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Artist Spotlight: Anna Cyan

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Anna Cyan in the studio. A small universe with a big painting in the middle.

How did you get started and develop your career?
Anna Cyan: I was born in Soviet Ukraine. My journey started at a kids’ art school during the time when many artists painted grand narrative pictures of Lenin and the revolution. I was fortunate, though. I also studied privately with non-conformist artists, who taught me that freedom begins inside you. Inner freedom is a major theme in my work now.
Since then, I’ve traveled far – to 21st century Toronto, Los Angeles and New York. I was committed to building realist painting skills and spent many years pursuing that. Now, I use these traditional tools, but my job is to tell the story of the here and now.

What is the most interesting thing you have painted/sculpted and why?
Anna Cyan: I am working on a series that has surprised even me, because it took a certain level of courage. The works are large-scale post-mortem portraits – dead people portrayed as such. It sounds scary, and the boldness is not only in going there myself, but in believing that viewers will be willing to go there with me. Ultimately, though, the story is about hope, that when we go, something lives on.

To see more of Anna’s work, visit:
https://www.artsy.net/artist/anna-cyan

oil painting of a nude woman in a pose, leaning over to the left
Anna Cyan, “Smoke,” oil on canvas, 32 x 48 in., 2022
oil painting of a close up of a nude figure, the woman is leaning down-stretching arms out
Anna Cyan, “Tide,” oil on panel, 16 x 20 in., 2022

Fictions of French and American Colonialism

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Ernest Blumenschein (1874–1960), "White Blanket and Blue Spruce," 1922, oil on linen mounted on paperboard, 34 1/8 x 28 1/8 in., collection of Vaughn O. Vennerberg II, Dallas; photo: Sotheby’s
Ernest Blumenschein (1874–1960), "White Blanket and Blue Spruce," 1922, oil on linen mounted on paperboard, 34 1/8 x 28 1/8 in., collection of Vaughn O. Vennerberg II, Dallas; photo: Sotheby’s

“Near East to Far West: Fictions of French and American Colonialism”
Denver Art Museum, Colorado
denverartmuseum.org
Through May 28, 2023

The Denver Art Museum (DAM) is set to open “Near East to Far West: Fictions of French and American Colonialism,” a major exhibition organized by Jennifer R. Henneman, director of the museum’s Petrie Institute of Western American Art. It features more than 80 paintings, sculptures, works on paper, and decorative arts that explore the many ways the style and substance of French Orientalism directly influenced American artists and their representations of the West.

France began its colonial expansion into Algeria in the 1830s, and its internationally admired artists’ scenes of what they saw there — and elsewhere in North Africa — soon presented a template for how American artists might depict the landscapes and people of the American West being transformed during the 1849 California Gold Rush and after. The styles, motifs, and meanings of both French Oriental-ism and Western artworks reflect their creators’ fears, desires, and curiosities about “unknown” lands during the process of colonization.

“In the 19th and early 20th centuries,” DAM director Christoph Heinrich says, “regions of the American West were as foreign and unfamiliar to many Americans as places like Morocco and Algeria were to Parisians. Through the paintings, this show begins to tease apart the facts and fictions presented in the art of the time.”

The project opens by introducing French Orientalists like Eugène Fromentin, Jean-Joseph Benjamin-Constant, and Alexandre-Gabriel Decamps, as well as American Orientalists including Fredric Arthur Bridgman and Elizabeth Nourse. It leads to master paintings by Eugène Delacroix, Jean-Léon Gérôme, Alfred Jacob Miller, and George de Forest Brush. Works by Charles M. Russell and Fred-eric Remington underscore the fact that an artist did not actually need to travel to North Africa to be influenced by its imagery.

Among the intriguing topics explored are Delacroix’s influence on American artist Alfred Jacob Miller; the impact of popular literature — especially The Arabian Nights and the Bible — on representations of desert regions; the effects of westward expansion on the environment; and the crucial role of world’s fairs in disseminating Orientalized ideas about global Indigenous cultures.

