Detail of “Best Mouser in Six Counties” by Nancy Crookston, OPA Master Signature Member
Sorrel Sky Gallery is hosting the Oil Painters of America 2019 Western Regional Juried Exhibition of Traditional Oils. An exhibition and sale of works by both award winners and all other participants will continue through November 30, 2019.
To be shown in this year’s exhibit: “Best Mouser in Six Counties” (oil on linen on panel, 20 x 10 in.) by Nancy Crookston, OPA Master Signature Member
Oil Painters of America (OPA) was founded in 1991 and now boasts over 3,600 members from across North America. The 2019 Western Regional Exhibition of the OPA features artists from Alaska to Arizona, Saskatchewan to Hawaii, British Columbia to all of Mexico. The goal of the OPA is to assemble the finest display of representational oil paintings. The focus in the jurying process is to select paintings that show the highest quality in draftsmanship, color, and composition, emphasizing a diversity in representational style and subject matter.
Approximately 100 artists of 1,200 will be selected to be part of this exhibition. Total awards will be approximately $11,500 in cash and merchandise. Nationally recognized OPA artist Kathryn Stats will serve as the juror of awards. Kathryn’s own work reflects her desire to stay curious and explore new locations. “I try not to get too comfortable working in a particular size or subject matter because I feel that comfort leads to staleness. For this reason, I’m always looking for fresh territory.”
"Tobias Restoring His Father's Sight" ~ Pereda y Salgado
“El Greco, Goya, and a Taste for Spain: Highlights from the Bowes Museum” is on view at the Meadows Museum in Dallas, Texas, through January 12, 2020.
Juan deValdés Leal (Spanish, 1622–1690), “Saint Eustochium,” 1656–57. Oil on canvas. The Bowes Museum, Barnard Castle, County Durham, UK; B.M.10.
From the museum:
The Bowes Museum in County Durham, UK, is home to the largest collection of Spanish painting in the British Isles. The collection represents the life-work of John and Joséphine Bowes, who, through key connections with dealers in Paris, amassed a collection noted for its depth and breadth, quality and quantity during the second half of the 19th century. Their museum opened to the public in 1892, and continues to serve the people of northern England with an engaging series of exhibitions and public programs.
Claudio Coello (Spanish, 1642–1693), “Mariana of Austria, Queen of Spain,” 1677–80. Oil on canvas. The Bowes Museum, Barnard Castle, County
This focused exhibition—it consists of just under a dozen works—showcases the finest of the Bowes’s collection of Spanish painting. The exhibition will feature artists such as Juan de Borgoña (c. 1470–1536), El Greco (1541–1614), and Francisco de Goya (1746–1828), and paintings on panel and canvas ranging from the early 16th to late 18th centuries. This was a crucial period in the history and development of Spanish art as artists transitioned from producing large, gold-encrusted retable panels of saints to intimate portraits and scenes taken from life, as is the case with Goya’s harrowing “Interior of a Prison” (1793–94). It is an exhibition of three centuries of saints and sinners, secular and sacred likenesses meant to inspire devotion, admiration, and at times discomfort.
“Portrait of a Carmelite Monk” ~Maíno
“El Greco, Goya, and a Taste for Spain: Highlights from the Bowes Museum” will explore these and other issues within the context of the history of art while also taking a closer look at John and Joséphine Bowes’s role in the history of the collection and display of Spanish art outside of Spain.
Chuck Marshall, “Square Top Mountain,” oil on canvas panel, 12 x 16 in. Plein Air
Eisele Gallery (Cincinnati, Ohio) is currently showing “Into the Wilderness: Wind River Range, Wyoming,” a two-person exhibition of landscape oil paintings by Robert Hagberg and Chuck Marshall. The exhibition will be on view until November 30, 2019.
Eisele Gallery will also have a selection of American 19th- and 20th-century paintings, including by Ohio-born artist Joseph Henry Sharp (1859–1953).
The origin of the “Trip into the Wilderness” that Robert and Chuck attended comes from the well-known artist Tucker Smith, from Pinedale, Wyoming. He created and organized an annual trip for himself and other artists to spend time in the Wind River Range in Wyoming for inspiration. At the age of 79, Tucker continues to organize and ride with invited artists into the Wind River Wilderness. Lanny Grant, one of Tucker’s invited artists, decided to expand on this tradition by inviting Robert and Chuck to go on a trip he organized.
