In memoriam

Pages

Xavier Foucade
Xavier Fourcade, 1927-1987. An obituary of art dealer Xavier Foucade can be found at the New York Times, April 29, 1987, at http://www.nytimes.com/1987/04/29/obituaries/xavier-fourcade-dead-at-60-dealer-in-contemporary-art.html.
Willie Chose
Willie Choset. Willie Choset was my uncle. He was married to my father's sister Eleanor Choset (born Roseman)
Willa Beall
Willa Beall
Wendy Wasserstein
Wendy Wasserstein. An obituary for playwright Wendy Wasserstein can be found in the New York Times, January 31, 2006, at http://www.nytimes.com/2006/01/31/theater/31wasserstein.html.
Warner Ragland
Warner Ragland. Deceased around 1992, A friend of my brother, Neil Roseman. They went to the Culinary Institute of America together, where they met.
Vinnie Dolan
Vinnie Dolan, May 17, 1916 - December 21, 2000, Vinnie Dolan was Diane Sullivan's father. Diane is married to Paul Sulliva, Catherine Murphy's first cousin. Thus we are all cousins.
Vibha Nagrath Dhingra
Vibha Nagrath Dhingra 3/27/2019 Vibha Nagrath Dhingra, age 74, of Nashua, NH, formerly of Winchester, passed away on March 27, 2019. Vibha was born in her grandfather Lala Ralya Ram Nagrath‘s home on Keeling Road, New Delhi, India on September 21, 1944. Despite losing her mother, Jasmati Devi Nagrath, when she was only six month’s old and her father Inderjit Nagrath, when she was only four, Vibha had a happy childhood in her grandfather’s house. She and her older sister Abha, were lovingly raised by their younger brother Ranjit Nagrath’s mother Savitri Devi Nagrath and were lucky to have the love and care of a large extended family including their grandparents and many aunts, uncles and cousins. Vibha attended boarding school in the foothills of the Himalayas from the age of four. She completed her elementary, secondary, and collegiate studies at the Sacred Heart Convent School in Dalhousie. Her lifelong love of nature and her indelible connection to the mountains began there. In 1966, at the age of 22, she married Satish Dhingra and they moved, first to Canada, and then to the United States. While Satish pursued his master’s degree, Vibha got her green card and her first job, as a clerk in the computer lab at MIT. Vibha and Satish welcomed their first son, Anand in 1969 and their second son, Vivek in 1976 and just six months later, Vibha became a citizen of the United States. After living in Cambridge and Belmont, they settled in Winchester, MA in 1978. When they separated in 1980, Vibha became a single mother. After being a stay-at-home mom for many years, Vibha worked tirelessly to support her sons. She never remarried, singular in her focus on her children and her desire to maintain her independence. In 1983 Vibha completed her MBA from Suffolk University. Despite their divorce in 1986, Vibha maintained a cordial relationship with her ex-husband, until his death in November 2017. After a successful career in corporate accounting, Vibha retired in 2009 and moved to Nashua, NH. She spent the last year at Apple Valley Center in Ayer, MA where she made many friends among the staff and residents. Vibha loved animals, especially dogs. She enjoyed international travel and learning about history; she loved to read biographies and discuss current events. She had a beautiful voice and enjoyed singing classical Indian music as well as hymns in English. In recent years, she spent considerable time in her garden. She loved plants and flowers and was especially fond of peonies. Vibha enjoyed a wide circle of friends from every chapter of her life. Her two grandsons were her pride and joy. Vibha is survived by her sister Abha Gupta (née Nagrath) and her husband Promod Gupta of New Delhi, India; her son Anand Dhingra and his wife Holly (née Parker) of Nashua, NH; her son Vivek Dhingra and his wife Catherine (née Bingham) and her grandsons Nikhil and Rhys of Wakefield, MA; as well as many cousins, in-laws, nieces and nephews and countless friends. Relatives and friends are kindly invited to attend a Memorial Service to be held at Costello Funeral Home, Saturday April 6th 2019 from 1pm to 2pm. Visiting hours will follow the service from 2pm to 5pm. Sign Driving Directions Print Page Share Costello Funeral Home 177 Washington Street Winchester, MA USA 01890 781-729-1730 HOME / BACK
Teddy Sullivan
Teddy Sullivan. Teddy (Edward Patrick Sullivan), February 29, 1936-Novemebr 15, 2000. Catherine Murphy's cousin, brother of Billy Sullivan.
