Safe Harbor
30 x 40 in.
Oil on linen
2020
Available Meyer Vogl Gallery, Charleston, SC
Lori Putnam (b. 1962) began painting professionally in her mid-30s. The feel of the paint immediately ignited her love affair with the medium and she knew there was no turning back. No stranger to hard work and dedication, she quickly gained recognition as one of the top, living American Impressionists. When viewed in a photograph, her work may appear tightly rendered. But upon seeing it in person, viewers are instantly engaged by thick, expressive paint. About her own work she says, “What interests me is rarely any specific subject. Like a magnet, I am immediately attracted to nature’s harmonies, rhythms, and patterns. My work invites viewers to explore and follow clues as if to a mystery. They become artists themselves for a brief moment, but will continue to see the world differently from that moment on. This is my passion, my drive, and my reward for the work.”
Putnam has been featured in numerous issues of Western Art Collector, American Art Collector Magazine, PleinAir Magazine, Southwest Art, Fine Art Connoisseur Magazine, and Art of the West. She is a member of many respected organizations including the Salmagundi Club in New York City, the Oil Painters of America, the Portrait Society of America, the American Impressionist Society, and the California Art Club. In 2019 she accepted an appointment as Vice President of Art Ambassador for a Colorful World, and travels to work with children in less privileged areas of the world.
Museums, including The Tucson Museum of Art, The Brinton Museum in Big Horn, Wyoming, The Hockaday Museum of Art in Kalispell, Montana, The High Museum in Atlanta, Georgia, the Irvine Museum in California, and The Academy Art Museum in Easton, Maryland have sought out Putnam’s works for awards, exhibitions, and permanent collection.
I love Summer: the smell of Summer, the sounds of Summer and the sights of Summer. One of my favorite Summertime joys are the flowers and the Daisy is at the top of the list! They are simply beautiful and beautifully simple. They have a way of brightening even the darkest corner and bringing a smile to the face of all who see them. Daisy Days of Summer is my tribute to the beautiful Daisy, long may they grow.
Kathryn Ashcroft was born in a small, Northern Utah farming town in 1961. She was raised on the family dairy farm where animals were fed before people were and a strong work ethic was instilled in her at a very young age. Many hours were spent on the back of a horse and riding was her favorite pass time. Her Mother, also an artist, created beautiful paintings in oil and this was a great source of inspiration. Kathryn began drawing animals very early and was encouraged and taught by her Mother and by Nature.
Kathryn began working in oils in 2004. Striving to convey the essence of the animal, as opposed to a detailed depiction, she uses a loose, painterly style. The result is a beautiful rendition of what the viewer would see if they were viewing the animal in the wild. Abstract backgrounds bring the focus of the painting to the animal itself.
As a child, Kathryn had ample opportunities to view wildlife in its natural environment. She continues observing and studying animals every day and her paintings are based on personal experiences that she has had. She will not paint an animal unless she has seen it and studied it in the wild. Countless hours are spent outdoors and in nature capturing reference material for her artwork. While the main focus of her work is Wildlife Kathryn also paints Western and Native themes.
The use of light, color, shape and value are important to Kathryn and she is constantly striving to bring all dimensions of her paintings to a higher level.
Kathryn’s work is found in collections across the country and internationally. It is her desire that all who view her work will have a greater appreciation for the natural world.
My French Table
24 x 24 in.
Oil on linen
$3950
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.”
My French Table captures Jill’s favorite room in the house – a romantic nook in her kitchen that was inspired by the airbnb that husband Randy and she stayed in last summer in St. Paul-de-Vence. Jill picked that home because she knew that kitchen would turn into a painting. At the time, she wasn’t aware that her home would start to evolve into that very special spot. Read more about how My French Table came to be here.
Staying home these months has made her look around. If she can’t be outside exploring to capture the world in paint, en plein air, what was inside those walls would be her muse. See her website, www.JillBanks.com, to sign up for her monthly newsletter to catch the latest paintings, news, and tales. After a successful series of Spring online classes, she’ll be offering one or two this summer.
You can also follow Jill on Facebook and Instagram. 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. 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. Get in on the action by subscribing and following, please. Help her spread some joy in your direction.
Evening Surf
30 x 30 in.
