Collectors are flying in from across the globe to New York to take advantage of an opportunity to meet this emerging American Master and bask in the unveiling of her nine newest paintings.

RJD Gallery in Bridgehampton, New York, is expecting huge crowds for this weekend’s opening reception for “Into the Wind,” a solo exhibition of nine new acrylics by acclaimed realist painter Andrea Kowch. On Saturday, August 26, the artist will be on hand for the opening. All nine paintings have pre-sold even though her collectors have yet to see the works.

A number of limited edition signed prints will also be available during the opening reception. Of her newest works, Kowch suggested, “Inspired by memories, inner emotions, history and my fascination with nature and the human psyche, the stories behind my paintings stem from life’s emotions and experiences, resulting in narrative, allegorical imagery that illustrates the parallels between human experience and the mysteries of the natural world.”

“Into the Wind” will remain on view through October 1. To learn more, visit RJD Gallery.

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.

In partnership with Liss Llewellyn Fine Art, Watts Contemporary near Guildford, United Kingdom, has crafted the first selling exhibition dedicated to a major figurative artist of the Modern British era. Details here!

On view now through September 24 at Watts Contemporary is a major retrospective dedicated to the life and career of Evelyn Dunbar (1906-1960), now considered to be among the most important artists in 20th-century British art. Bringing together 150 pictures — over half of which have never been shown publicly — the exhibition aims to highlight the artist’s importance and why her status has been vaulted to such heights.

The gallery has offered a wonderful, comprehensive overview of the artist’s career, which we’ve quoted in full here:

“Evelyn Dunbar was born in Reading, Berkshire, into a merchant family. In childhood she moved to Kent, where she lived for most of her life. While at school she won national awards for drawing. Between leaving Rochester Grammar School for Girls and going to art college she spent a year or two writing and illustrating children’s books, mostly featuring winsome children. ‘Hot Pie’ (1925), included in this exhibition, is a typical example.

“This early period is also notable for family portraits, of which ‘Sleeping Beauty’ (1928), an affectionate portrait of her father William, is an endearing example.

“Dunbar studied at the Royal College of Art, and between 1933 and 1936 she was amongst a team of recent graduates from the RCA who were invited by their tutor, Cyril (Charles) Mahoney, to create a mural design for the hall and adjacent areas of Brockley County Schools for Boys in Lewisham. Included in the exhibition are Dunbar’s sketches for a 12-meter frieze of the local landscape and for two of 24 spandrels illustrating Aesop’s fables and other moral instances.

“A close relationship developed between Dunbar and Mahoney, subsequently leading to the jointly written and illustrated Gardeners’ Choice (London: George Routledge & Sons, 1937). This exhibition includes several of Dunbar’s original drawings for the book, both of the plants featured and of the numerous and intriguing vignettes based on the garden at The Cedars, the Dunbar family home in Rochester.

“In 1937 Dunbar received a commission from Country Life to design its 1938 Gardener’s Diary. For this, Dunbar created particularly inventive pen-and-ink personifications of the months, each featuring the associated work or produce. This exhibition includes a study of September, seen as a doughty lady gardener surrounded by vegetable marrows and sunflowers.

“Evelyn Dunbar’s Christian Scientist background helped the artist to develop firm ideas about the interaction of mankind and nature. Initially limited to the context of the family garden in Kent, her ideas found a wider field of expression when, having been appointed Official War Artist in 1940 — Dunbar was the only woman war artist to be salaried throughout WW2 — she quickly became particularly associated with the Women’s Land Army. This exhibition features previously unseen studies for major paintings from this period, including ‘A Land Girl and the Bail Bull’ (1945, finished painting in the Tate collection) and ‘The Queue at the Fish Shop’ (1944, finished painting in the Imperial War Museum’s collection). These and other war pictures reveal how, in recording women’s Home Front activities, Dunbar could promote a gentle and unaggressive feminism.

“In 1940, the artist met and later married Roger Folley, then an RAF officer but later to become a leading horticultural economist. Their common interests and convictions encouraged Dunbar, after the war, to concentrate on a series of allegorical paintings and drawings which reflected her beliefs, and her debt to Ruskin and the Pre-Raphaelites, whose ideas about the function of art and the place of narrative in painting she acknowledged as strongly influential. Pen and Indian ink sketches for ‘Faith, Hope and Charity’ (1948) — with Charity characteristically faceless — show the beginnings of what might have become a major allegorical painting had Dunbar completed it. But never one to waste a good idea, her design eventually ended up as a Christmas card.

