Nikolai Fechin, “Portrait of Nadezhda Sapozhnikova,” 1908, oil on canvas, 56 x 36 1/2 inches (estimate $1,591,080-$2,386,620)
In this ongoing series for Fine Art Today, we take a longer look at the history and features of a soon-to-be-available artwork of note. This week we highlight a spectacular selection of Russian masterpieces available soon in London.
On November 28, Sotheby’s in London will auction an incredible selection of Russian masterpieces by many of that nation’s most celebrated painters, including Nikolai Fechin. The sale will also see the first appearance on the market of a private European collection of works by Alexandra Exter, a central figure of the Russian avant-garde. Inherited by the present owners from Ihno Ezratty, a friend of the artist from her years in Paris and executor of her will, the collection of 14 works includes examples across a variety of media.
Ivan Pavlovich Pokhitonov, “Sunlit Landscape in Winter, Zhabovshchizna,” circa 1902-1906, oil on panel, 6 3/4 x 10 1/2 inches (estimate $132,590-$198,885)
Without a doubt, the star of the sale will be Nikolai Fechin’s “Portrait of Nadezhda Sapozhnikova” which depicts the artist’s friend and patron and was painted before the artist emigrated to America, where the painting has remained ever since. According to Sotheby’s, the painting is being auctioned to benefit the acquisition fund of the San Diego Museum of Art and is being offered for the first time.
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Luke Hillestad, “The Fool,” oil on canvas, 42 x 42 inches
Self-proclaimed kitsch painters Jeremy Caniglia and Luke Hillestad will discuss their experience working with the figurative master Odd Nerdrum at the Nerdrum School during a December lecture that could illuminate the future of figurative painting. When and where?
Wet Paint Artists’ Materials & Framing in Saint Paul, Minnesota, will be the venue for an engaging art history talk with acclaimed painters Jeremy Caniglia and Luke Hillestad. On December 16 from 10 a.m.-1 p.m., the two Odd Nerdrum pupils will discuss a number of fascinating topics, including the different techniques and approaches used at the Nerdrum School — such as the Apelles palette, toning of the canvas, imprimatura, color layering, sanding, and glazing — different approaches to build a composition, and a discussion of masterworks from Odd Nerdrum’s canon.
Jeremy Caniglia, “Evening Star,” oil on panel
Examples of Caniglia’s and Hillestad’s works will be on display for the talk. Interested parties must reserve a spot by contacting Wet Paint. To learn more, visit here.
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Hollis Dunlap, “Pink and Blue Nude,” oil on panel, 16 x 20 inches
Sirona Fine Art is welcoming back a very talented artist this winter for his second solo exhibition in South Florida. A graduate of the Lyme Academy College of Fine Arts, he’s been honing his realist techniques since age 14.
For the second time, artist Hollis Dunlap will be the sole focus at Sirona Fine Art in Hallandale Beach, Florida. In fact, Dunlap began showing his work with Sirona’s gallery director at a gallery in New York City at a young age, over a decade ago — so their roots run deep. The exhibition features Dunlap’s newest works, and viewers can expect a continuation of the artist’s search into his skills and passions as a painter.
Hollis Dunlap, “In Shadows,” oil on panel, 16 x 16 inches
“His works are not political or concept-driven,” the gallery says, “yet still there is an abstract symbolism that he tries to achieve with color and composition. One of the ways that Dunlap’s work has evolved is a deliberate flattening of the background space, an interplay of areas of pure paint and areas of carefully resolved and rendered form.
Hollis Dunlap, “Meditations on Light,” oil on linen, 50 x 40 inches
“There are new ideas of color here, an attempt more to inject colors from Dunlap’s mind’s eye rather than being subject to his keen and masterful observational skills. There are some not obvious inspirations such as classic album covers, influenced by both music and psychedelic color vibrations. You can see the sculptural influences in building the form from the artist’s lifelong influence of Michelangelo, as well as Diebenkorn, Kokoschka, Van Gogh. Dunlap also notes Euan Uglow for his use of space, color, and formal composition, and his appeal to more cerebral realist painters who create works as much from the inside as what the eye perceives.
