"Jarczyk's primary occupation as a research scientist, incidentally, cannot be discounted when we assess his work as an artist since, to a very great extent, it is precisely his skills as a scientific observer which so informs his art. Attention to detail and a commitment to fact are as much a part of the representational artist as to the scientist, a verity readily apparent in Jarczyk's works, especially in such depictions of specific motifs as historic landmarks (churches, palaces, bridges, etc.). As already noted, however, Jarczyk is not mere substitute for the camera and he reserves the artistic right to abstract or add as he sees fitin short, the scientist is tempered by the artist. If this were not so, we would not have a body of work which shows the artist as much in evidence as the trained observer, speaking as much to Jarczyk's sensitivity as to his sensibility.
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Book Description
This book concentrates on the graphic works (etchings) of the artist, covering some thirty years of his work. Includes an interview with Will Barnet about the artists work.
Editorial Reviews
Language Notes
Text: English, French, German
About the Author
Raymond J. Steiner is editor/art critic for ART TIMES, a literary journal which he co-founded in 1984 that provides commentary and resources for the fine and performing arts. He has profiled over 100 American and European artists and regularly reviews or critiques art exhibits and art books. Among the books he has authored are 23 Woodstock Artists; Heinrich J. Jarczyk: Toward a Vision of Wholeness; Heinrich J. Jarczyk: Etchings 19681998; Quarry Rubble (a book of poetry); The Vessel of Splendor: A Return to the One; and The Girl Who Couldn't See (a book for young adults). Steiner has written the introductions to several art catalogues and has lectured on art-related subjects both here and abroad. Some of his writings have been translated into German, French, Italian and Chinese. He is a member of the National Arts Club, the National Press Club, the American Society for Aesthetics, the International Association of Art Critics (AICA), and Artist's Fellowship, Inc.
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