Sidney Roseman
Sidney Roseman (September 23, 1913 - July 10, 1995) My father.
Scott Burton
Scott Burton. An obituary of artist Scott Burton can be found in the New York Times, January 1, 1990, at http://www.nytimes.com/1990/01/01/obituaries/scott-burton-sculptor-whose-art-verged-on-furniture-is-dead-at-50.html.
Sarah Silverman
Sarah Silverman. My maternal grandmother.
Sandra Warshaw
Sandra Warshaw ( born Choset). Sandra was my first cousin. She was a relatively young woman when she died, leaving a husband and two young children.
Sam Beall
Sam Beall
Rudy Burckhard
Rudy Burckhardt. An obituary of artist Rudy Burckhardt can be found in the New York Times, August 4, 1999, http://www.nytimes.com/1999/08/04/arts/rudy-burckhardt-85-photographer-and-filmmaker-dies.html.
Roy Davis
Roy Davis. An obituary for art dealr Roy Davis can be found in Art Media Agency, September 17, 2014, at http://en.artmediaagency.com/94297/art-dealer-roy-davis-passes-away/.
Romulis Linney
Romulis Linney
Robert Schoelkopf
Robert Schoelkoff. An obituary of art dealer Robert Schoelkoff can be found in the New York Times, April 6, 1991, at http://www.nytimes.com/1991/04/06/obituaries/robert-schoelkopf-art-dealer-was-63.html.
Robert Fosdick
Robert Fosdick. Robert was a friend of Robin Hill and Tom Bills. We met him visiting them in Nova Scotia.
Richard Singer
Richard Singer
Richard Rosenblum
New York Times by Holland Cotter February 20, 2000 Richard Rosenblum, a sculptor and a collector of Asian art, died on Tuesday at his home in Newton, Mass. He was 59. Link - http://www.nytimes.com/2000/02/20/nyregion/richard-rosenblum-59-sculptor-and-a-collector-of-asian-art.html
Richard Pomeroy
Richard Pomeroy
Richard Artschwager
The New York Times By Ken Johnson Feb. 10, 2013 Richard Artschwager, a painter and sculptor whose witty, contradictory mixing of artistic genres made him one of the most critically admired artists to emerge in the 1960s, died early Saturday in Albany. He was 89. His death, at a hospital, followed a recent stroke, his wife, Ann, said. The death also followed by less than a week the closing of a career retrospective of Mr. Artschwager’s work at the Whitney Museum of American Art in Manhattan, his second to be mounted there. He lived in Hudson, N.Y., in Columbia County. At a time when most artists worked in clearly determined styles, Mr. Artschwager slyly confounded the usual categories. His most famous sculpture, “Table With Pink Tablecloth,” from 1964, is something of a cross between Pop Art and a Minimalist cube by Donald Judd: a box neatly veneered with pieces of colored Formica to create the image of a wooden table with a square pink tablecloth draped on it. Mr. Artschwager went on to produce variations on the forms of chairs, tables, doors and other domestic objects in styles ranging from severely geometric to surrealistically distorted. In the late 1960s, he invented an abstract form he called a “blp,” a small, black, oblong shape that he would recreate in various materials and install in unexpected places to punctuate, mysteriously, gallery and museum spaces. He also placed dozens of “blps,” in the form of reliefs, stencils or decals, outside museums for viewers to go hunting for or stumble upon. Some are to be found on the elevated High Line park in Lower Manhattan near the site of the Whitney’s future home. Mr. Artschwager’s paintings were often paradoxical. He painted black and white copies of found photographs — group portraits, pictures of buildings and other anonymous images — on textured Celotex panels, a common building material. Ostentatious frames made of painted wood, Formica or polished metal were usually part of the total piece. He once said: “Sculpture is for the touch, painting is for the eye. I wanted to make a sculpture for the eye and a painting for the touch.” Richard Ernst Artschwager was born on Dec. 26, 1923, in Washington. His father, a German immigrant, was a botanist, trained at Cornell University; his mother, a Ukrainian immigrant, was an artist who studied at the Corcoran School of Art in Washington and at the National Academy of Design in New York. In 1935, the family moved to Las Cruces, N.M., a better climate