Michael Brenner - James Spitzer - Warrington Colescott - Jacques Villon - Dean Meeker -
Ellen Koment - Michael Aryton - Roger Barr - John Cother Webb - Micheal Costantini

 

 Enter the Spitzer Galleries

    JAMES SPITZER (b.1936, American) 
TARGET:Pen and ink drawing, 1960 
  

Jim Spitzer contains the rich heritage from which he  emerged, the stuff written, as a hieroglyph on the helical spiral of every  cell. Like a modem-day example of spontaneous generation, arriving on our scene without precedent without permission to be what he must be: a  painter. Spitzer, more than any living artist today, speaks through his  manifold means, a language that broadly encompasses the whole of human  experience, He experiences himself, first, and tells that story in rich  detail. His use of the materials of artistic expression finds no peer, anywhere. There is no-one living (or dead) whose surfaces are as wonderfully worked. Beyond the attention to crafty detail, however, there shines from each of his works a brain, an intelligence that  has spoken to  me from the day I first happened upon his work in the year 1957. Here he speaks to me as a child.

  Enter the Brenner Galleries

   MICHAEL BRENNER  (1885 -1969)
 Portrait of GERTRUDE STEIN, Bronze, ed 9 (3 cast)

I knew of Brenner in college, my room  mate was his son, Joe (see bust of Joe at age 9 or 10) . I knew almost  nothing of him until 1988, when Joe and I re-opened our friendship and we  chose to re-discover his father. The next year, we joined in completing a  unique catalog raissonne, Michael Brenner's life told in the form of  poetry, written by his son, the collected  works researched, photographed  and put into one place. Stein was the first to discover Brenner's talent.  Brenner was a member of the coterie that encircled Stein in the Paris  Montmartre  years: Picasso, Braque, Gris, and many others. He was admired  and befriended by Stein. This portrait bust was her favorite, among all  that were done of her. We believe that jealousy of Brenner  arose within  Alice B. Her strong will to have Gertrude to herself generated a rift that  never healed. Brenner retreated to a life of drawing and sculpture,  endlessly reformulating the  primal vision he owned until his death. Brenner  caught the unique intelligence, her regal bearing, in this wonderful  atmospheric work.

    WARRINGTON COLESCOTT  (b. 1930, American)
   
HISTORY OF PRINT MAKING:
"S. W. Hayter Discovers Viscosity Printing."
 Color etching, soft ground, 1976

Warrington Colescott might be a  re-incarnation of William Hogarth (1697-1764). Hogarth, mercilessly  lampooned English society; Colescott, with a lighter hand, does the same  thing. He examines historical events, emphasizing traditional lore, while  at the same time showing how interpretations of historical matters are apt to be overly gratuitous, doling- out  praise unnecessarily, elevating buffoonery  and stupidity of inner sanctums to sacred status. Here, we observe a  boxer's hook to the jaw of Hayter, who did not invent or discover viscosity  printing. In point of fact, the honor would go to Keiko Moti, who worked at  Atelier 17 with Hayter.

Enter the Colescott Galleries

     Enter the Meeker Galleries

STRIPED CHAIR:  Serigraph with intaglio, 1970

The Stripped Chair, a collograph (serigraph with acrylic intaglio) and this sculptural rendering of an idealized female form contain elements that dominated Meeker's work. Do these strongly configured and classically beautiful female sculptural form represent his high esteem for the women who inspire them? I think that is likely, although it is of  interest that Meeker, a classically handsome man, professor of Art at the University of Wisconsin for an unprecedented 55 years, was viewed by some women as Chauvinistic. Further analysis points from the accused and to the shrill  protestors of whom, it could be said, they 'protest too much.'

  

    JACQUES VILLON, (1875-1963)
"Modigliani, L 'Italienne," Color aquatint, 1926  

After WWI, the Paris artist community was in financial extremis. In an attempt to bring more interest and thereby improve their circumstances, they began doing each other's work in their own  medium. For example, here we have Jacques Villon (brother of Marcel  DuChamp) creating an image by Modigliani. Modi's life and his work are especially attractive to me. Both artists signed these works. Several other fellow Parisian artists were done by Villon.

Enter the Villon Galleries

Enter the Koment Galleries

    ELLEN KOMENT, contemporary, Santa Fe
"FORNICATING FEMALES*": Oil on canvas

It is my opinion, and that of Professor of Art History (and painter) James Rosen, Ellen Koment is the finest painter in the abstract genre working today. She presents her inner feelings through large oil abstractions, landscapes and with gestures to figurative origin. Each of her paintings seems to contain an archaeology of prior imagery that has been left behind as a clue to pre-existent feelings and ideas.

*Ellen actually used the "F" word.  I cannot allow the language I use, one rooted in almost 1600 years of developmental history, to become sidetracked by a rather silly local and recent phenomenon limited to the United States. I employ the correct pronoun.

 

"I need to know how I see things."

                     All works featured are from the J.C Leissring Fine Arts Gallery

(c) 1999-2002 J.C. Leissring Fine Arts