| I.1 | Declaration of a Liberated Europe. https://highered.mheducation.com/sites/dl/free/0072849037/35264/01_5_liberated_europe.html | 2 |
| 2.1 | Painter Aurél Bernáth in his home, 4 Stollár Béla Street, Budapest, 1965. Fortepan / Sándor Bojár | 37 |
| 2.2 | Aurél Bernáth, Villages, 1920. Paper, colored stencil, ink, gold paint, 280 × 378 mm, Budapest, Museum of Fine Arts © HUNGART2024 | 46 |
| 2.3 | Aurél Bernáth, Tumble and Shout, 1922. Paper, colored stencil, ink, gold paint, 283 × 341 mm, Budapest, Museum of Fine Arts © HUNGART2024 | 47 |
| 2.4 | Aurél Bernáth, Primitive apotheosis, 1924. Paper, charcoal, tempera, silver powder paint, 354 × 254 mm., Budapest, Museum of Fine Arts © HUNGART 2024 | 50 |
| 2.5 | Aurél Bernáth, Riviera, 1926−27. Oil on canvas, 130,5 × 150,5 cm, Budapest, Museum of Fine Art. © HUNGART 2024 | 51 |
| 2.6 | Aurél Bernáth, Workers’ State, 1967.Made for the headquarters of the Hungarian Socialist Workers’ PartyPhoto and © Péter Salát Zalán and Csaba Villányi, 2015 | 53 |
| 3.1 | The Neoplastic Room at the Museum of Art in Łódź, 1948−1950 | 60 |
| 3.2 | Władysław Strzemiński, The sun – the heart of the day, 1948. Oil on canvas 50,5 × 60 cm, Warsaw, National Museum, photo Piotr Ligier | 62 |
| 3.3 | Exhibition of Modern Art, Painting Room, 1948/1949 | 65 |
| 3.4 | Andrzej Wróblewski, Emotional Content of the Revolution, 1948. Oil on canvas, 128 × 198 cm, Poznań, National Museum, Courtesy of Andrzeja Wróblewskiego Foundation | 69 |
| 3.5 | Zbigniew Dłubak, Torture of Hunger Scares by Night, 1948. Photography, 168 mm × 233 mm, “Archaeology of Photography” Foundation | 72 |
| 3.6 | Exhibition of the Recovered Territories, view for the Courtyard with the Spire, Wrocław 1948, photo Jan Bułhak, Wroclaw, Museum of Architecture | 73 |
| 5.1 | Gherasim Luca, Trost, Dialectique de la dialectique, Cover image of the Surrealisme edition, 1945 Bucharest | 105 |
| 5.2 | Gherasim Luca, Le vampire passif, Cover image of the Éditions de l ’Oubli edition, 1945 Bucharest | 108 |
| 5.3 | Paul Păun, Brevet lovaj, Cover image for Colecția suprarealistă, 1945.Bucharest | 110 |
| 5.4 | L’Infra-Noir: Préliminaires à une intervention sur-thaumaturgique dans la conquête du désirable, Surrealisme, 1946 Bucharest | 113 |
| 5.5 | Paul Păun’s exhibition of drawings, 1945 | 116 |
| Józef Pankiewicz, Mont St. Michel, around 1906. Etching, paper, 24.1 cm × 13.9 cm, Krakow, National Museum. Photo: Photographic Archive of the National Museum in Krakow | 138 | |
| 6.2 | Władysław Skoczylas, Janosik’s Name Will Never Die, 1914. Woodcut, paper, 21,8 × 13,7 cm, Warsaw, National Museum, photo: National Museum in Warsaw | 139 |
| 6.3 | Tadeusz Kulisiewicz, Woman with a Rosary, 1928. Woodcut, paper, 28.1 cm × 13.8cm, Warsaw, National Museum, photo: National Museum in Warsaw, © Fundacja Stypendia i Nagrody im. Tadeusza Kulisiewicza | 139 |
| 6.4 | Jan Białostocki, Homer, 1943. Woodcut, paper, 21.1 cm × 14 cm, Warsaw, National Museum, photo: National Museum in Warsaw, © Agata Grzybowska, Marta Grzybowska | 140 |
| 6.5 | Preview of the exhibition of Contemporary Czechoslovak Graphic Art, 1947, from the left: the Ambassador of the Czechoslovak Republic Josef Hejret, the director of the National Museum in Warsaw Stanisław Lorentz, the deputy director of the National Museum in Warsaw Kazimierz Michałowski, August 30, 1947. Photo Janina Mierzecka, Warsaw, National Museum | 146 |
