John Michael Carter, "Summer Reading," 24 x 18 in.
The Oil Painters of America (OPA) will hold the Virtual Western Regional Juried Exhibition of Traditional Oils hosted by Illume Gallery of Fine Art in St. George, Utah from through September 12, 2020.
Marc Hanson, “In Motion,” 30 x 40 in., oil on canvas
Artists, collectors and art enthusiasts will find a collection of traditional oil paintings representative of the high quality of work being produced by the nationally and internationally acclaimed group of oil painters in this exhibition.
Michael Situ, “Afternoon Light,” 16 x 20 in., oil on canvasJeff Legg, “The Sacrifice,” 20 x 16 in., oil on board. Jeff Legg is on the faculty of the upcoming virtual art conference, Realism Live.
OPA’s membership is comprised of over 3,500 artists from across the United States, Canada and Mexico. Over the years, OPA’s exhibitions have garnered a reputation for being one of the premier art shows in the country receiving over 1,200 submissions for consideration. Of those entries, approximately 150 artists will be selected to be part of this exhibition. Total awards will be approximately $11,500 in cash and merchandise. Distinguished Utah artist David Dibble OPA will serve as the Juror of Awards.
William Schneider, “California Girl,” 12 x 9 in.Roger Dale Brown, “A Walk Through the Woods,” 30 x 40 in.
Though this exhibition is virtual, the high quality of artwork remains the same and features some of the best representational artists throughout the western half of the United States and Canada.
Albert Handell, “Swirling Eddy,” 20 x 24 in.
To purchase a painting from this year’s exhibition please contact Jane Bell Meyer at Illume Gallery of Fine Art at (435) 313-5008. To see the entire exhibition, visit www.illumegalleryoffineart.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.
Velvet Green by Chris Groves, Oil, 60 x 40 in.; Anderson Fine Art Gallery
Quarantini; Lemon Wedge by Stuart Dunkel, Oil on Panel, 12 x 6 in. framed; Bluestone Fine Art Gallery
Golden Hours by Donald Jurney, Oil on Linen, 36 x 60 in.; Williams Fine Art Dealers
Good Night Sea, Good Night Tree by Kim Lordier, Pastel on Archival Board, 12 1/2 x 18 in.; Rieser Fine Art
Old Blue by Nancie King Mertz, Oil, 19 x 12 in.; Art de Triumph & Artful Framer Studios
The World Is Your Oyster by Lucia Heffernan, Oil on Panel, 16 x 16 in., Signed; Rehs Contemporary
The Battle of Trafalgar, 21st October 1805, Victory Cuts the Line by John Bentham-Dinsdale (1927-2006), Oil on Canvas, 35 x 50 in., Signed, also signed and titled on the reverse; Rehs Galleries, Inc.
Southern Vermont Drama by Robert Steinam, Oil on Canvas, 30 x 20 in., 32 x 22 in. framed; Vermont Artisan Designs
The Peace of Wild Things by Julie Beck, Oil on Linen, 16 x 12 in.; Bowersock Gallery
The Veteran by Charles W Mundy, Oil on Linen, 40 x 30 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.
Heather Brunetti (b.1978) is an American contemporary realist artist best known for her dark moody narratives from all walks of life. The oil paintings are rendered in a photorealistic style while showing emotion and depth. Her paintings invite the viewer to ponder sometimes reflecting a hint of satire. Brunetti’s portraits often contain effects of depth and perspective giving them a feeling of occupying true space. Paying close attention to detail and painting textiles with high realism her paintings are a playground for the eye. In one of Brunetti’s most recent series she explores the natural light and vast spaces of a Victorian mansion as a setting for subjects. She is a self taught artist who has dedicated focused study and many creative practices, from clothing design and pattern making to sculpting and mold making and she even spent a short time as a touring musician. Heather balances her creative practice with a successful real estate career and in 2018 began focusing on developing her oil painting skills and techniques. She was a finalist in the inaugural ‘International Biennial Portrait Competition’ at the Wausau Museum for Contemporary Art, and a finalist in both the 14th international Arc Salon and 2019 Portrait Society of America’s ‘Outside the Box’ category. She has exhibited her paintings across the United States and abroad, and has been published in PoetsArtists, American Art Collector, and other fine art magazines and websites. Her current studio is located in Louisville, Kentucky.
