Daniel Gerhartz, "Light Shines Forth," 2021, oil, 30 x 30 in
Classical Paintings by Daniel Gerhartz Inspire Intangible Emotion
From Meyer Gallery:
For his summer exhibition at Meyer Gallery, Daniel Gerhartz presents a new body of work that is a continuation of his expressive and emotional painting style depicting quiet moments and idyllic scenes. Portraits, still life and landscape paintings are inspired by the artist’s personal experiences or familiar people and places, yet this connection is often unbeknownst to the viewer.
This ambiguity is intentional as Gerhartz hopes viewers respond to his work on an emotional level and attach their own meaning to the imagery.
“What is Left Unsaid” opens on Friday, July 9, 2021. Artwork will be available in the gallery and online at meyergalleries.com.
“I don’t like to fill in all the blanks,” says Gerhartz of his subject matter, “but instead let the viewer use their imagination. It’s the same with the gestural painting technique – looser edges let the viewer bring their own story to the work.”
Gerhartz’s liberated painting style results in rich texture and luminous surfaces, as he captures the nuances of light across freshly fallen snow or within the glimmering layers of a woman’s evening gown. An artist who paints from the heart, Gerhartz captures what words cannot express as his paintings hinge on mood and visceral emotion. Intangible ideas such as hope, romance, tranquility, and divine connection are some of the themes felt across his work.
Daniel Gerhartz “What is Left Unsaid,” Oil, 34 x 34 in.
“What Is Left Unsaid” also titles an important piece in the show, a portrait of a woman’s profile beneath a translucent veil that glows with light and exuberant brushwork. This piece received the Gold Medal Award and the Member’s Choice Award for the Master Signature Division of the 2021 Oil Painters of American National Juried Show. Meyer Gallery is honored to display this piece as the namesake painting for the exhibition.
Daniel Gerhartz, “Morning’s Glory,” 2021, oil, 36 x 36 in.Daniel Gerhartz “Duet,” Oil, 16 x 24 in.Daniel Gerhartz, “Paris Opera-Nocturne,” 2021, oil, 30 x 24 in.
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Visitors to the Rijksmuseum can now enjoy “The Night Watch” in its original form, for the first time in 300 years.
From the museum:
Several sections were cut from “The Night Watch” in the past. The Operation Night Watch team has successfully recreated these missing pieces, which have now been mounted around Rembrandt’s world-famous work. This reconstruction based on the 17th-century copy attributed to Gerrit Lundens was made with the help of artificial intelligence. The result is a significant component in the art historical research conducted as part of Operation Night Watch. The reconstructed painting will remain on public display at the Rijksmuseum for the coming months.
“‘The Night Watch’ as it is displayed in the Rijksmuseum is etched into our collective memory,” said Taco Dibbits, director of the Rijksmuseum. “Thanks to this reconstruction, we can now see that the composition as it was painted by Rembrandt was even more dynamic. It is wonderful to be able to now see with our own eyes ‘The Night Watch’ as Rembrandt intended it to be seen.”
Differences
There are a number of differences between “The Night Watch” as we know it today and the painting in its original form. On the left of the reconstructed version, for example, we can now see three figures on a bridge: two militiamen and a young boy. And the painting’s main figures, Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, are now positioned to the right of centre, rather than in the middle of the canvas. These factors add a considerable sense of movement and dynamism to the painting.
It is now also clearer that the powder boy in the left foreground is grasping a balustrade. The boy has furthermore gained space into which he can move, with the result that he seems more clearly to be running away, ahead of the militia.
The helmet worn by the militiaman on the extreme right is now complete, and there is space above the standard, making the motion of the ensign as he raises the company’s colors more convincing.
Art historical research
The reconstruction of “The Night Watch” is an important component of the art historical research conducted as part of Operation Night Watch. By reconstructing the missing sections, printing them on panels, and temporarily placing them around the original painting, researchers can now experience the effect of the painting in its original form.
Operation Night Watch is the largest and most wide-ranging research project ever conducted into Rembrandt’s masterpiece. The research began in summer 2019, and conservation work will only commence following completion of this phase.
Ensemble
Rembrandt finished “The Night Watch” in 1642. The militia commissioned Rembrandt to make the painting for its new banqueting hall at its headquarters, the Kloveniersdoelen. Hanging in this hall, the painting formed part an ensemble comprising seven militia portraits, or schuttersstukken. Experiencing the original composition allows for a better comparison with the six other works. It is not the museum’s intention to incorporate the lost pieces in the actual restoration of “The Night Watch.”
