Edith Kramer 1946 Ink NYC Rooftops Drawing, Signed

lot/edith kramer 1946 ink nyc rooftops drawing signed art therapy pioneer SJHXii2 633363231 / Price history

lot/edith kramer 1946 ink nyc rooftops drawing signed art therapy pioneer SJHXii2 633363231

For saleAuction results

lot/edith kramer 1946 ink nyc rooftops drawing signed art therapy pioneer SJHXii2 633363231

For saleAuction results

Bring your auction to collectors worldwide!

Get listed now

Edith Kramer 1946 Ink NYC Rooftops Drawing, Signed – Art Therapy Pioneer

Edith Kramer (Austrian born American, 1916-2014). New York City Rooftops #1. Brush and ink on paper, 1946. Signed and dated at lower right. A restless geometry of rooftops stretches across the page in this sweeping brush and ink drawing, a view captured from the heights of Edith Kramers own New York apartment in 1946. The city unfurls as a dense thicket of chimneys, water towers, vents, and sharply angled parapets, all rendered through a storm of crosshatched strokes that turn brick, metal, and shadow into a vibrating field of energy. Kramer often worked outdoors atop her building, and that immediacy pulses through every mark - the wind in the lines, the grit in the ink, the sense of a living metropolis pressing forward. The composition is broad and cinematic. Horizontal sweeps anchor the rooftops, while diagonal thrusts carve deep into the urban blocks, giving the drawing a rhythm that borders on orchestral. Size: 29" W x 19.25" H (73.7 cm x 48.9 cm) Kramer works wet and dry together, letting ink pool in some passages and glide lightly across the paper in others, creating tonal shifts that resemble the shifting light of late afternoon. Her forms echo the weighty stillness found in the city paintings of Edward Hopper, yet her line is far more urgent, almost improvisational, as if she is holding the city in place just long enough to record its restless character. Although the scene is rooted in observation, the drawing feels charged with abstraction. Brick stacks become solid blocks of parallel strokes. Guardrails and fire escapes dissolve into a lattice of dark verticals. Even the boats at the lower edge of the sheet appear half constructed from shadow, half from memory. Kramer strips the city down to its essential planes and patterns, revealing the industrial vocabulary she absorbed during her wartime work in a Soho machine shop. "New York City Rooftops #1" stands as an early and compelling example of Kramers sensitivity to structure, rhythm, and the expressive potential of line. It is the New York skyline not as postcard, but as lived experience - a place of sharp edges, pulsing light, and the quiet but insistent presence of a young artist looking out across the city she had recently begun to call home. About the Artist: Edith Kramer was born in Vienna, Austria in 1916. Her exploration of art began at the age of 13 when Kramer took classes with Friedl Dicker, a graduate of the Bauhaus in Weimar, Germany. Kramer was greatly influenced by the theories of Bauhaus artist Johannes Itten who developed the preliminary Bauhaus course from 1919 to 1922. After Kramer graduated from Realgymnasium, Vienna in 1934 , she followed Dicker to Prague to continue her studies. Perhaps even more impactful was the time she spent assisting Dicker in teaching art to the children of political refugees. Fearing the Nazi invasion, Kramer sought refuge in the United States. She arrived in New York City in 1938, and taught sculpture at the Little Red School House, one of the city's first progressive schools. During WWII, Kramer worked in a machine shop in Soho. This experience resonated with her Bauhaus education and presented an opportunity to sketch and paint sitters in industrial settings. In addition to being a painter, Kramer was a sculptor, a printmaker, a collage maker, a mosaicist, a professor, and a founder of the Art Therapy movement. Kramer is perhaps best known for her work as a pioneer in the field of Art Therapy. In 1971 she was part of the team that established an Art Therapy program at George Washington University, and she created the graduate program in Art Therapy at New York University in 1973. With her training in art, art education, as well as psychoanalytically informed psychotherapy, Kramer believed that negative emotions and thoughts could be transformed and rechanneled into productive energy through art. She and fellow pioneer Margaret Naumburg set out to champion the new field of Art Therapy. Kramer also believed that art therapists should create their own art in order to deal with the stress and exhaustion of clinical work, so she continued to create her own art. The following is Kramer's statement about art therapy: "I perceive myself as a specialist who combines the general qualifications of being a competent artist with specialized capacities in the field of psychotherapy and education. The theoretical framework of my understanding of child psychology is based in the main on Freudian psychoanalytic thought. The emphasis, however, is on the idea of art as therapy rather than on psychotherapy which uses art as a tool. My therapeutic medium is as old as mankind. Since human society has existed the arts have helped man to reconcile the eternal conflict between the individual's instinctual urges and the demands of society. Thus, all art is therapeutic in the broadest sense of the word. The artist who applies modern psychology in the field of art has to adapt his methods to the medium so that the therapeutic value of art is heightened by the introduction of therapeutic thinking, not destroyed or weakened by the introduction of concepts and methods that might be incompatible with the inner laws of artistic creation. It is not always easy for the art therapist to reconcile the therapist's approach with her function as an artist and teacher. In her function as a teacher who introduces disturbed children or adults into the realms of art, she has to be ready to accept the limitations of the individuals in her care. She has to be interested in progress on any level. She has to be flexible enough to accept and understand a diversity of styles and to find ways of helping each person according to his individual needs. As therapist she has to accept the unbeautiful manifestations of sexual and aggressive impulses in the raw, along with the results of confusions and incomplete sublimation. But this attitude of acceptance, which is essential in all therapy, must not dull the artist's capacity for discrimination. The teacher has to preserve her integrity genuine, between blocks and limitations, regressions and progress, superficial pretense and genuine communication. Even though my therapeutic approach includes awareness of psychic processes that may remain unconscious, the therapeutic maneuvers I am apt to employ seldom include uncovering unconscious material or the interpretation of unconscious meaning. Art therapy is conceived primarily as a means of supporting the ego. It harnesses the power of art to the task of fostering a psychic organization that is sufficiently resilient to function under pressure without breakdown or the need to resort to stultifying defensive measures. Thus conceived, art therapy constitutes an element of the therapeutic milieu that complements or supports psychotherapy but does not replace it. While art therapists encourage unconventional form and content in the art of their patients they are also intent on fostering artistic eloquence. The spoken words in psychotherapy and the play and talk in clinical therapy are typically formless and fluid. Content rather than form is essential. In art therapy form and content are equally important and the order and structure with which artistic creation endows experience constitutes a powerful aid in sorting out and mastering experience. To quote of art Susan Langer (1962): 'The primary function of art is to objectify experience so that we can contemplate and understand it' (p.90)." (source: Edith Kramer website) Item # 197012

Estimate:$150

Sold for:-