“On View in Cornish: American Art at the Picture Gallery, 1948–2019” includes paintings, drawings, prints, and sculpture from the collection of the park and from private lenders.
On View in Cornish: American Art at the Picture Gallery, 1948–2019
September 14–October 31, 2019
The Trustees of the Saint-Gaudens Memorial are pleased to announce a retrospective of the past sixty-one years of exhibitions at the picture gallery of the Saint-Gaudens National Historical Park. This year is the centennial of the incorporation of the Saint-Gaudens Memorial by the state of New Hampshire, and the memorial and park have organized this exhibition in honor of that occasion.
The picture gallery was adapted from a utilitarian building that Augustus Saint-Gaudens originally designed as a chicken shed. In the 1940s, the trustees of the memorial were forced to rebuild some of the structures on the site following a 1944 fire. They built an atrium and gallery to house the works of Saint-Gaudens. They also decided to honor the commitment of both Augusta and Augustus Saint-Gaudens to contemporary American art through an exhibition space for the display of works by other artists. Since that time, the picture gallery has typically housed three exhibitions each summer, organized through collaboration between the park and the memorial.
This retrospective surveys the exhibitions that have taken place in the memorial’s picture gallery since 1948, showing works by a range of artists from Maxfield Parrish, Marguerite Zorach, Paul Sample, and Paul Manship to Varujan Boghosian, Ben Frank Moss, Hugh Townley, and Shona Macdonald. The history of the memorial’s exhibitions provides an important overview of American twentieth-century and early twenty-first-century art. It traces the evolution of modernism, the development of abstraction, and the enduring attraction of northern New England for artists. “On View in Cornish” includes paintings, drawings, prints, and sculpture from the collection of the park and from private lenders—in some cases, the very works shown in past picture gallery exhibitions. This fall’s exhibition documents the history of the institution and the breadth of artistic practice represented at the site.
“On View in Cornish” will be presented from September 14 to October 31, 2019, with an accompanying publication by the exhibition’s curator, Melissa Geisler Trafton.
There will be an exhibition reception on Saturday, September 28, 4:30–6:00 p.m., with a curator’s talk at 4:30 p.m. Admission is free all day on September 28 in conjunction with the Park’s annual Sculptural Visions event. The picture gallery is located at the Saint-Gaudens National Historical Park, 139 Saint-Gaudens Road, Cornish, New Hampshire.
Timur poses with his mural of old and modern Greek Orthodox saints. Photo by Dave Bezaire
Three years ago, Susi Havens-Bezaire was painting in Grand Teton National Park when Timur Karim set up an easel nearby. Over the next few hours they chatted, and by the end of the day Timur invited Susi to paint with him in Poland. She was finally able to do so this summer, and became very impressed with the versatility of Timur’s art.
After growing up in Tajikistan, Timur completed a fine arts degree at the Russian Academy of Arts in Saint Petersburg. In addition to his portrait, studio, and plein air expertise, Timur is a master church muralist, earning much of his living doing restorations and new work throughout Poland, where he has lived for the past 23 years. Timur’s work is presented at Gallery 89 in Steamboat Springs, four galleries in Poland, and two more in Slovakia.
Susi and Timur discussing his painting of Christ of Ruthenia, or Eastern Slavs. Photo by Dave Bezaire
Polish Artist Timur Karim: Painting church murals to support a passion for painting portraits
by Susi Havens-Bezaire
Susi Havens-Bezaire: It’s quite an honor to be selected to paint the magnificent Sanctuary of Divine Mercy in Lagiewniki, Krakow, which was commissioned by Pope John Paul II and is visited by people from all over the world. How did you get invited to do the project? Can you tell us how you developed the design for the murals? Timur Karim: I was surprised when I was asked to do the project. Until that time I had two mural installations in less important places. I was asked to make four drafts, each with a different theme. My friend Jarosław Giemza, a leading specialist in sacred topics and an art critic, agreed to be my consultant. It was not easy. I spent a lot of time in the library and consulting with my adviser. I wanted to create original work, but it is very important to observe canon law when creating sacred art. I was not strong in these topics because I was born in the atheistic country of the USSR and in addition, I am Muslim. The walls in the chapel were not uniform or symmetrical. It took two months to submit my design proposals. Imagine my surprise when I got the call saying I got the job!
