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Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 2
General Information
American Folk Art Museum
45 West S3rd Street
New York, NY 10019
Phone: 212/26S-1040
Admission
Adults $9
Seniors and Students $5
Children under 12 Free
Members Free
Friday 6:00 - 8:00 PM Free to all
Museum Hours
Tuesday-Sunday 10:00 AM - 6:OO PM
Friday 10:00 AM - 8:OO PM
Monday Closed
Shop Hours
Daily 10:00 AM - 6:OO PM
Friday 10:00 AM - 8:OO PM
PubliC Transportation
Subway E or F to Fifth Avenue/53rd Street
Bus l,l~a3 4 5 6 or7
Website www.folkartmuseum. org
Exhibition Catalog
A full-color, 128-page catalog is available at
the museum's Book and Gift Shop or online
at www.niuseumshop.com
The Henry Darger Collection
at the American Folk Art Museum
PAGE 2
General Information
American Folk Art Museum
45 West S3rd Street
New York, NY 10019
Phone: 212/26S-1040
Admission
Adults $9
Seniors and Students $5
Children under 12 Free
Members Free
Friday 6:00 - 8:00 PM Free to all
Museum Hours
Tuesday-Sunday 10:00 AM - 6:OO PM
Friday 10:00 AM - 8:OO PM
Monday Closed
Shop Hours
Daily 10:00 AM - 6:OO PM
Friday 10:00 AM - 8:OO PM
PubliC Transportation
Subway E or F to Fifth Avenue/53rd Street
Bus l,l~a3 4 5 6 or7
Website www.folkartmuseum. org
Exhibition Catalog
A full-color, 128-page catalog is available at
the museum's Book and Gift Shop or online
at www.niuseumshop.com
Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 3
Henry Darger at 53rd Street
Sifting through the contents of the Henry Darger
Study Center, one begins to sense the man behind
the artist. Henry Darger left behind a treasure that
continually testifies to his sharp intelligence and dry
wit, his obsessive nature, and his arrested emotional
development. The works reveal his loneliness and
torment as much as his playfulness and humor.
Henry Darger (1892-1973) was a reclusive, reli-
gious man who created an imaginary world for his
private satisfaction. He lived and worked iri a rented
room on the top floor of a brick house in Chicago's
Lincoln Park area. His work (and his world) was dis-
covered, and subsequently made public, by his neigh-
bor and landlord, the artist Nathan Lerner, shortly
before Daiger died. What Lerner found was a cluttered
room full of unpublished manuscripts and previously
unseen paintings, hand-bound or bundled, seemingly
awaiting an audience.
While Henry Darger worked in isolation and kept
his project private, he was in no way cut off from
the communal experience. The contents of the archive
prove that he was engaged in the life of his church
and place of employment, that he had personal rela-
tionships (albeit few), and that he was aware of and
interested in current events. This collection solidly
reveals how Henry Darger, engaged in a creative pro-
cess, made deliberate aesthetic decisions, and shows
that this twentieth-century self-taught artist was
clearly rooted in the American experience.
The American Folk Art Museum holds Darger's
complete writings (which exceed 30,000 pages of text
and includes his masterpiece, The Story of the Viuian
Girls, in u]hat is Knou]n as the Realms of the Unreal, of
the Glandeco-Angelinrrian War StoTm. Caused by the Child
The Henry Darger Collection
at the American Folk Art Museum
PAGE 3
Henry Darger at 53rd Street
Sifting through the contents of the Henry Darger
Study Center, one begins to sense the man behind
the artist. Henry Darger left behind a treasure that
continually testifies to his sharp intelligence and dry
wit, his obsessive nature, and his arrested emotional
development. The works reveal his loneliness and
torment as much as his playfulness and humor.
Henry Darger (1892-1973) was a reclusive, reli-
gious man who created an imaginary world for his
private satisfaction. He lived and worked iri a rented
room on the top floor of a brick house in Chicago's
Lincoln Park area. His work (and his world) was dis-
covered, and subsequently made public, by his neigh-
bor and landlord, the artist Nathan Lerner, shortly
before Daiger died. What Lerner found was a cluttered
room full of unpublished manuscripts and previously
unseen paintings, hand-bound or bundled, seemingly
awaiting an audience.