for the artist’s father, who had tuberculosis. Like his father, Mr. Artschwager studied at Cornell, concentrating on mathematics and sciences, though he was deeply interested in art. Before completing his degree he was drafted into the Army in 1944 and saw combat in Europe, suffering a slight wound at the Battle of the Bulge. Afterward he was assigned to counterintelligence in Vienna, where he met and, in 1946, married his first wife, Elfriede Wejmelka. Back in the United States after the war, Mr. Artschwager completed his bachelor’s degree at Cornell but soon, with his wife’s strong encouragement, decided to become an artist. He moved to New York and began attending the Studio School of the painter Amédée Ozenfant, who, along with Le Corbusier Foundation in Paris, had founded a form of late Cubism called Purism. By then the couple had a child, and Mr. Artschwager supported his family as a bank clerk and then a furniture maker. In the early ’50s he stopped making art and went into business building furniture until a fire destroyed his workshop in 1958. Resuming art making, he had his first exhibition — of paintings and watercolors of Southwestern landscapes — at the Art Directions Gallery in New York. In 1960, an exhibition of assemblages by the sculptor Mark di Suvero inspired Mr. Artschwager to begin using his woodworking skills to make his own sculpture. A year later, a photograph picked up on the street prompted him to start making paintings based on black and white photographs. A big break came when he sent, unsolicited, a note and slides to the Leo Castelli Gallery, New York’s leading showcase for new art. The gallery quickly took him on for a group show that included Roy Lichtenstein, Jasper Johns and Andy Warhol. He remained with Castelli for 30 years. It was at the Castelli gallery, in 1965, that Mr. Artschwager had the first show of work that was recognizably his own. During the ensuing decades he participated in many important international exhibitions, including the Venice Biennale and Documenta, in Kassel, Germany. The Whitney produced its first Artschwager retrospective in 1988-89. It later traveled to San Francisco, Los Angeles, Madrid, Paris and Düsseldorf. His last solo exhibition with Gagosian Gallery was last fall at its branch in Rome featuring sculptures of pianos. “Early and late, his work stood out for its blunt, mute weirdness,” Holland Cotter wrote in The New York Times in reviewing the recent Artschwager retrospective at the Whitney. A 1963 sculpture, “Portrait II,” for example, resembles a bedroom dresser with no drawers and a sheet of Formica where a mirror might be. The table in “Table Prepared in the Presence of Enemies” (1993) “looks like a low-rise guillotine,” Mr. Cotter wrote. He added: “Violence is implicit in a lot of Mr. Artschwager’s art, which may be the most intriguing thing about it, the element that gives bite to what would otherwise pass for Magrittean whimsy.” Mr. Artschwager’s political views were less apparent. In 2003, he painted three identically framed portraits, of a blank President George W. Bush, a smiling Osama bin Laden and a grim-looking one of himself. “Each painting looks cracked, creviced and soiled, as if just dug up from rubble,” Mr. Cotter observed. Mr. Artschwager was married four times, the first three marriages ending in divorce. In addition to his wife, the former Ann Sebring, he is survived by his daughters Eva Artschwager and Clara Persis Artschwager; a son, Augustus Theodore Artschwager; a sister, Margarita Kay, and a grandson. David Nolan, whose Manhattan gallery has shown drawings by Mr. Artschwager, said the artist had recently exhibited new paintings and works on paper that he created on a return to New Mexico, inspired in part by the colors of the landscape there he had known so well as a boy. William McDonald contributed reporting. A version of this article appears in print on Feb. 11, 2013, on Page D8 of the New York edition with the headline: Richard Artschwager, Painter and Sculptor, Dies at 89. Order Reprints | Today’s Paper | Subscribe
Ralph Renzi
Ralph Renzi
Phyllis Plouse
Phyllis Plouse
Neil Roseman
Neil Roseman (1950-1992), My brother.
