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

  • Figurative

    THE SOUTHERN CALIFORNIA FIGURATIVE SCENE is a curious post-Romantic spectrum of divergence, variegated by strains of autographic artifice, depictions of the “good life,” notes from pure imagination, and an active search for striking iconography. The fund of possible associations conjured up by the barest anthropomorphic outline continues to attract five generations to the reinterpretation of the human figure’s potent, contemporary relevancy. However, a particular local situation distorts an overview, for, obviously, the twin traditional bodies of demonstrable knowledge, anatomy and perspective,

  • Picasso Prints, Albers Lithographs

    Printmaking has provided Picasso with as potent an auxiliary medium as drawing, collage, sculpture, and writing. At once peripheral to the main core of painted production—oils producing the major motifs for graphic reproduction––his prints are also essential to these theses, and, at their most concentrated, high caliber individual statements.

    The sequence of sixty years of work in the Los Angeles County Museum of Art’s exhibition impresses by its staggering volume. Through some 540 examples, less than one-fourth his total production, a clear comprehensiveness of the broad range of differing

  • Dan Flavin

    Dan Flavin’s first West Coast presentation at the Nicholas Wilder Gallery has given him the opportunity to fulfill his wish to execute an all-white show. His art is the deployment of fluorescent tubing (cool white in this case) in various configurations which he carefully terms “image-objects.” To judge from the successful installation, his art is easily situational or environmental; at its conception he relates a compositional idea to its specific exhibition site. At the same time each piece is clear enough to maintain its individual integrity.

    The fluorescent tube is a factual medium and its

  • Louis I. Kahn

    By means of sketches, plans, models, and photos of nineteen projects over the last dozen years, the intent is, in the words of Director Brewer, “to reveal the art of perhaps America’s most significant architect to a Western audience.”

    Kahn’s office complexes (Richards Medical Research Building, Philadelphia; U.S. Consulate, Luanda, Angola, Africa; and Salk Institute for Biological Studies, La Jolla) deal with the vocabulary of fairly conventional modernity. Stressed with particular conscientiousness are considerations for the site, light, and temperature. Large extended screens or light shafts,

  • Pavel Tchelitchew

    Among the most contortive exploitations the figure subject has ever survived was that received from the fertile imaginative wanderings and probings of Tchelitchew. He possessed a surplus of academic skills, but seems to have been too radically effusive a personality to maintain a clear direction; each drawing then is a succinct performance, one of a series. How, examining each random sample from a span of twenty years, could this Humpty Dumpty go back together?

    Equally at home with pen, wash, pencil, or gouache, there is always flair or polish. “Boy’s Back,” “Pansies,” the circus dressing room

  • Jose Clemente Orozco

    A selection of seventy studio works (drawings and temperas from family and private collections, seen for the first time in the U.S.) was marked by several rare treats, but, only after wading through a miscellaneous majority of bitterly satirical Expressionist allegories from the last decade of his life. One would rather remember his solid achievements, the frescoes of the late ’20s and early ’30s. The small, final working tempera “Zapata” (1930) sums up his mural power—Giottoesque simplicity. Severely architectonic, the group is kept to a narrow stage of planes, developed in a limited warm-cool

  • Alberto Collie

    Whatever merits exist in the paramount idea presented by this young Venezuelan design student are lost in diverting claims and justifications and a shuffle of failings. His black and white paintings are rather obvious graphic layers of flowing band patterns, and the several reliefs are adequate asymmetrical arrangements of spheres in a dished backing—all serving to distract from the “sculptures.” These, his major technological achievements, a series called “Spatial Absolutes,” are an all too tentative investigation into the power of recently developed magnets to cause a form to float above its

  • Philip Van Aver

    In a showing of ink and watercolor miniatures (5 by 7 inches is usual) he has wrought scenes of artifice of a scale and dedication almost beyond belief. Certainly he is contenting himself in an indulgent, private backwater in combining the patience associated with the East with the allover tangibility of the Italian Quatrocento and manuscript illumination.

    Fashioning still lifes, luscious bouquets, languorous women in interiors, and winter landscapes, they are cut off by elaborately decorated frames, each object covered with (indeed, made up of) varieties of these same ornaments. The color is

  • 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

  • Louise Nevelson

    Inaugurating the new Ferus/Pace gallery are three large plastic constructions of Louise Nevelson. Her former wood assemblages have been modified to the extent that designed maquettes of a geometric nature are executed in lucite; in effect she has gracefully turned the manufacture of her works to others while exercising complete control. The black plastic exists in both dully lustrous and shiny versions. The color pervades the work, unifying the various compositions more convincingly than in the previous single color coats of paint, for differences in form source (handmade, machined, and scrap

  • 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

  • Gallery Group

    Several pieces merit mention from this summer review of the gallery’s artists, who, for the most part, verge on taste­fulness of the School of Paris variety.

    Faralla’s new Gold Post of small curls and fragmented lengths builds to a Nevelsonian totem which is finished in a fine and unobtrusive working of soft black into an ochre surface, yield­ing a weighty, dense flow with imper­ceptible transitions. Four of Anthony Berlant’s latest constructed, fabric­-covered panels show him working to vary his previous splayed cruciform figures. Miss Beauchamp divides into a split personality, Hello, Lola! 

  • “Drawings and Graphics Selection”

    Examples of each grand name offer a linear feast for the eyes, as Picasso’s amazons and fauns compete for attention with a set of three resting dancers by Matisse. In one corner the tenderly awkward Burch­field contours fight the Eilshemius gaucheries as Braque’s Birds soar be­fore the sun. In this plenitude of riches, Chagall, Leger, Modigliani, Rouault, Ku­niyoshi, Matta, Dalí, Gorky, Rothko, and Kline vie to open the collector's purse; and if this were not enough, real hand­made puddles by Burton, Goodman, and Fields await us on the back walls. As surely as the surplus stock is stacked on

  • “Aubusson Tapestries”

    The history of architec­turally oriented arts (tapestry, mosaics, mural painting) provides three overlap­ping alternates of organization and of spatial considerations: the heraldic banner; the repeated pattern of the frankly and joyously decorative interpretation of a scene or subject; and the least noteworthy Hellenistic phase, the illu­sionistic rendering of a painter’s touch. Thus, while Sicard’s rendered skyscrap­er wins only sympathy for the skilled weaver’s dedication at reproducing brushstrokes of broken analogous tones, Leger’s Constructeurs, because of the master’s two-dimensional

  • Group Show

    Bearing their certificate of acceptable acade­mism (Royal or National) as if it were a seal of Good Housekeeping product approval, the paintings here divide themselves evenly along lines of old school innocence and contemporary slickness. They ignore the axiom that a lack of pictorial invention or inspiration equals little viewer response. Homely subject matter and illustrative senti­mentality abound in old and new: F. T. Johnson’s cattle ruminate contempla­tively around the ol’ campfire while Burt Proctor’s Indians prove him to be the fastest palette-knife west of True and Argosy.

    Stylistic