While Henry Darger worked in isolation and kept
his project private, he was in no way cut off from
the communal experience. The contents of the archive
prove that he was engaged in the life of his church
and place of employment, that he had personal rela-
tionships (albeit few), and that he was aware of and
interested in current events. This collection solidly
reveals how Henry Darger, engaged in a creative pro-
cess, made deliberate aesthetic decisions, and shows
that this twentieth-century self-taught artist was
clearly rooted in the American experience.
The American Folk Art Museum holds Darger's
complete writings (which exceed 30,000 pages of text
and includes his masterpiece, The Story of the Viuian
Girls, in u]hat is Knou]n as the Realms of the Unreal, of
the Glandeco-Angelinrrian War StoTm. Caused by the Child
Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 4
Slave Rebellion, better known simply
as In the Realms of the Unreal), 26
paintings (many double-sided), and
his comprehensive archive (consist-
ing of source material, tracings, and
drawings) .
The magnitude of Darger's writ-
ings leaves one spellbound. These
texts include a six-volume weather
journal kept daily for ten years (from
1957 to 1967), several personal dia-
ries, an autobiography of more than
5,000 pages, and, most significantly,
FLITther Adventures In Chicago: Crazy House, a sequel
to the artist's masterful, illustrated, 15,000-page epic,
In the Realms of the UnTeal.
In the Realms of the Unreal is the tale of seven
little girls-the Vivian Girls-who set out to rescue
abducted children who have beeri enslaved by the
adult Glandelinians. The heroes in this tale are always
the children and the villains are typically adults.
Begun when Henry Darger was about nineteen years
old, this story of war and peace, of good versus evil,
loosely parallels many of the events of the American
Civil War: The artist poignantly captures the power-
lessness of enslaved peoples by depicting them as
young, innocent, and naked. Throughout the tale there
is much death and destruction, but in the end the
Vivian Girls prevail. Darger wrote his story first in
longhand, then typed it (both versions are in the
Center's collection); he then proceeded to add illustra-
tions, teaching himself drawing, painting, and collage.
The Henry Darger Collection
at the American Folk Art Museum
PAGE 4
Slave Rebellion, better known simply
as In the Realms of the Unreal), 26
paintings (many double-sided), and
his comprehensive archive (consist-
ing of source material, tracings, and
drawings) .
The magnitude of Darger's writ-
ings leaves one spellbound. These
texts include a six-volume weather
journal kept daily for ten years (from
1957 to 1967), several personal dia-
ries, an autobiography of more than
5,000 pages, and, most significantly,
FLITther Adventures In Chicago: Crazy House, a sequel
to the artist's masterful, illustrated, 15,000-page epic,
In the Realms of the UnTeal.
In the Realms of the Unreal is the tale of seven
little girls-the Vivian Girls-who set out to rescue
abducted children who have beeri enslaved by the
adult Glandelinians. The heroes in this tale are always
the children and the villains are typically adults.
Begun when Henry Darger was about nineteen years
old, this story of war and peace, of good versus evil,
loosely parallels many of the events of the American
Civil War: The artist poignantly captures the power-
lessness of enslaved peoples by depicting them as
young, innocent, and naked. Throughout the tale there
is much death and destruction, but in the end the
Vivian Girls prevail. Darger wrote his story first in
longhand, then typed it (both versions are in the
Center's collection); he then proceeded to add illustra-
tions, teaching himself drawing, painting, and collage.
Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 5
Apparently intended by the artist merely as
accompaniment to his narrative, Darger's several
hundred scroll-like paintings were created over a
period of perhaps several decades. Darger's sophisti-
cated compositions are often more than nine feet in
length, and the majority of them are double-sided.
Darger was a capable draftsman who expressed his
true talent through color, composition, content, and
sheer scale. He created inventive techniques involving
collage and tracings, often visiting the corner drug-
store to have a favored pose from a popular media
source photographically reproduced and resized.
