Artist Biography: Seong Moy

Seong Moy (1921-2013)

Seong Moy was born in the Canton region of China in 1921. At the age of ten, he immigrated to the United States to attend American schools live with relatives in St. Paul, Minnesota. Moy began his formal arts education at the age of thirteen, when he began taking classes at the Federal Art Project while attending high school in St. Paul.

Moy then studied at the St. Paul School of Art with Cameron Booth, a student of Hans Hofmann, where he received a classical arts education, strengthening his skills as a draftsman. Booth took a liking to Moy and invited him to join his private seminar, in which he went against the trustees of the school and taught his students modern painting. At this time, Moy also worked at the Walker Art Center, which was the center of the WPA Art Project for the region. It was there that he learned lithography, etching, and silkscreen, and taught himself woodcuts. He says of his experiences of this time, “I wanted to do all the mediums.”

In 1941 Moy was accepted as a student at both the Art Students League and the Hans Hofmann School in New York, winning a scholarship at the Art Students League that made it possible for him to relocate. As Moy was still underage at the time, he was concerned that his guardians would forbid him to leave, since they wanted him to work in the family restaurant. In order to avoid this possibility, Moy simply packed his bags and left for New York.

Moy studied with Vaclav Vytlacil at the Art Students League, a classmate of his former teacher Cameron Booth at the Hans Hofmann School. Although Moy had particularly wanted to work with Vytlacil, he found Vytlacil’s teaching style to be radically different from Booth’s and described his time as Vytlacil’s student as “a disaster.”

I never received any direct criticism. There were occasions when I believe that a less determined student would have been sunk or destroyed by this kind of indifference. I felt it was an abuse. And I do recall very vividly toward the end of my enrollment I got some very, very unexpected contrary marks to my ability and capability of continuing to be an artist.

At this time, Moy was also working at the Hans Hofmann School, which he found to be a similar experience in terms of direct criticism, but distinctive in terms of teaching style.

Hofmann, due to the fact that he’s limited in his language, especially English, says very few words. Except of course, on occasion there would be a student in the class who happened to speak German, in which case Hofmann would be on his own ground. But when he tried to teach speaking English it was very difficult for him to convey his ideas verbally. So most of his teaching was done in what we call the direct method in that he works on the student’s work.

Drawings by Seong Moy done during his time at the Hans Hofmann School were featured in the exhibition In Search of the Real: Hans Hofmann and His Students at the Provincetown Art Association and Museum from August 7-October 11, 2009.

Moy’s education was supplemented by his visits to museums, his favorites where the Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, and galleries, where he said you could go to five galleries and see five completely different styles of work. The artists who were his strongest influences at this time included Matisse, Picasso, Bonnard, and Miro. With each of these artists he admired a different aspect of their work, Matisse’s use of color, Miro’s imagery, and Picasso for his controversy, his surprising innovations and his every shifting styles.

In the fall of 1942 Moy enlisted as a serviceman, where he was trained in technical photography and worked mainly as a reconnaissance and aerial photographer. Despite this photography experience, Moy does not feel photography directly influenced his later work, with the exception of the use of photographs in his search for imagery.

Upon his return from the service Moy returned to New York. In 1948 Bill Hayter, who had served on the jury of an exhibition to which Moy had applied and was impressed by his work, invited him to the artist workshop Atelier 17. It was the ideal environment for Moy, who had a strong educational background, but needed a studio for printmaking. He described Atelier 17 as “an exchange of points of view, exchange of ideas, what one is trying to do and searching for some newness in technical innovations to fit in with a situation.” At Atelier 17 Moy met artists Adolph Gottlieb, Pearl Fine, and Peter Grippe, along with visiting artists Miro and Chagall. Moy found that despite the successfulness of some of these artists, they all worked together in a harmonious, cooperative environment.

In 1950 Moy received a Whitney Fellowship, the first big award of his career. As a result of this prestigious award, he was offered a visiting artist position at the University of Minnesota, which began his teaching career. Moy went on to teach at the University of Indiana, Smith, Vassar, and Columbia, and then received a Guggenheim grant in 1955.

