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He passionately believed in
all the old virtues of art: one could not be skillful enough,
nor know enough, nor be intellectually or emotionally equal to the task
of making a work of art. . . |
"Speaking
for myself, the rightness between material, form, content, expressive
intention and the success of their marriage is what constitutes beauty
in art. Moreover, they have to be in divine combination, must radiate
a "magic," a "soul," a "spirit" or whatever you wish, to indicate the
poetically ineffable. It is the same quality which overwhelms a sensitized
observer, changes his or her life and expands experience." --E.Weinberg |
![]() Holocaust Memorial, Wilmington, Delaware |
Elbert did not develop
a "signature style." He was one of the breed that always asks, Is it possible?
and then plunges headlong in pursuit of the answer. In the process he
produced a body of work that is notable for its variety of content, style,
and media. What holds his work together is a Weinbergian exuberance, inventiveness,
and masterful execution." --Harold Tovish [2] |
| Weinberg was widely
recognized among sculptors for his craftsmanship and his predisposition
to humanistic themes and forms. "His talent was just leaking out of him all over the place. We all felt he was the most talented sculptor that we knew," said Charles Perry, a sculptor who met the artist at Yale University and remembers seeing his first Weinberg work in the Metropolitan Museum of Art in New York City as a student. "He was one of the few sculptors who could, out of nowhere, take such a charged, crazy idea, like a dog sitting on a chair barking, and give it such an emotional charge that it actually scared you," he said. "Very few works do that. They always remain the stone or the material." [3] |
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1. Anthony Hecht, ARTS Magazine, November 1982. 2. Professor Emeritus of Art, Boston University, Retrospective Catalogue, September 1993. 3. Quoted in Hartford Courant, December, 1991. Copyright 1999-2004, Elbert Weinberg Trust |
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