #AlbertGallatin #GeorgeLKMorris #GeorgeMorris #CharlesGreenShaw #AmericanAbstractArtists #Cubism #Cubists #CubistArt #CubistArtist #CubistPainting #AbstractPainting #AbstractArtist #AbstractArtwork #AbstractArt #Abstraction #OilPainting #Route22 #Mannequin #SheetMusic #ArtistoftheDay #ParkAvenue #ParkAvenueNYC #1930s #1930sArt #FrelinghuysenMorrisHouseandStudio

The origin of the title "Route 22" is from signage embedded in the composition. The house that Morris and his wife Suzy Frelinghuysen lived in in the 1940s is only a mile from Route 22, a local road on just the far side of the New York-Massachusetts border, running south from Comstock to Brewster, New York. The house still stands today as the home of the Frelinghuysen Morris House and Studio in Lenox, Massachusettsjust off Route 22. Image: George L. K. Morris, "Route 22," ...1947 #MenconiSchoelkopf #AmericanArt #ParkAvenueCubists #AlbertGallatin #GeorgeLKMorris #CharlesGreenShaw #AmericanAbstractArtists #Cubism #Cubists #CubistArt #CubistArtist #CubistPainting #AbstractPainting #AbstractArtist #AbstractArtwork #AbstractArt #Abstraction #OilPainting #Route22 #ArtistoftheDay #GeorgeMorris #ParkAvenue #ParkAvenueNYC #1930s #1930sArt #FrelinghuysenMorrisHouseandStudio See more

"The Park Avenue Cubists" is now on view at the gallery! The Park Avenue Cubists considered themselves heirs to the European tradition of Cubism and its derivations while looking ahead to create an American aesthetic uniquely their own decades before abstract art would become synonymous with New York painting. Image: George L.K. Morris, "Route 22," 1947 #MenconiSchoelkopf #AmericanArt #ParkAvenueCubists #AlbertGallatin #GeorgeLKMorris #CharlesGreenShaw #AmericanAbstractArtists #Cubism #Cubists #AbstractArt #Abstraction #Route22 #NewExhibition #UpperEastSide

We love seeing our #Burchfield catalogue out in the world! It was spotted at the @tallevitt show at @atmgallery.nyc. (: @tommorrill) #MenconiSchoelkopf #AmericanArt #CharlesEBurchfield #Inexhasutible #CharlesEphraimBurchfield #CharlesBurchfield #Burchfield #Watercolor #WatercolorPainting #WorkonPaper #AmericanArtist #WatercolorArt #WatercolorArtist #WatercolorArtist #BurchfieldPenney #BurchfieldPenneyArtCenter #BuffaloArtist #BuffaloNY

Clarence Carter, Unloading Iron Ore at the Lorain Works, Ohio, 1947 Unloading Iron Ore at the Lorain Works, Ohio is presented in our online viewing room The Immaculates. The viewing room has been extended through January 10, 2021. See our website for more information on the OVR. #MenconiSchoelkopf #americanart #clarencecarter #theimmaculates #precisionism #precisionists #modernism #americanartists #ironore #ironwork #ohio #cranes #railroad #industrial #barge

Joseph Cornell’s relationship with Robert Schoelkopf began when the artist’s brother, Robert, died. Cornell sought a venue for a memorial exhibition of Robert’s drawings and Joseph’s collages that incorporated them. Schoelkopf was a fan of [Cornell’s] work, Cornell’s biographer records, and was delighted when Cornell wandered in one day to discuss the possibility of a memorial exhibition for Robert. Without hesitation, Schoelkopf put the show on his winter schedule (Debor...ah Solomon, Utopia Parkway, 2015, p. 651). Joseph Cornell, Untitled (Found Objects), 1962 Untitled (Found Objects) is presented in our online viewing room Joseph Cornell’s Eternidays. The viewing room has been extended through January 10, 2021. See our website for more information on the OVR. #MenconiSchoelkopf #americanart #jospehcornell #untitled #foundobjects #modernism #americanartists See more

Birds and Victorian-era ballerinas: Joseph Cornell’s foremost obsessions. In 1940, Cornell became infatuated with the little-known dancer Fanny Cerrito: he told friends of hallucinatory visions of her, and devoted many boxes to her memory. He never could have seen Cerrito dance: she died in 1909, and the role that Cornell most admired had been performed a full century prior. Cerrito danced in the title role of Ondine in 1843. The ballet tells the story of the titular water-ny...mph’s courtship by a knighta romance divided by two unbridgeable worlds. The theme of unwinnable love was central to all of Cornell’s work. Cornell made his earliest boxes devoted to Cerrito and Ondine in the early 1940s, but the motifs resurface through his career. By the end of the '40s, he had made birds his central preoccupation, and in the present box, the nocturnal owlbird of dreams and fantasyis symbolically given to his unreachable water-nymph, Fanny Cerritoa romance as doomed as the love of an 1840s dancer by a 1940s artist. Joseph Cornell, An Owl for Ondine, 1954 An Owl for Ondine is presented in our online viewing room Joseph Cornell’s Eternidays. The viewing room has been extended through the end of the year. Link in bio. #MenconiSchoelkopf #americanart #jospehcornell #owlbox #ondine #owls #modernism #americanartists See more

We invite you to The Immaculates, currently on view in the gallery at 22 East 80th Street. The exhibition highlights works by Precisionist artist including Charles Sheeler, Jan Matulka, and Ralston Crawford. In the years following 1916, Precisionism took center stage. The hallmarks of the style are based on a new interpretation of Cubism unified with an undeniable surge in American economic and military might, and the uniquely American character of the themes and motifs ado...pted to portray a new modern world. Skyscrapers burst on the New York skyline, shiny metal surfaces gleamed in this new cityscape, and the precision of sophisticated machinery invited new ways of considering the American experience. The gallery exhibition closes this Friday, December 18, but you can experience The Immaculates digitally through the online viewing room. If you would enjoy learning more about the works or reviewing a checklist, please call us at (212)879-8815 or connect with us here. #AmericanArt #Precisionism

