Aharon April’s Artistic Vision
Aharon April perceived his artwork as fundamentally a mirror of his soul. The creative process, for him, was about expressing the internal “volcano of feelings” or the “symphony of colors” he perceived. He valued artists who expressed themselves authentically on the canvas and allowed the finished work to communicate directly to the viewer.
Drawing inspiration from the poet Joseph Brodsky, April posited that every true artwork had to contain three core elements: rational, objective, and individual. The most vital of these, in his view, was the individual component, which represented the “soul” or the “mystery” within the piece. This element of mystery was crucial because it prompted the viewer to “co-participate” with the artist and to experience the work on a deeper, more profound level, moving beyond mere recognition of the depicted subject matter. He admired masters like Giorgione for this quality of mystery in their work, which he believed required time, taste, understanding, and preparation to fully appreciate. Salvador Dalí, another artist April referenced, also placed a high value on “mystery” in his assessment of artists, giving top marks to figures like Leonardo da Vinci and Velázquez for this quality.
April placed significant emphasis on the importance of process and craft in art. He acknowledged the inherent difficulty in determining precisely when a work was truly finished, noting that experience aided in discerning the right moment to stop. Sometimes, a piece needed to be set aside (“face to the wall”) and revisited later with a fresh perspective. He believed that an artist had to “sweat a lot” in their practice and actively cultivate their artistic taste. For April, the true artist had to possess genuine belief in what they were creating, prioritizing this inner conviction over potential financial gains. He considered time to be the ultimate arbiter of an artwork’s quality and regarded the notion that a painting’s value was solely dictated by its price as a “killing approach”. His own writing criticized the idea that “Art does not come from skill,” arguing that skill was foundational. He believed theories in art were only valuable if they were based on the experience of masters. He also noted that a work conceived and executed strictly according to a predetermined plan was likely to be mediocre or below average.
His artistic vision was profoundly shaped by a combination of significant biographical events, influences, and extensive training. He listed El Greco and Vrubel as masters who influenced him personally and artistically. Early in life, a powerful encounter with a reproduction of Ryabushkin’s “Russian Women of the 17th Century in Church” was a formative influence that helped set him on his path. His initial artistic training was in Russia, including the “1905” Art School and the rigorous Surikov Art Academy in Moscow from 1954-1960. He emphasized the necessity of this long and rigorous training (described as 10-8 years of painting and drawing) in providing him with “strong self-confidence.” He learned about masters through books and reproductions, but stressed the importance of seeing their works in person in major European cities, which he did later in life. His experiences of deportation to Siberia at a young age, living and working in harsh conditions beyond the Polar Circle, likely provided early impressions reflected in his work, such as the bleak colors of the northern land. He faced a second deportation to Yakutia just before the “Doctors Plot.” Despite these disruptions, he was able to return to Moscow and study at the Surikov Institute after presenting his work.
A pivotal biographical turning point that dramatically impacted his artistic vision was his move to Israel in 1972. He described this transition not as emigration, but as “ascension.” In Israel, he felt that many previously held criteria had to change, transforming axioms into theorems and vice versa. He felt he became a “different artist,” gaining “new breath” and a “new vision of the world” born on this ancient and great land. A central element of this transformation was the unique Israeli environment. The unique Israeli light specifically and significantly influenced his palette, making his colors cleaner and nobler. Working directly from nature in Israel helped him harness this light. He personally stated that the light in Jerusalem was “unique – sometimes even cruel” and “actively interferes with painting,” feeling it could “kill the colours.” His declared goal was to “win this contest with the light.” Reviewers noted that he didn’t just conquer the light, but that “he himself is that light,” that he succeeded in the battle, and even “stole the light from heaven and placed it within his canvases.” The land itself was seen as crucial, contributing to the revelation and spirituality evident in his art. His work reflected an “ascension” towards a high spirituality that he viewed as universal.
April was also notable for his mastery and approach to different techniques. He worked proficiently in both oil and watercolor. He challenged the common perception that watercolor had to be executed quickly, demonstrating its capacity for complexity and “monumentality.” He explicitly stated that painting watercolors took him a longer time than painting with oils. His approach to the luminescence of color was key in his watercolors, which were seen as succeeding in rendering the internal light of the pigment, allowing the viewer to be enwrapped by melting desert colors. Changing between techniques like oil, watercolor, and acrylic provided him with a sense of freedom. He spoke of the “mystical essence of color” and the importance of “honest colors,” seeing color as an inexhaustible source of artistic power. His Israeli period was characterized by vigorous, comprehensive, multicoloured, energetic, and passionate paintings. The essence of his work was described as the “violence of colour and its perception,” with colors “fighting each other or embracing each other.”
His vision also encompassed strong views on art education, believing in thorough training grounded in the works of past masters rather than an overly emphasized search for novelty. He noted the difficulty in explaining why certain images appeared in his work, with titles often given only after the work was finished. His method involved “seeing from within” to reveal something essential about his subjects. While leaning primarily towards figurative art, he made an easy turn into the abstract, especially in his watercolors, and often combined the two with precise tact and a rare feeling for genre. He aspired to combine the static nature of plastic arts with dynamics, offering the viewer a unique “existence” within a flowing, concentrated sense of time characterized by deep emotional coloring.
