Sarai Sherman (September 2, 1922 – October 24, 2013) was a Pennsylvania-born Jewish American artist whose work, both in America and Europe shaped international views of women and abstract expressionism. She was a significant twentieth century painter and sculptor known for her abstract paintings, prints and ceramics.
Life and work
Sherman was born in the Germantown section of Philadelphia, Pennsylvania in 1922. She showed an early predisposition towards painting and was enrolled in an arts and graphics program around the age of 10. These early years began to shape her artistic interests in people, nature and the built environment. She attended Kensington High School and continued to explore artistic themes and painting. Sherman studied at the prestigious Barnes Foundation in Pennsylvania where she was exposed to seminal works of modern masters and she attended the Tyler School of Art at Temple University, headed at the time by Russian-born artist Boris Blai with faculty including Earl Horter and Honga Holm. Sherman graduated with a Bachelor of Fine Arts and a Bachelor of Science degree in education and then enrolled into the Master of Arts program at the University of Iowa, graduating with a degree in art history and painting. In 1948, at the age of 26 Sherman showed a painting titled “Hericane Time” at the Pyramid Club.
Sherman moved to New York City to pursue art. During this period she designed fabrics and wallpaper that were sold though stores in Philadelphia and New York. In a United Press International article published in June 1958 Sherman provided a glimpse into her textile and interior architectural design philosophy: "Designers must have a real sense about people and machines or they'll produce designs which are cultural lags. We must understand the American Women especially, and realize that she is in a state of transition."
During WWII, Sherman lived in Eagle Pass, Texas where her husband was stationed with the 45th Massachusetts Regiment.
Italy, 1952-1954
Sherman was awarded a Fulbright Grant to paint in Italy. There she gained a deep perspective into the poverty of postwar Europe. The experiences touched Sherman and became a turning point in her artistic development. For her, Italy became a platform from where she could look and participate in culture completely. She wrote from Matera in the Spring of 1953 "I feel at home...not because these caves remind me of Philadelphia, but because somehow a passage of light or color, or the motion of an animal, recall to my mind moments of my childhood, distant places. I feel as if it were my former self contemplating this forbidding white region. I see a woman with her child in her arms: His small body is in continuous motion, he looks around, he screams. I see mother and child in the sunlight, and it seems to me that I saw them years before, exhausted, yet beautiful. The old image is superimposed in the new one. The painting process is automatic, spontaneous, it leads me. The finished product is all chrome yellow, with ochre hues hovering between white and ivory. They reveal a sense of the ancient."
Sherman's conceptual ideas that were expressed in her painting were comparisons between reality and reminiscences, a compelling concern with the world of others, with the dejected southern Italian population and an identification of her own origin within that dejection and that poverty. During these years her art proceeded autobiographically, in the sense that, following an irrepressible necessity she identified with the subjects of her paintings. This period is full of symbolic content, the tenderness, the thoughtfulness of her paintings, which often become the moment of completion of an experience instead of simply leading to the discovery of new worlds of characters.
The exceptional episodic importance which was at the base of works done before 1955 becomes evident in the late 1950s. What used to be the figurative concentration of a tragedy becomes a portrayal of persons and things perceived in the midst of reality in fieri until the fleeting moment sets in.