Peter Saul

Peter 

Saul 

GARY TATINTSIAN GALLERY 

moscow

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Я и подумать не мог, 

что мои картины 

будут представлены 

в Москве. 

Это настолько 

неожиданно для 

меня, что я решил 

написать несколько 

слов и лучше 

объяснить зрителю, 

чем же я занимаюсь 

Первый шаг – выбрать объект для картины. Это очень 

важное решение. В прошлом, темой моих сюжетов являлись, 

к примеру, Дональд Дак, кухонная техника, Cупермен, Вьетнамская 

война, преступления, такие исторические события, 

как падение Константинополя и «Разгром Кастера», ковбои, 

самоубийство, казнь на электрическом стуле, Рейган, Гитлер, 

Сталин и Мао, и в добавок к этому – всевозможные направления 

искусства: кубизм, сюрреализм, абстрактный экспрессионизм… 

Полный список занял бы несколько страниц. 

Моя цель – свободно создавать работы, сюжет которых 

заинтересует каждого, будь то искусствовед или обычный 

зритель. Мои любимые картины – те, что способны буквально 

передать историю, хотя более образные работы, безусловно, 

тоже хороши. 

Определившись с сюжетом, я перехожу к следующему 

шагу – создаю небольшой эскиз изображения. Мои работы – 

плод моего воображения, но реалистичные детали в них помогают 

сделать картину еще более интересной. Если удается 

найти фотографию нужной мне детали, я тщательно изучаю ее, 

в противном случае – просто добавляю что-то свое. Для политиков 

или знаменитостей, чьи лица должны быть узнаваемыми, 

я заранее нахожу фотографии. 

Важность работы заключается в том, чтобы сделать начальный 

эскиз свежим и как можно более оригинальным, а это значит, 

несущим идею и свою психологию. Правда или ложь – не 

имеет значения. Главное, чтобы он вызывал беспокойство или 

смех – я люблю любые эмоции. Плохие вещи заставляют меня 

смеяться так же часто, как и хорошие, что само по себе плохо, но 

меня оправдывает тот факт, что это и есть мой стиль искусства 

уже более 55 лет. Так что я имею право продолжать. Я осознанно 

отказываюсь улучшаться, хоть и надеюсь, что лучше могут 

стать мои картины. Как только работа началась, я забываю себя 

и любое мнение, которое мог бы иметь, и просто сосредотачиваюсь 

на том, чтобы сделать ее достойной внимания зрителя. 

Сделать из нее сенсацию, если это вообще возможно. Закончив 

с небольшим эскизом, на что обычно уходит 3-4 дня, я переношу 

его на холст и воссоздаю изображение стирающимися 

маркерами, параллельно внося небольшие изменения. Проработав 

в таком режиме почти неделю, я готов нанести краску на 

холст. 

На данной стадии я стремлюсь сделать работу как можно 

более осознанной. Помимо воображаемого и перенасыщенного 

сюжета, я должен создать максимум иллюзорности – настолько, 

насколько смогу. Я работаю с двумя видами акриловой 

краски – 102-мя бутылками краски Golden heavy Body 

35-ю бутылками долго сохнущей Open Golden - слегка наношу 

краску на холст аккуратными, иногда прозрачными слоями, 

добавляя вперемешку глазурь из краски Open. Я люблю эту 

технику. Всегда интересно видеть, как картина меняется в процессе 

создания. Мне кажется, что именно я руковожу процессом, 

но в какой-то момент картина сама диктует мне, что делать, 

и я должен повиноваться. 

Цвета аккуратно перемешиваются в маленьких пластиковых 

стаканах, которые я держу закрытыми, чтобы сохранить 

краску. За 3-5 недель работы я смешиваю до 300 оттенков и 

наношу их на холст в 4-12 слоев. Наконец, когда работа окончена 

и я доволен результатом, я храню эти сотни стаканов 

еще несколько недель на случай, если понадобится сделать 

последние штрихи. Затем я избавляюсь от всего и начинаю 

думать о новой картине. 

В чем смысл всех усилий? Как и тысячи других, я стремлюсь 

к жизни в завидной роли независимого художника. Пока мне 

везет больше остальных, и по-настоящему работать мне не 

приходилось с 1959 г., когда я продавал газету “Herald Tribune” 

на улицах Парижа. Я работал профессором искусства в Университете 

Техаса с 1981-2000 гг., но говорить с людьми об их 

искусстве было для меня скорее удовольствием, чем работой. 

Когда я закончил школу, в далеком 1950 г., будущее выглядело 

мрачным. Стоял выбор – надеть галстук и сидеть в офисе, 

целыми днями обсуждая финансы, или, еще хуже, толкать 

тяжелые коробки по складу продуктового магазина. Вместо 

этого, я решил писать сумасшедшие картины, что оказалось 

гораздо веселее, и я благодарен миру современного искусства 

за эту возможность. 

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I never imagined some of my 

pictures would be in Moscow. 

It’s such a surprise I have to 

write a few words to help people 

understand what I’m doing 

The first step is choosing a subject for the picture. This 

is a very important decision. In the past my subjects have 

included Donald Duck, kitchen equipment, Superman, the Vietnam 

War, crime, historical events like the Fall of Constantinople 

and Custer’s Last Stand, cowboys, suicide, execution by electric 

chair, Reagan, Castro, Hitler, Stalin and Mao and the art 

movements cubism, surrealism and abstract expressionism. 

A complete list would take several pages. 

I want to be free to paint any picture that will look interesting 

to anyone, art expert or ordinary person. Pictures that tell 

stories are my favorites, but more subtle content is also good. 

Once I know what the subject is going to be, the next step is 

to make a small drawing of the image. Even though I work from 

imagination, realistic details help the picture to be interesting. 

If I can find a photo for the detail I need I’ll look at it carefully, 

otherwise, I just make it up. For politicians or celebrities who 

need to be recognized I’ll find a photo before beginning. 

The important thing is, this little drawing has to look fresh, 

to be as original as possible. That means it has to have a lot 

of psychology in it. True or false doesn’t matter at all as long 

as it’s disturbing or funny, because I love all psychology. Bad 

things make me laugh just as often as good things which is the 

wrong attitude. But my excuse is this has been my art style for 

over 55 years, so I get to keep doing it. Intellectually, I refuse 

to improve, although I hope my pictures can get better looking. 