| 6.6 | Emil Filla, Heracles Carries Athe Zala Lion (from the series Fights and Matches II.), 1937. Drypoint, aquatint, paper, 63 × 45 cm photo © National Gallery Prague, 2022 | 147 |
| 6.7 | Jan Smetana, Two Lamps, 1946. Etching, aquatint, paper, 24.5 cm × 17.5 cm, photo© National Gallery Prague 2022, and heirs of Jan Smetana | 149 |
| 7.1 | Gyarmathy Tihamér, Kék-sárga, 1947. Karton, kazein, 43,5 × 66 cm, Pécs, Janus Pannonius Museum, © HUNGART 2023 | 168 |
| 7.2 | Zemplényi Magda, Kompozíció, 1949. Paper, watercolor, oil, 238 × 316 mm, Pécs, Janus Pannonius Museum, © HUNGART 2023 | 169 |
| 7.3 | Margit Anna, Head of Woman on Red Ground, 1948. Paper, oil, 220 × 150 mm, Pécs, Janus Pannonius Museum, Courtesy Vladimir Péter | 176 |
| 7.4 | Béla Fekete Nagy, Untitled, 1945. Cardboard, pencil, 350 × 490 mm, Pécs, Janus Pannonius Museum, © HUNGART 2023 | 177 |
| 7.5 | Fekete Nagy Béla, Map, 1947. Paper, ink, pen, 270 × 380 mm, Pécs, Janus Pannonius Museum, © HUNGART 2023 | 177 |
| 7.6 | Dezső Korniss, Chanters, 1946, oil on canvas, 600 × 850 mm, Pécs, Janus Pannonius Museum, © HUNGART 2024 | 183 |
| 8.1 | Karel Appel, Children Asking Question, 1949, oil on canvas, 103,5 × 63,5 × 4 cm, Stedelijk Museum, Amsterdam, © ARS | 190 |
| 8.2 | Karel Appel, Man and Animals, 1949, oil on canvas, 351,6 × 358,5 × 6 cm, Stedelijk Museum, Amsterdam, © ARS | 192 |
| 9.1 | Installation view, Salon des Réalités Nouvelles, Palais des Beaux-Arts de la Ville de Paris, 1948. Archives Salon des Réalités Nouvelles / IMEC | 206 |
| “Réalités Nouvelles au Palais de New York” Arts, 23 July 1948, p. 6. Pressbook, 1948, Archives Salon des Réalités Nouvelles / IMEC | 217 | |
| 9.3 | Installation view of the Madí display, Salon des Réalités Nouvelles 1948, Arte Madí Universal, no. 2, October 1948, 3 | 219 |
| 9.4 | Lineage diagram, Cahiers Réalités Nouvelles no. 2, 1948, 3 | 224 |
| 9.5 | Pressbook page, 1948−1949. Archives Salon des Réalités Nouvelles / IMEC | 227 |
| 9.6 | Cover, Le Musée Vivant, nos. 36−37, November 1948 | 231 |
| 9.7 | Jamil Hamoudi, Bateau et Voiles, 1949, copper. Reproduced in Raymond Bayer, ed., Entretiens sur l’Art Abstrait, Geneva, Éditions Pierre Cailler, 1964. © Ishtar Hamoudi Entretiens sur l’Art Abstrait, Geneva, Éditions Pierre Cailler, 1964. © Ishtar Hamoudi. | 234 |
| 10.1 | Cover of the exhibition catalog Warsaw Lives Again! 1946 | 257 |
| 10.2 | Installation view of Warsaw Lives Again! June 13−July 6, 1946, Art Institute of Chicago. Photographer unknown, image courtesy Walker Art Center Archives | 259 |
| 11.1 | Sur editions from January 1946 (left) and March 1948 (right). The March 1948 issue was dedicated to Mahatma Gandhi, who had died on 30 January 1948, and included essays by Victoria Ocampo and Romain Rolland on Ghandi, as well as correspondence between Tolstoy and Ghandi. Photo: author | 271 |
| 11.2 | Joaquín Torres-García, América Invertida, 1943, line drawing published on p. 218 in Universalismo Constructivo, Poseidón, Buenos Aires, 1944. available via license: Creative Commons Attribution 4.0 International | 273 |
| 11.3 | Rhod Rothfuss, Arlequín, 1943. Oil on canvas, 175.9 × 83.8 cm. Colección Patricia Phelps de Cisneros, New York | 275 |