Robert and Chuck met through the Rocky Mountain Plein Air Painters Association and have been great friends ever since. They have made the trip to Wyoming two years in a row now, also joined by artist Niles Nordquist. Robert describes this trip as “a real experience, unlike anything else.” Each artist is amazed by the beauty and contrast to their normal city life.
For the trip, the group hires an outfitter to bring the materials and food for the time they are there. Mules carry the supplies, and the artists ride on horseback to the camp, three to four hours away from civilization. The artists go out daily with their painting supplies and create plein air studies, weather permitting. Another reward and source of inspiration for this trip is that American wildlife artist Carl Rungius (1869–1959) also painted in this area. The artists value the experience of creating where he painted as well as finding works by Rungius that depict the Wind River Range, which is about 80 miles long.
All their paintings on view at Eisele Gallery will be works inspired by both trips to Wyoming, July 2018 and July 2019.
Robert Hagberg, “Shoulders of Giants,” oil on linen panel, 24 x 36 in.
Robert Hagberg was born in Minnesota and raised in Ohio. His father, an avid photographer, put a camera in his hands at an early age. However, Robert saw more than photos while looking through the lens, so he picked up a paintbrush. After a decade in the mental health profession, he moved to a career in film production as a cameraman and lighting director, which gave him the opportunity to use a television screen as a creative outlet. He continues painting regardless of his daily career. In 1992, Robert made the decision to pursue painting full time.
Robert Hagberg, “Northern Exposure of Square Top Mountain,” oil on linen panel, 15 x 30 in.
Starting in 1998, Robert took workshops and was influenced by artists Jim Wilcox, William Scott Jennings, Ray Roberts, and many more. His first experience in the Tetons confirmed his passion for painting outdoors. Robert has earned many awards and signature status in various associations.
Robert Hagberg, “Slide Lake,” oil on linen panel, 20 x 30 in.
Since 2004 he has been a member of and painted with Rocky Mountain Plein Air Painters. In 2013, he was honored by being selected to represent Acadia National Park in the multiple-award-winning publication Art of the National Parks, Historic Connections — Contemporary Interpretations.
Chuck Marshall, “Reading a Book Along the Trail,” oil on canvas panel, 12 x 16 in.
Chuck Marshall is a native Ohio artist who has earned national recognition. He developed an early love for the outdoors and artwork. His goal to be an artist started at a young age while sketching and roaming the countryside. After a short stint in the Navy, he studied one year at the Art Institute of Cincinnati before moving to and studying at the California Art Institute in Southern California.
Chuck Marshall, “Camp Fire,” oil on canvas panel, 14 x 18 in.
Marshall has studied with various artists, which he feels has helped him to develop his artistic style. His art career includes many years as an illustrator and graphic designer as well as his fine art. He is a member of the Rocky Mountain Plein Air Painters, Ohio Plein Air Society, American Impressionist Society, and Oil Painters of America. Chuck’s work has been published in International Artist magazine, American Artist magazine, and PleinAir magazine.
Chuck Marshall, “Into the Winds,” oil on canvas, 30 x 40 in.
Fallish Fantasy
30 x 24 in.
Oil on canvas
$2600
Available at Alta Vista Gallery, 2839 Broadstone Rd, Valle Crucis, NC, 828.963.5247
Monique expresses “My contemporary landscape paintings are a fusion of experience, experiment and emotion. Instead of painting what I see with my eyes, I want to depict my own interpretation of a scene with my soul. I want to capture the mystery and the beauty of nature. Simultaneously, I’m thinking about composition, harmony, colors, movement, and texture. Atmospheric effects are another wonderful way to create a sense of drama with calm and mystery, which appeals to me.”
