Ben Shahn (1898-1969) - Levana, Mixed Media on Paper.

Ben Shahn (1898-1969) - Levana, Mixed Media on Paper.

Ben Shahn (1898-1969) - Levana, Mixed Media on Paper.

Signed.

63x45cm.

Ben Shahn was a Lithuanian-born American artist. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content.

Shahn was born in Kaunas, Lithuania, then part of the Russian Empire, to Jewish parents Joshua Hessel and Gittel (Lieberman) Shahn. His father was exiled to Siberia for possible revolutionary activities in 1902, at which point Shahn, his mother, and two younger siblings moved to Vilkomir (Ukmerge). In 1906, the family immigrated to the United States where they rejoined Hessel, who had fled Siberia. They settled in the Williamsburg section of Brooklyn, New York, where two more siblings were born. His younger brother drowned at age 17.

Shahn began his path to becoming an artist in New York, where he was first trained as a lithographer. Shahn's early experiences with lithography and graphic design is apparent in his later prints and paintings which often include the combination of text and image. Shahn's primary medium was egg tempera, popular among social realists.

Although Shahn attended New York University as a biology student in 1919, he went on to pursue art at City College in 1921 and then at the National Academy of Design. After his marriage to Tillie Goldstein in 1924, the two traveled through North Africa and then to Europe, where he made "the traditional artist pilgrimage." There he studied great European artists such as Henri Matisse, Raoul Dufy, Georges Rouault, Pablo Picasso and Paul Klee. Contemporaries who would make a profound impact on Shahn's work and career include artists Walker Evans, Diego Rivera and Jean Charlot.

Shahn was dissatisfied with the work inspired by his travels, claiming that the pieces were unoriginal. Shahn eventually outgrew his pursuit of European modern art, and redirected his efforts toward a realist style which he used to contribute to social dialogue.

The twenty-three gouache paintings of the trials of Sacco and Vanzetti communicated the political concerns of his time, rejecting academic prescriptions for subject matter. The Passion of Sacco and Vanzetti was exhibited in 1932 and received acclaim from both the public and critics. This series gave Shahn the confidence to cultivate his personal style, regardless of society’s art standards.

Shahn's subsequent series of California labor leader Tom Mooney won him the recognition of Diego Rivera. In May and June 1933, he served as an assistant to Diego Rivera while Rivera executed the Rockefeller Center mural. Shahn had a role in fanning the controversy, by circulating a petition among the workers. Also during this period, Shahn met photojournalist Bernarda Bryson, who would later become his second wife. Although this marriage was successful, the mural, his 1934 project for the Public Works of Art Project and proposal for the Municipal Art Commission were all failures. Fortunately, in 1935, Shahn was recommended by Walker Evans, a friend and former roommate, to Roy Stryker to join the photographic group at the Resettlement Administration (RA). As a member of the group, Shahn roamed and documented the American south together with his colleagues Walker Evans and Dorothea Lange. Like his earlier photography of New York City, Shahn's photography for the RA and its successor, the Farm Security Administration, can be viewed as social-documentary. Similarly, Shahn’s New Deal art for the RA and FSA exposed American living and working conditions. He also worked for these agencies as a graphic artist and painter. Shahn's fresco mural for the school of Jersey Homesteads is among his most famous works, but the government also hired Shahn to execute the Bronx Central Annex Post Office (1939) and Social Security (1942) murals. For the 10 panels of "The Meaning of Social Security" mural at the Social Security Administration Building, Shahn was assisted by John Ormai; it is presently cared for by the GSA Fine Art Collection. In 1939, Shahn and his wife produced a set of 13 murals inspired by Walt Whitman's poem I See America Working and installed at the United States Post Office-Bronx Central Annex. Curator Susan Edwards recognizes the influence of this art on the public consciousness, writing, "The Roosevelt administration believed such images were useful for persuading not only voters but members of Congress to support federal relief and recovery programs … The art he made for the federal government affirms both his own legacy and that of the New Deal."

During the war years of 1942-43, Shahn worked for the Office of War Information (OWI), but his pieces lacked the preferred patriotism of the day and only two of his posters were published. His art's anti-war sentiment found other forms of expression in a series of paintings from 1944-45, such as Death on the Beach, which depicts the desolation and loneliness of war.

In 1945 he painted Liberation about the Liberation of Paris which depicts children playing in the rubble. He also did a series, called Lucky Dragon, about the Daigo Fukuryu Maru (literally, Lucky Dragon No. 5), the Japanese fishing boat caught in the Bikini Atoll hydrogen bomb blast.

In 1947 he directed a summer session of the School of the Museum of Fine Arts at the Berkshire Museum in Pittsfield, Massachusetts.

Edward Steichen selected Shahn's work, including his October 1935 photograph The family of a Resettlement Administration client in the doorway of their home, Boone County, Arkansas, for MoMA's world-touring The Family of Man which was seen by 9 million visitors. Only the huddled figure of the woman on the right hand half of Shahn's 35mm frame was blown up for the display.

From 1961 to 1967, Shahn worked on the stained glass at Temple Beth Zion, a Buffalo, NY synagogue designed by Harrison & Abramovitz.

Shahn also began to act as a commercial artist for CBS, Time, Fortune and Harper's. His well-known 1965 portrait of Martin Luther King, Jr. appeared on the cover of Time. Despite Shahn's growing popularity, he only accepted commissions which he felt were of personal or social value. By the mid-1950s, Shahn's accomplishments had reached such a height that he was sent, along with Willem de Kooning, to represent the United States at the 1954 Venice Biennale. He was also elected to the American Academy of Arts and Sciences, the National Institute of Arts and Letters and the Academia dell' Arte e del Disegno in Florence. The Art Directors Club Hall of Fame recognizes him as "one of the greatest masters of the twentieth century. Honors, books, and gallery retrospectives continue to rekindle interest in his work...years after his death."

The artist was especially active as an academic in the last two decades of his life. He received honorary doctorates from Princeton University and Harvard University, and joined Harvard as a Charles Eliot Norton professor in 1956. His published writings, including The Biography of Painting (1956) and The Shape of Content (1960), became influential works in the art world.

After his death, William Schuman composed "In Praise of Shahn", a modern canticle for orchestra, first performed January 29, 1970, by the New York Philharmonic, Leonard Bernstein conducting.

Ben Shahn’s social-realist vision informed his approach to art. Shahn’s examination of the status quo inspired his creative process. Although he often explored polemic themes of modern urban life, organized labor, immigration and injustice, he did so while maintaining a compassionate tone. Shahn identified himself as a communicative artist. He challenged the esoteric pretensions of art, which he believed disconnect artists and their work from the public. As an alternative, he proposed an intimate and mutually beneficial relationship between artist and audience.

Shahn defended his choice to employ pictorial realities, rather than abstract forms. According to Shahn, known forms allow the artist "to discover new truths about man and to reaffirm that his life is significant." References to allegory, the Torah, humanistic content, childhood, science, music and the commonplace are other motifs Shahn draws upon to make the universal personal for his viewers. Wit, candor and sentimentality give his images poignancy. By evoking dynamism, Shahn intended to inspire social change. Shahn stressed that in art, as in life, the combination of opposing orders is vital for progress. His hope for a unity among the diverse peoples of the United States relates to his interest in fusing different visual vocabularies.

Source: Wikipedia.