Nathan
Nathan. Nathan married my mothers neighbor Dorethy in Las Vegas. He moved in with Dorethy and lived there for a few years until he died. A relatively short time later Dorethy moved to an assisted living situation in Las Vegas.
Nancy Willard
Nancy Willard -------- 06/26/1936 - 02/19/2017 -------- Obituary from the New York Times, March 6, 2017 -------- Nancy Willard, a prolific author whose 70 books of poems and fiction enchanted children and adults alike with a lyrical blend of fanciful illusion and stark reality, died on Feb. 19 at her home in Poughkeepsie, N.Y. She was 80. The cause was coronary and pulmonary arrest, her husband, the photographer Eric Lindbloom, said. Ms. Willard’s 1982 picture book, “A Visit to William Blake’s Inn: Poems for Innocent and Experienced Travelers,” was the first volume of poetry to receive the Newbery Medal, the country’s highest honor for children’s writing. Illustrated by Alice and Martin Provensen, it also received a Caldecott Honor as one of the best illustrated books of the year. It was the first time a Newbery winner was also named a Caldecott book. Ms. Willard traced her weaving of fancy and realism to her upbringing. Her father was a chemistry professor who perfected a method of rustproofing; her mother, she said, was a romantic who read to her daughters during summer boating idylls. “I grew up aware of two ways of looking at the world that are opposed to each other and yet can exist side by side in the same person,” Ms. Willard wrote in an essay in Writer magazine. “One is the scientific view. The other is the magic view.” In “William Blake’s Inn,” she transformed the English poet and printmaker into a hotelier who keeps an inn for a host of imaginary guests. “Nancy Willard’s imagination — in verse or prose, for children or adults — builds castles stranger than any mad King of Bavaria ever built,” the poet Donald Hall wrote in The New York Times Book Review in 1981. “She imagines with a wonderful concreteness. But also, she takes real language and by literal-mindedness turns it into the structure of dream.” He continued: “If you know children virtuous in imagination, give them this book in which ‘The Wise Cow Enjoys a Cloud’: “Where did you sleep last night, Wise Cow? Where did you lay your head?” “I caught my horns on a rolling cloud and made myself a bed, and in the morning ate it raw on freshly buttered bread.” While she was best known for her children’s books, Ms. Willard also wrote novels for adults. In 1993 the Times critic Michiko Kakutani described her second, “Sister Water,” as “a luminous, lyrical novel about familial love and loss, a novel that almost literally hums with the power of her language.” Nancy Margaret Willard was born in Ann Arbor, Mich., on June 26, 1936, the daughter of Hobart Willard, who taught at the University of Michigan, and the former Margaret Shepard. The first texts she read, she said, were the labels on canned goods in her kitchen. (“They gave me an eclectic vocabulary: ‘spinach,’ ‘green beans,’ ‘registered trademark,’ ‘net weight.’ ”) She published her first poem when she was 7, she said. Ms. Willard, an English major, graduated from the University of Michigan in 1958 and went on to earn a master’s at Stanford, with a thesis on medieval folk songs, and a doctorate at the University of Michigan. She taught creative writing at Vassar College in Poughkeepsie from 1965 until she retired in 2013. Her first children’s book, “Sailing to Cythera: And Other Anatole Stories,” was published in 1974 after her son, James Lindbloom, was born. In addition to her husband, he survives her. (She published other “Anatole” stories, and James became a model for a character in several other books.) Ms. Willard had no illusions about her young audience. “Writing a book of poems for children is like sending a package to a child at camp: The cookies are fed to the fish, the books are fly swatters and the baseball cards are traded,” she once observed. “You never know the use to which your gift — or your poems — will be put. if you’re lucky, children a hundred years hence will be skipping rope to them or muttering them over the graves of dead cats.” While her style evolved, one ingredient remained integral. “Most of us grow up and put magic away with other childish things,” she explained in Writer magazine. “But I think we can all remember a time when magic was as real to us as science, and the things we couldn’t see were as important as the things we could.” She added: “I believe that all small children and some adults hold this view together with the scientific ones. I also believe that the great books for children come from those writers who hold both.”