After growing up in Montreal, Canada and spending 10 years in the Cayman Islands, Monique and her husband made East Tennessee home in 1999. Monique worked as a graphic artist for over 20 years prior to becoming a full-time fine artist. Ever evaluating and evolving her style, Monique has continued throughout her professional career to study under many well-known artists, including Guido Frick, Kim English, Peggy Root, Kathie Odom, Aimone Art School. The style that emerges in Monique’s work is out of the ordinary. It bursts with energy with its vibrant colors, constant movement and intriguing texture. She likes to experiment, try different mediums and substrates, and embraces the new discoveries. Also, you will find that each of her painting holds a small exclamation mark — it’s her trademark! The playfulness of finding this solitary mark invites audiences to slow down and re-enter that space as they have to find this well hidden exclamation mark (kind of finding Waldo!). Monique also teaches several workshops each year.
Nathaniel Skousen painting in the studio at a previous Figurative Art Convention & Expo
In November, the field of contemporary realism will take another big step forward when the Figurative Art Convention & Expo (FACE) draws people to Williamsburg, Virginia, for a lively celebration of art and ideas. Organized by Fine Art Connoisseur and hosted by publisher Eric Rhoads and myself, FACE offers a memorable combination of demonstrations by renowned masters, informal conversations among artists, and formal lectures by scholars.
Peter Trippi (left) moderating a panel discussion featuring Garin Baker, Adrienne Stein, and Daniel Gerhartz
Participants gain technical skills and philosophical insights, all while getting to know each other personally in a friendly, un-stuffy atmosphere. Eric and I have long envisioned a forum like FACE: As we hoped, when like-minded people get together in person to share techniques and information, their sense of community and their passionate determination to excel grow exponentially. We all rely on social media and videoconferencing, but nothing can ever replace meeting face to face.
Following is a recap of the first Figurative Art Convention & Expo.
The event opened on November 7–8 with three pre-convention experiences: Jordan Sokol of the Florence Academy of Art (U.S.) taught a two-day course on the basics of drawing a live model; Daniel Gerhartz spent two days focused on painting a live model; and Graydon Parrish offered a one-day program introducing the Munsell color system.
Gregory Mortenson, Jordan Sokol, Ryan S. BrownDaniel GerhartzGraydon Parrish, Michelle Jung, Eric Rhoads, John Coleman
FACE kicked into high gear with an opening ceremony during which Eric extended a warm welcome to the registrants, who came from across the U.S., Canada, Mexico, Europe, and Australia. He was joined onstage by California Lutheran University (CLU) professor Michael J. Pearce, who officially launched the fourth edition of The Representational Art Conference (TRAC), which had occurred three times at CLU.
Michael J. Pearce
Following a talk by Prof. Donald Kuspit (Stony Brook University), the artists Daniel Graves, Graydon Parrish, and Patricia Watwood chatted about the future of contemporary figuration while I posed questions.
Joseph Bravo, Donald Kuspit, Stephen Hicks
Eric returned to the podium to announce that an anonymous donor had generously underwritten registration, travel, accommodation, and spending money for seven scholarship recipients, including one in his 60s: William Blake of Pennsylvania, Cynthia Celone of Connecticut, Cesare Giuffredi of Florida, Kai Lun Qu of Maryland, Robert Schefman of California, and Stephanie Paige Thomson of Indiana.
FACE’s youngest and oldest attendees in 2017: Fina Mooney and Max Ginsburg
Last but not least among them was FACE’s youngest attendee, Fina Mooney, a 13-year-old currently studying part-time at the Art Academy in Minneapolis. Fina gave an inspiring talk about why figurative art matters to young people like herself, bringing the entire audience to their feet. This led in perfectly to a full demo by our oldest attendee, the realist master Max Ginsburg (b. 1931).
The day closed with a festive cocktail reception in the Expo Hall, which remained open throughout FACE. Coordinated by Richard Lindenberg, it featured 13 exhibitors who serve the figurative art community well: Rosemary & Co., Winsor & Newton, Princeton Artist Brush Co., Raymar, Blick/Utrecht, Savoir Faire, Michael Harding, Gamblin, Jack Richeson & Co., Natural Pigments, Allman Ricks, and Royal Talens. Also hosting stands there were the Florida art ateliers Chiaroscuro and Protégé.
