вход по аккаунту


2019-01-01 Fine Art Connoisseur

код для вставкиСкачать
Scottsdale Art Auction
Saturday, April 6, 2019
# " !
$ # % ! & ! " ! & " # ! & "
" # $ ! ( !##
! # ! #
! For more information please call (480) 945-0225 or visit Color catalogue available $40.
• 480 945-0225
F E BRUA RY 2 0 1 9
Henri Matisse (1869–1954), Esquimau, c. 1947, lithograph on paper, Musée départemental Matisse, Le Cateau-Cambrésis, France, gift of Barbara
and Claude Duthuit, 2010-1-6 (2–1) © 2018 Succession H. Matisse / Artists Rights Society (ARS), New York, on view in the exhibition Yua: Henri
Matisse and the Inner Arctic Spirit at the Heard Museum (Phoenix) through February 3
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Stay connected:
Matthew Bird Studio
The Flower Merchant
28 x 22 in
watercolor on paper
For representation inquires
or information on this work
please contact the artist
B. Eric Rhoads
Tw i t t e r : @ e r i c r h o a d s
f a c e b o ok . c o m /e r ic . rh o a d s
Small Works
Scott Jones
Peter Tr ippi
9 17.9 6 8 . 4 4 76
Br ida Connolly
702 . 29 9.0 417
Matthias A nderson
Max Gillies
Chuck Neustifter
Charles Raskob Robinson
Kelly Compton
David Masello
Louise Nicholson
Alf onso Jones
5 61 . 3 2 7. 6 0 3 3
Kenneth W hitne y
k en net h .wh it ne y @g ma i l .com
561.655. 8778
Jason Kelley
8 02 .579.1058
Yvonne Van Wechel
6 02 .810. 3518
Kr ystal A llen
We s t C o a s t
5 4 1 . 4 4 7. 4 7 8 7
“Sing” 6x6 inches, acrylic on panel, Available through the artist
S c o t t Jo n e s
We s t e r n
Traceyy Nor vell
M id-At la nt ic /S out hea st
918 . 519. 0141
“Chantel Barber’s work is recognizable - she has found the freedom
to express herself in a beautiful way. Her portraits are very evocative,
showing us the real affection she has for her subjects.”
- Nicolas Martin
Gina Ward
9 2 0 .743 . 2 4 0 5
Mar y G reen
Northeast & International
508. 230.9928
To view more of Chantel’s work and for workshop schedule: | 901.438.2420
Seeking Gallery Representation
J A N U A R Y / F E B R U A R Y
Sarah Webb
630.4 45.9182
Cher ie Haas
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
$" !" " " $ ! " " #
Salmagundi artists and patrons have shaped the history of American art since 1871.
Join us as we continue to shape the art of the 21st Century.
Salmagundi Club 47 Fifth Avenue, New York, NY 10003 | (212) 255-7740 |
Santiago Michalek, Yellow Float Plane
We are the West’s most premier event
for art enthusiasts
Meet the creative minds behind the original
work at Celebration of Fine Art. This juried,
invitational show and art sale in the heart of
beautiful Scottsdale, Arizona draws seasoned
art collectors and first-time buyers from
around the globe.
Browse 40,000 square feet of working
studios, get to know the people behind your
favorite pieces, and admire and acquire
an unsurpassed selection of artwork in all
mediums and styles.
For 29 years, the Celebration of Fine Art
has been the place where art lovers and artists
connect. Meet 100 of the finest artists in the
country, watch them work and share in the
creative process.
Where Art Lovers & Artists Connect
331 SE Mizner Blvd.
Boca Raton, FL 33432
Ph: 561.655.8778 • Fa x: 561.655.616 4
B. Eric Rhoads
f a c e b o ok .c om /e r ic . rho a d s .
Tw i t t e r : @ e r i c r h o a d s
E X E C U T I V E V I C E P R E S I D E N T/
Tom Elmo
Nicolynn Kuper
Laura Iserman
Jaime Osetek
Sue Henr y
shenr y
Chad Slade
Stephen Parker
Ali Cr uickshank
acr uick shank@streaml inepubl
Also 561.655.8778 or
One-year, 6-issue subscription within the United States:
$39.98 (International, 6 issues, $76.98).
Two-year, 12-issue subscription within the United States:
$59.98 (International, 12 issues, $106.98).
Attention retailers: If you would like to carry Fine Art Connoisseur in
your store, please contact Tom Elmo at 561.655.8778.
Copyright ©2019 Streamline Publishing Inc. Fine Art Connoisseur is a registered trademark of
Streamline Publishing; Historic Masters, Today’s Masters, Collector Savvy, Hidden Collection, and
Classic Moment are trademarks of Streamline Publishing. All rights reserved.
Fine Art Connoisseur is published by Streamline Publishing Inc. Any reproduction of this
publication, whole or in part, is prohibited without the express written consent of the publisher.
Contact Streamline Publishing Inc. at address below.
Fine Art Connoisseur is published six times annually (ISSN 1932-4995) for $39.99 per
year in U.S.A. (two years $59.99); Canada and Europe $69.99 per year (two years $99.99) by
Streamline Publishing Inc., 331 SE Mizner Blvd., Boca Raton, FL 33432. Periodicals postage paid
at Boca Raton, FL, and additional mailing offices. POSTMASTER: Send address changes to Fine
Art Connoisseur, 331 SE Mizner Blvd., Boca Raton, FL 33432.Copying done for other than
personal or internal reference without the express permission of Fine Art Connoisseur is
prohibited. Address requests for special permission to the Managing Editor. Reprints and
back issues available upon request. Printed in the United States. • Canadian publication
agreement # 40028399. Canada Post: Publications Mail Agreement #40612608; Canada
returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2.
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Henri Matisse
Publisher’s Letter
Editor’s Note
Favorite: Jonathan
Lippincott on John
Singer Sargent, by
David Masello
Off the Walls
Classic Moment:
Daniel Graves
2 019
By Max Gillies
By David Masello
DANIEL GRAVES (b. 1949),
The Power of Wisdom and
Beauty (detail), 2013, oil on linen,
27 1/2 x 19 2/3 in.; for details,
please see page 68.
Allison Malafronte describes
the talents of Kathryn
Engberg, Pavel Sokov, and
Nick Willems.
By Peter Trippi
By Charles Raskob Robinson
16 , I S S U E 1
By David Molesky
! #!#
By Susan Jaques
By Roderick Conway Morris
By Emily M. Weeks
By Peter Trippi
By Peter Trippi
By Brian T. Allen
By Peter Trippi
By Rebecca Allan
Fine Art Connoisseur is also available in a digital edition. Please visit for details.
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Magnolias, 12 by 9 inches, Oil on Panel
A S M A , A WA M , O P A , P A P - S E
Representing Exceptional Artists Since 1983
8 4 3 . 9 7 9 . 0 1 4 9 | che r y l n e w by g a l l e r y. c om
11096 Ocean Highway, Pawleys Island, SC (In the Shops at Oak Lea)
JOSHUA LaROCK (b. 1982), Portrait of
Publisher Eric B. Rhoads, 2018, oil on
linen, 16 x 12 in.
at if a painting in your colection that you no longer
old in high regard turned
ut to be — years from now,
hen the kids are settling
your estate — the most valuable picture you
There are smart professionals out there
who pay close attention — to artists, to artworks, to career trajectories, and to who is buying what — so they can help collectors make
wise decisions. Those advisers have a fairly
high rate of success. Yet even they are often
unfamiliar with plenty of contemporary artists, even the ones who may ultimately become
some of history’s most important.
The time I’ve invested in the art world
has taught me a couple of essential lessons.
First, even the best, longest-lived artists
tend to produce during their careers just a
small number of masterpieces — the works
for which they will be remembered. Though
there are exceptions, they are rare. These
works possess something special; they are
the ones everyone is drawn to and wants to
Second, the majority of artists who made
their mark in history were not singularly
focused. Most possessed the ability to produce
brilliant works and market them well. Rembrandt, for example, was a great salesman for
much of his career, impressively adept at elevating his reputation.
Though quality should ultimately rise to
the surface of its own accord, history is littered
with gifted artists who remain unknown. Pay
attention to those who promote themselves
well because they are more likely to succeed —
if they are also talented.
J A N U A R Y / F E B R U A R Y
No matter how gifted, an artist is rarely
discovered by accident; he or she has usually
done something to get folks to notice. Once I
encountered a terrific painter in England who
was championed by a gallery owner, but the
artist was embarrassed by the attention and
unwilling to show his work in depth. At this
rate, he probably won’t become known until
after his death, if at all.
This means that artists who do not possess marketing skills need patrons and promoters. History shows that, for centuries, wellpositioned “opinion leaders” have made others
aware of artists who would otherwise remain
That’s where you come in today. Most artists keep going because creativity is in their
DNA, unable to find their way to greater appreciation. Seek out these outliers. Find their most
special pieces, and buy them. A decade ago I
discovered an unknown artist I considered
brilliant and had a chance to buy his works for
low prices. Alas, I passed on this opportunity
because he was unknown; my arrogance got
in the way of my owning a future masterpiece
or two. The best of his paintings, which I could
have bought for a couple of thousand dollars,
has since sold for a couple of hundred thousand.
In my children’s lifetimes, this work will definitely trade for millions.
Half the fun of being a collector and connoisseur is finding things we love made by artists others don’t know about yet. Just today I
received an e-mail from a fairly impressive artist who has never sold a painting in her life. She
is so discouraged that she is giving up because
there are no indications that her career has a
prayer. Yet even a low-cost purchase could provide her with encouragement, re-launch her
career, and possibly change her life.
Having said all this, I do not buy art purely
for investment. I buy what I love, and it is nice
knowing that my money can help an artist
survive another month, maybe even get to the
next level. Though the brightest gems are usually found in the premier venues, I have discovered great artists in a YMCA show at the high
school gym, the flea market, and other places
I did not expect to find them. Those artworks
may never achieve high prices, but if they are
loved and appreciated, the artist has done his
or her job. And so have you — you have helped
keep art alive for future generations to enjoy.
Cha m Publisher
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Best &
Award of
Mr. Monaco, 9” x 11”, Transparent Watercolor
Li ke wh at you se e?
Ther e’s more at :
w w w. jke n s p e n ce r.c om
J A N U A R Y / F E B R U A R Y
2 0 1 9
street on a 7,400-square-foot site. That is a lot
of real estate in New York.
H&W is not alone in planning for steroidal growth. Next September, just three
blocks north, Pace Gallery will open a headquarters that stands eight stories high, with
75,000 square feet of usable space including
a 10,000-volume research library open to
the public by appointment. (Sounds like a
museum, no?) A block away, in 2020 David
Zwirner Gallery will open a five-story building with 50,000 square feet of exhibition space
designed by American museums’ favorite
architect, Renzo Piano. Once complete, this
will bring the number of Zwirner locations in
New York to four, and in the world to seven.
As with so much in our society, the big
keep getting bigger and cultural spheres continue to mix it up. (Think, for example, of
Miuccia Prada and Giorgio Armani’s creation
of museum-like venues that exhibit contemporary artists.) Readers of Fine Art Connoisseur
might want to follow what the biggest galleries
do next because ultimately their success (or
failure) will affect how everyone else regards
the art world.
No matter their size, all galleries play
important roles in our art ecosystem. There
are so many artists out there who need and
want to work with dealers, not to mention all
the collectors who look to them for guidance.
Ensuring all players are healthy and appreciated will always benefit our field as a whole.
t’s a matter of debate how the art market
is faring today, but one thing we know
for sure is that the world’s approximately two dozen “super-galleries” are
going from big to bigger. Operating not
only in New York City and London but also in
other money centers like Hong Kong and Los
Angeles, these mega-firms offer eye-wateringly
expensive cutting-edge contemporary and
classic modern art. Examples of these galleries include Gagosian, White Cube, Hauser &
Wirth, Pace, David Zwirner, and Lévy Gorvy.
Extremely effective at grooming rising stars
and getting their artworks into museums’ collections and exhibitions, they have earned
their success. And some of them are behaving
like more than galleries — in fact, like foundations and museums.
For example, Hauser & Wirth (H&W)
has established the Hauser & Wirth Institute,
an independent nonprofit private operating
foundation dedicated to supporting art-historical scholarship and enhancing researchers’
access to the archives of modern and contemporary artists. Directed by a distinguished
former curator of contemporary art, the institute is, according to co-founder Iwan Wirth, “a
natural extension of our gallery’s support of
living artists and the noteworthy estates and
foundations we have represented for over 25
years.” Recently the institute announced the
three senior scholars who have won its first
crop of research fellowships, and also that it
has underwritten online catalogues raisonné
devoted to Jason Rhoades (whose estate H&W
represents) and Franz Kline (whose it does
Such enlightened self-interest complements the magnificent facilities H&W offers
its artists and clients. In New York City it is
temporarily housed in the four-story building
where the Dia Art Foundation once mounted
exhibitions; it contains a bar, a bookshop selling the gallery’s self-published books, and
a space for its own educational programs.
(Sounds like a museum, no?) And H&W is
constructing a permanent home down the
F I N E A R T C O N N O I S S E U R · C O M
% #"&$ ! ( "'$'$" #$
Design manager, Farrar,
Straus and Giroux; curator; writer
Photo © David Masello
Robert Louis Stevenson
1887, oil on canvas, 20 1/16 x 24 5/16 in.
Taft Museum of Art, 1931.472
lthough Jonathan Lippincott designs books,
curates art exhibitions, writes about art, and
lectures about artists, he still doesn’t know the
exact difference between abstraction and realism. This inability comes into particular focus
when he looks at one of his favorite paintings,
John Singer Sargent’s portrait of Robert Louis Stevenson
housed in the Taft Museum of Art in Cincinnati.
“While anyone would immediately say this is a realist portrait of a
man in a chair in a living room, I also see passages of the work that are
as painterly and brushy as anything de Kooning ever did,” says Lippincott, who, as the longtime design manager at the publishing firm
Farrar, Straus and Giroux, is used to noticing the nuances of a book
page. “A total division between realism and abstraction is a bit of an
illusion and more of an academic construct. As for Sargent, it’s more
a question of where he wants to be representational and where he
wants details to be softer, brushier, and, in some ways, more abstract.”
Lippincott points to Stevenson’s “Mannerist” hands and
describes how the beautiful, elongated fingers are decidedly realistic,
versus some of the more suggested elements in the room, notably the
“fur-like” carpet and green wall backdrop. “Take the chair, which is
gorgeous — it looks just like a wicker chair, but when you think about
what a wicker chair really looks like, it would be insanely complicated
to represent every single woven strand of it,” says Lippincott. “The
way the light glows off the corner of the wood bureau is a perfect
example, too, of how a painting can capture the experience of light
better than a photograph.” Sargent’s ability to be precise with detail
and also suggestive within the same canvas is what makes him, as
Lippincott says, “a maestro of paint.”
For the last five years, Lippincott has been documenting the
oeuvre of the sculptor Robert Murray (b. 1936), whose colorful, exuberant, but decidedly abstract steel and aluminum works would seem
to be the antithesis of a painted portrait by Sargent. Lippincott’s
F I N E A R T C O N N O I S S E U R · C O M
newly published second book, Robert Murray: Sculpture (Design
Books), doesn’t mention his own reverence for Sargent’s paintings,
but he knows the works of both artists so well that he’s able to do
some surmising. When asked whether Sargent might appreciate
Murray’s sculptures, Lippincott says, “I think a lot of what Murray
works with is color and light — it's such an important aspect of his
sculpture — and so much of Sargent's work is about color and light. I
think Sargent would appreciate the use of color in Murray's painted
sculptures, and the aspects of his works that are abstract, though people didn't talk about abstraction when Sargent was painting."
Lippincott recalls first encountering the Stevenson portrait during the Metropolitan Museum of Art’s 2015 show Sargent: Portraits of
Artists and Friends, and has never forgotten it since. “I love the idea
that Sargent and Stevenson were friends. This portrait is so cozy in
nature. The way he’s sitting, the jauntiness of the position of his legs,
makes it all feel as if these are just two friends hanging out together in
a living room. There’s a lovely intimacy here.”
Although Lippincott knew of the work long before, he is adamant that art needs to be seen in person to be properly experienced.
“That’s the reason to visit museums in general,” he insists. “No matter how many times you’ve seen something in a book or classroom or
slide, to actually stand in front of it is always an amazing experience
— to see the real color, the real size, the real thing. Whether it’s a Robert Murray sculpture or this Sargent painting, you never really know
what it will look like until you’re there with it.”
2 0 1 9
111'/%-3*),"./0-*"- +)
",-"."*/"!30-*"-&*"-/ '.+*+("
2&* -3(& +*+-!
"4-/0 '"-+( +)
111"4-/0 '"- +)
",-"."*/"!3-&(.&!"(("-&". '.+***(("-3-"!"-& '.0-$%""!&*+-/(("-3(0##/+*
, 2
0$&$ (($'')(*(
1110$&$ (($'')*(
+, - ). 3))'' ,3# ,$-* -. ,),./- /(
,.$)(--$ - +,.( ).*!..
2$),3'$*))0*)..%) $)"*'-*(
111%) $)"*'-*(
+, - ). 3,& ,'' ,3.$(*)-
'' ,3, ,$&-/,"
*,-(.2,') ,(#(,.
American Realist Painter
Daybreak at River’s Edge - oil on linen, 26 x 48 inches
Artwork available at
Blowing Rock Frameworks & Gallery
Blowing Rock, NC
Collins Galleries
Orleans, Cape Cod, MA
What are the 3 biggest mistakes made by art buyers?
You might be making them. Go to my website and
get my free, easy-to-understand guide (no art-speak
included) and learn how to buy art without regret.
South Street Art Gallery
Easton, MD
Lighthouse ArtCenter
Gallery & School of Art
Thank you to our 2019 sponsors:
Gold: Jane & Patrick O’Neill, Johnson & Johnson
Silver: Laurie & Bill Brower • Grand Prize Sponsor: Jenny & Larry Schorr
6th Annual
Lighthouse ArtCenter
Gallery & School of Art
Manon Sander
North Palm Beach, Florida | 415.606.7685 |
In the Hot Seat, 12 x 9 in., oil on linen
Chris Kling
Stuart, Florida | 772.285.7826 |
Cafe Breakfast, 12 x 16 in., oil
Available through Kling Gallery, Wine & Decor
Visit or call (561) 746-3101
Beth Bathe
Lancaster, Pennsylvania | 703.628.5044 |
Dreaming of Dubois, 16 x 20 in., oil on panel
Available through South Street Art Gallery
Michele Byrne
Wyomissing, Pennsylvania | 610.698.3372 |
The Historic Times Building, 16 x 12 in., oil on linen panel
Available through the artist
Visit or call (561) 746-3101
6th Annual
Lighthouse ArtCenter
Gallery & School of Art
Jacalyn Beam
Greenville, Delaware | 302.893.1775 |
Witch’s Hat, 12 x 16 in., oil on linen
Available through the artist
Jeff Markowsky, 2019 Judge
Savannah, Georgia | 912.667.3262 |
Grant Park, 9 x 12 in., oil on linen panel, plein air
Lon Brauer
Granite City, Illinois | 314.456.3498 |
Pearl of Bengal, 24 x 20 in., oil on panel
Available through Charles Fine Arts, Gloucester, MA
Visit or call (561) 746-3101
The Great Hall of
Museum of Art, New
York City
trictly speaking, a museum is a place dedicated to the muses — the nine (female) divinities of the
arts, history, science, and literature who were revered by the ancient Greeks. Though most of us
don’t worship those goddesses anymore, the subjects they symbolized live on and are still brought
to life daily in the vast array of museums found all over the world.
Like so many good things, museums emerged during the Italian Renaissance, specifically in 1471,
when Pope Sixtus IV opened the Capitoline Museums in Rome to show off
ff the ancient sculptures he
owned. His successor Julius II launched what we know as the Vatican Museums in 1506, but it must be noted that only
invited guests — usually of the higher and artistic classes — could enter such venues until the Enlightenment of the late
18th century. That’s when new institutions such as London’s British Museum (opened 1759), Florence’s Uffizi Gallery
(1769), and Paris’s Louvre (1793) began permitting less privileged people to come have a look.
Chartered by the U.S. Congress in 1846, the Smithsonian Institution inherited that
democratic notion thanks largely to its benefactor, James Smithson (1765–1829), a British
scientist who never actually visited America. Having grown up in Washington, D.C., I
was fortunate to visit the Smithsonian and the capital’s other great museums from a
very young age. They have always felt like places to relax and learn in safe, comfortable
settings; the exhibits are high in quality and there is no pressure to buy anything, except
perhaps a snack or souvenir.
What no one could have predicted during my boyhood, however, was how popular
museums would become; the American Alliance of Museums reports that 860 million
visits now occur annually. That statistic is astonishing, yet it does not capture how central
museums have become in our civic life; they are no longer just places to learn, but also places to gather, celebrate,
mourn, and have fun. That accessibility is key: the more often we bring our kids to museums to — say — attend a
festival, the more likely they are to return as adults to enjoy the collections and exhibitions inside. And speaking of
collections, museums deserve enormous credit for working hard to catalogue and post their collections online; they
hold these treasures on behalf of the public, and now we have an ever-clearer idea of what they are.
This section of Fine Art Connoisseur — our third annual homage to museums — highlights the tremendous
quality and public-spiritedness of art museums across North America. We thank our museum colleagues for all they
do on the public’s behalf, and we wish them much continued success. Finally, if you know of a museum that should
be included in the future, please let us know. We are always grateful for your feedback.
Peter Trippi, Editor-in-Chief, Fine Art Connoisseur
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Ongoing Charles M. Russell Collection
Permanent Exhibition, C.M. Russell Museum, MT
Ongoing The Bison: American Icon, Heart of
Plains Indian Culture Permanent Exhibition,
C.M. Russell Museum, MT
January 7-March 17 “Frum We Ownt Yeye”
Gullah Geechee Culture From Our Own Eyes,
Brookgreen Gardens, SC
January 26-March 30 Birds In Art, Brookgreen
Gardens, SC
January 26-April 20 Masterpieces from the
Museum of Cartoon Art, Bruce Museum, CT
March 23-July McGarren Flack: Vulnerability, St.
George Art Museum, UT
March 31-May 5 Night of the Artist, Briscoe
Western Art Museum, TX
Ongoing through April 7 The Dawn of Modern
Medicine: Selections from the Medical Artifact
Collection of M. Donald Blaufox, Bruce
Museum, CT
Ongoing through April 13 James Morgan
Retrospective: “Moments in the Wild,”
Steamboat Art Museum, CO
Ongoing through April 20 Farm. Forage. Feast:
High Country Foodways, Blowing Rock Art &
History Museum, NC
Ongoing through February 10 Empresses
of China’s Forbidden City, Peabody Essex
Museum, MA
April 13-July 28 Martha Wallace Pellett Master
Sculptors, 2017 - 2019, Brookgreen Gardens, SC
February 2-May 5 Nature’s Nation: American Art
and Environment, Peabody Essex Museum, MA
April 13-July 28 Rising American Stars in
Sculpture, Brookgreen Gardens, SC
February 2-June 2 Buried Treasures of the Silk
Road, Bruce Museum, CT
April 18-June 22 Richard Buswell: What They
Left Behind, Hockaday Museum, MT
February 9-March 24 Masters of the American
West, Autry Museum of the American West, CA
Ongoing through May 5 Outsiders: The Inside
Story of Folk Art, Blowing Rock Art & History
Museum, NC
February 15-May 12 Hopper to Pollock:
American Modernism from the MunsonWilliams-Proctor Arts Institute, Reynolda House
Museum of American Art, NC
February 18-August 18 The American
Experiment: Nineteenth-Century Prints,
Reynolda House Museum of American Art, NC
February 21-March 21 The Russell: An Exhibition
and Sale to Benefit the C.M. Russell Museum,
C.M. Russell Museum, MT
February 28-May 11 Mark Makers, Hockaday
Museum, MT
Ongoing through March 3 Pressed for Time:
Botanical Collecting as Genteel Pastime
or Scientific Pursuit? (Historical Herbarium
Sheets), Bruce Museum, CT
March 19 The Russell Home and Studio
Reopening, C.M. Russell Museum, MT
Ongoing through May 5 Thomas D. Mangelsen:
A Life in the Wild, National Museum of Wildlife
Art, WY
May 11-September 1 Summer with the Averys
(Milton, Sally, March), Bruce Museum, CT
May 22-September 1 Modern West, Briscoe
Western Art Museum, TX
May 24-September 2 Heide Presse: “WE SET
Journey 1839-1848,” Steamboat Art Museum, CO
May 24-September 2 Looking West: Exhibition
Highlighting 150 works by American Women
Artists, Steamboat Art Museum, CO
May 25-October 27 Southern Strands: North
Carolina Fiber Art, Blowing Rock Art & History
Museum, NC
March 23-July Downey Doxey-Marshal, St.
George Art Museum, UT
May 31-August 3 Going to the Sun: The Plein Air
Painters of America Paint Glacier National Park,
Hockaday Museum, MT
March 23-July Things that Matter by Coalition
of Artists with Purpose (35 Textile Artists), St.
George Art Museum, UT
Ongoing through June 23 Martin Puryear: Cane,
Reynolda House Museum of American Art, NC
June 8-September 29 Return to Calgary: C.M.
