Howard Post Retrospective

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February 19, 2018

Fine art oil paintings - Howard Post - Partners — Howard Post, “Partners,” oil on canvas, 36 x 48 in. (44 x 56 in. framed), $28,000

From Mark Sublette Medicine Man Gallery (Tucson, Arizona):
Join us for a show and sale of New Work by Howard Post celebrating his career and more than 20 years of art at Medicine Man Gallery. Opening reception on Friday, February 23, 2018.

Howard Post, “Late Montana Winter,” oil on canvas, 24 x 36 in., Collection of the artist

Post is also being honored with a three-museum tour at the Booth Museum, The Tucson Museum of Art and The Desert Caballeros Museum. Also included in the sale are a few select paintings from Post’s personal collection in the current tour.

Howard Post, “Rolf’s Place,” oil on canvas, 36 x 44 in., $24,000

This show is open through March 4, 2018; the museum tour ends in late November 2018.

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Painting Along the Age-Old Artists’ Haunts: A Coastal Maine Landscape

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Fine Art Today

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February 19, 2018

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fine art paintings - Erik Koeppel - Bald Head Cliff — Erik Koeppel, Bald Head Cliff, oil on panel, 11 x 18 in., Collection of the artist

By Erik Koeppel

I stopped for a couple days in Ogunquit, Maine as part of a painting excursion that included many of the age-old artists’ haunts along the Maine coast. An artist friend had previously told me that one of the best places to paint in Ogunquit is the Bald Head Cliffs.

Erik Koeppel, Grey Day at Bald Head Cliffs, oil on panel, 12 x 16 in., Collection of the artist

I accessed the beach via the Cliff House hotel and made my way down. The first afternoon was very grey, and resulted in a moody dark painting (above), a not uncommon sentiment to the Maine coast. I decided not to give up on the spot, and gave it another go in the morning when it was much lovelier. The result was “Bald Head Cliff” (shown at top).

Like many of my outdoor paintings it then sat around my studio for months and months while I waited for the inspiration to know what to do to finish it. Because I don’t work from photographs, it sometimes takes time, imagination, and memory to envision the proper mood for a painting. Ultimately what stuck in my head was the rosy atmosphere of morning, contrasted against the deep green of the northern Atlantic. My memory of the morning was peaceful and comfortable, and I worked to bring that out with the easy smooth rolling of the water against the shore.

I’ve stumbled across numerous nineteenth-century artists’ interpretations of the cliff, including Howard R. Butler (American, 1856-1934). For example, it turns out the spot was frequently painted by historic artist, Emil Carlson (1853-1932). He no doubt stayed at the historic Cliff House.

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Erik Koeppel teaches the painting techniques of the Hudson River School Masters in his Streamline Art Video.

See more of Erik Koeppel’s work on his website.

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Flowers and Facades: A Fine Art Exhibition

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Fine Art Today

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February 19, 2018

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fine art watercolor paintings - Frederick Brosen - Kwanzan Cherry — Frederick Brosen, “Kwanzan Cherry,” 2017, watercolor over graphite on paper, 6.5 x 5 in.

Garvey|Simon is pleased to present “Frederick Brosen: Flowers and Facades,” an exhibition that juxtaposes the luminous watercolors of New York City with delicate paintings from the artist’s new floral series. In this show, the flower paintings are being exhibited publicly for the first time.

Frederick Brosen, “Apple Blossoms,” 2017, watercolor over graphite on paper, 7 x 5 in.

Frederick Brosen, “Eastern Redbud,” 2017, watercolor over graphite on paper, Image: 7 x 5 in.

From the gallery:
A virtuoso watercolorist, Frederick Brosen is a native New Yorker who has an intimate connection with his subjects. He is best known for capturing the history, elegance and grit of the urban landscape from hidden perspectives (see below). Despite their big-city subjects, Brosen’s watercolors emanate a profound stillness, something he seeks out as he bicycles Manhattan at dawn.

Frederick Brosen, “West 76th Street,” 2014, Watercolor over graphite on paper, 33 x 22.5 in.

Brosen’s keen process of observation and his distinct familiarity with these subjects allow him to capture and enhance subtle domestic and architectural details. Although the work can appear photorealist in reproduction, when observed closely his paintings are soft whispers of the city sans hustle and bustle; a private New York the artist is sharing with his audience.