Wayne Dodson, “Writing on the Wall”, oil on board, 31X31
Contemporary realist painter Wayne Dodson (Richmond, Virginia) trained originally in Graphic Design; he earned a BFA from Virginia Commonwealth University, and worked as an illustrator and graphic designer until 2006 when he started to work full time as an artist. His paintings have received numerous awards of distinction in juried shows both regionally and nationally, and his works hang in private collections throughout the country.
Wayne Dodson, “Memories I Never Had”, oil on canvas, 48X48Wayne Dodson, “Speaking to Old Walls”, oil on board, 30X30
“Art, in my view, doesn’t have to be about any particular thing to be good, and the ‘content’ of most good art comes not from the mind of the artist, but from the heart of the viewer,” Dodson says. “Despite being a representational painter I work within the confines of a deceptively simple visual vocabulary of physical forms, light and shadow, and textures, with an over-arching abstract element of design. I find meaning in the play of light against time-worn materials and feel kinship with the gritty violence of shattered surfaces. In my work you will find a distinct sensibility toward ordinary care-worn structures and surfaces, with scars, gouges, and stresses; the ontological inner dynamic of the struggle of all things brought to visual form.”
Wayne Dodson, “After the Night 2”, oil on board, 22X40Wayne Dodson, “Charmed Once”, oil on canvas, 48X48
“My approach to painting varies, but is most often a collaboration between myself and random chaos,” he says. “I have a perennial obsession with texture and the play of light, and the textures in my work are often unplanned, coming out of the process of working. I will stress and re-work the surface of my ground, or splatter and mix paint with unusual materials, until I feel I have established a presence, a fullness of textured surface, which I then light and shade in a way that resonates with me, that seems most appropriate to establish my overall intent.”
Wayne Dodson, “Windows Give Up Nothing”, oil on canvasWayne Dodson, “Terror Serenade”, oil on board, 29X18
“I prefer to use no external source material to draw from: the painting then becomes an invented image in an invented world. It usually has no conscious symbolic meaning, and hopefully has no reference outside itself. The ambition is not so much to express any particular thing, but to produce a work with the strength to pull meaning from the viewer, to be complete, finished, only in that singular moment when the viewer recognizes a personal truth reflected back at them. The viewer then, in a sense, is an unwitting collaborator. If successful, the work will stay with the viewer, stay in their mind, in their memory, in their heart…Move them in a way words never will.”
The Briscoe Western Art Museum preserves and presents the art, history, and culture of the American West through engaging exhibitions, educational programs, and public events reflective of the region’s rich traditions and shared heritage.
The Briscoe recently announced the winners of the 2020 Night of Artists. The 2020 honorees include the following:
Briscoe Museum Purchase Award and the James Bowie Award for Sculpture: Paul Moore, “The Procession”, Bronze, 52” x 35.5” x 13”
While he is represented in the Briscoe’s permanent collection with his 2017 sculpture “When His Heart Is Down,” this is the first year double-award winner Paul Moore has participated in Night of Artists. Moore’s remarkable piece “The Procession” received great acclaim at the Prix de West Invitational Art Exhibition & Sale hosted by the National Cowboy & Western Heritage Museum in Oklahoma City in 2019, and as the Purchase Award, now joins the Briscoe’s permanent collection.
Paul Moore, “The Procession”, Bronze, 52” x 35.5” x 13”
Sam Houston Award for Painting: Martin Grelle, “Wolves in Blue”, Oil on linen, 40” x 36”
Well-known for his depiction of Native American subjects, Martin Grelle has participated in Night of Artists since 2016. His work is a highlight of the event each year and four of his paintings are included in the Briscoe’s collection, most notably “Gathering Storm,” featuring a group of Native Americans facing a battle as ominous clouds billow above.
