ARTIST LOOKS AT NATURE WITH A REVERENTIAL EYE – KROL LANDSCAPES AT MAURO GRAPHISC

wt, Maj 31, 2011

Aktualności, Ludzie, Obrazy

ARTIST LOOKS AT NATURE WITH A REVERENTIAL EYE – KROL LANDSCAPES AT MAURO GRAPHISC

ARTIST LOOKS AT NATURE WITH A REVERENTIAL EYE

KROL LANDSCAPES AT MAURO GRAPHISC

By MICHAEL J. FRESSOLA

The most arresting moment in the exhibit of paintings by Polish – born artist Darius Krol currently at Mauro Graphics comes with two works that are the least assertive of the two-dozen works (mostly landscapes) in the gallery.

All of the other 20-odd paintings are representational pictures of meadows, streams and woodlands with a high finish and sophisticated underpainting and glazings. These two are much looser, painted in an edgeless, impressionistic style.

As most viewers will undoubtedly guess, these soft-focus works are the only paintings in the show that have been made since the artist arrived in America two years ago.

Does their indefiniteness suggest that he is getting his bearings slowly and is not quite sure of what he’s seeing now that he’s here? Perhaps.

The 31-year-old artist, who lives in New Springville with his wife and children, pursues several distinct topics. The show at Mauro is focused on one theme, the landscapes and flora of the artist’s home, the verdant, fertile area of southeastern Poland that borders Belorussia and the Ukraine.

The exhibit divides naturally into two categories „Long” views of meadows, streams and woodlands and close-up examinations of thriving common plants – dandelions purple clover, ordinary uncut grass.. Hi has obviously mastered and enjoys employing the traditional finessed techniques of fine painting and handles both approaches with skill and reverence.

One 4 x 5-foot canvas is a close-up of wildly thriving stand of green grass and weeds under a purple-tinged sky, with a tiny detail of more plants as a pendant attached to the bottom edge of the large painting.

The scale and composition of these works assert that for the moment, the artist is claiming an entire world in the fecund green earth and bright sky.

The tender, vegetal romance doesn’t pervade all of the works in the show. Elsewhere, mature trees standing in a misted field in early spring are wounded giants, dragging broken limbs.

Krol’s technical skills seem even sharper in a series of six tiny paintings on wood in which he translates the same subjects – trees, wildflowers, meadows – in faultless miniature, at two by three inches.

Given the two “American” paintings that differ so markedly from the Polish pictures, it will be interesting to see, a year or two from now, how the Americanization of Dariusz Krol proceeds.

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