Sullivan Goss
AN AMERICAN GALLERY
Celebrating 30 Years
of 19th, 20th and 21stCentury American Art
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HOWARD WARSHAW

(1920-1977)

Surrealist, Organic Cubist, & Muralist

by Edward Cella and Jeremy Tessmer

Among Howard Warshaw’s most significant contributions to American art was his development of a unique and important language of drawing. In the lines of his best drawings, one can read movement, volume, weight, the emotional tenor of the artist and subject, the scientific knowledge of the time, and the artist’s philosophy. As a professor at UCSB from 1957 until his death in 1977, Howard Warshaw helped generations of artists to see more deeply and to draw more beautifully. Sullivan Goss is pleased to present the Estate of the Artist.




Table of Contents

I. BIOGRAPHY

Howard Warshaw was born and educated in New York City. In 1941, he returned to New York for two years to receive his formal training as a student at the Art Students League and the National Academy. Shortly thereafter, he moved to Southern California, where he lived and worked for the remainder of his life. For a short time he taught at Jepson Art Institute; there he met and became friends with Rico Lebrun and Eugene Berman. These two pioneering artists were to have a profound impact on the young Warshaw. In 1957, Warshaw became a professor at the University of California, Santa Barbara.

Lebrun and Berman became his unofficial teachers for several years—by their friendship and constructive review of his work, they left an influence that would stay with Warshaw for the remainder of his career. In a 1977 Memoriam his fellow professors wrote, “the paintings and drawings of Warshaw's early period, in the surrealist manner, though distinctly his own, clearly reflect the neoromantic influence of Berman. His friendship with Lebrun quickened an interest in cubism which was to last throughout his life, though the element of surrealism in his work never quite disappeared.” The artist died in Santa Barbara, California in 1977.

II. AN ANALYSIS OF THE ARTIST'S WORK

A pronounced shift in American Art occurred at the end of WWII. The 1945 Whitney Museum of American Art’s Annual Exhibition of Contemporary American Painting has long been recognized as heralding the emergence of the New York School with the debut of works by Hans Hofmann, Robert Motherwell, Mark Rothko, and Mark Tobey. This exhibition signaled a changing of the guard. One other artist made his debut in the show-Howard Warshaw.

Warshaw was born in New York City in 1920. He began formal training at the Pratt Institute and the National Academy. His studies continued at the Art Students League and at Columbia University. In 1942, disqualified for military service, Warshaw left for Los Angeles in search of direction. He soon found it.

Having tried his hand at animation for Disney, Warshaw’s path became clear with the patronage and encouragement of collector and actor Vincent Price. Securing funds for a short return to New York, Warshaw left with a letter of introduction to Dorothy Miller, associate curator of paintings under Alfred Barr at the Museum of Modern Art. He received Miller’s legendary support for emerging talent, and Warshaw was introduced to dealer Julian Levy who gave the young artist his first solo exhibition in 1945. More importantly, Levy introduced Warshaw to Southern California based Eugene Berman and Rico Lebrun who also exhibited at the Levy Gallery. Returning to Los Angeles, Warshaw developed lasting friendships with both men. Their artistic influences, most notably, Berman’s deep appreciation of baroque compositional elements and Lebrun’s philosophical humanism and expressive draftsmanship formed part of Warshaw’s artistic lexicon. Warshaw’s work evolved rapidly during this period, and he received critical recognition including invitations to join eight Annual Exhibitions at the Whitney.

That year, Warshaw accepted a teaching position at Ohio State University. Artistically isolated and without funds, Warshaw regretted the move. However, it was in this period that he developed his organic cubism which became characteristic of his mature style. He developed a dynamic system of multiple perspective which captured the relationships between the object observed and the “extra-painting” or indirect references sought by the artist. Retuning to Los Angeles the following year, Warshaw, and his colleague Rico Lebrun, became recognized as the forefront of contemporary art in Southern California. Warshaw enjoyed national acclaim with multiple bi-coastal exhibitions and awards including solo exhibitions with dealers Frank Perls in Los Angeles and Jacques Selligmann in New York and a retrospective in 1955 at the Pasadena Museum of Art.

