<notes>This portrait of Bettina Bedwell was a prized possession of the Rattners and hung in a place of honor in their New York apartment. Painted early in his career in the conservative style of the Ecole des Beaux Arts, it captures a quiet and intimate side to Bettina. After her death in 1947, Rattner said of this piece:
"This painting was done in 1921 in Paris when I was a student and deeply in love with Bettina. She posed for it in the studio of rue Durantin. Lost for a long while, I discovered it one day in a roll of early paintings I made in Paris and which were among my things in New York. I showed it to Bettina who loved it - and I had a great sentimental attachment for it. So we both agreed to hang it up and I liked her liking it...'
Adopted by the GFWC Woman's Club of Tarpon Springs</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_2_5_1</id>
<title></title>
<year>1979</year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes>(Negative and Positive) - This welded sheet-metal sculpture is a visual complement to the immense painting Negative and Positive. It uses flattened shapes, painted in red and blue, defined by its surrounding space to convey a sort of Rorschach test of psychological assessment. Here abstract, yet animated, anthropomorphic forms emerge when one visually contemplates the object.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_59</id>
<title>The Last Judgement</title>
<year>1953-56</year>
<artist>Abraham Rattner</artist>
<media>Oil on panel</media>
<dimensions>triptych 96 x 144 in. total</dimensions>
<notes>Abraham Rattner painted The Last Judgment as a vision of an atomic bomb bringing an end to the world. This monumental 8 x 12-foot triptych represents a vortex of shapes whirling around a central figure. He created the work over a two-year period based on numerous preliminary sketches and finished drawings.
The Last Judgment was first exhibited in 1957 at Edith Halpert's Downtown Gallery in New York City, where it was praised for its "highly personal inner vision." In 1965 this painting was exhibited at the New York World's Fair in the Vatican's Exhibition of Religious Art Pavilion along with Michelangelo's Pieta. </notes>
<title>La Partie de Cartes (The Card Party)</title>
<year>1935</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>28 x 36 in.</dimensions>
<notes>The French art critic, Chil Aronson, said of Rattner's secondary style of monochromatic paintings of daily life done in a structural cubist approach:
"Abraham Rattner sings the beautiful dreams of life. He initiates us into the mysteries of Apollonian joy. A fresh and transparent light bathes his silvery coloristic harmonies and determines the tonalities of his colors. His subject matter is beautiful, airy, the line of an undulant grace."
This genre painting of card players is on loan to the Leepa-Rattner Museum of Art from the Grenoble Museum of Art in France. It was originally purchased by the French government in 1935 at Rattner's first one-man show in Paris. This is the first time the painting has traveled outside of France.
Collection of the Fonds National d'Art Contemporain (FNAC), Minister of Culture and Communication, Paris.</notes>
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<orientation></orientation>
</artwork>
<artwork>
<id>lobby_leftlarge</id>
<title>Grotesque Self-Portrait</title>
<year>circa 1982</year>
<artist>Allen Leepa</artist>
<media>Oil on canvas</media>
<dimensions></dimensions>
<notes>In the late 1970s and early 1980s, Allen Leepa created several large canvases to work out ideas related to visual perception. Measuring ten feet in height, this self-portrait uses colors and forms against what appears as a middle ground from which the figure "pulls" itself away from the canvas.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>2003_redbull</id>
<title>Red Bull</title>
<year>Cool Stuff, Summer 2003</year>
<artist>Brandon Pertile, Tyler Pertile, Todd Crooks, & Kelly Plas</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
<hires>lrm-scripts/2003_redbull.lrm</hires>
<lowres></lowres>
<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_84</id>
<title>Figures in Landscape</title>
<year>1955</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>39 ╜ x 31 ╛ in.</dimensions>
<notes>Rattner's teaching experiences provided him with new subject matter for his artwork. Teaching in the Midwest, he developed a series on the theme of the prairie and farmlands. For this painting, Rattner wrote about the relationship between man and the soil:
"I saw the potato picker as a human being close to nature with an indomitable spirit that lifted him above his servitude and proclaimed his right to freedom. [This] related to my own emotional reaction to an autumn moment when the golden earth was being activated by farmers picking potatoes [with] the color drama of the deep, rich, and luminous warm browns, yellows, reds..."</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_2_2_1</id>
<title>Man Through Door</title>
<year>1944</year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes>For Leepa, Man Through Door experimented with analytical cubism to reduce essentials. The limited coloration, velvety line and faceted planes serve to enhance the pictorial success of the work.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_2_1_2</id>
<title>The World and I</title>
<year>1950</year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes>Painted by Leepa in 1950, this work was exhibited in the important "Young American Artists" exhibition at the Museum of Modern Art in 1953. Its abstract nature, enhanced by the effect of pastels laid over oil on canvas, references a clown-like image in the middle ground.</notes>
