“On the Loose” is an online exhibition of the nationally recognized organization Plein Air Painters of America (PAPA). The Taos Art Museum at Fechin House will be hosting the exhibition via their website (click here to view the landscape paintings for sale) for the entire month of September.
“Plein air” is a term which originates from the 19th century French Impressionist movement, it refers to the practice of painting entire finished pictures outside.
“Rosebud Awakening” by Mitch Baird $2,900.00
“Ask an artist what they like the least about painting and they are likely to say deadlines or show theme restrictions. They seem to be never-ending. In this online exhibition, we have removed all restrictions, asking only that PAPA Members paint what they want, where they want and how they want. Eliminating these constraints provides a freedom that allows the artist to fully celebrate the process and chosen subject. It’s an opportunity to celebrate their personal vision, unfiltered and without limitations.” – Matt Smith, PAPA President
“Paint Fast” by John Budicin $2,600.00
Founded in 1986 by artist Denise Burns, on Catalina Island, California the Plein Air Painters of America began as a small group of artists dedicated to painting from life. For the first two decades, PAPA held annual paint-outs followed by an exhibition, in Avalon on Catalina. This format, unique at the time, has given birth to countless similar groups and events across the country.
“Sierra Granite” by Kathleen Dunphy $2,700.00
In 2007, PAPA expanded its format to include exhibitions in museums and art centers to emphasize the importance of field studies in the process of making studio paintings. Most of PAPA exhibitions are documented in catalogs.
PAPA members are seasoned outdoor painters and consider some of the best teachers of the genre today, conducting workshops throughout the country and internationally. PAPA also collaborates with Streamline Premium Art Videos to produce instructional videos that are indispensable learning tools.
“Occupied” by Leonard Chmiel $4,800.00
For more details about “On the Loose,” please visit www.p-a-p-a.com.
Timeless, atmospheric, and deeply mysterious, the paintings of Johan Abeling are sure to evoke contemplation among his viewership.
Translated from the Italian as “smoky,” sfumato is a painterly technique that was mastered in — and coined through — the works of Leonardo da Vinci. The process involves the tedious layering of transparent paint so as to virtually eliminate the contours of objects and figures. Done skillfully, the results can be outstanding, with subjects that appear to radiate their own light source and compositions that have a soft, diffused, and atmospheric aura.
Johan Abeling, “Lockdown Landscape V”
All of the above could easily be ascribed to the work of Dutch painter Johan Abeling, whose landscape paintings are captivating in their light, and their emptiness. “I am fascinated by the emptiness and silence of Dutch northern landscapes,” he says. “I try to create, with a minimum of objects, an enigmatic mood. All the elements are derived from reality, but not in the combination seen in the paintings. In this way, I create private worlds that only exist in my imagination.”
Johan Abeling, “Oktober II,” acrylic on panel, 24 x 39 1/2 in.
“Silence II” (below) is almost haunting in its portrayal of an isolated — presumably abandoned — home. From a low point of view, an old, unkempt fence projects from the distance toward the viewer. Resting just beyond, and centrally located, is the home. Abeling’s description of the piece only enhances the initial perception. He writes, “The building in ‘Silence II’ is an actual structure in the middle of our town, it is completely neglected. I painted it about a dozen times because I was attracted to the white woodwork against a dark sky and the harmony within the horizontals and verticals. Nobody was living there, it is a house with a question in it.”
Johan Abeling, “Silence II,” 2012, oil on panel, 19 3/4 x 29 1/2 in.
Outstanding is Abeling’s “Sunday Morning,” (below) a landscape with a more comforting subject. The painting truly displays Abeling’s exquisite touch and skillful use of light. Within a blanketing haze, a small group of tall, looming trees line an unseen stream as it winds through a field. Barely detectible is the distant tree line along the low horizon. Particularly beautiful is how the central trees sparkle in their diffused light, each leaf indicated with extreme clarity and care. The softness of the sfumato and calm quietness of the piece are eerily soothing.
Johan Abeling, “Sunday Morning,” 2012, acrylic on panel, 19 3/4 x 31 in.
Abeling continues, “I try to create a moment of respite in a turbulent world by playing with the composition and light, to create a mysterious mood. Everything looks peaceful at first sight, but there is always an uneasy feeling in the painting, nobody knows what’s going to happen, and everybody can finish the story in their own unique way.”
Johan Abeling, “Summer,” oil on panel, 24 x 39 1/2 in.
