1923

Born in Kansas City, Missouri.

Early Years

At the Kansas City Art Institute takes several courses and makes drawings from a model and paints watercolours he calls “interior landscapes” related to caves he visited in the Ozarks, rivers, campfires and other forms of nature.

Is ejected from class for eating the still life. As Albert E. Elsen quotes the artist in his monograph: “For me the pear is to be eaten and experienced, not painted.”

Works in ceramics with James Weldon, pouring clay slip into moulds, applying glazes and creating clay sculptures of heads and figures that he then fires. The kiln reveals the transformation of colour: the dry opaque glazes prior to the firing which then become subtly translucent or vitally defined in density.

Meets Frank Lloyd Wright in 1940 when his great-uncle, the Reverend Burris Jenkins, pastor of the First Community Church in Kansas City, Missouri, commissioned Wright to rebuild his church after a fire destroyed the building on Linwood Boulevard. (This church is now called the Community Christian Church). Frank Lloyd Wright advises the aspiring young artist to consider agriculture as a more solid pursuit to the vagaries of being an artist.

On his great-uncle’s suggestion, visits with Thomas Hart Benton at his home to discuss his intention to be a painter. Thomas Hart Benton asks the artist to return when he was 21. By that time, Paul Jenkins was in the US Naval Air Corps during WWII and didn’t make the return visit.

1944 – 1947

In 1944, from the United States Maritime Service enters the US Naval Air Corps. Paints watercolours of Kabuki dancers during his time in the Naval Air Corps and makes what the distinguished art historian Albert E. Elsen describes as “Durer-esque” black and white graphite drawings.

Is drawn to the teachings of Lao Tse Tung in theTao Te Chingwhich he describes in a December 5, 1945 letter as “masterpieces in simplicity.”

After his discharge from military service at the end of February 1946, studies playwriting with George McCalmon at the Carnegie Institute of Technology (now Carnegie Mellon University) and continues to paint and draw on his own.

1948 – 1952

Under the G.I. Bill, studies with Yasuo Kuniyoshi for four years at theArt Students Leaguein New York where, in 1951, he meets Mark Rothko.

Meets Jackson Pollock and Barnett Newman in New York.

1953

Travels to Italy where, during a stay of several months in Sicily, he works on canvas in Taormina.

Travels to Spain where he is deeply moved by thePrado.

Settles in Paris, meeting Jean Dubuffet in December at his exhibition of “Terres Radieuses” at the La Hune.

Frequents Michel Tapié, Pierre Restany, Etienne Martin, Zoe Dusanne, Kenneth B. Sawyer, as well as other American artists living there at the time.

Working flat and pouring paint on paper and primed canvas provides a greater sense of totality.

The unique abstracté bauchesin oil of Gustave Moreau reveal to him the structure and inherent luminosity of colour.

In the illuminated density radiating from the subject in the pastels of Odilon Redon, particularly in La Coquille[The Conch Shell], he sees a specific kind of emanating light existing only in the pastels.

Discovers Psychology and Alchemy by Carl Gustav Jung and the I Ching: The Book of Changes.

1954

The flatness of the reflected lights at night on the Seine assumes a compelling verticality which disrupts the intruding horizon line and moves forward in a frontal configuration, evoking a sensation of nearness.

Works with Winsor Newton powdered pigments and chrysochrome, a viscous enamel paint.

1955

Travels from Paris to New York in July of 1955 on the SS Liberté.

In New York, comes to know Willem de Kooning, Franz Kline, Ad Reinhardt, and, with George Wittenborn, Robert Motherwell.

During his year-long stay in New York, visits Mark Rothko’s studio on the West side, near what is now Lincoln Centre.

1956

Visits Jackson Pollock’s studio in Springs and sees his recent paintings, as well as black and white drawings to be shown at the Gimpel Fils Gallery in London.

On his return to the city, gives Pollock a copy of Herrigal’s Zen and the Art of Archery, presently in the library of the Pollock-Krasner House in Springs.

Returns to Paris.

After a visit to the Gimpels in Ménerbes in July, Lee Krasner stays at Jenkins’ studio in Paris where she later receives a call from Clement Greenberg informing her of Pollock’s fatal car accident on August 11.

1957

Peggy Guggenheim buys Osage from his studio in Paris, this work is soon included in his solo exhibition at the Galerie Stadler in Paris.

Exchanges studios with Joan Mitchell for two years; he works in her St. Mark’s Place studio in New York, and she works in his studio on the rue Decrès in Paris.

1959 -1960

Works with dry pigments mixed with acri-medium, and in oil.

Studies the writing of Kant and Goethe.

Uses an ivory knife to guide the flow of paint.

Influenced by Goethe’s colour theories, begins to title his canvases Phenomena, followed by a key phrase or word.

1962

Gradual encroachment of the granular veils in the paintings reveals a new sense of substance integrated on the canvas and “another kind of light, a reflecting or incandescent light.” [Elsen, Paul Jenkins, p. 77]

The artist continues his exploration of monochrome paint on canvas, including works ingrisaille.

1963

Obtains loft downtown on Broadway in New York from Willem de Kooning. The photographer David Douglas Duncan takes prismatic photographs of the artist in Paris.

1964

Travels to India, visits Bombay, Agra, the Ajanta caves in Aurangabad. In New Delhi, is struck by the independence of the colour worn against the landscape.

1965

Travels to Madrid, visits L’Escorial, and then to Biarritz.

1966

Travels in Russia, visits Moscow, Leningrad and Kiev. In Zagorsk, sees for the first time the icons of Andreiev Roublev, whose intensity and force impress him greatly.

In New York, pursues the study of Jungian concepts with Dr. Erlo van Waveren.

1967

Over the next several years the artist paints large works on primed canvas in which greys and granular whites predominate.What Albert E. Elsen describes as “the coming of the greys,”came about through the artist’s search “to find another temperature” and become in touch with a new sense of “structure, or substantial substance.”

Awarded the silver medal in painting during the 30th Biennial of the Corcoran Gallery of Art in Washington, D.C.

1968

Begins to make unique glass sculptures in Venice with Egidio Costantini, introduced to him by Mark Tobey.

1973

Sees the prehistoric stones at Carnac in France.

Receives an honorary Doctorate in Humanities from the Lindenwood Colleges in Missouri.

1974 – 1976

On primed canvas and paper, continues to explore through veils of colour the Newtonian prism and to investigate translucent and opaque light, revealed and hidden forms.

1977

Begins St. Croix series of watercolours and paintings and is strongly influenced by the physicality of working outside, reminiscent of Taormina where he was confronted by colour in a direct and decisive way.

1979

During a long stay in the Caribbean, impasto begins to appear in the paintings.

Completes Phenomena Forcing a Passage at the Mark, a decisive painting to him in discovering the scraped veils with prism concentrates.

1980

Named Officer of Arts and Letters by the Republic of France.

1982

Receives the Humanitarian Award from the National Committee of Arts for the Handicapped.

Begins to use granular poured veils on scraped prism forms; abstract collage elements integrate themselves in the works on canvas.

1983

Named Commander of Arts and Letters by the Republic of France.

