THIS BOOK is the result of an exhibition held at the Whitney Museum and elsewhere from January 1958 to February 1959. It utilizes the same main text and plates as the catalogue of that exhibition, but it adds a long section on the artists discussed, in which their statements on the relation of their work to nature are quoted in full.
The Museum is deeply grateful to the artists for the time and thought which they have given to the preparation of these statements. It also wishes to thank the many owners and dealers, listed in the captions, who permitted their works to be reproduced here. We owe a special debt of gratitude to the following collectors, who generously contributed the cost of color plates to this publication: Donald M. Blinken, Mrs. Harry L. Bradley, Joseph H. Hirshhorn, William H. Lane Foundation, Mr. and Mrs. Milton Lowenthal, Mr. and Mrs. Roy R. Neuberger, Mrs. Myles D. Perrin, Peter A. Rébel, Mr. and Mrs. Stephen A. Stone and several anonymous donors. Color photography was by Oliver Baker.
Finally, we wish to acknowledge with gratitude the following sources of quotations not specifically identified in the text: Lyonel Feininger's statement from the Museum of Modern Art's "Lyonel Feininger: Marsden Hartley" exhibition catalogue. 1944; the analysis of Gorky's relation to nature from Ethel K. Schwabacher, Arshile Gorky, 1957; L. L. White's discussion of theoretical science from his article, "Can We Grow Geniuses in Science?" Harper's Magazine, June, 1957; Edward Corbett's definition of abstract impressionism from the exhibition catalogue, "Abstract Impressionism," Mount Holyoke Friends of Art, 1957; the quotation by Meyer Schapiro from "The liberating quality of avant-garde art," Art News, Summer, 1957.