Abstract Art Review 1-2005

Artist Profiles in Abstract Art Online for January 2005

Marianne Van Lent - Big Spaces

Is Marianne Van Lent an abstract artist? Or is her work better described as landscape painting? In equal measure the answer to both of these questions is, yes. It is clear from the imagery that these paintings reference sea landscapes; primarily around Nova Scotia as some of the titles inform. Points of land jut out into the sea or the land is viewed from an ocean perspective or the sea alone comprises the subject matter. Paintings such as Cape North and Whale Watch particularly suggest landscapes whereas a piece such as Dark River Notch is more ambiguous as to reference. This diversity between a strong and tangible figurative reading creates a pleasant contrast throughout the body of work. One reason it is pleasant is because neither competes with the other. It is just as easy to see these paintings as completely abstract as it is to view them as landscapes.

Dark River Notch, fresco secco and suspended pigment on canvas, 18 x 24 in

Cape North, fresco secco and suspended pigment on canvas, 24 x 36 in

Whale Watch, fresco secco and suspended pigment on canvas, 24 x 36 in

There are a number of factors that push these paintings toward an abstract reading. To begin with there are the large open spaces that are depicted as landscapes but also realized as non-referential forms. In Van Lent’s "Land in the Sky," land and water hold equal value because atmospheric perspective is equalized and conventional perspective is minimalized. This approach has much in common with Cezanne but the sensibility of this work recalls early American Modernists such as Arthur Dove, Milton Avery and especially Georgia O’Keefe. Although such references exist, Van Lent’s touch is exemplified by her magnificent use of color and application of surface. This represents the real heart and soul of the work. Notice how the forms and compositions are kept large and simple, which in effect dresses the stage for the dramatic use of color, contrast and surface.

Glowing Visage, fresco secco and suspended pigment on canvas, 16 x 16 in

The color in this work is magnificent and though distinguishable in large segments; i.e., Vermilion Sky might be described as an ‘orange’ painting, is carefully constructed from a complex mixture of hues. Most often the color is warmly inviting and envelops the work which contrasts with the often lonely and remote subject matter. Glowing Visage is one of the more abstract pieces that also embodies a wonderful range of color. The upper portion presents an intelligent blend of warm and cool hues that define a whitish sky whereas the lower portion mixes various combinations of complementary greens and reds which may be water or land. It hardly matters though because the real thing is simply the color mixtures divided by the dramatic horizon line that includes the round reddish form. Read this painting as a landscape or an abstract; but regardless, it is the color relationships in this reductive format that make this painting.

Contrast and surface are cast as important supporting roles throughout this work. Contrast provides the drama and a much needed counterbalance to all the beautiful color. The result is a bittersweet and deeply felt melancholy loneliness. Take the thought just a bit further and the artist has captured a very important underlying concept regarding the relationship between humans and nature; the sense of aloofness and separation. Van Lent’s surfaces only add to this notion where her use of the fresco secco technique give these pieces the appearance of ancient fresco fragments detached and set adrift from their original context. This is no easy medium to work in and it is to the artist’s credit that the materials are handled so well.

Strand With Pond, fresco secco and suspended pigment on canvas, 36 x 36 in

Pale Strand, fresco secco and suspended pigment on canvas, 36 x 36 in

In the end Marianne Van Lent has managed to create art that is at once contemporary and personal but that also gives more than a nod to art history - both ancient and recent. While her subject matter is evident the content of her work speaks to timelessness; of nature and sensibility combined in paintings that are tightly bound by style but also find their own expression. Most of this work is quite small ranging in size from 12 by 12 inches to 36 by 36 inches. No matter; theexpressive quality of the work goes well beyond the diminutive proportions. Some day though, it would be interesting to see her given a large wall, say 12 by 36 feet, to see what such a dynamic would do to the work.

Edge of the World, fresco secco and suspended pigment on canvas, 24 x 36 in

The Swelling Tide, fresco secco and suspended pigment on canvas, 20 x 20 in

Marianne Van Lent received her Bachelor of Arts degree from Temple University Tyler School of Arts, Philadelphia, in 1972. In 1974 she received her Master of Fine Arts degree from Cornell University, Ithaca, New York. Since 1978, she has been painting, exhibiting her work and living in New York City. Her recent exhibitions (2004) have included a solo show at the Wesley Lake Gallery, Asbury Park NJ, a solo show at the Athens Cultural Center, Athens, NY and the recent Nature Abstracted Group show at the Painting Center, New York, NY.