Dreamworld: Surrealism at 100 @ PMA - Philadelphia Museum of Art - A major exhibition celebrating the centenary of the Surrealist movement

Dreamworld: Surrealism at 100

Philadelphia Museum of Art

November 8, 2025 – February 16, 2026

Giorgio de Chirico (Italian, born Greece, 1888–1978) 

The Soothsayer's Recompense, 1913 

Oil on canvas, 53 3/8 × 70 7/8 inches (135.6 × 180 cm) 

Philadelphia Museum of Art: 

The Louise and Walter Arensberg Collection, 1950, 1950-134-38

André Masson (French, 1896–1987)

The Landscape of Wonders, 1935 

Oil on canvas, 30 1/8 × 25 3/4 inches (76.5 × 65.4 cm) 

Soloman R. Guggenheim Museum, New York 

Bequest, Richard S. Zeisler, 2007, 2007.44

Salvador Dalí (Spanish, 1904–1989) 

Soft Construction with Boiled Beans, 

(Premonition of Civil War), 1936 

Oil on canvas, 39 5/16 x 39 3/8 inches (99.9 x 100 cm) 

Philadelphia Museum of Art: 

The Louise and Walter Arensberg Collection, 1950, 1950-134-41

Salvador Dalí (Spanish, 1904–1989) 

Aphrodisiac Telephone, 1938 

Plastic and metal, 

8 1/4 × 12 1/4 × 6 1/2 inches (21 × 31.1 × 16.5 cm) 

Lent by the Minneapolis Institute of Art, 

The William Hood Dunwoody Fund, 96.2 

The Philadelphia Museum of Art (PMA) presents Dreamworld: Surrealism at 100, a major exhibition celebrating the centenary of the Surrealist movement. As the final stop in an ambitious  tour organized with the Centre Pompidou in Paris—and the sole venue in the United States—the PMA will tell the story of Surrealist art, spotlighting the makers who sought out new expressive forms to expand the reach of the creative imagination.

The five touring partners are: the Centre Pompidou (Paris), the Royal Museums of Fine Arts of Belgium (Brussels), the Fundación MAPFRE (Madrid), the Hamburger Kunsthalle (Hamburg), and the PMA. Each  venue was tasked with presenting a distinct story of Surrealism relevant to their own histories and collections. At the PMA, Dreamworld will provide a chronological installation arranged through six thematic sections, including one, unique to Philadelphia, that focuses on artists who fled from Europe to Mexico and the U.S. during World War II.

In his 1924 Manifesto of Surrealism, poet and artist André Breton addressed what he saw as a crisis of consciousness: at around twenty years of age, he said, humans discard their childlike imaginations to adopt adult sense, decorum, and judgement. Breton believed that the only legitimate aspiration is to obtain a state of freedom, achievable solely by reharnessing the imagination. Surrealism, the movement in literature and art that Breton codified with his manifesto, would continually seek new techniques for exploring the human capacity for astonishment.

The first self-described Surrealists working in Paris rejected the representation of objective reality in art as antithetical to a truer, higher beauty, and instead, sought to produce images with a dreamlike character. The first section of this exhibition, “Waking Dream,” traces the development of Surrealist imagery and experimental techniques across mediums in the 1920s, from the found-object constructions of Man Ray and the collages of Max Ernst to hallucinatory canvases by Giorgio de Chirico, René Magritte, and Salvador Dalí.

Jean (Hans) Arp (French, born Germany [Alsace], 1886–1966) 

Growth, modeled 1938; cast by 1949 

Bronze, 31 1/4 × 12 1/2 × 7 3/8 inches (79.4 × 31.8 × 18.7 cm) 

Philadelphia Museum of Art: 

Gift of Curt Valentin, 1950, 1950-78-1

Roberto Matta (Chilean, 1911–2002) 

Morphology (Fantasy Landscape), c. 1939 

Oil on canvas, 12 × 16 1/8 inches (30.5 × 41 cm)

Collection of Andrew S. Teufel

Dorothea Tanning (American, 1910–2012) 

Birthday, 1942 

Oil on canvas, 40 1/4 × 25 1/2 inches (102.2 × 64.8 cm)

Philadelphia Museum of Art: 125th Anniversary Acquisition. 

