Hyman Bloom Modern Mystic: The Art of Hyman Bloom Lecture and Book Signing at Sotheby’s this Sunday, May 19, 11:00 am Henry Adams, Professor of Art History at Case Western Reserve University and lead author of "Modern Mystic: The Art of Hyman Bloom," will be presenting a lecture on Bloom at Sotheby's on Sunday, May 19 at 11:00 am. After the presentation, there will be a book signing (books will be available for purchase). Admission is free. The event will take place in the 7th floor bidding room. Sotheby's is located at 1334 York Ave, New York. RSVP to the gallery at inquiries@alexandregallery.com link to  www.hymanbloom.com

Hyman Bloom:  American Master Paintings and Drawings On view at the gallery June 27 through September 28, 2019 Presented in celebration of the upcoming retrospective opening at the Museum of Fine Arts, Boston, opening July 13, and the publication of two new monographs on the artist. link to Press Release

Hyman Bloom (American, 1913 – 2009),  Seascape IV (First Series) , 1975, oil on canvas, 49 x 69 inches The art world, with its fast pace, ongoing turnover of interests, and voguish audiences, never held him. He always knew he was an anomaly. His only satisfaction was to mine the possibility for an art that could transcend temporal boundaries by alluding to a world beyond the material.  — Debra Bricker Balken

Tom Uttech: Early Paintings Remains on view at the gallery through June 14 Catalogue available with text by Robert Cozzolino

Uttech’s image underscores the sensation some feel when they are the only human being alone deep in the forest. The increasing awareness that everything surrounding you is alive, is watching, is looking at you as you look at it. Each place you look reveals a shifted vista, a changed panorama, a living ecosystem constantly moving and growing, changing before your eyes.   — Robert Cozzolino

American Art on view always by appointment

Jacob Lawrence (American 1917 – 2000),  Strong Man , 1951, casein tempera and gouache on paper, 22 x 17 inches Jacob Lawrence painted Strong Man shortly after leaving Hillside Hospital (now Zucker Hillside), where he was treated in 1949 and 1950 for what he later characterized as post-traumatic stress related to his service in the war. Others have said his hospital stay was related to the immense pressures of being the most successful artist of African descent in America. Either way, it may be interpreted as a self-portrait of sorts — the central figure standing in for the artist who is seeking the strength to serve as respectable model for the next generation, while also acknowledging that in the history of the struggle for racial equality, people before him experienced much greater challenges . — Peter Nesbett, co-author of the Jacob Lawrence Catalogue Raisonne

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