STEWART WHITE | FISH & FISHING | ZOEY FR ANK | NAPOLEONIC PORTR AITUR E | ARC SALON
OC TOBER 2 018
DEREK PENIX
“Coalesce”
Oil on Panel
20”x16”
“Converge”
Oil on Panel
KOI SERIES DerekPenix.com
|
DerekPenix@gmail.com
20”x16”
Gerald Geerlings (1897–1998), Jewelled City, 1931, etching and aquatint on paper (edition of 32), 15 5/8 x 11 3/4 in., Catherine Burns Fine Art, Berkeley, CA
It was that wonderful moment when, for lack of a visible horizon, the not yet darkened world seems infinitely greater — a moment when anything can happen, anything be believed in. — Olivia Howard Dunbar (1873–1953), The Shell of Sense, 1908
F I N E A R T C O N N O I S S E U R · C O M
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Arcadia
FATIMA RONQUILLO
“Baby Dionysus Riding a Cheetah” | oil on canvas | 32" x 30"
Solo Exhibition September 14 - 21, 2018 | Artist Reception September 14, 2018 5 to 7pm To view Fatima Ronquillo’s entire exhibition of new works visit: meyergalleries.com
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F I N E A R T C O N N O I S S E U R · C O M
Calling Upon the War Horses, Oreland C. Joe Sr., Oil on canvas, 48" x 48" Hobbles, Pablo Lozano, with silver-inlaid ring by Ernie Marsh
C O W B OY C RO S S I N G S OCTOBER 4 − 6, 2018 GALLERIES OPEN TO THE PUBLIC OCTOBER 6 N AT I O N A L C O W B OY & W E S T E R N H E R I TA G E M U S E U M Oklahoma City
Featuring the Traditional Cowboy Arts Association’s 20th annual exhibition & sale and the Cowboy Artists of America’s 53rd annual sale & exhibition
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“Chantel repeatedly captures both the emotion of the story and the energy of the moment in such a small space ... and with such passion! And it’s her brushwork, sort of a controlled chaos, that gives her work such a distinct spirit. Breathtaking!” -Kathie Odom
To view more of Chantel’s work and for workshop schedule: chantellynnbarber.com | 901.438.2420 Seeking Gallery Representation
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F I N E A R T C O N N O I S S E U R · C O M
F I N E
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Frontispiece: Gerald Geerlings
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Publisher’s Letter
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Editor’s Note
022 Auction: Thomas Moran, by David Masello 025 Favorite: Philip Pearlstein on Piero della Francesca, by David Masello 127
Off the Walls
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Classic Moment: Kirk Larsen
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ARTISTS MAKING THEIR MARK
Allison Malafronte describes the talents of Heather Arenas, Mark Maggiori, and Ann Scott.
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A TRULY GLOBAL SALON By Kelly Compton
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RECORDS OF THE PAINTING PROCESS: RECENT WORK BY ZOEY FRANK By Timothy J. Standring
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STEWART WHITE HAS WATERCOLORS, WILL TRAVEL By Peter Trippi
A FASCINATION WITH FISH
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By Menachem Wecker
By Matthias Anderson
CHINESE ARTWORKS IN HENK HELMANTEL’S STILL LIFE PAINTINGS By Freerk Heule
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GÉRÔME’S HOOP DANCER: SCULPTURE INTO LIFE By Emily M. Weeks
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ART TREASURES FROM INDIA, OWNED BY BRITAIN'S QUEEN By Louise Nicholson
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GREAT ART NATIONWIDE
MARRIED MUSEUM CO-DIRECTORS: A LEADERSHIP MODEL FOR THE FUTURE?
We survey 16 top-notch projects this season.
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COURT PORTRAITURE DURING NAPOLEON'S REIGN By Sylvain Cordier
ON THE COVER JIE CAI (b. 1973), Flower Language (detail), 2014, oil on linen, 43 1/4 x 21 1/2 in. (overall), First Place (Portraiture) in the Art Renewal Center’s 13th International Salon Competition; for details, please see page 68.
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Fine Art Connoisseur is also available in a digital edition. Please visit fineartconnoisseur.com for details. S E P T E M B E R / O C T O B E R
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BURL JONES
Match the Hatch #27/30 38 X 55 X 32 Bronze table with glass top
Creighton Block CREIGHTONBLOCKGALLERY.COM 406-993-9400 | Located in Town Center, Big Sky, MT
SouthStreetArtGallery.com | 5 South St | Easton MD 21601 | 410.598.1666
Namu Acrylic 19.5 x 30 inches
STEVE ROGERS | “SOLO EXHIBITION” SEPTEMBER 7 – 21, 2018
Antique Structure Oil 9 x 12 inches
LOUIS ESCOBEDO | “HE’S BACK!”
SPECIAL EXHIBITION | SEPTEMBER 21 – 30, 2018
Winter, Sycamore Oil on Linen 20 x 30 inches
LANI BROWNING | “SEASONS” | SOLO EXHIBITION OCTOBER 5 – 28, 2018
STEWART WHITE | “OFF THE BEATEN PATH” SOLO EXHIBITION NOVEMBER 2 – 25, 2018
Green Table in Collioure (detail) Oil on Arches Oil Paper 28 x 20 inches
P U B L I S H E R ' S
HOW COCORS BCOM ARISS
O B. ERIC RHOADS (b. 1954) Selfie, 2018, pencil on paper, 16 x 12 in.
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ver the past decade and a half, while publishing this and other art magazines, I have discovered something I never anticipated. People who collect art often become artists, and I see a lot of artists who become collectors. At exhibition openings and other events, collectors often declare, “I wish I could do that,” then, “But I don’t have any talent.” Those are trigger words for me, so I immediately respond that art isn’t strictly about natural-born talent; rather, it is an acquired skill like cooking or typing. It takes instruction and time. As an artist myself, I started out believing that I had no talent and that I could not paint or draw. Thankfully a couple of mentors along the way gave me hope and step-by-step tools, urging me to be patient because virtuosity does not happen overnight. When I first convinced myself it was time to learn how to paint, I also knew I had to find good teachers. I feared that showing up at the local YMCA would mean being taught by someone who was not accomplished or who had developed bad habits. Though everyone who is a few steps ahead can show us at least something, it is always best to secure great instructors. My way of doing so is to find art that I love, ask who made it, and then learn from them. I started painting 24 years ago but did so only at night and on weekends due to my busy work and family life. Had I enough time to paint daily, it would have taken only a fraction of the years it actually required to reach my current level of skill. Yet I enjoyed painting immediately, even though I felt frustrated being unable to paint exactly what I envisioned. When I made a commitment to reach a much higher level, I hired a top landscapist to work with me privately. This has made a vast difference in the past couple of years. And just last month I hired a top portraitist to help me grow in that area. Illustrated on this page is my firstever self-portrait drawing. Though I’ve still got much to learn, this is proof that a little help goes a long way. S E P T E M B E R / O C T O B E R
L E T T E R
After 24 years of painting and of collaborating with both artists and collectors, I now know I would have taken a different path than the one I discovered accidentally. I’d start by observing the artists I admire, before I even began sketching. I would attend an event like our Figurative Art Convention & Expo (November 7-10, 2018) in order to absorb diverse influences, to consider how and what I want to paint, and to watch demonstrations and workshops. I would not put myself under any pressure, just drink it all in. Then I’d return home with a feel for whom I should study under — probably someone I’d watched or met or discovered at the convention. Had I done all this 24 years ago, I would have been at my current level in a couple of years rather than a couple of decades. If you love art but harbor no hope of making it yourself, I warmly encourage you to try. It won’t come easy, and there will be frustrations — as when you learn to play piano or guitar. Don’t pressure yourself to attain a certain level too fast; just know that if you follow the path I propose above, you will soar more quickly. Recently I discovered just how quickly this can happen when I invited my sister-in-law to join my week of private lessons. On the first day her draftsmanship was average; seven days later she had captured the model’s likeness. It had taken me many years to accomplish what she did in a few days. My personal goal is to teach one million people how to paint. I’m up to tens of thousands already (thanks to free landscape lessons available at paintbynote.com). Maybe you should consider trying. You will be amazed at what can be accomplished. And maybe we will see you this November at FACE — the Figurative Art Convention & Expo (figurativeartconvention.com) — an ideal place to study with the best of the best.
B. ERIC RHOADS Chairman/Publisher bericrhoads@gmail.com 561.923.8481 facebook.com/eric.rhoads @ericrhoads 2 0 1 8
F I N E A R T C O N N O I S S E U R · C O M
8/14/18 11:15 AM
Looking Forward To 2019 "354 50 ;*0/ 5063 +"/ ("3: &3/&45 4.*5) t 4)"//" ,6/; +&''&3: 16() t ;"$)"3: 130$503 45&1)&/ 45"6''&3 t ,*.#"- 8"33&/ 5)& 5) "//6"- /&8 7*4*0/4 "35 4)08 ."3$) "-- ("--&3: "35*454
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Washington Society of Landscape Painters Plein Air Painnng Demonstranons September 22nd at 1 pm
P U B L I S E H D E I TR O ' SR ’ LS E N T O T E T R E
or well over a decade, artists, curators, and collectors have debated whether the term “contemporary realism” makes sense generally, and specifically to folks who don’t know much about what we do. Though some say names don’t matter, I disagree — “branding” is everything in our society, so if people can quickly grasp who you are, things just work better. When you browse Fine Art Connoisseur, you’ll see lots of representational artworks made recently. By “representational,” I mean representing something recognizable. It’s a mouthful of a word, and not exactly enticing, so generally we use “realist” or “realism” instead. Problem is, “realism” has encompassed so much over time that it’s hard to visualize what it is now — is it the peasant scenes made by Gustave Courbet in the mid-19th century, the gritty visions of city life painted by John Sloan or Edward Hopper, the slick surfaces of 1960s photorealism, the meticulous draftsmanship of 1990s classical realism? “Realism” is far from perfect, but it’s what we’ve got in our vocabulary for now. More easily replaced, perhaps, is “contemporary.” How about “modern” instead? Purists say that “modernism” started in the late 19th century, reached its apogee during the mid-20th century, and lost its mojo in the 1980s. That may be true technically, but “modern” sure still has currency in the wide world. Every generation considers itself modern, and it’s no accident that Modern Family has been a hit TV series since 2009; it is literally too old to be modern anymore, but we know exactly why it retains that name. In the art arena, “modern realism” has been uttered by quite a few experts over the years, referencing an array of artworks that we love here at Fine Art Connoisseur. The Smithsonian American Art Museum used it to describe the marvelous Sara Roby collection it exhibited in 2014 (americanart.si.edu/exhibitions/roby). The thoughtful curators at London’s Tate galleries use the term regularly (tate.org.uk/art/
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art-terms/m/modern-realism), as does the British-born, Michigan-based scholar Alex Potts (yalebooks.yale.edu/ book/9780300187687/ experiments-modern-realism). Not surprisingly, the American scholar John Wilmerding has used “modern realism” to describe the world of Edward Hopper and Andrew Wyeth, among other masters (youtube.com/ watch?v=Iy9ImZOuKqw). Does any of this matter? Possibly not, but I think it’s helpful to stir the pot every now and then, to remind everyone that the exciting art now being made across America (and indeed the world) will be better appreciated if “newcomers” know what to call it. Perhaps there’s something snappier about “modern realism” than “contemporary realism,” so please mull it over and let me know what you think. Finally, I would like to welcome to Streamline Publishing Scott Jones, our new associate publisher and Western regional marketing manager. Scott recently joined our team after 10 successful years as general manager of Legacy Gallery in Scottsdale. Scott is an accomplished public speaker and art juror, and I am particularly looking forward to collaborating with him at the Figurative Art Convention & Expo (FACE) this coming November. Welcome aboard, Scott!
TRIPPI PHOTO: FRANCIS HILLS
MODRN RAISM?
F I N E A R T C O N N O I S S E U R · C O M
WRIT TEN BY DAVID MASELLO
O N
T H E
H O R I Z O N
LAGUNA, NEW MEXICO, LOOKING FROM THE EAST
Thomas Moran (1837–1926) 1891, watercolor, gouache, and pencil on paper, 9 3/8 in. x 12 3/8 in. Jackson Hole Art Auction, Wyoming, September 15 Estimate: $75,000– $125,000
T
ROXANNE HOFMANN
Partner, Jackson Hole Art Auction
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homas Moran (1837–1926) was one of those young men who did go West. So compelling were his 1871 sketches of the Yellowstone region that, a year after they saw his finished versions, members of Congress and President Ulysses S. Grant began the process of establishing Yellowstone as America’s first national park. Although Moran would later paint large oil canvases depicting the Grand Canyon and other natural wonders of the West — some of them now at the Smithsonian American Art Museum — his diminutive plein air works are equally coveted, including Laguna, New Mexico, Looking from the East, a watercolor, gouache, and pencil work on paper, signed and dated 1891. When one considers the desert heat and sun, and also the fact that Moran was riding a horse or mule in a remote region, it is remarkable that this drawing remains in such good condition. “The really interesting thing about this piece is that it displays all of his skills,” says Roxanne Hofmann, a partner in the Jackson Hole Art Auction, which will offer it on September 15; as in years past, this two-day auction is a collaboration of Trailside Galleries (Jackson, Wyoming) and the Gerald Peters Gallery (Santa Fe, New Mexico). “Moran’s hand is masterful here, with just a small amount of gouache used on the church as a kind of visual punch,” Hofmann explains. “And at first glance, you might overlook the tiny figures in the foreground, but he accents them with red and coral hues.” Like all artists drawn to the scale and sights of the American West, Moran was captivated by its light, the billowing clouds always moving above, and its palette of earth tones. “Moran made eight sketching trips to Laguna between 1871 and 1892,” Hofmann notes, “and he remained as fascinated by the colors of the New Mexico desert as he was by the indigenous people and the ancient built environment of the pueblo there.” Although the mission church and some of the ancillary structures depicted here date from the late 17th century, when the Spanish arrived, the area of the pueblo had already been occupied by indigenous people for many centuries. “The palette that Moran consistently uses, that he specialized in, is evident here.” Though the 11 previous editions of the Jackson Hole Auction have featured works by Moran, this, according to Hofmann, is the first Laguna subject. “Once again, we’re so pleased to have such an important artist in our sale. This depiction S E P T E M B E R / O C T O B E R
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of Laguna is so rare that we could easily see an institution wanting to acquire it for its collection. But there are also many private collectors of Moran, especially at a scale this accessible.” Moran was born in Britain, but his family came to America when he was young. His professional life began as an apprentice wood engraver in Philadelphia, though he soon moved on to New York and other locales, eventually winding up in Santa Barbara at the end of his life. Eager to capture in his paintings the atmospheric effects and nuances of the natural world, Moran made an important trip back to England in 1862 to see the works of J.M.W. Turner (1775–1851) and to understand how that master had rendered his turbulent seascapes and mistshrouded harbors. While this plein air work is a highly detailed depiction of the ancient pueblo from a distant point in the desert, it merges realism with suggestion, melding discernible built forms with natural ones. As Hofmann observes, “Moran really is America’s answer to Turner.”
F I N E A R T C O N N O I S S E U R · C O M
8/14/18 11:09 AM
PEabody essex museum THROUGH FEBRUARY 10, 2019 Explore spectacular treasures from the Palace Museum that tell the little-known stories of empresses whose contributions had remained largely silent — until now.
EMPRESSES Forbidden City of China’s
Empresses of China’s Forbidden City is organized by the Peabody Essex Museum; the Freer|Sackler, Smithsonian Institution, Washington, D.C.; and the Palace Museum, Beijing, China. The exhibition is made possible by generous support from Liu Dan; the Henry Luce Foundation; E. Rhodes and Leona B. Carpenter Foundation; the National Endowment for the Humanities; Bei Shan Tang Foundation; Carolyn and Peter S. Lynch and the Lynch Foundation; Shirley Z. Johnson and Charles Rumph; The Richard C. von Hess Foundation; Anonymous; The AMG Foundation; The Coby Foundation, Ltd.; Eaton Vance; American Friends of the Shanghai Museum; Blakemore Foundation; Rose-Marie and Eijk van Otterloo; Quan Zhou and Dr. Xiaohua Zhang; Furthermore: a program of the J.M. Kaplan Fund; Skinner, Inc.; Ellen Bayard Weedon Foundation; Robert N. Shapiro; and Sandra Urie and Frank Herron. We also recognize the generosity of the East India Marine Associates of the Peabody Essex Museum. James B. and Mary Lou Hawkes have generously supported additional exhibition programming.
Liu Dan
E. Rhodes and Leona B. Carpenter Foundation
MEDIA PARTNER
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Drinking Tea, from Yinzhen’s Twelve Ladies (detail), Kangxi period, 1709–23, Court painters, Beijing, possibly including Zhang Zhen (active late 17th–early 18th century) or his son Zhang Weibang (about 1725– about 1775), hanging scroll, ink and color on silk, Palace Museum, Gu6458-7/12.© The Palace Museum.
161 Essex Street | Salem, Mass. | pem.org
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WRIT TEN BY DAVID MASELLO
G E T T I N G
P E R S P E C T I V E
PHILIP PEARLSTEIN
Artist
The Flagellation of Christ PIERO DELLA FRANCESCA (c. 1416–1492) c. 1455–60, oil on panel, 23 x 32 in. Galleria Nazionale delle Marche (Urbino, Italy)
Philip Pearlstein Photo © Jonathan A. Milton
P
hilip Pearlstein (b. 1924) learned about perspective while awaiting combat. Despite the gravity of his wartime assignment, the real lesson he learned was about the meaning of one-point perspective, more so even than the perspective on life itself. As a young infantryman in Italy during World War II, Pearlstein was stationed outside Rome as preparations were made for an Allied invasion against the Germans to capture a mountainous region between Florence and Bologna. While some servicemen might have been visiting USO halls or doing mess-hall duty, Pearlstein and a group of like-minded soldiers he befriended would visit the Vatican Museum and other venues while waiting for the battle plan to be forged. “We visited all of these galleries and for me it was a fantastic education in Renaissance art,” says the 94-year-old Pearlstein from his painting studio in Manhattan. “I didn’t learn about Renaissance art and perspective and Piero della Francesca from a college textbook like Janson’s. I learned it firsthand.” One of the most affecting classrooms, of sorts, that he attended was the Galleria Nazionale delle Marche in Urbino, where the 20-year-old Pearlstein first saw Piero’s Flagellation of Christ (c. 1455–60), and where it remains today. “That painting became the basis of my own development as an artist. The lessons it provides on perspective and its use of the Golden
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Section divisions of the rectangle became the basis, too, for my work as a teacher of more than 30 years. The lessons I learned from the painting are built into the work I do as an artist.” So enamored still is Pearlstein with the painting he first saw more than 70 years ago that he always keeps a half-size reproduction of it at hand. “It’s laying on some surface here in the studio.” Fortunately, as he acknowledges, Pearlstein didn’t fight in that final battle after all. “When the war ended, I was reassigned to paint road signs along demolished roads,” he says. After completing his military service, Pearlstein returned to his native Pittsburgh to attend Carnegie Mellon University, eventually moving to New York to work as a graphic designer. “I worked for a man who taught at Pratt [Institute]. He saw me looking through his art books and he told me that, since I still had some GI Bill benefits left, I should go back to school. I applied to New York University
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and eventually got an M.F.A. in art history there. I started teaching at Pratt in 1959 and it wasn’t until then that I had enough time to consider myself a full-time artist and started to create my figurative paintings. In that sense I was a late starter." Piero’s Flagellation of Christ is famous not only for its radical application of perspective and its realistic interpretation of Christ’s punishment by his captors, but also for its enigmatic quality. Its lefthand scene shows Christ standing within an architecturally precise classical temple, while the scene at right features three men, seemingly indifferent to the brutal beating occurring nearby. For centuries, numerous theories have been posited about the identities of this trio and about both settings. When asked for his take on the subject, Pearlstein replies with candor, “I’m not interested at all in interpretations of this picture. I have always felt a kind of gratitude toward it. It’s a wonderful painting and always surprising when I see it.”
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Tom Nielsen
Atlantic Afternoon Oil on Canvas 18 x 36 inches
Anderson Fine Art Gallery ~ St. Simons Island, Georgia Petri’s Fine Arts ~ Sausalito, California Altelier Newport ~ Newport, Rhode Island Grand Bohemian Gallery ~ Charleston, South Carolina
TomNielsenFineArt.com PORTRAITS & PAINTINGS by KATHERINE GALBRAITH Signature Member, American Society of Marine Artists
Sherrie McGraw
Everett Raymond Kinstler
american masters 2018 10th anniversary exhibition & sale October 8-26, 2018
collectors’ preview
Thursday, October 11, 2018
gala & sale
Friday, October 12, 2018
conversations with the masters Saturday, October 13, 2018
Stephen Scott Young
John Stobart
Featuring 70 of America’s premiere artists, including early and contemporary work from the following Legendary Masters: richard schmid douglas allen max ginsburg daniel e. greene everett raymond kinstler david a leffel burton silverman john stobart
all artwork will be available for purchase For event details and ticket information, visit americanmastersart.com
Held at and for the benefit of the Salmagundi Club
SALMAGUNDI CLUB a center for American art since 1871
47 Fifth Avenue New York, NY 10003 salmagundi.org
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Morning Paddle 9x12 oil represented by South Street Art Gallery Easton, MD Vermont Artisan Designs Brattleboro, VT and others bethbathe.com 703.628.5044 bathepainting@aol.com
Beth Bathe Good Morning. Never wait for a perfect moment. Just take a moment and make it perfect. Cynthia Rosen Morning Mist 36x48 oil represented by Gallery 46 Lake Placid, NY South Street Art Gallery Easton, MD and others cynthiarosen.com 802.345.8863 cynthiarosenart@gmail.com
Evening Lights in a Harbor, 16 by 20 inches, Oil on Linen
Evening by the Grand Canal, 24 by 40 inches, Oil on Linen
OKSANA JOHNSON A Traveler’s Impressions
OksanaJohnson.com • Galler y Inquiries & Commissions • Oksanavj10@gmail.com
Twilight, Libby Hill, oil, 24x18”
CHRISTINE LASHLEY
Prelude to a Painting Christensen Studio, ID Sep 12 • WSLP Show Principle Gallery, VA Sep 21-Oct 15 Bath County Plein Air Warm Springs, VA Oct 1-7 • EnPleinAir Texas San Angelo, TX Oct 20-28
christinelashley.com • 703-473-9976 • lashleystudio@yahoo.com
H E AT H E R A R E NA S
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“One with the Shadows”, 18x24, oil on birch, available at Mary Williams Fine Arts
“Get Your Greens Here”, 12x24, oil on cradled wood, available at Reinert Fine Art
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R YA N M E LLODY
July Peonies 20 x 16 inches Oil on panel
ryanmellody.com
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PRESENTING FINALISTS IN THE
13th International ARC Salon Competition
The ARC Salon Exhibition will be on view at the Salmagundi Club, New York, New York, from September 21st-October 2nd, 2018; Sotheby’s, Los Angeles, California, December 4th-13th, 2018; and the MEAM Museum, Barcelona, Spain, from February 8th-March 31st, 2019.
