Philosophy
by
Ken Johnson
November 13th, 2012
The New York Times
Will Barnet, a printmaker and painter known for elegantly stylized portraits and classically composed visions of beautiful women and children, died on Tuesday at his home in Manhattan. He was 101.
His death was announced by Philippe Alexandre, whose gallery represented him. He had lived in the National Arts Club building on Gramercy Park since 1982.
In the prints and paintings that he produced from the mid-1960s on, Mr. Barnet ranged between a simplified form of realism and a poetic, visionary symbolism. A skilled draftsman, he created exactingly linear, subtly colored portraits of family members and friends. In the enigmatic pictures he began making in the 1970s, he conjured images of women in dark woods or on the porches of seaside houses who appear to be waiting for loved ones like 19th-century sailors’ wives.
A native of Beverly, Mass., Mr. Barnet attended the School of the Museum of Fine Arts in Boston and, on a scholarship, went to New York to study at the Art Students League, arriving in 1931, he once said, with $10 and a portfolio of seascapes and portraits of the family cat. He worked briefly under Stuart Davis and became acquainted with the Surrealist artist Arshile Gorky.
Mr. Barnet started out as a Social Realist printmaker responding to the struggles of ordinary people during the Depression. He was “radicalized” at 19, he said, roaming the city and sketching the faces of the downtrodden while renting a room for $1 a night.
Four years after joining the Art Students League he was appointed its official printer. He went on to work in graphic arts for the Depression-era Works Progress Administration Federal Art Project. He also made prints for the Mexican muralist José Clemente Orozco and the painter and political cartoonist William Gropper.
Mr. Barnet had his first solo exhibition at the Eighth Street Playhouse in Manhattan in 1935 and, three years later, his first gallery show at the Hudson Walker Gallery, also in Manhattan. That same year he married Mary Sinclair, a painter and fellow student, with whom he had three sons. In 1939 his work was included in “American Art Today” at the New York World’s Fair.
Eventually his interest in Modernist formal innovations led to colorful, Picassoesque paintings depicting domestic family scenes, often featuring young children, and by the end of the 1940s his paintings had become entirely abstract. He soon fell in with a group known as the Indian Space Painters, who created geometrically complex abstract paintings using forms derived from both Native American art and modern European painting.
But Mr. Barnet returned to traditionalist representational painting in the early 1960s. Under the influences of early Renaissance painting, Japanese printmaking and, perhaps obliquely, Pop Art, he made flattened, precisely contoured portraits of the architect Frederick Kiesler, the art critic Katherine Kuh and the art collector Roy Neuberger.
By then he was divorced and had married Elena Ciurlys in 1953. They had a daughter, Ona, and both she and her mother were subjects of his portraits as well. His later images of mysterious waiting women showed the influences of Pre-Raphaelite narratives, Magritte’s Surrealism and Edward Hopper’s taciturn romanticism.
In 2003 Mr. Barnet again changed course, returning to abstraction and resuming the engagement with bold shapes, vivid color and dynamic compositions that characterized his painting in the 1950s. He continued to work into his 90s, and in 2010 he was honored with an exhibition, “Will Barnet and the Art Students League,” at the Phyllis Harriman Mason Gallery in Manhattan. He began teaching graphic arts and composition for the league in 1936, became an instructor of painting and continued to teach at the school until 1980.
“I didn’t compromise, ever,” he said in an interview with The New York Times on the occasion of the exhibition. “The old masters are still alive after 400 years, and that’s what I want to be.”
Mr. Barnet was born on May 25, 1911. His father, Noah, who had immigrated from Russia, was a machinist in a shoe factory. His mother, Sarahdina, came from Eastern Europe. Mr. Barnet became interested in art as a child and by age 12 had his own studio in his parents’ basement.
He is survived by his wife, as well as his sons from his first marriage — Peter, a painter; Richard, a sculptor; and Todd, a lawyer — and the daughter from his second marriage, Ona, who owns and operates an inn in Maine; and seven grandchildren.
