Craig Drennen's exhibition Mistresses, Apemantus, and Flattering Lords at Gallery Stokes is a tour de farce of conceptual brilliance and
painterly bravura (its lack of actual «painterliness,» notwithstanding).
In describing his small portraits, the catalogue entry remarks that «here, color, form and composition are tightly knit together in a dazzling display of
painterly bravura, forming a small group of extremely rare works that remain some of the highlights of the last one hundred years of painting.»
Not exact matches
And therein lies the paradox and the multiple readings that extend from the oeuvre: Morley's canvases are rooted in tradition, in the
painterly sense, but resolutely contemporary in terms of
bravura and the splicing together of images.
The
painterly sense of
bravura that results pays witty homage to the past masters, particularly the rich Baroque splendor of de Kooning's paintings of the late 70's.
Pop artists made something of a habit of lampooning the
bravura brushwork of this previous generation, parodying their lofty aspirations to achieve authentic and unique artistic expression through the liberating excess of their
painterly marks.