Fred Dalkey Illuminated Drawings
Foreword
I have been trying to remember the first time I encountered Fred Dalkey’s red Conté drawings since we first began planning his exhibition, but the exact moment has proven elusive. What I can tell you about that moment, however, is that I was immediately impressed by the high level of skill and polish each work contained. I also noted how Dalkey’s technical finesse in using red Conté and his choice of female models and still life as subjects tied his works to the Old Master tradition in European painting, which reached its apogee at the late 19th century. It was no surprise to me when I later learned that his first teacher during his teen years, Abe Nussbaum, who was originally from Austria, had himself trained under the last court painter to the Habsburg dynasty in Vienna. While Dalkey had other teachers later on, Nussbaum’s influence has had the greatest impact on his trajectory as an artist.
As we selected the works for the exhibition I was captivated by how much his handling of the Conté reminded me of the drawings of Georges Seurat, the famous post-impressionist painter from the late 19th century. I was also enraptured when Dalkey presented us a group of finely rendered silverpoint drawings for inclusion, each conveying the atmospheric play of soft light that has become his trademark. Silverpoint is a drawing technique dating back to the 12th century. It fell out of general use in the early 1500’s with the discovery of graphite, and only began to be revived for drawing in the early 20th century. As a medium, it requires much more work to from an image on the page due to the fine point of the stylus. Dalkey’s use of silverpoint only underscores the level of mastery in drawing Dalkey has attained in his over 50 year career.
In the following pages you will find an insightful essay by Ted Barrow delving into the historical antecedents behind Dalkey’s works. I am greatly indebted to him for generously sharing his insights about Dalkey’s works and I give my thanks to him for taking on the project.
I extend my greatest thanks to Fred Dalkey for generously making his archive of drawings available to us and for his entrusting us with the creation of the exhibition. I would also like to thank the team at Paul Thiebaud Gallery – Colleen Casey, Gregory Hemming, and Matthew Miller – for all of their hard work in making this exhibition and catalogue possible.
Greg Flood, Director October 2024
opposite: Wayne Sketching at Denver Airport (detail), 12/18/1990
The Sound of Air
By Ted Barrow, Ph.D.
The less we see, the more we sense. Consider this axiom when looking at the work of Fred Dalkey. Perhaps it’s the tule fog that blankets the Sacramento Valley between November and March; anyone who has experienced this winter fog will know that seeing less sharpens, but also mixes, other perceptions. In a scene that teeters between form and formlessness we sense that air has weight, light feels solid, and space becomes sonorous.
“When something vanishes,” said the artist in 2001, “it becomes extra focused in some peculiar way.”1 This is not to say that tule fog, a seasonal fact of life in the Sacramento Valley, plays a direct role in the facture or even the look of Dalkey’s work. Instead, the heightened sense of awareness that comes from experiencing cool air through moist veils of diffuse light, where hard lines blur, is akin to a similar encounter available to anyone standing in front of Dalkey’s distinctive work.
Deceptively straightforward, Dalkey’s drawings do not simply record prosaic reality. Instead, they trace the complex ideas that emerge from attending to the indeterminacy latent in our most basic perceptions. Even the most straightforward genre subjects – nudes, portraiture, still-life – burst with revelatory meaning. And while in reality there may not be any obvious connections between Dalkey’s Sacramento and Jean-Antone Watteau’s crepuscular world, or the Belle Époque Paris of Georges Seurat, the consonant ideas that link these disparate worlds find harmony. Watteau and Seurat both painted similar moments of social and optical ambiguity.
Built up through accretive layers of sanguine Conté crayon, grabbed by the rough paper’s tooth, each drawing boasts an extravagant range of values within an economy of space. The expanse between light and shadow condenses in that friction between crayon and paper, heavy mark and airy void. Conté was also used to prodigious effect by Seurat, whose own black and white drawings shared a refined perception of atmospheric ambiguity and rigorous structure. Simultaneously, Dalkey’s red crayon, paired with classical models poses, evoke Watteau. Watteau’s Régence world of candle- and torchlit fetes-galantes would seem antipodal to Seurat’s modern world of urban gaslit spectacle, but Dalkey sustains both by combining Seurat’s scrupulous study with Watteau’s lyricism. An abiding basis in old master technique is not simply an art-historical affect; it might come out of Dalkey’s lifelong commitment to the specific quality of Sacramento’s atmosphere. This mundane experience reveals a profound truth: that vision, relying on ever-changing light and air that moves, is fragile and fleeting.
