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Freda Diamond, George Schulman, Designer for Everybody, Life Magazine. Good Taste, Millions Sold. Artist, Designer, Museum Collections, MOMA, New York Designer

Grandma Lena's Living Room


At 4 Schulman fearing for his life, packed his bags and moved in with his father’s parent who lived 2 blocks away. Safety at any cost would become a mantra travelling back and for the from the haves and the have- nots. Never to return home, this is a picture of Grandma Lena's living room, which doubled as a young artist’s bedroom. Painted at 14, this is the first oil painting by George Schulman. Sold to a friend of Cousin Freda , willed backed to Schulman after his death. 


​Schulman " War and Peace" 2015

Knox Martin 

Washington Heights Studio 

Not thinking not to include his lifelong friend, teacher and mentor in his Documentary, Schulman brought the installation he painted live while friend and filmmaker Peter Mazzeo. Taking apart this large installation meant dismantling heavy hand made stretchers Schulman had bolted together. Accompanied by film maker and popular Huntington Long Island based musician, Peter Mazzeo and Debra Rothberg, artist, bthebuzz brand marketer and partner made an exodus to Washington Heights to film Knox Martin at his finest. On that very magical day, surrounded by art, artifacts and a parrot in a large white wrought iron cage with bright mid-day light streaming through large windows, found in west side apartments, the Master held court.  

Classically trained, Contemporary Master Fine Artist, George Schulman is acclaimed for his stand alone, wildly colorful, kinetic, exuberant, and at times visually tense signature style.


During the 80’s and 90’s, New York’s most creative era, Schulman held his own in Museum and Gallery shows, alongside friends and mentors, including new to the scene Jean Michel Basquiat. He continues to teach, motivate and inspire a new generation of artists and fans by his ability to stretch the boundaries of fine art. 

Creative and theatrical, drawing with white shoe polish on discarded brown paper, at age 4 moved in with his Grandparent 2 blocks form his parents. After another violent rage of his WWII returnee father, Schulman packed has bags and moved in with his Grandparents and never yelled at him

A mannequin for his Grandmother, a wedding dress designer and seamstress and Grandfather a Dapper suit maker and tailor, Schulman was given the freedom to explore his creativity, The alley behind their apartment lived a huge feral black cat with one eye Cocky Eye, the King of the alley cats, who he was only allowed to bring in the house after school til bedtime.


Across the alley was a sweat shop with rows of Spanish woman siting in their underwear in front of their sewing machines. Crawling thru the window in support a innocent Schulman would strip down to his underwear, became fluent in Spanish and learned how to sew and knew he was loved and safe.
 
Time spent away was usually on weekends with twin sisters 7 years his junior or his  favorite 1st cousin Freda Diamond, 20 years his senior. The Martha Stuart of her era, the Designer and Consultant lived and worked at her 5th Ave Brownstone. Working at her side surrounded by Museum Masterpieces and Home Goods, A Listers and Innovators Schulman received honest reviews and commissions.
 
Immersed in the Art Industry historically during one of New York’s most creative eras, Music and Art High School and Bachelor of Fine Art from the School of Visual Arts, Schulman’s earliest collections were  shown in 1 man and group shows in Soho, 5th Avenue Galleries and at the Whitney Museum of Art. Respected by his peers, as Gallery Assistant for the renowned Marlborough Gallery, Schulman visited the 20th Century Master Fine Artist studios of William DeKooning, Jackson Pollack, Larry Rivers, Mark Rothko and Basquiat.
 
Not feeling comfortable with an early his rise, feeling the need to evolve as an artist, then Manager for Jamie Canvas, a Soho Art Supply Store, Schulman struggled to find time to paint and find his own voice.  Choosing a move to the Huntington Long Island home ownership rather than a Village corner building group buy, to keep a foothold in the Art Market, Schulman opening custom stretcher building company and began to teach.
 
Sacrificing family safety for a large studio, desperate for dedicated time, space and community Schulman began a 15 year exodus alongside a diverse and vibrant community of some of the world’s greatest artists. As a Fellow at the Vermont Studio Center Residency and the Virginia Center of the Creative Arts, Schulman’s could work large started to evolve.
 
Influences of Matisse’s and sparks from contemporaries John Walker, Bill Jensen and Gregory Amenoff, known for their painterly impasto brushwork, quirky forms and unfamiliar abrasive colors shapes and patterns inspired by floral motifs, Schulman’s paintings fluctuate between elements of mathematical logic and the harmony of Apollonian planning.
 
Using exaggerated  forms, colors and textures not unlike the Synthetic Cubism of Picasso, and lifelong friend, teacher and mentor Artist Knox Martin, whose own work was transformed through the works of his elders’ the Action Painters, whose work exists in flattened spaces. Schulman’s unique exuberant abstract paintings are far from flat.



