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Harley Brown Presented With Lifetime Achievement Award

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Harley Brown Canadian artist - Left to Right: Publisher & CEO Eric Rhoads; Artist Harley Brown; Editor-in-Chief of PleinAir Magazine, Kelly Kane; and Editor of Fine Art Today, Cherie Dawn Haas on stage at the 2025 Plein Air Convention & Expo (PACE)
Left to Right: Publisher & CEO Eric Rhoads; Artist Harley Brown; Editor-in-Chief of PleinAir Magazine, Kelly Kane; and Editor of Fine Art Today, Cherie Dawn Haas on stage at the 2025 Plein Air Convention & Expo (PACE)

Harley Brown, an iconic Canadian artist known for Western and Indigenous portraits, was honored with a lifetime achievement award at the Plein Air Convention & Expo last week in Reno, Nevada. Watch the presentation video here, and help us congratulation him in the Comments section below.

Harley Brown, Canadian Artist Honored

Born in Edmonton, Alberta, in 1939, Harley Brown spent his formative years in Moose Jaw, Saskatchewan with his father Harley Sr., his mother Gertrude, his sister Julie, and his brother Raymond. Harley’s artistic destiny was set in motion at the tender age of seven when his father, an artist himself, showed him a portrait he had drawn of Ronald Colman. Then, Harley knew he’d become a professional artist, thinking, “This is what I want to do for the rest of my life.” His teachers recognized this as well, encouraging him to focus on art over other subjects.

After graduating, his father lovingly gave him five minutes to decide to either get a job and pay rent at home or go to art school. Harley says it took three seconds for him to choose art school and in 1958, he began his studies at the Alberta College of Fine Art in Calgary, where he began to draw and paint the Old West.

Once out of school, he got a peddler’s license and sketched portraits door to door for up to $5 each at a time when the cost of bread was 20 cents a loaf. When a man agreed to a portrait for fifty dollars, Harley offered him ten dollars for every friend who also commissioned a portrait, and soon, his phone was ringing off the hook.

He also played the honky-tonk piano in an eccentric nightclub and often joked that if he hadn’t become an artist, he’d be playing piano in New Orleans. Later, his workshops often included a piano for Harley to entertain his students.

Among his most celebrated subjects are Canada’s Indigenous communities. Harley formed deep relationships in the 1950s, attending PowWows and capturing narratives etched into their faces. To support Indigenous artists, Harley established the Harley Brown Scholarship at the Alberta University of the Arts. This initiative is further supported by the Calgary Stampede Art Auction, where Harley served as Grand Marshal of the parade the same year Prince William and Princess Kate attended.

In the early 1960s Harley moved to England to continue his studies. While still knocking on doors for work, someone selected his iconic portrait “Hawaiian Girl.” With that, he received his first royalty check for $700, marking a major milestone in his career.

Shortly after, Harley’s alter ego came out as an abstract artist known only as Balinofski. Harley describes him as an impulsive artist who loved only two things: painting and his true love, Fleur, who refused to be second to art.

Returning to Calgary in 1966, he sold and showed his art any way he could, from fairgrounds to janitor’s offices and still door-to-door. To take his art to the next level, he needed to commit fully. In a life-altering decision, he gave up drinking, smoking, and partying, dedicating himself entirely to his art, his wife, and his growing family.

Since then, Harley has achieved membership in prestigious organizations such as the National Academy of Western Art, the National Association of Watercolor Artists, the Oil Painters of America, and the Cowboy Hall of Fame. He says, “I learn from every painting I do.”

Harley is a founding member of the Northwest Corridor Rendezvous Artists and one of the original members of the acclaimed Tucson 7 artist group. Harley even had his hands and footprints cemented in Canada’s Walk of Fame. He considers his membership in the Cowboy Artists of America a pivotal moment in his career, and has fond memories of creating cover illustrations for Filmfax magazine and others.

Earlier this year, he was surrounded by family with the passing of his wife Carol, his muse and partner in all things art and life – the balance in Harley’s world. Today, Harley continues to inspire through his art and mentorship.

Often referred to as “Canada’s gift to all artists,” Harley embodies the values of collaboration, inclusion, and generosity.

Cherie Dawn Haas, Harley Brown, Lyn Diefenbach, and Kelly Kane during the Reno Riverwalk Paint-Out at PACE
Cherie Dawn Haas, Harley Brown, Lyn Diefenbach, and Kelly Kane during the Reno Riverwalk Paint-Out at PACE. Join us next year for the Plein Air Convention in The Ozarks!

View more artist and collector profiles here at FineArtConnoisseur.com.

