|This biography from the Archives of AskART:|
|“You’ve got to have Art” is my way of saying that the world would be a very dull place if it had not been for the gift given to some of us to observe the world around us and record what we see. We who create art are surely blessed. The pleasure we get from observing life-its|
colors, movements, shapes, are incorporated into our work. As an artist I am delighted with my ability to use color, line, light and dark to express my feelings and perhaps to let the viewer see the world as I do. As an art teacher I am delighted by the opportunity to make my students aware of the beauty that surrounds them. (Anne Raskin, 1996)
In a life spanning most of the 20th Century, Anne Raskin sought to make art central to her life from early in her childhood to the day of her death at the age of 87. Raskin often related that she could not remember a time when she was not creating art. She dedicated her life to the study, teaching and creation of visual art. To her art was a universal language she could use to communicate her joy in the world around her.
Her zest for life is reflected in her artwork, which is rich and diverse and filled with visual rhythm. Raskin was primarily a painter. She preferred painting from life, especially outdoor scenes. Her desire to learn never stopped. She was always seeking new art forms and experimenting with techniques virtually until the day she died. At one time or another she used virtually every medium possible, from painting with oil and watercolors, using charcoal, pastel and oil sticks, sculpturing in clay, wood, stone, wax and paper Mache, making collages, printmaking including etchings, photo transfer and mono-prints and even embroidery and knitting and produced a group of works in each.
In the twenties as a teenager her artistic talent was recognized and she was admitted as a non-fee paying student to the Leonardo da Vinci Art School. The school was founded in 1923 by Onorio Rutolo, a noted sculpture, and funded by the Italian-American community, to provide academic art instruction to talented young men and women from the working poor. It was located at that time in Manhattans Lower East Side at 10th street off of Avenue A, not too far from her home. The school, which over the two decades it existed, had many students who later went on to become famous artists including Isamu Noguchi and Elaine de Kooning. Anne’s earliest surviving works are, a detailed painting of what appears to be a plaster cast of a woman’s torso on art board, a number of detailed realistic pencil drawings of women’s heads and still lifes all probably done at the Leonardo da Vinci school.
After grammar school she applied to and was admitted to Washington Irving High School. Washington Irving was founded in 1902 as Girls Technical High School, for the “express purpose of educating girls to become something other than teachers, stenographers, or college women “. It was founded as, among other things, a free art school for girls. In addition to studio art courses there were English, history courses designed to correlate with the art courses. The school offered the art course students a choice of three tracks - commercial poster, textile design, and costume illustration. The girls not only received free tuition but all the necessary supplies. When she was studying there, the art department had a staff of twenty-four teachers and an enrollment of eight-hundred girls. Even though she said, “When I got to High School I liked cutting up my dresses and redesigning them,” she chose to major in commercial poster. She remembered one of her posters was entered in a citywide poster contest, and won a medal. In her high school art courses she did mostly lifelike drawings of
models and still lifes.
On graduation from Washington Irving High School she applied and was admitted to Hunter College. Hunter College at that time was the only New York City public college that admitted women and it was free for matriculated students. When she registered as a freshman she was disappointed when she found that she had to take required courses for two years before she could take art courses and against her parents’ wishes dropped out of school.
She then enrolled in a postgraduate design program that Washington Irving High School offered to especially talented girls who wanted work place experience in commercial art. The program was either in clothing design, textile design or illustration. Raskin chose illustration. The course consisted of more than 40 hours a week of applied art training. The school had an employment bureau to place the girls in industry. Raskin recalled making the rounds of the department stores with her portfolio. She said some of her ideas were stolen and appeared in clothing ads in the newspapers. A series of illustrations primarily of women done in pencil or ink and sometimes colored with watercolors mostly on poster board survives from the
portfolio she developed in the postgraduate course at Washington Irving High School survives.
After completing the course, while searching for work, she enrolled in life drawing classes at the Educational Alliance Art School that was under the direction of Abbo Ostrowsky and had four art instructors at that time. Several contee crayon and charcoal sketches of nudes likely from the life studies course she took still exist. The economy was in depression and she could not find employment. Her parents convinced her to return to college.
