Bill Cramer is the featured artist for the 10th Plein Air Art Invitational at Zion National Park. Bill will be one of 24 artists painting the park throughout the week of November 5-11, 2018, with proceeds benefiting educational and youth programs at the park. Sponsored by the Zion Forever Project, this event includes free demonstrations, instructive evening lectures, silent auction and paint-out. More information is available at ZionPark.org.
Bill Cramer grew up in southern California. As an experienced rock climber, he spent much of his youth enjoying the more vertical places of the American west. This gave him a perspective of the world that few others would ever experience. He received a fine arts degree from California State University Long Beach in 1989, and later moved to Prescott, Arizona with his wife Michelle to be closer to the scenery they both enjoyed. It was there that Bill discovered the joys and challenges of landscape painting, his outdoor experiences providing much of the insight and inspiration expressed in his art. Today with his wife and two daughters, Sarah and Megan, Bill divides his time between family, art and outdoor pursuits.
Rembrandt van Rijn, “Head of an Old Man with a Cap,” around 1630. Oil paint on panel; 9.56 x 8 in. Agnes Etherington Art Centre, Queen’s University, Kingston, Canada: Gift of Alfred and Isabel Bader, 2003. Image courtesy of Agnes Etherington Art Centre.
Showcasing more than 100 of Rembrandt’s celebrated etchings, drawings, and paintings, this exhibition at the Denver Art Museum commemorates the 350th anniversary of his death.
From the Denver Art Museum:
The Denver Art Museum (DAM) will be the sole venue for “Rembrandt: Painter as Printmaker,” presenting new scholarship on rarely seen prints by Rembrandt van Rijn as well as related drawings and paintings. The exhibition, coinciding with the 350th anniversary of the Dutch artist’s death (1606–1669), will offer fresh insight into the life and career of the masterful printmaker. “Rembrandt: Painter as Printmaker” is organized by the DAM and co-curated by Dr. Timothy J. Standring, Gates Family Foundation Curator at the DAM, and leading scholar of Rembrandt prints Dr. Jaco Rutgers as a consulting curator.
Rembrandt van Rijn, “Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed,” about 1630. Etching and drypoint; 2.09 x 1.81 in. Bibliothèque nationale de France. Image courtesy of BnF.
The chronological presentation of “Rembrandt: Painter as Printmaker” will showcase more than 100 prints, drawings, and paintings from the artist’s career, spanning from 1625 to 1665. The combination of extremely rare prints, presented alongside paintings and drawings depicting similar subjects, will draw visitors in closer to gain a deeper understanding of Rembrandt’s working habits as an artist, and moreover, as a printmaker. The exhibition also will take a close look at Rembrandt’s innovative approach to printmaking, which combined the three principle methods of intaglio, including etching, drypoint, and engraving. By balancing these techniques, Rembrandt was able to produce prints that were highly sought after during and following his lifetime.
“Rembrandt: Painter as Printmaker” is a unique opportunity for visitors to gain a deeper understanding of Rembrandt’s artistic personality, which is revealed through an illuminating presentation of his printmaking oeuvre,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “Additionally, our visitors will see that Rembrandt was a remarkable storyteller through the finest impressions of his prints available worldwide. We look forward to sharing his incredible and timeless contribution as an artist.”
Unforgettable images of biblical, portrait, allegory, still life, landscape, and genre artworks of the time will be featured throughout “Rembrandt: Painter as Printmaker” to showcase the mastery that cemented Rembrandt as one of the greatest artists in history. The exhibition will demonstrate how Rembrandt used his view of the world around him to fuel his artistic journey, often using himself, family members, and neighbors as models. It also will expose the various types of paper he used throughout his artistic journey for printmaking, such as oriental paper, wrapping paper, and parchment, as well as European papers.
Rembrandt van Rijn, “Christ Preaching – The Hundred Guilder Print,” about 1648. Etching, engraving and drypoint; 10.94 x 15.27 in. Bibliothèque nationale de France. Image courtesy of BnF.Rembrandt van Rijn, “Christ before Pilate,” 1635. Etching and engraving; 21.61 x 17.60 in. Bibliothèque nationale de France. Image courtesy of BnF.Rembrandt van Rijn, “The Three Trees,” 1643. Etching, engraving and drypoint; 8.38 x 10.98 in. Bibliothèque nationale de France. Image courtesy of BnF.
“Rembrandt: Painter as Printmaker” is on view at the Denver Art Museum (Colorado) through January 6, 2019. For more information, please visit denverartmuseum.org.
