Actor, comedian, musician, author, and now, curator — Steve Martin’s resume continues to grow.
 
Perhaps best known for his roles in “Father of the Bride,” “Planes, Trains, and Automobiles,” and on the set of “Saturday Night Live,” Steve Martin has been gracing our TV and movie screens for decades, bring laughter and the occasional tear to millions of people. Recently, Martin has been touring as a musician, reviving a lifelong talent but relatively unknown compared to his silver screen blockbusters.
 

Lawren Harris, “North Shore, Lake Superior,” 1926, oil on canvas, 40 1/4 x 50 in.
(c) Hammer Museum 2015

 
Now, Martin has added the role of curator to his resume. Working with veteran curators Cynthia Burlingham and Andrew Hunter, Martin has helped curate a show of pioneering Canadian modernist Lawren Harris (1885–1970) at The Hammer Museum in Los Angeles, California. The exhibition, “The Idea of North: The Paintings of Lawren Harris,” will feature over 30 major works from Harris’s most significant production, between the 1920s and early 1930s. The museum writes, “[Harris’s] scenes of a cold and empty northland, isolated peaks, and expanses of dark water beyond barren shorelines remain for many Canadians and non-Canadians the essential images of the country. Harris’s vision was distinctly modern and idealized; his landscapes offered a bold ‘idea of north.’ A founding member of the Group of Seven, Harris progressed from a defiantly nationalistic interpretation of the northern landscape towards a universal vision of nature’s spiritual power.” Martin himself suggested, “He’s Canada’s greatest artist and nobody in America knows who he is, with a few exceptions.”
 

Lawren Harris, “Mount Thule, Bylot Island,” 1930, oil on canvas, 32 1/4 x 40.25 in.
(c) Hammer Museum 2015
 

Martin has spent the last two years working on the exhibition with hopes of landing the show in New York. After the Metropolitan Museum of Art passed on the opportunity, the Hammer jumped at it, along with the Kennedy Center in Washington and the Museum of Fine Arts Boston. In fact, Martin owns three paintings by Harris and is an avid collector of Modern painting.
 
The exhibition opens at the Hammer Museum on October 11 and will be on view through January 24.
 
To learn more, visit The Hammer Museum or The New York Times.
 
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.
 

Take a journey with Fine Art Today into the “secret places” painted by artist Chris Strunk.
 
Like many artists, whether historical or contemporary, painter Chris Strunk is often struck by particular locations and scenes he happens upon during his day-to-day experiences. Strunk is constantly snapping photos, using the technology as a way to sketch and quickly capture a variety of views that speak to him. However, rather than copying the photos, Strunk uses his mechanical images to create something organic, arranging sets of photos as a reference before considering his composition. Once he begins, he will work then step away, never working without clarity and intention. “I have learned to feel my way through paintings in this way,” the artist states. “Waiting for clarity is not necessarily thinking — clarity happens for everyone if they can train themselves to wait. Eventually the subject and the work on the canvas become so compelling that I couldn’t stop even if I tried.”
 

Chris Strunk, “Saugatuck Evening,” 2015, oil on canvas, 39 x 52 in. (c) Chris Strunk 2015

 
Strunk also draws visual inspiration from his robust book collection. The artist states, “I keep my art library handy and am routinely looking at the work of artists that inspire me. There are always books on the studio floor to be perused during painting sessions. Some of the books are a constant source. For example, at the moment there are monographs on Edward Hopper, George Bellows, and Ivan Shishkin. There is also a history of Italian 19th-century painting and a history of American tonalism, one of my favorites.”
 

Chris Strunk, “Cosby, TN in Winter,” 2014, oil on canvas, 36 x 60 in. (c) Chris Strunk 2015

 
The artist writes, “Everyone has secret places where they can go and be whole. My paintings are often of these locations.” For several years, Strunk has been exploring — both physically and artistically — the dunes on Lake Michigan, near his home in Holland, Michigan. His secret places involve wandering off the beaten trail, exploring locations on his own. “On the easel right now is a view through the trees on top of one of the biggest dunes,” says Strunk. “The woods up there have a different magic. At one of the higher points is a secret place where one can see Lake Michigan in the distance; it’s an epic view. For me, the walks have become part of the process and I take my time in reverence.”
 
