Paintings
1950s: Abstract Expressionism
Carmen Cicero attends New Jersey State Teachers College (now Kean University) in Newark on the G.I. Bill. Discovers the art department has an outstanding faculty, and decides to become a professional painter. Hired as art instructor at Roselle Park High School, Roselle Park, NJ (’55-‘56).
Cicero's early paintings combined the gestures of Abstract Expressionism with the artist's interest in Surrealist automatism. He took graduate courses with Robert Motherwell at Hunter College (’52). Many of his works were first executed in light brushstrokes, free-associating shapes with geographic locations or literary motifs, such as the mountains of Catalonia (in Near Tibidabo, ’50) or the strange object of Franz Kafka (in Odradek, ’59). The artist would work his black-and-white compositions further, adding the sharp lines and erratic forms that distinguished his oeuvre in the 1950s. Cicero’s early abstract paintings were clearly indebted to his drawings. When one compares the oil on canvas Abstraction (’54), painted in the same year as the drawing
Carmen Cicero attends New Jersey State Teachers College (now Kean University) in Newark on the G.I. Bill. Discovers the art department has an outstanding faculty, and decides to become a professional painter. Hired as art instructor at Roselle Park High School, Roselle Park, NJ (’55-‘56).
Cicero's early paintings combined the gestures of Abstract Expressionism with the artist's interest in Surrealist automatism. He took graduate courses with Robert Motherwell at Hunter College (’52). Many of his works were first executed in light brushstrokes, free-associating shapes with geographic locations or literary motifs, such as the mountains of Catalonia (in Near Tibidabo, ’50) or the strange object of Franz Kafka (in Odradek, ’59). The artist would work his black-and-white compositions further, adding the sharp lines and erratic forms that distinguished his oeuvre in the 1950s. Cicero’s early abstract paintings were clearly indebted to his drawings. When one compares the oil on canvas Abstraction (’54), painted in the same year as the drawing Small Animal, one can see the similarity in the fresh, gestural brushwork and use of black. In his drawings, the artist often drew with the stopper from a small India ink bottle, which was a prelude to his habit of using a tube of paint instead of a brush to apply pigment to his large oils. The artist attributes his ease with the spontaneous approach inherent in the Abstractionist Expressionist painting approach as indebted to his background as a jazz musician and his use of improvisation (he played clarinet and later alto saxophone). Abstraction (’54) acquired by the Newark Museum of Art, the young artist’s first painting to enter a museum collection (’54). Other museums who acquired paintings from this decade include the Whitney Museum (Pegasus, ’57), The University of Michigan Museum of Art (Along the Borgo Pass, ’58), Smithsonian American Art Museum (Near Tibidabo, ‘58), and the Guggenheim Museum [The Warrior (’55) and Odradek (’59)]. Awarded a John Simon Guggenheim Memorial Foundation Fellowship (’57). Travels to Europe on the Guggenheim fellowship, spending time in France, Italy, and Spain, settling in Fornells on Minorca for a time. Visits Europe’s major museums. Begins teaching painting at Sarah Lawrence College, Bronxville, NY (’59-’68).
Solo Exhibitions: at Peridot Gallery, New York (’56, ’57, ‘59), the gallery that exhibited the works of Louise Bourgeois and Philip Guston in solo shows a decade prior.
Group Exhibitions: include the Museum of Modern Art (’53, ’56, ’57, ’59); Newark Museum (’55, ’58); Art Institute of Chicago (’57, ’59); Whitney Annual (later the Whitney Biennial), (’55, ’59); as well as the Guggenheim Museum's exhibition inaugurating its Frank Lloyd Wright–designed building (’59); Premiere Biennale de Paris, Musée d’Art Moderne (’59); Rhode Island School of Design (’59), Corcoran Gallery of Art (’59), Brooklyn Museum (’59); and American Academy of Arts and Letters (’59).
Carmen Cicero attends New Jersey State Teachers College (now Kean University) in Newark on the G.I. Bill. Discovers the art department has an outstanding faculty, and decides to become a professional painter. Hired as art instructor at Roselle Park High School, Roselle Park, NJ (’55-‘56).
Cicero's early paintings combined the gestures of Abstract Expressionism with the artist's interest in Surrealist automatism. He took graduate courses with Robert Motherwell at Hunter College (’52). Many of his works were first executed in light brushstrokes, free-associating shapes with geographic locations or literary motifs, such as the mountains of Catalonia (in Near Tibidabo, ’50) or the strange object of Franz Kafka (in Odradek, ’59). The artist would work his black-and-white compositions further, adding the sharp lines and erratic forms that distinguished his oeuvre in the 1950s. Cicero’s early abstract paintings were clearly indebted to his drawings. When one compares the oil on canvas Abstraction (’54), painted in the same year as the drawing Small Animal, one can see the similarity in the fresh, gestural brushwork and use of black. In his drawings, the artist often drew with the stopper from a small India ink bottle, which was a prelude to his habit of using a tube of paint instead of a brush to apply pigment to his large oils. The artist attributes his ease with the spontaneous approach inherent in the Abstractionist Expressionist painting approach as indebted to his background as a jazz musician and his use of improvisation (he played clarinet and later alto saxophone). Abstraction (’54) acquired by the Newark Museum of Art, the young artist’s first painting to enter a museum collection (’54). Other museums who acquired paintings from this decade include the Whitney Museum (Pegasus, ’57), The University of Michigan Museum of Art (Along the Borgo Pass, ’58), Smithsonian American Art Museum (Near Tibidabo, ‘58), and the Guggenheim Museum [The Warrior (’55) and Odradek (’59)]. Awarded a John Simon Guggenheim Memorial Foundation Fellowship (’57). Travels to Europe on the Guggenheim fellowship, spending time in France, Italy, and Spain, settling in Fornells on Minorca for a time. Visits Europe’s major museums. Begins teaching painting at Sarah Lawrence College, Bronxville, NY (’59-’68).
Solo Exhibitions: at Peridot Gallery, New York (’56, ’57, ‘59), the gallery that exhibited the works of Louise Bourgeois and Philip Guston in solo shows a decade prior.
Group Exhibitions: include the Museum of Modern Art (’53, ’56, ’57, ’59); Newark Museum (’55, ’58); Art Institute of Chicago (’57, ’59); Whitney Annual (later the Whitney Biennial), (’55, ’59); as well as the Guggenheim Museum's exhibition inaugurating its Frank Lloyd Wright–designed building (’59); Premiere Biennale de Paris, Musée d’Art Moderne (’59); Rhode Island School of Design (’59), Corcoran Gallery of Art (’59), Brooklyn Museum (’59); and American Academy of Arts and Letters (’59).
Small Animal, one can see the similarity in the fresh, gestural brushwork and use of black. In his drawings, the artist often drew with the stopper from a small India ink bottle, which was a prelude to his habit of using a tube of paint instead of a brush to apply pigment to his large oils. The artist attributes his ease with the spontaneous approach inherent in the Abstractionist Expressionist painting approach as indebted to his background as a jazz musician and his use of improvisation (he played clarinet and later alto saxophone). Abstraction (’54) acquired by the Newark Museum of Art, the young artist’s first painting to enter a museum collection (’54). Other museums who acquired paintings from this decade include the Whitney Museum (Pegasus, ’57), The University of Michigan Museum of Art (Along the Borgo Pass, ’58), Smithsonian American Art Museum (Near Tibidabo, ‘58), and the Guggenheim Museum [The Warrior (’55) and Odradek (’59)]. Awarded a John Simon Guggenheim Memorial Foundation Fellowship (’57). Travels to Europe on the Guggenheim fellowship, spending time in France, Italy, and
Spain, settling in Fornells on Minorca for a time. Visits Europe’s major museums. Begins teaching painting at Sarah Lawrence College, Bronxville, NY (’59-’68).
Solo Exhibitions: at Peridot Gallery, New York (’56, ’57, ‘59), the gallery that exhibited the works of Louise Bourgeois and Philip Guston in solo shows a decade prior.
Group Exhibitions: include the Museum of Modern Art (’53, ’56, ’57, ’59); Newark Museum (’55, ’58); Art Institute of Chicago (’57, ’59); Whitney Annual (later the Whitney Biennial), (’55, ’59); as well as the Guggenheim Museum's exhibition inaugurating its Frank Lloyd Wright–designed building (’59); Premiere Biennale de Paris, Musée d’Art Moderne (’59); Rhode Island School of Design (’59), Corcoran Gallery of Art (’59), Brooklyn Museum (’59); and American Academy of Arts and Letters (’59).
