Pioneer Artist Nikos Bel-Jon “Painted with Light;” Nationally Significant Mosaic Pfizer Mural Needs To Be Moved ASAP, Endangered Treasure Needs A New Home

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By Michael Perlman | mperlman@queensledger.com

 

Calling all museums, colleges, and hospitals, among publicly accessible spaces citywide and statewide! Time is of the essence to relocate and preserve the highly significant “Medical Research Through The Ages” mosaic and steel mural at the former Pfizer World Headquarters at 235 East 42nd Street. This rare work of art, which is completely salvageable, may be demolished if no party of interest comes forward to accept its donation by developers in early September.

The 36-foot by 14-foot mural, which is also considered to be a foremost achievement in the world of engineering based on construction and illumination, was completed in 1960 by nationally significant mosaic muralist Nikos Bel-Jon (1911 – 1966), and commissioned by Pfizer for its longtime headquarters’ lobby. Regardless of how one feels about Pfizer, the intrinsic value of this artistic masterpiece, now 64-years-old, is to be valued independently. In 2023, Pfizer relocated to Hudson Yards, but remained unclear about the mural plans. Now the Modernist commercial high-rise is undergoing a largest residential conversion.

A core committee of preservationists and Bel-Jon’s descendants, who are integral advisors, are working swiftly with hopes of transporting the exquisite mosaic mural that opens the door to medical education. This mural is considered to be only one of 14 existing large-scale murals that his family is aware of. It is believed that he created 42 large-scale works, as well as 8 smaller existing important works. In all, it is believed that he created 188 metal works.

The mural features historically brilliant depictions which included Emperor Shen-Nung (circa 2700 B.C.), Doctor of Salerno (circa 800 A.D.), Sister of St. Martha, Andreas Vesalius (1514 – 1564), Dr. William Harvey (1578 – 1657), Antonie van Leeuwenhoek (1632 – 1723), Dr. Edward Jenner (1749 – 1823), Dr. Walter Reed (1851 – 1915), Dr. Paul Ehrlich (1854 – 1915), and St. Luke, as well as alchemical symbols.

“The Father of Medicine,” Hippocrates (circa 400 B.C.), modified medical history’s course in the western world through practices of studying case histories, observing “the whole patient,” and “aiding nature to heal.” Another depiction is the English bacteriologist, Sir Alexander Fleming (1881 – 1955), who discovered penicillin and was published in the Journal of Experimental Pathology in 1929, and awarded the Nobel Prize in 1945. As for French chemist Louis Pasteur (1822 – 1895), he significantly influenced medicine by working with microorganisms, laying a foundation for controlled fermentation synthesis of medicinal and industrial chemicals. He established the germ etiology of infectious disease.

Nine large laboratory beakers and flasks are stylistically featured, where various elements were subjected to unique interpretations by Bel-Jon. They include magnified crystals of pharmaceutical compounds, chemical production’s heavy equipment, Paracelsus (circa 1493 – 1511), Rhazes (circa 865 – 925), a microscope and chemical distillation and lab equipment, a Middle Eastern physician, and a Hindu deity. On top of a beaker is a fossil of a microscopic animal, whereas below is an organic compound molecular model.

“Lobbies have assumed an importance in our new skyscrapers that is not much difference from the store set by them in the Borscht Belt hotels,” stated the June 22, 1972 “Going Out Guide” of The New York Times, which pinpointed that perhaps the only office lobby equipped with informative earphones is the Pfizer building. “It is the handiwork of the late Nikos Bel-Jon, who made it entirely of metal and illuminated it with a bank of colored lights. Peering through large raised metal objects resembling lab flasks and beakers, one sees various developments in the healing arts,” read an excerpt.

“Bel-Jon’s mural is just something to behold with an intrinsic value that spans America and abroad as a universal point of pride for the Greek nation. He was able to create something planted firmly in the past, while being aspirational for what is to come,” said Preservationist Andrew Cronson of Morningside Heights. He has been tirelessly conducting outreach to determine which publicly accessible institution would be interested in acquiring the mural, or to secure a temporary storage site. “It is almost unheard of to find an opportunity to bring world-class artistic quality to the public, and that is what is being proposed by this ambitious project,” he continued.

