LINDA TAVERNISE
R E T R O S P E C T I V E
LINDA TAVERNISE R E T R O S P E C T I V E October 8 - November 8, 2009
Green Hill Center for North Carolina Art
C A T A L O G
S P O N S O R S
Isabel Chicquor, Sara Cogswell, Faye Collins, Margaret Fickett, Deborah Fields, Kathy and Jim Gallucci, Grace Etheridge Higgs, Alice Holbrook, Barbara Hughes, Alicia Creus and Carl Goldstein, Frances Jochum, Judith Kastner, Setsuya Kotani, Hunter Levinsohn, Diane Luber, Joan Poole Holbrook, Jenny Moore, Mary Pearson, Nancy Poulos, C. T. Woods-Powell and Richard Powell, Katherine Price, Marie Elizabeth Price, The Seymour Levin Foundation, Beatrice Schall, Ann Shearer, William Sherrill, Rosie Thompson, Marta Tornero, Virginia Tyler, Mary and Jim Young
L E N D E R S
Alice Beecher Geraldine Bryan Sue Cole Conservation Council of North Carolina Sonia Elejalde Magaret Fowler Goat Lady Dairy Jane and Jim Gutsell Barbara Hughes Jim Ingram Rebecca Jones Carol Cole Levin Fred Lopp Frances and Gib McEachran Jennifer Jones Otto
Helen W. Perry Jo Perry Maria Salakovic Beatrice Schall Lucy Spencer Lucinda Tavernise Paul Tavernise David Thomas Marta and Rogelio Tornero Kim Kesterson Trone The Unitarian Universalist Church of Greensboro Patricia Vedder and Eric Eno Tommy E. Winnett Lisa and Tom Woods
A C K N O W L E D G E M E N T S As Green Hill Center celebrates 35 years of North Carolina Art we are honored to present a retrospective of the work of Linda Tavernise. Linda first exhibited in our annual Winter Show in 1988. She continued to show regularly throughout the next twenty-one years in both group and two-person shows. Green Hill embraces this opportunity to share the evolution of this gifted artist who has opened her world to us through her paintings. We express our gratitude and profound appreciation to Linda for showing us how to see. We acknowledge the lenders to this exhibition for their assistance as well as the loan of their beautiful works. Special thanks are extended to Jo Perry, Cindy Tavernise, Beatrice Schall, Rosie Thompson, Carol Cole Levin, Steve and Lee Tate of Goat Lady Dairy, Noni Penland of Penland Custom Frames, Mark Kingsley of Mark Kingsley Fine Art Conservation who have generously contributed time and resources and without whom this gathering would not have been possible. I would also be remiss if I didn’t thank the dedicated staff of Green Hill, especially Edie Carpenter, Mario Gallucci, and intern Emily Shank. Mary Young Acting Executive Director Green Hill Center for North Carolina Art
F R O M
T H E
A R T I S T
My eternal thanks go to Lucy Spencer, Jack Stratton, Mike Northuis, Ken Frazier, Stuart Rogers, Nancy Allen, and of course my beautiful family. I am the luckiest person here. . . . For me the richest expression is color and form. What has always made me sing is the way light brushes a form, defines a form, but does it in such a manner that it does not totally reveal the form, it just hints. The fun part is trying to figure out how it will resolve itself. Linda Tavernise, August 2009
C U R A T O R ’ S
I N T R O D U C T I O N
The works in the Linda Tavernise Retrospective, produced in Greensboro for the most part between 1978 and 2007, comprise a remarkable achievement. The ensemble of more than one hundred works includes major paintings on panel, canvas and paper and smaller commissioned works. Examples of Tavernise’s paintings of interiors, landscapes, portraits, seascapes, and animals are brought together for this survey. Linda Tavernise is an artist who avows her connection to the stylistic traditions of the past. One of the pleasures offered by the present retrospective is following her “working through” the pantheon of painters she sought to learn from. The extraordinary energy she applied to this project resulted in a personal vision that is rich in resonances as well as formal invention. Several recent exhibitions (including Hand to Hand curated at Green Hill by Rebecca Fagg) have associated Linda Tavernise with the “Greensboro School” of artists who graduated from UNC-G’s studio art program headed