1. I love the Matisses that you have chosen … they are perfect for your point. There are some unbelievable Manets out there, as well, but these Matisse paintings include some un-define-able shapes, perhaps beyond, perhaps in the same plane, that recede or come towards us as we continue to look at them. Lovely.

  2. Studio Matters

    Yes, Ann, they are undefinable, those Matisse shapes. Sui generis, unrepeatable and pure magic. Thank you for you comment on the ambiguity of the movement of these shapes. Far from static, they seem to dance. But which way? To or fro? What is so lovely is that we do not need to know.

  3. Doug Lederle

    Begining with the previous post, as I did, it strikes me that the genius of Matisse owed nothing at all to an MFA. Same is true of every historic great you can name.

    That said, Resika is, indeed, a fine draphic designer and colorist. His design capabilities seem muted in the flower images displayed.

  4. I appreciate this review – the only one I could locate of Paul Resika’s NY show which I was unable to see in person. I read the review in July before going to Provincetown to be completely and pleasantly surprised by the complexity of Resika’s flower paintings being shown at Berta Walker Gallery. Diaphanous in one definition is “delicately hazy” and that is precisely what Resika works thick patches of color against in his Provincetown work. I didn’t see the NY show so I can’t say that those paintings contain the same range of invention, surprise and response as the work I saw on the Cape. But I do know that painting flowers is very dangerous and if anyone working today can build a painting out of flowers as well as Resika I would love to know about it. I think the comparison to Matisse is reasonable but I would suggest thinking about Matisse’s reliance on black for a moment. Without black, Matisse’s color does not sing, does not operate. By contrast, Resika’s color intelligence and subtlety achieves something remarkable without black and that is a very tall order.

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