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September 15, 1961 - Image 7

Resource type:
Text
Publication:
The Detroit Jewish News, 1961-09-15

Disclaimer: Computer generated plain text may have errors. Read more about this.

Still Coming with Ca A Aid

BY MILTON S. FOX

er use nature as a point of technology could be guilty of
departure for abstract composi- them. And to those circum-
tions or copy her photographi- stances he has responded with
cally with or without surrealist characteristic vehemence — for
overtones. Rosenberg by con- he is entirely unlike those
trast wishes to represent the painters who seem to create
forces of nature. His interest is their landscapes or abstractions
not in the configuration of an solely for the purpose of with-
individual hill or the shape of drawing into them. Instead, he
a single tree, but in the vibra- has boldly faced the facts of
tion of light in the autumn life, as he has faced the facts
woods, the slanting drive of of nature. Depression, mechani-
rain, or the eerie effects of zation, tyranny and brutality —
moonlight. There is little vari- the outrages and violences and
ety of place but much of mood. dark moods of nature do. And
Rosenberg uses many techni- in some of his pictures, not-
ques to differentiate these ably those done after the trip
moods: pastel to convey the op- to the Ardennes, there is a
pressive moment just before savage contrast of moods in a
the break of a storm, irregular grim marriage of , youthful
dabs of pure color to represent death and springtime youth. .
autumn leaves, pulverized mica
Note this about Rosenberg's
mixed into the pigment to sug- art: how remarkably he uses
gest the glitter of snow. . . . It his repertory of technical
is his search both for vividness means according to the subje
and for intimacy which deter- and mood of the work. W.
mines the personal quality of Constable, who recently reti
Rosenberg's art. That quality as curator of painting at B
has brought him recognition by ton's Museum of Fine Arts, sa
American museums, some in a catalog for the Rosenberg
twenty of which include his show at Wildenstein's in 1947
paintings in their permanent that this painter "the world is
collections."
a comple
la re-
Today the artist's works are sultin
• m vast unde ing
not only in museums, but also 1110
ents of which man h•
in many private collections, em-
is equally a conse e.
bassies, colleges, libraries, hos
e is always striving to, xpress
pitals. Nobody—and least of
an underlying unity behind the
Rosenberg himself—knows
visible world — not a comfort-
nany or where they all ar
able, har •nious unify, but that
s been an extraordi ily of a d o
lific painter, and a ge
ous tempes
. Through purchase • gift sugge
an-
t of the country's reat tic f his
, since the thing
eums — the Metrop tan, see is always interpreted •
Museum of Fine A in ten s of a personal c on
oston, the Cleveland Mus
of the pattern
ence. It
of Art, the Fogg, the Smithso
ovides an essent-
ian Institution (which holds art ial link connecting the very
un- for the National Gallery of Art varied types of work he has
Ameri- in Washington until it becomes produced. The series of litho-
y and most eligible for - inclusion), and graphs inspired by the slump
landscapists eith- others, have acquired his work; that rocked the United States;
and the list of regional collec- the paintings of Pittsburgh wit-
tion where he is represented is' nessing the triumph of what he
impressive. A few names at calls 'Troilism' in man's affairs;
random: the Joslyn Memorial the 'Atomism' paintings here
Art Museum of Omaha, the Nel- exhibited, foreshadowing what
son Gallery-Atkins Museum of may be man's future in the grip
Kansas City, the Walker Art of yet greater powers, are in
Center of Minneapolis, the essence cut from the same kind
Georgia Museum of Art in of cloth as the paintings made
Specializing In
Athens, Georgia, Smith, Dow- in the Adirondacks. ."
doin, Tel-Aviv, Brandeis, and
Business Machines
This is also noted by Cha
Harvard colleges, among others.
C. Cunningham, direct
he
I
have
said
earlier
that
Rosen-
liemingtenRand
Wadsworth Athe
, in an-
berg
has
always
remained
at-
AUTHORIZED SALES—SERV10E
other of the
s exhibition
tached to the world around him,
catalogs: "E
in
a
fundament-
whether in the north woods or ally trag
painting
. . he
16844 SCHAEFER
in Israel. But he does not let
cannot
ist a tulip r two
us forget that this world in-
DI 1-0661
the
eground • t show his
741 2 W. McNICHOLS RD. cludes also some crimes against fait
in tomorr 's sprin t
humanity so vast and gruesome tim
Rosenber
eed
UN 4-8727
that only an age of refined ro
nticist and Set
as
wa called by th
nguished,
jus etired director of the
4")
Clev
-NievitiMark
d Museum of Art • •
Liam
C OMPANY
a .
The point is, simply, that
Rosenberg is an artist, with the
SALE PRICED
instinctive painter's gift for
somehow being able to distill
$ 1 9 S5 q.
what he sees and feels, and
Yd.
then transmuting it into pig-
ment. But pigment to which he
$ 14 95
gives magic life and spirit, and
Value
uncommon richness, for he is
a colorist primarily. No man
has ever given himself more
wholeheartedly to art; when he
isn't "promoting" American art
with his customary zeal and re-
sourcefulness (he calls this his
"unfinished business"), he is
usually to be found in his studio
surrounded by canvases await-
ing his touch.
You'll love wiggling your
his plus pile, all
ool carpet! But don't
.1 .
It is therefore finally right
nkle-d • • , elegant
it of the • R
as
that he' should appear before us
as it • luxurious!
The same d- se eep
ou th loating feel.-
as an artist, painting and fight-
ing, also mean • g
0
our carpe •
nd the WAL-
ing for art in our world, and
DORF's sk•
woven, thick 3-pl
rn gives you a
especially in our own country
practical, c
ree carpet.
where now so many are ready
We have a limited a
this all-wool carpet in
to ignore that art has freed
••i sand an
on sale now at $10.95 a square
man
from physical confinement
yar
long before the first sputnik
beeped its way across the sky.

James Rosenberg has been
painting for almost fifty years.
For at least ten years now he
has been a professional artist
in the sense that he has given
most of the working day (and
many, many working nights) to
thinking, studying, supporting,
and creating art. This astonish-
ing man, who was a gifted
amateur during the remote era
of the William Howard Taft
presidency, turned professiOnal
at the age of seventy. And
though his work has changed
much since the early pictures
reproduced in this book, he has
never painted better than in
these last few years, with a
boldness and vigor, a technique
and a vision which are still
arresting despite the fact that
most of his work is within what
Sunday newspaper critics call
"accepted idioms."
He has always remained at-
tached to the world around him,
a painter "for 'whom the visible
world exists." It is refreshing
in this day when so much paint-
ing is disturbing, self-mutilated
(cutting away so many of the
attractions which, historically,
painters have offered us), or
just plain sterile (however
stylish it may be), to come upon
the frank, direct, and accom-
plished landscapes of a man
who is awed by mou
storms, encha
and falling
by the
"T
majority of Rosenberg's
wo
are landscapes," wrote
J
Midge, director of the
li• t Mi is in-
on to

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Radio Free Europe maintains
a news bureau in the United
States and ten others in Europe.
Roughly 50 per cent of RFE's
programming consists of news
and news analysis.

Immigration into Israel, showing recent upsurge, passed
the million mark as the New Year begins. UJA officials call
for continuing concerted effort by American Jews in support
of its immix
rog,rams.

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7 - THE DETROIT JEWISH NEWS -- Fri day, S eptemb er 15, 19 61

James B. Rosenberg, Distinguished Artist

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