In addition to the Art Students League, Mr. Barnet taught at the Cooper Union for the Advancement of Science and Art from 1945 to 1978 and, in shorter stints, at Yale, the Pennsylvania Academy of Fine Arts, and other schools. He was awarded a National Medal of Arts from 2011, which was presented by President Obama in a White House ceremony this year.
It was in 2011 when the Montclair Art Museum in New Jersey exhibited a selection of his canvases in honor of his centennial year. His work was also shown in many solo and group shows around the United States, including six appearances in the Whitney Museum of American Art’s annual exhibitions. He was the subject of several museum retrospectives. “Will Barnet at 100,” presented at the National Academy Museum in 2011, was the last. It was also his first solo retrospective in New York.
Mr. Barnet’s first encounters with art were the carvings of skeletal heads and other images on colonial tombstones in a local cemetery in Beverly.
“These were mementos of what had taken place,” he recalled. “At the age of 10 or 12, I discovered that being an artist would give me an ability to create something which would live on after death.”
by
Robin Finn
October 26th, 2010
The New York Times
Propelled by a scholarship to the Art Students League, Will Barnet, an aspiring artist with a portfolio heavy on seascapes and family cat portraiture, left Boston for New York City in 1931 with $10 in his pocket. It was summer, it was hot, and besides the Depression-era garbage rotting in the streets, the air was ripe with raucous political protest. He rented a room for a $1 a night, gorged on cheap baked beans at the Automat and started sketching the forlorn and angry faces he saw on every corner. He was 19 and “radicalized” by possibility.
“I felt like Gary Cooper,” he recalled, “like a cowboy in a Western movie.” He roamed the city the way his idol, Honoré Daumier, had wandered through Paris; it was his muse. His style: stark, brooding social realism.
Eight decades later, hard of hearing but still tart of tongue, Mr. Barnet continues to paint every day — abstract forms, oddly hued and, as ever, deeply felt. His evolution as a modern American painter is on display this month in “Will Barnet and the Art Students League,” an exhibition that honors his centennial year and his influence on generations of artists, and includes works by renowned league students and colleagues like Louise Bourgeois and James Rosenquist.
“I’ve seen it all but I want to see more,” said Mr. Barnet, who lost the use of his left leg two years ago after a fall. “I have no opinion on what it means to be 99 except that it’s different from being 19. I used to work 8, 9, 10 hours a day,” he said. Now he paints three or four hours despite his inability to stand. “I didn’t compromise, ever,” he added. “The old masters are still alive after 400 years, and that’s what I want to be.”
Mr. Barnet, whose art career began with his painting self-portraits in his parents’ basement in Beverly, Mass., “according to the way Rembrandt worked, with the light coming over my left shoulder,” is a symbol of 20th-century American inimitability. He’s the guy who abstained when the establishment went gaga over abstract expressionism (“Most of those paintings felt like accidents”). But his major works from the 1950s to ‘70s — abstract and figurative, Byzantine and Indian Space — now sell for up to $400,000. He has had 80 one-man shows, the most recent this spring at the Alexandre Gallery, and the Metropolitan Museum of Art, the Guggenheim and the Whitney all have his work — usually in storage. (“They don’t show artists of my nature; the Whitney hasn’t shown my work in 30 years,” he said.)
“He took a very independent route, often in contrast to what was the popular or easy direction, but it was the art world that was contrary, not Will,” said Robert Kane, an expressionist colorist painter and former student of Mr. Barnet’s whose work is included in the retrospective. “There’s a quote of Picasso’s that is, to me, the secret of Will: ‘Some people make a red dot and it’s the sun; other people make the sun and it’s just a red dot.’ ”
A fan of Picasso, Ingres and Cézanne, Mr. Barnet wanted to be a modern American painter in a 20th-century American city: the league was a Mecca for modernists. Neither his parents’ indifference (his father was a machinist in a shoe factory) nor the suicide of Jules Pascin, who was to be his first teacher at the league in 1931, deterred him. “I had to be an artist and not sacrifice myself for anything but art,” he recalled.
