Louis LOZOWICK New York (Hannover Square) - 1923 Black lithograph on watermarked Rives Signed, dated and dedicated "TO MY DEAR FRIEND AND COLLEAGUE PAINTER HENRYK BERLEWI MARCH1965". 40 x 29 cm Provenance: Christophe Czwiklitzer Collection To the present owners by inheritance Exhibitions: Heidelberg, Heidelberger Kunstverein, Russische Malerei und Graphik des 20. Jahrhunderts: Ausstellungskatalog, July - septembre 1974, n°174 p.307, reproduced in black and white Bibliography: A similar copy in the collections of the Whitney Museum of American Art browned paper lower right corner missing Lithograph in black on wove paper ; signed,dated and dedicated 15 3/4 x 11 3/8 in. FR New York uses a range of black tones and layered forms to depict the El's utilitarian factory buildings, tank structures, bridges and curved railway tracks, interspersed among a metropolitan mass of skyscrapers and apartment buildings. This work, part of a group of drawings, lithographs and paintings, was inspired by Louis Lozowick's five-year stay in Europe, which began in 1919. In Berlin, he came into contact with the art and theories of the Russian Constructivists and other avant-garde movements in Central and Eastern Europe, many of which sought to express the energy of modern technology and urban life. Lozowick returned to New York in 1924, convinced that the city's industrial complex was the subject par excellence of contemporary American art, and he took pleasure in giving form to its geometries: "The verticals of its chimneys... the parallels of its automobile lanes, the squares of its streets, the cubes of its factories, the arcs of its bridges, the cylinders of its gasoline tanks...". GB New York exploits a range of tonal blacks and overlapping forms to depict the utilitarian factory buildings, tank structures, bridges, and curving El tracks interspersed within a metropolitan mass of soaring skyscrapers and apartment buildings. Part of a group of related drawings, lithographs, and paintings, this work was inspired by Louis Lozowick's five-year sojourn in Europe, which began in 1919. While in Berlin, he came into contact with the art and theories of the Russian Constructivists and other avant-garde movements of Central and Eastern Europe, many of which were concerned with expressing the energy of modern technology and urban life. Lozowick returned to New York in 1924, convinced that the industrial complex of the city was the quintessential subject for contemporary American art, and he delighted in giving form to its geometries: "the verticals of its smoke stacks...the parallels of its car tracks, the squares of its streets, the cubes of its factories, the arc of its bridges, the cylinders of its gas tanks... . Louis LOZOWICK 40 x 29 cm