Milton Resnick Untitled Collograph
Rare collagraph etching by artist Milton Resnick. Piece is untitled and printed on German etching paper. Published by The Voorhis-Zimmerli ...
more Rare collagraph etching by artist Milton Resnick. Piece is untitled and printed on German etching paper. Published by The Voorhis-Zimmerli Art Museum, the museum at Rutgers University in 1983 and it was sold in a portfolio with prints by other printmakers. The portfolio was made to raise money for the Museum's print department.
Numbered lower left in pencil from a small edition of 40.
Signed lower right Milton Resnick in pencil. Hudson River printers stamp (a seagull in the moonlight) lower left.
Paper size is 31 x 41 inches. Image size 20 x 31.5 inches.
Milton Resnick (January 7, 1917 - March 12, 2004) was a major abstract expressionist painter and teacher known for his mystical, abstract and figurative paintings. Born in Bratslav, Russia, he emigrated to the United States in 1922.
Milton Resnick was one of the last survivors of the first generation of the New York Abstract Expressionists. Born in Russia, Resnick and his family left and arrived in New York City in 1922 at age five. He settled in Brooklyn with his family and attended public school where a teacher re-named him from his birth name of Rachmiel and nickname of Milya to Milton. At age 14, he enrolled in the commercial art program at the Pratt Institute Evening School of Art in Brooklyn, but a teacher there suggested he switch to fine arts, so the next year he enrolled in the American Artists' School in New York City. Ad Reinhardt, future Abstract Expressionist, was a classmate, and they shared a budding interest in abstraction.
During the Great Depression, Resnick was in the Easel and Mural Division of the WPA of the Works Progress Administration. By 1938, he had his own studio on West 21st Street, and there was nearby Willem de Kooning with whom he formed a close friendship in the 1940s. In 1948, Milton Resnick returned to New York, and used his G.I. benefits to enroll in abstract expressionist painter Hans Hofmann's school. He also took a studio on East 8th Street, near Jackson Pollock, de Kooning, and Franz Kline, and in September met artist Pat Passlof, whom he married in 1961.
In the late forties he debated painting with his friends and colleagues Willem de Kooning, Lee Krasner and Jackson Pollock, sometimes at The Club, a regular meeting of modern artists working in and around Tenth Street in New York. Like them Resnick was striving for an overall quality for his pictures, a way to unite foreground and background, in order to achieve a resolution of opposites, a metaphor for all dialectics. While the others moved toward throwing or dragging quantities of paint across the face of the canvas, Resnick retained a particularly personal and impassioned confrontation with brush painting. Sometimes his work was referred to as Abstract Impressionism because of his all over style. Coming into prominence just as Pop Art moved into the limelight, his great accomplishments weren't recognized to the extent some thought they merited, as a painterly integration of Western metaphysics and Eastern philosophy. In his mature years, he worked in a converted synagogue on Eldridge Street in the Lower East Side, attended by devoted students, admirers, and his wife and lifelong companion, the painter Pat Passlof.
During the 1950s and 1960s, Resnick earned respect for his Abstract Expressionist paintings and also was unique for being one of the few New York artists to have a large working space for large-scale canvases. In 1976, he purchased the space that served him to the end of his active career, an abandoned synagogue on Eldridge Street on New York's lower east side. It was near his wife's studio, which was another abandoned synagogue and purchased by the couple in 1963. less
- 31.5ʺW × 0.1ʺD × 20ʺH
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