Women in Art

Women in Art

Kathy Buist, Blue Breeze, 72 x 60"

The only American artist to exhibit with the French Impressionists, Mary Cassatt’s signature works were intimate portrayals depicting Mother & Child in everyday moments. At a time when women were limited to the household, Cassatt forged a trail for independent women artists to pursue their own artistic careers. Galerie d’Orsay is proud to honor the immense contributions of women in the arts, while supporting the generous local charity, She Gives, through our summer exhibition.

contents Kathy Buist .......... p. 4 Mary Cassatt .......... p. 17 Elizabeth DaCosta Ahern .......... p. 21 Helen Frankenthaler .......... p. 27 Carol Gove .......... p. 33 Natasha Zupan .......... p. 39 Angela Sommerhoff

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p. 43

K at h y B u i s t (American, b. 1959) As one of the finest artists working in the abstract style today, the aesthetics of Kathy Buist’s work not only appeal to the eyes, but to our memory and sense of passing time. Her works depict familiar landscapes of places we’ve been, or places that we’ve yet to go. There is a universality to her work that appeals both to the color enthusiast and lover of abstract subjects, and to the more traditional art lover who gets lost contemplating an alluring landscape. She seeks to capture the ethereal atmosphere of her surroundings and the everchanging light of day. For texture and varying levels of depth, Kathy crushes pieces of shell and sand, working it directly into her paints. These natural elements imbue each piece with an organic energy that emanates from the canvas.

Kathy’s work has won praise from The New York Times and has been shown in museums and galleries throughout the country, including the Parrish Art Museum in Southampton, the National Woman’s Museum in Washington, D.C., and the Long Island Art Museum.

Kathy has been a resident artist at centers in Vermont and Virginia, and her paintings are part of myriad prestigious private collections internationally. She also has the distinct honor of being part of Who's Who in American Art.

Buist .... 4

Verse Mixed Media on Canvas, 80 x 80"

Buist .... 5

Onward Mixed Media on Canvas, 48 x 48"

Buist .... 6

Inspired Mixed Media on Canvas, 48 x 48"

Buist .... 7

Waking Clouds Mixed Media on Canvas, 48 x 48"

Buist .... 8

Past the Trees Pastel, 9 x 12"

Untitled Pastel, 9 x 12"

Buist .... 9

Beyond Solitude Mixed Media on Canvas, 84 x 90"

Buist .... 10

Dreams V Mixed Media on Canvas, 54 x 54"

Buist .... 11

Into It Mixed Media on Canvas, 40 x 40"

Buist .... 12

Sand Bar Oil on Canvas, 20 x 20"

Buist .... 13

Transitioning Day Mixed Media on Canvas, 48 x 48"

Buist .... 14

On the Sand Mixed Media on Canvas, 72 x 24"

Buist .... 15

Suspension Mixed Media on Canvas, 74 x 80"

M a ry C a s s at t (American, 1844 - 1926) An American painter and printmaker, Mary Cassatt is described as one of “les trois grandes dames� (three big ladies) of Impressionism. Her pictures are characterized by spontaneity and freshness of vision, which prevails in the asymmetrical and unposed figures of her oil paintings. Born in 1845 in Allegheny City, Pennsylvania, Mary Cassatt spent her early years with her family in France and Germany. Following her studies at the Pennsylvania Academy of Fine Arts (1865-1866), she returned to paint in Italy. She exhibited with the Impressionists between 1877-1886. Cassatt admired Realist Courbet and the Impressionist Manet, but was mainly influenced by her friend Degas, who also represented her in his own compositions.

After the final Impressionist exhibition of 1886, Cassatt began to experiment more widely, transforming her imagery with references to Old Master Madonna and Child paintings.

Gradually, she abandoned Impressionist work for paintings that emphasized shapes and forms.

Inspired by Japanese woodblocking techniques, her experiments in printmaking resulted in one of the greatest graphic monuments of the nineteenth century with her brilliant set of ten color prints first shown at famed Galerie Durand-Ruel in Paris. From 1890, she had her own printing press at her home. As a wealthy expatriate, she had means to devote herself to her art and used her domestic life as subject matter. Her pictures are characterized by spontaneity and freshness of vision, which prevails in the asymmetrical and unposed figures of her oil paintings. Upon her death in 1926, Cassatt was honored by several memorial exhibitions, and remains one of the most acclaimed American-born artists.

