McLarry Fine Art is set to exhibit recent landscape and still life paintings by Whitney Gardner. Based in the Mojave Desert for more than a decade, she has titled the show “Romance of Solitude” to underscore the desert’s role in her life as a “sanctuary for creativity and contemplation.”
Whitney Gardner (b. 1986), “Stars Are Blooming,” 2024, oil on linen panel, 40 x 20 in.
“These artworks,” she says, “capture my experience in finding companionship with nature, with tales of mountains, skies, and nocturnal blooms in moonlight. They are also a testament to the profound connection between the human spirit and the untamed wilderness.”
Born and raised in Southern California, Gardner earned her B.F.A. at San Francisco’s California College of the Arts in 2010.
McLarry Fine Art
Santa Fe, New Mexico mclarryfineart.com
August 28–September 11, 2024
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.
Denouement, Jean Schwartz, oil on linen, 36 x 36 in; Calloway Fine Arts, Georgetown, Washington DC; Jean Schwartz
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There Were Bells, Emma Kalff, oil on panel, 15.75 x 49 x 0.75 in; Emma Kalff
Acoma Water, 1988, John Nieto, acrylic on canvas, 68 x 84 in; Altamira Fine Art
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.
Will Wilson (b. 1957), "Canary Watching," 1994, oil on panel, 14 1/2 x 13 in.
Ray and Lori Allen of San Diego have assembled a collection of contemporary realism that got its start through Ray’s long-standing love of art. In high school, he took classes in drawing and sculpture that triggered this interest, and while he was studying at Chicago’s DePaul University, it wasn’t uncommon for a professor to ask if anyone had seen Ray. Usually the answer came back, “He’s at the Art Institute” downtown.
Fine art collectors Ray and Lori Allen
Today the Allens own works in their art collection by such gifted artists as Richard Becker, Michael Bergt, Anna Chervonnaya, Claire DeLandro, Yuriy Dymshyts, Dan Ferguson, Geraldine Grove, Jacquline Hurlbert, Joan Irving, Lauretta Lowell, Peter Matosian, Willie McGrath, Daryl Millard, John Modesitt, Jacob A. Pfeiffer, Craig Pursley, Artem Rogowoi, Dennis Sarazhin, Jan Dorian Whitney, Will Wilson, and Jeanne Zvetina.
Ray is not certain, but he thinks their first acquisition was Peter Matosian’s colorful scene of women and animals in nature, “Rio Papagayo.” The Allens spotted it in the window of a gallery in downtown San Diego, and that was that. If dealers still wonder if displaying art in their front windows is worth the effort, here’s more evidence it is. Years ago, San Francisco’s John Pence Gallery graced its window with the painting by Will Wilson illustrated here, “Canary Watching” — now the Allens’ favorite artistic possession.
“When I first spotted it there,” Ray recalls, “I was flabbergasted. I had never seen a painting with such emotion. We went in to look, but felt the price was beyond our reach. John Pence told us about Will’s background and about a new show he’d be in a week later. Every night I would just dream of that painting! Lori took pity on me and agreed we should go back to San Francisco from San Diego for the exhibition opening. When we got there, we made a beeline for “Canary Watching” but were shocked to find a ‘red dot’ on its wall label. My heart was broken! John Pence came over, saw the sorry looks on our faces, and confided, ‘I knew you’d be back.’ He had been saving the painting for us.”
Beyond underscoring what a gentleman John Pence is, this recollection reminds us that an artwork can inspire us not only through its appearance, but also through the story behind it. Wilson told the Allens that “Canary Watching” depicts a bouncer he had met in front of a bar. The young man was going through chemotherapy as part of his cancer treatment, which explains his baldness. His pet canary was also sick, which we can gather from its ruffled feathers. Fortunately, the man recovered, though his bird did not.
Also illustrated here is “Mocked,” one of six paintings by Michael Bergt that the Allens own. It too came via John Pence, who explained that it is the artist’s homage painting to Hieronymus Bosch’s famous “Christ Mocked (The Crowning with Thorns)” at London’s National Gallery. Having traveled to London specifically to see that masterpiece, the Allens learned that a strike by security staff would make it impossible to explore that area of the building. Clearly a return to London is in order.
Michael Bergt (b. 1956), “Mocked,” 2010, egg tempera on panel, 27 1/2 x 22 in.
Over the years, the Allens have been gratified to watch realism become “much more mainstream” in the world of contemporary art. Today they buy from galleries and fairs (such as the LA Art Show), and also directly from artists. Indeed, Ray says they have met several of “their” artists and correspond with a few.
The Allens admire aesthetic approaches other than realism, too, noting that “it’s hard to explain why a specific work triggers the sense of joy we get out of it.” Their only historical work is a painting by California’s Selden Connor Gile (1877–1947), though they note that John Modesitt’s contemporary landscapes are very much in the style of another California master, Maurice Braun (1877–1941).