Saint Paul School of Minneapolis
Art Students League, studies with Vaclav Vytlacil
Hans Hofmann School, 1941-42

Fellowships, William Hayter’s Atelier 17, 1948-1950
Whitney Fellowship, 1950-51
Guggenheim Grant, 1955-56
Minneapolis Institute Annual Prize
Philadelphia Print Club Annual Prize
American Federation of the Arts Commission, 1965
Emily Lowe Award, Audubon Artists Annual, 1967
Society of American Graphic Artists Award, 1967

Teaching Appointments:
University of Minnesota, 1950
Indiana University, 1952-54
Smith College, 1954-55
Vassar College, 1955
Cooper Union
Pratt Graphic Center
Columbia University
Art Students League
City College of New York
Seong Moy School of Painting and Graphic Arts, Provincetown

Selected Exhibitions:
American Painting, Metropolitan Museum of Art, 1951
University of Illinois Biennials
Carnegie International, 1955
Whitney Museum Annual of Sculpture and Graphics, 1966-67
Hacker Gallery, 1951 (solo)
Esther Robles Gallery (solo)
Everston Museum, Syracuse, NY (solo)
Kyoto Yamada Gallery, Japan (solo)

Public Collections:
The Metropolitan Museum of Art
Brooklyn Museum
New York Public Library
Pennsylvania Academy
Library of Congress
Smithsonian Institution
Worcester Art Museum
Brooks Museum of Memphis
Indiana University
Baltimore Museum
University of Minnesota
Smith College
Whitney Museum of American Art
The Woodward Foundation

Artist Biography: Edwin W. Dickinson

Edwin W. Dickinson (1891-1978)

Edwin Dickinson (October 11, 1891–December 1, 1978) was an American painter and draftsman known for his psychologically charged self-portraits and landscapes. His art, always grounded in realism, shows connections to symbolism and surrealism. Dickinson was born and raised in upstate New York, in the Finger Lakes area; his family moved to Buffalo in 1897. The death of his mother from tuberculosis in 1903, the suicide in 1913 of his older brother, Burgess, and his father’s remarriage in 1914 to a much younger woman have all been cited as influences on the themes of his later work. Dickinson had youthful ambitions for a career in the Navy, but he failed the Navy entrance exam twice (though he later served as a radio operator during World War I). In 1911 he enrolled at the Art Students League of New York, where he studied under William Merritt Chase. In the summers of 1912 and 1913 he stayed in Provincetown, Massachusetts, where he took a class taught by Charles W. Hawthorne. After concluding his formal studies in 1913, Dickinson lived and taught in Provincetown for several years. His mature paintings can be roughly divided into two categories: The first consists of portraits, still lifes and landscapes executed quickly, often at a single sitting (the artist referred to these as premiere coups); the second is comprised of compositions of symbolic and enigmatic character, often large in size and very complex, which sometimes took many years to complete. While his palette tended towards monochrome, his landscapes painted from observation are notable for their strong evocation of light, which is usually hazy but sometimes brilliant. His paintings are often allusively autobiographical in content. His drawings in graphite are notable for their sensitivity to tonal nuance.

Pratt Institute Art School
National Academy of Design
Art Students League
Buffalo Fine Arts Academy
and with William M. Chase and Charles Hawthorne

Selected Exhibitions:
Corcoran Gallery of Art, 1916, 1928-‘57
Pennsylvania Academy of Fine Art, 1917-’22,‘29-’31,‘44-’49,’60,’64, ’66 (solo), 2003 (solo)
National Academy of Design, 1918,’49,’82,’89-92, 2003 (solo)
Luxembourg Museum, Paris, 1919
Art Institute of Chicago, 1920
Carnegie Institute, 1921
Jeu de Pomme, Paris, 1938
Albright [Knox] Art Gallery, 1927 (solo), 2002 (solo)
Museum of Modern Art, 1938,’43,’52,’54,’61-’63, ’76
Whitney Museum of American Art, 1965 (solo),’66
Brooklyn Museum of Art
World’s Fair of New York, 1964
Everson Museum of Art, 1977
Joseph Hirshhorn Museum, 1980(solo)

Selected Collections:
National Museum of American Art
Museum of Modern Art
Whitney Museum of American Art
Art Institute of Chicago
Pennsylvania Academy of Fine Arts
Museum of Fine Arts, Boston
National Academy of Design
Philadelphia Museum of Art
Virginia Museum of Fine Arts
Baltimore Museum of Art
Corcoran Gallery of Art
Albright-Knox Art Gallery
Metropolitan Museum of Art
Los Angeles County Museum of Art
Chrysler Museum of Art
Joseph Hirshhorn Museum

Artist Biography: Dorothy Eisner



Art Students League
Academie Grand Chaumiere, Paris


Society of Independent Artists
National Association of Women Painters and Sculptors
Federation of Modern Painters and Sculptors (founding)


Edith Penman Memorial Prize, 50th Annual Exhibition of the National
Association of Women Painters and Sculptors


Salons of America, 1931, 1932, 1933
Society of Independent Artists, 1932, 1933, 1935, 1936, 1937
Pennsylvania Academy of Fine Arts, 1934, 1935
National Association of Women Painters and Sculptors, 1935, 1938, 1939
New York Society of Women Artists, 1936, 1938, 1940, 1941
World’s Fair, New York, 1939
Federation of Modern Painters and Sculptors, 1941, 1943, 1944, 1947, 1949, 1955, 1963, 1976
The Brooklyn Museum, 1975
New York University, 1980
Farnsworth Museum, 1992 (solo)


