Gravity
24 4/5 × 19 7/10 in.
Charcoal on board
2019
Available through Artsy
Dirk Dzimirsky (born 1969) is an award-winning artist from Germany who is known for his hyper-realistic drawings and paintings of people. His carefully elaborated stagings of light and shadow reveal the sensitivity and vulnerability of his models. An extreme level of detail in combination with calculated set of light create an enigmatic mood of melancholic beauty in his images.
Dzimirsky’s works has been exhibited in the US, Europe and Tokyo, and are part of numerous international private collections.
In 2014 he was commissioned by Waterman-Paris to draw a large scale portrait with ball pen to introduce their new line of luxury pens. The artwork was shown at exhibitions in Paris and Tokyo as well as on billboards and screens throughout the cities.
Also in 2014 Dzimirsky was hired by A&E Network for their new T.V. show “The Returned” to design and create 4 drawings of some of the main characters, which were then used for advertising the Series.
Nancy Depew, “Insight,” oil on canvas, 36 x 26 in. (c) Nancy Depew 2017
Often it is a pure and humble approach to the blank canvas that leads to aesthetic success in a painting. When artists divert from the formulaic and allow creativity to flow organically, the untainted core of art often emerges: to express that which words cannot.
Artist Nancy Depew is a case in point, and her process allows the painter to respond naturally to a piece as it’s revealed, leading to moments of insight, revelation, and discovery. “It’s an adventure filled with perils and surprises,” she says of her creative process. “I try to respond to the artwork as it forms, choosing options that will lead me to learning the most I can from and about the work.” For Depew, painting affords ample opportunity to journey inward and investigate her responses to the “thousands of options you have every time you pick up a brush,” as she suggests.
Nancy Depew, “Afterthought,” oil on canvas, 40 x 26 in.Nancy Depew, “Bittersweet,” oil on canvas, 26 x 34 in.
Although Depew avoids any strict methodology when a painting begins, her results are undeniably masterful in their naturalism and magnetic in their quiet simplicity. With little idea of what the finished painting may look like, Depew often builds her work from “a visual idea, gesture, or intuitive idea, not a verbal or rational one.” She says, “I am not attempting to capture reality. If you want to convey a story, chances are you would try to do it with words. Our society revolves around verbal communication, but a huge part of our day-to-day experience is visual and has little to do with words or logical thought. Words get layered on top of experience. When I paint, I try to forget about words.”
Nancy Depew, “Better Now,” oil on canvas, 60 x 40 in.
Depew achieves her goal, and with outstanding success; to be sure, her paintings’ beauty often leaves viewers at a loss for words. How apropos. Continuing, Depew writes, “When I paint, I manipulate visual information with the intention of exploring a more metaphysical terrain. I dig into visual information like an archaeologist looking for discoveries. Each stroke represents a choice among thousands of options. I believe that through this process, visual ideas can reveal the most essential qualities and our most intimate selves.”
“Insight” (shown at top) is a fascinating example of this process. Set against a dark background populated with a number of stunning, flowing lilies, a nude female figure is shown in half-length at the left edge of the canvas. Lit from above, the subject brings her arms to one shoulder, crossing her forearms and embracing herself. With eyes closed, her elevated — and inward — gaze is hopeful and uplifting.
Describing the process, Depew writes, “I went into the session with no clear idea of what pose I was looking for. I went in looking and found something, or the pose found me; it was serendipity, a discovery. Although it wasn’t clear, I knew it was there and had to develop it. First I realized it was going to be a portrait. I had been working on a series of paintings of flowers combined with figures so I thought about what it might be like to include flowers. I had to choose the flowers, and each one had to be placed and orchestrated, each moment determined, how loud, how soft, how dark, how light. The painting revealed itself one bit at a time. I was fortunate and the piece went together easily. This isn’t always the case. I often have to stop and rework the images. Sometimes I have to set them aside for weeks or months before I can see how to proceed.”
Nancy Depew, “Merge,” oil on canvas, 40 x 60 in.Nancy Depew, “Weight,” oil on canvas, 36 x 55 in.
Although Depew does not recognize a specific agenda for her paintings, she does hope to entice and “encourage the viewer to have his or her own experience.” She says, “I hope I’m presenting food for thought, for contemplation that may lead to something of significance or discovery for the viewer.”