What links Watteau, Seurat, and Dalkey is not just resemblance and technique, but experience and idea. Each artist records an epochal shift in perspective, refining our own perception through delicate attention to change. Their works invite us to relive these transcendent ideas with each encounter, how looking closely reveals how little we really know. Dalkey’s lucid renderings remain timeless because they trace life’s flux, the instability of vision itself, an idea that never changes.
* Ted Barrow, Ph.D., is a writer and art historian living in San Francisco. He has contributed to Artforum, Juxtapoz, Alta Journal, Mn Artists, and other publications.
1 Fred Dalkey interviewed by Chris Daubert, Tuesday, June 19, 2001.
opposite: Watteau (detail), 3/16/2006
Plate 1:
Self-Portrait, 2023, graphite on paper, 11 1/4 x 8 1/8 inches
Plate 2: Egg in Light, 1/21/1991, sanguine Conté crayon on paper, 6 x 9 inches
Plate 3:
Model on Draped Chair, 2013, sanguine Conté crayon on joined paper, 8 7/8 x 11 inches
Plate 4:
Four Studies, 2014, sanguine Conté crayon on paper, 3 5/8 x 2 1/2 inches; 3 1/8 x 6 7/8 inches
Plate 5:
Plum Wine Bottle and Ginger Jar, 2003, sanguine Conté crayon on paper, image: 10 1/4 x 8 1/2 inches
Plate 6:
Tennis Ball and Baseball, 2/12/2010, silver point with sgrafitto on paper, 9 x 8 1/2 inches
Plate 7:
Model Elevated, 5/1/2010, sanguine Conté crayon on paper, image: 9 5/8 x x 7 7/8 inches
8:
Plate
Ball of String, 1/2/2014, silver point with sgrafitto on paper, 10 5/8 x 7 3/8 inches
Plate 9:
Model with Back Turned, 12/6/2006, sanguine Conté crayon on paper, 9 1/2 x 7 15/16 inches
Plate 10:
White Dahlia, 2011, silver point with sgrafitto on paper, 11 x 7 1/2 inches
Plate 11:
Jane in a Particular Light, 3/31/2007, sanguine Conté crayon on paper, image: 11 1/8 x 8 1/2 inches
Plate 12:
Model Standing Facing Right, 11/3/2012, sanguine Conté crayon on paper, 9 x 6 1/2 inches
Plate 13:
Wayne Sketching at Denver Airport, 12/18/1990, sanguine Conté crayon on paper, image: 9 x 9 inches
Plate 14:
Betty Jean Thiebaud, 3/19/2013, sanguine Conté crayon on paper, 9 7/8 x 6 7/8 inches
Plate 15:
Watteau, 3/11/2006, sanguine Conté crayon on paper, image: 8 x 7 1/2 inches
Plate 16:
After Vermeer and Light Bulb, 2018, silver point with sgrafitto on paper, 11 1/2 x 9 1/4 inches
Plate 17:
Diagonal Reclining Model, 2/7/2004, sanguine Conté crayon on paper, 7 3/4 x 10 1/8 inches
18:
Plate
Ginger Jar, Oaxacan Bottle, Soy Sauce Bottle (After Motherwell), 2002, sanguine Conté crayon on paper, 8 1/2 x 10 1/2 inches
Plate 1: Self-Portrait 2023
graphite on paper 11 1/4 x 8 1/8 in.
Plate 2:
Egg in Light 1/21/1991
sanguine Conté crayon on paper 6 x 9 in. (image)
Plate 3:
Model on Draped Chair 2013
sanguine Conté crayon on joined paper 8 7/8 x 11 in.