Rosemary Thompson (right) on the Expo stand of Rosemary & CoEric Rhoads with Expo Hall exhibitor Michael Harding (Michael Harding Handmade Artists Oil Colours)
Max Ginsburg offered the first of FACE’s seven demos by world-class artists. In the three days to come, Juliette Aristides, Daniel Gerhartz, John Coleman, Michael Mentler, David A. Leffel, and Sherrie McGraw inspired participants to paint, draw, and sculpt better, demonstrating distinctive approaches from which registrants could pick and choose.
Juliette AristidesMichael MentlerDavid A. Leffel, Jonathan Hodge, Grace Athena FlottSherrie McGraw’s demo
Complementing these practical experiences were eloquent one-hour talks delivered by three other masters: Steven Assael, Jacob Collins, and Daniel Graves. One highlight of FACE was the evening dedicated to David A. Leffel — on his 86th birthday, no less — a lively conversation about “what makes a painting a work of art,” featuring Leffel, Aristides, and Collins, followed by a screening of George Gallo’s magnificent documentary film, David A. Leffel: An American Master.
Steven AssaelJacob CollinsDaniel Graves
Watching demos often makes you want to try out what you’ve learned right away, so FACE offered an optional hands-on studio experience. For two nights in a row, 125 registrants filled a gigantic ballroom as they drew, painted, and sculpted from nine live models. On hand to provide them with tips and wisdom were mentors Ryan S. Brown, Michael Mentler, Gregory Mortenson, Graydon Parrish, and Patricia Watwood.
Tony Curanaj, Patricia Watwood, Symi Jackson, Adrienne Stein
As suggested by John Coleman’s presence on the demo faculty, sculpture was not ignored at FACE. To make a good situation even better, National Sculpture Society executive director Gwen Pier coordinated a table and demo area in the Expo Hall: Registrants enjoyed watching and chatting with NSS fellows Nilda Comas and Lee Hutt as they worked on their projects there.
At the National Sculpture Society table in the Expo Hall: Olivia Kim, John Coleman, Enrique Avilez, Stephanie Sneed, Gwen Pier, Nilda Comas, Lee Hutt, Alfred HuttNilda Comas (right) demonstrated her sculpting techniques in the Expo Hall; with her here are Olivia Kim (left) and Stephanie Sneed
Chaired by Michael Pearce, TRAC 4 offered stimulating events that were presented on FACE’s main stage and also in TRAC’s own room. These included a lecture by curator Elliot Bostwick Davis about recent acquisitions of American figurative art at the Museum of Fine Arts, Boston, where she has worked since 2001; Prof. Stephen Hicks (Rockford University) on modern artists’ “flight from the figure” and their gradual return; and Joseph Bravo’s provocative talk about art institutions’ reluctance to embrace contemporary realism. The need for artists to understand commercial matters was not overlooked: Shannon Robinson (Collectors for Connoisseurship) spoke on the changing global art market, and Eric Rhoads answered questions about how to market one’s art more effectively.
Elliot Bostwick Davis
Pearce chaired the formal presenting of 20 different papers, delivered by a mix of artists, educators, scholars, and critics: Brian Curtis, Virgil Elliott, Saskia Eubanks, Drake Gómez, Suzy Hart, Justin Kunz, David Molesky, William Oberst, Amanda Theis, Randall Van Schepen, and Aihua Zhou. On Friday night, I moderated a conversation about where the field is going, featuring the artists Garin Baker, Daniel Gerhartz, and Adrienne Stein.
Paul Rosiak, Amanda Theis
Just over 20 attendees opted to register as VIPs, which allowed them to enjoy reserved seating, a private dinner with Eric Rhoads, myself, and various faculty members, and a cocktail reception in an enormous 14th-floor suite that gangster Al Capone used regularly.
FACE could not have been the success it was without the extraordinary dedication of the staff of Streamline Publishing, which produces Fine Art Connoisseur, including Ali Cruickshank, ably assisted by Christina Angelo, Tom Elmo, Nic Kuper, Jaime Osetek, Nia Raeford, Kari Stober, and Sarah Webb. Many of these professionals have been involved in running the annual Plein Air Convention & Expo launched by Streamline in 2012.