Cassatt .... 17

The Parrot Drypoint, 6 ½ x 4 ¾"

Cassatt .... 18

The Mandolin Player Drypoint, 9 x 6"

Cassatt .... 19

Gardner Held by His Mother Drypoint, 5 ¼ x 4 ¾"

E l i z ab e t h D a C o s ta A h e r n (American, b. 1955) A highly-celebrated painter, printmaker, and art instructor, Elizabeth DaCosta Ahern seeks to capture the essence of nature through her use of color and light. DaCosta Ahern’s unique technique of “soak staining” is quite unlike so many of her contemporaries. Resting her canvases flat on the ground and pouring layers and layers of water based paint until her brilliant colors soak and saturate her untreated canvases; she creates an unforgettable sensual, delicate mood. DaCosta Ahern says, “Painting for me is as essential as breathing, a necessity and a delight… My paintings come from a compelling desire to shape the abstracted memory of landscape, in terms of the spirit of the place and my relationship with nature.”

DaCosta Ahern graduated from Boston University, The School of the Museum of Fine Art Boston, MA, and studied with Helen Frankenthaler at the Fine Arts Institute of Santa Fe College, NM. She has lectured at the University of Coimbra, Portugal; University of Porto, Portugal; and Rangel Art School, Angola. As a faculty member, she taught painting at Lesley University, Cambridge, MA; the DeCordova Museum School, Lincoln, MA; the Worcester Art Museum, Worcester, MA; the Island Center for the Arts in Skopelos, Greece and Ghost Ranch, Abiquiu, New Mexico. She has exhibited her work through the U.S. Department of State’s Art in the Embassies in Manama, Bahrain; Luanda, Angola; Kiev, Ukraine; Warsaw, Poland; Brussels, Belgium; and Lisbon, Portugal. Her paintings are in many collections including The Princess Noura Bint Abdulrahman University in Riyadh, Saudi Arabia; The Federal Reserve Bank, The Dana Farber Cancer Institute, DeCordova Museum, and many other corporate and private collections.

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Something About Canyons #8 Monotype, 22 x 30" DaCosta Ahern .... 21

Something About Canyons #10 Monotype, 22 x 30"

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DaCosta Ahern .... 22

Na Praia, On the Beach Acrylic on Canvas, 57 x 63"

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DaCosta Ahern .... 23

Let's Rhumba Monotype, 22 x 30"

DaCosta Ahern .... 24

Minha Viagem X Acrylic on Canvas, 30 x 30"

O Vento e O Mare Acrylic on Canvas, 44 x 44"

DaCosta Ahern .... 25

O Mar Angola Acrylic on Canvas, 44 x 45"

Helen Frankenthaler (American, 1928 - 2011) Helen Frankenthaler is an American post-painterly abstraction painter and printmaker.

Working among the giants of Abstract Expressionism, Frankenthaler maintained her unique vision and originality as the pioneer of the Color Field movement, characterized by large areas of a flat single color. The Color Field artists set themselves apart from the Abstract Expressionists because they eliminated the emotional, mythic or the religious content and the highly personal and gestural and painterly application. The washes of brilliant color are made first on lithographic stones or plates as general ideas. The artist can vary her effect, make changes, and build an image of various layers as the plate making progresses. Nuances in color and delicate changes in texture have always been an important aspect of Frankenthaler’s working methods. Whether in her paintings, works on paper, or in her prints, her spontaneous efforts are held in check by her rigorous demands for beauty, clarity, and an ambiguous expressive relation to the natural world.

Born in New York City (1928), she was the youngest daughter of a justice on the New York State Supreme Court. She studied at the Dalton School under Rufino Tamayo and with Paul Feeley (b 1910) at Bennington College in Vermont and privately with Wallace Harrison in 1949 and Hans Hofmann in 1950. She married fellow artist Robert Motherwell in 1958. Highly influenced by Jackson Pollock, with whom she also was involved in the 1946-1960 Abstract Art Movement, she changed her entire method of painting after watching him lay his unstretched canvases on the floor.

Frankenthaler .... 27

In the Wings Etching, 13½ x 21Ÿ"

Frankenthaler .... 28

Monotype XVIII Monotype, 21½ x 38½"

Frankenthaler .... 29

Rambias Lithograph & Etching, 34Ÿ x 26ž"

Frankenthaler .... 30

East and Beyond Woodcut, 31½ x 21½"

Frankenthaler .... 31

Flotilla Screenprint, 31 x 37"

C a ro l G ov e (American, b. 1970) Carol Gove works out of her New Hampshire studio as an abstract mixed-media collage artist. Gove’s paintings draw from nature, landscape, and abstract expressionism, striking a balance between painterly gesture and the physicality of pasted collage. She mines personal and aesthetic history for source material, re-using scraps of old handwritten letters, yellowing labels, sheet music, sewing patterns, and other family memorabilia. Drips of paint and chance combination of materials yield unexpected juxtapositions and cause perceptual shifts. While graphical history and textures of the found, items create dialogue and play between the fluidity and opacity of paint, color dominates.