Timur’s murals and wall decoration blend well with the reconditioned murals on the ceiling. Photo by Dave Bezaire
SHB: How long did it take to complete the work in the Byzantine chapel? TK: The work took about one and a half years and was very interesting. I met so many people — groups of pilgrims came from Latin America, North America, Europe, and Great Britain while I worked. An artist doing such a big job will, at some point, find he no longer sees mistakes he is making. This is a signal that one needs to rest for a few days. Painting a mural is not like a canvas painting that can be put in a corner and returned to later — in public places it is not always possible to take needed breaks. I was lucky that I was allowed to take breaks while working on this chapel. I would leave Krakow for plein air painting, sometimes in other countries. I also visited churches and museums to view the religious murals and paintings of old masters.
Restored old ceiling murals blended with Timur’s creative framing. Photo by Dave Bezaire
SHB: In the last 20 years, you have also totally renovated the Greek Orthodox Catholic Church of Saints Peter and Paul in southern Poland. That is a huge undertaking! How did you begin the project? (Note: Click here to see a 360 view of Timur’s Renovation.) TK: The Church of Peter and Paul, in Krynica, is my very first such work in Poland. As a student, I worked part-time at restoration companies. After graduating from the Academy of Arts, I moved to Poland. Father Jan Pipka asked me to come to his church and see what could be done about the old murals. I was scared. Firstly, it’s a very large church; secondly, was the very poor state of the walls and murals. I wanted to refuse, but the priest, who had kind eyes and a positive energy, said, “If you do this, it will be your business card in the future. I believe in you.” I thought about it and agreed.
Such work is not cheap, and no one will give you such a job just because you are a good and cheerful guy. I am very grateful to Father Jan for believing in me, and I was eager for the experience. The work was hard, especially because I was inexperienced in doing such a big restoration. Since there is no heating in the church, I could only work in the summer when the walls are warm enough for the paint to stick and dry.
SHB: What were the steps needed to complete the work? TK: All the plaster had to be torn off the walls. Previously, the church had a wonderful mural in the choir loft, but in the 1970s, while still under the influence of the USSR, a “master” erased the entire artwork and created a new one that was not successful. At that time, no one in the state monitored the quality of work, what kind of paint materials artists used, etc. Walls were torn down to the brick, new plaster applied, new colors and décor painted. Along the ceiling, other old murals had survived but needed restoring. Once that was done, I began the second stage — creating my own murals flowing from the older ones on the ceiling.
SHB: As we stood together in the church, you shared the details of the saints you had painted. How did you, a Muslim, gain such deep knowledge of the Catholic faith? TK: Of course, I was always consulting with my friend Jarosław Giemza. For example, I felt that on one wall I needed a multi-figure composition; on the other, several separate figures; on the third wall a figure waist high. Jarosław advised me what scenes go with which figures; then I created my compositions and painted them on the walls. I think it was also important that I have a good reputation as a person.
SHB: Have you done other mural work? TK: I still work in the Krynica church in southern Poland, but not so often and not so long — maybe two weeks in a year. The church is large; there are a lot of empty walls, so there is still enough work for several years. Sometimes I receive orders from private people or companies, mainly restaurants, hotels, or private houses, but the most interesting projects are in churches.
SHB: Did you have any people who assisted you in painting the church? TK: At the first stage, when there was a lot of difficult construction work, I hired about eight to ten people, who were not artists but builders. During the second stage, I worked alone.