She was readmitted to Hunter in 1929 majoring in political science and economics. At Hunter College, art was considered a “special major” only open to those who, after two years with an art minor, won the approval of the Department of Art and the Committee on Programs. The Art Department at Hunter was headed Joseph Cummings Chase, and there were ten full time and 14 part time instructors, all female, teaching 30 Art History, Design and Studio (drawing and painting) courses. Raskin majored in Studio and took as many art courses as she was allowed. A series of pastels and charcoals of costumed models in a cubist or art deco style using straight lines from one of the classes survives.
In the summers of 1932 and 1933 she was the Art and Theater counselor at the Henry Street Settlement House Camp Mikan a girls camp in Bear Mountain State Park in Monroe New York. She put on shows, designed costumes and sets for the shows and had her first experiences in teaching art. In 1929 she joined a dramatic group, the Christie Street Players. She not only acted in many plays but also designed and made costumes and helped build and paint sets.
When she graduated from college in 1933, she received the art prize including a monetary award that was to be used to pursue art studies. In the fall of 1933 she enrolled in the Art Students League as a scholarship student using her award money for supplies. She took a life studies course taught by Alexander Brook. It was the height of the “Great” depression and she was forced to drop out when she could not find work sufficient to support her art studies. To those who observed her activities and her talents she seemed at the threshold of a spectacular career in the arts.
By early 1930’s her art was very modern and stylistic, influenced by the art deco movement and the fashion design and illustration that she had studied at the Washington Irving post-graduate graphic design courses, her art courses at Hunter College and her studies at the Educational Alliance and the Art Students League.
She met her future husband through the Christie Street Players where he also acted. He was ten years older than her and owned a business in Brooklyn. In 1934 she married and moved from a life on the edge of poverty to middle class stability in the Boropark section of Brooklyn. She soon became a mother. Her first son was born in 1935. She continued to paint in the late 1930’s mostly watercolors of flowers.
In 1940 she had another son and family moved to the Marine Park section of Brooklyn. In 1945 another son was born. As a mother ofthree children both societal and family pressures had their predictable impact in depriving her of the hours needed to pursue art to the extent she wanted. Yet creating art continued to be a driving force in her life. When her youngest son finally entered school she could spend more time on her art but even then she was isolated from the art community and there were the household chores and meals for a husband and three hungry boys. No amounts of housekeeping and childcare could stop her from finding some time to work on her art. She always kept an easel in the corner of the kitchen where she would often be working on oil paintings, usually a still life of that evening’s dinner or a portrait of a neighbor’s child. In the mid 1940’s she took some classes with Doris Cross who had studied with Hans Hoffman in the 1920’s and 30’s. For a few years she ran a small art school in the basement of her house for neighborhood children.
In the late 1940’s and early 50’s the family spent the summers at Lake Buel near Great Barrington Massachusetts. She studied painting at the Great Barrington Art League with George Picken. These lessons had a great impact on her oil painting technique especially her landscapes. Her work started showing spontaneity, using broken brush strokes and rich intense colors. Returning to Brooklyn she did a series of still lifes. Many included her violin, often varying its color and form. She also did a series of paintings of watermelons, using wide brushes and thick paint. Many had the watermelon pits stuck on them after it was eaten for desert that evening. There were also portraits of people she knew, mostly neighbors. Both her oils and watercolors were rich in brushwork and used strong colors. Often when the pictures are seen up close, the subjects are difficult to visualize, but are perfectly clear when seen from a distance. Some of her pieces from this period are evocative of postimpressionism. In 1952 she entered the first of many Juried shows and had several pieces accepted.
In 1953 her world changed. This change would have a great impact on her art. Raskin applied for a job as an art teacher in the New York City Public Schools and started teaching in the fall of 1954. She needed a Masters degree to get her teaching license and enrolled in Brooklyn College. She took as many studio art classes as she could as part of the Masters program. In the mid fifties the Brooklyn college art department, chaired by Robert Jay Wolff, had some of the best practitioners of the abstract and expressionist art movements in America teaching there including Burgoyne Diller, Carl Holty, Harry Holtzman, Jimmy Ernst, Mark Rothko, Alfred Russel, Ad Reinhart and Clyfford Still. Surrealist Kurt Seligman, etching and printmaker Stanley William Hayter (considered the father of contemporary etching), architect Stamo Papadaki (an associate of Le Corbusier) sculptor Louise Bourgoise and realist photographer Walter Rosenblum. She took courses with many of them and was probably influenced in some way by all of them. In addition to the visible effect that her studies had on improving her skills as an artist, she found a hidden benefit in going to school because it provided a period of time when she could concentrate only on her art without interruption of family duties
During the mid to late 1950’s Raskin did some experimentation with abstracts, but most of her work from this period remained figural. Her studying with abstract and expressionist artists did have a lasting impact in her use of more abstract elements of design and a broad spectrum of different materials that show up in her work. There are many references in Raskin’s art to Cezanne and Matisse paintings especially in her use of color and the design.