Abeling continues to ascend in his career, as he was just added to the talented stable of artists at CK Contemporary in San Francisco, California. Of the future, Abeling says, “I do know where I am in five years, but I believe that art grows in a natural way. I hope to continue to surprise people with mildly critical, contemporary, and open-ended stories.”
Johan Abeling, “Dancing Trees,” 2013, oil on panel, 27 x 24 in.Johan Abeling, “Branches,” 2015, oil on panel, 21 3/4 x 31 in.
This article by Andrew Webster was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.
There is a constant tug between the desire to render classically and the desire to communicate expressively.
I need a certain amount of rendering within my practice, but there is an undeniable craving to interpret, in my own voice, what I feel about my subject.
My work has evolved into a hybrid of styles, much like that of modern dance. I still hold the ability to paint a realistic and dramatic portrait in watercolor (like classical ballet). My travels into a variety of expressions (the tap, jazz, hip hop of painting) allow me to pick and choose the dance of my brush.
Jean Pederson, “Reflections,” acrylic on board, 12 x 36 in.
My question for artists: Do you want to do the same consistent style for the rest of your career (a very solid and accepted path), or do you want to chassé to the left?
I feel gratitude for the choice to move where the music leads me.
Jean Pederson, Overlapping life drawing in oilJean Pederson, Overlapping life sketches in sketchbookJean Pederson, “Paper Rose,” watercolor on 140 lb. paper, 16 x 20 in.Jean Pederson, “The Traveler,” mixed media on board, 16 x 20 in.
Art Video Workshop:
Jean Pederson’s “Mixed Media Portraits: Beyond Realism”
If your portraits can’t be described as exciting, unique, and authentic, but you would like them to be, this is for you! You’ll no longer be painting exactly what and who you see … you’ll be conveying the inner soul of your subject … who they are outside of just their physicality.
You’ll hear Jean Pederson ask, “How much information do you have to give your audience to communicate the idea of a portrait?” With that question as a foundation, she’ll show you what you need to include and what’s best to leave up to your viewer’s imagination. This concept alone will help you to stop focusing on the tiny details that can be frustrating in portrait painting. You’ll now be enjoying the freedom that comes with creating your own interpretation of the person you’re painting.
In his bold paintings of contemporary men, figurative painter Alessandro Tomassetti combines his naturalistic rendering style with a tenebrous palette and dramatic lighting to create work which is as seductive as it is subversive. Rather than presenting his male subjects as mythological heroes or captains of industry, Tomassetti paints to reveal their vulnerability and sensitivity. From the pose, expression and styling to the glints of light and reflection captured in his brushstrokes, Tomassetti’s work manifests an intimacy most often associated with paintings of female subjects. By eschewing historic expectations – where men were typically the audience for such portraits rather than the subjects – Tomassetti’s oil paintings invite the viewer to acknowledge their preconceptions and explore the state of contemporary masculinity in all its shades, strengths and limitations.
Eustaquio Segrelles, "La Recollida de Verano, Valencia Espana"
Enjoy a preview of works such as “Pescadores de Valencia” and “Lo Mejer de Naranjos” by Spanish artist Eustaquio Segrelles, and take a video tour of his studio here.
Eustaquio Segrelles: De Luz y Fuerza, “Of Light and Strength” opened recently at Manitou Galleries on Canyon Road in Santa Fe, New Mexico.
The exhibition is open through October 4, 2020.
Watch Eustaquio Segrelles as gives us a peek into his studio with the help of his son, Takio:
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Eustaquio Segrelles, “Bueyes en la Playa Valencia Espana 5”Eustaquio Segrelles, “Naranjos 2”Eustaquio Segrelles, “Lo Mejer de Naranjos”Eustaquio Segrelles, “La Siega 2”Eustaquio Segrelles, “Pescadores de Valencia”Eustaquio Segrelles, “Playa de Valencia 2”Eustaquio Segrelles, “Bueyes en la Playa Valencia Espana 4”
Fine Art Today had an exciting opportunity to sit down with Minnesota watercolorist Dan Mondloch, who allowed us insight into himself as a father, husband, and artist. This is a beautiful story!
Whether it’s our hometown or a beautiful space visited while travelling, all of us have experienced a powerful connection with certain locations. For Saint Cloud, Minnesota, native Dan Mondloch, personal connections with all things Midwestern and family tradition have allowed him to blossom into an accomplished watercolorist — with his best seemingly yet to come.