Plate 4: Four Studies 2014
sanguine Conté crayon on paper 3 5/8 x 2 1/2 in.; 3 1/8 x 6 7/8 in.
Plate 5:
Plum Wine Bottle and Ginger Jar 2003
sanguine Conté crayon on paper 10 1/4 x 8 1/2 in. (image)
Plate 6:
Tennis Ball and Baseball 2/12/2010
silver point with sgrafitto on paper 9 x 8 1/2 in. (image)
Plate 7:
Model Elevated 5/1/2010
sanguine Conté crayon on paper 9 5/8 x x 7 7/8 in. (image)
Plate 8: Ball of String 1/2/2014
silver point with sgrafitto on paper 10 5/8 x 7 3/8 in.
Plate 9:
Model with Back Turned 12/6/2006
sanguine Conté crayon on paper 9 1/2 x 7 15/16 in.
Plate 10: White Dahlia 2011
silver point with sgrafitto on paper 11 x 7 1/2 in.
Plate 11:
Jane in a Particular Light 3/31/2007
sanguine Conté crayon on paper 8 1/2 x 11 1/8 in. (image)
Plate 12:
Model Standing Facing Right 11/3/2012
sanguine Conté crayon on paper 9 x 6 1/2 in. (image)
Plate 13:
Wayne Sketching at Denver Airport 12/18/1990
sanguine Conté crayon on paper 9 x 9 in. (image)
Plate 14:
Betty Jean Thiebaud 3/19/2013
sanguine Conté crayon on paper 9 7/8 x 6 7/8 in. (image)
Plate 15:
Watteau 3/11/2006
sanguine Conté crayon on paper 8 x 7 1/2 in. (image)
Plate 16: After Vermeer and Light Bulb 2018
silver point with sgrafitto on paper 11 1/2 x 9 1/4 in.
Plate 17:
Diagonal Reclining Model 2/7/2004
sanguine Conté crayon on paper 7 3/4 x 10 1/8 in.
Work not Exhibited
Plate 18:
Ginger Jar, Oaxacan Bottle, Soy Sauce Bottle (After Motherwell) 2002
sanguine Conté crayon on paper 8 1/2 x 10 1/2 in.
FRED DALKEY
Born 1943 in Sacramento, CA
Education
1969 MA, Fine Art (emphasis printmaking), California State University, Sacramento, CA
1966 BA, Fine Art, California State University, Sacramento, CA
1960–1962 Sacramento City College, Sacramento, CA
Selected Awards
2009 California Artist of the Year, California State Fair, Sacramento, CA
NISOD Achievement Award, University of Texas, Austin, TX
2006 Sacramento City College Emeriti Affiliates Faculty Achievement Award, Sacramento, CA
Honoree, Center for Contemporary Art, Sacramento, CA
2004 Paul and Margaret Bertelson Prize for Graphics, National Academy of Design, The One Hundred and Seventy-Ninth Annual Invitational Exhibition, National Academy Museum, New York, NY
Distinguished Service Award, California State University, Sacramento, CA
1992 Academy-Institute Award, American Academy and Institute of Arts & Letters, New York, NY
Selected Solo Exhibitions
2024 Fred Dalkey: Illuminated Drawings, Paul Thiebaud Gallery, San Francisco, CA
2023 Twenty-Five Treasures Summer, Paul Thiebaud Gallery, San Francisco, CA
2013 A Life of Looking: Fred Dalkey & Nathan Lewis [two-person], Knight Campus Gallery, Community College of Rhode Island, Warwick, RI
2011 The Figure / The Still Life, Paul Thiebaud Gallery, San Francisco, CA
2010 The Church Series: A Project by Fred Dalkey, Center for Contemporary Art, Sacramento, CA
2008 Life Drawings, Paul Thiebaud Gallery, San Francisco, CA
2007 Life Drawings, Paul Thiebaud Gallery, New York, NY
2005 Time Extended: Recent Still Life Paintings, Paul Thiebaud Gallery, San Francisco, CA
2003 Recent Paintings and Drawings, Paul Thiebaud Gallery, San Francisco, CA
2002 The Art of Fred Dalkey: Retrospective, Crocker Art Museum, Sacramento, CA Life Class: Classroom Drawings, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA
1998 Landscapes, Artists Contemporary Gallery, Sacramento, CA
1997 Figure Paintings and Drawings, Campbell-Thiebaud Gallery, San Francisco, CA
1995 Figure Drawings, Thomas Babeor Gallery, La Jolla, CA
1994 Figure Paintings, Campbell-Thiebaud Gallery, San Francisco, CA
1993 Landscape Paintings, Artists Contemporary Gallery, San Francisco, CA