As with so many art collectors, wall space has become a challenge for the Allens. Ray says, “We now store some paintings and rotate them on our walls,” a worthy process that often revives that dopamine hit of joy owners got the day they acquired the piece in the first place.
Morgan Irons, "Evening Air," unframed 18 x 24 in., framed 22 x 28 in.
Arcadia Contemporary proudly presents its 10th annual Five and Under exhibition, a celebration of artistic diversity and price accessibility. Running from August 15 to September 1, 2024, this highly anticipated event showcases over 200 new works by more than 60 internationally acclaimed artists, many who are exhibiting in the U.S. for the very first time.
Jo Barrett, “Tulips and Stoneware Bottle,” unframed 16 x 20 in., framed 17 x 21 in.
More from the gallery:
Five and Under is a unique invitational that provides a platform for new talent while also highlighting works by some of the gallery’s most renowned artists. Every work in the exhibition is priced at $5,000 or less, offering collectors a rare opportunity to acquire high-quality works at an accessible price point. This intersection of affordability and excellence makes the exhibition a cornerstone of Arcadia’s annual programming.
The show features a vast array of themes, styles, and mediums, reflecting the rich diversity of the participating artists. Because the invited artists have the freedom to create in any medium and explore any subject, collectors are assured a dynamic and eclectic collection of works that will surely excite and inspire.
Rafal Stanula, “Julia,” unframed 20 x 23 in., framed 25 x 23 in.Cesar Santander, “Crayolas,” unframed 21 x 18 in., framed 22 x 19 in.Matthew Cornell, “Steve’s Lemonade,” 8 x 8 in.Hogan Brown, “Caffe Bianchi,” unframed 22 x 28 in., framed 23 x 29 in.Ellen Bezhen, Untitled, unframed 12 x 12 in., framed 13 x 13 in.
The opening reception is August 15th from 6-8 pm. For more details, please visit ArcadiaContemporary.com.
New-York Historical Society Museum & Library, New York City nyhistory.org
through October 27, 2024
On view at the New-York Historical Society Museum & Library is the exhibition “From Paul Revere to Edward Hopper: Treasures from the Leonard L. Milberg Collection of American Prints, Drawings, and Watercolors.”
Accompanied by an illustrated catalogue, it has been co-curated by Linda S. Ferber and Marilyn S. Kushner, who describe its more than 140 works as a “visual journey” through American history. Among the artists represented are George Caleb Bingham, Mary Cassatt, John Sloan, George Bellows, and Maurice Prendergast.
Leonard Milberg recalls, “I never took an art course, but Miss Behan, my eighth-grade teacher at PS 197 in Brooklyn, would often have us write about 10 cent postcard-size reproductions of famous paintings. During the Korean War, I was stationed in Alaska. One day, tired of watching herds of moose go by, I found a small bookstore in neighboring Anchorage that sold art books. My eyes had been opened. After coming home from Alaska, I began visiting art museums and buying more art books.”
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.
The Letter, 2020, Leo Rebolledo, oil pastel on panel, 38 × 24 in; 33 Contemporary
Odd Barn, Sierra Valley, Inga Poslitur, oil on board, 12 x 9 in; Holton Studio Gallery; Inga Poslitur
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.
Kevin A. Short, "The Light Boys," Oil on canvas, 20 x 36 inches
The California Art Club (CAC) will join forces with the Hilbert Museum of California Art at Chapman University to present the 113th Annual Gold Medal Exhibition in the museum’s recently expanded galleries from August 20 to October 26, 2024.
The nationally prominent showcase of contemporary-traditional fine art features newly created artwork being exhibited for the first time, ranging from pristine landscapes and grittier urban scenes to novel still lifes and evocative figurative paintings and sculptures. Nearly 180 works will be featured, created using time-honored art techniques employed by the pioneering artists who founded the California Art Club in 1909. Those early artists were instrumental in influencing California Impressionism – the first artistic movement defined as purely Californian.
John Kosta, “LA River Painting 81 – Arrival,” Oil on canvas, 30 x 48 inches
To encourage the 163 exhibiting artists to create their most important works, the Annual Gold Medal Exhibition is unthemed, providing creative freedom to select subject matters that personally resonate with them. The exhibition includes imagery that may be found beyond the borders of the Golden State and provides a revealing exploration of issues facing the global community, from environmental preservation to social interests and cultural perspectives.
“The California Art Club is the nucleus of traditional fine art in the United States, and the celebrated group of painters and sculptors selected for the 113th Annual Gold Medal Exhibition spend most of the year working in anticipation of this event,” said art historian Jean Stern, the nation’s foremost authority on California Impressionism.