Bel-Jon’s ability to take very ordinary materials, such as aluminum with steel wool and turn it into extraordinary, is a remarkable talent, according to Cronson. “He did not need to break out the gold leaf or mother of pearl to make something sensational. It is very obvious that Bel-Jon also looked to his predecessors for guidance, as all great artists do.” On social media among other channels, Preservationist Michele Bogart published a call, inquiring about the mural’s status amidst the former Pfizer’s headquarters’ residential conversion process. “Once I began to look with a very critical eye, it became immediately clear that this was the work of an artist who was doing something indisputably unique.”

Cronson hopes that this world-class mural can be relocated to an academic or medical campus, where it can serve as a beacon of inspiration through trying times, and the mural would undoubtedly become an anchor once again. He explained, “Regardless of where people stand in their sentiment towards Pfizer, the mural becomes a collective memorial as we continue to recover from the pandemic, and a rare facilitator for the tough conversations needed to better our collective medical future. Although Bel-Jon was not afforded the same recognition following his untimely death as his peers, it is never too late to return that sense of reverence for such indisputable talent.”

The mural was last restored in 2011 by Evergreene Architectural Arts. Cronson feels that it is fortunate how this mural is ready to go, as long as the right party comes forward. “It was constructed to come apart in nine pieces with a schematic, as if it was intended to one day relocate without being irretrievably altered,” he said.

“It is critical to find a home, whether permanent or temporary, immediately to ensure the preservation of this masterpiece,” said Bel-Jon’s daughter, Rhea Bel-Jon Calkins of San Miguel de Allende, Mexico. Along with her sister, Athena Bel-Jon DeBonis of Hudson, New York, they are tirelessly advocating to safeguard their father’s monumental work.

“Our father’s innovative techniques created a unique interpretation of medical history. Light and metal merged to form one of the ‘landmarks’ of New York City for the past 63 years. His mastery of metal was incomparable, and the stories that the mural tells, stand the proof of time,” said Calkins and DeBonis in a joint statement.

They had the honor of observing their father creating the mural, and shared observations and impressions from the time that they resided in an Upper East Side home-based art studio. They reminisced, “The mural’s creation was an intimate process. We remember it from the time he and our mother started researching, sketching ideas, creating formal drawings and maquettes, to the actual placement of tiles on the mural. His process of working was incredible to behold. Each metal tile was cut by hand and specifically placed to create motion in the tesserae. The angle of the abrasion of each tile was critical. That studio in a former synagogue was perfect for the scale of the mural, and it was as if it had been designed for him to build the mural there.”

Bel-Jon’s mural represents a one-of-a-kind achievement, since he was the originator of the “painting with light” technique in art. It also signifies the best of his multi-talents. They explained, “Our father labored to create murals on metal, and his talents in those techniques have been unequalled to this day. He became a master of using abrasion on metal to create form and movement. Combined with his extensive education in fine arts, whether he used hard edges on aluminum, as in the 1950s, and The Pfizer Mural or a more free-form approach as in his 1960s stainless steel pieces, his accomplishments are unparalleled.”

Furthermore, the idea that two of Bel-Jon’s murals were in prominent locations, such as Air India at Fifth Avenue and 52^nd Street, and one gracing the Greek Consulate, speaks volumes to his vitality to the art scene of 1960s New York and beyond, according to Calkins.

Nikos Bel-Jon was born Nicholas Fotios Baloyannis in the historic village of Valtisiniko, Arcadia, Greece on March 20, 1911 to Panayiota and Fotios Baloyannis. He did not have an interest in becoming a professional, but rather his deep passion for art illuminated his path, despite his father’s objection. He achieved a Bachelor degree in 1933, followed by a Master of Arts in 1936 from the Superior School of Fine Art in Athens. He also studied Byzantine art at the Mt. Athos Monasteries in 1935. As of 1936, he was a professor of fine arts in School Sophianopoulos. He continued his education at the École des Beaux-Arts and École du Louvre in Paris in 1938.

