Gordon Gallery
Written By: Karl Katz
The watercolors on exhibit have a unity greater than that which results from the fact that they are painted by the same artist. Each of these works has the extraordinary ability of evoking from every viewer the exciting sensation which is rare and sparingly ours - the perception of unadulterated beauty.
There is a brief sensory moment which in its preciousness is much more: when we experience a pure pleasure - a flower’s fragrance momentarily materializes and swiftly vanishes while we sit in a speeding car. Birds, towers, flowers and walls, ruins and waves are seen by this artist in just such a way. Unburdened by complicated externals but in part preserving the charm of detail for its own sake, Louise Schatz draws beauty from simplicity. Sure lines, sharp echoes and subtle overtones, nothing more than enough and in fact a bit less (beauty becomes through suggestions and not over-statements since it is the imagination which makes our response to beauty—perfect). These natural and spontaneous glimpses of beauty are combined with the artist’s superior technical ability. Her sureness in thoughtfully placing decisive thrusts of tone and her controlled excitement using textures, contrived accidents and elaborate washes create works which are personal statements of great artistic merit.
Karl Katz, 1957
Ten years later.
New testimonies of a personal vision. Subjects no longer commit the artist to solutions within a predetermined structure. The work evolves naturally from creations of a decade ago. The emergant leaves of less specific studies of natural and plastic themes where surface-textures, colors and material are the prominent elements still have reminiscenses of past concerns, but now this sensitive artist is the heroine. Louise Schatz’s world has expanded but her gentle touch remains. Meticulously working over her watercolors and collages she makes each sheet a completely balanced subtle statement. She says her works are “like dances”, she claims that painting is “like breathing, or cooking”. Her creations - glimpses of herself - reflect these essential, expressive, elegant, fleeting concerns.
Kart Katz, 1966
Gordon Gallery
Written By: Karl Katz
The watercolors on exhibit have a unity greater than that which results from the fact that they are painted by the same artist. Each of these works has the extraordinary ability of evoking from every viewer the exciting sensation which is rare and sparingly ours - the perception of unadulterated beauty.
There is a brief sensory moment which in its preciousness is much more: when we experience a pure pleasure - a flower’s fragrance momentarily materializes and swiftly vanishes while we sit in a speeding car. Birds, towers, flowers and walls, ruins and waves are seen by this artist in just such a way. Unburdened by complicated externals but in part preserving the charm of detail for its own sake, Louise Schatz draws beauty from simplicity. Sure lines, sharp echoes and subtle overtones, nothing more than enough and in fact a bit less (beauty becomes through suggestions and not over-statements since it is the imagination which makes our response to beauty—perfect). These natural and spontaneous glimpses of beauty are combined with the artist’s superior technical ability. Her sureness in thoughtfully placing decisive thrusts of tone and her controlled excitement using textures, contrived accidents and elaborate washes create works which are personal statements of great artistic merit.
Karl Katz, 1957
Ten years later.
New testimonies of a personal vision. Subjects no longer commit the artist to solutions within a predetermined structure. The work evolves naturally from creations of a decade ago. The emergant leaves of less specific studies of natural and plastic themes where surface-textures, colors and material are the prominent elements still have reminiscenses of past concerns, but now this sensitive artist is the heroine. Louise Schatz’s world has expanded but her gentle touch remains. Meticulously working over her watercolors and collages she makes each sheet a completely balanced subtle statement. She says her works are “like dances”, she claims that painting is “like breathing, or cooking”. Her creations - glimpses of herself - reflect these essential, expressive, elegant, fleeting concerns.
Kart Katz, 1966