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Theresa BernsteinFlowers In A Blue Pitcher1933
1933
$15,500
£11,699.18
€13,407.53
CA$21,634.21
A$23,568.55
CHF 12,446.64
MX$282,934.53
NOK 158,584.50
SEK 144,940.28
DKK 100,152.60
About the Item
Flowers in a blue pitcher, oil on canvas, signed, circa 1933.
19 3/4 x 15 1/4 framed 25 3/4 x 21 1/4
Second still life painting available as shown on photo.
Theresa Ferber Bernstein-Meyerowitz (March 1, 1890 – February 13, 2002) was a Polish-born American artist, painter, and writer.
The only child of European immigrants Isidore and Anne (Ferber) Bernstein, Theresa was born in Krakow on March 1, 1890. She graduated from the Philadelphia School of Design for Women (now the Moore College of Art and Design) in 1911 (the college awarded her an honorary doctorate in 1992). The following year, her father, a textile manufacturer, moved the family to New York City. Bernstein rounded out her art education at the Art Students League, where she studied with William Merritt Chase. In 1919, she married artist William Meyerowitz, a Russian emigre. They had one child, a daughter who died in infancy. Meyerowitz died in 1981.
Although not a formal member of the Ashcan School, Bernstein shared with it a passion for “modern” subject matter, to which she added a radically expressive manner. She embraced urbanism and popular culture with enthusiasm, painting such subjects as the cinema, trolleys and the elevated trains, and Coney Island. She exhibited at the MacDowell Club and had a major show at the Milch Gallery in 1919. Her harbor views and beach scenes painted in blazing Fauve-like color attracted equal interest among the young modernists of Gloucester.
After the 1920s, her reputation waned for many reasons, chief among them a decreased interest in realistic subject matter. There followed a lifetime of steady, consistent work in her signature style—work that was exhibited, reviewed, and (sometimes) purchased, but that did not achieve great critical acclaim. Renewed interest in Bernstein’s art was sparked by the women’s movement, which recognized the quality and originality of her work and her historic contribution to early twentieth-century American art.
As a woman crossing the gender threshold at the beginning of the new century, Bernstein experienced the excitement of that moment but was not spared the indignity of discrimination. Either paying a reluctant compliment or implying criticism, reviewers often described her work as having a “masculine” style. Whatever the gender construction of her style, she saw as a woman, incorporating into her art types and activities ignored by others, such as women at work, women artists, and suffragist parades.
Although Jewish subject matter was not a specialty of Bernstein’s, her works in this genre are among her most profound and moving. Her tropism for community aspects of life led her to depict such subjects as weddings and synagogue services. An ardent Zionist, Bernstein attended the first Zionist meeting in America in Madison Square Garden in 1923, an experience she transformed into the painting Zionist Meeting, New York (1923, National Jewish Fund). Fully assimilated and completely at ease with American culture, Bernstein nevertheless maintained close touch with her Jewish roots and visited Israel many times. Raised in what she referred to as a secular household, she later took on the greater religious observance of her husband.
Works by Theresa Bernstein are scattered across the country in many different venues, from prestigious private collections such as The Manoogian Collection to small personal caches in Gloucester, where, in the early days, she may have bartered a painting for food or fuel oil. The Mannheim, Pennsylvania, post office boasts a Bernstein mural from the 1930s. Major works are also held by the Jewish Museum, the Cape Ann Historical Association, the Museum of the City of New York, the National Museum of Women in the Arts, the Montclair Art Museum, and the Jack S. Blanton Museum of Art at the University of Texas.
Provenance: acquired directly from the artist herself in '88.
- Creator:Theresa Bernstein (1890 - 2002, American)
- Creation Year:1933
- Dimensions:Height: 25.7 in (65.28 cm)Width: 22 in (55.88 cm)Depth: 1 in (2.54 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Lake Worth Beach, FL
- Reference Number:1stDibs: LU19227071392
Theresa Bernstein
Born in Philadelphia in 1890, Theresa Bernstein showed early talent and interest in art. At the age of seventeen, she won a Board of Education scholarship to attend the Philadelphia School of Design for Women, now the Moore College of Art, studying under Elliott Daingerfield, Daniel Garber, Harriet Sartain, Henry B. Snell and Samuel Murray. After her parents moved to New York City in 1911, she studied with William Merritt Chase at the Art Students League in New York City. In the 1920s, along with John Sloan, she helped form the Society of Independent Artists. Bernstein was among the youngest of the urban realist painters, later known as the Ashcan School, to embrace what was then a bold modernist subject: city life as she observed it in the streets and public gathering places. The artist’s first solo exhibition was at the Milch Gallery in New York City in 1919. Bernstein also enjoyed countless exhibitions throughout the United States, and her work is represented in the permanent collections of the Metropolitan Museum of Art, the Art Institute of Chicago, the National Museum of Women in the Arts, the National Museum of American Art, the Fine Arts Museums of San Francisco, the Jewish Museum, and the Museum of Fine Arts, among others. Bernstein’s powerfully organized, often monumental canvases of everyday people at concerts, parade or the beach have illuminated each decade of the 20th century and establish her as a unique genre painter with her own style of Modernism.
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