Bernard Childs - Knowledge

395: 387: 296: 304: 31: 212:, that he had signed his first editions of prints and begun pioneering the direct engraving of metal plates with power tools for which he is well recognized. Childs was also one of the first post World War II Western artists invited to show in Japan where he had two exhibitions, of paintings and of prints in 1960 and 1961 respectively at the Tokyo Gallery, and received the Museum of Western Art Award at the 1961 Tokyo International Print Biennial. 193: 651:"Grimace, 1962–67" by Erro; sound collaboration by François Dufrene: 16 mm black & white film with sound 42 minutes; about 100 close ups of artists making exaggerated faces, including Childs blowing his nose; transferred to DVD by Galérie Berggruen & cie. in 1994; exhibited at Grey Art Gallery, New York as part of their "Art of Erro" exhibition in 2004 232: 136:

and in Rome and his first solo exhibition, at the venerable Galleria dell'Obellisco, Childs settled in Paris, realizing his first mature painting at age 42 and quickly becoming part of the European vanguard. He was included in many exhibitions of the Paris salons, various galleries such as Ariel and

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Underlying Childs' art is a story of survival – of war, of environmental disaster – expressed with consummate craftsmanship and an ever renewed search and invention in many mediums. Ancient insect species became a favorite symbol of survival. He drew their movements and strength up close and even

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Childs' formal concerns were line and space, light and color, and the dialogue of contrasting elements related in time but often projecting different spatial environments. Portraiture and figuration of one kind or another are ever present, overtly or woven into abstractions. Childs took a sensual

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sent them in his 1970's paintings to explore outer space for a new home, should planet Earth no longer support life. Survival of the planet and above all, survival of life in no matter what form it took, was a big concern. Creation myths, world myths, certain literary myths were close to his heart.

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Although he exhibited extensively in group shows, Childs was essentially a loner. A renowned curator once called him a "rogue artist", one who cannot be defined by a category, a group, or a decade. Often a fusion of abstraction and figuration, at times paralleled by portraiture, his is a body of

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in Mountainville, NY. This exhibition was the occasion for the first public view of his light sculptures – laminates of engraved sheets of acrylic lit from below – an experiment with light and color that he began the same year and continued through part of the 1970s. Although a stroke in 1978

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2001–2003 – The Stamp of Impulse Abstract Expressionist Prints, Worcester Art Museum, Worcester; Traveled to The Cleveland Museum of Art, Cleveland; Amon Carter Museum, Fort Worth; The Parrish Art Museum, Southampton, NY; Mary and Leigh Block Museum of Art, Northwestern University,

620:"Connaissance des Arts", Paris, May 1976, No. 291. Cover story with article by Jean-Marie Drot, "Bernard Childs, une revolution dans l'art de la gravure" and a Childs experimental print commissioned for this issue. "From Lexington and Concord to La Bastille with love", 1976 53:. As a kind of counterpoint to his many-layered work, which is often symbolic and a fusion of abstraction and figuration, in 1959 he also started painting portraits. Childs' formal interests were line and space, light and color, and the dialogue of contrasting elements. 605:"A Spectrum of Innovation, Color in American Printmaking 1890–1960" by David Acton with contributions by Clinton Adams and Karen F. Beall, Worcester Art Museum, Worcester, W.W. Norton & Company, New York, London. Catalog for touring exhibition 1990 249:

pleasure in his materials and a sensual, witty approach to many of the visual stories he told. His erotic stories of love are tender and sometimes funny. Danger is reflected in both his memories of war and his warnings of future dangers such as

593:"The Stamp of Impulse, Abstract Expressionist Prints", by David Acton, with essays by David Amram and David Lehman; Worcester Art Museum in association with Snoeck, Ducaju & Zoon. Catalogue for five museums touring exhibition, 2001–2003 632:

Artist's Proof, Vol. 10, The Pratt Graphic Center, New York. "Tropical Noon: High Speed Presses and the Unlimited Edition" by Bernard Childs, with introduction by "Editor," and original color letterpress print,

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2018 – Selections from the Department of Drawings and Prints: Hidden and Displayed, Metropolitan Museum of Art, New York, November 1, 2018 – January 27, 2019 ("Barcarolle", 1958, printing plate and two variant

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1982 – Treffpunkt Parnass, International Avant-Garde at Galerie Parnass, Wuppertal, 1949–65: Goethe Institut, Paris; Musées de la Ville de Bourges, Bourges; Goethe House, London and Edinburgh.

