A rediscovered trove of 19th-century correspondence and artworks has yielded a lively biography published by the journalist and historian Eve M. Kahn. “Forever Seeing New Beauties: The Forgotten Impressionist Mary Rogers Williams, 1857–1907” (Wesleyan University Press) is based on letters, sketches, journals, and paintings that surfaced in a Connecticut boathouse in 2012.
Williams, a baker’s daughter from Hartford, ran Smith College’s art department while spending summers crisscrossing Europe by train, carriage, and bicycle. She socialized with Albert Pinkham Ryder in New York and trained with James McNeill Whistler in Paris.
Her paintings, exhibited at venues from Paris to Indianapolis, were praised by critics, but after her untimely death, she fell into deep obscurity.
This book documents the artist’s fierce opinions and reproduces her pastels and paintings of everyday marvels, from cottages mirrored in Norwegian fjords to Italian church altars swathed in incense.
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As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this new “Virtual Gallery Walk.” Browse the paintings below and click the image itself to learn more about it, including how to contact the gallery.
New Days Beginning by Armand Cabrera, Oil, 40 x 30 in.; Anderson Fine Art
South Paw by Susan Webster, Mixed Media on Canvas, 18 x 18 in., Bluestone Fine Art Gallery
Summer Song by Max Jones, Acrylic on Canvas, 36 x 60 in.; Ferrari Gallery
Intricately Interwoven by Kim Lordier, Pastel on Archival Board, 36 x 24 in.; Rieser Fine Art
The Eternal Now, St. Mary’s Lake, Montana by Ken Salaz, Oil on Canvas, 30 x 40 in., signed; Rehs Contemporary
Vaches et les moutons par l’eau by Marie Dieterle (1856-1935), Oil on Canvas, 27 7/8 x 20 5/8 in., signed; Rehs Galleries, Inc.
Giverny Gardner by Nancie King Mertz, Pastel, 34 x 38 in.; Art de Triumph & Artful Framer Studios
White Wild Roses by Julie Y Baker Albright, Oil on Panel, 12 x 16 in., 20 x 24 in. framed; Vermont Artisan Designs
Fluff by Noriko Fox, Oil on Linen, 30 x 24 in.; Bowersock Gallery
The Ballerina by Repin Academy Graduate Andrei Pyonkovskii, Oil on Linen, 32 x 36 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.
The digital exhibition “Making Their Mark: American Women Artists” is on view through August 23, 2020, and features 113 paintings and sculptures by members of American Women Artists (AWA). This is the fifth show in AWA’s 25 in 25 campaign to have 25 museum shows for its women artist members over the next 25 years.
“They Shall Inherit the Earth,” Heide Presse, oil, 30” x 20”
From the organizers:
Both AWA and the Booth Museum are very excited to present this exhibition. The caliber of work included in this show is incredible and we are pleased to share it with the public.
The Booth Museum hosted an AWA exhibition in 2014 and acquired numerous works from the show for their permanent collection, including paintings by Krystii Melaine (WA) and Nancy Boren (TX). Museum acquisitions of works by women artists is an important part of AWA’s 25 in 25 mission to address the lack of women artists in museum collections; estimated to be as low as 3-5%.
“Briskly and with Purpose,” Helen K. Beacham, watercolor, 22” x 22”“Smalltalk,” Debbie Korbel, mixed media sculpture, 67” x 70” x 24”“Equipoise,” Diana Reuter-Twining, bronze, 39” x 48” x 10”“Poder,” Natalie Dark, colored pencil, 22” x 30”
The Booth Museum and AWA will host a number of virtual events throughout the run of the show. Works in the show are for sale. Event details and images of all exhibited works will be posted on the AWA website: www.americanwomenartists.org.
The Marietta Cobb Museum of Art (MCMA) presents “Metro Montage XX,” which is MCMA’s annual juried exhibition featuring all types of genre, medium, style, subject matter, concept, and technique in art across the U.S.
