How did you develop your unique style? Poppy Balser: It was when I began with watercolours that I started to make progress with my paintings. I started painting outside shortly after that. Having to work quickly at a pace to keep up with the changing light of the sun helped me develop what has become my way of painting. I was not consciously seeking a “style” I was simply painting things I like to look at: water, boats, the seashore of the Bay of Fundy. Over years and lots of practice I found what worked for me to make pictures that I like to look at. I have been blessed that viewers like what they see too.
What is the most interesting thing you have painted and why? Poppy Balser: I did a number of paintings of herring weirs. These are fishing structures that once dotted the shores of the Bay of Fundy, made of tall poles strung with netting. As the tide rises and falls, the nets strung from pole to pole are a fascinating visual subject. Weirs have almost entirely disappeared now so I paint them to document an important part of the local history of where I am from.
Olga Volkova (b. 1994), "Portrait of Anna," 2022, oil on canvas, 23 1/2 x 19 1/2 in.
Building an Art Collection – a Fine Art Collection Profile >
Tom Vining is a retired veterinarian who lives in a small town 75 miles west of Houston. His home is adorned with approximately 275 paintings, almost all of them on display with — amazingly — enough wall space for more. Ranging from figures and still lifes to landscapes and cityscapes, these works have been created by impressionist and realist artists in America, Russia, and Ukraine, most of them after 1980, though a few before.
Art collector Tom Vining
Tom says he did not grow up with original art: “I remember my dad doing some paint-by-numbers and framing prints of famous paintings, but the real spark for my interest in art was beginning a new relationship at age 40. In 1992 my partner and I made our first visit to Santa Fe, where we purchased three landscape paintings by Don Brackett, Eric Wallis, and [the late] Louisa McElwain. I was hooked, so when we returned home, I began seeking out galleries near our second residence in rural Texas, between Houston and Austin. Luckily, I found The Gallery at Round Top, which was owned by two artists willing to answer my questions and educate me more than I ever could have on my own.”
One of those generous artist-gallerists was Karen Vernon, and Tom began purchasing paintings by local and regional artists she represented, then joined an organization in which she was active. Arts for Rural Texas is dedicated to providing arts education for youngsters who would otherwise never be exposed. Its programming includes after-school and summer art camps, exhibitions of student and professional artists, and the subsidized transport of pupils to attend live performances in large school auditoria throughout Fayette County.
Every year Arts for Rural Texas mounts Art Walk, a juried exhibition presented in the main square of Fayetteville (population 258). Over the years Tom has bought lots of art there and has also taken many more trips to Santa Fe, especially off-season, when dealers and artists are better able to relax and share their insights at length. In time, he discovered and “fell in love” with comparable artworks from the Soviet Union, Russia, and Ukraine, and he is especially fond of the students who are sustaining this artistic tradition at the Repin Institute in St. Petersburg. (Sadly, the availability of their art in the U.S. has been challenged by trade sanctions imposed on Russia since 2022.)
Today, the Vining Collection encompasses works by such American talents as George William Allen, William Alther, Sunny Apinchapong, Suzie Baker, Phil Beck, Ovanes Berberian, Kathie Boehneman, Don Brackett, Michelle Chrisman, Graydon Foulger, Kaye Franklin, Greg Glowka, Walt Gonske, A.D. Greer, Eric Harrison, Rick Hodgins, Qiang Huang, Eric Jacobsen, William Scott Jennings, Robert A. Johnson, Roger Hayden Johnson, Rusty Jones, Ramon Kelley, Sonja Kever, Phoenix Kooper, Margie Leach, Calvin Liang, Chen Liang, Huihan Liu, Frances Macaulay, Sally Maxwell, Janice McCubbin, Ken Muenzenmayer, C.W. Mundy, Lenore Prudhome, Manfred Rapp, Jean Reavis, Laura Robb, Bob Rohm, Don Sahli, Mary Scott, Carol Swinney, Gary Taylor, Linda Tibolla, Hsin-Yao Tseng, T.W. Vanya, Karen Vernon, Scott Wallis, and Bruce Williamson.
