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Tuesday 10am - 6pm Wednesday 10am - 6pm Thursday 10am - 6pm Friday 10am - 6pm Saturday 12pm - 6pm

Lincoln Glenn, 542 West 24th Street, New York, NY (2026)

06/23/2026

Discover “Figure CD” (1960) by Jack Tworkov, on view in “A Tribute to André Emmerich” at Lincoln Glenn Gallery through June 27.

Jack Tworkov was an American painter and a key figure in the development of Abstract Expressionism, known for his lifelong exploration of the tension between gestural and geometric abstraction. By the late 1950s, his practice shifted away from the more spontaneous approach of his contemporaries like William de Kooning, seeking a more ordered visual language. His mature style combined expressive brushwork with geometric systems, including grids and measured lines, reflecting an ongoing effort to reconcile intuition with discipline.

“A Tribute to André Emmerich” celebrates the legacy of one of the twentieth century’s most influential art dealers and a defining figure in the modern art world. The exhibition features over 30 works by more than 20 artists from Emmerich’s gallery program, including Anne Truitt, Al Held, Jules Olitski, Sam Francis, Friedel Dzubas, Wolfgang Hollegha, and Hans Hofmann.

Filippo Marino, Gallery Associate at Lincoln Glenn Gallery, discusses this important work currently on view at 542 West 24th Street. Visit the piece and exhibition before it closes June 27.

For inquiries, contact Lincoln Glenn Gallery or visit lincolnglenn.com.

Painting shown: Jack Tworkov, “Figure CD,” 1960, oil on canvas, 42 x 23 inches

06/12/2026

We were deeply saddened to hear about the passing of legendary artist David Hockney today. After relocating from London to California in 1963, Hockney’s work underwent a dramatic transformation. He became known for his luminous depictions of Los Angeles life—sunlit swimming pools, palm trees, and figures set within an atmosphere of leisure and sensuality. These paintings, characterized by crisp lines and vibrant color, reflect both the visual culture of Southern California and Hockney’s ongoing interest in perception and representation.

The relationship between David Hockney and André Emmerich played a significant role in establishing Hockney's reputation in the United States. The gallery presented important exhibitions of paintings, drawings, prints, and etchings, including Paintings and Prints by David Hockney (1969), Six Fairy Tales from the Brothers Grimm and Other New Etchings (1970), and major exhibitions in 1972, 1973, 1977, 1980, 1981, 1982, and 1983. Hockney's celebrated painting Portrait of an Artist (Pool with Two Figures) was completed in 1972 in time for an exhibition at the gallery, underscoring Emmerich's importance to the artist's career.

Their relationship grew beyond that of artist and dealer into a genuine friendship. Hockney frequently visited Emmerich's estate, Top Gallant, where he found inspiration in the landscape and swimming pool. This connection led to Hockney painting hos signature white arc forms inside André Emmerich's pool at Top Gallant in May 1986. Archival photographs and correspondence further document the close bond between the two men, who remained friends long after Hockney's initial exhibitions at the gallery.

Images:
David Hockney
Hockney Paints the Stage , 1983
Acrylic, watercolor and ink on paper
10 1/2 x 20 1/2 inches

André Emmerich overseeing David Hockney painting waves on his pool at Top Gallant estate, Pawling, New York, 1986.

06/11/2026

Happy Birthday to William Baziotes ! Baziotes was an influential American painter associated with the first generation of the Abstract Expressionism. Born in Pittsburgh in 1912 to Greek immigrant parents and raised in Brooklyn, New York, Baziotes studied at the National Academy of Design while working as a commercial artist. During the 1930s he became involved with New York's artistic community and was employed through the Federal Art Project of the Works Progress Administration (WPA), a program that provided crucial support to many young American artists during the Great Depression.

Although Baziotes would later become known for his poetic, dreamlike abstractions of the 1940s and 1950s, his work of the 1930s reveals an artist still searching for his mature voice. By the late 1930s Baziotes had begun to move away from straightforward representation. Exposure to Surrealist ideas, particularly the notion of tapping into the subconscious through spontaneous imagery, encouraged him to experiment with more imaginative compositions. Forms became increasingly biomorphic and ambiguous, while recognizable subjects dissolved into atmospheric arrangements of shapes and color. This transition laid the foundation for the lyrical abstractions that would define his later career.

The work Baziotes produced during the 1930s is significant because it documents his evolution into one of the most sensitive and original painters of the New York School. Baziotes' understanding of Surrealism was highly personal, he drew inspiration from myriad sources and used many layers of translucent glaze to create psychically charged paintings that resonated with the memory of their creation. Although spiritual intensity suffuses the work, the iconography, usually biomorphic, is abstracted and evocative, never explicit. The decade served as an essential period of experimentation, during which Baziotes absorbed diverse influences and developed the visual language that would later make him a distinctive figure of postwar American art.

