Fred Staloff Brochure - Museum of Art – · PDF fileThere he studied sculpture with...
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F red Staloff was born in New Jersey in 1924. Mathemacs and science were his major interests as a high school student. He was aending the Newark College of Engineering when World War II changed his plans. He joined the army in 1943. Inially, he was assigned to connue studies at the University of California at Los Angeles, but before long found himself parcipang in the invasion of the Philippine Islands and Okinawa. Although the atomic bomb dramacally brought a termina- on to the war, the moral implicaons for science were deeply troubling to a young idealisc mind. Discharged from the army in 1946, Staloff found it difficult, if not impossible, to reintegrate himself in previous plans and acvies. As the outlines of a second major historical event, the Holocaust, emerged from the war, his cynicism became acute. He would resolve this dilemma by pursuing a career in the arts. In 1946, with aid from the G.I. Bill, he enrolled as a student in the Newark School of Fine & Industrial Art. There he studied sculpture with Reuben Nakian and paint- ing with Hans Weingaertner. Aſter graduang in 1949, he went to Paris, where he studied in the Atelier of Ossip Zadkine and then at the Académie de la Grande Chaumière. It was at this me that he fortuitously met the young woman, Janee Gannat, who would become his wife and be so supporve of his arsc ambions. Back in the United States in 1951, Staloff connued to paint while holding various part-me jobs. His work in the early part of the decade showed various influences as he searched for a more personal expression. In 1956, he resigned from all other acvites to commit himself enrely to painng. Toward the end of this period, Staloff first demonstrated the concept of viewing the sll life form as a landscape. No longer were the elements of the sll life represented solely for their architec- tural funcon. The forms of nature are returned to nature. A poetry in which the elements of the Sll-Life-Landscape reflect a universal whole starts to emerge. Staloff’s early works, filled with both lyrical opmism and troubling pessimism, were inspired by a visit to France in 1955. In 1963, Staloff returned to Paris with his wife, planning to spend a year. A series of works based on demolions were painted in France in the 1960s. These facades, with their crumbling plaster, paint and wallpa- per, would become the vehicle and the atmosphere for Staloff’s meditaon on the meaning of the black rectangle. The final painng in this series is a metaphor for the atomic bomb as well as the Holocaust. It is The Hole—a simple work of a nearly silent rectangle of brownish black set in a highly textured field of burnt cast-iron- like grey. The only redeeming feature in this somber landscape is a weak horizontal band of green, hinng at life. While in France, Staloff parcipated in exhibions at the Salon des Independants and the City of Challon Annuals. He had numerous one-man exhibions; at the Galerie des Jeunes, Galerie Mouffetard, and at the Atelier Decima. The art cric Chrisne Gleiny commented at the me; “These painngs are an invitaon to poec contemplaon. We have here an arst engaged in large perspecves.” Staloff also had an affiliaon with the Galerie Petrides. In 1965 Staloff was invited to exhibit his work in a one-man show at the Polder Gallery in The Hague. Sustained by collectors’ purchases, the planned one-year sojourn in Paris was extended to six years. In 1969, unancipated events precipitated the Staloffs’ return to America. A one-man exhibion of Staloff’s painngs took place at The Caldwell College in 1978. Addionally, he parcipated in juried exhibions at the Newark Museum, The Montclair Museum, The New Jersey State Mu- seum, The Painters & Sculptors Society of New Jersey, The Summit Art Center, The Somerset Art Associaon (first prize), The Jersey City Museum Bicentennial (Phelps