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1489781
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Ford, Betty - Portrait
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1489781
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Ford, Betty - Portrait
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Sheila R. Weidenfeld Files (Ford Administration)
Sheila Weidenfeld's General Subject Files
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President (1974-1977 : Ford). Office of the First Lady. 1974-1977
Arts
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1974-10-01
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The original documents are located in Box 39, folder "Ford, Betty - Portrait" of the
Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library.
Copyright Notice
The copyright law of the United States (Title 17, United States Code) governs the making of
photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United
States of America his copyrights in all of his unpublished writings in National Archives collections.
Works prepared by U.S. Government employees as part of their official duties are in the public
domain. The copyrights to materials written by other individuals or organizations are presumed to
remain with them. If you think any of the information displayed in the PDF is subject to a valid
copyright claim, please contact the Gerald R. Ford Presidential Library.
Some items in this folder were not digitized because it contains copyrighted
materials. Please contact the Gerald R. Ford Presidential Library for access to
these materials.
Digitized from Box 39 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library
Father was an An Engineer
walud for Am. Comp. in CoSa
Age 5 1931 unoved to the
States St. Paul, Minu of
then to Oah Park, Ill.
Studied at f Sulape 2 interested in
art.
$5F set of oilpainls at age
10, Remeinders drewing at
ale 5,6 6 on. & wanted to
be a portrait paint
Shudied art in senois
fushion su/ 12- Taleing
hep. drawing $ 0.1 classes
Went to art Institute of
Chicapo in '46 after avvhy-
Parent Stad studied at oil pa
Raul Wiesardt student of
Paul Wee at Bauhevi in
Germany
Wife an artist - tense colers
Angela Von Neumann Approach
tonglision on surreatistic. & no
fanbary
from Wale, in the againic world-
GREATO R. FORD LIBRARY
Prtraits
JOHN ULBRICHT . ES CLAPES 85, GALILEA, MALLORCA. ESPANA
September I5, I975
Miss Sheila Rabb Weidenfeld
Press Secretary to Mrs. Ford
The White House
Washington D.C.
Dear Sheila,
I'm writing just to tell you that I plan to arrive
im Washington on about October I5 and plan to spend a few weeks
there and im New York. The painting of the President is completed
at last, as is a second and smaller portrait of the First Lady.
I've already notified Mr. Conger of this, by the way, but have
had no reply from him thus far. I hope and trust that it will be
possible to show these paintings to the President and Mrs. Ford
at some moment during my stay in Washington, and will contact
you (and Clement Conger) upon my arrival.
With all best regards, and looking forward to seeing
you: again soon,
Sincrely,
John
John Ulbricht
BERALD R FORD LIBRARY
STan - 8/29/74
Portrait Artist
Finds Betty Ford
TVHW
A Relaxed Poser
By Ymelda Dixon
portraitist who paints as
Special to the Star-News
an artist and not as a com-
John Ulbricht, a young
mercial agent. He paints
American artist, who lives
from a standpoint of qual-
For release
Tuesday, Jan. 14, 1975
THE WHITE HOUSE
Office of the Press Secretary to Mrs. Ford
NOTICE TO THE PRESS
A portrait of Mrs. Ford, commissioned by the President when
he was Vice President, was presented at a private party at
the White House last night. A few close friends and staff
members were invited.
The portrait, by American artist John Ulbricht, is done with
oils on a linen canvas and will hang in the Family Quarters.
The canvas measures 78" X 59", and the frame is 3" wide.
The frame is classical and simple in design, done in a subdued
antique gold leaf on wood.
In the painting, Mrs. Ford is seated against a background of
soft green. She is wearing a pale green gown of Chinese I
silk embroidered with pale green chrysanthemums.
According to Ulbricht, the painting does not fit into a stylistic
category, and although in muted lines and shadings is not truly
impressionistic. He uses a technique in which layers on layers
of oil glazes are built up over a period of time.
Ulbricht, who lives in Mallorca, has also done portraits of
Picasso; Lord Mountbatten; Novelist and poet Robert Graves;
the Duchess of Devonshire; and the Duchess of Alba.
Biographical material follows:
John Ulbricht was born in Havana, Cuba, in 1926. He studied at the Art Institute of
Chicago from 1946 until 1950, when he was awarded a grant to continue his studies
abroad. For the following two years he lived in Mexico City, after which he became the
assistant to the director of the Denver Art Museum in Denver, Colorado. In 1954 he
moved to Europe and currently resides in the village of Galilea, Mallorca with his wife,
the painter Angela von Neumann, and their two children.
He has held one-man exhibitions in London, New York, Paris, Edinburgh, Los Ange-
les, Mexico City, Madrid, Palma de Mallorca and other cities. His paintings are repre-
sented in numerous private collections as well as in a number of public institutions in-
cluding the following: the Dallas Art Museum, the Denver Art Museum, the Columbus
Gallery of Fine Arts, the State University of New York at Buffalo, the Pasadena Art
Museum, the London National Portrait Gallery, the La Jolla Museum of Art, the Uni-
versity of Texas, the University of Southern Illinois, the University of Victoria (Cana-
da), and the University of San Francisco.
FORD 070839 LIBRARY
GUEST LIST FOR THE UNVEILING OF MRS. FORD'S PORTRAIT ON
ON MONDAY, JANUARY 13, 1975, AT 7:30 P. M., THE WHITE HOUSE,
BUSINESS SUIT:
Buchen, Mr. and Mrs. Philip
Byrnes, The Honorable John and Mrs.
Cederberg, The Honorable Elford and Mrs.
Conger, Mr. and Mrs. Clem
Davis, The Honorable Glenn and Mrs.
Hartmann, The Honorable Robert
Jarman, Mrs. John
Lammerding, Miss Nancy
MacGregor, The Honorable Clark and Mrs.
Markley, Mr. and Mrs. Rod
McGuire, Mr. and Mrs. Perkins
Nessen, Mr. and Mrs. Ron
Rockefeller, The Vice President and Mrs.
Weidenfeld, Mr. and Mrs. Edward
Whyte, Mr. and Mrs. William G.