Martin Grelle, “Wolves in Blue”, Oil on linen, 40” x 36”
David Crockett Award for Artists’ Choice: Brent Cotton, “Search Party”, Oil, 32” x 32”
Brent Cotton, “Search Party”, Oil, 32” x 32”
William B. Travis Award for Patrons’ Choice: Brent Cotton, “While the Iron is Hot”, Oil, 16” x 20”
First participating in Night of Artists in 2017, double-award winner Brent Cotton is known for his misty Western landscapes and stark nocturnal scenes. Though the Montana-based artist has not been with the show for long, his work has captured the attention of artists and patrons alike.
Brent Cotton, “While the Iron is Hot”, Oil, 16” x 20”
The Sam Houston and James Bowie Awards represent “Best in Show” recognition, chosen by the Briscoe’s Art Selection Committee, an anonymous panel of Western art collectors and enthusiasts who are deeply involved with the museum. The David Crockett and William B. Travis awards are selected by fellow artists and show patrons. This year’s selection process was challenging due to the global pandemic, which forced the cancellation of the Night of Artists opening festivities and the museum’s closure. After taking the exhibition and sale online, the Briscoe chose to extend the event through July 26. This year’s award winners, as well as past winners, are highlighted online.
Artist Ezra Tucker was the Honorable Mention for both the Artists’ and Patrons’ Choice Awards with his piece “Correcaminos.” A wildlife artist whose exceptional skills often make his subjects appear alive and animated, Tucker is new to Night of Artists, but not new to the Briscoe. Tucker’s work was featured in last year’s Art and the Animal exhibition.
Ezra Tucker, “Correcaminos”
The 2020 winners each receive a new award designed by sculptor Mary Ross Buchholz. The sculpture was inspired by a piece Buchholz shared in Night of Artists last year, “Patriarch of the Plains.” The piece represents the symbol of the Briscoe, the bison.
“The Night of Artists awards truly recognize the best of the best. Art is judged by style, form, composition and color, but these works go beyond that. Through the artists’ talent, each work captures a piece of the West. They tell tales that resonate today and help preserve the history that is unique to the American West,” said Michael Duchemin, President and CEO of the Briscoe Western Art Museum. “While we never anticipated opening this show virtually, then sharing it in person through the summer, the caliber of these works deserves to be celebrated again and again. It is an honor to recognize these works and share them with everyone.”
The exhibition and sale continue through July 26 at the Briscoe, with all unsold artwork available for purchase. The exhibition is open to the public with museum admission. Everyone can also view the full catalog and online gallery and purchase any work online. A list of participating artists is also available online.
Night of Artists is the largest annual fundraiser for the museum and benefits the Briscoe’s full array of exhibitions, engagement and educational programs throughout the year. The Briscoe would like to thank the Night of Artists Western Art Title Sponsors Debbie and John T. Montford and the Plum Foundation, as well as all of the event’s generous sponsors and patrons for their unwavering support. During these challenging times, the Briscoe welcomes and encourages the community to help keep the stories of the American West alive by making an online donation. Visit the Briscoe’s website at briscoemuseum.org.
Hirschl & Adler Galleries is presenting an online viewing of works by Winold Reiss, titled “American Characters, Imaginatives, and ‘Paradise Lost'” for the month of July.
From the gallery:
Even during his lifetime, and at the height of his career, the extraordinarily successful German-American artist Winold Reiss (1886–1953) defied categorization. Steeped in the German arts-and-crafts tradition with its permeable boundaries between fine and applied arts, Reiss bucked the hierarchical world of American art and practiced a broad array of artistic disciplines with an excellence and panache that few could rival.
Reiss arrived in New York in October 1913. His first few years in America were busy with illustration, graphic design, fabric design, furniture design, and interior decoration, all while establishing his own art school and pursuing his higher calling as an easel painter. Reiss’s interior design career prospered through the building boom of the 1920s. Arguably, Reiss’s most spectacular and widely publicized interior was his 1930 project for the Hotel St. George in Brooklyn Heights. This included the decoration of the grand ballroom, a cavernous 3,000-person capacity room that architect Robert A. M. Stern called “the single most startling interior public space of the time in New York.”
