Fidel A. Danieli

  • Roy Lichtenstein

    This show of recent works holds together well. The current figures, as before, are pressed to the surface, and in Sketch for World’s Fair Girl and Tension they burst forth and can barely be con­tained. This close-up cropping, locked within the story-board frame, relates not only to its comic-book sources, but as well to the cinema close-up. A char­acteristic move into whatever illusion of compressed space does exist takes place across the complication of a hand, a clutch of bent fingers, often slightly out of scale, contrasting with the field of the face and complementing the waves of hair. The

  • Karel Appel

    Drawn solely from California col­lections and purporting to be a com­prehensive survey, the exhibition is ample in size and quality (22 oils and 33 gouaches, drawings and lithographs), but weighted with work from 1959–60. While one would not have supposed that such numbers of locally owned Appels would even be available, it is nonetheless difficult to trace his de­velopment from the samples here.

    A general description would picture him as a graphic Expressionist who has moved in a dozen years from con­tained, child-like images through spon­taneous cartoons, to gestural patchy configurations. The

  • Peter Krasnow

    Krasnow, 74 years old and still hard at work, is justly honored in this, his second encompassing retrospective in nine years. The brief commentaries which have dealt with him lead to the belief that he is a recluse redeeming himself through his art. Certainly here is honesty, sincerity, dedication, and enviable productivity—only the purest of motives and ideals. At best his work is individual and inimitable, but as with all such figures there are few clues with which to approach a dis­cussion; he has worked in isolation for 30 years. Curiously, perhaps typically, Krasnow’s work recalls that of

  • Henri Toulouse-Lautrec

    Fifty-five lithographs and drawings from a single anonymous collection form this hundredth anniver­sary celebration of the birth of the “little monster.”

    As the group is comprised of the miscellany of menus, advertising post­ers, sheet music, book and review il­lustrations, and smaller portfolios, but for La Goulue and Debauch, all are unfamiliar to the non-specialist viewer. It is a fine treat to see these rarer, if minor, items. They range from the merest caricature to sketches and finished drawings and convey as broad a field of attitudes. The outstanding mood is a serious, sharply-honed

  • Llyn Foulkes

    In his fifth one-man show Foulkes is still at work clarifying and modifying his statement, editing his material, and more certainly attaching his interests to the landscape tradition. Though much of the zealous compulsion has gone underground and refinement of a product become paramount, numerous features still merit attention. One hopes this focus and consolidation will not yield up atrophy, doubtless a premature concern, since his self-command remains intact.

    The paintings are all double images within framed borders traceable certainly to Foulkes’ interest in stereoscope slides. They are

  • “Imprint”

    Devoting almost its entire space in a multi-section celebration of the Fourth Biennial Print Exhibition, the museum begins by neatly surveying art history from its own permanent collection. Outstandingly powerful and well-chosen samples form the 15th through 19th century European and Japanese selections. A lesser level marks the accompanying 20th century European masters, the exception being the in-depth showing of the ever-present Blue Four.

    The dubious poems of Walasse Ting in his volume 1c life, illustrated by twenty-eight European and American contemporaries provides an opportunity to mention

  • Gloria Brown

    These are, for the most part, Matisse-like paintings in their clear bright color and minimal paint application. We get a surprising opening up of space in paintings dealing with the nude in an interior. An accompanying set of crayon drawings, light and effervescent in touch, serious in purpose, expands on this theme and permits an examination of her procedure. For all of her many merits, she is dominated by flux, a collage freedom of change, or an arbitrary fill-in approach which disrupts the unity, pacing of moves, and spatial position. As well as in a geometric series of circle signs, she

  • Antonio Melendy

    The gallery is an outlet for the artist’s welded metal reliefs. The designs are usually a hackneyed massing of small, repeated, planal units mounted out upon radiating stems. Graduated in size, irregular in surface, he has faceted the work with textural and color changes, the most interesting in his sample kit being rings of halation caused by extreme heat. Facile, sometimes abstract, some figurative, some imitative, they can be dismissed as full blown, posh tinsel and chi-chi decor.

    Fidel A. Danieli

  • Antoine Bourdelle

    Overshadowed by Rodin, Maillol, Despiau and others, the career of Bourdelle (1861–1929) is offered for reassessment in a showing of twenty-six drawings and fifty-nine bronzes. Working out few motifs of a genre or allegorical vein, an executor of several major commissions, and an enthusiastic teacher (of Richier and Giacometti), his work is the product of highly placed and unabashed eclecticism. Proficient in all the prevailing 19th-century modes of naturalism (Mask of a Smiling Girl) realism (in Maternity) neoclassicism (in M. Charmaux au Chinen) and a baroque romanticism (in Beethoven—A Tragic

  • F. Vredaparis

    Known previously for her widely circulated prints, Vredaparis’ recent promising departure, small sculptures, is seen collectively for the first time. With the accompanying graphic works, we may trace the accidental lyricism of the intaglios translated logically to the natural forms of the sculptures. The pieces, cast and polished bronze concretions, rest supremely on, and are integral with, milled or burnished aluminum bases. Her basic repertoire of shapes consists of irregular oval, rectangular, or tubular masses. These flattened, twisted or folded volumes establish a major axis and incidentally

  • Milton Avery

    The figure and landscape have occupied Avery’s unsophisticated but complete devotion for more than 40 years. Shown were recent canvases (1962–3) and a half dozen from pre-1945; in effect, a capsulated retrospective. His contemplative distillations, as ever, exhibit constant characteristic tense placement, edited simplification, and a contracting limitation of sensuousness. His space is a compressed one, about the center of which movement ricochets along abrupt perspective and exaggerated scale changes. Tipped axes are pinned in permanent, empathically active suspension. The leaning woman of

  • 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,