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Artist Spotlight: Robin Cheers

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artist smiling with her painting hanging
Robin in her studio/gallery space in Austin, Texas

How do you describe success?
Robin Cheers: Success comes in many forms. Sometimes just being able to tackle a tough subject and love my painting is a huge win! But more than anything, I feel that I’ve been successful when I touch someone with my art. Whether it’s helping a student resolve a difficult passage and I see the light in their eyes and their smile when it clicks, or when a patron tells me how much a painting means to them, how it reminded them of a special moment in their lives. When I communicate and capture something that inspires people in this crazy, hectic world, then I feel the most success.

What is the best thing about being an artist?
Robin Cheers: I’ve been blessed to work my art career into my family life. Sometimes painting takes a backseat while I am needed by family. Sometimes it is all consuming. I’ve learned over the decades that my passion isn’t something that I will lose. It’s a comfort when I can create in difficult times, it’s a joy when I can immerse myself completely. My paintings have always evolved from my family life – ideas come from trips, hobbies with my child, my own childhood memories, and imagery close to home. My works are all about connection, the everyday scenes that we may overlook but are the moments that make up a lifetime.

To see more of Robin’s work, visit:
www.robincheers.com

oil painting of street corner with people walking in street, and red building on left side
Robin Cheers, “Crossing Chinatown”, oil on panel, 14 x 11 in., 2022, Available during American Impressionist Society National Juried Show starting Sept. 15, 2022
oil painting of looking at boardwalk from a distance on a sunny day
Robin Cheers, “Under the Boardwalk”, oil on panel, 14 x 18 in., 2021

A $12 Million Gift

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Portrait painting of art collectors - Bennetts
Katie O'Hagan (born 1972), "Portrait of the Collectors, Dr. Elaine Melotti Schmidt and Steven Alan Bennett" oil on canvas, 78" x 58" 2016

Two of the country’s leading collectors of figurative realist paintings have donated $12 million in artworks and cash to help create a new wing at the Muskegon Museum of Art (MMA) where they are dedicating space for artwork by women. Fewer than five museums in the world dedicate space solely to the work of women artists.

More than 150 paintings by women artists were given to the Michigan museum by art collectors and champions of gender equality, Steven Alan Bennett and Dr. Elaine Melotti Schmidt, of San Antonio. Their donation also includes a $1.5 million cash gift, which will help create a new wing to more than double the size of the museum.

“From the moment we commenced collecting, we were concerned that women artists were not being treated equally with men,” said Bennett. “They have fewer shows; they have fewer pieces in museums’ permanent collections; and their works have almost universally sold for less than those of men. We have seen our Collection as a way to right some of these wrongs and are delighted that the Muskegon Museum of Art is joining us to ensure that the effort continues long into the future.”

The project is expected to be completed in early 2024.

Bennett and Schmidt have collected figurative realist paintings by women artists since 2009 creating The Bennett Collection, and in 2018 established The Bennett Prize—a $50,000 biennial award designed to propel the careers of women painters who have not yet realized full professional recognition. It is the largest art award offered solely to women painters.

The Bennett Prize is currently in its third cycle; two winners, Aneka Ingold, of Tampa and Ayana Ross, of Atlanta have been selected thus far. The call for entries for the third cycle is open through Oct. 7, 2022.

Bennett and Schmidt say their mission is to encourage women painters to take their place among the most celebrated painters, a group currently dominated by men. They also hope to expand opportunities for the public to learn more about figurative realist painting and the creative vision of talented women artists.

Over the past decade, only 11 percent of art acquired by the country’s top museums for their permanent collections was by women, according to a survey completed by the art market website ArtNet in 2019. Of the 260,470 works acquired by 26 of the top museums in the United States, less than 15% were by female artists.

The Muskegon Museum of Art opened in 1912 and houses over 5,000 pieces in its collection. With the $11.2 million expansion, the museum will more than double in size, adding three new rotating galleries, two classrooms, rooftop terrace, museum store, connecting and support space and public plaza. Bennett and Schmidt’s cash gift of $1.5 million joins $9.6 million in gifts from other lead donors including $1 million from the Van Kampen Boyer Molinari Foundation, $1 million from the City of Muskegon, $500,000 each from Carol R. Folkert & Family, The Hilt Foundation, Patrick O’Leary Foundation, Brad & Kathleen Playford, Shape Corporation, and Mrs. Shaw Walker. About 250 additional gifts total $11.1 million raised to date.

