Works from the Mid-Twentieth Century: James Jarvaise and the Hudson River Series [antikvár]

Detail plate 7 BODY LANDSCAPE FROM THE HUDSON RIVER SERJES 19B0, oil on paper ACKNOWLEDGMENT I have long been aware of Dorothy Canrning Miller's cantributions to the American art scene. Her mid-twentieth century exhibitions at MDMA, spanning 1912 through 1963, introduced 9Q contemporary artists to the American museum-going public. From Jackson Pollock to Philip Guston to Louise Nevelson, Mark Rothko, Sam Francis, Clyfford Still and Helen Lundeberg [class of '^2], her knack for spotting art stars In the making was unparalleled. Thus, her selection of James Jarvaise for inclusion in the 1959 Sixteen Americans exhibition had the potential to change his professional destiny. The caliber of his work [he was selected In the class of Jay deFeo, Jasper Johns, Ellsworth Kelly, Robert Rauschenberg and Frank Stella] was and Is unquestionable. However, time, temperament, luck and the art business are not always allies In the building of careers, Jarvalse's phenomenal gifts were showcased on the West Coast, A teaching job, a growing family and a desire for a less urban life style rearranged Jarvalse's priorities. After a dazzling beginning, despite his obvious talent, James Jarvaise did not become a household name, I hope that this exhibition, featuring his Hudson River Series, will help remedy this artist's anonymity. These works fee! as fresh and persuasive to me as they must have then, in 1959 when they were exhibited at MGMA, In any decade, they clearly announce the arrival of an artist with a singular vision and talent in abundance. It is a great pleasure to help InitlatE the renaissance of James Jarvaise. I am grateful for his input and his openness. His son Jean has been an Invaluable partner in our inventorying of the work. We honestly could not have assembled this exhibition without his help or his persistence, A profound thank you to Jean, I am delighted to have Involved Gerald Nordland with this project. His history with the LA art scene, and with this artist in particular, makes him not only an Insightful reporter but also the ideal chronicler of Jarvalse's oeuvre. His text is a welcome addition to this catalogue, Phil Kovinick and Marian Yosbiki-Kovinick deserve a substantial round of applause for their yeoman art history sleuthing. I have had the good fortune to work with these researchers In previous publications and they remain supremely disciplined. Invaluable colleagues. While producing his trademark exquisite images, photographer Gerard Vuilleumier continues to defy laws of time and space in accommodating our print schedule, I am grateful for his contribution to this publication. Last but not least, I owe a debt of gratitude to my gallery staff: registrar Lisa Banks, Alexandra Strobel and Ray Cho, This book would not exist without their meticulous and thoughtful endeavors. To my gallery director Marie Chambers, the watchdog of all things, I offer my usual and profound thanks, Louis Stern