After receiving her Masters degree in 1957 she continued to study with the various artists at Brooklyn College until 1965 as a start toward a PHD and a means to stay part of that art community and continue to develop her skills. Starting in 1960 and continuing through 1979 she also took studio courses at the Brooklyn Museum School of Art where she studied sculpture, printmaking, oil painting and watercolor with Isaac Soyer, Rueben Tam, Joseph Konzal, Peter Forakis and other fine artists. She spent several summers, in the mid 1960’s in Woodstock, New York where she was part of the artist community studying and painting at the Woodstock Art Guild.
During this period her style continued to be refined. She worked in not only oil and watercolor painting but other media including printmaking, collage and sculpture in wood, stone, wax and clay. In both her oils and watercolors she painted in a loose representational way. Her pictures were created with a minimal use of the particular medium. They were full of luminous tonalities, painterly brush strokes and sketchy surfaces. She described this style as “less is more”. The paintings were often left with some of the paper, canvas or board without paint or with a wash creating a negative space. Her watercolor technique was executed with the use of dabs of color creating the composition. They, like her oil paintings, were based primarily on what she saw and were executed when she saw it rather than studio creations. They were often quick sketches using her brush and watercolors. They were almost never done with outlining or drawing first. The watercolor brush strokes created the picture, sometimes with a light glazing (portraits) and other times with more heavy coloration (landscapes and flowers). On many of her watercolors, she started to use ink to outline the elements of the composition after it was painted, creating a sort of “stained glass effect”.
Her prints during the 1960’s and 1970’s were mostly etchings and engravings although she did some silk screen and tried other techniques. Some of the prints were abstract especially the silk screens and when she experimented with different copper plate making techniques influenced by Walter Rogalski who she studied with in a graduate printmaking course at Pratt School of Art. The non-abstract ones were more realistic than impressionist and reminiscent of the Old Masters.
Her sculptures in the 1960’s and 1970’s were done for the classes she was taking. They were for the most part very representational, using a variety of materials.
She retired from teaching in 1978. In 1980 she moved into an apartment in Northern Virginia. One of the rooms had great northern light and became her studio. She soon missed being part of an arts community and the opportunity to try new techniques and a place where she could concentrate on art. By March 1980 she joined the Art League. The Art League had recently moved into a surplus torpedo factory in Alexandria, Virginia. The Torpedo Factory Art Center had 83 studio spaces with over 150 artists and the Art League operated a School of Fine Arts and a Gallery. In the early 1980’s she took several studio classes at the Art League School and started entering paintings in the monthly Art League Juried shows. Her paintings were accepted in at least 36 exhibitions over the next nearly 20 years. In most years she got into four or more shows which qualified her to have pieces in the Art League Members gallery where she sold many pieces.
She found out she could enroll in studio art courses at Northern Virginia Community College for free. Over the course of the next 19 years she took two or more studio art courses each term primarily so she could use the schools printing and ceramics studios and equipment. The courses included painting (watercolor and oil), ceramics and sculpture, printmaking (etching, intaglio and lithography) and even drawing. Even though she had more experience than most of the instructors she always found there was something new to learn. She especially liked working with and helping the young students in her classes, she said they kept her young. Her prints in the 1980’s and 1990’s were primarily abstract and experimental. In the 1980’s and 1990’s at the school she worked only in clay. Her sculpture became more and more impressionist over the years. Most were nudes or dancing figures, often left with a rough surface reflecting her notion of the nature of the clay she was working with. She often mused that “mushing” clay in their hands should be part of every artist’s education because it gives a feeling of dimension that they should understand and reflect in their art.