Reconstruction of the great hall of the Kloveniersdoelen building
Trimmed
In 1715, the painting was moved to what was then Amsterdam’s City Hall, now the Royal Palace on Dam Square. It was too large for its new location, so it was reduced in size. Strips were cut from all four sides, with the largest section being removed from the left side.
“The fate of the missing pieces of ‘The Night Watch’ remains a great mystery,” said Pieter Roelofs, Head of Paintings and Sculptures, Rijksmuseum. “Each generation has used the tools available to it to attempt to reconstruct the painting. Now we are doing the same, using the most advanced techniques currently available.”
Photo by Reinier Gerritsen
Artificial intelligence
We know what the painting originally looked like thanks to the copy commissioned by Captain Frans Banninck Cocq – and probably painted by Gerrit Lundens in the period from 1642 to 1655. This copy served as the basis for the reconstruction made with the help of artificial intelligence.
In the first step, the team taught Rembrandt’s technique and use of color to so-called ‘artificial neural networks’. Once this phase was complete, the computer recreated the missing parts in the style of Rembrandt.
“This project testifies to the key importance of science and modern techniques in the research being conducted into ‘The Night Watch,'” said Robert Erdmann, Senior Scientist, Rijksmuseum. “It is thanks to artificial intelligence that we can so closely simulate the original painting and the impression it would have made.”
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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.
Sunflowers by Ellen Buselli, Oil, 15 x 16 in., (19 x 20 in. framed); Anderson Fine Art Gallery
Strawberry Daiquiri by Todd M. Casey, Oil on panel, 8 x 6 in., Signed; Rehs Contemporary
Cows with Shepherd and Dog by Marie Dieterle (1856 – 1935), Oil on canvas, 24 x 19 in., Signed; Rehs Galleries, Inc.
Sunflowers and Cider by Julie Y Baker Albright, Oil on panel, 16 x 20 in., 24 x 28 in. framed; Vermont Artisan Designs
Distant Horizons by Geoffrey C. Smith, Oil on canvas, 60 x 48 in.; Geoffrey C. Smith Galleries
Desert Spring Run-Off by Darcie Peet, Oil, 24 x 18 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.
Detail from the cover of Fine Art Connoisseur; art by Erik Ebeling
A preview of the July/August 2021 issue of Fine Art Connoisseur, including the Table of Contents and links to get your copy:
July/August 2021 issue of Fine Art Connoisseur magazine. Cover Art: Erik Ebeling (b. 1982), “Chris” (detail), 2021, cast resin composite (edition of 6), 21 in. high (overall), on view through August 22 in the National Sculpture Society’s 88th Annual Awards Exhibition at Brookgreen Gardens (South Carolina)
Dripping in Rubies & Sapphires
By Tobi Clement
18 x 22 in.
Pastel on Anthracite PastelMat (framed & matted with AR glass)
$3,100
Available through Canyon Road Contemporary Art Gallery
Dripping in Rubies and Sapphires was painted from a recent plein air study painted at the Bosque Del Apache National Wildlife Refuge in Southern New Mexico. Tobi says, “the Bosque holds an intimate place in my heart; I am serenaded by the songs of the migratory snow geese and sandhill cranes, and the beauty of this refuge provides an endless source of inspiration for my work. This piece will be included in a group show, Expressions of Northern New Mexico, at Canyon Road Contemporary Art Gallery, July 17, 2021.”
Landscape artist Tobi Clement lives in Santa Fe, New Mexico, surrounded by the expansive landscape and stunning skies of the Southwest. Tobi’s artwork stems from her desire to express the breathtaking beauty and ethereal quality of the light expressed in the sky. Tobi emphasizes there is a soul-grabbing intensity in the colors and an unexplainable mystery to the light and how it changes everything we see for just a short moment. It feels as if God has squeezed a tube of cadmium yellow over the earth in that moment, I feel as if I am wrapped in a divine embrace.”
For the Scottish, twilight, or as they say “twylicht” or half-light, is the in-between time when the light of day merges with the dark of night. Throughout history and across many cultures, myths declare this special time to be a brief but potent time for magic when one can cross the elusive border dividing the mundane world from supernatural realms. Tobi shared “one day the door cracked open into that otherworld for just for a moment, long enough for me to peek through, like a voyeur, into that mystical place where I captured a glimpse of a romantic exchange between the light of day and the dark of night. I was witness to their eternal love affair.”
