exhibition of drawings by Elie Nadelman — stunning,
never-before-shown works on paper created by the 20th Century master
after he came to New York in 1914 — will open at the June Kelly
Gallery on November 9. The exhibition will continue through
and inks, washes, and pencil sketches demonstrate Nadelman’s
preoccupation with the simplest of artistic elements, the curve.
They also reflect his artistic innovations in pre-World War I Paris
and his observations of American life and society after his arrival
here. The drawings in the show will be accompanied by two
small sculptures from the same period. All the work is from
the artist’s estate.
Nadelman had emerged in the decade before World War I as an
influential member of the European avant-garde, along with Pablo
Picasso and Henri Matisse.
essay in the exhibition brochure, art historian Ronny Cohen notes
that in 1908 Leo Stein, Gertrude’s brother, took Pablo Picasso to
visit Nadelman in his studio in Paris. Picasso saw some of the
drawings and sculptures that Nadelman was working on and soon began
using some of those shapes and lines in his own Cubist work.
major painter of that time in Paris whose work began reflecting
Nadelman’s influence was Amedeo Modigliani, who had seen his work in
a major Paris exhibition in 1909.
1918, Nadelman had settled in New York with a studio on Madison
Avenue and had become a leader on the New York art scene, producing
sculptures and drawings for exhibitions in New York.
American audiences were enthralled with his rendering of the classic
Head of a Woman, from about 1917, and his alluring Woman
on a Settee from around 1918.
in a statement for Alfred Steiglitz’s journal Camera Work,
Nadelman wrote, “I employ no other line than the curve, which
possesses freshness and force.” He also said, “The subject is
nothing but pretext for creating significant form.”
drawings, says Cohen, were “dazzling in subtle variations in shape,
weight, density and also gesture happening even in different
segments of the same line….
variety of papers, the bonds, laid linens, striped sheets, and the
different ways they hold ink, wash, and pencil shows his enjoyment
of and the pleasure he took in the unique physicality of the drawing
Nadelman was born in Warsaw, Poland, in 1882 when Poland was under
Russian rule. He attended art and drawing schools in Warsaw.
He died on December 28, 1946, in Riverdale, NY.
retrospectives of Nadelman’s work were organized by the Museum of
Modern Art in 1948, the Whitney Museum of American Art in 1975 and
2003, the American Federation of Arts in 2001 and the National
Museum of Warsaw in 2004.
Nadelman is represented in the collections of most major museums in
the United States, including the National Gallery of Art, the
Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture
Garden, the Museum of Modern Art, Los Angeles County Museum of Art,
Whitney Museum of American Art, Museum of Fine Arts, Houston, Amon
Carter Museum, Museum of Fine Arts, Boston, Baltimore Museum of Art,
Philadelphia Museum of Art, Detroit Institute of Arts, Minneapolis
Institute of Arts, Wadsworth Atheneum, and many others. New
York’s Lincoln Center is home to 24-foot marble versions of
Nadelman’s papier-mâché sculptures, Two Circus Women and
Two Circus Women (Standing and Seated) from around 1930.
exhibition of the folk-art collection amassed by Nadelman and his
wife Viola at their home in Riverdale is planned for 2015 at the
New-York Historical Society.