596:"Fresh Impressions, American Abstract Prints of the 1940s, 50s and 60s from the collection of Charles R. Dean", The Cantor Fitzgerald Gallery, Haverford College, Haverford, Pennsylvania, 2001 648:"Bernard Childs Ole Wachsbilder Farbtuschen Druckgraphik, 24 Januar bis 15 März 1964", Galerie der Edition Rothe, Heidelberg exhibition brochure with essay by Una E. Johnson, 1964 614:"Treffpunkt Parnass, International Avant-Garde" at Galerie Parnass, Wuppertal 1949–65, (Catalogue for Goethe Institute touring exhibition, Paris, Bourges, London, Edinburgh), 1982 636:"Bernard Childs, Paintings/Prints/Images in Light", Una E. Johnson, Storm King Art Center, Mountainville, New York, catalogue for exhibition (July 26 – October 31, 1969); 1969 681:"Phases Phasen", Stedelijk Museum Amsterdam catalogue no. 172, 10 mei – 10 juni '57, with essays by Edouard Jaguer, Pierre Alechinsky, François Arnal and Ghérasim Luca, 1957 69:. During her last days, his mother told him he was the seventh generation of artists in the family, his forebears having been painters of icons in the churches of Yaroslav. 94:

The economic and social problems of the 1930s took Childs away from his work as an artist, until he began drawing again in the South Pacific while serving as a

192: 734: 587:"Sets, Series and Suites: Contemporary Prints", Museum of Fine Arts, Boston, January 19-May 29, exhibition catalogue with essay by Clifford S. Ackley, 2005. 113:

attack and, at war's end, two years of intermittent hospitalization after returning to New York. His recovery was complete by 1947, the year he studied with

642:"Bernard Childs: Exhibition of paintings, engravings and drawings," New York University Art Collection, Washington Square, with essay by Howard Conant, 1964 394: 916: 599:"Recent Acquisitions of American Prints", Fitzwilliam Museum, Cambridge, U.K. Exhibition checklist with foreword by Duncan Robinson and Craig Hartley, 1999 906: 881: 911: 886: 817: 224:

interrupted his career, Childs never stopped drawing and soon resumed painting, remaining in New York until his death at age 74 in March 1985.

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2006 – Abstract Expressionist Prints from the Charles Randall Dean Collection, Pollock-Krasner House and Study Center, East Hampton, New York.

669:"Bernard Childs", Stedelijk Museum, Amsterdam, November 1959, catalogue no. 219, exhibition catalogue with introduction essay by Childs, 1959 611:"The Spontaneous Gesture, Prints and Books of the Abstract Expressionist Era", by Lanier Graham, Australian National Gallery, Canberra, 1987 657:"Geijutsu Shincho", Tokyo; November or December; transcript of several hour interview with Childs by Shinichi Segui and an editor, 1960 876: 772: 602:"Art Bulletin of the National Museum Stockholm", Stockholm Vol. 4, 1997; essay by Ragnar von Holten, "Portrait of Eric Grate", 1997 45:(1910–1985) was an artist who worked in Paris and New York. He was primarily a painter and printmaker, and pioneered the direct 891: 871: 702: 584:"Bernard Childs: The Process of Becoming Oneself", Jason McCoy Gallery, New York, February, essay by Stephanie Buhmann, 2013. 440:

2003 – Expressive Impressions, Three Decades of Abstract American Prints, Cummer Museum of Art and Gardens, Jacksonville, FL

386: 121:, he sailed for Italy where he began his full-time life as an artist. It was there that he met and became friends with 295: 575:"Americans in Paris: Artists working in Postwar France. 1946-1962", published by Grey Art Gallery, NYU, New York, 2022 399: 645:

Art International, Lugano VII/4, May 1964; "Bernard Childs, Le Signe Transformé en Paysage", by Ragnar v Holten, 1964

303: 738: 73: 219:. In 1969, a retrospective of his 1960's paintings, prints and engraved acrylic light sculptures was held at the 921: 432:

2009 – The Pull of Experiment: Postwar American Printmaking, Yale University Art Gallery, New Haven, Connecticut.