Russell and the 1919 Victory Stampede, C.M.
Russell Museum, MT
June 14-21 Plein Air Glacier: Paint Out 2019,
Hockaday Museum, MT
July 20-October 19 Robert Shepherd, An
Inspiration, St. George Art Museum, UT
July 20-October 19 The Perfection of Prints
with Royden Card, Carol Bold and Friends, St.
George Art Museum, UT
July 20-November 9 Modern Visions, Mountain
Views: The Cones of Flat Top Manor, Blowing
Rock Art & History Museum, NC
August 3-November 30 Modern Visions,
Modern Art: The Cone Sisters in North Carolina,
Blowing Rock Art & History Museum, NC
August 10-October 27 National Sculpture
Society 86th Annual Awards Exhibition,
Brookgreen Gardens, SC
August 13-September 21 2019 A Timeless
Legacy, Hockaday Museum, MT
August 30-December 31 Leyendecker and the
Golden Age of American Illustration, Reynolda
House Museum of American Art, NC
September TBA Where the Questions Live,
Peabody Essex Museum, MA
September 18-December 31 Art and the Animal,
Briscoe Western Art Museum, TX
September 27-November 2 SAM Plein Air
Exhibit, Steamboat Art Museum, CO
September 27-December 7 Hear the Whistle
Blow: Art of the Railway, Hockaday Museum, MT
December 6-April 11, 2020 Richard Galusha: A
Retrospective, Steamboat Art Museum, CO
Winter 2020 TBA opening date of the California
Museum of Fine Art
March 27-June 21, 2020 Tiffany Glass: Painting
with Color and Light, Reynolda House Museum
of American Art, NC
February 9–March 24, 2019 at the Autry Museum in L.A.
Tony Abeyta
William Acheff
Peter Adams
Gerald Balciar
Thomas Blackshear II
Christopher Blossom
Eric Bowman
John Budicin
Kenneth Bunn
Scott Burdick
John Buxton
George Carlson
G. Russell Case
Tim Cherry
Len Chmiel
Nicholas Coleman
Mick Doellinger
Dennis Doheny
John Fawcett
Tammy Garcia
Richard V. Greeves
Logan Maxwell Hagege
Harold T. Holden
Doug Hyde
Oreland C. Joe Sr.
Z. S. Liang
Jeremy Lipking
Susan Lyon
Mark Maggiori
Bonnie Marris
Walter T. Matia
Eric Merrell
Denis Milhomme
Dean L. Mitchell
Jim Morgan
John Moyers
Terri Kelly Moyers
Bill Nebeker
Conchita O’Kane
Dan Ostermiller
JoAnn Peralta
Daniel W. Pinkham
Howard Post
Kevin Red Star
Mateo Romero
Gayle Garner Roski
Roseta Santiago
Billy Schenck
Sandy Scott
William Shepherd
4700 Western Heritage Way, Los Angeles, CA 90027-1462 | Event Contact 323.495.4331
Tim Shinabarger
Mian Situ
Adam Smith
Daniel Smith
Matt Smith
Tim Solliday
Margery Torrey
Kent Ullberg
Dustin Van Wechel
Curt Walters
Brittany Weistling
Morgan Weistling
Kim Wiggins
Jim Wilcox
Ashley Warren. Busy Bees, 2018. Digital
photograph. Courtesy of the artist.
Barry Huffman. Matt Jones Pottery, 2016. Oil
on board. 28 x 24 inches. Courtesy of the artist.
! # "#
# "# ! # # ( ! ( %!# ! " &( !' # &&$%!' # # %# % % &
% $"$ !& !$"$
Located along the iconic
San Antonio River Walk, the
Briscoe Western Art Museum
proudly presents the
Night of Artists Exhibition,
Live Auction & Sale.
Featuring over 280 works,
including paintings and
sculpture from 80 of the
country’s top Western artists,
this 18th annual event is
not to be missed.
Jeremy Winborg, Beauty of the Desert, Oil, 40” x 25”
210.299.4499 |
/( , ,#/$& *)$/ ,#' ,"$/-3,$52&201
-**$"1(-,-%/( , *)$/
$!/2 /462,$
,2 /46./(*
Much more than a Western art exhibition and sale, The Russell is a Western art experience!
Charles M. Russell (1864‒1926), Approach of White Men, 1897, oil on canvas, 24 ⅛ x 34 ⅛ inches
M A RC H 21‒23, 2 019
Join us at The Russell: An Exhibition and Sale to Benefit the C.M. Russell Museum. The Russell is widely recognized
as one of the most prestigious and fun western art events in the world. It is set to impress once again, offering
competitive bidding for significant works by highlyacclaimed historic and contemporary Western artists.
400 13 th Street North | Great Falls, Montana | (406) 7278787 |
“Opulent …
a gratifyingly rigorous show.”
—The New York Times
Forbidden City
of China’s
Empresses of China’s Forbidden City is organized by the Peabody Essex Museum; the Freer|Sackler, Smithsonian Institution, Washington, D.C.; and the Palace Museum, Beijing, China.
The exhibition is made possible by generous support from Liu Dan; Henry Luce Foundation; the E. Rhodes and Leona B. Carpenter Foundation; the National Endowment for the Humanities; the Bei Shan Tang Foundation; Carolyn and Peter S. Lynch
and the Lynch Foundation; Shirley Z. Johnson and Charles Rumph; the Richard C. von Hess Foundation; Anonymous; the AMG Foundation; the Coby Foundation, Ltd.; Eaton Vance; American Friends of the Shanghai Museum; the Blakemore Foundation;
Rose-Marie and Eijk van Otterloo; Quan Zhou and Dr. Xiaohua Zhang; Furthermore: a program of the J.M. Kaplan Fund; Skinner, Inc.; the Ellen Bayard Weedon Foundation; Robert N. Shapiro; Sandra Urie and Frank Herron; and Dr. Young Yang Chung. We
also recognize the generosity of the East India Marine Associates of the Peabody Essex Museum. James B. and Mary Lou Hawkes have generously supported additional exhibition programming.
Liu Dan
E. Rhodes and Leona B. Carpenter Foundation
Drinking Tea, from Yinzhen’s Twelve Ladies (detail),
Kangxi period, 1709–23, Court painters, Beijing,
possibly including Zhang Zhen (active late 17th–early
18th century) or his son Zhang Weibang (about 1725–
about 1775), hanging scroll, ink and color on silk, Palace
Museum, Gu6458-7/12.© The Palace Museum.
161 Essex Street | Salem, Mass. |
& ! !' ! "!" !!"! !
! ! !! & " " " ! ! %! $ ! !!
! ! ! & ' "!& &" ! !' ! ! # ! &
The cure for claustrophobia.
Subscribe today | 800.610.5771 |
ER G ,
KATHRYN ENGBERG (b. 1994), Fatima in Pink, 2018, oil on
linen, 12 x 9 in., available from the artist
Art has been a mainstay in the life of KATHRYN
ENGBERG (b. 1994) since childhood. As a thirdgeneration artist, she regularly spent time in her
mother’s and grandmother’s studios watching them
paint, and trips to museums and art projects were
a standard part of growing up in her hometown of
Salisbury, Maryland. By the time she reached adolescence and young adulthood, Engberg was developing into an artist all her own, and those around her
continued to nurture her talent.
After high school, Engberg attended the Grand
Central Atelier (New York City) and graduated
from it in 2016. Today she is a core instructor at the
school, passing on to the next generation the 19thcentury academic approach that was taught to her
by founder Jacob Collins and his colleagues. Some
of the tenets this curriculum espouses are working
exclusively from life under natural light, with a timeintensive and gradually progressive understanding
of the figure and form.
The classical-style portraits the young artist produces stand out for their contemporary and
mature viewpoint. Although Engberg sometimes
dresses her sitters in period costume, she just as
often paints people exactly as they are today, being
completely honest in her interpretation. To make
the process as informed as possible, the artist spends significant time “I love the idea of depicting a woman plainly and simply but giving her
getting to know her subjects both personally and structurally, and each strength in the honesty of that portrayal. It’s not about the glamour shot
portrait takes between 20 and 30 hours to complete. “This is an integral or smoothing away every flaw — it’s about embracing every facet of every
part of my approach,” Engberg shares. “The subject sits for me the entire form. Here my model just seemed to radiate this serenity that I aimed to
time and I do not use photography, so this allows me to really get to know capture with the ambient pink light surrounding her.”
him or her.”
In her painting Fatima in Pink, Engberg has captured the type of quiet
resolve found in several of her portraits. “Many of my paintings aim to ENGBERG is represented by Simie Maryles Gallery (Provincetown, MA) and
show a gentle strength that I think is present in women,” the artist notes. Mountain Trails Fine Art (Santa Fe).
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
The Dutch artist NICK WILLEMS (b. 1989) is making waves in his
native Netherlands, and the ripples are being felt across the Atlantic in the U.S. as well. Working in a novel manner within the representational field, Willems uses the primitive medium of fire to burn
his imagery into existence. With multiple “burned layers” built up
gradually on large wood panels, the artist’s time-intensive process
requires extraordinary patience, focus, and accuracy.
Seven years ago, Willems was a freshman entering the Klassieke
Academie voor Schilderkunst (Classical Art Academy for Painters) in
Groningen, the Netherlands, feeling both frustrated and frightened.
He knew he needed to further his education in classical techniques but
could not afford this private school’s fees. Fast forward to 2016, when
Willems not only completed its five-year curriculum thanks to a scholarship but also graduated with distinction and immediately sold one
of his most ambitious pieces. He was then invited by De Twee Pauwen — a top gallery located near the palace of the Dutch king in The
Hague — to become one of their Young Emerging Artists. “Imagine,
just five years earlier I was unable to pay for my studies, and then I was
welcomed into this prestigious arena,” Willems marvels. “It makes me
think that as long as you put in the time and effort, anything is possible.”
Beyond the time and effort, Willems also possessed the fortitude to not follow the status quo, instead forging a new path and
style. “Because I did not have a teacher in the field of wood burning,
I needed to figure it out myself through a lot of experimentation,” the
artist recalls. “I now use almost everything that is capable of getting
hot, from a little burner to a big gas flame, from a lighter to a soldering iron, to ‘paint with fire.’ I am putting dozens of soft layers onto the
wood panels, which creates contrast. For me, this is an exciting way of
working where destruction creates new life and beauty.”
The artist’s work ranges from aggressively burned cityscapes to
sensitively composed homages. Life Companions, which falls in the latter category, was inspired by a couple who had been married for more
than 60 years. “Unfortunately, the husband passed away just a few days
after I finished the piece,” Willems shares. “A lot of my work is about
impermanence — that circle between life, death, and new life. This
concept is empowered by the technique I use: wood and fire. The living and the perished.”
WILLEMS is represented by De Twee Pauwen (The Hague).
NICK WILLEMS (b. 1989), Life Companions,
2016, burning on poplar panel, 25 1/2 x 51 in.,
private collection
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
PAVEL SOKOV (b. 1990) — a young Russian painter currently based in
Montreal — offers the art world an impressive array of talents and services, including commissioned portraits, figurative works of his own composition, and a weekly podcast titled The Creative Mastermind Show. This
energetic artist also travels extensively, bringing an array of cultural influences back to his studio to inform these and other projects.
Sokov spends most of his time these days working on commissioned portraits, with such recent clients as the royal families of
Saudi Arabia and Jordan, leaders of industry and government, and
a well-known rapper. He is also involved as a portraitist in the 350
Visionary Project, which highlights 350 innovative women across
multiple disciplines and vocations. Sokov is quite vested in this initiative and sees it as a way to visualize examples of aspiration for
girls and younger women.
In his studio, where he tackles subjects of his own choosing, Sokov
is eager to express through paint the stories of the distinctive characters
he encounters during his travels abroad. One example is his painting
Jackie, which shows a man with a legendary-musician-like look lighting
a cigarette in a cafe. Beyond the sitter’s intriguing appearance, we get
the sense he has a story to tell. As Sokov explains, Jackie was a “bad boy”
who fought for the Americans in the Vietnam War and today is a popular
tour guide in Ho Chi Minh City. The artist met Jackie there this year
as Jackie was explaining how merchants along the Mekong River Delta
trade goods and services.
Having graduated from a business school in Montreal prior to
his art training, Sokov is not afraid to marry painting and marketing.
He chooses to remain without gallery representation, as he has managed to attract and retain his own clients and followers. Although he
does exhibit in group shows and currently has an agent who has brokered
two major assignments, Sokov plans
to remain independent. Considering
he only started painting four years ago
and has already achieved several milestones — including a commission from
Time to paint Vladimir Putin’s portrait
for the cover of its 2014 Person of the
Year issue — Sokov will surely do just
fine marching to his own drum.
SOKOV is self-represented.
PAVEL SOKOV (b. 1990), Jackie, 2018, oil on
linen, 24 x 18 in., available from the artist
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
T O D A Y ’ S
Nerdrum’s farm in southern Norway. Initially he struck
me as a South American James Dean, handsome and
ruggedly attired. Lorca’s English was still undeveloped
and became a source of much mutual laughter, but soon
I realized how extremely well-read he is in English and Russian literature. When he shared photographs of his work, I was floored, especially because I assumed someone with that much talent would betray
more of an ego. It was hard to wrap my head around why Lorca had
traveled so far to study with Nerdrum when he was already doing well
in Chile, so I asked him directly. He replied without hesitation that
the mission of this stay in the northern hemisphere was to ascertain
Rembrandt’s painting secrets by studying his greatest works in the
Several of Lorca’s portraits in a Santiago subway
in the Netherlands), and to learn more about those
Nerdrum, who is considered by some a veritable
Rembrandt Reincarnated.
While we were staying on Nerdrum’s farm, Lorca produced a
dozen or so incredibly life-like self-portraits from a mirror. These
paintings displayed a remarkable maturity in his establishment of
pictorial hierarchies — knowing which areas to develop with thickness and detail, and which areas to leave looser and less defined. During breaks, Lorca and I would sit with Nerdrum and sip coffee. Lorca
often tried to steer the conversation with pertinent questions like
“What colors did Rembrandt use?”
Equipped with his newly acquired experiences and Old Master
wisdoms, Lorca unleashed a torrent of ambitious projects as soon as
he returned to Chile. Among them were a series of colossal portraits
Laura and the Dogs, 2012, oil on canvas, 78 3/4 x 59 in., private collection, Chile
detail of Laura’s head
depicting various character types — old, young, male, female — that
were installed in a Santiago subway station. Lorca seems to have no
trouble expanding the virtuosity I first glimpsed in his easel paintings
into mural-sized compositions. Especially in larger works, he demonstrates an ability to paint accurately loose as well as thick and thin. He
not only uses paint to illustrate reality but can also make paint mimic
materials in a manner that reminds us of Rembrandt, Velázquez, Sargent, Zorn, and Repin.
More recently, Lorca has been making dynamic paintings based on
the digitally collaged images he creates with Photoshop. These feature
the same ferocious action seen in Rubens’s hunting scenes, for example
the masterly Wolf and Fox Hunt at New York’s Metropolitan Museum
of Art. These large, ambitious works highlight the intense interactions
between innocence and the violence of nature. Lolita girls, dogs, meat,
blood, milk, birds of prey, and fire form the cast of
characters in Lorca’s painted operas depicting the
darker sides of human psychology.
Recently I caught up with Lorca on the phone:
David Molesky: I watched some of the online
video interviews about your exhibition at
Santiago’s Museo Nacional de Bellas Artes, but
I couldn’t understand the Spanish dialogue.
Tell me about that show.
Guillermo Lorca: It was great! I was very
happy with the installation and how the audience accepted my work; more than 100,000 people attended. I exhibited 24 paintings made over
three years, many of them large. To have work in
that sort of space is truly a luxury; what’s more,
I had visited it as a child and dreamed I would
exhibit there one day. I’ve been really lucky.
DM: I’ve always been impressed by how you
can make working large look so easy. What
determines scale in your work?
The Girl of the Birds, 2018, oil and acrylic on canvas,
19 2/3 x 27 1/2 in., private collection, Chile
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Eternal Life, 2013, oil on canvas, 114 1/4 x 102 1/4 in.,
Museo Nacional de Bellas Artes, Santiago
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Yaksha’s Party, 2018, oil on canvas, 70 3/4 x 118 1/4 in., private collection, Chile
detail of this scene’s right side
GL: I like to make the characters in a scale similar to the viewer’s. I start with an idea, then the composition determines the format.
Sometimes I can’t help but make something very large. It’s satisfying
to be immersed in a painted world; a large format helps me achieve
that objective.
DM: Tell me about the colossal portraits.
GL: Those had a very different intention compared to my latest
series. I had the idea back in 2007 while studying with Nerdrum. I
loved the series of small portraits that he made for his exhibition in
Porsgrunn [Norway]. I asked myself how the language of portraiture
would work at an enormous scale, like a billboard advertisement.
DM: Who are the young people in your paintings?
GL: In earlier works, I painted Lolita characters based on models who were either my friends or my friends’ sisters. More recently, I
have painted children who play roles to represent a different point of
view. The girls with colored hair are characters from another world.
In some paintings, I modify my models or mix them together; I might
put one head on the body of another or modify their features until I
create a being who doesn’t actually exist, which is the case in Laura
and the Dogs.
DM: What are the inspirations behind the subjects of your recent
narrative paintings depicting girls, dogs, and meat?
GL: I feel like I am getting closer to my true self in the latest paintings. As I reach for an imaginary amoral world with few adults, the
children, animals, and other natural forms become the protagonists.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
The interactions between them express in imagery what is difficult to
say in words. The paintings can be read in many different ways, all of
which have validity. Eternal Life, for example, contains the archetypical
tree, our former home as pre-hominids. The tree has been symbolically
occupied to address the exit from paradise, our own instinctive state,
animals’ innocence, etc. In this tree, the girl is either playing dead or
has actually died. It is watched by a pack of dogs, one of which has been
wounded in a fight. It’s hard to tell if they are protecting or waiting for
someone, or even if they appreciate our presence. The birds search the
branches for something we don’t know. Within such “narrative” scenes
2 0 1 9
The Black Dragon, 2018, oil and acylic on canvas, 59 x 118 1/4 in., private collection,
A detail of the tiger’s head
I am not seeking a definitive meaning, but my images are not random
either. One must take charge of the symbols and understand that they
may signify different things all at the same time.
DM: What did you learn from working with Nerdrum?
GL: My stay in Norway was both enriching and strange. It was the
middle of winter (I should have gone in summer!) and there was almost
no social interaction beyond the few other students, with whom I could
barely speak in English, much less Norwegian. Odd is a very particular
person, completely committed to his job. What interested me most was
the expressive side of his painting.
DM: How was it seeking
classical training in Chile? How
did you stumble upon your
style of painting?
GL: Chile has no academic
art schools of excellence, so
studying art there was a lonely
and disappointing experience.
In fact, I dropped out during the third year and carried
on with my studies in another
way. Fortunately, I had Maurizio Marini’s superb book about
Velázquez with its high-quality
The Girl in the Peacock Room, 2018,
oil on canvas, 29 1/2 x 59 in., private
collection, Chile
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
— and their symbols. I try to find a balance between my own subjectivity and a collective subconscious. I believe that animals will gain more
prominence, but even though I plan ahead, new ideas come up as I
paint and the direction changes.
Guillermo Lorca painting The Man of the Cats, 2016; photo: Jaime Arrau
reproductions. It was a gift from my mother, perhaps one of the best
I’ve ever received, or at least the most useful.
DM: Who are some of your favorite contemporary painters?
GL: I love Nicola Samori, Adrian Ghenie, Odd Nerdrum, Walton
Ford, and Beth Cavener, just to name a few talents. In contemporary
art there are many great things mixed with other bad ones in the same
blender. Making distinctions is difficult.
DM: When we were in Norway, you showed me photos of your murals.
Could you tell me more about them?
DM: What books have you read that inspire you? Movies? Plays?
GL: I love reading! I really like Fyodor Dostoevsky, Gabriel
García Márquez, Ágota Kristóf, Doris Lessing, and Yasunari Kawabata. I am also interested in philosophy and psychology: Carl Jung,
Sigmund Freud, Michel Foucault, Friedrich Nietzsche, Melanie Klein,
and more. I don’t know if books directly inspire me. I read more as
a hobby. My inspiration comes from other artists, from nature and
movies, especially Andrei Tarkovsky and Akira Kurosawa. I don’t like
closing myself to any possible source of inspiration. A part of me is
always looking carefully at everything going on, and it alerts me to
something worth closer attention.
GL: I made the first in the cellar of a vineyard when I was 20. Its
dimensions were 13 x 131 feet, painted in oils. I had never made anything bigger than 40 x 60 inches before. The second was for a casino,
98 feet wide. Making the murals was a good way of forcing myself
to compose better. Then came the giant portraits displayed in the
subway station. Now I am working on large paintings, but if another
worthwhile mural project comes up, I’ll do it.
GL: Yes, I’d love to have an exhibition in the United States. For
now, I’ll be represented in fairs and working with the dealer Simon
de Pury.
DM: What themes are you exploring now?
DAVID MOLESKY is a representational artist and writer based in Brooklyn. His
oil paintings of figurative narratives and turbulent elements are part of museum
collections in the U.S., Europe, and Asia.
GL: I am interested in such topics as death, eroticism, and nature
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
DM: Do you have any plans to come to the United States?
2 0 1 9
T O D A Y ’ S
Wang (b. 1958) is looking for the right word. A
vintage recording of the great tenor Franco
Corelli singing Neapolitan love songs is playing
on the phonograph in his Red Hook (Brooklyn)
studio, a quiet, contemplative space shot through
with beams of sunlight from the west. “In my portraits, I try to capture something spiritual about
the people, their humanity, their interiors — but
those are still not the right words I’m after to
describe what I want to do as a portrait painter,”
Wang says while pointing to various canvases.
Although born and raised in China, Yuqi (pronounced “Yoo-chee”) Wang speaks English fluently, albeit with an accent, but to find that precise word for his intention, he consults an online
Chinese-to-English dictionary.
“Ah, here it is,” he says, holding out the
iPhone to show the answer that appears in both
J A N U A R Y / F E B R U A R Y
English and Chinese characters. “‘Dignity,’ that’s
what I want to achieve with everyone who sits for
me. Their dignity.”
To look at the many painted faces and
figures on the walls and easels of Wang’s loft-like
studio is to see the inherent dignity of the men
and women he has chosen to depict. Some of
the figures are clothed, others are not, and while
most are physically beautiful, some wear their
years a bit more frankly. Given the way Wang
characterizes his subjects, it is not surprising that
he cites Rembrandt as among his most important
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(OPPOSITE PAGE) Sunset in Red Hook, 2015, oil on linen, 56 x 46 in.
( A B O V E ) C h a m p a g n e, 2 0 0 7, o i l o n l i n e n , 5 6 x 5 0 i n .
“Rembrandt tried searching for what
was inside a person and putting that on the
canvas,” Wang says. “He painted people, yes.
But he didn’t always seek out pretty faces or
prettily shaped bodies. His figures appear
like lighthouses on the sea. You see the real
person. The first time I saw Rembrandt
paintings, in an art history book as a boy in
China, I was very touched. I didn’t recognize
the faces he painted as being Western art or
Eastern art. They were human faces. That’s
what mattered to me.”
Wang came of age as China was convulsed by Mao’s so-called Cultural Revolution, which began in the mid-1960s, and
which forced people to shun all things Western, be they political or aesthetic. It wasn’t
until Wang was 10 or 11 years old that he
saw his first example of true Western art
— a black-and-white image in an old newspaper hanging in someone’s window as a
makeshift curtain. He remembers stopping
to stare at the image of the figure with long
hair and an enigmatic expression. It was
Leonardo’s Mona Lisa. “I had no concept of
what was or wasn’t Western art at that time,
but I couldn’t stop looking, even though the
face was a little scary to me.”
Later, in high school, he saw more
examples of Western art in textbooks and
art magazines. Those images, coupled with
a truly revolutionary exhibition of paintings
loaned by French museums and mounted in
Beijing in the late 1970s, provided Wang with
a firm context for the subject matter that has
propelled him forward ever since. He cites
Chardin, Millet, Waterhouse, Moreau, the
Barbizon School, and Courbet as among the
artists and movements that helped forge his
artistic identity. “Even today, I keep thinking
of the Pre-Raphaelite artists and how powerful it was for me to see their works, especially the red-haired woman in the boat in
Waterhouse’s The Lady of Shalott,” he says,
referring to the legendary figure who died of
unrequited love.
Today Wang is one of the world’s acknowledged masters of portraiture, having won
prizes and notable commissions, including a grand prize and first place prize from
the Portrait Society of America, and a second prize in the National Portrait Gallery’s
Outwin Boochever competition.
Yet the portraiture for which Wang
is famous is not actually the genre he pursued as a young artist. When he attended
the Academy of Fine Art in his home city of
Tianjin, he was assigned to learn printmaking. “In those days, what you were assigned
to study in art school was what you had
to study for the four years until graduation. There was no breaking of rules. I was
warned that if I kept trying to make oil
paintings, which is what I wanted to do, I
wouldn’t get my certificate at the end.”
F I N E A R T C O N N O I S S E U R · C O M
In true revolutionary spirit, however,
the precocious Wang defied the authorities.
