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848:(1974), is both completely recognizable and abstract, with shallow space, geometric form, subtle color and shadows that "reflect and conceal the mystery in the big city." Her review of Fisher's 1975 solo exhibition describes the combined effect of differing light conditions, angles and disembodied patterns across works as a surrealistic, imaginary urban street of mysterious quiet.
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592:-influenced abstract artist, before turning to portraiture in the 1960s, architectural paintings in the 1970, and landscapes and still lifes in her late career. In the 1950s, she painted in a lyrical style that features impressionistic elements and organic shapes and planes that reference architecture (e.g.,
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In 1961, Ethel Fisher left Miami and her family to concentrate on her painting. After travelling in Europe for a year, she resettled in
Manhattan with her second husband, art historian Seymour Kott. She rented a studio with Ilse Getz in a loft building at 30 East 14th Street overlooking Union Square;
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Fisher is best known for portraits of fellow artists from the 1960s and grid-like, architectural paintings of the facades of urban cast-iron buildings from the 1970s. Her figurative work employs color fields and architectural details as abstract shapes to create tension between her subjects and their
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as a springboard, many of these works feature arrangements of objects stabilized by a central wooden box and seek a "mood between menace and melancholy." She began to stack her objects vertically—which is unorthodox for still lifes—and included miniature artwork reproductions as postcards within the
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in the 1940s, Fisher gained recognition as an abstract artist in
Florida in the late 1950s, and began exhibiting nationally and in Havana, Cuba. Her formative work of this period embraced the history of art, architecture and anthropology; she referred to it as "abstract
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street-scene renderings, however, she modified her subjects with invented and remembered colors and expressive, loose brushwork, seeking to create personal interpretations and building "portraits." Critics compare the tight, shallow spaces and grid-like organization to
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After moving to New York City in 1962, Fisher returned to figurative work and began working with collage on paper. She participated in New York group shows at the
Castagno, A.M. Sachs and Capricorn ("Artists by Artists" show) galleries, and Los Angeles shows at the
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In the early 1970s, Fisher felt that her portraits were moving toward a formula. She spent the next seven years producing a body of architectural paintings and graphite drawings that embraced discipline and a restrictive palette. She was influenced by the work of
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critic
William Wilson could write of a portraiture "revival"; his review of the "Portraits 79" exhibition describes Fisher's work as bringing "spare simplification to women of an aesthetic-intellectual type resting in small apartments … haunted by past pain."
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motifs. She eventually focused on monumental works that carefully record iconic, frontal views of ornate facades (usually four to six floors), sourced from black-and-white photographs of buildings in New York, Chicago, Galveston and St. Louis.
462:("Cubism Now and Expressionism in the West," 1961). While Fisher found many exhibition opportunities, she was not taken on by a New York gallery, a circumstance she attributed to a professional climate that often rejected women artists.
497:) and received a solo showing the same year at the Mitzi Landau Gallery. By the end of the decade, Fisher was again painting the figure and showing her work in "California Figurative Painters" (1977, Tortue Gallery), which included
668:, she turned to the figure, eventually choosing a humanistic approach rather than Pop Art's flat, distanced style. She took evening lectures at the Art Students League with the well-known anatomy instructor,
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and representational genres including large-scale portraiture, architectural "portraits," landscape and still-life, and is unified by a sustained formal emphasis on color and space. After studying at the
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magazine featured the house and Fisher's decorating and paintings in a 1974 spread. She continued to work in her studio until her death in 2017, after which the house was bequeathed to the
446:(1957), the Riverside Museum (1958) and Angeleski Gallery (1960) in New York, and Edward Dean Gallery (1961, San Francisco). She contributed to group shows at The Lyceum (Havana), the
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Fisher's late-1960s work sought greater representational specificity and psychological depth in portraits of herself, family and artist friends, such as Henry
Pearson and
864:, 1989), buildings, or still lifes. In these works, she often moved between horizontal and strongly vertical compositions that reflect her architectural interests (e.g.,
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In the late 1970s, after a break from portraits, Fisher resumed figurative work, conveying psychological overtones through details of clothing and interior spaces (e.g.,
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Following her move to the West Coast in 1969, Fisher began the body of work for which she is best known, the building paintings, which previewed in a group show at
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surroundings and impart psychological depth. Her later, carefully rendered interiors and still lifes often include reproductions of works by well-known artists.