Abstraction
1954
41 x 57-3/4 inches, Oil on canvas. Collection of the Newark Museum, Newark, New Jersey
Abstraction
1954
41 x 57-3/4 inches, Oil on canvas. Collection of the Newark Museum, Newark, New Jersey
Abstraction
1954
41 x 57-3/4 inches, Oil on canvas. Collection of the Newark Museum, Newark, New Jersey
Abstraction
1954
41 x 57-3/4 inches, Oil on canvas. Collection of the Newark Museum, Newark, New Jersey
The Kiss
1955
Oil on canvas, 36 x 48 inches. Collection Larry Aldrich, New York
The Kiss
1955
Oil on canvas, 36 x 48 inches. Collection Larry Aldrich, New York
The Kiss
1955
Oil on canvas, 36 x 48 inches. Collection Larry Aldrich, New York
The Kiss
1955
Oil on canvas, 36 x 48 inches. Collection Larry Aldrich, New York
The Warrior
1955
Oil on canvas, 48-1/8 x 36-1/8 inches, Solomon R. Guggenheim Museum, New York
The Warrior
1955
Oil on canvas, 48-1/8 x 36-1/8 inches, Solomon R. Guggenheim Museum, New York
The Warrior
1955
Oil on canvas, 48-1/8 x 36-1/8 inches, Solomon R. Guggenheim Museum, New York
The Warrior
1955
Oil on canvas, 48-1/8 x 36-1/8 inches, Solomon R. Guggenheim Museum, New York
Pegasus
1957
Oil on canvas, 56 x 72 inches (142.24 x 182.88 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 58.27. Photograph by Geoffrey Clements
Pegasus
1957
Oil on canvas, 56 x 72 inches (142.24 x 182.88 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 58.27. Photograph by Geoffrey Clements
Pegasus
1957
Oil on canvas, 56 x 72 inches (142.24 x 182.88 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 58.27. Photograph by Geoffrey Clements
Pegasus
1957
Oil on canvas, 56 x 72 inches (142.24 x 182.88 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 58.27. Photograph by Geoffrey Clements
Along the Borgo Pass
1958
Oil on canvas, 41-7/8 x 63-15/16 inches. The University of Michigan Museum of Art, Ann Arbor, Michigan. Gift of the American Academy of Arts and Letters, The Childe Hassam Fund 1.107
Along the Borgo Pass
1958
Oil on canvas, 41-7/8 x 63-15/16 inches. The University of Michigan Museum of Art, Ann Arbor, Michigan. Gift of the American Academy of Arts and Letters, The Childe Hassam Fund 1.107
Along the Borgo Pass
1958
Oil on canvas, 41-7/8 x 63-15/16 inches. The University of Michigan Museum of Art, Ann Arbor, Michigan. Gift of the American Academy of Arts and Letters, The Childe Hassam Fund 1.107
Along the Borgo Pass
1958
Oil on canvas, 41-7/8 x 63-15/16 inches. The University of Michigan Museum of Art, Ann Arbor, Michigan. Gift of the American Academy of Arts and Letters, The Childe Hassam Fund 1.107
Near Tibidabo
1958
Oil on canvas, 40-1/4 x 50-1/8 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation, Washington, D.C. 1985.30.11
Near Tibidabo
1958
Oil on canvas, 40-1/4 x 50-1/8 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation, Washington, D.C. 1985.30.11
Near Tibidabo
1958
Oil on canvas, 40-1/4 x 50-1/8 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation, Washington, D.C. 1985.30.11
Near Tibidabo
1958
Oil on canvas, 40-1/4 x 50-1/8 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation, Washington, D.C. 1985.30.11
Odradek
1959
Oil on canvas, 8-1/4 x 100-1/8 inches. Solomon R. Guggenheim Museum, New York
Odradek
1959
Oil on canvas, 8-1/4 x 100-1/8 inches. Solomon R. Guggenheim Museum, New York
Odradek
1959
Oil on canvas, 8-1/4 x 100-1/8 inches. Solomon R. Guggenheim Museum, New York
Odradek
1959
Oil on canvas, 8-1/4 x 100-1/8 inches. Solomon R. Guggenheim Museum, New York
1960s: From Abstraction to Figurative Expressionism
During the 1960s, Cicero began to move away from Abstract Expressionism and incorporate figurative elements into his work. The Spell (’62), a painting revealing the new figurative abstractionist style is included in the Whitney Annual. In the New York Times (November 29: 1962: 41), Brian O’Doherty lauds Carmen’s latest exhibition at the Periodot Gallery, which consists of a series of large figurative expressionist oils. Three of these—Bird Courts the Muse, The Exit of E-5, and The Stars and Stripes Forever—are purchased by Joseph Hirshhorn (now in the collection of the Hirshhorn Museum and Sculpture Garden). The abstract painting Leonardo (’60), gift of Ford Foundation Purchase Program to the Whitney Museum) is included in both the Whitney Annual and the 64th American Exhibition: Paintings, Sculpture at the Art Institute of Chicago. Carmen describes this work as abstract, stating in the Whitney catalog, “If there is a subject, it is symbolic and has the same significance as a dream.” Abstraction (’62) and Figures with Seascape (c. ’64-’68) purchased for New Jersey State Museum, Trenton, NJ. Larry Aldrich acquires The Kiss (’55) for his collection. Receives a second Guggenheim Fellowship (’63). Marries Carol Baldwin,
During the 1960s, Cicero began to move away from Abstract Expressionism and incorporate figurative elements into his work. The Spell (’62), a painting revealing the new figurative abstractionist style is included in the Whitney Annual. In the New York Times (November 29: 1962: 41), Brian O’Doherty lauds Carmen’s latest exhibition at the Periodot Gallery, which consists of a series of large figurative expressionist oils. Three of these—Bird Courts the Muse, The Exit of E-5, and The Stars and Stripes Forever—are purchased by Joseph Hirshhorn (now in the collection of the Hirshhorn Museum and Sculpture Garden). The abstract painting Leonardo (’60), gift of Ford Foundation Purchase Program to the Whitney Museum) is included in both the Whitney Annual and the 64th American Exhibition: Paintings, Sculpture at the Art Institute of Chicago. Carmen describes this work as abstract, stating in the Whitney catalog, “If there is a subject, it is symbolic and has the same significance as a dream.” Abstraction (’62) and Figures with Seascape (c. ’64-’68) purchased for New Jersey State Museum, Trenton, NJ. Larry Aldrich acquires The Kiss (’55) for his collection. Receives a second Guggenheim Fellowship (’63). Marries Carol Baldwin, a painter and printmaker, and the two travel in Europe (’63). Countries visited include France, Belgium, Italy, Greece, and Yugoslavia. Begins to summer in Provincetown, MA.
Solo Exhibitions: include Peridot Gallery, New York (’61, ’62, ’64, ’66, ’68); American Gallery, New York (’66); Galerie Puntvier, Rotterdam, Holland (’67); Galleri Promenade, Tromsø, Norway (’68); Simonne Stern Gallery, New Orleans (’68).
Group Exhibitions: five Whitney Annuals (’60, ’61, ’62, ’63, ’65); three shows at Museum of Modern Art (’60, ’62); three exhibitions at the Newark Museum (’64, ‘66, ‘67); the Art Institute of Chicago (’61), Cornell University, Ithaca, NY (’61); Loeb Student Center, New York University (’61); Jerold Morris International Gallery, Toronto (’62); Art Dealers Association of America, Parke-Bernet Gallery, New York (’63); National Institute of Arts and Letters, New York (’63); Museum des 20 Jahrhunderts, Vienna, Austria (’64); Fairleigh Dickinson University Gallery, Madison, NJ; (’64); Hudson River Museum, Yonkers, NY (’64); Ohio Wesleyan University, Delaware, OH (’64); Artists’ Tribute to JFK, Swarthmore College, Swarthmore, PA (’64); New York World’s Fair, Fine Arts Pavilion (’64); American Conscience, New School Art Center, New York (’64); Fairleigh Dickinson University Gallery, Madison, NJ; Art in Roosevelt House, New Delhi, India (’65); Krannert Art Museum, University of Illinois, Champaign, IL (’65); Dorsky Gallery, New York (’65); New Jersey State Museum, Trenton, NJ (’65); Smithsonian Institution, Washington, DC (traveling exhibition)(’66); New Jersey State Museum, Trenton, NJ (’66); Aldrich Museum of Contemporary Art, Ridgefield, CT (’66); Indiana University Art Museum, Bloomington, IN (’66); Grippi-Waddell Gallery, New York (’66); Galerie Punt Vier, Rotterdam, Netherlands (’66); Simonne Stern Gallery, New Orleans (’66); International Young Artists, Tokyo (’67); New Jersey State Museum, Trenton (’67); Parke-Bernet Gallery, New York (’67); Sarah Lawrence Art Festival, Riverside Museum, New York (’68); New Jersey State Museum, Trenton (’68); School of Visual Arts, New York (’68); New School of Social Research, New York (’69).
During the 1960s, Cicero began to move away from Abstract Expressionism and incorporate figurative elements into his work. The Spell (’62), a painting revealing the new figurative abstractionist style is included in the Whitney Annual. In the New York Times (November 29: 1962: 41), Brian O’Doherty lauds Carmen’s latest exhibition at the Periodot Gallery, which consists of a series of large figurative expressionist oils. Three of these—Bird Courts the Muse, The Exit of E-5, and The Stars and Stripes Forever—are purchased by Joseph Hirshhorn (now in the collection of the Hirshhorn Museum and Sculpture Garden). The abstract painting Leonardo (’60), gift of Ford Foundation Purchase Program to the Whitney Museum) is included in both the Whitney Annual and the 64th American Exhibition: Paintings, Sculpture at the Art Institute of Chicago. Carmen describes this work as abstract, stating in the Whitney catalog, “If there is a subject, it is symbolic and has the same significance as a dream.” Abstraction (’62) and Figures with Seascape (c. ’64-’68) purchased for New Jersey State Museum, Trenton, NJ. Larry Aldrich acquires The Kiss (’55) for his collection. Receives a second Guggenheim Fellowship (’63). Marries Carol Baldwin, a painter and printmaker, and the two travel in Europe (’63). Countries visited include France, Belgium, Italy, Greece, and Yugoslavia. Begins to summer in Provincetown, MA.
Solo Exhibitions: include Peridot Gallery, New York (’61, ’62, ’64, ’66, ’68); American Gallery, New York (’66); Galerie Puntvier, Rotterdam, Holland (’67); Galleri Promenade, Tromsø, Norway (’68); Simonne Stern Gallery, New Orleans (’68).
Group Exhibitions: five Whitney Annuals (’60, ’61, ’62, ’63, ’65); three shows at Museum of Modern Art (’60, ’62); three exhibitions at the Newark Museum (’64, ‘66, ‘67); the Art Institute of Chicago (’61), Cornell University, Ithaca, NY (’61); Loeb Student Center, New York University (’61); Jerold Morris International Gallery, Toronto (’62); Art Dealers Association of America, Parke-Bernet Gallery, New York (’63); National Institute of Arts and Letters, New York (’63); Museum des 20 Jahrhunderts, Vienna, Austria (’64); Fairleigh Dickinson University Gallery, Madison, NJ; (’64); Hudson River Museum, Yonkers, NY (’64); Ohio Wesleyan University, Delaware, OH (’64); Artists’ Tribute to JFK, Swarthmore College, Swarthmore, PA (’64); New York World’s Fair, Fine Arts Pavilion (’64); American Conscience, New School Art Center, New York (’64); Fairleigh Dickinson University Gallery, Madison, NJ; Art in Roosevelt House, New Delhi, India (’65); Krannert Art Museum, University of Illinois, Champaign, IL (’65); Dorsky Gallery, New York (’65); New Jersey State Museum, Trenton, NJ (’65); Smithsonian Institution, Washington, DC (traveling exhibition)(’66); New Jersey State Museum, Trenton, NJ (’66); Aldrich Museum of Contemporary Art, Ridgefield, CT (’66); Indiana University Art Museum, Bloomington, IN (’66); Grippi-Waddell Gallery, New York (’66); Galerie Punt Vier, Rotterdam, Netherlands (’66); Simonne Stern Gallery, New Orleans (’66); International Young Artists, Tokyo (’67); New Jersey State Museum, Trenton (’67); Parke-Bernet Gallery, New York (’67); Sarah Lawrence Art Festival, Riverside Museum, New York (’68); New Jersey State Museum, Trenton (’68); School of Visual Arts, New York (’68); New School of Social Research, New York (’69).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
a painter and printmaker, and the two travel in Europe (’63). Countries visited include France, Belgium, Italy, Greece, and Yugoslavia. Begins to summer in Provincetown, MA.
Solo Exhibitions: include Peridot Gallery, New York (’61, ’62, ’64, ’66, ’68); American Gallery, New York (’66); Galerie Puntvier, Rotterdam, Holland (’67); Galleri Promenade, Tromsø, Norway (’68); Simonne Stern Gallery, New Orleans (’68).
Group Exhibitions: five Whitney Annuals (’60, ’61, ’62, ’63, ’65); three shows at Museum of Modern Art (’60, ’62); three exhibitions at the Newark Museum (’64, ‘66, ‘67); the Art Institute of Chicago (’61), Cornell University, Ithaca, NY (’61); Loeb Student Center, New York University (’61); Jerold Morris International Gallery, Toronto (’62); Art Dealers Association of America, Parke-Bernet Gallery, New York (’63); National Institute of Arts and Letters, New York (’63); Museum des 20 Jahrhunderts, Vienna, Austria (’64); Fairleigh Dickinson University Gallery, Madison, NJ; (’64); Hudson River Museum, Yonkers, NY (’64); Ohio Wesleyan University, Delaware, OH
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
(’64); Artists’ Tribute to JFK, Swarthmore College, Swarthmore, PA (’64); New York World’s Fair, Fine Arts Pavilion (’64); American Conscience, New School Art Center, New York (’64); Fairleigh Dickinson University Gallery, Madison, NJ; Art in Roosevelt House, New Delhi, India (’65); Krannert Art Museum, University of Illinois, Champaign, IL (’65); Dorsky Gallery, New York (’65); New Jersey State Museum, Trenton, NJ (’65); Smithsonian Institution, Washington, DC (traveling exhibition)(’66); New Jersey State Museum, Trenton, NJ (’66); Aldrich Museum of Contemporary Art, Ridgefield, CT (’66); Indiana University Art Museum, Bloomington, IN (’66); Grippi-Waddell Gallery, New York (’66); Galerie Punt Vier, Rotterdam, Netherlands (’66); Simonne Stern Gallery, New Orleans (’66); International Young Artists, Tokyo (’67); New Jersey State Museum, Trenton (’67); Parke-Bernet Gallery, New York (’67); Sarah Lawrence Art Festival, Riverside Museum, New York (’68); New Jersey State Museum, Trenton (’68); School of Visual Arts, New York (’68); New School of Social Research, New York (’69).
