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Agnes HartThe Fern
About the Item
Signed lower right
Agnes Hart was born in Meridan, Connecticut. She studied at the Ringling School of Art in Sarasota, Florida; at Iowa State University with Josef Presser, Paul Burlin and Lucile Blanch, and printmaking with Reginald Neal.
One-Woman Exhibits: the Roko Gallery in 1949. Woodstock, New York 1951, 1955, 1959, 1963, 1972; Mercer University in Georgia 1962; presentation show at Woodstock Artists Association 1953; Coral Gables, FL 1973.
Group Exhibitions: Metropolitan Museum of Art, "American Painting Today" 1950; Art USA 1958; Brooklyn Museum; Pennsylvania Academy of Fine Arts; Philadelphia Art Alliance; Virginia Academy of Fine Arts; Toledo Museum; Springfield Museum; Chicago Art Institute; Butler Art Institute; National Academy of Design; Riverside Museum; New York Cultural Center; Long Island University; Berkshire Art Association; Eight at Phoenix Galleries; Galerie Interieur in Zurich, Switzerland.
Collections: Metropolitan Museum of Art; Norfolk Museum; Wichita State University. Instructor : Art Students League 1965 - ; Dalton Schools; Birch Wathen School; Anna Maria School in Florida; Parnassus Square in Woodstock; Children's Workshop and Guild of Craftsmen in Woodstock.
Awards : Guest painter at Yaddo at Saratoga Springs 1948, 1949; Yasuo Kuniyoshi Fund Memorial Award 1972; ASCA Award 1976.
Published in Art for the Millions, 1973; New Deal for Art 1977; New York Works Progress Adminstration Artists, Then & Now 1977.
Biography from Butler Institute of American Art
- Creator:Agnes Hart (1912 - 1979, American)
- Dimensions:Height: 10 in (25.4 cm)Width: 14 in (35.56 cm)Depth: 4 in (10.16 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Saratoga Springs, NY
- Reference Number:1stDibs: LU17024535272
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Signed lower left.
“Abstract and Fractured Biomorphic and Geometric Forms” which was painted in the mid to late 1950’s is a nod to Picasso’s famous painting Guernica, which Hart may have seen when it was given to the Museum of Modern Art in New York in 1958. Several elements in the painting clearly reference Guernica: the black geometric and cut-out shapes, the biomorphic shapes, the abstracted horse’s head and body, with a district reference to the bull’s tail, along with the black and white pallet choice and various details throughout-all hallmarks of Picasso’s Guernica. The abstracted reality Hart presents in these references go beyond a simple nod and reflect a personal interpretation reflected in the splintered abstraction and her bespoke interpretation.
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