Fidel A. Danieli

  • Ben Johnson

    Despite ever present currents of “new figure painting” the sudden appearance of a set of flower-hatted and bejeweled nudes on the gallery scene reveals a continuing vein of sensuous hedonism for which we may be thankful. Having dealt exclusively with the figure since 1950, Johnson shows in these images the witty products of editing (poster-popish) to immediate essentials: a solid contour encloses barely modeled, massive female volumes in a schematic titillation offered as close as is possible to the surface of the picture plane. There are serious aspects of formula to these studio pose souvenirs—the

  • Robert Thomas

    In unique bronzes cast by him at the foundry of the University of California, Santa Barbara, Thomas continues a metamorphosis of structural forms and poetic allusion. Working directly with malleable wax, he combines multiple symbols: an upward flared thrust can become in turn a gesturing hand, a tattered and fluttering figure, or an open mouthed blossom. Rippling sheets take on the aspects of dented wings, sharp petals or thick draperies, and a severe vertical shaft may be read as a crucifix or a ceremonial staff, a totem or a flower stem. As well, there are the embalmed hollows of animal skulls

  • Francisco Corzas

    Corzas’ paintings depict calm troupes of brigands with a softened debt owed to Goya’s late period House of the Deaf Man murals. Built by glazed blushes of low key earth colors, silhouetted before a broad expanse of sienna rear lighting, his figures possess a faintly melancholy but imposing presence by establishing direct contact with the viewer. With their generalized bodies and caricature faces of broad lips and wandering, walleyed stares, they seem harmless enough. But by their very structural vaporousness, materialized as if from the dusky glow of a regional, romantic twilight of past glory,

  • Everett L. Ball

    The compositions are grimly serious intellectualizations, likened to music, in inventions and variations concerning processes of change: every step of the convolutions of a progression. The major efforts (with all the accompanying strain which that word implies) are elaborated rhythms of arabesques, sharp angles (preferably diagonals), and organic patterns. Accompanied by their orchestrations of a full color and value range, and maximum two-dimensional plasticity, they recall the controlled chaos of decorative modernism so fashionable circa World War I. This because Ball’s path retraces, in

  • Estelle Chaves

    Miss Chaves, a sophisticated self-taught painter, fortunately does not suffer from that quaint condition of horror vacuii narration which many find to be the sole saving grace of primitives. Rather, hers is a clear-eyed, bright-hued, paper cut-out view of lively-shaped objects often set before a hard blue sky. While the sail boats and groups of nuns are more easily light hearted and decorative in intent, her limited still lifes possess the gay lapidary qualities of a surrealist “pietre dure”—the organization of a few brilliant bits of intarsia bounded by an architectural frame of forced and

  • Sven Lukin

    Though basic tenets remain constant, this young artist seems to be in the process of change. Within the general attitude of a geometric orientation, Lukin works toward the realization of each canvas as a bas-relief entity. “Thingness” is accomplished by stretching unprimed canvas over a dimension-producing bar in taut folds and wrapping his color planes around the picture’s edges. The one or two shapes of the earlier banner-like formats recall broad, partial sec­tions of letter forms, verging symmetric­ally and clamping tightly toward this raised pole plane.

    Having achieved an ultimate, novel,

  • “Nueva Presencia Drawings”

    While eschewing all formal pic­torial considerations as mere “tasteful­ness,” this group of Mexican humanists makes the most of limited visual mani­festos. Their victims are vignetted, perhaps relating to an indigenous pre-Con­quest inheritance; specific grotesques are rendered in full sculptural plastic­ity of form, but exist in timeless, vague vacuums of non-environmental open wash. The drawings generally possess the quality of studies, due to this care lavished on volumetric creatures in generalized isolation. In placing com­positional concerns after the diffused message of humanism, in one

  • Robert Cremean

    This well-known young craftsman is deservedly the best Mannerist juggler of the tour-de-force in figurative sculpture. From a gesture’s initial conception to the final polish one feels only tension in the introduction of clearly stated problems, resolved by an over-riding intellect abetted by a skilled hand.

    Involved in a series of historically approved substitutions, Cremean now indulges in directly carved and refined trompe l’oeil. Formal, mechanical, and smoothly controlled mannequins, made from laminated wood sections, are released from those blocks to the extreme point that, on superficial

  • “International Watercolor Exhibition”

    The exhibit’s title gives a fair clue to its contents: a water-base potpourri of the great and the also-rans lumped together with uncritical impunity. Recovering from the actual physical shock entailed in the gleaning, the works exploiting the media to full advantage follow most expectedly. The gorgeous, plush blooms of Nolde, Feininger’s washed constructions, a Laurencin peppermint-sweet round dance, several settled Marins, and an opalescent Renoir “la Riviere” push the Gluckman, Rubin, Dobashi, and others off into deserved obscurity. Two calligraphic but plastic Rederer head studies and a pair

  • Mark Fisher

    Boston born, pupil of Innes, Fisher (1841–1923) studied at Gleyre’s atelier and was an acquaintance of the Impressionists and American expatriates later in England. At seventy-eight, full membership in the Royal Academy came to him, the sole American so honored, by virtue, one concludes, of his venerable acceptability.

    Handily he reveals his sources in the Innes scraped blur and the broken “wet” stroke of the 19th-century landscape schools originated by Constable. Though in the midst of the milieu, Fisher conceived of Impressionism as the proliferation of unfinished value studies, placing him

  • Mentor Huebner

    Huebner paints postcard views of Paris and Spain in a pleasantly accomplished manner derived from the Impressionist period (1886) of Van Gogh, and that as seen in bleached color reproductions. There are the patterned strokes, but held tidy, marking time in a fidgety way. There is the impasto, but oh so slight. There is a clarity of tenuous contours, but tamed to politeness. The illumination is an even grey, smacking of studio concoction. His pure hues pop to the surface, destroying whatever space the drawing and value-color manage to convey, while the illusionistic perspective smacks against a

  • J. S. Carl

    Miss Carl presents a shotgun scattering of drawings, oils, and sculptures on a sophomoric level, hitting wide of the mark, and belying her educational credits. The drawings demonstrate an undistinguished ability in accurate illustration, and the paintings are rigidly confined in a search for the fractured volume of chisel-stroked simplified planes caught in a beginner’s maelstrom of fundamental problems. The small sculptures are worse, contenting themselves with limp abstractions and repulsive surfaces. Her ambitious but static “The Offering” and two small, restrained landscapes manage to look