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This image shows a single page from a publication dated 1948, likely an art magazine or exhibition catalog, featuring a profile on the artist Attilio Salemme. The page, numbered 97, is laid flat and shows some signs of age, including slight creases and folding.

The page is structured with two black-and-white photographs of Salemme’s abstract paintings, accompanied by descriptive text.

Top Section:

• Image: A photograph of the painting “Afternoon in Infinity,” 1947 (29 x 36 inches). The artwork is an abstract composition of vertical, geometric forms — mostly rectangular and pillar-like shapes — rendered in grayscale tones. Some elements feature horizontal bands, and the background suggests a minimalist architectural or spatial setting.
• Caption: The title and dimensions of the painting are printed below the image to the right.

Middle Section:

• Headline: “ATTILIO SALEMME” in bold, uppercase letters.
• Biographical Text: A paragraph describing Salemme’s background, including:
  • Born in New York City in 1911.
  • Exhibited in national annuals in Washington, Richmond, New York, and Chicago.
  • Won a $500 prize at the Chicago Art Institute’s 1947 exhibition of abstract and surrealist art.
  • One of the artists employed by the Moore-McCormack Lines for decorating the S.S. Argentina.
  • His thematic interest in “the dilemma of isolated forms, apparently free, yet held fast by the tensions between them and the confines of a rigidly demarcated space.”
  • His work is described as symbolic of “a human drama.”
  • Announcement of an upcoming one-man show at the Passedoit Gallery that spring.

Bottom Section:

• Image: A photograph of the larger painting “Enigma of Joy,” 1947, an oil painting measuring 52 x 80 inches. The description notes it is “now in the tourist lounge of the S.S. Argentina.” The composition features similar abstract, vertical, pillar-like forms in a room-like space. Some shapes incorporate stylized heads or faces (particularly the figure on the left), adding a subtle anthropomorphic quality. The spatial arrangement suggests tension and isolation within a defined architectural frame.
• Caption: The title, medium, date, dimensions, and current location are listed to the left of the image.

Layout and Design:

• The page has a mid-century modern design aesthetic, with clean typography and a balanced layout typical of 1940s art publications.
• “1948” is printed at the bottom left, and “PAGE 97” at the bottom right.
• A partially visible folded page from another book or document peeks into the frame from the top right, displaying printed text, but it is too blurry to read clearly.

Overall Impression:

This page serves as a historical document introducing Attilio Salemme’s abstract, symbolic style to a 1948 art audience. It emphasizes his artistic achievements, thematic concerns (isolated forms in confined space, human drama), and professional engagements (including high-profile public commissions like the S.S. Argentina). The images and text together offer a snapshot of post-war American modernist painting and its institutional reception.

This is an image of a page from a publication, likely an art magazine or catalog, featuring the works and biography of the artist Attilio Salemme. The page is laid out in a two-column format.

At the top, there is a black-and-white illustration titled "Afternoon in Infinity, 1947, 29 x 36" by Attilio Salemme. The artwork is abstract, consisting of geometric shapes and forms, predominantly in shades of gray, with some areas shaded to create depth and contrast.

Below this illustration, there is a text section that provides information about Attilio Salemme. It mentions his birth in New York City in 1911 and his achievements, including multiple one-man shows and exhibitions in various locations such as Washington, Richmond, New York, and Chicago. It also notes that he won a $500 prize at the Chicago Art Institute's exhibition of abstract and surrealist art.

The text continues with a description of Salemme's artistic interests and style, emphasizing his exploration of isolated forms and the tension between them and the boundaries of rigidly defined spaces. The titles of his works, such as "Afternoon in Infinity," are described as symbolic of human drama.

At the bottom of the page, there is another black-and-white illustration titled "Enigma of Joy, 1947, oil, 52 x 80", which is noted to be installed in the tourist lounge of the S.S. Argentina.

The page also includes a date, "1948," at the bottom left corner, possibly indicating the year this publication was created or the year the works were featured. The page number, "97," is located at the bottom right corner.

The overall layout and content suggest that this page is part of a series of articles or reviews about contemporary artists, focusing on their work, achievements, and artistic visions.