Hollis Dunlap, “Pink and Blue Nude,” oil on panel, 16 x 20 inches
“There is an intentional centering of the figures to present them more as symmetrical iconic forms and not to focus on any dynamics of point of view or cropping the form. This allows the concentration on the surface, the paint application and a nearly counter-intuitive use of brushwork. There is a kinetic movement to the chromatic mark-making that sculpts forms into a painted space that is held together by personal and considered choices of chroma and tone. Though expertly skilled and able to work photographically accurately, Dunlap says that he doesn’t want to show every blade of grass, or every strand of hair, just the beautiful and interesting blades and strands.
Hollis Dunlap, “Send My Regards from Rome,” oil on panel, 12 x 16 inches
“Though Dunlap doesn’t want to be seen as an academic realist, he also resists some contemporary elements that are ironic or obviously constructed for shock value. His attempts are to be sincere in his work, with figures that are naturalistic in their depicted surroundings. Once again citing Michelangelo as an influence, many of the new figures are presented in a way that is not typical of a male artist’s gaze, in poses that are not dependent on the model being male or female. The emotions that Dunlap wants to connect to the viewer are related in the expressions in both the gesture and faces of the models, of a sense of meditativeness, lost in thought, quiet and reflective moments. It is a proper summation of the way Dunlap has conducted his approach to making art, in a concentrated and sublime way, a visual intellectual who speaks in a silent language of form and color that he has spent his entire lifetime creating.”
Dunlap’s solo exhibition runs through February 2. To learn more, visit Sirona Fine Art.
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Titian, “Portrait of Archbishop Filippo Archinto,” 1558, oil on canvas, 45 3/16 x 34 15/16 inches
Important selections from one of the finest collections of European art ever to have been formed in the United States by a private collector is currently on view. Including masterpieces by key figures of the Renaissance, the Dutch Golden Age, and 19th-century American and French masters, this show is one for the ages.
The Philadelphia Museum of Art is celebrating the centenary of the remarkable bequest of John Graver Johnson — a distinguished corporate lawyer of his day and one of the era’s most adventurous art collectors — to the city of Philadelphia in 1917. “Old Masters Now: Celebrating the Johnson Collection” — on view now through February 19 — includes masterpieces by key figures of the Renaissance such as Botticelli, Bosch, and Titian; important 17th-century Dutch paintings by Rembrandt, Jan Steen, and others; and works by American and French masters of Johnson’s own time, most notably Winslow Homer, John Singer Sargent, and Édouard Manet and Claude Monet.
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James Wilson Morrice, “Canal San Nicolo, Lido, Venice,” 1904, oil on canvas, 59 x 81 cm. National Gallery of Canada
The first exhibition of the A.K. Prakash Collection of works by James Wilson Morrice (1865-1924), one of Canada’s most celebrated modernist artists, will adorn the walls of this renowned institution soon.
Recently gifted to the National Gallery of Canada, the entire donation from the A.K. Prakash Collection of 49 works by James Morrice — 45 paintings in oil and four watercolors — will be on display. The exhibition, titled “James Wilson Morrice: The A.K. Prakash Collection in Trust to the Nation,” and the accompanying publication bring to life the passion of an avid collector and philanthropist, Ash K. Prakash, who was determined to understand and celebrate the artist’s legacy.
James Wilson Morrice, “The Regatta,” circa 1902-1907, oil on panel, 23.4 x 32.8 cm. National Gallery of Canada
Via the NGC, “Taking visitors on a three-decade journey of collecting, this exhibition in the Masterpiece in Focus series explores the relationship between collector A.K. Prakash and his artist of choice, James Wilson Morrice, weaving the intricate story of the artist with that of the collector. Pioneering a fresh and vibrant use of colour, and known for his delicate handling of paint on small-scale wooden pochades, Morrice played a vital role in advancing modern artistic trends in Canada and abroad at the turn of the 20th century. The stories around his widespread travels and rise to fame as one of Canada’s most beloved modernist painters are shared through the passion of an avid collector who was determined to understand, celebrate, and preserve the artist’s legacy for all Canadians.”
