Jerry Weiss

Born into an artistic household, Jerry Weiss studied drawing with Roberto Martinez in Miami, Florida, and drawing and painting with Harvey Dinnerstein, Robert Beverly Hale, Mary Beth McKenzie, Ted Seth Jacobs, and Jack Faragasso at the Art Students League and the National Academy in New York City. He has had numerous one-man exhibitions in museums and galleries, and his portraits, figures, and landscapes are represented in public, private, and corporate collections, including the Boca Raton Museum of Art, the New Britain Museum of American Art, Brigham and Women's Hospital, The Harvard Club of New York, the Connecticut State Capital Building, and the University of North Carolina at Chapel Hill. Weiss was awarded the Isaac Maynard Prize in the National Academy of Design's 159th annual exhibition and the Julius Hallgarten Prize at the 167th annual. He was also awarded a Fellowship for Painting by the New Jersey State Council on the Arts.

Weiss has written features for The Drawing Magazine, and is a contributing editor for The Artist’s Magazine, for which he writes features and the "Master Class" column. He is represented by The Cooley Gallery in Old Lyme, Connecticut and Portraits, Inc. Weiss has taught and lectured at art schools and art associations in Colorado, Connecticut, Florida, Maine, Massachusetts, New Mexico, New York, and Washington, and was an instructor at the Lyme Academy College of Fine Arts for fifteen years. He currently teaches Painting and Drawing from Life at the Art Students League of New York, as well as intensive workshops there and in other venues around the country. For more information, visit www.jerrynweiss.com.

Posts

  • News from Jerry Weiss

    A portrait commission, two group shows, and an article

  • Updates from Jerry Weiss

    Jerry Weiss's summer projects include two gallery shows, contributing writer appointments with two art magazines, and a portrait commission.

  • Eclectic Paths

    For an aspiring artist, being born in South Florida turns out not to have been such a bad thing.

  • A Boston Painter, Rediscovered

    The Portsmouth exhibition harvests over seventy of Gertrude Fiske’s paintings from private and public collections. It is a modest venue for an ambitious agenda, namely the revival of an artist whose reputation has languished for the balance of the last century.

  • Tibetan Art, Rescued and Restored

    “Tibet,” Giuseppe Tucci wrote, “was, and still is, the greatest love of my life; and the more I burn with this love, the more difficult it seems to satisfy with each visit."

  • Odes to the Midwest

    Grant Wood was opaque regarding the meaning of his paintings, and it’s entirely possible that even he didn’t know, or wasn’t willing to admit, what he felt.

  • Harvey Dinnerstein’s New York

    It surprises and gladdens me that an artist who possesses such a sharp eye, with so little patience for bullshit, exercises a consistently lyrical vision in his art.

  • Francisco de Zurbarán at the Frick

    The mystery is in the motivation for Zuburán's paintings of Jacob and his twelve sons.

  • Anxieties Made Public

    This is Edvard Munch, the first artist to present a tormented visual autobiography in full view of the public, and an artist for whom the designation "Expressionist" too narrowly circumscribes his range and impact.

  • At the Met

    Exhibitions devoted to the work of Michelangelo, Rodin, and David Hockney are now on view at the Metropolitan Museum of Art.

  • Andrew Wyeth’s Hundredth Birthday

    Now on view at the Farnsworth Art Museum in Rockland, Maine, exhibitions of work by Marguerite Zorach and Andrew Wyeth

  • Urban Realism and Old Masters at Lyman Allyn

    Jerry Weiss reviews two simultaneous exhibitions at the Lyman Allyn Museum of Art, First Impressions: Master Drawings from the Lyman Allyn Collection and Urban Realism in American Art (1890 – 1940).

  • In the Devil’s Vineyard

    Americans responded to war then with the same varied attitudes as we do now: a selection of the jingoism, rage, horror, and grief of a century ago is on display at the New-York Historical Society in World War I Beyond the Trenches.

  • "Henry James and American Painting" at the Morgan Library & Museum

    What James wrote about the art of American painters still makes for good reading, as he had a facility for wrapping snark and appreciation in the same package.

  • The Artist as Collector

    "The best reason to collect isn't for the sport of it, nor for profit," Weiss writes. "Each of these drawings and paintings speaks to the artist's observations and aspirations, and each of them resonates with me for various and personal reasons."