Once the picture has begun, I forget about myself and any 

opinion I might have and just concentrate on making it worth 

looking at. To look sensational, if at all possible. 

Once I’ve gone as far as I can with the little sketch, which 

probably takes 3 or 4 days, I transfer it to the canvas and redraw 

the imagery with washable markers making some small 

improvements. Finally, after about a week of drawing, I’m ready 

to put paint on canvas. 

At this point my ambition is to make my picture as fully realized 

as possible. Even though it’s from my imagination and as 

exaggerated as possible, it must be as illusionistic as I can make 

it, working alone with my 102 bottles of heavy body Golden 

acrylic paint and 35 bottles of “open” (stays wet longer) Golden 

acrylics. I feather the paint on to the canvas in careful, sometimes 

transparent layers interspersed with glazes of the “open” 

paint. I love this technique. It’s a lot of fun to see the picture 

change as it gets painted. I think I’m the boss in this situation 

but at a certain point the picture tells me what to do and I have 

to obey. 

Colors get mixed very carefully in small plastic cups, which 

I keep covered so they don’t dry out. During the 3 to 5 weeks it 

takes to paint the picture I’ll mix as many as 300 colors, applied 

in 4 to 12 layers on the canvas. Finally, everything’s done to 

my satisfaction. I keep the few hundred cups of paint around 

for several more weeks in case there are final touches I hadn’t 

noticed. And then I throw them all away and begin to think of 

the next picture. 

What’s the purpose of all the effort? Like thousands of 

others, I’m trying to make it through life in the luxurious role 

of independent painter of pictures. So far I’ve been luckier 

than most and haven’t had to do any actual work since selling 

the Herald Tribune on the streets of Paris in 1959. I did 

have a job as professor of art at the University of Texas from 

1981-2000, but that was more fun than work, talking to people 

about their art. 

When I graduated from high school, back in 1950, the future 

looked grim. It was either wear a necktie, sit at a desk all 

day and talk about money, or even worse, shove heavy boxes 

around in the back of a grocery store. Instead of either type 

of job, I decided to paint crazy looking pictures, which is a lot 

of fun and I’m grateful to the world of modern art for making it 

possible for me to do that. 

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Когда я нацелен на работу с 

конкретным сюжетом, часто 

историческим, 

я не думаю о 

достоверности и 

даже не пытаюсь 

воспринять его как 

исторический факт. 

Весь интерес заключается 

в том, чтобы найти событие, 

произошедшее очень давно, 

и перенести его в наши дни, 

сделав частью американской 

культуры, 

той самой 

мультяшной 

реальностью, 

которая так меня 

увлекает 

Other times I have a very 

definite wish to deal with 

a specific subject, often 

historical, 

I don’t think of these 

subjects as true or 

false 

or even pretend to understand 

them as historical facts. 

My interest is to take something 

well known that happened a 

long time ago and transport it 

up to the present day where it 

can become a part of American 

culture, 

the cartoonish reality 

of today which I enjoy 

Fall of Constantinople 

(1453 A.D.) 

2004 

Acrylic on canvas 

198 x 274 cm 

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Stalin and Mao 

2009 

183 x 274 cm 


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В “Prehistoric Women,” 

женщины 

демонстрируют 

феномен 

современного 

мышления: 

они развили крепкую 

мускулатуру и с лёгкостью 

орудуют тяжелыми топорами, 

расправляясь 

с нежеланными 

мужьями. 

ни стоят вместе, плечом к 

плечу, как могли бы держаться 

влюбленные, почти сливаясь 

в одинаковых тигровых 

шкурах, 

а бушующий 

вулкан на фоне 

символизирует 

их женскую 

сексуальность 

In “Prehistoric Women,” 

the two women show a 

surprisingly modern 

attitude. First, they 

“muscled up,” did a lot of heavy 

exercising to develop the 

tremendous muscles 

needed to wield the stone axes 

they’re using to dispatch their 

un-wanted husbands. They’re 

close to each other, arm in 

arm, probably in love, dressed 

in almost matching tiger skins. 

The exploding volcano 

is a symbol of their 

female sexuality 

Prehistoric Women 

2011 

Acrylic, oil on canvas 

198 x 229 cm 

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Может казаться, 

что большая часть 

моего творчества 

высмеивает жизненные 

ценности, как “It’s Not 

Cancer” с пародией на 

медицинскую помощь, 

но здесь скорее важен 

художественный 

стиль, чем мое личное 

мнение: шутки про 

медицину, больницы и 

врачей мне совсем не 

важны. Что для меня 

действительно важно – 

это создать 

картину, на 

которую будет 

интересно смотреть 

Even though most of my 

pictures seem to be making 

fun of something serious 

like “It’s Not Cancer”, makes 

fun of medial attention, 

it’s really more of 

an art style than an 

opinion 

I might have about 

something. I don’t actually 

care whether medical 

attention (hospitals, 

doctors, etc.) should or 

should not be made fun 

of. It’s how to paint 

an interesting to 

look at picture than 

concerns me 

It’s Not Cancer 

2009 

Acrylic and oil on canvas 

198.1 x 243.8 cm 

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Birth Of Pop 

2005 


168 x 188 cm 

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Если речь идет об отношениях между мужчиной и 

женщиной, я предпочитаю отражать их 

самые несчастные, беспокойные и 

неудачные стороны, 

ведь за ними гораздо веселее наблюдать. Это как в 

газетах: если заголовок одной гласит «Все счастливы, 

никаких проблем», а другой кричит про 

«Массовые страдания и разрушения», 

какую газету вы бы купили? 

По какой-то причине плохие новости заставляют меня 

смеяться, по крайне мере в процессе работы. 

Когда я заканчиваю картину, я начинаю 

испытывать те же эмоции, что и все 

остальные. 

Так возникла картина “Viva la Difference” 

For the possible 

relationship between men and women, 

I prefer to picture the most miserable, anxious and 

unsuccessful relationship, simply because it’s more fun to 

look at. 

It’s like newspapers. If one headline 

says “Everybody is happy, no problems 

anywhere,” 

and the other headline says “Massive misery, collapse 

everywhere,” 

which newspaper would you buy? 

