Joan Hugo

  • Richard Whorf and Paul Jasmin

    Fortunately Richard Whorf, prominent in motion pictures, has taken the trouble to qualify himself as an amateur; it would be unfair to see his work in other terms. But showing in a commercial gallery, and, to judge by the little red stars, selling like hot cakes, his work bids to be taken seriously, although it doesn’t measure up to serious standards. Painfully derivative (Hopper, Wyeth), they reflect a nostalgia for the finite. Paul Jasmin takes an almost obsessive delight in patterns (checked, flowered cloth) and flat draped folds. He makes no attempt at modeling the figures; they are reduced

  • Group Show

    Artists showing here are Vi Hornbrook, Joel Schiller, Karl Seethaler, Lugan, Ernst Halpern. Of these, only Schiller and Halpern seem to have notions of what painting is about.

    Joan Hugo

  • Ruth Osgood

    These paintings are accomplished but static, stylized, formal. The subjects she chooses to paint are not always appropriate to this style—the matador and bull, for example, come off badly. She is more successful with boats and harbors, subjects which lend themselves to a cold, analytical style.

    Joan Hugo

  • “Graphics”

    A handsome show of the graphic works of some modern masters, Picasso, Dubuffet, Miró, Chagall, Giacometti, and some local artists, Brice, Strombotne, McGarrell. There are some early Picasso etchings, including La Soupe and some of his recent, brilliant linoleum cuts. There are some good Chagall samplings.

    James Strombotne’s suite of ten lithographs of “Women” is in the realm of cartooning, with humor in about the same vein as Abner Dean; the work is messy. James McGarrell’s work seems pretentious; perhaps self-conscious is better. His work is unclear, as though he were preoccupied with the

  • Leonard Edmondson

    This is Leonard Edmondson’s first print show in four years and certainly marks a turning point for him. While his earlier work tended to be pale, busy jig-saws or Hayterish linear exercises, this new work is beautiful, clear, strong, unhesitating. The blacks are thick, velvety, the colors glow like butterfly wings, but most remarkable is his use of white areas as a single, positive, unifying element. Aquarius, Taurus, Cloisters, Garden of Eden—the titles are simple, evocative, the prints are bold, eloquent, sure, revealing their maker as a man of enormous resources, maturity and skill. The

  • Raymond Parker

    Light, watercolor essays by Raymond Parker; singly they are inconsequential, as a group, they provide an interesting insight into his work.

    Joan Hugo

  • Roger L. Majorwicz

    Majorowicz is a young sculptor, now teaching in Illinois; the work shown covers a period of several years and apparently represents an evolution of style. Time spent in Italy on a Fullbright seems to have made a difference in his approach. Early work is based on a warrior theme in bronze, with frequent use of flying shapes, wings and draperies, as a foil for fairly static figuration. Then a new phase, work in wood of elaborate, rounded, perforated columns in which this baroque taste now comes fully to the fore. If the work remains somewhat aloof, it is nevertheless the work of someone of

  • Jose Luis Cuevas and “Nueva Presencia”

    “Recollections of Childhood,” a remarkable set of twelve lithographs by Jose Luis Cuevas, together with preliminary drawings, is the subject of the show at Simone. Drawings by a group representing the “Nueva Presencia,” dominated by Arnold Belkin and Jose Munoz, are exhibited at Zora’s. Although Cuevas’ work is highly autobiographical, and thus, in a sense, limited in scope, there is such an obvious kinship between him and the Nueva Presencia group that it might be rewarding to consider them together.

    While it would be simple to dismiss Cuevas’ work as “grotesqueries” and Nueva Presencia as

  • David Rosen

    David Rosen handles transparent oil glazes almost as though they were washes and restricts palette to blacks, greys, umbers, ochres and much white space. This gives his work a certain graphic quality, heightened by a shallow picture plane; the figures tend to fill and even overflow the canvas top to bottom and edge to edge. The glaze wash is beautifully controlled. Perhaps the content is too specific, however, too topical, to have the kind of universality one would like to see his work achieve.

    Joan Hugo

  • Group Show

    A scattered sampling: a nice little Camille Bombois, two Marchands, a still life by Pierre Bisiaux, paintings by Ganne, Caffe. But a luminous painting by Saul Bernstein was the most vital thing to be seen here. The gallery now represents those artists formerly with the Parsons Gallery.

    Joan Hugo

  • “Three French Painters”

    Luminous, elegant, beau­tifully painted still lifes by Philipe Augé dominate this show. Those paintings with figures have a stylized, romantic, Italianate quality (Campigli at Pompeii) but only a few transcend a tendency to­ward decor to communicate a certain detached nostalgia. Solitude and, especially, Premier Combat, a fine exercise in white, best demonstrate the possibilities of his approach. Shown with Augé are works by Roger Jacquelin and Auguste Liquois. Jacquelin is not memorable. Liquois hesitates to push the rendering of atmosphere beyond the limits reached by Monet.

    Joan Hugo