Timur Karim, “Water Seller”
SHB: How do the extensive mural projects impact your other art? TK: The mural work allows me to do what I love, which is painting from life. I am a free artist who paints landscapes, still lifes, and portraits. I do exhibitions and attend plein air events and symposiums. I travel around the world, and each creative trip enriches me. I especially like to paint portraits in exotic countries such as Morocco, Tunisia, Mongolia, and Jordan because I am inspired by the faces of the people living there. When I draw portraits, I get a glimpse of their world.
Olaf Wieghorst (1899–1988), “The Last March,” oil on canvas, 20 x 26 in. Estimate: $50,000–$75,000
Jackson, Wyoming – September 13–14, 2019
Trailside Galleries and the Gerald Peters Gallery are pleased to announce the Thirteenth Annual Jackson Hole Art Auction, scheduled for September 13–14, 2019 in Jackson Hole, Wyoming. Both sessions will be held at the award-winning Center for the Arts in downtown Jackson Hole, with approximately 500 lots on offer across the two days. Jason Brooks will serve as auctioneer.
Carl Rungius (1869–1959), “Yukon King Caribou,” oil on canvas, 24 1/2 x 32 1/4 in. Estimate: $150,000–$250,000
From the organizers:
Known for its wildlife offerings, the sale this year includes an impressive number of important works from top wildlife artists. Among the highlights are two important oils by wildlife master Carl Rungius. Chief among them is “Alaskan Wilderness” (oil/canvas, 40 ¼ x 50 ¼), which will be offered at $400,000–$600,000. Also on offer is Rungius’s “Yukon King Caribou” (oil/canvas, 24 ½ x 23 ¼), estimated at $150,000–$250,000. Robert Bateman, one of the top living wildlife artists, is well represented in the sale with “Elk and Aspen” (acrylic/canvas, 48 x 60), offered at $80,000–$120,000 and “Bull Moose” (acrylic/canvas, 36 x 48), estimated at $50,000–$75,000. Rounding out this impressive group are Bob Kuhn’s “Cat on the Qui Vive” (acrylic/masonite, 20 x 36), estimated at $150,000–$250,000 and “The Look Before the Leap” at $100,000–$200,000 (acrylic/masonite, 20 x 35 ½), both from 1996 and fresh to the auction market. The sale also features important wildlife offerings from John Clymer, Tucker Smith, Ken Carlson, James Reynolds, and Bonnie Marris.
Mark Maggiori (1977–Present), “Cowboys at Work,” oil on linen, 36 x 36 in. Estimate: $30,000–$50,000
Western highlights to date include Thomas Hart Benton’s “Cowboys at Corral,” a 20 1/8 x 29 1/4 graphite, watercolor, and gouache on paper from 1931 estimated at $400,000–$600,000. Fresh to the auction market, this piece is a rare example of Benton’s Western work. Iconic genre painter Clark Hulings is represented with his 1976 painting “Puerto Vallarta” (oil/canvas, 24 x 48) estimated at $125,000–$175,000. The Jackson Hole Art Auction maintains the world auction record for Clark Hulings. With a strong showing of traditional Western pieces, Charlie Dye’s “Remuda” (oil/board, 30 x 40 ¼) will be offered at $70,000–$100,000, and Olaf Wieghorst’s “The Last March” (oil/canvas, 20 x 26) will be estimated at $50,000–$75,000. Other important Western highlights include works by Gerald Ira Diamond Cassidy, Charles M. Russell, G. Harvey, Kenneth Riley, and Melvin Warren.
Martin Grelle (1954–Present), “Cheyenne Remnants,” oil on canvas, 44 x 60 in. Estimate: $250,000–$350,000
The sale also includes important contemporary Western works, with Martin Grelle’s “Cheyenne Remnants” (oil/canvas, 44 x 60) offered at $250,000–$350,000. Logan Maxwell Hagege’s “The Rising Clouds,” a 60 x 60 oil on canvas, is estimated at $80,000–$120,000. Other contemporary offerings include Mark Maggiori’s “Cowboys at Work” (oil/board, 36 x 36) and James Bama’s “Trout Creek Ranch” (oil/board, 20 x 20), both offered at $30,000–$50,000.
