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Featured Artwork: Philippe Gandiol

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“Dusk on I-80” by Philippe Gandiol

“Dusk on I-80”

oil on canvas

24 x 48 in.

About the Artist:

Philippe Gandiol, an award winning Northern California painter, was born and raised in France and moved to California in his early 20’s. He has painted with oils for over 25 years. He pursued an independent program of study taking classes in France, San Francisco and Sacramento and with several renowned West Coast painters. Philippe likes to paint a variety of subjects including landscapes, cityscapes, still life and figures “en plein air” or in the studio. He works as much as possible from life, believing that only in life can he find the full range of light and color he wants in his paintings and the spirit of his subject matter. He is actively involved with the California artist community, art events and fundraisers. He also participated in juried art festivals in Sonoma, Carmel, Napa and San Luis Obispo to name a few. He taught for many years at the Davis Art Center and now privately out of his studio or in Plein Air. As an instructor, Philippe is appreciated as a thorough, supportive and inspiring mentor.

Professional Affiliations:  

California Art Club

Sacramento Plein Air Painters

Yolo County Art Council

Selected juried shows/events:

Sonoma plein air 2010 – 2016

Napa Valley Art Festival, Yountville, CA 2010 – 2014

Carmel Art Festival – 2011, 2013, 2014

Valona Plein Air, Crockett CA 2009 – 2012, 2014

San Luis Obispo Plein Air Festival 2009 – 2011

KVIE juried art auction 2008 – 2010

Selected shows:  

2009 -2016 Valley Landscape group show at John Natsoulas Gallery, Davis, CA

2012 -2016 Art in the 21st century group show at John Natsoulas Gallery, Davis

2015 Solo Show at John Natsoulas Gallery, Davis, CA

2013 “Mostly Urban” Solo Show, Domaine Chandon, Yountville CA

2009-2012 “Where we live” group show at Elliott Fouts Gallery, Sacramento, CA

2012 “De l’illusion du réel à la réalité de l’imaginaire” 3 people show, Arles, France

2009 – 2011″Sunset- Sunrise” group show at Elliott Fouts Gallery, Sacramento

2011 “4 artists to watch” Epperson Gallery, Crockett CA

2011 – “En Plein Air” 3 persons show at Elliott Fouts Gallery, Sacramento

2010 – “La vie Quotidienne” duo show at Elliott Fouts Gallery, Sacramento, CA

2009 – Still life group show at Elliott Fouts Gallery, Sacramento, CA

2009 – duo show at Elliott Fouts Gallery, Sacramento, CA

Awards:

Finalist and FAV 15% – 2015- 2016 FASO Bold Brush competition

People’s choice – 2014 Napa Valley Art Festival

Third place – 2014 Valona Paint Out, Crockett CA

1st place, people’s choice – 2013 Winters Plein Air

Honorable mention – Sonoma Plein Air festival 2012

First place – 2012 Davis Great California Paint Out

3rd place – 2011 Winters Plein Air Festival

Best of show 2011 Davis Great California Paint Out

Artists Choice 2011 Sacramento Clunie plein air

Honorable Mention 2011 Valona Plein Air, Crockett CA

Artists choice and People’s choice – 2010 Winters Plein Air Festival

3rd place 2010 North Tahoe Plein Air Festival

Honorable mention 2010 Valona Paint Out, Crockett CA

People Choice & Artists Choice – 2009 Winters Plein air

2nd place, Artists choice – 2009 Valona Plein Air, Crockett, CA

1st place – 29th annual Vacaville juried art show

Featured Artwork: Joseph Burrough

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“Juanita Bay” by Joseph Burrough

“Juanita Bay”

Oil on Panel, plein air

9 x 12 in.

 

About the Artist:

Joseph Burrough first picked up his brushes at age 15. He grew up in the small town of Tappahannock, Virginia on the banks of the Rappahannock River, a tributary of the Chesapeake Bay. Joseph taught himself to paint by reading books on drawing, sketching, and painting, and by closely studying oil paintings in galleries and museums. Throughout high school, his college years at the University of Richmond and into his adult life, he painted whenever he could.

