Rebecca Nemser

Yet there is exhil­a­ra­tion in the ter­ror, the ver­tig­i­nous fall. These speedy, vio­lent fan­tasies of destruc­tion and chaos are ten­der­ly, beau­ti­ful­ly described. The draw­ings in graphite and lin­seed oil – the oil used won­der­ful­ly as col­or – and the swirls of paint in eerie sea greens or fiery reds com­pose a bal­anced, painter­ly sur­face. The lan­guage of abstrac­tion pulls us upward, as the images plunge us into the abyss.

A woman sits think­ing, rest­ing her head on her hand in a room filled with flow­ers and fruit. The room seems charged with mean­ing, filled with her extra­or­di­nary pres­ence. For GABRIELE MUNTER, art was not about appear­ances, but about real­i­ties lying behind appear­ances. Abstrac­tion was a way of see­ing into the heart of things.