Nancy Graves
October 24, 1995, The New York Times Archives. Nancy Graves, an erudite Post-Minimalist artist who combined abstraction with an exacting naturalism, died on Saturday at New N.Y. The cause was cancer, said her husband, Avery L. Smith. A prolific artist who worked in painting, sculpture, printmaking and film, Ms. Graves first made her presence felt on the New York art scene in the late 1960's and 70's, with life-size sculptures of camels that seemed as accurate as a natural history display (down to the real skin). Closer examination, however, revealed myriad distortions of both form and surface, as well as deliberate signs of handwork, so that the ultimate effect was strangely abstract. Although idiosyncratic, the camels were representative of a widespread effort among younger artists to take Minimalism's emphasis on given facts and forms, as well as new materials, into unexpected areas. Like-minded artists included Eva Hesse, Chuck Close, Bruce Nauman and Richard Serra, to whom Ms. Graves was married from 1965 to 1970. Nancy Stevenson Graves was born in Pittsfield, Mass., on Dec. 23, 1940, and throughout her life she retained the reserve and dry humor of a quintessential New Englander. Her dual interest in art and science was encouraged by frequent visits to the Berkshire Museum, where her father worked and which had collections devoted to both art and natural history. After graduating from Vassar College as an English major in 1961, she attended Yale, where she earned bachelor's and master's of fine arts degrees from the School of Art and Architecture in 1964. Grants enabled her to spend the next two years studying in Europe, first in Paris and then in Florence, where the life-size wax studies of an 18th-century anatomist named Susini inspired her to work from natural forms. Continue reading the main story She settled on the camel as the first of these forms, and with typical thoroughness spent three months learning carpentry to be able to devise an armature. Working in Fiberglas, latex, marble dust and other unorthodox materials, Ms. Graves moved on to camel skeletons and bones, which she dispersed about the floor or hung from ceilings, and based other works on a variety of archeological and paleontological subjects, including fossils, totems and mummies. In the early 1970's, she traveled to Morocco, making several films whose repeated sequences of camel herds emphasized the mesmerizing rhythms of their movements. In 1972 Ms. Graves forsook sculpture for painting, making beautifully colored, ostensibly abstract works that were often based on a wide range of maps and charts, including those of the ocean floor and the surfaces of Mars and the moon. When she returned to sculpture in the late 1970's, she learned the lost-wax process so she could work in bronze, experimenting with unusual patinas that translated her natural forms into a palette of highly artificial hot pinks, blues and yellows. She gradually expanded her vocabulary to include not only plants, flowers, fish and occasional pieces of the human skeleton but also man-made objects like fans, colanders and tools. These disparate parts were assembled into gracefully balanced sculptures whose elegant linearity recalled the "drawing in space" sculptures of David Smith. At the end of her life, Ms. Graves was incorporating handblown glass into her sculptures and experimenting with poly-optics, a glasslike material that can be cast. Ms. Graves, whose first New York exhibition was at the Graham Gallery in 1968, has been represented by M. Knoedler & Company since 1980. She exhibited extensively in galleries in the United States and Europe and is represented in museums around the world. Her most recent museum retrospective, organized by the Fort Worth Art Museum, traveled to the Brooklyn Museum in 1987. An exhibition of new hand-painted prints closed on Saturday at the Betsy Senior Gallery in SoHo. In addition to her husband, she is survived by her mother, Mary Bates of Pittsfield; a sister, Judith G. Clarke of Worthington, Mass., and two stepsons, Barrett L. and Carter L. Smith.
Murray Skall
Murray Skall. My cousin.
