Enrico Donati: A Centennial Retrospective - Weinstein Gallery

A Centennial Retrospective 

E NRICO D ONATI

A Centennial Retrospective 

E NRICO D ONATI 

W EINSTEIN G ALLERY

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Photograph of Enrico Donati by Hans Namuth, c. late 1940s. 

Courtesy Center for Creative Photography, University of Arizona © 1991 Hans Namuth Estate 

Front and back cover: Above & Below (detail, see p. 51) 

Inside front cover: 3 Grigi e Nero (detail, see p. 27) 

Inside back cover: Coptic Wall Verdoso (detail, see p. 44)

ALCHEMY 

ENRICO DONATI 

(1909–2008) 

As an artist, I was always involved with the aesthetic values of alchemy and magic, and in their 

influence on the creative imagination of man. 

Even though the alchemists have maintained that their art was ancient, it is a fact, instead, this “magic 

vision” is actually very young and can attract the “real,” and influence people. 

What interests me is the fight in which alchemists have sought the fusion of the spirit, the brain, and 

the divine. The alchemic vision of the world, for me, is not the creation of gold, but something else, 

infinitely superior to mere craft or science because transformation cannot be reproduced solely by ability. 

Moral virtues are necessary. Only when a man has fused spirit, brain, and divine encompassed in 

a moral orbit will he reach a sublime state of perfection and will he be able to create in a vacuum 

of purity. 

The alchemists have lived in seclusion as if they were in a tacit protest against life and its external elements, 

and in this seclusion I find a real, common stamp, the external stream of life that has always 

attracted me. With his intelligence and art, man has always wished to rejoin this stream via studies and 

contemplation, ascending gradually toward the divine light. 

Khunrath could not be bored. On the door to this entrance was written: “Be vigilant, even when 

you sleep.” 

Khalid wrote: “The stone holds within itself all the colors of red, white, yellow, blue sky, and green.” 

Every philosopher agrees with this subject. Beyond the transformation of metals, the stone has other 

miraculous virtues, among which is prolonged life beyond the limit of natural. In all of this I felt tied 

up, and I tried to maintain this vision in the life of my work. The people whose company I frequented, 

were, in a major way, involved in Alchemy and magic: André Breton, Marcel Duchamp, Antonin Artaud, 

Kurt Seligmann, etc. 

I started to get interested in alchemy around 1942–43. 

An artist can create an isolated element. For me, art starts when the brain is conscious that the 

element does not exist by itself, but has needs, contrasting and complementary, and requests a visual 

situation to give it life. My work is involved with the isolated elements of nature and their different 

forms. This intuitive and spontaneous development creates forces that become one with the situation. 

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A CENTENNIAL RETROSPECTIVE 

ROWLAND WEINSTEIN 

One of the great pleasures of my professional career was the opportunity to work with Enrico Donati, 

who passed away in 2008 at the age of 99. I discovered his work through the 2005 exhibition Surrealism 

USA, which also featured the work of Gerome Kamrowski and Gordon Onslow Ford, whose estates the 

gallery represents. Among a series of wall tags bearing both artists’ birth and death dates, there was one 

which read simply “Born 1909.” Enrico Donati was in fact, at that point, the “last living Surrealist.” I wrote a 

letter to him and was invited to meet him. 

I was to discover a studio full of Enrico’s masterpieces, virtually intact from the early 1940s to the 21st century. 

These pieces had resided since their creation in one of Manhattan’s most beautiful lofts overlooking 

Central Park South, which was Donati’s studio. Enrico and I spent the day admiring the works together, Enrico 

as enthusiastic as I. This meeting led to our 2006 Weinstein Gallery exhibition and an overwhelming 

resurgence of interest in Donati’s artwork and life. In the larger sense, this show also helped to shed much 

needed light on the cultural and intellectual transfer that occurred during World War II from Europe to the 

United States, of which Donati was a key example. 

The most palpable consequence of our initial Weinstein show was that Timothy Burgard, the chief curator of 

American art at the de Young Museum in San Francisco, was so moved by seeing the work in person, which 

previously he had only read about in the history, that he decided to mount a solo exhibition of Donati’s 

work. The result was The Surreal World of Enrico Donati, which took place in 2007 and examined Donati’s 

remarkable contributions to Surrealism and Abstract Expressionism. 