Her style that evolved over the years was strongly recognizable and mostly constant throughout her final years even as she broadened her artistic experiences and observations. Her entire life work as an artist was one of constant growing and building. Over most of her life but especially in her last years Raskin never did preparatory sketches or spent time planning before starting. She just created, bringing to her art spontaneity and freshness. She was inspired by what she saw and translated this into her art in a way that reflected her feelings about what she was observing. In her last years she spent much of her time doing watercolors, mono-prints, ceramic sculptures of figures and working with oils sticks. Much of her best work in the 1990’s were watercolors of faces where, with a few strokes of her brush, she could catch on paper not only the likeness of the person but also their character and feelings.
Raskin was not only a versatile and prolific artist but also became an art teacher with extraordinary vitality and creativity. She said that the most important thing in teaching art is to get the students to “see what they are looking at”. At Erasmus Hall High School, where she taught Major Art, she also volunteered to teach seniors who had failed required art and needed the course to graduate. She liked showing her students that they had the ability to create within themselves no matter how skilled they were. She encouraged her students to enter art contests and to pursue art as a career. She helped with portfolios and was instrumental in getting many of them into art school and win awards and scholarships. She wrote that among the reasons she loved teaching is that “I learned a lot teaching for my own art work. I would often give the class an assignment about something I was trying to figure out in my own painting.” She was voted “Best Art Teacher in New York City” three times. She loved to teach so much that even after retiring from full time teaching in she volunteered to teach art for a senior, 55 +, education program “Maturals”. Her legacy to the world is not only the artwork she left behind but also the art created by those she taught.
Anne Raskin’s enormous output from a career that spanned most of the Twentieth century is both diverse and creatively energetic. In her paintings and drawings, her prints, ceramics and sculptures, Raskin was always inventive and innovative, exhibiting a deep aesthetic sense. Although she sold or gave away thousands, of her creations during her life, her family still possessed a large body of work, over 4,000 paintings, sculptures and works on paper, when she died in Fairfax Virginia in 1999.
Awards and Honors:
• First Prize, Nancy Ashton Memorial Award ($75.00) from Hunter
College Art Department, 1933.
• Eighth Annual Art Show Sponsored by the First Thursday Morning Club,
Great Barrington, Massachusetts, “Yellow Violin” oil, “The City” oil
painting, “The Barn” oil, summer, 1952.
• Brooklyn Artists Biennial Exhibition, The Brooklyn Museum, Brooklyn,
NY, “Lake Buel” oil, March to April 1954.
• Brooklyn and Long Island Artist Show, The Brooklyn, Museum Brooklyn,
NY, “My Neighbors House”, oil painting, May to September 1958.
• Winner of annual Art contest of the Kings County Trust Company for
students at the Brooklyn Museum Art School. Oil Painting landscape
“33rd Street”, September 1961.
• First Prize, Morim Award Third Annual Art Exhibit for Teachers in
the New YorkCity School System, sponsored by Morim the Jewish Teachers
Association, “still life (fishes)” oil on Masonite, May 1963.
• Second Prize Watercolor, Morim Award Fifth Annual Art Exhibit for
Teachers in he New York City School System, sponsored by Morim the
Jewish TeachersAssociation, “Mill Basin” watercolor also accepted “My
Sheet” oil, 1965
• Silver Gull Club Art Award, Silver Gull Annual Art Show, Brooklyn,
New York,August 1965.
• Third Prize, E. H. & A. C. Friedrichs Co. Award, Sixth Annual Art
Exhibit forTeachers in the New York City School System, sponsored by
Morim the Jewish Teachers Association, watercolor “Breezy Point”, May
• Medal Award, Long Beach Art Association Fifth Annual Open Art Show,
Suffolk County, NY– Watercolor “Peters Boat” also oil painting
“Charlotte” Juried into show, May 1966.
• First Prize, ($25.00 Bond) South Shore Communities Art Show of the
Prospect Park Centennial, Manhattan Beach, Brooklyn NY Watercolor,
• Second Prize, “Fence Art Show”, Watercolor “Peters Boat” also oil
painting “Still Life” accepted, October 1966.
• Second Prize, Seventh Annual Art Exhibit for Teachers in the New
York City School System, Sponsored by Morim the Jewish Teachers
Association, watercolor, also paper mache sculpture accepted by for
exhibition, June 1967.
• First Place and Best in Show, Floyd Bennett Art Show, Brooklyn NY, 1969.