Suzie Baker (b. 1970), “Ralph’s Barn,” 2015, oil on linen panel, 20 x 16 in., painted at Wisconsin’s Door County Plein Air Festival
The Russian and Ukrainian artists represented include Lyudmila Agrich, Nikolai Babasyuk, Arthur Bakhtiyarov, Ekaterina Belova, Olga Grigoryeva-Klimova, Vladimir Kholuev, Viktor Kiselev, Slava Korolenkov, Valery Koserukov, Sergei Kovalenko, Vladimir Kovalov, Olga Kuzmina, Oleg Lomakin, Piotr Marmanov, Andrew Piankovski, Erik Rebane, Semon Rotnitski, Andrey Selenin, Alexander Shabadei, Irene Sheri, Boris Spornikov, Vadim Suvorov, Evdokia Usikova, Helve Viidalepp, Ivan Vityuk, Nina Volkova, Olga Volkova, Edvard Vyrzhikovski, Fedor Zakharovich Zakharov, Zinaida Zatsepina, and Tuman Zhumabaev.
Tom says he buys regularly from artists themselves; about 30 of those represented in the collection have had the pleasure of visiting him, and indeed four paintings have actually been created in his house. All visitors are struck by the intelligence of Tom’s juxtaposition of artworks from different regions; on one wall, for example, hang complementary tree scenes painted in 1979 by Fedor Zakharovich Zakharov (1919–1994) and just last year by Eric Jacobsen (b. 1966). The close aesthetic connection between Old and New Worlds is epitomized by the presence of two masters in the Vining Collection: Nicolai Fechin (1881–1955) and Sergei Bongart (1918–1985) both immigrated to the U.S. and thrived here, introducing generations of their new compatriots to “the Russian School.”
Tom also buys regularly from galleries and is quick to credit three dealers as particularly inspirational: Paul Eubanks at Paul Scott Gallery (formerly Gallery Russia) in Scottsdale, Dianna Eaton at Kyiv International Gallery (formerly Art of Russia International) in Santa Fe, and Vanessa Rothe in Laguna Beach. He admits he is stunned by “the determination of younger artists to bypass the gallery system.” He says, “They do not seem to realize that few artists will prosper without someone promoting their work and investing time and money to do so. Being discovered on the Internet is like finding a needle in a haystack. Even established artists will fade away if they are not promoted constantly.”
Tom continues to show support for artists by attending fundraisers that benefit Arts for Rural Texas and other nonprofits, and when local galleries invite their artists to teach on site, they frequently come to visit his collection. (In fact, entire art classes from local schools have come through.)
Not every acquisition is straightforward, of course. Tom confides: “Sometimes, I find too many great pieces at the same time. Fortunately they seem to wait for me to come back and collect them. One piece took three years because there was always another one I liked more. Once I had to wait eight years for a very expensive painting, and sometimes I find that a desirable painting I passed on has later shifted to another gallery at a moment when I can actually acquire it.”
Clearly, patience has been an essential virtue in the Vining Collection’s formation, and will continue to be so.
Maxfield Parrish (1870–1966), "Reveries," 1913, oil on canvas, 39 x 45 3/4 in., private collection courtesy National Museum of American Illustration (Newport, Rhode Island)
The Flagler Museum is presenting “The Ethereal Worlds of Maxfield Parrish,” an exhibition of 25 works demonstrating the genius of the Philadelphia-born master (1870–1966) whose paintings evoke a dreamlike world that hovers between reality and reverie. Parrish was a leading figure in the Golden Age of American Illustration, whose approximately 900 commissions for advertisements, magazines, books, stage sets, murals, stationery, and children’s books made him world-famous. By 1925, one out of every four households in America possessed reproductions of his art in some form.
