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Clarice
Smith Reprising a quarter century of work, this exhibition, "ReCollection 1978-2003," demonstrated that Clarice Smith is well -versed in art history. Employing a vibrant pallete, strong brushstrokes, an exquisite sense of design, and a perceptive eye, she creates oil paintings that borrow from many artistic traditions. Some of Smith's best works here were formal portraits of family and friends, often set against colorful, decorative backgrounds. Her views of Venetian Canals and bridges and bridges, in which she uses energetic brushwork to convey the singular ambience of the city., were also compelling. In Cap Ferrat (1991), dense, gnarled tress arching above a patio set, frame an inviting glimpse of the sun splashed Mediterranean. Smith creates a palpable sense of tranquility. She presents flowers in decorative, often elaborate arrangements, exemplified by Serene Green (1998), in which a lavishly adorned vase complements a burst of effulgent blooms. Smith clearly has a special feel for equestrian subjects, whether set in the Virginia hunting country or at the racetrack. In several of her most powerful works, she takes the viewer into the thick of competitive horseracing. Two thoroughbreds under the whip thunder straight at us in Two Jockeys Front (1995), while five steeds in profile strain for the lead in Jockeys II (1987). Vigorously painted and reflecting a keen knowledge of the anatomy and posture of horse and rider, these works effortlessly conveyed the tension and excitement of the race. Smith's familiarity with high society is reflected in the particulary striking Cocktails (2002). here, a group of rather stiff, formally dressed figures dressed figures mingle, drinks in hand, in an elegant setting. Smith sets the scene just right, from the ladies' delicate handbags and glitzy gowns to the detached body language and bored expressions of the crowd. -
Stephen May |