The Valley of Dry Bones, 1956
It uses many of the techniques especially the running rhythm brush calligraphy of Abstract Expressionism Brad Swan, Providence Journal, March 4, 1956
The Plucker (The Chicken Plucker), 1953
The style settles itself into the range of modernism somewhere between Expressionism and Abstract Expressionism. Brad Swan, Providence Journal, March 4, 1956
Feldman invariably uses actual, recognizable subject matter. Brad Swan, Providence Journal March 4, 1956
Southwest Landscape, 1955
Feldman is fearless when it comes to trying to express his own emotional reaction in paint on any theme which has aroused his emotions and that fact gives these paintings validity and strength, and of course appropriately rhythmic line and color. Brad Swan, Providence Journal, March 1958
Thus one can discover a kinship between paintings of widely different subject matter - from Jewish ritual scenes to the landscapes of the American southwest and from the varied evidence there emerges the impression of a definite style - a style which is the personal property of this one artist." Brad Swan, Providence Journal March 4, 1956
The Sacrifice of Issac, 1955
This painting has a very muted color orchestration. It was done during a time when I was in constant pain and thinking of Job as a reflection of how I felt. This is my interpretation of Job wearing a prayer shawl. With the gray, black and olive-green colors, I was trying to express what Job had endured. Walter Feldman Interview, 2010
If you wish to see any of these paintings in this 1956 Providence Art Club Exhibition Online Viewing Room call ahead to Bert Gallery. Not all of these artworks are at the gallery but are readily available to transport from storage to Bert Gallery for viewing.
Contact Catherine Little Bert of Bert Gallery for an Inventory and 1956 Providence Art Club Exhibition Online Viewing Room Price List at email@example.com or 401.751.2628. These paintings are from the Walter S. Feldman Trust for Artwork, Brown University.