When: Opening Reception: Sunday May 5, 1996, 4:00 - 6:00pm. RSVP Phone: (609) 921-1142 or Email: firstname.lastname@example.org Hours: May 5 - June 7, 1996 Gallery hours daily: 10:00 am to 4:00 pm. Where: The Merrill Lynch Art Gallery Merrill Lynch (Main Entrance) 800 Scudders Mill Road Plainsboro, New Jersey 08536About the Artist:
Lillian Schwartz is a pioneer in the use of the computer in the Arts. She uses the computer to create works of art in graphics, film/video and special effects, and in art analysis. Her work is in major art collections around the world, including the Museum of Modern Art, the Whitney Museum, and the Metropolitan Museum of Art in New York, and the Museum of Contemporary Art, the Georges Pompidou Center, and the Grand Palais in Paris. She has received many awards including an Emmy, Emmy Nominations, and an Academy Award. A Fellow of the World Academy of Art and Science, Schwartz wrote with Laurens R. Schwartz, "The Computer Artist's Handbook" (W.W. Norton 1992). For many years she has been consulting with major corporations involved with computers and technology.
Arno Penzias (Vice President and Chief Scientist, Lucent Technologies, Bell Labs):
"What we know as computer art began in December 1968,when Lillian Schwartz grasped a light pen and began to draw."Barbara London, curator at The Museum of Modern Art, New York, has followed Lillian Schwartz's work since the 1970's. She calls Schwartz:
"gifted and an innovator who maintains a career on the cutting edge."
(Excerpted with permission by Barbara London, from Leon Museum of Contemporary Art, December 1995)About The Exhibit:
A stunning visual and artistic feast is presented in Lillian Schwartz's digital paintings and in her images depicting electronic/ historical analysis of the great masters.
Leonardo da Vinci and the Mona Lisa
After comparing the Mona Lisa and Leonardo's self portrait, Lillian Schwartz resolved a 500 year old conflict by demonstrating, with the aid of the computer, that Leonardo used himself as a model for the portrait. The Mona/Leo portrait will be exhibited along with the morphing of Leonardo's self -portrait with his Mona Lisa.
The Mask of Shakespeare
In the search for the identity of the only portrait associated with Shakespeare's writings, Schwartz analyzed the well known engraving by Martin Droeshout in the First Folio edition. She concluded that the portrait was based on the face of Queen Elizabeth I. engraving of the Bard.
Leonardo and his Last Supper
Scholars have long argued over what perspective Leonardo used to create his Last Supper and where in the refectory one should stand to view the fresco so that it appeared to be an extension of the real room. Schwartz solved this long standing controversy with the aid of a 3- dimensional computer model.
Leonardo and the Grotesques
Leonardo's "grotesque" faces have caused art scholars to question whether he conjured up these portraits or sketched them from life? Surprisingly Schwartz's analysis demonstrates that Leonardo used his own rules of proportions for these bizarre creations.
The intense images in the "Beyond Picasso" series were "painted" directly on the computer screen and reveal the shapes, composition and essence of Picasso's style as interpreted by Schwartz.
These small works, inspired by today's fascination with the world-wide-web and it's jargon, represent a number of Schwartz's inventive and fanciful "home pages" . This intriguing use of technology demonstrates that the electronic medium is being used to create museum -worthy art.
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