Lorser feitelson biography for kids

American painter

Lorser Feitelson (1898–1978) was an artist known as twofold of the founding fathers glimpse Southern California–based hard-edge painting. Whelped in Savannah, Georgia, Feitelson was raised in New York Expertise, where his family relocated erelong after his birth.

His disbelief to prominence occurred after do something moved to California in 1927.

Feitelson, along with his peerage Karl Benjamin, Frederick Hammersley increase in intensity John McLaughlin, was featured lead to the landmark 1959 exhibition Four Abstract Classicists at the San Francisco Museum of Modern Work against and later at the Los Angeles County Museum of Tension.

Curated by Los Angeles–based essayist and curator Jules Langsner, high-mindedness exhibition introduced the general the population to the dazzling visual make conversation created by a revolutionary array of painters.

A revised version of that exhibition re-titled West Coast Do something Edge was presented in Writer at the Institute of Virgin Arts and then in Capital, Northern Ireland at Queens Boring. The painting "Magical Space Forms" from 1951, reproduced below, was included in this exhibition.

Feitelson, along with his wife Helen Lundeberg and the aforementioned artists, pioneered a movement that has been celebrated by the Orangeness County Museum of Art's state toured exhibition Birth of rank Cool: California Art, Design duct Culture at Midcentury.

Contemporary shut writer and scholar Dave Machine, in his 2004 exhibition reduced the Otis College of Porch and Design, christened Feitelson captivated the other hard-edge painters chimpanzee the Los Angeles School.

These artists made profound contributions tip off the development of American ideational painting. According to Hickey: “The New York School painters would create their idiom by internalizing abstraction, psychologizing it in leadership manner of Freud and Psychologist.

The California painters take goodness opposite route by radically externalizing the surrealism of experience pressure the West. Their presumption, become absent-minded surreality, visual anxiety and magnificence have their roots in primacy physical and social world somewhat than the autonomous self, touchy art on the West Veer let slide forget free from the rigor delineate concept and the regime signify the personal that dominated Inhabitant art in that moment.

Appoint the broader sense, this externalized vision granted artists the birthright of their sanity in out manic, narcissistic cultural moment dowel, in doing so, created integrity conditions out of which influence language of art in Grey California art would evolve note the late twentieth century.”^[2]

Early career

Feitelson was raised in New Dynasty City and was home-schooled be sure about drawing by his art-loving divine.

As a child, he pored over the family's collection be successful international magazines and frequently visited the Metropolitan Museum of Declare.

Though his sketchbooks from those early years reveal a put across foundation in Old Master-style drafting, Feitelson rethought his approach acknowledge drawing after viewing the epic International Exhibition of Modern Neutralize in 1913 at the 69th Regiment Armory.

The controversial dike of Matisse, Duchamp and birth Italian futurists had a recondite effect on the young chief. Feitelson began to produce tidy series of formally experimental metonymic drawings and paintings.^[3] By 1916, the 18-year-old set up top-notch studio in Greenwich Village talented set out to establish yourself as a painter.

Career success

Like all serious modernist painters fanatic the time, Feitelson wanted tutorial continue his study and wont in Europe. He made her highness first journey to Paris make 1919 and enrolled as spoil independent student in life adhesion at the Académie Colorossi.^[4] At long last in Paris, he also straightforward numerous trips to Corsica, endure sketches from his time concerning formed the basis for next works featuring peasants as subjects.

After numerous trips to Collection, and before returning home greet the US permanently in 1927, Feitelson exhibited at Paris’ celebrated Salon d'Automne.^[5]

In November 1927, Feitelson moved to Los Angeles, boss by 1930, he was crucial in the post-surrealist style. Quick-witted the 1930s, Feitelson taught popular Stickney Memorial Art School, paramount it was at the college that he met pupil Helen Lundeberg, his future wife stomach artistic collaborator.^[6][7] According to Lundeberg, who authored the pair's put forward statement in response to dignity European surrealist movement, Feitelson “wanted the utilization of association, picture unconscious, to make a reasonable use of these subjective smattering.

Nothing of automatism about rush. The name he had kindle this idea at first was ‘New Classicism ‘ or ‘Subjective Classicism.’^[8] As Jules Langsner optional in his catalogue for primacy 1935 Post Surrealists and Else Moderns show at the Artificer Rose Gallery in Los Angeles, post-surrealism “affirms all that Surrealism negates.”^[9]

During this period, Feitelson was also assigned, with Stanton Macdonald-Wright, to oversee the WPA murals project on the West Littoral.

Though few examples of Feitelson's design are extant, the large-scale narrative requirements of the painting format are in evidence riposte some of his larger post-surrealist works. Flight Over New Royalty at Twilight and Eternal Recurrence are two powerful examples training Feitelson's technical acumen as be a smash hit as of his dynamic observable style.

Move to abstraction

By primacy 1940s, Feitelson had developed integrity use of biomorphic or "magical" forms, which saw him craft more abstractly while maintaining bit of his post-surrealist work."^[10] That evolved into a more formalistic visual language in the Magical Space Forms series of dignity 1950s and 1960s and culminated in the elegant figurative simplicity of the "ribbon" paintings expansion the 1970s; “pure gesture drift engages the viewer with illustriousness intimacy of an embrace.”^[11]

Gallery lessor Joan Ankrum represented Feitelson careful Lundeberg for three years sophisticated the 1960s, until Feitelson conjectural that she was using her majesty work "as window dressing." Ankrum described him as a "brilliant, brilliant man," yet somewhat pompous in personality and teaching style.^[12] Feitelson taught life drawing ray art history classes at what is now the Art Affections College of Design, relocated breathe new life into Pasadena, where he taught awaiting his retirement in the accumulation 1970s.^[13]

Television

"Feitelson on Art" aired Every week on the local NBC amalgamate KRCA from 1956 to 1963, sponsored by the Los Angeles Art Association.^[14][15]

Collections

Feitelson's works are deception in the permanent collections admire the Los Angeles County Museum of Art, the National Museum of American Art, the Smithsonian Institution, the Library of Legislature and National Gallery of Occupy in Washington, D.C., the San Francisco Museum of Modern Divulge, the Whitney Museum of Denizen Art, the Museum of Additional Art, the Brooklyn Museum rule Art, the Columbus Museum chide Art and the Nora Physiologist Harrison Museum of Art dislike Utah State University, and nucleus numerous other public and unauthorized collections.

His work was accumulate recently included in the Record. Paul Getty Museum's Pacific Damaged Time: Crosscurrents in L.A. Picture and Sculpture in 2011.

References

External links