MARY CHIARAMONTE RICHMOND, VIRGINIA Little Tornado, 16 x 12 in., oil on panel Available through the artist maryc@merrysee.com www.merrysee.com
BREN SIBILSKY ALGOMA, WISCONSIN Winds of Change 36 x 26 x 12 in., clay for bronze bren@brensculpture.com 920.487.4200 www.brensculpture.com
ALEXANDREA NICHOLAS-JENNINGS TORONTO, ONTARIO Icarus, 28 x 36 in., oil on panel Available through the artist artaholic@hotmail.com | www.alexandreaartist.com
KEXIN DI BEIJING, CHINA Politeia-Muse Sisters, 110 x 150 cm, oil on canvas | Politeia-Twins, 130 x 150 cm, oil on canvas Available through the artist 42052143@qq.com | +086.18618460026 | www.dikexin.artron.net
STEVEN J. LEVIN MINNEAPOLIS, MINNESOTA 21 Hats, 36 x 42 in. oil on canvas Available through Cavalier Gallery sjlevin@airpost.net www.stevenjlevin.com
2018 ARC Salon Finalists www.artrenewal.org | info@artrenewal.org 100 Markley Street, Port Reading, NJ 07064
WILLIAM A. SCHNEIDER VILLAGE OF LAKEWOOD, ILLINOIS Reckless Abandon, 24 x 18 in., pastel on archival support Available through Illume Gallery jane@illumegalleryoffineart.com www.schneiderart.com
NIK ANIKIS SKUŠEK SEVNICA, SLOVENIA Reawakening of Humanity 230 x 130 cm, oil on canvas Available through the artist info@anikis.com +386.40.476266 www.anikis.com
GENTA PLASARI RENENS, SWITZERLAND Egg Shape, 19 1/2 x 25 1/2 in., charcoal Available through the artist genta.plasari@gmail.com | +41.78.924.36.54 www.passiondessinpeinture.com
MARY PETTIS, ARCLM TAYLORS FALLS, MINNESOTA Light Beyond the Bridge II, 48 x 32 in., oil on linen Honorable Mention Landscape Category Available through the artist mary@marypettis.com | 612.405.0352 | www.marypettis.com
MICHAEL AARON HALL PROVO, UTAH Heart of Sorrow 39 x 36 x 23 in., bronze michaelhallsculptor@gmail.com 801.979.0967 www.michaelaaronhall.com
CHRISTINE DEBROSKY AIS
Clarkdale, Arizona Late Summer Winesap, 16 x 20 in., soft pastel christine@christinedebrosky.com | 928.679.0357 www.christinedebrosky.com
LISA GLEIM
Atlanta, Georgia Kitchen Window Peonies, 9 x 12 in. pastel on Pastelbord lisa@lisagleimfineart.com | 770.919.7719 www.lisagleimfineart.com
SUSIEHYER
Evergreen, Colorado Summer on the Farm, 12 x 9 in., oil on masonite susiehyer1@yahoo.com | 303.670.3609 www.susiehyerstudio.com
JUDY CROWE AIS
Bluff Dale, Texas Cloud Illusions, 16 x 20 in., oil on linen judyacrowe@gmail.com | 832.640.7131 www.judycrowe.com
DEBRA JOY GROESSER AIS Ralston, Nebraska
Morning Has Broken– Ephraim Beach 14 x 18 in. oil on linen panel debra@debrajoygroesser. com 402.592.6552 www.debrajoygroesser.com
PAMELA C. NEWELL AIS
Fishers, Indiana
Still Life in Red 14 x 18 in. oil on linen panel pam@pnewellart.com 317.752.2288 www.pnewellart.com
MICHELE BYRNE AIS
Reading, Pennsylvania Manhattan Morning Light, 10 x 10 in., oil on linen panel michele@michelebyrne.com | 610.670.7932 www.michelebyrne.com
ROBIN WEISS
Poulsbo, Washington Camellias with Sugar Bowl, 12 x 9 in., oil robinweiss@earthlink.net | 360.779.3940 www.robinweissfineart.com
NANCY BOREN
The Colony, Texas Spring Pink, 24 x 18 in., oil on canvas nancy@nancyboren.com | 972.625.6261 www.nancyboren.com
KATHLEEN COY
Colorado Springs, Colorado The Thinker, 9 x 12 in., oil on birch panel kathleen@kathleencoy.com www.kathleencoy.com
PENNY FRENCH-DEAL North Manchester, Indiana
The Blue Vase 11 x 14 in. oil on linen penny@french-deal.com 260.578.2181 www.french-deal.com
JENNIFER STOTTLE TAYLOR
Taft, Tennessee Walking with Renoir, 18 x 24 in., oil on linen jennifer@jstaylorart.com | 931.993.8891 www.jstaylorart.com
New England’s premier plein air painting competition, in the birthplace of American Plein Air painting.
OCTOBER 7 – 15 th
th
Juror, Hiu Lai Chong Awards Judge, Don Demers Awards Gala and Collector’s Preview Saturday, October 13th North Shore Arts Association Gloucester, MA Tickets Available at CapeAnnPleinAir.com CAPA QuickDraw Competition, Sunday October 14th, Downtown Rockport with Exhibition and Sale at Rockport Art Association & Museum
CAPA 2018 Competition Artists J a co b Ag u i l a r, M E E b ra h i m A m i n , C A Olena Babak, ME M i tc h B a i r d , A Z D av i d B a r e f o r d , C T B e t h B a t h e , PA J o s h u a B e e n , CO Zu f a r B i k b ov, C T L o n B ra u e r, I L J ay B ro o k s , N Y Alan Bull, MA John Caggiano, MA Va l e ri e C ra i g , PA L i s a Eg e l i , M D
M a rc G ra n d b o i s , Q u e b e c J o h n G u e r n s ey, G A R ay H a s s a r d , O H Kathleen Hudson, K Y Neil Hughes, NJ S u s i e H ye r, CO E ri c J a co b s e n , O R Ke n K a rl i c , M D T i m Ke l ly, M D Thomas Kitts, OR Ke n K n owl e s , M A Kirk Larsen, NY P a t ri c k L e e , PA G e o r g a n n a L e n s s e n , PA
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Auction & Quick Draw · 2018 CODY, WYOMING
· SEPTEMBER 21
Featuring 0ver 100 Outstanding Western Artists
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SANTIAGO MICHALEK | Winter Pass, oil, Oil, 48 x 96 inches
ORELAND C. JOE, SR. Mountain Mist Woman Utah Alabaster, 20 x 10 x 7.5 inches JIM BORTZ | Outriders, oil, 30 x 30 inches
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WOMEN ARTISTS OF THE WEST 48TH NATIONAL JURIED EXHIBITION & SALE S E P T E M B E R 21 - N O V E M B E R 4, 2018 PRICE TOWER ARTS CENTER • 510 S DEWEY AVE • BARTLESVILLE, OK
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Opening Reception, Awards Announced • 7pm open to public.
BEST IN SHOW WAOW’S 47TH NATIONAL EXHIBITION LAUREL LAKE MCGUIRE | WAOW Associate Member “Spotlight” • 17 x 17 • Watercolor
Visit the WAOW website at www.waow.org to gain more information on any of your favorite artists. Please contact Deshane Atkins-Williams, Curator for pre-purchase or more information at 918.336.4949
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JUDE TOLAR | WAOW Associate Member “Sweet Ice Follies” • 11 x 14 • Pastel www.judetolar.com
LESLIE WHITE | WAOW Associate Member “Guadalupe River Bathtub” • 30 x 22 • Watercolor www.trailheadstudios.com
POKEY PARK | WAOW Signature Member “Red-legged Frog” • 8 x 13 x 6 • Bronze www.pokeypark.com
PEGGY BRADSHAW-PALM | WAOW Signature Member “The Sighting” • 36 x 24 • Oil www.peggybradshawpalm.com
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JILL BANKS | WAOW Associate Member “Show Girls” • 16 x 20 • Oil www.jillbanks.com KATHY WARDLE WAOW Associate Member “Fine Wine, Good Memories” 78 x 46 x 32 Bronze www.wardlearts.com
NANCY HALEY | WAOW Associate Member “Mexican Food Truck” • 11 x 14 • Oil www.nancyhaleyfineart.com
TRACY L. ANDERSON | WAOW Associate Member “Nature’s Symphony” • 28 x 20 • Alkyd Oil www.tlandersonart.com
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KATHRYN A. MCMAHON | WAOW Master Member “Whiskey Creek” • 12 x 16 • Oil www.kathrynamcmahon.com
SHERYL KNIGHT FINE ART | WAOW Associate Member “Monterey Morning” • 16 x 9 • Oil • www.sherylknight.com
BARBARA NUSS | WAOW Signature Member “Sky Meadows” • 12 x 16 • Oil www.barbaranuss.com
MELISSA JANDER | WAOW Associate Member “Sunny Moment” • 20 x 16 • Oil www.melissajander.com
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GRACE SCHLESIER | WAOW Signature Member “After the Storm” • 12 x 16 • Oil www.graceschlesier.com
GEORGENE MCGONAGLE | WAOW Signature Member “Eyas” • 14 x 7.7 x 5 • Bronze www.mcgonaglestudio.com
CAROL DEVEREAUX | WAOW Associate Member “Wings before Flight” • 12 x 12 • Oil www.caroldevereaux.com
GLORIA CHADWICK | WAOW Emeritus Signature “Lionfish Amongst the Reef” • 18 x 12.5 • Watercolor www.gloriachadwickart.com
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MICHELE COMBS | WAOW Associate Member “Fountain at Glensheen” • 12 x 16 • Oil www.michelecombs.com
DENA PETERSON | WAOW Signature Member “Towering Seedheads” • 16 x 16 • Oil www.denapaints.com
SHIRLEY HOVE | WAOW Associate Member “Deep Thoughts” • 18 x 18 • Pastel/Conte www.shirleyhove.com
CAROL NOVOTNE | WAOW Associate Member “Old Granary at Sunrise” • 14 x 11 • Oil www.rnovotnemt@aol.com
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KELLI FOLSOM | WAOW Associate Member “Apple Blossom Tea” • 14 x 18 • Oil www.kellifolsom.com KATE KLINGENSMITH | WAOW Associate Member “The Helper” • 20 x 27 • Oil www.kateklingensmithart.com
DOREEN IRWIN | WAOW Associate Member “Beach Bums” • 12 x 24 • Acrylic www.doreenirwin.com
KAY STRATMAN | WAOW Associate Member “Shaken, Not Stirred” • 16 x 16 • Watercolor on Silver Board www.kaystratman.com
C E L E B R AT I N G W O R K B Y O V E R 150 W O M E N A R T I S T S F R O M A C R O S S T H E C O U N T R Y
The Bennett Prize is a project of The Pittsburgh Foundation.
See why over 3,500 artists are members of North America’s leading art organization representing the finest representational oil painters across the United States, Canada and Mexico.
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Upcoming Shows Western Regional Exhibition Mary Williams Fine Arts Boulder, CO September 7 - October 6, 2018
Eastern Regional Exhibition McBride Gallery Annapolis, MD October 28 - November 25, 2018
Weekend events September 6 - 8 Opening Reception & Awards Ceremony September 7 at 5:00 p.m.
Opening Reception & Awards Ceremony October 28 at 1:00 p.m.
Save the Date 28th National Exhibition & Convention Illume Gallery of Fine Art St. George, UT May 2019
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For more information about exhibitions or membership, go to www.oilpaintersofamerica.com or call 815-356-5987
SUSAN HEDIGER MATTESON Dolores, Colorado
Snowy Eve II, 14 x 36 in., oil on linen susan@susanmatteson.com www.susanmatteson.com
Dedicated to the Preservation of Representational Art
JEREMY GOODDING Lincoln, Nebraska
Earthen Vessel, 14 x 18 in., oil on linen panel jeremy.goodding@gmail.com | 402.770.5185 | www.jeremygoodding.com
HOWARD LYON American Fork, Utah
The Return of Flora, 16 x 20 in., oil fineart@howardlyon.com 480.241.7907 www.howardlyon.com
ROB AKEY Whitefish, Montana
Evening Tapestry, Point Lobos, 26 x 26 in., oil on linen rob@robakey.com | 406.270.4177 | www.robakey.com
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40 Outstanding Galleries
22nd ANNUAL BOSTON INTERNATIONAL FINE ART SHOW Gala Preview to benefit
October 18-21, 2018 The Cyclorama, At the Boston Center for the Arts
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There is a lot of superb art being made these days; this column by Allison Malafronte shines light on a trio of gifted individuals.
HEATHER ARENAS (b. 1969), Oscar and Sharon’s Big Day Out, 2017, oil on cradled wood, 24 x 30 in., RS Hanna Gallery (Fredericksburg, TX)
The Florida-based artist HEATHER ARENAS (b. 1969) may paint many types of subjects — still lifes, portraits, plein air scenes, interiors, Western landscapes — but it is the figure she finds most inspiring. Although her childhood was filled with an abundance of creative activity and influence, her fascination with the form and function of the human body led her to study orthopedic surgery. Eventually, she found her way back to art, and her medical studies in anatomy only served to enhance her figure paintings. “Figures are a vehicle for me to show my appreciation of the grace and mechanics of life’s ultimate creation,” Arenas says. “When I paint them, I’m thinking not only of their physical beauty, but also of the underlying structure that I observe.” Regardless of the subject matter, Arenas paints what she finds beautiful and interesting, with a focus on light, shadow, and storytelling. She is an artist who clearly thinks through why and what she is painting before putting brush to canvas, adjusting the composition, color scheme, and focal point to her vision. That doesn’t mean, however, that she is afraid of an occasional happy accident. In fact, her looser, impressionistic style of painting — with its bold brushwork and broken color — practically requires an educated ability to respond creatively in the moment. In both her strategic planning and in her spontaneity, Arenas is as much a designer as a fine artist. This duality — along with some modernistic F I N E A R T C O N N O I S S E U R · C O M
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impulses — is especially evident in her recent painting Oscar and Sharon’s Big Day Out, one of several in Arenas’s Museum series. It seems to show what would happen stylistically if Vuillard and Bonnard were invited to the Metropolitan Museum of Art by Sargent: the strong composition contains silhouetted figures, patterned fabrics, large abstractions of color, and traditional portraiture, the highlight of which is Sargent’s controversial Madame X — the unexpected departure from his career of painting commissioned portraits for high society. In her personal life, Arenas knows firsthand how powerful the influence of artistic women can be because of the creative encouragement she received from her grandmothers and mother as a child. As a member of American Women Artists and Women Artists of the West, as well as the mother of a young daughter, she is passionate about encouraging women in the arts and beyond “because I know they have voices that need to be heard.” Arenas is represented by Mary Williams Fine Arts (Boulder, CO), Reinert Fine Art Gallery (Charleston), RS Hanna Gallery (Fredericksburg, TX), and Weiss Fine Art (Santa Fe).
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It’s not every day that a French rock star becomes a landscape several road trips. As much as music was a mainstay in Maggiori’s life, it painter of the American West, but that is the story of the Los Ange- was at that moment, at 36, that he decided to follow his fine art calling les artist MARK MAGGIORI (b. 1977). It may seem like a farfetched and paint the subject matter that spoke to him most. In the few years tale, but when you learn about the series of events that influenced since then, Maggiori has become a leading painter of the West, creating Maggiori, it makes perfect sense that his teenage fascination with work that resonates with both longtime and emerging collectors. the Southwest would later manifest in the signature subject matter Symbiosis is a fine example of the style that makes Maggiori’s and award-winning paintings he is known for today. paintings unique. With its exacting Remington-esque illustration and Maggiori’s multiple talents — especially in fine art and music — expertly handled sunset-drenched color, it also reflects the artist’s became apparent at a young age, and when he was in his early 20s he deep sensitivity to the Western way of life, earned through his immerenrolled at the historic Académie Julian in Paris to develop his draw- sive experiences on ranches in New Mexico, Arizona, and Wyoming. ing and painting skills. Not only had several legendary classical artists “This painting came together pretty quickly after I drew a sketch of that studied there, but also members of New Mexico’s Taos Society of Art- iconic pose,” Maggiori shares. “I wanted to glorify it with an epic cloud ists: Ernest L. Blumenschein, Bert Geer Phillips, and Joseph Henry and get a quintessential image. Something that could represent the Sharp. After finishing his academic training, Maggiori formed a suc- West in the blink of an eye.” cessful rock band in France and began touring Europe. The performing demands that followed caused the artist to temporarily put aside his fine art aspirations. Maggiori is represented by Gerald Peters Gallery (Santa Fe), Maxwell As fate would have it, Maggiori returned to the U.S. with his wife Alexander Gallery (Los Angeles), Medicine Man Gallery (Tucson), and and settled in California, where he steeped himself in the Golden Trailside Galleries (Jackson Hole). State’s history and reconnected with the Southwest’s landscape during
MARK MAGGIORI (b. 1977), Symbiosis,
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ANN SCOTT (b. 1948), Foggy Morning, 2016, oil on canvas, 30 x 30 in., available from the artist
There’s something to be said for a painting created with the simple a particular penchant for fog, which I feel is one of the more poetic purpose of transferring peace and serenity from one set of eyes to manifestations of weather. I'm especially interested in how fog conanother. This is the gift that artist ANN SCOTT (b. 1948) offers view- ceals and reveals as it moves through and reshapes the landscape. I ers of her oil and watercolor landscape paintings, creating moments also adore a good storm.” of respite from a world that often seems the opposite of stillness. Scott’s 30-x-30-inch painting Foggy Morning is one of a series she Scott spent 35 years living in Boston until her longing for peaceful created from the same vantage point on a farm near her home. Painted pastures led her to the Berkshire hills of western Massachusetts, where just as the dawn fog was burning away into early morning, this composhe has been surrounded by forests and farmland for the last five years. sition is an exercise in simplicity and understatement: the brushwork is “I’m a country gal at heart, and nature and space are extremely impor- soft, the palette is pared back, and her focus is the expansive sky’s quiet tant to me,” the artist notes. “From the moment I arrived here I felt power. Although Foggy Morning likely took Scott only a few hours to uplifted, and I painted everything in sight for days on end.” Scott sees paint, it’s the kind of work that one could contemplate for much longer outdoor painting as an opportunity to develop ideas, sharpen obser- — a visual breath of fresh air that the artist clearly enjoyed creating as vational skills, or quickly record a scene. When the weather is still, much as we enjoy viewing it. or when Scott needs more structure, she paints barns and buildings instead. In her studio, she works up larger paintings from her sketches. Although Scott paints en plein air and in her studio, the great Scott is represented by Real Eyes Gallery (Adams, MA) and is currently outdoors is where she feels completely at home and free. Artisti- showing at the Southern Vermont Arts Center (Manchester). She is the cally speaking, what she finds most exciting in nature is watching first visiting artist at Jiminy Peak Ski Resort (Hancock, MA), where a how atmospheric conditions morph the appearance of the landscape. selection of her paintings is on display through October. “I’m a complete weather nerd,” she admits. “I love clouds and have
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B Y K E L LY C O M P T O N
T O D A Y ’ S M A S T E R S
A RUY
GOBA
SAON
ounded in 1999 by the New Jersey collectors Fred, Sherry, and Kara Lysandra Ross with several of their fellow scholars, the Art Renewal Center (ARC) is a nonprofit educational foundation that encourages the reemergence of traditional art and training techniques. The fruits of its labors are becoming ever more apparent as time goes by. ARC is probably best known to readers of Fine Art Connoisseur for its impressive website (artrenewal.org), which contains more than 80,000 high-resolution images by Old Master, 19th-century, and early-20th-century artists, along with artist biographies and related articles. The site has evolved into an invaluable reference for anyone interested in historical realism. ARC is equally committed to bringing this rich heritage up to date by highlighting the booming field of contemporary realism. In addition to its ever-growing roster of recommended ateliers, its registry and 5,000-image gallery of “Living Master” artists, and its generous scholarship program for atelier students, ARC organizes the ever more popular International Salon Competition online. Launched in 2004, the Salon concluded its 13th edition earlier this year when ARC announced the latest award winners, honorable mentions, and finalists. Chief operating officer Kara Lysandra Ross reports that the jury found it difficult to winnow down to the 1,076 finalist works (by 647 artists) — 28 percent of the 3,750 works originally submitted from 69 countries. This year’s jurors were Frederick C. Ross and Kara Lysandra Ross, the scholars Jean Stern and Vern Swanson, the artists Michael John Angel, Juliette Aristides, Daniel Graves, Tom Hughes, Dan Thompson, Anthony Waichulis, and Yuqi Wang, B. Eric Rhoads (Fine Art Connoisseur), Jeannie Wilshire (IX Arts), collector Tim Newton, and Mandy Hallenius (Da Vinci Initiative). In addition to the two top prizes (Best in Show and the William Bouguereau Award), the jury awarded first, second, and third place prizes in each of nine categories: figurative, imaginative realism, still life, portraiture, landscape, sculpture, drawing, plein air, and animals.
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A host of additional awards were given, including the Da Vinci Initiative Award for younger artists. These categories also featured numerous honorable mentions and finalists. More than $100,000 in cash awards have been distributed since the jurors made their final decisions. To make the project more visible to the public, ARC has scheduled four exhibitions highlighting various winning and finalist works. A total of 89 works will appear at New York City’s Salmagundi Club from September 21 through October 2. These works will next go on view at the Los Angeles branch of Sotheby’s (December 4–13) and will finally appear at Barcelona’s Museu Europeu d’Art Modern (MEAM) from February 8 through March 31, 2019. In addition, ARC has planned an innovative partnership with Fashion Week San Diego (FWSD) this autumn: seven FWSD designers will each create an original couture outfit and look inspired by a specific winning artwork from the ARC Salon. The artworks and their corresponding garments (worn by live models) will be presented together on the evening of October 12 — FWSD’s opening event at the Lux Art Institute in Encinitas. All will remain on view there for the remainder of Fashion Week. Also on October 12, FWSD and ARC will co-host a panel discussion as guests “vote” for their favorite pairings. Entries for the next edition of the Salon are being accepted from December 1, 2018 through March 15, 2019. Thanks to the Internet’s flexibility, anyone can submit an entry at any hour, day or night. This is a truly global enterprise, one made possible by the Internet, but made real by the dedication of the ARC team. KELLY COMPTON is a contributing writer to Fine Art Connoisseur. Information: The Salon catalogue can be ordered via arcsalon.org, where all winners and finalists can now be seen as high-resolution scans. For exhibition details, visit artrenewal.org/13thARCSalon/Home/Exhibition.
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MING YU (b. 1977), In Bvlag, 2014, oil on linen, 15 1/2 x 19 1/2 in., Best in Show ($10,000)
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(CLOCKWISE FROM TOP LEFT) KATSU NAKAJIMA (b. 1954), Woman in the Forest, 2017, oil and gold leaf on canvas, 63 3/4 x 63 3/4 in., William Bouguereau Award ($3,000)
IRIS LIU (b. 2000), Her Familiars,
2017, oil on Masonite, 42 x 28 in., First Place (Da Vinci Initiative Award, $2,500) Language, 2014, oil on linen, 43 1/4 x 21 1/2 in., First Place (Portraiture), $2,500
JIE CAI (b. 1973), Flower JULIE BELL (b. 1958),
Speak Softly, 2017, oil on linen, 48 x 60 in., First Place (Animals), $2,500
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(ABOVE) GERALD BROM (b. 1965), The Night Mare, 2017, oil on canvas, 48 x 60 in., First Place (Imaginative Realism), $2,500
(LEFT)
ALEJANDRO ROSEMBERG (b. 1981), Samsara Series — Vanitas II, 2017, oil on canvas, 20 1/4 x 31 1/4 in., First Place (Still Life), $2,500
(CLOCKWISE FROM RIGHT) JIM McVICKER (b. 1951), Roses and Apples, 2017, oil on linen panel, 24 x 18 in., First Place (Plein Air), $2,500
BENJAMIN VICTOR (b. 1979), The Angel,
2017, bronze, 27 x 17 x 18 in., First Place (Sculpture), $2,500; also ARC Purchase Award ($5,000)
JOSEPH McGURL (b. 1958), Light, Sea, Earth, and Sky, 2017, oil on panel, 30 x
24 in., First Place (Landscape), $2,500
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(TOP LEFT) YOANN LOSSEL (b. 1985), The Rise, 2017, graphite, gold (24k), and silver leaf on paper, 27 1/2 x 19 1/2 in., First Place (Drawing), $2,500; also ARC Purchase Award ($8,000), Arcadia Contemporary Award, Aristides Publication Prize for Drawing, Second Place (Imaginative Realism), $1,000
(BOTTOM LEFT)
LAUREN TILDEN (b. 1981), Jairus’s Daughter, 2017, oil on panel, 36 x 48 in., First Place (Figurative), $2,500; also ARC Purchase Award ($12,000)
ALEX BAUWENS (b. 1988), Asleep, 2017, oil on canvas, 40 x 30 in., Fine Art Connoisseur Magazine Award Winner
Alex Bauwens Wins the ARC Salon’s Fine Art Connoisseur Magazine Award Everyone at Fine Art Connoisseur congratulates Alex Bauwens on her superb painting Asleep, which has won this magazine’s annual award in the latest edition of the ARC Salon. A native of Chicago, Alex Bauwens (b. 1988) has been committed to art and animals for as long as she can remember. Her artistic training began at the Art Institute of Chicago, the Palette and Chisel Club, and the American Academy of Art. At Vitruvian Fine Art Studio, she studied under David Jamieson and Melinda Whitmore, then apprenticed with Scott Tallman Powers. Now based in Scottsdale, Bauwens draws inspiration there from daily life, film, literature, her own vivid imagination, and the barns where she spends time with her beloved animals. Her childhood memories are especially inspirational for Bauwens, who explains, “As children, we create our own magical worlds out of cardboard. Without realizing it, children take control of their surroundings and create powerful symbols to express their desires and fears. Yet this world exists only as long as the materials do, symbolizing the fragility of one’s control of the world all around. I enjoy using children as subjects in order to represent innocence and naivete, particularly as they pertain to control and power.” Animals are equally significant to Bauwens, as we can see in her affectionate yet respectful portrayal of resting dogs in Asleep. For details, visit alexbauwens.com.
