Geula Zylberman

Geula Kohen Moradov commonly known as Geula Zylberman or Geula (born May 16, 1931 in Tel-Aviv, Israel) is a naturalized Venezuelan [1] abstract impressionist artist [2] that emigrated to Venezuela in 1940. She rose to national fame in 1969 [3] as a part of the figurative movement that took root in Latin America, painting picturesque Venezuelan landscapes and renowned portraits of Simon Bolivar. The positive domestic critical acclaim catapulted her to international recognition between 1971 and 1989, earning international recognition for her paintings and murals with exhibitions in countries such as Israel, the United States, Canada, Belgium, Brazil, France, Romania, and Honduras. Most recently, true to her ancestral roots, Geula has shifted into painting Judaica themes with a strong Zionist flare and national Israeli sentiment. As a result, Geula's artwork has constantly been representative of either Venezuelan or Israeli identity. Her art has been exhibited in Venezuelan federal and government buildings, the Israeli Knesset, major museums, and private collections worldwide.[4]

Biography

Education

Geula began her studies of the arts in 1947, under the tutelage of Professors Carlos Otero, Gols Soler, Marcos Castillo, Rafael Monasterio, J.J. Espinosa and R.M. Durban in Caracas, Venezuela. After completing her first endeavor studying with these professors in 1952, she dedicated most of her time to her personal family life. Then, between 1956 and 1959, she continued her studies by attending the Escuela Nacional de Bellas Artes in Caracas, Venezuela and eventually traveling abroad to study - as an observer - the evolution of the plastic arts in Paris, Geneva and Barcelona and the Betzalel School in Israel. Upon her return to Venezuela in 1959, she attended the Escuela de Artes Plásticas “Cristobal Rojas” under the tutelage of Professor Rafael Martin Durban, she also studied “Escultura y Vaciado” under the tutelage of Professor Sergio Rodriguez and “Escultura y Modelado” under the tutelage of Professor Juan Jaen in Caracas, Venezuela until 1962.

In 1965, she decided to shift her area of study focus, pursuing academic endeavors that would give her an opportunity to transition into becoming an art teacher herself. It was at this point that she enrolled in intensive courses on “Pedagogia Terapeutica” in AVEPANE, Caracas, Venezuela, a course on “Pedagogia Didactica” co-sponsored by the University of Jerusalem in Caracas, Venezuela in 1968, and finally a course on “Artes Plasticas Pre-Escolar” at the Education Ministry in Caracas, Venezuela.

Family

Geula married Gerszon Zylberman, a Polish citizen that enlisted in the British Army during World War II on September 24, 1950 in Rehovot, Israel. After a couple of years in Israel, they returned to Caracas where they established themselves, forming a family with three children: Yaeli Zylberman, Ygal Zylberman and Ilana Zylberman. Of her children, Geula was famously quoted when asked by the journalist Gotmar Nalber "Which is your best painting?" and she responded "My three children..." [5]

Professor

One of the highlights of Geula's professional career, was her experience leading the Taller Geula, which was also referred to as L'atelier de Art Geula. In 1971, she inaugurated Taller Geula, teaching drawing, painting, sculptures, complementary cultural classes and more. Amongst her renowned students, are the Colombian-Swedish artist Libardo Garzon Murillo.,[6] the Venezuelan artist Magally Erminy [7] also known as Magerim, whom she taught in 1972, and the Israeli artist Nira Spitz [8] who has exhibited her paintings in New York City, Venezuela, Brazil, London and Hong Kong and whose work enhances private collections throughout the world.

She also taught at the Casa Municipal de la Juventud del Concejo Municipal del D.F. in Caracas, Venezuela in 1975 [9]

Exhibitions

Exhibitions in Venezuela

Geula's artwork has been exhibited in a series of museums, government buildings and private collections. In 1971, she was part of a select group of local and international artists, presenting her work in the Museo de Bellas Artes de Caracas along with Jesus Soto, Francisco Narvaez, Rodin and Pablo Picasso.[10] Between October 7 and October 17 of the same year, Geula presented 56 paintings in the Galeria de Arte Sans Souci, in Caracas, Venezuela [11] Of this exhibition, some of the leading Venezuelan journalists, like Orlando Materan Alfonso, described her as "Geula Color and Emotion", admiring her "landscapes with deep feelings and colors of tropical earth" [12] and Nella Carmona Paginas said Geula was "a great spokesperson of our land, they are the paintings of such renowned artist that have managed to captivate with her spatula the one thousand and one pathways of this land of grace".[13] The Daily Journal wrote that "Venezuelan folklore and landscape [make] up the theme of the majority of Geula's paintings, which are executed in a very particular style".[14]

