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P U B L I C A T I O N S > A
R Y S T I L L M A N , A N O
V E R V I E W
The following paragraphs might be called
notes on the development of a painter, but in some ways
this statement would give a false picture because Ary
Stillman was always a master painter. Of course one realizes
that he did not emerge fully armed from the brow of Zeus
as did Athena, that there were periods of study which
led to mastery, and other early periods when necessity
forced an abandonment of painting, but the dedication
to it was never lost and the technical mastery which gave
meaning was ever present.
Several facts about his early life seem
significant to the full understanding of his art. He was
born February 13, 1891, in a little village near the town
of Slutzk, which is in White Russia not far from the better
known city of Minsk. As a child he would cut out designs
from rough paper and fill in the designs with scraps of
colored paper. What was produced was in effect a collage
of abstract shapes of different colors. His talent in
color and design was recognized by his school at Slutzk
so that when he was in his teens a purse was made up in
order that he could study at the Art School of Vilna.
Today we would say that he received a scholarship.
However his studies were short-lived, for
in 1907 the family decided to immigrate to the United
States and settled in Sioux City, Iowa.
It wasn't until after the 1st World War
in 1919 that Stillman could give himself wholeheartedly
to painting. He left the Midwest and went to New York
where he studied for two years, and then in 1921 he went
to Paris, which became his home for twelve years and which
in a sense marks his emergence as an independent painter.
He did not spend all of his time in Paris but traveled
through Western Europe and got as far as the Near East
and Northern Africa. During this time he was not only
studying the art of the various lands but carefully observing
the art of what we have come to call the old masters.
His only formal training in the twelve years in Europe
was a short period of study under Andre L'Hote. In 1928
he had his first one-man show in Paris, a start on a long
line of exhibitions.
During these Paris years, broken by one
brief visit to the United States, his work was largely
objective, but a careful study of his early canvases will
show a definite preoccupation with the abstract core of
his painting, a continued interest in the arrangement
of shapes to express a subjective meaning. The more academic
nature of what we might call his Parisian period formed
the necessary foundation for his later work in abstract
design.
When Ary Stillman returned to New York in
1933, he came as an established painter. His paintings
were still representational but with a subjectivity which
continued to mark his works. He dealt with scenes of the
streets, the market places and the parks where the rush
of humanity is always visible. But he treated them with
a distinctly personal approach, in which the impact to
the viewer came from the thoughts and inner feelings of
the artist rather than from descriptive realism. Action
seemed muted by introspection but expressed in a rich
tonality of color in which silvery blues, greys and soft
reds played dominant roles. This was the nature of his
work when he first exhibited at the Museum of Fine Arts
of Houston, but later he seems to have subjugated tonality
to form. Although tonality is never lost, his painting
becomes more vigorous, his colors clearer and more vibrant.
However it is clearly evident that the artist is not concerned
with superficial aspects but with the deeper inner content
of his subject.
Perhaps this is one of the reasons that
we find him turning gradually to abstraction and to non-objective
forms. In any event by the close of World War II Ary Stillman
finds himself in a self-created world of abstract forms
in which he will remain until his death. Forms which follow
his mood, at times gay, at others solemn, but always searching
for a visible expression of the reality of life.
Of the last twelve years of his life, eighteen
months were spent in a return visit to Paris and to Majorca
and later, five years in Mexico. To say that he was unresponsive
to the work of the great pre-Cortez civilizations of the
Mexican plateau would be a misstatement. The impact of
their abstract forms seems to have been a profound one.
Not in imitation, for Ary Stillman was never an imitator,
but in a subtle confirmation of a point of view. His last
works, done in Houston, bear this out as well as they
point to a continuous devotion to an ideal. One sees in
them the end product of the little boy who cut shapes
from rough paper and with the help of colored paper and
an inner vision made them into works of art.
The paintings gathered together in Ary Stillman's
home in Houston, Texas, are his legacy to mankind. They
are more than a group of paintings, for in them one can
see the continuous effort of a man at once an idealist
and individualist, uncompromisingly dedicated to painting
as the means of making evident the meaning and spirit
of life.
