Photorealistic Paintings On View: “Everything You See Could Be a Lie”
San Diego Museum of Art San Diego sdmaart.org
through September 27, 2021
The photorealistic drawings created by the Madrid-based artist Ana de Alvear (b. 1962) are rarely seen in the U.S., just one reason the San Diego Museum of Art’s current show is so welcome. Titled “Everything You See Could Be a Lie,” it demonstrates how Alvear plays with the ambiguities between reality and its representation.
SDMA curator Anita Feldman has selected more than 20 works executed in colored pencil on paper, two of them wall-sized, and all made by hand in incredible detail. Many of them riff wittily on the motifs seen in traditional still life paintings.
Ana de Alvear (b. 1962), “Two Hares (Dos Liebres),” 2014, colored pencil on paper, 38 3/4 x 27 in., collection of the artist
Illustrated above, for example, are two dead rabbits (hares). In an Old Master scene these would normally be hanging in a kitchen, ready to be skinned and cooked. Alvear’s rabbits, however, are stuffed toys more likely to evoke our memories of the mass-produced prizes we won in a carnival ring-toss.
In 2006, Alvear founded Vital International Video Art, a traveling exhibition through which artists worldwide can find a meeting point for intellectual discourse and create a network with curators, galleries, foundations, and private collectors.
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Edward Willis, "Redfield Road and Rivers," from the Daywood art collection
Art collection on view >
“American Impressionism: Treasures from the Daywood Collection”
On view through October 24, 2021 | PolkMuseumofArt.org/Impressionism
The Polk Museum of Art at Florida Southern College is presenting audiences with an incomparable peek not merely into the incredible story of Impressionism’s rise in the United States but also into the influential world of private collecting.
“American Impressionism: Treasures from the Daywood Collection” features 41 rarely-seen Impressionist paintings originally from the private collection of Arthur Dayton and Ruth Woods Dayton (whose surnames combine to create the collection’s portmanteau name: “Day-Wood”).
Celebrated as patrons of the arts in West Virginia and as consequential collectors of American art, the Daytons developed a fine art collection that exceeded 200 works. This extraordinary and beautiful exhibition exemplifies how the support of patrons like the Daytons helped American Impressionists claim their niche in the art world, allowing them to hone their crafts, survive as artists, and find national acclaim at the turn of the 20th century.
In this new installment of “Hindsight 2020,” the museum selected nine artworks from its online exhibition to revisit and to present for the first time in its galleries as an opportunity to reflect further upon how our lives have changed in the past year.
With rays of hope and setbacks along the way, our community understands the challenges we continue to face each day. Yet, alongside the familiar iconography of masks and the feelings of uncertainty that are still prevalent today, we found that our community cherishes even the smallest moments spent together, no matter how mundane they may appear.
One year later, we have proven that, despite our perceived differences, our community is unified through its shared experiences and resilience.
Deborah Biasetti, “New Norm,” watercolor, 15 x 11 in., created May 2020
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“Eight Takes: California Impressionism” exhibition features 8 nationally known Northern California impressionist artists. This exhibition revolves around each artist’s interpretation of California Impressionism reflected in the landscape and through figurative work.
More from the organizers:
Each of the artists in this exhibition embraces the impressionistic style in their paintings with their attention on the effects of light, loose brush work, and rich color. The work in this exhibition exemplifies each artists’ ability to capturing the atmosphere and emotion of a scene.
The terms “California Impressionism” and “California Plein Air Painting” describe the large movement of 20th century California artists who worked out of doors, directly from nature in California. Their work became popular in the San Francisco Bay Area and Southern in the early 1900’s.
Artists working in this style embraced several key Impressionist interests, including loose brushwork, rich color, and, most of all, a fascination with the effects of sunlight. Some of the more famous early California artists include Edgar Payne, William Wendt, Guy Rose, Armin Hansen, Anna Althea Hills, E. Charleston Fortune and Granville Redmond.
Ellen Howard, “Radiance,” 20×24, Oil
Eight Takes: California Impressionism
Venue: Firehouse Arts Center- Harrington Gallery, Pleasanton, CA
Website: firehousearts.org
Dates: September 11 to October 30, 2021
Opening Reception: Saturday, September 18
Participating Artists:
Nancy Seamons Crookston
Terri Ford
Ellen Howard
Ryan Jensen
Laurie Johnson
Jim McVicker
Carole Rafferty
Tonya Zenin
Painting Demos:
September 19: Nancy Seamons Crookston portrait demo
October 3: Laurie Johnson portrait demo
October 10: Ellen Howard seascape demo
Terri Ford, “Paris Night,” 9×12, PastelRyan Jensen, “Last Light in the Marina,” 24×32, OilLaurie Johnson, “A Great Sense of Dignity,” 6×9, OilJim McVicker, “Community Garden Sunflowers,” 24×36, Oil
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Christine Lashley, "Hilltop View, Paris," oil, 9 x 12 in.
