Laurel Daniel, “Flowering Shadows,” oil on canvas, 30 x 24 in.
Announcing new works: “Laurel Daniel: Beaches, Birds, and Botanicals” will comprise 15 new studio paintings and 8 plein air works. Laurel was recently featured in Southwest Art magazine and is a well-known plein air and studio painter living in Austin, Texas, and St. Simons Island, Georgia.
We invited Laurel to share more with us about her new works:
“Beaches, Birds and Botanicals”
New Work by Laurel Daniel
There is something incredibly compelling about the ocean’s coastline. From the rhythm of the tides to the patterns of birds and flowers, its sights and sounds offer comfortable familiarity and excited wonder at the same time. This new body of work is all about that intimacy and grandeur; inspired by the Golden Isles of Georgia.
If the paintings feel personal, that is because they are. My first visit to St. Simons Island was for my honeymoon in 1979. I had heard a lot about this ancestral home of my husband’s family, and felt an instant affinity with it upon arrival. We stayed in the old beach cottage that was built by his great-grandfather in the early 1900s, and his grandmother lived next door. It was a love affair all around. We pledged to make annual visits and to carry on the family tradition with our own family.
When I started painting seriously in the early 2000s, a new dimension was added to my island experience. I began to study the coastal landscape through plein air adventures, with brush in hand and fresh new eyes. Taking walks on the beach at dawn, observing the ebb and flow of the marsh, watching birds hunt for breakfast . . . inspiration is everywhere. And it all finds a way onto my canvases.
This show celebrates a true place of my heart — a place that energizes, renews, and brings me great joy.
Laurel Daniel “Morning Flight,” oil on canvas, 40 x 30 in.Laurel Daniel, “Beach Reflections,” oil on canvas, 15 x 30 in.Laurel Daniel, “Distant Shore,” oil on canvas, 30 x 40 in.Laurel Daniel, “Golden Beach Path,” oil on canvas, 30 x 40 in.Laurel Daniel “Southern Beauties,” oil on canvas, 18 x 18 in.Laurel Daniel, “Life in the Layers,” oil on canvas, 36 x 18 in.Laurel Daniel, “Marsh Hunter,” oil on canvas, 20 x 20 in.
Awakenings
40 x 30 in.
Oil on canvas
Available at Reinert Fine Art
The painting Awakenings came about by chance, during an otherwise routine early morning sunrise at Folly Beach on James Island, one of the many barrier islands of South Carolina.
“One morning I was walking my dogs along the shoreline. It was overcast. I didn’t expect the sunrise to be anything spectacular, yet slowly, but surely, the sun began to rise. It ended up being spellbinding! The saying, “Life is not measured by the breathes we take, but by the moments that take our breath away,” sums up the experience! Such moments are why I’m here, why I paint. I want to encapsulate the type which stop you in your tracks and make you realize how lucky we are to witness the beauty of this earth.”
“When Stephanie moved to Charleston from Providence, Rhode Island, she felt immediately at home in the swampy, gothic landscape, thanks to the similarities with Rhode Island,” wrote Bob Bahr in a recent PleinAir Magazine feature article.
“Moving to Charleston’s thriving arts community has been so inspiring for me as an artist. It’s wonderful to see how people flock here to support the arts,” continues Stephanie.
Indeed, South Carolina is a source of constant inspiration and rebirth for this artist who loves to paint the many waterways, beaches and vast open skies of the Lowcountry.
“Although my work can often have vibrant color it is based in Tonalism which focuses on mood and poetic vision over place. I love pushing color” says Stephanie. “I do not stick to what I see. I paint what I feel. Each piece is a blend of the historical roots of tonalism and colors I see, making the work seem more contemporary. I want my paintings to feel timeless.”
Stephanie is a member of New York City’s Salmagundi Club, founded in 1871, and recently won the “F. Ballard Williams Fund Award” in the 2019 Spring Auction. She is also an elected member of the Plein Air Painters of the Southeast.
See more of Stephanie’s newest work online, as well as follow her on Facebook and Instagram.