Simultaneously the gallery complemented this showing 

with a fuller exhibition of works from all of Donati’s seven 

decades of painting. Our current exhibition marks the first 

posthumous retrospective of the work of Enrico Donati. It is 

our first opportunity to look back in a comprehensive way 

over the 100 years since Donati’s birth and celebrate the 

legacy and life of this most accomplished of individuals. 

Untitled (The Peach), c. 1941 

Oil on canvas, 36 x 30 inches 

Donati first came to the United States in the 1930s to study 

Native American culture and to collect their artifacts. He 

would move between the U.S. and Europe several times 

before making New York his home in 1940. Having set aside 

his early career as a composer, he threw himself into painting 

full time. His work showed a certain level of introspection and 

an innate ability to handle paint. One of Donati’s early works, 

a nude titled The Peach (c. 1941, opposite) foretells his fascination 

soon after with the medieval myth of the mandragora,

a mysterious plant that is a member of the nightshade 

family. The transition was a natural one, as 

its large poisonous root system in fact strikingly 

resembles the human figure. The lore surrounding 

the mandragora root makes reference to its magical 

properties regarding concepts of birth, death, 

and rebirth. It would prove to be the perfect 

metaphor and inspiration for Donati’s ongoing 

painting. It would also capture the attention of 

André Breton, Surrealism’s prominent leader. 

By the early 1940s Surrealism had been at the 

forefront of avant-garde art for nearly twenty 

years. Many of its members had been exiled to the 

United States for the duration of the War. Breton 

and Donati met through a mutual friend, Lionello 

Venturi. Venturi was a respected art historian who 

gave Donati a letter of introduction to Breton 

after seeing his show at the New School for Social 

Research in 1943. Upon meeting Donati and seeing 

his work, Breton immediately proclaimed him 

a Surrealist. In this way Donati came to know and 

collaborate with such twentieth-century giants as 

Yves Tanguy, Max Ernst, Roberto Matta, Alexander 

Calder, and Marcel Duchamp. He was quickly 

regarded as the future of Surrealism and began an 

eight-year exploration into the deep realms of the 

Mandragora Nest, 1947 

Ink on paper, 14 x 11 inches 

subconscious using the mandragora myth as a guide. Donati’s works of this period were greeted with much 

fanfare. The art critic Nicolas Calas concisely stated, “Donati’s paintings are love songs,” and Breton himself 

would famously say, “I love the painting of Enrico Donati as I love a night in May.” 

In 1947 Donati and Duchamp collaborated and helped to organize the Exposition Internationale du 

Surréalisme in Paris. Although the show announced Surrealism’s return to Europe after the War it also 

marked the beginning of the end of Surrealism as a viable art movement. Donati choose to stay in New York 

City to remain at the ever-evolving forefront of twentieth-century art. 

Donati’s post-Surrealist work would undergo a major transition in the late 1940s to include series of finely 

detailed geometric abstractions that were as mechanized as the madragoras were organic such as La Prière 

(p. 18). He also experimented with a series he called “spaziale,” or “spatial” paintings. The thin color washes 

stand in contrast to the light texture that populates and subtly directs the viewer’s eye. In the case of 

Spaziale XXIII (p. 20) we sense a pyramidal base that appears to vaporize as we look for more detail. The 

surface itself seems to have undergone a kind of erosion, with drips and other evidence of the artist’s allowing 

random chance to guide him. 

By the early 1950s Donati’s artwork had undergone a complete metamorphosis, and he had begun to show 

his work at the prestigious Betty Parsons Gallery, which had also exhibited the work of Pollock, Rothko, 

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Reinhardt, Newman, and others of the New York School. 