International Exhibitions

Geula also represented Venezuela in the 1st "Sol del Caribe" Fair held at the InterContinental Hotel in Curaçao from November 19 to December 5, 1971.[15]

By the year 1972, some of Geula's paintings were being presented at the Headquarters of the United Nations representing Venezuela and at the Winston Gallery in New York City.[16]

Between 1960 and 1979, her art was exhibited abroad in Culture House, Yaffa, Israel, United Nations Plaza, New York City, USA, Intercultural Exchange Exposition in Bucharest, Romania, Conahotu Building, New York City, USA, and the Primera Feria Internacional Sol del Caribe, Hotel Intercontinental, Curaçao.

In Venezuela, she had multiple exhibitions in the Biblioteca Nacional, Caracas, Venezuela, Israeli Union Convention House, Caracas, Venezuela, Palacio de las Industrias – Sabana Grande, Caracas, Venezuela, Sandu Gallery, Hilton Hotel, Caracas, Venezuela, Galeria Chagall, Caracas, Venezuela, Winston Gallery, New York City, USA, Salon de Pintura Juan Lovera, Caracas, Venezuela, Museo de Pintura Emilio Boggio, Caracas, Venezuela, El Museo Criollo Raul Santana, Caracas, Venezuela, El Salon Teresa Carreño, Caracas, Venezuela, Palacio Municipal, Caracas, Venezuela, Centro de Ingenieros del Estado, Mérida, Venezuela, La Escuela de Formacion de Oficiales de las Fuerzas Armadas de Cooperacion (EFOFAC), Caracas, Venezuela, Puerto Azul Club, Caracas, Venezuela, Junco Country Club, Caracas, Venezuela, Israeli Union Cultural Center “Shalom Aleijem” Caracas, Venezuela, Education Ministry, Caracas, Venezuela, “Mamo” Naval School, Maiquetia, Venezuela, Colegio Medico, Maracaibo, Venezuela, Colegio de Arquitectos, Mérida, Venezuela, Guardia Nacional Club, El Paraiso, Venezuela

Artwork

Before her most recent form of impressionist abstract art, Geula was known for her traditional landscape artworks and canvasses illustrating the Venezuelan citizenry and their professions: from the peasant market seller, to the Jewish immigrant tailor that represented the migratory tidal wave of Ashkenazi and Sefardic Jews that arrived to Venezuela in the first half of the 20th century. Images of her art were repeatedly illustrated in leading Venezuelan magazines like Galaxia 71 [17] a magazine dedicated to the arts in Latin America, the magazine ellas [18] which drew a strong female audience, and the magazine La Semana [19] with a weekly distribution of 40,000 prints, making it one of Venezuela's magazines with the largest circulation. Her artwork, numerous interviews, and reviews were published in the leading newspapers of Venezuela between 1969 and 1972 such as La Religion,[20] El Mundo Israelita,[21] El Nacional,[22] La Verdad,[23] El Mundo,[24] El Universal [25] and The Daily Journal, Venezuela's English-Language Newspaper.[26]

Geula’s most recent masterpieces are a series of 4’ by 6’ abstract murals completed between 1995 and 1998.

Famous Artpieces

"El frutero" Oleum, 1971 [27] "Pelea de Gallos" Oleum, 1971 [28] "Grandeza", Oleum, 1975 [29] "La Cantera. Edo. Bolivar", Oleum 65 x 90 cm, 1976 [30]

gollark: But the enforcement of it is even weirder than that:- there are "TV detector vans". The BBC refuses to explain how they actually work in much detail. With modern TVs I don't think this is actually possible, and they probably can't detect iPlayer use, unless you're stupid enough to sign up with your postcode (they started requiring accounts some years ago).- enforcement is apparently done by some organization with almost no actual legal power (they can visit you and complain, but not *do* anything without a search warrant, which is hard to get)- so they make up for it by sending threatening and misleading letters to try and get people to pay money
gollark: - it funds the BBC, but you have to pay it if you watch *any* live TV, or watch BBC content online- it's per property, not per person, so if you have a license, and go somewhere without a license, and watch TV on some of your stuff, you are breaking the law (unless your thing is running entirely on battery power and not mains-connected?)- it costs about twice as much as online subscription service things- there are still black and white licenses which cost a third of the price
gollark: Very unrelated to anything, but I recently read about how TV licensing works in the UK and it's extremely weird.
gollark: "I support an increase in good things and a reduction in bad things"
gollark: Or maybe they just check it for keywords automatically, who knows.