“Evelyn Dunbar divided her post-war years between allegories, teaching as a Visitor at the Ruskin School, exhibiting and, towards the end of her life, recording her beloved Kent in landscapes again expressive of the synergy between man and nature. ‘Kentish Landscape’ (1955) is a typical example, with agricultural activities omnipresent but subtly understated.

“Evelyn Dunbar died suddenly at the age of 53, leaving behind a studio collection of some 800 works which only came to light in 2013 when a painting by Dunbar appeared on the BBC Antiques Roadshow. Having seen the show, Ro Dunbar, a relative of the artist, set to exploring the extraordinary hoard of paintings, drawings and studies hidden in the attic of her Kent home. The unrecorded works were identified with the help of Christopher Campbell-Howes, the artist’s nephew and biographer (Evelyn Dunbar: A Life in Painting, on sale at the exhibition), who had been tracking contents of the ‘lost studio’ — dismantled in its entirety after Dunbar’s death in 1960 — for some 10 years. The discovery of the Hammer Mill Oast Collection doubled the known body of Dunbar’s work overnight and has enabled a reappraisal of the artist’s place in 20th century British art history.

“Commenting, Paul Liss, Director of Liss Lllewelyn Fine Art, appointed by the Dunbar Family to sell the Hammer Mill Oast Collection and organizer of the acclaimed museum exhibition Evelyn Dunbar: The Lost Works (Pallant House, 2015), said:

‘“Through a display of 150 works, this exciting exhibition at Watts Gallery-Artists’ Village examines all aspects of the output by Evelyn Dunbar. This is the largest group of works by Dunbar ever to be exhibited for sale.’

‘“To hold an exhibition of the work of Evelyn Dunbar at Watts Gallery-Artists’ Village is particularly apt. Whilst in so many ways Dunbar’s work is firmly rooted in the 20th century aesthetic of the interwar years she was also part of the last generation to receive an art school training firmly rooted in the ideals of the 19th century.’

‘“As such her approach to creativity had much in common with that of Watts, dependent on the human figure, on narrative and on the rules of formal composition. Unashamedly fascinated by art in all its forms (she produced book illustrations, needlework, shop signs, and murals, as well as easel paintings) her work will be naturally at home in the context of the Watts Artists’ Village.”

“Evelyn Dunbar: Studies, Illustrations and Paintings continues the Watts Contemporary program that provides a unique opportunity for visitors to discover and buy affordable art and craft that resonate with the Arts and Crafts heritage of Watts Gallery – Artists’ Village.”

To learn more, visit Watts Contemporary.

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.

Through August 31, collectors and connoisseurs can delight in wildlife magic at Trailside Galleries in Jackson, Wyoming. What’s the occasion?

The Society of Animal Artists has sent over paintings and sculptures by 80 juried artists to Trailside Galleries through August 31. Founded in 1960, the SAA has been devoted to promoting excellence in the artistic portrayal of the creatures sharing our planet, and to the education of the public through art exhibitions, informative seminars, lectures, and teaching demonstrations. Today, the organization represents hundreds of the world’s finest artists, many of whom feature in the current exhibition.

Among the SAA’s early members are Patricia Allen Bott, Guido Borghi, Elizabeth Rungius Felda, Paul Bransom, John Clymer, Gifford Cochran, Brenda Frey, Anna Hyatt Huntington, Gertude K. Lathrop, Robert Lougheed, Ugo Mochi, Clement Weisbecker, and Walter Wilwerding. Among others, artists represented in the current exhibition include Guy Combes, Bruce Lawes, Jan Martin McGuire, James Morgan, Suzie Seerey-Lester, Rachelle Siegrist, Wes Siegrist, and Ezra Tucker.

To learn more, visit Trailside Galleries.

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.

Indonesian painter and 2016 Studio Incamminati graduate Dian Paramita is giving collectors a fantastic chance to both bolster their collections and contribute to a worthy cause, all at the same time. What’s the buzz?

On view from August 11 through September 1 at Philadelphia’s Twenty-Two Gallery is a great example of how art can serve both connoisseurs and community. Titled “Food for Thought,” the exhibition showcases 30 still life works by recent Studio Incamminati graduate Dian Paramita.