Nancy Depew, “Cascade,” oil on canvas, 48 x 34 in.
After 40 years of painting, Depew acknowledges that she’s made mistakes along the way, but she’s come far and learned so much. The artist seems more motivated than ever to push herself artistically and appreciate the creative moments in the studio. She adds, “I hope I have many more years of painting. Every day is a gift. I try very hard to treat it that way. There are thousands of paintings I would like to make, but I have no clear vision of the work I intend to complete. I do, however, have a clear sense that the days are slipping away and I want to make to best work I can in the time I have left.”
Nancy Depew, “Inside Out,” oil on canvas, 40 x 60 in.Nancy Depew, “Open,” oil on canvas, 40 x 40 in.
Richard Oversmith, “A Summer Symphony,” oil on linen, 30 x 60 in. Private Collection
Richard Oversmith (b. 1971) paints vibrant, impressionistic landscape oil paintings during his travels across the United States, and also in far-flung destinations such as Italy, Cornwall, Bermuda, and Belize. When his wife and daughter wanted to become more fluent in French, the entire family spent six months in Brittany, where Oversmith made hundreds of sparkling seaside scenes.
Richard Oversmith, “Cadaques Boats,” oil on linen, 14 x 18 in. Available through the J.M. Stringer Gallery of Fine Art in Vero Beach, Florida
Although he usually makes small compositional sketches before he starts a landscape painting outdoors, Oversmith must respond to changing conditions of light and weather on a minute-by-minute basis. He paints outdoors most of the year and, unlike most plein air artists, actually prefers autumn and winter, when the foliage is not so lush and visually overwhelming.
Caption: Richard Oversmith, “Beach Breeze,” 2016, oil on linen, 12 x 12 in.
Though he occasionally paints outside on canvases as large as 36 x 48 inches, Oversmith is more likely to develop them back in the studio, working from his own oil sketches and reference photographs. Using his studio’s north-facing window, he has also earned a reputation for luminous still lifes, usually of flowers.
Richard Oversmith, “The Village of Saint-Cirq Lapopie,” oil on linen, 42 x 72 in. Available through the J.M. Stringer Gallery of Fine Art in Vero Beach, Florida
Oversmith came to plein air painting in an unusual way. While earning his B.F.A. from Kendall College of Art and Design in Grand Rapids, Michigan, he spent a summer at London’s Royal College of Art, and it was there that he learned more about the long, proud heritage of painting outdoors.
Richard Oversmith, “St. Ives Stroll,” oil on linen, 16 x 16 in. Available through the J.M. Stringer Gallery of Fine Art in Vero Beach, Florida
Long committed to painting alla prima (wet-on-wet), he has turned for inspiration to such historic masters as Vincent Van Gogh, Nicolai Fechin, Isaak Levitan, Willard Metcalf, Claude Monet, John Singer Sargent, Joaquín Sorolla, Tom Thomson, and Nikolai Timkov.
Richard Oversmith, “House on the Hill,” oil on linen, 30 x 28 in. Private Collection
Today Oversmith thrives in Asheville, in western North Carolina. Having explored much of the U.S. in search of a place to settle, he and his wife landed here thanks to its natural beauty, four-season climate, quality of life, and abundance of kindred spirits working in the arts and crafts.
Richard Oversmith, “Another Day Dawns,” oil on linen, 16 x 20 in. Available through the Art Cellar Gallery in Banner Elk, NCRichard Oversmith, “Breath of Spring,” oil on linen, 32 x 30 in. Available through the J.M. Stringer Gallery of Fine Art in Vero Beach, Florida
Not surprisingly, three galleries represent Oversmith’s oil paintings in North Carolina: Grand Bohemian Gallery (Asheville), City Art Gallery (Greenville), and the Art Cellar (Banner Elk). He is also represented in Charleston, South Carolina, by Hagan Fine Art Gallery, and in Vero Beach, Florida, by J. M. Stringer Gallery of Fine Art.
To learn more about the artist and see more of his oil paintings, visit richardoversmith.com.
