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Reminiscing with James Jarvaise

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Reminiscing with James Jarvaise REMINISCING WITH JAMES JARVAISE By Gerald Nordland The admiration I have nurtured for the work of James Jarvaise has grown from the time when, as a young art critic in Los Angeles for Frontier Magazine, I began to be aware of the burgeoning interest in the local art world for his work. It was the early fifties and I was writing about the American art world. By the mid-1950s, I was seeing more of Jarvaise’s work and wrote enthusiastically about it in Frontier, Arts, and the Los Angeles Mirror News. I was invited by Felix Landau Gallery to write an introduction for one of the shows he organized for him. The Gallery often included Jarvaise in its occasional group shows that I followed. I was well aware that Jarvaise’s work was being seen in important annual juried shows at national museums, notably: Metropolitan Museum of Art, NY; twice at the University of Illinois-Champaign/ Urbana (1953, 1957); Addison Gallery, Andover, MA; Butler Institute of American Art, Youngstown, OH; Corcoran Gallery, Washington D.C.; Denver Art Museum; San Francisco Museum of Art. Notably, he received purchase awards from Addison Gallery; the then Albright Art Gallery, Buffalo, NY; the then Carnegie-Tech, Philadelphia; and the Los Angeles County Museum of Art. In 1958, I reported that Jarvaise had been selected by Dorothy Canning Miller, a veteran curator of painting and sculpture at the Museum of Modern Art, NY and a valued assistant to the institution’s director, Alfred H. Barr Jr., to be among the artists featured in her Sixteen Americans exhibition. For more than twenty years, starting in 1942, Ms. Miller planned and presented a series of six landmark exhibitions calculated to bring the most innovative and creative young artists to national attention. These ground- breaking exhibitions, presented every three or four years and variably entitled Fourteen (or Sixteen, or Eighteen) Americans were intended to cast a spotlight on a group of painters and sculptors working in this country whom she proposed as standard bearers for their time. Her choice of artists to be thus celebrated proved to be prophetic: Morris Graves, Charles Howard and Knud Merrild (in the 1942 exhibition); Arshile Gorky, Robert Motherwell and Isamu Noguchi (1946); Jackson Pollock, Mark Rothko and Clyfford Still (1952); Sam Francis, Philip Guston and Franz Kline (1956); Jasper Johns, Robert Rauschenberg and James Jarvaise (1959). Like the other shows in the series, Sixteen Americans was well received and reviewed positively by a variety of critics. All six of Jarvaise’s entries sold. One painting was James Jarvaise at purchased for the MoMA collection with funding from the Rockefeller Foundation. home, 229 Islay Street, Independent art dealers contacted him hoping to convince him that a long term contract Santa Barbara, 1968. with them would be beneficial to the development of his career. Jarvaise delegated decision-making in this matter to Felix Landau Gallery, his Los Angeles dealer, who had 9 him join the New York Thibaut Gallery stable where, it turned out, Jarvaise had only one exhibition in 1961. His arrangement continued productively for fifteen years with the Felix Landau Gallery, which was to mount ten solo exhibitions, and as many two or three-person shows featuring his work as possible. Landau was instrumental in getting a partnering institution, the Alan Gallery in New York, to present exhibitions of Jarvaise’s work. James Jarvaise once described this seminal experience to me: “When Dorothy made the appointment to meet with me, she expected to see a continuation of the black and white collage paintings she had seen in a recent Landau Gallery show. When she reached my Tujunga, California home and studio, I explained that while I had an unshown body of collages, I had recently begun to work in a new direction. She asked to see these new pieces. I took her into the back bedroom storage area, and the bathroom that was my studio, to see my “Hudson River School Series.” She looked at a dozen works I had set out, and decided rather swiftly that a selection from these works would add a worthy element to the show she was envisioning. She then invited me to be in her Sixteen Americans exhibition at the Museum of Modern Art in the autumn of the coming year (1959).” Fast-forward to this year, 2012, when Louis Stern asked me to write the catalogue introduction for James Jarvaise’s upcoming exhibition at his West Hollywood gallery. In early May I traveled to a mountainous area of Santa Barbara, California where, over a ten-year period, James Jarvaise created a handsome compound