Serving as the only independent fine art fair in Southern California, this event is not one to miss for collectors of fine prints. Details here!
Continuing a 30-year tradition, the Los Angeles Fine Print Fair returns in February 2017 to great anticipation. It opens with a preview and benefit dinner on Friday, February 3, with the event continuing through the weekend. The fair will be held at Bonhams auction house in West Hollywood, California.
Image courtesy Los Angeles Fine Print Fair 2017
Nearly 20 expert dealers from around the country will be on hand, including — among others — the Annex Galleries, Davidson Galleries, Stevens Fine Art, Edward T. Pollack Fine Arts, the Tolman Collection, and Warnock Fine Arts. Tickets for the preview party and fair may be purchased here.
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Jivan Lee, “Thrumcap Island from Pemaquid Point,” oil on canvas, 36 x 58 in. (c) Altamira Fine Art 2017
Altamira Fine Art in Scottsdale, Arizona, is excited to be displaying a solo exhibition for a plein air master, which includes beautiful landscapes in his signature style that are sure to induce pride in the American Southwest.
Over a dozen new works will compose a one-man show at Altamira Fine Art in Scottsdale, Arizona. Titled “Our Land,” the exhibition features the signature vast skies, storm clouds, expressive and thick paint, and bold color of artist Jivan Lee.
Jivan Lee, “High Above the Chama,” oil on panel, 48 x 36 in. (c) Altamira Fine Art 2017
The works of Lee have long been collected for their life, movement, and light, which will be on display during “Our Land.” The exhibition will open on February 6 and continue through February 18. Speaking of his inspiration, Lee suggests, “Nature is a great equalizer, modulator, consolation, and teacher. You can’t see a New Mexican sunrise or be lost in a fog in Maine and emerge the same. Nature changes us. It isn’t always pleasant; sometimes it’s harrowing and even terrifying. But it’s always true, always there, always utterly as it is. And, in some form, it’s always available to us all. I believe deeply in the healing, transformative power of nature. It’s a big part of what inspires my work and drives my evolution as an artist. And so it’s my hope that this group of paintings will bring moments of power, beauty, and solace back from the wilderness of Our Land and into daily life.”
Jivan Lee, “Thrumcap Island from Pemaquid Point,” oil on canvas, 36 x 58 in. (c) Altamira Fine Art 2017
A reception will be held at the gallery during the “Western Spirit” ArtWalk on Thursday, February 9, from 6:30-9 P.M. To learn more, visit Altamira Fine Art.
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Daniel Bilodeau, “Consumed,” encaustic and oil on panel, (c) Paul Booth Gallery 2017
There’s a current movement in the contemporary art world that seeks to use realist art to probe our deepest psychological traits, with the latest display hanging on the walls of this New York City gallery.
Featuring 11 talented representational painters, Paul Booth Gallery in New York City is proud to be hosting “Psychological Realism,” a group exhibition that showcases the use of traditional techniques with contemporary concepts.
Sergio Barrale, “When Sleeping Things Wake,” (c) Paul Booth Gallery 2017
Investigating the complexity of identity, “Psychological Realism” features a number of figurative works that focus on the artist’s interior motives and creative perspective by “offering a glimpse into the mental narrative of the figures portrayed in the art, rather than painting the entire story,” the gallery reports. “The exhibition highlights the figure through different styles of art, as a means of representing the depth and diversity of individuals and their personality. The choice of medium by each artist is as personal as the subject matter, as it is an extension of themselves and functions as the manifestation of their soul for all to see. Despite the differing aesthetics and preferred media, this selection of artists speak the same cutting edge visual language. Their paintings, installations and collages transcend genres and encompass photoreal, surreal and abstract to portray an identity that is visceral, innately familiar and deeply compelling.”
Maria Kreyn, “Obscure Object,” (c) Paul Booth Gallery 2017
Featured artists include Sergio Barrale, Daniel Bilodeau, Rune Christensen, Jesse Draxler, Erik Hones, Maria Kreyn, Adam Miller, Jean-Paul Mallozzi, David McLeod, Henrik Uldalen, and Jonathan Viner.
“Psychological Realism” opened on January 21 and will run through February 18. To learn more, visit Paul Booth Gallery.
