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187:, Mirski was raised amid "pomp ... pogroms and persecution". He immigrated to the U.S. in 1912 at age 14, settling with a maternal aunt. His first job involved "lugging room molding on his shoulders", and linked both his father's field, and a key future source of his earnings as a framer. In between, Mirski studied sculpture, and found employment on a merchant vessel that allowed him to travel the world.
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writer Lois Tarlow called Mirski "a colorful figure who played an important and daring role in bringing young avant-garde artists to the Boston public, was also a disarming and lovable rogue". Painter Ralph Coburn, who assisted gallery director Hyman
Swetzoff at Mirski's Gallery, describes "elements
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On and off, Mirski employed both of the
Swetzoff brothers: Seymour and Hyman. Hyman, however, had also worked at the nearby Institute of Modern Art, and he ultimately served as Mirski's Gallery director. In 1948, he and his brother decided to open a gallery of their own. Their gallery began as the
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critic Robert Taylor contrasted Mirski's aesthetic with that of two other important Boston gallerists, Margaret Brown and Hyman
Swetzoff. Mirski, he said, introduced an "urban, Jewish, introverted and lyrical" visual sensibility to Boston. In Mirski's obituary, he extrapolated, describing Mirski's
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Mirski's gallery also served as home base for local art activism. In the late 1940s, many artists, including Karl Zerbe (1903–1972) and Hyman Bloom began meeting to address fears that the recently renamed ICA was, like the Museum of Fine Arts, shutting out local artists. The meetings inspired the
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The gallery was used for exhibitions and art-related lectures, including, for example, a series on Mérida that coincided with the gallery's first show. According to painter Ralph Coburn, Mirski was also known for giving "wonderful parties" ... here was a large mailing list.... that perhaps Hyman
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art styles and non-western art. For years, the gallery dominated with both figurative and
African work. As an art dealer, Mirski was known for supporting young, emerging artists, including many Jewish-Americans, as well as artists of color, women artists and immigrants. As a result of Mirski's
439:
Mirski cultivated his artists by providing direct support in much the same way he cultivated his businesses. In the case of
Bernard Chaet, that included funding his first art tour of Europe, mounting his first show in 1946, and recommending him for his first teaching job at Yale. But Mirski's
308:
After establishing the gallery on the main floor of his new building, Mirski subsidized it with a frame shop in the basement. "He was juggling everything, the frame shop, the mortgages", painter Ralph Coburn (born 1923) said. "He kept refinancing the building, which he bought for a song, but
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that few galleries survive on selling contemporary work, citing the costs of publicity and the opening night reception as a few of the many expenditures gallerists face. Mirski handled some of these expenditures by diversifying his sources of income and by enlisting artists to help with the
209:
obituary, they also traced his first Boston gallery back to 1916, counted another three galleries, and several locales until they reached his second to last, on
Charles Street, where the art part was subsidized by a frame shop, a posh clientele and his growing appeal to local artists.
1342:, a former Mirski artist, Fink began by representing "Swan's work and later that of their son Aaron, a figurative expressionist painter, heir daughter, Joanna, ran the gallery for many years." The gallery, which continues to operate, eventually relocated to the South End of Boston.
226:(ICA) in 1948. Here, he opened a larger gallery, a frame shop and a school in the building he bought in 1945, at the depressed wartime price of $ 500. In the 1950s, 101 Bradford Street in Provincetown, Massachusetts also served as the Mirski Gallery's summertime residence.
282:
Director
Katherine French described it, "There was a period of about six months when Hyman Bloom was the most important painter in the world, and probably a period of about five years when he was the most important painter in America." Mirski's show garnered praise from
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In 1935, Mirski moved the gallery to upscale
Newbury Street where it would remain for the next four decades. In 1945, he moved into the red brick mansion at 166 Newbury Street, the historic heart of Boston's art scene, and right next door to the "stuffy"
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of slapstick comedy, working for Mirski.... He was short, rotund, balding, immensely powerful, strong. He was physically strong. He could lift all kinds of stuff. He was ambitious. He was immensely charming. He was a scoundrel. I loved working for him."