1985

Creates a medal, in bronze dipped in silver and struck at La Monnaie in Paris, for the French Centre of Civilization and Culture of New York University.

1988

Commissioned to create and paint a silk décor for a performance at the Great Hall of the People in Beijing for “The Return of Marco Polo,” organized by the International Committee for the Safeguard of Venice and the Great Wall.

In Beijing paints six banners of 40 x 15 feet, a backdrop of 60 x 75 feet and banners 30 x 3 feet for the Great Wall.

1989

Architect Yves Bayard creates Meditation Tower,a structure based on the broken prism concept of the artist and featuring his large-scale stained glass windows

1990

Receives the medal of the city of Menton.

1994

Writes Prism Moon to the Shaman,an allegorical tale about colour.

1996

Receives an honorary Doctorate in Humanities from Hofstra University.

1997

Receives the Life Achievement Award from the Butler Institute, together with the medal of the City of Paris presented by Pierre Buhler, the French Cultural Counsellor of New York.

Elected to the National Academy, New York.

1998

Elected an honorary member of the Royal Cambrian Academy in Wales.

2000

Receives the Benjamin Clinedinst Medal from the Artists’ Fellowship in New York.

Moves from his studio acquired from Willem de Kooning in 1963.

2001

Invited by the Rev. Seiyu Kiriyama Kancho, travels to Kyoto in February for the monumental outdoor Fire Ceremony; visits stone gardens, temples and shrines and experiences the intensity of their stillness.

2002

From the artist’s studio, David Douglas Duncan purchases a large-scale painting, which he then donates to the Nelson-Atkins Museum of Art in Kansas City, Missouri.

Travels to London to see the Barnett Newman exhibition at the Tate Gallery.

2005

Receives the gold medal of the City of Lille, awarded at the exhibition inauguration.

2007

The Ballet Western Reserve performs two evenings of dance choreographed to his paintings in the collection of the Butler Institute of American Art in Ohio.

Revisits Padua to see again the frescoes of Giotto in the Scrovegni chapel.

The artist donates close to 5,000 pieces from his archive to the Archives of American Art of the Smithsonian Institution. This donation includes correspondence from Willem de Kooning, Beauford Delaney, Jean Dubuffet, Thomas B. Hess, Philippe Hosiasson, Joan Mitchell, Mark Tobey among many others. In addition, the collection contains a rich and extensive correspondence with the Seattle art dealer Zoe Dusanne, and art historians Albert E. Elsen and Frank Anderson Trapp.

2008

The Archives of American Art of the Smithsonian Institution receives more than 1,000 additional items for the Paul Jenkins Papers.

Continues to work on canvas and in watercolour.

2009

Recent Acquisitions—the Paul Jenkins Papers,selected documents are on view in the New York City location of the Archives of American Art.

Participates in the panel Gutai: A ‘Concrete’ Discussion of Transnationalism, at the Guggenheim Museum.

Donation to the Archives of American Art of eight watercolour drawings from 1977 by the late architect Frank Prince of a proposed building to adjoin the artist’s sculpture park,Meditation Mandala Sundial.

2010

Receives the Seals of the City of Prato.

2012

A memorial celebrating the life of Paul Jenkins is held at the Morgan Library & Museum, New York.

2015

The Butler Institute of American Art in Ohio presents a Tribute exhibition of works on canvas 2004-2010.

The British Museum in London acquires Katherine Wheel, a 1979 monoprint made at Tyler Graphics, New York.

The Cleveland Museum of Art acquires an important work from 1960,Phenomena When I Looked Away, one of the last paintings in oil.

1948 – 1952

Attended the Kansas City Art Institute

Art Students League in New York with Yasuo Kuniyoshi

Selected Solo Exhibitions

2016

Chapel of Meditation. University at Buffalo Anderson Gallery, New York.

D. Wigmore Fine Art, New York.

2015

The Butler Institute of American Art, Youngstown.

Robert Green Fine Arts, Mill Valley.

2014

Robert Miller Gallery, New York.

Museo di Pittura Murale, Prato.

Redfern Gallery, London.

Galleria Open Art, Prato.

2012

Robert Green Fine Arts, Mill Valley.

2011

The Redfern Gallery, London.

2010

Crocker Art Museum, Sacramento.

Robert Green Fine Arts, Mill Valley.

Palazzo Pacchiani, Prato.

Galleria Open Art, Prato.

UB Anderson Gallery, State University of New York at Buffalo.

Galleria Civica Ezio Mariani di Seregno.

2009

D. Wigmore Fine Art, New York.

Cummer Museum of Art & Gardens, Jacksonville.

Archives of American Art, Smithsonian Institution, New York location.

Robert Green Fine Arts, Mill Valley, California.

2008

Robert Green Fine Arts, Mill Valley, California.

2007

Galleria Open Art, Cornice Art Fair, Venice.

Redfern Gallery, London.

D. Wigmore Fine Art, New York.

2006

Robert Green Fine Arts, Mill Valley, California.

Maison des Princes de Pérouges. Pérouges.

Arkansas Arts Centre, Little Rock.

2005

Palais des Beaux-Arts, Lille.

Redfern Gallery, London.

Galleria Open Art, Prato.

Abbaye de Silvacane, La Roque d’Anthéron.

Robert Green Fine Arts, Mill Valley, California.

Galerie Proarta, Zurich.

2004

Museo Civico, Assessorato alla Cultura di Pizzighettone.

2003

Jerald Melberg Gallery, Charlotte.

Redfern Gallery, London.

2002

Chateau Haut-Gléon, Les Corbières.

2001

Galerie Proarta, Zurich.

Centre d’Art Contemporain, Bouvet Ladubay, Saumur.

2000

Butler Institute of American Art, Youngstown.

Basilica Palladiana, Vicenza.

Joseph Rickards Gallery, New York.

Vero Beach Museum of Art, Vero Beach, Florida (collage retrospective).

1999

Galerie Patrice Trigano, Paris.

Hofstra Museum, Hempstead, New York.

Joseph Rickards Gallery, New York.

1998

Joseph Rickards Gallery, New York.

1997

Butler Institute of American Art, Youngstown.

Galerie Georges Fall, Paris.

Galerie Proarta, Zurich.

1996

Lorenzelli Arte, Milan.

1995

Artcurial, Paris (graphics).

Centre d’art contemporain, Bouvet Ladubay, Saumur.

Galerie Proarta, Zurich.

Chateau Musée Grimaldi, Cagnes sur mer.

Associated American Artists, New York.

1994

Gallery Art Point, Tokyo.

Pasquale Iannetti Gallery, San Francisco.

L’Eau et la Couleur, traveling watercolour exhibition in France.

La Maison Française, New York University, New York (collages: Hommage à Jean-Louis Barrault).

1993

Smith Andersen Gallery, Palo Alto.

Yoshii Gallery, Paris (collages).

Associated American Artists, New York (collages).

1992

Roswitha Haftmann Gallery, Zurich.

Atelier Franck Bordas, Basel Art Fair and Paris.

Guy Pieters Gallery, Knokke-le-Zoute.

Associated American Artists, New York.

