Wednesday, July 15, 2020 -
Print Edition

Solomon reinvents original passion

Yellowfeather, by Michael Solomon


MICHAEL Solomon really doesn’t mind if you don’t understand his paintings.

Lots of people don’t, he says. But they still enjoy them.

He also doesn’t mind if you understand them in ways different from his own.

He points to one red-dominated painting. One might see a rose within its abstract forms, he agrees. Others might see violence. Or passion.

He turns to another painting right by its side, one in which blue and white are the dominant colors. That could be the Israeli flag. Or spirituality. Or sky. Or water. Or all of the above.

When people ask him why so many of his paintings are dominated by black and other ultra-deep hues, Solomon is likely to respond that black is simply his favorite color.

Or he might say that such darkness reflects the tragedies he has experienced in his life – the deaths of loved ones, episodes of anti-Semitism – which he was forced to overcome.

Or he might suggest that he merely intended a particular painting to look good in a room filled with a certain type, or color, of furniture. As a former interior designer, he is never too artsy for such aesthetic considerations.

But when asked about the flowing lines and circular motion that characterize so many of his paintings, the artistic mystique rises in full force.

The rest of this article is available in the IJN’s print edition only. Contact Carol to order your copy at (303) 861-2234 or email

Chris Leppek

IJN Assistant Editor |

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