Bruce K. Lawes, "Spirit of the Forest," oil, 40 x 30 inches
Driven With a Purpose, Creating Art as His Vehicle
BY BRUCE K. LAWES, AFC, SAA, OPA
Many of my successful paintings tell a story and are a journey of learning and discovery—whether I am researching something historical or have the challenge of creating a painting with great personal meaning. “Spirit of the Forest” (above) was both; it was a journey of the past adventures of an incredible lady and a journey with great personal meaning. Dr. Jane Goodall has been my hero since early childhood, and I was determined not only to create a significant painting, but also create something that she would be proud to say represented a part of her life with fond memories.
Jane’s wonderful staff in the U.S. opened their arms in friendship to assist me with the Jane Goodall Institute archives of video and still photography. This is where it began. The question was how to create a painting that told a story, while prominently depicting the iconic chimpanzee in an artistic composition.
Scrolling through the beautiful imagery in the archives I began to get a feeling of what I wanted to do. In one video Jane is seen near a waterfall in Gombe, Tanzania, where she studied the chimpanzee’s behaviors around the falling water. She observed that it was a place of play, wonder, and contemplation—almost a spiritual response, if compared in human terms. I knew from that video that the waterfall had to become a big part of my story.
While researching and talking to Jane’s staff I found out the female she named Fifi was one of her favorites. It then became obvious which chimpanzees I’d feature in the painting: Fifi, with her baby, Flirt—one of the nine offspring she had over her lifetime—had to be my stars. Now, with the stage set and the stars determined I began to create a composition that would be both scientifically accurate and artistically appealing.
By the first week of April the painting was nearly completed, but final details not quite refined. An opportunity to meet Jane in New York City presented itself and the painting was done enough to show her, to hopefully get her blessing. This would be the first time anybody, other than my wife Luisa, would see what I imagined Jane would appreciate in a painting. It was a little nerve-racking, but I was quickly relieved when she first saw the painting and said, “That’s Fifi!”
Jane Goodall and Bruce K. Lawes
While discussing the painting I said that during my process I had come up with a title, “Spirit of the Land,” and Jane quickly responded, “Spirit of the Forest.” With the title finalized by one of the great women in history, the painting went on to raise funds so the good work of Jane and her Institute will continue in perpetuity.
Editor’s Note: Bruce Lawes has pledged to raise 1 million dollars for the Jane Goodall institute in the coming years. Later this year a large painting of two charging bull elephants will be painted on a 6×7-foot canvas and auctioned off with 100% of the proceeds going to Jane Goodall Institute.
Equine Art
Another passion of mine is to paint equine images. They, like a figurative nude, can convey such beauty and grace. The painting featured here has won multiple awards, including First Place in Southwest Art Magazine’s 2016 Artistic Excellence competition. It was also featured on the front cover of Fine Art Connoisseur Magazine. The title of this equine painting was given not just because it is representative of the dust cloud this beautiful dressage horse and rider have stirred up, but it also symbolically represents what all riders must feel when mounting their horse: “On a Cloud.”
Bruce K. Lawes, “On a Cloud,” oil, 40 x 50 inches
I think the success of this painting was the mystery of suggesting a rider without a recognizable person. This puts the emphasis on the form of the white horse against the black background using negative space to create a dynamic tension.
My painting “With Grace” (below) was selected for the initial exhibition and chosen for an extended year tour at the following venues:
National Mississippi River Museum and Aquarium, Brookgreen Gardens, Arizona-Sonora Desert Museum, and the George A. Spiva Center for the Arts.
Bruce K. Lawes, “With Grace,” oil, 40 x 50 inches
ABOUT BRUCE K. LAWES
Bruce K. Lawes is an internationally collected artist with a passion for animal art and conservation. He is a signature member of the Artists for Conservation (AFC), The Society of Animal Artists (SAA) and The Oil Painters of America (OPA). He was born in 1962 in Toronto, Canada. International Artist Magazine wrote, “One of the first things you notice about the art of Bruce Lawes is the artist’s versatility; whether it be a figurative painting, a landscape or an equine his work always upholds a strong level of quality, craftsmanship and technical skill.” Art of the West Magazine recently praised Lawes as “one of the most versatile among today’s field of highly skilled representational artists, Lawes moves with seamless articulation between the genres of wildlife and equine portraiture, landscapes, and figurative renditions of historic events.”