Impressions in Watercolor Bringing the Everyday to Life
Ever since Brienne moved to Pennsylvania over six years ago, painting farm life has become a subject of interest for her. This wasn’t always the case. Having lived in a city most of her life, she had little experience living on a farm. While adjusting to living in a mostly rural area, it hasn’t all been fun. Her husband would, in fact, say Brienne isn’t cut out for farm life 24/7. However, by painting more farmland, she has developed a love for the landscape and a deep respect for farm life. Pennsylvania and the surrounding states have provided ample farm scenery and inspiration for Brienne’s plein air paintings.
While painting Farmer John’s Place en plein air during the Solomon’s Plein Air Festival in Solomon’s Island, Maryland, she spoke with land owner John and learned more about the farmland that had been in his family for generations.
“These experiences are priceless for me,” says Brienne. “I find hearing these personal, one-on-one stories, infuses my work with deeper meaning, contributing greatly to my goal of ‘bringing the everyday to life.’”
Though drawing and painting most of her life, Brienne had never considered pursuing a career as an artist until she was in graduate school. While studying chemistry, Brienne’s research was so time consuming that for the first time she couldn’t find time to create. Her unhappiness during this time made her realize that art was more than a hobby, for her it was a necessity. This was a valuable lesson. From that time on she has made art a priority in her life; instead of trying to find the time, she started to make time to paint.
Ten years ago, Brienne left her toxicology job to start raising a family and began painting more consistently. Soon she was exhibiting and entering shows regularly and winning awards. She earned signature status in the National Watercolor Society, Western Federation of Watercolor Societies, Pennsylvania Watercolor Society, and the Utah Watercolor Society. Her work has been published in Splash 17: Inspired Subjects, PleinAir Magazine, and Watercolor Artist Magazine.
Brienne’s passions are watercolor and plein air. She enjoys using the slightly controlled chaotic nature of watercolor to bring the everyday to life. Her inspiration comes from observing people going about their everyday lives and tasks.
“I especially enjoy painting en plein air because each painting reminds me of where I was, of the experiences I had, the sounds, smells, and the people I met. As I try and capture the essence of a scene, my paintings are always more about a moment in time than about a particular location. I enjoy sharing how I see the world.”
Kevin Red Star, “Medicine Man-Healer,” acrylic, 37.5 x 49.5 in.
Announcing the 2018 Buffalo Bill Art Show & Sale on September 21 and 22, 2018. From the art auction and event organizers:
Our 2018 artists are sending new pieces for this auction that benefits the Buffalo Bill Center of the West and has for 37 years been a highlight of Rendezvous Royale week in Cody, WY. Cody is preparing the proverbial red carpet for guests and patrons of the arts to come to Cody for a week filled with fun, excitement, art, music, fellowship, and great food.
Guests come to:
• Take classes and/or watch demonstrations by the current artists in the show.
• Enjoy a fast-paced auction on Friday night and a Quick Draw on Saturday morning.
• Participate in a reunion with friends and artists from across the nation.
• Purchase art and get to know artists they admire.
Ty Barhaug, “Broken Water,” oil, 20 x 60 in.
This year the show has 12 new artists who will come to meet their buyers, knowing their pieces will be going to great homes. Volunteers come to help produce the show and share in the excitement of this week of artful events.
Mr. Tim Newton of the oldest art club in America, the Salmagundi Club of New York City, will be our featured speaker about the connection between club members and the visual beauty of the west. (Listen to Tim Newton on the Plein Air Art Podcast with Eric Rhoads below.) Jim Bortz, a freshman in the show, will be teaching a plein air class on the Shoshone River at one of Cody’s historic landmarks, the Wapiti Lodge. He will teach the plein air by day and in the evening invite guests to fish with him of the famous Shoshone River.
As Kathy Thompson, director of the show, likes to say, “Rendezvous Royale and especially the Buffalo Bill Art Show & Sale is the most fun you can have in a great western town and still be legal!”
Dean Mitchell, “Raymond Bardwell Buffalo Soldier,” watercolor, 18 x 30 in.David Kammerzell, “Heartless Smokey Bill,” oil, 24 x 20 in.Charles Hunter, “Safety First,” oil, 24 x 24 in.D. Michael Thomas, “The Vision,” bronze, 36 x 22 x 7 in.Julie Chapman, “Ursa Major,” scratchboard, 20 x 30 in.
GFAA Executive Committee Member Andrew Nicolls with 2017 GFAA Award Winners Jennifer Gray and Jay Levenson, for the Museum of Modern Art’s exhibition “Frank Lloyd Wright at 150: Unpacking the Archive.”
