Joshua LaRock, "The Tracker," oil, 42 x 42 in.; These paintings (and more) will be sold by draw on September 18, 2021. To enter your commitment to purchase via the Draw, contact Maxwell Alexander Gallery.
LaRock’s ability to paint the human form is among the best of painters focusing on Western art subjects today. Continue reading >>>
Maxwell Alexander Gallery is presenting Joshua LaRock’s second Los Angeles solo exhibition, titled “Tracking.” His first solo exhibition in 2019 was met with high demand and sold out within days of opening. LaRock’s latest body of work dives deeper into his desert travels with highlights from masters of the past.
The “Tracking” solo exhibition will feature 10 new oils ranging in size from small to large.
LaRock’s ability to paint the human form is among the best of painters focusing on Western art subjects today. The artist is influenced by the “old masters,” such as William-Adolphe Bouguereau and Thomas Moran. LaRock, a classically trained artist, is able to translate that old world mastery into current subjects.
In “The Tracker,” LaRock features a modern day cowboy set against a backdrop influenced by the early explorations of Thomas Moran.
LaRock works in many thin layers of paint, drawing on his formal study to accurately portray figures in the rugged American landscape.
“These paintings are a synthesis of my work, experiences, and traveling around the West. Every painting is exciting right now because I’m finding my voice in these new pieces.”
Joshua LaRock, “Reflection,” oil, 32 x 32 in.Joshua LaRock, “A Sound in the Distance,” oil, 10 x 14 in.Joshua LaRock, “Monument Valley,” oil, 23 x 58 in.Joshua LaRock, “Golden Light,” oil, 35 x 29 in.
Joshua LaRock’s painting “Rachel in Blue” was the featured work in his 16-hour art video workshop titled “Classical Portraits.”
LaRock is internationally recognized as a preeminent figurative artist. His exquisite paintings are an ode to the past, filtered through a contemporary life. His portraits and narrative pieces are memorable both for their emotive quality and for evoking an eerily present feeling.
James Kroner, "Past Midnight," 15 x 15 inches, Oil on panel
Beyond the Canvas > As an artist, one does not need to sacrifice his or her personal expression for the sake of learning the principles.
BY JAMES KRONER
We are all familiar with the universal truths that lay the foundation for representational painting—design, values, edges, drawing, color, and the many concepts that apply. Yet as we learn and employ these concepts, many of us tend to lose our expression, the very thing that gives us voice. We adapt techniques in order to make a painting work.
Whether we are reading an art instruction book, taking classes, or watching demos, as students we are learning a tradition that has been discovered over hundreds of years and passed along. Our teachers and mentors reveal to us in stages the many elements of composing a work. But at the end of the day what do we take away from this? Most of the time, it’s someone else’s technique. This is why the student’s work looks similar to the teacher’s. This is how we learn.
It’s okay—in fact in the beginning stages it is necessary—for our work to look like our teachers’. We have to adapt techniques in order to get a painting to read and ultimately to make it work. However, at the same time we are also told by our teachers that we must find our own voice. Now we are faced with the nearly impossible task of doing it.
As if taking a brush in hand and creating the illusion of form on a two-dimensional surface isn’t difficult enough, we must also do so through our own individual and unique form of expression. But if you are still in the stages of trying to understand these principles, which sometimes takes many years to learn, one is not capable of such expression. That old saying comes in here: “You have to learn the rules before you can break them.” But does that mean we are expected to put our true voice on the back burner in the meantime?
This was, and still is, one of my greatest challenges. I’ve spent much time shifting my focus between applying the principles and breaking free in a complete departure from tradition. In the early years of learning many of us do not have the confidence or stability, so these departures usually end up disastrously. This was the case for me. So I went back to continue to develop what I already know works.
What I didn’t realize at the time was that these disasters were all part of my working process and totally necessary. I spent years in my art education writing and reading and painting all the time, always trying to understand these principles in relation to myself. I thought it was imperative to understand as much as possible, until this knowledge became instinct.