by Andrew Martin and Peter Agostini in the 1970s and 80s. Tavernise has stated that though she learned a great deal from Martin (including “the essential drawing” of the human figure) it is the great nineteenth and early twentieth century masters Self Portrait, 1985 of color whom she emulated. The titles of several paintings from different periods reveal Tavernise’s ongoing dialog with the Nabis and Post-Impressionists, Waiting for Matisse (1994) and Van Gogh Wave (1986) among them. Pierre Bonnard, whom she discovered while studying in California at Claremont Graduate School before coming to Greensboro, would remain a primary influence throughout her career. Bonnard’s painting would deeply mark her own approach: “The major change in my painting was when I discovered Pierre Bonnard. His work drew me in, the way he used colors. It was definitely a reaction to the science of color, how warm and cool react to each other. You can make something glow by using two colors. From that time on, I was tied to Bonnard, his bath house scenes were eloquent.”¹ This influence is evident in the group of interior scenes that comprised Tavernise’s 1985 MFA exhibition. Interior Space (1985) is a view through two doorways into a bathroom with an open window. Tavernise’s close study of Bonnard may be seen in
the sensuous application of paint and use of vibrant associations of complimentary and opposing colors. The skewed angle of the blue doorway is the first in a succession of flattened planes which lead our eye inward to the plum colored hallway floor, yellow bathroom door frame, deep green shower curtain and finally the window’s white square. This progression is countered by a return movement of light coming in from the window -- projecting a rectangle on the shower curtain, leaving a lavender patch on the hallway floor, and brushing the door with blue light. The unassuming rooms in the small house on Jefferson Street evoke alternating melancholy and quietude, and the sensation we have entered, what Paul Valéry in his essay on painting called “regions of the mind and being.”² In Chaco Canyon Doorway (1996), the artist revisited these same registers. Tavernise has stated that it was difficult for her to move forward after the success of this early body Chaco Canyon Doorway, 1996 of work. One would not guess from a self-portrait from the same period Self Portrait (1985), in which standing erect in a white smock beside her easel, the artist gazes confidently out at the viewer. Tavernise continued to experiment with color theory in works such as Romance of Three (c. 1986) in which the three golden fruit appear as isolated spheres on the table top’s cool platform, and the mauve shadows they cast on the surface are painted with the same intensity as the fruit themselves. During this time she also introduces the device of bands of arbitrary color used to frame the picture plane and divide it into different views or sections. Another work from this period, Van Gogh Wave (1986) received an award of merit from Barbara Haskell when exhibited that same year at the Durham Art Guild. Tavernise would produce wave paintings throughout her career and the exhibition contains several striking examples such as the nearly abstract Blue Wave (c. 2002). Van Gogh Wave presents an expanse of sunlit ocean with waves rushing up to the shore’s edge extending across the bottom edge of the picture plane. Paraphrasing Van Gogh’s painterly “short hand,” Tavernise utilizes individuated brush strokes and a thicker application of paint to register the force of the unfurling ocean. The variations in tone and use of complimentary colors Van Gogh Wave, 1986 convey an ebullient emotional state. Van Gogh describes his style in his letters as “not the tame or conventional language derived from a studied manner or a system rather than from nature itself…”³ Tavernise was seeking a more direct connection to nature in her own work, and a visit to the zoo in Asheboro opened the gate to a new theme that would allow her to fully explore the expressive potential of color.