1992 Figure Paintings, Campbell-Thiebaud Gallery, San Francisco, CA
1990 Urban Landscapes, Artists Contemporary Gallery, Sacramento, CA
1986 Monoprints, Artists Contemporary Gallery, Sacramento, CA
Figure Drawings, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA
1985 Landscape Drawings, Artists Contemporary Gallery, Sacramento, CA
1984 Figure Drawings, Sierra College, Rocklin, CA
1983 Pastels, Artists Contemporary Gallery, Sacramento, CA
1981 Pastels, Artists Contemporary Gallery, Sacramento, CA
1980 Youth Symphony Drawings, Weinstock’s, Sacramento, CA
Portraits, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA
1978 Pastels, Artists Contemporary Gallery, Sacramento, CA
1977
Paintings and Drawings, Artists Contemporary Gallery, Sacramento, CA
1976 Self Portraits, Open Ring Gallery, Sacramento, CA
1974 Drawings, Artists Contemporary Gallery, Sacramento, CA
1973 The Convalescent Hospital, Artists Contemporary Gallery, Sacramento, CA
1972 Drawings, Crocker Art Museum, Sacramento, CA
1971 Paintings and Drawings, The Art Company, Sacramento, CA
1970
Photographs, The Art Company, Sacramento, CA
1969 Graduate Show, Crocker Art Museum, Sacramento, CA
1966 Figure Paintings, California State University, Sacramento, CA
Selected Group Exhibitions
2014 This Land Is Your Land, Morris Graves Museum, Eureka, CA
The Skull Show, Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA
Bloom, Pence Gallery, Davis, CA
Defining Character: The Art of Portraiture, Robert T. Matsui Gallery, Sacramento City Hall, Sacramento, CA
2013–2014 Figures & Faces-Fighting with Fiction, Prographica, Seattle, WA
2013 A Life of Looking: Fred Dalkey and Nathan Lewis, Knight Gallery, Community College of Rhode Island, Warwick, Rhode Island.
2012 Treasures from the Charles and Glenna Campbell Collection, Thomas Reynolds Gallery, San Francisco, CA
Flatlanders on the Slant, Nelson Gallery, UC Davis, CA
2010 Homecoming, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA
Fred Dalkey, Gregory Kondos, Wayne Thiebaud, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA
2009 West Coast Drawings VIII, Davidson Galleries, Seattle, WA
California Landscapes, Scott Hill Gallery, Dixon, CA
The Uncommon Object, Pence Gallery, Davis, CA
2008 Twenty-Five Treasures, Paul Thiebaud Gallery, San Francisco, CA
2007 Twenty-Five Treasures, Paul Thiebaud Gallery, San Francisco, CA
2006 Flatlanders, R.L. Nelson Gallery and Fine Arts Collection, UC- Davis, CA
2006–2007 Intimate Landscapes, Winfield Gallery, Carmel. Traveled to: Mary Porter Sesnon Art Gallery, University of California, Santa Cruz, CA
2006 Summer Selections, Hirschl & Adler Modern, New York, NY
Flatlanders: Regional Survey, R.L. Nelson Gallery and Fine Arts Collection, University of California, Davis, CA
Aspects of Humanity: Contemporary Portraiture, Center for Contemporary Art, Sacramento, CA
Sacramento City College Show, SMUD Gallery, Sacramento, CA
2005 Hidden in Plain Sight: Stellar Art from Area Collections, Pence Gallery, Davis, CA
Twenty-Five Treasures, Paul Thiebaud Gallery, San Francisco, CA
Welcome to Sacramento, Sacramento International Airport, Sacramento, CA
2004 The One Hundred and Seventy-Ninth Annual Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY
California North & South, Crown Point Press, San Francisco, CA
2003 Twenty-Five Treasures, Paul Thiebaud Gallery, San Francisco, CA
The Sacramento School of Landscape Painters, John Natsoulas Gallery, Davis, CA
The Other Side, B. Saka Garo, Sacramento, CA
2002 Perceptual Experience: Contemporary American Figure Drawing, Frye Art Museum, Seattle, WA, Curated by Norman Lundin.
