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Lynne Taetzsch

Lynne Taetzsch

Lynne Taetzsch’s contemporary abstract paintings have been shown in solo and group exhibitions in galleries and museums throughout the United States and abroad.  Stan Bowman said in a review of Lynne’s exhibit at the Clinton House ArtSpace in Ithaca:  “Taetzsch is a painter very much in the tradition of the best of 20th century abstraction.”

            Describing her painting process, Lynne says: I am of course indebted to all the artists who came before me, for the wonderful ways they have transmuted color, line and shape.  Some of my very special art connections are Miro, Kandinsky, Matisse, DeKooning, Hans Hoffman, Helen Frankenthaler, and Joan Mitchell.

            In the early stages of a painting, I work very fast.  This helps give my art its sense of energy and spontaneity.  I like to trick my conscious mind by not letting it have too much control over what happens.  In some ways I’m creating a mess or a problem that I then have to solve in order to make the painting work.

            It’s the painting surface that I love - the lusciousness of color in its thick and thin varieties, flat and opaque to keep the eye on the surface, or transparent and airy to suggest deep space. My goal is to stay as close to the edge as possible, to keep that sense of organic happening, as if the painting had grown itself rather than having been crafted by me. Yet it is the artist's eye that seeks to prevail, telling the hand to add that last brush stroke which brings it all together.      

 

Thanks!

Judith, thanks for your comment! I used to paint in oils years ago, but now acrylics suit me best.

Thanks, Leeya!

Lynne

Thanks again, Steven, for your comment. My work has not always been cheery, especially in my younger "beatnik" days, but now I love to play with color and patterns.

Steven, thanks so much for your comments on my paintings! I had a lot of fun painting this one and I'm glad that sense of play and movement came through to you.

Another reason brick-and-mortar galleries are dwindling is that more art is being sold online--a market that didn't exist before the internet.

John, thanks again for one of your insightful critiques! I loved painting this one and I'm so glad you experienced the tranquility and joy I meant it to express.

Thank you, Natalie!

I like your analogy between dance and gestural abstract painting, John. I agree that both involve movement that is both free and yet controlled. Your analogy reminds me of the term, "action painting."

John, thanks again for your creative insight into my work!

Thanks, John, for your thoughtful examination of fantasy and imagination!

Thanks, John, for another insightful review!

Thanks for another insightful review, John!

Thanks, Jennifer!

Lynne

Thanks, Eduin. That's what I saw in it also.

Lynne

O YES has a powerful message--saying "yes" to the world--but what I also love about the piece is its composition, color and movement. My eye wants to linger, following the paths of bright color contrast and shapes--moving through the negative space of the almost white background.

I love the subtle color changes and rich texture of Morning Fog. The painting is abstract, yet conveys the natural world. The line work adds a lot to the texture and composition.

The subtle color and texture changes on the gray background have an otherworldly floating effect that makes me feel I'm entering a fairy tale.

I love the way this seemingly random accumulation of brushstrokes creates patterns and movement that draw me in to wander its beautiful blue crescendo.

I love the muted colors in this and the way you have created a whole mood with the facial expression and body stance with a few brushstrokes.

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