Donati’s interest in texture had also evolved; it was now 

the primary visual element in his painting. By applying 

thick opaque layers of vacuum cleaner dirt and dense carpet 

fibers that had been mixed with pigment and medium, 

Donati was able to create a surface that was, as Duchamp 

described, “like the surface of the Moon.” The name would 

stick and the “Moonscapes” were born. These beautiful 

rich canvases (see pp. 26–29) left any sense of illusion 

behind. The nature of the texture is so encompassing that 

Donati’s work of the 1950s must be seen to be truly experienced, 

as any form of reproduction comes up strikingly 

short. The dark colors of the Moonscapes would be 

replaced by the earthen-toned “Sargon Series” paintings 

of the mid- to late 1950s (see pp. 30–31), just as the 

carpet fiber and vacuum dirt would give way to finely 

crushed sands and silicates. They would be applied to the 

canvases layer by layer and worked back into it while the 

surface was still malleable. The nature of the texture creates 

a surface of marvelous dimension and motion. 

Through this period of growth Donati also came to accept 

the fossil as a metaphorical guide in his work. According 

to Donati, “The fossil has an incredibly animated inside 

form. . . and carries the whole cycle of creation in it. . . to 

me the fossil contains within itself all the mystery, power, 

and indestructibility of life.” It would be through this revelation 

that Donati’s great Fossil Series would begin. In 

1960 Donati brought together his mastery of texture and 

the intense beautiful color that had been absent from his 

art for a full decade. Paintings such as 222 CPS (p. 33) 

exemplify his use of multiple layers of texture infused 

with interwoven bands of colors that allude to having 

been deposited on the canvas by some grand geological 

force. Upon closer inspection you see the gray central surface 

has been scored in such a way that it appears 

inscribed in some forgotten language. Throughout the 

next decades Donati would continue to expand his 

research into the possibilities and concepts of lost cultures 

and language. Whether he be revisiting the Gaelic 

myth of the walking stones (pp. 38–39) or exploring 

Egyptian history with his Luxor and Coptic Wall Series (pp. 

43–44), he always managed to apply the pioneering precepts 

and vitality of the early Surrealists. 

I was privy to Donati’s personal vitality on numerous 

occasions during those last three years of his life. I 

remember fondly his gift for storytelling, as he regaled me 

with delightful anecdotes of his lunches with Duchamp, 

Breton, Ernst, and others at Larré’s French restaurant. His 

zest for life was on display in full form when, upon stepping 

into the gallery at his 2006 retrospective, he cried 

with joy at the sight the full display of all the “children”— 

decades’ worth of paintings he had been saving—that he 

had released to my care. And this vitality was never so 

vivid as when, at the age of 98, he made an impromptu 

speech that captivated a crowd of hundreds for more than 

twenty minutes at the dinner at the de Young Museum in 

honor of his 2007 exhibition there. 

One day in particular stands out. Donati and I were in his 

studio selecting work for the 2006 exhibition. He pulled 

out one work after another, and each time he would 

exclaim rhetorically, “Who would do such a thing? What 

was I thinking? I must have been crazy.” This, again and 

again. The answer, though, was clear—only Enrico Donati 

would have done these things, and done them so magnificently. 

I could empathize with and revel in his sentiments, 

however. To re-approach the work of Enrico Donati, in all 

its phases, is to be constantly surprised by its freshness 

and life. This collection of Donati’s work is like no other. 

The pieces in this show were the ones he chose to keep 

until his death, the ones he kept to remind himself of the 

incredible journey that was his life. And, in many ways, 

this exhibition is the grand epitaph not just of Donati but 

of Surrealism as well. Donati was the last surviving member 

of the single most influential art movement of the 

twentieth century. His death marks the end of Surrealism 

as a living movement. It is now purely historical and has 

become a fossil in itself. But the works live on in vibrant 

form. I am pleased to present this Centennial Retrospective 

celebrating the life and art of Enrico Donati. 

I would like to thank Travis Wilson for his assistance in drafting 

this essay, as well as Luke Weinstein for his contributions. I would 

also like to thank Briana Tarantino, Nicholas Pishvanov, and 

Jasmine Moorhead for their production, photographic, and editorial 

roles, respectively, and Kendy Genovese for her work preparing 

the exhibition. Finally, I am grateful to both Kathleen Hill, 

indispensable registrar of the Donati estate, and Adele Donati, for 

aiding me and allowing me to present this body of work.