A Time To Remember, Artists Contemporary Gallery, Sacramento, CA
2001 Chestnut Street Stomp, Wiegand Gallery, College of Notre Dame, Belmont, CA
Drawn to the Figure, Solomon Dubnick Gallery, Sacramento, CA
Selected Group Exhibitions (cont.)
2000
Recent Acquisitions, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
Twenty-Five Treasures, Campbell-Thiebaud Gallery, San Francisco, CA
Four Person Show, Roseville Art Center, Roseville, CA
Simply Drawing, Artists Contemporary Gallery, Sacramento, CA
Self Portraits/Self Expressions, Artists Contemporary Gallery, Sacramento, CA
1999 Picturing California’s Other Landscape: The Great Central Valley, Haggin Museum, Stockton, CA
Holiday Show, Campbell-Thiebaud Gallery, San Francisco, CA
Abundant Treasures, Center for Contemporary Art, Sacramento, CA
Works on Paper, American River College Gallery, Sacramento, CA
1999 Call and Response, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA
Multiples, Artists Contemporary Gallery, Sacramento, CA
For the Love of Art, Artists Contemporary Gallery, Sacramento, CA
1998
Twenty-Five Treasures, Campbell-Thiebaud Gallery, San Francisco, CA
Fortieth Anniversary Show, Artists Contemporary Gallery, Sacramento, CA
Group Show, Christopher Winfield Gallery, Carmel, CA
Annual Holiday Show, Artists Contemporary Gallery, Sacramento, CA
1997 Figure Studio Portfolio, Crown Point Press, San Francisco, CA
1997 The Morgan Flagg Collection, M.H. de Young Memorial Museum, The Fine Arts Museums of San Francisco, San Francisco, CA
Art as Religion: Religion as Art, Encina Gallery, Sacramento, CA
Twenty-Five Treasures, Campbell-Thiebaud Gallery, San Francisco, CA
CSUS/50: CSUS Alumni, Crocker Art Museum, Sacramento, CA
The Quality of Light, Great Atlantic Map Co., St. Ives International, Cornwall, England (Sponsored by the Tate Gallery Extension).
