Volume 18, No. 8
May 2012 ISSUE • 11 ISSUE Andy Coughlan
MIXING TRADITIONS
OLD WORLD MEETS NEW WORLD IN STARK MUSEUM EXHIBITION Review by Andy Coughlan
THE STARK MUSEUM HAS built its reputa-
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 por-
traits 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
See STARK on page 15
Nicolai Fechin’s carved heads, top, are among the highlights of “From Russia: Fechin and Gaspard in the Southwest,” at the Stark Museum. “Old Fiddler” and “Zuni” show Leon Gaspard’s skill at documenting peoples who live by old traditions.