1991

Gimpel & Weitzenhoffer Gallery, New York (polyptychs I).

Gimpel Fils, London (polyptychs II).

1990

Galerie Patrice Trigano, Paris.

Castello Doria, Portovenere.

Gallery Art Point, Tokyo.

1989

Musées de Nice: Galerie des Ponchettes et

Galerie d’Art Contemporain, Nice.

1988

Samuel Stein Gallery, Chicago.

Galerie Patrice Trigano, Paris.

Gimpel & Weitzenhoffer Gallery, New York (collages).

Galerie Régis Dorval, Le Touquet.

Gana Gallery, Seoul.

Galleria La Loggia, Bologna.

1987

Galerie 63, Klosters.

Samuel Stein Gallery, Chicago.

Musée Picasso, Antibes (retrospective).

Galerie Régis Dorval, Lille.

Galleri Atrium, Stockholm.

1986

Gimpel Fils, London.

MR Galleria d’Arte Contemporaneo, Rome.

Galerie Michel Delorme, Paris.

Roswitha Haftmann, Zurich.

Gallery Art Point, Tokyo.

Butler Institute of American Art, Youngstown (collages).

Focus Gallery, Lausanne.

Elaine Horwitch Gallery, Santa Fe and Scottsdale.

Gimpel & Weitzenhoffer Gallery, New York.

1985

Gimpel & Weitzenhoffer Gallery, New York.

Gallery Moos, Toronto.

Galerie Georges Fall, Paris.

Gallery Art Atrium, Stockholm.

FIAC, Gimpel & Weitzenhoffer Gallery, Paris.

1984

Carone Gallery, Fort Lauderdale.

Musée d’Art Contemporain, Dunkirk (collages).

Gimpel & Weitzenhoffer Gallery, New York.

1983

Mead Art Museum, Amherst.

Gimpel & Weitzenhoffer Gallery, New York.

Galerie Georges Fall, Paris.

Alex Rosenberg Gallery, New York (collages).

Contemporary Gallery, Dallas.

1982

Nicoline Pon Gallery, Zurich.

Gimpel Fils, London.

I. Irving Feldman Galleries, Detroit.

Galerie Georges Fall, Paris.

Contemporary Gallery, Dallas.

1981

Belk Art Gallery, Western Carolina University, Cullowhee.

Carone Gallery, Fort Lauderdale.

Samuel Stein Gallery, Chicago.

French Cultural Services, New York, traveling to la Maison International du Théâtre,Théâtre du Rond-Point, Paris (collages: Hommage à Jean-Louis Barrault).

Gimpel & Weitzenhoffer Gallery, New York.

I. Irving Feldman Galleries, Sarasota.

1980

Palm Springs Desert Museum, Palm Springs, California (retrospective).

Elaine Horwitch Gallery, Scottsdale.

Gimpel Fils, London.

Contemporary Gallery, Dallas.

Galerie Karl Flinker, Paris.

1979

Gimpel & Weitzenhoffer Gallery, New York.

Baukunst Galerie, Cologne.

Elaine Horwitch Gallery, Scottsdale.

1978

Gimpel & Weitzenhoffer Gallery, New York.

Samuel Stein Gallery, Chicago.

Elaine Horwitch Gallery, Santa Fe.

Balcon des Arts, Paris.

Diane Gilson Gallery, Seattle.

Galleria d’Arte Narciso, Turin.

1977

Martha Jackson Gallery, New York.

Gimpel & Hanover Galerie, Zurich.

La Galerie Cours Saint-Pierre, Geneva.

Sears Bank & Trust Company, Chicago.

Contemporary Gallery, Dallas.

Philbrook Art Centre, Tulsa.

Diane Gilson Gallery, Seattle.

1976

Samuel Stein Gallery, Chicago.

Galerie Karl Flinker, Paris and Basel Art Fair, Basel.

Gimpel & Weitzenhoffer Gallery, New York.

1975

Galerie Tanit, Munich.

Carone Gallery, Fort Lauderdale.

Gimpel & Weitzenhoffer, New York.

1974

Musée des Beaux-Arts de Charleroi, Charleroi (retrospective).

Baukunst Galerie, Cologne.

Gimpel & Weitzenhoffer Gallery, New York.

Gimpel Fils, London.

Columbus Gallery of Fine Arts, Columbus.

1973

Galerie Karl Flinker, Paris.

Art Gallery of the University of Notre Dame, Notre Dame.

Lindenwood College Art Gallery, St. Charles, Missouri.

Oklahoma Art Centre, Oklahoma City.

Martha Jackson Gallery, New York.

Gimpel & Weitzenhoffer Gallery, New York.

1972

San Francisco Museum of Art, San Francisco (retrospective).

Gimpel Fils, London.

Abrams Original Editions, New York.

Corcoran Gallery of Art, Washington, D.C. Initiates exhibition traveling to the Amarillo Art Centre, Santa Barbara Museum of Art, Indianapolis Museum of Art, Fort Lauderdale Museum of Art, Lauren Rodgers Memorial Library and Art Gallery, Montgomery Museum of Fine Arts, Witte Memorial Museum.

1971

Museum of Fine Arts, Houston (retrospective).

Martha Jackson Gallery, New York.

Richard Gray Gallery, Chicago.

Gertrude Kasle, Detroit.

1970

Martha Jackson Gallery, New York.

1969

Martha Jackson Gallery, New York.

1968

Galerie Daniel Gervis, Paris.

Gallery Moos, Toronto.

Galerie Räber, Lucerne.

Martha Jackson Gallery, New York.

1966

Martha Jackson Gallery, New York.

Galerie Agnès LeFort, Montreal.

Hope Makler Gallery, Philadelphia.

Arthur Tooth & Sons, London.

1965

Galerie Karl Flinker, Paris.

Gertrude Kasle Gallery, Detroit.

Court Gallery, Copenhagen, Denmark.

Gallery of Modern Art, Scottsdale.

1964

Tokyo Gallery, Tokyo.

American Art Gallery, Copenhagen.

Kumar Gallery, New Delhi.

Martha Jackson Gallery, New York.

Kestner-Gesellschaft, Hanover (retrospective).

1963

Arthur Tooth & Sons, London.

Galerie Karl Flinker, Paris.

Gallery Moos, Toronto.

1962

Galerie Lienhard, Zurich.

Galerie Karl Flinker, Paris.

Esther Robles Gallery, Los Angeles.

Toninelli Arte Moderna, Milan.

Galleria Odyssia, Rome.

Kölnischer Kunstverein, Cologne.

1961

Galerie Karl Flinker, Paris.

Martha Jackson Gallery, New York.

University Gallery, University of Minnesota.

1960

Arthur Tooth & Sons, London

Martha Jackson Gallery, New York.

Esther Robles Gallery, Los Angeles.

Galerie d’Art Moderne, Stuttgart.

1959

Galerie Stadler, Paris.

1958

Martha Jackson Gallery, New York.

1957

Galerie Stadler, Paris.

1956

Martha Jackson Gallery, New York.

1955

Zoe Dusanne Gallery, Seattle

1954

Zimmergalerie Franck, Frankfort am Main.