“The jurying process for the Gold Medal Exhibition is rigorous and only the very best works are accepted, making this exhibition at the Hilbert Museum an opportunity to view the most exceptional representational works of art being produced today,” added Stern, who served as one of the jurors who reviewed more than 500 submissions for inclusion in the display.
Mary Kay West, “Roses and Bluebirds,” Oil on panel, 24 x 18
This year’s Gold Medal Exhibition will mark the third time that the California Art Club and the Hilbert Museum have collaborated to mount this hallmark event. The two previous exhibitions – the 109th and 110th installments – were held during the coronavirus pandemic, forcing many art enthusiasts to view those exhibitions virtually.
“The California Art Club is honored that our signature exhibition will be on display at the Hilbert Museum as it celebrates its major expansion, as both organizations share a commitment to shining the spotlight on the rich history of California art,” said CAC president and Gold Medal artist Michael Obermeyer.
The only museum in the world committed to tracing the history of the Golden State from the late 1800s to the present through works by leading California artists and Hollywood studio artists and animators, the Hilbert Museum reopened in February 2024 following a three-year expansion from 7,500 to 22,000 square feet. With the additional galleries and gallery space, visitors to the Gold Medal Exhibition will also be able to view works of historic CAC artists in the museum’s permanent collection, including those of Millard Sheets, whose 1969 mosaic mural titled Pleasures Along the Beach graces the entrance to the building.
“We’re delighted to host the California Art Club’s Gold Medal Exhibition at the expanded Hilbert Museum,” said Mary Platt, who helped guide the expansion project as director. “Our beautifully reimagined galleries provide the perfect setting to show off the work of these extraordinary artists. When combined with the oils, watercolors, illustrations, drawings and other world-class works on view from the 5,000-piece permanent Hilbert Collection, the result is a rare visual treat for the California art connoisseur.”
Michael Situ, “Victoria Beach Sunset,” Oil on linen, 30 x 40 inches
Educational programs and events offered in conjunction with the exhibition will allow art enthusiasts to meet the participating artists and learn more about traditional art forms. These activities will include the Collectors Preview and Artists Reception on Sunday, August 18; a lecture on California Impressionism by Jean Stern on Saturday, August 24; “Artists in the Gallery” Meet & Greets every Saturday during the exhibition run; and a fun-for-the-family “Paint/Sculpt-Out” on closing day.
Walton Ford, (b. 1960), "Zürichsee," 2015, watercolor, gouache, and ink on paper, 41 1/2 x 59 3/4 in., private collection; photo: Christopher Burke
On View at the Morgan Library & Museum
New York City themorgan.org
through October 20, 2024
The Morgan Library & Museum is presenting an exhibition that could only happen there. Titled “Walton Ford: Birds and Beasts of the Studio,” it celebrates this American master’s 2019 gift to the Morgan of 63 studies and sketches, now shown publicly for the first time.
Ford is renowned for monumental watercolors that reflect his fascination with how we imagine wild animals, often subverting the historical conventions of animal painting in unforgettable ways.
Organized by Morgan curator emerita Isabelle Dervaux and current curator Jennifer Tonkovich, the show opens with drawings inspired by Ford’s decades of visits to the American Museum of Natural History in Manhattan. To this day, Ford explores that institution’s rich archives, field studies, documents, and taxidermy specimens. The drawings confirm that his artistry is rooted in scientific research and an attention to detail.
Particularly compelling are the sections of the show devoted to Ford’s studies and watercolors that imagine encounters between big cats and humans, largely based on true stories. Illustrated here is one in a series about a black panther that escaped Zurich’s zoo and spent weeks alone in the countryside before being caught and eaten by a farmer.
Also on view are books Ford has loaned, from travel diaries to volumes of natural history, folktales, and fables. The exhibition closes with a display of relevant pieces selected by Ford from the Morgan’s holdings, accompanied by wall texts he has written. It includes memorable images of animals created by such masters as Rembrandt, Audubon, and Delacroix.
Nathan Bertling, "1. The Librarian," 2020, oil on linen, 24x30” – Private Collection
There is a lot of superb contemporary realism being made these days; this article by Allison Malafronte shines light on a gifted individual.
“Convinced that beauty stubbornly persists, I salvage it wherever I find it — and follow it through.” This declaration by Nathan Bertling (b. 1974) aptly summarizes his motivation for being a painter. Fascinated by the often-overlooked nuances of people, places, and things, he combines a commitment to traditional methods and materials with an active imagination and acute observation to make statements about everyday life.
Bertling studied visual arts and communications at Furman University in South
Carolina, followed by six years of intensive training at Ben Long’s atelier in Asheville, North Carolina. In Florence during the 1970s, Long had apprenticed with Pietro Annigoni (1910–1988), sometimes called the Patriarch of Realism and one of the last living links to the Italian Renaissance. Since completing his formal training, Bertling has deployed both this Old Master lineage and various contemporary innovations to shape his own style and approach.
