ART, WHATEVER IT TAKES

Since the early pandemic in 2020, Rome Art Program has conducted a series of interviews, “Art, Whatever It Takes.”
Artists, Art Critics, and Art Historians living in Italy, the U.S., and U.K., share their insights during these powerful times.

Interview with Eric Holzman

Eric is New York based artist & Rome Art Program Board Member.

Eric’s work has always been based on observation. Often painting outside, he brings these paintings into the studio where he may work on them for extended periods of time, sometimes for many years. When he is sure of the image, when it feels right, he may make a larger painting from these smaller works. The basic composition is usually worked out on the larger canvas in earth colors of varying tones and temperatures before he begins the next layer.

In 2014, Eric began creating compositions from his imagination. He use references from his own work, and from other artists paintings as well. He has also put figures into his work, thereby enabling him to better express the relationship between humankind and Mother Nature.

RomeArtProgram: Where do you live, what is your background?

Eric Holzman: I live in SoHo, in Manhattan. I was born in the Bronx. When I was 5, I moved to Yonkers into a ”development ”. These ”developments”, made for the families of men who’d returned from the Second World War, were built on what had been farmland. They soon became the suburbs. Houses were built one after another and each family got one little tree in the front yard; it was surreal. Gangs of rough older kids from the Bronx were roaming around with nothing to do. It was a scary place, but so was the city. I wasn’t too good at defending myself. Still there were lots of boys and we always had enough for two teams. There were woods in every direction, so I found a sanctuary. By the time I was 12 or 13, things began to spiral out of control. I learned to play drums and made a Rock and Roll band. A year or 2 later the Beatles appeared and suddenly the lights went on. So I survived Middle school and High school, and thrived actually. Then I went to Tyler, where John Moore, a wonderful painter and teacher taught. He and his wife Sandy were very kind to me and initiated me to the painting life. Summers I went to Skowhegan and the Studio school. Then to Yale, where I made dear friends and had 3 terrific artists as teachers, William Bailey, Lester Johnson, and Al Held. It was intense; they were pretty tough. Well not Lester, he was actually something of a delight. I think his black paintings, not very known now, are some of the best from the late 50’s and 60’s. After Yale I moved to NY with my girlfriend. There was a fire, and lots of ups and downs. My classmate Joe Santore was there as a friend. I became best friends with Rudy Burckhardt. Other friends like the painter Maury Colton and I worked as laborers, which I grew to hate and I finally started teaching at 40. Life got better. 35 years after school, I finished my first mature body of work. I wondered how I had done it. Not the work, which was good, but how I’d been able to stay at it.

RAP: In your opinion is there a creative method?

Eric: My painting has become experiential in contrast to conceptual. Two extreme examples are Giorgione and Van Gogh. In a conceptual painting, the method comes forward, and dictates the look. Also I try to stay as happy as possible, and connected to spirit.

RAP: The “lock down moment” can set you on the path of some important change(s) in your creativity and style…Has this happened to you?

Eric: It’s been peaceful. Time almost disappeared. As a slow painter that was a relief. Teaching on line, I made new friends around the world and I reconnected with old friends. Afternoons I took breaks, at a coffee shop in Little Italy, (very European). I organized my computer, finished old paintings, made new ones and meditated a lot.

RAP: What normally inspires you? Which is the most important inspirational source you have found in Rome?

Eric: Work that brings meaning, life itself, paint and painting, nature, people and a desire to contribute. I love the river, the Jewish Quarter, Trastevere, the buildings, their colors, the Museum of Antiquities and the pizza.

RAP: Is there a difference in working in Rome for an artist? What art medium do you prefer to work in?

Eric: Working in Italy is sublime, so many spirits to help…breathing in Italy is sublime. I paint in oil and I draw with Gouache & egg/tempera.

RAP: Specific events and historical conditions have a significant role in the creative process; how does this pandemic emergency affect the Arts?

Eric: What looks awful in one moment is often a blessing in the next. I have some hopes that we will be wiser, richer and kinder.

RAP: How are you feeling at this difficult moment and what made you feel this way? Are you optimisticfor the future?

Eric: I am optimistic. The pandemic stopped everything in it tracks. The track we were on was unsustainable. I hope we come out of this changed for the better.

RAP: What can Art contribute to history? Will “Art save us”?

Eric: It has saved me, if that’s any measure.

RAP: What is your most ambitious dream? And the greatest sacrifice that you have made?

Eric: A wider audience, a bigger contribution, growing in style, technique and expression, more teaching, traveling and sharing. Sacrifice implies choice, and I haven’t really chosen. I have followed, and tried to do my best.

RAP: Recently, the artistic and cultural message of Italy and Rome was reemerging as a great “work in progress”,…is this your point of view?

Eric: Italy is a place of giants. That’s really all I know.

RAP: Which is your favorite Italian, or Roman, place(s) of art (Museum, Gallery, Monument)?

Eric: Fra Angelico’s San Marco.

RAP: Which period of Italian Art do you prefer? What is your favorite Italian work of art?

Eric: I love work from all periods of Italian art. Favorite paintings: Titian’s late Pieta, Bellini’s Drunkenness of Noah, Giorgione’s The Tempest, much Roman/Pompeian painting, Leonardo’s St. Anne ( the painting and the cartoon), Michelangelo’ Crucifixion drawings, Piero in Arezzo (before restoration), Leonardo’s last Supper (also before restoration), Uccello, Duccio, Sessetta, Masaccio, Giotto and on and on…

RAP: How has Rome personally influenced you as an artist and a person?

Eric: A trip to Italy and France, CHANGED MY LIFE. My aspiration was all NY School, (which I love), but I found my heart resonated more deeply with the pre-modern traditions.

RAP: What’s your goal? What role does the artist have in society? Any final thoughts and advice?

Eric: Even as a student, I’ve wanted to add value, beauty and meaning to the world. I feel responsibility. Advice to myself: play a lot, but don’t mess around. Practice fundamentals, connect to the stars, to mother earth and to your heart.