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</artwork>
<artwork>
<id>1997_2_1_13</id>
<title>Atom Bomb</title>
<year></year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_2_1_4</id>
<title>Crucifixion</title>
<year>1968</year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes>For Leepa, using subject matter such as the crucifixion as a symbolic motif rather than a religious one allowed him to combine the mental consciousness of imagery with the physicality of painting. The tension of upward thrusting with downward pulling allowed Leepa to transfer the feeling of his mental angst into pictorial reality.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_2_4_5</id>
<title>Study for Gymnasium Mural</title>
<year>1980</year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes>In 1980 Leepa received a public art commission for a mural in the gymnasium of the Ingham County Prison in Mason, Michigan. The idea of presenting art in a place of incarceration appealed to Leepa's belief that art can facilitate change. The mural was designed to capture in an abstract form the energy of athletics.</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_2_1_1</id>
<title>Tree Landscape</title>
<year>1940</year>
<artist>Allen Leepa</artist>
<media></media>
<dimensions></dimensions>
<notes>Painted while Leepa studied art at Columbia University, Tree Landscape shows the influence of Hans Hofmann for pictorial space through limited coloration. The work was exhibited at Leepa's first one-man exhibition at the Charles-Fourth Gallery in New York City in 1940.</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_3_4_12</id>
<title>Print by Esther Gentle Report from Rockport</title>
<year></year>
<artist>Stuart Davis</artist>
<media></media>
<dimensions></dimensions>
<notes>The last serigraph prints Gentle created were reproductions of Stuart Davis canvases. While the two artists were very close friends, stylistically they were complete opposites. For the Davis paintings, Gentle had to closely monitor an even distribution of paint through the screens in order to achieve a flatness, whereas in the Rattner works she strove to replicate the texture and impasto of the original paintings.</notes>
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<lowres></lowres>
<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_3_1_4</id>
<title>Nero</title>
<year>1977</year>
<artist>Esther Gentle</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_3_1_10</id>
<title>Tree & Face</title>
<year>1970s</year>
<artist>Esther Gentle</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_3_1_13</id>
<title></title>
<year>1944</year>
<artist>Esther Gentle</artist>
<media></media>
<dimensions></dimensions>
<notes>(Figure with Star)</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_90</id>
<title>Double Portrait</title>
<year>1974</year>
<artist>Abraham Rattner</artist>
<media></media>
<dimensions></dimensions>
<notes>(Happy Birthday, Dear Esther)</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_3_5_17</id>
<title></title>
<year>circa 1960s</year>
<artist>Esther Gentle</artist>
<media></media>
<dimensions></dimensions>
<notes>(Hands)</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_70</id>
<title>Study for St. Francis & Dove</title>
<year>circa 1957-58</year>
<artist>Abraham Rattner</artist>
<media>Gouache on paper</media>
<dimensions>45 ╛ x 26 9/16 in.</dimensions>
<notes>Saint Francis of Assisi (1182-1226) was an important influence on the development of Renaissance humanism. The benevolence of the saint and his relationship with God's creations - birds, animals and nature - served to change the medieval view of God as distant and fearful.
For Rattner, the image of Saint Francis addressed the spiritual crisis of man in the twentieth century. Saint Francis provided an opportunity to convey a message of peace and understanding to address the pressing anxieties of modern times. Rattner did a number of watercolor studies preparing for the mosaic to reflect the compassionate, spiritual nature of the saint.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_66</id>
<title>Study for St. Francis Mosaic Mural, No. 1500-2, V-14</title>
<year>circa 1957-58</year>
<artist>Abraham Rattner</artist>
<media>Gouache and pencil on paper</media>
<dimensions>8 13/16 x 4 ╜ in.</dimensions>
<notes>Saint Francis of Assisi (1182-1226) was an important influence on the development of Renaissance humanism. The benevolence of the saint and his relationship with God's creations - birds, animals and nature - served to change the medieval view of God as distant and fearful.
For Rattner, the image of Saint Francis addressed the spiritual crisis of man in the twentieth century. Saint Francis provided an opportunity to convey a message of peace and understanding to address the pressing anxieties of modern times. Rattner did a number of watercolor studies preparing for the mosaic to reflect the compassionate, spiritual nature of the saint.</notes>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_69</id>
<title>Study for St. Francis Mosaic Mural, No. 5, V-17</title>
<year>circa 1957-58</year>
<artist>Abraham Rattner</artist>
<media>Gouache and pencil on paper</media>
<dimensions>8 7/8 x 4 5/8 in.</dimensions>
<notes>Saint Francis of Assisi (1182-1226) was an important influence on the development of Renaissance humanism. The benevolence of the saint and his relationship with God's creations - birds, animals and nature - served to change the medieval view of God as distant and fearful.
For Rattner, the image of Saint Francis addressed the spiritual crisis of man in the twentieth century. Saint Francis provided an opportunity to convey a message of peace and understanding to address the pressing anxieties of modern times. Rattner did a number of watercolor studies preparing for the mosaic to reflect the compassionate, spiritual nature of the saint.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_6_3a</id>
<title>Sun</title>
<year>1958</year>
<artist>Abraham Rattner</artist>
<media></media>
<dimensions></dimensions>
<notes>This working maquette (model) for the Flint DeWaters Art Center allowed Rattner to experiment with glass for its color, weight, density and scale. The final window was produced at Rambush Studios in New York and installed for the opening of the building in November 1958.</notes>
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<artwork>
<id>1997_1_5_8</id>
<title>Moses and the Tablets</title>
<year></year>
<artist>Abraham Rattner</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_4_30</id>
<title>Stained Glass Window</title>
<year></year>
<artist>Abraham Rattner</artist>
<media></media>
<dimensions></dimensions>
<notes>Design for Chicago Loop Synagogue
In 1957 Abraham Rattner was commissioned by the architectural firm Loebl, Schlossman and Bennett to design a 30 x 40-foot stained glass window for the eastern wall of the new Chicago Loop Synagogue. This commission occupied him for three years, including a year of design research and two years supervising fabrication of stained glass at the Jean Barrillet atelier in Paris.
Rattner used Genesis 1:3: "And God said, Let there be light, and there was light" as his compositional motif. He overlaid a complex program of Hebraic symbolism within the structural requirements of the window's design. As is characteristic of Rattner's art, the luminous qualities of color became the essential element. Blue was used to represent the "breath of God" in infinite space, red for creative power, yellow as prophecy and white as truth and divine wisdom.</notes>
<notes>This large painting represents a night scene of death and destruction. Based on the Old Testament prophet Ezekiel and his vision of resurrection, Rattner presents the work as a "mindscape." In the center, the crucifixion figure represents Ezekiel's promise of redemption as a symbol of hope for humankind. Art critic Frank Getlein of the Washington Sunday Star praised this work as a powerful statement of an artist "now in absolute maturity."</notes>
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<artwork>
<id>1997_1_1_56</id>
<title>Job no. 2</title>
<year>1948</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>38 ╜ x 51 ╜ in.</dimensions>
<notes>Rattner demonstrated in this particular painting a mastery of human expression. Using the Old Testament figure of Job, the artist presents him as the tormented soul who endured all forms of suffering and doubt while remaining steadfast in his faith. Rattner said of this work:
"Out of a crusade-like faith can come the kind of piety at once fierce and positive, almost belligerent. In my painting I make the figures have distorted, emaciated faces, piercing space with staring eyes against multi-colored contrasting backgrounds drawn in disequilibrium and accented by a crude heavy drawing for emotional emphasis and monumental dignity."</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_6_1</id>
<title>Fall of Icarus</title>
<year></year>
<artist>Abraham Rattner</artist>
<media>Bronze</media>
<dimensions></dimensions>
<notes>Abraham Rattner created this sculpture while studying the lost wax technique of bronze casting in Petrasanto, Italy. In this process, the original sculpture is made of wax and a mold is made around it. Molten bronze is then poured into the mold and the wax is displaced ("lost"). In the lost wax technique each sculpture is an original because the mold is destroyed in the process. This is the largest of sculptures Rattner created while in Italy.</notes>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_86</id>
<title>Figures with Flowers and Table Still Life</title>
<year>1967</year>
<artist>Abraham Rattner</artist>
<media>Oil on masonite</media>
<dimensions>36 x 48in.</dimensions>
<notes>In the summer months, Rattner retreated to the artists' colonies in the Hamptons at the end of New York's Long Island. Here the light and atmosphere of the seaside communities captivated him. His lightened color palette and lyrical subjects are in contrast to the more intellectual paintings done at the same time in France.</notes>
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<orientation>horizontal</orientation>
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<artwork>
<id>1997_1_1_78</id>
<title>Parade No. 3</title>
<year>1972</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>34 5/8 x 45 ╝ in.</dimensions>
<notes>Supportive of student protests and anti-war marches during the Vietnam War, Rattner returned once again to the motif of observers along a parade route. For Rattner, the crowd is a metaphor for those who watch, but do not respond. In Parade No. 3, Rattner contrasts the frenzy of his stock characters, overlapping faces and warm colors, with the calm cool blue of the central mother figure holding her child. The work is not intended to provide answers, but open a dialogue.
"To see the mass of humanity. Think of a single face repeat it and repeat it -- the absurd with the vicious." - Abraham Rattner</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_89</id>
<title>Gargoyles in Flames</title>
<year>1965</year>
<artist>Abraham Rattner</artist>
<media>Lithograph</media>
<dimensions>25 1/2 x 19 7/16 in.</dimensions>
<notes>The theme of gargoyles in flames is one of Rattner's most profound subjects. Based on the rainspout grotesques of French Gothic cathedrals designed to ward off evil spirits, Rattner transformed these into bestial images. They represent a dark, mysterious despair that contrasts the coldness of stone with the warmth of fire. For Rattner, these images are "painted sequences û the changing space movie of the dream û the flicker of frames thru the space world of my imagined 'look' of the real experience."</notes>
<notes>Springtime Washday is an expression of everyday life, the type of subject matter that Bettina had always encouraged Rattner to paint. On the painting Rattner included an inscription to Bettina. This practice caused friction between the artist and his dealer, but for Rattner sales were unimportant, it was only "in memory of my beloved Bettina" that mattered.
Adopt-a-Masterpiece: Anne Mason</notes>
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<orientation>horizontal</orientation>
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<artwork>
<id>1997_1_1_21</id>
<title>Landscape Near Broken Bow</title>
<year>1947</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>21 ╝ x 25 ╜ in.</dimensions>
<notes>On a return trip from California, where Rattner had gone to find comfort from his family after Bettina's death, he stopped in Broken Bow, Nebraska to visit his wife's sisters and their childhood home. Taken by the rugged hills and broad skies of the western Nebraskan landscape, he equated the beauty of the place with Bettina. Rattner made numerous sketches and when he returned to New York and completed several paintings based on those drawings.</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_55</id>
<title>Hands Ascending, No.2</title>
<year>1947-48</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>51 ╝ x 38 ╝ in.</dimensions>
<notes>This painting was intended as an homage to Bettina. It represents Bettina's soul ascending a ladder into the light of heaven. The reclining figure is assisted by an angel on the left and myriad hands overlapped by the large hand of God. The work's lyrical approach and lighter tonality, while not typical of Rattner's style, indicates his desire to create a new means of expression to honor Bettina.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_49</id>
<title>Holocaust</title>
<year>1963</year>
<artist>Abraham Rattner</artist>
<media>Ink on paper</media>
<dimensions>27 x 18 ╜ in.</dimensions>
<notes>With an absence of color, Abraham Rattner expressed his ongoing outrage and indignation over the death of six million people in the Nazi Holocaust. His stark abstraction appeared over the numerical and written presentation of six million. In the lower right hand corner, written in French, is an inscription by Spanish poet Jose Hierro (1936-1998). In English it translates:
"...but I who have felt elation tremble in my hands / I could never die. Even if my body dies, / and no memory of me remains."</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_54</id>
<title>In Memory of Lanzac</title>
<year>1947</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>21 ╝ x 25 ╜ in.</dimensions>
<notes>Rattner painted this work as a memory painting to Bettina after her death. On the back of the canvas in his signature calligraphy is written: "In memory of Lanzac when we had a beautiful time together." Lanzac, a place where the Rattners had vacationed, is nostalgically depicted with a female image most likely meant to represent Bettina.</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_60</id>
<title>Sodom</title>
<year>1964</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>35 ╝ x 45 5/8 in.</dimensions>
<notes>Rattner's deep concern for man's inhumanity is reflected here in a scene of Holocaust references to Auschwitz, 6 million, and Bergen Belsen. Rattner titled the work Sodom after the Old Testament city notorious for its wickedness.</notes>
<hires>lrm-scripts/1997_1_1_60.lrm</hires>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_26</id>
<title>Henry Miller #1</title>
<year>1940</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>38 1/16 x 18 3/16 in.</dimensions>
<notes>This portrait of Henry Miller, painted in harsh acidic color, is one of dozens Rattner painted of Miller over the years. In his hand, Miller is holding a copy of his controversial autobiographical novel the Tropic of Capricorn. Banned in this country because of its sexual subjects, it was not published in the United States until the Supreme Court overturned an obscenity law in a landmark 1964 First Amendment decision. Because of this notoriety, Miller acquired a cult hero status as an author.</notes>
<dimensions>16 5/8 x 25 ╝ in., edition 231 of 280</dimensions>
<notes>Fernand Leger attended Rattner's first one-man show in Paris in 1935 and continued to support his work. During the war years, Leger visited Rattner in New York and attended his openings at the Paul Rosenberg Gallery.
