Julio Reyes (b. 1982), "Firefly," 2021, egg tempera on panel, 14 x 16 in.
Exhibition On View
Julio Reyes: Recent Paintings
Arcadia Contemporary, New York City arcadiacontemporary.com
May 22–June 13, 2021
The artist Julio Reyes is celebrating his 10th anniversary with Arcadia Contemporary with a show of new paintings. Both partners moved recently: the gallery from California to Manhattan, and the artist from California to Texas with his wife (and equally gifted fellow artist), Candice Bohannon.
Born and raised in Los Angeles, Reyes is of Mexican heritage: his father was born to immigrants in the U.S. and earned an Ivy League education, eventually becoming a doctor. Reyes’s mother picked grapes upon arriving, and many members of that family experienced oppressive poverty. Earning his B.F.A. from Laguna College of Art and Design was not an obvious career choice for Reyes, but one that has yielded extraordinary artworks ever since.
Often depicting lone figures in a landscape, Reyes depicts, in his own words, “intimate dramas, revealing brief moments of unnoticed grandeur, tender souls grappling with the pressures of modern life.” Even his landscapes and still lifes evoke hidden meanings that intrigue yet somehow do not necessitate explanation.
Reyes writes, “I have always been moved by the human capacity to love, dream, and persevere, with great courage and sincerity, in spite of what can seem like a vast and unsympathetic Nature. To a cynical art world, that may sound silly, but to me it is one of the miracles, and beautiful mysteries, of life.”
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Xavier Mellery (1845-1921), "Baptism in Marken Island," 1879, pastel, watercolor and charcoal on paper, 20½ by 31½ inches (52 by 80 cm.), signed 'X MELLERY'
Between 1870 and 1914, artists flocked to the Netherlands in search of what had inspired their seventeenth century predecessors. With industrialization well under way, remote fishing villages such as Volendam and Marken, with their exotic inhabitants dressed in traditional costumes, became the attraction for Monet and lesser known artists such as the Belgian symbolist Xavier Mellery.
“Dreaming of Holland” is an exhibition on view at Jill Newhouse Gallery (NYC) through May 28, 2021.
With travel restrictions still in place, “Dreaming of Holland” brings together different worlds through the vision of denizens and explorers, transporting us to other existences in the past.
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In New York City, well-justified praise has gone to Frick Madison, the Frick Collection’s new temporary pop-up in the brutalist building originally designed for the Whitney Museum of American Art.
Within the 168-pages, 62 noteworthy individuals explain why a Frick-owned artwork holds personal significance to them. The idea was sparked by the artist Darren Waterston, who recalled over dinner his annual visits to commune with Bellini’s St. Francis in the Desert.
The book’s unusual title is lifted from writer Jonathan Lethem’s intriguing contribution about Holbein’s portrait of Sir Thomas More, whose sleeve appears on the cover.
Among the other contributors are — as you might expect — artists (e.g., John Currin) and writers (André Aciman), but also musicians like Rosanne Cash and Bryan Ferry, choreographers Bill T. Jones and Mark Morris, fashion designers Carolina Herrera and Victoria Beckham, and — to our delight — Fine Art Connoisseur contributing writer David Masello. The foreword has been written by critic Adam Gopnik.
Mitchell says their texts are “by turns confessional, contemplative, academic, even comedic. All are engaging testaments not only to the authors’ affection for the Frick and for specific artworks in the collection but, more generally, to the deep emotional response, inspiration, and enrichment that can come from connecting with a work of art.”
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.
Fishing Red Egret by Sherry Egger, Mixed media, 24 x 36 in., 30 x 42 in. framed; Anderson Fine Art Gallery
Peony and Kwannon by Hermann Dudley Murphy, Oil on canvas, 30 x 24 in., Signed; also signed, titled and dated ‘1931’ on the reverse; Rehs Galleries, Inc.