Mr. Barnet knew no one in New York, but he arrived with a letter of introduction from a friend at the School of the Museum of Fine Arts in Boston who had an Armenian uncle in the city, the surrealist artist Arshile Gorky. Mr. Barnet hiked downtown to his studio unannounced. Standing on the sidewalk, he heard shouting. He knocked anyway. Turned out Mr. Gorky was infuriated because overnight, mice had destroyed a collage that included cheese among its media.
After calming down, Mr. Gorky took Mr. Barnet for an instructive stroll, at one point stopping outside a shoe shop with a fancifully painted business sign. “Young man,” he said, “there’s the future of art in America.” Mr. Barnet kept his mouth shut, but he has never been a fan of what would become known as Pop Art. The closest he came to being a commercial artist were the poster editions of his 1970s prints (“Woman Reading” is the best known); some editions sold for $300,000, but there were no sequels or variants.
Over the years, Mr. Barnet’s work morphed from social realism to a nuanced abstraction that used flat planes of color to convey emotion and depth; in his prime, he segued from pure abstraction to pure figuration and back. As a teacher, he elevated printmaking to an art form and emphasized to painters the difference between fine art and the transfer of object to canvas.
“I never wanted to repeat myself,” he says. “And that drove some art dealers crazy. I love moving on and finding fresh ways to use color and form. That’s been my excitement.”
He was appointed league printer in 1935 for $15 a week, and taught art there from 1942 to 1979 (Mark Rothko was his printmaking student in 1951). No canvas left his studio unless he had spent at least three years getting it absolutely, obsessively right.
“I had seen some of his paintings on the wall outside the classroom and thought, ‘Here’s someone who sees something no one else sees,’ ” said the urban muralist Knox Martin, whose work is also included in the exhibition, at the league’s gallery on West 57th Street. “He was the first human being I ever met who could communicate what art was.”
Mr. Barnet said he once painted Gypsy Rose Lee’s portrait for rent money, though he has forgotten what she paid: $20, or maybe $50. His 1934 lithograph “Cafeteria Scene” was purchased by the league for its permanent collection. Philip Alexandre, who owns the gallery that represents him, said that over the past decade Mr. Barnet and his work have begun to experience a pleasant art establishment phenomenon — “a reassessment of value,” noting: “Younger artists are discovering him, and that’s key.”
Mr. Barnet and his wife of 58 years, Elena, moved in 1982 from the Upper West Side to a duplex at the National Arts Club on Gramercy Park that includes his first genuine studio.
It has a full wall of two-story windows facing north. The other walls display paintings, some 15 feet high, like the austere winter portrait of his and Elena’s daughter, Ona, and grandson, Will, on ice skates in Maine, circa 1980. The original pencil sketch for “Woman Reading” — a 1970 oil painting and later a popular poster — depicting Elena and their cat, Madame Butterfly, hangs in the living room. The reason for the bald spots on the walls: he lent several paintings to the league and to a show being presented at Montclair State University, where his son Peter teaches painting. Another son, Richard, is a sculptor who teaches at the league, and a third son, Todd, is a lawyer; all three were born during his 10-year marriage to Mary Sinclair, a painter.
Mr. Barnet mixes colors himself, and keeps a sheet of waxed paper over them to assure freshness. He sits beside his canvas in the wheeled office chair he relies on to get around the studio. A gigantic 150-year-old wooden easel looms behind him, unused; the wall, more accessible, now doubles as his easel. Hundreds of paintbrushes are guarded by a stuffed raven he refers to as “the early bird.” He cannot climb stairs anymore, so he sleeps on a daybed in the studio; when he leaves the apartment to go out to dinner or to a gallery, he begrudgingly uses the wheelchair parked in the hall.
Mortality is on his mind.
“Let me tell you a story,” he said, digging into a saucer of frozen Georgia pecans (his other favorite snack is 72 percent dark chocolate, which he discovered 50 years ago, way ahead of the curve). “My grandfather was 96 years old, and one foggy night in Beverly, Mass., he went walking and was hit and injured by a drunken driver.