Purchased with funds contributed 

by C. K. Williams, II, 1999, 1999-50-1

Dreamworld will then journey through sections exploring the themes of “Natural History” and “Desire.” Capturing a sense of wonder in nature was crucial for the development of Surrealist sensibility. Visitors will encounter enigmatic landscapes and fantastic creatures; torn-paper collages by Hans Arp will be displayed alongside Paul Klee’s vibrant painting Fish Magic (1925), the disorienting photographic landscapes by Lee Miller, and Joseph Cornell’s boxes containing found objects. Nearby, works by Hans Bellmer, Claude Cahun, André Kertész, and others will demonstrate the powerful ways in which photography served the Surrealist interest in eros, or desire, and the reinvention of the erotic body.

A through line of the exhibition is the use of mythology to convey the Surrealist world view. A section titled “Premonition of War” features images of monsters and creatures of strange and terrifying shape, which artists such as Dalí, Ernst, André Masson, Joan Miró, and Pablo Picasso used to respond to the devastating rise of totalitarianism and war in Europe in the 1930s.

With the outbreak of World War II, many Surrealists working in France left for North America, taking refuge in Caribbean ports, Mexico, and the United States. This is the focus of a section unique to the PMA, entitled “Exiles.” This section features treasured paintings in the PMA’s collection in addition to major loans such as Frida Kahlo's My Grandparents, My Parents, and I (Family Tree) (1936). In New York, Surrealism’s wartime capital, younger artists developed innovative forms of painting in tune with Surrealist methods. Highlights here will include Jackson Pollock’s Male and Female (1942–1943) and Mark Rothko’s Gyrations on Four Planes (1944).

The exhibition’s concluding section, “Magic Art,” focuses on a new type of esotericism that emerged within Surrealism in the aftermath of World War II. Filled with imagery of magical and alchemical beings, celestial figures, and symbols of the occult, this section will feature Leonora Carrington’s The Pleasures of Dagobert (1945), which materializes the magical, metamorphic imaginings of an early-medieval French monarch, and Remedios Varo’s Creation of the Birds (1957), in which an owl-headed painter uses starlight to bring a painted bird to life.

Remedios Varo (Spanish, 1908–1963) 

Icon, 1945

Oil with mother-of-pearl and gold leaf inlays on wood 

Closed: 23 5/8 × 15 7/16 × 2 1/8 inches 

(60 × 39.2 × 5 .4 cm) 

Open: 23 5/8 × 27 9/16 × 2 1/8 inches 

(60 × 70 × 5.4 cm) 

Colección Malba, 

Museo de Arte Latinoamericano de Buenos Aires, 1997.02

Illustrated by Arshile Gorky (American, born Van Province, 

Ottoman Empire [present-day Turkey], c. 1904–1948) 

Text by André Breton (French, 1896–1966), 

Dust jacket and cover designed by Marcel Duchamp 

(American, born France, 1887–1968), 

Cover of Young Cherry Trees Secured Against Hares, 1946 

Hardbound book with paper cover design by Marcel Duchamp

Book: 9 3/8 x 6 3/8 inches (23.8 x 16.2 cm)

Philadelphia Museum of Art: 

Gift of an anonymous donor, 1988, 1988-8-2

Victor Brauner (Romanian, 1903–1966) 

The Lovers (Messengers of the Number), February, 1947 

Oil on canvas, 36 1/4 × 28 3/4 inches (92 × 73 cm) 

Centre Pompidou, Musée National d’Art Moderne, Paris: 

Bequest of Mme Jacqueline Victor Brauner, 1986, AM 1987-1204

Joseph Cornell (American, 1903–1972) 

Untitled (Constellation), c. 1958 

Box construction: wood, metal, cut paper, glass and found objects, 

13 × 19 3/8 × 4 1/4 inches (33 × 49.2 × 10.8 cm) 

Philadelphia Museum of Art: 

Gift of Josephine Albarelli, 2015, 2015-144-5

“Surrealist art has been a focus of our museum since receiving the generous gifts of the Louise and Walter Arensberg collection in 1950 and the bequest of the Albert E. Gallatin collection in 1952,” said Matthew Affron, the museum’s Muriel and Philip Berman Curator of Modern Art. “Today, our permanent collection features outstanding works by a range of artists associated with Surrealism, including Giorgio de Chirico, Joan Miró, René Magritte, Jean Arp, Salvador Dalí, and Dorothea Tanning. As the main repository of works by Marcel Duchamp, one of Surrealism’s most influential guiding spirits, the PMA is very proud to build on this monumental exhibition and present it to audiences in the U.S.”

