Claude Monet, “The Canoe on the Epte,” about 1890, oil on canvas, 52 1/2 x 57 1/2 in (133.5 x 146 cm). Collection Museu de Arte de São Paulo Assis Chateaubriand: Purchase, 1953. Inv. MASP.00092. Photo by Eduardo Ortega.
The Denver Art Museum (DAM) is home to the most comprehensive U.S. exhibition of Monet paintings in more than two decades as it presents “Claude Monet: The Truth of Nature.” The exhibition features about 120 paintings spanning Monet’s entire career and will focus on the celebrated French impressionist artist’s enduring relationship with nature and his response to the varied and distinct places in which he worked.
Co-organized by the DAM and the Museum Barberini in Potsdam, Germany, Denver is the sole U.S. venue for this presentation, on view through February 2, 2020. The exhibition will travel to the Museum Barberini in the spring of 2020.
Claude Monet, “Fishing Boats,” 1883, oil on canvas, 25 3/4 x 36 1/2 in (65.4 x 92.7 cm). Denver Art Museum: Frederic C. Hamilton Collection, bequeathed to the Denver Art Museum, 37.2017.
Monet traveled more extensively than any other impressionist artist in search of new motifs. His journeys to varied places, including the rugged Normandy coast, the sunny Mediterranean, London, the Netherlands, and Norway, inspired artworks that will be featured in the presentation. The exhibition uncovers Monet’s continuous dialogue with nature and its places through a thematic and chronological arrangement, from the first examples of artworks still indebted to the landscape tradition, to the revolutionary compositions and series of his late years.
Claude Monet, “Landscape in Île Saint-Martin,” 1881, oil on canvas, 28 3/4 x 23 5/8 in (73 x 59.7 cm). Private collection.
“We’re thrilled to organize and present this monumental exhibition, which provides a new perspective on such a beloved artist,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “Visitors gain a better understanding of Monet’s creative process and how he distanced himself from conventions associated with the traditional landscape genre of painting.”
Claude Monet, “Path in the Wheat Fields at Pourville,” 1882, oil on canvas, 23 x 30 1/2 in (58.4 x 77.5 cm). Denver Art Museum: Frederic C. Hamilton Collection, 2016.365.
The presentation of “Claude Monet: The Truth of Nature” explores Monet’s continuous interest in capturing the quickly changing atmospheres, the reflective qualities of water and the effects of light, aspects that increasingly led him to work on multiple canvases at once. Additionally, the exhibition examines the critical shift in Monet’s painting when he began to focus on series of the same subject, including artworks from his series of haystacks, poplars, Waterloo Bridge, and water lilies.
Claude Monet, “The Artist’s House at Argenteuil,” 1873, oil on canvas, 23 11/16 x 28 7/8 in. (60.2 x 73.3 cm). The Art Institute of Chicago: Mr. and Mrs. Martin A. Ryerson Collection, 1933.1153. Image courtesy the Art Institute of Chicago under CC0 Public Domain Designation.
Kathy Anderson, OPAM, “Zion Red Rock,” oil on canvas, 12 x 20 in.
Oil Painters of America (OPA) Hosts Its Eastern Regional Juried Exhibition at Beverly McNeil Gallery in Birmingham, Alabama, October 10 – November 11, 2019
D. Edward Kucera, OPAM, “The Observer,” oil on gessoed board, 14 x 11 in.
From the organizers:
OPA’s membership comprises over 3,600 artists from across the United States, Canada, and Mexico. Of 1,200 submissions, approximately 100 artists will be selected to be part of this exhibition. Total awards will be approximately $11,500 in cash and merchandise. Respected Master Signature artist Roger Dale Brown, OPAM, will serve as the Juror of Awards.
Roger Dale Brown, “Valley River,” oil on canvas, 24 x 20 in.
Mr. Brown’s oil paintings have been displayed in galleries and museums throughout the United States and have won many awards, including First Place in the Barnes and Farms National Juried Art Show, Museum Purchase Award and third place at the Easton Plein Air Competition, and the Gold Medal Award from the Hudson Valley Art Association. He was accepted into the Art Renewal Center as a Living Master. His works are owned by private collectors across the country and include many well-known celebrities and major corporations.
Nancy S. Crookston, OPAM, “Best Mouser in Six Counties,” oil on linen on panel, 20 x 10 in.
