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22 E 80th Street
New York, NY 10075
212 879 8815
Menconi + Schoelkopf is a leader in the field of American art, focusing on the finest works of this country’s artists, created from 1875 to today. The gallery’s program communicates the entire sweep of the modernist impulse in America through its presentation of innovative and important works in both abstract and realist modes. The mission of the gallery is to expand the field of American art through research, scholarship and our treasured relationships with the leading collectors and museums. The gallery maintains a robust schedule of programming and exhibitions which support the engagement of new audiences. It strives to inspire a richer understanding of the contributions of the leading American artists.  The gallery is proud to represent the painter Richard Estes and the estates of John Marin, Joseph Stella, Ralston Crawford, and Manierre Dawson.
Artists Represented:
Richard Estes (b. 1932)
Ralston Crawford (1906-1978)
Manierre Dawson (1887-1969)
John Marin (1870-1953)
Joseph Stella (1877-1946)
Works Available By:
Georgia O’Keeffe (1887-1986)
Henrietta Shore (1880-1963)
Charles Burchfield (1893-1967)
Oscar Bluemner (1867-1938)
Milton Avery (1885-1965)
William Merritt Chase (1849-1916)
Alfred Maurer (1868-1932)
Mary Cassatt (1844-1926)
George Bellows (1882-1925)
Arthur B. Carles (1882-1952)
Charles Demuth (1883-1935)
Marsden Hartley (1877-1943)






 

 
Installation view, Richard Estes: Voyages at Menconi + Schoelkopf
Installation view, Richard Estes: Voyages at Menconi + Schoelkopf
Installation view, Richard Estes: Voyages at Menconi + Schoelkopf
Installation view, Richard Estes: Voyages at Menconi + Schoelkopf
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Past Exhibitions

John Marin

John Marin in the White Mountains



September 7, 2021 - October 15, 2021
John Marin was an influential pioneer during the first five decades of the 20th century and among the first American artists to experiment with abstraction. Marin’s contributions are widely recognized amongst an international audience, more than 70 years after he was the first American artist selected to exhibit at the Venice Biennale in 1950. He is best known for watercolors painted along the northern coast of Maine and New York City, which were shown annually with gallerist Alfred Stieglitz. Marin in the White Mountains shares more than a dozen watercolors painted along one of the artist's regular sojourns as he transitioned between his two worlds of Maine and New York. The exhibition features work from the Marin family collection and the artist's estate and includes a series of richly patterned and freely painted watercolors of the New England countryside in New Hampshire's White Mountains. Marin’s passion for mountain scenery is revealed in these paintings. The mountains become a primary focus of his body of work and parallel his New York City pictures as a means to explore themes of representation and abstraction.

Richard Estes

Richard Estes: Voyages



June 14, 2021 - July 30, 2021
"Voyages" is Menconi + Schoelkopf's first presentation of work by Richard Estes. Richard Estes is the standard-bearer of photorealist painting and its most devoted and accomplished practitioner. Estes's unique ability to synthesize the experience of travel and observation have secured his legacy as one of the leading painters of the 20th century. His body of work includes interpretations of timeless, pristine images of New York City as well as his many adventures in travel spanning the globe. Though Estes has been at the forefront of the photorealist movement since the 1970s, his depictions of landscapes and cityscapes are perhaps more relevant today than ever before, when we all share an unsatisfied longing for travel. From the quiet, towering glaciers in Antarctica, to the glittering waters of Maine, to the energetic streets of New York and vast plains of Africa, the exhibition brings us an intimate experience of Estes's places and moments through the artist's eyes. Image: Richard Estes, "Brooklyn Diner," 2021