The experience, for Joseph, begins with the very smell of oil paint. Then the rich colors, the depth of a three-dimensional reality on a two-dimensional canvas, the thick impasto strokes over thin oil washes, the feel of buttery paint at the end of a brush, and the rich, heavy smell of linseed oil and exotic fragrances of aromatic varnishes–all add up to a full, sensory experience for him.

At the easel, he enjoys capturing the many moods of nature in a style of loosely-rendered realism, be it a peaceful, relaxing vista, or a fleeting, windswept moment. Having grown up on a navigable river, his fascination with boats has lead him to focus on the aging skiffs and small boats of the Chesapeake Bay, depicting their peeling paint with generous dollops of palette knife work.

See more of Joseph’s work at: www.josephburrough.com/a-paintings-available.html

Art Renewal Center Announces Salon Winners for 2016

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It’s arguably the most prestigious, competitive, and exciting art competition for contemporary realism in the world. Now in it’s 12th year, the Art Renewal Center recently announced its newest Salon winners. Who took home the hardware?

The Art Renewal Center (ARC) – one of the most respected realist art institutions – was overjoyed to recently announce the latest winners of it’s incredibly popular and competitive Salon. The 12th Annual International ARC Salon features over 1,000 finalist works representing 640 artists from 63 countries. As part of the competition, the ARC has also acquired 14 works for their own collection.

Tenaya Sims, “Semillas,” 2016, oil and gold leaf on linen, 99 x 70 in. (c) ARC 2016
Tenaya Sims, “Semillas,” 2016, oil and gold leaf on linen, 99 x 70 in. (c) ARC 2016
Nick Alm, “The Performance,” 2015, oil on canvas, 39 1/4 x 39 1/4 in. (c) ARC 2016
Nick Alm, “The Performance,” 2015, oil on canvas, 39 1/4 x 39 1/4 in. (c) ARC 2016

Awards are categorized by various different sections – most often surrounding subject, including best nude, best social commentary, best trompe l’oeil, best figure, best portrait, best still life, best imaginative realism, best landscape, and many more. Of course, all artists covet earning best in show honors, museum purchase awards, and others sponsored by magazines such as Fine Art Connoisseur and PleinAir Magazine.

Dave Santillanes (1st – Landscape), “The Coming Rain,” 2014, oil, 32 x 24 in. (c) ARC 2016
Dave Santillanes (1st – Landscape), “The Coming Rain,” 2014, oil, 32 x 24 in. (c) ARC 2016
J Michael Wilson (1st – Sculpture), “One Glove,” 2016, clay for bronze, 75 x 34 x 33 in. (c) ARC 2016
J Michael Wilson (1st – Sculpture), “One Glove,” 2016, clay for bronze, 75 x 34 x 33 in. (c) ARC 2016

Tenaya Sims’ outstanding work “Semillas” (seeds) earned top distinction as Best in Show in 2016. Runner up honors, titled The Bouguereau Award, was taken home by Nick Alm for his painting “The Performance. The winner of The Da Vinci Initiative Award for the Young Aspiring Artist was awarded to 15-year-old Ray Wanda Totanes for her marvelous painting “Perception of Self”. The Oil Painters of America (OPA) also sponsors an award of $1000, which was given to Michele Del Camp for his painting “The Argument.”

Emmanuela De Musis (1st – Portraiture), “Miss Rachel,” 2015, oil on linen, 42 x 24 in. (c) ARC 2016
Emmanuela De Musis (1st – Portraiture), “Miss Rachel,” 2015, oil on linen, 42 x 24 in. (c) ARC 2016
Stephen Jesic (1st – Animal), “Jewel of the Amazon,” 2015, acrylic on birch, 24 x 20 in. (c) ARC 2016
Stephen Jesic (1st – Animal), “Jewel of the Amazon,” 2015, acrylic on birch, 24 x 20 in. (c) ARC 2016

Many other honors were given to well-deserving artists, and we encourage you to view the full list of recipients by visiting the ARC International Salon webpage.