“Ms. Mercy,” by Ron Whittingham“At Airport,” by Junko Rothwell
For this special 20th anniversary of MCMA’s juried exhibition, “Metro Montage XX” is on view on both floors of the Museum.
“Hunting Buddy,” by Kristina Laurendi Havens“Coming Up For Air,” by Karen Adams“Blues Garden,” by Jan DiPietro“Third Floor Library,” by Gail Wegodsky“The Links of Her Rubicon,” by Charles Young Walls
“Metro Montage XX” is on view at MCMA (Marietta, Georgia) through September 6, 2020. For more information on exhibitions, hours, and safety procedures, please visit www.mariettacobbartmuseum.org.
Intricately Interwoven by Kim Lordier
36 x 24 in.
Pastel on Archival Board
$12,500.00 Available at Rieser Fine Art
The Luminous Landscape: New Paintings by Kim Lordier Opens July 1, 2020
We are honored to present our 6th bi-annual exhibition of Kim Lordier’s incredible art. In The Luminous Landscape: New Paintings by Kim Lordier, Kim focuses mainly on the light and moods of California’s Central Coast. From the first morning light to the last glow of evening, you can feel the warmth of the sun and the cool of the fog, as sun and fog do their endless tango along the beaches, through the cypress trees, and into the oak-studded hills. You can hear the excitement of crashing waves, or rest in the quiet of a country road at dusk. But above all else is the luminous light, the glow of a fleeting moment on a special day, that no one captures better than Kim Lordier.
Intricately Interwoven was inspired by Lordier’s plein air studies during her travels to Point Lobos State Natural Reserve in Monterey County, CA. About her painting she writes:
“Rooted in granite, swept by fierce winds. Dusted in rust, an algae that harms none. A tangled chaos woven into lace, forming a rich tapestry measured in time and place. You will find this beautiful cypress hugging the granite at the apex of the Cypress Grove Trail in Point Lobos. She overlooks the ocean with power and grace.”
The Luminous Landscape: New Paintings by Kim Lordier runs July 1, 2020.
Read about the creative inspiration behind the new collection here: The Luminous Landscape
Rieser Fine Art
Dolores between 5th & 6th in Su Vecino Court Carmel-by-the-Sea, CA
(831) 620-0530
“Wonders of the West” at Customs House Museum & Cultural Center, celebrates America’s Western culture through scenic landscapes, crafts by Native American artisans and a tribute to the Acme Boot Company. The exhibition is sponsored by Heimansohn Steel & Salvage.
From the museum:
The extensive exhibition includes a selection of artworks loaned by the Booth Western Art Museum in Cartersville, GA, as well as pieces from many well-known Tennessee artists including David Wright, Lori Putnam, and Michael Griffin. More than 100 pieces depict magnificent landscapes, cowboy culture and wildlife of the West through both large and small paintings, photographs, sculptures, artifacts, and western-themed memorabilia.
Terri Jordan, Curator of Exhibits at the Museum, explained the broad range of artwork on display: “This exhibition of art and artifacts exemplifies the romanticism of America’s love of the West. I am very appreciative of the collectors and artists we have been fortunate to work with, allowing us to bring their many unique pieces in ‘Wonders of the West’ to our audience. We’re especially excited to have David Wright’s oil painting ‘Bent’s Fort Arrival’ in the show,” Jordan explains. “Wright’s talent for realism is matched by his ability to capture light in dramatic fashion. His works are truly magnificent.”
“Bent’s Fort Arrival” by David Wright
In addition to breathtaking art, the exhibit also showcases many Native American items that represent the distinct artistic styles of different tribes. Visitors can view an authentic Crow elk tooth dress, a Cheyenne child’s vest, and Santee Sioux men’s leggings. Other pieces on display consist of ceremonial rattles, wedding baskets, storyteller dolls, jewelry, and pottery.
