Hollywood

Massachusetts painter Michael Mazur is a neo-Impressionist with a penchant for calla lilies and a reverence for the dark, moody monotypes of Degas.

In a selection of drawings, monotypes on silk, and paintings done in the manner of Oriental screens, Mazur applies the muted emotionality associated with Degas to subject matter including trees, a Chinese garden, and the interior of his studio. At its’ best, Mazur’s work has the mystical evanescence of Oriental landscape and his images are above reproach in many respects; the historical references are firmly in place, technique is excellent, and the work looks immanently collectible.

Unfortunately, the basic premise behind this series is a bit dry and academic. Central to Mazur’s shtick is the notion of employing formal devices to reflect the nature of a given subject (translation; a tree is painted on a vaguely tree-shaped canvas). This seems a rather wan, one-dimensional idea. (Jan Turner Gallery, 8000 Melrose Ave., to Nov. 26.)