A Russian Jewish painter and designer, Eugene Berman (1899 – 1972) emigrated to the United States on the brink of the Holocaust. He was one of the most celebrated artists of the 1930s and 1940s, designing imposing settings and sumptuous costumes for premier theatrical companies, including the Ballet Russe de Monte Carlo and the Metropolitan Opera. Berman’s Neo-Romantic paintings of decadent beauty and the ruined past were prized by discerning collectors. But in the 1950s and 1960s, as formalist abstraction came to dominate the American art world, his influence waned. With the return to figuration in the 1980s and 1990s, his work and that of his fellow Neo-Romantics became important to contemporary artists, critics and curators. Berman’s nostalgic response to the inexorable losses of history, termed the “melancholic sublime,” gained renewed meaning in response to the AIDS pandemic, the September 11, 2001 terrorist attacks and other cataclysmic events.
High Drama underscores connections between Berman’s works and that of his contemporaries, notably Neo-Romantics Christian Bérard and Pavel Tchelitchev, as well as Surrealists Joseph Cornell, Salvador Dali, Frida Kahlo, Yves Tanguy and Dorothea Tanning. The exhibition also demonstrates Berman’s relevance to artists today, including Julio Galán, Julie Heffernan, Larry Pitman and Cindy Sherman, and links multiple generations of American artists who have expressed, with poetic intensity and heartbreaking beauty, what it means to be human.