 Birthday, 1942 MORE INFO |
 Children's Games, 1942 MORE INFO |
 Eine Kleine Nachtmusik, 1943 MORE INFO |
 Portrait of Muriel Levy, 1943 MORE INFO |
 A Mrs. Radcliffe Called Today, 1944 MORE INFO |
 Self-Portrait, 1944 MORE INFO |
 The Truth About Comets, 1945 MORE INFO |
 Guardian Angels, 1946 MORE INFO |
 Fatala, 1947 MORE INFO |
 Palaestra, 1947 MORE INFO |
 Maternity, 1947 MORE INFO |
 Max in a Blue Boat, 1947 MORE INFO |
 A Very Happy Picture, 1947 MORE INFO |
 On Time Off Time, 1948 MORE INFO |
 L'Auberge, 1949 MORE INFO |
 The Mirror, 1950 MORE INFO |
 La Rose et le Chien (The Rose and the Dog), 1952 MORE INFO |
 Lumière du foyer (Home Light), 1952 MORE INFO |
 The Philosophers, 1952 MORE INFO |
 Dimanche après-midi (Sunday Afternoon), 1953 MORE INFO |
 Intérieur (Interior), 1953 MORE INFO |
 Les Trois Garces, 1953 MORE INFO |
 Tableau vivant (Living Picture), 1954 MORE INFO |
 Katchina Coquette, 1954 MORE INFO |
 Nue endormie (Sleeping Nude), 1954 MORE INFO |
 Le Mal oublié (The Ill Forgotten), 1955 MORE INFO |
 Tempête en jaune (Tempest in Yellow), 1956 MORE INFO |
 Vorace veracité, 1956 MORE INFO |
 Midi et demi (Half Past Noon), 1957 MORE INFO |
 Insomnies (Insomnias), 1957 MORE INFO |
 Melées Nocturnes, 1958 MORE INFO |
 En Rapport, 1958 MORE INFO |
 The Moonstone Effect, 1959 MORE INFO |
 Anges mordus (Driven Angels), 1962 MORE INFO |
 Chiens de Cythère (Dogs of Cythera), 1963 MORE INFO |
 La Chienne et sa muse (The Dog and Her Muse), 1964 MORE INFO |
 Far From, 1964 MORE INFO |
 Pelote d'épingles pouvant servir de fétiche (Pincushion to Serve as Fetish), 1965 MORE INFO |
 To the Rescue, 1965 MORE INFO |
 Tirage au sort (Lottery), 1967 MORE INFO |
 L’Avant-garde (The Avant-garde), 1966 MORE INFO |
 Même les jeunes filles (Even the Young Girls), 1966 MORE INFO |
 Philosophie en plein air (Fresh-air Philosophy), 1969 MORE INFO |
 Étreinte, 1969 MORE INFO |
 Canapé en temps de pluie (Rainy-Day Canapé), 1970 MORE INFO |
 Nue couchée (Reclining Nude), 1970 MORE INFO |
 Hôtel du Pavot, Chambre 202 (Poppy Hotel, Room 202), 1973 MORE INFO |
 Reality, 1973 MORE INFO |
 Pour Gustave l'adoré, 1974 MORE INFO |
 Murmurs, 1976 MORE INFO |
 Faith, Surrounded by Hope, Charity, and Other Monsters, 1976 MORE INFO |
 Portrait de famille (Family Portrait), 1977 MORE INFO |
 Notes for an Apocalypse, 1978 MORE INFO |
 Salut, délire! (Hail, Delirium!), 1979 MORE INFO |
 Still in the Studio, 1979 MORE INFO |
 Heartless, 1980 MORE INFO |
 Pounding Strong, 1981 MORE INFO |
 Door 84, 1984 MORE INFO |
 Nude Standing Nude, 1986 MORE INFO |
 Woman Artist, Nude, Standing, 1987 MORE INFO |
 To Climb a Ladder, 1987 MORE INFO |
 On Avalon, 1987 MORE INFO |
 Zephirium apochripholiae (Windwort), 1997 MORE INFO |
 Pictor mysteriosa (Burnt Umbrage), 1997 MORE INFO |
 Convolotus alchemelia (Quiet-willow window), 1998 MORE INFO |
Women artists. There is no such thing – or person. It’s just as much a contradiction in terms as "man artist" or "elephant artist." You may be a woman and you may be an artist; but the one is a given and the other is you.