While a select audience of Studio Incamminati students watch the demonstration, Facebook users around the globe are encouraged to make comments and ask questions about the painting process. Faculty members Natalie Italiano and noted figurative artist Jon deMartin moderate, taking the best questions and getting answers from the artists.
The three artists — Wendy Wagner, Dan Thompson, and Stephen Perkins — are trained in ways reflecting Studio Incamminati’s core education, but each demonstrates a different style and approach because this training enables “mastery” in an individual’s hands. The performance features five cameras, on-air commentary, and Facebook interactive Q&A, as each artist demonstrates a different aspect of Studio Incamminati training.
Spotlights:
Charcoal drawing by Wendy Wagner
School Fellow Wendy Wagner creates a portrait drawing in charcoal. Her efforts reveal the sitter’s gesture while she masses her shapes in from direct observation. Wendy “attacks” the pose using the Studio Incamminati protocol: straight lines and angles, shadow shapes, and squinting. She scrutinizes edges and values, and relies on her knowledge of landmarks. Her intention is to reveal the fundamentals of a volumetric method through charcoal, which can be developed further to a finish.
School Dean and Instructor Dan Thompson draws in graphite pencil. His approach combines mythologies — bringing skills from exercises and disciplines taught at Studio Incamminati — into one process. Dan develops his drawing from a gestural start, maneuvering through proportion, and drawing into the middle stages of structure and tonality. Ultimately, he brings the drawing to completion with a display of “finished modeling” hatch marks.
Sculpture relief by Stephen Perkins
School Instructor Stephen Perkins works in relief sculpture, described as the compression, or flattening, of three-dimensional form and an art form that adorns much of the architecture and most of the coinage of humankind. Like painting and drawing, it starts with simple lines to capture gesture and large shapes. The method follows the principles of working from large to small, from mass to detail. Subtleties of human anatomy, structure, proportion, and expression are all vital elements. Relief sculpture compresses the subject’s full volume, and that compression must be of the same ratio for the entire subject. It lies somewhere between two dimensional and three dimensional. Steve’s use of sculpture demonstrates, through “form-making,” clay modeling as a medium analogous to drawing.
Guest model Peter Trippi
Expert and curator Peter Trippi is the Editor-in-Chief of Fine Art Connoisseur magazine and the guest model for this event. Previously, he directed New York’s Dahesh Museum of Art, which specializes in 19th-century European academic painting and sculpture. He has held senior posts at the Brooklyn Museum and the Baltimore Museum of Art. Trippi’s monograph, “J. W. Waterhouse,” published by Phaidon Press, reassesses the Victorian painter best known for his “Lady of Shalott” at the Tate Britain. Trippi co-curated the Waterhouse retrospective in the Netherlands, England, and Canada. In 2016, Trippi co-curated the exhibition, “Lawrence Alma-Tadema: At Home in Antiquity,” which visited the Fries Museum (Leeuwarden, Netherlands), Belvedere (Vienna, Austria), and Leighton House Museum (London). Trippi co-edited and contributed to the 250-page book that accompanied the project.
WATCH and participate in “Seeing, Creating, Progressing: Drawing and Sculpture” at Facebook.com/TheStudioIncamminati on Saturday, April 6, 12:30 – 4:30 p.m. (EDT).
AND, Friday, April 5 at Studio Incamminati: The Higher Aim of Art presents “Painting Poetry and the Occult: J.W.Waterhouse’s Thematic Inspirations” with Peter Trippi
Peter Trippi explores the diverse mythological, literary and occultists sources that Waterhouse revered. This lecture is a part of Studio Incamminati’s continuing “Higher Aim of Art” series, which brings internationally renowned thought leaders to discuss personal creative philosophies. Register for this lecture here.
The Minnesota Watercolor Society recently announced the winners of its show “Spring Sightings” at Reedy Gallery, Minnesota Arboretum, University of Minnesota Landscape Arboretum.
From the Society:
The following awards were given out by juror and judge David Feinberg. Feinberg is an Associate Professor of Drawing and Painting at the University of Minnesota, Minneapolis and is a frequent juror for art exhibits in the Twin Cities metro area.
