Abraham Walkowitz
Encyclopedia
Abraham Walkowitz was an American
painter
grouped in with early American Modernists
working in the Modernist style.
,Siberia
and emigrated with his mother to the United States in his early childhood. He studied at the National Academy of Design
in New York City and the Académie Julian
in Paris
under Jean-Paul Laurence. Walkowitz and his contemporaries later gravitated around photographer Alfred Stieglitz
's 291 Gallery, originally titled the Little Galleries of the Photo-Secession, where the forerunners of modern art in America gathered and where many European artists were first exhibited in the United States. During the 291 years, Walkowitz worked closely with Stieglitz as well as Arthur Dove
, Marsden Hartley
, and John Marin
(often referred to as "The Stieglitz Quartet").
, it was here that he met Isadora Duncan
in Auguste Rodin
's studio, the modern American dancer whom had captured the attention of the avant-garde
. Walkowitz went on to produce more than 5,000 drawings of Duncan.
Walkowitz' approach to art during these years stemmed from European modernist
ideas of abstraction
, which were slowly infiltrating the American art psyche at the turn of the century. Like so many artists of the time, Walkowitz was profoundly influenced by the 1907 memorial exhibition of Cézanne
's work in Paris at the Salon d'Automne
. Artist Alfred Werner recalled that Walkowitz found Cézanne's pictures to be "simple and intensely human experiences." Working alongside other Stieglitz-supported American modernists, Walkowitz refined his style as an artist and produced various abstract works.
Although Walkowitz drew influences from modern European masters, he was cautious not to be imitative. Artist and critic Oscar Bluemner recognized this quality in Walkowitz’s work, citing the differences between the highly influential writings of Kandinsky
and Walkowitz' style. He wrote: "Walkowitz is impelled by the ‘inner necessity’: Kandinsky, however, like the other radicals, appears not to proceed gradually and inwardly, but with a mind made up to commit an intellectual feat—which is not art."
Walkowitz first exhibited at the 291 in 1911 after being introduced to Stieglitz
through Hartley
, and stayed with the gallery until 1917. During the 291 years, the climate for modern art in America was harsh. Until the pivotal Armory Show
of 1913 had occurred which Walkowitz was involved with and exhibited in, modern artists importing radical ideas from Europe were received with hostile criticism and a lack of patronage.
echoed the lines of Walt Whitman
in her essay I See America Dancing, writing, "When I read this poem of Whitman’s I Hear America Singing I, too, had a Vision: the Vision of America dancing a dance that would be the worthy expression of the song Walt heard when he heard America singing." Duncan was the quintessence of modernism
, shedding the rigid shackles of the balletic form and exploring movement through a combination of classical sculpture
and her own inner sources. She described this search: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit
through the body’s movement." For Duncan, dance was a distinctly personal expression of beauty through movement, and she maintained that the ability to produce such movement was inherently contained within the body.
Abraham Walkowitz was one of many artists captivated by this new form of movement. The Duncan drawings can be interpreted as representations of Walkowitz’s loftiest goals. Composing thousands of these drawings would prove to be one of the most effective outlets for his artistic agenda due to the similarities between the artistic ideals and preferred aesthetic shared by Walkowitz and Duncan. He was also able to draw from the same subject repeatedly and extract a different experience with each observation. Sculptors most readily recognized this trait in Duncan; there was a particular quality of her dance which appeared readily artistic, yet not static. Dance critic Walter Terry described it in 1963 as, "Although her dance inarguably sprang from her inner sources and resources of motor power and emotional drive, the overt aspects of her dance were clearly colored by Greek art
and the sculptor’s concept of the body in arrested gesture promising further action. These influences may be seen clearly in photographs of her and in the art works she inspired."
In each drawing, a new observation is recorded from the same subject. In the Foreword to A Demonstration of Objective, Abstract, and Non-Objective Art, Walkowitz wrote in 1913, "I do not avoid objectivity nor seek subjectivity, but try to find an equivalent for whatever is the effect of my relation to a thing, or to a part of a thing, or to an afterthought of it. I am seeking to attune my art to what I feel to be the keynote of an experience." The relaxed fluidity of his action drawings represent Duncan as subject, but ultimately reconceive the unbound movement of her dance and translates the ideas into line and shape, ending with a completely new composition.