Stylistically, Strunk’s work is a melding of representation and abstraction. Within the artist’s oeuvre one will find works in both categories, but his landscapes have a special, almost impressionistic, allure. “The Approaching Storm” from 2014 is especially beautiful. Standing along the shores of Lake Michigan, the viewer gazes across rumbling surf as dramatic, imposing clouds appear to be closing in from the horizon. Strunk’s application of oil lends itself to the scene, which we can imagine is in constant flux and movement. Further, the palette displays a rich arrangement of blues, yellows, whites, greens, and, perhaps, hints of orange.
 

Chris Strunk, “Cardiff by the Sea,” 2013, oil on canvas, 40 x 27 in. (c) Chris Strunk 2015

 
The viewer is left longing to find Strunk’s secret place in “Saugatuck Evening” from 2015. From an elevated vantage point, the viewer looks out over the fading sunset across Lake Michigan. A beautiful array of patterned dabbles of pink, purple, and orange fragment a blue sky. In the foreground, a few trees and grasses balance the palette and contrast against the sky.
 
Work by Strunk can be found at several galleries around the country, including Water Street Gallery, Terra Gallery, and The Fine Art Gallery of Bronxville.
 
To learn more, visit Chris Strunk.
 
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.
 

Over the past 60 years, one artist has been building an esteemed career founded on his ability to capture life and character through portraiture. Now his portrait studies are getting a well-deserved spotlight during an upcoming solo exhibition.
 
“I’ve been ‘studying’ drawing all my professional life; I use it constantly to prepare for a painting that is either a figure study or a portrait,” says artist Burton Silverman. “Here the drawing becomes an exploration, not just for getting a facial resemblance, but trying to get at some characteristic, perhaps a psychological trait — the life of the person being drawn — something that elicits my sense of that person past the initial setting up a ‘pose.’”
 
Although Silverman’s words indicate the preparatory function of his drawings, the resulting pieces are gorgeous autonomous works of art, and they are highlighted in “Burton Silverman: Drawing to a Portrait,” a solo exhibition to open at Portraits, Inc. in New York City on October 14. In a world dominated by digital and other photographic imagery, Silverman endeavors to capture a pictorial realism that goes beyond the visual and touches on character, life, and energy — qualities that emerge from drawing his subjects from life, with expression and an organic process. Silverman’s use of black charcoal and white chalk produce a diverse tonality and full range of values, bringing a magnetic naturalism to his subjects.
 
“My Workshop Model” from 2014 is a great expression of Silverman’s philosophy, process, and skill. In near full-length, we find a bearded, seated male subject. The drawing has accurately captured the figure’s physiognomy via the expressive, fluid movements of Silverman’s hand. Highlights are illuminated in white, and also noteworthy is Silver’s juxtaposition between detail and roughly indicated forms. The effect is to make the figure subtly emerge from the page, heightening the viewer’s sense of three-dimensionality and form.
 
An opening reception will be held from 6-8 p.m. on October 14. “Burton Silverman: Drawing to a Portrait” will be on view through November 6.
 
To learn more, visit Portraits, Inc.
 
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.
 

Beautifully preserved and carefully selected, a number of 17th-century Dutch masterpieces by artists such as Rembrandt, Vermeer, and Gabriel Metsu are on view beginning October 11.
 
Whether the subject was royalty or farming peasants, Dutch painters depicted all things in stunning, masterful detail during the region’s 17th-century “Golden Age.” A massive influx of wealth stimulated a vibrant art market that demanded genre subjects largely free of religious iconography. Nobles, merchants, milkmaids, peasants, still life, and landscape abounded. A healthy economy also fostered clear class distinctions, depictions of which feature in an upcoming exhibition at the Museum of Fine Arts, Boston.
 

