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Simon Dinnerstein: Triptych Fulbright
Exhibition September 9 − December 8, 2019
Borrowed from the Palmer Museum of Art at the University of Pennsylvania, "Triptych fulbright»(1971–74) Simon Dinnerstein was created in the era of post-war art, when minimalism, video art and installation dominated the New York stage. At that time, the figure and even the painting itself was not in fashion.
Dinnerstein began a monumental suite in Germany during a Fulbright scholarship in 1971 to study printing. Having taken the medieval sacral form of a triptych the size of an altar, it replaces traditional religious themes with a secular and very personal, original iconography. In the center panel, he shows the engraved plate and the instruments of the printers under two windows depicting views from his studio in Kassel, Germany. The artist paints himself, his wife and little daughter in the side panels. It fills the walls of each panel with details of famous paintings by old masters, drawings and engravings, children's drawings, photographs, quotes and sketches. Dinnerstein graduated from a triptych in Brooklyn in 1974, a “little-known masterpiece of realism of the 1970s” (according to Robert Smith from The New York Times), in which the intersection of personal and historical predetermined the path that postmodernism takes a decade later.
Dinnerstein began a monumental suite in Germany during a Fulbright scholarship in 1971 to study printing. Having taken the medieval sacral form of a triptych the size of an altar, it replaces traditional religious themes with a secular and very personal, original iconography. In the center panel, he shows the engraved plate and the instruments of the printers under two windows depicting views from his studio in Kassel, Germany. The artist paints himself, his wife and little daughter in the side panels. It fills the walls of each panel with details of famous paintings by old masters, drawings and engravings, children's drawings, photographs, quotes and sketches. Dinnerstein graduated from a triptych in Brooklyn in 1974, a “little-known masterpiece of realism of the 1970s” (according to Robert Smith from The New York Times), in which the intersection of personal and historical predetermined the path that postmodernism takes a decade later.