Standing Nude
1960
Oil on canvas, 36 x 40 inches. Collection of Jonas and Harriet Weissberg, now owned by Joseph Weissberg. Reproduced in Art Collection of Jonas and Harriet Weissberg, (2020), p. 74, by their son Joseph Weissberg
Standing Nude
1960
Oil on canvas, 36 x 40 inches. Collection of Jonas and Harriet Weissberg, now owned by Joseph Weissberg. Reproduced in Art Collection of Jonas and Harriet Weissberg, (2020), p. 74, by their son Joseph Weissberg
Standing Nude
1960
Oil on canvas, 36 x 40 inches. Collection of Jonas and Harriet Weissberg, now owned by Joseph Weissberg. Reproduced in Art Collection of Jonas and Harriet Weissberg, (2020), p. 74, by their son Joseph Weissberg
Standing Nude
1960
Oil on canvas, 36 x 40 inches. Collection of Jonas and Harriet Weissberg, now owned by Joseph Weissberg. Reproduced in Art Collection of Jonas and Harriet Weissberg, (2020), p. 74, by their son Joseph Weissberg
Bird Courts the Muse
1962
Oil on canvas, 60-1/8 x 76-1/8 inches. Hirshhorn Museum and Sculpture Garden, Washington, DC. Purchased from Peridot Gallery, NY, 1962
Bird Courts the Muse
1962
Oil on canvas, 60-1/8 x 76-1/8 inches. Hirshhorn Museum and Sculpture Garden, Washington, DC. Purchased from Peridot Gallery, NY, 1962
Bird Courts the Muse
1962
Oil on canvas, 60-1/8 x 76-1/8 inches. Hirshhorn Museum and Sculpture Garden, Washington, DC. Purchased from Peridot Gallery, NY, 1962
Bird Courts the Muse
1962
Oil on canvas, 60-1/8 x 76-1/8 inches. Hirshhorn Museum and Sculpture Garden, Washington, DC. Purchased from Peridot Gallery, NY, 1962
The Exit of E-5
1962
Oil on linen, 60-1/8 x 76-1/4 inches (152.6 x 193.5 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.914. Photography by Cathy Carver
The Exit of E-5
1962
Oil on linen, 60-1/8 x 76-1/4 inches (152.6 x 193.5 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.914. Photography by Cathy Carver
The Exit of E-5
1962
Oil on linen, 60-1/8 x 76-1/4 inches (152.6 x 193.5 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.914. Photography by Cathy Carver
The Exit of E-5
1962
Oil on linen, 60-1/8 x 76-1/4 inches (152.6 x 193.5 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.914. Photography by Cathy Carver
The Stars and Stripes Forever
1962
Oil on canvas, 70-1/8 X 82 inches (178.0 x 208.4 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.915. Photography by Cathy Carver
The Stars and Stripes Forever
1962
Oil on canvas, 70-1/8 X 82 inches (178.0 x 208.4 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.915. Photography by Cathy Carver
The Stars and Stripes Forever
1962
Oil on canvas, 70-1/8 X 82 inches (178.0 x 208.4 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.915. Photography by Cathy Carver
The Stars and Stripes Forever
1962
Oil on canvas, 70-1/8 X 82 inches (178.0 x 208.4 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966, 66.915. Photography by Cathy Carver
Untitled
1962
Oil on canvas, 70-3/4 x 81 inches. Purchase College, State University of New York, Collection Neuberger Museum of Art; Gift of Mr. and Mrs. Jules Sherman. Acc. 1977.36/01
Untitled
1962
Oil on canvas, 70-3/4 x 81 inches. Purchase College, State University of New York, Collection Neuberger Museum of Art; Gift of Mr. and Mrs. Jules Sherman. Acc. 1977.36/01
Untitled
1962
Oil on canvas, 70-3/4 x 81 inches. Purchase College, State University of New York, Collection Neuberger Museum of Art; Gift of Mr. and Mrs. Jules Sherman. Acc. 1977.36/01
Untitled
1962
Oil on canvas, 70-3/4 x 81 inches. Purchase College, State University of New York, Collection Neuberger Museum of Art; Gift of Mr. and Mrs. Jules Sherman. Acc. 1977.36/01
The Young Artist
1965
Oil on canvas, 23-3/4 x 19-1/4 inches
The Young Artist
1965
Oil on canvas, 23-3/4 x 19-1/4 inches
The Young Artist
1965
Oil on canvas, 23-3/4 x 19-1/4 inches
The Young Artist
1965
Oil on canvas, 23-3/4 x 19-1/4 inches
Frightened Woman
1965
Oil on canvas, 36 x 28 inches
Frightened Woman
1965
Oil on canvas, 36 x 28 inches
Frightened Woman
1965
Oil on canvas, 36 x 28 inches
Frightened Woman
1965
Oil on canvas, 36 x 28 inches
Ignored Prophet
1965
Oil on canvas, 36 x 30 inches
Ignored Prophet
1965
Oil on canvas, 36 x 30 inches
Ignored Prophet
1965
Oil on canvas, 36 x 30 inches
Ignored Prophet
1965
Oil on canvas, 36 x 30 inches
Love on the Beach
1966
Acrylic on canvas, 48 x 72. Lamont Gallery, Phillips Exeter Academy, Exeter, NH
Love on the Beach
1966
Acrylic on canvas, 48 x 72. Lamont Gallery, Phillips Exeter Academy, Exeter, NH
Love on the Beach
1966
Acrylic on canvas, 48 x 72. Lamont Gallery, Phillips Exeter Academy, Exeter, NH
Love on the Beach
1966
Acrylic on canvas, 48 x 72. Lamont Gallery, Phillips Exeter Academy, Exeter, NH
Figures with Seascape
1967
Acrylic on canvas, 1967, 72 x 72 inches. New Jersey State Museum, Trenton, NJ; The Frelinghuysen Purchase Award, Mr. and Mrs. George Pellettieri Purchase award, Mr. and Mrs. Burton Peskin Purchase Award, Mr. and Mrs. Morris M. Ravin Purchase Award, Anonymous gift and the Museum FA1968.18 Purchase Fund
Figures with Seascape
1967
Acrylic on canvas, 1967, 72 x 72 inches. New Jersey State Museum, Trenton, NJ; The Frelinghuysen Purchase Award, Mr. and Mrs. George Pellettieri Purchase award, Mr. and Mrs. Burton Peskin Purchase Award, Mr. and Mrs. Morris M. Ravin Purchase Award, Anonymous gift and the Museum FA1968.18 Purchase Fund
Figures with Seascape
1967
Acrylic on canvas, 1967, 72 x 72 inches. New Jersey State Museum, Trenton, NJ; The Frelinghuysen Purchase Award, Mr. and Mrs. George Pellettieri Purchase award, Mr. and Mrs. Burton Peskin Purchase Award, Mr. and Mrs. Morris M. Ravin Purchase Award, Anonymous gift and the Museum FA1968.18 Purchase Fund
Figures with Seascape
1967
Acrylic on canvas, 1967, 72 x 72 inches. New Jersey State Museum, Trenton, NJ; The Frelinghuysen Purchase Award, Mr. and Mrs. George Pellettieri Purchase award, Mr. and Mrs. Burton Peskin Purchase Award, Mr. and Mrs. Morris M. Ravin Purchase Award, Anonymous gift and the Museum FA1968.18 Purchase Fund
1970s: Figurative Expressionism
In 1971, the contents of Cicero's Englewood, New Jersey, studio, which included the entire body of work (over forty pieces) still in the artist's possession, were lost in a fire. From that point forward, his painting took a personal turn, combining figuration, landscape, and wit in compositions with Surrealist overtones. Eschewing pure abstraction, Cicero focused instead on the continued development of what he referred to as "figurative abstraction," a style he experimented with in the 1960s that would become emblematic of his later work's representation of states of mind. He left the quiet, suburban environment of Englewood, New Jersey, for a loft on the Bowery in Manhattan at a time when there was a thriving art scene but streets filled with homeless alcoholics, abandoned buildings, and crime. He becomes a part of the SoHo art scene. Cicero briefly experiments with the popular Hard-Edge style. During this period, he is faced with the phoenix-like task of creating an entirely fresh body of work. For the next several years, he concentrates on building a new body of work in his Bowery studio that is Figurative Expressionist, drawing on earlier expressionist tendencies that first emerged in his work in the early 1960s. Though the spontaneous line in his paintings during this period is similar to that observed in the drawings,
In 1971, the contents of Cicero's Englewood, New Jersey, studio, which included the entire body of work (over forty pieces) still in the artist's possession, were lost in a fire. From that point forward, his painting took a personal turn, combining figuration, landscape, and wit in compositions with Surrealist overtones. Eschewing pure abstraction, Cicero focused instead on the continued development of what he referred to as "figurative abstraction," a style he experimented with in the 1960s that would become emblematic of his later work's representation of states of mind. He left the quiet, suburban environment of Englewood, New Jersey, for a loft on the Bowery in Manhattan at a time when there was a thriving art scene but streets filled with homeless alcoholics, abandoned buildings, and crime. He becomes a part of the SoHo art scene. Cicero briefly experiments with the popular Hard-Edge style. During this period, he is faced with the phoenix-like task of creating an entirely fresh body of work. For the next several years, he concentrates on building a new body of work in his Bowery studio that is Figurative Expressionist, drawing on earlier expressionist tendencies that first emerged in his work in the early 1960s. Though the spontaneous line in his paintings during this period is similar to that observed in the drawings, cooperative Long Point Gallery in Provincetown invites him to become a member. Exhibits every summer at Long Point for twenty years, becoming close friends with the other artist-members, who include Varujan Boghosian, Fritz Bultman, Sideo Fromboluti, Rick Klauber, Budd Hopkins, Leo Manso, Robert Motherwell, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, and Tony Vevers. That summer in Truro, meets Mary Ellen Abell, who later becomes his wife. Becomes a professor of painting at Montclair State University (’70-‘01).
Begins playing in jazz gigs with his alto saxophone.
Solo Exhibitions: Leslie Rankow Gallery (’72, ’73, ’75); Long Point Gallery, Provincetown, MA (’77, ’79).
Group Exhibitions: Peridot Gallery (’70), New Jersey State Museum (’71), Butler Institute of American Art (‘’3); Aldrich Museum of Contemporary Arts, Ridgefield, CT (’73); Summit Art Center, NJ (’76); Landmark Gallery, NY (’76); Long Point Gallery, Provincetown, MA (’78, ’79); Discovery Gallery, Upper Montclair, NJ (’78); Gurewitsch Gallery, New York (’78); The Montclair Art Museum (’79).