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Alan Fink served as Mirski's gallery director for 16 years. A "founding member of the Boston Art
Dealers association", he founded the Alpha Gallery (1967–present), also on Newbury Street, along the Mirski model in 1967. Already married to painter
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337:, and who later became a "piller of the Cambridge Art Association", joined the staff. He was " man of an enormous ... influence, had a different method of teaching from the Museum School.... He was able to visualize the whole painting."
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magazine, which commented that the show's most newsworthy paintings "seemed to come straight from charnel house and morgue". They also praised Mirski as "an old hand at presenting local artists to Boston society". In critic Sydney
356:
The result was a "sea change" described by art historian
Charles Giuliano in the late 1940s, altering Boston's notoriously conservative art scene, which had long been dominated by genteel Impressionist painters of the historic
270:(1913-2009), borrowed work from the Museum of Modern Art, Harvard and Durlacher Gallery in New York, and organized a Bloom retrospective at the Mirski Gallery. The show was meant to build on Bloom's 1942 group show success at
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The Mirski Gallery was very conservative by today's standards, but in the '50s it was considered daring. We got protests for showing artists who are now famous and not considered controversial in the least, artists like
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Frameshop Gallery on Huntington Avenue, but Hyman became director in 1953, and moved it to Newbury Street, renaming it the Swetzoff Gallery (1948–1968) in the process. The gallery closed in 1968 when Hyman died.
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avant-garde approach to art and diversified approach to dealing art, the gallery was at the center of Boston's burgeoning modern mid-century art scene, as well as instrumental in the birth and development of
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combination support for paid work, exhibitions and study appealed to experienced artists too. Two of the most influential were successive directors of the Department of Drawing and Painting at the
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sometimes business was bad and the thing that held the gallery together was the frame shop, and so he managed." In 1982, Alan Fink, then owner of the Alpha Gallery, explained to
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452:(1903–1972) who served for three years each, starting with Jacovleff in 1934 and ending with Zerbe in 1940. The latter's emphasis on individualism helped attract artists like
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429:. And the Boston police once took a picture of a nude out of our window... Mirski and a couple of other galleries were the only ones selling modern art in Boston at the time.
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2018:
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2034:"Report from December 1885 on how Irish servant girls in Boston remit money back to Ireland to help their families (Boston Daily Globe, 14 December 1885) 1"
391:'s Downtown Gallery in New York, serving as an important venue for the broader Northeast, as well as for local artists who were Jewish or foreign-born like
229:
In 1979, the Boris Mirski Gallery on 166 Newbury Street Gallery finally closed. Mirski, himself, had died five years earlier, in 1974, in Tel Aviv, Israel.
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posthumously assessed Mirski in more dignified fashion, calling him "a figure of pivotal significance in Boston art for more than half-a-century." In the
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highlighted critic A.J. Philpott's confusion in the review's headline: "Merida Moderns May Be Childish or Wonderful — Philpott Baffled". A week later,
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349:, with the former advocating for artists' rights and representation, and the latter providing a democratic fine arts forum in the middle of Boston's
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Swetzoff had brought over from the Institute of Modern Art, and it consisted of all kinds of museum directors and collectors especially in Boston."
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1994:
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In addition, Mirski created the Boris Mirski School of Modern Art — on the third floor where he had some of his people teaching there —
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1301:. Several key figures in Boston Expressionism, with links to Mirski, have also given oral history interviews to the Archives, including
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142:(1944–1979) was a Boston art gallery owned by Boris Chaim Mirski (1898–1974). The gallery was known for exhibiting key figures in
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magazine commented that some critics already considered Mérida's work worthy of expanding "The Big Three of Latin American art" (
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Boston school of artists as "ethnic, urban and strident.... It had a sardonic eye. In style the images were figurative, and
1851:"Oral history interview with John Wilson, 1993 March 11-1994 August 16 | Archives of American Art, Smithsonian Institution"
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318:(1922–2000), for example, engraved Mirski's gallery mark for him in 1956. Baskin also created many of his own exhibition
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In the fall of 1946, the Mirski Gallery's first exhibition debuted with 53 paintings by the Guatemalan "Indian" cubist
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or the Guild of Boston Artists. The young Turks, Jews, and immigrants or their sons—like the Lebanese-American
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382:—showed with gallerist Boris Mirski or his former assistants Hyman Swetzoff and Alan Fink of Alpha Gallery.