When Feinberg sent the list of paintings he had chosen for the show, he wrote, “I believe I experienced juroring the most talented artists ever applying for an exhibition, and thus it was extremely difficult to eliminate so many works that I really liked.”
“Tea Birds” by Julie Allen
Best of Show: Julie Allen – “Tea Birds” – Minnetrista, MN
Emerich Stordahl Founders: Sonja Hutchinson – “Geisha” – Wayzata, MN
First honor: Virginia Haines – “Rural Chaos” – Hudson, WI
Second honor: Rick Lundsten – “Safe Harbor” – Park Rapids, MN
Third honor: Nancy Webert – “Up North” – Plymouth, MN
“Geisha” by Sonja Hutchinson“Rural Chaos” by Virginia Haines
Awards of Merit
Merit: David Smith – “Rolling Acres” – Eden Prairie, MN
Merit: Tara Sweeney – “Not Feeling It” – Saint Paul, MN
“Rolling Acres” by David Smith“Not Feeling It” by Tara Sweeney
Honorable Mentions
Julia Jaakola – “Trust” – Anoka, MN
Janice Morris – “We Shall Be Counted” – Rice Lake, WI
Fred Dingler – “Tree in a Boat” – Burnsville, MN
Final Touches
18 x 24 in.
Oil on mounted linen
$2,800 Available through the artist
Final Touches is part of Sandra Corpora’s series of figurative paintings depicting familiar and very real subjects. Sandra views the collection of paintings as her exploration of contemporary genre painting.
Another work in the series, Wine Merchant, is displayed in the juried show Virtuosos of the OPA at Cutter and Cutter Fine Art Gallery in St. Augustine, Florida and appears in an upcoming issue of Fine Art Connoisseur Magazine. Another, Placido, was accepted in the OPA (Oil Painters of America) National Exhibition at Illume Gallery of Fine Art in St. George, Utah. The opening reception is Friday, May 10th. The exhibit and sale continues through June 7th.
Sandra paints very often from life and speaks of feeling an emotional connection to the subjects. This energy and her keen observation are both apparent in the final paintings.
“Evident in each piece is Corpora’s intense study of inanimate or animate subject, her skill in rendering color, light, form, and personality, and her drive for learning and refinement,” wrote Dr. Christine I. Oaklander, art historian and curator, speaking of her figurative, landscape and still life work.
Collectors express similar remarks. “Your painting jumped off the wall and into my arms…so I had to buy it. I adore it. I love your use of light and your brushstrokes are bold and luscious,” Joan Bromley recently told Sandra.
Ed Courrier of the Lehigh Valley Press wrote of her landscape paintings as figurative work “…stunning in size, detail and atmosphere.”
Honors and awards earned in this past year have been numerous. Sandra won the August Master Class Art Muse Contest. PleinAir Magazine honored her in the June/July PleinAir Salon competition with Second Overall Winner and Best Animal and the Artist Magazine Annual Competition earned Sandra the Third Place Award for Animal/Wildlife. Other honors have included an Award of Excellence from the American Women Artists Juried Exhibition at the Haggin Museum in Stockton, California, acceptance in the Portrait Society of America 14th Annual Members Only Competition Finalist for both Non-Commissioned Portrait And Animals as Subject, and being juried into both The American Impressionist Society 19th Annual National Juried Exhibition at the Peninsula School of Art and NOAPS Best of America Small Painting National Exhibition in Nashville, Tennessee.
Learn about Sandra and see more of her paintings on her website and stay connected by signing up for her e-newsletter. Sandra’s latest paintings are also on Instagram.
Flatiron in the Snow
Oil on linen panel
22 x 15 in.
Recipient of the Fine Art Connoisseur Magazine Award of Excellence at the American Artists Professional League’s 90th Anniversary Grand National Exhibition at the Salmagundi Club in New York City.
Bill grew up and continues to live on Long Island, New York. His paintings capture his surroundings as visual stories told with color and composition, light and shadow. They are current representations of our time and place through the time-honored traditions of oil on canvas.