629:"Bernard Childs, Paintings & Images in Light", March 13–31, 1973 New Bertha Schaefer Gallery, New York, 1973 231: 617:

American Prints and Printmakers", by Una E. Johnson, Doubleday & Company, Inc., Garden City, New York, 1980

590:"The Spiritual in Twentieth Century Art", by Roger Lipsey. Dover Publications, Inc., Mineola, New York, 2004. 449:

1990 – A Spectrum of Innovation, Color in American Printmaking 1890–1960. Worcester Art Museum, Worcester, MA

675:"Edda" No. 1 été 1958, Brussels: "Bernard Childs ou l'émotion en lumière polarisee" by Edouard Jaguer, 1958 660:"Childs", Tokyo Gallery, Tokyo, with preface by John Gordon, Curator, Whitney Museum of American Art, 1960 639:

Konstrevy, Stockholm, Häfte No. 4, Stockholm;Ragnar von Holten: "Bernard Childs: En Värld av Tecken", 1966

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By 1959 he was in Documenta II and had his first solo museum exhibition, of paintings and prints, at the

154: 578:"Catalogue of the Collection, Ishibashi Foundation, 1952–2018", published by Artizon Museum, Tokyo, 2019 220: 30: 114: 623:

Jolifanto Rambla, Ragnar von Holten. Bo Cavefors Bokförlag, Lund . "Bernard Childs' teckenvärld", 1976

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San Francisco Fine Arts Museums, Palace of the Legion of Honor, Achenbach Foundation for Graphic Arts

608:"The Prints of Bernard Childs" by Janet A. Flint, Hirschl & Adler Galleries Inc., New York, 1988 581:"Hotel Chelsea: Living in the Last Bohemian Haven", published by The Monacelli Press, New York, 2019 482:

1955 – Peintres américains en France 1955 oeuvres récentes, American Legion Paris Post No. 1, Paris

672:"Art International", Vol III/9: "Bernard Childs, un langage de notre temps" by Pierre Restany, 1959 81: 77: 484:

1955 – Exposizione Il Gesto, Rassegna Internazionale delle forme libere, Galeria Schettini, Milan

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2013 – Atelier 17: Women Artists and Avant-Garde Prints, The Metropolitan Museum of Art, New York.

250: 186: 182: 142: 773:"Pe-Le, Goddess of the Volcano from the series Images from Hawaiian Legends - Bernard Childs" 65:, Pennsylvania where his Russian immigrant parents had moved the family from his birthplace, 411: 205: 174: 841: 422:

2016 – BLACK & WHITE: Modern and Contemporary Positions, Jason McCoy Gallery, New York

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From 1966 to 1977, Childs commuted between his Paris studio and his New York studio at the

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Smith College Museum of Art & the Mortimer Rare Book Room, Northampton, Massachusetts

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work rooted in the second half of the 20th century and whose ongoing appeal defies time.

76:. He left two years later for New York where he worked by day and studied at night with 654:"Idea", Vol. 8 No.46, Apr 1961 Tokyo: "BERNARD CHILDS" 13 pages, 23 reproductions. 1961 197: 178: 799: 235:

Bernard Childs, How Green Is My Belly, 1965, Oil and graphite on linen, 24 x 19 inches

865: 216: 158: 122: 95: 678:"Contemporary American Painting and Sculpture", University of Illinois, Urbana, 1957 438:

2005 – Sets, Series, and Suites: Contemporary Prints, Museum of Fine Arts, Boston

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Bernard Childs, Flowers of the Sun, 1977, Oil on canvas, 21 5/8 x 18 1/4 inches

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2013 – American Gestures: Abstract Expressionism, Museum of Fine Arts, Boston

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1958 – Americans in Europe, University of Wisconsin, Madison, Beloit, Racine

842:"The Stamp of Impulse: Abstract Expressionist Prints | Worcester Art Museum" 150: 138: 118: 99: 88: 46: 455:

1976 – New York '76, Riksutstalliningar, Stockholm and elsewhere in Sweden

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2024 – Americans in Paris: Artist's Working in Post-War France, 1946-1962,

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1962/1960 – International Prints, Cincinnati Art Museum, Cincinnati, Ohio

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2003 – Mid-Century Graphics, Museum of Fine Arts, Boston, Massachusetts.