“He was lying in bed dying of a fractured skull, and my father took me at the age of 6 to say goodbye to him. And I’ll never forget what he said: ‘Do you think it’s easy to die at the age of 96?’ ”
Will Barnet [Wikipedia]
- Deceased--roman Opalka
Roman Opalka August 27th, 1931 to August 6th, 2011 "Roman Opalka, Artist Who Painted Millions of Numbers, Dies at 79" by Andrew Russeth August 9th, 2011 The New York Observer The Polish painter Roman Opalka, who painted an uninterrupted...
- Deceased--theodore Lux Feininger
Theodore Lux Feininger June 11th, 1910 to July 7th, 2011 "T. Lux Feininger, Photographer and Painter, Dies at 101" by William Grimes July 13th, 2011 The New York Times T. Lux Feininger, a painter and photographer who, as a young student at the Bauhaus,...
- Deceased--cy Twombly
Cy Twombly April 25th, 1928 to July 5th, 2011 "American painter Cy Twombly, celebrated for large-scale scribble paintings, dies in Rome at 83" July 5th, 2011 Associated Press Celebrated American painter Cy Twombly, whose large-scale paintings featuring...
- Deceased--ruth Kligman
Ruth Kligman January 25th, 1930 to March 1st, 2010 The life of a talented artist and an arts muse. "Ruth Kligman, Muse and Artist, Dies at 80" by Randy Kennedy March 6th, 2010 The New York Times Ruth Kligman, an abstract painter who for decades seemed...
- Deceased--peter Forakis
Peter Forakis September 22nd, 1927 to November 26th, 2009 Mathematics, geometry=art. "Peter Forakis, a Sculptor of Geometric Forms, Dies at 82" by Roberta Smith December 20th, 2009 The New York Times Peter Forakis, a sculptor of geometric forms and...
Philosophy
Deceased--Will Barnet
Will Barnet
May 25th, 1911 to November 13th, 2012
May 25th, 1911 to November 13th, 2012
"Will Barnet, Visionary Artist, Dies at 101"
by
Ken Johnson
November 13th, 2012
The New York Times
Will Barnet, a printmaker and painter known for elegantly stylized portraits and classically composed visions of beautiful women and children, died on Tuesday at his home in Manhattan. He was 101.
His death was announced by Philippe Alexandre, whose gallery represented him. He had lived in the National Arts Club building on Gramercy Park since 1982.
In the prints and paintings that he produced from the mid-1960s on, Mr. Barnet ranged between a simplified form of realism and a poetic, visionary symbolism. A skilled draftsman, he created exactingly linear, subtly colored portraits of family members and friends. In the enigmatic pictures he began making in the 1970s, he conjured images of women in dark woods or on the porches of seaside houses who appear to be waiting for loved ones like 19th-century sailors’ wives.
A native of Beverly, Mass., Mr. Barnet attended the School of the Museum of Fine Arts in Boston and, on a scholarship, went to New York to study at the Art Students League, arriving in 1931, he once said, with $10 and a portfolio of seascapes and portraits of the family cat. He worked briefly under Stuart Davis and became acquainted with the Surrealist artist Arshile Gorky.
Mr. Barnet started out as a Social Realist printmaker responding to the struggles of ordinary people during the Depression. He was “radicalized” at 19, he said, roaming the city and sketching the faces of the downtrodden while renting a room for $1 a night.
Four years after joining the Art Students League he was appointed its official printer. He went on to work in graphic arts for the Depression-era Works Progress Administration Federal Art Project. He also made prints for the Mexican muralist José Clemente Orozco and the painter and political cartoonist William Gropper.
Mr. Barnet had his first solo exhibition at the Eighth Street Playhouse in Manhattan in 1935 and, three years later, his first gallery show at the Hudson Walker Gallery, also in Manhattan. That same year he married Mary Sinclair, a painter and fellow student, with whom he had three sons. In 1939 his work was included in “American Art Today” at the New York World’s Fair.
