Joseph DiGiorgio at Siegel Contemporary Arts, New York City (1980s)



 Reflecting sympathy for Prendergast, Monet and Japanese screens, Joseph DiGiorgio's lovely and tapestry-like with a screens, Joseph DiGiorgio's large, stippled, nearly Neo-Impressionist paintings have a genuine feeling for subtle personal expressiveness, color and the poetry of nature. Based on studies done in Virginia in April and May 9"I have never known such a sustained sense of Spring," says the artist), DiGiorgio seeks to "build shattered elements into something solid." The artist views himself as more intuitive than Seurat who was "too methodical, too scientific."


 DiGiorgio's "Virginia Woods, Spring," an eight-foot by eighteen-foot triptych, is lovely and tapestry-like with a frieze of sunlight-dappled trees in Impressionist yellows, blues and violets against background greens. In "Sweetbriar Lake," a diptych, dark tree masses on left and right frame the central transcendent vision of the distant mountain, echoing a central opening of light behind yellow trees in the previously discussed picture.


 DiGiorgio's paintings have imagery and compositional structure which are both decoratively attractive and expressive of introspection and a desire for deeper insight and fulfillment.


Copyright by Don Gray


Don Gray Art  •  Art Essays & Art Criticisms