THE PAINTINGS OF GABRIELA GONZALEZ DELLOSSO A RETROSPECTIVE
January 12 – March 30, 2024
MUSEUM OF ART-DELAND
600 North Woodland Boulevard
DeLand, FL 32720
April 20 – July 14, 2024
FORT WAYNE MUSEUM OF ART, IN
311 E Main Street
Fort Wayne, IN 46802
THE RECONTEXTUALIZATION OF PAST AND PRESENT IN THE MAGIC REALISM OF GABRIELA GONZALEZ DELLOSSO
Gabriela Gonzalez Dellosso is an artist of impeccable skill with a deep love and knowledge of art history. In fact, Dellosso’s paintings almost seem to summon the ghosts of her favorite painters. Rembrandt, Vermeer and Goya are all here. In one respect, Dellosso’s paintings are like a time machine, transporting us to a bygone era through rich luminous colours and delicate details reminiscent of the great European Masters. Yet, as we look deeper, beneath this veil of classical painting, we are immediately jerked back into the present and confronted with contemporary issues and ideas. The subject matter and narrative themes of Dellosso’s paintings are distinctly modern, imbued and imbedded with hidden metaphors that can only be fully discerned though her brilliant juxtaposition of past and present.
In her ongoing Homage Series, Dellosso explores women painters, many of whom did not enjoy the full recognition that their talent deserved during their own lifetimes and some of whom have still yet to be widely taught in Art History curricula. Dellosso portrays these artists by incorporating a self-portrait of herself within a painting that each respective artist did as a self-portrait. As such, Dellosso serves as a literal witness to each artist within her own painting and, of course, we as the viewer likewise become a witness of each respective artist portrayed. So, while in one respect, these are historical paintings, Dellosso has forced the collision of past and present by placing herself within each, thereby forcing us to re-examine and acknowledge each artist in our present moment. Her most recent painting in this series, a large scale oil titled A Surrealist Premonition, debuts with this exhibit and features the artists Leonora Carrington (British 1917-2011), Frida Kahlo (Mexican 1907-1954), Lotte Laserstein (Polish 1898-1993), Kay Sage (American 18981963), Dorothea Tanning (American 1910-2012), Meret Oppenheim (German 1913-1985) and Remedios Varo (Spanish 1908-1963).
Another subject Dellosso returns to over and over again is clowns. Clowns are almost universally either loved or hated. There is no middle ground. When we think of a clown, we typically only think of the persona, what we are meant to see, what we are shown – the happy clown, the sad clown or even the scary clown. In stark contrast, Dellosso’s clowns are not one-dimensional; they are unmasked emotionally complex individuals that demand our empathy. Here also there is a sense that Dellosso is on a journey in this series to know as much as she can about who they really are underneath the greasepaint.
Among her most striking paintings in the clown series is Untitled, a large-scale painting depicting an ornately-dressed clown in repose position against the Manhattan skyline, the Twin Towers clearly visible in the background. Completed in 2003 but conceptualized before 2001, this painting is replete with symbolism and metaphors, which have clearly taken on even more meaning since the tragic events of 9/11. What are we to make of this perfectly still figure, buried in confetti and still wearing his big shoes and white gloves but with his clown veneer partially stripped away? And what of the fresh white flower that graces the hands of our serene, unmasked clown? Is this a symbol of sainthood, of purity or perhaps a symbol of resignation after a life of dutiful service? This painting, as in many of her others, embodies an unmistakable connection to Magic Realism.
Here, a real place serves as the setting for what appears to be an almost supernatural, unexplained occurrence taking place right in front of us. Dellosso recounts “I currently live and lived at the time when I painted this work, in an area where you can see the Manhattan skyline and often on my walks, I would admire the fields of dirt and upcoming building sites. I thought it looked dramatic against the NYC skyline – so that is where the landscape originated. The construction cones just felt right.”
Filled with narrative detail, this real-world setting becomes even more interesting upon learning that the artist’s childhood bedroom floor was covered in brightly colored linoleum, patterned with confetti and clowns. Dellosso says that “the stories in the paintings seem to unravel on their own. I can’t explain how it happens – it is almost a magical thing.”
Gabriela Gonzalez Dellosso’s powerful, seemingly anachronistic paintings connect us simultaneously to past and present, creating a tension that forces us, the viewer, to recontextualize and re-examine our present – our now – through the lens of the past. Dellosso’s genius is that she allows, almost begs, us to strip away the surface layers and look behind the mask or façade. By doing so, we are immediately frozen by the gaze of her paintings, a witness left to contemplate and interpret what is before us; left to unravel the mystery and complexity of her subjects. One cannot simply and casually glance at a Gabriela Gonzalez Dellosso painting. Her paintings demand our full attention. This is the pinnacle of narrative realism, where we, the viewer, are left to complete the story.