Eventually his interest in Modernist formal innovations led to colorful, Picassoesque paintings depicting domestic family scenes, often featuring young children, and by the end of the 1940s his paintings had become entirely abstract. He soon fell in with a group known as the Indian Space Painters, who created geometrically complex abstract paintings using forms derived from both Native American art and modern European painting.
But Mr. Barnet returned to traditionalist representational painting in the early 1960s. Under the influences of early Renaissance painting, Japanese printmaking and, perhaps obliquely, Pop Art, he made flattened, precisely contoured portraits of the architect Frederick Kiesler, the art critic Katherine Kuh and the art collector Roy Neuberger.
By then he was divorced and had married Elena Ciurlys in 1953. They had a daughter, Ona, and both she and her mother were subjects of his portraits as well. His later images of mysterious waiting women showed the influences of Pre-Raphaelite narratives, Magritte’s Surrealism and Edward Hopper’s taciturn romanticism.
In 2003 Mr. Barnet again changed course, returning to abstraction and resuming the engagement with bold shapes, vivid color and dynamic compositions that characterized his painting in the 1950s. He continued to work into his 90s, and in 2010 he was honored with an exhibition, “Will Barnet and the Art Students League,” at the Phyllis Harriman Mason Gallery in Manhattan. He began teaching graphic arts and composition for the league in 1936, became an instructor of painting and continued to teach at the school until 1980.
“I didn’t compromise, ever,” he said in an interview with The New York Times on the occasion of the exhibition. “The old masters are still alive after 400 years, and that’s what I want to be.”
Mr. Barnet was born on May 25, 1911. His father, Noah, who had immigrated from Russia, was a machinist in a shoe factory. His mother, Sarahdina, came from Eastern Europe. Mr. Barnet became interested in art as a child and by age 12 had his own studio in his parents’ basement.
He is survived by his wife, as well as his sons from his first marriage — Peter, a painter; Richard, a sculptor; and Todd, a lawyer — and the daughter from his second marriage, Ona, who owns and operates an inn in Maine; and seven grandchildren.
In addition to the Art Students League, Mr. Barnet taught at the Cooper Union for the Advancement of Science and Art from 1945 to 1978 and, in shorter stints, at Yale, the Pennsylvania Academy of Fine Arts, and other schools. He was awarded a National Medal of Arts from 2011, which was presented by President Obama in a White House ceremony this year.
It was in 2011 when the Montclair Art Museum in New Jersey exhibited a selection of his canvases in honor of his centennial year. His work was also shown in many solo and group shows around the United States, including six appearances in the Whitney Museum of American Art’s annual exhibitions. He was the subject of several museum retrospectives. “Will Barnet at 100,” presented at the National Academy Museum in 2011, was the last. It was also his first solo retrospective in New York.
Mr. Barnet’s first encounters with art were the carvings of skeletal heads and other images on colonial tombstones in a local cemetery in Beverly.
“These were mementos of what had taken place,” he recalled. “At the age of 10 or 12, I discovered that being an artist would give me an ability to create something which would live on after death.”
"Painting at 99, With No Compromises"
by
Robin Finn
October 26th, 2010
The New York Times
Propelled by a scholarship to the Art Students League, Will Barnet, an aspiring artist with a portfolio heavy on seascapes and family cat portraiture, left Boston for New York City in 1931 with $10 in his pocket. It was summer, it was hot, and besides the Depression-era garbage rotting in the streets, the air was ripe with raucous political protest. He rented a room for a $1 a night, gorged on cheap baked beans at the Automat and started sketching the forlorn and angry faces he saw on every corner. He was 19 and “radicalized” by possibility.
“I felt like Gary Cooper,” he recalled, “like a cowboy in a Western movie.” He roamed the city the way his idol, Honoré Daumier, had wandered through Paris; it was his muse. His style: stark, brooding social realism.