For his graduate thesis, he produced a series
of paintings depicting Chinese country life,
an echo, in many ways, of the 19th-century
French pastoral scenes he had recently
come upon and admired. “I must admit, I
became a kind of star on campus,” he recalls.
Later, Wang attended Beijing’s Central
Academy of Fine Art, where he was finally
able to experience the thrill and methodology of painting live models, the technique he
continues to use whenever possible. There,
renouncing the color palette, notably garish
reds, that had been promoted by Communist authorities, Wang painted a poignant
scene depicting two farmers — a man and
a woman just in from the field, dirty and
exhausted but inherently noble — a work
that earned him a prize. “That painting was
dark and its colors muted; it was realistic in
ways that paintings in China had not been
for many years.”
In keeping with his passion for depicting real people doing real things, Wang later
embarked on a five-part series of paintings
of a woman. “I remember as a young kid
attending a funeral and I saw a girl there in
a dress with a white collar. The sight of her
and what she was wearing, both on her and
the expression she wore on her face, really
touched and moved me.” It was from that
memory that Wang produced the canvases
that traced the complete life of a woman,
from girlhood to old age.
From the time he was a boy drawing
anything and everything to when he became
a student and, later, a teacher, Wang learned
the importance of cultivating the right subjects. To be a good — now a great — portraitist requires the earning of trust. The sitter
needs to trust the artist for whom he or she
sits, often for weeks at a time. It also requires
a special vision on the artist’s part — the ability to see into a person.
“As a boy, I taught myself to draw as a
way to protect my dignity during the disastrous years of the Cultural Revolution,”
Wang explains. “I purposely sought out people I knew would be friendly, willing to let
me draw and paint them. My first models
were family members, neighbors, and classmates.”
Although China had become a very
different place by the mid-1990s, Wang was
eager to begin a new metaphorical canvas
in his life. Chinese friends already settled
in Chicago encouraged him to come there.
“There were four reasons I decided to go
to Chicago,” Wang recalls. “One was that I
had seen in Paris some of Gustave Moreau’s
mythological scenes, and I was especially
intent on seeing Hercules and the Lernaean
Hydra in the permanent collection of the
Art Institute of Chicago. I also wanted to see
Sir Georg Solti conduct the Chicago Symphony Orchestra, to watch Michael Jordan
J A N U A R Y / F E B R U A R Y
2 0 1 9
(OPPOSITE PAGE) Red Hook Fantasy, 2018, oil on linen, 68 x 58 in.
(THIS PAGE, TOP) From Red Hook, 2005, oil on linen, 30 x 30 in.
PAGE, ABOVE) ALBRECHT DÜRER (1471–1528), Melencolia I, 1514,
engraving on paper, 9 1/2 x 7 1/2 in., Staatliche Kunsthalle, Karlsruhe
play basketball, and, maybe, the fourth reason, to
see where the Mafia once had so much power.”
While Chicago proved to be the right portal to
life in America, Wang continued to feel the pull of
New York City, eventually relocating there, where
he remains, shuttling daily between his Brooklyn
apartment and his studio nearby.
Wang remembers his first tour through the
rough-and-tumble, post-industrial landscape of
Red Hook; he had heard that the light there — and
the low rents — were ideal for artists. “The landlord
took me up to the roof of this building, and when
I saw the 360-degree views from up there — of
Brooklyn, Manhattan, the Statue of Liberty peeking
between a church and some factories — I thought,
this very setting could be my subject.”
Indeed, to look at Red Hook Fantasy, his
recently completed, and quite magnificent, selfportrait, is to see not only the dignity of the sitter,
but also the very surroundings and structures just
outside his windows. The factories, the Gothic
Revival Catholic church on the corner, the same
roof from which he first admired that panorama,
the noirish alleyways of Red Hook — all appear
as the backdrop to the artist in his paint-smeared
smock. Hovering over this scene — which is decidedly urban and also jarringly post-apocalyptic — is
the painted word Melencolia. This references yet
another historic master who has influenced Wang:
Albrecht Dürer. “I love this word because it evokes
the artist’s ‘loneliness,’ which I experienced myself,
especially during the Cultural Revolution.”
Wang opens a sketchbook containing some
early iterations and ideas for the self-portrait.
Page after detailed page reveals a figure, hovering almost angel-like in the background next to
him. Asked about that shadowy figure, Wang
replies, “That is Gustav Mahler. I am crazy about
Mahler. I wanted to include him, somehow, in a
self-portrait because his music is so important to
me.” Recognizing, finally, that he was forcing that
image onto the canvas in ways that did not feel
right, Wang ceded control and instead included
an overt reference to Dürer, who represents, perhaps, a more direct artistic bond. Wang’s selfportrait now includes a version of Dürer’s angel
from the master’s famous engraving Melencolia I.
( A B OV E ) Fatalistic Arti st, 20 0 2 , oil
o n l i n e n , 8 0 x 6 8 in .
(R I G H T ) Yan:
M e l i s a n d Fo reve r, 20 14, oil o n lin e n ,
4 8 x 4 8 in .
In addition to his palette of pigments, Wang works
with a musical palette. Whether it’s a recording
of Wagner’s Parsifal, a Shostakovich symphony,
or, most often, Mahler’s Titan symphony, music
accompanies every one of his brushstrokes. “Why
Mahler?” Wang asks rhetorically. “Because Mahler
is always thinking about the human condition,
about philosophy, about religion, about nature,
about the meaning of life.”
To further emphasize this musical bond,
Wang goes to a corner of his studio and pulls out a
canvas that shows a humble house, situated at the
end of a long expanse of dense green woods. “This
is Mahler’s house in Austria, which I went to see.
He had no motherland, really. He was Jewish in a
world hostile to Jews. He was always in search of
a home, never at home. Even in China, you go from
village to village and a person’s accent is different.
(O P P O S I T E PAG E )
Arti s t with H i s S u b j e ct (H e n ry Lou i s
G ate s, Jr.), 2 0 1 0, o i l o n l i n e n , 6 4 x 6 4 i n . J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
It marks them as an outsider. I still feel like an out- did with his self-portrait and that of Gates, he has
sider, too.”
included motifs that reference the princess’s life
But feeling like an outsider has advantages — for example, an image of Ingres’s 1851 portrait
for an artist, as it heightens one’s powers of obser- at the Metropolitan Museum of Art depicting the
vation. Wang continues to express awe at the Princess de Broglie. “That is her direct ancestor,”
people he has met through both serendipity and says Wang, pointing to the woman in a shimmering
introductions. One of his most notable models is blue gown he has eerily recreated. Also depicted is
the Harvard-based scholar Henry Louis Gates, Jr., another relative of the princess, a man who won a
whom he has painted three times; the most formal Nobel prize in physics. Today the young princess’s
version hangs at the National Portrait Gallery in gown, trimmed in what appears to be chinchilla,
hangs beside the canvas, ready to be worn should
Wang points next to a large canvas in progress she return for another sitting.
that depicts a beautiful, discreetly nude woman. He
Wang continues to study his self-portrait,
was introduced to the sitter, Charlotte de Broglie, which he gave himself as a kind of birthday present.
by a neighbor who thought she might make a good While painting it last year, he suffered a serious
model. “It turns out she’s a French princess, the real gallstone attack during which, he says, he “kissed
thing,” Wang explains. When she visited his studio death.” That episode, coupled with world events
days later and saw Wang’s completed canvases, she that have led him to despair — everything from the
was the one to offer herself as a model. “She sat for current U.S. president to Brexit to the European
me four or five times. She stated that she couldn’t refugee crisis — is what led him to inscribe Melencommission a portrait, but she did hint that once it colia on the canvas.
was complete, maybe her father would buy it!”
“One day, I walked to the end of the Louis ValIn his large portraits, Wang paints not only his entino Pier, here in Red Hook, and I looked across
sitters’ likenesses, but also their histories. Just as he the water to the Statue of Liberty. I asked myself,
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
‘What is the value of life? Why am I here?’” By the
time he returned to his studio, he knew the answer.
“I’m here to be an artist, and every artist’s mission
is to speak out.”
Having described this episode, Wang shifts to
a cozy seating area in his studio, furnished with a
couch and floor-to-ceiling shelves filled with CDs
and LPs. He pulls out a vintage LP and puts on
Wagner’s Parsifal, the tale of a man’s quest to find
the Holy Grail. “Bach, Mahler, Wagner — they help
me find the entrance to my soul,” Wang says as the
needle drops.
Surveying the many canvases in Wang’s studio, as well as those in private and public collections, it is clear that Wang has found his soul and is
sharing it with the world.
David Masello is an essayist on art and culture, a
poet, and a playwright who lives and works in New
All of the paintings illustrated here belong to the
T O D A Y ’ S
ome artists can be admired and understood almost entirely
through their work, with scant reference to their training or
worldview. This fact does not diminish their achievements,
but it has not generally applied to Daniel Graves (b. 1949).
Although he makes superb art and conducts a solo career,
Graves cannot be considered apart from his life’s work —
founding and directing the Florence Academy of Art (FAA).
Situated in one of the world’s most cultured cities, the FAA was
founded by Graves in 1991 to train artists coming from around the
globe in the time-tested materials and techniques of figurative realism. He also wanted them to absorb the academic priorities of beauty,
storytelling, and craftsmanship — taught in ateliers and academies
throughout the West until the mid-20th century, and passed on to
Graves (against all odds) by his own instructors.
This winter marks an exceptional moment, as Graves is about
to launch his first solo exhibition in Florence since he arrived there
40 years ago. Continuum: The Art of Daniel Graves will be open to the
public February 5–28 at the world’s oldest academy, the Accademia
delle Arti del Disegno. Founded by the artist (and first art historian)
Giorgio Vasari 500 years ago, and the beloved home of such members
as Michelangelo and Cellini, it is an ideal venue in which to survey
Graves’s art.
Graves says, “Having an exhibition at the Accademia reflects the
story of my life: my deep connection to Florence and the artistic traditions upheld here for so many centuries. In fact, the Accademia’s logo
contains a symbol that celebrates drawing as a foundation of architecture, painting, and sculpture. This simple yet profound interconnection has always been at the core of my teaching and art.”
A native of Rochester, Graves graduated with honors in 1972 from Baltimore’s Maryland Institute College of Art, where he studied anatomy
and painting with Joseph Sheppard and Frank Russell. Although laissezfaire modernist art education was in full cry in the late ’60s and early ’70s,
Baltimoreans have always made room for more traditional practice, and
so Graves left the city well equipped to pursue history painting and etching with Richard Serrin at Florence’s Villa Schifanoia Graduate School of
Fine Art in 1972–73. Through Serrin’s passion for Rembrandt, the young
man learned to “read” a painting for both its technical characteristics
and for what it reveals of its maker.
Graves moved on to Minneapolis, where a year in the atelier of
Richard Lack (1975–76) connected him to the small and still-thriving
circle of classical realists who trace their lineage — through Lack and
his teacher Ives Gammell — back to Jean-Léon Gérôme and Paris’s
Ecole des Beaux-Arts.
The lure of Florence remained, however, so Graves returned
there for good in 1978. He began working under Nerina Simi, whose
own father had studied with Gérôme, and he soon became friendly
The Power of Wisdom and Beauty, 2013, oil on linen, 27 1/2 x 19 2/3 in., available from
the artist
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Storm over Florence, 2018, oil on linen, 48 x 48 in., available from the artist
with Pietro Annigoni, who had, among other accomplishments, astonished the world in 1954 and 1969 with the relative conservatism of his
classically painted portraits of Queen Elizabeth II. By 33 Graves felt he
knew enough to open, with his compatriot Charles H. Cecil (b. 1945),
a Florentine teaching atelier, which they operated together until 1990.
In 1991, Graves created the Florence Academy of Art, the official
name of which contains the phrase “for the Training of the Professional
Realist Painter and Sculptor.” Today the Academy thrives in a large former
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
factory it has refurbished for its own use, and also operates branches in
Jersey City (near New York City) and Mölndal, Sweden.
As a young man, Graves could see that the academic priorities of
beauty, the human body, storytelling, and craftsmanship — once taught
in ateliers and academies across the West — were passé. Thus he and his
friends, as he puts it, “looked for the frayed threads of the realist tradition,
desperately wanting to feel connected to it. Because I picked up pieces of
the tradition from many different people, what we teach now is a blend
of what I received myself. I have necessarily interpreted their teachings
in my own way, fitting the pieces together as seemed most right.”
Graves believes that humanity and beauty have always been
expressed through the very craft of painting, through the selection
of specific materials that allow the artist to attain truly expressive
2 0 1 9
Study for Sculptor, 2018, charcoal and chalk on paper, 61 4/5 x 40 3/5 in.,
available from the artist
also from the live model. In Florence, where Renaissance
humanists’ prioritization of the body re-energized Western
culture in the 15th century, to draw from the live model is a
particularly thrilling act.
Painting students next learn to use precise values in
charcoal, graphite, and chalk, then in oils (first in grisaille
and then colors); their sculptor counterparts focus on creating correct structures in clay. In contrast to much art education today, where students may drift without meaningful
guidance, Academy pupils are critiqued regularly to ensure
they are on course, and to give them personalized suggestions on how to improve.
qualities. For this reason, he uses traditional techniques such as grinding his own paints, cleaning his own linseed oils, making his own varnish, and stretching and preparing his own canvases.
The Academy’s painting curriculum, with its intensive observation of nature and the Old Masters, reflects Graves’s own artistic practice. Ideally, a talented matriculant will spend three or four years with
Graves and his fellow teachers. (Thinking not only of art but also of
culture, he notes that one must “give Europe some time to sink in.”)
Graves has broken “the vastly complex task of learning to draw, paint,
and sculpt from life into gradual steps”: students first draw from classical casts (three dozen of which were obtained from the Venetian
studio of the 19th-century Spanish master Mariano Fortuny), and
“The values of beauty and meaning are slipping away,”
Graves warns. “We need to be reminded that these things
are still important. In the classical tradition, the Intellect,
a sense of Justice, and the Heart develop within people as
they mature. It is through these values that the artist strives
to contribute his or her vision of the world in a way that
elevates society. Being a part of the classical tradition is a
calling to do something good for others.”
Graves continues, “John Ruskin once said, ‘All great art
is in praise of something we love.’ This is one of the most
important concepts for an artist to contemplate. It calls us
to consider, wisely, the significance of why we are doing
what we are doing — our intent. It is through our humanistic
connection between the subject matter and what we paint
that this intent is made visible. The painting then becomes
an open dialogue between artist and viewer. When you
connect with this tradition, your voice becomes part of the
ongoing dialogue, which is the Continuum. Learning the
classical techniques opens the door to express, through our
chosen medium, what matters most to us. We reflect upon
questions like, ‘What is it to be human? What are our values? What makes us aspire to be a better person?’”
Graves is happy to cite a successful example of this
approach: “When we look into the eyes of a Rembrandt selfportrait, how much closer can we get to knowing the soul of
another human being? Rembrandt’s hands mixed the paint
we see, but what is actually before us is a blend of his image
with ours and that of every human. There is no substitute
for this experience.”
Graves explains, “While I am painting, I continually ask
myself if I have interpreted that little part in the painting in
the most beautiful way possible. Does that gesture say what
I want it to say? Does the composition create the sensation
I want to share? Everything needs to be in perfect harmony
in order for that one little brushstroke to be heard. This is very similar
to listening to classical music — all parts of the orchestra must be in
perfect harmony with each other, almost fall away from the forefront,
in order for that apex moment to be heard. This is the language of
painting, the sharing of my view of the world with others.”
The works on view at the Accademia will be wide-ranging in date
(from 1983 through today) and also in medium. There will be paintings
of still life, individual figures (including self-portraits), multi-figure
compositions, and narratives, along with small studies in oils. Made in
pencil, charcoal, and pastel, the drawings are mostly studies made in
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Spanish Sculptor, 2014, oil on canvas, 31 1/2 x 23 2/3 in.,
available from the artist
preparation for oil versions. Some of the works on view will be on loan
from the Graves family’s collection, and others from the personal collection of Ferruccio Ferragamo, president and chairman of the board
of Salvatore Ferragamo.
The Power of Wisdom and Beauty (on this magazine’s cover) is
the kind of painting that can move viewers deeply, something that
emerges from Graves’s determination to work directly from life. The
active engagement, in both physical and intellectual senses, between
painter and subject — of his seeing the way light cascades over the
form — ultimately builds layers of meaning in the final work. Graves
recalls that “as this woman talked about her work rescuing injured
owls, the words ‘wisdom and beauty’ became a quiet mantra in my
head while I painted.”
Visitors may not be aware of how well Graves captures light and
color in nature, especially in his spectacular paintings of clouds and
skies. Illustrated here, for example, is Storm over Florence, inspired by
his study of J.M.W. Turner’s paintings. Over many months he layered
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
the colors and played with the moodiness
that Turner so aptly captured. It may also
be a surprise to learn that Graves is a master etcher.
For many months now, Graves has
been creating Prodigy, which measures approximately 102 by 134 inches. It
depicts a young female prodigy assisting
in the construction of a 21st-century monument to humanity. As she presents her
drawing to a studio of master artists, they
turn to acknowledge how accomplished it
is. Graves chose this moment in the story
to illustrate the continuum that extends
from master to student.
Prodigy will not actually be complete when the exhibition opens, but visitors will surely enjoy the opportunity to
glimpse the process Graves is pursuing to
create this monumental piece. The unfinished work will be displayed alongside its
preliminary sketches, concept drawings,
value studies, and figure studies (such as
Study for Sculptor, illustrated here).
A sign of the high regard in which
Graves is held in Florence is the fact that
his exhibition will be opened during a private reception on February 2 by no less a
figure than Dr. Cristina Acidini, president
of the Accademia and one of Italy’s most
influential art historians and arts administrators. Also on hand to welcome the
crowd will be Andrea Granchi, who heads
its painting department, as well as two
members of FAA’s board of trustees: its president, David H. Spencer,
and the art historian Gregory Hedberg. In its next issue, Fine Art Connoisseur will illustrate scenes from the opening celebrations.
Information: Daniel Graves can be reached via the Florence Academy of Art
(, which welcomes visitors to its gallery and studios
by appointment. His art is represented by Jennifer Nash Kochevar ( jen@daniel The Accademia ( is located in central Florence at Via
Ricasoli, 68 (on the corner of Piazza San Marco). All images illustrated here will
appear in the exhibition.
PETER TRIPPI is editor-in-chief of Fine Art Connoisseur.
2 0 1 9
T O D A Y ’ S
ight up front, the painter
Paula Holtzclaw (b. 1954)
confesses, “I usually dive
into my canvas. I start out
with my intent, and sometimes I carry it all the way
through. But sometimes the painting begins
to sail away from its charted course; I have
to recognize the inspiration and go with
it.” Occasionally this inspiration — what
Holtzclaw calls “vibrancy” — is apparent,
but at other times it takes a while to discern. Holtzclaw has spent a lifetime learning to embrace the vibrancy, which has itself
shaped the course of her life.
Born in North Carolina, Holtzclaw
was exposed to art as a youngster through
her grandmothers, both of whom painted.
She still recalls the smell of art materials as they introduced her to the basics of
drawing and painting. Holtzclaw remained
interested in art, but life took her in other
directions before she returned to it. In 1972
she enrolled at Western Carolina University, but she married two years later and
began working for a contact lens company
in its Charlotte laboratory. In 1978 Holtzclaw gave birth to twin boys. When they
entered preschool, she joined a large ophthalmology group as a contact lens specialist engaging directly with patients — a
welcome change from the solitary work she
had pursued in the lab. This preference for
being with others would resurface later in
her artistic career.
Behind Holtzclaw’s soft-spoken Southern charm is a keen competitiveness. “I have
always found myself striving for higher goals,”
she explains. “I often ask myself, ‘Why can’t I
Underway, 2017, oil on linen panel, 18 x 18 in., Anderson Fine Art Gallery, St. Simons Island, GA
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(TOP) Delta Twilight, 2018, oil on linen panel, 30 x 40 in., collection of F&M Bank,
Lodi, CA
(LEFT) Banks Channel, 2017, oil on linen panel, 24 x 24 in., Highlands Art
Gallery, Lambertville, NJ
just relax and enjoy where I am, instead of always reaching for more?’”
For instance, while in her thirties raising twin boys and holding down
a professional job, Holtzclaw was introduced to the world of tennis.
“I became totally consumed. Not content with just playing for fun, I
begged games off the best players available. I played on every team
and in every tournament I could. Ultimately I captained a United
States Tennis Association team and we made it to the state finals for
seven years in a row.”
In the 1990s, recently divorced and still working in ophthalmology,
Holtzclaw began to paint again. The vibrancy had reappeared. “I felt
like I was coming full circle and had finally found my calling. I became
totally obsessed with painting and gave up tennis. I would paint and
study art books after work until midnight and as much on the weekends
as I could.” In 1996 she landed her first representation, at Charlotte’s
Providence Gallery, which still carries her work today. She also works
with galleries in South Carolina, Georgia, Florida, and New Jersey.
In 2001, the artist met Chuck Holtzclaw, a certified master arborist who owns a tree-care business. “With much support from Chuck,
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
(RIGHT) Lake Como Twilight, 2018, oil on linen panel,
8 x 10 in., Highlands Art Gallery, Lambertville, NJ
( B E L O W R I G H T ) Luminescence, 2018, oil on linen
panel, 35 x 45 in., to appear in the American Women
Artists exhibition at Steamboat Art Museum (May 24–
September 2)
I left ophthalmology in 2002 to pursue painting full-time. We married the next year and I
have never looked back. It’s amazing how fulfilling my new career has been.” The newlyweds moved to Waxhaw, a quiet town 30 miles
south of bustling Charlotte. Holtzclaw had to
cope not only with the change of pace, but
also with the shift from her people-oriented
corporate career to the solitary life of artmaking. Sparked by her competitive drive, she
decided to learn more about the people and
institutions of her new profession. Not surprisingly, Holtzclaw was successful and soon
surrounded herself with a new community
of valued colleagues. Today she is an active
member of many professional organizations,
including the American Impressionist Society,
American Society of Marine Artists, American
Women Artists, California Art Club, Oil Painters of America, Plein Air Artists of Colorado,
Plein Air Painters of the Southeast, Salmagundi Club of New York, and Women Artists
of the West.
Her artistic career has brought Holtzclaw numerous awards, but her real prize
has been meeting other artists and engaging
in the field’s organizations. She has been particularly active as a board member of American Women Artists (AWA), which, since its
inaugural exhibition at the Tucson Museum
of Art in 1990, has highlighted the fact that
more than half of America’s working artists are female, yet less than 5 percent of our
museums’ holdings were created by women.
Less than 14 percent of working women artists are represented in top galleries, and not
one of the 10 highest-selling artworks at auction was made by a woman. In response to
this situation, AWA has set a goal to hold 25
exhibitions at museums in the next 25 years.
This initiative is already underway through
shows that have occurred, or been scheduled,
at the Tucson Desert Art Museum, Rockwell Museum (Corning, New York), Haggin
Museum (Stockton, California), Steamboat
Art Museum (Colorado), and Booth Western
Art Museum (Cartersville, Georgia).
Given her involvement in so many organizations, it is fortunate that
Holtzclaw loves to travel. “Always on the lookout, I notice painting
compositions everywhere,” she says. “My favorite subjects — bodies of
water, boats, and magnificent skies — rarely contain figures. I prefer
painting coastal marine and landscape areas that are still untouched
by man, knowing that this is becoming ever more impossible. For at
least a while longer, it can be recorded on canvas. I enjoy plein air paint-
ing for the sheer enjoyment of being outside and seeing the subject as
it truly is.” The painting Underway resulted from a Plein Air Painters of
the Southeast event in Darien, Georgia, which Holtzclaw describes as “a
wonderful little fishing town with old boats and rugged half-dilapidated
piers — a painter’s paradise.”
The approach Holtzclaw has developed over the years reflects the
influence of both the Hudson River School (particularly Albert Bierstadt) and the Tonalists, especially George Inness. Whether they depict
the Hudson, Alps, Rockies, or Yosemite, Bierstadt’s paintings appeal to
her through their luminous skies and distinctive light and also because
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(LEFT) Moonlit Marsh, 2018, oil on linen panel, 12 x
18 in., Cheryl Newby Gallery, Pawleys Island, SC
(BELOW LEFT) Orchids with Pears, 2014, oil on linen
panel, 16 x 20 in., private collection
colors and soft contours foster a contemplative atmosphere that is restful to the eye and
soul.” Holtzclaw achieved this effect herself
with Delta Twilight, which hung in the AWAsponsored exhibition at the Haggin Museum
last autumn.
he wanted to see such unspoiled regions preserved. Inspired by how
Bierstadt and his peers impacted the emergence of environmental protections, Holtzclaw feels that “as artists, we have at least some obligation to future generations to document natural areas that are disappearing so rapidly.”