Artist's Party: Ulbricht, Mr. and Mrs. John
Brune, Mr. and Mrs. (Beatrice Ulbricht Brune is the
artists sister)
Pina, Mrs. Pepe (Mrs. Pina is the wife of Mr. Ulbricht's
agent, Pepe)
Kissinger, The Secretary of State and Mrs. Henry
Mahon, The Honorable George and Mrs.
Rumsfeld, The Honorable Donald and Mrs.
Scott, Mr. and Mrs. David
BUFFET
Hot Senegalaise Soup
Lamb Curry with Rice and Raisins
Condiments:
Sliced Almonds
Chopped Hazel Nuts
Grated Orange Rind
(light red wine)
Chutney
GERALD R. FORD
Tossed Green Salad
Assorted Rolls
Pineapple Sherbet
Summary
JAN. 7,75
2
days of interviews. Robert L. Brown, deputy Director of personnel
for recruiting and employment, U.S. State Department, was diplo-
matically, but unmistakably, stunned yesterday by the lines of
people who started gathering at 6 a.m. to seek work. Any work.
Brown and his two recruiters, Terry Denlinger and Dolores Biersbach,
did their best. They called Washington for three extra interviewers,
who were there last night.
---
Suzy Says, New York Daily News: The official picture of
Mrs. Gerald Ford, a six-foot canvas by John Ulbricht, will be
unveiled this weekend at the White House. The Fords, who saw the
portrait for the first time after their return from Vail, were so
pleased that Ulbricht is flying to Washington to start work on a
picture of President Ford on Thursday. Ulbricht, a native of
Cedar Rapids, has been living in Majorca. He has painted such
biggies as Pablo Picasso, Joan Miro and Lord Mountbatten. After
observing President Ford at work for several days, Ulbricht will
return to Majorca to do the portraits. Those Grand Rapids fellows
sure stick together. (Suzy used "Cedar Rapids" in the first
instance, "Grand Rapids" in the second.)
---
Dorothy Collin, Chicago Tribune: Don Rumsfeld, the former
congressman from Chicago's North Shore who is now President
Ford's chief of staff, is getting the treatment from the star
makers-and-breakers of Washington and New York. Women's Wear
Daily, which spends much of its space reporting on either Jackie
O. or the decline in the girdle business, has taken to calling
Rumsfeld "Rummy." In a recent profile, W.W.D. quotes him as
denying he has any interest in the presidency: "The future?
It's all blurred. All I see is smog." He also replies to a
question about whether he is Ford's Haldeman with: "My goodness."
---
Dorothy Collin, Chicago Tribune: Former President Nixon's
signature, "is one of the vilest scrawls of history, along with
Napoleon's and Jack Kennedy's," says New York autograph tycoon
Charles Hamilton. But such scrawls bring lots of money in the
autograph market. A handwritten Nixon letter sells for about
$2,000 these days, according to Hamilton, who recently held the
first sale of Gerald Ford autographs. The President's 1931 high
school yearbook with seven signatures by him brought $450.
BERALD FORD LIGRARY
1 a late
greeting
d. It is
nting by
England
to 1863,
luced by
arrier. .
al snow-
ed barn,
the deep
858 and
; you a
py New
d, 1974."
5 at the
sday. A
to eat,
de bed-
1 be on
the New
THE WASHINGTON POST
B2 Tuesday, Jan. 14, 1975
Personalities
Portrait
Of the
KEEPING POSTED
First Lady
Yesterday was a big day
for First Lady Betty Ford.
In the morning, she was
f
through
h
u
He will continue with preliminary
p
t
V
I
Caurago
"Paint
the Whit
John ULI
is to do
His po
last Mon
private
much la
President
Ulbrich
down the
ness.
The F
78 inche:
"I enj
says Ulb
to make
er and S
He ha
Presiden
finds the
Ulbrich
ago whe
based in
represent
ests in (
When
returned
grew up
ing the
Scaling
Down an
Executive
Portrait
Dorothy McCardle sketches of President Ford
By
sociation willite decides to buy it
for the White House.
N.Y Daily New.
First Lady's
Portrait Done
Washington, Jan. 7 (UPI)
-A newly painted portrait of
dent.
FILE presi-
olio
Ford, as Seen by an Artist
By Ymelda Dixon
national magazines are
gation is made of why it
from Ohio, thinks big.
Special to the Star-News
after interviews, and other
was misaddressed."
Glenn is reported to have
John Ulbricht, who will
VIP's are calling wanting
****
asked for 350 tickets for the
paint the official portrait
to be painted by the cur-
WHEN GEORGE Bush,
Senate swearing-in cere-
of President Ford, gave a
rent court painter.
now Ambassador to the
monies tomorrow. The ca-
revealing assessment of
Among the guests at to-
People's Republic of
pacity of the galleries: 350.
Gerald Ford the man
night's unveiling of UI-
China, was a congress-
Washington Star-News
Sunday, January 26, 1975
Section E
Business-Finance
portfoli
Ulbricht Paints the Pers
Behind the Face He Pair
By Ruth Dean
ing a pale green gown of Chinese silk
read in that face that did not frank
Star-News Staff Writer
embroidered with pale green chrysanthe-
to me in any sense, psycholog
To American artist John Ulbricht, "the
mums.
humanly."
face is a revelation of what we are," but
"She has great inner grace, a certain
He'd been talking about how th
few people have a Dorian Gray realization
fragility, but with that fragility a vitality, a
veals the inner man and of how
of it.
projection of some inner quality. It was
artist is fooled by a so-called ma
tfolio /people
Person
Paints
THE
Notes on People
Ford, 'Most Paintable' President
Preliminary work for the
ing the gavel for the last
performance against Austra-
official White House portrait
time, he said, "That's it —
lia in the present series, Bish-
of President Ford started last
good - by and good luck."
op Sheppard said tactfully,
weekend, and the paint-
Then he took the gavel and
"It is obvious the Australians
Washington Star-News
People
Wednesday, January 1, 1975
Page B-6 *
portfolio
Amusements
The Arts
TV: Page C-6
President and Mrs. Ford will find a large unopened
on the other hand, have always been used to suggest
Picture
crate waiting for them when they return to the White
Betty Beale
aristocracy. The dog in Mrs. Coolidge's official por-
House tomorrow afternoon. It contains the completed
trait adds a certain eclat.
life-size portrait of the First Lady that will become her
official White House portrait if approved by the White
He sketched her while she was talking, moving, sit-
THE PRESIDENT'S PORTRAIT will be started
House Historical Association. It was painted by
ling, making as many as eight or nine drawings of one
next weekend. The artist will make his sketches while
The Fords
American artist John Ulbricht, who will fly in from his
facial feature alone. Then he went back to Palma and
Ford is working at his desk and probably on Sunday,
home in Mallorca Jan. 9 and will be present for its un-
painted the portrait.