Le Cirque, a compendium of 56 original lithographs and text outlines Leger's philosophy of art and life using the metaphor of the circus. Their mutual friend, E. Teriade, published it. The publication was compiled at Mills College during Leger's six years stay in the United States during the war. It is considered his master graphic work and represents almost one half of his entire print output.</notes>
<notes>(Village Scene in Gallardon, France) - On the fringe of Montparnasse in Paris stood La Ruche (The Bee Hive), a famous artists' colony housed in an historic building. In the 1920s this place became a haven for mostly eastern European, Jewish expressionist artists, including Marc Chagall, Chaim Soutine, and Pinchus "Paul" Kremegne. These artists were central to the loosely defined School of Paris artists.</notes>
<notes>The French artist Francis Picabia influenced many of the major art movements in the first half of 20th century. This drawing, done during World War II when Picabia was living in southern France, abandons his modernist styles for a more economy of line.</notes>
<hires>lrm-scripts/1997_1_7_1.lrm</hires>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_7_8</id>
<title>Plate #44 lithograph</title>
<year></year>
<artist>Stanley Hayter</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
<hires>lrm-scripts/1997_1_7_8.lrm</hires>
<lowres>lrm-scripts/1997_1_7_8_low.lrm</lowres>
<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_7_15</id>
<title>Head of the UNESCO Reclining Figure in Paris, France</title>
<year>1957</year>
<artist>Henry Moore (British, 1898-1986)</artist>
<media>Bronze</media>
<dimensions>h. 12 ╛ in.</dimensions>
<notes>Rattner's relationship with England's most famous 20th century sculptor, Henry Moore, developed in 1957 when Moore was in Paris installing a large-scale stone sculpture in front of the UNESCO building. In 1964, when Rattner exhibited at the Edinburgh International Festival in Scotland he visited Moore's studio. Likewise Moore would often have dinner with the Rattners when he was in Paris. In gratitude for years of friendship, Moore gave this bronze head from the UNESCO sculpture to the Rattners - it is one of only two casts taken from the original.</notes>
<hires>lrm-scripts/1997_1_7_15.lrm</hires>
<lowres>lrm-scripts/1997_1_7_15_low.lrm</lowres>
<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_14</id>
<title>Air Raid</title>
<year>1944</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>23 ╜ x 28 ╛ in.</dimensions>
<notes>From his experiences in World War I, Rattner had vivid memories of the use of flashes of aerial lights. As Germany incessantly bombed England during World War II, Rattner responded with paintings that expressed his empathy for the terror faced by the British people.</notes>
<hires>lrm-scripts/1997_1_1_14.lrm</hires>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_32</id>
<title>Man with Candle</title>
<year>1945</year>
<artist>Abraham Rattner</artist>
<media>Oil on panel</media>
<dimensions>26 3/8 x 14 ╝ in.</dimensions>
<notes>"Nothing is more like a flame than a flame. It is definite - and yet so elusive - so changeable - so momentary - is alive at once and dead as quickly - and during its existence it is never tranquil." - Abraham Rattner
The image of a figure holding a candle has long been a symbol of hope amidst despair. It appears in a number of 20th century paintings, including Picasso's famous anti-war painting Guernica, as well as in many of Rattner's World War II canvases. Here the candle represents light as illumination for the future as the war was coming to a close.</notes>
<hires>lrm-scripts/1997_1_1_32.lrm</hires>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_50</id>
<title>Two Heads and a Landscape</title>
<year>1945</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>16 x 18 in.</dimensions>
<notes>"We have to try for an understanding that surpasses reason. We cannot understand without faith." - Abraham Rattner
In a body of work created during World War II, Rattner used the imagery of Christ as a metaphor for the suffering of humanity. These expressionistic images suggest a medieval sensibility with faceted, angular forms, outlined in black.
</notes>
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<orientation>horizontal</orientation>
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<artwork>
<id>1997_1_2_48</id>
<title>NYC from My Studio #1</title>
<year></year>
<artist>Abraham Rattner</artist>
<media>Ink and wash on paper</media>
<dimensions></dimensions>
<notes></notes>
<hires>lrm-scripts/1997_1_2_48.lrm</hires>
<lowres>lrm-scripts/1997_1_2_48_low.lrm</lowres>
<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_5</id>
<title>Les Patineurs no.8</title>
<year>circa 1930s</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>39 3/8 x 31 7/8 in.</dimensions>
<notes>(The Skaters)
"When I first entered his studio it was during what I might describe as a green period. He seemed to rival nature himself in the variety of greens at his command." - Henry Miller
Most of Rattner's paintings in the 1930s are dominated by shades and tints of the color green. Many of these works approach subject matter through curvilinear, undulating lines that move in and out of the picture plane. This is defined as flou (or flowing) of space so that the human figure blends with nature. These flou paintings are among Abraham Rattner's most successful surrealist statements.