• United Federation of Teachers Art Committee Exhibition at the
Metropolitan Museum of Art, New York, NY, “portrait of costumed lady”
oil on masonite,
• Brooklyn Landscape Show of scenes of Brooklyn by Artists From the
Community Gallery, Brooklyn Artists Registry at the Brooklyn Museum,
Brooklyn, NY, “The Street that I live on” oil on Masonite 1977,
“Manhattan Beach” (rocks on a dull day) watercolor 1978, April to June
• Silver Gull Club Art Award, Silver Gull Annual Art Show, Brooklyn
NY, August 1979.
• Honorable Mention, “Miniatures Show”, Alexandria Art League, Torpedo
Factory, Alexandria Virginia, “Opus V” Monoprint, November 1982.
• Painting selected to be included in the Warehouse Journal – Students
Art Magazine of the Alexandria Campus, Northern Virginia Community
College, “Landscape” Oil, 1984.
• Painting selected to be Cover Illustration and month of June of 1986
calendar distributed throughout Virginia by the First American Bank.
The Calendar celebrates the 20th Anniversary of Northern Virginia
Community College which designed and produced by the Art Department of
the Alexandria Campus, watercolor “View from School Window”, 1986.
• Paintings selected to be included in the Warehouse Journal –
Students Art Magazine of The Alexandria Campus, Northern Virginia
Community College, “Face Front” Oil, “Why am I sad” Oil 1986.
• Paintings selected to be included in the Warehouse Journal –
Students Art Magazine of The Alexandria Campus, Northern Virginia
Community College, “Rocks” Oil, and “Face” watercolor, 1987
• Equal Award of Distinction, “American Landscape” Show Alexandria Art
League, Torpedo Factory, Alexandria, VA “Woodstock”, Oil, also
accepted “On King Street” Oil, “Dead Horse Bay” Watercolor,
“Woodstock” Oil, August 1987.
• First prize ($150.00) “Young at Art”: the fifth annual Juried Elder
Artists’ Exhibition (sponsored by the Alexandria Commission on Aging
and Friends of the Torpedo Factory), Alexandria VA, oil painting
“Why”, August 1991.
• Painting selected to be in the Warehouse Journal – Students Art
Magazine of the Alexandria Campus, Northern Virginia Community
College, “Friends” oil, 1993.
• Two Person Show of “Contemporary Paintings” with Eugene Gaynor at
Birmlan Galleries 2101 Nostrand Avenue, Brooklyn New York, December
• Solo Show at Kings County Lafayette Trust Company (with the Brooklyn
Arts Gallery) 1532 Flatbush Avenue, Brooklyn New York, October 1967.
• Solo show of prints and watercolors, Washington D.C., April 1972.
• Group Show by Gallery Members, Belanthi Gallery, 42 Court Street,
Brooklyn, New York, November 1979.
• Group Show, “Three Generations”, with son and grandson, Capital East
Gallery, Washington DC, June 1991.
• Group Show, “Studio 13”, Metro Gallery, George Mason University Law
School, Arlington VA, April 1995.
• Solo Show, Sponsored by the Capital Hill Art League, Washington DC,
January 1-30, 1997.
• Group Show, “Artists in the Family”, with grand daughter, Delray
Artisans’ Center, Alexandria VA, February to March 1997
• Solo Show, “Intimate Portraits and Elegant Landscapes”, a
retrospective of the NOVA years (1981-1998), Tyler Gallery, Northern
Virginia Community College, Alexandria Campus, June 1-30, 2003.
• Birmlan Art Gallery, 2101 Nostrand Ave, Brooklyn New York, 1958-61
• Brooklyn Arts Gallery, 1415 Flatbush Ave, Brooklyn New York, 1962-1973
• Belanthi Gallery, 142 Court St., Brooklyn New York, 1978-1981
• Alexandria Art League Members Gallery, Torpedo Factory, 101 North
Union Street Alexandria Virginia, 1981-1987.
• Uptown Arts, 2116 18th Street NW/ 3236 P Street NW Washington D.C., 1985-1995
• Leonardo da Vinci Art School, New York, NY, Studied drawing, (1920s).
• Washington Irving High School, NY, Art Major, (1924-1928).
• Washington Irving High School, NY, Post Graduate Course, Industrial
Arts, January 1929, (1928-1929)
• Educational Alliance Art School, New York, NY, life studies, (1929).