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616:. Havana critic Adele Jaume characterizes Fisher's paintings as achieving "mastery in the disposition of planes and in the employment of color"; a 1960
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home on a slope above the
Pacific Ocean in Pacific Palisades; its architecture and ocean and mountain views appear in many of Fisher's paintings. The
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564:(2007). Her work belongs to the public art collections of LACMA, the Crocker Art Museum, Norton Museum of Art, Lowe Gallery (University of Miami),
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328:, among others. While teaching art to servicemen in San Antonio during World War II, she met Gene Fisher, whom she married in St. Louis in 1943.
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in 1983. The
Fishers moved to Miami in 1948, where Ethel installed a studio in the family home and a second daughter, Margaret, was born;
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676:-like bodies, depicted with loose brushwork, gestural line and strong color. Two paintings marking this transition from abstraction,
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took place. Their account of that night was published in several books about the murders. In 1971, they bought a 1926, multi-level
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and others, in "Video
Interviews of 27 California Artists" (1976), produced for Ronald Feldman Fine Arts in New York. Her drawing
399:. Here, Fisher turned her attention back to figurative work, countering contemporary movements such as Abstract Expressionism and
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frescoes in Europe, Fisher decided that she had reached an impasse with the era's dominant abstract mode. Like others, such as
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At the end of the decade, Fisher and Kott left New York and rented a property in the
Hollywood Hills next door to the home of
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717:(1969); their background color fields, clothing, and stylized outlines containing anatomical details recall the work of
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Fisher appeared in the show, "Painting, Color, Form and
Surface" (1974, curated by Martha Alf), along with Diebenkorn,
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In the 1980s and 1990s, Fisher continued to paint portraits of herself, her family and art-world friends, such as
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Fisher exhibited widely while based in Miami. She had solo shows at the Lowe and Mirell galleries (1954) and
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is a performance and media artist and writer, married to composer and new music conductor Robert Hughes.
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From the 1980s onward, Fisher turned increasingly to the California vistas surrounding her home (e.g.,
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359:, who became a lifelong friend. In 1947, Fisher gave birth to her first daughter, Sandra, in New York.
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699:(1967), which she considered a breakthrough figurative work. Related portraits in this vein include
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913:"Contemporary Work; Galleries Show Paintings by Lee-Smith, Charcoune, Ethel Fisher and Halpern"
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Greenwich Village Society for Historic Preservation, January 6, 2020. Retrieved May 5, 2020.
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1310:, Fifth Edition, New York: International Biographical Center, 1980. Retrieved May 13, 2020.
1101:
Jaume, Adele. "Cultural Activity, Mastery and Sensitivity, the Paintings of Ethel Fisher,"
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One Hundred Years: A Centennial Celebration of the National Association of Women Artists
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1221:"A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art"
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215:; 1923–2017) was an American painter whose career spanned more than seven decades in
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and the late-19th-century cast-iron buildings of her youth in Galveston, with their
1656:, Roslyn Harbor, NY: Nassau County Museum of Fine Art, 1988. Retrieved May 5, 2020.
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Fisher turned to still lifes in her later career. Using the strong simple forms of
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960:, California International Arts Foundation, 2010, p. 184. Retrieved May 5, 2020.
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640:, oil on canvas, 60" x 40", 1968. Los Angeles County Museum of Art collection.
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Later that year, the couple moved to New York City, where Fisher attended the
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1161:"Two Figures(Profile)/ Orange Space, Ethel Fisher (United States, 1923-2017)"
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arrangements, recalling the ubiquitous postcard collections of many artists.
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to Sam and Ada (Zax) Blankfield. She studied art from 1939 to 1943 at the
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Barnet, Will. "Ethel Fisher," Catalogue, Miami, FL: Mirell Gallery, 1954.
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1690:, Worcester, MA: F. A. Davis Co., 1989, p. 218. Retrieved May 18, 2020.
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Loach, Roberta. "Ethel Fisher in Conversation with Roberta Loach,"
1337:"Prominent Former Students of The Art Students League of New York"
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review compares their entwining, suggestive shapes to the work of
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521:, 2003) and "Revealing and Concealing: Portraits and Identity" (
473:, oil on canvas, 32" x 32", 1958. Crocker Art Museum collection.