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BY M AT T H I A S A N D E R S O N
T O D A Y ’ S M A S T E R S
A ASCINAION WIH
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uman beings’ engagement with fish is a complicated matter. First and foremost, much of the world’s population relies on fish for sustenance, whether they are “fished” from oceans, lakes, rivers, or “farms” in which they are grown. Frankly, it’s easier to kill and eat a fish that seems unattractive (think tuna, shark, eel, octopus, or skate, which are large and often scary-looking), yet even those species possess a strange beauty that has beguiled people for millennia. There are, of course, beautiful fish, too — most famously the colorful tropical ones that adorn aquariums around the world. Our relationship with fish is further complicated by the fact that they are difficult to touch. We can pet a dog or horse — feel its fur or gaze into its eyes — but with most fish this is challenging, if not impossible. The resulting emotional distance is a fact of life, and surely one key factor in what makes fishing (with a rod and line) so thrilling: an animal that otherwise remains unavailable to us can be hooked and brought into our hands. Relatively few anglers hold their trophies for long (they are slippery and wriggly), yet their brief moment of encounter is always memorable, and just part of what makes sport fishing so popular almost everywhere. This portfolio highlights an array of fish-related imagery — from glimpses of the animals themselves to their points of contact, not only with humans but also with other animal predators. To be sure, Earth is a better place because fish live here, and we urge readers to do everything they can to protect fish and the cleanliness of the water on which they rely.
ISH JIM BORTZ (b. 1963), Swirl, 2018, oil on gessoboard, 18 x 14 in., Mountain Trails Gallery, Jackson,
Matthias Anderson is a contributing writer to Fine Art Connoisseur.
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Wyoming
(TOP) BETH BATHE (b. 1959), Capt. Rufus and Happy Boy, 2018, oil on panel, 12 x 24 in., private collection
(AT LEFT) TODD BAXTER (b. 1954), No Hurry, No
Worry, 2014, oil on canvas, 36 x 36 in., private collection
(ABOVE) BRIENNE M.
BROWN (b. 1977), The Livin’ Is Easy, 2018, watercolor on watercolor panel, 11 x 14 in., available from the artist
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(CLOCKWISE FROM TOP LEFT) JOYFUL ENRIQUEZ (b. 1987), Beneath the Pads, 2018, oil on linen, 20 x 16 in., Artist Cove Gallery, Panama City, Florida MICHAEL HARRELL (b. 1964), Oysterman & Shorebird on St. Helena Island, 2017, pencil on paper, 10 x 9 1/2 in., Red Piano Gallery, Bluffton, South Carolina ROD LAWRENCE (b. 1951), Brown Trout, 1995, acrylic on Sintra PVC panel, 7 x 9 3/4 in., private collection
CARTER R. JONES (b. 1945), First Fish, 2007,
bronze, 50 x 20 x 42 in., Brookgreen Gardens, Murrells Inlet, South Carolina
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(ABOVE, CLOCKWISE FROM TOP LEFT) DAVID LENZ (b. 1962), No Luck Today, 1995, oil on linen, 26 x 36 in., collection of Nancy Aten and Daniel Collins
CHUCK
MARSHALL (b. 1957), Cutthroat, 2018, oil on canvas, 12 x 19 in., available from the artist
COLIN PAGE (b. 1977), Fresh Fish,
2017, oil on linen, 18 x 24 in., Anglin Smith Fine Art, Charleston
KIRK MCBRIDE
(b. 1952), Coming In, 2017, oil on canvas, 30 x 24 in., Roux & Cyr International Fine Art Gallery, Portland, Maine
((LEFT)
POPPY BALSER (b. 1971), Parrsboro Weir, 2017, watercolor on paper, 15 x 22 in., available from Harvest Gallery, Wolfville, Nova Scotia
(ABOVE) SIMON BALYON (b. 1965), Watching the Fishermen, 2013, oil on panel, 20 x 30 in., Lotton Gallery, Chicago (AT RIGHT) JEREMIAH D. WELSH (b. 1973), Mayflies and Trout Rise, Okutama River (#1 of 3), 2016, bronze, 20 5/8 x 11 3/8 x 1/2 in., available from the artist
(BELOW) LOU PASQUA (b. 1952), Sunday Afternoon, 2018, acrylic on
canvas, 13 x 18 in., on view at the Southeastern Wildlife Exposition (Charleston) in February 2019
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(TOP) MATT PATTERSON (b. 1981), Brook Trout (Orvis limited edition print), 2018, graphite and acrylic on paper toned with coffee, 16 x 20 in., available from Orvis Ltd.
(ABOVE)
JAMES PROSEK (b. 1975), Great White Shark, 2015, mixed media on tea-stained paper, 60 x 180 in., courtesy of James Prosek and Singer | Wajahat, New York
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(CLOCKWISE
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LEFT)
JANTINA
PEPERKAMP
(b. 1968), Summer, 2017, acrylic on wood, 7 3/4 x 9 3/4 in., RJD Gallery, Bridgehampton, Long Island
JACOB A. PFEIFFER
(b. 1974), Scales II, 2017, oil on panel, 20 x 12 in., Meyer Gallery, Santa Fe
CHRISTOPHER M. DEWEES (b. 1946),
Red Irish Lords, 2007, indirect print on silk mounted on paper, 34 x 23 in., collection of the artist
SHANNON RUNQUIST
(b. 1970), Blues Traveler II, 2018, oil on linen, 30 x 30 in., Horton Hayes Fine Art, Charleston
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(TOP) MICHELE USIBELLI (b. 1962), Drift Boat, 2016, oil on panel, 16 x 20 in., private collection
(ABOVE) MATTHEW BIRD (b. 1977), Branzino for Two, 2018,
watercolor on paper, 22 x 30 in., available from the artist
(LEFT) EUSTAQUIO
SEGRELLES (b. 1936), Pescadores y Rocas, Valencia, Espana, 2012, oil on canvas, 39 x 31 in., Manitou Galleries, Santa Fe
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BY FREERK HEULE
T O D A Y ’ S M A S T E R S
Henk Helmantel (right) in his studio with the author
CHINS ARWORKS IN
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ased in the northeast of the Netherlands, Henk Helmantel (b. 1945) makes intensely realistic paintings, mostly still lifes. In order to create a dramatic effect, his scenes are almost always lit by a north-facing window, with light emanating from the right side. Most of the paintings begin life as a quick, wild sketch, on top of which Helmantel applies at least two more layers that achieve the perfected detail for which he is admired internationally. To truly understand Helmantel as a person, one must experience the environment where he lives and paints — the village of Westeremden in the province of Groningen. In the 1970s, he and his family worked hard to rebuild a farmhouse into a home and studio that evoke
the Middle Ages. The surrounding countryside is flat, with a vast sky above. The terrain is all brown clay, adorned with the green and yellow coloring of meadows and rapeseed fields and intersected by blue waterways. Here and there a farmhouse, or a village with just one cafe, is spotted, occupied by contentedly inward-looking people. In Westeremden and other villages, the picturesque Protestant churches are encircled by graveyards, which remind the neighbors that death is always present — a veritable memento mori. This “Vanitas” theme (from the Biblical warning that “all is vanity”) was regularly highlighted by painters of the Dutch Golden Age, including the Haarlembased master Pieter Claesz. Illustrated here is his gloomily toned still life, in which the skull, discarded quill, empty inkwell and glass, flickering wick, and old books underscore the transience of life, the futility of pleasure, and the certainty of death. While studying at the Minerva Art Academy in the northeastern Dutch city of Groningen, Helmantel came to appreciate 17th- and 18th-century still life paintings of all kinds. A fine example is the other Old Master scene illustrated here, Willem Kalf’s “Pronk” painting (Dutch for “show”). It features colorful objets d’art once accumulated by the European elite: silver, a knife with tortoiseshell handle, exotic fruits, a Turkish carpet, and Venetian glass. At the very center is a bowl of Chinese blue-and-white porcelain, brought to Holland in huge quantities by the Dutch East India Company (V.O.C.).
PIETER CLAESZ (1596/7–1661), Still Life with a Skull and a Writing Quill, 1628, oil on panel, 9 1/2 x 14 1/8 in., Metropolitan Museum of Art, New York City
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WILLEM KALF (1619–1693), Still Life with a Chinese Bowl, Nautilus Cup, and Other Objects, 1662, oil on canvas, 31 1/4 x 26 1/2 in., Museo Nacional Thyssen-Bornemisza, Madrid
Inspired by such paintings, Helmantel began to purchase Chinese objects, often quite expensive, in Dutch antique shops; in a few cases, he received them as gifts from admirers. His collection now consists of pottery and porcelain, and also bronzes. Two of his exquisite visions of a delicate white bowl are illustrated below. A highlight among Helmantel’s ceramics is the large white dish that carries a stamp on its underside reading “Made in the Kangxi period of the (Great) Qing Dynasty” (1644–1912). Its luminosity — it seems to radiate light from within — differs significantly from the non-glossy surfaces of the celadons and clay horses that Helmantel also favors. Interestingly, he has generally avoided the blue-and-white ware once prioritized by the V.O.C., perhaps because its rich patterning does not suit his straightforward aesthetic. BRONZES An alloy of copper, lead, and tin, bronze of great sophistication was being produced by the Chinese as early as 3,000 B.C. Made for both ritual use and as gifts for the deceased ancestors of upper-class patrons, these bronzes often feature complex exterior patterning and inscriptions on the inside. Helmantel recently showed me one of his bronze dishes, which features an array of green and brown tones modulated by uneven areas of wear, variations caused by acids in the soil in which the dish was once buried, and rough patches of mineral incrustation. To describe what he sees, Helmantel uses
Two Henk Helmantel paintings from 1977: (left) Chinese Bowl with Three Eggs, oil on Masonite, 9 x 10 1/4 in., Museum Helmantel, Westeremden-Groningen; (right) Chinese Eggshell Bowl, oil on Masonite, 3 1/4 x 3 3/4 in., Museum Helmantel, Westeremden-Groningen
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Helmantel inspects the underside of his large white dish, which appears at right in his painting Chinese Kangxi Bowl with Pomegranates and Star-Apples, 2006, oil on Masonite, 23 1/2 x 31 1/2 in., private collection
HENK HELMANTEL, Chinese Bronzes and Garlic, 1977, oil on Masonite, 20 1/2 x 27 1/4 in., private collection; a detail appears above
the word “skin” rather than “surface,” though Chinese connoisseurs are not familiar with this poetic metaphor. In one painting, he has contrasted this dish with other green objects — Roman glass, nonChinese bronzes, and even a silken Chinese apron. Helmantel never consults photographs, painting only from the original objects. This approach became particularly important to him in 2008, when he spent hours at the Groninger Museum drawing a bronze water basin loaned by the Shanghai Museum. A fine example of Helmantel’s interest in metalwork is illustrated above, showing two bronzes arrayed on a table alongside cloves of garlic. The larger item has a top that can be removed so hot food can
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be placed inside. The close-up photo above reveals how many brushstrokes Helmantel has applied to capture the effect of worn “skin.” In A Food Cauldron and Two Wine Containers, Helmantel painted three tripods (Shang Dynasty, 1800–1100 B.C.). He has strategically set them against a pink background to bring out their exquisitely incised details. In Helmantel’s paintings, attentive viewers can discover the deeper meanings he seeks to convey. Earlier this year the Museum of Gouda wisely titled his retrospective exhibition Inspiration: Christian Belief, Harmony, and Silence, underscoring the artist’s profound respect for the universe God has created. Some reviewers focused
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HENK HELMANTEL, A Food Cauldron and Two Wine Containers, 18-11th century B.C., Shanghai Museum, 2008, oil on Masonite, 35 1/2 x 48 in., Museum Helmantel, Westeremden-Groningen; a detail appears at left
instead on the emptiness and abstract simplicity of China’s Zen philosophy, a response that amused Helmantel greatly. In fact, he is dedicated to presenting the beauty of aging and transience ad majorem Dei gloriam (“to the greater glory of God”). His use of Chinese objects — be they simple or ornate — only underscores the universality of his message, reminding us that the distinctions between East and West are insignificant in the context of the grander concerns that affect all of humanity. FREERK HEULE, Ph.D. is a researcher in philosophy at Erasmus University in Rotterdam. He first presented this article’s material at The Representational Art Conference (TRAC), chaired this past May by Dr. Michael Pearce (California Lutheran University) in the Dutch city of Leeuwarden. The author thanks Henk Helmantel and others who offered assistance during his research, as well as Art Revisited®, which provided the Helmantel images. Information: To learn more, see Sofia Komarova et al., H.F.N. Helmantel: A Contemporary Old Master: A Legacy, A Century, A Genius (Rome: Prima Musa, 2015). Also useful are three catalogues: T.L. Huang et al., Henk Helmantel (Taiwan: Kaohsiung Museum of Fine Arts, 1997, in Mandarin and English); Chen Xiejun, Kees van Twist, and Oliver Moore, Antieke Bronzen: Meesterwerken uit het Shanghai Museum (Zwolle: Waanders, 2008, in Dutch); and Chimei Museum: Henk Helmantel: The Beauties of Simplicity (Tainan: Chimei Museum of Fine Arts, 2018, in Mandarin and English). F I N E A R T C O N N O I S S E U R · C O M
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BY T I M OT H Y J . S TA N D R I N G
T O D A Y ’ S M A S T E R S
RCORDS O H PAINING PROCSS:
RCN WORK BY OY RANK
Wedding, 2018, oil on linen, 96 x 140 in.
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P
icasso is thought to have said, “Good artists borrow, great artists steal.” Whether he coined this truism or not, it is highly relevant to the promising career of Zoey Frank (b. 1987). Théodore Géricault’s famous painting The Raft of the Medusa (Musée du Louvre, Paris) is a comparative I was not anticipating when I arrived recently at Frank’s studio in Loveland, Colorado. There I encountered Wedding, the very large painting she subsequently completed this summer. Sparked by the French master’s jumble of desperate people frantically signaling to a ship on the horizon, Frank has cast her own crescendo of humanity clambering upward and leftward, culminating in the start of a traditional hora dance. When she took flight from Géricault’s masterpiece, Frank was building on a pattern of appropriation she has pursued in several recent works: drawing from Velázquez’s Los Borrachos and Manet’s Déjeuner sur l’herbe; playing on the theme of Pygmalion; and quoting liberally from imagined and real Greco-Roman sculptures. All of these demonstrate her participation in a vital tradition of representational art: originality can reside in the context of imitation. With Wedding, however, Frank has swerved considerably from the academic script. By now she has deconstructed the cohesiveness of the template that was so evident in her first sketch for the scene (2017), a composition that reads like a Poussin drawing from the early 1630s. In subsequent sketches, she turned to modernist sensibilities by treating the overall composition with broad swaths of color rather than modulating it. After extensive work on the canvas, Frank made the surprising decision to reconsider the overall composition, as seen in the latest sketch illustrated here (2018). By deflating the figurative components, she pays homage to the Orphic Cubism of early 20th-century France, yet her palette and rough, granular handling suggest such contemporaries as Ann Gale, Susan Lichtman, and Eve Mansdorf. FIVE YEARS OF EXPERIMENTATION The modernist sensibilities in Wedding build upon a turn Frank first took with Taboret (2013), which she painted midway through her M.F.A. studies at California’s Laguna College of Art & Design. This was her initial effort to reconcile experimentation with her prior training in the classical atelier at the Gage Academy of Art in Seattle. By imbuing Taboret with striking surface tensions through a variety of viscosities, tonality, and pigment handling, Frank attempted to make the most of her bifurcated training, an effort that has defined virtually all of her work since then. Frank is discovering that working in various means and methods enriches her F I N E A R T C O N N O I S S E U R · C O M
(TOP) Study for Wedding, 2017, graphite on paper, 4 1/4 x 6 in.
(ABOVE) Study for Wedding, 2018, gouache on panel,
12 x 17 3/4 in.
experience as an artist, even as she faces the daunting challenge of accommodating the surfeit of visual data pouring in from Google searches and the history of art. On a recent trip to Italy, for example, she encountered ancient Roman fresco painting, gold-back quattrocento panels, the monumental stillness of Piero della Francesca’s art, and the brilliant lighting and choreography of Caravaggio’s canvases. At some point, Frank will assimilate elements from all of them into her
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own painting. For now, she recognizes that solving problems of strictly formal concerns is the crux of her current approach, and quite possibly her strongest leitmotif. Frank’s acceptance of modernist predilections can be detected even in her more academic works, as when she allows remnants of her imprimatura and sketchy grisaille to show through more opaque passages. Like other artists who paint in oils, she is exploring the sensual properties of the medium
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(ABOVE) Taboret, 2013, oil on linen on panel, 42 x 54 in.
(LEFT) Sandwich
#5, 2018, oil on panel, 14 x 16 in.
itself: “I love the consistency of oil pigments — the goop, the flexibility in how they can be reworked and manipulated in so many different ways. I like the way oil paintings are built up in layers, and the richness of the surface when different layers show through.” Another advantage is that oils are forgiving: you can scrape off a motif and replace it with another, as Degas often did. Frank did exactly that in Girl in Striped Shirt, the creation of which is captured vividly on a YouTube video. These days, Frank conjures up images from a glimmer of an idea — see her series of sandwiches, such as Sandwich #5 (2018) — then elaborates on the composition with aidesmemoire ranging from Web images to the actual uneaten sandwich in her studio. She wants her compositions to evolve during the process, to gravitate away from that initial vague notion. This desire may be why Frank fusses with her surfaces, often adding granulated impasto, gold leaf, and traditional glazing. Frank reflects, “I’ve become more interested in allowing the surface to hold a record of my painting process. A
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record of the time spent producing the painting can be embedded in the static image. As I find new solutions to compositional problems, traces of that process are left in the work. For me the mark-making or surface qualities are more a result of that investigation than a direct goal.” Making a change on the spot necessitates both spontaneity and a willingness to adjust all adjacent formal elements. Frank has demonstrated this flexibility in the Berlin Windows series, which reminds me of the British painter Thomas Jones (1742–1803). She realizes that these formal concerns come to bear on the content of the piece — be it a figure, portrait, landscape, or still life, all genres she traverses effortlessly. In the end, Frank values serendipity as part of her modus operandi: “I don’t want my paintings to be tied to the past or nostalgic; I want them to incorporate elements of modernism as well.” Thus she approaches them alla prima, eschewing the laborious method of transferring preliminary drawings onto a larger canvas. This reminds us of Degas, who loathed closure; instead he worked and reworked his compositions with a variety of
(LEFT) Berlin Window #1, 2018, oil on linen on panel, 24 x 24 in.
(BELOW)
Dinner Party, 2017, oil on linen, 54 x 60 in.
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Peter’s Desk, 2017, oil on linen, 58 x 48 in.
means, sometimes even obliterating the composition’s original motifs. Figuration is perhaps the genre most challenging for Frank because it often invokes narration or additional layers of meaning. In some respects, such figurative works as Peter’s Desk (2018) and Dinner Party (2018) “represent specific states of mind for me,” in which the “images bring up the same feeling that I had at moments in my life, rather than illustrating the moments themselves. I want to make compelling images without relying on the power of the subjects themselves.” To create poetic art that is uniquely hers, Frank tackles the sometimes frightening
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challenge of assimilating source material by marshalling all of her technical and aesthetic faculties. Her ongoing success in absorbing, transforming, and ultimately affirming her own voice within this maelstrom is a case study for representational artists who struggle to reconcile their academic training with their interest in alternative means of mark-making. Frank’s immersion in the latter is thrilling, even as it poses more risks than would following academic tradition: her embrace of chance, her tapping into the unconscious, and her formal experimentation can yield results that are not immediately understood by viewers. Those risks, however, are worth the reward: Frank’s S E P T E M B E R / O C T O B E R
latest works are at their best when she forges into new territory. TIMOTHY J. STANDRING is Gates Family Foundation Curator at the Denver Art Museum, and enjoys the challenge of writing about contemporary representational painters. His next exhibition, Rembrandt: Painter as Printmaker, opens at Denver this September. Information: Zoey Frank is represented by Galerie Mokum (Amsterdam) and Haynes Galleries (Franklin, TN).
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BY PETER TRIPPI
T O D A Y ’ S M A S T E R S
SWAR WHI HAS WARCOORS, WI RAV
he Baltimore-based artist Stewart White (b. 1953) is having a moment this autumn. In Easton, on Maryland’s Eastern Shore, the South Street Art Gallery will soon highlight his latest works in the exhibition Off the Beaten Path: Paintings from My Travels (November 2–25). Now seems an ideal time to focus on this rarest of plein air painters — one who uses watercolors to work outdoors and in the studio, where he consults references and sketches captured on location. Though he draws inspiration from both the American Impressionists (who showed us how light reveals form) and the Ashcan School (with their instantly recognizable scenes of specific places), White is most definitely of our time, not a throwback.
Mid Pike Low Rise, Mixed Use, 2012, watercolor on paper, 11 x 15 in., courtesy of Design Collective, Inc.
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(ABOVE) Airport Study BWI, 2016, watercolor on ground Masonite, 5 x 7 in.
(LEFT) Air BNB, Granada,
Spain, 2017, oil on panel, 16 x 20 in.
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Somehow his watercolors resonate as contemporary, even as they tap into traditions that have thrived for well over a century. A native of Kentucky, White started his training at Pratt Institute in Brooklyn, but three years in the U.S. Army interrupted that program. After completing his military service, he earned his Bachelor’s degree in fine arts at the University of California, Berkeley. Rather than pursuing a full-time career in fine art, White built a sterling reputation in the field of architectural illustration. Today he is a senior associate at Design Collective, Inc., and previously taught as an adjunct professor of technical illustration at the Maryland Institute College of Art. By day, White produces highly convincing watercolors of buildings old and new, commissions that entice clients with valuable information about architectural elements and underlying geometries — delivered in a painterly manner that cannot fail to charm. As a former president of the American Society of Architectural Illustrators, he has seen this field change enormously. Today most architectural renderings are made on computers, but White still prefers hand-drawn ones because they possess “a pleasure factor that digital work lacks. There is, however, some F I N E A R T C O N N O I S S E U R · C O M
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(ABOVE LEFT) Rocky Beach, Tossa del Mar, 2017, watercolor on paper, 20 x 14 in.
(TOP RIGHT)
Sketch, A Wexford Street, Ireland, 2018, graphite wash on paper, 10 x 7 in.
(BOTTOM RIGHT) A Walk in
Barcelona, 2017, acrylic on panel, 18 x 12 in.
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(ABOVE) A Bit of Beach in Collioure, 2017, oil on canvas, 12 x 16 in.
(LEFT) Killmore Quay, 2017, watercolor on
paper, 10 x 14 in.
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Green Table, 2018, oil on Arches oil paper, 28 x 20 in.
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extraordinary work being done digitally these days.” In spite of that, there is no substitute for “the human touch” of a hand-rendered illustration. (See the superb example illustrated here, Mid Pike Low Rise, Mixed Use.) Decades of success in this field have endowed White with key advantages: “I understand some laws of perspective, the nature of light and shadow, and have some knowledge of construction. These disciplines inform my ‘fine art’ much the same way that knowledge of anatomy helps a painter render the figure or a portrait.” Imbued with a love of buildings and space, White has always traveled extensively, as one might gather from the study illustrated here that shows a jetliner parked expectantly at its gate. Throughout his adventures in Europe and the U.S., White has painted and sketched his most meaningful experiences and memories, though he also photographs them as a backup. Of course he captures conventionally beautiful scenes of natural scenery and important monuments, but there are far more seemingly “average” villages, gardens, markets, beaches, and city streets, all of which come alive through White’s vigorous brushwork. Possibly because he lives in Baltimore — once a great industrial center — he also teases out the strange beauty of gritty workaday sites such as mills and train stations, airports, ships, harbors, cranes, and quarries. THE MEDIUM IS THE MESSAGE It is no accident that White favors watercolor: it has always been the easiest and most portable medium for artists who love to travel. It is prized for its transparency — for how light bounces off the paper back to our eyes. To borrow another observer’s phrase, “White uses no whites,” which means his palette lacks the more opaque medium of gouache (watercolor with chalk or another dense material mixed in to absorb light). Instead he uses a highly controlled palette, often with one color predominating and accented by touches of its complement. The result of his deft layering is a sense of atmosphere viewers can feel. Watercolor is not for the faint of heart, of course. White cautions, “You can’t be controlling with it. You have to be in a state of listening.
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Luxembourg Gardens, Paris, 2010, watercolor on paper, 10 x 14 in.
When you make a mark, it is still moving when you take your brush off the paper. There are the elements of time and gravity, viscosity and absorption that you don’t have to pay attention to in oil painting. It takes everything you can bring to it. After two hours painting in watercolor, you really feel like you’ve been in deep meditation. I have to concentrate; I cannot talk or listen to music.” With watercolor it is also crucial to know when to stop; one stroke more and the work is compromised because corrections are so difficult. (With oils, no problem — just scrape it off, or slap on another layer.) The theme of White’s show this fall is travel, and to give a sense of how he works, he will exhibit approximately 30 small (7 x 10 inch) sketches in graphite, wash, and watercolor that he made on the road. (He explains that “if they look good at that scale, they will probably turn out well on a larger one.”) In addition, South Street Art Gallery owner Alan Brock has asked White to exhibit an uncharacteristically large work (yet to be made), which his fans look forward to seeing. The exhibition’s submission deadline is not getting in the way of White’s favorite activity: travel. From September 24 through October 1, he will be teaching a workshop in the Provençal town of Arles, leading students to places Van Gogh and Gauguin might have painted. Andlater in October he will be teaching at the Todd & Huff Art Center in South Carolina. We look forward to seeing the images that pour forth then and there, though we will probably have to await his next show for them. PETER TRIPPI is editor-in-chief of Fine Art Connoisseur.
