RED - Group Exhibition by findlaygalleries

d 的 Re d u g e Ro s o 红 R Ro s u R ö d d ö e R e Ro s s o R u g s u 的 o o R 红 R d d d ö e Rø d 红的 R d Ro s u R o j o Ro t ö ø R e d Ro u R R u t s o 的 o R R 红 o j d d o R o Ro t Rø Ro s u R ö j o e Ro s s o d R ø u Röd 红 R o s s t o s o R o R R d o j ø e g j o Ro t R Ro s s o Ro o Re d Ro u R e g ø d Ro s o s u R s o t o R o R R d e e o g j R o s s o Ro Re d Ro u R Röd 红的的 e o j o Ro g R 红 u o o d s R ö s R o d R e u s R e öd 红的 t Rø d Ro e d Ro u g R R u g e Ro s s u 的 o o R 红 R d d d ø ö e R d 红的 R d Ro s u R ö ø Ro j o Ro t R R Re d Ro u t s o 的 o R R 红 o j d d o ø R Ro s u R ö j o Ro t R o d R g e Ro s s o ø R o su Röd s t o s o R o R R d o j ø e R o g ou Ro s s o R o j o Ro t R e g o 的 Re d R s u Rø d Ro s o t o R o R R d e e o g j R Re d Ro u Ro s s o Ro Röd 红的的 e g Ro j o R 红 u o o d s R ö s R o d R e u s R e o öd 红的 e d Ro u g R o t Rø d R R u g e Ro s u 的 o o R 红 R d d d ø ö e R R ot d 红的 R d Ro s u ö ø R R o Ro j o R u t s o o R R 红的 Re d o j d d o ø ö R R R t o u s o s s R u g e Ro Rø d Ro su Rö s o Ro j o t o s o R o R R d o j ø e R o g Ro u Ro s s o R o j o Ro t R e g o s u s 红的 Re d o o R R Ro t Rø d e ed o g j R u o R o 的 R o 红 s Re d gNe Ros su Röd Ro j o 红的 u o o d s R ö s R o d R e u G R O U P E X H I B I T I O s R e Ro öd 红的 e d Ro u g R R Ro t Rø d u s uge R 的 o o R 红 R d d d ø ö e R R R Ro t öd 红的 ø d Ro s u R R Re d u t s o Ro j o s o 的 o R R 红 o j d d o ø ö R R R sso d Ro s u Ro j o Ro t ø R o o u g e Ro s t osu R s o R o R R d o j ø e R o g R t u Ro Ro j o Ro e Ro s s o g o s u s 红的 Re d o o R R d e 红的 Re e d Ro u g R 的红 osu Röd osu Röd R d ø R t o Ro

RED

ASOMA / BROWNE / FERREN / GRILLO / LANDFIELD / LOBDELL NATKIN

NELSON

RAUH

RICHENBURG

SIMONSEN

F I N D L AY G A L L E R I E S 1

Est.

1870

RED GROUP EXHIBITION

ASOMA / BROWNE / FERREN / GRILLO / LANDFIELD / LOBDELL NATKIN

NELSON

RAUH

RICHENBURG

3 2 E A S T 5 7 T H S T R E E T, 2 N D F L O O R , N E W Y O R K , N Y 1 0 0 2 2

SIMONSEN

•

(212) 421-5390

1 6 5 W O R T H AV E N U E , PA L M B E A C H , F L 3 3 4 8 0 ( 5 6 1 ) 6 5 5 - 2 0 9 0 W W W. F I N D L AY G A L L E R I E S . C O M •

RED EXHIBITION Red is disarming. It speaks to us in a different register. Because of our

bodies, our physicality, red affects us in a certain way. It rhymes with us and with our personalities. As a color it challenges, inspires, and moves.

Red is chosen by artists when seeking a way to appeal to human nature. The Abstract Expressionists returned often to red, as there is a certain kind

of heat to the color that relates to the human body - most closely, to blood. It holds a memory of a body, of a body’s heat.

In the fall of 1911, Henri Matisse painted what could be considered the

work of art most synonymous with red, The Red Studio. This canvas is richly painted in a deep Venetian red hue, with only subtle lines of underpainting

peeking through to give perspective. The painting epitomizes the capabilities

of red. With a singular color, Matisse brings the viewer into the picture with where they are enveloped by red, wrapped in its comfort and warmth.

Quite possibly the greatest admirer of The Red Studio, Mark Rothko said of the painting, “When you looked at that painting, you became that color, you became totally saturated with it.”

