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The Print Club of New York Inc Fall 2010 done before. My recent abstract paintings differ from my President’s Greeting earlier abstract period. They are fresh and new to me. The Leonard Moss older paintings are closed, tightly bound. The new ones are open with a special new language.” n October 7th, I had the pleasure of interviewing Together, Will and I contrasted his Self Portrait, 1967, my good friend, Will Barnet, in his studio at the now in the Museum of Fine Arts, Boston, with Tom, 2003, National Arts Club for this President’s Greeting. exhibited at the Alexandre Gallery in Manhattan (May- O June, 2010) and reproduced in the New York Times review The art world is celebrating Will’s centennial year with receptions, exhibitions and special events. I appreciate his by Roberta Smith. His magnificent Self Portrait fills the setting aside time for us to reminisce about his life and canvas with tight squared-off forms in the background work. and images of his pipe and paint brushes to provide ener- Will’s duplex studio apartment is in a tall building gy, tension and personal identification. Smith’s review of behind, but attached to, the National Arts Club. One Will’s latest works states, “His images benefit from a enters into a two-story space with his famous works of art more nuanced palette, simpler composition and more adorning the high walls and cabinets and artist’s equip- relaxed lines of his figurative works. They are full of ment lining the room. The space where he works is at the engaging fragments and hieroglyphic shapes that con- north end of the apartment, separated by a wall of tall tribute to larger motifs and meanings without any loss of cabinets with light pouring in through large windows. formal autonomy.” As Will’s wife, Elena, arranged for us to sit comfortably Will expressed his gratitude for Smith’s review. I at the table in the center of the room, placing us so that proudly, and with a bit of showing off, pulled the article Will could best hear me, I had an insight into how she from under my writing pad and read her conclusion. “Mr. lovingly manages their life so that Will can continue his Barnet offers inspiring proof that it is never too late to work under the most favorable possible circumstances. sprout new leaves on painting, a tree that accommodates I glanced around the studio but did not find a work in perpetual growth and renewal.” process, so I began our conversation by asking, “Will, “At my age,” he continued, “I have a more optimistic what are you working on now?” He responded enthusias- and alive palette. I’m not as involved in the recent eco- tically, “It’s a major new work, very important,” but nomic downturn as I was in the 30s. I lived a lot through offered no further details. We will have to wait for the that depression and my work was mainly social, focusing opening. I had the impression that the new work is Will’s on the ordinary man and woman. Humanity is most own centennial celebration. important when young. Now, I feel my work should do My next question, tactfully stated, asked whether cre- something to make someone happy.” As Will verbalized ativity and innovation continue with advancing age. He his feelings about his present works, I remembered leav- answered, “I can’t stand the idea of repeating what I have ing the “Recent Abstract Paintings” exhibition at the Alexandre Gallery and saying to my wife Muriel, “Those are happy works.” She responded, “They are a culmina- The Print Club of New York, Inc. tion of growth throughout his life as an artist.” P.O. Box 4477 Grand Central Station We continued to explore Will’s return to abstraction. I New York, NY 10163 asked, “Do you begin an abstract painting with a theme in Tel:(212)-479-7915 mind? I have recently discussed the creative process with Officers: a well-known artist who said her creativity bursts forth Leonard M. Moss, President when she views a blank canvas or a white paper.” Will Mona Rubin, Vice President responded, “I always start with a concept in which I am Natalia Kolodzei, Corresponding Secretary emotionally involved. I have an intense feeling, an attach- Mary Lee Baranger, Recording Secretary Joan Blanksteen, Treasurer ment to the idea. Emotion and thoughtfulness are essen- Morley Melden, Founding President tial to a successful abstract painting. It can take me a year Julian Hyman, President Emeritus to get it right. In fact, it took me three years to complete Homage to Leger, with K.K., 1982.” Board Members: Publications Committee: Katherine Kuh, a long-time friend and former curator Paul Affuso Chair: Gillian Hannum Charles Blanksteen Fran Alexander of painting and sculpture at the Art Institute