Tariq Gibran, Curator Museum of Art – DeLand, DeLand, FLTHE REALITY OF A PERSON, IN PAINT: THE REALISM OF GABRIELA GONZALEZ DELLOSSO
Contemporary art is a moving target, enjoying its title only as long as the life and recent memory of its practitioners. What is contemporary will become past, and living artists compete for a role in this story of art as it is written. And yet, the art of history is never really history. Its influence and effects on successive generations can be just as powerful, if not more, than when it was contemporary.
This is certainly true of the art and artists that have taken root in the heart and mind of Gabriela Gonzalez Dellosso. Moved by the lives of unsung female artists that came before her, Dellosso brings them back to life with her brush, knowing them so intimately that she herself becomes them on canvas. But this is no vanity project to supplant another’s legacy to secure her own, this is a painter’s desire to gather the scattered, and perhaps lost, women artists of the past and, together, take their rightful place in the great tradition of realism. Neither time nor lack of recorded memory will quell that desire. Indeed, only by identifying with these women in scenes from their own lives or as subjects in their own works can Dellosso know them well enough to tell their story.
The importance of a more complete history of art that includes these women is reason enough to make these paintings, but Dellosso gives us more than that. With her countless gifts, she tells us about the person – not just the artist – who has been forgotten and invites us into her world. This world sparkles before our very eyes, defying the centuries between us and existing always now.
Of all the ways of making art, realist painters possess the unique ability to traverse both the unreachable past and the anticipated future. With every stroke, the artist leaves evidence of her very self in a material designed to last for hundreds of years, what we might call “forever” in our mortal capacity. In the presence of the works of Gentileschi, Leyster, or Fontana, the artists are near to me in the stray brush hair locked into the paint, or in the directional strokes visible in the raking light. I stand before the very canvas they lived with until the paint was dry. And so it is with Dellosso, who is united with admirers who see her paintings around the world, and those who will after she is gone.
Abstraction can also be our time traveling vehicle: there is perhaps more evidence of the human hand (or foot) in a Pollock, Rothko, or Frankenthaler than there is in a refined realist painting. The abstractionists, too, recognized that material was necessary to express, and therefore make visible, the immaterial they so vividly
experienced. The act of painting itself, so highly regarded for its immediacy and its expressive potential, would come to reveal the very essence of the individual artist, down to his most subjective, yet unseen, experiences, and the paintings themselves would be the manifestation of but a moment.
For them, they were representing reality – the true reality of the individual as he really is with nothing to impose upon his “self.” Painting, too, would be unconstrained: no standards, no expectations, and no comparisons. Just pure painting. This quest for purity led to the ongoing distillation of painting down to merely mark making, with the finished canvas serving as evidence of the act, which held more value than the object. When we reach this end, why not just pantomime the act of painting and do away with the paint itself?
To consider this question, of course, is to imagine our existence without the material, which is not, in fact, how we exist. The quest for ever purer, ever more perfect painting must stop short of the absurd conclusion of art with no object, of form without matter. The abstractionists are right that reality can be immaterial, but the realists understand this without shunning the material. By representing the physical world on canvas, realists faithfully use the integrated language of natural proportion, coherent narrative, and the properties of light to speak to us about all of reality, both what we can know with our senses and what we can know through subjective experience.
Dellosso uses this language of embodied reality to do all of the things the abstractionists desired: to convey emotion, revel in the act of painting, and communicate something of herself. As the model herself for most of her subjects, we gaze deeply at both the artist and the woman she portrays. In Dellosso’s work, everything is there: the artist, the act, the painting, the story, the feeling, and, indeed, the whole person.
Amanda Shepard, Vice President Fort Wayne Museum of Art, Fort Wayne, INGABRIELA
GONZALEZ DELLOSSOVery few artists have achieved what Gabriela Gonzalez Dellosso has done at this stage of her distinguished career. Dellosso’s technically proficient use of medium, combined with a realistic style emblematic of past eras of notable artists in the realist tradition, is blended with her additional unique quality of statement. In a Dellosso work the subject matter has been created with a singular purpose and direction.
At face value she has created scores of oil paintings which are magnificent to view. However, using an even truer test – time – the viewer repeatedly returns to discover additional nuances and hidden treasures within her paintings. Creating a limited number of works each year provides her the opportunity to work out the various issues of composition, color balance, and creative theme starting first with small oil studies and following through to meticulously-achieved final masterpieces.