Oil on panel
$3600 available through the artist
Crashing surf hitting the rocky Maine coast or pounding the sandy beaches of the Outer Banks of North Carolina is the subject of a group of Jean Schwartz’s coastal paintings. While she also paints landscapes and cityscapes the ocean continues to be her favorite subject. Jean’s coastal paintings are inspired by places she knows well and has spent years observing.
In Evening Surf, as in most of her marine paintings, Jean’s subject is the ocean itself. Rarely are people or boats present and most have the viewer experiencing the surf up close from the rocks or standing right in the water. It is the ocean’s movement, light and color in all its variations that appeal to her.
“As a subject I think the ocean provides an artist a great opportunity to express a mood. The viewer can find a sense of danger, excitement, chaos or peace depending on the how the ocean is portrayed.”
Observation is what Jean feels is key in painting the movement of the ocean. Spending over 20 years on the Outer Banks painting in all seasons either from the beach or from the decks and windows of her house allows her to often create her studio paintings from memory. Rather than use a still photo for inspiration she will sometimes use videos of the surf she filmed on her iPhone. She finds it easier to paint moving water by watching it then looking away and painting what is in her minds eye. “Copying surf from a still photo can cause the painting to become tight and stilted. It is better to get into a rhythm and keep it loose to create the movement of the water”.
Jean’s paintings can be found in private and corporate collections both in the U.S. and Europe and some have been loaned to U.S. embassies through the State Department.
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.
The 12th annual Grand Canyon Celebration of Art will recognize the achievements of 23 artists who have successfully interpreted the canyon, both in plein air and studio work.
During Plein Air at Grand Canyon from September 12th through September 19th, visitors can watch the artists at work, painting along the South Rim of Grand Canyon. Their work will be exhibited at Kolb Studio at the South Rim starting September 20th, 2020.
Elizabeth Black was awarded the Fine Art Connoisseur Magazine’s Best of Show at the 2019 Celebration of Art. The artist from Boulder Colorado first painted in the Grand Canyon in 1975 while working as a river guide on the Colorado River. Although the boat flipped and soaked all her watercolor sketches, Black says about half of them were immensely improved! That incident gave her a tiny glimpse of the exciting potential ahead. She has continued to explore the West with her husband, photographer Christopher Brown, by boat and on foot, frequently painting on-site. 2020 will be her 11th time participating in CoA.
In addition to the plein air work all the artists submit a studio painting of the Grand Canyon. Of her painting Blaze of Glory Black says:
The first fingers of sunrise slide into the canyon, caressing its walls with rosy hues. Canyon wrens pierce dreams with cascading trills. A soft downstream breeze cools skin and wakes memories of sage and hot sand. Smells of coffee and tamarisk, and always the song of the river, chuckling, rustling, murmuring. It doesn’t last long, this sunrise blaze of glory. But it will come again and again, as long as the river keeps rising and falling, gliding onward to merge with the sea.
On Saturday September 19th from 8:00 to 10:00 am, Black and the CoA artists will be participating in a Quick Draw along the South Rim from Verkamp’s to Kolb Studio, with an auction of their work starting at 11:00 am at Bright Angel Trailhead.
The Celebration of Art exhibit and sale opens at 11:00 am on September 20th, 2020, and will be open daily through January 18th, 2021, at the historic Kolb Studio at the South Rim of Grand Canyon. Admission is free and open to the public.
A Girl From a Festival
24 x 20 in.
Oil on linen
$4800
Available through the artist
Jing has her ideas, such as mood and emotion, come to her after her research. Since she has traveled to different places in the world, she has thousands of pictures she took during the trips. Based on the ideas, she quickly glanced at all the photos to see which one grabbed her eye immediately. She found a picture she took many years ago and the beauty immediately caught her eye. She decided to use that picture as a reference. Before it comes to the actual painting, she sees a painting in her mind’s eye usually revolving around design, shape, tone, light, color, brush strokes and edges. All these kinds of visual elements and the image lead her thinking and working from day and night and sometimes she couldn’t fall asleep.
A Girl From a Festival won the Best of Show in the American Expressionist Society 20th Annual National Exhibition which was held at the Salmagundi Club New York 2019.
