4th Annual Art Along the Coast

Friday Virtual Gallery Walk for August 14, 2020

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August 14, 2020

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.

Shadows of Bittersweet by Loren DiBennedetto, 30 x 40 in., Oil; Anderson Fine Art Gallery

Hula Hoops by Thomas Kelly, Acrylic on Canvas, Framed, 20 x 24 in.; Bluestone Fine Art Gallery

Fall Retreat by Kim Lordier, Pastel on Archival Board, 20 x 24 in.; Rieser Fine Art

Liz #3 by David Palumbo (born 1982), Oil on Panel, 5 x 7 in., signed; Rehs Contemporary

Champs-Élysées, Arc de Triomphe by Antoine Blanchard (1910-1988), Oil on Canvas, 13 x 18 in., signed; Rehs Galleries, Inc.

Ladies in Red by Beth Bathe, Oil on Panel, 16 x 20 in., 22 x 26 in.framed; Vermont Artisan Designs

The Poppy Garden by Kathy Anderson, Oil, 30 x 24 in.; Turner Fine Art

Peonies in Silver by Sarah Lamb, Oil on linen, 23 x 24 in., 2020; Ann Korologos Gallery

Winter Green by Kevin Courter, Oil on Panel, 10 x 10 in.; American Tonalist Society

A Tranquil Repose by Suchitra Bhosle, Oil on Linen, 17 x 12 in.; Vanessa Rothe Fine Art Gallery

Uncharted II by Philip Koch, Oil on Canvas, 30 x 40 in., 2016; Somerville Manning Gallery

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.

Featured Artwork: Elizabeth Butler presented by the Celebration of Fine Art

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August 13, 2020

Featured Artwork: Elizabeth Butler presented by the Celebration of Fine Art

Tulip Tree and Hellebores
36 x 60 in.
Oil and silver leaf on panel
$8,900

As native of Arizona, Elizabeth Butler has always been inspired by the beauty of nature. In turn her floral and botanical works of art inspire other to appreciate the gifts of nature. Her current body of work makes an effort to accomplish that with flowers. She arranges and paints them in such a way to draw attention to that life-giving fullness they embody. She carefully selects and arranges the flowers and photographs them as reference, but also keeps the live bouquet as inspiration as she lets her imagination run free. Discover more of her work at www.celebrateart.com and visit her, along with 100 other artists, at the Celebration of Fine Art in Scottsdale, Arizona, through January 16-March 28, 2021. Contact us at 480-443-7695 or [email protected].

View more of Elizabeth’s works at https://celebrateart.com/meet-the-artists/elizabeth-butler/.

Exploration of the Everyday

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August 12, 2020

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Dean Larson, "Jump," oil on six canvases, 60 x 120 in.

Painters often have an acute awareness of their surroundings, constantly taking in the sights, sounds, and emotions of unique places before translating those experiences into beautiful images. Artist Dean Larson has not only mastered this process, he has infused his oil paintings with an experimental nature that could defy categorization.

In October, 2019 Larson’s portrait of late US Senator Ted Stevens was unveiled in the US Capitol and was acquired by the US Senate Portrait collection

For Dean Larson, a painting’s subject will often reveal itself as he goes about his exploration of the everyday world — something that visually excites his eyes. “As soon as I step foot outside, my eye is always looking for new subjects,” he writes. “Often what’s most important is how the light falls onto the scene or reflects off different surfaces.” From this moment, Larson begins his work, typically approaching the painting at the center of his canvases first before working outward and organically. “In addition to capturing how the light hits the subject, my process also emphasizes variety and unequal distribution of shapes and edges,” he continues.

Oil Paintings by Dean Larson

Dean Larson, “Children with Canoe,” 2015, oil on panel, 8 x 14 in.

Dean Larson, “Fisherman and Blue Boats (Essaouira, Morocco)” oil on canvas, 12 x 9 in

Dean Larson, “Market in Venice (Early Morning),” oil on canvas, 20 x 16 in.

Larson’s unique methods come to the fore in an outstanding picture of Florence, Italy’s most iconic structure: the Duomo. Capturing the majestic church just as night begins to blanket the city, the Duomo shines like a beacon, its well-illuminated walls contrasting beautifully against a royal blue sky.

