Liberman was born into a Jewish family in Kyiv. When his father took a post advising the Soviet government, the family moved to Moscow. Life there became difficult, and his father secured permission from Lenin and the Politburo to take his son to London in 1921.
Young Liberman was educated in Ukraine, England, and France, where he took up life as a "White émigré" in Paris.
He began his publishing career in Paris in 1933–1936 with the early pictorial magazine Vu, where he worked under Lucien Vogel as art director, then managing editor, working with photographers such as Brassaï, André Kertész, and Robert Capa.[6]
After emigrating to New York in 1941, he began working for Condé Nast Publications, rising to the position of editorial director, which he held from 1962 to 1994.
Only in the 1950s did Liberman take up painting and, later, metal sculpture. His highly recognizable sculptures are assembled from industrial objects (segments of steel I-beams, pipes, drums, and such), often painted in uniform bright colors. In a 1986 interview concerning his formative years as a sculptor and his aesthetic, Liberman said, "I think many works of art are screams, and I identify with screams."[7] His massive work The Way, a 65 feet (20 m) x 102 feet (31 m) x 100 feet (30 m) structure,[8] is made of eighteen salvaged steel oil tanks, and became a signature piece of Laumeier Sculpture Park,[9] and a major landmark of St. Louis, Missouri.[10][11]
Before finding success in painting and sculpture, Liberman was a photographer. Beginning in 1948, he spent his summers visiting and photographing a generation of modern European artists working in their studios including Georges Braque, Henri Matisse, Maurice Utrillo, Marc Chagall, Marcel Duchamp, Constantin Brancusi, and Pablo Picasso. In 1959 the Museum of Modern Art in New York City exhibited Liberman's photographs of artists and their studios. A year later the images were collected in Liberman's first book, The Artist in his Studio published by Viking Press (Kazanjian and Tomkins, 1993[12]).
He was married briefly to Hildegarde Sturm (August 25, 1936), a model and competitive skier. His second wife (since 1942), Tatiana Yacovleff du Plessix Liberman (1906–1991), had been a childhood playmate and baby sitter. In 1941, they escaped together from occupied France, via Lisbon, to New York. She had operated a hat salon in Paris, then designed hats for Henri Bendel in Manhattan. She continued in millinery at Saks Fifth Avenue where she was billed as "Tatiana du Plessix" or "Tatiana of Saks", until the mid-1950s.[13] In 1992, he married Melinda Pechangco, a nurse who had cared for Tatiana during an early illness. His stepdaughter, Francine du Plessix Gray, was a noted author.
Career
Liberman started his career as a part-time design assistant to graphic artist A. M. Cassandre in Paris for approximately three months in 1930. He started working as a full-time painter in 1936. Then, he served in the French army in the 1940s but was rejected due to ulcers.[7] He began taking photographs in 1949 and sculpting in 1958. Liberman was employed at Vogue magazine from 1941 for 58 years. He was hired by Condé Nast as an assistant to Vogue art director Mehemed Fehmy Agha against Agha's wishes and took over the position a year later. From 1941 to 1962, Liberman succeeded Agha as the magazine's art editor. As part of his work as Vogue art director from 1944 to 1961, he published Lee Miller's photographs of the Buchenwaldgas chambers. In 1962, he was promoted to editorial director of all Condé Nast publications, United States and Europe, deputy chairman (editorial) from 1994 to 1999. Throughout his life, Liberman held numerous exhibitions of paintings and sculptures.
Awards
Gold Medal for Design, Exposition Internationale, Paris, 1937[citation needed]
(editor and designer) The Art and Technique of Color Photography: A Treasury of Color Photographs by the Staff Photographers of Vogue, House & Garden, Glamour, introduction by Aline B. Louchheim, Simon & Schuster (New York), 1951
The World in Vogue, Compiled by the Viking Press and Vogue; Editors for Viking: Bryan Holme and Katharine Tweed; Editors for Vogue: Jessica Daves and Alexander Liberman, New York : Viking Press, 1963
The Artist in His Studio, foreword by James Thrall Soby, Viking Press (New York), 1960, revised edition, Random House (New York), 1988
(photographer) Greece, Gods, and Art, introduction by Robert Graves, commentaries by Iris C. Love, Viking Press (New York), 1968
Painting and Sculpture, 1950–1970, Garamond/Pridemark Press (Baltimore, Maryland), 1970. By James Pilgrim and Alexander Liberman. Exhibition catalogue for the Corcoran Gallery of Art
Introduction to Vogue Book of Fashion Photography 1919–1979, by Polly Devlin (New York), 1979
Marlene: An Intimate Photographic Memoir, Random House (New York), 1992
(photographer) Campidoglio: Michelangelo's Roman Capitol, essay by Joseph Brodsky, Random House (New York), 1994
(photographer) Then: Photographs, 1925–1995, preface by Calvin Tomkins, selected and designed by Charles Churchward, Random House (New York), 1995
^
"Alexander Liberman." Contemporary Photographers, 3rd ed. St. James Press, 1996. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2008. http://galenet.galegroup.com/servlet/BioRC. Updated: 09/19/2002. Fee. Accessed 2008-11-02. Document Number: K1653000394.
^"Alexander Semeonovitch Liberman."The Scribner Encyclopedia of American Lives, Volume 5: 1997-1999. Charles Scribner's Sons, 2002. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2008. http://galenet.galegroup.com/servlet/BioRC. Fee. Accessed 2008-11-02. Document Number not given.
^
"Alexander Liberman." Contemporary Artists, 5th ed. St. James Press, 2001.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2008. http://galenet.galegroup.com/servlet/BioRC. Updated: 10/01/2001. Fee. Accessed 2008-11-02. Document Number: K1636001282
^Originally commissioned for and displayed at the New York State Pavilion of the 1964 New York World's Fair, gifted by the artist to the University of Minnesota.
"University Accepts Sculptures," Minneapolis Tribune, February 27, 1966.
