In 1972, Adolph Gottlieb had a solo exhibition at Marlborough Gallery that included paintings, sculptures, and more. This exhibition was Gottlieb's first solo exhibition following the stroke he suffered in 1971, that left him wheelchair bound and with only the use of his right hand and arm.
Shown from left to right: Two Bars (1971), Triptych (1971), Red Vs. Blue (1972), Mirage (1970).
Shown from left to right: Open Above (1972), Pewter (1971), Drift (1971).
Shown from left to right: Black Emblems (1971), Black Note (1971), Shadows (1971), The Red (1972).
The exhibition included 20 new large paintings as well as a selection of sculptures and prints, garnering many positive reviews from the press as well as several personal notes from artists, collectors, and friends.
Above: a November 1972 letter from Theodoros Stamos to Gottlieb congratulating him on his exhibition.
"Dear Adolph: This is to say many many thanks for having me to your dinner party the other night but so sorry to have gotten there so late, due to the M. R. 7 meeting. Also, to say with all my heart how superb your show looks. I went back again on Saturday in that rain to look again and again it held up beautifully. You should be very happy and do many more paintings for more shows for many years.
All my best wishes, Stamos
Nov 15 / '72"
Above: part of a handwritten letter from Harriet Vicente, wife of Esteban Vicente and friends of Adolph Gottlieb.
"Dear Adolph- Just a note to tell you that Esteban really responded to your show last month. He has been talking about it to me + to others-- + knowing him-- I know he thinks the work is superb."
Above: a review by Thomas Hess for New York Magazine, December 5, 1972.
"In the early 1950s, there was a fad for guessing games at the Cedar bar...one of them went: "of all the artists that we know, who is the least like an artist?" The "answer" was Adolph Gottlieb. It was not because of his neat clothes, tidy mustache with matching sunburn-Barnett Newman was as well pulled together and Esteban Vicente was a true dandy. Rather it was because Gottlieb had the aura of a Pro-the man who knows the ropes, talks turkey, sees the world in the convex mirror of his own profession."
"[The Pro] has the option to dare greatly, and Gottlieb's art has been daring - experimental in the best sense of the word- for over twenty years."
"It is this professionalism, this powerful will to art, that has saved Gottlieb from paralysis and driven him to produce his latest, beautiful exhibition."
Below is a selection of works that were in the exhibition. Hover over images to see information about that painting.
"It is clear that American artists produce the most handsome painting in the world, and Gottlieb’s new work is a secure part of this accomplishment. In his paintings the interplay of peaceful and vivacious areas of color, the combination of simple image and autographic handling are exemplary."
- Lawrence Alloway, for an exhibition review in The Nation, Dec. 4, 1972