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From the Director

After last summer’s opening, I returned to work on four different shows that all opened in October 2013 in three different cities. As many of you know I work as an independent curator for museums around the country and in Europe, and last year turned into a “perfect storm” of wonderful opportunities that I could not say no to (although I should have.)
 
My very popular retrospective on the work of editorial cartoonist, Tony Auth, first organized for the James A. Michener Art Museum in Doylestown, Pennsylvania, traveled to public radio’s WHYY, where Tony now works. It was the first time they had ever hosted an exhibition and it turned out to be a popular event for the station and its supporters. A few blocks away at the Philadelphia History Museum, I put together a 50 piece show of Tony’s cartoons on the City of Brotherly Love, titled AUTH-entic Philly, which proved so popular that it was held over for three months. 
 
In New York, I organized The Line King’s Library: Al Hirschfeld at the New York Public Library for the Performing Arts Library at Lincoln Center. That show turned out to be a big hit with many visitors and lots of great press, including a wonderful writeup from the venerable Art News.
My final show of the month was an exciting challenge to tell the inherently dramatic story of the Bucks County Playhouse for a special exhibition celebrating the 75th anniversary of one of the country’s most important summer theaters. paired with a big show on Grace Kelly (who got her start at the Playhouse), the exhibition was seen by nearly 100,000 visitors. if you were among the few who missed it, a 25 minute film of the exhibition featuring interviews with a variety of folks connected with it, and hosted by yours truly will be available June 30th, along with an accompanying 40-page book which will include many of the highlights of the show. 
Besides doing press for these shows, I organized a reading of scenes from plays that told the story of the Playhouse for a special event at the Michener in December, put together two other shows for Syracuse University and the Huntsville (Alabama) Museum of Art and have signed on to do two books for next year, and another for 2016. 
Along the way I found time to put together a show many have asked for over the years: an exhibition of Solowey still lifes. There are works from every part of his career and looking at them already on the wall, biased as I am, they are stunning. As much as I love the bold modernist still lifes of the 20’s and 30’s, I must admit I am partial to the works composed of flowers that were grown here on the farm, many of which still bloom, whether they be peonies, hydrangea, tulips, lilies, forsythia and daffodils. As I have been doing research on the history of still life painting, which frequently included objects to denote mortality or the passing of time, Ben’s seem quite different. They are more about life than death. A celebration of the bounty from the earth. I often remember Rae reciting John Greenleaf Whittier:

“If thou of fortune be bereft,
and in thy store there be but left
two loaves, sell one, and with the
dole, buy hyacinths to feed thy soul.”

For Ben and Rae, a floral arrangement on the dining room table was as important to them as the food on their plates. You’ll understand why when you see this show.
For those of you who voted for the Michener’s top 25 artworks exhibitions to

Rae Seated (Green Dress)

Rae Seated (Green Dress)

celebrate their silver anniversary. Rae Seated (Green Dress) placed in the top ten and had a remarkable set of comments written by visitors. I share those with you soon.

We are looking forward to seeing you soon. Look in your mailbox for an invitation

 

From Washington Jewish Week

Ann Leopold Kaplan, a health policy attorney who also had leadership roles in The Jewish Federation of Greater Washington and the Charles E. Smith Jewish Day School, died May 24. She was 50.

“If there was a hard issue to tackle, a project that needed forcefulness with a soft touch, hard work with effective guidance, you would go to Ann because she would bring all of that to the project and you knew that others would follow her leadership – because that is who Ann was,” longtime friend and colleague Lynn Shapiro Snyder said at Kaplan’s funeral, held May 26 at Congregation Beth El in Bethesda…

…Ann Leopold was born on Sept. 19, 1962, in Harrisburg, Pa. She received her bachelor’s degree, magna cum laude, from the University of Pittsburgh, where she was a Chancellor’s Scholar. She received her law degree from the University of Pennsylvania Law School.

In 1987, she joined the national law firm Epstein Becker and Green, where Snyder is a senior member. “Ann grew from a talented starting lawyer, to being my partner and later, my client,” Snyder said.

She became a client after leaving EBG in 2004 to become vice president and deputy general counsel of the Pharmaceutical Research and Manufacturers of America, or PhRMA, the national trade association for the country’s leading pharmaceutical and biotechnology research companies.

President George W. Bush had just signed into law the Medicare Modernization Act providing a prescription drug benefit for Medicare beneficiaries, known as Medicare Part D. PhRMA needed “a health regulatory attorney who understood Medicare and managed care. Ann fit the bill,” Snyder said.

Kaplan was a member of the team that developed the PhRMA Code on Interactions with Healthcare Professionals that was approved in 2008.