REISS AND THE AMERICAN WEST
The real impetus of Reiss’s emigration to America was to experience the Wild West firsthand, and in January 1920, he traveled to Montana to meet the Blackfeet Indians. From 1920 until his last trip west in 1948, Reiss produced hundreds of sensitive ethnographic portraits of members of the Blackfoot Confederacy living on both sides of the American-Canadian border. His portraits of members of the Blackfeet testify to the deep respect he felt for the Native Americans. Reiss fully understood that he had arrived at their home just in time to document the passing of a generation with proud memories of better times in the not-too-distant past.
Reiss loved the Blackfeet and they reciprocated his affection. The Blackfeet made him an honorary member of the tribe calling him “Beaver Child,” a reference to his dedication to his work. After Reiss’s death and cremation in 1953 and in accordance with his wishes, Reiss’s Native American friend, Bull Child, scattered the artist’s remains over a Montana hillside in a Blackfeet mourning ceremony.
Winold Reiss, “Nude Woman Stepping on Land,” Tempera on paper, 19 7/8 x 14 7/8 in., $60,000.00
REISS AND THE HARLEM RENAISSANCE
Starting in 1925, Winold Reiss painted memorable, and in some instances, iconic, portraits of such stalwarts of the Harlem Renaissance as Langston Hughes, W. E. B. DuBois, and Zora Neale Hurston among a host of others. But not all of Reiss’s portrait subjects were prominent figures. As he had always done, in all the places he traveled and worked, Reiss painted portraits of people whose faces “spoke” to him. While Reiss’s portraiture was important to the Harlem Renaissance, it was by no means his sole contribution to this seismic cultural upheaval.
He was also the teacher of Aaron Douglas (1899–1979), who went on to become the artistic figurehead of the Harlem Renaissance. The style that Douglas devised under Reiss’s guidance blended influences from African sculpture and masks with contemporary European currents like cubism. Reiss’s modernist incorporation of African art forms and jazz sensibilities into his contemporary designs permeated the entirety of the Harlem Renaissance’s visual aesthetic, signaling his ethnographic interest in non-Western arts and cultures, and telegraphing his belief that a new American art could be formed out of their artistic traditions.
Winold Reiss, “Opus 9: God All-Seeing (“Paradise Lost,” Book X, Line 6),” Pastel and and graphite on black paper, 11 7/8 x 8 7/8 in. (sight), $12,000.00
REISS AND MILTON’S PARADISE LOST
The series of eight Paradise Lost drawings offers an intriguing glimpse into a little-known aspect of Reiss’s career: the oeuvre that he produced for himself, without any immediate commercial purpose, because he was a creative artist who always kept working. They are clearly part of the body of work Reiss called “fantasies” or “imaginatives,” personal expressions in the language of German symbolism that characterized the work of Reiss’s teacher, Franz von Stuck (1863–1928), combined with Reiss’s own idiosyncratic and selective adaptation of developments in contemporary art.
It is appropriate that Reiss would have found inspiration in John Milton’s epic poem, relating the story of Adam and Eve’s banishment from the Garden of Eden. Winold Reiss was a lifelong wanderer and seeker, never entirely at home in his native Germany nor in his adopted home in America. As a 20th-century romantic pursuing a solo path through a welter of influences, schools and media, Reiss’s Paradise Lost drawings are modern, enigmatic, and deeply felt, elaborating on the biblical story of how we all find ourselves wanderers in search of an elusive home.
“We the People: Portraits of Veterans in America” is a 136-page book featuring 67 color and 50 black and white illustrations from Mary Whyte, rendered with great care and gentle brush strokes alike.