“The PMA has an extraordinary collection of modern art, and through this exhibition, we can offer our visitors a new perspective on Surrealism and showcase the strength of our own collection,” said Sasha Suda, the George D. Widener Director and CEO. “I can’t think of a more perfect way to celebrate 100 years of Surrealism.”

In Philadelphia, Dreamworld: Surrealism at 100 is curated by Matthew Affron, the Muriel and Philip Berman Curator of Modern Art, with Danielle Cooke, Exhibition Assistant. It will be accompanied by an illustrated publication by Matthew Affron, detailing the the key motivations, principles, themes, and techniques of Surrealist art from the early 1920s to the late 1950s.

PMA - PHILADELPHIA MUSEUM OF ART

2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

philamuseum.org

Related Posts on this blogzine:

Surrealism and Its Legacy in the United States (Essay, June 2025)

Forbidden Territories: 100 Years of Surreal Landscapes

The Hepworth Wakefield, 23 November 2024 – 27 April 2025

Out of this World: Surreal & Fantastic Art in Photography

Keith de Lellis Gallery, New York, October 3 – November 15, 2024

Mona Kuhn: Between Modernism and Surrealism 

Edwynn Houk Gallery, New York, 4 April - 25 May 2024

Surrealism Beyond Borders

Tate Modern, London, 24 February 2022 – 29 August 2022

Surrealism and the dream

Museo Thyssen-Bornemisza, Madrid, 8 October 2013 - 12 January 2014

Dali. All of the poetic suggestions and all of the plastic possibilities

Museo Nacional Centro de Arte Reina Sofia, Madrid, April 27 - September 2, 2013

Marcel Duchamp on Display: Optics, Exhibition Installations, Portable Museums

Zabriskie Gallery, New York, March 22 - May 5, 2001

Dreaming with Open Eyes

Israel Museum, Jerusalem, December 22, 2000 - June 2001

Arshile Gorky: The Breakthrough Years 

Modern Art Museum of Fort Worth , January 14 - March 17, 1996 

Kuzma Vostrikov & Ajuan Song, Absolutely Augmented Reality, Scheidegger & Spiess

Kuzma Vostrikov and Ajuan Song
Absolutely Augmented Reality
Scheidegger & Spiess, 2020

KUZMA VOSTRIKOV AND AJUAN SONG

Absolutely Augmented Reality

Published by Scheidegger & Spiess, 1st edition, 2020 

Hardback, 160 pages, 110 color illustrations, 24 x 30 cm

ISBN 978-3-85881-863-8

Edited by Anna Gvirts. With contributions by Rosa JH Berland, Anthony Haden-Guest, and Lilly Wei, and with conversations with Kuzma Vostrikov and Ajuan Song conducted by Arnau Salvadó and Iona Whittaker.

Kuzma Vostrikov and Ajuan Song’s Absolutely Augmented Reality takes as its subject the intersection of fine art, photography, and the idea of authorship through a series of richly saturated, theatrical, and symbolic images that use costume, character, and allegory to create a sense of exploration and melancholic intrigue. In this dream world of strange and alluring portraiture, the viewer is delighted by a host of archetypal images, hybrid creatures, surreal motifs, and canonical postures, as well as inversions of iconic art historic references.

KUZMA VOSTRIKOV AND AJUAN SONG

Angry Birds, 2017 

© Kuzma Vostrikov & Ajuan Song

Courtesy the artists and Scheidegger & Spiess

KUZMA VOSTRIKOV AND AJUAN SONG

Chapter 433, 2017 

© Kuzma Vostrikov & Ajuan Song

Courtesy the artists and Scheidegger & Spiess

KUZMA VOSTRIKOV AND AJUAN SONG

Travel Into a Good Mood, 2017 

© Kuzma Vostrikov & Ajuan Song

Courtesy the artists and Scheidegger & Spiess

Appealing to fine art, design, and photography fans alike, this new book features some one hundred color images from Kuzma Vostrikov and Ajuan Song’s previously unpublished collaborative work. Alongside the photographs it features a brief introductory text by art historian Rosa J. H. Berland and critical essays by art critic Anthony Haden-Guest and Lilly Wei, as well as two interviews with the artists conducted by Iona Whittaker and Arnau Salvadó.

