Henry Pearlman - Knowledge (XXG)

545: 611: 488: 438: 74: 192: 1515:. Exh. cat. New York, 1974. Exhibition, Brooklyn Museum of Art, New York, 22 May–29 September 1974; Art Museum, Princeton University, 8 December 1974 – 14 March 1975; Munson-Williams-Proctor Institute, Utica, N.Y., 13 April–31August 1974; Francine and Sterling Clark Institute, Williamstown, Mass., 26 September 1975 – 22 February 1976; Carnegie Institute, Pittsburgh, 6 April–30 May 1976. 33: 472:. This would result in a lifelong friendship for Pearlman with one of the few living artists whose work he collected. On this same trip he also visited the places where Soutine had painted. Ultimately, Pearlman's collection would include seven paintings by Soutine, and four works by Modigliani, including a rare limestone head and two oil portraits ( 131: 318: 499:

Although successful in business, Pearlman was never able to match the resources of his contemporaries. Instead, "he was both lucky and clever: lucky in that, when he first started, the art he was interested in…could be secured for thousands rather than millions of dollars…and clever in that he

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Pearlman started his career in the cork insulation business, forming his own company, Eastern Cold Storage Insulation Corporation, at the age of twenty-four and becoming a major player in marine refrigeration. He married Rose Fried in 1925. They raised two daughters in

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In 2014, the Henry and Rose Pearlman Foundation and the Princeton University Art Museum initiated a tour of the collection, including its first exhibitions outside the United States. With the aim of expanding the audience for these works and artists, the tour

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While Pearlman initially decorated his Croton home with Old Master and American Realist paintings, including those found at local flea markets, he later turned to expressionist paintings. In 1945, he purchased an expressionist painting by

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Beginning in the 1950s, Henry and Rose Pearlman began lending individual works to major museums, initially for retrospectives of Soutine and Modigliani. Pearlman also lent financial and other support to artists, including Kokoschka and

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In addition to Modigliani, he added works by Toulouse-Lautrec, Manet, Degas, Renoir and Gauguin as well as several significant oil paintings by Cézanne, including the only known vertical-format of the artist’s favorite subject,

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Henry Pearlman spent much of the last year of his life organizing an exhibition of the collection at the Brooklyn Museum, which toured after his death to Princeton, Utica (NY), Williamstown (MA) and the Carnegie Institute in

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was established in 1955 as a not-for-profit organization and is the current owner of the collection. The first exhibition of the collection took place in 1958, when twenty-seven selected works were lent anonymously to the

465:). Pearlman quickly made connections in the New York art world and traded his decorative collection for carefully selected examples of modern works by impressionist, post-impressionist and expressionist European artists. 883: 972:"Jacques Lipchitz studio fund invoice, 1952? (Digital ID: 14010), Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, Archives of American Art, Smithsonian Institution" 508:

was available from the heirs of the artist Milo Beretta. He offered a combination of paintings and cash to acquire the long lost painting, the last time. Also in 1950, with the advice of noted

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Impressionism, Post-impressionism, Expressionism: The Mr. & Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Toulouse Lautrec, Manet, Modigliani, Soutine, and Others

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Impressionism, Post-impressionism, Expressionism: The Mr. & Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Toulouse Lautrec, Manet, Modigliani, Soutine, and Others

564:, whose studio was destroyed by fire in 1952. Later he allowed his collection to be exhibited as a fundraiser for an organization helping immigrant populations settle in New York. 1665: 575:. Numerous exhibitions of the collection (in whole and in part) have taken place over the past six decades, including the following: forty-six works were shown at 1349: 1320: 1291: 1080: 1051: 1007: 702: 631:

in 1976, when Rose Pearlman, as head of the foundation, initiated a series of longer-term loans that continue to this day. A world-class university-based museum,

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in Aix-en-Provence, France, where many of the Cézanne works were originally created. The collection then returned to North America with three exhibitions: The

528:. Pearlman continued to build his collection for the three remaining decades of his life. His last two purchases were Cézanne watercolors: a late masterpiece ( 607:’s "Paintings from Private Collections: Summer Loan Exhibition" series, in part so that the works would be safe and seen while he and Rose were in Croton. 1513: