artist's statement
 additional biography
 recent work
oil portraits
 pastel portraits
criticism & comment
bibliography (selected)
exhibitions curated
Oriole Feshbach
Criticism and Comment   “Her lush pastels have a depth and nuance that is usually reserved for oil paintings.” Pat Cahill, “Artist finds realism with mixed media,” The Republican, Springfield MA 1/17/09
  “In magical images, she has managed to capture vivid equivalences for some of Stevens’ most rapt and abstract imaginings.” Paul Mariani, Luminations, Foreword, Midmarch Arts Press, NYC 2008
    “Feshbach performs a kind of balancing act in which the artworks become a bridge between the poetic phrase and scientific abstraction… a triangulation between word, image, and natural phenomenon.” Martica Sawin, Luminations, Introduction, Midmarch Arts Press, NYC 2008
    “Feshbach is not only bold, but gifted.” “What Luminations offers is a tribute to the poem as a whole and an almost collegial “collaboration” with the poem’s verbal imagery.” “Surely, in creating her Luminations, Oriole Farb Feshbach has found a happy way to revitalize the forms and images of Stevens’ grand autumnal poem.” Barbara M. Fisher, “Luminations” The Wallace Stevens Journal Vol. 32, No. 2, Fall 2008
    “Feshbach sings back with a visual vocabulary pushed to an emotional, or “felt,” dimension. Many of her pieces are amalgams, beginning as scientific photographs or charts that she transforms into vivid new media. Each is a satisfying work of art that also completes the larger procession of images and Stevens’ lines.” Claudia Ebeling, “The Mind and the Muse” Bucknell Magazine Fall 2008
    “For me to open this colorful, large-format book and find the familiar opening stanzas of “The Auroras of Autumn” alone on a big page, with a gorgeous red-and-green-on-black abstract painting reproduced opposite, felt like suddenly being granted a blameless childhood in a poet’s playground where right and left brain are not only allowed but encouraged to play together. For any reader who has suffered the recognition that poetry’s physical joys are largely kept under wraps while its mental exigencies are celebrated in community, this book offers a healing experience.” Annie Finch, “Flares of Light” American Book Review Jan, Feb 2009
    “Like many significant works, “Luminations” teaches us to think like someone else – in this case, ultimately like the artist, rather than the poet.” Annie Finch, “Flares of Light” American Book Review Jan, Feb 2009
    “Idiosyncratic as the book is, it stays faithful enough to the poem and to its own vision to become transparent, to teach us something new about Stevens. For one thing, Feshbach’s paintings bring out the fact that even this late poem, so much more abstract and meditative than Stevens’s earlier poems, is still extremely visual.” Annie Finch, “Flares of Light” American Book Review Jan, Feb 2009
    “Feshbach teaches us, not through information but through the physical experience of the book itself, something untranslatable into words – something palpable about poetry, about what it is to be a poet, and about what it is to read poetry.” Annie Finch, “Flares of Light” American Book Review Jan, Feb 2009
    “Among the memorable of this exhibition … Oriole Farb’s lithographic, and superbly alive ‘Self-Portrait’” Alexander Eliot “Art Scene” Hampshire Life, Northampton MA 2/3/79
    “She surrounds the sitter with ancestors, real or imaginary … the real ones are true to American tradition. Either way, the simulations are deft, the two bodies of work go well together.” John Russell “Prints by Oriole Farb Feshbach” New York Times, NYC 10/21/84
    “The result is art that illuminates the meaning of a poetic phrase or the mystery of a comet streaking across the sky.” “Reciprocity is key in Feshbach’s art.” Faye Wolfe, “Painting Poetry” UMass Fall 2002
    “Oriole Farb’s portraits are kind and bold … with sparkle and life.”
Frances Chastain “Love and Death at the University” Amherst Record, Amherst MA 12/3/77
    “The Oriole Farb Feshbach exhibit, along with ‘Hubble Space Telescope: New Views of the Universe’ at the Springfield Museum, make a stunning combination.” Gloria Russell ““Connections” offers vistas of space” Sunday Republican, Springfield MA 12/24/00
    “Oriole Farb’s ‘Inside-Outside’ series of three large, highly finished canvas are the most impressive works here. The flattened color planes and crisp edges … create a tension between near-abstract composition and an interest in depth and reflection. Her ‘Transparencies 1973’ … shatter the rectangular window-pane substructure into flowing pools of light.” Tom Hart “‘Women’ Travels the Unknown” Springfield Daily News, Springfield MA 6/2/75
    “Most of all, I was delighted by the work of an artist previously unknown to me. Oriole Farb Feshbach’s portrait prints took me by surprise and linger strongly in my memory.” Theodore F. Wolff “A print can be a work of art — but when is it truly a Print?” The Christian Science Monitor 9/6/83
    “The result is a multiple image of great warmth and charm, and a print that beautifully survives the offset lithography process — a mechanical form of printing that normally produces straightforward reproductions. Offhand, I know of no other artist who uses this method more sensitively or appropriately.” Theodore F. Wolff “A print can be a work of art — but when is it truly a Print?” The Christian Science Monitor 9/6/83
    “Feshbach, with extreme technical finesse, compares pairs that reflect a wide art historical interest.” Susan Larson “Prints by Women” catalog: Associated American Artists Gallery NYC 1986
    “Her work reflects the richness of associations in a mind responsive to poetic particulars and steeped in the history of art and civilization.”
Stanley Kunitz “Illuminations” Foreword, Midmarch Arts Press, New York 1991