292:
review, he called Bloom, "a painter of the first importance within his generation". Abstract expressionist stars
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379:
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Philpott, A.J. (October 21, 1945). "This Week in the Art World--Painters Still Gambling for Fame and Wealth".
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350:
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1921:
Bitely, Jessica (September 23, 2018). "Guide to the Boston Arts Festival Records: A Finding Aid" (PDF).
375:
147:
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415:(1932–2019). Alan Fink (1926–2017), who managed the gallery in the 1950s and early 60s, later recalled:
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843:
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Philpott, A.J. (October 16, 1945). "Merida Moderns May Be Childish or Wonderful — Philpott Baffled".
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820:(1917–2000) "During World War I there was a great migration north by southern Negroes." Panel 1 from
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479:'s lighting, Rembrandt's Biblical drama enthralled the Boston artists, though they were also open to
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274:, which had hung 13 of his paintings and purchased two of them. Soon after, the career–making critic
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Tonelli, Edith (1980). "The Avant-Garde in Boston: The Experiment of the WPA Federal Art Project".
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902:
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596:
445:
404:
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34:
2139:
1923:
City of Boston Archives and Records Management Division: Guide to the Boston Arts Festival records
1677:"Suzanne Hudson. Review of 'Pacific Standard Time: Art in L.A. 1945–1980 October 2011–March 2012'"
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2012:
1964:
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931:(1925–1996) A bronze statue of Hawai'i's Queen Lili'uokalani, 1980, on the State Capitol, south.
1458:
Review of Blier, Suzanne, ed., Art of the Senses: African Masterpieces from the Teel Collection
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361:, with few local collectors or galleries interested in collecting or exhibiting modern art:
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changed from polite and innocuous, ersatz American Impressionism to gritty and graphic
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1968:
1908:
Steiner, Raymond J. (September 23, 2018). "Artists Equity Association: A Look Back".
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2413:(1980). "The Boston Expressionist School: A Painter's Recollection of the Forties".
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and only steps away from the Boston Museum of Modern Art, a sister museum to the
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Lafo, Rachel Rosenfield; Capasso, Nicholas J.; Uhrhane, Jennifer, eds. (2002).
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2226:"Historical Note | A Finding Aid to the Swetzoff Gallery Records, 1941-1968"
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698:(1892–1964) U.S. postage stamp, featuring a detailed study of Cliché, 1964.
1937:"The Avant-Garde in Boston: The Experiment of the WPA Federal Art Project"
1588:
1731:
1783:"Hyman Bloom: Abstract expressionist pioneer who was eclipsed by Rothko"
110:
Mounted solo, group, and touring exhibitions of figurative and abstract
2643:"A Painter's Revolution: Building a Community for Modern Art in Boston"
2587:
2434:
1275:
300:, meanwhile, called him "the first abstract expressionist in America".
180:
2176:"Our History | School of the Museum of Fine Arts | Tufts University"
374:. The old guard and its socially acceptable artists showed with the
887:
Center part of the mural at the Municipal Palace of Chiapa de Corzo
2344:"The Spirits of Hyman Bloom: The Sources of His Imagery (excerpt)"
1892:"Oral history interview with Arthur Polonsky, 1972 Apr. 12-May 21"
1611:"Oral history interview with Bernard Chaet,1997 June 18-August 15"
1431:"Boston Art Dealer Alan Fink is Dead: Art Was the Family Business"
911:
500:(Key figures are listed below, but the list is not comprehensive.)
2307:
2305:
2303:
2104:, Harvard University Press, pp. 160–162, December 31, 1971,
278:
referred to Bloom as "the greatest artist in America". As former
2491:
Boston Art Dealer Alan Fink is Dead: Art Was the Family Business
2391:
Boston Modern: Figurative Expressionism as Alternative Modernism
2201:"A Finding Aid to the Margaret Brown Gallery records, 1921-1958"
1808:
Freedberg, Sydney (February 1, 1949). "Bloom: Macabre Anatomy".
