Aharon April’s artistic journey was deeply rooted in a rigorous academic foundation, honed during his extensive training in Russia, particularly at the prestigious Surikov Art Academy in Moscow. He consistently emphasized that this long and demanding education, which involved years of dedicated painting and drawing, was absolutely essential.
For April, skill was foundational to art, and drawing was an incredibly important element in studying both art and ancient history. This belief underscores that while his later work became celebrated for its expressive color and often dissolving forms, it was always built upon a solid understanding of structure and composition.
Evidence of his profound engagement with drawing can be seen throughout his practice. He meticulously created sketches and drafts.
Furthermore, in his finished paintings, especially where forms beautifully dissolve into vibrant color, critics note that the line can “outlive itself,” with sometimes just a charcoal mark peeking through the layers. This subtle presence acts as a hint or a sign of a vanished figure, suggesting that drawing wasn’t merely a preliminary step but an underlying structure, an initial exploration that remained visible within the final painted surface—a true testament to the drawing process being integrated directly into the painting itself.
While April could effortlessly turn towards abstraction and often allowed forms to be suggested rather than strictly delineated, he fundamentally remained a figurative artist. His mastery of drawing provided the essential skill needed to render the human figure and other recognizable subjects with precision, even when they were presented in a dynamic or ethereal manner within his expressive compositions.
In essence, drawing for Aharon April was far more than just a preliminary step; it was a vital part of his artistic language and a powerful testament to his unwavering belief in the importance of craft, underpinning his profound exploration of form, memory, and the captivating interplay of light and color.
Within the expansive breadth of Aaron April’s artistic explorations, the depiction of the human figure, including instances of nudity, consistently appears as a significant element. While not a standalone primary theme, its presence is deeply interwoven with his mastery of light and color, his exploration of memory, and his profound engagement with biblical narratives.
April’s canvases often feature the human form, both nude and semi-nude. Felix Roziner, commenting on April’s works from Jerusalem, specifically highlights “lovely feminine forms” and the intense light that illuminates “naked bodies of lovers,” attesting to the deliberate inclusion of the nude in his art.
Biblical narratives, which April viewed as the “very fabric of today’s life,” frequently provided themes that inherently involve or imply nudity. His depictions of stories such as those related to Lot’s daughters or Potiphar often incorporate elements of the nude, serving to reinterpret ancient tales through a contemporary lens. Furthermore, reviewers note the presence of “erotic scenes” within his “memory stains,” suggesting that these figures served to explore aspects of collective and personal memory, potentially embodying an “erotic force” as a universal driver of change and becoming.
Fundamentally leaning towards figurative art, the human figure was a regular and vital component of April’s compositions. His artistic practice included working extensively with models, a common approach that involves studies of the human form, both clothed and nude.
In his later works, particularly those created in Israel, April’s unique style is defined by a dynamic interaction with intense light and a powerful, vibrant use of color. His rendering of the figure, including nudes, directly reflects this approach. Forms often emerge from or dissolve into layers of paint and color, suggested through the interplay of light and hue rather than solely through precise lines. This technique underscores the emotional and symbolic depth he aimed to convey, with the intense Israeli light actively interacting with and illuminating these figures. The very “battle” between painterly components – including forms and colors – contributes to the viewer’s perception.
Ultimately, in Aaron April’s art, the depiction of the nude transcends simple representation. It serves as a potent means to explore profound themes of love, memory, biblical narratives, and spirituality, seamlessly integrating the human form within his signature expressive style and his intense, transformative engagement with color and light.