She has a bachelor of science degree from the University of New Hampshire and studied at the DeCordova Museum School, Lincoln, Massachusetts. She has exhibited in numerous national solo and group exhibits over the last 18 years, including the Danforth Art Museum and Whistler House Museum of Art. Gove is a member of the DeCordova Museum Corporate Art Program, the Monadnock Art Colony in New Hampshire, and The National Association of Women Artists in New York. Her work can be found in public collections, including the Federal Reserve Bank in Boston. She has also donated her artwork to many nonprofit causes including the Human Rights Campaign, Citizens for Affordable Housing in Boston, the NH Institute of Art and the Contemporary Art Forum in Phoenix.

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Gove .... 33

Visit from a Raven Mixed Media Collage, 60 x 40"

Gove .... 34

My First Friend Mixed Media Collage, 40 x 40"

Gove .... 35

Rift Mixed Media Collage, 30 x 24"

Stirring Mixed Media Collage, 30 x 24"

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Gove .... 36

Tend to Me Mixed Media Collage, 36 x 60"

Gove .... 37

Expedition Mixed Media Collage, 24 x 24"

N ata s h a Z u pa n (American, living abroad, b. 1965) Combining Renaissance hues and chiaroscuro with modern collage and media, Natasha Zupan beautifully unites the old and new. A Yale-educated, internationally renowned artist, Natasha combines the innovation of her highly-crafted technique with her wonder for tradition and the great Masters. Living between New York and Spain, she grew up painting alongside her father, acclaimed impressionist painter, Bruno Zupan.

She has had over 35 one-woman exhibitions throughout Europe, Asia and the United States, including multiple exhibitions at the Columbus Museum of Art, Georgia. Additionally, Natasha has collaborated with Swarovski to design a chandelier for Art Basel/Miami and Salone Mobile, Milan and with Medsins du monde with a lithograph made at the Joan Miro studio. As a former Vogue model, she also designed a runway concept and installation for fashion designer, Zang Toi’s New York Fashion Week runway show. Her works hang in prominent collections worldwide, including the Sackler collection, the Swarovski family, Engel and Voelkers, Michael Douglas and Catherine Zeta Jones, among many more.

Zupan .... 39

Color Derivatives #63, #67, #66 & #83 Mixed Media on Canvas, 9½ x 7½" each

Zupan .... 40

Color Derivatives #82 Mixed Media on Canvas, 30 x 40"

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Zupan .... 41

Color Derivatives 12-Set Mixed Media on Canvas, 12 x 12" each

A n g e l a S o m m e r h o ff (German, b. 1970) From Comments on the non-figurative paintings by Angela Sommerhoff, by Mag. Alexandra Matzner: The current work by Angela Sommerhoff can be categorized between chance and necessity. The artist positions herself between a naive desire to paint and refined calculation.

On the one hand, the work is inspired by encounters with people, music and poetry arise almost spontaneously on the canvasses, while, on the other hand, the artist methodically explores selected topics through cycles. She sets corporeal material (quartz sand, Japanese rice paper) against the lightness of the lucid ink that lies like colored veils over the light base. In this emergence, chance often leads the way by organizing the fluidity of the ink in a complex manner, while the eye of the artist responds to what emerges, and recognizes compositional necessities. To feel oneself and reflect on one’s own perceptions could be designated as the objective of her art. The encounter with Angela Sommerhoff’s art requires patience and serenity, and a viewer that lends the image its story.

Angela Sommerhoff spent numerous years studying art history and various techniques away from her home country before returning to her current location in Southern Germany. At 21, she moved to Vienna, Austria to pursue her passion for art. From 1991 to 1997 Angela learned about painting and sculpture, in addition to studying art history at the University of Vienna. After her studies, she remained in Austria where she was married and her two daughters were born. Following a brief move to the United States (Bedford, NH) in 2007, Angela opened her current studio in the south of Munich in 2008.

Sommerhoff .... 43

Networking Acrylic Ink on Canvas, 48 x 64"

Sommerhoff .... 44

Glacier Acrylic Ink & Chalk on Canvas, 35 x 35"

Anticipation Acrylic Ink & Chalk on Canvas, 35 x 35"

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In proud partnership with the She Gives Foundation.