L to r: Derek Jeter, 2000; Joe DiMaggio, 1936; Ted Williams, 1939
As the morning receded and I struggled with the bog
of pigment and linseed oil that now lay thick on my masonite panel, I stopped to survey the progress of my
peers. One image commanded my attention and held it
fast. The ripe, vibrant fruit seemed to glow and bounce
off the masonite panel, the colors so rich and true that
one might have licked the paint off the very surface to
prove to himself that it was in fact a painting and not the
succulent object itself. In the act of immortalizing their
brief existence on Earth fully formed, the artist had imbued these simple, seemingly inconsequential subjects
with an air of dignity and grace, and originality of style.
Largely influenced by his friend and mentor, Peter Fiore,
the landscape artist and former President of the Society
of Illustrators, Kreindler���s singular style has noteworthy
inspiration. Sargent, Eakins and Sorolla partly inform his
color use, values, tones and the handling of paint. The
narrative element of Kreindler���s work finds precedent in
HYLAND