That same year, Warshaw departed Los Angeles and accepted a faculty appointment at the University of California at Santa Barbara. Over the next two decades, Warshaw developed a curriculum that emphasized his approaches to the human figure, fine draftsmanship, and organic cubism. During this time, his work expanded to include multi-media collage and monumental murals. This work encompassed dramatic cinematic compositions of multiple figures and engaging spatial relationships. In his later years, Warshaw began prophetic experiments with commercial printing and mass-media technologies. Warshaw died in 1977 at age 56.



HAND
ND
10.5" x 8"
Sepia Ink on Ppaer
Exhibited: Howard Warshaw Master Draftsman
University Art Museum, Sonoma Stata Univ. #10.
Koplin Gallery, Santa Monica, CA
"Howard Warshaw 2004", Sullivan Goss, Santa Barbara, CA

This drawing exhibits the artist's interest in the expressive quality of line. Both of Warshaw's early mentors, Eugene Berman and Rico Lebrun, had similar interests. Berman's flourishes are absent from this work, suggesting that it is a later work when Warshaw was more heavily influenced by Lebrun.



TWO HANDS STUDY
c. 1950
10.5" x 12"
Acrylic and pencil on paper
Exhibited: "Howard Warshaw 2004", Sullivan Goss, Santa Barbara, CA

In this work, the artist's developing interest in cubism leads him to practice on the artist's greatest challenge, the hands. His ability to render such compelling and radically different visions of such a difficult subject so easily speaks volumes about his draftsmanship. The limited color palette is characteristic of much of his work of the same period which suggests that he was quite familiar with the analytical cubism of George Braque and Pablo Picasso. This work also shows that Warshaw understood artists like Juan Gris, who used cubist precepts to relate the passage of time in a single image. Also of note is the use of translucency to suggest volume. This idea grew for the artist through rigorous study of its application in painting, watercolor, drawing and, eventually, collage.



HAND STUDY WITH TAPE
1974
7" x 16"
Collage on paper with tape and acrylic
Available

As early as the mid 1950s, Warshaw was actively experimenting with collage. Here the literal layers of tape and acrylic relate to the three dimensional volume of his folded left hand.

III. COLLECTIONS

  • Santa Barbara Museum of Art, Santa Barbara, CA
  • San Diego Museum of Art, San Diego, CA
  • Pennsylvania Academy of Fine Arts, Philadelphia, PA
  • Carnegie Museum, Pittsburgh, PA
  • Neuberger Musuem of Art – SUNY, Purchase, NY,
  • Phoenix Art Museum, Phoenix, AZ
  • Los Angeles County Museum of Art, Los Angeles, CA
  • Norton Simon Museum, Los Angeles, CA
  • University of California at Santa Barbara – Art Museum, Santa Barbara, CA
  • Whitney Museum, New York, NY
  • IV. MURALS

  • University of California, Santa Barbara, CA
  • University of California, Riverside, CA
  • University of California, San Diego, CA
  • University of California, WPA Murals, Los Angeles, CA
  • Bowdoin College, Deposition and the Daily News, Brunswick ME
  • Wylie Laboratories, El Segundo, CA,
  • Santa Barbara Public Library, Santa Barbara, CA


  • V. AWARDS

  • 1948 2nd Prize - Paintings, Artists of Los Angeles & Vicinity
  • 1948 1st Prize - Drawings, Artists of Los Angeles & Vicinity
  • 1949 Purchase Prize, Los Angeles County Musuem of Art, LA, CA
  • 1950 Purchase Prize, Los Angeles County Musuem of Art, LA, CA
  • 1953 Purchase Prize, Los Angeles County Musuem of Art, LA, CA
  • 1956 Purchase Prize, Los Angeles County Musuem of Art, LA, CA
  • 1958 Purchase Prize, Pennsylvania Academy of Fine Arts, Philadelphia, PA
  • VI. EXHIBITIONS

