Rachelle Weisberger 

MY STORY

Music or art? Art or music? At age 13, this burning question was decided for me when I failed the entrance exam to the High School of Music and Art in New York City. Little did I know then how my life would unfold and how that rejection would eventually lead me to a career as a visual artist.

As a youngster, I had become quite proficient as a pianist, having taken piano lessons for seven years. Though I enjoyed drawing, I didn’t have any formal art training. I was encouraged by my parents and piano teacher to apply to the high school’s music department. My audition did not go as well as I had rehearsed. I was very nervous, and it affected my concentration. I later learned that I failed one part of the entrance exam. Surprisingly, it was more a sigh of relief. Perhaps intuitively at that age, I knew where my true calling in life lay. When I entered my freshman year at Julia Richman High School, I abandoned my piano lessons and devoted my spare time to pursuing my artistic interests.

Growing up in Manhattan in the 1950’s afforded me many opportunities to independently discover and study the works of many great artists. New York at that time was a cultural powerhouse with museums and galleries that introduced me to the contemporary art scene, and also to time-honored masterpieces.

My favorite haunt was the Frick Collection, a stately mansion on the Upper East Side of Manhattan. As a shy, introverted teenager, I spent many a Saturday afternoon there and regarded it as my second home. I was especially drawn to the breathtaking portraits by El Greco, Holbein, Rembrandt, and Van Dyck, which never failed to leave me awestruck. But the one painting that resonated with me.

the most was the majestic portrait of Louise de Broglie, Comtesse d’ Haussonville by Jean-Auguste-Dominique Ingres. While the comtesse exuded grace and beauty, there was a challenge to the tilt of her head and in the expression of her doe-like eyes, which seemed to ask, “What are you going to do with your life?” I felt that she was speaking to me directly.

After spending hours in the galleries, I would retreat to the serene setting of the Frick’s Garden Court to process all the captivating images that swirled in my head. I often had the entire courtyard to myself, and I viewed this room as my personal space. With its burbling fountains, splashes of greenery, softly lit by daylight filtering through the skylights overhead, it exuded an atmospheric warmth that nurtured my soul.

Another “home” for me was a hidden gem–the 58th Street branch of The New York Public Library, which housed some of the best art, dance, and music collections in the city.  Every week I would pay a visit and check out my favorite books of familiar artists, such as Picasso, Cezanne, and Monet, among others. They became my treasured friends and my “first “instructors” as I copied their drawings and studied the way they used the elements of line, shape, and color.

By the time I applied to City College in New York, I had envisioned a career as a dress designer. However, I was told that majoring in art and taking courses in art history, drawing, and perspective would be the closest thing to reaching that goal. After my sophomore year, I decided to transfer to Queens College where the environment was less political, and more conducive to the visual and performing arts. Making the change was the best decision I could have made.

I am indebted to the dedicated professors I had at Queens College who contributed so much to my artistic development. Having Louis Finkelstein as my first painting instructor was a gift. He was an artist, an educator, and Chairman of the Art Department. Above all, he was a sensitive mentor who validated my artistic potential and encouraged me to pursue painting seriously. The second influential teacher was John Ferren, who brought my understanding of color to a new level by guiding my exploration into hard-edge abstraction. I graduated from Queens College in 1966 as a fine arts major. With a minor in art education, I secured a license to teach in New York City’s school system.

After college I married, and though I had a busy schedule raising three daughters, it didn’t deter me from pursuing my artwork. Somehow, I managed to find the time to paint and also to take graduate courses at Kean College (now Kean University) in Union, New Jersey.

In my 30’s, I began submitting my artwork to several New York galleries, knowing acceptance would be a long shot. Then one day, I had an unexpected surprise. One of my paintings caught the attention of the Rhoda Sande Gallery in midtown Manhattan, where it was displayed prominently. Since the 1970’s I have exhibited paintings in several galleries in the tri-state area and my artwork is also represented in private collections.

My acceptance for membership in the New York Society of Women Artists (NYSWA) in 1984 marked a milestone in my career that validated me as an artist. It brought me into a community of an exceptional group of creative and committed artists with a shared vision. Soon after becoming a member, I joined the board as an active participant. Around the same time, I became a member of The Contemporary Artists Guild, and of Artists Equity.

My affinity for color, and my appreciation of beauty next led me to a career as a makeup artist, a licensed cosmetologist, an entrepreneur with my own line of cosmetics and skin care, and ultimately an author. However, all these detours never diminished my passion for painting. Rather, they ignited a spark to expand my artistic pursuits with a new vision.

Throughout the decades, my artwork has been sourced from within, with thoughts and emotions igniting my imagination. My palette and compositions give form to these musings. And as I navigate life’s journey, I hope my paintings continue to reflect the light of truth, to envelop the viewer in joy and peace.