KUZMA VOSTRIKOV, born 1977 in Russia, is multidisciplinary artist working in the fields of experimental photography, film, and writing. He lives in New York.

AJUAN SONG, of Chinese origin, lives and works in New York as an artist and photographer whose practice includes analog, digital photography, and multimedia works.

ANNA GVIRTS is an artist, photographer and book designer who lives and works in her native Moscow and New York City.

SCHEIDEGGER & SPIESS
www.scheidegger-spiess.ch

Marcel Duchamp, Zabriskie Gallery, New York - Optics, Exhibition Installations, Portable Museums

Marcel Duchamp on Display: Optics, Exhibition Installations, Portable Museums
Zabriskie Gallery, New York
March 22 - May 5, 2001

Zabriskie Gallery presents Marcel Duchamp on Display: Optics, Exhibition Installations, Portable Museums, an installation of objects, texts, photographs, and drawings from the 1920s to the 1960s that trace Marcel Duchamp's preoccupation with how we look at art, its display, collection, and exhibition. Working as a "generator-arbitrator," he was instrumental in curating the International Surrealist Exhibitions of 1938, 1942, 1947, and 1959. Epitomized in works such as his miniature museum - the Box in a Valise -, Marcel Duchamp's ideas of how perception is effected through display continue to show their panoramic influence on contemporary art making, viewing, and showing.

Purveyor of optical illusions, collector, draughtsman, curator: one is hardly used to these categories to describe Marcel Duchamp, one of the most influential artists of the twentieth century. Zabriskie Gallery explores some of Marcel Duchamp's more curious personae through a less examined optic: his sustained preoccupation with the art exhibition and questions of display. The French-born, American-by-adoption artist is perhaps best known for his enigmatic opus on glass, The Bride Stripped Bare by her Bachelors, Even (also known as the Large Glass), or his elevation of ordinary "readymade" objects to works of art (urinal, snow shovel, bottle drier, typewriter cover...). But less known is the Duchamp that spent the 1920s and some of the 1930s constructing swirling, pulsating optical devices, and then went on to challenge ways of experiencing the art exhibition when he curated and conceptualized idiosyncratic, chaotic exhibitions for the Surrealist movement beginning in the late 1930s. And, during this same period, he began a project that would keep him busy throughout the Second World War and into his exile in the United States: making painstakingly detailed, miniaturized copies of "approximately all the things" he had produced and boxing them up into more than 300 Lilliputian retrospectives (each Box in a Valise was, as the artist admitted, a kind of "portable museum"). These various works are not as unrelated as they might seem, concerned as they all are with the dialectics of seeing and displaying, the viewer and perception, and ultimately, the museum and how and what it makes us see. The exhibition at Zabriskie Gallery turns on these various pieces - showing sketches, photographs of exhibition installations, miniature museums, miniaturized objects, boxes of carefully reproduced notes, optical contraptions, catalogue designs...works from the 1920s to the 1960s that are at once ironic and incisive, humorous and far-reaching, meticulously crafted and serially reproduced. Together, these objects put Duchamp's concern with display on display.

A catalogue is published on the occasion of this exhibition, containing reproductions with an accompanying essay by the exhibition's guest curator, Elena Filipovic.

ZABRISKIE GALLERY
41 East 57 Street, New York, NY 10022
www.zabriskiegallery.com

Dada and Surrealist Art from Arturo Schwarz Collection at Israel Museum, Jerusalem

Dreaming with Open Eyes
Israel Museum, Jerusalem
December 22, 2000 - June 2001

On december 2000, the Israel Museum, Jerusalem presented its first comprehensive exhibition of the Vera, Silvia and Arturo Schwarz Collection of Dada and Surrealist Art.

Dreaming with Open Eyes includes over 300 works by leading artists including Duchamp, Man Ray, Ernst, Breton, and Goya. Donated in 1998, this unique collection of over 750 works of art by some 200 artists were on view at the Israel Museum from December 22, 2000 through June 2001.

The gift of the Arturo Schwarz Collection, together with a library of over one thousand related books, pamphlets and artifacts donated in 1991, has transformed the Israel Museum into the largest repository in the world of Dada and Surrealist art and a global center for the study and display of these movements. "Dreaming with Open Eyes" takes advantage of Schwarz's scholarly insight to reveal the importance of the works on view, and incorporates his personal approach to the material in the exhibition. Paintings, drawings, sculptures, ready-mades, photographs and prints are complemented by unique items from the Museum's Dada and Surrealist library of art periodicals, documents, letters, and artists' books.

