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Joseph SolmanOld Fire Wagon, Monotype
About the Item
Joseph Solman (1909-2008), a New York expressionist painter, hovered near the leading edge of the avant garde through most of his career, yet his works never departed entirely from representation. His concern was always with the patterns and poetry he found in the material world.
Born in Belarus, Solman emigrated with his family to Long Island as a child. After high school, he attended the National Academy of Design in Manhattan. When he was 20, he visited the very first show at the new Museum of Modern Art. The work of the Post-Impressionists he saw there, especially Cezanne, would have a great effect on him. His first one man show, in 1934, reveals a fascination with looming spaces knit together with dark shadows. During this time, Georges Rouault would also become an important influence.
In 1938, as a response to the domination of New York gallery space by a homespun and anecdotal realism, Solmon and a group of other painters, including Mark Rothko, founded the Ten. The members, all immigrant Jewish New Yorkers with an interest in European Expressionism, presented an urban, abstract, formal style.
As his colleagues in the Ten advanced toward a more non-objective art, Solman warmed toward representation. By the early 1950s, when the Abstract Expressionism he had helped to develop was the mainstream in avant garde art, he was done with it. With Edward Hopper and Jack Levine, he began a magazine called "Reality." It featured the work of figurative painters, then terribly out of fashion, but its central editorial stance was that artists should be able to paint however and whatever they liked.
Joseph Solman did exactly this. From the near-abstraction of his early landscapes he grew more and more attached to the particulars of natural form. His use of line becomes more active and inquisitive as the years pass. First solid and sinuous like Modigliani's, it develops a pleasing kind of nervousness as it looks for the truest shape.
This searching line is apparent in the series he made during the 1960s of people riding the subway to the track. Solman himself liked to bet on the horses, but he also took a job at the betting counter for a while when his art career slowed. The pictures he drew on newsprint during the trip there and later finished are called the Subway Gouaches.
These pictures are reminiscent of Japanese ukiyo-e prints in their emphasis on character and their flat linearity, but with spectacle replaced by a matter-of-fact ordinariness. The people, deeply engaged in the betting sheets or involved in their own thoughts, are disconnected but self-contained, self-assured and content. He was, after all, one of them, and happy to be so.
Though he passed out of the center of the art world for a time, critics discovered Solman again in his later years. A 2003 retrospective in Bath, England was among the most highly-regarded shows of the year.
- Creator:Joseph Solman (1909-2008, American)
- Dimensions:Height: 16.25 in (41.28 cm)Width: 18.25 in (46.36 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Measurements include frame, mat needs to be replaced, moisture toning.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38211574492
Joseph Solman
Brought to America from Russia as a child in 1912, Joseph Solman was a prodigious draftsman and knew, in his earliest teens, that he would be an artist. He went straight from high school to the National Academy of Design, though he says he learned more by sketching in the subway on the way back from school late at night: people “pose perfectly when they’re asleep.” In 1929, Solman saw the inaugural show at the Museum of Modern Art featuring Seurat, Gauguin, Van Gogh, and Cezanne. It changed his life – and his art. Joseph Solman was, with Mark Rothko, the unofficial co-leader of The Ten, a group of expressionist painters who exhibited as the “Whitney Dissenters” at the Mercury Galleries in New York in 1938. A champion of modernism, Solman was elected an editor of Art Front Magazine when its other editors, art historian Meyer Shapiro and critic Harold Rosenberg, were still partial to Social Realism In 1964, The Times, discussing his well-known subway gouaches (done while commuting to his some-time job as a racetrack pari-mutuel clerk), called him a “Pari-Mutuel Picasso.” In 1985, on the occasion of a 50-year retrospective, The Washington Post wrote: “It appears to have dawned, at last, on many collectors that this is art that has already stood the acid test of time.” We had the pleasure of the meeting the artist a few times at his home which was over the original Second Avenue Deli in the East Village.
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