Studio Paul Facchetti, Paris (first solo exhibition).

Selected Group Exhibitions

2016

The Power of Colour. Galeria Proarta, Zurich.

On the Front Lines. Military Veterans at The Art Students League of New York. University at Buffalo Anderson Gallery, Buffalo.

2015

A Tribute to David K. Anderson. UB Anderson Gallery at the University of Buffalo.

Abstraction. Robert Miller Gallery, New York.

On the Front Lines. Military Veterans at The Art Students League of New York. The ArtStudents League of New York.

Martha Jackson Graphics. University at Buffalo Anderson Gallery, Buffalo.

The Artistic Journey of Yasuo Kuniyoshi: Circle of Friends. Smithsonian American ArtMuseum, Washington, D.C.

2014

Gravity’s Edge. The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC.

Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell. Princeton University Art Museum, Princeton.

Our Postwar Focus 1960s 1970s. D. Wigmore Fine Art, New York.

Colour. Jonathan Novak Contemporary Art, Los Angeles.

American Art – Modern bis Pop. Galerie Proarta, Zurich.

Masters of Expressionism in Postwar America. Berry Campbell Gallery, New York.

2013

The Redfern Gallery at 90. Redfern Gallery, London.

Made in the USA — From the Abstract Expressionists to the Colour Field Painters. Palm Springs Art Museum, Palm Springs, California.

Red. Antoine Helwaser Gallery, New York.

2012

Local Colour. The San Jose Museum of Art, California.

Abstract Expressionism: Then and Now. Flint Institute of Arts, Michigan.

Un Art Autre? Artistes autour de Michel Tapié, une Exposition. Christie’s, Paris.

2011

Selections. Robert Miller Gallery, New York.

Fragments 1915-2011: Modern and Contemporary Collage. ACA Galleries, New York.

Colour Moves Surface. Lorenzelli Arte, Milan.

American Masterworks: 150 Years of American Painting from the Butler Institute ofAmerican Art. Vero Beach Museum, Florida.

Gottfried Honeger/Paul Jenkins. Centre d’art Contemporain, Bouvet Ladubay, Saumur.

The Armory Show. D. Wigmore Fine Art, New York, Pier 92.

Gloria F. Ross: Rebirth of Modern Tapestry. Jane Kahan Gallery, New York.

2010

Into the Void: Abstract Art, 1948-2008,” Tucson Museum of Art.

“Under Each Other’s Spell” Gutai and New York. UB Anderson Gallery, State Universityof New York at Buffalo.

Modern Drawings: Tracing 100 Years. Academy Art Museum, Easton.

Action Painting in the Chrysler. Chrysler Museum, Norfolk.

Hidden in Plain Sight: Art Treasures from Regional Collections. Erie Art Museum.

2009

“Under Each Other’s Spell”: Gutai and New York. Pollock-Krasner House & Study Centre, East Hampton. The Harold B. Lemmerman Gallery, New Jersey City University, New Jersey.

Exploring Black and White: the 1930s through the 1960s. D. Wigmore Fine Art, NewYork.

184th Annual Exhibition. National Academy Museum, New York.

Juicy Paint. San Jose Museum of Art, San Jose, California.

En mémoire de Rodolphe Stadler. Les Abattoirs, Toulouse.

Acquisitions. Guild Hall Museum, East Hampton.

Expanding Boundaries – Lyrical Abstraction. Boca Raton Museum of Art, Boca Raton.

Autumn Exhibition. Redfern Gallery, London.

2008

Beyond the Canon: Small Scale American Abstraction, Past and Present.

Robert Miller Gallery, New York.

Dialogue. Galerie Iris Wazzau, Davos.

2007

East End Artists, Past and Present. Telfair Museum of Art, Savannah, Georgia.

Freedom to Experiment: American Abstraction 1945-75. D. Wigmore Fine Art, NewYork.

Viva Vetro! Glass Alive! Venice and America, 1950-2006. Carnegie Museum of Art, Pittsburgh.

Shining Spirit—Westheimer Family Collection. Oklahoma City Museum of Art.

Les Formes de la Couleur. Centre d’Art Contemporain, Bouvet Ladubay, Saumur.

182nd Annual Exhibition of Contemporary American Art. National Academy, New York.

London Original Print Fair. The Royal Academy of Arts, London.

A Selection of 20th Century and Contemporary Paintings, Works on Paper and Sculpture. Redfern Gallery, London.

2006

A Century of American Art. D. Wigmore Fine Art, New York.

Art London. The Redfern Gallery.

L’Envolée Lyrique: Paris 1945-1956. Musée du Luxembourg, Paris.

Geometric Abstraction: Two Generations.

D. Wigmore Fine Art, Inc., New York.

2005

Beyond Representation—Abstract Art in the South. The Gibbes Museum of Art, Charleston, South Carolina.

New Acquisitions 2005. Portland Museum of Art, Portland, Maine.

2004

Modernism and Abstraction. Palm Springs Desert Museum.

Selections from the Haskell Collection. Jacksonville Museum of Modern Art, Jacksonville.

Modern and Contemporary Prints, Part Two. Redfern Gallery, London.

2003

Tradition and Innovation in European Modernist Drawings and Watercolours. San Diego Museum of Art, San Diego.

Trésors du XXe Siècle dans les Collections Angevines. Présence d’Art Contemporain, Angers.

2002

Three Decades of Contemporary Art: The Dr. John & Rose M. Shuey Collection. Cranbrook Art Museum, Bloomfield Hills, Michigan.

Kunst des 20 Jahrhunderts. Pinakothek der Moderne, BayerischeStaatsgemäldesammlungen, Munich.

2001

The Stamp of Impulse: Abstract Expressionist Prints. Worcester Art Museum, Worcester, traveling to the Parrish Museum, Southampton.

Clement Greenberg: A Critic’s Collection. Portland Museum of Art.

Artists after Moby Dick. Hofstra Museum of Art, Hempstead, New York.

10 Ans. Centre d’art contemporain, Bouvet Ladubay.

2000

Le Mouvement Phases de 1952 à l’horizon 2001. Centre Culturel Noroit, Arras.

1999

Vision Nouvelle. Fondation Maeght, Saint-Paul-de-Vence.

Les Années de Combat, La Galerie Arnaud, Revue Cimaise 1951-1962. PACA exhibition traveling in France.

Suspicion—Art in the Cinema. Haifa Museum of Art.

1998

Masters of Colour and Light, Homer, Sargent and the American Watercolour Movement,Brooklyn Museum of Art, Brooklyn.

Three Americans: Francis Jenkins Tobey. Galerie Wazzau, Davos.

Regard sur l’estampe en France de 1945 à nos jours. PACA exhibition traveling in France.

The Art of Collaborative Printmaking—Smith Andersen Editions. Nevada Museum of Art, Reno.

On Paper. Associated American Artists, New York.

Ligne Courbe = Curved Line. Musée de l’art contemporain de Montréal.

Fruits d’une Passion. Musée des Beaux-Arts de la Ville de Mons.

1997

Francis Jenkins Mathieu. Associated American Artists, New York.