Paintings donated from The Bennett Collection include works by more than 115 artists, including Artemisia Gentileschi, Mary Cassatt, Agnes Martin, Elaine de Kooning, Harmonia Rosales, Julie Bell, Andrea Kowch, Katie O’Hagan and dozens of others representing contemporary and historical women figurative realist painters.

“This is a transformative and once-in-a-lifetime gift,” said MMA Executive Director Kirk Hallman. “In the context of an expansion project, it is all the more redefining. The MMA has been honored to partner with and host The Bennett Prize. Steven and Elaine’s vision is one shared by the MMA. This relationship has helped to elevate this art museum to a national scale. Not only is this gifted artwork, it adds an entirely new dimension and balance to our already impressive collection. In addition, the Bennett-Schmidt gift is a call to action institutionally, encouraging both the Muskegon Museum of Art and other museums to continually expand opportunities for women artists.”

“The artwork being donated to the Muskegon Museum of Art catapults them into the forefront of progressive museums that recognize the primacy and power of the work of women painters,” said Bennett. “What has been an exceptionally good collection will now be augmented with many powerful works by women that span the generations. The people of Muskegon will be the beneficiaries, and their Museum will be able to present a much broader picture of the contributions that painters have made to our understanding of culture, history and ourselves.”


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18th Century Pastel Paintings: “A Sumptuous Feast for the Eyes”

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"Young Woman with a Fan," early 1750s, Pietro Antonio Rotari (Italian, 1707-1762), pastel of blue-green paper, mounted on canvas, 46 x 37 cm, Getty Museum, 2019.111
"Young Woman with a Fan," early 1750s, Pietro Antonio Rotari (Italian, 1707-1762), pastel of blue-green paper, mounted on canvas, 46 x 37 cm, Getty Museum, 2019.111

By the mid-18th century, pastel paintings reached an unprecedented peak of popularity and acclaim. The dry, satiny pigments, manufactured in sticks of every hue, were portable and allowed for swift execution—allowing artists to essentially “draw” a painting.

The J. Paul Getty Museum presents “Eighteenth-Century Pastels,” an exhibition that explores the popularity of pastel paintings across eighteenth-century Europe and showcases their striking physical properties. Presenting works from the Getty Museum collection along with four loans, the exhibition is on view at the Getty Center through February 26, 2023.

(Editor’s Note: Watch and interact with 30 world-renowned pastel artists as they demonstrate their skills at Pastel Live, August 17-19, 2023. Included is an exclusive faculty art auction. [learn more]

"Portrait of George de Ligne Gregory (1740-1822)," 1793, John Russell (English, 1745-1806), pastel on paper, laid on canvas, 75.9 x 63.2 cm, Getty Museum, 2001.77
“Portrait of George de Ligne Gregory (1740-1822),” 1793, John Russell (English, 1745-1806), pastel on paper, laid on canvas, 75.9 x 63.2 cm, Getty Museum, 2001.77

More from The Getty:

“Working with pastels differs greatly from painting with oils, which require cumbersome equipment, long sittings, and extensive drying times,” says Emily Beeny, curator of European paintings at the Fine Arts Museums of San Francisco and former associate curator of drawings at the Getty Museum. “Their relative ease and portability made pastels an especially desirable medium for traveling artists seeking to expand their portfolio with portraits.”

Pastelists were often very mobile, traveling far and wide in search of commissions. The artists and sitters represented in “Eighteenth-Century Pastels” hail from Austria, England, France, Germany, Italy, Switzerland, and the Netherlands—a testament to the Pan-European nature of the pastel phenomenon.

Portrait of Sir James Gray pastel painting by Rosalba Carriera
“Portrait of Sir James Gray, 2nd,” about 1744-1745, Rosalba Carriera (Italian, 1673-1757), pastel on blue paper, 56 x 45.8 cm, Getty Museum, 2009.80

“Eighteenth-Century Pastels” highlights works from the Getty Museum collection by Jean-Étienne Liotard, John Russell, and Rosalba Carriera, among others. The exhibition also includes recently acquired works by Adélaïde Labille-Guiard and Pietro Antonio Rotari, as well as seldom-seen works by Cornelis Troost on long-term loan from the Mauritshuis in the Netherlands.