Spellbound by this myth, Tobi strives to express in her work the mythical affair between two lovers, Light and Dark, whose brief passionate interlude evokes the breathtaking beauty witnessed in the sky during the ethereal time of twilight.
Upcoming Show: Canyon Road Contemporary Art Gallery
Group show: Expression of Northern NM.
Open House: July 17, 2021 10:00am-6:00pm
The Gallery hosts an all day “Open House” event with music and art demonstrations with a group of artists in the front garden. It is a festive event! Tobi will be there painting and hopes you’ll stop by for a visit.
Upcoming Workshops:
Building a Foundation: July 2 – August 1, 2021
three-day art retreat at the Benedictine Monastery, Pecos NM
Chasing the Light: September 15 – September 20, 2021
four-day art retreat at the Benedictine Monastery, Pecos NM
About:
Tobi Clement is an internationally recognized and professional award-winning pastel artist, known for her mythical skies. Tobi’s work was featured in the annual French publication, Pratiques De Arts #50 magazine, and she is invited as one of fourteen American artists to participate in a special all-woman Pastel Exhibition: Pastel du Mondeau au Feminin Spring, 2022 in Montluçon, France honoring American Women Pastellists in an exhibition in L’Orangerie du Chateau de la Louviere. Tobi was featured in the 2020 June/July & August/September Pastel Journal with a two-part educational editorial. PleinAir Magazine featured Tobi in an educational editorial in the 2020 November issue.
She is a signature member of Northwest Pastel Society (NPS), Pastel Society of New Mexico (PSNM), and Plein Air Painters of New Mexico (PAPNM).
To follow the romance of When Light meets Dark, sign up for her newsletter for events, workshops and posts her latest work.
Denise Antaya: “Puddles was inspired by a drive in the countryside looking for painting locations. It was a rainy day and quite gloomy. I snapped a quick photo and carried on. It was a horrible image on my phone, but it kept drawing me in. The puddles were reflecting the sky, and I had to paint it. It was evident that I would have to return and/or make a lot of the scene up. So began my interpretation based on a poor photo, a few visits back to the location, and my experience plein air painting.
“Puddles was awarded Honourable Mention in the 14th Annual ARC Salon Competition. It was also juried into the OPA 29th National Juried Exhibition where it sold. It was the painting that won me a spot on Landscape Artist of the Year Canada.”
Denise was born in Windsor, Ontario. She was always an artist from a young age. After a 31-year career in Advertising she decided to follow her passion for landscape painting, full time. With training at the Academy of Realist Art in Toronto and Plein Air Workshops with notable landscape painters under her belt, she began to follow her dream.
She primarily works in oils on wood or linen. The everyday themes in Antaya’s oil paintings combine her love of nature and her fascination with light and how it transforms an often-overlooked scene. Her subjects range from season to season, but almost always represent the natural environment untouched by man. She has the ability to capture a moment and even transport one back to a quieter, simpler time.
Denise was a finalist on Landscape Artist of the Year Canada in 2019. The television show aired on Makeful TV, CBC, Cottage Life TV and Sky Arts in the UK.
With 40 exhibitions across Canada and the United States, her paintings have earned a dozen awards.
William Rogers AWS CSPWC TWSA is a watercolor and oil painter who loves to paint figures from life, such as the one in oil featured here. This particular model, Moire, has been the subject of a large number of paintings and is probably the artist’s muse at present. She takes wonderful poses and her personality comes through which, when captured, creates a superior work. Paintings of her have been recently shown in the Oil Painters of America (OPA) National Exhibition in 2020, the OPA Eastern Regional Exhibition in 2019 and 2020 where it was given an Award of Excellence, the 2021 OPA Salon Exhibition now on at the Quinlan Arts Center in Gainesville GA, and the National Oil and Acrylic Painters Society Best of America 2020 Exhibition as well as the 2020 Fall Online Exhibition. A number of these works have also sold during the shows. His watercolor portraits of her have been featured in the Adirondacks Exhibition of American Watercolors, as well as the American Watercolor Society 2020 Exhibition at the Salmagundi Club in NYC. Other models have been featured in various International Exhibitions with a number of awards.