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Bernard Childs, Black Star and Progeny, 1975, Oil, 18 1/2 x 15 1/2 inches

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The Jane Voorhes Zimmerli Art Museum, Rutgers, New Brunswick, New Jersey

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in Amsterdam. It was in early 1955, after a month in December 1954 at

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1985 – The Spontaneous Gesture, Australian National Gallery, Canberra

703:"Stedelijk Museum # PHASES, Alechinsky, Lucebert # Sandberg,1957,nm" 393: 385: 302: 294: 230: 191: 684:"Arte Visive" 10, rivista della fondazione "Origine", Rome, 1954 461:

1966 – Whitney Annual, Whitney Museum of American Art, New York

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Ishibashi Foundation, Tokyo (formerly the Bridgestone Gallery)

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1956 – Nordisk Kunsthandel – Galerie d'Art Moderne, Copenhagen

818:"Catalogue of the Collection, Ishibashi Foundation 1952–2018" 325:

1985 – Palazzo Soriani, Biblioteche Pubbliche Comunali, Milan

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2007 – Options within Realism, Jason McCoy Gallery, New York

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1967 – Premio International Biella per l'incisione, Biella

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in New York. He also had the luck to meet the great Danish

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Princeton University Museum of Art, Princeton, New Jersey

735:"Collections Search | Museum of Fine Arts, Boston" 626:"Irish Strategies", Dolman Press, Dublin, Ireland, 1975 663:"La Lune en Rodage I", Editions Panderma, Basel, 1960. 550:

The Butler Institute of American Art, Youngstown, Ohio

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1999 – Omens of Millenium, Pacifico Fine Art, New York

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Bernard Childs, La Seine, 1954, Oil, 43 x 59 inches.

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Bernard Childs, The Oracle, 1957, Oil, 43 x 59 inches

800:"Holocaust I | Smithsonian American Art Museum" 464:

1963–1964 - Salon des Nouvelles Réalités, Paris

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2010 – Galaxy Cosmos, Jason McCoy Gallery, New York