TERRY TRAMBAUER NORRIS (b. 1960), "Iron Cauldron with Meat," 2015, oil on linen, 24 x 30 in., private collection
There is a lot of superb contemporary realism being made these days; this article by Allison Malafronte shines light on a gifted individual.
TERRY TRAMBAUER NORRIS (b. 1960) is a still life painter from South Carolina who creates highly finished works in the spirit of the Old Masters. Her artistic abilities were recognized from childhood and in 1985 she earned a B.F.A. from Atlanta College of Art after studying design, painting, printmaking, and photography.
As Norris began to gravitate toward fine art in a traditional realist style, she took a close look at several key painters from the past, then supplemented her education with a month’s study at the Art Students League of New York, as well as workshops with David A. Leffel and Gregg Kreutz and critiques and classes with Ralph Bagley.
Although known primarily for still lifes, Norris also paints landscapes and seascapes. Capturing mood, atmosphere, and light are essential to her practice, which requires not only patience but also planning, particularly for the still lifes. While admiring the variety of perfectly arranged objects — be they pots, jugs, fruit, jars, cauldrons, or cookies — we might assume these arrangements hap-pen relatively naturally. Yet as much as nature plays a role in these visions, Norris spends considerable time composing her subjects, carefully harmonizing shapes, patterns, light, and shadow until the elements sing.
Norris’s painting “Iron Cauldron with Meat” (above) reflects this compositional attentiveness while sustaining the dramatic light and shadow (chiaroscuro) championed by still life masters of the past. This 24 x 30-inch scene also represents a milestone for Norris, as it is the largest still life she has attempted to date. “There was something about the cauldron and the sense of history it represents that drew me to it,” the artist says.
“The painting went through some unexpected twists and turns during its creation,” she said. “The meat was actually not in the original set-up, but it was a subject I’ve been wanting to try for years, mainly inspired by J.-B.-S. Chardin and Raphaelle Peale.”
The 18th-century French painter Chardin is just one of the masters who have inspired Norris. Other influences include Rembrandt, Vermeer, Whistler, Robert Henri, and Charles W. Hawthorne, all known for their expertise with light and composition. The time Norris has devoted to studying these artists has clearly served her well: theirs are the foundational shoulders upon which she and so many painters continue to stand.
Norris is represented by Sloane Merrill Gallery (Boston).
Founded in 2005 by three highly respected names in the field: Michael Frost of New York City’s J. N. Bartfield Galleries, Jack Morris of Morris Whiteside Galleries in Hilton Head, South Carolina, and Brad Richardson of Legacy Gallery in Scottsdale, Arizona; the Scottsdale Art Auction will take place June 13, 2020.
Thomas Moran, “Castle Rock”
Over 350 lots of some of the finest in Western, wildlife, and sporting paintings and sculptures will be on offer in a state-of-the-art facility in the heart of Old Town Scottsdale. American Masters like Maynard Dixon, Charles Russell, Frank Tenney Johnson, Joseph Sharp and Bob Kuhn will be joined by the finest names in contemporary Western and American art: Martin Grelle, Logan Maxwell Hagege, Bill Anton, Mark Maggiori, Kyle Polzin and Morgan Weistling and many more.
Carrie Waller, "Abundance," watercolor, 24 x 28 in.
The American Women Artists held its virtual awards ceremony, Friday, May 29, for its show hosted virtually by the Booth Western Art Museum in Cartersville, GA, titled “Making Their Mark: American Women Artists.”
Over $36,000 in cash and merchandise prizes were awarded to 20 artists. The Grand Prize (with a $10,000 cash award) went to Carrie Waller (IL) for her watercolor painting, Abundance (shown at top).
Shelley Smith, “Winter Is No Picnic Unless You’re in Sunny Colorado,” oil, 18 x 24 in.
Other awards included five Booth Museum Purchase Awards, won by:
JaNeil Anderson (NM), Right Where I Want to Be, Oil
Lisa Gleim (GA), The Secret Keepers, Pastel
Diane Arenberg (NM), Sunset Sunburst, Oil on linen
Star Liana York (NM), Buffalo Gals, Bronze
Claudia Hartley (AZ), Western Homestead, Acrylic
Lisa Gleim, “The Secret Keepers,” pastel, 32 x 40 in.