With most artists that might be a satisfactory goal – simply put, to paint a good painting that holds the attention of the viewer. With Gabriela it is just a function necessary on the way to her goal of honoring women artists who have provided a valued trail to follow. In many cases, the female artists she pays homage to had to overcome numerous obstacles professionally, artistically, environmentally and socially.
With each of her paintings she pays homage to artists of previous generations, many of whom today might be footnotes in art history except for her recognition of their unique stories. She is inspired by how most found success by following their respective dreams and ambitions – to create art worthy to be enjoyed because of the quality of what they were able to produce in what for centuries was considered a “man’s profession.”
Having known several hundred artists personally over my fifty-year career as an owner of an art gallery I am most pleased to have been a part of Gabriela’s journey towards greatness.
William Meek, Director Emeritus Harmon-Meek Gallery, Naples, FL
EXHIBITION CHECKLIST
PORTRAIT OF NINA
1997, oil on linen, 30 x 24 inches
Courtesy of the Artist
FIGURE STUDY
1997, oil on linen, 30 x 27 inches
Collection of Cheryl Klein
JOSEPHINE
1998, oil on linen, 24 x 26 inches
Courtesy of the Artist
AVIVA
2001, oil on linen, 48 x 36 inches
Courtesy of the Artist
THE SISTERS (Diptych)
2004, oil on two panels, 11 x 14 inches each
Courtesy of the Artist
HARLEQUIN ON A HIGH WIRE
2002, oil on linen, 26 x 50 inches,
Courtesy of Harmon-Meek Gallery, Naples, FL
DOLL MAKER
2000, oil on linen, 34 x 24 inches
Collection of Jack and Carol Bury
WINE, CHOCOLATE AND BOSCH
2019, oil on linen, 40 x 60 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
STUDY FOR THE CHESS GAME
2022, oil on panel, 8 x 10 inches
Courtesy of Harmon-Meek Gallery, FL
DOUBLE SELF PORTRAIT, HOMAGE TO FRIDA KAHLO, LAVINIA FONTANA AND MIRIAM SCHAPIRO
2023, oil on panel, 14 x 18 inches
Courtesy of the Artist
THE STORYTELLER, HOMAGE TO SOPHIE GENGEMBRE ANDERSON (SELF-PORTRAIT)
2016, oil on panel, 16 x 12 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
STUDY FOR A SURREAL ENCOUNTER, HOMAGE TO COLLEEN BROWNING
2022, oil on panel, 8 x 10 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
GARRIK
2010, oil on linen, 24 x 20 inches
Collection of Antonio and Carla Navalon
THE VICTORIAN BUBBLE BLOWER
2001, charcoal, 32 x 18 inches
Collection of Joseph and MaryBeth Cusenza
THE MILLINER’S SHOP
2014, oil on linen, 32 x 40 inches
Collection of Joseph and MaryBeth Cusenza
VARO’S MOON
2014, oil on linen, 40 x 40 inches
Collection of Selma Nettles
PANDORA’S BOX, HOMAGE TO MARIA SIBYLLA MERIAN (SELF-PORTRAIT)
2020, oil on linen, 33 x 27 inches
Collection of Selma Nettles
PANDORA’S BOX
2008, oil on linen, 32 x 32 inches
Collection of Selma Nettles
HOMAGE TO EVELYN DE MORGAN (SELFPORTRAIT)
2021, oil on linen, 40 x 40 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HOMAGE TO SOFONISBA ANGUISSOLA (SELFPORTRAIT)
2018, charcoal, pastel and gold leaf, 18 x 12 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
THE RUFFLED SWIM CAP
2009, oil on linen, 12 x 9 inches
Collection of Brian O. and Linda R. HillHill
THE FUR HAT
2005, oil on linen, 30 x 25 inches
Collection of Charles and Birgit Elchoueri
HOMAGE TO ANGELICA KAUFFMAN (SELF-PORTRAIT)
2016, pencil, pastel and gold leaf, 18 x 14 inches
Collection of The Museum of Art, DeLand, FL
HOMAGE TO FRIDA KAHLO (SELF-PORTRAIT)
2015, pencil and pastel, 16 x 12 inches
Collection of Selma Nettles
THE WOMAN IN WHITE
2006, oil on panel, 19 x 31 inches
Collection of Ilene Hochberg Wood
BEATRICE READING
2014, oil on linen, 36 x 50 inches
Collection of Russell and Linda Cowles
GENEVIEVE ESTELLE JONES’S DREAM, (SELFPORTRAIT HOMAGE)
2015, oil on linen, 46 x 70 inches
Collection of Bill and Barbara Meek
STUDY FOR BRIDE II
2006, pastel, 30 x 16 inches
Collection of Dr. Christine Isabelle Oaklander
THE RED SHOES
2008, oil on linen, 46 x 38 inches
Collection of Ilene Hochberg Wood
HOMAGE COMPOSITION TO HISTORICAL PAINTERS: ANNE VALLAYER COSTER, CLARA PEETERS, AND RACHEL RUYSCH