A post-event survey of FACE participants revealed that while most had initially been attracted by opportunities to meet and observe world-class artists, they especially relished getting to know other artists, thus anchoring themselves within a supportive community.
Join us at FACE 2020 — register by October 31 and save $500!
Images courtesy of the Boston International Fine Art Show
The 23rd Annual Boston International Fine Art Show (BIFAS) returns October 24–27, 2019 at the Cyclorama at the Boston Center for the Arts. The show will once again feature historic, modern, and contemporary fine art offered by 50 galleries. The show, which has become a highly anticipated annual event on the Boston cultural scene, features numerous outstanding galleries specializing in American and European art, from Old Masters to Contemporary.
This year, for the first time, BIFAS also includes “EMERGE,” a special section of the show dedicated to individual emerging and mid-career artists from New England. Distinguished guest speakers will also add interest to the weekend with insights into rediscovered artists, art in interior design, and more.
John Steven Dews (British, born 1949) “Capture of the US Chesapeake by HMS Shannon off Boston, 1 June 1813,” oil on canvas, 40 x 66 in. Courtesy of Trinity House (NY)
“Each year we see more and more collectors traveling to the show,” comments Co-Producer Tony Fusco. “Not just to buy works of art, but also to immerse themselves in the weekend programs, and in conversations with scholars and gallery owners. As the only art show of its kind in New England, the fall foliage season provides a perfect excuse to soak up the cultural richness of Boston along with the show.”
Julie Beck, “A Vessel with Two Hands,” oil on canvas/panel, 24 x 36 in. Courtesy of Bowersock Gallery (MA)
Returning to the show are two 23-year veteran galleries that were among the handful of galleries that started the show in the late 1990s: Questroyal Fine Art (NY) and Martha Richardson Fine Art (MA). Also returning to the show is Avery Galleries of Bryn Mawr, Pennsylvania, who started exhibiting at BIFAS shortly after opening their doors in 2001, and Leonard Parco of Parco Fine Art in Ipswich, Massachusetts, which is devoted to the rich artistic heritage of Cape Ann, Massachusetts, and its famous Rockport and Gloucester artist colonies. Two internationally known galleries that specialize in European fine art will grace the show this year: Trinity House Paintings, with locations in the UK, New York, and San Francisco, and Guarisco Gallery of Washington, DC.
Adding to the diversity will be a small selection of jewelry, antiques, and oriental rugs offered by Brad & Vandy Reh Fine Jewelry (CT), Shaia Oriental Rugs (VA), and Jeffrey Tillou Antiques (CT).
Mary Cassatt, “Portrait of Master St. Pierre as a Young Boy,” 1906, oil on canvas, 29 1/2 x 22 3/4 in. Courtesy of Guarisco Gallery (DC)
Returning contemporary galleries offer works in a range of styles from figurative to abstract to experimental, including Bowersock Gallery (MA); Colm Rowan Fine Art (NY & PA); Edgewater Gallery (VT & MA); J.W. Reilly Fine Art (MA); Miller White Fine Arts (MA); Principle Gallery (VA & SC); and Renjeau Gallery (MA). In addition, the “EMERGE” section will offer about 15 booths of individual artists and galleries that specialize in emerging and mid-career artists.
A Gala Preview on Thursday October 24 from 5:30 to 8:30 p.m. kicks off the show with a catered opening event, live music, and first choice of works on view. Following the Gala Preview, the three-day weekend show offers numerous programs and speakers appealing to both new and advanced collectors.
“Oasis” by Andy Evansen is one of the paintings that will be available for sale.
The 9th Annual “Catalina: The Wild Side” Art Show and Sale in California will take place Sunday, October 20, featuring 11 nationally recognized artists. More than 90 paintings created especially for this show will be available for sale that highlight Catalina Island’s wildlands, Avalon, and Two Harbors.
The event, which is the Conservancy’s second-largest annual fundraising opportunity, celebrates the longstanding tradition of plein air painting on Catalina Island. Newly created works, many painted in the plein air style — which involves painting nature while experiencing the outdoors, working with natural light and the elements — will be on display and available for purchase.