A City Upon A Hill by Anthony Mastromatteo, Oil on canvas, 36 x 48 in., Signed; Rehs Contemporary
Man’s Reach: Native by David Wissman, Oil on canvas, 36 x 36 in., 41 x 41 in. framed; Vermont Artisan Designs
Seabird by Myron Barnstone, Acrylic on paper, 15.5 x 21.5 in.; Barnstone Studios
Perhaps You’ve Heard The Song by Dale Terbush, Acrylic, 18 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.
"Barbara S. Groff, "Irma's Nest," pastel, 14.5 x 15.5 in.
Congratulations to Barbara S. Groff, whose pastel work has been recognized in the Plein Air Salon, a monthly art competition with many categories in which to enter your art.
Groff’s still life, “Irma’s Nest” (14.5 x 15.5 in.) won in the “Best Pastel” category of the January 2021 Plein Air Salon.
She shared her painting process at RealismToday.com, explaining, “My technique involves the building up of several fine layers of pastel until a patina-like quality is reached, creating a depth and richness to the colors. The look is akin to a patina on old wooden furniture that has become evident after years of wear. This process requires patience, but the end result is aesthetically pleasing.
“My preferred working surface is white, archival sanded paper for pastel. Once my drawing is complete and transferred to my paper the process begins. I utilize a variety of pastel sticks for the base colors and for building details and the fine layers, I use pastel pencils. I rarely begin with a watercolor or value underpainting before applying my pastels.”
Additional Still Life Pastel Paintings by Barbara Groff:
Barbara Groff, “My Favorite Things,” pastel, 20 x 20 in.Barbara Groff, “Just Some Common Things,” pastel, 11.5 x 16.5 in.Barbara Groff, “Yellow, Silver, Red,” pastel, 18 x 14 in.Barbara Groff, “Inspired by Vermeer,” pastel, 9.75 x 17.5 in.Barbara Groff, “Blue, Green, and Gold,” pastel, 15 x 11 in.
Other categories for the Plein Air Salon art competition include Best Building, Best Drawing and Sketches, and many more! Visit pleinairsalon.com to view the complete list.
Why should a contemporary realist enter the Plein Air Salon?
Because this art contest is created by Plein Air magazine, which features not only plein air paintings, but also studio paintings, all types of paintings are eligible and do not need to have been completed in plein air, but should originate from a plein air study or plein air experience. As we know, many studio paintings start with plein air sketches. Our interest is in rewarding great paintings.
The Plein Air Salon awards $33,000 in CASH each year! Learn more at pleinairsalon.com, and enter your best work for your chance to win this art competition. Enter now – the next deadline is coming soon!
If you’ve never entered, it only takes a couple of minutes to create your own account. Once you do that, just upload the images of your best work and select the categories you wish to enter – very manageable to do!
All of our awards are CASH, with the grand prize winner getting called up on stage at the Convention & Expo to claim their check for $15,000. That grand prize winner will also have their winning painting featured on the cover of Plein Air magazine (can it get any better?).
There are smaller cash awards, too, and you can find out all about them here. Remember, even if a previous judge did not select your painting, our current judge just might find it to be a winner!
Hilary Swingle was born in 1983 in Salt Lake City, Utah; this is where she currently works and resides. She is a figurative realist oil painter working in the indirect painting method. Her most recent portraits are autobiographical and explore the threads of her social anxiety using symbolism and highly detailed compositions. She is mostly a self-taught artist. Her paintings have been exhibited in museum and gallery shows across the United States. She was recently awarded Juror’s Choice in the 2020 Utah Women Artists Exhibition. She is represented by 33 Contemporary Gallery, Chicago.
James Wyeth, American, b. 1946 "Islander," 1975
Oil on canvas
34 x 44 3/8 inches
The Farnsworth Art Museum in Rockland, Maine, has announced the receipt of major gifts of art from the bequest of Betsy James Wyeth. All twenty-seven new acquisitions by the three generations of Wyeth painters, N.C., Andrew, and Jamie Wyeth, will be on view, beginning Saturday, May 15, as part of a landmark new exhibition entitled “Betsy’s Gift: The Works of N.C., Andrew, and Jamie Wyeth.”
