The Human Form

THE HUMAN FORM

It is with tremendous pleasure that we embark upon the next iteration of our gallery 

with the inauguration of a new space and the presentation of the exhibition, 

The Human Form. For us, in many ways, this exhibition embodies our dedication 

to exploring and unifying past, present, and future. 

In documenting John Berggruen Gallery archives from 1970 through 2016, a clear 

pattern emerged. Our timeline reminds us that our mission has always been one that 

reflected our interest in historical works, as well as our commitment to bringing new 

work (and often artists’ first shows) to the Bay Area. This pattern is anchored in and 

inspired by the European roots of John’s father and our natural identification with 

American post-war and contemporary art. 

The Human Form continues our fascination with presenting artists’ works from different 

decades and differing points of view in concert with one another. These juxtapositions 

afford an opportunity to reflect upon the wide variety of expressions artists have 

employed to explore humanity’s physical form, its essence, and its endless individuality. 

An exhibition of this quality would not have been possible without the remarkable 

generosity of private collectors, museums, and wonderful colleagues who have loaned 

extraordinary works to this show. For their support and belief in us we are deeply 

grateful. It is a wonderful reminder of how fortunate we have been to be surrounded 

by so many visionary friends. 

In the past year we have been asked many times why we are embarking on the adventure 

of relocating, rebuilding an historic building, and expanding our exhibition program. 

The answer is quite simply that we love what we do and have had the great fortune to 

work with remarkable artists and collectors. We look forward to continuing to be 

active participants in and contributors to the vibrant cultural life of San Francisco. 

We cannot overstate the inspiration that we have garnered from the accomplishment 

of the recent expansion of SFMOMA. The foresight and leadership of Director Neal 

Benezra and Board Chair Chuck Schwab, realized in Snøhetta’s soaring architecture and 

a new museum wing replete with the combined breadth and beauty of the museum’s 

permanent collection and the newly acquired Fisher Collection, expresses a true belief in 

the cultural well-being of San Francisco. We are thrilled to be SFMOMA’s neighbor and 

to continue to play an active role in the strong and flourishing art scene in San Francisco. 

A very special thanks to Dr. Steven A. Nash for so generously contributing an insightful 

and illuminating essay to this catalogue. The connections and parallels he draws 

for us make us feel like a favorite professor has just given us a private tour of our 

own exhibition, helping us to better see the nuances of so many works. 

We are both extremely grateful to our talented colleagues in the gallery, each of whom 

has contributed their innate intelligence, finely honed skills, hard work, and good 

humor to every challenge of this new venture. From relocation, to the exhibition’s organization 

and the catalogue’s production, they have all been unwaveringly devoted to 

assuring a smooth transition and an elegant exhibition. Our most sincere appreciation 

goes to Erin Cabral, Camille Gillett, Mary Patterson, Tatem Read, Becky Roberts-Ascher 

Heldfond, Lindsay Snyder Salamon, Morgann Trumbull, Sarah Wendell, Molli 

Wentworth, and Arielle Younger. 

For the beautiful contemporary renovation of our historic building, a special thanks 

goes to our architect Jennifer Weiss (Jennifer Weiss Architecture) and our brilliant 

project manager Penelope Robinson. 

The Human Form has been an exciting opportunity for us to unearth the various connections 

and interactions that artists have with each others’ work across time as amplified 

in the depiction of our most familiar form, the human body. As always, it has been a 

pleasure and a privilege for us to put this show together and to share it with you. We 

hope that you enjoy it as much as we do! 

g r e t c h e n and john berggruen

THE HUMAN FORM

m i lt o n av e ry 

dav i d bat e s 

m a x beckmann 

m i c h a ë l borremans 

c e c i ly brow n 

c h r i s t o p h e r brow n 

n i c k cav e 

c h u c k clo s e 

g e o r g e condo 

ja m e s crosby 

w i l l e m de ko o n i n g 

r i c h a r d diebenko r n 

p e t e r doig 

l u c i a n freud 

a l b e r t o giac o m e t t i 

a n t o n y gormley 

e d wa r d hopper 

c h r i s johanson 

a l e x kat z 

r oy lichtenstein 

h e n r i mat i s s e 

b a r ry mcgee 

h e n ry moore 

n at h a n oliveira 

dav i d pa r k 

e l i z a b e t h pey t o n 

f r a n c i s pica b i a 

pa b lo picas s o 

m a r t i n pury e a r 

g e r h a r d richter 

t o m sac h s 

j e n n y sav i l l e 

j o e l shapiro 

k i k i smith 

way n e thiebau d 

a d r i a n a va r e jão 

k a r a wa l k e r 

k e h i n d e wiley 

2

THE HUMAN FORM 

10 hawthorne street, san francisco 

berggruen.com

f i g u r i n g figures 

Steven A. Nash 

T 

he human body has been a lightning rod for creative imagination 

since humankind’s earliest impulses toward graphic representation. 

As the most common attribute of our shared humanity, it provides a 

powerful channel for empathetic communication of ideas, emotions, 

ideals, and beliefs. Throughout the history of image-making, the body 

has inspired countless varieties of interpretation, but it is safe to say 

that no other period of art history has seen the inventive, radical, and 

expressive explorations of this human vessel that characterize the 

modern era starting in the early 20th-century. This exists despite the 

strongest possible objections of artists devoted to abstraction who 

attacked figuration as woefully conservative and representative of the 

outmoded conventions that modernism was then dismantling. 

4

On the one hand, as progressive an artist as Francis 

Bacon could denounce abstraction as artistic nihilism, 

while those in the opposing camp such as Piet Mondrian 

and Kazimir Malevich claimed that figuration was totally 

inadequate to express the new realities of the modern 

age and was even morally debased. In essence, however, 

it was the intermixing of representational art and abstraction 

that opened the way to a vast new landscape of 

figural depiction, one that produced visions unimaginable 

in earlier periods, with the figure as a common touchstone 

of feeling and communication and abstraction providing 

the freedom to re-imagine the human body in limitless 

new ways. The broad sampling of modern artists and 

their works presented in the present exhibition provides 

a view of just how alive and well figurative art has 

remained since the time of those early, abstraction-obsessed 

doubters. 

The artist most responsible for ushering in this revolution 

was Pablo Picasso, whose vast range of styles and themes 

sometimes skirted the boundaries of abstraction, a line 

he never crossed due to his abiding dedication to a 

figurative basis of art. His early Le Nu Jaune (The Yellow 

Nude) from 1907 (Plate 1) shows him engaged in a 

structural investigation of the figure that led directly to 

the Cubist style he pioneered with Georges Braque, thus 

changing modern art forever. Anatomy is defined in 

terms of fragments outlined with sharp arcs and linear 

vectors that anticipate the kaleidoscopic splintering of 

form in fully-realized Cubism. At the same time, Picasso 

was also exploring the exotic and sometimes sinister 

forms of African art, another revolutionary phenomenon. 

Picasso’s The Weeping Woman, one of his most famous 

prints (Plate 4), continues the mask-like distortions 

of the female face seen in Le Nu Jaune but now with a 

different expressive purpose. Produced in 1937 during 

the Spanish Civil War, its sense of horrific anguish and 

suffering so graphically captured was essentially a shriek 

from the artist over the devastations suffered by family 

and compatriots in his homeland, emotions unforgettably 

conveyed in his famous Guernica mural from the 

same year. 

pa b lo picas s o in his studio in the Bateau-Lavoir, Paris, 1908. 

Photographer unknown/Hulton Archive/Getty Images 

Just within this one exhibition, the long reach of 

Picasso’s influence is clearly apparent, stretching even 

to the work of contemporary artists. George Condo’s 

Pilot from 2012 (Plate 31) is a frankly referential, 

if somewhat parodic reboot of Picasso’s Cubist heads, 

and Antony Gormley’s cast iron figures, constructed 

of blocks of metal proportioned according to his own 

body measurements, are unthinkable without the 

geometric stylizations introduced into sculpture by 

Picasso’s Cubism (Plates 26 and 35). 

Even the powerful Grand Nu assis (Large Seated Nude) 

by Henri Matisse, that other titan of modern art with 

whom Picasso maintained a friendly competition 

throughout their two lives, has a strong hint of Cubism 

(Plate 2). For anyone who thinks of Matisse in terms 

of the softly colorful and lyrical paintings he produced

in Nice during the 1920s, this work comes as a punch 

to the aesthetic solar plexus. It is the paramount example 

of a distinctive shift in Matisse’s work around 

1927, in which the contours of his figures are hardened, 

shapes are condensed and solidified, and his women 

take on a more masculine identity. In the Grand Nu 

assis, the model could be a weightlifter, so chiseled is 

her physique and muscled her proportions. The 

smoothly curvaceous outlines of many of Matisse’s 

sculptures of women are supplanted by faceted 

surfaces cut with a modeling knife, and there is an 

angularity to the model’s pose that also hints at 

Cubist roots. 