for his growing family (he and his wife Lorraine have five children). When he bought the roughly one-acre property in 1970, it had a few small buildings which he either refurbished or replaced so that now it contains some four good-sized structures - one for each of his adult children who live in California, and their partners, the largest which serves as his studio and living quarters, and another which holds his art storage and also functions as a guest house. Family members collaborated in the lush landscaping. The interiors of all the buildings, but especially the one in which he lives, have multiple, grand fireplaces, and have been embellished with massive, elaborately carved, wooden antique doors and cornices, ancient stone ornamentation, stained glass, fine weavings, and a large collection of pottery and glass objects; all of which he and Lorraine collected in their foreign travels. Jarvaise’s paintings enliven every available wall. His beloved wife Lorraine died in December of 2011. 10 The Jarvaise family, from left to right: Julie, James, Lorraine (front), Jean, Anna, Jeanne, and Jim, 1973. On May 4th, James and I settled into comfortable chairs at a table by the fireplace in his studio and began to talk about his life and work. Although more than 30 years had passed since we had been in personal contact, it seemed like an “as we were saying” moment. In Jarvaise’s own words: “I was born in Indianapolis, Indiana on February 16, 1924, to James Alexis Jarvaise and my mother, Suzanne Conlin Jarvaise. My father was born in Turkey of French parentage. He was a scholar of Greek studies and spoke five languages. Before I was born they had lived in New York and then Chicago.” “I found the educational program at the Henry Clay Frick Elementary School in Pittsburgh to be exceptional; there I was given an early introduction to the decorative designs of nature with a special focus on wild flowers, wild birds and butterflies. During those Frick School years I was somehow selected to be part of a “gifted art student” program which was not clearly explained to me. I was told that I would be going to Carnegie Tech for a series of classes on Thursdays from 1:00 to 4:00 o’clock. The classes were led by Mr. Sam Rosenberg, who was said to be a well-known professional artist. I was only eight or nine during this experiment. When I was delivered to Rosenberg’s classroom I was astonished to see such tall students; they may have been fifteen to eighteen years old. Sam Rosenberg welcomed me and introduced me to the group. There were no smaller children in the group that day, but later two did appear. I was given paper and a drawing board. I pretty much followed the example of the older boys. The assignment to Carnegie Tech was the high point of that period of my schooling. At 4:00PM I would be picked up and delivered back to the Frick School.” “Although Sam Rosenberg didn’t give me any special attention, he always made sure I was engaged. He expected me to keep busy. He explained that a model would take poses for a period. It certainly led to a stronger interest in drawing and painting and respect for the practice of the profession. New problems constantly presented themselves and the atmosphere was always positive. One accepted the business-like behavior of one’s classmates and I learned from their work and behavior. I was an admirer of Mr. Rosenberg, and I was always disappointed to know that he was not as celebrated or honored as I felt he deserved to be.” 11 I graduated from the Henry Clay Frick Elementary School and in 1937 I entered the Taylor Allderdice High School. In 1940 my family moved to Los Angeles where I enrolled at John Marshall High School. I played football and ran the 100 and 200-yard sprints. There was an art program at Marshall, but it was nothing like the Frick School. I would draw when I had a chance, which I enjoyed, but I did most of my artwork at home. I didn’t have a specific place to work so I would just sit down at a table anywhere and just draw or paint. I graduated from John Marshall in 1942.” “The next year, in April, I joined the United States Army. Basic training was held at Camp Roberts, California. I was selected for the Army Air Corps, and was relocated three times, finally to the University of Nebraska. It was school again; we were taking classes in math and science. Even before we qualified as pilots we were hurried to Europe because an emergency had been declared. Our troops and planes were trapped in the Ardennes, with constant clouds, overcast for months, while the Battle of the Bulge was imminent; we were the replacement flyers. While the war was finishing up, I was able to spend time in Caen, Nice and Antibes.
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