January Full Moon
Framed: 28 13/16 x 34 3/4 x 2 inches (73.18 x 88.27 x 5.08 cm)
- 219
George Ault: Nocturnes, Whitney Museum of American Art, New York, December 7, 1973– January 6, 1974, no. 28.
20th-Century American Art from Friends’ Collections, Whitney Museum of American Art, New York, July 27–September 27, 1977, unnumbered.
The Precisionist Painters, 1916–1949: Interpretations of a Mechanical Age, Heckscher Museum, Huntington, N.Y., July 7– August 20, 1978, unnumbered.
Amerikanische Malerei, 1930–1980, Haus der Kunst, Munich, November 14, 1981–January 31, 1982, no. 30.
Winter, Hood Museum of Art, Dartmouth College, Hanover, N.H., February 1–March 16, 1986, no. 68.
George Ault, Whitney Museum of American Art at Equitable Center, New York, April 8, 1988–June 11, 1989 (traveled), unnumbered.
Counterpoint: Two Centuries of Masters, Hirschl & Adler Galleries, New York, April 21–June 8, 1990, no. 26.
To Make a World: George Ault and 1940s America, Smithsonsian American Art Museum, Washington, D.C., March 11–September 5, 2011; Nelson-Atkins Museum of Art, Kansas City, MO, October 15, 2011–January 8, 2012; Georgia Museum of Art, Athens, GA, February 18, 2012–April 16, 2012, unnumbered.
Grant Wood and the American Farm, Reynolda House, Museum of American Art, Winston-Salem, NC, September 8–December 31, 2016, no cat.
Cult of the Machine: Precisionism and American Art, de Young Museum, San Francisco, March 24–August 12, 2018; Dallas Museum of Art, October 16, 2018–January 6, 2019.
to Mr. and Mrs. Charles Dickman, Saugerties, N.Y., by descent, 1973;
to (Zabriskie Gallery, New York, 1973);
Mr. and Mrs. Raymond J. Learsy, New York, by 1977;
(Hirschl & Adler Galleries, New York, 1991);
to the Nelson-Atkins Museum of Art, Kansas City, MO, 1991.
James R. Mellow, “A Successful Escape into Night,” New York Times, December 16, 1973, D25 (as January, Full Moon).
George Ault: Nocturnes, exh. cat. (New York: Whitney Museum of American Art, 1973), unpaginated.
Roberta Smith, “Reviews: Lee Krasner, the Whitney Museum; George Ault, the Whitney Museum; Alex Katz, Marlborough Gallery,” Artforum 12 (March 1974), 73–74.
20th-Century American Art from Friends’ Collections, exh.cat. (New York: Whitney Museum of American Art, 1977), unpaginated.
The Precisionist Painters, 1916–1949: Interpretations of a Mechanical Age, exh. cat. (Huntington, N.Y.: Heckscher Museum, 1978), 24.
Louise Ault, Artist in Woodstock: George Ault; The Independent Years (Philadelphia: Dorrance & Company, 1978), 128–30, 175–76.
Amerikanische Malerei, 1930–1980, exh. cat.(Munich: Haus der Kunst, 1981), 46, 48–49.
Donald Hall, “Warming to the Cold and Snow: The Satisfactions of a New Hampshire Winter,” Harper’s 272 (February 1986), 53.
Winter, exh. cat.(Hanover, N.H.: Hood Museum of Art, Dartmouth College, 1986),116.
Susan Lubowsky, George Ault, exh. cat. (New York: Whitney Museum of American Art at Equitable Center, 1988), 34–35, 37, 53.
Counterpoint: Two Centuries of Masters, exh. cat. (New York: Hirschl & Adler Galleries, 1990), 46–47.
Henry Adams, Handbook of American Paintings in the Nelson-Atkins Museum of Art (Kansas City, Mo.: Nelson-Atkins Museum of Art, 1991), 175–76.
Alice Thorson, “Nelson Fills a Modernist Gap,” Kansas City Star, January 12, 1992, I1, I3.
Henry Adams, “American Modernist Work Enters Collection,” Calendar of Events (Nelson-Atkins Museum of Art), January–February 1992, 1–2.
Henry Adams, “George Ault, January Full Moon,” American Art Review 5 (Summer 1992), 77, 154.
Roger Ward and Patricia J. Fidler, eds. The Nelson-Atkins Museum of Art: A Handbook of the Collections. 6th ed. (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 250.
Journal of the American Medical Association 275 (January 3, 1996), 4, cover.
Margaret C. Conrads, ed. The Collections of the Nelson-Atkins Museum of Art: American Paintings to 1945 (Kansas City, Mo.: The Nelson-Atkins Museum of Art, 2007), 1: 22, 28-31 (repro.), 2: 10 (repro.).
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 184 (repro.).
Alexander Nemerov, “To Make a World: George Ault & 1940s America,” American Art Review 23 no. 2 (March-April 2011), 118-125, 127-128.
Alexander Nemerov, To Make a World: George Ault and 1940s America, exh. cat. (Washington, D.C.: Smithsonian American Art Museum; New Haven: in association with Yale University Press, 2011), 2, 84-85, 87.
Emma Acker, "Finding a past for the present," Antiques (March/April 2018), 89–91 (repro.).