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Jas Knight, “The Yellow Hijab,” 2014, oil on canvas, 12 x 9 in. (c) Grenning Gallery 2017
February is Black History Month, which gives galleries a great opportunity to celebrate and showcase outstanding works by African-Americans. How beautiful can it be? The answer lies in this New York gallery.
New York’s Grenning Gallery offers an exhibition aimed at celebrating the beauty that African-American artists have to offer next month. Opening February 4 and running through March 5, “Expanding Tradition: The Journey of the African-American Artist” tells an important story about artists who seldom receive the attention they deserve. Curated with Andreé MiChelle — a local African-American writer launching her latest book, Escape Under Cover: The Ola Mae Story — the exhibition will feature Mario Robinson (b.1970), George Morton (b.1983), Philip Smallwood (b.1957), Roger Beckles (b.1958), James Hoston (b.1963), Irvin Rodriguez (b.1988), and Jas Knight (b.1977).
Jas Knight, “The Yellow Hijab,” 2014, oil on canvas, 12 x 9 in. (c) Grenning Gallery 2017
Via the gallery: “Few African-American artists have been given major solo museum shows, and works by 19th and 20th century African-American artists are generally undervalued by the art market relative to those by white artists of equal standing. Only a handful of Black artists — Mark Bradford, Glenn Ligon, and Julie Mehretu to name a few, have made it into the upper reaches of the market with works that fetch millions of dollars at auction. While museums slowly work towards the advancement of racial diversity in the art world, certain private galleries like Jack Shainman Gallery and Papillion Art are beacons of support that serve this under-represented group. And this month, in our small way, the Grenning Gallery is doing our best by showcasing emerging and mid-career African-American Artists.”
George Morton, “Mars,” 2016, charcoal on paper, 24 x 19 in. (C) Grenning Gallery 2017Mario Robinson, “Plum,” 2013, watercolor, 9 x 12 in. (c) Grenning Gallery 2017
10 percent of the opening day’s sales will go towards the Eastville Community Historical Society.
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Jacques-Louis David, “The Death of Marat,” 1793, oil on canvas, 65 x 50 in. (c) Royal Museums of Fine Arts of Belgium 2017
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 delve into the captivating story of Marat and the Revolution his death sparked.
Described by T.J. Clark as “the first modernist painting,” Jacques-Louis David’s (1748-1825) “Death of Marat” is one of the most powerful and famous portraits ever created. The subject is a recently assassinated Jean-Paul Marat — a young French revolutionary leader stabbed as he bathed by counter-revolutionary Charlotte Corday. She was later tried and executed for the murder.
Aside from being skillfully painted, the portrait has revealed much about David’s own political leanings, and the portrait itself is as much about the artist as it was about Marat. To begin, Marat’s corpse is idealized. The revolutionary suffered from a skin condition that caused him to spend much of his time in his bathtub. However, David has not included this in the portrait. Rather, Marat’s skin is clear and clean. Further, the pose of Marat has often been compared to Michelangelo’s “Pietá” and Caravaggio’s famed “Entombment,” which links this martyr of the French Revolution with Christian martyrdom. In his left hand, Marat holds a letter with his instructions and naming his killer, Charlotte Corday.
Jacques-Louis David, “The Death of Marat,” 1793, oil on canvas, 65 x 50 in. (c) Royal Museums of Fine Arts of Belgium 2017
Located today in the Royal Museums of Fine Arts of Belgium, the painting has been the subject of many interpretations, focusing around David’s subtle choices in how to carefully represent Marat. Several critics have regarded the painting as an “awful beautiful lie,” and in fact, several elements of the painting have been changed to do more than just record the horrors of martyrdom. For example, Marat’s killer — Corday — did not attempt to flee the scene, but she is not included within the piece. Further, the tool of her murder, a knife, is shown lying on the ground rather than where Corday left it, impaled in Marat’s chest.
Like so many artworks, “The Death of Marat” suffered obscurity for a period — from about 1795 through the 19th century —but later inspired a number of early 20th- century artists, including Picasso and Munch. Further, other versions of the assassination inspired by David’s picture survive in large numbers.
