In addition to his work in academe, he also lectured publicly and took part in panel discussions on American musical theater, jazz and contemporary music. in Musicology from NYU in 1969, after which he taught at Queens College (1967-1971) and Hunter College (1972 onward). He received his Bachelors degree at Brooklyn College and a Masters degree from New York University Graduate School before studying from 1945-1953 with several contemporary composers: Arthur Berger, Roger Sessions, Jacques Ibert, Aaron Copland, Darius Milhaud, and Charles Jones. 24, 1998), was a composer, author and music impresario. 5, 1970.Charles Schwartz (born New York City, June 13, 1922, died New York, Dec. Schwartz, “An Artist’s Love Affair with America,” Chicago Tribune Magazine, Apr. Schwartz Exhibition: Paintings Water Colors (New York: Associated American Artists, ), unpaged. I Daniel Catton Rich, introduction to William S. Schwartz continued painting into the 1970s, working on the boundary between representation and abstraction. By 1946, he was represented in a reported forty-five public collections across the country. In this long numbered series of abstract paintings, on which he worked from 1924 to 1967, the artist sought a visual equivalent for the aesthetic purity of music, which he declared his “second language.” ii Never lacking for recognition, Schwartz exhibited his works nationally and internationally and he won numerous prizes. Schwartz’s individual style-characterized by graduated planes of mottled, textured tones edged with rhythmic, sometimes nervous lines-is fully on display in his so-called Symphonic Forms. Schwartz’s paintings of the 1930s and 1940s often evince a quiet melancholy, evoking what the Art Institute’s Daniel Catton Rich called “a reawakened Romanticism.” i He portrayed locales and people who were recognizably American, especially midwestern Jewish themes and industrial and urban imagery also found a place in his art. In the late 1920s Schwartz began to explore lithography, then lauded as a particularly democratic, accessible medium. In his early work Schwartz often explored mythic themes using fractured forms, eccentric angles, and saturated color that recall among other modernist influences the paintings of his close friend Anthony Angarola. He was adept at landscape, still-life and figural imagery, portraiture, and abstraction. A book-length study of Schwartz was published in Chicago in 1930.Ī multitalented as well as prolific artist, Schwartz created prints, sculptures, drawings, and murals in addition to watercolor and oil paintings. The museum gave Schwartz solo exhibitions in 1926, 1929, and 1935. His abilities as a visual artist were recognized early on, however: one of his paintings was accepted into the Art Institute’s annual “Chicago and Vicinity” exhibition in 1918, when he was still a student. A talented trained musician, Schwartz supported himself well into the 1920s by singing in opera, concerts, and vaudeville and on the radio, as well as working as a restaurant waiter and theater usher. Intent on further training, Schwartz moved to Chicago to enroll in the Art Institute of Chicago in 1916. Four years later he followed his siblings to the U.S., living briefly in New York and then in Omaha, Nebraska, where he painted houses and sold newspapers to make ends meet. Schwartz was born into a poor Jewish family in Smorgon, Russia (now Smarhon’, Belarus), and at the age of just eleven began his art studies in Vilna (now Vilnius, Lithuania).
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