An Evolving Realism

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

Your comments are always welcome

Click in this column to see a full page reproduction.	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)