Form and Color
Rhythm and Lyricism
|The only relation to the
classical scheme in Fontaine's motifs is the memory that certain shapes satisfy us long
after the iconographical meaning has been forgotten. Thus he uses constructions of
identifiable geometrical shapes which overlap in plane upon plane or unfold with no
pattern or rule to follow other than a harmonious rhythm all their own.
example, the "Cliffs" rhythmic classic counterpart was both in the suggested
diagonal lines of force of Greek heroes and the overlapping of folds of drapery. What
appeals to us is the feeling of infinite possibility through the implied future in
movement. The painting wears well because of the subtle variety of color tones and shapes
of planes which move in and out in shallow depth.
Fontaine's lyricism finds response in our imagination and his use of the Chinese
brushstrokes creates a basic sensual sweeping motion which gives his paintings authority
Acrylic on Canvas, 59"x40", 1969 ?
The lyricism is not as unbounded as Dionysus's irrational element in human
nature. Fontaine's fundamental rhythms may suggest the vital forces breaking through the
earth's crust, the symbols of rebirth or resurrection.
Color and Notan are the elements that excited Fontaine the most. Fontaine
instinctively used color to its fullest potential. Fontaine said the color defines the
"spiritual intent"- - sometimes in a sensual Romantic way, but always
controlling it so that the balance of the composition is not destroyed. His control of
color also controls our response to it. next