Gallery Going, by DAVID COHEN  

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A version of this article first appeared
in the New York Sun, May 1, 2008 under the heading "Dodd and Berthot, Untraditional American Traditionalists"

JAKE BERTHOT: Notes from Notes to Myself
Betty Cuningham Gallery

LOIS DODD: Landscapes and Structures
Alexandre Gallery

Jake Berthot Old Logging Road off Mills Wetland 2007
oil on linen, 29-5/8 x 37-1/2 inches, Courtesy Betty Cuningham Gallery
Cover MAY 2008: Berthot April 2006, oil on linen over MDB board, 26-3/8 x 29-3/8 inches, and Lois Dodd Hatmatack Shadow 2007, oil on masonite, 11 x 14-3/4 inches

Lois Dodd and Jake Berthot are two painters who respond to landscape within what could be deemed American traditions. Neither would mind being called maverick in terms of individualism and of a willingness to buck trends. And each in his or her way could be called conservative, painting rural places in which they live and work, drawing on forms that elicit warm feelings of comfort and familiarity. And yet they look like – indeed are – fundamentally different kinds of artists.

Ms. Dodd is the subject of a survey of paintings from 1969 to the present that deal with properties at two locales: Maine, where she has painted summers since the 1950s, and the Delaware Water Gap, where she also keeps a place – she is a native of New Jersey, born in Montclair in 1927. Her style has remained remarkably consistent across her career, though on the evidence of this show there has been a slight loosening of the tight, slow, meticulous handling of the 1970s, to the present, more succulent, brushy painterliness, redolent, as it happens, of her earliest style.. The defining characteristic remains a light, fresh, keenly observed realism, in a touch that is personal without resorting to expressionism.

Mr. Berthot is showing new paintings and drawings within what is now his familiar idiom: treescapes in wistful, muted tones that hover between the empirical and the ethereal. These are executed on his land in upstate New York. Mr. Berthot, who was born in 1939, forged his initial reputation as an abstract painter before a surprise turn to landscape in the mid-1990s. Bridging the divide between his abstraction and his return to depiction is a highly restricted palette of grays and browns that is earthy and somewhat lugubrious. Another unifier of his two modes is a sense of tight construction. Geometry, a strong force in his abstraction, continues to inform his realism, most overtly in the drawings in which the page is gridded in elaborate and fluctuating criss-crossed lattices.

The distinct difference of surface between these two artists is telling. Hers are essentially open — especially in recent paintings — with brushstrokes allowed breathing space. His, on the contrary, are sealed in – quite  literally, with dollops of varnish rendering the surfaces treakly, tricksy, ambiguous.

Lois Dodd Romona's Garage 1986
oil on masonite, 16-7/8 x 18 inches
Courtesy Alexandre Gallery

The pervading sense in Ms. Dodd, both in the nature of marks and the quality of her perception, is of honesty. The quintessential Americanness of her vision has to do with what fellow painter Robert Berlind has compared to the Shaker notion of the “gift to be simple,” making for images that are homely and plainspoken. Mr. Berthot, on the contraryconjures a visual wizardry. There is a metaphysical quality to his work, as if his trees are stand-ins for a quasi-religious vision of nature, of a higher order.

This is not to say, however, that Mr. Berthot is the mystic to Ms. Dodd’s humdrum pragmatist. In fact, there is, if anything, a much stronger sense of the true mystery of nature within Ms. Dodd’s close observations of it — both its quirks and the overriding interconnectedness of growth patterns, including the relationship of nature and human structures — than in Mr. Berthot’s neo-romantic tree worship.

Both artists engage in a significant degree of abstraction within their realism in the sense of excluding extraneous detail and homing in on what they take to be essences. But with Ms. Dodd, the essence is always linked to stuff that is actually observed, to sensations experienced. With Mr. Berthot, the mystery is a priori; the point of the painting is to hammer home the artist’s visionary status.

Ironically, while Ms. Dodd takes greater liberties with formproducing paintings that are proudly modernist in their celebration of their own flatness and insisting on being surfaces covered in gestures and materials that have life of their own, her brushstrokes and color decisions are always perceptual, linked to things seen. You really sense that her vision comes from a lifetime of seeing. His, on the other hand, is conceptual, making manifest its maker’s origins in abstraction. This is not in any way to diminish the integrity of his depictions of specific places on his estate,  signalled by titles like “Old Logging Road off Mills Wetland” (2007), which has a credible sense of space, of actual trees in their actual locations. But the local decisions all feel studio bound, and linked to a symbolic vision of what his painting means, rather than of what a given painting depicts.

Ms. Dodd’s style is familiar to followers of American painting for its similarity to other painters — it is tempting to say that she has found a niche for herself between older artists such as Milton Avery and Fairfield Porter and her better known contemporary Alex Katz. This can be defined in terms of clean fresh palette, open brushstrokes, fondness for American vernacular scenes, and addiction to strong light. But to imply that these male artists necessarily forged this style and Ms. Dodd merely adopted it would be a submission to prejudices of gender and reputation. And it would be to overlook that Ms. Dodd has found as personal and distinctive a way to work within this style as the others, which in her case has to do with an inexhaustible curiosity about the myriad textures, shapes and forms of the perceived world. The gap between reality perceived and the artifice of her adopted means of capturing it generates, in Ms. Dodd, an endearing mix of humility and humor.

Cézanne clearly looms large over Mr. Berthot’s style. From the French master, he takes feathery brush strokes, a correlation of nature and geometry, and a close-knit palette. As an abstractionist, Mr. Berthot had been led from Cézanne to Cubism; as a neo-romantic, in his landscape idiom, he reverts to French and American pastoral modes. There are hints of Turner, Corot, or Pinkham Ryder but his quiet, sombre, heavily worked, obfuscatory, elusive surfaces are more likely to trigger memories — painful or happy depending on one’s taste for Victoriana — of American tonalists like Blakelock and Innes. And Mr. Berthot’s work in this old fashioned mode is entirely in earnest, free even of the kind of irony that might give his anachronistic idiom a radical twist. These two artists represent the difference between wholesome and dubious conservatism. Ms. Dodd chooses a frank, straightforward, accessible — for her and us — painterly language which opens up the perceived world for fresh description.  Mr. Berthot, on the other hand, taps a safe, received taste for 19th century romanticism which skips perception in favor of mystification.

Berthot until May 10 (541 W. 25th St., between Tenth and Eleventh avenues, 212-242-2772).

Dodd until May 29 (41 E. 57th Street, 13th floor, at Madison Avenue, 212-755-2828).











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