Lyle Novinski is Professor Emeritus of Art and former Chair of the Art Department at the University of Dallas where he guided and nurtured the department of art and its students for more than 40 years. An established painter and designer, Professor Novinski holds MA and MFA degrees from the University of Wisconsin, Madison, with further study in Philosophy and Theology at Marquette University. His interests as a working artist embrace a wide range of topics, including painting as a discipline, design and execution of liturgical spaces, and the history of sacred art.

His many exhibits over the years have brought note to his work with over 60
installations in churches including the cycle of 8 stained glass windows, each 16
x 28 ft. installed at St. Rita Catholic Church in Dallas, furnishings and art for the
Neuhoff Chapel at SMU, the Church of the Incarnation at UD and the Chapel at
Christus St. Joseph Village in Coppell as well as furnishings and a life-sized
mosaic of the Transfiguration for the chapel at University of Dallas’ campus in
Rome, Italy.

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In 2007 he established Novinski Studio with his son David Novinski where they

continue to design and create art in various media including painting, sculpture,
metalwork, stained glass, mosaic and finished carpentry for liturgical, public and
private spaces including the University of Dallas DART Station that opened in
2012 with custom designed elements for the columns, windscreens, landscaping,
paving and four laser-cut metal panels symbolizing the fundamental elements of
fire, wind, earth and water.

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Nature, the human form and spirit and the divine presence are Lyle's subjects. In contemplating the expanse of Lyle’s artistic outlay for this exhibition, we find a clarity of purpose and form along with a certain luminosity pervades the work. A disciplined classicism and monumentality of composition combined with expressive brushwork and use of color characterizes his works, whether celebrating the glowing beauty of his young wife, expectant with their first child to the grandeur of his large scale liturgical projects such as the stained glass window cycle, Salvation History at St. Rita’s Catholic Church in Dallas. Grace is expressed with inner or (literally) an outer source of light, and the material and means of production are matched to the project or intention at hand. His leather constructions of the 1970s
and early ‘80s, of which Lyle often speaks of in pragmatic terms as a medium and method suitable and lucrative at time when his children were young, are also examples of a sensitive lyricism and careful craftsmanship that exemplify his work overall, as a painter, designer and published poet.