Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Contemporary American Painting and Sculpture (University of Illinois at Urbana-Champaign, 1952), pp. 23; 192; n.p., cat. 52 (as Towards the Infinite); n.p., pl. 40 (ill.).
Luis Cardoza y Aragón, Gunther Gerzso, Colección de Arte 22 (Universidad Nacional Autónoma de México, 1972), pp. 24, fig. 9 (ill.).
Diana C. Du Pont, Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso exh. cat. (Santa Barbara Museum of Art, 2003), n.p., pl. 42; pp. 119; 326.
Josef Woodard, “The Deepening Story,” Santa Barbara News-Press Scene Online, July 25-31, 2003, http://newspress.com, (color ill.).
Bill Cunniff, “Gerzso Retrospective Fuses Mexican Sensibility with Surrealism,” Museum Pieces, in Chicago Sun-Times, Mar. 19, 2004, p. 57 (ill.).
University of Illinois at Urbana-Champaign, College of Fine and Applied Arts, Contemporary American Painting and Sculpture, Mar. 2–Apr. 13, 1952, cat. 52.
Santa Barbara Museum of Art, Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso, July 12–Oct. 19, 2003; traveled to Mexico City, Museo de Arte Moderno, Nov. 12, 2003–Feb. 22, 2004; Chicago, Mexican Fine Arts Center Museum, Mar. 19–June 27, 2004.
Muriel Kallis Newman, Chicago, by 1972 [Cardoza y Aragón 1972, p. 24]; given to the Art Institute of Chicago, November 26, 1980.
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