I recall how absolutely frustrating it was to be stuck in this vicious entanglement of wanting to break free from the academics, and failing in the majority of my attempts. Or did I? That stack of paintings in the corner that didn’t go anywhere just kept piling up, hundreds of them, all failures, but all absolutely necessary.
James Kroner, “Assisi,” 8 x 8 inches, Oil on panel
The highest element of a painting is this personal artistic expression of the artist, more so than any other technique. Yet we come to the realization that certain developments need to take place before we can really take flight.
Perhaps many of us have spent so much time developing the fundamentals that we think if we break from them, we have nothing. This is not true. Your true voice has always been with you. It is our job as artists to discover it. The world deserves to see your true artistic expression, not another endless version of something that has already been said. So the problem remains for many of us who don’t really know how to break away from the academics to access that true expression of ourselves.
We are all familiar with the necessity to set ourselves apart, to bring something new, to find a way to make it our own. Be careful, however—if we set out with the intention of doing something different for the sake of standing out, this can easily set us down the wrong path. To bring something new cannot be contrived; it is something very specific to the individual artist. It is the way one sees.
Pay attention to how you see your subject, and the emotion behind it. Try not to get caught up in academic analysis. When I am too obsessed with the “correctness” I lose the emotion, and the work becomes labor, not art. But when I can grasp my voice as a painter through this emotion, I have freedom of expression. I can interpret what I see in an unlimited way.
But what about the basic principles? We still need them, we are still concerned with realism and haven’t abandoned ourselves to non-objective abstraction. Let the principles be part of your instinct, and serve your expression, not the other way around. Through trial and error, through many variations to your approach you will discover things that work for you. It will be yours, not someone else’s. Be guided by the principles and not ruled by them, and you will find the freedom you need.
James Kroner, “Valley of Umbria,” 8 x 8 inches, Oil on panel
Here are a few things that work for me.
Write on a regular basis. This has provided much clarity about myself and direction. As an artist, what an incredible advantage you will have if you know yourself.
Take a break from looking at familiar artists. Look at paintings, sculpture, graffiti, land art, work you wouldn’t normally seek out. Also try not to look at other artists’ work at all for a period of time. Let go of familiar influences. Once I began looking at more abstract-based artists I gained a wonderful new perspective.
Listen to new kinds of music.
Change your painting environment. Try new mediums, new colors, new painting surfaces, new tools. Try different approaches to your work; see if you can arrive at a finished result by taking a different path to get there. If you need to produce finished work for an upcoming exhibition, do so, and when you have the time again, take those risks.
Become boundless in your exploration. Get away from familiar territory and influences. The goal is to pay attention to your feeling, to understand what lives within and to have the freedom to express it.
And most importantly never give up, never view your failed paintings as failures, but at valuable discoveries, and you will find the path that leads to your true self.
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Ross Rossin, “Sophia,” 2020, oil on canvas, 38 x 50”
The Booth Museum is shining a spotlight on the enduring power of the American West as a transformative muse for artists from around the world through “Captivated: Rossin’s Southwest & Beyond.”
“Bulgarian-born American artist Ross R. Rossin grew up watching many of the same Western movies we all did, dreaming of visiting Monument Valley, featured in so many of director John Ford’s classic films,” says Booth Director, Seth Hopkins. That dream became reality in March 2019, when Hopkins and the artist spent nine days exploring parts of Nevada, Utah, Arizona, Colorado and New Mexico.
The experience has had a profound impact on Rossin’s work. Known internationally for his hyper-realist portraits created in the centuries old traditions of portrait painting, Rossin’s new, Western-inspired work, is quite a departure. “I felt this overwhelming sense of freedom, sense of liberation, from anything that resembled my convictions or conventional thinking or ideas about traditional art and what it should be. That’s what the West did to me,” said the artist.
