Arts
Color Schooled: The Lyrical Flight of the Fantastical Art of Barbara Januszkiewicz
Influenced by the work of the Washington Color School giants of the 50’s and 60’s

By Kelly MacConomy
ALEXANDRIA, VA – A new body of work from Arlington artist Barbara Januszkiewicz is on exhibit at the Athenaeum on Prince Street in Old Town. The show, sponsored by the Northern Virginia Fine Arts Association and the Alexandria Commission for the Arts, is a hallmark exhibit for Alexandria and a harbinger of more world-class artists being drawn to the expanding exhibition opportunities and out-of-the-box art spaces here. Exciting public art projects in the pipeline show that great things are in store for the enthusiastically supportive arts community in Port City.
The Athenaeum is perfectly suited for the event: towering acrylic canvases hang from the high ceiling of the classic-revival architectural style space. The Athenaeum is steeped in history, having been built upon land originally owned by Lord Fairfax and surveyed by George Washington. The space is a cobblestone’s throw from historic Captain’s Row, making it one of the oldest parts of Old Town.

Entering the doorway dating to 1852, one is greeted by massive waves of color and light. Influenced by the work of the Washington Color School giants of the 50’s and 60’s, Barbara’s canvasses virtually sing as if in a chorus of color accompanied by a symphonic movement of illuminated vibrancy and masterfully expressive tonality. Barbara was a friend of the late Hilda Shapiro Thorpe, a member of the original Washington Color School artists group, who mentored her over 20 years ago — slowly transitioning from narrative painting to abstraction.
Barbara’s early work in watercolor on paper was transposed into her use of use of acrylics on canvas. The effect is visible in the translucency of her work. Mastering the veil technique pioneered by Washingtonian Morris Louis, Barbara works uniquely both flat on the floor and vertically. Unlike Louis, who employed a drip method, the canvases have texture and evidence of skilled brushwork.

There is intensive deliberation in the fluidity of the layering, orchestrating a chromatic scale of contrapuntal color juxtaposition. “Powerful” fails to fully convey the poetic punch of the diaphanous movement, creating an interplay between the fluid ethereal veiling and the pizzicato excitement of the composition. Like unseen winds blowing across the canvas, capturing the color of sound.
In Barbara’s reinvented color-field technique the legacy of the Washington Color School continues, not only by channeling the monumental veil painting of Morris Louis and the boundless, frame-defiant undulating canvas works reminiscent of Sam Gilliam (next to whose work Barbara has been exhibited) but in reviving The Washington Color School Group itself.

