Gary Erbe, “Composition in Red, White and Blue,” 1975, oil on canvas, 72 x 112 inches
The national touring retrospective “Gary Erbe: Magical World” explores 55 years of paintings and assemblages created by Gary Erbe (b. 1944), a lifelong resident of New Jersey. It has been organized by Louis A. Zona, executive director of the Butler Institute of American Art, where it is set to open January 25, 2026.
This exhibition has been scheduled in tandem with America’s 250th anniversary, and so it’s appropriate that, as Erbe notes, “For the first time, all 15 American flag paintings I have made since 1971 will be on view, along with an additional 35 works. Seeing my flag paintings will be an educational experience for some, controversial for others, and an awakening for all. I have never been interested in how people look but how they think. Perhaps this exhibition will give people something to think about, along with an insight into the creator’s mind.”
Gary Erbe, “Annie Oakley: Little Sure Shot,” 2012, oil on canvas, 48 x 60 inches, Crystal Bridges Museum of American Art, AR
His show includes important loans from many private collections, as well as the Crystal Bridges Museum of American Art and Philadelphia Art Museum. Its 88-page catalogue contains contributions by independent scholar Carol Lowrey, Scott A. Schweigert from Pennsylvania’s Reading Public Museum (where the show will be on view May 23–August 2), and Amanda Shepard from Indiana’s Fort Wayne Museum of Art (August 22–October 25).
Gary Erbe, “Celebrating an American Patriot,” 2014, oil on canvas, 30 x 40 inches, The Philadelphia Museum of Art, PA
Shepard writes, “Whereas some modernists found meaning in the object by dissecting it and examining it by its parts, Erbe points to an object’s meaning by contextualizing it in its integrity.” She adds that his “command of realist painting is critical to a profound understanding of each object’s significance…. His skill is essential to conveying the properties of an object—its proportion, texture, and color, which, in turn, are what make it that object and distinguish it from the next.”
Gary Erbe, “American Recipe,” 1974, oil on canvas, 50 x 42 inches
Erbe’s exactitude makes sense when we learn that he began his journey not in art school, but working full-time as an engraver. His juxtapositions hover somewhere between magic realism, trompe l’oeil, cubism, and surrealism, and Schweigert rightly observes that “what sets Erbe apart from earlier masters is his distinct blend of historical homage with a bold, contemporary sensibility.” Among Erbe’s quintessentially American subjects are not only flags, but also Hollywood icons, television programs, and baseball.
Gary Erbe, “Frenzy,” 2007, oil on canvas, 60 x 70 inchesGary Erbe, “Pieces of Time,” 1976, oil on canvas, 65 x 100 inches, The Butler Institute of American Art, OHGary Erbe, “The Final Rinse,” 1971, oil on canvas, 72 x 50 inches, Fort Wayne Museum of Art, IN
Exhibition Details At a Glance:
GARY ERBE: MAGICAL WORLD
Butler Institute of American Art
Youngstown, Ohio butlerart.com
January 25–March 29, 2026
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.
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.
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp), "The Payment of the Tithe or the Village Lawyer," 1622, Oil on panel, 78.9 x 123.2 cm, Signed and dated: P. BREVGHEL, 1622. Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France. Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031
The Brussels Art Fair (BRAFA, Belgium) will return to Brussels Expo from January 25 through February 1, 2026. This new edition will bring together 147 leading galleries from 19 countries. More than 20 disciplines will be on display, ranging from antiquities to contemporary art, including Old Master paintings, classical African art, antique and designer furniture, silverware, carpets and textiles, rare books, jewelry, and more.
For its 71st anniversary, BRAFA’s Board of Directors have carefully selected 23 new dealers. Nearly half of these new galleries are Belgian or have an exhibition space in Belgium. The others come from France, the Netherlands, Germany, Italy, Brazil and the United States.