PAINTINGS 

L’Huître et Ses Compagnons, 1942 


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8 

3 Êtres Marins, 1943 

Oil on canvas 

25 x 30 inches 

Le Philtre II, 1943 

Oil on canvas 

22 x 28 inches

Veille de Guerre, 1943 


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10 

À la Recherche de l'Or, 1945 

Oil on canvas 


Study for Collage, 1945 

Mixed media on canvas 

20 x 24 inches

Lutherie de Sirocco, c. 1944 


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12 

Discours au Peuple, 1946 

Oil on canvas, 30 x 25 inches

Archimboldo, 1945 


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14 

Decalcomania (60), 1943 

Oil tempera on paper, 9 1 ⁄2 x 13 1 ⁄2 inches 

Decalcomania #4, 1945 

Ink on paper, 15 1 ⁄2 x 13 1 ⁄2 inches 

Decalcomania (59), c. 1946 

Oil tempera on paper, 16 x 13 inches 

Decalcomania (66), c. 1946 

Oil tempera on paper, 13 1 ⁄2 x 15 1 ⁄2 inches

Involved, 1946 

Mixed media on canvas, 36 x 30 inches 

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16 

Rayons Bleutés, 1946–47 


Untitled, 1947 


17

18 

La Prière, 1947 


La Prière de l'Araignée, 1946–47 


Somnamble, 1948 


19

20 

Spaziale XXIII, 1948 

Mixed media on canvas, 52 x 60 inches

Spaziale, 1948 


21

22 

Meteor, 1949 


Lumaca, 1949 


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24 

Machine à Écrire, 1949 


Forget Me Not, 1949 


50 x 8 inches 

The Grand Tour, 1949-50 


50 x 8 inches 

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26 

Moonscape—Blue & Black & White Line, 1953 


Untitled (196), c. 1950s 


3 Grigi e Nero, 1954 


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28 

Untitled (198), c. 1950s 


Moonscape—Ivory & Black Lines, 1952 


Grigio a Grigio, 1953–54 


Unfortunately They Have 2 Legs, 1955 


29

30 

Gudea Priest of Akkad, 1957–58 


Fighters, 1958 


31

32 

Fossil Series—Grey and Terracotta, 1961 


Fossil Series—Brown Tablet, 1961 


222 CPS, 1962 


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34 

Ice & Fossil, 1963 


Cosmic Cauldron, 1969–71 



Untitled (5 Squares), c. 1970s 



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36 

Six Squares in Search of a Title II, 1971 


Magic Circles, 1971 



Magic Squares, 1971 



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38 

Walking Stones, 1973 


Walking Stones VI, 1974 


Walking Stones VIII, 1974 


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40 

Checkmate, 1976 


Moonscape VI, 1976 


Donati’s San Gimignano X, 1976–77 


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42 

Donati's Dialogue of Carcassonne II, 1978 


Luxor III, 1978 


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44 

Luxor (Midnight) VI, 1979 


Coptic Wall Verdoso, 1980 


The Battle of Jericho, 1978 


45

46 

Khatchkar III, 1981 


Fragments, 1983 


47

48 

Untitled, c. 1985 


Underwater Reliefs, 1985 


Les Oreilles du Monde, 1984 


Abu Simbel V, 1984 


49

50 

Blue Atlantis, 1988 


Above & Below, 1988 


51

52 

153, 1989 


1960–1970–1980–1990, 1990 


53

54 

Fleurs de Rocaille, 1992 

Mixed media on canvas, 50 x 40 iniches

3 Coins in a Fountain, 1993 


55

56 

Trip to the Future, 1994 


Le Mystère de Nuit, 1995 


57

58 

History Again, 1995 


Minotaure, 1996 


59

60 

Le Grand Transparent, 1996 


Family Crest, 1997 


61

62 

Brothers & Sisters, 1997 


Ville Imaginaire, 1998 


Loupe Marine et Loupe Terrestre, 1998 


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64 

Inscription 2200 BC, 2000 


Evil Eye, 1946 

Mixed media, 10 3 ⁄8 x 11 3 ⁄4 x 8 1 ⁄4 inches (irreg.) 

