Like Elaine DeKooning, Lee Kraser, Michael Corrine West, as well as other female artists, her career blossomed from the shadow of their husbands’ work. Her early works were influenced by her teachers Josef Presser, Paul Burlin and Lucile Blanch, and Reginald Neal, and reflected historical modern trends-at times showing the influence of Avery and other modernist. Her instinctive and personalized modernist periods often reflected a similar path of her compatriot artists during the first half of the 20th century. Her longtime friend Milton Avery encouraged her, and she exhibited in the same gallery in the late 1940’s, the RoKo Gallery. The abstracted reality Hart presents in these references go beyond a simple nod and reflect a personal interpretation reflected in the splintered abstraction and her bespoke interpretation.Īgnes Hart’s first began her career as a social realist artist in the 1930’s. Several elements in the painting clearly reference Guernica: the black geometric and cut-out shapes, the biomorphic shapes, the abstracted horse’s head and body, with a district reference to the bull’s tail, along with the black and white pallet choice and various details throughout-all hallmarks of Picasso’s Guernica. “Abstract and Fractured Biomorphic and Geometric Forms” which was painted in the mid to late 1950’s is a nod to Picasso’s famous painting Guernica, which Hart may have seen when it was given to the Museum of Modern Art in New York in 1958.
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