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Milton Avery's Vermont
Jamie Franklin, Karen Wilkin; Robert Wolterstorff, fwd.




Bennington Museum
2016 • 80 pp. 71 color illus. 9 3/4 x 9"
Contemporary Art

$26.95 Paperback, 978-0-945291-04-6



“A fine compilation of a representative sample of Avery’s work, this is also an attractive and engaging book, worthy of being in any library or on a coffee table.”
Antiques and the Arts Weekly

Southern Vermont beautifully portrayed through the eyes of this prominent American modernist, mid-1930s to mid-1940s

Accompanying a major summer 2016 exhibition at the Bennington Museum, Milton Avery’s Vermont takes the first focused look at the work this great American modernist created in response to the six summers he spent in southern Vermont between 1935 and 1943. Avery’s intense activity in Vermont was pivotal to the breakthrough he made to his late work, known for its free use of color, and the delicate balance he achieved between abstraction and representation. In Vermont, Avery captured summer activities with family and friends and his highly personal response to the landscape in works characterized by bold, gestural marks and bright, non-associative colors. Milton Avery’s Vermont examines the artist’s creative process through pencil sketches executed en plein air, watercolors based on his sketches, and major oil paintings. The extraordinary strength of the Vermont watercolors will cement his reputation as one of the great watercolorists of the 20th century.

The works in the exhibition and publication are drawn from The Sally and Milton Avery Foundation; the Milton Avery Trust; National Gallery of Art, Washington, D.C.; Neuberger Museum of Art; The Peabody College Collection, Vanderbilt University Fine Arts Gallery; and private collectors, who wish to remain anonymous.

Click here for TABLE OF CONTENTS



JAMIE FRANKLIN has been curator at the Bennington Museum since 2005. His work has focused on American art of the early to mid-20th century, with a particular emphasis on the intersection of modernism and self-taught art. He has organized exhibitions and written books, essays and articles featuring artists and topics including Erastus Salisbury Field, Grassroots Art, Impressionism, Rockwell Kent, Anna Mary Robertson "Grandma" Moses, and Alice Neel. His 2014 exhibition "Alice Neel/Erastus Salisbury Field: Painting the People" was recognized by the Wall Street Journal as one of the most memorable exhibitions of the year. KAREN WILKIN is an independent curator and art critic based in New York. A specialist in 20th-century modernism, she has written monographs on David Smith, Anthony Caro, Stuart Davis, Kenneth Noland, Helen Frankenthaler, Isaac Witkin, Giorgio Morandi, and Hans Hofmann and organized exhibitions of their work internationally. Wilkin is the Contributing Editor for Art for the Hudson Review and a regular contributor to The New Criterion and the Wall Street Journal. Her book Anthony Caro: Interior and Exterior was published in 2011 and she was the overall editor of the series of 5 volumes published on Caro's work. She contributed to the monograph Wayne Thiebaud published in 2015.



Wed, 18 Oct 2017 13:49:53 -0500