  • Of Landscape and the Distances Between

    With a stringent palette and relentless attention to topographical landmarks as well as the distances between them, Patrick George imposed an intimate order on the pastoral landscape.

  • Recollections of Susan

    "The romantic fantasy of a painting soulmate seems silly at this point in my life, yet it happened at an age when it meant the world."

  • Klimt, Schiele, Kokoschka and Women 

    Galerie St. Etienne's The Woman Question: Gustav Klimt, Egon Schiele and Oskar Kokoschka is a showcase of figure draftsmanship and a master class in linear economy.

  • “I Wish to Declare Myself the Painter from Maine.”

    The current show at Met Breuer confirms that Marsden Hartley's works number among the very best paintings of Maine, and of American modernism.

  • Portraits of Color

    How many white women painters in the 1940s, no matter how bohemian, opted for Spanish Harlem over Greenwich Village?

  • Turner's Modern and Ancient Ports

    Turner's narrative intent is forever sublimated to the beauty of the painting.

  • Swedish Treasures at the Morgan Library

    Gems from the collection of Count Carl Gustaf Tessin that became the nucleus of the Nationalmuseum of Sweden, founded in 1792.

  • Impressionism’s Perfect Moment

    Alfred Sisley possessed the ability to synthesize influences, not only those of Corot and Monet, but Constable and Renoir as well, without the ambition to mold his borrowings into an instantly recognizable and trademark-ready product.

  • A Gifford Beal Painting Rediscovered

    A Gifford Beal canvas perfectly preserved for seventy-five years beneath another.

  • The View from Chapel Street

    On a visit last week to New Haven, all roads led to Venice, or so it seemed to me. What with the midday traffic on Church Street, maybe I just wanted to go somewhere far away, where there are no cars.

  • Hans Memling at the Morgan Library 

    The Morgan show offers a reason to stop and admire different virtues, from a time when piety and painting were synonymous, and portraiture was undertaken with the intensity of a newfound love.

  • Twentieth-Century Art in Palm Beach

    Leaving the Four Arts and the art of a near-distant past, one is struck by how quickly what was once novel is now accepted in staid surroundings, though rarely quickly enough for the artists themselves to reap material benefit.

  • Seeing Red

    The show at Galerie St. Etienne is a less than subtle reminder that the same issues which drew moral outrage in the last century—labor unrest, economic disparity, political corruption, the cloud of nuclear war—are very much with us.

  • The Apotheosis of a Minor Master

    Guido Cagnacci's signature theme was the half-length female nude, which satisfied the three standard criteria of such artworks: a narrative foundation, showmanship of technical prowess, and an erotic hook.

  • A Tutorial in Economy

    Fairfield Porter painted images of a leisurely life on Long Island and in Maine when abstract expressionism was ascendant, and in that zeitgeist the idea of an American artist chronicling a trouble-free suburban environment would easily be taken for dilettantism.

  • Sober Poetry

    Valentin is the sort of artist I would have been thrilled to discover during my student years: richly talented, emotionally dark, and, best of all, virtually unknown in America.

  • The League and Union Square

    A vibrant overview of a distinctive New York City contribution to American realism in the first half of the twentieth-century

  • David Pena, Artist

    Dave was a real New Yorker, and in all his flamboyance, incorrigibleness, convulsive laughter, and memorable kindness, he was a quintessential part of Art Students League life.

  • On Relevance

    Until I saw the New York Times article, I had no idea that the art of the last six centuries had ceased to matter. I mean, I've been following the news every day.

  • A Parallel Intimacy

    On Familiar Ground is a two-person exhibition at the Lyme Academy College of Fine Arts that continues through August 13, 2016.

  • Back to the Garden

    The Artist's Garden: American Impressionism and the Garden Movement, 1887–1920, an exhibition of "vital naturalism," now on view at the Florence Griswold Museum

  • On Letting Go

    Most artists dread the thought that their life's production will be annihilated.

  • Two Articles by Jerry Weiss

    Upcoming in two issues of The Artist's Magazine are articles about Edgar Degas and Julian Alden Weir by Jerry Weiss.

  • “In the Charming Little Village of Windham”

    Of our major artists, J. Alden Weir is one of the least likely to inspire impassioned tribute. It's not for lack of effort; in fact, the problem is that he tried too hard.