This unexpected artistic detour comes in the midst of growing recognition for his traditional work. In recent years, four of his larger-than-life, celebrity portraits have entered the Smithsonian’s National Portrait Gallery collection, including Morgan Freeman and Maya Angelou, sponsored by Oprah Winfrey.
Ross Rossin, “Morgan Freeman,” 2020, oil on canvas, 72 x 96”
He recently completed his Commanders in Chief Mural Project; a three-part installation featuring all of the Presidents of the United States. Collectively the three paintings encompass over 800 square feet of highly detailed work, measuring 13 by 62 feet, and represent eight years of research and painting. Meanwhile, his commissioned portraits for titans of industry, academic leaders, politicians and the well-to-do are in constant demand.
As busy as he is, Rossin also creates figurative works in his own striking artistic style. Until recently there was relatively little stylistic difference between the two bodies of work. The difference maker? The 2019 trip that included stops at places like Bryce and Zion National Parks, Kanab, Monument Valley, Four Corners, Aztec Ruins, Taos, Abiquiu, Ghost Ranch, Santa Fe and many others. While these locales have captivated visiting artists for well over 125 years, the region’s inhabitants have also been influential. Rossin says, “As wonderful as these places were, in my mind they could not surpass the people I met along the way.”
Hopkins introduced Rossin to several important Western artists on the trip, including Tim Cox, Oreland and Beau Joe, Jody Folwell and Rosetta Santiago. Rossin photographed several individuals, including Folwell and two Native American models suggested by Santiago. Paintings based on these sessions form the backbone of the exhibition. Also on view will be paintings the artist had considered finished, like a major work depicting Morgan Freeman, that he went back and altered significantly based on his transformative Western experience.
Asked to sum up in a few words the powerful impact the West is currently having on his work, the artist sites freedom and clarity. “Clarity, was my first impression, and that is still my strongest impression now. There is the space – the light and rolling silhouettes of the landscape, the clouds and the moving shadows they cast, but much more than that, for me it was the clarity of thought, clarity of spiritual experience, clarity of emotions, clarity of connection with nature in a way that can only be described as magical. It also opened the floodgates of free spirit.
Ross Rossin, “Canyon Warrior,” 2020, oil on canvas, 90 x 80”
“For decades I’ve been doing what I do, translating, and studying the human face, the human psyche, the soul, with great respect for the form. But, I was wanting to find another angle to tell a bigger story, to go deeper and express ideas about the essence of human nature. And the West did exactly that – it broke the mold and gave me the confidence, the energy and the inner freedom. It gave me the inner freedom to do things like cut the face in half, to break it and free it from its own wretched limitations in this physical world.”
The impact on Rossin’s work was nearly immediate, according to Hopkins. “Within two weeks of returning home, Rossin was sending me drawings, studies and seemingly nearly finished paintings in styles I had not seen from him. There was no doubt the West had left a strong impression on my friend and that he was on his way to creating a body of work for this exhibition as monumental as anything we observed on our excursion.”
Rossin’s desire is for visitors to the exhibition to feel not only his connection with the people and places of the West – but the enlightenment he obtained along the way.
Ross Rossin, “Nicole,” 2020, oil on canvas, 36 x 24”
Rossin, is, and a very patriotic naturalized U.S. citizen. His original goal in painting the first canvas in what would become the Commanders in Chief series was to create a “Love Letter to America,” his adopted homeland. He believes it represents the most important American tradition, the peaceful transfer of power, an ideal much in the news in recent months.
For more details about “Captivated: Rossin’s Southwest & Beyond,” please visit BoothMuseum.org.
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“Revisiting America: The Prints of Currier & Ives” explores how the largest printmaking company in 19th-century America visualized the nation’s social, political, and industrial fabric.
