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Delivery III, 1998

Ellsworth Kelly, American, b. Newburgh, New York, 1923–2015

Color lithograph in pencil, 39 1/2 x 37 11/16 in. (100.3 x 95.7 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1974

Accession Number: 74.82

Hirshhorn Museum and Sculpture Garden Collection, Geometric Abstraction

Jane Irish, American, b. Pittsfield, Massachusetts, 1955

Egg tempera and gouache on linen, 60 1/2 × 95 7/8 in. (153.6 × 243.6 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Forman Family Foundation, 2014

Accession Number: 14.21

Hirshhorn Museum and Sculpture Garden Collection

Chuck Close, American, b. Monroe, Washington, 1940

Oil on canvas, 102 x 84 in. (259.1 x 213.4 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Smithsonian Collections Acquisition Program and Joseph H. Hirshhorn Purchase Fund, 1995

Accession Number: 95.7

Provenance:
Pace-Wildenstein Gallery, New York, to 13 April 1995
Smithsonian Collections Acquisition Program and the Joseph H. Hirshhorn Purchase Fund, 1995

Exhibition History:
PACE WILDENSTEIN GALLERIES, Los Angeles. "Chuck Close: Recent Paintings," 28 September-28 October 1995, color ill., front and back cover and p. 29. TOUR: PACE WILDENSTEIN GALLERIES, New York, 2 December-13 January 1996.
ART INSTITUTE OF CHICAGO. "Affinities: Chuck Close and Tom Friedman," 27 April-28 July 1996, no. 8 (brochure).
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington, DC. "The Hirshhorn Collects: Recent Acquisitions 1992-1996," 4 June-7 September 1997, cat.
MUSEUM OF MODERN ART, New York. "Chuck Close," 26 February-26 May 1998, color ill. p. 189. TOUR: MUSEUM OF CONTEMPORARY ART, Chicago, 20 June-13 September; HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington, DC, 15 October-10 January 1999; SEATTLE ART MUSEUM, 18 February-9 May; HAYWARD GALLERY, London, 22 July-19 September 1999.
HOOD MUSEUM OF ART, Dartmouth College, Hanover, New Hampshire. "Surface and Depth: Trends in Contemporary Portrait Photography," 7 October 2000-11 March 2001, cat.
MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA, Madrid. "Chuck Close Paintings: 1968 / 2006," 6 February-7 May 2007, cat.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington, DC. "Strange Bodies," 11 December 2008-15 November 2009, no cat.

Published References:
GUARE, JOHN. Chuck Close: Life and Work, 1988-1995 (New York: Thames and Hudson, 1995), color ill. p. 105.
KIMMELMAN, MICHAEL. "Chuck Close's Big Change," New York Times (8 December 1995), ill. p. C28.
ANGELL, ROGER. "Life Work," New Yorker (15 January 1996), color ill. p. 49.
ANNE-LOUISE MARQUIS. "Chuck Close," in Hirshhorn Museum and Sculpture Garden: 150 Works of Art (Washington, DC: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, in association with Harry N. Abrams, New York, 1996), p. 160; color ill. p. 161.
RILEY, CHARLES A. II, Ph.D. "Chuck Close: Is He America's Greatest Artist?" WE Magazine (June 1997), color ill. p. 64.
SHAW-EAGLE, JOANNA. "'Recent Acquisitions' at the Hirshhorn Paints Broad Sweep," Washington Times (20 July 1997), p. D4, ill.
JONES, JOYCE. "Recent and Recommended at the Hirshhorn," Washington Post (25 July 1997), p. 60, ill.
PROSE, FRANCINE. "The Gallery: Up Close to Close," Wall Street Journal (4 March 1998), p. A16.
HUGHES, ROBERT. "Close Encounters," Time Magazine, vol. 151, no. 14 (13 April 1998), color ill.
LUBBOCK, TOM. "Too Close for Comfort," The Independent (27 July 1999), ill. p. 10.
SEARLE, ADRIAN. "The Man with Two Brains," The Guardian (27 July 1999), ill. pp. 12-13.
TAYLOR, JOHN RUSSELL. "The Big Show: Chuck Close," Times Metro (21-27 August 1999), p. 1F, ill.
BENEZRA, NEAL and OLGA M. VISO with ARTHUR C. DANTO (essay). Regarding Beauty: A View of the Late Twentieth Century (Washington, DC: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; Ostfildern, Germany: Cantz, 1999), ill.
SHIFF, RICHARD. [essay] Chuck Close: Recent Paintings (New York: PaceWildenstein, 2000), pp. 9-10, fig. 4 (color).

