328:. The change in technique affected his narrative voice and palette, which was suddenly dappled with vibrant yellow, streaks of purple and acid green. The sharp borders of earlier decades disappeared, and canvas was pasted upon canvas, with color extending past the painting onto the frame. More expressionist than realist, this work in aggregate was freer and more energetic than his earlier approach, as shown in
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tradition. Known for a bright, bold palette, his work often explores political, historical and cultural themes to surreal and realist effect. In a six-decade career marked by several distinct phases, Zabarsky's imaginative use of color, formal experimentation and commitment to narrative organization
191:
in 1932 to Anna Pearl (née Glazer) and Max, Lithuanian and
Ukrainian immigrants respectively, the latter from Kiev. Raised in Worcester's historic Green Island/Union Hill, an area settled by Lithuanian Jews attracted by the local industry, Zabarsky was twice orphaned by the age of 16. His older
402:. At the latter, he also served as chair of the Department of Art and Art History, and was instrumental in developing the Bachelor of Fine Arts program, in addition to helping found the Museum of Art and the Master of Fine Arts (MFA) degree in painting.
999:
Surreal Images: Ross Barron, Robert
Birmelin, William Christopher, Jan Cox, Robert Hamilton, Nancy Helfant, Turner Johnson, Nathan Knobler, Barbara Koetsch, Edward Koren, Jeffrey A. Krock, Richard Lytle, Enrico Pinardi, Dean Richardson, Melvin
308:
A Spanish sabbatical in the mid-80s moved
Zabarsky toward more traditional European narrative styles. A multi-year exploration of Old Testament themes in representational style followed, and over the course of several paintings (e.g.
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styles are hallmarks of his work. In an interview with the
British philosophers Donald and Monica Skilling, he said, "I'm discovering history, or a narrative, within a painting, as I go along."
195:
Zabarsky started drawing and painting at an early age, and dreamed of becoming a cartoonist. By 17, his sights had turned to fine arts. He trained for one year with the artist and educator
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sister Goldie, a fashion merchandiser, took over as head of household, while his much elder brother, already living with a family of his own, worked as a commercial artist.
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smashing through rich blues, crimsons, violets and sunny yellows to cross cultures, types and textures all gently bound together by the scrawled word “contemporaries.”
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Drafted at 19, Zabarsky was stationed in
Stuttgart, Germany during the Korean War. He married Reopel upon his return to the U.S. in 1955. They both enrolled at the
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series. This formalism ceased with a trip to Japan in the early 1990s. His studio limitations there morphed his signature interest in geometry into looser, wilder
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and others, who helped overcome Boston's conservative distaste for the avant-garde, occasionally female, and often Jewish artists later classified as
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567:
Melvin J. Zabarsky, "Oral
History Interview." Veterans History Project, American Folklife Center, Library of Congress video, 42:06, March 30, 2015.
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Grant in the
Humanities, a Stone Foundation Fellowship for work in Italy, a National Institute of Arts & Letters nomination and prizes at the
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Worcester Art Museum School; Ruskin School of
Drawing & Fine Arts, Oxford University; Boston University; University of Cincinnati
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critic Robert Taylor defined as "urban, Jewish, introverted and lyrical," which he credits to the artists championed by art dealer
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Melvin J. Zabarsky
Collection (AFC/2001/001/94006), Veterans History Project, American Folklife Center, Library of Congress
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where they remained until 1957. They returned to the U.S. for additional study, with
Zabarsky later graduating from the
175:. Unique to New England, the art movement had lasting national and local influence, and is now in its third generation.
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another in this series, spotlights an African American funeral centered on a coffin. Meanwhile, an earlier painting
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203:, alongside his future wife, painter and writer Joyce Reopel, and his childhood friend, printmaker Sidney Hurwitz.
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1284:"A Finding Aid to the Downtown Gallery Records, 1824-1974, bulk 1926-1969, in the Archives of American Art"
830:"A Finding Aid to the Downtown Gallery Records, 1824-1974, bulk 1926-1969, in the Archives of American Art"
344:
From 1999 to 2009, Zabarsky explored the Jewish self and the American and European other in the collection
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pieces from this period, glorifying in teeth, or dentures, often posed beside a model of a muscular man.
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Also an educator, Zabarsky taught art for nearly three decades at various institutions including the
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686:
Chaet, Bernard (1980). "The Boston Expressionist School: A Painter's Recollections of the Forties".
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From the late 1950s to the mid-1970s, Zabarsky's paintings featured political themes, semi-realist
1234:"DeCordova Museum & Sculpture Park: Chronological List of Exhibitions & Events: 1950–2011"
1167:
458:, the Museum of Art, Ein Harod (Israel), the Wiggins Collection at the Boston Public Library, the
262:(1965), which featured an ailing Lincoln, John Wilkes Booth, haunting Klansmen, and a wild horse.
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His solo exhibitions included shows at Kyoto's Rew Dex Gallery, Madrid's Salones Berkowitsch and
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Melvin Zabarsky. Watson Gallery, Wheaton College, Norton, Massachusetts, April 11-May 11, 1969
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478:(Amherst, MA), the Danforth Museum and the Museum of Art at the University of New Hampshire.
