“Impressionism, Tonalism, and Perceptualism”

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June 10, 2019

McBride Gallery (Annapolis, MD) presents “Impressionism, Tonalism, and Perceptualism,” running to July 28. This exhibit will explore the differences and connections between these terms, historically and today, with the assistance of the artists who will discuss them briefly at the opening reception.

Perceptualism is the new term, with contemporary artists increasing self-subscribing to variations of this definition of their techniques and philosophies.

Participating artists include Mark Beale, John Ebersberger, Cynthia Feustel, Abigail McBride, Murray Moldofsky, Bill Schmidt, Carol Lee Thompson, and Sarah Wardell (more to be announced).

Abigail McBride, “Reaching for the Light,” oil

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June 13 Auction: Private Collection of Jared French Drawings

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June 8, 2019

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Art auctions - FineArtConnoisseur.com — Lot 322: Jared French, collection of 16 pen and ink studies for “That French Island,” 1962–64. Estimate $5,000 to $8,000.

Swann Galleries (New York) continues their spring season with a specialized sale of American Art on Thursday, June 13. The 340-lot offering of paintings and works on paper ranges from the late 19th century to the late 20th century.

A single-owner private collection of Jared French drawings ranging from figurative and compositional studies to portraits is set to come across the block. Highlights of the 40-lot section include 16 pen-and-ink studies for “That French Island,” dated from 1962–64, and estimated at $5,000 to $8,000, and 20 circa-1940 pencil studies of “Man” are present at $3,000 to $5,000.

Also among the collection are portraits of the two other members of the artist collective PaJaMa: a 1932 pen-and-ink drawing of Paul Cadmus with an annotation, “Paul reading La Buena Vida de Luis de Góngora,” and a 1944 pencil drawing of Margaret French, each offered at $1,500 to $2,000.

Lot 308: Jared French, “Portrait of Paul Cadmus (Reading La Buena Vida de Luis de Góngora),” pen and ink, 1932. Estimate $1,500 to $2,500.

American Modernists are present with a strong selection of paintings providing insight into the influence of the European movements of the time. Suzy Frelinghuysen’s “Act Three,” oil and collage on board, 1942 ($30,000–$50,000), as well as Charles Green Shaw’s “Transition,” oil on board, 1954 ($4,000–$6,000), and “Beach Scene,” oil on canvas, 1957 ($3,000–$5,000), reflect the influences of Cubism and Abstract Expressionism on the artists. “Bathers,” oil on canvas, circa 1930, by Abraham Walkowitz, which draws clear inspiration from Cézanne and Fauvism, is expected to bring $10,000 to $15,000. Additional figures include Gerald Coarding, Howard Daum, Albert Eugene Gallatin, and Esphyr Slobodkina.

Orientalist works include a circa 1880–90 oil-on-canvas scene of Algeria, “Women Near the Sidi Abderrahmane,” by Frederick Arthur Bridgman, made after his travels to North Africa ($40,000–$60,000), and the 1874 watercolor and pencil “Courtyard of Cotton Storehouse, Cairo” by Edwin Lord Weeks, which will be included in the artist’s forthcoming catalogue raisonné ($4,000–$6,000).

Lot 20: Frederick Arthur Bridgman, “Women Near the Sidi Abderrahmane, oil on canvas,” circa 1880–90. Estimate $40,000 to $60,000.

Additional 19th-century works of note include “Nude in Chase’s Tenth Street Studio,” oil on canvas, circa 1895, by Alfred H. Maurer, painted in William Merritt Chase’s studio in the first New York City building used solely by artists ($20,000–$30,000) and John Henry Twachtman’s 1890 color pastel and pencil drawing “Julian Alden Weir’s Cottage, Branchville, Connecticut” ($10,000–$15,000).

Landscapes shine with Albert Bierstadt’s oil on paper “Rocky Mountain Landscape” ($20,000–$30,000) and “Beer’s Cottage, Far Rockaway, Long Island,” oil on canvas, circa 1883, by Francis Augustus Silva ($40,000–$60,000), as well a run of watercolor works by Charles Burchfield: “Clouds and Trees under Blue Skies,” circa 1920s ($15,000–$20,000) and “Summer Landscape (Trees on a Hill),” 1917 ($10,000–$15,000). Also available is a 1960s “Coastal Landscape” oil on canvas by Hughie Lee-Smith ($12,000–$18,000).

