Winter Visitors
By Heidi Rosner
12 x 24 in.
Watercolor
$1,000
A self-taught artist, Heidi Rosner was an engineer in the aerospace industry before pursuing fine art. She paints in the studio as well as en plein air and is fulfilled by the spontaneous nature and flexibility of watercolor. “My love of the outdoors helps me to see and capture the vibrancy of native plants in the scenes that I paint.” With every painting, her goal is for people to feel as if they can walk into her landscapes and enjoy the experience, or to feel the sun that illuminates her florals. When Rosner’s viewers share in these experiences, she knows she has succeeded.
“My inspiration comes from scenes in and around the Southwest, the West Coast, as well as on location all over the world. Because I travel extensively, I have made my painting set up extremely portable to enable me to take it with me everywhere I go.”
Come watch Heidi and 100 other artists create at the Celebration of Fine Art, where art lovers and artists connect, in Scottsdale, AZ January 15 – March 27, 2022. Contact us at 480-443-7695 or [email protected].
Featured Artist Ray Hassard with some of his plein air pastels at a recent gallery opening.
Painting on site was important during the worst days of the pandemic. Here Ray is painting in a local nursery, Spring 2020, which led to several studio pieces.
How did you get started and then develop your career?
Ray Hassard: An artist friend of mine asks, “Can you ever remember a time when you didn’t draw?” The answer from me and most artists I know is, “no.” From my earliest days, I have always loved drawing, coloring, painting — anything to do with image making — always with the idea of being as “real” as possible.
My first professional paintings were photorealist in style and urban in subject. I was happy painting that way for years. But eventually I tired of the painstaking nature of it and searched for something more immediate. I turned to plein air painting, and a new world opened for me. I guess only Abstract Expressionism would have been further from photorealism. I think now that to be “objective” is probably best left to the camera, but the opposite danger is becoming so “subjective” that the painting communicates only to the artist. Adam Clague recently wrote about walking the tightrope between “the Abyss of Unbridled Creativity on one side and the Chasm of Static Rendering on the other.” I know that balancing act only too well!
Plein air painting at first was extremely difficult, and I learned a huge amount by watching experienced painters in local groups. I found out about equipment needed, how to approach this very different way of working, how frustrating and yet satisfying it can be. Eventually, I started entering plein air competitions, finding that the additional tight focus of those events helped my work and that I enjoyed the intensity and camaraderie of them. Several First-Place awards and sales added to the incentive as did the opportunity to paint around the country in the past decade.
How do you describe success?
I might say supreme mastery of an art, making the difficult seem effortless, repeatedly. I might also say being able to support oneself (and others if need be) through one’s art. And I might also say being able to spend a large part of one’s life producing art one is proud of, while continuously striving to do better.
How do you find inspiration?
I used to really recharge the batteries by travel. Some of my best times painting were in India and Cuba. A month as Artist in Residence in Dinan, France, will always be a highlight of my life. Of course, that all changed in 2020. So, now looking at other people’s art, online and in magazines and artbooks gives me thoughts and ideas about new directions. I have continued to go out and paint with a few friends — every week if possible — since the pandemic started. And not being on the road as much has allowed me to explore different media such as gouache, acrylic and casein.
What is the best thing about being an artist?
Freedom! We can do whatever we dream of, really, if we can get out of our own way. (See the tightrope analogy again). Of course, there is a lot of responsibility with that freedom — a huge amount of self-discipline and tons of hard work. And there is that emotional rollercoaster we all know about and perhaps ride too often. But never doubt, it is a great life!
Who do you collect?
I collect mostly by trading with my painting friends: the late Larry Rudolech, Roy Boswell, Marilee Klosterman, Nathaniel Flanagan, Debra Joyce Dawson, David Mueller, and a very special trade with Patrick Lee: one of his sketchbooks. If I could afford it I would love something by Marc Dalessio, Carl Bretzke, Marc Hanson, or Joaquin Sorolla! Well, while I’m dreaming, let’s throw in Sargent and Zorn and Levitan! At least I can collect them in good quality books.