We the People: Portraits of Veterans in America
We the people—these words embody the ethos of what it means to be an American citizen. As individuals, we are a tapestry of colors and creeds; united we are a nation committed to preserving our hard-earned freedom. In this heart-stirring collection of watercolor portraits of military veterans—one from each of the fifty states—artist Mary Whyte captures this ethos as well as the dedication, responsibility, and courage it takes to fulfill that promise.
Armistice, by Mary Whyte watercolor on paper 29 x 38 inches boxing trainer Omaha, Nebraska Air ForceAmerica, by Mary Whyte watercolor on paper 40 x 53 inches Native American traditional dancer Aberdeen, South Dakota Army
Those who raise their hands to serve may join for different reasons, but all—along with their families—make the extraordinary commitment to place the needs of the country before their own. Whyte gives us the opportunity to meet and to see some of them—to really see them. Whyte’s portrait of America includes individuals from many walks of life, some still active duty, and from every branch: women and men, old and young, and from a wide swath of ethnicities, befitting our glorious melting pot. From a mayor to an astronaut, from a teacher to a garbage collector, from a business entrepreneur to someone who is homeless, Whyte renders their unique and exceptional lives with great care and gentle brush strokes.
Battleground, by Mary Whyte Watercolor on paper 40.75 x 28.75 inches firefighter Bend, Oregon Army
We the People is not only a tour across and through these vast United States, it is a tour through the heart and soul, the duty and the commitment of the people who protect not only our Constitution and our country but our very lives. We can only be deeply grateful, inspired, and humbled by all of them.
Flurries, by Mary Whyte watercolor on paper 23.375 x 31 inches rancher Watrous, New Mexico Navy
Mary Whyte is an artist and author whose watercolor paintings have earned international recognition. Her works have been exhibited nationally as well as in China and have been featured in numerous publications stateside and in France, Germany, Russia, Canada, China, the United Kingdom, and Taiwan. Whyte is the author of two books published by the University of South Carolina Press—Working South: Paintings and Sketches by Mary Whyte and Down Bohicket Road: An Artist’s Journey. She is also the author of Alfreda’s World, Painting Portraits and Figures in Watercolor, An Artist’s Way of Seeing, and Watercolor for the Serious Beginner. Whyte is the recipient of the Portrait Society of America’s Gold Medal and the Elizabeth O’Neill Verner Award, South Carolina’s highest honor in the arts.
All royalties from the book will benefit the Patriot Art Foundation.
Glory, by Mary Whyte watercolor on paper 28.5 x 20 inches great-grandmother Savannah, Georgia Air Force
“Mary Whyte’s We the People is a moving and important tribute to our nation’s greatest patriots—the men and women who served our country with courage, selflessness, and honor.”—Major General James E. Livingston, Medal of Honor recipient
Tomato Pie, by Mary Whyte watercolor on paper 50.5 x 70.5 inches gardener South Plainfield, New Jersey Coast Guard
“When I undertook this project to paint the face of America, what began as an exercise to create fifty portraits turned into an all-consuming mission to uphold and honor the hidden heroes of our country,” says Whyte. “It is not only a tour across and through these vast United States, it is a tour through the heart and soul, the duty and the commitment of the people who protect not only our Constitution and our country but our very lives. We can only be deeply grateful, inspired, and humbled by all of them, and it’s my hope that this exhibition will give rise to a greater sense of gratitude for our military, as well as to inspire people to reach for what is possible.”
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.
Influence by Alice Williams, Oil, 30 x 40 in.; Anderson Fine Art
Oreo Feast by Stuart Dunkel, Oil on Panel, Framed, 4 x 7 in.; Bluestone Fine Art Gallery
Lightning #14 by Debra Ferrari, Acrylic on Canvas, 60 x 60 in.; Ferrari Gallery
The Open Window by GC Williams, Oil on Canvas, 30 x 30 in.; Williams Fine Art Dealers
Hills of Gold by Kim Lordier, Pastel on Archival Board, 13 x 16 in.; Rieser Fine Art
Light Distance by Nancie King Mertz, Pastel, 28 1/2 x 16 in.; Art de Triumph & Artful Framer Studios
Diner: After Hours by Stuart Dunkel, Oil on Panel, 16 x 20 in., Signed; Rehs Contemporary
Wall Street Winter by Guy Carleton Wiggins, Oil on Board, 12 x 16 in., signed, also signed and titled on the reverse; Rehs Galleries, Inc.