With standout pieces like Rotari’s “Young Woman with a Fan” and ​​Liotard’s “Portrait of Maria Frederike van Reede-Athlone at Seven Years of Age,” the pastel paintings in this exhibition will entrance audiences with their rich hues and ethereal quality.

“Featuring works by many of the most talented pastel portraitists of the age, this exhibition is a sumptuous feast for the eyes,” says Ellie Bernick, graduate intern at the Getty Museum and co-curator of the exhibition. “Plus, the exhibition features several works by female pastelists like Adélaïde Labille-Guiard, Rosalba Carriera, and Mary Hoare, exemplifying the important role the medium played in bringing women artists into the profession.”

Portrait of Lady Dungarvan Countess of Ailesbury pastel painting - Mary Hoare
“Portrait of Lady Dungarvan, Countess of Ailesbury (née Susanna Hoare),” about 1760, Attributed to Mary Hoare (English, 1744-1820), pastel on blue paper, mounted on canvas, 61 x 45.7 cm, Getty Museum, 2013.47.2

“Eighteenth-Century Pastels” is curated by Emily Beeny, curator of European paintings at the Fine Arts Museums of San Francisco and former associate curator of drawings at the Getty Museum and Ellie Bernick, graduate intern at the Getty Museum, with the assistance of Julian Brooks, senior curator of drawings at the Getty Museum.


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High, Wide, and Handsome

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Charles Russell painting of a Cowboy on a Horse
Charles M. Russell (1864–1926), "High, Wide, and Handsome," 1919, watercolor, gouache, and pencil on paper, 16 x 12 1/2 in.

C.M. Russell Museum
Great Falls, Montana
cmrussell.org
August 18–21, 2022

It was in Great Falls, Montana, that the Western master Charles M. Russell (1864–1926) spent the second half of his life, and he died there in 1926.

Not surprisingly, the C.M. Russell Museum there is the world’s leading resource for discovering the artist, and now The Russell, its most important annual fundraiser, is set to resume this August after two years of pandemic-related distractions.

At the heart of the celebratory weekend is the August 20 auction, the highlight of which will be Russell’s rare 1919 watercolor, “High, Wide, and Handsome.” This depicts one of his most sought-after subjects — the bucking bronco.

Although Russell created many sketches of rodeo scenes, very few paintings resulted. “High, Wide, and Handsome” is a rare example showing a contestant vying for prize money. It was likely intended for use in the advertising of a rodeo close to Russell’s heart — the 1919 Calgary Stampede. Because rodeos became a substitute for Russell’s former cowboy life, his presence at the Calgary Stampede and pieces like this were his ongoing tributes to the cowboy tradition.

The auction on August 20 will feature many other works by Russell and by other historical and contemporary Western artists. Please visit the museum’s website for ticketing and bidding information.


> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

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Friday Virtual Gallery Walk for August 12, 2022

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Great Egret, Sherry Egger, mixed medium, 36 x 24 in; Anderson Fine Art Gallery
Old Trinity Winter Storm, Mark Daly, oil on canvas-panel, 20 x 24 in., Signed; Rehs Contemporary
A Summer Afternoon, Venice, Martin Rico Y Ortega (1833 – 1908), oil on panel, 14.125 x 9.125 in., Signed; Rehs Galleries, Inc.
Sweet Red – Northern Cardinal, Mary Erickson, oil on linen, 8 x 16 in.; MARY ERICKSON
Two Angus, Steven Lee Adams, oil, 12 x 16 in.; Mockingbird Gallery; Mockingbird Gallery’s exhibition “Vestiges”, show featuring Steven Lee Adams and Joseph Alleman
Textures of New Mexico II, Mark White, acrylic gesso and oil on canvas, 16 x 20 in; Mark White Fine Art

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

Artist Spotlight: Jill Stefani Wagner PSA-MC IAPS/MC

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artist holding painting, posing with fellow artist/friend together
Artist Jill Stefani Wagner at Door County Plein Air Festival with fellow artist and friend.

How did you get started and then develop your career?
Jill Stefani Wagner: Like many artists, I knew from a very young age that I HAD to create art. I attended the University of Michigan Art School and majored in painting and history of art. During my last semester I realized I’d need to make a living (horrors!) and switched to graphic design. That led to owning a mid-sized advertising agency in Ann Arbor for 25 years.