In a,six-foot high canvas, Mrs. Ford is presented in
the 12th, while he is watching the Super Bowl game.
veiling later in the month.
The slender, graying Ulbricht who has painted
"seated posture against a background of soft green.
Picasso, Miro, and is the only contemporary Ameri-
BUT THE MAIN purpose of Ulbricht's visit will be
he is wearing a pale green gown of Chinese silk
can artist represented in the National Portrait Gallery
-In Portraits
to begin the official portrait of Gerald Ford. He will
mbroidered with pale green chrysanthemums.
of London with his painting of Lord Mountbatten, has
use the same method he used with Betty Ford's por-
The Fords' Siamese cat Shan is not in the painting,
done "a very distinctive, very beautiful and very
trait, which was the result of innumerable sketches he
though Mrs. Ford had hoped it would be. But the cat
as nervous that day and not in a mood to be handled,
sensitive portrait" of Mrs. Ford, says Scott, who was
made in the Fords' Alexandria house while he was still
director of the National Collection of Fine Arts before
vice president. At that time, her painting, which was
ving bitten Nancy Howe's finger so deeply she had
have it operated on.
he became the National Gallery's planning consultant
By John Ulbricht
done at the request of her husband, was to hang in his
vice-presidential office.
Anyhow, says David Scott of the National Gallery of
for its new building.
rt, the artist may have ruled out the cat for an offi-
"Our experience with official portraits over the last
It took Ulbricht only two days (four hours each day)
to make his rapid sketches for Mrs. Ford's portrait.
cial portrait because cats suggest domesticity. Dogs,
See BEALE, B-9
12
Suzy Says
Cerf-Wagner Nuptials Set
M
RS. BENNETT CERF, the widow of the distinguished
publisher, and former New York Mayor Robert F.
Wagner Sr. are announcing that they will be married at
DAILY NEWS, TUESDAY, JANUARY 1910
the end of January at St. Thomas More Church in New
York City. They'll honeymoon in Barbados, where they
have taken a house for the month of February.
The official picture of Mrs. Gerald Ford, a six-foot canvas by
John Ulbricht, will be unveiled this weekend at the White House.
The Fords, who saw the portrait for the first time after their
return from Vail, was so pleased that Ulbricht is flying to Wash-
ington to start work on a picture of President Ford on Thursday.
Ulbricht, a native of Cedar Rapids, has been living in Majorca.
He has painted such biggies as Pablo Picasso, Joan Miro and Lord
Mountbatten. After ob-
serving President Ford
at work for several
days, Ulbricht will re-
turn to Majorca to do
the portrait. Those
Grand Rapids fellows
sure stick together.
Robert Joffrey of
New York's Ballet (re-
cently in Moscow)
gave all the members
of the senior class at
the Bolshoi Ballet
School new leotards as
prezzies. Mary Ann
Washington Star-News
People
Wednesday, January 1, 1975
Page B-6
portfolio
Amusements
The Arts
TV: Page C-6
President and Mrs. Ford will find a large unopened
on the other hand, have always been used to suggest
Picture
crate waiting for them when they return to the White
Betty Beale
aristocracy. The dog in Mrs. Coolidge's official por-
House tomorrow afternoon. It contains the completed
trait adds a certain eclat.
life-size portrait of the First Lady that will become her
official White House portrait if approved by the White
He sketched her while she was talking, moving, sit-
THE PRESIDENT'S PORTRAIT will be started
The Fords
House Historical Association. It was painted by
ting, making as many as eight or nine drawings of one
next weekend. The artist will make his sketches while
American artist John Ulbricht, who will fly in from his
facial feature alone. Then he went back to Palma and
Ford is working at his desk and probably on Sunday,
home in Mallorca Jan. 9 and will be present for its un
painted the portrait.
the 12th, while he is watching the Super Bowl game.
veiling later in the month.
In a six-foot high canvas, Mrs. Ford is presented in
The slender, graying Ulbricht who has painted
a seated posture against a background of soft green.
Picasso, Miro, and is the only contemporary Ameri-
BUT THE MAIN purpose of Ulbricht's visit will be
She is wearing a pale green gown of Chinese silk
can artist represented in the National Portrait Gallery
-In a Portraits
to begin the official portrait of Gerald Ford. He will
embroidered with pale green chrysanthemums.
of London with his painting of Lord Mountbatten, has
use the same method he used with Betty Ford's por-
The Fords' Siamese cat Shan is not in the painting,
done "a very distinctive, very beautiful and very
trait, which was the result of innumerable sketches he
although Mrs. Ford had hoped it would be. But the cat
sensitive portrait" of Mrs. Ford, says Scott, who was
made in the Fords' Alexandria house while he was still
was nervous that day and not in a mood to be handled,
director of the National Collection of Fine Arts before
vice president. At that time, her painting, which was
having bitten Nancy Howe's finger so deeply she had
he became the National Gallery's planning consultant
By John Ulbricht
done at the request of her husband, was to hang in his
to have it operated on.
vice-presidential office.
Anyhow, says David Scott of the National Gallery of
for its new building.
Art, the artist may have ruled out the cat for an offi-
"Our experience with official portraits over the last
It took Ulbricht only two days (four hours each day)
to make his rapid sketches for Mrs. Ford's portrait.
cial portrait because cats suggest domesticity. Dogs,
See BEALE, B-9
Portrait Artist
AUG 2 9-1974
Finds Betty Ford
A Relaxed Poser
By Ymelda Dixon
portraitist who paints as
Special to the Star-News
an artist and not as a com-
John Ulbricht, a young
mercial agent. He paints
American artist, who lives
from a standpoint of qual-
in? Majorca, came here
ity, not from an aspect of
last spring to do a portrait
fulfilling a commission."
of Mrs. Gerald Ford at the
Meanwhile, another por-
request of her husband,
trait, of the late Secretary
THE WASHINGTON POST
C6
Thursday, Jan. 16, 1975
PEOPLE
VIP
Presidential
Portrait-Sitting
By Maxine Cheshire
White House Chief of Staff Donald Rumsfeld and
other aides were in the Oval Office last week while
President Ford was being sketched for an oil portrait by
American artist John Ulbricht,
SALA PELAIRES
Pelaires 63 - PALMA DE MALLORCA (España)
John Ulbricht
EL MUNDO DE JOHN ULBRICHT
Conociendo al mismo tiempo que a su obra al pintor John Ulbricht, se percibe esta perfec-
ta armonía que existe entre ambos.