  • Remembering the National Academy

    Pondering the closing of the National Academy of Design's home on Fifth Avenue, Eakins’s vulnerable expression, caught between resistance and resignation, may well speak for many artists.

  • Guilty Pleasures

    Themes that I’d find irredeemably cornball from any other artist are rescued both by Abbott Thayer’s prickly earnestness and his formal abilities as a draftsman and painter.

  • Worth the Wait

    Arguably the greatest draftsman of his time, there was nothing fastidious in his thinking. Degas couldn’t wait to find new ways to get his hands dirty.

  • Art, Interrupted

    Often not even the artist knows for certain when a work of art is done.

  • Jerry Weiss at Portraits, Inc.

    Jerry Weiss will be exhibiting at Portraits, Inc. in April.

  • Jerry Weiss on Daubigny's Influence

    "A Good Example for Those Who Come After" is Jerry Weiss's latest "Master Class" column in The Artist's Magazine.

  • Jerry Weiss's Upcoming Articles and Lecture

    Weiss's articles about Harvey Dunn and Peggy Root and his lecture on painting familiar places.

  • Poplars and a Portrait in West Palm Beach

    Degas and Van Gogh shared common ground in their disdain for convention, or more to the point, a willingness to circumvent conventional means when necessary, which is to say frequently.

  • “I Will Make Something of Myself.”

    A review of Paula Modersohn-Becker at Galerie St. Etienne

 by Jerry Weiss.

  • An Abstinent Palette

    "I absolutely think that a picture has the best effect in strictly coloristic regards the fewer colors there are in it."

  • Andrea del Sarto at the Frick Collection

    A survey of the Renaissance master’s drawings lands in New York.

  • Jerry Weiss in Two Group Shows

    Jerry Weiss is currently exhibiting paintings in two group shows at Connecticut galleries.

  • An Ode to the Shoreline

    Five American painters and their visions of the shoreline in summertime.

  • On Educated Guesses and a Velázquez in New Haven

    Deattributions often go unnoticed, in large part because nobody wants to publicize them. Conversely, it’s news when an artwork is promoted to the canon of a master.

  • Time for Sargent

    The necessity to impress patrons tinges everything Sargent painted; ever the master of prestidigitation, even in his relaxed moments he is a thoroughly public artist. No other major painter’s manual dexterity is so central to his identity.

  • Jerry Weiss at Cooley Gallery

    Painting the Figure is a solo exhibition of Jerry Weiss's figurative paintings and drawings opening at the Cooley Gallery on July 15.

  • In New York City This Month, Orange is the New Black

    Painter Jerry Weiss isn't so sure Flaming June is the best picture in the room at the Frick Collection.

  • An Incomparable Final Act

    The Museum of Biblical Art closes its run with a memorable show of twenty-three works representing the pinnacle of Florentine sculpture in the early Renaissance, never before seen in this country until now.

  • Jacob Lawrence’s Migration Series at MOMA

    The Migration Series is treated less as art than as a point of departure for a walk-through documentary.

  • New York, New York

    Two current exhibitions feature notable painters of the urban scene, Richard Estes and John Dubrow.

  • Jerry Weiss on Correggio's Jupiter and Io

    Jerry Weiss writes about Antonio Allegri da Correggio's Jupiter and Io for the June 2015 issue of The Artist's Magazine.

  • Technical Prowess, at the Service of the Spiritual

    Voyeurs in Virgin Territory, a show of nineteenth-century landscape painting on view at Questroyal Fine Art, is a beauty.

  • Whistler’s Travels

    The painter best known for artful evanescence may still surprise us for the exactness of drawing that characterizes his prints.

  • A Summer on the Streets

    An ode to artistic friendship and the serendipity of plein-air cityscape painting.

  • Remembering Walter Liedtke

    For Walter Liedtke, it was imperative to humanize rather than deify artists.

  • Neil Welliver Oil Studies

    Welliver's palette, devoid of earth tones, was chosen to suggest the presence of air and to create an image that would parallel, rather than replicate, the luminosity of nature.

  • The Art Students League and the Lyme Art Colony

    The Art Students League of New York is inextricably connected to the history of Old Lyme, Connecticut.