Ray Hassard, “Behind the Greenhouse,” oil on canvas, 24 x 48 in., 2020. A larger studio version of a plein air pastel done at the same local nursery.Ray Hassard, “Winter on the Ohio,” casein on panel, 12 x 24 in., 2021. My first larger scale casein painting. This was based on a plein air pastel done just before my fingers froze solid.Ray Hassard, “Watching the Boys Swim, pastel on panel,” 18 x 18 in., 2013. South India, near Rameswaram, a blinding hot day on the beach. The local dogs were squeezed into the little bit of shade under my easel! Based on photos, sketches and vivid memories.Ray Hassard, “Sunday in Havana,” gouache, 12 x 9 in., 2020. Photos and sketches were the basis for this studio gouache of a beautiful Sunday afternoon in the park.
Brian Keeler (b. 1953), “Interiority Rhythm,” 2017, oil on linen on panel, 30 x 26 in., collection of Scott Nissenson and Laura Taylor, Ithaca, NY
Contemporary Art > Capturing the Spirit of Music and Dance
Because the arts have always been interconnected, it makes perfect sense that painters and sculptors continue to depict musicians and dancers at work. Among the best-known chroniclers of these sister arts is Edgar Degas (1834–1917), who haunted the stages and rehearsal rooms of Belle-Epoque Paris, drawing what he witnessed.
Hailing from across North America, most of the artists highlighted here work in modes quite different from that of Degas, yet their overall objectives are similar: to underscore the intense effort necessary to pursue these disciplines, and also to convey the exhilaration performers and audiences feel when everything comes together.
Jorge Alberto (b. 1949), “Allegory of the Arts,” 2016, oil on panel, 16 x 25 in., Troika Gallery, Easton, MDAndrew S. Conklin (b. 1961), “Spanish Still Life,” 1994, oil on linen, 24 x 19 in., private collectionWilliam Schneider (b. 1945), “Practice Makes Perfect,” 2013, oil on linen, 24 x 30 in., private collectionTina Garrett (b. 1974), “Tango Nights,” 2016, oil on canvas, 50 x 60 in., private collectionAndre Lucero (b. 1967), “Floating,” 2017, oil on canvas, 36 x 24 in., J.M. Stringer Gallery, Vero Beach, FLNancy Oppenheimer (b. 1948), “In Key,” 2008, pastel on board, 30 x 23 in., available from the artistMichael Malm (b. 1972), “The Dancer,” 2010, oil on canvas, 40 x 15 in., Meyer Gallery, Santa FeMatthew Bird (b. 1977), “Jazz by Brennan’s,” 2016, watercolor on paper, 29 x 31 in., available from the artistDavid Tanner (b. 1969), “Boy with Mandolin,” 2013, oil on canvas, 30 x 15 in., collection of Alexandra McGrath
Gladys Roldan-De-Moras (1963), “Flamenco Lady,” 2014, oil on linen, 36 x 24 in., private collection, courtesy InSight Gallery, Fredericksburg, TXDavid William Terry (b. 1958), “Like a Lover at First Touching,” 2016, oil on linen, 36 x 24 in., private collection
5 Contemporary Art Sculptures Celebrating Music and Dance
Jane Dedecker (b. 1961), “Can Can,” 2004, bronze, 79 x 83 x 49 in., Brookgreen Gardens (SC) and also available from the artistPaige Bradley (b. 1974), “Ballet Femme,” 2015, bronze (edition of 25), 32 x 24 x 44 1/2 in., Thornwood Gallery, Houston, and Gallery D’May, Cape May, NJOlga Nielsen (b. 1953), Dancer, 2015, bronze (edition of 3), 26 x 7 x 13 in., available from the artistMarc Mellon (b. 1951), “Marcelo Gomes as Apollo,” 2017, bronze (edition of 12), 26 1/2 x 10 in., available from the artistRichard Macdonald (b. 1946), “Joie de Vivre,” 2007, bronze, 82 x 68 x 55 in., private collection
This contemporary art roundup originally appeared in Fine Art Connoisseur, January/February 2018
"Social Distancing" watercolor by Charles McVicker
For 100 years the National Watercolor Society (NWS) has hosted a watermedia exhibition that showcases watercolor and watermedia by artists from around the world. This year’s 101st exhibition continues the celebration of this elusive and magical medium.