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Fra Angelico, “The Dormition and Assumption of the Virgin (detail),” 1430-1434, tempera on panel, 24 5/16 x 15 1/16 inches, Isabella Stewart Gardner Museum
For the first time ever, four newly restored reliquaries that were painted by Renaissance icon Fra Angelico for the church of Santa Maria Novella in Florence between 1424 and 1434 will be reunited during a blockbuster exhibition. Where?
The Isabella Stewart Gardner Museum in Boston will be the sole venue for “Fra Angelico: Heaven on Earth,” opening February 22 and continuing through May 28. Angelico (circa 1400-1455) was celebrated in his time as the most famous painter in Italy, and any opportunity to view his masterpieces outside Europe is one worth taking.
“With remarkable ingenuity and rare technical expertise, Angelico reconceived popular compositions and infused familiar Christian stories with new meaning,” the Gardner reports. “His iconic altarpieces and frescoes — painted for two Popes, members of the Medici family of Florence, and the city’s merchant elite — transformed Western art. They secured his place in history and forged the future of painting in Italy.
“Heaven on Earth” brings together choice examples of Angelico’s narrative art, inviting visitors to experience the wonder of his breathtaking stories up close and in a new light. “Two monumental altarpieces, an intricate series of panels from his Silver Chest, a previous triptych for private devotion, and nine predella scenes join the four reliquaries in a dramatic installation evocative of their Renaissance context,” the Gardner continues. “Many of these works are visiting the United States for the first time in over 40 years at the museum.”
Dr. Nathaniel Silver, the Gardner’s associate curator of collections, added, “Although separated for over 200 years, these four precious painted reliquaries showcase Fra Angelico’s peerless creativity and unparalleled technical accomplishments. The reliquaries, carefully selected altarpieces, furniture panels, and a triptych illuminate the relationship between form and function, revealing how the artist shaped each story for its intended purpose.”
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Domenico Tiepolo, “Jesus in the Garden of Gesthemane: The Second Prayer,” n.d., pen and brown ink, 19 x 15 inches, Eskenazi Museum of Art
A California museum has brought together a must-see selection of master drawings by two of 18th-century Italy’s most famous father/son artists: Giambattista and Domenico Tiepolo. The show offers viewers an engaging experience of luminous compositions, as the Tiepolos’ splendid drawings — and the works of other Venetian artists — provide a unique view into the distinctive art of the lagoon city.
On view now through February 4 at the Crocker Art Museum in Sacramento, “Masters of Venice” is a tantalizing experience for any fine art lover. The show provides new insight into two of Venice’s most important artists through a fantastic selection of drawings. According to the museum, “Eighteenth-century Venice was not only home to a lively community of artists and the finest publishing and printmaking industry in Europe, but its unique architecture and traditions also made it a cultural destination for artists, aristocrats, and royalty.
Jacopo Palma il Giovane, “Study for Saint John the Baptist Preaching,” circa 1620, pen and brown ink, 14 15/16 x 13 1/2 inches, Eskenazi Museum of Art
“Giambattista Tiepolo (1696-1770) and his son Domenico (1727-1804) were the most renowned Venetian artists during this period, with patrons across Italy and Europe. In 2010, Indiana businessman and philanthropist Anthony J. Moravec donated a collection of drawings by the Tiepolos to Indiana University’s Sidney and Lois Eskenazi Museum of Art in Bloomington, expanding its Tiepolo holding to make it the third largest in the nation.
Domenico Tiepolo, “A Centaur Playing with Punchinellos,” n.d., pen and brown ink, 14 1/8 x 18 11/16 inches, Eskenazi Museum of ArtGiambattista Tiepolo, “The Flight into Egypt,” 1735-40, pen and brown ink, 16 3/16 x 11 11/16 inches, Eskenazi Museum of Art
“The centerpiece of the exhibition is a group of 12 drawings from Domenico Tiepolo’s New Testament cycle, from what is believed to be the largest such cycle produced by a single artist. These large, ink and wash drawings are not studies for other works, but rather unique designs that showcased the artist’s deep understanding of the religious subject matter and his careful observation of the world around him. While most of the events from the New Testament are familiar, others are more rarely depicted, yet even in the most iconic scenes, Domenico brings out the humanity of the story.”