Immigrating to America, the family originated in Los Angeles, followed by San Francisco. “In 1959, we spent weeks driving a 1938 car that my father redesigned with metal tiles and fiberglass. ‘The Athena’ was to be his introduction to New York City,” recalled Calkins. “We first lived in a cold water flat on the West Side, as our parents searched for a home with enough space for their home and studio.” A former synagogue at 310 East 72nd Street was adapted into a gallery, studio, and apartment, followed by a carriage house at 159 East 69th Street, adapted as a studio. “Nikos had a classical background, but evolved using metal and light; modern age materials,” said Calkins and DeBonis.

They planned to relocate to Long Island, but Bel-Jon passed away in 1966. Their mother, Troy, continued his Long Island studio and worked as a teacher. He is remembered as a man of inspiration and for teaching dedication to an idea. When people helped him land commissions, he would gift them small works.

Calkins and DeBonis reminisced, “Our father was absorbed in his ‘job,’ as long as he had Troy beside him for the details, and was driven to achieve. His unceasing need to develop new techniques speaks to his innovative mind and creative aspirations. He could be very warm and funny, but often quiet. From fighting his father in order to study art, to immigrating to America and creating new visions and forms of art, he was constantly searching. We learned that determination was integral to success, but the love of what you did was much better.”

Bel-Jon’s grave marker is in Maple Grove Cemetery in Kew Gardens. In 2016, shortly before the 50th anniversary of his passing, Helen Day, vice president of Friends of Maple Grove, encountered his grave. She was struck by the term “Metal Muralist” below his name, and it also features a mosaic-inspired sculpture.

“I have a BA in Fine Arts and never heard of that intriguing term. The more I delved into his story, the more wonders opened up. I was fortunate to find an incredible YouTube presentation, narrated by his daughter, Rhea Bel-Jon Calkins. We soon contacted his daughters and arranged an exhibit,” said Carl Ballenas, president of Friends of Maple Grove.

Ballenas considers Bel-Jon a genius. “Nikos worked with metal and created such incredible masterpieces. He scratched and etched onto a flat metallic surface and made images that appeared three dimensional. He soon realized that at various times of the day, his images changed when struck by the rays of light, and he added colored lights at the base of his work. His metal murals came alive, and images changed with every shade of color.”

“There are so few of his public works, and this has to be one of the great public works of New York City. It deserves to remain in New York, where it can be appreciated for generations,” said Day. “He was innovative and unique, not just in creating scenes on metal, but bringing them to life through colored lights, which adds a soft glow and warmth to the scenes.”

On August 11, 2016, the 50th anniversary of his passing, Friends of Maple Grove arranged a bus tour for three of Bel-Jon’s masterpieces, in conjunction with his daughters and their family and friends. Destinations included his murals at Troy Towers in New Jersey, overlooking the Palisades, and at Manhattan’s Greek Consulate, followed by the Pfizer building. “We were spell-bound. It took time to take in all of the details,” said Day.

Ballenas recalls viewing the mural through the façade and stepping inside. “There was once a reflecting pool of water extending along the mural’s base, but it leaked and the colored lights were no longer in operation. I can only imagine how incredible and dazzling a site it must have been with the lights bouncing off the water, and the different hue of colors that hit the metal mural. It must have taken your breath away.”

On August 13, 2016, they hosted a celebration of the life and art of Bel-Jon. Preservationist Brittany Reilly of Design Nation discussed his work, and the Bel-Jon family gifted Maple Grove an early painting. Bel-Jon was portrayed by actor Marco Vittozzi, who held an artist palette at the annual “Spirits Alive” event that October.

Eight years since the events, Ballenas finds himself in disbelief. “It shot me back to the time when Pennsylvania Station was demolished. It was unthinkable, but it happened.” He asks, “How are the Bel-Jon masterpieces not being protected?” and thinks how people in the future would ask how a great work could be allowed to vanish.

“How many metal muralists can you think of? There was only one master, who was indeed a Renaissance man. He had a short life, but the wonders he created are life altering,” said Ballenas.

“It would be a travesty to see this important mid-20th century work, which cannot be recreated, destroyed. I cannot believe that in this great city of New York, there is no one yet who will step forward to save it,” said Day.