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Yet this piece, though realistic in conception, shows some elements of theatricality and artificiality, especially when compared to Caravaggio’s late religious paintings with more defined interiors and exteriors. For instance, the dupe’s face shows exaggerated saintliness and innocence — no doubt intended by the artist to epitomize just these qualities — while the man who peeks at his cards seems overly agitated. The resulting tension may seem so vivid as to distract us from the overall composition, in other words, too vivid. The extreme psychological contrasts blur somewhat the compositional unity — but they evince a distinct charm of their own.

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I think that we can soundly hypothesize that this charm originates not only from the theme or from the actors, but also from the artist himself. While the notion of the loss of innocence takes the center stage in the painting, we are allowed to guess as to what place the painting itself was taking in Caravaggio’s life — could he have been taken emotionally by the theme, could he have seen in it some elements of his own situation? Indeed, could he be the missing link in this drama, having experienced it first hand, absorbed it and transferred it on canvas? Though the answers to the questions regarding the meta realm of this masterpiece are destined to remain in guessing land, the inquiry in itself adds another dimension to our understanding of the painting.

The Fortune Teller, circa 1594 Buy From Art.com

To get back to the technical details, it is the interplay of light and dark colors that supports the tension in this busy composition. Consisting mostly of black, brown, wine and dark, heavy yellows, it is incised with stripes and patches of white, which destabilize the entire set-up, generating a sense of precipice, or collapse. In this “mess,” the duped youth submerges into a very dangerous place — he is in the center of a whirlwind, without noticing it. The overall effect makes me want to scream “Watch out!”

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• Caravaggio: Boy Bitten by a Lizard

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The composition contains a subtle hint on the motif of Knowledge. The roundly shaped head of the boy is repeated symmetrically in the vase, which serves as a mirror — an object known to represent knowledge. The composition encourages us to draw an imaginary Cartesian coordinate system, one axis spreading between the two (also symmetrically mirror-like reflected) twisted hands, and the other between the two buds. The imaginary coordinates again suggest the clash between experience and innocence, perpendicularly opposing each other like the two axes. In a way, we witness the gaining of experience when viewing the painting from left to right, and of knowledge from down up, all in a allegoric continuous motion. The point where the boy is being bitten is locate somewhere in the lower left area, where both parameters carry the negative sign.

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The geometrical framework encourages to envisage with more confidence a link between the mirror-like convex glass surface of the bowl and the boy’s face. The bitten victim would also have to process the event — to upraise it from the negative parts of the coordinate system to the positive ones; he would have to undergo realization and internalization after the initial shock subsides. While presenting us with this psychological evolution, the artist stands out not only as a painter, but also as a humanist — a sage and a visionary who truly understands human nature.

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Considering the abundant flora and edible fruits on the table, a leap to the notion of tree of knowledge and thus the erotic (or homoerotic) viewing is more than reasonable — but in no way should be the the principal one. Perhaps it may serve as a point of departure, not as a decisive, final interpretation. Overall, I think that this painting testifies to the artist’s intellectual prowess — his ability to manipulate symbols and images to not only allude but also recreate a wider context that appeals to human condition.

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• Caravaggio: The Cardsharps

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And third, the prevalence of round and curving geometrical forms — gestures of the models (the elbows), their hats, the plump peach colored faces and the above mentioned arch add a half-veiled sense of languor. All of these features combined coax us to lower our guards and revel without reservations in this youthful, infused with sweet naivety, scene. Indeed it may appear that a small idyll takes place before our eyes, as if it is all were a part of a dream. Well, in a way it is — the young man’s dream. As a guy, I tend to think that the whole scene should be viewed from his perspective: it is him who is being appeased and showered with befuddling mead of color. But for what purpose?

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The boy is being duped by the girl (whose traditional attire, the turban especially, gives away her gypsy origin) who slowly but surely slips a ring off of his finger. It is quite an amazing feat that occurs right in front of our eyes, yet almost impossible to spot. Same goes for the unsuspecting victim, as he is being bewitched by the girl’s gaze and charm. We too are drawn into the imaginary, but thick and powerful galvanism, balancing and quivering on the imaginary line between the two pairs of eyes. The theft is the singular most intense moment in this painting — yet it remains almost undetected, as if passing somewhere below the radar.