In many ways John Ferren’s Untitled, 1960 is a parallel to both Matisse’s

The Red Studio as well as to the later compositions of Rothko. Through subtle nuances of his red palette his red palette, Ferren leads the viewer

into the painting with the bisecting strip and brings the eye up and into to 4

the entanglement of vivid strokes in the center. The tangled color acts like a portal, an abstracted landscape contained within the feathered, Rothko-like edges of pulsating red, not unlike Matisse’s The Red Studio.

Our exhibition “Red” underlines the strength, assertiveness, and understated

nuances found in paintings completed in a predominantly red palette.

Including works by Emile Othon Friesz, Robert Natkin, John Ferren, Ronnie Landfield and more, a great many canvases from our stable of artists have made expressive and impressive use of the color.

Each painting in this exhibition is as much a venture in boldness and courage as it is a journey into sensuousness and romance. Red has the authority to

light a fire in the viewer - to make them feel moved to either anger and rage,

or to passion and desire. It is inherently exciting, and we hope these intrepid canvases will do just that.

- Matthew Shamnoski, Findlay Galleries, 2022

TADASHI ASOMA (1923 - 2017)

“Tadashi Asoma, a Japanese painter who lives in Upstate New York, brings a good eye for a motif and considerable charm to his more northerly landscapes. No Western eye would see our familiar scene in quite that way. Nor would any western painter render it in quite those combinations of color.” - John Russell, New York Times, 1981

Tadashi Asoma | Red Autumn oil on canvas | 35 5/8 x 45 7/8 in. FG© 132698 7

LEONARD NELSON (1912 - 1993)

Leonard Nelson’s long career as a prolific artist and influential art educator spanned more than half of the twentieth century, from the thirties to the nineties, and forged close links with the leading artists and movements of that time in American art history. Although he spent most of his time in Philadelphia, his roots were in New York. The works he showed in the forties and fifties at the Betty Parsons and Peridot Galleries and at Peggy Guggenheim’s Art of This Century placed him at the forefront of the emerging New York Abstract Expressionist avant-garde. Nelson’s artistic and cultural interests were even wider and more challenging than some of his famous New York colleagues; in his Philadelphia studio he explored avenues as innovative and diverse as welded sculpture, incorporating scrap or found objects, and printmaking, a medium that established him among the leading innovators of the day.

Leonard Nelson | Folksong | 91-92 oil and acrylic on canvas | 54 x 60 in. FG© 135429 9

BYRON BROWNE (1907 - 1961)

“Extremely talented and immensely successful as a student, by the time he graduated in the spring of 1928 Browne had won nearly every prize offered by this conservative school. Yet, as he won award after award for his academic painting, Browne’s interests shifted; he began to experiment with an abstraction of forms inspired by the School of Paris. This absorption would eventually establish him as one of the leaders among those few Americans who dared to contest the anti-European “American Wave. “ - April Paul, Archives of American Art Journal, 2008

JOHN FERREN (1905 - 1970)

“There is no longer a belief in an objective reality out ‘there’ and a pure arrangement of lines and ‘colors right here’; there is instead the fact of a painted surface where both these elements [reality and abstraction] meet with a third: the artist’s emotion.“ - John Ferren

John Ferren | Untitled | 1960 oil on canvas | 60 x 72 in. | FG© 140151

JOHN GRILLO (1917 - 2014)

John Grillo was an American Abstract Expressionist painter whose brightly colorful works represent a unique vision with the movement. His works are appreciate for their golden luminosity and lush brushwork that is comparable to earlier masterful painters such as J.M.W. Turner or Peter Paul Rubens. Filled with a lyrical rhythmic quality, Grillo once said that “abstract painting is on a level with music. It’s a physical outburst from your whole being. It’s not the idea that is created and then you start painting. It’s always a challenge to shape something from nothing, to do the impossible.”

NOAH LANDFIELD While the images depict what one would call the cycles of nature—decay and upheaval, the paintings consciously avoid notions of pattern and repetition, instead using chaos and difference as the means of creating form. If anything, Landfield offers a personal account of geologic time, with the excessive drama and spontaneity of a comic book explosion: while the subject is heavy, the execution is light. - William Corwin, Brooklyn Rail, 2021

Noah Landfield | Mindscapes (for Magritte) | 2021 oil on canvas | 52 x 60 in. FG© 140503 18

ROBERT RICHENBURG (1917 - 2006)

