George Wexler
Landscape Paintings and Drawings
The Wallkill Near Tuttletown is a decidedly dreamlike view across a stream to a weirdly barren landscape. Flinty rocks emerge from the still, light-streaked water near the shore. Three bare-limbed, twisted trees rise from the land. Farther away, just beyond a knob of bald ground, a simple gray house looks sadly isolated. Illuminated by a cold, chalky light, the place seems haunted, purgatorial and, as such, more mindscape than landscape.
In a picture like The Freer Place, the oneiric gives way to Wexler’s more familiar naturalism. An old farmhouse and barn engulfed by trees and bushes, a glimpsed pond, rumpled, scrubby land all around: the facts are attentively recorded with a fine, flickering brush. But still the real is suffused with romance. A rosy evening sky and a seemingly uninhabited house establish a feeling of melancholy, as though the painting (or the painter) were mourning modernity’s abandonment of nature.
West Coast Landscape is a spectacular panoramic view of mountainous terrain painted in a meticulous, sharp-focused style that calls to mind such Renaissance painters as Bellini or Dürer. A dry surface and bleached hues give it a look of fresco. The foreground is occupied by a shadowy pile of craggy boulders. Beyond is a peaceful, sunlit valley where farm fields are sparsely punctuated by trees and a few buildings. In the distance an elevated highway is visible, its modernity incongruous against the awesome, primordial backdrop. There is something mythic about this painting. It doesn’t seem an objective study of a particular site but rather a pantheistic vision of creation.
View From Olana alludes to the eccentric castle that Frederic Church built for himself in the mountains. We do not see the building, but look down on a clearing and clusters of trees and beyond to a body of pale blue water under a pale sky and orangy-white clouds at the horizon. Hardly visible in the distant waters are parallel streaks of pink – an unexpected effect that brings the work to life.
A surreal and almost fresco-like painting, Rancho Bernardo refers to an upscale community in the northern part of San Diego. Although this area consists of canyons and rolling hills, the natural landscape is obscured by man's encroachments. Here, Wexler depicts houses nestled comfortably and organically along the base of a highly exaggerated rock formation but also balanced precariously on its few level surfaces further up. This state of imbalance is further accentuated by a monstrous boulder on a distant hill that threatens to slide off at any moment. An expansive home perched at the top of the outcropping seems to be a castle whose inhabitants view the lower terrain with an air of benevolence.