Rolph Scarlett (1889 – 1984)

Rolph Scarlett (1889 - 1984)

Artist: Rolph Scarlett (1889 – 1984) American Titled: NORTH BY NORTHWEST Style : GEOMETRIC Measures: 30×24 inches, oil on canvas Farhat Art Museum Collection

Rolph Scarlett was the first American artist selected to provide paintings alongside Wassily Kandinsky, Paul Klee and Rudolf Bauer for Solomon Guggenheim’s Museum of Non-objective Painting beginning in 1940. Throughout his life Scarlett wavered between representational*, geometric*, non-objective* and abstraction*, the latter representing his true voice and passion.
His body of work reflects an artist truly devoted to the exploration and continuation of abstract art, while simultaneously holding onto the romantic conception of the artist being the creator, an idea wholeheartedly rejected by the tenets of Non-Objective art, the works for which he is most well-known.

Scarlett’s acceptance into the Museum of Non-Objective painting resulted in a close friendship with its founder, Hilla Rebay, and by 1940, Scarlett had become the new museum’s chief lecturer. Within a decade the Guggenheim owned nearly sixty of his paintings and monoprints. Rebay and supporting artist Rudolph Bauer offered Scarlett constructive criticism during his position at the Museum.

Although Rebay’s support of Scarlett forced him to explore the geometric abstractions (Non-Objective), he continuously stood by his artistic methodology, which is described as “creating an organization that is alive as to color, and form, with challenging and stimulating rhythms, making full use of one’s emotional and intuitive creative programming and keeping it under cerebral control, so that when it is finished it is a visual experience that is alive with mysticism and inner order, and has grown into a new world of art governed by authority.

According to Scarlett scholar and author, Harriet Tannin (also his student), Scarlett created a substantial body of pure abstractions, beginning in the 1930’s and would continue to do them in secret during his tenure of creating non-objective works for Rebay’s Guggenheim, two of which were shown at the Whitney Annual Exhibition in 1951.

His works are represented in the permanent collections of numerous museums including the Guggenheim, the Whitney Museum of American Art, the Museum of Modern Art and the Smithsonian.

David Hannah (1937- )

David Hannah (1937- )

Artist: David Hannah (1937- ) California Titled: Orange vision Signed and dated 1974 on reverse Measures: 66 x 114 inches, Oil on canvas Farhat Art Museum Collection

Biography from Gallery Paule Anglim
DAVID HANNAH

EDUCATION
1956-57 Rice Institute, Houston, Texas
1957-61 The University of Oklahoma, School of Architecture
1966-7 The San Francisco Art Institute, M.F.A.
NON GALLERY SOLO EXHIBITIONS
1980 Recent Paintings, The University of California, Santa Barbara Art Museum,
Santa Barbara, CA
1986 Paintings & Drawings, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
1987 Paintings, Ruth Siegel Gallery, New York, NY
NON GALLERY GROUP EXHIBITIONS
1962 Texas Painting and Sculpture, (juried)- Dallas Museum of Fine Arts, Whitte Museum,
San Antonio, TX.
1968 Visiting Faculty. University of California at Davis
1970 Four Painters: David Hannah, Jack Jefferson, Bruce McGaw, Joe Oddo. Oakland Museum, Oakland, CA
1971 Works on Paper. San Francisco Art Institute, San Francisco, CA.

1977 Art For Giving and Collecting. San Francisco Museum of Modern Art, San Francisco, CA
1979 California Artists. Oakland Museum, Oakland, CA
1980 A Drawing Show. Santa Rosa Junior College Art Gallery, Santa Rosa, CA

1981 San Francisco Art Institute Faculty. Richmond Art Center, CA
California Artists, Oakland Museum, Oakland, CA
Recent Acquisitions. Achenbach Foundation for the Graphic Arts, Fine Arts Museum of San Francisco, San Francisco, CA
Alumni of the 40’s, 50’s, 60’s, 70’s. San Francisco Art Institute, San Francisco, CA