Close attention is also paid to the French training of members of the Taos Society of Artists including Joseph Henry Sharp, Bert G. Phillips, and Ernest Blumenschein. Their interest in the geography and cultures of the Taos area echoes their Parisian teachers’ fascination with North Africa; this is best seen in their depictions of the high desert’s clear air, brilliant colors, and expansive scenery.

The exhibition’s handsome catalog is being distributed by Yale University Press.

Bennett Prize Winners at MMA

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Figurative art - Ronna S. Harris (b. 1952), "Marital Bliss," 2022, oil on canvas, 51 x 67 in., collection of the artist
Ronna S. Harris (b. 1952), "Marital Bliss," 2022, oil on canvas, 51 x 67 in., collection of the artist

Bennett Prize & Collection
Muskegon Museum of Art
Muskegon, Michigan
thebennettprize.org, muskegonartmuseum.org
May 18–September 10, 2023

Launched in 2018, the Bennett Prize for Women Figurative Realist Painters is the largest of its kind, offering each winner $50,000 payable over two years. Endowed through a $3 million fund at the Pittsburgh Foundation established by the San Antonio-based art collectors Steven Alan Bennett and Dr. Elaine Melotti Schmidt, this biennial prize has been successfully propelling the careers of full-time female painters who have not yet reached “full professional recognition,” which the Bennetts define as having sold a single work for $25,000 or more. In receiving $25,000 annually for two years, the winner is accorded some financial “breathing room” in order to create a fresh body of work she might not otherwise have the bandwidth to make.

The driving force behind the prize initiative was the impressive collection that Bennett and Schmidt have been forming since 2009. It now consists of more than 200 works by women figurative realist painters, including major examples by such living talents as Margaret Bowland, Aleah Chapin, Alyssa Monks, and Katie O’Hagan, as well as historical pieces by such forerunners as Artemisia Gentileschi, Mary Cassatt, and Elaine de Kooning.

Steven Bennett notes, “From the moment we commenced collecting, we were concerned that women artists were not being treated equally with men. They have fewer shows; they have fewer pieces in museums’ permanent collections; and their works have almost universally sold for less than those of men. We have seen our collection as a way to right some of these wrongs and are delighted that the Muskegon Museum of Art is joining us to ensure that the effort continues long into the future.”

Indeed, Michigan’s Muskegon Museum of Art (MMA) has played a crucial role as the setting for the announcements of the Bennett Prize’s first two editions, and it has launched the national tours of exhibitions of works by the 10 finalists and the prizewinners (Aneka Ingold of Florida and Ayana Ross of Georgia, respectively).

This past November, the Bennett Prize 3’s 10 finalists were announced: Ruth Dealy (Rhode Island), Ronna S. Harris (Louisiana), Haley Hasler (Colorado), Sara Lee Hughes (Texas), Monica Ikegwu (Maryland), Laura Karetzky (New York), Linda Infante Lyons (Alaska), Mayumi Nakao (New York), Kyla Zoe Rafert (Ohio), and Deng Shiqing (New York). The jury consisted of artists Julie Bell and Zoey Frank, Steven Bennett, and Joseph Rosa,  who until recently served as director and CEO of Seattle’s Frye Art Museum. Bell recalls that “it was an emotional experience to judge this competition.” She says, “Going through each artist’s body of work was like meeting each one in person and having a heart-to-heart conversation. So many different styles of painting, so many different stories told. I felt connected to every one of them.”

Looking forward, the finalists will gather in Muskegon on May 18 to learn the name of the winner and, for the first time, of a $10,000 runner-up award recipient. All of the finalists’ paintings will remain on view at the MMA until September 10, as will the new show of Ayana Ross’s latest works. (These two exhibitions will then begin a national tour, including stops in Tennessee and Pennsylvania.)

Elaine Schmidt says the MMA was chosen as the initiative’s lead museum partner because of its longstanding commitment to both women artists and realism. “They understood what we were trying to do from the beginning and shared our passion,” she explains, adding special praise for executive director Kirk Hallman and for senior curator and director of collections and exhibitions Art Martin.

Their high regard is borne out by Bennett and Schmidt’s recent decision to give the MMA more than 150 of their paintings; these works have been created by 115 women artists and are together worth more than $10 million. Kirk Hallman says, “Steven and Elaine’s vision is one shared by the MMA. Our relationship has helped to elevate this art museum to a national scale… In addition, the Bennett-Schmidt gift is a call to action institutionally, encouraging both the Muskegon Museum of Art and other museums to continually expand opportunities for women artists.”

In addition to their art, Schmidt and Bennett are donating $1.5 million toward the MMA’s $11.2 million expansion — 26,000 square feet that will more than double its size and encompass a new wing dedicated to women artists. This capital project will be completed early in 2024.

As for the Bennett Prize itself, the data is in: the 18 finalists and two winners from its first and second editions have now sold more than 100 paintings at a 45 percent increase in pricing — despite the impact of COVID-19. These artists have also exhibited in 19 solo shows and 46 group shows — exactly what the founders had hoped for back in 2018 when the initiative launched. Fine Art Connoisseur congratulates everyone involved and looks forward to seeing the latest artworks in Muskegon this spring.

18th Annual Cowgirl Up!

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Western Art Exhibition > Cowgirl Up! Art from the Other Half of the West
Desert Caballeros Western Museum
Wickenburg, Arizona
westernmuseum.org
Through September 3, 2023

Western Art - Rachel Brownlee (b. 1993), "Unwanted Hours," 2022, charcoal on cotton paper, 36 x 23 in.
Rachel Brownlee (b. 1993), “Unwanted Hours,” 2022, charcoal on cotton paper, 36 x 23 in.

The Desert Caballeros Western Museum is much admired for preserving and exhibiting the art and history of the Southwest and desert frontier. Eighteen years ago, it launched “Cowgirl Up! Art from the Other Half of the West,” an invitational exhibition and sale that — in the male-dominated field of Western art — has turned the spotlight squarely on women’s perspectives.

CU! remains a leading national event for women artists, and its 18th edition will feature more than 55 emerging and established talents, selected from over 300 applicants. Their paintings, drawings, and sculptures are made in a range of techniques, styles, and mediums. This year’s exhibition is divided into two galleries: one of “miniatures” and the other of full-sized art.

Virtual Gallery Walk for May 12th, 2023

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Friday Virtual Gallery Walk

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.

Drifting By, Paula B. Holtzclaw, oil, 30 x 30 in; FLoyd Fine Arts, Pawleys Island, SC

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Stockholm Sturegatan, Richard Boyer, oil on board, 30 x 30 in; Southam Gallery, Salt Lake City, UT

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Morning Light Around the Corner, Susan Nicholas Gephart, 14 x 11, pastel; Susan Nicholas Gephart

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Italian Stairway, Camille Przewodek, oil, 14 x 11 in; Camille Przewodek

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Paradise Found, Elizabeth Rhoades, oil on linen panel, 24 x 36 in; Elizabeth Rhoades Fine Art Gallery

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Rollin Down the River, Donna Lee Nyzio, oil on panel, 50 x 25 in; PaintedWorld.com

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Fragments, Curt Stanfield, oil, 18 x 24 in; Curt Stanfield 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.

Artist Spotlight: Susiehyer

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In the studio at the easel

What is the most interesting thing you have painted/sculpted and why?
Susiehyer: Four other artists and I painted in a boat yard in Gloucester, MA one night. Most of us were painting a single boat that stood out among the other boats. I was there from about 9pm until 1am and did what I consider a breakthrough painting. I’ll probably never sell that one. One of the other artists stayed until 3am after the rest of us had left. (His painting won the show that year.) It wasn’t only that the subject matter, a shipyard nocturne, was something I’d never done before, (it was interesting and super cool), but to be able to paint with other artist friends in an unlikely location was really something special and a great memory.

How do you find inspiration?
Susiehyer: Driving down the road. Forget about all the fuss about texting while driving, just LOOKING as you drive where I live, there’s a painting around every corner. For me it has to do with, not the subject matter, but the shapes and values that present themselves. It’s hard to keep your eyes on the road sometimes. You don’t want to be on the road with me at the wheel. The world is a visual feast.