An award-winning artist classically trained in the tradition of the old masters, Bill studied at The Stevenson Academy of Traditional Painting in Sea Cliff, New York.
Morocco: The Marketplace in Marrakech
22 x 28 in.
Oil on canvas
2018
In 2009, I had the wonderful experience of painting in Morocco. The Jemaa el-Fnaa is a square and market place in Marrakesh’s medina quarter. It remains the main square of Marrakesh, used by locals and tourists, and its’ atmospheric character inspired this painting.
David Tanner is a representational oil painter in Richmond, Virginia. Since receiving a Bachelor of Fine Arts degree in illustration from Virginia Commonwealth University in 1991, his study of traditional painting technique includes workshops with modern masters Nelson Shanks in Philadelphia and Robert Liberace in Washington DC. After more than a decade of commissioned oil portraiture, David has focused on figurative and plein-air painting since 2006. Frequent traveling has provided rich opportunities for capturing the light and color of locations in Russia, Italy, Spain, Morocco, and Great Britain. While visiting painting collections in these countries, David has studied the work of Sargent, Sorolla, Zorn, Repin, and other late 19th and early 20th century masters.
Juried national exhibitions include Oil Painters of America, Salon International, Plein-Air Richmond, and Bath County Plein-Air Festival. National awards include eleven paintings honored in the Portrait Society of America’s Member’s Only Competition between 2011 & 2018. In 2018, his painting First Draft was awarded a Certificate of Excellence in The Portrait Society’s International Portrait Competition; his painting Fiddler On The Balcony was awarded “Select 50” in the 2019 PSA International Portrait Competition. Other honors include placement in competitions hosted by PleinAir Magazine, The Artist’s Magazine, Raymar Fine Art and BoldBrush.
David’s Self-Portrait won 1st prize in American Artist magazine’s annual competition and was featured on the cover of this respected publication in September 2012. He has also been featured in Fine Art Connoisseur Magazine and American Art Collector. A five-page interview on his working methods can be found in PleinAir Magazine April 2015. In November 2016, David was interviewed for PBS television’s “Virginia Currents”.
David is an active member of the Portrait Society of America, and teaches oil painting at the Visual Arts Center of Richmond, where he was elected Master Teacher in 2006.
A rotating display of available paintings can be seen year-round in David’s gallery space at Crossroads Art Center (2016 Staples Mill Road, Richmond, Virginia, Mon-Sat 10-6, Sun 12-4).
View more of David’s work, read his blog, and sign up for his newsletter at DavidTannerFineArt.com.
Lisa Egeli’s paintings bear witness to nature’s strength and vulnerability, calm and power, light and darkness. Each is a successful effort to make us linger our gaze, and thus our connection with, the world around us. She has been described as “a meticulous connoisseur of nature.”
“Fundamental to the whole process is observation,” says Lisa, “through which a subject or scene makes an impact on me. I, in turn, try to convey this to my canvas.” Lisa learned from her father, painter Peter Even Egeli, the importance of developing one’s ability to visualize a painting in the “mind’s eye.”
April 5th through 28th South Street Art Gallery in Easton, Maryland, is presenting a solo exhibition of Lisa’s recent work. The opening reception with the artist is April 5th.
“Viewing a Lisa Egeli painting is like entering a special dream place, taking in the skillfully rendered scene, the exquisite details, the emotional feel of the vista she so expertly conveys. I have seen few landscape painters who capture the essence of a place as masterfully as Lisa does. Hers is a singular vision of nature,” says Alan Brock, South Street Art Gallery owner and principal.
Lisa has traveled and painted on location around the world and has been featured in Fine Art Connoisseur Magazine as one of “Today’s Masters.” She is a third-generation artist in a family of artists, described by many as one of America’s largest artistic dynasties. Her formal training was at the American Academy of Art in Chicago. Lisa is an active member of many prestigious art clubs and associations. She serves as president and is a fellow member in the American Society of Marine Artists, a Society of Animal Artists Signature Member and a member of both the Salmagundi Club, founded in 1871 in New York City, and the Washington Society of Landscape Painters. Her paintings are exhibited and collected internationally.
