“So animate and vivacious a presence in American art…..we accede to his delight in boats, streets, piers, and flowers: all spinning about in a kinetic riot of sharp primary sensations. His paintings express the experience of living in New York City”.
-ArtNews, May 1961
Color and viscosity best describe De Hirsch Margules’ preoccupation as an artist. He sought to create a technique which would serve as a new artistic language for the third dimension of physical presence and a fourth dimension of time, using the balance of color and texture as a basis. His works have a transcendental quality about them, one which is inherent in both perspective and in medium.
Margules became an intrinsic part of the art world in New York City as early as 1929. His endearing friendship with Alfred Stieglitz, artist and major patron/dealer, allowed him the opportunity to meet and learn from some of the most renowned artists of the period: Stuart Davis, Jan Matulka, and John Marin. It was John Marin, a very accomplished watercolorist, who Margules looked up to as a mentor.
Margules created impactful works of brilliant vivid color with a viscosity that paralleled the overly applied works of the Abstract Expressionists. His works were aimed at recreating the psychological impact of the time of the day in tandem with expressing the tangibility of the objects represented. Such became known as “time perspective” paintings. Margules spent his career alternating between these paintings and his watercolors, but ultimately within the construct of both mediums, Margules was able to prove himself amongst his contemporaries as a master colorist, abstractionist and an explorer of the time continuum.
Within his lifetime career Margules had over thirty one-man shows, consistent representation at the Whitney Annuals from 1938-1956. His work is currently in the permanent collections of major museums such as the Whitney, Museum of Modern Art, and the Museum of Fine Arts in Boston to name a few.
Greater Than the Sum of its Arttm
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