The feathery and expressive brushwork enlivens the canvas, vibrating on the surface of the work and surely echoing the bustling crowds below. Particularly noteworthy is the elegant play of rectangular roofs as they dance back and forth, receding into the painting’s main subject. Also eye-catching is the cool glow of a greenish hue on the walls of a structure to the center right.

Dean Larson, “Duomo, Night,” 2014, oil on canvas, 42 x 36 in.

Dean Larson, “San Francisco Rain,” oil on canvas, 36 x 36 in.

“San Lorenzo Market” is another magnetic picture done in Florence. Executed en plein air, a delightful quilting of pattern, shape, and color composes the umbrellas, merchants, and customers as they stroll down a narrow street.

Larson recounts, “My initial intention was to paint the activity of the market and show the wonderful shapes of the umbrellas and tarps that the vendors use to cover their stands. I found a terrific spot behind some stalls, between two doorways. While I was working there, many of the vendors would come and check on the progress of the work. At one point one of them asked, ‘Hey, where am I?’ Eventually the figures became a little abstract so whoever came up I would be able to say, ‘Yes, that’s you right there!’”

Dean Larson, “San Lorenzo Market,” 2015, oil on canvas, 12 x 9 in.

Dean Larson, “Conversation,” 9 x 12 in.

Dean Larson, “Snoqualmie Falls (Washington State),” oil on canvas, 30 x 30 in.

Larson’s discerning eye also extends into figurative work, especially portraiture, as “The Cello Player — Portrait of Michael Grebanier” can attest. The subject, found in full view and seated, immerses himself in his beautiful craft, his expression conveying such calm and artfulness. Once again, Larson’s expressive brushwork activates the surface of the portrait, a captivating duality with the work’s musical subject.

Dean Larson, “The Cello Player — Portrait of Michael Grebanier,” 2007, oil on canvas, 30 x 24 in.

To see more contemporary oil paintings, visit Dean Larson.

This article by Andrew Webster was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine.

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Register for Realism Live here > realismlive.com

“Portrait Stories” by Realist Painter Steve Forster

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August 11, 2020

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Steve Forster, “Daydreamer,” oil on panel

Contemporary Portrait Paintings > Regardless of what he paints, Steve Forster’s primary interests are individuals’ stories and the relationships among people…

BY ALLISON MALAFRONTE

Steve Forster (b. 1983) has been exposed to many types of instruction and techniques during his career as a realist painter and instructor. Born in Boston, he spent the majority of his childhood in Florida developing an interest in drawing and painting. He then pursued classical training at the Florence Academy of Art before earning an MFA from the New York Academy of Art. Now residing on Long Island, he is co-director of the Long Island Academy of Fine Art and a faculty member of the New York Academy of Art.

While contributing to the art community as a teacher, Forster maintains his studio practice as a professional artist. Although he is probably best known for portraiture, his experience with a range of classical and nontraditional techniques gives him full flexibility in selecting subjects and styles. Forster’s traditional landscapes, for instance, sing with tonal harmonies and compositional clarity, while many of his contemporary narrative works are rich with symbolism and social commentary.

Steve Forster, “Black Swan,” 2018, oil on canvas, 36 x 36 in., available from the artist

Forster’s portraits are created with both sensitivity and style — as evidenced by the painting “Black Swan.” Color-wise, this is a feast for the eyes, with deep teals, blues, and greens throughout the work, even in the subject’s skin and hair. The composition is well-designed, with the model posed in an elegant diagonal that directs our eye from one edge of the canvas to the other. The addition of a yellow background complements the abundance of blues and greens, and a few slashes of light color between the background and foreground create an unexpected airiness.

Steve Forster, “In Waiting,” oil on linen, 30 x 40 in.

Regardless of what he paints or in what fashion, Forster’s primary interests are individuals’ stories and the relationships among people. “I’m drawn to the idea of a ‘portrait story’ in my subjects, which can take many different forms,” the artist says. “It could be based on biblical literature, pop culture, or on an interaction with the model. If I have enough time with the subject, I am also fascinated by using as many layers as possible, whether that is layers to the story, layers in Photoshop when designing a piece, or physical layers of paint that provide a sophisticated surface and make a painting unique — in a way that can only be felt in person.”

Steve Forster, “Daughter of Opulence,” oil on canvas, 24 x 24 in.

Forster shows his portrait paintings at Hersh Fine Art (Glen Cove, NY) and Arcadia Contemporary (Pasadena).

