Two Ohio Masters
APRIL 12 - MAY 6, 2024
Edmund Kuehn: German Village Vignettes, 1953-1994
Alan Gough: A Resonant Path, 1951-2024
FRONT COVER:
Alan Gough’Pod Procession’, 1973
Oil on canvas
12 x 18 inches
Signed lower left
$2,400
Edmund Kuehn
‘German Village View’, 1956
Casein on board
15 x 20 inches
Signed and dated lower left
OPPOSITE PAGE:
Edmund Kuehn
DETAIL: ‘German Village View’, 1956
Alan Gough
DETAIL: ‘Michigan: Barn Ruins’ 300
P: 614.464.1228
For additional information on the exhibition: www.kenygalleries..com
APRIL 12 - MAY 6, 2024
OPENING RECEPTION:
FRIDAY, APRIL 12 (6:30-8:30PM)
VALET PARKING
INTRODUCTION
We are very pleased to exhibit the works of two exceptional and dedicated artists: Alan Gough and Edmund Kuehn. Their aesthetic styles are different but their outstanding command of their media, keen knowledge of composition, and fine orchestration of tones and hues are shared characteristics of their art.
Both artists completed their education at fine art schools: The American Academy of Art in Chicago, and Art Students League in New York, respectively. Alan’s subjects have been the urban and rural landscape. Initially, his painterly urban works with richly brushed scumbling of paint were influenced by the art of such masters of vital brushwork and the depiction of everyday life and dwellings in New York as George Bellows, John Sloan, and George Luks. Alan’s landscapes since the mid 1970’s, with a few earlier exceptions, have been more tightly rendered with affinities to the egg tempera paintings and finely articulated drybrush watercolors and drawings of Andrew Wyeth. Alan shared Wyeth’s interest in the details and underlying structure of the American landscape and the dwellings and barns of the perseverant farmers who toiled the land and bonded with it. He favors the sparse, subtly toned and quietly hued late fall, winter and early spring landscapes. However, his late spring, summer, and early fall paintings have more vibrant color harmonies, yet still have a well-defined structure.
Whereas Edmund’s multi-faceted art is a product largely of his thorough study of European modern art in New York at the Art Students League, including the vibrant, expressive Fauvist use of color by such Post-Impressionists as Henri Matisse and Andre Derain. His compositions are often a function of the Cezannesque sculptural structure of forms which is rooted in iconic African wood carvings. Also, Edmund admired the fluidity of line, opulant forms, and the beautiful color harmonies of the Rococo figural paintings of the eighteenth century French artist, Jean-Honoré Fragonard. Yet there is a unique playfulness with his orchestration of color and line in much of his art that reflects his wry sense of humor and enjoyment of classical music, opera, and the urbane comedy of Jacques Tati and Charlie Chaplin.
Both of these artists are kindred spirits in their resolute devotion to their art and to elevating the enjoyment and spirit of those who view and contemplate their art.
Timothy Keny‘Porch Cat’, September, 1965
Pencil on paper
8 x 13 inches
Dated and signed lower right
$850
‘Michigan: Red Barn Study’, 1958 Oil on canvasboard 12 x
‘Michigan: Barn Ruins’ Summer, 1959
$1,500
‘Chicago, Underneath Construction Site’, early 1960’s
12
$1,500
‘November River,’ 1969 Oil on canvasboard 16 x 12 inches Signed lower right: Gough
‘Winter Side Light’, 1979
Oil on canvas
12 x 16 inches
Private Collection
‘Sanfords South Side’ Oil on canvasboard
x
‘Red Barn on a Hillside’ Oil on canvas
‘Still Life In Doorway’, c. 1955
Casein on paperboard
20 x 15 inches
‘Boy in Park’, 1987 Acrylic on board 15 x 20 inches
‘Still
‘Proud Cat’, 1993
Gouache on paper 8 x 10 inches