2021 101st NWS International Open Exhibition:
“The artwork chosen by NWS Jurors Ken Goldman, Donna Zagotta, and Bev Jozwiak is original, masterful, and evocative,” said NWS President Denise Willing Booher. “Each painting weaves its own unique story, leaving the viewer yearning for more. The 95 spectacular works present 14 countries and 28 states. The combined Jurors’ votes produced a cumulative exhibition that speaks of our time, artistic excellence, and innovation. Judge of Awards Ali Cavanaugh skillfully chose masterful inspirational artwork painted with artistic merit that touched the soul.
“The past year has seen political and social unrest, a pandemic, and a shift in our lives, creating uncertainty. Yet, through it, all NWS membership and prominence have flourished and grown, spreading our outreach worldwide. The 101st NWS International Open Exhibition is the pinnacle of the freshest cutting-edge watermedia artwork today.”
“Museum of Us,” watercolor by Geoffrey Allen“A Feminine Touch,” watercolor by Alisa Shea“Life is Looking for Crayfish,” watercolor by Kathleen Giles
The NWS International Open Exhibition is recognized for its diversity of watermedia styles, masters of the medium, and up and coming artists from around the world. This exhibition will take place online through December 11, 2021, at nwsexhibition.com.
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Barbara Jaenicke (b. 1964), "Twilight’s Radiant Descent," 2017, oil on panel, 12 x 16 in., Authentique Gallery of Art and Design (St. George, UT)
Landscape Painting Spotlight > There is a lot of superb contemporary realism being made these days; this article by Allison Malafronte shines light on a gifted individual.
Capturing moments in nature that move swiftly out of sight but leave a brilliant memory is the specialty of Bend, Oregon, artist BARBARA JAENICKE (b. 1964). Working in both oils and pastels, the artist imbues her landscapes with delicate and sensitively observed light, often representing sunset, dusk, and twilight hours. Recreating the shifting light and shadows of these particular times of day requires a sharp eye and plenty of plein air painting experience. Jaenicke has been developing her landscape skills with near-obsessive devotion since she decided to pursue painting full-time in 2002.
Although Jaenicke was always artistic, she admits she was never applauded for her youthful talent and therefore had to work twice as hard to get to where she is today. After graduating with a B.A. in art from Trenton State College (New Jersey), she spent nearly a decade working in advertising as an art director, followed by corporate marketing positions.
At the time this may have seemed like a detour from her fine-art path, but it proved to inform her future painting career immensely. She now produces prolifically for several galleries, is a popular instructor who teaches up to 12 workshops per year, and manages her own marketing, business, and advertising.
Jaenicke paints a variety of outdoor scenes, but those of the wintry variety are her signature. Growing up in New Jersey, she weathered many northeastern winters, and has always found the sight of snow delightful. The artist continues to find it an ideal subject for creating contrast, capturing light and shadow, and using a luscious palette.
In her painting “Twilight’s Radiant Descent,” (above) those aspects are visible in the shimmering metallic reflections in the water, the chords of cool color notes in the thick application of white paint, and the compositional juxtapositions. “I spotted this glowing little nook just after I finished painting nearby,” Jaenicke recalls. “The light was gone from the ground and vegetation, but still illuminated in the water. It was a dazzling array of visual contrasts that I immediately brought back to the studio.”
Ruminating about her process, and her ongoing battle to be the best painter she can be, Jaenicke says, “A painting never comes easily for me. I am constantly challenged to create something that goes beyond just painting a ‘thing.’ That magic doesn’t always happen in every attempt, but when a painting ‘hits,’ it makes all of the painful misses well worth it.”