American artist Christine Lashley shares her process and inspiration for her new solo show of landscape paintings.
Transparency and layers in the environment have been the focus of my recent paintings. Nature elements of water, foliage, and the earth’s geology are important in my art; but urban structures, such as glass, and buildings also inspire my creativity.
My work shifts from realism and tangible objects to abstraction and emotion. Even when creating a painting I move between quick, intuitive marks and then let an artwork ‘rest’ to carefully consider each future brush mark. I often ask myself, “what is the painting trying to say,” or “what does it need?” These questions are often answered by going back to my on location art studies and my memory versus a photograph, which seems to only record excessive details.
Christine Lashley, “Marsh Glow,” oil, 30 x 40 in.
The act of painting on location “en plein air” has changed somewhat for me. I used to try to make a final painting as quickly as possible and think of it as done. Now, I use my field studies to capture color notes and harvest information. I am mindful of the experience and may abstract this later in the studio using memory to distill an idea. Of course, I still create outdoor paintings (I have done plein air competitions for 10 years). However, removing the expectations of always making a final work have pushed my creativity in the studio: to see what I can remember, to design better paintings, and to plan for a certain size if needed. A by-product of this process has been the creation of larger artwork to fit a concept, such as the vast feeling of the marsh.
Creating a large body of work in one year for my solo show at Principle Gallery was a challenge, but one I enjoyed. The gallery requested larger paintings, so I worked my way up from my typical 30×40″ to 36×48″ and then the 40×72″ (Blue Symphony and Silver Harmony). These largest works were from the same reference, but a different interpretation.
Christine Lashley, “Blue Symphony,” oil, 40 x 72 in.
I’ve found that exploring different light and shapes, but the same subject is a great way to deeply connect with a scene. Sure it’s working in a series, but with a little twist, the subject becomes less literal, and I start to invent part of the scene and highlight areas I like. This lead to paintings that were completed faster and had a cohesive feel for the show.
How did you get started and then develop your career?
Paula B. Holtzclaw: I drew and painted in my early teen years and throughout college, but this waned when I joined the workforce and had children. In the 90s, I began to paint again primarily for myself and for my home. Friends began to see my paintings and started requesting commissions. From there an invitation to a local gallery came. After that, came miles and miles of paintings, along with knocking on doors (galleries, antique stores, show submissions). In 2001, I left my lifelong career to focus on my art full time. I am fortunate to be a part of some wonderful galleries, many for decades now. But it only came through many hours of constant work, dedication and determination!
How do you find inspiration?
One of my favorite quotes is by Chuck Close, regarding inspiration: “The advice I like to give young artists, or really anybody who’ll listen to me, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you’re sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you, and something else will occur to you, and something else that you reject will push you in another direction. Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I fine that’s almost never the case.”
I always find visiting art museums, looking through art books and magazines as well as all of my photographs to also be very inspiring. Again, just showing up to the canvas will create inspiration. And a trip to the coast!
What is the best thing about being an artist?
The best thing about being an artist is truly being able to recognize, being aware of, and taking in the beauty that surrounds us. I believe artists have the gift of being present in the moment; we have to be in order to absorb and then portray. I know that lucky and not always common, is the person who is able to do exactly what they love to do.
Who do you collect?
I collect many artists’ and friends’ works, paintings and sculptures. I can truly say I enjoy all of them every single day. My husband and I began a tradition many years ago when we purchased a painting for our wedding anniversary gift. That has blossomed into sometimes birthdays or just any special event, I laughingly admit. Some of the paintings are by Kyle Ma, Daniel Keys, Ann Larsen, Brian Blood, Ralph James, Cindy Baron, Cynthia Feustal, Bill Cramer, Romona Youngquist, Darcie Peet, Gladys Roldan-de-Moras, and sculptures by Gwen Marcus, Stephen Savides, Diane Mason, Louise Peterson. Each one has a special meaning. I had a beloved Great Dane for 11 years, so I especially enjoy my Danes by Louise Peterson.
