Los Altos, CA (PRWEB) July 28, 2011

Gilbert Marosi rejects the standard approach to painting a portrait. Most portrait artists are slaves to rendering a totally accurate representation of their subject. Marosi's intent is totally opposite. As an illustration, take the painting "A Street car named desire."
The clashing color field scream tension, rage, violence. Brando exudes sexual power and Vivian Leigh a helpless waif powerless in the arms of Brando. This painting leaves one with a vibrant feeling of indignation at the ruthless man who takes his woman as he pleases.
Marosi has spent years painting abstracts. According to Marosi "This demands a skill totally unrelated to that of a portrait painter who is essentially in a cage." "To paint a portrait the artist must be finely attuned to all the fine nuances of the flesh." "To paint an abstract one must be wild, uninhibited." "The artist must be able to slash his way through a painting, close his eyes and let go." "The result will be apparent if it is good, and if not, the artist must dance, weave, slither through the painting until it, as a living entity, tells the artist it is done."
In the painting "The Postman always rings twice," the blue strokes in Nicholson's shirt says the climax has been achieved, the brute is now at rest.On the other hand, Lange's paint strokes vary from hot to cold, thereby portraying the ambivalence of the master woman. The abrupt color changes through the painting represent a symphony of human desires.
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