Abstractions – Eight California Painters. San Francisco Art Institute, San Francisco,
CA (Curator: Richard Armstrong)
Luxe, Calme et Volupte – Nine Abstract Painters and Their Use of Color. One Penn
Plaza, New York, NY (Curator: John Yau)
1986 More Than Meets The Eye. Galleria Carini, Florence, Italy
Square and…. Ruth Siegel Gallery, New York City
Ten Artists. Ruth Siegel Gallery at The International Contemporary Art Fair,
Los Angeles, CA

1987 Review/Preview. Ruth Siegel Gallery, New York, NY
1988 Abstraction: The Central Image. Stephen Rosenberg Gallery, New York, NY
1989 Third International Art Expo/LA 88. Los Angeles, CA (Ruth Siegel Gallery)
Belief in Paint: Eleven Contemporary Artists. Usdan Gallery, Bennington College, VT
1999 Searchlight: Consciousness at the Millennium. California College of Arts & Crafts, CCAC
Institute, San Francisco. Sept 25-Dec 11 (catalog) (heidegger.?)
2002 In ‘toon with Time. Palo Alto Art Center, CA , January 27 – April 28 (#35, #39, Head)
Portrait Obscured. San Jose Institute of Contemporary Art, San Jose, CA
Group, Schmidt-Dean Gallery, Philadelphia, PA
COMMISSION
1985 Costume design (Third Rotation and ZigZag ) for Douglas Dunn and Dancers, New
York, NY

BIBLIOGRAPHY
1970 Thomas Albright. Four Artists in Oakland, San Francisco Chronicle, CA
Cecile McCann. Four San Francisco Art Institute Faculty, Art Week, San Francisco,
CA
1971 Thomas Albright. San Francisco Art Institute Works on Paper, San Francisco Chronicle,
CA
1972 Alfred Frankelstein. Artists and Great Themes, San Francisco Chronicle, San
Francisco, CA
1973 Thomas Albright. The Path of Exploration, San Francisco Chronicle, CA, 8 January.
Albright. $5,000., Art Gallery Magazine, San Francisco, March.
1974 Albright. Hannah’s Paintings, San Francisco Chronicle, CA, 16 February.
Cecile McCann. David Hannah: December 1973, (illustration), Art Week, San Francisco,
CA, 23 February (5:8,5).
1975 Thomas Albright. Blockbuster at the San Francisco Art Institute, San Francisco
Chronicle, 22 January.
Charles Shere. San Francisco Art Institute Show, Oakland Tribune, Oakland, CA, 26
January.
Judith L. Dunham. San Francisco Art Institute Faculty Show, Art Week, San
Francisco, CA, 8 February (6:6, 16).
Alfred Frankenstein . What the New Artists Are Up To, San Francisco Chronicle, CA, 4 July.
Alexander Freid . Grapestake Show, San Francisco Examiner, CA, 12 July.
1977 Alfred Frankenstein. At The Galleries, San Francisco Chronicle, CA, 9 April.
1979 Thomas Albright. Review, San Francisco Chronicle, CA, 18 September.
Stacey Moss. The Genuine and the Genuinely Not Up To Par, The Peninsula Times
Tribune, 21 September.
1980 Richard Ames. University of California, Santa Barbara Art Museum, Santa Barbara
News-Press, Santa Barbara, CA, 12 January.
Cathy Curtis. The Eclecticism of Contemporary Abstractions, Art Week, San Francisco,

CA, 12 January.
1981 Albert Morch. Enjoying Abstract Art wih a Wandering Mind, San Francisco Examiner,
San Francisco, CA, March.
1985 Michael Brenson. Luxe, Calme et Volupte, The New York Times, 4 January.
John Yau. Thwarted Desires, Bold Assertions, essay for the exhibition catalogue: David
Hannah/Paintings & Drawings – 1983/85, at the Fabian Carlsson Gallery,
London, England
Tony Godrey. David Hannah at Fabian Carlsson, The Burlington Magazine, London,
England, December.
Tony Godfrey. David Hannah at Fabian Carlsson, Artscribe International, London,
England, December-January/1985-86.
1986 Thomas Albright. Art in the San Francisco Bay Area: 1945-1980. University of
California Press.
Judith Stein. Essay for the exhibition brouchure: David Hannah at the Morris Gallery,
Pennsylvania Academy of the Fine Arts, Philadelphia, PA.
Edward Soznanski. Against the tide…, The Philadelphia Inquirer, Philadelphia, PA, 15
May.

