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Lilllian Orlowsky the Signature is in the Work

Harrison, Myrna and Sprague, Claire (Editors)

ISBN 10: 0979798302 / ISBN 13: 9780979798306
Published by Cape Cod Museum of Art / Provincetown Art Museum, Dennis, MA and Provincetown, MA, 2007
Used Condition: Fine Soft cover
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About this Item

Unused, pristine exhibition catalogue bound in stiff illustrated paper wraps. Catalogue for an exhibition in the fall of 2007. Orlowsky was one of few women included in WPA programs for artists, which allowed her to aid in the introduction of Abstract Art to America. This catalogue is printed on heavy high-gloss paper, which allows amazing detail in the reproductions. Most of the images are full-page and all are full-color. Included are two essays by Robert Henry, Myrna Harrison, Claire Sprague and April Kingsley. 59 pages includes chronology. The postal charges quoted are for an average-sized book. Due to size and weight of this item, additional postage may be required for non-domestic shipping. Bookseller Inventory # 0979798302

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Bibliographic Details

Title: Lilllian Orlowsky the Signature is in the ...

Publisher: Cape Cod Museum of Art / Provincetown Art Museum, Dennis, MA and Provincetown, MA

Publication Date: 2007

Binding: Soft cover

Book Condition:Fine

Dust Jacket Condition: No Jacket, as Published

Edition: Exhibition Catalog

About this title

Synopsis:

Lillian Orlowsky painter, teacher, curator, critic and mentor (Born 1914 in New York City, died August 7, 2007 in Provincetown) I was fortunate to have taken part in one of the most important periods of art in this century. The 1930's through the 1950's saw a cultural upheaval where diverse concepts in painting went from one extreme to another: from realism to abstraction. In the forefront were the WPA (Works Projects Administration - Art Project) and in some measure the Provincetown Art Association. They promoted cultural awareness of the different pictorial concepts which were the beginning of the changing scene of plastic expression. The WPA was a great innovative idea that gave me and other artists the opportunity to concentrate on our work. It was unique in the history of American art and responsible for many murals and easel paintings which became government property. The artists received a weekly salary plus artist's materials. We would gather to pick up our checks at 110 King Street in Manhattan. Since there was always a long wait, we had time to talk about the current art scene. It was there that I learned of Hofmann. The Hofmann School and the influx of European artists opened my sensibility to new horizons. These associations changed my visual perception. I no longer saw painting as an imitation of nature, but, instead, as an attempt to interpret nature on the picture plane.

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