ART REVIEW

Shorelines Envisioned Through Artists' Eyes

New York Times  August 4, 2002
By Helen A. Harrison

Shorelines Omni Gallery 

333 Earle Ovington Boulevard, Uniondale, NY

Surprisingly, only George Schulman, one of the eight artists in this group show, treats the theme in conventional landscape-painting terms. Far more interesting are the works that veer away from scenery and enter more subjective territory.



​​George Schulman 

M55 ART GALLERY 
2011 Solo exhibition
"THE SMALL WORKS"

These wildly colorful exuberant abstract paintings by George Schulman, on view at range in sizes from 36”x36” to the more intimate size of 6”x6.” The works also contain content derived from nature, particularly landscape; mountains, trees, water and sky, and sometimes even employ forms which echo the female figure. And, in a sense, these are not unlike the implicit female figures appearing in de Kooning’s artworks, even when they are “landscapes,” which may in essence become landscapes of a thousand thighs.

The palettes are derived from the exaggerations of Picasso’s Synthetic Cubism in what I call “Candy Shop” colors like Juicy Fruit, Gummy Bear, and Chuckles Jelly candies, to those of luscious soda-fountain treats with rainbow sprinkles. And these are seen in some of the more recent cubist variations of Schulman’s teacher and lifelong friend, the 87 year-old artist Knox Martin. And though Knox’s stylistics were transformed through the work of his elders’ the Action Painters, it remains fundamentally planar, existing in flattened space.

Now the colors in Schulman’s work are creating his own accelerated joyful carnival-like moods, and after living on rural Long Island for many years, surrounded by the trees, sky, and ocean, he has developed a style with more organic facets, which then combine, twisting and turning, create snake-like penetrations into and out of the picture plane, while none-the-less maintaining an overall tension on the visual surface.Then there is the influence of Matisse’s Moroccan paintings, the flat ground, his snaking structures, outlandish combinations of hues and the drawing in changing colored lines. This then is followed by sparks caught from the work of other more contemporary artists like John Walker, Bill Jensen, and Gregory Amenoff with their painterly impasto brushwork, quirky forms, and unfamiliar abrasive colors.

Then in 2009 George’s travels took him to Sedona, Arizona where its rugged red-clay, high-desert, rock-mountains, cactus and exaggerated plant forms totally ignited his already explosive appetite for natural forms.Underlying everything is a Golden Section grid-work, which helps align the shapes’ appearance to be in tension with the picture plane, and establishes a foundation for mathematical or proportional, harmonies, much like chords in music.

The shapes and patterns are inspired by floral motifs, which sometimes appear to be a spider-like web of strings, or a lathe of dots traveling the grid like snowflakes arriving to start their own patterned loam, and other times there are colorful wefts and warps thrown like patch-work quilts with their colliding areas of fabric patterns moving in cross-current tides fanning out in all directions.These then, are paintings which fluctuate between using elements of mathematical logic and the harmony of Apollonian planning, and emotionally explosive linear dances on twisting whirlwinds in the unexpected palettes of Dionysius.

Written by George Parrino, Professor and Former Dean, Purchase College School of Art and Design. Former President, Kansas City Art Institute


“During the past decades, I am impressed with the freedom and energy he devotes to develop his approach to his personal concepts and medium. The early efforts of vigor, boldness and freedom in the handling of paint, no timidity, an emphasis

 

Freda Diamond(1905-1998)

Life magazine 1954

 “Designer for Everybody” 


Freda Diamond enjoyed a highly successful, fifty-year career as a home furnishings consultant. From the 1930s through the 1980s, Diamond helped firms in many American industries to design affordable products for the mass market.

If someone you know set up housekeeping in the mid-twentieth century, they probably owned something -- cabinets, drapes, kitchen canisters, plastic furniture, tables, lamps, mirrors, rugs, drinking glasses, or window shades -- designed by Freda Diamond.



Cousin Freda 

Exceptionally ​Good looking, white haired navy eyed small boy of 4, who had moved in with his Grandparent 2 blocks from his parents after another violent rage of his father, packed his bags and moved in with his Grandparents and never yelled at him. Well-mannered with white blond hair and navy eye, fortuitously Schulman caught the eye a childless much older 1st Cousin on his father's side Freda Diamond. The "Martha Stewart" of her era, a young boy was coddled by visiting Art and Design Elites, who regularly visited or babysat at the E.37th between Lexington and 3rd Brownstone, she worked and lived with her husband. ​ Freda would insist, " To be a great artist you have to start with the classics and learn how to draw!"