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BY MENACHEM WECKER
BEHINDTHESCENES
MARRID MUSUM CO-DIRCORS:
A LADRSHIP MOD OR H UUR?
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whether other institutions can realistically hope to replicate their success. “There are moments that I wish, somehow, I could have a clone able to tackle more than one thing at a time, including something across the country and another here at the museum,” muses Thomas Padon, director of the Brandywine River Museum of Art in Chadds Ford, Pennsylvania, who has worked with the Goodyears for several years. At AAMD meetings, colleagues often ask the Goodyears, who have separate Bowdoin contracts but the same
n January 2013, when Maine’s Bowdoin College announced the appointment of Frank H. Goodyear III and Anne Collins Goodyear as co-directors of its campus art museum, initial reviews of the married couple’s hiring varied. “CC me on that, honey,” ARTnews magazine tweeted archly; the Association of Art Museum Directors handle liked that post. In the Observer, Andrew Russeth noted that the co-leadership model follows the ancient Roman diarchy, which was “ruled by two leaders.” An “exit interview” in The Washington Post noted the longtime curators had not come to the National Portrait Gallery as a package deal but were leaving it together. “Forget splitting the household chores,” the Post’s Katherine Boyle wrote. “Their upcoming experiment in management and marriage is one that would make Sheryl Sandberg fans downright euphoric.” The “Great Man” leadership theory, in which “one sole leader rules over the masses from the ivory tower,” has expired, although co-leadership, absent a strong relationship, “can easily become draining and frustrating,” opined a 2015 Harvard Business Review article. Bowdoin’s now-5-year-old “experiment” comes at a time when museums are increasingly responding to gender gaps in the C-suite, and its museum equivalent. A 2017 report by the Association of Art Museum Directors found that women led 48 percent of its member institutions in 2016, up from 43 percent in 2013. Yet the AAMD found that hurdles remain. Women tend to lead art museums with budgets smaller than $15 million; the likelihood that a man directs the museum increases with its budget. The jury is still out on whether the pioneering leadership model at the highly ranked private liberal arts college in Brunswick, Maine — which by all accounts is going swimmingly — owes more to the unique abilities of the Goodyears, who recently celebrated 18 years of marriage, or F I N E A R T C O N N O I S S E U R · C O M
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(AT LEFT) Anne Collins Goodyear and Frank H. Goodyear III, co-directors of Maine’s Bowdoin College Museum of Art (BELOW) Bowdoin College Museum of Art; photo: Blind Dog Photo Associates
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Thomas Padon, director of Pennsylvania’s Brandywine
Richard Kurin, acting director of the Smithsonian Institution’s
River Museum of Art
Arthur M. Sackler Gallery and Freer Gallery of Art
job description, how things are going. Frank says, “A lot of times our colleagues, in a somewhat joking manner, might say, ‘Gosh, I wish I had a co-director.’” Directors are so busy that it makes sense to have two people doing the job, he continues. In an environment where museum directors, particularly those at academic or teaching museums, are expected to create and shepherd scholarship, court donors, interact with colleagues, and handle countless other duties, a tag team seems to make good sense. “In a way, Bowdoin really is a laboratory,” Padon notes. “From the outside and with
a limited view of the inner workings, it seems to be working well.”
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A LONE STAR START One reason Anne and Frank believe their codirectorship — which is unique among museums — has worked so well is that they’ve been involved in the art world as long as they’ve known each other. And they’ve struck similar work-life balances and collaborated from the start. The two met in a photography course at the University of Texas at Austin, where they were graduate students, Anne in art history and
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Frank in American studies. UT, Anne says, has strong photography holdings, including what’s widely reputed to be the world’s first photograph. The bulk of this material came from the collection of Helmut and Alison Gernsheim, who, incidentally, were married historians, Anne notes. In 2001, Anne and Frank were hired, separately and within roughly half a year, at the Smithsonian Institution, where each had already been a fellow. “Our personal lives, professional lives, and social lives are deeply engaged with the arts. The arts, in a way, are an avocation,” Anne explains. “Because we’ve been doing this as long as we’ve known one another, the transition to co-leadership at Bowdoin has felt somewhat natural. In a sense, the fact that we are married is a little bit incidental to our ability to do this job.” Although the duo is often asked if maintaining a work-life balance is difficult, Frank says it’s not as tough to master as it may seem. “People worry, ‘Gosh, I hope you get some time for yourself,’” he says. “The answer is yes, of course we do. Each of us has myriad interests, friends, and big families that provide wonderful time away from the work we do.” After hours, the couple invariably discuss challenges or brainstorm about opportunities and who will meet which artist or donor, but they don’t see themselves as unusual in operating beyond the 9-to-5 workday. Frank’s father, who had a career of more than 40 years in art, including directorship of Phoenix’s Heard Museum, often didn’t have nights or weekends to himself. Anne’s father, who conducted the first heart transplant in New
Installation view of the museum’s 2016 exhibition This Is a Portrait if I Say So: Identity in American Art, 1912 to Today; photo: Dennis Griggs, Tannery Hill Studio
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England as thoracic and cardiac surgery chief at Brigham and Women’s Hospital in Boston, also maintained fluid hours. “To be perfectly honest,” Frank admits, “we have surprisingly normal lives away from work.” Texas must be where the Goodyears learned to be such good hosts, according to Richard Kurin, a distinguished scholar, ambassador-at-large for the Smithsonian, and currently acting director of its Arthur M. Sackler Gallery and Freer Gallery of Art. Kurin, who has known the Goodyears for more than 15 years, says the couple is very good at reading people and connecting them, including artists, colleagues, board members, and donors. “If you wanted to have a dinner party, having them organize and lead it would be a good thing,” Kurin says, noting that the best salon hosts and hostesses are subtle, don’t dominate, and invite the right people to the table to ensure the discussion is civil and substantive. There must be more to Austin than drinking, music, and South by Southwest, Kurin laughs. “The Goodyears must have gotten some of their politeness from there.” AN EVEN DIVISION OF LABOR In the laboratory of museum leadership that is the Bowdoin College Museum of Art, the Goodyears say university president Barry Mills let them decide how to run things back in 2013. “With a sense of quiet confidence, he said, ‘You guys are smart. You’ll figure it out,’” Frank remembers. Anne recalls, “When Frank and I took on this role, we were invited to define it in the fashion we thought made the most sense. We mindfully created a new model, not one in which we carved out the responsibilities associated with co-directing, but rather one in which we deliberately thought to create an integrated collaborative framework.” The co-directors share everything from oversight of curatorial projects to fundraising to managing the staff of 14. “If you imagine sharing the portfolio, we divide the files,” Anne explains. “Neither Frank nor I is ever going to overrule the other person; it doesn’t work that way. We have to work together. It’s never one person’s impulse or one person’s point of view.” Although the Goodyears say their joined position at Bowdoin is pioneering in the museum world, they are aware of similar collaborations in the arts. In the wake of Lynn Zelevansky’s departure as director of the Carnegie Museums of Pittsburgh, two interim co-directors were named. “That’s been fun for us to see,” Anne says. And a year after the Goodyears came to Bowdoin, the college’s International Music Festival announced the appointment of brothers David and Phillip Ying as artistic co-directors. (The festival also has an executive director.) “It makes me hopeful that there may be other organizations who can see the benefit of shared responsibility,” Anne notes. The closest that Padon, of Brandywine, has seen to a museum power couple was Anne d’Harnoncourt, the late Philadelphia Museum F I N E A R T C O N N O I S S E U R · C O M
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technology. “It’s as though it’s one voice, but they have different skill sets,” Padon says admiringly.
Mark Bessire, director of Maine’s Portland Museum of Art
of Art director, and her husband, Joseph Rishel, who was the museum’s curator of European painting. “A lot of people thought that would be fraught with difficulty, but certainly both of them were so highly professional that they forestalled even the appearance of favoritism or conflict,” Padon recalls. There are also precedents for creative couples working together, including the architects Denise Scott Brown and Robert Venturi, the artists Coosje van Bruggen and Claes Oldenburg, and the artists Jeanne-Claude and Christo. “It’s only in recent years, maybe 15 years at most, that we have, as a collective group of historians and curators, really given credit to both parts of the couple,” Anne says. “It’s interesting to recognize that, in fact, couples have things that pull them together, and couples have worked in teams for a long time.” Just for example, Bowdoin’s recent collaboration with the artist Abelardo Morell (b. 1948) benefited significantly from conversations between him and the co-directors. “Our three minds led to outcomes that I think otherwise would not have materialized,” Anne notes. Importantly, the Goodyears can cover twice the amount of ground a single museum director can. Earlier this year, Frank attended the opening of a Bowdoin exhibition about Soviet propaganda posters at Miami’s Wolfsonian–Florida International University, while Anne remained at home for an event with the artist Byron Kim. Last year, Anne spoke near Paris about the history of academic art museums, while Frank welcomed Bowdoin alumni for a reunion. Anne and Frank bring different strengths to the table. Frank specializes in cultural history and in the history of photography, while Anne, who is an art historian, is interested in hybrid fields, including the intersection of art and
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IS CO-DIRECTORSHIP THE WAY FORWARD? When the Goodyears discuss the future of museum leadership, they both emphasize how exciting the horizon looks. That’s a perspective their colleagues share. “You really hope that when an institution takes on a choice that is not normative, that it’s successful, so there’s the possibility to replicate it in another institution,” says Mark Bessire, director of the Portland Museum of Art, who met the Goodyears when they arrived in Maine and promptly became “such a fixture in our New England art world. I feel like they’ve been here longer than they probably have. And I think it now could be replicable because we know it can work,” Bessire says of the co-directorship model. “They have set an excellent example.” Particularly in academic institutions located in rural areas, where one wants to retire a term like “trailing spouse,” but where couples can struggle to find two enticing positions simultaneously, Bowdoin’s dual hire is a promising model. “Whether it’s Hamilton or Middlebury, think of where the great colleges are located,” Bessire says. “There are not a lot of other jobs.” Yet he doesn’t think Bowdoin would have made this choice if the Goodyears themselves were not involved. Padon also thinks it’s premature to talk about a paradigm shift. “People in the museum world will certainly be looking to see how this works, and in their own careers, what Anne and Frank do next,” he says. “Do they go to another institution as a couple, or will this be a very interesting experiment, but they themselves will want to do something different? Their own experience will really help determine how the museum community sees this.” The Smithsonian’s Kurin agrees. “It’s intriguing because of the co-direction and that it’s a husband-and-wife pair, and they have complementary interests,” he says. “If it’s an experiment, we haven’t seen the full result of it yet.” When the Goodyears look out on the future, they think the arts are the perfect kind of laboratory in which to test innovative leadership models. Artists are often the ones who identify sections of cities that the mainstream has neglected; once they take up residence in those neighborhoods, artists demonstrate to everyone else how beautiful those places can be, Anne says. “It may well be the case that the arts are a great testing ground for new approaches to leadership,” she continues. “There are many ways in which the emphasis on creative process and risk-taking, which we associate with the arts, may indeed provide an environment to conceptualize a relationship such as this one.” MENACHEM WECKER is a freelance journalist based in Washington, D.C. He holds a M.A. in art history from George Washington University.
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H I S T O R I C M A S T E R S
COUR PORRAIUR DURING NAPOON’S RIGN
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remiered at the Montreal Museum of Fine Arts last spring, the exhibition Napoleon: Power and Splendor is about to close at Richmond’s Virginia Museum of Fine Arts and will then move to the Nelson-Atkins Museum of Art in Kansas City (October 26, 2018 through March 10, 2019). Its final venue will be the Château de Fontainebleau in France (April 5–July 15, 2019). Focused on the Emperor’s reorganization of French court life between 1804 and 1814, this show reveals how the extraordinary man born Napoleon Bonaparte (1769–1821) created an effective propaganda machine that modernized and legitimized his reign as self-titled Emperor. Corsican by birth and French by design, he continually reinvented himself: he was a minor nobleman and military general whose political ambition inspired his every move. More than 200 paintings, sculptures, decorative artworks, and engravings — borrowed from collections worldwide and in many cases never exhibited in the U.S. before — reveal the intricacies of the Emperor’s daily life and the range of works commissioned by and for him. Drawing upon the Revolutionary ideals of liberté, égalité, and fraternité, Napoleon created a new aristocracy of individuals based on merit and ability, not on the birth and class prioritized during the ancien régime. Today this initiative may seem unremarkable, but in the early 19th century it was, in its own way, completely revolutionary. The exhibition includes a fascinating group of official portraits that reveal how neoclassical artists helped Napoleon shape and promote the new aristocratic identity he had set in motion. THE EMPEROR HIMSELF This exhibition was inspired in part by Ben Weider’s donation of his magnificent Napoleon collection to the Montreal Museum of Fine
Studio of François-Pascal-Simon Gérard (1770–1837), Bust-length Portrait of Napoleon in Ceremonial Robes, c. 1805–14, oil on canvas, 32 1/4 x 25 1/2 in. (painting), Montreal Museum of Fine Arts, Ben Weider Collection; photo: Christine Guest. Attributed to Delporte Frères, the frame of carved and gilded wood is adorned with symbols of the Empire.
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Imperial School of Mosaics of Francesco Belloni (1772–1863), after François-Pascal-Simon Gérard (1770–1837), Portrait of Napoleon in the Uniform of a Colonel of the Grenadier of the Foot Guards, 1813–14, pietra dura mosaic and cast glass, 45 1/4 x 31 1/2 in., Musée national des châteaux de Malmaison et Bois-Préau, RueilMalmaison © photo: Hervé Lewandowski
Also in Napoleon: Power and Splendor is an astonishing mosaic portrait of the Emperor owned by the Château de Malmaison, one of Napoleon’s palaces, located 10 miles west of Paris. This is a rare example from the Imperial School of Mosaics directed by the artist Francesco Belloni. Born in Rome and trained by the mosaicists of the papal workshops, Belloni arrived in Paris in 1797, hoping to establish there a mosaics manufactory comparable to what he had experienced in the Eternal City. He had to await approval from the interior ministry, which ultimately founded the École parisienne de mosaïque in 1801 and made him its director. This new institution had an unusual policy: to employ and teach “all the skills of this art” to pupils chosen from the deaf-and-mute students at Paris’s École des sourdsmuets. Honored with the title “imperial” in 1807, Belloni’s school proceeded to create numerous decorations for such imperial palaces as the Louvre, the Tuileries, and Malmaison. Mentioned in an 1813 report about the school’s activities is the ongoing development of a likeness of the Emperor “executed after a portrait by M. Gérard, which M. Belloni evaluates at 25,000 francs” (a fortune at the time). Created by three students who referred to yet another portrait of Napoleon painted by Gérard around 1812 (now in the Musée de l’Ile d’Aix), this stunning mosaic was never purchased by the state because the Emperor abdicated in April 1814; thus it remained in Belloni’s possession. We still do not know why he and his students chose this image of the Emperor, who wears the uniform of a colonel in the foot grenadiers of the Imperial Guard, rather than ceremonial garb. Nonetheless, it underscores the enduring success, until the fall of the regime, of a less monarchical iconography: here both the uniform and the pose emphasize Napoleon’s status as a secular head of state, as he had once been during the Consulate period (1799–1804). Arts in 2008. One of its treasures is the Bust-length Portrait of Napoleon in Ceremonial Robes, an oval canvas painted in the studio of François Gérard after the original commissioned from him in 1804 by Prince de Talleyrand, Napoleon’s grand chamberlain and minister of foreign affairs. Almost immediately this likeness was adopted by the regime as the defining image of imperial authority. Most of the replicas made after it were presented as official gifts to courtiers, foreign heads of state, and diplomats. (Unfortunately, the original recipient of Montreal’s version remains a mystery.) Gérard’s likeness of Napoleon was also transferred by Gobelins onto tapestries between 1808 and 1814, and by Sèvres onto its renowned porcelain vases and plaques. Particularly notable is the original frame that surrounds the portrait. This outstanding example of wood carving features symbols representing the power, honors, and arms of the Emperor. Among these symbols are ones visible in the full-length portrait on which this abbreviated version is based: the eagle at the top of the frame recalls the large scepter Napoleon holds in the larger portrait, and the bees around its edges are borrowed from the embroidery on his cloak. The thick laurel wreath at top is taken from Napoleon’s throne and represents the stability of his institutions. F I N E A R T C O N N O I S S E U R · C O M
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LOYAL COMRADES AMONG THE IMPERIAL HOUSEHOLD’S HIERARCHY Commissioned in 1806, Antoine-Jean Gros’s likeness of General Géraud-Christophe-Michel DuRoc belongs to a series of portraits of the Grand Officers of the Imperial Household intended to hang in one of Napoleon’s palaces. Loaned by the Musée des Beaux-Arts in Nancy, this is undoubtedly the most regal of them in its composition, Gros likely having borrowed the pose from Jean-Baptiste van Loo’s portrait of King Louis XV (1761, Château de Versailles). Born of a penniless noble family, Duroc became Napoleon’s aidede-camp during the first Italian campaign and followed him to Egypt. He was involved in the coup d’état of 18 Brumaire (November 9, 1799) and later became governor of the Palais des Tuileries. An excellent administrator and talented diplomat, Duroc was appointed Grand Marshal of the Palace in 1804 and brought his efficiency to bear on all departments of the Imperial Household. He was particularly devoted to Napoleon, and the two enjoyed a close relationship; indeed, Duroc may have been one of the Emperor’s few real friends. Having been made Duke of Friuli in 1808, he fought in Russia (1812) and finally Saxony (1813), where he was cut down by a cannonball. 2 0 1 8
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ANTOINE-JEAN GROS (1771–1835), Portrait of Géraud-Christophe-Michel Duroc, Duke of Friuli, in the Costume of a Grand Marshal of the Palace, 1806–7, oil on canvas, 80 1/4 x 54 in., Musée des Beaux-Arts, Nancy © P. Mignot
Upon turning 18, Legrand joined the army as second lieutenant, a rank in the Cuirassiers reserved for former pages, and headed to Madrid to help quell an uprising. Soon, however, he was killed instantly when an enormous vase, thrown from a rooftop by two women, landed on his head during a riot. Napoleon himself referenced this tragedy in a letter criticizing the deployment of troops in the Spanish capital: “I am told that my former page Legrand was killed in the streets. Let us learn from experience; that no one be housed in the city, but that everyone be set up in the Palais…” Napoleon’s recruitment of pages reflected his eagerness to tie the sons of prominent men more closely to himself. The Household expected these adolescents to be well educated and “most handsome.” Indeed, Legrand’s haughty pose effectively conveys his pride at having joined the army, to which his distant father had devoted his life; no doubt the boy dreamed of glory and triumphs, but they were not to be. This portrait was very likely commissioned by his father after Dominique-Alexandre’s death; it was first mentioned in 1810 while being exhibited at Paris’s annual Salon. AN EMPRESS’S FRIEND AND THE NEXT GENERATION OF COURTIERS Finally, the Museum of Fine Arts in Houston has loaned Gérard’s extraordinary portrait of the Duchess of Montebello, lady of honor to
Gros has rendered Duroc’s court uniform brilliantly, its amaranth coloring signifying his association with the department of the Grand Marshal of the Palace. He stands on a terrace, leaning in a lordly manner on a Grand Officer’s court staff. Behind him can be seen Paris’s Vendôme Column, rendered in shades of white even though the actual column was bronze. This detail places the scene somewhere in the gardens of the Tuileries, the first of the palaces to be administered by the Grand Marshal. The column evokes Duroc’s military career, especially his participation in the victory at Austerlitz (1805) — indeed, here the column reads like an extension of the staff he holds. It is not known exactly when this canvas was completed; in January 1807, it was still with Gros, but it arrived in May 1808 at Compiègne, another of Napoleon’s palaces. No less spectacular is another portrait by Gros, who clearly drew inspiration from British aristocratic portraiture of the previous century, particularly Thomas Gainsborough’s. Loaned by the Los Angeles County Museum of Art, this depicts Dominique-Alexandre Legrand in the uniform of second lieutenant of the Cuirassiers. The sitter was born in 1790 in Metz, the son of Alexandre Legrand, who later became a general and a Count of the Empire. Motherless from an early age and left at home by his campaigning father, he entered the house of pages of the Imperial Household in 1805 and remained there for three years.
ANTOINE-JEAN GROS (1771–1835), Portrait of Dominique-Alexandre Legrand, Former Page to the Emperor, in the Uniform of a Second Lieutenant of the Cuirassiers, c. 1809–10, oil on canvas, 111 x 82 1/2 in., Los Angeles County Museum of Art, gift of California Charities Foundation © 2017 Museum Associates / LACMA, licensed by Art Resource, NY
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FRANÇOIS-PASCAL-SIMON Portrait
of
GÉRARD
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Louise-Antoinette-Scholastique
de
Guénéheuc-Lannes, Duchess of Montebello, with Her Children, 1814, oil on canvas, 102 1/4 x 72 in., Museum of Fine Arts, Houston, museum purchase funded by the Brown Foundation, Accessions Endowment Fund, and Alice Pratt Brown Museum Fund © MFAH
Empress Marie-Louise, seen with her own children. Its composition follows a pictorial tradition actively promoted during the Empire, that of the family portrait, whereby the relatives and children of the new aristocracy could establish themselves as the source of imperial France’s future dynasties. Gérard specialized in this kind of image, as seen in his studio’s many portraits of members of the imperial family. Louise-Antoinette-Scholastique de Guénéheuc was the daughter of a noble valet in King Louis XVI’s bedchamber. In 1800 she married the revolutionary general Jean Lannes, a man of modest birth and a close companion of Bonaparte. Lannes belonged to the first group of French officers dubbed Marshals of the Empire in 1804, then became Duke of Montebello in 1808. The following year, he was struck by a cannonball during the battle of Essling in Austria, and died after a week of agony. His remains were returned to Paris and placed in the Pantheon. The grieving duchess withdrew from public life, but a year later Napoleon appointed her as a lady-in-waiting to his new Empress, who treated her as a real friend with whom she could escape the burdens of palace life. Relations between the duchess and Emperor were strained, however, as she blamed him for her husband’s death and he distrusted her. When Gérard painted this portrait in 1814 — the Empire’s final year — the duchess had already been a widow for five years. Here she strolls gracefully through the garden of her country estate, Château de Maisons, surrounded by her five children. The group passes a monumental statue (at left). Although only its lower portion is visible, the cannonball here tells us immediately that the sculpture depicts General Lannes. Rather than his noble titles, it was the appalling manner of his death that assures his surviving family’s honor. Gérard’s portrait — at first seemingly joyous and innocent — actually evokes bloodshed and tragic loss. At center, the oldest son, LouisNapoléon, gazes up at his father’s effigy with a dignified and serious expression. His younger brother, Jean-Ernest — holding two racquets over his shoulder as if they were guns — looks out toward us. Both boys wear whimsical military costumes, and the ball resting at the feet of their youngest brother, Gustave-Olivier, echoes the ominous cannonball at the sculpted feet of his father. This composition presents a disconcerting interaction between conventions appropriate to the dramas of adult life and the mischievous world of childhood — between the fate of the dead man and the innocence of his orphaned progeny. Gérard has given us an image at once beautiful and cruel, one in which personal tragedy expresses the transmission of the noble yet bitter values of heroism. F I N E A R T C O N N O I S S E U R · C O M
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SYLVAIN CORDIER, Ph.D., is curator of early decorative arts at the Montreal Museum of Fine Arts. Under the direction of Nathalie Bondil, he organized Napoleon: Power and Splendor. He edited the handsome 352-page catalogue that accompanies it. Information: vmfa.museum, nelson-atkins.org. The exhibition has been organized, produced, and circulated by the Montreal Museum of Fine Arts with the participation of the Château de Fontainebleau and the exceptional support of Mobilier National de France.
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B Y E M I LY M . W E E K S
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GRÔM’S HOOP DANCR:
SCUPUR INO I
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n the late 19th century, the discovery of a trove of ancient terracotta statuettes at the archeological site of Tanagra — in Boeotia, Greece — captured the world’s imagination. In 1878, approximately 50 of these figurines were exhibited at Paris’s acclaimed Exposition Universelle. Dynamic, brightly colored, and produced for mass consumption, these diminutive works held particular interest for contemporary painters and sculptors, including the celebrated French artist Jean-Léon Gérôme (1824–1904). Indeed, the Tanagra figurines would preoccupy and influence him for the rest of his life, directly inspiring the creation of The Hoop Dancer (1891), his most popular and widely reproduced carved work.
