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Born and raised in New York City, Howard Fussiner (1923-2006)
studiedpainting with Robert Gwathmey, John Heliker, Hans Homann,
Carl GustavNelson, and Hale Woodru at the Art Students League and
elsewhere. Hereceived undergraduate and graduate degrees rom New
York University.In 1960, the artist took up permanent residence in
New Haven to accept ateaching post at Southern Connecticut State
College (now University), andthereater kept a second studio in Deer
Isle, Maine. For decades, Fussinershighly individualistic landscape
and fgural compositions appeared beorethe public in a steady stream
o one-man and group shows. Alwayssubjects o ascination, these
paintings were praised in the press or theirexuberance o
light-flled color, and expressive brushstrokes [that] burstorth.
But they are ar more than appealing treats or the eye. As
oneperceptive critic put it, Fussiners images possess a unique and
persuasive
power instilling in the viewer a rush o
metaphysicalexperience.
This exhibition, the frst since the artists death, not only
demonstratesMr. Fussiners thematic range, but also explores a
distinctive aspect ohis creative approach. Over the course o his
career, Fussiner journeyedin Europe and the United States to sites
that had inspired some o thepioneers o Western painting. Back in
the studio he depicted those placesanew, producing highly original,
modern canvases and works on paperthat enter into dialogue, so to
speak, with artistic representations by pastmasters. Fussiners
landscapes eaturing Mont Sainte-Victoire bear thepainters unique
stamp: resh in conception, their quirky colors and lyricalcontours
ensure that they could never be conused or the work o anyother
painter. Their theme and structural properties, however, invoke
PaulCzannes classic interpretations o that same towering rock, with
whichthey seem to engage in thoughtul interchange. Similarly, the
artists highlyabstracted and arbitrarily tinted depictions o
Salisbury Cathedral and theEnglish countryside call up and
seemingly comment upon classic versionso those same themes by John
Constable and John Sell Cotman. EvenFussiners idiosyncratic
renderings o his beloved Maine coast, his oddlyo-kilter fgural
compositions, and his whimsical, subtly autobiographicalparade
paintings seem redolent o images made by masters rom araway and
long ago.
In no way are Fussiners paintings derivative o any other art or
artist. Animportant element o their artistry is their
evocativeness, their thoughtulengagement with certain longstanding
visual touchstones, a eature bywhich they, in eect, bring the past
into conversation with the present.Perhaps that is what the critic
meant when he described Fussiners imagesas capable o stirring
metaphysical experience.
David A. LevineProfessor of Art History, Southern Connecticut
State University
Seastack, Prince Edward Island2002
40 x 49
Lifeguard, Marin Country2002
40 x 49
Sand Beach, Low Tide1999
40 x 49
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Scout Scar, Lake District199940 x 49
Fish Creek Cove, High Tide199840 x 49
Torrey Pines NaturePreserve, Yellow1992
40 x 31
Looking Toward Oak Point2000
40 x 49
Salisbury Cathedral II(From the Meadows)
1985
Landscape, Umbria1996
40 x 31
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Deer Isle Parade, with Dogs& Brown Horse38 x 48
View of the Thimble Islands1995
13 x 15
Deer Isle Parade200040 x 49
Rock Beach with Figures30 x 40
Bathers Maine Coast46 x 56
White Light1985
40 x 49Red Rocks, Blue Sea
198116 x 18
Main Beach, Dusk18 x 21
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40 Mechanic StreetWindsor, CT 06095860-688-2528
Exhibition Hours:
Thurs. 6 8 PMSat. 10 AM 4 PMSun. 11 AM 4 PM
WINDSOR
ARTCENTER
Howard Fussiner: Paintings & Works on Paper
is made possible by the generosity o:Sheraton Hartord Hotel at
Bradley Airport
and individuals rom the Windsor community.
Visit windsorartcenter.org