The still life is a tour de force of Paramita’s talent, as she’s captured many popular foods from different cultures around the globe. In particular, the artist’s attention to textural detail and color are worthy of mention, in work executed with the skill and precision collectors have come to expect from Studio Incamminati pupils.

Exciting as well is the fact that 20 percent of the proceeds will be donated to MANNA, a non-profit organization that cooks and delivers nutritious, medically appropriate meals and provides nutrition counseling to people who are battling life-threatening illnesses such as cancer, renal disease, and HIV/AIDS.

Dian Paramita is a painter from Indonesia, based in Philadelphia. She graduated from Studio Incamminati’s Advanced Fine Art Program in 2016. Her artistic background includes skills in painting and drawing in the style of contemporary realism. She is intrigued by the Japanese philosophy of wabi-sabi, which embraces beauty in the naturally imperfect world, and Paramita’s painting centers around celebrating the ephemerality of everyday life. In her still life paintings, she mainly focuses on capturing the temporary beauty of food that often is taken for granted.

To learn more, visit Twenty-Two Gallery or Dian Paramita.

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.

Two exhibitions are currently underway at this Portland, Oregon, gallery. One features a first-timer to the space, exploring wilderness and human reflection, while the other delves into images inspired by the artist’s time in Paris. This dynamic display is worth your gaze.

Russo Lee Gallery in Portland, Oregon, is one busy space through September 2. Currently on view are two outstanding exhibitions featuring the works of Chris Russell and Sherrie Wolf. Russell’s show, titled “Naturalize,” represents the artist’s shift of focus, from an exploration of wilderness concentrating on dense imagery of foliage to a reflection on human-shaped spaces of gardens and cultivated nature.

“His creative process remains painterly,” the gallery writes, “building up images of plant structures and patterns that take on gestures of abstraction, reminding the viewer of the presence of the artist’s hand in the making of the painting, much as the gardener’s hand shapes the landscapes of his or her making.”

“Postcards from Paris” is Sherrie Wolf’s incredible display of paintings inspired by her time in the City of Light. In the show, Wolf “continues to experiment with juxtaposing images of historical artwork, often in the form of postcards and art books, with a wide variety of still life subject matter, inspired by her movements through Paris, whether on the street or in the apartment where she stayed,” Russo Lee writes. “Wolf’s virtuosity with the use of light, shadow, and reflection continues to astound in an array of beautiful images that keep drawing the eye further in.”

Both shows will hang through September 2. To learn more, visit Russo Lee Gallery.

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.

GWatson Gallery in Stonington, Maine, is the proud host of an exhibition featuring local watercolors by an accomplished artist. Who?

GWatson Gallery recently opened a nice exhibition of watercolors by Paul Rickert, son of the noted artist and illustrator William Rickert. Having studied privately with the renowned Nelson Shanks, Rickert became attracted to Maine in the 1970s and started spending summers in Stonington and nearby Brooksville, eventually buying a vacation home there.

Now, the artist will be showcasing many of these local works through September. To learn more, visit GWatson Gallery.

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.

A well-known gallery in North Carolina has a new owner after its founder has stepped down. It’s recognized as one of the most influential galleries in the Southeast, so collectors should take note of this new leadership.

Located in Charlotte, North Carolina, Shain Gallery is a renowned gallery that serves a long list of clients while representing over 45 nationally and regionally acclaimed artists. As announced last week, gallery owner and founder Gabrielle (Gaby) Shain has stepped down, appointing Charlotte native Sybil Godwin as its new owner.

“I am so happy to hand the reins to Sybil,” Shain said. “She has an exceptional knowledge of, and excellent track record within, the art world, and Sybil will continue to apply her discerning eye and a truly distinctive perspective. With nearly 15 years of experience at some of the best art galleries in the Southeast, she is the right person to take the gallery into this exciting new chapter.”

Godwin said, “Shain is one of the most influential art galleries in Charlotte, and I’m honored to carry forward Gaby’s legacy. We will continue to bring new artwork from our existing artists as well as introducing more established and emerging contemporary artists to the Charlotte community.”

