Word: feitelson
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Dates: during 1920-1929
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Last week, in Manhattan, two exhibitions opened which reveal the forms that these two impulses, still in flux, have taken in contemporary Art: One by Lorsen Feitelson and his wife, Nathalie Newking, at the Daniels Gallery; another by ten famed Frenchmen, at the Dudensing Galleries...
...Feitelson-Newking. These two artists played marbles together, went to Art School together, married, left the U. S. for Paris, there joined a group which has turned from Cubism, Imagism, Analysm, back to the vibrant humanity of the Renaissance. In the Autumn Salon in Paris, this group routed their loud rivals. Much was murmured about latter-day Renaissance. Encouraged, Feitelson, Newking, brought to the U. S. their pictures, which cleverly reproduce an old and gracious tradition...
...Golden Sky (Feitelson) shows the influence of Giotto. Nude figures dream in a coppice, while the sun, drowning in the gulfs of the West, floods them with moted yellow light, tarnishing the trees with gold, melting to rose the ivory of their bodies...
Because these painters have grown up under identical influences, and, indeed, influenced each other, the differences in their work are psychological rather than artistic. Psychoanalyst Sigmund Freud would have studied with cries of joy their respective pictures entitled The Bathers. Feitelson's nudes repose in a rhythm of dissolving, eager curves; his wife's are passive, virginal?cold images of desire pillared in water...
...note of weariness in the work of the Ten Frenchmen, as if they were tired of marveling at the animated apprehensions of their own suave minds. Observers, noting this fatigue, remembering also the descent of the Classicist group upon the Fall Salon, weighed more reflectively the work of Feitelson, of Newking. Just such was the state of things when a thousand Holy Ladies, in the candle-flowered dusk of Latin cathedrals, suddenly smiled...