An extensive exhibition, based on gifts to the library from The Saul Steinberg Foundation, focusing on the autobiographical character of Steinberg’s works and his personal associations. Catalogue available.
The exhibition explores Steinberg’s roots in Milan, where he studied and worked from 1933 to 1941, and the resonance of his Italian experience in later works. Publication available.
An exhibition of sculptures and works on paper from the 1950s through the 1980s.
The first large-scale exhibition in Japan, with 280 works, including posters, prints, and reproductions of key drawings.
Photographs by Mitsumasa Fujitsuka
A retrospective of 22 drawings, based on gifts to the museum from The Saul Steinberg Foundation.
The exhibition brings together more than eighty of Steinberg’s works, based on gifts from The Saul Steinberg Foundation and loans from elsewhere. Among the highlights is the reconstruction of Steinberg’s collage-mural, Art Viewers, never seen since its installation at the Galerie Maeght in 1966. Catalogue available.
A section of the gallery’s extensive holdings of the works of Steinberg, Maeght represented Steinberg in France from the early 1950s on.
A selection of drawings from the 1950s to the 1980s.
More than a dozen selected works, drawn and sculpted, covering Steinberg’s imaginative treatment of the still-life theme.
Famed worldwide for giving graphic definition to the postwar age, Saul Steinberg (American, b. Romania, 1914–1999) was renowned for the covers, drawings, and cartoons that appeared in The New Yorker for nearly six decades. He was equally acclaimed for the drawings, paintings, prints, collages, and sculptures he exhibited internationally in galleries and museums. Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel careers, making no distinction between high and low art, which he freely mingled.
Saul Steinberg (1914-1999) redefined the possibilities of drawing, casting it as a philosophical investigation, “a way of reasoning on paper.” His ingenious experiments with drawing and other media, including photography, collage, and sculpture, earned him critical acclaim as a modernist artist in the post-war period, while his numerous drawings and covers for The New Yorker made him dear to a broad American public—the people whose daily lives and customs became the subject of his art.
Curated by Michaela Mohrmann