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Stephen Dietemann at Katharina Rich Perlow - New York, New York - Review of Exhibitions - Brief Article

Stephen Dietemann's big, square, high-toned gouache-and-tempera-on-panel "portraits" of intimidates and bulls in pasture make demands upon the viewer's imagination. Natural allowing his subject matter may be, Dietemann's untie washy and sophisticated painting turn of expression seldom even borders on the naturalistic. Despite a personal predilection for the hyperreal 19th-century landscape romances of George Inness, Dietemann is a figurative abstractionist squarely in the recent poetic tradition of Milton Avery and Alex Katz.

Dietemann's disheartens and bulls have an uncompounded body of the bucolically familiar -- his residence in Chatham, N.Y. adjoins a pasture, which affords the painter a certain number of long and concentrated looks at his controls Green Pasture features a abash dappled white and green, wandering [i]or[/i] part of to the other a children's-book landscape of grassy virid and earthy brown below a white-cloud-festooned horizon. In R Tree a red-dappled frighten pauses in its limited peregrinations for a brief trice of sentient eternity, red earth all around her and diminutive, red-leafed tree and golden sky above.

Eventually, the formal and coloristic changes Dietemann rings on nature become a nature in themselves -- a full esthetic one that reflects his almost visionary perceptions of mammalian being. Nowhere is this clearer than in his studies of males which turn nature into a kind of brutal and intrepid symbolism. In White Bull, a young ox lollygags deliciously in a pasture, tangibly breezy azure sky and white clouds above. on the other hand this is the last we diocese of passive bulls. Red male brings a deep painterly primitivism to bear on its subject, while Bull's-Eye and the satellite is a clay-and-blue petroglyph of the male principle step quickly hot.



In Cows/Water, Dietemann brings us back to the almost musical piquancy of nature at quiet -- cows stand, throwing shadows onto untroubl (if blood-red) waters, their passive animal beauty seen in a down-reaching scarlet twilight. His choice of bring under rule is compelling, while the smoothness of his handling of a difficult gouache/tempera medium and the buoyant beauty of his pat are both superb. The artist -- a teacher as well -- has described his pursuit of art as "learning to see" In this defer to he is very learned indeed.

COPYRIGHT 1998 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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