    Solo Exhibitions (selected list)

  • 1945 Julian Levy Gallery, New York, NY
  • 1949 Frank Perls Gallery, Beverly Hills, CA
  • 1950 Frank Perls Gallery, Beverly Hills, CA
  • 1952 Frank Perls Gallery, Beverly Hills, CA
  • 1953 Frank Perls Gallery, Beverly Hills, CA
  • 1955 Retrospective Exhibition of Paintings, Drawings, Etchings, Lithographs,
  • Pasadena Art Museum, Pasadena, CA
  • 1958 Jacques Seigmann, New York, NY
  • 1959 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1961 Jacques Seigmann, New York, NY
  • 1962 Jacques Seigmann, New York, NY
  • 1962-1973 Esther Bear Gallery, Santa Barbara, CA
  • 1964 Retrospective Exhibition of Paintings, University of California at Santa Barbara
  • 1970 Howard Warshaw 1970, Silvan Simone Gallery, Los Angeles, CA
  • 1972 Bowdoin College Museum of Art, Brunswick, ME
  • 1973 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1974 Larcada Gallery, New York, NY
  • 1976 Larcada Gallery, New York, NY
  • 1977 Warshaw: A Continuing Tradition, University of California at Santa Barbara, CA
  • 1977 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1988 Howard Warshaw Master Draftsman, Sonoma State University, Sonoma, CA
  • 1988 Santa Barbara Museum of Art, Santa Barbara, CA
  • 2004 "Howard Warshaw", Sullivan Goss, Santa Barbara, CA, 2004
  • 2008 "Howard Warshaw: Looking In, Drawing Out", Sullivan Goss, Santa Barbara, CA
  • 2012 "Howard Warshaw: New Forms", Sullivan Goss, Santa Barbara, CA
  • VII. CATALOGUE RAISONNE

    Although there is no plan to create a Catalogue Raisonne at this time, this space is set aside to record works by the artist with images, titles, dimensions, signature location and awards. This will make the work of a Catalogue easier in the future. In the event that you have work(s) by Howard Warshaw which you would like considered for inclusion here, please (1) create digital images (300 dpi), (2) include the above information and send it to Sullivan Goss.

    The Gallery also seeks photos, articles, letters and other ephemera about this artist and those around him that can be used in the preparation of this web sites.

    VIII. BIBLIOGRAPHY

    1. 1. Drawings on Drawing: A Graphic Reflexion on the Language of Drawing. Santa Barbara, California: Ross-Erikson, 1981.
    2. 2. Drawings of the Watergate Hearings. Esther Santa Barbara, California: Esther Bear Gallery, 1973. A limited, numbered edition.
    3. 3. Warshaw, Howard. Proof, Proof, Proof. Los Angeles: Egg and the Eye, n.d. [1970s?]. A limited, numbered signed edition of seventeen prints.
    4. 4. Warshaw: A Decade of Murals. Brunswick, Maine: Bowdoin College Museum of Art,1972.
    5. 5. Howard Warshaw 1970. Los Angeles: Silvan Simone Gallery, 1970.
    6. 6. Howard Warshaw: Recent Paintings & Drawings. Los Angeles: Felix Landow Gallery, 1967.
    7. 7. The Fables & Foibles of Professor Nimbus. by Stephan Lackner, illustrated by Warshaw. Santa Barbara, California: Noel Young, 1966.
    8. 8. A Retrospective Exhibition of the Paintings of Howard Warshaw. Exhibit held at the UC at Santa Barbara Art Gallery. Santa Barbara, California: Noel Young at Capra Press, 1964.
    9. 9. Howard Warshaw; Master Drawing 1988

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