Barbara Ernst Prey, “Red Cloak, Blue Bucket,” 2019, watercolor and drybrush on paper, 28 x 40 in.
To the Shakers, light was everything, fuel for body, mind, and spirit. “Borrowed Light: Barbara Ernst Prey,” on view at Hancock Shaker Village May 26 – November 11, 2019, captures this dynamic essence in the form of 10 large-scale watercolors ranging in size from 28 x 40 inches to 40 x 60 inches. Each work is imbued with “borrowed light,” a term adopted by the Shakers to describe their architectural technique of incorporating windows and skylights into interior walls. The result is both pragmatic and sublime.
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The Shakers designed their built environment to let light in, as can be seen in the 20 buildings on the campus of Hancock Shaker Village. Artist Barbara Ernst Prey (American, b. 1957) spent many days during the fall and winter of 2018–2019 immersed in these buildings and in the material culture and landscape of the Village. Carefully observing luminescence, she sketched boxes, garments, tools, and domestic objects as angular refractions of light migrated slowly across interior and exterior scenes. An astonishing palette of color emerged under her acute painterly gaze — violet and emerald awash in the Laundry and Machine Shop, indigo and gold in the Round Stone Barn, slate and amber in the Sisters’ Dairy & Weave Shop.
Barbara Ernst Prey, “Threads, Spindles,” 2019, 28 x 40 in.
“Borrowed Light” offers an opportunity to see Hancock Shaker Village in a new way, to explore the Shakers through a contemporary lens. It is part of a rigorous changing exhibition program at the Village and comes on the heels of the contemporary exhibitions “Making, Then and Now,” with works by Maya Lin, Jenny Holzer, and others, and “Altered Visions,” with works by Abelardo Morell, Marko Remec, and Henry Klimowicz.
The exquisitely beautiful works in “Borrowed Light” are unexpectedly big and bold, a deliberate approach by the artist to explore how we can connect to the universe in an expansive and meaningful way. The exhibition lends new insight into the visual and haptic experience of sacred design, featuring objects and spaces enlivened by luminosity. Such light is expressed in intimate paintings such as “Channeled Light” (watercolor and drybrush on paper, 2019), in which a wash basin and bucket are bathed in geometric-patterned light cast from a window.
Barbara Ernst Prey, “Channeled Light,” 9 x 10 in.
Similarly intimate is “Spindles” (watercolor on paper, 2019), with its rows of colorful spools of thread resting on simple wooden shelves, casting long shadows on the white wall behind them.
“My paintings are based on abstract shapes, so there are multiple narratives within the painting,” Prey said. “If you think about it, that space is a microcosm of Shaker life. They raised the crops and animals to make the fiber, grew the plants to make the dyes, spun the thread, wove the textile, sewed the jacket, and later washed the jacket, all using tools that were handmade, down to the smallest hand-carved spool of thread,” she explained. Intrigued by the Shakers’ concept of equality between men and women, Prey also has a particular interest in women’s work, the subject of both “Channeled Light” and “Spindles.” The simplicity of Shaker design, pared down to its essentials, is a recurring theme in the exhibition.
But light can also be vast, as in “Shaker Barn” (watercolor and drybrush on paper, 2019). The Village’s iconic Round Stone Barn stands sentinel at the center of a winter landscape, anchored by a dramatic cloudy sky and shadows of tree branches in the foreground.
Barbara Ernst Prey, “Sisters,” 2019, 28 x 40 in.
Said Jennifer Trainer, director of Hancock Shaker Village, “When Barbara and I discussed the idea of a series of paintings of the Shaker buildings at Hancock, and then she showed me paintings she had made of quiet moments in houses of worship, I knew she would capture the ethereal quality of this former Shaker settlement like no other artist. Her ability to capture light, and give tangible essence to the spirit of an environment, took my breath away.”
“I’ve always been drawn to the simplicity of Shaker design,” said Prey. “I’m also drawn to the handmade, which is something I equate with the Shakers.” It was during her undergraduate years at Williams College in the 1970s that she was introduced to the Shakers. She felt an immediate connection to their use of color in art, furniture, and everyday objects — a connection that became even stronger as she worked toward the master of divinity degree she earned at Harvard Divinity School in 1986. Her studies led her to examine existential questions — “who we are, where we’re going, why we’re here, and what’s important, what really matters,” said Prey. “I think this is reflected in much of my work. “Borrowed Light” is influenced by Shaker design, spirit, and sense of community, and we’re all connected through community.”
Barbara Ernst Prey, “Days Work,” 2019, 40 x 60 in.
Prey deliberately chose watercolor as her medium for all 10 paintings in the exhibition, explaining that watercolor lends a transparency that, in the context of this series, is akin to a kind of spiritual transparency. “When I’m looking at architecture, essentially, I’m looking at light itself. In this way, all light is borrowed light,” she said.