Jing Zhao lives in Frisco, Texas. She learned drawing from a private art teacher from her childhood in China. Even though her career path led her law, she eventually returned to her true love – painting.
Jing Zhao’s works has been juried into many national exhibitions: Oil Painters of American National Exhibition, The American Impressionist Society National Show, The Allied Artists of America National Show and the Bosque art Classic and also won other Awards such as Boren-Selvidge Award at Bosque Art Classic 34th Annual Juried Art Exhibition, Art Muse Contest Emerging artist Winner on May 2019. 1st Place Award in the Texas Members of Portrait Society of America Exhibition 2018.
Jing Zhao has been featured in Southwest Art Magazine. Her works are also in the collections of American art collectors. She was a speaker as American Impressionist Society National Best Show Winners panelist as well as a featured demonstrator at AIS national small works show.
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.
Repose by Aydemir Saidov, Oil on Canvas, 24 x 24 in.; Lotton Gallery
Oracle by Rani Garner, Oil on Canvas, 30 x 40 in.; Anderson Fine Art Gallery
S.O.S. by Victor Grasso, 2017, Oil on Board, 38 x 18 in.; Stanek Gallery
Evening Reflection by Kirby Fredendall, Oil on canvas, 40 x 30 in.; Bluestone Fine Art Gallery
September by Chula Beauregard, Oil on Linen panel, 8 x 10 in.; Steamboat Creates
Desert Sentinel by Naomi Brown, Oil and Acrylic on Museum Board, 20 x 24 in. framed; The Seaside Gallery
Darkhorse Collection. 3rd 5th Battalion, Darkhorse #1 by Debra Ferrari, Limited Edition on Canvas, 50 x 28 1/2 in.; Ferrari Gallery
Go Tell the Bees by Amanda Greive, Oil and Gold Leaf on Panel, 22 1/2 x 12 in.; Rehs Contemporary
A New Sword by Adolphe Alexandre Lesrel (1839-1929), Oil on Panel, 21 3/4 x 18 in., signed and dated 1888; Rehs Galleries, Inc.
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.
Daniel Graves, "Alessandro," 28 x 30 cm, Oil on canvas, 2017
“Sheltering with Art – 70 works by Faculty of The Florence Academy of Art” is a new exhibition that is online through June 30, 2020. Drawings, paintings, and sculpture by the academy’s international body of instructors is on sale. A portion of the proceeds goes to benefit the challenges facing the academy today, and to support these talented emerging artists.
Andreas Birath, “Still life – Red and Green,” 38 x 60 cm, Oil on canvas, 2018Erica Arcudi, “Seashells,” 38.1 x 38.1 cm, Oil on canvas, 2020Melissa Franklin Sanchez, “Blessings,” 20 x 30 cm, Oil on aluminum, 2020Wang Hao, “Arno,” 40 x 50 cm, Oil on canvas, 2020Tom Richards, “Modern Madonna,” 20 x 30 cm, Oil on panel, 2020Mitch Shea, “River God,” H 52 cm x D 42 cm, Finished clay (pictured – available in resin or bronze), 2020
Still Life with One Blue Butterfly
Oil on linen
26 x 30 in.
2020
$2800
Available through North Star Art Gallery
Brian Keeler’s still life paintings will be featured in When Life is Still, a special exhibit at the North Star Art Gallery in August and September. The exhibit expresses contemplation of everyday objects illumined by a variety of light sources. In Still Life with One Blue Butterfly, the late afternoon light is coming through the window off to the side as well as from ambient light.
This year during the pandemic self-isolation and social distancing the process of painting the ephemeral effects of light and the temporal beauty of flowers underscores the purpose of traditional types of still life work. Specifically, the still life paintings of the Dutch 17th century Golden-era are evoked here as they too had an allegorical underpinning through their “vanitias” illustrations of the temporal and impermanent nature of life. The current pandemic has served to further augment appreciation of the common and quotidian qualities of life.
You may preview this exhibition on the North Star Art Gallery website and Keeler’s blog When Life is Still.
