Forever West
2 Legacy Gallery brings together five of today’s most important Western artists for this show: Bill Anton, Glenn Dean, G. Russell Case, Jeremy Lipking, and Howard Post. Together they capture the emotion of the environments, communities, and peoples they paint.
3 Forever West group show and sale august 10th - 14th artists’ reception & sale Friday, august 12th, 2022 5:00 - 7:00 pm santa Fe, new mexico Legacy Gallery • 225 Canyon Road • Santa Fe, NM 87501 • 505-986-9833 manitougalleries.com • legacygallery.com
TO GOD BE THE GLORY” - Bill Anton
4 Bill anton
Bill Anton was born in Chicago in 1957, and later moved to Prescott, Arizona after graduating from Northern Arizona University. When he committed to painting full-time, he studied under Michael Lynch and Ned Jacob, who encouraged him to paint from life. Anton’s work has been published in Southwest Art, Architectural Digest, Art of the West, Equine Images, Western Horseman and Art-Talk. He was featured on the cover of the April 2006 American Artist magazine. Corporate collections that include his work are Sears, Dupont, State Farm Insurance, Bank of America, Hewlett Packard, and Trust Company of the West. His award winning work has been displayed at the Prix de West at the National Cowboy and Western Heritage Museum, Master of the American West at The Autry Museum, The National Center for American Western Art, The Old West Museum and The National Museum of Wildlife Art. In addition, his work is in the permanent collection of the prestigious Gilcrease Museum. “I do not see myself as a biographer of the “cowboy.” I know some artists feel they are recording a historical portrayal of ranch life today in the American West. But the focus of my work has always been mood and passion. If I’m recording anything, I’m recording how I feel about the West. I want the viewer to feel the drama of atmosphere and the mystery of a western night. I want the volume and portent of a cloud to be evident in the calligraphy of a brush stroke. The pack of the muscle below a horse’s shoulder should be energized by the gestural application of paint. You see, I love to paint. And I love the American West. I was born in Chicago, but the Sierra Nevada, Sangre de Cristo, Sawatch and a hundred other ranges of our Rocky Mountains were the only “Big Shoulders” that ever interested me. Walking thunderstorms, sun-struck cedars, rimrock and artfully abstract water patterns charge the landscape here with an impossible beauty.
Amidst this nobility is its caretaker: the rancher. With the natural ease of generations bred to the saddle, he is a powerful image, further ennobled by a fine horse. An artist under the spell of the west has the privilege of marshaling the virtues of landscape, figure and equine painting into one supremely paintable subject: the American cowboy.
5 Desert Silhouettes 40" x 65" Oil Bill anton
6 Packers’ Paradise 18" x 24" Oil Bill anton
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The mountains, canyons, clouds, and deserts have been there long before any of the artists. I am always reminded, while trying to give justice to what I see in front of me with my paints, that I am merely an observer, a looker, a sojourner being shown something much too lovely to fully comprehend. I have come to realize the simple joy of time spent combining elements that reflect a visible world that is reflecting a Divine nature.
Born in Cedar City, Utah, Russell was heavily influenced to paint by his father–an accomplished painter and artist in his own right, who spent most of his career as a graphic illustrator for the federal government. In High School and throughout Russells years of formal studies, his audience of influence grew. At Snow College, in rural Central Utah, Osral Allred and Carle Purcell helped guide his brush forward as he continued in study at Utah State University, beginning in the 80s. Professors Harrison Groutage, Everett Thorpe, Gaell Lindstrom, Moishe Smith and Glenn Edwards powered the art department by their classical passion for art, fueling Russells passion and confidence that would later outweigh the risks of pursuing painting full-time.
It was from there that Russell made his living as a watercolor artist. Nearly thirty years later in 1999 he transitioned into oil paints that would prove to accelerate his career and the demand for his work. Case paints directly from the created landscape, trying to record color and light. And his studio compositions are derived from thoughts recorded outdoors. The philosophy of his work leans to that of Robert Henri–to paint the emotions and the inner poetry of the subject, not to merely be bound by literal translations. Russell tries to record with direct strokes, the composition, color and emotion that he finds.
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Russell resides in Northern Utah with his wife of 37 years, Susanne, and son Cooper. He has been blessed to witness the union of both his daughters, Taylee and Morgan, to men of faith, Nick and Dane. And what joy has been found for Case to be blessed with five grandchildren; Afton, Samuel, Jacob, Henry and Peter.
g. russell case
“For what reason do I long to reflect the lovely things I see? Compositions to be thought-up in a human mind; endless options of color cords to arrange and the fascinating nuances that exist in a single passing cloud.” G. Russell Case
8 Discerning the Day 16" x 20" Oil g. russell case
9 g. russell case Ancient Hills 24" x 30" Oil
10 Valley Shadows 19" x 24.5" Oil g. russell case
11 g. russell case Sandstone Tapestry 16" x 20" Oil
12 g. russell case October in New Mexico 18" x 24" Oil
13 Serenading the Light 45" x 50" Oil g. russell case
Glenn Dean’s childhood interest in art matured into a love of painting landscapes by his early twenties. Exposure to the California and Western landscape painters of the early 1900’s had a great influence on the young artist, and directed the course of his career early on. In the works of such masters as Edgar Payne and Maynard Dixon, Dean saw the “importance of seeing the color of light” while “carefully observing the simple and basic characteristics of a specific location.”
