My life into art : an autobiography by Liberman Judith Weinshall

Author:Liberman, Judith Weinshall
Language: eng
Format: epub
Tags: Liberman, Judith Weinshall, Jewish artists--United States--Biography
Publisher: Booklocker.com
Published: 2007-03-11T05:00:00+00:00

MY LIFE INTO ART

Since my mother was preoccupied with her own plans, my father, David, Laura and I were on our own, exploring various areas of London, enjoying feeding the pigeons in Trafalgar Square, watching the changing of the guard at Buckingham Palace and even visiting the London Zoo. My father was a delight to spend the day with, energetic, friendly and always positive and uplifting. Each day he had a plan for us to explore new things, working out his plans for us around his business commitments. The children and I had a wonderful time with him and I hated to see our London holiday come to an end.

When I returned home, I completed the MYSTIC INTERIORS series. I felt that through these paintings, I had successfully expressed some of my feelings and questions about God. So that when I enrolled in a life class that fall at the DeCordova Museum Art School in Lincoln, Massachusetts, I was eager to hear what my new art teacher had to say about these as well as my other paintings, including my monochromatic MOTHER AND CHILD series. My new teacher's name was King Coffin, and he taught full time at the Museum School, where he had been a member of the full-time faculty for many years. But he was also conducting classes at DeCordova in his spare time. I had heard good things about him from some of my fellow students at the Museum School, and since I could not study under him at the Museum School unless I enrolled there as a full time day student, something I was not ready to do at that time, I opted to take his course at DeCordova. Lincoln turned out to be much more accessible from my house in Newton than Boston was.

I was interested in the life class because I felt that, as an artist, I could use the movement of the human figure to convey important ideas and feelings. I had tried to do so in my MOTHER AND CHILD series as well as in several other paintings I had done after completing that series. King Coffin's life class at DeCordova turned out to be beyond my wildest expectations. The teacher was a master at eliciting what was best in each student. Usually, he would have the model assume short poses, some only a minute or two long, for the first two hours of the class, and in the last hour he would have the model assume a single pose, so students could use drawing or painting or collage or whatever other medium they wished to use and create an

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