I sold that business 10 years ago and I’ve painted professionally ever since, in both pastel and oil. I attend museums and workshops and paint non-stop, knowing it’s the only way to improve my skills. I enter national exhibits to evaluate my work in relation to others. After discovering plein air painting, the way I create has improved exponentially. Over time I’ve added galleries to the mix, and teach workshops and at the Plein Air Convention.

My previous marketing experience taught me how to be “buttoned up” and always over-deliver. I’m willing to work at the (daunting but much-needed) social media aspects of my career. And I understand that although I’m an artist, I’m also a small business owner.

How do you describe success?
Jill Stefani Wagner: I believe “success” is a moving target, no matter which career we choose. New opportunities create new goals, and though I don’t always succeed, I definitely learn from each one. Finishing a difficult artwork, creating a commissioned painting that makes my patron smile, having my work accepted into a national exhibit and accepting new gallery representation are all steps of the latter we artists climb.

And every minute of this new art life makes my heart sing. I wake up with glee, knowing I get to paint today! For me, THAT is the ultimate success!

To see more of Jill’s work, visit:
www.jillwagnerart.com

2 servers in low light, facing their back to the viewer
Jill Stefani Wagner, “One Up, Two on the Rocks,” oil ,12 x 12 in, 2017
During the cold winter months in Michigan, I spend time in my studio capturing “the light” in restaurant and bar scenes.
pastel painting of sunset overlooking water with house at waterfront
Jill Stefani Wagner, “At the Point,” pastel, 12 x 12 in, 2022.
The featured painting for my new video that will be available in late August: Jill Stefani Wagner: Pastel Painting from Photos: A 5 Step Process

Collage Art on View: A Unique Blend of Realism and Expressiveness

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Fine art collage - Arless Day (b. 1951), "Umbrellas in the City," 2014, gouache collage on board, 19 x 22 in., private collection
Arless Day (b. 1951), "Umbrellas in the City," 2014, gouache collage on board, 19 x 22 in., private collection

The Spirit of Collage Paintings: Works by Arless Day
Morris Museum of Art
Augusta, Georgia
themorris.org
Through November 6, 2022

The artist Arless Day (b. 1951) is set to present his second solo exhibition at Augusta’s Morris Museum of Art. This one will feature more than 30 collage paintings dating back to 2002 — a range of cityscapes, florals, and domestic interiors that Day has made by combining collage with gouache or acrylic.

The resulting works are boldly colored and painterly in effect, a unique blend of realism with the expressiveness that artists of our time have inevitably absorbed from modernism.

“The exuberant energy I had for art as a child is still within me,” Day declares. He grew up in Baton Rouge in an artistic family; his father was a woodcarver and his uncle was a teaching artist at various colleges and universities. The young man went on to graduate from the Ringling College of Art & Design in Sarasota, Florida, where he met his wife, Patsy Mauldin. Ultimately, the couple ran a successful illustration and design studio in Charlotte.

It was at that North Carolina city’s Mint Museum that Day became enthralled by a 1981 exhibition of flower and landscape paintings created by the great realist Joseph Raffael (b. 1933). That aha moment inspired Day to turn to art full-time, and seven years later he made his first collage painting. That has been his principal medium ever since, and this summer’s show underscores how highly suitable it is to his talent.


> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

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August 13-27: Fine Art Auction Fundraiser

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art auction - "Vertical Cactus" by Gail Pidduck
"Vertical Cactus" by Gail Pidduck

From the organizers of the art auction:

Twenty stunning works of art by historic and contemporary local artists will be up for grabs during the Santa Paula Art Museum’s virtual 12th Annual Fine Art Auction Fundraiser.

Online bidding opens Saturday, August 13, 2022, and closes Saturday, August 27, at 4:00 p.m. PDT. The auction artworks can be previewed during a special, in-person preview reception at the Museum on August 13. Admission to the preview reception is free. Drinks and hors d’oeuvres will be served.

