Into the World There Came a Soul Called Ida

1. The artist, Chicago; partially exchanged for <em>Woman</em> (1947.33; now in the collection of the Museum of Modern Art, New York, 228.1948) and sold to the Art Institute of Chicago, 1947 [as 1947.519]; deaccessioned by exchange (along with <em>Heavy the Oar to Him Who Is Tired, Heavy the Coat, Heavy the Sea</em> <em>Oh God, Herrings, Buoys, the Glittering Sea</em [then 1941.828, now 1977.32]) to Ivan Albright for <em>That Which I Should Have Done I Did Not Do (The Door)</em>(1955.645), 1959; given to the Art Institute of Chicago, 1977.

Recorded by Art Institute of Chicago.

• Art Institute of Chicago, <em>Paintings by George and Martin Baer and Ivan Le Lorraine Albright</em>, July 23–Oct. 11, 1931, no. cat.
• Chicago, Increase Robinson Galleries, <em>Annual Exhibition of the Chicago Society of Artists</em>, 1931, received Gold Medal.
• Art Institute of Chicago, <em>37th Annual Exhibition by Artists of Chicago and Vicinity</em>, Jan. 12–Mar. 5, 1933, cat. no. 6 as The Lord in His Heaven Above and I in My Room Below.
• Chicago Art Fair, Grant Park, July 1933.
• Pittsburgh, Carnegie Institute, 1933.
• White Sulphur Springs, W.Va., Old White Art Gallery at the Greenbrier Hotel, <em>Ivan Le Lorraine Albright</em>, Jul–Aug, 1935, cat. no. 2.
• Chicago, Walden Book Shop Gallery, 1935.
• Springfield Art League, Springfield Museum, Mass. Jan–Feb. 1937.
• New York, Whitney Museum of American Art, <em>1937 Annual Exhibition of Contemporary American Painting</em>, Nov. 20–Dec. 12, 1937, cat. no. 61.
• San Francisco, Ca., <em>Golden Gate International Exposition</em>, Department of Fine Arts, Contemporary Art,
• [Feb. 19–Oct. 29], 1939, cat. United States 5.
• New York, Museum of Modern Art, <em>American Realists and Magic Realists</em>, 1943, cat. no. 29.

• “Albright’s Ida Wins Chicago Gold Medal,” <em>The Art Digest</em>, Dec. 15, 1931, 6, ill.
• “Albright’s Aging ‘Ida’ Repeats Her 1931 Chicago Triumph in Springfield,” <em>The Art Digest</em>, Feb. 1, 1937, 12, ill.
• “Lavender and Old Bottles,” <em>Time</em>, Nov. 24, 1941, 18.
• Daniel Catton Rich, “Ivan Le Lorraine Albright Our Own Jeremiah,” <em>Magazine of Art</em>, Feb. 1943, 49–51.
• Frederick c. Othman, “Black Eye Artist Goes to Work on Dorian Gray Film,” <em>Hollywood (UP)</em>, Nov. 30, 1943.
• C.J. Bulliet, “Albright’s ‘Dorian Gray’ Hollywoodian in its Horror,” <em>Chicago Daily News</em>, July 28, 1945.
• Jo Gibbs, “The Albright Twins—Decay, Charm, Confusion,” <em>The Art Digest</em>, Nov. 1, 1945, 12, ill.
• “A Look at the Albrights,” <em>Newsweek</em>, Nov. 5, 1945, ill.
• Harriet and Sidney Janis, “The Painting of Ivan Albright,” <em>Art in America</em>, Jan. 1946, 43–49.
• “Texture, The Neglected Element,” <em>Design</em>, March 1951, 24.
• John I.H. Baur, “American Art After 25 Years: A Richer Diversity Than Ever Before,” <em>The Art Digest</em>, Nov. 1, 1951, 15–18, ill. p. 17.
• Dorothy Bridaham, “The Paintings of Ivan Albright,” <em>Chicago</em>, April 1954, 20–41, ill. p. 24.

Picture of Dorian Gray

Art Institute of Chicago

That Which I Should Have Done I Did Not Do (The Door)

Art Institute of Chicago

A Face from Georgia

Art Institute of Chicago

And Man Created God in His Own Image

Art Institute of Chicago

Poor Room—There Is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever, and Forever, and Forever without End

Art Institute of Chicago

Portrait of Mary Block

Art Institute of Chicago

Flesh (Smaller Than Tears Are the Little Blue Flowers)

Art Institute of Chicago

"And the day ran into the night, memories..."

Art Institute of Chicago

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