TANAGRA Uniquely among his sculptures, The Hoop Dancer was envisioned by Gérôme as an independent work and as part of a larger ensemble. In 1890, plagued by accusations that he could not render movement or emotion in stone, he answered with Tanagra, a life-size work that features two interpretations of the classical and idealized female form. The seated figure, a monumental nude, stretches her hand outward, stoic, sober, and still. Balanced on her palm is the graceful Hoop Dancer, turning and twirling in a cascade of seemingly liquid
The Hoop Dancer seen from two angles, 1891, painted plaster, 9 1/8 in. high, private collection, photos: Jon Swihart
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floor-length robes. Her head dips into the golden ring she cradles in one hand; in the other is a golden ball. Gérôme’s fascination with the rhythmic movement of the female body and the contortions of the human form, as well as the suspended dynamism of cloth, was influenced by his travels and a variety of current events. In Rome and Dresden he studied the bacchantes en delire, or Maenads; in the Parisian quarter of Montmartre he visited dance halls and the cabaret; and in America and Paris he witnessed the voluminous silk costumes and whirling choreography of the dancer Loie Fuller, whose performances astonished contemporary audiences with their beauty and grace.1 Gérôme may also have drawn from recent developments in music and physical fitness in order to achieve the Hoop Dancer’s idiosyncratic pose: the French inventor and photographer George Demeny had created exercises to music designed to promote poise and flexibility, much like Jaques-Dalcroze’s famed “eurythmics” — specialized training for musicians and dancers. Many of these featured hoops and weighted balls. Begun in the 1860s, Gérôme’s series of paintings depicting Egyptian dancing girls are also important to this piece. (Dance of the Almeh, illustrated below, is a fine example.) The similarities between these lyrical works and The Hoop Dancer suggest a previously unrecognized progression in Gérôme’s art, the close relationship that existed for him between sculpture and painting,2 and between the modern Middle East and the classical world. EAST/WEST Though it broke away from the Ottoman Empire in 1830, Greece was still considered — for much of the 19th century — part of an unchanging and
(LEFT) Tanagra, 1890, painted marble, 70 in. high, Musée d’Orsay, Paris; photo: RMNGrand Palais/ René-Gabriel Ojéda
(BELOW) Dance of the Almeh, 1863, oil on panel,
19 3/4 x 32 in., Dayton Art Institute, Ohio
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Bathsheba, 1889, oil on canvas, 24 x 39 1/4 in., private collection
exotic East. Orientalist painters often fused these two worlds, merging antique themes and idealized nudes with Islamic architecture and design. In 1889, Gérôme painted Bathsheba, in which a nude woman bathes on a rooftop terrace in an Arab town.3 Though her female servant is clearly Middle Eastern, the unclothed woman might be mistaken for virtually any conventional classical “type.” The effortless shift between Orientalist and classical references in these and other works suggests the need for a qualification of Gérôme’s “ethnographic,” carefully researched archaeological style.4 This may also be interpreted as evidence of Gérôme’s recommitment, after decades of strictly Middle Eastern subject matter, to the reinvention of the antique world. Though best known as an Orientalist, he had begun his career in 1847 leading a group of young painters studying in Paris with Charles Gleyre and Paul Delaroche. Inspired by Greek art and the recent discoveries of frescoes at Pompeii and Herculaneum (sites that Gérôme himself visited during extensive international travels), as well as by contemporaries’ love of narrative, these Néo-grecs painted antique genre scenes with a salacious touch and a distinctive, sun-drenched palette.5 Such subjects were the perfect vehicle for Gérôme to display his lifelong love of drama, theater, gesture, and costume — elements abundant in The Hoop Dancer — and to indulge his developing interests in color, light, and archaeological reconstructions of civilizations past. By 1863, when the Néo-grecs disbanded, his name had been made as a classical painter, and his art, considered a more approachable form of history painting, had already become a favorite of bourgeois audiences in Europe and beyond. TO MARKET With the help of the famed dealer Adolphe Goupil, Gérôme’s success as a painter “for the people” was transferred to other mediums as well. More than 100 editions of The Hoop Dancer were produced after 1890
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in marble, pewter, bronze, and biscuit.6 To allow for a range of price points, editions were produced in two different sizes and a variety of finishes, from the relatively subtle to brilliant, gilded bronze. Plaster editions of The Hoop Dancer were created as well, though these seem to have been reserved exclusively for Gérôme’s personal use.7 Some were presented as gifts to his students and friends. The plaster Hoop Dancer illustrated here was inscribed and given to Gérôme’s student and colleague Albert-Pierre Dawant.8 It was later purchased by the late Professor Gerald Ackerman, author of the Gérôme catalogue raisonné. In all, Gérôme is thought to have given three plaster versions of The Hoop Dancer to his acquaintances: in addition to the work illustrated here, a larger version was presented to Julius LeBlanc Stewart, an American student who accompanied him to Egypt in 1874 (this version appears in Stewart’s painting At Home of 1897), and there is a damaged statue meant for an unknown recipient, now at the Musée Georges-Garret in Vesoul.9 A gilt bronze version may also have been a gift to the acclaimed British painter Lawrence Alma-Tadema.10 With these personalized presentations, and with the sheer abundance of affordable editions for sale, Gérôme’s Hoop Dancer quickly became a fixture in middle-class households, as well as in contemporary paintings, sculptures, and even, by 1900, in poetry and song.11 THE POLITICS OF POLYCHROMY Though made in the humblest of materials, it is the plaster editions of The Hoop Dancer that may hold the greatest value. Each of the versions given to Gérôme’s friends was delicately painted, or polychromed, by the artist, and many others of his sculptures were painted as well.12 Indeed, after 1880, nearly all of Gérôme’s sculptures had at least one polychromed version made after the original, earning him the sobriquet le père Polychrome (the father of polychrome) from the French symbolist writer Marcel Schwob. As one of a handful of polychromed sculptures to retain its coloring, the plaster illustrated here holds a special place in Gérôme’s oeuvre. In the last decades of the 19th century, the debate about whether to add color to statues was, according to the art historian Michael
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The Antique Pottery Painter: Painting Breathes Life into Sculpture, 1893, oil on canvas, 19 3/4 x 27 in., Art Gallery of Ontario, Toronto
Hatt, “the most urgent issue in sculptural aesthetics.”13 The argument against it may be summarized by the following contemporary view: “It is simply the antithesis of statuary ... the renunciation of art. [It] is close to the painted flesh of corpses; the effect is horrific.”14 For Gérôme, however, the opposite was true. “I first set about coloring marbles,” he explained, “because I’ve always been put off by the coldness of a statue if, once the work is finished, it is left in its natural state.”15 In 1890, encouraged by evidence of polychromy in ancient Greek statuary, particularly at Tanagra, and no longer concerned with popular or critical tastes, Gérôme tinted the skin, hair, lips, and nipples of his Tanagra, causing a sensation at the Salon. In his attempt to preserve and reinvigorate the academic tradition through this practice, and to educate his students and peers, Gérôme often ordered special Apennine marble — known for its capacity to absorb pigment, which he applied in moderate quantities using a wax solution similar to encaustic. Gérôme’s polychromed works in this stone, like his highly detailed paintings, achieve a remarkably lifelike effect. For his plasters and earthenware editions, a simpler technique was used, with straight oil paint being applied to the untreated surface. In his painting The Antique Pottery Painter: Painting Breathes Life into Sculpture, three versions of which exist, Gérôme references this process.16 Here, a Tanagran woman paints 12 terracotta figures, all from an edition of The Hoop Dancer. Reminiscent of Gérôme’s and Goupil’s own production of numerous versions of the figurine for the market, and with this added gloss, the picture shifts from a record of everyday classical pursuits to a biographical conceit.17 Gérôme’s historicizing and legitimization of polychromy in this scene, and the commodification of his art as a marketable good, would not be the final word. Controversy continued to surround the artist even after his death. The success and significance of The Hoop Dancer, however, was never in doubt. Both personally and professionally, this painted figurine reflected nothing less compelling than the story of his life. EMILY M. WEEKS is an independent art historian and consultant for museums, auction houses, and private collectors in America, Europe, and the Middle East. Her areas of expertise include Orientalism and 19th-century British and European visual culture; she is also the acknowledged expert on the artist Jean-Léon Gérôme. ENDNOTES 1. Despite such compelling examples, the actual model for The Hoop Dancer may have been Emma Dupont-Bonnat. 2. Since 1878, Gérôme had made sculptures of subjects taken from or inspired by his most popular paintings, and, as early as 1859, had sculpted figurines that served as maquettes for his later pictures. Initially, Gérôme enlisted the aid of Alexandre Falguière (1831–1900) and Antonin Mercié (1845–1916), two famous sculptors-cum-painters. Later, perhaps dissatisfied with how others were interpreting his figures, Gérôme was more closely involved in the process. 3. Gérôme created several sculptures after the figure of Bathsheba as well. 4. For more on the topic of the “reality effect” in Gérôme’s and others’ Orientalist works, see Emily M. Weeks, “Gendered Geographies: John Frederick Lewis’s The Reception of 1873,” in Cultures Crossed: John Frederick Lewis (1804–1876) and the Art of Orientalism, New Haven and London, 2014. 5. The first and most famous of these works by Gérôme was Le Combat de Coqs (The Cock Fight), of c. 1846–65. F I N E A R T C O N N O I S S E U R · C O M
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6. Goupil formalized his professional relationship with Gérôme in 1859, four years before the artist married into the Goupil family. See Gérôme and Goupil: Art and Enterprise, exh. cat., Paris, 2000. 7. Gérôme typically modeled in plaster, making life-size and remarkably lifelike works to be used for his finished sculptures. These plaster “masters” were a source of great pride for the artist, who often photographed them together with the model to demonstrate their accuracy. 8. Albert-Pierre Dawant (1852–1923) was a fellow member of the Legion of Honor. He was elected secretary for the Exposition Universelle in 1900, when Gérôme was elected its president. 9. Gerald A. Ackerman, The Life and Work of Jean-Léon Gérôme, Paris, 1986, p. 316, cat. no. S21. 10. It appears in Alma-Tadema’s The Golden Hour of 1908. 11. See, for example, the poem “La Danseuse au Cerceau,” Léonce de Joncières, Tanagra, Paris, Mercure de France, 1900, p. 140. 12. For additional examples, see Gérôme’s Bust of Sarah Bernhardt, c. 1890s (Musée de Lunéville), and Corinthe of c. 1903–04 (Musée d’Orsay). 13. Michael Hatt, “Thoughts and Things: Sculpture and the Victorian Nude,” in Exposed: The Victorian Nude, ed. Alison Smith, London, 2001, pp. 38–39. The origins of the polychromy debate lay with Antoine-Chrysostôme Quatremère de Quincy’s Le Jupiter Olympien, published in 1814; previously the art world had been unaware that ancient sculptors used color in their work. 14. G. Geffroy, “Salons de 1892. Aux Champs-Élysées. VIII Les statues peintes,” in La Vie artistique, Paris, 1893, p. 289. Emmanuelle Héran has amusingly labeled those opposed to polychromy “chromophobes” (“L’Évolution du regard sur la sculpture polychrome,” La Revue du Musée d’Orsay, vol. 18, 2004, pp. 63–67). 15. “Je me suis tout d’abord occupe de la coloration des marbres, car j’ai toujours ete effraye par la froideur des statues,” Gérôme to Germain Papst, 2 February 1892, Bibliothèque Nationale de France, Paris, 4o V 5381. 16. In several paintings and sculptures by the artist and his colleagues, Gérôme himself is depicted painting his statues and figurines, boldly demonstrating the centrality of polychromy in his art. 17. Gérôme’s controversial practice of depicting scenes of everyday life in the classical world is also defended here: Tanagran and other similar antique sculptures included light-hearted genre figures as well as religious subjects. One of the most famous showed a female dancer, Danseuse Titeux; it was unearthed at the base of the Acropolis in Athens in 1846 by the architect Philippe-Auguste Titeux (1812–1846). It may have been this specific work, as well as his Orientalist pursuits, that inspired Gérôme to create The Hoop Dancer, and that encouraged him to unite familiar scenes of daily life with the elements of classical art.
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I N S I D E T R A C K
BY LOUISE NICHOLSON
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AR RASURS ROM INDIA, OWND BY BRITAIN’S QUN
er Majesty Queen Elizabeth II owns one of the finest private collections of South Asian art — that is, art made on the Indian subcontinent. It is important to know right away that neither she nor her forebears looted even one of these exquisite drawings, vividly colored paintings, or illustrated manuscripts, as is often perceived. Rather, most were presented to British monarchs during several centuries of diplomatic gift-giving, an enriching saga that ran parallel to — sometimes intertwined with, sometimes diverging from — the East India Company’s separate and quite ruthless global trading enterprise. Today, these gifts are part of The Royal Collection, one of the world’s largest art holdings, and one of the last great European collections remaining intact. As well as being given new and much-deserved scholarly attention, many of the South Asian pieces are going on public view for the first time. This is the background for a pair of complementary exhibitions (on view until October 14) at the Queen’s Gallery, which adjoins Buckingham Palace in London; exhibitions there are invariably well conceived and executed. Eastern Encounters: Four Centuries of Paintings and Manuscripts from the Indian Subcontinent is a cornucopia of the best works received by British monarchs over more than 400 years; Splendours of the Subcontinent: A Prince’s Tour of India 1875–6 puts just one year of gift-giving diplomacy under the microscope, displaying many of the specially commissioned presents made for the Prince of Wales (later Edward VII). On his return home, he insisted the gifts make their own tour to 10 venues in Britain, Paris, and Copenhagen for all to enjoy, complete with late opening hours and the world’s first museum gift shops, dubbed “oriental bazaars.” More than two-and-a-half million people saw this unprecedented exhibition.
FINALLY OUT OF STORAGE
The effervescent and enthusiastic Emily Hannam has curated the larger Eastern Encounters exhibition. She is assistant curator of Islamic and South Asian collections at the Royal Collections Trust, the first to hold the position — and it’s her first job. “My whole aim is to make the works available to study, to write about, encouraging people to come and see them. So I want to show as broad a range as possible of the uniformly high-quality South Asian pictures we have,” Hannam says emphatically. The pieces, which date from the 15th through the 20th centuries, make for a trail-blazing show, only the second in the Queen’s Gallery devoted to Her Majesty’s South Asian items. (The first showed just one Mughal manuscript — the Padshahnama, or Book of Emperors.) “Ours is a small collection,” Hannam explains, “but of uniformly high quality.” British monarchs have felt a particular affection for it. “When part of George III’s library went to the British Library, the Indian collection was kept back and housed at Buckingham Palace. When
JOHAN ZOFFANY (1733–1810), Portrait of Asaf al-Daula, Nawab of Awadh, c. 1784, black, white, and red chalk on brown paper, 8 1/2 x 6 in.
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(ABOVE) The Day of Judgement Is Discussed in a Bathhouse, from the Khamsa (Quintet) of Nava’I (Timurid court of Herat), 1540s, with Mughal additions by Govardhan, c. 1605–10, opaque watercolor with gold leaf and metallic paint on paper, image: 8 3/4 x 5 3/4 in. (AT RIGHT) Shamsa (Sunburst) from the Padshahnama (Mughal), c. 1657, opaque watercolor, gold metallic paint, decorative incising, and black ink on paper, 18 x 11 1/4 in.
William IV established the Royal Library at Windsor Castle, he brought the Indian art collection there so it was more stable and would not be moved around. His idea worked, as it remains there today. Later, when people visited Windsor, Queen Victoria would show them her Indian and Persian manuscripts.” In 2015, when Indian prime minster Narendra Modi visited London and lunched with the Queen, she discussed select pieces from her collection with him. To complement this conversation, he presented her with fresh diplomatic gifts: silk brocade stoles, Indian tea, organic honey, and a photograph of the Queen’s first visit to India, in 1961, when she spoke in Hindi to the crowds. “The art and the other gifts are living diplomatic tools,” Hannam explains. “They encourage non-political conversations, and historically, they demonstrate monarchs engaging in other cultures.” The quality of the pieces in Hannam’s show reveals the significance of diplomatic relations through the centuries. Many are, quite simply, the best of their type. Taking advantage of the large conservation program at Windsor — which encompasses a book-binding department where the Queen has started a new training scheme — Hannam has been able to exhibit some illustrated manuscripts previously too fragile to open due to cracking and flaking paint. These had never been studied, let alone published or displayed. In the show, several leaves from a manuscript are set on a sloping surface so visitors can enjoy the F I N E A R T C O N N O I S S E U R · C O M
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intended experience of looking at them intimately, taking in the detail and subtleties. (They were never meant to hang in frames on walls.) One series is from the Khamsa (Quintet) of Nava’I, made at the Timurid court of Herat in 1495. Accumulating additional illustrations along the way, it passed through the libraries of Mughal emperor Jahangir and, later, the Nawab of Lucknow, who in 1798 gave it (via the bibliophile governor-general Lord Teignmouth) to George III. An accomplished drawing of the Nawab by Johan Zoffany (1733–1810), hung not far away, captures the character of this sophisticated connoisseur, whom the East India Company damned as a debauched wastrel; it was Company soldiers who would later loot and destroy his fine library during the 1858 Rebellion. The Khamsa sheets on display in London now are a glistening double page of script heavily decorated with lapis and gold arabesque patterns, three fine illustrated leaves of Jahangir’s time, and a picture of men in an elegant bathhouse discussing the Day of Judgement. The latter is a hodgepodge of a painting made in Bukhara in the 1540s; later, Jahangir had his star artist Govardhan scratch out and overpaint the figures, then declared it the finest painting in his collection. Indeed, the whole bathhouse is a poetic space, free of time and a fixed viewpoint. Its steamy interior is tense with desire as the added figures cast meaningful glances at each other. The Padshahnama is the most sumptuous royal Mughal manuscript to have survived anywhere; tragically, its two companion volumes are lost. And although the Queen’s Gallery has already presented an exhibition devoted to it, some pages from the Padshahnama just had to go in the new show. It was commissioned in 1657 by Mughal emperor Shah Jahan (who built the Taj Mahal) as a propagandist 2 0 1 8
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(ABOVE) Portrait of Emperor Shah Jahan from the Padshahnama (Mughal), c. 1657, opaque watercolor with gold metallic paints and decorative incising on paper, 22 3/4 x 14 1/4 in.
(AT RIGHT) Mir Muhammad Sa'id, known as Mu'azzam Khan (Mughal), c. 1660, ink
and watercolor with gold metallic paint on paper, later additions in opaque watercolor, 6 3/4 x 3 3/4 in.
celebration of himself, his reign, and his dynasty. He oversaw its production closely by holding morning meetings with the army of artists and artisans to inspect their work. Hannam has chosen to exhibit the great sunburst signifying the divine light that God transfers to kings, the frontispiece with the emperor’s sensitive portrait, and pages of royal pastimes and dazzling court events. “I wanted to cut across the subjects,” says Hannam, “to show the fineness of the portraiture, to show formality mixed with individualism.” Different color palettes create different moods: brilliant metallic-bright tones for the court scenes, fresh khaki ones for the lush hunting scenes, familiar Mughal pastel shades for moonlit nocturnes. More remarkable 17th-century Mughal portraits and calligraphy fill an album that a ruler of Awadh probably gave George IV around 1828. These were painted on paper using opaque watercolors, then mounted on a large decorated
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leaf. As in the Padshahnama, the portraits have a distinct realism, definition, and intensity, and they reward close study. One reason for their acuteness is that physiognomy was considered a direct reflection of character at the Mughal court, where the science of “firasa” was practiced: one could better understand a person’s nature by studying his or her face. Top artists were considered to have given the dead new life and immortality. In their portraits the forehead, eyes, nose, mouth, and chin are made with fine strokes and strong outlines; muslin cloth is translucent and delicate, jewels glow hard, realism blends seamlessly with abstraction. Nearby, two fine and subtle monochrome portraits of a Mughal courtier and prince have been worked up in minuscule brushstrokes using ink and watercolor (the colored sections were added later). As Hannam explains, “By using highly burnished paper, every brushstroke sits on it, rather than being absorbed.” Looking at them up close makes you hold your breath. The second half of Hannam’s show may have fewer masterpieces, but it romps through the centuries with some startling works. Possibly the first Hindu texts to arrive in Britain were presented to George III in 1784, the year serious study of India’s cultural history began with the founding of the Asiatic Society of Bengal by a Calcutta judge, William Jones. By contrast, a decidedly seductive
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A Nayika Waiting for Her Lover (Mughal), c. 1730–50,
watercolor
and opaque watercolor, gold metallic paint, and decorative incising on paper, 6 3/4 x 4 in.
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(AT LEFT) Plan of the temple at Srirangam, Company School (Tamil Nadu), c. 1800, inks and watercolor over graphite pencil on paper, 19 1/4 x 14 1/4 in.
(ABOVE) Pair of silver rosewater sprinklers, Nahan Foundry, c. 1873–
76, silver, 14 1/2 x 4 1/4 in.
(BELOW) Nainsukh Family Workshop (Pahari),
Narasimha Bursts out of the Pillar and Attacks Hiranyakashipu (from a series depicting the Bhagavata Purana), c. 1775–90, opaque watercolor with gold and silver metallic paints on paper, 9 1/4 x 12 1/2 in. (image)
portrait of a bare-breasted woman expecting her lover was given to the more risqué George IV. There are accomplished scale drawings of mysterious South Indian temples that would surely have flummoxed the British royals, and a European-style oil portrait of the by-then-down-at-heel emperor Akbar Shah II made in 1801 when, thanks in part to the British, the Mughals’ continent-wide empire had been reduced to one building. One wonders why it was thought a suitable gift for the British monarch. Not so for the 16 top-quality, bold watercolors illustrating a Hindu mythological saga, made in the Lower Himalayas around 1775–90 by the renowned Nainsukh family, and later acquired by George V’s wife Queen Mary. Their large flat areas of pure color in unusual palette combinations were achieved by burnishing layers of thin paint, the geometric compositions setting up areas of tension so that realist details float in surreal spaces. The method works as successfully for a grisly incident of a demon king ordering the assassination of his son as for the bucolic bird’s-eye view of “The Earth,” illustrating the great flood story common to most philosophies. During the royal visit to India in 1911–12, Queen Mary wrote in her diary about nipping off to bazaars, meeting craftsmen, shopping like any discerning tourist would today — but it remains a tantalizing mystery how she got these exquisite paintings. “They haven’t been seen ever,” says Hannam, joyful about their public airing
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Peacock Inkstand (Jaipur) formed of 19 pieces, c. 1870–75, gold, enamel, rubies, sapphires, diamonds, silver, and pearl, 7 x 2 1/4 x 15 1/2 in. (overall)
this season. “They are exceptionally good, so we put out all 16 folios that tell the narrative.” They are now ripe for research.
