Kay Sage - Knowledge

2017:

from Sage's personal scrapbooks that do not appear in the 2018 catalogue raisonne because there were no "digital images" of them. Additionally,an image of Sage's only print, a lithograph she contributed to the Galerie Maeght, Paris, for its exhibition Le Surrealisme en 1947, appears on Miller's microfilmed 1983 Sage Catalogue Raisonne, but unfortunately not in the 2018 Catalogue Raisonne published by Delmonico/Prestel Verlag. (Stephen Robeson Miller also regrets that in his Chronology in the Kay Sage Catalogue Raisonne, published in 2018, there was not time before the book went to press to include the following correction: Sage saw her first Tanguy painting Je vous attends (I await you), 1934, at the Galerie Charpentier in Paris in January 1935, not at the same gallery during the summer of 1936. Proof of this information is the checklist of the exhibition called "Le Temps Present: Peinture, Sculpture, Gravure: 1er Exposition de 1935" held from January 10–28 at the Galerie Charpentier, Paris, with Tanguy's painting listed as number 232, which Dr. Charles Stuckey at the Pierre Matisse Foundation, New York, located at the Metropolitan Museum of Art and provided to Mr. Miller).

2013:

Print in 1995 as "date not set" with a Boston, Massachusetts, publisher (Nelmar Press), it was decided to publish these plays to coincide with an exhibition, and therefore they were eventually published by the Gallery of Surrealism, New York, to coincide with the Sage and Tanguy exhibition at the Katonah Museum of Art, Katonah, New York, cited above, of which Miller was curator. Miller included with the plays a fifty page abridged version, with revisions, of his 1983 one-hundred page chronology in the Archives of American Art on microfilm reel nos. 2886-2888 which extensively incorporated selected quotations from his interviews and correspondence with people who knew Sage and which forms part of the collection named by the AAA "The Stephen Robeson Miller Research Papers about Kay Sage, 1898–1983". Additionally, included for each year in the 2011 Chronology, is the source for each quotation/entry as well as a list of the titles of the works she had executed during that year, thereby making it a catalogue raisonne of Sage's Surrealist works "without illustrations" (see below).

2036:

publish further. Although Miller and Suther had briefly discussed collaborating on a book about Sage, their collaboration never materialized because Miller decided he wanted to do his own book, namely a catalogue raisonne with his commentary about her paintings, Sage's unpublished one-act plays, and his one-hundred page Chronological Biography in the Archives of American Art. Miller's shorter, abridged (fifty page) 2011 Chronology published by the Gallery of Surrealism, New York, provides the source for each entry and includes, for example, a letter Sage wrote to Flora Whitney Miller stating that she brought her mother with her from Rapallo to New York in 1939. While it is true that occasionally a secondary source had provided Miller with information which later proved factually erroneous, the "contemporary primary source material" of Sage's 1939 letter to Flora Whitney Miller stating that she had brought her mother with her at that time to NYC is indisputable, and is contrary to what Suther wrote in her book without providing a source.

421:

friends' accounts, made no response to her husband's aggression except to try to persuade him to go home. Friends also said that Tanguy did not like Sage's painting and felt jealous of the fame that came to her. However contentious or abusive their relationship was, Sage was devastated by Tanguy's death. "Yves was my only friend who understood everything," she wrote to Jehan Mayoux, an old friend of Tanguy's, about a month after Tanguy's fatal stroke.

357:. (They leased a house in the area beginning in 1941 but maintained a New York apartment for a while as well; in 1946 they purchased the farm and moved to Woodbury permanently.) They converted a barn on the farm into his-and-hers studios, separated by a partition with a door. Their large home was decorated with numerous pieces of Surrealist art and a variety of unusual objects, including a stuffed raven in a cage and an Eskimo mask. 200: 432:. Instead, she devoted her time to two projects: preserving Tanguy's reputation through retrospective shows and a complete catalogue of his work, and writing poetry, mostly in the slangy French she had learned in her youth and spoken with Tanguy. With the help of longtime friend Marcel Duhamel—and her own subsidies to cover most of the printing costs—Sage arranged for a book of this poetry, 44: 950:

Research Papers about Kay Sage, see citation below.) Their style is colloquial, their wit sharp and often directed at herself. Many are dialogues, perhaps imagined conversations with Tanguy (with whom she spoke the same kind of street-language French she used in the poems) or perhaps discussions between different parts of herself. Her published works are:

409: 489: 1096:"In preparing for her Matisse Gallery exhibition, Sage executed her most ambitious surrealist painting to date, Danger, Construction Ahead (1940) … This painting illustrates the desolate wasteland that she favored and the dramatic composition, in which large forms are placed close to one side of the foreground, emphasizing distance." 510:

Judith Suther calls "a constant, usually unconscious interchange." Suther and others also point out differences between the two artists: for example, the large architectural constructions that dominate Sage's paintings are quite unlike the smaller biomorphic or metallic forms that people associate with Tanguy's landscapes.

452:

of heavy smoking and drinking. During 1960 and 1961, as a substitute for painting, she made small sculptures of wire, stones, bullets, and other unusual materials. Catherine Viviano hosted a show of these objects, titled "Your Move," in November 1961, as well as a major retrospective show of Sage's paintings in April 1960.

998: 2004:

Katonah, N. Y.: Katonah Museum of Art/Mint Museum, 2011-2012. One of Miller's books, Kay Sage: The Biographical Chronology and Four Surrealist One-Act Plays (2011) is, despite its title, an abridged version of the 100 page Chronology by Miller on microfilm at the Archives of American, and as such is

517:

note key features of Sage's mature work. Most of Sage's paintings focus on free-standing architectural structures, including walls, towers, and latticework, which could represent buildings either under construction or ruined and decaying. Her use of arched entryways and slanted perspectives may in be

509:

Critics during Sage's lifetime frequently compared her work to that of Tanguy, who was better known, and usually assumed that, when their work had features in common, those features must have originated with him. More recent feminist scholars have stated that the influence more likely was mutual—what

364:

and his family, they had difficulty keeping close friends. "Again and again Sage is described as imperious, forbidding, moody, quick to anger, remote, private, solitary, aloof, contradictory, and unapproachable," Judith Suther writes. Tanguy, though friendlier, became notorious for his behavior when

309:

borrowed motifs and styles from de Chirico and the Surrealists but showed hints of Sage's own future work as well. Art historian Whitney Chadwick states that Sage's paintings were "imbued with an aura of purified form and a sense of motionlessness and impending doom found nowhere else in Surrealism."

235:

in 1961 that her campagna experience shaped her "perspective idea of distance and going away." Nonetheless, in later years Sage usually claimed that she was self-taught perhaps because, as one of her biographers, Judith Suther, states, most of what she had learned in Rome bore so little relationship

451:

In 1959 and 1960 she underwent operations to remove her cataracts, which she had formerly refused to do. Unfortunately, the surgeries were painful and had only limited success, and by this time she was suffering from other health problems as well, including some that may have resulted from her years

2035:

Lincoln: University of Nebraska Press, 1997. The author stated in her Acknowledgements that Miller had abandoned his book on Sage, but this was not possible because Miller's citation in Books in Print with Nelmar Press predated Suther's 1997 citation in Books in Print, and demonstrated his plan to

2016:

Miller, Stephen Robeson. "Illustrated Catalogue Raisonne of the Surrealist Art of Kay Sage" on microfilm at the Archives of American Art, Smithsonian Institution, Washington, D.C., 1983, in which the works appear chronologically, permitted the inclusion of a number of works published in newspapers

455:

Sage wrote in a journal in August 1961, "I have said all that I have to say. There is nothing left for me to do but scream." On January 8, 1963, she put a fatal bullet through her heart. Following instructions in her will, Pierre Matisse buried urns containing Sage's and Tanguy's ashes in the water