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garnered attention. Still more potent was his work around civil rights, in paintings such as
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349:
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129:
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Boston Modern: Figurative Expressionism as Alternative Modernism (Revisiting New England)
925:"Collection: Archive of Noel Chanan, photographer | Bodleian Archives & Manuscripts"
360:
The latter features bursts of bright color and a bold off-center composition that spans
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Melvin Zabarsky : "in pursuite of the image-paintings for a decade" 1959-1969
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569:
https://stream-media.loc.gov/vhp/video/afc2001001_094006_mv0001001_640x480_800.mp4
1365:. Scudder Gallery, Paul Creative Arts Center, University of New Hampshire. 1970.
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His paintings and drawings can be found in many public institutions, including
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The collection distills themes into both a straightforward “public history” of
270:(1957–58) explored similar themes, but more allusively, by referencing Dürer's
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366:
285:
272:
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of the Downtown Gallery. This group included Zabarsky, fellow artist and wife
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811:"Jewish Women: A Comprehensive Historical Encyclopedia. Edith Gregor Halpert"
699:
517:
Carnal Knowing: Female Nakedness and Religious Meaning in the Christian West.
505:. Chicago: American References Publishing Corp., Collier Books Edition, 1983.
1370:
1269:
1219:
1104:
Carnal Knowing: Female Nakedness and Religious Meaning in the Christian West
889:"Visual Arts Commentary: Paying Attention to Boston's Jewish Expressionists"
297:
646:. Boston and Amherst, MA: University of Massachusetts Press. p. 26.
232:
143:, Boston's leading gallerist from 1944 to 1979, and his NYC counterpart,
239:
geometric backgrounds. Typically spotlighting cultural figures, such as
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Zabarsky was the recipient of numerous grants and awards, including a
250:(1969–70) or Massachusetts labor leader Arnold Dubin beside cameos of
216:
Graduate School of Arts & Sciences at the University of Cincinnati
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293:
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Boston University Graduate School of Arts & Sciences alumni
1132:
Swain School of Design — New Bedford, Massachusetts (1881-1988)
642:
Lafo, Rachel R.; Capasso, Nicholas; Uhrhane, Jennifer. (2002).
1033:. New York, New York: Amer References; Collier Books edition.
104:
869:
1288:
Smithsonian Institution: Smithsonian Online Virtual Archives
1018:. Sarasota: Board of Trustees of the Ringling Museums. 1969.
673:
A Finding Aid to the Boris Mirski Gallery Records, 1936-2000
621:. New Hampshire: University of New Hampshire Museum of Art.
320:) he accrued a large body of work collectively known as the
552:
Conversation with Donald & Monica Skilling and poem by
208:
Ruskin School of Drawing & Fine Arts, Oxford University
288:, his palette lightened and edges softened. The eponymous
284:
By the 1970s, Zabarsky's geometry began to look more like
1212:
Melvin Zabarsky: De Cordova Museum, April 5-May 17, 1970
544:
Massachusetts: DeCordova Museum Publishers, 1970.
512:
Massachusetts: University of Massachusetts Press, 2002.
508:
Lafo, Rachel R.; Capasso, Nicholas; Uhrhane, Jennifer.
212:
School of Fine & Applied Arts at Boston University
557:. The Art Gallery, University of New Hampshire, 2000.
183:The third of four children, and a first-generation
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82:
72:
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56:
48:
40:
28:
21:
1389:Museum of Art: New Works | College of Liberal Arts
1081:. Amherst, MA: University of Massachusetts Press.
852:"The Functions of the Art Gallery - Edith Halpert"
730:
737:. Lebanon, NH: University Press of New England.
1504:People associated with the Worcester Art Museum
1385:"Museum of Art: New Works, Kandinskywald, 1993"
531:The New Humanism: Art in a Time of Change
1509:Boston University College of Fine Arts alumni
785:"The Tough-Talking Godmother of Downtown Art"
438:, formerly known as the Watson Gallery, the
8:
1210:DeCordova and Dana Museum and Park. (1970).
1054:DeCordova and Dana Museum and Park. (1988).
850:The NYPR Archive Collections (Oct 9, 1950).
430:In the U.S., he had one-person shows at the
1331:Collection — Williams College Museum of Art
619:Past Into Present: Paintings by M. Zabarsky
548:Past Into Present: Paintings by M. Zabarsky
533:. New York: Praeger Publishers, 1974.
498:Boston Institute of Contemporary Art, 1969.
1345:"Guide to the Exhibition Files, 1941-2007"
1154:Quarterly — Winter 2009 by Wheaten College
526:Florida: Ringling Museum Publishers, 1969.
78:Surrealist political and historic painting
18:
1058:. New York, New York: American Ceramics.
952:. Newton Abbot, UK: David & Charles.
