Returns To Painting
Shane's first new oil was painted towards the end of World War II. He called it "Exodus". It depicts a large rowboat full of people (refugees). It represents the movement of the Danish Jews to Sweden or just the plight of the Jewish refugees fleeing the Nazi extermination. He made a number of studies and paintings of this subject in various formats, impressionist to abstract. After the war he slowly started to paint again and continued to draw many pictures in pastel, gouache and charcoal. He didn’t exhibit again and kept most of his work or gave or sold them to friends and family.
During the war and after Shane would go out on weekends with the family and paint, usually water colors of the Hudson Valley towns and landscapes. He considered his paintings his children. He couldn’t bear to be parted from his family or art work. He began working in pastels which for many years was his favorite medium, fast and colorful.
He and Belle were devoted folk dancers and later square dancers. He made many pastels and sketches of folk and square dancing. Their younger two children, Joanne and Mathew, were jazz musicians. Jazz bands and scenes became another favorite subject for his art. The family also loved the ballet which was another subject of his art. In later years he included klezmer bands and other Jewish subjects. Although he never became religious he moved from ignoring Jewish subjects to including them in many of his works as he grew older. Trips to Mexico, Puerto Rico and Israel provided subject matter for his painting in later years.
Read more about this topic: Samuel Lewis Shane
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The lowest and most dejected thing of fortune,
Stands still in esperance, lives not in fear.
The lamentable change is from the best;
The worst returns to laughter. Welcome, then,
Thou unsubstantial air that I embrace!
The wretch that thou hast blown unto the worst
Owes nothing to thy blasts.”
—William Shakespeare (1564–1616)
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—Laurence Sterne (1713–1768)
“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.”
—James Mcneill Whistler (1834–1903)