At a Glance:
Revisiting America: The Prints of Currier & Ives
Through October 17, 2021
Shelburne Museum (Vermont) shelburnemuseum.org
The company is best known today for its lush, hand-colored lithographs that nostalgically depicted an idyllic republic of pioneer homesteads, sporting camps, and bucolic pastimes; however, these sentimental images comprised only one aspect of Currier & Ives’ production.
The company’s inexpensive and popular prints touched on pressing social and political issues. On view at the Pizzagalli Center for Art and Education, Colgate Gallery.
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Western Art Collection > It’s highly appropriate that the slogan for this year’s Rendezvous Royale — the joyful celebration of the arts that Cody, Wyoming, hosts each autumn — is “Back in the Saddle.” 2020 was definitely a year to forget, and now this small but lively town is set to enjoy a range of workshops, lectures, art classes, and studio tours.
As ever, the centerpiece of the week will be the Buffalo Bill Art Show & Sale, which offers a broad range of stylistic interpretations of the West from both established and emerging artists.
KARMEL TIMMONS (b. 1966), “Fringe Benefits,” pencil on paper, 22 x 11 1/4 in., Buffalo Bill Art Show & Sale
The works to be sold during the live auction will be displayed at the Buffalo Bill Center of the West through September 17; that evening the auction and dinner will occur in an adjacent tent, with collectors competing in the room, by phone, online, and via absentee bids.
The next day will find the exhibiting artists participating in a quick draw while onlooking patrons enjoy brunch. All proceeds benefit the Buffalo Bill Center of the West, Cody Country Chamber of Commerce, and local art organizations.
Also buzzing all week long will be By Western Hands, the nonprofit organization that is preserving the legacy of Western design by promoting today’s top artisans. Its Western Functional Art exhibition will remain on view at its downtown gallery right through September 18, 2021.
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Nicholas Wilson (b. 1947), "Moon Rock," 2021, Gouache, 16" x 20", 2021 Western Visions Art Show + Sale
The National Museum of Wildlife Art continues its largest and longest-running fundraiser, Western Visions with over 140 participating artists. The Western Visions Evening Sale will revert back to an in-person event for 2021.
Also new this year, there are two ways to participate in the Western Visions Sale – virtual or live, in-person. The live event offers a memorable evening of connecting with fellow art enthusiasts and renowned wildlife artists, while the virtual option allows you to join online from home and receive full access to all of the works for sale. Tickets can be purchased at WildlifeArtEvents.org.
George Boorujy (b. 1973), “Carolina Parakeet,” 2019, Oil on Panel, 12″ x 18″, 2021 Western Visions Art Show + SaleLarry Moore (b. 1957), “Alpha,” 2021, gouache on paper, 12 x 14 in., 2021 Western Visions Art Show + SaleAdam Smith (b. 1984), “Low Profile,” 2021, acrylic, 11 x 16 in., 2021 Western Visions Art Show + SalePenelope Gottlieb (b. 1952), “Carprobrotus edulis,” 2021, Acrylic and Ink over John James Audubon, 14 x 11 in., 2021 Western Visions Art Show + Sale
“We’re happy to be able to offer the evening sale event in-person again, but also give those who can’t make it to Jackson Hole the opportunity to purchase one-of-a-kind art,” says Michelle Dickson, Director of Programs and Events at the National Museum of Wildlife Art. “The show will look a little different this year, featuring smaller format works: paintings are within 16″ x 20″ and sculptures are within 18″ in any one dimension. This new format opens the door for a larger audience to show their support.”
The Western Visions Art Exhibition is open through October 3, 2021. For details, please visit www.WildlifeArt.org.
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Learn from Graydon Parrish and watch him demonstration how to paint at the 2nd Annual Realism Live virtual art conference.
The first time Graydon Parrish set eyes on Carmen Dell’Orefice, he knew he wanted to paint her. “I thought she was one of the most interesting people I’ve ever seen. So intriguing,” he recalls. At the time, Parrish (b. 1970) was living and painting in Amherst, Massachusetts. Carmen (as she’s known) was a celebrated fashion model living in New York City.
