I discovered an old Lester Goldman painting in storage at H&R Block. It wasn’t this same painting, but was of this period in his career, being a figurative piece from the early 70s. In fact these two models were in it. I think it says something about the national mood at the time.
I never knew Lester, who passed away a year ago and was greatly admired across the country. Even so, I feel honored to have found the piece, and to have made sure it went in a prominent location.
Hi:
I partipated in a life drawing class one time with Lester when I was going to KCAI. Even though he was a good instructor, I preferred Michael Walling and Wilbur Niewald’s classes.
Wilbur Niewald’s a hard act to follow. One of his pieces is at Block later. I had it reframed. Image of it another time.
Many moons ago, I worked as a model in all the studio classrooms of respective painters then teaching at the art institute as an alternative to the exorbitant tuition which was beyond my means. I found that each teacher, similarly each department, attracted/produced a particular quality of student. What else does one have to do but make observations as their limbs grow numb? Lester’s students, in my opinion, and to the credit of Lester, tended to be more original, and more intellectual. I disagree with the previous commentator about Niewald being “a tough act to follow”. In my opinion he produced Cezannesque neophites. Mr. Goldman was quiet, reflective and non-bombastic and unlike Niewald his work evolved over time. I personally love this period of his work and always found it curious that a person capable of such beautiful realism would eventually evolve into non-representational work but I think it is indicative of the quality of his mind which was expansive and compassionate. I am saddened to hear of his death and extend my sympathies to his family and loved ones.
Thanks. You just taught me something more about this man I never met, but who I wish I would have. He was lucky to have you as a model.
I am very new to this blogging thing….here it is a month later and I have just discovered Paul’s sweet remark. Rereading what I wrote well… I am embarrassed by my arrogance if not my peculiar honesty. I remember another painting teacher referring to Mr. Niewald as “the great white father” and I had the unqualified impression that this was both sincere compliment and criticism. My own impressions are more personal. The difference between working in a studio where it occurs to a student and/or teacher to hand you your robe because you can’t feel your legs at the end of a session and working in a studio filled with pious young painters, whose teacher is predictably absent but vicarious presence is alive on every canvas, to whom the thought of opening a window on the snowy day, rather than removing their wool sweaters, occurs in total absence of thought about the nude model who is the subject they are painting. I needed that protection between me and the great white mother. Funny the things that color one’s consciousness.
I was a student at KCAI during the time Lester was working like this and suddenly became an entirely different painter. In fact, I remember this very painting.
It was either over a summer or Lester had taken a sabbatical, but he came back and WHAM, he was a whole different teacher, a whole different person. Whereas, the most exciting studio to be in had been Stanley Lewis’, suddenly, everyone was flocking to Lester. And why not? Discovery is what inspires painting. There was an energy in his studio and a sense that if you wanted to grow, this was the place to do it.
I spent my last year in his studio and loved it. I was so very sad to hear of his passing, even though it had been years since I’d seen him, a great fondness for him remains from that time.
Also, a word about Wilbur Niewald. Although a nice man, every one of his students painted the exact same way. The studio had a dark tiled floor, the light was never turned on and the color in that room was dark and the mood somber. I did my worst painting the summer I spent in his studio. It never got quite to the neophyte stage, but was tedious and unexpressive, the colors dark. My mother, who was a painting graduate of the Cooper Union and herself a studio art teacher, referred to those paintings “lifeless”. One thing I remember from that summer was that in giving individual attention, Wilbur would actually paint on your canvas, something my mother had taught me (from early childhood!) made the work the teacher’s, rather than the student’s. A shame, really, because the man had talent, but for some reason, buried it and then buried that of his students.
I found this blog quite by chance. Nice to see someone with an appreciation of one of Lester Goldman and his work.
J. Moss, how marvelous, a kind of validation. I too loved Stanley Lewis, who was certainly one of the more enthusiastic, maybe even peripatetic instructors at that time but though his style was bolder and more original then Niewald, his students too, tended to be mimics. This is not all bad of course, Chuck Close claims that he painted DeKoonings for years before he came into his own. It is a legitimate if limited process.
Any news of Stanley? Last I knew, (which I think is about the time dinosaurs became extinct) Stanley was headed for NYC with a new gig playing Saxaphone.
J. Moss:
P.S. Am I mistaken or is this painting a dual portrait of Lester and his daughter?