For some reason, bad news makes me laugh, at least while 

I’m painting. 

When I stop painting, I feel the same as 

every one else. 

This is how “Viva la Difference” came about 

Viva la Difference 

2008 

acrylic on canvas 

182.9 x 182.9 cm 

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В “Abstract Expressionist Cowboy”, я хотел максимально 

приблизиться к стилю абстрактного 

экспрессионизма. 

Результат – большое, но тщательно проработанное пятно 

краски с небрежными намеками на атрибуты ковбоя. 

Вся суть – в утрировании художественного 

стиля и уменьшении психологии 

In “Abstract Expressionist Cowboy”, I wanted to experience 

as much resemblance to the abstract 

expressionist art style 

as possible. The result is a big “swoosh” of paint, though 

carefully painted, and a few indifferent clues that make it a 

cowboy. It was just a question of 

maximizing the art style and minimizing the 

psychology 

Abstract Expressionist Cowboy 

2015 


203 x 163 cm 

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Dessert Plate 

2014 


153 x 183 cm 

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К несчастью для моей творческой карьеры, 

большая часть людей не видит и доли 

юмора в самоубийстве, 

и это нормально. Я все равно создаю картину и надеюсь, что, 

в конечном итоге, 

несогласие с ней сделает ее еще более 

интересной 

Unfortunately, for my art career, perhaps, 

most people don’t consider suicide a 

humorous subject. 

But that’s o.k. I’ll paint the picture anyway and hope 

disagreement will only make my picture 

more interesting in the long run 

Wall Street Suicide 

2012 

Acrylic on canvas c on canvas 

178 x 152 cm 

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Cleopatra, 

Queen of the Nile 

2012-2013 


183 x 244 cm 

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Raccoon Artist Surprises the Art World 

2009 


183 x 198 cm 

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В «Panic Attack in the Lumber Yard» я хотел лучше 

прочувствовать влияние сюрреализма 

как направления, 

которое очень ценю, но о котором, как искусствовед, 

не так много знаю. В общих чертах, сюрреализм для 

меня означает свободу варьировать и 

изменять природу вещей по 

собственному 

желанию 

In “Panic Attack in the Lumber Yard” I wanted 

to feel the influence of 

the surrealist art movement 

which I appreciate but probably don’t know 

much about (like an art historian). In a 

general sense what surrealism means to me is 

you get to do any distortion or 

re-arrangement of nature you 

want, 

and it’s o.k. 

Panic Attack in the Lumber Yard 

2007 


183 x 198 cm 

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Bad Restaurant 

2008 


198 x 274 cm 

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Birth of Venus 

2015 


165 x 213 cm 

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Daisy Crockett 

1985-2015 

Lithograph acrylic print 

79 x 69 cm 

Stop Kissing My Ass and Let’s Do Business 

2001 


178 x 152 cm 

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Didn’t Hurt 

1998 


118 x 89 cm 

Woman Drinking Martini 

2009 


119 x 90 cm 

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Peter Saul 

Born 1934 in San Francisco, CA, USA 

Lives and Works in New York, NY and Germantown, NY, USA 

EDUCATION 

AWARDS 

1950-1952 California School of Fine Arts, San Francisco, CA, USA 

1952-1956 Washington University School of Fine Arts, 

Saint Louis, MO, USA 

2013 Francis J. Greenburger Award 

2010 American Academy of Arts and Letters Inductee 

2002 American Academy of Arts and Letters Award 

1993 John Simon Guggenheim Memorial Foundation Fellowship 

1979-1985 

National Endowment for the Arts Individual Artist Grant 

SOLO EXHIBITIONS 

2015 Peter Saul: Six Classics. Mary Boone Gallery, New York, NY 

Hall Art Foundation, Reading, VT 

Peter Saul - Some Crazy Pictures, David Kordansky Gallery, 

Los Angeles, CA 

Relax in Electric Chair: Peter Saul at di Rosa. di Rosa, Napa, CA 

From Pop to Punk: Peter Saul, Paintings form the 60’s and 70’s. 

Venus Over Manhattan, New York, NY 

2014 Figaro. The Arnold and Marie Schwartz Gallery Met, Metropolitan 

Opera House, Lincoln Center, New York, NY 

2013 Holy Moly. Städtische Galerie Wolfsburg, Wolfsburg, Germany 

Paintings from the 60s and 70s. Mary Boone Gallery, New York, NY 

Neptune and the Octopus Painter. VeneKlasen Werner, Berlin, 

Germany 

Peter Saul: Radical Figure: Paintings and Drawings from the 1960s 

and 1970s. George Adams Gallery, New York, NY 

Peter Saul/Jim Shaw: Drawings. (Two-person Show). 

Mary Boone Gallery, New York, NY. 

2012 Peter Saul. Fondation Salomon Art Contemporain, Alex, France 

Peter Saul. Mary Boone Gallery, New York, NY 

2011 Peter Saul: Stupid Arguments, Corbett vs. Dempsey, Chicago, IL 

2010 Peter Saul. Haunch of Venison, New York, NY 

Fifty Years of Painting. Haunch of Venison, New York, NY 

Sheer Terror. Nolan Judin, Berlin, Germany 

2009 New Paintings. David Nolan Gallery, New York, NY 

Praz-Delavallade, Paris, France 

Contemporary Arts Center, New Orleans, LA 

Peter Saul: Drawings and Prints 1960-1975. George Adams Gallery, 

New York, NY 

2008 Peter Saul: Five New Pictures. Patrick Painter gallery, Santa Monica, CA 

Peter Saul. Pennsylvania Academy of Fine Arts, Philadelphia, PA 

Peter Saul. Orange County Museum of Art, Newport Beach, CA 

2007 Peter Saul. Galerie Charlotte Moser, Geneva, Switzerland 

2006 Peter Saul. David Nolan Gallery, New York, NY 

Peter Saul. Leo Koenig Inc., New York, NY 

2005 Peintures: 1985–2005, Musée Paul Valèry, Sète, France 

2004 Homage to Dali. Nolan/Eckman Gallery, New York, NY 

Peter Saul: Suburbia: Paintings and Drawings 1965-69. 