Sally Friedman. Here, whimsey and mystery coexist, Levittown Courier Times,
Levittown, PA, 15 June.
Freidman. Eluding the PigeonHoles, Doylestown Daily Intelligencer, Doylestown, PA,
23 June.

1987 John Yau. David Hannah, Artforum, New York City, Summer (pp.118-119).
1988 Jacolyn A. Mott, ed. Searching Out the Best: Ten Years of the Morris Gallery. catalogue
published by The Pennsylvania Academy of the Fine Arts, Philadelphia, PA. .
Rachel Blau DuPlessis. Text for exhibition brochure: David Hannah Drawings 1987-88,
Ruth Siegel Gallery, New York City.
1989 Wm. P.Scott. Review: Art, The Philadelphia Inquirer, May
1990 Edward Soznanski. On Galleries, The Philadelphia Inquirer, 22 November.

1991 Dorothy Burkhart. Of bold, pop-inspired gestures…, San Jose Mercury News: EYE,
December 13-19.
1992 Kenneth Baker. …Paired with Cage, San Francisco Chronicle, 02 January.
1995 John Rapko. David Hannah at Gallery Paule Anglim, Artweek, May
Kenneth Baker. San Francisco In Brief, ArtNews, September
1997 Interviewed by Meredith Trumble. Great Books, Artweek, July (ill.)
1998 Kenneth Baker. Hannah Paints Faces of Moral Anxiety, San Francisco Chronicle,
11 June
Greg Schneider, David Hannah at Gallery Paule Anglim, Artweek, September
1999 catalog: Searchlight: Consciousness at the Millennium. California College of Arts &
Crafts, CCAC Institute, San Francisco. Sept 25-Dec 11 (illustration)
2000 Self-Portraits, San Francisco Magazine, February (illustration, artist’s statement)
Kenneth Baker, Face: David Hannah at Gallery Paule Anglim, San Francisco Chronicle,
12 February
2003 Kenneth Baker, A Painter Glimpses ruin in the woods, San Francisco Chronicle, April
26
2009 Kenneth Baker, Sculpture, painting, a pairing of ideas, San Francisco Chronicle, May
30

AWARDS/GRANTS

1975 The National Endowment for the Arts: Individual grant.
1986 The Institute of Contemporary Art, Boston: Englehard Award.
1988 The E.D. Foundation: Individual grant.
TEACHING/ACADEMIC AFFILIATION:
1967-68 The University of California, Davis – Visiting Lecturer
1968-81 The San Francisco Art Institute – Instructor
Chair, Painting Department, 1973-78
Chair, Graduate Painting & Sculpture, 1976-78
1980 The University of California, Santa Barbara – Visiting Artist/Faculty
1981-91 The Tyler School of Art, Temple University, Philadelphia
Professor & Chair: Department of Painting, Drawing & Sculpture
1991-2009 Stanford University, Department of Art + Art History
Professor of Art / Director of Graduate Studies: MFA Program
Director of Stanford Studio Series (Visiting Artist Lecture Series)
Present Paul L. and Phyllis Wattis Professor of Art, emeritus

Mathias Goeritz (1915-1990)

Mathias Goeritz (1915-1990)

