https://roseman.vassarspaces.net/files/original/98d3997b296e4fb7d7a3951163670e53.jpg d13247d8e0678c1223f2e238257c25aa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In Memoriam Rights Holder A person or organization owning or managing rights over the resource. This work is copyright © Harry Roseman. All rights reserved. For reproduction or use inquires, or for any questions about the site, contact Harry Roseman. Description An account of the resource This section is pretty self-explanatory. Like just about with everything on this site I am way behind. If this site gets to stay active after I die (this possibility sits with Vassar College), eventually everyone on the site could be in this section. I am thinking if it stays active, whether I would like to have someone else add people to this section as they die, including me. Of Course this information would have had to cross their paths. That is something I need to think about. If I arrange for that to happen I would have that person or those people indicate that they are the ones who added a particular name. Roseman Harry Roseman: A Chronicle Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Subject The topic of the resource roseman:in-memoriam Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Roseman, Harry Description An account of the resource The New York TimesnBy Roberta SmithnJan. 14, 2015nnJake Berthot, a painter who gained notice in New York City for his romantically minimal style, then found inspiration in the natural world after moving north to a hamlet in Ulster County, died on Dec. 30 at his home in Accord, N.Y. He was 75.nnBetty Cuningham, whose gallery represented him, confirmed his death. She said he had long been ill but did not specify a cause.nnMr. Berthot (pronounced BEAR-TOE) had a brief flirtation with Minimal Art in the mid-1960s. But, like many members of his generation, he soon sought ways to soften, complicate and enrich the style’s severity. He was guided in this by his admiration for Abstract Expressionists like Milton Resnick and Mark Rothko, whose work was simplified but emotive.nnHe began to work in subtle monochromes of gray and green in the late 1960s in a manner similar to that of the painter Brice Marden. But Mr. Berthot’s surfaces were differentiated by their expressive texture and their suggestions of space and atmosphere.nnnnnIn many ways, Mr. Berthot spent his career exploring how to supplement and expand on the modernist monochrome without straying too far from it. At first he attached narrow vertical bars to either side of all-gray canvases. He also framed thickly worked monochromes with more thinly painted canvases, creating the effect of a window or of an abstract painting within an abstract painting.nnFor a while he pursued thickly built-up surfaces to which he added ovals or column-like rectangles in contrasting, sometimes even bright, colors. Most of his paintings began with an underlying grid of pencil that his brushwork alternately denied and confirmed. After 1996, when Mr. Berthot left Manhattan for Accord, the natural world became an increasing influence. He turned to depicting trees and hills so close in tone to their backgrounds that they almost seemed carved from them. Some of his most beautiful paintings were nocturnal landscapes or expanses of night skies illuminated by a few rays from the moon.nnThese works had a timeless quality and reflected his admiration for 19th-century landscape painters like George Inness, Albert Pinkham Ryder and J. M. W. Turner. He once told an interviewer that he was “not interested in the new but in trying to make paintings that refuse to grow old.” His art started rounding back toward abstraction in 2008.nnJohn Alex Berthot was born in Niagara Falls, N.Y., on March 30, 1939. His father abandoned the family when John was quite young, and he grew up on his grandparents’ truck farm in central Pennsylvania. He received his first drawing lessons from his grandmother.nMr. Berthot initially studied at a commercial art school in Pittsburgh but realized that he lacked the necessary precision in drawing. Moving to New York City, he worked as a window dresser in the Bronx. When his wife got a secretarial job at the Pratt Institute in Brooklyn, he was able to attend classes there tuition free.nnAt Pratt he began to paint seriously and soon had his first experience as a teacher. Starting in 1974, he taught for extended periods at the Cooper Union, Yale University and the School of Visual Arts.nnMr. Berthot had his first gallery show in New York in 1963 and showed regularly at the McKee Gallery and then the Betty Cuningham Gallery, both in Manhattan. Surveys of his work were held at Rose Art Museum at Brandeis University in Waltham, Mass., in 1988 and at the Phillips Collection in Washington in 1996.nnWhen he decided to bequeath the paintings in his studio to the Phillips, the museum offered to exhibit them, as a gift, during his lifetime. Mr. Berthot, who once described painting as “the only thing I can do,” declined, saying that he needed the paintings around him.nnHis marriages to Ginny MacKenzie and Kristin Flynn both ended in divorce. He is survived by his son, John, from his first marriage.nnA version of this article appears in print on Jan. 19, 2015, on Page A14 of the New York edition with the headline: Jake Berthot, 75, Abstract Painter Inspired by Nature. Order Reprints | Today’s Paper | Subscribe Format The file format, physical medium, or dimensions of the resource 1 photograph Publisher An entity responsible for making the resource available Online collection published by Vassar College Libraries, Poughkeepsie, N.Y. Title A name given to the resource Jake Berthot Identifier An unambiguous reference to the resource within a given context roseman_9843 Date A point or period of time associated with an event in the lifecycle of the resource 2015-01-19 roseman:in-memoriam