Hirshhorn Museum and Sculpture Garden Collection, American Contemporary Realism

Kenneth Noland, American, b. Asheville, North Carolina, 1924–2010

Magna on canvas, 90 x 95 7/8 in. (228.5 x 243.3 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966

Accession Number: 66.3878

Provenance:
French & Co., New York, to 23 January 1959
Joseph H. Hirshhorn, New York, 23 January 1959-17 May 1966
Gift of the Joseph H. Hirshhorn Foundation, 1966

Exhibition History:
FRENCH & COMPANY, New York. Kenneth Noland, 14 October-7 November 1959,
no. 17.
WHITNEY MUSEUM OF AMERICAN ART, New York. Geometric Abstraction in America, 20 March-13 May 1962, no. 67.
THE JEWISH MUSEUM, New York. Kenneth Noland, 4 February-7 March 1965, no. 2.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution,
Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, no. 770.
ORLANDO MUSEUM OF ART, Florida. Washington Color Painters, 16 December 1990-February 1991.
MUSEUM OF FINE ARTS, Houston. Kenneth Noland: The Concentric Circle
Paintings 1956-1963, 14 November 1993-9 January 1994.
FREDERICK WEISMAN ART FOUNDATION, Los Angeles. Hirshhorn loan, 17 May-fall 2001.

Published References:
JUDD, DONALD. "New York Letter," Art International, IX/3 (April 1965), p. 74.
HARRISON, JANE. "On Color in Kenneth Noland's Painting," Art International, IX/5
(June 1965), pp. 36-37.
AARONS, LEROY. "Sound the Hirshhorn," The Washington (DC) Post-Potomac, (19
March 1967), p. 19.
JACOBS, JAY. "Collector: Joseph H. Hirshhorn," Art in America, LVII/4 (July-August
1969), p. 65.
JACOBS, JAY. "Quality as Well as Quantity: Joseph H. Hirshhorn," The Collector in
America (New York: Viking, 1971), p. 77.
LERNER, ABRAM et al. The Hirshhorn Museum and Sculpture Garden (New York:
Harry N. Abrams, 1974), pp. 520, 730.
HUBBARD, BARBARA MARX. "Women as Futurists," American Association of
University Women Journal, LXVIII/6 (April 1975), p. 5.
HUDSON, ANDREW. "Washington Letter," Art International XIX/6 (15 June 1975), p. 98.
GLUBOK, SHIRLEY. The Art of America Since World War II (New York: Macmillan,1976), p. 3 [incorrect picture].
RUSSELL, JOHN. The Meanings of Modern Art, Volume 11: The Great Divide (New
York: Museum of Modern Art, 1975), fig. 38, p. 37.
CARMEAN, E.A. Jr. "Morris Louis and the Modern Tradition: I: Abstract Expression,"
Arts, LI/1 (September 1976), pp. 72, 74.
CARMEAN, E.A. Jr. Morris Louis: Major Themes and Variations (Washington, DC: National Gallery of Art, 1976), fig. 4.
DANIELS, FLORENCE MARGARET. Why Art? (Chicago: Nelson-Hall, 1978), fig. 175 [incorrect information on label].
RICHARD, PAUL. "Portrait: Washington, DC," Portfolio (June/July 1979), pp. 82-83.
RUSSELL, JOHN. The Meanings of Modern Art (New York: Museum of Modern Art,
Harper & Row, 1981).
PARK, EDWARDS. Treasures of the Smithsonian (Washington, DC: Smithsonian Books, 1983).
SHERMAN, MARILYN. Reading Literature: Yellow Level (Evanston, Illinois: McDougal, Littell & Company, 1986), cover.
BATES, SUSAN, ed. A Picture Tour of the Smithsonian (New York: American Legacy Press, 1987), p. 41.
WHEELER, DANIEL. Art since Mid-Century: 1945 to the Present (New York: Vendome Press, 1991).
UNSIGNED. "Appendix: Suggested Works of Art and their Sources," English Teaching Forum 30/3 (July 1992), p. 28.
FORT WAYNE MUSEUM OF ART, Indiana. Alma W. Thomas: A Retrospective of the Paintings (San Francisco: Pomegranate, 1998), fig. 25, p. 61.
ZILCZER, JUDITH. "Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae no. 40/XX (1990), fig. 18, p. 205.

