new-york

Chuck Connelly

Lennon, Weinberg

Perhaps his own best critic, Chuck Connelly declared in 1991, “I am on a journey drenched in paint.” Indeed his recent paintings illustrate his propensity to foreground the properties of oil in rich, tactile, densely packed surfaces that nevertheless complement the detailed imagery of his work.

For example, in Around The Park, 1991, the circular island of greenery—surrounded by a sidewalk filled with people, lanes of cars, and walls of buildings isstretched to its spatial limits through gestural brushstrokes that suggest a distorted angle of perception. Connelly’s preference for darker tones creates an atmosphere of apprehension in what otherwise would have been a bustling scene. If there is something provocatively reminiscent of Chaim Soutine here, in other renditions of urban subjects there are shades of that twisted interpreter of American life, Charles Burchfield.

Like Burchfield,

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