Eight decades later, hard of hearing but still tart of tongue, Mr. Barnet continues to paint every day — abstract forms, oddly hued and, as ever, deeply felt. His evolution as a modern American painter is on display this month in “Will Barnet and the Art Students League,” an exhibition that honors his centennial year and his influence on generations of artists, and includes works by renowned league students and colleagues like Louise Bourgeois and James Rosenquist.
“I’ve seen it all but I want to see more,” said Mr. Barnet, who lost the use of his left leg two years ago after a fall. “I have no opinion on what it means to be 99 except that it’s different from being 19. I used to work 8, 9, 10 hours a day,” he said. Now he paints three or four hours despite his inability to stand. “I didn’t compromise, ever,” he added. “The old masters are still alive after 400 years, and that’s what I want to be.”
Mr. Barnet, whose art career began with his painting self-portraits in his parents’ basement in Beverly, Mass., “according to the way Rembrandt worked, with the light coming over my left shoulder,” is a symbol of 20th-century American inimitability. He’s the guy who abstained when the establishment went gaga over abstract expressionism (“Most of those paintings felt like accidents”). But his major works from the 1950s to ‘70s — abstract and figurative, Byzantine and Indian Space — now sell for up to $400,000. He has had 80 one-man shows, the most recent this spring at the Alexandre Gallery, and the Metropolitan Museum of Art, the Guggenheim and the Whitney all have his work — usually in storage. (“They don’t show artists of my nature; the Whitney hasn’t shown my work in 30 years,” he said.)
“He took a very independent route, often in contrast to what was the popular or easy direction, but it was the art world that was contrary, not Will,” said Robert Kane, an expressionist colorist painter and former student of Mr. Barnet’s whose work is included in the retrospective. “There’s a quote of Picasso’s that is, to me, the secret of Will: ‘Some people make a red dot and it’s the sun; other people make the sun and it’s just a red dot.’ ”
A fan of Picasso, Ingres and Cézanne, Mr. Barnet wanted to be a modern American painter in a 20th-century American city: the league was a Mecca for modernists. Neither his parents’ indifference (his father was a machinist in a shoe factory) nor the suicide of Jules Pascin, who was to be his first teacher at the league in 1931, deterred him. “I had to be an artist and not sacrifice myself for anything but art,” he recalled.
Mr. Barnet knew no one in New York, but he arrived with a letter of introduction from a friend at the School of the Museum of Fine Arts in Boston who had an Armenian uncle in the city, the surrealist artist Arshile Gorky. Mr. Barnet hiked downtown to his studio unannounced. Standing on the sidewalk, he heard shouting. He knocked anyway. Turned out Mr. Gorky was infuriated because overnight, mice had destroyed a collage that included cheese among its media.
After calming down, Mr. Gorky took Mr. Barnet for an instructive stroll, at one point stopping outside a shoe shop with a fancifully painted business sign. “Young man,” he said, “there’s the future of art in America.” Mr. Barnet kept his mouth shut, but he has never been a fan of what would become known as Pop Art. The closest he came to being a commercial artist were the poster editions of his 1970s prints (“Woman Reading” is the best known); some editions sold for $300,000, but there were no sequels or variants.
Over the years, Mr. Barnet’s work morphed from social realism to a nuanced abstraction that used flat planes of color to convey emotion and depth; in his prime, he segued from pure abstraction to pure figuration and back. As a teacher, he elevated printmaking to an art form and emphasized to painters the difference between fine art and the transfer of object to canvas.
“I never wanted to repeat myself,” he says. “And that drove some art dealers crazy. I love moving on and finding fresh ways to use color and form. That’s been my excitement.”
He was appointed league printer in 1935 for $15 a week, and taught art there from 1942 to 1979 (Mark Rothko was his printmaking student in 1951). No canvas left his studio unless he had spent at least three years getting it absolutely, obsessively right.
“I had seen some of his paintings on the wall outside the classroom and thought, ‘Here’s someone who sees something no one else sees,’ ” said the urban muralist Knox Martin, whose work is also included in the exhibition, at the league’s gallery on West 57th Street. “He was the first human being I ever met who could communicate what art was.”