950:The New Humanism: Art in a Time of Change
669:"Boris Mirski Gallery records, 1936-2000"
356:and the idiosyncratic “personal history”
135:That sensibility is in keeping with what
974:"Arnold M. Dubin Labor Education Center"
352:in Spain after the Spanish Civil War in
1524:Wheaton College (Massachusetts) faculty
667:Smithsonian: Archives of American Art.
602:
16:American figurative painter (1932–2019)
1002:. Lincoln, MA: DeCordova Museum. 1970.
591:List of Jewish American visual artists
354:Spanish Panorama (Hemingway’s Version)
1434:Artists from Worcester, Massachusetts
1264:. Norton, MA: Wheaton College. 1969.
910:
908:
906:
904:
902:
762:. University of Massachusetts Press.
476:University Museum of Contemporary Art
432:DeCordova Museum & Sculpture Park
7:
1349:University of New Hampshire: Library
1214:. Lincoln, MA: Lincoln: The Museum.
837:Smithsonian Archives of American Art
612:
610:
608:
606:
487:DeCordova and Dana Museum and Park.
729:Bookbinder, Judith (Aug 22, 2005).
519:Oregon: Wipf & Stock Pub, 2006.
489:Expressionism in Boston, 1945-1985.
1529:20th-century American male artists
1514:Alumni of the Ruskin School of Art
1419:21st-century American male artists
1128:"Swain School of Design 1881-1988"
1056:Expressionism in Boston, 1945-1985
887:Giuliano, Charles (May 22, 2018).
809:Thompson, Kathleen (Mar 1, 2009).
617:Zabarsky, L., ed. (Jan 25, 2000).
491:New York: American Ceramics, 1986.
436:Wheaten Beard & Weil Galleries
14:
828:Stover Gaines, Catherine (2000).
581:American Figurative Expressionism
214:with a BFA in 1958, and from the
1327:"Artist/Maker/Culture: Zabarsky"
1106:. Oregon: Wipf & Stock Pub.
688:Archives of American Art Journal
1519:University of Cincinnati alumni
1454:American Expressionist painters
783:Smith, Roberta (Dec 26, 2006).
460:Addison Gallery of American Art
340:History, Surrealism and Judaism
1444:20th-century American painters
1424:21st-century American painters
1168:"Passings: Melvin J. Zabarsky"
510:Painting in Boston: 1950-2000.
468:Williams College Museum of Art
1:
1079:Painting in Boston: 1950-2000
760:Painting in Boston, 1950-2000
644:Painting in Boston, 1950-2000
1499:American still life painters
1134:. 7 Jan 2014. Archived from
540:(Foreword by Carl Goldstein)
350:Ernest and Pauline Hemingway
330:The True Story of Prometheus
115:(1932–2019) was an American
1459:American surrealist artists
1439:Painters from Massachusetts
1102:Miles, Margaret R. (2006).
1029:Krantz, Les (Feb 1, 1983).
870:"The Estate of Hyman Bloom"
536:Walkey, Frederick P.
524:Young New England Painters.
400:University of New Hampshire
280:Dada and still-life realism
260:The Artist and the Assassin
201:Worcester Art Museum School
105:https://www.melzabarsky.com
1550:
1494:American portrait painters
1429:21st-century American Jews
1015:Young New England Painters
929:archives.bodleian.ox.ac.uk
856:The NPR Archive Collection
179:Background & education
1474:American history painters
1193:"Noticieros de las Artes"
758:DeCordova Museum (2002).
358:Oslo Sun and Vienna Moon.
292:(1974) is one of several
1077:Lafo, Rachel R. (2002).
948:Schwartz, Barry (1975).
700:10.1086/aaa.20.1.1557495
586:Archives of American Art
428:Circulo de Bellas Artes.
128:in both traditional and
1479:Jewish American artists
503:The New York Art Review
322:Susannah and the Elders
268:The Hanging of the Hare
187:, Zabarsky was born in
1449:American male painters
815:Jewish Women's Archive
529:Schwartz, Barry.
464:Currier Gallery of Art
392:Swain School of Design
1484:Mythological painters
1150:"Wheaten Intertwined"
446:'s Downtown Gallery.
218:with an MFA in 1960.
173:Boston expressionists
1464:Boston expressionism
440:Boris Mirski Gallery
416:Boston Arts Festival
227:Early political work
119:painter who created
113:Melvin Joel Zabarsky
86:Boston Expressionism
1031:New York Art Review
522:Nickel, Karl.
515:Miles, Margaret R.
472:Keene State College
290:Teeth on a Pedestal
248:Argentinian Cyclist
1489:Religious painters
874:Hyman Bloom Estate
789:The New York Times
501:Krantz, Les.
450:Public collections
346:Surreal Histories.
1469:Political artists
1309:"Melvin Zabarsky"
1088:978-1-55849-364-3
482:Public references
406:Honors and awards
264:Atlantic Cortege,
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494:Hyde, Andrew C.
378:and the painter
334:Tropical Tropism
185:Russian-American
121:representational
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44:December 5, 2019
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876:. Sep 21, 2018.
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304:Biblical themes
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165:Marianna Pineda
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332:(1997–98) and
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