For other sculptors within the modernist tradition, 

such subjective interpretation of the figure takes on 

weighty emotional, psychological, and even political 

dimensions. Alberto Giacometti, for example, in his 

signature post–World War II work, focused on compositional 

tropes basic to sculpture since antiquity, the 

portrait bust and monolithically vertical figures, and 

invested them with qualities of mutability and tenuous 

psychological states new to sculptural expression. 

His Buste de Diego (Bust of Diego, Plate 9) is one of a 

great many portraits he modeled of his favorite sitter, 

his brother Diego, who worked alongside Alberto as 

studio assistant in addition to pursuing his own work 

as a designer. In sculpture after sculpture, Diego’s 

features are readily recognizable, but besides their 

differences in scale, there are ongoing variations of form 

reflecting Giacometti’s methodological responses to 

transient conditions of atmosphere, light, mood, and 

memory versus observation, as well as the intuitive 

rhythm of his fingers as he manipulated soft plaster 

or clay. He attempted to catch in material form his 

momentary sensations, producing portraits and figure 

studies that have the calm stateliness of Egyptian 

sculptures but at the same time are alive with a seismological 

record of subjective impressions. 

h e n r i mat i s s e at work on Grand Nu assis in his apartment in Nice, 1926. 

Photographer unknown 

For Henry Moore, the primary aspiration in his mature 

work was the realization of new forms of coexistence 

6

etween abstraction and representation in an ongoing 

investigation of the harmony between the human figure 

and the grandeur of nature. His focus is on form, but 

his work is not without its humanistic concerns, as we 

see in Helmet Head, No. 3 of 1960 (Plate 14), part of 

a lengthy series of works on the helmet theme dating 

back to drawings and a sculpture from the time of 

the Spanish Civil War. These works typically combine 

rounded outer shells with a small interior figurine, 

often with big eyes staring out through a cavity in the 

outer form. The overall effect of the small surrealistic 

figures contained within the steely carapace of a military 

helmet and looking out at us with a wide-eyed stare is 

disarming and even troubling, and clearly is an expression 

of the wartime angst that was felt throughout the 

world in the late 1930s and ’40s. 

Investiture of sociological and political content into 

figurative sculpture takes a distinctively postmodern 

turn in James Crosby’s evocative wire and concrete 

deconstruction of a hoodie (Plate 46), in which a garment 

(one with many societal associations) becomes 

a surrogate for a young black man. The vacant hood 

embodies a powerful poetic element, suggestive of 

loss or emptiness, while the unraveling of the garment 

below carries a note of destruction, as does also the 

crumbled and cracked concrete out of which the object 

is shaped. Since concrete is normally a construction 

material, we get the feeling of a distressed structure 

existing perhaps as a memorial to the lost or missing. 

For these various artists, figuration is tempered by 

various degrees of abstraction. Henry Moore once 

famously said, “I see no reason why realistic art and 

purely abstract art can’t exist in the world side by 

side … even in one artist at the same time.” And in 

truth, any depiction of the human body is an abstraction, 

a reconstruction in artistic form of observed 

information, but many figurative artists in the modernist 

tradition have cleaved closely to the literal side of the 

abstract/representational equation, creating work 

that proudly, even defiantly, updates age-old realist 

principles. Among those active in the early part of the 

20th-century, Edward Hopper holds special status. 

The formal rigor of his compositions, his dramatic use 

of light and shadow, and his moods of lonely isolation 

project a world freighted with searching and sometimes 

disturbing insights into the modern human condition. 

Two Comedians (Plate 15) came late in Hopper’s life and 

represents a distillation of themes that had preoccupied 

him over many years. His propensity for geometrically 

structured settings is here reduced to the barest of 

essentials, a stark design consisting of a single vertical 

strut along the right side connected to the slicing foreground 

diagonal of a stage, all placed against a dark and 

empty background. His palette is the most minimal 

found in any of his large paintings, with just three basic 

colors: the black background, tan stage, and white costumes 

of the two comedians. These lonely figures are 

not comics but comedians in an older sense, actors who 

don clown or commedia dell’arte costumes and whose 

routines are not just mirthful but also infused with 

poignant reflections on life’s twists and turns. We sense 

that perhaps Hopper was reflecting on his own life as 

its inevitable conclusion approached and the role of the 

artist as an on-stage interpreter. 

Milton Avery was another artist who came to acclaim 

in the decades leading up to World War II for figure 

paintings generally of a languorous quality with an 

atmosphere and soft hues influenced by Matisse’s 

work from the 1920s. In Girl with Folded Arms (Plate 

6), however, he flattened his figure into a bold and 

nearly abstract pattern of strong colors, sacrificing the 

identity of his model for overall graphic impact. Comparisons 

can be drawn to the jazzy colors and patterns 

in the work of Avery’s contemporary, Stuart Davis, 

whose figural work often verged on abstraction and 

seems retrospectively to be a precursor of Pop Art’s 

bold stylizations. 

Hopper’s and Avery’s work preceded Abstract Expressionism, 

the dominant artistic force in American art

during the 1950s and into the 60's, while David Park’s 

Bathers on the Beach from 1956 and Richard Diebenkorn’s 

Woman with Newspaper from 1960, created at 

the height of Ab Ex hegemony, represent a West Coast 

reaction against that largely East Coast movement 

(Plates 16 and 17). Park and Diebenkorn helped lead a 

figurative revolt premised on the continued viability 

of representational art in the face of what they saw as 

the increasingly mannered and academic nature of 

Abstract Expressionism. Of course, lessons from that 

movement are clearly apparent in their gestural application 

of paint, bold compositional patterning, and often 

vivid colors, but their work also references earlier, 

mostly European influences, with Diebenkorn’s debts 

to the interior scenes of Henri Matisse and the Nabi 

artists and Park’s intimations in his figures of archaic 

stone carvings and debts in his dramatic landscape 

settings to the Northern Romantic tradition. 

Two other artists in the exhibition who share connections 

with old master traditions are Jenny Saville and 

Kiki Smith, whose Ebb and Flow and Posie (Plates 25 

k e h i n d e wiley paints in his New York studio. Photograph by Jessica 

Chermayeff/Copyright Show of Force 

and 44) both feature a delicacy and probity of draftsmanship 

that evoke such masters of line as J. A. D. 

Ingres and Albrecht Dürer. These images contribute to 

themes in art exploring the mythic dimensions of 

womanhood.Seville’s modern Venus is an object of 

desire but lies enmeshed and secluded in racing traceries 

of line, while Smith’s contemplative figure sits 

statuesquely, locking her gaze into ours and holding a 

bright red bouquet 

of flowers. Bees swarming around her and the flowers 

reinforce a symbolism of fertility and abundance. 

Still other varieties of realism are seen in works by 

Chuck Close, Kehinde Wiley, Lucian Freud, Gerhard 

Richter, Wayne Thiebaud, and David Bates. What 

would pioneers of pure abstraction such as Malevich, 

Kandinsky, and Mondrian have thought if they knew 

that realism would be alive and well in 2017? The 

contemporary painters just named are exemplary of 

just how diverse and strong the realist voice can be. 

Among these, Close is the most literal in approach. 

The mezzotint printing technique is unusual in contemporary 

art, but in Keith (Plate 19) Close used it to 

achieve a remarkably dense, richly tonal portrait of his 

sitter, one with photo-like detail. Laboriously difficult, 

the mezzotint process involves removing or lessening 

the tooth on a prepared printing plate with a scraper 

and burnisher to attain lighter areas when inked and 

printed. The image is essentially drawn with these implements, 

with many trial proofs along the way to check 

progress. With the final print, we are fascinated by the 

degree of detail, but it is more the skilled orchestration 

of tonalities from velvety blacks to bright whites that 

gives the work its visual power. 

Richter’s Philodendron (Plate 27) is another study in 

tonalities, but in the grisaille palette typical of his early 

realist paintings. The underlying image— an interior 

with a woman standing beside a huge house plant—is 

lacking in narrative interest but, blurred by a powdery 

paint application and soft brushwork, takes on a 

dream-like character that some have likened to the 

obscuring effects of historical memory. 

8

f r e u d with Martin Gayford, 2005. Photograph by David Dawson/Private Collection/Bridgeman Images 

At the opposite end of the clarity spectrum, and with 

a far more concrete message, is Wiley’s Portrait of 

Dacdjo Ndie Joseph from 2015 (Plate 40). Representative 

of Wiley’s assertively political iconographies, a 

proud black man is posed in front of highly decorative 

wallpaper, standing tall, confidently staring out at 

viewers, and making an outward rhetorical gesture with 

his left arm and hand. He seems to be addressing us 

from an interior setting of historical vintage, perhaps 

18th or 19th century, with the pattern of the floral 

wallpaper forming a halo around his head. He is 

absorbed into history, replacing the white male statesmen 

we normally expect to find in portraits such as 

this, and asserting his own important place in our 

national historical narratives. 