(One of two similar works of this title) 

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CHRONOLOGY AND EXHIBITION HISTORY 

1909 Born, Milan, Italy 

1928 Enrolls at University of Pavia 

1929 Receives Doctorate in Sociology 

1933 Moves to Paris; joins a group of composers 

1934 Visits American Southwest and Canada to 

collect Native American and Eskimo artifacts 

1935 Moves to New York 

1936 Returns to Paris. Enrolls in art school at the École de la rue 

de Berri 

1940 Moves back to New York 

1942 First solo exhibition, Passedoit Gallery, New York 

1943 Exhibition at New School for Social Research, New York 

Meets André Breton and others of the Surrealist movement 

1944 Breton writes famous preface to Passedoit Gallery exhibition 

catalogue, in which he concludes “I love the painting of 

Enrico Donati as I love a night in May.” 

1945 Becomes a naturalized American citizen 

Collaborates with Marcel Duchamp on installation of window 

display at Brentano’s store in New York 

1947 Helps Duchamp and Breton organize the Exposition 

Internationale du Surréalisme at Galerie Maeght, Paris 

1947–49 Works in Surrealist geometrical style 

1948 Experiments in Letters Series 

1949 Begins Moonscape Series 

1954 First show at Betty Parsons Gallery, New York 

Member of Jury of Fullbright Scholarship Program 

1955 Travels to India, Japan, Hong Kong 

1956 Begins Sargon Series 

1960 Begins Fossil Series 

1960–62 Visiting lecturer at Yale University 

1963 Member of Jury of Fulbright Scholarship Program 

1965 Enrico Donati by Peter Selz published by Éditions Georges Fall, 

Paris 

1968 Begins Antimagnetic Series 

1970, 72 Chairman National Committee, University Art Museum of 

California, Berkeley 

1978 Begins Coptic Walls Series 

1979 Visits Egypt 

1995 Monograph Enrico Donati: Surrealism and Beyond by 

Theodore F. Wolff published by Hudson Hills Press 

1997 Retrospective at Boca Raton Museum, Florida 

2007 Solo exhibition, de Young, Fine Arts Museums of San Francisco 

2008 Dies in New York City at the age of 99 

PUBLIC COLLECTIONS 

Albright Knox Art Gallery, Buffalo, New York 

Baltimore Museum of Art, Maryland 

Berkeley Art Museum, University of California, Berkeley 

Detroit Institute of Arts, Detroit, Michigan 

Doane College, Crete, Nebraska 

Fine Arts Museums of San Francisco 

Galleria Nazionale d’Arte Moderne, Rome, Italy 

Galleria Nazionale d’Arte Moderne, Milan, Italy 

Solomon R. Guggenheim Museum, New York 

Fort Lauderdale Museum of Art, Fort Lauderdale, Florida 

High Museum of Art, Atlanta, Georgia 

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 

Washington, D.C. 

