S. C. Schoneberg

  • Alex Vilumson

    A hurried painterly experience is Vilumson’s keynote, where quickly brushed areas grapple and blend. Suffused shadowy pigment is clearly applied in thin palette-knife aggregates. In the best of his works, such as The White Ship, Vilumson blends the simple masses and tones of hulk, dock, and the distant horizon in an inventive variety of blue hues; the effect is pleasant. The Harbor pretends distance through full angled complementary accents from sea to sky—noticed, undigested, passed over, winked-at. Impatient surfaces with something of gusto, something of juggled form and plane, imply a Fauvian

  • Morris Smith

    Microcosmic devices, bursting configurations, and explosive colorful specks seemingly flecked by a wax ingredient give an import to these synchronistic paintings. In Devoured Force, a cerulean blue field allows the emergence of blood-red blasts and veined white ridges. Strangely evocative, this seems painting for its own sake. It hints dangerously at ceaseless repetition. Having once named the work—union of illusory forces of reason and intuition—the expression should be expanded toward a more explicit spirit, a more formative document.

    S. C. Schoneberg

  • Rod Briggs

    These surfaces vibrate with elongated masklike or robot faces. They invoke such extraneous electronic means to attract interest as sounding battery devices that click, moan, warble, or chatter when the light source is broken. It is a sound gimmick that presupposes some pictorial value. These paintings are hooked to a batteried esthetic. (Shall we salt and taste the flesh of Girl of the Golden West as well as hear her titter?) A small group of fine oil paintings accompanies the publicized groaners—Nude on Couch is a highly sensitive, perfectly painterly experience needing no gimmick; the silent

  • Douglass Parshall

    A host of wash, conte and ink drawings, watercolors, and a few oils offer the wide variety of Parshall’s talent. The washes over conte are conceived from a graphite or charcoal base and touched with ink to suggest form. The figures are transparently diffused among waterfalls and light-washed sea rocks. The effect is persuasive, a kind of languished romanticism that permeates the rocks, figures, and waves, and make them elements of transcendent purpose. Some of the watercolors are weakened by haphazard pigment notes. The oils (save for the elusive and poetic Daybreak) self-consciously accost the

  • Sophie A. Fischer, Michael Harvey

    Mr. Harvey offers heavy brushed images of personal maelstroms, a bull-like black blob, and other more formal quickly brushed paintings that bear a relation to material manipulation more than to graphic ideas. Sophie A. Fischer works in a prismatic “synthetic-cubism” that forces still-life or landscape objects to bend to foregone plastic conclusions. In Sparkling Music or Old Barge the works seem to be poetically serene, where crackle tends to add rather than detract from a visual pictorial personality.

    S. C. Schoneberg

  • Melvyn Sanger

    Mr. Sanger’s Artist’s Portfolio, 1958, gives a tender and somewhat intimate glance into an artist’s pantry. Among this series are small studies and half-studies that otherwise would have provided notes for larger works; the drawings are nudes or heads or draped forms, washes of sienna and blue and brown ink often with wet gouache frames of another hue. Here are hidden alleyways of form, a Sutherland exploit, pasted paper heads, and amorphous formalizations that take uncommon objects and project suggested artifice. All sketches are sensitively worked out, balanced, spontaneous, fresh, and, although

  • Frederick Hammersley

    A handsomely arranged aggregate of Hammersley’s geometric abstractions greets the visitor with a calm welcome to a broad, flat, colorful world, comfortable, plain, quiet, ordered, mechanical, and dull. Dull in the sense of repetitious epigrams, phraseology that mechanically executes a circle or square in an undisclosed number of ways and means, balanced, poised, confident surface structures that ape the module of conformity by conscious arrangement and rearrangement of the same theme. “Even” gives a large yellow oval on a blue vertical panel, and a second panel to the right is divided into black

  • Group Show

    Antoni Clave stands out amidst a group show of European contemporaries. Raoul Dufy’s “Devant La Plage a Deauville” adds a rich ultramarine backdrop note amid an unusually free grouping of figures and beach homes. A landscape of Paul Rebeyrolle tongues loads of flat oil bumps over and over a blurred outline of tree and dale, and flat groups of striped currents help flatten the pigment terrain. More sensitive than others of the group is Armand Guillaumin’s pastel “Paysage de la Cureze,” where a fauve adaptation of shadowy form conjunctions portray clearly recognizable entry into deep luxuriant

  • Vernon Fimple

    Two varieties of works are shown here, surrealist and then a kind of advanced dramatic pictorialization of an idealized microcosm. The world of Mr. Fimple borrows from the fantasy that Bosch plundered, Ernst enraptured, and Dalí exploded. The perfect forms of his demonic wonderland are at once provoking and fascinating. His mute darkened colors are as yet somberly evocative of the half-conscious, fully-realized projections of anthropomorphic play. His visions of malice and multiplication, destruction and fecundity find an answering note in a personal symbolism as yet unripened. “Masquerade”

  • Max Band

    A mystic embellishment of Old Testament heroism establishes the continuity of a large selection of Max Band’s oil paintings. “Exodus”’ churning sea and illumined heavens remind us of the heaven and sea visions of an opaque Turner, where huge rolling waves are stayed and the multitude paces into Light. “Abraham’s Search for God” finds an unreserved lyricism fulfilling Band’s quest for pictorial realization, the coupling of biblical dream, revelation, and fervent literature into sensuous oils of empathic promise. The rich and sensitive “Galilee,” fresh, direct, and free of predetermined content,

  • Bedri Rahmi and Bernice Kussoy

    Rahmi presents tasteful thorough colorful oil paintings that have a sense of tense reverence. An artfully applied logic is coupled with the chance of color rubbed over combed gesso patterns. The works are well balanced and feel as though human figures have been idealized and distilled through warm tonal flecks. Stark contrast to Rahmi’s type of Turkish lyricism is found among the welded metal sculpture of Bernice Kussoy. Here we walk among a contemporary classic, filled with nuts, bolts, screws, pipes, wire, nails, springs, plates, pans, cut rubbed and rusted metals that have transmuted the

  • “Gallery Group”

    Joachim Probst stands out amidst a large group of works. His Bull Christ, a risen and powerful image, is balanced by the overt mystical fragrance of Vermont Madonna. Probst has a kind of tender, Roualt-Rembrantian configuration, monumental forms encased in frames searching for heavenly walls and meanings. A fine line drawing, Deposition is made of loose groups of figures banded by parallelograms of conscious linear planes. Will Foster’s entries are competent underpainted canvases of female heads and nudes yellowed by heavy varnish rather than intent, kin to pretty English portraiture. Swiss