The article "Paintings From Garage Find Appreciation in Gallery" was published on the website nytimes.com on March 8, 2013.
The article carries a lot of comment on the works of Arthur Pinajian, a reclusive artist whom the art world had not known much about.
Giving appraisal of the situation it's necessary to point out that for years, his paintings languished in a Long Island garage, old canvasses piled in a stack and then they came close to being thrown into a garbage truck.
In addition the author of the article mentions that 14 years after his death, he has fans who mention him in the same sentence as Gauguin and Cézanne ; the art historian William Innes Homer wrote that Mr. Pinajian had pursued art with “the single-minded focus” that those other painters had shown and that “Pinajian was a creative force to be reckoned with.”
Analyzing the situation it's necessary to emphasize that with the attention comes the possibility of something Mr. Pinajian never enjoyed in life: serious money for his paintings, among the 34 works at the gallery are two oil paintings from 1960: No. 638, on the market for $87,000, and No. 3868, for $72,000.
In this connection it’s worthwhile mentioning that the paintings in the gallery show, which is scheduled to run through Sunday at Antiquorum Gallery, at 41 East 57th Street, near Madison Avenue, fall into the first category, not the erotic images of the second, Peter Hastings Falk, an art historian and appraiser who coordinated the show, said the paintings on view followed the artist from Woodstock, N.Y., to Long Island, where Mr. Pinajian painted “from the same vantage points” around Bellport as William Glackens, an American realist painter.
Speaking of this situation it is also interesting to note that on Long Island, Mr. Pinajian had an 8-foot-by-8-foot studio in a little house owned by his sister, Armen, who supported him for much of his life and his death in 1999 led to the discovery of the paintings. Peter Najarian, a cousin of the Pinajians who helped with the cleanup, explained in Mr. Homer’s monograph how he had defied Ms. Pinajian’s orders.
In conclusion the author of the article expresses the view that Mr. Pinajian remained unknown, but not completely,for a while he kept up with a cousin who had been hired to teach at the Pratt Institute by George McNeil, an Abstract Expressionist painter and founder of the American Abstract Artists group,that brought him into a circle of the well-known artists of his generation, like Franz Kline, Philip Guston and Jacob Lawrence, and into the bars they frequented on DeKalb Avenue in Brooklyn and in Greenwich Village.
As for me I think that many artists suffer the same fate : they remain unknown till the death. This happened with many talented people and but on the other hand Arthur Pinajian is lucky enough that the world can appreciate his works of art even after his death.
The article carries a lot of comment on the works of Arthur Pinajian, a reclusive artist whom the art world had not known much about.
Giving appraisal of the situation it's necessary to point out that for years, his paintings languished in a Long Island garage, old canvasses piled in a stack and then they came close to being thrown into a garbage truck.
In addition the author of the article mentions that 14 years after his death, he has fans who mention him in the same sentence as Gauguin and Cézanne ; the art historian William Innes Homer wrote that Mr. Pinajian had pursued art with “the single-minded focus” that those other painters had shown and that “Pinajian was a creative force to be reckoned with.”
Analyzing the situation it's necessary to emphasize that with the attention comes the possibility of something Mr. Pinajian never enjoyed in life: serious money for his paintings, among the 34 works at the gallery are two oil paintings from 1960: No. 638, on the market for $87,000, and No. 3868, for $72,000.
In this connection it’s worthwhile mentioning that the paintings in the gallery show, which is scheduled to run through Sunday at Antiquorum Gallery, at 41 East 57th Street, near Madison Avenue, fall into the first category, not the erotic images of the second, Peter Hastings Falk, an art historian and appraiser who coordinated the show, said the paintings on view followed the artist from Woodstock, N.Y., to Long Island, where Mr. Pinajian painted “from the same vantage points” around Bellport as William Glackens, an American realist painter.
Speaking of this situation it is also interesting to note that on Long Island, Mr. Pinajian had an 8-foot-by-8-foot studio in a little house owned by his sister, Armen, who supported him for much of his life and his death in 1999 led to the discovery of the paintings. Peter Najarian, a cousin of the Pinajians who helped with the cleanup, explained in Mr. Homer’s monograph how he had defied Ms. Pinajian’s orders.
In conclusion the author of the article expresses the view that Mr. Pinajian remained unknown, but not completely,for a while he kept up with a cousin who had been hired to teach at the Pratt Institute by George McNeil, an Abstract Expressionist painter and founder of the American Abstract Artists group,that brought him into a circle of the well-known artists of his generation, like Franz Kline, Philip Guston and Jacob Lawrence, and into the bars they frequented on DeKalb Avenue in Brooklyn and in Greenwich Village.
As for me I think that many artists suffer the same fate : they remain unknown till the death. This happened with many talented people and but on the other hand Arthur Pinajian is lucky enough that the world can appreciate his works of art even after his death.
Good!
ОтветитьУдалить...a lot of commentS
...suffer FROM the same fate
...his works of THE art even after his death
You are not to combine Past and Present tenses!