A TOUR TO REMEMBER
The second show at the Queen’s Gallery, Splendours of the Subcontinent: A Prince’s Tour of India 1875–6, looks closely at the astonishing gifts gathered or specially made for high-ranking Indians to present to the first British royal visitor to the sub-continent: Victoria’s son and heir, the Prince of Wales and later Edward VII (and father of George V). Victoria, who was besotted by India but never went there, viewed the four-month-long visit as a way to teach him about the wider world’s cultures and history, establish diplomatic links, and prepare him for kingship. Edward had already traveled to Canada, the U.S., Egypt, and the Middle East. The India trip, however, would be like no other. Following the Government of India Act of 1858, the British Crown assumed direct rule of India — the East India Company lost control and ceased operations in 1874. The prince was prepared for his trip with a big reading list and curatorial visits to what is now the Victoria & Albert Museum and the Indian Museum Collection to learn about Indian history, society, and crafts. He then left Britain, sailed through the recently opened Suez Canal and landed at Bombay (now called Mumbai) on HMS Serapis on November 8, 1875. Traveling 10,000 miles around India using trains, boats, carriages, and elephants, Edward took in Madurai in the south, Calcutta in the east, Kashmir in the Himalayan hills, and the Taj Mahal (twice), and departed from Bombay on March 13, 1876. Even today, few people could make such a trip, let alone cope with the social program. “He met with and was sprinkled with rosewater by 90 different rulers,” says Kajal Mebhani, curator of the exhibition, “and received more than 2,000 gifts.” Throughout, the Illustrated London News published eagerly read weekly supplements following the tour’s progress. “The tour really had two themes,” Mebhani explains. “It was about diplomacy and crafts. So, our show is about both themes. We are lucky because all the objects speak to both.” This is the first time most have been on exhibition for more than 130 years. Just as the Prince of Wales put his presents on tour when he got home (primarily for British and European craftsmen to be inspired), so Mebhani’s show will go on a tour of Britain to inspire its artists today. This gives weight to The Prince’s Foundation School of Traditional Arts established in 2005 by Prince Charles, which encourages traditional arts and skills, including drawing and painting, in the UK and 20 countries worldwide. So, what did the Indians give the prince? First, their natural generosity had to be reined in. Fearing the gifts would be too big, British “residents” attached to the royal courts were instructed to gently suggest that small was beautiful, as was local craftsmanship. Thus, exquisite gifts show off local master craftsmen’s skills F I N E A R T C O N N O I S S E U R · C O M
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rooted in tradition. Many relate to the welcome etiquette the prince followed when he met each ruler: giving perfume and betel-nuts in a special tent theatrically furnished to look like a royal throne room, so that both sides were on an equal footing. Thus, the Rajah of Nahan gave Edward an elegant pair of silver rosewater sprinklers that blend European and Indian ideas; the Raja of Kapurthala offered gold water bottles decorated with birds and Indian mythical animals; the Maharaja of Indore gave silver betel-nut boxes. Many rulers could not resist giving India’s renowned gem-encrusted gold jewelry – Ratlam, Mysore, Jaipur, Udaipur, Gwalior, and others presented prestigious baubles. The prince himself bought two bangles to give his mother on her next birthday; she was thrilled. Perhaps the gift that best symbolizes the Prince of Wales’s tour is the Peacock Inkstand presented by the Maharaja of Benares, the Hindus’ holiest spot on the River Ganges. Its shape is that of the maharaja’s state barge, the Maurpankhi, which he used to transport the prince along the Ganges on January 5, 1876 — the mast is inscribed with a dedication to his royal visitor. The barge can be taken apart into 19 pieces that include a penknife, two inkwells, two pen nibs, and a pair of scissors; indeed, the exhibition contains a video that shows the disassembling process. The inkstand was commissioned from Jaipur craftsmen who were the best in both mechanical intricacy and application of glowing enamels. The Benares ruler also gave his visitor an ivory model of his own palace, which opens as three drawers; this was made by local carvers retained at the royal court. The prince’s return journey to Britain took about a month. Just six weeks after he docked at Portsmouth, prime minister Benjamin Disraeli announced that Queen Victoria would be given the title Empress of India, to take effect on January 1, 1877. The Raj panoply continued until India won its freedom in 1947. Together these two exhibitions should inspire practicing artists globally and also help the rest of us understand the multi-layered, centuries-long relationship between Britain and South Asia. LOUISE NICHOLSON is an art historian and arts journalist who was raised in the UK but has lived in New York since 2001. Her specialty is South Asia, which she has studied for 40 years. She runs a company for discerning travel to India (louisenichol sonindia.com). Information: royalcollection.org.uk All photos courtesy Royal Collection Trust © Her Majesty Queen Elizabeth II 2018
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GRA AR NATIONWID
GEORGE SHAW TAKES YALE
GEORGE SHAW: A CORNER OF A FOREIGN FIELD Yale Center for British Art 1080 Chapel Street New Haven, CT 06520 203.432.2800, britishart.yale.edu October 4–December 30
The Yale Center for British Art will soon open the first museum exhibition in America dedicated to one of Britain’s leading contemporary painters, George Shaw (b. 1966). On view will be nearly 70 paintings,
60 drawings, and numerous prints, sketchbooks, and notebooks, all made since 1996. Shaw was born in Coventry, in the Midlands region that was once an industrial powerhouse but has been in economic decline for half a century. While earning his B.A. from Sheffield Polytechnic (not far from home) and then his M.A. from London’s Royal College of Art, he became steeped in art history and the art of our own time. His engagement with the past intensified during a residency at London’s National Gallery, which culminated in a solo show there. Shaw is best known for realist scenes of the Tile Hill housing estate where he grew up — a postwar experiment in socialism that has not fared well — and also of the ancient woodlands that surround it. Usually devoid of people, these suburban visions are melancholy, sometimes poignant, underscoring Shaw’s embrace of the British landscape tradition
while also subverting it. Since 1998, he has used Humbrol, a sticky, quick-drying enamel paint — primarily marketed toward model airplane and car enthusiasts rather than professional artists. It imparts the metallic sheen and hard edges that help make Shaw’s scenes so memorable. Yale’s exhibition will contain several new works, and also an installation titled The Woodsman that will transform one gallery into a graphite thicket of branches. Organized in collaboration with the Paul Mellon Centre for Studies in British Art and the Anthony Wilkinson Gallery (both in London), this project will move on to the Holburne Museum in Bath (February 8–May 6, 2019). On October 9, curator Mark Hallett (Paul Mellon Centre) will lead a conversation with Shaw open to the public.
GEORGE SHAW (b. 1966), Scenes from The Passion: No. 57, 1996, Humbrol enamel on board, 16 15/16 x 20 7/8 in., Royal College of Art, London, courtesy of the artist and the Anthony Wilkinson Gallery, London © George Shaw 2018
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IMPRESSIONISTS HEAD TO WISCONSIN AMERICAN IMPRESSIONIST SOCIETY 19TH ANNUAL NATIONAL JURIED EXHIBITION Peninsula School of Art 3900 County Road F Fish Creek, WI 54212 920.868.3455, peninsulaschoolofart.org September 27–October 28
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DAWN WHITELAW (b. 1945), Bungalow Aglow, 2018, oil on linen, 18 x 24 in.
The American Impressionist Society (AIS) is hosting its 19th Annual National Juried Exhibition at the Peninsula School of Art. On view will be approximately 175 paintings, with an additional 20 by AIS Master members, officers, and co-founders. Artist Dawn Whitelaw will serve as awards judge and will present a workshop (September 24–26), then a demonstration on September 28. On the 27th she will preside over the prize-giving, which encompasses more than $65,000 in awards, including $12,000 for Best of Show. The opening week also features a gallery tour, a panel discussion, a group painting demonstration, a lecture by Kami Mendlik, a lecture on studio safety by Gamblin Artist Oils, and even an all-member paint-out. The school is located in scenic Door County, which has an active plein air painting scene and enthusiastic collectors all around. Founded in 1998 by Florida artists William Schultz, Charlotte Dickinson, Marjorie Bradley, and Pauline Ney, AIS is a nonprofit organization with more than 1,500 active members across the United States.
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AMERICAN MASTERS MARKS ITS FIRST DECADE
10TH ANNUAL AMERICAN MASTERS FINE ART EXHIBITION & SALE Salmagundi Club 47 Fifth Avenue New York, NY 10003 212.255.7740 americanmastersart.com October 8–26
The Salmagundi Club is marking the first decade of its popular American Masters selling show by welcoming 70 of North America’s leading representational artists to participate. On view for 18 days will be their paintings and works on paper, encompassing everything from landscapes, marine scenes, and still lifes to figures and portraits. The show’s most intriguing events, including educational programs, are set to occur the weekend of October 11–14, and the exhibits themselves will first be available for purchase during the ticketed gala on October 12. Housed in an elegant Greenwich Village brownstone mansion it acquired in 1917, the Salmagundi has successfully renovated its large gallery on the main floor and is laying plans to upgrade facilities elsewhere in the building. Part of the proceeds from American Masters will benefit these upcoming enhancements.
JOSH ELLIOTT (b. 1973), Cloud Coat, 2018, oil on board, 18 x 54 in., available at American Masters
FRENCH MASTERWORKS GO SOUTH STORYTELLING: FRENCH ART FROM THE HORVITZ COLLECTION John and Mable Ringling Museum of Art 5401 Bay Shore Road Sarasota, FL 34243 941.359.5700, ringling.org September 9–December 2
For more than 30 years, the Massachusetts collector Jeffrey E. Horvitz has been acquiring superb French drawings and paintings, which now number more than 1,600. He has shared these treasures through many exhibitions worldwide, all curated by Alvin L. Clark, Jr., Ph.D. (Harvard Art Museums). Now, to complement its own rich holdings of historic French art, the Ringling will mount two separate exhibitions that Clark has selected from the Horvitz Collection.
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EDME BOUCHARDON (1698–1762), Visigoths Attacking Clovis as He Kills Alaric, n.d., red chalk on cream antique laid paper, framing lines in red chalk, 3 3/4 x 7 15/16 in.
The larger show features 60 drawings and 10 related prints for book illustrations created between the 16th and 19th centuries. Many entail elaborate compositions that incorporate multiple figures, demonstrating their creators’ sensitivity in imagining visually compelling translations of written stories. Visitors will discover the range of techniques they employed, from pen-and-ink to chalk, charcoal, and graphite. Among the names represented are famous ones like Charles Le Brun (1619–1690) and Jean-Honoré Fragonard (1732–1806), and S E P T E M B E R / O C T O B E R
also some less familiar now (e.g., Anne-Louis Girodet de Roucy-Trioson [1767–1824]). The smaller Horvitz exhibition features 10 paintings of Biblical and mythological scenes by such talents as Nicolas de Largillière (1656– 1746) and Jean-Baptiste-Marie Pierre (1714– 1789), as well as two memorable portraits by the celebrated Louis-Michel Vanloo (1707–1771). After closing in Sarasota, the two shows will move to Connecticut’s Fairfield University Art Museum (January 25–March 29, 2019). 2 0 1 8
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IT’S CRAIG BLIETZ’S YEAR
CRAIG BLIETZ: HERD Museum of Wisconsin Art 205 Veterans Avenue West Bend, WI 53095 262.334.9638, wisconsinart.org October 13–January 13
CRAIG BLIETZ (b. 1956), Helianthus, 2018, oil on panel, 48 x 60 in., on view at the Museum of Wisconsin Art
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The Wisconsin painter Craig Blietz is the toast of his native state, thanks to two exhibitions on view this season. His solo show at the Museum of Wisconsin Art features a new body of 30 works that depict the cows so beloved in this dairy-minded state. As seen here in Helianthus, Blietz places his impeccably drawn cows front and center, allowing them to float in a depth-less background of quilt-like patterns and muted agrarian symbols. (Note the sunflowers at left and barn at right.) The seemingly abstract designs of his cowhides are far from accidental, however: Blietz knows his cow models well and can distinguish one from the next with ease. The resulting scenes — part psychedelic, part Barbizon School — are a unique contribution to American art and deserve more attention beyond the Midwest. Blietz is also participating in a group exhibition at the Plymouth Arts Center (Plymouth, WI) titled In Fine Form: The Human Presence. On view October 12–November 30, this project shifts attention away from four-legged animals to two-legged ones like us.
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AN ENDURING LEGACY
A TIMELESS HERITAGE Legacy Gallery 7178 E. Main Street Scottsdale, AZ 85251 480.945.1113, legacygallery.com November 2–3
In 1988, Jinger and Brad Richardson, with the help of Jinger’s mother, Marilyn Murray, opened Legacy Gallery in the heart of Scottsdale, Arizona. In the 30 years since then, it has become one of the country’s leading sources of art of the American West. Moreover, it has added a successful location in Jackson Hole, co-founded the popular Scottsdale Art Auction held every spring, and hired a certain lady who just happens to be the Richardsons’ daughter, Janell. To celebrate the gallery’s 30th anniversary, the Richardsons have invited 30 top Western artists — some currently on Legacy’s roster and others previously represented by it — to send major works to the show and sale occurring the first weekend of November. Among the participants are Bill Anton, Scott Christensen, John Coleman, Glenn Dean, Martin Grelle, Jeremy Lipking, John and Terri Moyers, Jim Norton, and Kyle Polzin. Their artworks will be sold by draw or silent bid, and there will be a full day of activities on November 3. These include presentations by John Coleman and C. Michael Dudash and tours of Scottsdale’s Museum of the West. Everyone at Fine Art Connoisseur congratulates Legacy on reaching this milestone.
JOHN COLEMAN (b. 1949), Little Crow, 2018, oil on canvas, 26 x 18 in.
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DRAWN TO TRADITION
LINES IN MOTION: DRAWINGS FROM HISTORIC & CONTEMPORARY MASTERS Salmagundi Club 47 Fifth Avenue New York, NY 10003 212.255.7740, salmagundi.org September 21–29
WILL ST. JOHN (b. 1980), Man in Profile, 2014, red,
GREGORY MORTENSON (b. 1976), Self-Portrait at 40, 2016, graphite on paper, 12 x 10 in.
black, and white chalk on paper, 11 x 14 in.
At the Salmagundi Club, member and professional art conservator Alexander Katlan has enlivened the already intriguing exhibition of 19th-century drawings he selected from his own collection by inviting more than 40 contemporary artists to display their drawings, too. The result will be almost 60 works in total, all connected in spirit and style. "Together these drawings trace a continuous line of natural observation,” Katlan explains. Most of the deceased artists here — primarily American — were trained in the atelier-based academic tradition: Milton J. Burns, Colin Campbell Cooper, Dean Cornwell, William Hart, Walter C. Hartson, F. Luis Mora, Peter Moran, J. Francis Murphy, Alfred Parsons, Stephen Rogers Peck, Arthur Quartley, Everett Shinn, Walter Granville Smith, Elihu Vedder, and Robert Walter Weir. Like their forerunners, the living artists have made drawings in charcoal, graphite, or chalk. They are Steven Assael, Stephen Bauman, Liz Beard, Charles H. Cecil, Kevin Mueller Cisneros, Landon Clay, Jacob Collins, Tony Curanaj, Savannah Cuff, Jon DeMartin, Kathryn Engberg, Daniel Graves, Amaya Gurpide, Cornelia F I N E A R T C O N N O I S S E U R · C O M
Hernes, Sam Hung, Brendan H. Johnston, Molly Judd, David Jon Kassan, John Darren Kingsley, Judith Pond Kudlow, Andrew Lattimore, Ben Long, Carlos Madrid, Rodrigo Mateo, Gregory Mortenson, Edward Minoff, Richard Piloco, Edmond Rochat, Will St. John, Burton Silverman, Jordan Sokol, Brandon Soloff, Dan Thompson, Peter Van Dyck, John A. Varriano, Brian West, Robbie Wraith, and Dale Zinkowski. Katlan notes that four of the artists proved instrumental in the early 1990s revival of classical realism and the humanist tradition: Graves, Cecil, Long, and Wraith. All had studied in Florence during the 1970s with Italy’s “patriarch of realism” Pietro Annigoni (1910–1988) and/or Nerina Simi (1891–1988). As it happens, Katlan met Graves and Cecil in Simi’s studio more than 40 years ago. As for the younger artists in this show, many studied at Graves’s Florence Academy of Art, Charles C. Cecil Studios (Florence), Jacob Collins’s Grand Central Academy (New York), or Nelson Shanks’s Studio Incamminati (Philadelphia). (Shanks had also studied with Annigoni in the ’70s.)
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Lest anyone fear this will be a ho-hum lineup of highly realistic likenesses, Katlan has reassuring words: “Interestingly, what these artists decided to omit in transferring their observations to paper is often as important as what is actually drawn on paper. Although one might assume that a representational drawing or painting is an exact replication of reality, in fact it is an interpretation of reality filtered through the artist’s observations, just as the viewer ultimately interprets what is represented.” Most of the exhibition’s educational programming is concentrated on the weekend of September 23–25. A reception is scheduled for the 23rd, and the next day Katlan will moderate a panel discussion titled Drawing from Life vs. Drawing from Photographs. Participating in this dialogue are the artists Jacob Collins, Max Ginsburg, and Burton Silverman, all ebullient conversationalists. Finally, on September 25, Dan Thompson and Stephen Bauman will demonstrate their drawing techniques. All works in this exhibition will be priced under $4,000, and the living artists will receive 100 percent of the purchase price.
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The National Watercolor Society (NWS) is hosting its 98th International Open Exhibition in San Pedro, California. In 1999 the NWS bought its headquarters building there; today it encompasses offices, a gallery, workshops, and a place to house the growing permanent collection. On view this fall will be watercolors by 91 different artists, selected by jurors Linda Daly Baker, Linda A. Doll, Carla O’Connor, Charles Rouse, and Michael Schlicting. On October 20, NWS will host its annual meeting, recognition luncheon, and opening reception. During the festivities, awards juror (and distinguished curator) D. Scott Atkinson will announce more than $40,000 in prizes.
DEAN MITCHELL (b. 1957), Carolyn, 2018, watercolor on watercolor board, 25 x 20 in.
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THE BEST IN WATERCOLORS
NATIONAL WATERCOLOR SOCIETY 98TH INTERNATIONAL OPEN EXHIBITION 915 S. Pacific Avenue San Pedro, CA 90731 310.831.1099 nationalwatercolorsociety.org October 4–December 16
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A LANDMARK TURNS 120
NATIONAL ARTS CLUB 15 Gramercy Park South New York, NY 10003 212.475.3424, nationalartsclub.org November 1–January 4
DANIEL GARBER (1880–1958), The Wild Grape Vine, 1908, oil on canvas, 44 x 35 1/2 in.
The National Arts Club (NAC) is celebrating its 120th anniversary in style. It was founded in 1898 by author and poet Charles De Kay as a gathering place to welcome artists of all genres, arts lovers, and patrons. Today the NAC hosts both members-only and public events honoring exemplary leaders in the arts as well as exhibitions, theatrical and musical performances, lectures, and readings. Its feature programs focus on visual arts, literature, film, architecture, fashion, photography, and music. To mark this milestone, the NAC will exhibit the very best of its permanent collection, which includes major paintings, sculpture, and works on paper by such masters as Will Barnet, Colin Campbell Cooper, Charles Curran, Lois Dodd, Daniel Garber, Robert Henri, Edward Potthast, Paul Manship, Francis Mora, Larry Rivers, Lucas Samaras, and Mark Tobey — some housed in elaborate gilt frames designed by Stanford White. The exhibition will run for just over two months, but the opening weekend is the ideal time to see it if you can. Non-members of the NAC can purchase a ticket for events to be held on three consecutive days: on November 2 there will be an opening night celebration; on the 3rd comes the black-tie dinner and presentation of gold medals to four honorees; and on the 4th is a brunch. All of these events will feature live music, and their proceeds will benefit the club’s endowment, an appropriate allocation in view of its rich history and bright future.
WALTER ELMER SCHOFIELD (1867–1944), Ebb Tide, 1912, oil on canvas, 26 x 30 in.
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NANCY BUSH’S VISIONS OF THE SUN AND MOON
NANCY BUSH: LUNA Y SOL InSight Gallery 214 West Main Street Fredericksburg, TX 78624 830.997.9920, insightgallery.com September 27–October 18
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NANCY BUSH (b. 1947), Early Moonrise, 2018, oil on board, 30 x 36 in.
The tonalist painter Nancy Bush will soon exhibit her most recent landscapes at InSight Gallery, located in her hometown of Fredericksburg, Texas. Renowned for the tranquility and soft palette of her aesthetic vision, Bush has long portrayed the Texas Hill Country and mountains of New Mexico she loves. Her latest pictures highlight the significance of the sun and the moon, which, according to the artist, “nourish our bodies and souls on a daily cycle and provide
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us with endless poetry, joy, peace, contemplation, hope, renewal, and beauty. This is often beyond description and always unique in its interpretation. My hope is to convey some of these feelings and emotions in my work that will touch others in a personal way. Landscape is my love and is always a challenge, spiritually and emotionally. The variety and vastness of it can sometimes be overwhelming. Simplification is the answer.”
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THE BEST OF AMERICA IN CINCINNATI
NATIONAL OIL & ACRYLIC PAINTERS’ SOCIETY BEST OF AMERICA Eisele Gallery of Fine Art 5729 Dragon Way Cincinnati, OH 45227 513.791.7717, eiselefineart.com September 14–October 13
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MATTHEW CUTTER (b. 1974), Fall Reflections, 2018, acrylic and oil on paper mounted to ACM (aluminum composite material) panel, 14 x 21 in.
The National Oil & Acrylic Painters’ Society (NOAPS) is hosting its national show, Best of America, for the 28th consecutive year. For this edition, to be held at Eisele Gallery in Cincinnati, more than 900 entries were submitted, but only 125 were selected. The participants hail from 30 states, Canada, and as far away as Malaysia and China. On the opening weekend, awards judge (and distinguished artist) Adam Clague will distribute more than $25,000 in awards. All paintings in the exhibition will be for sale.
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PASTELS ON PAR ADE
PASTEL SOCIETY OF AMERICA 46TH ANNUAL EXHIBITION National Arts Club 15 Gramercy Park South New York, NY 10003 212.475.3424 pastelsocietyofamerica.org September 4–29
At the National Arts Club this season is the 46th Annual Exhibition of the Pastel Society of America (PSA). Selected by jurors Rainie Crawford, Colette Odya Smith, and Jimmy Wright, the artworks will be reviewed by awards judge Calvin Brown (Princeton University Art Museum) before he distributes $40,000 in prizes on September 23. On that occasion, member Diana DeSantis will be presented with the PSA’s 2018 Hall of Fame award; she has been an instructor of still life, landscape, and portraiture in the PSA School for Pastels since 2011. In addition, the Friend of Pastel award, bestowed on individuals who demonstrate major commitment to the PSA, will be presented to longtime board member Claire Paisner and to Pierre-Yann Guidetti, co-founder and CEO of the artists’ supply firm Savoir-Faire. Scheduled throughout the exhibition’s run will be an array of demonstrations, portfolio reviews, workshops, a public gallery tour and reception, and a materials fair.
DIANA DESANTIS (b. 1927), Zandore`s Profile, 2014, pastel on paper, 30 x 22 in.
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QUEST’S LUCKY 13TH
QUEST FOR THE WEST ART SHOW & SALE Eiteljorg Museum of American Indians and Western Art 500 West Washington Street Indianapolis, IN 46204 317.636.9378, quest.eiteljorg.org September 9–October 14
GEORGE HALLMARK (b. 1949), La Parroquia, 2018, oil on linen, 36 x 36 in.
GLADYS ROLDAN-DE-MORAS (b. 1965), Reverie, 2018, oil on linen, 48 x 24 in.
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The 13th annual Quest for the West Art Show & Sale returns to the Eiteljorg Museum of American Indians and Western Art. On view will be approximately 200 paintings, sculptures, and drawings by 50 major artists, none of them exhibited previously. The returning participants include Michael Dudash, Robert Griffing, Logan Maxwell Hagege, P.A. Nisbet, Heide Presse, and Gladys Roldan-de-Moras; the four new arrivals are Brent Cotton, Donna HowellSickles, Mark Kelso, and Terri Kelly Moyers. The opening weekend (September 7–8) promises many delights to patrons who purchase the necessary tickets. During the gala, they will meet the artists and bid on artworks
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in a “luck-of-the-draw” process that opens and closes with the sound of a bugle. Enlivening the weekend are a tour of the nearby Benjamin Harrison Presidential Site and a separate sale of miniatures created by many of the participating artists. In addition, there will be a reception honoring the 2017 Quest Artist of Distinction, Howard Post, who has been creating what he calls “ranchscapes” for more than 40 years. On view (through November 18) will be a show featuring 18 of Post’s artworks from the past 20 years. On September 9, the Quest show will open to the general public, who are welcome to buy artworks that did not sell during the opening weekend.
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RECORDING THE WEST
NATURE’S SPONTANEITY Sorrel Sky Gallery 125 W. Palace Avenue Santa Fe, NM 87501 505.501.6555, sorrelsky.com October 5–31
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Sorrel Sky Gallery is presenting a show of the distinctive yet complementary plein air paintings created recently by Peggy Immel and Stephen Day. Each has submitted roughly a dozen works inspired by the Western landscapes they revere. Immel has been focusing on color relationships, how they change the mood or feeling of a painting as she shifts her palette from cooler to warmer. She has also been introducing more man-made objects, perhaps a road, a fence-line, a small structure or village, to preserve the human influence and keep her paintings engaging. Immel says she likes to “walk a site that attracts me, writing down my ideas, my reason to paint what I see. Later, I’ll make a small value sketch. Finally, I set all of that aside and just paint intuitively. This process allows for an easier flow of creativity. I believe the ‘why’ of a painting matters more than the ‘what.’ The most exciting pieces to paint have both a visual and philosophical foundation.”
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PEGGY IMMEL (b. 1943), Peaches and Cream, 2016, oil on linen panel, 8 x 10 in.
Day often revisits his childhood memories of the big skies and open spaces of Wyoming. On a recent trip, he took more than 800 photographs and painted various small plein air studies. Some of those studies have turned into large pieces made in the studio. Day often works on a piece for a time, sets it aside, and works on something else. Later, he will return to the original piece, developing and enhancing the final imagery. “I paint every day, pretty loose and quick to get a fresh response. These are landscapes, skies, and seasonal scenes inspired by the Southwest. But part of my heart will always be in Wyoming.”