Barbara Jaenicke has been on the faculty for the virtual art conference Pastel Live.
Tim Harmon (b. 1946), “Coolin’ Off,” 2020, bronze (edition of 15), 13 1/2 x 8 x 12 in.
Founded in 1982, the nonprofit organization American Plains Artists (APA) is set to host its 36th Annual Juried Exhibit & Sale at the Cheyenne Frontier Days Old West Museum. On view will be approximately 115 two- and three-dimensional works created in traditional media by artists who live throughout the U.S. and Canada.
All of the pieces selected reflect APA’s mission to depict the American Great Plains region in all its diversity. Among the subjects addressed are landscape, wildlife, people, and ways of life in both historical and modern times.
The artist whose work is illustrated here, Tim Harmon, lives in Globe, Arizona. From age 9, he worked as a cowboy on ranches in Arizona and New Mexico, and he still runs a few cattle on his cousin’s ranch. Harmon began sculpting in 2004 after taking a workshop at the Scottsdale Artists’ School and has enjoyed considerable success ever since.
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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.
Something in the Air by Rani Garner, Oil, 12 x 24 in.; Anderson Fine Art Gallery
The Entrance by Tony South, Oil on canvasboard, 7 x 7.5 in., Signed; Rehs Contemporary
Winter at Broad & Wall Street by Guy Carleton Wiggins (1883 – 1962), Oil on panel, 12 x 16 in., Signed; also signed, titled and dated ’56 on the reverse; Rehs Galleries, Inc.
Contemplation by Jie Wei Zhou, Oil, 24 x 24 in.; ArtzLine.com
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.
Julio Larraz, "The Big Fish I," 2000, oil on canvas, 54 x 70 in., private collection; as seen in Fine Art Connoisseur (November/December 2021)
From the Fine Art Connoisseur November/December 2021 Editor’s Note:
New Realities
We all know the pandemic has altered a wide range of behaviors, some forever. When it comes to art, a survey conducted recently by a leading insurer, Chubb, took a helpful look at U.S. art collectors’ attitudes and purchasing decisions over the past year (spring 2020 through spring 2021).
On the Cover: JuliAnne Jonker (b. 1957), “In My Life” (detail), 2021, charcoal on board, 18 x 24 in., available through the artist
I won’t bore you with a blow-by-blow summary, but there are several findings worth pondering here. First, 74 percent of respondents have purchased, or would consider purchasing, art sight unseen. That confirms our impression that we have been combing the Internet more than ever before.
Following from there, 79 percent of respondents used an online auction platform to buy or sell valuables or collectables, though of course they also bought via Artsy, Etsy, eBay, nonprofit arts organizations and clubs, and the websites of individual artists and galleries located nearby or far away.
Going further, the Chubb survey found that collectors are most influenced to purchase art by social media (57 percent), the appeal of online auctions (54 percent), the perception of an investment opportunity (52 percent), and the desire to support a specific artist (47 percent). Not surprisingly, Americans between the ages of 18 and 24 are the most likely (72 percent) to be influenced to buy art through social media.
These findings underscore how crucial it is for the artists and purveyors we love to refine their Internet and social media presence so that it accurately reflects the art they are offering and makes it easy to purchase.
This is not to say that in-person experiences are over. We have noticed a pent-up desire in the art world to get out there and reconnect with each other at live events — from gallery exhibition openings to raise-your-paddle auctions. Masks and elbow bumps can make such occasions a bit surreal, but for most of us they feel so much more engaging than sitting at home tapping a keyboard.
It’s clear now that both approaches must be pursued: ensure that anyone in the world can find you online and fall in love with your art, and be present in real time when there is something specific or time-sensitive to see and acquire.
The team at Fine Art Connoisseur and RealismToday.com is actually quite excited about this hybrid existence, and we look forward to participating in its evolution.