Award), The 1990 New Jersey Annual Exhibion, as well as several juried exhibions at the Naonal Academy of Design. As a member and officer of Audubon Arsts, Staloff has parcipated in many of its annual exhibits. In 1991, he won the William Myerowitz Award; in 1994, the Elaine & James Hewi Award; and in 1995, the Michael M. Engel Memorial Award. Staloff was presented with the Joe & Emily Lowe Award in 1994 at the Annual of the Allied Arsts of America, and was elected to the board of directors. We thank Fred Staloff for his extraordinary talent and wonderful art which inspires us and gives us joy. - The Butler Instute of American Art FRED STALOFF’S VISUAL POETRY Museum of Art - DeLand I July 17 – October 4, 2015 Fred Staloff’s Visual Poetry Catalogue on loan from The Butler Instute of American Art Apples and Grapes , 1960, oil on panel, 12” x 13.5” At Alma , 1998-2010, oil on panel, 12” x 13.5” Autumn in Hemlock, 1990, oil on panel, 12” x 12.75” Black Square , 1989, oil on panel 15” x 18” Challon at Night , 1969, oil on panel, 12.5” x 15.5” Challon Ensoleille , 1968, oil on panel, 15” x 18 5/8” Construcon with Black Entrance , 1968, oil on canvas, 25 .5” x 21.5” Courbevoie , 1965 – 1966, oil on canvas, 28.75” x 23.5” Crumbling Facades ll , 1968 – 1970, oil on canvas, 36.5” x 45.5” Dancing Violets , 1960, oil on panel, 10” x 11” Demolion at Courbevoie , 1964-1965, oil on canvas, 23.6” x 28.75 Diogenes, 2002, oil on panel, 21.5” x 25.5” Elements of the City, 1965, oil on canvas, 28.75” x 23.75” Fall Landscape , 1995, oil on canvas, 24” x 30” Fields and Maringues, 1989, oil on canvas, 22” x 23” Five Pears as a Landscape , 1958, oil on panel, 18” x 24” Green, Red and Amber, 1969, oil on paper, 11.25” x 14” La Loire , 1985, oil on canvas, 24” x 34” La Mairie de Maringues , 1989-1993, oil on panel, 16” x 12” Les Cabanes , 2009, oil on canvas, 21.5” x 28.75” Light and Darkness , 1961-1963, oil on panel, 11.25” x 13.5” Lower Manhaan at Night , 1963, watercolor on paper, wl 8.5” x 10.5” Lyrical Abstracon , 1968, oil on canvas, 18” x 21.75” Meadowlands , 1998, oil on canvas, 30” x 40” Morning Glory, 1960, oil on panel, 11.5” x 10” Morning Over the Bay, 24” x 32” Nocturnal Architecture , undated, oil on canvas, 35” x 46” Pears as a Landscape , 1958, oil on canvas, 18” x 24” Reservoir with Pump-House , 1962 - 1963, oil on canvas, 14” x 19” Santa Margherita , 1968, watercolor on paper, 7” x 8” Self Portrait with Red Tie , 1970, oil on canvas, 21” x 18” Sll Life with Bread , 1948, oil on canvas board, 16” x 20” Sll Life with White Vase , 1992 – 1993, oil on panel, 21.5” x 18” Strawberries and Plant , 1967, watercolor on paper, 8.50” x 10.5” Study of Books , 1947, oil on canvas, 16” x 20” The Big Sweep , 1995, oil on canvas, 36” x 48” The Blue Vase , 1962 – 1963, oil on canvas, 20” x 24” The Edge of the Ravine , 1963, gouache, 10” x 17” The Red Bush , 1970, oil on panel, 12” x 13.5” The Reservoir at Night, 1963, oil on panel, 10” x 11.5” The Trio , 2004, oil on canvas, 18” x 16” The Water Tower , 1969, watercolor on paper, 8.5” x 10.5” Tissonnieres , 1969 – 1970, oil on canvas, 18” x 21.5” Vegetable Debris with Leaks, 1963, oil on canvas, 25” x 30” Window, Landscape and Sunset, 1965, oil on canvas, 28.5” x 23.5” Gallery Talk & Reception with Artist Fred Staloff September 18, 2015 600 N. Woodland Blvd. Reception: 5 p.m. Talk: 5:30 - 6:30 p.m. $10; Members No Charge RSVP [email protected] or call 386.734.4371 Dancing Violets , 1960, oil on panel, 10” x 11” Experi ence the Power of Art Museum of Art - DeLand 100 N. & 600 N. Woodland Blvd. DeLand, FL 32720 MoArtDeLand.org | 386.734.4371 | Tour. Shop. Join.
Transcript of Fred Staloff Brochure - Museum of Art – · PDF fileThere he studied sculpture with...
Fred Staloff was born in New Jersey in 1924. Mathemati cs and science were his major interests as a high school student. He was att ending the Newark College of Engineering when World War II changed his plans. He joined the army in 1943.
