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Janice Biala (September 11, 1903 – September 24, 2000) was an artist whose work, spanning seven decades, is well regarded both in France and the United States. Known for her "impeccable taste and remarkable intelligence", as well as her "intuitive feeling for composition and her orchestration of color",〔 she made paintings of intimate interiors, still lifes, portraits of her friends, and cityscapes of the places she traveled. Her work, which defies easy classification, lies between figuration and abstraction. One of the great modernists, she transformed her subjects into shape and color using "unexpected color relationships and a relaxed approach to interpreting realism."〔 ==Early life and education== In 1903 Biala was born in Biała Podlaska, a small city in the Kingdom of Poland with an important Imperial Russian garrison. She immigrated to New York in 1913, arriving with her mother, Esther, and brother, Yakov (Jacob).〔〔 Her father, Hyman Tworkovsky, was a tailor who had emigrated New York earlier.〔 Biala's parents changed their surname to Bernstein because a relative whom they listed as sponsor on their immigration documents bore that name.〔〔〔〔Jack Tworkov said that the Bernstein relative was one of his father's brothers but he did not explain how the brother, if her were a Tworkovsky, came to be called Bernstein, and the identity of this person has not been established.(See the (Chronology ) section of the ''Jack Tworkov'' web site.)〕 The family also Americanized its forenames. Biala, whose Hebrew name was Schenehaia,〔The Hebrew name Schenehaia cannot be confirmed from internet sources. Uses of this name appear only in sources connected with Biala and Ford Madox Ford.〕 became Janice and Yakov became Jack. Jack would later change his surname to a simplified form of the original family name and, using that name, Jack Tworkov, would establish himself as a highly regarded painter of the New York School.〔Biala did not like to be identified as the sister of Jack Tworkov. In 1953, she wrote ''Art News'' to complain: "I have never been given a review in your journal unaccompanied by one dear husband or another, and now the secret is out. I have a brother too!" (quoted in ''Between the Waves: Feminist Positions in American Art'' by Daniel Belasco, ProQuest, 2008)〕 Following her brother's lead, Janice Bernstein became Janice Tworkov and, in 1929, was naturalized as a U.S. citizen with that name.〔 Biala was educated in New York's public school system. At an early age she decided to become a professional artist and, during her high school years, she and friends got together for informal sketching sessions.〔 When she was twenty she enrolled at the National Academy of Design's art course where Charles Hawthorne was teaching a life drawing class. At this time she also met Hawthorne's associate, Edwin Dickinson, who was teaching a class at the Art Students League.〔 and in the summer of 1923 she convinced her brother Jack to accompany her to the artist colony in Provincetown, Massachusetts, in order to study with Hawthorne and Dickinson.〔〔Although Jack had aimed to be a poet, he too had decided by this time that he wished to be a professional artist. They supported themselves as best they could in menial jobs and had so little money that they had to hitchhike their way to Provincetown for the planned summer studying art. -- See the (Chronology ) section of the ''Jack Tworkov'' web site.〕〔〔〔Biala's association with Dickinson would stretch over the next decade and a half and his influence on her style would be a strong one.〕〔〔 During 1924 and 1925 she studied at Manhattan's Art Students League where Hawthorne was then teaching.〔〔 In 1924 Dickinson made a portrait of her which shows a serious young woman, somberly dressed.〔Untitled portrait of Janice Tworkov, 1924, Provincetown, oil on canvas, 30 x 25 in, signed top left: "E W Dickinson" from the collection of Janice Biala.〕 Despite differences of medium and treatment, Biala's self-portrait of 1925 shows similarities of style.〔Biala (Janice Tworkov), Untitled self portrait, 1925, ink on paper, 1¾ x 8½ inches〕 From Dickinson, Biala learned to focus on the essential elements of a subject, to see these elements as abstract forms on the two-dimensional plane of the canvas, and to select the color values that would become the key to the finished work. Dickinson recognized that color relationships are more important to the artist than single colors in isolation. As he did, she painted figuratively but she believed color harmonies to be more important than accurate representation of a subject. Their compositions tended toward bold, simplified shapes and were more reductively abstract and spatially flat than those of many of their contemporaries.