An opening reception and award ceremony will be held for artists, collectors, the public, and press on Thursday, October 10, from 5:30 p.m. to 8:00 p.m. at Beverly McNeil Gallery in Birmingham, AL. Awards will be announced at 7:00 p.m. Admission is free, and all paintings will be for sale.
Calvin Liang, OPAM, “Monument Valley,” oil on canvas, 24 x 36 in.
To purchase a painting from this year’s exhibition, please contact Beverly McNeil Gallery at (205) 328-1761 or [email protected]. To see the entire exhibition online, visit www.beverlymcneilgallery.com.
Robert Johnson, OPAM, “Autumn on the Rio Grande,” oil on linen, 24 x 30 in.
Explore “James Tissot: Fashion & Faith,” the first exhibition on the U.S. West Coast dedicated to the remarkable life and oeuvre of the enigmatic artist. It presents new scholarship on the painter’s technique and practice, lending rich insight into the vibrant cultures of 19th-century Paris and London, including the artist’s interest in Spiritualism and biblical illustrations.
James Tissot, “October”
Greeting visitors, the life-size painting “October,” on loan from the Montreal Museum of Fine Arts, presents Kathleen Newton, a young divorcée who became the artist’s companion, frequent model, and greatest love. In one of Tissot’s largest and most finely detailed paintings, Newton is caught in motion with a swish of frothy pleats and petticoats, inviting us to follow her into the picture.
After the tragic early death of Kathleen Newton, the artist returned to Paris, embarking on an ambitious series of large-scale “pictures of Parisian life,” each depicting an archetype of the modern Parisian woman. The composition of “Painters and their Wives” (shown at top), from the Chrysler Museum of Art’s collection, includes the wives of artists gathered to celebrate the annual varnishing day before the opening of the Salon exhibition, where artists might make or break their careers.
James Tissot, “The Portrait of Mlle L. L.”
A highlight of the gallery focusing on Tissot’s success as a portrait painter is “The Portrait of Mlle L. L.” On loan from the Musée d’Orsay, the life-size painting, which gained Tissot recognition at the Paris Salon, features a sophisticated young woman in an elegant interior. Important clues around Tissot’s interest during his first Paris period emerge, such as his ability to meticulously render fashion trends of the day, as well as his layering of complex compositional elements, seen in the woman’s inscrutable expression. Moreover, the cropping of objects in the room (such as the mirror, chair, and curtains) suggests a response to the new medium of photography.
James Tissot, “The Ball on Shipboard”
Tissot’s iconic works turn a perceptive, often humorous eye on the social mores around him, his fascination with modern life apparent in works such as “The Ball on Shipboard.” Although he spent a decade of his life in London, Tissot never gave up his French citizenship. Many of his London-period paintings suggest that he is keenly aware of his role as a cultural outsider capturing important social events.
This fall Haynes Galleries is shining a light on possibilities in contemporary realism. In a special collaboration with The Art Renewal Center, Haynes Galleries presents “The Magic of Realism,” a group exhibition of paintings by a select group of contemporary artists through November 30, 2019, just outside Nashville, Tennessee.
The original paintings in “The Magic of Realism” were selected from The Art Renewal Center’s 2019 Salon Competition. They were chosen by Haynes Galleries founder and exhibition curator Gary R. Haynes because they had that extra something. “I was looking for works with imagination, with a different twist, and a strong narrative,” Haynes said. “I was looking for that combination of intangibles that pushed them above and beyond. The combination of all of this creates magic.”
Lucas Bononi, “Aptekareva,” acrylic on panel, 48 x 24 in.
Haynes found that combination in a select but wide-ranging group of paintings, from naturalistic studies of the human form to poetic versions of historical events, to invented and impossible scenes. These works celebrate that contemporary realism is a movement that is alive and well, and growing strong.
Portraits and figural paintings are represented by several diverse artists. Sookyi Lee’s tender and intimate “White Gown” is as much a monochromatic vision of a young woman as an exercise in gestural brushstrokes. Sensuality is at the forefront in Anastasia Firenze’s paintings, many featuring women draped in thin fabric and in repose. And Lucas Bononi’s “Aptekareva” puts a colorful, floral, and in-your-face take on contemporary portraiture.
