Adolph Rosenblatt New York, Connecticut (b.1933) Old Man, 1958 impasto oil on canvas signed, titled and dated verso. excerpt of a Biography from the artist's wife: From looking at Adolph's work, an observer would never suppose he studied at Yale with Josef Albers, the master of the square. But Albers was also a master of color, and he had a profound influence on Adolph. In fact Adolph's paintings immediately after art school were almost abstract, studies in color, not rigid but impressionistic, based on leaves and trees. He gradually became more figurative, painting New York City with palette knives instead of brushes, using brilliant colors directly out of the tubes. Eventually the paint became so thick he realized he no longer wanted to work in two dimensions; he wanted to sculpt. He began with beeswax, soft and malleable, almost like blobs of paint, and he did actually paint these wax sculptures. Since we lived in New York, he sculpted large cityscapes, documenting life there much the way he now documents Milwaukee. When we moved to Milwaukee in 1966, he was still working with wax, but then casting the pieces into bronze, the lost wax process. He used very thin sheets of wax so the resulting bronzes would weigh less, and thus the casting would cost less. Even in thin sheets, bronze was expensive, and Adolph was anxious to find an alternative medium. Our sons found one for him. They brought clay home from grammar school, and that started a new chapter in Adolph's career, a chapter which has lasted thus far for twenty-five years. Suzanne Rosenblatt, 1996 31 1/2"H x 20 7/8"W (sight), 40 1/8"H x 29 3/8"W (frame)