Anne Ryan (1889–1954) was an American Abstract Expressionist artist associated with the New York School. Her first contact with the New York City avant-garde came in 1941 when she joined the Atelier 17, a famous printmaking workshop that the British artist Stanley William Hayter had established in Paris in the 1930s and then brought to New York when France fell to the Nazis. The great turning point in Ryan's development occurred after the war, in 1948. She was 57 years old when she saw the collages of Kurt Schwitters at the Rose Fried Gallery, in New York City, in 1948. She right away dedicated herself to this newly discovered medium. Since Anne Ryan was a poet, according to Deborah Solomon, in Kurt Schwitters’s collages “she recognized the visual equivalent of her sonnets – discrete images packed together in an extremely compressed space.” When six years later Ryan died, her work in this medium numbered over 400 pieces. Biography Anne Ryan was born in Hoboken, New Jersey in 1889. Both her parents died when Ryan was in her early teens, and she attended the Academy of Saint Elizabeth convent for both high school and early college. She left the school her junior year to marry attorney William McFadden; they separated in 1923. During this time she frequented art and literary circles in New York City's Greenwich Village neighborhood, and published a novel, Raquel, as well as a volume of poetry, Lost Hills. In 1931 and 1932 she lived in Majorca and then Paris. When she returned to the United States and settled on West Fourth Street in New York City, the cultural community there was rapidly galvanizing, attracting artists and writers of all backgrounds through the Works Progress Administration and generating new styles that challenged the Regionalism and Social Realism for which the U.S. was known. She began to paint in 1938 and had her first solo exhibition in 1941 at The Pinacoteca on Lexington Avenue. After seeing Kurt Schwitters' collages shown at the Rose Fried Gallery in 1948, she was struck by "the abstract form and tactile quality, at how much power and complexity there could be on so small a scale." She seized on the idea of debris and made her first collage from paper and fabric scraps that very evening, continuing mostly in this mode until her death in 1954 in Morristown, New Jersey. She was interred at