From the exhibition announcement:
Members and friends of the Renaissance Society of the University of Chicago are invited to the opening of an exhibition of painting in oil, water colors, and woodcuts by
**Emil Armin **
Sunday, March 19, from 3:00 until 6:00 P.M. The exhibition will be open to visitors through April 15, from 9:00 A.M. to 5:00 P.M. daily except Sunday. Saturdays 9:00 A.M. to 12:00 M.
108 Goodspeed Hall 1010 East 59th Street
From the exhibition release:
Exhibition of the work of Emil Armin will be held in the Renaissance galleries, 108 Goodspeed Hall, 1012 East 59th Street, opening Sunday, March 19th, at 3:30 P.M., and continuing through April 15th.
Composed of about fifty pieces, oils, water-colors and wood-blocks, this exhibition is the most comprehensive showing thus far of one of the most original of American artists, who has reacted with great sincerity to his time and to his environment.
The earliest painting included in the exhibition is Seder Night, a canvas familiar to many through exhibition and reproduction, which is based on memory and folk-lore. In Armin’s later work he has subjected himself almost entirely to the severe discipline of direct painting from nature in landscape, still-life, portraits, figures and city subjects, painted in Chicago, New Mexico, and the Indiana country side and sand-dunes. Even the large and complicated water color, Jemez Mountains, and was done entirely “on the spot.”
A break in Armin’s familiar technique occurred about three years ago with a series of landscapes painted with a palette knife in broad masses, several of which are included in the present exhibitions. He soon returned to his former method, however, but with the added richness and assurance. Also included in the exhibition are the following paintings: Self-Portrait, Corn Dance, Sante domingo, Snow Topa and Open Ridge, The Storm and Oak and Maples.
Armin was born in Roumania in 1883. He came to America in 1905, began studying art in 1908 at the Art Institute and continued working and studying whenever possible, even through periods of great economic struggle, until 1920. In that year he studied under George Bellows and Randall Davy upon whom his work made a strong impression and who gave him great encouragement. He has worked and produced steadily ever since, completely disregarding the demands of the art market, and has been his own most exacting critic.