Self-Expression, Solomon Dubnick Gallery, Sacramento, CA
Hats, Artists Contemporary Gallery, Sacramento, CA
Class Reunion: CSUS/50, Encina Gallery, Sacramento, CA
1996 Made in Sacramento, Crocker Art Museum, Sacramento, CA
Group Show, Mongerson Wunderlich Gallery, Chicago, IL
Black & White Show, Artists Contemporary Gallery, Sacramento, CA
Twenty-Five Treasures, Campbell-Thiebaud Gallery, San Francisco, CA
1995 The Figure, Campbell-Thiebaud Gallery, San Francisco, CA
Twenty-Five Treasures, Campbell-Thiebaud Gallery, San Francisco, CA
Central Valley Drawings, Fresno City College, Fresno, CA
Figures and Places: Recent Drawings, Prints, and Watercolors from the Crocker Collection, Crocker Art Museum, Sacramento, CA
The Frank LaPena Collection, La Raza/Galeria Posada, Sacramento, CA
1994 Nine Sacramento Valley Painters, Thomas Babeor, La Jolla, CA
Art as Healer, Weintraub Hunter Gallery, Sacramento, CA
The Sacramento Valley School, John Natsoulas Gallery, Davis, CA
Persistence of the Human Image, Fresno City College, Fresno, CA
1993 35th Anniversary Show, Artists Contemporary Gallery, Sacramento, CA
1992 Selected Recent Acquisitions, Richard Nelson Gallery & Fine Arts Collection, University of California, Davis, CA
Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy and Institute of Arts & Letters, New York, NY
Academy-Institute Invitational Exhibition of Painting and Sculpture, American Academy and Institute of Arts and Letters, New York, NY
1991 In Lak ‘Esh: A Collaboration of Vision and Voice, Sacramento Metropolitan Arts Commission and Sacramento Poetry Center, Southern Pacific Warehouse, Sacramento, CA
1991
A Tribute Expression: Works on Paper and Sculpture by Selected CrockerKingsley Artists, Crocker Art Museum, Sacramento, CA
Works on Paper, Campbell-Thiebaud Gallery, Sacramento, CA
Prints and Ceramics from the Collection of the CSUS Art Department, Robert Else Gallery, California State University, Sacramento, CA
1990 32nd Anniversary Show, Artists Contemporary Gallery, Sacramento, CA
Grand Opening Show, Campbell-Thiebaud Gallery, San Francisco, CA
Four Sacramento Artists, Sutter Club, Sacramento, CA
1989 The Figure, Sierra College, Rocklin, CA
Self-Portraits, Artists Contemporary Gallery, Sacramento, CA
1989 Small Works from the Northern California Since 1945 Collection, Crocker Art Museum, Sacramento, CA
1988 The Thinking Hand: 15th to 20th Century Drawings from the Crocker Collection, Crocker Art Museum, Sacramento, CA
1988 Letters to Chicago, ARC Gallery, Chicago, IL.
Group Show, Charles Campbell Gallery, San Francisco, CA
Publications and Reviews
2010 Pardee, Hearne. “Fred Dalkey@CCAS”, Square Cylinder.com, October 16, 2010. Reid, Dixie. “2 Jars, 6 Months, 54 Paintings.”, Sacramento Bee, October 1, 2010.
2009 Bischoff, Dave. “Now That’s Fine Art…”, Sacramento Bee, August 28, 2009.
2008 “Twenty-Five Treasures”, Paul Thiebaud Gallery, Fall 2008. Feinstein, Lea. “Reviews: National. ‘Fred Dalkey: Paul Thiebaud, San Francisco’”, Art News, September 2008, p. 156.
2007 “Twenty-Five Treasures”, Paul Thiebaud Gallery, Fall 2007.
Brown, R.C. “Fred Dalkey”, The Village Voice, May 30 - June 5, 2007.
“Fred Dalkey: Life Drawings”, Essay by Victoria Dalkey. Paul Thiebaud Gallery, 2007.
2006 “Intimate Landscape”, Winfield Gallery, 2006.
2005
“Flatlanders: A Regional Roundup”, Nelson Gallery, U.C. Davis, 2006.
“Twenty-Five Treasures”, Paul Thiebaud Gallery, Fall 2005.
“Artist Profile: Fred Dalkey”, Lifescapes Magazine, December / January 2004/2005.
2004 “The One Hundred and Seventy-Ninth Annual Invitational Exhibition of Contemporary American Art”, National Academy of Design Museum, 2004. Brown, Clint and Cheryl McLean. “Drawing from Life”, WadsworthThomson Learning, 2004.
Johnson, Ken. “Arts in Review: The One Hundred and Seventy-Ninth Annual”, The New York Times, 14 May 2004, p. B28.
Steinhart, Peter. “The Undressed Art: Why We Draw”, Knopf, New York, 2004.
2003 “Twenty-Five Treasures”, Paul Thiebaud Gallery, Fall 2003.
