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A Deeper Consideration

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Roman Pankov, "Jen," dry brush on charcoal paper, 40 x 30 cm, signed
Roman Pankov, "Jen," dry brush on charcoal paper, 40 x 30 cm, signed

Opening to the public on May 26, 2022, “Insight” features artwork by five artists of various nationalities – Jesús Inglés and Arantza Sestayo (Spanish), Alexandra Klimas (Dutch), Roman Pankov (Ukrainian), and Anne-Marie Zanetti (Australian).

More from Rehs Contemporary and the Art Renewal Center:

Every artist creates their work for different reasons – some look to tell a story, some want to capture a particular moment in time, while others simply want to create something. Regardless of the intention, artwork can be incredibly powerful and moving, often inspiring others… but it can also tell us a lot about the person who created the work.

Jesús Inglés, "Quinto Elemento," oil on panel, 80 cm diameter, signed
Jesús Inglés, “Quinto Elemento,” oil on panel, 80 cm diameter, signed

On one hand, “Insight” sets out to explore the viewer’s connection with an artwork in a direct way. In nearly all the works featured in the exhibit, the subject is making eye contact with their audience. This not only creates a personal and intimate moment, but it forces us to give deeper consideration for who or what we are observing… it is in those instances we truly develop a relationship with the artist and their muse.

To connect all the dots, “Insight” also seeks to better understand the artist and why they create what they create. While there can be endless reasons why someone produces artwork, there is usually an underlying desire to ‘say something’. For instance, in the case of Alexandra Klimas’ works, her preferred models are farm animals; her favorite being Black Pied cattle. While these creatures are beautiful in their own right, Klimas intentionally paints animals for the meat industry.

Portrait painting of a cow
Alexandra Klimas, “Wendy the Cow,” oil on canvas, 40 x 50 cm, signed

By painting these animals, viewers are compelled to reassess their relationship – particularly in the sense of society and consumption habits, overproduction, and the general way we treat animals. As Klimas says, “I am not an activist, I am an artist and I make art. Art should touch people and make them think. I don’t want to shock people. I am satisfied when people feel more connected to this group of ‘forgotten’ animals.”

In a very different way, Anne-Marie Zanetti draws from personal experience when creating her compositions. As she puts it, “I am intrigued by memories from my childhood – how fleeting yet important each can be. The emotions that accompany these past moments can bring valuable insights if we are willing to delve into the shadows of our emotional landscape.”

Contemporary realism portrait painting of a woman
Anne-Marie Zanetti, “Aisling,” oil on canvas, 70 x 60 cm, signed

Her featured works are part of her broader ‘Reminisce’ series, which investigates the complexity of early adulthood. Her protagonist is a young woman owning her sexuality and strength… often taking a sensual pose, her subject invites attention. Yet at the same time she hides behind sunglasses, as if to protect her identity, or even her innocence. For Anne-Marie, the process of painting has become a cherished method of unearthing the wisdom that is found through soulful and emotional exploration. The way she sees it, it is “my endeavor to heal, nurture, and release a very tumultuous time of my life, transforming my recollections into something beautiful, confident, and feminine.”

No matter the reason for its creation, artwork has the ability to transcend cultural and language barriers; it persists as a formative mode of non-verbal communication. It can create connections between individuals, with our environment, or a deeper understanding of ourselves. Whatever it may be, artwork provides valuable insights to us all in so many ways.

Arantza Sestayo, "Flowers and Molasses," watercolor on paper, 48 x 28 cm, signed
Arantza Sestayo, “Flowers and Molasses,” watercolor on paper, 48 x 28 cm, signed

“Insight” will open on Thursday, May 26, 2022 at Rehs Contemporary (New York). The exhibit will remain on view through June 24.


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Living the Artistic Adventure

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paintings of people
Dan Beck, "Solitude," 20 x 16 in.

“To constantly strive to get better at my craft as well as remain open to what I see and feel and think is an ongoing way of life.”

Staying Open: Living the Artistic Adventure

By Dan Beck

No matter what approach I use in a painting, I am an artist who is still usually painting an image that is somewhat “believable.” I am painting the visual world that I see; I am painting “what is there.” The truth is, however, I have no idea what is “there.” I think and wonder about it a lot. What am I actually seeing? Am I “seeing” the way a camera “sees?” But even a camera can see a scene differently depending on how the photographer changes the camera’s settings or frames the shot.