Jean-Auguste-Dominique Ingres (Montauban 1780-1867 Paris), Sigismondo Pandolfo Malatesta,” circa 1814 Graphite and stump on paper, 28.2 x 22.7 cm, Authenticity confirmed by Mr. Sylvain Bédard after a direct examination, Provenance: collection of Jules Cambon (Paris 1845-1935 Vevey)
The Antiques and Old Masters section of BRAFA will be enhanced this year by Petworth located Vagabond Antiques (UK), whose founder Joe Chaffer has a rich collection of sculptures, paintings and objects dating from the second century AD to the nineteenth century. Also joining the list of participants in the field of ancient art are Arte-Fact Fine Art (BE), a gallery specializing in Old Master paintings (BE), and Pelgrims de Bigard (BE), renowned for its expertise in fifteenth, sixteenth and seventeenth century Flemish paintings. Carlucci Gallery (IT), located in the prestigious Via del Babuino in the heart of Rome, will be exhibiting paintings by Old Masters, antique furniture and sculpture at the next edition of the fair.
Henri Fantin-Latour (1836–1904), “Vase of Peonies,” 1902, oil on canvas, 16 1/8 x 14 1/2 in., Douwes Fine Art (Amsterdam and London)
The King Baudouin Foundation, which is celebrating its 50th anniversary this year, will be the guest of honor. Visitors will be able to discover an extended stand, featuring recent acquisitions as well as masterpieces that have been entrusted to Belgian museums and public collections over time.
Amongst other things, the King Baudouin Foundation will be presenting a beautiful bracelet by Pol Bury, a figure of Christ by Willem Key, a tapestry by Elisabeth De Saedeleer and a unique coat of Brussels lace. It will also be exhibiting emblematic works such as Bonnecroy’s panoramic view of Brussels, the delicate Holy Blood banner and the Gallic Treasure of Thuin.
The organizers share that “Beyond the quality of the works on display, BRAFA brings together an international constellation of gallery owners, collectors, curators, patrons, decorators, designers and art lovers every year. This community helps to make the fair a true cultural event that fosters exchange.”
Stephanie Marzella is a professional landscape painter. Inspired by the tonalist movement of the late 19th century, her scenes, she says, “express my emotional response to
nature’s mystery and her constant transitions, evoking a mood and atmosphere that often awaken emotions in the viewer.”
Today Marzella resides on Johns Island, southwest of Charleston, where she paints the flat, luminous Lowcountry all around her. She is proud that “Charleston is home to a thriving arts community and has become a lively destination for buying art, especially from several excellent galleries in the French Quarter.” (Among them is Reinert Fine Art, which represents Marzella.)
Olga Krimon (b. 1972), “Wait,” 2018, oil on panel, 15 x 6 in.
Much as she loves South Carolina, Marzella is not originally from there. She was born and raised near Cleveland and became interested in art during junior high school. While earning her B.F.A. at the Cleveland Institute of Art, she made her first serious art purchase, “Final Act,” a hand-colored silkscreen print created by Walter Fraunfelder, an upperclassman she admired deeply.
Since then Marzella’s collection has grown significantly to include paintings and drawings by Marjorie Ball, Cindy Baron, Jill Basham, Christina Beecher, Jim Carter, Salvatore Federico, Tracy W. Hambley, Richard Harrington, Michelle Held, Gregor Kammerer, Tim Kelly, Olga Krimon, Claire Marschak, Nicolas Martin, M.A. Podolak, Connie Rigdon, James Ruby, Dennis Sheehan, Phyllis Sloane, Jill Soukup, and Jennifer Stottle Taylor.
Most are smaller in scale, not only because that suits the budget of a working artist, but also because Marzella prefers it that way: “It is pretty impressive,” she declares, “when a small painting is so powerful it draws you across the room.” She continues, “My only criterion for buying a piece is when it stops me in my tracks and connects with me emotionally. I am often amazed at the feeling that comes over me when I see an artwork I absolutely must own. It’s usually an instant reaction.”
Jill Basham (b. 1965), “Charles Street Memory,” 2019, oil on panel, 11 x 9 in.