2017, oil on linen, 41 x 46 inches
Collection of Selma Nettles
HOMAGE TO LILLA CABOT PERRY (SELF-PORTRAIT)
2008, oil on linen, 10 x 8 inches
Collection of Dr. Stelian Serban and Brian Maloney
SELF-PORTRAIT IN BLACK
2004, oil on linen, 24 x 20 inches
Collection of The Butler Institute of American Art, Youngstown, Oh
HOMAGE TO MINERVA TEICHERT (SELF-PORTRAIT)
2023, oil on linen, 48 x 30 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
VISIONS OF PASSENGER PIGEONS
2016, 22 x 51 ¾ inches, pencil, pastel, ink and metallic pen
Collection of Selma Nettles
HOMAGE TO CONSTANCE MAYER (SELF-PORTRAIT)
2021, watercolor and pastel, 18 x 20 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
EXHIBITION CHECKLIST
FLOWERS IN WATER
2005, oil on panel, 12 x 9 inches
Collection of Gary and Zeny Erbe
RIVALS
2015, oil on linen, 12 x 16 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
THE BURNING OF ADÉLAïDE
LABILLE-GUIARD’S MASTERPIECE (SELF-PORTRAIT HOMAGE)
2015, oil on linen, 70 x 105 inches
Collection of The Butler Institute of American Art, Youngstown, OH
STUDY FOR THE BURNING OF ADÉLAïDE
LABILLE-GUIARD’S MASTERPIECE (SELF-PORTRAIT HOMAGE)
2014, oil on linen, 11 x 14 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HOMAGE TO JUDITH LEYSTER (SELF-PORTRAIT)
2010, oil on linen, 16 x 16 inches
Collection of Chantell Van Erbe’
THE HARLEQUIN
2003, oil on Linen, 80 x 36 inches
Collection of the Art Renewal Center, NJ
HOMAGE ODE TO REMEDIOS VARO
2018, acrylic paint, oil paint, and pastel with gold metallic accents on Arches Huile paper, 19 x 14 inches
Collection of the Fort Wayne Museum of Art, Fort Wayne, IN
HOMAGE ODE TO LAVINIA FONTANA
2018, oil paint with metallic accents, and gold leaf on Arches Huile paper, 19 x 14 inches
Collection of the Fort Wayne Museum of Art, Fort Wayne, IN
HOMAGE ODE TO SOFONISBA ANGUISSOLA
2018, oil paint, colored pencil, and gold leaf on Arches Huile paper, 19 x 14 inches
Collection of the Fort Wayne Museum of Art, Fort Wayne, IN
HOMAGE ODE TO ANNE VALLAYER-COSTER
2018, acrylic, oil, and metallic paint on Arches Huile paper, 19 x 14 inches
Collection of the Fort Wayne Museum of Art, Fort Wayne, IN
HOMAGE ODE TO EVELYN DE MORGAN
2021, oil paint, pastel, metallic accents with gold leaf on Arches Huile paper, 19 x 14 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HOMAGE ODE TO GIOVANNA GARZONI
2018, ink, watercolor, and gold paint on Arches Huile paper, 19 x 14 inches
Collection of the Fort Wayne Museum of Art, Fort Wayne, IN
HOMAGE ODE TO ELENA KARAMIHAYLOVA
2021, oil paint with metallic accents on Arches Huile paper, 19 x 14 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HOMAGE ODE TO ADÉLAïDE LABILLE-GUIARD
2021, oil paint, pastel with metallic accents, and gold leaf on Arches Huile paper, 19 x 14 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HOMAGE ODE TO KAY SAGE
2021, oil paint, pastel with metallic accents on Arches Huile paper, 19 x 14 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HOMAGE ODE TO ELIZABETH THOMPSON (LADY BUTLER)
2021, oil paint, pastel with metallic accents on Arches Huile paper, 19 x 14 inches
Courtesy of Harmon-Meek Gallery, Naples, FL
HONEYBEE
2007, oil on linen, 32 x 32 inches
Collection of Joseph and MaryBeth Cusenza
STUDY FOR UNTITLED
2002, charcoal on paper 20 x 30 inches
Collection of Joseph and MaryBeth Cusenza
UNTITLED
2003, oil on linen 20 x 30 inches
Collection of Joseph and MaryBeth Cusenza
THE WITCH FAERIE
1983, Pen and ink with metallic accents 20 x 30 inches
Courtesy of the Artist
FLAGS AND GLASS
2006, oil on linen, 55 x 55 inches
Collection of the Fort Wayne Museum of Art, Fort Wayne, IN
A SURREALIST PREMONITION: HOMAGE TO LEONORA CARRINGTON, FRIDA KAHLO, LOTTE LASERSTEIN, MÉRET OPPENHEIM, KAY SAGE, DOROTHEA TANNING, AND REMEDIOS VARO
2023, oil on linen, 60 x 80 inches
Courtesy of the Artist
STUDY FOR A SURREALIST PREMONITION:
HOMAGE TO LEONORA CARRINGTON, FRIDA KAHLO, LOTTE LASERSTEIN, MÉRET OPPENHEIM, KAY SAGE, DOROTHEA TANNING, AND REMEDIOS VARO
2023, oil on canvas paper, 8 x 10 inches
Courtesy of the Artist
Not sure of best order for sections included on pages 39-41
WHAT HEADING WOULD WORK HERE?