Judy Holm, President and CEO of the Global Fine Art Awards
Celebrate the Global Fine Art Awards on October 9
Consider how hard art professionals work to conceive and organize their temporary exhibitions and installations of art and design, and also how much money is spent to mount and tour them. Now ask yourself: How are the best of these projects honored, after the lights have dimmed and the loaned artworks have headed home? Oddly, in a world teeming with award ceremonies for seemingly every possible artistic activity (think “Oscars”), there is no program that recognizes such exhibitions.
Fortunately, the annual Global Fine Art Awards (GFAA) initiative was launched in 2014 by its president and CEO, Judy Holm, who specializes in arts and culture.
2017 GFAA Global Humanity Award Winner, Shirin Neshat, with GFAA President Judy Holm
Having discerned this glaring gap in the field, Holm has worked tirelessly to create a new tradition that fulfills specific objectives: to recognize the best curated fine art and design exhibitions in museums, galleries, art fairs, biennials, and public installations; to honor innovation and excellence in exhibition design, historical context, educational value, and public appeal; to develop the public’s interest and passion for fine art; and to further its educational role in society. She has achieved this by founding a nonprofit eligible to receive donations via the long-established arts service organization Fractured Atlas. The program is gaining awareness through a series of events that highlight its nominees and winners, hosted thus far in Miami, San Francisco, New York, and London.
One of GFAA’s broader goals is to remind the public that art holds the uniquely powerful capacity to bring the world’s people together. The latest crop of nominees — which reflects projects that opened to the public between August 1, 2017, and July 31, 2018 — will be announced publicly on Tuesday, October 9, at the National Arts Club in New York City. Peter Trippi, editor-in-chief of Fine Art Connoisseur, and GFAA board member Betsie Piussan will reveal which exhibitions and installations from around the world are in the running for the 5th Annual GFAA Awards. Last year, after a formal review of more than 2,000 potential nominees, 85 nominees were selected from 28 countries across six continents. An equally diverse group of nominees is anticipated this year.
Leila Heller, one of the most respected art dealers in the Middle East and New York, whose roster of international artists furthers the global presence of significant artists in the world, including Farideh Lashai, whose British Museum exhibition received a GFAA Honorable Mention in 2017.
On October 9, GFAA will present three hours of TED Talk–style presentations offering intriguing expert perspectives on the art world. The speakers confirmed so far include:
James McAndrew currently works for a top New York City law firm and previously headed the U.S. Department of Homeland Security’s International Art and Antiquity Theft Investigations Program and created the modern era Monuments Men (and women), who pursue criminals and recapture treasures.
Leila Heller is a leading art dealer in the Middle East and New York; her roster of international artists includes the late Farideh Lashai, whose British Museum exhibition received a GFAA Honorable Mention last year.
Eli Klein is a New York–based dealer in contemporary Chinese art who has thrived in this booming field for more than two decades.
Jennifer Francis is a communications expert who has led the marketing efforts at several of the most prestigious museums in the world, including the Victoria and Albert Museum, Royal Academy of Arts, Philadelphia Museum of Art, and most recently the Louvre Abu Dhabi.
Heather MacDonald, PhD, is a senior program officer at the Getty Foundation, where she is responsible for grant-making related to advancing museum-based scholarship and education. The Foundation underwrote Pacific Standard Time: LA/LA, the groundbreakinginitiative (2017–18) that encompassed more than 70 programs and exhibitions exploring the dialogues among Latin American art, Latino art, and Los Angeles.
Throughout the afternoon and into the evening, GFAA’s corporate sponsors and institutional partners will exhibit their products and services, allowing guests to learn more about their work. This open forum for networking will offer invaluable connections to prospective collaboration and provides the opportunity for educational learning.
Peter Trippi and Betsie Piussan will finish announcing all the nominees, who will then mingle with each other and other ticketed guests. All guests will enjoy an open bar and hors d’oeuvres while bidding on unique silent auction lots. Attire for the entire event (afternoon and evening) is business casual.
The sheer quantity of exhibitions mounted worldwide each year is literally countless, so inevitably GFAA’s process for determining nominees and winners will always be somewhat subjective, yet it does actually possess a degree of scientific rigor. A broad set of criteria is utilized to research and assess the prospective nominees, with continuous review of more than 50 sources of print and online editorial and critiques. Through them, more than 200 museums and 2,000 exhibitions are vetted by members of the Art Research Committee, who also offer personalized assessments based on their own exhibition viewing. In addition to the research-based nominations, GFAA accepts nominations from any member of the public.