  • Recollections of Deane G. Keller

    Deane’s great skill was his ability to transcribe human forms from memory.... His owlish face was as quick to slyly smile as it was to cloud over, for he was at once one of the most brilliant and emotionally kinetic people I’ve ever known.

  • Jerry Weiss on Frederic Edwin Church

    Jerry Weiss on Frederic Edwin Church’s Twilight in the Wilderness, what one art historian considers among the greatest paintings in American art.

  • Saturday Night with Madame Cézanne

    The Metropolitan Museum's Madame Cezanne and its accompanying catalogue go a long way toward rewriting a well-worn narrative of conjugal disfunction.

  • Andrew Wyeth at Adelson Galleries

    I approach Andrew Wyeth’s work circumspectly, in order to tease apart and separate the art from the commodity.

  • Rousseau and Nineteenth-Century Landscape Paintingat the Morgan

    There are a couple of exhibitions of nineteenth-century landscape painting now on view at the Morgan Library & Museum.

  • Egon Schiele’s Portraits

    A master of the unbroken contour, Schiele could suggest the living swells and valleys of a figure so dexterously that any elaboration by means of value would have been, well, academic.

  • Masterpieces from Edinburgh at the Frick

    A lot of us will never get to Edinburgh, but a choice piece of Scotland is visiting New York: Masterpieces from the Scottish National Gallery has opened at the Frick.

  • Jerry Weiss on the Sects of Figurative Painting

    In "Boy in a Red Waistcoat," his latest article for the "Master Class" column of Artist's Magazine, Jerry Weiss suggests Cézanne had a connection to classical sources far greater than many of today's classical realists would acknowledge.

  • Weiss on Painting a Spectacular Subject

    "How does one paint autumn?" asks Jerry N. Weiss in "Autumn's Lament & License," forthcoming in the November 2014 issue of the Artist's Magazine.

  • Hatching—Technique and Unique Calligraphy

    "To speak of great drawing is, by implication, to refer to the art of hatching," writes Jerry N. Weiss. "It's a technique born of a practical consideration: how best to translate three-dimensional imagery to paper."

  • Weiss on Eugene Speicher

    Jerry Weiss writes about Eugene Speicher and the fortunes of artistic reputation.

  • Weiss on Raphael Soyer

    Raphael Soyer's art was the subtle expression of an unwavering vision, writes Jerry N. Weiss.

  • Jerry Weiss on Mary Cassatt

    In "A Matter of Style," Jerry Weiss writes about how Mary Cassatt painted an ungainly subject as a retort to Edgar Degas.

  • Workshops with Jerry Weiss

    Jerry Weiss will be teaching two workshops in New Hampshire this August.

  • Jerry Weiss's Landscape Workshop at the Lyme Art Association

    Jerry Weiss will be teaching a two-day workshop at the Lyme Art Association.

  • Jerry Weiss on Joaquín Sorolla in the Artist's Magazine

    "Shafts of Sunlight" is a ten-page illustrated article by Jerry Weiss on Joaquín Sorolla's paintings, which appears in the March 2014 issue of The Artist's Magazine.

  • Jerry Weiss at Main Street Gallery

    Seven of Jerry Weiss's landscape paintings will appear in an exhibition at the Main Street Gallery of Congregation Beth Shalom Rodfe Zedek, in Chester, Connecticut.

  • Jerry Weiss at Elizabeth Moss Galleries

    Jerry Weiss will exhibit landscapes at Elizabeth Moss Galleries in Falmouth, Maine, during February and March 2014.

  • Upcoming Jerry Weiss Workshops

    Jerry Weiss will be teaching workshops in large-scale figure painting and drawing with the brush at the Silvermine School of Art (New Canaan, CT), February 6–7 and March 27–28, 2014.

  • Weiss at the Movies

    Catch a glimpse of several of Jerry Weiss's landscapes and nudes in the romantic comedy A Case of You, starring Justin Long and Evan Rachel Wood.

  • Figure Painting Workshop with Jerry Weiss

    Jerry Weiss will be teaching a five-day figure painting workshop, June 24–28, at the Silvermine Arts Center in New Canaan, CT.

  • The Studio Project | Jerry Weiss

    The studio I work in is located In Chester, Connecticut, a little more than two hours north and east of New York City.