Johannes Vermeer, “The Astronomer,” 1668, oil on canvas, (c) Museum of Fine Arts Boston 2015

 
“Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer” brings together 75 paintings borrowed from European and American public and private collections — some of which have never been shown in the United States. The museum reports that the exhibition is “arranged according to 17th-century ideas about social stratification … divided broadly into three classes — upper, middle, and lower — and within them, into sub-groups.”
 

Rembrandt van Rijn, “Reverend Johannes Elison,” 1634, oil on canvas,
(c) Museum of Fine Arts Boston 2015

 
Fun for viewers is the encouragement to muse on the exquisite details of the works, looking closely for visual clues that may differentiate a noble from a merchant or a mistress from a maid. “A final section explores the places where the classes in Dutch society met one another,” the museum states. “Opportunities for these encounters arose in the city and the country, winter and summer, indoors and out, at leisure or at work, on the threshold of a house or of a business.”
 

Jacob Ochtervelt, “Street Musicians at the Door,” 1665, oil on canvas, (c) Museum of Fine Arts Boston 2015

 
Works by the famed painter Johannes Vermeer feature in the exhibition, including “A Lady Writing,” circa 1665, and “The Astronomer,” circa 1668. “A Lady Writing” is absolutely stunning in its soft clarity. Warmly gazing out at the viewer is a well-to-do female sitter, blanketed in a soft glow that emanates from the upper left. Her status is clearly noted in the lovely yellow and white fur garment she wears. She pens a note, only to briefly stop for this captured moment. The piece is nearly photographic in its detail, recalling scholarly debates surrounding whether the artist used the aid of emerging optical equipment to complete his paintings. Regardless, the picture is breathtaking in its luminousness and timeless quiet.
 
Another highlight of the exhibition is Rembrandt van Rijn’s “Reverend Johannes Elison” of 1634. Confident, stoic, and powerful, the subject sits in full view of his audience. His modest but imposing black costume and collar clearly designate his position as a man of God. Lying to his left are the open pages of his manuals and Bibles, alluding to his position and education as well.
 
“Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer” opens on October 11 and will hang through January 18.
 
To learn more, visit the Museum of Fine Arts Boston.
 
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 half-mile walk earns one access to over 100 galleries, artist studios, jewelers, boutiques, restaurants, and much more in Santa Fe.
 
Few fine art events can offer so much within such a small area. The Historic Canyon Road Paint Out & Sculpt Out packs over 100 galleries and many more artists into one half-mile. Organizers say, “Since its early Native American and Spanish roots, Canyon Road has been a trail of abundance — initially as a farming community, later as the site of an art colony, and today as one of the country’s top shopping experiences. While gracious adobe architecture gives Canyon Road its Old World charm, diversity is its claim to fame. Whether you prefer contemporary, traditional, or Native American fine art, it’s all here, including paintings, indoor and outdoor sculptures, glass, jewelry, clothing, accessories, home furnishings, gifts, antiques, rugs, folk art and crafts. The array of specialty shops, boutiques, and galleries is vast.”
 
As the popularity of the event continues to grow, organizers expand the scope, adding sculptors to the roster in 2014. This year the event is open to all creative artists in any medium, which is sure to guarantee the best festival yet. Organized by the Canyon Road Merchants Association, the scheduled events offer amazing opportunities for the public to witness artists working en plein air who actively involve onlookers in the creative process.
 
Looking to relax indoors? Over 100 galleries line the street, each offering world-class art from artists around the world. A complete list of the galleries can be found here. Beginning Friday, October 16, the Canyon Road’s eighth annual events kick off with an Art Walk before the Paint Out & Sculpt Out begins on Saturday, October 17, at 10 a.m. in the Historic District of Santa Fe, New Mexico.
 