This image is a page from a publication, likely an art magazine or a catalog, featuring the work of the artist Attilio Salemme. The page is labeled "Page 97" and is dated "1948."

The top half of the page contains a black-and-white photograph of an abstract painting titled "Afternoon in Infinity," which was created in 1947 and measures 29 x 36 inches. The painting features a series of geometric shapes, primarily vertical and horizontal lines, with a sense of depth and perspective.

Below the photograph, there is a brief biography of Attilio Salemme. It states that he was born in New York City in 1911 and has had several one-man shows and exhibited in various national annuals in different cities. It also mentions that he won a $500 prize at the Chicago Art Institute's exhibition of abstract and surrealist art in the previous year and was part of a group of artists who decorated the S.S. Argentina.

The bottom half of the page shows another black-and-white photograph of an abstract painting titled "Enigma of Joy," also created in 1947. This painting is described as being an oil painting measuring 52 x 80 inches and is currently located in the tourist lounge of the S.S. Argentina. The painting features a similar style of geometric shapes and lines, creating a sense of depth and perspective within a confined space.

A black-and-white photograph of a page from a magazine is placed on a transparent glass surface. The page has two photographs and text. The photograph on the top left is titled "Afternoon in Infinity, 1947, 29" x 36"." The photograph on the bottom left is titled "Enigma of Joy, 1947, oil, 52" x 80", now in the tourist lounge of the S.S. Argentina." The text in the middle reads "Attilio Salemme."

The image is a page from a book or magazine that features an article about an artist named Attilio Salemme. The page has a black-and-white photograph of a room with abstract lines and shapes, possibly a drawing or a photograph of a room. The text on the page provides information about Salemme's background, his achievements, and his upcoming exhibition at the Passedoit Gallery. The page also includes a small image of a painting titled "Enigma of Joy" by Salemme, which was created in 1947 and is now in the tourist lounge of the S.S. Argentina. The text on the page is written in a serif font and is organized in a structured format, with headings and subheadings.

The image depicts a page from an art catalog or publication featuring the artist Attilio Salemme. The page is titled "ATTILIO SALEMME" and includes two black-and-white illustrations of his artwork, accompanied by descriptive text.

Top Illustration:

• Title: AFTERNOON IN INFINITY, 1947, 29 x 36"
• Description: The illustration shows a geometric composition with vertical and horizontal lines, creating a sense of depth and structure. The design appears abstract, with overlapping rectangular forms and contrasting dark and light areas. The overall style suggests a modernist or surrealist influence, emphasizing form and spatial tension.

Bottom Illustration:

• Title: ENIGMA OF JOY, 1947, oil, 52 x 70", now in the tourist lounge of the S.S. ARGENTINA.
• Description: This illustration portrays a more complex, three-dimensional space with multiple vertical and horizontal elements. The composition includes layered rectangular forms and architectural-like structures, creating a sense of depth and movement. The interplay of light and shadow adds to the dramatic and enigmatic quality of the piece.

Textual Content:

• Artist Biography: The text provides background on Attilio Salemme, noting that he was born in New York City in 1911. It highlights his exhibitions, including one-man shows and participation in national annuals in Washington, Richmond, New York, and Chicago. Salemme won a $500 prize at the Chicago Art Institute's exhibition of abstract and surrealist art.
• Artistic Focus: The text describes Salemme's interest in the "dilemma of isolated forms, apparently free, yet held fast by the tensions between them." His titles, such as Afternoon in Infinity and Enigma of Joy, reflect symbolic and abstract themes, often representing a "human drama."
• Exhibition Information: The artist is noted to have a one-man show at the Pasседoit Gallery in the spring.

Design and Layout:

• The page is clean and minimalist, with a focus on the artwork and accompanying text. The illustrations are prominently displayed, with captions providing titles, dates, and dimensions. The text is concise and informative, offering a brief overview of the artist's background and thematic interests.

Overall Impression:

The page serves as a curated presentation of Attilio Salemme's work, showcasing his abstract and surrealist style through two representative pieces. The accompanying text contextualizes his artistic approach and achievements, emphasizing his exploration of spatial tension and symbolic meaning in his art. The layout is professional and art-focused, typical of an art catalog or exhibition brochure.