His interest in recording the "keynote" of experience rather than producing an objective representation of a subject is central to the composition of the Duncan drawings. The fluidity of the lines function simultaneously as recognizable shapes of the human body, but also trace the pathways of the dancer’s movements. Duncan herself wrote in 1920, "...there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul." Placed into a different context, this passage could function as a description of Walkowitz’s art; it is in fact taken from her essay The Philosopher’s Stone of Dancing wherein she discusses techniques to most effectively express the purest form of movement.
Walkowitz’s dedication to Duncan as a subject extended well past her untimely death in 1927. His body of work is a testament to Duncan’s art and their shared convictions toward modernism and the liberty to express oneself in a personal, spiritual fashion, breaking links with the past which demanded technical standards and formal convention. In 1958, Walkowitz told Lerner, "She Duncan
had no laws. She did not dance according to the rules. She created. Her body was music. It was a body electric, like Walt Whitman. His body electrics. One of our greatest men, America's greatest, is Walt Whitman. Leaves of Grass
is to me the Bible."
also remain significant art historical records.
United States
The United States of America is a federal constitutional republic comprising fifty states and a federal district...
painter
Painting
Painting is the practice of applying paint, pigment, color or other medium to a surface . The application of the medium is commonly applied to the base with a brush but other objects can be used. In art, the term painting describes both the act and the result of the action. However, painting is...
grouped in with early American Modernists
American modernism
American modernism like modernism in general is a trend of thought that affirms the power of human beings to create, improve, and reshape their environment, with the aid of scientific knowledge, technology and practical experimentation, and is thus in its essence both progressive and optimistic...
working in the Modernist style.
Birth and education
Walkowitz was born in TyumenTyumen
Tyumen is the largest city and the administrative center of Tyumen Oblast, Russia, located on the Tura River east of Moscow. Population: Tyumen is the oldest Russian settlement in Siberia. Founded in 16th century to support Russia's eastward expansion, the city has remained one of the most...
,Siberia
Siberia
Siberia is an extensive region constituting almost all of Northern Asia. Comprising the central and eastern portion of the Russian Federation, it was part of the Soviet Union from its beginning, as its predecessor states, the Tsardom of Russia and the Russian Empire, conquered it during the 16th...
and emigrated with his mother to the United States in his early childhood. He studied at the National Academy of Design
National Academy of Design
The National Academy Museum and School of Fine Arts, founded in New York City as the National Academy of Design – known simply as the "National Academy" – is an honorary association of American artists founded in 1825 by Samuel F. B. Morse, Asher B. Durand, Thomas Cole, Martin E...
in New York City and the Académie Julian
Académie Julian
The Académie Julian was an art school in Paris, France.Rodolphe Julian established the Académie Julian in 1868 at the Passage des Panoramas, as a private studio school for art students. The Académie Julian not only prepared students to the exams at the prestigious École des Beaux-Arts, but offered...
in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
under Jean-Paul Laurence. Walkowitz and his contemporaries later gravitated around photographer Alfred Stieglitz
Alfred Stieglitz
Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form...
's 291 Gallery, originally titled the Little Galleries of the Photo-Secession, where the forerunners of modern art in America gathered and where many European artists were first exhibited in the United States. During the 291 years, Walkowitz worked closely with Stieglitz as well as Arthur Dove
Arthur Dove
Arthur Garfield Dove was an American artist. An early American modernist, he is often considered the first American abstract painter.-Youth and education:...
, Marsden Hartley
Marsden Hartley
Marsden Hartley was an American Modernist painter, poet, and essayist.-Early life and education:Hartley was born in Lewiston, Maine, where his English parents had settled. He was the youngest of nine children. His mother died when he was eight, and his father remarried four years later to Martha...
, and John Marin
John Marin
John Marin was an early American modernist artist. He is known for his abstract landscapes and watercolors.-Biography:...
(often referred to as "The Stieglitz Quartet").