With Freud’s Man in a Blue Scarf (Plate 13) and 

Thiebaud’s Girl with Four Hats (Plate 39) we see figure 

studies with similar formats—close-up views, frontal 

poses, and quiet moods—by two artists renowned for 

the painterly richness of their work. Both devoted their 

careers from early stages onward to examination of the 

visual worlds around them, but their temperaments and 

interests differ markedly, with Freud most famous for 

the confrontational realism of his nudes, and Thiebaud 

particularly well known for his brightly colored, strongly 

brushed still lifes and landscapes with a distinctive American 

ring. As evident in Man in a Blue Scarf, Freud’s 

stylistic roots run back to Rembrandt, with thickly 

painted surfaces and a dramatic build-up of spotlighted 

form out of dark backgrounds. Thiebaud’s historical 

interests tend toward Chardin, Manet, and Morandi,

ut in Girl with Four Hats a tip of the hat to Edward 

Hopper is also apparent in its solemnity, lighting, and 

composition. The painting is a hybrid between figure 

study and still life, with a geometric substructure that 

visually entraps the young woman, whose frozen pose 

makes her another part of the foreground assortment 

of objects. 

Weeping Woman I by David Bates (Plate 32), a work 

that has interesting ties to Picasso’s The Weeping 

Woman (Plate 4), shows how contemporary realism can 

deal with national tragedy in a way that avoids bombast 

and focuses instead on a direct and powerful sense of 

sorrow. It was painted soon after the Katrina disasters in 

New Orleans, and owes debts in its stylistic vocabulary 

to both American folk art and the German Expressionism 

of Max Beckmann. Bates’s distinctive simplifications 

of form and dark, almost monochromatic color give his 

suffering woman a blunt strength of feeling that would 

not be possible with a more literalist approach. 

For several artists in the exhibition, the abstract/figurative 

balance we have been exploring tips dramatically 

toward non-objectivity, to the point that figuration 

almost completely disappears. Consider the paintings by 

Cecily Brown, Willem de Kooning, and Roy Lichtenstein. 

In Brown’s Untitled from 2015 (Plate 23), we see a work 

heavily indebted to the Abstract Expressionist movement 

but full of gestures and strategies that give it a 

strong personal character. Produced on a large scale 

typical of Ab Ex pictures, it engages viewers in its flurry 

of brushwork and colors and an empathetic feel for 

the physical exertion that went into its creation. There 

are memories here of the work of Jackson Pollock and 

Willem de Kooning, but the cacophonous energy of 

colliding forms produces a special intensity. Another 

tell-tale stylistic hallmark is evident. Within the compositional 

whirlwind we slowly discern small fragments 

of recognizable animal and human forms, particularly 

in the left half of the painting, pulling our minds back 

to the natural world and creating a tension within the 

work that adds to its disruption of our visual and 

physical stability. 

c e c i ly brow n . Photograph by Juergen Frank/Corbis via Getty Images 

De Kooning’s untitled painting from 1985 (Plate 21) 

is a prototypical example of this artist’s late work, in 

which the tempestuous flux of colors and brushwork 

characteristic of most earlier paintings is calmed to a 

serenely minimal flow of strokes that glide across white 

surfaces like the tracks of an expert figure skater. The 

female body was a frequent motif in de Kooning’s work 

10

for most of his career, even in his notionally abstract 

paintings of the 70’s which carry forward certain anatomical 

forms and colors from his earlier nudes. An 

argument can be made that this is also the case with 

the artist’s late paintings, although the references are 

now distilled to a new-found purity. His palette of light 

pinks, yellows, and blues in this painting from 1985 

recalls the colors of those earlier figurative or semi-figurative 

pictures, and the curving strokes and organic 

forms in the late works can be interpreted as vestigial 

elements from his fleshy and fluidly brushed female 

bodies, both reappearing in his working process as 

muscle memories and instinctive color choices. Is that 

a leg at the bottom middle of the composition? Under 

this analysis, these are figure paintings of the most 

abstracted, and beautiful, variety. 

advances more diverse than found in any other 100-year 

span of history has continuously stimulated viewers’ 

minds and senses. We can only wonder, especially with 

new technologies entering the art world at a rapid rate, 

and artists trending more frequently toward installation 

and multi-media work, where the future of art will lead. 

One reliable bet is that the human figure will continue 

to provide that inspiration for creativity that has always 

been its power. The modern sculptor Fritz Wotruba 

summarized this power when he wrote that “the human 

figure, now as much as ever, remains for me the starting 

point of my work… [F]or me as a sculptor, [the figure’s] 

physical environment is never as important as the fact 

that, because of humankind’s spiritual and physical 

facts, it is the strongest stimulant among all existing 

objects and cannot be replaced by anything else.” 

The idea of hidden or camouflaged figurative elements 

in seemingly abstract paintings appears again unexpectedly 

in Lichtenstein’s Fashionable Lady from 1986 

(Plate 22). The background in this work is not exactly 

abstract, consisting instead of the brushstroke patterns 

that formed one of Lichtenstein’s favorite themes during 

that period, but here they read essentially as abstract 

flows of color, out of which emerges a woman’s head, 

with an eye and long eye lashes swinging to the right, 

and a mouth with brilliant red lipstick. Lichtenstein 

worked with a similar conceit of brush forms giving way 

to female figures in several of his sculptures, but here 

there is a more ambiguous spatial relationship between 

compositional elements and the positioning of figure 

versus ground. Overall the painting presents a lively 

medley of colors and forms and a rather mysterious figural 

presence. All three of these works by Brown, de 

Kooning, and Lichtenstein reflect a tenacious retention 

of figurative elements, no matter how minimal, perhaps 

as a way to ground abstract visions in real life. 

