A LILITH DEVOTEE:

For love of Lilith
Hebrew goddess helped an angry artist see the light

By DANIELLE FURFARO, Staff writer (Albany Times Union)
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First published: Sunday, August 19, 2007

COLONIE -- Richard Callner sits in a wheelchair in his sprawling, multilevel home, staring lovingly at a Gobelin-style tapestry he made in Ein Hood, Israel, more than 30 years ago. The tapestry is rich with swirling colors and figures. It features his favorite goddess: Lilith.

Even though advanced Parkinson's disease has reduced Callner's voice to a scarcely audible whisper, he happily points out the details of the piece. With the help of his daughter, Joanne, he describes how he chose the colors of the tapestry from thousands of spools of yarn the Israeli weavers offered him.

"It works because of the complexity," he breathed.

Of the three tapestries he made on that long-ago trip, two of them hang in his home. The one in the dining room shows a side silhouette of the ancient goddess, who is regarded in Hebrew folklore as the first wife of Adam. She appears to be exhaling a menagerie of birds and flowers. The one hanging in a hallway shows Lilith in a variety of poses in the garden of Eden. She is lying on her back ... flying with birds ... becoming a bird.

[...]

After returning from war, he began formally studying art. Callner's style is culled from a variety of Euopean modernists. While in Paris, he studied with Cubist painter Fernand Leger. He received his MFA from Columbia University in 1952 and began teaching.

Callner spent these years painting angry, grotesque figures in muted colors.

In 1963, while teaching at Olivet College in Michigan, he became obsessed with Lilith. His discovery of the Hebrew goddess precipitated a change, not only in his art, but also in his outlook on life. Suddenly, his work embraced elements of humor, whismy and independence. Since then, most of his paintings have been soaked in vibrant colors and wild textures and abstractions. He began to use the image of Lilith repeatedly. Sometimes she would take the form of a woman, sometimes of a bird, sometimes of color.

[...]

Sounds like she's been a good influence.

Unfortunately, there's no photo of any of these paintings.