Painting
A lesser known aspect of Sherman's life was his painting which he had done since 1941 and kept private (except from his family and close friends) until 2002. Sherman studied painting while attending Bard College, receiving a double degree in both Painting and English Literature. Sherman has worked in various visual arts media, including clay and metal sculpture, but his main focus was oil painting throughout the 1940s, 1950s and 1960s until he switched to acrylics in the mid 1960s, and stuck to that medium.
In April 2002, an exhibition of Sherman's paintings was held in London, England, at Thompsons' Gallery on Marylebone High Street. This marked the first public exhibition of his paintings since he started painting in 1941. Sherman subsequently exhibited his paintings in Florida and California. A series of Limited Edition Giclées of Sherman's art were also published at this time on both canvas and paper.
Paintings which have appeared at the various exhibitions include: "On Route 9G" (c.1949), "Self Portrait" (1970), "San Francisco (1970)", "Moses" (1977), "Carousel In The Country" (1982), "From the Dining Room (1982)", "Sacrifice" (1983), "Florid Window" (1984), "Geisha (1986)", "Fine Four Fendered Friend (2002)" and "Park Lane" (2003). On March 4, 2007, Sherman and his younger son, Robbie, donated limited edition prints of "Moses" and "Sacrifice" to the Giffnock Synagogue in Glasgow, Scotland.
Robert Sherman was also a metal sculptor, poet, and short story author.
Read more about this topic: Robert B. Sherman
Famous quotes containing the word painting:
“To me, the whole process of being a brushstroke in someone else’s painting is a little difficult.”
—Madonna [Madonna Louise Ciccione] (b. 1959)
“I who have been involved with all styles of painting can assure you that the only things that fluctuate are the waves of fashion which carry the snobs and speculators; the number of true connoisseurs remains more or less the same.”
—Pablo Picasso (1881–1973)
“When I am finishing a picture I hold some God-made object up to it—a rock, a flower, the branch of a tree or my hand—as a kind of final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it is bad art.”
—Marc Chagall (1889–1985)