{"id":3611,"date":"2014-05-08T11:40:08","date_gmt":"2014-05-08T15:40:08","guid":{"rendered":"http:\/\/www.thomasparkerhudson.com\/wordpress\/?p=3611"},"modified":"2014-05-11T07:30:24","modified_gmt":"2014-05-11T11:30:24","slug":"philip-pearlstein","status":"publish","type":"post","link":"https:\/\/thomasparkerhudson.com\/wordpress\/2014\/05\/philip-pearlstein\/","title":{"rendered":"Philip Pearlstein"},"content":{"rendered":"

I didn’t know Philip Pearlstein<\/a> long enough for him to be a true mentor, but even so he made a powerful and long-lasting impression on me. During the 80’s Philip was on the staff of Brooklyn College. His presence was the main reason Brooklyn College’s graduate fine arts department was ranked #2 in the country behind only Yale. He left for–if memory serves–a two-year sabbatical after my first semester in the graduate fine arts program.<\/p>\n

He visited my personal studio (really just a room in my Brooklyn apartment) several times,  The space assigned to me on campus was in an old theater building. I shared the stage–literally–with another grad student. Philip made weekly visits to the campus ‘studios.’<\/p>\n

Read more<\/span>In the Studio Oct. 14 2012<\/span><\/a><\/div>

Many people I’ve met with international reputations have disappointed but not Philip. He fulfilled my expectations–and then some! His love for teaching and his heart-felt interest in his students was natural and unaffected. He was completely free of the arrogance that many lesser-talented artists display.<\/p>\n

Philip was curious. He had the rare ability to engage students’ work which made his critiques memorable. He was a serious man and serious about art and expected you to be the same. He was blunt and delivered his views without self-serving cant. If you have been around a graduate art department then you know how unusual this is.<\/p>\n

\"Philip<\/a>
Philip Pearlstein<\/figcaption><\/figure>\n
Read more<\/span>Stephen Pentak at Bonfoey<\/span><\/a><\/div>

I considered Philip one of America’s great artist, which was why I went to BC. Time has done nothing to diminish that opinion. I’ve written about his Female Model on African Stool<\/em><\/a>  which is one of favorite paintings at the Cleveland Museum of Art.<\/p>\n

\"Pearlstein's<\/a>
Pearlstein’s Female Model on African Stool<\/figcaption><\/figure>\n

The last time he visited my home studio–the last time I saw him–we had a long discussion about the art world. He was very encouraging, saying, among other things, “You are ready. Don’t listen to anyone; don’t let anyone dissuade you from your path.” I think that was advice he followed himself.<\/p>\n

Read more<\/span>In the Studio—10\/28\/12<\/span><\/a><\/div>

We spent the remainder of the afternoon pouring over the New York Gallery Guide (this was 1985–no internet). He would say, “Don’t bother with that one,” putting an X next the gallery.<\/p>\n

Or, “Go to this one and tell them I sent you,” putting another mark next to that one.<\/p>\n

Read more<\/span>Hurricane Sandy<\/span><\/a><\/div>

Frequently he said, “Go to this one but don’t tell them I sent you or they’ll kick you out–they hate my guts,” and he’d put a mark next to that one too.<\/p>\n

The New York Gallery Guide had hundreds of listings and we went through them all, marking each one.<\/p>\n

Read more<\/span>Thumbs-up: van Ruisdael; Thumbs-down: Renoir<\/span><\/a><\/div>

The next day I was dismayed to discover that the Guide was so marked up that it was impossible to decipher. I couldn’t distinguish the “tell them I sent yous” from the ” do not mention my names.” I was never able to use the information. Every fight he had with the galleries since arriving in New York with Andy Warhol (a friend from Pittsburgh) in the 50’s remained fresh in Philip’s mind.<\/p>\n

Philip was a beacon for young artists: a figurative artist interested in life and nature. When I was young and before I knew him, his work pulled me through many dark nights. It still does. I still learn a lot from him.<\/p>\n","protected":false},"excerpt":{"rendered":"