SELECTED AWARDS AND HONORS
2022 CLWAC Artist Laureate Award, Catharine Lorillard Wolfe Art Club 125th Juried Exhibition, NY, NY
2021 Best in Show, Visions of Self, Yosemite Sierra Artists, Oakhurst, CA
2020 Best Painting of a Historic Artist, Artist and Selfie Competition, Fine Art Connoisseur Magazine, Boca Raton, FL
2020-21 Honorable Mention, The 14th and 15th International ARC Salon Exhibition, Art Renewal Center, Port Reading, NJ
2018 Gold Medal of Honor for Oil, Audubon Artists of America 78th Juried Exhibition, NY, NY
2018 Gold Medal of Honor for Oil, Catharine Lorillard Wolfe Art Club 121st Juried Exhibition, NY, NY
2017 Grand Prize Winner, Annual All Media Competition, The Artist’s Magazine, Cincinnati, OH
2011 Honored Member, Catharine Lorillard Wolfe Art Club 115th Juried Exhibition, NY, NY
2006 First Prize, 37th Annual Juried Member’s Exhibition, New Britain Museum of American Art, New Britain, CT
2006 Gold Medal Award, Dianne B. Bernhard Art Spirit Foundation, Pastel Society of America 34th Juried Exhibition, NY, NY
2005 Best in Show, 23rd Ellarslie Open Exhibition, Trenton City Museum, Trenton, NJ
2005 Honorable Mention, Magic, Myth & Meaning, 29th Juried Exhibition, Juror: Audrey Flack, Allentown Art Museum, Allentown, PA
2004 Best in Show, 70th Regional Exhibition, Arnot Art Museum, Elmira, NY
2004 Anna Hyatt Huntington Horses Head Trophy, Annual Member’s Exhibition, Catharine Lorillard Wolfe Art Club, NY, NY
2004 First Prize in Oil, Juried Members Exhibition, Art Students League of New York, NY
2003 Phil Desind Award, 67th National Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH
2003 Gold Medal of Honor, Catharine Lorillard Wolfe Art Club 107th Juried Exhibition, NY, NY
2002 Best in Show, 2nd Annual Regional Art Exhibition, Pen and Brush, Inc., NY, NY
2001 Helen Smith First Prize for Oil Painting, Annual Student Concours, National Academy School of Fine Arts, NY, NY
1998 Inglis Griswold Nelson Prize, Annual Student Concours, National Academy School of Fine Arts, NY, NY
1994 Merit Scholarship, Annual Student Concours The Art Students League, NY, NY
1982 Outstanding Middle School Art Student Trophy, Gulf Coast Regional Scholastic Art Awards, PepsiCo, Inc., St. Petersburg, FL
1982 Gold Key Award, Gulf Coast Regional Scholastic Art Awards, Robinson’s, St. Petersburg, FL
COLLECTIONS
Arkansas Museum of Fine Arts Little Rock, AR
The Butler Institute of American Art Youngstown, OH
Fort Wayne Museum of Art Fort Wayne, IN
Golisano Children’s Museum Naples, FL
The Heckscher Museum of Art Huntington, NY
Lafayette College Easton, PA
Midwest Museum of American Art Elkhart, IN
Municipal Museum, Guayaquil Ecuador
Museum of Art-Deland Deland, FL
New Britain Museum of American Art New Britain, CT
Polk Museum of Art Lakeland, FL
Salmagundi Club NY, NY
Springfield Art Museum Springfield, MO
Jane Voorhees Zimmerli Art Museum New Brunswick, NJ
Jackye and Curtis Finch, Jr. Self-Portrait Collection
The Art Times Collection
Tia Collection
Art Renewal Center Collection
Meek Collection
WHAT HEADING WOULD WORK HERE?
