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Saul L Baizerman

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Saul L. Baizerman (1889 - 1957) was active/lived in New York / Russian Federation.  Saul Baizerman is known for Monumental human figure sculpture, nudes.

Biography photo for Saul L. Baizerman
 A sculptor born in Vitebsk, Russia, Saul Baizerman created small, simplified human forms from chunky, squared off materials. His style was primarily realistic, and he chose urban themes including a series called "City and the People," hammered sculptures based on observations of contemporary life. Later he focused on the heroic nude figure.

He had one year of formal art training in Russia and coming to New York in 1910, he studied at the Art Students League, the National Academy of Design, and the Beaux-Arts Institute of Design. After 1920, he developed his signature technique of hammering metal sheets into shapes.

He traveled widely in Europe during the 1920s and had a one-man show at the Dorien Leigh Galleries in London in 1924. In 1933, he had his first exhibition in the United States, held at the Eighth Street Gallery in New York. A major studio fire in 1931 destroyed most of his early small bronzes.

From 1934 to 1940, he taught sculpture, drawing, and anatomy   ...  [Displaying 1000 of 2695 characters.]  Artist bio

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Similar artists

.  There are 24 similar (related) artists for Saul L Baizerman available:    Gaston Lachaise,  Lester Frederick Johnson,  Chaim Gross,  Elie Nadelman,  William Zorach,  Saul Steinberg,  Moses Soyer,  Robert Natkin,  Byron (George Byron) Browne,  Mark di Suvero,  Raphael Soyer,  Grandma Moses,  Milton Clark Avery,  Wolf Kahn,  Jules Olitski,  Hayley Lever,  Abraham Walkowitz,  Walt Francis (Walter) Kuhn,  Charles Burchfield,  Fairfield Porter,  Norman Rockwell,  John Ferren,  Mark Tobey,  Ben Shahn



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Facts about Saul L Baizerman

   Saul L. Baizerman  Born:  1889 - Vitebsk, Russia
Died:   1957 - New York City
Known for:  Monumental human figure sculpture, nudes

Biography from the Archives of askART

A sculptor born in Vitebsk, Russia, Saul Baizerman created small, simplified human forms from chunky, squared off materials. His style was primarily realistic, and he chose urban themes including a series called "City and the People," hammered sculptures based on observations of contemporary life. Later he focused on the heroic nude figure.

He had one year of formal art training in Russia and coming to New York in 1910, he studied at the Art Students League, the National Academy of Design, and the Beaux-Arts Institute of Design. After 1920, he developed his signature technique of hammering metal sheets into shapes.

He traveled widely in Europe during the 1920s and had a one-man show at the Dorien Leigh Galleries in London in 1924. In 1933, he had his first exhibition in the United States, held at the Eighth Street Gallery in New York. A major studio fire in 1931 destroyed most of his early small bronzes.

From 1934 to 1940, he taught sculpture, drawing, and anatomy at his Baizerman Art School. In 1949, the Whitney Museum made their first purchase of his work, and in 1953, the Walker Art Center in Minneapolis organized a major traveling retrospective of his work. He died of cancer in 1957.

Source:
Matthew Baigell, Dictionary of American Art


Biography from Storm King Art Center

Saul Baizerman, American, Born Russia, 1889-1957

Russian-born American artist Saul Baizerman revitalized the classical tradition of the nude figure with his evocative hammered copper reliefs. In the early 1930s he discovered the expressive power of this direct metal technique while working on small bronzes. His father had been a harness maker in Russia, and had similarly employed hammers in his trade. For the preliminary shaping of the sheet metal, he used a rubber and wooden mallet; the more detailed work was done with a double-headed hammer. He worked both sides of the copper sheet simultaneously in a process central to his artistic expression.

Throughout his long, prolific career, Baizerman remained dedicated to the representation of the human form. He often conceived his figural reliefs on a heroic scale and gave them classicizing titles to impart a universal and timeless vision. Moreover, Baizerman employed the human figure as a metaphor for emotion or nature. He once said, “We sense in these pieces, although of human shape, movements of nature in rivers, in sloping mountains, in the flatness of fields?…?or the turbulence of the sea.”

Aphrodite, at Storm Mountain is a late work, completed when Baizerman was nearly sixty; it expresses his abiding concern for fluid movement and illustrates his use of the human figure to evoke a force of nature.


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