Judging by a quick overview of the pieces—combinations of
ink, watercolor, charcoal, colored pencil, tempera, and oil pastels—the moments
of illumination didn’t happen at the Doge’s Palace in Piazza San Marco, or the
Catedral de San Cristóbal in Havana. Doyle’s studies portray real places,
clearly labeled, many of which are palaces: the Palacio de la Condesa de
Revilla de Camargo in Havana, Palazzo Polignac in Venice, and so on. And
unexpectedly given this subject matter, the series focuses on doorways and stairwells,
wrought-iron railings and light fixtures, marble banisters and tiled floors.
Doyle is interested in architectural details, not postcard-style illustrations
of tourist attractions; therein lies the exhibition’s sophistication.