The exhibition will be accompanied by a complementary exhibition of works by Andrew Wyeth, “Betsy Wyeth: Partner and Muse,” which features five Wyeth works that have never been exhibited in public. Betsy James Wyeth passed away last spring, at the age of ninety-eight.
“The Farnsworth is so fortunate to have the ongoing support of the Wyeth family and we are deeply grateful for this treasured gift to the museum’s collection,” said Farnsworth Director Christopher J. Brownawell. “Along with this stunning gift from Betsy, several other gifts were recently received, making this a transformational moment in our history. These exceptional works strengthen our museum’s already outstanding collection, elevating the Farnsworth to one of the great regional museums in the country.”
James Wyeth, “Meteor Shower,” 1993 Oil and essence of pearl on panel 38 x 48 inches
“The Farnsworth’s relationship with Andrew and Betsy goes back to 1944, four years before the museum opened its doors to the public,” commented Farnsworth Board President Gerry Isom. “The museum purchased six works at that time, from a still relatively unknown Andrew Wyeth, as its collection was just taking shape. Betsy’s ongoing support of the Farnsworth was unwavering throughout her life, and we owe her an immense debt of gratitude.”
James Wyeth, “Shorty,” 1963 Oil on canvas 18 x 22 inches
The bequest of twenty-seven works includes two well-known Andrew Wyeth watercolors featuring the Olson House: “Room after Room” and “Geraniums”; the N.C. Wyeth oil painting “Fisherman’s Family”; as well as Jamie Wyeth’s famed Monhegan oil painting Islander. Along with several other recent gifts of art, these pieces represent an extraordinary infusion of American art that expands and strengthens the Farnsworth’s mission and collection, providing Mainers and visitors from around the world with an exceptional art experience.
The new works will be included in an exhibition entitled Betsy’s Gift: The Works of N.C., Andrew, and Jamie Wyeth, on view in the Farnsworth’s Hadlock Gallery through March 27, 2022. The accompanying exhibition Betsy Wyeth: Partner and Muse will feature Andrew Wyeth’s portraits of his wife Betsy, who appeared in his paintings from the summer they met in 1939 until the summer before the artist’s death in 2009. At the center of the exhibition is “Maga’s Daughter,” an iconic tempera exhibited in Maine for the first time, along with several watercolors and drawings of Betsy that have never been displayed publicly before.
N.C. Wyeth, “Cleaning Fish,” 1933 Oil on canvas 47 5/8 x 51 3/4 inches
In addition to these two major exhibitions, the Farnsworth will feature three additional exhibitions in 2021:
Women of Vision, which opened April 17, celebrates thirteen remarkable women who have made lasting contributions to Maine’s culture. The thirteen women—photographer Berenice Abbott, businesswoman Linda Bean, painter Katherine Bradford, philanthropist Edith Dixon, museum founder Lucy Farnsworth, photographer Cig Harvey, poet Edna St. Vincent Millay, sculptor Louise Nevelson, philanthropist Elizabeth Noyce, basket maker and Passamaquoddy civic leader Molly Neptune Parker, women’s advocate and philanthropist Maurine Rothschild, arts and education champion Phyllis Wyeth, and artist Marguerite Zorach—will receive the 2021 Maine in America Award at a ceremony at the museum in July.
Robert Indiana: The Hartley Elegies, opening on May 25, features ten silkscreen prints by Robert Indiana (1928–2018), one of America’s best known painters and sculptors of the Pop Art generation. These prints, along with eighteen related paintings, are known as The Hartley Elegies. Done between 1989 and 1994 they were inspired by the work of the prominent American modernist Marsden Hartley (1877–1946), with whom Indiana felt a strong connection. The ten large-scale silkscreen prints of Indiana’s Hartley Elegies comprise a visual poem on the two artists’ shared interests in radical formal vocabularies, and their innovative combinations of words and numbers into their boldly colored geometric compositions. They were also a coded commentary on their lives as gay men, as well as their experiences of living and working in Maine after leaving the artistic center of New York that earlier had nourished their careers.