1571:"Oral history interview with Ralph Coburn, 1995 May 25-June 23"
345:
formation of the New England Chapter of Artists Equity and the
2471:
Gibran, Jean; Giuliano, Charles; French, Katherine (2014).
1910:
Art Times: A Literary Journal and Resource for All the Arts
122:. Also provided framing services and fine arts instruction.
1522:. Vol. 46, no. 16. October 15, 1945. p. 79.
1403:
1401:
333:(1921–2015)". Later, Carl Nelson who had studied at the
2647:
The Visionary Decade: New Voices in Art in 1940s Boston
2499:"Despite Gaps, Exhibit Shows Boston's Vigor in the 40s"
2254:. Lincoln, Mass.: DeCordova Museum and Sculpture Park.
1720:. p. 8 – via Proquest Historical Newspapers.
468:(1922–2003), Andrew Kooistra (1926–), and Lois Tarlow.
2473:
Love Made Visible: Scenes from a Mostly Happy Marriage
1987:
Love made visible: Scenes from a mostly happy marriage
2526:"Boris Mirski, Dean of Newbury St. Art Dealers, Dies"
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1297:(1944–1979) in stages, between 1989 and 2017 to the
1057:, National Postal Museum, Washington, D.C., 1936.
126:
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72:
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681:, bronze, 1972, Marabouparken, Sundbyberg, Sweden.
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1838:The Wood Engravings of Leonard Baskin 1948-1959
1989:(First ed.). Northampton, Massachusetts.
102:166 Newbury Street Boston, Massachusetts, U.S.
2677:Art museums and galleries established in 1944
2363:"Oral history interview with Alan Fink, 1997"
2146:. Oxford University Press. October 31, 2011.
179:Born to a well-to-do Jewish lumber dealer in
8:
2152:10.1093/benz/9780199773787.article.b00089748
2082:: CS1 maint: DOI inactive as of July 2024 (
387:The gallery also hosted exchange shows with
266:In 1949, Mirski, who did not then represent
21:
2687:Defunct art museums and galleries in Boston
1879:– via Proquest Historical Newspapers.
2282:
2017:: CS1 maint: location missing publisher (
1407:
20:
2697:Archives of American Art-related articles
2604:"Boris Mirski gallery records, 1944-1979"
1690:
1812:. Vol. 47, no. 10. p. 52.
1068:(Selection was limited by availability.)
659:(Selection was limited by availability.)
2682:1979 disestablishments in Massachusetts
2373:from the original on September 5, 2021.
1455:Plankensteiner, Barbara (August 2005),
1397:
1295:the records of the Boris Mirski Gallery
1071:
662:
2075:
2010:
1777:
1775:
1675:Hudson, Suzanne (September 19, 2012).
1495:
322:, which he later collected in a book.
2546:"The Art of Running a Boston Gallery"
2456:. University of Massachusetts Press.
2395:. University of New Hampshire Press.
2361:Brown, Robert F. (January 23, 1997).
2337:
2335:
2294:
1980:
1978:
1840:(Northampton MA: Gehenna Press, 1961)
1825:
1756:
1754:
1752:
1662:
1628:Dunlap, David W. (January 11, 2010).
224:Institute of Contemporary Art, Boston
7:
2497:McQuaid, Cate (September 18, 2002).
2367:Smithsonian Archives of American Art
2323:
2032:Moran, Gerard (September 20, 2018),
1896:Smithsonian Archives of American Art
1890:Brown, Robert (September 23, 2018).
1615:Smithsonian Archives of American Art
1604:
1602:
1575:Smithsonian Archives of American Art
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1424:
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2252:Painting in Boston : 1950-2000
1429:Giuliano, Charles (April 4, 2017).
950:The Passion of Sacco & Vanzetti
1935:Tonelli, Edith A. (January 1980).
1141:(1917–2000), photographed in 1941.
304:Boston school of expressionist art
14:
2702:American Figurative Expressionism
2649:. Boston University Art Gallery.
2342:Thompson, Dorothy Abbott (2020).