Egidio Costantini — Vetro un Amore. Museo Diocesano d’Arte Sacra, Sant’Apollonia, Venice.

Michel Tapié — Un Art Autre. Galleria Civica d’Arte Moderna e Contemporanea di Torino; Espace d’Art Moderne et Contemporain de Toulouse et Midi-Pyrénées.

Passion et Résurrection. Recherches d’Art Contemporain, Chapelle des Carmes, Dax.

1996

50th Anniversary Exhibition. Gimpel Fils, London.

Künstler der Galerie. Roswitha Haftmann Modern Art, Zurich.

1995

Unpainted to the Last: Moby Dick and 20th Century Art. Spencer Museum of Art, Lawrence, traveling exhibition.

Collecting for Stanford: Selected Acquisitions 1990-95. Stanford University Museum ofArt, Stanford, California.

1994

Whistler to Dine: Important Prints from the Collection. New Britain Museum ofAmerican Art, New Britain, Connecticut.

Style des Années 40: Peintres GI. Musée de Cherbourg.

…And Then Some—Works from the Collection. David Anderson Gallery, Buffalo.

Martha Jackson Gallery: 1953-1979. Associated American Artists, New York.

Cinquante Années de la peinture américaine 1944-1994. Palais Bénédictine, Fécamp; le Chateau du Grand Jardin, Joinville.

1993

Vancouver Collects. Vancouver Art Gallery, British Columbia.

Triennale des Ameriques: Présence en Europe 1945-92. Maubeuge.

Collection de la Fondation Maeght: un choix de 150 oeuvres. Fondation Maeght, Saint-Paul-de-Vence, France.

La Forge des Anges, Sculptures en verre. Espace Kiron, Paris.

From Intimate to Monumental. Associated American Artists, New York.

1992

Abstract Expressionism: The Haskell Collection. Cummer Gallery of Art, Jacksonville.

Rue du Bac—Rue de Tournon: Karl Flinker. 37e Salon de Montrouge, Paris.

L’Art Actif—Art Works: La Collection Fondation Peter Stuyvesant. Ecole NationaleSupérieure des Beaux-Arts, Paris.

Le Tondo d’Aujourd’hui. Exhibition traveling in France.

Beato Passio. Quinta Biennale d’Arte Sacra. San Gabriele, Italy.

Passions. Centre d’Art Sacré, L’Hospice d’Ille sur Têt.

1991

The Helena and Kenneth Levy Bequest, Fourteen Twentieth Century Works for the Collection. The Tate Gallery, London.

Masters of Contemporary Printmaking. Associated American Artists, New York.

1990

Globale Künstler. Baukunst Galerie, Cologne.

East Hampton Avant-Garde: A Salute to the Signa Gallery 1957-1960. Guild Hall Museum, East Hampton, New York.

1989

The Broader Canvas: Large-Format Paintings. Gimpel Fils, London.

Le Paysage dans l’Art Contemporain. L’Ecole des Beaux-Arts, Paris.

La Passion de Dunkerque. Hôtel de Ville, Paris.

1988

Selections from the Bequest of Nancy Hanks. Duke University Museum of Art, Durham.

The Fifties and the Sixties. Gimpel Fils, London.

Abstractions Lyriques, et Aspect de l’Art Abstrait des Années 50. Two traveling exhibitions in France.

Naissance d’un collection. Fondation Vincent Van Gogh, Ancienne Commanderie Sainte-Luce, Arles.

1987

20th Century Paintings from the Guggenheim. Picker Art Gallery, Colgate University,Hamilton.

Colour Pure and Simple. Stamford Museum and Nature Centre.

The Spontaneous Gesture, Prints and Books of the Abstract Expressionist Era. Australian National Gallery, Canberra.

Abstractions Lyriques: Paris 1945-1955. Espace Belleville, Paris.

1986

Post Tenebras Lux. Musée Rath, Geneva.

Watercolour USA 1986 — The Monumental Image. Springfield Art Museum, Springfield,Missouri.

The 1950s — American Artists in Paris Part III. Denise Cadé Gallery, New York.

Werke von Künstlern unserer galerie. Baukunst, Cologne.

1985

Action et Emotion, Peinture des Années 50, Informel, Gutai, Cobra. National Museum of Art, Osaka.

Les Années 50. Musée d’Art Contemporain, Dunkirk.

1984

Homer, Sargent and the American Watercolour Tradition. The Brooklyn Museum of Art, Brooklyn.

Ordinary and Extraordinary Uses: Objects by Arts. Guild Hall Museum, East Hampton.

Aspects de la Peinture Contemporaine — 1945-1983. Musée d’art moderne de Troyes, Troyes.

1982

Forms in Colour. Indianapolis Museum.

Les Américains de Paris. Paris Art Centre, Paris.

Egidio Costantini e la Fucina degli Angeli di Venezia — Sculture in vetro. Chiostro Chiesadi San Fermo, Verona.

1981

50e Rassegna di sculture in Vetro. Proposta per una cattedrale Fucina degli Angeli, Venezia. Palazzo dei priori, Perugia.

1977

American Postwar Painting from the Guggenheim Collection. The Solomon R.Guggenheim Museum, New York.

Selections from the Lawrence H. Bloedel Beques and Related Works from the WhitneyCollection. Whitney Museum of American Art,

New York and Williams College of Art, Williamstown.

Quelques Américains à Paris. Centre Georges Pompidou, Paris.

1976

Abstract Expressionists and Imagists: A Retrospective View. Blanton Museum of Art,University of Texas at Austin.

Aspects of Postwar Painting in America, The Columbus Gallery of Fine Arts, Columbus.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

1975

The Martha Jackson Collection at the Albright-Knox Gallery. Albright-Knox Gallery, Buffalo.

The 100th Anniversary Exhibition of Paintings and Sculptures by 100 Artists Associatedwith the Art Students League of New York. Kennedy Galleries, New York.

1974

Inaugural Exhibition. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

The 1960s: Colour Painting in the U.S. Blanton Museum of Art, University of Texas at Austin.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

10e Anniversary 1964-1974. Aldrich Contemporary Museum, Ridgefield.

1973

Harold & May Rosenberg Collection. Montclair Art Museum.

L’Action painting, l’abstraction lyrique et leurs environs: le signe, la tache, le nuage…desannées cinquante à nos jours. Abbaye de Beaulieu, Ginals.

International Glass Sculpture. Lowe Art Museum, University of Miami.

Flowing Form. The Museum of Fine Arts, St. Petersburg, Florida; The Loch Haven Art Centre, Orlando; The Le Moyne Art Foundation, Tallahassee.

1972

Abstract Expressionism: The First and Second Generations in the Albright-Knox ArtGallery. Albright-Knox Gallery, Buffalo.

Indianapolis Collects: Contemporary Art. Indianapolis Museum of Art, Indianapolis.

The Michener Collection: American Painting of the 20th Century. Blanton Museum ofArt, University of Texas at Austin.

1971

Contemporary American Paintings and Sculpture: 1948-1969. Krannert Art Museum, University of Illinois, Champaign-Urbana.

Art from the Chase Manhattan Bank Collection. Finch College Museum, New York.