South Street Art Gallery is known as a destination for an unending journey of discovering artwork by internationally-recognized gallery artists, such as Lisa, as well as guest artists. Visit the gallery in Easton and online often to see new works in a variety of mediums and an expansive range of scale.
Many of Lisa’s paintings can be viewed online. To be among the first to view her work, sign up for South Street Art Gallery e-newsletter and following the gallery on Facebook and Instagram.
David Michael Bowers, “Robert Stroud (Birdman of Alcatraz),” oil, 18 x 14 in.
“Beyond the Figure: A Group Exhibition curated by Quang Ho” features the works of Stephen Bauman, Mia Bergeron, David Michael Bowers, David Cheifetz, Scott Fraser, Ron Hicks, Quang Ho, Jeremy Mann, Sherrie McGraw, Jordon Sokol, Daniel Sprick, Adrienne Stein, Kate Stone, Nicolas Uribe, Kent Williams, and Vincent Xeus.
Mia Bergeron, “Ascending,” oil, 36 x 24 in.
From Gallery 1261:
This April, Gallery 1261 presents a group exhibition of figurative works as curated by the master painter Quang Ho. The premise of this exhibition is centered on presenting the human figure and its exponential beauty with a more contemporary take on interpreting the subject matter.
“With this exhibition, I wanted to invite the top artists in the country and ask them to approach figure in a non-traditional way, thinking about this differently. I was curious to see if they can have a contemporary twist to a classical subject matter.” This collection of artworks will not be solely about the “nude,” as much as the figure in the environment, portraiture, and interesting compositions that stray from the classically familiar.
Jordan Sokol, “Abyss,” oil, 26 x 35 in.
This curated exhibition is a unique opportunity to share new work by these internationally renowned painters with the Denver community of art patrons.
The members of “Beyond the Figure” have exhibited at and been recognized, featured, and collected by some of the most prestigious art institutions and collections, including Fine Art Connoisseur, the Florence Academy of Art, the Arnot Art Museum, the Metropolitan Museum of Art, New York, and the Fine Arts Museums of San Francisco to name a few.
Vincent Xeus, “Leeloo,” oil, 12 x 12 in.Quang Ho, “Studio,” oil, 24 x 24 in.
Each painter manages to present various elements of the human figure in a way that arouses curiosity and inspires the viewer to admire this simple, yet visually complex, subject matter.
Vincent Van Gogh (Dutch, 1853–1890), “Vase with Poppies,” c. 1886, oil on canvas, 21 1/2 x 17 3/4 in. Wadsworth Atheneum Museum of Art. Bequest of Anne Parrish Titzell. (1957.617)
After nearly 30 years of doubt, the Wadsworth Atheneum’s painting “Vase with Poppies” by Vincent Van Gogh, has now been fully authenticated by specialists at the Van Gogh Museum.
Photograph of Anne Parrish Titzell, c. 1950. Photograph Collection, Wadsworth Atheneum Museum of Art Archives. (RG9_1_F3661.2)
While the painting came to the Wadsworth in a bequest from the writer and French Impressionist collector Anne Parrish Titzell in 1957 along with works by Renoir, Monet, and Redon, “Vase with Poppies” has been difficult to confidently attribute since questions about Van Gogh’s practice remained unresolved. Experts in Amsterdam following scientific and art-historical inquiry have determined that the painting technically and stylistically concurs with Van Gogh’s documented work in 1886.
Vincent Van Gogh (Dutch, 1853–1890), “Self-Portrait,” c. 1887, oil on canvas, 15 15/16 x 13 3/8 in. Wadsworth Atheneum Museum of Art. Gift of Philip L. Goodwin in memory of his mother, Josephine S. Goodwin. (1954.189)
This new finding means that the Wadsworth is home to two Van Goghs; “Vase with Poppies” will join “Self Portrait,” both painted during his Paris period 1886–1887 atop earlier paintings.