The vast writings and many paintings are sup-
ported by the artist's archive, which includes his
personal collection of books and clippings from news-
papers, magazines, comic books, comic strips, and
coloring books-the full breadth of resource material
for his paintings and visual output. The archive also
includes over one hundred negatives and photos and
more than five hundred sketches and studies in pen
and pencil, executed on tracing, typing, wax, and
drawing paper. Reflecting the obsessive nature of the
man, there are hundreds and hundreds of clippings
featuring the same subject, often the exact same
image in many versions and in multiples. The myriad
clippings point out how Darger's paintings reflect our
culture, or at least elements of it. American popular
media is everywhere evident.
Brooke Davis Anderson
Director and curator of the contemporary center of
the American Folk Art Museum and Exhibition Curator
The Henry Darger Collection
at the American Folk Art Museum
PAGE 5
Apparently intended by the artist merely as
accompaniment to his narrative, Darger's several
hundred scroll-like paintings were created over a
period of perhaps several decades. Darger's sophisti-
cated compositions are often more than nine feet in
length, and the majority of them are double-sided.
Darger was a capable draftsman who expressed his
true talent through color, composition, content, and
sheer scale. He created inventive techniques involving
collage and tracings, often visiting the corner drug-
store to have a favored pose from a popular media
source photographically reproduced and resized.
The vast writings and many paintings are sup-
ported by the artist's archive, which includes his
personal collection of books and clippings from news-
papers, magazines, comic books, comic strips, and
coloring books-the full breadth of resource material
for his paintings and visual output. The archive also
includes over one hundred negatives and photos and
more than five hundred sketches and studies in pen
and pencil, executed on tracing, typing, wax, and
drawing paper. Reflecting the obsessive nature of the
man, there are hundreds and hundreds of clippings
featuring the same subject, often the exact same
image in many versions and in multiples. The myriad
clippings point out how Darger's paintings reflect our
culture, or at least elements of it. American popular
media is everywhere evident.
Brooke Davis Anderson
Director and curator of the contemporary center of
the American Folk Art Museum and Exhibition Curator
Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 6
Programs for Darger
Unless otherwise specified, all programs are held at
the American Folk Art Museum, 4S West S3rd Street.
Programs are open to the public, and admission fees
vary. For more information, please call the education
department at 212/265-1040 or pick up the museum's
Public Programs brochure.
Friday. December 21
Artist Presentations: A Taste of Darger
Saturday, January 26
Symposium: uncommon Artists X: A Series of Cameo Talks
Sunday, January 27
Guided Tours: Theories on Darger
Friday. March 22
Panel Discussion: Poets on Henry Darger
Friday and Saturday, March 22 and 23
Symposium: Delving irrto Darger
Friday, May 17
Lecture: Darger in a Religious Coutext
Gallery Tours
Thursdays, January 17, March 21, and May 16
Looking at Darger: The Darger Collection
at the American Folk Art Museum
Brooke Davis Anderson
Thursday, April 18
Looking at Darger: Sketches and Stndies
at the Eva and Morris Feld Gallery,
Columbus Avenue between 65th and 66th Streets
Brooke Davis Anderson
Related Programs
Outside the Frame: Self-Taught Artists on Film
Friday, January 11
Film Screening and Panel Discussion
The Living Museum
Friday, February 8
Film Screening and Panel Discussion
Come Unto Me: The Faces of Tyree Guyton
Friday, April 12
Film Screening and Panel Discussion
Film Shorts
The Henry Darger Collection
at the American Folk Art Museum
PAGE 6
Programs for Darger
Unless otherwise specified, all programs are held at
the American Folk Art Museum, 4S West S3rd Street.
Programs are open to the public, and admission fees
vary. For more information, please call the education
department at 212/265-1040 or pick up the museum's
Public Programs brochure.