To learn more, visit the Historic Canyon Road Paint Out & Sculpt Out.
 
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.
 

Right around the corner is an amazing opportunity to acquire beautiful artworks that capture the sights and culture of the American South.
 
Whether it’s capturing a freshly baked pie or the dim glow of a fading day across a sandy beach, a full range of subjects and styles are available for purchase during this year’s Hilton Head Art Auction at Morris & Whiteside Auctions, Hilton Head Island, South Carolina. Organizers of the event say, “For over 15 years, Morris & Whiteside Auctions, LLC has produced premier fine art auctions on Hilton Head Island and in Charleston, South Carolina. Offering significant paintings, sculpture, and vintage prints by deceased and contemporary masters of the South, the annual fall event attracts an extensive database of proven collectors from throughout the United States.”
 

Barry Thomas, “Reflections,” oil, 36 x 48 in. (c) Hilton Head Art Auction 2015

 
Eighty-four artworks from over 45 artists will feature in this year’s sale, which is expecting spirited bidding despite the state’s ongoing recovery from Hurricane Joaquin’s flooding. A complete list of the artists can be found here.
 
The balance of color and feathered brushwork characterizes Barry Thomas’s “Reflections.” From a low point of view, the audience find themselves along the shoreline of a slow-moving, swampy river, populated by dancing arrangements of lily pads. The palette of the painting is its strongest attribute; noteworthy are the strong vertical and blended strokes of pastel purple, blue, and fiery orange found in the reflections in the water. Creating a sense of wonderful three-dimensionality are the soft branches of a low-hanging tree that enters the piece from the left edge. Auction estimates are between $3,000 and $5,000.
 

Dan Gerhartz, “From the Fields I,” oil, 40 x 22 in. (c) Hilton Head Art Auction 2015

 
Another breathtaking painting is Clark Hulings’s “Near Woodville.” The viewer is placed along a dirt road deep within the Southern wilderness. In our view to the right is a well-used cottage, nestled comfortably among a variety of weeping willow and maple trees, with ivy and other grasses and shrubs. Coming down the path is an empty carriage, pulled by a donkey and horse draped in afternoon shadow. Two roosters dart about the path as well, attentively monitoring their surroundings. Particularly outstanding is Hulings’s masterful skill in capturing the light of a midday sun. A beam of light cascades across the picture from the left, creating a river of illumination over the road and the front porch of the home. Estimates range from $80,000 to $120,000.
 

Michael B. Karas, “Beach Harmony,” oil, 11 x 14 in. (c) Hilton Head Art Auction 2015

 
The Hilton Head Art Auction begins with a preview of the lots tomorrow, October 9, at the Arts Center of Coastal Carolina. The auction will take place Saturday, October 10, at 10 a.m. To view the full catalogue of available works, click here.  
 
To learn more, visit the Hilton Head Art Auction.
 
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.
 

Andrea T. Kemp
“Floating”
Oil on Board
40 x 26 in.
$7000

www.saksgalleries.com
 
Statement:
For me painting is way to communicate what words cannot.  Through one frame a story is told, with lingering questions hanging and possible scenarios left for the viewer’s own interpretation.  This is one of the many reasons why painting is so unique.  Like a good poem, it has few opportunities to reach its audience in way that can leave a strong lasting impression. My paintings imagery can range from strong to soft depending what kind of emotion I want to have as an underlying tone.  
 
Sometimes their stories are clear and other times they are more ambiguous.  Their content does not always carry its story line, instead I try and utilize the language of the paint.  When manipulated well it can bend the lines of what is reality and what could be illusion, creating a world with boundless limitations.
 
Contact Info:
www.andreakempart.com
[email protected]
303-525-4202
 
“Luminous,” a one women show, opens October 2 and runs through October 31 at www.saksgalleries.com
 

Patricia Hynes
“Approaching Storm”
oil on canvas
36 x 48 in.
 
www.patriciahynespainter.com
[email protected]
973-763-2384
 
Patricia Hynes received a MFA from Rutgers University, now the Mason Gross School of the Arts and a BA from Douglas College, now incorporated into Rutgers University. After a period of teaching Studio Art and Art History she pursued a career in non profit institutions working in the areas of development and then institutional advancement.
 