James Chillman, Jr.
Director Emeritus Museum of Fine Arts of Houston
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Polish Jew
1925
Watercolor
Green Room
University of Houston,
Moores School of Music, TX
"In Europe I began a thorough study of the old masters
and became particularly interested in the work of the old
Sienese masters. I was impressed by the spiritual force that
emanates from their work. The more I studied these old masters
the more I recognized a monumental quality in all the great
works which have survived through the ages, a quality that
is the result of their underlying construction and crystallized
vision. The greatest factor, I found, which evolves from continuous
close contact with great works of art is that our vision is
purified. We get to be less conscious of the vulgarity of
things. Even the ugly becomes surrounded by a certain charm.
My efforts have been along these paths, to discover an approach
of my own in the light of the best that has gone before."
Ary Stillman, 1934 |
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In The Studio
1932
oil on canvas
39 x 29
Museum of Art,
Rhode Island School of Design, RI |
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The Kitchen
1932
oil on canvas
24 x 20
Green Room
University of Houston,
Moores School of Music, TX |
Salon Mexico
1940
oil on canvas
23 1/2 x 29
Green Room
University of Houston,
Moores School of Music, TX
"My work is based upon relationship
of realities. I love to watch people moving crowds fascinate
me, play of light and the drama of life excite me to paint
and to try to recreate in moving design the crystallization
of the things seen. I don't study the individuals particularly,
it is only how they melt into the crowd . . . I use a subdued
palette and I refrain from theatrical effects. I strive through
accumulated knowledge to reach an ease of intuitive expression."
Ary Stillman, 1940 |
Blue Accent,
1951
"I feel that in this present day, reality is no longer
the thing we see, it is something we sense
therefore I seek an 'inner reality' rather than a 'surface
reality' and my paintings are the result of an intuitive approach
rather than a conscious planning. Each painting is a different
experience, just as each of our dreams is different.
"I have always been a romanticist and I still am. But
in this highly industrialized era the sensitive creative artist
who has a feeling for the romantic searches for a form of
expression without depending on the reality, which is on the
surface. Consequently, he looks within himself and eventually
a romanticism is born which has evolved from an inner reality
rather than a surface reality.
"We used to have a romantic feeling for the place where
we were born - the tree which stood by the house--the dog--the
cat--the grandfather smoking his pipe. All became part of
the romantic scene.
"During World War II and in the years following, our
vision of reality has undergone a vast change. The atom, the
aeroplane, the radio, the television have practically revolutionized
this vision. And with the development of speed, the attachment
to places is not so strong. However, the urge of romanticism
is still strong. When you can have breakfast in New York,
lunch in England, dinner in Egypt, it will be the vista from
the plane -the impression of the people you will see- the
sensation of movement, of color, of sound, that will be blended
to make up the new romantic feeling. All these things will
crystallize into something that will be the source of a new
poetry and a new vision in the future of art."
Ary Stillman, 1950 |
Babylon
1956
Pastel Drawing
"The more I gave myself up to reflection, the more I
sensed that my direction must be toward that dream world that
dream reality, which is not a conventional reality and not
a surrealistic reality. What it was I could not determine,
but it was the direction in which I must search. I must lose
myself in this dream world, and the techniques, which I had
developed over the years, must serve to synchronize my hand
and my emotions so that I might bring my day-dreams to full
expression.
"Then came the period when I began to play with charcoal
on paper. I felt that perhaps accidentally or through a subconscious
movement I would get something from within myself. After awhile
I discovered that the charcoal drawings opened up for me a
direction where I could jump over the fence. I began to feel
more and more possibilities of expression."
Ary Stillman, 1952 |
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Black Magic
1963
acrylic on canvas
11 x 22
Foundation Collection, TX |
"Years before my going to live in
Mexico I had completely broken away from surface realities.
But it was in Mexico that the inner reality began more and
more to emerge, that I felt more and more its essence. It
was for me a period when fantasy became paintable, or when
I invaded the world of fantasy. I was completely involved
in the mysticism of the subconscious. This mysticism is
the inner thing which gives the spark of imagination."
Ary Stillman, 1965 |
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