These five works will reside in the permanent collection of the Booth Museum. AWA’s 25 in 25 Initiative, to organize 25 museum shows in as many years, began in 2017. The five purchase awards by the Booth Museum now bring the total number of museum purchase awards to ten, helping to secure the rightful place for women in the fine arts. A complete list of awards can be viewed on the AWA blog page here.
Lynette Cook, “A Moment in Time,” acrylic, 24 x 24 in.
This juried show features 113 paintings and sculptures by members of American Women Artists and 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. The show runs online through August 23.
Karol Tucker, “Our Friend Emanual,” oil, 16 x 20 in.
Spotlight: Linda Glover Gooch on “Summer Bouquet” by Elizabeth Robbins
American Women Artists – Since its inception, AWA has worked diligently to bring women artists to the attention of the art world through museum shows, juried competitions in leading galleries and museums around the country, symposiums, and workshops. Their goal is to increase the number of professional opportunities for women in the visual fine arts that leads to greater inclusion. The organization serves over 900 members throughout the United States along with a growing contingent of artists from Canada. AWA is tax-exempt nonprofit organization. For more information visit www.americanwomenartists.org.
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.
Twilight Harmony by Paula Holtzclaw, Oil on Canvas, 27 x 47 in.; Anderson Fine Art Gallery
Last Light (Part 3) by Francis DiFronzo, 2019, Oil over Watercolor and Gouache on Panel, 37 x 49 in.; Stanek Gallery
Blushing Bouquet of Roses by Ekaterina Ermilkina, Oil on Canvas, 24 x 24 in.; Bluestone Fine Art Gallery
Dancers in the Pavilion by Chula Beauregard, Oil and Bronze Flake on Linen Panel, 20 x 24 in.; Steamboat Creates
Equus in Flight by Pat Roberts, Bronze on Wood Base, 33 x 15 x 22 in.; The Seaside Gallery
The Adler Collection. Breaking Through by Debra Ferrari, Acrylic on Canvas, 60 x 60 in.; Ferrari Gallery
42nd Looking East, Chrysler Building, Grand Central by Johann Berthelsen (1883-1972), Oil on Canvasboard, 16 x 12 in., signed, also signed and titled on the reverse; Rehs Galleries, Inc.
London Red by Mark Laguë (born 1964), Oil on Panel, 36 x 30 in., signed; Rehs Contemporary
Lilies and Tulips by Daniel Keys, Oil on Canvas, 31 x 23 in.; Liliedahl Fine Art Studio-Gallery
Waiting by Kathleen Kolb, Oil on Linen, 30 x 40 in.; Edgewater Gallery
Beacon of Hope by Susan Overstreet, Acrylic on Canvas, 30 x 40 in.; Tree’s Place
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.
Rue du Jour
40 x 30 in.
Oil on linen
$7400 Available from the artist
Capturing Life in Oils
The artist says, “I paint to capture life’s magic … to transport you inside my oil paintings – to feel that breeze, hear the sounds, watch what happens, smell the beer.”
Isn’t this where you’d really like to be right now? Read about how Rue du Jour came to be here.
New Minis Posted Daily on Instagram and Facebook … for awhile as part of the #artistsupportpledge at a special temporary price of $200 unframed. Follow Jill on Facebook and Instagram and check out this special collection on her website. Plus, make sure you are the first to see fresh work by signing up for New Art Alerts here.
Jill will be participating in a Virtual Rittenhouse Square Art Show on June 5-7 with a live Zoom tour and event on Saturday, June 6 at noon Eastern Time. Space is very limited and registration is required. Find out more here. She will also be putting out a schedule of some online interactive art parties, shows, talks and demos.
Contemporary Realist Art in Lockdown: What’s Going Well? What’s Not?
These are extraordinary times, so find out what 9 equally extraordinary artists, educators, and dealers are doing to move their careers – and contemporary realist art – forward.
Join co-hosts Peter Trippi (Editor-in-Chief, Fine Art Connoisseur Magazine) & Katie G. Whipple (Artist, New York City) for a series of Facebook Live interviews.
Fill your mind with useful art stories, the latest trends, upcoming art shows, top artists, and more. Subscribe to Fine Art Today, from the publishers of Fine Art Connoisseur magazine.