For Holtzclaw, Inness offers another dimension with his emphasis
on imagination and feeling, rather than just objective rendering of the
subject. He himself was influenced by the theologian, scientist, philosopher, and mystic Emanuel Swedenborg (1688–1772), who taught that
every object has a deeper significance. This approach helped Inness
unite what he saw in the material world with his desire for spiritual
expressiveness. Holtzclaw views Inness as a transcriber of nature in its
more tranquil aspects, and is inspired by his focusing less “on the specific location than on evoking a mood, emotion, or memory. His muted
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
Holtzclaw’s father, Robert Manning Brand,
was steeped in the sea. She notes, “Like all
members of the ‘Greatest Generation,’ my
Dad had a strong sense of patriotism and a
love for all things military. I’m sure I inherited a love of water from him. He bought a
small boat and took us out often to fish, water
ski, or putt around. I lost count of how many
times he brought us to Wilmington to see
the USS North Carolina.” Holtzclaw’s father
served in the Pacific during World War II and
was aboard the USS Damon M. Cummings
643 on Easter Sunday 1945, when the 82-day
invasion of Okinawa began.
The maritime influence continued when
the artist married Chuck Holtzclaw, who once
worked aboard a Norwegian freighter, then
became a quartermaster and member of the
Mobile Inshore Undersea Warfare unit of the
U.S. Navy. “Somehow it all ties in,” she muses.
“I feel most peaceful and relaxed near the
water, and just love being on or near it. Hopefully I transfer some of that to the canvas.”
Given this nautical bent, it is no wonder
Holtzclaw joined the American Society of
Marine Artists (ASMA), especially after learning that two artists she greatly admires, Don
Demers and William Davis, are ASMA Fellows.
“Just maybe some of their magical ‘artistic dust’
will rub off on me,” she laughs. “ASMA has
afforded me the opportunity to show my art
in museums across the country and to meet
other outstanding artists in the genre.”
Holtzclaw’s career advice for younger
artists is based on her own experience. “If
you truly love art, pursue it. Don’t let ‘no’ or
setbacks discourage you. Choose a couple of the best artists you admire
and study with them in any way you can. Paint or draw as often as possible. Practice, practice, practice! As simple as that advice is, it really
does work!” Holtzclaw might well have added that every artist must
follow his or her own vibrancy, a strategy that has served her well.
CHARLES RASKOB ROBINSON is an author, contributing writer to
Fine Art Connoisseur, and Fellow of the American Society of Marine
Artists, the nation’s oldest and largest not-for-profit organization
dedicated to marine art and history.
2 0 1 9
T O D A Y ’ S
CIIS &
t’s high time to celebrate the
robust health of “cityscape”
painting. Scenes of urban life
— viewed from every angle
and in all kinds of weather
and light — are being created by a lively community of
artists who work in diverse mediums,
manners, and moods. Just as encouraging, the resulting pictures are selling
well, according to galleries nationwide.
It would seem that, running right
alongside the boom in outdoor landscape painting highlighted in this magazine’s sister publication, PleinAir, there
is a universe of people who want to look
closely at — and find the strange beauty
in — the harder-edged places where so
many of us live or work. Meadows and
neon signs both have charms, a fact
more and more art collectors are discovering.
Now consider collecting a cityscape for yourself.
Max Gillies is a contributing writer to Fine
Art Connoisseur.
ROB AKEY (b. 1956), Morning on Main, 2016, oil
on linen, 16 x 22 in., private collection
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(CLOCKWISE) JILL BANKS (b. 1958), City Sparkle, 2018, oil on linen, 30 x 40 in., private
JOHN BAYALIS (b. 1950), La Pizza del Born, 2018, watercolor on paper, 18 x 30
in., available from the artist
RICHARD BOYER (b. 1958), NYC Hotdog Vendor, 2017, oil on
board, 36 x 33 in., Southam Gallery, Salt Lake City
CARL BRETZKE (b. 1954), Snow Day in
the Warehouse District, 2016, oil on linen, 24 x 36 in., private collection
(b. 1977), Not Interested, 2018, watercolor on paper, 22 x 30 in., available from the artist
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
(b. 1968), Downtown Austin,
2017, oil on linen board,
30 x 32 in., InSight Gallery,
Fredericksburg, TX
COGAN (b. 1977), Passenger,
2018, oil on canvas, 52 x 62 in.,
Gallery Henoch, New York City
Dmitri Danish (b. 1966),
Evening, Venice, 2016, oil on
canvas, 48 x 24 in., Gallery
901, Santa Fe
FRASER (b. 1955), Market
843, 2018, oil on canvas,
32 x 36 in., Helena Fox Fine
Art, Charleston
DANZIGER (b. 1946), Tribeca
Market, 2013, oil on linen
canvas, 30 x 40 in., private
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Last Bit of Light on Broadway Street, 2015, oil on panel,
40 x 30 in., collection of Graham Hawkes Whiteholme
ANNE HARKNESS (b. 1965), A Gentler Time, 2018, oil
on canvas, 36 x 48 in., Providence Gallery, Charlotte
DAN GRAZIANO (b. 1953), 312 Metro, 2013, oil on panel,
10 x 8 in., Red Piano Art Gallery, Bluffton, SC
LYNN GIBSON (b. 1970), Everyday City Life, 2018, oil on
linen, 10 x 20 in., available from the artist
(CLOCKWISE FROM TOP LEFT) CATHERINE HILLIS (b. 1953), City of Brotherly Love,
2015, watercolor on paper, 22 x 28 in., available from the artist
(b. 1948), Warm, 2018, oil on panel, 36 x 48 in., Jackson Junge Gallery, Chicago
KYLE MA (b. 2000), New York Sunset, 2018, oil on panel, 18 x 14 in., available through
the artist
TIBOR NAGY (b. 1963), Silent Street, 2017, oil on linen panel, 16 x 12 in.,
Legacy Gallery, Scottsdale/Jackson
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(TOP, L TO R) DEAN LARSON (b. 1957), Rain on the East River, 2018,
oil on canvas, 9 x 12 in., George Billis Gallery, New York City
DEREK PENIX (b. 1980), Manhattan, 2018, oil on panel, 40 x 40 in.,
private collection
Our Market, 2017, oil on canvas, 18 x 36 in., Crystal Moll Gallery,
RICHARD OVERSMITH (b. 1971), Market Day in Sarlat,
2018, oil on linen, 30 x 24 in., J.M. Stringer Gallery, Vero Beach,
(AT LEFT) CHRISTOPHER ST. LEGER (b. 1973), Klei, 2017,
watercolor on paper, 18 x 25 in., available from the artist
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
(CLOCKWISE FROM TOP LEFT) ANA SCHMIDT (b. 1959), This Is Not Graffiti, 2013, acrylic on canvas, 74 1/2 x 74 1/2 in., private collection
on Collision, 2017, oil on canvas, 36 x 36 in., available from the artist
LAUREN JADE SZABO (b. 1988), Head
BRYAN MARK TAYLOR (b. 1977), Shunde Fruit Market, 2018, oil on panel, 24 x 18 in., private collection
SUSIEHYER (b. 1954), Lights Above Town #1, 2015, oil on panel, 24 x 30 in., private collection
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(CLOCKWISE FROM TOP LEFT) HSIN-YAO TSENG (b. 1986), Taipei Street Signs, 2018, oil on panel,
16 x 16 in., on view at InSight Gallery (Fredericksburg, TX) February 1–22
In the Canals, 2018, oil on canvas, 30 x 30 in., Lotton Gallery, Chicago
VAKHTANG (b. 1972),
(b. 1960), Church Street, Frederick, 2016, watercolor on paper, 22 x 15 in., private collection
DENNIS ZIEMIENSKI (b. 1947), Frolic Room, 2013, oil on canvas, 40 x 60 in., Altamira Fine Art,
private collection
PAUL ZEGERS (b. 1950), Burnside Bridge, 2018, oil on panel, 24 x 24 in.,
INORO A
Self-Portrait, 1546–47, oil on canvas, 17 3/4 x 15 in.,
Philadelphia Museum of Art
ike Columbus, he went where the
familiar winds were of no use, to
discover new worlds,” wrote Marco
Boschini, a 17th-century biographer of the artist Jacopo Tintoretto
Although Tintoretto opened up grand new vistas
in painting, his artistic adventures took place almost
entirely in Venice. He was the only one of the greatest
Venetian masters of the 16th century to be born in the
city itself, and, unlike his rivals Titian and Veronese,
he seldom set foot outside it. Nonetheless, his fame
and influence spread far beyond Venice’s lagoon,
and now an unprecedented number of his works
are crossing the Atlantic to appear alongside those
already in U.S. collections.
When Tintoretto died in May 1594, his age was
recorded as 75, suggesting he was born in 1518 or
1519. The 500th anniversary of his birth will be celebrated this spring at Washington’s National Gallery
of Art with a splendid exhibition, Tintoretto: Artist of
Renaissance Venice (March 10–July 7). Premiered this
past season at the Doge’s Palace in Venice, it has been
curated by the independent scholar Robert Echols and
Frederick Ilchman (Museum of Fine Arts, Boston);
together they edited its catalogue, which will surely
remain the definitive volume on Tintoretto for the
foreseeable future.
The Washington exhibition contains 45 paintings and 11 drawings borrowed from 35 lenders
worldwide. The nonprofit organization Save Venice
has restored 18 Tintorettos in recent years: six of
them will appear in Washington, four restored especially for the anniversary. Outstanding among the latter is St. Martial in Glory with St. Peter and St. Paul
(1549), which, thanks to its first conservation treatment in 50 years, has emerged as a far more significant work than was previously realized.
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(TOP) The Deposition of Christ, c. 1562, oil on canvas, 89 3/8 x 115 3/4 in., Gallerie dell’Accademia, Venice
(BELOW) The Madonna of the Treasurers, 1567, oil on canvas,
87 x 205 1/8 in., Gallerie dell’Accademia, Venice
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
We know little of Jacopo Robusti’s early days,
though his nickname “Tintoretto” indicates
his father was a dyer. He appears not to have
trained for any length of time with older Venetian masters, instead first working as a furniture decorator and freelance painter of outdoor
wall frescoes (all now lost). The latter directly
informed the notoriously bold brushwork with
which Tintoretto would ultimately paint in oils.
This central feature of his style attracted both
praise and criticism. The humanist Francesco
Sansovino, a contemporary, noted, “He has
not a great deal of patience,” and that he was
“all dash and verve.” The critic Aretino was an
early supporter, commissioning two mythological ceiling paintings for his own residence;
one has survived and is heading to Washington
from its usual home in Hartford. He wrote to
Tintoretto, “Your brush bears witness with the
present works to the fame the future ones are
bound to acquire for you.” Even so, Aretino later
upbraided the young painter for his impetuosity
and lack of finish.
While striving to find his own style, Tintoretto was clearly subject to the influence of
painters from further south. This has led to
suggestions he traveled to Rome during the
1540s, but there is no documentary evidence for
this; in fact, he need not have bothered because
Venetians could readily experience the exciting artistic ideas emerging from central Italy
through the steady inflow of drawings, prints,
statuettes, and models made there.
Moreover, several leading artists visited or came to live in Venice,
some refugees from the 1527 Sack of Rome, such as the architect-sculptor
Jacopo Sansovino and Raphael’s close collaborator Giovanni da Udine.
Others were itinerant Tuscans, among them the painter Francesco Salviati and the sculptor Bartolomeo Ammannati, who was familiar with
Michelangelo’s most recent productions. Salviati’s frescoes at the Palazzo
Grimani (1540–41), the “Roman” decor of which was then unparalleled in
Venice, would have provided Tintoretto with another paradigm of these
new central Italian styles. Indeed, the influence of Salviati is unmistakable
Standing Clothed Man Seen from Behind, c. 1555, chalk,
or charcoal, heightened with white, with brown oil paint,
on blue paper, 14 1/2 x 7 3/8 in., The Royal Collection/Her
Majesty Queen Elizabeth II
in Tintoretto’s first known dated picture, Virgin
with Child and Saints of 1540.
Another of Tintoretto’s 17th-century biographers, Carlo Ridolfi, claimed that the young
artist wrote an inspirational motto on his studio
wall: “Il disegno di Michelangelo e il colorito di
Tiziano” (The draftsmanship of Michelangelo
and the coloring of Titian). At this time, the concept of disegno encompassed both drawing and
design, while colorito embraced both color and
the handling of paint. Ridolfi’s wording is suspiciously similar to a remark about a notional
ideal artist in Paolo Pino’s Dialogo di Pittura
(1548): “If Titian and Michelangelo were a single body, if the disegno of Michelangelo were
added to the colorito of Titian, then we would
be able to call him the supreme god of painting.”
These elements manifestly came together
in Tintoretto’s breakthrough picture of 1548,
The Miracle of the Slave, made for the Scuola
Grande di San Marco and now a key treasure
of Venice’s Accademia Gallery. More than 13
feet high and almost 18 feet wide, the forerunner of many vast canvases to come, it contains
numerous allusions and references to other
artists: from the northeastern painters Titian,
Venus and Mars Surprised by Vulcan, c. 1545–46, oil on canvas, 78 x 53 1/4 in., Alte
Pinakothek, Munich
(RIGHT) Self-Portrait, c. 1588, oil on canvas, 24 13/16 x 20 1/2 in.,
Musée du Louvre, Paris
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Tarquin and Lucretia, 1578–80, oil on canvas, 68 7/8 x 59 5/8 in., Art Institute of Chicago
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Man with a Gold Chain, c. 1555, oil on canvas, 40 15/16 x 30 5/16 in.,
Museo Nacional del Prado, Madrid
Pordenone, Jacopo Bassano, and Lorenzo Lotto to the
Florentines Michelangelo and Sansovino. The Miracle
of the Slave has a level of “finish” uncharacteristic of
much of Tintoretto’s oeuvre, a quality he may have
emphasized here to avert potentially hostile criticism.
Perhaps more true to his long-term intentions are the
defiant gaze and virtuosic rough brushwork of his early
Self-Portrait from the same period (1546–47).
Marco Boschini observed of the artist, “Like a fulminant Jove he used the thunderbolt of his brush to
pursue superiority over all others, and absolute dominion.” Nevertheless, Tintoretto took immense pains while
preparing his compositions. He was one of the greatest Renaissance draftsmen, as the drawings on view in
Washington will demonstrate. High-quality antique
sculptures were available to sketch from in Venice, notably in the Grimani family’s collections, and Tintoretto
also worked from casts and live models. He typically
drew figures in the nude before adding their drapery, and
he made use of sculpted models in order to construct his
compositions, suspending them from the ceiling when
airborne figures were required. Yet Tintoretto never felt
constrained by his preparatory plans. As Boschini put it:
“He altered the form of his figures if he felt like it, making
them more expressive by rendering them more graceful,
elegant, and beautiful by emphasizing muscles and giving them a more satisfying terseness of outline.”
At the same time, Tintoretto was as devoted
to color as a means of expression, and as a dramatic
device, as any other Venetian master. He may well have
gained some knowledge of pigments from his dyer
father, but more importantly Venice was the epicenter
of the international trade in pigments, supplying the
rest of Italy and beyond. And Tintoretto made good use
of the full spectrum of pigments then available.
The drawings of Tintoretto have generally been
overlooked by scholars and the public, which is why
another exhibition, Drawing in Tintoretto’s Venice, is so
welcome. It remains on view through January 6 at New
York City’s Morgan Library & Museum, where curator John Marciari
has presented the master’s drawings alongside those of his forerunners,
rivals, and pupils. This show will move on to the National Gallery of Art
in Washington, where it will open on the same day as the larger show
(March 10) but close much earlier (May 26) due to the drawings’ sensitivity to light.
Tintoretto was not popular with his fellow Venetian artists. He undercut their prices, gave pieces as gifts, worked for minimal payments, or
sought only to cover his expenses — as he did for the gigantic canvases
in his local parish church of Madonna dell’Orto. The most brazen example of his ruthless approach to winning a commission came in 1564,
when, instead of submitting a sketch in a competition to adorn the Scuola Grande di San Rocco (the most prestigious of Venice’s charitable
confraternity houses), he arranged to have a finished ceiling painting
put in place. One member of the Scuola pledged 15 ducats if any artist
other than Tintoretto was given the commission. But the Scuola’s rules
barred it from refusing a gift, and so its acceptance opened the door
to Tintoretto’s eventual monopolization of the Scuola’s decoration, on
which he worked for nearly a quarter of a century, transforming it into
what is almost a personal monument.
Tintoretto could be a brilliant portraitist, and in 1548 his friend
the comic playwright Andrea Calmo wrote him admiringly: “With a
flourish of the brush you paint a face from life in half an hour.” He was
particularly skilled at painting old men, as evidenced, to take just one
example, by his depiction of the elderly Giovanni Mocenigo in the late
1570s. And Tintoretto’s haunting self-portrait of around 1588 is one of
his absolute masterpieces. A 1560 portrait of the newly elected doge,
Girolamo Priuli, consolidated his position as the republic’s chief portraitist, but it was outside Italy that his influence in this genre was most
profound: on El Greco, Velázquez, Rubens, Van Dyck, and, long afterward, even Van Gogh and Cézanne. It must be admitted, however, that
many portraits that emerged from Tintoretto’s bustling studio were
painted primarily by his assistants, and thus do not measure up to the
master’s own standards. But the twelve autograph portraits, including
the two astonishing self-portraits judiciously selected for the show,
leave us in no doubt of his importance to this genre.
The majority of Tintoretto’s paintings depict religious narratives,
but he also executed mythological and allegorical scenes at various stages
of his career. Many were done for the Doge’s Palace, especially after the
deaths of Titian and Veronese, and he unashamedly imitated his rivals’
styles in some of these works. Although he was clearly less interested
in secular themes, his were on occasion strikingly original. Tintoretto’s
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(TOP) Summer, c. 1555, oil on canvas, 41 5/8 x 76 in., National Gallery of Art,
Washington, D.C.
(LEFT) The Creation of the Animals, 1550–53, oil on canvas,
59 1/2 x 101 5/8 in., Gallerie dell’Accademia, Venice
early Venus and Mars Surprised by Vulcan (c. 1545–46) is both explicit,
as Vulcan raises the sheet to inspect his wife’s genitalia in search of evidence of her transgression, and farcically humorous, showing Mars’s
head poking out from beneath the table under which he has taken hasty
refuge. When the artist brought to mythological subjects his extraordinary skills in depicting moments of high drama, the results were no less
memorable. In his Tarquin and Lucretia (1578–80), depicting the rape of
a virtuous woman by a Roman tyrant, Tintoretto departs from tradition
by presenting both figures nearly naked. He accentuates the violence by
using an almost cinematic freeze-frame technique to depict a statue toppling over, a cushion flying off the bed, and Lucrezia’s necklace snapping,
its pearls caught in mid-air as they cascade onto the floor.
Tintoretto adorned scores of churches, scuole, monasteries, convents, palazzi, and public buildings. Many of his scenes were on a large
scale, featuring dozens, sometimes hundreds, of figures. When the
Doge’s Palace was devastated by fire in 1574 and then again in 1577 —
destroying works by many of Venice’s finest masters, including Tintoretto himself — no studio was in better position than his to replace
them rapidly. This afforded Tintoretto a fortuitous opportunity to
place his final imprimatur on the city’s most prestigious public space —
and to create his most colossal work. Paradiso, painted on the end wall
of the Sala del Maggior Consiglio at a whopping 23 feet high by 72 feet
wide, is believed to be the largest Old Master painting anywhere.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
Despite his decades of unceasing industry, Tintoretto never
became as wealthy as Veronese and Titian did through their aristocratic and princely patrons (and, in the latter’s case, a lucrative timber
and wine trading business). Indeed, the artist acquired his own house
only when he was in his mid-50s, and by 1575 he was seeking tax relief
on the grounds of poverty.
Still, as Henry James concluded in his Italian Hours: “No painter
ever had such breadth and depth; and even Titian, beside him, scarce
figures as more than a great decorative artist… Titian was assuredly a
mighty poet, but Tintoret — well, Tintoret was almost a prophet.”
RODERICK CONWAY MORRIS lived in Venice for 25 years, writing on art for
the International Herald Tribune. He now divides his time between London and
North Wales, contributing to various publications.
Information: In addition to the two exhibitions described above, the National
Gallery of Art ( will offer a third one, Venetian Prints in the Time of
Tintoretto, on view March 10–May 26. For those fortunate enough to be in Venice before January 6, be sure to visit four important exhibitions: a larger version of the National Gallery of Art’s show is titled Tintoretto 1519–1594 and on
view at the Doge’s Palace (; The Young Tintoretto is
at the Gallerie dell’Accademia (; Art, Faith, and Medicine
in Tintoretto’s Venice is at the Scuola Grande di San Marco (; and Venice during the Age of Tintoretto is at the Palazzo Mocenigo
( On view at New York’s Metropolitan Museum of Art
through January 27 is the exhibition Celebrating Tintoretto: Portrait Paintings
and Studio Drawings. Fine Art Connoisseur encourages everyone to support the
conservation work of Save Venice by joining as a member: And
if you are heading to Venice, purchase this charity’s recently published guidebook of Tintoretto itineraries around the city.
2 0 1 9
B Y E M I LY M . W E E K S
nter Jon
Swihart (b. 1954) learned that the Baltimore Museum of Art possessed a group
of artists’ palettes. Among them waas
the well-worn palette of Jean-Léon
Gérôme (1824–1904), the French
academician Swihart had long admired.
Impressed by Swihart’s excitement during
their phone conversation, a museum registrar kindly measured and photographed the
historic palette for him. Within a few weekss,
Swihart had an exact replica made and stiill
uses it to this day. “My palette has become a sort
of talisman,” Swihart explains, “and I feel a deep
connection with Gérôme while holding it.”
Swihart’s enthusiasm for Gérôme is evident
throughout his Santa Monica studio. His paiintings,
inspired by some of the master’s best-kno
compositions, are propped on easels, theeir
surfaces as smooth and painstakingly precisee
as Gérôme’s slick, detailed originals. The
door of Swihart’s studio is similarly revealing: an Arabic phrase is painted across the
chestnut-colored wood, lifted directly from
the inscribed portal that appears in an early
Gérôme painting of a Sudanese guard. (Written in Ottoman script, this quotation from th
Quran reads “Your Lord is indeed the Creator of
All, the All-Knowing.”)1
Scattered throughout Swihart’s studio — and also
in the comfortable home he shares with his wife and fellow
artist Kimberly Merrill — is a selection of Gérôme paintings, drawings,
and sculptures the artist has acquired over the years. They, along with
a wealth of related ephemera, form a thoughtfully curated collection
that is both museum-like in quality and, in its deep and visible influence
on Swihart’s daily life and artistic practice, animate and approachable
as well. ”Although I regard all the Gérômes in my collection like holy
scripture,” Swihart muses, “one of my favorite pieces is an early study
of a draped figure. I love this drawing because it is so intimate and so
Top: Jean-Léon Gérôme’s wooden palette, 11 x 16
in., Baltimore Museum of Art, George A. Lucas
palette, 11 x 16 in.
telliing, like a window into the artist’s mind
and soul. It embodies what I believe is at the heart
of Gérôme’ss work, and what I strive for in my own —
sincerity, reverence, restraint, and economy of form.”
Swihart’s interrest in Gérôme began in 1972, when he
found at the Santa Monica library the catalogue of a
recent retrospective at the Dayton Art Institute.
“I haad neverheardof Gérômeand wasinstantly
nthralled by his paintings,” Swihart recalls.
“This was the mentor I had been seeking!”
Determined to learn more about this 19thcentury master, Swihart was surprised to
find that little research had been undertaaken: “At that time, there was virtually
no in
nformation available on Gérôme, which
fueled my obsession and curiosity all the more. Then
a few scholaarly articles began to appear, all written by
Gerald M. A
Ackerman [1928–2016], who, I later discovered, lived neear me in California. The first time we met,
we spent the eentire day meticulously going through his
massive Gérôme archive. It was one of the most powerful
experiences of my life,
lif and I left that evening with my arms full
of irreplaceable documents that he generously allowed me to borrow. That
was the beginning of a long friendship with Jerry, in which we shared our
passion for all things Gérôme.” (Swihart’s geographic serendipity would
continue; he only recently discovered that a neighbor and collector of his
art — a friend for 30-odd years — was in fact the great-niece of Fanny Field
Hering, Gérôme’s contemporaneous American biographer.)
Though remarkable in many ways, Gérôme’s powerful influence
on Swihart, a practicing American figurative painter, is not without
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
JON SWIHART (b. 1954), Untitled,
1986, oil on panel, 11 x 14 1/2 in.,
private collection
JEAN-LÉON GÉRÔME (1824–1904),
Cave Canem, 1881, oil on canvas,
41 3/4 x 35 in., Musée GeorgesGarret, Vesoul, France
JEAN-LÉON GÉRÔME (1824–1904), The Hoop Dancer, 1891, painted plaster, 9 1/8 in.
JEAN-LÉON GÉRÔME (1824–1904), Draped Figure, c. 1852, 12 x 6 in., red chalk on paper,
high, collection of Jon Swihart
collection of Jon Swihart
precedent. Indeed, during the course of Gérôme’s long and prolific
career, no fewer than 150 American artists passed through his Paris
atelier, learning the nuances of his academic style and finding inspiration in his extensive travels and exotic subject matter. (Gérôme traveled
throughout the Middle East between the 1850s and 1880s, accumulating
a vast library of sketches, props, and souvenirs that were used for his
later paintings.) Among the most famous of these students were Frederick Arthur Bridgman, Thomas Eakins, Edwin Lord Weeks, and J. Alden
Weir, who each took from Gérôme’s training elements they adapted for
their own idiosyncratic purposes.
