[6] As a child she attended a local Volksschule and also received avant-garde art education in a class run by a man who taught collage but did not, as she later recalled, ever show his students how to draw or paint.

Recalling this period she later wrote, "The Uffizi was full of the best fairy tales on earth ... what teenager is not moved by the cool tones and gentle stillness of the Primavera and The Birth of Venus?

[5][11] In New York she studied at the New School for Social Research and attended lectures at Cooper Union while earning a living in a sequence of jobs in factories, newspapers, a photoengraving business, and again in a restaurant.

Living nearby were artists Willem and Elaine de Kooning, Nell Blaine, and Jane Freilicher as were a filmmaker, Rudy Burckhardt and two poets, Edwin Denby and James Schuyler.

[23] Writing in the New York Times, critic Howard Devree praised a semi-abstract painting called "West Twenty-first Street" but was less enthusiastic about her non-objective work.

[26] In addition to Schloss members included Cicely Aikman, Helen DeMott, Hyde Solomon, Paul Breslin, Al Blaustein, and Gordon Rothenberg.

[27][28] In 1949 an ARTnews critic drew attention to a painting of hers called "Between the World and the Weather" in a Pyramid Group show at the Riverside Museum, describing it as "a lyric abstraction".

Calling her work "simply and beautifully executed", the critic discussed elements of her style including its "feminine quality" and "delicate but firm handling".

Praising Schloss's "refreshing audacity", the ARTnews critic said the paintings had a "fidelity to form" and "an hypnotic visual allure", adding that they were "beautiful in a unique way".

Art Digest's critic said the two women had made excellent choices and Dore Ashton, in the New York Times, called Schloss's paintings "noteworthy".

Reviewing this show, Roberta Smith wrote in the New York Times, "At this point in her life, Schloss painted with consummate ease and abundant charm, sketching her subjects and applying color as needed.

"[47] Not long after she settled in New York her friends Rudy Burckhardt and Edwin Denby introduced Schloss to some of the city's avant-garde musicians including John Cage, Paul Bowles, and Elliott Carter.

[7] Curran had come to Rome in 1964 and two years later, with other expatriate American musicians and composers, had co-founded an intensely democratic improvisational musical collective called Musica Elettronica Viva, or MEV.

[45] In 2015 Curran spoke of his collaboration with Schloss in a video recording made during the solo exhibition of her paintings held that year in New York's Sundaram Tagore Gallery.

[52] Critics saw the influence of many artists in her work, ranging from Matisse[3] to Klee[44] and from Porter[53] to Twombly,[54] mentioning also Jean Siméon Chardin[33] and Giorgio Morandi.

I was sitting at Dow's point [overlooking Northwest Harbor in the town of Deer Isle, Maine] with Phil Pearlstein who was drawing its strange twisted folded rocks.

A favorite element in the background was the Isola del Tino in the Bay of La Spezia, described as "a chunk of rock capped by an historic lighthouse poking out of the Ligurian Sea".

"[52] A critic said her oil, "Open Window (June 4)" (see image 8, above) demonstrated the specificity of conditions at the time she made the painting as to place, light, weather, and even, temperature.

The paintings, she wrote, "are not about the safe sheltering earth, but the two oldest human adventures: to go under in what we came from, the blue mystery, or to rise up and be consumed to clear red hot dust—bodies and disks and line.

The Greeks cried: ‘Oimoi!’ which meant not only joy, wonder and mischief, but also taunt fury, grief, and fear.”[41] In her posthumous memoir, Schloss recalled a visit to a 1953 exhibition of Joseph Cornell's boxes.

"[18] A black and white photo of one of these, "Barcelona at Night" (1955, image 10, above), was included in a book called How to Make Collages by John Lynch (1975, Viking Press).

"[2] In contrast, a critic who reviewed the same shows that year said her boxes were "genuinely artless, neither rarefied nor precious" and in 2022 a third said her participation in the "Art of Assemblage" exhibition was the highlight of her career.

[5][67] Although it was short-lived and given little notice after its demise, the New York German émigrés of its day recognized it for the contributions it received from authors such as Günther Anders, Hermann Hesse, Carl Jung, Arthur Koestler, Thomas Mann, and Stefan Zweig.

[19] At the time her name appeared on the masthead as an editorial associate, the others in that position included box artist, Lawrence Campbell; poet and art critic, Frank O'Hara; painter, Fairfield Porter, and author/critic, Parker Tyler.

After a brief biographic statement, the review focused on Delaney's subjects and technique, noting that he was "crazy about crowds and the New York scene" and citing his "preoccupation with detail" and the "undulating movement" evident in the paintings.

"It was marvelous", she wrote, "Here I was, without connections, without much art historical background, without a clique pushing me, and, having been forced out of school at the age of sixteen, suddenly on the staff of the prestigious ARTnews.

[78] Its objectives were the overthrow of the Nazi regime to be replaced by a Leninist, but anti-Stalinist, political cadre that was to be highly disciplined and directed by an elite core of leaders.

[78] The group's discipline and small size enabled it to escape Nazi purges in the early 1930s and, although it achieved none of its objectives, its relative insignificance allowed it to pull off a stunt that temporarily embarrassed the regime.

Before the United States entered World War II, they and the other Germans with whom they associated made little progress in obtaining popular support for their socialist campaign against both capitalism and totalitarianism.

With help from her acquaintances and British contacts of her father's, she was able to obtain letters of invitation for each of the three family members and by August 1939 all of them had arrived and been permitted to remain as stateless refugees and, technically, enemy aliens.