Over the years, Marzella has bought art through galleries, festivals, Instagram, and Facebook, but her favorite source is the large and collegial community of artists she knows. Many of their friendships were forged during plein air competitions, which can be physically and psychologically challenging. Whatever the backstory, she believes that “When you purchase a piece from a fellow artist, it is a sign of respect. I usually buy paintings not executed in my style; I think to myself, ‘Wow, I wish I had painted that.’ That’s the greatest compliment an artist can receive.”
Marzella adds that artists often collect works that push them to be better themselves. Though she will name no favorites in the collection, she is particularly “inspired by the freedom of brushwork and enviable paint application” in Olga Krimon’s Wait and Jill Basham’s Charles Street Memory, both illustrated here.
Was there ever something that got away? “Yes, one time I did not purchase a painting I fell in love with,” Marzella admits. “I was on vacation. It was a woman dancing in a red dress. The movement in it was astounding. We wanted to think about it. We wrote down the name of the artist and gallery, but then we misplaced the paper. Unfortunately, we had been in so many galleries that day that we couldn’t remember where we had seen it. To this day, it’s my biggest regret.”
To help her collectors avoid that same pang of regret while they are mulling over their options, Marzella often tells them, “I have never regretted any art purchase I have ever made. In fact, I am inspired daily by every painting I own.” Those are powerful words coming from someone who looks at art constantly, and hopefully those collectors take her advice.
Rachel Dory (b. 1974), “Motel Dust,” 2021, mixed media on birch panel, 48 x 72 in.
Now entering its 36th year, Celebration of Fine Art is Arizona’s longest-running art show. It brings together 100 artists from across America, all invited to spend 10 weeks creating pieces in front of visitors. Their works range widely in both aesthetics and media — from realist to abstract, Western to modern, and everything in between.
Guests are invited to ask questions as the artists work, and these encounters are complemented by Art Discovery discussions every Friday during which visitors learn about the processes, adventures, and techniques that shape the art. Everyone is welcome to explore the one-acre sculpture garden, which features nearly 100 pieces, and to enjoy meals and wine in the cafe on site.
In 1991, inspired by California’s Laguna Beach Festival of Arts, Tom and Ann Morrow collaborated with Scottsdale officials and the community to open CFA’s “big white tents” for the first time. Now encompassing 40,000 square feet of covered space, the event is carried on by Tom’s daughter Susan Morrow Potje and her husband, Jake Potje.
Sabrina Frey (b. 1970), “Winter Blues,” 2024, glass bead mosaic, 24 x 36 in.
The 22nd annual Arizona Fine Art Expo is held in a group of soaring white tents that cover more than 44,000 square feet. Inside, visitors can observe and chat with more than 80 artists working in their own studios. This is a rare opportunity to learn about their inspirations and techniques, and all works on view are for sale.
After exploring these spaces, visitors can relax in the large sculpture garden, where they might get to chat with the Expo’s co-owners Rick Long and his wife, Ji. Purchasing a season pass means you can return as often as you like.
Alphonse Legros, "The Pit and the Pendulum, No. 1," 1861, etching. Yale University Art Gallery, gift of Alan Fortunoff, 1985.71.60
The Clark Art Institute in Williamstown, Massachusetts, is presenting an exhibition on mid-nineteenth-century French artists who looked beyond realistic subject matter. Their work encompasses the Gothic nostalgia of architectural photography, the social critique embedded in searing allegorical illustrations, and the literary connections with fantastical art.
“Shadow Visionaries: French Artists Against the Current, 1840–70” is on view through March 8, 2026.
More from the organizers:
Although Realism is often seen as the dominant aesthetic of mid-nineteenth-century France, many artists working outside of painting embraced imagination, dreams, and allegory instead. Working against the grain, figures such as Victor Hugo (1802–1885), Charles Meryon (1821–1868), and Rodolphe Bresdin (1822–1885)—and a roster of early photographers—offered an alternate vision anchored in memory, fantasy, and longing. These “shadow visionaries” recognized the potential of prints and photographs to construct a spiritual consciousness in the art of mid-1800s France.