Bob Kuhn (1920–2007), “The Look Before the Leap,” 1996, acrylic on masonite, 20 x 35 1/2 in. Estimate: $100,000–$200,000Logan Maxwell Hagege (1980–Present), “The Rising Clouds,” oil on linen, 60 x 60 in. Estimate: $80,000–$120,000James Bama (1926–Present), “Trout Creek Ranch,” oil on board, 20 x 20 in. Estimate: $30,000–$50,000
Cover art: David Kassan (b. 1977), “Raya Kovensky: Survivor of the Shoah” (detail), 2018, oil on panel, 40 x 27 1/2 in. (overall), available from Gallery Henoch, New York City.
Fine Art Connoisseur September/October 2019, Editor’s Note:
In With the New — But On Our Terms
In August I visited Cooper Hewitt, the National Design Museum operated by the Smithsonian Institution in New York City. For four months in 1991, I volunteered there as an intern, and although I have returned regularly ever since, I was delighted to find it hopping with visitors on a sultry Tuesday afternoon.
On view was the latest edition of the Cooper Hewitt Design Triennial, held — as its name suggests — every three years in order to show us what’s happening in every corner of the design world. On view until January 20, the current edition was co-organized with Cube, a design museum in the Netherlands, and its overall theme is nature.
Nature is, of course, the greatest designer ever: our own bodies are nothing short of miraculous, and trees are pretty amazing, too. I could go on, but the Cooper Hewitt show moves beyond the obvious to highlight recent projects developed by 62 international teams, ranging from experimental prototypes to consumer products, immersive installations, and architectural constructions. Just for example, France’s famous Michelin tire company has invented a prototype that will make the use of rubber unnecessary. With an internal structure copied from undersea corals, this is a strong, flexible, airless tire that is 3D-printed from biologically sourced, biodegradable materials. Brilliant! I want four of them, please. Why, I wondered, are we still buying rubber tires that hurt the environment and get punctured by sharp things on the road?
Speaking of 3D printing, what a resource it is proving to be, with applications ranging from wonderful to terrifying: sturdy 3D prosthetic limbs are now custom-fitted for our wounded veterans, but terrorists are out there building 3D bombs, too. This magazine celebrates artists who create beautiful things by hand, and surely some of them are concerned that 3D technology will replicate their efforts in half the time and thus at half the cost. As art consumers, we all need to keep an eye on this, and especially to ask sellers (be they artists or galleries) exactly how our prospective purchase was made — by hand or by machine?
I was horrified last October when Christie’s sold — for $432,500 — a hideous blurry “portrait” of a male figure created by an algorithm defined by an algebraic formula. It’s a free world, so the one who paid that price can buy whatever he or she wants, but we must ensure that picture is always described as the creation of artificial intelligence, not of human imagination.
Having said this, I also hope that some of the artists we celebrate in these pages will find ways to integrate 3D into their own practices. For example, I applaud figure sculptors who model every inch of clay with their own hands, but could new technologies save them time in another phase of their process — for example, creating an armature inside their sculpture that is lighter, stronger, and more eco-friendly than the steel ones they use now? Artists are our most creative citizens, so surely they will figure this out, but first we need to ensure that our ateliers and academies don’t inadvertently ignore what their more technically sophisticated colleagues are doing elsewhere in the same studio buildings.
Bottom line: as long as the artist is in full control of the process, it’s fine art. After all, we regularly cover artists who use a camera to help create unique artworks that still reflect who they are, not who the camera manufacturer is. The camera is a machine that has saved fine artists millions of hours of meaningless work. So why not consider a 3D printer? At Cooper-Hewitt I learned that an array of possibilities awaits us all, as long as we humans remain in charge.
Until now, only the ultra-wealthy “jet set” could have access to a private curator to give them art education with each artwork they see.