666:"La Lune en Rodage", Editions Panderma, Basel, 1959 117:, who became a good friend. In 1951, thanks to the 21: 562:Yale University Art Museum, New Haven, Connecticut 565:The Harvard Art Museums, Cambridge, Massachusetts 457:1976 – Tokyo International Print Biennial, Tokyo 789:, 1962, oil, carborundum and graphite on canvas. 487:1953–1959 – Salon des Réalités Nouvelles, Paris 428:2012 – Paper Bend, Jason McCoy Gallery, New York 351:1961 – National Gallery of Modern Art, New Delhi 505:Grey Art Gallery, New York University, New York 333:1969 – Storm King Art Center, Mountainville, NY 331:1971 – Whitney Museum of American Art, New York 292:2019 – Jason McCoy Gallery (Online Exhibition) 61:He first found his vocation in high school, in 559:Worcester Art Museum, Worcester, Massachusetts 379:1955 – Zimmergalerie Franck, Frankfurt-am-Main 321:1988 – Hirschl & Adler Galleries, New York 319:1994 – Hirschl & Adler Galleries, New York 317:1994 – Hirschl & Adler Galleries, New York 274:Hawaii, Japan, Far East, Asia, Egypt 1960–1961 177:. He was championed by the French art critics 141:and the free floating group Phases along with 762:, 1972, oil on linen, Collection MFA, Boston. 343:1964 – Galerie der Editions Rothe, Heidenberg 8: 416:2021 – ARMOR, Jason McCoy Gallery, New York 329:1973 – New Bertha Schaefer Gallery, New York 311:2017 – Anders Wahlstedt Fine Art, New York, 185:, and the Swedish art historian and curator 353:1961 – Académie des Beaux Arts, Djogjakarta 508:Hood Museum of Art, Hanover, New Hampshire 477:1956–1964 – Salon des Comparaisons, Paris 109:, during World War II. Childs survived a 91:, from whom he learned his love of metal. 18: 544:The Hyde Collection, Glens Fall, New York 529:The National Museum of Western Art, Tokyo 526:National Portrait Gallery, Washington, DC 327:1982 – Honolulu Academy of Arts, Honolulu 556:Whitney Museum of American Art, New York 547:The Library of Congress, Washington D.C. 480:1955 – 1959 – "Phases" (Multiple venues) 196:Bernard Childs, The Critic (Portrait of 694: 496:Bibliothèque nationale de France, Paris 271:Spain, several visits beginning in 1957 240:Formal interests and underlying stories 72:In 1928, a scholarship took him to the 474:1958/1957 – Galérie du Dragon, Paris 373:1957 – George M. Wittenborn, New York 357:1961 – University of Hawaii, Honolulu 337:1967 – Galerie Aronowitsch, Stockholm 7: 523:National Portrait Gallery, Stockholm 514:Metropolitan Museum of Art, New York 371:1958 – Galerie Inge Ahlers, Mannheim 355:1961 – Academy of Fine Arts, Bangkok 341:1964 – New York University, New York 335:1968 – Boston Public Library, Boston 315:2012 – Jason McCoy Gallery, New York 313:2013 – Jason McCoy Gallery, New York 502:Brooklyn Museum, Brooklyn, New York 323:1986 – Galerie Alfred Kren, Cologne 35:Bernard Childs, Hotel Chelsea, 1977 917:20th-century American male artists 365:1959 – Stedelijk Museum, Amsterdam 14: 907:20th-century American printmakers 882:University of Pennsylvania alumni 468:1960/59/58 Galérie Ariel, Paris 367:1958 – Galerie Parnass, Wuppertal 347:1962 – Galerie St Germain, Paris 262:South Pacific and Hawaii in WWII 29: 721:"The Moth and the Moon (Li-Po)" 412:Grey Art Gallery, NYU, New York 369:1958 – Print Club, Philadelphia 137:Iris Clert, Galerie Parnass in 912:American expatriates in France 887:20th-century American painters 383:1952 – Galeria Obelisco, Rome 339:1966 – Weyhe Gallery, New York 1: 381:1953 – Galerie Breteau, Paris 470:1959 – Documenta II, Kassel 377:1956 – Galerie Kléber, Paris 349:1961 – Roopa Gallery, Bombay 16:American painter (1910–1985) 541:Stedelijk Museum, Amsterdam 517:Museum of Fine Arts, Boston 491:Selected public collections 400:Yale University Art Gallery 363:1959 – Galerie Ariel, Paris 361:1960 – Tokyo Gallery, Tokyo 359:1961 – Tokyo Gallery, Tokyo 938: 406:Selected group exhibitions 74:University of Pennsylvania 877:Artists from Pennsylvania 822:catalogue.henry-moore.org 520:Moderna Museet, Stockholm 28: 511:Israel Museum, Jerusalem 257:Most influential travels 200:), 1959, Oil on canvas. 