Julio Reyes (1st – Drawing), “Deliverance,” 2015, charcoal, ink, and graphite on drafting film, 16 x 16 1/2 in. (c) ARC 2016
Julio Reyes (1st – Drawing), “Deliverance,” 2015, charcoal, ink, and graphite on drafting film, 16 x 16 1/2 in. (c) ARC 2016
Steve Levin (1st – Still Life), “Books and Butterflies,” 2015, oil on canvas, 28 x 22 in. (c) ARC 2016
Steve Levin (1st – Still Life), “Books and Butterflies,” 2015, oil on canvas, 28 x 22 in. (c) ARC 2016

As has been the custom since its inception, the ARC will be working with galleries such as Rehs Contemporary, Arcadia Contemporary, and The Salmagundi Club to mount several exhibitions of finalist works, which will be held early in 2017; exact dates to be announced. Currently on the slate is a showing of approximately 75 works for the live version of the ARC Salon that will travel from the Salmagundi Club to the MEAM Museum in Barcelona, Spain, where it will be on view from September 23 through November 27, 2017. The showing at the Salmagundi Club will open May 12 and continue through June 1, 2017.

Robert Liberace (1st – Imaginative Realist), “5th Circle,” 2015, oil on linen, 36 x 48 in. (c) ARC 2016
Robert Liberace (1st – Imaginative Realist), “5th Circle,” 2015, oil on linen, 36 x 48 in. (c) ARC 2016
Ray Wanda Totanes (Winner – Da Vinci Initiative), “Perception of Self,” 2015, oil, 16 x 12 in. (c) ARC 2016
Ray Wanda Totanes (Winner – Da Vinci Initiative), “Perception of Self,” 2015, oil, 16 x 12 in. (c) ARC 2016

The 13th Annual International Salon will feature a new category: plein air! Sponsored by the California Plein Air Painters and Masters of Plein Air Academy, organizers expect a robust number of entries in this category, especially given the meteoric rise of plein air’s popularity.

To learn more, visit The Art Renewal Center.

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.

Illuminating Untold Stories

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Alan Beeton (1880-1942), “Marguerite Kelsey,” c. 1936. Oil on canvas. Private collection.

Part of the allure of art museums and galleries is their mission to give the public access to cultural heritage and the beautiful creative products that come from bygone eras and individuals. However, there remains an entire world of private collecting, which – together – could easily rival any public institution. A unique opportunity to see works from the private collections of many distinguished figures is almost here. Where?

Paintings and watercolors from the private collections of many of the art world’s most distinguished individuals will soon grace the walls of Watts Gallery in Guildford, United Kingdom. However, the exhibition will bring particular focus to Victorian and early 20th century artworks which have rarely – if at all – be exhibited to the public.

Alan Beeton (1880-1942), “Marguerite Kelsey,” c. 1936. Oil on canvas. Private collection.
Alan Beeton (1880-1942), “Marguerite Kelsey,” c. 1936. Oil on canvas. Private collection.

“Untold Stories: British Art from Private Collections” opens on November 22 and includes a number of stunning works by greats such as Dante Gabriel Rossetti, John Singer Sargent, Edward Burne-Jones, J.W. Waterhouse, and William Holman Hunt. Among representations by these seminal figures are works by lesser-known artists among the public, including Frederic Sandys and Thomas Cooper Gotch.

John William Waterhouse (1849-1917), “Psyche Opening the Golden Box,” 1903. Oil on canvas. Private collection.
John William Waterhouse (1849-1917), “Psyche Opening the Golden Box,” 1903. Oil on canvas. Private collection.

Via the gallery, “The stories that connect the artworks to their owners will be told in the exhibition. The collectors explain what attracted them to the works, and how their understanding and appreciation of their pictures has grown as they have lived with them.

Frederick Sandys (1829-1904), “At Vespers,” c. 1861-2. Oil on panel. Private collection.
Frederick Sandys (1829-1904), “At Vespers,” c. 1861-2. Oil on panel. Private collection.

“A magnificent Art Deco portrait by Alan Beeton, for example, was ‘bought on a whim’ because its owner simply admired the beauty of the model. He subsequently discovered that the sitter was Marguerite Kelsey, a celebrated artists’ model of the 1920s and 30s, and soon afterwards an opportunity arose for the collector to meet the subject of his cherished painting. A firm friendship followed.

Alfred Edward Emslie (1848-1918), “Bending Sail After a Gale,” 1881. Oil on canvas. Private collection.
Alfred Edward Emslie (1848-1918), “Bending Sail After a Gale,” 1881. Oil on canvas. Private collection.

