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A ages afterwards the exhibition ended, she was diagnosed with cancer. Mrs. Sagalyn was 95 aback she died at home in Amherst on May 11.

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The exhibition had opened in October in University Building of Contemporary Art at the University of Massachusetts Amherst. In a video account acquaint on the museum’s website, she was asked to call the moment aback she knew she was accomplished with a painting.

“When I feel that I answered what I was attractive for,” Mrs. Sagalyn replied. “And I don’t apperceive absolutely what I’m attractive for, but aback I’m annoyed that I bidding what I capital to accurate … again I stop. And again I go on to article else.”

And yet, her absorption to every detail was such that if she spotted what she perceived as a flaw, she would appetite to revisit a painting. She had to be abiding to not do so with works in the appearance that anachronous aback decades, said her son, Daniel of Arlington, Va.

“She was a accurate in that respect,” he said.

One of the aboriginal women awarded a Fulbright admission to abstraction in France, Mrs. Sagalyn counted Pablo Picasso amid her Paris friends.

Along with her sculptures and finely-rendered drawings, she has produced paintings that accept been characterized as cubist, abstract, and abstract-expressionist.

“I anticipate the assignment had an ebb and flow, and maybe that’s why bodies couldn’t assort her assignment in any one category,” said Loretta Yarlow, administrator of the University Building of Contemporary Art.

“What she could say with a simple band was absolutely potent,” Yarlow added. “Her abstruse works of the ’50s are acutely at a actual aerial level.”

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Marjorie Portnow of Easthampton, a acquaintance and artist, said Mrs. Sagalyn ability accept ahead abhorred announcement her assignment because “she was added absorbed in the journey, in the process” — and because, as a mother and spouse, there were abounding demands on her time.

“She never anticipation of art as a hobby,” Portnow said. “And she didn’t anticipate of her ancestors as a hobby. Some bodies can do that. She was a 125-percenter. She anticipation art was like calling, about like a angelic calling.”

Avital Rachel Schwartz was built-in on Jan. 6, 1925, in Tel Aviv, in what was again Palestine, the babe of Samuel Schwartz and Suzanne Marshak, who were Jewish emigres from Russia. French, Russian, and Hebrew were announced at home.

When Mrs. Sagalyn was 2, her ancestors confused to Belgium and lived in Brussels during her aboriginal education. Aback the Nazis invaded the country in 1940, during Apple War II, the ancestors fled via France and Spain to Portugal, and eventually to New York City.

Multilingual and afflicted by her time active in Europe and the United States, and by her ancestry in what are now Russia and Israel, Mrs. Sagalyn “really bridged four cultures,” said her acquaintance Stanley Rabinowitz, a assistant emeritus of Russian at Amherst College.

“Avital had several lives,” he added. “For accession who was active a abundant accord of her life, and was absolutely displaced, she active any amplitude I saw her in actual elegantly. She was adequate wherever she was.”

After her ancestors acclimatized in New York as refugees, Mrs. Sagalyn spent hours at the Building of Modern Art and took classes there on Saturdays as a aerial academy student. The artisan Marc Chagall, visiting her family’s residence, accepted her active work, and “The Horror of War” — a assignment from that time that she based on her adventures — was apparent at the museum.

She accelerating from Cooper Union Academy of Art in 1946, and activated in 1949 for a Fulbright to abstraction in France. “I ambition to actualize works of art,” she began her application.

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Among the works apparent in her abandoned appearance was an intricate cartoon of a anchorage in Provincetown.

“I got a Fulbright because of that drawing,” Mrs. Sagalyn said in the video account on the university museum’s website.

“I accede this my best drawing. And I did it while I was still at Cooper Union,” she said, adding: “I am actual analytical of my work, but I anticipate that’s good.”

After she alternate to the United States, her aggressive assignment drew acclaim from artists and arcade owners, alike admitting she beneath offers to exhibit.

She met Robert Sagalyn, through one of his sisters. He produced Off-Broadway plays, and they went to the Building of Modern Art on their aboriginal date. They affiliated in 1955.

She accomplished at MOMA while adopting their three children, and the ancestors confused to Amherst in 1967 aback her bedmate alternate to run his family’s business, Industrial Buildings Corp., in Chicopee. He died of a affection advance in 1985.

“My mother was an artisan in every cilia of her being: in her way of seeing the world, in her way of cogent what she saw, in her temperament,” their babe Adine, who lives in Saint Mande, France, said in animadversion that were allotment of a canonizing account via Zoom that drew array of ancestors associates and friends.

Adine’s sister, Michelle of Southport, Conn., said in her animadversion that their mother was “an admixture of affection and compassion, aptitude and strength.”

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In accession to her three children, Mrs. Sagalyn leaves four grandchildren.

In her eulogy, Anna Hirson-Sagalyn recalled traveling with her grandmother to appointment a bank association in northwestern France, area they adherent circadian bank visits to painting: “Long hours of ceaseless silence, in abounding concentration, our adulation and abetment bushing the air with added words than could anytime be spoken.”

In February, afterwards Mrs. Sagalyn’s blight diagnosis, her son, Daniel, interviewed Hugh Davies, who had been the founding administrator of what is now the University Building of Contemporary Art.

Her assignment in the backward 1940s and ’50s “was on a par with a lot of the actual best artists authoritative assignment both in Paris and in New York at that time,” Davies said. “She was breaking new ground.”

He added that attractive aback at the capricious styles in her decades of assignment creating paintings, drawings, and sculptures, “there is a constant vision, a constant affection that is actual abundant Avital’s.”

At times, Mrs. Sagalyn revisited an angel over and over. To call the process, she adopted a allegory from a friend, the backward applesauce trumpeter Dizzy Gillespie.

“I generally acrylic the aforementioned accountable abounding times until I ability its essence,” she wrote in an artist’s account for aftermost fall’s exhibition. “These assets and paintings are not repetitive, but variations on a affair aloof as musicians ad-lib aback they comedy jazz.”

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