Fechin and Gaspard Review

MIXING TRADITIONS

OLD WORLDMEETS NEW WORLDIN STARK MUSEUMEXHIBITION

Review by THE STARK MUSEUM

Andy HAS built its reputa-

Coughlan tion on, among other things, its fine collection of art depicting the old west. But if you think that “cowboy art” is not your thing, think again.

The variety of work on display has something for everyone. A prime example is the current exhibition, “From Russia: Fechin and Gaspard in the Southwest,” on display through June 2.

The show features the work of two Russian immigrants who settled in New Mexico. The two men left Europe at the birth of modernism, and the works combine the old and new to good effect.

The show is composed from the museum’s holdings, and it is a delight. While both men have been featured in the gallery over the years, the volume of pieces on display embellish what has previously only been hinted at.

Nicolai Fechin has long been a favorite of mine. The few works on permanent display have always had a vitality that made them stand out. But seeing such a large collection in one place, one realizes how brilliantly he fuses classical and modernist styles.

He is a master technician who captures the essence of his subjects. His portraits are alive with the spirit of the sitter. From the wide-eyed kid in “Mother and Child” to the suspicious gaze of the “Barge Captain,” Fechin offers up a real person with a personality, not just a twodimensional image.

But his brush strokes are aggressive and vibrant. In “Head of a Mexican Man,” the face is expressive, but the clarity of the face evaporates into a haze of semiabstraction. Even the smooth face of “Little Girl,” with her impish grin and pigtails, quickly shifts into bold swaths of color.

As impressive as his paintings are, the highlight of the whole show are the carved wooden heads (1929-30). His technique echoes his paintings. The faces are smooth and expressive, but the surrounding area is a mass of hacked, rough-hewn slashes, as if each face has fought to make itself known, bursting forth from the wood. Michelangelo said that his figures were always there in the marble and that his job was to remove the excess stone. Looking at Fechin’s carvings, one perfectly understands that philosophy.

Only slightly less impressive are Fechin’s drawings. Once again, his mastery of technique is apparent in the beautifully rendered features. And once again, he scribbles and slashes at the surroundings. “Fechin’s Father” is so expressive —Fechin’s forte is the eyes — but his beard is a mass of wild scribbles, all of which emphasize the eyes. The viewer understands this man.

The influence of Impressionism shows up in all the works, most especially in “Eya” (1924). It is a beautiful image from afar, but fans of the painting process cannot help but be impressed by the mastery of the paint which holds up

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