On view this season are artworks featuring his highly saturated colors (especially the distinctive “Parrish Blue”) and lustrous glazing techniques. The compositions often depict figures in lush landscapes that are both romantic and fantastical, often with a neoclassical flourish.
Originally named “Whitehall,” the Flagler Museum was built by the real estate developer Henry Flagler at the heart of his most prestigious creation, Palm Beach, Florida. It is a highly appropriate venue for this exhibition as its heyday overlapped with Parrish’s. When it was completed in 1902, the house was hailed by the New York Herald as “more wonderful than any palace in Europe, grander and more magnificent than any other private dwelling in the world.” Parrish often depicted such grand, idealized buildings, too.
Details at a Glance:
“The Ethereal Worlds of Maxfield Parrish”
Flagler Museum, Palm Beach, Florida flaglermuseum.us
Through April 20, 2025
Paul Signac (1863–1935), "Port-en-Bessin," The Rocks of Calvados, 1883, oil on canvas, 17 3/4 x 25 in., photo: Kent Pell
Fine Art Collection on View > In Salisbury, North Carolina, the Waterworks Visual Arts Center is hosting the exhibition “Never Before Seen … Modern Masterpieces from the Collection of Julian and Josie Robertson.” On view are 40 paintings and sculptures created by 28 European artists including Monet, Renoir, Pissarro, Fantin-Latour, Picasso, Chagall, Kandinsky, and de Kooning, spanning a range of movements from impressionism to abstract expressionism.
All of the works are from the collection of the late New York City philanthropists Julian and Josie Robertson, who began buying art in earnest after Julian (1932–2022) founded the hedge fund Tiger Management in the 1980s. He was born in Salisbury and remained dedicated to his hometown for the rest of his life.
It was there that he learned the importance of community from his parents, Blanche and Julian Robertson, both active members of the town’s church and civic life. Blanche was also instrumental in establishing Waterworks as a recognized organization in the late 1970s.
On a national level, the younger Robertsons became generous supporters of the arts, medical science, education, environmental conservations, and efforts to combat poverty. In 1997, they established the Blanche and Julian Robertson Family Foundation to support causes in Salisbury and in Rowan County, of which it is the county seat.
As plans were laid to tour the Robertson Collection, it was agreed that it should be seen in Salisbury first. Its 12-month presentation there is attracting visitors from throughout the region, and it’s impressive that Waterworks and the foundation have partnered to ensure that every child in Rowan County — some 19,000 students — will visit during the show’s long run.
Exhibition Details At a Glance:
“Never Before Seen … Modern Masterpieces from the Collection of Julian and Josie Robertson”
Waterworks Visual Arts Center, Salisbury, North Carolina waterworks.org
Through August 30, 2025
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.
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.
Lisa Breslow, "Bloom," 2024, oil and on panel, 12 x 12 inches
Contemporary Paintings for Sale:
“Lisa Breslow: From This Place”
Kathryn Markel Fine Arts
New York, New York www.markelfinearts.com
Through March 29, 2025
Lisa Breslow, “Right Turn,” 2024, oil and pencil on panel, 30 x 30 in.
From the gallery:
Lisa Breslow painted this collection of work during a period of immense productivity following the devastating loss of her husband. The act of making became a solace for the artist and she focused this energy to push her painting further than ever before. Each distinct brushstroke is more confident and bold and each scene deeply emotionally resonant. Her rich surfaces reveal the time and care spent with every mark.
Lisa Breslow, “Daydream,” 2024, oil and pencil on panel, 16 x 12 in.
Breslow’s paintings are reflective, personal expressions of her everyday surroundings. The process of choosing what to paint is intuitive, as she describes it, “I tend to gravitate toward scenes that are quieter and more meditative. It’s always the lighting that draws me in initially, with its interplay of colors and forms that evokes a particular feeling or mood. When I see it, I know immediately that this is something I would want to paint.”
Each composition sits at an intersection of busy city life and the quiet of nature. The artist distills these experiences into introspective snapshots that feel both optimistic and tender as she captures the memory of a place.