So again, what is really there? I love and embrace the idea that I don’t know what is there, and I think this is fertile soil in which an artist can dig forever. We live in this visual world, but all people see things differently. You can measure and analyze all day and still no two people will see a thing exactly the same.

portrait paintings
Dan Beck, “Black Cap,” 16 x 12 in.

So for example maybe we see an apple. We see the apple as very firm and bright red, and perhaps we see the air between ourselves and the apple, and we notice how ethereal the apple appears. Even its color tones seem to bounce and fit into its environment. Perhaps we see the apple in some literary or symbolic context, or we feel the need to see the exact “uniqueness” of that particular apple. Or maybe we need to see something about the apple that gives us a feeling of the universal “apple.” Maybe the apple is just a shape that is relating to other shapes in the scene in a particular way that appeals to the artist. Maybe an artist’s emotional, spiritual and/or intellectual fires are burning so intensely that the apple is just an excuse to capture the actual (inner-life) subject that the artist is dealing with.

still life paintings - Dan Beck, "Purple," 11 x 14 in.
Dan Beck, “Purple,” 11 x 14 in.

These are just a few examples of how different the visual world can appear from person to person—and I’ve only scratched the surface of possibility. All this mystery and wonderment and possibility is what gives birth to so many great and beautiful and interesting paintings done in so many different styles and approaches. I am a huge fan of artists who see and work in very different styles. And I want to stay open so that my painting reflects the interest and journey that I am on.

Paintings of geraniums
Dan Beck, “Geraniums,” 12 x 16 in.

Having established my need to stay open to possibilities as an artist and the freedom that comes with it, the next thing I need are tools that allow me to express my intent. In today’s art world there are so many schools of thought and rules to picture making that it can get confusing. I feel that I only have to learn what I need to learn in order to paint the paintings I am trying to paint. I think as artists we have to trust ourselves to know what is important to our pursuit and what is not.

figure paintings
Dan Beck, “Red Kimono,” 18 x 14 in.

My visual language will have a correlating vocabulary and I have a better chance of making my intent clear if my vocabulary is strong enough to get me on the right road. Like most artists I use line, shape, value, texture, color and edge. Everything I do will fit into one of these basic elements.

For example, behind a figure there may be a wall (shape) that I need to gradate. I could gradate it using value; i.e. from light to dark, or with color—warm to cool, grey to pure, etc., or both. I could also vary my texture from smooth to rough. My choices may be intuitive (for me, intuition—to get into a “zone,” is the best way to paint), or they may be more thought out. But I am aware of a certain vocabulary, contrast, rhythm, balance and harmony. I am aware of light situation, focal idea, and compositions—from big shape/value ideas to internal structure (how the shapes are dealt with.)

I need to know if I am approaching a subject more impressionistically or more naturalistically. Can I combine the two? How far can I push? And on and on. It’s easy to see why some great artists who have painted well into their 80s have expressed towards the end of their lives that they are just beginning to get the hang of it.

impressionist figure paintings
Dan Beck, “Back to Nature,” 2016, 20 x 10 in.

This artist life is surely an adventure. To constantly strive to get better at my craft as well as remain open to what I see and feel and think is an ongoing way of life. I am aware that no two people see the apple the same way, no two people see the stream the same way, no two people see the model the same way and no two people see the painting the same way.

And that sounds pretty fun to me.

Learn more about Dan Beck at: www.danbeckart.com


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Friday Virtual Gallery Walk for May 20, 2022

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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.

Low Country Home
Edge of the Golden Marsh, Nancy Tankersley, oil, 30 x 36 in; Anderson Fine Art Gallery
Garden
The Herbaceous Border, Alfred De Breanski, Jr., (1877 – 1957), oil on canvas, 24 x 16 in., Signed; Rehs Galleries, Inc.
Insight Girl
Niamh (featured in ARC Select: INsight), Anne-Marie Zanetti, oil on canvas, 28 x 24 in.; Signed; Rehs Contemporary
Boat
Yacht Racer, Geoffrey Allen, Watercolor, 14 x 19 in; LPAPA Art Gallery; 6th Annual “Waterworks” Juried Watercolor Art Show May 2-May 30, 2022′

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.

Collins Obijiaku: Unexpected Sittings

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Marking Collins Obijiaku’s inaugural solo presentation with Roberts Projects, “Unexpected Sittings” brings together a new group of portrait paintings created over the last year. “Unexpected Sittings” explores the potential behind every interaction, and how in these dynamic and – at times complicated – spaces, one can become inspired to an unfamiliar degree.

