Los Angeles

Pierre Sicard

Dalzell Hatfield Galleries

Sicard devotes almost the entire exhibit to recent paintings of a transparent Venice in carnival colors. Mr. Sicard, whose art originates in Impressionism, has simplified his technique by leaving out all but the quintessence; and in Venice, of course, the quintessence is light. These are striking studies of gondolas with water rushing backward, catching the double vision of the city beneath the sea, or gondolas in the sun with that golden molasses quality of Venetian water at noon.

There is an unusual view of the Church of the Salute rising like a mirage in the desert of water, isolated by illusion from the palazzi that surround it. There are four paintings which are not Venetian, the first a large Arc de Triomphe with an admirable red, white and blue traffic jam on the Champs Elysées, almost Dufy-like in its freedom but reflecting Sicard’s concern for light in a different way. The remaining three exceptions to the Venetian rule are large still lifes of flowers—bold, crude, monumental but rich.

Mary Ewalt