For Swihart, the lessons from Gérôme have been many and varied —
and each equally profound. “In the wake of Abstract Expressionism in the
1970s and ’80s,” Swihart explains, “art schools frowned upon developing
any skills in drawing and painting. So, with no real support or guidance,
my approach to creating realistic art was unfocused and random. But the
discovery of Gérôme gave me a clear goal of what I wanted to achieve.” He
continues, “Gérôme is a great mentor because countless pencil drawings,
oil sketches, and abandoned half-finished paintings have surfaced thanks
to his growing popularity over the last few decades, providing numerous
opportunities to observe his creative and decision-making processes. It’s
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
JEAN-LÉON GÉRÔME (1824–1904), Lion in the Desert,
c. 1903, oil on canvas, 11 1/2 x 16 in., collection of Jon
actually inspiring to watch him struggle from
a mediocre beginning until he creates a masterpiece. This kind of visible agonizing — the
persistence and effort we see — makes Gérôme
very human and accessible to me.”
Swihart’s admiration extends to the most
specific aspects of Gérôme’s technique. He has
adopted the master’s practice of developing and
improving an idea through a series of sketches,
which culminate in a resolved oil study that, in
Swihart’s words, “allows for total concentration when executing the final painting.” One
such oil study by Gérôme, among the last to
be finished before his death in 1904, holds a
F I N E A R T C O N N O I S S E U R · C O M
special place in Swihart’s home. Displayed in
characteristically thought-provoking fashion,
with complementary or amusing objets nearby,
Lion in the Desert both educates and offers
a continual source of inspiration to Swihart,
who sees beneath its brilliant hues.2 “I use the
same orderly painting process witnessed here,”
he observes, “first toning the canvas or panel
with an imprimatura, or preliminary stain of
color, then making a precise drawing over it,
adding a thin roughed-in underpainting, and
finally, putting in the fully finished upper layer,
with only one area being completed at a time. I
also use Gérôme’s oil-resin painting medium.”
Such dedication would surely have been
appreciated by Gérôme, perhaps the most
disciplined artist of his day. Born in Vesoul,
France, in 1824, Gérôme began his career as a
leader of a group of young painters studying in
J A N U A R Y / F E B R U A R Y
2 0 1 9
Paris with Charles Gleyre and Paul Delaroche.
Inspired by Greek art and the recent discoveries of frescoes at Pompeii and Herculaneum
(sites that Gérôme visited), as well as by contemporaries’ love of narrative and a modicum
of scandal, these Néo-grecs painted antique
genre scenes with a salacious touch and a distinctive, sun-drenched palette. Such subjects
were the perfect vehicle for Gérôme to display
his lifelong love of drama, theater, gesture, and
costume, and to indulge his developing and
seemingly divergent interests in color, light,
and the archeological reconstruction of the
classical and, later, Eastern worlds.
Gérôme’s path to Orientalism — the genre
for which he would become best known —
began in 1856, when he first traveled to Egypt
with a group of colleagues and friends. Subsequent trips to the region expanded his repertoire of subjects, and confirmed — at least in
contemporaries’ eyes — his talents as an ethnographer and his reputation as a privileged
(LEFT) JON SWIHART (b. 1954), Portrait of Paul Frank,
2014, oil on panel, 12 x 8 1/2 in., private collection
(ABOVE) FERNAND CORMON (1845–1924), Jean-Léon
Gérôme, 1891, oil on canvas, 51 x 39 1/2 in., collection
of Jon Swihart
witness to all aspects of Middle Eastern life.3
In addition to these firsthand observations,
and the artifacts and decorative objects he
brought back, Gérôme made great use of the
latest technology and scholarship to create his
art. An ardent supporter of photography, he
accumulated a massive archive of amateur and
professional photographs, which he added to
his bookshelves of academic publications on
Islamic culture, architecture, and design.
Though his subjects are more domestic,
Swihart arrives at them through a similarly
rigorous investigative process, and via many
of the same means. Photographs — most taken
by Swihart himself — provide a practical solution to the demands of his hyper-realistic style,
releasing his models from what would otherwise be an endless marathon of sittings and
offering a means by which to study even the
most minute detail. (Swihart is quick to correct anyone who compares his work to photography, however, explaining that it is instead,
much like Gérôme’s, “an intuitive blend of
fidelity to reality and poetic license that just
happens to resemble a photo.”)
Travel and bookish research also contribute directly and indirectly to Swihart’s artistry. During one of his many trips to France
(his “magical faraway land of dreams”), he
embarked on a pilgrimage of sorts. It included
measuring and drawing the floor plan of one of
Gérôme’s studios (now an office space); visiting
the room in which the artist was born and the
street corner where he waved farewell to his
dining companions on the night he died; and
visiting descendants of the artist, who shared
their stories and the artworks they inherited to
help bring the master to life. The sum of these
experiences and the logs of quantifiable data —
which constitute an archive that, in many ways,
rivals Ackerman’s — add a gloss of erudition and
an element of history to even the most modern
and “popular” of Swihart’s paintings. His 2014
portrait of the legendary cartoonist, artist, and
fashion designer Paul Frank, for example, traces
its lineage to the penetrating figure studies and
J A N U A R Y / F E B R U A R Y
society commissions produced by Gérôme and,
rather cleverly, to a dynamic portrait of Gérôme
at work, painted by his peer Fernand Cormon
and also owned by Swihart.
It is this connection with the past —
between the works Swihart collects and those
he is inspired to create — that grounds and
guides him at every turn. “The artist,” Gérôme
once advised his students, “should be a poet
in conception, a determined, honest, and sincere workman in the execution.” As a young
man, Swihart once taped this quotation to his
studio wall. Ever since, Gérôme’s words have
become an all-embracing philosophy, resonating as powerfully today as they did more than
150 years ago.
EMILY M. WEEKS is an independent art historian
and consultant for museums, auction houses, and
private collectors in America, Europe, and the Middle East. Her areas of expertise include Orientalism
and 19th-century British and European visual culture; she is also the acknowledged expert on the artist
Jean-Léon Gérôme.
1. Surah Al-Hijr 15, verse 86.
2. A more complete version of this painting is in
the Albright-Knox Art Gallery, Buffalo.
3. Today, the “realism” of Gérôme’s Orientalist
works is rightly called into question.
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
he National Academy of Design is both the new
and old name of America’s first artistic honor society. Since its founding in 1825, this group of distinguished, self-electing artists and architects (who
number 450 today) has advanced the best in American visual culture from its headquarters in Manhattan. Now it
has been reborn after a decade of turmoil and reform.
Rarely has a distressed arts group shed so many shackles
all at once. Not a single can has been kicked down the road,
and it is making the most of its abundant strengths. For starters, it has returned to its former name, the National Academy of
Design. The one its members adopted in 1997 — National Academy Museum and School of the Fine Arts — seemed conceited,
historically incorrect, a mouthful, and a handful. It celebrated
mission creep and committed the organization to goals it could
never achieve.
In 2015 the NAD closed the doors of its Upper East Side
complex after sturm und drang of Wagnerian proportions. Hitting the headlines on a rolling basis were its leadership meltdowns, internal discord, a sale of artworks from the permanent
collection to cover operating expenses, the resulting public
scorn, and finally the bolting of its doors.
When it closed, the NAD owned three interconnected buildings
near the corner of Fifth Avenue and East 89th Street. The most
visible was once the townhouse of the philanthropists Archer
and Anna Hyatt Huntington, who had donated it to the NAD in
1940; it has finally been sold and will soon be converted back
into a private residence. The net haul of $20 million is now in a
restricted endowment generating income for the NAD’s operations. The former school building (5 East 89th Street) is under
JOHN FREDERICK KENSETT (1816–1872), The Bash-Bish, 1855, oil on
canvas, 36 1/8 x 29 in.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
(1849–1916), The Young Orphan, 1884, oil on canvas,
44 x 42 in.
Charles Courtney Curran, 1888–89, oil on canvas, 17 x
21 in.
Idlers, 1888–89, oil on canvas, 29 x 40 in.
contract, and the profits from that sale will also
go to the endowment. The third building (3 East
89th Street) is still on the market, but the board
is working with a respected broker and hopes to
find a buyer soon. Once it sells, the NAD can reasonably expect to have a $50 million restricted
endowment as well as a $10 million fund to
cover its relocation costs; the latter would probably entail purchasing or renting a new space
elsewhere in New York City.
The NAD was more cursed than blessed by
its Fifth Avenue location. The move to the Huntingtons’ house was initially a stopgap after the
organization’s West Side headquarters burned
down in 1942. This was literally emergency housing that became not only permanent, but also permanently unsatisfactory. The townhouse could
never be refitted as proper exhibition space, and
its location along “Museum Mile” might have
been ideal were it not for the larger and richer
institutions operating all around it.
Unloading the property became a hill to
die on for some Academicians. During the tenure of director Annette Blaugrund (1997–2007),
the advisory and artist boards identified a good,
affordable home downtown. But a faction of
Academicians rebelled, embracing their prestigious Fifth Avenue headquarters as sacred. Over
the years, many members had resisted the need
to fundraise. Some felt no responsibility to give,
which is understandable since the designation
of “Academician” is honorific. Others feared
that the fundraising prowess developed by Blaugrund would change the institution’s character,
making it too beholden to donors and distracting
the staff from Academicians’ needs. Still others
felt the NAD’s museum and school units were
burdens or sideshows.
The spectacle of artists — ostensibly a lean
and hungry group — pining to remain on Billionaires’ Row was as unseemly as it was decisive. The plan to move downtown imploded
and a meltdown followed. Academicians who
had favored the move, as well as the NAD’s few
wealthy donors, fled, and Blaugrund resigned.
Leading an institution philosophically split and
financially broke, the board proceeded to sell two
fine Hudson River School paintings from its collection. This generated $13 million but also sanctions by the national museum community and
criticism from the New York arts establishment.
J A N U A R Y / F E B R U A R Y
Quickly, the board and new director Carmine Branagan blew through the sale proceeds
while trying to maintain the NAD’s art school
and its series of high-quality, though expensive
and poorly attended, loan exhibitions. When
Branagan departed in 2013, the NAD was again
in debt. Its curator, Maura Reilly, became director in 2015, but the property closed within
months. The collection was hastily moved to an
undisclosed location, all programming ceased,
and the school dissolved. Few in the New York
art world seemed to care anymore. Did silence
equal death?
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(LEFT) JOHN SINGER SARGENT (1856–1925), Self-Portrait, 1892, oil on
canvas, 21 x 17 in.
(TOP) WALTER UFER (1876–1936), Jim, 1918, oil
on canvas, 40 1/8 x 36 1/4 in.
(1874–1960), The Lake, c. 1923, oil on canvas, 24 1/8 x 27 in.
The NAD had two core problems: its headquarters was
a financial ball and chain, and its artist-led governance was
untenable. Nothing good could happen until the first was
shed and the second revised. Both have been accomplished
in a responsible way, and the NAD is now using 5 East 89th
Street (before its new owner moves in) for the occasional
educational program. The skeleton staff — who are young
and entrepreneurial — are working in improvised offices.
As for the governance, we all love artists’ creativity, courage, wit, and stamina. They are immensely generous with
their time and talent, but most are not rich. The issue here is
that being elected an Academician is an honor bestowed by
your peers in recognition of artistic achievement. Membership confers a vote on NAD business, but not a duty to give,
which the trustees of most other nonprofits assume.
Now the NAD’s evolving board has a mix of artists and
people with a passion for its mission and the capacity to write
big checks. I am impressed with who the Academicians have
invited to join them in putting the place on a firm footing.
Maura Reilly recently left the NAD, so the interim director is
Mary Fisher, who once ran its school. Essentially, the organization is in start-up and turnaround modes at the same time.
In the last few months, I have attended three lively events
at the NAD, among them a screening of a new documentary
about the sculptor Elizabeth King, with its creator, Olympia Stone, on hand to offer insights. The programs were not
only well attended, but also economical; this is, after all, an
artist-focused organization, not the Metropolitan Museum
of Art. All three were run by artists and were about artists, free of academic jargon. Particularly moving to me was
the palpable affection the Academicians feel for the NAD.
Clearly they know that its history is distinguished and its
potential enormous.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
It is also a relief to see that the NAD is partnering with the nonprofit American Federation
of Arts (AFA) to tour 100 of its best paintings to
eight museums throughout the country. (All of
this article’s illustrations are from the exhibition’s checklist.) From its founding in 1825 to the
present, the NAD has required all Academicians
to donate a representative work to its collection,
and from 1839 through 1994, it also demanded
a portrait of themselves, painted by their own
hand or by a fellow artist’s. The result is a trove
of nearly 8,000 objects, one of the best collections
of American art anywhere. These include paintings, drawings, sculptures, watercolors, prints,
photographs, videos, mixed-media works, and
architectural drawings, renderings, and models —
J A N U A R Y / F E B R U A R Y
JANE FREILICHER (1924–2014), Self-Portrait in a Mirror,
1971, oil on linen, 42 x 38 in. © Estate of Jane Freilicher,
courtesy Paul Kasmin Gallery, New York City
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(ABOVE LEFT) ANN GALE (b. 1966), Babs with Ribbons, 2007, oil on canvas, 48 x 42 in., courtesy Dolby Chadwick Gallery, San Francisco
(1918–1979), Mother Courage II, 1974, oil on canvas, 49 3/4 x 39 7/8 in. © Charles White Archives
made by the more than 2,300 individuals elected
to membership over nearly two centuries. To be
clear, I am not a fan of the AFA, which does not
offer anything a museum curator and registrar
cannot do on their own. Indeed, by co-organizing
this national tour with the NAD’s director of collections and curatorial affairs, Diana Thompson,
the AFA will take a portion of the revenues the
NAD would have earned. Nonetheless, the Academy is making some money and will benefit from
the resulting publicity.
Looking forward, the NAD has a fantastic
collection it can mine in order to mount focused
exhibitions, some of which can be augmented
by inexpensive loans from other New York
City museums. This would be especially beneficial because the NAD has many works that
are rarely seen and would relieve it from the
pressures of operating like a typical museum,
with all the expectations that go with it. Whatever it does, in the foreseeable future the NAD
must operate frugally and remain focused on its
core mission, which is recognizing excellence
through the election of Academicians and the
supporting of them and, more broadly, all artists. To this end, the NAD recently launched a
free online journal focusing on the Academicians and the objects in its collection (, and it has also launched a free
F I N E A R T C O N N O I S S E U R · C O M
website dedicated to its collection (nadatabase.
org). Moreover, it will soon re-energize its grantmaking program for artists.
Over time, then, the NAD could evolve quite
inexpensively into a service organization, more
akin to a foundation than to a museum. This in
itself would make the status of “Academician”
more prestigious and worthwhile. As a practical
matter, the NAD has a narrow fundraising base
and will always find itself competing for donations with hundreds of New York arts groups.
The reborn Academy can be, as board co-chair
Walter Chatham NA has said, “culturally progressive but financially conservative.” Amen.
The National Academy of Design will also
be stressing the “national” part of its name. I
am well aware, as are many Academicians, that
this country’s art community might be centered
in New York, but New York isn’t the only place
with great American artists. When I directed
the Addison Gallery of American Art (Andover,
Massachusetts), I highlighted the reality that
good art comes from all over, with many artists
drawing their inspiration entirely from their
surroundings in California, the Deep South,
New England, the Pacific Northwest, or Native
American reservations. Their art is as American
as that made in Brooklyn. Ideally the NAD will
start recognizing their achievements, too.
J A N U A R Y / F E B R U A R Y
2 0 1 9
On November 8, the NAD inducted 36 new
Academicians, its largest annual class in 25 years
and the fifth-largest in its history. This in itself is a
welcome sign of new life. It would seem the pride
is back. Now the National Academy of Design can
look forward to its 200th birthday in 2025 not
with dread, but with joy and promise.
BRIAN T. ALLEN is an art historian. He was the
director of the New-York Historical Society’s museum
and the Addison Gallery of American Art, Phillips
Academy, Andover, MA.
Information: The exhibition
For America: Paintings from the National Academy of
Design will be on view from February 2019 onward
at the following venues: Dayton Art Institute (Ohio),
New Britain Museum of American Art (Connecticut),
Society of the Four Arts (Palm Beach), Dixon Gallery
& Gardens (Memphis), New Mexico Museum of Art
(Santa Fe), Figge Art Museum (Davenport, IA), and
Crocker Art Museum (Sacramento). For details on this
project and its accompanying publication, visit amfed
All artworks illustrated here are from the permanent
collection of the National Academy of Design.
ollow me, dear reader, along a path
delineated by white Lenten roses
in March, yellow lady slippers in
May, and cadmium orange Japanese
maples in October. Think of the
sequences of color and fragrance
that emerge with each season, and chances are you
will conjure a garden that was conceived by a horticulturalist whose labor, invention, and fortitude
brought this place into being.
Most gardens, like most art museums, are sites
of contemplation, study, and sensate enjoyment.
America’s gardens, with their deep roots in the agricultural traditions of indigenous and immigrant
cultures, as well as influences from gardens on five
other continents, are urgently significant today: the
demands of our digitally oriented lives constantly
threaten to disconnect us from the open spaces, flora,
and fauna that replenish us as human beings.
In her fascinating new book, Heroes of Horticulture: Americans Who Transformed the Landscape,
Barbara Paul Robinson pays tribute to 18 individuals whose extraordinary efforts to cultivate places of
beauty and respite revolutionized the field of American gardening. A New York City attorney who educated herself in horticulture by volunteering to pull
weeds for the famed British gardeners Rosemary Verey and Penelope Hobhouse,
Robinson has selected a group of distinguished women and men from across the
field’s many sectors. (Happily, all but two are still alive.) She highlights the expertise that underlies the formation of gardens while sharing previously unpublished,
often surprising details about her heroes’ paths.
The author draws a vibrant literary map that connects her subjects across
a geography of teachers, mentors, and friends while illuminating how horticultural knowledge is acquired, shared (or protected), and passed down over generations. For example, the decades-long collaboration of Antonia Adezio (b. 1954),
Tom Armstrong (1932–2011), and Frank Cabot (1925–2011) resulted in the 1989
founding of the Garden Conservancy, the first organization to support the preservation of outstanding gardens across America, many of which have also become
National Historic Landmarks. And Central Park would not be the jewel in New
Americans Who Transformed the Landscape
Barbara Paul Robinson
York City’s crown were it not for the friendship of Elizabeth Barlow Rogers and
Lynden Miller.
Robinson notes that each individual in her pantheon has worked across
multiple professions — and that several have had a formative involvement in the
visual arts. Tom Armstrong served as director of the Pennsylvania Academy of
the Fine Arts and Whitney Museum of American Art; Marco Polo Stufano, the
first director of horticulture at Wave Hill in the Bronx, studied art history as an
undergraduate; Lynden Miller was a visual artist before turning to landscape
design; and Gregory Long, president emeritus of the New York Botanical Garden, studied art history before he catalogued European paintings at the Metropolitan Museum of Art. The book’s structure allows the reader to appreciate the
spectrum of specializations and institutions within the horticulture world, and
to consider how a plantsperson might dedicate herself to one, or move across
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(LEFT) Wave Hill (The Bronx): Flower garden and Marco
Polo Stufano Conservatory; photo courtesy Wave Hill,
which is also depicted on the book’s cover
L E F T ) Windcliff (Washington state): Ceanothus, roses,
and succulents; photo: Barbara Paul Robinson
disciplines over a lifetime. Its chapter groupings are The Garden Conservancy;
Public Parks and Public Spaces; Public Garden Institutions; Plantsmen, Plant
Finders, Nurserymen; and Garden Creators.
Two of Robinson’s subjects — Dan Hinkley and Elizabeth Barlow Rogers —
also figure in my own development as an artist and horticulturalist. In 2004,
when I moved from Seattle to New York City, I regretfully left behind a ritual
sacred to Pacific Northwest gardeners — the annual buying trip to Heronswood Garden, on the Kitsap Peninsula overlooking Puget Sound. Heronswood,
founded in 1987 by Dan Hinkley and his partner, the architect Robert Jones,
was a laboratory and nursery where Hinkley cultivated and purveyed rare species he wild-collected from the more than 35 countries he has visited, including
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
China, Vietnam, Australia, and South Africa. There
were few nurseries in America offering unusual
plant selections beyond the familiar geranium/hosta/
impatiens triumvirate, and the success of Heronswood coincided with (and helped further) America’s
growing interest in gardening. Heronswood was
eventually sold to the Burpee Corporation, closed in
2006, and revived in 2012 when the Port S’Klallam
Tribe purchased the property.
Hinkley’s catalogues, illustrated by regional
artists and filled with his poetic and humorously
evocative plant descriptions, are hoarded by garden
aficionados. “There is an ease and confidence to the
Ceanothus,” he wrote in 2005, “not to mention a
blockbusting blueness, that makes them irresistible
to gardeners who can abet their cultural obligations.”
Inside the home of Hinkley and Jones, named Windcliff, a mystical scene of salmon leaping above waves,
painted by the Seattle artist Alfredo Arreguin, attests
to the couple’s appreciation of how artistic heritage
intertwines with the Pacific Northwest landscape.
Undaunted by my move to the Bronx, I ordered from
the catalogue a selection of Heronswood hellebores.
Never mind that they would find no shade, let alone
soil, in my 16th-floor apartment. Creating a garden
(like artmaking) teaches you that ambition, fantasy,
failure, and humility are close cultivars.
Robinson’s profiles of Elizabeth (“Betsy”) Barlow
Rogers and Lynden Miller form a double portrait of
two women whose friendship, artistic chemistry, and
ambition to create a more beautiful city have directly
benefited tens of thousands of residents and visitors
every day, including me. While Rogers is best known
for her leadership of the restoration of Central Park,
Miller redefined New York City’s shared spaces by
developing the field of public garden design as a lifetime commitment.
During the fiscal crisis of the 1970s, the city’s
parks fell into a state of decay. In 1980, Rogers was
tasked to lead the newly formed Central Park Conservancy, which would raise money to restore the
park. Rogers told Miller, a close friend and a painter,
that she should consider restoring the Conservatory Garden at Fifth Avenue and 105th Street (once
a significant formal garden, later filled with debris).
Disregarding warnings from her friends, Miller threw
herself into this six-acre garden, which she organized into sections inspired by
French, Italian, and English precedents. Miller went on to make significant contributions to many other sites, including Bryant Park, the New York Botanical
Garden, and the Museum of Modern Art’s sculpture garden.
While Miller had little professional experience as a garden designer, I fully
understand Rogers’s instincts for assigning her the task. I believe that gardeners
and artists are cut from the same cloth, and in America we can find many examples of their influence on each other. They both harness color, light, shape, and
texture to compose dynamic environments in which to experience our world in
concentrated form. Another of Rogers’s close friends was the landscape painter
Jane Wilson (1924–2015), known for her evanescent abstractions of Long
Island’s sea and sky. “Growing up on a farm… you lived at the bottom of a sea of
weather,” Wilson once told Rogers.
2 0 1 9
(CLOCKWISE) Central Park: Glen Span Arch; photo: Sara Cedar Miller, courtesy Central
Park Conservancy
photo: Rebecca Allan
Japanese maples and stream, Iroki Garden, Bedford, New York;
REBECCA ALLAN (b. 1962), Theodore Dreiser’s Writing Garden,
2016, acrylic on canvas, 24 x 40 in., collection of the artist
As a painter who is also the plant records manager at Iroki Garden — the
estate of Judy and Michael Steinhardt in Bedford, New York — I have had the
opportunity to see firsthand the commitment and faith poured into the creation
of a significant private landscape garden. Iroki, once the home of the American
writer Theodore Dreiser (1871–1945), contains one of America’s most extensive
collections of Japanese maples. It is overseen by Cathy Deutsch, the director of
horticulture, who helps the owners realize their vision. Having interned at Wave
Hill under her mentor Marco Polo Stufano, Deutsch has opened a window for me
onto the evolution of this garden and has thus inspired my own art. I have observed
her artistic process of re-envisioning areas of the garden (initially designed by Carole and Jerome Rocherolle) in order to integrate new accessions, and of composing new planting beds that relate spatially and chromatically to everything around
them. This is like weaving new threads into a Baroque tapestry.
how the gardens inherited and (re)designed by emerging leaders both reflect and
diverge from those of their predecessors, echoing the relationships of artists who
admire and yet wish to distinguish themselves from their teachers.
Building upon Robinson’s informative book, surely another volume could be
dedicated to the staff
ff gardeners who plant and maintain American gardens today
— essential partners in realizing the creative visions of their founders. Without the
skill, ingenuity, and endurance of gardeners at all levels of the hierarchy, the sites
we enjoy could not go on.
As three-dimensional artworks with a temporal and ephemeral dimension, gardens have a relationship to painting and even performance art. Each
day reveals a unique palette and perspective, from the fine details of leaves and
groundcovers to the sweep of forms in a landscape prospect. We must treasure
and protect these places, made by horticulturalists whose aesthetic gifts and civic
generosity will continue to flower far into the future.
