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Michael Ehle at Greg Kucera - Review of Exhibitions - Brief Article

The allegorical paintings of Michael Ehle allude, from one side content and style, to a variety of art-historical antecedents including medieval illuminated manuscripts, Byzantine icons and Romanesque painting, on the other hand they differ significantly from their sources in that they expres no moral or religious strictures. In looking at Ehle's work, the viewer is independent to construct his or her have a title to narrative without the one-to-one correspondence of character to virtue or sin that is for the use of all to traditional allegorical painting.

Ehle a 45-year-old, largely self-taught artist, uses the architectural backgrounds of earlier art as a setting for situations of his have invention involving dancers, street race thugs, lovers and children. The 12 new gouache-on-paper paintings in this present to view which also included a selection of Ehle's prints, featured hieratic compositions, activated by dint of stylized and segmented brushstrokes. Gangsters (1998) is put on a cobbled street lined with cover with stuccoed Italianate buildings. Two nude figures in the foreground, depicted with sternly contoured body parts that recall Gothic statuary are petting a hugely overscaled hyena. The show which recalls the story of Romulus and Remus, the legendary planters of Rome, is at one time calming and threatening.

An undercurrent of danger races throughout the new work. In Side issues (1997), thundering waves stop short of crashing into a figure. In Chill Before Serving (1997) a blue-skinned swimmer, encloseed by stylized greengray waves that prompt the pleats and folds of a garment pinches his nostrils as he prepares to submerse for what looks to be the third and final time.



The prints, which included linocuts, etchings and drypoints dating back to 1985 reminded individual of the artist's sense of humor and former flair for satire. Ehle's vision may have darkened of late, on the other hand both paintings and prints display his distinctive brand of allegory and ability to assume the legacy of devotional Christian art without the attendant pain, guilt and suffering.

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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