Terry Miller, "Steam Fitters," 2013, graphite on board, 9 x 18 inches, private collection
by Kelly Compton
As seen in the Frontispiece of this issue (page 3), American artists have long highlighted the world of industry in their paintings, sculptures, drawings, and prints. Unfortunately, the dynamism of such historical images—the exciting throb of big things happening—has generally morphed into faded glory, visions of once-grand structures no longer operating at full capacity, if at all. Such scenes of melancholy and ruination possess their own charm, but industry and industriousness ain’t over yet; artists are finding ways to celebrate still-active sites, too. This spread, therefore, sets out a range of approaches being pursued by artists around the world. . .
(This article is featured within the November-December 2017 issue of Fine Art Connoisseur. To purchase this issue or subscribe, visit HERE.)
Ira Korman, “Serpent,” 2004, charcoal on paper, 32 x 23 inches, private collectionRobert Spooner, “The Argyle,” 2016, oil on board, 40 x 50 inchesNancy Tankersley, “Power Play,” 2016, oil on linen panel, 20 x 20 inchesVladislav Yeliseyev, “Easton Silos,” 2017, watercolor on paper, 11 x 15 inchesPeggy Morgan Stenmark, “Shadow Connections II,” 2012, watercolor, ink, and acrylic on paper, 26 x 22 inchesRay Hassard, “Flying the Beam,” 2012, pastel on panel, 20 x 16 inchesMichele Usibelli, “333 Canal Street,” 2016, oil on canvas, 24 x 12 inches, private collectionCharlie Hunter, “Marble Workers, Danby, Vermont, 1963,” 2015, oil on linen, 72 x 48 inches, Artcentric.HouseShelby Keefe, “Intensity of Intention,” 2017, oil on canvas, 30 x 15 inchesKevin Moore, “In the Shadows of Coal Country,” 2017, oil on panel, 24 x 32 inches, private collectionBradley Schmehl, “Feeding the Beast,” 2016, oil on canvas, 30 x 40 inches, private collectionGerald J. Fritzler, “The Master Tech,” 2015, watercolor on paper, 19 x 14 inches, private collectionNicholas Evans-Cato, “Keyboard,” 2017, oil on canvas, 24 x 44 inches, George Billis GalleryFrancesco Fontana, “Industrial Reflections,” 2017, watercolor on paper, 15 x 20 inchesChristopher Groves, “Streamlined,” 2017, oil on board, 24 x 20 inches, Anderson Fine Art GalleryStewart White, “Philly Refinery, Satellite View #1,” 2016, watercolor on paper, 18 x 12 inches, private collectionSteve Stauffer, “Nelson’s Silver Cup,” 2017, oil on linen panel, 16 x 20 inches, Mission Gallery, St. George, UtahAnne Harkness, “Whitewashed,” 2017, oil on canvas, 36 x 60 inchesBrienne M. Brown, “Wet Stop,” 2016, watercolor on paper, 14 x 10 inchesJoe Paquet, “Blue Collar,” 2014, oil on linen, 28 x 40 inchesJohn Cosby, ” Canojaharie Creek,” 2015, oil on linen, 18 x 24 inchesJulie Riker, “Lanaconing Silk Mill,” 2017, oil on hardboard, 16 x 12 inchesApril Raber, “Diadem II,” 2017, oil on canvas, 12 x 24 inchesJoseph Lorusso, “Linemen,” 2014, oil on panel, 40 x 48 inches, Mountain Trails GalleryDavi Boyd, “Elevated,” 2017, oil on linen, 50 x 60 inchesJon DeMartin, “Golden Rails,” 2013, oil on wood, 9 x 24 inches, private collection
Using the ever-changing color and light of a impression, the artistry of Mary Bentz Gilkerson paintings connect people to the experience of place.
