A Look at Feitelson

 Louis Stern Fine Arts

 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 Cezanne 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.


By: Christopher Mulrooney

150 N. Catalina St., No. 2

Los Angeles, Calif. 90004


poems and translations in The Pacific Review, Janus Head, Brooklyn Review, Aesthetica, Frank, Poetry Salzburg Review, Quarterly Literary Review of Singapore, etc.

criticism in The Film Journal, Small Press Review, etc.

author of notebook and sheaves


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