– Dorothea Tanning, 1990
"Virginia Woolf: An Exhibition Inspired by Her Writings" is on view at Tate St. Ives through April 29, 2018, after which it will travel to Pallant House, Sussex, May 26 - September 16, and The Fitzwilliam Museum, Cambridge, October 2 - December 9, 2018. The painting Agripedium vorax Saccherii (Clog Herb) (1997) is among the works in an exhibition considering feminist perspectives on landscape, domesticity, and identity in modern and contemporary art through the lens of Woolf's writings.
"Nick Mauss: Transmissions" is on view through May 14, 2018 at the Whitney Museum of American Art, New York. The exhibition explores the history of American modernist ballet and new representations of the body through a combination of contemporary works by Mauss and historical works from the 1930s and 1940s in ballet design, the visual arts, theater, and fashion. It includes a suite of costume designs for George Balanchine's ballet The Night Shadow (1945) and the monumental painting Aux environs de Paris (1962) in the museum's collection.
(Photo by Angelica Frey/Hyperallergic)
"Like Life: Sculpture, Color, and the Body (1300–Now)," at The Met Breuer, New York, examines 700 years of sculptural practice through a selection of works from 14th-century Europe to the present day, including Emma (1970). The exhibition runs through July 22, 2018.
"Modern Times: American Art 1910-1950," will open on April 18, 2018 at the Philadelphia Museum of Art, and will be on view through September 3, 2018. Drawn largely from the Museum's permanent collection, this exhibition includes the painting Birthday (1942).
"Couples Modernes," Centre Pompidou-Metz will be open April 26 - August 20, 2018, after which the show will travel as "Modern Couples: Art, Intimacy and the Avant-garde" to the Barbican Art Gallery, London, October 10, 2018 - January 27, 2019. The exhibition features A Very Happy Picture (1947).
"A Home for Surrealism," at the Arts Club of Chicago June 7 - August 18, 2018, will feature several early paintings including Guardian Angels (1946).
"Dorothea Tanning," a major survey of the artist's career, is being organized by the Museo Nacional Centro de Arte Reina Sofía, Madrid (October 2, 2018 - January 7, 2019), and Tate Modern, London (February 26 - June 9, 2019). A full catalogue will be published in Spanish and English. The exhibition will feature the painting Woman Artist, Nude, Standing (1985-87).
"Hidden Narratives: Recent Acquisitions of Postwar Art" at the Los Angeles County Museum of Art is on view through January 6, 2019, featuring the sculpture Xmas (1969).
Catriona McAra has published a monograph entitled A Surrealist Stratigraphy of Dorothea Tanning's Chasm (London: Routledge, 2017). As part of Routledge's "Studies in Surrealism" series, the book explores the artist's literary and visual work within a framework of cultural and feminist theory.
Dr. McAra also recently published the essay "Emma's Navel: Dorothea Tanning's Narrative Sculpture" in Intersections: Women Artists/
Surrealism/Modernism (Patricia Allmer, ed., Manchester University Press, 2016, pp. 91-111). The title refers to the sculpture Emma, 1970.
Sienna Freeman has published “Pulled, Stitched, and Stuffed: Materiality and the Abject in Dorothea Tanning’s Soft Sculpture” in Sightlines, the journal of the Department of Visual and Critical Studies of California College of the Arts (2016, pp. 17-29). The essay focuses on the installation piece Hôtel du Pavot, Chambre 202 (Poppy Hotel, Room 202) (1970-73).
Phaidon Press has published Art Is the Highest Form of Hope & Other Quotes by Artists (2016), a compilation that includes these words of Dorothea Tanning: “Art has always been the raft onto which we climb to save our sanity.”
We are looking for information about a number of paintings in the effort to fully document Dorothea Tanning's work for a catalogue raisonné. If you have seen any of these paintings, please contact us.
Angel in Mauve and Orange (Study for Anges gardiens) (1947)
Les Infatigables (The Indefatigables) (1965)
