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During the Great Depression, Resnick was in the Easel and Mural Division of the WPA of the Works Progress Administration. By 1938, he had his own studio on West 21st Street, and there was nearby Willem de Kooning with whom he formed a close friendship in the 1940s. However, Resnick's art career was interrupted by World War II, and he served five years in the Army, stationed in Iceland and Europe. After the war he lived for three years in Paris, where among others, he associated with modernist sculptors Alberto Giacometti and Constantin Brâncuşi. He endured near-starvation during this period only to have the one show of his work created in Paris canceled by an unsavory dealer.
In 1948, Milton Resnick returned to New York, and used his G.I. benefits to enroll in abstract expressionist painter Hans Hofmann's school. He also took a studio on East 8th Street, near Jackson Pollock, de Kooning, and Franz Kline, and in September through de Kooning met artist Pat Passlof,[2] whom he married in 1961. Passlof was also an accomplished abstract expressionist painter and remained married to Resnick until his death in 2004. Passlof died of cancer in November 2011.
In the late forties he debated painting with his friends and colleagues Willem de Kooning, Lee Krasner and Jackson Pollock, sometimes at The Club,[3][4] a regular meeting of modern artists working in and around Tenth Street in New York.[5] Like them Resnick was striving for an overall quality for his pictures, a way to unite foreground and background, in order to achieve a resolution of opposites, a metaphor for all dialectics. While the others moved toward throwing or dragging quantities of paint across the face of the canvas, Resnick retained a particularly personal and impassioned confrontation with brush painting. Sometimes his work was referred to as Abstract Impressionism because of his all over style. Coming into prominence just as Pop Art moved into the limelight, his great accomplishments weren't recognized to the extent some thought they merited, as a painterly integration of Western metaphysics and Eastern philosophy. In his mature years, he worked in a converted synagogue on Eldridge Street in the Lower East Side, attended by devoted students, admirers, and his wife and lifelong companion, the painter Pat Passlof (1928–2011).[2]
During the 1950s and 1960s, Resnick earned respect for his Abstract Expressionist paintings and also was unique for being one of the few New York artists to have a large working space for large-scale canvases. In 1976, he purchased the space that served him to the end of his active career, an abandoned synagogue on Eldridge Street on New York's lower east side. It was near his wife's studio, which was another abandoned synagogue and purchased by the couple in 1963.
[edit]Public collections.
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