Tavernise’s many paintings of residents of the North Carolina Zoo were exhibited regularly at the Somerhill Gallery during the 1990s and are some of the artist’s best-known works. She has stated that the zoo paintings were a “pure celebration.” They embody one of those rare contexts where an artist’s empathy for her subject and technical means come into perfect alignment. Flamingos (1988) presents a group of birds preening themselves in a grassy clearing. Perched on thin legs with heads curled down fluffing their feathers, the birds resemble flowers on stalks. The flamingos and their surroundings are treated with the same heightened chromatic values and freedom of paint handling. The pink plumage in the foreground and a zone of yellow sunlight spilling out from the center of the canvas in the middle ground vie for dominance, creating a tension between decorative flatness and spatial depth. In the large Rhinoceros (c. 1990) Tavernise also uses discreet zones of color to depict her subject. The rhinoceros is seen from above, with the lower half of its body hidden by the muddy water and his back cut off by the top of the picture plane. This perspective allows the artist to get very close to the water and mud, which are treated as alternating blue and brown cascades which ooze towards the bottom of the canvas. The sunlight falling on the animal’s back illuminates the rhinoceros’ terraFlamingos, 1988 cotta hide and contrasts with its dark, mud-covered face and flanks. The division of the animal’s head into dark and light halves makes it appear mask-like, as does the dangerously pointed tusk which seems to flair the surface of the picture plane. This proximity with the viewer creates a pictorial excitement that is difficult to conceive of in a painting of so much dirt, as the physicality of the exotic animal becomes a metaphor for the materiality of the painting process itself. The zoo, with its luxuriant plants and curious animals in outdoor settings, provided a perfect terrain for Tavernise’s imagination. Like the circus and dance worlds frequented by the Post-Impressionists, Tavernise came to know this encapsulated society intimately. She would make many visits to photograph and sketch the animals who she knew by name. One of her preferred subjects is the zoo’s baboon community of whom she made multiple paintings and sketches. The title of one of these works, Things We Need to Know II (c. 1996), suggests that she viewed the group as presenting a model for human interchanges. Tavernise’s long-lasting involvement with land conservation and belief in the sanctity of the natural world informs her animal paintings, landscapes and paintings of plants (one thinks of Enlightened Cactus and Tree Lights). In a series of paintings of various waterfowl floating on the surface of lakes the theme of immersion in a liquid, light-filled environment is developed with great success.
Though she had affirmed her own formal vocabulary by the 1990s Tavernise continued to push herself to evolve, which would mean “painting like” the great painters she admired. A striking self portrait from this time, Waiting for Matisse (1994), presents the artist staring frontally out at the viewer dressed in a striped turtleneck sweater, in homage to Matisse’s iconic self portrait of 1906 in a striped shirt. Tavernise’s treatment of her left eye as a flattened diamond also recalls the Matisse; and the highly charged color palette, with dark and light values created entirely from opposing colors ranging from chrome orange to lime green, is that of the Fauves. The work avoids being derivative through a dynamic set of pictorial relationships Tavernise puts into play. If one divides the artist’s face in half, following a vertical cadmium line beneath her nose, it presents very different aspects. The artist’s