abstract
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Bischoff, who in 1976 told Paul Karlstrom: “I’m still supporting myself by teaching,” had only two one man shows before his first New York show at Staempfli Gallery in 1960, including a 1955 show at the Paul Kantor Gallery in Los Angeles from which nothing sold. In contrast, leading artists in New York benefitted from a booming art market. For example, Willem de Kooning’s 1959 New York show sold out on the first day, bringing in about $150,000 (about $1.2 million dollars today, when adjusted for inflation).
Of course, de Kooning was a sensation, but many other New York artists sold well while California artists struggled. In this situation, decently paying teaching jobs were a rare and precious commodity. When it was rumored in 1955 that David Park had been offered $10,000 per year to teach at UC Berkeley, artist Nathan Oliveira – who at the time was earning $2.50 per hour teaching art 18 hours per week – thought that Park had been given “the opportunity of a lifetime.” As it turns out, Park’s actual starting annual salary was $5,300.00.
Elmer Bischoff
Orange Sweater
1955
Oil on canvas
48 ½ in. x 57 in.
SFMoMA collections
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Many artists do start with realism because it helps build foundational skills like observation, proportion, and technique. Over time, some move toward abstraction as they become more interested in expressing ideas, emotions, or experimenting with form and color beyond literal representation.
However, not all artists follow this trajectory. Some dive straight into abstraction, while others stick with realism their entire lives. It really depends on the artist’s interests, influences, and creative journey.
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“Unlike the artists behind many of Shaw’s thrift-store paintings, the “bad painters” of art history were often technically skilled. They made a conscious decision to ignore the standards of good taste and good style, which wasn’t always intuitive.”
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“What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they really care about, is the abstract qualities of life.”
Marlene Dumas (b. 1953)
The White Disease
signed, titled and dated ‘The White disease Marlene Dumas 1985’ (on the reverse)
oil on canvas
51 3/8 x 43½ in. (130.5 x 110.5 cm.)
Painted in 1985.
Price realised
USD 998,500
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what happens when you let your art be ‘influenced’ by other artists? – Tara Leaver
“And the big daddy that I learned from all this: I actually CAN’T paint like other artists, and nor do I want to. That’s the best thing this exercise has taught me over the years; it’s fun to experiment, to try out what other artists are doing, but if I only ever did that I’d be unfulfilled and dissatisfied. I’d be surrounded by a vegetarian buffet and craving steak.”
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“Painting is self-discovery. Every good artist paints what he is.”
Jackson Pollock
Number 28, 1949
signed and dated ‘Jackson Pollock 49’ (lower left)
enamel on canvas mounted on Masonite
12 7/8 x 13 in. (32.5 x 33 cm.)
Painted in 1949.
Price realised
USD 6,705,000
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“Painting is a means of translating what is intangible into something that can be grasped visually.”
Elmer Nelson Bischoff (American, 1916-1991)
Girls, Ocean, Mirror
signed, titled and dated ‘Elmer Bischoff/ Girls, Ocean, Mirror/ 10/61’ (on the reverse)
oil on canvas
53 ¾ x 72 in. (136.5 x 182.9 cm.)
Price realised
USD 100,000