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Jackson Hole Arts Festival: Featured Artists Revealed

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June 8, 2019

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Jackson Hole artists - FineArtConnoisseur.com — Kathryn Mapes Turner’s painting “Of Earth and Wind” has been selected as the featured artwork for the 35th annual Jackson Hole Fall Arts Festival.

35th Annual Jackson Hole Fall Arts Festival Reveals Two Featured Artists and Artwork

Produced annually by the Jackson Hole Chamber of Commerce, the 12-day Jackson Hole Fall Arts Festival takes place September 4–15, 2019. To honor its 35 years of exceptional art and creative events, the Fall Arts Festival committee has selected two Jackson Hole artists, painter Kathryn Mapes Turner and sculptor John E. Simms, to be featured for this year’s event.

“Of Earth and Wind,” a painting by Turner, has been chosen as the featured artwork that will grace 2019 festival posters. The painting itself will be on display at Jackson’s historical Wort Hotel until it is auctioned off on Saturday, September 14, following the QuickDraw event on Town Square. Simms will create a series of eight geometric bison sculptures from bronze and steel. Typically, the Jackson Hole Fall Arts Festival selects one painter as the featured artist, but every five years the festival adds a featured sculptor, with Simms as the second sculptor ever to be featured.

“In honor of our 35th anniversary, we decided to feature two artists as we did in 2014 for our 30th. We selected two very popular and accomplished local artists to feature this year, and we are thrilled to share their work with festival-goers,” says Maureen Murphy, Director of Special Events for the Jackson Hole Chamber of Commerce. “We selected Kathryn’s majestic painting of a galloping horse with a moody Teton backdrop as our featured painting, capturing the independent spirit Jackson Hole is known for. And for our featured sculpture, John’s bison series offers a contemporary abstract form that strongly evokes that iconic symbol of the West. Animals are such an important and inspiring part of our Jackson Hole surroundings, and these two artists beautifully depict these captivating creatures.”

Jackson artist Kathryn Mapes Turner pictured here during the QuickDraw, a highly popular Fall Arts Festival event held on picturesque Town Square, where artists complete a masterpiece in 90 minutes for auction.

Kathryn Mapes Turner is a fourth-generation Jackson native known for her exquisite work in oil and watercolor. Her longtime love of landscapes, mountains, and wildlife are evident in her extraordinary body of award-winning work. Growing up on a ranch in Grand Teton National Park, surrounded by its dramatic light and remarkable natural composition, helped shape Turner’s aesthetic as well as an intimate appreciation for art from childhood. Turner has long admired and looked up to the Fall Arts Festival’s featured artists: “They were all my heroes. They were all people that I looked up to throughout my career. So this is a real coming-of-age honor,” Turner recently told Jackson Hole News & Guide. Turner’s work is represented by Turner Fine Art in Jackson.

Turner credits her inspiration for “Of Earth and Wind” to one of her favorite sights at her family’s Triangle X Ranch. Each night in the summer, a herd of close to 100 horses gallop out to pasture beneath the clouds in a remarkable display that she set out to capture on her featured painting for the Jackson Hole Fall Arts Festival.

Local sculptor John Simms, represented by Jackson’s Diehl Gallery, will create an abstract series of eight geometric bison sculptures to be featured at the Jackson Hole Fall Arts Festival.

As an artist, John E. Simms, also a Jackson Hole local, is known for his talent in creating contemporary metal works in very large — and, more recently, small — scales. His larger pieces are fabricated from steel or aluminum plate, while stainless steel, silicon bronze, and copper are often used for smaller works. Simms is creating an abstract series of eight geometric bison sculptures for his featured Fall Arts Festival work. The freestanding metal sculptures will be roughly 28 inches wide, 16 inches tall, and 2 inches deep.

Simms was always intrigued by the possibilities inherent in the most basic of forms: circle, triangle, and rectangle — and his mathematical engineering mind turned to sculpture in 1990 after a successful career as inventor, businessman, and inveterate outdoorsman. His large-scale pieces have been featured as public art in Wyoming, Idaho, Washington, and Oklahoma. Simms’s work is now represented by the Diehl Gallery in Jackson.