The Nominating Committee reviews the slate prepared by the Art Research Committee, then presents its findings and final approvals to the judges. These judges modify and select the final slate of nominees, then vote on the finalists and winners. Geography, institutional size, and diversity of artists’ ethnicity and gender are essential considerations within the process. There is also a broad representation in size, with 40 percent of nominees drawn from the world’s 100 most heavily visited art museums and the remaining 60 percent from smaller institutions.
Jean-Léon Gérôme (French, 1824–1904)
“Evening Prayer,” or “Prayer in the East”
Signed “J.L. GEROME” center left along the edge of the wall of the roof
Oil on cradled mahogany panel, 19 1/2 x 31 7/8 in. (49.5 x 81.0 cm)
Estimate: $400,000–600,000
Rediscovered Gérôme Leads Skinner September 21 Fine Art Auction
The marquee lot of the sale is by Jean-Léon Gérôme. This newly rediscovered orientalist painting called “Evening Prayer” (Lot 266, Estimate: $400,000–600,000) has been described as a “perfected” version of one of Gérôme’s most evocative compositions, showing Muslim men at prayer on a Cairo rooftop. With all the technical hallmarks and intellectual nuances of his art, it has recently been confirmed as an original work by his hand, and returned to the artist’s oeuvre. It has not appeared at auction since it was sold at the Christie, Manson and Woods, London, Modern Pictures auction on May 5, 1888.
Robin S. R. Starr, vice president and director of American & European Works of Art, notes, “We’re excited about the depth and breadth of the works in the September art auction, from a rediscovered Gérôme masterpiece to a considerable number of fresh to the market works from private collections, including of the composer, lyricist, author, playwright, recording artist, and performer, Dory Previn.”
Bob Kuhn (1920–2007)
“A Last Running Look”
acrylic on masonite
16 x 24 in.
Estimate: $55,000–$75,000
Newly announced: Norman Rockwell’s portrait of John Wayne (worth seven figures) will headline the 2018 Addendum.
Norman Rockwell (1894–1978) “John Wayne” (1973) oil on canvas 38 x 31 in. Estimate: $1,000,000–$1,500,000
More from the Jackson Hole Art Auction organizers:
Norman Rockwell’s “John Wayne,” estimated at $1,000,000 to $1,500,000 will headline the 2018 Addendum. Fresh to the auction market, this iconic piece celebrates two American legends, and was commissioned by the National Cowboy Hall of Fame and Western Heritage Museum in 1973. Landscape painter Clyde Aspevig is also represented in the Addendum with his “October Snow,” estimated at $40,000 to $60,000. Z.S. Liang’s new 2018 piece titled “Taking Aim” will be offered at $20,000 to $30,000. Cowboy Artists of America member Martin Grelle will create a brand-new work for the Addendum, which will be forthcoming. Works by Frank McCarthy, Francois Koch, and Conrad Schwiering will round out the 2018 Addendum, all of which will be offered on Saturday, September 15, during Session II.
Edward Potthast (1857–1927) “Bright Angel Trail, Grand Canyon” (1911) oil on canvas 30 x 24 in. Estimate: $200,000–$400,000
Other highlights include the 2018 cover lot, Arthur Fitzwilliam Tait’s “A Slight Chance” from 1883, which will be offered at $400,000 to $600,000, and Albert Bierstadt’s “Source of the Snake River,” estimated at $300,000 to $500,000. Also among these new highlights are several important American pieces, including Thomas Hart Benton’s “Study for the Pathfinder,” estimated at $175,000 to $225,000 and Edward Potthast’s remarkable “Bright Angel Trail, Grand Canyon” from 1911, which will be offered at $200,000 to $400,000. Also on offer is Oscar Berninghaus’s significant “Taos Field Workers” from 1950, estimated at $400,000 to $500,000.
Featured wildlife works include Bob Kuhn’s “Basic Training,” estimated at $90,000 to $120,000. Other important wildlife offerings include John Clymer’s “Territorial Dispute” offered at $150,000 to $250,000, and Tucker Smith’s “Ahead of the Storm,” estimated at $60,000 to $90,000.
