In the late 50's and early '60's in New York City, my husband Adolph's work was 2-dimensional. Well, not completely. He was applying oil paints to giant canvasses with a palette knife, thick dollops of bright color that captured the energy and excitement of big city life. Finally he gave up the canvas and the oils for wax, then bronze, and then settled on clay.
We brought the early paintings with us when we moved to Milwaukee, but we've never shown them here. Until now. They're featured in the Rosenblatt Gallery's revolving exhibit space, and once you see them you'll understand his body of work a little differently. You might sense the influence of colorist Josef Albers, with whom Adolph studied at Yale. You'll see that sculpting in monochrome couldn't satisfy Adolph for long: he loves color too much. And from these monumental yet intricate paintings, you'll realize that in his life as sculptor, he was destined to to do monumental yet intricate works, like the Oriental Pharmacy Lunch Counter and My Balcony. In fact you can wander back and forth between the room full of paintings and the room full of sculptures and contemplate the relationship, the continuity of color, of images, of interest in how we live our lives.