Portrait paintings
Collins Obijiaku, “Beggar Paint Field II,” 2022, Oil and charcoal on canvas, 94.25 x 66.875 in (239.4 x 169.9 cm); Courtesy of the artist and Roberts Projects Los Angeles; Photo Paul Salveson

More from the gallery:

As stated by the artist, “there is an unlimited wealth of ideas that are bound within the fabrics of chance conversations or interactions that unfold and progress naturally. And many of these ideas, or fresh perspectives, carry the potential to nudge us, as [either] individuals and groups, into the path of positive change.”

Portrait paintings
Detail, Collins Obijiaku, “White Lace,” 2022, Oil and charcoal on paper, 39.37 x 27.56 in (100 x 70 cm) unframed 45.75 x 33.25 x 1.25 in (116.2 x 84.5 x 3.2 cm) framed; Courtesy of the artist and Roberts Projects Los Angeles; Photo Paul Salveson

Obijiaku’s practice is recognizable for its distinct render, topographical linework, and emotive qualities. Working directly on the surface of either paper or canvas, he slowly builds out the contours of the face with considerable skill.

The effect is one not unlike silverpoint, a technique of drawing difficult to correct mastered by Albrecht Dürer. This embrace of both spontaneity and skill captures the intricacies of mark-making, as well as the intangible qualities of the depicted subject. The contrasting color and light, and rich textural quality of painted details, further highlight the artist’s hand.

Detail, Collins Obijiaku, "As You Protect Me, So I You,"
Detail, Collins Obijiaku, “As You Protect Me, So I You,” 2022, Oil and charcoal on paper, 39.37 x 27.56 in (100 x 70 cm) unframed 45.75 x 33.25 x 1.25 in (116.2 x 84.5 x 3.2 cm) framed; Courtesy of the artist and Roberts Projects Los Angeles; Photo Paul Salveson

About the Artist

Collins Obijiaku’s (b.1995 Kaduna, Nigeria; based in Abuja, Nigeria) elegant portraits of Black men and women gaze directly at the viewer. The artist uses various materials, often mixing oil, acrylic, and charcoal to achieve soft gradients, seductive texture, and beguiling linework; seen up close, the arrangements of his brushstrokes are almost cartographical in appearance. The artist’s subjects are both people close to him and strangers he meets on the street, which allows Obijiaku to create intimate records of his home and surrounding community. Obijiaku has exhibited internationally, including New York, London, Lagos, and Accra. He was an artist-in-residence at Black Rock Senegal, a multidisciplinary residency program founded in 2019 by Kehinde Wiley in Dakar, Senegal.

Collins Obijiaku "Unexpected Sittings" Installation
Collins Obijiaku “Unexpected Sittings” Installation View, Roberts Projects Los Angeles, California Courtesy of the artist and Roberts Projects Los Angeles, California; Photo Paul Salveson

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Cowboy Artists of America

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Phil Epp (b. 1946), “Red Moon"
Phil Epp (b. 1946), “Red Moon,” 2018, acrylic on board, 43.25 x 43.25 in., Collection of of Craig Macnab, Image courtesy of the artist

Spotlighting the founding fathers of Western art alongside artists who have safeguarded the traditional style of this uniquely American art form, “The Sons of Charlie Russell: Cowboy Artists of America” premiers at the Briscoe Western Art Museum through September 5, 2022.

Cowboy Artists of America
June 65 meeting of the CAA
Image courtesy of Sedona Heritage Museum, Sedona, AZ

More from the Briscoe:

This exhibition traces the successive artwork of the Cowboy Artists of America, an organization formed to promote the West and cowboy life in art, from its founders, and those who inspired them, to today’s contemporary members.

Western art has long defined the American West for audiences around the world—illustrating the lives, landscape, and wildlife that make the West what it is. Artists Charles M. Russell, Frederic Remington, Edward Borein, W.R. Leigh, and Frank Tenney Johnson helped codify the look and style of traditional Western art that inspired Cowboy Artists of America (CAA). Since its founding, the CAA has been committed to authentically preserving and perpetuating the culture of Western life in fine art while maintaining high standards of quality, an objective that continues to be met today.

Painting of the moon - Phil Epp (b. 1946), “Red Moon"
Phil Epp (b. 1946), “Red Moon,” 2018, acrylic on board, 43.25 x 43.25 in., Collection of of Craig Macnab, Image courtesy of the artist
Western art - cowboy artists
Charlie Dye (1906-1972), “Rawhide Rhapsody,” 1969, oil on canvas, 24 x 32 in., Collection of The Eddie Basha Collection

Featuring works typically only seen in private collections and never before exhibited together, the exhibition includes 70 works of art encompassing paintings, sculpture and works on paper. Forty artists are featured, with works dating from 1890 to the present day. Viewed through this long historical lens, the exhibition defines a core set of criteria for what traditional Western art is, solidifying the strength and vibrancy of the genre.