949:

and four Surrealist one-act plays, Sage wrote several books of poetry, three in French, one in English and one in Italian. There are also more than two hundred unpublished poems in the Archives of American Art (Flora Whitney Miller Papers, and sixty unpublished poems in the Stephen Robeson Miller

530:

thought by many to be a self-portrait, is hardly recognizable as a face.) Like Tanguy, Sage often sets her objects on deserts or plains that recede to immeasurably distant horizons. She renders her forms in meticulous, photographic detail, using a gray-green-ochre palette that Tessier describes as

504:

I call Kay Sage a Surrealist because her painting resonates with the unsettling paradoxes and hallucinatory qualities prized by André Breton and his group. . . . More fundamentally, I call Sage a Surrealist because her allegiance to the Surrealist identity lies at the heart of her self-image as an

332:

Germany invaded Poland in September 1939, beginning World War II, and Sage sailed back to the United States a month later. She immediately set up plans to help the Surrealists immigrate as well and establish themselves in the new country by means of art exhibitions—starting with Tanguy, who joined

248:

in another form." They married on March 30, 1925. For ten years the couple lived the idle life of upper-class Italians, which Sage later described as "a stagnant swamp." She looked back on that time as years that she simply "threw away to the crows. No reason, no purpose, nothing." Her husband was

420:

The relationship between Kay Sage and Yves Tanguy was as enigmatic as their art. At the same parties during which he banged his head against those of other men, Tanguy assaulted Sage verbally and sometimes physically, pushing her and sometimes even threatening her with a knife. Sage, according to

2012:

New York: Gallery of Surrealism, 2011. (Note: In 1976, Marcel Duhamel, Sage's literary executor in France, six months before his death, gave her four Surrealist one-act plays to Stephen Robeson Miller with the understanding that the latter would eventually publish them. First listed in Books in

447:

This seems to have reflected Sage's own state of mind. She filed her will in Waterbury in December 1958, and on April 28–29, 1959, a few weeks after she completed a massive catalogue of Tanguy's paintings, she attempted to end her life with an overdose of sleeping pills. A housekeeper found her,

368:

During these years Sage's art gained a solid reputation among art critics, though she found it difficult to emerge from the shadow of the better-known Tanguy. Her work was regularly included in national exhibits, won prizes, and was sold to major art museums. In 1943, Sage's work was included in

328:

Tanguy at the time was married to Jeannette Ducroq, but they were separated, and he and Sage immediately fell in love. Sage, still well off, was generous with her money and the group of impoverished artists badly needed such support, but some resented her wealth and what they felt was a haughty

273:

Perhaps spurred by the deaths of her father in 1933 and her sister, from tuberculosis, in 1934 (Anne had joined Kay and her mother in Italy in the 1920s, and the sisters became quite close during Anne's final illness), Sage left her husband in 1935 with plans to build an independent life as an

226:

As a child she drew and wrote as hobbies, but her first formal training in painting was at the Corcoran Art School in Washington, D.C., in 1919–1920. After she and her mother went back to Italy in 1920, she studied art in Rome for several years, learning conventional techniques and styles. She

1996:

Miller, Stephen Robeson. "In the Interim: the Constructivist Surrealism of Kay Sage" in Surrealism and Women, edited by Mary Ann Caws, MIT Press, Cambridge, Massachusetts, 1991. Mentions the author's illustrated Kay Sage Catalogue Raisonne, in which the works are arranged chronologically, on

195:

Anne Wheeler Ward Sage left her husband and older daughter soon after Kay's birth to live and travel in Europe with Kay as her companion. She and Henry Sage divorced in 1908, but Henry Sage continued to support his ex-wife and younger daughter, and Kay visited him and his new wife in Albany

399:

won first honorable mention in the 22nd Corcoran Biennial Exhibition of Contemporary American Painting. Sage and Tanguy had a large joint exhibition at the Wadsworth Atheneum in Hartford, Connecticut—their first and almost only exhibition together—in August and September 1954.

215:, Italy, but visited many other places as well, including Paris. Katherine became fluent in French and Italian, speaking colloquial versions of these languages that she learned from the servants who helped to raise her. She attended a number of schools, including the 274:

artist; they obtained a papal annulment of their marriage several years later. In December 1936, as she prepared to leave Italy and move to Paris, Sage had her first solo art exhibit, six oil paintings shown at the Galleria del Milione in Milan. In

262: 329:

attitude that fitted her former title of "Princess" all too well. Her alliance with Tanguy contributed to a rift between Tanguy and Breton, who had formerly been close friends. Nonetheless, Sage continued to call herself a Surrealist.

1281:

1942, also owned by the AIHA. In these works the poetic titles reinforce the eerie mood of psychological desolation conveyed by the combination of veiled and static forms left like relics from a deserted civilization in barren

151:

artist and poet active between 1936 and 1963. A member of the Golden Age and post-war periods of Surrealism, she is mostly recognized for her artistic works, which typically contain themes of an architectural nature.

1638:(1955, ...), shows a kind of architecture of doom, a dead world marked by strange, cagelike constructions that appear to contain trapped, suffocating figures. Most of Sage's paintings lack recognizable human beings," 243:

Sage met a young Italian nobleman, Ranieri Bourbon del Monte Santa Maria, Prince di San Faustino, in Rome around 1923 and fell in love with him, believing at first, as she wrote to a friend in 1924, that he was

300:

inspired Sage to begin painting in earnest. She exhibited six of her new oils in the Salon des Surindépendants show at the Porte de Versailles in the fall of 1938. These semiabstract paintings, including

353:

Sage did the bulk of her mature work between 1940, when she married Tanguy, and 1955, when he died suddenly from a cerebral hemorrhage. During most of that time the two artists lived at Town Farm in

289:, which featured what Magdalena Holzhey, in a book devoted to de Chirico, calls "empty squares and receding depths, shadowy arcades and soaring towers." Sage bought one of de Chirico's paintings, 895:

1940, Pierre Matisse Gallery, New York (17 oils, solo show); Tone Price gallery, Los Angeles (13 oils, solo show); San Francisco Museum of Art, San Francisco (13 oils, part of group show)

1868:"For this artist plays with opposites. She contrasts a proper bridge or a functional square block with a controlled tangle of non-functional props and beams, as in Unusual Thursday." 325:

to the Surindépendants exhibit and were impressed enough by Sage's paintings to seek her out. Calas claimed that Breton was sure that the paintings must have been made by a man.

187:, was a state assemblyman the year after her birth and later was a five-term state senator. Her mother was Anne Wheeler (Ward) Sage. Sage had an elder sister, Anne Erskine Sage. 1217:

Letter from Katherine Sage to Flora Whitney Tower, May 5, 1924, AAA no. 2886 ("Stephen Robeson Miller Research Papers about Kay Sage, 1898–1983"), cited in Suther p. 39.

531:"reminiscent of the sulphurous light before a thunderstorm". Critics frequently called Sage's work disturbing or depressing, even when they praised her painterly skill. 341:, a month after he arrived. Sage had her own solo show, her first in the United States, at the same gallery in June 1940. Sage and Tanguy married on August 17, 1940, in 1665:

Letter from Kay Sage to Jehan Mayoux, February 5, 1955, AAA no. 2887 ("Stephen Robeson Miller Research Papers about Kay Sage, 1898–1983"), cited in Suther, pp. 161–162.

500:

Kay Sage consistently identified herself as a Surrealist, and authors who have written about her usually do so as well. One of her biographers, Judith Suther, writes:

1866:

The modern renaissance in American art: presenting the work and philosophy of 54 distinguished artists' 1968; Ralph M. Pearson; Books for Libraries Press, 1968;

3107: 534:

Sage almost never commented on what her paintings represented or how their seemingly ominous mood should be interpreted. One exception was her statement to a

1993:

Miller, Stephen Robeson. "The Surrealist Imagery of Kay Sage" Art International, Lugano, Switzerland, v. 26, September–October 1983, pp. 32–47; 54–56.