| 11.4 | Lidy Prati, Temas Seriados, 1945. Mixed media on canvas, 42.2 × 42.2cm. Courtesy of The Ella Fontanals-Cisneros Collection, Miami | 278 |
| 11.5 | Maria Freire, 21 de Enero, 1957. Nitrocellulose lacquer on hardboard, 54 × 42cm. Courtesy of The Ella Fontanals-Cisneros Collection, Miami | 279 |
| 11.6 | Reverse of Maria Freire, 21 de Enero, 1957. Courtesy of The Ella Fontanals-Cisneros Collection, Miami | 280 |
| 11.7 | Alejandro Otero with Colorítmo 41 A. 1959 in his garden, San Antonio de los Altos. Undated. Photo: Sara Guardia de Mendoza. Courtesy of the Otero Pardo Foundation | 288 |
| 11.8 | Alejandro Otero, Cafetera marrón, 1946. Oil on canvas, 50 × 61cm, Otero-Pardo Foundation, Caracas. Courtesy of the Otero Pardo Foundation | 289 |
| 11.9 | Alejandro Otero, Tablón de Pampatar, 1954. Lacquer on wood, 320 × 65 × 2.7 cm. The Museum of Modern Art, New York. Promised Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Adriana Cisneros de Griffin & Nicholas Griffin | 292 |
| 11.10 | Alejandro Otero at work on a Colorítmo with spraygun, San Antonio de los Altos, ca. 1956. Courtesy of the Otero Pardo Foundation | 294 |
| “Chicago’s Place in Industrial America,” 1952. Chicago Plan Commission Annual Report. Adapted from 1947 Census of Manufactures. Chicago History Museum, ICHi-037022 | 301 | |
| 12.2 | Harry Weese, original drawing for the first advertisement for Baldwin Kingrey Gallery, Chicago, 1947. Collection of Marcia Weese | 309 |
| 12.3 | Angelo Testa at Boyd Britton Gallery, 59 E Walton Street, Chicago, 1948. Photograph: “Angelo Testa as Shown by Boyd Britton,” Arts and Architecture 65, no. 9, September 1948. © Travers Family Trust | 311 |
| 12.4 | Richard Koppe, Decorations for the Well of the Sea Restaurant, Hotel Sherman, northwest corner of Randolph and Clark streets, Chicago, 1949. Photograph: Wallace Kirkland. © The LIFE Picture Collection/Shutterstock | 312 |
| 12.5 | “Gathering the News, Printing the News, Transporting the News,” detail of mural for the concourse of the Chicago Daily News Building, Chicago, IL, 1928. Holabird & Root, architects. John Warner Norton, muralist. Photograph: The Historic Architecture and Landscape Image Collection, Ryerson and Burnham Art and Architecture Archives, The Art Institute of Chicago, digital file #55091 | 317 |
| 12.6 | Installation view of the exhibition, “The New American Painting as Shown in Eight European Countries 1958−1959.” May 28, 1959−September 8, 1959. The Museum of Modern Art, New York. Gelatin-silver print, 7 ½ × 9 ½” (19.1 × 24.1 cm). Photographic Archive. The Museum of Modern Art Archives, New York. Soichi Sunami, photographer. Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY | 323 |
| 12.7 | Chicago Plan Commission, City of Chicago, Department of City Planning, Introducing The Central South Area Plan, November 1960. Photograph: Ryerson and Burnham Libraries, The Art Institute of Chicago, digital file #000000_100407-04 | 325 |
| 12.8 | Exhibition preview, Don Baum Says “Chicago Needs Famous Artists,” 1969, Museum of Contemporary Art Chicago. Photo © MCA Chicago | 327 |