Paula B. Holtzclaw, “In Silence,” 30 x 40 in., oil, 2019Paula B. Holtzclaw, “In Silence,” 30 x 40 in., oil, 2019Paula B. Holtzclaw, “The Golden Hour,” 30 x 40 in., oil, 2021Paula B. Holtzclaw, “Luminescence,” 35 x 45 in., oil, 2018
Solaris
By Aneka Ingold
Mixed media on paper on Dibond, 2021
30 x 22 inches
$5,800
Aneka Ingold’s dramatically staged paintings present mysterious allegories informed by the stories and lives of women. Drawn from self-reflection and the shared experiences of peers and women throughout history, her narratives are relayed through symbols and patterns that culminate in a goddess-like figure. Ingold’s powerful characters, rendered in precise layers of colored pencil and paint, earned her the honor of being named the inaugural winner of The Bennett Prize® for Women Figurative Realist Painters in 2019.
Solaris is one of four companion paintings based on the Seasons. The name is derived from Latin and means “Of the Sun.” The halo motif, which appears frequently in Ingold’s paintings, here represents the rays of the sun. The contrast in the use of color between body and face symbolizes the separation of mind and body, of internal dialogues and physical existence. The needs of each inform the other, but they do not always work in harmony. The presence of the figure within a box is a mystery to be unraveled by the viewer, is she emerging from a place of security or isolation?
In 2015, Ingold was the Grand Prize Winner at the Vying show during Miami Art Basel, at Viophilia Gallery in Wynwood. She was awarded First Place by Juror Carrie Ann Baade at the Valdosta National All-Media Juried Competition at Dedo Maranville Fine Arts Gallery, Valdosta State University, Georgia in 2016. Other recent exhibitions include The Deep End at RJD Gallery in Romeo, MI; Strange Figurations at Limner Art Gallery, Hudson, NY; Immortality and Vulnerability at Zhou B Art Center, Chicago, IL; Women in Art at Las Laguna Art Gallery in Laguna Beach, CA; and the Surreal Salon 8 at Baton Rouge Center for Contemporary Art, presented by Juxtapoz magazine. Since winning the Bennett Prize, Ingold has interviewed with New York Undressed, American Art Collector, Mahattanarts.com, and Brenda Magazine.
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.
Flaming Parrot Tulip With Books by Elizabeth Floyd, Oil, 9 x 16 in. (13 x 20 framed); Anderson Fine Art Gallery
Still Life (Rhododendron and Brass Pot), c. 1900 by Elliott Daingerfield (American 1859-1932), Oil on canvas, The Janet H. Wilson Collection, April 3 – Ongoing; Blowing Rock Art & History Museum
On Menomonie Winds by Ben Bauer, Oil on panel, 28 x 40 in., Signed; Rehs Contemporary
The Flying Cloud by John Bentham-Dinsdale, Oil on canvas, 30 x 40 in., Signed; also signed and titled on the reverse; Rehs Galleries, Inc.
Late Night Reading by John S. Dimick (photo by John Polak photography), Watercolor and ink, 16 x 12 in. (22 x 18 in. framed); Vermont Artisan Designs
Sisters by Jie Wei Zhou, Oil, 16 x 12 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.
John Fawcett, "Guardian Angels," 2021, Oil, 24 x 30 inches
Western Art on View > Admirers of art inspired by the American West will converge on the Eiteljorg Museum (Indianapolis, Indiana) in September for the 16th annual Quest for the West® Art Show and Sale, one of the best opportunities in the nation to purchase Western artworks and interact with the artists.
Wes Studi (Cherokee); Photograph by Jen Boyer
A highlight of this year’s Quest is a special guest, Academy Award-winning actor Wes Studi (Cherokee). Known for his resonant voice and intense gaze, Wes Studi is a versatile actor who has appeared in more than 80 film and television productions, including The Last of the Mohicans, Dances with Wolves, Geronimo: An American Legend, Heat, Avatar, Hostiles and other roles.
In 2019, he became the first Native American to receive an honorary Academy Award for acting. In 2020, The New York Times named Studi one of the “25 greatest actors of the 21st century.” During Quest for the West, fans of Wes Studi’s performances can see him in person at several events throughout the weekend.
The weekend sale, September 10-11, will be followed by a month-long public exhibition of Quest art at the museum.
Quest for the West features works by 51 top artists in the genre, and it brings together artists and the collectors who treasure their paintings and sculptures. Though the 2020 Quest for the West sale had to be held virtually, this year will mark a return to the Eiteljorg’s familiar in-person sale format for the first time since 2019, when nearly 300 collectors attended the event.
