ones, such as Miró's Dog Barking at the Moon (1926) and Mondrian's Composition with Blue and Yellow (1932), to attract the viewer's notice. During the 1930s Gallatin continued to receive advice from Jacques Mauny. He also was aided by a succession of friends and acquaintances beginning with Henry McBride (1927–32), followed by Robert Delaunay (1932–33) and then Jean Hélion and George L.K. Morris (1933-ca. 1940). Following his own inclination and their influence, he purged figurative works in favor of abstraction and emphasized non-objective works over ones having identifiable subjects. In 1936 Gallatin changed the name of the gallery to Museum of Living Art. By this time both the Whitney Museum and the Museum of Modern Art had opened to the public and Gallatin's museum was credited as having the collection that most interested, and influenced, young New York artists such as Arshile Gorky, Philip Guston, Robert Motherwell, and the de Koonings. In 1938 Life Magazine profiled Gallatin and the Museum in a photo spread entitled "Albert Gallatin's Great-Grandson Sponsors a Museum of Abstract Art." The images included a caricature of Gallatin by Léger, a photo of a set of panels in the museum, major works in the collection, and copies of photographs that Gallatin had taken of prominent Parisian artists. On August 24, 1939, Gallatin purchased Piet Mondrian's “Composition with Blue” from art dealer Curt Valentin. He donated it to the Philadelphia Museum of Arts, against which a claim for restitution was filed in 2021 because the painting had been seized by Nazis. Art work: 1930s-1940s In February 1936 Gallatin resumed painting. He had been deliberate and unhurried in his collecting, acquiring first small pieces on paper and, on becoming comfortable with an artist's work, gradually moving on to larger oil paintings. Similarly, he took many months to work up his own easel productions from conception to finished state. The works themselves were uniformly non-objective. At the time critics saw them as cerebral and "euclidean." In 1938, Edward Alden Jewell, the perceptive critic for the New York Times called them "pure" and, making an early use of the term, "non-objective" (the quote marks are his). They have since been seen as "sensitively realized abstractions," structural designs of an architectural nature, imbued with "subtle structural strength," and "endlessly inventive." The term "decorative" was also applied to them, both in a pejorative sense and one more in keeping with his own use