The period briefly surveyed here from Picasso to Wiley, 

Saville, and Crosby represents more than a century of 

artistic invention, in which a plethora of creative

12

PLATES

1 

PABLO PICASSO 

Le Nu Jaune, 1907 

14

2 

HENRI MATISSE 

Grand Nu assis, 1922-29; cast 1952 

16

3 

FRANCIS PICABIA 

Edulis, c. 1930-33 

18

4 

PABLO PICASSO 

La Femme Qui Pleure (The Weeping Woman), 1937 

20

5 

MAX BECKMANN 

Loge II, 1944 

22

6 

MILTON AVERY 

Girl with Folded Arms, 1944 

24

7 

HENRY MOORE 

Family Group, 1945 

26

8 

ALBERTO GIACOMETTI 

Portrait de femme, c. 1947 

28

9 


Buste de Diego, 1950 

30

10 

LUCIAN FREUD 

Head (Napper Dean Paul), 1953-54 

32

11 

LUCIAN FREUD 

Naked Portrait, 2001 

34

12 


Annette a Table a Stampa (verso: Personnages a table), 1951 

36

13 

LUCIAN FREUD 

Man in a Blue Scarf, 2004 

38

14 

HENRY MOORE 

Helmet Head, No. 3, 1960 

40

15 

EDWARD HOPPER 

Two Comedians, 1966 

42

16 

DAVID PARK 

Bathers on the Beach, 1956 

44

17 

RICHARD DIEBENKORN 

Woman with Newspaper, 1960 

46

18 

WAYNE THIEBAUD 

Girl with Pink Hat, 1973 

48

19 

CHUCK CLOSE 

Keith, 1972 

50

20 

WILLEM DE KOONING 

Untitled, c. 1967 

52

21 


, 1985 

54

22 

ROY LICHTENSTEIN 

Fashionable Lady, 1986 

56

23 

CECILY BROWN 

Untitled, 2015 

58

24 

GEORGE CONDO 

Abstracted Figures, 2011 

60

25 

JENNY SAVILLE 

Ebb and Flow, 2015 

62

26 

ANTONY GORMLEY 

Submit IV, 2011 

64

27 

GERHARD RICHTER 

Philodendron, 1967 

66

28 

PETER DOIG 

Orange Sunshine, 1997 

68

29 

MICHAËL BORREMANS 

The Egg, 2012 

70

30 

ELIZABETH PEYTON 

Laura, 2004 

72

31 

GEORGE CONDO 

The Pilot, 2012 

74

32 

DAVID BATES 

Weeping Woman I, 2006 

76

33 

BARRY MCGEE 


78

34 

NICK CAVE 

Soundsuit, 2005 

80

35 


MEME XLII, 2009 

82

36 

JOEL SHAPIRO 


84

37 

NATHAN OLIVEIRA 

Cobalt Dancer, 2001 

86

38 

CHRISTOPHER BROWN 

Sailor Steps, 2016 

88

39 


Girl with Four Hats, 2014 

90

40 

KEHINDE WILEY 

Portrait of Dacdjo Ndie Joseph, 2015 

92

41 

DAVID BATES 

The Oyster Shucker, 2016 

94

42 

KARA WALKER 


96

43 

ALEX KATZ 

Eleanore, 2014 

98

44 

KIKI SMITH 

Posie, 2016 

100

45 

KIKI SMITH 

Maybe We Have Everything, 2007 

102

46 

JAMES CROSBY 

...thing is, he didn’t grow up around many black people, 

so when I was like, trying to chop it up with him, he was 

like what? His parents were trying to make him the best 

black person he could be. Tuesday 1:34 pm, 2015 

104

47 

TOM SACHS 

Man (Maquette), 2016 

106

48 

MARTIN PURYEAR 

Face Down, 2008 

108

49 

ADRIANA VAREJÃO 

Kindred Spirits I, 2015 

110

50 

CHRIS JOHANSON 

Los Angeles Painting Number 1 of 2015, 2015 

112

114

PLATE LIST

1 

PABLO PICASSO 

Le Nu Jaune, 1907 

Watercolor, gouache and 

India ink on paper 

23 3/4 x 17 1/4 inches 

Private Collection 

7 

HENRY MOORE 

Family Group, 1945 

Bronze 

Height: 5 inches 

Edition of 7 


2 

HENRI MATISSE 

Grand Nu assis, 1922-29; cast 1952 

Bronze 

30 1/2 x 31 5 ⁄8 x 13 5 ⁄8 inches 

Raymond and Patsy Nasher Collection, 

Nasher Sculpture Center, Dallas 

3 


Edulis, c. 1930-33 

Oil on canvas 

39 1/4 x 32 inches 

4 

PABLO PICASSO 

La Femme Qui Pleure (The Weeping Woman), 1937 

Etching, aquatint, drypoint and scraper on Montval 

Plate: 27 1 ⁄8 x 19 1 ⁄2 inches 


5 

MAX BECKMANN 

Loge II, 1944 

Oil on canvas 

28 3 ⁄4 x 21 1 ⁄2 inches 


6 

MILTON AVERY 

Girl with Folded Arms, 1944 

Oil on canvas 

36 x 28 inches 

8 


Portrait de femme, c. 1947 

Oil on canvas 

21 1/2 x 17 1/2 inches 


9 


Buste de Diego, 1950 

Bronze with black patina 

Height: 14 1/4 inches 

Edition 3 of 6 


10 

LUCIAN FREUD 

Head (Napper Dean Paul), 1953-54 

Oil on canvas 

14 1/2 x 10 1/4 inches 


11 

LUCIAN FREUD 

Naked Portrait, 2001 

Oil on canvas 



12 


Annette a Table a Stampa (verso: Personnages 

a table), 1951 

Pencil on paper (verso: Lithographic pencil on paper) 

15 1/2 x 11 inches 

116

13 

LUCIAN FREUD 

Man in a Blue Scarf, 2004 

Oil on canvas 



14 

HENRY MOORE 

Helmet Head, No. 3, 1960 

Bronze with green patina 

Height: 11 1/2 inches 

Edition of 10 

19 

CHUCK CLOSE 

Keith, 1972 

Mezzotint 

Image: 44 1 ⁄2 x 35 inches 

Sheet: 51 x 41 1 ⁄2 inches 

Edition of 10 

20 


Untitled, c. 1967 

Oil on paper laid down on masonite 

28 3/4 x 22 7 ⁄8 inches 

15 

EDWARD HOPPER 

Two Comedians, 1966 

Oil on canvas 



16 

DAVID PARK 

Bathers on the Beach, 1956 

Oil on canvas 


21 


, 1985 

Oil on canvas 


22 


Fashionable Lady, 1986 

Magna and oil on canvas 



17 


Woman with Newspaper, 1960 

Oil on canvas 



23 

CECILY BROWN 


Oil on linen 



18 


Girl with Pink Hat, 1973 

Oil on canvas 

36 x 29 1/2 inches 

San Francisco Museum of Modern Art, 

Gift of Jeannette Powell 

24 

GEORGE CONDO 

Abstracted Figures, 2011 

Acrylic, charcoal and pastel on linen 

68 x 66 inches

25 

JENNY SAVILLE 

Ebb and Flow, 2015 

Oil stain, pastel and charcoal on canvas 

63 x 102 3 ⁄8 inches 


32 

DAVID BATES 

Weeping Woman I, 2006 

Oil on canvas 



26 


Submit IV, 2011 

Cast iron 

73 1/4 x 18 7 ⁄8 x 18 1/2 inches 

33 

BARRY MCGEE 


Acrylic on panel 

78 x 66 x 2 inches 

27 


Philodendron, 1967 

Oil on canvas 

31 7 ⁄16 x 36 9 ⁄16 inches 


28 

PETER DOIG 

Orange Sunshine, 1997 

Oil on paper 

7 1/4 x 10 inches 

29 


The Egg, 2012 

Oil on canvas 

11 1 ⁄8 x 11 7 ⁄8 inches 


30 


Laura, 2004 

Oil on board 

9 x 7 inches 

31 

GEORGE CONDO 

The Pilot, 2012 

Acrylic, charcoal and pastel on linen 


34 

NICK CAVE 

Soundsuit, 2005 

Mixed media, including found sequins and beads 

100 x 26 x 14 inches 

35 


MEME XLII, 2009 

Cast iron 

Height: 15 inches 

36 

JOEL SHAPIRO 


Painted aluminum 

85 x 71 x 41 1/2 inches 

37 


Cobalt Dancer, 2001 

Oil, alkyd and cold wax medium on canvas 


38 


Sailor Steps, 2016 

Oil on linen 


118

39 


Girl with Four Hats, 2014 

Oil on canvas 

40 1 ⁄8 x 30 inches 

40 

KEHINDE WILEY 

Portrait of Dacdjo Ndie Joseph, 2015 

Oil on canvas in artist’s frame 


41 

DAVID BATES 

The Oyster Shucker, 2016 

Oil on canvas 


42 

KARA WALKER 


Paper and paint on panel 



43 

ALEX KATZ 

Eleanore, 2014 

Oil on linen 


44 

KIKI SMITH 

Posie, 2016 

Ink and collage on Nepal paper 


46 

JAMES CROSBY 

...thing is, he didn’t grow up around many black 

people, so when I was like, trying to chop it up with him, 

he was like what? His parents were trying to make him 

the best black person he could be. Tuesday 1:34 pm, 2015 

Deconstructed hoodie, wire, concrete 


47 

TOM SACHS 

Man (Maquette), 2016 

ConEd barrier, steel hardware 

30 3/4 x 9 7 ⁄8 x 6 inches 

48 


Face Down, 2008 

Bronze 


Edition 4 of 4 

49 


Kindred Spirits I, 2015 

Oil on canvas in three parts 

Each: 20 1/2 x 17 7 ⁄8 x 1 3 ⁄8 inches 

Courtesy the Artist and Lehmann Maupin, 

New York and Hong Kong 

50 


Los Angeles Painting Number 1 of 2015, 2015 

Acrylic on found wood 


45 

KIKI SMITH 

Maybe We Have Everything, 2007 

Ink on Nepal paper with graphite, 

colored pencil and glitter 

80 3/4 x 108 inches

120

SELECTED PUBLIC COLLECTIONS

MILTON AVERY 

Born in 1885, Altmar, NY 

Died in 1965, Woodstock, NY 

Ackland Art Museum, University of North Carolina, 

Chapel Hill, NC 

Addison Gallery of American Art, Phillips Academy, 

Andover, MA 

Albright–Knox Art Gallery, Buffalo, NY 

The Art Institute of Chicago, Chicago, IL 

The Baltimore Museum of Art, Baltimore, MD 

Brooklyn Museum, Brooklyn, NY 

The Butler Institute of American Art, Youngstown, OH 

Carnegie Museum of Art, Pittsburgh, PA 

The Cleveland Museum of Art, Cleveland, OH 

The Dayton Art Institute, Dayton, OH 

Fine Arts Museums of San Francisco, San Francisco, CA 

Fogg Museum, Harvard University, Cambridge, MA 

Hammer Museum, Los Angeles, CA 

Hirshhorn Museum and Sculpture Garden, Washington, D.C. 

Memorial Art Gallery of The University of Rochester, 

Rochester, NY 

The Metropolitan Museum of Art, New York, NY 

Modern Art Museum of Fort Worth, Fort Worth, TX 

Museum of Fine Arts, Boston, MA 

Museum of Fine Arts, Houston, TX 

Museum of Modern Art, New York, NY 

National Gallery of Art, Washington, D.C. 

National Gallery of Australia, Canberra, Australia 

National Portrait Gallery, Washington, D.C. 

Neuberger Museum of Art, State University of New York, 

Purchase, NY 

Newark Museum, Newark, NJ 

New Britain Museum of American Art, New Britain, CT 

New York Public Library, New York, NY 

Philadelphia Museum of Art, Philadelphia, PA 

The Phillips Collection, Washington, D.C. 

Portland Art Museum, Portland, OR 

San Diego Museum of Art, San Diego, CA 

Santa Barbara Museum of Art, Santa Barbara, CA 

Sheldon Memorial Art Gallery & Sculpture Garden, 

University of Nebraska, Lincoln, NE 

Smithsonian, Washington, D.C. 

Tate Gallery, London, United Kingdom 

Tel Aviv Museum of Art, Tel Aviv, Israel 

Walker Art Center, Minneapolis, MN 

Whitney Museum of American Art, New York, NY 

DAVID BATES 

Born in 1952, Dallas, TX 

Lives and works in Dallas, TX 

Art Museum of Southeast Texas, Beaumont, TX 

Art Museum of South Texas, Corpus Christi, TX 


Columbus Museum, Columbus, GA 

Honolulu Museum of Art, Honolulu, HI 

The Corcoran Gallery of Art, Washington, D.C. 