Images:
William Baziotes
Untitled, circa 1933-1935
Illegible Inscription present to the verso
Oil on board
14 x 19 3/4 inches

06/10/2026

In 1948, Karel Appel co-founded the CoBrA group alongside Constant Nieuwenhuys and Guillaume Cornelis Beverloo, among others. The group rejected academic conventions in favor of a raw, expressive style inspired by children’s drawings, folk art, and the work of Paul Klee and Joan Miró. Appel’s bold use of color and gestural brushwork became hallmarks of his practice. A controversial early commission—a fresco for Amsterdam’s city hall in 1949—was so poorly received that it was concealed for a decade, reflecting the radical nature of his approach at the time.

After moving to Paris in 1950, Appel gained increasing international recognition. With the support of writer Hugo Claus and critic Michel Tapié, his work was widely exhibited across Europe. He received the UNESCO Prize at the 1954 Venice Biennale and continued to secure major commissions, including murals and public works. Throughout the 1950s and 1960s, Appel’s reputation grew through exhibitions at major institutions such as the Palais des Beaux-Arts in Brussels and the Kunsthalle Basel, as well as a major retrospective that toured North America in 1972.

In the later decades of his career, Appel expanded his practice to include sculpture, works on paper, and experimental series such as his “window paintings” of the 1980s. His imagery evolved to incorporate more references to landscape while maintaining the energetic, expressive force that defined his earlier work. During this period, he also collaborated with American poet Allen Ginsberg, reflecting his continued engagement with interdisciplinary creativity. In 1992, the André Emmerich Gallery in New York presented "Karel Appel: Recent Work", a solo exhibition held from November 14th through December 31st. The exhibition highlighted Appel’s continued creative vitality and reaffirmed his position as one of the leading figures of postwar European art. Appel remained an active and influential figure in contemporary art until his death in Zurich in 2006.

Image:
Karel Appel
Untitled, circa 1973
Signed lower right
Acrylic on paper laid on canvas
19 1/4 x 30 1/4 inches

06/05/2026

On Thursday, June 18, DowntownDC Business Improvement District () will be cutting the ribbon to celebrate the arrival of Ten Monumental Beverly Pepper Sculptures along the New York Avenue NW median between 9th and 13th Streets NW.

Installed in front of the National Museum of Women in the Arts, the exhibition brings ten large-scale sculptures to Downtown DC, highlighting Pepper’s bold use of industrial materials through dynamic curves and forms. Starting at 11 a.m., the outdoor program will include remarks from city leaders, arts organizations, and project partners, followed by light bites, refreshments, and time to connect with fellow attendees. The Monumental Sculptures will remain on view through June 1, 2027, inviting the public to pause and experience Downtown vibrancy.

Beginning in the late 1960s and continuing through much of the 1970s, 1980s, and early 1990s, Pepper exhibited regularly with the André Emmerich Gallery, which became one of the principal galleries representing her work in the United States. Throughout the years, André Emmerich maintained a significant sculpture program. Pepper was one of the leading sculptors in his stable, alongside artists such as Anthony Caro and Joel Perlman. The extensive André Emmerich Gallery archives document Pepper as one of the gallery's most prominent and well-represented artists, but their relationship extended beyond gallery exhibitions: Emmerich frequently included Pepper's monumental sculptures at his renowned Top Gallant sculpture park in Pawling, New York, where large-scale works by major contemporary sculptors were installed across a 150-acre landscape. Pepper's work was among the sculptures displayed there, helping to reinforce her reputation as a pioneer of monumental outdoor sculpture.

Open until June 27 | A Tribute to André Emmerich

Image:
Beverly Pepper
Untitled (Obelisk Maquette), circa 1977
Stamped : BP
Cast iron
8 x 1 x 1 inches

05/16/2026

In the 1960s, the André Emmerich Gallery became best known as the primary venue for Color Field painting, representing its major practitioners for the next several decades. “There was no master plan,” Emmerich explained. “I liked Color Field painting. Bill Rubin came to me when French & Company was breaking up and urged me to take them on… I went artist by artist, by my feeling for it.” Emmerich had known the young painter Helen Frankenthaler for several years and began showing her work in 1959. Through her, he met the influential art critic Clement Greenberg, the movement’s earliest champion. Greenberg had overseen French & Company’s modern art department from 1958 until it was dissolved in 1960, showing several Color Field artists that would subsequently join Emmerich’s stable during the 1960s: Morris Louis, Kenneth Noland, Jules Olitski, Friedel Dzubas, and Wolfgang Hollegha.