Este pintor norteamericano que dejó las metrópolis de su país para encontrarse a sí mis-
mo en el retiro de Galilea (Mallorca), donde tiene su casa, sus hijos y su mujer (la
pintora Angela von Neumann), ha alcanzado una perfección en su vida que se correspon-
de con la de su obra. Entre ambas existe esa armonía que les da un profundo sentido, que
hace en definitiva de su pintura algo valioso porque corresponde a una evolución natu-
ral de su personalidad, desarrollada sin pausas y sin apresuramiento, siguiendo el des-
envolverse de la vida en unos años llenos de significado para el pintor, que los ha colma-
do de trabajo, de reflexión, de seguridad y también -y en ello no hay contradicción- de
inquietud.
Visitar la casa y el estudio de Ulbricht, visitar el pueblecito de Galilea, su campo, todo lo
el paso del tiempo, también nos ha ido confirmando como realidades tangibles. Lo que
que más inmediatamente está en torno al pintor, transmite una sensación de calma que
parecían, lo que podían parecer a una observación digamos externa, aunque no necesa-
da al tiempo ese profundo sentido de gustarlo como lo que en definitiva es, como un frag-
riamente apresurada, manchas combinadas con la maestría del que domina la técnica y
mento de la eternidad, y ello se vuelca, de algún modo en sus telas, en las que hay al
sigue el impulso de su inspiración, han resultado además precisas alusiones a una reali-
mismo tiempo una indiferencia a lo accesorio y circunstancial y una certeza de que,
dad tangible y al mismo tiempo metafísica. Desde una abstracción ha llegado al ser y al
como anotara el visionario y humilde Wols:
objeto, pero en la abstracción inicial, la que pertenece a la época de su pintura que co-
A cada instante
rresponde a sus primeras sólidas realizaciones, ya está un paisaje que es, en un sentido,
en cada cosa
de tono esencialmente oriental y en otro mallorquín. Ulbricht en estas obras ya realiza su
está la eternidad.
mundo más peculiar penetrando en la esencia de la sensación para abstraer de ella lo
permanente en la realidad inmediata en sí y en su vinculación con cualquier otra reali-
Pronto llegamos a la conclusión de que el arte de Ulbricht, si es aventura, si es búsqueda,
dad. Por eso su obra de pintor lo es también de pensador, sin que esto quiera decir
si es hallazgo y, en definitiva, si es arte, no lo es de una manera exclusiva. Lo es desde
-sino en todo caso lo contrario- que es la respuesta a una teoría. En este momento en
luego por la armonía que existe entre concepción y realización, por su evolución conse-
que con tanta frecuencia los artistas siguen, y se realizan 0 fracasan en ello, unos postu-
cuente con la obra, pero al mismo tiempo es una afirmación del mundo que le rodea y
lados de grupo o las directrices de una moda, Ulbricht sigue los imperativos de una evolu-
también una respuesta.
ción personal que es al mismo tiempo, y sin que en su obra exista la paradoja, un perma-
necer en sus iniciales conquistas y realizaciones desarrollándolas y profundizándolas.
John Ulbricht, aunque vive en un pueblecito mallorquín, aparentemente retirado, no lleva
una vida solitaria y productiva al modo de la de un Armando Reverón, sino que perma-
Aunque la comparación quede aparentemente alejada, no es ajena a Ulbricht la lección de
nece en contacto con las manifestaciones y personas de nuestro tiempo en su represen-
Duchamp, su profunda comprensión del papel, del significado y de la limitación del arte,
tación amplia. El, viajero, lector y espectador de las manifestaciones de la cultura y de la
en cuanto a que ambos son artistas pensadores. Pero, sin que se establezca ninguna clase
vida, está en la hora en punto de cada momento suyo y ello se traduce en su pintura, en
de comparación sino de referencia, Ulbricht añade a su arte la contemplación de la natu-
el tono en el que se dan de manera manifiesta la coordinación de las contradicciones que
raleza y la meditación del paso del tiempo, su paladeo. Pienso, viendo sus cuadros, que
el hombre percibe en el mundo, directamente con sus sentidos e intelectualmente con su
no podrían dejar de resultarle gratos a un Rilke, pues en el recto sentido de la palabra
inteligencia. Si su pintura le debe mucho a la observación no le debe menos a la interpre-
ellos son profundamente literarios, sin el menor desmedro de su plasticidad. Al tiempo
tación y al pensamiento.
nos hacen pensar y nos ganan con todo lo que es únicamente pintura, proceden de la
sabiduría del que ha tenido experiencias profundas: las que pertenecen al hombre que
Cualquiera que haya hablado con Ulbricht inmediatamente se habrá dado cuenta que po-
está en contacto con las manifestaciones próximas y remotas de la cultura y ha partici-
see una cultura inquieta y personal, que siendo de nuestro tiempo enraiza con las preo-
pado en algunos de los avatares más significativos de nuestro tiempo y ha quedado en
cupaciones constantes del hombre y sobre todo que su cultura pictórica no es nada
él la huella de su comprensión.
común, que si ha llegado a estar en posesión de un lenguaje pictórico propio, es al mis-
mo tiempo un conocedor de los múltiples caminos y de las distintas personalidades que
Cuando Ulbricht pinta un fruto, un pedazo de carne, una flor, no nos ofrece una imagen
ha dado la pintura, que da cada día. Los que trabamos inicialmente contacto con su obra
convencional y repetida del asunto. Entonces nos sitúa ante su imagen agrandada, de
abstracta pudimos ver, desde un principio, que todo un mundo de personales alusiones
forma que sólo nos ha sido dado contemplarla, pero rápidamente, en el cine. Y ante sus
concretas está en ella. Y al mismo tiempo una serie de alusiones culturales que después,
cuadros nos situamos delante de una presencia que no se aparta de nosotros sino que
insiste sobre nuestra sensibilidad y, al mismo tiempo que se nos aparece en una mani-
festación en cierto modo más real que la cosa misma, interroga a nuestra realidad de
está parecido escrita olvidar la esta lección. Pero Ulbricht sabe que el rostro es un paisaje en el
seres tangibles y conscientes.
