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H. ** It was my agreeable task to * The epigraphs at the head of each chapter are drawn from Stella's writings, a few of which have been published, as indicated in the bibliography; the large mass of them, from which I have chosen those in this book, had remained buried in the artist's effects, in the possession of his nephew, Sergio Stella. The figures in parentheses (Roman I or II, followed by Arabic numerals) here and throughout this book, refer to Appendix I and Appendix II, where the full original text of Stella's writings and writings about Stella in a language other than English may be found.
Spring, c. 1918 48. Study for Brooklyn Bridge, c. 1918 49. Study for Brooklyn Bridge, c. 1918 50. Brooklyn Bridge, c. 1919 51. A Child's Prayer, 1919 52. Flower Study, c. 1919 53. Fruit, Flower, and Cat, 1919 54. Lupine, c. 1919 55. Moon Dawn, c. 1919 56. Nativity, c. 1919 57. Pomegranate, 1919 58. Sunflower, c. 1919 59. Tree of My Life, 1919 60. Untitled, c. 1919 61. By-Products Storage Tanks, c. 1920 62. Coal Pile, c. 1920 63. Crusher and Mixer Building, c. 1920 64. Orange Bars, c. 1920 65. Profile of Marcel Duchamp, c.
4 This painting must have been Tarda Senectus to judge from the reference in Il Progresso Italo-Americano (March 21, 1937) that Stella exhibited one of his first oils, Tarda Senectus, at the Society of American Artists con grande successo. Stella's work drew the attention of the American Art News critic who wrote: "Among the best pictures at the Society of American Artists are canvases by William M. Chase, Robert Henri, Kenneth Hayes Miller, instructors in the New York School of Art, and Joseph Stella, Frank Buttner, George Bellows, J.