Frederick Brosen, “Soho Rooftops”, 2017, watercolor over graphite on paper, Image: 10.75 x 8.75 in.

Looking up from a sidewalk vantage point, the viewer is immersed in the architectural landscape with its geometric intersections of lines, curves, and colors. The artist’s compositions rely much on his knack for editing these environments. He often removes elements that distract from what he wants to capture and adds imagined features to balance an image.

The exhibition runs through March 24, 2018. For more information, visit the website of Garvey|Simon.

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Creative Ecstasy and Crushing Frustration

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Fine Art Today

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February 19, 2018

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fine art paintings - Matt Flint - A Very Good Dog — Matt Flint, “A Very Good Dog,” 2018, oil and mixed media, 48 x 36 in.

This Wilderness
Through March 13, 2018
Gallery MAR, Park City, Utah

“Art is always there for me, it is a constant. For better, for worse, for richer, for poorer, in sickness and in health, in creative ecstasy and in crushing frustration.” ~ Matt Flint

“Through his new body of work, featured in the fine art exhibition ‘This Wilderness,’ Matt Flint searches for essence, something more powerful than likeness,” the gallery tells us. “He wants to demonstrate the mortality of his subjects, the dichotomy of strength and fragility, and nature’s raw and beautiful allure, which calls to us and runs through us.

Matt Flint, “The Summer Has Past,” 2018, oil and mixed media, 48 x 48 in.

“His work is composed of opaque, earthy patches of color built up in layers of rough, thick impasto, juxtaposed with ethereal, atmospheric glazes. Flint’s show takes inspiration from the words of poet L. C. Vieira from his poem, ‘This Wilderness’ (2007, 2013): ’Though it’s hard, this wilderness – I know enough to stand in awe; I am not worthy of its wildness, but still it calls me, calls me, calls.’”

Matt Flint, “Summer’s Rest,” 2018, mixed media, 60 x 48 in.

“Wyoming-based artist Matt Flint truly puts the ‘mixed’ in mixed media,” says fine art consultant Veronica Vale. “His work is composed of a buildup of opaque, earthy patches of color, layered in rough, thick impasto, juxtaposed with ethereal, atmospheric glazes. Not only does he incorporate different types of media to create his stunning wildlife and abstract pieces, but he also borrows from different times and cultures in art history.”

Learn more at the website of Gallery MAR.

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Featured Artwork: Whitney Hall presented by the Celebration of Fine Art

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Fine Art Today

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February 19, 2018

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Featured Artwork: Whitney Hall presented by the Celebration of Fine Art

Summer Moon
9 x 12 in.
Oil
Sold

Whitney Hall was selected as one of Southwest Art Magazine’s, “21 Under 31,” and is one of the youngest rising stars in the Western Art Scene. Whitney spends her time painting and exhibiting between Bozeman, Montana, in the summer and Scottsdale, Arizona, in the winter. Her colorful horses, birds and wildlife are collected throughout North America. Come watch her and 100 other artists create at the Celebration of Fine Art, where art lovers and artists connect, in Scottsdale, AZ January 13—March 25, 2018. Contact us at 480.443.7695 or [email protected].

View more of Whitney’s work for the Celebration of Fine Art at http://celebrateart.com/artsy_gallery/whitney-hall/

Featured Artwork: Karen Ann Hitt

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Fine Art Today

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February 13, 2018

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Featured Artwork: Karen Ann Hitt
Fronts Waking
20 x 16 in.
Oil on linen

“Karen Ann Hitt paints with a heart and vigor I see too seldom. She’s developed the ability to cull the essence of a place and gift it to the viewer…Look carefully at her work—her use of brushwork amazes me as she moves seamlessly from small to larger strokes to create an effective texture; almost as if that texture is an actual part of the scene she paints.” Barbara Hughes, Hughes Gallery , 333 Park Ave., Boca Grande FL 33921

Culminating from multiple studies and plein air work as the sun rises; one of this Artist’s favorite times of the day is in the light before the dawn. It is a location—both figuratively and literally—this Artist has also learned to rise to meet and embrace all it brings. A picture paints a thousand words it has been said. An explosion of them play like trumpets blaring; reflecting glory – though it can not be reproduced – it inspires a symphony of color notes to lay down as a humble reply.