Early Career and Training
Walkowitz was drawn to art from childhood. In a 1958 oral interview with Abram Lerner, he recalled: "When I was a kid, about five years old, I used to draw with chalk, all over the floors and everything... I suppose it's in me. I remember myself as a little boy, of three or four, taking chalk and made drawings." In early adulthood, he worked as a sign painter and began making sketches of immigrants in New York's Jewish ghetto where he lived with his mother. He continued to pursue his formal training, and with funds from a friend traveled to Europe in 1906 to attend the Académie Julian. Through introductions made by Max WeberMax Weber (artist)
For the social theorist and philosopher, see Max WeberMax Weber was a Jewish-American painter who worked in the style of cubism before migrating to Jewish themes towards the end of his life.-Biography:...
, it was here that he met Isadora Duncan
Isadora Duncan
Isadora Duncan was a dancer, considered by many to be the creator of modern dance. Born in the United States, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50. In the United States she was popular only in New York, and only later in her life...
in Auguste Rodin
Auguste Rodin
François-Auguste-René Rodin , known as Auguste Rodin , was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past...
's studio, the modern American dancer whom had captured the attention of the avant-garde
Avant-garde
Avant-garde means "advance guard" or "vanguard". The adjective form is used in English to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics....
. Walkowitz went on to produce more than 5,000 drawings of Duncan.
Walkowitz' approach to art during these years stemmed from European modernist
Modernism
Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society...
ideas of abstraction
Abstract art
Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an...
, which were slowly infiltrating the American art psyche at the turn of the century. Like so many artists of the time, Walkowitz was profoundly influenced by the 1907 memorial exhibition of Cézanne
Paul Cézanne
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th...
's work in Paris at the Salon d'Automne
Salon d'Automne
In 1903, the first Salon d'Automne was organized by Georges Rouault, André Derain, Henri Matisse, Angele Delasalle and Albert Marquet as a reaction to the conservative policies of the official Paris Salon...
. Artist Alfred Werner recalled that Walkowitz found Cézanne's pictures to be "simple and intensely human experiences." Working alongside other Stieglitz-supported American modernists, Walkowitz refined his style as an artist and produced various abstract works.
Although Walkowitz drew influences from modern European masters, he was cautious not to be imitative. Artist and critic Oscar Bluemner recognized this quality in Walkowitz’s work, citing the differences between the highly influential writings of Kandinsky
Wassily Kandinsky
Wassily Wassilyevich Kandinsky was an influential Russian painter and art theorist. He is credited with painting the first purely-abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow, studying law and economics...
and Walkowitz' style. He wrote: "Walkowitz is impelled by the ‘inner necessity’: Kandinsky, however, like the other radicals, appears not to proceed gradually and inwardly, but with a mind made up to commit an intellectual feat—which is not art."
Walkowitz first exhibited at the 291 in 1911 after being introduced to Stieglitz
Alfred Stieglitz
Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form...
through Hartley
Marsden Hartley
Marsden Hartley was an American Modernist painter, poet, and essayist.-Early life and education:Hartley was born in Lewiston, Maine, where his English parents had settled. He was the youngest of nine children. His mother died when he was eight, and his father remarried four years later to Martha...
, and stayed with the gallery until 1917. During the 291 years, the climate for modern art in America was harsh. Until the pivotal Armory Show
Armory Show
Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but the Armory Show refers to the 1913 International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors...
of 1913 had occurred which Walkowitz was involved with and exhibited in, modern artists importing radical ideas from Europe were received with hostile criticism and a lack of patronage.
Isadora Duncan Drawings
In 1927, Isadora DuncanIsadora Duncan
Isadora Duncan was a dancer, considered by many to be the creator of modern dance. Born in the United States, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50. In the United States she was popular only in New York, and only later in her life...
echoed the lines of Walt Whitman
Walt Whitman
Walter "Walt" Whitman was an American poet, essayist and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets in the American canon, often called the father of free verse...
in her essay I See America Dancing, writing, "When I read this poem of Whitman’s I Hear America Singing I, too, had a Vision: the Vision of America dancing a dance that would be the worthy expression of the song Walt heard when he heard America singing." Duncan was the quintessence of modernism
Modernism
Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society...