George Adams Gallery, New York, NY 

2003 Drawings. Jack Hanley Gallery, San Francisco, CA 

2002 Peter Saul. Galerie Aurel Scheibler, Koln, Germany 

Peter Saul: The Sixties. Nolan/Eckman Gallery, New York, NY 

Peter Saul. Galerie Charlotte Moser, Geneva, Switzerland 

2000 Peter Saul: Heads: 1986-2000. Nolan/Eckman Gallery, New York, NY 

Galerie du Centre, Paris, France 

Retrospective. Musée de l’Abbaye Sainte-Croix-Chateauroux, 

Les Sables d’Olonne, France 

Peter Saul: Oeuvres Récents. Galerie du Centre, Paris, France 

1999 Retrospective. Musée de l’Hôtel Bertrand, Dole, France 

Retrospective. Musée des Beaux-Arts, Mons, Belgium 

Peter Saul: Paintings 1987-1999. George Adams Gallery, 

New York, NY 

1998 Peter Saul: Recent Drawings, Nolan/Eckman Gallery, New York, NY 

Peter Saul. Rena Bransten Gallery, San Francisco, CA 

Peter Saul: Paintings and Related Drawings 1960-1964. 


1997 Galerie du Centre, Paris, France 

Artpace, San Antonio, TX 

Early Paintings and Related Drawings 1960-64, George Adams 

Gallery, New York, NY 

1996 Art World Portraits, Smart Museum of Art, Chicago, IL 

Texas Gallery, Houston, TX 

Peter Saul. George Adams Gallery, New York, NY 

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Peter Saul: Art World Portraits. Smart Museum of Art, 

University of Chicago, Chicago, IL 

1995 Peter Saul: Paintings 1963-1965. Turner, Byrne and Runyon, 

Dallas, TX 

Peter Saul: Don’t Kiss Ass. Ynglingagatan I, Stockholm, Sweden 

Castro’s Mother Destroys Miami and Related Drawings. 

Frumkin/Adams Gallery, New York, NY 

Old and New: On canvas and on paper. Galerie Bonnier, Geneva, 

Switzerland 

1994 Herbert Palmer Gallery, Los Angeles, CA 

Martin-Rathburn Gallery, San Antonio, TX 

1993 Frumkin/Adams Gallery, New York, NY 

1992 Frumkin/Adams Gallery, New York, NY 

1991 Krannert Art Museum, Champaign, IL 

Peter Saul: Political Paintings, Washington University, Saint Louis, MO 

Galerie du Centre, Paris, France 


Galerie Thomas R. Monahan, Chicago, IL 

1990 Peter Saul: Retrospective, Aspen Art Museum, Aspen, CO 

Museum of Contemporary Art, Chicago, IL 

Laguna Gloria Art Museum, Austin, TX 

Contemporary Arts Center, New Orleans, LA 

Political Paintings. Frumkin/Adams Gallery, New York, NY 

Contemporary Art Center, New Orleans, LA 

Laguna Gloria Art Museum, Austin, TX 


1989 Frumkin and Struve Gallery, Chicago, IL 

Aspen Art Museum, Aspen, CO 

Museum of Contemporary Art, Chicago, IL 


1987 Allan Frumkin Gallery, New York, NY 


1986 Rena Bransten Gallery, San Francisco, CA 



1984 Frumkin and Struve Gallery, Chicago, IL 

Allan Frumkin Gallery, New York, NY 

1983 Red Grooms/Peter Saul: The Early Sixties, 



Retrospective Exhibition. Kilcawley Center, Youngstown State 

University, Youngstown, OH 

Peter Saul: Retrospective. Swen Parson Gallery 

University of Northern Illinois, Dekalb, IL 

Madison Art Center, Madison, WI 

1980 University of Illinois, DeKalb, IL 

Madison Art Center, Madison, WI 


1977 Allan Frumkin Gallery, Chicago, IL 

1976 Housatonic Museum of Art, Bridgeport, CT 



1973 Art Gallery, California State University, Sacramento, CA 

Galerie Klang, Koln, Germany 


1972 Galerie Darthea Speyer, Paris, France 

Allan Frumkin Gallery, Chicago, IL 

1971 Musée d’Art et d’Industrie, Saint-Etienne, France 


1969 Galerie Darthea Speyer, Paris, France 



1968 San Francisco Art Institute, San Francisco, CA 

California College of Arts and Crafts Gallery, Oakland, CA 

Reed College, Portland, OR 


1967 Galerie di Foscherari 60, Bologna, Italy 

Contemporary Gallery, Kansas City, MO 

Galerie Breteau, Paris, France 

Wanamaker’s, Philadelphia, PA 



1965 Galerie Anne Aebels, Cologne, Germany 

1964 Anne Aebels Gallery, Koln, Germany 

Notizie Gallery, Turin, Italy 



Rolf Nelson Gallery, Los Angeles, CA 

1963 Tartaruga Gallery, Rome, Italy 

Rolf Nelson Gallery, Los Angeles, CA 






SELECTED GROUP SHOWS 

2016 Comic Inspirations. Adam Baumgold Gallery, New York, NY 

2015 Mutated Reality. Gary Tatintsian Gallery, Moscow, Russia 

Greater New York. MoMA PS1, New York, NY 

The Street, The Store, And The Silver Screen: Pop Art From The MCA 

Collection. 