There is also a display dedicated to the former Acme Boot Company, known as “The World’s Largest Boot Maker,” once headquartered in Clarksville for six decades beginning in the Great Depression. For nearly 60 years, Acme Boot was a major supplier of western boots. Several Acme Boot art-centered marketing pieces are on display as well as the Tennessee boot from the company’s state boots collection.
Wonders of the West will be on exhibit through July 21 in the Museum’s Kimbrough Gallery.
In addition to reserved time tickets, guests are strongly encouraged to wear face masks or coverings and to maintain a six-foot distance between other guests while in the Museum. Hand sanitizing dispensers are located throughout the facility for guests to use at their convenience.
Located in the heart of Historic Downtown Clarksville, Tennessee, the Customs House Museum & Cultural Center is the state’s second largest general interest museum with over 35,000 square feet of exhibit space, and houses hands-on activities and special events. Membership and admission information can be found at customshousemuseum.org.
Visitors observing "As the Living Shore was Woven to the Shape of the Sea" by Ellie Noir, 14th ARC Salon Exhibit at MEAM
The Art Renewal Center (ARC), a non-profit educational foundation dedicated to skill-based training in the visual arts, announced recently that despite being unable to show the 14th International ARC Salon Exhibition live at Sotheby’s NY as planned, they would not lose this opportunity to showcase the 21st Century Representational Art Movement to the world, partnering with Sotheby’s to launch their virtual salon exhibit at Sothebys.com.
Seventy of their exhibiting artists have participated in submitting video interviews about themselves and their works, that ARC has fully edited into short 40 second to 3 minutes mini-films. The videos and 99 works included in the exhibition come from around the world and collectively form a powerful story of the Representational Art Movement, totaling two hours of edited video footage. All this footage has been embedded directly into their newly designed digital catalog, creating a uniquely engaging virtual experience.
Each artist is different, each story is different, but together they tell an overarching global story about the passion behind representational expression, life, and the human condition as reflected in the art itself.
Example image from one of the three virtual walk-through spaces for the 14th International Virtual ARC Salon Exhibition
Starting as only a murmur in the early 1980s, the Representational Art Movement has now become an undeniable force in the contemporary world, with thousands of students, thousands of artists, and scores of organizations reclaiming artistic elegance with poetry and grace.
The virtual exhibition will be presented worldwide at Sothebys.com through July 31, 2020.
Best in Show award-winning piece, “Standing Proud” by Gregory Mortenson, hanging in the 14th ARC Salon Exhibition at the European Museum of Modern Art (MEAM), Barcelona, Spain
“There is an inborn awe… an innate reverence when one feels they are looking at a real person or object standing before them that is in truth, nothing but paint and canvas, graphite and paper or even earthen minerals like clay or bronze transformed.” Says Kara Lysanrda Ross, Co-Chair / COO of the Art Renewal Center. “Humanity has always had an innate desire to tell stories. Even before recorded history, we know story telling was used to pass knowledge from one generation to the next. It is a unique characteristic of our species, to tell stories. When someone asks, ‘how was your day today’, the response is usually a story of its own, of what we did or what we saw and heard… and through this storytelling comes the visual arts. From ancient cave drawings to Ancient Rome and the High Renaissance humanity continues to create visual representations of the world. A record of time, place, culture and the human mind interpreted though individual perspective. To human beings, this is an elevated form of primal communication, one that is protected and cherished in museums across the globe. Universally recognized as some of humankind’s greatest achievements. The techniques used to create representational works, like those studied and used by the old masters, almost forgotten in the 20th century are once again thriving.”
Installation shot featuring “Plastic Breakthrough” by Froydis Aarseth, 14th ARC Salon Exhibition at MEAM
Photo of Alicia N. Ponzio at the unveiling of Maestro Giancarlo Guerrero, Sept 2018. Photo Copyright: Sally Bebawy
Part of what makes figurative art so magnetic is its expressive potential. This great sculptor shows us one way how.