Fragmented and unfinished could be used to describe Ron Hicks’s figural paintings, but these purposeful explorations of shape, value, edges, and texture in paintings like “Thirsty” are unique visual avenues.
Bryony Bensly uses magical realism in her figurative paintings to reference myths and legends, and to give a voice to those who cannot speak. “Seraphim” features a young boy, delicate golden halo encircling his head, holding the seas and earth, protecting them within his arms.
Jonathan Hodge, “Katrina,” oil on panel, 48 x 72 in.
For painter Mark Heine, a particular figure from mythology, the siren, has inspired a whole series and evolving narrative centered around this dangerous and mysterious woman. “Envoy” is one carefully chosen moment from the larger story—a moment of light and shadow, action and tension.
Jonathan Hodge invoked one of the nation’s most memorable natural disasters, Hurricane Katrina, to contemplate a range of human emotions and conditions — tragedy, hope, survival, and danger — in a scene of people making their way through flood waters.
Bryony Bensly, “Seraphim,” oil on canvas, 35.43 x 23.62 in.
The limits of the natural world fade away in Mark Larson’s high concept paintings of animals interacting, like “In the Tropics.” It’s an exotic take on Renaissance ceiling frescos, where arctic animals like a polar bear and seals encounter jungle counterparts including a jaguar and parrots, all set amongst trompe l’oeil architectural elements.
Mark Larson, “In the Tropics,” oil on canvas, 48 x 96 in.
Lucia Heffernan has also used animal life for her vision that draws on art history and economics. Her American Gothic–inspired “Wall Street Gothic” replaces the farmer and his daughter with a bear and bull standing in front of the New York Stock Exchange instead of the family home.
Lucia Heffernan, “Wall Street Gothic,” oil on panel, 30 x 24 in.
Realism today can be any number of styles and scenes. It can speak of true events, the world around us, or things most could never imagine. The shackles of the moniker “realism” have long since been broken. “The Magic of Realism” is a collection with artists using realism to express a variety of ideas by unexpected and exceptional means. Their paintings are telling stories, igniting conversations, and expressing beauty in new, compelling ways.
Édouard Manet (French, 1832–1883), “Boating,” 1874, oil on canvas, Unframed: 97.2 × 130.2 cm (38 1/4 × 51 1/4 in.), Framed: 121.9 × 154.3 × 12.7 cm (48 × 60 3/4 × 5 in.)
EX.2019.3.78. Lent by the Metropolitan Museum of Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.115) www.metmuseum.org, CC0
Édouard Manet (1832–1883) is best known today for provocative large-scale paintings that challenged the old masters and academic tradition and sent shockwaves through the French art world in the early 1860s. In the late 1870s and early 1880s, he shifted his focus and produced a different, though no less radical, body of work: stylish portraits, luscious still lifes, delicate pastels, intimate watercolors, and freely brushed scenes of suburban gardens and Parisian cafes.
Édouard Manet, “The Cafe-Concert,” about 1879, oil on canvas, Unframed: 47.3 × 39.1 cm (18 5/8 × 15 3/8 in.), Framed: 65.7 × 58.1 × 9.5 cm (25 7/8 × 22 7/8 × 3 3/4 in.) EX.2019.3.53. The Walters Art Museum, Baltimore, Maryland, 37.893
On view at the J. Paul Getty Museum through January 12, 2020, “Manet and Modern Beauty” explores for the first time in a major museum exhibition the artist’s last years, after his rise to notoriety in the 1860s and the formal launch of the Impressionist movement in the early 1870s. The exhibition will feature more than 90 works of art, including an impressive array of genre scenes, still lifes, pastels, and portraits of favorite actresses and models, bourgeois women of his acquaintance, his wife, and his male friends.
Édouard Manet, “Four Mandarin Oranges,” 1882, oil on canvas, Unframed: 18.4 × 24.1 cm (7 1/4 × 9 1/2 in.) Framed: 38.8 × 46.4 cm (15 1/4 × 18 1/4 in.) EX.2019.3.61. Robert B. Mayer Family Collection
“Manet is a titan of modern art, but most art historical narratives about his achievement focus on his early and mid-career work,” says Timothy Potts, director of the J. Paul Getty Museum. “Many of his later paintings are of extraordinary beauty, executed at the height of his artistic prowess—despite the fact that he was already afflicted with the illness that would lead to his early death. These works sparkle with an insistent — perhaps even defiant — sense of life. Presenting many iconic paintings, including our recently acquired “Jeanne (Spring),” alongside pastels and intimate watercolors, “Manet and Modern Beauty” takes a fresh look at this justly renowned and ever-popular artist.”