Museum of Contemporary Art Chicago (MCA), Chicago, IL 

2015 What Nerve! Alternative Figures in American Art 1960 to present. 

Matthew Marks Gallery, New York, NY 

Better than de Kooning. Villa Merkel, Galerien der Stadt Esslingen am 

Neckar, Esslingen am Neckar, Germany 

Rawhide. Venus Over Manhattan, New York, NY 

America Is Hard To See. Whitney Museum of American Art, 

New York, NY 

Picasso in Contemporary Art. Deichtorhallen Hamburg, Hamburg, 

Germany 

Respect. CAC Centro de Arte Contemporáneo Málaga, Málaga, Spain 

Viewer Discretion... Children Of Bataille. Stux Gallery, New York, NY 

SELF: Portraits of Artists in Their Absence. National Academy 

Museum, New York, NY 

2014 Figurativos, Místicos E Revolucionários: Obras Da Coleção Treger/ 

saint Silvestre. Oliva Creative Factory, São João da Madeira, Portugal 

Avec et sans peinture. Musée dárt contemporain du Val-de-Marne 

MAC/Val, Vitry-sur-Seine, France 

2014 If You’re Accidentally Not Included, Don’t Worry About It. Galerie 

Zürcher, Paris, France 

Spaced Out: Migration to the Interior. Red Bull Studios New York, 

New York, NY 

83

Peahead, Franklin Parrasch Gallery, New York, NY 

What Nerve! Alternative Figures in American Art from 1960 

to the Present. Rhode Island 

School of Design Museum, Providence, RI 

Comic Future, Wexner Center for the Arts, Columbus, OH 

Look at Me: Portraiture from Manet to the Present, Leila Heller Gallery, 

New York, NY 

If You’re Accidentally Not Included, Don’t Worry About It, Zürcher 

Studio, New York, NY 

FAR OUT! Marlborough Chelsea, New York, NY 

Imaginary Portraits/Prince Igor, The Arnold and Marie Schwartz 

Gallery Met, Metropolitan Opera House, Lincoln Center, New York, NY 

Keith Mayerson and Peter Saul. Robert Blumenthal Gallery, 

New York, NY 

Left Coast, Third Coast. George Adams Gallery, New York, NY 

The Crystal Palace. Rachel Uffner Gallery, New York, NY 

Purple States. Andrew Edlin Gallery, New York, NY 

Knock! Knock! Galeria Javier López, Madrid, Spain 

Art as Provocation. Krannert Art Museum, Champaign, IL 

2013 Comic Future, Ballroom Marfa, Marfa, TX 

Tumescence: Peter Doig, Sigmar Polke, Peter Saul, Michael Williams, 

Michael Werner Gallery, New York, NY 

Marcel Duchamp’s ‘Nude Descending a Staircase’: An Homage, Francis 

M. Naumann Fine Art, New York, NY 

De Chaissac à Hyber, parcours d’un amateur vendéen. Historial de 

Vendee, Les Lucs-sur-Boulogne, France 

Arte Internacional Del Siglo Xx. Colección Brownstone. Fundación 

Mercedes Calles y Carlos Ballestero, Cáceres, Spain 

Nothing Turned Itself Inside Out. White Flag Projects, Saint Louis, MO 

Ça grimpe. Galerie Charlotte Moser, Geneva, Switzerland 

Utopie picturale. La Villa Dutoit, Petit-Saconnex, Switzerland 

Drawings. Mary Boone Gallery, New York, NY 

Moment - Ynglingagatan 1. Moderna Museet, Stockholm, Sweden 

2012 Sinister Pop. Whitney Museum of American Art, New York, NY 

Abstract Drawings. Smithsonian American Art Museum, Washington, DC 

RAW. Homespace Gallery, New Orleans, LA 

Under the Influence: The Comics. Edith Alstchul Lehman College 

Gallery, Bronx, NY 

Party Headquarters: Art in the Age of Political Absurdity. 

Pratt Manhattan Gallery, New York, NY 

Visage et portrait. Galerie Charlotte Moser, Geneva, Switzerland 

Thanks: 50th Anniversary Exhibition. Carl Solway Gallery, Cincinnati, OH 

Someone Else’s Dream. Hyde Park Art Center, Chicago, IL 

2011 Incongru. Quand l’art fait rire. Palais de Rumine, Lausanne, Switzerland 

Chicago School: Imagists in Context. MMoCA - The Madison Museum 

of Contemporary Art, Madison, WI 

Chicago Imagists at the Madison Museum of Contemporary Art. 

MMoCA - The Madison Museum of Contemporary Art. Madison, WI 

Anxiety’s Edge. The Contemporary Museum Honolulu, Honolulu, HI 

Masters of Reality. Gering & Lopez Gallery, New York, NY 

Pretty on the Inside. Paul Kasmin Gallery, New York, NY 

Make. White Flag Projects, Saint Louis, MO 

Boundaries Obscured. Haunch of Venison - New York, NY 

MAKE Skateboards. I-20 Gallery, New York, NY 

Inside & Out: Melvin Edwards and Peter Saul. Atlanta Contemporary 

Art Center, Atlanta, GA 

Circle of Friends: Paintings, Drawings, and Sculptures. George Adams 


Captain Pamphile - Ein Bildroman in Stücken. 

Deichtorhallen Hamburg, Hamburg, Germany 

Chase the dragon. Galerie Magda Danysz, Paris, France 

2010 Private Future. Marc Jancou Contemporary, New York, NY 

Figures in Chicago Imagism. Krannert Art Museum, Champaign, IL 

Ordinary Madness. Carnegie Museum of Art, Pittsburgh, PA 

Touch and Go: Ray Yoshida and his Spheres of Influence. School of the 

Art Institute of Chicago, Sullivan Galleries, Chicago, IL 

The Visible Vagina. David Nolan Gallery, New York, NY 

Nature, Once Removed: The (Un) Natural World in Contemporary 

Drawing. Lehman College Art Gallery, Bronx, NY 

Desire. Blanton Museum of Art, Austin, TX 

Apple Pie: Symbols of Americana in MMoCA’s Permanent Collection. 

MMoCA - The Madison Museum of Contemporary Art, Madison, WI 

Celebration - Collection du Frac Auvergne. FRAC - Auvergne, 

Clermont Ferrand, France 

IconoGRAPHIC. Mary Ryan Gallery, New York, NY 

Don’t Piss on Me and Tell Me it’s Raining. Apexart, New York, NY 

New and Classic. George Adams Gallery, New York, NY 

Mutant Pop. Loyal, Malmö, Sweden 

2009 About Face. Edward Thorp Gallery, New York, NY 

Consider the Lobster. The Center for Curatorial Studies & Hessel 

Museum of Art, Bard College, Annandale-on-Hudson, NY 

Image Matter. Mary Boone Gallery, New York, NY 

The New Yorkers. V1 Gallery, Copenhagen, Denmark 

Until the End of the World. AMP, Athens, Greece 

N’importe quoi. Musée d’Art Contemporain, Lyon, France 

Exile on Main St. Humour, exaggeration & anti-authoritarianism in 

American art, Bonnefantenmuseum, Maaastricht, The Netherlands 

Action/ Abstraction – Pollock, de Kooning, and American Art 1940– 

1976. Albright-Knox Art Gallery, Buffalo, NY 

Get with the Program: Group Show. George Adams Gallery, 

New York, NY 

Vraoum! trésors de la bande dessinée et art contemporain. 

