Philip Pearlstein (1924-2022), a celebrated American artist, was known for his masterful figure paintings, capturing the human form with exquisite detail. When the COVID-19 pandemic hit and physical distancing measures prevented him from inviting models into his studio, Pearlstein found new inspiration in his extensive collection of antiquities and ancient art. This remarkable collection, accumulated over decades of devoted collecting, became the central theme for a series of watercolors created during this unique period called Treasures from the Studio (2022).
Pearlstein's collection of art, which is now being offered by Freeman's | Hindman in a series of auctions starting with Antiquities and Ancient Art, Modern and Contemporary Art and concluding with Timeless Treasures: Exploring Antiquities & Americana from Philip Pearlstein’s Studio, includes a wide range of ancient objects that he carefully curated over his 98-year life. His keen eye for artifacts and historical treasures is reflected in these watercolors, where he arranged and depicted various clay, terracotta, and earthenware art in unique compositions.
Join Gemma Sudlow, Managing Director, New York as she speaks to Sophie Pearlstein, Philip Pearlstein’s granddaughter, and revisits some of her most fond memories with the visionary artist.
Sophie, thank you for agreeing to share your experiences with us. We are excited at the prospect of offering your grandfather’s collection of fine art, antiquities, americana and folk art in our upcoming auctions at Freeman’s I Hindman. I wonder if you could share some of your earliest memories of him and visiting his studio.
My grandfather’s studio was a very special place to visit when I was young. It was full to the brim with eccentric furniture, antiquities, toys and much more. Whenever I visited, it felt like I was at some sort of amusement park. I would spend hours going from object to object, asking my grandfather where each thing came from. No matter how obscure the object, its commercial value, or how many years prior it had been purchased, my grandfather was always able to tell the story of each acquisition. Philip was a very joyful person, and his studio was a reflection of his personality.
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The studio in Chelsea was such an inspirational space – dense with colors, lines, forms, and patterns. How did your grandfather collect and to what extent do you think his collecting influenced his artistic journey?
My grandparents were scholars and collectors and had an extensive knowledge of the art historical canon. Whenever they were interested in an object, they would learn about the culture that it came from and the given historical context.
By rendering the objects he owned in his paintings, my grandfather expanded upon the subject matter available to him. Painting these objects also allowed him to further study and admire each one. The larger his collection grew, the more they populated his compositions. What always amuses me is that Philip saw no hierarchy between very valuable, historic objects and knick-knacks that he bought in Hell's Kitchen. He always just painted what he thought was interesting and visually challenging.
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Your grandfather was friends with other very prominent artists such as Andy Warhol, Alex Katz, Tom Otterness and others whose works are represented in our suite of sales. Did he ever share stories of these friendships and to what extent was he influenced by his peers versus artists in the historical canon?
Philip often told stories about his early years with innumerable now prominent artists. He deeply appreciated and respected the work of his friends and peers. I think that, especially in the 60s, his work developed in conversation and in tandem with these artists. Each drew from the art historical canon in his or her own way while finding their footing in the post-Ab-Ex art scene.
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Your grandfather’s paintings have enjoyed a resurgence of interest in the marketplace this past year. Tell us about the important work you are doing to preserve his legacy and grow the audience for his important body of work.
The Estate’s priority is to maintain Philip’s status in 20th-century art history while also presenting his work in the context of the contemporary art world today. His work is equally as relevant now as it was in the mid to late 20th century and has informed the work of so many cutting-edge painters today. What has struck me in the past year is that his work evokes nostalgia for those who recognize it and excites people who are seeing it for the first time.
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You have chosen a career path in the art world yourself, to what extent have your personal choices been inspired by his life and work?
Almost every choice that I have made so far in my professional life is thanks to my grandfather. When he was alive, my interest in art history and the commercial art world allowed us to connect and since he passed away, working in the art world has allowed me to still feel close to him. Having such an intimate knowledge of his oeuvre has given me a better understanding of contemporary figuration, as many of the artists that I follow have studied his work.
What contemporary artists working today do you think he would admire?
I would always show my grandfather photos of works by contemporary artists that I liked to try to get his opinions and criticisms. His taste was wide-ranging and his go-to phrase was, “I don’t understand it, but I like it.” I’m sure he would have been very taken with the works of young figurative painters like Louise Giovanelli, Chloe Wise, and Anthony Cudahy.