Michael Mazur
Michael Mazur. -------- 11/02/1935 - 08/18/2009 -------- Obituary from the New York Times , August 29, 2009 ---------- Michael Mazur, a relentlessly inventive printmaker, painter and sculptor whose work encompassed social documentation, narrative and landscape while moving back and forth between figuration and abstraction, died on Aug. 18 in Cambridge, Mass. He was 73 and lived in Cambridge and Provincetown, Mass. The cause was congestive heart failure, said Mary Ryan, his New York dealer. Mr. Mazur first came to public notice in the early 1960s with two series of etchings and lithographs depicting inmates in a mental asylum in Howard, R.I. The series, “Closed Ward” and “Locked Ward,” rendered with the hand of a master draftsman, showed human beings in unbearable torment. These lost souls, John Canaday wrote in The New York Times, “have the terrible anonymity of individuals who cannot be reached, whose ugly physical presence is only the symptom of a tragic spiritual isolation.” Mr. Mazur’s restless artistic temperament led him to explore a variety of styles and media, shuttling between realism and abstraction. He produced narrative paintings like “Incident at Walden Pond,” a triptych from the late 1970s depicting the aftermath of a rape, and, beginning in the 1990s, abstract landscapes based on his own vascular system and on Chinese landscapes of the 12th to 15th centuries. After seeing an exhibition of Degas monotypes at the Fogg Museum in 1968, he began exploring that medium, most notably in the monumental Wakeby landscapes of 1983, depicting Wakeby Lake on Cape Cod, and in a series of illustrations for Robert Pinsky’s translation of Dante’s “Inferno,” published in 1994. “It’s hard to characterize him because he was always trying new things,” said Clifford S. Ackley, the chairman of prints, drawings and photographs at the Museum of Fine Arts, Boston. “He did not fall into the trap of repeating himself the way so many older artists do. In the last week of his life he was doing pen-and-ink drawings of flowers and gardens.” Michael Burton Mazur grew up on the Upper East Side of Manhattan and attended the Horace Mann School in the Bronx, where he belonged to an art club whose members included the future curator Henry Geldzahler and the future New Yorker cartoonist Ed Koren. While attending Amherst College he studied with the printmaker and sculptor Leonard Baskin, who was teaching at Smith College. After taking a year off to study in Italy, where his lifelong fascination with Dante began, he received a bachelor’s degree in 1957 and went on to earn bachelor’s and master’s degrees in fine art from the Yale School of Art and Architecture. While at Yale he married Gail Beckwith, a poet known by her married name. She survives him, as do their two children, Dan, of Cambridge, and Kathe, of Los Angeles, and two grandchildren. Mr. Mazur taught at the Rhode Island School of Design and Brandeis University from 1961 to 1975 while exhibiting frequently in New York and Boston. In 2000 a traveling retrospective of his prints opened at the Museum of Fine Arts, Boston. The catalog, “The Prints of Michael Mazur With a Catalogue Raisonné, 1956-1999,” was published that year. “I’ll Tell What I Saw,” a selection of excerpts from Dante’s “Divine Comedy” illustrated by Mr. Mazur, is to be published by Sarabande Books in November. Although deadly serious as an artist, Mr. Mazur had a sly wit. In 1984 he wrote an article for the Op-Ed page of The New York Times proposing a W.P.A.-style project under which artists could decorate nuclear warheads, just as Renaissance artists embellished armor and weapons. “It is not hard to imagine the vivid colors, bas reliefs, even graffiti, that would make spectacles of beauty of those dull cones,” he wrote. In time, he suggested, the warheads would find their way into private collections and museums, thereby ending the possibility that they might be deployed.
Mary Buckly
Mary Buckly
Louis Roseman
Louis Francis Murphy (Frank Murphy), January 13, 1903 (in Boston, MA)-July 15, 1979 (in Ayer, MA)
Lottie Robins
Lottie Robins. A notice of death can be found in the New York Times, August 15, 2007, at http://query.nytimes.com/gst/fullpage.html?res=9E02E4DD103AF936A2575BC0A9619C8B63.
Linda Neely
Linda Neely
Leo Moore
Leo Moore. Leo was my uncle. He was married to my mother's sister, Sylvia Moore (born, Silverman).
Kay Murphy
Catherine Ellen O'Reilly Murphy (Kay Murphy), August 25, 1905 (in Cambridge, MA) - August 10, 1991 (in Ayer, MA).