The Carmen that Parrish saw that day was a photograph on an advertising poster, and the prospect of meeting the real Carmen — let alone asking her to sit for a portrait — seemed unlikely. Nevertheless, the artist filed away his mental image of Carmen in what he calls his “private list of 10 people I want to paint before I die.”
After all, who was to say the two wouldn’t cross paths someday? “The wonderful thing about being an artist is you meander through different social circles,” Parrish notes. And as the tale of “when Graydon met Carmen” demonstrates, the world is indeed a small place where even unlikely connections can be made.
Graydon Parrish, “Carmen,” 2019, oil on polyester, 78 x 60 1/4 in., private collection
THE MODEL AS MUSE
Parrish wasn’t the first person to be so captivated by Carmen’s image. Discovered at age 13 on a Manhattan crosstown bus in 1944 (so one story goes), she was appearing in the pages of Vogue by age 15, photographed by Irving Penn, Cecil Beaton, and Horst P. Horst, among others. Her first Vogue cover was the October 15, 1947, issue, photographed by Erwin Blumenfeld.
When Carmen was in her 20s, legendary fashion editor Diana Vreeland wooed her to Harper’s Bazaar, where she modeled for photographers Lillian Bassman, Melvin Sokolsky, and perhaps most famously, Richard Avedon. By this time, Carmen’s career was well-established, and her circle of friends and professional acquaintances included Salvador Dalí, who considered her a muse. Yet Avedon was resistant to working with her, pointing out her flaws in person even as his photographs celebrated her beauty. Much later in life, Carmen would recall gradually earning Avedon’s respect as their working relationship evolved into genuine friendship.
Carmen retired from modeling when she was in her 30s, only to return in the late 1970s — her dark hair now stunningly white — and reestablish a career that continues to this day. In 2003, she appeared in an advertising campaign for Isaac Mizrahi’s fashion collaboration with Target stores. The photo of Carmen that caught Parrish’s attention was from that campaign. Just as she’d done with Dalí all those years ago, Carmen left an indelible impression on the artist’s imagination.
THE MUSE RETURNS
A few years later made a move in part to be near family and in part, he readily confesses, to escape the New England winters. It was here in Texas that he inadvertently “met” Carmen again.
“Lance Avery Morgan, a friend in Austin, was the publisher of Brilliant magazine,” Parrish says. “And there was Carmen, on the cover! I asked if there was any way he could put me in touch with her.” That was in early 2007. The publisher called New York jewelry designer Peter Martino, a longtime friend of Carmen’s, who said that if Parrish met him in New York, he might be able to arrange a meeting with Carmen.
Parrish was nervous. Carmen arrived late. But their first encounter ended encouragingly, and other casual meetings followed. “It took me about a year and half to get up the courage to ask her to sit for me,” Parrish recalls. “Finally, I invited her to dinner. When she arrived, she said, ‘I know what you’re going to ask me and my answer is yes.’”
Parrish jokes that it was his “inspiring personality” that won Carmen over, but he acknowledges that her interest in him was equally inspired by the realism style and quality of his work. Raised by his art-collector parents to appreciate 19th-century figurative art, as a painter Parrish is firmly rooted in the traditions of European academic painters. “Carmen has been painted before, and she’s been drawn by fashion illustrators, but I think this is the first time she’s been painted in a classical style with an eye to beauty rather than celebrity,” he says.
Carmen Dell’Orefice and Graydon Parrish with the artist’s mother, Alice Parrish
THE MUSE AS MENTOR
“One reason Carmen makes a great model is that she studied ballet,” Parrish notes. “She knows herself and how to move. Every hand gesture is articulate. She’s aware of her elegance. That is one of her secrets.”
In choosing a pose for this larger-than-life portrait, Parrish sought “something regal, like Joshua Reynolds.” And while Carmen knows instinctively how to sell a look as a model, “the challenge,” Parrish confides, “was to make her look like she feels on the inside.” Indeed, one might wonder how many times in her career — over tens of thousands of photographs — Carmen has been asked simply to be herself.