right side is treated with naturalistic modeling while her left Romance of Three, 1986 side in shadow is built from dominantly acid green tones. When seen in isolation this side appears stark and brutal compared to the glamorous other half. A tensile opposition is also created between the figure and background. A large red plant, whose petals appear to reach around the artist’s left shoulder, is juxtaposed with a dangling earring on Tavernise’s opposite ear which resembles the flower in miniature. These relationships suggest the artist’s struggles, both physical and artistic, as well as her passionate engagement with painting. In the hundreds of paintings and studies Linda Tavernise has produced throughout her career she has bowed to the past while establishing her own voice. Though her enterprise is treacherous, she never falls into caricature or pastiche. The “secrets of color” that she dreamed of wresting from Bonnard as a young artist are explored with resolve and dedication. In works such as her late cloud paintings she employs color to exact an intense emotional response and realizes her pursuit of a pictorial idea that would be a coefficient to physical pleasure. These paintings are filled with the artist’s inflections and presence, and as Lucy Spencer states “have the quality of pooling energy around them.” The collection presented at Green Hill holds much to delight the viewer. Edie Carpenter Curator, Green Hill Center for North Carolina Art ¹ Linda Tavernise, August 2009 ² Paul Valéry, quoted by Hilton Kramer in “Max Ernst”, The Revenge of the Philistines, (New York: The Free Press, 1985) ³ Vincent Van Gogh, The Complete Letters of Vincent Van Gogh, (New York Graphic Society, 1959)
Interior Space, 1985 oil on paper 30.5 x 26 inches
Waiting for Matisse, 1994 oil on paper 23 x 23 inches Collection of Sonia Elejalde
Untitled (three ducks), c.1990 oil on canvas 40.5 x 45.5 inches Collection of Rebecca Jones
Rhinoceros, c. 1990 oil on paper 21 x 30 inches Collection of David Thomas
Bear on the Porch, c. 1999 oil on paper 40 x 40 inches Collection of Carol Cole Levin
Lucy with Her Dogs, 1995 oil on panel 28.5 x 28 inches Collection of Lucy Spencer
Amalfi Drive Overlook, 1992 oil on paper 27.25 x 36 inches Collection of Jo Perry
Clouds, 2002 oil on paper 31.75 x 38 inches Collection of Maria Salakovic
LINDA TAVERNISE
R E S U M E
Education: B.A. in Studio/Art History from Eckerd College, St. Petersburg, FL Studied with Bob Hodgell, Jim Crane, and John W. Dixon, Jr. MFA studies at Claremont Graduate School and University Center, Claremont, CA Studied with Allan Blizzard, Douglas McMillan and Paul Darrow MFA in painting from UNC Greensboro, NC. Studied with Andrew Martin, Walter Barker, Peter Agostini, Bob Gerhart, Mark Gottsegen and Setsuya Kotani Workshop, Mountain Lake Lodge, VA, with Wayne Thiebaud Howard Scholarship recipient
Solo Shows: Art in the Garden, 2, Retrospective show and sale, Greensboro, NC May 2004 Art at the Dairy, show and sale with Jack Stratton, Climax, NC, November, 2003 Art in the Garden, 1, Retrospective show and sale, Greensboro, NC, May 2002 A Day in the Life of a Goat, Goat Lady Dairy, the unveiling of a commissioned painting funded in part by a United Arts Council HUB grant; Climax, NC, September 21, 2001 Animal Boxes and Other Paintings, South Elm Pottery and Gallery, Greensboro, NC, May, 2000 Linda Tavernise & Tim Ford, Somerhill Gallery, Somerhill Gallery, Chapel Hill, NC, May, 1999 Isabella Cannon Gallery, Elon College, Elon College, NC, November. 1996 Wilkes Art Gallery, North Wilkesboro, NC, February. 1996 Greensboro Artists’ League Gallery, Greensboro, NC, October. 1995 Theatre Art Galleries, High Point, NC., February, 1995 Linda Tavernise and Tim Ford, Green Hill Center for North Carolina Art, Greensboro, NC, 1993 Studio Gallery, Greensboro Artists’ League, Greensboro, NC, 1986 Weatherspoon Art Gallery, UNC-G, MFA Thesis Show. Greensboro, NC, 1985 Maryland Technical Institute, Spruce Pine, NC, 1983. Louise Gilbert Gallery, Mitchell Community College, Statesville, NC, 1982 Arts and Science Museum, Statesville, NC, 1981