When one takes on the study of the clouds and the effects of light and color on them, you learn two things quickly: it is indeed always coldest just before the dawn; and the colors are always the brightest just before the dawn.

In addition to the colder temperatures and cold fronts equaling glorious lighting and colors on the clouds, that, as an artist we may only be a shadow of the Divine brushwork being unveiled before one’s eyes, the human eye is enabled to see colors and capture them better than any camera is able too. Illustrating why an Artist is inspired and simply must paint, in an attempt to reflect to the best of their ability the true nature of the colors. Even when, or especially when perhaps, they appear unbelievable – sometimes the most difficult task at hand is making them believable. It perhaps is what compels us to do what no other profession does and attempt to gift it back to the viewer to experience all for themselves too.

That, the underlying to this studio work by Karen Ann Hitt: Fronts Waking of which record cold temperatures and a fast moving cold front enlightened just before the dawn, modeled.

Artist Statement
My paintings seek to capture influential daily moments, and the lasting effects these memories play on our hearts and
minds throughout our lives. As an artist the passion is to reflect light, life, land, expressions as genuinely experienced “At That Moment…”. I paint in the hope to transport the viewer while also exposing them to the very emotion that stops us both now in our tracks to experience a view; simply, seeking with my art to bring you into viewing your own, “At That Moment…,” too.

Karen’s paintings are noted to accentuate the effects of light to the scene adding to the luminosity of her award winning art. Classically trained in the BFA Program at Parsons School of Design in New York, that classic background is ever evident in her style, along with her love of capturing the figure and the effects of light in all of her scenes. Her area landscapes and skyscapes reflect the essence of the landmark, with accentuation on the effects of light to the scene. Karen’s award winning paintings have been collected by private and corporate collections: such as Venice City Hall locally and nationally the United States IRS. Her Illustrations have been published nationally in Children’s Picture Books in addition to being distributed in a line of gifts. Notably awarded as a participant in “Paint the Parks” & “Paint America” National Exhibits, 2006 recipient of the Muses Award. Her most recent children’s book illustration endeavor received a five star rating from Clarion ranking it as an excellent choice for children. She is the founder of the Venice Plein Air group and signature member of Plein Air Florida, plus a nationally exhibiting artist.

Karen is predominantly an oil painter; her style combines representational and impressionistic, making the emphasis on color and effects of light along with depicting innocence candidly with expressions where a character or portrait also plays a role. When painting a field sketch in plein air or a portrait in the studio the medium is generally oil; her palette has a Renaissance influence combined with a Hudson River School accent. Studies at Parsons School of Design, along with workshops with modern masters continually influence, as does her extended traveling, crisscrossing the United States. Often working from life and then bringing that life experience back into the studio emphasizing the effects of light, atmosphere, and the circumstances.

Recent Abbreviated Resume:
2017 6th Annual Semi-Finalist PleinAir magazine Plein Air Salon awarded Best Floral
2016 6th Annual Semi-Finalist PleinAir magazine Plein Air Salon Best Acrylic
2017 OPA Oil Painters Of America Eastern Regional Juried Exhibition Of Traditional Oils
2017 AIS American Impressionist Society 1st Annual Small Works National Exhibit
2017 13th Annual Best of Plein Air LPAPA
2016 OPA Oil Painters of America The 25th Annual National Juried Exhibition of Traditional Oils
2016 Women’s Painters of the South East 5th Annual Juried Exhibit
2015 10th Biennial National Juried Art Exhibition
2015 OPA Oil Painters of America National Juried Salon Show of Traditional Oils
2015 WPSE Women Painters of the South East 4th Annual Juried Exhibit

Published Editorial
2016 Fine Art Connoisseur magazine May/June
2017 PleinAir magazine October/November 2017 PleinAir magazine June/July
2016 PleinAir magazine October/November
2014 Living on the Sun Coast January
2016, 2017 & 2018 faculty artist at the Plein Air Convention & Expo
2014 & 2017 Juried national artist at EnPlein Air Texas
2016 Awarded Best Landscape by WPSE Women’s Painters of the South East

Associate/Member: Oil Painters of America, American Impressionist Society, Plein Air Artist Colorado, Laguna Artist Plein Air Painters Association. Signature Member Plein Air Florida. Founder Plein Air Venice.