“Borrowed Light: Barbara Ernst Prey” was curated by Sarah Margolis-Pineo for Hancock Shaker Village, Pittsfield, Massachusetts. The exhibition is supported by Herbert Allen, Duncan and Susan Brown, Paul Neely, Sheila Stone, and Balance Rock Investment Group. A fully illustrated catalogue (Puritan Press, 42 pages) with essays by Sarah Margolis-Pineo and Charles A. Riley II, PhD, accompanies the exhibition.
Shawn Fields, “One Man Band,” oil on board, 52 1/4 x 43 in.
Somerville Manning Gallery (somervillemanning.com) announces the exhibition “Under the Influence: Contemporary Artists and the Masters Who Inspire Them.” The exhibit closes October 12, 2019.
All artists study the masters in varying degrees. They glean technique, application, ideas, composition, meaning, and a host of other information that informs their art. After continued hard work and careful observation, an artist’s own voice emerges in a unique style. Somerville Manning Gallery presents an exhibition of talented artists along with the masters who gave them inspiration, exploring the importance of art history even through modern times.
Drew Ernst, “Kanawha,” 2019, oil on linen, 40 x 30 in.
As specialists in the Wyeth Family for over 35 years, it is no surprise that three out of five artists in this exhibit are linked to that distinguished family. Drew Ernst is a figurative realist gathering advice from N. C. Wyeth’s well-known son, Andrew Wyeth. As a student at the Pennsylvania Academy of Fine Arts, Ernst studied with numerous talented painters, many of whom could also reference the impact of Andrew Wyeth.
Shawn Fields (work featured at top) names both Winslow Homer and Jamie Wyeth as compelling forces in his development as a painter. Fields paints stories of childhood with convincing detail, reminding us of the simplicity of a childhood full of curiosity and play.
Theo Platt, “Azure,” 2018, oil on canvas, 60 x 48 in.
Theo Platt’s “Ocean” series, of which two will be on display, focuses on the magnitude of great bodies of water. He names N. C. Wyeth as his “recent obsession,” and his sculptural waves certainly reflect his reverence for the natural world and the scale of Wyeth’s powerful works. Platt attended the Royal College of Art in the UK and has been commissioned by the Scottish National Portrait Gallery and the Royal Family.
Victoria Adams, “Lowlands #120,” 2019, oil on linen, 24 x 24 in.
In a different take on epic panoramas, Victoria Adams’s paintings were shaped by the Hudson River School of artists. After spending her childhood under the skies of the American Midwest and more recent decades in the Pacific Northwest, Adams’s work owes a visible debt to those views. Her work is collected extensively in the Northwest, including works in the Tacoma Art Museum and the Allen Foundation for the Arts.
Betsy Eby, “Half the World,” 2019, encaustic on canvas on panel, 48 x 66 in.
Also familiar with the pull of the Pacific Northwest, our final artist, Betsy Eby, creates abstract encaustic paintings that “fuse the line between the musical and the visual composition.” Experiencing these works in person casts a spell similar to that of her influence, Pat Steir. Eby’s works have been shown widely and collected by many institutions, including the Georgia Museum of Art, the Columbus Museum, and the United States Embassy, Dubai, UAE.
The exhibition “Michelangelo: Mind of the Master” presents an unprecedented opportunity for museum visitors to experience the brilliance of Michelangelo’s achievements on an intimate scale through more than two dozen original drawings.
Michelangelo’s genius is especially evident through his breathtaking draftsmanship on sheets filled with multiple figures and close studies of human anatomy. These working sketches invite us to look over the shoulder of one of Western art history’s most influential masters and to experience firsthand his boundless creativity and extraordinary mastery of the human form.
These drawings demonstrate Michelangelo’s inventive preparations for his most important and groundbreaking commissions, including the Sistine Chapel ceiling fresco, sculptures for the tomb of Giuliano de’ Medici, and the dome of Saint Peter’s Basilica.
The Buffalo Bill Art Show & Sale offers 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.
Kevin Red Star, “Crow Indian Totem – Blackbird Headpiece,” acrylic, 24 x 30 in.
The Buffalo Bill Art Show & Sale benefits the prestigious Buffalo Bill Center of the West as well as the Cody Country Chamber of Commerce. The Buffalo Bill Art Show & Sale is held in conjunction with the Center’s Patrons Ball black tie gala, and By Western Hands’ Functional Design Exhibition, all of which are part of the annual Rendezvous Royale Week in Cody, Wyoming.
Mark Kelso, “The Indomitable,” oil, 36 x 48 in.
The art exhibition, housed in the Buffalo Bill Center of the West’s John Bunker Sands Photography Gallery, is free for public viewing each September. Main events include the Friday evening auction, where guests view the exhibition a final time, then stroll next door to the beautiful party tent adjacent to the museum for food, drinks, live music, and a spirited live auction; and the Saturday morning Quick Draw, where guests enjoy breakfast then observe nearly thirty painters and sculptors at work in the Robbie Powwow Garden, often using live models, to complete a piece in one hour.