1452:"Why Isn’t This Landmarked?: 30 East 14th Street Artists’ Loft"
1379:, Obituaries, September 23, 1994, p. B7. Retrieved May 5, 2020.
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constructions, and the use of diagonal shafts of light (e.g.,
764:, 1996) that functioned as both color fields and backgrounds.
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would emigrate to London, where she was included in the first
695:. She composed her figures against large color fields, as in
233:" to distinguish her approach to form and color from that of
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Art in Focus: Ethel Fisher, "Room on East 89th Street," 1965
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Seckler, Dorothy. "Can painting be taught? Barnet answers,"
1500:, Arcturus Publishing Limited, 2019. Retrieved May 8, 2020.
978:
Wilson, William. "The Portrait: New Life for an Old Form,"
1288:, New York: Pitman Publishing Corporation, 1965, p. 524–5.
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University of Texas at Austin College of Fine Arts alumni
860:, 1985), sometimes in combination with portraits (e.g.,
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the building was occupied at various times by artists
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Bates, Colleen Dunn (ed). "Q & A: Ethel Fisher,"
1485:
Helter Skelter: The True Story of the Manson Murders
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galleries and LACMA ("The Contained Object," 1967).
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Fine Arts Building, Chicago (410 S. Michigan Avenue)
1625:, Coconut Grove, FL: Florida Artist Group, 1959–60.
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Tenth Annual Exhibition of the Florida Artist Group
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Ninth Annual Exhibition of the Florida Artist Group
1582:Bello, A. Martinez. "Gran Pintura Norteamericana,"
1515:, Arcadia Publishing, 2009. Retrieved May 18, 2020.
813:and Impressionist dissolution of hard-edged space.
709:(1967) and two depicting herself and Seymour Kott:
1612:(touring), Tampa, FL: Tampa Art Institute, 1958–9.
1474:, Pasadena, CA: Prospect Park Books, 2007, p. 108.
919:, February 20, 1960, p. 21. Retrieved May 5, 2020.
1913:Sam Fox School of Design & Visual Arts alumni
1544:, New York: The Metropolitan Museum of Art, 2019.
1125:"Painter to Painter: Ethel Fisher and R.B. Kitaj"
588:Fisher began her professional career as an early-
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1498:Charles Manson: The Man Who Murdered the Sixties
1487:, New York: Norton, 1974. Retrieved May 5, 2020.
1428:, August 16, 1981, p. 63. Retrieved May 5, 2020.
1359:McMasters, Dan. "An Old House Gets Its Chance,"
1060:, August 17, 2006, p. 11. Retrieved May 5, 2020.
572:. Fisher's papers are in the collections of the
367:show, "The Human Clay," and married the painter
219:, Miami and Los Angeles. Her work ranges across
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272:, and belongs to the public collections of the
1822:, Ethel Fisher website. Retrieved May 5, 2020.
1802:, Ethel Fisher website. Retrieved May 5, 2020.
1733:, Ethel Fisher website. Retrieved May 5, 2020.
1710:, Ethel Fisher website. Retrieved May 5, 2020.
1634:Ballatore, Sandy. "Current Concerns Part II,"
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1742:Ahern, Charlene. "Buildings Live on Canvas,"
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858:California Landscape II/with fire in distance
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822:California Landscape II/with fire in distance
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1672:, September 28, 2000. Retrieved May 5, 2020.
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844:art. Alf writes that Fisher's facade image,
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1131:, November 2, 2016. Retrieved May 5, 2020.
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335:on scholarship, with classmates including
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1687:Expressive Drawing: A Schematic Approach
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1377:"Sandra Fisher, 47, Figurative Painter"
1363:, Home section, March 3, 1974, p. 30–1.
1249:, Artists. Retrieved September 4, 2020.
1236:, Artists. Retrieved September 4, 2020.
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1195:, Objects. Retrieved September 4, 2020.
1179:, Objects. Retrieved September 4, 2020.
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715:Double Portrait/Yellow Space (New York)
570:University of California at Los Angeles
163: 1962; died 2012)
1888:Art Students League of New York alumni
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1563:
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1261:Smithsonian Archives of American Art.
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1172:Museum of Contemporary Art San Diego.
1143:Clothier, Peter. "Looking at Others,"
1108:
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957:L.A. Rising: SoCAL Artists Before 1980
862:Santa Monica Beach (Sandra, Alix, Max)
493:("Current Concerns," 1975, curated by
444:National Museum of Fine Arts of Havana
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1569:Reno, Doris. "Our Town's New Shows,"
1518:
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1335:The Art Students League of New York.