Édouard Manet, “Jeanne (Spring),” 1881, oil on canvas, Unframed: 74 × 51.5 cm (29 1/8 × 20 1/4 in.), Framed: 98.7 × 75.9 × 9.2 cm (38 7/8 × 29 7/8 × 3 5/8 in.) 2014.62, The J. Paul Getty Museum, Los Angeles
Manet died at the age of 51 in 1883, after a long and painful illness. Declining health forced him to adjust his working habits: During the last six or seven years of his life, his output was generally more intimate in both scale and subject, focusing on fashionable scenes of Parisian life and the stylish women, and sometimes men, of his acquaintance. Too often dismissed as superficial by critics, these later works provide valuable testimony to Manet’s elegant social circle and suggest a radical new alignment of modern art with fashionable femininity while recording the artist’s unapologetic embrace of beauty and visual pleasure in the face of death.
Édouard Manet, “The House at Rueil,” 1882, oil on canvas, Unframed: 92.8 × 73.5 cm (36 9/16 × 28 15/16 in.), Framed: 120 × 112 × 10 cm (47 1/4 × 44 1/8 × 3 15/16 in.) EX.2019.3.1. National Gallery of Victoria, Melbourne, Felton Bequest, 1926 Photo: Garry Sommerfeld
“Manet and Modern Beauty” is divided into five sections—“La Vie Moderne,” “Portraits of an Era,” “The Four Seasons Project,” “Manet at Bellevue,” and “Flowers, Fruits, and Gardens.”
“Manet and Modern Beauty” is on view at The Getty through January 12, 2020. For more information, please visit getty.edu.
Artists - and friends - Richard Stephens Gary Simmons
Gary Simmons and Richard Stephens, both of them recipients of national recognition and who are so closely associated artistically and personally that they both will answer to the name “Richard Simmons,” will display their artworks in the Hot Springs Convention Center.
The exhibit is “Pen and Paint: The Art of Gary Simmons and Richard Stephens.”
“Gary and Richard wonderfully represent the highly regarded Hot Springs arts community as artists who are known nationwide for the quality and imagination of their work,” said Mary Zunick, cultural affairs manager for Visit Hot Springs.“Their work will remain on display until January 3, and the exhibit is free and open to the public during business hours at the Convention Center.”
“Our Convention Center already has a widely known reputation for its permanent display of dozens of artworks that are enjoyed by our residents as well as those who attend meetings and events in the Center and Bank OZK Arena,” Zunick said.
A Hippie and a Straight Arrow Find Common Playing Field in Art
Simmons and Stephens met in 1974. Forty-five years of creativity and friendship have linked the names of Stephens and Simmons into one entity for much of Hot Springs. In 1974 they began joint venturing art jobs as illustrator and designer, until 1983 when they incorporated as Stephens and Simmons Design Studio. In 1989 they returned to their individual careers but maintained a deep respect for their friendship.
Richard continued his design business, and Gary began teaching pen workshops nationally for the pen manufacturer Rapidograph Koh-I-Noor until 1991, when he joined the Henderson State University art faculty, retiring as professor emeritus in 2013. Since the early 1990s Richard has become increasingly involved in watercolor, to the point that he now teaches workshops full-time all over the country.
Their professional journeys reflect their association, but their friendship speaks to their characters. From the beginning they found some ember in common that sparked a blazing passion for the art that has come to define their relationship. That passion was a confluence of very different backgrounds. Richard’s education in art and his professional experience in commercial art were essential ingredients to Gary’s growth into the art world. Gary’s university research and writing experience, coupled with his drawing skills helped broaden Richard’s world and his commercial work. They worked together in graphic design for 15 years, doing everything from logo design to major promotional campaigns such as the current Garland County Library’s new building, to local and regional business promotions, and local government and National Park issues.