Lisa Breslow, “Balcony View,” 2024, oil and pencil on panel, 29 x 70 in.
Lisa Breslow has exhibited extensively in the United States, including recently at the Heritage Museum and the Heckscher Museum. She has been awarded two Pollock-Krasner Foundation awards, as well as an award from the National Academy Museum in New York, and was an Invited Artist at the Center for Contemporary Printmaking. She lives and works in New York City.
Attention Art Collectors! May 20-22, 2025: Visit the Plein Air Convention & Expo’s robust pop-up art gallery at the Nugget Casino Resort in Reno, Nevada, where hundreds of artists, including our master faculty, will have studio and plein air paintings for sale. Register for the full event at PleinAirConvention.com now.
"Wild Flowers" by Janell James; private collection
There is a lot of superb contemporary art being made these days; this article by Allison Malafronte shines light on a gifted individual.
Janell James(b. 1974) does not feel the need to define her subject matter in any particular way, nor to confine herself to a specific form of expression. Her portfolio includes multi-layered acrylic-on-glass works, representational oil paintings, abstract paintings, mixed-media three-dimensional pieces, and most recently large acrylic-glass hanging mobiles. This intellectually curious artist is constantly experimenting and pushing the boundaries of her capabilities to see how far she can go and what creative possibilities await.
James is classically trained, but, according to her artist’s statement, she “untrained herself through deconstruction of the formal art process, intentionally looking for a way to take what is old and make it new.” She continues, “My goal has always been to bridge the gap between traditional and contemporary art. Approaching my work from a modern and abstract perspective allows for endless possibilities.
“In ateliers in Paris and Belmont, California, I first learned to paint light and about the technique of luminescence through layering paint and glazes, as well as the suspension of paint in glazes, to create depth of field. Fifteen years into my career, I began layering painted sheets of acrylic glass to reveal the layers and create a 3-D depth. As I painted on the front and back of five sheets of acrylic glass, 10 separate layers of paint began to play with light, to cast shadows, and to come alive.”
Janell James (b. 1974), “Punctuating the Blue,” 2020, acrylic on layered acrylic glass, 48 x 44 in., RARE Gallery (Jackson, Wyoming)
The interconnectedness of these elements — layers of paint, light, color, shape, dimension — gives James’s work a surge of kinetic energy and vibrancy that is best experienced in person. Even remotely, however, viewers can get lost in the compelling mosaic-like construction. For “Punctuating the Blue,” James turned again to one of her greatest inspirations, nature, to create a kaleidoscope of shape, color, and design. The outdoors has long been the artist’s playground, and when she is not in her studio, she is hiking, walking her dog, and collecting visual stimuli in the mountains of her home state of Utah.
“Nature is a source of abstraction and color for my artist’s eye,” she says. “It is the muse that gives life to the work I do, regardless of the medium I choose for the expression. Seeing nature through this lens provides me endless opportunities to explore and create.”
Attention Art Collectors! May 20-22, 2025: Visit the Plein Air Convention & Expo’s robust pop-up art gallery at the Nugget Casino Resort in Reno, Nevada, where hundreds of artists, including our master faculty, will have contemporary art, including plein air works, on display and ready to purchase. Register for the full event at PleinAirConvention.com now.
Jaime Byrd, "The Soaked Earth," 2024, oil on wood, 18×24×2 inches. Courtesy of the artist.
The Asheville Art Museum is presenting “Asheville Strong: Celebrating Art and Community After Hurricane Helene,” a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition showcases the works of artists from the Helene-affected Appalachia region, celebrating their resilience, creativity, and strength while highlighting the power of art to inspire and bring communities together.
Kate-Lan Johnson, “The Cost of the Price,” Plaster, blown glass, and found glass, 12x8x4 inches. Courtesy of the artist.
The Museum issued an open call for artist submissions, collaborating with local and regional arts networks to reach artists from the Southern Appalachian community impacted by Hurricane Helene. The response was overwhelmingly positive, with over 150 submissions showcasing a diverse range of works.