The presentation in Jerusalem will be followed by a major international tour. The exhibition will travel to the San Francisco Museum of Fine Arts, February - April 2002; the Art Gallery of Ontario, June - September 2002; and a third North American venue; and the Norton Museum of Art, West Palm Beach, Florida, and conclude with two venues in Japan. James Snyder, Director of the Israel Museum states: "Our Museum has a long history of important holdings in Modern Art and particularly in the fields of Surrealism and Dada. The Arturo Schwarz gift in 1998, on the occasion of the 50th Anniversary of the State of Israel, consolidates our position as a world center for these two movements, so central to the aesthetic and intellectual progress of the 20th century. We are proud that, in "Dreaming with Open Eyes", we are able to expose the full riches of these holdings and then to share them on tour in North America and in Japan."

Dada
The Dada movement emerged in Europe and the United States in reaction to the horrors of World War I. This enclave of artists rebelled against artistic convention and sought to subvert the existing social and political order. Artists such as Marcel Janco, Raoul Hausmann, Max Ernst, and Francis Picabia represent this movement through works exemplify the key tenants of Dada: the accidental, the absurd, protest, and criticism.

Marcel Duchamp and Man Ray
The revolutionary work of Marcel Duchamp and Man Ray had a profound influence on Dada and Surrealist artists and was central to later trends in twentieth-century art. Duchamp and Man Ray met in New York in 1915, and from that time on were active, both independently and jointly, in avant-garde circles in New York and Paris. Arturo Schwarz met the two artists in the 1950's and demonstrated his appreciation for their work by arranging exhibitions, acquiring dozens of works, and composing scholarship on them. Seventy works by Man Ray and Duchamp reflect their fertile imaginations, and their preoccupation with humor, playfulness, and eroticism.

Forerunners of Surrealism
The Arturo Schwarz collection includes a sizable body of pre-Surrealist work, which, like the Surrealist movement that would follow, demonstrates a timeless interest in dreams, the supernatural, and the irrational. This portion of the collection includes paintings, prints, and drawings from the 16th through the 20th centuries by artists such as Durer, Goya, Moreau, and Redon, along with tribal masks and artifacts from Africa, Oceania, and North America. Surrealism The works of dozens of Surrealist artists from the 1920's to the 1980's are arranged in the exhibition according to visual and thematic criteria. The ideological platform of the Surrealist movement, formulated by Andre Breton in the 1920's, called for a new way of seeing. Disappointed by modern Western culture, many artists and writers had been inspired by Dada and had adopted a nihilist or anarchic stance. But Surrealism did not simply advocate subversion, it called for a change in values. The movement sought to stimulate the imagination, to expand the limits of awareness, and to tap into a non-rational, subconscious psychological realm, like that revealed in dreams and madness. Among the artists represented are some of the members of the original circle of the Surrealist movement in the 1920's and 1930's, such as Andre Breton, Joan Miro, Yves Tanguy, Andre Masson, and Max Ernst. Women artists including Claude Cahun, Remedios Varo, Kay Sage, and Dorothea Tanning are prominently featured among the Surrealist group on display, many of which achieved central standing in the canon of 20th century art history.

The Library
The final component of the exhibition is drawn from the Museum's extensive library of Dada and Surrealist materials, including a display of portraits of Surrealist artists and writers immortalized by their photographer and painter colleagues, as well as a selection of original Dada and Surrealist literary documents. The collaboration between artists revealed through these portraits and publications demonstrates the spiritual bond that existed among members of the movement.

About Arturo Schwarz
Scholar and collector Arturo Schwarz was born in 1924 in Alexandria, Egypt to Jewish parents. In his youth he was very active in clandestine political circles and was arrested a number of times prior to his expulsion from Egypt in 1949. Settling in Milan in the early 1950's, he opened a publishing house and a bookstore that evolved into the Schwarz Gallery, which closed in 1975. The gallery held exhibitions of the best Dada and Surrealist artists and of contemporary artists from throughout the world. Simultaneously, Schwarz wrote poetry, published scholarly books including a catalogue raisonne of the works of Marcel Duchamp, gave lectures, and organized international Dada and Surrealist exhibitions. His intense involvement in the Surrealist movement and his personal acquaintance with many of its members has made him a leading authority on its history. "Dreaming with Open Eyes" is curated by Tamar Manor-Friedman and is accompanied by a comprehensive 250-page catalogue, which includes an illustrated inventory of the works in the Arturo Schwarz collection in the Israel Museum.