In 1971, the contents of Cicero's Englewood, New Jersey, studio, which included the entire body of work (over forty pieces) still in the artist's possession, were lost in a fire. From that point forward, his painting took a personal turn, combining figuration, landscape, and wit in compositions with Surrealist overtones. Eschewing pure abstraction, Cicero focused instead on the continued development of what he referred to as "figurative abstraction," a style he experimented with in the 1960s that would become emblematic of his later work's representation of states of mind. He left the quiet, suburban environment of Englewood, New Jersey, for a loft on the Bowery in Manhattan at a time when there was a thriving art scene but streets filled with homeless alcoholics, abandoned buildings, and crime. He becomes a part of the SoHo art scene. Cicero briefly experiments with the popular Hard-Edge style. During this period, he is faced with the phoenix-like task of creating an entirely fresh body of work. For the next several years, he concentrates on building a new body of work in his Bowery studio that is Figurative Expressionist, drawing on earlier expressionist tendencies that first emerged in his work in the early 1960s. Though the spontaneous line in his paintings during this period is similar to that observed in the drawings, cooperative Long Point Gallery in Provincetown invites him to become a member. Exhibits every summer at Long Point for twenty years, becoming close friends with the other artist-members, who include Varujan Boghosian, Fritz Bultman, Sideo Fromboluti, Rick Klauber, Budd Hopkins, Leo Manso, Robert Motherwell, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, and Tony Vevers. That summer in Truro, meets Mary Ellen Abell, who later becomes his wife. Becomes a professor of painting at Montclair State University (’70-‘01).
Begins playing in jazz gigs with his alto saxophone.
Solo Exhibitions: Leslie Rankow Gallery (’72, ’73, ’75); Long Point Gallery, Provincetown, MA (’77, ’79).
Group Exhibitions: Peridot Gallery (’70), New Jersey State Museum (’71), Butler Institute of American Art (‘’3); Aldrich Museum of Contemporary Arts, Ridgefield, CT (’73); Summit Art Center, NJ (’76); Landmark Gallery, NY (’76); Long Point Gallery, Provincetown, MA (’78, ’79); Discovery Gallery, Upper Montclair, NJ (’78); Gurewitsch Gallery, New York (’78); The Montclair Art Museum (’79).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
the content in the works on canvas are in marked contrast to the melancholy works on paper. These paintings are executed with explosive color and contain violent themes, as can be seen in the Figurative Expressionist canvas Crime (’76). Many of the artist’s large, Figurative Expressionist canvases made on the Bowery during the 1970s have been seen by critics as precursors to the Neo-Expressionist movement in the 1980s. Lowery S. Sims wrote in a catalogue essay for Graham Modern Gallery (’84) “that Cicero, like Philip Guston, left abstraction in the ’60s and began working in a “‘funky’ figuration that is so much in vogue these days, and which was ridiculed until the art world finally modified its exclusively formalist point of view.” Cicero agrees with Sims and remembers that in the ’60s when “my fellow artists visited my studio and saw my figurative expressionist work they were uncomfortable or critical. I did not think it at the time but looking back I believe I was one of the first Figurative Expressionists to emerge after Abstract Expressionism.” Untitled (’62) enters the Neuberger Museum of Art, Purchase College, State University of New York. Cicero purchases the old South Truro Railroad Station in Truro, MA, on Cape Cod (’72), which he and his wife have been renting for several summers. He and Carol Baldwin divorce (’73). The
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
cooperative Long Point Gallery in Provincetown invites him to become a member. Exhibits every summer at Long Point for twenty years, becoming close friends with the other artist-members, who include Varujan Boghosian, Fritz Bultman, Sideo Fromboluti, Rick Klauber, Budd Hopkins, Leo Manso, Robert Motherwell, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, and Tony Vevers. That summer in Truro, meets Mary Ellen Abell, who later becomes his wife. Becomes a professor of painting at Montclair State University (’70-‘01).
Begins playing in jazz gigs with his alto saxophone.
Solo Exhibitions: Leslie Rankow Gallery (’72, ’73, ’75); Long Point Gallery, Provincetown, MA (’77, ’79).
Group Exhibitions: Peridot Gallery (’70), New Jersey State Museum (’71), Butler Institute of American Art (‘’3); Aldrich Museum of Contemporary Arts, Ridgefield, CT (’73); Summit Art Center, NJ (’76); Landmark Gallery, NY (’76); Long Point Gallery, Provincetown, MA (’78, ’79); Discovery Gallery, Upper Montclair, NJ (’78); Gurewitsch Gallery, New York (’78); The Montclair Art Museum (’79).
Battle of the Sexes I
1972
Acrylic on canvas, 70 x 96 inches. Courtesy the artist and June Kelly Gallery, New York
Battle of the Sexes I
1972
Acrylic on canvas, 70 x 96 inches. Courtesy the artist and June Kelly Gallery, New York
Battle of the Sexes I
1972
Acrylic on canvas, 70 x 96 inches. Courtesy the artist and June Kelly Gallery, New York
Battle of the Sexes I
1972
Acrylic on canvas, 70 x 96 inches. Courtesy the artist and June Kelly Gallery, New York
Orange and Blue
1973
Acrylic on canvas, 58 x 75-1/2 inches
Orange and Blue
1973
Acrylic on canvas, 58 x 75-1/2 inches
Orange and Blue
1973
Acrylic on canvas, 58 x 75-1/2 inches
Orange and Blue
1973
Acrylic on canvas, 58 x 75-1/2 inches
Looney Tunes
1975
Acrylic on canvas, 72 x 103 inches
Looney Tunes
1975
Acrylic on canvas, 72 x 103 inches
Looney Tunes
1975
Acrylic on canvas, 72 x 103 inches
Looney Tunes
1975
Acrylic on canvas, 72 x 103 inches
Crime
1976
Acrylic on canvas, 84 x 72 inches
Crime
1976
Acrylic on canvas, 84 x 72 inches
Crime
1976
Acrylic on canvas, 84 x 72 inches
Crime
1976
Acrylic on canvas, 84 x 72 inches
The Feminist
1976
Acrylic on canvas, 72 x 84 inches. Collection of Spiro Gavaris
The Feminist
1976
Acrylic on canvas, 72 x 84 inches. Collection of Spiro Gavaris
The Feminist
1976
Acrylic on canvas, 72 x 84 inches. Collection of Spiro Gavaris
The Feminist
1976
Acrylic on canvas, 72 x 84 inches. Collection of Spiro Gavaris
1980s: Figurative Expressionism
Cicero shows some of his Figurative Expressionist canvases of the 1970s and early 1980s in a single-artist exhibition at the Gracie Mansion Gallery on the Lower East Side and becomes involved in the East Village art scene with younger artists sharing similar expressionistic interests. Carmen is invited to join the Graham Modern Gallery in New York by its director, Berta Walker (’84-’90). His initial exhibition there marks his first mainstream exposure to the New York art scene since the 1971 fire that destroyed his early work. Lowery S. Sims, associate curator at the Metropolitan Museum of Art, writes the catalog essay. This show is positively reviewed by many members of the art press. Begins showing at June Kelly Gallery, New York (’88). The painting Fire (’82) enters the Neuberger Museum, Purchase, NY; Looking Back (‘82) is purchased by the Newark Museum of Art. Personage (’76) acquired by the Museum of Fine Arts, Springfield, MA; The Patriot (’84) purchased for the
In 1971, the contents of Cicero's Englewood, New Jersey, studio, which included the entire body of work (over forty pieces) still in the artist's possession, were lost in a fire. From that point forward, his painting took a personal turn, combining figuration, landscape, and wit in compositions with Surrealist overtones. Eschewing pure abstraction, Cicero focused instead on the continued development of what he referred to as "figurative abstraction," a style he experimented with in the 1960s that would become emblematic of his later work's representation of states of mind. He left the quiet, suburban environment of Englewood, New Jersey, for a loft on the Bowery in Manhattan at a time when there was a thriving art scene but streets filled with homeless alcoholics, abandoned buildings, and crime. He becomes a part of the SoHo art scene. Cicero briefly experiments with the popular Hard-Edge style. During this period, he is faced with the phoenix-like task of creating an entirely fresh body of work. For the next several years, he concentrates on building a new body of work in his Bowery studio that is Figurative Expressionist, drawing on earlier expressionist tendencies that first emerged in his work in the early 1960s. Though the spontaneous line in his paintings during this period is similar to that observed in the drawings, cooperative Long Point Gallery in Provincetown invites him to become a member. Exhibits every summer at Long Point for twenty years, becoming close friends with the other artist-members, who include Varujan Boghosian, Fritz Bultman, Sideo Fromboluti, Rick Klauber, Budd Hopkins, Leo Manso, Robert Motherwell, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, and Tony Vevers. That summer in Truro, meets Mary Ellen Abell, who later becomes his wife. Becomes a professor of painting at Montclair State University (’70-‘01).
Begins playing in jazz gigs with his alto saxophone.
Solo Exhibitions: Leslie Rankow Gallery (’72, ’73, ’75); Long Point Gallery, Provincetown, MA (’77, ’79).
Group Exhibitions: Peridot Gallery (’70), New Jersey State Museum (’71), Butler Institute of American Art (‘’3); Aldrich Museum of Contemporary Arts, Ridgefield, CT (’73); Summit Art Center, NJ (’76); Landmark Gallery, NY (’76); Long Point Gallery, Provincetown, MA (’78, ’79); Discovery Gallery, Upper Montclair, NJ (’78); Gurewitsch Gallery, New York (’78); The Montclair Art Museum (’79).
Cicero shows some of his Figurative Expressionist canvases of the 1970s and early 1980s in a single-artist exhibition at the Gracie Mansion Gallery on the Lower East Side and becomes involved in the East Village art scene with younger artists sharing similar expressionistic interests. Carmen is invited to join the Graham Modern Gallery in New York by its director, Berta Walker (’84-’90). His initial exhibition there marks his first mainstream exposure to the New York art scene since the 1971 fire that destroyed his early work. Lowery S. Sims, associate curator at the Metropolitan Museum of Art, writes the catalog essay. This show is positively reviewed by many members of the art press. Begins showing at June Kelly Gallery, New York (’88). The painting Fire (’82) enters the Neuberger Museum, Purchase, NY; Looking Back (‘82) is purchased by the Newark Museum of Art. Personage (’76) acquired by the Museum of Fine Arts, Springfield, MA; The Patriot (’84) purchased for the Collection of Art and the Law, St. Paul, MN. The Meeting Place (’96) enters the collection of the University of California, Berkeley Museum and Pacific Film Archives, CA, gift of the American Academy of Arts & Letters. The Lovers (’87) and Untitled (’76) are gifted to the Newark Museum of Art.
Solo Exhibitions: Graham Modern (’81, ’84, ’85, ’87, ’88); Long Point Gallery, Provincetown, MA ( ’81, ’84, ’88); Gracie Mansion Gallery, New York (’82); Art Academy of Cincinnati (’83); Maurice M. Pine Free Public Library, Fair Lawn, NJ (’85); Cherrystone Gallery, Wellfleet, MA (’86).