Expressing and describing the beauty of light has been the focus of Brian Keeler’s career in painting. Depicting the “topography of light” is the way he likes to describe this process, as this phrase communicates the way light plays across forms and describes their shapes. His work includes landscape, the figure, portraits, still life and allegorical work. While the subject of the painting is specific, in a certain sense the light actually becomes the subject for Keeler and the scene or depiction takes on a secondary or supporting role. He often chooses the “Golden Hour” as the time for portraying the motifs he selects, as this late afternoon or early morning light accentuates the drama of any given scene. His figurative painting and other genres also incorporate a marvelous appreciation for the way light can reveal the world to us.
Among other artists, patrons and the general public Keeler is known as a colorist; the quality of his color is one of the memorable aspects of his well-crafted work. His art also combines a unique sense of composition, proportional harmonies and draftsmanship, as these paintings, pastels and watercolors show an orchestration of the overall relationships.
Paul Schulenburg, "A Sun Break," oil on canvas, 40 x 30, framed 43 x 33 in.
Fine Art Books Hot Off the Press: For your collection, there’s a new art book available titled “Paul Schulenburg: Oil Paintings” (available through Addison Art Gallery, Orleans, MA).
Leading New England artist Paul Schulenburg, widely praised for his captivating images of the working waterfront, addresses a range of subject matter, from the intimacy of bedrooms to the drama of city streets. His figurative work digs below the surface to manifest personalities and emotions.
Paul Schulenburg, “Time Off,” oil on canvas | 26 x 40, framed 29 x 43 in.
From the publisher:
With light and shadow, color and composition, Paul Schulenburg creates atmospheric moments — invitations to the viewer to complete the narrative.
While residing on Cape Cod, long a home or destination for generations of artists, Schulenburg’s work is also informed and inspired by travels afar including to the American Southwest, Mexico, Spain, Italy, and France. “A Room in France” shows a bedroom with a door open to the outside. Dappled light filters through the door striking a delicate chair on which hangs a towel. Warm and cool light balance each other, while the chair, towel, and open door add to the unsettled mystery of the setting.
Schulenburg’s pictorial sensibility influences his New York City scenes in a different manner, capturing the sensation of being in a big city. Amid the hard-lined architecture, he plays with raking light or gray days, occasionally introducing a figurative element. In contrast to the frantic pace of the city, Schulenburg’s streets are alive yet remain motionless, frozen in time.
Paul Schulenburg observes and interprets the world around him. Like the shoreline, life is ever-changing and ephemeral. In the tradition of Charles Hawthorne, Rockwell Kent, Edward Hopper, and countless other artists working through the ages, Schulenburg’s paintings record, interpret, and reveal the way we live today for the benefit and enjoyment of future generations.
Paul Schulenburg, “Sanctuary,” oil on canvas, 30 x 40, framed 32.5 x 42.5 in.
To see the available works, please visit www.addisonart.com.
To see videos of Paul at work in his studio and exploring the towns and shores of Cape Cod, click here.
Paul Schulenburg, “Sun Streaks at Low Tide,” oil on canvas, 22 x 28 in.
What others say about “Paul Schulenburg: Oil Paintings“
“This volume confirms why and how Paul Schulenburg has earned his place in the continuum of great American painting. The beauty and insightfulness of his New England and New York scenes reveal how closely he observes these places and their residents, yet never does his art feel localized or story-driven. Instead, Schulenburg’s skills in composing and use of values enable the paintings to transcend the here-and-now, to become universal. Achieving this means imbuing his images with a subtle monumentality and even melancholy, without calling our attention to either. Thus, no matter how sunny his weather may be, we sense a soulfulness that makes us stop and look again. In this breathless age of throwaway imagery, it is both a relief and a privilege to stop and look again with Paul Schulenburg.” —Peter Trippi, Editor-in-Chief, Fine Art Connoisseur Magazine, New York
“Paul Schulenburg is an American artist of the first order, who carries the standards and tradition of Edward Hopper and our finest provocative plein air painters into a modern world. He has the ability to make the commonplace extraordinary, and is equally at home in the unique light of Cape Cod, or the nuance of a New York City streetscape.” —Nicholas Dawes, Chairman and CEO, Salmagundi Club, New York
“Paul Schulenburg is one of those rare painters who can capture not just what something looks like but what it feels like…That alone makes his work a treasure.” —Sebastian Junger, author of The Perfect Storm
Paul Schulenburg, “Sunrise in Brooklyn,” oil on canvas, 36 x 36, framed 37 x 37 in.
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