Memorials and Tributes
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"New Mexican artist Arthur Sussman was a good friend for over 30
years. ... We have many of his works in our home. ... New Mexico has lost one of its treasures and I have lost a good friend."
- Jim B., New Mexico (click
here to read Jim's blog entry from January 11, 2008)
"Arthur was one of the smartest and most interesting people I ever
met. His paintings are brilliant, and he was often willing to talk about
his interpretations of the bible and why he created certain pieces the
way he did. He saw things differently from the rest of us, and his
paintings seem to change as we learn and grow over time. If you look at
any of his pieces closely, you are sure to see something that you never
noticed before."
- Shelly L., New Mexico
Arthur Sussman's work is characterized by a sense of power: the power of line, the power of brush-stroke, the power of color.
His early paintings, dark-hued and highly varnished, evoke an intensity reminiscent of late medieval painting. The intensity of the early works evolved into an energetic style, epitomized by Sussman's biblical-themed works and his more recent "Blue Feather" series. In paintings like "Jacob Wrestles the Angel" and "David and Goliath," or graphic works like "David's Dance," the artist makes effective use of open space within the field of the work, allowing the eye to concentrate on the action defined by a line etched frantically onto the surface, or brushed with controlled force onto the ground of a panel.
There is a mysterious quality to much of Sussman's
work, a characteristic heightened by the artist's use of
wash, together with oil and graphite. His subjects carry
an inherent mysteriousness: biblical figures, familiar
from ancient texts, yet remote from our daily lives;
an American Indian, isolated, instinctual, bound intimately
to the natural world of which he is a part. Sussman is
successful in capturing the attention of his viewer through
the romantic mystery of his subjects; yet once caught, the
viewer is struck by an unanticipated sense of the familiar,
of being touched by the essence of the subject portrayed.
It is in this paradox of merging distance with proximity,
aloofness with intimacy that Sussman's painterly powers are
realized.
- Alice M. Greenwald, Director, Museum of American Jewish History
(click here to see Ms.
Greewald's original letter)
What the Critics Say
Note: This text is copied from Arthur Sussman's Curriculum Vitae and included here for the reader's convenience.
Sussman's mastery of his medium is evident throughout. Time Magazine wrote of him: " ... a technique producing effects reminiscent of 17th Century old masters." With this capability of hand his "figures seem to be moving in some form of abstract choreography," as written in the Phoenix Gazette. The Herald Tribune characterized his paintings as "impressive for its seriousness of purpose and skill of execution." Art News wrote, "recognizable images painted with the color (and care) of the Flemish Masters, are like memories hovering at the edge of the biblical events depicted."
Arts Magazine wrote, "Sussman handles his subject with power and bite." The Christian Science Monitor said, "suggesting the baroque, his interplay of forms and multiple veiling make his paintings unique." In the Jerusalem Post, the critic said, "Sussman presents a forthright, aesthetic approach restrained by reverence for the subjects depicted."
American Artist, in a seven-page review, said his paintings "are touching the viewer with a subtle sense of time or motion that transcends the purely visible impact of the work." The Miami Herald wrote, " ... the forms and combination of forms are interesting. Also, the painting technique is strong and the whole approach is human and sincere." Whenever his work goes up for view in major cities, the reviews are consistently strong. The Albuquerque Journal, "He channels his imagery," " ... paintings, drawings and prints transcend the boundaries of illustration."