2002 Couzens, Julia, et al. “Fred Dalkey: Retrospective”, Crocker Art Museum, 2002.
2000 Shure, Brian. “Chine Collé: A Printer’s Handbook”, Crown Point Press, 2000.
1999 Gordon, Allan. “Fred Dalkey at ACG”, Art Week, January 1999, p. 21. Vaughn, Rhiannon. “Art Instructor Sets Students’ Minds Free”, Express, August 26, 1999, p. 5.
1998 Julian, Kimi. “Review”, Sacramento News and Review, November 12, 1998, p. 29.
1997 Baker, Kenneth. “Fredric Dalkey”, Art News, September 1997, p. 139. Baker, Kenneth. “Fred Dalkey: Life Drawings, Campbell-Thiebaud Gallery, San Francisco”, San Francisco Chronicle, 6 May 1997, p. E4. Brown, Kathan. “Why Draw a Live Model: Etchings and Drypoints by Enrique Chagoya, Fred Dalkey, June Felter, Nathan Oliveira”, Crown Point Press, 1997. Wollheim, Richard. “The Drawings of Fredric Dalkey”, Campbell-Thiebaud Gallery, 1997.
1994 Gordon, Allan. “Flatlanders: Sacramento Valley School”, Art Week, Feb. 3, 1994.
Publications and Reviews (cont.)
1994
1993
Pincus, Robert. “Trendiness Isn’t in Nature of ‘Sacramento Valley School”, San Diego Union, August 1994.
Seville, Jonathan. “Are Oil Tanks Filled with Oil or with Beauty?” San Diego Reader, August 4, 1994.
Belt, Debra. “Artists Contemporary Gallery Shows the Cream of the Crop,” Sacramento Bee, Dec. 29, 1994.
Hale, David. “Variety of Figurative Art Worth Another Look”, Fresno Bee, December 1994.
Howard, Julie. “Corporate Boosters Boost Sacramento’s Art Museum Collections”, Sacramento Bee, April 17, 1993, p. C7.
Johnson, Holly. “Celebrating a Tradition in Contemporary Art”, Sacramento Bee, April 18, 1993.
Sylva, Bob. “Flicker of Recognition”, Sacramento Bee, November 17, 1993.
Williamson, Marcia. “A Capital Collection of Public Art”, Sunset Magazine, March, 1993, p. 21.
1992 Clifton, Leigh. “American Academy Awards”, Art Week, August 6, 1992, p. 14.
Robinson, Walter and Anastasia Wilkes. “Anastasia ‘Art World’”, Art in America, July, 1992, p. 126.
Sacharwo, Anya. “Spectrum”, Art News, Summer 1992, vol. 91 / no. 6, p. 27.
Snow, Shauna. “Art Notes”, Los Angeles Times, May 10, 1992, p. 84.
1988 Blue, Jane. “Art Checks In”, Horizon: Valley Arts, June 1988.
Kay, Alfred. “Genius Flickers in Unfinished Sketches”, Sacramento Bee, December 23, 1988.
1986 Bennett, David. “Dalkey Draws What He Feels”, Express, November 20, 1986. Kay, Alfred. “Genius Flickers in Unfinished Sketches”, Sacramento Bee, November 23, 1986.
1985 Kay, Alfred. “How Green is the Grass”, Sacramento Bee, October 27, 1985.
Simon, Richard. “Interview”, Sacramento Union, January 12, 1985.
1984 Schlesinger, Ellen. “Painting the Town”, Sacramento Bee, July 28, 1984.
Schlesinger, Ellen. “Review”, Sacramento Bee, February 3, 1984. Simon, Richard. “Review”, Sacramento Union, January 12, 1984.
1983 Glackin, William. “Dalkey’s Art: Compelling, Symbolic, Powerful”, Sacramento Bee, November 30, 1983.
1982 Melton, Peter. “Artists Do the Impossible”, Express, December 23, 1982, p. 5.
1981 Grizzell, Pat. “Traditions”, Suttertown News, November 20-27, 1981, p. 5. McColm, Del. “Fine Drawings in Pence Show of Nude”, Davis Enterprise, January 23, 1981.
Simon, Richard. “Dalkey: An Imagination Fired by Ancient Gods”, Sacramento Union, November 8, 1981.
