{"id":80864,"date":"2014-12-15T18:29:24","date_gmt":"2014-12-15T23:29:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=80864"},"modified":"2014-12-15T21:35:27","modified_gmt":"2014-12-16T02:35:27","slug":"jane-freilicher-1924-2014","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/15\/jane-freilicher-1924-2014\/","title":{"rendered":"Jane Freilicher, 1924\u20132014"},"content":{"rendered":"
\"Freilicher\"<\/a>

Jane Freilicher, Untitled<\/i>, 1965.<\/p><\/div>\n

Jane Freilicher died last week at ninety; the New York Times<\/em>\u2019s obituary called her \u201ca stubbornly independent painter<\/a> whose brushy, light-saturated still lifes and luminous landscapes set in the marshes of eastern Long Island made her one of the more anomalous figures to emerge from the second generation of Abstract Expressionists.\u201d<\/p>\n

In 1965, Freilicher designed the print above for The Paris Review<\/em><\/a>\u2014it was made in an edition of 150 that has long since sold out, unfortunately. The next year, for our Spring 1966 issue<\/a>, she contributed a portfolio of recent drawings, three of which we\u2019ve reproduced below. (Pardon the absence of details\u2014none of these were published with titles or any kind of metadata. Different times, different production values.)<\/p>\n

\u201cAlthough the complex temperament of her painting prevent its being assigned to a single movement or group, she has been associated the so-called New York School,\u201d the editors wrote then, \u201cparticularly with the \u2018second generation\u2019 of abstract expressionists\u201d:<\/p>\n

\n

It should be pointed out that while abstractionism has entered her work to varying degrees and influenced many aspects of it, she has never at any point abandoned subject matter entirely. The subjects she most frequently chooses are the traditional ones of nude, still life and landscape. Their treatment in these drawings is especially interesting in its illumination of the graphic quality of her art, something from which, in her paintings, attention is apt to be distracted by their sumptuous and subtle deployment of color.<\/p>\n<\/blockquote>\n

<\/p>\n

\"IMG_1223\"<\/a><\/p>\n

\"IMG_1225\"<\/a><\/p>\n

\"IMG_1224\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Jane Freilicher died last week at ninety; the New York Times\u2019s obituary called her \u201ca stubbornly independent painter whose brushy, light-saturated still lifes and luminous landscapes set in the marshes of eastern Long Island made her one of the more anomalous figures to emerge from the second generation of Abstract Expressionists.\u201d In 1965, Freilicher designed […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[27],"tags":[35,9241,12976,16379,12023,2143,16381,16380,8306,16382,8783,20547],"class_list":["post-80864","post","type-post","status-publish","format-standard","hentry","category-in-memoriam","tag-art","tag-artists","tag-drawings","tag-issue-37","tag-jane-freilicher","tag-long-island","tag-new-york-school","tag-portfolios","tag-portraits","tag-second-generation","tag-still-life","tag-the-print-series"],"acf":[],"yoast_head":"\nJane Freilicher, 1924\u20132014<\/title>\n<meta name=\"description\" content=\"Remembering Jane Freilicher: excerpts from her portfolio, as seen in our Spring 1966 issue.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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