Albert E. Gallatin, George L. K. Morris, Charles Green Shaw

The Park Avenue Cubists



April 26, 2021 - June 4, 2021
Menconi + Schoelkopf’s exhibition of The Park Avenue Cubists presents works by Albert E. Gallatin, George L. K. Morris, and Charles Green Shaw–artists on the vanguard of American modernism in the 1930s. After exhibiting with fellow abstractionist Suzy Frelinghuysen at Paul Reinhardt Galleries in 1937, this group of artists came to be known as the “Park Avenue Cubists” because of their privileged backgrounds and Upper East Side addresses. Despite the nickname, all were committed artists as well as passionate collectors who became leaders in the non-objective movement in America in the mid-1930s, a period of dueling artistic themes between the development of figuration and abstraction. The Park Avenue Cubists emerged out of the American Abstract Artists, a larger group dedicated to promoting abstraction of all kinds and included Morris and Shaw among its founding members. This stylistically diverse community of artists took on the establishment in the decade following the Depression and strongly opposed the prevailing taste for realism. Within this larger group of abstractionists, the Park Avenue Cubists did their part to advance innovations in non-objective painting. They considered themselves heirs to the European tradition of Cubism and its derivations while looking ahead to create an American aesthetic uniquely their own decades before abstract art would become synonymous with New York painting.

Charles E. Burchfield

Charles E. Burchfield: Inexhaustible



February 22, 2021 - April 16, 2021
The astonishing body of work Charles E. Burchfield produced in 1917 is comprised of 400 watercolors and numerous pencil drawings. The works signify one of the most explosively creative and innovative periods in the history of American watercolor and modern art. Charles E. Burchfield referred to fruits born of this fertile moment as his "Golden Year” and he repeatedly sipped from this deep reservoir to produce magical watercolor paintings, including a later passage of giant watercolors uniting various sheets of paper, bringing the intimacy and relevance of his earlier work to a grander scale in a post-war world.    Charles E. Burchfield’s watercolors are revered for their sense of spontaneity, brilliant color, and a throbbing internal energy. The 1917 works were fundamental to Burchfield's continued renewal for the next five decades. They also helped the artist to create a vocabulary of abstract thoughts which provided him the "conventions" to develop a sustained independent voice for nearly a half-century more. Charles E. Burchfield: Inexhaustible celebrates the artist's unique place in American modernism; his profound independence and relentless pursuit of a unique art and clarion voice.   Charles E. Burchfield has enjoyed a repeated sense of renewal, most notably in the late 1940s when he broke free of the creative blocks of the Great Depression and World War II, which led to the Whitney Museum of American Art's triumphant retrospective exhibition of 1955, a six-venue exhibition that delighted audiences and critics across the nation.  Robert Gober's triumphant curation of Heat Waves in a Swamp, the most recent retrospective of Burchfield's work, has invited an entirely new audience to revisit Charles E. Burchfield's work and life. Born from a casual interaction nearly fifteen years ago between Robert Gober and Ann Philbin, the energetic Director of the Armand Hammer Museum at UCLA, Heat Waves in a Swamp has inspired a fourth crescendo of interest in Burchfield's work. Burchfield is now the darling also of the contemporary art world and social media. This most recent renewal signifies the lasting impact of Burchfield’s creativity.   There is something eerie and jarring about Burchfield's most complicated and successful compositions. A sense of Edgar Allen Poe's prose and the unsettling dreams and spirits Burchfield saw in the houses, landscape, and natural phenomena around him. Burchfield communed daily with nature and saw rich connections between the sun and the stars - even in the gently blowing winds of Western New York State on late September evenings. Burchfield worked tirelessly in the woods around his Ohio and Western New York homes and found in nature the sounds, spirits, and symbols to make sense of a rapidly shifting modern world. Butterflies, spiders, rain and wind feature prominently - the natural world was Burchfield’s studio. Human figures appear in the troubling times of the late 1920s and 1930s. With the unsettling times upon us today, we invite you to find solace in Burchfield's wild and romantic paintings and in the lucidity and intellect of his written journals.   The exhibition includes "Hemlock in November,” the summation of his career, which is the large-scale watercolor just off the easel when Charles E. Burchfield suffered a deadly heart attack. It is the summation of the artist’s sense of wonder regarding upcoming transition. Burchfield scholar, Dr. Nancy Weekly offers a biographical and stylistic analysis of Burchfield's life in a publication to accompany the exhibition. 