3077: 2996: 282: 3087: 3001: 542:

a painting that appeared in her 1950 show at the Catherine Viviano gallery, was "a sort of showing of what's inside—things half mechanical, half alive."

2145: 164: 360:

Although the Tanguys visited, and were visited by, many members of both the French expatriate and American art communities, such as mobile designer

3082: 3072: 3062: 889:

1936, Galleria del Milione, Milan, Italy (six oils) (actually a three-person exhibition: see S. R. Miller's 2011 and 2018 publications below).

285:

at Galerie Beaux-Arts; consisting of 299 pieces by 60 artists from 14 countries. She was especially struck by the paintings of Italian artist

1743: 1482: 1029:

Stephen Robeson Miller, Kay Sage: The Biographical Chronology and Four Surrealist One-Act Plays, (New York: Gallery of Surrealism, 2011) 21.

3067: 3057: 2173: 2139: 391:

won the Watson F. Blair Purchase Prize from the Art Institute of Chicago in October 1945, Sage's first major public recognition. In 1951,

269:

of 1942, forms are figurative, static, and draped. The dark background alludes to feelings of unease with these figures in the foreground.

2005:

approx. 50 pages of text. In his essay in this publication, Jonathan Stuhlman demonstrably shows just how Sage influenced Tanguy's work.

1466: 1277:; SUNY Press, January 1, 1998 "She began to use forms covered by rigid draperies, sometimes suggesting figurative shapes beneath, as in 3042: 2950: 1574: 231:

and fellow students. Much later, Sage stated that "these were the happiest days of my life", and she told friend and gallery owner

931:

2012, Featured in the exhibition In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States at the

2829: 932: 2083: 3097: 375: 1094:

Surrealism and Women; Mary Ann Caws, Rudolf E. Kuenzli, Gloria Gwen Raaberg; MIT Press, 1991, Stephen Robeson Miller stated

473:

Kay Sage is known chiefly as a visual artist. However, she also wrote five volumes of poetry, chiefly in French, including

2895: 365:

drunk, which included grabbing the heads of other men at a gathering and striking them hard and repeatedly with his own.

3102: 2809: 2739: 2336: 1051: 2551: 380: 496:

of 1951, a jumble of objects in the foreground is contrasted with a latticework bridge leading off into the distance.

2107: 160: 3021: 2216: 2501: 2905: 2890: 2166: 1173:

Owned and filmed by the Archives of American Art, Smithsonian Institution, 1971, cited in Chadwick, Whitney.

922:

1965, Mattatuck Museum, Waterbury, Connecticut (memorial exhibit of 50 works, titled "A Tribute to Kay Sage")

443:

One of the chief paintings in a show of 13 of Sage's oils at the Viviano Gallery in November 1958 was called

253:"Some sort of inner sense in me was reserving my potentialities for something better and more constructive." 2704: 1634:

Brightlightsfilm.com Surreal Women: Leonor Fini and Kay Sage Documentaries; May 2006 "Her most famous work,

925:

1977, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (65 works, solo retrospective)

3092: 3016: 2885: 2574: 2065: 1851:

A House of Her Own: Kay Sage, Solitary Surrealist; Judith D. Suther; U of Nebraska Press, January 1, 1997

2759: 333:

her in New York City in November. She arranged for Tanguy to have a solo show at the New York gallery of

278:

her 1997 biography of Sage, Judith Suther describes these works as "experimental abstract compositions."

2986: 2971: 2915: 2654: 2639: 2579: 354: 155:

Through her marriage to an Italian prince, she became princess of San Faustino in 1925, and a member of

89: 2286: 1990:

Mattatuck Museum Historical Society. "A Tribute to Kay Sage." Mattatuck, Conn.: Mattatuck Museum, 1965.

1980: 440:

which covered her life up to about the time she left San Faustino, but she never tried to publish it.

3052: 3047: 2966: 2920: 2456: 281:

Sage moved to Paris in March 1937 and rented a luxurious apartment there. In early 1938 she saw the

2854: 2291: 2159: 220: 2411: 1063:"Sage, Kay Linn, June 25, 1898-Jan. 8, 1963." 1980, pp. Notable American Women: The Modern Period. 2331: 2321: 2256: 519: 286: 2789: 2779: 2446: 2326: 1474: 1566: 1560: 526:

one of Sage's last paintings, is perhaps the only one containing a definite human figure; even

3006: 2976: 2824: 2774: 2734: 2649: 2346: 2076: 1749: 1739: 1570: 1478: 1011: 425: 395:

won first prize in oils at the Eastern States Exposition of Connecticut Contemporary Art, and

1928: 2981: 2935: 2900: 2880: 2849: 2834: 2819: 2599: 2516: 2476: 2396: 2386: 2371: 2361: 2306: 2271: 2261: 2125: 1470: 1003: 436:

to be published in France in June 1957. Around 1955 she also wrote a partial autobiography,

370: 361: 228: 199: 180: 156: 71: 2744: 919:

1961, Catherine Viviano gallery, New York (small Surrealist sculptures, titled "Your Move")

2794: 2719: 2699: 2604: 2546: 2536: 2526: 2496: 2471: 2451: 2426: 2391: 2241: 2236: 2111: 2069: 928:

2011, The Katonah Museum of Art, Katonah, New York (25 works, joint show with Yves Tanguy)

216: 2669: 2609: 2491: 2401: 2206: 322: 313:

Several stories are told about Sage's meeting with her future husband, Surrealist artist

2043:

Cambridge, Mass.: The Belknap Press of Harvard University Press, 1980, pp. 618–619.

2991: 2814: 2804: 2754: 2709: 2674: 2644: 2629: 2624: 2614: 2589: 2506: 2486: 2461: 2436: 2351: 2301: 2296: 2246: 2226: 910:

1954, Wadsworth Atheneum, Hartford, Connecticut (46 works, joint show with Yves Tanguy)

334: 168: 3036: 2930: 2925: 2844: 2784: 2764: 2729: 2714: 2694: 2634: 2619: 2594: 2556: 2541: 2421: 2406: 2381: 2341: 2276: 2231: 2097: 2090: 522:. Some contain figures that might or might not be human, hidden by flowing drapery. ( 338: 318: 184: 100: 2039:

Tessier, Régine. "Sage, Kay Linn," in Barbara Sicherman and Carol Hurd Green, eds.,

1300:

Tessier, Régine. "Sage, Kay Linn," in Barbara Sicherman and Carol Hurd Green, eds.,

2945: 2940: 2859: 2839: 2799: 2684: 2679: 2664: 2584: 2416: 2281: 2251: 2211: 342: 249:

content with their lifestyle, but Sage was not: as she wrote in her autobiography,

2769: 2724: 2689: 2441: 2266: 1856:

the Sage latticework becomes a set of tracks that lead off into invisible space…"

2875: 2521: 2511: 2366: 2356: 2316: 2221: 2196: 1039: 477:

in September 1959. She wrote four short plays and an unpublished autobiography,

408: 384: 314: 261: 232: 132: 488: 2910: 2749: 2431: 2182: 1304:

Cambridge, Mass.: The Belknap Press of Harvard University Press, 1980, p. 618.

993: 297: 148: 120: 1753: 416:

of 1955, rudiments of architecture enclose suggestions of human forms within.

17: 2659: 2376: 2311: 429: 43: 227:

particularly enjoyed painting outdoors in the Roman Campagna with teacher

2201: 2104: 457: 110: 2010:

Kay Sage: The Biographical Chronology and Four Surrealist One-Act Plays,

916:

1960, Catherine Viviano gallery, New York (59 works, solo retrospective)

2466: 2132: 2114:." Mattatuck Collections, Mattatuck Museum. Accessed December 11, 2011. 212: 424:

Sage did fewer new paintings after Tanguy died, partly because of her

1735:

Art & ophthalmology : the impact of eye diseases on painters

1733: 2118: 203:

Asymmetrically placed large foreground forms emphasize distance in

183:, into a family made wealthy from the timber industry. Her father, 2531: 1042:". Encyclopedia Britannica, 21 Jun. 2023, Accessed 6 October 2023. 513:

Both Suther and Régine Tessier, the latter in a sketch of Sage in

487: 407: 260: 198: 2002:

Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy.