Por fruto historia del individuo que es la repercusión de una realidad más que
original eso, de la intuición y de la reflexión, ha realizado algo que amplia.
Pero hay que tener en cuenta que Ulbricht no cultiva la monstruosidad -lo cual sería
situarnos tanto como un paso adelante en las conquistas del arte de nuestro es una aportación
seguir un camino errado y peligroso para la comprensión de su obra- sino la evidencia.
de ante las cosas, en su realidad más inmediata, pero sobre todo ante los tiempo, al
Ante la imposibilidad que siente el artista de realizar la obra de arte única, lo que podría
que sus suele retratos, delante de los que el espectador se siente desarmado, sin rostros
ser el cuadro que representase y explicase el sentido del mundo -como ante la imposi-
no separarle del retrato, inmerso en su presencia. Ganados por una intimidad ese espacio
bilidad que siente el escritor de escribir el libro que todo lo explique- Ulbricht ha op-
por nos era conocida y en la que la cara vive su propia realidad, observamos que
tado por transcribir ampliamente de forma que esta realidad esté presente del modo
unos primera cánones vez con objetividad. Entonces los rostros están más allá más y sentimos
más intenso posible, con la certeza de que si se llega a explicar una parte de ella, por
como de belleza; percibimos en ellos una hermosura que se nos revela y de acá de
limitada que sea, se explica el todo. Así nos encontramos que estos cuadros conjugan
ellos ha distinta; una luz metafísica los anima poniendo de manifiesto el modo cómo pronto
la ambivalencia de lo grande y de lo pequeño, y tienden a armonizar lo limitado con lo
parecían ido destinados. labrando el tiempo, tallándolos, hacia una madurez para la que de algún sobre modo
infinito. El hecho de que estas cuestiones se planteen con un lenguaje no sólo pictórica-
mente válido sino técnicamente notable, es la circunstancia más favorable a su real valor,
pues si el dominio de una técnica, cuando está ajena de contenido conduce a la repeti-
ejecución, Si a la ejecución de estos cuadros no la acompañaran el amor a la realidad el
ción y a la frialdad, cuando, como en el caso de Ulbricht está alimentada de preocupacio-
rodea, su resultado no podría ser más ingrato. Pero Ulbricht sin duda ama y arte de la
nes que van más allá de lo estrictamente plástico, le dan además a lo plástico un calor
la sobriedad y posee una técnica en la que se conjugan la sencillez con el dominio del cuanto le
y un sentido en el que se hace reconocible la obra de arte tras la que está el hombre que
pintor y ha del color. Cuadros los suyos muy trabajados en los que dibujo
la siente como una parte de la vida que interpreta, dándole sentido a su actividad.
capacidad se de afanado fascinarnos. en eliminar todo lo accesorio, para dejar eso esencial parece que posee que el la
En esta aproximación a la realidad hay una parcela de la obra de Ulbricht que es especial-
mente significativa y en la que ha alcanzado una mayor maestría y penetración: sus re-
A. F. Molina
tratos. Para Ulbricht, que es un hombre de observaciones y de ideas, la cara de cada uno
de nuestros semejantes es lo que tenemos más cerca de nosotros, aunque parece que
nos hemos obstinado en no mirarla. Estos tiempos en los que se han ganado tantas
cosas para la humanidad también se han perdido otras que antaño pertenecieron más al
dominio de los hombres. Una de ellas es la del cabal conocimiento externo (externo e
interno, en el sentir de Ulbricht es lo mismo) de los semejantes que más inmediatamente
nos rodean, de su rostro, que es la ventana más abierta a su auténtica realidad, esa rea-
lidad que es una abstracción y que permanece en el tiempo. El arte clásico, en algunos
de sus más excelsos representantes sabía esto muy bien. Ahí queda como cima el retra-
to del Papa Inocencio X de Velázquez. Los modernos, con alguna excepción entre las que
habría que destacar, en sus distintas vertientes, las aportaciones del expresionismo. han
BAND
1
«...Una naturaleza ávida de vivir, de gozar, desenfrenadamente... Riquezas simples, natu-
rales, procuran una fruición física, casi sensual. La enorme precisión del conjunto otorga
un cierto realismo encantador, mágico. Los colores finos, de pergamino, un poco graves,
están emparentados con los empleados por los pintores del renacimiento...»
«...Nature seized with the gourmande-like avidity of joy, of an unshackled thirst for life...
These simple and natural riches create a physical impression that is almost sensual. The
great precision of this ensemble confers upon it a sort of magical, enchanted realism.
The jewelled colors, vellum-like, a bit sultry, are neighbors of those employed by the
painters of the Renaissance...»
LA GALERIE DES ARTS - JULIO, 1969
2
THE WORLD OF JOHN ULBRICHT
by A. F. Molina.
Knowing the painter John Ulbricht at the same time as his work, one senses the perfect
harmony existing between them. This North American painter, who left the metropolis
of his country to find himself in the seclusion of Galilea (Majorca), where he has his
home, his children and his wife (the painter Angela von Neumann), has reached a per-
fection in his own life which corresponds to that in his work. Between them exists a
harmony which endows them with profound significance, which in conclusion converts
his painting into something really valuable in that it corresponds to a natural evolution
of his own personality, developing continuously and without haste, following the signi-
ficant evolution of the painter throughout the years, enhanced with work, reflection,
confidence an also - indubitably - inquietude.