Dallas Museum of Art, Dallas, TX 

Delaware Art Museum, Wilmington, DE 

Ellen Noel Art Museum of the Permian Basin, Odessa, TX 

El Paso Museum of Art, El Paso, TX 

High Museum of Art, Atlanta, GA 


J. B. Speed Museum, Louisville, KY 

Kemper Museum of Contemporary Art, Kansas City, MO 

Knoxville Museum of Art, Knoxville, TN 

Meadows Museum, Dallas, TX 

Memphis Brooks Museum of Art, Memphis, TN 



Morris Museum of Art, Augusta, GA 




Museum of the Southwest, Midland, TX 

National Museum of American Art, Washington, D.C. 

New Britain Museum of American Art, New Britain, CT 

New Orleans Museum of Art, New Orleans, LA 

Norton Gallery of Art, West Palm Beach, FL 

Ogden Museum of Southern Art, New Orleans, LA 


Phoenix Art Museum, Phoenix, AZ 

San Francisco Museum of Modern Art, San Francisco, CA 


Yale University Art Gallery, New Haven, CT 

MAX BECKMANN 

Born in 1884, Leipzig, Germany 

Died in 1950, New York, NY 


Berlinische Galerie, Museum of Modern Art, Berlin, Germany 

Kunsthaus Zurich, Zurich, Switzerland 

Kunstmuseum Basel, Basel, Switzerland 

Los Angeles County Museum of Art, Los Angeles, CA 


122

Musée National d’Art Moderne, Centre Georges Pompidou, 

Paris, France 

Museo Thyssen-Bornemisza, Madrid, Spain 



Neue Galerie, New York, NY 


Städel Museum, Frankfurt, Germany 



Born in 1963, Geraardsbergen, Belgium 

Lives and works in Ghent, Belgium 




The Israel Museum, Jerusalem, Israel 

Musée d’Art Moderne de la Ville de Paris, Paris, France 

Museum of Contemporary Art, Los Angeles, CA 



National Gallery of Canada, Ottawa, Canada 


Stedelijk Museum voor Actuele Kunst (S.M.A.K.), 

Ghent, Belgium 


CECILY BROWN 

Born in 1969, London, United Kingdom 

Lives and works in New York, NY 

Albright-Knox Art Gallery, Buffalo, NY 

Deichtorhallen Hamburg, Germany 

Essel Museum Klosterneuburg, Austria 

Galleria d’Arte Moderna, Torino, Italy 






Solomon R. Guggenheim Museum, New York, NY 




Born in 1951, Camp Lejeune, NC 

Lives and works in Berkeley, CA 

Berkeley Art Museum & Pacific Film Archive, University of 

California, Berkeley, CA 


Grey Art Gallery, New York University, New York, NY 

Hood Museum of Art, Dartmouth College, NH 

Hughes Air West, Los Angeles, CA 


Krannert Art Museum, University of Illinois, 

Champaign-Urbana, IL 

Merrill Lynch Pierce Fenner & Smith, Inc., Los Angeles, CA 



New York Public Library, New York, NY 

Orlando Museum of Art, Orlando, FL 

Palm Springs Desert Art Museum, Palm Springs, CA 

Redding Museum, Redding, CA 


San Jose Museum of Art, San Jose, CA 


Sheldon Memorial Art Gallery, Lincoln, NE 

NICK CAVE 

Born in 1959, Fulton, MO 

Lives and works in Chicago, IL 


Birmingham Museum of Art, Birmingham, AL 


Chrysler Museum of Art, Norfolk, VA 

Cincinnati Art Museum, Cincinnati, OH 

Crystal Bridges Museum of American Art, Bentonville, AR 

Denver Art Museum, Denver, CO 

Des Moines Art Center, Des Moines, IA 

Detroit Institute of Arts, Detroit, MI 




Indianapolis Museum of Art, Indianapolis, IN 

Magasin III Museum & Foundation for Contemporary Art, 

Stockholm, Sweden 

Milwaukee Art Museum, Milwaukee, WI 

Minneapolis Institute of Arts, Minneapolis, MN 

Museum of Arts and Design, New York, NY 

Museum of Contemporary Art, Chicago, IL 

Museum of Fine Arts, Boston, MA




The National Gallery of Victoria, Australia 

Nelson-Atkins Museum of Art, Kansas City, MO 

Orlando Museum of Art, Orlando, FL 

Peabody Essex Museum, Salem, MA 

Pennsylvania Academy of Fine Art, Philadelphia, PA 


Rhode Island School of Design Museum, Providence, RI 

Rubell Family Collection, Miami, FL 

Saint Louis Art Museum, St. Louis, MO 


School of The Art Institute of Chicago, Chicago, IL 

Seattle Art Museum, Seattle, WA 

Trapholt Museum, Kolding, Denmark 

Wadsworth Atheneum Museum of Art, Hartford, CT 

Weatherspoon Art Museum, Greensboro, NC 

CHUCK CLOSE 

Born in 1940, Monroe, WA 



Art Gallery of Ontario, Toronto 


Austin Museum of Art, Austin, TX 

The Broad, Los Angeles, CA 



Essl Museum—Kunst der Gegenwart, Klosterneuburg, Austria 

Hedendaagse Kunst, Utrecht, The Netherlands 

Hiroshima City Museum of Contemporary Art, Japan 


Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan 

Kunsthaus Zurich, Zurich, Switzerland 

Library of Congress, Washington, D.C. 

Ludwig-Forun, für Internationale Kunst, Aachen, Germany 





Paris, France 

Museum Boymans-van Beuningen, Rotterdam, 

The Netherlands 

Museum moderner Kunst, Palais Liechtenstein, 

Vienna, Austria 

Museum of Contemporary Art, Ludwig Museum 

Budapest, Hungary 



The Museum of Modern Art, Wakayama, Japan 




National Portrait Gallery, Washington, D.C. 

