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.
A profound and distinct cornerstone of Aaron April’s oeuvre is his dedicated series inspired by the “Song of Songs.” This body of work, so significant that it warranted its own exhibition catalog in 1982-1983 (featuring an introduction by Felix Roziner and a letter from the artist), stands as a testament to April’s ability to translate ancient poetry into vibrant visual meditations.
April’s interpretations in this series are described as being in perfect accord with the beautiful biblical verses, inviting the observer to discover their own profound associations within the Old Testament imagery presented on canvas. These paintings are not merely illustrations; they are deep visual ponderings about life and love.
Felix Roziner eloquently describes these paintings as featuring “lovely feminine forms lit by an inner light, dissolved in the transparent watercolor.” This “inner light lives on beautiful profiles and naked bodies, shimmering and vibrating near the elusive brink,” powerfully echoing the poetic lines of the Song of Songs.
Roziner further illuminates the intricate structure beneath the seemingly free variations within the series, comparing the “Locked Garden” tetraptych to a Bach fugue. He highlights an “uninterrupted development of three ‘voices’: colour, line and the compositional equilibrium of the figure,” revealing a meticulously planned harmony and entirety that enriches the viewer’s experience.
April himself acknowledged his continuous return to the “Song of Songs” as an inexhaustible source of inspiration, underscoring the deep personal and artistic significance of this remarkable series.