Few people ever hear the stories behind the art and become well educated about art with the help of the best in the business — a former museum director, a prominent art book author, an art historian, and a museum curator who is now the editor-in-chief of an internationally recognized art magazine.
Even fewer ever have access to the top art experts in the world, who will be at your service as we visit their collections.
Furthermore, only a handful of art lovers have been allowed to join this one-of-a-kind group that provides them with private access to art treasures and behind-the-scenes privileges to view art that is rarely, if ever, available to the masses. In fact, the best art is often in private hands or tucked away for only a few to see.
This is for serious art lovers, and it will take you deep into the art world and provide you with better experiences than you ever dreamed possible.
If you’re craving one-on-one, private, no-holds-barred access to artworks without shoulder-to-shoulder crowds…
If you’re the kind of person who wants something special that is available to fewer than 48 people in the world…
If you want to see collections rarely seen by others…
If you want to learn about artists and see artworks you never knew existed…
And if you want to grasp what you’re seeing, how and why it relates to history and the art world as a whole…
Peter Trippi and I will be leading a rare, private-access group to give you an art experience that is unparalleled…
… providing laser-focused details that only true art connoisseurs can appreciate and going deep with you on every relevant detail…
… your head will be spinning and your smile beaming as you learn things only a true art lover can appreciate…
… here is your chance to take your art experiences… and your life
… to the max.
But we can fit exactly six more couples into this experience.
You see, this trip is strictly limited to people who genuinely appreciate art — those who have a true obsession with art and want to understand it at the deepest level.
Who needs this kind of super-intense art experience?
Art collectors who’ve hit a plateau and need to break through…
Rookies looking to get a fast track to art understanding with two art veterans watching their backs…
Art connoisseurs who wish to enrich their art experiences…
Artists seeking inspiration and education…
And anyone who understands that getting access to art from a behind-the-scenes perspective can kick-start the most exciting art adventures of their life.
As I said earlier, we’re only taking 48 carefully chosen patrons on this extreme art experience each year. And this year is even more special because it’s our 10th anniversary, with a very fresh and new trip we’ve never done before.
And I want you to have an opportunity to grab one of the remaining slots.
If, that is, you think an experience of this magnitude, several days of super-intensive art mentoring with us and seeing art treasures few others will ever see, might offer the kind of “unfair advantage” and unparalleled memories that would be helpful…
… to enrich your depth of art knowledge…
… as you see art treasures few others will ever experience…
… as you see art with top curators and your own private curator…
… as you gain fresh cocktail party stories for years to come…
… as you become one of the better educated art experts in your community.
Because of the high return rates of previous patrons, seats rarely open up for this exclusive adventure.
It usually takes a wedding, a funeral, a graduation, or a birth to keep people from coming on this exclusive trip, and some have not missed one trip in the last nine years.
Why? Because first right of refusal is always offered to our previous attendees.
A trip like this is what art lovers pray for. Because one painting, one collection, or exposure to one new artist or art story can change your entire understanding and appreciation for art…
Worth a Lifetime of Memories
So … are you in?
In the past many of our guests have told us, “We’ll sign up wherever you go, even if we’ve been there before, because we know it will be beyond amazing.”
And after nine remarkable European trips in a row … how do you come up with a trip that everyone can get excited about?
You make a pilgrimage to France … deep into the South of France — Provence and Nice — and you follow the trail of Van Gogh, Cezanne, Gauguin, Picasso, Matisse, Renoir, Chagall, Bonnard, Signac, and Corot. Plus you’ll discover local artists you may not have known, like Derain, Camoin, Chabaud, and Ambrogiani.
Not only is this a special trip unlike any other we’ve done, there are sure to be some special surprise experiences as we celebrate our 10th year. We’ve been known to throw in an unexpected visit to a private home rich with rare paintings, or to an artist’s studio or private family collection.
Imagine standing in the exact spot where Van Gogh was inspired and painted, or walking in the footsteps of Cezanne.
