Los Angeles

Irma Attridge

Kramer Originals Gal­lery

“Featuring various treatments of the Still Life” has an ominous, non­committal ring, and it means Attridge ranges from realism to loosened cub­ism. The McFee Cézannesque tradition is the unmistakable controlling factor, with the results minor and competently pat in a detached and illustrative man­ner. The slick oil impasto is built to suggest the vibrations of light particles requiring considerable viewing distance for the limited, facile technique to settle.

The more advanced stages of her heavy pink and chartreuse cubism run a feminine second place behind Still Life with Orange and another . . . with Lemon, which are both illusionistic a la Fantin-Latour.

Most often description of surface is only a vague allusion, when it should be obvious that the palette knife and textural stroke can only achieve super­ficial approximations, unless in the hands of a Courbet. One wishes for stronger personal interest with either the objects, the space, the qualities of light, or original abstracting.

Fidel A. Danieli