Mondloch is a third generation painter, will his son Jack be the fourth? (Photo: 2016)
Mondloch’s father, Jim, is also a talented watercolorist, and his mother holds a degree in art education. Both have always supported Dan’s pursuit of an artistic career. “I love retelling the story of how my interest in art began,” he says. “I can remember mentioning to my dad in the 9th grade that I might be interested in trying this painting thing. The next morning, I woke up to the kitchen table filled with everything I needed to get started — plus some. So it began.”
Dan Mondloch, “Off Street Parking,” 2016, watercolor, 12 x 16 in.
Mondloch never looked back and has been hot on the trail of artistic success ever since. He is quickly gaining regional and national attention for his skillful ability to capture the character and identity of locations en plein air. For Mondloch, painting is a method for capturing his personal experiences with particular spaces.
“It’s hard to pinpoint exactly what it is that draws me to a scene,” he says. “I’m sure it’s a number of both technical and intangible things, such as composition, large value shapes, light, and often that unexplainable spirit you feel from a space. I paint to re-create these connections, and, of course, if my viewers are able to see and feel that as well, it’s a great moment.”
Dan Mondloch, “Ice Fishing – Red Light,” 2015, watercolor, 11 x 15 in.Dan Mondloch, “St. Cloud Hydro-Electric Dam,” 2016, acrylic, 12 x 28 1/2 in.
Dan Mondloch, “Ice Fishing, Evening Shadows,” 2015, acrylic, 12 x 28 1/2 in.
There can be little doubt that Mondloch’s choice of medium is perfectly suited to his artistic goals. “The fluidity, translucency, and vitality of watercolor is ideal for capturing a fleeting plein air moment,” Mondloch suggests. “I love the light, character, and texture I can get with watercolor; it’s simply the best for me. It’s amazing how the tone and character of a place can change within an hour — or even a few minutes! Watercolor is a perfect medium to capture these moments.”
Although Mondloch has isolated watercolor as his preferred medium, the artist also has a studio practice that allows him to on occasion work in acrylic. For now, he keeps his plein air and studio processes separate, but he admits there’s an interest in pursuing new and challenging working methods. Recently, the artist has ventured into the three-dimensional, using watercolor paper to construct both abstract and representational forms. Once completed, Mondloch then embellishes the paper sculpture with a watercolor painting – the resulting works are incredibly dynamic and original.
Dan Mondloch, “Lake Cabin,” 2014, paper sculpture with watercolor, 24 x 24 in.
The sky seems to be the limit for Mondloch as his burgeoning career continues to ascend.
This article was originally featured in 2017 in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.
“Our artists have once again amazed us with fabulous works of art that reflect the locations, history, and the grandeur and greatness that embodies the spirit of the American West,” say the organizers of Rendezvous Royale, a week-long celebration of fine western art in Cody, Wyoming.
A scene from the 2019 Live Auction
“This is the year to celebrate the arts and keep our cultural humanities in tack,” they added. “Our rich western history of the American West is the inspiration for many of the works you will see at the Buffalo Bill Art Show & Sale. The joy of having original art from the places that remind us of the beauty and history of our country is a wonderful thing.”
LaQuincey Reed during the 2019 Quick Draw
This year, with 8 new artists and 97 seasoned artists, visitors will see a total of 105 ways to interpret the American West. The events begin Monday, September 14, 2020 with Painting on the Porch led by BBAS Artist David Mensing and continue throughout the week with Colorful Canvases led by BBAS Artist Michele Usibelli, and a Friday Night Art Walk in downtown Cody, with talented artists at work throughout.
Whitney Hall, “Sirocco,” oil, 48 x 60 in.
The events will come to a close on Saturday, September 19 with a remastered Quick Draw and 39th Annual Buffalo Bill Art Show & Sale featuring artists and artisans from the Buffalo Bill Art Show & Sale and By Western Hands. Black & Associates will return to lead the Live Auction event, which will be available in an in-person and virtual format.
Mark Edward Eberhard, “Snowy Owls,” oil, 40 x 40 in.
This year, patrons can enjoy the festivities in downtown Cody at a new Truckin’ Along Watch Party event hosted at By Western Hands on 12th Street.
Michael Blessing, “The Keeper,” oil and neon mixed, 66 x 46 in.
For those participating from home, live streaming of the Live Auction event and absentee and online bidding will be available at www.rendezvousroyale.org. “Our newly designed website will give patrons the opportunity to view high quality images of our artist’s stunning works, purchase available Scout’s Miniature and Buy It Now! works online, navigate interactive videos and blogs, and much more,” say the organizers.