“Vase with Poppies” fits stylistically with a group of works the artist made shortly after arriving in Paris in the spring of 1886. Van Gogh took advantage of the easy access to flowers as he reinvented his stylistic approach after two years of depicting peasant life in Nuenen. His embrace of a more vibrant palette and light-filled renderings of humble subjects — flowers, nuts, fruit — is evident in this simple composition of cut poppies in a plain cylindrical vase.
In his words in an 1886 letter to fellow artist Horace M. Livens, “And now for what regards what I myself have been doing, I have lacked money for paying models else I had entirely given myself to figure painting. But I have made a series of color studies in painting, simply flowers, red poppies, blue corn flowers and myosotys, white and rose roses, yellow chrysanthemums — seeking oppositions of blue with orange, red and green, yellow and violet seeking les tons rompus et neutres to harmonize brutal extremes.”
Concurrent to the physical examinations by the team at the Van Gogh Museum, recent investigations uncovered that the painting was exhibited at the watershed 1913 Armory Show in New York City. These new investigations were all prompted by the Wadsworth conservation lab using newly acquired imaging equipment through the generosity of the Sherman Fairchild Foundation. Digital x-ray and advanced infrared reflectograms revealed with greater clarity than ever before the presence of an earlier painting beneath the current composition. These early forensic findings made sending “Vase with Poppies” to the Van Gogh Museum for advanced study the logical next step. Their work — analyzing the paint, materials, linen, style — enabled a level of professional scrutiny and artist-specific context to arrive at this new judgment of authenticity with great confidence.
X-ray of “Vase with Poppies,” c. 1886 by Vincent Van Gogh. Wadsworth Atheneum Museum of Art Conservation Lab.X-ray (rotated), “Vase with Poppies,” c. 1886 by Vincent Van Gogh. Wadsworth Atheneum Museum of Art Conservation Lab.X-ray (rotated and annotated), “Vase with Poppies,” c. 1886 by Vincent Van Gogh. Wadsworth Atheneum Museum of Art Conservation Lab.
“It was a pleasure for our museum to work together with the Wadsworth Atheneum on this particular project,” says Louis van Tilborgh, Senior Researcher, Van Gogh Museum, and Professor of Art History, specializing in Van Gogh, University of Amsterdam. “When in 1970 Van Gogh’s oeuvre catalogue by De la Faille was published, it was seen by many as a progress report. It contained too many “floaters” in terms of both dating and authenticity to admit that a firm, unequivocal, authentic oeuvre had been established, to quote the eminent art historian Ronald Pickvance. Now, almost fifty years later, one can say that slowly but surely, real progress is being made in Van Gogh studies. Some of these floaters even turned out to be firmly anchored in Van Gogh’s oeuvre, and ‘Vase with Poppies,’ I am happy to say, is one of them.”
The painting will return home to the Wadsworth Atheneum in Hartford, Connecticut, just in time for the opening of the 38th Annual Fine Art and Flowers on Friday, April 26, 2019. “Vase with Poppies” will next go on loan to Europe for the Museum Barberini’s exhibition, “Van Gogh: Still Lifes” (Potsdam, Germany, October 26, 2019, to February 2, 2020), where it will join a number of these transitional works, allowing the public and scholars alike access to this exciting development through side-by-side display.
Pierre-Auguste Renoir (French, 1841–1919), “Claude Monet Painting in His Garden at Argenteuil,” 1873, oil on canvas, 18 3/8 x 23 1/2 in. Wadsworth Atheneum Museum of Art. Bequest of Anne Parrish Titzell. (1957.614)Claude Monet (French, 1840–1926), “Nymphéas (Water Lilies),’ 1907, oil on canvas, 31 7/8 x 36 1/4 in. Wadsworth Atheneum Museum of Art. Bequest of Anne Parrish Titzell. (1957.622)Odilon Redon (French, 1840–1916), “Bouquet of Flowers in a Green Vase,” c. 1915, oil on canvas. 28 3/4 x 21 1/4 in. Wadsworth Atheneum Museum of Art. Bequest of Anne Parrish Titzell. (1957.618)
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