Initi ally, he was assigned to conti nue studies at the University of California at Los Angeles, but before long found himself parti cipati ng in the invasion of the Philippine Islands and Okinawa. Although the atomic bomb dramati cally brought a termina-ti on to the war, the moral implicati ons for science were deeply troubling to a young idealisti c mind. Discharged from the army in 1946, Staloff found it diffi cult, if not impossible, to reintegrate himself in previous plans and acti viti es. As the outlines of a second major historical event, the Holocaust, emerged from the war, his cynicism became acute. He would resolve this dilemma by pursuing a career in the arts.
In 1946, with aid from the G.I. Bill, he enrolled as a student in the Newark School of Fine & Industrial Art. There he studied sculpture with Reuben Nakian and paint-ing with Hans Weingaertner. Aft er graduati ng in 1949, he went to Paris, where he studied in the Atelier of Ossip Zadkine and then at the Académie de la Grande Chaumière. It was at this ti me that he fortuitously met the young woman, Janett e Gannat, who would become his wife and be so supporti ve of his arti sti c ambiti ons.
Back in the United States in 1951, Staloff conti nued to paint while holding various part-ti me jobs. His work in the early part of the decade showed various infl uences as he searched for a more personal expression. In 1956, he resigned from all other acti vites to commit himself enti rely to painti ng. Toward the end of this period, Staloff fi rst demonstrated the concept of viewing the sti ll life form as a landscape. No longer were the elements of the sti ll life represented solely for their architec-
tural functi on. The forms of nature are returned to nature. A poetry in which the elements of the Sti ll-Life-Landscape refl ect a universal whole starts to emerge.
Staloff ’s early works, fi lled with both lyrical opti mism and troubling pessimism, were inspired by a visit to France in 1955. In 1963, Staloff returned to Paris with his wife, planning to spend a year. A series of works based on demoliti ons were painted in France in the 1960s. These facades, with their crumbling plaster, paint and wallpa-per, would become the vehicle and the atmosphere for Staloff ’s meditati on on the meaning of the black rectangle. The fi nal painti ng in this series is a metaphor for the atomic bomb as well as the Holocaust. It is The Hole—a simple work of a nearly silent rectangle of brownish black set in a highly textured fi eld of burnt cast-iron-like grey. The only redeeming feature in this somber landscape is a weak horizontal band of green, hinti ng at life.
While in France, Staloff parti cipated in exhibiti ons at the Salon des Independants and the City of Chati llon Annuals. He had numerous one-man exhibiti ons; at the Galerie des Jeunes, Galerie Mouff etard, and at the Atelier Decima. The art criti c Christi ne Gleiny commented at the ti me; “These painti ngs are an invitati on to poeti c contemplati on. We have here an arti st engaged in large perspecti ves.” Staloff also had an affi liati on with the Galerie Petrides.
In 1965 Staloff was invited to exhibit his work in a one-man show at the Polder Gallery in The Hague. Sustained by collectors’ purchases, the planned one-year sojourn in Paris was extended to six years. In 1969, unanti cipated events precipitated the Staloff s’ return to America. A one-man exhibiti on of Staloff ’s painti ngs took place at The Caldwell College in 1978. Additi onally, he parti cipated in juried exhibiti ons at the Newark Museum, The Montclair Museum, The New Jersey State Mu-seum, The Painters & Sculptors Society of New Jersey, The Summit Art Center, The Somerset Art Associati on (fi rst prize), The Jersey City Museum Bicentennial (Phelps Award), The 1990 New Jersey Annual Exhibiti on, as well as several juried exhibiti ons at the Nati onal Academy of Design.
