exhibitions

Sylvia Schuster
Colossal Heads

It's easy to feel sometimes that drawing has become a forgotten art. Chances to see fresh material firmly rooted in the lineage of da Vinci, Rembrandt, Rodin and Picasso are rare. Serious artists today seldom attain that certain balance of precision and panache, both in line and modulated shadow, which so clearly bespeaks mastery of the discipline.

Which makes the discovery of Sylvia Schuster so exciting. The exhibit of her works on paper, at the National Academy of Sciences, is a stunning testament to this young woman's talent, energy and inspiration. The show is comprised of scores of drawings, all large, in several media.

Almost all depict the human form. Heads predominate. Colors are sparse, muted or absent.

Any attempt to categorize her "style" would be awkward; she's a little too big for pigeon holes. Whole sections of the show reveal a passion for presentation of the human architecture. One is reminded of Henry Moore. Another genre - torn and re-glued scraps of watercolor paintings - brings to mind the solid, black outlined oils of Rouault. Still others, by virtue of exquisite rendering, put the viewer in the presence of some human personality.

Schuster explores minimalist compositions, gestural release, formal portraiture of classical busts, and any number of other creative avenues. None of these forays are derivative or unsure. And yet there is a cohesiveness to the exhibit, which is credited to curator Fredrica Wechsler's sensibilities.

Sylvia Schuster draws like an angel, and should be appreciated by a very wide audience.

Washington Review, Museum and Galleries,
Sylvia Schuster: "On Paper"
A Master of Precision and Panache
Jeff Hoodock
February 1995

Sylvia Schuster in front of the Colossal Heads
1995
Unknown photographer


Past Exhibitions
Aerialscapes

Gregory Forstner: Study for an American Archetype

The Long Fight for Kawtoolie: Portraits from the Jungles of Burma

America: The Third Century

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