Notes on art.
Dublin Core
Title
Notes on art.
Subject
A personal note from LeRoy Neiman on art.
Description
A personal note from LeRoy Neiman on his artistic style and influence.
Creator
LeRoy Neiman
Source
LeRoy Neiman Foundation
Publisher
LeRoy Neiman Foundation
Date
c. 1990-2011
Contributor
LeRoy Neiman
Rights
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Relation
Notes
Format
Image/jpeg
Language
English
Type
Document
Identifier
LN_Notes_817_01; LN_Notes_817_02
Coverage
New York (N.Y.) New York
Text Item Type Metadata
Text
Underworld Kingpins goons dandified
I called on the avant-garde visual vocabulary as a means of conversation with the (painting?) culture, seeking ordinary people who flush with hard earned means, thanks to property
My success is interesting
in the play of celebrity studded[d]-entertainment and sports worlds, where ordinary people could be spectators simultaneously in art and entertainment spectacles (sports included as entertainment—my prints were desired by people who had attended [in] life, watched on TV, or read about in the newspapers and magazines).
The reaction to my work [love?], especially for pro football classics, world series championships, prize fights, major tennis and golf tournaments, basketball star games, Halls of Fame, MLB, NBA, NHL, NFL, was [?] and overwhelming. (PEOPLE WERE SPECTATOR TO THE NEIMANS MORE SO THAN VIEWERS), through seeing work (of this nature) for the first time in such circumstances made my reputation popular. Critics (ART WRITERS) and contemporaries it was my surrendering to the [diverse sentiments?] of the entertainment industry, combining art and publishing, journalism and publishing /
ARTIST IN RESIDENCE FOR NY JETS
OFFICIAL ARTIST AND OLYMPIC GAMES, MAJOR LEAGUE BASEBALL
ABC ARTIST AT MAJOR TENNIS
THE SOCCER
Court (Ringside) to boxing
Court artist to curious in Vegas
My work was on view at entertainment, rather than artistic, establishments.
People were spectators rather than viewers
geared to factory and manual workers
St. Vincent de Paul (Church) is included in panoramic view from his room in Montmartre 1887, Van Gogh
I called on the avant-garde visual vocabulary as a means of conversation with the (painting?) culture, seeking ordinary people who flush with hard earned means, thanks to property
My success is interesting
in the play of celebrity studded[d]-entertainment and sports worlds, where ordinary people could be spectators simultaneously in art and entertainment spectacles (sports included as entertainment—my prints were desired by people who had attended [in] life, watched on TV, or read about in the newspapers and magazines).
The reaction to my work [love?], especially for pro football classics, world series championships, prize fights, major tennis and golf tournaments, basketball star games, Halls of Fame, MLB, NBA, NHL, NFL, was [?] and overwhelming. (PEOPLE WERE SPECTATOR TO THE NEIMANS MORE SO THAN VIEWERS), through seeing work (of this nature) for the first time in such circumstances made my reputation popular. Critics (ART WRITERS) and contemporaries it was my surrendering to the [diverse sentiments?] of the entertainment industry, combining art and publishing, journalism and publishing /
ARTIST IN RESIDENCE FOR NY JETS
OFFICIAL ARTIST AND OLYMPIC GAMES, MAJOR LEAGUE BASEBALL
ABC ARTIST AT MAJOR TENNIS
THE SOCCER
Court (Ringside) to boxing
Court artist to curious in Vegas
My work was on view at entertainment, rather than artistic, establishments.
People were spectators rather than viewers
geared to factory and manual workers
St. Vincent de Paul (Church) is included in panoramic view from his room in Montmartre 1887, Van Gogh
Original Format
Pencil and pen on paper.
Files
Collection
Citation
LeRoy Neiman, “Notes on art.,” LeRoy Neiman Foundation, accessed April 25, 2024, https://leroyneimanfoundation.omeka.net/items/show/36.