This year’s artists whose work will be on display and available for purchase are Cindy Baron, John Cosby, Don Demers, Aimee Erickson, Andy Evansen, Paul Kratter, Kris Lael Temple, Kim Lordier, Michael Obermeyer, Colin Page, and Joe Paquet.
Artist Cindy Baron will once again join “Catalina: The Wild Side” Art Show and Sale.John Cosby’s Catalina-inspired art found a new home at the 2018 “Catalina: The Wild Side” Art Show and Sale.
“The artists participating in the annual “Catalina: The Wild Side” Art Show and Sale provide their unique visions of the Conservancy’s wild lands,” said Victoria Seaver Dean, a Conservancy Board Member and Event Chair. “The event offers an opportunity to see these nationally acclaimed artists and add to or start your own Catalina collection while supporting the Conservancy’s use of art to benefit conservation.”
In addition to helping fund the Conservancy’s programs, proceeds from the art show also support the Conservancy’s permanent collection of plein air art. The collection, which showcases the Conservancy’s conservation efforts and progress in habitat restoration on the island, is displayed in a rotating exhibit at the Trailhead — the Conservancy’s new visitor center in Avalon. This collection is the only exhibit of Catalina plein air art available for public viewing and free of charge on the Island.
The Conservancy is appreciative of the support of Capital Group as an Artist Partner and Bluewater Grill as a Palette Partner.
Pre-sale tickets for this year’s “Catalina: The Wild Side” show are available online at the Conservancy’s website, www.catalinaconservancy.org.
About the Conservancy: Formed in 1972, the Catalina Island Conservancy is one of California’s oldest land trusts. Its mission is to be a responsible steward of its lands through a balance of conservation, education, and recreation. Through its ongoing efforts, the Conservancy protects the magnificent natural and cultural heritage of Santa Catalina Island, stewarding approximately 42,000 acres of land and more than 60 miles of rugged shoreline. It provides an airport and 50 miles of biking and 165 miles of hiking opportunities within its road and trail system. The Conservancy conducts educational outreach through two nature centers, its Wrigley Memorial & Botanic Garden, and guided experiences in the island’s rugged interior. Twenty miles from the mainland, the island is a treasure trove of historical and archaeological sites. It also contains numerous rare and endangered animals and plants. The island is home to more than 60 species that are found only on Catalina.
Koo Schadler, “Profile of Lily with Pearl Buttons,” silverpoint on paper
Running through November 20, 2019, “Argentum” presents a survey of contemporary artists utilizing a long-forgotten drawing medium, at Hillsdale College’s Daughtrey Gallery (Michigan), presented by Hillsdale College and Lauren Amalia Redding, curator.
Silverpoint, or metalpoint when encompassing all metals, is an ancient drawing medium in which the artist draws with a piece of silver wire in a stylus. The medium flourished in the studios of Renaissance Europe, but “Argentum” displays contemporary American voices using this deep-rooted medium in the twenty-first century.
Darryl Babatunde Smith, “Sparagmos,” silverpoint and egg tempera on prepared paper
Following “Argentum’s” initial opening in Manhattan in the spring of 2017, it now travels to Hillsdale, which boasts one of the few undergraduate art departments in the United States that teaches and champions figurative art. The exhibition will present a survey of silverpoint drawings made by an array of representational artists. Some artists use the medium exclusively, some occasionally, and some experimentally. A strong commitment to skill and draftsmanship unite them all. The diversity of subject matter and familiarity matches the diversity of the artists’ backgrounds and voices. Hillsdale, as a college famed for its commitment to free speech, proves a philosophically fitting venue for such a roster.
Carol Broman, “Figural Flourish,” 2019, silverpoint on hand-gessoed paper, 9 3/4 x 7 in.
Twenty artists will be featured in the show: James Xavier Barbour, Dina Brodsky, Carol Broman, Noah Buchanan, Lauren Caldarola, Harvey Citron, Luis Colan, Diana Corvelle, Brad Davis, Joshua Henderson, Sam Knecht, Tom Mazzullo, Mary Anne McCarthy, Lauren Amalia Redding, Koo Schadler, Edward Schmidt, Darryl Babatunde Smith, Jesse Stern, Dan Thompson, and Cheryl Wheat.