2110:10.4159/harvard.9780674421028.c44
1382:American Figurative Expressionism
442:School of the Museum of Fine Arts
368:School of the Museum of Fine Arts
164:American Figurative Expressionism
162:, the most significant branch of
2568:Archives of American Art Journal
2543:Temin, Christine (May 6, 1982).
2524:Taylor, Robert (July 30, 1974).
2415:Archives of American Art Journal
1941:Archives of American Art Journal
1535:"Alternative Space: Hyman Bloom"
1262:
1241:
1224:
1203:
1188:
1167:
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1091:
1074:
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978:
973:. 1937. Oil on hardboard panel.
957:
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27:
2040:, Routledge, pp. 343–345,
2038:The History of the Irish Famine
1609:Brown, Robert (June 18, 1997).
910:, watercolor and graphite on
335:Art Students League of New York
2712:Abstract expressionist artists
1569:Brown, Robert (May 25, 1995).
1293:Boris Mirski's family donated
992:Illinois: United States Series
717:Uprights, Mars Violet and Blue
587:George Lovett Kingsland Morris
1:
2493:. Retrieved October 26, 2020.
2453:Painting in Boston, 1950-2000
2144:Benezit Dictionary of Artists
366:The faculty and focus of the
222:(MOMA) that evolved into the
1692:10.3202/caa.reviews.2012.106
1274:(1889–1966) photographed by
1215:(1887–1986) photographed by
2692:Federal Art Project artists
2387:Bookbinder, Judith (2005).
1762:"Art: The Pessimistic View"
1533:Tarlow, Lois (March 1983).
761:One Third of a Nation, 1939
464:, Jack Kramer (1923–1984),
78:; 45 years ago
52:; 80 years ago
2743:
2489:Giuliano, Charles (2017).
2048:(inactive July 21, 2024),
1541:. Vol. 4, no. 4.
2641:Mayer, Stephanie (2002).
2450:DeCordova Museum (2002).
2140:"Hosmer, Harriet Goodhue"
952:. Oil on canvas, 1931–32.
844:Genesis at Pomona College
314:publicity. Mirski artist
26:
2608:Archives of American Art
2580:10.1086/aaa.20.1.1557494
2427:10.1086/aaa.20.1.1557495
2046:10.4324/9781315513652-47
1953:10.1086/aaa.20.1.1557494
1299:Archives of American Art
1086:in his NYC studio, 2016.
403:(1883-1931), Black like
22:The Boris Mirski Gallery
2722:Jewish American artists
2717:Jewish-American history
1103:in Los Angeles in 2008.
780:Colors for a Large Wall
755:Osvaldo Louis Guglielmi
460:(1924–2012), Reed Kay,
216:Guild of Boston Artists
2707:Abstract expressionism
2623:"Art: Boston Surprise"
1514:"Art: Boston Surprise"
822:Migration of the Negro
801:Strong Woman and Child
654:By representative work
432:
385:
280:Danforth Museum of Art
2312:DeCordova Museum 2002
1985:Gibran, Jean (2014).
1634:Building Provincetown
1630:"101 Bradford Street"
1461:, H-AfrArts, H-Review
1036:. Oil on canvas.1943.
971:Kitchen, Williamsburg
740:. Oil on canvas, n.d.
417:
376:Copley Society of Art
363:
2727:Boston expressionism
2538:on December 7, 2017.
1387:Boston Expressionism
712:Arthur Garfield Dove
483:and some aspects of
481:German Expressionism
372:Boston Expressionism
347:Boston Arts Festival
220:Museum of Modern Art
160:Boston Expressionism
144:Boston Expressionism
140:Boris Mirski Gallery
116:Boston Expressionist
16:American art gallery
2629:. October 15, 1945.
2511:on December 7, 2017
1789:. November 27, 2009
1435:Berkshire Fine Arts
637:John Woodrow Wilson
446:Alexander Jacovleff
405:John Woodrow Wilson
23:
2348:hymanbloominfo.org
2098:"Steffens' Boston"
1325:and Ralph Coburn.
1198:in Sweden in 1920.
1196:Carl Gustaf Nelson
1179:, photographed by
889:, Chiapas, Mexico.
