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With the stage thus set how do these paintings interact with each other? Look at Kanemitsu�s painting, Spring Evening Sky to notice the fluidity and color and how well it compares with Mitchell�s painting, Untitled from 1950. Mitchell is more aggressive to Kanemitsu�s calm, but you see how both tap into the same sensibility from vastly different cultural backgrounds. In both there is almost epic landscape quality. Now look at Kanemitsu�s painting, Drip #17 and see the stark contrast in the form defined by a band of black at the top. The connection is a bit tenuous, but it can be related to much of Richenberg�s work. It�s as though Kanemitsu has distilled one or two of Richenberg�s forms, refined them and focused a close-up view. And vice-versa. On the other hand, |
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Robert Richenberg, Key Ingredient, 1955, gouache on paper, 15 x 10 in |
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Matsumi Kanemitsu, #17 Drip, 1971, sumi & watercolor on paper, 30 x 22.5 in |
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if you find the similarities too thin, then consider how well each artist compliments the other. Where Kanemitsu is quiet, contemplative and muted, Richenberg is noise, dynamism and color. What you are left with are very different approaches to Abstract Expressionism, which fits in perfectly with an art movement that has always resisted being labeled as one singular thing or another. |
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As mentioned earlier, this is an intimate show due to the size and nature of the work presented. The limitation has to do with the gallery space, which is not equipped to handle larger work. Even so, the paintings are well presented without undo crowding and you are afforded a comfortable view of the work |
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