Walter Quirt’s Art 1936‑1939
The social problems of the working classes, the unemployed, and black Americans were not thematically central to Quirt's paintings after his exhibition at the Julien Levy Gallery in 1936. Quirt's involvement with leftist ideas and groups seems to have stopped abruptly in early 1937. This change could have been influenced by his participation in Freudian analysis from 1935 to 1939 under Dr. Margaret Fries. His break with previous leftist activities and colleagues parallels the disillusionment with and exodus from the American Communist Party by artists and intellectuals after the Stalinist purges of 1936‑37 and the Soviet‑Nazi pact of 1939.
The influence of Joan Miro and Andre Masson is evident in increasingly abstracted and biomorphically shaped forms in figures and environments. The content of these works are highly personal and probably resulted from Walter’s psychoanalysis.
The social problems of the working classes, the unemployed, and black Americans were not thematically central to Quirt's paintings after his exhibition at the Julien Levy Gallery in 1936. Quirt's involvement with leftist ideas and groups seems to have stopped abruptly in early 1937. This change could have been influenced by his participation in Freudian analysis from 1935 to 1939 under Dr. Margaret Fries. His break with previous leftist activities and colleagues parallels the disillusionment with and exodus from the American Communist Party by artists and intellectuals after the Stalinist purges of 1936‑37 and the Soviet‑Nazi pact of 1939.
The influence of Joan Miro and Andre Masson is evident in increasingly abstracted and biomorphically shaped forms in figures and environments. The content of these works are highly personal and probably resulted from Walter’s psychoanalysis.
This one piece is the only one in the Quirt Family Collection from this time period
Currently Not for Sale
Currently Not for Sale
TO BE ADDED MORE IMAGES FROM THIS TIME PERIOD.