592:Carl Gustaf Nelson
562:Lawrence Kupferman
233:National attention
2161:978-0-19-989991-3
2119:978-0-674-42102-8
2055:978-1-315-51365-2
1996:978-1-56656-978-1
1768:. March 14, 1949.
1329:Related galleries
1069:
1055:Benjamin Franklin
660:
501:
430:
383:
298:Willem de Kooning
276:Clement Greenberg
136:
135:
37:by Mirski artist
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2660:
2630:
2618:
2616:
2614:
2599:
2562:
2551:The Boston Globe
2548:
2539:
2537:
2532:. Archived from
2530:The Boston Globe
2520:
2518:
2516:
2510:
2505:. Archived from
2503:The Boston Globe
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1877:The Boston Globe
1872:
1866:
1865:
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1847:
1841:
1835:
1829:
1823:
1814:
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1794:
1779:
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1769:
1758:
1747:
1746:
1744:
1742:
1736:Hyman Bloom Info
1732:"Friends-Family"
1728:
1722:
1721:
1717:The Boston Globe
1711:
1705:
1704:
1694:
1672:
1666:
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1470:
1469:
1468:
1466:
1452:
1446:
1445:
1443:
1441:
1426:
1411:
1405:
1377:20th–century art
1266:
1245:
1228:
1217:Alfred Steiglitz
1212:Georgia O'Keeffe
1207:
1192:
1181:Alfred Stieglitz
1171:
1158:photographed by
1150:
1133:
1120:photographed by
1112:
1095:
1078:
1067:
1045:
1024:
1003:
987:Mitchell Siporin
982:
961:
940:
923:
903:Georgia O'Keeffe
898:
877:
856:
833:
812:
791:
772:
749:
728:
707:
690:
669:
658:
617:Mitchell Siporin
597:Georgia O'Keeffe
537:Ralston Crawford
499:
419:
411:(1925–1996) and
399:(1914-2006) and
365:
311:The Boston Globe
243:The Boston Globe
208:
199:The Boston Globe
128:Gallery director
86:
84:
79:
60:
58:
53:
31:
24:
2742:
2741:
2737:
2736:
2735:
2733:
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2731:
2667:
2666:
2657:
2640:
2637:
2635:Further reading
2621:
2612:
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2514:
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2496:
2483:
2470:
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2310:
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2293:
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2283:Bookbinder 2005
2281:
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2262:
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2234:
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2224:
2223:
2219:
2209:
2207:
2199:
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2184:
2182:
2174:
2173:
2169:
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2138:
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2124:
2122:
2120:
2102:Newspaper Story
2096:
2095:
2091:
2074:
2068:
2066:
2056:
2031:
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2026:
2009:
1997:
1984:
1983:
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1934:
1933:
1929:
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1916:
1907:
1903:
1889:
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1849:
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1836:
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1824:
1817:
1807:
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1792:
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1787:The Independent
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1539:Art New England
1532:
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1527:
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1502:
1494:
1473:
1464:
1462:
1454:
1453:
1449:
1439:
1437:
1428:
1427:
1414:
1408:Bookbinder 2005
1406:
1399:
1395:
1348:
1331:
1319:Arthur Polonsky
1315:Marianna Pineda
1291:
1286:
1279:
1267:
1258:
1255:Yasuo Kuniyoshi
1246:
1237:
1233:Arthur Polonsky
1229:
1220:
1208:
1199:
1193:
1184:
1172:
1163:
1151:
1142:
1134:
1125:
1124:& Son, n.d.