Arshile Gorky: The Breakthrough Years at Modern Art Museum of Fort Worth

Arshile Gorky: The Breakthrough Years 
Modern Art Museum of Fort Worth 
January 14 - March 17, 1996 

The Modern Art Museum of Fort Worth will exhibit Arshile Gorky: The Breakthrough Years at the Modern's main location in Fort Worth's Cultural District. The exhibition has been organized by the Modern Art Museum in cooperation with the Albright-Knox Art Gallery in Buffalo, New York, and the National Gallery of Art in Washington, D.C. Michael Auping, Chief Curator of the Modern Art Museum and former Chief Curator of the Albright-Knox, conceived of this presentation as a tribute to the Armenian-born American artist Arshile Gorky, and the historical impact of his lush, gestural paintings of the 1940s on the development of American art. This exhibition features 42 major paintings and drawings that illustrate Arshile Gorky's critical role as a link between European surrealism and the American abstract expressionist movement of the 1950s.

Arshile Gorky was born Vosdanik Adoian in 1904 in Khorkom, Armenia. The artist's childhood was marked by poignant suffering and tragedy caused by the Turkish invasions of Armenia and subsequent ethnic persecutions. Gorky's father fled to America in search of a new life for his family. During this difficult time Gorky witnessed the death of his mother by starvation as she sacrificed herself for the lives In the 1940s Arshile Gorky began to merge ideas from surrealism with his admiration for the art of Joan Miro and Wassily Kandinsky. As Michael Auping states in the exhibition catalogue: "Remembered landscapes from [Gorky's] childhood home in Armenia fuse surrealist representation with abstract plumes of color, anticipating the enigmatic symbols and expressive gestures that would be a hallmark of abstract expressionism." Works in the exhibition form the pinnacle of Gorky's artistic expression and illustrate the role he played in "leading American painting into one of the most experimental periods in its history," according to Michael Auping.

The presentation begins with a series of breakthrough paintings and drawings from Arshile Gorky's famed Garden in Sochi (1938-1942) series. Other major works featured in the exhibition are: Waterfall (1942-43) from the Tate Gallery, London; How My Mother's Embroidered Apron Unfolds in My Life (1944) from the Seattle Art Museum; Love of the New Gun (1944) from The Peril Collection, Houston; and the National Gallery's One Year the Milkweed (1944). Waterfall and One Year the Milkweed are composed of veils of luminous color that illustrate how Arshile Gorky translated abstracted surrealist forms into highly personalized imagery.

The highlight of the exhibition is the Albright-Knox Art Gallery's The Liver is the Cock's Comb (1944), recognized as the fullest and grandest of Gorky's paintings. In this work, Gorky presents viewers with an imagined reality——a psychological landscape——full of intricate imagery and sensuous colors. This grand painting is rarely loaned and has not left Buffalo in more than a decade. These paintings are accompanied by a selection of eighteen drawings that track Gorky's complex working methods throughout the 1940s.

The dramatic intensity of Arshile Gorky's later works, such as Agony (1947) from the Museum of Modern Art, New York, coincided with a series of disasters in the artist's life including a fire in his studio, an automobile accident in which his painting arm was paralyzed, and a separation from his second wife and their children. On July 21, 1948, Arshile Gorky committed suicide in his Sherman, Connecticut studio at the age of 44.

The Modern Art Museum of Fort Worth is the final venue for Arshile Gorky: The Breakthrough Years, which was exhibited last year at the National Gallery of Art, Washington, D.C. (May 7 - September 17, 1995) and the Albright-Knox Art Gallery, Buffalo, New York (October 13 - December 31, 1995.)

A fully-illustrated catalogue published by Rizzoli International, with essays by Dore Ashton, Michael Auping and Matthew Spender, and selected letters written by the artist, accompanies the exhibition. Arshile Gorky: The Breakthrough Years is supported by a grant from the National Endowment for the Arts. The exhibition and catalogue were also made possible, in part, by The Henry Luce Foundation, with additional funding from the T.J. Brown and C.A. Lupton Foundation, Fort Worth.

MODERN ART MUSEUM OF FORT WORTH, TEXAS
www.mamfw.org

Updated 23.06.2019