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1265:, Collections. Retrieved May 5, 2020.
1219:Smithsonian Online Virtual Archives.
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1163:, Collections. Retrieved May 8, 2020.
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583:
300:Ethel Blankfield was born in 1923 in
1863:20th-century American women painters
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1542:Annual Report for the Year 2018-2019
1437:Felciano, Rita. "Artful Intellect,"
1399:
1326:, New York: Angeleski Gallery, 1960.
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954:Kienholz, Lyn (ed). "Ethel Fisher,"
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578:National Museum of Women in the Arts
574:Smithsonian Archives of American Art
278:Museum of Contemporary Art San Diego
1760:Corbusier Chair in Front of Terrace
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1483:Bugliosi, Vincent and Curt Gentry.
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941:Alf, Martha. "Buildings as Icons,"
644:In the early 1960s, after studying
256:Fisher's work was written about in
13:
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1423:"Margaret Fisher in Three Pieces,"
1408:. "Let's Stay Home and Have Fun,"
1285:Who's Who in World Jewry, Volume 2
1159:Los Angeles County Museum of Art.
638:Two Figures (Profile)/Orange Space
314:Washington University in St. Louis
14:
1934:
1849:, Fairfield University Art Museum
1829:
1780:Painting, Color, Form and Surface
1599:, Artists. Retrieved May 5, 2020.
1527:Lonky, Liz. "Founders' Keepers,"
1245:Fairfield University Art Museum.
1191:Self Portrait, New York Fireplace
824:, oil on canvas, 48" x 72", 1985.
525:, 2000), which included works by
515:Los Angeles Municipal Art Gallery
248:, oil on canvas, 66" x 47", 1976.
1540:The Metropolitan Museum of Art.
1263:"Ethel Fisher papers, 1930-2017"
686:Louis Comfort Tiffany Foundation
536:Fisher was featured, along with
274:Los Angeles County Museum of Art
191:Louis Comfort Tiffany Foundation
137:
35:Ethel Fisher, Miami studio, 1956
1556:. "Four Art Exhibits Display,"
684:(1965), were recognized with a
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79:Art Students League of New York
1868:20th-century American painters
1842:Ethel Fisher papers, 1930-2017
513:, and "Portraits/1979" at the
290:Pacific Palisades, Los Angeles
1:
1232:Kalamazoo Institute of Arts.
889:
433:
1918:University of Houston alumni
1883:People from Galveston, Texas
1586:(Havana), December 18, 1957.
1441:, September 20, 1989, p. 30.
1307:The World Who's Who of Women
1282:and Itzhak J. Carmin (eds).
688:Award for Painting in 1965.
666:Bay Area Figurative Movement
627:
560:was chosen for the cover of
288:, among others. She died in
108:Figurative, representational
7:
1908:21st-century American women
1873:Painters from New York City
1638:, March 15, 1975, p. 1, 16.
1105:(Havana), December 3, 1957.
552:was reproduced in the book
296:Personal life and education
10:
1939:
1667:"Who, What . . . and Why?"
1439:San Francisco Bay Guardian
852:Landscapes and still lifes
519:American Jewish University
428:Metropolitan Museum of Art
1878:Painters from Los Angeles
1531:, August 10, 2000, p. 13.
1085:, November 1950, p. 44–5.
646:Classical Greek sculpture
556:(1989), and her painting
347:. She studied there with
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1223:. Retrieved May 5, 2020.
866:Garden Walls/Los Angeles
711:Two Figures/Orange Space
523:Skirball Cultural Center
945:, March 15, 1975, p. 5.
768:Architectural paintings
752:, and costume designer
732:, 1979). By that time,
697:Portrait of Will Barnet
442:(1958) in Florida, the
1621:Florida Artist Group.
1595:Museum of Modern Art.
1188:Dallas Museum of Art.
825:
641:
474:
452:Ringling Museum of Art
424:Los Angeles Times Home
414:just weeks before the
249:
235:Abstract Expressionism
1608:Tampa Art Institute.
1472:Hometown Santa Monica
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762:Reading in the Loggia
730:Portrait of Ilse Getz
635:
562:Hometown Santa Monica
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306:University of Houston
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91:Washington University
83:University of Houston
1684:Mugnaini, Joseph A.