Victor Hugo – Fantastic Castle at Twilight
“This exhibition gives us a wonderful opportunity to explore some of the treasures in our works on paper collection, along with a wide group of special loans from key French and American museums, through a fascinating lens,” said Olivier Meslay, Hardymon Director of the Clark. “The style and subject matter of the works included in the exhibition explore the strange and the surreal, but above all, they provide a rare opportunity to appreciate the singular beauty of the work these artists were producing.”
The exhibition features some 95 prints, drawings, and photographs drawn from the Clark’s collection along with important loans from the Metropolitan Museum of Art, New York; the Art Institute of Chicago; the National Gallery of Art, Washington, D.C.; the Museum of Fine Arts, Boston; the Yale University Art Gallery, and Musée des Arts Décoratifs, Paris among others.
“Realism has been a stubborn watchword for French art of the mid-1800s, so it is fascinating and surprising to examine a group of artists from that moment who embraced a radically different style. Despite (or maybe because of) feeling out of sync with their times, these artists found beautiful and original modes of expression, using printmaking and photography to represent interior visions rather than visible reality,” said exhibition curator Anne Leonard, Manton Curator of Prints, Drawings, and Photographs.
Charles Meryon, “The Vampire (Le Stryge),” 1853, etching on paper. The Clark, 1968.4
The mid-1800s in France was a tumultuous era that witnessed dramatic political, social, and cultural change. The impact of those transformations on art of the period has often been measured by the painting and sculpture shown at government-sponsored Salons, Universal Expositions, and other prominent exhibition venues, which tended to uphold official narratives of progress. Yet a focus on more private media, such as printmaking and photography, tells a different story. In fact, many artists felt at odds with their era’s celebration of material advancement and modernization. Rejecting the prevailing current, such figures—described as “Shadow Visionaries” for this exhibition—chose dark subject matter oriented toward the irrational, spiritual and fantastical. They used the distinctive characteristics of black-and-white media to convey intense emotions, while producing works of unsparing directness and rare beauty. Although some of the Shadow Visionaries evoked a sense of nostalgia, others dreamed boldly toward an alternate future, anticipating later art movements such as Symbolism and Surrealism.
For more information about “Shadow Visionaries: French Artists Against the Current, 1840–70,” please visit www.clarkart.edu.
The Winter Show has unveiled the exhibitor lineup for its 72nd edition, returning to the historic Park Avenue Armory January 23 through February 1, 2026. The Fair will open with its celebrated Opening Night Preview benefit for East Side House on January 22nd. This year’s edition brings together more than 70 leading international dealers, presenting museum-quality works spanning fine and decorative arts, antiques, jewelry, and design. Alongside the exhibitions, The Winter Show will present a dynamic program of special events and collaborations with world-renowned institutions, cultural organizations, and influential voices in art and design.
More from the organizers:
Established in 1954 by East Side House Settlement, The Winter Show is a landmark New York event that has raised vital funds for the visionary community-based organization for over 70 years. Proceeds from ticket sales and benefit events—including the Opening Night Preview on January 22nd and Young Collectors Night on January 29th—directly support East Side House’s educational, workforce, and supportive programs that serve the Bronx and Northern Manhattan.
“Since the inception of The Winter Show, East Side House has worked hand in hand to uplift thousands of New Yorkers,” said Daniel Diaz, Executive Director of East Side House Settlement. “In 2026, we will continue to build on the momentum of opening the Bronx’s first innovative healthcare-focused CTE charter high school, while advancing transformative capital projects that will shape the borough’s future. These initiatives are not just infrastructure; they are investments in opportunity. With The Winter Show’s support, we are laying stronger foundations for generations to come.”
