New Painting: Woman in a Red Shirt

Woman in a Red Dress

Woman in a Red Shirt: Oil on 300# wc paper

I just finished this painting a few days ago.

I started this painting as a response to Picasso’s Woman in a Blue Veil the version of a young girl: I understood his painting to be the Annunciation to Mary: the blue veil alludes to the blue commonly associated to Mary in European art history, the image is a young girl not fully developed, and the light falling upon the face from her left and her concentration on it.

I wanted to make an image that would allude to the quality of Eros: in European painting she is the Lady in Red juxtaposed to Love in the painting by Titian: Sacred and Profane Love. The idea was to keep the painting simple in the manner of Picasso’s painting; but I got more and more deeply involved with appearances and detail as the painting progressed: so, under the original terms the painting is a failure.

The distortions are an effect of compositional decisions. The skin color is  variations on the color copper. The background colors are the fifths to the clothing and the skin colors.

  1. Hi,
    This is a very nice interesting website/blog I am really enjoying reading it particularly because I was also a student of Georges. I know Paul because he was his assistance when I worked as Goerges’ apprentice many years ago in West Cork. Only (not meaning to be rude) but you seem to have neglected to publish your name, because I cannot find it any where on this site… but maybe I am just missing it. Als I do not know if you know Bob Lee as I am sitting with him right now showing him your site and we have been talking about George all evening.
    Enough for now but please feel free to contact me.
    Tighe O’ Connor

    • Hi Tighe,
      My name is Gene Kronberg. I studied under George from about 1969 until 1972 and was his research assistant during that time. Under him, I studied Drawing, color, and the psychodynamics of seeing: visual perception.

    • Peggy said:

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  2. Denise said:

    Hello all- I think of Dr. Weber very often. I was a student of his in the 70’s(@73-75) at Rutgers Newark. I never took his art history classes, however his drawing class(or as he would say, ‘visual recording’) was my intro to art and I still utilize some of the tools he shared with us. He encouraged me to study with him independently, which I did for a semester or two, and I felt so privileged that he kept some of my work to use as samples for future classes. I only wish I had stopped by to see him before he went to Ireland, but I was young and distracted by life. One anecdote I will leave with you….one time he passed me in the hall corridor and did not acknowledge me…I felt awful, until I turned to see him bump into a locker cabinet! His vision was atrocious, but he told us he used 100% of the 20% vision he had, as opposed to most of us, who had 100% vision and only used 20%. So true.

    I do hope some day his work will be on display, hopefully on one of the Rutgers campuses.

    • Hi Denise,
      Good to hear from another of George’s students. Your timeline is just after I left for graduate school; however, I was around his office in the fall of ’73 while I was recuperating from a major operation for which I had returned to NJ.

      George had tunnel vision: if you taped off a 1/4″ square in the center of each of your eyeglass lens, you would have the approximate field of vision George possessed. This is why you would see him walking with his hand grasping one of his assistant’s arms.

      Paul, his last assistant in Ireland, is working on obtaining a show of George’s work. I do not know how he is progressing.

      • Denise said:

        Thanks for writing back Gene. Do you have any idea if George was influence by the author(can’t think of her name) who wrote ‘Drawing on the Right Side of the Brain’? Some of his exercises reminded me of the concepts in her book.

        Wow, tunnel vision…I never knew. I will never forget his Josef Albers color exercises. Such fond memories. Although I am not a professional artist, I paint in pastels frequently, and I think of his class when I squint to simplify the field of vision.

        Good to hear from you and I welcome any exchanges you might have about him and a possible show….Best regards, Denise

    • Hi Denise,
      It is so good to have another Webite join us to be able to share our stories about George.

  3. Also about his eye sight he told me that he had what was called Tunnel vision which meant he could only see in two tunnels with no periphery sight whatsoever. I would often see him scanning things but I think it was this disability that made him such a brilliant artist and was especially evident in his teaching of drawing and colour theory.

    • Denise said:

      Hello Tighe, I agree. I am so glad I stumbled across this site I’m eager to continue sharing stories as well. I recall seeing only one of his paintings, and I was so surprised that it was an abstract. I am able to visualize it, if I’m correct it was a lot of small squares overall gold toned, probably evidence of his color theory…this was at the Zimmerli in New Brunswick in a faculty show that seems like one hundred years ago. Looking forward to more notes in the future….Best, Denise

  4. Denise, I don’t think he had any influence on that book; but I do consider Drawing on the Right Side of the Brain very useful. I made use of Edward’s concept of drawing the emotions.

    • Denise said:

      Thanks Gene. I also studied at the Art Students League in NYC so I may be confusing some things I learned from Gregory D’Alessio’s drawing class with George’s. Two great instructors and interesting men. This is inspiring me to pick up a pencil and charcoal and put the pastels away for a bit.

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