Judy and Frederick Busch
Judy and Frederick Busch. Poet and novelist Frederick Busch's obituary can be found in the New York Times, February 25, 2006, at http://www.nytimes.com/2006/02/25/pageoneplus/arts/frederick-busch-author-of-poetic-fiction-dies-at-64-827150.html; Judy Busch's obituary can be found in the Evening Sun, Jaunary 4, 2007, at http://www.evesun.com/obituaries/people/Judith-Busch/379/.
Joyce and Billy Sullivan
Joyce and Billy Sullivan. Joyce (Joyce Alice Sullivan) April 12, 1933-June 7, 1999. Billy (William Michael Sullivan - January 17, 1932-October 30, 1994. They were cousins of Catherine Murphy, niece and nephew of Kay Kay (Catherine Muutphy Sr.).
Joseph Cornell
An obituary for sculptor Joseph Cornell can be found in the New York Times, Sunday, December 31, 1972. https://timesmachine.nytimes.com/timesmachine/1972/12/31/90732055.html?pageNumber=37
John Chamberlain
John Chamberlain. Artist John Chamberlain's obituary can be found in the New York Times, December 22, 2011, at http://www.nytimes.com/2011/12/22/arts/design/john-chamberlain-artist-of-auto-metal-dies-at-84.html.
Joan Hull
FLOWERS & GIFTS Joan L. Hull, 91, of Rhinebeck and formerly Hyde Park, passed away on November 5, 2018. Born in Brooklyn, New York on August 11, 1927 to Christine and J. Parker Hull, Joan grew up on an apple farm in Clintondale, New York. As a young girl, Joan, attended Westtown School in Westtown, Pennsylvania graduating in 1945. In 1949 Joan earned a degree from Earlham College, Richmond, Indiana and continued her education at Katherine Gibbs School, New York, New York, graduating in 1951. Afterwards, Joan moved to Hyde Park, New York with her parents and began working at Western Publishing Company, Poughkeepsie, New York in 1952. While at Western Publishing she was employed as an executive secretary until her retirement in 1982. Joan continued her career as an administrative assistant in the art department at Vassar College until 1992 after which she retired and took up residence in Rhinebeck, New York. Joan always said her years working with the art faculty at Vassar were her greatest joy and best memories. After retirement, Joan developed a passion for genealogy and spent countless hours searching historical records, compiling information from grave site tombstones, and documenting cultural and historic data from Friends’ Cemeteries. Additionally, Joan was a golfer and enjoyed her membership at Dutchess Golf Club in Poughkeepsie. Joan touched many people. She was a loyal friend to many and a devoted daughter who took great care of her parents until their passing. She loved a good laugh and enjoyed sipping an occasional Canadian Club with friends. Her laugh and sense of humor will be remembered, always. Her later years were spent quietly at the Baptist Home at Brookmeade in Rhinebeck, New York where she died peacefully. Joan is survived by many dear friends. There are no calling hours.
Jerome Badanes
Jerome Badanes. Novelist Jerome Badanes's obituary can be found at http://www.nytimes.com/1995/05/21/obituaries/jerome-badanes-novelist-dies-at-58.html.
Jenny Roseman
Jenny Roseman. My paternal grandmother.
Jeffrey Schaire
1954-October 30, 1995 About the Archive This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com. November 1, 1995, Page 00019The New York Times Archives Jeffrey Schaire, a former editor in chief of Art and Antiques magazine, died on Monday at his home in Manhattan. He was 41. The cause was AIDS, said his sister, Paula. Mr. Schaire was born in Fresh Meadows, Queens. He graduated from the State University College at Binghamton and earned a master's degree in English literature from the University of British Columbia in Vancouver. After working at Farrar, Straus & Giroux and at Harper's magazine, he joined Art and Antiques in 1983, and became editor in chief in 1987. Under his guidance, the magazine invited M. F. K. Fisher, D. M. Thomas, John Updike, Pete Hamill and others to write on art, and broke the story of Andrew Wyeth's unknown "Helga" paintings. After resigning in 1992, Mr. Schaire served briefly as editor of Body Positive, a magazine for those infected with the H.I.V. virus. In addition to his sister, of San Francisco and Manhattan, he is survived by a brother, Scott, of Atlanta. A version of this obituary; biography appears in print on November 1, 1995, on Page D00019 of the National edition with the headline: Jeffrey Schaire, 41, Art Magazine Editor. Order Reprints| Today's Paper|Subscribe
Jean Michel Basquiat
Jean Michel Basquiat. Artist Jean Michael Basquiat's obituary can be found at http://www.nytimes.com/books/98/08/09/specials/basquiat-obit.html.