Additional works:
Charlie Hunter, “Go Broncs!” oil, 24 x 48 x 2 in.Joshua Tobey, “Go with the Flow,” bronze, 20 x 63 x 13 in.Matt Smith, “Summer’s End,” oil, 9 x 12 in.
Bertoldo di Giovanni and collaborators, “Frieze for the Portico of the Medici Villa at Poggio a Caiano” (detail), ca. 1490, glazed terracotta, 22 7/8 x 571 1/4 in.
Villa Medicea di Poggio a Caiano, Polo Museale della Toscana; Gabinetto Fotografico delle Gallerie degli Uffizi
Open through January 12, the Frick Collection presents the first exhibition devoted to the Renaissance sculptor Bertoldo di Giovanni (ca. 1440–1491) in “Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence.” It shines a long-overdue light on the ingenuity and prominence of the Florentine artist, who was a student of Donatello, a teacher of Michelangelo, a favorite of Lorenzo de’ Medici, and an active collaborator with many other artists.
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By uniting nearly his entire extant oeuvre—more than twenty statuettes, reliefs, medals, a life-sized statue, and a monumental frieze never before shown outside of Italy—the show demonstrates the artist’s creative process and ingenious design across media, his engaging lyrical style, and, especially, the essential role he played in the development of Italian Renaissance sculpture.
Indeed, Bertoldo was one of the earliest sculptors since antiquity to create statuettes in bronze, an art form that became ubiquitous in prestigious collections during the fifteenth century and thereafter.
Bertoldo di Giovanni, “Shield Bearer” (detail), ca. 1470–80, gilt bronze, H 8 7/8 in. The Frick Collection, New York Photo: Michael Bodycomb
The exhibition was organized by Aimee Ng, Curator; Alexander J. Noelle, Anne L. Poulet Curatorial Fellow; and Xavier F. Salomon, Peter Jay Sharp Chief Curator, with the assistance of Julia Day, Conservator. Comments Salomon, “The Frick is the only institution outside of Europe that owns a statuette by Bertoldo, and we have long desired the opportunity to study and present this artist’s work in great depth. We are thrilled that the resulting monographic display—on view only in New York—will finally bring into focus Bertoldo’s unique position at the heart of the artistic and political landscape of fifteenth-century Florence. Most appropriately our team has enjoyed working on this project in partnership with that city’s esteemed Museo del Bargello.” The catalogue that accompanies “Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence” is the most substantial publication ever produced on the artist.
Bertoldo di Giovanni, “Hercules on Horseback” (detail), ca. 1470–75, bronze, H 10 3/4 in. Galleria Estense, Modena; Su concessione del Ministero per i Beni e le Attività Culturali – Archivio fotografico delle Gallerie Estensi; photo: Carlo Vannini
A PIVOTAL FIGURE RECONSIDERED IN HIS OWN LIGHT
Initially, Bertoldo developed his skills under the aegis of Donatello, inheriting his models and, upon the master’s death, completing the pulpits that were commissioned to adorn the Basilica of San Lorenzo in Florence.
Bertoldo went on to gain the life-long patronage and friendship of the state’s de facto ruler, Lorenzo de’ Medici, eventually moving into the Medici palace and creating numerous objects for his patron, some of which were designed as propagandistic tools. Bertoldo was even appointed the custodian and curator of Lorenzo’s famed garden of antiquities near San Marco, where he instructed the gifted pupils studying the relics, one of whom was Michelangelo, whose creative genius flourished under the master’s guidance.
His legacy, however, was largely written out of history by Michelangelo, who fashioned his own identity as a self-taught artist divinely blessed with ability. Michelangelo’s biographers, including the art historian Giorgio Vasari, reduced Bertoldo’s role significantly, mentioning him only in passing while focusing more extensively on the pioneering creativity of Donatello, the magnificent patronage of the Medici family, and the staggering genius of Michelangelo.
Modern scholarship, as a result, has largely followed this precedent. The exhibition and catalogue offer a comprehensive exploration of Bertoldo’s work, reconsidering the sculptor’s associations with Donatello, Lorenzo, and Michelangelo, which are central to his narrative. These relationships, however, are reframed, thereby allowing Bertoldo to be appreciated in his own right, his artistic identity no longer overshadowed but, rather, enhanced by his connections to three of the most important figures of the Renaissance.
Bertoldo di Giovanni, “Battle” (detail), ca. 1480–85, bronze, 17 3/4 x 39 1/8 in. Museo Nazionale del Bargello, Florence; Su concessione del Ministero per i Beni e le Attività Culturali; photo Mauro MaglianiBertoldo di Giovanni, “Mehmed II (1433–1481),” ca. 1480, bronze, diam. 3 3/4 in. Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen, Berlin; photo: Karsten Dahmen
“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.
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