Block · one region of the page, as the scanner read it. It may hold a whole story, part of one, several, or an advertisement; stitching blocks into articles is the next step. Text is supplied OCR.
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painting by Piero Della Francesca, in which patrons are shown riding triumphantly in horse-drawn carts. As compelling as the image of a cart led by a cardinal is, our eye feels free to wander over the Rappahannock landscape to which Kenny has acclimatized himself so well.
Kenny’s own favorites include “Donna,” “The Acorn King,” and a “Portrait of Woman in Water.” “The Acorn King” makes the humorous, unlikely, and off-scale seem serious. “Portrait of a Woman in Water” spreads an almost palpable yet expectant peace. The perfume of jasmine or orange blossoms reaches you across the still, tepid waters. Will she turn her head, perhaps lifting elegant fingers to the crown of flowers and remove it before submerging to her eyes, which will still smile?
I can comfortably describe this show as “Surreal.” “Surrealism" was applied as a catch-all misnomer to “modem art” until around the time of “action” art’s emergence in the late ‘40s. But it generally described art which juxtaposed incongruous images. Rene Magritte’s work was typical of these painted environments, where one image say, a giant apple would find itself filling up a whole room.
Kenny’s paintings all have the quality of going a step further than Magritte's. They all involve a figure, with which we can identify, doing something in, or being presented in, “Kennyesque" worlds. In this way the art has a narrative
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