“The ability of artworks to connect people emerges as a central reason to collect. Walter Crane’s exquisite landscape with the huntress Diana is a beautiful artwork in its own right. But its owner cherishes it all the more because it previously belonged to three well-known collectors and dealers who pioneered the rediscovery of Victorian art during the 20th century.”

John Calcott Horsley (1817-1913), “Showing a Preference,” 1860. Oil on canvas. Private collection.
John Calcott Horsley (1817-1913), “Showing a Preference,” 1860. Oil on canvas. Private collection.

“Untold Stories: British Art from Private Collections” remains on view through February 19. To learn more, visit Watts Galley.

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.

Who Says Masterpieces Have to Be Large?

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Jeff Legg, “Bottle with Onions and Grapes,” 2016, oil, 9 x 12 in. (c) Evergreen Fine Art 2016

It’s that time of year when some of the nation’s top galleries mount stunning exhibitions in which the skill is large but the format is small. Check out these miniature masterpieces from Evergreen Fine Art in Colorado.

A world of small beauties making big impacts will soon be on view at Evergreen Fine Art in Evergreen, Colorado. Opening on November 19 is the gallery’s annual Miniature Masterpieces show, which features many of the nation’s top painters and sculptors working today. As the gallery correctly suggested, “Miniature Masterpices offers a rare opportunity to marvel at the patience, concentration and immense skill needed to render a universe of beauty in less than 120 square inches.”

Stacey Peterson, “Winter Light,” 2016, oil, 8 x 10 in. (c) Evergreen Fine Art 2016
Stacey Peterson, “Winter Light,” 2016, oil, 8 x 10 in. (c) Evergreen Fine Art 2016
Karen Roehl, “Colorful Dreamer,” 2016, oil, 10 x 8 in. (c) Evergreen Fine Art 2016
Karen Roehl, “Colorful Dreamer,” 2016, oil, 10 x 8 in. (c) Evergreen Fine Art 2016

Coming into it’s seventh showing, the exhibition is also a fantastic opportunity for beginning collectors. Gallery Director Doug Kacena agrees, saying “It’s perfect for entry-level collectors who are just beginning to build their collections, and it’s a good opportunity for more established collectors to fill in the gaps in their collections. There’ll be several pieces by each artist, and one of the fun things about the show is that the themes and subjects are all over the board.” Indeed, among the subjects explored are all traditional cogs, including portraiture, still life, wildlife, landscape, and narrative.

Pem Dunn, “Top of the World,” 2016, oil, 8 x 15 in. (c) Evergreen Fine Art 2016
Pem Dunn, “Top of the World,” 2016, oil, 8 x 15 in. (c) Evergreen Fine Art 2016
Jeff Legg, “Bottle with Onions and Grapes,” 2016, oil, 9 x 12 in. (c) Evergreen Fine Art 2016
Jeff Legg, “Bottle with Onions and Grapes,” 2016, oil, 9 x 12 in. (c) Evergreen Fine Art 2016

Among many other notable names, artists included in the show are Walt Gonske, Robert Spooner, Pem Dunn, Dave Santillanes, Susiehyer, Keith Bond, Kevin Weckbach, Mai Wyn Schantz, and Kelli Folson.

Miniature Masterpieces 2016 opens on November 19 and will run through December 7. To learn more, visit Evergreen Fine Art.

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.

It’s Not Caravaggio

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Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes,” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016

Milan’s Brera Museum of Painting is currently at the center of a vexing debate surrounding the authenticity of a 400-year-old painting discovered in a French attic in 2014. Although the museum has stated it does not wish to take part in the debate, its display of the work might suggest otherwise.

As we — and countless scholars — have discussed, Michelangelo Merisi da Caravaggio (1571-1610) is perhaps one of the most contested, researched, and fascinating artists to have ever lived. Although most of his fame may be attributable to his unforgettable pictures, his controversial biography — one that surrounds his violent murder of a man and subsequent flight from Rome — deserves a healthy dose of credit as well.

