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Louis RibakUntitled (Canyon)1967
1967
About the Item
Watercolor and india ink on handmade paper
black red yellow
mid century modern
Louis Leon Ribak was born in the Lithuanian province of Grodno Gubernia in 1902. When he was ten, he immigrated with his family to New York City. In 1922 he attended the Pennsylvania Academy of Fine Arts, in 1923 studied with John Sloan at the Art Students League and at the Educational Alliance in 1924. Sloan's influence guided Ribak's development. As an editor for the radical periodical, New Masses, Sloan encouraged Ribak to illustrate for the publication. In 1929, Ribak become a founding member of the John Reed Club, a group closely associated with New Masses.
Ribak's work during the 1930s and early 1940s is dominated by social realism. His painting Coal Miners is in the permanent collection of the Jewish Museum, and Home Relief Station is in the permanent collection of the Whitney Museum of American Art.
In the early 1930s Ribak had several one-man exhibitions at the A.C.A Gallery in New York and regularly exhibited with "An American Group Inc.", a group of socially conscious painters including Stuart Davis, Reginald Marsh, Maurice Sterne, Raphael Soyer, and others. In 1933 he assisted Diego Rivera on the mural for the lobby of Rockefeller Center, and in 1935 worked for the Works Progress Administration (WPA) as a muralist. Ribak participated annually in the Whitney Museum's Exhibition of Contemporary American Art from its inception in 1932 until he left New York in 1944. In 1934 Ribak's work was chosen for the Venice Biennial.
Louis Ribak met Beatrice Mandelman at a dance sponsored by the Artists Union and in 1942 they married. That same year, he was drafted for military service, but 2 years later he was released from service due to asthma. In 1944 the couple traveled west to visit John Sloan in Santa Fe and shortly after, moved to Taos. The move was prompted in part by the need for a healthier climate for Ribak but also because they had become dissatisfied with the New York scene due to "dissention between Social Realists and Abstract Expressionists."
In New Mexico Ribak's artistic style underwent a transformation from Social Realism towards abstraction. He was captivated by the landscape and the diverse cultures of northern New Mexico. In 1947 Ribak founded the Taos Valley Art School. He offered no ideology to his students, arguing that taking any single approach would lead to academicism. Ribak was an integral force in the development of the Taos Moderns, an allied group of artists including Mandelman, Ed Corbett, Andrew Dasburg, Agnes Martin, Oli Sihvonen, and Clay Spohn. Ribak's mature style was characterized as lyrical abstract expressionism.
In their life together, Ribak and Mandelman traveled widely and took yearly winter sojourns in San Miguel, Mexico. With the Canyon Series and the Aegean Series, Ribak embraced the abstracted form completely, though he never ceased to derive inspiration from working directly from nature. Throughout his life he sketched and drew prolifically, his subject matter including rock, plant and canyon forms, land and seascapes, portraits, animals, city and rural scenes.
Louis Ribak died in 1979.
- Creator:Louis Ribak (1902-1972, American)
- Creation Year:1967
- Dimensions:Height: 25 in (63.5 cm)Width: 20.5 in (52.07 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Santa Fe, NM
- Reference Number:1stDibs: LU51334899042
Louis Ribak
Louis Ribak emigrated with his family from Russian Poland to New York City in 1912. He studied at the Art Students League during the early 1920’s under John Sloan. Sloan was an editor for the radical periodical, New Masses, and prompted the young artist to illustrate for the publication. In 1929, Ribak’s involvement with New Masses led him to become a founding member of a closely associated group, the John Reed Club. Over the next few years he exhibited with the club and, in 1933, he received attention from critics including the New York Sun for his painting, Striking Farmers. Ribak joined the Silk Screen Group in the late 1930’s as he believed, along with a group of liberal artists, that the print medium was the “people’s art of the twentieth century.” Also during the 1930’s, Ribak worked for the Works Progress Administration (WPA) as a muralist. In 1942, he married fellow artist Beatrice Mandelman. In the mid 1940’s, the couple followed the advice of John Sloan and moved to New Mexico. The move was prompted in part by the desire for a healthier climate for Ribak but also because they felt a need to leave New York as they had become disillusioned by “dissention between Social Realists and Abstract Expressionists.” In 1947, the Ribaks’ opened and instructed at the Taos Valley Art School. The school closed in 1953 when the couple returned to New York City. However, the move back to New York was short-lived and they settled permanently in Taos in 1956. In 1959, the couple opened the Gallery Ribak in their home. The gallery showed their own work as well as that of other Taos artists. In addition to the gallery, Ribak regularly exhibited in other locations throughout the region. In New Mexico, Ribak shifted his to focus entirely to full abstraction saying that as an artist he was “not truly anything. I am against everything. Damned abstract[ionists], realists, illustrators…”
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- Personages of the GorgeBy Louis RibakLocated in Santa Fe, NMWatercolor and india ink on handmade paper dimensions are framed size, frame has 1/4 gold leaf profile with wood sides black red yellow mid century modern Louis Leon Ribak was born in the Lithuanian province of Grodno Gubernia in 1902. When he was ten, he immigrated with his family to New York City. In 1922 he attended the Pennsylvania Academy of Fine Arts, in 1923 studied with John Sloan at the Art Students League and at the Educational Alliance in 1924. Sloan's influence guided Ribak's development. As an editor for the radical periodical, New Masses, Sloan encouraged Ribak to illustrate for the publication. In 1929, Ribak become a founding member of the John Reed Club, a group closely associated with New Masses. Ribak's work during the 1930s and early 1940s is dominated by social realism. His painting Coal Miners is in the permanent collection of the Jewish Museum, and Home Relief Station is in the permanent collection of the Whitney Museum of American Art. In the early 1930s Ribak had several one-man exhibitions at the A.C.A Gallery in New York and regularly exhibited with "An American Group Inc.", a group of socially conscious painters including Stuart Davis, Reginald Marsh, Maurice Sterne, Raphael Soyer, and others. In 1933 he assisted Diego Rivera on the mural for the lobby of Rockefeller Center, and in 1935 worked for the Works Progress Administration (WPA) as a muralist. Ribak participated annually in the Whitney Museum's Exhibition of Contemporary American Art from its inception in 1932 until he left New York in 1944. In 1934 Ribak's work was chosen for the Venice Biennial. Louis Ribak met Beatrice Mandelman at a dance sponsored by the Artists Union and in 1942 they married. That same year, he was drafted for military service, but 2 years later he was released from service due to asthma. In 1944 the couple traveled west to visit John Sloan in Santa Fe and shortly after, moved to Taos. The move was prompted in part by the need for a healthier climate for Ribak but also because they had become dissatisfied with the New York scene due to "dissention between Social Realists and Abstract Expressionists." In New Mexico Ribak's artistic style underwent a transformation from Social Realism towards abstraction. He was captivated by the landscape and the diverse cultures of northern New Mexico. In 1947 Ribak founded the Taos Valley Art School. He offered no ideology to his students, arguing that taking any single approach would lead to academicism. Ribak was an integral force in the development of the Taos Moderns...Category
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