Arthur Lerner (born 1929) is an American artist, known for his atmospheric figurative paintings and drawings, landscapes, and still lifes. He is sometimes described as a realist, but most critics observe that his work is more subjective than descriptive or literal.Pieszak, Devonna. "Arthur Lerner Enigmatic Realist," CITY: A Journal of the City Colleges of Chicago, Fall 1986.Artner, Alan G. "Lerner's Brush Still Quicker Than the Eye," Chicago Tribune, June 20, 1986, p.59.Bone, James. "Art Facts: a mix of media on Wells Street," Chicago Reader, March 11, 1983. Associated with Chicago's influential "Monster Roster" artists early in his career, he shared their enthusiasm for expressive figuration, fantasy and mythology, and their existential outlook, but diverged increasingly in his classical formal concerns and more detached temperament.Corbett, John. "Bleak House: Chicago's Monster Artists," in Monster Roster: Existentialist Art in Postwar Chicago, John Corbett, Jim Dempsey, Jessica Moss, and Richard A. Born, University of Chicago Press: Smart Museum of Art, 2016.Reichert, Elliot. "Review: Chicago Connection/Ukrainian Institute of Modern Art," New City, September 7, 2015. Retrieved April 7, 2018. Critics frequently note in Lerner's art a sense of light that evokes Impressionism, delicate color and modelling that "flirts with dematerialization,"Polanski, G. Jurek. "Self Portraits 2000," ArtScope, 2000. Retrieved April 7, 2018. and the draftsmanship that serves as a foundation for all of his work.Artner, Alan G. "It's Taken 15 Years, But Exhibit Is Top Drawers," Chicago Tribune, May 4, 2000, Retrieved April 9, 2018.Goldstein, Nathan. Design & Composition, New York: Prentice Hall, Inc., 1989, p.20. The Chicago Tribune's Alan Artner lamented Lerner's comparative lack of recognition in relation to the Chicago Imagists as the fate of "an aesthete in a town dominated by tenpenny fantasts."Artner, Alan G. "Mistiness And Insight: The Landscapes And Still Lifes Of Chicago Realist Arthur Lerner," Chicago Tribune, January 17, 1997. Lerner's work has been extensively covered in publications, featured in books such as Monster Roster: Existential Art in Postwar Chicago,Corbett, John and Jim Dempsey, Jessica Moss, and Richard A. Born. Monster Roster: Existentialist Art in Postwar Chicago, University of Chicago Press: Smart Museum of Art, 2016. and acquired by public and private collections, including those of the Smithsonian Institution, Art Institute of Chicago, Smart Museum of Art, and Mary and Leigh Block Museum of Art, among many.Boone, Garret. Review, Chicago Tribune, October, 1963.Artner, Alan G. exhibition critique, Chicago Tribune, April 22, 2005.Art Institute of Chicago. Untitled #1, 1961, Arthur Lerner, Collections. Retrieved April 15, 2018.Arthur Lerner official website, resume. Retrieved March 30, 2018.
Life and education Lerner was born and raised in the ethnic neighborhood of Humboldt Park on Chicago's west side. Interested in art as a child, he took classes at the School of the Art Institute of Chicago (SAIC) at age twelve, and won a scholarship there in 1946. He joined a student body composed largely of older G.I. Bill veterans, including Leon Golub, Cosmo Campoli and Seymour Rosofsky. Many of them would be collectively dubbed the "Monster Roster" by critic Franz Schulze in the late 1950s, for their expressionist figurative work, and regarded as forerunners to the more widely known and organized Imagists.Adrian, Dennis. "Introduction," in Monster Roster: Existentialist Art in Postwar Chicago, John Corbett, Jim Dempsey, Jessica Moss, and Richard A. Born, University of Chicago Press: Smart Museum of Art, 2016.Yood, James. "Introducing the MONSTER ROSTER," art ltd., March 1, 2016. Retrieved June 27, 2018. Lerner studied under painters Louis Ritman and Boris Anisfeld, earning his BFA (1951) and MFA (1952) at SAIC. During this time, he exhibited in the seminal Momentum Exhibitions of 1948-1950, organized by SAIC and Institute of Design students in protest over their exclusion from the Art Institute's prestigious "Annual Exhibition by Artists of Chicago and Vicinity."
After graduating, Lerner won a foreign travel fellowship (1952)Art Institute of Chicago, 1952 Press Releases, June 9, 1952. Retrieved April 7, 2018. and a Fulbright grant (1957), which took him for a year to Rome and to Florence, respectively. The experience left an enduring mark; his studies of Renaissance and Baroque art, as well as classical literature like Dante, took his developing work in figurative, mythological and mystical directions, while solidifying his classically influenced aesthetics. Travel would exert a strong influence throughout his career, inspiring a decade-plus shift to landscape painting in the late 1970s, and a return to the figure in the mid-1990s.
In 1961, Lerner joined the art faculty at City Colleges of Chicago, where he would teach until retiring in 1996. Over the last five decades, he has been featured in solo exhibitions at the Jan Cicero, Walter Wickiser (New York), LIPA, and Printworks galleries, and shown at institutions including the Art Institute of Chicago, Smart Museum of Art, Hyde Park Art Center,Glatt, Cara. "Six Chicago Artists," Hyde Park Herald, May 1984. Chicago Ukrainian Institute of Modern Art, and Chicago Cultural Center, which honored him with a solo show in 2000. Lerner continues to work and live, with his wife, artist Carole Harmel, in Chicago.