Group Exhibitions: Grippi Gallery, New York (’80); Kean College, Union, NJ (’80); Long Point Gallery (’80-’89); Western Carolina University, Chandler, NC (’81); Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC (’81); Discovery Gallery, Upper Montclair, NJ (’81); Gracie Mansion Gallery, New York (’82, ’83); Graham Modern, New York (’84, ’85, ’88); Jamaica Arts Center, Jamaica, NY (’84), Maryland Institute, College of Art, Baltimore (’84); Emotional Impact: New York School Figurative Expressionism, travelling exhibition (’84); Art and the Law, West Publishing Company, St. Paul, MN, circulating exhibition (’84, ’85, ’86, ’87); Ingber Gallery, New York (‘85); Cherrystone Gallery, Wellfleet, MA (‘86); Rhode Island School of Design (’86); Short Stories, One Penn Plaza, New York (’86); Nightworks, Krasdale Foods Gallery, Bronx (’87); The Interior Self: Three Generations of Expressionists’ View of the Human Image, Montclair Art Museum, Montclair, NJ (’87); Contemporary Painting, Boca Raton Museum of Art, Boca Raton, FL (’87); Four Artists from New York City, Goldman-Kraft, Chicago (’87); Katzen-Brown Gallery, New York (’89); Chandler Gallery, Wellfleet, MA (’89); Contemporary Provincetown: 75 Years of American Art, Provincetown Art Association and Museum (’89).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
Collection of Art and the Law, St. Paul, MN. The Meeting Place (’96) enters the collection of the University of California, Berkeley Museum and Pacific Film Archives, CA, gift of the American Academy of Arts & Letters. The Lovers (’87) and Untitled (’76) are gifted to the Newark Museum of Art.
Solo Exhibitions: Graham Modern (’81, ’84, ’85, ’87, ’88); Long Point Gallery, Provincetown, MA ( ’81, ’84, ’88); Gracie Mansion Gallery, New York (’82); Art Academy of Cincinnati (’83); Maurice M. Pine Free Public Library, Fair Lawn, NJ (’85); Cherrystone Gallery, Wellfleet, MA (’86).
Group Exhibitions: Grippi Gallery, New York (’80); Kean College, Union, NJ (’80); Long Point Gallery (’80-’89); Western Carolina University, Chandler, NC (’81); Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC (’81); Discovery Gallery, Upper Montclair, NJ (’81); Gracie Mansion
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
Gallery, New York (’82, ’83); Graham Modern, New York (’84, ’85, ’88); Jamaica Arts Center, Jamaica, NY (’84), Maryland Institute, College of Art, Baltimore (’84); Emotional Impact: New York School Figurative Expressionism, travelling exhibition (’84); Art and the Law, West Publishing Company, St. Paul, MN, circulating exhibition (’84, ’85, ’86, ’87); Ingber Gallery, New York (‘85); Cherrystone Gallery, Wellfleet, MA (‘86); Rhode Island School of Design (’86); Short Stories, One Penn Plaza, New York (’86); Nightworks, Krasdale Foods Gallery, Bronx (’87); The Interior Self: Three Generations of Expressionists’ View of the Human Image, Montclair Art Museum, Montclair, NJ (’87); Contemporary Painting, Boca Raton Museum of Art, Boca Raton, FL (’87); Four Artists from New York City, Goldman-Kraft, Chicago (’87); Katzen-Brown Gallery, New York (’89); Chandler Gallery, Wellfleet, MA (’89); Contemporary Provincetown: 75 Years of American Art, Provincetown Art Association and Museum (’89).
Mr. Ghost Goes to Town
1981
Acrylic on canvas, 84 x 72 inches
Mr. Ghost Goes to Town
1981
Acrylic on canvas, 84 x 72 inches
Mr. Ghost Goes to Town
1981
Acrylic on canvas, 84 x 72 inches
Mr. Ghost Goes to Town
1981
Acrylic on canvas, 84 x 72 inches
The Surprise in the Window
1981
Acrylic on canvas, 72 x 103 inches
The Surprise in the Window
1981
Acrylic on canvas, 72 x 103 inches
The Surprise in the Window
1981
Acrylic on canvas, 72 x 103 inches
The Surprise in the Window
1981
Acrylic on canvas, 72 x 103 inches
Prince Charming
1981
Acrylic on canvas, 84 x 72 inches. Photography by Ellen Page Wilson
Prince Charming
1981
Acrylic on canvas, 84 x 72 inches. Photography by Ellen Page Wilson
Prince Charming
1981
Acrylic on canvas, 84 x 72 inches. Photography by Ellen Page Wilson
Prince Charming
1981
Acrylic on canvas, 84 x 72 inches. Photography by Ellen Page Wilson
Guido
1982
Acrylic on canvas, 20 x 24 inches
Guido
1982
Acrylic on canvas, 20 x 24 inches
Guido
1982
Acrylic on canvas, 20 x 24 inches
Guido
1982
Acrylic on canvas, 20 x 24 inches
Flying Down to Rio
1982
Acrylic on canvas, 60 x 84 inches
Flying Down to Rio
1982
Acrylic on canvas, 60 x 84 inches
Flying Down to Rio
1982
Acrylic on canvas, 60 x 84 inches
Flying Down to Rio
1982
Acrylic on canvas, 60 x 84 inches
Looking Back
1982
Acrylic on canvas, 84 x 72 inches. Collection Newark Museum of Art, Newark, New Jersey
Looking Back
1982
Acrylic on canvas, 84 x 72 inches. Collection Newark Museum of Art, Newark, New Jersey
Looking Back
1982
Acrylic on canvas, 84 x 72 inches. Collection Newark Museum of Art, Newark, New Jersey
Looking Back
1982
Acrylic on canvas, 84 x 72 inches. Collection Newark Museum of Art, Newark, New Jersey
Fire
1982
Acrylic on canvas, 72 x 60 inches. Collection Friends of the Neuberger Museum of Art
Fire
1982
Acrylic on canvas, 72 x 60 inches. Collection Friends of the Neuberger Museum of Art
Fire
1982
Acrylic on canvas, 72 x 60 inches. Collection Friends of the Neuberger Museum of Art
Fire
1982
Acrylic on canvas, 72 x 60 inches. Collection Friends of the Neuberger Museum of Art
Death Hails a Cab
1983
Acrylic on canvas, 38 x 44 inches. Private Collection
Death Hails a Cab
1983
Acrylic on canvas, 38 x 44 inches. Private Collection
Death Hails a Cab
1983
Acrylic on canvas, 38 x 44 inches. Private Collection
Death Hails a Cab
1983
Acrylic on canvas, 38 x 44 inches. Private Collection
Provincetown Princess
1984
Acrylic on canvas, 84 x 72 inches
Provincetown Princess
1984
Acrylic on canvas, 84 x 72 inches
Provincetown Princess
1984
Acrylic on canvas, 84 x 72 inches
Provincetown Princess
1984
Acrylic on canvas, 84 x 72 inches
Puttin’ on the Ritz
1985
Acrylic on canvas, 60 x 48 inches. Private Collection
Puttin’ on the Ritz
1985
Acrylic on canvas, 60 x 48 inches. Private Collection
Puttin’ on the Ritz
1985
Acrylic on canvas, 60 x 48 inches. Private Collection
Puttin’ on the Ritz
1985
Acrylic on canvas, 60 x 48 inches. Private Collection
Nightmare
1985
Acrylic on canvas, 72 x 96 inches
Nightmare
1985
Acrylic on canvas, 72 x 96 inches
Nightmare
1985
Acrylic on canvas, 72 x 96 inches
Nightmare
1985
Acrylic on canvas, 72 x 96 inches
Battle of the Sexes II
1992
Acrylic on canvas, 72 x 96 inches
Battle of the Sexes II
1992
Acrylic on canvas, 72 x 96 inches
Battle of the Sexes II
1992
Acrylic on canvas, 72 x 96 inches
Battle of the Sexes II
1992
Acrylic on canvas, 72 x 96 inches
The Prowlers
1998
Acrylic on canvas, 72 x 84 inches
The Prowlers
1998
Acrylic on canvas, 72 x 84 inches
The Prowlers
1998
Acrylic on canvas, 72 x 84 inches
The Prowlers
1998
Acrylic on canvas, 72 x 84 inches
1990s: Visionary Paintings
Joins the June Kelly Gallery in New York (’93), the beginning of a long and fruitful relationship. Begins series of canvases he comes to call his Visionary works. Admitted as an associate member by the National Academy of Design, New York (’91) and later an academician (’93). Granted an MFA by Montclair State University (’91) and honored with a solo show at the college gallery that same year. Painting The Blue Line wins the Mikhail and Ekateryna Shatalov Prize for “a romantic realist landscape executed in a free manner” at the 170th annual exhibition of the National Academy of Design (’95). Watercolor Self-Portrait (’89) is selected by curator Will Barnet for The Artist’s Eye at the National Academy of Design Museum (’97). Flowers with Red Sunset (’87) enters the collection of the Provincetown Art Association and Museum. Travels to Italy for a month with Mary following her graduation with a master’s degree in Arts and Humanities from New York University (’90). They visit Rome, Florence, and also Macerata. They drive up the Adriatic coast to Venice, a city
Joins the June Kelly Gallery in New York (’93), the beginning of a long and fruitful relationship. Begins series of canvases he comes to call his Visionary works. Admitted as an associate member by the National Academy of Design, New York (’91) and later an academician (’93). Granted an MFA by Montclair State University (’91) and honored with a solo show at the college gallery that same year. Painting The Blue Line wins the Mikhail and Ekateryna Shatalov Prize for “a romantic realist landscape executed in a free manner” at the 170th annual exhibition of the National Academy of Design (’95). Watercolor Self-Portrait (’89) is selected by curator Will Barnet for The Artist’s Eye at the National Academy of Design Museum (’97). Flowers with Red Sunset (’87) enters the collection of the Provincetown Art Association and Museum. Travels to Italy for a month with Mary following her graduation with a master’s degree in Arts and Humanities from New York University (’90). They visit Rome, Florence, and also Macerata. They drive up the Adriatic coast to Venice, a city they come to love. Another high point of the trip is Sicily, particularly the Greek ruins. They marry on July 29 at the First Episcopal Parish Church in Truro, MA (’95).
Solo Exhibitions: Improvisations in Painting and Music, Montclair State College Art Gallery, Upper Montclair, NJ (91); The James Howe Gallery, Kean College, Union, NJ (’91); Long Point Gallery, Provincetown (’91, ’94, ’97); June Kelly Gallery, New York (’93, ’95, ’98); Jenkins Johnson Gallery, San Francisco (’98).
Group Exhibitions: Long Point Gallery (’90-’99); National Academy of Design (’91, ’92, ’95, ’97, ’98, ’99); Florida International Art Museum, University Park, Miami, FL (’90); Albright-Knox Art Gallery, Buffalo (’90, ’93); Art and the Law, West Publishing Company, St. Paul, MN, circulating exhibition (’90, ’93)); Cape Cod Museum of Art, Dennis, MA (’91); Belltable Arts Center, Limerick, Ireland (’91); Artists–New York, City Arts, Marine Midland Bank, SoHo, New York (’92); Stuart Levy Gallery, New York (’93); Provincetown Art Association and Museum (’93); Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (’94); Krasdale Foods Gallery, White Plains, NY (’94); Anderson Gallery, Buffalo, NY (’94); Sardoni Art Gallery, Wilkes University (’94); Jenkins Johnson Gallery, San Francisco (’96); Arkansas Arts Center, Little Rock (’96); Pratt Institute, Brooklyn (’96); Housatonic Museum of Art, Bridgeport, CT (’97); American Academy of Arts and Letters, New York (’97); Silvermine Guild Galleries, New Canaan, CT (’98); Cape Museum of Fine Arts, Dennis, MA (’98): Nardin Gallery, New York (’98); The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’98); The Equitable Gallery, New York; State University of New York Art Museum, Binghamton, NY (’99); Historisches Museum der Stadt Wein, Vienna (’99); Passage de Retz, Paris (’99).