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WOMEN ARTISTS GR ACE OKLAHOMA
WOMEN ARTISTS OF THE WEST 48TH NATIONAL JURIED EXHIBITION Price Tower Arts Center 510 Dewey Avenue Bartlesville, OK 74003 918.336.4949, waow.org September 20–November 4
Women Artists of the West (WAOW) is the oldest juried women’s art organization in the U.S. Originally focused on Western themes, it now encompasses all genres and subjects through works created by its 350 professional women painters and sculptors. The group’s 48th National Juried Exhibition will occur in the Price Tower Arts Center, a 19-story landmark completed in 1956 by architect Frank Lloyd Wright and located just 40 minutes north of Tulsa. On view will be more than 175 works; the first look will go to patrons and donors during the pre-sale and reception on September 20. The following day will see the official opening reception, during which artist and awards juror Krystii Melaine will announce cash prizes totaling $20,000. A round of members’ demos is set for September 22, and a day later the members will participate in a paint-out at the Woolaroc Museum & Wildlife Preserve and Prairie Song Pioneer Village.
ILENE GIENGER-STANFIELD (b. 1956), Decisions, 2017, oil on panel, 24 x 18 in.
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ART FOR ALL IN WYOMING
SEPTEMBER IN WYOMING centerofthewest.org rendezvousroyale.org jacksonholechamber.com wildlifeart.org/western-visions jacksonholeartauction.com christensenstudio.com
September is an ideal time for art lovers to visit the great state of Wyoming. The weather is mild, the scenery impressive, and the art world humming with activities. The Jackson Hole Arts Festival gets underway September 5–16. A key feature is the National Museum of Wildlife Art’s 32nd annual Western Visions show, which centers on a weekend-long series of celebrations and sales running September 13–15. This year’s featured artist is Dennis Ziemienski, who will be signing posters of his lead image at Altamira Fine Art on September 12. Running concurrently is the 12th annual Jackson Hole Art Auction, presented by Trailside Galleries and Gerald Peters Gallery (September 14-15). This two-day sale offers a range of wildlife, sporting, figurative, landscape, and Western works by historical and contemporary masters. And before Western Visions really gets going, everyone can enjoy the Western Design Conference (September 6–10) and also a gallery walk downtown (September 7). Speaking of Jackson’s galleries, Astoria Fine Art will welcome Joshua Tobey and Mark Eberhard (September 13), then Luke Frazier and Richard Loffler (September 14). At Legacy Gallery, Greg Beecham will be highlighted (September 13), followed by Tim Shinabarger (September 14). Over at Trailside Galleries, Morgan Weistling will be signing books on September 15, the same day as the open house featuring Dustin Van Wechel, Jhenna Quinn Lewis, Sueellen Ross, and Adam Smith. On September 7, Turner Fine Art will spotlight Kathryn Mapes Turner, Mitch Baird, Jane Hunt, Stacey Peterson, and John Felsing, and the exhibition Art That Inspires: A Curated Show of Master Painters will run there from September 3 through October 19. Just over the pass from Jackson is Victor, Idaho, where — on September 12 — artist Scott Christensen will host a one-day encounter with five gifted artists at his extraordinary studio and gallery. In Cody, the Rendezvous Royale is a multi-faceted program that spans late August and much of September. At the Buffalo Bill Center of the West, the 37th annual Buffalo Bill Art Show & Sale is already on
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DEAN CORNWELL (1892–1960), Illustration for The Enchanted Hill, 1924, oil on canvas, 36 x 30 in., Jackson Hole Art Auction, estimate: $50,000–$75,000
view, as is a show of miniatures that closes September 14. On the weekend of September 20–22, a range of lively events and educational programs will unfold, encompassing classes, demonstrations, tours, auctions, a quick draw competition, and (on September 20) a luncheon-lecture featuring Tim Newton of New York City’s Salmagundi Club. Cody’s selling exhibition of design, furniture, and other functional items (By Western Hands) runs September 20–22, and the whole season culminates on September 22 with the Patrons Ball. DAVID KAMMERZELL (b. 1939), Heartless Smokey Bill, 2018, oil on canvas, 24 x 20 in., on view at the Buffalo Bill Art Show & Sale, Cody
S E P T E M B E R / O C T O B E R
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sculpture depicting Mother Nature has been a landmark downtown since 1992, but in the paintings on view this season he celebrates the people of his adopted state. They are of all ages, races, and shapes — from children trick-or-treating and musicians performing to a grandmother and a farmer.
A RT I ST S & G A L L E R I E S
San Francisco
through September 29
dolbychadwickgallery.com
Dolby Chadwick Gallery is presenting Might and Main, an exhibition of still life paintings by Chris Cosnowski that are whimsical explorations of the conflicted soul of our pop culture. Painted in the Old Masterly tradition of Claesz and Chardin, his toys, trophies, models, and other Americana transport us to a world both playful and haunting, sacred and silly. Ultimately, the artist explains, “I’m a closet Chris Cosnowski (b. 1968), Silver Nike, 2018, oil on minimalist who creates panel, 70 x 44 in. Neo-Classicist Pop Art.”
Wilmington, North Carolina
October 5–31
beckfineart.com
E. Melinda Morrison (b. 1955), Simple Joy, 2018, oil on panel, 24 x 18 in.
Beck Fine Art Gallery is set to host its first Salon des Beaux-Arts, which will highlight recent paintings by Dan Beck, Kevin Beilfuss, John Cook, Kim English, Louis Escobedo, Bryce Cameron Liston, Nura Mascarenas, E. Melinda Morrison, and John Poon. Based across the U.S., these artists will gather in Wilmington during opening week for a range of celebrations, demonstrations, and lectures.
Hot Springs, Arkansas hotsprings.org
October 5– December 31
Best known as the town where President Bill Clinton grew up, Hot Springs has a large convention center now hosting The Soul of Arkansas, an exhibition of 40 paintings by Longhua Xu. Born in 1954 and trained in his native China, he moved to the U.S. in 1989 and has lived in Hot Springs ever since. His massive Longhua Xu (b. 1954), Quiet Moment, 2018, acrylic on canvas, 48 x 36 in.
F I N E A R T C O N N O I S S E U R · C O M
Boston
press.uchicago.edu/books Prof. Ezra Shales (Massachusetts College of Art and Design, and a contributor to Fine Art Connoisseur) recently published a fascinating 272-page book titled The Shape of Craft. Today the word “craft” is linked to a vast array of items, from handmade objects to microbreweries. The term “artisanal” is so overused that it can strain our credulity. But this situation reveals that the value of craft somehow remains compelling. In his book, Shales explores who makes craft and what the word means now. His discussion ranges widely, from potter Karen Karnes to weaver Jack Lenor Larsen, from glass sculptor Dale Chihuly to Native American basket-maker Julia Parker, and to things produced by Wisconsin’s Kohler Company and the Asians who weave beautiful things for IKEA. If you order the book via the website shown above, enter code “shape20” for a discount.
New York City
salmagundi.org
September 29–October 3
The Salmagundi Club will soon present the selling exhibition Fine Art & Fashion, curated by artist Vanessa Rothe to underscore the aesthetic inspirations shared by fine artists and fashion designers. On view will be approximately 25 oil and watercolor paintings by Stephen Bauman, Mia Bergeron, Michael CarCornelia Hernes (b. 1979), Pink Gown with Midnight son, Casey Childs, Megan Purple, 2017, oil on linen, 22 Euell, David Gray, Cornelia x 18 in. Hernes, Olga Krimon, Jeremy Lipking, Shana Levenson, Nicolas Martin, Peggi Kroll-Roberts, Vanessa Rothe, Joseph Todorovitch, Adam Vinson, Aaron Westerberg, and Vincent Xeus. Accompanying them will be a range of bespoke shoes, dresses, and jackets created for this initiative. Sponsored by Savoir-Faire and Raymar, the show will be enhanced by a range of educational events.
Carl Bretzke (b. 1954), Telluride Valley Floor, 2018, oil on linen, 10 x 20 in.
curator of Denver’s annual Coors Western Art Show & Sale. Fredrick explains, “I grew up riding and have always revered horses for their grace and athleticism, so I am thrilled to pull together a show that will benefit horse rescue.” (The official beneficiary of the ticketed opening gala and a portion of the sale proceeds is the nonprofit organization Drifter’s Hearts of Hope, which has saved more than 320 horses from slaughter.) On view will be works by such gifted artists as Carl Bretzke, Sophy Brown, Andy Evansen, Ernie Gallegos, Terry Gardner, Stephanie Hartshorn, Quang Ho, Amy Laugesen, Billyo O’Donnell, Karen Roehl, Jill Soukup, Wayne Salge, Kate Starling, and John Taft.
Santa Fe
sugarmanpetersongallery.com
Sugarman-Peterson Gallery will host the 13th annual exhibition of recent works by members of the International Guild of Realism. On view will be 96 paintings by 91 artists, reflecting the organization’s characteristic blend of contemporary and classical styles, which includes trompe l’oeil, magic realism, and photorealism. IGOR was founded by a group of realist artists in 2002, and now represents more than 390 members in 35 countries. Duffy Sheridan (b. 1947), The Whale Watcher, 2016, oil on linen, 41 x 24 in.
Edward Minoff (b. 1972), Inverted Sky No. 4, 2018, oil on linen on panel, 30 x 48 in.
New York City cavaliergalleries.com
Parker, Colorado September 7–October 30 parkerarts.org
To be held at the PACE Center in downtown Parker, Art to the Rescue is an exhibition and sale of landscape and equinethemed art organized by Rose Fredrick, best known as S E P T E M B E R / O C T O B E R
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October 5–29
October 18– November 18
Cavalier Galleries will soon exhibit the latest oil paintings and works on paper by Edward Minoff, who teaches at the Grand Central Academy and Columbia University and cofounded the Hudson River Fellowship. A highlight will be the massive triptych (7 by 12 feet) that Minoff spent this summer completing.
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Santa Fe
August 31–September 30
lewallengalleries.com
LewAllenGalleries is presenting the exhibition Jon Schueler: Sky as Landscape, which features works made by this American artist (1916–1992) during the 1960s, ’70s, and ’80s. While serving as a B-17 bomber navigator during World War II, Schueler Jon Schueler (1916–1992), grew fascinated by the The First Snow Cloud, 1958, sky. Having achieved oil on canvas, 37 x 32 in some success in New York City, he visited Scotland in the late 1950s and ultimately took a studio in the fishing village of Mallaig. There the tumultuous weather inevitably results in visually striking skies, which Schueler recorded in soft mist or bold color — sometimes both on the same day.
Greenville, Delaware stationgallery.net
September 7–29
Station Gallery is exhibiting more than 40 new works by the Maryland painters Kirk McBride and Lynne Lockhart, who just happen to be married. Lockhart has won praise for her expressive yet anatomically accurate oils of ani- Lynne Lockhart (b. 1961), Vixen, mals and birds, while 2018, oil on canvas, 8 x 8 in. McBride is best known for cityscapes and nautical scenes, particularly along America’s East Coast. McBride’s recent visit to Cuba has inspired several of the paintings on view.
Alexandria, Virginia principlegallery.com
September 21 –October 21
Thirty-seven of the Washington Society of Landscape Painters’ 40 members will participate in its latest exhibition, on view at Principle Gallery. In 1985 the former Ray Burns (b. 1958), Caboose, Landscape Club 2018, oil on canvas, 24 x 30 in. of Washington, D.C. (founded in 1919) took the name it bears today, and in 1993 women artists were admitted as full members. (Twenty-three of the exhibitors this autumn are female.) On September 22, several participants will offer plein air painting demonstrations.
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Santa Fe
sagecreekgallery.com
October 12–31
Sage Creek Gallery is highlighting Sarah Siltala, who will exhibit eight recent still lifes of living things (primarily birds) and six landscapes. The Santa Fe native is admired Sarah Siltala (b. 1971), Desert for her transparent Evening, 2018, oil on panel, oil colors, thinly built 8 x 10 in. upon each other, that produce a sense of what she calls “stillness and moments of quiet.” She explains, “I prefer smooth surfaces and empty space to showcase the small details I want the viewer to focus on.” Northern New Mexico’s scenery always inspires Siltala: “This year I have spent more time painting outdoors, instead of taking photographs, and focusing on studying the landscape from life. I will have several large landscapes in the show based on my smaller outdoor studies.”
Fish Creek, Wisconsin peninsulaschoolofart.org
through September 15
The Peninsula School of Art has devoted its Guenzel Gallery to the temporary exhibition From the Ashes. It features recent drawings of figures and landscapes in charcoal, graphite, ink, and other media by Craig Blietz, Jaron Childs, Stuart Fullerton, Emmet Johns, Stanka Kordic, Sookyi Lee, Susan Messer, and Todd Mrozinski.
gallery901.org
Boston
fineartboston.com
Julie Beck (b. 1981), A Creative Block, 2017, oil on canvas, 20 x 12 in., Bowersock Gallery, Provincetown
discussions. The gala preview on October 18 will benefit the Art for Justice Fund, established by collector Agnes Gund to support organizations working to safely reduce prison populations nationwide. The fair is mounted in the historic Cyclorama at the Boston Center for the Arts.
christies.com
October 19 – November 9
Gallery 901 will soon exhibit recent paintings by Cynthia Reid. The artist says she has “been listening to The Sounds of Grand Canyon, which was recorded on location. The combination of the Navajo flute, solo piano, and guitar, combined with bird Cynthia Reid (b. 1959), Moving into Stillness, 2018, oil on board, songs and waterfall 40 x 40 in. music, reminds me of the great healing power of nature... The intention of my current collection is to emulate the peaceful essence of nature with paintings of song birds and owls, forest scenes, and horizons.”
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October 18–21 The only show of its kind in New England, the 22nd Annual Boston International Fine Art Show will again feature historic, modern, and contemporary works exhibited by 40 galleries from around the world. The fair is co-produced by Tony Fuso and Robert Four and will be complemented by educational programs including book signings and panel
New York City
Stanka Kordic (b. 1962), She Followed the Bird Path, 2012, graphite on paper, 30 x 20 in.
Santa Fe
AU C T IO N S A N D FA I R S
October 31
Christie’s has launched a new approach to selling 19th-century European art. On October 31, it will offer two sales. Part I, in the morning, will focus on masterpieces by the era’s leading figures, sourced from collections worldwide. In the afternoon, Part II will offer a wider variety of price points. Among Part I’s highlights are a figure painting by Gustave Courbet (formerly owned by Henri Matisse), a religious scene by Edward Burne-Jones (once in the John William collection of Yves Saint Lau- Waterhouse (1849– rent), and a figure by Wil- 1917), Thisbe, 1909, liam Adolphe Bouguereau oil on canvas, 38 (formerly with Diamond 1/8 x 23 1/4 in., estimate $1,800,000– Jim Brady and then William $2,500,000 Randolph Hearst). Department head Deborah Coy notes that “19th-century masterpieces have performed with increasingly strong results, driven by competition from traditional collectors and collectors of modern and contemporary art, as well as a notable increase of participation from Asia.” The two-part sale will occur during Christie’s Classic Week, which coincides with the TEFAF fair at the Park Avenue Armory nearby. In September, highlights of the Part I sale will be exhibited in Hong Kong, Shanghai, and London before returning to New York for the auction.
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master’s practice and most acclaimed works, including self-portraits spanning 20 years, the Hundred Guilder Print, View of Amsterdam, Three Crosses, and Christ before Pilate.
M USEU MS Daniel E. Greene (b. 1934), Yellow Feather Painting, 1980, oil on wood, 48 x 72 in., collection of the artist
Anna Stanley (1864–1907), Girl with a Winnowing Basket (or Sand Sifter), c. 1895, oil on canvas, 31 1/2 x 25 1/2 in., Collection of Marni Roberson, Austin
Rembrandt van Rijn (1606–1669), Head of an Old Man with a Cap, c. 1630, oil on panel, 9 1/2 x 8 in., Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, gift of Alfred and Isabel Bader
Waterbury, Connecticut mattmuseum.org
September 9– November 18
The Mattatuck Museum’s Daniel Greene retrospective features 30 of his oil and pastel paintings spanning six decades, beginning with the portraits of tourists he sketched in Miami Beach right through his years at the Art Students League of New York and beyond. Organized by Ohio’s Butler Institute of American Art, it demonstrates Greene’s skill and imagination, underscoring his crucial role in sustaining the tradition of narrative painting.
Salem, Massachusetts
through February 10, 2019
pem.org
The Peabody Essex Museum recently opened Empresses of China’s Forbidden City, the first exhibition to explore the role of women in shaping China’s last imperial regime, the Qing dynasty (1644–1912). Nearly 200 works from Beijing’s Palace Museum (located in the Forbidden City itself) reveal little-known stories of how they lived and engaged with court politics, religion, and art. The show will move on to Washington, D.C., where it has been co-organized with the Smithsonian’s Freer|Sackler and will be on view March 30– June 23, 2019. Ignatius Sichelbarth (“Ai Qimeng,” 1708–1780)), Yi Lantai (active c. 1748–86), and possibly Wang Ruxue (active 18th century), Portrait of Empress Xiaoxian (detail of scroll), 1777 with repainting possibly in 19th century, ink and colors on silk, 99 1/8 x 45 3/8 in. (overall), Peabody Essex Museum, gift of Mrs. Elizabeth Sturgis Hinds; photo: Walter Silver
Denver
September 16, 2018 – January 6, 2019
denverartmuseum.org
The Denver Art Museum commemorates the 350th anniversary of Rembrandt’s death with the only presentation of Rembrandt: Painter as Printmaker, a survey of more than 100 prints, as well as related drawings and paintings. Co-curators Timothy J. Standring and Jaco Rutgers will present new scholarship and insights on the Dutch F I N E A R T C O N N O I S S E U R · C O M
Laguna Beach, California through January 13, 2019 lagunaartmuseum.org Mabel Alvarez (1891–1985), In the Garden, c. 1922, oil on canvas, 20 x 24 in., Laguna Art Museum
Although monographs have been published on several of its members, Art Colony: The Laguna Beach Art Association, 1918–1935 is the first major exhibition focused on this century-old organization’s development. Mounted by and at the Laguna Art Museum, which began to take its present form in 1929 thanks to the association’s vitality, this show includes more than 100 works by 66 artists, many of which were premiered in the association’s original exhibitions.
Shelburne, Vermont through October 21 shelburnemuseum.org
Carl Rungius (1869–1959), Two Cowboys in the Saddle, 1895–1950, oil on canvas, 24 x 31 15/16 in., Shelburne Museum, bequest of William N. Beach, 1960376.43, photo: Andy Duback
The Shelburne Museum’s exhibition Playing Cowboy investigates the formative ways in which the performing and visual arts circa 1900 mythologized cowboys and villainized Indians. Popular forms of mass media and entertainment, including dime novels, live stage performances, traveling exhibitions, illustrations, paintings, and sculpture all perpetuated the myth of the cowboy and stereotyped Native Americans based on racial perceptions of the time.
Austin
September 5–December 21
The Neill-Cochran House Museum is part of the international movement to shine light on long-forgotten female
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artists, as seen in its latest exhibition, Through Her Eyes: The Impressionist Work of Anna Stanley. As the daughter and wife of U.S. military officers, Anna Stanley (1864– 1907) moved often, always eager to record her new surroundings. She studied at the Pennsylvania Academy of the Fine Arts and Paris’s Académie Julian, then exhibited at the Paris Salon and in U.S. exhibitions from the late 1880s through the 1890s. Working in an Impressionist manner with close attention to atmospheric detail and the humanity of her (simple) subjects, Stanley made paintings in San Antonio, the Netherlands (e.g., the scene illustrated here), Arizona, the Philippines, and Japan. All of the watercolors, oil studies, and oil-on-canvas paintings in this show have been loaned by one of Stanley’s granddaughters, Marni Roberson. The project will be celebrated with an opening reception on September 22, hosted by the museum’s director and exhibition curator Rowena Dasch, Ph.D.
Dallas
September 9–December 9
meadowsmuseumdallas.org
Few art lovers realize that nearly half of the paintings made by Salvador Dalí early in his Surrealist period (1929–36) were small-scale, some measuring only two by three inches. Located on the campus of Southern Methodist University, the Meadows Museum grew interested in this fact in 2014, when it acquired the small painting L’homme poisson (1930). Now it is the only venue for Dalí: Poetics of the Small, the first exhibition to explore this body of little works. The show features nearly two dozen examples, all featuring the master’s familiar yet distorted figures, often set against dramatic or barren landscapes. Together they constitute Dalí’s response to the Dutch Old Masters, specifically Vermeer, as well as an expression of his obsession with detail. Meadows director and exhibition co-curator Mark Roglán observes, “It is clear that Dalí himself felt the size of these paintings was important, an opportunity for him to explore Surrealist ideas within a constrained frame, where the eye is drawn to detail differently.” This project will also present findings from the Meadows’s recent technical studies Salvador Dalí (1904–1989), The Ghost of Vermeer of Delft Which Can Be Used as a Table (Phenomenologic Theory of FurnitureNutrition), c. 1934, oil on wood panel, 7 1/8 x 5 1/2 in., Salvador Dalí Museum, St. Petersburg, Florida
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with conservators at the Kimbell Art Museum (Fort Worth), Gala-Salvador Dalí Foundation in Spain, and Museum of Modern Art in New York City.
Scherezade Garcia (b. 1966), In My Floating World: Landscapes of Paradise (from the series Theories of Freedom), 2010, plastic tubes, prints, rubber, and illustrations, courtesy of the artist and Lyle O. Reitzel Gallery, New York City
New York City
wallach.columbia.edu
through September 23
An intriguing exhibition is on now at the art gallery operated by Columbia University. Curated by Tatiana Flores (Rutgers, State University of New Jersey), Relational Undercurrents: Contemporary Art of the Caribbean Archipelago features more than 80 artists with roots in Haiti, the Dominican Republic, Cuba, Puerto Rico, Curaçao, Aruba, St. Martin, Martinique, Guadeloupe, Trinidad and Tobago, Jamaica, the Bahamas, and Barbados. While it is common for scholars to stress the region’s variegated colonial history and extraordinary diversity, this project focuses instead on thematic continuities in its art. On view are paintings, installations, sculptures, photographs, videos, and works of performance art. The project was presented earlier this year at the Museum of Latin American Art in Long Beach, California.
Cartersville, Georgia September 8, 2018 –January 13, 2019
boothmuseum.org
Frederic Remington (1861– 1909), Buffalo Hunter Spitting a Bullet into a Gun, 1892, watercolor on paper, 28 1/2 x 25 in., Frederic Remington Art Museum, Ogdensburg, New York, Public Library Collection
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The Booth Western Art Museum will showcase more than 25 pieces on loan from the Frederic Remington Art Museum in Ogdensburg, New York, where the great Western artist (1861–1909) grew up. Also on view will be over 30 more Remington works from private collections and other museums. Together these loans will comprise the largest Remington show ever mounted in the Southeast, reminding visitors how he became the leading interpreter of the American West, succeeding as a sculptor, painter, illustrator, and writer.
the friendship between these two superb museums and between the Netherlands and Germany. This is one of only 34 extant works by Vermeer and has been on view at the Rijksmuseum since 1885. Alte Pinakothek curator Bernd Ebert has hung it alongside other well-known masterpieces in his gallery of Netherlandish masters, and has arranged for the German poet Ludwig Steinherr’s collection of verse Briefleserin in Blau (The Letter-Reader in Blue) to be published at the same time.
Eugène Delacroix (1798–1863), Self-Portrait with Green Vest, c. 1837, oil on canvas, 25 9/16 x 21 7/16 in., Musée du Louvre, Paris © RMN / Art Resource, NY / Michel Urtado
New York City metmuseum.org
Richard Schmid
September 17, 2018 – January 6, 2019
The French painter Eugène Delacroix (1798–1863) was one of the greatest creative figures of the 19th century. Through his choice of daring subjects and compositions, a vibrant palette, and bold brushwork, he launched a cascade of innovations that changed art history. As Van Gogh wrote in 1885: “What I find so fine about Delacroix is precisely that he reveals the liveliness of things, and the expression and the movement, that he is utterly beyond the paint.” Although Delacroix is celebrated as the embodiment of the Romantic era, much remains to be understood about him. Already a huge hit at the Louvre in Paris, the Metropolitan Museum of Art’s new Delacroix show is the first comprehensive retrospective in North America devoted to the artist. It will illuminate Delacroix’s restless imagination through approximately 145 paintings, drawings, and prints borrowed from around the world, many never shown in the U.S. before. This project is complemented at the Met by the exhibition Devotion to Drawing: The Karen B. Cohen Collection of Eugène Delacroix (on view through November 12), which expands upon his endlessly inventive work as a draftsman. It celebrates a New York collector’s generous gift to the Met of some 130 drawings, which range from finished watercolors to sketchbooks, from copies after Old Master prints to preparatory drawings for important projects. As the first North American exhibition devoted to Delacroix’s drawings in more than 50 years, it will introduce a new generation to his draftsmanship.