Mark Edward Adams, “Top of the Mountain,” bronze, 15 x 14 x 4 in.Ty Barhaug, “Caught by an Unexpected Snow,” oil, 38 x 60 in.Michele Usibelli, “Catch & Release,” oil, 20 x 24 in.
Learn more at www.rendezvousroyale.org. Organizers include Kathy Thompson, Buffalo Bill Art Show & Sale Director and Laurel Thompson, Marketing & Membership Coordinator.
On Friday, August 28, a Jury of Awards met at Brookgreen Gardens to decide the 15 prize recipients of National Sculpture Society’s 87th Annual Awards Exhibition. The Jury of Awards is composed of at least two sculptors and a curator and this year included James Arendt, Director, Rebecca Randall Bryan Art Gallery/Associate Professor, Coastal Carolina University; Paul Rhymer, Sculptor and Fellow of National Sculpture Society; and Logan Woodle, Sculptor and Assistant Professor of Sculpture, Coastal Carolina University.
The top honor, the Gold Medal & Charlotte Geffken Prize, went to Laguna Beach, California artist, Brittany Ryan.
Ryan is a faculty and department coordinator for Laguna College of Art and Design’s sculpture department. Among her many honors includes the Elizabeth Greenshields Foundation Grant (2015), 2nd Place at National Sculpture Society’s Richard McDermott Miller Competition (2019), and the Silver Medal/Maurice B. Hexter Prize at NSS’ 86th Annual Awards Exhibition (2019).
“’Midwest Mermaid’, along with the other sculptures in this body of work, investigates the beauty of people in transition from childhood to adulthood, as one becomes socially aware of the judgement of others and finding a place in a social group,” says Ryan. “These figures are contemporary and specific, not idealized, not without identity. These works examine the idea story and character – giving them a specificity of portrait, clothing, and shape which imbues them with a force of will; putting them beyond the judgment placed upon common representations of sexuality and beauty.”
In May, the Jury of Selection chose 28 works from the 460 entries received from around the world. This year the Jury of Selection included John Coleman, Sculptor and NSS Fellow; Bruce Gagnier, Sculptor and New York Studio School Instructor; and Peter Trippi, Editor in Chief, Fine Art Connoisseur. The Jury of Awards and the Jury of Selection play an invaluable part in the Annual and we are grateful for those who participate in it.
National Sculpture Society 87th Annual Awards
NSS Gold Medal and Charlotte Geffken Prize of $4,000
“Midwest Mermaid” by Brittany Ryan (shown at top)
NSS Silver Medal and Maurice B. Hexter Prize of $3,000
“Easter Parade” by Roger Martin, FNSS
NSS Bronze Medal and John Cavanaugh Memorial Prize of $2,000
“The Chosen” by Gegham Abrahamyan
The Anna Hyatt Huntington Award of $1,000 and a Brookgreen Medal
“Cormorant and Moon Jellyfish” by Jeremiah D. Welsh, NSS
Fred and Cheryl Newby Patrons Award of $1,000
“Adam” by Ezra Bookstein
Marcel Jovine President’s Prize of $1,000
“Flightless Tondo” by Sandy Scott, FNSS
Marilyn Newmark Memorial Award of $1,000
“Hevel” by Joshua Koffman, FNSS
The Susan and Robert Polack Prize of $1,000
“Nine Muses” by Dave LaMure, Jr.
Marion and Gilbert Roller Memorial Prize of $1,000
“Reclining Nude” by Mick Doellinger, NSS
Pietro and Alfrieda Montana Memorial Prize of $750
“Sacred Messenger” by Martin Gates, NSS
Agop Agopoff Memorial Prize of $500
“Harriet Tubman – The Journey to Freedom” by Wesley Wofford, FNSS
Jane B. Armstrong Memorial Award of $400
“Butterfly” by LeaAnn Cogswell, FNSS
Margaret Hexter Prize of $300
“The Sandman” by Steven Alden Carpenter, NSS
Edith H. and Richman Proskauer Prize of $300
“The Listener” by Janice Mauro, FNSS
Beverly Hoyt Robertson Memorial Award of $200 and Gloria Medal
“Dreamer” by Kevin Chambers, NSS
“Easter Parade” by Roger Martin, FNSS“Reclining Nude” by Mick Doellinger, NSS“Sacred Messenger” by Martin Gates, NSS“Flightless Tondo” by Sandy Scott, FNSS“Cormorant and Moon Jellyfish” by Jeremiah D. Welsh, NSS“Harriet Tubman – The Journey to Freedom” by Wesley Wofford, FNSS“The Chosen” by Gegham Abrahamyan
The show runs through October 27, 2020 at Brookgreen Gardens. The exhibition attracts more than 25,000 visitors over the course of its 3-month installation. A closing reception, including an award presentation for NSS prize winners and Brookgreen Garden’s “People’s Choice Award” recipient, is planned for Saturday, October 26.