Neue Galerie, Aachen, Germany 

Osaka City Museum, Osaka, Japan 





Staatliche Museen, Berlin, Germany 



GEORGE CONDO 

Born in 1957, Concord, NH 



Astrup Fearnley Museum of Modern Art, Oslo, Norway 


Fonds National d’Art Contemporain, Ministère de la Culture, 

Paris, France 

Fonds Regional d’Art Contemporain, Ile de France, 

Paris, France 

Judith Rothschild Foundation, Philadelphia, PA 

Museu d’Art Contemporani, Barcelona, Spain 



The Museum of Modern Art, New York, NY 

Norton Gallery, Palm Beach, FL 

The Solomon R. Guggenheim Museum, New York, NY 


JAMES CROSBY 

Born in 1974, Peekskill, NY 

Lives and works in Los Angeles, CA 

124


Born in 1904, Rotterdam, Holland, The Netherlands 

Died in 1997, East Hampton, NY 

Ackland Art Museum, Chapel Hill, NC 

Allen Memorial Art Museum, Oberlin College, Oberlin, OH 

Arkansas Arts Center, Little Rock, AK 

Art Gallery of Ontario, Toronto, Canada 



The British Museum, London, United Kingdom 


The Butler Institute of American Art, Youngstown, OH 


Castellani Museum of Niagara University, NY 


Cranbrook Art Museum, Bloomfield Hills, MI 


Dayton Art Institute, Dayton, OH 




Fundación Juan March, Madrid, Spain 

Grand Rapids Art Museum, Grand Rapids, MI 

Guggenheim Museum Bilbao, Bilbao, Spain 

Guild Hall Museum, East Hampton, NY 


Herbert F. Johnson Museum of Art, Cornell University, 

Ithaca, NY 


Hiroshima City Museum of Contemporary Art, 

Hiroshima, Japan 


Ho-Am Art Museum, Yongin, South Korea 

Hood Museum of Art, Dartmouth College, Hanover, NH 

Hunter Museum of American Art, Chattanooga, TN 

Ikeda Museum of Twentieth Century Art, Ito-shi, Japan 

Iris & B. Gerald Cantor Center for Visual Arts at Stanford 

University, Stanford, CA 


John Hopkins University, Baltimore, MD 


Kunsthalle Bielefeld, Bielefeld, Germany 

Kunstmuseum Liechtenstein, Vaduz, Liechtenstein 

Leeum Samsung Museum of Art, Seoul, South Korea 


McNay Art Museum, San Antonio, TX 





Moderna Museet, Stockholm, Sweden 

Musee National d’Art Moderne, Centre Georges Pompidou, 

Paris, France 


Museum Boijmans Van Beuningen, Rotterdam, 


Museum Frieder Burda, Baden-Baden, Germany 

Museum Ludwig, Cologne, Germany 

Museum of Contemporary Art Chicago, Chicago, IL 


Museum of Contemporary Art, Tokyo, Japan 




Museum of Moderner Kunst Stiftung Ludwig, Vienna, Austria 




The National Museum of Art, Osaka, Japan 



Purchase, NY 

Ohara Museum of Art, Kurashiki, Japan 

The Parrish Art Museum, Water Mill, NY 

Peggy Guggenheim Collection, Venice, Italy 


Pinakothek der Moderne, Munich, Germany 

Queensland Art Gallery, South Brisbane, Australia 

The Rose Art Museum, Brandeis University, Waltham, MA 







Staatliche Graphische Sammlung, Munich, Germany 

Staatsgalerie Stuttgart, Stuttgart, Germany 

Stedelijk Museum, Amsterdam, The Netherlands 


Tehran Museum of Contemporary Art, Tehran, Iran 

Toledo Museum of Art, Toledo, OH 

Virginia Museum of Fine Arts, Richmond, VA 

Wadsworth Atheneum Museum of Art, Hartford, CT 

Weatherspoon Art Museum, University of North Carolina 

Greensboro, Greensboro, NC 

Whitney Museum of American Art, New York, NY


Born in 1922, Portland, OR 

Died in 1993, Berkeley, CA 


Anderson Collection, Stanford University, Stanford, CA 






Chrysler Museum of Art, Norfolk, VA 

Crocker Art Museum, Sacramento, CA 




Honolulu Museum of Art, Honolulu, HA 












Norton Simon Museum, Pasadena, CA 

Oakland Museum of California, Oakland, CA 




Seattle Museum of Art, Seattle, WA 




PETER DOIG 

Born in 1959, Edinburgh, United Kingdom 

Lives and works in Trinidad and New York, NY 


Arts Council Collection, London, United Kingdom 

Bonnefanten Museum, The Netherlands 

British Council Collection 



César and Mima Reyes, Puerto Rico 


de la Cruz Collection, Miami, FL 

Deutsche Bank, Frankfurt, Germany 

Goetz Collection, Munich, Germany 

Kunsthalle zu Kiel, Germany 



Paris, France 




Philadelphia Museum, Philadelphia, PA 


Provinzial Versicherung, Düsseldorf, Germany 

Rubell Family Collection, Miami, FL 

Saatchi Collection, London, United Kingdom 

Sammlung Olbricht, Duisburg, Germany 

Southampton City Art Gallery, Southampton, United Kingdom 


Walker Art Gallery, Liverpool, United Kingdom 

LUCIAN FREUD 

Born in 1922, Berlin, Germany 

Died in 2011, London, United Kingdom 


Arts Council Collection, Southbank Centre, London, 

United Kingdom 

Ashmolean Museum, Oxford, United Kingdom 

British Council Collection 






Irish Museum of Modern Art, Dublin, Ireland 



Paris, France 

Museum für Gegensartkunst, Siegen, Germany 





National Portrait Gallery, London, United Kingdom 

Queensland Art Gallery, Brisbane, Australia 

Royal College of Art, London, United Kingdom 


126

The Scheringa Museum for Realism, North Holland, 


Scottish National Galleries of Art, Scottish National Gallery 

of Modern Art, Edinburgh, United Kingdom 


Walker Art Gallery, Liverpool, United Kingdom 

Victoria and Albert Museum, London, United Kingdom 


Born in 1901, Borgonovo, Switzerland 

Died in 1966, Chur, Switzerland 

Albertina, Vienna, Austria 


Arkansas Art Center, Little Rock, AR 


Bechtler Museum of Modern Art, Charlotte, SC 

Berggruen Museum, Berlin, Germany 

Bibliothèque Nationale de France, Paris, France 

Carnegie Institute, Pittsburgh, PA 



Galleria Nazionale d’Arte Moderna, Rome, Italy 

Gemeente Museum, Amsterdam, The Netherlands 





The Menil Collection, Houston, TX 




Paris, France 

Museo Botero, Bogotá, Colombia 


Museu de Arte Moderna, Rio de Janeiro, Brazil 



Nasher Sculpture Center, Dallas, TX 

National Galleries of Scotland, Edinburgh, United Kingdom 



New Orleans Museum of Art, New Orleans, LA 

North Carolina Museum of Art, Raleigh, NC 

Palm Springs Art Museum, Palm Springs, CA 







Smith College Museum of Art, Northampton, MA 


Staatliche Graphische Sammlung, Munich Germany 



Tehran Museum of Contemporary Art, Tehran, Iran 

University of Arizona, Museum of Art, Tucson, AZ 




Born in 1950, London, United Kingdom 

Lives and works in London, United Kingdom 

Arken Museum of Modern Art, Denmark 

Ashmolean Museum, Oxford, United Kingdom 

Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway 


deCordova Sculpture Park & Museum, Lincoln, MA 


Frederik Meijer Gardens and Sculpture Park, 

Grand Rapids, MI 

Fundação Berardo, Sintra, Portugal 

Fundação Calouste Gulbenkian, Lisbon, Portugal 

Galleria de Arte Moderna, Turin, Italy 

Gemeentemuseum Den Haag, The Netherlands 

Guangdong Museum of Contemporary Art, Guangzhou, China 

The Hakone Open-Air Museum, Japan 

HEART Herning Museum of Contemporary Art, Denmark 

Henry Moore Foundation, Leeds, United Kingdom 



Iwaki City Art Museum, Fukushima, Japan 

Kirishima Sculpture Park, Japan 

Koriyama City Museum of Art, Japan 

Kunsthalle Bremen, Germany 

Kunsthalle zu Kiel, Germany 

Kyung-Mee Park, PKM, South Korea 

Lhoist Collection, Brussels, Belgium 

Louisiana Museum, Humblebaek, Denmark 

Malmo Konsthall, Malmo, Sweden 

Middelheim Museum, Antwerp, Belgium 


Montreal Musée des Beaux Arts, Canada 

Musée d’Art Classique de Mougins, France 


Paris, France

Museet for Samtidskunst, Oslo, Norway 

Museo de Arte Contemporaneo, Monterrey, Mexico 


Museum of Contemporary Art, San Diego, CA 

Museum of Modern Art, Fort Worth, TX 

Museum of Modern Art, Vienna, Austria 

Museum Würth, Künzelsau, Germany 

Nagoya City Art Museum, Nagoya, Japan 


National Gallery of Victoria, Melbourne, Australia 

The National Museum of Modern Art, Tokyo, Japan 

Neue Galerie, Museumslandschaft Hessen Kassel, 

Kassel, Germany 


Pinchuk Art Centre, Kiev, Ukraine 

