Ivan Puni (Jean Pougny)

Exhibition catalogue Oeuvres de Jeunesse et Oeuvres Choisies, Paris: Galerie Coard, 1959, p.19, no.14 listed

Exhibition catalogue Pougny, Zurich: Kunsthaus Zürich, 1960, p.31, no.157 listed

Exhibition catalogue Pougny, Nice: Galerie des Ponchettes, 1961, p.19, no.111 listed

Exhibition catalogue Jean Pougny 1894-1956, Amsterdam: Stedelijk Museum, 1961, no.155

Exhibition catalogue Pougny 1894-1956, Paris: Galerie Charpentier, 1961-1962, no.157 listed

Exhibition catalogue Jean Pougny, Turin: Galleria Civica d'Arte Moderna, 1962, p.70, no.180

Exhibition catalogue Jean Pougny, Geneva: Galerie Krugier et Cie, 1964, p.14, no.75 listed

Exhibition catalogue Jean Pougny, Baden-Baden: Kunsthalle Baden-Baden, 1965, no.74 listed

Exhibition catalogue Iwan Puni (Jean Pougny) 1898-1956, Gemälde, Zeichnungen, Reliefs, Berlin: Haus am Waldsee, 1975, no.92 listed

H.Berninger and J.-A. Cartier, Pougny, Catalogue de l’oeuvre, vol.2, Tübingen: Ernst Wasmuth, 1992, p.63 illustrated; p.304, no.1168 illustrated and listed

Exhibition catalogue Jean Pougny, Paris: Paris-Musées, 1993, p.151, no.97 listed

Exhibition catalogue Iwan Puni, 1892-1956, Berlin: Berlinische Galerie, 1993, p.161, no.97 listed

Exhibition catalogue 0,10 - Iwan Puni, Bern: Benteli Verlag, 2003, p.232 listed and illustrated

‘One characteristic of Puni which is of particular importance is the type of canvas he used to execute his paintings. Puni never used new canvases, preferring old ones, of which he always kept a reserve under the carpets in his studio. From 1937 onwards, he chose aged canvases, often cracked and worn, even revealing their weave, which he patiently prepared secretly before beginning to paint. It was then that he also got into the habit of mounting his paintings on wood and especially on masonite, by a secret procedure that gave stability and permanent protection to his works, which he always had framed under glass. The warm and precious material paired with the superimposition of the layers and Puni’s play with the imperfections and accidents of his canvases gives his paintings their inimitable dreamy atmosphere, successfully reflecting his inner emotions.’ (H.Berninger and J.-A. Cartier, Pougny, Catalogue de l’oeuvre, vol.1, Tübingen: Ernst Wasmuth, 1972, pp. 86-87)