Artworks Include:
Mian Situ, “Morning Hours,” 2021, Oil, 28 x 20 inchesMark Kelso, “Snow Angels,” 2021, Oil on panel, 30 x 48 inchesGerald Balciar, “Cactus Perch,” 2021, Bronze, 12 x 9 x 5 inchesAutumn Borts-Medlock, “Chaco Parrot,” 2021 Bronze, 11¾ x 10 ¼ x 9½ inchesTerri Kelly Moyers, “Serenity,” 2021, Oil, 16 x 16 inches
For more details about the Quest for the West art show, please visit eiteljorg.org.
> 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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Contemporary Realism > A Note From the Fine Art Connoisseur Editor-in-Chief
Heating Up Manhattan with Contemporary Realism
Brianna Lee (b. 1987), “Dissonance” (detail), 2020, oil on panel, 20 x 16 in. (overall), available through the artist
July in New York City is generally hot and quiet, but this year it was perked up significantly — at least for those of us who love contemporary realist art — by an impressive display at Sotheby’s. On view were two large, interconnecting shows — highlights from the 15th International ARC Salon Exhibition, and lots offered in the Contemporary Realism: Important 21st Century Works auction, which was conducted entirely on sothebys.com.
Kudos to the Art Renewal Center (ARC) team that organized these projects, especially Fred, Kara, and Sherry Ross, and also to Benjamin Doller, the Sotheby’s executive who coordinated the firm’s participation. Surely he was pleased that 21 out of 28 lots sold, an encouraging figure for the field of contemporary realism, which is relatively untested in the auction marketplace.
Of course it was a delight for me to meet or reconnect with the talented exhibiting artists during the opening celebrations, but it was also fascinating to watch “newcomers” stopping by to browse. Sotheby’s sells all kinds of art, so it made sense that some collectors who initially came to see the cutting-edge contemporary upstairs later made their way to the main floor to check out the realist shows while they were in the building.
Quite naughtily, I eavesdropped on some of them, and sure enough — they were astonished that tradition-minded jewels like Hiroshi Furuyoshi’s “Julia” (illustrated below) are being painted now. They loved what they saw, but it’s a worry that even these sophisticated people simply do not know that artists capable of such quality work among us today.
HIROSHI FURUYOSHI (b. 1959), “Julia,” 2019, oil on panel, 7 1/4 x 3 3/4 in.
That’s a continuing challenge that every issue of Fine Art Connoisseur seeks to address, and having a major influencer like Sotheby’s get involved is a terrific step in the right direction. Thank you — dear reader — for spreading the word to anyone who will listen and, more importantly, look. We have so many talents in our field, and now we just need more folks to see and buy their remarkable creations.
Evening Shimmer
By Nina Cobb Walker
11 x 14 in.
Oil on Belgian Linen
Available at Cate Zane Gallery, or contact the artist at [email protected]
“The Poplar trees seemed to shimmer in the glow of the setting sun on this particular evening. There had been an unusual and early snow on this Fall Day, melting rapidly in late afternoon with the puddles left from the snow reflecting the trees and a slight breeze making the leaves of those Poplar trees move ever so gracefully.”
Native to the Southwest, Nina Cobb Walker is a progressive, modern Classical Impressionist. Having been trained in the tradition of Classical Russian Impressionism, Nina applies the traditional philosophy and techniques of Impressionism to her own work. Her paintings not only depict the Southwest, but also speak to landscapes across the United States and Europe in a contemporary context.
As an active participant in the art community, she has been shown in exhibits across the nation, and invites the viewer to experience calm and tranquility: reflecting spirituality and looseness of style with realistic elements. She looks for the freshness and sparkle — the transitions between creating a mood or a feeling to touch the soul, creating an impression which will connect everyone together. This is her way of sharing — striving to paint at a higher level and push the limits to create a memorable painting.
Nina changes the way traditional Impressionism is modernly perceived by re-imagining Impressionism and its subject matter. She is a respected teacher, mentor, and student of progressive Impressionism and her works are held in collections across the United States. Nina has won many awards for her work across the nation, including the Juror’s Choice Award at the 39th National Exhibit of Women Artists of the West in Denver, Colorado.
Nina is a Signature Member of the Women Artists of the West, associate member of the National Oil and Acrylic Painters Society (NOAPS), Oil Painters of America, America Impressionist Society, Inc. and American Women Artists. She is also a member of the El Paso Art Association, the National League of American Pen Women, and is a founding member of The Alazan Artists and The Classical Impressionists of El Paso.
In addition to actively showing and participating in the art community, Nina teaches oil painting classes to future up-and-coming artists in El Paso, Texas.
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