Juried and Invitational Shows:
Elements, Green Hill Center for North Carolina Art, 2006, Curated by Jack Stratton Hand to Hand Part II, Green Hill Center for North Carolina Art, Greensboro, NC, 2005 Andrew Martin, and the Greensboro School of Painting, Lee Hansley Gallery, Raleigh, NC, 2004
Exit Art, 9/11 Project, a permanent installation at the NYC Gallery near the WTC,02 2001 Tiny Works, Little Licks, Project, Wichita, KS, 1999, 2000, 2001, 2002, 2003 Collector’s Choice, Christmas Show, Somerhill Gallery, Chapel Hill, NC, 1988-2004 The Winter Show, Green Hill Center for North Carolina Art, Greensboro, NC, 1988-2003 Just Racin’, Artists Look at NASCAR, Green Hill Center for North Carolina Art, 1999 A Sense of Space, Sawtooth Center, Associated Artists of Winston-Salem, NC, 1999 Portraits, Center for Creative Leadership, Greensboro, NC 1998 Commonwealth Collects, Virginia Beach Center for the Arts, Virginia Beach, VA, 1996 All Members Juried Competition, Greensboro Artists’ League, Greensboro, NC, 1985 (First Place 1986 - 1998) Orange County Woman’s Center Invitational, George Watts Hill Alumni Center, UNC, Chapel Hill, NC 1993, 1994, 1996 Small Works Show, Green Hill Center for North Carolina Art, 1995 A Garden of Earthly Delights, Green Hill Center for North Carolina Art, 1994 Splash! Images of Water, Center for Creative Leadership, Greensboro, NC, 1994 Greensboro Artists’ League Annual Juried Show, Greensboro, NC, 1994 (first place) Animal Instincts, Somerhill Gallery, Chapel Hill, NC, 1991 Duke University Institute of the Arts, Durham, NC, 1988 Fayetteville Museum of Art, Fayetteville, NC, 1987 Art on Paper, Weatherspoon Gallery, UNC, Greensboro, NC, 1987 Dimensions 88, Associated Artists of Winston-Salem, NC, 1988 GLAXO Invitational, Research Triangle Park, NC, 1988 Durham Art Guild Juried Exhibition, Durham, NC, 1986 (Merit Award juried by Barbara Haskell, Whitney Museum) Wake Visual Arts Association Juried Spring Show, Raleigh, NC, 1986 Henley Southeastern Spectrum, Sawtooth Gallery, Winston-Salem, NC, 1984, 1985, 1986 An Other Vision, Works by Women Artists, Weatherspoon Art Gallery, UNC Greensboro, NC, 1984 Miller 80 Exhibition, Green Hill Center for North Carolina Art, Greensboro, NC, 1982 (Purchase Award) Charlotte Open Juried Competition, Spirit Square, Charlotte, NC, 1981 The Art of Food, Somerhill Gallery, Chapel Hill, NC, 1980
Grants:
2000, Regional HUB Artists’ Grant, Guilford County 1998, Adolph and Esther Gottlieb Foundation, New York, NY
Public Collections:
The Miller Brewing Company; The Breakers at West Palm Beach, FL; Duke University Medical Center; North Carolina National Bank; Wachovia Bank; University of North Carolina at Greensboro; HMC Partners
GREEN HILL CENTER FOR NORTH CAROLINA ART LIST OF WORKS • OCTOBER 8 - NOVEMBER 8, 2009 A Day in the Life of a Goat, 2001 oil on panel 42.5 x 62.5 inches
Black Swan, 1998 oil on canvas 29 x 24 inches Blue Wave, c. 2002 encaustic on canvas 22.68 x 22.75 inches Collection of Jo Perry
Amalfi Drive Overlook, 1992 oil on paper 27.25 x 36 inches
Cantelope, c. 2000 oil on board 5.5 x 11 x 2 inches
Collection of Jo Perry
Collection of Jo Perry
Aquarium, 1993 oil on paper 47.25 x 23.75 inches
Chaco Canyon Doorway, 1996 oil on paper 17.8 x 14.4 inches
Collection of Tommy Winnett
Collection of the Unitarian Universalist Church Of Greensboro
Collection of Kim Kesterson Trone
Collection of Goat Lady Dairy
After Morandi III, c. 1980 oil on paper 18 x 18 inches
30 x 80 inches