</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_9</id>
<title>The Flying Trapeze</title>
<year>circa 1935</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>64 x 50 1/8 in.</dimensions>
<notes>The Flying Trapeze is one of Rattner's most celebrated dithyrambic works. This is the first public showing of the painting since 1960, when it toured the United States as part of a retrospective exhibition sponsored by the American Federation of the Arts. The painting was first shown at the Exposition des Sur-independants in 1935, was later reproduced in several important European and American art publications and highlighted in Rattner's 1939 one-man show at the Julien Levy Gallery in New York.</notes>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_20</id>
<title>Young Woman in White Gloves</title>
<year>1945</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>51 ╜ x 38 7/16 in.</dimensions>
<notes>As World War II ended, Rattner abandoned what critics called "the jagged violence" of his war themes and returned to genre scenes like the ones that had brought him recognition in the late 1930s. These large, colorful scenes of domestic life were popular with gallery visitors and collectors. They often included a figure in front of a stained glass window, like the windows Rattner admired in European cathedrals.
Adopt-a-Masterpiece: Adopted by the Whitelaw family in memory of Janet M. Whitelaw
</notes>
<hires>lrm-scripts/1997_1_1_20.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_16</id>
<title>In a Garden</title>
<year>1943</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>39 ╜ x 32 in.</dimensions>
<notes>In a Garden was exhibited in 1943 at the Whitney Museum of American Art in its popular Annual Exhibition of Contemporary American Art. This was Rattner's first Whitney invitational and his relationship with the museum continued in annual exhibitions through 1965. The Whitney also purchased several important Rattner paintings for its permanent collection.
Adopt-a-Masterpiece: Mr. and Mrs. Tony Leisner
</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_75</id>
<title>Study for Loewy building Mural Design</title>
<year>1952</year>
<artist>Abraham Rattner</artist>
<media></media>
<dimensions></dimensions>
<notes>The City</notes>
<hires>lrm-scripts/1997_1_1_75.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_15</id>
<title>Mandolin Player</title>
<year>1943</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>32 x 23 ╜ in.</dimensions>
<notes>Throughout the 1940s, Rattner painted in a variety of styles to appeal to the art-collecting public. Mandolin Player evokes subject matter from Rattner's work in the 1920s, while its coloration and flatness are more attuned with his stylistic developments in the 1940s.
This work originally sold in 1943, but the purchaser exchanged it two years later for a larger work. Rattner decided not to sell the piece again and it remained in his personal collection as a reminder of the French paintings he had lost during World War II.
</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_52</id>
<title>Double Portrait</title>
<year>1943</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>38 ╝ x 51 ╝ in.</dimensions>
<notes>This painting of Rattner and his wife against a large window overlooking the New York skyline was painted in 1943, seven years before the death of his wife Bettina. Almost prophetically, Rattner casts the light on her while placing himself in the shadows. This separation focuses attention on Bettina, a constant source of adulation for Rattner.</notes>
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<orientation>horizontal</orientation>
</artwork>
<artwork>
<id>1997_1_1_24</id>
<title>Still Life Composition in Green</title>
<year>1939</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>32 x 25 ╛ in.</dimensions>
<notes>This work is one of the last canvases painted by Abraham Rattner before leaving France. Although the overall still life depicts a bountiful scene with an expensive liqueur bottle and note "to Bettina," the work is perhaps a metaphor for a changing world.</notes>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_43</id>
<title></title>
<year>circa 1920s</year>
<artist>Abraham Rattner</artist>
<media>Watercolor on paper</media>
<dimensions>9 9/16 x 13 ╛ in.</dimensions>
<notes>Reclining Nudes on Beach</notes>
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<orientation>horizontal</orientation>
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<artwork>
<id>1997_1_1_44</id>
<title>Les Roches Rouges</title>
<year>1927</year>
<artist>Abraham Rattner</artist>
<media>Watercolor on paper</media>
<dimensions>12 7/16 x 16 ╝ in.</dimensions>
<notes>(The Red Rocks)</notes>