 

Freda Diamond Moma, George Schulman

This view of George Schulman's work was started in June 2014 was rounded out toward September, the same year and finished a few months ago. In the nomenclature of art with a capital A forgetting the huge umbrella that attempts to be covered by the word art and's gross misuse where all about.  Everyone is taught to say this is art because I say so aimed at the deadbeats.  It cannot tolerate viewing the work this any more than what they know.  In the Meronym of Schulman's painting.  There is dappled everywhere forms and touches, shapes, antecedent, a perpetual algorithm of senior and junior – – – – radiating light –an ancillary to an aspect of Mozart.

There are meanders clipped chords that balance and rhyme arrived at by a perception of an artist who is been vaccinated by anything that is true art and aspect of man, a portion of this is on a large figuration by Matisse and a Schulman esq  thank you, John.  Thank you streaky one.  I don't know by then you are yes right now yes that you a chance break these in and other real no, that's another pair of that but that's my superlattices broken broken you history is in the very top.  Those are the things  trend's mammography.  History???  Does not exist except in the present!  – – –

Do gaze  at the miracle of Schulman's work and marvel at the wave of aesthetics at large you are surrounded with, the sea of art that is perpetually fresh..


Knox Martin

  Freda Diamond | MoMA

HANDSOME COLORFUL, THEATRICAL AND ARTICULATE MASTER ARTIST, GEORGE SCHULMAN'S PAINTING AND COLLAGES OFTEN LOOKS LIKE CANDY LAND-LIKE MAPS OF SOME FANTASY PLACE. AN ARTIST BY AT 4, HIS WORK REMAINS INFLUENCED FROM THE FABRIC LACE AND SCRAPS COLLECTED AT HIS GRANDPARENTS,  A SEAMSTRESS WHO MADE WEDDING DRESSES AND TAILOR WHO MADE SUITES AND REGULAR VISITS TO THE SWEAT SHOP ACROSS THEIR BRONX SHOP ALLEY, COLLAGES OFTEN MIMICKING ZIPPERS, BUTTONS, FOUND AND COLLECTED OBJECTS, OFTEN INCORPORATING SEWING AND MADE OBJECTS. A COLORIST, ART HISTORIAN AND DRAFTSMAN, CLASSICALLY TRAINED GEORGE SCHULMAN'S CAN WORK IN ANY STYLE ANY MEDIUM, 

 AN ARTIST BY AGE 4, HIS EARLY INFLUENCES CAME FROM MODERN AND MUSEUM COLLECTED MASTERPIECES, SURROUNDING HIM IN HIS SECOND MOTHER COUSIN, FREDA DIAMOND'S LIVING ROOM AND LESSONS LEARNED BY HER VISITING FRIENDS ARTISTS MIRO AND MATISSE, REGULAR  MANHATTAN MUSEUM VISITS AND THEATER. FRIENDS AND MENTORS INCLUDING MIRO, MATISSE. KNOX MARTIN AND POP ARTIST ALLAN D’;ARCANGELO. AMONG  OTHER ARTISTS SCHULMAN STUDIED UNDER INCLUDE NORMAN LEWIS, KNOX MARTIN, ALLEN D’ARCANGELO, PHILIP PEARLSTEIN AND FAIRFIELD PORTER.

SINCE EARLY YOUTH, SCHULMAN HAS HAD THE GREAT FORTUNE TO BEFRIEND, TAUGHT, MENTORED AND SERVED MANY OF THE MOST INFLUENTIAL CONTEMPORARY AND MODERN ARTISTS OF THE 20TH AND 21ST CENTURIES INCLUDING JEAN-MICHEL BASQUIAT, ROSS BLECKNER, ELIZABETH MURRAY, JOAN SCHNEIDER AND MANY OTHERS. A YOUNG EXHIBITING NEW YORK ARTIST, TO SUPPORT HIS CAREER SCHULMAN WORKED AS A GALLERY ASSISTANT FOR THE FAMED SOHO MARLBOROUGH, HERSHEL AND ADLER, BETTY CUNNINGHAM AND LEO CASTELLI GALLERIES. MARRIED AT 23, SCHULMAN  CONTINUED TO SHOW AND MANAGED THE SMITHSONIAN LISTED SOHO JAMIE CANVAS ART SUPPLY STORE.  SMITHSONIAN. LATER MOVING TO LONG ISLAND SCHULMAN OPENED SCHULMAN'S CANVAS STRETCHING COMPANY AND TEACHING AT THE HUNTINGTON ART LEAGUE FOR OVER A DECADE. TODAY HE SHARES HIS LIVING AND STUDIO TIME BETWEEN HUNTINGTON AND ARTSPACE PATCHOGUE.