Louis Finson, “Judith Beheading Holofernes,” circa 1605-1610, oil on canvas
Louis Finson?, “Judith Beheading Holofernes,” circa 1605-1610, oil on canvas

The name Caravaggio is making waves across the art world this fall and forcing many of the artist’s most accomplished scholars to choose sides — par for the course. In 2014, a couple living in a home near the southwestern city of Toulouse, France, were investigating a leaky ceiling when they stumbled across a lovely 400-year-old tableau that some specialists argue is an authentic work by the Baroque master. If true, the value of the painting could easily exceed $200 million.

Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes,” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes,” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016

The painting displays a familiar scene, namely because there survives an example of the same subject that has earned universal acceptance as an authentic Caravaggio, housed today in the Galleria Nazionale d’Arte Antica. The Biblical scene — which displays the dramatic moment when a Jewish girl, Judith, beheads the Assyrian general Holofernes — was popular among artists and patrons, and many examples survive.

A comparison of the canvas in question and the authenticated work by Caravaggio reveal striking similarities — they are nearly identical, in fact. Executed with strong tenebrist light, a black background, and blood-red sheets dramatically draped above, the piece is undeniably in the style of Caravaggio. Eric Turquin believes every element of the piece aligns with the Baroque master, including “the light, the energy typical of Caravaggio, without mistakes, done with a sure hand and a pictorial style that makes it authentic.”

Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes (detail),” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes (detail),” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
Louis Finson?, “Judith Beheading Holofernes (detail),” circa 1605-1610, oil on canvas
Louis Finson?, “Judith Beheading Holofernes (detail),” circa 1605-1610, oil on canvas

It is well-documented that after Caravaggio’s life and career, his revolutionary works inspired generations of followers who delighted in the opportunity to copy and learn from them. It is the opinion of this author that the recently discovered work does not appear to be executed with the same level of naturalism or skill. In particular, the contorted body of Holofernes is awkwardly placed in the composition and the lack of foreshortening in his right arm seems oddly erroneous. Further, the number of Caravaggio followers would allow the possibility for period copies to survive.

Some scholars agree, and the name of Flemish painter Louis Finson (1580-1617) has surfaced as a potential candidate. Finson was born in Bruges but spent most of his life and career in Provence. Enjoying much renown during his life, he’s credited with having become the first Flemish Caravaggisti — or follower of Caravaggio. In particular, the figure of Holofernes in the debated picture displays a few anatomical consistencies with Finson, including the rather pale tone of the skin and slightly elongated form. Further, the painting having been found in France might also add some degree of support, albeit more weakly.

The painting is currently being shown juxtaposed with authentic works by Caravaggio through February 5 at Milan’s Brera Museum of Painting. The display hedges on the identification of the picture, adding an asterisk and noting its attribution to Caravaggio. Whatever side of the fence you fall, we cannot forget the excitement and celebration of this discovery, irrespective of its creator. Even so, some in the art word who believe in the painting’s authenticity might be exhibiting some wishful thinking.

To learn more, visit the Brera Museum of Painting.

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 New Atelier

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Image (c) Willow Avenue Atelier 2016

We here at Fine Art Connoisseur love seeing traditional ateliers achieve success and grow in popularity. Even better is the establishment of a new program, this time in the Bronx!

Willow Avenue in the Bronx, New York, will soon boast the latest traditional atelier program in the historic “Paper Clip” building. Located at 728 E 136th Street, the Willow Avenue Atelier will host an invite-only opening celebration on Thursday, December 8.

Stay tuned for more information!

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.

Remarkable Artist Earns Numerous Honors

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Artist Jesse Lane of RJD Gallery has been adding a number of feathers to his cap during 2016. For collectors interested in a quickly ascending star in the art world, Lane is one surely to watch.

Although the pictures by ascending artist Jesse Lane make a striking impression upon viewers at first glance, this perception is only intensified when realizing their medium: colored pencil. Indeed, some of the best artworks leave viewers perplexed at how a human hand could create them, and the effect is similar with Lane’s work. Often set against black backgrounds with intense tenebrist light, Lane’s figurative subjects are tightly cropped, forced close to the picture frame, and display dramatic expressions.

