ARTISTS
Arshile Gorky: Drawings from a 1931 Sketchbook
Pavel Zoubok Fine Art is pleased to announce our participation in Master Drawings New York with a special exhibition of early drawings by Arshile Gorky. The twenty pen and ink drawings that form the core of our presentation come from an incomplete sketchbook of 1931, purchased from the private collection of legendary dealer and champion of Surrealism, Julien Levy, during the 1970s.
While some of the drawings had been reproduced in Levy's major monograph on the artist, published by Abrams in 1966 and in a small exhibition and catalogue of Gorky drawings at M. Knoedler & Company in 1969, the whereabouts of this important group have until recently been unknown. The drawings reflect not only the strong influence of Picasso, but the seeds of a decidedly Surrealist sensibility that would usher Arshile Gorky into the cannon of that movement. Together, they tell a compelling story about the process and development of a great artist, one that he regarded as intimately tied to tradition and historical continuity, and about modernist art between the wars.
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Pavel Zoubok Fine Art is pleased to announce our participation in Master Drawings New York with a special exhibition of early drawings by Arshile Gorky. The twenty pen and ink drawings that form the core of our presentation come from an incomplete sketchbook of 1931, purchased from the private collection of legendary dealer and champion of Surrealism, Julien Levy, during the 1970s.
While some of the drawings had been reproduced in Levy's major monograph on the artist, published by Abrams in 1966 and in a small exhibition and catalogue of Gorky drawings at M. Knoedler & Company in 1969, the whereabouts of this important group have until recently been unknown. The drawings reflect not only the strong influence of Picasso, but the seeds of a decidedly Surrealist sensibility that would usher Arshile Gorky into the cannon of that movement. Together, they tell a compelling story about the process and development of a great artist, one that he regarded as intimately tied to tradition and historical continuity, and about modernist art between the wars.
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