Friday. December 21
Artist Presentations: A Taste of Darger
Saturday, January 26
Symposium: uncommon Artists X: A Series of Cameo Talks
Sunday, January 27
Guided Tours: Theories on Darger
Friday. March 22
Panel Discussion: Poets on Henry Darger
Friday and Saturday, March 22 and 23
Symposium: Delving irrto Darger
Friday, May 17
Lecture: Darger in a Religious Coutext
Gallery Tours
Thursdays, January 17, March 21, and May 16
Looking at Darger: The Darger Collection
at the American Folk Art Museum
Brooke Davis Anderson
Thursday, April 18
Looking at Darger: Sketches and Stndies
at the Eva and Morris Feld Gallery,
Columbus Avenue between 65th and 66th Streets
Brooke Davis Anderson
Related Programs
Outside the Frame: Self-Taught Artists on Film
Friday, January 11
Film Screening and Panel Discussion
The Living Museum
Friday, February 8
Film Screening and Panel Discussion
Come Unto Me: The Faces of Tyree Guyton
Friday, April 12
Film Screening and Panel Discussion
Film Shorts
Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 7
Conversations 2002
Thursday, February 28
Dialogues: Assemblage in the Self-Taught
and Academic Arts
Thursday, March 21
Dialogues: The Contemporary Artist and PopulaT Culture
Thursday, April 25
Dialogues: Life Experiences
Saturday, June 1
Dialogues: Visit to CrossoUer Collections
In Celebration of a Permanent Place for Folk Art
Mondays, January 7, February 4, April 8, May 6, and June 3
Guided tours with architects Tod Williams and Billie Tsien
Tuesday, March 5
Dialogues: A Home foT Folk Art: A Conversation with
Tod Williams, Billie Tsien, and Paul Goldberger
Sunday Family Art Workshops
January 13 and 27, February ro and 24, March 10 and 24,
April 14 and 28, May 12 and 26
Sunday Family Performances
January 6, February 3, March 3, April 7, May 5, and June 2
Saturday Walking Tours
Each group will meet at a designated location; please call
for details.
March 9 and May 4
A RetuTn to S3rd Street
April 6 and June l
Midtown: A Cultural Chronicle
March 23 and May 18
Architecture without Architects: The Classical Vernacular
in Greenwich Village
April 20 and June 15
New York Detail: Anonymous Craftsmeu and the Building
Decoration on the Upper West Side
The Henry Darger Collection
at the American Folk Art Museum
PAGE 7
Conversations 2002
Thursday, February 28
Dialogues: Assemblage in the Self-Taught
and Academic Arts
Thursday, March 21
Dialogues: The Contemporary Artist and PopulaT Culture
Thursday, April 25
Dialogues: Life Experiences
Saturday, June 1
Dialogues: Visit to CrossoUer Collections
In Celebration of a Permanent Place for Folk Art
Mondays, January 7, February 4, April 8, May 6, and June 3
Guided tours with architects Tod Williams and Billie Tsien
Tuesday, March 5
Dialogues: A Home foT Folk Art: A Conversation with
Tod Williams, Billie Tsien, and Paul Goldberger
Sunday Family Art Workshops
January 13 and 27, February ro and 24, March 10 and 24,
April 14 and 28, May 12 and 26
Sunday Family Performances
January 6, February 3, March 3, April 7, May 5, and June 2
Saturday Walking Tours
Each group will meet at a designated location; please call
for details.