“Almost daily for the last five years I’ve made a small painting inspired by the landscapes I travel through, mainly near the roads and highways around Columbia, SC, especially Lower Richland,” says Gilkerson.
Mary is drawn to the ordinary spaces we move through, especially ones that are within view from the road.
“In a roadside view I find a strange intersection of nature and culture. We move so fast that we don’t take time to observe the world around us in the way that people did before modern transportation and technology came along. In my work, I seek to focus on the shifting patterns of light and color that tell us what time of day and season it is, to note the small and subtle, as well as the large and grand.”
Gilkerson holds an MFA in drawing and painting from the University of South Carolina. A native South Carolinian, she lives and works in her Columbia studio after retiring as a professor of art at Columbia College. She has received grants from the S.C. Arts Commission and the Cultural Council of Richland and Lexington Counties in addition to having been selected as a Southern Arts Federation Fellowship Finalist. Her work is in the permanent collections of McKissick Museum, Palmetto Health, Morris Communications Company, and Seibels Bruce Group, among others.
George Caleb Bingham, “The Jolly Flatboatmen,” 1877-78, oil on canvas, Terra Foundation for American Art
More than 175 works by 100 artists inspired by Mississippi over the last two centuries feature during a major exhibition at the Mississippi Museum of Art. There’s definitely something here for every art lover!
“Picturing Mississippi, 1817-2017: Land of Plenty, Pain, and Promise” is a significant exhibition soon to be on view at the Mississippi Museum of Art in Jackson. Opening December 9 and continuing through July 8, 2018, the exhibition commemorates the 200th anniversary of Mississippi’s statehood through more than 175 works by 100 artists.
“Illuminating the perception and depiction of Mississippi over more than 200 years, the exhibition showcases 175 works by 100 artists who either resided in the state, visited, or lived elsewhere and were compelled to respond to a multiplicity of subjects,” the museum says. “From Choctaw objects and sweeping landscapes to portraiture and contemporary work, the exhibition reveals that Mississippi has continuously resonated with artists in powerful ways as lived experience, memory, and imagination.
Louis Joseph Bahin, “Natchez Under the Hill,” 1852, oil on canvas, Morris Museum of Art
“The exhibition features individual masterpieces by artists seldom exhibited in the state, including James Audubon, Jean-Michel Basquiat, Thomas Hart Benton, George Caleb Bingham, John Steuart Curry, Robert Indiana, and Andy Warhol, alongside works by indigenous peoples, as well as by native Mississippians such as William Dunlap, Sam Gilliam, George Ohr, and Eudora Welty. Other prominent artists with works on view include Henri Cartier-Bresson, Melvin Edwards, William Eggleston, Walker Evans, Ben Shahn, and Kara Walker.”
Robert Brammer, “Mississippi Panorama,” circa 1842-1853, oil on canvas, 29 x 36 inches, Private Collection
Mississippi Museum of Art Director Betsy Bradley said, “An unprecedented event for our state, ‘Picturing Mississippi’ provides the unique opportunity to look at our history through the creative lenses of artists working across time, place, and media. We are excited to share a diversity of impressions of Mississippi’s people, places, and histories. The exhibition and related programming reaffirm the seminal quote, attributed to native son William Faulkner, ‘To understand the world, you must first understand a place like Mississippi.’ We hope the exhibition will inspire honest and wide-ranging conversation about where we’ve been, where we are, and where we hope to be.”
The robust exhibition is divided into eight different themes, including “A Contest Place: Native Americans and Europeans”; “Natchez: Culture and Slavery”; “From Statehood to Confederacy: Mississippi in Times of Peace and War”; “Art in the Age of Reconstruction”; “Land and Sea: Artists Explore Mississippi and the World”; “Mississippi, the Great Depression, and Regional Identity”; “Shaping the Future: Art of Mississippi Since 1950”; and “Art in the Age of Civil Rights.”
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.
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