Munich
pinakothek.de
Bennington, Vermont
westwindfineart.com
September 22–23
West Wind Fine Art has organized a tribute weekend to the American painter Richard Schmid (b. 1934) on the 20th anniversary of his best-selling book Alla Prima II. Curated by Kristen Thies and mounted at the Laumeister Art Center, it centers on an exhibition of a dozen masterworks painted by Schmid and borrowed from private collections. Complementing them will be works by his proteges Nancy Guzik, Kathy Anderson, Stephanie Birdsall, Scott Burdick, Michelle Dunaway, Daniel J. Keys, Susan Lyon, and the late Timothy R. Thies. The weekend will also feature a conversation among Anderson, Birdsall, Burdick, Dunaway, Keys, and Lyon about Schmid’s influence upon their own artistry. Next up is a screening of films about Schmid, and finally Keys will demonstrate how he paints still lifes in oils. Tickets for the entire weekend can be ordered online.
OUT & A BOUT
through September 30 Johannes Vermeer (1632– 1675), Woman in Blue Reading a Letter, c. 1663, oil on canvas, 18 1/4 x 15 1/2 in., Rijksmuseum Amsterdam, on loan from the City of Amsterdam
To celebrate the recent reinstallation of the Alte Pinakothek’s Old Master paintings, the Rijksmuseum has decided to send Johannes Vermeer’s famous Woman in Blue Reading a Letter on loan from Amsterdam. This gesture underscores S E P T E M B E R / O C T O B E R
The Nevada-based artist Charles Muench was delighted recently to learn that the Hilbert Museum of California Art (Orange, CA) had purchased his large painting Trail’s Reward for its permanent collection. Muench and his wife, Maria, are seen here before the painting while it was on view in the California Art Club’s 107th Annual Gold Medal Exhibition. 2 0 1 8
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In June the National Sculpture Society (NSS) convened its annual sculpture conference at Brookgreen Gardens in South Carolina. Photos: Andy Lay
In Traverse City, Michigan, this summer, the Crooked Tree Arts Center hosted the Oil Painters of America’s 2018 Salon Show Juried Exhibition of Traditional Oils. Here awards juror Roger Dale Brown (center) chats with artists Elizabeth Pollie (left) and Kathie Wheeler. Photo: Gina Ward
Kent Ullberg speaks at The Fountain of the Muses by sculptor Carl Milles.
Michel Langlais (President, NSS), Timothy J. Nimmo (Marilyn Newmark Grant winner), and Walter Matia (Fellow, National Sculpture Society)
Monique Ziolkowski, Garland Weeks, Donella Lay In Wisconsin, the Wausau Museum of Contemporary Art is presenting the exhibition Painting the Figure Now. At the opening reception, co-curator Didi Menendez (PoetsArtists) relaxed with Fine Art Connoisseur’s Gina Ward before a diptych by Margaret Bowland.
Michel Langlais (President, NSS), Judith Ettl Hazen, Benjamin Victor (Alex J. Ettl Grant winner), and Cordelia Ettl Clement
Richard Blake speaks about his sculpture Grandmother Rita, which is permanently installed at Brookgreen Gardens. Robin R. Salmon, Vice President of Art and Historical Collections and Curator of Sculpture at Brookgreen Gardens
This summer Wyoming’s Brinton Museum hosted its third annual Bighorn Rendezvous Art Show & Sale. Tony Hochstetler (right) won the Fine Art Connoisseur award for his bronze sculpture Tree Frogs on Cottonwood. He is shown here with his wife, Shannon. Photo: Scott Jones
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Three top winners of the Richard McDermott Miller Modeling Competition: Charlie Mostow, Zoe Dufour, Alejandro Buchner
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JASON DRAKE
The Swan at Mayview Lake
Over the Cattail Pond
11 x 14 inches, oil on linen
11 x 14 inches, oil on panel
Available through Blowing Rock Frameworks & Gallery, Blowing Rock, NC
JasonDrakeStudio.com
facebook.com/JasonDrakeStudio
“BEFORE SUNRISE” 2017 LAGUNA PLEIN AIR BEST IN SHOW AIMEE ERICKSON
Quick Draw Oct 7, 9:30 am - 11:30 am Heisler Park Laguna Beach, CA
Meet & Greet and Public Sale Oct 7, 12:30 pm - 3:30 pm Festival of Arts Laguna Beach, CA
Collectors Gala Oct 13, 7 pm - 10:30 pm Festival of Arts Laguna Beach, CA Ticketed Event
LPAPA Art Show & Sale Oct 14, 10 am - 5 pm Festival of Arts Laguna Beach, CA Free Admission
ARTISTS Peter Adams Ken Auster (In Memoriam) Jacobus Baas Cindy Baron Carl Bretzke Cynthia Britain John Budicin John Burton Saim Caglayan John Cosby Bill Davidson Rick J Delanty Gil Dellinger Jennifer Diehl Aimee Erickson Mark Fehlman Jeff Horn
CELEBRATE THE LEGACY, BE PART OF THE TRADITION. 20th Annual Laguna Beach Plein Air Painting Invitational
Debra Huse Mark Kerckhoff Paul Kratter Peggi Kroll-Roberts Jim Lamb Calvin Liang Daniel Marshall Jim McVicker Clark Mitchell Daniel Mondloch Michael Obermeyer Kathie Odom Rita Pacheco Joe Paquet Jesse Powell Scott W Prior Camille Przewodek April Raber
Ray Roberts Jason Sacran Anthony Salvo Patrick Saunders Jeff Sewell Randy Sexton Michael Situ W. Jason Situ Matt Smith David Solomon J Ken Spencer George Strickland Bryan Mark Taylor Michele Usibelli Jove Wang Durre Waseem
TICKETS ON SALE NOW! Visit lpapa.org for calendar of events and additional details.
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The Gift 30x40, Oil on Linen
w w w.jr us sellwells.com
T h e G i f t w ill b e s h o w n a t E i s e le G a ll e r y, C in c in n a t i S e p t 14 - O c t 12 a s p a r t o f t h e N O A P S B e s t o f A m e r i c a s h o w. E i s e le c a n b e r e a c h e d a t 513 -7 91-7717 J . R u s s e ll W e ll s c a n b e r e a c h e d a t j r w@j r u s s e ll w e ll s . c o m o r 8 47-3 61- 5124 . F o llo w h im o n I n s t a g r a m
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George Shaw
a corner of a foreign field october 4– december 30, 2018
catalogue available
free and open to the public 1080 Chapel Street, New Haven 1 877 BRIT ART | britishart.yale.edu @yalebritishart #GeorgeShaw
George Shaw, Ash Wednesday: 7.00am (detail), 2004–5, © George Shaw 2018
SHERI FARABAUGH ASMAF, OPA, AWA
Annie’s Pickles 8x24, Oil on canvas
Annie’s Pickles will be shown in the 13th Annual International Guild of Realism Exhibit at the Sugarman Peterson Gallery in Santa Fe, NM from October 5th - 29th.
www.SheriFarabaugh.com | SLFarabaugh@hotmail.com 134
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F I N E A R T C O N N O I S S E U R · C O M
Carol StroCk WaSSon PSA AWA CPPM
StroCk WASSon Studio 937-459-6492 • 317 N Columbia, uNioN City, iN 47390
carolstrockwasson.com
“Morning Serenade” (detail) 16” x 16” pastel
LISA KOVVURI www.lisakovvuri.com | lisa@lisakovvuri.com
Remembering Chittamma charcoal on paper 24x18
Whistler House Museum of Art 243 Worthen Street, Lowell, MA 978-452-7641 www.whistlerhouse.org
F I N E A R T C O N N O I S S E U R · C O M
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S U S A N LY N N WAT E R C O L O R S . C O M
Gettin’ Ready, 9” x 12”, Watercolor
SUSAN LYNN
Signature Member of the American Women Artists, Outdoor Painter Society, and Artist Member of the Salmagundi Club
816-803-9244 • slynn@susanlynnwatercolors.com
Paula B. Holtzclaw www.Paul abholtzcl awfineart.com OPA, AWAM, AIS, ASMA, PAP-SE
Currents of Spring, Oil 24 x 36
Available at Women Artists of the West “Tallgrass Rendezvous” 48th Annual National Exhibition at Price Tower Arts Center, Bartlesville, OK September 20 - November 4, 2018 More works can be seen at the 33rd Annual Bosque Art Classic, Clifton, TX September 8-22, 2018
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ŘŕŦōŎőŠŔ5 ŘśťŐ Available at
Principle Gallery | Alexandria
elizabethfloydstudio.com
F I N E A R T C O N N O I S S E U R · C O M
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Bittersweet, Oil on Linen, 32 x 40 inches
,JOH 4USFFU "MFYBOESJB 7"
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Winter Birches, Watercolor, 30”x 40”
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Letty Casazza
ssstoehr@sbcglobal.net
775.827.1151 Reno 395 N°, Watercolor, 30”x 40”
F I N E A R T C O N N O I S S E U R · C O M
EQUINE & PORTRAIT ARTIST Primary Colors 20x24 Oil on canvas Image Available
NanciFulmek.com
Jammey Huggins APA, AWA “Gifts of the Water” Bronze Edition of 50 17” h x 12” diameter www.jammey.com jammey@jammey.com 432-758-5270
F I N E A R T C O N N O I S S E U R · C O M
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Paint The Beach
A plein air festival in Fort Myers Beach, Florida November 1-3, 2018
9th annual painting competition with over $5000 in cash and prizes Joe Palmerio, Juror Limited to 60 artists Awards reception and Sale Nov. 3 Art on display through Nov. 9 Visit Paintthebeach.com after July 15 to register MANY THANKS TO OUR PARTNERS
2017 Winner – Craig Reynolds “The Green Flash”
PainttheBeach.com • 239-463-3909
Eileen Eder
Deux Citrons, Oil, 16 x 20
Flo’s Boarding House, Oil, 16 x 20
Award winning still life and landscapes
Represented by susanpowellfineart.com | Inquiries welcome eileeneder.com
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Crabbing 40”h x 30”w Acrylic on Board
American Nobility 60”h x 40”w Acrylic on Canvas
EZRA TUCKER
e z r a t u c k e r 1 5 5 @ a o l . c o m • ( 7 1 9 ) 4 8 7 - 0 6 4 8 • w w w. e z r a t u c k e r. c o m
MARY GARRISH
marygarrish@aol.com • 321.698.4431 • www.marygarrishfineart.com
Cypress Reflections 30 x 40 in. Oil F I N E A R T C O N N O I S S E U R · C O M
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Recognized as a “New Jersey Emerging Artist” by Monmouth Museum.
Resting On The Sea Of Galilee 24 x12 in. Oil on linen.
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Inventive. Lively. Bold.
Visit HLGibsonArt.com to see more.
Oil Paintings By Heather Lynn Gibson
Seeking new gallery representation. Email: Studio@HLGibsonArt.com
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F I N E A R T C O N N O I S S E U R · C O M
F I N E A R T C O N N O I S S E U R · C O M
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Kathy Anderson
Winterberry and Sapsucker, 10x16
Featured with Nancy Guzik Stephanie Birdsall Scott Burdick Michelle Dunaway Daniel Keys Susan Lyon
WEST WIND FINE ART’S TRIBUTE to RICHARD SCHMID THE LAUMEISTER ART CENTER Bennington, Vermont
September 22 - 23 www.kathyandersonstudio.com
JILL BANKS Capturing Life in Oils
Old Market oil 24 x 36 in (detail)
Enrich your collection
Paintings from Paris coming soon. Subscribe for latest works, adventures and art news. Gallery inquiries welcome.
144
JillBanks.com
Jill@JillBanks.com 703.403.7435 S E P T E M B E R / O C T O B E R
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F I N E A R T C O N N O I S S E U R · C O M
The Allegany Arts Council presents the Tenth Annual
MOUNTAIN MARYLAND
PleinAir SEPTEMBER 2429, 2018
• Collector’s Reception – September 28 • Quickdraw – September 29 • Public Reception – September 29 For more information visit: www.mmpleinair.org
Juror: Vladislav Yeliseye v
Allegany Arts Council I 9 N. Centre Street, Cumberland, MD I 301.777.ARTS (2787)
F I N E A R T C O N N O I S S E U R · C O M
S E P T E M B E R / O C T O B E R
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2018 Artists Lissa Abrams - Baltimore, MD Bruno Baran - Nottingham, MD Joanna Barnum - Abingdon, MD Alison Barry - Lusby, MD Lon Brauer - Granite City, IL Claudia Brookes - Monkton, MD Thomas Bucci - Washington, DC Jackie Clark - New York, NY Henry Coe - Parkton, MD Amy Collins - Birmingham, AL Michael Compton - Cambridge, MA David Diaz - Annapolis, MD Raymond Ewing - Swan Point, MD David Finnell - Maurertown, VA Patricia Hilton - Cumberland, MD Rebecca King Hawkinson - Black Mountain, NC Jane Knighton - Glenwood, MD Wyatt LeGrand - Bloomfield, IN Mick McAndrews - Downingtown, PA Lynn Mehta - Alexandria, VA Crista Pisano - Nyack, NY Christine Rapa - Catonsville, MD J. Stacy Rogers - Lewes, DE William Rogers - Antigonish, Nova Scotia, Canada Robert Simone - St. Petersburg, FL Katriel Srebnik - Charleston, SC Lena Thynell - Port Matilda, PA Robin Wright - Springfield, OH
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Over a Hundred Galleries, Boutiques and Restaurants in a half mile
Vi b r a n t • Pa s s i o n a t e • C a p t i va t i n g
Join us, October 20th & 21st For the Eleventh Annual Paint Out & Sculpt Out on Canyon Road
“Middle Fork Salmon River”, 40 x 30, oil
UPCOMING EXHIBITIONS Oil Painters of America/Western Regional, August 2018 Buffalo Bill Art Show & Sale, September 2018 Miniatures By The Lake/ Coeur d’Alene Galleries, September 2018 American Impressionist Society 19th Annual Exhibition, September 2018 Cortile Gallery Solo Exhibition, October 2018 The Brinton Museum 101, November 2018
UPCOMING PLEIN AIR EVENTS Laguna Plein Air Invitational, October 2018 Zion Plein Air Invitational, November 2018 Maui Plein Air Invitational, February 2019
Michele Usibelli Fine Art Studio www.MICHELEUSIBELLI.com 206.999.7558
146
Art lovers are invited to experience the world of art during the iconic eleventh annual Paint Out & Sculpt Out on Historic Canyon Road, an event that brings artists from around the country to Santa Fe every fall. Meet the artists and enjoy gallery openings on Friday, October 20th. The paint out and sculpt out will take place at galleries along Canyon Road, Saturday, October 21st, 10am-4pm. Presented by: Canyon Road Merchants Association visitcanyonroad.com
S E P T E M B E R / O C T O B E R
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F I N E A R T C O N N O I S S E U R · C O M
C a ro l Peek carolpeek.com
U n s p o ke n 30 x 36 Oil © 2 018
HOLTON STUDIO GALLERY 800.250.5277 B e r k e l e y, C A H o l t o n F ra m e s . c o m
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W LO ISA L A V TO IRE W QU NO AC OK TO BO ME TI
Your Hosts, Publisher Eric Rhoads and Editor Peter Trippi
See the Art of Italy as an Insider.
Take Advantage of Our Deep Contacts to See Italy Like No Other.
Rome • Florence • Milan • Lake Como October 18-26, 2018
While other trips offer excursions to art museums, only Fine Art Connoisseur magazine can leverage its close relationships in the art world to allow privileged access to locations most tourists never see. Private visits to the homes of artists or collectors, personal meetings with important art professionals, and entrance to exquisite art-related locations will create a lifetime of memories for you and your fellow travelers.
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art professionals Visit some of the most closely guarded art collections of the region Four nights Florence Luxury train ride, Florence to Rome Four nights Rome
CE N A CH T S LA
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Also available: Three nights pre-trip package available in Milan Three nights post-trip package available in Sorrento and Amalfi Coast
ItalianArtTrip.com/Connoisseur
Contact Gabriel Haigazian with The CTP Group / telephone: 818.444.2700
•
email: gabriel@thectpgroup.com
Photo of Bridge Vittorio Emanuele II at Sunset, taken by Livioandronico2013. Use granted under Creative Commons License CC BY-SA 4.0; Lake Como photo by Joyborg at German Wikipedia for unrestricted use; Skyline photo of Florence at bottom © B. Eric Rhoads; Photo of Statue of Charles of Anjou; taken by Raffaespo, licensed under the Creative Commons Attribution-Share Alike 2.5 Generic License. Photo of Castel Sant’Angelo and Ponte Sant’Angelo © by Thomas Wolf; use granted with attribution by Creative Commons License CC BY-SA 3.0 DE. Milan Cathedral photo by S E P T E M B E R / O C T O B E R 2 0 1 8 F I N E A R T C O N N O I S S E U R · C O M Jiuguang Wang, under Creative Commons Attribution-Share Alike 3.0 License.; bust at right © B. Eric Rhoads.
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Available at the American Impressionist Society 19th Annual National Juried Exhibition September 27 - October 27, 2018 Peninsula School of Art, Door County, WI
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Meet MeetYour YourFaculty: Faculty:Some Someof ofthe the
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With numerous elegant meeting areas, the Biltmore Hotel is the perfect host site for both our large gatherings and for close-up learning 154and painting with our elite faculty.
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F I N E A R T C O N N O I S S E U R · C O M
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S E P T E M B E R / O C T O B E R 2 0 1 8 Photo rights: photo front, top left: use granted w/attribution by wallpapers13.com; top right: ©2018 shutterstock.com limited use license; bottom right: Banff Trail by Balachand; use granted under Creative Commons Share and Share Alike license; bottom left, “Lake Louise” ©2018 Brett Abernethy Photography, Calgary, Alberta.
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F I N E A R T C O N N O I S S E U R · C O M
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CLAUDIA SEYMOUR
www.claudiaseymour.com J.M. STRINGER FINE ART Vero Beach, FL www.jmstringergallery.com SUSAN POWELL FINE ART Madison, CT www.susanpowellfineart.com HANDWRIGHT GALLERY New Canaan, CT www.handwrightgallery.com GLADWELL & PATTERSON Knightsbridge (London), SW3 www.gladwells.org.uk “Au Provence,” 20” x 18”, oil
d i r e c t o ry o f a d v e rt i s i n g 2018 FAC Seymour SeptOct 1/2 Pg Ad.indd 1
Akey, Rob ................................................ 61 Allegany Arts Council Mountain Maryland Plein Air Festival...................................... 145 American Impressionist Society ............ 45 Anderson, Kathy ..................................... 144 Anderson, Tracy...................................... 54 Arenas, Heather ...................................... 35 Banks, Jill E.........................................54, 144 Barber, Chantel Lynn .............................. 10 Bathe, Beth Brownlee ............................. 31 Baxter Fine Art ........................................ 147 Blackburn, R. Geoffrey ........................... 37 Boren, Nancy .......................................... 48 Boyer, Lyn................................................ 149 Brookgreen Gardens .............................. 151 Buffalo Bill Art Show ............................... 51 Byrne, Michele ........................................ 48 California Museum of Fine Art ............... 30 Canyon Road Merchants Association....146 Cape Ann Plein Air Festival .................... 50 Carol Peek Fine Art ................................. 147 Carr, Monique ......................................... 42 Casazza, Letty ......................................... 138 Chadwick, Gloria .................................... 56 Chiaramonte, Mary ................................. 38 Chuck Middlekauff Studio...................... 163 Combs, Michele...................................... 57 Cooke, Carole ......................................... 26 Corbett, Harriet ...................................... 4 Coy, Kathleen .......................................... 48 Creighton Block Gallery ......................... 13 Crowe, Judy A. ........................................ 46 Debrosky, Christine ................................ 46
F I N E A R T C O N N O I S S E U R · C O M
Devereaux, Carol .................................... 56 Drake, Jason............................................ 132 Drewyer, Christine .................................. 6 Eder, Eileen Elizabeth ............................. 140 Farabaugh, Sheri .................................... 134 Floyd, Elizabeth....................................... 137 Folsom, Kelli M. ....................................... 58 French-Deal, Penny ................................ 49 Fulmek, Nanci ......................................... 139 Fusco Four Marketing ............................. 62 Gallery 901 .............................................. 143 Garrish, Mary .......................................... 141 Gleim, Lisa .............................................. 46 Goodding, Jeremy .................................. 61 Groesser, Debra Joy ............................... 47 Haley, Nancy ........................................... 54 Hall, Michael Aaron................................. 41 Heather Lynn Gibson Studio, LLC .......... 142 Hove, Shirley ........................................... 57 Huggins, Jammey ................................... 139 Hunt, Jane ............................................... 145 Illume Gallery of Fine Art ........................ 17 Irwin, Doreen .......................................... 58 Jander, Melissa........................................ 55 Johnson, Oksana .................................... 32 Jung, Michelle ......................................... 8-9 Kexin Di ................................................... 39 Klingensmith, Kate ................................. 58 Knight, Sheryl ......................................... 55 Kovvuri, Lisa ............................................ 135 Laguna Plein Air Painters Painting Invitational .............................................. 132 Larry Cannon Watercolors ..................... 137 S E P T E M B E R / O C T O B E R
7/30/18 6:13 PM
Lashley, Christine ................................... 34 Putnam, Lori............................................ 133 Levin, Steven J. ....................................... 39 Reynolds, Sara Jane................................ 157 Lotton Gallery ......................................... 11 RJD Gallery.............................................. 21 Lynn, Susan............................................. 136 Rogo Marketing & Communications...... 59 Lyon, Howard .......................................... 61 Rosen, Cynthia........................................ 31 MacDonald, John .................................... 138 Ryan Mellody Art .................................... 36 Mary Pettis Galleries ............................... 41 Schlesier, Grace...................................... 56 Matteson, Susan Hediger ....................... 60 Schneider, William A. ............................. 40 McBride, Kirk........................................... 143 SEWE/Southeastern Wildlife Exposition 24 McGonagle, Georgene ........................... 56 Seymour, Claudia H. ............................... 161 McMahon, Kathryn ................................. 55 Sibilsky, Bren........................................... 38 Meyer Gallery .......................................... 5 Skusek, Nik Anikis ................................... 40 National Cowboy & Western Heritage South Street Art Gallery ......................... 14-15 Museum .................................................. 7 Stoneridge Art Studios........................... 142 National Museum of Wildlife Art ............ 33 Stratman, Kay ......................................... 58 National Sculpture Society .................... 44 Strock-Wasson, Carol ............................. 135 Newell, Pamela C. ................................... 47 Susiehyer Studio..................................... 46 Nicholas-Jennings, Alexandrea .............. 38 Taylor, Jennifer Stottle ............................ 49 Nielsen, Tom ........................................... 27 The Legacy Gallery ................................. 164 NOAPS..................................................... 43 The Salmagundi Club ............................. 29 Novotne, Carol ........................................ 57 Tolar, Jude ............................................... 53 Nuss, Barbara.......................................... 55 Trailhead Studios .................................... 53 Oil Painters of America........................... 60 Tucker, Ezra Noel .................................... 141 Paint the Beach....................................... 140 Twisted Fish Gallery................................ 157 Palm, Peggy ............................................ 53 Usibelli, Michele...................................... 146 Park, Pokey.............................................. 53 Vanessa Rothe Fine Art .......................... 28 Paula B. Holtzclaw Fine Art..................... 136 Wardle, Kathy .......................................... 54 Peabody Essex Museum ......................... 23 Weiss, Robin............................................ 48 Penix, Derek W. ....................................... 2 Wells, J. Russell ....................................... 133 Peterson, Dena ....................................... 57 Women Artists of the West..................... 52 Plasari, Genta .......................................... 41 Yale Center for British Art....................... 134 Ploughe, Susan ....................................... 151 Zion National Park Plein Air Invitational . 149 Principle Gallery ..................................... 18-19 2 0 1 8
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KI RK L ARS E N (b. 1960) Praying, Hoping, Waiting for the Muse 2 0 1 7, o i l o n c a n v a s , 1 6 x 2 0 i n . collection of the artist
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F I N E A R T C O N N O I S S E U R · C O M
8/14/18 11:00 AM
My Collectors Have More Fun! CHUCK MIDDLEKAUFF
The Wild and Wacky West Roadshow
The Wacky West Wildlife Show
2018 SLOPOKE Fine Art of the West Show October 6-7, Flag Is Up Farms, Solvang, California
36 x 60 Acrylic on Canvas
30 x 40 Water Media on Paper Mounted on Canvas
One-Man Show Nov-Dec (Reception Nov 3) 2018, Davis & Blevins Gallery, St. Jo, Texas
C H U C K M I D D L E K A U F F . C O M
oreland joe
george hallmark
30'' indiana limestone
40'' x 36'' oil
martin grelle
paul moore
32'' x 32'' oil
29'' bronze
glenn dean
g roup s how & s ale c elebrating 30 y ears n ovember 3 rd , 2018 s cottsdale , az For more information please visit www.legacygallery.com.
7178 main street • scottsdale, az 85251 • 480-945-1113 box 4977 • 75 north cache • jackson , wy 83001 w w w . l e g ac yg a l l e ry . c o m
john coleman
26'' x 18'' oil
20'' x 20'' oil