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Edouard Cortès, “Pont Au Change Au Crepscule,” 1928, oil on canvas, 19-3/4 x 25-1/2 in. (c) Sotheby’s 2017
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’s lot is a great work from 1920s Paris. Have you heard of its maker?
Evidence of Impressionism’s influence is on display through the paintings of Edouard Cortès (1882-1969), who’s frequently considered one of the great post-impressionists. Born in Lagny, France, in 1882, Cortès would end his life having established a successful art career specializing in Paris street scenes. The son of Antonio Cortès — a successful Spanish court painter — Edouard was always on the artistic path.
As reported by Rehs Gallery, “It was at the turn of the century, circa 1900, that Cortès began to paint the scenes that he would become most famous for — Paris’ streets and monuments. One of the more prolific artists of his time, Cortès found his niche and stayed with it. His views of Paris are among the most telling and beautiful images of this genre; capturing the city during all its seasons for more than 60 years.”
Although most of Cortès’ works are similar — displaying crowded streets on rainy days with glowing yellow-orange lamps and streetlights — they enjoy a degree of popularity among collectors. One such work, titled “Pont Au Change Au Crepscule,” heads to auction via Sotheby’s “Master Paintings & 19th Century European Art” sale on January 27 in New York.
Captured at twilight and under parting clouds, crowds of men, women, and children make their way over a bustling bridge. Two large buildings set the background with towers stretching into the air. As expected, the scene is dotted with flashes of yellow-orange light, especially from a trolley, whose headlamp shines toward the viewer as it rumbles through town.
Completed in 1928, the beautiful canvas is expected to sell between $30,000 and $50,000. To learn more, visit Sotheby’s.
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.
Frederic Leighton, “Flaming June,” 1895, oil on canvas, 47 x 47 in. (c) Museo de Arte de Ponce 2016
You’ve spoken! In this occasional series, we highlight one of most popular articles among Fine Art Today readers. This week we revisit a UK exhibition featuring Frederic Leighton’s iconic “Flaming June” as its centerpiece.
Frederic Leighton’s “Flaming June” — a sun-drenched, sleeping female wrapped in orange draperies — is one of the most memorable and most reproduced images in the history of British art. The work’s fascinating story, from its creation to international fame, is detailed during this exhibition.
Although the subject is imaged deep within a serene sleep, set against the calm waters of a Mediterranean seascape, Frederic Leighton’s “Flaming June” has made energetic waves since its production in 1895. One of the preeminent artists of the 19th century in Britain, Frederic Leighton was a key member of the Royal Academy and even earned the title of president from 1878 to 1896.
Frederic Leighton, “Flaming June,” 1895, oil on canvas, 47 x 47 in. (c) Museo de Arte de Ponce 2016
Although Leighton would create a number of stunning works — both in oil and in bronze — “Flaming June” is perhaps his masterpiece and most iconic. The story of this magnificent work is the subject of an exhibition currently on view at the Leighton House Museum. Significantly, this will be a rare moment when the painting returns to its home from the Museo de Arte de Ponce in Puerto Rico, where it has been since 1963.
Following the work’s critical reception at the Royal Academy, its disappearance in the 20th century, and its path to Puerto Rico, the exhibition also juxtaposes “Flaming June” with other pictures produced for the Academy in 1895. Among the other stunning works on view are “The Maid with Golden Hair,” “Twixt Hope and Fear,” and “Candida.” Via the museum, “The re-gathering of these pictures places ‘Flaming June’ back into the context of its original exhibition, providing a compelling starting-point for exploring its history. Leighton was already unwell with the heart condition that would kill him at the time he made this last Academy submission. The assembled pictures represent his last statement as an artist and allow a reappraisal of his achievements, relating these five works back to the career that led up to their production and understanding the legacy of a creative life that was close to its end.”
“Flaming June: The Making of an Icon” will be on view through April 2. To learn more, visit the Leighton House Museum.
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“Lakota Horseman”
Oil on Canvas
48 in. x 48 in.
$37,000.00
About the Artist:
James’s paintings are the result of years of research combined with personal exploration and observation. James has studied details of the cultures he portrays with an anthropologist’s eye, and marries his understanding of the struggles of modern Native cultures with his knowledge of their artifacts and rituals.
