Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., “John Sharp,” Stone City Art Colony and School, web.
]]>Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., “John Sharp,” Stone City Art Colony and School, web.
About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by George Bridgman and Guy Pène du Bois. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred.
Source Consulted: “Helen Winograd Geiger,” Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011.
]]>About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by George Bridgman and Guy Pène du Bois. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred.
Source Consulted: “Helen Winograd Geiger,” Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011.
About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by George Bridgman and Guy Pène du Bois. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred.
Source Consulted: “Helen Winograd Geiger,” Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011.
]]>About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by George Bridgman and Guy Pène du Bois. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred.
Source Consulted: “Helen Winograd Geiger,” Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011.
Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132.]]>
Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132.
Sources Consulted: Edgar Driscoll, Jr., “Copley Society Presents Pleasing Members’ Show,” Boston Globe 9 Jan. 1955: 39; “Prize Art Satirizes the Housing Shortage,” New York Evening Post 30 Sept. 1945: 5
]]>The objects in this still life are candidly imperfect: all the bananas have spots; the apples are mottled or appear to have bruises. Still, their colors are vibrant and the table is replete. More of Kallem’s attention has been devoted to less-than-perfect reflections, in ghostly shades upon a table or in the copper jug. Reflected in the jug, it appears that we see the painter in silhouette, with light coming in from a window over his right shoulder.
About the Artist: Born in Philadelphia to immigrant parents, Kallem learned to paint from his father Morris, a portraitist (his brother was the sculptor Herbert Kallem). He studied at the Pennsylvania Academy of the Fine Arts. At some point during the 1920s the family moved to New York where Henry set up and likely lived in a studio. He became friends with modernist artists who have come to be called the “28th Street” group because they gathered at the Henry and David Rothman Frame Shop at that location. Like many other artists, Kallem’s subject matter during the Great Depression became more explicitly political; his paintings included “The Sweatshop,” “Subway Construction,” and “Mill Town”—the latter appearing in a 1939 show at the Federal Art Gallery with NDG artists Harold Baumbach, Bena Frank, and James Guy. Starting in 1938 he was part of a five-person group that called themselves the “New York Realists”: Kallem, Max Frankel, Herbert Kallem, Morris Neuwirth, and Morris Shulman. He also joined a working group of artists encouraging closer cooperation with the American Labor Party. During World War II Kallem worked as an aircraft factory toolmaker, then returned to painting. In a nationwide 1947 competition, his “Country Tenement” was awarded first prize and prompted controversy due to this mainstreaming of abstract art. The controversy also may have been due to its gritty content, for Kallem said, “My idea was to show how I felt upon seeing this scene one evening in the country—all the people crowded into one building with all that space around”(“Prize”). His postwar work moved in the direction of formal abstraction and landscapes, the two not necessarily separate. In 1955, a review called his paintings “subtle, quiet affairs, in which he achieves movement and depth through relationships of graded tones and colors. The approach seems free and easy, but there is a lot more to his work than first meets the eye” (Driscoll). 2 works at Portland Museum of Art. 3 more images at FAP.
Sources Consulted: Edgar Driscoll, Jr., “Copley Society Presents Pleasing Members’ Show,” Boston Globe 9 Jan. 1955: 39; “Prize Art Satirizes the Housing Shortage,” New York Evening Post 30 Sept. 1945: 5