Image courtesy of The Winter Show
The Winter Show is excited to announce several new exhibitors joining this year’s edition from the United States and Europe, including Galerie Cahn (Basel, Switzerland) specializing in Ancient Greek, Etruscan and Roman art; Gallery 19C (Dallas/Fort Worth, Texas) focusing exclusively on 19th Century works; Greg Pepin Silver (Copenhagen, Denmark) with expertise in Georg Jensen silver; Graf, Kaplan & Zemaitis (Mendham, New Jersey) exhibiting decorative arts and crafts through the 1970s; Rose Uniacke (London, England) dealing 17th to 20th Century design and decorative arts and Symbolic & Chase (London) presenting fine jewelry and objet’s d’art. Also rejoining the roster are Bowman (London) specializing in 19th and 20th Century sculpture and Geoffrey Diner (Washington D.C.) presenting post-war American masterworks.
Returning New York exhibitors with more than 40 years at the fair include: A La Vieille Russie, renowned authorities in antique European jewelry and Fabergé; Hirschl & Adler, specialists in American and European paintings, watercolors, drawings, and sculpture from the eighteenth through early twentieth centuries; Joan B. Mirviss, the leading Western dealer in Japanese modern and contemporary ceramics; Ralph M. Chait Galleries, the nation’s oldest gallery devoted to fine Chinese porcelain and works of art; James Robinson Inc. specializing in antique jewelry and glass; SJ Shrubsole experts in rare and exceptional pieces of antique English, Irish, Scottish, and American silver; and The Old Print Shop, distinguished for its expertise in American graphic arts, antiquarian maps, atlases, and artist books.
This year’s Show will present “The Discerning Eye: Study of a Young Collector,” an immersive installation featuring works from a roster of “next gen” international dealers that recreates the private study of a imaginary collector, inviting visitors into a world where taste, curiosity, and imagination converge. Curated by art advisor and writer Patrick Monahan with Helen Allen.
In Dialogue Panel Discussions
The Winter Show offers a dynamic array of programming and special events with leading experts from the global art and design community. These programs highlight insightful conversations among some of the world’s most distinguished minds, offering industry expertise and inspiration for both seasoned and emerging collectors and art enthusiasts.
January 23: Where History Lives: The Civic Role of America’s Historic Homes and the Legacy of John Jay
Moderator: Ellen McGauley, Executive Director, Veranda
Panelists:
Martha Stewart, Business Professional and Television Personality
Ben Prosky, President, The Richard Hampton Jenrette Foundation
January 24: New Perspectives on the American Vernacular
Moderator: Peter Lyden, President, Institute of Classical Architecture & Art
Panelists:
Michael Imber, President, Michael G. Imber Architects
Marieanne Khoury-Vogt, Principal, Khoury & Vogt Architects
Thomas Kligerman, Partner, Kligerman Architecture & Design
January 25: Guardians of the Past & Present: Conservation in Action
Moderator: Peter Trippi, Editor In Chief, Fine Art Connoisseur Magazine and President Emeritus, Foundation for Advancement in Conservation (FAIC)
Panelists:
Abed Haddad, Vice President and Fellow of the American Institute for Conservation (AIC), Assistant Conservation Scientist, Museum of Modern Art, New York
Alexandra Kirtley, Montgomery-Garvan Curator of American Decorative Arts, Philadelphia Museum of Art
Rosa Lowinger, Member and Fellow, American Institute for Conservation (AIC), Founder, RLA Conservation
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.
Mountain Fall Vista, Deanne Kroll, oil, 18 x 24 in. Deanne Kroll
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.
Architect’s rendering of the National Western Stock Show’s brand-new Legacy building
Featuring 80 artists from across America, the 33rd annual Coors Western Art Exhibit & Sale will again tempt collectors with an eclectic mix of contemporary artworks capturing the Western way of life. On offer are paintings, sculpture, drawings, photographs, prints, and works in mixed media. This year’s edition will christen the brand-new Legacy building located at 4800 Packing House Road, Denver, Colorado, and remain on view there through January 25, 2026.
