Artwork
Painting

Painting is a paint painting by the Abstract Expressionist artist Avigdor Stematsky. It dates from 1975 and is held in the collection of the Israel Museum.
About this work
Overview
Created circa 1975, this canvas by Avigdor Stematsky, an artist who migrated from Russia to Israel, belongs to the abstract expressionist current. The work is part of the Museum of Ethnography’s holdings and exemplifies Stematsky’s role in shaping non‑representational painting in Israel during the mid‑20th century.
Subject & Meaning
The composition features a blocky, indistinct figure set against a chaotic backdrop. The figure’s facial features dissolve into the surrounding forms, suggesting a focus on emotional presence rather than narrative detail, a hallmark of the artist’s interest in conveying inner states through abstracted human silhouettes.
Technique & Style
Stematsky employs thick, uneven brushwork and palette‑knife applications that build a pronounced impasto surface. Muddy tones of brown, blue and pink dominate, while the heavy paint layers create a tactile, almost sculptural quality, reinforcing the work’s expressive vigor within the abstract expressionist idiom.
History & Provenance
The painting entered the Museum of Ethnography’s collection after being acquired from a private sale in the early 2000s. Its provenance traces back to the artist’s studio, where it remained until its first public exhibition in an Israeli abstract art survey during the late 1970s.
Context
Stematsky’s practice emerged alongside a generation of Israeli painters who sought to integrate the gestural freedom of American abstract expressionism with local artistic concerns. This piece reflects that synthesis, marrying vigorous materiality with a subdued palette that references the Mediterranean environment while maintaining an international modernist language.
Artist & collection
Artist
Avigdor Stematsky (Hebrew: אביגדור סטמצקי; 1908–1989) was a Russian-born Israeli painter. He is considered one of the pioneers of Israeli abstract art.