View the “Into Nature” Plein Air Catalog for Collectors

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August 10, 2020

View the complete catalog of plein air paintings from “Into Nature” here.

Plein air landscape paintings — Marc Anderson, "House of Refuge," oil, 18 x 24; First Place

Presented by the White Bear Center for the Arts (WBCA), “Into Nature” features 95 artworks inspired by the outdoors, created in eight countries between March – June 2020.

“Never has art been so essential in connecting us to each other and expressing our human experience,” says Suzi Hudson, WBCA Executive Director. “Never has nature felt so necessary to finding hope, inspiration, and a sense of solace. As in nature, we are reassured that all seasons eventually change.

“In providing ‘Into Nature’ at this time, it is our hope that you will find both; the comfort of nature, and a reverberating connection to our shared need for beauty and art, and its ability to express the inexpressible.”

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DK Palecek, “Just Curious Study 9,” oil, 12 x 12; Second Place

Marc Anderson, “Colfax Farm,” oil, 16 x 32

Kami Mendlik, “Gogebic On The Brule,” oil, 8 x 10

Tonette Nelson, “Flying Free – The Park is Finally Open,” oil on board, 8 x 10

This exhibition is made possible by WBCA’s Legacy Endowment Fund, ensuring new, creative opportunities. View at WBCA online: https://whitebeararts.org/into-nature/.

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An Artistic Allegory of an Artistic Life

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Cherie Dawn Haas

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August 10, 2020

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Brendan Johnston, “Artist’s Panel,” 2017, oil on wood, 12 x 16 inches

Brendan Johnston gives us a glimpse into his world of art, as shown in this honest still life that includes objects of inspiration and practicality. Keep reading to learn more about Johnston and his process in this exclusive Q&A.

Fine Art Today: How long does it take you to come up with your final composition or arrangement for a still life?

Brendan Johnston: The process of every still life setup is a little different. With perishable objects, I try to plan as much ahead of time as possible. Once I buy flowers or have a beautiful bird, I have to get to work immediately, because time is so limited. Otherwise, I like to spend several days thinking about a composition. Often I will gather objects together and play around with the arrangement — adding and removing elements until the composition works.

Brendan Johnston, “Artist’s Panel,” (detail) 2017, oil on wood, 12 x 16 inches. “The lower half of my painting consists of objects relating to my creative life: pencils, paints, and sculpture calipers,” says Johnston.

Which of the objects in “Artist’s Panel” have a backstory, or a special significance to you?

My picture “Artist’s Panel” is something of an allegory of my artistic life. All of the objects have a personal significance. The pocket watch was owned by my step-grandfather, who was a fascinating British abstract painter. The opera lens was owned by my grandmother who lived in Paris and had a deep appreciation of the arts. The blue butterfly I caught as a child up in the White Mountains, marking the beginning of my interest in studying nature. The postcard of Ingres’ ‘Comtesse d’Haussonville’ has been in my studio for years and has always been a great inspiration to me. The lower half of my painting consists of objects relating to my creative life: pencils, paints, and sculpture calipers.

Viewers may wonder: Is the wood we’re seeing in the image the actual surface, or a painted rendition of wood?

Trompe l’oeil painting is meant to be something of conjuring trick. I hope that anyone who is curious comes to Eleventh Street Arts to see the painting in person and figure out what is real and what is painted.

“’Diving Northern Gannet” (2017, oil on linen, 40 x 40 inches) is a painting of an incredible bird my dog Theo found washed up on the beach out on Long Island,” Johnston says. “I brought it back to the studio and managed to have four days to complete the piece before the bird was no longer possible to paint. It was exhilarating to make.”

What inspires you to paint still life in particular?

My inspiration for still life painting is usually a remarkably beautiful or poetic object that I happily will spend dozens of hours working to convey in oils. Often, however, it is the work done by other talented still life painters that inspires me to dedicate myself to the wonderful genre.

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Learn more about the contemporary realism of Brendan Johnston at brendanhjohnston.com.

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A Contemporary Excuse to Paint the Nude Figure

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August 9, 2020

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Contemporary figure paintings - Joshua LaRock - FineArtConnoisseur.com — Joshua LaRock, “Bather in White,” (detail), oil on linen, 26 x 10 in.

Joshua LaRock takes us behind the scenes of his painting, “Bather in White,” which is part of his “Bathers” series that celebrate light and human form.