Hirshhorn Museum and Sculpture Garden Collection, Washington Color School/Formalist Abstraction

Valeska Soares, Brazilian, b. Belo Horizonte, 1957

Glass, rubber, and oil perfume, glass tube: 42 7/8 × 1 in. (108.9 × 2.5 cm) rubber stopper: 3 3/4 × 3 in. (9.5 × 7.6 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Heather and Tony Podesta Collection, Falls Church, VA, 2006

Accession Number: 06.57

Provenance:
French & Co., New York, to 23 January 1959
Joseph H. Hirshhorn, New York, 23 January 1959-17 May 1966
Gift of the Joseph H. Hirshhorn Foundation, 1966

Exhibition History:
FRENCH & COMPANY, New York. Kenneth Noland, 14 October-7 November 1959,
no. 17.
WHITNEY MUSEUM OF AMERICAN ART, New York. Geometric Abstraction in America, 20 March-13 May 1962, no. 67.
THE JEWISH MUSEUM, New York. Kenneth Noland, 4 February-7 March 1965, no. 2.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution,
Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, no. 770.
ORLANDO MUSEUM OF ART, Florida. Washington Color Painters, 16 December 1990-February 1991.
MUSEUM OF FINE ARTS, Houston. Kenneth Noland: The Concentric Circle
Paintings 1956-1963, 14 November 1993-9 January 1994.
FREDERICK WEISMAN ART FOUNDATION, Los Angeles. Hirshhorn loan, 17 May-fall 2001.

Published References:
JUDD, DONALD. "New York Letter," Art International, IX/3 (April 1965), p. 74.
HARRISON, JANE. "On Color in Kenneth Noland's Painting," Art International, IX/5
(June 1965), pp. 36-37.
AARONS, LEROY. "Sound the Hirshhorn," The Washington (DC) Post-Potomac, (19
March 1967), p. 19.
JACOBS, JAY. "Collector: Joseph H. Hirshhorn," Art in America, LVII/4 (July-August
1969), p. 65.
JACOBS, JAY. "Quality as Well as Quantity: Joseph H. Hirshhorn," The Collector in
America (New York: Viking, 1971), p. 77.
LERNER, ABRAM et al. The Hirshhorn Museum and Sculpture Garden (New York:
Harry N. Abrams, 1974), pp. 520, 730.
HUBBARD, BARBARA MARX. "Women as Futurists," American Association of
University Women Journal, LXVIII/6 (April 1975), p. 5.
HUDSON, ANDREW. "Washington Letter," Art International XIX/6 (15 June 1975), p. 98.
GLUBOK, SHIRLEY. The Art of America Since World War II (New York: Macmillan,1976), p. 3 [incorrect picture].
RUSSELL, JOHN. The Meanings of Modern Art, Volume 11: The Great Divide (New
York: Museum of Modern Art, 1975), fig. 38, p. 37.
CARMEAN, E.A. Jr. "Morris Louis and the Modern Tradition: I: Abstract Expression,"
Arts, LI/1 (September 1976), pp. 72, 74.
CARMEAN, E.A. Jr. Morris Louis: Major Themes and Variations (Washington, DC: National Gallery of Art, 1976), fig. 4.
DANIELS, FLORENCE MARGARET. Why Art? (Chicago: Nelson-Hall, 1978), fig. 175 [incorrect information on label].
RICHARD, PAUL. "Portrait: Washington, DC," Portfolio (June/July 1979), pp. 82-83.
RUSSELL, JOHN. The Meanings of Modern Art (New York: Museum of Modern Art,
Harper & Row, 1981).
PARK, EDWARDS. Treasures of the Smithsonian (Washington, DC: Smithsonian Books, 1983).
SHERMAN, MARILYN. Reading Literature: Yellow Level (Evanston, Illinois: McDougal, Littell & Company, 1986), cover.
BATES, SUSAN, ed. A Picture Tour of the Smithsonian (New York: American Legacy Press, 1987), p. 41.
WHEELER, DANIEL. Art since Mid-Century: 1945 to the Present (New York: Vendome Press, 1991).
UNSIGNED. "Appendix: Suggested Works of Art and their Sources," English Teaching Forum 30/3 (July 1992), p. 28.
FORT WAYNE MUSEUM OF ART, Indiana. Alma W. Thomas: A Retrospective of the Paintings (San Francisco: Pomegranate, 1998), fig. 25, p. 61.
ZILCZER, JUDITH. "Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae no. 40/XX (1990), fig. 18, p. 205.

Hirshhorn Museum and Sculpture Garden Collection

Image not available.