Mr. Barnet said he once painted Gypsy Rose Lee’s portrait for rent money, though he has forgotten what she paid: $20, or maybe $50. His 1934 lithograph “Cafeteria Scene” was purchased by the league for its permanent collection. Philip Alexandre, who owns the gallery that represents him, said that over the past decade Mr. Barnet and his work have begun to experience a pleasant art establishment phenomenon — “a reassessment of value,” noting: “Younger artists are discovering him, and that’s key.”
Mr. Barnet and his wife of 58 years, Elena, moved in 1982 from the Upper West Side to a duplex at the National Arts Club on Gramercy Park that includes his first genuine studio.
It has a full wall of two-story windows facing north. The other walls display paintings, some 15 feet high, like the austere winter portrait of his and Elena’s daughter, Ona, and grandson, Will, on ice skates in Maine, circa 1980. The original pencil sketch for “Woman Reading” — a 1970 oil painting and later a popular poster — depicting Elena and their cat, Madame Butterfly, hangs in the living room. The reason for the bald spots on the walls: he lent several paintings to the league and to a show being presented at Montclair State University, where his son Peter teaches painting. Another son, Richard, is a sculptor who teaches at the league, and a third son, Todd, is a lawyer; all three were born during his 10-year marriage to Mary Sinclair, a painter.
Mr. Barnet mixes colors himself, and keeps a sheet of waxed paper over them to assure freshness. He sits beside his canvas in the wheeled office chair he relies on to get around the studio. A gigantic 150-year-old wooden easel looms behind him, unused; the wall, more accessible, now doubles as his easel. Hundreds of paintbrushes are guarded by a stuffed raven he refers to as “the early bird.” He cannot climb stairs anymore, so he sleeps on a daybed in the studio; when he leaves the apartment to go out to dinner or to a gallery, he begrudgingly uses the wheelchair parked in the hall.
Mortality is on his mind.
“Let me tell you a story,” he said, digging into a saucer of frozen Georgia pecans (his other favorite snack is 72 percent dark chocolate, which he discovered 50 years ago, way ahead of the curve). “My grandfather was 96 years old, and one foggy night in Beverly, Mass., he went walking and was hit and injured by a drunken driver.
“He was lying in bed dying of a fractured skull, and my father took me at the age of 6 to say goodbye to him. And I’ll never forget what he said: ‘Do you think it’s easy to die at the age of 96?’ ”
When he was 99...
- Deceased--roman Opalka
Roman Opalka August 27th, 1931 to August 6th, 2011 "Roman Opalka, Artist Who Painted Millions of Numbers, Dies at 79" by Andrew Russeth August 9th, 2011 The New York Observer The Polish painter Roman Opalka, who painted an uninterrupted...
- Deceased--theodore Lux Feininger
Theodore Lux Feininger June 11th, 1910 to July 7th, 2011 "T. Lux Feininger, Photographer and Painter, Dies at 101" by William Grimes July 13th, 2011 The New York Times T. Lux Feininger, a painter and photographer who, as a young student at the Bauhaus,...
- Deceased--cy Twombly
Cy Twombly April 25th, 1928 to July 5th, 2011 "American painter Cy Twombly, celebrated for large-scale scribble paintings, dies in Rome at 83" July 5th, 2011 Associated Press Celebrated American painter Cy Twombly, whose large-scale paintings featuring...
- Deceased--ruth Kligman
Ruth Kligman January 25th, 1930 to March 1st, 2010 The life of a talented artist and an arts muse. "Ruth Kligman, Muse and Artist, Dies at 80" by Randy Kennedy March 6th, 2010 The New York Times Ruth Kligman, an abstract painter who for decades seemed...
- Deceased--peter Forakis
Peter Forakis September 22nd, 1927 to November 26th, 2009 Mathematics, geometry=art. "Peter Forakis, a Sculptor of Geometric Forms, Dies at 82" by Roberta Smith December 20th, 2009 The New York Times Peter Forakis, a sculptor of geometric forms and...