60 Masterworks from Puerto Rico on Tour

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Frederic Leighton (1830–1896), "Flaming June," 1895, oil on canvas, 46 7/8 x 46 7/8 in., Museo de Arte de Ponce
Frederic Leighton (1830–1896), "Flaming June," 1895, oil on canvas, 46 7/8 x 46 7/8 in., Museo de Arte de Ponce

Puerto Rico’s remarkable Museo de Arte de Ponce (MAP) has generated a large traveling exhibition, “The Sense of Beauty: Six Centuries of Painting from Museo de Arte de Ponce.” Its organizing partner — and the first of six U.S. museums on the show’s tour — is the Meadows Museum at Southern Methodist University in Dallas. Their collaboration makes sense given that both institutions were founded by individual collectors in the late 1950s and then opened to the public in 1965. Moreover, the project was conceived and developed by Iraida Rodríguez-Negrón, a MAP curator who began her career at the Meadows.

“The Sense of Beauty”
Meadows Museum, Dallas, Texas
meadowsmuseumdallas.org
through June 22, 2025

Located in an elegant city on the southern coast of Puerto Rico, MAP is the largest art museum in the Caribbean region thanks to its permanent collection of more than 4,000 objects. Its 1965 building designed by the modernist architect Edward Durell Stone has been undergoing major repairs since 2020, when a series of earthquakes occurred offshore. MAP has remained visible, however, mounting exhibitions in its annex building and lending pieces generously for projects around the world.

On view in Dallas now are 60 MAP masterworks created by European, American, and Puerto Rican painters who worked between the 16th century and today. They include religious pieces by Lucas Cranach the Elder, Peter Paul Rubens, and Anthony van Dyck; historical and mythical scenes by Jean-Léon Gérôme and Angelica Kauffmann; portraits by Joshua Reynolds and Elisabeth Louise Vigée-LeBrun; landscapes by Claude Lorrain and Gustave Courbet; and genre scenes by William-Adolphe Bouguereau and James Tissot. Particularly famous is the work illustrated above, Frederic Leighton’s “Flaming June,” which MAP founder Luis A. Ferré bought in London when almost everyone in England had forgotten about Victorian art. “The Sense of Beauty” also contains a group of Puerto Rican works, including devotional images by the much-admired 18th-century painter José Campeche y Jordán.

The Meadows is an international leader in Spanish art, so MAP is sending it major pieces by El Greco, Jusepe de Ribera, Francisco de Goya, Raimundo de Madrazo y Garreta, and Joaquín Sorolla y Bastida. Meadows curator Patricia Manzano Rodríguez says she will install them “alongside works in our permanent collection, where they can complement each other and spark dialogues.” MAP is also providing two wooden sculptures by 17th-century artists Pedro de Mena and José de Mora.

In appreciation, the Meadows will loan to Ponce, once its building reopens, Diego Velázquez’s renowned Female Figure (Sibyl with Tabula Rasa). An expert on Spanish art, Manzano Rodríguez will give a public lecture on May 1 about the Spanish queen consort Mariana of Austria, who is represented in MAP’s portrait by Jean Bautista Martínez del Mazo.

After “The Sense of Beauty” closes at Dallas, it will move to the Brigham Young University Museum of Art (Provo, Utah); Museum of Fine Arts, Houston; Oklahoma City Museum of Art; Wadsworth Atheneum Museum of Art (Hartford); and Cincinnati Art Museum. A bilingual catalogue accompanies the exhibition.

View fine art auctions, exhibitions, and more events by the month on our calendar page at FineArtConnoisseur.com – updated daily!

Virtual Gallery Walk for May 23rd, 2025

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

The Garden Gone Wild, Kathleen Kalinowski, oil on linen, 16 x 20 in; Kathleen Kalinowski

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Headwaters, Larry Cannon, watercolor, 20 x 16 in; Larry Cannon

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Sittin By the Dock, Paula Holztclaw, oil, 30 x 30 in; Paula Holtzclaw Fine Art

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River of Life- Navajo Bridge, AZ, Marian Fortunati, oil on linen panel, 18 x14 in; Marian Fortunati

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

Artist Spotlight: Chris Bell

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Painting on St. Simons Island, GA during the American Impressionist Society paint out 2024

What is the most interesting thing you have painted/sculpted and why?
Chris Bell: Recently, I had the pleasure of painting a working shrimp boat near Beaufort, SC. I arrived at the fish company late in the afternoon as the sun was beginning to set. The boat (named “Miss Lily”) was docked nearby with her name proudly displayed on the hull. As the sun set behind her after a long day of work, I could just imagine the stories the vessel must have after a lifetime on the water. As small fish companies struggle along the coast, I think it is important to capture this way of life.

How do you find inspiration?
Chris Bell: I find inspiration by getting up early and getting “lost.” When the lighting is beautiful, anything can become a painting, and so I prioritize looking for subject matter during the mornings, afternoons, and any other time I think the light looks right. I also have a habit of turning down roads that I’m not familiar with and exploring a bit. I have been rewarded over and over by serendipitous inspiration.