〔 In 1929 and 1930 Biala participated in group shows at the G.R.D. Salon.〔 G.R.D. was one of a few New York galleries that showed modernist paintings of both women and men. It was a non-profit gallery named in honor of Gladys Roosevelt Dick by her sister, Jean S. Roosevelt.〔 Along with Biala's paintings, the 1929 show included works by E. Madeline Shiff, Virginia Parker, and E. Nottingham. In a review that appeared in ''The New York Times'', Lloyd Goodrich noted her fine feeling for colors and commented that her work showed similarities to the fauvist paintings of André Derain. This remark shows prescience since it was Derain's fellow fauvist, Henri Matisse, about whom she would later write "I have always had Matisse in my belly."〔〔 The 1930 show, assembled by Agnes Weinrich, contained works by Provincetown artists, including Charles Demuth, Oliver Chaffee, Karl Knaths, William and Lucy L'Engle, Niles Spencer, Marguerite and William Zorach, as well as ones by Biala and her brother Jack.〔〔 During the 1920s Biala had painted using the name Janice Tworkov. Soon after the close of the G.R.D. exhibition in February she changed her name to Biala. She adopted the new name on advice from her friend and fellow Provincetown painter, William Zorach, in order to avoid confusion with her brother Jack.〔 She had been supporting herself with a series of low paying jobs and when the G.R.D. shows had not produced sales of her work she accepted an invitation from her friend, Eileen Lake to accompany her on a trip to Paris. There, on May 1, she met the author, Ford Madox Ford. Although they did not marry, the two became inseparable, living and working together until Ford's death in 1939. Less than half Ford's age, she was vigorous, ambitious, and gradually becoming more confident in her ability as an artist. In contrast, he continued to write prolifically but his best work was behind him and his health was declining. The two of them endured dire financial straits, often raising their own vegetables in a kitchen garden attached to the villa they rented near Toulon. Biala made portraits of Ford and contributed artwork to his books. Ford incorporated versions of Biala in his writings, including a poem, "Coda," a late (1936) addition to the "buckshee" sequence of poems composed in 1932.〔 The poem is addressed to Haïchka, the diminutive form of her Hebrew name, Schenehaia, meaning "pretty creature."〔 It celebrates "all my past and all your promise" and it praises her for possessing a magnetic personality, always unpredictable, and for bringing vitality and productive energy to their relationship.〔 Despite their continual struggle against poverty, they managed to maintain close contacts with writers and artists, including Gertrude Stein, Ezra Pound, Pablo Picasso, Henri Matisse, and Constantin Brâncuși.〔 In 1931 Biala's work appeared in New York at Macy Galleries. In this exhibition of Provincetown artists she was identified, anachronistically, as "J. Tworkov."〔 A year later, as Janice Ford Biala, she contributed paintings to a show called "1940" at Parc des Expositions, Paris. Reporting on this show, a New York critic said "The things and figures in her painting gravely turn about as if in some slow and harmonious joy. Not a hilarious joy nor a country dance. Something much richer and more contemplative than hilarity."〔 At this time she wrote to her brother Jack "For the first time in my life I'm convinced that I am really an artist."〔 In 1935 Biala was given her first solo exhibition when "Paintings of Provence by Biala" appeared at the Georgette Passedoit Gallery, New York, from April 25 to May 9. The paintings came from illustrations she prepared for Ford's book, ''Provence: From Minstrels to the Machine''.〔Provence: From Minstrels to the Machine, by Ford Madox Ford, illustrated by Biala (Philadelphia, J.B. Lippincott Co., 1935). Reviewing the book for ''The New York Times'', Noel Sauvage, wrote that Biala's illustrations were "naïve and light-hearted; by some magic of brush and pen, they achieve an engagingly subtle humor that is in perfect harmony with the witty and genial text." ("An Admirer's View of Provence: Ford Madox Ford's Superb Evocation of It Is Something of an Autobiography, a History, and a Philosophy as Well" by Noel Sauvage, ''New York Times'', Mar 24, 1935, p. BR9) and were seen as "spiritedly sophisticated" and "very French" by the ''Times'' reviewer.〕〔〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Janice Biala」の詳細全文を読む スポンサード リンク
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