Those like the late Albert Boime, the famed art historian who has recently expounded on the phenomenon of abstract romanticism, have been inclined to appreciate a pure abstraction without significant figurative content. I am not as interested in pure abstraction but rather in gestural marks with the brush that indicate figures and "placeholder forms" that can be elaborated further, into narrative and or realism while maintaining their romantic character:
"The Judgement of Paris"
In this I consider myself closer to the original program of the I Macchiaioli group, namely using the "spot" or "gestured spot" and the element of spontaneity to achieve an esthetic that has life and texture but not to betray the revolution, in particular, depicting unadorned social reality as being the principal focus of visual production.
"Esther Before Azureus"
Nevertheless, history and mysthological (include biblical) narrative provides an opportunity for a kind of playing at forms and romantic color to evoke a feeling of grandeur as well as a certain gravitas, regarding the profound story, the playing out in fantasy and imagination, some deeply mysterious yet beautiful portrayal.
"Tintoretto Study"
Here is an interesting note on Tintoretto.
in color:
