Beatrice Mandelman
Beatrice Mandelman
(American, 1912-1998)
Stripes (Green Spot), c. 1960s
oil on canvas signed Mandelman (lower right)
20 x 30 inches.
Fine Art signed Mandelman (lower right)
There is slight surface dirt and dust; diagonal hairline cracks in upper left and right and lower left corners; vertical cracking with an isolated area of craquelure towards the center of the canvas in the green vertical stripe to the left of the central orange vertical band; otherwise this work appears to be in overall basic good and stable condition.
Framed: 21 x 31 inches.
Please contact Nathan Brady with any further questions at NathanBrady@HindmanAuctions.com.
Provenance:
The Artist
The Estate of Beatrice Mandelman
203 Fine Art, Taos, New Mexico
This work is accompanied by a certificate of authenticity issued by the Mandelman-Ribak Collection
Lot essay:
I am a believer in the poetry of the subconscious moving into the realm of abstraction. My work could be called ‘subjective abstractions.’ I have the freedom of choice today to let my space flow. I make room in my painting for the observer to dream.
-Beatrice Mandelman, Mandelman Shows in Taos, 1977, Santa Fe New Mexican
A prolific painter throughout her life, Beatrice Mandelman, or “Bea,” knew she wanted to be a painter from an early age. Born in Newark, New Jersey in 1912, Mandelman was introduced at an early age to Russian Constructivism and other avant-garde movements by Louis Lozowick, an artist and family friend. She began taking classes at the age of 12 at the Newark School of Fine and Industrial Art and eventually studied at both Rutgers University and the New York Art Student’s League. From 1935 to 1942, Mandelman was employed by the Works Project Administration in New York, where she became associated with numerous New York School artists including Louis Lozowick, Willem de Kooning, Arshile Gorky, Jackson Pollock, and Stuart Davis. Although Mandelman’s style was to evolve over time, she remained committed to modernism and abstraction throughout her career.
In 1944, Mandelman and her husband, Louis Ribak, settled in Taos, New Mexico. She and Ribak became a part of the group of artists known as the Taos Moderns, which included Ed Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn. Far from the strictures of the New York art scene, Mandelman found the freedom to develop a style that was distinctly her own. Inspired by the light, the local color, the landscape and the confluence of diverse cultures in Taos, her work flourished. The artist moved away from her previous, Ashcan, social-inspired scenes of the WPA period and adopted a bright, expressive version of Abstract Expressionism.
Collage was a frequent technique in Mandelman’s oeuvre beginning in the 1950s. Her ability to form captivating compositions through shifting blocks of color, whether with paper or oil on canvas, can be seen in such works as Stripes (Green Spot), c. 1960s.
Sale price
Estimate
Time, Location
Auction House
Beatrice Mandelman
(American, 1912-1998)
Stripes (Green Spot), c. 1960s
oil on canvas signed Mandelman (lower right)
20 x 30 inches.
Fine Art signed Mandelman (lower right)
There is slight surface dirt and dust; diagonal hairline cracks in upper left and right and lower left corners; vertical cracking with an isolated area of craquelure towards the center of the canvas in the green vertical stripe to the left of the central orange vertical band; otherwise this work appears to be in overall basic good and stable condition.
Framed: 21 x 31 inches.
Please contact Nathan Brady with any further questions at NathanBrady@HindmanAuctions.com.
Provenance:
The Artist
The Estate of Beatrice Mandelman
203 Fine Art, Taos, New Mexico
This work is accompanied by a certificate of authenticity issued by the Mandelman-Ribak Collection
Lot essay:
I am a believer in the poetry of the subconscious moving into the realm of abstraction. My work could be called ‘subjective abstractions.’ I have the freedom of choice today to let my space flow. I make room in my painting for the observer to dream.
-Beatrice Mandelman, Mandelman Shows in Taos, 1977, Santa Fe New Mexican
A prolific painter throughout her life, Beatrice Mandelman, or “Bea,” knew she wanted to be a painter from an early age. Born in Newark, New Jersey in 1912, Mandelman was introduced at an early age to Russian Constructivism and other avant-garde movements by Louis Lozowick, an artist and family friend. She began taking classes at the age of 12 at the Newark School of Fine and Industrial Art and eventually studied at both Rutgers University and the New York Art Student’s League. From 1935 to 1942, Mandelman was employed by the Works Project Administration in New York, where she became associated with numerous New York School artists including Louis Lozowick, Willem de Kooning, Arshile Gorky, Jackson Pollock, and Stuart Davis. Although Mandelman’s style was to evolve over time, she remained committed to modernism and abstraction throughout her career.
In 1944, Mandelman and her husband, Louis Ribak, settled in Taos, New Mexico. She and Ribak became a part of the group of artists known as the Taos Moderns, which included Ed Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn. Far from the strictures of the New York art scene, Mandelman found the freedom to develop a style that was distinctly her own. Inspired by the light, the local color, the landscape and the confluence of diverse cultures in Taos, her work flourished. The artist moved away from her previous, Ashcan, social-inspired scenes of the WPA period and adopted a bright, expressive version of Abstract Expressionism.
Collage was a frequent technique in Mandelman’s oeuvre beginning in the 1950s. Her ability to form captivating compositions through shifting blocks of color, whether with paper or oil on canvas, can be seen in such works as Stripes (Green Spot), c. 1960s.