March 9 and May 4
A RetuTn to S3rd Street
April 6 and June l
Midtown: A Cultural Chronicle
March 23 and May 18
Architecture without Architects: The Classical Vernacular
in Greenwich Village
April 20 and June 15
New York Detail: Anonymous Craftsmeu and the Building
Decoration on the Upper West Side
Darger:
The Henry Darger Collection
at the American Folk Art Museum
PAGE 8-9
Captions
Cover: Study of a Vivian Girl with Doll / watercolor,
carbon tracing, and pencil on paper / 12 x 9" / PD-O1
photo: Gavin Ashworth
Pages 2-3: Urrtitled (Campgrounds in stoTmy landscape with
soldieTs and Viuian girls) / watercolor, pencil, and carbon
tracing on pieced paper / 22 x 96" / 244 / photo: James Prinz
Page 4: CoUer of Ladies Home Journal magazine. August 194S
ink and pencil on magazine cover / 13~ x 11" and
Study of Girls' Head from Ladies Home Journal magazine
(double-sided) / pencil and carbon tracing on paper / 61/2 x 8"
PD012 / photo: Gavin Ashworth
Pages 4-5: Gigantic RoUerine with young AII poisonous AII
islands of uniUeTsan seas and oceans. Also in CalUerina Ange-
lina and Abbieannia / watercolor, pencil, and carbon tracing
on pieced paper / 14 x 333/4" / 2001.16.4 / photo: Jarnes Prinz
Above: The complete writings of Henry DargeT / PD-06
photo: Gavin Ashworth
The following donors have generously contributed to the
presentation and purchase of The Henry Darger Collection
at the American Folk Art Museum: Didi and David Barrett.
M. Anne Hill and Edward V. Blanchard Jr., Mrs. Daniel
Cowin, Joseph F. Cullman 3rd, Lucy and Mike Danziger.
David L. Davies and Jack Weeden, Ralph Esmerian, Samuel
and Betsey Farber, Jacqueline Fowler, David and Barbara
Krashes, Mark and Taryn Leavitt, Richard and Laura Parsons,
John and Margaret Robson, Richard and Amy Rubenstein,
John and Barbara Wilkerson, and an anonymous foundation.
"Darger: The Henry Darger Collection at the American Folk
Art Museum." presented as part of "American Anthem."
the inaugural series of exhibitions, is sponsored by
PHILLIP MORRIS COMPANIES INC.
The museum's public'programs are funded in part by the
New York City Department of Cultural Affairs and
conEdison
This exhibition brochure was produced in part with funding
from The Liman Foundation.
Note: All works collection of the American Folk Art Museum,
New York.
Images copyright (C) Kiyoko Lerner.
The Henry Darger Collection
at the American Folk Art Museum
PAGE 8-9
Captions
Cover: Study of a Vivian Girl with Doll / watercolor,
carbon tracing, and pencil on paper / 12 x 9" / PD-O1
photo: Gavin Ashworth
Pages 2-3: Urrtitled (Campgrounds in stoTmy landscape with
soldieTs and Viuian girls) / watercolor, pencil, and carbon
tracing on pieced paper / 22 x 96" / 244 / photo: James Prinz
Page 4: CoUer of Ladies Home Journal magazine. August 194S
ink and pencil on magazine cover / 13~ x 11" and
Study of Girls' Head from Ladies Home Journal magazine
(double-sided) / pencil and carbon tracing on paper / 61/2 x 8"
PD012 / photo: Gavin Ashworth
Pages 4-5: Gigantic RoUerine with young AII poisonous AII
islands of uniUeTsan seas and oceans. Also in CalUerina Ange-
lina and Abbieannia / watercolor, pencil, and carbon tracing
on pieced paper / 14 x 333/4" / 2001.16.4 / photo: Jarnes Prinz
Above: The complete writings of Henry DargeT / PD-06
photo: Gavin Ashworth
The following donors have generously contributed to the
presentation and purchase of The Henry Darger Collection
at the American Folk Art Museum: Didi and David Barrett.
M. Anne Hill and Edward V. Blanchard Jr., Mrs. Daniel
Cowin, Joseph F. Cullman 3rd, Lucy and Mike Danziger.
David L. Davies and Jack Weeden, Ralph Esmerian, Samuel
and Betsey Farber, Jacqueline Fowler, David and Barbara
Krashes, Mark and Taryn Leavitt, Richard and Laura Parsons,
John and Margaret Robson, Richard and Amy Rubenstein,
John and Barbara Wilkerson, and an anonymous foundation.
"Darger: The Henry Darger Collection at the American Folk
Art Museum." presented as part of "American Anthem."
the inaugural series of exhibitions, is sponsored by
PHILLIP MORRIS COMPANIES INC.