Notably—Juried Participant Top 50: National Paint The Parks & Paint America Exhibits Plus Muses Award Recipient Sarasota County

Karen was born in Columbus, Ohio, and moved to Florida with her family in 1975. From there to New York City to attend college at Parsons School of Design in 1978. Married in 1986, husband in the USCG, mother of three, she and her family experienced many scenic duty stations: living in Florida, Puerto Rico, Virginia, Washington State. They moved back to Florida in 1995 to Venice. Raised her three children as a single parent since 1998 in Venice, Florida, as a Fine Art Instructor, nationally exhibiting artist and illustrator to present. Karen Ann remarried in 2015, she and her husband enjoy continuing the journey crisscrossing across the country for several months a year—she painting, he hiking all along the way.

View more of Karen’s work at www.AnOriginalHitt.com.
Contact Karen at [email protected] or 941.586.0207, or visit her studio An Original Hitt Fine Art & Atelier 230 Ponce de Leon Avenue, Venice FL 34285.

Auction Recap: California Cool

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Fine Art Today

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February 13, 2018

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By Vanessa Françoise Rothe

A Southern California Museum Celebrates 100 years with its ‘California Cool’ Auction

The exciting California Cool Art Auction took place on a warm winter evening in Southern California’s art community of Laguna Beach on February 10, 2018 at the Laguna Art Museum. The event gets high marks as an evening to remember, celebrating artists working in various mediums in California and just in time to ring in the museum’s centennial year.

With works by 100 important California artists, the 36th edition of this highly-anticipated event reached sales of over $466,000, breaking the record for the museum’s annual event. To kick off the event, Director of the Museum Malcom Warner welcomed the group of over 250 attendees and kindly thanked them all for their continued support as well as a special thank you to Sotheby’s. “We’re delighted to present our Centennial art auction,” he said. “Thank you for joining us and helping to get the next 100 years off to a momentous start!.”

Director of the Museum Malcom Warner, with Fine Art Connoisseur’s West Coast Editor Vanessa Françoise Rothe

With sparkling cocktails, catered fine foods, and various genres of fine art, there was something for everyone to admire. The evening started out with a silent auction where bids could be placed and works acquired at wallet-friendly pricing.

Later that night the exciting live auction was led by Andrea Fiuczynski, Executive Vice President and Chairman of Sotheby’s Americas. The auction attracted competitive bidding by local art collectors as well as couples that had flown in from London in time to attend. The museum partnered with Paddle8, the leading online auction house, and took absentee bids, adding another strong buying avenue and element.

Of note to our readers in the silent auction was a large scale work by Laguna College of Art and Design graduate Michael Harnish titled “Pomegranate Tree,” given courtesy of the artist and Salt Fine Art. Standing out on the wall with its atmospheric depth and leaves, to its sunlit highlighted fruits in red, the work was strong and commanding. The silent auction also exhibited landscape work by local plein air artists such as Jeff Sewell, known for his realist and impressionist depiction of waves and the sea.

Michael Harnish, “Pomegranate Tree,” 2015, oil on canvas, 60 x 48 in., Courtesy of the artist and Salt Fine Art.

The auction included strong bidding on a Peter Alexander “LAXXXII,” which sold for $23,000. Fine Art Connoisseur readers would admire a large realist work by Jorg Dubin, titled “Studio Chair Again,” which combined a realistically painted studio chair in leather with lost edges throughout the work, making it appear slightly more modern and edgy in nature.

Jorg Dubin, “Studio Chair Again,” 2015, oil on linen, 35 x 35 in., Courtesy of the artist and Bruce Lurie Gallery

Proceeds from the event support the museum’s dedication to collecting and preserving California art, presenting critically acclaimed exhibitions and enhancing art education for all.

This year the Laguna Art Museum, originally known in 1918 as the Laguna Beach Art Association, celebrates its 100 years showcasing works by California based artists. The California Cool Art Auction played an important role in funding the start of its next 100 years with exciting exhibitions and events on the horizon, such as the documentary of the museum’s past, premiering April 19, 2018 by filmmaker Dale Schierholt.