As a member and offi cer of Audubon Arti sts, Staloff has parti cipated in many of its annual exhibits. In 1991, he won the William Myerowitz Award; in 1994, the Elaine & James Hewitt Award; and in 1995, the Michael M. Engel Memorial Award. Staloff was presented with the Joe & Emily Lowe Award in 1994 at the Annual of the Allied Arti sts of America, and was elected to the board of directors. We thank Fred Staloff for his extraordinary talent and wonderful art which inspires us and gives us joy. - The Butler Insti tute of American Art
FRED STALOFF ’S V ISUAL POETRY Museum o f A r t - DeLand I J u l y 17 – Oc tobe r 4 , 2015
Fred Staloff ’s Visual Poetry Catalogueon loan from The Butler Insti tute of American Art
Apples and Grapes, 1960, oil on panel, 12” x 13.5”At Alma, 1998-2010, oil on panel, 12” x 13.5”Autumn in Hemlock, 1990, oil on panel, 12” x 12.75”Black Square, 1989, oil on panel 15” x 18”Chati llon at Night, 1969, oil on panel, 12.5” x 15.5”Chati llon Ensoleille, 1968, oil on panel, 15” x 18 5/8”Constructi on with Black Entrance, 1968, oil on canvas, 25 .5” x 21.5”Courbevoie, 1965 – 1966, oil on canvas, 28.75” x 23.5”Crumbling Facades ll, 1968 – 1970, oil on canvas, 36.5” x 45.5”Dancing Violets, 1960, oil on panel, 10” x 11”Demoliti on at Courbevoie, 1964-1965, oil on canvas, 23.6” x 28.75 Diogenes, 2002, oil on panel, 21.5” x 25.5”Elements of the City, 1965, oil on canvas, 28.75” x 23.75”Fall Landscape, 1995, oil on canvas, 24” x 30”Fields and Maringues, 1989, oil on canvas, 22” x 23”Five Pears as a Landscape, 1958, oil on panel, 18” x 24”Green, Red and Amber, 1969, oil on paper, 11.25” x 14”La Loire, 1985, oil on canvas, 24” x 34”La Mairie de Maringues, 1989-1993, oil on panel, 16” x 12”Les Cabanes, 2009, oil on canvas, 21.5” x 28.75”Light and Darkness, 1961-1963, oil on panel, 11.25” x 13.5”
Lower Manhatt an at Night, 1963, watercolor on paper, wl 8.5” x 10.5”Lyrical Abstracti on, 1968, oil on canvas, 18” x 21.75”Meadowlands, 1998, oil on canvas, 30” x 40”Morning Glory, 1960, oil on panel, 11.5” x 10”Morning Over the Bay, 24” x 32”Nocturnal Architecture, undated, oil on canvas, 35” x 46”Pears as a Landscape, 1958, oil on canvas, 18” x 24” Reservoir with Pump-House, 1962 - 1963, oil on canvas, 14” x 19”Santa Margherita, 1968, watercolor on paper, 7” x 8”Self Portrait with Red Tie, 1970, oil on canvas, 21” x 18”Sti ll Life with Bread, 1948, oil on canvas board, 16” x 20”Sti ll Life with White Vase, 1992 – 1993, oil on panel, 21.5” x 18”Strawberries and Plant, 1967, watercolor on paper, 8.50” x 10.5”Study of Books, 1947, oil on canvas, 16” x 20”The Big Sweep, 1995, oil on canvas, 36” x 48”The Blue Vase, 1962 – 1963, oil on canvas, 20” x 24”The Edge of the Ravine, 1963, gouache, 10” x 17”The Red Bush, 1970, oil on panel, 12” x 13.5”The Reservoir at Night, 1963, oil on panel, 10” x 11.5”The Trio, 2004, oil on canvas, 18” x 16”The Water Tower, 1969, watercolor on paper, 8.5” x 10.5”Tissonnieres, 1969 – 1970, oil on canvas, 18” x 21.5”Vegetable Debris with Leaks, 1963, oil on canvas, 25” x 30”Window, Landscape and Sunset, 1965, oil on canvas, 28.5” x 23.5”
Gallery Talk & Reception with Artist Fred StaloffSeptember 18, 2015
600 N. Woodland Blvd. Reception: 5 p.m.
Talk: 5:30 - 6:30 p.m.$10; Members No Charge
RSVP [email protected]
or call 386.734.4371
Dancing Violets, 1960, oil on panel, 10” x 11”
Experience the Power of ArtMuseum of Art - DeLand
100 N. & 600 N. Woodland Blvd. DeLand, FL 32720MoArtDeLand.org | 386.734.4371 | Tour. Shop. Join.
