The Move To Abstraction
By the 1940s, Feitelson had developed the use of biomorphic or “Magical” forms. “In his Magical Forms, Feitelson began to paint more abstractly but retained the shallow space and modeling of his post surrealist work." These evolved into a more formalized visual language in the ‘Magical Space Forms’ series of the 1950s and 1960s and culminated in the elegant figurative minimalism of the ‘Ribbon’ paintings in the 1970s; “pure gesture that engages the viewer with the intimacy of an embrace.”
Gallery owner Joan Ankrum represented Feitelson and wife Helen Lundeberg for three years in the 1960s, until Feitelson claimed that she was using his work "as window dressing." Ankrum described him as a "brilliant, brilliant man," yet somewhat arrogant in personality and teaching style. Feitelson taught life drawing classes at what is now the Art Center College of Design relocated to Pasadena, where he taught until his retirement in the late 1970s.
Read more about this topic: Lorser Feitelson
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“Before abstraction everything is one, but one like chaos; after abstraction everything is united again, but this union is a free binding of autonomous, self-determined beings. Out of a mob a society has developed, chaos has been transformed into a manifold world.”
—Novalis [Friedrich Von Hardenberg] (1772–1801)