George Tice/Andrew Wyeth: Parallel Visions opens at the museum’s Wyeth Center on June 12. Over a period of many decades, nationally renowned photographer George Tice and artist Andrew Wyeth were drawn to Maine, inspired by the state’s past, and a present that speaks to a sense of timelessness and the enduring qualities of honor and dignity in an honest day’s work. The first exhibition to show Tice’s Maine work in the place that inspired it and the first to pair the two artists together, it explores the unique vision of each artist through their depictions of those evocative parallel worlds that capture both the myth of Maine and the reality its residents call home.
“We could not be more delighted to offer such high-caliber exhibitions this spring, as we all celebrate a slow return to normalcy,” added Brownawell. “As the only art museum in Maine that remained open throughout the pandemic—except for two months last March—we feel it is our responsibility to our community to remain a beacon and a place for comfort and renewal.”
> 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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Colin Page, "Sisters," 48 x 36 inches, Oil on canvas
Artist and gallery owner Colin Page reflects on how, and why, his art has changed over the years, and his turning point to make more meaningful paintings.
Change of Perspective
BY COLIN PAGE
The best paintings strive to do more than reproduce a scene. The artist aims to express something beyond her reach. It’s that striving which makes her work stand out. The big challenge of painting is to connect a visual idea with the more personal problem of creating something meaningful.
I like to start my workshops with a definition of the word “painterly.” To me “painterly” means showing how much you love your materials by how you handle them. I encourage my students to find ways to apply paint using the inherent characteristics of the material to their advantage, to show how much fun they have through their paint application. I aim to do this in my own paintings, but I also hope to transcend the materials, to leave something of myself in each painting.
Colin Page, “Shrimpers,” 24 x 36 in.
For many years I focused on the more formal aspects of painting. I wanted to make striking images with gestural brushwork and rich color. Eventually I found myself falling into a rut. I didn’t feel as attached to my work, and I wasn’t as inspired by the paintings I made. I wanted to do something to push my work further, but wondered how I could do that. When could I find the time to explore? What risks did I want to take?
I needed to make more meaningful paintings.
A few years ago my wife delivered our first daughter, and I watched her endure a long labor and delivery. It’s the most impressive thing I have seen anyone do, and participating in that moment moved me beyond belief. It was amazing to watch her go through such a powerful experience, and come out of it with our brand new baby. It made me want to be better in everything I do, particularly my artwork.
When the dust settled, I knew I had to quit avoiding the difficult questions about my paintings. I wanted my paintings to be about something more. I wanted to take more risks playing with abstraction in my paint handling. I wanted to make more personal work, and to paint more about my life. I wanted to paint larger and get lost in the process of a big painting for a few months, or even years. I wanted to develop a deeper relationship with each image.
Colin Page, “Glowing Birches,” 32 x 30 inches, Oil on canvas
I started by incorporating more of the abstraction that I have always loved in others’ work. I tend to paint representationally, but try to drop the idea that there’s a difference between realism and abstraction. All painting involves a certain amount of abstraction. The three-dimensional world must be flattened onto a two-dimensional canvas. This act of simplification is inherent in all painting. We simplify the world into shapes of color with varying characters of edge and opacity.
Allowing more abstraction means more freedom to create visual harmonies and rhythms. It means letting the brush dance and play on the surface of the canvas. In my mind, much of the poetry of painting can be found in the less-defined areas. The unanswered questions allow the viewer to complete the image. At its best, the paint will suggest an idea rather than illustrate it. A painterly brushstroke is a suggestion, which asks the viewer to participate in defining the image. A painterly stroke tells us what the artist thought was most important about the scene.
Colin Page, “Acadian Seascape,” 28 x 40 inches, Oil on paper
Ken Kewley described a painterly approach when he wrote, “I tend to like paintings where the abstraction is strong. Going towards abstraction does not mean going away from representation. It is more like describing something real by other means than illustration. It is like describing an apple with your hands, forming the shape in the air . . . by enclosing an imaginary object with two hands. You do not try to make your hand look like an apple. Paint takes over the role of the hands and does not hide the fact that it is paint. Painting is talking with the hands made permanent.”