To see more of Chris’ work, visit:
Website 

oil painting of light shining on river bend surrounded by trees
Chris Bell, Current of Light, oil on linen, 48 x 36 in
oil painting of soft hues of sky light by ocean with waves crashing
Chris Bell, Softly Beneath the Evening Sky, oil on linen, 36 x 48 in

Virtual Gallery Walk for May 16th, 2025

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Sundown at Smith Rock, Barbara Jaenicke, oil on linen panel, 12 x 12 in; Mockingbird Gallery Group

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Silence Uplifts Our Soul, Kathleen Kalinowski, oil on linen, 24 x 24 in; Kathleen Kalinowski

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Valley of the Moon, Larry Cannon, watercolor, 10 x 14 in; Larry Cannon

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Canyon Dawn, Marian Fortunati, oil on canvas, 20 x 24 in; Marian Fortunati

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Passages, Paula B. Holtzclaw, oil, 16 x 20 in; Paula B. Holtzclaw; National Oil and Acrylic Painters Best of America Small Works Exhibition

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Studio Corner, Juliette Aristides, oil on panel, 28 x 22 in; LeQuire Gallery

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Arc de Triomphe du Carrousel, Lori Putnam, oil on linen, 12 x 16 in; LeQuire Gallery

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

Artist Spotlight: Chelsie Murfee

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Chelsie sitting on the floor, posing with her drawings
Artist, Chelsie with graphite and mixed media drawings

How did you develop your unique style?
Chelsie Murfee: I’ve always been drawn to dry media, especially graphite, for its balance of precision and softness. My mixed media drawing style developed from my desire to expand the graphite range and deepen dark tones in my drawings. I spend a lot of time exploring dark scales — noticing which marks feel warm or cool, how some reflect light while others absorb it completely leaving a rich, buttery finish. Through careful blending, I weave together warm and cool dark tones into a unified surface.

What is the best thing about being an artist?
Chelsie Murfee: For me, the best part is having the freedom to follow what inspires me. I get to stay curious, keep exploring, and see where the work takes me. I also really value the connections that come from a creative lifestyle — the conversations, shared experiences, and relationships that build around the art or through the creation of the work.

To see more of Chelsie’s work, visit:
website 

graphite drawing of traffic signs
Dangerous, Chelsie Murfee, graphite and mixed media on paper, 20 x 38 in; Chelsie Nicole Contemporary
graphite portrait drawing of worker kneeling; plain background
Survey at Battlefield Intersection, graphite and mixed media on paper, 35 x 52 in; Chelsie Nicole Contemporary

Virtual Gallery Walk for May 9th, 2025

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Moment of Golden Glow, Barbara Jaenicke, oil on stretched linen, 20 x 20 in; Mockingbird Gallery Group

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Into the Woods, Laurie Hendricks, oil on canvas, 12 x 9 in; Laurie Hendricks

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Tranquil Is The Evening, Kathleen Kalinowski, oil on linen, 24 x 36 in; Kathleen Kalinowski

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Processional, David Jenks, oil on canvas, 24 x 48 in; Skidmore Contemporary Art

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

3 Exhibitions to Catch at the Farnsworth

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Farnsworth Art Museum - Anna Eliza Hardy (1839–1934), "Blackberries," c. 1860, oil on canvas, 16 x 12 in., Farnsworth Art Museum, gift of Elizabeth B. Noyce, 1996.13.3
Anna Eliza Hardy (1839–1934), "Blackberries," c. 1860, oil on canvas, 16 x 12 in., Farnsworth Art Museum, gift of Elizabeth B. Noyce, 1996.13.3

This year the Farnsworth Art Museum (Rockland, Maine) has mounted three exhibitions devoted to gifted female artists of different generations.

Coming first chronologically is “Capturing Her Environment: Women Artists, 1870–1930,” a survey of nine women who worked in Maine yet were typically dismissed as hobby painters or overshadowed by their male artist relatives. On view through July 20, 2025, this display features works drawn primarily from the museum’s collection, including miniatures, still lifes, landscapes, and botanical illustrations.

A summer resident of Maine, Ann Craven (b. 1967) is the focus of “Ann Craven: Painted Time (2020–2024),” on view through January 4, 2026. The show moves beyond the motifs for which she is best known — the moon, flowers, and birds — to explore the mechanics of painting itself. Here seriality, repetition, and shifts in scale function as both meditative and formal devices, connecting viewers to the recurring rhythms of nature.