Joins the June Kelly Gallery in New York (’93), the beginning of a long and fruitful relationship. Begins series of canvases he comes to call his Visionary works. Admitted as an associate member by the National Academy of Design, New York (’91) and later an academician (’93). Granted an MFA by Montclair State University (’91) and honored with a solo show at the college gallery that same year. Painting The Blue Line wins the Mikhail and Ekateryna Shatalov Prize for “a romantic realist landscape executed in a free manner” at the 170th annual exhibition of the National Academy of Design (’95). Watercolor Self-Portrait (’89) is selected by curator Will Barnet for The Artist’s Eye at the National Academy of Design Museum (’97). Flowers with Red Sunset (’87) enters the collection of the Provincetown Art Association and Museum. Travels to Italy for a month with Mary following her graduation with a master’s degree in Arts and Humanities from New York University (’90). They visit Rome, Florence, and also Macerata. They drive up the Adriatic coast to Venice, a city they come to love. Another high point of the trip is Sicily, particularly the Greek ruins. They marry on July 29 at the First Episcopal Parish Church in Truro, MA (’95).
Solo Exhibitions: Improvisations in Painting and Music, Montclair State College Art Gallery, Upper Montclair, NJ (91); The James Howe Gallery, Kean College, Union, NJ (’91); Long Point Gallery, Provincetown (’91, ’94, ’97); June Kelly Gallery, New York (’93, ’95, ’98); Jenkins Johnson Gallery, San Francisco (’98).
Group Exhibitions: Long Point Gallery (’90-’99); National Academy of Design (’91, ’92, ’95, ’97, ’98, ’99); Florida International Art Museum, University Park, Miami, FL (’90); Albright-Knox Art Gallery, Buffalo (’90, ’93); Art and the Law, West Publishing Company, St. Paul, MN, circulating exhibition (’90, ’93)); Cape Cod Museum of Art, Dennis, MA (’91); Belltable Arts Center, Limerick, Ireland (’91); Artists–New York, City Arts, Marine Midland Bank, SoHo, New York (’92); Stuart Levy Gallery, New York (’93); Provincetown Art Association and Museum (’93); Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (’94); Krasdale Foods Gallery, White Plains, NY (’94); Anderson Gallery, Buffalo, NY (’94); Sardoni Art Gallery, Wilkes University (’94); Jenkins Johnson Gallery, San Francisco (’96); Arkansas Arts Center, Little Rock (’96); Pratt Institute, Brooklyn (’96); Housatonic Museum of Art, Bridgeport, CT (’97); American Academy of Arts and Letters, New York (’97); Silvermine Guild Galleries, New Canaan, CT (’98); Cape Museum of Fine Arts, Dennis, MA (’98): Nardin Gallery, New York (’98); The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’98); The Equitable Gallery, New York; State University of New York Art Museum, Binghamton, NY (’99); Historisches Museum der Stadt Wein, Vienna (’99); Passage de Retz, Paris (’99).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
they come to love. Another high point of the trip is Sicily, particularly the Greek ruins. They marry on July 29 at the First Episcopal Parish Church in Truro, MA (’95).
Solo Exhibitions: Improvisations in Painting and Music, Montclair State College Art Gallery, Upper Montclair, NJ (91); The James Howe Gallery, Kean College, Union, NJ (’91); Long Point Gallery, Provincetown (’91, ’94, ’97); June Kelly Gallery, New York (’93, ’95, ’98); Jenkins Johnson Gallery, San Francisco (’98).
Group Exhibitions: Long Point Gallery (’90-’99); National Academy of Design (’91, ’92, ’95, ’97, ’98, ’99); Florida International Art Museum, University Park, Miami, FL (’90); Albright-Knox Art Gallery, Buffalo (’90, ’93); Art and the Law, West Publishing Company, St. Paul, MN, circulating exhibition (’90, ’93)); Cape Cod Museum of Art, Dennis, MA (’91); Belltable Arts Center, Limerick, Ireland (’91); Artists–New
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
York, City Arts, Marine Midland Bank, SoHo, New York (’92); Stuart Levy Gallery, New York (’93); Provincetown Art Association and Museum (’93); Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (’94); Krasdale Foods Gallery, White Plains, NY (’94); Anderson Gallery, Buffalo, NY (’94); Sardoni Art Gallery, Wilkes University (’94); Jenkins Johnson Gallery, San Francisco (’96); Arkansas Arts Center, Little Rock (’96); Pratt Institute, Brooklyn (’96); Housatonic Museum of Art, Bridgeport, CT (’97); American Academy of Arts and Letters, New York (’97); Silvermine Guild Galleries, New Canaan, CT (’98); Cape Museum of Fine Arts, Dennis, MA (’98): Nardin Gallery, New York (’98); The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’98); The Equitable Gallery, New York; State University of New York Art Museum, Binghamton, NY (’99); Historisches Museum der Stadt Wein, Vienna (’99); Passage de Retz, Paris (’99).
That Existential Stare
1990
Acrylic on canvas, 72 x 84 inches. Photography by Manu Sassoonian
That Existential Stare
1990
Acrylic on canvas, 72 x 84 inches. Photography by Manu Sassoonian
That Existential Stare
1990
Acrylic on canvas, 72 x 84 inches. Photography by Manu Sassoonian
That Existential Stare
1990
Acrylic on canvas, 72 x 84 inches. Photography by Manu Sassoonian
Footsteps in the Dark
1992
Acrylic on canvas, 72 x 60 inches
Footsteps in the Dark
1992
Acrylic on canvas, 72 x 60 inches
Footsteps in the Dark
1992
Acrylic on canvas, 72 x 60 inches
Footsteps in the Dark
1992
Acrylic on canvas, 72 x 60 inches
The Ghost
1992-1996
Acrylic on canvas, 74 x 62 inches. Collection of Warren E. Shaw. Photography by Manu Sassoonian
The Ghost
1992-1996
Acrylic on canvas, 74 x 62 inches. Collection of Warren E. Shaw. Photography by Manu Sassoonian
The Ghost
1992-1996
Acrylic on canvas, 74 x 62 inches. Collection of Warren E. Shaw. Photography by Manu Sassoonian
The Ghost
1992-1996
Acrylic on canvas, 74 x 62 inches. Collection of Warren E. Shaw. Photography by Manu Sassoonian
Tracer of Lost Persons
1995
Acrylic on canvas, 84 x 60 inches
Tracer of Lost Persons
1995
Acrylic on canvas, 84 x 60 inches
Tracer of Lost Persons
1995
Acrylic on canvas, 84 x 60 inches
Tracer of Lost Persons
1995
Acrylic on canvas, 84 x 60 inches
The Canoe
1997
Acrylic on canvas, 60 x 48 inches
The Canoe
1997
Acrylic on canvas, 60 x 48 inches
The Canoe
1997
Acrylic on canvas, 60 x 48 inches
The Canoe
1997
Acrylic on canvas, 60 x 48 inches
The Windmill
1997
Acrylic on canvas, 36 x 48 inches. Photography by Edward Lynch
The Windmill
1997
Acrylic on canvas, 36 x 48 inches. Photography by Edward Lynch
The Windmill
1997
Acrylic on canvas, 36 x 48 inches. Photography by Edward Lynch
The Windmill
1997
Acrylic on canvas, 36 x 48 inches. Photography by Edward Lynch
The Bookkeeper
1998
Acrylic on canvas, 54 x 72 inches
The Bookkeeper
1998
Acrylic on canvas, 54 x 72 inches
The Bookkeeper
1998
Acrylic on canvas, 54 x 72 inches
The Bookkeeper
1998
Acrylic on canvas, 54 x 72 inches
Flying Low
1999
Acrylic on canvas, 40 x 72 inches
Flying Low
1999
Acrylic on canvas, 40 x 72 inches
Flying Low
1999
Acrylic on canvas, 40 x 72 inches
Flying Low
1999
Acrylic on canvas, 40 x 72 inches
2000s
A survey of Cicero’s large Figurative Expressionist and Visionary works is held at the Provincetown Art Association and Museum (’00). Gives a lecture there on the commonalities among the visual arts, music, and literature—a subject that has become increasingly of interest to him based on his own experience as a visual artist and musician. Retires from Montclair State University (’01). Given a Visiting Artist residency at the American Academy in Rome (’02). Wins the Lee Krasner Award for lifetime achievement from the Pollock-Krasner Foundation (’07). Silent Figure (’56) acquired by the Art Gallery of Ontario, Toronto, Ontario. The painting The Ruisdael Enigma (’04) is reproduced on the front of the arts section of the New York Times related to a
A survey of Cicero’s large Figurative Expressionist and Visionary works is held at the Provincetown Art Association and Museum (’00). Gives a lecture there on the commonalities among the visual arts, music, and literature—a subject that has become increasingly of interest to him based on his own experience as a visual artist and musician. Retires from Montclair State University (’01). Given a Visiting Artist residency at the American Academy in Rome (’02). Wins the Lee Krasner Award for lifetime achievement from the Pollock-Krasner Foundation (’07). Silent Figure (’56) acquired by the Art Gallery of Ontario, Toronto, Ontario. The painting The Ruisdael Enigma (’04) is reproduced on the front of the arts section of the New York Times related to a review by Ken Johnson (November 26, 2004: E33). Spends time in Venice. Mary completes her PhD in American art history at the City University of New York Graduate Center (’01). Cicero records a CD titled Play Me a Sad Song with Kent Hewitt (piano), Artie Cabral (drums), Marshall Wood (bass) (’07).
Solo Exhibitions: Provincetown Art Association and Museum (’00); Berta Walker Gallery, Provincetown (’00); Jenkins Johnson Gallery, San Francisco (’00); June Kelly Gallery, New York (’01, ’04, ’07); Berta Walker Gallery, Provincetown (’02); Cape Cod Museum of Art, Dennis, MA (’07).
Group Exhibitions: National Academy of Design, New York (’00, ’01,’02, ’03, ’05, ’07); The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’00, ’01, ’02, ’03, ’04, ’06, ’09); Berta Walker Gallery, Provincetown (’01, ’03); Hammond Museum & Japanese Stroll Garden, North Salem, NY (’01); Navy Pier Exhibition, Chicago (’02, ’03, ’04); Art Chicago in The Park, Chicago (’05); Art Chicago at Merchandise Mart, Chicago (’06, ’08); Ogunquit Museum of American Art, Ogunquit, ME (’06); ArtHamptons, Bridgehampton, NY (’08); June Kelly Gallery, New York (’09).
A survey of Cicero’s large Figurative Expressionist and Visionary works is held at the Provincetown Art Association and Museum (’00). Gives a lecture there on the commonalities among the visual arts, music, and literature—a subject that has become increasingly of interest to him based on his own experience as a visual artist and musician. Retires from Montclair State University (’01). Given a Visiting Artist residency at the American Academy in Rome (’02). Wins the Lee Krasner Award for lifetime achievement from the Pollock-Krasner Foundation (’07). Silent Figure (’56) acquired by the Art Gallery of Ontario, Toronto, Ontario. The painting The Ruisdael Enigma (’04) is reproduced on the front of the arts section of the New York Times related to a review by Ken Johnson (November 26, 2004: E33). Spends time in Venice. Mary completes her PhD in American art history at the City University of New York Graduate Center (’01). Cicero records a CD titled Play Me a Sad Song with Kent Hewitt (piano), Artie Cabral (drums), Marshall Wood (bass) (’07).
