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The paintings of Rumy Renan synthesize an almost photographic perception of nature with a perception of the observer’s momentary feeling, which cannot be frozen.  The feeling that is transmitted is perhaps serenity, perhaps emancipation.

Aristotle wrote: “In all things of nature there is something of the marvelous”.  Painting nature is one of the ways to form a link between what the observer perceives as a landscape in the first moment when they look at a painting and the observer’s impression of the details of the scene that they face. Colors are dispersed, on a spectrum ranging from blues to yellows, in all their hues.  When the observer looks at them close up, they are revealed as a collection of forms, a puzzle that constitutes a complete picture.

The overall feeling is that these paintings constitute a blend of painting and photography.  Rumy’s choice of trees, water, stones, skies, flow and reflection, constitute elements in movement, representing contrasts, in static as opposed to transitory nature.

The pictures depict unlabeled landscapes. The observer cannot clearly identify them, the location that inspired them, although those who habitually ramble through the scenery of Israel will be able to identify lines of similarity that are common to different sites and views in Israel’s northern regions.

There is an obvious sense of control in the line and the movement of the line. Nature is sketched in motion and rhythmic lines, so that the flow of the lines is highlighted and more important than the filled shapes. The line in these pictures becomes very meaningful and provides dynamism and flow to the entire picture.

Renan’s choices are clear, a single central focus point, giving depth and perspective to the painting that is repeated in most of the paintings, the choice of tones from a restricted scale that also stresses the sketchiness of the painting, or perhaps engraving, especially in the tree paintings. It is obvious that the artist has photographic ability to capture a moment in the landscape, a photographic image of the place and a feeling that characterize a particular time.

The painting is perceived as a composition or poem, not written in words, but in colors and lines, a personal composition, a translation of the words and feelings shown in the painting.

“There is music in the sigh of the bushes, in the flow of the streams, in everything, if people could only listen” (Lord George Byron). Renan tries to translate and convey this to her viewers, this music.

Exhibitions

Vienna, Austria

        Berlin, Germany 

Berlin, Germany

  Rome, Italy

Barcelona, Spain

London, UK

Vienna, Austria

Milan, Italy

Rome, Italy

Barcelona, Spain

London, UK

Rome, Italy