Visiting Ulbricht's house and studio, the little village of Galilea, its countryside, everything
inmediately surrounding the painter, transmits to us a sensation of calm and a deep sense
of pleasure in the appreciation of time as a fragment of eternity, and that is reflected
essentially which corresponds oriental and to his first solid realizations) there already exists an air at
somehow in his canvases, insofar as there is at the same time indifference towards the
in these works, also Majorcan. Ulbricht already manifests his one time
accessory and circumstantial and also a certainty that, as visionary and modest Wols
is permanent penetrating the essence of a sensation in order to absorb most peculiar world
also believed.
reality. For in the immediate reality of the same, and its connection from it whatever
"At each moment
that does not this mean reason his work is not only that of a painter but also of with a any other
in everything
days when that his work is the response to a theory, but the thinker; and
exists eternity».
remains at the failing, Ulbricht follows the demands of a personal fashion, either
fulfilling themselves so frequently or artists follow the dictates of some group or contrary. These
At once we reach the conclusion that Ulbricht's art, if it is adventure, search, discovery,
and in fact art, it is not exclusively so; but it is attained through the harmony between
deepening same time true to his initial conquests and realizations, evolution developing which and
them, and without his work containing evidence of such a paradox.
conception and realization, through his own evolution consequent with that of his work;
and at the same time it is an assertion of the world surrounding him and also a response.
in Although connection the comparison is apparently distant, the ideas of Duchamp
Although he lives in a tiny Majorcan village, apparently isolated, John Ulbricht's life is
rison and only significance as a and limitation of art. But, without establishing deep any comprehension sort of
of the part, with Ulbricht, as both are reflexive artists, sharing a are not irrelevant
not solitary and productive in the same way as was that of Armando Reverón, because he
remains well in contact with the manifestations and personalities of our time. Being a
the meditation reference, Ulbricht adds to his art the contemplation compa-
traveller, reader and spectator of cultural manifestations and of life itself, he is constantly
of the word, they could not fail to please someone like Rilke studying paint-
ings. I feel that of the passage of time, plus his own enjoyment. When of nature his and
up-to-date, and this is reflected in his painting, insofar as this manifests the co-ordination
of the contradictions perceived by man in the world, directly by his senses and intellec-
tually by his intelligence. If is painting owes a great deal to observation, it does not owe
with local and of knowledge gained from the profound experience purely of painting. His
works are they the fruit force us to think, and they win us over in all that is plasticity. Simul-
taneously they are profoundly literary, without detracting from as, their in the strict sense
any less to interpretation and study. Anyone who may have spoken with Ulbricht will
have realised immediately that his refinement is inquiet and personal, and although of
transformations foreign of cultural events, who has participated in some of the most a man significant familiar
our era, based on the constant preoccupations of man, and above all that his pictorical
our time which have left on him the seal of comprehension.
education is extraordinary in that, having attained a pictoric idiom of his own, he is at the
nal When and Ulbricht paints a fruit, a chunk of meat, a flower, he does not offer
same time aware of the multiple styles and distinct personalities enriching the painting
amplified often-repeated in such a image of the matter. These objects appear through us his a conventio-
of the past and present day. Those of us who make a primary contact with his abstract
itself with his paintings, we are set in front of rapidly; both in the
cinema and faced way that we are forced to contemplate them, imagination
work can observe, from the outset, that a whole world of personal allusions are united
thersin. And also a series of cultural allusions which, after certain consideration, are
confirmed as tangible realities. What seem to be, or rather could seem at a superficial
itself, on our sensibility to such an extent that it appears even more a presence real than which the forces object
questioning our own reality as tangible and conscient beings.
though not necessarily hasty observation, masses manipulated with mastery (in which
technique dominates and impulse follows inspiration), result in precise allusions to a
to But think it must otherwise be kept in mind that Ulbricht does not cultivate monstrousity, but
tangible reality, simultaneously metaphysical. From an abstraction, the being and the
sion of his would follow a mistaken and dangerous path towards the palpability,
object have emerged, but in the initial abstraction (belonging to the phase of his painting
of art which work. In the face of the impossibility the artist feels to create the comprehen-
could be the painting which might represent and explain the whole unique sense work of
the world just as in the face of the impossibility felt by the writer to create the book
which explains absolutely everything Ulbricht has opted for transcribing everything
animated precepts of by beauty. a metaphysical We perceive in them a loveliness which suddenly is
amplified in such a way that reality is presented in the most intense way possible, in the
certainty that if even a particle is explained, however minute, then everything is explained.
towards the maturity to which light they which seemed shows in some the way way destined. time has been moulding revealed to them us,
Thus we find that those paintings juxtapose the co-existence of large and small, and
tend to harmonize the limited with the infinite. The fact that those questions are posed
realization, If the execution of those paintings were not accompanied
in an idiom, not only pictorically valid but also technically notable, is the circumstance
surroundings, their and result his could not be more harsh. However, by Ulbricht love of reality and artistic
most favourable to their real value because, if the domination of a technique leads to
had toiled His paintings are very laboured, in which it of drawing and ele-
gance of colour. technique combines simplicity with dominion certainly loves his
repetition and coldness, then when in Ulbricht's case, it is enriched by preoccupations
reaching far beyond strict plasticity, it has as well as plasticity a warmth and meaning by
have the capacity to eliminate to fascinate everything us. accessory, leaving only the seems essential as though elements the painter which
which the work of art is recognised, behind which is the man who perceives it like an
element of life which he interprets, thereby justifying his activity.
In this approximation to reality, there is a part of the work of Ulbricht which is especially
significative and in which he has attained even greater mastery and penetration, his
portraits. For Ulbricht, who is a man of observation and ideas, the face of each and every
one of our fellow-creatures is what is most in evidence; although it seems that we have
been obstinate in not observing this. In these times when so many conquests have been
gained for humanity, we have also lost others which belonged more to the dominion of
man before. One of those circumstances is the precise exterior knowledge (exterior or
interior is the same as far as Ulbricht's way of thinking is concerned) of the persons
nearest to us, of their faces, the window of their authentic reality, this reality which is
an abstraction and of all time. Classical art, recognised this in some of its most sublime
representatives, the climax being the portrait of Pope Innocence X by Velazquez. With
some exceptions, among which in its distinct versants the contribution of the expresio-
nists stands out, the moderns seem to have forgotten this lesson. But Ulbricht knows
that the face is a landscape in which the history of the individual unfolds, which is the
repercussion of a greater reality. For this reason Ulbricht, combining intuition and reflec-
tion, has effected an original contribution and a step forward among the conquests of
contemporary art, in situating us in front of elements in their most immediate reality, but
above all in the faces of his portraits which disarm the spectator who does not sense
the space which normally separates the observer from the portrait, but feels immersed
in its presence. Thus the faces are further away and at the same time closer than any
del State University of New York at Buffalo, Lockwood Memorial Library. Oleo 162 Robert X 130 Graves cms.