Triplet Creek Special is an example from Clarence Holbrook Carter's extraordinary early 1930s work. It possesses both sharp-edged realism as well as a semi-surreal treatment of the scene, not dissimilar to Edward Hopper or fellow Ohio-native Charles Burchfield. The softly limned cloud forms give the scene a mood in spite of its bright sunlit condition of the uncanny, a sensation heightened by the jagged planes of the ruined coal car in the foreground. Carter would move more... emphatically into the surreal in years to come, often guided by this same motif of the wayward traintracks. Clarence Carter, Triplet Creek Special, 1932 Triplet Creek Special is now on view at the gallery in our current exhibition The Immaculates. You can also experience the exhibition in our online viewing room. Link in bio. #MenconiSchoelkopf #americanart #clarencecarter #precisionism #theimmaculates #precisionists #realism #modernism #creek #coalcar See more

The gallery is closed today due to inclement weather and will reopen tomorrow if weather permits. Stay safe and healthy during the storm and we look forward to welcoming you back to the gallery for the last day of our current exhibition The Immaculates. Willard L. Metcalf, The White Mantle, 1906 In the meantime, you can explore the works from The Immaculates in our online viewing room. Link in bio. ... #MenconiSchoelkopf #americanart #willardmetcalf #willardleroymetcalf #oilpainting #wintersnow #winterlandscape See more

Since at least the early 1940s, Charles Sheeler used multiple exposures to make photographic prints as compositions for his paintings. In Red Against White, he used this process to express a new treatment of Precisionism. Sheeler began transferring photographs and drawings onto Plexiglas and glass as a means to rapidly simply forms into blocks of colorcolor that could be easily scrubbed off of the plastic support and replaced as he tinkered with the composition. He initial...ly considered these transparent works as detritus of the process, but by the mid-1950s, began to see the aesthetic value in these preparatory works and brought them to a finished state for exhibition. The Plexiglas work that served as a study for Red Against White is now in the collection of the Museum of Fine Arts, Boston. Charles Sheeler, Red Against White, 1957 Red Against White is now on view at the gallery in our current exhibition The Immaculates. You can also experience the exhibition in our online viewing room. Link in bio. #MenconiSchoelkopf #americanart #charlessheeler #precisionism #theimmaculates #precisionists #modernism #architecture #tempera See more

At age seventy, Charles Sheeler may have seen a parallel with the abandoned mills of New England towns: the mills, like Sheeler himself, were becoming "New England irrelevancies." Sheeler’s subtle self-effacement in the titling of the work was nonetheless overstated: having been a dominant voice since the advent of American modernism, he was producing some of the most powerful work of his career. Charles Sheeler, New England Irrelevancies, 1953 New England Irreleva...ncies is now on view at the gallery in our current exhibition The Immaculates. You can also experience the exhibition in our online viewing room. Link in bio. #MenconiSchoelkopf #americanart #charlessheeler #theimmaculates #precisionism #precisionists #modernism #newengland #architecture #brickbuildings #brick See more

Blue is the color of longing, of blue-prints, of Francethe elements of Joseph Cornell’s daydreams. But by the end of the 1940s, he scaled back his use of the favored color, preferring a raw and aggressively applied whitewash. Even as the early 50s saw him turning his attentions to a more abstract and minimalist approach, the twin areas astronomy and astrology continued to fascinate him. Their intersection of science and mythology was again, the realm of Cornell’s dreamall t...he better that the stars are best viewed at night, the proper time for dreaming. To Cornell, night was not about darkness and so his skies are always coloredblue being the color of the many constellation maps he used in collages, so too, a night sky is applied in dreamy blue. This box is conspicuously of that early ‘50s moment, however, using the shellacked white paint to animate the narrative elementsthe mounted knight in the lower registeras well as turning the raw edges of wood in the night sky into a luminous cluster of stars. This imaginative transformation of material into image connects Cornell’s early Surrealist body of work to the late work that inspired the likes of Jasper Johns and Louise Nevelson. Joseph Cornell, Pleiades as Seen with Unaided Eye, 1952-1954 Pleiades as Seen with Unaided Eye is presented in our online viewing room Joseph Cornell’s Eternidays. Check out the OVR to explore more fascinating works by Joseph Cornell. #MenconiSchoelkopf #americanart #josephcornell #eternidays #pleiades #astronomy #astrology #constellation #mythology #nightsky #stars #daydreams See more

Precisionism may be the forgotten bandwagon of 20th century American art. Today, the hard-edged style and many of the artists it attracted remain overshadowed by Abstract Expressionism, which definitively put American art on the international map in the early 1950’s. But in the late 1920’s and early 1930’s when modern machines and architecture held the promise of a bright, streamlined future, Precisionism seemed like an art movement whose time had come and a sure sign of Ame...rican art’s international stature. Roberta Smith, Precisionism and a Few of Its Friends, The New York Times, December 11, 1994 Jan Matulka, Hell Gate, New York City, 1936 Hell Gate, New York City is now on view at the gallery in our current exhibition The Immaculates. You can also experience the exhibition in our online viewing room. Link in bio. #MenconiSchoelkopf #americanart #janmatulka #newyorkcity #newyork #precisionism #theimmaculates #precisionists #rooftop #nycrooftop #bridge #steamboat #architecture See more