A Look at Feitelson
Louis Stern Fine Arts
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Brancusi’s Kiss is about as
fine as any Constructivist art. Winnow away the irrational element, a perfect
congruency develops, the small rhythms of disposition make a precise music. When you get to Lorser Feitelson, the
oblique and curved lines in space are mollified by the color stasis. The
color forms are signaled by precise weight. A monumental staking-out of
territory figures as the gesture of combining small and large forms to mark
the subtle point of largess where they meet, like hills and mountains, rocks
and seacoast, lakes and marshes, amid the background determined by color
harmony. Then there is the movement, derived by accurate
analysis of Cézanne and conceived as forthwith propelling into the space of
the canvas (early on) and hypothetically across it, to give it upon occasion
a similar kind of likeness as you find painting with a brush that starts
somewhere, going somewhere, and ending at a point maybe miles apart, or
solidly expressing itself in an equation. |
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