Details PETER SAUL (B. 1934)Human Dignitysigned and dated SAUL 66 (lower left)acrylic, metallic paint, oil and ink on canvas58 7/8 x 59 in. (149.5 x 149.9 cm.)Executed in 1966. Provenance Allan Frumkin Gallery, Chicago and New York, acquired directly from the artistEstate of Allan Frumkin, New YorkAcquired from the above by the present owner Literature R. Brem, “Neon, Op, Pop – – It’s All In International,” The Pittsburgh Press, 26 October 1967, p. 2.D. Vorpahl, “Social Comment Exhibition Theme,” Post-Crescent, 25 February 1968, p. C14.“Unusual Show Opens,” Daily Northwestern, 6 March 1968, p. 15.“Paintings Speak Out,” The Wooster Voice, 1 November 1968, p. 3.“A Little Bit of Relaxation and a Bit of Dignity,” Omaha World Herald, 8 January 1969, p. 14 (illustrated).Peter Saul: New Paintings and Works on Paper, exh. cat., New York, Allan Frumkin Gallery, 1987, n.p. (illustrated).D. Kuspit, “Peter Saul: Frumkin/Adams,” Artforum, February 1991, p. 122. Peter Saul, exh. cat., Les Sables d’Olonne, Musée de l’Abbaye Sainte-Croix, 1999, p. 50 (illustrated). D. McCarthy, “Defending Allusion: Peter Saul on the Aesthetics of Rhetoric,” Archives of American Art Journal, vol. 46, nos. 3-4, Fall 2007, p. 50 (in situ view illustrated). R. Smith, “A Firebrand Willing to Offend,” New York Times, 13 March 2015, p. C23 (illustrated).Artists Respond: American Art and the Vietnam War, 1965-1975, exh. cat., Washington, D.C., Smithsonian American Art Museum, 2019, p. 17, fig. 11 (illustrated).E. Pricco, “Crime and Punishment: Peter Saul Finally Gets His First NYC Survey @ New Museum,” JUXTAPOZ, 19 February 2020 (illustrated).J. Arn, “Is Peter Saul’s Gross-Out Painting Political?,” Art in America, April 2020, pp. 83-84.B. Hainley, et al., Peter Saul, New York, 2021, p. 120 (illustrated). Exhibited Bologna, Galleria de’ Foscherari 60, Peter Saul, November-December 1967, no. 10. Pittsburgh, Carnegie Institute, Pittsburgh International Exhibition of Contemporary Painting and Sculpture, October 1967-January 1968, p. 317, no. 301.Appleton, Worcester Art Center at Lawrence University; Ithaca, Andrew Dickson White Museum of Art at Cornell University; Brunswick, Bowdoin College Museum of Art; Haas Gallery of Art at Bloomsburg State College; Art Center at College of Wooster; Milo Ball Student Center at University of Nebraska at Omaha; Greencastle, DePauw University Art Center; Sloan Galleries of American Painting at Valparaiso University and Mankato State College, Social Comment in American Art: An Exhibition Circulated by the Museum of Modern Art, New York, February 1968-June 1969, no. 68.457 (illustrated).DeKalb, Swen Parson Gallery at Northern Illinois University and Madison Art Center, Peter Saul: Retrospective, November 1980-March 1981, p. 20 (illustrated).New York and Chicago, Phyllis Kind Gallery, Human Concern/Personal Torment: The Grotesque in American Art Revisited, October 1989-January 1990, p. 23 (illustrated).New York, Frumkin/Adams Gallery, Peter Saul: Political Paintings: 1965-1971, October-November 1990, p. 5 (illustrated).Costa Mesa, Orange County Museum of Art; Philadelphia, Pennsylvania Academy of Fine Arts and New Orleans, Contemporary Arts Center, Peter Saul: A Retrospective, June 2008-May 2009, n.p., pl. 25 (illustrated).New York, Venus Over Manhattan, Peter Saul: From Pop to Punk, February-April 2015, pp. 34-35 (illustrated). New York, New Museum, Peter Saul: Crime and Punishment, February 2020-January 2021, p. 109 and 182 (illustrated). Conditions of sale