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

  • “New York Group”

    In an uneven group sampling Los Angeles viewers have their first opportunity to judge some of Dwan Gallery’s New York contingent. Richard Baringer’s contribution is a curved Stella-derived optical panel of painted aluminum. A dazzling pair of repeated stripes, red and chartreuse green, zig-zag toward a compressed center point. The vertically dividing open slot between the two arcs and the yellow ochre flat areas used to fill out the rectangular format are unfortunate if necessary compromises.

    The Arakawa lithographs of room plan blueprints are typically minor homages to the Duchamp method and

  • 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

  • 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;

  • Alfred Jensen

    Purporting to make concrete personal intellectualizations on underlying scientific principles (Image and Afterimage—“light-electro-magnetic color working schema”) and philosophical theorems (Duality Triumphant) by means of geometrical divisions, Jensen may be allied with other architectonic painters such as Hooper, Davis, and Leger. His paintings are also obstinate and make no concessions, but create a tough, dumb sense of beauty. His curious diagrams propose to distill a salient glimpse into all-encompassing unity, but through contradiction, end in an overall patterned redundancy not unlike

  • Robert Graham

    Robert Graham’s sculptures at the Nicholas Wilder Gallery are strange and individual works of Surreal fantasy. Now explicitly erotic, the tiny figures, six to eight inches high, modeled from pigmented beeswax, take part in curiously rare and memorable tableaux. Their most remarkable quality is their minuteness and the intense and demanding concentration directed to their realistic recreation. As examples, one nude is complete in detail to hair and eyelashes, and another sunbather sips a summer drink fitted out with a citrus slice and a straw. Impressive also is the wide range of materials used

  • James Jarvaise

    In his new Leaf Series of painted reliefs at the Felix Landau Gallery, executed during the last three years, James Jarvaise follows through in a direction begun in his Hudson River series of oils. The show points out also how unnecessary was his departure to Spanish (Bay Area?) figures in 1963. Recovering lost ground, Matisse reappears as an influential factor, but now crowded out by a host of other masters; Arp, Calder, Gorky, and Marca-Relli.

    The reliefs are sawed and epoxied plates of shaped aluminum staggered in and out of a four-inch deep space and coated with a base of white enamel. There

  • 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 “

  • Gallery Selections

    In scale and importance this exhibition is directed toward the gilt­edge, philatelic type of collector who ought to have “one of each” in his repre­sentative holdings. A few rare speci­mens: a tiny, vibrant, mint Pollock, a Gorky at his grey, most Matta-like, a Kline studio study in a slightly cancel­led condition, and an outstanding Arp, a special edition honoring “Heavenly Objects,” are to be seen.

    Larger commemorative size offerings include Raymond Parker’s re-“Inven­tion” of Cubism (1950), which somewhat confirms suspicions that there is little behind his current series but a nice idea. And

  • “Non-Figurative Art”

    One expects the innocent primitives, frustrated designers, tech­nical tricksters, copyists, and simple non-entities would have again crawled out of the woodwork for another festival of stylistic mish-mosh. But at least the quality of this juried show is relatively above the median average. Honest indi­vidual efforts may be difficult to spot, but recommended conditionally as standouts are: North Young’s untitled, odd, flottage; the carved ceramic Swinging Figures of Laurette Sping­arn; Aimee Bourdieu’s lively Suspen­sion; and Bob Kennicott’s watercolor Air Borne. Most of the rest grope about in

  • Gallery Group

    A di­verting show of the gallery stable’s paintings and sculptures which range from the historically respectable to the inconsequential. The former include Feitelson and Lundeberg (a tiny, mar­velous “Dark Sea”), Burkhardt (in a new direction, loosening Gorky’s shapes with Yunkers’ bruised color), and Schwaderer (as primitive as ever). Block’s encaustic-­like, bleached intimism and Bosworth’s accidental, oriental air-views are curious, individual and memorable, but probably (along with Frame) caught in a cul-de-sac. In a preview of Goedike’s one-man show we find he has moved the models abandoned

  • Edward Bush

    Bush has had some formal art training––that’s apparent––but either too much or not enough. Every move is that of a rank amateur with abundant failings. His paintings are involved with, and the victims of: more than four differing styles completely dependent upon clever tool manipulation; an absolute lack of drawing and composing skills; an awkward collection of meaningless sur­face gimmicks; simple-minded, two-layered spatial interests; and color which has all the sensuous charm of a plastic leatherette sample book. Surprisingly, one facet would seem to hold promise of more “professional” results,

  • Janet Lippincott

    Rarely has a one-man show looked so aware yet neuter, casual, and so con­vincing. She is involved with symbol making that simply refuses to jell, for her images are too weak to hold up under the steady barrage of disparate elements. Ineffectual, overcontrolled ac­cidents clog structure, and axes are re-enforced  to a point of uncertainty. Spatial intentions are denied by violent color contrasts. Areas are drowned in a nonsensical rhythm of “enriching” tool marks, and ill-sorted alterations of inconsistent style disrupt and mar the unity of almost every picture.

    The gallery’s folder informs that