Colin Page, “Underneath,” 72 x 48 inches, Oil on canvas
My subject matter is also evolving. I’m making more paintings about my immediate family. I watch my children discover the world with amazement. They remind me that the world is full of beauty, even in the simple things. I experience the seasons as part of a family, and I see the fun that my children have. I see them develop an interest in nature, and wonder at the new things they see.
I get to relive the joy of childhood through my daughters. I want to paint with that joy, whether through landscape, seascape, still life, or figures. A painting of discarded toys in the front yard says as much about my girls as a scene of them running around together. Their impact reverberates through everything in my life, and I welcome that influence in my artwork.
I’m hardly the first painter to be affected by parenthood, or the first father to be so deeply affected by the birth of his children. Despite this, I welcome the depth fatherhood brings to my life and paintings. I want to paint images about my family with a sincere love that can be deeply felt and honestly portrayed, hopefully without being overly sweet or saccharine.
Colin Page, “Campfire,” 12 x 16 inches, Oil on canvas
Paintings of my family are more difficult. The viewer creates their own relationship with figures in a painting, and I have to consider how the figures within the scene are relating to each other, the viewer, and their environment. I like painting my daughters outdoors, experiencing nature and each other. I want to paint their personalities, and also my deep affection for them.
A big change in my schedule was giving up some work time to be with my kids. It’s been a good reminder that I need to get out of the studio and live my life, so I have something to paint about. It’s inspiring to experience a summer day at the lake through the eyes of my kids, to watch them run around through piles of leaves in the fall, or splash in puddles. Every day is an adventure. I want my paintings of them to be an expression of my love for them, and a reminder of childhood joy.
I still love painting outdoors and working fast, but I don’t want to get pigeonholed as a plein air painter, or an impressionist, or a landscape painter. My work is still about light in the landscape, but it’s a landscape seen through the eyes of a father.
Colin Page painting en plein air
I paint my life and interests, and focus on the craft. With constant painting, I find my own path. I’ve never believed in waiting for inspiration. I’m lucky to have found painting, and ’m incredibly lucky to do it for a living. One thing I know for sure is that I need to paint through the bad days, along with the good. My best paintings show up when I least expect them. The best way for inspiration to find me is to be standing at the easel working.
I paint from photos, from direct observation, and from my imagination. There are no rules about what style I paint in, or whether or not I fit in to a particular category. I don’t want to get stuck in anyone’s idea of what I should do, least of all my own. Labels are limiting, so I just say I’m a painter. My content is my life experiences. My paintings are me.
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George K. Brandriff, "Sunday Breakfast," 1930/1935, Oil on canvas, 24 x 30 in. The Buck Collection at the UCI Institute and Museum of California Art
Exhibition of California Impressionism: “Radiant Impressions”
Institute and Museum of California Art (IMCA) at the University of California, Irvine
Through August 14, 2021 imca.uci.edu
From the organizers:
Focusing on early to mid-20th-century painters, “Radiant Impressions” considers the ways artists have engaged with light not only for its optical qualities, but also for its power to convey meaning, ambiance, and emotion. The selection of oil paintings and watercolors also provides reflections of the times and places in which they were created. Depictions include pristine landscapes, harbor views, picturesque villages, urban skylines, domestic scenes and interiors, portraits, and people at work and play. Whether the golden tones produced by the California sun or the glow of an electric light bulb, the artists employ light to express a range of narratives and moments.
The exhibition is organized in four thematic groupings:
The Domestic Realm and Work juxtaposes intimate household activities with crisply lit landscapes.
Capturing the Scene evokes the sensation of light at different times in the day.
Play and the Social Sphere reveals how light is used to suggest energy, atmosphere, and movement in the public realm.
Lighting the Portrait comprises pictures of women whose gazes invite a rapport with viewers.