“Bather in White”
By Joshua LaRock

“Bather in White” is my third piece in a series of paintings I am calling “bathers.” In all honesty, the idea was generated as an attempt to find a contemporary excuse to paint the nude figure. This is nothing particularly new, of course, where there are countless 19th-century and prior works entitled “Venus” for what I would believe to be similar reasons. Contemporary culture is probably more accepting of the shameless nude than in the past, but I do think they can be more difficult to place in collectors’ homes without some sort of accompanying narrative or modesty. At the very least it narrows my market and where all I really care about is the beauty of how natural light drapes itself over the human form. That is what “Bather in White” really is, a celebration of light and the human form.

For me it is always a bit of a surprise how a piece comes together and seems to take on a life of its own. I believe I had seen an image of a marble statue somewhere with a similar pose, but without the drapery, that stuck with me. So when I got a model in my studio I tried out some variations on the idea and added the drapery. My studio space at the time of painting this was small but had many surrounding windows, and the walls were painted entirely white, which meant there was a lot of ambient light to bounce around. While trying to decide what to do, I happened to notice this lovely bit of back-lit light trickling over my model’s collarbone, and I had to go for it. It was a lot of fun to figure out how to control and compress the values for the rest of the modeling to make that effect work.

I paint in layers, meaning that once the drawing is transferred to the canvas I take separate passes over the whole painting letting each layer dry in between. Usually it’s about three to four layers total, but as many as are needed really. This is also where the idea continues to evolve and take shape while there is still time to make adjustments. Throughout the process I am keenly aware of the need to pack in an emotional wallop for my viewers. I may be delighting in the technique or colors from my artistic perspective, but the observer tends to connect with a picture on a much more emotional and immediate level. I find this to be the most elusive and ambiguous part of art-making, because the possibilities for making a picture emotionally significant are so vast, and all too often I find out that a work has missed the mark only when it is nearly completed!

At any rate, for “Bather in White” I found that the resonant feeling arose from the combination of the long narrow format, the neutral pallet and lighting, and her subtle expression and slightly bowed head. Again, I didn’t set out with a particularly clear vision of where the painting would end up, but I just got the piece going and tried to respond to when something seemed like it was working. It’s like growing a plant from seed — a small kernel of an idea, which, when planted and tended, grows and flowers into something beautiful.

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Joshua LaRock is internationally recognized as a preeminent figurative artist. His exquisite paintings are an ode to the past filtered through a contemporary life. LaRock’s portraits and figurative pieces alike are memorable both for their emotive quality and for evoking an eerily present feeling. Inspired by Bouguereau and other masters of the past, Joshua imbues a shade of the timeless, drawing the viewer deeper into his personal interpretation of how the world ought to be. Discover more about his work at joshualarock.com; artists can also learn from him in person at the October 2020 Realism Live global virtual art conference and preview his portrait painting workshop video here.

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Friday Virtual Gallery Walk for August 7, 2020

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August 7, 2020

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.

Louisiana Heron by Booth Malone, Oil, 22 x 40 in.; Anderson Fine Art Gallery

Rust and Stone by Chris Cox, Oil on Canvas, 36 x 36 in.; Bluestone Fine Art Gallery

Pomegranates by Dale Zinkowski, Oil on Linen, 11 x 16 in.; Williams Fine Art Dealers

Western Shadows by Kim Lordier, Pastel on Archival Board, 24 x 30 in.; Rieser Fine Art

Deep Blue by Hammond (b. 1976), Acrylic on Canvas, 40 x 30 in., Signed and dated; Rehs Contemporary

Good News by Pierre Jean Edmond Castan (1817-1892), Oil on Panel, 11 x 8 1/2 in., Signed and dated 1869; Rehs Galleries, Inc.

Basket Makers by Dane Tilghman, Acrylic on Canvas, 31 x 41 in.; Vermont Artisan Designs

Roses in a Dutch Glass by Sherrie McGraw, Oil on Canvas, 17 x 20 in.; Turner Fine Art

Twisted by Sabrina Stiles, Pastel on Paper, 24 x 30 in., 2020; Ann Korologos Gallery

Buffalo County Nordic Star by Ben Bauer, Oil, 32 x 36 in.; American Tonalist Society

After the Shower by Nicholas Martin, Oil on Linen, 12 x 9 in.; Vanessa Rothe Fine Art Gallery

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.

Artist to Watch: Ulrich Gleiter

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August 7, 2020