Artist: Mathias Goeritz (1915-1990) Mexican/German Medium: pink gold leaf on wood board Bears initials and date verso 1976 Measures: 30.5″h x 23″w Farhat Art Museum Collection

https://en.wikipedia.org/wiki/Mathias_Goeritz
German painter, sculptor and teacher, active in Mexico. He studied philosophy and art history in Berlin at Friedrich-Wilhelms Universität, also attending some courses in fine arts and taking his doctorate in 1940. In 1940 he emigrated to Spanish Morocco, where he worked as a teacher until 1944. He returned to Europe at the end of World War II in 1945, settling in Spain, first in Granada, then in Madrid and finally in Santillana, near Santander. There he devoted himself to painting, meeting avant-garde artists and in 1948 helping to found the Escuela de Altamira, which represented a call to artistic rebellion and propounded absolute creative freedom.
In 1949 Goeritz settled in Mexico and became professor of visual education and drawing at the Escuela de Arquitectura of the Universidad de Guadalajara, on the invitation of the school’s director, Ignacio Díaz Morales (1905–92). He taught in Guadalajara until 1954, his natural restlessness finding an outlet in opening galleries and promoting a series of innovative cultural activities as well as in producing his own work. Of singular importance was his creation of a museum in Mexico City, the Museo Experimental El Eco, which operated from 1951 to 1953 and had both a national and an international impact. A sculpture made by him for the museum, Snake (1953; Mexico City, Mus. A. Mod.), prefigured Minimalism, and the manifesto published on the museum’s inauguration, Arquitectura emocional, had repercussions in the work of architects such as Luis Barragán, who adopted the term to define his own work.
On moving to Mexico City in 1954, Goeritz continued to teach and entered a richly productive period, particularly with his sculpture. He produced a series of Heads made from gourds or cast in bronze, and public sculptures such as The Animal of the Pedregal (1954) for the Jardines del Pedregal de San Angel in Mexico City. He also worked productively in collaboration with a number of architects, especially Barragán, with whom he created a monumental sculpture, The Towers of Satélite, for the Ciudad Satélite in Mexico state in 1957. During the same period he produced a series of massive and roughly finished sculptures in wood, such as Moses (1956; Jerusalem, Israel Mus.), which were deeply expressive.
Goeritz became severely depressed by the death of his wife, the photographer Marianne Goeritz (1910–58), and his work became bitter, aggressive and hard. In 1958–9 he made the first of a series of mural-sized objects called Messages (e.g. 1968; Mexico City, Hotel Camino Real) from metal sheets and nails, and he turned towards spirituality by designing liturgical objects and decorations, in particular the stained-glass windows of Cuernavaca Cathedral (1961).
In 1961 Goeritz participated at the Galería Antonio Souza in a group exhibition, Los hartos, for which he published another manifesto. Other participants included José Luis Cuevas and Pedro Friedeberg, with whom he was instrumental in establishing abstraction and other modern trends in Mexico. His early enthusiasm returned, and he carried out a great number of works, including easel paintings, prints and sculptures. His outstanding sculptures of this period include the Mixcoac Pyramid (1969) at the Unidad Habitacional Lomas de Plateros in Mexico City and his collaboration with Helen Escobedo, Manuel Felguérez, Hersúa, Sebastián and Federico Silva on the Espacio Escultórico (1979; Mexico City, U. N. Autónoma), a large outdoor sculptural complex at the Ciudad Universitaria on the outskirts of Mexico City.
Through his foreign contacts Goeritz was able to help commission sculptures in Mexico by well-known foreign artists, for example a series of 18 works known as La ruta de la amistad (1968) in Mexico City, as well as to execute works of his own abroad, notably at the Alejandro and Lilly Saltiel community centre in Jerusalem (1975–80). He was also instrumental in encouraging and promoting other artists both through his teaching (as in the case of Sebastián) and through his friendship with other artists. His rebellious nature and vigorous promotion of the avant-garde made him a leading figure in the development of modern art in Mexico. He also made regular contributions to the monthly ‘Sección de arte’ in the periodical Arquitectura/México from 1959 to 1978.

