This is an excerp from an arcticle by Saga Blane in the May 29th issue of NORDEN newspaper on the Salmagundi Exhibit.
“Gustav Rosenlof draws immediate comparisons with Edward Hopper. His primary subject, houses, are rendered in bold, saturated colors and clean geometrical lines. There is a prevading emptiness and marked absence of humanity. Unlike Hopper, however, Rosenlof's emptiness is not one of psychological abandonment. Rather, his paintings are balanced and the emptiness peaceful, a movie-set where the actors have gone off to lunch.
His townscapes and “Shaker Series” evoke a gentle nostalgia for the American Dream, for the wholesomeness of life and communal living. His close-ups of rooftops act as snapshots of the mundane, where everyday elements are blown up and larger-than-life. His work reflects his training as an architect, and the rationality in his paintings harks back to the Scandinavian preference for clarity in pure color and simple lines.”
“Gustav Rosenlof draws immediate comparisons with Edward Hopper. His primary subject, houses, are rendered in bold, saturated colors and clean geometrical lines. There is a prevading emptiness and marked absence of humanity. Unlike Hopper, however, Rosenlof's emptiness is not one of psychological abandonment. Rather, his paintings are balanced and the emptiness peaceful, a movie-set where the actors have gone off to lunch.
His townscapes and “Shaker Series” evoke a gentle nostalgia for the American Dream, for the wholesomeness of life and communal living. His close-ups of rooftops act as snapshots of the mundane, where everyday elements are blown up and larger-than-life. His work reflects his training as an architect, and the rationality in his paintings harks back to the Scandinavian preference for clarity in pure color and simple lines.”
No comments:
Post a Comment