3011: 321:, who recalled that he and Tanguy accompanied Surrealist leader 310:

Around this time the artist began signing her works "Kay Sage."

2155: 2142:." Editions Complicités. In French. Accessed December 24, 2011. 2084:

Stephen Robeson Miller research material on Kay Sage, 1898-1983

219:

in Virginia, where she became a lifelong friend of the heiress

2062: 1987:

Lincoln: University of Nebraska Press, 1997, pp. 173–198.

1275:

Albany Institute of History & Art: 200 Years of Collecting

913:

1956, Catherine Viviano gallery, New York (12 oils, solo show)

907:

1952, Catherine Viviano gallery, New York (14 oils, solo show)

904:

1950, Catherine Viviano gallery, New York (14 oils, solo show)

2151: 2128:." Morphizm. Posted May 15, 2006; accessed December 11, 2011. 383:

in New York. She had several solo shows at the galleries of

130:

Ranieri Bourbon del Monte Santa Maria, Prince of San Faustino

1054:, Echo Callaghan, Aoife McGrath, Trinity WGM Review, p. 115 207:

of 1940. Oil on canvas 111.8 x 157.5 cm (44 x 62 in. )

892:

1938, Salon des Surindependants, Paris, France (six oils)

1983:. "The Silent Couple: Kay Sage and Yves Tanguy," in her 901:

1947, Julien Levy gallery, New York (11 oils, solo show)

898:

1944, Julien Levy gallery, New York (18 oils, solo show)

1985:

Magnifying Mirrors: Women, Surrealism, and Partnership.

1562:

Modern Women: Women Artists at The Museum of Modern Art

387:

and, beginning in 1950, Catherine Viviano in New York.

1997:

microfilm at the Archives of American Art (see below).

2086:." Archives of American Art, Smithsonian Institution. 2079:." Archives of American Art, Smithsonian Institution. 1190:

55 (September 1954), p. 27, cited in Chadwick p. 165.

428:

and partly because of her decreasing eyesight due to

236:

to the kind of painting she eventually did that "she

143:(June 25, 1898 – January 8, 1963), usually known as 2959: 2868: 2565: 2189: 126: 116: 106: 96: 78: 53: 34: 2033:A House of Her Own: Kay Sage, Solitary Surrealist. 2022:A House of Her Own: Kay Sage, Solitary Surrealist. 1802:Sage, Kay, journal entry. Cited in Suther, p. 220. 1074:A House of Her Own: Kay Sage, Solitary Surrealist. 1559:Butler, Cornelia H.; Schwartz, Alexandra (2010). 345:, after he obtained a final divorce from duCroq. 2077:Kay Sage Papers, 1925-circa 1985, Bulk 1950–1965 1076:Lincoln: University of Nebraska Press, 1997, p.1 1354:Giorgio de Chirico 1888–1978: The Modern Myth. 969:(1957, probably a translation into English of 2167: 2135:." Sullivan Goss. Accessed December 11, 2011. 2100:." ArtCyclopedia. Accessed December 11, 2011. 196:occasionally and wrote him frequent letters. 8: 2050:Ostfildern-Ruit, Germany: Hatje Cantz, 2001. 27:American Surrealist artist, poet (1898–1963) 1186:Levy, Julien. "Tanguy, Connecticut, Sage." 697:On The First of March Crows Begin to Search 3002:London International Surrealist Exhibition 2174: 2160: 2152: 2041:Notable American Women: The Modern Period. 1975:Women Artists and the Surrealist Movement. 1565:. New York: Museum of Modern Art. p. 1302:Notable American Women: The Modern Period. 1177:New York: Thames and Hudson, 1985, p. 163. 1175:Women Artists and the Surrealist Movement. 515:Notable American Women: The Modern Period, 159:. She was also the sister-in-law of Donna 42: 31: 1475:10.1093/gao/9781884446054.article.t083251 1038:Chakrabarty, Sonia and Blumberg, Naomi. " 211:Kay and her mother established a home in 2997:Exposition Internationale du Surréalisme 1682: 1680: 1312: 1310: 709:All Soundings Are Referred to High Water 393:All Soundings Are Referred to High Water 2126:Surreal Women: Leonor Fini and Kay Sage 2093:." All-Art. Accessed December 11, 2011. 1960:March 13, 1950, cited in Suther p. 134. 1929:"Kay Sage Biography | Caldwell Gallery" 1913: 1911: 1022: 2028:v. 15 i. 6 (March 1998), p. 4 ff. 1052:Listening to the Silences of Kay Sage 835:South to Southwesterly Winds Tomorrow 7: 3108:20th-century American women painters 2140:Kay Sage ou le surréalisme américain 577:This Morning (painting)|This Morning 240:as if she had studied with no one." 721:The Unicorns Came Down From the Sea 3078:Suicides by firearm in Connecticut 1977:New York: Thames and Hudson, 1985. 945:In addition to her autobiography, 25: 3088:People from Woodbury, Connecticut 2951:The Surrealist Group in Stockholm 456:off the coast of Tanguy's native 2133:Kay Sage (1898–1963): Surrealist 996: 933:Los Angeles County Museum of Art 283:International Surrealist Exhibit 1824:New York: Abrams, 2001, p. 210. 3083:20th-century American painters 3073:Painters from New York (state) 2121:." Accessed December 11, 2011. 1356:Cologne: Taschen, 2005, p. 18. 1265:p. 131, cited in Suther p. 50. 1252:p. 103, cited in Suther p. 51. 1239:p. 102, cited in Suther p. 46. 448:however, and she was revived. 1: 3063:Artists from Albany, New York 2896:Bureau of Surrealist Research 2119:Kay Sage (American—1898–1963) 2146:1922 Kay Sage passport photo 2063:Kay Sage Catalogue Raisonné. 1732:Lanthony, Philippe. (2009). 337:, son of the famous painter 3068:Artists who died by suicide 3058:American surrealist artists 2048:Yves Tanguy and Surrealism. 1738:. Weyenborgh Publications. 381:Art of This Century gallery 317:. One came from Greek poet 48:Signed passport photo, 1922 3124: 1822:Matisse, Father & Son. 1467:"Tanguy, Yves | Grove Art" 863:Passionnément, pas du tout 846:No Winds, no Birds" (1958) 715:Ring of Iron, Ring of Wool 601:Danger, Construction Ahead 518:attributed to the painter 293:and kept it all her life. 205:Danger, Construction Ahead 161:Virginia Bourbon del Monte 3022:Paranoiac-critical method 2068:February 9, 2020, at the 2008:Miller, Stephen Robeson. 2000:Miller, Stephen Robeson. 673:The Upper Side of the Sky 41: 3043:Women surrealist artists 2906:Chicago Surrealist Group 2891:British Surrealist Group 2026:Women's Review of Books, 1927:Grant Wingate, Zenobia. 841:The World of Why" (1958) 787:Dreamy Cars of Waterbury 434:Demain, Monsieur Silber, 163:, wife of industrialist 2110:April 26, 2012, at the 1853:"In the first painting 971:Demain, Monsieur Silber 961:Demain, Monsieur Silber 3098:Princesses by marriage 3017:Abstract expressionism 2886:Birmingham Surrealists 2575:Maxime Moses Alexandre 2552:Radojica Živanović Noe 2217:Jacques-André Boiffard 497: 417: 376:Exhibition by 31 Women 270: 208: 2987:Surrealist techniques 2972:Surrealist automatism 2916:Fighting Cock Society 2655:Roger Gilbert-Lecomte 2640:Vratislav Effenberger 2580:Guillaume Apollinaire 2046:von Maur, Karin, ed. 1465:Pierre, José (2003). 1208:Suther pp. 38–39, 41. 823:Journal of a Conjuror 655:From Another Approach 631:At The Appointed Time 571:My Room Has Two Doors 538:magazine critic that 491: 411: 355:Woodbury, Connecticut 264: 257:Surrealism and Tanguy 202: 90:Woodbury, Connecticut 2967:Surrealist Manifesto 2921:The Firesign Theatre 2705:Comte de Lautréamont 2138:Vieuille, Chantal. " 1905:Suther pp. xvi–xvii. 1625:Suther pp. 153, 155. 1352:Holzhey, Magdalena. 763:Tomorrow for Example 649:Too Soon for Thunder 625:The Fourteen Daggers 475:Faut dire c'qui est, 404:Last years and death 3103:Princesses in Italy 2855:Marianne Van Hirtum 2830:Simon Watson Taylor 2292:Christian Dotremont 2020:Rosenberg, Karen. " 1981:Hubert, Renée Riese 1973:Chadwick, Whitney. 1948:Suther pp. 139–140. 1896:Suther pp. 232–233. 1775:Suther pp. 210–211. 1713:Suther pp. 197,199. 1695:Suther pp. 178–179. 1674:Suther pp. 196–197. 1647:Suther pp. 129–130. 1598:Suther pp. 114–115. 1589:Suther pp. 133–134. 1522:Suther pp. 119–120. 977:Faut dire c'qui est 733:Starlings, Caravans 595:I Walk without Echo 565:Noone Heard Thunder 276:A House of Her Own, 221:Flora Payne Whitney 141:Katherine Linn Sage 58:Katherine Linn Sage 2332:Alberto Giacometti 2322:Gordon Onslow Ford 2257:Leonora Carrington 2031:Suther, Judith D. 1842:Suther p. 173-175. 