The Light is Water, and Passes Through the Viewer, the art of sometimes cubist Monte Eaton, with former Mature Color Plates genius, Chagall.
We began our artist critic relationship in a storm! The rabble on Acrylic Artists group, on hearing my admiration, immediately pointed out that his style is good but nothing new. I admonished them to say, he is one answering that question as to where we go from Picasso. I stated that he should be viewed as a colorist, though his sections of color are many times geometric. The use of these shapes and their coloration effects are like light flowing through objects, as if liquid or light flowing to make a single colour, which each viewer may then see. Do not listen to these squealing crabs from the bottom of the artist barrel, you cannot be boxed.
And the following is in the same colorist mode, but it ist odd, as if he predicted he would be challenged over his geometrics, love them!
Let’s talk a bit, about the rest of the show reviews. Theres the Brookhaven College’s incredible audience friendly stage in the Performance Hall, where Adam Wodnicki stormed into our consciousness with pianistic hypnotism of Chopin. I have heard an loved Chopin many times, but he was an extremely emotional in his attack to the piece, a pianistic effect is a hard thing to capture in print. The notes wafted out like zephyrs or puffy clouds, not coming hard to a time clock or rang from unchanging bells, these art strings as vocal chords and the Prince made them sing, like an impossible bela canta.Chagall is not easily approached by viewer or critic. As I said you cannot blame his manichean color sections on abstract constants such as cubes or plates. Here, in context of his other works, are a very nice midwestern couple, if only they weren’t floating.
Or here, where everything would be back in Kansas, but the groom is species Cervus (giraffe) headed. Conversely, it may as well be the head of a goat, either way, odd matchmaking, complete with demoniac cherubs. A long happy marriage is assured! Divorce us from subject, we need it so. To see the maturity and sheer academically top curve technician at work.
And this in art is surrealism, but do we care? Its color and that of Monte haunts and remains on the retina.The new Baron has his own view and it’s not something I saw in Picasso, so the criticism was ill posed. He is not plagiarizing Picasso any more than 10,000 artists worldwide art plagiarizing Impressionism. As we progress into the age of abstraction we will fight this false criticism, probably born of his determination to rework geometrism (if that’s a word) Not that I would mind him exploring human anatomy or village scenes, we are living outside of art, a colorless featureless dragon (art review), like sleeping Michael Angel of the Lord. Emotionless until She calls him. Until color calls Michael, let’s view more from Le Barony.
The only purpose for the lonely “pie piece” is the blatant worship of color. We art thy underground railroad Your Grace! The metal, the molten in this series is singing a hot foundry note!Beat them with mighty hammers and shape them as heavy plates! Molten they ring a discordant name before labor. Dring! So We call all Lord Builders, they art the Lords Dring. Ha! So ist Le Baron.
This “molten plate” series is very suggestive. We must ask His Grace if there might be a Rorshark of human figures, emerging through the hot foundry plates. See two heads and colored shoulders out of his subconscious as a day they were scarlet and yellow. Again using yellow context, is this the memory color? Or perhaps just for the reviewer. Pour vous, ces non?Baron Monte does not by any means dwell in one place, one motif. The plates remain. Again the squares, the noble baroness’, grids are canvases? We’ll try to get to interview His Grace.
Notice whatever the shape of his plates, a colour wind blows swiftly through. A spectral maturity approaching a single palette.
Whether it is a busy motion and figure study or a hot summer hillside pueblo.A swift color current, which washes over every segment, every molten plate. Molten color.
Two form a series. But always always the molten light, the wind from whence all color comes.
Whether darkening the palette or washing it blau, he is still this spectral water, cutting through his shapes universe, inspired by Picasso but departing from.
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Forever varying the subject, forever washing his subjects in the wind as described. Its effect of light he is after, the cold blue wind on the model chills her, so wind that draws all color from the canvas.
The woman of the sectional world. Who is she? The following form a series as Le Baron washes his wombyn in his color wind.
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We return to the study of plates or sections that ist so part of the artist, whatever motivation he takes on the journey to recognizable original style.
These enter the breadth of variety Monte is capable.
Pueblo again, we are learning, where you want us to go in our search for color!
The illusion the molten plates create is that of flickering strobe checkerboards. Colored checkerboards flicker as cities or raw color emotions submerged in cool comfort and colors of eventide.
Before we look at another Chagall, consider he too upon a time, was accused of infringement on Picasso and nothing could be more untrue! In art assessments make your way!
Like our genius of the past Marc Chagall, whose iconic “I and The Village” shows these plates of color, but I have never found a guild man so focused on these plates as Baron Monte. For plates substitute ‘surfaces’ like the smooth blue cheek of the farm cow. These at least are from reality, below see how Monte hath departed this.Behold the first piece I viewed, which captured my attention and made me to go into combat over this guy with the mundane artwork, trying to criticize a real Paris Noble, luuulsec!
Squares, rectangles, blocks of light so color all around us. See the unseen in a day of light in the village.
Now we are finally ready to look at another genius who has mastered mature plates or sections of color which may and sometimes may not represent real objects like the stairs and human bodies above. Here again is the repetition we saw and loved in the two toned ‘chariot of fire’ like first painting in this article.
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Byron E Montgomery
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