Suddenly, with the help of your private curator and as you see these areas in person, everything starts to gel and you experience a fresh new understanding of the meaning behind the art. It is here you will feel the presence of the great masters of France.
If you are serious about learning the secrets of the art world and treating your eyes to paintings and sculpture you have never seen before and may never have access to again … so you can put it all to use in your own life … then you should have already made up your mind.
But there is more than art…
On occasion we visit things so special we break into even smaller groups, as for this visit to a private villa’s art collection.
You’ll be taken to places you never even knew existed. In the past our guides or translators, who know their local areas very well, have been “blown away” by the places we take our guests, never knowing such things were in their own town. And most have never been able to secure permission to open up these special places to future trips … because we have leveraged the contacts of the magazine to open doors others simply cannot open.
The art alone is enough … but you’ll experience some of the most charming villages, stunning scenery, beautiful landscapes, and fine wines, all of it an added bonus. And because we’re going in October, we miss most of the tourists and the hot weather and see the colors of fall.
Yet the other hidden treasures of this trip are the people, and the friendships you’ll make. That’s why so many keep coming back; it’s like a family reunion. And new people become part of the family fast. Remember, we limit attendance to 48 carefully selected people, and there is only room for six couples.
Here’s what’s on the table:
A Fine Art Trip to the South of France. Four nights in Provence, October 11–15, and four nights in Nice, October 15–19. We’ll see two different regions in the South of France and the amazing treasures in each.
For those who can’t get enough, we’re offering a post-trip, where we fly nonstop to Edinburgh to spend four nights among the art treasures of Scotland, October 19–23.
And, though this is not a trip for painters, some of our guests do paint and sneak in a painting or two during shopping or free time. For those people, we’re offering a pre-trip painting experience in historic Saint-Paul de Vence, one of the most charming fortified hilltop villages of Provence. It has inspired artists for generations. This trip will be October 8–11.
A moment ago we talked about how a trip like this with a private curator was an experience available only to the jet set crowd, but in reality, most in that crowd would not have access to many of the experiences we’re offering … because of our deep connections in the art world, which open special doors.
And your private curator is none other than Peter Trippi, the editor-in-chief of Fine Art Connoisseur, a former museum director and an author and curator. His lectures are to die for, and his information when visiting collections is beyond amazing.
There will be only one celebration of our 10th anniversary, only one trip to the South of France and Scotland, and only one Saint-Paul de Vence pre-trip.
If you believe this trip sounds like the experience of a lifetime, please know that it is very special, and that we can only fit in six more couples. All the people with busy summers start booking about this time. Last year 11 requests came in at the last minute, and some were too late. Plus, we would like time to book your fares in advance.
Here’s how it works: You’ll send a top-priority e-mail to our highly qualified tour director, Gabriel, laying out all your burning questions. His e-mail is [email protected].
Or you can visit our website, which will answer most of your questions, and then you can book your trip right then and there. Visit www.finearttrip.com.
This trip is first class all the way, with 5-star hotels, exquisite meals, and special one-of-a-kind anniversary events.
We’re offering you an opportunity to treat yourself to a jaw-dropping art experience like no other. One guest who frequently travels on trips provided by a major museum told us, “Nothing compares to the Fine Art Connoisseur trip. These trips are exquisite, and even the museum can’t get us into the places you get us into.” (Guest’s name available upon request.)
We call it that because we are offering you the chance to instantly become a “front burner” priority with Gabriel to answer all of your questions, get you booked, and move everything into immediate action.
Still … you need to qualify.
Imagine this. You go on the trip of a lifetime, spend a lot of time getting to know other guests, and you find that you are uncomfortable part of the time because one guest is simply not a fit with the others. That would be a tragedy.
One of the reasons we can celebrate a decade of trips is because this trip is not for everyone. Not everyone who applies will be accepted, and some have not been invited back.
There are plenty of people who love art and have the means, but simply don’t fit. But the only way to find out is to apply. Gabriel will conduct a brief interview to watch for any “red flags” that might prevent others from having a good time.
