Like the impressionists before
him to which most of his work is related, David Cain is absorbed
by the way in which light at different times of the day transforms
the landscape. He is Preoccupied purely by what the eye sees.
Indeed, the play of light upon his forms is what structures
Some of his pieces are reminiscent of Monet,
who was absorbed late in his career by a series of water lilly
paintings. Those studies were essentially studies of reflections
upon water. (They are significant in that they presaged much
of contemporary painting).
Again, not unlike most impressionist,
Cain uses a brush thick with pigment. Other pieces are grainy
approaches. Both are equally successful.
Cain uses the brush in a very sure and
painterly way. He is not afraid of leaving his mark upon the
canvas. This lends a vitality and marvelous spontaneity to his
The artist's figure studies and still
life are genre pieces, unselfconscious studies of themes casually
absorbed. ( These works stem from a long tradition which first
appeared in the Flemish Masters).
Many of those canvasses are stark and
lonely. They will evoke personal memories to each observer.
They are best observed by exploring the cross-currents of recollections
In Cain's art, nature does not demand that
you look; it does not command you; it invites you with a velvety
voice. His work is Circe calling - to relax and enjoy.