Jack Tworkov

Paintings

Early work

Fisherman's Family, 1931

Oil on canvas

30h x 25w in (76.20h x 63.50w cm)

Seated Woman (Wally), 1934-36

Oil on canvas

36h x 28w in (91.44h x 71.12w cm)

Harlem River Landscape, 1932

Oil on Canvas

25h x 30w in (63.50h x 76.20w cm)

Untitled (Still Life with Peaches and Magazine), 1929

Oil on canvas

20.25h x 24.06w in (51.44h x 61.12w cm)

The Card Player, 1938

Oil on canvas

30h x 25w in (76.20h x 63.50w cm)

Untitled (Self-Portrait), 1945

Oil on canvas

30h x 20w in (76.20h x 50.80w cm)

Untitled (Still Life with Blue Pitcher and Grapes), 1946

Oil on canvas

24h x 32w in (60.96h x 81.28w cm)

Little Girl Drawing, 1929

Oil on canvas

24h x 30.19w in (60.96h x 76.68w cm)

Description

Jack Tworkov
Paintings
1920s-1940s

Jack Tworkov immigrated to New York City from Poland in 1913. Almost a decade later, he visited the Brooklyn Museum to view the exhibition The Paintings of Paul Cézanne in 1921, an experience that propelled his decision to become a painter.

Tworkov’s early still-lives, portraits, and landscapes of the 1920s and 1930s demonstrate the young painter’s experimentation and grasp of avant-garde theories on color and space, looking to Modernist artists such as Paul Cézanne and Pablo Picasso. During this time, Tworkov’s sister Janice Biala, an artist herself, introduced him to the well-known artist colony in Provincetown, Massachusetts, where he learned from painters such as Edwin Dickinson and Karl Knaths. In 1927, Tworkov’s paintings were included in Provincetown Art Exhibition at the Provincetown Art Association, the colony’s first show featuring Modern art exploring new painting techniques.

Tworkov's early paintings reveal his experimentation with spatiality by tipping the picture plane forward towards the viewer, simultaneously evoking perspective and flatness. These investigations into dimensionality would become key tenants of his work across decades and stylistic shifts. In addition, he expanded his investigations into color theory through a balance of cool and warm tones, often favoring muted blues and terracotta reds and oranges. His early work clearly reveals his interest in a regulated brushstroke throughout a single composition. He adapted Cézanne’s signature hatching stroke for his own use, and this repeated gesture would eventually evolve into his flamelike stroke of the 1950s and 1960s.