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Largely a self-taught Artist, Dean has a passion and joy for discovering answers to the complexities found in the works of those past masters and continues to strive for a similar quality in his own work. In recent years, Dean has turned his attention to the figure within the landscape as he brings the figure closer to the forefront. It is the relationship between the figure and his surroundings which intrigues DeanDean.gained recognition early in his career. He has twice been honored as the cover artist for Western Art Collector magazine, and has appeared in several national magazines including Western Art and Architecture, Art of the West, Southwest Art, and American Artist. Dean has won a number of awards including his most recent, the 2018 Henry Farny Award for Best Painting at the Eiteljorg Museum’s Quest for the West Art Show and Sale. In 2017, Glenn won the Artist’s Choice Award at Quest for the West, and in 2016, Glenn was the recipient of the Victor Higgins Award of Distinction for the Best Overall Body of Work. Select awards include: the Gold Thunderbird Award (Best of Show) at Maynard Dixon Country; the first ever Emerging Artist Award presented by Art and Antiques Magazine; and the Grand Prize and Artists’ Choice Award at the inaugural Tucson/Sonoran Desert Museum Plein AirDeanInvitational.paints on-location throughout the Southwest, dividing his time between deserts, mountains, and coastal subjects. Time in the field and in the studio are equally important to Dean. While working in his studio, Dean is able to paint larger compositions worked from field studies and other references. Dean and his wife, Suzanne, live in his native state of California on the Central Coast.
High Desert Wanderer 12" x 16" Oil dean
glenn
15 glenn dean Catching the Last of the Sun 25" x 20" Oil
16 Vermilion Stronghold 30" x 30" Oil glenn dean
17 glenn dean Among the Shadow Makers 40" x 60" Oil
I’d have been one too if it hadn’t been for my third grade teacher.” -Howard Post
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Howard Post’s career, you could say began in third grade when his school teacher submitted one of his drawings to the local newspaper. He won the competition and was awarded a yellow toy bulldozer (which he still has today). He is a third-generation Arizonian and grew up on a small ranch near Tucson in southern Arizona. He attended the University of Arizona where he completed his BFA and MFA degrees. In the early 1970s he worked as a graphic designer and illustrator for a variety of clients throughout the United States. After serving on the faculty at both University of Arizona and Arizona State University, he began painting full-time. He remains true to his western heritage. He still competes in roping competitions throughout the west, yet he still considers himself an artist rather than a cowboy. Foremost is his role as a husband and father. With his wife of 49 years, Marilyn, they have five grown children and 18“It’sgrandchildren.likethesong Willie Nelson sings, ‘I grew up a-dreamin’ of bein’ a cowboy and lovin’ the cowboy ways...’
howard post
19 howard post Hillside Pasture 14" x 18" Oil
20 Ranch Yard 10" x 20" Oil howard post
21 howard post Valley Shadows 24" x 24" Oil
22 Waterhole 40" x 30" Oil howard post
23 howard post The Inspection 30" x 48" Oil
In a remarkably short period of time, Jeremy Lipking has emerged as one of the country’s premier realist artists. His talent, which rivals that of the late nineteenth century painterly realists such as John Singer Sargent, Joaquin Sorolla and Anders Zorn, is outstanding for a painter of any age. Like these great painters of the past, Lipking is a virtuoso artist. His canvases convey the magical aura of convincing imagery emerging out of a field of paint. Realism has been misunderstood through most of the twentieth century as an art of imitation. In truth, when practiced by a painter like Jeremy Lipking, realist painting is a powerful creative force. Many viewers are drawn to his art thinking that it looks just like a photograph. Actually Lipking’s vision is the opposite of what a camera does. A photograph tends to flatten an image, reducing all relationships of color and shade to a stiff mechanical pattern. Lipking’s skill lies in his ability to probe in and around his subject. With a highly sensitive eye, he sees nuances of value and hue that the camera and most people can never see. More incredibly, he is able to translate his highly nuanced vision into a painted image. Lipking’s true subject is his pictorial fluency. Seeing one of his paintings involves entering into the pictorial world he has created. Like all great realists, he has the ability to generate powerful fictions.
The experience of watching Lipking paint is both exhilarating and baffling. Lipking begins his paintings in a surprisingly loose, painterly manner-something unexpected. He makes initial marks to find the scale and proportions of his subject. Then he applies a broad underpainting of color to capture the desired hue and value. At this stage his paintings look almost abstract, consisting of a pattern of large color shapes. The magic occurs in the finish. As he progresses, he gradually refines each area, adjusting relationships of color and adding deft touches to define select elements. He brings certain forms to a razor sharp level of finish. Other passages are left vague and undefined. In this interplay of sharp and loose, the painting literally opens up and breathes. This is what makes his art seem so lifelike. Instead of resting as static images, his canvases pulse with the subtle energy of a living thing.
Jeremy lipking
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25 Jeremy lipking Remembrance 30" x 20" Oil
26 Jeremy lipking Mother and Child 30" x 40" Oil
27 Santa Fe • Scottsdale Legacy Gallery • 225 Canyon Road • Santa Fe, NM 87501 • 505-986-9833 Legacy Gallery • 7178 Main Street • Scottsdale, AZ 85251 manitougalleries.com • legacygallery.com