American Painting since World War II. Delaware Art Museum, Wilmington.

1970

Michener Collection. University Art Museum, Austin.

Trends in Twentieth Century Art, a loan exhibition from the San Francisco Museum of Art. The Art Galleries, University of California, Santa Barbara.

XXXVII Mostra Internazionale di sculture in Vetro. Sculture in vetro della Fucina degliAngeli. Palazzo Ducale, Venice and Fucina degli Angeli, Castello Calle Corona.

Contemporary American Painting and Sculpture. Krannert Art Museum, Champaign-Urbana.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

International Watercolor Exhibition. Brooklyn Museum, Brooklyn.

La Peinture Contemporaine de la Collection de la Baronne Alix de Rothschild. Musée des Beaux-Arts, Caen.

1969

XXXV Mostra Internazionale, Sculture in Vetro della Fucina della Angeli. Castelli Campo SS. Filippo e Giacomo, Venice.

Selections from the Solomon R. Guggenheim Museum Collection. Cincinnati Art Museum.

Jahresgaben 1969. Kestner-Gesellschaft, Hanover.

Selected Paintings from the Michener Collection. Blanton Museum of Art, University of Texas at Austin.

The 164th Annual Exhibition. Pennsylvania Academy of Fine Arts, Philadelphia.

1968

Icon Idea. Lafayette College, Easton. Circulated by the Smithsonian Institution, Washington, D.C.

The Art of Organic Forms. Museum of Natural History, Smithsonian Institution, Washington, D.C.

East Coast-West Coast Paintings. Museum of Art, University of Oklahoma, Norman andthe Oklahoma Art Centre, Oklahoma City, traveling to the Philbrook Art Centre, Tulsa.

1967

Contemporary American Painting and Sculpture. Krannert Art Museum, Champaign-Urbana.

30th Biennial Exhibition of Contemporary American Painting. Corcoran Gallery of Art, Washington, D.C.

The 1960s: Painting and Sculpture from the Museum of Modern Art Collection, Museumof Modern Art, New York.

The 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture. Carnegie Institute Museum of Art, Pittsburgh.

Dix Ans d’Art Vivant: 1955-1965. Fondation Maeght, Saint-Paul-de-Vence.

Treasures from the Inventory I: “Seventeen Loves.” Martha Jackson Gallery, New York.

Selections 1967: Recent Acquisitions in Modern Art. University of California, Berkeley Art Museum and Pacific Film Archive.

1966

Past Present: 250 Years of American Painting. Corcoran Gallery of Art, Washington, D.C.

Peter Stuyvesant Collection. Stedelijk Museum, Amsterdam.

Peter Stuyvesant Collection: Le Musée dans l’Usine. Palais du Louvre, Paris.

USA Art Vivant. Musée des Augustins, Toulouse.

International Art: 1965-1966. American Art Gallery, Copenhagen.

2e Salon International de Galeries Pilotes—Artistes et Découvreurs de notre temps. Musée cantonal des Beaux-Arts, Lausanne.

1965

Art USA Now—The Johnson Collection. The Whitney Museum of American Art, NewYork.

Annual Exhibition of American Painting. The Whitney Museum of American Art, New York.

Painting without a Brush. Institute of Contemporary Art, Boston.

Krannert Art Museum, Champaign-Urbana.

A University Collects—Paintings from the New York University Art Collection. Circulated by the American Federation of Arts.

Lithographies de l’Atelier Mourlot. Redfern Gallery, London.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

Krannert Art Museum. Champaign, Urbana.

1964

Paintings and Sculptures of a Decade. Tate Gallery, London.

Gutai. Gutai Pinacotheca, Osaka.

Old Hundred: Selections from the Larry Aldrich Contemporary Collection 1954-1964.Ridgefield.

Kunst des 20 Jahrhunderts in Kölner Privatbesitz. Kölner Kunstverein, Cologne.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

Colour Form and Texture. Arthur Tooth & Sons, London.

1963

Abstract Watercolors by Fourteen Americans. Museum of Modern Art, New York, traveling exhibition, U.S.I.S. Gallery, London.

66th Annual American Exhibition: Directions in Contemporary Painting and Sculpture.The Art Institute of Chicago.

Art USA Now. Royal Academy of Arts, London.

22nd International Watercolor Biennial. The Brooklyn Museum, Brooklyn.

1er Salon International de Galeries Pilotes—Artistes et Découvreurs de notre temps. Musée cantonal des Beaux-Arts, Lausanne.

Eleven Americans. Martha Jackson Gallery, New York.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

1962

Primitives to Picasso. Royal Academy of Arts, London.

Paris Comparisons. Musée du Louvre.

Recent Developments in Painting V. Arthur Tooth & Sons, London.

Gegenwart bis 1962. Haus am Waldsee, Berlin.

Selections 1934-1961: American Artists from the Collection of Martha Jackson. MarthaJackson Gallery, New York.

ART USA Now. Exhibition traveling throughout the U.S., Europe and Japan.

Art since 1950. World’s Fair, Seattle.

Antagonismes 2 L’Objet. Musée de Arts Décoratifs, Palais du Louvre, Paris.

Contemporary American Painting—The Art Around Us. Birmingham Museum of Art, Birmingham.

American Art since 1950. Rose Art Museum, Brandeis University, Waltham.

1961

Abstract Expressionists and Imagists. Solomon R. Guggenheim Museum, New York.

Modern American Painting. American Embassy, London, USIS [United States InformationService] Gallery.

Recent Developments in Painting IV. Arthur Tooth & Sons, London.

Contemporary American Painting and Sculpture. Krannert Art Museum, Champaign-Urbana.

Brooklyn Museum. Brooklyn.

The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture.Carnegie Institute Museum of Art, Pittsburgh.

Sixty-Fourth American Exhibition, Art Institute of Chicago.

Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis.

1961, 1963, 1965

Annuals, Biennials. Whitney Museum of American Art, New York.

1960

60 American Painters. Walker Art Centre, Minneapolis.

Recent Developments in Painting III. Arthur Tooth & Sons, London.

New Forms — New Media I. Martha Jackson Gallery, New York.

An Exhibition of Avant-Garde Paintings. Brooks Memorial Art Gallery, Memphis.

Contemporary American Painting Today. Columbus Gallery of Fine Arts.

1959

Gutai Osaka Festival. Osaka.

Recent Developments in Painting II. Arthur Tooth & Sons, London.

Arte Nuova. Circolo degli Artisti, Palazzo Graneri, Turin.

Twentieth Biennial Watercolor Exhibition. Brooklyn Museum, Brooklyn.

Contemporary American Painting and Sculpture. Krannert Museum. Champaign-Urbana.

Kunstverein, Cologne.

1958

Nature in Abstraction. Whitney Museum of American Art, New York. Traveling to The Phillips Gallery, Washington, D.C.; Fort Worth Art Centre, Fort Worth; Los Angeles County Museum, Los Angeles; San Francisco Museum of Art; Walker Art Centre, Minneapolis; City Art Museum of St. Louis.

An International Selection. Signa Gallery, East Hampton. Selected by Michel Tapié and the Signa Gallery.

