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.
Aaron April’s artistic exploration extended to the realm of portraits, where he captured not just the likeness of individuals, but also their essence. These works are often grouped among his “quite realistic or relatively realistic works with understandable plot,” offering viewers a direct engagement with his subjects.
Among his portraiture are intimate depictions of his relatives, revealing a personal connection to his subjects. His esteemed colleague and friend, the Russian painter Dmitry Zhilinsky, specifically lauded April’s portraits, recognizing their unique quality. While aiming for verisimilitude, April’s approach to portraiture transcended mere external appearance. He employed a distinctive method of “seeing from within” his subjects, striving to reveal something fundamental and characteristic about them. This inward gaze allowed his portraits to become more than just representations; they became profound insights into the human spirit.