Finally, painter Anne Buckwalter (b. 1987) may be based in Durham, Maine, but she is deeply inspired by the folk traditions of her Pennsylvania Dutch heritage. She arranges disparate objects in mysterious domestic interiors, and this show of new paintings and two site-specific murals offers what she calls a “mash-up of objects and patterns from iconic New England spinster homes (the Farnsworth homestead, Sarah Orne Jewett House, Emily Dickinson house… maybe others?) and some of my own personal/domestic objects.” It closes September 21, just as summer draws to a close in Maine.

For more information, visit farnsworthmuseum.org.

View more art museum announcements here at FineArtConnoisseur.com.

Through July 6: Picturing Nature

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British landscapes - John Constable (1776–1837), "A View on the Banks of the River Stour at Flatford," c. 1809–16, oil on millboard
John Constable (1776–1837), "A View on the Banks of the River Stour at Flatford," c. 1809–16, oil on millboard, laid down on panel, 9 3/4 x 12 7/16 in., Museum of Fine Arts, Houston, Stuart Collection, gift of Francita Stuart Koelsch Ulmer in memory of James Chillman, Jr., the museum’s first director

The Museum of Fine Arts, Houston (MFAH) is presenting the exhibition “Picturing Nature: The Stuart Collection of 18th- and 19th-Century British Landscapes and Beyond.” On view are more than 70 watercolors, drawings, prints, and oil sketches created by such talents as John Constable, J.M.W. Turner, Paul Sandby, Thomas Gainsborough, Richard Wilson, John Robert Cozens, Samuel Palmer, and John Sell Cotman.

The museum has acquired all of them since 2015, when Francita Stuart Koelsch Ulmer established the Stuart Collection in memory of her parents, Robert Cummins Stuart and Frances Wells Stuart. The family has long been engaged with both the MFAH and British art: Ulmer’s great-grandmother helped found the museum in the 1920s, and Ulmer inherited a Constable oil sketch from her grandmother.

The collection highlights Britain’s “golden age of watercolor” and artists’ shift in attention from topographical and descriptive landscape scenes toward intensely personal treatments of nature. They were responding not only to such Romantic poets as William Wordsworth, but also to their era’s rapid industrialization, which produced an urban middle class who increasingly sought refuge in rural settings. From the late 18th century onward, British artists earned global acclaim for their innovative techniques in watercolor, raising its status from a preparatory medium to a prestigious artform in its own right.

The Stuart Collection’s guiding hand, MFAH curator Dena M. Woodall, notes that the museum owned only a handful of British drawings before this initiative began. She has sought to obtain multiple examples by key artists, as well as pairs of works created by a teacher and his student, such as Francis Towne and John White Abbott. The collection’s cornerstone is the oil sketch illustrated here, which showcases Constable’s mastery of fleeting atmospheric effects.

On View: “Picturing Nature”
Museum of Fine Arts Houston
mfah.org
through July 6, 2025

View more art museum announcements here at FineArtConnoisseur.com.

Artist Spotlight: Karen Ann Hitt, An Original Hitt

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Karen with her painting hanging in gallery
Karen Ann Hitt with Majesty By Still Waters painted for a benefit exhibit to honor Caspersen Beach which was decimated by back to back hurricanes. All roads remain closed to the area. Available at Collectors Gallery and Framery in Venice FL to help benefit a hard hit area. 40x30 oil on linen, 2025

What is the best thing about being an artist?
Karen Ann Hitt: Becoming known for painting the effects of the sky, I’m blessed that I may keep my head in the clouds! Seriously though, continually seeking studying opportunities for my profession is an awesome thing about being an artist and sharing with others how to always look up too. I have had many say I have taught them to see the ‘light bulbs’ in life.

How did you develop your unique style?
Karen Ann Hitt: From my first year of college to today, by learning from the ‘Master’s.’ In my very first college painting class at Parsons School of Design in NY, my instructor assigned me to paint a Sargent of choice. Went to the library to research, and found what I thought the best portrait subject. Taking it to class with me, I shared with my instructor;” it’s a lot easier to find reference of Generals than Sergeants’” Yes, my instructor fell out of her chair! Coming from a military family straight from High School, at eighteen, I had never learned of Sargent. That utter embarrassment added to my style. I have NEVER stopped studying the Master Artist to this day. Two beloved quotes: “Ancora Imparo – I am still learning.” Michelangelo said it when he was 87 years old and working on St. Peter’s Basilica. And “Where the spirit does not work with the hand, there is no art.”—Leonardo da Vinci
These too define my unique style.

To see more of Karen’s work visit:
website

gouache painting of clouds above water
Renewed, Karen Ann Hitt, plein air gouache on paper, 6.5 x 10in., available through the Artist; painted on location at campsite in the Florida Keys where camped to study the summer clouds. 2022
oil painting of sunset by beach with red chairs on left side
Boca’s Masterpiece Theater, Karen Ann Hitt, oil on linen, 24 x 36 in; available through the Hughes Gallery of Boca Grande, 2025

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