Any successful collaboration between artist and model requires underlying trust and confidence in one another. Over the course of their time in the studio — as he sketched, photographed, and painted — the bond deepened between Carmen and Parrish, fueled by their mutual love of classical art. His enthusiasm for work is infectious. When he’s not painting, Parrish is teaching art, most recently as a private mentor to students around the world in sessions online. (“I miss the in-person classes,” he says, “but I never thought I would enjoy this kind of one-on-one teaching so much.”) Carmen is a painter herself, with a studio in her home, and early in their friendship Parrish sent her some oil paints as a gift.
Blessed with insatiable intellectual curiosity, Carmen never tires of learning new things and meeting new people. In the fashion world, her friends and fans are legion and she has amassed a lifetime’s worth of stories, recollections, and mementos from people she has known. She loves fashion as an art form, not as a status symbol, and “rarely name-drops,” although Parrish notes that she chose to wear clothing by American designer Ralph Rucci for the portrait because he is one of her favorites.
“In the studio we talked, but mainly I listened to her stories,” Parrish says. “She has a lot of advice for living and I wanted to gain wisdom. She has great integrity. She’s very gracious. And she’s tenacious.”
As she approaches age 90, Carmen still appears in fashion layouts and print advertisements. She even walks in runway shows from time to time. More than once in the past few years, she’s brought Parrish as her “plus one” to fashion industry events. “I like her even more in person than I did in the abstract,” he laughs.
Parrish says he’ll paint Carmen again on a smaller scale, working from sketches and reference materials. The relationship between artist and muse is a precious one. This artist isn’t ready to let go of his muse just yet.
This article on the contemporary realism portrait painting of Carmen Dell’Orefice is an excerpt from Fine Art Connoisseur magazine, November/December 2020
About the Artist
Graydon Parrish is a realist painter living in Austin, Texas trained in and an exponent of the atelier method which emphasizes classical painting techniques. His parents, collectors of American and European nineteenth-century art, exposed him to painting at a young age and influenced his choice to pursue an academic figurative style.
Parrish attended the Booker T. Washington High School for the Performing and Visual Arts and graduated in 1988. Unable to find further classical art training, he learned of the newly formed New York Academy of Art in the summer of that year created by Andy Warhol and Stuart Pivar. There, Parrish joined other students who have become leading figures in the classical art revival, including Jacob Collins, founder of the Grand Central Academy of Art where Parrish is now an instructor. It is also at the New York Academy where Parrish met his mentor Michael Aviano, a student himself of illustrator and muralist Frank J. Reilly.
Since then Parrish has remodeled color theories by Albert Munsell and Josef Albers to fit traditional painting methods. In some ways, he and his colleagues share the reformist attitude of the Stuckist movement in England and are likewise often at odds with mainstream critical taste.
Learn How to Paint in the Style of Contemporary Realism
Parrish is on the faculty of the 2nd Annual Realism Live virtual art conference, taking place November 11-13, 2021 with a Beginner’s Day on November 20.Learn more and register now at RealismLive.com.
Free Art Museums to Visit on Museum Day > With many public spaces being shut down for a year or more, Museum Day 2021 celebrates the reopening of museums after long closures due to the COVID-19 pandemic. This year’s theme, Experience America, represents the return to, and resurgence of, our country’s diverse cultural experiences, in the safest possible way.
On Saturday, September 18, 2021 museums across the nation will adopt the policy of the Smithsonian, opening their doors for free to visitors with a Museum Day ticket. While tickets will be free of charge, participating museums will have safety precautions in place for this year’s event so guests can safely and comfortably enjoy their experience.