Adam Void, “The Power of Water,” 2024, collage on paper, 19×19×1.5 inches. Courtesy of the artist.
“Hurricane Helene was devastating for everyone, and as a public-serving arts institution, we really wanted to recognize the impact the storm had on artists,” said Jessica Orzulak, Associate Curator and Manager of Curatorial Affairs. “Artists are an integral to the bedrock of our communities in WNC. Our goal has been to create space for impacted artists to showcase their work to a broad public, opportunities for artists to connect with each other and collectors, and a means for us all to join together in a collective act of resilience.”
Luke Haynes, (DWR #12) “Vintage Yellow,” 2022, Recycled vintage sheets and reclaimed clothing, 60×60×1 inches. Courtesy of the artist.
Asheville Strong features a variety of mediums, including painting, drawing, printmaking, sculpture, ceramics, and photography. Each work is accompanied by the artist’s information, allowing viewers to connect and learn more about the creators. For more information, please visit www.ashevilleart.org.
Ray Brown (b. 1966), "Veiled," 2024, charcoal on paper mounted on board, 48 x 38 in.
Wildlife Art on View (and much more):
Southeastern Wildlife Exposition
Charleston, South Carolina sewe.com
February 14-16, 2025
The Southeastern Wildlife Exposition (SEWE) is ready to celebrate its 43rd anniversary and fill the streets of downtown Charleston with animal lovers of all stripes. Once again, SEWE will program a fine art gallery and an exhibition of artisans and craftsmen alongside its popular demonstrations of dogs and birds of prey in action, plus lively displays by conservation organizations and the South Carolina Department of Agriculture. Drawing at least 50,000 visitors each year, these activities highlight the urgent need to protect wildlife and preserve our natural resources.
The art exhibition features more than 90 painters and sculptors, both established and emerging. They range from the hand-carved feather artistry of sculptor Chris Maynard (Olympia, Washington) to international big game painters like Grant Hacking (South Africa) and Audubon-inspired artists such as Art LaMay (Palm Coast, Florida).
This year’s featured artist is Ray Brown, whose charcoal drawing “Veiled” (above) will be visible everywhere on the festival’s official poster. Illustrated here, this original wildlife art will be on display at the Gallery by SEWE, then auctioned during the VIP gala and sale on February 13. Brown has joined a small, distinguished circle of SEWE’s featured artists including John Banovich, Greg Beecham, Kathleen Dunphy, Julie Jeppsen, and Ryan Kirby.
“This is truly an honor and a validation of the work I’ve done over the years,” Brown declares. “But more than that, it’s a full-circle moment for me. SEWE was the first show where I exhibited my work, more than 20 years ago. To be chosen now takes me back to that first time I walked into the ballroom, and I feel proud of what I’ve accomplished since then. I’m grateful that SEWE has continued to support me and provide a platform to showcase my work and passion for wildlife.”
Brown is known for evocative charcoal pieces, and his choice of medium reflects his commitment to simplicity and authenticity. He strives to convey profound depth and emotion through textures and thoughtful compositions. In “Veiled,” he depicts an enormous bull moose, which symbolizes the noble qualities of wildlife.
Brown’s journey began with a B.S. degree in visual communications, which led to a career in commercial illustration and graphic design in his hometown of Baltimore. Longing to capture the spirit of nature, Brown seized an opportunity in 2003 to relocate to Southern California, where he has pursued fine art full-time.
Throughout the year, SEWE welcomes art lovers to its Gallery by SEWE in The Shops at Charleston Place downtown. This space is a continuation of the festival’s popular fine art venue, and is also home to a program of artist residencies.
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.
Shrine Hallway, Cyrus Afsary, oil, 12 x 9; artzline
Out Of The Shadows, Dennis Schmidt, oil, 25 ½ x 35 ¼; artzline
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Eve’s Reflection, Lin Yang, oil on linen, 40 x 24; Lin Yang
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.
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