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Visual Art by
Judith Weinshall Liberman

For over forty years, from the early 1960s to the early years of the twenty-first century, the excitement Judith Weinshall Liberman felt daily at the challenge of creating visual art remained strong. Over those many years, some aspects of her art changed; notable among these changes was the specific medium (oils, acrylics, graphics, collage, wall hangings, mosaics, ceramics etc.) she selected as best suited to express her vision at a particular time. Yet her art, through all its variety, remained constant in some important respects. She always worked in series, preferring to explore any given subject matter in depth. Since her main interest was the state of mankind, she explored that subject both directly and indirectly throughout her long involvement with visual art. Whether in her MOTHER AND CHILD series, the SKULLS series, the VIETNAM series, the HOLOCAUST PAINTINGS, the HOLOCAUST WALL HANGINGS, the SELF PORTRAITS OF A HOLOCAUST ARTIST, the BIBLICAL HISTORY WALL HANGINGS, the HOMO SAPIENS series or the GENOCIDE series – and in countless other works – Judith Weinshall Liberman used art as a unique tool for the expression of her ideas and feelings about the human condition. To reinvigorate her spirit, she sometimes took the time, after completing one of these series about the human condition, to create works of a more decorative nature. These more decorative series of works often afforded her an escape into the magnificent world of color.