SOLO EXHIBITIONS
2024 The Paintings of Gabriela Gonzalez Dellosso: A Retrospective, Museum of Art-Deland, Deland, FL
2024 The Paintings of Gabriela Gonzalez Dellosso: A Retrospective, Fort Wayne Museum of Art, Fort Wayne, IN
2022 Solo Exhibition: Gabriela Gonzalez Dellosso, Harmon-Meek Gallery, Naples, FL
2020 A Brush with HerStory, Polk Museum of Art at Florida Southern College, Lakeland, FL
2019 A Brush with HerStory, Heckscher Museum of Art, Huntington, NY
2018 Iluminantes, Municipal Museum, Guayaquil, Ecuador
2016 Gabriela Gonzalez Dellosso: Solo Exhibition, Harmon-Meek Gallery, Naples, FL
2016 Homage Paintings: Highlighting the Her, Butler Institute of American Art, Youngstown, OH
2015 Gabriela Gonzalez Dellosso: Solo Exhibition, Harmon-Meek Gallery, Naples, FL
2014 Gabriela Gonzalez Dellosso: Symbolism & Romance, Baum School of Art, Allentown, PA
2008 Gabriela Gonzalez Dellosso: One Woman Exhibition, The Eleanor Ettinger Gallery, NY, NY
2006 An Artists Journey: Gabriela Gonzalez Dellosso, Butler Institute of American Art, Salem, OH
SELECTED EXHIBITIONS
2023 Raise the Roof: The Home in Art, Heckscher Museum of Art, Huntington, NY
2023 Allied Artists of America 110th Annual Exhibition, Butler Institute of American Art, Youngstown, OH
2023 SOMOS/WE ARE: Latinx Artists of Long Island, Long Island Museum, Stony Brook, NY
2022 Catharine Lorillard Wolfe 125th Annual Exhibition, Salmagundi Club, NY, NY
2021 When We Were Young: Children and Animals from the Golisano Children’s Museum of Naples, Polk Museum of Art, Lakeland, FL
2021 Traces, SeeMeOn 29, Sofia, Bulgaria
2021 15th Annual Art Renewal Center International Salon, traveling to MEAM, Sotheby’s, NY, NY traveling to MEAM, Barcelona, Spain
2021 The Heckscher Museum Celebrates 100: Tracing History, Inspiring the Future, Huntington, NY
2020 PURSEonality: A Stylish Handbag History Kemerer Museum of Decorative Arts, Bethlehem, PA
2020 14th Annual Art Renewal Center International Salon, Sotheby’s, NY, NY traveling to MEAM, Barcelona, Spain
2019 Pastel Society of America 47th Annual Exhibition, National Arts Club, NY, NY
2017 The Figure in American Art, Polk Museum at Florida Southern College, Lakeland, FL
2017 Women Painting Women: In Earnest, Customs House Museum, Clarksville, TN; Texas A&M University, College Station, TX 2017 Fresh Faces of Realism, Georgetown Art Center, Georgetown, TX
2016 Creative Mischief, National Academy Museum, NY, NY
2015 Selfies: Portraiture Throughout the Ages, Heckscher Museum of Art, Heckscher, NY
2015 Celebrating 100 Years, Allied Artists of America, Canton Museum of Art, Canton, OH
2014 Moonscapes, Harmon-Meek Gallery, Naples, FL
2013 Contemporary American Realism, ACOPAL Beijing World Art Museum, Beijing, China; Dalian Modern Museum, Dalian, China; China Art Palace, Shanghai, China; Tianjin Art Museum, Tianjin, China; Hubei Provincial Museum, Wuhan, China; Zhejiang; Provincial Museum, Zhejiang, China
2012 Self Portraits II, The Eleanor Ettinger Gallery, NY, NY
2012 American Figurative, Albemarle Gallery, London, UK
2012 ACOPAL at The Butler Institute of American Art, Youngstown, OH
2011 Two-Person Exhibition: Gabriela Gonzalez
Dellosso and John Morra, The Eleanor Ettinger Gallery, NY, NY
2010 WOMENARTISTS@NEWBRITAINMUSEUM, New Britain Museum of American Art, New Britain, CT
2010 Self-Portraits ,The Eleanor Ettinger Gallery, NY, NY
2009 Ellarslie Open XVII, Trenton City Museum, Trenton, NJ
2007 A Twist of Fate, Trenton City Museum, Trenton, NJ
2007 A Portrait of America: The Nation and Ohio, The Butler Institute of American Art, Youngstown, OH
2006-13 The Figure in American Art Annual Exhibition, The Eleanor Ettinger Gallery, NY, NY
2006 Pastel Society of America 34th Annual Open Exhibition, National Arts Club, NY, NY
2003-05 Allied Artists of America, An Invitational, J. Wayne Stark Gallery at Texas A&M University, College Station, TX; Huntsville Museum of Art, Huntsville, AL; Bergstrom-Mahler Museum of
Glass, Neenah, WI; Danville Museum of Fine Arts and History, Danville, VA; The UVSC Woodbury Gallery, Orem, UT; Krasl Art Center, St. Joseph, MI