The museum's public'programs are funded in part by the
New York City Department of Cultural Affairs and
conEdison
This exhibition brochure was produced in part with funding
from The Liman Foundation.
Note: All works collection of the American Folk Art Museum,
New York.
Images copyright (C) Kiyoko Lerner.
Studies and Sketches: Henry Darger
at the museum's Eva and Morris Feld Gallery
PAGE 2
General Information
American Folk Art Museum
Eva and Morris Feld Gallery at two Lincoln Square,
Columbus Avenue between 6Sth and 66th Streets
New York, NY 10023
Phone: 212-595--9533
Admission Free
Museum and Shop Hours
Daily 11:OO AM - 7:30 PM
Monday 11:OO AM - 6:OO PM
Public Transportation
subway 1/9 to 66th Street
A, B, C, or D to S9th Street,
Columbus Circle
Bus M5, 7, 10, 66, or 104
Website www.folkartmuseum.org
Exhibition Catalog
A full-color, 128-page catalog is available at
the museum's Book and Gift Shop or online at
www.museumshop.com
at the museum's Eva and Morris Feld Gallery
PAGE 2
General Information
American Folk Art Museum
Eva and Morris Feld Gallery at two Lincoln Square,
Columbus Avenue between 6Sth and 66th Streets
New York, NY 10023
Phone: 212-595--9533
Admission Free
Museum and Shop Hours
Daily 11:OO AM - 7:30 PM
Monday 11:OO AM - 6:OO PM
Public Transportation
subway 1/9 to 66th Street
A, B, C, or D to S9th Street,
Columbus Circle
Bus M5, 7, 10, 66, or 104
Website www.folkartmuseum.org
Exhibition Catalog
A full-color, 128-page catalog is available at
the museum's Book and Gift Shop or online at
www.museumshop.com
Studies and Sketches: Henry Darger
at the museum's Eva and Morris Feld Gallery
PAGE 3
Henry Darger at Lincola Square
When museum staff members were unpacking and
inventorying the Darger Collection last year, many
studies and sketches by the artist were found sand-
wiched between pages of Darger's coloring books. Also
found in the same manner were extensive clippings
from comic strips, magazines, and newspapers.
Upon organizing the studies, which many schol-
ars have previously called tracings, groupings started
to develop: images ofbotanical life, clouds and other
weather tableaus, Iandscapes and urban scenes, and
numerous clothed and nude figure studies. It became
clear through examination of the works that this
collection was much more than a group of tracings.
Rather, the pencil images on wax paper, tracing paper,
butcher paper, or various found papers conclusively
served as tools for training the eye and hand. In
fact, by comparing the original source material to
the graphite and carbon interpretation by Darger, it
becomes certain that images are transformed and
reinvented in his process. It also became unmis-
takable that Darger was studying his subjects and
rehearsing ideas that he later finely honed in his
paintings.
"Studies and Sketches: Henry Darger" is presented
at the museum's Eva and Morris Feld Gallery as a
companion exhibition to "Darger: The Henry Darger
Collection at the American Folk Art Museum," on view
at the museum's Eva and Morris Feld Gallery
PAGE 3
Henry Darger at Lincola Square
When museum staff members were unpacking and
inventorying the Darger Collection last year, many
studies and sketches by the artist were found sand-
wiched between pages of Darger's coloring books. Also
found in the same manner were extensive clippings
from comic strips, magazines, and newspapers.
Upon organizing the studies, which many schol-
ars have previously called tracings, groupings started
to develop: images ofbotanical life, clouds and other
weather tableaus, Iandscapes and urban scenes, and
numerous clothed and nude figure studies. It became
clear through examination of the works that this
collection was much more than a group of tracings.
Rather, the pencil images on wax paper, tracing paper,
butcher paper, or various found papers conclusively
served as tools for training the eye and hand. In
fact, by comparing the original source material to
the graphite and carbon interpretation by Darger, it
becomes certain that images are transformed and
reinvented in his process. It also became unmis-
takable that Darger was studying his subjects and
rehearsing ideas that he later finely honed in his
paintings.