The 15 award winning works will then travel to NYC and be part of the “Prize Winners Exhibition” at the National Sculpture Society. The show will run from November 30, 2020 through February 5, 2021. This will be the 2nd year NSS has hosted the prize winners show in its New York City gallery.
Joe Fig, "Hilma af Klint: The Ten Largest, Adulthood # 6, 7 & 8 / Guggenheim," 18 ¼” x 22”, Oil on Linen, 2019
Joe Fig is known for work that explores the creative process and the spaces where art is made. His work is exhibited nationally and internationally with over 30 solo and 50 group exhibitions.
Joe Fig’s work is currently on view in an exhibition titled “Contemplation” at Cristin Tierney Gallery (New York, NY) through October 17, 2020.
Joe Fig, “Monroe and Bob y Madrazo / The Clark,” 12 ¼” x 14 ¾”, Oil on Linen, 2020
The paintings in “Contemplation” present different versions of the same scene: people looking at art. Begun in 2016, the series illustrates numerous exhibitions from the past few years, and chronicles Fig’s travels across the country.
Preview the exhibition online here >
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These paintings are all the more poignant in the era of COVID-19. A visit to an exhibition was an experience that once provided a moment of escape and reflection. Now that same experience is restricted or altogether denied to us. This series of works began as an exploration of an ongoing, routine activity for members of the art-loving public. It has taken on a sense of melancholy and nostalgia, pitted against the backdrop of a pandemic. Images that once communicated open-ended moments of rumination are now charged with a sense of loss.
Joe Fig, “Vija Celmins / Met Breuer (Arrangement in Grey and Black),” 13” x 10”, Oil on Linen, 2019Joe Fig, “Marsden Hartley: Shell / Ringling Museum,” 12 ½” x 10”, Oil on Linen, 2020Joe Fig, “Kerry James Marshall: The Studio / Met Breuer,” 15 ¾” x 16 ¼”, Oil on Linen, 2020
Fig is the author of Inside the Painter’s Studio and Inside the Artist’s Studio (Princeton Architectural Press), which shares an intimate view inside the studios of today’s leading artists. His work can be found in numerous museums and leading private collections including the Parrish Art Museum, Norton Museum of Art, New Museum and the Toledo Museum of Art. His work has been featured in The New York Times, Artforum, Art in America, ArtNews and Modern Painters as well as several international magazines. Joe is the Department Chair of both the Fine Arts and Visual Studies programs at Ringling College of Art and Design. Website: joefig.com
As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this new “Virtual Gallery Walk.” Browse the paintings below and click the image itself to learn more about it, including how to contact the gallery.
Constancy by Jeanne Rosier Smith, Pastel, 12 x 24 in.; Anderson Fine Art
Camden, Maine by Charles Movalli, Acrylic on Canvas, 30 x 30 in.; Rieser Fine Art
Warm Glow by Chris Cox, Oil on Canvas, 36 x 36 in.; Bluestone Fine Art Gallery
Dr. Mario (2 of 24) by 8-BIT ZERO, Wood, spray paint, vinyl film, resin, 20 x 12 1/2 in., Signed; Rehs Contemporary
Porte St. Denis by Eugène Galien-Laloue (1854-1941), Gouache on board, 10 x 17 1/2 in., Signed; Rehs Galleries, Inc.
All That Glitters by Jill Basham,, Oil, 40 x 30 in.; Principle Gallery
Choke Cherries and Veggies by Julie Y Baker, Oil on panel, 11 x 14 in., 19 x 22 in. framed; Vermont Artisan Designs
Summer Flowers by Maria Marino, Pastel with Watercolor underpainting, 20 x 16 in.; The Artful Deposit
At the Blue Mountain by Hans Schiebold, Mixed Media, 40 x 47 in.; Bronze Coast Gallery
Decision Drift 2.1 by Bryan Boone, Acrylic on panel, 12 x 12 in.; Objets Trouvé
Les Barges du Baracois by Bernard Proulx, Acrylic on Canvas, 20 x 24 in.; Pasasha Art
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-serve and availability is limited.
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