of Chicago, Kay Deaux Mary Lee Baranger was a strong personality with a vigorous life style. “I had Gillian Greenhill Hannum Maryanne Garbowsky completed sketches for her portrait on two occasions, but Natalia Kolodzei Natalia Kolodzei was not satisfied that those essentials of her personality Howard Mantel Sara Teitler were portrayed. Then at 3 a.m. one morning, I awoke Muriel Moss Newsletter Editor: with an insight, ‘I know! Yes,’ and incorporated The Michael Rubin Gillian Greenhill Hannum Mechanic of Leger, her favorite Leger work, into her por- Corinne Shane trait, along with her habit of pulling at her choker.” Kuh Allison Tolman commented on the experience of sitting for Will: “For his sitters, these characterizations can have the sharp edge of P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 2 a mini-analysis.” been present at many of our events over the years, and Will emphasized the intense emotion, the thought and Elena is a long-standing and contributing member of the time devoted to shaping and placing what Smith Club as well as an avid reader of the newsletter. described as “the engaging fragments and hieroglyphic “I love the Print Club of New York. It is unique, real, shapes that contribute to larger motifs and meanings.” I promotes a sense of attachment to prints. A lot of similar found a quote in which he discusses the source of his clubs have been started over the years, but the Print Club visual images: “The abstract work is never concerned of New York is a vital, solid organization.” At this point, with amorphous feelings but always with visual images Elena returned from her appointment and Will and I of very real experiences which demand, as did the more began to put away the reference material we had used recognizable imagery of my earlier work, that each form during our discussion. exist in its own sharply defined character.” I thought back to the first time I visited Will in his stu- Will is noted for teaching young artists and helping dio. I was the Chairman of the Print Selection Committee them further their careers. In honor of Will’s centennial and came to ask Will to do our 1998 commissioned print. year, the Art Students League of New York, in a special He showed me several sketches he had made for various exhibition, is bringing together highlights of Mr. Barnet’s projects, including one for his series of works illustrating career with works by dozens of his instructors, colleagues the poems of Emily Dickinson. That became his commis- and students (October 5-31, 2010). sioned print, Between Life and Life, quoting the opening Will commented on the beginning of his 50-year affilia- phrase of the poem inspiring his image. I also recalled tion with the Art Students League. “Arshile Gorky was Will’s participation in the panel discussion of the Artist- the first human being I met in New York City. He took me Printer Collaboration during our exhibition of “Seventeen for a walk in the Village. On that walk he pointed to a Years of Commissioned Prints” at the National Arts Club shoemaker’s advertisement and said ‘That sign predicts in March, 2009. Will and master printer Maurice Sanchez the future of painting.’ The sign predicted the develop- told the story of how they overcame the many obstacles ment of Pop Art. Gorky was a brilliant man.” encountered in making that edition. Turning his attention to the current museum scene Will As I reflected on our interview and our contacts over commented, “Painting is a silent visual art. Viewing a the years, I realized that Will today is as vital, involved, work of art is a personal and private experience, often empathetic, and capable of drawing on the past, focusing interrupted these days by noise. Video belongs in the- on the present and foreseeing the future, as he has ever aters, not museums. In fact, museums are expanding too been. He is involved in describing humanity through his much. Works of art are accumulating and often lie dor- art, regardless of the images he uses to communicate with mant. There should be more rotation of important works his audience. by museums.” I am honored to be a friend of Will Barnet, the As our time was coming to a close, I asked Will about quintessential human being, and to join in the celebration his impressions of the Print Club of New York. He has of his centennial year. Recent Print Club Events Woodcuts in Modern China: 1937 – 2008, China Institute Gallery, September 16, 2010 Gillian Greenhill Hannum group of about 25 Print Club members enjoyed an enlightening evening at the China Institute A Gallery, where we were treated to a gallery talk and exhibition tour led by guest curator Renee Covalucci.

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