I didn’t know Philip Pearlstein long enough for him to be a true mentor, but even so he made a powerful and long-lasting impression on me. During the 80’s Philip was on the staff of Brooklyn College. His presence was the main reason Brooklyn College’s graduate fine arts department was ranked #2 in the country behind only […]<\/p>\n","protected":false},"author":61,"featured_media":3613,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5,139,1],"tags":[],"class_list":["post-3611","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists","category-bio","category-uncategorized"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2014\/05\/Philip.jpg?fit=203%2C249&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1085,"url":"https:\/\/thomasparkerhudson.com\/wordpress\/2013\/02\/thumbs-up-neel-thumbs-up-also-pearlstein\/","url_meta":{"origin":3611,"position":0},"title":"Thumbs-up: Neel, Thumbs-up (also): Pearlstein","author":"Tom Hudson","date":"February 22, 2013","format":false,"excerpt":"By happenstance or cunning plan, The Cleveland Museum of Art has two large paintings hanging next to each other by artists of whom I am fond-- Alice Neel and Philip Pearlstein. Juxtaposed this way, the relative merits of each can be studied. Except for a long detour in the Picasso\u2026","rel":"","context":"In "Art Museums"","block_context":{"text":"Art Museums","link":"https:\/\/thomasparkerhudson.com\/wordpress\/category\/art-museum\/"},"img":{"alt_text":"Alice Neel's Jackie Curtis and Rita Redd","src":"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2013\/02\/neel.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2013\/02\/neel.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2013\/02\/neel.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":96,"url":"https:\/\/thomasparkerhudson.com\/wordpress\/2012\/10\/stephen-pentak-at-bonfoey\/","url_meta":{"origin":3611,"position":1},"title":"Stephen Pentak at Bonfoey","author":"Tom Hudson","date":"October 16, 2012","format":false,"excerpt":"The Bonfoey Gallery (1700 Euclid Ave., Cleveland, OH) is the kind of establishment I adore: it's an art gallery in the business of showing real, contemporary artists. \u00a0Places like it are rare outside New York City, and I tip my hat to them. \u00a0I make a point of visiting every\u2026","rel":"","context":"In "Artists"","block_context":{"text":"Artists","link":"https:\/\/thomasparkerhudson.com\/wordpress\/category\/artists\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":416,"url":"https:\/\/thomasparkerhudson.com\/wordpress\/2012\/11\/timothy-callaghan-life-slow-still\/","url_meta":{"origin":3611,"position":2},"title":"Timothy Callaghan\u2014Life Slow Still","author":"Tom Hudson","date":"November 29, 2012","format":false,"excerpt":"I recently paid my second visit to the William Busta Gallery.\u00a0 Busta is one of those cafeteria-style spaces where several shows\u2014about 6 in this case\u2014run concurrently.\u00a0 The artists shown represent, no doubt, an attempt to cast the widest possible net.\u00a0 Don\u2019t get me wrong, you won\u2019t find a Corot, a\u2026","rel":"","context":"In "Artists"","block_context":{"text":"Artists","link":"https:\/\/thomasparkerhudson.com\/wordpress\/category\/artists\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2012\/11\/call1.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":7279,"url":"https:\/\/thomasparkerhudson.com\/wordpress\/2017\/09\/turpentine-diaries-9417\/","url_meta":{"origin":3611,"position":3},"title":"Turpentine diaries 9\/4\/17","author":"Tom Hudson","date":"September 4, 2017","format":false,"excerpt":"I started working on the painting on the easel, Along 4th Street, yesterday. \u00a0I've had two long sessions on it, but it still needs a lot of work. \u00a0 I'm \u00a0careful about cutting off figures by the canvas edge. \u00a0One of my teachers, Pearlstein, is well known for cutting figures.\u2026","rel":"","context":"In 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2016","format":false,"excerpt":"I made progress on Euclid Avenue I\u00a0this morning. \u00a0Progress on the\u00a048\" x 60\" painting\u00a0has been slow at times. \u00a0This canvas is from a\u00a0stock of 'professional grade' canvases I bought some time back. \u00a0The surfaces on these 'professional grade' canvases are very poor--execrable. \u00a0I've had to spend a lot of time\u2026","rel":"","context":"In "aesthetics"","block_context":{"text":"aesthetics","link":"https:\/\/thomasparkerhudson.com\/wordpress\/category\/aesthetics\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2016\/03\/studio-2016-3-20.jpg?fit=666%2C561&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2016\/03\/studio-2016-3-20.jpg?fit=666%2C561&ssl=1&resize=350%2C200 1x, 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No, it's a silly question. It's not that I'm easily pleased, or that I'm one of those inclusive types--hardly. 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