• The College of the City of New York, Hunter College, NYC, Bachelor
of Fine Arts June 1933, (1929-1933)
• New York Art Students League, New York, NY, life studies, (1933).
• Great Barrington Art League, Great Barrington, MA, landscape
• The University of the City of New York, Brooklyn College, Brooklyn
NY, MA 1957, (1953 – 1957), Postgraduate (1958-1965).
• Brooklyn Museum Art School, Brooklyn NY, watercolor, oil painting,
printmaking and sculpture, (1960- 1979).
• Woodstock Guild, Woodstock NY, studied landscape painting, (1964- 1966).
• Pratt University, Brooklyn NY, studied printmaking, (1968-1969).
• New York University, New York, NY, figure composition (1969-1970)
• The Art League School, Alexandria VA, Figure composition (1980 – 1983)
• Northern Virginia Community College, watercolor, oil painting, print
making, ceramics and sculpture, (1983 – 1999)
Artists Raskin studied with, in date order (when known the type and
number of courses taken in parentheses):
• Washington Irving High School
Minna D. Behr, 1925, Drawing (1)
Ethelyn H. Wesser, 1926, Drawing (1)
A. Sandry, 1928, Illustration (1)
Craig , 1929, Illustration (1)
Whitney, 1928, 29, Illustration (2)
Morse, 1929, Design workshop (1)
• Hunter College
Adeline G. Wykes, 1932, 33
Grade E. Riblet, 1932, 33
Elna Boeckner, 1932, 33
Agnes M. O’Donnel, 1932, 33
Edna Wells Luetz, 1932, 33
Edna P. Stauffer, 1932, 33,
Margareha M. Brohmer, 1932, 33
Margaret Mc Adory Siceloff, 1932, 33,
• Art Students’ League
Alexander Brook (1933) Life studies.
• Great Barrington Art League
George Picken 1950, 51, 52, (summers) Oil Painting,
• Brooklyn College
Burgoyne Diller, 1954, 56, Ceramics (1), design (1)
Jimmy Ernst, 1955, 60, Design (2)
Stamo Papadaki, 1955, 60, Design (2)
Ad Reinhart, 1955, 56, 57, 60, Drawing (2), Painting (3)
Alfred Russel, 1955, 56, 57, 60, Drawing (2), Painting (3)
Kurt Seligman, 1956, 58, Art workshop (2)
Harry Holtzman, 1957, Art workshop (1)
• Brooklyn Museum Art School
Joseph Konzal 1960, 61, 67, Sculpture(2) and painting (1)
Rueben Tam 1960, 61, 72, 73, 74 Painting and drawing (5)
Gretna Campbell 1961, Landscape painting (1)
Peter Forakis 1962, Sculpture (2)
Isaac Soyer 1962, 63 Portrait painting (4)
Ted Donaldson 1963 Watercolor (1)
Richard Mayhew 1963, Landscape painting (1)
Hartwell Yeargans 1971, Silkscreen (1)
Jack Kaminsky 1974, Printmaking (1)
• Wood Stock Guild 1964, 65, 66 (summers) Oil Painting
• Pratt University
Walter Rogalski 1969, printmaking (1)
• Northern Virginia Community College
Cynthia Young 1981 - 1988, Watercolor (7)
Lou Jones 1982 Painting (1)
Anne K. Salley 1983 - 1988, Painting (13)
Michael Platt 1983 - 1998, Printmaking (10), painting (4), drawing (6)
Agnes Brodie 1984 - 1988, Watercolor (5)
Anne Banks 1985 Drawing (1)
Robert Capps 1987 Design (1)
William Schran, 1987 - 1998, Ceramics/sculpture (17)
Jane Buckman 1989 Painting (1)
David Daniels 1989, Watercolor (1)
Sherry T. Trachtman, 1991 - 1997, Painting (6), drawing (1)
Rebecca Kamen, 1997, Drawing (1)
• Christie Street Recreation Rooms and Settlement 84 First Street New
York, N.Y, 1929-1932, taught art to children and adults.
• Henry Street Settlement House, Camp Mikan, Bear Mountain State Park,
Monroe NY, summers 1932, 1933.
• Camp Roselake, Honesdale PA, summer 1953, head of arts program.
• Winthrop Junior High School, Nostrand Avenue, Brooklyn NY, fall
1954-1957, Substitute teacher fine arts.