References
  1. National Museum of Women in the Arts, Clara Database of Women Artists, http://clara.nmwa.org/index.php?g=entity_detail&entity_id=3013
  2. ellas. Año X. No. 158, Enero 1972, Caracas, Venezuela, pp. 70–71
  3. Instituto Venezolano de Petroquimicos "Exposicion de Pinturas" Palacio de las Industrias - Sabana Grande, Venezuela. 2 de noviembre de 1969, p. 7
  4. Piñana Vives, Teresa. "Anuario de la Pintura Venezolana 1976", Lito Jet C.A., Venezuela, pp.10 and 120
  5. ellas. Año X. No. 158, Enero 1972, Caracas, Venezuela, pp. 70–71
  6. http://libardo-garzon.com/index.php?option=com_content&task=view&id=5&Itemid=40&lang=french
  7. "Archived copy". Archived from the original on 2011-07-14. Retrieved 2011-01-19.CS1 maint: archived copy as title (link)
  8. http://www.niraspitz.com/curriculum.asp
  9. Enfoques. Año I, No. 4, Caracas, Venezuela, Dic.15, 1975, Impresa por Trazos C.A., Editorial Giron S.R.L., p. 45
  10. Acevedo Mijares, J.F. "Yo Digo Que... opiniones y comentarios" Ediciones Cultural Venezolana S.A., Caracas: Venezuela 1972, pp. 114–117
  11. Galeria de Arte Sans Souci: Geula. Centro Comercial Chacaito, Local 20, Caracas, Venezuela, 1971.
  12. Galeria de Arte Sans Souci: Geula. Centro Comercial Chacaito, Local 20, Caracas, Venezuela, 1971. p. 8
  13. Galeria de Arte Sans Souci: Geula. Centro Comercial Chacaito, Local 20, Caracas, Venezuela, 1971. p. 9
  14. The Daily Journal. Caracas, Venezuela. October 9, 1971.
  15. The Daily Journal. Caracas, Venezuela. October 9, 1971.
  16. ellas. Año X. No. 158, Enero 1972, Caracas, Venezuela, pp. 70–71
  17. Echenique, Cruz ed. Galaxia 71. Año III. No.9, Enero-Febrero 1974, Caracas, Venezuela. p. 5
  18. ellas. Año X. No. 158, Enero 1972, Caracas, Venezuela, pp. 70–71
  19. Korody, Tibor ed. La Semana. Año XII. No. 577. Julio 9 de 1975, Caracas, Venezuela, pp. 1–2
  20. La Religion. No. 24692, 7 de abril de 1972, Caracas, Venezuela. Informacion Cultural
  21. Camargo, Alonso. El Mundo Israelita. Año XXVIII. Mes 4. No. 1,244. Caracas, Venezuela. 23 de abril de 1969.
  22. Briceño, Jose Hernan. El Nacional. Caracas, Venezuela. 17 de Octubre de 1971
  23. Nalber, Gotmar. La Verdad. Caracas, Venezuela, 3 de spetiembre de 1971.
  24. El Mundo. Caracas, Venezuela. 27 de Octubre de 1971.
  25. Rojas Jimenez, Oscar. El Universal. Caracas, Venezuela. 10 de octubre de 1971.
  26. The Daily Journal. Caracas, Venezuela. October 9, 1971.
  27. Galeria de Arte Sans Souci: Geula. Centro Comercial Chacaito, Local 20, Caracas, Venezuela, 1971. p. 1
  28. Galeria de Arte Sans Souci: Geula. Centro Comercial Chacaito, Local 20, Caracas, Venezuela, 1971. p. 10
  29. Concejo Municipal del Distrito Federal. Premio Municipal de Pinturas 1975. 10 de julio de 1975, Caracas, Venezuela.
  30. Piñana Vives, Teresa. "Anuario de la Pintura Venezolana 1976", Lito Jet C.A., Venezuela, p. 10
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