1980 Kay, Alfred. “Review”, Sacramento Bee, February 16, 1980. Simon, Richard. “Brilliance from Modest Beginnings”, Sacramento Union, February 9, 1980.
Weinberg, Viola. “Artists and their Studios”, Inside Art, July 1980, p. 5.
1979 Couzens, Julia. “Davis Galleries Feature Sacramento Valley Landscapes”, West Art, May 25, 1979.
1978 Ball, Fred. “Art Has Passion, Classics Touch”, Sacramento Bee, May 22, 1978. Kay, Alfred. “Review”, Sacramento Bee, May 22, 1978.
1978 Heple, Janis and Pat Osfeld. “Review”, Suttertown News, May 1978. Workmann, Andree Marichal. “Review”, West Art, October 13, 1978.
1977 Hurd, Ruth. “Review”, Suttertown News, February 20, 1977. Yang, Iris. “Bench Art”, Sacramento Bee, May 30, 1977.
1976 Ball, Fred. “Dalkey on Dalkey”, Art Week, February 28, 1976. Johnson, Charles. “Mysterious Shows”, Sacramento Bee, February 20, 1976.
1976 Johnson, Charles. “Public Murals, Private Portraits”, Sacramento Bee, February 15, 1976.
Simon, Richard. “Sacramento Artist Employs Light Touch”, Sacramento Bee, February 15, 1976.
1975 Bruner, Louise. “Review”, The Blade: Toledo, Ohio, March 2, 1975. Ghilardo, Diane. “Review”, San Jose Mercury News, October 24,1975.
1974 Ball, Fred. “Drawings of Wit and Nuance”, Art Week, July 1974.
1973 Ball, Fred. “Fred Dalkey”, Art Week, Fall 1973. Johnson, Charles. “Sly Bits of Artful Humor”, Sacramento Bee, 1973.
Selected Public and Private Collections
Achenbach Foundation for the Graphic Arts, Fine Arts Museums of San Francisco, CA
American Justice Institute, Sacramento, CA
California State Fair, CA
California State University, Sacramento, CA
City of Sacramento, Sacramento, CA
Crocker Art Museum, Sacramento, CA
El Dorado Hills Development Co., El Dorado Hills, CA
Huntington Hotel, San Francisco, CA
Hyatt Regency, Sacramento, CA
Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, CA
Kronick, Moskowitz, Tiedemann and Girard, Sacramento, CA
Lytton Industries, Los Angeles, CA
National Gallery of Art, Washington, D.C. (Crown Point Press Archives)
Parker Development, Sacramento, CA
Sacramento City College, Sacramento, CA
Scottish Rite Temple, Sacramento, CA
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
Sutter Hospital, Sacramento, CA
The Sutter Club, Sacramento, CA
University of California, Davis Medical Center, Sacramento, CA
Weinstock’s, Sacramento, CA
Commissions
Commemorative Lithograph, Crocker Art Museum from 3rd and O Streets, Magnolia Press, Oakland, CA
Ten Landscapes: Parks and Waterways of Sacramento, Hyatt Regency, Sacramento, CA
Portrait of Leland Stanford, 1981, Huntington Hotel, San Francisco, CA
Portrait of Richard McGee, 1978, American Justice Institute, Sacramento, CA
Portrait of Councilman Robbie Robertson, 1973, Robertson Community Center, Sacramento, CA
Portrait of Raymond Ebbage, 1972, Scottish Rite Temple, Sacramento, CA
Cover: Model with Back Turned (detail), 2006
Rear Cover: After Vermeer and Light Bulb (detail), 2018
Copyright 2024 Paul Thiebaud Gallery. All Rights Reserved.
Images copyright 2024 Fred Dalkey.
Essay Copyright 2024 Ted Barrow, Ph.D.
Design: Greg Flood and Matthew Miller
All images, photo: Matthew Miller
No portion of this document may be reproduced or stored without the express written permission of the copyright holder(s).
PAUL
THIEBAUD GALLERY