Simms’s success as an artist is preceded by a remarkable history as an innovator, dating back to his early days as a ski bum, when Simms used his experience to turn entrepreneur, creating his industry-changing invention of the avalanche probe and shovel device called Life-Link, which helped save lives of backcountry skiers. And a later creation, Gravel Guards, evolved into the first neoprene waders for fly-fishing, with Simms eventually going on to found Simms Fishing Products.

The Jackson Hole Fall Arts Festival takes place September 4–15, 2019. Visit www.jacksonholechamber.com for more information.

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The Ephemeral Beauty and Variety of Plant Life

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June 7, 2019

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Botanical art - FineArtConnoisseur.com — Gillian Rice, “Desert Bluebells,” 2016, watercolor on vellum. All images are from the “Botanical Art Worldwide: America’s Flora” exhibition

Spotlighting the ephemeral beauty and variety of plant life, the Leigh Yawkey Woodson Art Museum is featuring two botanical art exhibitions.

“Botanical Art Worldwide: America’s Flora” highlights U.S. indigenous plants — from cacti and trees to woodland flowers — with a goal of increasing appreciation and understanding of the world’s plant diversity and its interconnectedness. An array of North American flora, both familiar and rare, is meticulously depicted in watercolor and other mediums. Curated by the American Society of Botanical Artists and the United States Botanic Garden, the exhibition is part of a worldwide project emphasizing the importance of conserving botanical diversity and linking people with plants via botanical art.

Betsy Rogers-Knox, “Woodland Wildflowers,” 2016, watercolor on paper

“Flora, Fauna, Font: Illustrating the Alphabet,” features Kandis Vermeer Phillips’s illuminated alphabet adorned with plants, mammals, and insects. Phillips integrated extensive research into the history of medieval illuminated manuscripts — embellished with luminous colors — into an alphabet primer for her granddaughter. She combined decorative letters with representations of flowers and creatures found in her garden and during family travels. This exhibition was organized by the Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh, Pennsylvania.

Derek Norman, “The Longleaf Pine Revisited and Revered,” 2017, watercolor, colored pencil, and graphite on paper

Lynne Railsback, “Oak Leaf Lace,” 2017, watercolor on paper

Related Botanical Art Events

“Art Beyond Sight,” on Saturday, August 17, 10:30 a.m. to noon, is designed for individuals with low vision or blindness. Participants join Museum educators for a multisensory exploration of the galleries followed by hands-on art making inspired by “Flora, Fauna, Font.” Call the Museum at 715-845-7010 to register.

During “Art 101: Master Gardener Garden Walk,” Wednesday, August 21, 12:15 to 1 p.m., join master gardeners for plant-life insights while strolling the Museum grounds.

Linda Medved Lufkin, “Bloodroot,” 2017, watercolor and gouache on vellum

Margaret Farr, “Dogwood, Fall and Spring,” 2015, watercolor on paper

Milly Acharya, “Trumpet Vine,” 2015, watercolor on paper

Both exhibitions remain on view at the Woodson Art Museum through August 25. For more information, visit www.lywam.org.

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Featured Artwork: Lisa Kovvuri

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June 6, 2019

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Sunday Morning
14 x 18 in.
Oil on aluminum
Available Soon
Contact the artist for details

Portrait artist Lisa Kovvuri announces the launch of her new series of portraits: Beyond Appearances.

Building on the success of her most recent solo exhibition The Portrait Experience at the Whistler House Museum of Art, artist Lisa Kovvuri is taking the genre of portrait painting to a personal level. Beyond representing a likeness, her new series serves as a catalyst for making connections and getting at the heart of what it means to be human. She’s taking a hiatus from painting commissioned portraits to embrace her desire to paint people in a context that can address the emotional and psychological experiences we all share.

“In my new series the focus is on emotional presence more than a person’s identity. The sitters inspire ideas about states of mind and emotional moments we can all recognize. I see these portraits as a kind of mirror of humanity. The models I’ve recruited represent a diverse range of backgrounds and cultures. I’m particularly drawn to people who I don’t typically encounter in my usual circles, people I can learn something from. Painting them bridges a gap for me. It cultivates empathy, and that’s an important personal aspect of my work.”

