GALLERY I

An Evolving Realism (1921-1948)

From an interview of Anna E. Meltzer that appeared in CARAVAN magazine: "After a few years of painting and mothering, I was commissioned to do portraits. This experience taught me that instead of painting naive truths, operations had to be performed, noses shortened and hips sliced (on the paintings). Being robbed of freedom of expression and the pleasure of mimicry, I discarded this field. From that time until now, I have painted without restriction."

 

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  Title and Date

Medium and Size

 Notes

 

Alexander Brooks' Art Class

1936

 

Oil 12 x 16

  For part of 1936, Anna E. Meltzer studied with Alexander Brooks at the Art Students League in N.Y.C. This painting shows some of the other students at work in the class. It is now part of the permanent collection at the Muscarelle Museum of Art, The College of William and Mary, Williamsburg, Virginia.

 

Still Life With Pineapple

1936

 

Oil 20 x 24

  Not only real, but clearly ripe enough to eat.

 

 Still Life With Melon

1939

Oil 25 x 30

 

 

 Father-in-Law

1939

 

Oil 35 x 43

 

 

End of the Day

1941

 

Oil 36 x 24

  Realism applied not only to technique and subject matter, but to the life of the subject as well.

 

Gallery Attendant

1941

 

Oil 20 x 16

Another person quietly and patiently accepts her task.

 

   Cottage in Maine

1942

 

Oil - 25 x 30

 The woods beyond the window are painted with an emphasis on color that would continue to be a dominant interest of the artist.

 

Art Appreciation

1943

 

Oil 25x 20

  Anna E. Meltzer had a sharp eye and a lively sense of humor.

 

Disturbed

1944

 

Oil 30 x 20

  The emphasis on color is greater here, and the technique shifts toward that phase of her work which the artist described as spectralism.

 

Joseph Vieland

1947

 

Oil 18 x 14

 Joseph Vieland was a violist with the New York Philharmonic Symphony Orchestra. There is also a head of Mrs. Vieland, done at the same time, in the same style.

 

 Pretzel Woman Depositing Her Earnings

1948

 

Oil 25 x 30

 "One of the favorite pictures is the amusing composition of a Delancey Street Bank, particularly appealing with its rear view of a. pretzel woman depositing her earnings. Surroundings are important to Anna Meltzer. She paints types but puts them in their proper place, so that there is no question as to who they are or what they are doing." (Boswell)

 

Gallery II: The Transition Towards Abstraction

Gallery III: Prismatism Applied To Abstraction

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