| 13.1 | George Grosz. Bestiality Marches On, 1933. Watercolor on paper, 26 1/4 × 19 in. (66.5 × 48.3 cm). MAC USP Collection. Gift of the Museu de Arte Moderna de São Paulo. © 2023 Estate of George Grosz/Licensed by VAGA at Artists Rights Society (ARS), NY. Photo Romulo Fialdini | 336 |
| 13.2 | Diagram in Réalités nouvelles, no. 2, 1948. Courtesy of Getty Research Institute, Los Angeles (84-S646) | 347 |
| 13.3 | Alfred H. Barr, Jr., Cubism and Abstract Art, 1936. Offset, printed in color; 10 1/8 × 7 3/4 in. (25.7 × 19.7 cm). The Museum of Modern Art Library, New York. Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY | 348 |
| 13.4 | Sophie Taeuber-Arp, Rising, Falling, Flying, 1934. Oil on canvas, 39 1/4 × 28 7/8 in. (99.8 × 73.3 cm). Kunstmuseum, Basel. © 2023 Stiftung Arp e.V., Berlin/Rolandswerth/Artists Rights Society (ARS), New York. Digital Image © DeA Picture Library/Art Resource, NY | 353 |
| Mark Rothko. Abstraction Number 11, 1947. Oil on canvas, 39 1/2 × 38 1/2 in. (100.3 × 97.7 cm). Munson Museum, Utica, NY. Edward W. Root Bequest. Munson Museum, Utica, NY/Art Resource, NY. © 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York | 354 | |
| 13.6 | Installation views of Do figurativismo ao abstracionismo,1949. Museu de Arte Moderna de São Paulo. Reproduced in Jornal das Artes, no. 3 (1949): 56. Biblioteca Paulo Mendes de Almeida, Museu de Arte Moderna de São Paulo | 355 |
| 13.7 | Installation view of Do figurativismo ao abstracionismo at the Museu de Arte Moderna de São Paulo, 1949. inv no 23-558986 NU. Fonds Léon Degand. Musée National d’Art Moderne/Centre Georges Pompidou/Paris/France. Digital Image © CNAC/MNAM, Dist. RMN-Grand Palais/Art Resource, NY | 357 |
| 13.8 | Installation view of Do figurativismo ao abstracionismo at the Museu de Arte Moderna de São Paulo. 1949. inv no 23-555612 NU. Fonds Léon Degand. Musée National d’Art Moderne/Centre Georges Pompidou/Paris/France. Digital Image © CNAC/MNAM, Dist. RMN-Grand Palais/Art Resource, NY | 358 |
| 13.9 | Waldemar Cordeiro, Composition, 1948. Oil on canvas, 27 3/8 × 38 3/4 in. (69.5 × 98.5 cm). Cordeiro Family Collection. © Analívia Cordeiro. Image courtesy Luciana Brito Galeria. Photo Edouard Fraipont | 359 |
| 14.1 | André Masson, Cover of View magazine, December 1945. The table of content notes: “Masson executed this special cover for View before he left recently for his native France.” | 369 |
| 14.2 | Marcel Duchamp, Cover for Man Ray exhibition leaflet, Julien Levy Gallery, New York, April 1945 | 370 |
| 14.3 | Booklet for Hans Richter’s film Dreams That Money Can Buy, Venice Biennale Film Festival, 1947 | 371 |
| 14.4 | Marcel Duchamp, Cover for André Breton, Young Cherry Trees Secured Against Hares,1946. View Editions, 1946 | 373 |
| 14.5 | Marcel Duchamp, Cover (“Prière de toucher”) for catalogue of Le Surréalisme en 1947 exhibition, Maeght Gallery, Paris, 1947 | 381 |
| 14.6 | Catalogue of the Esposición International del Surrealismo, Mexico City, Mexico, 1940 | 384 |
| 14.7 | Peggy Guggenheim seated among surrealist works, Art of This Century gallery, New York, October 1942 | 390 |
| 14.8 | Max Ernst, Sept Microbes, 1953. Les Éditions Cercle des Arts, Paris, 1953 | 391 |
| 14.9 | Dynaton 51, catalogue of the Dynaton group exhibition, San Francisco Museum of Art, 1951 | 393 |
in Between Point Zero and the Iron Curtain
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