After graduating from the Rhode Island School of Design in 1991, James began a pattern of traveling, living, and working with indigenous peoples worldwide.
He traveled on foot with the semi-nomadic Samburu and Turkana people in Africa’s Great Rift Valley. He explored Native American reservations from Maine to Arizona, living with the Iroquois in the Northeast, the Sioux in the Great Plains, and the Hopi and Navajo in the Southwest.
James has sought first-hand experiences with dozens of tribal cultures, and with each relationship, he has gleaned insights that help him understand the historical material he incorporates into his art.
Although the subjects in his works are fictionalized accounts, every facet of James’ paintings is historically correct—from the style of a man’s plaited hair to the weapons used and even the motifs which decorate tipis, clothing, and shields.
James’ work can be seen at the Celebration of Fine Art in Scottsdale, AZ January 14–March 26, 2017. The Celebration of Fine Art is a unique art experience which gives visitors the opportunity to watch 100 artists in their working under one roof. Open daily from 10 am–6 pm. Visitors enjoy strolling through the 100 artist studios under the 40,000 square foot exhibit tent. Artists are on-site creating, allowing for the visitor to watch them at work, discover what inspires them and the techniques used to create the works of art. Come to Scottsdale to see more of James’ works in person and discover the stories behind each unique work of art.
Philip Koch, “Morning at the Route 6, Eastham House,” 2016, oil on canvas, 30 x 60 in. (c) Philip Koch 2017
A magnetic exhibition is just about to open at the Swope Art Museum in Terre Haute, Indiana, featuring incredible works by painter Philip Koch, who has had the unique opportunity of working as an artist-in-residence in Edward Hopper’s home and studio. The results?
Though he is a graduate painting student at Indiana University, it wasn’t until Philip Koch encountered the incredible works of Edward Hopper that he moved away from abstract to realism. Discovering what he called the “glowing light and dramatic shadows” of Edward Hopper, Koch has gone on to complete 16 residencies in Hopper’s home and studio in Truro, Massachusetts, on Cape Cod.
Edward Hopper, “Route 6, Eastham,” 1941, oil on canvas, (c) Swope Art Museum 2017
Lucky enough to experience the space in a creative way — viewing the same views as Hopper, and experiencing the same light and shadows — Koch has completed a compelling body of work that will soon be featured during an exhibition at the Swope Art Museum in Terre Haute, Indiana.
Philip Koch, “Morning at the Route 6, Eastham House,” 2016, oil on canvas, 30 x 60 in. (c) Philip Koch 2017
“Light and Shadow: Paintings and Drawings by Philip Koch from Edward Hopper’s Studio” will not just feature the works of Koch, but also provide new insight into Hopper’s 1941 painting of a house in Cape Cod, titled “Route 6, Eastham,” from the Swope’s permanent collection.
“Light and Shadow” opens on February 3 and will continue through March 25. To learn more, visit the Swope Art Museum.
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.
Cory Trépanier, “Evening in Auyuittuq,” oil on linen, 27 x 11 in. (c) Private Collection 2017
Over 50 powerful paintings of some of the most remote and wild corners of the Canadian arctic comprise a remarkable exhibition currently on view at the Embassy of Canada in Washington, D.C.
Extraordinary paintings by Cory Trépanier are currently on view in Washington, D.C. “Into the Arctic” is an exhibition featuring a number of works created during four extended expeditions to the far corners of the Canadian arctic — what locals call “The North.” Via the event webpage, “[Trépanier] traveled with Inuit, gaining first-hand knowledge from First Nation people. Confronting elements that included raging storms and ravenous hordes of mosquitoes, Trépanier’s motivation through it all was inspiration for canvas and film born of experience in locations unexperienced by the population at large.”
Cory Trépanier, “Up Close,” oil on linen, 14 x 12 in. (c) Private Collection 20017Cory Trépanier, “Bottom’s Up,” oil on linen, 31 x 10 in. (c) Private Collection 2017Cory Trépanier, “Evening in Auyuittuq,” oil on linen, 27 x 11 in. (c) Private Collection 2017Cory Trépanier, “In the Distance,” oil on linen, 16 x 5-1/4 in. (c) Private Collection 2017
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