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Ronchini now represents the Estate of Paul Jenkins
Paul Jenkins [1923-2012] Phenomena 831 Broadway, 1963 in situ in the artist’s studio in New York, acrylic on canvas 111 x 69 inches, 281 x 175.25 cm © 2020 The Estate of Paul Jenkins, Collection Milwaukee Museum of Art, Milwaukee, Gift of Jane Bradley Petit. Photo: Henry Parker.



LONDON.- Ronchini is proud to announced they now represent the Estate of Abstract Expressionist painter Paul Jenkins (1923-2012). A key figure in the New York School, known for his method of pouring paint and the luminous colour of his abstractions. Jenkins was a contemporary of Pollock, Rothko, and Motherwell, and joins the gallery's existing stable of emerging and established international artists.

Permanent museum collections include: In New York: the Solomon R. Guggenheim Museum, the Museum of Modern Art, the Whitney Museum of American Art, the Brooklyn Museum; the Fogg Museum at Harvard University, the Cleveland Museum of Art, the San Francisco Museum of Art; in Washington, D.C.: the National Gallery, the Hirshhorn Museum & Sculpture Garden, the Smithsonian American Art Museum; the Iris & B. Cantor Center for Visual Arts at Stanford University; UB Anderson Gallery, State University of New York at Buffalo; in the UK: Tate Modern, the British Museum, the Victoria and Albert Museum in London; Ulster Museum, National Museum Northern Ireland, National Museum Wales; Centre Georges Pompidou, Musée Picasso, the Maeght Foundation, the Stedelijk Museum, the National Museum of Art, Osaka, the Museum of Contemporary Art, Hiroshima, the National Museum of Western Art, Tokyo, amongst many others.




Selected recent group museum exhibitions include: Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York (2019 where a 1958 painting selected by Richard Prince was on view; Painting for Performance, McNay Art Museum, San Antonio (2019)where the artist’s monumental stage sets for his dance drama performed at the Salle Favart of the Paris Opera (1987) were on view together with related watercolors; Echoing Forms: American Abstraction from the Permanent Collection and Abstract Expressionism: A Social Revolution, Tampa Museum of Art (2019); By Any Means: Contemporary Drawings from the Morgan, Morgan Library & Museum, New York (2019); Lost, Loose and Loved, Foreign Artists in Paris 1944-1968, Museo Nacional Centro Arte Reina Sofía, Madrid (2018).

Selected recent solo museum exhibitions include: Abbot Intuition, Palazzo Fortuny, Venice (2017); Gravity’s Edge, The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (2014); Rothko to Richter: Mark Making in Abstract Painting from the Collection of Preston H. Haskell, Princeton University Art Museum (2014). The Spectrum of Light Museo di Pittura Murale in S. Domenico, Prato (2014).
Hall Art Gallery, Kendal, UK (2016); Chapel of Meditation, UB Anderson Gallery, State University of New York at Buffalo; Paul Jenkins A Tribute: Paintings 2004-2010, The Butler Institute of American Art, Youngstown (2015).

Retrospectives include: the Musée Picasso, Antibes (1987); Houston Museum of Fine Arts and San Francisco Museum of Art (1971-1972); Musée des Beaux-Arts de Charleroi, Charleroi (1974). Kestner-Gesellschaft, Hanover (1964), Palm Springs Desert Museum (1980), amongst others.

Born in Kansas City, Missouri in 1923, Paul Jenkins settled in New York in 1948, studying on the GI Bill for four years with Yasuo Kuniyoshi at the Art Students League. His first solo exhibitions were at Studio Paul Facchetti in Paris in 1954; in 1955 at the Zoe Dusanne Gallery, Seattle; in 1956 at the Martha Jackson Gallery, in New York and, in 1960 at Arthur Tooth & Sons, London. Invited by Jiro Yoshihara in 1958, Jenkins worked with the Gutai in Osaka in 1964, exchanging works with several artists. Those paintings formed the basis of the exhibition “Under Each Other’s Spell”: Gutai and New York, curated by Ming Tiampo and first shown at the Pollock-Krasner House & Study Center in East Hampton in 2009. The title of this exhibition comes from a quote by Jenkins to exhibition curator and art historian Ming Tiampo, describing his time working with Gutai artists in Osaka.










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