Valeska Soares, Brazilian, b. Belo Horizonte, 1957

Glass, rubber, and oil perfume, glass tube: 45 3/4 × 1 in. (116.2 × 2.5 cm) rubber stopper: 3 3/4 × 3 in. (9.5 × 7.6 cm) glass bowl: 3 × 5 1/8 in. (7.6 × 13 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Heather and Tony Podesta Collection, Falls Church, VA, 2006

Accession Number: 06.58

Provenance:
French & Co., New York, to 23 January 1959
Joseph H. Hirshhorn, New York, 23 January 1959-17 May 1966
Gift of the Joseph H. Hirshhorn Foundation, 1966

Exhibition History:
FRENCH & COMPANY, New York. Kenneth Noland, 14 October-7 November 1959,
no. 17.
WHITNEY MUSEUM OF AMERICAN ART, New York. Geometric Abstraction in America, 20 March-13 May 1962, no. 67.
THE JEWISH MUSEUM, New York. Kenneth Noland, 4 February-7 March 1965, no. 2.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution,
Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, no. 770.
ORLANDO MUSEUM OF ART, Florida. Washington Color Painters, 16 December 1990-February 1991.
MUSEUM OF FINE ARTS, Houston. Kenneth Noland: The Concentric Circle
Paintings 1956-1963, 14 November 1993-9 January 1994.
FREDERICK WEISMAN ART FOUNDATION, Los Angeles. Hirshhorn loan, 17 May-fall 2001.

Published References:
JUDD, DONALD. "New York Letter," Art International, IX/3 (April 1965), p. 74.
HARRISON, JANE. "On Color in Kenneth Noland's Painting," Art International, IX/5
(June 1965), pp. 36-37.
AARONS, LEROY. "Sound the Hirshhorn," The Washington (DC) Post-Potomac, (19
March 1967), p. 19.
JACOBS, JAY. "Collector: Joseph H. Hirshhorn," Art in America, LVII/4 (July-August
1969), p. 65.
JACOBS, JAY. "Quality as Well as Quantity: Joseph H. Hirshhorn," The Collector in
America (New York: Viking, 1971), p. 77.
LERNER, ABRAM et al. The Hirshhorn Museum and Sculpture Garden (New York:
Harry N. Abrams, 1974), pp. 520, 730.
HUBBARD, BARBARA MARX. "Women as Futurists," American Association of
University Women Journal, LXVIII/6 (April 1975), p. 5.
HUDSON, ANDREW. "Washington Letter," Art International XIX/6 (15 June 1975), p. 98.
GLUBOK, SHIRLEY. The Art of America Since World War II (New York: Macmillan,1976), p. 3 [incorrect picture].
RUSSELL, JOHN. The Meanings of Modern Art, Volume 11: The Great Divide (New
York: Museum of Modern Art, 1975), fig. 38, p. 37.
CARMEAN, E.A. Jr. "Morris Louis and the Modern Tradition: I: Abstract Expression,"
Arts, LI/1 (September 1976), pp. 72, 74.
CARMEAN, E.A. Jr. Morris Louis: Major Themes and Variations (Washington, DC: National Gallery of Art, 1976), fig. 4.
DANIELS, FLORENCE MARGARET. Why Art? (Chicago: Nelson-Hall, 1978), fig. 175 [incorrect information on label].
RICHARD, PAUL. "Portrait: Washington, DC," Portfolio (June/July 1979), pp. 82-83.
RUSSELL, JOHN. The Meanings of Modern Art (New York: Museum of Modern Art,
Harper & Row, 1981).
PARK, EDWARDS. Treasures of the Smithsonian (Washington, DC: Smithsonian Books, 1983).
SHERMAN, MARILYN. Reading Literature: Yellow Level (Evanston, Illinois: McDougal, Littell & Company, 1986), cover.
BATES, SUSAN, ed. A Picture Tour of the Smithsonian (New York: American Legacy Press, 1987), p. 41.
WHEELER, DANIEL. Art since Mid-Century: 1945 to the Present (New York: Vendome Press, 1991).
UNSIGNED. "Appendix: Suggested Works of Art and their Sources," English Teaching Forum 30/3 (July 1992), p. 28.
FORT WAYNE MUSEUM OF ART, Indiana. Alma W. Thomas: A Retrospective of the Paintings (San Francisco: Pomegranate, 1998), fig. 25, p. 61.
ZILCZER, JUDITH. "Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae no. 40/XX (1990), fig. 18, p. 205.

Hirshhorn Museum and Sculpture Garden Collection

Image not available.