1072:Suther, Judith D. 851:Watching the Clock 811:A Bird in the Room 727:The Seven Sleepers 703:Arithmetic of Wind 661:I Saw Three Cities 559:An important event 520:Giorgio de Chirico 498: 494:"Unusual Thursday" 469:Poetry and writing 418: 397:Nests of Lightning 389:In the Third Sleep 307:The World Is Blue, 287:Giorgio de Chirico 271: 209: 147:, was an American 3030: 3029: 3007:Women surrealists 2977:Surrealist cinema 2825:Philippe Soupault 2457:Benjamín Palencia 1967:Suggested reading 1745:978-90-6299-460-1 1636:Tomorrow Is Never 1484:978-1-884446-05-4 1455:Suther pp. 96–97. 1419:Suther pp. 76–77. 1374:Suther pp. 63–64. 1343:Suther pp. 60–61. 1334:Suther pp. 59–60. 1325:Suther pp. 55–56. 1279:Margin of Silence 1151:Suther pp. 21–23. 1012:Women Surrealists 967:The More I Wonder 955:Piove in giardino 817:Tomorrow is Never 643:The Hidden Letter 619:Margin of Silence 445:The Answer Is No. 414:Tomorrow Is Never 296:This exposure to 267:Margin of Silence 179:Sage was born in 138: 137: 16:(Redirected from 3115: 2982:Surrealist music 2901:Chicago Imagists 2881:Les Automatistes 2820:Louis Scutenaire 2760:Vítězslav Nezval 2600:Georges Bataille 2517:Dorothea Tanning 2502:Jindřich Štyrský 2477:Aminollah Rezaei 2372:Jacqueline Lamba 2362:Gerome Kamrowski 2307:Curt Echtermeyer 2262:Ithell Colquhoun 2176: 2169: 2162: 2153: 1961: 1955: 1949: 1946: 1940: 1939: 1937: 1935: 1924: 1918: 1915: 1906: 1903: 1897: 1894: 1888: 1885: 1879: 1876: 1870: 1864: 1858: 1849: 1843: 1840: 1834: 1831: 1825: 1818: 1812: 1809: 1803: 1800: 1794: 1791: 1785: 1782: 1776: 1773: 1767: 1764: 1758: 1757: 1729: 1723: 1720: 1714: 1711: 1705: 1702: 1696: 1693: 1687: 1684: 1675: 1672: 1666: 1663: 1657: 1654: 1648: 1645: 1639: 1632: 1626: 1623: 1617: 1614: 1608: 1605: 1599: 1596: 1590: 1587: 1581: 1580: 1556: 1550: 1547: 1541: 1538: 1532: 1529: 1523: 1520: 1514: 1511: 1505: 1502: 1496: 1495: 1493: 1491: 1462: 1456: 1453: 1447: 1444: 1438: 1435: 1429: 1426: 1420: 1417: 1411: 1408: 1402: 1399: 1393: 1390: 1384: 1383:Chadwick p. 166. 1381: 1375: 1372: 1366: 1363: 1357: 1350: 1344: 1341: 1335: 1332: 1326: 1323: 1317: 1314: 1305: 1298: 1292: 1289: 1283: 1272: 1266: 1259: 1253: 1246: 1240: 1233: 1227: 1224: 1218: 1215: 1209: 1206: 1200: 1197: 1191: 1184: 1178: 1167: 1161: 1158: 1152: 1149: 1143: 1140: 1134: 1131: 1125: 1122: 1116: 1113: 1107: 1104: 1098: 1092: 1086: 1083: 1077: 1070: 1064: 1061: 1055: 1049: 1043: 1036: 1030: 1027: 1006: 1004:Biography portal 1001: 1000: 999: 857:The Answer Is No 775:Unusual Thursday 745:The Morning Myth 667:In the 3rd Sleep 607:I Have No Shadow 492:In the painting 371:Peggy Guggenheim 362:Alexander Calder 229:Oronato Carlandi 181:Albany, New York 157:American royalty 85: 72:Albany, New York 67: 65: 46: 32: 21: 3123: 3122: 3118: 3117: 3116: 3114: 3113: 3112: 3033: 3032: 3031: 3026: 2955: 2864: 2795:Raymond Queneau 2790:Jacques Prévert 2780:Rastko Petrović 2740:Robert Melville 2720:Georges Limbour 2700:Philip Lamantia 2605:Monny de Boully 2567: 2561: 2547:James F. Walker 2537:Albert Valentin 2527:Kristians Tonny 2497:Martin Stejskal 2472:Toni del Renzio 2452:Wolfgang Paalen 2447:Méret Oppenheim 2427:E. L. T. Mesens 2392:Georges Malkine 2327:Esteban Francés 2287:Óscar Domínguez 2242:Jacques Brunius 2237:Emmy Bridgwater 2185: 2180: 2131:Poosti, Tara. " 2124:Morris, Gary. " 2112:Wayback Machine 2070:Wayback Machine 2058: 2053: 1969: 1964: 1956: 1952: 1947: 1943: 1933: 1931: 1926: 1925: 1921: 1917:Tessier p. 619. 1916: 1909: 1904: 1900: 1895: 1891: 1886: 1882: 1877: 1873: 1865: 1861: 1850: 1846: 1841: 1837: 1832: 1828: 1820:Russell, John. 1819: 1815: 1810: 1806: 1801: 1797: 1792: 1788: 1783: 1779: 1774: 1770: 1765: 1761: 1746: 1731: 1730: 1726: 1721: 1717: 1712: 1708: 1703: 1699: 1694: 1690: 1685: 1678: 1673: 1669: 1664: 1660: 1655: 1651: 1646: 1642: 1633: 1629: 1624: 1620: 1615: 1611: 1606: 1602: 1597: 1593: 1588: 1584: 1577: 1558: 1557: 1553: 1548: 1544: 1539: 1535: 1530: 1526: 1521: 1517: 1512: 1508: 1503: 1499: 1489: 1487: 1485: 1464: 1463: 1459: 1454: 1450: 1445: 1441: 1436: 1432: 1427: 1423: 1418: 1414: 1409: 1405: 1401:Chadwick p. 60. 1400: 1396: 1391: 1387: 1382: 1378: 1373: 1369: 1364: 1360: 1351: 1347: 1342: 1338: 1333: 1329: 1324: 1320: 1315: 1308: 1299: 1295: 1290: 1286: 1273: 1269: 1260: 1256: 1247: 1243: 1234: 1230: 1225: 1221: 1216: 1212: 1207: 1203: 1198: 1194: 1185: 1181: 1168: 1164: 1159: 1155: 1150: 1146: 1141: 1137: 1132: 1128: 1123: 1119: 1114: 1110: 1105: 1101: 1093: 1089: 1085:Suther pp. 3–4. 1084: 1080: 1071: 1067: 1062: 1058: 1050: 1046: 1037: 1033: 1028: 1024: 1020: 1002: 997: 995: 992: 943: 938: 885: 880: 869:Passe ou Manque 793:Third Paragraph 781:On the Contrary 548: 528:Small Portrait, 486: 471: 466: 464:Art and writing 406: 351: 259: 217:Foxcroft School 193: 177: 165:Edoardo Agnelli 131: 92: 87: 83: 82:January 8, 1963 74: 69: 63: 61: 60: 59: 49: 37: 28: 23: 22: 15: 12: 11: 5: 3121: 3119: 3111: 3110: 3105: 3100: 3095: 3090: 3085: 3080: 3075: 3070: 3065: 3060: 3055: 3050: 3045: 3035: 3034: 3028: 3027: 3025: 3024: 3019: 3014: 3009: 3004: 2999: 2994: 2992:Surreal humour 2989: 2984: 2979: 2974: 2969: 2963: 2961: 2957: 2956: 2954: 2953: 2948: 2943: 2938: 2933: 2928: 2923: 2918: 2913: 2908: 2903: 2898: 2893: 2888: 2883: 2878: 2872: 2870: 2866: 2865: 2863: 2862: 2857: 2852: 2847: 2842: 2837: 2832: 2827: 2822: 2817: 2815:Georges Sadoul 2812: 2807: 2805:Pierre Reverdy 2802: 2797: 2792: 2787: 2782: 2777: 2775:Benjamin Péret 2772: 2767: 2762: 2757: 2755:Pierre Naville 2752: 2747: 2742: 2737: 2732: 2727: 2722: 2717: 2712: 2710:Marcel Lecomte 2707: 2702: 2697: 2692: 2687: 2682: 2677: 2675:Georges Hugnet 2672: 2667: 2662: 2657: 2652: 2650:Renée Gauthier 2647: 2642: 2637: 2632: 2627: 2622: 2617: 2615:Roger Caillois 2612: 2607: 2602: 2597: 2592: 2590:Antonin Artaud 2587: 2582: 2577: 2571: 2569: 2563: 2562: 2560: 2559: 2554: 2549: 2544: 2539: 2534: 2529: 2524: 2519: 2514: 2509: 2507:Maurice Tabard 2504: 2499: 2494: 2489: 2487:Kurt Seligmann 2484: 2479: 2474: 2469: 2464: 2462:Roland Penrose 2459: 2454: 2449: 2444: 2439: 2437:Desmond Morris 2434: 2429: 2424: 2419: 2414: 2409: 2404: 2399: 2394: 2389: 2384: 2379: 2374: 2369: 2364: 2359: 2354: 2352:Valentine Hugo 2349: 2347:Jacques Hérold 2344: 2339: 2337:Julio González 2334: 2329: 2324: 2319: 2314: 2309: 2304: 2302:Marcel Duhamel 2299: 2297:Marcel Duchamp 2294: 2289: 2284: 2279: 2274: 2269: 2264: 2259: 2254: 2249: 2244: 2239: 2234: 2229: 2227:Victor Brauner 2224: 2219: 2214: 2209: 2204: 2199: 2193: 2191: 2187: 2186: 2181: 2179: 2178: 2171: 2164: 2156: 2150: 2149: 2143: 2136: 2129: 2122: 2115: 2101: 2094: 2087: 2080: 2073: 2057: 2056:External links 2054: 2052: 2051: 2044: 2037: 2029: 2018: 2014: 2006: 1998: 1994: 1991: 1988: 1978: 1970: 1968: 1965: 1963: 1962: 1950: 1941: 1919: 1907: 1898: 1889: 1887:Suther p. 157. 