Martin Weinstein spends a great deal of time at a wonderfully spacious home along the Hudson. We all know nothing about the house but a great deal about the vistas and the garden. These are the subjects of his current show, consisting of work from 2010-2011, and the majority being small flower portraits.
I’ve been having a hard time deciding who Martin is channeling. My first thought was any one of the 16th or 17th century Dutch painters with their overflowing vases of every type of flower. But then I saw a photo of Monet at Giverney and realized that the garden in context was an equally strong influence.
In prior shows, Weinstein’s roots as an abstractionist showed in his peeling layers, perspective switches and time lapse games, all of which led to fascinating, complex work.
For this show, Martin is playing it straight. The evolution of his work continues toward realism. He’s not giving us photo-realism but realism with impressionistic underpinnings. With Martin’s technique of layering sheets of acrylic to gain depth, the lower layers become diffused leaving the detail on the top layer to astound.
It is astonishing that someone trained as an abstract expressionist has such a delicate hand and unerring sense of color. You must see the work to comprehend the detail of including every stem, every petal, and every leaf while not losing a painting’s composition. Weinstein is both a painting and drawing master.
I dream of waking in the morning to one of Martin’s floral wonders. But which to choose – pink roses, flowering cherry trees, peonies?
And I think of Martin’s studio with dozens of paintings underway, waiting for the paint on one layer to dry so that he can work on the next, waiting for the flowers to bloom so that he can quickly capture them, or setting a painting aside until next year to complete because flowers are ephemeral.
Take advantage of this opportunity to see this Martin’s superb paintings which will be on view through June 30 at Franklin Riehlman Fine Art at 24 E 73 Street, Suite 4F, New York City.