Curator Lauren Amalia Redding is a silverpoint artist, writer, and instructor in Naples, Florida. After nearly ten years living in New York City, Redding moved to southwest Florida with her husband, the sculptor Brett F. Harvey, to open H&R Studio. Redding obtained her bachelor’s degree from Northwestern University. Like many of the artists in the exhibition, she obtained her master’s degree from the New York Academy of Art.
Lauren Amalia Redding, “Libra Portrait of Brett,” 2019, silverpoint, watercolor, silverleaf, and copperleaf on hand gessoed panel, 18 x 16 in.
“Argentum: Contemporary Silverpoint” will run from October 18 through November 20, 2019. The opening reception will be on Friday, October 18, from 5:00 to 7:00 p.m., during which the curator will be present. Hillsdale College’s Daughtrey Gallery, located in the Sage Center for the Arts, is located at 81 East College Street, Hillsdale, Michigan.
This painting was inspired by the inconstant and dramatic weather at Acadia National Park in Mt. Desert, Maine. The Coming Light was a part of the inaugural exhibition of the American Tonalist Society at the historic Salmagundi Club in NYC in May of 2019. An exhibition catalog is available at ATS.com
For more information see DonaldDemers.com. Serious inquiries regarding the painting can be sent to [email protected] or contact Demers Studio at 207.752.0786
Titian (Italian, 1488/90–1576), “Pope Paul III,” 1543, oil on canvas, Museo e Real Bosco di Capodimonte
Flesh and Blood: Italian Masterpieces from the Capodimonte Museum
Through January 26, 2020 Seattle Art Museum
The Seattle Art Museum presents “Flesh and Blood: Italian Masterpieces from the Capodimonte Museum” (October 17, 2019–January 26, 2020), featuring 40 Renaissance and Baroque works of art (39 paintings and one sculpture) drawn from the collection of one of the largest museums in Italy. From the Museo di Capodimonte in Naples, the exhibition offers a rare opportunity to see works by significant Italian, French, and Spanish artists who worked in Italy, including Artemisia Gentileschi, El Greco, Parmigianino, Raphael, Guido Reni, Jusepe de Ribera, Titian, and more.
Battista Caracciolo (Italian, 1578–1635), “The Virgin of the Souls with Saints Claire and Francis,” 1622–23, Museo e Real Bosco di Capodimonte
The Capodimonte Museum is a royal palace built in 1738 by Charles of Bourbon, King of Naples and Sicily (later King Charles III of Spain). The core of the collection is the illustrious Farnese collection of antiquities, painting, and sculpture, formed in the sixteenth and seventeenth centuries and inherited by Charles of Bourbon. Italian and Spanish masterpieces of the Baroque period, grounded in realism and produced in Naples, build on this foundation.
The Farnese collection traces a century of creativity, inspiration, and a constant search for beauty, followed by masterpieces of the Baroque era characterized by grandeur, dramatic realism, and theatricality.
Parmigianino, (Italian, 1503–40), “Antea,” 1524–27, oil on canvas, Museo e Real Bosco di Capodimonte
This exhibition marks the first time that this many works from the Capodimonte Museum will travel together at the same time. The New York Times called the museum an “under-visited treasure trove” with a “staggering collection of art,” and Conde Nast Traveler called it “the most underrated museum in Italy.”
Artemisia Gentileschi (Italian, 1593–1653 or later), “Judith and Holofernes,” 1612–13, oil on canvas, Museo e Real Bosco di Capodimonte
The paintings in “Flesh and Blood” center on the human figure, whether featured in portraits or mythological and religious scenes. They explore the intersection of physical and spiritual existence, with an emphasis on the human body as a vehicle to express love and devotion, physical labor, and tragic suffering.
Guido Reni (Italian, 1575–1642), “Atalanta and Hippomenes,” ca. 1620–1625, oil on canvas, Museo e Real Bosco di Capodimonte
“I am thrilled that we have the rare opportunity to see these incredible works in Seattle,” says Chiyo Ishikawa, SAM’s Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture. “Epic and intimate, divine and brutally realistic, these paintings speak to the complexity of human experiences in a timeless way that will resonate with our visitors.”
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