Housatonic Community College, Bridgeport, Connecticut 

International Center of Aesthetic Research, Turin, Italy 

Israel Museum, Jerusalem 

Johns Hopkins Hospital, Baltimore, Maryland 

Lowe Museum, University of Miami, Florida 

Massachusetts Institute of Technology, List Visual Art Center, Cambridge 

Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium 

Museum of Fine Arts, St. Petersburg, Florida 

Museum of Modern Art, New York 

Neuberger Museum of Art, State University of New York at Purchase 

Newark Museum, New Jersey 

Oklahoma City Art Museum 

Orlando Museum of Art, Florida 

Palm Springs Desert Museum, Palm Springs, California 

Philadelphia Museum of Art, Pennsylvania 

Portland Art Museum, Oregon 

Rockefeller University, New York 

Arturo Schwarz Surrealist Foundation, Milan, Italy 

Seattle Art Museum, Washington 

Swarthmore College Art Collection, Swarthmore, Pennsylvania 

Tacoma Art Museum, Washington 

University of Michigan Art Gallery, Ann Arbor 

University of Texas at Austin, Archer M. Huntington Art Gallery 

Tougaloo College, Tougaloo, Mississippi 

Vassar College, Poughkeepsie, New York 

Washington University Gallery of Art, St. Louis, Missouri 

Whitney Museum of American Art, New York 

Yale University Art Gallery, New Haven, Connecticut 

SELECTED SOLO EXHIBITIONS 

2010 Weinstein Gallery, San Francisco, California 

2007 de Young Museum, San Francisco, California 

Weinstein Gallery, San Francisco, California 

2006 Weinstein Gallery, San Francisco, California 

1997 Boca Raton Museum of Art, Boca Raton, Florida 

Maxwell Davidson Gallery, New York 

1996 Horwitch Newman Gallery, Scottsdale, Arizona 

1995 Horwitch Newman Gallery, Scottsdale, Arizona 

Maxwell Davidson Gallery, New York 

1994 Carone Gallery, Fort Lauderdale, Florida 

Louis Newman Gallery, Beverly Hills, California


1991 Louis Newman Gallery, Beverly Hills, California 


1989 Galerie Zabriskie, Paris 

Louis Newman Gallery, Beverly Hills, California 

1987 Gimpel & Weitzenhoffer Gallery, New York 

Zabriskie Gallery, New York 

1986 Gimpel & Weitzenhoffer Gallery, New York 

Louis Newman Gallery, Beverly Hills, California 

1985 Georges Fall, Paris 


Gimpel & Weitzenhoffer Gallery, New York 

1982 Ankrum Gallery, Los Angeles 

Staempfli Gallery, New York 

1980 Palm Springs Desert Museum, California 

International Art Fair, Grand Palais, FIAC, Paris 


Norton Gallery of Art, West Palm Beach, Florida 

Osuna Gallery, Washington, D.C. 

The Phillips Collection, Washington, D.C. 

1978 Davenport Municipal Art Gallery, Iowa 

Hunter Museum of Art, Chattanooga, Tennessee 

Wildenstein Art Center, Houston 


Minnesota Museum of Art, St. Paul 

The Chrysler Museum, Norfolk, Virginia 

Fairweather Hardin Gallery, Chicago 

Tennessee Fine Arts Center, Nashville 

1976 Staempfli Gallery, New York 






J.L. Hudson Gallery, Detroit, Michigan 

1965 Obelisk Gallery, Washington, D.C. 

1964 J.L. Hudson Gallery, Detroit, Michigan 

Hayden Library, Massachusetts Institute of Technology, 

Cambridge 


1962 Neue Galerie im Kunstlerhaus, Munich, Germany 

Staempfli Gallery, New York 

1961 Palais des Beaux-Arts, Brussels, Belgium 

1960 Betty Parsons Gallery, New York 


1958 Lowe Art Gallery, Syracuse University, New York 


1956 Galleria del Naviglio, Milan 



Galleria del Cavallino, Venice 

1953 Galleria del Cavallino, Venice 

1952 Alexandre Iolas Gallery, New York 

Galleria del Cavallino, Venice 

Galleria del Naviglio, Milan 

1950 Galleria Corso Vittorio Emanuele II, Milan 

Galleria del Milione, Milan 

Paul Rosenberg Gallery, New York 

Galleria dell’Obelisco, Rome 

1949 Durand-Ruel Galleries, New York 

André Weil, Paris 


Galerie Drouant-David, Paris 

Gallery Studio, Chicago 

Krouse College, Syracuse University, New York 



1944 The Arts Club of Chicago, Illinois 

G. Place Gallery, Washington, D.C. 

Passedoit Gallery, New York 

1943 New School for Social Research, New York 

1942 Passedoit Gallery, New York 

SELECTED GROUP EXHIBITIONS 

Albright-Knox Art Gallery, Buffalo, New York, 1946 

Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, 1967 

Alexandre Iolas Gallery, New York, 1952 

Allentown Art Museum, Pennsylvania, 1963 

Alter & Gil Gallery, Los Angeles, 1999, 2000 

American Academy and Institute of Arts and Letters Art Galleries, 

New York, 1981 

American Federation of Arts, New York, 1959 (organized; traveled 

to nine United States venues) 

