PRINT February 1983


DAVID TRUE IS ALWAYS tightening and refining his paintings. In his studio is a painting he started working on after his last show. Using thin oil washes, he has gotten the image he needs on the canvas. The process of mixing and adjusting thin coats of paint will continue until True has brought the colors up to the exact pitch he wants. Image, surface, composition, and color must run as smoothly as a Rolls-Royce’s engine. When he gets this balance taut without straining, his paintings impart a sense of graceful strength as well as of something about to snap, a sense resulting in part from his choice of subjects—a man on a spokeless bicycle, moving and motionless, caught forever in his journey’s web; aging satyrs; emblematic houses; and tawny deer glistening with an austere lushness.

This fastidious approach has characterized True’s painting at least since his inclusion in the Whitney Museum’s

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