The Life and Training of Paul Georges

Born on June 15, 1923, Paul Georges began his formal education at Oregon State College in 1943. His academic path was interrupted by service in the Pacific Theater during World War II, a period that saw him awarded the Purple Heart, Silver Star, and Bronze Star. Following the war, he continued his studies at the University of Oregon at Eugene from 1946 to 1947. This period of transition led him to the summer sessions at the Hans Hofmann School in Provincetown, Massachusetts, where he studied under Hofmann in 1947.

The search for a deeper understanding of form eventually drew him to Europe. After studying at the Académie de la Grande Chaumière, Georges moved into the studio of Fernand Léger in Paris. He remained a student of Léger from 1949 to 1952, a formative era that helped shape his approach to large-scale figurative allegories. This international training provided the technical foundation for a career spent navigating the complexities of both American and European artistic traditions.

Artistic Circles and Professional Connections

Georges moved through the mid-century art world with a quiet, steady presence. His social and professional life was deeply intertwined with the creative pulse of both Paris and New York. In 1950, his personal and artistic paths merged when he met Lisette Blumenfeld at a gathering in Brâncuși's studio in the Passage Ronsin, Paris; the two married shortly thereafter. His reputation within the American scene was bolstered in January 1954, when he was selected for the 'Emerging Talent' exhibition at the Kootz gallery.

His influence extended into the mentorship of others and the establishment of vital institutions. He served as a teacher to Bruce Lieberman, helping to shape a new generation of figurative painters. Beyond the studio, Georges was a man of institutional commitment. From 1976 until 1985, he acted as the founder and chairman of the Artists' Choice Museum in New York City, a role that reflected his dedication to the community of working painters.

His friendships were among the most significant figures of his era. He maintained close ties with Fairfield Porter and De Kooning, navigating the shifting currents of the New York art scene alongside them. These connections placed him at the center of a vital network of painters and thinkers, even as he maintained his own distinct practice.

Key Works and Major Paintings

The scale of Georges's ambition was often reflected in the physical presence of his canvases. In 1966, his painting In The Studio achieved significant recognition when it was featured on the cover of Art News. This work, which is held in the collection of the Whitney Museum of American Art, remains a central point in his visual history. His ability to command space was further demonstrated in later years through massive compositions. Between 1987 and 1988, he produced a work measuring 153h x 137w, and by 1992, he had completed another large-scale piece reaching 128 3/4h x 99 3/8w.

His output often balanced intimate subject matter with expansive dimensions. In 1974, he painted Backyard, Bridgehampton, a work that currently resides in the Pennsylvania Academy of Fine Arts in Philadelphia. This piece reflects a period of settled productivity, much like the various other works that have found permanent homes in museums across the United States. His practice was characterized by a commitment to figurative allegories and self-portraiture, often executed on a scale that demanded the viewer's full attention.

• 1966: In The Studio
• 1974: Backyard, Bridgehampton

Where to See His Works Today

The presence of his paintings in major American institutions reflects a career that moved through the most significant cultural hubs of the twentieth century. In the Northeast, his work is held by the Whitney Museum of American Art in New York, NY, and the Pennsylvania Academy of Fine Arts in Philadelphia. These collections preserve the scale and figurative intent that defined his practice. His reach extends to the Neuberger Museum of Art at Purchase College, where his canvases remain part of the permanent record.

Beyond the urban centers of the East Coast, his paintings are preserved in various regional collections that highlight his widespread influence. The Portland Art Museum in Oregon and the Weatherspoon Art Museum in North Carolina both hold his works. In the Midwest, the Smart Museum of Art at the University of Chicago maintains his paintings within its holdings. These various locations ensure that his visual language remains accessible to those studying the evolution of American figurative painting.

• Backyard, Bridgehampton (about 1974)

Later Years and Death

The final decades of Georges's career were marked by continued institutional recognition. In 1981, he was elected to the National Academy of Design, a distinction that solidified his standing within the American art community. While his presence in the New York and Hamptons scenes remained significant, his personal life and professional affairs became increasingly managed by his family. Since 1989, his daughter, Yvette Blumenfeld Georges Deeton, has overseen the operations of the Paul Georges Studio.

His life eventually moved away from the American coast to the quietude of Europe. He passed away at his home in Isigny-sur-Mer, Normandy, France, on April 16, 2002. He was 78 years old at the time of his death. His departure marked the end of a long period of creative output that had spanned from his early studies in Paris to his later years in France.