Fidel A. Danieli

  • Irma Attridge and Anders Aldrin

    A full gamut of subjects again shows that Attridge changes styles as one might change clothes. This group of oils, more coherent for its limit of numbers and types, concentrates on nimble-fingered palette knifings and fuzzy strokes, rendering still lites in diaphanous high key hues. Objects blend and float as in the all-over watercolor bouquets. To mention their feminine qualities of structural looseness, lightness and effervescence belabors an obvious appeal.

    Aldrin is shown to have origins in Duty. Twenty year old canvases display a timid transfer of that master’s characteristics to American

  • “Summer Graphics”

    A mixed selection of woodcuts, serigraphs, and drawings fulfills the gallery’s intention of presenting the figurative image; the merits beyond that are few. Humble and modest in scale and attitude, the competency of Mil Bard and the homeless illustrations of Aron, Sharf, and West are lost amid the thumping pyrotechnics of Gershgeren. His prints are complex overlays of transparent brilliant hues and sharp value contrasts quite out of measure with the pedestrian nature of his subjects. His heightening of effects to melodrama suggests he is the only member aware of the paucity of the theme or its

  • Jose Montanes

    Known for tasteful and cloyingly textural urchins along a sophisticated Keane line, this Spaniard has been sidetracked to a series of grotesque variants. The studies, flesh-colored monochrome oil isolated on dark paper, are shallow caricatures of stunted and limited actions; parodied attitudes of standing, sitting, listening, etc. Not without coy wit, the artist’s evident poverty of formal, anatomical, and compositional invention is only confirmed. Montanes is serving up swift distortions of his own mannerisms. The earth colors and slippery full modeling suggest their final realization as ceramic

  • Some New Los Angeles Artists


    JAMES DE FRANCE HAS CONSISTENTLY directed himself to the projection and suppression of tangible and illusory energies. It is in the balancing of these forces that his paintings attain their merit; they assert objectness (or at least a relief-like quality) while maintaining a purely painterly quality. The recent works have seemed unusually bleak and repetitious; greyish or whitish square panels or canvases with a uniform series of regular openings cut into them, the state of the surface appearing to have been finally arrived at after much struggle even if the composition was arrived

  • West Coast Grotesque: Stephan Von Huene

    AMIDST LAST APRIL’S OPENING NIGHT festivities of the Los Angeles County Museum’s “American Sculpture of the Sixties,” the one work that met with spontaneous applause and general enthusiasm was Stephan Von Huene’s Kaleidophonic Dog. Engagingly delightful it seemed: a music box of toots and gongs cycled to perform at regular intervals. The small sculptural animal atop it, on his back, gleefully (or hysterically) kicked his legs in the air, and opened and closed his clacking denture-filled jaws. A nearby entry, fully as large though silent, formally as involved, was generally overlooked or poorly

  • Gallery Selections

    A generous sampling of recent works and studies by William Gropper strongly underscores what a minor figure he was/is. He is most familiar for his haranguing politicians of the turbulent ’30s, but whatever bemused vitriol his graphic spirit may once have contained has drained away, and his style rests somewhere between UPA cartoon designing and a blatant dependence upon Ben Shahn. This he disposes nicely among a random assortment of figurative subjects.

    One may, however, enjoy the solid delights of several Moses Soyer drawings, and observe the textural sidestepping and graphic mannerisms a sound

  • John Constable

    John Constable recast the subject of the landscape and this most insular figure stands as a seminal influence in European nineteenth-century painting. To a slowly developed and interrupted grounding in the Academy and the rigorous demands of topographical rendering he added his admiration and understanding of Rubens, Claude, Ruysdael, and Gainsborough. His honesty and steadfastness set him in opposition to such prevalent cliches as brown and varnished tonalities, the Grand Style bravura, and the preference for the picturesque. All were attitudes which had grudgingly elevated this most pedestrian

  • “Twentieth Century Sculpture, 1900–1950”

    An ambitious and vigorous program is inaugurated at this new University branch with a necessary survey of this century’s sculpture. Such an effort has not been seen locally since the circulation of selections from the Hirshhorn Collection, with which this could hardly attempt to be compared for number of examples, diversity of sizes, and sheer scope. The aim here has been the mounting of local and readily available examples for critical inspection and didactic exposition.

    Twenty sculptors are presented. The sizes range from miniature to unassuming. At the small-scale extreme, four early capsule

  • “German Expressionist Graphics”

    A wide-ranging selection of prints and drawings begins with Kollwitz’s Beratung (1898) and Nolde’s Self Portrait (1907). Both with their smoldering darks demonstrate a visionary aspect which links them and their fellows to 19th-century Romanticism. The harshness and brutality of the 20th makes the projection of charged emotions possible upon any subject. Atmosphere becomes attitude, psychological insight replaces exoticism. Corinth quietly, clinically inspects himself before a mirror, and Grosz conjures up anarchical, montaged sequences from street scenes. Dix’s Der Greis and Beckmann’s examples

  • Henny Marks, Eli Karpel, Consuelo Julian and David Brockmann

    Henny Marks constructs lyrical but planally developed figures in a slow motion dissolve of Bonnardesque color in a method similar to Balcolm Greene. Rich and high key knots of sumptuous pinks, tints of orange and turquoise pervade the loose but accurately purple patch drawing. Rather than a simple record of domestic scenes and friends, the figure for Marks is an anonymous scaffold for the play of a personal light.