Well-known California Impressionist paintings are in dialogue with less familiar pieces by women artists, including rarely exhibited paintings by Elsie Palmer Payne (1884–1971) and Burr Singer (1912–1992). Together, the works demonstrate how these painters rendered light to imbue the rich and varied meanings of everyday experiences with both nuance and drama, stasis and motion, familiarity and remoteness.
Elsie Palmer Payne, “Bus Stop,” 1949, Oil on canvas, 30 1/4 x 25 1/4 in., The Buck Collection at the UCI Institute and Museum of California Art
Highlights include Guy Rose’s (1867–1925) “Laguna Eucalyptus” (1917), revealing the influence of French Impressionism through a Californian lens. “Freeway Beginning” (c. 1948), a watercolor by Emil J. Kosa Jr. (1903–1968), emphasizes the contrasts between old and new architecture in post-war Los Angeles. Louis Betts’s (1873–1961) “Mid-Winter, Coronado Beach” (1907) presents the Southern California sun as its own character in this romanticized scene of beachgoers enjoying seaside activities. The title intentionally reinforces the region’s alluring climate even in winter.
Guy Rose, “Laguna Eucalyptus,” circa 1917, Oil on canvas, 40 x 30 in., The Irvine Museum Collection at the University of California, Irvine.Emil J. Kosa Jr., “Freeway Beginning,” circa 1948, watercolor on heavy wove paper, 22 x 30 3/8 in. The Buck Collection at the UCI Institute and Museum of California ArtLouis Betts, “Mid-Winter,” Coronado Beach, circa 1907, Oil on canvas, 29 x 24 in. The Irvine Museum Collection at the University of California, Irvine
The exhibition is curated by Jean Stern, former Senior Curator of California Impressionism at IMCA. A leading authority on the genre, he is also Executive Director Emeritus of The Irvine Museum (its collection is now part of IMCA) which he led for 28 years. Stern retired from IMCA last spring to focus on writing, lecturing, curating, and consulting. A recorded Zoom conversation about Radiant Impressions between Stern and IMCA Curatorial and Research Associate Erin Stout showcasing some of the works is will be available on the museum’s website on May 14, 2021.
Elanor Colburn, “Bathing Baby,” 1930, Oil on canvas, 36 x 33 in. The Irvine Museum Collection at the University of California, Irvine.
Kim Kanatani, Museum Director of IMCA, said, “We are delighted to welcome visitors back to our space in Irvine. While we will continue to offer virtual programming, there is nothing quite like seeing these beautiful artworks in person. The artists represented in this exhibition used color, light, and shadow to stunning effect. We are grateful to Jean Stern for sharing his deep knowledge of California Impressionism and some of his favorite paintings.”
Please note: IMCA’s interim museum is currently closed in accordance with California state health protocols. Should health protocols still limit in-person visits during the planned presentation of Radiant Impressions, updates will be posted on IMCA’s website. For further information and COVID-19 safety protocols, visit IMCA’s website at imca.uci.edu.
> 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
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.
Cat Tails by Grace DeVito, Oil, 12 x 12 in., 18 x 18 in. framed; Anderson Fine Art Gallery
Yacht Peerless, New York Yacht Squadron Race, New York, 1892 by William Davis (featured in WaterWorks – a group exhibition), Acrylic and oil on canvas, 12 x 16 in., Signed; Rehs Contemporary
1885 America’s Cup: Puritan vs Genesta by Antonio Jacobsen (1850 – 1921), Oil on canvas, 22 x 36 in., Signed and dated 1886; Rehs Galleries, Inc.
Fall Ridges by Woody Jackson, Oil on canvas, 36 x 48 in. (37 x 49 in. framed); Vermont Artisan Designs
Ascenseur by Myron Barnstone, Oil on canvas, 46 x 30.5 in.; Barnstone Studios
Petite Souris 480 by Marina Dieul, Oil, 4 in. diameter; 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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Within the 168-pages, 62 noteworthy individuals explain why a Frick-owned artwork holds personal significance to them. The idea was sparked by the artist Darren Waterston, who recalled over dinner his annual visits to commune with Bellini’s St. Francis in the Desert.