The 1958 Pittsburgh International Exhibition of Contemporary and Sculpture. Carnegie Institute Museum of Art, Pittsburgh, Pennsylvania.

Corcoran Biennial. Corcoran Gallery of Art, Washington, D.C.

1957

Young America—Thirty American Painters and Sculptors under Thirty-five. Whitney Museum of American Art, New York.

41 Watercolourists of Today [41 Aquarellistes d’Aujourd’hui]. Musée des Ponchettes, Nice. Organized by The International Council of The Museum of Modern Art, New Yorkand selected by Dorothy Miller.

The Exploration of Paint. Arthur Tooth & Sons, London.

Recent Developments in Painting. Arthur Tooth & Sons, London.

Annual. Art Institute of Chicago.

Post-Picasso Paris. Hanover Gallery, London.

New Trends in Painting. Arts Council of Great Britain, Colchester.

Otro Arte. Sala Gaspar, Barcelona.

New Aspects of Space. Martha Jackson Gallery, New York.

Galerie Rive Droite, Paris.

1956

Recent American Watercolors. The Museum of Modern Art, New York. Travelingexhibition.

New Trends in Painting. Arts Council of Great Britain.

Recent Drawings USA. Museum of Modern Art, New York.

Forecast. American Federation of Arts traveling exhibition; Butler Institute of American Art.

Divergences. Galerie Arnaud, Paris.

Sculpteurs et Peintres Abstrait Américains de Paris. Galerie Arnaud, Paris.

Galerie Rive Droite, Paris.

Galleria Matteo, Genoa.

1955

Artistes Etrangers en France. Petit Palais, Paris. Signes Autres. Galerie Rive Droite, Paris.

Inaugural Exhibition. Galerie Stadler, Paris.

Phases de l’art contemporain. Galerie R. Creuze, Paris.

Kunst 1955. Saarland Museum, Saarbrücken, Germany.

Galleria di Spazio, Rome.

1954

Divergences. Galerie Arnaud, Paris.

Groupe 1954. Studio Paul Facchetti, Paris.

Collections (International)

• Canberra, Australian National Gallery.
• Vienna, Albertina Museum.
• Montréal, Musée d’art contemporain.
• Toronto, Art Gallery of Ontario.
• Antibes, Musée Picasso.
• Dunkirk, Musée d’art contemporain.
• Paris, Centre Georges Pompidou and Musée national d’art moderne.
• Paris, Musée d’art moderne de la Ville de Paris.
• Paris, Fonds National de l’Art Contemporain du Ministère de la Culture et de la Communication.
• Saint-Paul-de-Vence, Fondation Maeght.
• Toulouse, Les Abattoirs, Musée d’art moderne et contemporain.
• Villeneuve d’Ascq, Musée d’art moderne.
• Cologne, Kölnischer Kunstverein.
• Cologne, Wallraf-Richartz Museum.
• Hanover, Kestner-Gesellschaft.
• Munich, Bayerische Staatsgemaldesammlungen, Neue Pinakothek.
• Stuttgart, Staatsgalerie.
• Jerusalem, Israel Museum.
• Tel Aviv, Tel Aviv Museum of Art.
• Hiroshima, Museum of Contemporary Art.
• Osaka, National Museum of Art.
• Tokyo, National Museum of Western Art.
• Tokyo, Seibu Museum.
• Toyama, Museum of Modern Art.
• Amsterdam, Stedelijk Museum.
• Aberwstwyth, University School of Art Gallery and Museum.
• Belfast, Ulster Museum, National Museum Northern Ireland.
• Cardiff, National Museum of Wales.
• Kingston upon Hull, Ferens Art Gallery.
• Lancaster, Peter Scott Gallery, Lancaster University.
• Liverpool, Walker Art Gallery.
• London, British Museum.
• London, Tate.
• London, Victoria and Albert Museum.
• Oldham, Gallery Oldham.

Collections (USA)

• Albany,The Governor Nelson A. Rockefeller Empire State Plaza Art Collection.
• Albany, Albany Institute of History and Art.
• Amherst,Mead Art Museum.
• Ann Arbor, University of Michigan Museum of Art.
• Austin, University of Texas Art Museum, Huntingdon Art Gallery.
• Baltimore, Baltimore Museum of Art.
• Berkeley, Berkeley Art Museum and Pacific Film Archive, Berkeley.
• Boca Raton, Boca Raton Museum of Art.
• Bloomfield Hills, Cranbrook Art Museum.
• Boston, Museum of Fine Arts.
• Buffalo, Albright-Knox Art Gallery.
• Buffalo, UB Art Galleries, State University of New York at Buffalo.
• Cambridge,Fogg Museum of Art, Harvard University Art Museums.
• Cambridge, Albert and Vera List Visual Arts Centre, Massachusetts Institute of Technology.
• Champaign, Krannert Art Museum.
• Charlotte, Mint Museum of Art.
• Chattanooga, Hunter Museum of American Art.
• Cleveland Museum of Art, Cleveland.
• Columbus, Columbus Museum of Art.
• Corpus Christi,South Texas Institute for the Arts.
• Des Moines, Des Moines Art Centre.
• Detroit, Detroit Institute of Arts.
• Durham, Duke University Museum of Art.
• East Hampton, Guild Hall.
• Fort Lauderdale, Museum of Art.
• Grand Rapids, Grand Rapids Art Museum.
• Hamilton, Picker Art Gallery, Colgate University.
• Hempstead, Hofstra Museum of Art.
• Honolulu, Honolulu Academy of Arts.
• Indianapolis,Indianapolis Museum of Art.
• Jacksonville, Museum of Contemporary Art.
• Kansas City, Missouri, Nelson-Atkins Museum of Art.
• Lafayette, Greater Lafayette Museum of Art.
• Lawrence, Spencer Museum of Art.
• Lincoln, DeCordova Museum & Sculpture Park.
• Little Rock, Arkansas Arts Centre.
• Los Angeles, Los Angeles County Museum of Art.
• Louisville, J. B. Speed Art Museum.
• Madison, Chazen Museum of Art.
• Memphis, Memphis Brooks Museum of Art.
• Milwaukee, Milwaukee Art Museum.
• Minneapolis, Walker Art Centre.
• New Orleans, New Orleans Museum of Art.
• New York, Brooklyn Museum.
• New York, Solomon R. Guggenheim Museum.
• New York, Morgan Library and Museum.
• New York, Museum of Modern Art.
• New York, New York University Art Collection.
• New York, Whitney Museum of American Art.
• Norfolk, Chrysler Museum.
• Norman, Fred Jones Jr. Museum of Art, University of Oklahoma.
• Oklahoma City, Oklahoma City Museum of Art.
• Palm Springs, Palm Springs Desert Museum.
• Palo Alto,The Cantor Arts Centre at Stanford University.
• Philadelphia, Philadelphia Museum of Art.
• Phoenix, Phoenix Art Museum.
• Pittsburgh, Carnegie Museum of Art.
• Portland, Maine, Portland Museum of Art.
• Ridgefield, Aldrich Museum of Contemporary Art.
• Sacramento, Crocker Art Museum.
• San Diego, San Diego Museum of Art.
• San Francisco, San Francisco Museum of Art.
• Santa Barbara, Santa Barbara Museum of Art.
• Santa Fe, Museum of Fine Arts.
• San Jose Museum of Art, San Jose, California.
• Seattle,Seattle Art Museum.
• South Hadley, Mount Holyoke College Art Museum.
• Springfield, Missouri, Springfield Museum of Art.
• Stanford, Iris and B. Gerald Cantor Centre for Visual Arts.
• Savannah, Telfair Museum of Art.
• Terre Haute, Sheldon Swope Art Gallery.
• Tucson, University of Arizona Museum of Fine Arts.
• Washington, D.C., Corcoran Gallery of Art.
• Washington, D.C.,Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.
• Washington, D.C.,Smithsonian American Art Museum.
• Washington, D.C.,National Gallery of Art.
• Williamstown, Williams College Museum of Art.
• Worcester, Worcester Art Museum.
• Youngstown,Butler Institute of American Art.