To see more of Susiehyer’s work, visit:
Website 

oil painting of an old barn with a blue gate in the foreground, on the right side
Susiehyer, “Arrangement with a Blue Shape,” oil on linen panel, 20 x 16 in., 2022. From a study of a California barn, I painted for Sonoma plein air
oil painting of winter scene with a river through. Tree on left side still has bright fall colors
Susiehyer, “Approach to Winter,” oil on linen panel, 20 x 20 in., 2021. I love when snow falls, and the creek isn’t yet frozen

A Living Curiosity Chamber

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Michael Weiss (b. 1991), "Specimen I," 2020, acrylic on panel, 12 x 16 in., available through the artist
Michael Weiss (b. 1991), "Specimen I," 2020, acrylic on panel, 12 x 16 in., available through the artist

There is a lot of superb contemporary realism being made these days; this article by Allison Malafronte shines light on a gifted individual.

Rare species, specimens, and scientific wonders of all sorts from both nature and his own imagination are the starting points for German artist Michael Weiss’s (b. 1991) hyper-realistic paintings. Whether it’s a one-of-a-kind butterfly exhibiting four different wing types, a peacock spider sitting on a bed of Cryptanthus plants, or dazzling mineral and crystal formations from Mexico, the earth’s most beguiling natural phenomena find forever homes in Weiss’s landscape and still life paintings.

Weiss received his undergraduate and postgraduate degrees from Alanus University for the Arts and Social Sciences in Bonn — where he is currently an instructor — and later traveled to the U.S. to earn an M.F.A. at the New York Academy of Art. After three years living in Brooklyn, he took his newfound education back to Bonn and set up a studio, where he now paints imaginary and realistic imagery incorporating all of the artistic training, epiphanies, and explorations he’s experienced thus far.

Weiss’s desire to document the awe-inspiring elements of nature comes from his interest in the Golden Age of Exploration, his admiration for 19th-century American landscapists Frederic Edwin Church and Albert Bierstadt — who used an almost scientific level of observation and detail while depicting the bucolic wilderness of the Hudson River Valley — the writings of German naturalist Alexander von Humboldt, and his own infatuation with natural history.

“In my paintings, I create environments that act as living curiosity chambers or Wunderkammern,” the artist explains. “Although seemingly otherworldly, each piece is, in fact, rooted in or inspired by existing natural beings, formations, or phenomena.”

Weiss is now inventing realistic organisms and environments in his paintings based on sketches and photographs from life, as well as his knowledge of light and color. The multi-element composition “Specimen I” is one example.

“The residency I completed in the cloud forests of Veracruz, Mexico, was a major source of inspiration for this work,” Weiss says. “Seeing surreal images of the blue cloud forest millipede, the mineral specimens mimetite and wulfenite, and the Giant Crystal Cave in Naica all nurtured my thought process of combining these amazing rare things into environments rather than isolating each, as I had done previously.”

With his acute observational skills, curious mind, and sharp eye for nature’s hidden treasures, this young artist has endless visual adventures in front of him — and he’s taking viewers along for the ride. “By presenting the familiar in unfamiliar ways, my work allows for a sensation of discovery and inquiry,” he notes. “I seek to reconcile the tension between artistic expression and scientific objectivity, between romanticism and enlightenment. I pursue the divine within the detail, devoting countless hours to create an object in which my technical obsessiveness and meticulous mimesis serve the overall narrative of the piece.”

The European Fine Art Foundation: In New York May 2023

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Egon Schiele (1890–1918), “Seated Male Nude (Self-Portrait),” 1917, black crayon on paper, 18 1/10 x 11 2/3 in., Richard Nagy Ltd.
Egon Schiele (1890–1918), “Seated Male Nude (Self-Portrait),” 1917, black crayon on paper, 18 1/10 x 11 2/3 in., Richard Nagy Ltd.

The European Fine Art Foundation (TEFAF), is pleased to reveal the “First Look” selection of extraordinary works at TEFAF New York, running from May 12–16, 2023.

