Hyman Bloom (Latvian-American, 1913 – 2009), “Child in The Garden,” a heavy impasto oil on canvas laid down on masonite. Signature not found. Important Expressionist composition from the artist’s early spiritual/mystic period. Depicts a child in ornate costume with intense eyes peering out directly at the viewer set against a dense colorful background with geometric and organic forms. Verso bears several gallery and museum exhibition labels with impressive provenance comprising: The Institute of Contemporary Art, 138 Newbury St., Boston, Mass. with owner listed as “Ralph H. Coburn” and return address “166 Newbury Street, Boston, Mass.”; XXV Biennale Internazionale d’ Arte di Venezia – 1950 (inscribed with the number “583”); label with typewritten inscription “Deliver To: WHITNEY MUSEUM OF AMERICAN ART / 22 West 54th Street / New York, N.Y.”; Boris Mirski Gallery / 166 Newbury Street / Boston 16, Mass. with collection listed as Ralph Coburn.”; label “Terry Dintenfass, Inc. in association with Salander-O’Reilly Gallery, 20 East 79th Street, New York, N.Y.”; and typewritten label “Spingold / L.64.84.43.” The artwork is contained in its original frame with typewritten label “…French Louis XIV Orig. Antiq. Hand carved wood .23 carat gold leaf…” Bloom first received national attention in 1942, when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition “Americans 1942: 18 Artists from 9 States”. MoMA subsequently purchased two of his paintings from that exhibition, and he was featured in Time magazine. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock and Arshile Gorky, to represent the United States at the Venice Biennale. As Abstract Expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result, he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. [Art: 48 1/2" H x 30 1/2" W; Frame: 58" H x 40 1/2" W]. Paint has numerous cracks, with one tiny chip (not readily seen); frame with gilt wear and small losses.

Paint has numerous cracks, with one tiny chip (not readily seen); frame with gilt wear and small losses.