“She was the ultimate multi-tasker,” Snyder said. “People like her get a lot of pleasure knowing they get the best use of their time while they’re alive. It’s not a burden. It’s a pleasure.”

“People would confide in her and she would care for them, and you’d have no idea how hectic her life was,” Harris said. “She would be the person who people would go to at a time like this.”

Ann Leopold Kaplan was the devoted mother of Jeremy, Ilana and Daphne; beloved wife of Lawrence; loving daughter of Marx S. and Joan Y. Leopold  of Harrisburg, Pa.; sister of Matthew (Cathy), John (Teresa), David (Laura), Debbie (Jonathan); daughter-in-law of Stewart and Lynn Kaplan of Tarpon Springs, Fla., sister- in-law of Elisa Kaplan Siegel; aunt, cousin, friend and colleague.

In lieu of flowers, donations may be made to LUNGevity Foundation, The Jewish Federation of G reater Washington or the Charles E. Smith Jewish Day School.

Opening Postponed

Dear Friends,

It is with great sadness that I write to tell you that we will have to postpone the opening of the new exhibition, Bathers by Ben Solowey at the Studio of Ben Solowey from June 1st to June 8th, due to the sudden death of

Ben Solowey’s niece, and my sister, Ann Leopold Kaplan. We regret any inconvenience that this may cause you. We will open the show on Saturday, June 8th, and as usual, we will open the Solowey home and fill it with home baked goods. Our regular hours will continue on Saturdays and Sundays through June 16th, and then by appointment through August. This will be the only time the Solowey home is open this year, so we hope to see you now on June 8th.

We’ll see you when we do,

David Leopold, Director

From our archives

From our archives

Oil on canvas, 6 1/2 x 11 1/2, in.

Oil on canvas, 6 1/2 x 11 1/2, in.

June 1 – 16, 2013
Saturdays and Sundays 1 to 5 pm and by appointment through August
Opening reception Saturday, June 1st, 1 to 5 pm

BEDMINSTER, PA — The Studio of Ben Solowey announces a new exhibition, Bathers by Ben Solowey, featuring paintings, drawings, and sculptures of bathers from over a half century of the renown artist’s career. “Ben Solowey drew on the classical tradition of representing the idealized nude in an idyllic landscape, and understood how the Moderns like Cézanne broke with convention to conjure new visions of earthly paradise. Ben personalized the theme to create signature artworks,” says David Leopold, Director of the Solowey Studio.  Bathers by Ben Solowey will open to the public on Saturday June 1st at the Solowey Studio in Bedminster, PA with a reception from 1 p.m. to 5 p.m. The exhibit will continue Saturdays and Sundays, 1 p.m. to 5 p.m., through June 16th and then by appointment through August.

Bathers by Ben Solowey features the wide range of media that Ben Solowey mastered over his sixty year career including oil paintings, watercolors, drawings, and sculpture. “The theme of the bathers reappears throughout Ben’s work from the 1920s on,” says Leopold. “In this show you will see his homage to Cézanne, as well as his variations of it. These works, in a wide variety of media, also provide insight into his relationship with women. At first there are a number of female bathers in his art, but eventually there is just one: his wife, Rae. She came to represent almost all feminine beauty in his work, and the paintings, drawings, and sculpture reveal respect, admiration, and most of all love between artist and model.

Visiting Bathers by Ben Solowey, “there is the thrill of seeing these masterpieces where they were created, in Solowey’s spacious studio,” exclaims Leopold, “which maintains the atmosphere of the artist at work.” The inviting studio, and the beautiful property it sits on, were created and landscaped by Solowey after he left New York in 1942. The Studio has been featured in Architectural Digest, Pennsylvania Heritage, The Discerning Traveler, and Bucks County Town and Country Living.

“In honor of our opening on June 1st we will continue our tradition of serving homemade refreshments in the Solowey home, “ says Leopold. “The two hundred-year old farmhouse was restored by Ben and is filled with museum quality furniture handcrafted by him. This will be the only time we open the house this year, so this truly is a special event.” Regular admission to Bathers by Ben Solowey is $5. Hours are Saturdays and Sundays, 1 p.m. to 5 p.m. through June 16th, and by appointment through August.

Reflection

Watercolor on paper.

Watercolor on paper.

Oil on canvas, 36 x 48 in, 1966

Oil on canvas, 36 x 48 in, 1966

pencil on paper, 16 x 24 in. (with mat)

Pencil on paper, 16 x 24 in. (with mat)

Oil on canvas, 30 x 36 in., 1938

Oil on canvas, 30 x 36 in., 1938

Laughing Mask

Plaster, c. 1976

Plaster, c. 1976

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