The art in this show represents who Richard and Gary have become as individual artists outside of their commercial and academic pasts. It’s important to recognize how mutually influential they have been in their personal developments. As early as 1976 they and Thad Flenniken were instrumental in starting a life-drawing cooperative that exists to this day, still meeting weekly, and still providing a shared experience in creating art. The sharing between Richard and Gary extends to mutual critiques and instruction, team-teaching, judging shows, working on community projects, consulting, public speaking, and working with young artists. Recently they ambled the streets of Paris together, soaking up the art and adding a new dimension to their friendship.
Richard Stephens, “Eureka Springs Chef”Gary Simmons, “Changing of the Guard”
Each artist brings a dimension to his art that, on the surface, wouldn’t suggest compatibility for these two artists. Richard’s watercolors are noted for their loose and passionate brushwork. Gary’s pen work is noted for something close to the opposite, with its delicate and deliberate line work. Richard’s work suggests spontaneous observation and dramatic response from the audience. Gary’s approach is inevitably narrative, suggesting some story line or personal statement, relying on the audience’s curiosity and interest in the mystery. Richard’s work is largely confined to watercolor, even though his drawing skills are considerable. Gary’s forte is the pen, but he roams through various media like a goat looking for better grass. With Richard’s influence, Gary has become a competent watercolorist. With Gary’s influence, Richard’s drawing skills have expanded.
Perhaps nothing speaks so honestly about these two than their love of napkin art. They are known as far away as Paris for their quick sketches in restaurants, music venues, and social gatherings. Often these sketches come down to satirizing one another or competing for a waitress’s likeness. It’s always fun, which is perhaps the central ingredient to their longevity as artists and as friends.
A native of Hot Springs, Richard Stephens earned a bachelor’s degree in art from the University of Central Arkansas in 1969. After serving in the army as an illustrator, Stephens began his professional career in 1971 with a design firm in Little Rock. Three years later he opened his own graphic design studio in his hometown, providing design and production services for a wide range of commercial accounts.
Having been introduced to the medium in college, Stephens rediscovered transparent watercolor in the early ’90s. He quickly garnered a reputation nationwide for his confident, loose, impressionistic paintings. His works have won awards in numerous national competitions, and he has earned signature member status in several major watercolor societies.
For the past 20 years Stephens has shared his passion for the medium by conducting painting workshops around the country. The son of schoolteachers, Stephens’s comfortable personality and easy style are well adapted to the classroom.
Stephens said, “It is the quest for the excitement, that rush, understood only by other artists that have been blessed (or cursed) with the experience, that gives me reason to continue in the elusive process of making art. ‘Making Art’ certainly means producing my own work. But it also means sharing with my students my knowledge, experience, and passion for watercolor. I love to teach. I have discovered that through teaching, more than any other endeavor, I continue to learn.”
Simmons is a nationally recognized pen-and-ink artist. He and his family live in Hot Springs, where he has Gary Simmons Studio. His work is known for its technical refinement and for its eclectic subject matter. While a student worker in the zoology department at Southern Illinois University in Carbondale, Illinois, he began pen-and-ink drawing as a science illustrator. After acquiring a B.A. and M.A. in English and American literature at SIU, he eventually acquired a doctorate in Instructional Systems Technology at Indiana University in Bloomington, Indiana.
He worked for Indiana University’s Institute for Research in Public Safety from 1971 to 1973 at which time he was hired by the University of Arkansas. His freelance artist career went from 1976 until 1991, when he began teaching in the art department of Henderson State University, where he retired as professor emeritus in 2013.
Simmons gained a reputation as a portrait artist, having drawn portraits of notables such as Racing’s Hall-of-Fame trainer Jack Van Berg, President Bill Clinton, Clinton’s mother, Virginia Clinton Kelly, Frank Broyles, philanthropist Jane Ross, and producers/writers Harry Thomason and Linda Bloodworth. At varying times in his career his art has focused on a variety of subject matter, including an extensive body of equine art, western art, the Greek myth of Leda and the Swan, and a suite of materials featuring gorillas as the centerpieces. He has a particular affinity for crows and birds of prey, often combining them with mythical subjects such as Leda and the Swan and Native American subjects.
In the Leda series, Simmons combines the anatomical reality of feathers and beautiful women, producing an elegant sensuality as well as a statement about the complexities of combining love and a pursuit of power. The crow in his work often suggests some second sense, a conscience, or an omen of things to come. These themes are executed in a variety of media, most notably in pen and ink, but also watercolor, oil, pastel, and charcoal.