During my recent conversation with Barbara Robinson, we wondered who
America’s emerging horticultural heroes might be. I suggested Claire Davis, the
new director of horticulture at Locust Grove in Poughkeepsie, New York. Having
worked at Frank Cabot’s renowned Stonecrop Gardens in Cold Spring, New York,
before serving under Cathy Deutsch as a staff
ff gardener at Iroki, Davis is part of
a rising generation of innovative horticulturalists now restoring the landscape of
the historic home of artist, inventor, and co-founder of the National Academy of
Design Samuel F.B. Morse (1791–1872). This lineage of mentoring is reflected in
REBECCA ALLAN is a New York-based artist and gardener. Her artwork is represented by Anna Kaplan Contemporary (Buffalo) and David Richard Gallery (New
York City). She has recently been painting scenes of Iroki, the garden in Bedford, New
York, where she works part-time as plant records manager.
Information: To order Robinson’s book, visit
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Perennial border at Locust Grove, Poughkeepsie,
New York; photo: Claire Davis
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
The first section of La Tapisserie de Bayeux,
photo © S. Maurice
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
n a master stroke of cultural diplomacy, French
President Emmanuel Macron announced in
January 2018 that his country would loan the
storied La Tapisserie de Bayeux (The Bayeux
Tapestry) to Britain in 2022. In exchange, it’s
been suggested that the British Museum lend
the equally famous Rosetta Stone, taken by Napoleon’s
troops from Egypt and turned over to Britain in 1801.
Though Macron’s headline-making offer represents the first time the Bayeux Tapestry would leave
France in more than nine centuries, it isn’t the first time
the famous work has been unfurled for propaganda purposes. In 1804, Napoleon displayed it in Paris to drum up
support for his own planned invasion of England. And
after occupying France in 1940, Adolf Hitler exploited it
to advance his Aryan agenda.
The world’s most celebrated tapestry is not a tapestry at
all, but an embroidery. It was stitched some 950 years
ago to chronicle and glorify the Norman Conquest of
England. In 1066, William the Conqueror, Duke of
Normandy, crossed the English Channel and defeated
King Harold at the Battle of Hastings in southern England. After 600 years of Anglo-Saxon rule, William
became England’s first Norman king. Laws, society,
and architecture were transformed. French became
the language of the court; Norman nobility became the
new English aristocracy.
The Bayeux Tapestry was commissioned and produced in the years following the invasion, probably for propaganda purposes. Yet the name of its patron
remains a matter of debate. One leading candidate is William the Conqueror’s
half-brother, Bishop Odo of Bayeux, who enjoys a major role in the narrative
the embroidery depicts. Other candidates include William or his wife, Queen
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
( A B O V E ) Harold Godwinson visits King Edward the
( L E F T ) Harold journeys to Normandy
Matilda; Queen Edith, wife of Edward the Confessor (Harold’s predecessor); and the monks of
St. Augustine’s Abbey in Canterbury, where the
design style of the tapestry developed.
Most experts agree that it was produced
in Norman England, probably by Anglo-Saxon
women, who were renowned for their embroidering skills. Its nine linen panels were handstitched before being joined, which points to a
professional workshop, according to Alexandra
Lester-Makin, a specialist in early medieval
embroidery. Measuring approximately 224 feet
long and nearly 20 inches high, the tapestry is
composed of a central panel flanked by an upper
and lower border, each measuring 2 3/4 inches
high. Decorating the borders are birds, lions,
dogs, and deer along with imaginary creatures
like dragons, griffins, and centaurs.
The 58 scenes unfold chronologically —
starting with Harold Godwinson’s conversation
with his brother-in-law King Edward the Confessor, followed by his voyage to Normandy and oath
to Duke William on the sacred relics of Bayeux to
uphold William’s claim to the English throne. After learning of Harold’s accession as king, William is so furious that he builds a fleet of ships and leads the
Norman army across the Channel. The decisive battle at Hastings is stitched in 10
gory scenes, featuring corpses, dead horses, and the newly crowned Harold taking an arrow to the eye. Survivors are shown fleeing the hilltop battlefield.
2 0 1 9
(TOP) Harold is crowned King of England
(RIGHT) The Norman ships underway
(BELOW RIGHT) King Harold learns that Halley's Comet has appeared as an ill omen in
the sky above
In addition to its invaluable record as a historical document, the Bayeux Tapestry offers insights into 11th-century ships, weaponry, and everyday life. Populating it are more than 200 embroidered horses and mules, 35 dogs, and some 600
humans, including three women and three children. Of these, only 15 people are
identified with their names in Latin. Lumberjacks and carpenters build ships;
farmers plow and sow with mules and horses. In contrast to the mustachioed,
long-haired Englishmen, the Normans are clean-shaven with short hairstyles.
Before the battle, the Norman soldiers are shown enjoying a hearty meal of soup,
bread, and roasted chicken.
Thick wool threads against a smooth cream linen background give the epic
tale a three-dimensional quality. The embroiderers worked with a limited palette
of ten dyed colors of thread, all varieties of red, blue, yellow, and green, writes
Gale R. Owen-Crocker in Making Sense of the Bayeux Tapestry. Rather than deluxe
silk and gold thread, yellow and pale blue were used to represent gold and silver.
To create the intricate scenes, embroiderers used four different stitches: the stem
stitch for the 500-plus Latin inscriptions (mostly in dark blue yarn), split stitch
and chain stitch for various objects, and couching stitch to fill in surfaces.
After a falling-out over his half-brother’s ambition to declare himself pope,
William exiled Odo in 1082. It is thought that the tapestry was finished by this
time, displayed in churches and castles throughout England and Normandy. (It
is worth remembering that many viewers would have been illiterate, so visualizing this recent historical event in clearly defined episodes was essential.) The first
record of the textile appears in the 1476 inventory of Bayeux Cathedral in northern
France as “a very long and narrow hanging of linen, embroidered with figures and
inscriptions representing the Norman conquest of England, and which is hung
around the nave of the church on the Feast of Relics” (July 1–8). Confiscated during the French Revolution, the tapestry was covering a military wagon when a
local lawyer rescued it and sent it to city administrators for safekeeping.
In 1803, Napoleon borrowed the textile from Bayeux for a two-month exhibition
at the Louvre, which had been renamed the Musée Napoleon. To make room for
the masterpiece, museum director Dominique-Vivant Denon removed several
hundred Old Master drawings from the Apollo Gallery. When Napoleon attended
the show’s opening, he was reportedly so taken with the parallel between a recent
comet sighting and the depiction of the 1066 Halley’s Comet that appears in the
tapestry that a description about it was added to the exhibition guide. Excerpts of
the guide were reprinted in the influential Paris newspaper Le Moniteur.
While the Louvre showing captured the imagination of the French public, it
triggered a backlash in England. A letter published in The Gentleman’s Magazine
stated that England would survive “in spite of the vain, inglorious tauntings of the
ambitiously mad Corsican tyrant, with all his host of myrmidons at his heels.” As
Shirley Ann Brown writes in The Bayeux Tapestry: New Approaches, the tapestry
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
from London to borrow the tapestry
were rejected, including one in 1953
for the coronation of Elizabeth II, a
descendant of William the Conqueror.
Another request in 1966 to mark the
900th anniversary of the Battle of
Hastings was also denied.
(RIGHT) Harold is slain during the Battle
of Hastings
banquet of William the Conqueror
became “a weapon in the ongoing
propaganda battles between the
French and the English which continued almost to the end of the nineteenth century.”
After the tapestry’s display in
Paris, Denon wrote the sub-prefect of
the borough of Bayeux that Napoleon
was entrusting the work to the care
of the locals. “He has applauded the
care that the habitants of the city of
Bayeux have brought for seven centuries and a half to its conservation.
He has charged me to testify to them
all his satisfaction and to entrust
them with the deposit. Invite them
to bring new care to the conservation of this fragile monument, which
retraces one of the most memorable
actions of the French Nation.”
In August 1805, Napoleon
traveled to the port of Boulogne,
poised to lead some 200,000 soldiers
across the Channel for an assault on
England. He told his wife, Joséphine:
“I will take you to London. I intend
the wife of the modern Caesar to be
crowned in Westminster.” But his
dream of following in William the Conqueror’s footsteps was dashed. Britain had
strengthened its coastal defenses. The superiority of the Royal Navy, recently confirmed by its destruction of the French fleet at Alexandria, led Napoleon to cancel
the invasion and redirect his army toward continental Europe.
A decade after the tapestry’s return to Bayeux, an English traveler observed
that it was kept “coiled round a machine, like that which lets down the buckets
to a well.” In 1842, the tapestry was moved to Bayeux’s library, installed in a glass
case in a new exhibition space where it remained for some seven decades. In 1870,
when German troops invaded France during the Franco-Prussian war, the tapestry was removed for safekeeping.
After the war, the British government received permission to photograph
the tapestry. As Carola Hicks describes in The Bayeux Tapestry: The Life Story of
a Masterpiece, it took 180 glass negative plates to record the entire work in 1872.
The Arundel Society issued the photographs in various formats. One of the fullsize hand-colored reproductions was displayed at the South Kensington Museum,
today’s Victoria and Albert. In thanks, a full-size set and a half-size colored roll
were sent to Bayeux. In 1931, organizers of a French art show in London asked to
borrow the tapestry, but the request was denied due to concerns about the loan’s
impact on tourism in Bayeux and the effect of travel on the embroidery itself.
During World War II, the tapestry was rolled on a winder inside a zinc-lined
wooden crate and stored in a concrete shelter beneath Bayeux’s Hôtel du Doyen.
During the German occupation of France, the SS seized on the tapestry as evidence of an early Germanic conquest of England by descendants of Norsemen or
Vikings. In Nazi hands, the tapestry was used to advance German pan-nationalism
and Aryan propaganda. After its display and study, it was moved to the Abbey of
Saint-Martin at Mondaye and then the Château at Sourches in 1943. In Berlin, the
German archeologist Herbert Jankuhn spoke about the textile to SS chief Heinrich Himmler, who wanted to display it at his castle. In advance of the allied invasion in June 1944, the tapestry was moved to Paris, where it was stored with other
looted art in the cellars of the Louvre.
After its display at the Louvre in late 1944, the tapestry was returned in
March 1945 to Bayeux, which was among the first French towns to be liberated. In
1948, the textile moved to its new home at the Hôtel du Doyen. Post-war requests
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
Over its nearly 1,000-year history,
the Bayeux Tapestry has endured
light, dust, temperature changes,
insects, and mold. Sometime after
1860, it underwent a major restoration. Areas of missing embroidery
were re-stitched with wool threads
dyed with chemicals, brighter than
the original threads. During this
period, a new lining was attached
after an early backing was lost during restoration work. According to
Pierre Bouet and François Neveux,
authors of The Bayeux Tapestry, the
cloth was mended in 120 places; 518
fragments were added to patch it up.
Today the embroidery is treated
much more carefully. Since 1983,
its home has been a branch of the
Bayeux Museum located in a former
17th-century seminary. Installed in a
case at eye level behind bullet-proof
glass, the textile stretches out in a
long straight line until the episode
when William decides to construct a
fleet; there it curves along a rounded corner and circles back down the other side
of the hall. To preserve the linen fibers and wool threads, it is kept in a darkened
space at a temperature of 18–20 degrees Celsius, with a humidity level of approximately 50 percent. In 2007, the Bayeux Tapestry was added to UNESCO’s Memory
of the World register, joining the Gutenberg Bible and other unique treasures.
Today the embroidery is a hugely popular tourist attraction, with some
400,000 people visiting it each year. In 2020, an architectural competition will
invite proposals for a redesign of the display aimed at improving the tapestry’s
conservation environment and visual presentation. According to spokesperson
Fanny Garbe, this refreshed installation will be located in the same place but with
a new facility added to welcome and serve visitors. “We want to make the visit
more comfortable and also enrich our explanations of the Bayeux Tapestry, William the Conqueror, etc.,” says Garbe. “In a word, to turn this museum into the
public’s gateway to Medieval Normandy.”
A committee of curators and historians is slated to begin a scientific study on
how to stabilize, safely transport, and display the fragile textile in Britain. Though
the timing, length, and venue for the much-anticipated exhibition have not been
confirmed, the British Museum is the frontrunner thanks to its capacity for large
numbers of visitors, gallery space, and historical focus. Other contenders include
the museum at Battle Abbey in East Sussex (site of the Battle of Hastings), along
with the Victoria and Albert Museum, which regularly displays textiles.
As the UK continues to debate its departure from the European Union, this
highly symbolic gesture of cultural diplomacy between Britain and France seems
more compelling than ever.
SUSAN JAQUES is the author of The Caesar of Paris: Napoleon Bonaparte, Rome,
and the Artistic Obsession that Shaped an Empire (December 2018, Pegasus Books).
Information: La Tapisserie de Bayeux, 13 bis de Nesmond, 14400, Bayeux, Normandy, All illustrations ©
Bayeux Museum
2 0 1 9
SANDRO BOTTICELLI (1444/45–1510), The Story of Lucretia, 1499–1500, tempera and oil on panel, 33 x 69 5/8 in., Isabella Stewart Gardner Museum
Isabella Stewart Gardner Museum
February 14–May 19
In 1894, Isabella Stewart Gardner acquired The
Story of Lucretia, making it America’s first
painting by the Italian Renaissance master
Sandro Botticelli (1444/45–1510). It was also
the first major Renaissance painting in Gardner’s collection, which she opened to the public as a museum in 1903.
This season, the unprecedented exhibition Botticelli: Heroines and Heroes reunites
The Story of Lucretia with seven comparable
works from the same period (c. 1500) to demonstrate this artist’s extraordinary talent as a
storyteller. All are spalliera, derived from the
Italian word spalla (shoulder), which is the
height at which Renaissance viewers experienced them. These constituted a revolutionary new genre of domestic narrative painting:
Botticelli reinvented ancient Roman and early
Christian heroines and heroes as role models,
transforming their stories of lust, betrayal, and
violence into parables that delivered political,
patriotic, and moralizing messages to modern
Florentines enduring political and religious
turmoil. His sophisticated modern spins on
ancient tales were originally displayed in the
palaces of Florence’s elite.
Organized by Gardner curator Nathaniel
Silver, this project reunites three of four panels
depicting the story of the early Christian saint
J A N U A R Y / F E B R U A R Y
Zenobius, Florence’s first native bishop. And
The Story of Virginia is being loaned, for the
first time, by Bergamo’s Accademia Carrara.
Silver has complemented his show
with two other displays. First, never-beforeexhibited photographs, books, and letters
from the Gardner Museum archives trace
Lucretia's fortunes from Renaissance Florence to Gilded Age Boston. Second, it is worth
underscoring that Botticelli, like a modern
graphic novelist, envisioned episodic stories
with multiple scenes featuring the same protagonist. In that spirit, the Gardner commissioned New Yorker magazine cartoonist Karl
Stevens to create his own interpretations of
the paintings on view. Stevens’s dramatic pen
and ink drawings sustain Mrs. Gardner’s commitment to contemporary art — a reminder
that the past and present can live together if
we watch for commonalities.
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Portrait of
a Woman in
c. 1857–60,
Oil on panel
21 1/2 x 17 3/4 in.
Marshall Gallery of Fine Art
February 28–March 28
The Purple Rider, 2018
Oil on linen, 40 x 40 in.
National Western Stock Show
January 12–27
The Marshall Gallery of Fine Art is hosting a
show of recent oil paintings by Duffy Sheridan,
who has been painting since boyhood. His
father was also an artist and encouraged him
to paint anything and everything while the
family traveled the world. In 1991, Sheridan
returned to the United States and now lives in
Arizona. The teachings of the Baha’i faith have
become the primary influence on Sheridan’s
life and work, spurring him “to magnify the
dignity and nobility of the human spirit and
the singular beauty of all things. When people
look at one of my paintings, I’d like them to see
that humans, indeed, are noble beings.”
Featuring 60 artists from across America,
Canada, and Europe, the 26th annual Coors
Western Art Exhibit & Sale will tempt collectors from Denver and beyond with an eclectic
mix of contemporary realist artworks capturing the Western way of life.
This year’s featured artist is Terry Gardner, a Coors participant for the past 14 years.
Illustrated here is his Signature Work, Purple
Rider, already acquired for the National Western Stock Show’s collection. (Posters of it can
be purchased online and on site.) A resident
of Morrison, Colorado, Gardner says, “Every
painting is an emotional investment depicting the intimate corners of the American
West. Some are close to home, some are high
in the mountains, but all capture the spirit of
the surroundings and are intended to invite
On January 8, the ticketed Red Carpet
Reception offers the privilege of seeing and
buying exhibited artworks early. The next
day, the Denver Art Museum will host its 13th
annual Petrie Institute of Western American
Art symposium.
The exhibition’s net proceeds will again
support the National Western Scholarship
Trust, which helps more than 100 college
students pursue training in rural medicine,
agriculture, and veterinary medicine.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
The Red Scarf, 2018
Oil on canvas, 44 x 30 in.
2 0 1 9
Michael Werner Gallery
New York City
November 30–February 16
Michael Werner Gallery is presenting a rare
exhibition of paintings and works on paper by
the French artist Pierre Puvis de Chavannes
(1824–1898), most borrowed from private and
public collections.
Born in Lyon, Puvis planned to become
an engineer, like his father. But his encounters in Italy with the art of Giotto and Piero
della Francesca made a deep impression, so in
1848 he decided to pursue art. Working under
several Parisian masters, he preferred painting alone, studied anatomy at the École des
Beaux-Arts, and made copies in the Louvre.
His interest in grand heroic themes and
classical imagery led Puvis to undertake mural
painting, then considered the supreme ambition
for serious realist painters. He refined a classicized and highly decorative aesthetic featuring
a distinctive palette of matte, whitened tones
that imbue his figures with solidity and flatness.
Puvis’s mastery of finely calibrated compositions and interlocking forms enhanced his pictures’ oddly ethereal realism and lent his figures
an essential solitude. Such decorative formalism
and simplification were hailed worldwide.
By the time he died at 73, Puvis had
inspired Cézanne, Gauguin, Van Gogh, Seurat,
and Matisse, among many others. He was also
influential on Picasso’s Blue Period and on the
Surrealists, who emphasized his melancholy
airlessness. As a result of this acclaim, Puvis’s
works can be found in major museums around
the world, yet his name has unjustly faded
from public consciousness today.
Already presented in London, this project was curated by Louise d’Argencourt, formerly of the National Gallery of Canada, and
Bertrand Puvis de Chavannes, the artist’s great
grandnephew. It is accompanied by their 160page catalogue.
February 15–17
WARREN CHANG (b. 1957)
Going Home, 2016
Oil on canvas, 20 x 24 in.
New Museum Los Gatos
Los Gatos, California
The Southeastern Wildlife Exposition (SEWE)
is the largest gathering of its kind in America
and South Carolina’s single largest annual
event. On just one weekend, more than 40,000
nature lovers will attend the 37th annual edition of this celebration of wildlife and environmental conservation. Held at venues throughout the art-minded city of Charleston, it
provides a platform for more than 500 artists,
exhibitors, and wildlife experts from around
the world.
Though there will be many events to
attend, of particular interest to collectors is the
juried show of 100 artists who depict animals
and sporting subjects. This year’s featured artist is the painter Lou Pasqua of Pennsylvania,
while the guest artists are sculptors Walter
Matia (Maryland) and Sandy Scott (Wyoming).
Also on offer will be exhibitions featuring
local artists, decoys, and sporting arms, as well
as film screenings and lively demonstrations
of birds of prey, retrievers, cooking, and artmaking for all ages. Many events require tickets, so check before you go. Available on the
website are details on SEWE’s VIP program,
which provides privileged access to events
starting as early as February 13.
CHARLES MIANO (b. 1977),
Bianca, 2018
Charcoal on paper, 30 x 24 in.
The painter Warren Chang is being celebrated with two overlapping exhibitions at
the New Museum Los Gatos, located just 60
miles north of Monterey, where Chang was
born and still resides. Paintings of field workers will appear in Warren Chang: Voice of the
Fields (on view February 22–June 16), which is
complemented by the exhibition In the Artist’s
Studio. The focus of the latter is Chang’s large
multi-figure painting Figurative Arrangement
(2012), which shows him working in his studio. Displayed nearby will be its preliminary
studies and artifacts from the studio, offering
visitors an inside look at the artist’s working
process. The latter show will run from January 31 through April 14.
Later in 2019, Southern Californians
should see Chang’s art at the Hilbert Museum
of California Art in Orange County. Check its
website ( then to learn
the exact dates of its run there.
Art Ovation Hotel
Sarasota, Florida
January 13–March 31
SHANNON TROXLER (b. 1966), Ghost Flight,
In Sarasota, the Southern Atelier has teamed
up with the appropriately named Art Ovation Hotel to mount a long-term exhibition
of recent paintings and drawings by Charles
Miano, Robert Liberace, and Dan Thompson. All three are skilled painters trained in
the atelier method who are not embarrassed
to seek out beauty and probe the human condition, and who value quality over quantity,
sincerity over cynicism, intrinsic value over
marketing hype, and the Western tradition of
fine art over avant-garde novelty. As creators
and teachers, this trio are at the forefront of
the revival of contemporary figurative art, and
indeed Miano founded and directs the Southern Atelier itself.
2018, oil on linen on panel, 30 x 20 in.
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Spalding Nix Fine Art
January 25–March 23
HENDRICK TER BRUGGHEN (1588–1629), St. Sebastian Tended by Irene, 1625,
oil on canvas, 60 x 47 1/4 in., Allen Memorial Art Museum, Oberlin College, Ohio
Centraal Museum
Utrecht, Netherlands
December 16–March 24
What a shock it must have been for three young painters from the
Dutch city of Utrecht — Hendrick ter Brugghen (1588–1629), Gerard
van Honthorst (1592–1656), and Dirck van Baburen (c. 1595–1624) –
to encounter the breathtakingly unorthodox paintings of Caravaggio
in Rome. His scenes, which feature frank realism and mysterious
lighting, proceeded to influence their style and that of many artists
from Italy, France, Spain, Holland, and Flanders.
On view in Utrecht now is a major exhibition highlighting the
heyday of “Caravaggism” between 1600 and 1630, with a strong
focus on Utrecht’s own Caravaggisti. For the first time ever, the
co-curators have highlighted their distinctively Dutch approach
by juxtaposing them with such European colleagues as Jusepe de
Ribera, Valentine de Boulogne, and Orazio Gentileschi. More than
70 works have been loaned by 50 institutions and private collectors worldwide, including Caravaggio’s spectacular Entombment of
Christ from the Vatican Museums.
The project has been organized by the Centraal Museum’s
Liesbeth M. Helmus with Bernd Eber of Munich’s Alte Pinakothek,
where it will soon become Germany’s first ever showing of Caravaggisti paintings (April 17–July 21, To celebrate, Eber
has invited singers from the Bavarian State Opera to perform alongside selected paintings on six evenings in June. In addition, the show’s
audio guide will contain musical pieces composed in response to 60
paintings by students at Munich’s University of Music and Performing Arts. And artists from the Academy of Fine Arts will create their
own paintings and drawings in front of the originals; their new works
will be unveiled at the Academy’s annual exhibition this summer. F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
Spalding Nix Fine Art is presenting an exhibition of new paintings by Richard T. Scott and Brendan O’Connell. Both men grew up in conservative rural
towns that have since been swallowed by the sprawl of metropolitan Atlanta.
Both have lived abroad and were drawn to New York City, but have finally
settled in the Northeast; Scott lives in Hudson, New York, and O’Connell in
Cornwall, Connecticut. Since they met in 2012, they have developed an unexpected influence on each other, both technically and conceptually.
This season’s exhibition focuses on their distinctive perspectives on
American identity. Scott explores its contradictions through the tradition
of history paintings because he believes the past continues to shape us. He
points, for example, to the ongoing damage caused by slavery and the Civil
War, as echoed in the tragic events in Ferguson, Missouri (2014), Charlottesville, Virginia (2017), etc.
“The woman depicted in Safe Harbor [illustrated here] confronts us with
our own humanity,” Scott explains. “Her features may seem foreign to traditional white America, but this serves to remind us that those of European
descent are also immigrants here. The ship in the background has seen a long
and dangerous journey, as have we all, but having arrived upon new shores,
we are illuminated by the possibilities ahead. We all have the freedom to
decide our own destiny, and we can insure our own freedom by insuring the
freedoms of others.”
O’Connell sees American identity as a bipolar personality, simultaneously cynical and optimistic, tragic and funny. Thus he explores it through
the relationship between identity and branding — specifically where these
aspects collide, like the inside of a Wal-Mart store. O’Connell says this is “a
quintessentially American space in how it serves as a physical meeting point
between personal identities and brand identities. Where people shop and
what they buy is an interesting insight into how they identify themselves.”
SCOTT (b. 1980),
Safe Harbor, 2018
Oil on canvas
24 x 22 in.
2 0 1 9
March, just when winter seems like it will
never end, many North
American art lovers
will make an escape: a trip south to the Caribbean
Fine Art Fair (“CaFa Fair”) in Bridgetown, the
capital of Barbados. This English-speaking island
is renowned for its beautiful scenery and elegant
hospitality, but some readers of Fine Art Connoisseur may not realize that it has also hosted this
curated fair of contemporary art every year since
2011. The next edition is set for March 6–10, and
will again feature more than 40 artists representing over a dozen nations. The exhibitors are all of
Caribbean ancestry; some still live in the region
year-round, while others are based elsewhere
but return regularly. They are diverse not only
in nationality, but also in terms of their methods,
styles, and years of experience.