Unsold works may still be available at minimum bid price, 50 percent of stated value, on the Laguna Art Museum website or in person at the museum.

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On View: The Lush Designs of Louis Comfort Tiffany

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Fine Art Today

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February 13, 2018

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Tiffany designs — Tiffany Studios, Garden Landscape Window, 1900–1910, leaded glass. Photograph by John Faier. © 2013 Driehaus Museum

Louis Comfort Tiffany: Treasures from the Driehaus Collection
February 17 through May 27, 2018
Taft Museum of Art, Cincinnati

Tiffany Studios, “October Night Table Lamp,” about 1910, leaded glass, patinated bronze. Photograph by John Faier. © Driehaus Museum 2013

From the museum:
Internationally acclaimed and collected, Louis Comfort Tiffany (1848-1933) is renowned for his lush designs of exceptional beauty and unrivaled quality, as well as for his commitment to natural forms, brilliant color and inventive techniques.

Tiffany Studios, “River of Life Window,” early twentieth century,1900–1910, leaded glass. Photograph by John Faier. © 2013 Driehaus Museum

Louis Comfort Tiffany was the son of Charles Tiffany, the founder of the famous jewelry and luxury goods retailer Tiffany & Co. Instead of joining the family business, Tiffany trained as a painter in New York and Paris. His first firm was dedicated to full-scale lavish interior design, with such high-profile projects as the State Rooms of the White House.

Tiffany Studios, “Water Lily Millefiore Vase with Stand,” about 1910, blown glass, gilt bronze stand. Photograph by John Faier. © Driehaus Museum 2013

In 1885 he decided to focus on glass, his signature medium, and soon expanded into metalwork, jewelry, enamels and pottery. Throughout his prolific career, Tiffany experimented with and combined different media and techniques, drawing on a wide range of traditions, cultures, and fashions, which are reflected in this exhibition. He is perhaps best known for his stained-glass windows, which he created by infusing color directly into the glass (as opposed to the European method of painting on glass).

Tiffany Glass & Decorating Company, “Eighteen-Light Lily Table Lamp,” prior to 1902, bronze, blown glass. Photograph by John Faier. © 2013 Driehaus Museum

This national tour of “Louis Comfort Tiffany: Treasures from the Driehaus Collection” incorporates more than 60 stunning examples of Tiffany’s decorative arts legacy over 30 years. Through masterworks never before brought together in a comprehensive traveling exhibition — including vases, lamps, windows and other functional and ornamental works — it offers visitors a rare opportunity to experience a superb variety of Louis Comfort Tiffany’s works, representing the expansive nature of his creative ingenuity and timeless design vision.

Tiffany Studios, “Landscape Window,” 1893–1920, leaded glass, pebbles. Photograph by John Faier. © 2013 Driehaus Museum

The exhibition presents 16 brilliant stained-glass plant-and animal-form lamps, 24 iridescent blown-glass vases, seven large iconic leaded-glass windows and numerous decorative objects, including andirons, candlesticks, humidors and inkwells.

To learn more about “Louis Comfort Tiffany: Treasures from the Driehaus Collection” at the Taft Museum of Art, click here.

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200 Years. 100 Artists. 1 Mississippi.

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Fine Art Today

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February 12, 2018

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Bingham_ George Caleb_ Jolly Flatboatmen_ 1877-78 — George Caleb Bingham (1811-1879), "The Jolly Flatboatmen," 1877-78, oil on canvas, 26 ¼ x 36 ¼ in., Terra Foundation for American Art, Daniel J. Terra Collection, 1992.15.

Presented by The Mississippi Art Museum

“‘Picturing Mississippi, 1817‒2017: Land of Plenty, Pain, and Promise’ follows the evolving story of Mississippi — first shown by foreign-born artists as a place of immense beauty and prosperity,” the museum tells us. “Later, they depicted it as a land laid waste by civil war, farmed by sharecroppers, held in check by segregation, and seared by the struggle for civil rights. They have ultimately shown it to be a place that has found an artistic voice of its own.

George Catlin (1796-1872), “Ball-play of the Choctaw – Ball Up,” 1846-50, oil on canvas, 25 ¾ x 32 in., Collection of the Smithsonian American Art Museum. Gift of Mrs. Joseph Harrison, Jr., 1985.66.428A.