The Fortune Teller, circa 1594 Buy From Art.com

While the fortune-teller fools the boy, we are being fooled by both actors — by the overall image — by the painter himself. Perhaps Caravaggio’s greatest achievement in this genre scene (painted early in his career) was to force the audience to disregard the fact of larceny even after its discovery — and possibly view it as symbolic representation of the relationship between men and women. Thus, the artist discusses the idea of love, and make us fall in love with this piece along the way.

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• SINH: Still Life
• Claude Monet: The Water Lily Ponds Series
• Giotto, Virtues and Vices: Hope
• Casey Klahn: Trees and Clouds, Transient Monuments
• Holly Lombardo: Watercolors
• Todd Ford: Animal Toys
• I-Ming: Impressionist Paintings
• Raphael: Madonna with a Fish
• M Collier: Still Life with Artichokes; with Figs

Yet there is a quality in the watercolors that disagrees with the suggested allegory. Suffused with air and sun, they convey delight, lightness and a bunch of other positive feelings . This cheerfulness flows from a different starting point, one that couldn’t coincide with that of the theme of loneliness. I think it is up to the viewer to resolve the arising conflict — and I actually believe that ignoring it may prove to be a good strategy. Instead of trying to reconcile the two ways of viewing, it’s possible to alternate between them, at the viewer’s whim. I like that flexibility, and I think that it speaks of the artist’s own.

The singular theme would appear to exclude composition from playing a major part, but enter the colors and claim compositional territory. It is interesting that the rather pale colors end up serving the paintings in terms of space rather than light or palette — but perhaps not surprising. The windows are basically collections of geometrical forms – very fortunately arranged abstract pieces. The diffused colors, though provide thematic background, can be approached as geometrical additions dispersed in areas across the paper. This “color deconstruction” adds another dimension to the artwork. Perhaps it compensates for the inability to peek in and see what happens beyond the panes, the curtains and the reflections.

Lines play an important, but underlying role. They criss-cross he windows yet somehow stay out of sight, bury themselves into the theme. I think that the lines add another dark aspect that works quietly against the sun and the light, and adds tension to the whole premise. Lines in such close disposition are bound to allude to prison bars and jails – allusions that elucidate the paintings from a completely different angle, and, in a way, put them to the test. By isolating a trivial everyday object the artist lays bare a series of emotions, associations and experiences that are nothing trivial, and all uneasy and complex.

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• Don Li-Leger: Karma and Aura
• A Short Delay
• Alessandro Andreuccetti: Tuscany Hills
• Sandra Flood: The Greyhounds of Pleasantville
• Vic Vicini: Food Paintings
• Alvin Richard: Florals
• Tracy Helgeson: Fields
• SINH: Still Life
• Claude Monet: Poppy Fields

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As a fan of pure abstract art I have to admit that I tend to view these works as a compromise. I am more prepared to judge them as exciting experiments that haven’t quite worked out. The combination of flowers and abstract geometry flourishes in the more austere, Malevich (and maybe Rothko) inspired paintings (such as The Iris Nine Patch, The Poppy Nine Patch and the Aura and Karma pair), possibly because the irregularity of nature complements the squares, producing multi-layered works of art. Here the lines, shapes and forms are endowed with mobility that creates just enough inner tension and interest: the flowers and the branches fall out of the loop as they are no longer needed to perform the thematic task they did in the patches series.

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In fact, they don’t seem to perform any kind of task at all and may appear outright redundant! There is, however, a way to “solve” this “problem” — and it seems that Don Li-Leger is actually moving in this direction: regarding the works as “pastiches” rather than “paintings”. Pastiche seems like a more viable and appropriate genre category; it puts the viewer on a different path, unveils the artwork from a fresh perspective, and gives it a new life. Now there is no need for harmony; on the contrary, the less of it the better. Blossoms assume aesthetic meaning on their own right and the paintings become rich depositories of various stylistic features. Perhaps the artist achieves his synthesis after all.