Eminent artists who will continue to be represented by the gallery include Eric Abrecht, Luke Allsbrook, Melissa Payne Baker, Kristin Blakeney, Peggie Blizard, Carol Bodiford, Gary Bodner, Andy Braitman, Josh Brown, Dennis Campay, Veronica Clark, Jeff Cohen, Leslie Cohen, Tania Darashkevich, Yury Darashkevich, Jon Davenport, Arless Day, Emyo, Bill Farnsworth, Laura Fontaine, Estella Fransbergen, Chris Groves, Brian Hibbard, Karen Hollingsworth, Mark Horton, William Jameson, Geoffrey Johnson, Lynn Johnson, Karin Jurick, Christy Kinard, Chris Liberti, Carol Maguire, Nathaniel Mather, Casey Matthews, Yvonne Mendez, Craig Mooney, Shannon Nyimicz, Eric Olsen, Laura Park, Trip Park, Eileen Power, Susie Pryor, Carlos Ramirez, Lynn Sanders, Karen Scharer, Kim Schuessler, Saliha Staib, Caroline Swetenburg, Sally Tharp, and Connie Winters.

Upcoming exhibitions will feature work by Lynn Johnson and Emyo (8/18), Noah Desmond (8/24), Andy Braitman (9/8), Chris Liberti and Eric Olsen (9/22), Kristin Blakeney, Casey Matthews, and Lynn Sanders (10/6), Karen Hollingsworth (10/27), Jon Davenport and Christy Kinard (11/10), and Josh Brown (11/17).

Shain Gallery, located in the heart of Myers Park in Charlotte, North Carolina, has been on the forefront of the Charlotte art scene since opening its doors in 1998. To learn more, visit Shain Gallery.

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.

Rick Fine, son of the late artist Lucy Fine, is in search of a special individual who can help catalogue, organize, and represent her incredible oeuvre. Up for the challenge? Details here.

From April through June 2013, the Mobile Museum of Art in Alabama hosted an incredible retrospective surrounding the life and work of artist Lucy Fine (1923-2011). Now, her son Rick Fine is looking for a special individual to help him catalogue and organize her works so they can be shared with the public.  Fine is also hoping the individual will partner with him to represent the artist’s work.

Lucy began her own personal journey into the world of creating art in her late 30s. She not only pursued, but flourished in many art mediums, from watercolor to serigraphs, sculpture, and mixed media. Her serigraphs distill dynamic relationships, triumphant balances, and subtle harmonies as well as deeply satisfying echoes of nature amplified and transformed into new perceptions.

In a fundamental sense, since so much of her work dances, her long association with American modern dance pioneer Benjamin Zemach was undoubtedly an important influence. But most important was her own unique vision with which she created symbolic presentations that have the power to evoke unconsciously processed and conscious feelings.

Fine is looking for a dependable person who is organized, has a background in museum or gallery work, and displays strong written communication skills. He’s hoping to get this project started as soon as possible, so candidates should contact him immediately at [email protected]

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.

In this ongoing series, Fine Art Today delves into the world of portraiture, highlighting historical and contemporary examples of superb quality and skill. This week we consider a moving visage by a 19th-century legend.

This week I find myself wondering what famed 19th-century painter John William Waterhouse (1849-1917) would have thought about his paintings becoming almost mythic objects themselves, 100 years after his death. Stunningly beautiful and highly coveted by collectors and institutions around the globe, works such as “Boreas” have a mystical aura about them that pulls viewers in.

Perhaps it’s his color? Those lively strokes of the brush? Maybe it’s his acute sense of texture, or the fact that many of his subjects were mythological characters themselves. Whatever the reason may be, there’s little doubt that Waterhouse possessed something great, a talent unable to be taught, a vision unable to be replicated.

This week’s feature portrait caused quite a stir in the art world some 20 or so years ago. Having been lost soon after its production in 1903, “Boreas” resurfaced in the mid-1990s at auction, realizing nearly $1.3 million — a then-world record. The sensation surrounding the painting was valid, as it’s surely a tour de force of Pre-Raphaelite perfection. Standing in profile, facing toward the viewer’s left, and imaged in three-quarter view, a woman braces her back against a nearly palpable wind; the painting is named for the Greek god of the north wind. With flowers in her hair, the woman wears a cool silk veil, which has caught like a sail in the wind. With her arms raised, the woman elegantly holds the veil firm. Her face is hypnotic in its calmness, which contrasts with the movement apparent around her.

To learn more, visit here.

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.