Jesse Lane, “Echoes,” 2016, colored pencil on paper, 20 x 30 in. (c) Jesse Lane 2016
Jesse Lane, “Echoes,” 2016, colored pencil on paper, 20 x 30 in. (c) Jesse Lane 2016
Jesse Lane, “Endure,” 2016, colored pencil on paper, 19 x 29 in. (c) Jesse Lane 2016
Jesse Lane, “Endure,” 2016, colored pencil on paper, 19 x 29 in. (c) Jesse Lane 2016
Jesse Lane, “Manifest,” 2016, colored pencil on paper, 30 x 20 in. (c) Jesse Lane 2016
Jesse Lane, “Manifest,” 2016, colored pencil on paper, 30 x 20 in. (c) Jesse Lane 2016

Currently, Lane has his work on view at RJD Gallery in Sag Harbor, New York, through December 15, but his current solo show is just one exciting occurrence for the artist in 2016. Most recently, Lane was awarded the Grand Prize from International Artist Magazine, and he will be recognized with a four-page spread in American Art Collector Magazine. Further, Lane won first prize in the juried exhibition by the National Society of Artists. Finally, he earned Best of Show in the Salmagundi Club non-member competition and was published on the cover of Colored Pencil Magazine.

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.

New Beginnings with William Oberst

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William Oberst, “Diner Waitress,” 2016, oil on linen, 48 x 50 in. (c) From Russia With Art Gallery 2016

Contemporary realist William Oberst will showcase several of his newest pictures this fall in Cambridge, Massachusetts. Take a glimpse of life and relationships through his unique artistic vision here.

Using soft contours and vivid color, and paying homage to art history are the works of William Oberst during his latest solo exhibition at From Russia With Art Gallery in Cambridge, Massachusetts. Presenting his subjects in everyday settings, Oberst plays will deep contemporary symbolism is works that are visually breathtaking. “My oil paintings are glimpses of life and relationships,” Oberst writes. “They entered my consciousness the way they entered yours — isolated moments resonating with a meaning that’s just out of reach. I regard them as images of the twenty-first century that will speak to future generations. I build the images from layers of translucent and excavated paint, a technique borrowed from the old masters. That’s very different from the immediacy of watercolors, where my subject is natural landscapes, something I find endlessly fascinating. Each medium has its place. Life is both enigmatic and beautiful.”

William Oberst, “Diner Waitress,” 2016, oil on linen, 48 x 50 in. (c) From Russia With Art Gallery 2016
William Oberst, “Diner Waitress,” 2016, oil on linen, 48 x 50 in. (c) From Russia With Art Gallery 2016

A special event will also be hosted at the gallery on December 3. From 4:30 to 6 p.m., the gallery will present a provocative 20-minute film by Oberst titled “The Painter’s Vision.” Following the film, Oberst will lead a discussion with participants intended to explore the deep connection between how painters and audiences see art.

To learn more, visit From Russian With Art 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.

This Spotlight Exhibition Coming Soon to Boston

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Sergio Roffo, “Sunset on the Moors,” 2016, oil on linen, 18 x 30 in. (c) The Guild of Boston Artists 2016

Inspired by the work of American traditional painters such as George Inness and Albert Bierstadt, Sergio Roffo is an accomplished painter internationally known for his stunning landscapes that evoke moods of calm and serenity.

The luminous works of renowned painter Sergio Roffo will soon grace the walls of the Guild of Boston Artists. In an exhibition opening December 5 and on view through December 24, Roffo will showcase a number of brilliant new pictures that collectors are sure to gobble up quickly. The artist is known for his stunning views of New England, and viewers will encounter more of the same beauty during this solo exhibition.

Sergio Roffo, “Sunset on the Moors,” 2016, oil on linen, 18 x 30 in. (c) The Guild of Boston Artists 2016
Sergio Roffo, “Sunset on the Moors,” 2016, oil on linen, 18 x 30 in. (c) The Guild of Boston Artists 2016

Speaking of his artistic goals, Roffo suggests, “My mission is trying to convey to the viewer the spirituality and sacredness of my work, indicating the harmony of nature through color and light. As artists, our creative goals will never be accomplished. We will always be students of nature, because nature does it so beautifully. We live each day passionately, others only dream of!”

For those who cannot make the exhibition opening, another tantalizing opportunity awaits. On December 17, the artist will be on hand at the gallery and will begin a demonstration at 2 p.m. To learn more, visit The Guild of Boston Artists.

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.

WEEKLY NEWS FROM THE ART WORLD

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