We’re not snobs. In fact, we prefer to make sure we fill the trip with friendly, fun people. They may be affluent, but they are certainly not snobs.
There’s one small catch:
Because time is such a factor here, if you’re absolutely positive you’re serious about this, we need to hear from you the minute you see this.
Do the math. We meet in France on October 11. Ideally, we want as much time as possible to secure great flight options and the best possible pricing. Time is running out.
The other issue is that we have room for exactly six couples. The other seats are already taken. (Yes, singles are welcome and encouraged. We’ve even seen some romance occur on our trips.) We keep it small to keep it exclusive, and there are places we cannot get into with more people.
If you call, you do not risk a penny, nor is there any obligation on your part. Gabriel will hold your seat for 24 hours until you are able to make sure you can accommodate your schedule to the trip.
Step #2: Click the Register Now button, and input your information and your credit card info.
Or phone Gabriel at 818.444.2700 for your answers and to place a 24-hour hold on your seat.
Step #3: If after 24 hours you decide this isn’t for you, or if we don’t think you’re a good fit, we will immediately refund your credit card. And we’ll part friends.
That’s it.
If you’re excited by this opportunity, it’s time to move.
A Sweet Tradition
9 x 12 in.
Colored pencil
Private collection
Mandy Peltier is an artist and instructor who predominantly works in the fine art medium of colored pencil. Her award winning drawings are known for being photorealistic in nature, and her artwork and tutorials have been published in various magazines and books as well as juried into prestigious exhibitions through the Colored Pencil Society of America, American Women Artists, Ohio Arts Council, Richeson 75, and more. Mandy has achieved her signature status through American Women Artists, she is a part of Ann Kullberg’s SOAR network of colored pencil instructors who travel the U.S. teaching colored pencil workshops, and she is also an art instructor at three different art centers around Northeast Ohio. Mandy currently serves as the Membership Director for the Colored Pencil Society of America.
Her desire is to portray her subjects in such a way that they cause the viewer to pause, reflect, and see the beauty in what is too often taken for granted or never noticed, and she hopes her love and excitement for colored pencil is contagious to everyone she talks to!
Timeless Scents
10 x 12 in.
Available through the Artist
Hitt was blessed with the opportunity of being an Artist in Residence, staying in Maynard Dixon’s log home built in the 1930’s at the Thunderbird Foundation. The view in this painting was what greeted the artist each morning out the kitchen door. In spite Zion National Park being only a short drive away, the courtyard beckoned with the beauty of every lilac in bloom. These timeless scents sang a chorus insisting to be recorded for history’s sake as their cascading formed a very special entrance of their own! Off in the distance, through the lilacs, was the working Art Studio built for Maynard’s painting practices. It was an opportunity of a lifetime, to stay and paint where such an iconic artist lived and worked. Timeless Scents, the first born in a series of paintings from this experience, came to life.
Painting on location, often plays a duel role, capturing studies for future use in the Artists’ Studio, and often more importantly capturing a piece of history. The main focus that an Artist in Residence provides is the time to capture the history, charm, color notes and stories of this historic location, preserved by the Thunderbird Foundation. Many works have come from the memorable stay, including a painting of Sugar Knoll from the Deck of the Thunderbird Foundation for Illume Gallery; Where In The World Plein Air 2019 Exhibit also currently on display.
Watch for the studio version of this painting, and many other works as they share reflections of a special time at an extraordinary place, Maynard Dixon’s Log Home property as seen through the eyes of Karen Ann Hitt, An Original Hitt. Represented by the Hughes Gallery, pieces of this beautiful season’s reflections will be on display at Hughes Gallery’s starting this fall.
Portrait of Anne Marie Küken Foltyn and Portrait of Chemere Brooks
36” x 24” each
Available through though the artist
This painting is part of an ongoing series. My goal is to explore the complex and loosely woven intricacies of the fabric of American women. I hope to reveal and honor cultural histories through impressionistic portraits in oils tied together by a common thread.