Winslow Homer, Thomas Cole, Maurice Prendergast, John LaFarge, Louis Ritman, Theodore Robinson, John Frederick Peto, George Inness, Martin Johnson Heade, J. Alden Weir, Everett Shinn

The 19th Century



January 14, 2021 - February 12, 2021

Edward Biberman, Margaret Bourke-White, Clarence Carter, Howard Cook, Gordon Coster, Ralston Crawford, Charles Goeller, Lewis Hine, Edmund Lewandowski, Louis Lozowick, Jan Matulka, Charles Sheeler,

The Immaculates



December 2, 2020 - December 18, 2020
The Immaculates: Paintings, Photographs and Prints” presents the broad scope of the Precisionist aesthetic by exploring the stylistic concerns and iconography that held it together. Alfred H. Barr, Jr., founding director of the Museum of Modern Art, is believed responsible for coining the term “Precisionism” in 1927, but it was more common to refer to this loosely composed group of artists as the “Immaculate School.” Painted in sharp focus with clean lines and minimal detail, these works are devoid of human presence which underscores the artist’s emotional detachment. While most often associated with scenes of industrial America, this artistic approach was also applied to domestic interiors, still life compositions and rural landscapes. This exhibition re-examines the framework of this movement in a contemporary experience across a variety of media, including lithographs and photographs. Image: Jan Matulka, "Hell Gate, New York City", 1936

Joseph Cornell

Joseph Cornell's Eternidays



December 1, 2020 - December 18, 2020
Few artists have made so much impact out of so little influence, and so little art out of so many objects, as Joseph Cornell. His method was a simple two-step process: the “ambulatory affair” of wandering the streets of Manhattan looking for lost objects; and the “distillation” as he edited down his findings, at a rate of a thousand to one, by one estimate, into the cabinets of curiosities for which he is known. The Surrealist object had been hinted at in furtive examples by Marcel Duchamp, but when Surrealism’s founder André Breton went looking to expand the notion in the 1930s, he found Joseph Cornell, already a master. While there are antecedents in still-life painting, in the collages of Max Ernst, and elsewhere, Cornell’s boxes were a unique medium when Cornell began his elegiac tributes to ballerinas in the 1930s. These shadowboxes cast an extraordinary shadow, far beyond the short period of association with Surrealism. From Jasper Johns and Robert Rauschenberg, from Pop Art to street art, the Cornell Box is a ubiquitous form of appropriative expression. Through them all runs a thread of longing and loss that Cornell navigated his entire life, attempting to capture what the artist called an “eterniday”–meaning “forever” captured within the box on a calendar that is a single day. Image: Joseph Cornell, Detail image of "An Owl for Ondine", 1954

Edward Hopper

Edward Hopper: Works on Paper



November 2, 2020 - November 20, 2020
Menconi + Schoelkopf presents Edward Hopper’s remarkable works on paper. Edward Hopper’s initial fame grew out of his careful creation of large-scale oil paintings which are among the most iconic images of the 20th and 21st centuries. For many years of his career, Hopper created fewer than four important canvases and most were acquired by American museums from their initial exhibitions. Less well known is Hopper’s creation of a greater number of watercolors, etchings, and drawings which are comfortably among the finest works on paper of the 20th century. Carol Troyen, curator of the important exhibition and publication of "Edward Hopper’s Watercolors," serves as guest scholar to the Menconi + Schoelkopf project. Carol offers articles on each of the important works in the exhibition and an illuminating essay on Hopper’s printmaking. Hopper’s prints are made in very small editions, and many of the images offered for sale here have not been on the market over the past decade. Image: Edward Hopper, "Evening Wind", 1921

John Marin

Marin + The Critics



February 24, 2020 - July 31, 2020
Menconi + Schoelkopf is pleased to announce a solo exhibition of works by John Marin at the gallery’s newly renovated location at 22 East 80th Street, which will run concurrent to a presentation at The Art Show 2020 in a recreation of the artist's seminal installation at Alfred Stieglitz's Gallery 291. Menconi + Schoelkopf’s exhibition and booth will explore three defining exhibitions across Marin’s career, representing the shifting dialectic between his work and the critical response.

N.C. Wyeth

Storyteller



September 10, 2019 - October 25, 2019

Charles Biederman



May 20, 2019 - July 3, 2019

Thomas Hart Benton

The Mechanics of Form



April 29, 2019 - May 17, 2019

Manierre Dawson

Modernist Pioneer



April 1, 2019 - April 26, 2019