Amber Sky Over Mountain by Craig Mooney, Oil on Canvas, 40 x 40 in.; Vermont Artisan Designs
Will Somebody Save Me? by Steven Bowersock, Oil on Linen, 24 x 18 in.; Bowersock Gallery
Varvara by Cornelia Hernes, Oil on Linen, 10 x 12 in., 2020; Vanessa Rothe Fine 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.
The meeting of sky, ocean and land as experienced by the viewer in Jean Schwartz’s Incoming Tide gives a sense of distance and transition. There is harmony where the sky both meets and reflects on the water and tension where the crashing surf meets the rocky shore. The location, Popham Beach State Park in Phippsburg, Maine, is a favorite of Jean’s.
“This beach is spectacular!” It is broad and long with a scattering of rocky islands. One such island, accessible only before the tide is in, was where I was standing to capture this vista. My two friends and I arrived right after the park opened and as it was gray and rainy we had the place to ourselves. The tide had just begun to come in so we had plenty of time to cross the sand bar and climb to the top of this small island as the mist began to clear. We ended up with a beautiful sunny day to spend painting from the beach but my favorite moment was this one.”
Jean has been concentrating on a series of coastal paintings but other subjects also interest her. She has an ongoing series of river paintings almost all of which depict the Potomac River near her home in Virginia and she also paints Washington DC cityscapes. Paintings from both of those series will be going on view as part of a group exhibit Washington DC Places which will be opening at American Painting Fine Art in DC. The show opens on Saturday, July 25th and will run through September 2020.
Jean is an artist member of The Washington Society of Landscape Painters, OPA, The Salmagundi Club, ASMA and is an elected fellow of The American Artists Professional League.
Stamford Museum & Nature Center (SMNC) in Connecticut has announced “Art and the Animal,” the flagship exhibition of The Society of Animal Artists. On view in the SMNC’s Bendel Galleries this summer through September 7, 2020, the collection features paintings, drawings and sculptures of animals from around the globe, including exotic birds, majestic cats, mammals, and endangered species.
Gallery hours are Monday through Friday 9 a.m. to 5 p.m., and 11 a.m. to 5 p.m. on Sundays. The Museum requires adults and children over the age of four to wear facemasks at all times when arriving, while in the gallery, and at any time when social distancing is not possible.
Sean Murtha, “Golden Grace” 2019, Great Blue Heron, Oil
“‘Art and the Animal’ has been the perfect exhibition to have on view while we’ve reopened our campus and galleries to the public with an abundance of care,” said Melissa H. Mulrooney, Executive Director & CEO of the SM&NC. “It represents the intersection of our efforts as both a museum and a nature center, and reflects the interests of so many visitors of all ages.”
“An extraordinary display of more than 50 pieces of artwork, ‘Art and the Animal’ is certain to delight art enthusiasts and animal lovers alike,” said Jillian Casey, Curator of Collections and Exhibitions for the SM&NC. “This juried exhibit combines natural history and fine art in various styles ranging in medium from oil and watercolors, to exquisite pencil and ink works, paper cutouts, and sculptures.”
Mark Sussino, “Ambush Point” 2017, Common Snook, Ladyfish, Oil on linen on panel
The mission of The Society of Animal Artists is to promote excellence in the portrayal of animals, domestic and/or wild, in art. The Society was founded in 1960 and over the past 60 years, works created by members of The Society of Animal Artists have established new standards of artistic preeminence in fine art. Art and the Animal Annual Exhibits and Touring Exhibitions have been featured at more than 60 venues including museums and zoos, and art, cultural and science centers throughout North America. This exhibition is produced by David J. Wagner, L.L.C.
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