In the meantime, enjoy your collecting adventures, and please keep us posted on what you see out there.
Nature’s Essence: Paula Holtzclaw & Sandy Scott
Cheryl Newby Gallery
Pawleys Island, South Carolina cherylnewbygallery.com
through November 27, 2021
Cheryl Newby Gallery is celebrating nature’s many joys by exhibiting recent paintings by Paula Holtzclaw and animal sculptures by Sandy Scott. The aesthetic visions of these two gifted women make an ideal pairing.
Born in North Carolina, where she still lives, Holtzclaw has pursued an unusual life-path — including a successful career in eye care — to become a widely recognized painter of landscapes and seascapes. She is particularly admired for her involvement in the nonprofit organization American Women Artists, which seeks gender equity in exhibiting opportunities nationwide.
Sandy Scott (b. 1943), “Wooder Water,” 2021, bronze (edition of 25), 21 x 18 x 13 in.
Born in Iowa and raised in Oklahoma, Scott has admired animals since she watched her father raise quarter horses. After studying at the Kansas City Art Institute and working as an artist in the motion picture industry, she turned to printmaking and then sculpture.
Today Scott lives in Wyoming and maintains studios in Ontario and Colorado. An avid outdoorswoman who loves to hunt and fish, she has made 16 trips to Alaska as well as Europe, Russia, China, and South America.
> 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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The American Friends of the National Gallery of Denmark are dedicated to supporting this prestigious Copenhagen institution, which is officially named the Statens Museum for Kunst (“SMK”). Now the Friends are promoting a unique opportunity that will surely fascinate most art lovers. This is a $30,000 Kickstarter campaign that will help restore a lyrical painting by Henri Matisse to its full glory—and will also help it visit the United States next spring for the first time ever. Click here to watch a four-minute film about the project and to make a donation to this 501c3 charitable foundation.
The backstory is remarkable. Matisse’s painting, “Nymph and Faun,” can be glimpsed in his much larger—and totally revolutionary—canvas of 1911, “The Red Studio,” which has been in the collection of New York’s Museum of Modern Art (MoMA) since 1949. MoMA’s six-foot-tall-by-seven-foot-wide canvas depicts the modernist master’s work space in the Parisian suburb of Issy-les-Moulineaux, glimpsed at a moment when he was experimenting with exciting new modes of expression.
“Nymph and Faun” itself shows two figures bathing in a landscape, yet it has never been on public view because it was held in private European collections for more than a century, until the SMK acquired it relatively recently.
Now “Nymph and Faun” is needed to play a starring role in the groundbreaking new exhibition, ”Henri Matisse: The Red Studio,” which will appear at MoMA from May 1 through September 11, 2022. Alas, “Nymph and Faun” cannot travel and take its rightful place in this much-anticipated show until it receives proper conservation treatment at the SMK’s own laboratory. Unfortunately, such treatments can be expensive, which is why the SMK’s American Friends are busy raising the necessary funds.
The upcoming exhibition—which will move from New York to the SMK itself in the autumn of 2022—seeks to present all of the artworks depicted in “The Red Studio.” This should include “Nymph and Faun,” plus five other surviving paintings, three sculptures, and one ceramic—all created by Matisse. The exhibition will mark the first time they have been together since 1911, and much credit goes to the organizing curators—Ann Temkin (MoMA) and Dorthe Aagesen (SMK)—for attempting this feat.
As it happens, “Nymph and Faun” is very thinly painted, and surface dirt must now be removed in order to restore the vibrancy of Matisse’s colors and brushwork. In addition, minor paint losses must be stabilized, and the picture’s decorative frame must be given a “micro-climate” that will mitigate the temperature and humidity changes that will inevitably occur as the painting wings its way from Denmark to America next spring.
Be sure to watch the intriguing four-minute video, and consider helping this truly international effort—Danes and Americans collaborating to honor a great French artist—move forward.
> 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
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Download the November/December 2021 issue here
