Fidel A. Danieli

  • Robert William Wendell

    Three years of concentration upon 19th-century memorabilia culminates in “The Innocents,” Civil War themes adapted from photographs and period illustrations. In oils, drawings, lithographs, and etchings, the labyrinthine problems of source-versus-transformation are explored with varying degrees of success. Certainly the period is accurately captured.

    The source material is so inherently strong in remarkable imagery—taken either as arresting contrasts of black and white, or so poignantly tragic or ironic as subject matter, or of such popularized historic interest—that one comes to admire Wendell’s

  • Jawlensky and the Serial Image

    Though most of these paintings were seen as recently as 1964 (in the Pasadena Art Museum’s Jawlensky Centennial exhibition, in the installation of which, by the way, the thesis of the current show was implied) two of Jawlensky’s grandest masterpieces Blossoming Girl and Blonde (both 1911) are re-viewed with the greatest of pleasure. Painted at the apex of his bitter and heavily personal Fauve style, they are constructed of unformalized, knitted, and intensely contrasting color patches and isolating dark lines. Barely restrained power emanates from this pair of completely particularized amazonian

  • John Mclaughlin

    One of the elder statesmen of West Coast geometric painting continues his sparse, right-angle subdivisions in eight recent canvases, and viewed against recent reductive or minimal developments his pioneering development may be more justly considered and fully admired. Since 1958 he has explored the particular possibilities of vertically or horizontally oriented bilateral symmetry, involving broad areas and delimiting margins or frames. Gradually increasing his format size, he has, since about 1961, concentrated on the generous but comfortably manageable proportions of four by five feet. In size

  • Ellsworth Kelly

    Kelly quite rightfully occupies a leading and influential position among today’s painters and this brilliant presentation confirms his awesome control of the optical language.

    Typically a single full blown shape (here, geometric or rectangular) attached to at least one edge of the canvas, clearly commands a prime position of full dimension. The contours are sharply cut, the oil paint applied in a clean, subtly brushed manner. His European experience perhaps produces a more traditional approach to composition and space. In the banded organizations of Noland and Stella, one sizes up the whole,

  • Emerald Merrill

    Issuing photographs in limited numbers, matless on substantial mounts for wall hanging, Merrill is utilizing techniques which successfully present his work. His major set, a back-lit, out of focus study of a lithe and languorous nude, is his most original and outstanding sequence. Entirely controlled in the camera work, particularly evocative are the seated and turning poses in which the soft focus light reorganizes the recognizable into a series of fresh forms. Though more conventional, three studies of Edmund Teske strike a balance between character analysis, textural qualities and a dramatic

  • A New Lithography Studio in Los Angeles

    COMPARED WITH OTHER PRINTMAKING PROCESSES, the primary characteristic of the lithograph technique is its relative neutrality and flexibility; thus its abuse.

    Senefelder’s original purpose was to discover a cheap method of multiplication for commercial use, and there, so often, it has remained. Unfortunately much of the oeuvre of modern European masters has contained all too numerous examples of duplicated drawings and instant paintings, rather than an investigation of the medium’s potentials. Workshop procedures, the technical and mechanical “mystique,” have seemed either beyond the artist’s ken

  • Irving Petlin

    The major work is a mural size, four-part painting (arranged like an inverted “T”) entitled The Kennedy Civic. The overwhelming impression is of a Futurist textural field confounding the hidden subject matter. The descriptive elements, figures arrayed frieze-like before a landscape with clouds above, are first divided into slipped and arbitrary horizontal registers, the paint then stroked in a blurring fashion. The predominant color, yellow-orange, is particularly sharp and nasty, set off as it is by smears and touches of black, white, blue and red. Forms are folded back and lost, padded and

  • 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

  • Alberto Giacometti

    A small selection of a dozen drawings and three sculptures provide an addendum to the current major retrospective. One of the standing female figures particularly strikes the viewer as indelible and while typically reduced to an essential vertical it is more positive in its surface manipulation. A masterwork is his portrait of Annette (1964), a likeness in shifting planes projecting a movement from one side of the face back to the other. The mask is held taut and rigid, jutting forward from a straining neck construction. She peers eternally ahead, sustaining and dissolving.

    The earliest drawing,

  • Paul Feeley

    The major concern of Feeley is obvious enough as traced in this sequence of recent works: the adjustment of rigid, symmetrically placed elements (entirely idiosyncratic solid and linear motifs), creating an activation of the entire format. The sensation is of over-all field painting, though the shape is usually an equi-tensioned square, and though Feeley is “composing” varied parts and spaces. The arrangement of elements, like the distribution of directional compass points, has led remarkably to compositions, which for all apparent purposes, lack not only a traditional top and bottom orientation,

  • Marvin Harden

    Lyric expressionism surrounds Harden’s acutely placed and sensitively interpreted birds and insects. The solitary sentinels in a series titled “Melancholy” serve as vehicles of symbolism which parallel those of Morris Graves; the moral allusions of an individual seeking intense equanimity with his situation. If this be romanticism it is not of the usual vapid sort, rather it is as incisive and accurate as tender. Building layers of impasto, covered by sumptuous glazes which densely varnish out the atmosphere, his creatures survive their airless environment by being picked out in a most graphic

  • Knud Merrild

    Merrild’s twenty-nine year residence (1923–52) in Los Angeles places him among a rare handful of the area’s contemporary (i.e., pre-World War II) art pioneers, and hence explains the value of this assessment. His activity began in Denmark, was influenced by travels in Europe, and much importance (without supporting evidence) is given to his acquaintance with D. H. Lawrence. This retrospective reveals to a new audience a third-rate reflection of 20th-century art history—Delaunay, Klee, Gleizes, Metzinger, Picabia, Schwitters, and Constructivism, various primitivisms, Dali, Ernst, Miró, and