From the organizers:

This group of 26 objects, ranging in mediums, styles, and eras reflects the astounding pieces on view at the Park Avenue Armory this May.

The esteemed list of 91 dealers with 13 new exhibitors this year will present museum-quality objects across modern and contemporary art, jewelry, antiques, and design to the vibrant art community of New York. The fair offers art enthusiasts, collectors, design professionals, and museum curators the opportunity to see and experience new dialogues between artworks. TEFAF New York will also include a concurrent edition of TEFAF Online with a selection of the masterpieces on display at the Armory, alongside Programming, Stories, and other content from the TEFAF community.

For relevant information regarding TEFAF New York, please visit www.TEFAF.com.

Pushing Forward Reaching Back

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Ginger Chen, "Shrimp," watercolor, 20 x 16 in.

An exhibition titled “American Women Artists: Pushing Forward Reaching Back” continues through July 23, 2023 at Brookgreen Gardens, Murrells Inlet, South Carolina. This juried show features 100+ paintings and sculptures by members of American Women Artists (AWA).

Trish Wend, "Forsythia in Blue," oil, 11 x 14 in.
Trish Wend, “Forsythia in Blue,” oil, 11 x 14 in.

A Grand Prize of $10,000 and additional prizes of cash, merchandise, and media space will be awarded. The awards ceremony and opening reception take place May 12. Accepted works can be previewed on the AWA website; all works are available for sale.

Lynette Cook, "Window to My Soul," acrylic, 24 x 18 in.
Lynette Cook, “Window to My Soul,” acrylic, 24 x 18 in.

Thursday, May 11, AWA hosts their annual Symposium on Women in the Arts with speakers Anne Brown, former Associate Publisher, Streamline Publishing, Amanda Markel, AWA member and sculptor, Cheryl Newby, collector and retired founder of Cheryl Newby Gallery, Brittany Richmond, Assistant Curator, SCAD Museum of Art, Savannah College of Art and Design, Robin Salmon, VP of Art and Historical Collections/Curator of Sculpture, Brookgreen Gardens, Donna Howell-Sickles, artist, gallerist, and early AWA leader, Michele Marceau, owner, Principle Gallery and Jann Haynes Gilmore, PhD, art historian and AWA Board member.

Susan Lynn, "Tenacity," watercolor, 24 x 24 in.
Susan Lynn, “Tenacity,” watercolor, 24 x 24 in.

Selection Jurors for Pushing Forward Reaching Back are Michele Marceau, owner, Principle Gallery, Tricia Loscher, PhD, Assistant Museum Director-Collections, Exhibitions, & Research at Western Spirit Scottsdale’s Museum of the West, and Vanessa Rothe, designer, artist, curator, writer, and owner, Vanessa Rothe Fine Art. Awards Jurors are Anne Brown, former Associate Publisher, Streamline Publishing, Kaitee Floyd, owner, Cheryl Newby Gallery, and Robin R. Salmon, VP of Art and Historical Collections/Curator of Sculpture, Brookgreen Gardens.

Anat Michael, "Breath, Heat, and Air," oil, 32 x 24 in.
Anat Michael, “Breath, Heat, and Air,” oil, 32 x 24 in.
Rosetta, "Cat Nap," bronze, 10 x 10.5 x 13 in.
Rosetta, “Cat Nap,” bronze, 10 x 10.5 x 13 in.
Monique Wales, "Wander," linocut relief print, 21 x 12 x 1 in.
Monique Wales, “Wander,” linocut relief print, 21 x 12 x 1 in.

For more details, please visit americanwomenartists.org.

Virtual Gallery Walk for May 5th, 2023

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Friday Virtual Gallery Walk

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.

Autumn Lemonade, Donna Lee Nyzio, oil on panel, 18 x 24 in; PaintedWorld.com

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Drifting By, Paula B. Holtzclaw, oil, 30 x 30 in; Floyd Fine Arts, Pawleys Island, SC

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Chatting Her up at the Red Shoe, William Rogers, Watercolor, 20 x 26 in; William Rogers

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.

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