The Rome-based artist, writer and art critic Edith Schloss has died at her home near
Piazza Navona.
She was incredibly active right to the end, and at the time
of her death on Tuesday, had been working hard to prepare an exhibition entitled “The
Painted Song” to be inaugurated at Rome’s “Home of Literature” on Wednesday evening.
The
exhibition will go ahead. Instead of Edith reading from her writing as scheduled,
one of her many friends and admirers will read in her place. The exhibition will represent
a first tribute to an artist who has left an indelible mark on the contemporary art
scene.
The largest body of her work is represented by oil paintings, collages,
watercolours, drawings and sketches, but since the 1940s, in New York and in Rome,
Edith’s vision led her to experiment with avant-garde techniques and ideas setting
the stage for many to come.
Edith was a prolific artist and her works brim
with colour, movement, energy, light, passion and life. In recent years a dominant
theme of her work is dominated by Greek mythology. Timeless stories with pressing
themes and passionate emotions shine through the rich oils and the delicate watercolours.
An article by Giovanna Dunmall about Edith Schloss narrates that when Edith
first started frequenting the art world “she was a friend of many abstract expressionists
but was always protesting against what was fashionable or "politically correct," struggling
to find her true voice, her true style. She became less abstract and more figurative
at a time when the action painters were becoming dogmatic about their abstraction.
She started to write reviews for Tom Hess's Art News magazine. (Later she was to be
the International Herald Tribune's art critic for Italy for almost twenty years.)
In 1961 the Museum of Modern Art showed a box assemblage she had made.
Boxes were deemed "okay" by the action painters, as they represented an avant-garde
technique. Meanwhile, her figurative painter self remained firmly in the closet. Now
that the artist is in her eighties, her work on canvas is almost abstract again. As
before, she is motivated by a need to "scoop shapes and colors" from the world, to
satisfy a boundless curiosity. At one point, she tells me that being wrong is not
so important, so long as you are enthusiastically wrong”.
Linda Bordoni
spoke to an old friend of Edith Schloss’. He is Peter Rockwell, sculptor and historian
of the techniques of stone-carving who remembers Edith the artist, the art critic
and friend…