Frank Tenney Johnson (1874–1939) “Branding a Maverick” (1913) oil on canvas 34 x 24 in. Estimate: $175,000–$275,000Dean Cornwell (1892–1960) Illustration for “The Enchanted Hill” (1924) oil on canvas 36 x 30 in. Estimate: $50,000–$75,000Thomas Moran (1837–1926) “Laguna, New Mexico Looking from the East” (1891) watercolor, gouache, and pencil on paper 9 3/8 x 12 3/8 in. Estimate: $75,000–$125,000
Daniel Greene, “Lot 134 – The Water’s Fine,” oil on linen, 40 x 50 in.
Daniel Greene Art On View > Daniel Greene shares a few words about his upcoming art exhibition. More than 200 reproductions of the artist’s work are on display, including some of the more important portrait commissions.
Daniel Greene, “Wheel of Fortune,” oil on wood, 54 x 54 in.
“The painting retrospectives of my oil and pastel works represent 66 years of painting, beginning with portrait sketching for tourists in Miami Beach in the early 1950s through my schooling at the Art Students League in New York and exhibitions in galleries and museums,” Greene tells us. “The text covers various New York City studios and includes examples of my highly publicized Subway paintings.
“Additionally my extensive career teaching at the Art Students League, the National Academy of Design, and national and international painting workshops is discussed. The evolution of the work from Expressionistic to Classical painting along with examples of ideas and techniques are addressed.”
Daniel Greene, “Frankenthaler’s Flood,” oil on linen, 70 x 52 in.Daniel Greene, “Waiting – 116th St.,” oil on linen, 52 x 40 in.Daniel Greene, “Wall St., Williams St. Exit,” oil on linen, 43 x 50 in.
“The Daniel Greene Retrospective” reception is September 16; the show is on view September 9 through November 25, 2018, at the Mattatuck Museum in Waterbury, CT. For more information, please visit www.mattmuseum.org.
Fine Art Connoisseur September/October 2018, Editor’s Note:
By Peter Trippi
For well over a decade, artists, curators, and collectors have debated whether the term “contemporary realism” makes sense generally, and specifically to folks who don’t know much about what we do. Though some say names don’t matter, I disagree — “branding” is everything in our society, so if people can quickly grasp who you are, things just work better.
When you browse Fine Art Connoisseur, you’ll see lots of representational artworks made recently. By “representational,” I mean representing something recognizable. It’s a mouthful of a word, and not exactly enticing, so generally we use “realist” or “realism” instead. Problem is, “realism” has encompassed so much over time that it’s hard to visualize what it is now — is it the peasant scenes made by Gustave Courbet in the mid-19th century, the gritty visions of city life painted by John Sloan or Edward Hopper, the slick surfaces of 1960s photorealism, the meticulous draftsmanship of 1990s classical realism? “Realism” is far from perfect, but it’s what we’ve got in our vocabulary for now.
More easily replaced, perhaps, is “contemporary.” How about “modern” instead? Purists say that “modernism” started in the late 19th century, reached its apogee during the mid-20th century, and lost its mojo in the 1980s. That may be true technically, but “modern” sure still has currency in the wide world. Every generation considers itself modern, and it’s no accident that Modern Family has been a hit TV series since 2009; it is literally too old to be modern anymore, but we know exactly why it retains that name.
In the art arena, “modern realism” has been uttered by quite a few experts over the years, referencing an array of artworks that we love here at Fine Art Connoisseur. The Smithsonian American Art Museum used it to describe the marvelous Sara Roby collection it exhibited in 2014. The thoughtful curators at London’s Tate galleries use the term regularly, as does the British-born, Michigan-based scholar Alex Potts. Not surprisingly, the American scholar John Wilmerding has used “modern realism” to describe the world of Edward Hopper and Andrew Wyeth, among other masters.
Does any of this matter? Possibly not, but I think it’s helpful to stir the pot every now and then, to remind everyone that the exciting art now being made across America (and indeed the world) will be better appreciated if “new-comers” know what to call it. Perhaps there’s something snappier about “modern realism” than “contemporary realism,” so please mull it over and let me know what you think.
Finally, I would like to welcome to Streamline Publishing Scott Jones, our new associate publisher and Western regional marketing manager. Scott recently joined our team after 10 successful years as general manager of Legacy Gallery in Scottsdale. Scott is an accomplished public speaker and art juror, and I am particularly looking forward to collaborating with him at the Figurative Art Convention & Expo (FACE) this coming November. Welcome aboard, Scott!Download the September/October 2018 issue here, or subscribe to Fine Art Connoisseur today so you never miss an issue.
From the latest issue: Download the September/October 2018 issue of Fine Art Connoisseur magazine to read the feature article “Court Portraiture During Napoleon’s Reign” by Sylvain Cordier.
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Download the September/October 2018 issue here