Amici della Francia Gallery, Milan, 1951 

Ankrum Gallery, Los Angeles, 1976 

ART/LA, International Contemporary Art Fair, Los Angeles, 1990, 1991 

Artcurial, Paris, 1986 

Arte Moderna e Contemporanea. Vicenza, Italy, 1996 

Basilica Palladiana, Vicensa, 1996 

Bernice Steinbaum Gallery, NY, 1986-87 

Bienal, São Paulo, 1953 

Biennale, Venice, 1950, 1986 

Bignou Gallery, New York, 1945, 1946, 1947 

Birmingham Museum of Art, Alabama, 1962 

Boca Raton Museum, Florida, 1997, 1998 

Bruce Museum, Greenwich, Connecticut, 1998 

Carnegie International, Department of Fine Arts, Carnegie Institute, 

Pittsburgh, 1945, 1947, 1948, 1950, 1952, 1954, 1956 

Centre de Cultura Contemporania de Barcelona and Museo de Bellas 

Artes de Bilbao, Spain 2005 

Centro Atlantico de Arte Moderno, Las Palmas, Spain, 1989–90 

Chateau de Saint-Cirq-Lapopie, Lot, France, 1974 

Cincinnati Art Museum, Ohio, 1964 

College of Fine and Applied Arts, Architecture Building, University 

of Illinois, Urbana, 1948, 1950, 1951, 1959 

Columbia Museum of Art, South Carolina, 1963 

Corcoran Biennial, Corcoran Gallery of Art, Washington, D.C., 1945, 

1947, 1948, 1957, 1959, 1961 

Cultural Center Bank of Brazil, Rio de Janeiro, 2001 

De Cordova & Dana Museum, Lincoln, Massachusetts, 1959 

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Decorative Arts Center, New York, 1961 

Exposition Internationale du Surréalisme, Galerie Maeght, Paris, 1947 

Fashion Institute of Technology, New York, 1987-88 

Flint Institute of Arts, DeWaters Art Center, Flint, Michigan, 1966 

Fondazione Mudima, Milan, 1994 

Fundacion Cultural Mapfre Vida, Madrid, 1990 

Galerie Maeght, Paris, 1947 

Galleria Casanova, Trieste, 1952 

Galleria Civica d’arte Moderna, Torino, Italy, 1962 

Galleria Credito Valtellinese, Sondrio, 1998, 2000 

Galleria d’Arte Bergamo, Italy, 1995, 1997, 1998, 2002, 2009, 2010 

Galleria d’Arte Cortina, Milan, Italy, 1969, 1976 

Galleria d’Arte del Cavallino, Venice, 1952 

Galleria del Calibano, Vicenza, Italy, 1953 

Galleria del Naviglio, Milan, 1952, 1956 

Galleria La Chiocciola, Padua, 1953 

Galleria La Tartaruga, Rome, 1958 

Galleria San Fedele, Milan, 1951 

Galleria Schwarz, Milan, 1960 

Grace Borgenicht Gallery/Terry Dintenfass Gallery, New York, 1982 

Guild Hall Museum, East Hampton, New York, 1996 

Gutai 9, Osaka, Japan, 1958 

Hayden Library, Massachusetts Institute of Technology, Cambridge, 

1961 

Hunter College Art Galleries, New York, 1994 

Indiana University Art Museum, Bloomington, 1957, 1959 

Inter-American Paintings & Prints Biennial, Mexico City, 1958 

International Center of Aesthetic Research, Torino, Italy, 1964 

Isidore Ducasse Fine Arts, New York, 1992 

John Herron Art Museum, Indianapolis, Indiana, 1946, 1963 

Kouros Gallery, New York, 2002, 2005 

Krannert Art Museum, University of Illinois, Urbana, 1961, 1963 

Kresge Art Center, Michigan State University, East Lansing, 1959 

Le Arti Figurative dell’Architettura, Milan, 1952 

Lowe Art Museum, University of Miami, Coral Gables, Florida, 1989 

(traveled to Terra Museum of American Art, Chicago, Illinois 

and Jane Voorhees Zimmerli Art Museum, New Brunswick, 

New Jersey, 1990) 