Duck Patterns 1, c. 1990 oil stick on canvas 13.68 x 16.75 inches Duck Patterns 2, c. 1990 oil stick on canvas 13.68 x 16.75 inches Elephant Dance, c. 1992 oil stick on paper 20.5 x 14.5 inches Enlightened Cactus I, c. 2002 oil on canvas 13.5 x 16.5 inches
Collection of Lucinda Tavernise
Aquarium Diptych, 1993 oil stick on paper 24.25 x 18.75 inches Collection of Tommy Winnett
Chasing Lucy, 1995 monotype 16 x 15.75 inches
Arizona Sky, 1993 oil on paper 10.75 x 19.75 inches
Cindy’s White Peaches, 2002 oil on paper 20.25 x 21.25 inches
Collection of Tommy Winnett
Collection of Jo Perry
Baboon Study, c. 1990 oil on paper 10 x 18 inches Collection of Jo Perry
Cindy’s White Peaches 2, 2002 oil on paper 15.25 x 16 inches
Enlightened Cactus II, c. 2002 oil on canvas 13.5 x 16.5 inches
Collection of Carol Cole Levin
Cloud Study IV, c. 2002 watercolor on paper 14.75 x 12.75 inches
Bird, c. 1983 oil on canvas 49 x 49 inches Collection of Helen W. Perry
Clouds, 2002 oil on paper 31.75 x 38 inches Collection of Maria Salakovic
Creation Clouds, c. 2002 oil on panel
Collection of Jo Perry
Collection of Tommy Winnett
Goat Colors, 2001 oil on paper 16 x 25 inches
Lilly II, n.d. oil on paper 16.5 x 12.25 inches
Collection of Lee and Steve Tate
Gray Cloud, c. 2004 oil on paper 28 x 14.25 inches
Lucy with Her Dogs, 1995 oil on panel 28.5 x 28 inches Collection of Lucy Spencer
Collection of Tommy Winnett
Green Wave, c. 2002 encaustic on canvas 23 x 23 inches Happy Birthday Jo, 2000 oil on paper 16.25 x 13.25 inches Collection of Jo Perry
Interior Space, 1985 oil on paper 30.5 x 26 inches
Collection of Jo Perry
Enlightened Grass Flowers, c. 2000 oil on paper 25 x 33.75 inches Collection of Jo Perry
Enlightened Mission, c. 2000 oil on panel 29 x 24 inches Collection of Jennifer Jones Otto
Collection of Paul Tavernise
Bear up a Tree, c. 1999 oil stick on paper 16 x 20 inches
Katsu Spirit #2, 1994 oil on paper 19.75 x 15.25 inches
Lucy with Her Horses, 1995 oil on panel 50 x 97.75 inches Collection of Lucy Spencer
New Topsail Beach, Sound View #2, 1981 acrylic on canvas 10.25 x 21.25 inches Collection of Helen W. Perry
Enlightened Cat #3, 2002 oil on paper 23.68 x 22.75 inches
Collection of Lucinda Tavernise
Bear on the Porch, c. 1999 oil on paper 40 x 40 inches
Flamingos, 1988 oil on paper 16 x 15.5 inches
Family Walk, c. 1993 oil stick on canvas 12 x 12 inches Farewell Study 1, 1995 oil on paper 22.25 x 27.25 inches
Jo, 1978 oil on canvas 20.25 x 24.25 inches Collection of Jo Perry
Jo’s Heavenly Flock, 2000 oil on paper 18 x 19 inches Collection of Jo Perry
Jungle Light II, 1994 oil on canvas four pieces 18 x 23 inches each Collection of Conservation Council of North Carolina
Katsu Remembers, 1997 oil on paper 18.5 x 16.5 inches Collection of Tommy Winnett
North Carolina Landscapes, c. 2000 oil on paper 33 x 24 inches Collection of Margaret Fowler
Onion, c.1995 oil on board 11 x 5.75 x .75 inches Collection of Jo Perry
Our Soul Mates, 2002 oil on paper 22.5 x 15 inches Collection of Alice Beecher
Paul, c. 1992 oil on canvas 10 x 8 inches Collection of Paul Tavernise
Purple Flowers, c. 2000 oil on paper
18.75 x 15.25 inches Collection of Tommy Winnett
Reflections on Giverny, 2007 oil on canvas 20 x 16 inches Collection of Patricia Vedder and Eric Eno
Rhinoceros, c. 1990 oil on paper 21 x 30 inches Collection of David Thomas
Steve’s Lap, 2001 oil on paper 15 x 16 inches
Tim Brown’s Goat, c. 1999 oil stick on paper 14.5 x 12.5 inches
oil on paper 17 x 40 inches
Collection of Lee and Steve Tate
Collection of Alice Beecher
Still Life II, c. 1982 oil on paper 20.75 x 18.25 inches
Topsail Clouds II, 1981 oil stick on paper 9.5 x 15.5 inches
Untitled (long landscape), c.1980 oil on canvas 8 x 40 inches
Collection of Helen W. Perry
Collection of Fred Lopp
Still Life, 1982 watercolor on paper 13 x 13 inches
Topsail Sunrise I, c. 2001 oil stick on canvas 26 x 26 inches