Although the new portraits strive to go beyond appearances, they depict appearances in a remarkable way. Departing from the more impressionist-leaning approach of her earlier work, these emphasize more sculptural form, texture, intricate detail and attention to surfaces, offering viewers a much more intimate experience of the subject’s presence.

“That feeling of intimacy is important to me. I want people to be able to get up close and engage their senses, to feel free of barriers that may otherwise be there in real life.”
Still in its early stage, the series is expected to culminate in approximately 25 to 30 new works. Sunday Morning, the oil painting pictured above, is the first painting of the series and will be framed and available later this summer. A selection of drawings are also available now through the artist. Stay tuned for more!

Lisa will release new paintings for Beyond Appearances through her e-newsletter. Sign up at https://lisakovvuri.com/email-newsletter to be sure to get a first viewing of each piece fresh off the easel. See more of Lisa’s work on her website at LisaKovvuri.com. Get sneak peeks of works in progress by following @lisakovvuri on Instagram and Facebook.

European Art Treasures Revealed

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June 6, 2019

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Visit France with Fine Art Connoisseur — Join us October 11-19, 2019 for an unforgettable trip to France.

Dear Friends,

At the age of 19, I made my first trip to Europe. I took two weeks off my job, met my folks, and traveled through Germany, Switzerland, and Austria. Some of the cities we visited I’ve never been back to, and I’ve since found out that we missed some great sites I hope to see someday.

The problem with “self-guided” travel is that we can buy all the guidebooks, research everything to death, and still miss the best treasures, even when we hire professionals to help. Especially because some of the art world’s finest treasures are not open to the public.

Not only that, but a typical day of touring on your own is to do one or two things, wander around and hope you stumble into some interesting things from a guidebook, and then go to dinner. Though that makes a great vacation, it may not be the best way to see art treasures. Plus, you’re not seeing those hidden treasures.

When you go on a trip with Fine Art Connoisseur magazine, we fill most of your day with rich art treasures, many of which you’ll never find in guidebooks, and some that even paid guides are unaware of. In fact, over the past nine years of trips, every year the guides we employ have said something like . . .

“I’ve lived and guided here for decades and was never aware of this place.”

Or they will say, “No one gets access to this. How did you do it?”

Not only will we pack your days with art treasures, we will prepare you in advance so you’ll understand things fully when you see them.

We often visit private homes that have collections that rival those of top museums. And we’ll give you access to places others simply can’t get access to.

The Sweet Spot

There is a sweet spot when doing this kind of European travel. If you go with a big group, you can get lost in a crowd, and larger groups cannot go to small, intimate places, like private collections in private homes. Plus it’s hard to get to know people.

Yet if you do it on your own, or with another couple, you’ll miss a lot of rich, enlightening experiences.

Our group size is big enough to give us access to some special treasures, but not so big that we’re locked out of the best places.

Fine Art Connoisseur magazine’s annual trip not only opens doors through our deep worldwide contacts, we also help you see the world with new friends who share your passion for art. Typically, 60 percent come back year after year, and some will be on their 10th annual trip this year.

We provide the expertise and we plan every part of your trip, so you don’t have to think about it — you just show up, and we’ll give you an experience that would be impossible to create or duplicate on your own. An experience so rich, it will give you a lifetime of memories and stories.

This fall we’re going to show you the South of France and Provence like you’ve never seen them before. This trip is rich with art treasures. We guarantee a life-changing experience.

Our group size is intimate, so we have only a handful of seats left for this year’s trip (and our post-trip for those who wish to go on to tour Edinburgh’s art from behind the scenes.)

If you think you might be the least bit interested, it’s best to inquire before the busy summer hits, so you can plan your fall tour with us. You’ll have a rich, art-filled experience like nothing you’ve experienced in your lifetime.

To learn more, visit FineArtTrip.com, or to speak with someone in more detail about the trip, contact:

Gabriel Haigazian, [email protected], 818.444.2700
Howard Wise, [email protected], 818.444.2710

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Victorian Radicals

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June 5, 2019

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Victorian Radicals - FineArtConnoisseur.com — Kate Elizabeth Bunce, British (1856–1927), “Musica,” ca. 1895–97, oil on canvas, 30 × 20 in. All works lent by Birmingham Museums Trust on behalf of Birmingham City Council. All images © Birmingham Museums Trust, Courtesy American Federation of Arts.