In 1992 he wrote The Technical Pen: Techniques for Artists, published by New York’s Watson-Guptill Publishers. This effort grew out of a two-year stint of teaching national pen-and-ink seminars for Rapidograph, the manufacturer of the pens Simmons uses. Recently the book was reissued by Echo Point Books out of Vermont. It has been critically acclaimed as the bible of pen and ink.
He helped found a figure-drawing co-op in 1976 that is still active; the figure continues to be one of his primary subject matters. In the last few years he has turned to painting, but drawing and the pen are still at the heart of his artistic activity.
Dream With Me
4 x 4 in.
Acrylic on panel
Available through the artist
Chantel Lynn Barber’s Dream With Me is a small painting with a powerful impact. It received a Finalist award in BoldBrush’s August 2019 painting competition. This painting is currently available through the artist.
Chantel has owned her own art business near Memphis, Tennessee, since 2006. She benefited from workshops and demonstrations with outstanding artists including Dawn Whitelaw, Rose Frantzen, and Marc Hanson. Chantel is a Signature Member of the International Society of Acrylic Painters, and a member of the National Oil & Acrylic Painters’ Society and the Chestnut Group. She is currently the National Coordinator of the State Ambassador program for the Portrait Society of America.
Chantel has been featured in solo art shows and juried exhibitions. Her award winning paintings are in private and public collections throughout the United States and overseas. Her work is published in Acrylic Artist magazine, American Art Collector, Southwest Art, The Artist’s Magazine, Fine Art Connoisseur, International Artist Magazine and several books.
Chantel resides in Bartlett, Tennessee, where she teaches online and in workshops throughout the United States and Canada. Her work is available through Richland Fine Art in Nashville, TN, and The Boyd Gallery in Newnan, GA. To see more of Chantel’s work, sign up for her newsletter at chantellynnbarber.com.
“The Credit Suisse Exhibition: Gauguin Portraits,” a landmark exhibition of major loans from museums and private collections throughout the world, will show how Gauguin used portraits primarily to express himself and his ideas about art.
More from the National Gallery:
Although he was fully aware of the Western portrait tradition, Gauguin was rarely interested in exploring his sitters’ social standing, personality, or family background, which had been among the main reasons for making portraits in the past.
From sculptures in ceramics and wood to paintings and drawings, an extraordinary range of media for a National Gallery exhibition, visitors will see how Gauguin interpreted a specific sitter or model over time, and often in different guises. A group of self-portraits in the exhibition will show, for example, how Gauguin created a range of personifications including his self-image as Jesus Christ. Together with his use of intense color and his interest in non-Western subject matter, his approach had a far-reaching influence on artists throughout the late 19th and 20th centuries, including Henri Matisse and Pablo Picasso.
“The Credit Suisse Exhibition: Gauguin Portraits” will show how the artist — inspired by his time spent in Brittany and French Polynesia from the mid-1880s to the end of his life in 1903 — became fascinated by societies that to him seemed close to nature. With their folktale heritage and spirituality, these communities appeared to him to be far removed from the industrialization of Paris.
Gauguin’s inspiration to visit French Polynesia was partly drawn from the exotic novels of Pierre Loti (whose naval training included a stay in Tahiti), his photographs of Borobudur sculptures, and Pacific exhibits he had seen at Paris’s Exposition Universelle in 1889. At the same time his own upbringing in Peru allowed him to think of himself as someone who stood outside the European tradition, a “savage,” while the European artistic and literary circles in which he moved also helped shape his views towards Tahiti and the Marquesas.
Gauguin’s life and art have increasingly come under scrutiny, especially the period he spent in South Polynesia. The Gallery aims to explore this controversial subject matter in the exhibition interpretation and accompanying program and to join conversations now taking place that consider Gauguin’s relationships and the impact of colonialism through the prisms of contemporary debate.
Featuring over 50 works, the exhibition includes paintings, sculptures, prints, and drawings, many of which have rarely been seen together. These include works from the Musée d’Orsay, Paris, France; the National Gallery of Art, Washington, DC, USA; the Art Institute of Chicago, USA; the National Gallery of Canada; the National Museum of Western Art, Tokyo, Japan; and the Royal Museums of Fine Arts of Belgium.