758:Model Holding Mirror
576:in New York and the
448:Museum of Modern Art
440:Norton Museum of Art
292:in 2017, at age 94.
282:Dallas Museum of Art
136: 1943;
1903:Painters from Texas
1766:, December 3, 1977.
1584:Diario de La Mañana
1560:, January 24, 1954.
1496:Krajicek, David J.
1421:Dunning, Jennifer.
1322:Angeleski Gallery.
1280:Schneiderman, Harry
1103:Diario de la Marina
1054:"Rooms With a View"
789:Rather than create
670:Robert Beverly Hale
580:in Washington, DC.
333:Art Students League
310:University of Texas
226:Art Students League
87:University of Texas
1818:2018-08-26 at the
1798:2016-04-01 at the
1729:2018-09-04 at the
1706:2018-09-03 at the
1650:Pisano, Ronald G.
1450:Winchell, Louisa.
1426:The New York Times
1390:"Artist Aggrieved"
1373:The New York Times
1304:Kay, Ernest (ed).
917:The New York Times
882:The Death of Marat
826:
805:Fine Arts Building
642:
584:Work and reception
554:Expressive Drawing
507:Richard Diebenkorn
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389:Robert De Niro Sr.
286:Crocker Art Museum
258:The New York Times
250:
69:, California, U.S.
1758:. "Ethel Fisher:
1670:Los Angeles Times
1512:Pacific Palisades
1361:Los Angeles Times
982:, April 29, 1979.
980:Los Angeles Times
911:Preston, Stuart.
748:, Michael Wingo,
734:Los Angeles Times
662:Philip Pearlstein
550:476 Broome Street
262:Los Angeles Times
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100:Painting, drawing
67:Pacific Palisades
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558:Santa Monica Bay
420:Spanish Colonial
381:Virginia Admiral
365:School of London
345:Henry C. Pearson
326:B.J.O. Nordfeldt
302:Galveston, Texas
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45:Ethel Blankfield
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800:Louise Nevelson
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719:Richard Lindner
654:Jane Freilicher
630:
586:
566:Peabody College
460:de Young Museum
456:Ford Foundation
436:
397:Harry Sternberg
393:Edwin Dickinson
373:Margaret Fisher
353:New York School
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180:Margaret Fisher
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150:Seymour Kott
23:Ethel Fisher
1898:2017 deaths
1893:1923 births
872:, 1997–8).
868:, 1994 and
830:Sam Francis
779:Art Nouveau
754:Ruth Morley
713:(1968) and
702:Alice Baber
680:(1964) and
678:Two Sisters
598:Oriental #2
594:Garden Gift
471:Garden Gift
408:Sharon Tate
369:R. B. Kitaj
357:Will Barnet
318:Howard Cook
221:abstraction
182:(born 1948)
123:Gene Fisher
1857:Categories
1813:Still Life
1701:Early Work
890:References
842:fabricated
838:conceptual
750:Leona Wood
742:Martha Alf
546:Betye Saar
538:Larry Bell
511:David Park
503:Joan Brown
434:Art career
385:Carl Ashby
213:Blankfield
1793:Landscape
1762:, 1977,"
807:, Chicago
783:Classical
746:Lem Dobbs
726:Two Women
693:Paul Thek
658:Alex Katz
628:Portraits
610:Byzantine
590:modernist
337:Ilse Getz
276:(LACMA),
75:Education
1816:Archived
1796:Archived
1727:Archived
1704:Archived
1175:The City
834:Ed Moses
796:Mondrian
775:Magritte
760:, 1982;
728:, 1978;
664:and the
650:Pompeian
602:The City
355:painter
316:, under
172:Children
1764:Artweek
1756:Artweek
1724:Figures
1636:Artweek
1394:ARTnews
1145:Artweek
1083:ARTnews
943:Artweek
674:Matisse
270:Artweek
266:ARTnews
197:Website
165:
157:
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130:
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113:Spouses
811:Cubist
604:) and
568:, and
531:Warhol
284:, and
187:Awards
877:David
600:, or
211:(née
159:(
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132:(
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105:Style
840:and
832:and
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482:and
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351:and
343:and
324:and
312:and
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138:div.
60:Died
48:1923
41:Born
450:,
401:Pop
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134:m.
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