About This Site
Purpose
This site highlights the sculptures of Lillian Florsheim, a Chicago artist (1896-1988). Born in New Orleans, she began her art work late in life, starting at fifty years of age and continuing to work steadily into her eighties. Her work was well published and exhibited. She had many solo shows; the work was publically reviewed, several museums collected her work. However, the full extent of her work of which has not yet been documented, and this portfolio of her sculptures aims to address that, by showing about 200 works, likely about 80% of her total output.
Shows
Florsheim had more than sixteen solo shows both in the US and in Europe, and also participated in twelve group shows in seven countries. A full listing of these is provided under "Exhibitions" below. Her first solo show was in Paris in 1968, by Denise René, a highly-regarded Parisian gallerist, followed in 1970, by a major show of her work at the Museum of Contemporary Art. Other solo shows were at Fairweather Hardin Gallery in Chicago, Patricia Moore’s Gallery in Aspen, Colorado, and in Washington D.C. and New Orleans. Her last major show was at Loyola University (Chicago) in 1985.
Categories and Dating
To prepare this listing, exhibition catalogs, photographs, and family holdings were reviewed in detail; dating is largely by its exhibition date, typically within a year or two of creation. Florsheim studied and worked in stages, making a number of pieces within a single technique for a period of time, before changing and engaging a new approach. This approach allows for a later grouping of her works to be done by separating them into categories, typically organized chronologically. One can thus see a wide range of work, done over 35 years, remarkably undertaken late in life.
Site Organization
First shown is a gallery of her work, an overview. This is followed by a detailed listing of works by different categories. A listing of exhibitions and catalogs is provided, followed by a brief Analysis. A sampling of her paintings is also included.
One hopes this information will further understanding of this work and allow it to be placed within the larger discourse of these times.
Geoff Goldberg
February, 2019
Chicago