During the 18th century, German-Austrian sculptor Franz Xaver Messerschmidt (1736–1783) spent the last phase of his career investigating the multifarious ways in which his face could express his extreme emotions. Some have argued that these experiments in sculpture were driven by paranoid ideas and hallucinations, but regardless, they display the range in which personal experience can be conveyed in three-dimensional media.
Figurative Art > “The Seeker,” Copyright Alicia N. Ponzio 2019The Hider and The Seeker (2019) comprise a 3/4 life-size, bronze, two-figure composition designed for Mr. Walter Broughton III in Minneapolis, MN. The figures were designed specifically for the client’s home. The Hider is positioned inside in a niche, gazing out from under her cloak of hair down a long hallway. The hallway expands into a room at the other end that opens onto an outdoor deck. There on the deck, The Seeker stands confidently in full sun, gazing inward, searching for her counterpart. The two figures are aspects of the same allegorical individual, representing aspects of the financial market locked in an equilibrium.The Hider in progress- arriving in Minneapolis to have her custom-made base fitted at Islero Fabrication; Photo Copyright Nate Ryan
Working in a similar vein — though without the alleged paranoia and hallucination — is renowned sculptor Alicia Ponzio, who has established a far-reaching reputation as one of the most accomplished of figurative artists. “Usually there’s a feeling that I want to describe or express,” Ponzio says. “I look for shapes in nature, in my surroundings, that seem to embody that feeling. In my figure work, many of the subjects are invented rather than chosen. Working from my imagination and memory, I build the pose around the shape. Sometimes I can see the composition from the beginning.”
Alicia Ponzio, “Claudia,” 2014, plaster on walnut, 26 x 10 x 10 in. (c) Alicia Ponzio 2017
“In a Still Field” is a perfect illustration of this creative process. “I wanted to suggest the feeling of breaking through resistance, using a physical metaphor,” Ponzio explains. “During the time I was working on her, I was often sketching trees in and around San Francisco. I discovered elements of the pose while watching the branches of the trees react to the wind, or seeing how the roots moved through space, turning suddenly to avoid obstacles. The torso of the figure is bowing, shoulders curved forward, as if she’s feeling the force of wind against her core. The right arm flows behind her: the opposing bends in the elbow and wrist create variation in the movement, a design element I borrowed from the tree branches. The pose is meant to communicate a feeling, in this case, inspiration. At the same time, it suggests a woman running, while it does not describe the action of running literally.”
Alicia Ponzio, “In a Still Field,” 2014, edition 1/3, bronze on black granite, 51 x 40 x 20 in. (c) Alicia Ponzio 2017
Part of what has contributed to Ponzio’s success is the fact that for her, form is language. She has become fluent in her sculptural voice, and her ideas flow into shape as easily as molten bronze into the mold. Through her artistic development, Ponzio discovered a comfortable way to voice and share her experiences and feelings with other people, “which is ultimately what it means to ‘connect’ in my mind,” she says. “I think often people are moved by a work of art that describes a feeling that they don’t know how to verbalize.”
Alicia Ponzio, “In Recent Days (self-portrait),” plaster on wood, artist proof, 22 x 10 x 9 in. (c) Alicia Ponzio 2017Alicia Ponzio, “Penelope,” 2013, edition 3/15, bronze on marble base, 15 x 6 x 6 in. (c) Alicia Ponzio 2017
Recently, Ponzio has begun to push herself into new mediums, experimenting with combinations of wood, plaster, and silver. She writes, “For the past few years I’ve been focusing on expanding my skills and learning more about materials to broaden my vocabulary, to open my mind to new possibilities. Artistically, I’d like to create work that’s relevant to our time, that’s not purely autobiographical.” One can only imagine what masterpieces are in store as Ponzio continues to find and evolve her already established voice.
