Judith Levin’s paintings began to be collected when she was fifteen. She developed a technique in pure painting, freely building a classical composition directly onto the canvas in paint without the use of drawn or planned outlines. Her early work is comprised a series of flower paintings in which this technique reflects the natural and free compositions of the flowers themselves. These paintings are noted for their contrast of texture, the almost weightlessness of the petals against the solidity of the jug that contains them, and the play of light and colour. Early flower paintings are published by Solomon and Whitehead, London.
In the continuing series of still life paintings, the same freedom of technique is given into an expression of simplicity of form. These are contemplative, silent paintings taken from direct observation. Examples of this period are published by Canadian Art Prints, Richmond, Canada.
Moving to the pictorial space of the landscape, the moorland paintings are a personal response to the vast, open spaces of heather on the moors around Haworth, Ilkley and North Yorkshire and the woodland paintings a response to the more enclosed landscape within the city.
Judith Levin’s paintings are found in private and corporate collections
A Selection of Judith’s Exhibitions
European Exhibition of Fine Art, Tokyo
Showcase, Omell, Albemarle St., London
Published, Solomon and Whitehead, London
Nomination, Women of Achievement
Exhibition, Prelude To A Kiss, Corporate Show, Leeds
Exhibition, FKAA, Leeds
Exhibition, Pfizer Inc., New York
Published, Canadian Art Prints, Richmond, Canada
Showcase, Chetkin Gallery, New Jersey
Showcase, Craghead Gallery, Carmel, California
Exhibition, Landscape on Silk in Couture, Design Block, London
Exhibition, The Bingley Gallery
Bequest to Leeds City Art Gallery
Exhibition, Royal College of Art, London
Ilkley Art Trail
Solo Show, The Leeds Gallery
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