CaFa Fair is the brainchild of its executive
director, Anderson M. Pilgrim, who travels frequently between his homeland of Barbados and
New York City. He created the fair so that its
participants could sell artworks, of course, and
also to advance knowledge and appreciation of
Caribbean art generally, always with an eye on
its role as a generator of economic growth. Pilgrim notes that, although the nations of the Caribbean are distinctive in language, topography,
and other indicators, they all share the region’s
turquoise-colored sea, which provides them not
only with water, food, tourism opportunities,
and even oil/gas reserves, but also with aesthetic
inspiration. As for Barbados, it makes sense that
on paper, 30 x 22 in.
the National Cultural Foundation, Ministry of
Finance, and Barbados Tourism Marketing Inc.
are longtime supporters of the fair, which has
attracted additional sponsors over the years.
On view this March will be the artworks
brought by the exhibitors, as well as a retrospective of the late (and beloved) Barbadian graphic
artist Winston Jordan and a show of pieces
made by students who live on the island. Pilgrim
will again organize a series of educational events
that address themes in the visual arts, fashion,
film, and the spoken word.
The sheer variety of artists participating
this year is suggested by two of the works illustrated here. The woman’s head was painted by
Diógenes Ballester (b. 1956), who was born and
raised in La Playa de Ponce, Puerto Rico, to a family that has made art and told stories for generations. Like the culture of the island itself, his work
draws powerfully on the Tres Herencias: Taíno
(indigenous), Spanish, and African. Particularly
influential in and around Ponce are both Roman
Catholicism and the sacred rituals of Espiritismo,
a belief system in which the spirit world constantly interacts with the material world.
Located not far from Ballester’s family
home is the outstanding Museo de Arte de Ponce,
opened in 1965 by the collector (and later governor) Luis A. Ferré. This treasure-house exposed
the aspiring artist to an array of historical masterworks from Europe, and he went on to earn
a Bachelor of Fine Arts from the Catholic University of Puerto Rico and then an M.F.A. from
the University of Wisconsin. Ballester now lives
Information: CaFa Fair will occur at the Courtney
Blackman Grande Salle Gallery & Annex, Tom
Adams Financial Center, Spry Street, Bridgetown.
For details, visit
Peter Trippi is editor-in-chief of Fine Art
RENÉ DE LOS SANTOS (b. 1953), Ave Woman III (edition of 12), 2015, linocut on paper, image: 10 x 9 in.
of Dominica with his artworks at last year’s edition of CaFa Fair
in New York City’s East Harlem neighborhood,
where he works in many media, but is especially
well known for paintings in encaustic (hot wax).
The other artwork illustrated here, a linocut of a bird-woman, was made by René de los
Santos (b. 1953), who was born and raised in
Santiago, Dominican Republic. A self-taught
painter and printmaker, he moved to New York
City in 1980 and is, like Ballester, fascinated by
spiritual and symbolist themes. De los Santos
created this work at the Coronado Printstudio,
which was founded in 2006 by the Dominicanborn artist and master printer Pepe Coronado
(b. 1965), who notes that “printmaking, by nature,
is a collaborative medium and a communityoriented art form.” He is particularly pleased
that artists like De los Santos feel free to cross
boundaries while working in his East Harlem
facility, engaging in discussions that sometimes
lead them in new directions.
Boundaries will certainly be crossed this
March in Barbados. I myself will be there to see
what’s happening, and I hope to see you there,
CaFa Fair
Sade Payne of Barbados with her paintings at last year’s edition of CaFa Fair
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
ine Art Connoisseur’s ninth annual
adventure abroad, the Italian Art
Trip, delivered what it promised and much more. Conceived
by FAC publisher Eric Rhoads,
the tour last October proved an
ideal way to mix world-class art and architecture with five-star comforts and a delightfully
cohesive group of 42 travelers who shared
with each other their passion for beauty, quality, and learning. Our adventure started with
an optional three-night pre-trip in Milan, then
the core trip (four nights in Florence and four
nights in Rome), followed by an optional posttrip of four nights in Sorrento. Some guests who
participated all 15 nights were dreaming in Italian by the end, and others had tans because the
weather was so sunny, though not hot.
Italy was a natural choice because it features great art and architecture ranging from
antiquity right through today. Even those who
had previously visited our destinations discovered things they had missed before. During the
core trip, I presented two illustrated lectures
that set our upcoming sites (and their artworks)
into historical context so they would make
sense when we finally got there.
In Italy, visitors feel comfortable strolling
by themselves because the locals are extraordinarily friendly, so our planning team scheduled
considerable free time for guests to explore on
their own. This was made easier by the fact that
our luxurious five-star hotels were well-located;
if you did not want to walk to your restaurant or
opera performance, you could easily take a taxi
there. Having said that, the program included
all breakfasts and most lunches and suppers:
Peter Trippi delivers an illustrated lecture.
we are pretty sure everyone gained at least five
pounds, as the meals were always delicious and
Our logistics proved to be incredibly
easy. Once they reached Milan, guests never
lugged a suitcase again. On the morning of
each departure day, bags set outside your door
would magically disappear and turn up again
in your next hotel room later that day. This
abracadabra effect was enhanced by the fact
that no train or bus trip took much longer than
90 minutes; Italy is blessed with a superb rail
and road network.
J A N U A R Y / F E B R U A R Y
Milan is a major artistic center too, sometimes
overlooked in favor of more famous cities elsewhere in Italy. Those who had not visited before
were amazed by the quality of art and architecture, and of course by the elegance of the residents, given Milan’s status as a world capital of
fashion and design. Our stay at the Hotel Principe di Savoia got off to a rollicking start with a
welcome reception, including my 10-minute
overview of what we would soon see.
The next day featured a panoramic
drive through Milan — including a stop at the
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
(ABOVE) The Villa del Balbianello on Lake Como and (BELOW) On the terrace of the Villa
del Balbianello
Director James Bradburne speaks to our group on the loggia of Milan’s Pinacoteca di
enormous Castello Sforzesco — on our way to the monastery of Santa Maria
delle Grazie. There we enjoyed a (nearly) private viewing of Leonardo da
Vinci’s Last Supper, which has been restored and perfectly lit so it can be
admired properly. Our walking tour downtown brought us to the exquisite
Museo Bagatti Valsecchi, a historic house filled with superb Renaissance
decorative arts, sculptures, arms, and armor collected by a noble family.
At Milan’s greatest art museum, the Pinacoteca di Brera, which features major examples by all of the Renaissance and Baroque masters, we
were greeted by director James Bradburne. Some guests had already met
him in 2012 when he headed Florence’s Palazzo Strozzi; during his lively
talk this year, James kindly explained how he has reinvigorated the Brera
(to dazzling effect).
The next morning found us driving northeast to the town of Como,
where we boarded our own boat and set sail for a full-day excursion on
scenic Lake Como. Our first stop was the Villa Carlotta, which contains
major sculptures by the classicist Antonio Canova. After exploring the
pretty town of Bellagio, we relaxed for a delicious lunch on the terrace
of Locanda dell’Isola Comacina while its merry owner regaled us with
the colorful history of this private island. The big finale was the stunning
Villa del Balbianello, best known for its garden and terrace overlooking
the lake. Inside we gladly explored its jewel-box interiors, which feature
many ethnographic artifacts brought home by the mansion’s final owner,
the explorer Guido Monzino. Balbianello was opened especially for us
that day, so we took our time.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
Our group had expanded in number (from 18 to 42) by the time we assembled for another welcome reception at the Hotel Savoy in central Florence.
This party featured a round robin in which every guest introduced herself or
himself, including comments on which places folks were most eager to see.
(FROM LEFT TO RIGHT) Monsignor Timothy Verdon makes a point at Florence’s Museo
dell’Opera del Duomo.
2 0 1 9
Dr. Rocky Ruggiero speaking in one of the Medici Chapels,
Michelangelo’s David at the Accademia, Florence
(CLOCKWISE FROM TOP LEFT) Dr. Linda Falcone gives a talk at the Museo di San Marco.
Lorenzo Bernini’s Apollo and Daphne at the Galleria Borghese, Rome
Few guests were prepared for the extraordinary morning that followed. We walked two
blocks from the hotel to the Museo dell’Opera
del Duomo, a museum opened a few years
ago that has revolutionized the way the world
sees Florentine sculpture and architecture.
It contains thousands of treasures related to
Florence’s famous cathedral (Duomo) and the
structures around it. Here we were given a
warm welcome and thorough tour by its founding director, Monsignor Timothy Verdon, a
fascinating American priest with a PhD in art
history from Yale. It was especially poignant
that one of our talented guides in Florence — Dr.
Rocky Ruggiero — had studied with Msgr. Verdon himself.
This stimulating day also featured a visit
to the massive complex of San Lorenzo, with
Ramiro Sanchez, the Florence Academy of Art’s director of advanced painting
At the Piazzale Michelangelo overlooking Florence
its atmospheric library, basilica, and Medici
Chapels featuring sculptures and architectural
designs by Michelangelo. Speaking of Florence’s leading family, we also explored the
Palazzo Medici Riccardi, with its brilliantly
colorful Chapel of the Magi decorated by
Benozzo Gozzoli.
The next morning shifted our attention
to the long-overlooked contributions made by
women to the Florentine Renaissance. Waiting to welcome us to the Museo di San Marco
was Dr. Linda Falcone, director of the Advancing Women Artists Foundation (AWA). She
kindly brought us to a closed gallery inside
the museum to tell us more about the remarkable painter (and nun) Plautilla Nelli, right in
front of her large depiction of The Lamentation with Saints. Its recent conservation was
J A N U A R Y / F E B R U A R Y
underwritten by AWA, which had sadly — just
the previous month — lost its visionary American founder, Jane Fortune.
Soon we moved to the Accademia, home
to many treasures but most famously Michelangelo’s David. No matter how many good
photographs you might see, there is nothing
like standing in front of this huge masterwork.
The day concluded with a thorough tour of
the Church of Santa Maria Novella, and then
some guests headed for its renowned pharmacy
nearby, in business for six centuries.
After many guests participated in Sunday
Mass at the Duomo, the group regathered at the
small but charming Palazzo Davanzati, which
recreates the experience of living in a Florentine
patrician’s house during the late Middle Ages.
The day’s pièce-de-resistance was a guided tour
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Gazing in wonder inside the Sistine Chapel, Vatican Museum, Rome
of the Galleria degli Uffizi, with its renowned
Botticelli, Raphael, and Leonardo paintings.
Our final morning in Tuscany was spent at
the Florence Academy of Art, founded in 1991 by
the American-born artist Daniel Graves. (Please
see the article about him on page 68, and also his
self-portrait on page 146.) Nearly the entire faculty and leadership were on hand to welcome us
to their enormous facility, opened two years ago
— including Daniel himself, his wife, Anki, Susan
Tintori, Tom Richards, Ramiro Sanchez, Mitch
Shea, Simona Dolci, and Maureen Hyde. A special highlight was the pop-up exhibition of recent
artworks by faculty and students that our guests
eagerly purchased and shipped home (or carried
away). Last but not least, the group headed to the
renowned Church of San Miniato al Monte to
Prince Jonathan Doria Pamphilj welcomes us to his family home in Rome.
explore its remarkable interior, recently restored
with support from the American noprofit Friends
of Florence. Before we bade farewell to this great
city, we spent half an hour taking photos of it
from the Piazzale Michelangelo.
In Rome, the Grand Hotel Baglioni Regina
became our home away from home. It was
also just a 10-minute walk, on our first morning, to the Galleria Borghese, the stunning
collection of treasures including Gian Lorenzo Bernini’s life-size sculpture Apollo and
Daphne. The group was “at ease” for the
rest of the day because we knew the evening
would be devoted to the Vatican Museum. We
arrived there as the last tourists departed;
suddenly a gigantic door opened and we were
ushered inside… the place was ours for more
than two hours, including a whole hour in
Michelangelo’s Sistine Chapel. Instead of contending there with the usual hordes jostling
(LEFT) John Ochsendorf, director of the American
Having traveled with FAC for nine straight years, Roger
Academy in Rome, with Claudia Clayton and Bob Wrathall
Rossi was duly honored as Emperor at the Colosseum.
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
The farewell celebration at the Palazzo Colonna, Rome
2 0 1 9
A street in Pompeii
The view over Capri and the Bay of Naples from the Villa San
Eric Rhoads, Cinthia Joyce, and Laurie Rhoads learn how to cook Italian-
style at the Villa Ida in Sorrento.
shoulder to shoulder, we were able to sit and
gaze upward as our guides explained every
detail. It is possible that Eric Rhoads is the
only person who has ever posted a Facebook
Live broadcast from inside the Sistine Chapel
(still viewable on his Facebook page). In fact,
he filmed until a guard spotted him!
The next day was spent visiting the
recently restored Colosseum, walking through
the Forum, and then ascending the Vittoriano
monument to survey all of Rome. After lunch
we visited the always-moving Pantheon, then
explored the Palazzo Doria Pamphilj, the
Baroque mansion of one of Rome’s grandest
families. A special treat was the welcome from
Prince Jonathan Doria Pamphilj, who lives
there and told us why he and his sister are
so proud to share it with the public. We concluded the day at the famous Fontana di Trevi,
where we hurled coins into the water in hopes
we will return to Rome.
Our final day in the Eternal City began in
the ancient neighborhood of Trastevere visiting
the Church of Santa Maria with its glittering
mosaics, and also the Villa Farnesina. The latter is a Renaissance summer getaway that still
thrills visitors with Raphael’s famous Galatea
fresco, as well as its brilliant wall decorations
by Giulio Romano and Baldassare Peruzzi. Few
foreigners ever make it uphill to the American Academy in Rome, an impressive building
designed by McKim Mead & White in the early
1900s and now a research center where great
American artists and scholars study, paint, compose, write, and choreograph. There we were
welcomed by director John Ochsendorf before
savoring lunch among the “fellows” and a thorough tour with longtime staffer Tina Cancemi.
An extra bonus was the Academy’s Villa Aurelia,
which offers impressive views over the city. The
day was capped by a splendid farewell celebration at the Palazzo Colonna. In one of Rome’s
grandest buildings, we toured its art collection
before enjoying drinks on the terrace overlooking the Piazza Venezia. Dinner was served in
a grand pavilion erected centuries ago for just
this purpose.
the getaway home of the Swedish writer Axel
Munthe. After free time to explore both Anacapri and downtown Capri, we hydrofoiled back
to Sorrento and headed to our private cooking
class at the Villa Ida. This is a private compound
where the charming host family gleefully
guided us through the preparing of an entire
Sorrentine meal, complete with aprons and a
tasting of wines they make on site.
Alas, our weather-luck ran out the day we
visited Naples. Pouring rain discouraged us from
strolling its cobbled streets, but we enjoyed an
intriguing visit to the reconstructed Church and
Monastery of Santa Chiara, then an impressive
panoramic drive along the city’s coast. The day’s
highlight was the Museo Archeologico Nazionale di Napoli, Italy’s single greatest collection of
antiquities, which is particularly rich with discoveries from Pompeii and Herculaneum.
On our final day came the glorious Amalfi
coast, which we ogled gladly from our bus windows. We dodged rain clouds while strolling the
romantic streets of Positano and Amalfi, where
the sun finally emerged as we watched the huge
waves crash against the cliffs. It is no wonder
why this region’s extraordinary juxtaposition
of ocean and mountain has inspired visitors for
thousands of years.
Our group slimmed down again (to 16) for the
post-trip stay at the enchanting Hilton Sorrento Palace, set on a hill overlooking its own
citrus grove and the Bay of Naples beyond.
On our drive south from Rome, we explored
the ruins at Pompeii, surely the most famous
archeological site anywhere. Delightfully free
of the crowds and heat one normally associates with them, Pompeii’s houses, streets, and amphitheaters make visible the city’s destruc- As always, it was bittersweet to part with
tion during the explosion of Mount Vesuvius friends old and new. This was an exceptionally
in 79 AD. Our visit was not somber at all, but merry group, their mood surely lightened by
later Eric Rhoads mused eloquently, “Though our peerless travel coordinator, Gabriel HaigaI’ve traveled the world, this trip to Italy — and zian (CTP Group, California), and his colleague
especially the visit to Pompeii — had a profound Howard Wise.
impact on me. In a way, it put me in my place,
We are thrilled to confirm that the next trip
taking away any smugness about how good we — our 10th annual — will explore Provence and
are at things today. This trip demonstrated that the French Riviera this coming October. This
life was equally rich in art and the good life in region is synonymous with great art, architeccenturies past. Humanity’s fate is ashes to ashes, ture, dining, and sunshine, so we expect to have
but artworks remain to tell future generations a marvelous time. For details, please contact
who their creators were.”
Gabriel Haigazian at 818.444.2700 or gabriel@
The next day found us departing Sorren- Our official website, fineartto’s marina on a hydrofoil headed to the fabled, will be active in mid-January.
island of Capri. Upon arriving we boarded convertible taxis that zoomed up hairpin curves
to the beautiful Villa San Michele. Set high on PETER TRIPPI is editor-in-chief of Fine Art
a mountain overlooking the sea, this was once Connoisseur.
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
H AUS O
A O A
The Biltmore Hotel’s grand façade
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Casey Baugh during his demo
November, the field of contemporary realism took
another step forward when the second Figurative Art Convention & Expo (FACE) drew almost
300 people to Miami’s historic Biltmore Hotel for
a lively celebration of art and ideas. Organized
by Fine Art Connoisseur and hosted by publisher
Eric Rhoads and myself, FACE offered a memorable combination of demonstrations by renowned
masters, informal conversations among artists,
and formal lectures by scholars. Participants
gained technical skills and philosophical insights,
all while getting to know each other personally in
a friendly, un-stuffy atmosphere. Eric and I believe
that when like-minded people get together in person to share techniques and information, their
sense of community and their passionate determination to excel grow exponentially. We all rely
on social media and teleconferencing, but nothing
can ever replace meeting face to face.
Back in November 2017, Eric’s decision
to launch this event at the Biltmore Hotel was
inspired: opened in 1926, the Biltmore is a palatial yet charming complex comprised of honey-
Robert Liberace teaches his pre-convention course.
colored, tile-roofed Spanish Revival buildings,
ornately gilded and painted ballrooms, an enormous swimming pool surrounded by cafes and
lounges, a golf course and walking trails, and palm
trees galore. Once again, it proved to be a terrific
venue for our purposes.
The event opened on November 6–7 with
two pre-convention experiences: Casey Baugh
taught a course on the basics of painting a live
model, while Robert Liberace focused on drawing one. The feedback on their teaching was outstanding, and we remain grateful to both of them
for devoting so much energy and time.
FACE kicked into high gear on the afternoon
of November 7, when the opening ceremony saw
Eric and I extend a warm welcome to the registrants, who came from across the U.S., Canada,
Mexico, Brazil, Europe, New Zealand, and Australia. We also announced that anonymous donors
had generously underwritten registration, travel,
and accommodation for seven scholarship recipients: the students Tori Cole of Texas, Miguel Espinosa of California, Madeline Fluharty of Idaho,
and Derek Spieker of California; the educators
McGarren Flack of Utah and Charles Miano of
Florida; and the senior artist Diane Russell of Oregon. We encourage others to emulate these generous donors by creating still more scholarships for
next year’s edition of FACE.
Following a fascinating keynote talk by the
painter Daniel Sprick, Fine Art Connoisseur’s
Lifetime Achievement Award was presented to
Burton Silverman (b. 1928), who spoke movingly
about his art and career. This led in perfectly to
J A N U A R Y / F E B R U A R Y
2 0 1 9
a lively double demo in which Casey Baugh and
Michelle Dunaway painted portraits of Eric. The
day closed with a festive cocktail reception in
the Expo Hall, which remained open throughout
FACE. Coordinated by Richard Lindenberg, it
featured 11 exhibitors who serve the figurative art
community well: Rosemary & Co, Princeton Artist
Brush Co., Raymar, Maimeri, Jack Richeson & Co.,
Michael Harding, Blick/Utrecht, Edge Gear, General Pencil, Winsor & Newton, and Savoir Faire.
In the three days to come, a host of worldclass artists offered demos that inspired participants to paint, draw, and sculpt better, exhibiting
distinctive approaches from which registrants
could pick and choose. These talents were — in
alphabetical order — Casey Baugh, Candice
Bohannon, Ryan S. Brown, Michelle Dunaway,
Rose Frantzen, David Kassan, Robert Liberace,
Johanna Mangi, Teresa Oaxaca, Mardie Rees, Tim
Rees, Julio Reyes, Mario A. Robinson, William A.
Schneider, Daniel Sprick, Sadie Valeri, Jove Wang,
and Patricia Watwood.
Watching demos often makes you want to
try out what you’ve learned right away, so FACE
offered an optional hands-on studio experience.
For two nights in a row, registrants filled a gigantic
ballroom as they drew, painted, and sculpted from
nine live models. On hand to provide them with
tips and wisdom were almost 20 mentors from the
demo faculty, to whom we are also grateful.
As suggested by Mardie Rees’s presence
on the demo faculty, sculpture was not ignored
at FACE. To make a good situation even better,
National Sculpture Society executive director
F I N E A R T C O N N O I S S E U R · C O M
Eric Rhoads was painted by Casey Baugh (left) and Michelle Dunaway (right).
Burton Silverman receives the Lifetime Achievement
The Expo Hall
Award from Peter Trippi (left) and Eric Rhoads.
David Kassan (left) paints his fellow artist Virgil Elliott; this photo shows the split-screen
projection that allowed audience members to watch both men simultaneously.
Teresa Oaxaca during her demo
Jove Wang during his demo
Mardie Rees conducts a demo in sculpting.
Patricia Watwood leads a demo.
Julio Reyes and Candice Bohannon painted the same sitter simultaneously.
Michelle Dunaway painting Eric Rhoads
The studio
Peter Trippi, Cesar Santos, Teresa Oaxaca, and Rose Frantzen
Tim Rees during his demo
Gwen Pier coordinated a table and demo area in
the Expo Hall: all registrants enjoyed watching
and chatting with NSS fellow Nilda Comas as she
worked on her projects there.
One highlight of FACE was the evening dedicated to Daniel Sprick: a screening of the magnificent one-hour Colorado Public Television film
about him, followed by an insightful conversation
featuring the artist himself and the film’s director,
David Schler. Throughout each day, FACE offered
stimulating events focused more on ideas than on
techniques. On the main stage, we heard Timothy
J. Standring discuss representing the figurative
tradition at the Denver Art Museum, where he has
worked as a curator since 1989; I interviewed the
artists Rose Frantzen, Teresa Oaxaca, and Cesar
Santos about “What We Want to Convey through
Our Art” and later Candice Bohannon, Michelle
Dunaway, Julio Reyes, and William A. Schneider
about “How We Can Connect with Collectors.” I
also interviewed the collectors Steven Bennett,
Tim Newton, and Elaine Melotti Schmidt about
how they have acquired artworks and what trends
they see taking shape.
We were really pleased to welcome the voices
behind the popular Suggested Donation podcast, artists Tony Curanaj and Ted Minoff, who
recorded half a dozen conversations throughout FACE and then convened a group of artists
for a lively discussion on the main stage. (All of
their dialogues will be posted online during the
first half of 2019, so be sure to check suggested Podcaster and artist
Danny Grant (The Studio) was also on site and has
already posted his intriguing interview with Casey
Baugh ( In addition, Eric, Fine Art Connoisseur associate publisher
F I N E A R T C O N N O I S S E U R · C O M
Scott Jones, and I enjoyed an expansive discussion
about the field of contemporary figurative art and
opportunities for it to shine even brighter.
An array of presentations occurred in the separate Talks Room, including Micah Christensen
on the influence of photography; Jill Deupi on
how the University of Miami’s Lowe Art Museum
(which she directs) engages with contemporary
artists; Carlos Martínez León and Elkin Cañas
on how their Miami atelier, Chiaroscuro, guides
its students into professional art careers; Neill
Slaughter on the genius of Sargent, Sorolla, and
Zorn; and Amanda Theis on the Da Vinci Initiative
she leads. Nilda Comas, Donella Lay, and Mardie
Rees joined me for an informal conversation about
the state of figurative sculpture today. Still another
activity was a screening of the documentary film A
Light in the Dark: The Art and Life of Frank Mason,
followed by an insightful and often touching conversation among those who knew this late master:
moderator (and former Mason student) Suzy Hart,
producer Scott Mason (the artist’s great-nephew),
and former Mason students Peter Layne Arguimbau, Marsha Massih, and John A. Varriano.
The urgent need for artists to better maximize their role as small-business owners was not
overlooked: two dynamic speakers representing the Clark Hulings Fund for Visual Artists’
Art-Business Accelerator initiative — Elizabeth
Hulings and Carolyn Edlund — challenged their
audiences to rethink assumptions about how
they convey what they do. Later they were joined
onstage by Eric Rhoads to answer questions about
how to market your art more effectively.
Almost two dozen attendees opted to register as VIPs, which allowed them to enjoy reserved
seating, a private dinner with Eric Rhoads and
J A N U A R Y / F E B R U A R Y
2 0 1 9
various faculty members, and a cocktail reception in the enormous, 14th-floor suite gangster Al
Capone used regularly.
FACE could not have been the success it was
without the extraordinary dedication of the staff
of Streamline Publishing, which produces Fine
Art Connoisseur. Leading the way were Ali Cruickshank and Sarah Webb, ably assisted by Bill Dickson, Tom Elmo, Nic Kuper, Richard Lindenberg,
Mike Monahan, Jaime Osetek, Chad Slade, Kari
Stober, Trevor Smith, and Scot Young.