Collection of Jim and Jane Gutsell
Romance of Three, c. 1986 oil on paper 26 x 29.75 inches Sage and Lucy, c. 1999 oil on paper 24.5 x 12.5 inches Collection of Patricia Vedder and Eric Eno
Still Life with Pears, 1982 watercolor on paper 17 x 21 inches Collection of Jim and Jane Gutsell
Stork Flasher, 1988 oil on paper 32 x 32 inches Collection of Geraldine Bryan
Self Portrait, c. 1985 oil on paper 31 x 26 inches Sicilian Sky, c. 1993 oil on paper 9.5 x 22 inches Collection of Sue Cole
Sun In Solunto, c. 1993 oil on paper 16.5 x 18.5 inches Sunlight Strip, c. 2001 oil on canvas 16 x 16 inches Collection of Barbara Hughes
Single Duck, c. 1991 oil on paper 21 x 21 inches Collection of Geraldine Bryan
Sunrise 2, c. 2004 oil on canvas 16 x 13 inches
Solunto, c. 1993 oil on paper 21.25 x 36.75 inches
Sunrise for Dali, c. 2004 oil on canvas 12 x 12 inches
Collection of Helen W. Perry
Collection of Tom and Lisa Woods
Solunto Landscape, c. 1993 oil on paper 18 x 37 inches Collection of Patricia Vedder and Eric Eno
Things We Need to Know II, c. 1995 oil on paper 21 x 47 inches
Collection of Helen W. Perry
Untitled (one orange fish), c.1994 oil stick on paper 12.5 x 15.25 inches Collection of Jo Perry
Topsail Sunrise II, c. 2001 oil stick on canvas 26 x 26 inches
Untitled (two orange fish), c.1994 oil stick on paper 14.5 x 12.25 inches Collection of Jo Perry
Untitled (yellow fish), c. 1994 oil stick on paper 13.25 x 16.75 inches Collection of Jo Perry
Untitled Nude, 1984 oil on paper 23.75 x 20.25 inches Collection of Jo Perry
Untitled (person with red jacket), c. 1978 oil on paper 12.25 x 12.75 inches
Van Gogh Wave, 1986 oil stick on paper 21 x 47.75 inches
Collection of Paul Tavernise
Collection of Paul Tavernise
Untitled (red kayak), c. 1999 oil on paper 26 x 27 inches
Waiting for Matisse, 1994 oil on paper 23 x 23 inches
Collection of Jim Ingram
Collection of Sonia Elejalde
Untitled (cat), n.d. oil on canvas 11.75 x 15.75 inches
Untitled (small landscape), c. 1978 oil on board 8.5 x 12 inches
Walking Bear, c. 1999 oil on paper 9.25 x 11.25 inches
Collection of Jo Perry
Collection of Helen W. Perry
Untitled (flowers in vase), c. 1983 oil on paper 14.5 x 12.5 inches
Untitled (three ducks), c.1990 oil on canvas 40.5 x 45.5 inches
Tree Light, c. 2000 oil on paper 18.25 x 18.25 inches Collection of Beatrice Schall
Twins, c. 1992 oil stick on paper 16 x 15 inches
Untitled (landscape) c. 1992 oil on paper 13.5 x 27.5 inches Untitled (landscape & clouds), c.2002
Collection of the Frances and Gib McEachran
Collection of Rebecca Jones
Collection of Jo Perry
Untitled (horses), 1995 oil on paper 14.25 x 26 inches
Water Colors, c. 1992 oil on paper 38.5 x 50 inches
Untitled (two ducks), c. 1991 oil on paper 25.75 x 33 inches
Waterview, c. 1980 oil on canvas 46.5 x 36.25 inches Collection of Lucy Spencer
Collection of Jo Perry
Untitled (two monkeys), 1993 oil stick on paper 22 x 35 inches Collection of Marta and Rogelio Tornero
Zinnias, c. 2000 oil on canvas 16 x 20 inches Collection of Barbara Hughes
All dimensions are frame dimensions.
Cover Image:
Cindy’s White Peaches, 2002 oil on paper 15.25 x 16 inches Collection of Jo Perry
Published in conjunction with the exhibition Linda Tavernise Retrospective Green Hill Center for North Carolina Art October 8 - November 8, 2009
Catalog design: Mario Gallucci Copy photography of Bear on the Porch: C. Timothy Barkley All other copy photography: Mario Gallucci ©2009 Green Hill Center for North Carolina Art 200 N. Davie Street, Box No. 4 Greensboro, NC 27401 www.greenhillcenter.org Art © Linda Tavernise All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photographs, recording, or any information storage or retrieval system without permission in writing from the publisher.
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