Maurice Freedman (American 1904-1985)

As a pioneer painter, Freedman is identified with a loosely knit school of artists in New England in the late 20s and 30s that included Marin, Hartley, Knaths and Avery.  Maurice Freedman is today one of the most accomplished practitioners of an American Art that attempted a synthesis of certain aspects of modern European art and native American subject matter. Yet Freedman remained modest about claims to being a member of the avant-garde of that period. Rather he saw himself as an independent, "Just pushing a brush around and trying to make something work."

His handling of the paint is deceptive, seemingly casual and simply applied, but really orchestrated carefully to the plastic needs of the composition. His color ranges widely according to the same demands, and his knowledge and use of color are extremely sophisticated. His brushstrokes are direct and the final effect is one of great simplicity accompanied by liveliness.

One of the finest descriptions of the work of the late Maurice Freedman was by John Russell, senior art critic for the New York Times.  In his review of Freedman's 1982 retrospective at Midtown Galleries, Russell said, "he learned from Andre L’hote and others in Paris how to handle rich and strong color without letting it get out of hand and how to give individuality to the objects of everyday.  He has never lost that initial vigor of the hand or the driving curiosity as to what may come of it. There are paintings in this show that deserve to go straight into the history of American painting of this century."