For whatever reason, Schwartz conveyed that he had enough of being depressed. About a year ago Dion recalls being shocked when Henry greeted him warmly, invited him to sit down, and was eager to catch up and communicate. His sister in law has also now passed away and care has been assumed by a niece who is a producer at WGBH a PBS affiliate.ĭuring a recent conversation Dion discussed how those visits to Henry were routinely brief as the artist appreciated them but found them draining. He appeared to be well cared for and the brother, who is now deceased, did a good job of managing the artist's assets which, in addition to the sale of the condo, included a pension from the School of the Museum of Fine Arts, and his social security check. Over the years of his illness Dion made regular visits to see Schwartz in a retirement home in Jamaica Plain. But the mental health of the artist was so deteriorated that further exhibitions were out of the question. There were a handful of finished works, mostly rather small, which the artist had signed. The gallerist, Arthur Dion, of Gallery NAGA which has represented Schwartz for much of his career, was invited by the family to take anything from the studio that seemed fit for consignment. His condo was sold and the studio emptied. For the next year he continued to be productive but that tapered off in a seemingly untreatable depression.įor the next sixteen years his affairs were managed by his brother. Instead of a moment of triumph, noting the peak of a still promising career, the personal and psychological impact of the retrospective proved to be catastrophic. It is common for artists following such a major event to suffer from what is described as "post project blues." But in the case of Schwartz, who is now 80, it went far deeper than that. So it was an occasion of remarkable significance. It occurred during a time when museum retrospectives by living Boston artists were rare. All letters submitted must be signed and must include contact information.In 1990 Henry Schwartz was given a retrospective of 81 works spanning a forty year period by the Fuller Museum of Art in Brockton, Massachusetts. Note: Members of the public wishing to submit formal complaints regarding the admission to the Massachusetts bar of a pending petitioner may submit a letter by postal delivery to the Executive Director, Kandace Kukas, Board of Bar Examiners. The names shall remain published for no fewer than seven business days from a date fixed by the Board of Bar Examiners, in consultation with the Office of the Clerk of the Supreme Judicial Court for the County of Suffolk. The Board of Bar Examiners shall publish the names on the websites of the Massachusetts Judicial Branch and the Board of Bar Examiners. Before the Board of Bar Examiners reports to the Court on the character, acquirements, and qualifications of a petitioner for admission, the Board of Bar Examiners shall publish the names of those petitioners who passed the written law examination in Massachusetts or a concurrent written exam in another Uniform Bar Examination jurisdiction, or transferred a qualifying Uniform Bar Examination score earned previously in another jurisdiction (under Rule 3:01, § 3) and who, if no objection is made, may be recommended to the Supreme Judicial Court for admission.
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