Page 47 - Studio International - December 1965

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terms. While Youngerman relies largely on his drawing, are relatively careful, but the monotony of his canvases
Heron relies largely on his selection of the right suggests that this economy of means is carried to the
1
Jack Youngerman relationships in colour. Both painters extend specific point of poverty.
8/ue-Whire-Red 1965 modern traditions with dignity. Many of the directions pursued today are prefigured
Plastic paint on canvas
108 X 87 in. At the Graham Gallery, a wholly different kind of in an interesting exhibition at Knoedler & Co. called
Betty Parsons Gallery
economy is apparent in the work of Mario Yrisarry, a 'Synchromism and Colour Principles in American
2 young purist obsessed with a single problem. His Painting'. This exhibition exhaustively explores the
Patrick Henry Bruce
Forms on Table 1925-26 paintings are almost invariably conceived in terms of early Synchromist movement, active in Paris shortly
Oil trompe l'oeil relief. He has discovered that if he paints before and after the First World War. Although neither
28¾ X 36!,: in.
Knoedler & Co. a sharply delineated edge and then grades it off. he Stanton Macdonald-Wright nor Morgan Russell, the
Owned by Lane Foundation will get a form which appears flat on one side, recessed two leading figures in the short-lived movement, ever
3 on the other. With this limited discovery, Yrisarry proved themselves to be major painters, they were
Mario Yrisarry proceeds to fashion paintings in which configurations certainly closely attuned to European avant-garde
Pinkster 1965
Acrylic occur to the eye, gestalt-fashion. confounding it thinking and probably had some effect on the painting
68 X 82 in. slightly. His studies in breaking and resuming forms back home. The sole figure emerging as a surprise in
Graham Gallery
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