Solo Exhibitions: Provincetown Art Association and Museum (’00); Berta Walker Gallery, Provincetown (’00); Jenkins Johnson Gallery, San Francisco (’00); June Kelly Gallery, New York (’01, ’04, ’07); Berta Walker Gallery, Provincetown (’02); Cape Cod Museum of Art, Dennis, MA (’07).
Group Exhibitions: National Academy of Design, New York (’00, ’01,’02, ’03, ’05, ’07); The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’00, ’01, ’02, ’03, ’04, ’06, ’09); Berta Walker Gallery, Provincetown (’01, ’03); Hammond Museum & Japanese Stroll Garden, North Salem, NY (’01); Navy Pier Exhibition, Chicago (’02, ’03, ’04); Art Chicago in The Park, Chicago (’05); Art Chicago at Merchandise Mart, Chicago (’06, ’08); Ogunquit Museum of American Art, Ogunquit, ME (’06); ArtHamptons, Bridgehampton, NY (’08); June Kelly Gallery, New York (’09).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
review by Ken Johnson (November 26, 2004: E33). Spends time in Venice. Mary completes her PhD in American art history at the City University of New York Graduate Center (’01). Cicero records a CD titled Play Me a Sad Song with Kent Hewitt (piano), Artie Cabral (drums), Marshall Wood (bass) (’07).
Solo Exhibitions: Provincetown Art Association and Museum (’00); Berta Walker Gallery, Provincetown (’00); Jenkins Johnson Gallery, San Francisco (’00); June Kelly Gallery, New York (’01, ’04, ’07); Berta Walker Gallery, Provincetown (’02); Cape Cod Museum of Art, Dennis, MA (’07).
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
Group Exhibitions: National Academy of Design, New York (’00, ’01,’02, ’03, ’05, ’07); The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’00, ’01, ’02, ’03, ’04, ’06, ’09); Berta Walker Gallery, Provincetown (’01, ’03); Hammond Museum & Japanese Stroll Garden, North Salem, NY (’01); Navy Pier Exhibition, Chicago (’02, ’03, ’04); Art Chicago in The Park, Chicago (’05); Art Chicago at Merchandise Mart, Chicago (’06, ’08); Ogunquit Museum of American Art, Ogunquit, ME (’06); ArtHamptons, Bridgehampton, NY (’08); June Kelly Gallery, New York (’09).
Stalled
2003
Acrylic on canvas, 30 x 22 inches. Photography by Manu Sassoonian
Stalled
2003
Acrylic on canvas, 30 x 22 inches. Photography by Manu Sassoonian
Stalled
2003
Acrylic on canvas, 30 x 22 inches. Photography by Manu Sassoonian
Stalled
2003
Acrylic on canvas, 30 x 22 inches. Photography by Manu Sassoonian
The Endless Road
2003
Acrylic on canvas, 32 x 44 inches. Photography by Manu Sassoonian
The Endless Road
2003
Acrylic on canvas, 32 x 44 inches. Photography by Manu Sassoonian
The Endless Road
2003
Acrylic on canvas, 32 x 44 inches. Photography by Manu Sassoonian
The Endless Road
2003
Acrylic on canvas, 32 x 44 inches. Photography by Manu Sassoonian
The Great Mountain
2003
Acrylic on canvas, 36 x 48 inches. Photography by Spectra
The Great Mountain
2003
Acrylic on canvas, 36 x 48 inches. Photography by Spectra
The Great Mountain
2003
Acrylic on canvas, 36 x 48 inches. Photography by Spectra
The Great Mountain
2003
Acrylic on canvas, 36 x 48 inches. Photography by Spectra
Engine 611
2004
Acrylic on canvas, 44 x 58 inches. Photography by Spectra
Engine 611
2004
Acrylic on canvas, 44 x 58 inches. Photography by Spectra
Engine 611
2004
Acrylic on canvas, 44 x 58 inches. Photography by Spectra
Engine 611
2004
Acrylic on canvas, 44 x 58 inches. Photography by Spectra
Ruisdael Enigma
2004
Acrylic on canvas, 34 x 46 inches. Photography by Manu Sassoonian
Ruisdael Enigma
2004
Acrylic on canvas, 34 x 46 inches. Photography by Manu Sassoonian
Ruisdael Enigma
2004
Acrylic on canvas, 34 x 46 inches. Photography by Manu Sassoonian
Ruisdael Enigma
2004
Acrylic on canvas, 34 x 46 inches. Photography by Manu Sassoonian
The Fox
2004
Acrylic on canvas, 30 x 44 inches. Photography by Spectra
The Fox
2004
Acrylic on canvas, 30 x 44 inches. Photography by Spectra
The Fox
2004
Acrylic on canvas, 30 x 44 inches. Photography by Spectra
The Fox
2004
Acrylic on canvas, 30 x 44 inches. Photography by Spectra
The Egyptian
2008
Acrylic on canvas, 32 x 40 inches
The Egyptian
2008
Acrylic on canvas, 32 x 40 inches
The Egyptian
2008
Acrylic on canvas, 32 x 40 inches
The Egyptian
2008
Acrylic on canvas, 32 x 40 inches
Night Flight
2009
Acrylic on canvas, 24 x 30 inches
Night Flight
2009
Acrylic on canvas, 24 x 30 inches
Night Flight
2009
Acrylic on canvas, 24 x 30 inches
Night Flight
2009
Acrylic on canvas, 24 x 30 inches
The Midnight Sun II
2009
The Midnight Sun II
2009
The Midnight Sun II
2009
The Midnight Sun II
2009
In the Still of the Night
2009
Acrylic on canvas, 24 x 30 inches
In the Still of the Night
2009
Acrylic on canvas, 24 x 30 inches
In the Still of the Night
2009
Acrylic on canvas, 24 x 30 inches
In the Still of the Night
2009
Acrylic on canvas, 24 x 30 inches
2010s
Important exhibitions at June Kelly Gallery include In the Still of the Night (’10) featuring Visionary paintings, the retrospective show Early Works: 1970s–1980s (’15), and Battle of The Sexes: 1965-1982 (’18) focusing on Figurative Expressionist paintings. The painting Odradek (’59) included in the major exhibition Art of Another Kind: International Abstraction 1949–1960 at the Guggenheim Museum and From the Guggenheim Collection to the Cobra Museum Amstelveen: International Abstraction, 1949-1960 (’14). Honored with a Lifetime Achievement Award from the Provincetown Art Association and Museum (PAAM) (’12). Single-artist exhibition at PAAM of Visionary works (’12). The painting Collins Road (’11) is acquired by the Cape Museum of Art, Dennis, MA. The Stranger III (’15) is gifted to The Boca Raton Museum of Art, Boca Raton, FL.
Important exhibitions at June Kelly Gallery include In the Still of the Night (’10) featuring Visionary paintings, the retrospective show Early Works: 1970s–1980s (’15), and Battle of The Sexes: 1965-1982 (’18) focusing on Figurative Expressionist paintings. The painting Odradek (’59) included in the major exhibition Art of Another Kind: International Abstraction 1949–1960 at the Guggenheim Museum and From the Guggenheim Collection to the Cobra Museum Amstelveen: International Abstraction, 1949-1960 (’14). Honored with a Lifetime Achievement Award from the Provincetown Art Association and Museum (PAAM) (’12). Single-artist exhibition at PAAM of Visionary works (’12). The painting Collins Road (’11) is acquired by the Cape Museum of Art, Dennis, MA. The Stranger III (’15) is gifted to The Boca Raton Museum of Art, Boca Raton, FL.
The Art of Carmen Cicero is published by Schiffer Publishing, presenting an overview of his oeuvre (’13). Wins Jacob Lawrence Award from the American Academy of Arts and Letters (’16).
Records new CD titled Friends with Kent Hewitt (piano), Marshall Wood (bass), Jim Guin (drums), and Donna Byrne (vocals) (‘16). Enjoys having jazz parties in his loft after openings. Builds a studio in Truro (‘10).
Solo Exhibitions: June Kelly Gallery, New York (’10, ’12, ’15, ’18); Shore Galleries, Provincetown (’10, ’11); Artists on the Bowery, Part I: Carmen Cicero and Alan Steele, Westwood Gallery, New York (’19).
Group Exhibitions: The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’10); June Kelly Gallery, New York (’11); Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, Solomon R. Guggenheim Museum, New York (’12); Long Point: An Artists’ Place, Provincetown Art Association and Museum (’12); ArtHamptons, Bridgehampton, NY (’12); From the Guggenheim Collection to the Cobra Museum Amstelveen: International Abstraction, 1949-1960 (’14), Netherlands; June Kelly Gallery, New York (’17); Art Complex Museum, Duxbury, MA (’17); Berta Walker Gallery, Provincetown (’19).
Important exhibitions at June Kelly Gallery include In the Still of the Night (’10) featuring Visionary paintings, the retrospective show Early Works: 1970s–1980s (’15), and Battle of The Sexes: 1965-1982 (’18) focusing on Figurative Expressionist paintings. The painting Odradek (’59) included in the major exhibition Art of Another Kind: International Abstraction 1949–1960 at the Guggenheim Museum and From the Guggenheim Collection to the Cobra Museum Amstelveen: International Abstraction, 1949-1960 (’14). Honored with a Lifetime Achievement Award from the Provincetown Art Association and Museum (PAAM) (’12). Single-artist exhibition at PAAM of Visionary works (’12). The painting Collins Road (’11) is acquired by the Cape Museum of Art, Dennis, MA. The Stranger III (’15) is gifted to The Boca Raton Museum of Art, Boca Raton, FL.
The Art of Carmen Cicero is published by Schiffer Publishing, presenting an overview of his oeuvre (’13). Wins Jacob Lawrence Award from the American Academy of Arts and Letters (’16).
Records new CD titled Friends with Kent Hewitt (piano), Marshall Wood (bass), Jim Guin (drums), and Donna Byrne (vocals) (‘16). Enjoys having jazz parties in his loft after openings. Builds a studio in Truro (‘10).
Solo Exhibitions: June Kelly Gallery, New York (’10, ’12, ’15, ’18); Shore Galleries, Provincetown (’10, ’11); Artists on the Bowery, Part I: Carmen Cicero and Alan Steele, Westwood Gallery, New York (’19).
Group Exhibitions: The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’10); June Kelly Gallery, New York (’11); Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, Solomon R. Guggenheim Museum, New York (’12); Long Point: An Artists’ Place, Provincetown Art Association and Museum (’12); ArtHamptons, Bridgehampton, NY (’12); From the Guggenheim Collection to the Cobra Museum Amstelveen: International Abstraction, 1949-1960 (’14), Netherlands; June Kelly Gallery, New York (’17); Art Complex Museum, Duxbury, MA (’17); Berta Walker Gallery, Provincetown (’19).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
The Art of Carmen Cicero is published by Schiffer Publishing, presenting an overview of his oeuvre (’13). Wins Jacob Lawrence Award from the American Academy of Arts and Letters (’16).