1880: 1871: 1859: 1844: 1835: 1833:Suther p. 181. 1826: 1813: 1811:Suther p. 223. 1804: 1795: 1793:Suther p. 211. 1786: 1784:Suther p. 214. 1777: 1768: 1766:Suther p. 209. 1759: 1744: 1724: 1722:Suther p. 207. 1715: 1706: 1704:Tessier p. 618 1697: 1688: 1686:Suther p. 177. 1676: 1667: 1658: 1656:Suther p. 131. 1649: 1640: 1627: 1618: 1616:Suther p. 141. 1609: 1607:Suther p. 132. 1600: 1591: 1582: 1575: 1551: 1549:Suther p. 120. 1542: 1540:Suther p. 128. 1533: 1531:Suther p. 125. 1524: 1515: 1513:Suther p. 117. 1506: 1504:Suther p. 106. 1497: 1483: 1457: 1448: 1439: 1430: 1421: 1412: 1403: 1394: 1385: 1376: 1367: 1358: 1345: 1336: 1327: 1318: 1306: 1293: 1284: 1267: 1254: 1241: 1228: 1219: 1210: 1201: 1192: 1179: 1162: 1153: 1144: 1135: 1126: 1117: 1108: 1099: 1087: 1078: 1065: 1056: 1044: 1031: 1021: 1019: 1016: 1015: 1014: 1008: 1007: 991: 988: 987: 986: 980: 974: 964: 958: 942: 939: 937: 936: 929: 926: 923: 920: 917: 914: 911: 908: 905: 902: 899: 896: 893: 890: 886: 884: 881: 879: 878: 872: 866: 860: 854: 848: 843: 838: 832: 826: 820: 814: 808: 802: 796: 790: 784: 778: 772: 766: 760: 754: 751:Small Portrait 748: 742: 736: 730: 724: 718: 712: 706: 700: 694: 688: 682: 676: 670: 664: 658: 652: 646: 640: 634: 628: 622: 616: 610: 604: 598: 592: 586: 580: 574: 568: 562: 556: 553:A Little Later 549: 547: 544: 507: 506: 485: 484:Artistic style 482: 470: 467: 465: 462: 405: 402: 350: 347: 335:Pierre Matisse 258: 255: 192: 189: 176: 173: 169:Agnelli family 136: 135: 128: 124: 123: 118: 114: 113: 108: 107:Known for 104: 103: 98: 94: 93: 88: 86:(aged 64) 80: 76: 75: 70: 57: 55: 51: 50: 47: 39: 38: 35: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3120: 3109: 3106: 3104: 3101: 3099: 3096: 3094: 3093:1963 suicides 3091: 3089: 3086: 3084: 3081: 3079: 3076: 3074: 3071: 3069: 3066: 3064: 3061: 3059: 3056: 3054: 3051: 3049: 3046: 3044: 3041: 3040: 3038: 3023: 3020: 3018: 3015: 3013: 3010: 3008: 3005: 3003: 3000: 2998: 2995: 2993: 2990: 2988: 2985: 2983: 2980: 2978: 2975: 2973: 2970: 2968: 2965: 2964: 2962: 2958: 2952: 2949: 2947: 2944: 2942: 2939: 2937: 2936:La Mandrágora 2934: 2932: 2929: 2927: 2924: 2922: 2919: 2917: 2914: 2912: 2909: 2907: 2904: 2902: 2899: 2897: 2894: 2892: 2889: 2887: 2884: 2882: 2879: 2877: 2874: 2873: 2871: 2867: 2861: 2858: 2856: 2853: 2851: 2850:Jacques Vaché 2848: 2846: 2845:Tristan Tzara 2843: 2841: 2838: 2836: 2835:André Thirion 2833: 2831: 2828: 2826: 2823: 2821: 2818: 2816: 2813: 2811: 2808: 2806: 2803: 2801: 2798: 2796: 2793: 2791: 2788: 2786: 2785:Francis Ponge 2783: 2781: 2778: 2776: 2773: 2771: 2768: 2766: 2763: 2761: 2758: 2756: 2753: 2751: 2748: 2746: 2743: 2741: 2738: 2736: 2733: 2731: 2730:Joyce Mansour 2728: 2726: 2723: 2721: 2718: 2716: 2715:Michel Leiris 2713: 2711: 2708: 2706: 2703: 2701: 2698: 2696: 2695:Jacques Lacan 2693: 2691: 2688: 2686: 2683: 2681: 2678: 2676: 2673: 2671: 2668: 2666: 2663: 2661: 2658: 2656: 2653: 2651: 2648: 2646: 2643: 2641: 2638: 2636: 2635:Robert Desnos 2633: 2631: 2628: 2626: 2623: 2621: 2620:Nicolas Calas 2618: 2616: 2613: 2611: 2608: 2606: 2603: 2601: 2598: 2596: 2595:Jacques Baron 2593: 2591: 2588: 2586: 2583: 2581: 2578: 2576: 2573: 2572: 2570: 2564: 2558: 2555: 2553: 2550: 2548: 2545: 2543: 2542:Remedios Varo 2540: 2538: 2535: 2533: 2530: 2528: 2525: 2523: 2520: 2518: 2515: 2513: 2510: 2508: 2505: 2503: 2500: 2498: 2495: 2493: 2490: 2488: 2485: 2483: 2480: 2478: 2475: 2473: 2470: 2468: 2465: 2463: 2460: 2458: 2455: 2453: 2450: 2448: 2445: 2443: 2440: 2438: 2435: 2433: 2430: 2428: 2425: 2423: 2422:John Melville 2420: 2418: 2415: 2413: 2412:Mikuláš Medek 2410: 2408: 2407:Roberto Matta 2405: 2403: 2400: 2398: 2397:Marcel Mariën 2395: 2393: 2390: 2388: 2387:René Magritte 2385: 2383: 2382:Conroy Maddox 2380: 2378: 2375: 2373: 2370: 2368: 2365: 2363: 2360: 2358: 2355: 2353: 2350: 2348: 2345: 2343: 2342:Jane Graverol 2340: 2338: 2335: 2333: 2330: 2328: 2325: 2323: 2320: 2318: 2315: 2313: 2310: 2308: 2305: 2303: 2300: 2298: 2295: 2293: 2290: 2288: 2285: 2283: 2280: 2278: 2277:Jean Dallaire 2275: 2273: 2272:Salvador Dalí 2270: 2268: 2265: 2263: 2260: 2258: 2255: 2253: 2250: 2248: 2245: 2243: 2240: 2238: 2235: 2233: 2232:Fanny Brennan 2230: 2228: 2225: 2223: 2220: 2218: 2215: 2213: 2210: 2208: 2205: 2203: 2200: 2198: 2195: 2194: 2192: 2188: 2184: 2177: 2172: 2170: 2165: 2163: 2158: 2157: 2154: 2147: 2144: 2141: 2137: 2134: 2130: 2127: 2123: 2120: 2116: 2113: 2109: 2106: 2102: 2099: 2095: 2092: 2088: 2085: 2081: 2078: 2074: 2071: 2067: 2064: 2060: 2059: 2055: 2049: 2045: 2042: 2038: 2034: 2030: 2027: 2023: 2019: 2015: 2011: 2007: 2003: 1999: 1995: 1992: 1989: 1986: 1982: 1979: 1976: 1972: 1971: 1966: 1959: 1954: 1951: 1945: 1942: 1930: 1923: 1920: 1914: 1912: 1908: 1902: 1899: 1893: 1890: 1884: 1881: 1878:Suther p. xv. 1875: 1872: 1869: 1863: 1860: 1857: 1854: 1848: 1845: 1839: 1836: 1830: 1827: 1823: 1817: 1814: 1808: 1805: 1799: 1796: 1790: 1787: 1781: 1778: 1772: 1769: 1763: 1760: 1755: 1751: 1747: 1741: 1737: 1736: 1728: 1725: 1719: 1716: 1710: 1707: 1701: 1698: 1692: 1689: 1683: 1681: 1677: 1671: 1668: 1662: 1659: 1653: 1650: 1644: 1641: 1637: 1631: 1628: 1622: 1619: 1613: 1610: 1604: 1601: 1595: 1592: 1586: 1583: 1578: 1576:9780870707711 1572: 1568: 1564: 1563: 1555: 1552: 1546: 1543: 1537: 1534: 1528: 1525: 1519: 1516: 1510: 1507: 1501: 1498: 1486: 1480: 1476: 1472: 1468: 1461: 1458: 1452: 1449: 1446:Suther p. 89. 1443: 1440: 1437:Suther p. 85. 1434: 1431: 1428:Suther p. 70. 1425: 1422: 1416: 1413: 1410:Suther p. 75. 1407: 1404: 1398: 1395: 1392:Suther p. 68. 1389: 1386: 1380: 1377: 1371: 1368: 1365:Suther p. 62. 1362: 1359: 1355: 1349: 1346: 1340: 1337: 1331: 1328: 1322: 1319: 1316:Suther p. 99. 1313: 1311: 1307: 1303: 1297: 1294: 1291:Suther p. 51. 1288: 1285: 1280: 1276: 1271: 1268: 1264: 1258: 1255: 1251: 1245: 1242: 1238: 1232: 1229: 1226:Suther p. 41. 1223: 1220: 1214: 1211: 1205: 1202: 1199:Suther p. 34. 1196: 1193: 1189: 1183: 1180: 1176: 1172: 1166: 1163: 1160:Suther p. 26. 