The Seattle Art Museum (www.seattleartmuseum.org) presents “Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement” (June 13–September 8, 2019), exploring how three generations of rebellious British artists, designers, and makers responded to a time of great social upheaval and an increasingly industrial world. Organized by the American Federation of Arts and the Birmingham Museums Trust, the exhibition features 150 works from the collection of the Birmingham Museum of Art—many of which have never been shown outside the United Kingdom—including paintings, drawings, books, sculptures, textiles, stained glass, and other decorative arts. They reveal a passionate artistic and social vision that revolutionized the visual arts in Britain.

“Victorian Radicals” features work by notable Pre-Raphaelite and Arts & Crafts artists including Ford Madox Brown, Edward Burne-Jones, William Holman Hunt, John Everett Millais, William Morris, and Dante Gabriel Rossetti. Playing out against the backdrop of late-19th-century England, these influential movements were concerned with the relationship between art and nature, questions of class and gender, the value of the handmade versus machine production, and the search for beauty in an age of industry—all relevant issues in our current era of anxiety amid rapidly evolving technologies.

“This exhibition is perfect for Seattle right now,” says Chiyo Ishikawa, SAM’s Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture. “These artists wanted art to infuse every aspect of life, believing it could be a force for social good. Somewhat paradoxically, they looked back to England’s medieval past for inspiration, revering nature, authenticity, and the handmade—and in doing so, they brought up questions about the purpose of art in society that future generations would continue to grapple with.”

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Summer Impressions: Painting the American Landscape

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June 3, 2019

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California Art Club - FineArtConnoisseur.com — Jennifer Diehl, “Play Date,” oil, 16 x 20 in.

The California Art Club spotlights picturesque vistas that entice the viewer to kick back and enjoy the longer sunlit days with “Summer Impressions: Painting the American Landscape,” on view at its gallery at the California historical landmark The Old Mill in San Marino until September 8.

The display showcases more than 40 original paintings that capture quintessential images of summertime from coast to coast — ranging from captivating seascapes and majestic mountain views, to quaint small towns and sophisticated cities. The featured imagery includes popular Southern California sites such as Downtown Pasadena, the Los Angeles County Arboretum, Malibu Pier, and the Calafia cliffs of San Clemente.

“We are surrounded by a wide array of breathtaking sights during the hottest season of the year, which makes ‘Summer Impressions’ an ideal exhibition to launch the California Art Club’s Painting the American Landscape exhibition series,” says Bethany Lamonde, exhibitions manager for the century-old arts organization.

Following this exhibition at the California Art Club Gallery at The Old Mill, which is marking this year its 20th anniversary, the organization will continue this series with “Autumn Impressions,” to be unveiled on August 17 at the Muckenthaler Cultural Center in Fullerton, Calif.

All of the participating artists in “Summer Impressions” are juried members of the California Art Club: Peter Adams, Cliff Barnes, Nanette Biers, Larry Cannon, Karl Dempwolf, Jennifer Diehl, Susan Diehl, Esther Engelman, Mark Farina, Tatyana Fogarty, Terri Ford, Eric Fei Guan, Nita Harper, Carolyn Hesse-Low, Debra Holladay, Ellen Howard, Richard M. Humphrey, Anna T. Kelly, Chuck Kovacic, Paul Kratter, Calvin Liang, Lee MacLeod, Tiffanie Mang, Patricia McGeeney, Lisa Mozzini-McDill, Michael Obermeyer, Paul Panossian, Dakota Pitts, Robin Purcell, Rodolfo Rivademar, Jeff Sewell, Naomi Shachar, Liliana Simanton, W. Jason Situ, Robert Steele, Brenda Swenson, Durre Waseem, Karen Winters, and Lin Zheng.

The works are all available for acquisition, and a portion of the proceeds benefit the California Art Club’s educational programs. Learn more at californiaartclub.org.