2005 Re-presenting Representation VII, Arnot Art Museum, Elmira, NY
2005 Myth, Magic, & Meaning, Allentown Art Museum, 69th Juried Exhibition, Allentown, PA
2005 Artistic Fragments, Katonah Museum of Art, Katonah, NY
2005 Pastel Society of America 33rd Annual Open Exhibition, NY, NY
2004 70th Regional Exhibition, Arnot Art Museum, Elmira, NY
2004 Juried Members’ Exhibition, The Art Students League of New York, NY
2003 National Midyear Show, 67th Annual Juried Exhibition, The Butler Institute of American Art, Youngstown, OH
2002 Hudson Valley Art Association 71st Annual Exhibition, Newington-Cropsy Foundation Gallery, Hastings-on-Hudson, NY
1998 Catharine Lorillard Wolf Art Club 102nd Juried Exhibition, National Arts Club, NY, NY
1998 Allied Artists of America 85th Juried Exhibition, National Arts Club, NY, NY
1982 Gulf Coast Regional Scholastic Art Awards Exhibition, Robinson’s Tyrone Square Mall, St. Petersburg, FL
SELECTED BIBLIOGRAPHY
2023 Fine Art Connoisseur Magazine, Is this a Golden Age for Realism, Milene J. Fernandez, February
2022 Naples Illustrated, Home is Where the Art Is Gaylene Salomons, September
2020 The Polk Museum of Art at Florida Southern College, exhibition essay, Dr. H. Alexander Rich
2020 The Ekphrastic Review, An Ekphrastic Event with The Paintings of Gabriela Gonzalez Dellosso, Paul T. Corrigan
2020 American Art Collector Magazine, A Brush with HerStory, feature article, Rochelle Belsito, March
2018 El Diario Expresso de Guayaquil, (Ecuador) Gabriela Gonzalez Dellosso, feature article, Maria Josefa Coronel, September 9
2018 El Universo (Ecuador), Gabriela Gonzalez Dellosso Expone en el Museo Municipal, feature article, Karla Medina Morales, August 28
2019 Edge Magazine, Into the Light, Tova Navarra, September
2019 NewsDay, Men Weren’t the Only Old Masters Mary Gregory, November, p. B23
2019 Fine Art Connoisseur Magazine, Gabriela Gonzalez Dellosso, Interpreting HerStory, feature article, Leslie Gilbert Elman, October
2017 The Artist’s Magazine, Powerful Pastiche, feature article, Louise B. Hafesh, October
2015 PoetsArtists #70, 50 Memorable Painters Didi Menendez and John Seed, p.19
2015 Fonthill Media, New Jersey Artists Through Time, Tova Navarra, pp. 91-92, back cover
2015 The New York Times, Museum and Galleries Metropolitan section July 19 (full color painting reproduction p. 10)
2015 Naples Daily News, The Collective She feature article, Donald Miller, April
2014 The O’Dell Studio, The Art of Vanitas, Rodney
O’Dell Davis, pp. 63-64
2014 Lehigh Valley Press, The Many Muses of Gabriela Gonzalez Dellosso, feature article, Paul Willistein, July
2012 International Artist Magazine, A Day in the Life of an Artist: Gabriela Dellosso, feature article, Wende Caporale, February/March
2011 The Artist’s Magazine, Riddled with Magic feature article, BJ Foreman, May
2011 American Artist Magazine, 11 Artists to Watch in 2011, John Parks, January
2010 ArtNews, Self-Portraits, Mona Molarsky, June
2010 New Britain Museum of American Art, WOMENARTISTS@NEWBRITAIN exhibition essay, Douglas K.S. Hyland, p. 10 and Nancy Noble p. 82
2008 Fine Art Connoisseur Magazine, Three to Watch, September/October, Peter Trippi
2007 Trenton Times, Good Times, Different Views review and art section cover, Janet Purcell January 19
2006 The Butler Institute of American Art, exhibition essay, Dr. Louis A. Zona
2006 The Butler Institute of American Art, exhibition essay, Gary T. Erbe
2006 Artist’s Magazine, Costume Drama, feature article, Lisa Wurster, May
2005 The Star Ledger, Fresh Perspectives, Dan Bischoff, March
2005 Who’s Who in American Art
2004 The Art Times, Gabriela Gonzalez Dellosso feature article, Raymond Steiner, July
ACKNOWLEDGEMENTS
It is with great gratitude that I write the acknowledgements for my retrospective exhibition. When I decided to follow the path of an artistic career, I had no idea what it would entail to be able to create the work and then successfully exhibit it. I thank all my supporters who have made my creative voyage possible. This exhibition is the culmination of my journey up to this point.
