Los Angeles

Margo Veres

Cowie Wilshire Galleries

Margo Veres’ recent paintings of Spain and Italy establish a single romantic mood. Done from sketches made in Europe last year, the pieces have lost the vitality of the immediate impact of color and form one might hope for and have taken on the nature of nostalgic memories, recalled from a distance, dimmed by a filtered screen of light. The effect is one of modified Impressionism. It is not the broken color of Impressionism, however. Rather, it is arbitrary color, muted by a haze of whiteness. Compositionally, the paintings owe something to Cézanne, especially in the street scenes where the artist has chosen to depend on the geometric patterning of architectural structures to unify her canvases. When landscape is introduced the pieces are less successful and the potentials of abstract relationships, already softened by a feathered brushwork, lose substance. In contrast to her earlier series of clowns, and even to a number of transitional still-life studies, these more recent narratives have, however, an element of sincerity that is missing in most of the popularly romanticized painting that is attempted today.

Constance Perkins