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.
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.
