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Selections by Aaron Bohrod of his paintings

Taylor, John Lloyd
Introduction to Aaron Bohrod exhibit (Madison Art Center),   pp. 4-5


Page 5

 
a way of seeing the actual character of his subject that he had not previously
realized. His task was to reconstruct the object on a two-dimensional surface
in a manner so as to suggest the very essence and feel of the real object
- 
the trompe-l'oeil (fool the eye) technique. This marked the beginning of
his 
so-called Magic Realism, still-life style, and he has to this day remained
its 
chief exponent. 
      The fascination of Bohrod's still-life painting has many manifestations.
For some it is the extraordinary craftsmanship that allows him to give a
three-dimensional effect to an object as a two-dimensional surface. For others
it is the highly complex symbolism of Magic Realism that is sometimes obvious,
sometimes baffling, always thought provoking. For yet others it is the sheer
enjoyment of seeing well composed paintings. No matter what the reaction,
however, one cannot help but respond to a common denominator, if it may so
be 
termed, consistent in all of his paintings - an acutely observant sensitivity
to the object. 
     Aaron Bohrod's place in the history of twentieth century American art
has thrice been established: as a social realist, as a war artist, and as
a 
still-life painter. With the latter, he departed from the main-stream movements
of modern art for a style in whichhe could say what he wanted to say in a
manner 
of his own choosing. And this is, after all, what is really important in
the end. 
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