“Since its founding, the Cowboy Artists of America has influenced the field of Western art more than any other artist collective in the world,” said Michael Duchemin, Ph.D., President and CEO of the Briscoe Western Art Museum. “CAA artists work to convey the importance of hard work, independence, ruggedness, conservation of the rural landscapes, and neighborliness. Through their art, these ‘Sons of Charlie Russell’ have kept alive the ongoing national fascination and nostalgia for the mythic American West.”

Curated by Emily Wilson, the Curator of Art for the Briscoe, “The Sons of Charlie Russell” features historical works by Remington, Borein, Russell, Leigh, and Johnson along with works by members of the Cowboy Artists of America. The exhibition includes works from 17 lenders including the Amon Carter Museum of American Art, the Booth Western Art Museum, the Eddie Basha Collection, the National Cowboy and Western Heritage Museum and the Sid Richardson Museum, as well as private lenders from Texas, Arizona, Colorado, Nebraska, and Wyoming, making the exhibition the first, and only time these works will be viewed together. Nine of the featured works are sourced from the Briscoe’s permanent collection.

Western art - cowboy artists
Grant Redden (b. 1960), “Chance of Rain,” 2019, oil on canvas, 29 x 31 in., Collection of Billy and Ann Mitchell Collection, Image courtesy of the artist

Accuracy and detail in portraying figures, landscape, and artifacts are an important means of communicating the authentic West. Many of the CAA artists collect artifacts, consult historic sources, and maintain a working knowledge of ranching, rodeo, and cowboying in order to improve their portrayal of the historical and contemporary West,” explained Emily Wilson, Curator of Art at the Briscoe. “Altogether, each of the artworks was chosen as an exemplary piece from the artist’s body of work that captured the spirit of the West as only they could – portraying the pathos, grit, grandeur and comradery that knit together the past and the present of a uniquely American experience.”

“The Sons of Charlie Russell: Cowboy Artists of America” is supported in part by Mr. and Mrs. Marrs McLean Bowman, Jan McCaleb Elliott, the Klesse Foundation, Jessica Elliott Middleton, and Debbie and John T. Montford. Learn more about the exhibition of western art here.


> 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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Artist Spotlight: Cynthia Rosen

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Artist Cynthia Rosen with her plein air painting
Cynthia Rosen at Chanticleer with poetry in bloom from Sunita

How did you develop your unique style?
In an effort to learn about color mixing, I picked up the palette knife. In the process, I discovered that not only did I learn to mix colors but I realized that applying those colors directly to the surface with the knife afforded a clean and moving feel to my imagery. This would provide consistency with my interest in the Color Field painters, the Impressionists, as well as Expressionists. It also was in keeping with my overarching interest in the element of time in an image. Not only the time that a viewer spends but how the image itself moves the viewer’s eye. Everything in life changes with time, I wanted my image to embrace that fact.

How do you describe success?
Success in art implies a degree of true engagement, both intellectually and emotionally and at times, contentment with one’s efforts. Most of the time, the process is purely one in which we strive to learn and improve. The success comes when we gain fulfillment from visible evidence of that growth. The financial compensation for those of us who need to earn a living makes turns the process of painting into a viable career.

To see more of Cynthia’s work, visit:
www.cynthiarosen.com

oil painting of an old cider press
Cynthia Rosen, The Old Cider Press, 24 x 18 in., oil, 2021
oil painting of snow covered ground, along the river bank
Cynthia Rosen, Along the Bank, 48 x 36 in., oil, 2022

Friday Virtual Gallery Walk for May 13, 2022

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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.

Trees
All Decked Out, Rani Garner, oil, 36 x 36 in; Anderson Fine Art Gallery
Farm House
Late for the Train, Anik McGrory, Watercolor, 8 x 6; LPAPA Art Gallery; 6th Annual “Waterworks” Juried Watercolor Art Show May 2-May 30, 2022′
Massachusetts
Life in Marblehead, Mark Fehlman, oil, 11 x 14 in; Mark Fehlman; Painting of downtown Marblehead, Massachusetts was exhibited in the Olmsted Plein Air Invitational 2022

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.

