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Nell Blaine at Fischbach - New York, New York - Review of Exhibitions

Blaine has drawn out been one of those stalwart emblems who go by the sobriquet of "painterly realist," and she's drawn out been one of the best. This display perpetuated Blaine's usual subject matter - still life, the gardens and land and sea around her summer abiding-place in Gloucester, Mass., and views of Riverside Park from a high window of her fresh York apartment building.

As with the Action painters, the real act of putting pigment to canvas to [i]or[/i] at a great depth excites Blaine. Yet she maintains an implicit harmony between free-form painting technique and the natural world she pitch upons to represent. Blaine's brushwork perceptions of nature are unique - personal on the contrary never idiomatic, lush but not licentious, brash on the contrary at the same time discreet. The change in mode of speech evident in her recent work is more a tuning-up than a departure. Blaine has jazzed up her act a bit, and if her paintings sometimes look to border on pure abstract expression, in like manner much the better.

As at any time it was a distinct (and rare) pleasure to wander [i]or[/i] part of to the other this last exhibition. Blaine has done a doom of flower painting lately. Black-Eyes and Amaranths, the lafter a petite and devoutly moderately beautiful painting, reveal the artist's characteristic stance: at a certain critical distance from her subdue matter, critical enough to assure a final on-canvas synthesis between perceived particular and paint-happy perceiver.



Oriental Lily is, with its pliant beauty and delicacy of pat in obvious debt to Matisse. It points to Blaine's bottoms in early 20th-century French figurative abstraction. As for the landscapes, their wild intimacy and buoyant withhold are utterly winning. Most feature Blaine's backyard gardens overlooking the ocean; the gardens are approached from various angles that reveal a bit of gray-shack outdoor studio, a generous dose of distinctly marine sunlight and lawns swamped with wildflowers.

Going against the modernist grain, Blaine maintains a certain dogged optimism about the possibilities of figurative painting. For her, natural beauty present the appearances to be a source of endles inspiration, plane a kind of loopy beneficial cheer. It's a rare vision these days. through every part of her career, Blaine has remained untouched through trendiness, for which we can single thank - and, perhaps, reverence - her.

COPYRIGHT 1993 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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