Ques­tions for Court­room Artist Jane Rosen­berg

Forward Magazine - - FOREGROUND - By Ben­jamin Ivry

Since the 1980s, the Brook­lyn­born court­room artist Jane Rosen­berg has won at­ten­tion for her trial por­traits of Bernard Mad­off, Woody Allen, Leona Helm­s­ley, An­thony Weiner and oth­ers, broad­cast over all ma­jor TV net­works. Most re­cently, her sketches from the pros­e­cu­tion of Har­vey We­in­stein in down­town Man­hat­tan for rape and other crimes went vi­ral for their ba­tra­chian images of the movie pro­ducer. Trained at the State Univer­sity of New York at Buf­falo and the Art Stu­dents League, Rosen­berg is also a painter of cityscapes. Re­cently, Rosen­berg spoke with the For­ward’s Ben­jamin Ivry about the trials of be­ing a court­room artist.

BEN­JAMIN IVRY: Your art­work from the Har­vey We­in­stein trial fo­cused on the pro­ducer’s belly as the salient point: Al Hirschfeld said that in his quick draw­ings from life in­spired by per­for­mances, he tried to cap­ture one main fea­ture of any sub­ject. Is court­room art like that?

JANE ROSEN­BERG: I can’t say I just went af­ter that one main fea­ture. I had to try to get his face in there, too, in just a few sec­onds as I saw him walk by. His belly was thrust for­ward, and it was very dif­fi­cult, very chal­leng­ing. His whole ap­pear­ance was 10 min­utes, and I did two sketches in that time and I didn’t see him all that time. [We­in­stein] was so dazed and con­fused, he walked right to­wards where I was. I guess I was look­ing down at that belly. Then he went back and sat on a bench. I tried to cap­ture it all the best I could, in the quick mo­ment I had.


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