This is an image of a printed page, possibly from a magazine or catalogue, featuring an article or a section about an artist named Attilio Salemme. The page is showing two black-and-white images of abstract artworks, each with the title and size of the work listed below. The top artwork is titled "AFTERNOON IN INFINITY, 1947, 29 3/8"x36"." It depicts vertical and angular forms that give the impression of abstracted figures and structures. The bottom artwork is titled "ENIGMA OF JOY, 1947, oil, 52 3/8"x30"," and it is exhibited in the tourist lounge of the S.S. Argentina. This piece shares a similar style, with geometric shapes and vertical forms.

The text provides information about the artist, stating that Attilio Salemme was born in New York City in 1911 and had been involved in several one-man shows and exhibits in various cities. It also mentions that he won a $500 prize at the Chicago Art Institute's exhibition and was part of a group of artists employed by Moore-McCormack Lines in the decoration of the S.S. Argentina.

The page seems to be slightly crumpled, especially at the top-right corner, indicating it may be old or not well-preserved. It is labeled "PAGE 9" at the bottom right, which helps to confirm that it is from a multi-page publication. The year "1948" is printed at the bottom left corner, likely indicating the year of publication.

The image is a document featuring text and two abstract artworks by Attilio Salemme, a modernist artist. The document provides biographical information about Salemme, including details about his career, exhibitions, and artistic style.

Layout:

• Top section: Features an abstract artwork titled "Afternoon in Infinity, 1947, 29 x 36". This piece consists of tall, vertical, rectangular forms resembling isolated pillars or structures. The shapes are positioned against a backdrop of flat planes which create depth, and their clean edges give the composition a geometric and mechanical feel.

• Middle text section: Includes printed text describing Salemme’s career achievements and artistic philosophy. It notes his use of abstract forms to symbolize human drama and his success in prominent exhibitions, such as winning prizes and working on the S.S. Argentina.

• Bottom section: Displays another artwork titled "Enigma of Joy, 1947, 52 x 50." It depicts a similar arrangement of rectangular and angular abstract forms resembling pillars or structures but in darker tones with a greater sense of contrast and perspective.

The document appears to be promotional material, possibly an article or catalog page, designed to showcase Salemme's work and announce upcoming exhibitions.

• A grayscale magazine page featuring abstract geometric artwork by Attilio Salemme.
• The top half shows a room-like composition with tall, slender rectangular prisms arranged in space, connected by thin lines.
• The bottom half displays a similar abstract composition with more vertical columns and angular shapes.
• The page heading reads “ATTILIO SALemme” (Attilio Salemme) and includes a block of biographical text about the artist.
• Captions identify the works: top image titled Afternoon in Infinity, 1947 (29 x 36); bottom image Enigma of Joy, 1947 (oil, 52 x 80), noted as being in the tourist lounge of the S.S. Argentina (1948).
• Page number at the bottom right reads “PAGE 97.”
• The page shows signs of age and wear (folds, creases, and a small folded corner at the top).
• Overall impression: mid-20th-century modernist, geometric abstraction in print form.

This image shows a printed page featuring the artist Attilio Salemme. The page includes two abstract artworks by Salemme.

• The top artwork is titled "AFTERNOON IN INFINITY, 1947, 29 x 36”. It depicts several vertical, elongated geometric forms that resemble standing structures or abstract pillars in a softly shaded, abstract environment.
• The bottom artwork is titled "ENIGMA OF JOY, 1947, oil, 52 x 80", with a note stating it is located in the tourist lounge of the S.S. Argentina. This piece features a similar style with tall, vertical shapes set within a corner-like room with muted shading and minimalistic forms.

Between the artworks is a biographical and descriptive text about Attilio Salemme, stating he was born in New York City in 1911, had several one-man shows, and won a $500 prize at the Chicago Art Institute's exhibition of abstract and surrealist art. It also mentions his work on the decoration of the S.S. Argentina and his artistic interest in isolated forms and abstract human drama. The bottom of the page has the date 1948 and page number 97. The page is somewhat creased and has a small corner of another page visible at the top right.