Read Related Reviews:

• Don Li-Leger: Iris Nine Patch
• Don Li-Leger: Poppy Nine Patch; Poppy and Fern Nine Patch
• Brent Lynch: Cigar Bar

The artist upholds a tension between the illuminated and the color-rich shaded areas. The crab is a bomb of color on a white sand background — will it explode, or reach the water safely? The sun contours the fish and the boats, creeping on the surrounding colors, making them small and unstable. The powerful illusion of light and the fast brushwork, especially in the boats piece, add a notable impressionistic touch. I have been looking at the boats for half an hour before noticing the big black blot beneath the closer boat — which I think proves that the color scheme works effectively, despite the lack of flexibility of the watercolor.

The crab and the fishes owe their liveliness to the artist’s eye for movement. The animals appear to be in motion, complemented either by an expressive shadow, or other fish. As fits such themes, the paintings rely on humor for thematic interest: the slant threatens to knock the crab off its feet and put the critter in a comic — for us — situation. The fishes, swimming around in a crowd, appear in a funny pattern that is both familial and familiar. The high viewing angle allows us to absorb the rich oranges. Despite the sea setting, the artist gives us an aquarium simulation.

I like these pieces for their harmony and their light, summery feel. The word “effortless” gets thrown about a lot recently, but there is definitely a dash of that ease here — achieved, no doubt, with considerable effort. The artist finds points of interest and complex shadow without making them the sole focus of the compositions. These paintings are about the waves — of water, of sand, of light. Holly Lombardo aptly condensed the warmth and spirit of summer into several sunny watercolors.

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• [Art Interpretation Guide] The Power of Imagination Part 3
• Alessandro Andreuccetti
• Todd Ford: Broken Glass
• I-Ming: Impressionist Paintings
• Casey Klahn: How to Make Your Audience Weep
• Takeyce Walter: Winter Landscapes
• Don Li-Leger: Iris Nine Patch
• Vincent van Gogh: Starry Night
• Introduction Part 1: A Few Questions and Answers First

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The color schemes are nearly identical — but reversed. The outermost squares contrast each other effectively, red repelling the green (or the blue), the two hues occupying opposing segments of the color wheel. Neutral beige divides the upper and lower part in a shrewd, Swiss kind of way. The colors balance each other out, but not completely: the more saturated red appears heavier, and either weighs the piece down (Aura) or pulls it up (Karma). I think that in order to achieve a complete balance (if it is indeed desirable — a matter of strictly personal choice) one needs to offset the former with the latter.

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Once again there is the temptation to try and guess the meaning of the colors, especially because most of them actually do not invite a straightforward likeness to something familiar. While the green and the blue parts most probably allude to a marine background, the yellowish-beige and the dark red seem indecipherable, and almost enigmatic. One reminds of sand and hot sun, but may just as well depict water under different lighting. The other projects a strong dusky vibe, but may in fact represent a part of an interior, which in turn would denote the flowers as still life! The artist tests his color formula in a different setting — harsh conditions — and proves its effectiveness once more.

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• Dawn Lundquist: Roosters
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There is something folkloric about these trunks and branches. They are impressionistic stylizations of trees that can be comic and admirable at the same time; they resemble clumsy trolls who look menacing at first only to reveal their soft nature later. I have had the privilege of reviewing several paintings of trees, for instance by Robin Neudorfer or Casey Klahn, but I don’t think any of them so readily invited such a warm, homey association — despite the lack of foliage, the snow and the cool blue. To me it seems as though the trolls just went out to have some fun and soon would return into their lairs to drink mead and tell stories.

There is a compositional rigor to it all: the paintings carefully balance chaos with calm by clear-cut borders. First, sharp angles between various tree parts generate a sense of urgency and aggression while the woods seem to move and expand, as the general upward direction indicates. Second, all these movements and threats are either pruned by the frame or carefully contained by the trees themselves: the branches aim at the local center of the piece (where the trees concentrate) or above, where they collide and in a way neutralize each other. Finally, bordering trunks (or lowest branches) enwrap the entire display and isolate it from the rest of the piece, proving how harmless the show really is.