• Marine Park Junior High School, 1925 Stuart Street, Brooklyn NY,
1958-1967, teacher of fine arts (regular and major art).
• Erasmus Hall High School & Academy of the Arts, 911 Flatbush Avenue,
Brooklyn NY, 1967-1978, teacher of fine art..
• Northern Virginia Community College, Alexandria VA – MATURALS
(Senior, 55+education program) 1987-1992.
Brooklyn College, Brooklyn NY
District of Columbia Jewish Community Center, Washington DC
Hunter College, City University of New York, New York NY
Library of Congress, Fine Print and Photographic Division, Washington DC
Mercy Medical Center, Baltimore MD
Northern Virginia Community College, Alexandria VA
1911 April 29, born in New York City to Rose and Samuel Reichman.
1911-1934 Lives at 152 Prince Street at the corner of West Broadway on
the lower West Side of Manhattan. Father was the custodian of the
building they lived in and mother operated a newsstand in front of it.
1923-1925 Studies at Leonardo da Vinci School, NYC, where she did
drawings from casts of famous statues in charcoal and also worked with
pencil. Onorio Rutolo, a noted sculptor, to provide academic art
instruction to young men and women from the working poor, founded the
school in 1923 on the Lower East Side.
1924-1928 Attends Washington Irving High School, NYC majors in art.
1928-1929 Attends Washington Irving Post Graduate Course in Industrial
Arts Studies fashion design and illustration.
1929 Attends Educational Alliance NYC, studies life drawing
1929-1932 Teaches art at Christie Street Recreation Rooms and
Settlement House, NYC.
1929-1933 Attends Hunter College NYC as special art major, takes
design and studio courses.
1929-1934 Member of Christie Street Players dramatic group where she
not only acts but also designs and makes costumes and helps build and
1932-1933 Summer, art and drama counselor, Henry Street Settlement
House Camp Mikan in Bear Mountain State Park, NY.
1933 Receives Hunter College, “Nancy Ashton Memorial Art Award,” a
monetary award to pursue her art studies.
1933 June, Bachelor of Fine Arts from Hunter College.
1933 Receives scholarship to study at the New York Art Students League NY.
1934 Marries Frank Raskin, who owns a wholesale auto parts store in Brooklyn.
1934-1940 Lives in the Boro Park section of Brooklyn.
1935 Son Jack is born.
1940 Son Samuel is born.
1940-1979 Lives in the Marine Park section of Brooklyn.
1945 Son Peter is born
1948-1952 Summer, studies with George Picken, Great Barrington Massachusetts.
1952 Summer, three paintings accepted by Jury at Eighth Annual Art
Show, Great Barrington, MA
1953 Summer, heads arts program Camp Rose Lake, Honesdale PA.
1954 Painting accepted by Jury for exhibition, Brooklyn Artists
Biennial Exhibition, The Brooklyn Museum.
1954-1957 Substitute Teacher, Fine Arts, Winthrop JHS, Brooklyn, NY.
1954-1965 Attended Brooklyn College, takes courses taught by a number
of important artists including Burgoyne Diller, Harry Holtzman, Jimmy
Ernst, Alfred Russell, Ad Reinhart, and surrealist Kurt Seligman,
architect Stamo Papadaki.
1957 June, Masters Arts from Brooklyn College.
1958 Painting accepted by Jury for exhibition, Brooklyn and Long
Island Artist Show at the Brooklyn Museum, Brooklyn, NY.
1958-1962 Paintings exhibited at Birmlan Art Gallery, Brooklyn N.Y.
1958-1964 Teaches art at Marine Park Junior High School, Brooklyn, NY.
1960 December, Two Person Show with Eugene Gaynor at Birmlan Art
Gallery, Brooklyn, N.Y.
1960-1979 Brooklyn Museum Art School; studies sculpture, printmaking,
oil painting and watercolor under Isaac Soyer, Rueben Tam, Joseph
Konzal, Peter Forakis, Richard Mayhew and other fine artists.
1961 Wins annual art competition of the Kings County Trust Company
for students of The Brooklyn Museum Art School.
1962-1973 paintings exhibited at Brooklyn Arts Gallery, Brooklyn, NY
1963 Wins First Prize, Morim Award, Third Annual Art Exhibit for
Teachers in the New York City school system.
