The Guide

THE GUIDE

10 Thursday, June 1, 1961

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Southwest Area Artist Edna's Work Finished When Framed, But Few Are Framed

By JIM FELDMAN Correspondent The room — large, wood-panelled, high ceilinged. The decor — cluttered, yet charming . . . shattering all standard motifs. In one corner stands a 1750 harp from London. Next to it in bold contrast a tall monk made of white plaster with a cat resting at his feet. The other corner—two portraits of women, one old, the other ageless. One in black, the other in gold. The fourth corner — a bookshelf, a pamphlet on Cezanne, some used brushes and an easel. Hung on the walls are paintings ranging in subject from a ballet dancer at rest to a sunny boat harbor to a surrealistic expression of a floating duck, or maybe it wasn't floating but just suspended? The artist enters. She is a smiling, attractive, tanned woman of 42, Mrs. Edna Glaubman. Pointing to her paintings she briskly remarked, "This is for sale; this is for me, and I'm not for sale." FROM N.Y. Coming to Miami three years ago from New York, Edna Glaubman has worked feverishly at two full-time jobs; first being a mother to her two sons and second an artist. Tiring of New York winters, Maury decided to move to Florida with his wife and two sons, Michael, 17, and Roddy, 10. They are now settled in a ranch home at 5998 SW 50th Ter. Her formal art training began at the Parsons School of Fine Arts in New York, where she graduated in 1939. She also studied at the Art Students League and Cooper Union. DOES LAYOUTS Mrs. Glaubman's storehouse of work includes layouts for House and Garden magazine, fashion designs for Saks Fifth Avenue, and various newspaper illustrations and window displays. Some of her paintings hang in the Carnegie Hall Gallery in New York and the art gallery in Fort Lauderdale. Her interior designs have been used at the Indies House in Duck Key and Miami Beach's Americana Hotel. Two approaches dominate her art. The first is her commercial treatment of everyday subjects, which the public can understand. These are her escape paintings, purely whimsical and gay. At the extreme, comes the wild freedom of her abstract mood, capturing feelings, actions, situations and characters. To this artist the brush is all "powerful." It is completely under her control, but she feels her commercial art is static, while her abstracts are in a state of constant motion. FIND SELF When asked to interpret her art, the answer was simple. She is "out to discover me." "My art is a construction, a design, an inner process to find that intangible which reality itself is afraid to recognize. "I have no technique, no process, no approach. Painting to me is emotion," she said, standing up with a sweeping gesture. "I paint when either at the depths of despair or the heights of glory. "I work in no particular media, whatever is convenient I mix, although I prefer black and white." An example of her art is a violent abstract of slashing black lines against a white cloth canvas; the theme is "Hostile Array" or "A Dagger's Drawn." ALL CREATIVE To Edna Glaubman, the abstract artist has no actual image to work with. Her paintings emerge from what the color does, the pattern that forms, and the emotion and feeling intrinsic in her brush. When asked if the public is ready to accept the new modern trend in art, she replied that people are only up to semi-abstractionism. "Dali's art fascinates them, but they fail to understand its meaning," she explained. One of the few contemporary artists she admires is Lee Gatch, whose art tells a story she says. This is what Edna Glaubman's art is striving for. She feels that everything in life has a meaning of its own. Around her paintings exists an invisible web, which conceals the story of sadness behind every door. Edna Glaubman's paintings sometimes require several months to complete, since in her eyes the flow of lines can travel infinitely. But her real problem is creating, not finishing. "My paintings are finished when they're framed," she said emphatically. Glancing at the wall, I noticed numerous paintings but few frames.

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