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Lorser Feitelson

Lorser Feitelson, Untitled, 1962

Lorser Feitelson
Untitled,
1962

60 x 50 inches
Oil on Canvad

LORSER FEITELSON (1898 - 1978) was an "artist's artist". When he arrived in Los Angeles, already having lived and worked in Paris for seven years and having been included in exhibitions at the New and the Daniels Galleries in New York, he was immediately encircled by a small but intense group of artists. Stanton Macdonald Wright, Nick Brigante, Peter Krasnow, Ejnar Hansen, Knud Merrild, Ben Berlin had been meeting and exhibiting together in Los Angeles since they had gathered after the cessation of World War I. By the early '30s, they were joined by Helen Lundeberg, Dorr Bothwell and Grace Clements - as noted by Susan Ehrlich in her catalogues for "Turning the Tide" (Santa Barbara Museum of Art, etal in 1990) and "Pacific Dreams-Currents of Surrealism and Fantasy in California...." (UCLA/Hammer, et al 1996). The mural division of the Federal Arts Project demanded his time and attention until the heat of war swallowed the Project in the early '40s.

Feitelson's figurative work continued to be legendary. However, by the mid-'40s those neo-classical and post-surrealist opulent forms evolved into anthropomorphic and abstracted 'Magical Forms/Mirabilia'. Figurative, yes!; recognizeable imagery, barely! Feitelson wrote in 1970: "In Mirabilia I have tried to create a wonder-world of monumental form, color, space and movement ..." The 'Magical Forms' are a link into the geometry, the hard-edge abstraction of the 1948 Space Situations and the subsequent 'Magical Space Forms'. Curiously, two small 'architectonic' watercolors of 1920/21 predict this hard-edge vocabulary.

Lorser Feitelson's confident, broad, flat geometric paintings were described by Jules Langsner, critic/curator, as 'colorforms'; Langsner also noted parallels in the works of John McLaughlin. With no perspective or recognizable imagery, with no background or foreground, the colorforms were flat, intact, without 'parts'. In 1959 Langsner curated "Four Abstract Classicists" for the Los Angeles County Museum of Art - adding Frederick Hammersley and Karl Benjamin to Feitelson and McLaughlin. This exhibition of colorforms also travelled to London, at the ICA, where it was subtitled "West Coast Hard-Edge" by Lawrence Alloway.

By the 1960s, hardedge angles were evolving into monumental boulders' (see Untitled of 1962 and 1963 and, finally, into the reintroduction of the curve, as epitomized by the four-way Untitled 1969. That sensuous, tapering line never left Feitelson's work again, becoming the most elemental, most minimal reiteration of the human form....where he began in 1916.
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