new-york

Louisa Chase

Robert Miller Gallery

Louisa Chase’s recent paintings and drawings deal in the visual politics of seeing and feeling. In romantic picture-making of Chase’s type success is clearly a matter of image—what is important is the power of the image to persuade as sentiment and provoke as emotion, rather than any question of technique or color. At issue here, then, are not only the contents but the compositions.

Landscape is the major theme in this group of works, although in canvases such as Storm, 1981, certain motifs (a floating hand, for example) recall the artist’s involvement with figurative subjects in the “Lives of the Saints” paintings from the late ’70s. Chase’s interpretation of landscape, or “Nature”—traditionally the most loaded category in the romantic repertory—is varied and personal. It brings to mind the heady Northern-European line of Caspar David Friedrich, Philipp Otto Runge, and Ferdinand Hodler.

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