Figurative Art > Alicia Ponzio, “Beyond This,” 2015, plaster on claro walnut, 24 x 8 x 8 in. (c) Alicia Ponzio 2017Portrait of Maestro Giancarlo Guerrero, 2018. Life-size portrait bust in bronze, in the collection of the Nashville Symphony. On permanent display in the North Lobby of the Schermerhorn Symphony CenterCommemorative photo from the unveiling of Maestro Giancarlo Guerrero. Photo Copyright: Sally Bebawy
To learn more about the figurative art of Alicia Ponzio, visit AliciaPonzio.com.
Michael Klein, "The Critique," Oil on panel, 21 x 29.5 inches
Collins Galleries in Cape Cod, Massachusetts, has announced its 9th Annual Summer Exhibition. The show will feature a collection of new works by gallery artists and select guests.
The e-catalog will be available for viewing July 11, 12:00 pm EST.
Sarah Siltala, “Garden Glory,” Oil on panel, 10 x 8 inches.
Artists:
Daniela Astone – William Bartlett – Jane Beharrell – Liz Beard – Tyler Berry – Sarah Bird – Lucas Bononi – TJ Cunningham – Marc Dalessio – Tina Orsolic Dalessio – Jay Davenport – William R. Davis – Michael De Brito – Russell Gordon – Carmen Drake Gordon – Denis Gorodnichy – Moses Hamborg – Dana Hawk – Thomas B. Higham – Cindy House – Brendan Johnston – Michael Klein – Joshua LaRock – Brock Larson – Jeffrey T. Larson – Leo Mancini-Hresko – Rodrigo Mateo – Divya Melaluca – Joseph McGurl – Gregory Mortenson – Paul Oxborough – Joseph Paquet – Rachel Personett – Pamela Pindell – Colby Sanford – Travis Schlaht – Koo Schadler – Paul Raymond Seaton – Sarah Siltala – Alex Venezia – Jose Lopez Vergara – Justin Wood
Dana Hawk, “White Woods,” oil and copper leaf on panel, 36 x 18 inchesJeffrey T. Larson, “Beet Juice,” Oil on canvas, 12 x 20 inchesJustin Wood, “Apple and Walnuts,” Oil on panel, 8 x 10 inchesJosé López Vergara, “The Plague,” Oil on canvas, 16 x 12 inchesWilliam R. Davis, “Nantucket Nocturne,” Oil on canvas, 12 x 24 inches
"Titian: Love, Desire, Death" is on view at the National Gallery until January 17, 2021.
As of July 9, 2020, you can see some of the world’s greatest paintings in person, when the National Gallery became the first UK national museum to reopen.
What You Need to Know:
All visits now need to be booked online, in advance, including entry to see the collection. There are three ways to visit the Gallery:
Support us by becoming a Member, then book a free ticket to our five-star exhibition ‘Titian: Love, Desire, Death’
Book a ticket to see Titian which includes entry to see the collection
Book a ticket for Gallery entry only
Booking is now open for dates until August 16.
Keeping you safe
The museum provides and encourages one-way art routes, 2-metre social distancing, and additional safety measures.
From the gallery: “There’s a world of art waiting to be discovered.”
Plan Your Visit to the National Gallery:
Doors open July 8, 2020
Open daily 11am-4pm and Friday until 9pm
Trafalgar Square, London, WC2N 5DN
All visitors, including Members, need to book a ticket.
Safety and Hygiene:
Social distancing: The number of visitors to the Gallery has been reduced so you can maintain social distancing during your visit.
Face coverings: You are encouraged to wear face coverings, for your safety and the safety of other visitors and staff.
If you’re feeling unwell: If you or anyone you live with displays symptoms associated with COVID-19, please delay your visit until it is safe to do so.
Hand sanitizer stations: Hand sanitizer will be available, at regular intervals, for you to use.
Increased cleaning: The frequency of our cleaning throughout the Gallery has been increased, including toilets and other facilities.
Protection for our staff: Personal protective equipment (PPE) has been introduced for our staff, including face masks, gloves and eye protection.
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