La Maison Rouge, Paris, France 

2008 Looking for Mushrooms. Beat Poets, Hippies, Radio and Minimal Art: 

Art and Counter Culture in San Francisco Around 1968. Museum 

Ludwig, Koln, Germany 

Crossing Artists. Daniel Varenne, Geneva, Switzerland 

In Your Face. BUIA Gallery, New York, NY 

La Figuracion Narrativa. Paris 1960-1972. IVAM - Institut Valencià 

d’Art Modern, Valencia, Spain 

The Brutal Line: Drawing Death, Being, and Becoming. The University 

of Chicago, Chicago, IL 

Aaron Cyrry, Peter Saul, Richard Hawkins. David Kordansky Gallery, 

New York, NY 

Bad Painting - Good Art. Museum Moderner Kunst, Vienna, Austria 

Jekyll Island. Honor Fraser Gallery, Los Angeles, CA 

Multiplex: Directions in Art, 1970 to Now. The Museum of Modern Art, 

New York, NY 

Action/ Abstraction – Pollock, de Kooning, and American Art 1940– 

1976. The Jewish Museum, New York, NY 

Figuration Narrative 1960-72. Galeries Nationales du Grand Palais, 

Paris, France 

Lots of Things Like This. Apexart, New York, NY 

Political Correct. BFAS Blondeau Fine Art Services, Geneva, Switzerland 

Cool! George Adams Gallery, New York, NY 

Parfum d’été. Galerie Charlotte Moser, Geneva, Switzerland 

84

Summer Group Exhibition. Derek Eller Gallery, New York, NY 

Lone Star Legacy II: The Barrett Collection of Contemporary Texas Art. 

Dallas Museum of Art, Dallas, TX 

Less is less, more is more, that’s all. CAPC - Musée d’art contemporain, 

Bordeaux, France 

Deformalismes. Galerie Praz-Delavallade - Paris, Paris, France 

Deformalismes. Galerie Praz-Delavallade - Berlin, Berlin, Germany 

Good Doll, Bad Doll. Armory Center for the Arts, Pasadena, CA 

Second Thoughts. Hessel Museum of Art & Center for Curatorial 

Studies Galleries at Bard College, Annandale-on-Hudson, NY 

2007 Directions in Art. 1970 to Now. MoMA - Museum of Modern Art, 

New York, NY 

Mr. President. University Art Museum at Albany, Albany, NY 

Summer of Love. Whitney Museum of American Art, New York, NY 

Exhibitionism. An exhibition of exhibitions of works from the Marieluise 

Hessel Collection, CCS Bard. Hessel Museum, Bard College, 

Annandale-on-Hudson, NY 

Automatic. Franklin Parrasch Gallery, New York, NY 

Refugees of Group Selection. Franklin Parrasch Gallery, New York, NY 

Paradise. Patrick Painter Gallery, Los Angeles, CA 

Il était une fois Walt Disney. Musée des Beaux Arts de Montréal, 

Montreal, Canada; traveled to Grand Palais, Paris, France 

Feed Your Head. Heskin Contemporary, New York, NY 

What Is Love: Selections from the Permanent Collection. 

University of Massachusetts, Amherst, MA 

Rouge baiser. FRAC - Pays de la Loire, Carquefou, France 

De leur temps (2) Art Contemporain Et Collections 

Privées. Musee de Grenoble, Grenoble, France 

Max. Durchfahrtshöhe. Aurel Scheibler / Scheibler Mitte, 

Berlin, Germany 

2006 Art on Paper. Weatherspoon Art Museum, Greensboro, NC 

Twice Drawn. Frances Young Tang Teaching Museum and Art Gallery, 

Skidmore College, Saratoga Springs, NY 

The Artful Jester. The Painting Center, New York, NY 

Brattleboro Museum and Art Center, Brattleboro, VT 

Il était une fois Walt Disney. Grand Palais, Paris, France 

Art of Engagement: Paintings, Drawings, Prints and Sculpture. 

Jack Rutberg Fine Arts, Los Angeles, CA 

Safe: an exploration of domesticity... Kathleen Cullen Fine Arts, 

New York, NY 

Gruppenausstellund - hot spring ... in autumn. Galerie Krinzinger, 

Vienna, Austria 

Works on Paper. Texas Gallery, Houston, TX 

Trendmarks. Galerie Suty, Coye-la-Forêt, France 

Group Show. David Nolan Gallery, New York, NY 

Antisocial. Fonds Régional d’Art Contemporain d’Auvergne, 

Auvergne, France 

Group Show. George Adams Gallery, New York, NY 

2005 BIG BANG. Centre Pompidou - Musée National dÁrt Moderne, 

Paris, France 

Looking at Words. Andrea Rosen Gallery, New York, NY 

Post War Draughtwomen and 1 Monitor. Meyer Riegger Gallery, 

Karlsruhe, Germany 

Body Language. George Adams Gallery, New York, NY 

Art of Engagement. Jack Rutberg Fine Arts, Los Angeles, CA 

Enchante Chateau. Fondation pour L’art Contemporain, Claudine et 

Jean-Marc Salomon. Alex. France 

Réouverture du LAAC. LAAC - Lieu d’Art et Action Contemporaine de 

Dunkerque, Dunkerque, France 

The Anniversary Show. Rena Bransten Gallery, San Francisco, CA 

2004 Fifth International Biennial Exhibition: Disparities and Deformations: 

Our Grotesque, SITE Santa Fe, Santa Fe, NM 

SITE Santa Fe’s Fifth International Biennial. SITE Santa Fe, 

Santa Fe, NM 

2004 The Anxious Image. The Painting Center, New York, NY 

Bush-Whack! George Adams Gallery, New York, NY 

Artists Interrogate: Politics and War. Milwaukee Art Museum, 

Milwaukee, WI 

Soleil Vert. Musse D’art Roger Quilliot, Clermont Ferrand, 

France Altered States. Leo Koenig, New York, NY 

Is One Thing Better Than Another? Galerie Aurel Scheibler - Cologne, 

Cologne, Germany 

Les conquérants, les exilés. Fonds d’Art moderne et contemporain - 

Espace Boris Vian, Montluçon, France 

2003 Painter’s Forms. The Work Space, New York, NY 

…As Time Goes By. Leo Koenig, New York, NY 

2003 The Not-So-Still Life: A Century of California Painting and Sculpture. 

San Jose Museum of Art, San Jose, CA 

Splat Boom Pow! The Influence of Comics in Contemporary Art. 