The 2026 featured artist is Logan Maxwell Hagege (b. 1980), who is based in Ojai, California, and paints Southwestern landscapes in a manner he calls “stylized realism.” He is best known for compositions featuring a geometric design in which angles and edges are softened by the curve of billowing clouds, which often mimic the shapes of figures Hagege places in the foreground.
Logan Maxwell Hagege, “Hopeless Dreamer,” oil, 36 x 36 in.
The show opened on January 7 with the invitation-only Blue Jean Preview and Awards Reception, then continued the next day with a symposium, brunch, and Hagege’s keynote presentation. That day (January 8) culminates with the festive Red Carpet Reception.
This presentation is a key part of the National Western Stock Show (January 10–25), one of the world’s leading professional rodeos and horse shows. Its net proceeds support the National Western Scholarship Trust, which underwrites college and graduate-level scholarships in agricultural science, business, and rural medicine.
Deborah Tilby (Canada), “Resonance,” oil, 14 x 30 in.
Please help us congratulate Deborah Tilby for winning Overall First Place in the November 2025 PleinAir Salon, judged by Master Artist William A. Schneider.
“Even at a very young age, I would be noticing light and shadow, texture and color, but almost without realizing I was doing it,” Deborah says. “I don’t know where the need to try to paint those observations comes from but it is what has motivated me all my life.”
And it shows. William had this to say about her winning work:
“Whenever jurying a show, I don’t focus on subject matter but rather on the five basics of painting: shapes (drawing), values, color temperature relationships, edges, and composition. This seascape is strong in all five.”
“The design was especially powerful; the lightest light of the wave splashing against the darkest dark of the rocks created a strong center of interest. The ‘arrow’ of dark rocks on the left, pointing to the center of interest, reinforced the composition. The edge treatment is also outstanding, ranging from the softness of the foam and spray (even when shrunken down to thumbnail size) to the razor-sharp edges on the rocks.”
In addition to winning first place, Deborah won in two additional categories in this round of the PleinAir Salon: Best Animals & Birds, and Best Floral.
Deborah Tilby, “The Lochside Pig,” oil, 11 x 20 in.; Best Animals & Birds, PleinAir Salon November 2025
“When I paint, it is my intention to be relatively faithful to the color and light that I see all around me while experimenting and playing with the paint application. I would like my brush and knife handling to be as interesting as the subject; to have the mark making and the color working together to be the life and energy of the work… at least, that is my goal! Accomplishing that goal is always difficult but also fascinating, and really fulfilling. It keeps me painting almost daily!
“Although I did a lot of drawing in my early teens, I was eighteen when I first tried painting. After two small oils, I did my first watercolor and I was hooked. I fell in love with watercolor and it was my medium for a very long time. I now work predominantly in oil, which I thoroughly enjoy but if there were more hours in the day I would paint in oil, watercolor, and gouache and explore sculpting and printmaking, etc.”
Deborah Tilby, “Beach Gold,” oil, 24 x 48 in.; Best Floral, PleinAir Salon November 2025
“I am Canadian but at age twenty-three I moved to England where I lived for fourteen years. It was there that I fell in love with the pastoral landscape and villages of England and Europe which were the subject of my watercolors at that time. I still miss it! I have been back on the west coast of British Columbia for years now and although I am still attracted to street scenes, I really enjoy painting the boats, waves and marinas that are all around me.”
In the spirit of the French Salon created by the Academie des Beaux-Arts in Paris, this annual online art competition, with 11 monthly cycles, leading to the annual Salon Grand Prize winners, is designed to stimulate artistic growth through competition. The PleinAir® Salon rewards artists with $50,000 in cash prizes and exposure of their work, with the winning painting featured on the cover of PleinAir® Magazine.
Winners in each monthly competition may receive recognition and exposure through PleinAir Magazine’s print magazine, e-newsletters, websites, and social media. Winners of each competition will also be entered into the annual competition. The Annual Awards will be presented live at the next Plein Air Convention & Expo.
The next round of the PleinAir Salon has begun so hurry, as this competition ends on the last day of the month. Enter your best art in the PleinAir Salon here.
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