Valeska Soares, Brazilian, b. Belo Horizonte, 1957

Glass, rubber, and oil perfume, glass tube: 47 5/8 × 9 × 1 in. (121 × 22.9 × 2.5 cm) rubber stopper: 3 3/4 × 3 in. (9.5 × 7.6 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Heather and Tony Podesta Collection, Falls Church, VA, 2006

Accession Number: 06.59

Provenance:
French & Co., New York, to 23 January 1959
Joseph H. Hirshhorn, New York, 23 January 1959-17 May 1966
Gift of the Joseph H. Hirshhorn Foundation, 1966

Exhibition History:
FRENCH & COMPANY, New York. Kenneth Noland, 14 October-7 November 1959,
no. 17.
WHITNEY MUSEUM OF AMERICAN ART, New York. Geometric Abstraction in America, 20 March-13 May 1962, no. 67.
THE JEWISH MUSEUM, New York. Kenneth Noland, 4 February-7 March 1965, no. 2.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution,
Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, no. 770.
ORLANDO MUSEUM OF ART, Florida. Washington Color Painters, 16 December 1990-February 1991.
MUSEUM OF FINE ARTS, Houston. Kenneth Noland: The Concentric Circle
Paintings 1956-1963, 14 November 1993-9 January 1994.
FREDERICK WEISMAN ART FOUNDATION, Los Angeles. Hirshhorn loan, 17 May-fall 2001.

Published References:
JUDD, DONALD. "New York Letter," Art International, IX/3 (April 1965), p. 74.
HARRISON, JANE. "On Color in Kenneth Noland's Painting," Art International, IX/5
(June 1965), pp. 36-37.
AARONS, LEROY. "Sound the Hirshhorn," The Washington (DC) Post-Potomac, (19
March 1967), p. 19.
JACOBS, JAY. "Collector: Joseph H. Hirshhorn," Art in America, LVII/4 (July-August
1969), p. 65.
JACOBS, JAY. "Quality as Well as Quantity: Joseph H. Hirshhorn," The Collector in
America (New York: Viking, 1971), p. 77.
LERNER, ABRAM et al. The Hirshhorn Museum and Sculpture Garden (New York:
Harry N. Abrams, 1974), pp. 520, 730.
HUBBARD, BARBARA MARX. "Women as Futurists," American Association of
University Women Journal, LXVIII/6 (April 1975), p. 5.
HUDSON, ANDREW. "Washington Letter," Art International XIX/6 (15 June 1975), p. 98.
GLUBOK, SHIRLEY. The Art of America Since World War II (New York: Macmillan,1976), p. 3 [incorrect picture].
RUSSELL, JOHN. The Meanings of Modern Art, Volume 11: The Great Divide (New
York: Museum of Modern Art, 1975), fig. 38, p. 37.
CARMEAN, E.A. Jr. "Morris Louis and the Modern Tradition: I: Abstract Expression,"
Arts, LI/1 (September 1976), pp. 72, 74.
CARMEAN, E.A. Jr. Morris Louis: Major Themes and Variations (Washington, DC: National Gallery of Art, 1976), fig. 4.
DANIELS, FLORENCE MARGARET. Why Art? (Chicago: Nelson-Hall, 1978), fig. 175 [incorrect information on label].
RICHARD, PAUL. "Portrait: Washington, DC," Portfolio (June/July 1979), pp. 82-83.
RUSSELL, JOHN. The Meanings of Modern Art (New York: Museum of Modern Art,
Harper & Row, 1981).
PARK, EDWARDS. Treasures of the Smithsonian (Washington, DC: Smithsonian Books, 1983).
SHERMAN, MARILYN. Reading Literature: Yellow Level (Evanston, Illinois: McDougal, Littell & Company, 1986), cover.
BATES, SUSAN, ed. A Picture Tour of the Smithsonian (New York: American Legacy Press, 1987), p. 41.
WHEELER, DANIEL. Art since Mid-Century: 1945 to the Present (New York: Vendome Press, 1991).
UNSIGNED. "Appendix: Suggested Works of Art and their Sources," English Teaching Forum 30/3 (July 1992), p. 28.
FORT WAYNE MUSEUM OF ART, Indiana. Alma W. Thomas: A Retrospective of the Paintings (San Francisco: Pomegranate, 1998), fig. 25, p. 61.
ZILCZER, JUDITH. "Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae no. 40/XX (1990), fig. 18, p. 205.

Hirshhorn Museum and Sculpture Garden Collection

Image not available.