1117:Yasuo Kuniyoshi
1113:
1104:
1100:Ellsworth Kelly
1096:
1087:
1083:Robert Birmelin
1079:
1065:
1058:
1046:
1037:
1025:
1016:
1008:Elbert Weinberg
1004:
995:
983:
974:
966:Charles Sheeler
962:
953:
941:
932:
928:Marianna Pineda
924:
915:
899:
890:
878:
869:
857:
848:
834:
825:
813:
804:
796:Yasuo Kuniyoshi
792:
783:
776:Ellsworth Kelly
773:
764:
758:
750:
741:
738:Obra sin título
729:
720:
708:
699:
691:
682:
670:
656:
651:
602:Arthur Polonsky
557:Ellsworth Kelly
497:
462:Arthur Polonsky
437:
409:Marianna Pineda
407:or female like
306:
294:Jackson Pollock
235:
206:
191:Art New England
177:
172:
129:
82:
80:
77:
56:
54:
51:
42:
17:
12:
11:
5:
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2494:
2487:
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2462:
2447:
2411:Chaet, Bernard
2407:
2401:
2382:
2379:
2377:
2376:
2353:
2331:
2316:
2299:
2287:
2285:, p. 247.
2275:
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2242:
2230:www.aaa.si.edu
2217:
2205:www.aaa.si.edu
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2180:smfa.tufts.edu
2167:
2160:
2131:
2118:
2089:
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1995:
1974:
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1855:www.aaa.si.edu
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1271:William Zorach
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1223:
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1209:
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1194:
1187:
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1155:Julian E. Levi
1152:
1145:
1143:
1138:Jacob Lawrence
1135:
1128:
1126:
1122:Peter A. Juley
1114:
1107:
1105:
1097:
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1080:
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1061:
1060:
1059:
1050:William Zorach
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674:Leonard Baskin
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427:Leonard Baskin
316:Leonard Baskin
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2500:
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2492:
2488:
2484:
2482:9781566569781
2478:
2475:. Interlink.
2474:
2469:
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2463:9781558493643
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2314:, p. 24.
2313:
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2297:, p. 25.
2296:
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1465:September 12,
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1352:Edith Halpert
1350:
1349:
1345:
1343:
1341:
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1328:
1326:
1324:
1320:
1316:
1312:
1308:
1307:David Aronson
1304:
1300:
1296:
1288:
1283:
1277:
1273:
1272:
1265:
1260:
1256:
1252:
1251:
1250:Niles Spencer
1244:
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1234:
1227:
1222:
1218:
1214:
1213:
1206:
1201:
1197:
1191:
1186:
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1132:
1127:
1123:
1119:
1118:
1111:
1106:
1102:
1101:
1094:
1089:
1085:
1084:
1077:
1072:
1070:
1062:
1056:
1053:(1887–1966),
1052:
1051:
1044:
1039:
1035:
1031:
1030:
1023:
1018:
1014:
1010:
1009:
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929:
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917:
913:
909:
905:
904:
897:
892:
888:
885:(1891–1985)
884:
883:
882:Carlos Mérida
876:
871:
867:
864:(1870–1953),
863:
862:
855:
850:
846:
845:
841:(1900–1964)
840:
839:
832:
827:
823:
819:
818:
811:
806:
802:
798:
797:
790:
785:
781:
777:
771:
766:
762:
757:
756:
748:
743:
739:
735:
734:
733:Khalil Gibran
727:
722:
718:
714:
713:
706:
701:
697:
696:
689:
684:
680:
676:
675:
668:
663:
661:
653:
648:
645:
643:
640:
638:
635:
633:
632:Harold Tovish
630:
628:
625:
623:
622:William Steig
620:
618:
615:
613:
610:
608:
605:
603:
600:
598:
595:
593:
590:
588:
585:
583:
582:Carlos Mérida
580:
578:
577:Michael Mazur
575:
573:
570:
568:
565:
563:
560:
558:
555:
553:
550:
548:
547:Kahlil Gibran
545:
543:
542:Esther Geller
540:
538:
535:
533:
532:Bernard Chaet
530:
528:
527:William Brice
525:
523:
520:
518:
515:
513:
510:
508:
507:David Aronson
505:
504:
502:
494:
492:
490:
486:
482:
478:
473:
469:
467:
463:
459:
458:Bernard Chaet
456:(1923–2015),
455:
454:David Aronson
451:
447:
443:
434:
431:
428:
424:
423:Hans Hoffmann
416:
414:
410:
406:
402:
401:Kahlil Gibran
398:
394:
390:
389:Edith Halpert
384:
381:
377:
373:
369:
362:
360:
359:Boston School
354:
352:
351:Public Garden
348:
342:
338:
336:
332:
331:Esther Geller
329:(1922–2015),
328:
323:
321:
317:
312:
303:
301:
299:
295:
291:
286:
281:
277:
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262:
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250:
249:
244:
240:
239:Carlos Mérida
232:
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217:
211:
205:
201:
200:
195:
192:
188:
186:
182:
174:
169:
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165:
161:
156:
153:
152:international
149:
145:
141:
131:
125:
121:
117:
113:
109:
105:
101:
97:
93:
89:
75:
71:
67:
63:
49:
45:
40:
36:
30:
25:
19:
2663:
2646:
2626:
2611:. Retrieved
2607:
2574:(1): 18–24.