1157: 1154: 1148: 1145: 1142:Suther p. 19. 1139: 1136: 1130: 1127: 1121: 1118: 1112: 1109: 1103: 1100: 1097: 1091: 1088: 1082: 1079: 1075: 1069: 1066: 1060: 1057: 1053: 1048: 1045: 1041: 1035: 1032: 1026: 1023: 1017: 1013: 1010: 1009: 1005: 994: 989: 984: 981: 978: 975: 972: 968: 965: 962: 959: 956: 953: 952: 951: 948: 940: 934: 930: 927: 924: 921: 918: 915: 912: 909: 906: 903: 900: 897: 894: 891: 888: 887: 882: 876: 873: 870: 867: 864: 861: 858: 855: 852: 849: 847: 844: 842: 839: 836: 833: 830: 827: 824: 821: 818: 815: 812: 809: 806: 803: 800: 797: 794: 791: 788: 785: 782: 779: 776: 773: 770: 767: 764: 761: 758: 755: 752: 749: 746: 743: 740: 737: 734: 731: 728: 725: 722: 719: 716: 713: 710: 707: 704: 701: 698: 695: 692: 689: 686: 685:Journey to Go 683: 680: 679:Other Answers 677: 674: 671: 668: 665: 662: 659: 656: 653: 650: 647: 644: 641: 638: 635: 632: 629: 626: 623: 620: 617: 614: 613:White Silence 611: 608: 605: 602: 599: 596: 593: 590: 587: 584: 581: 578: 575: 572: 569: 566: 563: 560: 557: 554: 551: 550: 545: 543: 541: 537: 532: 529: 525: 521: 516: 511: 503: 502: 501: 495: 490: 483: 481: 480: 476: 468: 463: 461: 459: 453: 449: 446: 441: 439: 435: 431: 427: 422: 415: 410: 403: 401: 398: 394: 390: 386: 382: 378: 377: 372: 366: 363: 358: 356: 348: 346: 344: 340: 339:Henri Matisse 336: 330: 326: 324: 320: 319:Nicolas Calas 316: 311: 308: 304: 299: 294: 292: 288: 284: 279: 277: 268: 263: 256: 254: 252: 247: 241: 239: 234: 230: 224: 222: 218: 214: 206: 201: 197: 190: 188: 186: 185:Henry M. Sage 182: 174: 172: 170: 166: 162: 158: 153: 150: 146: 142: 134: 129: 125: 122: 119: 115: 112: 109: 105: 102: 99: 95: 91: 81: 77: 73: 68:June 25, 1898 56: 52: 45: 40: 33: 30: 19: 18:Kay Linn Sage 2946:Refus Global 2941:Monty Python 2860:Roger Vitrac 2840:Dylan Thomas 2810:Marko Ristić 2800:Herbert Read 2685:Nelly Kaplan 2680:Alfred Jarry 2670:Irène Hamoir 2665:Julien Gracq 2610:André Breton 2585:Louis Aragon 2492:André Souris 2481: 2417:Oscar Mellor 2402:André Masson 2282:Paul Delvaux 2252:Claude Cahun 2212:Hans Bellmer 2207:Eugène Atget 2148:, flickr.com 2047: 2040: 2032: 2025: 2021: 2009: 2001: 1984: 1974: 1957: 1953: 1944: 1932:. Retrieved 1922: 1901: 1892: 1883: 1874: 1867: 1862: 1855: 1852: 1847: 1838: 1829: 1821: 1816: 1807: 1798: 1789: 1780: 1771: 1762: 1734: 1727: 1718: 1709: 1700: 1691: 1670: 1661: 1652: 1643: 1635: 1630: 1621: 1612: 1603: 1594: 1585: 1561: 1554: 1545: 1536: 1527: 1518: 1509: 1500: 1490:February 23, 1488:. Retrieved 1460: 1451: 1442: 1433: 1424: 1415: 1406: 1397: 1388: 1379: 1370: 1361: 1353: 1348: 1339: 1330: 1321: 1301: 1296: 1287: 1282:landscapes." 1278: 1274: 1270: 1262: 1257: 1249: 1244: 1236: 1231: 1222: 1213: 1204: 1195: 1187: 1182: 1174: 1170: 1165: 1156: 1147: 1138: 1133:Suther p. 9. 1129: 1124:Suther p. 8. 1120: 1115:Suther p. 7. 1111: 1106:Suther p. 4. 1102: 1095: 1090: 1081: 1073: 1068: 1059: 1047: 1034: 1025: 982: 976: 970: 966: 960: 954: 946: 944: 874: 868: 862: 856: 850: 845: 840: 834: 828: 822: 816: 810: 804: 798: 792: 786: 780: 774: 768: 762: 756: 750: 744: 738: 732: 726: 720: 714: 708: 702: 696: 690: 684: 678: 672: 666: 660: 654: 648: 642: 636: 630: 624: 618: 612: 606: 600: 594: 588: 582: 576: 570: 564: 558: 552: 540:The Instant, 539: 535: 533: 527: 523: 514: 512: 508: 499: 493: 478: 474: 472: 454: 450: 444: 442: 437: 433: 423: 419: 413: 396: 392: 388: 374: 367: 359: 352: 343:Reno, Nevada 331: 327: 323:André Breton 312: 306: 302: 295: 291:La Surprise, 290: 280: 275: 272: 266: 250: 245: 242: 237: 225: 210: 204: 194: 178: 154: 144: 140: 139: 84:(1963-01-08) 29: 3053:1963 deaths 3048:1898 births 2735:Dušan Matić 2645:Paul Éluard 2630:René Daumal 2625:René Crevel 2566:Writers and 2522:Karel Teige 2512:Yves Tanguy 2367:Wifredo Lam 2357:Frida Kahlo 2317:Leonor Fini 2247:Luis Buñuel 2222:Bill Brandt 2197:Eileen Agar 1934:October 29, 1263:China Eggs, 1250:China Eggs, 1237:China Eggs, 1171:China Eggs. 1169:Sage, Kay. 947:China Eggs, 883:Exhibitions 757:Men Working 739:The Instant 589:Lost Record 583:Tumble-weed 524:Le Passage, 479:China Eggs. 438:China Eggs, 385:Julien Levy 349:Mature work 315:Yves Tanguy 251:China Eggs, 233:Julien Levy 133:Yves Tanguy 97:Nationality 3037:Categories 2931:Grup d'Elx 2911:Dau al Set 2765:Paul Nougé 2750:Max Morise 2745:René Ménil 2557:Unica Zürn 2432:Lee Miller 2183:Surrealism 1018:References 829:Le Passage 799:No Passing 769:Apostrophe 637:Minutes #8 426:depression 303:Afterwards 298:Surrealism 191:Early life 149:Surrealist 121:Surrealism 64:1898-06-25 2926:The Goons 2770:Paul Păun 2725:Léo Malet 2690:Petr Král 2660:Yvan Goll 2568:theorists 2442:Joan Miró 2377:Dora Maar 2312:Max Ernst 2267:Gala Dalí 1754:369143469 460:in 1964. 430:cataracts 175:Biography 127:Spouse(s) 2876:Acéphale 2482:Kay Sage 2202:Jean Arp 2108:Archived 2105:Kay Sage 2098:Kay Sage 2091:Kay Sage 2066:Archived 1188:Art News 1040:Kay Sage 990:See also 983:Mordicus 546:Artworks 458:Brittany 373:'s show 145:Kay Sage 117:Movement 111:Painting 101:American 36:Kay Sage 2960:Related 2467:Man Ray 2190:Artists 505:artist. 379:at the 213:Rapallo 167:of the 2869:Groups 1752: 1742: 1573: 1481: 1261:Sage, 1248:Sage, 1235:Sage, 985:(1962) 979:(1959) 963:(1957) 957:(1937) 877:(1962) 875:Tacaii 871:(1961) 865:(1961) 859:(1958) 853:(1958) 837:(1957) 831:(1956) 825:(1955) 819:(1955) 813:(1955) 807:(1954) 805:Hyphen 801:(1954) 795:(1953) 789:(1952) 783:(1952) 777:(1951) 771:(1951) 765:(1951) 759:(1951) 753:(1950) 747:(1950) 741:(1949) 735:(1948) 729:(1947) 723:(1947) 717:(1947) 711:(1947) 705:(1947) 699:(1947) 693:(1947) 687:(1945) 681:(1945) 675:(1944) 669:(1944) 663:(1944) 657:(1944) 651:(1943) 645:(1943) 639:(1943) 633:(1942) 627:(1942) 621:(1942) 615:(1941) 609:(1940) 603:(1940) 597:(1940) 591:(1940) 585:(1939) 579:(1939) 573:(1939) 567:(1939) 561:(1938) 555:(1938) 2532:Toyen 1958:Time, 941:Books 691:Festa 3012:Dada 1936:2020 1750:OCLC 1740:ISBN 1571:ISBN 1492:2018 1479:ISBN 536:Time 305:and 238:felt 79:Died 54:Born 1471:doi 412:In 265:In 3039:: 2024:" 1910:^ 1748:. 1679:^ 1569:. 1567:45 1477:. 1469:. 1309:^ 246:me 223:. 171:. 2175:e 2168:t 2161:v 2117:" 2103:" 2096:" 2089:" 2082:" 2075:" 2072:" 2061:" 1938:. 1756:. 1579:. 1494:. 1473:: 973:) 935:. 244:" 66:) 62:( 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index