Thus the paintings are divided into compositional segments, more violent ones including criss crossing lines and sharp edged triangles and the quiet ones consisting of wavy patches of snow or curved lines contouring a forest or a river bank. It is interesting that snow, after melting, turns into water which in turn would feed the trees and put on a coat of leaves on them. Trees with foliage — trolls appeased with mead — are no longer menacing. A scene in the painting above, where the river water divides (or in fact connects) between the woods visually foreshadows this paradigm. Eventually, the trolls get their mead — and we get our story.

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• Deborah Paris: Winter Landscapes — Melting Snow
• Robin Neudorfer: “The Structure of Trees”
• Casey Klahn: How to Make Your Audience Weep
• Andrea Kowch: Magical Realism and Real Problems

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But there is a more abstract compositional feature that discloses kinship: in both paintings the artist emphasizes the cross shape, marked by darker colors in the first variation, an overall light piece, and lighter ones in the second, an overall dark piece. Arguably, the paintings carry religious overtones, although most probably Don Li-Leger alludes once again to Kasimir Malevich and his classic Black Cross.

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The focus on a geometrical shape proves that these works are firstly abstract, secondly figurative. The irises themselves serve an auxiliary role of a thematic foil, which the audience sees through the stained-glass window squares.

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There is one characteristic which, depending on individual taste, may prove to be somewhat tiresome. The cross shapes contribute to a certain symmetry — which may feel oppressive after awhile. The artist solves this problem in other variations, the Orchid Nine Patch (print below) being an example of blissful imbalance that nevertheless retains the cross. It seems as though the artist was hesitant to go all abstract in the Irises and compensated for his irresolution by taking more risks in the Orchids. Eventually the abstract tendencies prevail over the flowers as the true experimental subject matter of the series.

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All prints are also available in wall tapestries.

Read Related Reviews:

• Don Li-Leger: Poppy Nine Patch; Poppy and Fern Nine Patch
• Don Li-Leger: Summer Bloom, Spring Chorus
• Brent Lynch: Cigar Bar
• Dawn Lundquist: Birds of Paradise and Angel’s Trumpets
• Casey Klahn: How to Make Your Audience Weep

The realism is particularly teasing because it is often on the verge of transmuting into impressionism, brush strokes appearing ready to smudge the colors. Perhaps the stylistic evolution mentioned in the previous review is not over yet. I would not go as far as calling the tendency of impressionistic generalization as a generic compromise or collapse, but the evidence of some sort of synthesis is there. For instance, in the two limes piece the tip of the yellow fruit in the background is realistic (resembling rhinoceros skin) whereas the tip of the green one in the foreground is much more impressionistic, with wide clearly visible brush strokes describing how light lands on the surface and defines the object.

The notion of weight extends to the backgrounds too. The ethereal flowers accord with abstract airy atmosphere, but the fruits need to actually lie on something. The artist chooses a basic setting resembling a wall and floor (or table) conjunction, with linear and angular characteristics which complement the globular forms of the objects without overpowering the latter. The dark gray bluish tones consume all the light, leaving a few dashes for the still life — but eloquent, central dashes. Overall, the fruits and vegetables appear to lay in a nook, or a lair, a stylized environment evidently composed by the artist. The focus in these paintings is on the relationship between the various subjects rather than between them and the background.

General color schemes are bolder: exotic red-black and yellow-green combinations enliven the quiet compositions. Although the florals display powerful tonal clashes (such as the opposing reds and greens), the human eye tends to ignore the green of the stems and leaves and focuses on the bright blooms. Perhaps we are not unlike insects, tempted by the flowers’ brightness, — only we bring death by plucking them whereas the insects bring life by pollinating them. Here the colors declare the strong sweet or sour taste of fruits that were meant to be plucked. In some ways, SINH’s still life reclaims some of the zest lost in melancholic flowers.

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• Jiddje Straatsma: Landscapes
• Edvard Munch: The Sun
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• El Greco: The Holy Family (with Saint Anne)
• Linda Lucas Hardy: Wrapped in Plastic
• Introducing Participants — Poll 1
• Andrea Kowch: Magical Realism and Real Problems
• Frank Gardner: Town Scenes — a Human Ant Hill
• Jean-Francois Millet: Feeding the Young
• Michelangelo: The Sistine Chapel Ceiling, The Prophet Jeremiah