I would like to thank the hosts of my retrospective exhibition, The Museum of Art- Deland, Florida, and the Fort Wayne Museum of Art, Indiana.
A very special thanks to The Museum of Art-Deland’s Executive Director, Patti Pardee, and to Curator, Tariq Gibran, for all the time and careful attention you spent making my exhibition a reality. Tariq, thank you for all your excellent suggestions and all the hard work you put into coordinating all the moving parts of a complex show like this. You were the perfect host for making my milestone exhibition unforgettable.
I send my deepest gratitude to Executive Director, Charles Sheppard and Vice President, Amanda Sheppard at the Fort Wayne Museum of Art, for all the intricate work that is required to host a retrospective. Amanda, I sincerely appreciate your thoughtfulness and careful attention to the nuances that make this show shine. The Fort Wayne Museum of Art is very close to my heart.
I would like to thank Dr. Louis A. Zona, Executive Director at The Butler Institute of American Art, for supporting my artistic journey. The Butler is a major part of this milestone. My very first solo exhibition was at The Butler Institute of American Art in 2006, and it paved the way for all my future creative quests. I also want to express my gratitude to Dr. Zona for generously agreeing to lend my work, “The Burning of Adelaide Labille-Guiard’s Masterpiece,” so it could be part of my retrospective exhibition.
A special thanks to Bill, Barbara, Juliana, and Kristine Meek of Harmon-Meek Gallery for all their support and making this show a reality. Their enthusiasm, care, and understanding of how I create art is a very valuable treasure.
Thanks to Gary and Zeny Erbe for all their support of my art throughout the years. In my quest to pursue a professional art career, Gary has been an amazing mentor. His high standards are inspiring. Our many conversations about artistic vision and what it takes to pursue the goal of making great art have guided me to where I am today.
My deepest gratitude to Selma Nettles for her generosity and championing my work. I appreciate all your ingenious creativity that you bring to the table as a collector. You are a precious pearl.
A huge thank you to Dr. Christine Isabelle Oaklander for her support of my art. I appreciate your thoughtfulness and all the help with many of the details and description labels for this exhibition. Our deep love of art history has made our friendship so interesting and very special.
It has been very significant to have the support of Peter Trippi, editor-in-chief of Fine Art Connoisseur Magazine. Thank you for publishing my work throughout the years in your beautiful publication. I appreciate you including my retrospective in Fine Art Connoisseur.
I also need to thank Eric Rhoads, CEO of Streamline Publishing, Inc., for including me and my art in a variety of his worldwide events and promotions of this exhibition. I cherish being part of the Streamline family.
Another heartfelt thanks to Fred, Sherry, and Kara Ross for being supporters of mine since the start of my career. It has been inspirational and important to me to be part of the ARC family.
I must mention the Heckscher Museum and their support of my work, in particular Dr. Karli Wurzelbacher. Thank you, Karli, for helping me get my work and its message out to the world. It means so very much to me.
Lastly, I want to thank Dr. Alex Rich and the Polk Museum for their support. Alex, thank you for your superb talks on my work, so informative and helpful in enriching the viewer’s experience.
Thanks to all the lenders:
The Art Renewal Center, Port Reading, NJ
The Butler Institute of American Art, Youngstown, OH
The Museum of Art-Deland, Deland, FL
The Fort Wayne Museum of Art, Fort Wayne, IN
Harmon-Meek Gallery, Naples, FL
Russell and Linda Cowles
Joseph and Marybeth Cusenza
Charles and Birgit Elchoueri
Chantell Van Erbé
Gary and Zeny Erbe
Brian O. and Linda R. Hill
Cheryl Klein
Brian Maloney and Dr. Stelian Serban
Carla and Antonio Navalon
Selma Nettles
Dr. Christine Isabelle Oaklander
Fred, Sherry and Kara Ross
Ilene Hochberg Wood
