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"If a subject becomes too easy or manneristic it loses its interest for me, so I strive not to repeat." – Idelle Weber, Artist’s Statement, 2000
"For a woman of Weber’s generation to have a profession was not normative; to have a career showing in major galleries and museums on both coasts and reviews in important international art publications was exceptional. That Weber continued her practice and teaching for six decades is testament to her dedication and talent—she just “had to keep working,” even when faced with setbacks. She did not limit herself to one signature style but conscientiously developed with an eye to her personal concerns, to document what she saw and loved. After half a century of painting, it is time to fully recognize both the continuity and quality of this exceptional artist. – Sid Sachs, “Idelle Weber: New Realist”, 2013
Idelle Weber (1932-2020) was a unique figure in the world of Postwar American art. She first came to prominence in the early 1960s, alongside Andy Warhol, Roy Lichtenstein, and other Pop artists. However, unlike these contemporaries, Weber would radically change both her subject matter and stylistic approach throughout her career. As the art world became increasingly commercialized, Weber's shape-shifting frustrated gallerists who were relying more on promoting an artist's "brand" than the art itself to sell work. However, the fluid approach to her art resulted in Weber amassing an amazingly varied body of work that stretched the boundaries of what one artist could achieve within the confines of "Realism."
"Art historians, art critics, and art dealers sometimes make it sound like an artist’s development is a single thread. More often it is like a rope with several strands twined round one another. That is, the artist is really doing several things at once to make up a whole body of work. This certainly has been the case in my work." – Idelle Weber
This is also the case for the work the Estate of Idelle Weber. Whether it be the interest in female artists of the Pop Era, a renewed examination of Photorealism currently sparked by group exhibitions around the world, increased respect for legacy work, or a new generation of scholars and curators who are committed to questioning accepted narratives of art history — we are committed to following all of these threads to help secure Idelle Weber’s proper place in the history of American Art.