The Renee and Chaim Gross Foundation houses 117 sketchbooks by Chaim Gross that span much of the artist's career. The earliest notebook dates from 1933, one year after Gross’s first solo exhibition at Gallery 144 in New York City, to 1990, the year before his death. Nearly every sketchbook contains sketches and plans for new sculptural works. After 1950, drawings from Gross’s travels to Africa, France, Italy, Israel, and Mexico also become central. Thematically, the sketchbooks reveal his fascination with the surreal and the fantastic, with recurring motifs including sharp-beaked birds, gruesome beasts, and barbed wire. Gross’s critiques, opinions, and reflections about art also pepper their pages.

Kathryn Holihan
Curatorial Assistant

The sketchbooks are available for viewing at the Foundation by appointment. Eighty sketchbooks (1920-1968) are also available on microfilm at the Archives of American Art

Sketchbooks 1930 - 1939

 
1933
Figures Contains plans for sculpture and portraits of family members and close friends.
courtroom scenes [?]; speaker at a podium; drawing of Venus de Milo
1933
Cummington, Massachusetts Drawings while Gross was a summer art camp counselor in Cummington, MA.
Sketches executed in red marker/thick pen; many sculptural sketches (exaggerated female figures and nudes); drawings of tumblers and acrobatics; drawings of cabin scenes and landscapes; several animal sketches (cows); drawings of figures amidst a rural landscape.
1933
Cummington, Massachusetts Includes musicians, friends, and the Massachusetts landscape.
Men in costume (3); two musicians (violin & upright bass)
1933
Cummington, Massachusetts Dominated by Gross's sketches of athletes and acrobats which serve as studies for sculpture.
Two trapeze artists; cabin/rural scenes; figure study- man sitting, squatting in different positions; Sculptural drawing- birds, geese; Picnickers; figures sitting in a living room with window; piece of driftwood; acrobats and athletes, many doing handstands, supporting one another; seated figures reading; houses in the woods, several cabin scenes; bookmarked page- figures sitting around in the woods [1933 H. Abrams book]
1934-1935
Various Drawings Includes sculpture drawings, images of Renee Gross, animals, notes on Henry Moore.
Notebook from Robert Rosenthal-artist materials of every description 41 E 8th street, NY; 4th of July (first date noted) Picnic of the Murie Box/Music Box? (theater?); Mouse and writing: Male, killed and buried at Music Box July 12 after 10 days of effort on the part of Hy?, Chaim, Jack, 1935; Book list on back pages; notes from Henry Moore by Herbert Read 1934: "Sculpture is certainly most difficult of all the art- most difficult of all arts to master, most difficult to appreciate. Some of the difficulties are incidental; the materials need strength and patience to handle; and when the work is finished there is no predestined place for it. Plastic shape in the abstract is shape in the abstract, while carving shape however abstract. ----Monograph of Henry Moore 1934 "Whatever its plastic value, a figure carved in stone is fine carving when one feel that not the figure, but the stone, this the medium of the figure, has come to life." -"She tells the future and I am commissioned to verify it." -Anita Brookfield?
1934
Cummington, Massachusetts Primarily figure studies; also includes drawings of artist Raphael Soyer.
Raphael Soyer 1934, signed Chaim Gross ; Profile of Cadale/Candace Scarviloni?; Kadison? Smoking a pipe; long list of books, artists, artwork
1934
Cummington, Massachusetts Landscapes, sculpture studies; also includes scholarly quotes, and Gross's personal, artistic, and philosophical opinions and ideas.
Fern leaves pressed in the book; page in center of the book filled with names and addresses; van Gogh-like portrait of bearded man with a cap; sketch of Herman Maril?; feather pressed in this book; text: Sculpture is the conversation of any man of matter without formal meaning into a man that has been given formal meaning as the result of human will. Rodin didn't bring art the lifeness of --- what he tried to do was In art only that which has character is beautiful&.To this great artist everything in nature has character. There is nothing ugly in art except that which is without character that is to say. That which offers no other or inner truth what ever is false, whatever is artificial. (From inserted sheets of paper): "By beauty of form in sculpture I do not mean statues which have the meaning of beautiful bodies; I mean sculpture which has the meaning of geometrical forms, a work of sculpture in the reconstruction of which the architectural activity has not predominated is a poor thing; if in only an empirical approximation the production of an imitative eye and a hand trained in art school." "Sculptural feeling is appreciation of masses in relation. Sculptural ability is the defining of those masses by planes?"
1934
Cummington, Massachusetts Dominated by figure and sculpture studies.
1936
Yehudah Gross Gross's son Yehudah (Yudie) is the primary subject of this sketchbook.
1936
Various Subjects Includes studies for 1934 commission "Alaskan Snowshoe Mail Carrier" for New Post Office Building, Washington, DC, as well as animals, acrobats, and nature.