“The nineteenth century sections of the exhibition feature indigenous peoples, early portraits of the wealthy planter class; the Mississippi River’s role connecting North and South and linking East and West through its tributaries; the Civil War, and the effects of Reconstruction on the lives of African Americans.

William H. Buck (1840–1888), “On the Gulf, Near Bay St. Louis,” 1880, oil on canvas, 12 x 20 in., Collection of Roger Ogden, New Orleans, Louisiana

“Art made about Mississippi’s people, places, and events offers a powerful lens through which to understand the state’s history; this visual narrative complements the artifacts and stories in the new Museum of Mississippi History.”

Find more information about “Picturing Mississippi” (on view through July 8, 2018) at the Mississippi Museum of Art here.

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Acquisition Highlights From the Denver Art Museum

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Fine Art Today

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February 12, 2018

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Kent Monkman, “The Scream,” 2017, acrylic paint on canvas, 84 x 132 in., Native Arts acquisition fund, Purchased with funds from Loren G. Lipson, M.D.

During 2017, the Denver Art Museum (DAM) strategically enhanced the breadth and depth of its collection through a variety of major acquisitions, both purchases and gifts from generous museum supporters. This ongoing refinement and expansion of the museum’s collection exemplifies the DAM’s enduring commitment to maintain a diverse collection that reflects the community and provides invaluable ways for audiences to learn about cultures from around the world.

A Dramatic Shift

The Native arts department made a significant addition to its holdings of works by First Nations artist Kent Monkman (Fish River band Cree/Irish). “The Scream” represents a dramatic shift for Monkman, whose earlier work often utilized humor to defuse tension when presenting challenging subjects. This painting — anything but humorous — is horrifying, powerful and haunting.

In a monumental work that draws inspiration from two of Peter Paul Rubens’ seventeenth-century “Massacre of the Innocents” paintings, Monkman depicts First Nations children being forcibly taken from their families and sent to residential schools. The effects of these traumatic experiences are still felt today through language loss, culture change, and disruptions in the transmission of cultural knowledge.

Sven Birger Sandzén (American, born in Sweden, 1871–1954), “A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado),” 1927, oil paint on canvas; 48 x 60 in. unframed. Funds from the DAM Westerners.

“A Mountain Symphony,” On Public View For the First Time Since 1927

The Petrie Institute of Western American Art purchased a painting by Sven Birger Sandzén (American, b. in Sweden, 1871–1954) with strong Colorado ties. After moving from Europe to Kansas, Sandzén visited Colorado every summer between 1908 and 1952. In this painting (above), Longs Peak crowns the colorful visual “symphony” of Sandzén’s interpretation of Rocky Mountain National Park. The vibrant palette, broad brush strokes, and sculptural quality of the paint surface reflect the influence of late nineteenth- and early twentieth-century modernist techniques, many of which Sandzén absorbed while studying in Paris.

Horse, China, Tang dynasty (618-907), Glazed ceramic, Denver Art Museum; Bequest of Bernadette Berger, 2017.43

Tang Dynasty Ceramic Horse

Ceramic horse sculptures are frequently found in Tang Dynasty tombs. Modeled in a variety of poses, with or without riders, some are fully glazed, while others are painted in various colors. Horses played significant roles in Tang Dynasty military, hunting, and sports as well as providing transportation along the Silk Road.

Imported breeds from Central Asia areas were particularly favored as they were more robust and speedy than the indigenous Chinese horses. They were greatly admired by the Tang court and the aristocracy, and most of the ceramic horses were modeled on these imported horses. This elegant example was bequeathed to the Asian art department by Bernadette Berger.

The Virgin and Child

Active in Lima, Peru between 1770 and 1815, Pedro Diaz is considered the most important painter of the late colonial period in Peru. Celebrated in his day, Diaz excelled in religious images and portraits.

This early work, which depicts the Virgin Mary and Child surrounded by small angels, demonstrates the influence of Diaz’s mentor Cristobal Lozano, who a few decades earlier renovated the painting tradition in Lima by skillfully blending French-inspired repertoires and palettes with the more severe style of late seventeenth-century Spanish painting.

Learn more about these acquisitions and the rest of the collection of the Denver Art Museum here.

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