1964-1979 Teaches major art at Erasmus Hall High School, Brooklyn NY.
1964-1966 Spends summers in Woodstock, New York, where she studies
painting at the Woodstock Guild.
1965 Wins Second Prize Watercolor, Morim Award, Fifth Annual Art
Exhibit for Teachers in the NYC schools.
1966 Wins Third Prize, E. H. & A. C. Friedrichs Company Award, Sixth
Annual Art Exhibit for Teachers in the NYC schools.
1966 Medal Award, Long Beach Art Association Fifth Annual Open Art
Show, Suffolk County, NY.
1966 Wins First Prize, ($25.00 Bond), South Shore Communities Art
Show of the Prospect Park Centennial, Brooklyn NY.
1966 Wins Second Prize, Fence Art Show, Brooklyn NY.
1967 Wins Second Prize, Seventh Annual Art Exhibit for
Teachers in the New York City school system.
1967 One person show at Kings County Lafayette Trust Company (in
cooperation with The Brooklyn Museum), Brooklyn NY.
1968 Seven week trip to Europe.
1968 Selected by NYC Board of Education as Outstanding Art Teacher.
1968-1969 Attends Pratt University, Brooklyn New York, and studies
printmaking under Walter Rogalski.
1969 Wins First Place, Best in Show, Floyd Bennett Art Show, Brooklyn, NY.
1969-1970 Attends New York University, NY, studies figure composition
1970 Certified as a Supervisor of Art. New York City Schools
1971 One person show of prints and watercolors, Washington D.C.
1976 Accepted by Jury for exhibition, UFT, Art Committee, Exhibition
at the Metropolitan Museum of Art, NY.
1978 February, Retires from teaching.
1978-1981 Artwork exhibited at Belanthi Gallery Brooklyn NY
1979 Accepted by Jury for exhibition, Brooklyn Watercolor Society.
1979 Two paintings accepted by Jury for exhibition, Brooklyn
Landscape Show of scenes of Brooklyn by Artists From the Community
Gallery, Brooklyn Artists Registry at the Brooklyn Museum
1979 November Group Show at Belanthi Gallery Brooklyn NY
1980 Moves to Northern Virginia
1980-1983 Studies figure composition, Art League School at the Torpedo
Factory in Alexandria, VA.
1980-1999 Paintings Accepted by Jury for exhibition in more than 30
shows at the Alexandria Art League, Alexandria VA.
1981-1987 Paintings Exhibited at Alexandria Art League Members
Gallery, Torpedo Factory, Alexandria, VA.
1982 Honorable Mention, “Miniatures” Show, Alexandria Art League,
1983-1998 Attends more than 80 studio art courses, Northern Virginia
Community College, Alexandria Campus.
1985-1995 Paintings exhibited at Uptown Arts Gallery, Washington D.C.
1986 Painting selected for cover illustration of 1986 calendar
celebrating the 20th Anniversary of Northern Virginia Community
College distributed throughout Virginia by the First American Bank.
1987 Equal Award of Distinction, “American Landscape” Show Alexandria
Art League, Alexandria, VA.
1987-1993 Teaches art seminars for seniors at Northern Virginia
Community College, Alexandria VA
1987 Husband Frank dies.
1991 Group Show, “Three Generations,” with son and grandson, Capital
EastGallery, Washington DC.
1991 First prize, “Young at Art”: the fifth annual Juried Elder
Artists’ Exhibition Alexandria Virginia.
1995 Group Show, Studio 13, Metro Gallery, at George Mason University
Law School, Arlington VA.
1996-1997 Accepted by Jury for exhibition in 7 shows, Capitol Hill Art
League, Washington DC.
1997 Solo Show, Sponsored by the Capital Hill Art League, Washington DC.
1997 Group exhibition, “Artists in the Family,” with granddaughter,
Delray Artisans’ Center, Alexandria VA.
1998 3 Paintings accepted for exhibition at “Young at Art”: the
twelfth annual Juried Elder Artists Exhibition Alexandria VA.
1999 Dies February 18 in Falls Church VA.
2003 Solo Show, “Intimate Portraits and Elegant Landscapes”, a
retrospective of the NOVA years (1981-1998), was held from June 1-31,
2003 at the Tyler Teaching Gallery, Northern Virginia Community
College, Alexandria Campus.
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