The Left Bank Murals Artist Burt Shonberg Indifferent To Viewers "Just remember the one thing, I'm not concerned with the viewer." Then he smiled and added, haltingly: "If it pleases, I'm happier. I guess.” .. The Desert Sun, Palm Spings CA June 24 1959

The Left Bank Murals Artist Burt Shonberg Indifferent To Viewers


A croup of new paintings including a 4x12 mural hate touched oft a wave of comment among patrons of The I .eft Bank, the Village's avante coffee house. The comments, which vary ooncidcrebty. are nothing new for the author of (he works, contemporary artist Burl Shonberg. •■fM NOT CONCERNED with viewers." Shorfx?rK ssW over a cup of ce/c concern*! with me. I want lo get what I feel onto canvas. That’s the rmnoHaw thine.” His • major’' effort at the Left Bank a huge scene depicting e man with a musical instrument seated in the center of a strange panorama—came out strangely. ‘it jus< jumped un there.” the blue-eyed, brown-haired artist said, snuffing out a cigaret. "It doesn't have a title yet although you could call it 'Musician or •Egyptian Musician' or something like that. "The scene he's in is what he'» playing—if that makes any sense.” AS SHONBERG ART goes the mural is "pretty commercial." , "1 had to work at if." he said The rest of the Shonbergs in the Left Bank are another story “I just pushed ihe button,” he said. What happened when Shonberg • pushed the botton” was an instantaneous recording of the artist's feelings He says that he places "no limitations" on his brushes, abides by "no academic rules" although he knows them —and simply strives to "explore the unknown —my unknown." ••THE THREE OTHER paintings I did at (he Left Bank don't depict anything. Thev're really expressions extensions ot myself. “In a way, they're me or me as I was at the time I painted them." Shonberg admits that such spontanaisty in painting lias its drawbacks, “It's difficult to communicate with i-eoph* when voi paint like this." he sighed. "People are looking for a label they can attach to everything. When they fail to fil'd it. the object '.'els The only label they have bad. "In realil'. the only thing that counts in painting is quality and validity. Like I said before. Tm not concerned with the viewer." A MAJOR EXCEPTION is in Ihe field of commercial illustration (where Burt is doing quite well, thank you*, but he 'till takes an edge in that field, inserts a little of the "true" Shonberg whenever he can, "People are usually trying lo make a Rorshach test out of every

UiAi c“«i o .SLt kswfcO piece of contemporary ar. they see.” he said. “It's a big drag for live artist.” COL'NTESSA FRANCESCA di Hcarra, excitedly eloquent in her praise of the Shonberg art that now lines the Left Bank's v ails, 1 declared that Burt painted as though he had lived his life in the coffee house “Pve got a coffee house of my ,

'own at Laguna," lie said, "Us .called Ihe Cafe Frankenstein and 1 guess it enabled me l« gel a ! sort ot feeling for the Left Bank. Shonberg. 6 loo! and 175 pound*, studied on School of. Fire Arts, look additional work under Harry Corey and Laurence ir Lo- Angel*- before crashing the commercial illustration field. ME RATES PABLO Picasso his "favorite artist toda v not simply for his genius in conceit, his ability to communicate, his ideas oi his imagination. ••1 love his way.” Shonberg grew suddenly serious. "It s his 'I don't give a damn’, attitude th.H I admire so greatly, j try my best lo emulate that ittitudc. " BURT. LOCKED in what lie considers a life-or-dcatll struggle between "what 1 want and what the j public wants.” drew himself to his leet. The movement was significant. It indicated the interview j was ended. "Just remember the one thing,' he appended. "I'm not concerned , with the viewer." Then he smiled and added, haltingly: "If it pleases, I'm happier. I guess,” I