    The active acrylic geometrics of Eli Karpel are compositions formed of slim, irregular, compound planal structures in masses. The repeated wide value range is the paramount controlling

  • Virginia Carpenter and David Brockmann

    Carpenter makes the most of her collage materials; colored transparent tissues, layered and blotted, torn and cut, stained and transferred. Structured into columns or more often massed at the center and surrounded by pronounced contrasting accents, they strike a pleasing balance between the informal and tasteful. The vivacity of the color and the controlled randomness suggest a spirited gaiety. A smaller, serious number are denser with painted newspaper. Her arrangements of spots and dots makes a reappearance in abstracted and invented ink drawings.

    Brockmann’s earlier welded assemblages are

  • Clay Walker

    For his first Los Angeles showing Walker presents four vaguely related types of work—dark, loosely architectonic oils, red and blue patchwork gouaches, wood relief constructions with humorous overtones, end silvery canvas appliqué collages. In touching so many undistinguished bases, he flirts at the perimeter of structure and personal style, and arouses only vague aspersions upon his intent. A coherent direction perhaps will be forthcoming, but as each diversity is so completely defined, it is problematical. On the other hand, as recompense, his biographical notes and exhibition credits at

  • Hassel Smith

    First there are the unsettling figurative paintings. The heralded “All American Girl” seemed to represent an ambitious and adequate departure, but an untitled nude not previously exhibited was treated in barely summary fashion. “Leda and the Swan” proves only that together his active contour line and color shape edges are redundant. A Rubens-like “Lovers,” painted in England, inexplicably included a diapered cupid and a panting, spotted dog, and at best, they all confirm a boisterous good humor found in certain previous works. That, or the shuttering and grating falter of a reappraisal.


  • James Weeks

    James Weeks’ canvases exhibit a high but uneven quality, due in part to a multiplicity of direction. They are generally of solid construction and bluntly rendered. The wide value range is shot through with arbitrary increases of high-key color, and the shapes sharply simplified to a point of illustrative description. But as he struggles to preserve a strictly detached attitude toward his subject matter, an underlying motive is discernible. His genre scenes of children are untainted by sympathy, the landscapes are cropped and flattened as in a binocular or telescopic view, and the allegories and

  • John Lentine

    Half-a-dozen years ago this young and enterprising painter developed a patently successful formula for mass-producing hand painted postcards of European views. Rather than indulging in the usual manner of nostalgic shorthand most often encountered, he heightens his souvenirs with direct tactile appeal (dry brush over a textural ground), fragments of brilliant under-painting, structural solidity through black outlines and tracery, and suffocating Mediterranean light and heat with the extensive use of white. Just as his realistic technique is a relative novelty in this field, so is his selection

  • “Paintings of Women”

    The show, titled “Paintings of Women,” ranged from parody to primitive in perhaps as successfully diverse but homogeneous a theme exhibition as any stable of artists could provide. Herb Hazelton garners the prize of “success de scandale” with Marilyn (Monroe) and Aunt Jemima in a poor-taste, commercial illustration technique paraphrase of Manet’s Olympia. A run of small paintings by Seem, Garadedian, Elgart, and Ross produced the cumulative effect of a highly disturbing rogues’ gallery of empathic distortion. As visionary is an exotic Geraldine Page by Louis Lunetta, in gun metal grey and framed

  • Group Show

    From this grab-bag of irritating “pleasantries” only Maurice Chabas (1862–1948) and the late Armin C. Hansen contribute standouts. The Chabas’ include an impressionist coast panorama and a far more interesting figure group arrayed beneath a swirling arabesque of foliage. In this canvas he seems to have been bridging in parallel the academic grace of Puvis de Chavannes with the consistently dotted surface and rigid color system prevalent in the era when pointilism, the Nabis, and early Fauve impulses were proceeding on their diverse ways. As an accessory to a crucial period it has an inherent

  • CPLY

    The paintings, assemblages, stained glass window, and flags of CPLY are a mixed bag of dedicated dilettantism, a body of humor most often aimed at a purely literary or private level. Copley, writer, collector, and patron, avoids pretense profundity through the ploy “wit as art,” disclaiming ambition and putting off critical appraisal. As Man Ray has stated, in Europe visual puns are accepted, while here they are snickered at. For soon the humor and innocence evaporate before the strident struggles of his naive style.

    Clarity and discontinuous decoration are compounded of bruised or muddied colors,

  • George Rickey

    Rickey’s kinetic sculptures are additive linear or planal devices which trace wind-driven movements in space. “Driven,” though, is too forceful a term to describe the caressing energy to which these ingratiating blades and vanes respond. Most, light in gauge and tenderly balanced, achieve a delicate elegance. The faint tendency toward fragile superficiality is confirmed in the full-blown jeweler’s preciosity of four “Fleurs de rocaille.” Clusters of tiny paddle wheels are weighted down by glittering crystals, and only here Rickey became the victim of his good taste.

    Going beyond Calder’s primitive

  • Group Show

    As is the tendency in summer reruns of a gallery’s stable, very often the lesser publicized members come off surprisingly well. Electric by Ruscha is the Pop selection. Derived ultimately from Johns in the redundant collision of typography selection, blended and flat illusionistic color, and direct placement, it glows with matter of fact obstinance.

    Craig Kauffman’s mechano-organic constellations almost demand the third dimension of relief or sculpture. Having floated his shapes upon clear plexiglass they even now carry about a cast shadow. Corporeal reality may too suggest itself as the flanking