For some time, gestural abstraction has promised a sure route to academic drivel, especially
on an easel scale.
A more crowded show allows more work
on an easel scale, too — two approaching pure abstraction.
The gallery ranges over much of Stanczak's career, but it sticks to works of
his on an easel scale, down to the bits of color that infiltrate a dense canvas.
Not exact matches
Prior to 1950, monumentally sized art was generally reserved for mural paintings in the narrative tradition and abstraction was explored
on an
easel - sized
scale.
A dozen works range from
easel paintings to his usual large
scale, as if he is trying them
on for size.
Consequently, the relatively small,
easel -
scale paintings of the Southern Californians revealed a freshness in their coming to terms with reductive form that occurred
on a much different level than the physical / material emphasis of Minimal art in New York.
A cross between Western geometric abstraction and the geometric ornamentation of Islamic art, it combines the visual impact of
easel painting with the physical experience of design
on an architectural
scale.
Abstract painting was not new, but large —
scale abstraction was the breakthrough of this group — artmaking was no longer confined to the canvas
on an
easel.
He moved
on, at the end of the 50's, to flat, near - life - size cutouts of painted aluminum that stood upright like sculptures (one of his son, Vincent, holding a fish toward the viewer is in the Farnsworth show), and then to
easel painting: single and group portraits of a
scale and approach dramatically different from those of the miniaturized collages.
More often than not, my paintings take
on the domestic
scale of
easel painting and I value the way the form seems to allow for a bit of searching and contemplative vision rather than over-confident public address.
McLaughlin's
easel paintings, never more than 4 or 5 feet
on a side, also dispense with the public
scale of a mural, which New York School painters demanded.