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Historic New England presents Program in New England Studies

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June 2, 2019

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Historic New England presents Program in New England Studies, an intensive week-long exploration of New England decorative arts and architecture from Monday, June 17, to Saturday, June 22, 2019.

From the organizers:

At Program in New England Studies you’ll learn about New England culture from the seventeenth century to the Colonial Revival through artifacts and architecture.

Travel throughout New England to hear lectures and presentations by some of the country’s leading experts in regional history, architecture, preservation, and decorative arts. There are workshops, visits to Historic New England properties, other museums, and private homes and collections. Learn about Historic New England’s work to transform the Eustis Estate in Milton, Mass., into a museum and study center; and enjoy a champagne reception on the terrace of Beauport, the Sleeper-McCann House on Gloucester Harbor.

The program is a chance to meet people from all over the country who want to learn more about New England and to hear from the connoisseurs who want to share information about their area of expertise. It is perfect for museum professionals, graduate students, owners of historic houses, board members and volunteers of historic house museums, collectors, and anyone with a passion for New England history.

Visits to the recently opened Eustis Estate, the restored Quincy House Museum, and Strawbery Banke Museum are highlights of this year.

Expert lecturers include:
Nancy Carlisle, senior curator of collections, Historic New England
Cary Carson, retired vice president, Colonial Williamsburg Foundation
Lorna Condon, senior curator of library and archives, Historic New England
Claire Dempsey, social & architectural historian
J. Ritchie Garrison, director, Winterthur Program in American Material Culture
James L. Garvin, retired state architectural historian, New Hampshire Division of Historical Resources
Ben Haavik, team leader for property care, Historic New England
Brock Jobe, professor emeritus, Winterthur Program in American Material Culture
Laura Johnson, curator, Historic New England
Kevin D. Murphy, professor and chair of History of Art, Vanderbilt University
Robert Mussey, independent conservator
Jane C. Nylander, president emerita, Historic New England
Richard C. Nylander, curator emeritus, Historic New England
Kenneth C. Turino, manager of community engagement and exhibitions, Historic New England
Barbara McLean Ward, director and curator, Moffatt-Ladd House and Garden
Gerald W. R. Ward, senior consulting curator and Katharine Lane Weems senior curator emeritus, Museum of Fine Arts, Boston
Richard Guy Wilson, chair, Department of Architectural History, University of Virginia

The $1,600 registration fee includes all lectures, admissions, guided tours, transportation to and from special visits and excursions, daily breakfast and lunch, evening receptions, and various service charges. Enrollment is limited to twenty-five participants.
For a complete itinerary, registration information, and scholarships details click here.

Multiple scholarships are available for mid-career museum professionals and graduate students in the fields of architecture, decorative arts, material culture, or public history. Candidates from diverse cultural backgrounds are encouraged to apply. For information contact Ken Turino at 617-994-5958.

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MUSE: The Female Form

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June 2, 2019

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Ximena Rendon - FineArtConnoisseur.com — Ximena Rendón (b. 1983), “Spectre,” 2019, oil on aluminum panel, 20 x 20 in.

The artist Ximena Rendón has curated the exhibition MUSE, to be presented at SHOH Gallery (Berkeley, CA), which specializes in art from the Bay Area. On view will be paintings and drawings that focus primarily on the female form.

Rendón intentionally selected a mix of female and male artists: Eliza Ivanova, Jeremy Mann, Nadezda, Aaron Nagel, Zach Oldenkamp, Karla Ortiz, Albert Ramos, Ximena Rendón, Helice Wen, and Ondrea Wicklund. The opening reception is set for June 8.

Nadezda presents us with her “Doll House” series: seven small paintings that have us looking at the muse through the artist’s interpretation of antique dolls found in a Moscow shop, each doll being its maker’s interpretation of a past living woman.

Ximena Rendón shares three ethereal paintings on aluminum that each explore the border between the worlds of the body, the spirit, and our own unconscious. In looking at her work in MUSE, we question what is real or apparition.

Jeremy Mann places both of his subjects in darkened spaces, only emerging for the viewer through soft light as though from a ﬁreplace or early dawn breaking through a window. This light and his elegant and sensual brushstrokes give his works an intimacy that mesmerizes.

For more information about “MUSE,” which is on view June 5–29, 2019, please visit shohgallery.com.

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