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Tel Aviv Museum of Art adds the Roland-Rosenberg Collection to its holdings
Ashile Gorky, Untitled (detail), 1943-1944, oil on canvas, 50.8x61 cm. Collection Tel Aviv Museum of Art, Gift of Susan and Anton Roland-Rosenberg, Los Angeles, through the American Friends of the Tel Aviv Museum of Art, 1997. Photo: Elad Sarig  2015, The Arshile Gorky Foundation / Artists Rights Society (ARS), New York.

TEL AVIV.- The Roland–Rosenberg Collection, recently received by the Tel Aviv Museum of Art, is a significant addition that enhances and enriches the Museum's permanent collections with works by artists who have not been exhibited here before and by artists whose representation is now extended. The collection was first exhibited at the Museum in 1996, after which Susan and Anton Roland-Rosenberg generously decided to gift their future bequest to the Museum.

In many ways, the collection parallels the couple's own life story. They were born and grew up in central Europe and, having survived World War II, moved to Paris. Several years later they emigrated to the USA and settled in Los Angeles. Thus, the collection includes works by artists from both continents: European (Francis Bacon, Giorgio Morandi, Emil Nolde, Georges Rouault, Egon Schiele and Chaim Soutine) and American artists (Milton Avery, Arshile Gorky, Morris Louis, Georgia O'Keefe and David Park).

The collection is composed of modern art in a wide range of styles, from early modernism in Europe—represented by Georges Rouault's Fille (Seated Nude) (1906), an expressionist painting of an enigmatic figure on the margins of society, Egon Schiele's Reclining Nude (1918) and Chaim Soutine's Portrait of a Young Man Wearing a Black Tie (ca. 1927–1928), from his series of working people in uniforms—to the later modernism of the 1960s, represented in Francis Bacon's Three Studies for a Portrait of George Dyer (1964). The works in the collection include oil and acrylic paintings as well as gouache and watercolor drawings, with sizes ranging from small to monumental, such as Morris Louis' Dalet Tzadi (1958). The collection holds figurative and abstract works and works representative of the transition from figurative to abstract art—works that hold a dialogue with the history of modernism.

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