Administrative positions she held included Deputy Director for the Cincinnati Art Museum; Vice President for Pratt Institute; Vice President for the American Craft Museum, now the Museum of Arts and Design; Director of Alumni Relations and Associate Director of University Development, both for New York University. In addition, she held development posts at the Whitney Museum and the Brooklyn Museum.
 

Lori Putnam
“Route 66”
Oil on linen
30 x 36 in.
$9800
 
 
Tennessee artist Lori Putnam has never met a landscape she didn’t like. Putnam’s painting travels across the U.S. and Europe have been instrumental in her artistic development. “Light, colors, atmosphere… it’s different everywhere I paint,” says the artist. “Seeing that difference and experimenting with ways to interpret it are huge lessons. I take these lessons back into the studio when I work there as well, and strive to maintain that fresh, on-the-spot feeling of painting from life.” Both her plein air work and her studio paintings have received numerous awards including the Oil Painters of America, the American Impressionist Society, Salmagundi Club New York, the Portrait Society of America and many respected plein air organizations and events.
 
Along with “Route 66,” Putnam will have three additional works for display and purchase at the Traveling the West Art Show and Sale October 22–24 at Southwest Gallery in Dallas. Inquiries should be directed to [email protected], 877-248-2513. A complete online catalog of available work can be found at travelingthewestshow.com.
 
Other current and upcoming exhibitions:
Oct. 1–29,  American Impressionist Society National Juried Exhibition, Trailside Galleries, Scottsdale, AZ
Oct. 8–Nov. 5, Oil Painters of America Juried Salon, Beverly McNeil Gallery, Birmingham, AL
Oct. 17–25, Laguna Plein air Invitational, Laguna, CA
Nov. 3–   , Illume Gallery of Fine Art Winter Show, Salt Lake City, UT
Nov. 12– , Richland Fine Art Tennessee for Me Show, Nashville, TN
Nov. 19– , Beverly McNeil Gallery Tiny Treasures Show, Birmingham, AL
Dec. 10– , Legacy Gallery Holiday Small Works Show, Scottsdale, AZ
 
loriputnam.com
615-512-0929
[email protected]
 

Joseph Lorusso
“Come Away With Me”
Oil on Panel
30 x 33 in.

http://www.josephlorussofineart.com/
 
Joseph Lorusso Bio and accolades:
 
Joseph Lorusso was born in Chicago, Illinois, in 1966 and received his formal training at the American Academy of Art. He went on to receive his B.F.A. degree from the Kansas City Art Institute. Born of Italian descent, Lorusso was exposed to art at an early age. Through several early trips to Italy, his parents introduced him to the works of the Italian Masters. Lorusso would look to these influences throughout his early artistic development and they are still evident in his work today.
 
Joseph Lorusso creates landscapes and figurative works. In painting these subjects, Lorusso has concentrated on honing his powers of observation, especially as it concerns to color, texture, form and composition. Lorusso’s paintings have been described as warm and dreamlike, places of restful escape with a sense of spirituality, and share timelessness with the works of other eras.
 
Lorusso states, “I believe truly great art serves as a trigger into something deeper within all of us”. The mood and emotion conveyed in Lorusso’s paintings evokes a deep sense of beauty found in the quiet times of daily living. His people are mysterious, lonely, romantic and yet familiar, placed in settings we often see ourselves. Lorusso’s paintings have gained notoriety by their ability to connect with the viewer, resonating in a way that is intimate and personal.
 
Lorusso’s work has been shown internationally and has won numerous awards and honors, including the prestigious American Art Invitational in Denver in 2012.

http://www.josephlorussofineart.com/