Ken Davies, “The Bookcase,” 1951, oil on canvas, 22 x 45 in. © Wadsworth Atheneum 2017

Sometimes movement involves feelings rather than objects.  Discover how one man has been using still life for nearly 60 years to inspire generations of accomplished creators.

Opened February 16 and on view through April 30, “Ken Davies: Realism in the 20th Century” is an important exhibition that any fine art connoisseur needs to see. For more than 60 years, Ken Davies (b.1925) has been producing brilliant works that have earned him the designation of one of the preeminent still life painters alive today. As importantly, from Davies have come a number of accomplished students, including Joseph Reboli, Jo-Anne Scavetta, Daniel Patrick Buckley, Richard Newman, Dennis Coburn, and George (Gig) Thompson — all of whom have work in the show.

Among a number of remarkable still lifes are several of Davies’ landscape paintings as well. In addition to exploring the influential career of Davies, the exhibition is meant to delve into the master’s influence on Joseph Reboli (1945-2004). Reboli was a graduate of Paier School of Art in Hamden, Connecticut, during Davies’ tenure as dean. “Joe Reboli was one of the best students in the history of the Paier School,” Davies once said.

“Ken Davies: Realism in the 20th Century” is on view through April 30 at the Reboli Center in Stony Brook, New York. To learn more, visit the Reboli Center.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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