Robert Richenburg was a student of Hans Hofmann and was very much a part of the hey-day activities of Abstract Expressionism in the mid 1950’s in New York City. While a student of Hofmann, Richenburg exhibited at the Museum of Non-Objective Painting (later the Guggenheim) in 1950. The following year, he participated in the historic Ninth Street Art Exhibition. This exhibition, which was supervised by the famous art dealer Leo Castelli, helped establish the New York School of painting. Richenburg subsequently taught at Pratt Institute along with Franz Kline, Adolph Gottlieb, Jack Tworkov, Philip Guston, Milton Resnick and Tony Smith (sculptor). By 1961, critic Irving Sandler declared that “Richenburg emerges as one of the most forceful painters on the New York Art Scene.” The Whitney Museum, the Museum of Modern Art and the Philadelphia Museum of Art, among others, purchased his work.

ROBERT NATKIN (1930 - 2010)

“Natkin’s paintings are undeniably decorative. I derive immediate pleasure from them of a kind which does not seem to be necessarily dependent upon meaning. I find the delicate nuances of color, the shimmering illusions, and the subtly sensuous handling of paint consistently pleasurable and visually entertaining. Whatever else I might get from a good Natkin, I experience enjoyment comparable to what I can derive from gazing at a beautiful rug, a herbaceous border, an impressive pyrotechnics display, or a fine kimono. The pleasure a Natkin provides can be compared to an exciting taste, in the most literal, oral sense of that word. You savor the delights of a decorative surface, as Natkin himself likes to say, ‘with the tongue of your eye’” - Peter Fuller, Robert Natkin, 1981

Robert Natkin | Untitled | 1985 acrylic on paper | 31 1/4 x 44 7/8 in. FG© 140230 25

Robert Natkin | Red Bern Series | 1983 acrylic on canvas | 60 x 40 in. | FG© 140075

FRANK LOBDELL (1917 - 2006)

“Lobdell’s abstract painting is not the famously recognizable action drips and drools of Pollock, nor the lyrically grunty gesturalism of de Kooning. And as exquisite as his work often is, it has never consistently possessed the gentle enticement of his more-famous Bay Area colleague and regular drawing partner, Diebenkorn. Instead, Lobdell’s work is a complex weaving of various influences. He’s absorbed seamlessly, in both abstract and figurative terms, the dark theatrics and bloody somberness of Francisco de Goya, the stirring physicality of Pablo Picasso and the textural crudeness of Still.” – D.K. Row, 2011

Frank Lobdell | pastel Study for Painting No. 3, 1975 | 1975 pastel, charcoal on paper | 17 1/8 in. x 13 3/4 in. FG© 138711 28

RONNIE LANDFIELD Since the late [1970s], Landfield’s paintings have been defined by billowing stains of color, poured and loosely brushed onto canvases of monumental size. Although nearly all of his images invoke the metaphysical, his approach nonetheless extends the vital dialogue between landscape and abstraction explored by mid-century pioneers such as Richard Diebenkorn, Helen Frankenthaler, and Joan Mitchell. Filtered through Landfield’s optical unconscious, translucent swaths of color layered upon or adjacent to each other cannot help but suggest blustery skies, mistenshrouded mountain ranges, converging fields, and crystalline bodies of water. - Ara Osterweil, Artforum Magazine

Ronnie Landfield | The Light Within | 2008 32

HENRIK SIMONSEN There is a lesson to learn from the infinite variety in nature and the innate complexity in even its most simple forms. Steeped in the Scandinavian tradition of art and design inspired by natural elements, Henrik Simonsen employs the inexhaustible richness of nature as metaphor for the vitality and vulnerability, the passions and weaknesses, inherent in the human experience.

FRITZ RAUH (1920 - 2011)

Fritz Rauh began his art studies at the Braunschweig Art School in 1938. His artistic career was interrupted by World War II when he was drafted and served on the Russian front. He was eventually captured and spent six years in a Russian prison camp. After his release, he returned to Braunschweig and immediately resumed his painting studies. He also met his future wife Alix, who emigrated to the United States, with Fritz following in 1954. They settled in Marin County. - Landscape of Consciousness, 2008

E S T.

F I N D L AY G A L L E R

1870

F I N D L AY G A L L E R I E S T H R E E

C E N T U R I E S

I N

A R T

For further information and pricing please contact the gallery:

New York 212.421.5390

newyork@findlayart.com

32 East 57 th Street, 2 nd Floor New York, New York 10022

Palm Beach 561.655.2090

palmbeach@findlayart.com 165 Worth Avenue

Palm Beach, Florida 33480

w w w

f i n d l a y g a l l e r i e s

c o m