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| Selected Reviews & Critical Essays Thomas Lail- The Times Union, Aug. 1992 “A delicate balance exists in the works between the transcendant beauty that relates perhaps to Brice Marden’s paintings, and a more coolly analytic experimentation, but it is the cross pollination that is of particular note. Investing the rational with the poetic and the reverential with the analytic, Fintz opens up possibilities for resituating her work and if one follows, the metaphor, for much of our thinking.” Rich Kriener- Metroland Dec. 1994 If exhibitions were Broadway musical these (paintings) would be show - stoppers. They are grand, expansive, vibrant and generous and you’ll find yourself abuzz with them as you leave. Fintz’s use of color is brazen: the alternation, contrasts and transitions are dazzling.” “Fintz renders rhythmic abstractions that are casually analytic. They are smart but untroubled by insular theory, intellectual without being pedantic”. Ronny Cohen- catalogue essay, Sept. 1994. “Including colorful dots and blips and lines, the imagery in its open frame work seems to swing and sway before our eyes and impress a symbol of the forces of design and chance so instrumental in determining place in the universe.” “…impossible to ignore striking juxtapositions of shape and color … bring the compositions to that admirable level of evocativeness where formal relationships can be seen as metaphors of life, especially the curious complex of contradictions and inconsistencies so much the norm of our late 20th century experience”. William Yaeger, The Times Union Dec. 1994 ”Fintz means to create inner movements that are not merely pretty. By creating an orderly pattern, Fintz can draw attention to disruptions in that pattern. When you land off the beat or when you break or distort a rhythm people take notice. Think of those repeating chords in Beethoven’s Third or of the endless variations in bebop. We are all drawn to surprise and conflict.” Harold Gregor. Ph.D. Distinguished Professor of Art Emeritus Illinois State University March 2003 “In a rough categorical way, Jeanette’s paintings can be described in pictorial terms as color-formed grids that try to incorporate figurative elements within a delicately orchestrated, layered, color-defined space. The problem is not a new one since it can be traced through Matisse back to Cezanne, but the way Jeanette approaches it is fresh, intelligent and thoroughly considered. Jeanette seems to sensitively grasp the role imagery plays in the presentation. As she proceeds to dissolve the grid, almost to the point where it becomes an invisible armature, the color forces she employs are required to more aggressively define the space. Coupled with the intrusive strength introduced by largely invented discordant images, the entire set of conflicting dynamics must simultaneously harmonize in a supportive precisely contained fashion. Although the final result, on occasion, might be described on first reading as beautiful or perhaps lovely, the paintings are much tougher, much more dimensionally and expressively interesting than that. They appeal to ones senses in a purely visual way, as well as in a meaningful ideographic way, to offer a profoundly expressive opportunity to the viewer.”  |
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