Interpretive Verisimilitudeview Interpretive Verisimilitude
Reviewing a group of the “exile drawings” in 1990, Richard Wengenroth was pleasantly surprised to discover that, without conscious intent, many of the formal and expressive interests of his former work re-emerged in a more nuanced and layered fashion. The variety and complexity of the natural world could also be used metaphorically. “The obvious subject is not necessarily the intended content,” he wrote for an exhibition of these drawings.
He resumed painting, and for more than twenty years, landscape has been his primary source.