Rupertinum Museum Moderne Kunst, Salzburg, Austria 

Sammlung Essl, Klosterneuburg, Austria 


Sapporo Sculpture Park, Hokkaido, Japan 

Scottish National Gallery of Modern Art, Edinburgh, 


State Hermitage Museum, St. Petersburg, Russia 

Stiftung Wilhelm Lehmbruck Museum, Duisburg, Germany 

Takaoka Art Museum, Toyama, Japan 


Taubman Museum of Art, Roanoke, VA 

Tokushima Art Museum, Japan 

Umedalen Sculpture Foundation, Umea, Sweden 

Wakayama Prefectoral Museum, Japan 

Weltkunst Foundation, Zurich, Switzerland 

EDWARD HOPPER 

Born in 1882, Upper Nyack, NY 

Died in 1967, New York, NY 


Carnegie Institute, Pittsburgh, PA 

Columbus Museum, Columbus, GA 















Toledo Museum of Art, Toledo, OH 





Born in 1968, San Jose, CA 

Lives and works in Los Angeles, CA 

Evn Sammlung, Maria Enzersdorf, Austria 



Henry Art Gallery, University of Washington, Seattle, WA 

Louisiana Museum of Modern Art, Humlebæk, Denmark 


Nelson Gallery, University of California, Davis, CA 

New Museum of Contemporary Art, New York, NY 



Schunck Collection, Heerlen, The Netherlands 


ALEX KATZ 

Born in 1927, Brooklyn, NY 


Albright-Knox Gallery, Buffalo, NY 


Bayerische Staatsbibliothek Moderne Kunst, Munich, Germany 

Colby College Museum of Art, Waterville, ME 


Graphische Sammlung Albertina, Vienna, Austria 

Guggenheim Museum, Bilbao, Spain 




Metropolitan Museum of Art, Tokyo, Japan 



Paris, France 

Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain 

Museo Rufino Tamayo, Mexico City, Mexico 

Museum Moderner Kunst, Vienna, Austria 



128


National Gallery of Scotland, Edinburgh, United Kingdom 








Born in 1923, New York, NY 

Died 1997, New York, NY 


The Berardo Collection, Lisbon, Portugal 

Cranbrook Art Museum, Bloomfield Hills, MI 



Fondation Beyeler, Basel, Switzerland 

Gori Collection, Pistoia, Italy 

Hansol Sculpture Museum, Seoul, Korea 


Kunsthaus Zürich, Zürich, Switzerland 

Kunstmuseum, St. Gallen, Switzerland 


Kunstmuseum Liechtenstein, Vaduz, Liechtenstein 

Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany 


Lowe Art Museum, University of Miami, Miami, FL 

Ludwig Forum für Internationale Kunst Aachen, 

Aachen, Germany 




Musée d’Art Contemporain de Montréal, Montréal, Canada 

Museo d’Arte Contemporanea (MADRE), Naples, Italy 

Museum Boymans-van-Beuningen, Rotterdam, 


Museum für Moderne Kunst, Frankfurt, Germany 

Museum Ludwig, Budapest, Hungary 


Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria 



Museum of Contemporary Art, Tehran, Iran 

Museum of Contemporary Art, Tokyo, Japan 



Museum Wuerth, Kuenzelsau, Germany 



New Museum of Contemporary Art, New York, NY 

Niigata Prefectural Museum of Modern Art, Nagaoka, Japan 


Osaka Maritime Museum, Osaka, Japan 


Rhode Island School of Design Museum, Providence, RI 


Scottish National Gallery of Modern Art, Edinburgh, Scotland 


Seibu Art Museum, Tokyo, Japan 


State Museum of Russia, St. Petersburg, Russia 

Stiftung Sammlung Marx (Hamburger Bahnhof ), 

Berlin, Germany 

Stuttgarter Staatsgalerie, Stuttgart, Germany 



The Thyssen-Bornemisza Collection, Madrid, Spain 



HENRI MATISSE 

Born in 1869, Le Cateau-Cambrésis, France 

Died in 1954, Nice, France 

Albright-Knox Gallery, Buffalo, NY 



The Barnes Foundation, Merion, PA 




Hermitage Museum, St. Petersburg, Russia 




Musée de Grenoble, Grenoble, France 

Musée d’Orsay, Paris, France 

Musée Matisse, Nice, France 


Paris, France 





National Galleries of Scotland, Edinburgh, United Kingdom

The National Gallery, London, United Kingdom 




National Gallery of Denmark, Copenhagen, Denmark 



Royal Museum of Fine Arts, Copenhagen, Denmark 





BARRY MCGEE 

Born in 1966, San Francisco, CA 

Lives and works in San Francisco, CA 



Fondazione Prada, Venice, Italy 

Iris & B. Gerald Cantor Center for Visual Arts at 

Stanford University, Stanford, CA 


The New Art Gallery, Walsall, United Kingdom 



HENRY MOORE 

Born in 1898, Castleford, United Kingdom 

Died 1986, Much Hadham, United Kingdom 

Abingdon Street Gardens, London, United Kingdom 


Calouste Gulbenkian Foundation Modern Collection, 

Lisbon, Portugal 

Centro de Arte Reina Sofia, Madrid, Spain 

The F. Hoffmann-La Roche Foundation, Basel, Switzerland 

The Fitzwilliam Museum, Cambridge, United Kingdom 

Foundation Pierre Gianadda, Martigny, Switzerland 

Galleria Nazionale d’Arte Moderna, Rome, Italy 

Germeente Museum, The Hague, The Netherlands 

Henie-Onstad Kunstsenter, Hovikodden Norway 

Henry Moore Studios and Gardens, Much Hadham, 



The J. Paul Getty Museum, Los Angeles, CA 

Karlskirche, Vienna, Austria 

Lehmbruck Museum, Duisburg, Germany 

Louisiana Museum of Modern Art, Humlebaek, Denmark 

Middleheim Open Air Sculpture Museum, Antwerp, Belgium 

Musee Royaux des Beaux Arts, Brussels, Belgium 

Musées D’art et D’histoire, Geneva, Switzerland 


National Gallery for Foreign Art, Sofia, Bulgaria 

National Museum of Contemporary Art, Bucharest, Romania 

Northampton Central Museum and Art Gallery, Northampton, 


Parque de los pueblos de Europa, Guernica, Spain 


Piazza San Marco, Prato, Italy 


Rijksmuseum Kröller-Müller Museum, Otterlo, 


Sara Hildén Art Museum, Tampere, Finland 

Scottish National Gallery of Modern Art, Edinburgh, 




Tiergarten, Berlin, Germany 

Yorkshire Sculpture Park, Wakefield, United Kingdom 


Born in 1928, Oakland, CA 

Died in 2010, Stanford, CA 

Academy of Art, Honolulu, HI 

Aldrich Museum of Contemporary Art, Ridgefield, CT 


Bibliotheque Nationale, Paris, France 


Butler Institute of American Art, Youngstown, OH 

The Carnegie Institute, Pittsburgh, PA 

The Contemporary Museum, Honolulu, HI 


De Saisset Museum, University of Santa Clara, CA 



Heckscher Museum, Huntington, NY 


Herbert F. Johnson Museum of Art, Cornell University, 

Ithaca, NY 

Kemper Museum of Contemporary Ar t, Kansas City, MO 

The Metropolitan Museum of Art, New York , NY 



National Collection Australia, Melbourne, Australia 

130

National Collection of Fine Arts, Johnson Wax Collection, 

Washington, D.C. 


Purchase, NY 



Orange County Museum of Art, Orange County, CA 

Palm Springs Desert Museum, Palm Springs, CA 



San Antonio Museum Association, San Antonio, TX 

San Diego Museum of Contemporary Art, San Diego, CA 


Schenectady Museum of Art, Schenectady, NY 






Wichita Museum of Art, Wichita, KS 

DAVID PARK 

Born in 1911, Boston, MA 

Died in 1960, Berkeley, CA 

Ackland Art Museum, University of North Carolina, 

Chapel Hill, NC 



The Chrysler Museum, Norfolk, VA 



di Rosa Preserve: Art & Nature, Napa, CA 



Hunter Museum of American Art, Chattanooga, TN 



Krannert Art Museum, University of Illinois, 

Urbana-Champaign, IL 

Lowe Art Museum, University of Miami, Coral Gables, FL 




Newport Harbor Art Museum, Newport Beach, CA 


Palmer Museum of Art, Pennsylvania State University, 

University Park, PA 




Sheldon Memorial Art Gallery, University of Nebraska, 

Lincoln, NE 


University of New Mexico Art Museum, University of 

New Mexico, Albuquerque, NM 


Williams College Museum of Art, Williamstown, VA 


Born in 1965, Danbury, CT 


Kunstmuseum, Wolfsburg, Germany 


Paris, France 

Museum für Gegenwartskunst, Basel, Switzerland 








Born in 1879, Paris, France 

Died in 1953, Paris, France 





Paris, France 




Museum de Fundatie, Zwolle, The Netherlands 






Tate Gallery, London, United Kingdom

PABLO PICASSO 

Born in 1881, Málaga, Spain 

Died in 1973, Mougins, France 





Paris, France 




Museum de Fundatie, Zwolle, The Netherlands 








Born in 1941, Washington, D.C. 

