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  • Provenance

    Louis Stern Fine Arts, West Hollywood

  • Catalogue Essay

    Line is the most important and expressive component of Feitelson’s work.
    From his earliest kinetic studies in the late teens to the schematic line
    drawings and arrows included in his figurative paintings of the 1930’s to the
    ribbon paintings here, the liveliness of his work is a result of the disposition
    of lines and the sense of movement they convey. The emphasis on line is
    traced to his interest in the Renaissance. Inherited from antiquity, the linear
    quality of Renaissance art, as art historian Heinrich Wölfflin argued in the
    early twentieth century, significantly distinguishes it from the Baroque’s
    painterly style. As Philip Guston, one of Feitelson’s students in the early
    thirties, often recalled, Feitelson introduced him to Peiro and Uccello,
    important sources for his own work. Whether reflecting Piero’s serenity
    or Uccello’s muscular force, both artists use line for expressive purpose.
    Although Guston’s mature style is more painterly than his mentor’s, Feitelson
    retained the Renaissance-inspired smooth, clean edges where shape meets
    shape throughout his career (Frances Colpitt, Lorser Feitelson – the late
    paintings, Louis Stern Fine Arts, Los Angeles, 2009, p. 8).



Untitled (February 28)

Acrylic in colors, on canvas,
I. 60 x 60 in. (152.4 x 152.4 cm)
signed, titled and dated “Lorster Feitelson Feb. 28 – 1971” on the reverse.

$8,000 - 12,000 

Sold for $35,000

Modern & Contemporary Editions

21 Nov 2010
New York