• PAUL JENKINS: A TRIBUTE: PAINTINGS 2004-2010, Introduction by Dr. Louis Zona. Published on the occasion of the exhibition at the Butler Institute of American Art, Youngstown, Ohio,March 29-May 17, 2015.
• PAUL JENKINS, Text by Jonathan Goodman. Published on the occasion of the exhibition at Robert Miller Gallery, New York, November 6-December 20, 2014.
• PAUL JENKINS: THE SPECTRUM OF LIGHT, Text by Beatrice Buscaroli. Published on the occasion of the exhibition at the Museo di Pittura Murale in S. Domenico, Prato, September 27-November 30, 2014.
• PAUL JENKINS: ON CANVAS AND PAPER 1989-2009, Reminiscences Irving Sandler, Text Jean-Louis Prat. Published on the occasion of the exhibition at the Redfern Gallery, London, 2014.
• PAUL JENKINS: PAINTINGS FROM THE 1960s and 1970s, Text “Paul Jenkins: The Alchemy of Art” by Michel Peppiatt. Published for the exhibition held at the Redfern Gallery, London, June 7 — July 28, 2011, extended to September 1, 2011.
• PAUL JENKINS: ON THE RIM OF TIME, LA COSCIENZA DEL TEMPO, Text by Beatrice Buscaroli. Published on the occasion of the exhibitions held at Galleria Open Art, Prato, May 24-July 24, 2010 and the Palazzo Pacchiani, Prato, May 8-June 30, 2010.
• “UNDER EACH OTHER’S SPELL”: GUTAI AND NEW YORK, Texts by Ming Tiampo, Tetsuya Oshima, David Kaplan, foreword by Helen Harrison. Published in conjunction with the exhibition held at the Pollock-Krasner House and Study Centre, Springs, East Hampton, July 30-October 17, 2009.
• PAUL JENKINS IN THE 1960s AND 1970s: SPACE, COLOR and LIGHT, Text “Two Decades” by Sandra H. Olsen, Ph.D. Published for the exhibition on view May 2-July 2 extended to September 25, 2009. D. Wigmore Fine Art, New York.
• PAUL JENKINS: RECENT PAINTINGS, Exhibition catalogue, Redfern Gallery, London, April 17-May 17, 2007. Interview with the artist by Philippe Bouchet.
• PAUL JENKINS IN THE FIFTIES: SPACE, COLOR AND LIGHT, Text “Unveiling the Image” by Helen A. Harrison. Published for the exhibition Paul Jenkins in the Fifties: Space Colour and Light. February 14-April 14, 2007, D. Wigmore Fine Art, New York.
• COSMOGONIE INTERIORI, Text by Bruno Corà. Galleria Open Art, Prato. Published for the exhibition November 12-January 31, 2006.
• PAINTINGS 1954-1960, The Redfern Gallery, London. Published for the exhibition, October 25-November 24, 2005. Text by Kent Minturn.
• ŒUVRES MAJEURES, Exhibition catalogue for Œuvres Majeures, Palais des Beaux-Arts, Lille, September-November 2005. Published by the Fondation Demeures du Nord. Interview with the artist by Philippe Bouchet.
• VIAGGIO IN ITALIA, Published on the occasion of the exhibition by the City of Vicenza in the Basilica Palladiana, September 2000. Texts by Beatrice Buscaroli Fabbri and the artist (Italian and English)
• CONJUNCTIONS AND ANNEXES, Text by Pascal Bonafoux. Editions Galilée, Paris, 1991.
• L’EAU ET LA COULEUR | Water and Colour, Text Frank Anderson Trapp [English and French]. Published by PACA, Angers, for the traveling watercolour exhibition, 1994.
• SEVEN ASPECTS OF AMADEUS AND THE OTHERS, SEPT ASPECTS D’AMADEUS ET LES AUTRES, Text Paul Jenkins with Suzanne Donnelly Jenkins. Editions Galilée, Paris, 1992, English-French. Complete documentation of the Amadeus series of original lithographs in stone printed at the Atelier Franck Bordas, Paris, 1992.
• EUPHORIES DE LA COULEUR, Preface Hughes de Kerret. Texts André Verdet. Images Paul Jenkins. Editions Imago Terrae, New York, St-Paul-de-Vence, 1988, French.
• PAUL JENKINS: BROKEN PRISMS SHAMAN TO THE PRISM SEEN, PAUL JENKINS: PRISMES BRISÉS LE PRISME DU CHAMAN, Anthology, with full libretto of the dance drama by the artist, Shaman to the Prism Seen performed at the Paris Opera, May 1987. Editions Galilée, Paris, 1989, in cooperation with the Musées de Nice.
• ANATOMIE D’UN NUAGE, Selected texts from Anatomy of a Cloud, translated into French by Paul Veyne, Éditions Galilée, Paris, 1985.
• ANATOMY OF A CLOUD, Paul Jenkins with Suzanne Donnelly Jenkins. Harry N. Abrams, Inc., New York, 1983.
• PAUL JENKINS, Text by Alain Bosquet. Éditions Georges Fall, Paris, French-English.
• PAUL JENKINS, Text by Albert E. Elsen. Harry N. Abrams, Inc, New York, 1973.
• PAUL JENKINS, Text by Gerald Nordland, acknowledgements by Philippe de Montebello. Universe Books, New York, in cooperation with The Museum of Fine Arts, Houston, and the San Francisco Museum of Art, 1971.
• STRIKE THE PUMA, A play by the artist, Éditions Gonthier, Paris, 1966.
• JENKINS, Text by Jean Cassou. Éditions de la Galerie Karl Flinker, Paris, French. Thames and Hudson, London, Modern Artists series, Harry N. Abrams, Inc., New York, English, and Verlag Gerd Hatje, Stuttgart, 1963.
• THE PAINTINGS OF PAUL JENKINS, Texts Kenneth B. Sawyer, Pierre Restany; excerpt by James Fitzsimmons. Editions Two Cities, Paris, 1961, English.
• OBSERVATIONS OF MICHEL TAPIÉ, Edited by Paul Jenkins and Esther Ebenhoe Jenkins. George Wittenborn, Inc., New York, 1956.
•