33

Henrietta Berk

1919-1990

"Evening Sky (Sonoma Valley)," circa 1965-68

Oil on canvas
Signed lower right: H. Berk; titled by repute
30" H x 30" W

  • Notes: The story of the career of Henrietta Berk is of triumph and creative explosion, one that proves that it is never too late for an artistic genius to become ignited. Born in 1919 in Wichita, Kansas, Berk lived the life of a traditional American woman in the middle of the 20th century. Until she didn't. Abandoned by her father and left at an orphanage by her mother, Berk's early childhood is clouded and tragic. To heal her trauma and forge an independent identity, Berk turned to artmaking during her time at the orphanage. Berk graduated from high school in 1936 but did not complete a college degree. She married Dr. Morris Berk in 1939, living the life of an American housewife, her personal artmaking a mild annoyance to her husband.

    Berk could not resist painting. She began executing small interior projects for neighbors in Oakland, California, receiving some recognition in the press in 1957. She was urged by a friend to take art classes and enrolled on and off at CCAC (California College of Arts and Crafts) from 1957 to 1961, often the oldest student in the classroom. She studied under Robert Diebenkorn in the summer of 1957, which would alter her artistic career forever. From her studies at CCAC and visiting the surrounding contemporary art scene, Berk's work would become linked to the Bay Area Figurative Movement. Her participation in a group show, "Painted Flower," at the Oakland Art Museum (now the Oakland Museum of California Art) gained some attention, but it was her solo exhibition at Lucien Labaudt Art Gallery that propelled her career as an artist. Berk participated in numerous solo and group exhibitions throughout the next decade, often the only woman on the roster.  Berk blurred the line between realism in landscape and figurative painting and the movement of abstract expressionism gripping the West Coast art world. 

    Her creative output only diminishing with her health. Diagnosed with diabetes in the later 1960s, it steadily worsened her eyesight until she was near blind by the middle of the 1970s. Unfettered by her lack of vision, Berk continued to paint (on large canvases so she could make out shapes and colors) until her death in 1990.

    This lot, from the mid 1960s, is emblematic of the classic approach to painting by Berk. The painting is developed through broad, thick applications of paint, building each section of the landscape composition. A perfection combination of complementary colors, orange and blue, act as shadow and highlight, with a hard, broad line of orange as the bright contrast of the setting sun. A standout to this piece is the wisps of light blue that emanate throughout the sky, adding a degree of energy and movement.

    Henrietta Berk's artistic achievements inspire, and her work is coming into its own in American art history. As professor and art historian Deborah Solon proclaims, "Berk defied the odds. She had every reason not to succeed. Age, gender, lack of full-time training, and a complicated personal history-any one of these obstacles could have derailed her career. But when she painted, all those hurdles evaporated. Berk was circumspect and self-effacing. Although gratified by the critical recognition and grateful for the financial success, her true focus was the personal freedom, joy, and creative delight she experienced through making her art." Henrietta Berk's life works are experiencing a rediscovery and were the center of a retrospective exhibition at The Hilbert Museum in Orange, California, in 2021.

    Select Museum Collections: 
    Metropolitan Museum of Art, New York, NY 
    Museum of Modern Art, New York, NY 
    San Francisco Museum of Modern Art, San Francisco, CA 
    Santa Barbara Museum of Art, Santa Barbara, CA 
    Solomon R Guggenheim Museum, New York, NY 
    Whitney Museum of American Art, New York, NY
  • Condition: Visual: Overall good condition. A few small areas of very fine stable craquelure scattered throughout the light blue and darker pigments of the lower third of the work.

    Blacklight: A 4" H x 3" W area of hairline crack-fill in the lower right quadrant. A dime-sized spot of touch-up in the green pigment in the lower half, towards the center. A line of pinhead-sized spots of touch-up along the extreme upper edge. A few rice-sized spots of touch-up in the upper right quadrant.

    Frame: 33.75" H x 33.5" W x 1.25" D


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June 11, 2024 12:00 PM PDT
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