new-york

Karl Schrag

Kraushaar Galleries

Last June I promoted a view of Karl Schrag which tended to identify him exclusively in terms of printmaking because his contribution to that field is so important. However, as he said, “The painter was around a long time before the printmaker.” Thus the present exhibition affords an opportunity to amplify the dualistic struggle which I attempted to identify in Schrag’s graphics, sensibility countered by symbolism. This strain is also to be noted in Schrag’s painting as well but, as painting, the struggle suggests an argument far broader in its ramifications than the one connected to the prints. What I suggest is that, never abandoning the emotive and intuitive, Schrag determines on the basis of intuition the brushstroke which is proper to the inspiration in nature. These “proper strokes” deal then with a sense of decorum which might be regarded as scholastic—in the highest sense—the way

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