The Santa Paula Art Museum’s annual Fine Art Auction is the nonprofit’s biggest fundraiser each year. All proceeds raised during the event benefit the Museum and the thousands of children, families, and adults served by SPAM exhibitions and educational programs every year, including its free ArtSPARK school tour program, monthly Free Family Days, free Young Artist Program, and free Kids’ Art Fest. Individuals must preregister to bid online at www.bidsquare.com/auction-house/santa-paula-art-museum.

fine art auction - "Bright Springtime" by Dan Schultz
“Bright Springtime” by Dan Schultz

Bid online for your chance to take home artworks by historical Southern California artists like Jessie Arms Botke, Cornelis Botke, Douglas Shively, and Manuel Valencia, as well as contemporary pieces by Linda Brown, Lynn Hanson, Debra Holladay, Norman Kirk, George Lockwood, Lisa Skyheart Marshall, Gina Niebergall, Susan Petty, Gail Pidduck, Dan Schultz, Jules Smith, and Andrea Vargas.

"In Wheeler Canyon" by Cornelis Botke
“In Wheeler Canyon” by Cornelis Botke

Art lovers can also purchase raffle tickets for a chance to win one of two paintings by historic Santa Paula artists Jessie Arms Botke and Cornelis Botke. Raffle tickets start at $50.00. Raffle tickets can be purchased online at www.santapaulaartmuseum.org/raffle.


> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

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How We Look at “The Starry Night”

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eye tracking path Starry Night painting

In the largest study conducted involving eye tracking in art, we learn just how “The Starry Night” pulls us in.

BY DR. DAN HILL
Author of “First Blush: People’s Intuitive Reactions to Famous Art

In 1908, the same year that Gustav Klimt created “The Kiss,” eye tracking was born. Back then, the tool was cumbersome as hell—requiring enough invasive bells and whistles to make test subjects look like they were going deep-sea diving. Fortunately, the tool has gotten a lot easier to use since then. Plop a person down in a seat in front of an eye-tracking machine, and you can precisely capture—on a split-second basis—where exactly a person is looking. The set-up takes usually no more than half a minute. During the set-up calibration period, participants are asked to follow the bouncing red ball on screen so that the machine can quickly learn where precisely to find their eyes. Then the test can begin.

In van Gogh’s case, “The Starry Night” is more or less the view that the artist had from his asylum window in Saint-Rey-de-Provence after cutting off his ear. I say “more or less,” but it’s actually more. That’s because van Gogh added an idealized village.

Participants naturally took a variety of paths in looking this painting over. But on average, where did they tend to go with their eyes? First up was the biggest swirling vortex in the sky. Next up was the slumbering village. That stop along the gaze path was followed, in turn, by participants looking at the moon. Finally, they took in the large cypress tree in the foreground that parallels the church’s steeple.

Related Article:

Mona Lisa and The Birth of Adam: The Power of Faces in Art

ABOUT THE AUTHOR
Dan Hill, Ph.D., is the author of “First Blush: People’s Intuitive Reactions to Famous Art,” the largest study conducted involving eye tracking and facial coding to capture see/feel responses to art.

Fine Art Today covers artists and products we think you’ll love. Linked products are independently selected and linked to for your convenience. If you buy something using a link on this page, Streamline Publishing may receive a small share of that sale.


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Friday Virtual Gallery Walk for August 05, 2022

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Girl with Pearl, Dee Beard Dean, oil, 16 x 16 in; Anderson Fine Art Gallery
Eiffel Tower (triptych), Nigel Cox, oil on panel, 8.75 x 17 in., Triptych: 7 x 5 in. each, Signed; Rehs Contemporary
Le connoisseur, Victor Marais-Milton (1872 – 1944), oil on panel, 17.75 x 22 in., Signed; Rehs Galleries, Inc.
A Perfect Summer Day, Mary Erickson, oil on linen, 24 x 30 in; ATS Mary Erickson
Southside, Chauncey Homer, oil on linen, 14 x 24 in; Chauncey Homer Fine Art
Golden Twilight, David Marty, oil, 9 x 12 in, 2022; LPAPA Art Gallery 4th Annual “From Dusk to Dawn” Juried Art Show August 1- August 29, 2022
Pale Blue Ranch, Joseph Alleman, oil, 30 x 30 in.; Mockingbird Gallery; Mockingbird Gallery’s exhibition “Vestiges”, show featuring Steven Lee Adams and Joseph Alleman
Don’t kill the goose! Maidy Morhous, bronze, 12 x 7 x 5 in., 2016; Maidy Morhous
New Mexico Grasslands, Mark White, acrylic gesso on canvas, 20 x 24 in; Mark White Fine Art

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

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