3
<John Ulbricht's paintings are portraits of organisms, including people, that are not only
de John Ulbricht son retratos de organismos, en incluso su dimensión de personas, psicológica. que no
blown up in scale but in psychological dimension... Nor do the enlarged faces, flowers,
«Las pinturas somáticamente sino también al
vegetables and fruits fascinate the viewer because magnification is equated with greater
sólo son flores, ampliados legumbres a escala y frutas agrandados fascinan al espectador, hace de cada pero una no de porque sus te-
detail. On the contrary, Ulbricht manages to make each of his canvases into a creative
Rostros, se vean con más detalle sino porque Ulbricht la intensa, de asom-
and individual whole... This painter's virtuosity turns into poetry of a high intensity, pro-
ser ampliados una creación... Su virtuosismo se vuelve poesía, de grande,
jecting a sense of wonder towards nature that so often escapes the city dweller».
las bro toda hacia la naturaleza que tan a menudo escapa al ciudadano».
THE LOS ANGELES TIMES H. J. SELDIS - MAYO, 1969
$
BIOGRAFIA
BIOGRAPHY
John Ulbricht nació en La Habana, Cuba, en 1926. Estudió en el Instituto de Arte de Chica-
John Ulbricht was born in Havana, Cuba, in 1926. He studied at the Chicago Art Institute
go desde 1946 hasta 1950, al ganar una beca para proseguir estudios en el extranjero.
from 1946 to 1950, having won a scholarship to continue his studies abroad. Afterwards,
Después marchó a la capital de Méjico, donde vivió hasta 1952. Por estas fechas fue
he went to the capital of Mexico, where he lived until 1952, when he was appointed joint
nombrado director adjunto del Museo de Arte de Denver, Colorado. Dos años más tarde
director of the Art Museum at Denver, Colorado. Two years later he came to Europe
se vino a Europa, fijando su residencia en España. Desde 1956 reside en el pueblo de
and settled in Spain. Since 1956, he resides in the village of Galilea, Majorca, with his
Galilea, Mallorca, con su esposa, la pintora Angela von Neumann, y sus dos hijos.
wife, the painter Angela von Neumann, and their two children.
Después de pintar abstracto varios años, por los años 1963-1964 se hace figurativo. Rea-
After painting abstract for several years, about 1963-1964, his work became figurative.
liza entonces una serie dei 12 retratos españoles, que más tarde serán expuestos en el
He then executed a series of twelve Spanish Portraits, which later were exhibited in the
Pabellón de España de la Feria Mundial de Nueva York. En 1966 la Universidad de Nueva
Spanish Pavillion at the World Fair in New York. In 1966, the University of New York
York compra un retrato suyo de Robert Graves, y en 1968 su retrato de Lord Mountbatten
bought his portrait of Robert Graves, and in 1968 his portrait of Lord Mountbatten was
fue adquirido por la National Portrait Gallery de Londres, siendo el primer retrato de un
acquired by the National Portrait Gallery in London, that being the first portrait of a living
personaje aún vivo que compraba dicha Galería.
personality bought by the said Gallery.
Ha expuesto en numerosas exposiciones colectivas de Europa y América y ha celebrado
He has exhibited in numerous collective shows in Europe and America and has held the
las siguientes exposiciones individuales:
following individual exhibitions:
1951.-Galerías Saloncito, Mexico, D. F.; 1953.-Denver Art Museum; 1954.-Milwaukee
1951.-Saloncito Gallery, Mexico, D. F.; 1953.-Denver Art Museum; 1954.-Milwaukee
Art Institute; 1957.-Galerías Quint, Palma de Mallorca; 1958.-Galerías Costa, Palma
Art Institute; 1957.-Quint Gallery, Palma de Mallorca; 1958.-Costa Gallery, Palma de
de Mallorca; 1960.-Galerías Darro, Madrid; 1961.-Coe College, lowa; 1961.-Forsythe
Mallorca; 1960.-Darro Gallery, Madrid; 1961.-Coe College, lowa; 1961.-Forsythe Ga-
Gallery, Ann Arbor, Michigan; 1961.-Formentor, Mallorca; 1963.-Lee Malone Gallery,
llery, Ann Arbor, Michigan; 1961.-Formentor, Majorca; 1963.-Ateneo, Madrid; 1963.-
New York; 1963.-Ateneo de Madrid; 1965.-Pabellón de España de la Feria Mundial de
Lee Malone Gallery, New York; 1965.-Spanish Pavillion at the World Fair, New York;
Nueva York; 1965.-Sala de Exposiciones de la Dirección General de Bellas Artes; 1968.
1965.-Fine Arts Society; 1968.-Giraffe Gallery, Los Angeles; 1969.-Richard Demarco
-Giraffe Gallery, Los Angeles; 1969.-Richard Demarco Gallery, Edinburgh; 1969.- Gi-
Gallery, Edinburgh; 1969.-Giraffe Gallery, Los Angeles: 1969.-Jacques Massol Gallery,
raffe Gallery, Los Angeles; 1969.-Galerie Jacques Massol, París.
Paris.
Su obra se encuentra en muchas colecciones particulares de Europa y América, y en los
His work is to be found in many private collections throughout Europe and America, and
siguientes Museos: Museo de Arte de Dallas, Texas; Museo de Arte de Denver, Colora-
in the following Museums: Art Museum of Dallas, Texas; Art Museum of Denver, Colora-
do; Museo de Arte de Columbus, Ohio; La Universidad del Estado de Nueva York en Bú-
do; Art Museum of Columbus, Ohio; New York State University in Bufalo, N. Y.; Art
falo, N. Y.; El Museo de Arte de Pasadena, California; Museo de Arte de la Jolla, Cali-
Museum of Pasadena, California; Art Museum of La Jolla, California; and the National
fornia; y el National Portrait Gallery de Londres.
Portrait Gallery of London.
INDICE DE OBRAS
1. Oleo, construcción pintada "La familia" 155 X 115 cms.
2. Oleo circular
150 cms.