Work Lerner's work reflects both a deep connection to art history and a commitment to his own deeply personal path. Fusing his regard for Rembrandt, Renaissance and Baroque masters, Degas, expressionists like Soutine, and modernists like Francis Bacon and Giacometti, he developed an introspective, intuitive style that suggests but eludes labels like Expressionism, Impressionism, Surrealism, Fantasy, Classicism, or Realism. Hallmarks of his style are his atmospheric modelling, restrained palette, and intense, bleaching light, which often creates a diaphanous space in which subjects appear "inexplicably muted as if viewed through a mist or scrim" or seem to hover "somewhere between mirage and dream."Postiglione, Corey. "Images of Quiet Intensity," Walter Wickiser Gallery, catalogue, 1993.Pieszak, Devonna. "Arthur Lerner," Catalogue essay, Galerija, Chicago, IL, 1983. Lerner's work can be classified into three main categories: figurative works, still lifes, and landscapes.
Figurative work Lerner has a longstanding affinity for the figure as a universal metaphor capable of expressing the full range of human experience.The Art Institute of Chicago, Artists Oral History Archive, Arthur Lerner, Retrieved March 30, 2018.Schulze, Franz. "Art in Chicago: The Two Traditions," in Art in Chicago 1945-1995, Museum of Contemporary Art, ed. Lynne Warren. New York: Thames and Hudson, 1996, p.16-20. Retrieved March 30, 2018. His early work, influenced by Expressionism, mythology, and the existentialism of Sartre and Camus, consisted of frontal paintings and conté drawings that featured isolated, fantastical creatures (Phoenix, 1955; Harpy, 1957), anguished heads (Screaming Head, 1962), or agonized, cadaver-like figures (the Torn series, 1960-2), often dissolving into painterly color-field backgrounds.Donato, Marla. "Gallery Tripping: Chicago Artists Expose Themselves," Chicago Reader, May 20, 1983. In addition to their emotional charge, these works have been noted for their "fascination with surface and the interplay of light and shadow" and compared to the work of Moore, Baskin, and Bacon.Dose, Frederic. "The Lions and Lesser Known," Chicago Journal, June 8, 1983. Lerner exhibited extensively at the time, locally and abroad, notably in several Art Institute "Chicago and Vicinity" exhibits, shows at the Seattle Art Museum, Brooklyn Museum and Antioch College, and solo exhibitions at the John L. Hunt (1963) and Anna Werbe (Detroit, 1964) galleries, Elmhurst College (1972), and Alverno College (1973).
Over time, Giacometti's influence on Lerner grew and his work became more detached and ethereal, with "substantiality and concreteness displaced by diffusion of light" and color suppressed in favor of tonality and pale hue.Polanski, G. Jurek. "Significant Signifiers, Ukrainian Institute of Modern Art," ArtScope, 2001. Retrieved June 27, 2018. The shift, glimpsed in portraits, such as Laura I (1975), continued into the 1990s when Lerner returned to the figure after abandoning it for roughly a decade. Inspired by a visit to The Museum of the Mummies in Guanajuato, Mexico, he began exploring the beauty of decay and the feelings evoked by death through depictions of mummified, skeletal or hanged figures, corpses, and mythological subjects.Silverman, Lanny. "In Transition," Chicago Cultural Center, exhibition essay, 2000. Reviews commented on the epic tone, muted horror,Artner, Alan G. exhibition critique, Chicago Tribune, October 22, 2004. "delicate animation and expressive grace" of works like Descent (2001) that considered humanity "variously as puppets in the game of life, pure physical matter, or tortured souls."Rosenbloom-Kerzner, Idelle. "Artists recall terrible things," Post-Tribune, April 13, 2003, B1. Artist Neil Goodman, who curated an Indiana University show of this work, described the paintings as "both troubling and enticing, yet beautiful in the way that only visual language can embrace a paradox."King, Peter. "'Passages' Arouse Human Emotions," Indiana University Northwest News, April 2, 2003.
Lerner has said about this work, "Mummies and mythical figures in my work are not intended to represent specific political or historical events in any way, but rather to act as symbols or metaphors for the terror, the anguish, the tragic, the comic—even the absurdity and the beauty of life as we experience it."Arthur Lerner official website, artist statement. Retrieved March 30, 2018. In subsequent years, Lerner exhibited similar work in shows contemplating the effects of war, genocide,Artner, Alan G. "Memento Mori," Chicago Tribune, July 12, 2002. and the Holocaust.Rocca, Suellen. "24th Annual Holocaust Education Project at Elmhurst College," Program, Curator's note, April 27, 2014, p. 6.
Still lifes In the late 1970s, Lerner made a major shift to still lifes and landscapes, prompted by a trip to the French maritime Alps, and later cemented after the purchase of a summer home in coastal Maine. Upon returning to Chicago, he began working on minimalist paintings of paper bags (1978) that, formally, recalled the mountains for him. He then turned to spare groupings of natural materials like rocks, shells, driftwood, leaves, bones and gourds that have been likened to Zen gardens in their "calculated casualness," careful arrangement, and spatial tension. Contrasting them to his other work, Lerner describes the still lifes as "a more direct approach to the pure pleasure of looking at things."
Like the landscapes that would follow, these new paintings were simultaneously more precise and concrete—sometimes suggesting the detachment of Philip Pearlstein—and yet more abstract. Critics attributed this to Lerner's "opalescent light,"Holg, Garrett. "Contemporary Realism," New Art Examiner, February 1984, p.18. which gave his shadows palpable form and created the "effect of a hazy, delicately colored, and possibly mystical procession of shapes across the canvas" that suggested landscapes. This artistic fiction transformed what appeared to be simple paintings, such as Bones, Gourds and Shells (1990), into metaphysical works that evoked a mood of mystery and quietude critics likened to the work of Giorgio Morandi.
Landscapes