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<orientation>horizontal</orientation>
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<artwork>
<id>1997_1_1_47</id>
<title></title>
<year>circa 1920s</year>
<artist>Abraham Rattner</artist>
<media>Watercolor on paper</media>
<dimensions>11 1/16 x 15 5/8 in. </dimensions>
<notes>Port Scene</notes>
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<orientation>horizontal</orientation>
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<artwork>
<id>1997_1_1_45</id>
<title></title>
<year>1928</year>
<artist>Abraham Rattner</artist>
<media>Watercolor on paper</media>
<dimensions>9 1/8 x 12 ╝ in.</dimensions>
<notes>Sailboat</notes>
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<orientation></orientation>
</artwork>
<artwork>
<id>1997_1_1_31</id>
<title></title>
<year>1920</year>
<artist>Abraham Rattner</artist>
<media>Watercolor and pencil on paper</media>
<dimensions>13 ╜ x 13 3/16 in.</dimensions>
<notes>(Comp on Fellowship) - In 1920, Rattner created drawings and watercolors of steerage passengers on an ocean liner. In these works Rattner used flat areas of color, an elevated vantage point, and essential details.</notes>
<hires>lrm-scripts/1997_1_1_31.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_30</id>
<title></title>
<year>1920</year>
<artist>Abraham Rattner</artist>
<media>Watercolor and pencil on paper</media>
<dimensions>13 ╜ x 9 ╛ in.</dimensions>
<notes>(Comp on Fellowship) - In 1920, Rattner created drawings and watercolors of steerage passengers on an ocean liner. In these works Rattner used flat areas of color, an elevated vantage point, and essential details.</notes>
<hires>lrm-scripts/1997_1_1_30.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_65</id>
<title></title>
<year>1920</year>
<artist>Abraham Rattner</artist>
<media>Watercolor and pencil on paper</media>
<dimensions>13 ╜ x 10 1/8 in.</dimensions>
<notes>In 1920, Rattner created drawings and watercolors of steerage passengers on an ocean liner. In these works Rattner used flat areas of color, an elevated vantage point, and essential details.</notes>
<hires>lrm-scripts/1997_1_1_65.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_34</id>
<title></title>
<year>circa 1925-30</year>
<artist>Abraham Rattner</artist>
<media>Pen and ink on paper</media>
<dimensions>11 5/8 x 8 1/16 in.</dimensions>
<notes>Woman with Comb and Mirror, from the Eidolons Series</notes>
<hires>lrm-scripts/1997_1_2_34.lrm</hires>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_12</id>
<title>Harlequin</title>
<year>1927</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>25 ╛ x 21 ╝ in.</dimensions>
<notes>The figure of the harlequin represents one of the comic servants, or zanni, from the Italian Commedia dell'arte theater. This figure was a popular subject for centuries in French art. For Rattner, the harlequin character took on a more symbolic meaning, representing the persona of the artist in servitude.</notes>
<hires>lrm-scripts/1997_1_1_12.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_35</id>
<title>Dieppe Still Life No. 2</title>
<year></year>
<artist>Abraham Rattner</artist>
<media></media>
<dimensions></dimensions>
<notes></notes>
<hires>lrm-scripts/1997_1_1_35.lrm</hires>
<lowres>lrm-scripts/1997_1_1_35_low.lrm</lowres>
<orientation></orientation>
</artwork>
<artwork>
<id>1997_1_1_6</id>
<title>Le Tir Forain</title>
<year>1924</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>39 3/8 x 31 7/8 in.</dimensions>
<notes>(The Shooting Gallery) - Exhibited in 1925 at the Salon des Independants, this painting was reproduced in the magazine L'Art Vivant (March 20, 1925) and reviewed by French art critic Florent Fels. He said of the work: "it is an amusing thing, and its harmonies of white and brown tones reveal a skillful and witty painter."</notes>
<hires>lrm-scripts/1997_1_1_6.lrm</hires>
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<orientation></orientation>
</artwork>
<artwork>
<id>1997_1_1_2</id>
<title>Fete Bretonne</title>
<year>1923</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>28 ╛ x 23 5/8 in.</dimensions>
<notes>(Brittany Festival) - Dated 1923, Fete Bretonne was exhibited at the Salon d'Automne in 1925. Its style pays homage to artist Paul Gauguin, who painted scenes of Brittany parishioners. Rattner visited this area in the early 1920s and captured the customs of a local festival.</notes>
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<orientation>vertical</orientation>
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<artwork>
<id>1997_1_1_33</id>
<title>Still Life Composition No. 65</title>
<year>1927</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>21 ╜ x 25 5/8 in.</dimensions>