Martha Jackson Gallery, New York, 1960 

Mary Washington College Galleries, Fredericksburg, VA, 1961 

Meredith Long Gallery, Houston, 1976 

Miami Art Exposition, Florida, 1991, 1992, 1994, 1997 

Michel Tapié, Paris, 1952 

Minnesota Museum of Art, St. Paul, 1960 

Munson-Williams-Proctor Institute Museum of Art, Utica, New York, 

1955 

Musée National d'Arte Moderne, Centre Georges Pompidou, Paris, 

1991 

Musées Royaux des Beaux-Arts de Belgique, Brussels, 1965 

Museo Nacional Centro de Arte Reina Sofia, Madrid, 1991, 1999 

Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain and Musée 

d’Art Moderne et Contemporain, 1999 

Museum of Art, Rhode Island School of Design, Providence, 1959 

Museum of Fine Arts, Boston, 1966 

Nassau County Museum of Art, Roselyn Harbor, New York, 1995 

National Academy of Design, New York, and Phoenix Art Museum, 

Arizona, 2005 

Ninth Street Annual, New York, 1951 

Oklahoma City Museum of Art, 2007 

Orlando Museum of Art, Florida, 1978 

Palazzo dei Diamanti, Ferrara, 1997 

Palazzo Reale, Milan, Italy, 1989 (traveled to Shirn Kunsthalle, 

Frankfurt, Germany, 1989) 

Passedoit Gallery, New York, 1947 

Pavilion of Fine Arts, New York World's Fair, 1964 

Pennsylvania Academy of Fine Arts, Philadelphia, 1945, 1947, 

1957, 1964 

Philadelphia Museum of Art, Pennsylvania, 2002 

Pinacoteca e Galleria d’arte contemporanea, Pavullo nel Frignano, 

1996 

Pittsburgh International, Carnegie Institute, 1958, 1961 

Pius XII Memorial Library, St. Louis University, St. Louis, 

Missouri, 1960 

Portland Art Museum, Oregon, 2001, 2005–06 

Rutgers University Art Gallery, New Brunswick, New Jersey, 1977 

Sale del Ridotto della Fenice, Venezia, 1953 

Salvador Dali Museum, St. Petersburg, Florida, 1998 

San Francisco Museum of Art, California, 1955 

Santa Barbara Museum of Art, California, 1954 

Santa Croce sull’Arno, Pisa, 1999 

Sibell Wolle Gallery, University of Colorado, Boulder, 1960 

Signa Gallery, East Hampton, New York, 1957 

Solomon R. Guggenheim Museum, New York, 1954, 1961, 1999 

Stable Gallery, New York, 1953, 1954 

Staemplfi Gallery, New York, 1976 

Studio Paul Facchetti, Paris, France, 1952 

Tartaruga Gallery, Rome, 1958 

Tate Gallery, London, and Metropolitan Museum of Art, New York, 

2001–02 

The Art Institute of Chicago, 1945, 1954, 1957, 1960 

The Arts Club of Chicago, Illinois, 1959 

The Museum of Modern Art, New York, 1953, 1954, 1962 

The Toledo Museum of Art, Ohio, 1947 

Third Tokyo Annual, Japan, 1951 

Topicova Salon, Prague, Czechoslovakia, 1947 

University Art Museum, University of California, Berkeley, 1968 

University Art Museum, University of Texas at Austin, 1976 

University Galleries, University of Nebraska, Lincoln, 1953, 1964 

University of Iowa Museum of Art, Iowa City, 1947 

Villa Malpensata, Lugano, 1987 

Virginia Museum of Fine Arts, Richmond, 1958, 1962, 1970 

Walker Art Center, Minneapolis, Minnesota, 1960 

Whitney Annual, Whitney Museum of American Art, New York, 

1954, 1956, 1958, 1961, 1963, 1964, 1965, 1966, 1970 

Whitney Museum of American Art, New York, 1945, 1964 

Worcester Art Museum, Massachusetts, 1952 

Yale Art Gallery, New Haven, Connecticut, 1963 

Zabriskie Gallery, New York, 1989, 2001, 2002

W E I N S T E I N G A L L E R Y

Enrico Donati: A Centennial Retrospective - Weinstein Gallery

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