(1902 - 1979)
Louis Leon Ribak was active/lived in New Mexico, New York. Louis Ribak is known for modernist landscape and social realist figure and genre painting.
Biography from the Archives of askART
Born in Lithuania, Louis Ribak became an influential painter of the New York School, abstract expressionism, and then moved to Taos in 1944 with his wife, Bea Mandelman.
Biography from David Cook Galleries
Louis Ribak emigrated to the United States from Lithuania, moving to New York in 1922, where he studied with John Sloan at the Art Students League. He quickly made a name for himself as an influential social realist painter in New York, even collaborating on a mural in Rockefeller Center with Mexican muralist Diego Rivera.
Beginning with work that was included in the 1934 Venice Biennial art exhibition and continuing with his social realist painting of that decade, Ribak captured the vibrant images of urban life with considerable power. He appeared to be making an important career for himself when, in 1944, he moved to Taos, New Mexico at the invitation of Joan Sloan, a summer resident of Santa Fe. Ribak shifted to a more modernist approach upon his move to New Mexico.
Source: Cline Fine Art
Louis Ribak emigrated with his family from Russian Poland to New York City in 1912. He studied at the Art Students League during the early 1920's under John Sloan. Sloan was an editor for the radical periodical, New Masses, and prompted the young artist to illustrate for the publication.
** If you discover credit omissions or have additional information to add, please let us know at
In 1929, Ribak's involvement with New Masses led him to become a founding member of a closely associated group, the John Reed Club. Over the next few years he exhibited with the club and, in 1933, he received attention from critics including the New York Sun for his painting, "Striking Farmers." Ribak joined the Silk Screen Group in the late 1930's as he believed, along with a group of liberal artists, that the print medium was the "people's art of the twentieth century." Also during the 1930's, Ribak worked for the Works Progress Administration (WPA) as a muralist.
In 1942, he married fellow artist Beatrice Mandelman. In the mid 1940's, the couple followed the advice of John Sloan and moved to New Mexico. The move was prompted in part by the desire for a healthier climate for Ribak but also because they felt a need to leave New York as they had become disillusioned by "dissention between Social Realists and Abstract Expressionists."
In 1947, the Ribaks' opened and instructed at the Taos Valley Art School. The school closed in 1953 when the couple returned to New York City. However, the move back to New York was short-lived and they settled permanently in Taos in 1956.
In 1959, the couple opened the Gallery Ribak in their home. The gallery showed their own work as well as that of other Taos artists. In addition to the gallery, Ribak regularly exhibited in other locations throughout the region. In New Mexico, Ribak shifted his to focus entirely to full abstraction saying that as an artist he was "not truly anything. I am against everything. Damned abstract[ionists], realists, illustrators…"
Exhibited: Society of Independent Artists, 1925; Pennsylvania Academy of the Fine Arts Annual, 1933, 1946, 1950, 1953; World's Fair, New York, 1939; Golden Gate Exposition, San Francisco, 1939; Corcoran Gallery biennial, 1947; Art Institute of Chicago; Brooklyn Museum; Metropolitan Museum of Art; Newark Museum; Springfield Museum of Fine Art; Virginia Museum of Fine Arts; Walker Art Center; Whitney Museum of American Art; Worcester Museum of Art.
Works Held: Brooklyn Museum; Newark Museum; United States Post Office, Albemarle, North Carolina (WPA mural); University of Arizona; Whitney Museum of American Art.
Further Reading:Taos Artists and Their Patrons, 1898-1950, Dean A. Porter, Tessa Hayes Ebie and Suzan Campbell, Snite Museum of Art, University of Notre Dame, 1999.
Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Vol. 3. Peter Hastings Falk, Georgia Kuchen and Veronica Roessler, eds., Sound View Press, Madison, Connecticut, 1999. 3 Vols.
Share an image of the Artist email@example.com.