Maine Art Review: Lynne Drexler at the Farnsworth
This compact but compelling exhibit focuses on Drexler’s abstract work from the 1960s, before her time on Monhegan Island inspired her to paint more representational work.
Like many talented New York painters of her day, Drexler studied with Hans Hoffman, who was known for his “push and pull” theory of using contrasting colors and shapes to create a sense of depth. While his influence can be seen in her work, she speaks in a voice uniquely her own. These paintings are high-key and luminous, and remind me of the joy I experienced as a child when looking through a kaleidoscope at bits and bobs of multicolored glass. (This is not, by any means, to dismiss Drexler’s work as craft-like or haphazard in the way that objects are simply shaken into place in a kaleidoscope; it takes immense artistic skill to balance all of these glittering hues and shapes into compelling compositions on canvas.)
Lynne Drexler, Pink and Gold, 1962 (left) and Cismont, 1962 (right)
I wasn’t surprised to learn that Drexler was a huge opera fan, who frequented performances at the Metropolitan Opera and often tuned in to live broadcasts while creating. These paintings all have a musical quality to them, with each color note, and its weight, carefully chosen. The operatic influence comes through in the grand gestures and exuberant chromaticism of some of the brush strokes; her paintings feel like another means of conveying the same human passions and heightened emotions celebrated in opera. The Farnsworth web site provides a soundtrack of some her favorite composers – including Mozart, Beethoven, and Mahler – and listening to the soundtrack while standing in front of these large scale canvases is a truly enjoyable immersive experience.
Lynne Drexler, Orchestrated Blue, 1968
As a painter, what I took away from this exhibit was the urge to more fully celebrate both color and texture, as well as a deeper understanding of the intricate balancing act that creating abstract work poses for an artist. It is a challenge that I have grappled with, not always successfully, which leaves me even more in awe of Drexler’s immense talent.
Lynne Drexler, Cismont (detail), 1962
I highly recommend a trip to Rockland to see this show, which runs through January 12, 2025. Drexler’s paintings are lyrical, joyful pieces, and we could all use a little more joy these days.
If you enjoyed this post, please check out my other art review blogs, including:
Claire Van Vliet’s colorful, captivating pulp paintings at the Boston Athenaeum: https://www.marciacrumleyart.com/blog/boston-art-review-claire-van-vliets-pulp-paintings-at-the-boston-athenaeum
Ogunquit Museum of American Art: https://www.marciacrumleyart.com/blog/ogunquit-museum-of-american-art
As We Are: Maine’s Top Emerging Artists at PMA: https://www.marciacrumleyart.com/blog/maine-art-as-we-are-at-pma
