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Location: Northridge, California
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Item: 256613940779
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Type:Painting
Artist:WILLIAM PTASZYNSKI
Unit of Sale:Single Piece
Signed By:WILLIAM PTASZYNSKI
Size:Medium
Signed:Yes
Period:Post-War (1940-1970)
Material:Canvas
Certificate of Authenticity (COA):No
Region of Origin:California, USA
Framing:Framed
Subject:SANTA BARBARA
Personalize:No
Original/Licensed Reproduction:Original
Item Height:21 in
Theme:Art,Nature,LANDSCAPE
Style:Abstract,Experimental,Modernism
Features:One of a Kind (OOAK)
Production Technique:Oil Painting
Country/Region of Manufacture:United States
Item Width:29 in
Handmade:Yes
Time Period Produced:1960-1969
WILLIAM PTASZYNSKI OIL PAINTING ON CANVAS SIGNED BOTTOM LEFT DATES TO THE 60S CONDITION VIEWS WELL. OLD REPAIR BOTTOM RIGHT. SEVERAL FAINT SCUFFS CENTER RIGHT. MINOR AREAS OF PAINT LOSS. FRAME HAS STAINS AND SCUFFS. CANVAS 16 BY 24 INCHES FRAME 29 1/4 BY 21 1/4 INCHES William (Bill) Ptaszynski (1926-1984) Detroit born William (Bill) Ptaszynsky received his formal education at the Society of Arts and Crafts and at the Jepson Art Institute in Los Angeles. After studying with Rico Lebrun (1900-1964), Bill served for some time as his studio assistant, and during 1960 as his associate in carrying out the monumental Genesis mural at Pomona College.From 1952 onward, he participated in many group exhibitions, including shows at the Frank Perls Gallery, the Los Angeles County Museum, the California State University Long Beach Art Gallery in the Los Angeles Area, the Esther Bear Gallery and the Santa Barbara Museum of Art. Out of state included the Mat Corner Gallery in Tempe, Arizona; the University of North Carolina at Greensboro; the Norfolk Virginia Museum of Arts and Sciences and the Smithsonian Institution.He had one-man shows at the University of California at Santa Barbara and Santa Barbara City College Art Galleries, the Rex Evans Art Gallery in Los Angeles, the United States International University (USIU) Keller Art Center in San Diego, and the Artisans Gallery in Brunswick, Maine.His work was featured on several covers for the Center Magazine and produced illustrations for Spectrum and the Evergreen Review. Ptaszynski began a lifetime career at the University of California, Santa Barbara in 1959 as an Acting Instructor in painting and drawing. There he met his long-time friend and colleague and fellow artist, Howard Warshaw (1920-1977).At the time of his death, he was a Lecturer SOE, with primary responsibility for the beginning studio course; he also supervised a number of undergraduate and graduate students in painting and drawing. He served as Studio Vice Chair of the Art Department during 1969-71.He is best known for his quick, quietly dignified working class figures (often in a moment of rest, reflecting on a challenging existence), in ink and water color – media that he preferred. William Ptaszynski, Art: Santa Barbara1926-1984LecturerThe sudden death of William Ptaszynski on November 18, 1984 was a great and unexpected loss to his friends, colleagues, and students, and creates a void in the teaching program of his department that cannot easily be filled. Born in Detroit on July 29, 1926, he had his formal education at the Society of Arts and Crafts there and at the Jepson Art Institute in Los Angeles. His greatest debt as an artist, however, was to the late Rico Lebrun. After studying with Lebrun, Bill served for some time as his studio assistant, and during 1960 as his associate in carrying out the monumental Genesis mural at Pomona College.Bill’s career at the University of California, Santa Barbara began in 1959, when he was appointed an Acting Instructor in painting and drawing. At the time of his death, he was a Lecturer SOE, with primary responsibility for the beginning studio course; he also supervised a number of undergraduate and graduate students in painting and drawing. He served as Studio Vice Chair of the Art Department during 1969-71.From 1952 onward, he participated in many group exhibitions, including among others shows at the Frank Perls Gallery, the County Museum, and the CSU Long Beach Art Gallery in the Los Angeles Area, at the Esther Bear Gallery and the Museum of Art in Santa Barbara, and at the Mat Corner Gallery in Tempe, Arizona, the University of North Carolina at Greensboro, the Norfolk Virginia Museum of Arts and Sciences, and the Smithsonian Institution. He had one-man shows at the UCSB and SB City College Art Galleries, the Rex Evans Art Gallery in Los Angeles, the USIU Keller Art Center in San Diego, and the Artisans Gallery in Brunswick, Maine. His work was featured in several covers for the Center Magazine and was illustrated there, in Spectrum, and in the Evergreen Review.Bill was a master of the ink and water color media that he preferred to use. But he always held his technical skill subordinate to the heartfelt meaning that was the conscious purpose of his art. Intensely aware of the cruel inequities of much human existence in this world, he was unafraid to deal powerfully with painful realities, and he sometimes did. That these realities did not make for easy viewing was apparently of no concern to him, whatever the cost might have been to the popularity of his art. However disturbing some of his work may have been, his essential message was the continuity of being, “the energy and mutability of nature” as a former student, now an artist and critic, once wrote. The visual language through which he conveyed meanings tended to speak of universals rather than to report the specific; but his vocabulary and syntax were nature’s, the forms he used being always recognizably organic, as was the process through which he brought about their metamorphosis into art.In the earlier years of his career, profoundly responsive to the strong personalities not only of Lebrun but also of his long-time friend and colleague, the late Howard Warshaw, Bill developed into a determined man of uncompromising integrity as an artist. Yet he was a very sensitive man who took great pain to conceal his vulnerability. To those of his colleagues and students who penetrated his reserve, he was gentle and sympathetic, inspiring admiration of his skill and for the strength of his convictions, and loyal affection for his friendship. The tragedy of his life is that he had too short a time for the teaching that he did so well, and only too late achieved the assurance to which the knowledge of his gift for teaching entitled him.
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