2571:
2567:
2550:
2535:the original
2529:
2513:. Retrieved
2508:the original
2502:
2472:
2452:
2421:(1): 25–30.
2418:
2414:
2390:
2381:Bibliography
2366:
2356:
2347:
2324:
2319:
2290:
2278:
2251:
2245:
2235:September 5,
2233:. Retrieved
2229:
2220:
2210:September 5,
2208:. Retrieved
2204:
2195:
2183:. Retrieved
2179:
2170:
2143:
2134:
2123:, retrieved
2101:
2092:
2067:, retrieved
2037:
2027:
1986:
1947:(1): 18–24.
1944:
1940:
1930:
1922:
1917:
1909:
1904:
1895:
1885:
1876:
1870:
1858:. Retrieved
1854:
1845:
1837:
1833:
1809:
1803:
1791:. Retrieved
1786:
1765:
1739:. Retrieved
1735:
1726:
1715:
1709:
1680:
1670:
1637:. Retrieved
1633:
1623:
1614:
1592:
1583:
1574:
1538:
1528:
1517:
1463:, retrieved
1457:
1450:
1438:. Retrieved
1434:
1372:Art movement
1340:Barbara Swan
1336:
1332:
1292:
1289:American art
1269:
1248:
1231:
1210:
1195:
1174:
1153:
1136:
1115:
1098:
1081:
1066:
1054:
1048:
1033:
1032:(1903–1972)
1027:
1012:
1011:(1928–1991)
1006:
991:
990:(1910–1976)
985:
970:
969:(1883–1965)
964:
949:
948:(1898–1969)
943:
926:
907:
901:
886:
880:
865:
859:
842:
836:
821:
815:
800:
799:(1889–1953)
794:
779:
778:(1923–2015)
760:
759:(1906–1956)
754:
737:
736:(1883–1931)
731:
716:
715:(1880–1946)
710:
695:Stuart Davis
693:
678:
677:(1922–2000)
672:
657:
642:Mel Zabarsky
627:Barbara Swan
607:Joyce Reopel
552:Hans Hofmann
517:Jason Berger
498:
472:Boston Globe
471:
470:
466:Barbara Swan
448:(1887–1938)
438:
418:
413:Joyce Reopel
397:Giglio Dante
386:
364:
355:
343:
339:
327:John Wilson
324:
310:
307:
289:
284:
265:
263:)' to four.
246:
242:
236:
228:
212:
203:
197:
196:
190:
189:
178:
170:Organization
139:
137:
99:Headquarters
68:Boris Mirski
18:
2613:December 3,
2515:December 6,
2185:October 29,
2125:October 29,
2069:October 29,
1793:October 29,
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1682:caa.reviews
1639:October 29,
1496:Taylor 1974
1440:October 28,
1362:Art gallery
1311:Jack Levine
1303:Hyman Bloom
1034:Beacon Hill
1013:Sitting Eve
838:Rico Lebrun
572:Jack Levine
567:Rico Lebrun
522:Hyman Bloom
393:Hyman Bloom
290:'s Art News
268:Hyman Bloom
120:African art
112:Avant-garde
94:Art gallery
35:Beacon Hill
2671:Categories
2295:Chaet 1980
1826:Temin 1982
1663:Chaet 1980
1393:References
1367:Modern art
1357:Art dealer
1323:Karl Zerbe
1257:, c. 1921.
1176:John Marin
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945:Ben Shahn
612:Ben Shahn
477:Rembrandt
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185:Lithuania
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