, shedding the rigid shackles of the balletic form and exploring movement through a combination of classical sculpture
Classical sculpture
Classical sculpture refers to the forms of sculpture from Ancient Greece and Ancient Rome, as well as the Hellenized and Romanized civilizations under their rule or influence from about 500 BC to fall of Rome in AD 476. It also refers stylistically to modern sculptures done in a classical style....
and her own inner sources. She described this search: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit
Human spirit
Human spirit is a component of human philosophy, psychology and religion - the spiritual or mental part of humanity. While the term can be used with the same meaning as "human soul" , human spirit is sometimes used to refer to the impersonal, universal or higher component of human nature in...
through the body’s movement." For Duncan, dance was a distinctly personal expression of beauty through movement, and she maintained that the ability to produce such movement was inherently contained within the body.
Abraham Walkowitz was one of many artists captivated by this new form of movement. The Duncan drawings can be interpreted as representations of Walkowitz’s loftiest goals. Composing thousands of these drawings would prove to be one of the most effective outlets for his artistic agenda due to the similarities between the artistic ideals and preferred aesthetic shared by Walkowitz and Duncan. He was also able to draw from the same subject repeatedly and extract a different experience with each observation. Sculptors most readily recognized this trait in Duncan; there was a particular quality of her dance which appeared readily artistic, yet not static. Dance critic Walter Terry described it in 1963 as, "Although her dance inarguably sprang from her inner sources and resources of motor power and emotional drive, the overt aspects of her dance were clearly colored by Greek art
Greek art
Greek art began in the Cycladic and Minoan prehistorical civilization, and gave birth to Western classical art in the ancient period...
and the sculptor’s concept of the body in arrested gesture promising further action. These influences may be seen clearly in photographs of her and in the art works she inspired."
In each drawing, a new observation is recorded from the same subject. In the Foreword to A Demonstration of Objective, Abstract, and Non-Objective Art, Walkowitz wrote in 1913, "I do not avoid objectivity nor seek subjectivity, but try to find an equivalent for whatever is the effect of my relation to a thing, or to a part of a thing, or to an afterthought of it. I am seeking to attune my art to what I feel to be the keynote of an experience." The relaxed fluidity of his action drawings represent Duncan as subject, but ultimately reconceive the unbound movement of her dance and translates the ideas into line and shape, ending with a completely new composition.
His interest in recording the "keynote" of experience rather than producing an objective representation of a subject is central to the composition of the Duncan drawings. The fluidity of the lines function simultaneously as recognizable shapes of the human body, but also trace the pathways of the dancer’s movements. Duncan herself wrote in 1920, "...there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul." Placed into a different context, this passage could function as a description of Walkowitz’s art; it is in fact taken from her essay The Philosopher’s Stone of Dancing wherein she discusses techniques to most effectively express the purest form of movement.
Walkowitz’s dedication to Duncan as a subject extended well past her untimely death in 1927. His body of work is a testament to Duncan’s art and their shared convictions toward modernism and the liberty to express oneself in a personal, spiritual fashion, breaking links with the past which demanded technical standards and formal convention. In 1958, Walkowitz told Lerner, "She Duncan
Isadora Duncan
Isadora Duncan was a dancer, considered by many to be the creator of modern dance. Born in the United States, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50. In the United States she was popular only in New York, and only later in her life...
had no laws. She did not dance according to the rules. She created. Her body was music. It was a body electric, like Walt Whitman. His body electrics. One of our greatest men, America's greatest, is Walt Whitman. Leaves of Grass
Leaves of Grass
Leaves of Grass is a poetry collection by the American poet Walt Whitman . Though the first edition was published in 1855, Whitman spent his entire life writing Leaves of Grass, revising it in several editions until his death...
is to me the Bible."
Significance in Art History
While never attaining the same level of fame as his contemporaries, Walkowitz' close relationship with the 291 Gallery and Alfred Steiglitz placed him at the center of the modernist movement. His early abstract cityscapes and collection of over 5,000 drawings of Isadora DuncanIsadora Duncan
Isadora Duncan was a dancer, considered by many to be the creator of modern dance. Born in the United States, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50. In the United States she was popular only in New York, and only later in her life...
also remain significant art historical records.