892:American male painters 872:Painters from Brooklyn 402: 391: 345:1963 – Transair, Malmo 308: 300: 283:Puerto Rico, 1966–1984 236: 201: 785:See: Bernard Childs, 758:See: Bernard Childs, 570:Selected publications 397: 389: 306: 298: 280:Sweden, 1952 and 1970 234: 221:Storm King Art Center 195: 173:, Yasse Tabuchi, and 49:of metal plates with 846:www.worcesterart.org 132:Following a year in 82:Art Students League 804:americanart.si.edu 403: 392: 309: 301: 277:Germany, 1957–1966 237: 202: 268:France, 1952–1977 251:nuclear holocaust 187:Ragnar von Holten 40: 39: 929: 922:American etchers 856: 855: 853: 852: 838: 832: 831: 829: 828: 814: 808: 807: 796: 790: 783: 777: 776: 775:. 11 March 2020. 769: 763: 756: 750: 749: 747: 746: 737:. Archived from 731: 725: 724: 717: 711: 710: 699: 288:Solo exhibitions 265:Italy, 1951–1952 206:Stedelijk Museum 78:Kimon Nicolaїdes 33: 19: 937: 936: 932: 931: 930: 928: 927: 926: 862: 861: 860: 859: 850: 848: 840: 839: 835: 826: 824: 816: 815: 811: 798: 797: 793: 784: 780: 771: 770: 766: 757: 753: 744: 742: 733: 732: 728: 719: 718: 714: 701: 700: 696: 691: 572: 493: 483: 481: 473: 471: 469: 467: 465: 460: 458: 456: 454: 452: 450: 448: 446: 443: 441: 439: 437: 435: 433: 431: 429: 427: 425: 423: 421: 408: 382: 380: 378: 376: 374: 372: 370: 368: 366: 364: 362: 360: 358: 356: 354: 352: 350: 348: 346: 344: 342: 340: 338: 336: 334: 332: 330: 328: 326: 324: 322: 320: 318: 316: 314: 312: 290: 259: 242: 115:Amédée Ozenfant 59: 36: 24: 17: 12: 11: 5: 935: 933: 925: 924: 919: 914: 909: 904: 899: 894: 889: 884: 879: 874: 864: 863: 858: 857: 833: 809: 791: 778: 764: 751: 726: 712: 693: 692: 690: 687: 686: 685: 682: 679: 676: 673: 670: 667: 664: 661: 658: 655: 652: 649: 646: 643: 640: 637: 634: 630: 627: 624: 621: 618: 615: 612: 609: 606: 603: 600: 597: 594: 591: 588: 585: 582: 579: 576: 571: 568: 567: 566: 563: 560: 557: 554: 551: 548: 545: 542: 539: 536: 533: 530: 527: 524: 521: 518: 515: 512: 509: 506: 503: 500: 497: 492: 489: 407: 404: 289: 286: 285: 284: 281: 278: 275: 272: 269: 266: 263: 258: 255: 241: 238: 198:Pierre Restany 183:Édouard Jaguer 179:Pierre Restany 58: 55: 43:Bernard Childs 38: 37: 34: 26: 25: 23:Bernard Childs 22: 15: 13: 10: 9: 6: 4: 3: 2: 934: 923: 920: 918: 915: 913: 910: 908: 905: 903: 900: 898: 895: 893: 890: 888: 885: 883: 880: 878: 875: 873: 870: 869: 867: 847: 843: 837: 834: 823: 819: 813: 810: 805: 801: 795: 792: 788: 782: 779: 774: 768: 765: 761: 755: 752: 741:on 2016-12-20 740: 736: 730: 727: 722: 716: 713: 708: 704: 698: 695: 688: 683: 680: 677: 674: 671: 668: 665: 662: 659: 656: 653: 650: 647: 644: 641: 638: 635: 631: 628: 625: 622: 619: 616: 613: 610: 607: 604: 601: 598: 595: 592: 589: 586: 583: 580: 577: 574: 573: 569: 564: 561: 558: 555: 552: 549: 546: 543: 540: 537: 534: 531: 528: 525: 522: 519: 516: 513: 510: 507: 504: 501: 498: 495: 494: 490: 488: 485: 478: 475: 462: 417: 414: 413: 405: 401: 396: 388: 384: 305: 297: 293: 287: 282: 279: 276: 273: 270: 267: 264: 261: 260: 256: 254: 252: 246: 239: 233: 229: 225: 222: 218: 217:Hotel Chelsea 213: 211: 207: 199: 194: 190: 188: 184: 180: 176: 172: 168: 164: 160: 156: 152: 148: 144: 140: 135: 130: 128: 124: 123:Alberto Burri 120: 116: 112: 108: 107: 101: 97: 96:quartermaster 92: 90: 87: 83: 79: 75: 70: 68: 64: 56: 54: 52: 48: 44: 32: 27: 20: 849:. 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