Emory Ladanyi (1902 – 1986)

Emory Ladanyi (1902 - 1986)

Artist: Emory Ladanyi (1902 – 1986) Hungarian / American Measure: 24×24 inches Oil and sand on canvas Singed lower right, dated 1966 Farhat Art Museum Collection.

emory

Emory Ladanyi

Artist: Emory Ladanyi (1902 – 1986) Hungarian / American Titled: incantation Measure: 46×40 inches Oil and sand on canvas Singed lower right, dated 1978 Farhat Art Museum Collection.

https://issuu.com/artezi/docs/ladanyi

Born November 8, 1902 in Kecskemet, Hungary, the child of Mihaly and Maria Ladanyi, Emory Ladanyi moved with his family to Eger, a town famous for its good wine. He studied at the High School of Science and Art.

At fifteen, he discovered anatomy in a textbook and began to consider a career in medicine, and was accepted into the Medical School of The University of Budapest to become a medical student. He received his doctoral degree in 1927 and did his residency in dermatology in the largest hospital in Berlin, then one of the most prominent dematology centers of Europe.

In Berlin, he was especially impressed by the works of Edvard Munch, forerunner of German Expressionism, who exerted a lasting influence on his work. Following medical residency in Vienna, he was also impressed by the works of Gustav Klimt, Egon Schiele, and Kokoschka.

In 1928 he returned to Budapest to continue postgraduate studies, also advancing his art education. His many friends were among the avant-garde poets and writers of that time.
In March 1929, he arrived in New York. June of that year, he passed the medical boards, and in September received his license to practice medice in the State of New York.
Outside of the medical profession which enabled him the livelihood to continue to paint, he moved exclusively in avant-garde circles of New York City. He was a close friend of the composer Edgar Varese. Others of his circle were poet Kenneth Patchen, writers Anais Nin and Henry Miller.

After Pearl Harbor, Ladany at forty years of age, volunteered for service in the US Army and was commissioned a captain in the Medical Corps. During the duration of the war, he gave up his medical practice and his wife, Ila/Ilona (b. Feb 18, 1901) who immigrated from Hungary in January 1930, remained in a small New York apartment. After the war in 1945, he started to rebuild his professional life in medicine while continuing his work as an artist.
In subsequent years, his continuing art was shown in multiple exhibitions (listed separately), and his art was purchased and displayed in many private collections and museums both nationally and international.

Emory Ladanyi passed away in October 1986 in New York City, his wife in April 1987 in New York City, they had no children.
SOME EXHIBITIONS
Gallerie Sturm, Berline, 1927
Barta Miklos Tarsag, Budapest, 1929
Society of Independent Artist, NYC, 1932
Park Lane Gardens, NYC, 1934
Salons of America, The Forum in rockefeller Center, 1935
Brooklyn Museum, Oil paintings by Living Artist, 1935
Contemporary Arts Gallery, Mid-Season Retrospective, 1936
American Artist Congress, NYC 1939
International Watercolor Exhibition, Art Institute, Chicago, 1939
New York World’s Fair, American Pavillion, 1939
Modern Art Studio, NYC, 1944
Museum of Art, Springfield, Mass, 1959
Ninth Annual New England Exhibition, Silvermine Guild, 1959
National Academy of Design, 1960
Silvermine Guild of Artist, Lever House, NYC 1964
Hartford Art Foundation, Hartford, Ct 1965
Niveau Gallery, NYC 1966, 1967-1977
Tibor de Nagy Gallery, New York, The Avant Gard of Hungary in the Nineteen Thirties Group, 1980
Art Fair, Basel, Switzerland, 1983
Lyle Evan Gallery, Lexington, Mass. 1984

BOOKS
Ladanyi, by Walter L. Strauss, 1977, Abaris Books, Inc.
Introduction by Walasse Ting
Collages, 1984, Matignon Gallery
Woodcuts, 1986, Kovesdy Gallery
Above information submitted September 2004 by Nancy Erdelyi, NY
Source: Emory Ladanyi, the artist, in his book “Ladanyi”, 1977, published by Abaris Books, Inc.