P R E S S > A R
I C H L I F E O F P
A I N T I N G
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Excerpts
From Paris Press, 1928-1933 |
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The Paintings
of Ary Stillman- Chicago Tribune,
By B.J.Kospoth, December 1928 |
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True art
Brings Original Touch in Our Lives, Asserts H.Ary Stillman
- The Sioux City Tribune, By H.Ary Stillman, October 26,
1929 |
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Ary Stillman's
American Indians - Chicago Sunday
Tribune (Paris Edition), By B.J.Kospoth, Sunday, November
9, 1930 |
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Excerpts
From New York City Press, 1934-1945 |
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Excerpts
From New York City Press About Ary &Music, 1946-1952 |
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A Rich Life
of Painting -
Houston Chronicle, March 3, 1968 |
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The 2 Realities
of Ary Stillman -
Houston Post, By Eleanor Freed |
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Stillman
Art Portrays 'Inner Reality' - San
Antonio Light, By Marcia Goren Weser, October 21, 1990 |
By Ann Holmes
Houston Chronicle
March 3, 1968
A gracious, sandy-haired woman met me at the door
to the bungalow at 1841 Portsmouth. Inside, in room after room,
were the paintings of Ary Stillman, hung as if in a museum.
The lady is the widow of the late internationally
known artist who had lived in Houston on and off before his death
13 months ago.
This was the home they shared. Now it is a small
permanent, one-man show of a museum type, open to the public every
Sunday afternoon from 2 to 5 p.m. without admission charge. Or
at any time, by appointment JA 8-2229.
This is a warming collection and well worth a special
trip. Stillman had the luck to live in the great epoch of painting
and to work in the hot furnace of it all.
He was born in a tiny village in White Russia in
1891, and went to school there. His early artistic talents appeared
quickly and a small collection was taken up to send him to art
school. So, by his mid teens, he was ensconced at the Imperial
Art School at Vilna in Russia.
When his parents left Russia in a tide of unrest
to settle in Sioux City, Iowa, young Ary became an American. He
had to go to work and spent long hours in a jewelry store. But
painting he never gave up and he sought hours on the side to practice.
Growing older, he knew what he wanted, only to
paint, and so exposed himself to the teachings and ideas of his
time. He enrolled at the Chicago Art Institute, later at The Art
Students League, and the Jewish Educational Alliance in New York.
But in the magic '20s, Paris was the word
the place that quickened the heart in artists and writers.
Ary Stillman went there, managed to have his own atelier, toured
Europe, soaked up inspiration from old masters and met in the
cafes, with the new artists.
Art Stillman was deeply moved by what he called
"the spiritual force that emanates from the old masters,"
as he wrote in 1934. All the while he was being moved and excited
by the new work of the Paris of the great years, Stillman clung
to his belief that "the greatest factor 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
to discover an approach of my own in the light
of the best that has gone before."
Fortunately this artist who lived rich, working
years in Europe, Mexico, New York and finally Houston
kept representative works of all his styles and periods.
In room after room of the house are pictures and
drawings reflecting an artistic journey of a sensitive man, a
skilled artist through a lifetime of maturing philosophy and en
epoch wild with ideas and change.
It would be a disservice to seek similitude between
Ary Stillman, an artist in his own right, and famed modern masters.
His exceptional watercolor sketch of a Polish Jew
is an example of the immediacy and virtuosity of his essential
craft. It is done with delicacy here, boldness there, and carries
a mood and great clarity of Idea. A true gem, from 1925.
"In the Studio" a nude, academic type
painting, is nevertheless a moody textural work, reflecting the
new paint techniques, to say nothing of the popularity as shown
by Matisse, and others, for luscious odalisques.
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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 |
Nothing in his total oeuvre is more appealing than
"The
Kitchen" of 1932, a typical large cooking room in a French
house with a woman standing over the stove, a cat nearby. It is
infused with light, an Impressionist work. His "El
Salon Mejico" is one of those genre pictures masses
of people crowded into a night club, dancing; brawling, for him
"a study in the relationship of realities people,
moving crowds, play of light. "Copland wrote a piece of music
in 1936, four years earlier, called "Salon Mexico."
It is obviously a theme for artists. Typically Stillman chose
to avoid the play of vivid color, dealing instead with the moving
design.
He composed a number of choice landscapes in muted
tones, slightly impressionist in technique; and probably during
his period of work with Andre Lhote, he veered into the geometric
patterns like those of "Section d'Or" an offshoot of
cubism. His drawings are in no way less important than the pictures.
They have sensitivity and, I suspect, are deeply reflective. In
his later years, forever young in spirit as his niece, Fredell
Lack, has recalled, he was wide awake to abstract techniques
while still revering the older masters. And in Mexico, he let
his canvases leap alive with color as he employed some of the
ancient archaeological myths ideas, and ritualistic decorations.
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World's Fair
1940
oil on canvas
29 X 39
Private Collection, TX |
But if you go to see the collection, look for "Worlds
Fair," it's one of his most famous, and is full of some
of the lyric and festival spirit of Delaunay and Chagall.
There is a fine catalogue
available with meaningful introduction by James Chillman Jr.,
Director Emeritus of the Museum of Fine Arts. The collection is
on public view through the efforts of the Stillman-Lack Foundation
as the artist had wished.