He stated as a wood carver - influenced by nadelman and african art - it was a way to be modern - Chaim had no workshop - the floating mothers juggling children sold to his jewish clientele - Bellini and the whole tradition of artistic production till pretty much mid 18th was very different - it was still ordered like any other craft - a master artist - journeymen and apprentices - the master designed the work - and then came in to finish off the work - everything else was done by the studio
On 5/3/09 12:25 PM, "Chris Miller" <[email protected]> wrote: Thankyou, Saul, for that interesting first person account of Chaim's later career. Whether he became merely a commercial artist is a matter of taste. Would you say the same about Giovanni Bellini whose workshop also turned out endless mother and child pieces ? (BTW - I've yet to see a single piece by Gross that I admired -- but following your advice, I'll look for the earlier work) >Chaim by the late-1950 was a commercial artist - endless mother and child sculptures - though they might have been out of guilt given his estrangement from his artist daughter Mimi Gross - Chaim by that time was more interested in beating out Jacques Lipschitz - the other Jewish sculptor - than anything else - his African art started as inspiration and then became a room full of trophies ( I worked for Forum Gallery in the 70s and had a lot of contact with him) ____________________________________________ Saul Ostrow | Visual Arts & Technologies Environment Chair, Sculpture Voice: 216-421-7927 | [email protected] | www.cia.edu<http://www.cia.edu/> The Cleveland Institute of Art | 11141 East Boulevard, Cleveland, OH 44106 ____________________________________________________________ Learn more about study prep, LSAT info and tips. Free info! http://thirdpartyoffers.netzero.net/TGL2231/fc/BLSrjnxXIl3ddSJK2PYACKoXhiXp5f 2uZFudp2ajMm0gxexZX2LBf76xB1u/ --