Museum Day goes beyond getting visitors through museum doors—it acts as a springboard to empower and help advance the hopes and ambitions of the public, particularly school-aged children and those in underrepresented communities. It represents a national commitment to access, equity and inclusion. To see the full list of participating museums and download a free ticket please click here.
Tickets for Smithsonian magazine’s 17th annual Museum Day are now available for download. Each ticket grants the ticket holder and one guest free, timed access to any participating museum on September 18, 2021. One ticket is permitted per email address. This year’s event is sponsored by The Quaker Oats Company.
Where will your curiosity lead you this Museum Day?
@MuseumDay #MuseumDay
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Beverly Ford Evans with her painting “Morning Stroll”
Beverly’s studio
How did you get started and then develop your career?
Beverly Ford Evans, ASMA: Beverly was raised in Nashville, Tennessee and now resides in Franklin, Tennessee. As a child she was drawn to the beauty that surrounded her. Encouraged by her parents, she began drawing and painting.
Beverly has become a prolific artist. With her deliberate brushwork and attention to the scene, Beverly captures the essence of the landscape and wildlife beautifully and artfully.
Coupled with her love of the landscape is her love for animals. Beverly is sought after to paint commissions for loving pet owners, and has participated in the Southeastern Wildlife Expo in Charleston, South Carolina, the Waterfowl Festival in Easton, Maryland, and Plantation Wildlife Arts Festival in Thomasville, Georgia.
“I am blessed with the opportunity to share the talent God gave to me. When my work evokes emotional reactions in a viewer, I am humbled. That is the force that drives me to continue to improve my work…”
How do you describe success?
There are so many ways to measure success. I personally feel successful as an artist when I finish a painting and the outcome is what I envisioned, or even better than I envisioned.
How do you find inspiration?
Inspiration comes to me in many different ways. It comes simply by viewing the beautiful landscape and creatures God created. It comes from conversation with family, friends and other artists. A word can be very powerful to the imagination and inspiration. It comes during quiet moments of meditation and prayer. It also comes to me through hearing. Hearing the song of a bird, the sound of the wind blowing through trees, or the babbling of a brook.
What is the best thing about being an artist?
I feel very blessed to be able to share my life doing what I love with the man I love. With us both being artists, we are able to travel together to paint. We hold dear the friendships with the people, collectors, and other artists who we have encountered over the years.
Who do you collect?
We have been very fortunate to collect many of our artist friends’ works. They all are very special to us because daily, we get reminded of special friends and special moments with them. Along with those, we have collected a few pieces by Everett Raymond Kinstler, Bill Anton, Bye Bitney, and John Moran, along with a couple of French and Russian artists.
Beverly Ford Evans, “Falling Water,” 18 x 24 in., oil, 2020. One of the many beautiful streams flowing though the Highlands of Scotland.Beverly Ford Evans, “Highland Pride,” 20 x 24 in., oil, 2020. The most magnificent creature of Scotland.Beverly Ford Evans, “Morning Stroll,” 20 x 24 in., oil, 2020. Pheasants are among the top most beautiful birds.Beverly Ford Evans, “Stuck at Low Tide,” 18 x 24 in., oil. The old work boats tell a story with their scars and rust.
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.
Rembrandt Tulips by Elizabeth Floyd, Oil, 26 x 26 in.; Anderson Fine Art Gallery
State Fork Park n.d. by Emma Fordyce MacRae (American 1887-1974), Oil and pencil on board, The Janet H. Wilson Collection, April 3 – Ongoing; Blowing Rock Art & History Museum
Mission San Xavier, Tucson by John Stobart, Oil on canvas, 14 x 21 in., Signed; Rehs Galleries, Inc.
Lion Nebula by Julie Bell, Oil on panel, 36 x 24 in., Signed; Rehs Contemporary
Study in Red by Juan Jr. Ramirez, Oil on canvas, 24 x 20 in. (30 x 26 in. framed); Vermont Artisan Designs
Remnants Of The Past by Rose Ann Day, Oil, 12 x 16 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.
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