3. Oleo
162 X 130 cms.
4. Oleo
140 X 140 cms.
5. Oleo
110 X 85 cms.
BUT WHO'S GOING TO AUTOGRAPH
IT?
30$
grated personality with much more
Chums fretted about Jimmy.
power in his head and more interesting
Schlesinger's hopping to the doc's just
two days after the President fired him.
blood? Certainly not. To get a cast fitted
11/19/75
The
Ear
and exciting things going on in his face
than I would have suspected Power
Ulcers? Angst? Tired old Republican
under pressure - you could feel it buzz-
ing beneath the surface." He could, Ear-
on his tennis elbow. Life does go on, after
wigs. Painting's good for that sort of
all.
thing. Better than tennis.
0 WAD SOME POW'R THE GIFTIE
of Ms. Ford was deemed "too big" for its
opines. "It shows a side of Ford people
EEEEEEEEEK
We almost lost
GI'E US,TO SEE QURSEL'S AS UL-
allotted space on the White House wall by
just don't know." Another informed opin-
Number 3 Saturday morning: Carl AI
BRICHT SEES US
Ear hears all that
curator Clem Conger. So Ulbricht did
ion: "Portrait of a devious six-million
bert's Chevy Nova, Himself ensconced at
hoopla about John Ulbricht's portraits of
smaller ones, of both. Still, he hasn't been
dollar man; Ford hates it." Honestly.
the controls, had a dreadfully close,
the Fords may have more behind it than
paid. A New York art dealer says he
What tosh. The artist himself said of
brake-screeching shave at 38th and
meets the eye. First, as you know, the pic
knows why: "Far too revealing," he
Ford in January, "a unifying, self-inte-
Woodley.
C-4
The Washington Star
Monday, June 7, 1976
Did Ford
Artist
Get Paid?
Quotes and notes from
Washington parties
uncovered for The Wash-
ington Star by Ymelda
Dixon:
WHITE HOUSE HISTORICAL ASSOCIATION
5026 New Executive Office Building
Washington, D. C. 20506
737-8292
October 4, 1974
PERSONAL ATTENTION
Mrs. Helen McCain Smith
Press Secretary for the First Lady
The White House
1600 Pennsylvania Avenue, N.W.
Washington, D.C. 20500
Dear Mrs. Smith:
This refers to our telephone conversation on October 4
concerning certain statements made in Ms. Maxine Cheshire's
article "A Stunning John Ulbricht Portrait of First Lady
Betty Ford" in the October 3 issue of The Washington Post.
In the second paragraph of her article, Ms. Cheshire states
that the White House Historical Association is negotiating
to buy the 4' X 6' canvas from Mr. Ulbricht who may also be
its choice to paint President Ford's official White House
portrait.
This Association does not negotiate purchases of portraits
of Presidents and First Ladies. Such action is taken by the
President and the First Lady concerned, assisted, perhaps,
by the White House Curator, and other White House officials.
Also, this Association does not select the artist who paints
a President's or First Lady's portrait.
The Board of Directors and officers of this Association are
interested in having portraits painted of the President and
First Lady as soon as possible after the election of a
President for the permanent White House Collection of
historic items because illustrations of their portraits
appear in the books it publishes, in cooperation with the
National Geographic Society, for sale at the White House, at
the Association's offices, and elsewhere.
The Association's Board of Directors has authorized the
allocation of not to exceed a specified amount of money to
defray the cost of having portraits painted of President and
Mrs. Ford for the permanent White House Collection if such
action is desired by them.
Sincerely,
Hillory Executive a. A. Jobon Director Tolson
John Ulbright
cedar Rapids, Iowa
friend of David Scott - adv Gallery to mellon
known in Europe - lives in
Spain (mallorca)
he asked to
official portrait - being paid for
Hist assoc
GERATO FORD
From SRW
NOTES ON THE PAINTING
Measurement: 78"x59"
classical & simple in (subdued) fum
Frame: Antique gold leaf on a wood frame (what type of wood?).
Frame is 3" wide. The tone of the frame repeats the
texture of the background of the painting. Designed
as a happy blend of the painting and the setting it
would be in.
Q: Where will it hang?
A: In the Family Quarters. The exact place has not been
determined. Once the family leaves, the portrait will
be hung in the Ground Floor Corridor.
Q: Is it an official portrait?
A: David Scott (
) introduced John
Ulbricht to Mrs. Ford. Ulbricht was commissioned to do
a portrait for her when Mr. Ford was Vice President. It
was to be placed in the Vice Presidential office. She
likes it so much that it probably will become; the official
portrait.
Q: What is the cost?
A: The price was never discussed between the artist and
Mrs. Ford.
Colors in the painting; It is hard to determine the color
scheme. It is fushion of pale to dark to silvery greens
combined with flesh tones. The painting shouldn't be
shown in bright lights because her image would disappear.
Painting: Done with oils on a special linen canvas. The
linen canvas was made in Barcelona. The painting doesn't
fit into a stylistic category, and is not truly impressionistic
as such. He has developed his own style but the technique
used is layers on layers of glazes over an oil paint which
are lightly built up over a period of time. This specific
technique is called "cumble." He uses a big brush with
just a little paint on the brush. The artist says he painted
over and over until the colors built up over the linen
canvas. The speckles that you see are the knots of the
linen canvas. (Glaze made with innumerable thin layers of
paint over and over and over again.) He worked on it from
July to April (?). Took two months on and off; he worked
in spurts. He is not a good photographer but took a
few snapshots. Did numerous sketches and drawings and
many notes because he wanted to capture the feeling of
the person. Before he decides upon the approach, he
does many, many sketches of the finger, nose, etc.
Others He Has Painted: Edward G. Robinson; Lord Mountbatten;
Robert Graves (novelist and poet) which is in the Lockwood
Memorial Library in Buffalo; Duchess of Devonshire; Duchess
of Alba (Spain) ; Picasso (one where sections of his face
are floating--eye of him in one corner; etc.) ; Miro (good
friends of his who lives near him in Spain.
John started as an abstract painter and in 1963 went back
to more realism. He was influenced by Spanish artists
such as Valesque; classic artists such as Titian and
Rembrandt; as well as contemporary artists and impressionistic
artists. His approach is not tied down to extreme detail.
GERALD LIBRARY R. FORD