Zvi Mairovich started to experiment with oil pastels in Zichron Yaacov in 1966, and with the introduction of this medium came a shift in the scale of the works. This large scale enabled Mairovich to cast off the confinements of the line, as in The Orchard. 'Mairovich's abstract takes no interest at all in the abstract. He does not engage in "dismantling" the object, nor in generalisation, nor form; rather, in constructing a different "nature". Mairovich's sharp definition clearly illustrates that there was an object on the paper, a kind of pre-art world, to which the entire painting relates and which it covers.' (Ariel Hirschfeld, ‘Zvi Mairovich – in Pursuit of “the Nature of the Painting”’ in Zvi Mairovich 1911-1974 (exhibition catalogue), Tel Aviv, 2000, n.p.)
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