His art frequently depicted biblical subjects, which he viewed not as mere historical stories but as the “very fabric of today’s life.” Jerusalem, his home in Israel, was seen as his “motherland” and “spiritual and geographic refuge,” connected to the ancestral memory. His work often included strange, elusive images and figures that emerged from collisions and layers of paint, including animals that critics had linked to childhood fears. The dynamic interplay of forces, even struggle or strife, was seen as a universal factor of change and becoming, perhaps embodying an erotic force.
April’s art was often described as a series of riddles or a tapestry rather than a strict narrative, requiring the viewer to actively participate in constructing meaning and identifying images that emerged. Visitors to his exhibitions noted that his art prompted reflection and encouraged viewers to “Think, people, learn to see!” The interaction with his art was seen as an “испытание для зрителя” (a test or trial for the viewer).
Aharon April’s contribution to the art world is significant and multifaceted:
Creation of a Unique and Profound Body of Work: His most direct contribution is the creation of a substantial body of paintings and watercolors that are a deeply personal and spiritual expression of his inner world and feelings. His art is characterized by its inherent sense of mystery and soul, actively engaging viewers by inviting them to “co-participate” in unraveling its layers. Critics describe his works as a “chain of mysteries” and note that his method is one of “seeing from within” to reveal something essential. His art deliberately “leaves space for mystery, for enigma.”
Synthesis of Artistic Traditions: April’s work uniquely blends the rigorous academic foundation gained from his training in the Russian “Surikov School” with the transformative influence of the vibrant and challenging environment of Israel. This synthesis created a distinctive artistic language, marked by technical skill fused with a vibrant, spiritual dimension inspired by the land of Israel. He is noted as one of the few Russian painters for whom emigration proved artistically beneficial. His art is described as containing “so much Israeli.”
Technical Mastery and Innovation in Mediums: April is recognized as a master technician in both oil and watercolor. His particular approach to watercolor is notable for challenging conventional limitations, demonstrating its capacity for complexity and even monumentality. By working on watercolors for extended periods, sometimes longer than his oils, he achieves a unique luminescence and depth in the medium. His focus on the “mystical essence of color” and “honest colors” contributes significantly to the emotional power and vibrancy of his works.
Development of Symbolist Concepts: He took the ideas of Symbolism, particularly influenced by Vrubel, and developed them in a unique direction. Unlike earlier symbolists who sought separate metaphysical entities, April strived to achieve meaning solely through the interplay of the material elements of the painting – the signifiers. His interpretation shifts the focus to the material signifier as a catalyst for memory and the buildup of memory as a way to obtain consciousness, presenting a new definition of Symbolism grounded in the experiential process of painting and viewing.
Innovation in Representing Memory: His concept and artistic execution of “memory stains” provide a distinct method for depicting the fragmented, subjective, and cumulative nature of memory within the visual arts. The later incorporation of photographic elements further extends this approach.
Bridging Figuration and Abstraction: His ability to fluidly move between and combine figurative and abstract approaches within his work demonstrates technical versatility and a willingness to push stylistic boundaries to achieve his artistic goals.
Impact on the Artistic Community in Israel: A significant practical contribution was his active role in the Israeli art scene after his arrival in 1972. He was involved in the leadership of the Artists’ Association and played a key part in establishing and heading the artists’ village in Sanur. By providing workshops and an exhibition space, he offered vital support and a community for artists, including many who had emigrated from the Soviet Union. He also taught art at various academic institutions in Israel.
Extensive Exhibition History and Recognition: His work has been exhibited widely internationally. A major contribution to his recognition was his significant retrospective exhibition at the State Tretyakov Gallery in Moscow, which acknowledged his place in art history. Early in his career in Russia, his work gained notice, leading to a prize and acquisition by the Pushkin Museum. His painting “Sun, Air and Water” generated considerable discussion and and was labeled “revisionism” in Soviet painting by foreign media, highlighting its early impact. He received formal recognition from the Russian Academy of Arts, including a medal and honorary membership. He was also awarded the Ish-Shalom Foundation Prize in Israel for his contributions. His works are held in numerous museums.
Spiritual and Philosophical Engagement: Critics often emphasize the “spiritualism” in April’s art. His vivid and dramatic style is seen as reflecting the state of the contemporary world and offering “islands of clues” to help restore human consciousness, suggesting his work engages with profound existential and spiritual themes. His art embodies a sense of “ascension” towards high spirituality. His early painting “Execution” (1960), which depicted the forbidden reality of the Soviet Gulag, marked him as a “courageous painter” early in his career.
In conclusion, Aharon April’s contribution to art lies in creating a distinct body of work that is a powerful synthesis of rigorous classical training and the profound spiritual and physical landscape of Israel. His art, characterized by its technical mastery, innovative approach to color and memory, and inherent mystery, invites deep engagement from the viewer and reflects a lifelong journey shaped by displacement, resilience, and a search for spiritual truth. He provided not only significant artworks but also played a crucial role in fostering an artistic community in his adopted homeland.