Contemporary Arts Museum, Houston, TX 

Institute of Contemporary Art, Boston, MA 

Les Contemporains de 1960 à nos jours. Centre Pompidou, 

Paris, France 

3 Pop Guys 40 Years After. Galerie du Centre, Paris, France 

Funny Papers. Daniel Weinberg Gallery, Los Angeles, CA 

Grooves. Leo Koenig, New York, NY 

In the Eye of the Beholder. George Adams Gallery, New York, NY 

Multiple Artists: Print and Editioned Works 1967-2003. 


New Prints 2003/Summer. International Print Center New York, 

New York, NY 

Road Show. George Adams Gallery, New York, NY 

2002 Eye Infection. Stedelijk Museum, Amsterdam, The Netherlands 

Jokes. Musée d’art Moderne et Contemporain, Geneva, Switzerland 

Plotting: An Exhibition Of Studies. Carrie Secrist Gallery, Chicago, IL 

Whisper - Sammelausstellung zum elfjährigen 

Jubiläum. Galerie Aurel Scheibler - Cologne, Cologne, Germany 

Ils sont venu de si loin. Galerie Delta, Rotterdam, The Netherlands 

Me, Myself & I: Self-Portraits by Gallery Artists. George Adams Gallery, 

New York, NY 

2001 Rebuts/Rébus. Fondation pour L’art Contemporain, Claudine et 

Jean-Marc Salomon, Alex, France 

2001 Self Made Men. D.C. Moore Gallery, New York, NY 

Open Ends. The Museum of Modern Art, New York, NY 

Confrontations : Léon Golub - Antoine Poncet, Roseline Granet - 

Peter Saul, Piko. Darthea Speyer gallerie, Paris, France 

Comic Relief. Rena Bransten Gallery, San Francisco, CA 

Blondies and Brownies - weiß bin ich auch. 