The ever-increasing scale of Color Field canvases led Emmerich to find a larger space. In the fall of 1964, he moved the gallery to the fifth floor of the Fuller Building at 41 East 57th Street, where it remained until its closing decades later. Emmerich’s steadfast commitment to abstract painting and sculpture throughout the 1960s and onward set his gallery apart from an art world increasingly focused on conceptual, politically engaged, and intermedia art. In his view, abstraction was a vital cultural force, serving as a vehicle for both aesthetic inquiry and a meaningful engagement with society. Emmerich saw Matisse and, later, the Abstract Expressionist painters as exemplary in this regard. Matisse, he explained, “painted through the two worst wars France has gone through, and through the Occupation…. He painted what he always painted—women, flowers, light, forms, what art and culture are about. He kept the torch burning.” In a similar vein, Emmerich observed that the Abstract Expressionist artists, though they “didn’t think they could save mankind or the body politic through art,” nevertheless “did believe that making art was a high cultural mission of immense value.”

Open until June 27 | A Tribute to André Emmerich

05/15/2026

Born in Baltimore in 1921, Anne Truitt initially studied psychology before turning fully to art in the late 1940s. Although often associated with Minimalism because of the geometric clarity of her sculptures, her work differed profoundly from the industrial and impersonal tendencies of artists such as the work of Donald Judd or Carl Andre. Truitt’s sculptures were painstakingly handmade and hand-painted, carrying traces of touch, memory, and autobiography. Drawing inspiration from childhood recollections of the American landscapes of Maryland, Truitt distills architecture, light, and experience into a sculptural language rooted in quiet introspection rather than serial repetition or mechanized production.

Truitt’s relationship with Andre Emmerich proved pivotal to her emergence on the national stage. Emmerich recognized the originality of her work early on and gave her first solo exhibition at his space in New York in 1963. The exhibition introduced Truitt’s tall, elegantly proportioned painted wooden sculptures to a wider audience and established her as a significant new voice in contemporary sculpture. The show was especially important because it preceded the formal codification of Minimalism later in the decade, positioning Truitt as an artist working independently toward a radically simplified sculptural form. Through Emmerich’s support, her work entered important critical and institutional conversations surrounding abstraction, color, and the evolving language of American sculpture during the 1960s.

Image:
Anne Truitt
Arundel XLII, 1977
Signed, titled and dated "26 March '77" on the reverse
Acrylic and graphite on canvas
60 x 60 inches

05/13/2026

Visit us at 17 East 67th Street for and Madison Avenue’s galleries for our annual Madison Avenue Spring Gallery Walk this Saturday, May 16. This free event invites the public to visit participating galleries, view their exhibitions and attend expert talks led by artists and curators on Madison Avenue & side streets from East 57th to East 86th Streets.

We hope to see you there !

05/12/2026

In 1950, Hollegha co-founded the avant-garde “Hundsgruppe” alongside artists such as Maria Lassnig, Arnulf Rainer, and Ernst Fuchs. He later joined the Art Club in Vienna, where he held his first solo exhibition in 1952. A pivotal moment in his career came through his association with Otto Mauer, a key supporter of modern art, with whom he co-founded the “Gruppe St. Stephan” in 1956. Alongside artists such as Mikl and Markus Prachensky, Hollegha helped shape a new direction for Austrian abstraction in the postwar period.

His work gained international recognition in the late 1950s and early 1960s, including the Guggenheim International Award for Painting in 1958 and the Carnegie Prize in 1961. From the 1960s onward, Hollegha developed his signature style: expansive, color-saturated compositions derived from impressions of the natural world. These paintings often balance gestural freedom with a strong sense of structure, creating immersive visual fields that evoke landscape without direct representation.

In addition to his artistic practice, Hollegha had a significant impact as an educator. From 1972 to 1997, he led a master class in painting at the Academy of Fine Arts Vienna, influencing generations of artists. He has lived and worked primarily in Rechberg in Styria, Austria, as well as in northern Spain. Today, Hollegha is regarded as a major figure in Austrian postwar art, celebrated for his sustained exploration of color, scale, and abstraction.

Images:
Wolfgang Hollegha
Untitled, 1990
Signed lower right
Oil on canvas
39 3/8 x 43 3/8 inches

Wolfgang Hollegha in his studio in Vienna, 1954

Lincoln Glenn

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Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	12pm - 6pm