“The Credit Suisse Exhibition: Gauguin Portraits” is on view October 7, 2019, through January 26, 2020, at the National Gallery, London.
Wells Fargo Two Dimensional Award: Whitney Hall,"White Feather,” oil, 36" x 36"
More than $1,023,000 worth of art was sold when the gavel dropped on the last art piece during the 38th annual Buffalo Bill Art Show and Sale.
More from the organizers:
The Buffalo Bill Art Show & Sale benefits the Cody Country Chamber of Commerce and the prestigious Buffalo Bill Center of the West and is held in conjunction with the Center’s Patrons Ball and the By Western Hands exhibit. The Buffalo Bill Art Show & Sale, The Patrons’ Ball and the exhibition at By Western Hands and the many events of the week comprise Cody’s annual “Rendezvous Royale.”
T. Allen Lawson, Spirit of the Buffalo Bill Art Show & Sale Award for his painting “Seeking Shelter,” 10″ x 24″ Oil.
The show, produced by the Cody Country Chamber of Commerce in partnership with the Buffalo Bill Center of the West, generated more than $1 million in total art sales. The gross revenue from the events, to include sponsorships, art and ticket sales, is estimated at $1.4 million. There were over 900 people in attendance between the live auction and dinner, Friday, Sept. 20 and the Quick Draw, Saturday Sept. 21. This year, nearly 80 of the 106 artists were in attendance accompanied by their supportive family and friends.
Mark Edward Adams, Barron Collier II Three Dimensional award for his bronze “Big Bear Walking”, 21.75″ x 21″ x 7.5″ Bronze
The Live Auction’s highest selling piece went to Ron Kingswood. Kingswood’s piece “Feast Day” sold for $27,500.
The Spirit of the Buffalo Bill Art Show & Sale Winner, Whitney Halls’s piece “White Feather” netted the second largest sum at $22,500.
Fine Art Connoisseur Magazine announced their award for Best in Show, which was awarded to Adam Smith’s “Valley Thunder.”
Adam Smith, “Valley Thunder,” acrylic, 30″ x 20″
The ever-popular Quick Draw event drew in hundreds of all ages to observe 35 artists complete a work of art in 1.5 hours. The Quick Draw’s People’s Choice Award was awarded to David Fredrick Riley’s piece, which sold at $15,000.
David Riley’s portrait painting
PleinAir Magazine’s Best in Quick Draw award was presented to two artists this year, Michele Usibelli and Krystii Melaine.
Painting by Krystii MelainePainting by Michelle Usibelli
The Buffalo Bill Art Show & Sale is a fine art sale with a contemporary Western theme, offering works relating to the land, people and wildlife of the American West. Artists offer a broad range of stylistic interpretations of the West, in oil painting, watercolor, pastel, sculpture, ceramic and mixed media. All works are original art. Dates for the 2020 Buffalo Bill Art Show and Sale are Sept. 14-19, 2020.
Cynthia Rosen paints with a contemporary vision that bridges the representational world with the elements of art often associated with the Impressionists, Expressionists, Futurists and Color Field painters. Her work has been recognized for helping to broaden the Plein Air community as she melds her love of nature with painting images that stretch beyond the traditional, finding her unique visual voice with a palette knife.
Rosen states “Our personal visual voices are our means of connecting and interpreting our ever-changing world. I pursue mine through improvisation while creating order. As soon as I embark on a path, I find new roadways opening up. While the size of my works vary, I have found my fascination with color and the movement a constant and in keeping with our fast moving world. The love of painting in the field to limitless color and ever changing light is engaging and challenges both perceptions and expression while the studio allows for even greater personal expression and exploration of scale.”
Streamline Art Video recently released her video Cynthia Rosen Expressive Landscape Painting – Palette Knife In Plein Air Painting. She was and is an invited instructor at the famed Plein Air Convention. She has been featured in Plein Air Magazine, Southwest Art Magazine, American Art Collector, Outdoor Painter, The Artist’s Road, with art featured in Fine Art Connoisseur. While she limits the number of events she attends she has been an invited artist to the prestigious Olmsted Invitational and Borrego Plein Air Invitational, receiving awards at both, and as of late participated in the selective Mountain Oyster Club Art Show as well as several other events, often garnering awards. Cynthia also gives several workshops each year.
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