Metropolitan Museum of Art
Ogunquit Museum of American Art
Farnsworth Museum
Museum of the College of the Atlantic
Art Gallery of Hamilton, Ontario
Harvard University
Wichita State University
Colby College Museum
Bryn Mawr College
Monhegan Island Museum
Central Wyoming Museum of Art
University of Lethbridge, Alberta
University of Southern Illinois

Artist Biography: William Freed



Educational Alliance Art School, with Auerbach-Levy
Art Students League
Hans Hofmann School of Fine Art, in New York and Provincetown


1st Prize, Cape Cod Art Association, Hyannis, MA, Jurors Karl Knaths, Myron Stout and Mary Cecil Allen.

Longview Foundation Purchase Award.

Chapelbrook Foundation Grant.

Goddard College Annual Cash Award, Best in Show.

Adolph and Esther Gottlieb Foundation Grant.


Society of Independent Artists, New York.

Municipal Art Week, New York.

A C A Gallery, New York, through 1967.
Federal Art Project Gallery, New York, through 1940.

39th Annual Philadelphia Water-color and Print Exhibition, Philadelphia, PA.

Provincetown Art Association and Museum, Provincetown, MA, through 1980.

Gallery 49, Provincetown, MA.

Riverside Museum, Riverside, CA.
Kaufman Gallery, New York.
92nd Street Y, New York.

H C E Gallery, Provincetown, MA, through 1967.

Abbo Ostrowsky Collection, Jewish Museum.

James Gallery, New York, through 1962.

Sun Gallery, Provincetown, MA, 1956
Museum of Modern Art Lending Library, through 1963.

H C E Gallery, Provincetown, MA, through 1960.

Gallery 256, Provincetown, MA.
Burluik Gallery, New York.
Worcester Museum, MA.
Boston Arts Festival, Boston, MA, also 1959.

Whitney Museum of America Arts, New York.
Audubon Society, New York.
DeCordova and Dana Museum and Park, Lincoln, MA.

Esther Stuttman Gallery, Provincetown, MA (solo).
New Arts Gallery, Atlanta, GA (solo).
New York University Art Collection exhibit, New York.
Kresge Art Gallery, Michigan State University, Lansing, MI.

Esther Stuttman Gallery, New York (solo).
Corcoran Gallery, Washington, D.C.

Hofmann and His Students, Museum of Modern Art, New York (traveling exhibition).

Museum of Modern Art Lending Library.

Esther Stuttman Gallery, New York, NY (solo).
Golden Anniversary, Provincetown Art Association and Museum, MA.

Artisan Gallery, Brunswick, ME (solo).

Chrysler Museum of Art, Norfolk, VA.
First Major New England Show of the 70’s, Boston Arts Center, MA.

Free Abstract Form of the 50’s, Whitney Museum of American Art, NY.
Provincetown 3rd Invitational Show, Provincetown, MA
Chrysler Museum of Art, Norfolk, VA.

Tirca Karlis Gallery, Provincetown, MA, through 1980.

WPA, Then and Now, Parsons Shool of Design, New York.

Provincetown Painters, 1890’s-1970’s, Everson Museum, Syracuse, NY.
10th Street in 1977, Landmark Gallery.
CO-OPS of 10th St., Ward-Nasse Gallery.

Goddard College, Plainfield, VT (solo).

Lenore Ross Gallery, Provincetown, MA (solo).
Hans Hofmann as a Teacher; drawn from the collections of the Metropolitan Museum of Art and the PAAM.

In Retrospect, Provincetown Art Association and Museum, Provincetown, MA.
Adelphi University, Garden City, New York.

Forum 49 Revisited, Provincetown Art Association and Museum, MA.

Cape Museum of Fine Arts, Dennis, MA.

ACME Fine Art, Boston, MA.

ACME Fine Art, Boston, MA.
Beauregard Gallery, Rumson, NJ.
Cherrystone Gallery, Wellfleet, MA.
Hans Hofmann and His Students, Provincetown Art Association and Museum, MA.
Artists from the Sun Gallery, Provincetown Art Association and Museum, MA.

ACME Fine Art, Boston, MA.


Whitney Museum of American Art
Metropolitan Museum of Art
Smithsonian Institution
Chrysler Museum
Jewish Museum
Provincetown Art Association and Museum
New York University Art Collection
University of Texas
Cape Cod Museum of Art
Magnes Museum, Berkeley, California.
Rose Museum, Brandeis University