Joseph Glasco was born in Paul’s Valley, Oklahoma and grew up in Texas. In 1949, after his first one-person exhibition in New York, Glasco became the youngest artist represented at that time in the permanent collection of The Museum of Modern Art.

Glasco’s rythmical, all-over abstract compositions have often been linked with those of American artist Jackson Pollock. During the 1950s, Glasco became friends with Pollock; the two seemed to share an affinity for the element of chance in their work. In the late 1970s, Glasco first created his collaged canvases such as “Untitled #7″ . They were made from irregular scraps of canvas painted and glued unevenly onto an underlying abstract painting. According to Glasco, ” . . . there is a need in me to do sculpture and it somehow comes out when I paint and use material on top of material, . . . which is what sculpture is about.”

Mr. Glasco’s paintings and sculpture were widely shown at New York museums and galleries from the 1950’s to the 1970’s and ranged from stylized figures to completely abstract imagery.

His work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum and the Whitney Museum of American Art in New York City; the Hirshhorn Museum in Washington and the Museum of Fine Arts in Houston.

The Death of Procris is a mythological story From Ovid’s Metamorphoses that is a warning to newlyweds about the dangers of jealousy.   Procris is killed in error by her husband Cephalus as she spies on him in the forest, believing that he is meeting another woman, when he is actually speaking to the breeze as he cools himself on a riverbank. As Procris rustles in the leaves she startles Cephalus and he mortally wounds her with the javelin she presented to him as a gift.  In the upper right of our picture, the artist inscribed the words “Marry not that odious breeze,” Procris’s exclamation to her husband as she dies from her wound.