<notes>In the 20th century artists continued the tradition of still life painting in the Salons. Artists made personal statements with their arrangements of fruits, flowers, books and other inanimate objects and, when they painted these works in new modernist styles, they kept the public interested in the value of still life painting.</notes>
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<orientation></orientation>
</artwork>
<artwork>
<id>1997_1_1_8</id>
<title>La Lutte, No. 42</title>
<year>1922</year>
<artist>Abraham Rattner</artist>
<media>Oil on Canvas</media>
<dimensions>24 x 32 in.</dimensions>
<notes>(The Wrestlers) - La Lutte is one of Rattner's most abstract early canvases. Its compositional ambiguity foreshadows much of his later stylistic developments.</notes>
<hires>lrm-scripts/1997_1_1_8.lrm</hires>
<lowres>lrm-scripts/1997_1_1_8_low.lrm</lowres>
<orientation></orientation>
</artwork>
<artwork>
<id>1997_1_1_3</id>
<title>Fleur de Misere</title>
<year>circa 1924</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>28 ╛ x 23 5/8 in.</dimensions>
<notes>This work, exhibited in 1924 at the Salon d'Automne, is untitled but contains the words Fleur de Misere (Flower of Misery) written vertically in the foreground. The scene is set against a Brittany landscape of northwestern France.</notes>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_15</id>
<title></title>
<year>c.1918-1920</year>
<artist>Abraham Rattner</artist>
<media>Charcoal on paper</media>
<dimensions>24 5/8 x 18 11/16 in.</dimensions>
<notes>Man in Uniform</notes>
<hires>lrm-scripts/1997_1_2_15.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_31</id>
<title></title>
<year>1920</year>
<artist>Abraham Rattner</artist>
<media>Conte crayon and pencil on paper</media>
<dimensions>14 1/16 x 8 7/16 in.</dimensions>
<notes>Standing Nude with Uplifted Arms
These gesture drawings, executed in conte crayon (a hard textured wax crayon), are typical of the "warm-up" exercises done in life drawing classes. Their immediacy is to allow the artist to feel the subject rather than simply represent a figure through lines. These drawings were done while Rattner attended the Pennsylvania Academy of the Fine Arts. </notes>
<hires>lrm-scripts/1997_1_2_31.lrm</hires>
<lowres>lrm-scripts/1997_1_2_31_low.lrm</lowres>
<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_28</id>
<title></title>
<year>1920</year>
<artist>Abraham Rattner</artist>
<media>Conte crayon and pencil on paper</media>
<dimensions>14 x 8 ╜ in.</dimensions>
<notes>Standing Nude with Uplifted Knees
These gesture drawings, executed in conte crayon (a hard textured wax crayon), are typical of the "warm-up" exercises done in life drawing classes. Their immediacy is to allow the artist to feel the subject rather than simply represent a figure through lines. These drawings were done while Rattner attended the Pennsylvania Academy of the Fine Arts. </notes>
<hires>lrm-scripts/1997_1_2_28.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_27</id>
<title></title>
<year>1920</year>
<artist>Abraham Rattner</artist>
<media>Conte crayon and pencil on paper</media>
<dimensions>14 1/16 x 8 7/16 in.</dimensions>
<notes>Leaning Nude
These gesture drawings, executed in conte crayon (a hard textured wax crayon), are typical of the "warm-up" exercises done in life drawing classes. Their immediacy is to allow the artist to feel the subject rather than simply represent a figure through lines. These drawings were done while Rattner attended the Pennsylvania Academy of the Fine Arts. </notes>
<hires>lrm-scripts/1997_1_2_27.lrm</hires>
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<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_2_25</id>
<title></title>
<year>1919</year>
<artist>Abraham Rattner</artist>
<media>Charcoal and pencil on paper</media>
<dimensions>19 7/8 x 14 in</dimensions>
<notes>Standing Female Nude - The human figure presents a challenge for artists to convey a living figure through the two-dimensional limitations of line, shape, and value gradation. Rattner created this life study while attending classes at the Pennsylvania Academy of the Fine Arts. It is dated December 17, 1919 on the back.</notes>
<hires>lrm-scripts/1997_1_2_25.lrm</hires>
<lowres>lrm-scripts/1997_1_2_25_low.lrm</lowres>
<orientation>vertical</orientation>
</artwork>
<artwork>
<id>1997_1_1_7</id>
<title>Self-Portrait Study of Abraham Rattner</title>
<year>circa 1918-20</year>
<artist>Abraham Rattner</artist>
<media>Oil on canvas</media>
<dimensions>18 x 13 in.</dimensions>
<notes>One of the earliest surviving paintings by Abraham Rattner, this small self-portrait shows the characteristics of the artist's strong facial features. The work was probably painted at the Pennsylvania Academy of the Fine Arts between 1918 and 1920. Its expressionist style was quite bold for the times.</notes>