Records new CD titled Friends with Kent Hewitt (piano), Marshall Wood (bass), Jim Guin (drums), and Donna Byrne (vocals) (‘16). Enjoys having jazz parties in his loft after openings. Builds a studio in Truro (‘10).
Solo Exhibitions: June Kelly Gallery, New York (’10, ’12, ’15, ’18); Shore Galleries, Provincetown (’10, ’11); Artists on the Bowery, Part I: Carmen Cicero and Alan Steele, Westwood Gallery, New York (’19).
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
Group Exhibitions: The Art Show: Art Dealers Association of America, Park Avenue Armory, New York (’10); June Kelly Gallery, New York (’11); Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, Solomon R. Guggenheim Museum, New York (’12); Long Point: An Artists’ Place, Provincetown Art Association and Museum (’12); ArtHamptons, Bridgehampton, NY (’12); From the Guggenheim Collection to the Cobra Museum Amstelveen: International Abstraction, 1949-1960 (’14), Netherlands; June Kelly Gallery, New York (’17); Art Complex Museum, Duxbury, MA (’17); Berta Walker Gallery, Provincetown (’19).
The Artichoke
2010
Acrylic on canvas, 72 x 83-3/4 inches. Collection of Stephen Gregg
The Artichoke
2010
Acrylic on canvas, 72 x 83-3/4 inches. Collection of Stephen Gregg
The Artichoke
2010
Acrylic on canvas, 72 x 83-3/4 inches. Collection of Stephen Gregg
The Artichoke
2010
Acrylic on canvas, 72 x 83-3/4 inches. Collection of Stephen Gregg
Moonstruck
2010
Acrylic on canvas, 24 x 30 inches
Moonstruck
2010
Acrylic on canvas, 24 x 30 inches
Moonstruck
2010
Acrylic on canvas, 24 x 30 inches
Moonstruck
2010
Acrylic on canvas, 24 x 30 inches
Collins Road
2011
Acrylic on canvas, 30 x 40 inches. Cape Cod Museum of Art, Dennis, MA
Collins Road
2011
Acrylic on canvas, 30 x 40 inches. Cape Cod Museum of Art, Dennis, MA
Collins Road
2011
Acrylic on canvas, 30 x 40 inches. Cape Cod Museum of Art, Dennis, MA
Collins Road
2011
Acrylic on canvas, 30 x 40 inches. Cape Cod Museum of Art, Dennis, MA
Truro Station, Last Stop
2011
Acrylic on canvas, 28 x 36 inches
Truro Station, Last Stop
2011
Acrylic on canvas, 28 x 36 inches
Truro Station, Last Stop
2011
Acrylic on canvas, 28 x 36 inches
Truro Station, Last Stop
2011
Acrylic on canvas, 28 x 36 inches
Tales from the Truro Woods
2011
Acrylic on canvas, 30 x 40 inches
Tales from the Truro Woods
2011
Acrylic on canvas, 30 x 40 inches
Tales from the Truro Woods
2011
Acrylic on canvas, 30 x 40 inches
Tales from the Truro Woods
2011
Acrylic on canvas, 30 x 40 inches
Satan Takes a Holiday II
2019
Acrylic on canvas, 30 x 40 inches
Satan Takes a Holiday II
2019
Acrylic on canvas, 30 x 40 inches
Satan Takes a Holiday II
2019
Acrylic on canvas, 30 x 40 inches
Satan Takes a Holiday II
2019
Acrylic on canvas, 30 x 40 inches
2020s
Exhibition of large recent paintings at June Kelly Gallery titled The Human Condition, with an announcement essay by John Yau, who concluded his text by saying: “I do not know of any other work like this, which is to say that it is original. That an artist made these paintings in his 90s makes them all the more remarkable.” (’20). Single-artist exhibition in the June Kelly Gallery booth at The Art Show, sponsored by the Art Dealers Association of American, Park Avenue Armory, New York. A double-page reproduction of Carmen’s painting New Yorker Talking to Himself (’19) chosen to advertise the exhibition in the Arts section of the New York Times (’22). Participates in a show at the Westwood Gallery, New York,
Exhibition of large recent paintings at June Kelly Gallery titled The Human Condition, with an announcement essay by John Yau, who concluded his text by saying: “I do not know of any other work like this, which is to say that it is original. That an artist made these paintings in his 90s makes them all the more remarkable.” (’20). Single-artist exhibition in the June Kelly Gallery booth at The Art Show, sponsored by the Art Dealers Association of American, Park Avenue Armory, New York. A double-page reproduction of Carmen’s painting New Yorker Talking to Himself (’19) chosen to advertise the exhibition in the Arts section of the New York Times (’22). Participates in a show at the Westwood Gallery, New York, titled Loft Law: The Last of New York City’s Original Artist Lofts (’24). Participates in the annual exhibition of members of the National Academy of Design (’24) and wins award for Satan Transitioning (’24). The Inspector and His Dog I (’13) enters The National Academy of Design as the artist’s diploma piece (’24).
Publication of new book titled Carmen Cicero’s Drawings and Watercolors: Tales of Danger, Intrigue, and Humor [Abbeville Press, (‘24)]. Exhibition at June Kelly Gallery highlighting selected drawings and watercolors from this new publication (’24).
Solo Exhibitions: June Kelly Gallery, New York (’20, ’21, ‘24); The Art Show: Art Dealers Association of America, June Kelly Gallery Booth, Park Avenue Armory, New York (’22).
Group Exhibitions: Mel Leipzig and Friends, Provincetown Art Association and Museum (’23); Loft Law: The Last of New York City’s Original Artist Lofts, Westwood Gallery, New York (’24); Annual members’ exhibition, National Academy of Design, New York (’24); From New York to Provincetown: Graham Modern and Berta Walker Gallery at the Berta Walker Gallery in Provincetown (’24).
Exhibition of large recent paintings at June Kelly Gallery titled The Human Condition, with an announcement essay by John Yau, who concluded his text by saying: “I do not know of any other work like this, which is to say that it is original. That an artist made these paintings in his 90s makes them all the more remarkable.” (’20). Single-artist exhibition in the June Kelly Gallery booth at The Art Show, sponsored by the Art Dealers Association of American, Park Avenue Armory, New York. A double-page reproduction of Carmen’s painting New Yorker Talking to Himself (’19) chosen to advertise the exhibition in the Arts section of the New York Times (’22). Participates in a show at the Westwood Gallery, New York, titled Loft Law: The Last of New York City’s Original Artist Lofts (’24). Participates in the annual exhibition of members of the National Academy of Design (’24) and wins award for Satan Transitioning (’24). The Inspector and His Dog I (’13) enters The National Academy of Design as the artist’s diploma piece (’24).
Publication of new book titled Carmen Cicero’s Drawings and Watercolors: Tales of Danger, Intrigue, and Humor [Abbeville Press, (‘24)]. Exhibition at June Kelly Gallery highlighting selected drawings and watercolors from this new publication (’24).
Solo Exhibitions: June Kelly Gallery, New York (’20, ’21, ‘24); The Art Show: Art Dealers Association of America, June Kelly Gallery Booth, Park Avenue Armory, New York (’22).
Group Exhibitions: Mel Leipzig and Friends, Provincetown Art Association and Museum (’23); Loft Law: The Last of New York City’s Original Artist Lofts, Westwood Gallery, New York (’24); Annual members’ exhibition, National Academy of Design, New York (’24); From New York to Provincetown: Graham Modern and Berta Walker Gallery at the Berta Walker Gallery in Provincetown (’24).
Cicero’s early musical training on the clarinet began conventionally in elementary school where he was classically trained—chromatic scales and such and quickly distinguished himself by mastering the classic Flight of the Bumblebee. An enthusiastic and dedicated student, Cicero enjoyed practicing and set his sights on a musical career, playing in the school band and orchestra. Among his early teachers was Charles Thetford, who played first chair clarinet in the Radio City Music Hall Orchestra. Cicero became first clarinet chair in the New Jersey All-State Orchestra and was a member of a pep band dressed in uniforms that played at baseball games. He became interested in jazz after listening to the big bands. Cicero’s next professional teacher was Joe Allard, the legendary saxophonist and clarinetist who played
titled Loft Law: The Last of New York City’s Original Artist Lofts (’24). Participates in the annual exhibition of members of the National Academy of Design (’24) and wins award for Satan Transitioning (’24). The Inspector and His Dog I (’13) enters The National Academy of Design as the artist’s diploma piece (’24).
Publication of new book titled Carmen Cicero’s Drawings and Watercolors: Tales of Danger, Intrigue, and Humor [Abbeville Press, (‘24)]. Exhibition at June Kelly Gallery highlighting selected drawings and watercolors from this new publication (’24).
with Toscanini and taught many great clarinet and sax players. For his favorite students, Allard would go to the Buffet Clarinet Factory in Paris, where he was well known by the proprietors, and allowed to select the finest instruments for his students. So, his pupil, Cicero, was the fortunate recipient of what he called his “Stradivarius” clarinet. He began playing weekends with a commercial trio providing music for countless bar mitzvahs, weddings and parties. Cicero then expanded his professional pursuits by playing with bands in the “Borsht Belt”—the famous Jewish summer resorts in the Catskills of upstate New York. The band was always a mix of ethnicities—Jews, Italians, Poles and more and the only judgments passed were along musical
Solo Exhibitions: June Kelly Gallery, New York (’20, ’21, ‘24); The Art Show: Art Dealers Association of America, June Kelly Gallery Booth, Park Avenue Armory, New York (’22).
Group Exhibitions: Mel Leipzig and Friends, Provincetown Art Association and Museum (’23); Loft Law: The Last of New York City’s Original Artist Lofts, Westwood Gallery, New York (’24); Annual members’ exhibition, National Academy of Design, New York (’24); From New York to Provincetown: Graham Modern and Berta Walker Gallery at the Berta Walker Gallery in Provincetown (’24).
Satan in Transition
2024
Acrylic on canvas, 20 x 16 inches. Collection David Ebony
Satan in Transition
2024
Acrylic on canvas, 20 x 16 inches. Collection David Ebony
Satan in Transition
2024
Acrylic on canvas, 20 x 16 inches. Collection David Ebony
Satan in Transition
2024
Acrylic on canvas, 20 x 16 inches. Collection David Ebony
The contents of this site, including all images and text, are for educational and non-commercial use only and are the sole property of Carmen Cicero. The contents of this site may not be reproduced in any form without written permission from Carmen Cicero. For all image requests and reproduction rights, please contact hello@carmencicero.com.
© 2024 Carmen Cicero. All Rights Reserved. New York City, NY.
Website designed & developed by
© 2024 Carmen Cicero. All Rights Reserved. New York City, NY.
Website designed & developed by
The contents of this site, including all images and text, are for educational and non-commercial use only and are the sole property of Carmen Cicero. The contents of this site may not be reproduced in any form without written permission from Carmen Cicero. For all image requests and reproduction rights, please contact hello@carmencicero.com.
© 2024 Carmen Cicero. All Rights Reserved. New York City, NY.
Website designed & developed by
The contents of this site, including all images and text, are for educational and non-commercial use only and are the sole property of Carmen Cicero. The contents of this site may not be reproduced in any form without written permission from Carmen Cicero. For all image requests and reproduction rights, please contact hello@carmencicero.com.
© 2024 Carmen Cicero. All Rights Reserved. New York City, NY.
Website designed & developed by