Each portrait depicts one strand of the grand tapestry of humanity embodying the beauty of oneness within the power of collectivity. Women from diverse backgrounds became the subject of this series to open a dialogue about individual perspective and our ties to one another.
Michele Byrne is widely known for her expressive plein air and studio NYC street scenes as well as café scenes where she depicts figures full of life and movement.
Byrne has won numerous awards for her work. Recent awards include the 2018 Landscape Exhibit at the Salmagundi Club in NYC, and President’s Choice Award in the American Impressionist Society’s 2018 Annual Exhibit.
Liliedahl Productions has released two instructional videos of Michele’s work with a third one soon to be released. Michele’s second video, PALETTE KNIFE Painting with Michele Byrne, recently was awarded Best Selling Video of the Year by Liliedahl Productions.
Michele also teaches several workshops each year.
Gallery Representation
Eckert & Ross Fine Art, Indianapolis, IN
Gildea Contemporarty, Key West, FL
Reinert Fine Art, Charleston, SC
SUZIE BAKER “Gateway to the Canyon” Oil on linen panel 24”x 36”
Suzie Baker is one of the 27 artists participating in this year’s Grand Canyon
Celebration of Art. Celebrating the 100 year anniversary of Grand Canyon
National Park, visitors can watch the artists at work, painting plein air along the South Rim of Grand Canyon September 7th through September 14th. The work
will be on exhibit at Kolb Studio September 15th, 2019¬–January 20th, 2020.
Each of the artists also submits a Grand Canyon themed studio painting to be exhibited along with their plein air work. As the subject matter for her studio painting, “Gateway to the Canyon,” Baker chose a scene of rafters launching from Lee’s Ferry for a raft trip on the Colorado River through Grand Canyon. Nearly 20,000 people each year explore the canyon on professionally outfitted river trips in dories and rubberized rafts propelled by oar, motor, and the mighty Colorado River.
Her second year participating in Celebration of Art, Baker has gained national acclaim in recent years, earning prominent awards and a reputation for her versatility as both a plein air landscape artist and a studio painter of still lifes, figurative works, and portraits. She holds Signature Member status in organizations including Oil Painters of America, American Impressionist Society, and Laguna Plein Air Painters Association.
Following in the footsteps of the many artists that have painted the Grand Canyon over the past 160 years, Baker and this year’s other CoA artists will face the challenges that capturing the canyon on canvas presents. Its vastness, depth, ever shifting light and shadows, amazing land forms, varying cloud and weather conditions, and the unique perspective of looking down has frustrated many an artist. These artists will step up to the rim and work their magic to
interpret this amazing place.
On Saturday September 14th from 8:00 a.m. to 10:00 a.m. Baker and the CoA artists will be participating in a Quick Draw along the South Rim from Verkamp’s to Trailview Overlook, with an auction of the work they created in two hours starting at 11:00 a.m. at Bright Angel Trailhead.
The Celebration of Art exhibit and sale opens at 11:00 a.m. on September 15th, 2019 and will be open daily through January 20th, 2020 at the historic Kolb Studio at the South Rim of Grand Canyon. Admission is free and open to the public.
“This is the classic view of Angels Landing in the early morning light, just at the moment when the light begins to kiss the top of the landing.” –– Cody DeLong
As one of 11 well-known artists participating in Zion National Park’s Centennial Celebration of Art, Cody DeLong has been invited to showcase five of his recent interpretations of Zion. These works will be on public display in the park November 9–10, 2019, but viewers can get a sneak peak online beginning September 16 by visiting ZIONPARK.ORG. All of these works will be available for purchase, with proceeds benefiting Zion National Park.
As part of this event, each artist will be giving free painting demonstrations in the park throughout the week of November 5–10. The public is invited to spend the week celebrating Zion National Park’s 100th year and enjoying the beauty of autumn at one of America’s most iconic destinations. Details are available at ZIONPARK.ORG.
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