Aaron April’s watercolors are celebrated for their remarkable depth and luminosity, frequently featured in exhibitions alongside his commanding oil paintings. Defying the conventional notion that watercolors must be executed quickly, April often dedicated significant time to these works—sometimes even more than to his oils—allowing for an extraordinary richness and complexity. His status as a significant watercolorist was powerfully affirmed by his notable 2002 exhibition at the Moscow Museum of Modern Art.
Within this versatile medium, April explored an extensive range of subjects, including profound spiritual themes, evocative landscapes, and intricate allegorical compositions. He was particularly lauded for his seamless ability to blend figurative and abstract elements with precise tact, demonstrating a nuanced mastery unique to his vision. Critics consistently praise his exceptional skill in rendering light and subtle color nuances, observing how his watercolors convey an “internal light carried by the pigment itself” and the mesmerizing “melting desert colors.” This exquisite effect, achieved in watercolor, was often considered more refined than oil for capturing the delicate, almost ethereal luminosity of the southern Israeli landscape. Masterpieces like “On the Eve of Shabbat. Converging on the Wailing Wall” (1993) stand as prime examples, showcasing his “amazing precision” in depicting both architectural structures and intricate figures with breathtaking clarity.
For Aaron April, biblical and religious subjects were not mere historical echoes, but the very pulse of contemporary existence. This theme stands as a central and recurring pillar throughout his entire body of work, reflecting his profound belief that “the living word of the Almighty, that of the kings and prophets has been woven” into the “very fabric of today’s life.” April possessed an extraordinary ability to discern biblical resonance even within the bustling reality of modern Israel and the world around him, stemming from an intuitive absorption of sacred texts.
His engagement with these themes was deeply spiritual, particularly intertwined with his life in Israel and his profound connection to Jerusalem. He regarded Jerusalem as his “motherland” and his “spiritual and geographic refuge,” a place intrinsically linked to the ancestral memory of the Hebrew people. This spiritual depth resonated powerfully with viewers, as noted by Dmitry Zhilinsky, who observed that April’s works concerning the history and life of the Jewish people captivated audiences, inviting them to “look at, feel, know, and understand.” Those with a religious background, in particular, often sought out and recognized “this image” within his art.
April approached these subjects with a “new style,” breathing fresh life into ancient narratives. Watercolors depicting scenes from the Scriptures were often a centerpiece of his exhibitions, notably his 2002 Moscow show, which aimed to convey the profound revelation he experienced in the land of Israel.
Within this powerful theme, April’s art often brings the battle between good and evil to the forefront, frequently driven by a dynamic “whirl of colors.” This struggle can be visualized with intricate forms, at times incorporating birds or insects. The concept draws parallels to Mikhail Vrubel’s “Demon,” where April’s serene light, emanating from the ancient rocks of Jerusalem, confronts a “frenzied kingdom” of dusky hues. Through the medium of painting, the profound emotional appeal of these narratives is transformed into enduring memory.