Lives and works in the Hudson Valley region, NY 




FAI, Villa Menafolgio Litta Panza, Biuma, Italy 

Fonds national d’art contemporain (FNAC), Paris, France 
















Studio Museum in Harlem, New York, NY 

Tokyo International Forum, Tokyo, Japan 




Born in 1932, Dresden, Germany 

Lives and works in Cologne, Germany 



Guggenheim Museum, Bilbao, Spain 





Museum Frieder Burda, Baden-Baden, Germany 


Paris, France 



National Gallery of Victoria in Melbourne, Australia 

Neue Galerie, Museumslandschaft Hessen Kassel, 

Kassel, Germany 

Osaka City Museum of Modern Art, Osaka, Japan 




Stedelijk Museum voor Actuele Kunst, Ghent, Belgium 



TOM SACHS 





Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway 



Bibliothèque Nationale de France, Paris, France 


Ellipse Foundation, Contemporary Art Collection Arte Centre, 

Cascais, Portugal 

Fondazione Prada, Milan, Italy 



Jewish Museum, New York, NY 

Kunstmuseum Liechtenstein Collection, Liechtenstein 


Maramotti Collection, Reggio Emilia, Italy 


Montblanc Art Collection, Hamburg, Germany 

132


Paris, France 


Schauwerk Sindelfingen, Sindelfingen, Germany 




Vanhaerents Collection, Brussels, Belgium 


JENNY SAVILLE 

Born in 1970, Cambridge, United Kingdom 

Lives and works in Oxford, United Kingdom 




Saatchi Collection, London, United Kingdom 


The Morgan Library and Museum, New York, NY 




Museum of Modern Art, Friuli, Italy 








Storm King Art Center, New Windsor, NY 


United States Holocaust Memorial Museum, 



Whitney Museum of American Art, NY 

JOEL SHAPIRO 




Art Gallery of Ontario, Toronto 


BILBAO Ría 2000, Lasesarre Park, Barakaldo, Spain 




Paris, France 







International Sculpture Collection Rotterdam, 



Kawamura Memorial Museum of Art, Chiba, Japan 

Kiasma Museum of Contemporary Art, Helsinki, Finland 

Kunsthaus Zürich, Zurich, Switzerland 


Louisiana Museum for Moderne Kunst, Humlebaek, Denmark 




KIKI SMITH 

Born in 1954, Nuremberg, Germany 




Bonner Kunstverein, Bonn, Germany 



Contemporary Art Museum, Honolulu, HI 






LaM, Lille Métropole Musée d’art moderne, d’art 

contemporain et d’art brut, Villeneuve-d’Ascq, France 

Long Museum, Shanghai, China 






Musée départemental d’art contemporain de 

Rochechouart, France 




Museum Folkwang, Essen, Germany



National Museum of Art, Osaka, Japan 

National Museum of Contemporary Art, Gwacheon, 

South Korea 

Pérez Art Museum Miami, Miami, FL 





Victoria and Albert Museum, London, United Kingdom 




Born in 1920, Mesa, AZ 

Lives and works in Sacramento, CA 

The Albrecht-Kemper Museum of Art, St. Joseph, MO 


Anderson Collection, Stanford University, Stanford, CA 





Crystal Bridges Museum, Bentonville, AK 



Iris & B. Gerald Cantor Center for Visual Arts at 

Stanford University, Stanford, CA 


Library of Congress, Prints and Photographs Division, 





Museo Morandi, Bologna, Italy 












Richard L. Nelson Gallery and Fine Arts Collection, 

University of California, Davis, CA 

San Antonio Museum of Art, San Antonio, TX 

San Diego Museum of Art, San Diego, CA 









Born in 1964, Rio de Janeiro, Brazil 

Lives and works in Rio de Janeiro, Brazil 

Bouwsfonds Kunststichting, Hoevelaken, The Netherlands 

Coleção Berardo, Museu de Arte Moderna de Sintra, 

Sintra, Portugal 

Coleção Patricia Phelps de Cisneros, Caracas, Venezuela 

Ellipse Foundation, Cascais, Portugal 

Fondation Cartier Pour l’Art Contemporain, Paris, France 

Fundação Serralves, Porto, Portugal 

Fundació “la Caixa,” Barcelona, Spain 

Hara Museum of Contemporary Art, Tokyo, Japan 


Museu de Arte Moderna de São Paulo, São Paulo, Brazil 

Museu de Arte Moderna do Rio de Janeiro, Rio de 

Janeiro, Brazil 


S.M.A.K. – Museum of Contemporary Art, Ghent, Belgium 



Tate Modern, London, United Kingdom 

KARA WALKER 

Born in 1969, Stockton, CA 


Art Gallery of South Australia, Australia 



Berger Collection, Zurich, Switzerland 




Centro Nazionale per le Arti Contemporanee, Rome, Italy 

The Contemporary Museum, Honolulu, HI 

134



DESTE Foundation, Athens, Greece 

Indianapolis Museum of Art, Indianapolis, IN 




Mudam Luxembourg: Musée d’Art Moderne Grand-Duc 

Jean, Luxembourg 

Muscarelle Museum of Art at The College of William & Mary, 

Williamsburg, VA 





Princeton University Art Museum, Princeton, NJ 

The Rubell Family Collection, Miami, FL 





The Studio Museum in Harlem, New York, NY 




Williams College Museum of Art, Williamstown, MA 


Pennsylvania Academy of the Fine Arts, Philadelphia, PA 

The Rubell Family Collection, Miami, FL 

San Antonio Museum of Art, San Antonio, TX 



The Studio Museum of Harlem, New York, NY 

Virginia Museum of Fine Arts, Richmond, VA 


Zabludowicz Collection, London, United Kingdom 

KEHINDE WILEY 

Born in 1977, Los Angeles, CA 

Lives and works in New York, NY, and Beijing, China 


Columbus Museum of Art, Columbus, OH 



The FLAG Art Foundation, New York, NY 



Jewish Museum, New York, NY 

Kansas City Art Museum, Kansas City, MO 



Miami Art Museum, Miami, FL 

Minneapolis Institute of Art, Minneapolis, MN 

The Mint Museum, Charlotte, NC 



Museum of Fine Arts, Boston, MA

136

DR. STEVEN NASH served as The JoAnn McGrath 

Executive Director of the Palm Springs Art Museum 

from April 2007 until January 2015. Dr. Nash received 

his B.A. cum laude at Dartmouth College and his Ph.D. 

in art history at Stanford University. He was a museum 

professional for over 40 years, as Research Curator 

and Chief Curator at the Albright-Knox Art Gallery in 

Buffalo (1973-80), Deputy Director and Chief Curator 

at the Dallas Museum of Art (1980-88), Associate 

Director and Chief Curator at the Fine Arts Museums 

of San Francisco (1988-2001), and founding Director 

of the Nasher Sculpture Center in Dallas (2001- 

2007). Among the many exhibitions he organized or 

co-organized are surveys on the modern artists Ben 

Nicholson, Naum Gabo, Pierre Bonnard, Henry Moore, 

Wayne Thiebaud, Robert Arneson, Alberto Giacometti, 

Henri Matisse, and Richard Diebenkorn; several 

exhibitions on modern European sculpture, landscape 

art in California, masterworks from the Musee d’Orsay, 

the history of Crown Point Press in San Francisco, 

and numerous contemporary Californian artists. Each 

of these exhibitions featured catalogues that Dr. Nash 

authored solely or in part. His work on Pablo Picasso 

includes three exhibitions and catalogues: Picasso the 

Printmaker, Picasso the Sculptor, and Picasso and 

the War Years 1937-1945. 

During his career, Dr. Nash was responsible for 

the acquisition by his museums of literally thousands 

of works of art, from many eras and cultures. He 

participated in the design and installation of four 

new museums: the Dallas Museum of Art (1984), an 

expanded California Palace of the Legion of Honor 

(1995), the de Young Museum in San Francisco (2005), 

and the Nasher Sculpture Center (2003). He sits on 

various boards including those of the Nasher Sculpture 

Center, the Richard Diebenkorn Foundation, where 

he is President, and the Desert Biennial. Dr. Nash 

is now an art consultant working on research, writing, 

and exhibition projects.

138

We would like to thank the 

private collectors who 

graciously lent us works and 

our friends and colleagues 

whose generous collaboration 

made this exhibition possible. 

Acquavella Galleries 

Altman Siegel Gallery 

Gagosian Gallery 

Jeffrey H. Loria & Co., Inc. 

Lehmann Maupin 

Michael Werner Gallery 

Pace Gallery 

Ratio 3 

Raymond and Patsy Nasher Collection, 

Nasher Sculpture Center, Dallas 

San Francisco Museum of Modern Art 

Team Gallery 

Timothy Taylor Gallery 

And a very special thanks to 

Steven A. Nash for his insightful 

essay as well as his invaluable 

support and friendship.

THE HUMAN FORM 

m i lt o n av e ry 

dav i d bat e s 

m a x beckmann 

m i c h a ë l borremans 

c e c i ly brow n 

c h r i s t o p h e r brow n 

n i c k cav e 

c h u c k clo s e 

g e o r g e condo 

ja m e s crosby 

w i l l e m de ko o n i n g 

r i c h a r d diebenko r n 

p e t e r doig 

l u c i a n freud 

a l b e r t o giac o m e t t i 

a n t o n y gormley 

e d wa r d hopper 

c h r i s johanson 

a l e x kat z 

r oy lichtenstein 

h e n r i mat i s s e 

b a r ry mcgee 

h e n ry moore 

n at h a n oliveira 

dav i d pa r k 

e l i z a b e t h pey t o n 

f r a n c i s pica b i a 

pa b lo picas s o 

m a r t i n pury e a r 

g e r h a r d richter 

t o m sac h s 

j e n n y sav i l l e 

j o e l shapiro 

k i k i smith 

way n e thiebau d 

a d r i a n a va r e jão 

k a r a wa l k e r 

k e h i n d e wiley 

JANUARY 13 – MARCH 4, 2017 

10 hawthorne street, san francisco 

berggruen.com 

Publication © 2017 Berggruen Gallery, San Francisco 

All rights reserved. No part of the contents of this catalogue may be 

reproduced without the written permission of Berggruen Gallery. 

photography credits 

Plate 1, 4, 7, 9, 29 - Photograph by Phocasso/J.W. White 

Plate 2 - © 2003 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York. Photograph by David Heald 

Plate 10 - © The Lucian Freud Archive / Bridgeman Images 

Plate 14 - Photograph by Vieri Tomaselli 

Plate 18 - © Wayne Thiebaud / Licensed by VAGA, New York. Photograph by Katherine Du Tiel 

Plate 22 - © Estate of Roy Lichtenstein 

Plate 27 - © Gerhard Richter, courtesy of Gerhard Richter Images 

Plate 44 - © Kiki Smith, courtesy Pace Gallery. Photograph by Tom Barratt, courtesy Pace Gallery 

Plate 45 - © Kiki Smith, courtesy Pace Gallery. Photograph by Kerry Ryan McFate, courtesy Pace Gallery 

Plate 49 - Photo Elisabeth Bernstein, courtesy the artist and Lehmann Maupin, New York and Hong Kong 

design: Elixir Design 

printing: Hemlock Printers 

project coordination: Erin Cabral, Morgann Trumbull, Sarah Wendell, Arielle Younger

FRONT AND BACK COVER 

g e o r g e condo, Abstracted Figures (detail), 2011, Acrylic, charcoal and pastel on linen, 68 x 66 inches

The Human Form

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