A post-event survey of FACE participants
revealed that while most had initially been
attracted by opportunities to meet and observe
world-class artists, they also relished getting to
know other artists, thus anchoring themselves
within a supportive community. To that end, we
were delighted to close FACE with confirmation that its third edition will occur at the Williamsburg Lodge in Williamsburg, Virginia, next
year: November 10–13, 2019, with pre-convention
courses starting on November 9. Renowned for
its 18th-century colonial charm, Williamsburg
is easily reached from all directions and offers
excellent dining and shopping options in walking distance of the Lodge, which is ideally suited
for FACE’s activities. Faculty members will start
being announced in the New Year, and we truly
look forward to welcoming you next November.
PETER TRIPPI is editor-in-chief of Fine Art Connoisseur.
Dante Gabriel
Rossetti (1828–
1882), Drawing for
The Blue Bower,
1865, pencil on
paper, 19 1/4 x 13
in., promised gift of
Virginia M. Lindseth,
Cornell Class of
1956, and Jon
Lindseth, Cornell
Class of 1956,
to the Herbert F.
Johnson Museum
of Art
New York City
$25,000 annually for two years to allow her to devote the
time necessary to mount a solo exhibition that will open
at Muskegon in 2021 and then travel the country. Ten honorable mentions were also announced in November. For
full details, see
Thane Gorek (b. 1973), Just as You Imagined It Would
Be, 2018, gouache and oil on canvas, 30 x 48 in., at
Celebration of Fine Art
Eugène Delacroix (1798–1863), Seated Lion in a
Landscape, n.d., watercolor on paper, 7 5/8 x 10 5/8
in., Jill Newhouse, New York City, at The Art Show
January 26–February 2
New York City
February 28–March 3
Established in 2006, Masters Drawings New York is an
annual initiative that welcomes 30 dealers from across
the U.S. and Europe to galleries located along Madison
Avenue on the Upper East Side of Manhattan. Their popup exhibitions will again coincide with the major Old Master auctions and scholarly events focused on drawings.
One highlight is the loan exhibition FIGURE/STUDY: Drawings from the Herbert F. Johnson Museum of Art, Cornell
University, on view at the dealer Carlton Hobbs’s magnificent gallery. On in its checklist are works dating from
the 16th through 20th centuries made by such talents as
Fragonard, Rossetti, and Picasso.
Seventy-two members of the Art Dealers Association of
America will gather again at the historic Park Avenue
Armory for the latest edition of The Art Show. On view are
their thoughtfully curated displays of artworks from a variety of cultures and periods. All admission fees and proceeds from the gala preview will benefit the Henry Street
Settlement, a leading social service, arts, and health care
Elaine Melotti
Schmidt and Steven
Alan Bennett
In November, 10
women who paint in the
figurative realist style
were named finalists
for the $50,000 Bennett Prize, the largest award ever offered solely to women
painters based in the U.S. Selected from among 647
entrants by a four-member jury, the finalists are Dorille
Caimi, Jennifer Campbell, Kira Nam Greene, Mary Henderson, Aneka Ingold, Stefanie Jackson, Daniela Kovacic,
Rebecca Leveille, Jenny Morgan, and Carrie Pearce.
Endowed through a $3 million fund at the Pittsburgh
Foundation created by the San Antonio-based art collectors Steven Alan Bennett and Dr. Elaine Melotti Schmidt,
this biennial prize is designed to propel the careers of
female painters who have not yet reached full professional recognition. Each finalist will receive $1,000 to
participate in an exhibition of their works, which will open
on May 2 at Michigan’s Muskegon Museum of Art before
a national tour. During the opening event, the benefactors will announce the one winner, who will then receive
with the first ever Booth Quick Draw and Miniatures Auction on February 22.
Los Angeles
January 12–March 24 and
Scottsdale is fortunate to hum with artistry every winter
thanks to two massive events that run throughout this Arizona town’s busy high season. Now in its 29th year, Celebration of Fine Art is hard to miss thanks to its white tents
covering 40,000 square feet. Inside, 100 invited artists
work in their studios while welcoming visitors to ask questions about their processes and inspirations. Every Friday
afternoon throughout the event’s 10-week run, guests also
get to hear a panel of artists discuss various issues. Now
in its fifth year, the Arizona Fine Art Expo will feature 124
studios filled with artists demonstrating their techniques
in drawing, sculpture, ceramics, painting, jewelry, mosaic,
and glass. The vibe at both events is friendly and interactive; every visitor leaves stimulated and hopefully having
purchased something wonderful.
February 9–March 24
The Autry Museum of the American West will host its annual
Masters of the American West
Art Exhibition and Sale, which
features paintings and sculptures by 64 nationally recognized artists. New participants
this year include Eric Bowman,
G. Russell Case, and Howard
Post. The event’s proceeds
support the educational and The Autry Museum of
the American West
community outreach programs
offered by the Autry all year long.
Cartersville, Georgia
February 23
The Booth Western Art Museum’s largest annual fundraiser, the For the Love of Art Gala & Art Auction, features
art, jewelry, and travel experiences offered in both live
and silent auction formats. The evening’s highlight is the
presentation of the museum’s Artist of Excellence Award
to artist John Coleman, who will also have been feted at
a brunch earlier that
day. The weekend of
festivities kicks off
American University’s Katzen Arts Center
Washington, DC
The 64th annual Washington Winter Show will welcome
more than 40 American and European dealers to American University’s Katzen Arts Center. On offer will be a range
of fine and decorative artworks spanning the centuries,
punctuated by a loan exhibition from George Washington’s
Mount Vernon. The weekend’s calendar includes a luncheon hosted by designer Bronson van Wyck and a lecture
by former White House curator William Allman.
New York City
January 18–27
The Winter Show, previously
known as the Winter Antiques
Show, is 65 years young and
Spoilum (active c. 1785–
1810), Sampson Dyer,
1802, oil on canvas, 23 x
18 in., Nantucket Historical
A scene from last
year’s For the Love of
Art Gala & Art Auction
J A N U A R Y / F E B R U A R Y
January 10–13
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
thus New York City’s longest-running art, antiques, and
design fair. Returning to the historic Park Avenue Armory, it
will feature 70 exhibitors offering fine and decorative arts
from around the world, dating from ancient times through
today. A highlight is the loan exhibition of paintings, crafts,
and folk art owned by the Nantucket Historical Association.
Emil Carlsen (1848–1932), Surf Breaking, 1911,
oil on canvas, 39 1/2 x 48 1/8 in., Frye Art
Museum, Seattle
February 21–March 16
The Scottsdale Artists’ School will again host its Best and
the Brightest selling exhibition, which features top works
by both students and instructors from around the world.
Any student who has taken a workshop or weekly class
within the last three years
is invited to submit pieces
for the jury’s consideration. The exhibitors will
be eligible for a variety of
awards in such categories
as oils, drawings, pastels,
sculpture, small works,
and water-based media.
Sven Halle (b. 1942),
Warrior, 2017, oil on
canvas, 20 x 16 in.
January 25–May 5
Albert Bierstadt (1830–1902), The Last of the Buffalo,
c. 1888, oil on canvas, 60 1/4 x 96 1/2 in., Buffalo Bill
Center of the West, Whitney Western Art Museum, Cody
Museum’s current exhibition Emil Carlsen’s Quiet Harmonies
focuses on his equally compelling landscapes and seascapes. As French Impressionism became more influential
in the U.S., Carlsen adopted some of its tenets, painting with
a light, dappled palette. Drawn to Connecticut’s rural beauty
and artist colonies, he acquired a residence in Falls Village in
1905. Organized by Montana’s Yellowstone Art Museum, this
touring exhibition has already been presented there and at
West Virginia’s Huntington Museum of Art.
through February 10
The Gilcrease Museum and the Buffalo Bill Center of the
West (Cody, Wyoming) have partnered to present the touring exhibition Albert Bierstadt: Witness to a Changing
West. Bierstadt (1830–1902) is renowned for his Western
landscapes, but many people don’t realize he also painted
history scenes. Featuring 75 works from more than 30
lenders, this project pays particular attention to Bierstadt’s
depictions of the Great Plains’ Native cultures and to the
predicament of the bison. It contextualizes these works
by including examples created by several of Bierstadt’s
contemporaries. The show attracted large crowds when it
appeared in Cody last summer.
The Orlando Museum
of Art’s exhibition Louis
Dewis: A Belgian PostImpressionist will present
more than 70 paintings
by this artist. Inspired by
such French landscapists
as Corot, Cézanne, and
Gauguin, Dewis (1872–
1946) painted scenes of
cities, villages, and countryside across Belgium
and France. These views Louis Dewis (1872–1946),
became especially signifi- The Flood, 1920, oil on
cant after the devastation canvas, 35 1/2 x 28 1/4 in.,
wrought upon them during Dewis Collection
World War I. Dewis was
successful during his lifetime, but his legacy was eclipsed
by artistic developments after World War II. Now his artistry is
being re-evaluated after a trove of paintings was discovered
in the attic of his daughter’s Paris home. They may ultimately
become part of the Orlando Museum’s permanent collection.
Columbus, Ohio
through January 20
2018 marked the centenary of the Harlem Renaissance,
an intellectual, social,
and artistic explosion
of African-American
culture that erupted
in New York City and
spread across the
Winold Reiss (1886–
1953), Type Study,
II (Two Public School
Teachers), c. 1925,
pastel on board, 29
x 20 1/2 in., Fisk
University Museum
of Art, Nashville
New London, Connecticut through March 24
The painter Emil Carlsen (1848–1932) emigrated from
Denmark to the U.S. at the age of 19, bringing European
academic training to his work in America. Though he is best
remembered for masterful still lifes, the Lyman Allyn Art
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Midwest until the 1950s. Organized by the Columbus
Museum of Art with guest curator Wil Haygood, the exhibition I, Too, Sing America: The Harlem Renaissance at 100
offers a fresh look at the visual art of this moment. Best
known as the author of The Butler, Haygood grew up in
Columbus in a jazz-filled landscape that was an exuberant
legacy of the Harlem Renaissance.
Through paintings, prints, photography, sculpture, contemporary documents, and ephemera, the exhibition illuminates multiple facets of the era — its people, art, literature,
and music. Its fine art is represented here by such talents
as Romare Bearden, Jacob Lawrence, Archibald Motley,
Horace Pippin, Augusta Savage, and James Van Der Zee.
February 1–May 19
Joel Daniel Phillips (b.
1989), Toward the End
of All Things, 2018,
charcoal, graphite, and
ink on paper,
60 x 47 1/2 in.
The downtown location of the Philbrook
Museum is set to present The Future Was
Now, the first solo
museum show devoted
to Joel Daniel Philips (b. 1989). On view will be a new
group of large graphite drawings that build upon his earlier interest in the burgeoning oil industry in Oklahoma
and Southern California during the 1950s. Tinged with
both nostalgia and an ominous tone, Phillips’s images
possess an uncanny tension between pure beauty and
uncomfortable truths.
February 2–June 2
The Denver Art Museum
will present the exhibition
Jordan Casteel: Returning
the Gaze, the first major
museum show devoted to
this Denver-born, Harlembased painter. It features
nearly 30 works she created
between 2014 and 2018,
mostly large portraits depicting black people she knows
personally. Curator Rebecca
R. Hart has selected works
that reflect Casteel’s shift
in subject matter from cityscapes and subway scenes
toward images of women
and local business owners.
Jordan Casteel (b. 1989),
Q, 2017, oil on canvas,
78 x 60 in., Ann and
Mel Schaffer Family
Collection, photo: Casey
Kaplan, New York
Steamboat Springs,
through April 13
The Steamboat Art Museum is presenting James Morgan:
Moments in the Wild, a retrospective of this artist’s widely
admired paintings of animals, birds, and landscapes. A
James Morgan (b.
1947), High Desert
Wind, 2015, oil on
linen, 40 x 30 in.,
collection of the artist
resident of northern
Utah, Morgan has
always appreciated the
wonders and interconnectedness of nature,
and has spent almost
40 years seeking to
convey its beauty and
awe-inspiring power. On February 1–2, the museum will
host a weekend celebration with the artist.
Washington, DC
through August 18
Lucy May Stanton
(1875–1931), The Silver
Goblet, 1912, watercolor
on ivory, 5 3/8 x 3 3/4
in., National Portrait
Gallery, Smithsonian
The Smithsonian Institution’s
National Portrait Gallery is
presenting the exhibition
Eye to I: Self-Portraits from
1900 to Today, a sampling
of how 75 American artists
have chosen to portray themselves over the past 120 years.
The museum’s chief curator, Brandon Brame Fortune, feels
this project is especially relevant today as countless “selfies”
are posted on social media channels and as identity is proving ever more fluid. Her checklist relies primarily on the NPG’s
own collection of 500 self-portraits; on view are works made
in a wide range of media, including photography.
On view are more than 250 objects depicting ways of
courtship, love, marriage, childbirth, and even adultery in
the 17th century, including 29 works by Rembrandt himself. Coming to the Netherlands for the first time in more
than 250 years is the magnificent portrait of Saskia illustrated here, on loan from Germany’s Gemäldegalerie Alte
Meister of the Museumslandschaft Hessen-Kassel. After
it closes in Leeuwarden, this exhibition will travel to that
institution (April 12–August 11).
through March 10
The German collector Adolf Friedrich von Schack deeply
admired the delightful paintings of sagas, fairy tales,
and other Romantic stories painted by his contemporaries Edward von Steinle (1810–1886) and Leopold Bode
(1831–1906). Stories in Pictures, the first exhibition
focused entirely on these two masters, is at the Sammlung
Schack, offering some 30 watercolors and oils highlighting tales by such literary favorites as Shakespeare and the
Brothers Grimm. The show will move to the Clemens Sels
Museum in Neuss, Germany (April 7–June 30).
Leopold Bode (1831–1906); Pippin and Bertha
(The Legend of the Birth and Childhood of the
Emperor Charlemagne); 1876; oil on canvas; central
panel 44 1/4 x 65 in., side panels each 44 1/4
x 21 1/2 in.; gilded oak frame reconstructed in
2018 after a photograph from 1909; Bayerische
Staatsgemäldesammlungen, Sammlung Schack, Munich
Fort Smith, Arkansas
through March 31
through March 17
2019 marks the 350th
anniversary of the death
of Rembrandt van Rijn
(1606–1669), and kicking off the commemoration is the Fries Museum’s
exhibition Rembrandt &
Saskia: Love in the Dutch
Golden Age. In 1633,
Rembrandt was on his
way to prominence when
he met Saskia van Uylenburgh, who came from a
Rembrandt van Rijn (1606–
wealthy family in Leeu1669), Portrait of Saskia van
warden. They married the
Uylenburgh, c. 1633–34,
following year and moved oil on panel, 39 x 31 in.,
to Amsterdam, where the Gemäldegalerie Alte Meister,
painter often used his Kassel
wife as a model. Alas, only
one of their four children
would reach adulthood, and Saskia died at 29.
Timothy J. Clark
(b. 1951), Black Bicycle
with Red Cables, 2018,
watercolor and body
paint on paper, 21 x 12
1/2 in., collection of the
The Fort Smith Regional
Art Museum is presenting
the exhibition Timothy J.
Clark: Masterworks on
Paper, which highlights
three aspects of this artist’s work: the unity of his
aesthetic vision across
countries and cultures, his deep connection to the coast
of Maine, and the crucial role of figurative drawings in his
artistic thinking. Many of the works are on loan from the
Leslie and Betsy Roy Collection at the Polk Museum in
Lakeland, Florida. The project has been curated by Chris B.
Crosman, founding chief curator of the Crystal Bridges of
American Art, and has been mounted in recognition and
appreciation of Dr. David Chalfin, a sculptor, connoisseur,
and longtime champion of Clark’s artistry.
J A N U A R Y / F E B R U A R Y
In New York City this November, artist Everett Raymond
Kinstler unveiled his portrait of Marc Baron, president of the
Lambs Club.
Michael Gormley (executive director, New York Artists
Equity); honoree Babette Bloch; Artists’ Fellowship
president Charlie Yoder; honoree Marc Mellon; artist
Kate Conlon; Metropolitan Museum of Art curator
Thayer Tolles
In New York City this October, the Artists’ Fellowship
hosted its annual Medal Presentation Dinner, which raised
$20,000 for this 159-year-old charitable foundation
devoted to assisting professional fine artists and their families in times of need. Its Benjamin West Clinedinst Medal
honors exceptional artistic merit and was awarded jointly
to the married sculptors Babette Bloch and Marc Mellon,
who have both served as presidents of the Fellowship for
a combined total of 20 years. The Gari Melchers Medal is
given to an individual or organization that has furthered the
profession; the honoree was Robin Salmon, vice president
and curator of collections at South Carolina’s Brookgreen
Gardens, where she has worked for more than 42 years.
The Brookgreen Gardens team: trustee Hal Holmes;
president and CEO Page Kiniry; honoree Robin
Salmon; Artists’ Fellowship president Charlie Yoder;
trustee and speaker Sandy Scott
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Revealing the Soul
“Clark Street, Night Effect” 20 x 30 Oil on Linen on Panel
Available at REINERT FINE ART Charleston, SC (843) 694-2445
Please see website for blog and workshop information WWW.SCHNEIDERART.COM
# # () ##
& '
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
“Left Turn, Clyde”, 36x60, oil on canvas
Through a Glass Darkly
12x14, Oil on Panel
w w w.jr us
J . R u s s e ll W e ll s c a n b e r e a c h e d a t j r w@j r u s s e l l w e l l s . c o m
o r 8 47-3 61- 5124 . F o llo w h im o n I n s t a g r a m
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Signature Member of the American Women Artists,
Outdoor Painter Society, and Artist Member of the Salmagundi Club
!00(%)%3.0/%,0%.),*$-.'% &.-+-2%+"%.!.#(
6 /1/!, /1 /!,*5 ,, /01$)- #-+
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Cloak of Misgiving
Charcoal and white conte on paper
Whistler House Museum of Art
243 Worthen Street, Lowell, MA
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Follow jillbanks1
Jill Banks Studio
Subscribe for latest works, adventures and art news.
Gallery inquiries welcome 703.403.7435
March 22-28, 2019
Featuring nationally
recognized artists
Steve Atkinson ❒ Wayne Baize ❒ Teal Blake ❒ Dan Bodelson ❒ Nancy Boren ❒ Tyler Crow
Jim Dolan ❒ Mikel Donahue ❒ Loren Entz ❒ Tony Eubanks ❒ Deborah Fellows ❒ Bruce Greene
Martin Grelle ❒ Terry Cooke Hall ❒ Whitney Hall ❒ Harold Holden ❒ Oreland Joe ❒ Greg Kelsey
TD Kelsey ❒ Mehl Lawson ❒ Krystii Melaine ❒ Herb Mignery ❒ Brenda Murphy ❒ Bill Nebeker
Gary Niblett ❒ Jim Norton ❒Dustin Payne ❒ Bruce Peil ❒ Clark Kelley Price ❒ Paul Puckett
Grant Redden ❒ Jason Rich ❒ Ron Riddick ❒ Aaron Schuerr ❒ Jason Scull ❒ Donna Howell-Sickles
Kathy Tate ❒ Joshua Tobey ❒ Ezra Tucker ❒ Nelson Tucker ❒ Don Weller ❒ Xiang Zhang
The Centennial Barn by Don Weller
Hot Rock Two Step by Joshua Tobey
The Rising Star by Terry Cooke Hall
Bighorn Ram by Ezra Tucker
Pieces on display March 18-30 at the Bosque Arts Center in Clifton, TX | Visit for details | 254-675.3724
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
“Out of the Darkness”
Oil on canvas 16x24 2018
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
!# "
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Represented by
Charleston, SC
Hidden Beach: Point Lobos
10" x 14"
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
Riversky 24 x 30
Inness 9x12
March 10th- 31st | Opening reception March 15th
The Salmagundi Club New York City • 732.233.7731
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
MAIN TOUR: SEPTEMBER 11 - 19, 2019 • POST TOUR: SEPTEMBER 19 - 23, 2019
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
View new work:
Broadway Gallery VA • Chasen Galleries VA & FL • Principle Gallery VA • South Street Art Gallery MD • Warm Springs Gallery VA • 703.473.9976
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
Watch These Artists At Work!
Congaree, Clouds and Fields, oil on panel
Catch the Color & Light!
F I N E A R T C O N N O I S S E U R · C O M
J A N U A R Y / F E B R U A R Y
2 0 1 9
y thia
Landscape Painting:
Palette Knife
in Plein Air
with Palette Knife Master
Cynthia Rosen™
njoy the playful dance of palette knife painting with
artist Cynthia Rosen. As you follow along with this
Y: D
C 561-65
, ©/T
8 OR
IN . 2018.
Paint fresh and exciting
larger-than-life paintings.
Award-winning artist
energetic life-size works.
ORDER TODAY at or call 561.655.8778
Make Art History with Us in
Learn more and register at
November 10-13, 2019 • Williamsburg Lodge • Williamsburg, VA
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
thia Ro
c ynthiar | 802.3
d i r e c t o ry o f a dv e rt i s i n g
Arenas, Heather.............................. 128
Autry Museum of the American West...... 39
Baker, Garin..................................... 136
Banks, Jill E...................................... 131
Barber, Chantel Lynn ...................... 6
Bathe, Beth Brownlee ..................... 34
Baxter Fine Art ................................ 138
Beam, Jacalyn A.............................. 24, 35
Bird, Matthew.................................. 5
Blowing Rock Art & History Museum....... 40
Boone, Patti..................................... 18
Bosque Arts Center ........................ 131
Boyer, Lyn........................................ 137
Boylan, Brenda................................ 135
Brauer, Lon...................................... 35
Briscoe Western Art Museum......... 41
Brookgreen Gardens ...................... 42
Bruce Museum................................ 43
Byrne, Michele ................................ 34, 133
C. M. Russell Auction...................... 44
California Museum of Fine Art ....... 45
Campbell, Peter.............................. 136
Celebration of Fine Art ................... 8-9
Chapman, Julie T............................. 29
Cheryl Newby Gallery..................... 15
Creighton Block Gallery ................. 13
F I N E A R T C O N N O I S S E U R · C O M
Drake, Jason.................................... 30
Floyd, Elizabeth............................... 133
Fulmek, Nanci ................................. 132
Gilkerson, Mary............................... 141
Gleim, Lisa ...................................... 139
Griffin, Patricia A............................. 29
Hembling, Guy................................ 137
Hitt, Karen Ann ............................... 10
Hockaday Museum of Art............... 46
Illume Gallery of Fine Art................ 17
Ingols, Jane ..................................... 28
Insight Gallery................................. 147
Johnson, Oksana ............................ 14
Jung, Michelle................................. 2
Kling, Chris...................................... 33
Kovvuri, Lisa.................................... 130
Larry Cannon Watercolors ............. 134
Lashley, Christine ........................... 139
Lighthouse ArtCenter..................... 32
Lotton Gallery ................................. 11
Lynn, Susan..................................... 129
MacDonald, John H. ....................... 130
Marchant, Beth ............................... 127
Markowsky, Jeffrey M. .................... 35
McMillan-Hayes, Vickie................... 28
National Museum of Wildlife Art .... 47
J A N U A R Y / F E B R U A R Y
2 0 1 9
National Sculpture Society ............ 23
New Braunfels Art League.............. 141
Nyzio, Donna................................... 135
Paula Holtzclaw Fine Art................. 15
Peabody Essex Museum................. 48
Putnam, Lori.................................... 129
Reinert Fine Art............................... 31
Reynolda House Museum of American Art 49
Reynolds, Sara Jane........................ 134
RJD Gallery...................................... 21
Rogo Marketing & Communications........4
Rosen-Malter, Cynthia .................... 145
Sander, Manon................................ 33
Schneider, William A. ..................... 127
SEWE/Southeastern Wildlife Exposition...26
Sneary, Richard............................... 22
Spencer, J. Ken ............................... 19
St. George Art Museum.................. 50
Steamboat Art Museum ................. 51
The Hyde Collection....................... 36
The Legacy Gallery......................... 148
The Salmagundi Club..................... 7
TRAC/The Representational Art Conference132
Tucker, Ezra Noel ............................ 27
Turner, Kathryn Mapes ................... 27
Wells, J. Russell ............................... 128
DA N I E L G R AV E S ( b . 1 9 4 9), S e l f- Po rtra it, 2 0 0 9, o i l o n
linen, 24 x 20 in., private collection
J A N U A R Y / F E B R U A R Y
2 0 1 9
F I N E A R T C O N N O I S S E U R · C O M
PURPLE MORNI NG ° 25.6x1 9.7 ° OIL
BLU E SPACE ° 2 3. 6x 23.6 ° O IL
TIBOR NAGY and Hsin-Yao Tseng
February ° Chasing the Light ° Reception: Friday, February 1, 6-8pm
robert pummill
February ° Reception: Saturday, February 9, 6-8pm
Texas masters
March ° Reception: Friday, March 1, 6-8pm
214 West Main Street ° Fredericksburg, Texas
830.997.9920 ° ° info @
Журналы и газеты
Размер файла
72 482 Кб
Fine Art Connoisseur
Пожаловаться на содержимое документа