Today, the subjects of this Greenville, South Carolina-based artist’s paintings and drawings include people intriguing to him, sentimental objects, and scenes that conjure memories or forgotten moments. The Librarian (shown at top), a portrait of Bertling’s wife seated in front of a shelf of colorful books, is an apropos way to portray a bibliophile, aspiring author, and illustrator.
Nathan Bertling (b. 1974), “Present Imperfect,” 2021, oil on linen, 16 x 12 in., private collection
Present Imperfect, illustrated above, tells a story of the passage of time and daily practice. “The watch was a gift from my wife and is a meditation on the necessity of perseverance,” the artist explains. “The worn wristband and paint-stained wood signify the lessons that can only be learned through patient plodding. In juxtaposing the nostalgia of a timepiece with an artist’s easel, I was able to reflect the weathered beauty and scarred effects of real labor.”
As for his career path and future plans, Bertling states, “I’m looking and laboring down the long road — to see my life and art deepen together.” He is now a member of New York City’s Salmagundi Club, where his self-portrait Quick to Listen was awarded Best in Show at the 2022 Open Painting, Sculpture & Graphics exhibition.
Nathan Bertling, “Quick to Listen,” 2020, oil on linen, 24×30”Nathan Bertling, “Marinelli’s Door,” 2022, oil on canvas, 30×48”
Coming in Fall 2024, Bertling will have an exhibition tentatively titled “All of the Above” at Dacia Gallery in the East Village, NYC, New York. Visit DaciaGallery.com for updates on the exhibition details.
Nathan Bertling, “Both/And,” 2024, oil on panel, 35×56” – Currently NFS: To Be Priced at Dacia
“My painting ‘Both/And’ (above) is an homage to two living American masters under whom I have been privileged to study: Benjamin F. Long, IV and Bo Bartlett,” said Bertling. “Each of these artists has painted floating figures, coupling commanding portrayals of the human figure with conceptual inventiveness. Alongside the contributions from these two prolific painters, the list of my influences runs deep: from Titian and Velazquez to Degas and Fantin-Latour; from Sargent and Sorolla to Hopper and Annigoni. Last but certainly not least, my wife Hallie’s work as a writer and illustrator gave me the initial impulse that inspired this piece. Her love for the fantastic and whimsical is reflected in the children’s books and classic literature that lift her heart and fire her imagination. This double-portrait of the two of us plays between a number of tensions, felt all at once: time & space, matter & spirit, obscurity & illumination, history & memory & revelation – movements powerfully induced by word and image.”
Michael Naranjo, “Fountain of Youth Monument,” 2009, Ed. of 3, bronze, 39 x 30 x 20 in.
Nedra Matteucci Galleries is proud to announce “Reflections of a Sculptor: The Life and Work of Michael Naranjo.” It will serve as a celebration of the artist’s many influential decades as a sculptor and will also mark his 80th birthday. The show will feature works from all phases of Naranjo’s career, including all sizes and subject matter.
Michael Naranjo, “Justice,” 1994, Ed. of 10, bronze, 33 ¼ x 10 x 11 in.
Michael Naranjo was born in Santa Clara Pueblo in 1944 and grew up in Taos, New Mexico. His mother, Rose Naranjo, who was a notable potter herself, noticed his early talent and fostered in him a love and ambition for art. However, while serving in Vietnam, Naranjo was the victim of a grenade attack that stole his sight and much of his right hand—but it did not steal his determination.
Michael Naranjo, “The Prayer,” 1997, Ed. of 10, bronze, 17 x 13 x 12 in.
For over 50 years, Naranjo has taught people to see art in a new way, inviting viewers to touch his work and experience it as he does. His work and story have also inspired world leaders and dignitaries. Twice invited to the White House, first by President Nixon and later President Clinton, Naranjo also had the honor of gifting a cross to Pope John Paul II in Rome. On this visit, a scaffold was erected around Michelangelo’s “David,” allowing Naranjo to “see” it through touch.
Michael Naranjo, “Tranquility,” 1987, Ed. of 7, bronze, 23 x 9 x 9 ½ in.
Created from memory without use of his right hand or any tools, Naranjo’s subjects vary from hunting scenes and maidens to animals and mythological creatures. His works are displayed in the Vatican, the White House, the Heard Museum, and more. Naranjo also received the LIFE Foundation’s Presidential Unsung Hero Award and the Distinguished Achievement Award from the National Press Club in Washington, D.C.
Michael Naranjo, “Devil Dancer,” 1975, Ed. of 12, bronze, 23 x 14 x 10 in.
“Reflections of a Sculptor” is a once-in-a-lifetime opportunity to view Michael Naranjo’s masterpieces and to honor his contributions to the art world. The show opens August 10 and runs through August 30, 2024 at Nedra Matteucci Galleries in Santa Fe.
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