Fidel A. Danieli

  • 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

  • Mary Lee McNutt

    The showing of glazed oils and transparent watercolors demonstrate obvious mastery and maturity, and as in Seascape #10, Santa Monica Pier, and Treasures, the ability of the artist to raise the commonplace to a rare degree of poetic delight. Doubts arise in assessing the merit of rigid repeated lines of construction in this feminine vaporousness.

    From internal evidence it may be possible to simulate McNutt’s muse of artistry and beauty. Stepping past an isolating vignette and into a world of tasteful romanticism, she appears bathed in diaphanous flows, robed in impeccable sophistication, serene,

  • George Herms

    Herms’ assemblages continue to reflect, of necessity, his immediate environment through the availability and selection of materials. His litter has in common only the denominator of despair. These earthen, rusted, and gritty resources have passed far beyond the state of repair or contemporary easy appreciation of the warmly timeworn and are redeemed only by his stamped benediction of “LOVE.”

    Held together by a blended patina of disreputable age, the organization of his worm-tracked, grained and flaked wooden plaques, faceted photograms, rags and roadside debris, feathers and false red rubies,

  • Theophile-Alexandre Steinlen and Antoine Boudelle

    The Steinlen drawings are almost all idea notations or preparatory studies for the productive abundance of illustrations for Gil Blas, posters, and song sheets. His social attitudes made all humanity open to quick if summary survey, recorded in a rapid gesture of chopped straights and Art Nouveau fluidity. Attracted to the working classes by a bond of sympathy, to the theatrical by a fascination with the dramatic, and to the upper classes as objects of soft-bite satire, he recalls each through salient points of a pose, a posture, or a detail of fashion. He is at his story-telling best in describing

  • John Thomas

    In organizing his anonymous models screening off a deep void of corner-like perspective, in exterior architectural setting or in the landscape, Thomas displays appropriate current concerns. There is ambiguity of two and three dimensions, the integrity of the positive and negative shape relationships, and a skill in simplification and stylization. Add to these, the constructive loaded stroke, bravura pacing and intensified color, and the description should be recognizable as the immediate, if superficial, attributes of an “a la mode-San Francisco” look. These canvases are set apart in that they

  • John Little

    A fund of rice paper tissues or blotting paper is here treated with varigated densities of grey, and pasted in biomorphic planar divisions. Swirled contrasts wheel slowly to meet in seamed and scarred conjunctions of alternating textural transferred darks and virgin white. The collages, seen best in Gotham and Departure, are smartly polite and vaguely referential, by implication and association, to the landscape. They are countered by several of heightened intensities, including shots of acrylic color, arranged in a loosely architectonic orientation. The first are expansive and toughly poetic;

  • Larry Bell

    The recent work of Larry Bell reveals distinctly the amplification of a simple but profound visual truism: a mirror reflects. And, on to its frightening corollary, that two or more parallel facing glasses reflect each other endlessly.

    Beginning at a point of traditional, painted geometry (albeit the canvases were twisted to the isometric proportions of a lozenge), a first step was the insetting of a painted mirror and glass panel within the “frame” of a painting. (It would, we note, have been comfortable for this young artist to have tarried at this point, and perfectly reasonable for him to have