Artist and teacher, emigrated from Russia in 1908 and studied at the National Academy of Design from 1919 to 1921, and the Ferrer School in San Francisco. Best known for large figural works, portraits, and still lifes. From 1931, he had a long career teaching at the Art Students League in New York and was a life member of the League. He also taught at the American Art School in New York City, the Brooklyn Museum School, the Lyme Art Academy, and the Madison Art School in Connecticut. His portraits include Abby Aldrich Rockefeller, John D Rockerfeller, Jr., Charles Lindburg, John Foster Dulles, Miirrha Alhambra (Pauline Joutard de Evia) as well as portraits commissioned by the Air Force Academy and the State Department. The final paragraph in Bates' book about Brackman sums up his approach to painting. "The student has a right to expect his teacher to show him how to tell a good piece of work from a poor one and how to set about the making of a good one, though he cannot expect the instructor to turn him into a creative artist. He may also expect to be taught the great fascination of his craft, which caused the sublime Hokusai, in his old age, to wish to be remembered simply as "an old man, mad about painting." This represents the essence of his dynamics as a teacher. (bio by: David McJonathan-Swarm)
Artist and teacher, emigrated from Russia in 1908 and studied at the National Academy of Design from 1919 to 1921, and the Ferrer School in San Francisco. Best known for large figural works, portraits, and still lifes. From 1931, he had a long career teaching at the Art Students League in New York and was a life member of the League. He also taught at the American Art School in New York City, the Brooklyn Museum School, the Lyme Art Academy, and the Madison Art School in Connecticut. His portraits include Abby Aldrich Rockefeller, John D Rockerfeller, Jr., Charles Lindburg, John Foster Dulles, Miirrha Alhambra (Pauline Joutard de Evia) as well as portraits commissioned by the Air Force Academy and the State Department. The final paragraph in Bates' book about Brackman sums up his approach to painting. "The student has a right to expect his teacher to show him how to tell a good piece of work from a poor one and how to set about the making of a good one, though he cannot expect the instructor to turn him into a creative artist. He may also expect to be taught the great fascination of his craft, which caused the sublime Hokusai, in his old age, to wish to be remembered simply as "an old man, mad about painting." This represents the essence of his dynamics as a teacher. (bio by: David McJonathan-Swarm)
Bio by: D C McJonathan-Swarm
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