Aktionsforum Praterinsel, Munich, Germany 

2000 Drawings 2000. Barbara Gladstone Gallery, New York, NY 

Face to Face. Stedelijk Museum, Amsterdam, The Netherlands 

The Lighter Side of Bay Area Figuration. San Jose Museum of Art, 

San Jose, CA 

Critic as Grist. White Box, New York, NY 

Attitude: Paintings, Drawings & Sculpture 1960-1969. George Adams 


85

1999 Jean DuBuffet, Oyvind Fahlstrom, Peter Saul. Kinz + Tillou, 

New York, NY 

Summer Group Show. David Nolan Gallery, New York, NY 

Art about Art. George Adams Gallery, New York, NY 

1998 View: Three. Mary Boone Gallery, New York, NY 

Summer Group Show. David Nolan Gallery, New York, NY 

Pop Surrealism. The Aldrich Contemporary Art Museum, Ridgefield, CT 

1997 Facing History. Centre Pompidou, Paris, France 

A Show of Hands. George Adams Gallery, New York, NY 

Drawings. Nolan/Eckman Gallery, New York, NY 

1996 Going Places. George Adams Gallery, New York, NY 

Out of ‘Toon. George Adams Gallery, New York, NY 

1995 Whitney Biennial, Whitney Museum of American Art, New York, NY 

Murder. Thread Waxing Space, New York, NY 

Au rendez-vous des amis, coll. A. L’H. Mamco - Musée dárt moderne et 

contemporain, Geneva, Switzerland 

Greatest Hits. George Adams Gallery, New York, NY 

Bunnies - A Group Show. David Nolan Gallery, New York, NY 

California in the 1960’s: Funk Revisited. George Adams Gallery, 

New York, NY 

1994 Hand Painted Pop: 1958-1962. Museum of Contemporary Art, 

Los Angeles, CA; Museum of Contemporary Art, Chicago, IL 

Whitney Museum of American Art, New York, NY 

Around the House: Invitational Exhibition of Paintings, Drawing, 

Sculpture and Photography. Frumkin/Adams Gallery, New York, NY 

1993 Group Exhibition. Frumkin/Adams Gallery, New York, NY 

1992 Large Scale Works on Paper. Frumkin/Adams Gallery, New York, NY 

40th Anniversary Exhibition: Selections by Gallery Artists from the 

Richard Brown Baker Collection. Frumkin/Adams Gallery, New York, NY 

1991 Word As Image: American Art 1960–1990. Contemporary Arts 

Museum Houston, Houston, TX 

1990 Faces. Frumkin/Adams Gallery, New York, NY 

1989 Reagan: American Icon. Bucknell University, Lewiston, PA 

1988 Different Drummers, Hirshhorn Museum, Washington, D.C. 

Pop Apocalypse. Gracie Mansion, New York, NY 

Large Paintings. Frumkin/Adams Gallery, New York, NY 

Comic Iconoclasm. Cornerhouse, Manchester, UK 

1987 Comic Iconoclasm. Institute of Contemporary Art, London, England 

Made in U.S.A: Art from the ‘50s and ‘60s. University of California, 

Berkeley, CA 

Nelson-Atkins Museum of Art, Kansas City, MO 

Virginia Museum of Fine Arts, Richmond, VA 

1986 American Renaissance: Painting and Sculpture Since 1940. 

Museum of Art, Fort Lauderdale, FL 

Figure as Subject: The Last Decade. Whitney Museum of American Art, 

Equitable Center, New York, NY 

Eccentric Drawings and Works on Paper. Allan Frumkin Gallery, 

New York, NY 

Gallery Artists: Drawings. Allan Frumkin Gallery, New York, NY 

1985 Masters of Mischief: The Irreverent Spirit in Current Painting. 


1984 Anniversary Exhibition. Allan Frumkin Gallery, New York, NY 

Disarming Images - Art for Nuclear Disarmament. CAC - Cincinnati 

Contemporary Arts Center, Cincinnati, OH 

1983 Red Grooms/Peter Saul: The Early Sixties. 


Self-Portraits Part II: The Antic Vision. Allan Frumkin Gallery, 

New York, NY 

1982 The Atomic Salon. Allan Frumkin Gallery, New York City, NY 

1981 Drawing into Painting and Sculpture. Allan Frumkin Gallery, 

New York City, NY 

1980 Early and Late. Allan Frumkin Gallery, New York City, NY 

1979 Group Show. Allan Frumkin Gallery, New York City, NY 

Large Scale Works on Paper. Allan Frumkin Gallery, New York City, NY 

1978 New Work by Gallery Artists. Allan Frumkin Gallery, New York City, NY 

Works on Paper. Allan Frumkin Gallery, New York City, NY 

1977 Mythologies Quotidiennes 2. Musée dÁrt Moderne de la Ville de Paris - 

MAM/ARC, Paris, France 

Recent Portraiture. The Renaissance Society, Chicago, IL 

Gallery Decade. Allan Frumkin Gallery, New York City, NY 

1976 72nd American Exhibition. Art Institute of Chicago, Chicago, IL 

Bicentennial Exhibition. Allan Frumkin Gallery, New York City, NY 

New Ceramic Sculpture. Allan Frumkin Gallery, New York City, NY 

1975 Summer Show. Allan Frumkin Gallery, New York City, NY 

1974 New Developments in Graphics. Allan Frumkin Gallery, 

New York City, NY 

1972 New Works by Gallery Artists. Allan Frumkin Gallery, New York City, NY 

California Prints. MoMA - Museum of Modern Art, New York City, NY 

1971 American Painting and Sculpture 1948-1969. Krannert Art Museum, 

University of Illinois, Champaign, IL 

Prints and Drawings. Allan Frumkin Gallery, New York City, NY 

Artist as Adversary. MoMA - Museum of Modern Art, New York City, NY 

Summer Exhibition. Allan Frumkin Gallery, New York City, NY 

1970 Pop Art, Prints, Drawings and Multiples. MoMA - Museum of Modern 

Art, New York City, NY 

1968 Violence in Recent American Art. Museum of Contemporary Art, 

Chicago, IL 

1967 Funk. University Art Museum, University of California, Berkeley, CA 

1964 Recent American Drawings. Rose Art Museum, Brandeis University, 

Waltham, MA 

Pop, etc. Museum des 20. Jahrhunderts, Schweizergarten, Vienna, 

Austria 

The New Realism. Municipal Museum, The Hague, The Netherlands 

67th Annual American Exhibition. Museum of Contemporary Art, 

Chicago, IL 

American Paintings and Sculpture 67th Annual. 

The Art Institute of Chicago, Chicago, IL 

1963 Forum, Abbey Saint-Pierre, Ghent, Belgium 

13 Pittori a Roma. Galleria La Tartaruga, Rome, Italy 

1st Salon International de Galleries-Pilotes. Musée Cantolan, 

Lausanne, Switzerland 

A New Realist Supplement. The University of Michigan Museum of Art, 

Ann Arbor, MI 

New Directions. San Francisco Museum of Art, San Francisco, CA 

1962 The University of Colorado, Boulder, CO 

The Society of Contemporary American Art. The Art Institute 

of Chicago, Chicago, IL 

1961 International Selection. The Dayton Art Institute, Dayton, OH 

1960 Grafike Svjetskih Suvremenih Umjetnika - Revolucija Dvjesto Godina 

Poslije. The Museum of Modern Art Dubrovnik, Dubrovnik, Croatia 

1959 Salon de Jeune Peinture, Paris, France 

86

PUBLIC COLLECTIONS 

Arkansas Art Center, Little Rock, AR 

Art Institute of Chicago, Chicago, IL 

Becht Collection, Amsterdam, the Netherlands 

Berkeley Art Museum and Pacific Film Archive, Berkeley, CA 

The Blanton Museum of Art at University of Texas, Austin, TX 

Le Musée Cantini, Marseilles, France 

Carnegie Institute, Pittsburgh, PA 

Centre Georges Pompidou, Paris, France 

Dallas Museum of Art, Dallas, TX 

Di Rosa Art Preserve, Napa, CA 

Fonds National d’Art Contemporain, Paris, France 

FRAC Region Nord, Lille, France 

Greenville County Museum of Art, Greenville, SC 

Honolulu Museum of Art, Honolulu, HI 

Huntington Gallery, University of Texas, Austin, TX, USA 

Kansas City Art Institute, Kansas City, MO 

Krannert Museum, University of Illinois 

at Urbana Champaign, Champaign, IL 

Los Angeles County Museum of Art, Los Angeles, CA 

Madison Museum of Contemporary Art, Madison, WI 

Metropolitan Museum of Art, New York, NY 

Moderna Museet, Stockholm, Sweden 

Musee Cantini, Marseilles, France 

Museum of Modern Art, New York, NY 

San Francisco Museum of Modern Art, San Francisco, CA 

Sintra Museum of Modern Art, Portugal 

Smart Museum of Art at the University of Chicago, Chicago, IL 

Smithsonian American Art Museum, Washington, DC 

Stedelijk Museum, Amsterdam, the Netherlands 

Yale University Art Gallery, New Haven, CT 

Walker Art Center, Minneapolis, MN 

Weatherspoon Art Museum, University of North Carolina, 

Greensboro, NC 

Whitney Museum of American Art, New York, NY 

87

Peter 

Saul 

april 22 - august 31, 2016 

© 2016 GARY TATINTSIAN GALLERY 

109028 MOSCOW RUSSIA 

SEREBRYANICHESKAYA NABEREZHNAYA, 19 

+7 495 645 44 04 

WWW.TATINTSIAN.COM 

© All visual material by the artists 

& Gary Tatintsian Gallery, Moscow 

со-куратор: виктория душкина 

Дизайн: юрий Яценко 

Все права защищены 

Co-curator: Victoria Dushkina 

Design: Yuriy yatsenko 

All rights reserved 

при поддержке / supported by: 

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88

Peter Saul

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