PRINT Summer 1964


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, have altered radically. The primacy of both Picasso and Matisse underscores the continuous, ages-old dialogue between adherents of linear volume and spatial manipulations through color. This polarity’s dominant direction is exaggerated by the reputation of Rico Lebrun.

Somewhat paradoxically included

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