Jake Berthot
The New York Times By Roberta Smith Jan. 14, 2015 Jake Berthot, a painter who gained notice in New York City for his romantically minimal style, then found inspiration in the natural world after moving north to a hamlet in Ulster County, died on Dec. 30 at his home in Accord, N.Y. He was 75. Betty Cuningham, whose gallery represented him, confirmed his death. She said he had long been ill but did not specify a cause. Mr. Berthot (pronounced BEAR-TOE) had a brief flirtation with Minimal Art in the mid-1960s. But, like many members of his generation, he soon sought ways to soften, complicate and enrich the style’s severity. He was guided in this by his admiration for Abstract Expressionists like Milton Resnick and Mark Rothko, whose work was simplified but emotive. He began to work in subtle monochromes of gray and green in the late 1960s in a manner similar to that of the painter Brice Marden. But Mr. Berthot’s surfaces were differentiated by their expressive texture and their suggestions of space and atmosphere. In many ways, Mr. Berthot spent his career exploring how to supplement and expand on the modernist monochrome without straying too far from it. At first he attached narrow vertical bars to either side of all-gray canvases. He also framed thickly worked monochromes with more thinly painted canvases, creating the effect of a window or of an abstract painting within an abstract painting. For a while he pursued thickly built-up surfaces to which he added ovals or column-like rectangles in contrasting, sometimes even bright, colors. Most of his paintings began with an underlying grid of pencil that his brushwork alternately denied and confirmed. After 1996, when Mr. Berthot left Manhattan for Accord, the natural world became an increasing influence. He turned to depicting trees and hills so close in tone to their backgrounds that they almost seemed carved from them. Some of his most beautiful paintings were nocturnal landscapes or expanses of night skies illuminated by a few rays from the moon. These works had a timeless quality and reflected his admiration for 19th-century landscape painters like George Inness, Albert Pinkham Ryder and J. M. W. Turner. He once told an interviewer that he was “not interested in the new but in trying to make paintings that refuse to grow old.” His art started rounding back toward abstraction in 2008. John Alex Berthot was born in Niagara Falls, N.Y., on March 30, 1939. His father abandoned the family when John was quite young, and he grew up on his grandparents’ truck farm in central Pennsylvania. He received his first drawing lessons from his grandmother. Mr. Berthot initially studied at a commercial art school in Pittsburgh but realized that he lacked the necessary precision in drawing. Moving to New York City, he worked as a window dresser in the Bronx. When his wife got a secretarial job at the Pratt Institute in Brooklyn, he was able to attend classes there tuition free. At Pratt he began to paint seriously and soon had his first experience as a teacher. Starting in 1974, he taught for extended periods at the Cooper Union, Yale University and the School of Visual Arts. Mr. Berthot had his first gallery show in New York in 1963 and showed regularly at the McKee Gallery and then the Betty Cuningham Gallery, both in Manhattan. Surveys of his work were held at Rose Art Museum at Brandeis University in Waltham, Mass., in 1988 and at the Phillips Collection in Washington in 1996. When he decided to bequeath the paintings in his studio to the Phillips, the museum offered to exhibit them, as a gift, during his lifetime. Mr. Berthot, who once described painting as “the only thing I can do,” declined, saying that he needed the paintings around him. His marriages to Ginny MacKenzie and Kristin Flynn both ended in divorce. He is survived by his son, John, from his first marriage. A version of this article appears in print on Jan. 19, 2015, on Page A14 of the New York edition with the headline: Jake Berthot, 75, Abstract Painter Inspired by Nature. Order Reprints | Today’s Paper | Subscribe

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