Exploring Virginia’s Beautiful Piedmont

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ROGER DALE BROWN (b. 1963), "Drifting Down," 2022, oil on linen, 30 x 40 in.
ROGER DALE BROWN (b. 1963), "Drifting Down," 2022, oil on linen, 30 x 40 in.

On View > “Roger Dale Brown: Exploring Virginia’s Beautiful Piedmont”
Berkley Gallery
Warrenton, Virginia
berkleygallery.com
Through July 2, 2022

Berkley Gallery will soon present a show of new paintings by Roger Dale Brown, ones that focus on the scenic foothills of the Blue Ridge Mountains that rise near the gallery’s home base in Warrenton, Virginia.

Born in Birmingham, Alabama, and raised in Tennessee, Brown is renowned for his teaching skills and is a leading member of the Oil Painters of America, American Impressionist Society, Cumberland Society of Painters, and American Society of Marine Artists. He is also past president of the Plein Air Painters of the Southeast.

The exhibition features 12 studio pieces along with fresh works that Roger Dale Brown painted around the Piedmont region just before the show opened.

The Piedmont is unusually rich in both history (just for example, Thomas Jefferson’s impressive Monticello) and natural beauty, encompassing agricultural land, horse farms, rolling hills, and waterways.


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

> Sign up to receive Fine Art Today, our free weekly e-newsletter

> Subscribe to Fine Art Connoisseur magazine, so you never miss an issue

Featured Artwork: Paula Holtzclaw

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oil painting of sunset over marsh
Paula Holtzclaw, “Mood Indigo,” 18 x 24 in., Oil on panel; California Art Club, 111th Gold medal Exhibition, Bowers Museum, Santa Ana, CA. July 17 - Aug. 21, 2022

Paula Holtzclaw, “I choose to paint what is beautiful and meaningful, knowing that this act of celebrating and communicating the beauty in this world has the power to uplift and inspire.”

North Carolina artist Paula Holtzclaw has gained a national reputation for her ability to capture the drama of nature on canvas. Light-filled paintings of pristine, undeveloped landscapes are executed with a unique blend of classical realism. As a native Carolinian, she gains much of her inspiration along the coastline, vast marshlands and the southern landscape.

To see more of Paula’s work, visit:
www.Paulabholtzclawfineart.com
www,Cherylnewbygallery.com
www.Hughesgallery.net
www.Highlandsartgallery.com
www.Marywilliamsfinearts.com

Upcoming shows:
AIS Small Works Showcase, Wilder Nightingale Gallery, Taos, NM, May 12 – June 19, 2022
PAP-SE Invitational: Conception, Virtual Exhibition and Sale, Hagan Fine Art, Charleston, SC, July 1 – 31, 2022

oil painting of sunset over beach
Paula Holtzclaw, “Golden Moments,” 35 x 45 in., Oil on panel; available through the artist
oil painting of sunlight, rigid landscape with mountains in the background
Paula Holtzclaw, “Snowcapped,” 18 x 28 in., Oil on panel; available through the artist

Artist Spotlight: Johanne Mangi

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artist johanne mangi smiling with her artwork, in studio
The Artist Painting

How do you find inspiration?

Johanne Mangi: Once I found subject matter that excited me, I never needed to worry about finding inspiration. If anything, I am surrounded by too much inspiration! So much to paint and so little time! Subject matter is endless and even if I had trouble finding it all I’d have to do is paint my own motley 4-legged crew. I remember when I first started to seriously paint, I would spend countless hours trying to figure out what I wanted to paint. It seems ridiculous to me now.

What is the most interesting thing you have painted/sculpted and why?
Johanne Mangi: The most interesting project I’ve encountered recently happens to be when I was commissioned to paint a beautiful dog who literally had no eyes. Since I am known for my expressive, soulful eyes this was an incredible challenge. Upon meeting this sweet little girl, I quickly understood what made her special. Lucie didn’t need eyes to communicate with her owners nor to live a near normal life. She was a rescue with spunk who was adored. Sadly, she passed away unexpectedly during the painting process. More than anything I felt I had to honor her memory. I think I achieved that.

I am in love with the process and the endless potential for learning. I can never quite understand when someone asks me if I still enjoy what I do. Are they crazy or what??

To see more of Johanne’s work, visit: www.johannemangi.com 

oil painting of blind dog sitting down, with flowers around its neck
Johanne Mangi, Lucie, 14 x 11 in., oil, 2022
oil painting of dog portrait
Johanne Mangi, Gus, 14 x 11 in., oil, 2022

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