Shepherdstown Series

In November of 1973, while still an undergraduate student at Shepherd College, Kinnett began a series of forty paintings which dealt with buildings on the main street in Shepherdstown, West Virginia. At that time, he had recently returned from Northern Europe, with an interest in the surface qualities and tonalities of works by French Fauve artists, especially the arists on the edge of that movement. Marquet, Manguin, Puy, Friesz and Camion appealed to him with their harmonious color arrangements and the works of Vlaminck and Derain for their surface quality.

The Shepherdstown Series treats white as a color, much as in the works of Maurice Utrillo. The rest of the palette had been limited to pure blues and creamy grays. The brush strokes are quick, erratic and forceful. These works were more direct than Kinnett’s later work, because shapes were usually related to the width of the brush that applied them. The compositions are horizontal, with angular forms offset by occasional vertical shapes. Many of the works are were painted from above the street, on rooftops.

 

Abstract Floral Paintings

These floral paintings are explosions of color. They are very complex, often cramming three or four layers of loosely drawn organic patterns into the flat space of a medium-sized canvas. The overlapping, colorful forms refuse to create a deep space. Even the negative spaces are animated and intense. Fragmented, covered with heavily outlined shapes and textured with heavy imposto, these paintings are organic synthetic cubism. They are art that has both structure and passion.

While very calculated and controlled in their form and color, these floral images are nevertheless fresh, spontaneous and lyrical. Most of all, they are splendors of color.

Temple Series