new-york

Michael Goldberg

Knoedler & Company

The “Ninth Street Show,” held in 1951, marked the growing resistance of New York artists to their long indenture to French modernism, a servitude felt most acutely from the 1930s on. Virtually all the figures of the first and second generations of the Abstract Expressionist pantheon were present. The painting of the latter group manifested varying syntheses of and allegiances to Jackson Pollock, Willem de Kooning, Franz Kline, and Mark Rothko, to name the most pervasive influences. Among the most gifted of these younger artists—mostly ex-GIs in their twenties—was Michael Goldberg, a magnetic fellow of informed opinion and good humor, whose compelling paintings were then marked by his close attention to de Kooning’s lyrical felicities.

Goldberg’s bold fluency changed radically when, in 1962, he moved into an old, high-ceilinged Bowery studio marked by the lingering pictorial ghosts of Rothko,

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