Another favorite subject of his has been horses, usually in working/activity/racing scenarios. Many of these works also feature the handlers and trainers, jockeys, and drivers as well. Bill has been working on a series of portraits of horsemen and women with whom he has a personal connection, and they have been very well received. This series will soon be featured in a travelling exhibition along with the racing and stable images with the horses. He did win a number of awards including Best Watercolor from Harness Tracks of America’s Art Exhibition between 2006 and 2008 after which the event was discontinued. A number of the works were acquired by the racetracks featured in the paintings.
His recent oil painting featured here titled “Moire Looking Off” is on display now at the OPA Salon Show at the Quinlan Art Center in Georgia. Bill’s work can be found on his website www.williamrogersart.com as well as in galleries listed there, many works still being available. He shows his work regularly on Facebook and Instagram and teaches courses in Figure and Landscape painting at www.chesapeakefineartstudio.com and www.artlabstudios.ca.
1917 Indian Motorcycle
By Emily Copeland
Charcoal on Stonehenge Paper
56 x 107 in. | 142.2 x 271.8 cm
Available through RJD Gallery Shades of Grey exhibition
Emily Copeland has the heart of an artist and the soul of an experienced antiquer. Her lifelong love of antiques has evolved from discovering timeless treasures in tucked away shops to rendering vintage objects with mind boggling precision on the easel. Emily creates realistic “portraits” of beloved objects from a bygone era — a vintage telephone, a football helmet or a well-worn and much-loved pair of cowboy boots — all rendered in black and white with her preferred medium of charcoal. She enjoys sharing her love of vintage pieces and seeks to evoke memories of favorite items that often date back to childhood.
Emily explores the details in vintage objects and makes them the focus of each work by creating works much larger than the objects themselves, making the viewer see what may have been missed by looking at the actual piece. A pair of boxing gloves comes to life with its worn leather, cracks and creases and a vintage Indian motorcycle roars into our consciousness with the power of the artist’s exquisite technique and incredible shadings. Each work is created in black and white but somehow seems to present itself in color and draws us into a backstory of our own making.
Her works have been exhibited internationally, including London, Singapore and New York. Her solo show, “Shades of Grey” has been met with an enthusiastic response and has been extended through July 31 at RJD Gallery. See “Shades of Grey” and enjoy a nostalgic look at everyday objects that hold a special place in our hearts.
Aida Garrity is inspired by life and beauty, capturing individual personalities, moods and emotions. In her paintings of golf-inspired landscapes and scenes from her previous residence in Dublin, Ohio, she undertakes the challenge of crafting a composition that evokes emotion and transmits a story to the viewer. Her sweeping wide-brush background strokes and subtle soft-brush details capture the beauty of the Dublin landscape — its intensely green grass, majestic trees and manicured golf courses.
Garrity discovered her passion for painting at age five through children’s art classes at the Museo de Bellas Artes in Caracas, Venezuela. She earned a Bachelor of Science in Metallurgical Engineering from the Imperial College, London, and worked for 30 years in the engineering field. She returned to her artwork with an MFA from San Francisco Academy of Art University in 2010 and exhibits her work in national and international exhibitions.
Aida paints in plein air monthly with other members of the “Peace River Painters Plein Air Group” in central Florida and in the Fall she joins her artist friends in the majestic area of Monhegan Island off the coast of Maine.
Most recently, she had a solo exhibit at the Dublin Arts Council titled “Aida Garrity: Dublin Goldscapes” and was also juried in the very prestigious Catherine Lorillard Wolfe Arts Club 124th Annual Open Exhibition at the Salmagundi Arts Club.
Aida is a member of these fine art organizations:
• Salmangundi Arts Club
• National Arts Club
• Portrait Society of America and the Cecilia Beaux Forum
• Oil Painters of America
• American Women Artists
• National Oil and Acrylics Painters Society
Karen Budan: I am a contemporary still life painter who paints in a hyper-realistic style. My paintings are often mistaken for photographs. Painting still lifes allows me to create arrangements, adjust the lighting, and set the stage to transform everyday objects to extraordinary.
My inspiration for a painting often comes from unexpected places. This particular painting was a result of my wandering through my home looking for something that could become a major actor in my next painting. I am especially drawn to compositions that include translucency and reflections, so it is no surprise I found myself looking at this clock that has been sitting on my coffee table for years with new eyes. As I picked it up and headed for my studio, I found the phrase time and money running through my head and the idea of money scattered around the base of the clock came to life. “Time and Money” just won an Award of Merit in its first show, the 2021 National Oil and Acrylic Painter’s Society Best of America Small Paintings Show.
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Art historical research
Download the July/August 2021 issue here