"Studies and Sketches: Henry Darger" is presented
at the museum's Eva and Morris Feld Gallery as a
companion exhibition to "Darger: The Henry Darger
Collection at the American Folk Art Museum," on view
Studies and Sketches: Henry Darger
at the museum's Eva and Morris Feld Gallery
PAGE 4-5
at 45 West 53rd Street. For the first time, viewers will
have a chance to exarnine more than one hundred
studies and sketches by Henry Darger and thus better
understand both his process and his product. Also
included in this show are several large-scale paintings
from private collections in New York, as well as from
the collection of Kiyoko Lerner in Chicago, to remind
us of the end product of Darger's magnificent labors.
Brooke Davis Anderson
Director and Curator of the Contemporary Center of
the American Folk Art Museum and Exhibition Curator
at the museum's Eva and Morris Feld Gallery
PAGE 4-5
at 45 West 53rd Street. For the first time, viewers will
have a chance to exarnine more than one hundred
studies and sketches by Henry Darger and thus better
understand both his process and his product. Also
included in this show are several large-scale paintings
from private collections in New York, as well as from
the collection of Kiyoko Lerner in Chicago, to remind
us of the end product of Darger's magnificent labors.
Brooke Davis Anderson
Director and Curator of the Contemporary Center of
the American Folk Art Museum and Exhibition Curator
Studies and Sketches: Henry Darger
at the museum's Eva and Morris Feld Gallery
PAGE 8
Captions
Cover and page 5: Study of Four Viuian Girls / pencil, carbon
tracing, and watercolor on coloring book page / 103/4 x 145/8"
PD-96 / photo: Gavin Ashworth
Pages 2-3: Study of Blengin (double-sided) / pencil and
carbon tracing on paper / 151/2 x 18" / PD-35A, B
photo: Gavin Ashworth
Pages 4-5: Study of SeveTal Blengins and Girls (Either Flying OT
Dancing/Im not going to stay heTe A tornado stTuck my house once
and I was in a hospital foT a year.) / pencil and carbon on tracing
paper / 19 x 24" / PD-45/ photo: Gavin Ashworth
Page 6: Study of girl and Blengin, sitting / pencil on wax paper,
12 x 16" / PD-5O / photo: Gavin Ashworth
Page 7: Study of Annie Rooney / pencil and carbon on tracing
paper / 19 x 24" / PD-79 / photo: Gavin Ashworth
Pages 6-7: Study of seUeral Blengins and Girls / pencil and
carbon on tracing paper / 19 x 24" / PD-78 / photo: Gavin Ashworth
Above: Study of two girls in red shorts / pencil, carbon tracing,
and watercolor on paper / 9 x 12" / PD-23 / photo: Gavin Ashworth
at the museum's Eva and Morris Feld Gallery
PAGE 8
Captions
Cover and page 5: Study of Four Viuian Girls / pencil, carbon
tracing, and watercolor on coloring book page / 103/4 x 145/8"
PD-96 / photo: Gavin Ashworth
Pages 2-3: Study of Blengin (double-sided) / pencil and
carbon tracing on paper / 151/2 x 18" / PD-35A, B
photo: Gavin Ashworth
Pages 4-5: Study of SeveTal Blengins and Girls (Either Flying OT
Dancing/Im not going to stay heTe A tornado stTuck my house once
and I was in a hospital foT a year.) / pencil and carbon on tracing
paper / 19 x 24" / PD-45/ photo: Gavin Ashworth
Page 6: Study of girl and Blengin, sitting / pencil on wax paper,
12 x 16" / PD-5O / photo: Gavin Ashworth
Page 7: Study of Annie Rooney / pencil and carbon on tracing
paper / 19 x 24" / PD-79 / photo: Gavin Ashworth
Pages 6-7: Study of seUeral Blengins and Girls / pencil and
carbon on tracing paper / 19 x 24" / PD-78 / photo: Gavin Ashworth
Above: Study of two girls in red shorts / pencil, carbon tracing,
and watercolor on paper / 9 x 12" / PD-23 / photo: Gavin Ashworth
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